【The Honorably Wounded】Exhibition DesignThe Honorably Wounded is an exhibition that uses visual design, installation and multimedia to present the stories and challenges which cross-cultural workers would face in another culture.【無界故事館】向光榮的受創者致敬本展場使用視覺設計、裝置藝術與多媒體影像在空間中呈現跨文化工作者，跨越地理與文化的界線後，所面臨的故事與挑戰。​​​​​​​

The exhibition consisted of eight stations. Station #0 entitled “Take care” was the exhibition entrance. The next six stations entitled “Stand by” (#1), “Listen” (#2), “Perception” (#3), “Experience” (#4), “Behold” (#5) and “Look Up” (#6) formed the main exhibition space. And the last station entitled “Respond” (#7) invited audiences to write down their personal reflections. The exhibition helped audiences to understand the nature of cross-cultural ministry, and then invited them to experience what is it like to be a cross-cultural workers themselves. As a result, they would be able to more holistically understand the life and challenges of those cross-cultural workers.故事館分成八個區域，自入口走道 #0 留心、隨後進入展場內空間的 #1 駐足、#2 聆聽 、#3 感受、#4 體會、#5 觀看、#6 仰望，最後是邀請觀眾 #7 回應；讓觀者循序漸境地從第三者的旁觀角度，最後穿上這些跨文化工作者的鞋，體會他們在異地生活的種種艱辛與同理你我無異的尋常煩惱。The exhibition called cross-cultural workers as missionaries. Many of them were sent by the churches since the rise of colonialism. By transmitting new agricultural and scientific technologies to China, many Western missionaries’ influences substantially gave rise to the modernization China and Taiwan.本展覽所訴說的跨文化工作者，意指被稱為宣教士 / 傳教士的人。早在航海時代隨著殖民者進入新大陸時，傳教士的蹤跡便無處不在。對於大中華文化接觸西方文明與文物的影響，宣教士在土地(農業品傳入)、科學(時間觀念)、繪畫(透視概念)等各方面可說是深植於東方文化的歷史中，也持續地影響著現代社會裡的人們。

【Exhibition Zones 分區說明】#0  | Take care  – be careful of your steps#1  | Stand by – it’s more than about speaking foreign languages#2  | Listen – the invisible praying hands#3  | Perception – the inner reality of missionaries#4  | Experience – what discourages missionaries#5  | Behold – none of us are super heroes#6  | Look Up – leaving the mission field#7  | Respond – the honorably woundedDue to the rapid technological progress that shortened the distance between people from various cultures, many people today question the necessity and the value of cross-cultural mission works. Yet, at the same times, many people still iconize missionaries, seeing them as those who embody the perfect ideal of a saint (i.e., Mother Teresa), who loves unconditionally and was willing to burn out herself for the sake of the gospel. 當科技的進步、知識傳播的迅速，人們跨國之間的溝通不再困難，許多人開始質疑跨文化工作者的必要。甚至對他們深植了刻板的印象，好像人人皆應聖化猶如德雷莎修女那般：燃燒自己、具備崇高不滅的仁慈與大愛、無條件犧牲奉獻直到生命最後的一口氣息。這些觀念都讓仍在世界各地工作的人們，經常喘不過氣息或是面臨兩國不是人的局面。This exhibition seeks to help people to rethink their common perception about missionaries’ life and works. It aims to unfold the everyday reality of these missionaries. They are not spiritual heroes but ordinary people just like all of us.這個展覽要揭開的面紗，就是真實地呈現在各地辛勤耕耘的身影。他們背後沒有天天濟世救人的澎湃情緒、他們煩惱一如如市井小民、他們不偉大的情操、他們在跨文化之間對於身份認同的混亂。透過這個展覽讓人們可以認識那些偉人傳記背後，沒有寫到的日常。The curating team encourages audiences to redefine the nature of cross-cultural Christian mission. It hopes audiences were able to realize that crossing the boundary of one’s comfort zone is not merely a myth that cannot be done by ordinary people. It also hopes that those who stay in their home culture would truly understand the challenges in which many cross-cultural workers were facing; and thus are able to support those who are committed to cross-cultural works.主辦單位與策劃團隊希望觀者可以重新思考對跨文化工作者的定義，也期盼透過這樣的反思，讓人們知道「跨越」不是神話、人人都可以勇敢地踏出自己的舒適圈。跨越界線之前，需要更加深刻地認識跨文化中的各種面向；走出去之後，要存有在受創後仍能面對永恆的期盼。經由這個展覽，留在本地的人們也能同理跨文化工作者的處境，知道日後如何在本國繼續支持那些不悔且將生命獻上的人。

