本文以「親緣政治」（kinship politics）為論題基礎，聚焦「家」與「非家」（unhomely）的概念交織，探討臺灣錄像藝術中藝術家如何透過家族記憶的迻譯，重新詮釋「家」作為情感、歷史與身分交會的複合場域。研究以世代劃分為分析架構，比較不同世代藝術家在面對家族事件、歷史創傷與個人身分時的創作策略與表現形式。戰後嬰兒潮與X世代多以國族象徵、戰爭記憶與家國敘事為核心，而千禧世代藝術家則傾向以個人化的家族史書寫，回應全球化語境下的身分認同與歷史命運。透過此一世代視角，本文指出臺灣錄像藝術如何從家國象徵逐步轉向家族記憶的反思實踐，並揭示不同世代在親緣政治中，如何擴張記憶作為歷史見證與重組的能動性。

This article takes “kinship politics” as its central framework and focuses on the interrelation between “home” and the “unhomely,” examining how artists in Taiwanese video art reinterpret the notion of home as a composite site where affect, history, and identity intersect through the translation of familial memory. Adopting a generational perspective as its analytical framework, the study compares how artists from different generations engage with family events, historical trauma, and personal identity through distinct creative strategies and representational forms. Artists of the postwar baby boomer and Generation X cohorts tend to foreground national symbolism, war memory, and narratives of home and nation, whereas millennial artists are more inclined toward personalized family histories that address questions of identity and historical destiny within a globalized context. Through this generational lens, the article demonstrates how Taiwanese video art has gradually shifted from national allegories of home toward reflexive engagements with familial memory, while revealing how different generations expand the agency of memory as a mode of historical witnessing and reconfiguration within kinship politics.