「琥珀之夢」沿承了作者近年對私歷史之於國族意識型態變遷的討論，以及採用降靈手法啟動歷史復魅的編導手法。展覽包括一組五頻道錄像裝置《父域安魂曲》，和與個展同名的《琥珀之夢》劇照攝影，分別透過不對稱之薄紗屏幕、以及燈箱形式，再現心智的殘像，並藉動靜影像之間的互相傾注，反映現實、幻夢、與敘事重構之間的拉扯。

宛如一場自我精神分析的「琥珀之夢」，暗示回憶可能比過往更加真實，而夢則收容了記憶與遺忘。在這記憶與遺忘如洋流般熱切摩娑的交會地帶，邪典（Cult）能量噴發，倫常與慾望、愛與死、暴力與純真、存在與失落，快速翻攪、碰撞，它們難得頭暈目眩，暫時彼此原諒。

 

Inheriting the exploration on the relationship between personal history and the shifting ideology regarding nationality, Lin’s latest project “Dream of Amber” focuses on the state of self being a container of memories and the forgotten. The exhibition includes a multi-channeled video installation: Requiem for the Realm of Father, a series of photo stills, the exhibition demonstrates the dialectical process of struggles between reality, hallucination, and reconstruction.

Through direction and mise–en–scène, the reality and the fictional scenes are intertwined, therefore the context of childhood has been re-captured. By this way, memories and oblivions connect again, which can be seen as the resistance of destiny, and the requiem for the family. The self-psychoanalysis in “Dream of Amber” suggests that the memory is more realistic than the reality, while a dream is the shelter for both memories and the forgotten, which is like the meeting of warm and cold ocean currents, where the so-called “cult” energy sprouts, blurring the banality of ethics and desire, love and death, violence and pureness, and existence and loss. Through this dizziness, they have temporarily forgiven each other.

林羿綺 Lin Yi-chi

1986年出生於台北，創作涉足錄像、實驗電影和新媒體表演領域。

將影像視爲一種降靈媒介，重新編導與建構出超越真實的情境樣態，以此召喚邊緣野史，進行對國族、歷史、與家族記憶的復魅與再生產。另一方面則發展對影像與文本的相關思考，探尋類比與數位影像間的邊界，捕捉動態影像作為一種材質的的斷裂特性，更嘗試將身體介入影像，發展穿越新舊媒體間跨界展演。

曾受邀多個國內外策展專案、影展、以及駐村計劃，更多次榮獲影展與藝術獎項。其特殊的作品氛圍，極具顛覆傳統的實驗精神。
 

Lin Yi-chi was born in 1986 in Taipei. Lin’s video works, experimental cinema, and performance have focused on transforming the image making process into a necromancy-like ritual that summons the marginal and unofficial memories to facilitate the re-enchantment of national and family history, while recreating the realities that surpass reality at the same time. Furthermore, Lin has been rethinking the relationship between analog and digital images, and exploring to capture the fragmented nature of imagery. In addition, her regular performances in her own works are seen as body involvement that practices the cross-disciplinary embodiment.      

Lin has been invited to several international residency programs and her works have been exhibited in many curatorial projects and film festivals, and also been awarded many times for the unique ambiance and subversiveness in her works. Lin’s works are known for the unique ambiance and the subversive experimental spirit.