《月球背面意念成像圖》為三田光一 (1885-1943) 於1931年在心理學者福來友吉主持下完成的實驗圖像之一。作為日本近代「念寫」（nensha, thoughtography）研究的重要案例，作品據稱呈現了當時尚無法被直接觀測的月球背面，將不可見之物轉化為可視圖像，因而置身於科學探究、心理實驗與視覺再現之間的曖昧地帶。自1930年代以來，此圖不僅作為心靈研究的材料流通，也持續引發關於感知、證據與圖像可信度的討論。


隨著戰後太空攝影技術的發展，研究者亦曾嘗試將此圖與美國國家航空暨太空總署（NASA）拍攝的月球影像進行數學與圖像比對，並提出不同程度的對應分析。就今日而言，這件作品的意義並不在於它是否能被單純驗證為真實的再現，而在於它如何揭示二十世紀前半葉日本對超常知覺的想像，以及圖像如何成為連結心理投射、科學方法與宇宙認識的文化媒介。

The Backside of the Moon Thoughtographic Image is one of the experimental images produced by Koichi Mita (1885-1943) in 1931 under the supervision of psychologist Tomokichi Fukurai. An important example of modern Japanese thoughtography research, the work was said to depict the far side of the moon, constituting a concrete image of something that could not be directly observed at the time. In purporting to capture an unobservable object, it occupies an ambiguous status in the space between scientific inquiry, psychological experimentation, and visual representation. Since the 1930s, the image has circulated as material for psychical research and has continued to provoke discussions on the nature of perception, photographic evidence, and the credibility of images. 


With the development of postwar space photography, researchers also attempted to compare this image mathematically and visually with NASA's lunar photographs, proposing varying degrees of correspondence. From today’s perspective, the significance of this work lies not in whether it can be simply verified as a truthful representation, but in its representation of early twentieth-century Japanese imaginaries of extrasensory perception, as well as a prompt for considering how such images function as a cultural medium linking psychic projection, scientific method, and ways of knowing the cosmos.

作為實驗錄像的先驅之一，久保田成子（1937-2015）《我的父親》既是一首輓歌，也是一篇錄像日記，揭示電視如何成為記憶與情感的載體。創作於藝術家父親辭世之後，作品交織兩組影像：一組是久保田於兩年前在日本拍攝父親日常喜愛坐在電視機前觀看節目的身影；另一組則是藝術家拍攝自身獨自在家中悲傷、凝視並觸碰螢幕的哀悼影像紀錄。在作品中，螢幕不僅保存了逝者的影像，也在播放的瞬間重新召回其存在。


當久保田伸手觸碰顯示父親面容的電視螢幕時，影像彷彿使死者短暫復返，卻也同時加深了其不可挽回的缺席。《我的父親》由此展開一種時間與空間彼此交錯的狀態：父親既在場，又不在場，如幽靈般停留於電子影像之中。透過這種私密而帶有表演性的錄像語言，久保田將科技與影像轉化為一處得以承載悼念、記憶與失落的場所。

As a pioneering figure in experimental video, Shigeko Kubota in My Father fashions both an elegy and a video diary, revealing television as a medium through which memory and affect are carried, preserved, and reactivated. Made in the aftermath of her father’s death, the work interweaves two sets of images: footage Kubota had filmed in Japan two years earlier, showing her father seated before the television—one of his most cherished daily activities—and scenes of the artist alone at home, mourning as she gazes at and touches the screen. Within the work, the monitor does not merely preserve the image of the deceased; it also reanimates his presence in the very act of playback. 


As Kubota reaches toward the screen bearing her father’s face, the electronic image appears to momentarily restore the dead to visibility, even as it renders the irrevocability of his absence more acute. My Father thus opens a temporal and spatial disjunction in which the father is at once present and absent, lingering like a spectral trace within the electronic image. Through this intimate yet performative video language, Kubota transforms technology and the moving image into a site in which mourning, memory, and loss can take form.

