《重返現場 Return To The Scene》楊佳馨創作個展
“Return To The Scene” CHIA SHIN YANG SOLO EXHIBITION
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展覽日期：2024.7.21(日)-2024.8.19(一)
展覽地點：好地下藝術空間(花蓮市節約街37號B1)
開放時間：每周五、六、日、一 12:00-20:00
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▸ 開幕茶會與導覽｜2024.7.21(日)15:00-17:00　
與談人：楊佳馨、田名璋、張碩尹
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▸ 議題座談｜2024.7.27(六)15:00-17:00
命題：身體的檔案與藝術家現身
與談人：楊佳馨、田名璋、蔡胤勤
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【展覽簡介】
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本次《重返現場 Return To The Scene》楊佳馨創作個展，藉楊佳馨個人的病痛創傷經驗—— 2022 年 2 月車禍意外事件為始，探索「重返創傷後的解離現場」，剖析病痛經驗對個體的多層影響，呈現創傷後心境的轉折，形塑出一種孤獨且詩意的生存美學。
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「生死瞬間的感性重構。」
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楊佳馨在認知生死瞬間與日常生活中遭逢車禍的感性經驗後，以損毀的身體感重構個人被壓抑的疾病歷史。她從日常生活中取樣日誌式的生活影像、病歷檔案和廢棄物等元素，在創作中沈思自我的主體建構，並將個人經驗公開，探索自身與他者的不同心境層次，以及多重感官與身體感之間的關聯，利以實踐「揭露我又隱藏我」的公眾化過程。
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本次展覽的作品形式包括平面攝影、多頻道錄像裝置和藝術家書等媒材。楊佳馨將層層意象與物品和影像結合，以散亂、外溢的狀態充斥展場，嘗試梳理車禍創傷的三大解離階段：「朔源真相」、「外溢的情緒與感受」和「複寫記憶」。
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「窺視未知與越界的凌亂之境。」
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楊佳馨以藝術家之身分，在展場中「鬆動」每一物與光影的交互作用，以洗刷固有經驗的認知並療癒其創傷。她將好地下藝術空間視為探索自身凌亂、幽暗且未知的場域，觸碰身心面對損傷、疼痛、恐懼、死亡與生活的灰色地帶。
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《重返現場 Return To The Scene》不僅是展覽的命名，更是楊佳馨感知生命前沿的一種跨越邊界之行動。這項行動嘗試更深刻地描繪「我所不知道的關於自己的世界」，也是「主體向域外敞開，並鬆動其固有思維」的經驗重塑。而在展場中將有大量的「爍光」湧現，映出她在車禍當下所感受到的視線衝擊，亦也投射了個體在面對瀕死經驗時的生存心理。
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楊佳馨藉生活中對「爍光」的觀察與再現，探索藝術創作中不同層次的身心狀態、生命
體悟與物與光影的關係，同時也匯聚記憶中的碎片，在展期中不斷地重塑、複寫與虛構。 觀眾將以「窺視」的視角，結合視覺、聽覺、觸覺等感官體驗，與展場中的生活的影像與身體的檔案相遇。透過感性且傷痛的經驗，在認識與感覺情緒之時，觀眾亦也參與了楊佳馨的越界行動，感受每一刻的呼吸與存有。
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The solo exhibition “Return to the Scene” by Chia-Shin Yang is rooted in her personal journey through trauma and pain, beginning with a traffic collision in February 2022. The exhibition delves into the concept of “return to the dissociative scene after trauma,” examining the complex and layered effects of pain on the individual. It captures the emotional transitions after the traumatic event, crafting an aesthetic of survival that is both lonely and poetic.
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“Reconstructing the sensitivity of the moment between life and death.”
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After experiencing the sensory reality of life and death during a traffic accident, Chia Shin Yang reconstructs her repressed history of illness through the perception of her damaged body. She samples elements from her daily life, such as diary-like images, medical records, and discarded materials. Through her creations, Yang contemplates the construction of her self-identity and makes her personal experiences public. She explores the different emotional layers between herself and others, and the connections
between multiple sensory perceptions and bodily sensations, thus engaging in the process of publicizing “revealing myself while hiding myself.”
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The exhibition showcases a diverse array of media, including photography, multi-channel video installations, and artist’s books. Yang weaves layers of images, objects, and videos in a scattered, overflowing manner, filling the exhibition space. She attempts to unravel the three major dissociative stages of trauma from the accident: “Tracing the Truth,” “Overflowing Emotions and Sensations,” and “Replicating Memories.”
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“Peering into the chaotic realm of the unknown and transcending boundaries.”
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As an artist, Chia-Shin Yang “loosens” the interaction between each object and the interplay of light and shadow in the exhibition space, aiming to cleanse preconceived perceptions and heal her trauma. She regards the Good Underground Art Space as a realm to explore her own chaotic, dark, and unknown areas, touching upon the liminal spaces where the psyche and body confront damage, pain, fear, mortality, and the essence of life.
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“Return to the Scene” is not just the title of the exhibition but also an act of transcending
boundaries for Chia-Shin Yang as she perceives the frontier of life. The exhibition conveys the profound messages of depicting “the world about myself that I do not know,” while also offering an experience of “the subject opening up to the realms beyond and loosening its inherent thinking.” In the exhibition space, a large amount of “glimmer” will emerge, reflecting the visual impact she felt at the moment of the car accident and projecting the survival psychology of an individual facing a near-death experience.
Through observing and representing “sparkle” in her daily life, Yang explores different levels of mental and physical states, life insights, and the relationship between objects and light and shadow as showcased in her works. Simultaneously, she gathers fragments of memories, constantly reshaping, replicating, and fictionalizing them throughout the exhibition period.
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The audience will adopt an “observing” perspective, incorporating visual, auditory, and tactile sensory experiences to encounter the images of daily life and bodily archives in this art venue. Through these sensitive and painful experiences, as they recognize and perceive the emotions, the audience also participates in Chia-Shin Yang’s act of transcending boundaries, experiencing every moment of breath and existence.
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【藝術家簡介】
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楊佳馨 CHIA-SHIN YANG
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藝術家楊佳馨於 1999 年出生台南，目前創作生活於台北。透過攝影、影像裝置、藝術家書等多元媒材、媒介分享「病痛經驗與其創傷」之課題，由疼痛、印痕與其延伸探索身體、影像經驗、材質、物與空間的連結，反思病痛經驗與創傷所帶來的感性敘事、片面感知、身體感與多感世界等面向，以及疾病記憶與現實狀態等生命課題。
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藝術家網站：https://www.facebook.com/chiashinyang
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Chia-Shin Yang, born in Tainan in 1999, currently lives and works in Taipei. Her subjectivity to experiences of illness and trauma is central to her artwork, which extends through a range of artistic media, including photography, installations, artist books, and other mixed media. Her works revolve around concepts of imprints and pain to explore the interplay between the body, visual experiences, materials, objects, and space. She reflects on emotional narratives, perceptions, corporeality, and the multi-sensory constructs shaped by illness and trauma, and courageously confronts the impact of illness on memory, along with its effects on physical and mental states.
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REFERENCE

好地下藝術空間