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圖像 Image 1 , 2 , 3 , 4 , 5 , 6 , 7 , 8 , 9 , 10 , 11 , 12 , 13 , 14 / 錄像“落難神明記“ Video "The Chronicle of the Misfortune Deities"

"神明收容所" / 2006 / 1300多尊被遺棄神像及單頻道錄影”落難神明記” / 可變尺寸

“God Pound” / 2006 / 1300 abandoned statues and one Single Channel video “The Chronicle of the Misfortune Deities” / Various dimension

 

地點: 巴黎吉美亞洲藝術館 / Location: Musee Guimet, Paris

神像曾在1980年代台灣人沈迷於賭博時而相當地盛行。當這些神像槓龜時,如同流浪狗,無法滿足飼主膨脹的期待時,被送到流浪動物之家一樣,這些神像會被虐待丟棄,然後被回收中心收容。在這不可思議的違背倫常現象中,人類竟可以有自由逞罰上天,卻不用擔心遭受天譴,更可笑的是這些神明的大小,又剛好是被製造成容易被虐待的大小。這件作品,在畫廊的地板上放滿了六百零六尊落難神像,並在牆上投影出一隻狗述說著,這些神明從被膜拜到被丟棄的故事-“落難神明記“,提醒著我們這些神像與流浪狗相同的處境。 這些小神像的不斷堆積,好像一種無所不在的商品崇拜,又好像一種無價的神聖圖騰,它們同時傳達出了一種強大的能量(如同當初製造時所期待的)及一種毫無價值隨時可丟的狀態。

Diminutive god statues became especially popular during a gambling craze in Taiwan in the 1980s. After failing to successfully divine a winning number, many of these were abused and abandoned at recycling centers, much like how dogs are sent to pounds when unable to fulfill their owners’ inflated and unrealistic expectations. Thus, in what seems a rather extraordinary instance of reversal, humankind took the liberty to punish the gods, seemingly without fear of retribution. Moreover, these gods were conveniently embodied in an easily manipulatable size. For the installation God Pound (2006), 606 gods filled an entire gallery. In a projection on the wall, a dog recounts the tale of the deities’ passing from idolized vessels to abandoned remains, reminding us of the parallel between the god pound and its canine counterpart. Somewhere between ubiquitous commodity fetish and sacred totem that knows no market value, the accumulation of these little beings conveyed both the tremendous power they were initially thought to possess as well as their present status as valueless cast-offs. 

 

特別感謝新竹縣峨眉文物藝術館 盧進發先生

Special Thanks to Mr. Lu Jin-Fa of Er-Mei Culture Artifact Museum

攝影: 彭泓智 photo: Hung-Chih Peng / 英文簡介 English Introduction by Sarah Lookofsky

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