迴圈、間隙與超越：論陳瀅如影像裝置的時間性與其歷史動力

Cycles, Intervals, and Transcendence: Temporal Dynamics and Historical Forces in Chen Yin-Ju's Video Installations

本文借助賈克．洪席耶關於影像與文字關係的理論視野，包括其「構句—影像」（sentence-image）方法，以理解陳瀅如近10年的創作脈絡，並將其置放於全球當代藝術網絡與臺灣歷史書寫的框架中。在跨領域學科與神秘學知識的協助下，藝術家建構出一套用以取代統治者視角的「時間」，得以逃逸線性敘事時間的視覺系統：與天體運行相呼應的動態迴圈。其影像與文本之間共享的「不可共量性」所產生之差距空間，其中的異質、混亂的力量可用以理解陳瀅如影像裝置的美學特質，即影像與旁白聲音、字詞，及影像之間的蒙太奇縫合。藉由其獨特的影像操演，它回應了現代性實踐中所產生的時間落差，進一步將其轉換為新的歷史書寫之契機。可以將其想像為一臺歷史動力機器，像是馬達或幫浦般地，韻律地擠壓由影像離似而產生的差距空間，驅使參與者介入其所書寫的「時間」。

This essay employs Jacques Rancière’s theoretical perspective on the relationship between image and text, including his concept of“sentence-image”, to understand Chen Yin-Ju’s artistic practices over the past decade. It places her work within the framework of the global contemporary art network and the historiography of Taiwan. With the aid of interdisciplinary knowledge and mysticism, the artist constructs a temporal system that replaces the ruling perspective, allowing for an escape from linear narrative time: dynamic cycles resonating with celestial movements. The intervals generated by the“measureless common”shared between image and text reveals heterogeneous, chaotic forces, offering insights into the aesthetic qualities of Chen Yin-Ju's video installations. Through her unique manipulation of images, she responds to the temporal gaps produced by Modernism and transforms them into opportunities for new historical writing. One can imagine this as a historical dynamo, akin to a motor or pump, rhythmically compressing the gap generated by the dissemblance between sentence-phrasing and images, driving participants to engage with the“time”she writes.