金礦、深淵、山神廟
單頻道錄像 4K Ultra HD
2024
《金礦、深淵、山神廟》聚焦於水金九地區幾間因礦業而生的山神廟，透過研究空間與信仰文化之演變，探討其在地化發展的歷史脈絡。該區域自日治時期以來即因金礦開採而興盛，礦主除自日本引進現代採礦技術外，亦移植山神信仰作為礦工安全與祈願的精神支柱，並在地與原有的土地信仰交融，發展出混合性的地方祭祀體系，體現殖民權力、地方意念與宗教形式之間的多重折衝與再詮釋。
隨著金礦資源枯竭與產業撤離，這些山神廟亦逐漸失去其祭祀功能與社會連結，現今僅有零星登山者偶作參拜。為回應這一斷裂的歷史與空間記憶，本計畫設計並製作融合臺日信仰元素的神轎，作為百年後的象徵性酬神儀式之載體。神轎沿山徑行進，途經既有的山神廟並深入廢棄礦坑，再現過往祭典中神明出巡的儀式場景。
此藝術行動透過影像紀錄與空間調度之實踐，營造時空錯置與歷史重述的敘事結構，將影像作為一種介入歷史與再建記憶的手段，為山神廟提供一種當代的象徵性祭拜方式，進而回應地方信仰與集體記憶的未來性。
Gold Mine, Abyss, Mountain Spirit’s Temple
4K Ultra HD Single-channel Video
2024
Gold Mines, Abyss, Mountain Spirit’s Temple examines several mountain spirit temples in the Shuei-Jin-Jiou (水金九) area that emerged from mining activities, investigating the historical context of their localized development through the transformation of space and religious culture. This region has thrived since the Japanese colonial period through gold mining. Mine owners not only introduced modern extraction techniques but also transplanted mountain spirit worship as a spiritual foundation for miners' safety and prayers. These beliefs integrated with existing local land worship, developing a creolized ritual system that manifested the intricate cultural negotiations and reinterpretations that emerged from the intersection of colonial authority, indigenous worldviews, and religious practices.
With the depletion of gold resources and the withdrawal of industry, these mountain spirit temples gradually lost their ceremonial functions and social connections. Today, only scattered mountain climbers occasionally pay their respects. In response to this fractured historical and spatial memory, this project designs and constructs a palanquin that incorporates both Taiwanese and Japanese religious elements, serving as a vessel for symbolic deity worship ceremonies a hundred years later. The palanquin processes along mountain trails, passing surviving mountain spirit temples and entering abandoned mine shafts, reenacting the ritual processions of divine visitations from historical festivals.
Through video documentation and spatial choreography, this artistic intervention constructs a narrative of temporal dislocation and historical retelling. It employs moving images as a method of historical intervention and memory reconstruction, offering the mountain spirit temples a contemporary mode of symbolic veneration, thereby addressing the futurity of local faith and collective memory.
