Sonic Driving /Shamanic assembly Oracle

第十三屆韓國光州雙年展 13th Gwangju Biennale
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

Sonic Driving

2018-2021, commissioned by the 13th Gwangju Biennale and V-A-C Foundation|第13屆光州雙年展、V-A-C基金會委託製作
By Yin-Ju Chen & Lin Li-Chun (Marina)|陳瀅如+林麗純

watercolor drawings, pencil sketches, video, 7.1 surround sound, and workshops
水彩|鉛筆素描|錄像|7.1 環繞聲道|薩滿工作坊

Sound design: Cheng Chou | 聲音設計:周震
Animation: Chia-Sheng Lin|動畫合成:林嘉生


致幻記 III:2-19-20
Notes on Psychedelics III: 2-19-20

Mixed Media: Red light effect, binaural beats, FRP sculpture, single channel videos, water, charcoal drawing

Archival footage of the moon phases: NASA’s Scientific Visualization Studio
Sound effect design: Seismic Sound Lab. Ltd.|Cheng Chou
Animation: FREEMANFREERUN|Lin, Chia-Sheng
Sculpture advisor and sculptor: Glorious Golden Art |Lin, Kuo-Wei and Chen, Wei-Yu

*Special thanks to: The spirit of Acacia confusa at Kasenko, Li-Chun Lin (Marina), Min-Jou Lee , Yu-Han Wang
*The video documentation is coming soon.



“Dreams have always been where shamanic learning and healing takes place."

– Shaman Li-Chun Lin (Marina)

Introduction by Jo Shu-Wen Hsiao

In art, we always prize the pursuit of intellectual insight. From subject matter to the questions that manifest themselves in materials, a work’s vocabulary is inseparable from its meaning. In 2015 Yin-Ju Chen began to study altered states of consciousness – “ordinary" and “non-ordinary" states of consciousness, the “subconscious" and the “unconscious" – studying with shamans to learn the process and mindset of altered consciousness as the basis for her art. Notes on Psychedelics (2015) considered how a drug (DMT) conveys our consciousness to an unknown spiritual dimension. In Notes on Psychedelics II: Inside a Memorable Fancy (2018-2019), the artist used her personal experiences of shamanism to reference and document an individual’s altered states of consciousness, revealing a fantastical, inscrutable, mysterious “journey" and presenting the transcendental experience of shamanic ritual. In Sonic Driving (2018-2021), she collaborated with the shaman Marina Lin to activate a trance in the brain through sound waves, enter a shamanic universe.

Notes on Psychedelics III: 2-19-20 continues the depiction of altered consciousness in this series of works. Unlike works produced around visual symbols and concepts, it reveals the artist’s past clairvoyant experiences and dream notes, and from them it extracts images, creating scenes that shift between dreams and consciousness, exuding an atmosphere of mysticism reminiscent of occult rituals, when shamans become possessed and enter an indistinct, oblivious state. Here, consciousness serves as a vehicle for the source of many insights into life, the universe, time and space, and it leads us to accept the guidance of a higher form of life. When we enter the space that Yin-Ju Chen has arranged, soundwaves trigger our perceptions, ushering us into an experience that is real yet transcends reality. Next, the dim lighting in the room brightens, opening a space of complex ambiguity. All these actions always take visitors to unexpected places, where they linger and wonder what will happen next. This is quite thought-provoking. But they must first think about what they encounter by accessing their senses, and let their mind and body sink into the experience.

Yin-Ju Chen’s space of images formed by sound, lights, objects, drawings and videos generates an abstract, spiritually animated world. They are the “dreams" that exist within consciousness. She believes that dreams from the depths of our consciousness can awaken both our minds and our souls. On the surface these mirages seem fragmentary and scattered, but they open up a broader dimension in the human state of consciousness, and in the mind of the artist they serve to create a level of inner perception. In this work, external things shatter our customary mindset. These highly psychedelic techniques are an attempt to induce the visitor’s powers of sensory perception, putting them in a state of excitement, paralysis, rapture or quiescence, and thus enter a deeper mental dimension where consciousness and dreams run free within our emotive sensations. Yin-Ju Chen focuses on the hidden spiritual abilities of people in modern society. She uses the language of mental images to manifest a spatial topography, constructing an oblique “scene" and revealing an “other" space to express a certain hidden mindfulness that is innate in human beings. At this moment, this work touches an unpredictable realm of imagination, embedding the immaterial within material reality, in an attempt to reconfirm the ultimate pure land of the soul that we hope to preserve.


