開幕 Opening 16:30
座談 Lecture 15:00-16:30
蕭淑文 ╳ 張嘉穎Jo HSIAO ╳ CHANG Chia-Ying
藝術家分享會 Artist Talk 15:00
Venue｜Chini Gallery (1F., No. 48, Ln. 128, Jingye 1st Rd., Zhongshan Dist., Taipei City 104051, Taiwan)
Opening Hours｜TUE-SUN 10:30-19:00
Direction｜MRT Jiannan Road Station (Exit 2) 5-minute walk
展覽名稱中的「希達」，是嘉穎創造的角色：蘋果大頭外型，形象與名字連結，讓人聯想起長銷的可口碳酸飲料。他現身於不同作品之中，或遭啃咬而缺角或汨汨流淚流涎；「You are the apple of the eye」這句戀人絮語，源於《聖經》中對於疼愛之物的珍視；因瞳孔狀似蘋果而衍生的俗諺，表達痴迷者眼中只看見自己想要相信的：虔誠地篤依教義指示，相信終將獲得救贖。
嘉穎使用獨立的語言系統，將種種暗示掩藏於桌櫃裡的手抄卷軸和典籍殘卷之中，以仿古作為召喚儀式，訴說Aura之石為眾人搶奪的歷史更迭。邏輯斷裂的故事，運用中世紀與當代混生的外觀，影射文明發展下歷史的不斷重演；而看似脫離現實的奇幻世界，實則暝暝隱晦反映著集體的潛意識。畫作中肖像姿態的主人翁，無視於背景中的妖精魔怪爭奪戰鬥，終其不變的是那視線──凝視虛空般的淡定，直直望進因觀看而困惑的心坎，召喚著專屬於個人的觀照。亦如波希（Hieronymus Bosch）的人間樂園、布勒哲爾（Pieter Bruegel the Elder）的箴言借喻，其陰影若有似無，充滿不言說的寓意；符徵滿溢在這個詭譎的世界中，留待觀者嘗試補完。
Putting on a Pink Tweed Ritual Cloak – HA.HA. THE NATIVITY OF SIDRA: CHANG Chia-Ying
The bizarre, baffling 21st century has revealed a diversely ever-changing world that requires much more examination and analysis. The intertwining, complicated situations demand fresh ways of interpretation and exploration; for instance, the rise of new religions have called out attention to the absurdities in this contemporary era. It is under such circumstances and through Chang Chia-Ying’s attempt to reveal the undetected states of the human subconscious that the religion of “HA.HA.” was born.
The name “Sidra” in the exhibition title refers to a character that Chang has created: its large apple-shaped head and image are connected to its name and bring to mind the popular, tasty soft drink. It appears in different works, with its head being bitten off a piece or with tears or saliva streaming down its face. The affectionate statement between lovers, “You are the apple of the eye,” originates from the Bible to express one’s cherishing of beloved persons or objects. The idiom, derived from the resembling shapes of the pupil and apples, conveys a reality that those who are obsessed only see what they want to believe – that is, those who devoutly embrace religious doctrines believe that the salvation will eventually be theirs.
Chang uses her individual linguistic system to embed a series of hints and clues in hand-written scrolls and manuscript fragments displayed in the cabinet, performing an invocation ritual through a pseudo-antique style and telling the history of people warring for the Aura stone. With broken logic, the story is enshrouded in a mixed look comprising medieval and contemporary elements, signaling history’s recursive path in the development of human civilization. Chang’s fantasy world, which seemingly departs from reality, implicitly reflects the collective subconscious. The protagonists depicting in these portrait-like paintings do not seem to mind the fighting goblins and demons in the background. What remains unchanged in these paintings is the look in their eyes – a detached gaze into an emptiness and penetrates the minds of the viewing, baffled spectators, inviting their personal observations and readings. We are also reminded of Hieronymus Bosch’s earthly delightful garden and Pieter Bruegel the Elder’s proverbial metaphors; the shadowing ambiguity is metaphorically charged – this creepy world brimming with signifiers awaits spectators to fill in their own interpretations.
In between reality and dreams, Chang puts on a pink tweed ritual cloak and silently evokes the surging undercurrents of absurdities in a prismatic crystal ball before her, exposing the ever-present subconscious.
Sweet-looking on the outside and wise, sophisticated on the inside, the founder of “HA.HA.” has arrived. As she reveals herself to the world, she prays for the awakening of all.