未完成之作 / 雙屏幕投影 / 93分26秒 / 2025

Psychic Theater / 2 Video Projections / 93m26s / 2025

入口的左側，一個帶有大量方格狀孔洞的空間被保留下來，那是前一檔展覽留下的結構。對彭弘智而言，它像一個監控空間，也像一個未曾離去的幽靈，意外地成為《未完成之作》的一部分。

其對面是一件投影於90度牆角的雙頻道環繞聲錄像裝置。兩個影像面在牆角交會，形成一個介於陰與陽、此界與彼界之間的過渡空間，彷彿影像不斷由中央長出，又重新被吸入其中。

影片由黑白紀錄影像與彩色劇情影像交錯構成。黑白段落以四位靈媒訪談為主體，彷彿一場延續性的「陰間編劇會議」；代表藝術家的影像則是台灣數座大型佛像及周邊環境的空拍畫面，鏡頭環繞佛像並將天地倒置，使佛在上、天在下，形成進入異界的視覺儀式。彩色段落則是在台南麻豆代天府拍攝，由與靈媒及亡者反覆對話後共同構思而成，介於劇情電影與舞蹈錄像之間，並由韓國作曲家李桂華以南管〈梅花操〉為靈感創作配樂。

拍攝過程中，一位靈媒意外讓藝術家已逝的母親「出現」，使原本關於三位台灣劇場前輩的計畫，轉而與藝術家自身的生命歷史重疊。彭弘智因此邀請韓國歌手 Kim Master 成為「我」的聲音替身——不是模仿，而是取代，是另一種存在的軌跡。

At the entrance to the installation, a structure punctuated by numerous square openings was retained from the previous exhibition. Peng perceived it as both a surveillance-like space and a lingering ghost—an architectural remnant that unexpectedly became part of Psychic Theater.

Opposite it, a two-channel video installation with surround sound is projected onto two walls meeting at a 90-degree angle. The two image fields converge at the corner, creating a threshold between yin and yang, this world and another. The images seem to emerge from the central seam and then be drawn back into it, as if the space were continuously opening and closing.

The film interweaves black-and-white documentary footage with color narrative sequences. The black-and-white sections center on interviews with four spirit mediums, forming what Peng describes as an ongoing “writers’ meeting in the underworld.” In place of the artist’s own image, aerial footage of monumental Buddhist statues and their surrounding landscapes appears; the camera circles the figures and overturns the horizon, placing the Buddha above and the sky below, turning familiar space into a visual passage toward another realm.

The color sequences were filmed at Madou Daitian Temple in Tainan and developed through repeated exchanges with the mediums and the deceased. Moving between narrative cinema and dance video, they are accompanied by music composed by Korean composer Lee Kye-hwa, inspired by the traditional Nanguan piece Plum Blossom Melody.

During the process, one medium unexpectedly brought forth the presence of Peng’s deceased mother, shifting the project from an investigation of three prematurely deceased figures in Taiwanese theatre toward the artist’s own personal history. Peng subsequently invited Korean singer Kim Master to become a vocal stand-in for “I”—not as an imitation, but as a substitution: another body and another voice temporarily occupying the place of the self.