告密
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2003 家具、發聲單體、單槍投影機、影碟機、電視 尺寸依場地而定
Furniture, speakers, projector, DVD player, TV, depends on the place of exhibition

生活在科技年代，妄想幻聽的人之陳述故事內容也跟著轉型，他（她）們有著被監聽與監視的被害妄想，並深感自身的私密情狀在網路上流傳，這有著〝文化症狀〞的精神症危，也帶來了患者身心的不安與焦慮。

而對自己已知患有妄想幻聽的人，是否有對真實的生活否定，或產生對妄想情境的真實感受，而與之傾聽的人對病患陳述故事的不確定真偽，也會產生曖昧詭異的混淆狀態。

在這次作品中，我將為期一個星期將自身安排在充滿監視的生活空間：臥房、書房、汽車內置針孔的被監視，有如病患在妄想情境中的真實體驗。而生活在這些被自己設計的〝跟監〞系統，生活與表演、防禦與監看，倒成了一種模糊的人性地帶。

而展場將被設計成貼近現實居家的場景，其中播放著紀錄性的監視影像，觀眾以此為媒介，臣服於人與人之間的新了解關係。但媒體也只是對於現實溝通的一種限制，尤其是面對一種絕對性的相信，就像被害妄想病人所能理解的真實一樣，它進入了一種循環的弔詭之中。

Living in the technological age has also transformed the accounts of those people who have auditory hallucinations or delusions of persecution. They have started having paranoid delusions of being monitored and watched, and they feel that their private thoughts are being spread via the Internet.

This kind of mental illness with "civilization-conditioned symptoms" makes the patients disturbed and anxious in body and mind, leaving them in an ambiguous, strange, confused condition. Those who realize they have paranoid delusions and auditory hallucinations perhaps negate real life and imbue their false impression with a sense of reality. Persons who listen to the patients' accounts can’t decide if the stories are true or false.

Now I have put myself in a living space that is full of monitors: cell phone, bathroom camera, bedroom camera, and even a circular video camera in the car. This is similar to my experience of the false impressions recounted by those patients. I am living in this monitoring system designed by myself, living and performing, defending myself and watching, becoming an ambiguous human zone.

The exhibition space has been designed to closely resemble a real home. The audience can use the medium of the recorded monitoring images to submit themselves to newly-understood relationships between individuals. The media, however, is only a kind of constraint on real communication. In particular, with regard to absolute beliefs, it enters a cycle of weirdness, like the way a patient with paranoid delusions comprehends reality.

參展紀錄 Recording of display

2003「網指之間—生活在科技年代」2003年台灣國際女性藝術節，高雄市立美術館，台灣

2005  2005年世界婦女年會：第九屆國際跨領域女性大會藝術展，「第五屆梨花媒體藝術展—媒體f」梨花藝術中心，首爾，韓國

2014 「許淑真紀念展」，高雄市立美術館，高雄，台灣

2003 Living in the Technological Age--The First International Women’s Art Festival in Taiwan, Kaohsiung Museum of Fine Arts, Taiwan

2005 Women’s Worlds 2005: 9th International Interdisciplinary Congress on Women (WW05), The 5th Ewha Media Art Presentation: Media in "f", Indoor Art Center Special Exhibition, Ewha Art Center, Ewha Womans' University, Seoul, Korea

2014 Commemorative Exhibition of Hsu Su-chen, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

典藏紀錄 Works in Collections

高雄市立美術館，台灣

Kaohsiung Museum of Fine Arts, Taiwan

告密-作品裝置說明