博物之島 MUSEUMS

Author：Patporn Phoothong Copy Editor:Chung-Wen, Weng (Postgraduate, Graduate Institute of Museum Studies, TNUA) On October 25, 2004, a typical weekday during Ramadan, thousands gathered in front of Tak Bai Police Station, demonstrating for the release of six security men who had been detained for over a week  on suspicion of weapon theft. In the late afternoon, the Army Command ordered the suppression of the crowd by force. The brutal decision, which included water cannons and tear gas, resulted in seven people being killed and 14 officers injured After the conflict, the officers arrested more than a thousand people and forced them to remove their shirts, and then tied their hands behind their backs. The 1,370 hostages were stacked onto trucks on top of each other, and were sent to Inkatha Camp in Nong Chik District, Pattani Province. When the trucks arrived, 77 people were found dead, and one person died after being sent to the hospital. Ironically, the autopsy reports that the causes of death was “lack of food and water, asphyxiation due to chest  compression, and acute kidney failure.” The tragedy is now known as the “Tak Bai Massacre,” one of the most unbearable atrocities in the Southern Border Provinces  in the past 20  years. The route where Tak Bai Massacre took place. The arrested demonstrators were stacked on to trucks and sent from Tak Bai Police Station (the spot on the bottom) to Ingkhayut Camp, resulting in 77 deaths. Some were buried at the Telok Manok Mosque and Cementery (the middle spot). （Courtesy of Deep South Museum and Archives Initiative）   Violent Conflict in Thailand’s Deep South The “Deep South” of Thailand, primarily comprised of the three southern provinces of Pattani, Yala, and Narathiwat, has a nearly 80% Malay Muslim population. contrasts sharply with the predominantly Buddhist population in the rest of Thailand. The Thai government has long suppressed local Malay culture and religion, the tension between separatist advocates and the Thai military has never eased . Since 2004, this conflict has intensified, with various separatist factions calling for autonomy, opposing human rights violations by the military, and resisting policies suppressing their cultural identity. Despite the Thai’s government efforts to revitalize economic development in the region and initiate peace negotiations, the militaristic approach has failed to address the core issues, such as identity crisis,  inequality, and cultural assimilation. Over the past two decades, the conflict has caused approximately 7,547 fatalities and 14,028 injuries. Nearly 7,000 children have been left in shelters or have become orphans, with around 1,000 orphans lacking basic governmental support due to suspicion of being related to separatists. Some have even been arrested, prosecuted, and subjected to DNA tests by 2023. Seize the Possibility of Establishing Peace Museum Is establishing a peace museum during an ongoing conflict a daydream? How could different stakeholders leverage peace museums? Are Museums remedies for peace? According to my research, locals in the Deep South have faith in peace museums. However, they do not wish to see their own experiences displayed locally, as it could perpetuate painful memories. Instead, they hope the museum could  serve as a bridge to allow the military, politicians, and people outside Deep South to hear their voices, paving the way to mutual understanding and reconciliation. In the Deep South, many recognize museums as playing a pivotal role in peace education. Leading a  group of scholars and peace practitioners, including myself, initiated the “Deep South Museum and Archives Initiative” project in 2020. The project aims to seek reconciliation through establishing a tangible museum. Specifically, The Tak Bai Massacre involves state violence, which made it nearly impossible to raise domestic funding. Additionally, the lack of a dedicated museum and archives to protect the data further complicates efforts to secure financing. Fortunately, the Sasakawa Peace Foundation in Japan bridged this gap and saved the project. The project aims to reveal the hidden stories by interviewing the victims’ families. The holes and scratches on the door were left by soldiers who came to interrogate about the Tak Bai Massacre. To the mother who lost her child, the scar is a relentless reminder of her loss. However, things did not go smoothly as hoped. The access to official documents has been prohibited,  contacting the victims’ families was even more difficult. Seventeen years after the incident, those involved have remained silent for safety concerns and feelings of shame, some even moved away. Therefore, approaching the individuals involved and building trust has never been easy. Moreover, conducting interviews felt like collecting fragments and scarce traces of a bigger picture. Over the course of 17 years, the evidence became scattered, memories grew vague, and depictions varied, leading to inconsistent narratives. To make matters worse, due to the pandemic, the research team could not travel to the Deep South, and had no choice but to rely on collecting oral histories from where the field researcher was based. With the researcher’s consistent effort, the victims’ families and the community finally opened their hearts and spoke their voices. Eventually, the researcher reached out to over 20 families of Tak Bai Massacre victims, gathered several previously unrevealed stories and hidden objects preserved by the victims’ families over 17 years .  