白南準（1932-2006），被廣泛視為錄像藝術的創始者，其創作實踐涵蓋雕塑、電影、繪畫、行為藝術、聲音和音樂。他畢生對錄像作為一種藝術媒介的探索，他將電視機視為一種哲學、雕塑和表演工具，而不僅僅是傳輸設備。繪畫是這項探索不可或缺的一部分。這幅圖像呈現白南準長期以來對電視機的重新思考，他不僅將其視為一台機器，更將其視為一種形式、一種符號，以及一個思想領域。

Nam June Paik (1932–2006) is widely regarded as the founder of video art, though his practice spanned sculpture, film, painting, performance, sound, and music. His lifelong exploration of video as an artistic medium, treating television not simply as a device of transmission but as a philosophical, sculptural, and performative form. Drawing and painting were integral to this inquiry. Stripped of signal and spectacle, the image reflects Paik’s enduring effort to reconsider television not only as a machine, but as a form, a symbol, and a field of thought.

《第三眼》匯集來自亞洲與西方擴展傳統視野中的視覺與詩性證據，聚焦於不同時代與文化脈絡中發展出的「遙視」實踐。以兩位歷史人物為核心，1910 年於東京的福來友吉，以及 1970 年代末於美國的英戈・斯旺。奧斯勒將「遙視」視為一種詩性能動性，企圖用以喚醒感知，並拓展「看見」的邊界。


多媒體設備贊助 Supporting Partner |  洪建全基金會 Hong Foundation、台灣松下電器 Panasonic Taiwan

Third Eye (2026) brings together visual and lyrical evidence from Asian and Western traditions of expanded vision, focusing on practices of “remote viewing” developed by groups separated by time and culture yet united by shared interests in cognitive enhancement, spiritual insight, scientific inquiry, and political power. The installation highlights two key figures: Tomokichi Fukurai in Tokyo in 1910 and Ingo Swann in the late 1970s. Oursler frames remote viewing as a poetic effort to activate perception and expand the limits of seeing.

蘇珊·希勒（1940–2019）為出生於美國的英國觀念藝術家，其極具影響力的創作實踐涵蓋裝置、錄影、攝影、繪畫、雕塑、行為藝術、藝術家書籍和寫作等領域。在長達六十餘年的藝術生涯中，她發展出一套探討信念、知覺與意義之間不穩定邊界的作品體系，並經常借鑑人類學和精神分析學的觀點。她尤其以其創新的裝置作品著稱，透過「記憶」、「缺席」和「超自然信仰」等主題，作為理解當代經驗的框架，並將此創作方法稱為「超觀念主義」（paraconceptualism），藉此將那些在文化中被壓抑、忽視或被視為非理性的現象，引入觀念藝術的批判性對話中。


在作品《迴響（紅外線）》（2013）中，希勒將關於不明飛行物、神秘光芒和其他無法解釋的現象的第一手資料，與源自宇宙和科技訊號的層疊音景結合。對宇宙大爆炸、脈衝星、等離子波、清醒夢實驗以及無線電和電視訊號干擾的聲音檔案進行翻譯，創造了一個共鳴場域，融合宇宙學、夢境和幻覺體驗。這部作品並非旨在證實這些說法，而是探索如何透過聲音、圖像和信念來敘述、傳遞和感知不可見的事物。

Susan Hiller (1940–2019) was a US-born British conceptual artist whose influential practice spanned installation, video, photography, painting, sculpture, performance, artists’ books, and writing. Over six decades, she developed a body of work that probed the unstable boundaries between belief, perception, and meaning, often drawing on anthropology and psychoanalysis. She was especially recognized for her innovative installations, which explored memory, absence, and paranormal belief as frameworks for understanding contemporary experience. Hiller described this approach as a form of “paraconceptualism,” through which she brought culturally suppressed, overlooked, and irrational phenomena into critical dialogue with conceptual art. 


In Resounding (Infrared) (2013), Hiller brings together firsthand accounts of unidentified flying objects, mysterious lights, and other unexplained phenomena with a layered soundscape drawn from cosmic and technological signals. Audio translations of the Big Bang, pulsars, plasma waves, lucid-dreaming experiments, and static from radio and television transmissions create a resonant field in which cosmology, dreams, and visionary experience converge. Rather than confirming such claims, the work explores how the unseen is narrated, mediated, and made perceptible through sound, image, and belief.

