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installation |
2021 Notes on Psychedelics III: 2-19-20 | 2018-2020/ Sonic Driving | 2018-2019/ Notes on Psychedelics II: Inside a Memorable Fancy | 2018/ Reverberation of the Pleiades | 2018/ Extrastellar Evaluations III : Entropy : 25800 | 2016/ Extrastellar Evaluations | 2015/ Notes on Psychedelics |2015/ Action at a Distance|2014/ Liquidation Maps|2013-2014/ As Above, So Below|2012/ One Universe, One God, One Nation| 2011/ The Turner Archives | |||||||||||||||||||||||||||||||||||||||||||||
2021 |
"Dreams have always been where shamanic learning and healing takes place." |
Introduction by Jo Shu-Wen Hsiao
In art, we always prize the pursuit of intellectual insight. From subject matter to the questions that manifest themselves in materials, a work's vocabulary is inseparable from its meaning. In 2015 Yin-Ju Chen began to study altered states of consciousness – "ordinary" and "non-ordinary" states of consciousness, the "subconscious" and the "unconscious" – studying with shamans to learn the process and mindset of altered consciousness as the basis for her art. Notes on Psychedelics (2015) considered how a drug (DMT) conveys our consciousness to an unknown spiritual dimension. In Notes on Psychedelics II: Inside a Memorable Fancy (2018-2019), the artist used her personal experiences of shamanism to reference and document an individual's altered states of consciousness, revealing a fantastical, inscrutable, mysterious "journey" and presenting the transcendental experience of shamanic ritual. In Sonic Driving (2018-2021), she collaborated with the shaman Marina Lin to activate a trance in the brain through sound waves, enter a shamanic universe.
Notes on Psychedelics III: 2-19-20 continues the depiction of altered consciousness in this series of works. Unlike works produced around visual symbols and concepts, it reveals the artist's past clairvoyant experiences and dream notes, and from them it extracts images, creating scenes that shift between dreams and consciousness, exuding an atmosphere of mysticism reminiscent of occult rituals, when shamans become possessed and enter an indistinct, oblivious state. Here, consciousness serves as a vehicle for the source of many insights into life, the universe, time and space, and it leads us to accept the guidance of a higher form of life. When we enter the space that Yin-Ju Chen has arranged, soundwaves trigger our perceptions, ushering us into an experience that is real yet transcends reality. Next, the dim lighting in the room brightens, opening a space of complex ambiguity. All these actions always take visitors to unexpected places, where they linger and wonder what will happen next. This is quite thought-provoking. But they must first think about what they encounter by accessing their senses, and let their mind and body sink into the experience.
Yin-Ju Chen's space of images formed by sound, lights, objects, drawings and videos generates an abstract, spiritually animated world. They are the "dreams" that exist within consciousness. She believes that dreams from the depths of our consciousness can awaken both our minds and our souls. On the surface these mirages seem fragmentary and scattered, but they open up a broader dimension in the human state of consciousness, and in the mind of the artist they serve to create a level of inner perception. In this work, external things shatter our customary mindset. These highly psychedelic techniques are an attempt to induce the visitor’s powers of sensory perception, putting them in a state of excitement, paralysis, rapture or quiescence, and thus enter a deeper mental dimension where consciousness and dreams run free within our emotive sensations. Yin-Ju Chen focuses on the hidden spiritual abilities of people in modern society. She uses the language of mental images to manifest a spatial topography, constructing an oblique "scene" and revealing an "other" space to express a certain hidden mindfulness that is innate in human beings. At this moment, this work touches an unpredictable realm of imagination, embedding the immaterial within material reality, in an attempt to reconfirm the ultimate pure land of the soul that we hope to preserve.
