副島忍：2025絕對空間藝術進駐藝術家成果發表 ➋ Shinobu Soejima: Absolute Space Artists-in-Residence Program for 2025 ➋
絕對空間藝術進駐的駐村計畫來到第二年，今年我們以「也著神・也著人」為主題，邀請了三位分別由日本北海道天神山藝術工作室、黃金町管理中心、德國柏林GlogauAIR的藝術家來到臺灣，一位則是透過公開徵件徵選的藝術家，來自法國的Sandrine Deumier。今年，我們的駐村成果，來到了第二位來自日本的藝術家副島忍的發表，她主要以拍攝偶動畫作為創作。她在這次駐村期間，延伸其原本創作中所關注的生、死，鬼的世界與人的世界的關係，走訪了臺南的廟宇，也走訪了傳統的紙紮工藝，思考製作偶動畫的其他可能技法。同時，她也在駐村期間，與國立臺南藝術大學動畫藝術與影像美學研究所的學生合作，一起創作了從錄製街道上的聲音，所轉化成的動畫影像。最後的駐村成果展，她則以「此岸與彼岸」為名，展出兩部偶動畫，以及她於駐村期間所製作的戲偶。
副島忍「此岸與彼岸Here and There」展覽現場。圖/絕對空間藝術進駐提供
副島忍「此岸與彼岸Here and There」展覽現場。圖/絕對空間藝術進駐提供
副島忍 Shinobu Soejima【此岸與彼岸 Here and There】
進駐成果開幕暨座談 A Presentation by Shinobu Soejima
✧ 展期 Exhibition Date｜2025.8.9-8.24
✧ 開幕 Opening｜2025.8.10 Sun 15:00-18:00
✧ 座談 Forum｜2025. 8.10 Sun 15:30-17:00
✧ 藝術家 Artist｜副島忍 Shinobu Soejima
✧ 與談人Panelist｜陳寬育 Chen, Kuan-Yu
✧ 地點 Venue｜三和進駐基地 SanHo Art Lab
✧ 地址 Address｜臺南市南區三和街14號 No. 14, Sanhe St., South Dist., Tainan City
✧ 開放時間 Opening Hours｜週三至週日 Wed to Sun 12:00-18:00
主辦單位 Organizer：絕對空間藝術進駐 Absolute Space AIR
合作推薦單位 Recommending Unit：黃金町管理中心Koganecho Area Management Center
指導單位 Advisor：文化部 Ministry of Culture
「此岸與彼岸」
藝術家：副島忍
本次展覽包含兩部以台灣台南的廟宇（廟）為主題的錄像作品：一為陽廟（正神之廟），另一為陰廟（孤魂野鬼或未安之靈所居之處）。透過這兩件作品，藝術家從個人視角出發，探討信仰與民間信仰於在地社群中的角色。
陽廟作品是一段以停格動畫方式拍攝的影像，地點選在三郊鎮港海安宮，該廟主祀海上守護女神媽祖。藝術家將偶戲般的人形裝置擺設於現地，以生動輕盈的動畫手法，描繪出環繞著媽祖信仰的祭典氛圍與歡慶場景。
陰廟作品則聚焦於七歲姑娘廟的地方傳說，該廟祭祀的是一位早逝的女孩。有一說認為她在日軍侵略新營地區時，勇敢地誤導敵軍方向，以保護抗日義士，最終遭殺害；另有一說稱她於洪水中協助他人逃生，最終溺斃。作品穿插呈現這些多重敘事，細緻地將她描繪為一位既是受害者、亦是地方集體記憶象徵的人物。
副島忍「此岸與彼岸Here and There」展覽現場。圖/絕對空間藝術進駐提供
整個展覽中，光與影、生與死、私領域與公領域的對比，在兩部作品中交錯展開。
一個奇異的混合生物貫穿兩件作品：牠兼具人與獸的特徵，擁有多足、戴著人面具、身體則為動物軀幹。這個角色隨著陣頭音樂的節奏自由行走、穿梭其間，彷彿在陰陽兩界之間起舞。
在台南的日子裡，我開始察覺日常生活中的某些規律，彷彿勾勒出「集體」的輪廓mdashmdash如同社區、社會，甚至國家的結構緩緩浮現。人們自然地在特定時間與地點聚集，比如在垃圾車來臨的時刻等候，即便彼此未語，只是站在那裡，也足以感受到他者的存在。
在廟會節慶之日，鞭炮的轟鳴與熱鬧音樂充斥整個街區，即使身處室內，亦能感受到那條將個人與集體相連的無形之線mdashmdash私領域與公領域的界線漸趨模糊。
社群不僅是有著共同目的的個體聚合，更是一段沿著各自歧異路徑邁向該目的的過程。當群體擴大，一種笨拙的節奏也隨之而來mdashmdash如同一具龐大的身體試圖協調著自身向前移動。
在這兩部作品中，我以這隻多足奇獸的身體，承載個人、地方與國家認同的層次，象徵集體存在中所蘊含的複雜與張力。
副島忍「此岸與彼岸Here and There」展覽現場。圖/絕對空間藝術進駐提供
副島忍「此岸與彼岸Here and There」展覽現場。圖/絕對空間藝術進駐提供
The artist-in-residence program of Absolute Space AIR has entered its second year. This year, under the theme ldquoBetween Divine Will and Human Endeavor,rdquo we invited three artists from different institutions: Tenjinyama Art Studio in Hokkaido, Japan Koganecho Area Management Center in Yokohama, Japan and GlogauAIR in Berlin, Germany. In addition, one artist was selected through an open call mdash Sandrine Deumier from France.
