展覽論述

「嘛嘛吼」（mà-mà-háu），動詞，意指小孩子大哭不已。
「罵罵耗」，動詞。以暗藏的幻想，將耗竭卻不知所謂的無力感，化作成人的鬧脾氣。
孩童的哭，在精神分析的語彙裡，是要求滿足慾望的本能發聲。習得語言之後，人雖獲得指認自己所求之物的能力，卻隨之陷入慾望的無底漩渦。慾望客體（objet petit a）注定不可得，外在現實條件更提高暫時性滿足的難度，從物質乃至精神的欲求不滿，使勤奮努力成為空轉，生活淪為內耗。
小時候我們發出無形聲波穿刺他人耳膜，來為自己受的委屈出聲、高喊所需之物的缺乏，而後接受名為長大的規訓：哭也沒用。一個大人的「嘛嘛吼」，既不可能回返子宮中的原初滿足，更不會有機械降神（deus ex machina）解決一切難題。在高壓現實裡掙扎求生的大人們漸漸不再「嘛嘛吼」，被戲稱爛草莓的我們躺平，欣然接受厭世標籤。然而，仍有一股不甘心，在張揚的倦怠底下暗潮洶湧，乍洩於日常間隙。
​水谷藝術本檔展覽以「罵罵耗」為題，詞源孩童的「嘛嘛吼」。當狀聲詞「嘛嘛」成為大喇喇的「罵罵」，意識從不明白失落之物為何，只能等待他者給予滿足，進化成更具體且具侵略性的自我表述，對當代社會中個人不斷內耗的處境，用力「罵」出聲來。如同佛洛伊德（Sigmund Freud）筆下的夢境，容納諸多不可實現的慾力和願望，變形之後得以在虛幻的空間裡得到實現，「罵罵耗」邀請九位藝術家，從無意義的哭啼，進入文字意符的象徵世界，昇華，以藝術的形式發出不服氣的百種回應。
穿刺美好之後，我們還剩下什麼？羅雅筠《天使像》系列融合象徵潔淨、夢幻和死亡於一體，一步步地帶出人、物與社會間詭譎曖昧的動態關係。透過長時間意識與無意識的整合，蕭彤書《 ･ﾟ新・゚✧ * 星 ˚ ·♡ * 心˚･ 》，正面迎擊自少時即渴冀的慾望，在領悟過程中實現自我幻夢。
蔡芝其《#喜si》、《#「私」》思付如何以全然的感受燃遍畫布，在資訊過剩、意識恍惚之間，創造出一個被感知包圍、幾近烏托邦的精神狀態。透過洞察時間的重複性，邱馳以一系列裝置展開一趟逃逸之旅，從身體反思日常的暴力幻想，追溯自我與不容於世俗間瘋狂的實驗行動。邵慈的四件作品將小王子般的迷惘注入童真稚趣的暢想，化陶土為實現情緒負載之地。
黃珮琪《How to recite a poem without rhythm》長期運用攝影和裝置，以接收大都市如洪水猛獸般地雜訊，呈現這些物件如何被社會忽略、棄置以及自身的漂泊狀態，紓解無以告解的精神耗竭。同樣透過觀察日常中無意識的物件，賴金池本次以《它從廢棄物變回了盆栽，或更陌生的其他東西》、《一顆蘋果》，闡述社會遺失的痕跡，與自身意志的相互交織，重拾人們與邊緣日常看似接近、實則疏離的曖昧關係。致穎《慢跑》以全身抵抗日常中乏味的循環，藉尋常活動如逛超市、輸送帶結帳等行為進行對物質消費的抗議，逆向重塑生活的可能性。miuk則藉漫畫可愛動物視角，幽默地回擊平凡中無可奈何之事。
藝術家們以各異之姿，透過日復一日的精神內耗，將自我燃燒殆盡後，以「躺平」般展示不滿與反抗，形塑當今社會集體抗衡的「罵罵耗」狀態。

