1953年生於台灣嘉義，後定居於台南。其為人樸實親切，淡泊名利不與人爭勝，人稱天才藝術家，於繪畫、多媒材裝置中，擅長表達空間轉換、色彩變化及精神意涵，曾與同儕創自由畫會、現代眼畫會、麒麟畫會、2號公寓等。1976年國立台灣師範大學美術系畢業，其中影響至深的名師有廖繼春、席德進、廖修平，及私人畫室李仲生。1977年與大學同學黃步青成婚，育有一子，1984年入法國國立巴黎高等裝飾藝術學院造形藝術碩士空間藝術部，1986年畢業返國定居台南，在弟弟引薦下向陳丁奇學習書藝，師承蔡肇祺修道，同時兼任省立台南師範學院美勞教育系講師及橡樹子藝術兒童教育機構藝術總監，2003年因乳癌病逝。

Born in 1953 in Chiayi, Taiwan, and later settling in Tainan, Lii Jiin Shiow was known for her humble and kind nature, indifferent to fame and competition. Often regarded as a genius artist, she excelled in painting and mixed-media installations, skillfully exploring spatial transitions, color variations, and spiritual depth. She graduated from the National Taiwan Normal University’s Department of Fine Arts in 1976, studying under esteemed mentors such as Liao Chi Chun, Shiy De Jinn, Liao Shiou Ping, and private studio master Lee Chun Shan. In 1977, she married her classmate Hwang Buh Ching, with whom she had a son. In 1984, she pursued a Master’s degree in Spatial Arts at the École nationale supérieure des arts décoratifs in Paris. graduating in 1986 before Returning to Taiwan and settling in Tainan, Introduced by her brother, she studied calligraphy under Chen Ding Chi and practiced spiritual practice under Tsai Chao Chi. she also served as a lecturer in the Department of Art Education at Tainan Normal College, and as the artistic director of the Acorn Children's Art Education Institution. She died of breast cancer in 2003.

李錦繡

1923年生於四川，家境富裕。在成都技藝專科學校就讀時，接觸到⾺蒂斯、畢卡索等畫家，開始嘗試抽象藝術風格。1943 年進入重慶國立藝術專科學校，受教於林風眠，並與趙無極、李仲生諸畫家多所往來。歷經戰亂，1948年輾轉來台，任教於嘉義中學，四年後辭去教職移居台北專職創作。1962至1966年應美國國務院之邀，走訪歐美各地，受普普、歐普、硬邊藝術的影響。1969年擔任國立臺灣師範大學美術系兼任副教授。晚期回歸到最原始而自然的本土家鄉。立志以中國人的情感來表達中國的藝術，開始全島寫生，描繪民間風物與生活百態。席德進的繪畫創作融合傳統與鄉土、使用水彩、水墨與油畫，兼納東方與西方繪畫的特長，開創出他個人雄渾動人的獨特風格。1980 年發現患有胰臟癌，於1981年過世。

Born in 1923 in Sichuan, he grew up in a wealthy family. While studying at the Chengdu Technical School, he was exposed to artists like Matisse and Picasso, which led him to explore abstract art. In 1943, he entered the Chongqing National Art College, where he studied under Lin Feng Mian and interacted with artists such as Zao Wou Ki and Li Chung Sheng. After the war, he moved to Taiwan in 1948. From 1962 to 1966, Shiy traveled across Europe and America at the invitation of the U.S. State Department, influenced by Pop and Hard-edge art. In 1969, he became an associate professor at the National Taiwan Normal University. In his later years, he returned to his roots, and began island-wide sketching, capturing local customs and daily life. His work combined traditional and local, Eastern and Western art styles to create a distinctive, powerful style. He passed away in 1981 after being diagnosed with pancreatic cancer in 1980.