文/蕭淑文
在藝術裡,我們始終關注的是知性的追尋。從主題到材料體現的問題,作品的語彙和它的意義密不可分。自2015年,陳瀅如開始研究意識轉換 ─「尋常 意識」、「非尋常意識」、「潛意識」、「無意識」, 並通過薩滿學習意識轉換的過程與思考,作為她創作基礎。〈致幻記〉(2015)觸及藥物(DMT)把我 們的意識帶到一個未知的精神維度。〈致幻記 II: 刻幻象〉(2018-2019)藝術家以親身經歷之巫儀經驗作為參照紀錄個人的意識轉換狀態,揭露其中奇幻難懂的奧秘「旅程」,呈現薩滿儀式中的超覺經驗。〈Sonic Driving〉(2018-2021),她與薩滿林麗純合作,藉由音波啟動大腦的出神狀態,並進入薩滿宇宙觀。
〈致幻記III : 2-19-20〉延續其系列作品關於意識轉換的描繪。不同於圍繞著視覺符號和觀念生產的作品,它透露過去藝術家的靈視經驗與夢境筆記,並從中提煉意象,創造出在夢境和意識之間轉換的場景,散發出一種神祕主義的氛圍。如同巫祭儀式,巫師在神靈附體時,進入一種忘我的迷離狀態。在這裡,意識是承載諸如生命觀、宇宙觀、時空觀的源頭,它引領我們接受一種更高生命的指引。當我們走入陳瀅如部署的空間,聲波啟動我們的知覺,讓我們經歷一種真實但超越現實的經驗。接下來,房間裡的燈光從暗到亮,撬開一個複象多義性空 間。這一切運作,讓觀眾總是在他們意想不到的地方發生,他們待在那裏懷疑著會發生什麼事件,相當耐人尋味。但眼前,他們必須先通過感官來思考,讓他們的精神與身體沉淪其中。
陳瀅如的意象空間以聲音、燈光、物件、素描及影像,營造出抽象的靈動世界,它們是存在於意識裡的「夢」。她相信從屬於深層意識中的夢境,能把我們的神經和心靈一併喚醒。表面上看似瑣碎散亂的幻象,但它們開發了人類意識狀態中另一個更為廣闊的維度,在藝術家心裡用以創造一個內在的知覺層次。這個作品,外在的東西打破我們慣常的智性,這些展現一種更具迷幻的手法,企圖誘發觀眾的感應力,使他們處於亢奮、麻痺、著魔、停頓狀態中,以此進入更深層次的精神向度,讓意識和夢境在感性中奔馳。陳瀅如聚焦在文明社會中人被隱蔽的心靈能力,她用意象語言體現空間形貌,建構一個隱晦不明的「場景」,揭顯「另一個」空間表達人與生俱來的某種深藏的意識思維。此時此刻這個作品觸及關於想像和不可測的界域,將非物質嵌入物質現實中,試圖再度辯證我們想保存最後的心靈淨土。
2018-2021, commissioned by the 13th Gwangju Biennale and V-A-C Foundation|第13屆光州雙年展、V-A-C基金會委託製作
By Yin-Ju Chen & Lin Li-Chun (Marina)|陳瀅如+林麗純
watercolor drawings, pencil sketches, video, 7.1 surround sound, and workshops
水彩|鉛筆素描|錄像|7.1 環繞聲道|薩滿工作坊
Sound design: Cheng Chou | 聲音設計:周震
Animation: Chia-Sheng Lin|動畫合成:林嘉生
*中文介紹請向下滑
…the ubiquity of these practices across time and space in human history suggests that altered states of consciousness play a fundamental role in the maintenance of human social fabric and human social-spiritual linkage.1 |
Sonic Driving not only explores the capacities of our brain, consciousness, and altered states of consciousness (ASC), it also "previews" the future of humanity, and questions the mad house of rationality via the methods of "Core Shamanism."2
***
In our rational, material and modern society, scientists continue to investigate the mysteries of human consciousness. However, we have already found many possible answers in our ancient traditions: shamanism or in Chinese, "Wu" (巫). For shamans, our ordinary consciousness is not the only consciousness we have, and our visible world is not the only world that exists. Shamans expand or alter their consciousnesses to enter to the spiritual worlds for various purposes -- mostly to heal people.
Sonic Driving visualizes this tripartite reality: the shaman’s upper world (video), middle world (drumbeat sound), and lower world (drawings).
***
In the ancient times, shamans were the healers and sometimes leaders of their tribes and communities. Their predictions and skills at communicating with spirits determined the survival of their tribes.
Following this path, in Sonic Driving, we journey to the other world, by shamanic drumming technics, and ask the spirits for guidance on the way toward the future of humanity.
***
From historical evidence found in the Blombos Cave of South Africa, the history of ASC dates back to 70,000 to 100,000 years. Researchers have found the evidence of ASC worldwide. Even though "getting into a trance" is intangible, it is very likely that the ancient cave paintings which often resembles half animal and half human figures came from an ASC vision induced in shamanic rituals.
***
Why the Shamanic way?
Because it works.
…這實踐在人類歷史上跨越時空且無所不在,意味著意識轉換在維護人類社會結構以及精神聯繫上起了根本的作用。1
《Sonic Driving》 不僅僅探索我們的大腦、意識、儀式轉換等潛能,這件創作計畫同時「預覽」人類的未來,以及透過「核心薩滿」2的方法對狂妄的理性主義提出疑問。
***
在我們理智的、物化的現代社會,科學家持續地研究人類意識的奧秘。然而我們已經在古老傳統中找到許多可能的答案:薩滿實踐,或是華人的「巫」文化。對薩滿或巫師來說,我們的尋常意識並非我們擁有的唯一意識狀態;我們可見的是世界也非唯一存在的現實。薩滿們基於種種理由,擴張或是改變她們的意識,進入靈性的世界,大部分的目的是療癒他者。
《Sonic Driving》將薩滿的宇宙觀視覺化:運用錄像呈現呈現上部世界的旅程、中部世界的薩滿鼓聲、以及下部世界的繪畫日誌。
遠古時期,薩滿的角色是部落的醫者,甚至是領袖。他們的預知能力與靈魂溝通的技能,決定了部落的生存。
***
就南非發現的布隆伯斯洞窟的證據來看,意識轉換的歷史可追溯到七至十萬年前。研究人員也已在世界各地找到找到了意識轉換的證據。即便「進入恍神狀態」是不可觸知且難以明瞭的,但那些半人半獸的洞穴壁畫有極高的可能性是在薩滿儀式中,經由意識轉換後導出的視覺紀錄。
***
為何選擇薩滿途徑?