《災變論》一作從神經系統與外在世界的關係展開，將身體理解為一座模擬器，探討感知並非直接反映現實，而是在神經迴路中被不斷轉譯、拼接與重建。作品以多頻道影像裝置建構一個災難之後彷彿被放逐於時間之外的精神性空間。

In Catastrophism (2025-2026), the artists explore the relationship between the nervous system and the external environment, conceptualizing the body as a "simulator." Perception is a dynamic process, continuously translated, spliced, and reconstructed through neural circuits. Through a multichannel video installation, the work constructs a post-disaster psychic space outside of time that replays and amplifies how individuals perceive reality. 

馬克斯·恩斯特（1891-1976），德國出生的藝術家，為歐洲達達主義和超現實主義的領導人物，以其透過拼貼、拓印和其他實驗性技法拓展該運動的視覺語言而聞名。恩斯特將拼貼描述為「視覺圖像的煉金術」，發展出一種碎片化、錯位和出人意料的並置藝術技法，以此來呈現夢境、神話和潛意識。《善意的一週》創作於1933年夏天，當時恩斯特正居住在義大利北部的維戈萊諾，並於1934年在巴黎出版。此作是他最繁複精緻的拼貼小說，也是超現實主義視覺語法實驗的代表作之一。全書以五冊形式發行，結構上對應一週七日，分為七個部分，由182幅照相複製的圖像組成，這些圖像取材於維多利亞時代的小說、百科全書、木刻版畫、自然科學期刊和其他印刷品的擷取圖像。恩斯特以非凡的精準視角，將這些現成圖像轉化為一個充滿暴力、情色、諷刺和變形的戲劇世界，構築出一個現實讓位於潛意識運作的幻視世界。此處呈現的作品選自第二卷《水》（L’Eau）、第四卷《伊底帕斯》（Oedipe）和第五卷《公雞的笑聲》（Le Rire du coq）。

Max Ernst (1891–1976), a German-born artist and a leading figure of Dada and Surrealism in Europe, is renowned for expanding the movement’s visual language through collage, frottage, and other experimental techniques. Describing collage as an “alchemy of the visual image,” Ernst developed an art of fragmentation, displacement, and unexpected juxtaposition that gave form to dream, private mythology, and the unconscious. Created in the summer of 1933 while Ernst was staying at Vigoleno in northern Italy, and published in Paris in 1934, A Week of Kindness is the most elaborate of his collage novels and one of Surrealism’s defining experiments in visual language. Issued in five volumes but structured in seven sections associated with the days of the week, the work comprises 182 photomechanically reproduced images assembled from fragments of Victorian novels, encyclopedias, wood engravings, natural science journals, and other printed sources. With extraordinary precision, Ernst transformed these found images into a theatre of violence, eroticism, satire, and metamorphosis, creating visionary worlds in which realism gives way to the workings of the unconscious. The selection presented here draws from Volume II, L’Eau (Water), Volume IV, Oedipe (Oedipus), and Volume V, Le Rire du coq (The Rooster’s Laugh).

主題統覺測驗（Thematic Apperception Test, TAT）是建立於1930年代哈佛大學心理學研究脈絡中的一項心理測驗。此測驗延續了投射性心理學的核心思路：當人面對模糊且未被充分界定的圖像時，往往會在敘述與解讀的過程中，將自身的情感、欲望與內在衝突投射其中。

The Thematic Apperception Test (TAT) is a psychological assessment developed within the context of Harvard University’s psychological research in the 1930s. The test extends a central premise of projective psychology: when confronted with ambiguous and insufficiently defined images, individuals often project their own emotions, desires, and inner conflicts onto them through the acts of narration and interpretation. 

作為傑瑞米・蕭《量化三部曲》的第二部作品，《閾限者》以「虛構紀錄片」作為方法框架，將敘事置於距今約三個世代之後的未來。在愈加數位化、並可被設計的未來之中，身體、信念，以及「人之所以為人」的界線究竟何在？

The second part of Jeremy Shaw's Quantification Trilogy, titled Liminals, takes the format of an episode of a fictional documentary series. The story, set three generations in the future in a cinéma vérité style inspired by the 1970s, uses documentary techniques such as handheld camerawork, slow pacing, and ethnographic credibility to depict a future that is advanced yet familiar. The film gradually builds to an audiovisual peak, combining ritual, technology, and collective emotion into a unified, cathartic experience, thus raising urgent questions about embodiment, belief, and the effects of maintaining "humanity" in an ever-engineered future.