席德進

1957年出生於臺北，1979年畢業於淡江大學德系，1981年赴德國杜塞道夫國立藝術學院求學，獲自由藝術雕塑大師生學位。吳瑪悧在1985年回到臺灣，見證臺灣從威權轉向民主化的抗爭，她重新思考藝術家在社會中的角色，將創作的目光轉向重新詮釋歷史的裝置和物件，融入性別、族群等議題。後逐漸發展為關懷性的社會介入、社區聯結與群眾在地意識的啟蒙等跨領域的探討。吳瑪悧同時是藝術領域重要的翻譯及教學者，80年代末於《藝術家》雜誌連載康丁斯基的藝術理論，1994年擔任遠流出版社「藝術館」書系主編，2004年起翻譯了一系列公共藝術論述，並於2006年起任職於國立高雄師範大學跨領域藝術研究所至2023年退休。2016年吳瑪悧獲國家文藝獎美術類成首位女性得主。

Born in Taipei in 1957, Wu Mali graduated from Tamkang University’s Department of German in 1979. She pursued further studies at the Düsseldorf Academy of Fine Arts in Germany in 1981, earning a Master’s degree in Free Art Sculpture. Upon returning to Taiwan in 1985, Wu witnessed the country’s transition from authoritarianism to democracy. This shift led her to reconsider the role of artists in society, shifting her focus to reinterpret historical narratives through installations and objects, while integrating issues of gender and ethnicity. Over time, her work expanded into interdisciplinary explorations of social intervention, community connection, and raising local awareness. She is also a key translator and educator in the arts. In the late 1980s, she serialized Kandinsky’s art theories in Artist magazine. In 1994, she became the series editor for the "Art Museum" book collection, and since 2004, she has translated a series of public art discourses. From 2006 until her retirement in 2023, Wu taught at the National Kaohsiung Normal University’s Institute of Interdisciplinary Arts. In 2016, she became the first female artist to receive Taiwan’s National Award for Arts in the fine arts category.

吳瑪悧

1980 生於臺灣宜蘭，現居台北。旅法12年期間，於法國國立聖丹尼汎森大學(巴黎第八大學)先後獲得：視覺藝術碩士學位(2013)、以「回憶的物質性—當代藝術中的美學經驗作為記憶經驗」為題取得美學博士學位(2019)。其創作關注記憶裡可觸卻又隱而不顯的「生痕」現象，透過物質主動給出的過渡狀態，推遲創作中可能會產生的意義詮釋。作品依循著日常手勢的勞動，還原物質和身體之間所保持的若即若離，藉以顯現情感內裏的動態性，使得「在(現)場的物質」都隱含著一股「缺席的力道」，它們是訴說，也是靜默。

Born in 1980 in Yilan, Taiwan, and currently based in Taipei, Chuang spent 12 years in France, earning a Master’s degree in Visual Arts (2013) and a PhD in Aesthetics (2019) from Université Paris 8 Vincennes-Saint-Denis. Her doctoral research, The Materiality of Memory—Aesthetic Experience as Memory Experience in Contemporary Art, explores the tangible yet elusive traces of life embedded in memory. Her work focuses on the phenomenon of traces—marks of existence that are perceptible yet remain obscure. Through the transitional states that materials actively present, she postpones the interpretation of meaning that might emerge in the creative process. Her practice follows the labor of everyday gestures, restoring the delicate tension between material and body. In doing so, she reveals the dynamism within emotions, where the material in (or of) presence inherently carries an absence of force—speaking, yet silent.

莊馨怡

1982年出生於台北。作品多以影像書寫逝去的空間、探索被隱匿的歷史。近年參與台灣白色恐怖歷史記憶及不義遺址創作計畫，嘗試以記憶採集、民眾共創等方式回應在地歷史。曾在法國克萊蒙費宏短片影展、日本image forum實驗影展、台灣國際紀錄片影展、金穗獎、南方影展等國內外影展入圍與獲獎。

Born in 1982 in Taipei, Hong’s work often explores lost spaces and hidden histories through film. In recent years, she has participated in creative projects about Taiwan's White Terror history and sites of injustice, using memory collection and community collaboration to engage with local histories. Her works have been nominated and awarded in international film festivals, including the Clermont-Ferrand Short Film Festival in France, the Image Forum Experimental Film Festival in Japan, Taiwan International Documentary Film Festival, Golden Harvest Awards, and Southern Film Festival.

洪瑋伶

1981年出生於高雄。以影像進行自我對話，關注攝影機前後人的型態與真實。作品入選臺灣國際女性影展、杭州亞洲青年電影節、香港國際紀錄片節、瑞士真實影展 Doc Outlook項目等，獲第45屆金穗獎最佳剪輯。近年持續進行白色恐怖歷史記憶相關創作。

Born in 1981 in Kaohsiung, Xin uses film to engage in self-dialogue, focusing on the relationship between the subject and the viewer. Her works have been featured in the Taiwan International Women’s Film Festival, Hangzhou Asian Youth Film Festival, Hong Kong International Documentary Festival, and the Swiss Realities Film Festival’s Doc Outlook program. She won Best Editing at the 45th Golden Harvest Awards. In recent years, she has continued creating work related to the historical memory of the White Terror.

