Good Luck /大吉大利
我的家庭也如台灣一般正常家庭的有許多迷信，在家中可以看到許多
風水對位，門簾防止互 衝(防止吵架)，家中有許多動物生肖精品(我
們家中四人的生肖)，琉璃作的，木雕的， 陶瓷的，許多合理空間位
置被這些看不到的虛擬風水對位物品阻擋，到處都可以看到以不同
形式出現的大吉大利琉璃擺設，搭配着母親曾經年輕時手作許多紙粘
土裝飾，整個空間是連 續性的華麗擺設，運勢藏在視覺裡。
其中在沙發邊的一個大吉大利琉璃擺設，它是一般常見 的複製產
品，但因為擺設在我們家久了，在某天下午的樣光照映下，當下的時
刻，搭配着風水空間定位，有某種置放過久的信仰訊息出現，也透露
着我母親的擺設如何將信仰形式表達出來，
此作品運用gif檔(圖像互換格式)的影像模式，在家中的琉璃擺設的
來回晃動，它如同擺設者掛上琉璃桔子留存下的懸掛晃動感，也像某
種外力影響而產生的晃動，動能不削減之影像狀態。
信仰(母親所相信的)及空間狀態(自己的家)、母親都留存在這客
廳的角落。
My family is also like normal families in Taiwan have many superstitions, you can see a lot of feng shui position in the home, curtains to prevent mutual conflict (to prevent quarrels), there are many animals in the home Zodiac boutique (four of us in the family's Zodiac), glazed, wood carvings, ceramics, a lot of reasonable space location is not seen by these virtual feng shui position of the items blocked, everywhere you can see different forms of great luck! With the glazed decorations and the many paper clay decorations that my mother used to make when she was young, the whole space is a continuum of gorgeous decorations, and luck is hidden in the vision.
One of the big luck glazed decorations by the sofa is a common reproduction, but because it has been in our house for a long time, under the light of one afternoon, at the present moment, with the feng shui spatial positioning, there is some kind of faith message that has been placed there for a long time, and it also reveals how my mother's decorations express the form of her beliefs.
This work utilizes the image mode of gif file (image interchange format) to sway the glazed decoration back and forth at home. It is like the swaying sensation of hanging the glazed tangerine left by the decorator, or the swaying sensation caused by some external force, with no loss of kinetic energy in the state of the image.
Beliefs (what my mother believed in), spatial status (my home), and my mother are all present in this corner of the living room.
2019 忘憂草：考古女性時間」廣東時代美術館，廣州
Forget Sorrow Grass: An Archaeology of Feminine Time
On view: September 14 to November 17, 2019
Opening: Saturday, September 14 at 3-6pm; guided tour at 4pm
Address: Guangdong Times Museum, Times Rose Garden III, Huang Bian Bei Road, Bai Yun Avenue
North, 510095 Guangzhou, China
Hours: Tuesday–Sunday 10am–6pm
T +86 20 2627 2363
contact@timesmuseum.org
timesmuseum.org
Guangdong Times Museum is pleased to announce its first exhibition in fall 2019 “Forget Sorrow Grass: An Archaeology of Feminine Time”, curated by Jianru Wu and Sirui Zhang, opening in its main gallery on Saturday September 14. The exhibition presents 26 works from Doreen Chan, Patty
Chang, Cécile B. Evans, Jes Fan, Christopher K. Ho, Hsu Che-Yu, Ma Qiusha, Ad Minoliti, Peng Yi-Hsuan, Aki Sasamoto, Wang Tuo, Zhang Xiaogang, and Yunyu “Ayo” Shih + Zijie, in which themuseum continues its exploration in gender issues, especially from the perspective of individual recollections. “Forget Sorrow Grass” is one of the most common roadside plants, but can also be an online profile name of a woman, one that we can find in our everyday lives. To name oneself “Forget Sorrow Grass” implies a conflict solution that is common among femmes, which is to rely on individual agency to process and ultimately forget the pain inflicted onto them. “Forget Sorrow Grass” points inward, and this orientation is no accident. The habit of swallowing
takes shape gradually in an expanded period of time. By “decompressing home” in the dimension of “feminine time”, the exhibition reviews and rewrites an informal history of the orientation and constructions. As compared to a linear timeline, which is goal and progress oriented, feminine time is
a sensual dimension extracted from linear history. Within feminine time lies economically unquantifiable housework, undercurrents of emotions bound with intimate relations, as well as personal anecdotes that are being ignored in formal historical writing. The exhibition aims to further investigate the question that if such feminine time is relative, what is the power structure that is shaping the construction?