With no names

Stainless steel, faucet, wooden pedestal, toilet detergent, motor, pipe, paper flower
dimensions variable
2021

The installation with no name… consists of a space extracted from a personal experience of facing the world. The artist makes use of the public space in the entrance hall to illustrate a reality of collapsed order through mirroring fountains that are in a dysfunctional state of auto-loop. The blue water serves as a metaphor for the blue chemical liquid sprayed on protestors (and “accidently” on the Kowloon Mosque), whereas water—an essential element of a normally functioning human body—becomes a metaphor for lurking, ubiquitous violence. When thousands of tear gas grenades were fired, the chemical fog they produced spread across every corner of public space and even parks, dragging police dogs, innocent birds, squirrels, as well as many other natural beings into the protests.

The publication paper-roaring news is placed on the platform. It documents the artist’s experience and perception of a changing society after a trip to Hong Kong and Macau in March 2019. Her writing mostly revolves around Hong Kong, Taiwan and global issues, including her moves and housing experiences, the Anti-Extradition Law Amendment Bill Movement in Hong Kong, Taiwan’s presidential election, and changing thoughts in the midst of the COVID-19 pandemic. Her understanding of specific historical moments and political atmosphere is reflected in these writings, and transformed into the form of paper-roaring news. Folding the newspaper into a “paper popper” is reminiscent of a child’s toy and a nostalgic game. Holding the corner and slinging it downward, air is caught in the folded paper and creates a loud, popping sound. This action symbolizes that writings could be power. With the transformation and reflection of her thoughts on various experiences, the artist invites the audience to enter the work and perceive the undercurrents therein.

沒有名字的

不鏽鋼、水龍頭、木座、馬桶清潔劑、沉水馬達、水管、紙花

2021

《沒有名字的...》空間裝置作品，是一段由個人面對外部世界的經驗所翻摺出來的空間。林盈潔以入口穿堂的公共場域，藉由鏡像完形的噴水池和一座尋常可見的飲水台，不斷溢流呈現自體循環的失能狀態，來敘述一個早已失序的事實。她取藉藍色的水來描述沖刷在抗爭群眾身上的化學藍色水，將水作為人體正常運作的重要成分，換喻為潛伏的、且無所不在的暴力象徵。當數以千計的催淚彈造成化學濃霧的瀰漫侵襲，角落一隅的鳥、松鼠和狗以及其他自然界生靈也被無端地捲入抗爭之中難以倖免。

平台上的「咆哮報紙」記述林盈潔於2019年港澳旅行賦歸後，個人對外界社會轉變的書寫，筆端多涉香港與台灣乃至擴及全球性議題，包括切身的租屋經驗、香港「反對《逃犯條例》修訂草案運動」、台灣總統大選、COVID-19疫情下的思維轉變等，字裡行間敘事對特定時空政治氛圍的體悟隨筆，她將這些文字皺摺在童玩的「紙手槍」造形之中，只要用力甩下，紙張與空氣迸發出轟鳴的聲響，彷彿將文字化為力量。通過轉化與鏡射的手法呈現出對於各種經驗的反思，邀請觀眾走進其中感受在作品裡的伏流。