【Exhibition Concept  展覽理念 】The exhibition was organized in a mission conference entitled “A Kingdom Without Borders, A Life Crossing Borders.” The conference explored the ways in which people with various vocations and professions may live-out a life that show solicitude to various cross-cultural issues. The exhibition especially focuses on the caring of those whom were wounded by cross-cultural mission works. The exhibition’s design language used the colors of dark brown and pink and the wooden texture to express the calmness and warmth of the heart of the cross-cultural workers, whom, despite experiencing pain and wound, still remain heartfelt. The exhibition’s design principle also incorporated lines and halos to symbolize boundaries and glory, respectively.由於本次展覽舉辦於「無界國度 · 跨界人生」的會議裡，該會議主要是探討地球村裡的當代人，在地理距離的跨越、人生不同職業、生命不同議題的交織與流動中，如何活出新的觀念。【無界故事館】特別關注於跨文化中的受創者，因此我在設計上選用木紋透出的深褐色與暗沈有污漬的粉紅色作為主要的色系；這樣的選色表達生命因淬煉而產生的沈著，還有熱情經歷創傷後仍然保有的真心。設計的元素以線條和光暈作為提點，代表了界線與光榮。

#0 TAKE CARE – be careful of your stepsBefore entering into the exhibition, audiences would passed by a long hallway which photos of various missionaries that came to Taiwan in the past (e.g. George Leslie MacKay) were hanged on the wall. Audiences then would walked onto a muddy wooden path, and a sign that noted “be careful not to fall, this is a way toward the mission field.” Audiences needed to walked carefully passed the wooden path. And this installation showed that mission works could be challenging from the start.#0【留心】 謹慎你的腳步 觀眾在進入展場前，頭頂會經過一塊書寫著「歡迎踏上與偉人同行的冒險之旅」(詳右上圖) 在這租借場地的教室長廊間，兩側狹窄的廊道牆面上，掛滿了歷世歷代對台灣土地具有貢獻的傳教士肖像，例如馬偕與馬禮遜等人(右下圖)。他們的共同點是皆已入土成為傳說。肖像上節錄了他們的名言與小故事，是大多數觀賞者不陌生的名字。接近展覽入口主題牆前，可以看見一塊寫著「小心！宣教路  有時會跌倒」的牌子，引導觀眾踏上鋪著泥濘的木棧道。觀賞的人們需要謹慎的踩踏並同時觀賞牆面，象徵著跨文化工作並非僅靠滿腹的熱情成行，其實一開始便會面臨挑戰，需要眼觀四面、耳聽八方、手腦並用的前進。

Upper Photo: The title of the exhibition entrance that entitled "The Honorably Wounded" is made from a light-box.上：展覽入口牆以燈箱製作「光榮的受創者」字樣，讓人們在長廊的另一端便可看見黑暗中透出來的展覽主題。Bottom Photo:The visual design of the exhibition entrance.This illustration shows the exhibition’s pre-construction and post-construction outlooks.下：入口地板視覺設計，說明分區與本展覽概要與實際展場施工後照片。

 #1 STAND BY – it’s more than about speaking foreign languagesThe rationale of this station is that audiences would come and encounter stories of the living people from the memories of previous heroic missionary figures. Many people believe that missionary works are restricted to the Third World and poor countries. But in reality, according to recent statistics and research, immigration and the migration of workers have redefined the boundaries between nations. Today, many humanitarian NGOs work within urban cities, and thus many funds have been used by the so-called “First World.” Anyhow, although the boundaries between nations have been blurred, have our definitions of cross-cultural mission change accordingly?The color scene of red and yellow formed the theme of this station. One side of the station was installed like a shopping mall which had its anniversary sale. And the other side of the station contained manufactured everyday items such as bags, bottles, and cloths. The station mimicked the feel of a modern city. It is colorful yet crowded.#1【駐足】誰說宣教就是嗚嗚拉拉！這一站是從歷史「偉人」區走進來面對「活人」故事前，新觀念的闡釋。 許多人認為跨文化的慈善工作僅限於第三世界或是傳統認為落後貧窮的國家。但根據統計數據與當代文化研究的文獻指出，移動的工作者以及移民所帶來的國界消失，許多人道救援組織的對象其實就在城市當中，而傳統認為資金的挹注與慈善單位的焦點其實部分需要轉移回第一世界。只是當國界漸趨模糊，人心的定義是否即時認同了呢？​​​​​​​視覺設計上以鮮紅輔以亮黃色大面積的充斥觀眾眼前。觀眾左手邊的資訊區猶如百貨公司週年慶的廣告，鮮豔奪目；觀眾的右手邊則是都市生活的日常用品：書籍、背包、禮盒等皆被紅色包裹。設計上企圖營造當代都市的日常，是光鮮亮麗的生活，也是一股高壓擁擠中無法遁逃的氛圍。