因為有效。
1. Ember, Carol R., Carolus, Christina. 2017. "Altered States of Consciousness" in Explaining Human Culture. Human Relations Area Files
2. "Core Shamanism consists of the universal, near-universal, and common features of shamanism, together with journeys to other worlds, a distinguishing feature of shamanism. As originated, researched, and developed by Michael Harner, the principles of Core Shamanism are not bound to any specific cultural group or perspective." The Foundation for Shamanic Studies. <https:// www.shamanism.org/workshops/coreshamanism.html>
《致幻記》(2015)以個人出體經驗為出發點,繼以研究藥物、意識轉換、靈魂為主軸的作品,研究主題著眼於人腦會自然分泌的物質DMT(二甲基色胺)的哲學思考與靈性運用。 《致幻記II:刻幻象》則是將意識轉換作為生活實踐,處理個人從2017至今的身心靈轉化過程,紀錄意識旅程,屬於儀式中服用草本植物後的經驗再現。有別於過去幾年的創作演繹,此計畫實屬私人、並全然訴諸情感的計畫──以直觀、直覺的態度,用繪畫及影音紀錄個人的意識轉換狀態。 在一年多的靈修進程中,參與巫儀只是整體經驗的一小部分,但其「旅程」(journey)卻是奇幻難懂的奧秘之旅。然而面對意識轉換後如此瑣碎散亂的幻象,我相信是開發人類意識狀態中另一個更為廣闊的維度,並深具統合意識與無意識的潛力。 此系列計畫的再現方式深深被靈視詩人威廉布萊克影響,作品英文副標「Inside a Memorable Fancy」便是挪用自布萊克的《天堂與地獄的結合》(1790)之章節名稱「一個難忘的幻象」(A Memorable Fancy)。《天堂與地獄的結合》以詩歌、格言、散文、版畫、水彩的綜合樣貌闡釋:「沒有對立就沒有進步;吸引與排斥,理性與能量,愛與恨,都是人類生存的必要條件。」布萊克書中更進一步顛覆地獄等同邪惡之古典信仰:「善是被動且服從理性的,而惡是主動的,它來自激情、力量。」這動人作品的內文,句句照應了個人靈修實踐的內在情緒與了悟,而五大篇幅的「一個難忘的幻象」,如同但丁《神曲》一般,詩人帶著讀者遊走與上、中、下的世界,更印證了我的靈修經驗。這些饒富趣味、栩栩如生的靈視描寫,啟發我嘗試將個人的靈修內在之旅,寄予作品之中。 //十月,2018,台北 *關於意識轉換的記錄作品,請一併參照《Sonic Driving》(2018-) |
Inspired by a personal, out-of-body experience, Notes on Psychedelics (2015) is a survey of drugs, altered states of consciousness, and the soul -- focusing on the spiritual potential and philosophical implications of ingesting DMT (N, N-Dimethyltryptamine). In Notes on Psychedelics II: Inside a Memorable Fancy (2018), I present my own experiences after imbibing an herbal soup during a shamanic ritual. I illustrate the shamanic practices evoked and invoked by transformed states of mind. In other words, in contrast to my previous artistic approach, I now represent my experiences in a fully intuitive manner, by producing a series of drawings, paintings, and videos that depict my own involvement between and within the mind/body/spirit worlds. This project represent both the integration and breaching of the boundaries between the empirical self and the transcendental ego. Although participating in shamanic ceremonies is only a small part of my spiritual method, these rituals have provided opportunities for me to explore previously uncharted spiritual territories – metaphysical sojourns new to me and to my practice. Considering these mystical fragments and scattered images or illusions, I believe that they not only broaden my understanding of the dimensions of human consciousness, but they also have the potential to unify ordinary and altered states of mind. Profoundly influenced by the Romantic, visionary poet William Blake, I appropriate the chapter title, "A Memorable Fancy," from Blake's The Marriage of Heaven and Hell (1790). In this work, Blake incorporates poetry, aphorisms, prose, printmaking, and watercolor drawings to convey the thought: "Without contraries is no progression. Attraction and repulsion, reason and energy, love and hate are necessary to human existence." He also subverts the classical conception of "evil" by, for example, claiming that "Good is the passive that obeys reason. Evil is the active springing from energy." Like Dante’s Divine Comedy, Blake brings his readers to the upper, middle, and lower worlds within the five chapters of "A Memorable Fancy." DMT, Blake, Dante, mystical journeys, drumming, and deep reflection are all clues, hidden or obvious, to the origins and goals of this project and the journey it represents. // October 2018, Taipei |
In what ways do the stars affect human life on Earth? Yin-Ju Chen searches for answers to this question in cosmology, conspiracy theories and philosophy, all of which inspire her artistic practice. American art of the 1960s and archaic patterns based on star constellations and found in global cultural productions, reverberate in Reverberation of the Pleiades, her new land art work created as part of "The Mindful Intervention" at Kunstfort Vijfhuizen.