志賀理江子的《螺旋海岸》（Rasen Kaigan, 2009 –12）系列，源自她與日本東北沿海城鎮北上町居民之間長期而深入的互動與合作。進而發展出這組介於紀實、神話與幻視之間的影像。作品並不直接描繪災難本身，而是轉向災後難以言說的心理感受與土地經驗，使作品成為一種關於創傷、記憶與幽靈性共存的超現實視覺書寫。

Lieko Shiga’s Rasen Kaigan (2009 –12) emerged from her long-term and deeply engaged collaboration with the residents of Kitakami, a coastal town in Japan’s Tohoku region. Through her sustained involvement with the place, its memories, and its people, she developed a body of images that moves between documentary, myth, and vision. Rather than depicting the disaster directly, the work turns toward the inexpressible psychological aftermath of catastrophe and the lived experience of the land, becoming a visual meditation on trauma, memory, and spectral coexistence. 

松澤宥（1922–2006）為戰後日本觀念藝術的先驅，其作品圍繞著消失、非物質性和冥想式思考。這件作品重新定義了繪畫，將其視為一種時間性的、非物質性的事件，它只存在於意識的空間中，並且只有在被思考時才會存在。

Yutaka Matsuzawa (1922–2006) was a pioneering figure in postwar Japanese conceptual art whose work centers on disappearance, immateriality, and meditative thought. My Own Death (Paintings existing only in time) redefines painting as a temporal and immaterial event, existing only in the space of consciousness for as long as it is held in the thoughts of the living.

車學慶（1951- 1982）的單頻道錄像《口對口》（1975）凝縮出一則關於語言、身體與歷史斷裂的視覺冥想。透過近乎儀式性的重複，車學慶將日常的發聲行為推向一種原初而難以言說的狀態，使語言不再只是敘述的工具，而成為承載缺席、斷裂與渴望的身體痕跡。

Theresa Hak Kyung Cha (1951-1982)’s single-channel video Mouth to Mouth (1975) distills a visual meditation on language, the body, and historical rupture. Through this near-ritualistic repetition, Cha pushes the everyday act of vocalization toward a primal and ineffable state, so that language ceases to be merely a vehicle for narration and instead becomes a bodily trace bearing absence, rupture, and desire.

斯凱・霍平卡的《我會記得你曾經的樣子，而非你將成為的模樣》以輓歌的形式，悼念已逝的美國原住民詩人黛安・伯恩斯（1956 – 2006），並探問死亡、重生與靈性如何在生命與死亡之間遷徙、變形。

Sky Hopinka’s I’ll Remember You as You Were, Not as What You’ll Become (2016) unfolds in the form of an elegy, mourning the late Native American poet Diane Burns (1956-2006)while reflecting on how death, rebirth, and spirituality migrate and transform across the threshold between life and death. 

阿比查邦・韋拉斯塔古的《日光》受到他童年時代觀看的一部恐怖電影啟發，作品以雙頻道影像裝置呈現，投射在玻璃結構上。影像中，一個男子在陰影中遊走，尋找自己失去的眼球，那是被一位瘋狂醫生奪走，意圖讓他的妻子重獲視力。最終，男子被升起的太陽吞沒。當影像投射在玻璃上，幽靈般的身影在黑暗中飄動，似乎從螢幕中逃出，融入我們的物質世界。

多媒體設備贊助 Supporting Partner |  洪建全基金會 Hong Foundation、台灣松下電器 Panasonic Taiwan

Apichatpong Weerasethakul’s Solarium (2023) draws inspiration from a childhood horror film, featuring two video channels projected onto a glass structure. It reimagines the 1981 Thai film The Hollow-eyed Ghost, with one video depicting a man wandering in darkness, searching for his stolen eyeballs, which a mad doctor took to restore his blind wife's vision. Ultimately, the rising Sun overcomes him. The glass panels allow the ghostly figure to move through the dark room, pulsating off the screen into our environment. 