This yearrsquos residency presentation features the second Japanese artist, Shinobu Soejima, whose main creative practice is stop-motion animation. During her residency, she expanded on her ongoing exploration of themes related to life, death, and the connections between the world of spirits and the human world. She visited temples in Tainan as well as traditional paper-craft workshops, reflecting on other possible techniques for producing stop-motion animation. At the same time, she collaborated with students from the Graduate Institute of Animation and Film Art Aesthetics at Tainan National University of the Arts, creating an animated work derived from recorded street sounds transformed into moving images. For the final residency exhibition, she presented her works under the title ldquoHere and There,rdquo showcasing two stop-motion animations along with the puppets she created during her residency.
副島忍進駐期間工作照。圖/絕對空間藝術進駐提供
Here and There
by Shinobu Soejima
This exhibition consists of two video works, both centered on temples (miao) in Tainan, Taiwanmdashone a yang miao (temple of positive spirits), the other a yin miao (of negative or unsettled spirits). Through these works, the artist explores the role of faith and folk belief within local communities from a personal perspective.
The yang miao piece is a stop-motion animation filmed at Sanjiao Zhen Gang Hairsquoan Temple, a shrine dedicated to the sea goddess Mazu. Puppet-like figures were placed on-site and animated playfully to depict the atmosphere of worship and celebration surrounding Mazu.
The yin miao piece focuses on the folklore surrounding the Qisui Guniang Miao (Seven-Year-Old Girl Temple), which enshrines the spirit of a girl who died young. One version of the legend says she was killed by Japanese soldiers during their invasion of the Xinying area, after courageously misleading them to protect local resistance fighters. Another tells that she died in a flood after helping others reach safety. Interweaving these multiple narratives, the film carefully renders her as both a victim and a symbolic figure of local memory.
Throughout the exhibition, contrasts of light and shadow, life and death, private and public, unfold across the two works.
A strange hybrid creature appears in both piecesmdashpart human, part beast, with multiple legs, a human mask, and an animalrsquos torso. This figure walks freely, animated by the rhythms of Taiwanese parade music (zhen tou), as if dancing between realms.
During my time in Tainan, I began to perceive the outlines of collective structuresmdashcommunity, society, even the statemdashemerging from the patterns of daily life. People naturally gather at specific times and places, such as when waiting for the garbage truck on scheduled days. Even without exchanging words, simply being there affirms the presence of others.
