23/08/2026
國家檔案局｜《 #不一樣的呱呱》繪本原稿展
𝐍𝐚𝐭𝐢𝐨𝐧𝐚𝐥 𝐀𝐫𝐜𝐡𝐢𝐯𝐞𝐬 𝐄𝐱𝐡𝐢𝐛𝐢𝐭𝐢𝐨𝐧
𝘈 𝘋𝘪𝘧𝘧𝘦𝘳𝘦𝘯𝘵 𝘚𝘰𝘶𝘯𝘥~𝘉𝘢𝘴𝘦𝘥 𝘰𝘯 𝘵𝘩𝘦 𝘱𝘪𝘤𝘵𝘶𝘳𝘦 𝘣𝘰𝘰𝘬“𝘔𝘢𝘳𝘤𝘩𝘪𝘯𝘨 𝘋𝘶𝘤𝘬𝘴”
今年第一件國家級的重要策展： #國家檔案館內的繪本原稿展。
提案的時候，目目就以「跳脫平面繪本」的呈現方式，並保有原作的繪畫老師核心概念，讓歷史、檔案、訴求、兒童揉合成為一個「互動」的展示，獲得長官的認同。
不過，真正過程的執行非常耗腦；設計精準和細緻、保有原著色彩與繪畫者的畫面延續、分割或運用，都需要細膩審慎的評估，然後同時要獲得機關與繪畫者的認同，算是前置很重要的概念。
#從檔案資料到互動設計
接著就是目目最愛玩的「互動」，倒也不是要多麼燒金與絢麗的高科技體驗；這次則運用的「尋找威利」的圖像互動：在沙灘上找偷聽禁歌年代的鴨鴨、在植栽圖書館裡照那一本綠色書皮的禁書，透過眼力、放大鏡、甚至手機感應，你就可以聽見過去戒嚴時期那些經典的歌曲、書籍目錄。有趣的是，為了這首《雨夜花》禁歌，目目也找了鋼琴好手與親友翻唱錄製，以模擬黑膠唱票音質重現了雨夜花戒嚴時期的聆聽效果，串聯了互動尋找禁歌的遊戲。
另外一個我們自己很喜歡的是「不一樣的聲波」互動按鈕：
我們將麥克風與分別標記1949年的《禁》與1987年的《解》按鈕，來讓觀者能夠說出自己的呱呱聲後，同步在螢幕出現自己獨特的聲波造型，一條、兩條、到五十幾條，畫面就變得非常豐富多元；不過當我們按下1949年的按鈕時，所有聲波瞬間變成水平線，密密麻麻就像軍隊一樣被約束、成為唯一「一種聲音」。
#加入目目聲音的角度
透過繪本 #周見信、 #郭乃文 老師共同出版的《 》，可以發現老師透過不同鴨鴨的「遇見」，摩擦出了不同「壓制幫忙」的場景，讓歷史透過筆觸、顏料色塊、簡短又意涵深邃的文字，一點點的拼湊戒嚴時期的國家檔案背景，簡潔有力。而我們將繪本展覽以聲音、互動出發，讓鴨鴨成為「呱呱」，透過聲音的不同和要求一致、聲音形狀在展覽中「被牢籠關起來」的隱喻，不管年齡層為何，都可以用自己體感的方式來了解這個展覽要帶給每個人的核心精神—每個人的聲音，都應該被尊重。
最後，小朋友最愛的蓋印章，則可以透過眼神、裝飾來營造自己內心「不一樣的呱呱」造型；看過了過去50年代戒嚴時期的清一色學生頭、平頭、升旗點力望去每個人都一樣的世代，我們則用「自創鴨鴨的獨特性」來帶出這個自由時代下我們「獨特」的非常自然，也非常珍貴。
#國家檔案與聲景資料庫的契機
我想，這次展覽，雖然是第一次跨越濁水溪的深度策展，看似簡單但卻有很多籌備與規劃期間背後的嘗試與鑽研，與機關同仁、團隊夥伴共商細緻討論的結果，非常滿意。而目目也因為「國家檔案局」的任務使命，看見了「檔案館藏、修復與整理」猶如「梳理國家歷史、檔案」的嚴謹與意義性，恰符合我們本身一直在做的「聲景資料庫」的搜集、整合與梳理，無論從自然、人文、主題與事件……，聲音地景的歷史脈絡，目目不斷地跨越各種領域系統性採集、歸檔，也不斷地應用其當代含義之運用。
國家檔案，牽涉的不只是文本資料，也強調「檔案內容」的各種多元應用性，讓更多人能透過不一樣的轉譯手法，正視每一個時代下的產物；或許檔案本身非常社會化、政治感，但卻著實地反應著每一個被影響的歷史與生活。
聲音與聲景檔案，亦是如此。
歡迎大家即日起至10月31日，到國家檔案館走走，看看那些封存的檔案、繪本原稿展，玩玩這些互動，在體驗過程中，你會了解我們要說的話。
━━━━━━✦ 𝐄𝐱𝐡𝐢𝐛𝐢𝐭𝐢𝐨𝐧 𝐈𝐧𝐟𝐨𝐫𝐦𝐚𝐭𝐢𝐨𝐧 ✦━━━━━━
* ₊ ⋆《不一樣的呱呱》繪本原稿展x互動遊戲x工作坊 * ₊ ⋆
展覽地點｜國家檔案館 National Archives 2樓大廳
( 新北市林口區檔案館路1號 )
展覽時間｜即日起至10月31日止 ( 每週一、日及國定假日不開放 )
開放時間｜11:00~17:30
機關單位｜國家檔案館 National Archives
策展設計｜目目文創工作室
繪本原稿｜周見信、郭乃文老師
