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Symptomatic Silence of Complicit Forgetting 共謀失憶症
Symptomatic Silence of Complicit Forgetting 共謀失憶症
Symptomatic Silence of Complicit Forgetting 共謀失憶症
Symptomatic Silence of Complicit Forgetting 共謀失憶症

Symptomatic Silence of Complicit Forgetting共謀失憶症

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Commissioned by Guangdong Times Museum for the exhibition “Forget Sorrow Grass”: An Archaeology of Feminine Time in 2019, curated by Wu Jianru and Sirui Zhang. 

A writer with a writer’s block and a woman secretly in distraught, try to heal the wounds in their memories unbeknown to others in their respective worlds despite living in the same room. This contemporary Chinese family, both real and fictional, is engulfed under an alienating atmosphere inhabited by both men and ghosts. In another scenario, a young red guard mistakenly enters a room piled with abandoned books and manuscripts, captivated from reading an ancient story, he suddenly hears the marching sounds outside the window and steps out of the door. This traumatic memory from a half-century ago has again come undone. A blueprint unique to Chinese stories, as distant and personal as it may seem, remains prevalent in those undetected phantom suffering and discretely hidden in the Chinese realities. 

The German scholar Aleida Assmann proposed the notion of Complicit Forgetting in Forms of Forgetting. According to whom, when the system attempts to destroy part of a memory from the past, its victims would often exhibit silence symptomatically. Their compounded silence becomes a kind of complicity. As the writer could not heal the wound in his memory through writing, those who share historical trauma would also fall into the unconscious collective silence, that eventually becomes ineffable. It festers over time, and metastasizes in emotional relationships. In the temporal and spatial dimensions where memories and reality overlap, the silence of traumatic experiences wanes from unwritten, unable to be written, and eventually becomes untraceable. Like the subtle relationship where man and ghost cohabit: the struggle between personal and historical trauma eventually becomes powerless, and their reconciliation becomes impossible.

由廣東時代美術館 2019 年展覽“忘憂草:考古女性時間”委託創作,該展覽由吳建儒、張思銳策劃。


德國文化學者Aleida Assmann在《 遺忘的形式》(Forms of Forgetting)中曾提出過一種共謀性遺忘,即當體制試圖銷毀某段過往記憶的同時,其中的受害者也往往表現出創傷性的沉默。兩者的沉默疊加而形成了一種共謀。正如作家無法通過寫作去療愈記憶深處的傷痕,共同分享歷史創傷的人也同樣陷入無意識的集體性沉默,這種沉默最終變成一種無法言說的、在時間中累積、在情感關係中轉移的病徵。在這個記憶與現實交錯的時空中,這種有關創傷經驗的沉默從不被書寫到無法書寫,最終難以追溯。就像影片中人鬼共棲的微妙關係:個人與歷史傷痕之間的對抗最終變得無力, 和解變得不可能。



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