Being an Atheist Theist
寧森的作品〈圓〉，以Siri 語音互動模式，表現自己與想像中過世的祖母之間的互動。此作品不僅細膩展現人們與過世親人連繫之情感期盼，亦貼切地呈現「宗教」作為人們與心中神聖的、不可觸及之物相互聯繫的中介橋樑。而不止是對過世親人的思念，宗教是人們投射各種期盼與慾求（如求婚、求財、求子、求官、求平安）的中介。許家禎的作品〈我（你）收藏一部分的你（我）〉，進一步將自己的日記，製作成這個中介的「表意系統」。藝術家以自己的網路日記作為文本，擷取部份語錄製作成60 張卡牌、供參與群眾隨機抽取。藝術家本人則擔任「靈媒」或「桌頭」的角色、解釋卡牌意義，並以自己對於那些曾經恥於公開發表的情緒與心情來與參與者對話、解答、甚至相互治療。「算命」、「占卜」，並不真的在給予預言、預知未來，而是透過表意系統，與靈及占人相互連結，達到療癒而解惑。
Religion has been seen as the opposite of modernity in contemporary society. Sociologist Max Weber used the concept of "disenchantment" to designate the characteristics of “demystification”and “anti-religion”in modern society. Many scholars, such as Émile Durkheim and Larry Shiner, believe “secularization”is one of the most significant factors appearing in the development of modern national political systems. In this context, the value of modern science is highly esteemed, and traditional ways of living and believing that fail to pass the inspection of science are condemned as superstition and conservatism. Yet, the problem is that because modern science is just one of many methods developed by mankind to theorize, interpret and explore the psychic world, it can neither entirely explain humans’spiritual operation and emotions, nor truly fulfill our spiritual needs. The long prevailing idea of prioritizing rationalism and positivism therefore creates a religious/spiritual void in modern society—a void not only loaded with many assertions and deceptions, but also often manipulated by scoundrels for their personal interests and social power.
In her book The Case for God, Karen Armstrong argues that, in history, there were few atheists entirely denying the idea of God; they just disagreed with certain discourses of God at that time. For her, religion is a form of practice, through which people experience and then reach religious truth by themselves. This process is similar to artistic creations, because, as the scholar believes, rituals are like works of art—not only can they inspire participants at the aesthetic level, but also lead them into a deeper aspect of existence. This is the curatorial purpose of "Return to Divinity"—through artistic creation, exhibition, and appreciation, to reflect concepts of divinity, to re-adjust the distance between humans and God, and to blur the boundary between modern scientific rationalism and pre-modern mysticism. With the artworks of six Taiwanese artists addressing different aspects of human religious/spiritual activities—such as religious rituals and installations, mystic experiences, views on death and afterlife, tools invented for predicting the future, and so on—this exhibition invites the audience to re-examine and re-conceptualize the ideas of spirituality, divinity, cosmos, and religion. When we have faith in and respect for the supernatural or certain form of divinity, but at the same time have doubts about how these are interpreted by contemporary mainstream religious organizations, we inevitably become—drawing on Armstrong’s notion—"atheistic theists."
The first exhibition room presents the artwork of Chuan-Lun Wu, “Angle-Fortune”(2016-2017). Using 3D-scanning, data analyses, documentation and paper-carving, the artist represents a stone pile built by the riverside near Baekdamsa Temple, South Korea. Piling up stones is a primitive religious ritual of making a wish in Korea. By doing so, humans create a simple artwork by re-setting natural objects in praise and honor of sublime mother nature. “Angle–Fortune”is an artistic action with similar essence, in which the artist applies science and mathematics to honor primitive religious rituals of mankind. By presenting this artwork, “Relocating Divinity”discusses the primitive meaning of human religious ceremonies and religious art.
The second exhibition room presents Yin-Ju Chen’s artwork, “Notes on Psychedelics II: Inside a Memorable Fancy”(2018–2019). The artist uses charcoal drawings and videos to show her spiritual experiences after imbibing a herbal soup during a shamanic ritual, illustrating the transformed states of mind evoked and invoked by the shamanic practice. This spiritual journey, as the artist believes, has the potential not only to broaden one’s understanding of different dimensions of human consciousness, but also to unify ordinary and altered states of human mind. What “Notes on Psychedelics II”explores is therefore not only religious rituals but also individual spiritual experiences, which can be the core and even the common origin of human’s religion and mystic beliefs. Yin-Ju Chen remakes this artwork by including icaros chanted by a Taiwanese shaman practitioner, Lin Li-Chun, rendering the original soundless version even more completed and enriched.
