《南美學》 〈遷徙餐桌〉的前中後味 — 重構離散記憶的跨地域創作實驗

〈遷徙餐桌〉的前中後味－重構離散記憶的跨地域創作實驗

一顆芒果，如何承載殖民歷史的記憶？傳統的歷史書寫往往依賴視覺主導的官方敘事文本與靜態檔案。然而，在全球化快速變動的當代，關於遷徙、離散的生命經驗往往是破碎、流動且難以被機構收編的。

本文以趙若彤（Zhao Ruo-Tong）的藝術計畫〈遷徙餐桌〉（Mapping Taste）為案例，分析此計畫如何從英國里茲的駐村調查，轉譯至臺灣基隆的展覽及表演。透過追溯芒果作為殖民經濟作物的全球流動路徑，以及交換食譜的行動，回應活史學的實踐精神，本文提出以味覺作為重建離散經驗的路徑，味覺不僅具有召喚非線性記憶的特質，往往比文字或影像更能精準喚醒記憶深處的情感與場景；藉由食譜交換挖掘微觀歷史，展覽得以轉化為公眾共同書寫歷史的場域。

此藝術計畫跨越馬尼拉、柏林、里茲與基隆，藝術家帶著對一棵芒果樹的思念出發，透過持續的遷徙與交換，將個人記憶編織成全球殖民史的地圖。在基隆的展演現場，邀請觀眾透過咀嚼四道芒果料理，內化他人的生命經驗。

本文以調味的結構：前味、中味、後味，來爬梳這段跨地域的策展旅程。

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關鍵字：遷徙記憶 ； 去中心化策展 ； 參與式表演 ； 跨國創作 ； 食譜交換

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本文刊載於⁠臺南市美術館學術期刊《南美學》第2期，請點選下方連結閱讀全文。

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Top, Heart, and Base Notes of Mapping Taste - A Transnational Experiment in Diasporic Memory

What can a mango tell us about the colonial memory? Conventional historical writing often relies on visually dominant official narratives and static archives. Yet in a rapidly shifting, globalised present, lived experiences of migration and diaspora are often fragmented, fluid, and resistant to institutional incorporation.

Taking Zhao Ruo-Tong's artistic project Mapping Taste (遷徙餐桌) as a case study, this article analyses how the project translated from a residency-based investigation in Leeds, United Kingdom, to an exhibition and performance in Keelung, Taiwan. By tracing the global circulation of the mango as a colonial cash crop and the act of recipe exchange as a response to the ethos of living history, this article proposes taste as a pathway for reconstructing diasporic experience. Taste not only possesses the capacity to summon non-linear memory, but is often more precise than text or image in reawakening the emotions and scenes embedded in deep memory; through the excavation of microhistories via recipe exchange, the exhibition is transformed into a site of collective, public history-writing.

Spanning Manila, Berlin, Leeds, and Keelung, the project departs from an artist's longing for a mango tree. Through sustained acts of migration and exchange, personal memory is woven into a cartography of global colonial history. At the exhibition and performance in Keelung, audiences were invited to internalise the lived experiences of others through tasting four mango dishes.

This article employs the tripartite structure of flavour profiling (top note, heart note, and base note) to navigate the transregional curatorial journey.

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Keywords：diasporic memory ； decentralised curatorial ； participatory performance ； transnationalart practice ； recipe exchange

 
Originally published in: The Journal of Tainan Aesthetics Vol. 2. Please click the link below to read the full article.

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