辛佩宜

1984年生於巴勒斯坦，於2006年獲得拉馬拉比爾宰特大學心理學學士學位，2013年獲得特拉維夫貝扎雷藝術與設計學院美術碩士學位，並於2016年在拉馬拉烹飪協會學院完成烹飪藝術學習。通過剖析當代政治困境中的社會關切與限制，探索消失的政治與記憶的生成。於2018年創立「巴勒斯坦款待合作社」（Palestine Hosting Society），以食物實踐與代代相傳的食譜為靈感，通過晚宴的多重介入表演行動，旨在復興瀕臨消失的巴勒斯坦傳統飲食文化。自2019年起，她開始通過文本、陶瓷和影像作品，結合特定場域創作互動裝置，反思發酵的過程。巴米耶將發酵視為延續生命、培育有益生態系統、改變風味與口感的方法——這既是她多學科實踐中的指涉，也是一種方法論。

1984 born in Palestine. She obtained a BA in Psychology from Birzeit University, Ramallah (2006) and an MFA in Fine Arts from Bezalel Academy for Arts and Design, Tel Aviv (2013), Culinary Arts, Kitchenclub Academy, Ramallah (2016). She explores the politics of disappearance and memory production by unpacking the social concerns and limitations of Palestinian communities amid contemporary political dilemmas. Since 2019 the artist has also been reflecting on the process of fermentation through text, ceramics and video works incorporated into site-specific interactive installations. Bamieh sees fermentation as a way to extend life, nurture beneficial ecologies, and shift flavors and textures—making it both a metaphor and a method in her multidisciplinary practice.

米爾納．巴米耶（Mirna Bamieh）

1988年生於泰國曼谷，畢業於澳洲墨爾本RMIT大學美術系。卡葳塔在其表演錄像中承擔各種重複和負擔沉重的任務，將自己變成機械工具和家居物品，將身體推向極限，以證明人類的能力和女性的韌性，深入探討和挑戰勞動壓迫、女性主義和消費主義等問題。

Born in 1988 in Bangkok, Thailand, Kawita graduated from RMIT University in Melbourne, Australia, with a degree in Fine Arts. In her performance-based video works, she undertakes repetitive and physically demanding tasks, transforming herself into mechanical tools and household objects. By pushing her body to its limits, she explores human endurance and female resilience while critically examining labor exploitation, feminism, and consumerism.

卡葳塔· 瓦卡娜嫣恩（Kawita Vatanajyankur）

1994年出生於台灣高雄，目前在台中創作與經營藝術空間。於2016年畢業於東海大學美術系，隨後於2017年畢業於倫敦藝術大學切爾西學院美術研究所。作品關注「敘事」與「敘事方法」，敘事內容來自於記憶寫作與生活觀察，並透過文字、繪畫、裝置，將敘事結構脫離閱讀文本的維度，把故事的各種層面：記憶的虛實真偽，敘事節奏的輕重帶入詩性的空間裡產生共鳴。2018-2020年與夥伴經營台中中區老屋美術館「柳美術館」，2021年成立新空間「鯉魚藝廊」（Carp Gallery），現為鯉魚藝廊負責人。

Born in 1994 in Kaohsiung, Taiwan, she currently creates and runs an art space in Taichung. Graduated from the Fine Arts Department of Tunghai University in 2016, followed by an MFA from Chelsea College of Arts, University of the Arts London, in 2017. Her work explores "narrative" and "narrative methods," drawing from memory writing and everyday observations. Through text, painting, and installation, she detaches narrative structures from the dimension of written text, bringing the various aspects of storytelling: the reality of memory, the weight of the narrative rhythm, into a poetic space to create resonance. From 2018 to 2020, she co-managed the "Liu Art Museum" in Central District of Taichung. In 2021, she founded a new space, Carp Gallery, where she currently serves as director.

