《南勢庄故事集》附錄

Appendix of "The Nanshi Village Tales" 

我們是否上身過量

Are We Being Possessed Too Much

2015

小說、單頻道錄像、著色本、平板電腦、棧板、

懶骨頭、旅行團

視場地而定

2015

Novel, Single-channel video,

drawing books, iPad, wooden pallet,

bean bag sofas, a tour.

Dimension variable.

作品連結
相關評論

簡介

你會看到一個醮壇,醮壇就是普度也會看到的那個結構物;

你會看到120本英雄著色本,每一本都只有職業、故事卻無臉面;

你會看到一本章節被拆開的《南勢庄故事集》,真的走完一圈後,你才知道自己為了什麼而走、正在走什麼、走出了什麼。

我所說的都是你已經知道的,如果你感興趣,我們再繼續。

 

關於

忽然外面砰的發出很大的聲音。我們一群人都還在客廳,外婆到隔著牆外面那邊的神明廳看,過一下子她回來說,他(三叔公的兒子,跳太子爺的)起乩了,然後把媽媽和阿姨都叫到前廳。

 

客廳還有三叔公阿頂、三嬸婆、外公、爸爸跟我,Canon 60D架在客廳角落,我繼續問三叔公隔壁庄乩童的事,阿頂沒事一樣的繼續用他很重的鹿港腔說話,外面的聲音窸窸窣窣。我非常分心,因為兩邊都想專心聽,一邊是上工的乩童,一邊是下工的乩童。

 

「兩邊」並不只是說兩個人,而是兩種(或更多)人稱代名詞、兩種文體、兩種敘事類別。英雄著色本及《南勢庄故事集》分別代表了個人敘事,以及混雜了歷史、文化甚至主體困頓的大敘事,這兩者之間的關係以「索引」而非「註解」的方式被聯繫,透過這種方式,我試圖製作出一種敘事機器,讓小敘事及大敘事可以互相轉譯。簡言之,這部敘事機器是由一個前提運轉的:儘管所有被動用的圖樣、文字都來自真人遭遇的真事,但這裡並沒有要再現任何外在世界此時此地的企圖。比起文件,著色本或小說都是看起來「假假的」讀本,這些基於真實的「假假」狀態,讓戲中戲的檯終於可以被搭起來。

 

後來我問我媽舅舅說了什麼,她說太子爺問說你(張紋瑄)在做什麼,我就跟祂說你在做作品。我問然後呢。媽媽說,然後我就問太子爺,這樣會不會不禮貌,太子爺說,不會,讓他做他想做的事。

Introduction

 

You will see a ritual altar, the one you see in Taiwanese Pudu rite.

You will see 120 Hero’s Drawing Books, each has its occupation and history on it but without a face.

You will see “ The Nan-Shih-Chuang Tales”divided into five chapters. Only after walking through these chapters, will you understand whom you walk for, what you’re walking through and what it’ll become afterwards.

All I say here is the thing that you’ve already known. Let us keep going only if you are interested.

 

About

 

Suddenly, there was a huge noise outside. We were still in the living room. My grandma went to the prayer’s room, which is just a wall behind to see what has happened. After a while, she came back and told us: “He( A-Ding’s son)’s been possessed (as a Tongji)”, then she led my mom and my aunt back to the prayer’s room.

 

There were my granduncle A-Ding, his wife, my grandfather, my dad and I in the living room. I set a Canon 60D in the corner and kept asking A-Ding about another Tongji ( spirit medium) in the neighboring village. A-Ding talked with a Lukang accent, as if nothing has happened. There was a murmuring sound drifting outside. I was very badly distracted because I wanted to listen to the both sides: one on one’s work, another off.

 

The meaning of “two sides” is not about two people, but two (or more) personal pronouns, two literary genres and two sorts of narration. In this project, Hero’s Drawing Books represent the individual narration, and “ The Nan-Shih-Chuang Tales” represent the grand narration consisted of the history, culture and the contradiction of the identity of Taiwan. I took “index” but “citation” to relate each other. In this way, I manage to construct a kind of narrative machine, which translates personal narrative and grand narrative at the same time. To sum up, the premise of the operation of this narrative machine is : although all drawings and texts in this project are based on real experiences, there is no attempt of representing the reality happening here and now. Compared to the documents, drawing books and the novel all looked fake and artificial. However, owing to the fakeness which was based on true content, a Mise en abyme was finally built.

 

I asked my mom what uncle had said. She said that He( Tai- Zi, a god) had asked what I was doing, and I told Him you were doing your work. “Then?” I asked. “I asked whether the method you used to make your work was impolite and Tai-Zi had replied, no, let her do what she wanted to do.” My mom said.