孟婆 Grandma Meng
蔡煒廷 個展 Solo Exhibition of Tsai Wei-Ting
蔡煒廷 個展 Solo Exhibition of Tsai Wei-Ting
2018.10.20 (Sat.) – 2018.11.17 (Sat.)
開幕暨座談會 Opening reception & Artist Talk | 2018.10.20 (sat.)
開幕時間 Opening reception : 16:00 - 19:00
座談會時間 Artist Talk : 17:00 - 18:00
與談人Talking with : 楊雅筑 Yang ya-chu
展覽簡介:
孟婆
「可是有一些人欲續前緣不捨遺忘,不願喝下孟婆湯,於是孟婆便給予他們三種記號:臉上的酒窩,胸前及脖子後方的痣。並須在忘川河中等候千年,方可再帶著記號與前世的戀人、朋友、親人相遇續緣。」
孟婆是中國民間信仰裡負責掌管記憶的神祉,相關文獻中,由奈何橋、彼岸花、忘川河、孟婆等素材,編撰出許多攸關等待的故事。作品視此類非關現實的故事為其文本,並擷取現實中貼近自身、社會狀態、環境等觸及等待的相關片段與之呼應,透過創作將兩者含括的現實與虛構相互交疊,經營出「等待」的感知。
「等待」是一種進行中的空檔,在線性的軌道上,前進於存在著某種具備終點事件的路途,即是動作也是一種含括時間、空間的場域;在進行的過程中,過去既有的記憶、期許等意念成為主要的運作動機,亦由此延展出於未來中不可預期的終點,且形成模糊、不明確並與過去相應之事件,此類不確定性影響著正在進行中的場域,身處內部的人、事、物皆因此受到干擾而產生混淆,然而,「等待」便像是反覆地拾起模糊不清的破碎片段並一再拼湊,在抵達終點前,「空檔」滿溢著被拼湊出的事件且持續前進。於作品中,將「等待」拆解為「遙遠」、「不安」、「信任」三種感知對象,各別以遠處風景、人物與空間的交疊、擁有記號的身體,為相對照題材,以其中形象的虛實、非完整物件、錯置的空間,為主要描繪對象,藉由繪畫形式塑造出模糊、不明確的視覺畫面。
「孟婆」提煉出現實與神話故事間的共有事件,如同寓言般,彼此雙方在真假間重疊對話,別於以往對於其故事的內容敘述,重新詮釋關於「等待」的想像。「等待」並非單指涉人物行為或是空間場景,它是一種聚合各種事件且持續進行的狀態。
「可是有一些人欲續前緣不捨遺忘,不願喝下孟婆湯,於是孟婆便給予他們三種記號:臉上的酒窩,胸前及脖子後方的痣。並須在忘川河中等候千年,方可再帶著記號與前世的戀人、朋友、親人相遇續緣。」
孟婆是中國民間信仰裡負責掌管記憶的神祉,相關文獻中,由奈何橋、彼岸花、忘川河、孟婆等素材,編撰出許多攸關等待的故事。作品視此類非關現實的故事為其文本,並擷取現實中貼近自身、社會狀態、環境等觸及等待的相關片段與之呼應,透過創作將兩者含括的現實與虛構相互交疊,經營出「等待」的感知。
「等待」是一種進行中的空檔,在線性的軌道上,前進於存在著某種具備終點事件的路途,即是動作也是一種含括時間、空間的場域;在進行的過程中,過去既有的記憶、期許等意念成為主要的運作動機,亦由此延展出於未來中不可預期的終點,且形成模糊、不明確並與過去相應之事件,此類不確定性影響著正在進行中的場域,身處內部的人、事、物皆因此受到干擾而產生混淆,然而,「等待」便像是反覆地拾起模糊不清的破碎片段並一再拼湊,在抵達終點前,「空檔」滿溢著被拼湊出的事件且持續前進。於作品中,將「等待」拆解為「遙遠」、「不安」、「信任」三種感知對象,各別以遠處風景、人物與空間的交疊、擁有記號的身體,為相對照題材,以其中形象的虛實、非完整物件、錯置的空間,為主要描繪對象,藉由繪畫形式塑造出模糊、不明確的視覺畫面。
「孟婆」提煉出現實與神話故事間的共有事件,如同寓言般,彼此雙方在真假間重疊對話,別於以往對於其故事的內容敘述,重新詮釋關於「等待」的想像。「等待」並非單指涉人物行為或是空間場景,它是一種聚合各種事件且持續進行的狀態。
Exhibition Summary:
Grandma Meng
「However, some people who still desired to preserve their previous fate were not willing to forget or drink Grandma Meng’s soup. Therefore, Grandma Meng gave them three marks: dimples on the face, and moles on the chest and behind the neck. Additionally, they were supposed to wait in Lethe River for a thousand years to continue their fate with the marks and meet their lover, friends, and family members.」
Grandma Meng is a god in Chinese folk religion who is in charge of people’s memory. In literature, there are several folk stories that mention Nai He Bridge, Higanbana, Lethe River, and Grandma Meng. These works are relative to the folk stories and waiting experiences of our everyday life; moreover, it also interweaves reality and fiction, forming the perception of waiting.
Waiting is the gap of process. On the linear trajectory, the gap is on a road that has a terminal, representing a movement including a time-space field. In this field, memory and expectations of the past become the major motivating factors of operation and extend an unpredictable terminal in the future. Finally, it forms vague and uncertain events, corresponding to the past. The uncertainty actually affects the present field. Everything is influenced by this uncertainty and it causes confusion. Nonetheless, waiting occurs, as if the indistinct pieces are repeatedly picked and assembled. Before arriving at the terminal, the gap overflows the events that are assembled and they are carried forward.
From the events of a text that is removed from reality, a passage with conditions and environments near to one’s own life and society is captured. Through an overlap of this passage and the features of real-life ‘waiting’, a blurred and ambiguous visual picture is created in a misplaced space, using key visual descriptors of a subject rooted in both reality and unreality. ‘Waiting’ does not refer solely to a scene or behaviour of an individual; it is rather an amalgam of a variety of events, and a state that persists constantly.
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蔡煒廷 TSAI, WEI-TING
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TSAI Wei-Ting
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