CHEN SUNG-CHIH WORKS 2005-2006
陳松志作品展 2oo5-2oo6
2016.04.23－2016.05.29
陳松志作品展 2oo5-2oo6
2016.04.23－2016.05.29
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The autumn of 2005 marked my departure from the school and the official beginning of my career as an independent artist. The winter of the same year, I happened to travel to Cairo, Egypt by myself, and had my first experience of residency and creating art in a foreign place. In Egypt, I witnessed the evidence of a glorious civilization’s decline and demise in the torrent of history. In those massive ruins, I was surprised to see how people were amazed by the unknown; at the same time, in such an organic and lively environment, long periods of solitude allowed me to deeply explore and adapt to my own fear in the completely unfamiliar and unrelatable culture, and ultimately transformed it into a nurturing force for my art
This exhibition presents a selection of my works from 2005 to 2006, including Yesterday Series (2006), The Sunday Morning (2005), and A Reverse Space Series (2005). These series are the reflection of my travelling experiences in different cultural environments, in which I distinctly observed people’s altering understanding of the trace of time and the essence of material in a rapidly changing economy propelled by its construction as well as the material excess and consumption. As an artist, through my work, I respond to the spiritual (or material) fragments I have gathered with a keen sensibility in my personal, everyday life. These fragments are used to construct material ruins of the historical progress in space and time. Resembling an archeological excavation, this process is filled with many obscure traces and marks. I hope to transform these ordinary materials into sculptural installations with texture, rhythm, scale, and layers. With various intensity and perspectives, they could enable my audience to develop sensitive imagination about the materials in front of them, and glimpse into an alternate space and time in addition to the reality of our life. My work is always characteristic of mixing movements in space, concepts, and the element of memory. With a sense of spatial poetry that is devoid of meaning and defies description, a discourse of sensibility is voiced through the works. In Post-minimalism, the indefinite element of change is emphasized; and Arte Povera aims to combine the context of material with the politics of environment. They became the foundation of my creation in that period and have remained so until today. From the physical existences I have collected, I assemble a visible origin of their realities to delineate a kind of spiritual relationship between people and object via affecting the psyche, and eventually incorporate multiple allegories of fate into this co-existing relationship between the object and the self. For an installation artist, the exhibition is a project of “representation” rather than “repetition.” I have reconstructed the material spaces in the exhibition space, and through displacement and omission in formation, reinforced the intersecting moments and transitional existences of material appearances and imaginative scenarios in this site, and hopefully, could recreate and experience this premeditated, autobiographical text along with the gaze and memory of the audience. Text by Chen Sung-Chih 文/陳松志 2005年秋天是我從學院畢業離開，正式成為一個獨立創作者的起始。同年的冬天，我意外地隻身前往了埃及開羅，開啟了我對異地駐地創作的體驗。我在埃及見識到了一個何其瑰麗的文明如何在時代的洪流中敗退下來，我在那龐然的歷史遺跡中驚見人們之於未知的讚嘆，也在那個有機生動的環境中，長時間的獨處讓我深刻地體會如何從一個全然陌生、斷裂的文化中去認識、習慣自身的恐懼並將它成為我創作的養分。 本次作品展為個人2005-2006年間的創作揀選；展出的系列作品《昨天系列》（Yesterday Series, 2006）、《星期天的早晨》（The Sunday Morning,2005）、《背部空間系列》（A Reverse Space Series, 2005）映照著此段期間我遊走於不同的文化環境，顯易地看到當代生活中因建設而快速改變的經濟現實，在大量物質和消費的事件中，人們對於時間痕跡與物性本質的變遷理解。作為一個創作者，我透過創作回應著個人在日常生活中感性蒐集而來的精神（或物質）碎片，這些碎片遂而組織起了物質在空間與時間中的歷程遺跡。在這如同考古般的過程中充滿著諸多未明的殘痕，我希望將這些平凡的物質演變出有紋理、韻律、規模和層次的造型裝置，在不同強度與角度下，讓人對物質的觀看發出敏感的想像、以及對生活中的虛實正反開放出兩者間並行的時空。 在我過往的創作中一直存續著空間行動、觀念、與記憶因素的複合特性，以一種意義的匱乏、無名狀的空間詩意，帶出作品中感性的絮語。後極限（Post-minimalism）強調作品中非定性的質變因素，與貧窮藝術（Arte Povera）在物質脈絡所意圖與環境政治的關切，如是地成為這個時期階段我所展現的創作基點並延續迄今。我自物理的現狀集合出可見的事實由來，從心理的渲染注入人與物之間的精神依託，進而在物我並存的關係中蘊藏著人理（fate）的多重寓意。 對於一個裝置藝術創作者而言，這是一項「重現」但不「重複」的展示計畫。我將在展出空間中重新建構這些物質空間，透過造型的位移與空缺，強化出物質表裡與想像場景在現地的時序下交會以及過渡的停留，伴隨著觀者的凝視、回憶，或重新敞開體會這如是自傳性的預先讀本。 |