Let the Victims’ Objects Speak Often, individual memories, especially those of ordinary people, are perceived as unimportant, trivial, and unreliable. The project team’s mission was to transform these experiences, memories, and ordinary objects—such as clothes, banknotes, food recipes, and even bird cage—into representations beyond personal causes, and to collectively narrate state violence and injustice. With this in heart, the challenge of our first exhibition was to address violence without explicitly depicting it. Instead of structuring a sorrowful tone, we focused on providing factual information, inspiring the audience to engage in dialogue within themselves or among each other.    The curatorial team displays several objects and stories from the victims. (Left) Photos of Mr. Aduha provided by his Father. One is Aduha as a student, another is his profile photo, also as the one in government’s record of the massacre’s victim.  (Right) Baba Mae preserve the gown she/he wore on the day burying the victims’ bodies. Mae no longer wears it after the traumatic event. (Courtesy of Deep South Museum) To genuinely display victims’ objects, the team co-curated with the victims’ families alongside the field researcher. We opted to exhibit all the granted objects with respect for every piece of personal narrative. The exhibit labels were intended to maintain original wordings from the interviews. With no additional refinement, the simplest words encompassing intense feeling of life struggles, fear and hope for a better future, struck the audience with their earnest language. Additionally, as overloaded information could undermine engagement and hinder the  understanding of the massacre, we focused on building a concise and pinpointed narrative, highlighted key themes, and ensuring that the points referenced could inspire profound reflection. This approach respected both the collective trauma of the victims' families and the integrity of individual experiences.  “Hear the Unheard: Remember Tak Bai 2004”exhibition, the audience reads the label. (Courtesy of Deep South Museum and Archives Initiative) Our first exhibition, “Heard the Unheard: Tak Bai 2004,” was launched in March 2023 at Bangkok’s Silpakorn University. Although it featured only 14 objects, it garnered significant attention from both the public and the media. Since then, the exhibition has traveled to various universities and galleries. Our most recent exhibition, “Living Memories: 20 Years Tak Bai Incident,” was held at the Sirindhorn Anthropology Centre in Bangkok from March to July, 2024. Return to the Deep South  After years of effort, the Deep South Museum and Archives Initiative received suggestions from a group of women who lost their husbands in the Tak Bai massacre, urging that the exhibition be brought back to the Deep South. They hope their families, friends, and the broader public, especially the youth, who might not know or remember the massacre, to understand and recognize their loved ones as good husbands, fathers, brothers, and friends. With objects kept for over 20 years, these items carry messages of love, loss, frustration, concerns, fear, and demands for justice. To meet the demand, the exhibition traveled to Narathiwat, where Tak Bai Massacre took place, and was displayed at a local gallery from October 10 to November 20, 2023.   A exhibit corner of De La' Pare Art Gallery. (Courtesy of Deep South Museum and Archives Initiative)   Along with the exhibition, we organized workshops for object donors to share their stories and perspectives in person. These workshops not only provided valuable feedback and suggestions for the exhibition but also enhanced understanding of the concept of a “peace museum”. The curatorial team brought the exhibit back to the Deep South to help the local teens learn about the history. (Courtesy of Deep South Museum and Archives Initiative) To what extent could a peace museum contribute to an ongoing conflict? Taking the 2004 Tak Bai exhibition as an example, it enhanced the volume of victims’ and survivors’ voices, encouraged audiences to reflect on and criticize human rights violations that have long been entrenched in Thai society. Most importantly, the evidence of state violence embodied in the memories of those who perished and those who continue to carry their wills. The approach not only preserves historical truth but also fosters dialogue and reflection, making the museum a crucial tool for addressing and understanding ongoing conflicts.  

