TAIPEI (Taiwan News) – The newly opened exhibition, "Gods and Sentient Beings," (諸神與眾生) at the National Center of Photography and Images, features over 100 works by 16 contemporary image artists.
Through photography and digital technology, the exhibition weaves together diverse facets of faith, exploring humanity's fundamental spiritual quest. Organized into two thematic sections, "gods" and "beings," the exhibition explores the tension and interplay between the sacred and the secular. It is open to the public until June 4.
The exhibition's concept is inspired by German philosopher Martin Heidegger's observation that modern humans place themselves at the center of the world and perceive it through technology. This has led to the role of gods being diminished and an inability to find a spiritual grounding or the “other shore.”
Curator Chiu Kuo-Chun (邱國峻) said the images presented through photographic techniques are not merely visual records but also expressions of inner desires.
“The faith depicted in this exhibition is not about proselytizing but about sharing the experiences of individuals with diverse beliefs and their journeys toward finding belonging,” said Chiu.
The "beings" section is further divided into four sub-themes: revealing the hidden traces of deities, transformation through mental states, the pursuit of spiritual paths, and the dialectic between reality and perception.
The "gods" section reminds viewers that form originates from the mind — images are not simply "seeing is believing," but construct an internal reality. This prompts philosophical contemplation and self-reflection.
Exhibition highlights include Daniel Lee's (李小鏡) large-scale installation, "108 Windows," showcased at the New York and Venice Biennales. This work features 108 "half-human, half-beast" images, inspired by the bells of Hanshan Temple in Suzhou.
Meditation cushions are provided within the space, accompanied by echoing bell sounds, creating a solemn atmosphere. Lee combines the concept of the six realms of reincarnation with childhood imaginings of temple arhats and deities.
Luo Helin's (羅禾淋) "Digital Buddha" employs 3D printing to create a distorted Buddha statue, which is then photographically reversed to restore its apparent form. Viewers who approach to observe become integrated into the artwork.
"Digital Buddha" challenges the perception of images as reality, revealing their constructed nature and provoking thought on how technology influences our understanding of religion. This encourages a re-evaluation of the role of media and technology in contemporary faith.
Sediq artist Walis Labai's (Wu Diing-wuu, 吳鼎武) "Invisible Project Series" draws on tribal mythology, recounting the legend of ancestors originating from mysterious humanoid tree roots.
Through digital post-production, he merges tribal portraits with tree imagery, creating a visual effect of human-tree unity that illustrates the symbiosis of life and primal innocence, prompting viewers to reflect on their reliance on and appreciation for nature.
Chen Yung-hsien's (陳永賢) works explore faith and memory from various perspectives. His "Mysterious Lane of Cathode Ray Tube" utilizes the dispersion and recombination of image particles to commemorate Taipei's vanished "Television Alley," expressing not only the disappearance of a physical space but also the fading of an era's memories.
Additionally, Chen's performance art installation, "Unknown Shore," is inspired by Buddhist concepts. He paints his body entirely white and allows his head to float on the river's surface, symbolizing the lotus flower that emerges from the mud yet remains pure.
As he drifts with the water's ripples, he embodies the pursuit of the “other shore" and the desire for liberation, eliciting profound introspection on the inner self and the nature of existence.
