未完成之作 / 2025 / 雙屏幕投影 / 93分26秒

Psychic Theater / 2025 / 2 Video Projections / 93m26s

在十字架空間的左邊位置，有一個劇場入口和一個很多方格子空洞的空間，是前一檔展覽的空間保留下來的，這個空間對我來說很有趣，好像一個監控的空間，對面是一個投在牆角90度的雙頻道環繞音效的錄影裝置“未完成之作”。影片分為兩個段落——黑白紀錄片和彩色劇情影像，互相穿插構成一場從現世通往陰界、再回返人間的影像旅程。黑白片段以「靈媒訪談」為主體，我邀請四位靈媒進行深入訪談，彷彿一場延續性的「陰間編劇會議」——透過這些與亡者的對談，我們討論那部尚未完成的作品。在與靈媒訪談時代表我的鏡頭是空拍台灣幾處著名大佛的周邊環境，鏡頭緩慢環繞佛像軀體，再將畫面倒置，使佛在上、天在下，大地懸浮於空，天空沉入地底。這種空間的翻轉，是一種進入異界的儀式感——一種打破常規時空感的視覺轉換，為與靈對話鋪設路徑。對話後的結果為彩色劇情片，呈現我與靈媒、與亡靈反覆對話後所共同構思出的作品內容。這一段在台南麻豆的代天府實地拍攝，形式介於劇情電影與舞蹈錄像之間，融入宗教儀式、身體動作與空間幻象。音樂部分由韓國作曲家李桂華創作，他以南管經典樂曲〈梅花操〉為靈感，為本片量身打造全新配樂，穿梭古老聲響與未竟劇本之間。然而，在拍攝過程中，一件意料之外的事發生了——有一位靈媒竟讓我母親「出現」了，她附身在靈媒身上。這使得原本關於三位台灣劇場前輩的計畫，不再只是關於他們的紀念，而是一場我個人生命歷史的回流與重組。我驚覺，我不再是現在的「我」；或許，我是前世的我，或者是某個第三人稱的我。因此，我邀請曾在過往創作中合作的韓國歌手 Kim Master 擔任「我」的聲音替身。他的聲音不是模仿，而是取代，是另一種存在的軌跡。

On the left side of the cruciform space lies a theatre entrance, adjacent to a hollow structure composed of numerous grid-like compartments—a remnant from the previous exhibition. For me, this space evokes the atmosphere of surveillance, as though one were being observed from within its recesses. Facing it stands a dual-channel video installation with surround sound, projected onto a 90-degree corner wall, entitled Psychic Theatre. The video unfolds in two interwoven movements: black-and-white documentary and color-based fiction. Together, they compose a cinematic passage from the world of the living into the realm of the dead and back again. The black-and-white sequences are excerpts from in-depth conversations with four spirit mediums, which gradually evolved into extended “scripted meetings with the underworld”—dialogues with the deceased about the contours of works left incomplete. During these interviews, my “stand-in” on screen is a series of aerial shots circling around several monumental Buddha statues in Taiwan. The camera slowly orbits their massive bodies, then the image is inverted: the Buddha above, heaven beneath, the earth suspended in air, and the sky sinking downward into the ground. This inversion of space operates as a ritual threshold, a visual gesture of passage into the otherworld, where the rules of time and space are disrupted, clearing a path for dialogue with the dead. The outcome of these dialogues takes shape in the color sequences: a fictional film jointly conceived by myself, the mediums, and the spirits. Shot on-site at the Datian Temple in Madou, Tainan, the work oscillates between narrative cinema and dance film, merging religious ritual, corporeal gestures, and spatial illusions. The soundtrack, composed by the Korean composer Lee Gye-Hwa, draws inspiration from the Nanguan classic The Plum Blossom Story, reimagined as an original score that flows between the sonority of ancient traditions and the spectral traces of an unfinished script. Yet during the filming, an unforeseen event occurred: one of the mediums suddenly “summoned” my mother, who appeared through her body. This unexpected visitation transformed the project. What began as a work of remembrance for three departed Taiwanese theatre directors became, instead, a return and reconfiguration of my own life history. I realized, in that moment, that I was no longer the “I” of the present—perhaps I had become my former self, or perhaps a third-person version of myself. To embody this displacement, I invited the Korean vocalist Kim Master, who has collaborated with me in previous works, to serve as the surrogate voice of “myself.” His voice is not an imitation but a substitution—a parallel existence, a trajectory of being that is at once mine and other.