受跨物種交流實驗的啟發，並試圖與人類意識之外的世界建立連結，《nimiia cétiï》記錄了神經網路、早期火星語錄音，以及極端微生物在顯微影像中運動之間的相互作用。本作品中所使用的火星語可追溯至十九世紀末，最初由瑞士裔法國通靈者海倫娜・史密斯（1861-1929）在催眠狀態下傳達了這些詞語。


本作品由藝術家與 Memo Akten 及 Damien Henry 共同合作完成，並屬於倫敦薩默塞特宮工作室駐地藝術家計畫的一部分。此計畫中的音檔素材亦於2019年由 PAN 發行為唱片。

Inspired by interspecies communication, nimiia cétiï explores connections beyond our consciousness by capturing exchanges between a neural network, early recordings of a Martian dialect, and imagery of extremophilic bacteria. The computer acts as a medium for messages from beings that can't typically express themselves, while also representing an alien entity of our creation. The Martian language used originates from the late 19th century, articulated by Swiss-French spirit medium Hélène Smith during trance states.


This work was created in collaboration with Memo Akten and Damien Henry as part of an artist-in-residence program at Somerset House Studios, London.



PAN Records released an album of sounds generated by the project in 2019.

海倫娜．史密斯為瑞士通靈者凱瑟琳－埃莉斯・繆勒（1861–1929）所使用的化名。十九世紀末至二十世紀初，她因在降靈會與出神狀態中所產生的自動書寫、異語口說與幻視繪畫而受到矚目。自1890年代中期起，她陸續發展出數組帶有敘事性的文字與圖像系列，包括所謂的「印度」系列、「王室」系列，以及最為知名的「火星」系列；後者描述了一個她聲稱於出神狀態中所見到的神秘世界，並由一位名為Astané 的火星靈體所傳達 。她的作品因瑞士心理學家泰奧多爾・福魯努瓦（1854 - 1920）於1900年出版《從印度到火星》而廣為人知，該書亦是早期以心理學方法分析通靈現象的重要研究之一。福魯努瓦並未將史密斯的經驗視為超自然的證據，而是將其解釋為潛意識幻想、記憶殘留與「隱記憶」（cryptomnesia）的產物。史密斯的作品因此位於靈性啟示、心理觀察與現代圖像實驗之關鍵交匯處。她的自動繪畫與書寫實踐，不僅預示了隨後數十年間對潛意識、夢與自動主義（automatism）的興趣，也為心理學家榮格提供了重要背景——榮格即受到福魯努瓦 對其經驗之心理學詮釋的啟發。到了1920年代，超現實主義者亦將這類於出神狀態中生成的文字與圖像，視為自動書寫與自動繪畫的重要前史。

Hélène Smith was a pseudonym used by the Swiss medium Catherine-Élise Müller (1861–1929). From the late nineteenth to the early twentieth century, she garnered significant attention for her automatic writing, xenoglossic speech, and visionary drawings produced during séances and while in trance states. From the mid-1890s, she created several narrative series, including the “Indian,” “Royal,” and most famously, the “Martian” series. The latter described a mysterious world she claimed to see in a trance, communicated by a Martian spirit named Astané. Her work gained wider recognition through Théodore Flournoy’s (1854 - 1920) 1900 book, From India to the Planet Mars, one of the first psychological analyses of mediumistic phenomena. Flournoy did not view Smith’s experiences as evidence of the supernatural; instead, he interpreted them as products of unconscious fantasy, memory traces, and what he termed “cryptomnesia.” Consequently, Smith’s work occupies a crucial position at the intersection of spiritual revelation, psychological observation, and modern image-making. Her automatic drawing and writing practices not only anticipated widespread interest in the unconscious, dreams, and automatism in subsequent decades, but also contributed to the intellectual environment that influenced pioneering psychologist Carl Jung, who was influenced by Flournoy’s psychological interpretation of her experiences. In the 1920s, automatism became a primary interest of the Surrealists, who also experimented with composing images and text while in a trance state. 

