[      ] is the object of our prescent adventure. It cannot be read nor seen, but it can be imagined. [Ghost] is one of its incarnations. We take the ghost stories out of Tales from the Taiping Era as our creative blueprint, bringing ancient ghosts into contact with modern people. In the name of Art, the ghost takes on a new guise while Art ushers in broader prospects for the ghosts.

[    * ] 2+1. We use participating artists’ works from Tales from the Taiping Era as the instruments of necromancy, calling on the superhuman power of mediums to assist in calling spirits out of the museum. We invited different people to witness the ceremony and document it. From their interviews, we construct “A Paranormal Museum Event”. After the event at the museum, people tell about the ghosts they experienced at the museum.

[      ] is essentially two brackets between which lives an invisible space. Through the current work, I would like to bring the audience and myself a little closer to a risky situation: that is, how would we view a real ghost were it to appear out of the museum? Is seeing ghosts a visual phenomenon? Can a ghost be appreciated as visual art?

[      ] 是我們今次的探索對象,它讀不出、看不見、但可以想像,[鬼] 是它其中一個化身。我們以《太平廣記》的鬼故作為創作藍本,把古代的鬼和現代人連繫在一起,鬼以藝術之名借屍還魂,藝術用鬼之名借題發揮。

[    * ] 2+1。我們借《太平廣記》參展藝術家的作品當作招魂的道具,請靈媒的神力幫助在美術館內進行一場招魂大法。我們邀請不同人士見證儀式和進行記錄,再從他們的訪問建構「一件美術館的靈異事件」。事後,我們安排兩次的夜間探訪美術館的活動,讓當事人說出在美術館遇鬼的經驗。

[      ] 是兩個括號,中間留住一個看不見的空間。通過這次創作,我想帶觀眾和自己接近這個處境:若果美術館的展櫃內出現了一隻真的鬼,我們要怎樣看待它呢?見鬼是否一個視覺現象?鬼可否當作視覺藝術來欣賞?

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