In his work “Reunion”(2018), Ning Shen imagines Siri as his deceased grandmother and engages in a daily conversation with her. The artwork not only delicately represents human’s deep mental desire for connecting with the deceased relatives, but also discloses the important feature of religion as an intermediary bridge between people and the sacred. In fact, besides mediating people’s remembrance and reminiscence, religion is also the intermediary to which people project various expectations and wishes, such as for good marriage, wealth, offspring, promotion, peacefulness and composure). In the artwork “I collect a piece of you / you collect a piece of me”(2014–2019), Jia-Jhen Syu transforms her online diary into a type of this “intermediary symbolic system,”by making the diary into a set of fortune-telling cards. The artist plays the role of "psychic" or "spiritual medium", and explains the meaning of the cards to her audiences with her emotions and moods that she was once ashamed of announcing publicly. By doing so, the artist and the audiences share certain emotional commonality and gain certain form of mental cure. Perhaps, as this artwork tries to show us, "fortune-telling" and "divination" are not really giving predictions about the future, but casting doubts and healing broken souls by reaching mutual connections and mutual understandings.
Tzu-Tong Lee’s work, “#Ghostkeepers”(2018), expands the above-mentioned dimensions of emotions and desires to the level of collective society. The artist creates three fictional Facebook accounts, inviting her participants to play the roles of three political victims on the social platform. The three participants have to share posts and interact with each other and other users. On the last day of the exhibition, the artist closes the accounts and prints all their posts. A ceremony is then held to burn the posts and see off the three ghosts. “#GhostKeepers”aims to collect and write private, individual stories that are forgotten in the grand narrative of modern history. The artwork manifests the fact that human religious activities are not only for personal healing, redemption and spiritual satisfaction, but also can play an important role in dealing with the rupture between the individual and the society. They may facilitate the transitional justice in a society, and assist the society to alleviate the collective pain.
So far, we have discussed how people use religious rituals and mystic practices as means to approach the image of God and to experience divinity, and how people's spiritual needs (desires and wishes) are projected and extended to religious/mystic objects and activities. The final exhibition room further explores how people can use and manipulate these mechanisms to gain their material interest and social power. Two of Jui-Lan Yao’s artworks—“An Automatic Sealing Machine for Psychotherapy Course of Healing the Low Self-esteem of the Bomb Generation, Unit of Mysticism, Camp for Experiencing Utopia and Fighting against Capitalism, the China Youth Corps, ROC”(2019) and “An Automatic Sealing Machine for Employment Service Station for Religious Leaders and Universe Masters, Bureau of Promoting Confucius and Mencius Thinking, Ministry of Education, ROC”(2019)—explore how false prophets provoke people’s negative emotions (e.g. alienation, nihilism) and offer them religious mystics as spiritual fast-food to obtain benefits. Confucianism is one of traditional ideologies that these false prophets often utilize to demand their believers to respect authority, making them accustomed to renouncing their own subjectivity to authoritative leaders, such as "guru" and "master".
Relocating Divinity: Being an Atheist Theist
Curator: Feng-yi Chu
Time: 11/2–12/1 (2019)
Venue: Waley Art, Taipei, Taiwan
Instagram AR 設計｜姚睿蘭
“Relocating Divinity: Being an Atheist Theist”
Time: 11/2–12/1 (2019)
Venue: Waley Art, Taipei, Taiwan
Artist｜Yin-Ju CHEN, Tzu-Tong LEE, NING Sen, Jia-Jhen SYU, Chuan-Lun WU, Jui-Lan YAO
Opening Event Speaker｜Nobuo Takamori
Special Event Speakers｜Li-Chun LIN, Shih-Chi WANG, Keng-Chang CHENG
Exhibition Spongers｜National Culture and Arts Foundation & Department of Cultural Affairs Taipei City Government
Exhibition Visual Design｜Jui-Lan YAO
Instagram AR Design｜Jui-Lan YAO
Exhibition Support｜Waley Art (Tsai-Hsun PENG, Meng-Chieh HSIEH, Jessie W.C. CHIU, Yu-Fang CHEN), Chia-Sheng LIN
Administration Support｜Waley Art
Technic Support｜TRONK Interactive Co. Ltd. & Wang Shao-Gang Visual Studio
Photography｜Sean WANG, NING Sen
Picture Album Design｜Mi-Jing CHEN
Picture Album Sponsor｜National Culture and Arts Foundation
Special Thanks to｜Chieh-Hsiang WU, Kuang-Yi CHEN, Tai-Song CHEN, Bûn-Kî Tēnn, Art Critique of Taiwan (ACT)