作者：廖俊凱、郭庭耘（國立臺北藝術大學博物館研究所） 「我們從河而來：流域千年，文化共筆」（展期2024/07/09 ~ 2024/10/13）為臺南市政府文化局《臺南400》系列展覽之一，由臺南市立博物館主辦，於臺南市美術館展出。臺南曾是一座充滿河川與港口的城市，特展引導觀眾從地理水文環境切入，梳理城市與孕育文明的「水」的關係。運用多元媒介，包含藝術創作、攝影計畫、聲音裝置等，重新定位水在臺南歷史中的角色。 圖1：「鯤鯓．凝望」展示府城的日常生活，並與其他四個大子題「眾神．請水」、「向海．航路」、「風土．眾聲」、「水逆．未來」呼應交織。（臺南市立博物館提供）   展場占地遼闊，共分為五大子題，集結了50組藝術家作品。展覽從臺南水文化破題。步入展場，映入眼簾的是展間外牆的「鯤鯓．凝望」攝影計畫。策展人沈昭良和沈裕融以「神性之境」、「河道之城」、「常民之顏」、「人間之地」、「雙溪之痕」等子題，凝視府城的日常生活，靈活地透過影像串連起不同時代、族群與臺南的「水」之間的記憶。   多元文化的匯流與共創 展覽以精彩的選件開創水文化的多層次討論視角。開頭的「眾神．請水」展區以大尺度的作品為引，帶領觀眾涉入台南水體的悠長歷史之中。部分作品則透過國際合作，引入了多元的創作形式。〈牽起流域的生命與希望〉展示了「Taring Padi 流域多物種版畫工作坊」的成果。Taring Padi是一個印尼藝術團體，由文化工作者、藝術家與學生於1998年創立，將藝術作為政治發聲與教育的工具，常採用集體創作的方式表達理念。策展團隊邀請Taring Padi在曾文溪中上游的拔林與茶山地區舉辦兩場工作坊，在當地青年農民以及鄒族獵人帶領之下走讀山林、水域，共同思索曾文溪流域與氣候的議題。   圖2：Taring Padi 流域多物種版畫工作坊拔林場大合照（臺南市立博物館提供）   工作坊融合走讀、共食與議題討論，這些深刻的交流經驗被銘刻在木板上，並透過版畫的形式大量再製。展場中，木刻版畫印滿綿延的旗幟，與鄒族和西拉雅族的傳統服飾串連起來，營造共榮、和諧的意象，象徵臺南的「水」承載每一個人，匯流成繽紛的文化榮景。   「向海．航路」展間Taring Padi工作坊〈牽起流域的生命與希望〉（臺南市立博物館提供）   展覽也從臺南的河川溯源而上，挖掘藏在田野間的歷史，呈現多元的史觀。其中，藝術家高俊宏所創作的〈黃色事件〉以黃國鎮的故事為切入點，揭示了歷史詮釋背後的權力結構。黃國鎮是日治初期嘉南地區的地方頭人，曾一度掌控曾文溪與八掌溪上游，並與殖民政府發生衝突。1974年中華民國官方舉辦「革命事實展覽會」，將他詮釋為反抗殖民政權的革命先驅，更展出「黃國鎮頭顱還原圖」以示紀念。然而高俊宏在田野調查過程中發現，官方塑造的形象與在地居民對黃國鎮無惡不作的記憶截然不同。高俊宏結合史料與田野資料，試圖追溯「土匪」與「革命先烈」等兩極化詮釋背後的歷史，也賦予觀眾詮釋歷史的權力，設置了空白紙條自由填寫關於「土匪」的記憶，讓每個人都能是書寫歷史的一份子。   高俊宏《黃色事件》（臺南市立博物館提供）   倚水而生：與多物種共榮 水能孕育萬物，而展覽也以藝術探問萬物該如何共存。〈F/EEL〉計畫檔案建構了一個讓參與者「感受鰻魚」（feel the eel）的空間。藝術家羅晟文長期探討人與非人關係，結合陳儀霏的機械設計長才，共同打造了「感知型密室逃脫房（Sensory-based Escape Room）」。由體驗者扮演鰻魚，應對水壩、泵站、受污染的水體、寄生蟲與盜獵等生態環境中的難關，例如：裝置中的大型扇葉模擬了水利設施的機械結構，體驗者必須狼狽地摸索，貼著牆或趴在地上行進，以免被扇葉撞擊。   