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圖像 Pictures 1 , 2 , 3 , 4 , 5 , 6 / 觀音像中之錄像 Video in Kuan-Yin

“聖殤像/觀音像“  2007             玻璃纖維,LCD螢幕,監視攝影機            約160x60x80公分 / 230x130x110公分

"Pieta / Kuan Yin"  2007  Fiber Glass, Eye-Trek LCD Screen, DVD Player   160x60x80cm / 230x130x110cm

 

兩件約一般人高度的白色雕塑,置於幽暗的畫廊中。第一件是以耶穌的形貌打造,另一件則是製成佛教中最知名的女神-觀音。兩尊神像均呈現光滑的白色,並配備眼罩式液晶螢幕。為了觀看這些錄影作品,觀眾的身體必須形成一種特殊的觀看姿勢。「聖殤像 」的螢幕是嵌入在耶穌頭部的後方,因為雕塑的軀體如同就將要倒下 ,因此當觀眾觀看此錄影作品時,彷彿是在撐住耶穌。有趣的是影像內容顯現的是,觀眾看到自己撐住耶穌的即時畫面。而在「觀音像」作品中,觀眾跪在特製的座墊上,將臉置於神像的兩腳之間觀看影片。觀眾無可避免地便採取了一種如同膜拜的身體姿勢,觀音同時也往下看的,彷彿向祭拜者表達歡迎與認同。螢幕中播放阿富汗的巴米揚大佛被塔利班政權炸掉的錄影畫面。在此兩作品中,觀賞的活動都不是那種被動、無交集的既定形式,觀看的行為在這裡需要更多的身體行動,一種假裝成宗教追隨者的行動。更甚且,觀者的視線只能集中在眼罩式螢幕中,無法查知自己在這360度空間中的狀態,因此也同時成為另一尊被他人觀看的軀體。

Two white sculptures, roughly human height, inhabit a dimly lit gallery. The first takes the form of Jesus; the other depicts “Kuan Yin,” the famous female Buddhist Goddess. Both are slick and white and both are equipped with goggle-shaped LCD screens inside. In order to see these videos, the viewer has to assume a position foreign to much art spectatorship. The screen that is part of the Jesus sculpture is nestled in the back of his head. Due to the stance of the figure, positioned as if he were falling backwards, the viewer appears to be supporting Jesus when watching the embedded video. The footage inside the head-turned-mask is a live feed of the spectator looking and holding. For the “Kuan Yin” sculpture, the viewer kneels on a specially designated pad, placing her/his head between the figure’s feet to view the screen placed there. The spectator thus inevitably assumes a bodily position that is recognized as one of spiritual reverence and prayer. To complete the picture, the Buddha looks down, as if to acknowledge and welcome the devotee. The screen at the foot of the figure shows footage from the Taliban bombing of the Bamiyan Buddha in Afghanistan. In both cases, viewership is not passive or unengaged. The act of seeing here implies a much more physical activity; one can only look by assuming the position of religious follower. Moreover, the viewer is impeded from maintaining a full 360-degree view of the space s/he inhabits. In this way, the viewer becomes a figure for others to observe.

 

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

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