李芳吟

創立於2016年，其核心成員洪千涵、張剛華、黃鼎云皆為近年在表演藝術領域持續創作的編導，三人畢業於國立臺北藝術大學戲劇學系，決定以團體形式尋找創作上的可能。有別於常見的團體組成中以專業、技術、功能為導向的分類激盪模式，將三人同時置放於「作者」的位置，以水平式生產進行藝術創作。現階段作為發展主軸的核心觀念：「現場展/演」(Live Exhibition)、「回應式創作」(Responding Creation)、「沉浸式計畫」(Immersive Project)在表現形式上並不侷限特定媒材/媒體，更重視生產過程與社會、環境、科技、歷史等其他領域之折衝。關注重整調度觀演關係，期許透過作品,透過不同感官經驗、空間敘事，在「日常經驗」與「主動生產」間著力，實驗出更多可能。

The group established in 2016, consists of core members Hung Chien Han, Chang Kang Hua and Huang Ding Yun, all graduates of the National Taiwan University of Arts. Their decided to seek creative possibilities in the form of a group. Unlike the common group formation that is oriented to professional, technical, and functional categorization, the three of them are placed in the position of “authors” at the same time to create artworks in a horizontal production. The core concepts of this stage of development: Live Exhibition, Responding Creation, and Immersive Project are not limited to specific media, but emphasize the conflict between the production process and other fields such as society, environment, technology, and history. It also emphasizes on the conflict between the production process and other fields such as society, environment, science and technology, history, etc. The project emphasizes on the integration of the viewing relationship, and hopes to experiment more possibilities through the works, through different sensory experiences and spatial narratives, and between “daily experience” and “active production”.

明日和合製作所

長椅的一端坐著公爵，另一端坐著無家可歸的流浪漢，一段對話正要開啟。 這就是展覽的存在，向上面對購買藝術品的百萬富翁，向下面對對藝術感興趣的普羅大眾。這一刻，它將一個線性的二維關係轉化成存在於三維空間的平台，無論你是誰，歡迎加入這場談話。這有可能是現存改變世界最平和的方式了。

On the end of the bench sits the Duchess, with the homeless tramp at the other end,
thereby a conversation is about to begin.
This is the existence of the “Art Exhibition”, facing upwards to the millionaires who
purchase art, and downwards to the general public who are interested in it. At this
very moment, it transforms a linear two-dimensional relationship into a platform
that exists in three-dimensional space. No matter who you are, welcome to the
conversation. This may be the most peaceful way to shift the world.
“Miss Bench” is an art curator addicted to travel, a civilian art critic, and an observer
of daily spectacles. The following content is her experience and thought sharing,
which is only for individuals with independent thinking to read. Those who are
seeking the correct fixed answers should not enter.

其策展實驗包含：
2018年，「異常狀態」，切爾西藝術學院，倫敦
2018年，「//」，切爾西藝術空間，倫敦
2019年，「儀式性動物」，柳美術館，台中
2019年，「O//O」，柳美術館/窯座，台中
2021-2022年，「以島為家系列」，ARTOGO/臺北國際藝術村/窯座/鹽埕黑白切，雲端/台北/台中/高雄
2023年，「陳美玲的房間」，立方7F，台北
2025年，「陳美玲」，有章藝術博物館

長椅小姐

高博倫，1992年台北市出生，東海大學外文系畢業、中文研究所碩士。著有小說集《其實應該是壞掉了》。目前定居台南從事寫作與教學。

Brian Po-lun Kao was born in Taipei, Taiwan, in 1992. He embarked on his artistic journey at Tunghai University in Taichung, where he earned both his B.A. and M.A. degrees. He is the author of Cracked Stories and currently resides in Tainan, working as both a writer and teacher.

高博倫

長椅小姐媽媽的問候

媽媽的問候

《黑麻雀》

語音導覽

《謝淑錦 (謝蕓庄）》

《寶島賓館》

《青木瓜女士》、《紡車》

《正反拍》

《親愛的罐子》

《橋》

《缺席的存在 3》、《絮語 8》 、《絮語 9》

《家》、《進行中的自畫像》

《母親凝視過你》

謝淑錦的畫像

1997年廢除公娼證

以色列入侵加沙走廊

李錦繡的一生

導言

參展作品

策展註腳

-「你都沒有夢想嗎？」
-「不是每個人都跟你一樣有夢想，你要接受有些人就只是想經營一個家庭，安安靜靜地過日子。」
這是我16歲之後反覆與母親進行的對話，直到我30歲才真正接受她的答案，我發現有一些「對話」並不能透過語言傳達，問答之間，從好奇開始，參雜著生活的閱歷與與情感的依託，觸發輕微的共鳴，才有可能進入真正意義上的溝通。