〈F/EEL〉感知型密室逃脫房闖關影像節錄（廖俊凱攝影）   此外，藝術家也舉辦工作坊，提出「如何幫海豚戴口罩？」、「如何幫助鰻魚越過水壩？」等疑問，結合生態與環境教育，引導小朋友發揮「跨物種」的想像力，並展出工作坊的成果。藝術家希望觀眾反思人與其他物種之間的關係，挑戰根深蒂固的人類中心主義，意識到人類只是生態中的一份子，而不是主宰者，需要謙遜地探索與各種生物和環境共存的可能性。   工作坊小朋友繪製的海豚口罩設計圖（廖俊凱攝影）   生生不息：水的永續思考 工業資本主義的發展使人與環境逐漸疏離，源於大自然的創作媒介不斷演變，未來又該如何前行？面對當代科技將工藝創作流程簡化、商品化，長期活動於台南地區的陳瑋軒，創作〈捏地—牛〉使用生活中的田土作為創作媒介，以就地取材的「坑燒」方式燒製，藉以叩問陶藝的本質。   陳瑋軒〈捏地—牛〉展品照片（廖俊凱攝影）   晁瑞光〈人的生活進行式〉更以海廢作為創作素材。使用六條臺南河川中各異的廢棄物，創造出造型人物，例如：鹽水溪的「膨風阿伯」以保麗龍和漁網組成；曾文溪「愛喝飲料的毛毛蟲」則是以浮球、農藥罐拼裝而成。藝術家以詼諧而擬人化的方式將海廢轉化為逗趣的角色，讓觀眾直面海廢議題，進一步思考環境永續的未來。   晁瑞光〈人的生活進行式〉（廖俊凱攝影）   李欣芫自2019年起持續創作《Chí-moāi》系列，於臺南及其姐妹市—美國聖荷西為田野地，採集城市文明背後關於「水」的音景。本次展出的〈Chí-moāi 3〉聚焦在兩地的污水處理技術，捕捉自然環境和水資源設施的聲音，戴上耳機可以聽見高頻規律的機器運作與齒輪轉動聲，穿插著水流聲與自然環境音，搭配眼前一幕一幕閃過的污泥、游魚、自然風景、機器特寫以及顯微鏡成像等畫面，將聽覺交織視覺，從不同感官認識水資源循環中常被忽略的環節。特展開幕式中，李欣芫全程用台語導覽，作品更以白話字書寫「Chí-moāi」（姐妹），讓本土語言重新獲得話語權，也試圖喚醒語言意識，讓觀眾認知到自在使用母語是一件自然且美好的事情。   李欣芫〈Chí-moāi 3〉展場影像節錄（廖俊凱攝影）   「我們從河而來」，如今又往何去？ 展覽不只展望未來，也試圖讓觀眾涉入歷史之中。由國立成功大學建築系黃恩宇副教授研究團隊製作的〈臺南原點．四百再續－17世紀荷治福爾摩沙的熱蘭遮堡壘與市鎮〉透過VR讓觀眾穿越時空，造訪四百年前的熱蘭遮堡及市鎮，在製作團隊詳實的史料研究下，細緻重建了當時的空間風貌，讓觀眾得以親身體驗當時的街廓，團隊也很用心地重現臺、英、荷三語交織的情境，使觀眾深刻認知到臺南四百年來的發展，是多元文化匯流後所沈澱出的沃土。   1640s 熱蘭遮堡壘與市鎮還原模型（廖俊凱 攝影）   「我們從河而來：流域千年，文化共筆」梳理了千年來的臺南水文化，從宏觀的水體歷史出發，一步步探討四百年來臺南進入世界貿易體系的歷程，並延伸至當代水文化轉譯，思考未來可能面臨的挑戰。如恆流的水一般，臺南的文化想像也源源不絕，不斷延續。   （執行編輯：黃淥）

作者：何慕凡（英國倫敦大學學院考古學院博物館學研究所碩士） 2001年9月11日早上8點到10點之間，四架民航飛機被恐怖份子劫持，分別撞擊了紐約市的世貿中心雙塔、華盛頓特區的五角大廈，並有一架墜落在賓夕法尼亞州的尚克斯維爾（Shanksville），造成2,977人死亡。多年過去，這三個地點分別建造了博物館、紀念碑以及紀念館。本文將探討這三個場域如何記錄這一天，提醒世人不忘這場恐怖攻擊。   世貿中心雙塔原址上設計了兩個陷入地下的方形瀑布池，周邊刻下罹難者的姓名，讓觀眾銘記這場悲劇。