臺灣轉型正義策展的當代激進性：以促轉會對話展、人權藝術季及推廣企劃示範展為例

近十年間，在國內外政治情勢催生下，在地民間與官方逐步迎來轉型正義的高度發展，除規模性田野踏查、研究論述、檔案重建與體制改革外，更藉由藝文策展，有效促發策展人、創作者、受難者及其家屬與參訪觀眾之間的互動與對話。本文聚焦2020年間「請你跟我走一趟－不義遺址空間歷史推廣企劃示範展」、「彼時影未來光：促轉會社會對話展」及「綠島人權藝術季：如果，在邊緣，畫一個座標」三項展覽，深究其古蹟再生、推廣提案、互動遊戲及數位裝置等策展方法所指向的當代激進性。本文首先說明，上述策展如何藉由重構展場時空來生產出一組以嫁接時空為運作主體的劇場部署模式，進而使展區成為可激發參與者共感之時空性連續體。接著，本文論證，上述策展所共同具備之沉浸式劇場特質，如何創造高度感官渲染的體驗場域，促使參訪觀眾在複數認同轉換之間得證自身安全及娛樂快感，並由此超克並自反參與過程的倫理問題。本文最終指出，轉型正義策展乃是一場無有終點的動態自反過程，唯有當所有參與者皆能體認轉型正義的連動性與永續性，則始能真正進入轉型正義的鴻議。

關鍵字

人權；白色恐怖；自反；沉浸式劇場；臺灣；轉型正義策展

並列摘要

Since the 1970s, Taiwan has gradually entered the process of local democratization, yet the multi-layered complexities of the postcolonial histories as well as the interlocking dynamics of the political scenario have hindered the domestic growth of transitional justice. It was not until the recent decade, that both government and civil organizations rapidly developed local transitional justice against the backdrop of an intense debate over Taiwan's national status quo. Additionally, fieldwork, academic research, archive restoration and justice system reformation, significantly include cultural and artistic model of curating that aims for effective conversation among the curators, artists, victims, their descendants, and visitors. This essay investigates three significant exhibitions held in 2020, probing ways in which their methodologies of reuse of historical building, interactive setting, and digital installation embody contemporary radicalness. The three exhibitions were: Come with Us, Please-Proposals for Promoting Spatial History of Monuments of Injustice, Transitional Justice Exhibition: Dialogues with the Past, Present, and Future, and Green Island Human Rights Art Festival: If On The Margin, Draw A Coordinate, Specifically, this essay analyzes how these events, using the immersive staging technique, render the exhibitions into temporal-spatial continuums in which visitors are mobilized to prototype diverse identities and further recognize their own privilege that come with ethical issues. This essay ultimately argues that transitional justice curating must function as a dynamical and reflexive act without any presumed goal.