Reverberation of the Pleiades is culturally anchored in the global human tradition of depicting and describing the Pleiades, a star cluster that came into being about 100 million years ago. The Pleiades are for instance mentioned in Homer’s Iliad and depicted on the Nebra sky disk. Astronomers say that the Pleiades star cluster is anchored in a deep past and it will last into the far future for about another 100 million years before it fades. In view of this time span, Yin-Ju’s Reverberation of the Pleiades reads like a contemporary reminder of the ephemerality of human life.
Text from: Kerstin Winking,
VRIZA/ The Mindful Intervention
2018
個展展場記錄照片|TKG+ Projects|台北
兩個影像投影、兩組素描、限地製作卡點西德圖文
Solo exhibition | Installation view | TKG+ Projects | Taipei
Installation objects including: 2 videos, 2 sets of drawings, site-specic vinyl cuts
《超星鑑定III:熵:25800》(以下簡稱《超星鑑定III》) 延續自2016年開始發展的「超星鑑定」系列的敘事軸線, 經由探討太空物理、外星傳說、宇宙誌來反思人類文明與未來。 與個展同名的影片《超星鑑定III》利用破碎的歷史、新聞與歷史影像重新演繹,以假說預言,並進而推展對未來的想像。片中以春分點完整繞行黃道一周的時間,來揭示末日的時間點。 陳瀅如並進而挪用熱力學第二定律中的不穩定變因「熵」,隱喻宇宙「熵」值的變動與人類社會貪婪與好戰的微妙關係。影片中交錯出現外星生物Ra所述說著的 「太一」的訊息,並疊合著人類引發的戰爭、禍亂之歷史影像,逐步邁向眾多科學家、天文學家預言的宇宙終極命運:能量終將耗竭,未來再也無法產生運動與生命。 | Man models the Way of earth; earth models the Way of heaven; heaven models the Way of Tao; Tao models the Way of nature. - Tao Te Ching Extrastellar Evaluations III : Entropy : 25800 is a continuation chapter of the "Extrastellar Evaluations series" that first began in 2016. This project contemplates human civilization and humanity’s future through an investigation of space physics, extraterrestrial myths, and cosmography. By using hypotheses and prophecies founded upon a choreography of fragments of history, as well as mass media imagery and information, eponymous video Extrastellar Evaluations III : Entropy : 25800 attempts to reveal when exactly doomsday takes place. This video further adapts the notion of "entropy" from the second law of thermodynamics, and connects it to the avarice and belligerence of human nature. Interspersed in the video are the narrations of a non-human intelligence named “Ra” concerning that everything is the distortion of the one infinite Creator. |
反烏托邦,或一則(反)演化論的寓言
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Dystopia or, an allegory of (counter-)evolution
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1. Robert Smithson; "Entropy and the New Monuments;" Artforum 1966. (https://www.robertsmithson.com/essays/entropy_and.htm) 2. 同上,史密森利用熵的概念探討衰變與更新、混沌與秩序等對立的平衡。他不把熵視為一種壞處,而將它看成社會與文化轉變的形式。史密森後來被歸類為低限藝術家或「原始結構」(Primary Structures)運動成員,和Nancy Holt、Robert Morris和Sol LeWitt等人並列。他在這段引述的是馬克魯漢關於「機械論的催眠狀態」的說詞。 Ibid. Smithson uses the concept of entropy to explore the balance between binary oppositions such as decay and renewal, chaos and order. He doesn't see entropy as a bad thing, but rather as a mode of social and cultural transformation. Smithson was subsequently categorized as a minimalist, or a member of the Primary Structures movement along with Nancy Holt, Robert Morris, and Sol LeWitt. In this passage he is referencing McLuhan's writings on the "hypnotic state of mechanism." 3. R. Smithson; "Entropy and the New Monuments." 4. 書中稱雷姆利亞即現代亞特蘭提斯,位在北加州沙斯塔山(Mount Shasta)地底下。雷姆里亞人是來自外星的人類。陳瀅如透過田調和訪談結合裝置呈現雷姆利亞傳說,宣稱雷姆利亞人曾在20世紀中期化身為人群中的藝術家,觀察全世界發生的重大事件。為了在中斷通訊的天候裡向母星傳達他們的觀察,遂採用新式的幾何形式通訊物件達到目的──也就是後來被詮釋為「極簡雕塑」的作品。 The text refers to Lemuria as a modern-day Atlantis, located under Mount Shasta in Northern California. Lemurians are extraterrestrial beings. Through a combination of field research and interviews, Yin-Ju Chen's installation presents the legend of Lemuria, claiming that in the 20th century, Lemurians were incarnated as artists, moving among human beings and observing major world events as they unfolded. They created new objects of communication using geometric forms in order to transmit their observations to the mother ship amidst intermittent signals — which were later interpreted as works of "minimalist sculpture." 5.《貴在上海》訪談陳瀅如,2017年三月。 Yin-Ju Chen's interview in Vantage Magazine, March 2017. 6. 段子迎,〈陳瀅如:不可見的連結〉,《藝術界》2016年八月號。 Duan, Ziying, "Yin-Ju Chen: The Unseen Connection," Leap Magazine, August 2016. |