（Photo by Kristina D.C. Hoeppner  , flickr, CC BY-NC）   在廢墟中重生：紐約911國家紀念博物館（National September 11 Memorial & Museum） 2014年5月開放的911國家紀念博物館位於紐約市曼哈頓，正坐落於原世貿中心雙塔的遺址上。該館巧妙地將世貿中心的遺構融入展覽中，紐約時報譽為「在廢墟中重生」的博物館。館內保留許多具有重要意義的建築結構：地下連續壁（Slurry Wall）是一道支撐建築物的混凝土牆，在世貿雙塔崩塌時，阻擋了哈德遜河的河水湧入世貿大樓地下室，防止了更嚴重的災難。最後的立柱（The Last Column）是最後一根從世貿廢墟中移除的柱子，上面滿布救難人員以及受難者家屬的留言。倖存者樓梯（Survivors' Staircase）則是數百人逃離世貿大樓的重要路線，可讓觀眾感受倖存者的勇氣和決心。這些平凡卻真實的建築結構，在博物館的敘事下成為見證歷史傷痕的文物，讓觀眾透過物件的質感或痕跡，連接不可再現的逝者。   「最後的立柱」上面貼了許多罹難者的照片與家屬的留言。（Photo by  gigi_nyc , flickr, CC BY-NC）   911國家紀念博物館裡著名的展覽「歷史展：2001年9月11日（Historical Exhibition: September 11, 2001）」則精確地以分、秒等時間單位呈現四架飛機起飛、劫持等恐怖攻擊的細節，說明劫機者、乘客、救援人員與遇難者的遭遇，具體刻劃出絕望的一天。因為是當代發生的事件，博物館典藏的資料相當豐富，包括恐怖份子的登機畫面以及登機後的座位圖、從大樓內飛散出的文件、罹難者的遺物、被嚴重撞歪的大樓鋼樑等，其中最令人動容的是機上乘客在其生命最後一刻打給家人的語音錄音，讓觀眾生動體會恐怖攻擊時人們的反應。   「歷史展：2001年9月11日」展場入口標示了四架恐怖攻擊的路線與事發時間。（Photo by  gigi_nyc , flickr, CC BY-NC） 展場展出一架破碎的消防車，以此紀念當天為了救火而罹難的343位消防員。（Photo by  Kristina D.C. Hoeppner , flickr, CC BY-NC）   雖然911國家紀念博物館所記錄的事件僅有一天，但這短短的一天卻留下了無限傷痛。博物館展示豐富的文物，清晰揭示911事件的殘酷事實，並且搭配詳實的個人故事，使觀眾可以想像物件背後的個人，感受人性的堅韌和團結，也向罹難者、倖存者和救援人員致敬，希望悲劇不再發生。   記憶與慰藉：五角大廈911紀念碑（The National 9/11 Pentagon Memorial） 2001年9月11日上午，在世貿雙塔的恐怖攻擊發生後不久，美國航空77號航班也被劫持，並撞擊了美國國防部的五角大廈，導致機上乘客和五角大廈工作人員等184人罹難。為了紀念逝者，五角大廈外側的草地上建造了五角大廈911紀念碑，於2008年9月11日對外開放。 紀念碑的設計簡潔而莊重，由184個刻有罹難者名字的長椅組成，每個長椅下方都有一個小水池。這些長椅按照遇難者的出生年份排列：從最年幼的受害者——機上3歲的Dana Falkenberg，到最年長的71歲的海軍退伍軍人John D. Yamnicky，並根據受害者當時的位置朝向不同方向，銘記了每個人事發時的年齡和所在。紀念碑網站上提供互動地圖，可以根據長椅的位置查看每位受難者的生命故事。   五角大廈911紀念碑在夜間會發散柔和的光芒／何慕凡攝影 許多民眾會在9月11日在紀念碑上獻花，並坐在上面追思悼念。