2025絕對空間藝術進駐藝術家成果發表 ➋
Absolute Space Artists-in-Residence Program for 2025 ➋
此岸與彼岸 Here and There
副島忍 Shinobu Soejima
開幕Opening：2025.8.10 Sun 15:00-18:00
開幕座談Forum：2025. 8.10 Sun 15:30-17:00
與談人Panelist : 陳寬育 Chen Kuan-Yu （獨立策展人/藝評人）
展期Exhibition Period：2025.8.9 Sat - 8.24 Sun
開放時間 Opening Hours：週三-週日 Wed-Sun 12:00-18:00
地點 Venue 三和進駐基地 SanHo Art Lab
地址 Address：臺南市南區三和街14號 No. 14, Sanhe St., South Dist., Tainan City
主辦單位Organizer：絕對空間藝術進駐 Absolute Space AIR
合作單位Co-organizer：黃金町管理中心 Koganecho Area Management Center
指導單位Advisor：文化部 Ministry of Culture
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：：關於展覽 About the Exhibition：：
本次展覽包含兩部以台灣台南的廟宇（廟）為主題的錄像作品：一為陽廟（正神之廟），另一為陰廟（孤魂野鬼或未安之靈所居之處）。透過這兩件作品，藝術家從個人視角出發，探討信仰與民間信仰於在地社群中的角色。
陽廟作品是一段以停格動畫方式拍攝的影像，地點選在三郊鎮港海安宮，該廟主祀海上守護女神媽祖。藝術家將偶戲般的人形裝置擺設於現地，以生動輕盈的動畫手法，描繪出環繞著媽祖信仰的祭典氛圍與歡慶場景。
陰廟作品則聚焦於七歲姑娘廟的地方傳說，該廟祭祀的是一位早逝的女孩。有一說認為她在日軍侵略新營地區時，勇敢地誤導敵軍方向，以保護抗日義士，最終遭殺害；另有一說稱她於洪水中協助他人逃生，最終溺斃。作品穿插呈現這些多重敘事，細緻地將她描繪為一位既是受害者、亦是地方集體記憶象徵的人物。
整個展覽中，光與影、生與死、私領域與公領域的對比，在兩部作品中交錯展開。
一個奇異的混合生物貫穿兩件作品：牠兼具人與獸的特徵，擁有多足、戴著人面具、身體則為動物軀幹。這個角色隨著陣頭音樂的節奏自由行走、穿梭其間，彷彿在陰陽兩界之間起舞。
在台南的日子裡，我開始察覺日常生活中的某些規律，彷彿勾勒出「集體」的輪廓——如同社區、社會，甚至國家的結構緩緩浮現。人們自然地在特定時間與地點聚集，比如在垃圾車來臨的時刻等候，即便彼此未語，只是站在那裡，也足以感受到他者的存在。
在廟會節慶之日，鞭炮的轟鳴與熱鬧音樂充斥整個街區，即使身處室內，亦能感受到那條將個人與集體相連的無形之線——私領域與公領域的界線漸趨模糊。
社群不僅是有著共同目的的個體聚合，更是一段沿著各自歧異路徑邁向該目的的過程。當群體擴大，一種笨拙的節奏也隨之而來——如同一具龐大的身體試圖協調著自身向前移動。
在這兩部作品中，我以這隻多足奇獸的身體，承載個人、地方與國家認同的層次，象徵集體存在中所蘊含的複雜與張力。
This exhibition consists of two video works, both centered on temples (miao) in Tainan, Taiwan—one a yang miao (temple of positive spirits), the other a yin miao (of negative or unsettled spirits). Through these works, the artist explores the role of faith and folk belief within local communities from a personal perspective.
The yang miao piece is a stop-motion animation filmed at Sanjiao Zhen Gang Hai’an Temple, a shrine dedicated to the sea goddess Mazu. Puppet-like figures were placed on-site and animated playfully to depict the atmosphere of worship and celebration surrounding Mazu.
The yin miao piece focuses on the folklore surrounding the Qisui Guniang Miao (Seven-Year-Old Girl Temple), which enshrines the spirit of a girl who died young. One version of the legend says she was killed by Japanese soldiers during their invasion of the Xinying area, after courageously misleading them to protect local resistance fighters. Another tells that she died in a flood after helping others reach safety. Interweaving these multiple narratives, the film carefully renders her as both a victim and a symbolic figure of local memory.
Throughout the exhibition, contrasts of light and shadow, life and death, private and public, unfold across the two works.
A strange hybrid creature appears in both pieces—part human, part beast, with multiple legs, a human mask, and an animal’s torso. This figure walks freely, animated by the rhythms of Taiwanese parade music (zhen tou), as if dancing between realms.
During my time in Tainan, I began to perceive the outlines of collective structures—community, society, even the state—emerging from the patterns of daily life. People naturally gather at specific times and places, such as when waiting for the garbage truck on scheduled days. Even without exchanging words, simply being there affirms the presence of others.
On temple festival days, the roar of firecrackers and joyful music spreads throughout the neighborhood. Even from inside one’s home, it is possible to feel an invisible thread linking the self to the collective. The boundaries between private and public space grow increasingly porous.
Community is not only a gathering of individuals with shared purposes; it is also a process of moving toward those purposes along divergent paths. As the group grows, a certain awkwardness emerges—like a massive body attempting to move itself forward.
In these works, I embodied the layers of individual, local, and national identity in the form of this multi-legged chimera, representing the complexity and tension of collective existence.
** This event will be conducted in both Chinese and Japanese.
｜副島忍 Shinobu Soejima｜
副島忍（Shinobu Soejima）將動畫定義為「將死亡帶回生命的力量」，並嘗試創造一種可能存在的靈性維度。在日本的各種儀式中，偶具有跨越生與死、現世與彼岸的功能。她結合動畫的這一特性與偶本身所蘊含的靈性意涵，在生命與非生命之間進行遊戲與探索。
副島忍曾於多個國內外影展中獲獎，包括第68屆奧伯豪森國際短片影展（International Short Film Festival Oberhausen）生態宗教評審特別提及獎、第22屆日本媒體藝術祭評審獎（Japan Media Arts Festival）、奇幻國際影展（Fantasia International Film Festival），以及2018年東京丸之內藝術獎木村繪理子的獎項（Art Award Tokyo Marunouchi - Kimura Eriko's Prize）。
目前她為東京藝術大學影像與新媒體領域博士候選人，並擔任多摩美術大學媒體藝術課程的講師。
Shinobu Soejima defines animation as "the power to bring back from death to life”, and try to create a vision of a possible spiritual dimension. In various rituals in Japan, puppets have the function of crossing the border between death and life, between the mundane and the otherworldly. By combining this characteristic of animation with the inherent spiritual properties of puppets, she plays with life and non-life. Shinobu Soejima won several awards at domestic and international film festivals, including the 68th International Short Film Festival Oberhausen Special Mention by Ecumenical Jury, the 22nd Japan Media Art Festival -Jury’s prize, Fantasia International Film Festival, and Art Award Tokyo Marunouchi-Kimura Eriko's prize in 2018. She is currently a PhD candidate of Tokyo University of the Arts Film and New Media, and working as a tutor of Media Art Course at Tama Art University.
海報設計 Poster Designer ：陳舒婷 Chen, Su-Ting
Also check out other Arts events in Tainan, Festivals in Tainan, Entertainment events in Tainan.
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