On Extrastellar Evaluations
By Marie Martraire Despite common belief, some alien inhabitants of the lost continent of Lemuria survived its sinking on Earth thousands of years ago.1 Limited information prevents researchers from fully comprehending the outer space population, their demographics and customs, or even the reason for their subsistence on Earth, resulting in inconsistent versions of their subsequent histories. Yet multiple accounts have established with quasi-certainty that some Lemurians remain on Earth today near its core, deep beneath the 14,179-foot Mount Shasta, CA, appearing infrequently to human witnesses. Following her investigation into the mysterious residents of Mount Shasta, Kadist A.I.R. Yin-Ju Chen conducted field research and interviews with local inhabitants of the volcanic territory. Her exhibition and multimedia installation, at Kadist, Extrastellar Evaluations, uncover unique materials that reveal unforeseen information about the Lemurians’ earthly presence. Consisting of archival photographic and video materials, as well as objects created by Lemurians, the works featured in the exhibition function as evidence confirming that Lemurians were evolving among human communities in the mid-20th century under the identities of artists, practicing in the United States. Including many familiar names to the human art world like Carl Andre, Mel Bochner, and James Turrell among others, these personas used forms like cubes, monoliths, obelisks, crop circles, etc. as communication tools to report back on human actions to their mother planet. Channeled through a psychic medium named Lucia, a video introduces us to these translated messages from Adama, High Priest and spiritual leader of the Lemurians. A graphic representation in the space highlights the multitude of possible relations between the delivered information (human actions), their mediums (so-called minimal and conceptual works), and the space in which they evolve (universe). Extrastellar Evaluations focuses specifically on the 1960s as a key historical era for both Lemurians and humans. For humans, the 1960s denoted a complex interrelation of cultural and political events worldwide amid the 1962 Cuban Missile Crisis, the beginning of the Cold War (1962–1979), the enduring Vietnam War (1955-1975), Africa’s independence movements, Cultural Revolution in China (1966–1976), African-American civil rights movements and 1968 protests in Europe, the 1968 assassination of Martin Luther King, Jr., to name a few. For Lemurians, this era was marked by a series of severe weather events that disturbed their transmission routes, such as record-breaking flooding and snowstorms (1955/56, 1959, 1964/65, etc.). 2 Pushed far beyond the immediate vicinity of Mount Shasta as a consequence, the Lemurians sought new forms of and locations for communication with their motherland. They initiated prolific creations of geometric-shaped transmission devices on a national scale, made visible by human interpretation and appropriation as conceptual and minimalist artworks.
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關於《超星鑑定》文/ Marie Martraire
結合檔案照片和錄像材料,以及雷姆利亞人創造的物件,這件計劃的功能宛如一個證據,證實在二十世紀中期,雷姆利亞人以美國藝術家之姿作為掩飾,在人類社群展進。包含許多人類藝術圈耳熟能詳的名字,如卡爾.安德烈(Carl Andre)、梅爾.博赫納(Mel Bochner)和詹姆斯.特瑞爾(James Turrell)等人,這些人利用立方體、巨石、方尖石塔,麥田圈等形式來作為溝通工具,回報原生星球有關人類的活動。經由靈媒露西亞的通靈協助,計劃中的影片翻譯了雷姆利亞大祭司與精神領袖阿達瑪(Adama)的訊息。而一副圖解式的再現方法,標記出傳遞的訊息(人類活動)、媒介(所謂的極限與觀念藝術),以及他們演繹的空間(宇宙)等許許多多彼此間潛藏的關係。 《超星鑑定》著眼於六〇年代,這個雷姆利亞人與人類的關鍵歷史時刻。六〇年代象徵了國際間複雜的文化、政治的相互關係,例如1962年的古巴飛彈危機、冷戰的開始(1962-1979)、冗長煎熬的越戰(1955-1975)、 非洲獨立運動與1968年歐洲抗 議事件、中國文化大革命(1966-1976)、非裔美國人人權運動(1954-1968)、1968年馬丁路德金被暗殺等等。對雷姆利亞人來說,這個時代加計了一系列嚴重阻擾通訊的天災,如破紀錄的洪水以及暴風雪(1955/56, 1959, 1964/65等紀錄)2。由於逼鄰雪士達山,雷姆利亞人尋求新的方式和地點來與母星通訊。 祂們發起、並發明了豐富遍及全國的幾何形狀的傳動裝置,以人類的詮釋並被人類拿來挪用為觀念與極限藝術的方式顯現出來。 通過外星智慧的角度,重新審視六〇年代可怕的人類活動,《超 星鑑定》質疑我們對過去的瞭解,也鼓勵存在地球上不同角度的歷史詮釋。以此來龍去脈,複合媒材裝置使人們對人類活動的危機產生意識,呼應了今日對於全球暖化、持續衝突、濫用資源等問題的憂慮。此外,鏡像過去,現在、未來,陳瀅如的作品呈現我們在這個世界逐漸迷失的徵兆。在這情況下,藝術家呼應了理論家法蘭克貝拉迪對人類面對現實生活喪失信心的觀察,提出一個更宏觀更長久的現象,而不是發展媒體與資訊科技的近來趨勢3。鑑於雷姆利亞人若有似無地在地球上存在,這件裝置計畫也意味著被外力封密起來的歷史重演之必然性──如藝術家在 2012年的《共登世界大同之境》審視中國獨裁者蔣介石這件作品的佐證。同時,這件後續作品《超星鑑定》擴展了陳瀅如長期關心的權力與集體(無)意識議題之視野。
