第十三屆韓國光州雙年展
https://13thgwangjubiennale.org/
越來越常有一些片刻，只要我允許自己停頓下來思考，都會忍不住抓頭皮，納悶又不可思議自己怎麼會走到這一步。
譬如在何仙姑唱歌的時候，在茶屋泡茶的時候，在三合院種菜的時候，或是看到自己的作品被放在北京第一線藝廊展覽入口第一件作品的時候。
有很長的一段時間，並不知道自己到底是個什麼，才去旅行，進入沙漠，這種感覺即使到了現在還是會。
疫情爆發之後，我也乖乖的停頓下來，整理自己，重新學習跟土地生活，繼續浸泡在喜歡的老師的課程與書本之中，資訊量之大，有時候從書本跟影片中把自己拔出來的時候都覺得自己快要昏倒了。
或許，也就只是因為這個需要知道自己到底是個什麼，一直推動著自己。
前幾天韓國光州雙年展開幕了！
我們的以薩滿為主題的作品受邀參展，可惜因為疫情的關係沒有能夠到現場，本來很期待看到我的偶像尼姑靜觀，希望有一天能吃到她做的食物，也很希望見識久仰大名的韓國薩滿文化。
站在現在這個時間點上，回頭一看，或許真的有什麼巨大莫名的力量推動著，一路上也收穫了一個橫衝直撞歪七扭八卻也精彩無比的人生。
＃薩滿的巫路地圖
＃旅人與薩滿
＃旅人與魔法師
＃藝術與薩滿同源
＃第十三屆韓國光州雙年展
＃13thgwangjubiennale.org/
//我們的作品英文簡介:://
Yin-Ju Chen is preoccupied with dissecting historiographies that are both minute and astral in scale. She makes use of sacred geometry, astrological forecasts, and tarot decks to acknowledge circuits of violence and corruption at psychosocial and systemic levels amid rising totalitarianisms and unfinished imperialisms.
Shamanic ritual drumming induces an altered state of consciousness and has historically served the purposes of social cohesion, grief, and healing in diverse indigenous and communal settings. The mapping of mental journeys while immersed in acoustic pulsation and deep meditation is rarely attempted, but in their collaborative project, Yin-Ju Chen and shaman Li-Chun Lin (Marina) dive into their knowledge of drumming techniques to study traditional forms of spirituality. Deeply engaged with visualizations of extracorporeal journeys in mystical territories and cosmic visions of intangible realities that extend far beyond the boundaries of conventional mind-body relations, their explorations probe the thresholds of consciousness.
Sonic Driving (2018–21) questions the madhouse of rationality via the methods of “core shamanism” that were originated, researched, and developed by Dr. Michael Harner. With repetitive drumming, the work visualizes a tripartite collective reality: the upper world appears in video footage shot in Mongolia and Lake Baikal, evoking a world where the Tengri, the chief deity worshipped by Turks, Mongols, and Magyars across the Central Asian steppe, made human beings who at first lived happily and knew neither suffering nor sickness. The middle world, channeled through a tunnel of reverberations, is the dimension in which “right” and “wrong” emerge and humans coexist with ghosts, ancestors, and spirits. The lower world is portrayed in luminous drawings of a journey into the realm of animal wisdom. Sonic Driving not only sheds light on the possibilities of self-experience and the subjective demarcation of the self from others and collective reality but also shares insights into the future of humanity through the consultation and guidance of oracular spirits. In an age when subjectivities are formed through globalized digital technologies, this work corresponds with sacred intelligence between worlds.
Li Chun Lin (Marina Lin) 