#2 LISTEN – the invisible praying handsAfter entering into this station, the audiences could sit down and listen to five stories recorded by different missionaries.The station was decorated like a room from the 70s. It is placed with items such as luggage, typewriter, camera and telephone. Images of praying hands were on the wall. The dim lighting of the room created an atmosphere of quietness and perhaps loneliness. These missionaries were facing their own loneliness and struggles, but as audiences heard and prayed for their stories, these missionaries’ struggles were accompanied and understood.#2【聆聽】禱告，一雙看不見的手進入此區人們可以聆聽到當代跨文化工作者的故事。五個聆聽站，觀者需要跪下並戴上耳機傾聽，像是祈禱時的跪姿模樣。八段跨文化工作者口述的故事輪播：例如一位滿腹熱情初到新國家的單身女子，家裡遇上歹徒入侵，她如何在語言不通且沒有人際脈絡的狀況下面對之；又或者是另一位工作者，已投身於一個國家多年，結果被信任的朋友背叛，自己挹注多年後的心血是否蕩然無存？整個房間除了聆聽區，佈置的像70年代跨文化工作者的房間：諾大的行李箱、打字機、照相機、電話、燒水壺；牆上則是一張張祈禱的照片。昏黃的光暈下，瀰漫著工作者的孤寂與單打獨鬥，但在聆聽者的祈禱中，彷彿孤單可以被聽見、寂寞可以被同理。

 #3 PERCEPTION – the inner reality of missionary workersThis station contained a dark and empty space, in which missionaries’ personal solitudes were projected onto the wall  via three projectors. These solitudes came from missionaries’ personal journals or prayer letters, which revealed their struggles, confessions, hopes and praises. A few vinyls were posted on the wall, also expressing their personal reflections about mission. Audiences were invited to sit or lay on the floor as they watched the projected screens, This was space for solitude.#3【感受】宣教士的內心世界撥開工作者對外慈善捐款時訴說的偉大目標、投身於工作時的揮汗身影。這一區在全然黑暗中，將三台投影機架設在不同的角落，好像赤裸的內心話被細細地揭露一樣。「其實我討厭我自己、其實我再也受不了了！」投影內容為第一線工作者的家書或是日記，牆上的壁貼則是一些黑色幽默的自嘲和反思。觀眾可以躺在地上默想、在不同角落觀看，是一個沈澱自己心靈同時體會他人難處的空間。

#4 EXPERIENCE – what discourages missionariesStations #4 and #5 were combined together in the same space. #5 was the dinner table placed at the center of the room, and #4 was installed on the walls.The photos on the cabinet introduced various aspects of cross-cultural works: drilling a well, building a library, creating words, raising cattle, etc. These works - as acts out of love and care - transcend the barriers of language and ethnicity.The wall hung with various clocks expressed the worries of cross-cultural workers, as they were separated from their friends and families back home. According to surveys, the main reasons that caused missionaries returning to their home countries include family issues and interpersonal issues at mission fields.The television on another TV cabinet was playing a documentary film that recorded nine missionaries’ interviews as well as snapshots of their lives. The documentary shows that mission works are anything but romantic.#4【體會】宣教路上的殺手【體會】跟【觀看】兩區其實是合併在一個尋常家庭客廳與餐桌的裡；【觀看】位於長桌上；而【體會】則是家庭場景中一切的壁櫃、電視機、時鐘等。【體會】這一區用視覺與聽覺呈現跨文化工作者的各種面向。在三層櫃(見上圖)上用照片呈現了行行色色的跨文化工作內容面貌：蓋房子挖井、建造圖書館、為部落創造文字、養雞養牛、到貴族家幫傭......讓觀眾認識到多元的工作內容，其實是超越語言跟種族，以愛為行動的任務。時鐘牆(見右下圖)，則是用不同時間呈現工作者在異地的生活與煩惱。「2 am 我睡不著，因為在台灣的媽媽正在開刀。」「 9 pm 遠在20公里外寄宿學校的兒子睡了嗎？」地理與時間的分離，常常挑戰著每一位的跨文化者。根據報導指出，跨文化工作者返回母國的主因經常是：母國家人的需要，例如年老父母的照護、或是與本地同工不合，因職場糾紛離去。電視櫃上播放的是九個沒有浪漫粉紅色，也不會眼眶泛紅的故事。策展團隊蒐集了九段錄像，有些是實地赴他國跟拍工作者的生活，有些是退役工作者的採訪；他們多數描繪了第一線工作者真實的心境與挑戰。然而民眾在觀看後究竟會如以往判斷註解，還是會重新詮釋這些「事實」呢？

