姚瑞中

《巨神連線》

幾乎所有宗教基本上都是對於「人類欲力」幸福許諾的體現,透過多種方式來引導人類心靈。除了文字書籍、宣教和儀式之外,還要透過具體形象鞏固教徒與教義,此系列處理的是信徒們的「欲力投射」,也就是他們認為的神之「具體形象投射」。臺灣寺廟文化應該是全華人世界最複雜繽紛的一塊地方,奇人異士、文人騷客、販夫走卒在此叩首;善男信女、黑白二道、三教九流無不跪拜。大部分宮廟都藏有凡夫俗子對現世的各種需求,民眾希望藉由超驗界力量獲取現實利益或肉身健康,因此就產生了供需問題。一間廟宇越來越大、越來越神,表示背後有很多信徒可能獲得無法解釋的力量所幫助,奉獻的基礎不全然是信仰本身,往往根據的是靈驗神蹟的多寡與高強而定。一尊巨大神像的出現、萬眾欲力共構出一個「相」,但我不只想再現那個「相」,因為所見實相非相,凡所有相皆是虛妄,若過度執著於相即生迷惘。


●「交陪移動論壇」導覽—姚瑞中
YAO Jui-Chung

Links Between Colossal Deities

Almost all religions are trying to fulfill “human libido” for happiness, mentoring people’s minds via numerous methods. Apart from texts, books, missionaries and ceremonies, the religions strengthen their worshipers and doctrines with solid forms. In this series, I deal with the worshiper’s “projection of libido,” or rather, the “projection of solid forms” of the gods in their beliefs. In the Chinese world, the culture of temples seems to best thrive in Taiwan: numerous people, with all the social classes, jobs, ages and genders, can be seen to worship in the temples. Most temples harbor various mundane needs. People expect to obtain profits or good health via transcendental powers, and thus a supply-demand model is formed. When a temple becomes bigger and mightier, it may indicate that it is supported by many worshipers whose problems have been solved by supernatural powers, because in the real world, the amount of donation tends to be determined by the number of fulfilled wishes and the gods’ power instead of the beliefs themselves. When a massive idol is made, it is actually a “facade” built by tens of thousands of people’s libido. Yet, I want to seek beyond the “facade” itself, for what we see is not what it really is—all the facades are but illusions that will perplex us when overly pursued.
 

1969年出生於臺北,現居住及工作於臺北。國立臺北藝術大學美術系畢業,現兼任於國立臺灣師範大學美術系。多次受邀參加國際雙、三年展,曾獲集群藝術獎及亞太藝術獎。專長為攝影、裝置及繪畫,作品主要探討人類生存的荒謬處境、臺灣主體性、後殖民主義、「冷現實」社會的虛假與疏離、肉體與靈魂,以及對威權統治與正統性進行顛覆。2010至2016年帶領二百餘位同學進行《海市蜃樓——臺灣公共閒置設施》踏查拍攝計畫,以公民參與方式與出版提醒社會大眾並提供政府參考。著有《臺灣裝置藝術》、《臺灣當代攝影新潮流》、《臺灣廢墟迷走》、《臺灣行為藝術檔案》等書。
YAO Jui-Chung | born in 1969 in Taipei. Yao lives and works in Taipei now. Graduating from National Institute of The Arts (now Taipei National University of the Arts) with a degree in Art Theory, he now works as an adjunct instructor at the Department of Fine Arts, National Taiwan Normal University. Having been invited to various international biennial and triennial exhibitions for many times, Yao has won awards like Multitude Art Prize and Asia Pacific Breweries Foundation Signature Art Prize. Specializing in photography, installations and paintings, he makes artworks exploring the absurdity in human existence, the subjectivity of Taiwan, post-colonialism, hypocrisy and alienation in the society of “cold reality,” relations between bodies and spirits, and ways to subvert authoritarianism and legitimacy. During 2010 to 2016, Yao led more than 200 students to implement his field research project Mirage: Disused Public Property in Taiwan, reminding people and the government of the public issue via citizen participation and publication. He has written Installation Art in Taiwan, The New Wave of Contemporary Photography in Taiwan, Roam the Ruins of Taiwan and Performance Art in Taiwan, etc.
 

 
 
 
 
 
 
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