瑪奇・吉爾（1882–1961）是一位自學而成的英國藝術家，其創作橫跨素描、刺繡、紡織與書寫，並深植於她所理解的通靈實踐之中。約自1920年起，吉爾開始大量創作，並聲稱許多作品是在名為「Myrninerest」的靈性存在引導下完成。長期遊離於主流藝術體系之外，她的作品反覆出現神秘的女性面孔、棋盤格紋、植物形態與彷彿無限延展的階梯，在密集而重複的線條堆疊中，構成既具裝飾性又充滿心理張力的異質空間。

Madge Gill (1882–1961) was a self-taught British artist whose practice spanned drawing, embroidery, textiles, and writing, and was deeply rooted in what she understood as mediumistic practice. Beginning around 1920, Gill produced work prolifically and claimed that many of her creations were guided by a spiritual entity named “Myrninerest.” Long situated outside the mainstream art system, her works repeatedly feature enigmatic female faces, checkerboard patterns, plant forms, and seemingly endless stairways, which, through dense and repetitive layers of line, generate heterogeneous spaces that are at once decorative and charged with psychological tension. 

桑德拉・穆金加的三頻道錄像裝置 《瀰漫之光》（2021），探討「可見性」作為一種被爭奪的狀態。觀者所面對的並非可被掌握的肖像，而是一種不斷變動的訊號：「存在」僅以痕跡的形式被感知。

Sandra Mujinga’s three-channel video installation, Pervasive Light (2021), presents visibility as a concept subject to contestation. The viewer is presented not with a stable depiction but with a fluctuating signal, in which presence is acknowledged as a trace. 

《眼／機器 III》（2003）系列第三部聚焦於哈倫．法洛基（1944 – 2014）所謂的「操作圖像」（operational image）：圖像不再只是對行動的再現，而是直接介入並參與行動本身。《眼／機器 III》由此揭示出一種由篩選、排除與指令所構成的機器視覺，同時也暴露出戰爭的抽象邏輯與其試圖掌控的現實世界之間，始終存在的拉鋸。

The third part of the Eye/Machine cycle focuses on what Harun Farocki (1944–2014) called the “operational image”: an image that not only shows an action but also acts within it. Eye/Machine III reveals a form of machine vision structured by selection, exclusion, and command, while exposing the tension between the abstract logic of war and the contingent reality it seeks to master.

理查德．多蒂曾接受美國空軍特別調查辦公室針對監控、反情報、審訊和散佈虛假訊息戰略的訓練，之後被分派於新墨西哥州阿爾伯克基的柯特蘭空軍基地。伴隨著基地周圍出現的異常現象，從奇異的光芒到無法解釋的訊號，引起了民間不明飛行物體研究者的關注。這段影片呈現「假訊息」如何作為一種操作方法，利用官方文件、機密資訊和心理策略來說服並吸引注意力。這段訪談揭示了秘密體制如何利用檔案和文件作為武器，以操縱可信度與現實本身。

Trained by the Air Force Office of Special Investigations (AFOSI) in surveillance, counterintelligence, interrogation, and disinformation, Richard Doty was stationed at Kirtland Air Force Base in Albuquerque, New Mexico, during a time when highly secretive military programs, including stealth technologies, nuclear weapons research, and experimental laser systems, were ongoing. The strange phenomena around the base, from unusual lights to unexplained transmissions, caught the attention of civilian UFO researchers, whom Doty later recruited as informants and involved in spreading disinformation to protect Air Force assets. The interview illustrates how secret regimes use archives and documents as weapons to manipulate credibility and reality.

何子彥的《絕境旅館》（2019）在由聲音與影像交織而成的空間中，召回歷史如幽靈般反覆回返的殘響。 本作以日本的「喜樂亭」（Kirakutei）為引，搭建出一處跨越歷史時間的心理場景。歷史事實在此以近乎悲劇的姿態浮現，然而作品並不試圖為其提出定論，而是透過虛構對心理影像與意識進行折射，使多重敘事在無法和解的狀態下持續回響，停留於一種始終未竟的歷史處境。

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洪建全基金會 Hong Foundation、台灣松下電器 Panasonic Taiwan

Ho Tzu Nyen’s Hotel Aporia (2019) weaves together sound and image to conjure the recurring, ghostly echoes of history. Using the Japanese site “Kirakutei” as a starting point, the work creates a psychological landscape across history. Historical fact surfaces with an almost tragic intensity. But the work avoids offering a final resolution. Instead, through the lens of fiction, it distorts psychic images and states of consciousness, letting multiple narratives continue to resonate amid ambivalence, held in a history that remains forever unfinished.

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