關渡美術館

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關渡美術館
佛」計畫-顏忠賢錄像裝置藝術展
展覽日期
2007-03-30 ~ 2007-04-21
 

佛」計畫-顏忠賢錄像裝置藝術展

展期: 2007-03-30 ~ 2007-04-21
地點: 週二至週日 上午10:00-下午5:00

 

展覽理念

本展覽以錄像.裝置作品<佛計畫>、<五指山>、<袈裟迷宮>,重建台灣宗教「造大佛」的擬似儀式,並結合關渡美術館的多元空間,提供觀眾步履「成佛」、「毀佛」、「我即是佛」的種種「偽」參行經驗。

其中,<佛計畫>以填充式的黑色塑膠垃圾袋與麻繩,綁出「軟建築」式的七尊佛像(6-2公尺),並將之懸吊於竹架間,令觀眾於幽暗的燈光下仰而望之,步步踏入亦妖亦魅的懸絲傀儡異域,在心生害怕之餘,頓悟佛性懾人的神聖實為恐懼畏怯的一體兩面。

相形於<佛計畫>的黑悚壓境,<五指山>以「西遊記」為主題,於展場搭建白胚布.棉花充填的「軟建築」式戲台,並播放由真人搭配唐三藏、孫悟空、沙悟淨、豬八戒等等布袋戲偶,演出五幕劇:「水濂洞」、「五指山」、「火焰山」、「人參果」、「無底船」;劇中以「遊戲旅歷」為主調,並導入現代既歡樂又荒謬的「觀光」,強調佛國的「求經」與人境的「野遊」,互為呼應之處,進而強調「現世即佛」、「處處是佛」的迷信與迷亂。

第三件錄像作品<袈裟迷宮>,內容為真人身穿五彩毛線袈裟的行動演出-不斷得「穿」/不斷得「參」,演員動作、表情皆猖狂誇大,看似嘉年華的無限歡樂,實為寫照百性求佛拜佛的恍惚癡迷,可笑荒誕之處,直指人心的無境慾望與無力軟弱。

 Introduction

This exhibition consists of three video/installation art works: Buddha Project, The Mountain, and Robe Maze, and aims to present a pseudo-ritual of “Build-up Buddha” from traditional Taiwan custom.  The art works merge into the various space of the Kuandu Museum of Fine Arts.  When visitors walk inside the gallery, they would have some pseudo-pilgrimage experiences such as “attain Buddhahood”, “deconstruct Buddha”, and “being Buddha”.

Among the art works, the Buddha Project is composed of seven “soft architectural” Buddha statues that are made of stuffed black garbage bags and hemp ropes.  They are hung among the bamboo truss.  With very dim light, visitors would step into a mysterious land and look up at ghost-like soft Buddha statues.  With fear, they would be enlightened that the inviolable sacredness and the tremendous fears are, in fact, two sides of one coin.

Compare with the black, horrible Project Buddha, the inspiration of The Mountain comes from the famous fiction Journey to the West.  The artist set up a soft Hand Puppet Show’s stage with gray fabric stuffed with cotton.  A video features puppets Tang Sanzang, Sun Wukong, Zhu Bajie and Sha Wujing along with real performers is projected.  These characters present five acts: Cave of Water Curtain, The Mountain, The Mountain of Fire, Fruit of Ginseng and Bottomless Ferryboat.  “Games” and “journeys” are the main tone of this play, and modern, happy ridiculous “sightseeing” scenes are led in as well.  The piece emphasizes on the contrast between “obtain sutra” in Buddha land and “travel for pleasure” in the man’s world.  Furthermore, it also stresses on the graciousness and accessibility of the Buddha of present.

The third video/installation Robe Maze is a performance.  Performers wore colored wool robes and acted exaggeratedly and arrogantly.  They kept on putting on/taking off robes and worshipping Buddha.  Seemingly, these people were enjoying a carnival with great happiness.  Yet their bemused, crazy facial expressions are actually portraitures of praying for Buddha’s blessings.  It also refers to the endless desires and weakness of human beings.