本文以國立臺灣歷史博物館〈島嶼‧ 地動‧ 重生：921 地震十五周年特展〉的展示物件為例，說明在自然災難下的剩餘物，如何在個人以及不同的社會空間中，展演出物的生命史（biography of things）軌跡。本文以展示中的兩群物件，作為主要分析的對象。首先以台中匠寮巷的物件為例，從物、剩餘物、文物、展示物件至展示語言，匠寮巷的物的生命史所形成的各種「接觸的場域」（contact zones），即是非文化與文化、非文物與文物、自然與文化、常民歷史研究與傳統歷史研究、地方歷史與台灣歷史，相互辯證與轉化後所形成的獨特場域。另以展示中的南投敦本堂文物和後嗣現今自作的木製常民物品為例，本文以為，在既有的文物體系框定，以及博物館以文物作為展示主體的概念外，思考各種「文物」與「非‧文物」間的對位關係，不但能延伸出文物的多重意義，更能創造歷史與當下縫合的空間，且能開展更多展示敘事的豐富性，並呈現出物與歷史、常民生命間的各種可能對話

As 2014 marked the fifteenth anniversary of the 921 Earthquake, National Museum of Taiwan History held an exhibition called ＂ISLAND‧QUAKE‧REBIRTH: 15th Anniversary Exhibition of 921 Earthquake.＂ Studying the objects displayed in the exhibit, this paper examines their ＂biographies＂ and attempts to discuss how these post-disaster ＂wastes＂ form narratives in public and private spaces. The paper is divided into two parts. The first part examines how things turn from waste, cultural relics, to public exhibits, by studying the biographies of the household objects in the Jiangliau Lane in Taichung. The second part studies another example, the well-known mansion, Dunben Tang in Nantou, and argues that the presence of ＂non-cultural relic＂ in public exhibits can not only expand the meaning of cultural exhibition and historical exhibition, but also bridge the gap between the present and the past