《蓬萊米 · 百年稻浪｜卷二》Ponlai Rice · A Century of Contemporary ｜ Chapter 2 by 鈴木啓二朗 Keijiro Suzuki, Curated by 李芊 Chien Lee

《蓬萊米 · 百年稻浪｜卷二》 Ponlai Rice · A Century of Contemporary ｜ Chapter 2

藝術家 鈴木啓二朗 ｜ 策展人 李芊

Artist Keijiro Suzuki ｜Curator Chien Lee

日期｜Exhibition Dates

2026.10.09（Fri）~ 10.11(Sun） 15:00-19:00

▸ 開幕派對｜Opening Party

10.09（Fri）17:00-19:00

▓▒░ 展覽簡介 Exhibition ░▒▓

《蓬萊米 · 百年稻浪｜卷二》

撰文/李 芊

相較於卷一對米粒的逐顆凝視、以及對米袋作為保存介面與說明的再閱讀和詮釋，卷二轉向蓬萊米的液化狀態：以清酒釀造切入台日之間交纏的殖民歷史與文化關係。藝術家鈴木啓二郎追溯兩地共享的稻作種植與米酒釀造，探究文化所有權的分界：究竟何者能被界定為日本產物、何者能被指認為台灣所有？當一項技藝、農耕傳統或滋味被標記為「國產」，背後牽動了哪些矛盾？

「關係」是鈴木創作的核心，也是其方法論的立足點。他不把約定俗成的日常慣習、民間共識或歷史檔案當作既定事實，而是主動開啟與個體的對話、進行田野走訪，與在地釀造者共享生活與勞動的現場。在拒絕落入國族二元框架的前提下，他的探查讓釀造社群跨越當代國家邊界的往來細節得以浮現。

錄像既為鈴木的紀錄工具，亦是展呈形式；不以教條式的羅列事實，而是勾勒出台日社會間錯綜且具高度矛盾性的關係網絡。面對跨國界遺產的討論，敘事往往容易退守為感傷的鄉愁，或是硬化為難以撫平的怨懟；鈴木選擇置身並擁抱日常現實的持續摩擦之中。他將摩擦作為思考的起點，指出共存必須建立在相互承認之上，而這份承認，這份承認，唯有在雙方皆能正視歷史、政治與文化的衝突時，方能落實。

《蓬萊米 · 百年當代》計畫總論

蓬萊米，是稻作、是米穀、是飯食；是日台殖民關係與文化交流的物質體現，是當代台灣味覺偏好的關鍵推手。

2026 年見證蓬萊米入住台灣、在這塊土地生根、過活了一世紀。因為我們有了不同於細長秈米的黏 Q 蓬萊米，我們有了不一樣的食譜、對米飯口感的期待。同時，因為我們有和日韓不同的餐筷設計、煮飯器具，因為我們作爲用飯的人，是持續有成員進出的多元群體，我們藉由種稻、煮米、吃飯而與蓬萊米建立起的關係，也有台灣的特殊形狀，並且持續當代、持續變化。

無縫交織在日常生活中、以至於不會讓人特別查詢探索的蓬萊米，卻其實肌理複雜。從植株到原糧、以至熟食的轉化，不可能是單一線性過程，而是深刻的多重感官與多元文化體驗，是有身體的日常集結。《蓬萊米 · 百年當代》一方面將焦點打向感官的全面參與；同時，本計劃試圖立基於多樣的文化實踐— —原住、久住與新住，打開與延展「蓬萊米複寫本」。

「蓬萊米 · 百年當代」計畫源自於飲食學者與烹飪實踐者王鍾山的號召，鑲嵌於由大米缸永續關懷協會具體組織與實務操作的「百年稻浪」系列活動。大米缸協會致力於推廣友善耕作、公益助糧與米食文化，整合友善稻農、社福機構與支持者，共建「糧善循環」。透過藝術與文化的力量，連結至臺灣社會亟需關懷的永續農業、弱勢助糧與食農教育等議題，讓這顆米粒的百年故事，延伸出對當代臺灣土地與人群的深刻關懷。

Ponlai Rice · A Century of Contemporary ｜ Chapter 2

Written by Chien Lee

Where the project’s opening inquiry drew critical focus to the individual presence of the grain and the material interfaces of preservation, this second chapter turns towards fluid transformation, taking sake brewing as an entry point into the colonial and cultural entanglements running between Taiwan and Japan. Tracing fermentation practices and shared lineages across both shores, Suzuki probes the uneasy boundaries of cultural ownership: what can genuinely be claimed as Japanese or Taiwanese, and what contradictions arise when a technique, an agrarian tradition, or a taste is codified as ‘domestic’?

