---
title: 'Building between the Truths 建立自己的真相'
tags: keywords
author: Tzu Tung Lee
link: https://hackmd.io/@BOTAMEVE/Keywords_LandingPage
---

# The Fighters' Own Room 屬於戰士的房間

Aside from the BOTAMEVE members, visitors to the Taipei Fine Arts Museum were also invited to write or perform their experiences of bodily injustice on-site, so these experiences could be shared with others.

Everyone is the teacher of their own experiences, and museum visitors eagerly left their words behind.

Within a week, these written notes climbed about two-and-a-half feet up the wall. Statements like _“I’m just a grain of wheat that has died,” “Gentleness is the product of resignation toward life,”_ and _“I’m ‘paper-sexual’—I hate relationship with humans and sexuality”_ are boldly written.

These words evoked my memories of childhood classroom chalkboards, where classmates would scribble _“OOO likes XXX,”_ _“OOO go die,”_ and so on during recess. In the vast landscape of the colonial education system, the chalkboard seemed to be the one place where students could briefly escape omnipresent authority and discipline. Now, in an elite institution such as the Taipei Fine Arts Museum — where visitors with diverse backgrounds and bodies are typically instructed to view artworks quietly, politely and civilly, their exuberant and colorful notes once again show that people remain deeply aware of how repressing and stifling environments can be.

In a repressive environment, only certain answers and comments are deemed smart, nice, positive, acceptable or --- “correct.” Yet each person’s answer arises acturally from the totality of their life experiences, and every answer can serve as a trace of those experiences.

As the artist, I choose to believe these responses represent another realm of creation. This work have led me to see more answers from visitors than ever before -- the collective significance contributed by so many people, from different corners of society and different roles, has gone far beyond the usual dialogue between artist, artwork, and the contemporary art system. It creates an opening beyond art can respond, and I deeply appreciate of that.

::: spoiler 中文

除了酷殘陣線的成員，在北美館現場的觀眾，也可以在美術館的現場寫下或演出你身體不義的經驗，讓這些經驗與他人分享。

每個人都是自己經驗的老師，除了等等參與成員的分享，觀眾們也積極的留言，不出一週，觀眾的字爬滿至離地兩尺半的空間。「我只是一粒死了的麥子」、「溫柔是對生活無奈的產物」、「我是紙性戀 我和人類和性」...小時候學校黑板，每每在下課間，被各方同學畫下寫下「OOO 喜歡 ＸＸＸ」「ＯＯ好帥」⋯ ，黑板彷彿就是整個中華民國的殖民教育建築裡，面對無所不在的權威規訓，掙脫躁動的一方空間。而在北美館這樣的精英機構，有各種人生經驗、身體狀態的觀眾，被教育著安安靜靜斯斯文文的方式看著作品，留言的積極與張揚的形狀，彷彿再次宣告著人人一再的被感知著受到壓抑、被噤語的神經環境。

在被噤語的環境裡，只有某些回答是好的、只有某些回答是正確的。但是，每個人的答案，其實都是自己所有人生經歷之後所有的結果，每種答案也都可以是自己的老師。這些回饋，對於是創作者的我而言，選擇相信，這是創作另一個境界，即使，這次面對參與者與觀眾的答案比以往都大，但在這開口裡，由多人、多個社會角落、多種角色組成的意義痕跡，已超過了藝術家透過作品和當代藝術體系對話一事。
:::

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身體是無法收納的，那些都是無法收納的，被身體們帶走。

The body cannot be stored—what cannot be contained was carried away by the bodies themselves.