'Chemical Gilding, Keep Calm, Galvanise, Pray, Gradient, Ashes, Manifestation, Unequal, Dissatisfaction, Capitalise, Incense Burner, Survival, Agitation, Hit, Day Light. III' CHOU YU-CHENG Solo Exhibition
'電鍍金,保持冷靜,鍍鋁鋅版,祈禱,漸層,灰燼,抗議,不均,不滿,資本,香爐,佼存,激動,擊,日光。三'
周育正個展
2016.09.03-2016.10.09
'電鍍金,保持冷靜,鍍鋁鋅版,祈禱,漸層,灰燼,抗議,不均,不滿,資本,香爐,佼存,激動,擊,日光。三'
周育正個展
2016.09.03-2016.10.09
The Project Fulfill Art Space is honored to present the solo exhibition by the artist par excellence CHOU Yu-Cheng, which is scheduled to take place soon in September. It marks the artist’s third fruitful collaboration with us in creating large-scale conceptual artworks. The exhibition title consists of 17 different terms, i.e. Chemical Gilding, Keep Calm, Galvanise, Pray, Gradient, Ashes, Manifestation, Unequal, Dissatisfaction, Capitalise, Incense Burner, Survival, Agitation, Hit, Day Light. III, manifesting the artist’s observations on contemporary social phenomena and reflections on the strained relations between human beings and their real lives over the recent years.
The long exhibition title is composed of verbs, nouns, and adjectives, which reflects Chou’s description of his life since 2015. It is a title shared by his three solo exhibitions respectively held in Berlin last year, Hong Kong this year and the one to be on view at the Project Fulfill Art Space in Taipei. The three exhibitions are slightly different in terms of their forms. The one in Taipei revolves around the general concept of “aesthetics and its violence.” By reference to the delicate relationship between aesthetics and the capitalist society, this solo exhibition takes on an aesthetic form, attempting to manipulate a poetic space and meanwhile explore the aesthetically provoked violence that gives rise to contemporary social phenomena and changes. Born in Taipei in 1976, Yu-Cheng Chou graduated from l’Ecole Nationale Supérieure des Beaux-arts de Paris and the research program - La Seine. Based on the action which he terms “the tricks of design,” Chou’s artworks cast him in the role of a distributor who mobilizes, reshapes and transfers resources to reshuffle the identities of and alter the relationships among different institutions, corporations, museums, figures and events with elaborately designed rules and conversations. His artworks demonstrate an eclectic mix of various media and aesthetically pleasing installations, criticizing and unveiling the mass media, the social regime and the production system in a brilliant manner. TOA Lighting, a masterpiece in Chou’s oeuvre exhibited at Hong-Gah Museum in 2010, made him the winner of Taishin Arts Award; and The Work History of LU Chieh-Te, one of his tours de force finished in 2012, earned him the first prize of Taipei Arts Awards. The artist has been granted hordes of accolades that make him a high-profile figure. In recent years, he has been invited to stage exhibitions at major museums and biennales such as Kaohsiung Museum of Fine Arts, National Taiwan Museum of Fine Arts, Taipei Biennial, Queens International Biennial, and so forth. Chou’s