「情書・手繭・後戰爭」是一個從台灣和印尼群島間的數次旅行而展開的計畫，兩地從過往至今在歷史上持續有不同的交集。

殖民地歷經不同政權的統治，母語的消除、對母土認同被清洗，對國家歷史和地理的認識不斷因為統治者的更換而被新的知識系統所取代。然而，在後戰爭的情境之下，有許多掩蓋在具有語言優勢、武力優勢那一方之下的文化群體或個體，那些人的聲音和記憶或許並未消失而只是選擇了遺忘。在展覽之中藝術家們撿拾時代的碎片，專心研究殘留於自然、文化活動，以及微觀個人史上面的痕跡，挖掘出我們得以尋找超越現代政治地理定義的論述方式；弔詭而又有趣的是，這些過往沒辦法以文字被記錄下來的殘餘物一代一代地被傳承下來，流竄在幽暗的間隙裡，在不同的地域之間流變成既相似又相異的徵候，得以共享和分支。

Letter·Callus·Post-war, this project starts with several journeys between Taiwan and the Indonesian archipelago. There is a lasting connection between these two countries in regard to their histories and current social situations. The colonies had been governed by different colonial regimes. Their native languages were eliminated. And the identity and feelings for the motherland were purposefully diluted. Moreover, whenever the governing body changes, the understanding of history and geography of a nation would be replaced by a new set of knowledge. In the post-war era, many cultural groups and individuals who are put at a disadvantage due to lack of discursive or militant power seem invisible. Yet their voices and memories might still be there despite that they choose to forget. In this exhibition, artists collect fragments of the past, research carefully on traces left in nature, cultural practice and personal micro-histories, and further dig out more means to articulate a discourse beyond the existing definition of politics and geography. What’s absurd and intriguing at the same time is that the residues of the past which could not be properly documented in written history have actually been passed on from generation to generation. They travel in the shadowed rifts, mutating and transforming into similar yet different manifestations in varied regions to be shared and divided.