《囊中物—動物樂園》黃心怡個展

論場域精神下所控制的不可逆的基因模式。

透明的玻璃提供光明正大窺視的樂趣，並同時區隔出觀賞者與表演者的兩種角色狀態，前者是放鬆的隱藏狀態，後者則是全神貫注的投射扮演狀態，然而扮演者並無法發現出玻璃後的窺視，猶如動物園場域裡的扮演者以動物最原始的本能提供觀賞者樣本的高階表演者，角色本身即是他們得生命狀態，毫無欺瞞空間，並且透過機關機制即可牽動本能，完成生物的生命狀態表演。

    例如對於獵食者的誘餌便是奔逃的獵物，使其在展示箱體內完成獵殺秀，而展示箱內的場域機制即是曲折易於躲藏的路徑或是高低提供攀爬的架子使其獵食更具有觀賞價值。

在基因所控制的不可逆因素內，空間機制本身即是容器，收納著各種形式的生命狀態，並使其終其一生不斷的進行輪迴式的不可抗拒表演形式，獵食者恆獵食，嬉鬧者恆嬉鬧，貪婪者恆貪婪，愚腐者恆愚腐。

    高階表演者的生命歷程本身與觀賞者為一種相互依存的關係，機關或空間場域機制提供某種生命狀態解除被囚禁的空白及填入情緒記憶，這個容器並同時保護著表演者的存在意義，表演者存在的價值並非其本身純粹的形體，而是生命體與容器互動的軌跡紀錄表演形式。

    這或許是一件些許弔詭的狀態，生命及其本身形體價值不再顯著，並且失去諾亞方舟的意義，

在觀賞者的舞台前，生物所依存的價值在於掌聲的大小並輪迴在容器的日復一日機關遊戲裡。

Certainty of Possession – Animal Wonderland

Commentary on the irreversible genetic pattern dominated by filed sprits.

Translucent glass provides the righteous pleasure to pry, at the same time distinguish the states of the audiences and the performers. The former conceals into an ease state and the latter projects into the role of performer with breathless interest. The performer cannot see the prying behind the glass, very much like performers in the field of menagerie; providing audiences with complex routines with animalistic instincts. The performers’ roles are their life status, with no room to hide and traps all around to trigger instincts, completing their roles as performers of life forms.

For example, preys are the baits to predators, luring them to complete the hunt show in the display cabinet. Inside the display cabinet the field mechanisms are tortuous paths that are easy to hide or climbing shelves with different levels, increasing the hunt’s entertaining values. Within the irreversible genetic patterns, the space mechanism itself serves as the vessel, accommodating a variety of forms for life status. Making a life cycle of continuous and irresistible performances: Predators will hunt, frolickers will frolic, the greed will be rapacious, and the corrupters will rot.

Complex performers’ life courses and the audiences have an interdependent relationship. Trap or space field mechanism provides some sense of relief from the state of life and fill in the captured blank with emotional memories. This vessel simultaneously protects the existence of performers; performers’ existence value is not in itself a pure form, but the track record routines interacted by the life form and the vessel.

This may be a paradoxical state; the value of life and of itself no longer holds significance, and Noah’s Ark becomes meaningless.

In front of the audiences’ stage, the existence value of living organism lies in the amount of applause and the transmigration inside the vessel’s everlasting games of trickery.