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1. College of the Siskiyous, “The Origin of the Lemurian Legend” www.siskiyous.edu/shasta/fol/lem/index.htm 2. College of the Siskiyous, “Historical Storms of Mount Shasta.” www.siskiyous.edu/shasta/env/storm/ 3. Franco "Bifo" Berardi, Introduction to The Wretched of the Screen, by Hito Steyerl (Steinberg Press, 2012), 9-11. |
親愛的觀眾, 我是露西亞,阿達瑪的靈媒。自從我搬到雪士達山後,阿達瑪和我經常通靈。 祂一直關注經過如此多的世代轉世,我們人類意識的進化似乎不完善。然而,由於星際法則與自由意志的定律,高度進化的智慧生物不允許干涉我們的生活。 阿達瑪指示,如果有一天地球所有的物種成為完整的一體,祂的雷姆利亞同胞會從昴宿星重返地球,不僅與祂們在雪士達山與人類社會的家人團聚,也會把高度文明帶回藍色星球。 基於星際法則,我承諾過我只能說這麼多。 誠摯的露西亞 |
Dear viewers, My name is Lucia, I am the channeler of Adama, the high priest of the Lemurians. Adama has been channeling with me since I moved to Mt Shasta in California. He often shares his concerns about how the consciousness of our kind has been evolving through reincarnations and across generations. But the interstellar regulation and the law of free will do not allow the highly developed intelligence to intervene in our lives. Adama also indicated that if someday Earth beings were to become one, his fellow Lemurians shall return to the Pleiades, after reuniting with their families living in Mount Shasta and in our human societies, his Lemurian peers shall bring their higher civilization back to the blue marble. Bound by the interstellar law, I can only tell you this much. yours, |
"Although the soul is joined with the entire body, there is one part of the body [the pineal] in which it exercises its function more than elsewhere… [The pineal] is so suspended between the passages containing the animal spirits [guiding reason and carrying sensation and movement] that it can be moved by them…; and it carries this motion on to the soul … Then conversely, the body machine is so constituted that whenever the gland is moved in one way or another by the soul, or for that matter by any other cause, it pushes the animal spirits which surround it to the pores of the brain." (Descartes, René. The Inter-Relation of Soul and Body, in The Way of Philosophy, 1954, 357) 雖然靈魂結合了整個身體,但在身體的某部份(松果體)在功能上卻遠勝於其他器官(松果體)在可被啟動的動物靈性中(理性引導並兼顧感知與動作)與運載靈魂的航道之間游移⋯相反地,身體機器被設計成每當松果體被靈魂以不同方式引動,或被其他任何因素牽引,環繞在腦部毛孔周圍的動物靈性便被驅動。(笛卡兒 Descartes, "The Inter-Relation of Soul and Body," in The Way of Philosophy, 1954, 357) |
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Notes on Psychedelics (2015) is a survey of drugs, consciousness, and the soul. It investigates the motivations behind the consumption of psychedelic drugs and focuses on the substance called “DMT” (N,N-Dimethyltryptamine), which is biologically and naturally released by the pineal gland or “the third eye” within the brain. |
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"My brain is only a receiver, in the Universe there is a core from which we obtain knowledge, strength and inspiration. I have not penetrated into the secrets of this core, but I know that it exists." (Tesla, Nikola) 我的大腦只是個接收器。宇宙存有一個核心,我們所須的知識、力量、靈感都在那裡。我未曾置身這個核心祕境,但是我知道它確確實實存在。(尼古拉 · 特斯拉) |
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《超距作用》呈現一系列創作計劃的第三章: 最初以《天一象、地一物 》(2013-2014)開始──藉由神秘學的角度探討身體與現代醫學;到《屠學錶》(2014)──由天象、占星的方式理解亞洲近代屠殺事件和歷史;到第三章節《超距作用》(2015)將身體與國家並置,以量子力學中的量子糾纏原理爲敘事界面,藉由現代物理科學的哲學觀,來理解人類與宇宙法則之間的微妙關係與相互作用。 大宇宙、小宇宙之間的密切關聯,或上下一致法則,一直是我近年來創作、研究中不可或缺的觀看介質;換句話說,大小宇宙的觀念,是我用以探討身體、政體、集體意識的研究方法,也是呈現這個長達兩年半創作計劃的關鍵。 愛因斯坦被超距作用或量子糾纏現象所困擾,稱之爲「鬼魅似的遠距作用」。這個創作計劃凝聚在人類與宇宙之間不停地交織、互相產生作用。從古至今,我們不斷地試圖理解世界與生命;無論是偽科學還是科學,不同的研究方法或是思考模式,了解生命的方式終究同歸而殊途,一致而百慮。 |
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Action at a Distance is a three-channel synchronized video installation that draws parallels between traumas to the body and to society. Combining a range of archival imagery of surgery and laboratory experiments, depictions of astronomy, astrology and quantum mechanics, and footage of governmental crack-downs on public protests in Asia, it reflects on the interconnectedness of actions from the subatomic, through the macrocosmic, to the universal. ![]() |
