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A triangle, 3:34 to 6:16 pm, a time-visible triangle


下午三點三十四分到六點十六分,一個時間可見的三角形
侯辰璐個展 Hou Chen-Lu Solo exhibition

稍不留神就跌進塹在日常事務的縫隙裡的某個兒時的確切場景。

夏季悶熱,全家移居客廳地上,一床被子,涼蓆在其上。 風扇左右搖頭,蒲扇上下翻飛。入夜是 涼⻛不來,怪力亂神,自造陰氣的故事時間。隱身草,美女蛇,尾巴狀如鼓槌的老鼠,跛腳老 道,總在夜裡10點半過馬路的刺猬,埋在樹下的嬰孩,沒有來由的呼嚕聲,消失在醫院的我永遠 未曾謀面的嬰孩姑姑。他們從父親的出生地而來,中原口音。窗外南望是一大片野地,一排小楊 樹,一條土路,簡單置景。自此那些故事的主⻆易了籍貫,換了口音,穿上新的行頭,在這野地 裡支起一座只在悶熱夏夜開演的小劇場。汗津津的後背,涼爽的肚皮,睡意從頭頂捂下來。

如今的小劇場已經很破敗了,那片野地在從四周向中心沙化。 3:34 to 6:16 PM,主⻆們已經在商 議再次變更籍貫和用蹩腳的外文演出的事宜了。我希望他們不介意這裡7月夏夜的煙花,不介意 頭頂飛過架著掃帚的女巫。

It’s easy to fall into the exact scene of a childhood memory embedded in the cracks of everyday life.

Summer was always sultry, the whole family slept on the ground of the living room, one quilt, bamboo mat on top. The fan was shaking its head from side to side while the leaf fan flying up and down. There’s no breeze at night, but the telling of folklores brought shivers. Invisibility grass, fascinating snake ladies, a mouse with drumstick-shaped tails, crippled old Taoist priest, hedgehogs that always cross the road at 10:30 pm, snores that come out of nowhere, the baby buried under a tree, my forever baby aunt who disappeared in a hospital. They came from the childhood of my father and speak with a central Chinese accent. Looking south through the window is a large field, a row of small poplar trees, a narrow road, a simple setting. Since then the characters of those stories have changed their places of birth, changed their accents, put on new clothes, and set up in the wilderness a little theatre which only operates on hot summer nights. Sweaty back, cool belly, heavy drowsiness came over me.

The little theater is now very run-down, the field is deserting from all sides to the center little by little. From 3:34 to 6:16 pm, the characters are already discussing changing their birthplace again and performing in a broken foreign language. I hope they don’t mind the fireworks on a July summer night, and the witches with broomsticks flying overhead.


About 侯辰璐 HOU Chen-Lu

榮獲無數獎項的冷色調電影《鋼琴教師》(La Pianiste, 2001),悲劇式的詮釋壓抑及慾望。在控制慾望強烈的母親管教下成長,造就了嚴肅、莊重的鋼琴教師Erika Kohut。然而長期壓抑的她,內心充滿矛盾、憧憬著被虐待、被征服的快感。她流連於色情綠影帶店、透過沾染精液腥味的衛生紙上獲得滿足、躲在浴室自虐來感受自我陰道的掌控權。

Erika是壓線的那位,她壓的是心中那條道德和禁忌線,而這條線正是那父權社會下產品。

侯辰璐的作品更有種歇斯底里,你說她壓線嗎?畫中的女人騷動卻又安份。你說她壓抑嗎?我會說她創造的更像是當代女性的風景百態,各自焦慮,各自生存,各自囂張。

侯辰璐以山東老家中的公共澡堂為背景,建構出一系列令人引發好奇心的誘人空間。值得注意的是,畫面大量出現日常生活中常見的磁磚,格狀線條的描繪就像是鐵籠般的存在,也是侯辰璐在展示「控制」的隱喻符號。她企圖傳遞的是對社會框架的諷刺,以及在框架下卻又擋不住女性的慾望漫延。作為觀看者,我們變成了偷窺者,我們似乎是從外面觀看這些場景。侯辰璐巧妙的操弄社會對女性的放大凝視,但她筆下的女人,是享受著嗎?

鋼琴教師病態的壓抑慾望最終形成毀滅性的結局,而侯辰璐則遊走在那壓抑中,細碎而緊張的走動著。態度相較於Erika更為大膽與不耐,無視著她所指的控制者並繼續過著獄中生活。她的畫面儼然成為一種掌握控制者的生態系,對於控制這件事的習慣已是生活一部分。


下午三點三十四分到六點十六分,一個時間可見的三角形A triangle, 3:34 to 6:16 pm, a time-visible triangle
侯辰璐個展 Hou Chen-Lu Solo exhibition

展期|2021.11.25–12.11
地點|伊日藝術計劃 B1
地址|台北市內湖區新明路86巷1號
時間|Tue. – Sat. 13:00 – 19:00 週日、一休館