時永駿 Shih Yung-Chun

時永駿的《禁忌之愛》系列以微型裝置、繪畫與錄像重新編排童年記憶、復古商品圖像與被時代淘汰的日常物件，建構出介於偶戲舞臺、電影場景與記憶空間之間的敘事世界。

作品中的物件脫離原有功能與時代脈絡，在不同媒材之間被重新組合、放大與轉譯，使個人記憶與集體歷史成為一種持續被剪接與改寫的狀態。熟悉的物件與場景因此產生微妙的陌生感，真實、虛構與記憶彼此交錯。

這樣的創作方式呼應《魔幻日常》對「歷史再製」與「物性重構」的關注。時永駿並非試圖還原過去，而是透過重新編排物件與影像，讓歷史成為流動且未完成的敘事，也揭示我們對現實的理解如何持續受到記憶、影像與物件所形塑。

SHIH Yung Chun’s Forbidden Love series brings together miniature installations, painting, and video to rearrange childhood memories, vintage commercial imagery, and everyday objects displaced by time. These elements form a narrative world suspended between puppet theatre, cinematic staging, and the space of memory.

Removed from their original functions and historical contexts, familiar objects are recomposed, enlarged, and translated across different media. Personal memory and collective history are thus transformed into fluid narratives that remain open to editing and reinterpretation, allowing the boundaries between reality, fiction, and remembrance to blur.

This approach resonates with Magical Everyday through its exploration of reconstructed histories and objecthood. Rather than restoring the past, SHIH reactivates it through objects and images, revealing how our understanding of reality is continually shaped by memory, representation, and material culture.


時永駿的《禁忌之愛》（Forbidden Love）系列，透過立體微型裝置、繪畫與錄像等不同媒材，建構出一個介於偶戲舞臺、電影場景與記憶空間之間的敘事世界。系列中的微型裝置以復古玩具包裝、商品圖像與藝術家童年記憶中的日常物件為素材，搭配可活動人偶，組成廚房、走廊、旅館房間、街道、酒吧、舞臺與客廳等七個場景。這些物件來自不同年代與環境，在藝術家的重新編排下彼此相遇，形成既親密又矛盾的關係。

「禁忌之愛」不僅指向愛情，也隱喻存在於各種情感連結中的複雜狀態。母親的照護、戀人之間的情感、友誼，以及對理想與熱情的追求，都可能同時伴隨背叛、競爭、欲望與失落。藝術家藉由看似戲劇化且充滿童趣的場景，揭示情感關係中難以言明的張力與諷刺。

時永駿成長於臺灣經濟快速發展的年代，對社會變遷中不斷被淘汰、取代與遺忘的物件格外敏感。他經常從 1980 年代的商品包裝、報紙與雜誌圖像出發，將個人記憶與時代視覺轉化為創作素材。這些微型場景隨後被轉譯為大尺幅、帶有政治宣傳畫語彙的繪畫，以及隨時間展開的電影式敘事。透過媒材之間的轉換，原本靜止的過去被重新喚起，成為一段流動、虛構且持續被改寫的歷史。作品不提供單一或線性的故事，而是邀請觀者從自身經驗出發，在不同場景與角色之間建立屬於自己的理解。

SHIH Yung Chun’s Forbidden Love series brings together three-dimensional miniature installations, painting, and video to construct a narrative world situated between puppet theatre, cinematic staging, and the space of memory.The miniature installations incorporate vintage toy packaging, commercial imagery, and everyday objects associated with the artist’s childhood. Articulated figures inhabit seven distinct settings: a kitchen, hallway, hotel room, street, bar, stage, and living room. Drawn from different periods and contexts, these objects are rearranged to form relationships that appear intimate yet remain charged with contradiction.

Forbidden Love refers not only to romantic affection, but also to the complex emotions embedded within different forms of human connection. Maternal care, romantic relationships, friendship, and the pursuit of personal passion may all be accompanied by betrayal, rivalry, desire, and loss. Through scenes that appear theatrical and playfully nostalgic, SHIH reveals the unspoken tensions and ironies underlying these relationships.

Growing up during a period of rapid economic development in Taiwan, SHIH became particularly sensitive to objects that were continuously discarded, replaced, and forgotten amid social change. His practice often begins with product packaging, newspapers, and magazine imagery from the 1980s, transforming personal memories and the visual language of the era into artistic material.

These miniature scenes are subsequently translated into large-scale paintings informed by the visual language of propaganda, as well as cinematic narratives that unfold over time. Through this movement between media, the static past is reactivated as a fluid, fictional, and continually rewritten history. Rather than presenting a single or linear narrative, the works invite viewers to draw upon their own experiences and form individual interpretations across the different scenes and characters.