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2014
五張素描,各125 x 125 公分、兩件投影、文件
5 charcoal and pencil on papers (125 x 125 cm), HD videos (color, loop), printed documents
《屠學錶》是一系列透過神秘學的角度,結合占星與天文科學的方法,來重新檢視並研究近代亞洲政治清算與屠殺事件。陳瀅如選擇五起歷史事件:1987年小金門屠殺難民、1942年新加坡肅清大屠殺、1975年紅色高棉屠殺、1999年東帝汶屠殺以及1980年光州事件,利用這些歷史事件發生當下的星空排列組合繪製出占星星盤,並依循圓形星盤的特質畫出屬於每一歷史事件的曼陀羅圖騰。星盤、曼陀羅圖騰皆象徵輪迴與非線性的時間,《屠學錶》便以此為名,如同手錶上的圓圈式計時。
陳瀅如以神秘學的角度切入重新回看歷史事件,除了對過往教科書上對於歷史書寫的主觀意識提出反思外,也試圖提問人類對其行為之可與不可為,在宇宙既定運行上下一致法則下,是否因而形成了不可抗力。這種以暴力手段達到淨化、完美的信念與目的,對應著錄像中火星與冥王星所代表的戰神與秩序重整前的絕對迫害與毀滅,如同榮格所認為命盤如何展現人類心靈的集體原型。藝評人鄭文琦針對陳瀅如的作品指出:「解讀命盤之於觀眾是一種智性誘惑,唯有遮蔽信息和模糊相位才能有效地使象徵符號臣服於手繪操作痕跡下……而這些素描更接近古代占星師在沒有計算機輔助時親手繪製命盤的勞力過程,帶領觀眾親近的不是仰賴網絡科技的實時命盤解讀,而是一條通往心靈的發現之旅...」1 1 引用自「內在地圖的使用指南」,鄭文琦評陳瀅如《試駕靈魂》2014展覽一文,藝外雜誌63期,2014年12月號。 文字來源:2014 上海雙年展-社會工廠 |
Liquidation Maps is a series of works that reexamines and investigates political genocides and massacres in recent Asian history from an occult angle, fusing astrology and astronomy. Yin-Ju Chen has chosen five historical events: Leiyu Kinmen Massacre in 1987 (Taiwan), Sook Ching Massacres in 1942 (Singapore), Khmer Rouge genocide in 1975 (Cambodia), massacres in East Timor in 1999 and Gwangju Uprising in 1980 (South Korea). Chen has created star charts based on astrological permutations at the time when these historical incidents started, and extrapolated upon the circular nature of the star charts into mandalas for each incident. The star charts and mandalas are symbols of reincarnation and non-linear time. The circular shape bring to mind the circular design of wrist watches, and the Chinese title plays on the Mandarin homophones of "chart" and "wristwatch". By re-examining historical incidents through the lens of the occult, Chen is not only attempting to rethink the subjective awareness of history writing in textbooks from the past, she is also questioning whether such actions by humanity are inevitable under the predetermined and inexorable laws of the universe, whether these laws constitute a form of cosmic force majeure. Corresponding to the belief that purification and perfection are achievable through violent means, in the artist's video work, the planet Mars represents the god of war and Pluto represents the utter persecution and destruction that precedes the reconstitution of order. This underlying concept is similar to Jung's belief that one's natal chart could represent a prototype of collective human consciousness. In critiquing Chen's work, critic Rikey Cheng pointed out that "natal charts are a form of intellectual temptation for their audience, as their symbolic meaning only surrenders to the manipulation of the hand that draws the chart, provided that information is masked and phases are purposely made vague… And these sketches adhere more closely to the labors of ancient astrologers rendering natal charts by hand in the absence of computer technology. Rather than bringing audiences an instant chart readout with internet technology, they lead viewers on a voyage of discovery towards the soul."1 |
![]() 小金門屠殺 Leiyu Massacre, Taiwan, 1987 | charcoal, pencil 125 cm x 126 cm | (one of five) |
![]() 新加坡肅清事件 Sook Ching Massacre, Singapore, 1942 | charcoal, pencil 125 cm x 126 cm (one of five) |
![]() 東帝汶危機 East Timorese Crisis, East Timor, 1999 | charcoal, pencil 125 cm x 126 cm (one of five) |
![]() 韓國光州事變 Gwangju Uprising, South Korea,1980 | charcoal, pencil 125 cm x 126 cm (one of five) |
![]() 事件占星解讀與其它相關文件|drawing & text collections 1 | pencil, ink, photocopies | size varied | 2014 ![]() 事件占星解讀與其它相關文件|drawing & text collections 2 | pencil, ink, photocopies | size varied | 2014 |
![]() Pluto | HD video | loop | source: NASA | 2014 |
![]() Mars | HD video | loop | source: NASA | 2014 |
![]() Photo by Power Station of Art, Shanghai, CN | 上海當代藝術博物館 |
