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Saturday
31
MAR

擲光回聲|黃孟雯個展

12:00
19:30
水谷藝術 Waley Art
Event organized by 水谷藝術 Waley Art

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擲光回聲-黃孟雯個展
Echo from HERstory ─ Solo Exhibition of Orlando Huang
展期Date|2018.03.31-2018.04.22
開幕茶會Opening|2018.03.31(六)6:00pm
地點Venue|水谷藝術 臺北市萬大路322巷6號
開放時間|PM12:00~7:30

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擲光回聲是形容這個計畫創作的過程。
  
  在那個還沒有西方性別論述引進的年代,尚未為自己命名的身分,身為一個喜歡女人的女人,她的性別氣質如何展演在我們現在看來相對保守壓抑的時代。
  這個計劃隨著阿寶的生命史展開,她出生於1938年,與一群和她一樣喜歡女人的女人們,在六零年代的台北鬧區,用自己的力量穿越束縛。如此女性的生命經驗不曾出現在我們對於那個時代女性的記憶,對我來說,性別並非一個議題,性別是一個理解我們自身文化的一個視角。
  由於自身的背景,帶著社會學方法進入田野,過程中,如此理性的方法總是與滿溢感性感知的藝術載體不斷拉扯。我問自己究竟我想理解的是甚麼,在編寫重組影片的同時,我才意識到我試圖尋找「情感的邏輯」。情感與邏輯很多時候如同天秤的兩端,情感不一定合乎邏輯,它是人類的本能,然而它必須在社會中存在,社會構成一種客觀實在,它擁有力量強加於人。情感與這股力量衝撞又妥協,衝撞又妥協,情感在社會的藍圖流動溢出,溢出的正是我想理解的,情感背後所承載的思維脈絡,那樣的思維脈絡讓我理解我所在的我繼承的文化。這些也許早在環繞在我生活周圍,我卻因為太習以為常無法辨識。那樣的無法辨識來自於,那是種無法言說的感知,需要透過創作的過程梳理與再想像。
  <生之慾>錄像與<全家福>攝影開啟了這個計畫對於性別的思考。兩部短片再想像了生命史的敘事。如果<日安午夜>是從性別這個門縫窺見當時社會的規範,與這群喜歡女人的女人們如何在規範中找到屬於她們的異質空間。<再會彼時>則是當情感溢出社會的藍圖時,情感如何找到支持它的精神狀態,那是與這個社會制度相輔相成的民間信仰。

我向遙遠的過去、記憶、歷史拋出探問,你以為那不存在,竟從遠方傳來陣陣回聲。

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影片介紹

《日安午夜》

阿寶與一群她們稱之為「穿褲的」的換帖,是六零年代台北當時知名的橋頭十三太妹。在大稻埕夜晚,她們穿上訂製的西裝,梳起最帥的髮型,上酒家,歌舞與歡樂。她們與酒家老闆熟識,會自己做胸花與釀私酒賣給老闆。這一天,正當她們享受著音樂與舞蹈的當下,一個流氓男子衝進來,推了其中一人,並語帶諷刺羞辱她們是女人的事實,雙方打起架……

《再會彼時》

有沒有一個人住在你的心底
就算你知道你們無法久長
她是你永遠放不下 深深的惦念

這是四十多年前的故事,阿寶與她最愛的女友,當兩個女人間的愛情沒有辦法繼續,一個人選擇離世,她的魂魄化為蝴蝶來到她身邊,一種延續愛情的方法,一種在一起的方式。多年後,阿寶在民間信仰中找到支柱,惦念才化為蝴蝶飛去。

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Echo from HERstory describes the creating process of the project.
  
  It was when the western sexual discourses had not been introduced. As a woman who likes women, A-Bao had a hard time identifying herself in that conservative and repressive time. The project demonstrates how her special temperament as a lesbian was presented at that time.
The project began with the life history of A-Bao. A-Bao was born in 1938. In the 60s, she and her lesbian friends broke free from the conservative limitations with their own strength. Such female life experiences had never existed in our memories about the women of the 1960s. To me, gender is never an issue. Instead, it is a perspective for us to interpret our own culture.

Due to my academic background, I conducted my field research with sociological methods. During the process, certain contradictions emerged between the rational methodology and the sensitive art carrier. I asked myself what exactly I wished to understand during the project. As I was writing and reorganizing the film segments, I realized that I had been seeking for the "emotional logic". Emotions and logic can be on the opposite sides. Emotions are not necessarily logical. They are the human instinct and must exist in the society. However, the society is constituted by the objective and practical logic. In short, logic has the power over people. Emotions and logic conflict yet compromise with each other constantly. Emotions are often expressed beyond the logic blueprint of the society. The ideological contexts behind the overflowing emotions are exactly something I had always wished to understand more. Such contexts allow me to understand the culture that I am a part of better. The contexts may have existed in my everyday life. However, I had not been able to recognize them since they were often taken for granted. Also, the inability of recognition is derived from the fact that the contexts are often perceptions that are indescribable. They need to be reviewed and re-imagined through the creative processes.
Both The Desire to Live and The Family Portrait initiated this program which is about the reflection of gender. Two films re-imagine the narratives of these life histories. Good night! My rebel girls! attempts to observe the social norms at that time from the perspective of genders. It presents how these lesbians found the heterotopias they belonged to within the norms. Goodbye, my youth, on the other hand, shows how overflowing emotions found their support outside the logic blueprint of the society. As it turned out, the support came from the folk religions that complement the social system.
I addressed a question to the past, the memory and the history. I never asked for any reply. Surprisingly, I heard echoes from the past somehow.