這個展覽起源於我迫近30歲的疑惑。
望著照片中那位精心打扮的文藝女青年，我開始好奇是什麼讓她決定走進婚姻、決定用她的子宮承載我、決定放棄對於自我的訴求？好奇那一代的女人是否都無法避免的要面對社會的招撫？好奇我對母親的偏見會不會是一個世代的偏見？好奇這個對話能否透過展覽產出的過程，擴及更廣泛的人群？

在2023年，我開啟了名為「陳美玲」的計畫，這位女人的名字擷取自我與母親的名字中各一個字，冠上百家姓中最高人數的姓氏，創造了在出生於50年代女性排行第三的「菜市仔名」。

對話的開始是「傾聽」，在展覽的前期研究階段，我採訪了8位現今60至70歲身處不同原生家庭環境、教育背景、婚姻狀況的女性生命經驗，再透過拼貼構成「陳美玲」的人生以及她所經歷的台灣社會大事紀；以小說家高博倫書寫的短篇小說《黑麻雀》作為策展論述。

本次展覽以小說文本為骨，藝術家為肉。我透過不斷的揣摩文本、一步步抽絲剝繭「陳美玲」的過程，尋找到了一位酷兒與八位不同世代的女性藝術家加入這場對話，她們的身份包含視覺藝術家、兒童繪畫老師、紀錄片導演、劇場導演、食物設計師，透過作品的多重視角與維度共同描繪出50年代出生的台灣女人集體群像，「陳美玲」的身份切換於紡織廠女工、公娼、家庭主婦、女畫家之間，她是台灣母親的時代縮影。

展覽中的策展註腳所呈現的是社會檔案，包含口述歷史、報紙、短影音報導，以及一本囊括了一名女人一生紀錄的相冊。歷史是隻無形的手，編導了一切，在其中的我們都在面對大環境下的「不得不」，做著別無選擇的選擇。

這次，以「傾聽」為起手式，交融事實的述說與隔代的想像，期待尋找到世代差異間理解的交匯處。

長椅小姐
寫於府中家中
2025.1.7.


  "Don’t you have dream?"
  "Not everyone has dreams like you do. You need to accept that some people just want to have a family and live an ordinary life. "
  This was a conversation I had with my mother over and over again since I was 16. It wasn’t until I turned 30 that I truly accepted her answer. I realized that some "conversations" cannot be fully conveyed through language. Between questions and answers, it begins with curiosity, intertwined with life experiences and emotional attachments, triggering subtle resonance—only then does true communication become possible.
  This exhibition stems from my uncertainty as I approached 30.
  Looking at a photograph of that elegantly dressed young lady, I began to wonder—what led her to choose marriage, to carry me within her womb, and to give up the pursuit of herself? I wondered if my prejudice against my mother was, in fact, a generational bias. Was her generation of women inevitably drawn into the embrace of societal expectations? Could this conversation, reach a broader audience through exhibition?
  In 2023, Miss Bench started a project titled "Michelle Chen"—a fictional feminine name created by combining one character from my own name and one from my mom’s, paired with the most common surname in Taiwan. The result is a classic name that ranked third among the most popular women’s names of the 1950s–60s.

  The conversation starts with "listening". In the preliminary research stage of the exhibition, I interviewed eight women between the ages of 60 and 70 with different family environments, educational backgrounds, and marital statuses, and then constructed a collage of Michelle Chen's life and her experiences of major social events in Taiwan’s history; The curatorial statement was further shaped by novelist Brian Po-lun Kao’s short story Black Sparrow.

  This exhibition takes the novel as its skeleton and the artists as its flesh. By continuously engaging with the text and unraveling " Michelle Chen " layer by layer, I brought together a queer artist and eight female artists from different generations. Their roles span visual artists, children's painting instructor, documentary filmmakers, theater directors, and food designer. Through multiple perspectives and dimensions, their works collectively portray a generation of Taiwanese women born in the 1950s. " Michelle Chen " shifts between identities—textile factory worker, licensed prostitute, housewife, and painter— embodying the generational portrait of Taiwanese mothers.

