Relocating Divinity

Being an Atheist Theist

 

​許家禎 [website]

我(你)收藏一部分的你(我)

 

錄像、裝置、參與式藝術

2014-2019

藝術家以解惑師的形象現身,提供社會上某些群眾所需求的信仰。「我(你)收藏一部分的你(我)」以紙牌算命之名,篡取信眾的自白,在與他人的互動之間從事「相互收藏」。在行為創作中,藝術家參考了一副曾在市面販售的遊戲占星牌,並從自己的網路日記中擷取部份語錄、製作成紙牌。其中有五十二張印有相同文字的底牌,以及八張分別可擷取牌面不同內容的機會牌,供參與群眾隨機抽取。在為群眾「解惑」的對談裡,藝術家以「特定的對象或是當事人的狀態」為諮詢範圍,讓群眾發問後抽牌,並以自己對於那些曾經恥於公開發表的情緒與心情來和群眾對話、解答、甚至治療。此互動行為的概念來自於藝術家對自我本質與情緒的「相信」;或者並非是相信,而是想尋求「認同」。在以牌面解讀對方的提問時,藝術家自己也被包含在那些情緒與困惑中;在一個只有彼此兩個人的異質空間、在這五分鐘的片刻,參與者們一併期待並享受著彼此情緒一致(或可說是相互認同)的那一瞬間。

         藝術家想像著那些提問人的可能形象,並將他現實化,因著其所操作的職業(為群眾解惑者)而成就著這個想像。如果對方符合了這個形象,他將成為藝術家收藏的一部份,但他也許永遠不會知道,其實他也正收藏了一部分的藝術家自己。此作品出色的再演譯了人類古老的宗教或心靈活動,算命;直至今日,其在人類社會中仍絲毫不減重要性。作品的目的並不在於算命這樣的活動究竟是真還是假,而是在揭示為了促使其成形、使其能具社會意義,背後具有多少異常複雜且多元且神秘的機制。

SYU Jia-jhen [website]

 

“I collect a piece of you / you collect a piece of me”

Video, installation and participatory art

2014-2019

In this work of participatory art, the artist played the role of spiritual mentor, offering materials of belief to people who need them in society. In the guise of playing cards for fortune-telling, the artist usurped the confessions of her participants, carrying out the concept of “mutual collecting”when they interacted with each other. The cards were made by referring to a pile of astrological game cards once sold on the open market. The content of the cards, however, was replaced by the artist’s online diaries. There were 60 cards in total; 52 cards (regular cards) were printed with the same text, parts of diaries the artist had written to document the emotions and moods that she was once ashamed of announcing publicly. In addition, there were eight opportunity cards, each with different hollow spaces. In the beginning, a participant had to ask the artist—the mentor—any question relating to a specific subject that s/he was concerned about, or the state of a person that s/he cared about. Then, the participant drew an opportunity card and placed it on a regular card. By doing so, both the artist and the participant could thus highlight a specific sentence. The artist then engaged in dialogue with the participant, answering the question—even offering a form of therapy—with the emotions and moods she had when writing the sentence.  

The concept of this performative art comes from the artist's "belief" in the emotional commonality of human essence—or, not exactly from this belief, but from her strong desire to be recognized. When interpreting each participant’s question with a highlighted sentence, the artist also got involved in worrying emotions, mostly distress. During the sessions in a closed, heterogeneous, and strange space that only accommodated two people, both of them expected and eventually enjoyed the moment when their emotions reached commonality—a point where they mutually recognized their shared emotions. The artist—as spiritual mentor—imagined and substantialized the image of the participant when engaging with the problem that the person raised; if the participant corresponded to this image, then s/he became one of the artist’s collection. This person would probably never know that s/he had also collected part of the image of the artist during the process. 

         This brilliant artwork re-creates and performs an ancient religious or spiritual activity of mankind that still has enormous significance in modern society. Yet, the purpose of the artwork is not to discuss whether fortune-telling or other forms of spiritual communication are true or not, but to present how complicated and diverse are the mechanisms of different dimensions involved in fulfilling the mystical process.

 

尋找藝術創作裡的宗教歸屬感(一種相信的感覺)

開幕講座藝術家與談逐字稿

大家好,我是許家禎,我的作品是在三樓。先回應一下剛剛第一位觀眾的提問,他的發問是藝術家自己本身是不是一個有信仰的人?其實我做這個作品的動機,就是來自於我自己在創作狀態裡出現了一種孤獨跟寂寞的感覺。我所觀察到某些宗教團體他們是有所信仰的人,他們對我來說都有某種溫暖的歸屬感,所以我是從尋找這樣的歸屬感出發,進而可能去學習塔羅牌、紫微斗數及卜卦等技能,在學習的過程裡有一些有學成,有一些可能中途的時候遇到一些技術問題,或者是某種我不相信的一個狀態而阻斷了這樣的學習。當我學習後發現,就好比說塔羅牌的話,學成之後我還是沒有辦法去相信在這項技術上頭的信仰可以帶給我某種歸屬、甚至是溫暖的狀態,我甚至沒有辦法以自己是一個占卜者的立場,去為陌生的群眾去做這樣子的連結。

   所以後來我把我的卡牌變成了自己生命裡面的日記寫作。我只有用我自己的日記內容來和陌生對象傾訴時,我才可以有勇氣去唸出來、跟族群去進行交流。這樣的狀態會讓我想到,我們在談的那種宗教的感覺,那種「歸屬感」,其實相似於我們在創作過程的狀態,那麼,在其中是不是也有某種相信藝術的感覺?我是站在這樣的出發點,去質疑群體歸屬跟自我之間的那種生命經驗裡面的衝突跟矛盾。

   而這件作品到今年,其實它是我2014年的作品,它前後經歷了五年。到了這次這個階段,我想要實驗的事情是,如果沒有這些神性的東西作為一個支撐的話,就直接以一個簡單的介面去面對面的互動、過程中甚至可以不用透過身體語言,僅用影像及文字來投諸於這龐大的文字海訊息,是不是它也可以被成立某種共鳴?甚至是被治療的那種感覺?因此在這次展覽中,我選擇用線上視訊的方式,來執行這次的參與式藝術計畫。