On temple festival days, the roar of firecrackers and joyful music spreads throughout the neighborhood. Even from inside onersquos home, it is possible to feel an invisible thread linking the self to the collective. The boundaries between private and public space grow increasingly porous.
Community is not only a gathering of individuals with shared purposes it is also a process of moving toward those purposes along divergent paths. As the group grows, a certain awkwardness emergesmdashlike a massive body attempting to move itself forward.
In these works, I embodied the layers of individual, local, and national identity in the form of this multi-legged chimera, representing the complexity and tension of collective existence.
** This event will be conducted in both Chinese and Japanese.
副島忍進駐期間工作照。圖/絕對空間藝術進駐提供
「從聲音錄製出發的繪圖動畫」工作坊
ldquoImaging Movement from Recorded Soundrdquo Workshop
日期Date：2025.8.12 Tue 13:30-16:30
地點Venue 三和進駐基地 SanHo Art Lab
地址Address：臺南市南區三和街14號 No. 14, Sanhe St., South Dist., Tainan City
工作坊宣傳海報。圖/絕對空間藝術進駐提供
【關於此工作坊 About this Workshop】
此工作坊中，參與者將收到藝術家在台南錄製的聲音。
這些聲音將成為想像的起點：參與者將細心聆聽，並在心中描繪聲音所喚起的場景、動態與情感。接著，運用想像力，一格一格地繪製翻頁動畫。
In this workshop, participants will receive audio recordings made by the artist in Tainan, Taiwan. These sounds will serve as a stimulus for the imagination: participants will listen carefully and visualize the scenes, movements, and emotions that the sounds evoke. Using their imagination, they will then create a flipbook animation, drawing one frame at a time.
【工作坊目標 Purpose 】
探索聲音如何激發視覺敘事的創作靈感。To explore how sound can inspire visual storytelling.
透過聆聽與繪畫，連結台南的氛圍、歷史與在地聲音。To connect with the atmosphere, history, and voices of Tainan through listening and drawing.
嘗試感知間的互動關係mdashmdash聽覺與視覺的實驗。To experiment with the relationship between hearing and seeing.
工作坊活動現場。圖/絕對空間藝術進駐提供
副島忍Shinobu Soejima
副島忍（Shinobu Soejima）將動畫定義為「將死亡帶回生命的力量」，並嘗試創造一種可能存在的靈性維度。在日本的各種儀式中，偶具有跨越生與死、現世與彼岸的功能。她結合動畫的這一特性與偶本身所蘊含的靈性意涵，在生命與非生命之間進行遊戲與探索。
副島忍曾於多個國內外影展中獲獎，包括第68屆奧伯豪森國際短片影展（International Short Film Festival Oberhausen）生態宗教評審特別提及獎、第22屆日本媒體藝術祭評審獎（Japan Media Arts Festival）、奇幻國際影展（Fantasia International Film Festival），以及2018年東京丸之內藝術獎木村繪理子的獎項（Art Award Tokyo Marunouchi - Kimura Eriko#39s Prize）。
目前她為東京藝術大學影像與新媒體領域博士候選人，並擔任多摩美術大學媒體藝術課程的講師。
Shinobu Soejima defines animation as quotthe power to bring back from death to liferdquo, and try to create a vision of a possible spiritual dimension. In various rituals in Japan, puppets have the function of crossing the border between death and life, between the mundane and the otherworldly. By combining this characteristic of animation with the inherent spiritual properties of puppets, she plays with life and non-life. Shinobu Soejima won several awards at domestic and international film festivals, including the 68th International Short Film Festival Oberhausen Special Mention by Ecumenical Jury, the 22nd Japan Media Art Festival -Juryrsquos prize, Fantasia International Film Festival, and Art Award Tokyo Marunouchi-Kimura Eriko#39s prize in 2018. She is currently a PhD candidate of Tokyo University of the Arts Film and New Media, and working as a tutor of Media Art Course at Tama Art University.
Shinobu Soejima，《我橫臥在地上的內臟》（私の横たわる内臓 My Organs Lying on the Ground）， 2024。圖片版權copy Shinobu Soejima。圖/絕對空間藝術進駐提供