━━━━━━━ ━✦𝐍𝐞𝐰𝐬 𝐂𝐨𝐯𝐞𝐫𝐚𝐠𝐞 ✦━━━━━━━
國發會新聞稿
https://www.ndc.gov.tw/News_Content.aspx?n=114AAE178CD95D4C&s=500FD4D181A46D33
檔案局新聞稿
https://www.archives.gov.tw/tw/arctw/236-16651.html
國發會檔案局 首部檔案素材繪本《鴨鴨進行曲》公開亮相
https://www.ctee.com.tw/news/20260818701592-431401
檔案局推鴨鴨進行曲繪本原稿展 展現多元包容價值
https://www.cna.com.tw/news/afe/202608180301.aspx
檔案局推鴨鴨進行曲繪本原稿展 展現多元包容價值
https://money.udn.com/money/amp/story/5612/9699603
𝐀 𝐃𝐢𝐟𝐟𝐞𝐫𝐞𝐧𝐭 𝐒𝐨𝐮𝐧𝐝~
𝐁𝐚𝐬𝐞𝐝 𝐨𝐧 𝐭𝐡𝐞 𝐏𝐢𝐜𝐭𝐮𝐫𝐞 𝐁𝐨𝐨𝐤 𝐌𝐚𝐫𝐜𝐡𝐢𝐧𝐠 𝐃𝐮𝐜𝐤𝐬
This year marks ViVo Creative Design Studio’s first major national-level curatorial project: an exhibition of original picture-book artwork at Taiwan’s National Archives.
From the proposal stage, ViVo Creative Design Studio envisioned an exhibition that would move beyond the conventional, two-dimensional presentation of a picture book. While remaining faithful to the original artistic concept and visual language, we sought to bring together history, archival materials, social narratives, and children’s perspectives within an interactive exhibition experience. This curatorial approach received strong recognition and support from the institution.
Bringing that vision to life, however, required an extraordinary level of precision and deliberation. Every aspect of the design—from maintaining the original palette and extending the illustrator’s visual language to determining how individual images could be cropped, divided, enlarged, or reinterpreted spatially—required careful evaluation. Just as importantly, each decision had to respect both the institutional context and the intentions of the original creators. Establishing this shared understanding became one of the most essential foundations of the project.
