Through physically cutting out the figures in the old photos, as a way to be detached from the original contexts, collected from the ruins of military dependents’ village, which afterwards were filmed on the original site according to the rewritten stories of those subjects, I attempt to recall and to reexamine the historical past of the military dependents’ village. In the film I used a lot of obscure symbols such as portraits of military personnel, children with guns in their hands that reveal the political atmosphere back then, as well as unusual spectacles during demolition (e.g. ruined lanes and paths, water spurting from broken pipeline, bushes on fire, shattered glasses in a pile). At the end of the film, those cutout figures—the villagers—were run over by industrial machines. Such visual violence indicates that all things would return to its initial state, a wide and lonely plain, as if nothing had ever existed, neither the village nor the people. As its name suggests, the “Fu-Xing (Revival) Village” was ironic both literally and politically, for it still ends up like a vain hope in history.

我將眷村廢墟中檢拾到的家庭老照片內的人物獨立出來讓其與自身的事件產生斷裂，再放置於原址上以編導的方式重新構築出一段被攝影者的故事，企圖召喚並重新省視過往的眷村史。在影片許多隱晦的符號中，大量使用的軍人肖像、持槍的小孩帶出當時的政治氛圍，搭配拆除時的奇觀景象(殘破的巷弄、爆裂噴水的管線、著火的草叢、碎裂的玻璃堆等)，影片末了這些老照片中的居民被工業化的機械輾壓，以一種視覺上的暴力暗示了所有的一切終將回歸到廣闊寂蓼的平地中，彷彿村子和這一群人的歷史似乎不曾存在，而復興這個村名，更是如同其字面上與政治上所賦予的意義一般，到頭來終究只是歷史上的一場夢而已。

Born in 1986, Lin Yi-Chi now lives and works in Taipei. Lin received her Master’s degree in Fine Arts from the Taipei National University of the Arts. With educational backgrounds in both contemporary art and film production, her works take the form of video art, experimental cinema, and video installation. In recent years, Lin’s practice centers on the diaspora experiences within Asian geopolitics. Memories and dreams are collected through field investigation, and the dynamic images are transformed into her medium of necromancy. Individual life narratives are re-interpreted and re-enacted into a re-enchantment scenario, which she employs to summon the marginal voices and re-produce bonds among nationalities, histories, and collective memories. ​

Lin was recently invited to exhibit works in the Jakarta Biennale (2022), 13th Gwangju Biennale (2021), and the Biennale Jogja 2019, as well as her solo exhibition “Selamat, the messenger over the sea” (2022) at Honggah Museum, Taiwan. She has also participated in numerous domestic and international curatorial projects, film festivals, and artist residencies. Also, Lin has been accoladed with the Special Jury Prize at Huayu Youth Award (2021), First Prize at Miami Beach Pulse Prize (2019), First Prize of Golden Harvest Awards for Best Experimental Film (2021 & 2019), Finalist at the 16th Taishin Arts Award (2018), First Prize of Kaohsiung Award (2018), MIT New Artist Award by the Ministry of Culture (2018), and Honorable Mention of Taipei Arts Awards (2018).The unique atmosphere her artworks create is outstandingly experimental and subversive.