未完成之作：彭弘智個展
Psychic Theater: Hung-Chih Peng Solo Exhibition
2025/08/09 - 2025/11/16
台北市立美術館
Taipei Fine Arts Museum
本次個展聚焦在他近期的跨領域嘗試：劇場界有許多已逝或英年早逝的英才，例如:田啟元（1964-1996）、陳明才（1961-2003）、周逸昌（1948-2016）等。他們對台灣的劇場界都有深遠的影響，都是開拓者的角色，可惜好像有很多應該接下來要完成的作品或事業沒有 辦法完成就離開了。他非常渴望知道這些英年早逝的英才是否有所遺憾，是不是有未完成的作品想要幫忙繼續完成?所以思考是不是經由靈媒或觀落陰的方式可以把他們找出來，問他們有沒有要完成的劇本或故事，讓我們還在現世的後輩可以幫忙完成。一開始是黑白的紀錄片，記錄著探訪靈媒的過程，問這些靈媒他們三位有沒有未完成的作品。並且跟這三位亡靈討論這個作品要如何繼續發展，後面是彩色的影片，依據訪談後結果的一個表演作品。這是跟逝去亡靈的共同合作，最後根據他們所想要做的來完成一個新的電影和裝置。
This solo exhibition focuses on his recent cross-disciplinary experiments: Taiwan’s theatre history is marked by the early loss of visionary artists such as Tien Chi-Yuan (1964–1996), Chen Ming-Tsai (1961–2003), and Chou Yi-Chang (1948–2016). Each left a profound legacy, yet their sudden departures left many dreams and works unfinished. This project arises from a longing to ask: Do they have regrets? Were there stories they still hoped to tell? Through spiritual mediums and the traditional ritual of Guan Luo Yin, Peng seek to reconnect with these departed artists. The film begins as a black-and-white documentary, capturing his search for mediums and conversations with the spirits, asking what works remain incomplete and how they might continue. The second half transforms into color—a performance created in collaboration with the spirits themselves. Based on the messages received, Peng carry out their imagined intentions, crafting a new video piece that blurs the line between memory, imagination, and the afterlife. This is a dialogue across realms—a continuation of art beyond death.
會飛的牆 / 機械裝置 / 2025 / 現地製作
The Flying Wall / Mechanical Installation / 2025 / Variable dimensions
入口處的第一個展區，是一個狹長的空間，彷彿是整體空間結構中「十字架」的底部。
在這個通道式的空間中，設置一座大型的機械裝置──一面能夠移動的牆，一面白、一面黑，沿著長廊的軸線往返移動，旁側僅保留供觀眾安全通行的狹窄通道，讓人與牆幾乎擦身而過。當牆面白色的一面自空間深處緩緩向入口方向飛來，並搭配沿天花板安裝的線性 LED 白光，製造出一種無重力、無影的潔淨狀態。隨著白牆移動接近，燈光逐一熄滅，彷彿牆面吞噬光源，將空間由白推向黑──最終，整個通道化為全黑的場域。接著，黑暗又會重新還原為明亮。如此往返循環，形成一種節奏分明的「光的呼吸」。
帆布的牆體中央開了一個圓洞──從白色這一面看，它是在右邊的；從牆面的另外一邊--黑色那一面來看，圓孔卻位於左側。這個微妙的空間視差，使觀者在前進與後退之間，感受到一種坐標的錯位與感知的顛倒。這是一道觀看電影的通道，一條光與影、黑與白、陰與陽、生與死之間來回穿梭的旅徑。觀者行走其中，宛如進入另一個世界的過渡區。而影片中靈媒所描述的那個「從亮走向暗、再從暗回到亮」的世界，恰與此空間意象巧妙呼應──構成一種跨界的重合，也是一種來自冥界的指引。
The first exhibition zone, located at the entrance, is a narrow and elongated corridor, resembling the “base” of a cruciform spatial structure. Within this transitional passage stands a large-scale mechanical installation titled The Flying Wall: a wall that glides slowly along the central axis of the corridor, moving like a pendulum from white to black and back again. When the white surface emerges from the depths of the corridor, advancing steadily toward the entrance, it is accompanied by a linear glow of LED white light along the ceiling. Yet as the wall draws nearer, the lights are extinguished one by one, until the surface seems to consume the very sources of illumination, pushing the space from white into black. In the end, the corridor is plunged into total darkness. Then, as the wall reverses direction, its black surface recedes, and darkness itself is undone: the lights return, and the space once again becomes immaculate white. This perpetual oscillation creates a distinct rhythm—a breathing of light. At the center of the canvas wall, a circular aperture has been cut. On the white side, the hole appears to the right; when the black side emerges, it shifts to the left. This subtle spatial dislocation produces a perceptual inversion, as if the coordinates of the body were slipping between alignment and estrangement. This is a passageway of cinematic viewing and also a journey traversing back and forth between light and shadow, white and black, yin and yang, life and death. As viewers walk through, they enter a zone of transition, an antechamber to another world. The imagery of this space resonates uncannily with the visions described by the mediums in the film—“Like shifting from brightness into darkness, and then back into light again.” It is here that the metaphors converge: a choreography of thresholds, a crossing of worlds, and a guidance whispered from the underworld itself.
在十字空間的中央偏右位置，設置兩座來自1970年代的吊燈機械裝置“開光的吊燈”。這對吊燈原為我之前裝置作品《正義路安魂曲第二樂章：港都夜雨》所使用，是我因緣際會購入一棟老屋時遺留於其中的兩件物品。這棟屋子早已荒廢多年，電力也早被台電中斷，然而在一次空間整理時，我無意間打開牆上的老式開關，這兩盞吊燈竟神秘地亮了起來——如同靈魂尚未離去，在幽暗中閃爍。這個奇異經驗對我來說是一種召喚，也是一種儀式的啟動。我特別將它們的燈桿拉長，並使其透過機械驅動產生緩慢而規律的擺動。這擺動的節奏，象徵著靈魂的搖曳與徘徊，也讓人聯想到道教儀式中香爐的來回搖晃，或是七爺八爺行儀時雙臂擺動的肢體姿態，一種介於召喚與超渡之間的肢體語言。對我而言，這吊燈的「擺動」更是一種對物件本身的開光過程。在這個空間中，它們不再只是老屋的殘留物件，而成為靈性與記憶的載體。
At the center-right of the cruciform space stand two suspended mechanical chandeliers from the 1970s, titled Consecrated Chandelier. These fixtures were first employed in my earlier installation Justice Road Requiem: Second Movement: Night Rain in the Harbor City. They had originally been left behind in an old house that I was serendipitously able to acquire. The building had long been abandoned, its electricity disconnected for years. Yet during the process of clearing the space, I accidentally flipped an old switch on the wall—and to my astonishment, the two chandeliers flickered to life. Their sudden glow felt uncanny, as though lingering souls had not yet departed, shimmering faintly within the gloom. That moment became, for me, both a summons and a ritual of initiation. I later extended their suspension rods and connected them to a motorized system, so that they swayed with a slow, regular rhythm. This pendular motion signifies the wavering of souls, their hesitation between realms. At the same time, it recalls the gentle rocking of incense burners in Taoist rites, or the swinging arms of the ritual figures Qiye and Baye as they perform their sacred procession. It is a corporeal language suspended between invocation and transcendence. For me, the “swaying” of these chandeliers constitutes an act of consecration, a process of imbuing the objects with spirit. Within this space, they are no longer remnants of a derelict house, but have been transformed into vessels of memory and carriers of the spiritual.