海是液態的夜 詩意經過了消磨與封存 留下來及手可觸的 只不過是一些感動不了人的感受
我們仍然／依舊無聲地描述著 海浪捲起抽走的那一片空 每一枚字在確定意義的同時磨出刮痕
但它依舊安靜 它仍然是那個乾淨、乾燥、保持沈默的那個什麼 比空無更容易留在心頭
▍ 關於展覽｜策展概念
「仍然」還是不是個「依舊」？「再」是不是就意味著早已不「在」？「仍然 依舊(mê/me)」既不符應結構化的語法，也不是句⼦，卻有種表達後無以名狀的空缺感。這⼀片空⽩的回返，是為了抵達下⼀句話⽽無法避免的「等待」。話語就是有這種和主體決裂的潛⼒，讓說話者所⾝處的話語狀態，被⾚裸裸地展現出來，並利⽤呼與吸所產⽣的空擋，硬⽣⽣地斷開那由相似性所建立起的意義連結，繞過我們藉以認識世界的基礎。
從走入展場開始，我們就準備好為這未知的空間，讓出⼀條可⾒卻⼜無法識別的移動路徑、⼀道離⼼的褶皺，⽽我們⾏走其上的地景，則透過種種微妙的⽅式形塑了我們。如此的觀展經驗在思維上是⼀種「仍然/依舊」（le même）的運動，通往那從未回到「同⼀」（l’égal）的重複。回眸時，過曝的時間（再 ／不再）將裂變出讓渡的空間（在／不在）。⾏走的狀態被描繪成⼀步邁向未來⼀步落在過去，⽽卡在中間的⾝體連接⼀地與⼀地，近似古怪的路徑成為「沒有場所的場所（lieux sans lieux）」，時光在其間是純粹的表⾯，讓場所失去所有指涉的可能。
旅法藝術家 莊馨怡，關注記憶裡潛藏可觸卻⼜隱⽽不顯的「⽣痕」現象，透過物質主動給出的過渡狀態，推遲創作中可能會產⽣的意義詮釋，也使得原本固著的形式思維，產⽣感受上的綿延與纏崇。以此次展呈作品為例，輕透易脆的蠟片來⾃⼀個⽇常間單的⼿勢：碰觸，⼿指劃過液態的蠟後以指紋成形，透過指腹的灼熱感在空氣中具體凝結出幾層殼，那是逝去的⾝體撐起的空間，標⽰著缺席的存在；
旅法藝術家 古睖・久古，則是透過重複且簡單的操作⼯序 - 綑綁、磨耗和刮掏，將作品中的物質特性延義成活體能量的消耗與轉換。在「就算這個假設是錯的」的態度中，默誦著⽤古⽂字發⾳的神話。使觀者在閱讀作品時，產⽣過往認知上的⼀點點困惑與⼀點點阻礙。
每⼀枚回歸地⾯的指紋、每⼀根細⼼呵護的樹枝，都隱隱地增強了「此曾在的缺席」。空氣中彌漫著的味道和微粒，讓細微的感知膠著在⼀起，我們那 因私密性被剝奪，⽽顯露出的不安全感，也在這「沒有場所的場所」中無限地延伸。⽽正是在如此不確定的狀態下，我們和前⼀位觀者巧遇了。
文｜古睖．久古、莊馨怡
▍Vision en anglais
The title of the exhibition, 仍然依舊 (mê/me), does not conform to the logic of grammatical structure and it is not a sentence, yet it conveys a playful sense of emptiness or meaninglessness. The characters 仍然 and 依舊 are synonyms meaning still or as before. Through this, the artists pose a metaphysical question: Is to remain the same, equal to being unchanged? The French word la même (the same), is broken into a “double” that repeats with subtle differences as mê/me. This gesture asks if “repetition” changes the state of being, or if it is possible to return to the “same”? The provocative exhibition title opens up the possibility of meaning, creating a gap, a moment of anticipation, “waiting” for the next sentence…
Language has the potential to break away from the intention of the subject, at the same time retaining traces of subjective being. This break is also present in the pauses between utterances, the speaker’s inhalations and exhalations, a fissure that disrupts our basic understanding of the world through signification.
From the moment we enter the exhibition, an obscure path presents itself: a centrifugal fold that guides us in subtle ways through the space. This is a movement in thought of the “same” through “repetition” that never returns to “sameness”. Each iteration brings an awareness of elapsed time (again/no longer) and the splitting of space (in/out). The state of walking is depicted as one step towards the future and one step into the past, while the body is stuck in the middle connecting the two. This ambiguous path becomes a "placeless place” (lieux sans lieux), where the experience of time is superficial; a space that is utterly self-referential.
Hsin-i CHUANG is an artist living in France, whose work is concerned with the hidden “traces” present in memory. Through the transitional states actively imposed by the materials she works with, the meaning and interpretation of the work is postponed. This deferral of the creative process in turn subverts the perception of the work of art as an object in a fixed state. The work presented in this exhibition provides a good example of her approach. Thousands of wax petals were created with the commonplace gesture of touch. Fingers move over liquid wax, inducing a burning sensation, while forming fingerprints that solidify in the air. These wax shells mark the space of a body that was once present, signifying its presence through absence.
France-based artist Yu-Ta LIN extends the material properties of his works into the consumption and transformation of living energy through repeated and simple operations: binding, abrasion and scraping. His arcane practice could be described as a “dubious hypothesis”, or quietly reciting myths pronounced in ancient characters. His work often invokes a feeling of bewilderment in viewers, as it challenges expectations and preconceptions.
Every fingerprint fallen on the ground and every carefully tended tree branch, reinforces the notion of “absent presence”. Subtle perceptions and fragrant particles permeating the air fuse together with our sense of insecurity and loss of privacy in this "placeless place”. It is here that we meet the viewer in a state of indeterminacy.
Text｜CHUANG Hsin-I, LIN Yu-Ta
English Translation｜Louis Minnaar