# 國家劇院外牆掛的照片，是六十萬人拍的台灣

- URL: https://justfly.idv.tw/%e5%9c%8b%e5%ae%b6%e5%8a%87%e9%99%a2%e5%a4%96%e7%89%86%e6%8e%9b%e7%9a%84%e7%85%a7%e7%89%87%ef%bc%8c%e6%98%af%e5%85%ad%e5%8d%81%e8%90%ac%e4%ba%ba%e6%8b%8d%e7%9a%84%e5%8f%b0%e7%81%a3/
- 日期: 2026-09-25
- 分類: 我知故我在
- 標籤: 國家兩廳院, 移工攝影, 週日限定風景

![國家劇院外牆掛的照片，是六十萬人拍的台灣]

##### 2號門外的展牆

國家戲劇院2號門，平常是觀眾排隊拿票的地方。2026年9月20日起，這裡多了一批照片：拍攝者是印尼看護、越南工廠作業員、菲律賓漁工。這是《週日限定風景》移工國際攝影特展，也是國家兩廳院秋天藝術節「林中尋路」的前導展出。相機在他們手裡，鏡頭對著的，是平常被媒體鏡頭略過的台灣街角。

這批照片背後是一個辦了七屆的獎項。One-Forty（台灣四十分之一移工教育文化協會）從2019年開始舉辦移工國際攝影獎，累積超過13,000件投稿，來自印尼、越南、菲律賓與泰國的移工。這個規模，讓它被定位為亞洲以移工為敘事主體的年度攝影獎項中規模最大的一個。七屆下來，第一次踏進國家級劇場。

##### 誰在替誰做紀錄

台灣有[外籍移工](https://zh.wikipedia.org/wiki/%E5%A4%96%E7%B1%8D%E5%8B%9E%E5%B7%A5_(%E5%8F%B0%E7%81%A3))約60萬人，多數週日才有一天假。展覽分成三區：「限定的空間」拍的是生存任務與生活限制，「限定的時光」拍的是那唯一一天假裡的鬆一口氣，「限定的自我」拍的是鏡頭之外，究竟是誰。三個展區合起來像一份時間帳本——一週工作六天,只有一天是自己的。

一位漁船上的廚娘、一個工廠流水線上的作業員、一個看護病床邊的照顧者，端起相機的那一刻，身分從被拍攝者變成拍攝者。這個位置互換，是這次展覽的核心動作。

##### 包容是說出來的，還是拍出來的

國家兩廳院這次不是單獨行動，而是與One-Forty、國家影視聽中心三方協力，攝影特展之外還並行聯名影展與回聲樹洞裝置展。三個機構一起做一件事：把一群平常被排除在主流文化場域之外的人，請進最高規格的展場。

台灣常自認對外來者友善，但友善分等級。對高階技術人才,相關政策已推行多年、條件優渥；對東南亞移工,文化上的接納還在起步——移工攝影獎辦了七屆才第一次進國家劇院，落差擺在時間軸上很清楚。這不是誰對誰錯的問題,是兩套速度並存的事實。

##### 展牆之外

秋天藝術節的「林中尋路」還在進行,《週日限定風景》是其中一項前導展出，地點在國家戲劇院2號門。沒有規定國家劇場只能演給買票進場的人看——這次,牆上掛的照片,拍照的人和被拍的人,第一次是同一群人。

— 柯宗翰

### The Photos on the National Theater Wall Were Shot by Migrant Workers

##### The Wall by Gate 2

Gate 2 of the National Theater usually just handles ticket lines. Since September 20, 2026, it holds something else: photographs shot by Indonesian caregivers, Vietnamese factory workers, Filipino fishing-boat crew. This is the *Sunday’s Special Scenery* exhibition, a lead-in event for the National Theater & Concert Hall’s Fall Arts Festival. The cameras are in their hands. The frames point at corners of Taiwan the news usually skips.

Behind it sits an award now in its seventh edition. One-Forty, a Taiwan-based NGO focused on migrant worker education, launched its migrant photography award in 2019. It has drawn more than 13,000 submissions from workers from Indonesia, Vietnam, the Philippines, and Thailand — enough volume to be described as the largest annual photography award built around [migrant workers](https://en.wikipedia.org/wiki/Migrant_worker) as its narrative subject in Asia. Seven editions in, this is the first time it has entered a national-level theater.

##### Who Documents Whom

Taiwan hosts roughly 600,000 migrant workers, most of them off only one day a week. The show splits into three sections. “Limited Space” covers the tasks and constraints of daily survival. “Limited Time” is what relief looks like on that one day off. “Limited Self” turns the lens back on identity — who each worker is once the camera stops being pointed at them. Stacked together, the three sections read like a time ledger: six days of labor, one day that belongs to no one but them.

A cook on a fishing boat, a worker on a factory line, a caregiver beside a hospital bed — the moment any of them picks up a camera, the role flips from subject to author. That flip is the actual point of the show.

##### Hospitality, Said or Photographed

This isn’t a solo move by the National Theater & Concert Hall. It’s a three-way collaboration with One-Forty and the Taiwan Film and Audiovisual Institute, running the photography exhibition alongside a co-branded film series and a separate installation piece. Three institutions, one shared decision: put a group usually excluded from mainstream cultural venues into the country’s most formal stage space.

Taiwan likes to see itself as welcoming to outsiders, but welcome comes in tiers. Policy toward high-skilled foreign professionals has been in place and generous for years. Cultural acceptance toward Southeast Asian migrant labor is still early-stage — it took seven editions of this award before it reached a national theater. That gap isn’t a verdict on anyone. It’s just two different speeds running at once.

##### Outside the Frame

The Fall Arts Festival’s “Wandering in the Woods” program is still underway, and this exhibition is one of its lead-in pieces, staged at Gate 2 of the National Theater. Nothing says a national theater can only perform for people who bought tickets. This time, the photos on the wall and the people who took them are, for once, the same crowd.

— 柯宗翰