鄭琬蒨 Wan-Chien, Cheng
2018 身為第三者 Sounding As The Third Person
每個事件的背後都是由不同元素與各種當下的決定所組成 , 而當第三者以觀看或聆聽的方式介入其中 , 以評論、譴責、批評等方式解讀 , 我們身處的這個立場本身也可以是這 個事物狀態的一部分 , 此為反身性(Reflexivity)。
反身性指的是行動者是有意識地面對 , 行動者試圖理解他所面對的情境的意義 , 並根據他對這個意義的理解 , 採取適當的回應 , 而這個回應本身 , 也參與了這個意義的形成。
我以檔案搜集的方式擷取了展覽作品中所提及的各種片段 , 包含英國流浪漢、外來移民、台灣早期農業時代的農人、現今市場買賣機制、台北與屏東的地域性差異、媒體報導、老照片、早期錄音、竹筍傳說、音樂、相關物件等等。
身為第三者的觀眾介入這些碎片時 , 在空間裡移動的身體、探索的步伐與碰觸各種物件的動機都將在空間中化成聲音、被放大。我們理解事件背後意義的過程將為這些特殊事件狀態的一部分。
鄭琬蒨個展 Wan-Chien Cheng solo exhibition
Sound Installation
濕地藝廊, 台北
Venue Gallary, Taiwan
Every event is a composite of elements and decisions. When an observer intervenes—whether through critique or contemplation, their very presence becomes part of the event’s reality. This is Reflexivity. It is the conscious act of interpreting a situation, where one’s response actively reshapes its meaning.
Through archival assemblage, I gather fragments of history and daily life: from early Taiwanese agrarian tales and immigrant narratives to modern market rhythms. As the audience navigates this debris, their physical movement, the pace of their steps and the intent behind their touch—is captured, amplified, and transmuted into sound.
The act of understanding is not passive; it is an integral part of the event itself.
《竹筍的自白》為展覽作品之一，我訪問了在台灣各地生活的筍農，他們使用熟悉的語言談論著跟竹筍有關的事。透過敘述例行的農作日常，我錄下他們喚起記憶的當下。而那些被視為非主要字句的停頓點、氣息、呢喃與應答，在以竹筍作為統一的思考對象時，呈現出真實的語氣和情感。
"Confessions of a Bamboo Shoot" is a featured work in this exhibition. I interviewed bamboo farmers from across Taiwan, who shared their stories in their native dialects. By documenting their agricultural routines, I captured the very moments their memories were reawakened. Beyond the spoken words, the pauses, breaths, murmurs, and subtle responses—often dismissed as marginal—reveal raw tone and profound emotion when centered around the singular theme of the bamboo shoot.