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![]() Photo by Power Station of Art, Shanghai, CN | 上海當代藝術博物館 |
![]() Photo by Power Station of Art, Shanghai, CN | 上海當代藝術博物館 |
這件作品是一系列討論何為完美、淨化、轉換的創作計劃之序曲。 《天一象、地一物》是由個人的醫療經驗出發,綜合科學與偽科學、中世紀瑞士醫生帕拉塞爾斯(Paracelsus)對於大宇宙(自然)和小宇宙(人類)的思考,如宇宙學/占星術、現代醫學/鍊金術,繼續探索宇宙與人類之間的神秘關聯。 |
This practice is an extension of themes from her previous project as a continuing exploration of the notion of "cosmic/ human connectedness." Here the initial focus will be on the human body before widening the view onto the infinite cosmos. As Above, so Below is presenting as a video installation, supplemented with printings and drawings. This ongoing project integrates cosmology vs. astrology and modern medicine vs. alchemy, to discuss of the ideas of perfection, transformation, and the relationship between humanity and the cosmos. |
![]() a. A quote from Paracelsus, a 16th century Swiss physician, alchemist, and astrologer. This text is viewable from the entrance. 「讓疾病降臨的天神,也會賜予療癒」| "Nature will not give mankind any disease without the cure for it." c. As Above, so Below | video 1 | 6 min d. As Above, so Below | video 2 | 40 sec ![]() |
![]() b. 生命樹 The Tree of Life | Charcoal & watercolor 109 cm x 158 cm ![]() ![]() Photo by Hong-gah Museum | 鳳甲美術館 |
2012
3 channel video installation | 17 minutes loop | color & B/W | stereo
![]() Channel 1 is showing before entering the exhibition room with Channels 2 & 3. It only has one image of Pluto and its astrological interpretation.
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Yin-Ju Chen's new video installation One Universe, One God, One Nation seeks to evoke a sense of closure and despair in the face of the inescapable cycles of history. The particular moment evoked here is the age of space exploration in the 1960s, juxtaposed with the forms of imperial, ideological, and totalitarian power existing at that time. The inspiration for the work came from Hannah Arendt's analysis of space exploration as a form of "world alienation," and also from the astrological horoscope of Chang Kai-Shek, which predicts his charismatic and authoritarian character. How is it that most modern movements for a better future, and all attempts to break free from the chains of power, ultimately fall prey to their own mythologies? Here we enter the slippery ground between "science" and "collective dream image," between the knowledge and the fantasy of an epoch. One Universe, One God, One Nation is a visual meditation on power, modern forms of totality and totalitarianism, mass mobilization, devotion, the auratic, and the supernatural. It works through the juxtaposition of images taken in outer space with images of war and submission to power. by Anselm Franke, Taipei Biennial 2012 |
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One Universe, One God, One Nation | 5 min excerpt | Channel 2 & 3 |
![]() Installation view | Channel 1 | Pluto |
![]() Installation view | Channel 2 & 3 |
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《透納檔案》的靈感來自威廉.路德.皮爾斯(WilliamLuther Pierce)的小說名著《透納日記》(The Turner Diaries)。這部小說被譽為「種族歧視的必讀經典」:小說一開始是種族衝突,並以白人優越主義的勝利作結。這部小說之所以出名,是由於它成為許多種族仇恨犯罪和右翼恐怖攻擊行動的靈感來源。《透納檔案》這件裝置作品中的主角名為「透納」,觀者參觀作品時,即是走進他的私人「戰爭房」或規劃室。在此,觀者看到透納推翻美國政府的個人計畫,以及美國近期通過的反移民法令與三K黨歷史的參考資料。「戰爭房」中有兩件錄像作品,一個呈現種族隔離式建築與美國和墨西哥邊境的畫面,另一個則呈現有關多元種族美國的種種畫面,而這正是透納所要宣戰的對象。 This work functions as a critique through the process of "over-identification" with a particular ideological perspective. It presents a perfect and yet dangerous opportunity to meditate on ugly, racist ideological themes, while at the same time illuminatingly present racial conflicts within the United States and the developed West vis-à-vis immigration, terrorism, and ethnic nationalism. Hopefully this project will shed light on the racist prejudgments we "always already" understand. |
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All the notes is written in runic alphabets, to represent white suprematists' ideology. |
Turner's working table, displaying his equipment, notes, homemade bombs, and attacking plans. |