本文以2023年綠島人權藝術季「傾聽裂隙的迴聲」為對象，分析策展與參展作品如何將過去被壓抑、抹除的歷史創傷經驗，重新帶入公共視野。筆者以哈布瓦赫（Maurice Halbwachs）的「集體記憶」與諾拉（Pierre Nora）的「記憶所繫之處」（Lieux de mémoire）論點為基礎，探討本展的策展敘事如何展開，並透過吳瑪悧、陳孟和+後來的人們+劉紀彤、吳克威+蔡郁柔、王榆鈞等藝術家的作品，分析其如何運用不同的創作及展示策略，使歷史中不同主體的記憶得以可見，並做為「敘事共時性」的具體實踐。「傾聽裂隙的迴聲」在策展與創作上體現了洪席耶（Jacques Rancière）主張之感性配享（le partage du sensible），重新配置感性經驗、突破既有政治秩序的倫理挑戰。本文認為，綠島人權藝術季的動態性質──非永久性與週期性──有利於展現記憶的「關係─過程性」建構，從而彌補靜態紀念園區的侷限。本研究將有助於理解藝術在轉型正義中的角色，以及如何將不義遺址從一個靜態的歷史的「物」轉化為一個持續不斷、具有公共對話意義的社會過程。

This paper analyzes the 2023 Green Island Biennial, "Listening to the Overtones of Fissures," focusing on how the curation and artworks successfully reintroduce historical trauma—previously suppressed and erased—into the public sphere. Drawing upon Maurice Halbwachs’ concept of "collective memory" and Pierre Nora’s notion of "sites of memory" (Lieux de meˊmoire), the study examines how contemporary art’s curatorial narrative unfolds at this site. Through an analysis of works by artists including Wu Mali, Liu Chi-tung, Wu Kowei and Tsai Yujou, and Wang Yu-Chun, the paper explores the diverse creation and exhibition strategies employed to render the memories of different historical subjects visible, thereby realizing a concrete practice of "narrative co-temporality." These artistic practices embody Jacques Rancière’s "the distribution of the sensible" (le partage du sensible), reconfiguring sensory experience and challenging the ethical limits of the established political order. This paper argues that the dynamic nature of the Green Island Biennial—its non-permanence and periodicity—is conducive to demonstrating the "relational-processual" character of memory, thus compensating for the limitations of static memorial parks. This research contributes to an understanding of art’s role in transitional justice and how sites of injustice can be transformed from static historical "objects" into an ongoing social "process" with significant public dialogue.