MADE IN TAIWAN—歷史篇

1991-1999

圓山紀事 ｜ 百合紀事 ｜ 熱蘭遮紀事 ｜ 大員紀事

繼「MADE IN TAIWAN政治篇」之後的「歷史篇」共有四個單元，包括：「圓山紀事」、「百合紀事」、「熱蘭遮紀事」、與「大員紀事」，內容是關於台灣原住民、外來族群殖民、清朝治理台灣時期，至十九世紀末的歷史斷代。楊茂林企圖以其擅長的圖像風格重新詮釋、整理台灣的歷史，且不依照編年的歷史概念，而是以片斷、多元時空的敘述法則，建構出新的歷史存在感，同時也顛覆了既有的、主流的、正統的史觀。他依照個人的記憶，提出不同的歷史論證，以開放的形式去理解歷史文化錯綜複雜的關係。

在形式上，「MADE IN TAIWAN歷史篇」規格化的傾向是借用人類學、考古學基礎研究的田野調查方法；橫向或縱向的雙拼結構則強化了作為考古文物的意含，蓋上「MADE IN TAIWAN」的標誌（也可說是標籤）後，更保有一致性，如同在博物館羅列展示的出土文物標本。

 

MADE IN TAIWAN—History Section ｜ 1991-1999

Yun Mountain Memorandum、 Lily Memorandum、Zeelandia Memorandum、 Tayouan Memorandum
 
After MADE IN TAIWAN—Political Section, Yang followed up with his “History Section,” comprising four parts: Yun Mountain Memorandum, Lily Memorandum, Zeelandia Memorandum and Tayouan Memorandum. The series concerns successive historical periods in Taiwan until the end of the nineteenth century, from aboriginal peoples to foreign colonizers and the Qing Dynasty administration of Taiwan. Yang reinterprets this history using his skillful graphic-art style. Furthermore, he does not rely on a chronological concept of history but rather a fragmented narrative presenting multiple chronotopes to construct a new historical reality and subvert mainstream, orthodox views. Using his own recollections to put forth different historical arguments, Yang liberates form to interpret complex relationships in Taiwanese history and culture.
 
Formal standards for MADE IN TAIWAN—History Section tend toward field study, which is the research foundation of anthropology and archaeology. Yang collaged images in either horizontal or vertical orientations to emphasize that they belong to these fields of study. Also, signifying “MADE IN TAIWAN” (or affixing this label), which is a strategy used for unearthed artifacts displayed in a museum, maintains a certain consistency throughout Yang’s series.
 

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圓山紀事 Yun Mountain Memorandum

 

 

百合紀事 Lily Memorandum

 

 

熱蘭遮紀事 Zeelandia Memorandum

 

 

大員紀事 Tayouan Memorandum