展覽開幕｜2025.03.25(二) 2:00pm
展覽日期｜2025.03.24(一)~ 04.18(五)
展覽地點｜竹師藝術空間(新竹市東區南大路521號)
開放時間｜週一至週五 10 : 00 – 17 : 00(週六、日及國定假日休館)

展覽說明｜
我迷戀賽鴿歸巢的本能，甚至到某種狂熱的程度，卻私心的想知道不是台灣原生種的鴿子究竟從何而來。在大量史料的挖掘爬梳下，如獲至寶的認識了荷蘭東印度公司雇員Pontanus，想像跟隨他的旅程在蘭船東去航線下遍處尋覓鴿子的蹤跡。我計劃利用駐點踏察的機會，穿越交疊十七世紀殖民者的路線，復返歷史現場的觀看。從大航海時代小人物Pontanus的視角考古又考現兼帶點地誌學的方法分章節輯數書寫與影像互文，趁隙尋找心疼未受重視的鴿子身影(考古)，同時也關注當代城市群落與在地環境發展(考現)。更直白的說，這是假藉著尋找自己心愛鴿子的故事，延續近年《Pontanus的日誌本》作品系列，隨著帝國幽靈穿越劇般在他鄉異國情調下，偕行遊歷綺麗福爾摩沙旅程，也對照既存在於現實的又存在於想像當下的。

此展覽是藉由久居美麗島長達25年，號稱荷蘭第一戰將的拔鬼仔，卻不幸陣亡於殖民政權爭奪下的悲劇英雄Thomas Pedel的處境遭遇，我有所本的虛構書寫與描繪他的家庭事業與陣亡經過，試圖勾勒出這位可敬的異鄉人身處他方的認同與歸屬。結合講述表演《蓬塔努斯與大港》與《大員》的錄像回放，以及《Pontanus的日誌本》第12輯《竹塹》與《番山》，時空敘事自1644年荷蘭東印度公司揮軍北上，征服島嶼北部零星不願臣服的福爾摩沙人村社後，回程行經竹塹、番山的道卡斯族人也紛紛表達願意歸順的過程。如今古地名竹塹、舊稱番山的當代新竹市區與香山，從漢人聚集到成為北台灣重要的政經與文化中心，隨著時代更迭這群福爾摩沙人早已不見蹤影，而展覽《拔鬼仔》則是以重返歷史現場穿越劇的形式，將這趟旅程的踏查研究轉譯為他們的所見與所聞。

My obsession with the innate homing ability of Racing pigeons is overwhelming. To satisfy my curiosity, I’ve been exploring where these pigeons non-native to Taiwan originated from. After delving into and analyzing loads of historical materials, fortuitously, I encountered Pontanus, the employee of the Dutch East India Company (VOC), and started to imagine our adventures of looking for pigeons through the voyages of Dutch ships towards the East. I conducted field research during my residency, tracing the routes from the 17th-century colonizer by returning to the historic sites. From the perspective of Pontanus, a nobody in the Age of Sail, I carried out archaeological and modern-social investigations based on the approaches of topology, which have been implemented by sectioning texts into chapters and volumes as well as intertextuality in visual images. While searching for (in an archaeological manner) the presence of pigeons that were unbearably insignificant, I also paid very much attention on contemporary urban communities as well as environmental development in local regions (modern social phenomena). Straightforwardly speaking, I intend to pursue the stories of my beloved pigeons in the name of developing the series of “The Diary of Pontanus” that I’ve created in recent years. Like a time traveler, I embarked on a journey of discovery with an imperial ghost in this charming Formosa, a place that was foreign and exotic to him. The contrast between reality and imagination at the present has been constantly made during this trip.

This exhibition is by drawing upon the experiences of Thomas Pedel— known as 拔鬼仔 (Poa-kúi-á), the Netherlands’ foremost warrior who resided on Formosa for 25 years but tragically perished in the struggle between the colonial regimes—I have written and drew his family, career, and final battle in a fictional way of grounded yet real. Through this, I attempt to depict the identity and sense of belonging of this honorable foreigner in a distant land. Combining the video of lecture performance “Pontanus and Taikang”, “Tayouan”, and the 12th volume of “The Diary of Pontanus”, “Tiksam” and “Hiong-san”, the narrative spans from 1644, when VOC marched north to subdue the remaining unwilling Formosan villages. On their return journey, they passed through Tiksam and Hiong-san, where the Formosan Taokas also expressed their willingness to submit. Today, the ancient place name Tiksam and the former Hiong-san correspond to the modern Hsinchu City and Xiangshan. Once a gathering place for Han Chinese settlers, it has since evolved into a key political, economic, and cultural hub of northern Taiwan. As time has passed, the indigenous Formosans have long disappeared, leaving behind only the renowned high-tech elites of HSP and the vast wetlands and mountain forests. And the exhibition “拔鬼仔” (Poa-kúi-á) also takes the form of a historical reenactment, transforming the field research from this journey into a reinterpretation of what they saw and experienced.

主視覺圖片來源：藝術書寫/李立中、AI構圖/MyEdit、油畫代筆/廖云翔

歡迎蒞臨參觀！！