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Mà-mà-háu (v.) (usually of a child) cry and scream.
In psychoanalysis, child’s cry signals a request for desires to be satisfied. After acquiring language, a person can identify what he or she wants but, at the same time, fall into an endless swirl of desires.
Objet petit a (French; English: the object-cause of desire) is never obtained. Given the conditions of external reality, even the substitute of objet petit a, whether material or spiritual, is difficult to get. The discontent of our time lies within our everyday labor that turns out never to reward us. Living has become a procedure of mere exhaustion.
A little kid cries to get what he wants, but the cry of a grown-up never works: it does not bring one back to the perfect world inside the uterus, nor does it conjure a deus ex machina (Latin; English: god out of the machine) to see all difficulties disappear. Eventually, adults stop crying. But the frustration and dissatisfaction hidden behind the seemingly peaceful everyday life must find their vents.
In“The Whiners,”nine artists express their disgruntlement through a variety of media and styles. Stepping into the exhibition, you enter a Freudian dream where unrealized desires and wishes are transformed and sublimated into art. Artists give form to, reflect on, and engage in dialogue with the underlying discontents.
What do we have if the beautiful illusion is shattered? Lo Ya-Yun’s Angel Statue series combines the symbols of purity, fantasy, and death to illustrate the ambiguous dynamics of humans, objects, and society. After incorporating her consciousness and subconsciousness, Hsiao Tung-Shu’s ･ﾟ・゚✧ * ˚ ·♡ * ˚･ faces the desires she has had since her childhood and realizes her dream.
In Tsai Chih-Chi’s #si (喜) and 私 (in Chinese, the character can mean “to DM,” “to post and reveal something private,” or “private”), feelings overwhelm the canvas and create a trance state that is engulfed by perception and overloaded with information. Chiu Chih begins a journey of flight with a set of installations. He reflects on our daily violent fantasies from the body and conducts mad experiments to track the tension between the self and civilization. Shau Tzu’s four works transform ceramics into a space of consolation, bringing out a dreamy, child-like sense of loss of the little prince (le petit prince).
Huang Pei-Chi’s How to Recite a Poem without Rhythm? uses photography and installations to display neglected, abandoned objects, which resonate with the artist’s own drifting experiences and in turn relieve her incurable spiritual exhaustion. Similarly, Lai Chin-Chih’s The Familiar, the Unfamiliar, the Other and An Apple enable us to observe ordinary objects and rediscover the lost traces of life intertwined with the individual’s will. Sometimes close and sometimes distant, the relationship between individuals and the unseen corner of society is revealed in Lai’s works. The Jog by Musquiqui Chihying resists the monotonous everyday life by mobilizing his whole body, protesting against consumerism through quotidian activities, such as shopping in supermarkets and checking out beside conveyor belts. On the other hand, miuk humorously attacks daily helplessness from the perspective of cute animals.
In diverse forms, the artists become a group of whiners presenting their spiritual fatigue and burnt-out selves to show their discontent and resistance in today’s society.

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展覽資訊

日期｜2022 年 8 月 20 日至 9 月 18 日 ​(9 月 10 日中秋節公休)
時間｜週一至週日 12：00 - 19：30​
地點｜水谷藝術​
地址｜臺北市萬華區萬大路 322 巷 6 號​
開幕｜2022年8月20日（六）14：00​
計劃總監｜彭才瑄
策展｜許耘甄、黃亭茹
參展藝術家｜羅雅筠、蕭彤書、蔡芝其、邱馳、邵慈、黃珮琪、賴金池、致穎、miuk
計劃經理｜黃羿瑄、林以寧、陳美智
主視覺設計｜王天鴻
策展團隊｜陳鈺琇、陸佩汶、邱品瑄、李姸蓉、劉毓萱
主辦單位｜水谷藝術 Waley Art
贊助單位｜國藝會​

水谷藝術獲國藝會111年「視覺藝術組織營運補助專案」補助

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