（Photo by   GPA Photo Archive, flickr, CC BY-NC） 由於紀念碑設計成長椅的形式，觀眾可以在上面獻花，坐在上面歇息並且緬懷故人。透過這些互動，紀念碑逐漸形成了屬於自己的記憶與社會作用。為了幫助觀眾更理解這個紀念碑，現場提供了24分鐘的語音導覽，詳細介紹了事件經過、五角大廈的歷史，以及紀念碑設計的深意。此外，管理單位也正在籌備教育館，旨在讓觀眾更深入地了解這些受難者的故事。   生命的聲響：賓夕法尼亞州聯合航空93號航班紀念館（Flight 93 National Memorial） 聯合航空93號航班是911恐怖攻擊中，唯一未按照恐怖份子原定計畫進行攻擊的航班，這主要歸功於機組人員與乘客的抵抗。在得知其他三架飛機分別襲擊了世貿雙塔以及五角大廈後，他們決定與恐怖份子搏鬥，使原定要朝華盛頓特區進行攻擊的飛機，最終在賓夕法尼亞州的田野墜毀。這起空難雖然沒有造成任何地面傷亡，但機上乘客和機組人員等40人全部遇難。 為了紀念40位罹難者，賓夕法尼亞州在墜機現場建立了「聯合航空93號航班國家紀念館」，於2015年9月10日正式開放。紀念館設計簡樸且具象徵意義，包括以大理石的紀念牆，更於2018年建立起一座「聲音之塔」（Tower of Voices）。聲音之塔高達28公尺，是一個巨大的音樂裝置，內部懸掛40個風鈴鐘，以紀念40位罹難者。每個風鈴都有獨特的頻率與音調，並且能夠相互共振。當風吹拂時，高塔會發出不同的和音，喚起人們對這片土地所經歷的傷痛回憶，也為罹難者創造出生動的聲音紀念。   賓夕法尼亞州聯合航空93號航班紀念館的「聲音之塔」／（Photo by   123 Chroma Pixels, flickr, CC BY-SA） 紀念館的訪客中心也規劃了常設展，詳細紀錄了93號航班的故事，內容包含航班路線、機上的座位表、乘客和機組人員的遺物、照片、信件和錄音，具體呈現出93號航班的乘客和機組人員如何聯合起來阻止恐怖攻擊。紀念館也舉辦導覽活動，幫助大眾銘記這些故事，並與受難人員的家屬保持密切聯繫，每年的9月11日會舉辦紀念活動，並於該紀念館的頻道直播。 圖8:從紀念館可以遠眺墜機的田野，玻璃上寫著「一片平凡的田野，永遠的榮譽之地」（Photo by   Peter Miller, flickr, CC BY-NC）   這三個911事件紀念館與紀念碑均設立在事件發生的原址上並紀念逝者。在展示手法上， 911國家紀念館透過大量遺物、遺構與數位裝置，讓觀眾感受事件的真實性；五角大廈紀念碑則透過設計邀請參觀者在長椅上靜坐沉思，營造出一種貼近罹難者的親密氛圍。93號航班紀念館則通過聲音裝置，提供動態而富有詩意的紀念形式，並以常設展補充事件脈絡。這些不同的紀念方式，共同豐富了對911事件的理解和情感連結。 為了讓觀眾深入了解事件的背景和影響，這些機構也透過各種教育活動，包括書寫、分享或是創作，讓故事得以繼續傳承。911國家紀念博物館定期舉辦教育活動，邀請學生設計自己心目中的911紀念館，或是製作紀念蠟燭並在911紀念活動中點燃。此外，也推出為兒童設計的「911紀念藝術推車」(9/11 Memorial Art Cart)，提供多種互動和自主探索活動，包括拓印紀念牆上的名字，以及提供媒材進行創意寫作和繪畫，幫助兒童了解紀念館的象徵意義。聯合航空93號航班紀念館則推出「寫下來記住（Write to Remember）」線上活動。這是一個全國性的寫作計畫，由老師引導學生閱讀93號航班罹難者的故事，並且寫下他們對這段歷史的想法，讓這段創傷歷史得以被轉化並傳承。   (執行編輯：黃淥)