#5 BEHOLD – none of us are superheroesThis station introduces various mission organizations and NGOs to audiences. The booklets on the dining table introduced to audiences some of the basic concepts of missiology.Since mission organizations and NGOs are a part of the “family” of mission work, this station was designed like a dining room that welcomed guests to join. A dining room is also a place where people freely share and are willing to listen tentatively.#5【觀看】不作痞子的宣教英雄【觀看】介紹了工作者與母國群體、跨國後的當地機構、還有如何建立跨文化裝備的知識等。早在拓荒開墾的年代，人們習慣單槍匹馬的開大山、闢大土，然而時代的演進講求團隊合作，許多前人犯過的錯誤與當代多文化的觀點，已經可以透過知識的傳遞避免重蹈歷史的覆轍。所以這一區我在設計上使用長桌，典雅的安置餐盤、刀叉、鮮花，像一個家庭精心佈置後邀請嘉賓上座。為的是呈現在跨文化工作的平台上，時常需要建立不同群體的網絡與對話。美食當前，常常是我們敞開心胸願意聆聽的時刻。觀眾入座認識不同資訊時，期盼他們也能在桌上彼此交流，像是一個溫馨的大家庭。

 #6 LOOK UP – leaving the mission fieldThis station consisted of projectors from both sides of the room projecting images onto six columns of silk screens installed above viewers. On one side of the screen, which audiences faced as they entered the station, revealed people joining cross-cultural mission, while on the other side of the screen only one person returned. The visual projection displayed the challenging nature of mission works, and that many people left the field honorably wounded.#6【仰望】宣教士如何退場此區的影像裝置，投射在六塊網紗投影面。兩邊放置投影機：一邊是多人赴湯蹈火前往跨文化工作、另一邊則是一人形單影隻的退場。在六面網紗中，因為紗質密度可以透光之故，在影像呈現上，會由多人漸變至一人。這象徵了跨文化工作者在出發前與回到母國後的人數差異，也反映了跨文化挑戰的艱鉅，往往有許多人受挫或是受創而離開。

 #7 RESPOND – the honorably woundedThis station paid tribute to those who have been honorably wounded. The wheelchair was placed on the sandy floor accompanied by a sash on the wheelchair that printed these words: “the honorably wounded.” The sash is made from linen and greige fabric (grey cloth), which signify the honor of an ordinary man or woman, whom despite going through difficulties nevertheless retains his or her glory.A table was placed in front of the wheelchair, and a medal of honor was placed on the table. A set of photographs of those who were still on the mission field was on displayed on the table. And audiences could look at these photos and wrote down their support and/or encouragement for them in a guestbook that was also placed on the table.#7【回應】像光榮的受創者致敬此區利用裝置具象的呈現「光榮的受創者」一詞。微弱背光中，沙子上的輪椅上披掛著「The Honorably Wounded 光榮的受創者」的綬帶，代表著人們對那些自沙場退下，返家或退休工作者的致敬。這一個綬帶是利用亞麻跟胚布所製成的，意涵著平凡與創傷的過去，但其生命依然是榮耀且尊貴的。在同一個空間中佈置有一張桌子，上面有同樣是亞麻跟胚布製成的榮譽勛章，還有至今遠在他方的工作者們身影的相片。觀眾可以駐足閱讀，並在觀看後寫下自己對於這些工作者的支持與鼓勵，還有紀錄對本展覽的觀後感。

The guestbook in which audiences wrote their encouragement for missionaries eventually was printed and sent to missionaries whom still worked cross-culturally. 【向 ｜光榮的受創者致敬回應本】這本書封面使用主視覺的元素。在本展覽結束後，印製並寄件給在世界各地的四十多位跨文化工作者。

Upper Photo: Exhibition fabricationBottom Photo: 3D rendering of the exhibition design上圖：展覽施工過程   /   下圖：展覽3D模擬圖

__Exhibition Information Location | Chung Yuan Christian University (Chung Cheng Hall Basement), Taoyuan City TaiwanDate | July 12 - 17, 2010展覽資訊展覽地點 | 中原大學中正樓地下室展覽時間 | 7/12 - 17, 2010Credits Client | Campus Evangelical Fellowship (CEF) Taiwan Curator |  Samuel  Y. LiExhibition & Graphic Design | Y. HsiaoProduction | Shang-Hsing Stage Production Co. Ltd.製作群委託單位｜校園福音團契策展人｜李貽峻展場與平面設計｜Y. Hsiao製作｜尚興舞台有限公司