Interaction is, of course, one of ViVo Creative Design Studio’s favourite areas to explore. But interactivity does not necessarily have to mean expensive or spectacular technology. For this exhibition, we developed a visual search experience inspired by Where’s Wally?: visitors search a beach scene for ducks secretly listening to songs once prohibited under martial law, or explore a library hidden among plants to locate a banned book with a green cover.
Through close observation, magnifying glasses, and even mobile-phone-triggered interactions, visitors can discover songs and book titles that were once prohibited during Taiwan’s martial-law era. For the banned song Rainy Night Flower (Yu Ye Hua), ViVo Creative Design Studio also invited a pianist, together with friends and family, to record a new rendition. The recording was then processed to evoke the sonic texture of a vinyl record, recreating something of the listening experience of the period and integrating it into the exhibition’s interactive search for banned songs.
Another interaction that we particularly enjoyed developing is “A Different Soundwave.”
A microphone is installed alongside two buttons: “BAN,” marked 1949, and “LIFT,” marked 1987. Visitors are invited to make their own “quack” into the microphone, instantly generating a unique waveform on screen. As more visitors participate, one waveform becomes two, then ten, twenty, and eventually more than fifty, creating an increasingly rich and diverse visual landscape of individual voices.
But when the 1949 “BAN” button is pressed, every waveform suddenly collapses into a horizontal line. Dozens of once-distinct voices become regimented and uniform, densely aligned like soldiers—reduced to a single permitted form of expression.
The exhibition is based on Marching Ducks, a picture book created by Chou Chien-Hsin and Kuo Nai-Wen. Through encounters between different ducks, the book constructs scenes of friction, suppression, intervention, and mutual assistance. With expressive brushwork, blocks of colour, and concise yet resonant language, fragments of Taiwan’s martial-law history and its archival records gradually emerge. The visual storytelling is simple, yet remarkably powerful.
Our exhibition translation begins instead with sound and interaction.
The ducks become their “quacks”—their individual voices. Through the contrast between sonic diversity and enforced uniformity, and through the metaphor of different sound forms being “confined” within the exhibition, visitors of all ages are invited to experience the underlying message physically and intuitively:
Every voice deserves to be respected.
For younger visitors, the exhibition concludes with another familiar favourite: stamping. By combining different eyes, expressions, and decorative elements, children can create their own version of an “A Different Quack” duck.
Looking back at images from Taiwan under martial law in the 1950s—students with nearly identical hairstyles, closely cropped heads, and rows of people standing in formation at flag-raising ceremonies—we are reminded of an era in which uniformity was embedded in everyday visual culture. In contrast, inviting visitors to invent a duck with its own distinctive identity allows us to reflect on something that now feels entirely natural: the freedom to be different.
That freedom is also extraordinarily precious.
For ViVo Creative Design Studio, this exhibition represents our first in-depth curatorial project north of the Zhuoshui River. Although the final presentation may appear simple and intuitive, behind that simplicity was an extensive process of experimentation, research, prototyping, and detailed discussion among institutional colleagues and our project team. We are deeply satisfied with what emerged from that collaborative process.
Working with the National Archives also gave ViVo Creative Design Studio an opportunity to reconsider the mission of archival practice itself. The processes of collecting, conserving, restoring, cataloguing, and organising national records are, in many ways, acts of carefully reconstructing and making sense of a nation’s history.
This resonates strongly with our own long-term practice of building soundscape archives.
Across natural environments, cultural landscapes, thematic research, and historical events, ViVo Creative Design Studio has continuously crossed disciplinary boundaries to systematically collect, document, organise, and archive soundscapes. At the same time, we continue to explore how these sonic records can acquire new meanings and applications within contemporary contexts.
National archives are therefore not simply collections of textual documents. Their significance also lies in the many ways in which archival content can be interpreted, translated, and activated, allowing wider audiences to encounter the traces left behind by different historical periods.
Archives may inevitably carry social and political dimensions, but they also bear direct witness to the histories and everyday lives shaped by those forces.
The same is true of sound and soundscape archives.
