創作者介紹｜Temu Masin 徐智文
出生於桃園復興區霞雲部落，現居花蓮。畢業於慈濟大學社會工作學系，現任汗蒸幕擔任美容師。長期關注性別、戰爭、認同、結構與團體動力等議題，身處混濁且急速的世代，他在創作與日常之間尋找可被閱讀的「文本」，讓群體的群像成為其創作方式，也使生活獲得可感的連結與喜悅的出口。
節目名稱｜《「本來無一物，輪『胎』」》
有些記憶無法被磨損，就像那顆掛在樹上的輪胎。它是父親二十七年前的手作，懸掛在山間的枝頭，曾盪出孩子們的笑聲與無憂的時光。那時天空高遠、日子緩慢，生活中的細微片刻都充滿重量。輪胎不僅是遊戲的道具，更是父親雙手的印記，也是家庭溫暖的弧度。
多年後重返故土，輪胎依舊靜靜掛著，卻伴隨著一種酸楚。家鄉已變，老屋被時間侵蝕，青苔蔓延在牆角，訴說著荒蕪與孤寂。而輪胎，像時間的標誌，一端連著童年的過去，一端懸掛在現代化的拉力之中。它頑固不朽，如同黑色礁石，見證了鄉村的空洞、城市的繁忙，以及離散的人們。它是矛盾的存在：既是童年的樂園，也是流動的象徵；既承載記憶，也暗示遺忘。
作品從這裡展開，讓輪胎成為時間的語言。舞台上，它不再只是物件，而是過去、現在與未來的交會之地。表演者觸碰、拉動、與它共舞，在動作中勾勒記憶的輪廓，打開時間的裂縫。投影映現家屋與土地的影像，呼應身體與物件的對話。
輪胎被抱起、推動、背負、放下——如同記憶與責任的重量，在遊戲與現實之間來回撕扯。最終，表演者將輪胎放下，蜷身其中，如同回到母體。此刻，輪胎化為時間的容器，安靜收納過去、現在與未來，邀請觀眾在其中找到屬於自己的故事。
Performer Introduction｜Temu Masin
Born in Hbun Ping Community, Fuxing District, Taoyuan, and currently based in Hualien, Temu graduated from the Department of Social Work at Tzu Chi University and now works as a beautician at Korean Sauna Han Steam. His long-term interests engage with themes of gender, war, identity, social structures, and group dynamics. Living within a turbulent and rapidly shifting generation, he searches for readable “texts” between artistic practice and daily life. Through collective portraits and shared experiences, his work seeks to establish tangible connections and moments of joy within daily existence.In terms of artistic language, Temu approaches poetry as a medium between dream and reality, distilling consciousness into images and conceptual forms while exploring aesthetic insights emerging from the collective unconscious. By observing unresolved states and unanswered mysteries, he experiments with combinations of numbers and symbols to build an index connecting all things, constructing a distinctive poetic field.Since his student years, he’s actively engaged in creative practice and public presentations. In 2014, he participated in the cultural event “nganga-mlikuy: Mountain Indigenous Gathering.” In 2020, his poem Sepi: Dream received First Prize in the Social Category of the 2nd Vusam Literary Award. In 2021, he was awarded a Literary Creation Grant from the National Culture and Arts Foundation, completing the work From Nothing to Zero. In 2023, they presented the performance work ○ at the Datong Living Aesthetics Center in Yilan. In 2024, he presented Atopic Dermatitis in the opening performance of the Pulima Arts Festival. In the same year, he received a fiction grant from the Indigenous Peoples Cultural Foundation, extending his literary practice through the project When the Sky Suddenly Roars, and exhibited the work When I Return Toward Your Silence in the exhibition “multi-vision.”
Program Title｜Rolling Nowhere
Some memories cannot be worn away, like the tire hanging from a tree. Handmade by my father 27 years ago, it still hangs from a branch in the mountains, once swinging with the laughter and carefree days of children. In those days, the sky seemed higher and time moved more slowly, and even the smallest moments of life carried their own weight. The tire was not only a toy for play, but also the imprint of the father’s hands and the gentle curve of my family warmth.Years later, upon returning to the homeland, the tire still hangs quietly in its place, now accompanied by a quiet ache. The hometown has changed. The old house has been worn by time, moss spreading along the corners of its walls, speaking of desolation and solitude. The tire, like a marker of time, holds one end tied to childhood memories while the other hangs within the pull of modernity. Stubborn and enduring like a dark reef, it witnesses the emptiness of the countryside, the rush of the city, and the scattering of people. It is a paradoxical presence: both a playground of childhood and a symbol of movement; both a vessel of memory and a suggestion of forgetting.
From here, the work unfolds, allowing the tire to become a language of time. On stage, it is no longer merely an object, but a site where past, present, and future converge. The performer touches it, pulls it, and dances with it, tracing the contours of memory through movement and opening fissures in time. Projected images of the house and the land appear, echoing the dialogue between body and object.
The tire is lifted, pushed, carried, and set down—like the weight of memory and responsibility, pulled back and forth between play and reality. In the end, the performer places the tire down and curls inside it, as if returning to the womb. In that moment, the tire becomes a vessel of time, quietly holding the past, present, and future, inviting the audience to discover their own stories within it.
Some memories cannot be worn away, like the tire hanging from a tree. Handmade by my father 27 years ago, it still hangs from a branch in the mountains, once swinging with the laughter and carefree days of children. In those days, the sky seemed higher and time moved more slowly, and even the smallest moments of life carried their own weight. The tire was not only a toy for play, but also the imprint of the father’s hands and the gentle curve of my family warmth.Years later, upon returning to the homeland, the tire still hangs quietly in its place, now accompanied by a quiet ache. The hometown has changed. The old house has been worn by time, moss spreading along the corners of its walls, speaking of desolation and solitude. The tire, like a marker of time, holds one end tied to childhood memories while the other hangs within the pull of modernity. Stubborn and enduring like a dark reef, it witnesses the emptiness of the countryside, the rush of the city, and the scattering of people. It is a paradoxical presence: both a playground of childhood and a symbol of movement; both a vessel of memory and a suggestion of forgetting.
From here, the work unfolds, allowing the tire to become a language of time. On stage, it is no longer merely an object, but a site where past, present, and future converge. The performer touches it, pulls it, and dances with it, tracing the contours of memory through movement and opening fissures in time. Projected images of the house and the land appear, echoing the dialogue between body and object.
The tire is lifted, pushed, carried, and set down—like the weight of memory and responsibility, pulled back and forth between play and reality. In the end, the performer places the tire down and curls inside it, as if returning to the womb. In that moment, the tire becomes a vessel of time, quietly holding the past, present, and future, inviting the audience to discover their own stories within it.
Creative & Production Team 創作/製作群
Director and Performer 編導創作 / 表演者｜ 徐智文 Temu Masin
Music creator and Live Sound Artist 音樂創作 / 現場聲響藝術家｜ 徐智文 Temu Masin
Atayal language recording 泰雅族語錄製｜徐紅娟女士 Ms. Xu Hong-juan
Rehearsal Assistant 排練助理｜李偉雄 Li Wei-xiong
Dramaturgy Crew 戲劇構作群｜
Technical Coordination & Execution 技術統籌/執行｜混將有限公司 Blend,.Co.
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