  The curatorial footnotes in this exhibition present social archives, including oral histories, newspapers, short video reports, and a photo album documenting a woman's entire life. History, an unseen hand, directs everything. We are forced to flow following the wave, making the choices without a choice.

  Starting from “listening”, blending factual narratives with cross-generational imagina- tions, we hope to find a communicative language that bridges generational gaps.

Miss Bench
Written at home in Fuzhong
2025.1.7.


展覽執行團隊
主視覺設計｜姜山、李芳吟、張晏慈
平面設計及手冊編輯｜張晏慈
空間及策展註腳設計｜杜依玲
布展技術人員｜李宜庭
執行製作｜陳毅哲
行銷顧問｜修天容
木作工程｜廖文建
運輸｜諄顏企業有限公司
教育推廣規劃｜杜依玲
展場攝影｜王世邦
會計｜柯美雪

有章藝術博物館
館內統籌｜李宗仁
展務執行｜羅景中 、王瑋琳
教育推廣執行｜李斐瑩、莊喬媞、王瑋琳

主辦單位｜國家文化藝術基金會「策展人培力@美術館」、有章藝術博物館
線上展覽合作｜ARTOGO
贊助單位｜春之文化基金會、寶台機構、柯永璋、郭美淑

特別感謝｜柯振良、黃步青、李英哲、許雪謹、朱晏禛、楊仁豪、創價美術館 王治國、臺北市立美術館 王釋賢、廖家誠、陳瑋萱、林裕軒、林承緯、陳郁婷、陳威成、黃繼賢、黃靖中、張儷齡、陳韋綸、雨絲咖啡、立方計劃空間、大觀國小六年級七班

（依姓氏筆畫排序）
展覽前期研究受訪者｜王秀慧、林阿有、李淑枝、吳瑪悧、郭美淑、柯美雪、黃茵、葛蓁沂

陳美玲的房間 文件展

《陳美玲》

《缺席的存在 3》
2024
花粉、家族物件
尺寸依場地而定
藝術家提供

《絮語 8》(Fragments d'un discours VIII)
2025
蠟、花粉、《黑麻雀》文本、紙
尺寸依場地而定
藝術家提供

《絮語 9》 (Fragments d'un discours IX)
2025
花粉、布、白色繡線、棉
尺寸依場地而定
藝術家提供

記憶是否可以被知覺？它是否有有觸感、有氣味，產生痛感？
關於外婆逝世環繞不去的深刻記憶，透過創作過程中極度細微的重複動作，召喚起觀者身體的共感，同時推遲延緩強烈的情緒。回憶的物質性召喚，將原屬於私人的回憶得以被廣泛的經驗。

展場中若隱若現的文字、半透明的窗簾、隱約存在的裂縫，這些物質的曖昧特質顯現了記憶隨著時間越發難以辨明的特徵。創作《絮語 8》的過程中，藝術家將帶著余溫的半透明薄臘鋪在《黑麻雀》的文本上，沿著文字用針細細的劃出鑿痕，卻不至於劃破臘的底部，使花粉得以在不下漏的狀況填滿文字鑿痕。

身體創作過程始終維持在某種過猶不及的臨界點，花粉始終處在建構與離散的過渡地帶。美玲的悲傷、言行、人生是否也在種種社會框架下始終被要求克制在理性的「恰到好處」？

  Can memory be perceived? Does it have texture, scent, or the ability to evoke pain?
The lingering, profound memories of Chuang’s grandmother’s passing are channeled through the meticulous, repetitive gestures in the creative process, eliciting a bodily resonance in the viewer while simultaneously delaying and diffusing intense emotions. This material invocation of memory allows what was once deeply personal to be experienced more universally.

  The ambiguous nature of the text, translucent curtains, and hidden cracks in the exhibition space reveals how memories become difficult to recognize over time. In the process of creating Fragments d'un discours VIII, the artist laid a thin, translucent wax with residual warmth over the text of Black Sparrow, and made chisel marks along the text with a needle, without cutting through the bottom of the wax, so that the pollen could fill in the textual chisel marks without leaking out.

  The process of bodily creation is always at a certain critical point where it is not too much or too little, and the pollen is always in the transitional zone between construction and disintegration. Is it true that Michelle Chen's sorrow, her words and actions, and her life are also required to be restrained to the “right place” of rationality under various social frameworks?