民国女 1919-2019

“后革命时代的全球文化的另一个突出症候，正是历史的坍塌与历史纵深的消失……说到底，我们都是“五四”的儿女们，中国革命的后裔。在对权力秩序的警醒与梦魇之间，在性别与解放的迷思之间，在肉身与赛博格之间，在弃民与中产之间，新的可能性或新的另类选择究竟是什么？我们有没有别样的方式去想象和认知世界？新的可能性也许正徘徊、游荡在众多的幽灵之间。幽灵是用以放逐的，但是幽灵却不可能一劳永逸地予以放逐。因为幽灵的特征正是它终将返归。”

——戴锦华《后革命的幽灵》

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“民国”涵盖了时间与空间的双重概念。由于政治与历史的复杂纠葛，两岸对于“民国”的时空指涉产生了一些分歧。台湾在空间上延续了“民国”的衣钵，眷村、文学步道、空军总部等地，都成为历史的重要印记。

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作品“民国女”（Female in Post Revolutionary Era），将个人的身体置入一个“民国”的时间和空间情境，与民国初年的女性进行对话。无论是电影导演、演员、摄影师、画家、作家，或是庶民、学生，五四运动时期的时代女性精神特质跃然纸上，存在于记忆之中的幽灵再次重返现场。

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Female in Post Revolutionary Era

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"Republic of China" covers the dual concept of time and space. Due to the complicated entanglement between politics and history, there are some differences on the time and space of the "Republic of China". Taiwan has continued the "Republic of China"  in space, and the Military dependents' village, literature trails, and air force headquarters have become important imprints of history.

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The work "Female in Post Revolutionary Era" puts the individual's body into a time and space situation and engages in dialogue with women in the early years of the Republic of China. Whether it is a film director, an actor, a photographer, a painter, a writer, or the common people like the students, the spirit of the women of the era of the May Fourth Movement is on the paper, and the ghost that exists in memory returns to the scene again.