在藝術裡,我們始終關注的是知性的追尋。從主題到材料體現的問題,作品的語彙和它的意義密不可分。自2015年,陳瀅如開始研究意識轉換 ─「尋常 意識」、「非尋常意識」、「潛意識」、「無意識」, 並通過薩滿學習意識轉換的過程與思考,作為她創作基礎。〈致幻記〉(2015)觸及藥物(DMT)把我 們的意識帶到一個未知的精神維度。〈致幻記 II: 刻幻象〉(2018-2019)藝術家以親身經歷之巫儀經驗作為參照紀錄個人的意識轉換狀態,揭露其中奇幻難懂的奧秘「旅程」,呈現薩滿儀式中的超覺經驗。〈Sonic Driving〉(2018-2021),她與薩滿林麗純合作,藉由音波啟動大腦的出神狀態,並進入薩滿宇宙觀。

〈致幻記III : 2-19-20〉延續其系列作品關於意識轉換的描繪。不同於圍繞著視覺符號和觀念生產的作品,它透露過去藝術家的靈視經驗與夢境筆記,並從中提煉意象,創造出在夢境和意識之間轉換的場景,散發出一種神祕主義的氛圍。如同巫祭儀式,巫師在神靈附體時,進入一種忘我的迷離狀態。在這裡,意識是承載諸如生命觀、宇宙觀、時空觀的源頭,它引領我們接受一種更高生命的指引。當我們走入陳瀅如部署的空間,聲波啟動我們的知覺,讓我們經歷一種真實但超越現實的經驗。接下來,房間裡的燈光從暗到亮,撬開一個複象多義性空 間。這一切運作,讓觀眾總是在他們意想不到的地方發生,他們待在那裏懷疑著會發生什麼事件,相當耐人尋味。但眼前,他們必須先通過感官來思考,讓他們的精神與身體沉淪其中。


Notes on Psychedelics II: Inside a Memorable Fancy

Installation view | Photo credits: Ning Sen

2018-2019 陳瀅如 By Yin-Ju Chen

ICAROS吟唱:林麗純|ICAROS singing: Lin Li-Chun

2019Long March Project (Beijing, China)

2019 北京 長征計畫 赤字團聯展

明當代美術館 深層心靈 Mind the deep McaMx行星馬克思

2019 薩滿x藝術工作坊

△▲山水人YAMAUTO2019〜15th Anniversary〜▲△(日本)

Photo by Mikio Kawasaki


△▲山水人YAMAUTO2019〜15th Anniversary〜▲△(日本)

Photo by Mikio Kawasaki


Physical poets festival ’18~肉体詩人の宇宙(日本)

Photo by Shigeki Tsuji



【卡巴拉講堂】身土不二,一個旅人的卡巴拉 書適圈

「身土不二‧五感策展 Body Earth sensory curation」談薩滿、秘術修行,與以色列的卡巴拉傳承。 ·薩滿實踐者與祕術師的道路有何不同? ·如果卡巴拉是西方文明的「原始碼」那在生活中,哪裡可以發現卡巴拉的存在? ·修習卡巴拉的條件 ----------- 00:00|身土不二‧五感策展主理人 02:00|祕術家和薩滿實踐者有什麼不ㄧ樣? 03:00|「薩滿」是透過意識轉換,進入非日常意識狀態 04:00|薩滿和秘術師都是和看不見的世界打交道 06:00|談「薩滿」與「祕術師」道途關鍵差異 07:00|成道就像all pass,看穿這世界是電玩遊戲 09:00|卡巴拉是猶太教的祕法,也是西洋文明的「原始碼」 12:00|占星、塔羅、人類圖、魔法結社⋯⋯挖深一點,其實都和卡巴拉有關 13:00|卡巴拉的流傳,與猶太人的流亡世界兩千年有關 14:00|Kabbalah、Quabalah、Cuabalah三種不同的卡巴拉 15:00|卡巴拉講述世界被創造之前的事情 16:00|卡巴拉的本意是「接收」 17:00|「天主禱文」就是卡巴拉,就是在畫生命之樹的十字 19:00|中柱儀式,就是畫出卡巴拉十字,把能量場封印起來 21:00|進入卡巴拉的世界,鑰匙在於猶太文化 23:00|學習卡巴拉,如同用雙眼直視太陽 24:00|四個拉比(猶太教神父)的故事 29:00|猶太人之所以是上帝的選民,是有責任「修復這個世界」 30:00|秘法的河流,是由猶太人傳承下來
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