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| 題名: | 清醒夢的返照──論王雅慧的影像空間、身體感知及觀看實踐;The Reflection of Lucid Dreaming: On Wang Ya-Hui’s Image Space, Body Perception, and Practice of Viewing |
| 作者: | 朱品卉;Chu, Pin-Hui |
| 貢獻者: | 藝術學研究所 |
| 關鍵詞: | 清醒夢;身體感知;家居治理;在場經驗;觀看實踐;Lucid Dreaming;Body Perception;Oikonmia;On-site Experience;Practices of Looking |
| 日期: | 2026-01-12 |
| 上傳時間: | 2026-03-06 19:08:11 (UTC+8) |
| 出版者: | 國立中央大學 |
| 摘要: | 王雅慧（1973-2023）的作品總有一種令觀者專注於作品本身的魅力，當觀眾面對作品內容時，總會觸及到語言、知識未及之處，無法以精準的字詞來描述。藝術家的創作超越語言字詞中的概念，並非說明人們無法用語言、理論來分析他的作品，而是即使窮盡理論、語言去描述，總還有無法觸及的地方。關於王雅慧的創作雖然各評論藉由不同主題方向進行討論，但許多議題皆點到為止，並未再持續延伸與發展，也可以說對於藝術家的作品特質並未有定論。因此，面對王雅慧作品中書寫難以迫近的困境，導致許多評論文章會使用單一、重複性高的概念進行描述，造成使用詞彙意義上的匱乏。本文以「清醒夢」一詞作為討論王雅慧創作的核心，著重於回到作品本身進行討論：作品的形式、展示空間的設置，以及觀眾的感知經驗與觀看模式。探究王雅慧如何透過調度創作品與空間，構築具有豐富感知與流動的影像空間，進而使觀眾得以漫遊於其中，與空間、作品對話。
第一章首先探究時間維度的感知如何使得觀者體認到「詩性」的存在，甚至成為其創作特質的關鍵字。以當代速度文化裡媒介的即時性（immediacy）作為理論背景，論述現今觀眾習慣破碎且即時的資訊，因此當人們面對王雅慧作品時，加速而壓縮的日常經驗反而能夠破除，使得人們在展覽現場意識到相對緩慢的時間維度。觀眾即是在與日常慣性的時間經驗落差中，返回到當下觀看作品的經驗，並在與其來回呼應與對話之間，確認自身所處的此時此刻。第二章將延續前章關於作品中時間維度的處理，進一步分析藝術家如何調度與布置作品、空間，建構出一個獨有的韻律場域。王雅慧對於展場內細節的調度，包含著燈光、展示形式、空間配置，讓整體的布置更貼近於自身所期望的狀態。相對於Boris Groys將藝術家比喻為至高立法者，王雅慧更像是以家居治理的形式，透過個人意志治理空間，使之成為他所想像的模樣。藉由展覽作品案例、前人研究藝術家自己的書寫，論述藝術家如何藉由家居治理的布置態度，使得場域飽含著、自身意志與態度，令作品的特有場所得以展現。第三章則以前兩章的自有韻律與特有空間作為討論基礎，提出「清醒夢」作為此章主軸與核心。透過藝術家自述的白日夢與本文所提的清醒夢進行比較討論，藉由藝術家的書寫、展覽論述與前人研究梳理清楚，為何本文選擇以清醒夢作為新的論述觀點。
;Wang Ya-Hui(1973-2023)′s works possess an unique charm that draws viewers into the pieces themselves. When confronting her works, audiences invariably encounter realms beyond the reach of language and knowledge—domains that defy precise verbal description. The artist′s creations transcend the conceptual boundaries of words and language. This does not imply that her work cannot be analyzed through language or theory; rather, it suggests that even when exhausting theoretical frameworks and linguistic tools to describe it, certain dimensions remain inaccessible. While various critiques have explored different aspects of Wang Ya-Hui′s work, many discussions remain superficial, with no further elaboration or development. It could be said that no conclusion has been reached regarding the distinctive qualities of the artist′s practice. Consequently, when confronted with the elusive nature of Wang Ya-Hui′s creations, numerous essays employ singular, highly repetitive concepts for description, resulting in a poverty of vocabulary. This thesis centers on the concept of “Lucid Dreaming” to discuss Wang Ya-Hui′s practice, focusing on returning to the works themselves for analysis: their formal qualities, the configuration of exhibition spaces, and the audience′s perceptual experiences and modes of looking. It explores how Wang Ya-Hui orchestrates her creations and spatial arrangements to construct richly perceptual, fluid visual spaces, enabling viewers to wander within them and engage with the space and the works themselves.
Wang Ya-Hui’s orchestration of exhibition details—encompassing lighting, display modalities, and spatial configuration—aligns the overall arrangement with her envisioned state. Whereas Boris Groys likens the artist to a sovereign legislator, Wang’s approach resonates more with oikonomia (domestic governance); through the exercise of personal will, she governs the space, molding it into the manifestation of her imagination. Chapter One first examines how the perception of temporal dimensions enables viewers to recognize the presence of “poetic quality,” which even becomes a key term defining her creative nature. Using the immediacy of media within contemporary speed culture as theoretical grounding, this thesis argues that today′s audiences are accustomed to fragmented and instantaneous information. Thus, when encountering Wang Ya-Hui′s work, the accelerated and compressed rhythms of daily experience are disrupted, allowing viewers to become aware of a relatively slower temporal aspect within the exhibition space. It is precisely through this dissonance with habitual temporal experiences that viewers return to the present moment of engagement with the work. Through this back-and-forth resonance and dialogue, they affirm theirown existence in this very moment. Chapter Two continues the exploration of temporal dimensions in the works, delving deeper into how the artist orchestrates and arranges the pieces and space to construct a unique rhythmic field. Drawing on exhibition examples and the artist′s own writings from prior research, it argues that through an approach to “oikonmia”(domestic governance), the space becomes imbued with the artist′s will and attitude, thereby revealing a unique site-specificity of the work. Chapter Three builds upon the inherent rhythms and distinctive spaces established in the preceding chapters, introducing “Lucid Dreaming” as its central theme and core concept. By comparing the artist′s self-described daydreams with the concept of Lucid Dreaming proposed herein, and through examining the artist′s writings, exhibition discourses, and prior scholarly research, this chapter clarifies why Lucid Dreaming is chosen as a novel theoretical perspective. |
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