家後－蔡昱廷個展 Ke-āu - Yu-Ting Tsai Solo Exhibition

家後－蔡昱廷個展

Ke-āu - Yu-Ting Tsai Solo Exhibition

靜靜的，家門前椅子上阿嬤的身影，日復一日，不曾改變，那縮影靜止了十年。

家的分裂與消失，也間接的顯影出傳統父系社會下母系的弱勢。作為悼念，瓦解那道牆，透過實際的破壞，作為一種發洩，在不斷向前的時間中向內在記憶的探索，是交代與沈澱的過程，不可抗力且不可回溯的。

另一部分，計劃以當代母系角度切入，回推家庭的種種，血緣在自身的作用。孩子作為化身扮演著傳承的角色，模仿、內化、重建，成長過程下的淺移默化，家庭同時也是主體性形塑必經的軌跡。記憶作為進入家庭關係的裂縫，以當下回應過去，實質的挖掘詮釋虛像的記憶、實質的辨識詮釋虛像的血緣，在血緣、記憶中流轉的"虛像成為表象的過程"。

Quietly, year after year, the silhouette of Grandma sitting on the same chair in front of the door yet remained unchanged—a still image, frozen in time for a decade. The disjunction and disappearance of home indirectly revealed the matriarchal weakness in a patriarchal society.

For mourning, the wall needs to be dismantled. The actual destruction becomes a way of letting off emotions, an inward excavation of memory against the unstoppable forward time. This is a process of sedimentation—irreversible, beyond resistance.

In the other part of the work, the entry point is from a contemporary matriarchal angle to trace and depict what happened in a family, the threads of kinship and their imprint on oneself.

A child becomes a vessel of inheritance: mimicking, internalizing, reconstructing.

Under the slow, invisible shaping that takes place during growth, the family becomes a formative path toward subjectivity.

Memory is the gap connecting family relationships, a moment of responding to a vanished past. It is a tangible excavation of intangible memory. It is a tangible excavation of intangible consanguinity. In the process of constantly moving memory and consanguinity, the intangibility turns into reality.

七日 Tsò-Sûn

｜機械動力裝置｜媒材 :紅磚、機械裝置、槌頭

｜Kinetic Installation｜Materials: Red bricks, mechanical components, hammer head

｜機械動力裝置尺寸： 100 x 50 x 230 cm（長 x 寬 x 高）｜Kinetic device dimensions: 100 x 50 x 230 cm (L x W x H)

｜紅磚牆尺寸：100 x 300x 200 cm（長 x 寬 x 高）｜Brick wall dimensions: 100 x 300 x 200 cm (L x W x H)

在家庭的過去，阿公過世後，阿嬤家中的細長通道上，被築起了高高的一道紅磚牆，原先的房子就這樣被一分為二，隨著紅牆的完工，家庭的分裂與消亡接踵而至，阿嬤的話語無法改變事情的發生，被驅逐到了其中一間屋子。傳統習俗中，人過世後七日為一個單位，靈魂回家，也是喪禮的結束。作品以阿嬤過世後七日作為時間的度量，在不斷向前的時間中向內在記憶探索，那是一個交代與沈澱的過程，是不可抗力且不可回溯的。瓦解紅磚牆，作為一種悼念與發洩，同時也是碎裂某種臺灣傳統父系社會價值觀，過去時代的縮影。

In the family's past, after Grandpa passed away, Grandma's house, once a single home, was divided into two. A tall red brick wall was built across the passage between them, symbolizing not only the physical separation but also the fragmentation and fading of the family. Grandma's words could not change anything, and she was driven into one side of the house.

According to traditional customs, the seventh day after death marks the return of the soul and the end of the mourning ritual. This work uses the seven days following Grandma's passing as a unit of time, a measurement for exploring internal memory amid the relentless passage of time. It is a settling process, something both irreversible and beyond control.

Dismantling the red brick wall becomes an act of mourning and catharsis—at once a release of emotion and a rupture of patriarchal values embedded in traditional Taiwanese society, a fragment of a bygone era.