Relation forms both the conceptual pivot and methodological ground of Suzuki’s practice. Rather than accepting everyday custom, common knowledge, or archival records as settled facts, he initiates sustained dialogues, site visits, and shared physical spaces with local practitioners. His inquiry gradually maps out the intricate, interdependent threads connecting distinct brewing communities across borders, refusing simple national binaries.

Employing video as both documentary tool and mode of display, Suzuki avoids dry, factual delineations, mapping instead an intricate, often contradictory network of relational ties. While discussions of cross-border heritage can easily retreat into sentimental nostalgia or harden into irreconcilable grievance, the work stays with ambient social friction without abandoning human warmth. Taking friction as a starting point, Suzuki suggests that coexistence rests on mutual recognition, which becomes viable only when historical tensions are confronted directly.

Ponlai Rice · A Century of Contemporary

Project Statement

Ponlai rice is at once a crop, a grain, and a daily sustenance; a material embodiment of colonial relations and cultural exchange between Japan and Taiwan, and a vital catalyst in shaping contemporary Taiwanese taste.

The year 2026 marks the centenary of Ponlai rice: its successful cultivation, its grounding in Taiwanese soil, and a century of lived presence. Born out of colonial imperatives, Ponlai rice was forged through the convergence of Taiwan’s climate and terroir with the governance demands of the Japanese Empire. The arrival of this tender, glutinous grain—distinct from the slender, long-grain Indica—reconfigured culinary repertoires and redefined sensory expectations of texture. Concurrently, through the distinct ergonomics of Taiwanese chopsticks as well as electric cooker compared to those of Japan and Korea, and a dining populace whose composition remains fluid and plural, our relationship with Ponlai rice—forged through the acts of cultivating, cooking, and commensality—has assumed a distinctly Taiwanese contour: one that remains continually contemporary and in constant flux.

Though so seamlessly woven into daily life as to elude conscious inquiry, Ponlai rice possesses an intricate texture. The transition from living plant to raw grain, and ultimately to cooked fare, resists any linear trajectory; it is an inherently multisensory and transcultural experience—a site of embodied everyday assembly. Ponlai Rice: A Century of Contemporary brings this full sensorium to the fore. Grounded in diverse cultural practices—indigenous, long-settled, and newly arrived—the project seeks to unfold and expand the palimpsest of Ponlai rice.

Conceived through an initiative led by food scholar and culinary practitioner Wang Chung-Shan, Ponlai Rice: A Century of Contemporary is situated within the "100 Years Ponlai Rice Project" programme, organised and implemented by the Taiwan Good Rice Circle Association. Dedicated to eco-friendly farming, philanthropic grain distribution, and culinary culture, the Association unites conscientious growers, social welfare organisations, and community advocates to establish a virtuous cycle of sustainable sustenance. Mobilising art and culture, the project engages with urgent contemporary imperatives across Taiwanese society—sustainable agriculture, food equity, and agrarian literacy—extending the century-long trajectory of a single grain into an enduring commitment to Taiwan’s land and its people.

▓▒░ 藝術家簡介 Artist ░▒▓

鈴木啓二朗 Keijiro Suzuki

現居日本山口市的藝術家、策展人、藝術經理人與作家。其跨領域實踐致力於將當代社會議題轉化為可透過藝術回應的對象。在田野研究、創作生產與專案策劃之間，牽引人、社群與地域之間的深層連結，行動遍及日本境內與國際。

近年探索台日兩地相互形塑的物質文化、其間的衝突以及少受檢視的爭議之處。此次做為關懷核心的蓬萊米、酒米及釀造文化，對鈴木而言，並非與官方描述或者大眾既定印象完全吻合的既定史實，而是內涵持續演變的文化活動。透過檢視其錯綜的歷史軌跡與當前樣貌，重新審視個體生命、人群遷徙、農業技術流變與集體記憶如何交織、如何持續形塑今日的國族文化認知與區域關係。

Keijiro Suzuki is a Yamaguchi-based artist, curator, arts manager, and writer whose interdisciplinary practice critically addresses contemporary social realities through artistic intervention. At the core of his current research lies the shared lineage between Japan and Taiwan, examined through the dual lenses of rice cultivation and fermentation. Resisting narratives of Ponlai rice and brewing traditions as settled history, Suzuki treats them as living cultural practices, thereby unravelling the complex entanglements of human lives, migration, agricultural technology, and collective memory that continue to shape present-day relations across the region.

▓▒░ 展場資訊 Venue Info ░▒▓

地點｜Beholding Cell Art Space 看守所藝術空間

地址｜台北市大安區復興南路一段321號1樓A9室（永固名店城內）

交通｜捷運大安站6號出口旁

Venue | Beholding Cell Art Space

Address | Rm. A9, 1F., No. 321, Sec. 1, Fuxing S. Rd., Da’an Dist., Taipei City

Access | Next to Exit 6, MRT Daan Station