collaboration with the Project Fulfill Art Space was inaugurated in 2013. The Latitude Manufacture series presented at that solo exhibition investigated the art collection system by reference to his experiences gained in his college days, thereby uncovering the delicate relationships among collectors, artworks and artists. Represented by the Project Fulfill Art Space, Chou set out on his maiden voyage to Art Basel Hong Kong in 2015, where he boldly exhibited six previously created conceptual magnum opuses. Requiring ex-ante elaboration and description notwithstanding, Chou’s oeuvre has always attracted a specific group of buffs. Not only his artworks were purchased on-site, but his stand was also hailed as a highlight of the fair by the internationally renowned magazine ArtAsiaPacific. The long exhibition title is composed of verbs, nouns, and adjectives, which reflects Chou’s description of his life since 2015. It is a title shared by his three solo exhibitions respectively held in Berlin last year, Hong Kong this year and the one to be on view at the Project Fulfill Art Space in Taipei. The three exhibitions are slightly different in terms of their forms. The one in Taipei revolves around the general concept of “aesthetics and its violence.” By reference to the delicate relationship between aesthetics and the capitalist society, this solo exhibition takes on an aesthetic form, attempting to manipulate a poetic space and meanwhile explore the aesthetically provoked violence that gives rise to contemporary social phenomena and changes. 就在藝術空間九月份展覽隆重呈現藝術家——周育正個展,這將是他第三度與就在藝術空間攜手合作呈現大型觀念創作計劃,展覽名稱由17個不同的詞語組合而成「電鍍金,保持冷靜,鍍鋁鋅版,祈禱,漸層,灰燼,抗議,不均,不滿,資本,香爐,佼存,激動,擊,日光。三」,串接著藝術家近年對於社會現狀的觀察及思考人與現實生活中的關係。 1976年生於台北,畢業於法國國立巴黎高等藝術學院與塞納河研究計劃課程,周育正的創作以他名為「設計詭計」的行動為實踐,將藝術家轉變為分配者的角色,透過資源的轉移、重塑、轉讓等方式,在不同的現實機構、企業、博物館、人物、事件之間,藉由精心設計的規則與合作對談,重新刷新彼此的身份與轉換之間原有的關係,作品則是藝術家利用各式的媒材及極具美感的裝置呈現計劃的最終結果,巧妙的提出對於大眾媒體、社會體制或生產系統的批判與揭露。2011年於鳳甲美術館的作品《東亞照明》讓他一舉奪得台新藝術獎,而後2012《工作史-盧皆得》則獲台北美術獎首獎,使其在台灣當代術圈廣獲極高的注目與評價,近年受邀至各大美術館及雙年展:台北雙年展、皇后雙年展、高雄市美術館、國立台灣美術館等。 2013年就在藝術空間與周育正首次合作個展,作品《自由生產系列》以自身學生時代經驗轉換探討藝術品收藏機制,揭露藏家、作品與藝術家背後之間的微妙關係。2015年由就在藝術空間代理,周育正首次於「香港巴塞爾藝術展(Art Basel Hong Kong)」展出,在博覽會形式的場域中挑戰呈現過去6件代表性的觀念計劃作品,儘管周育正的創作需要事先較多的鋪陳及描述,在理解過後始終有著特定族群對於他的作品有著高度的激賞及關注,作品接獲購藏之外國際藝文媒體Art Asia Pacific也將其展位入選展會亮點之一。 本次於就在藝術空間的個展,是周育正由2015年開始,持續發展由動詞、名詞、形容詞所組成的字鑰並冗長於一般的計畫名稱,是來自於周育正近年對於生活的形容,由三個個展分享相同的展名所組成。繼去年柏林貝桑尼藝術之家(Künstlerhaus Bethanien)駐村計劃與今年的香港馬凌畫廊個展之後,此系列計畫將於九月首次發表於台北就在藝術空間。柏林、香港、到台北,三個展覽在形式上略有差異,此次展覽的廣泛概念來自於「美學與其暴力」,由美學與資本社會之間的微妙關係中,試圖透過美學形式探究其造成當今社會現象與變更的暴力,同時趨向一詩性空間的美學操作。周育正個展開幕活動為9月3日星期六傍晚6點,藝術家將會出席現場,展期自9月3日至10月9日,就在藝術空間敬邀各位一同共襄盛舉。 *附註:本次展覽裝置型態特殊,為維護參觀的品質及安全請觀眾小心腳步,切勿觸碰場內任何裝置物件。此外本展覽因安全顧慮不建議十二歲以下孩童參觀,若仍要前來請家長務必陪同,有任何疑問請先洽工作人員。 關於藝術家 周育正,1976年出生於臺北,畢業於法國國立巴黎高等藝術學院與塞納河研究計畫學程。目前生活工作於台灣台北。近期重要個展於:柏林貝塔寧藝術村(2016)、香港馬凌畫廊(2016)、香港巴塞爾博覽會(2015)、臺北市立美術館(2014)、高雄市立美術館(2014)、就在藝術空間(2013)、英國曼徹斯特華人藝術中心(2013)等。近期重要聯展於臺北雙年展(2012)、皇后雙年展(2013)、紐約新美術館(2015)。2011年榮獲台新藝術獎年度視覺藝術大獎以及2012臺北獎首獎,目前工作與生活於臺北。作品也獲多個美術館,包含台北鳳甲美術館、國立台灣美術館、高雄市立美術館曼、曼徹斯特Centre for Chinese Contemporary Art。私人藏家遍及瑞士、美國、香港、台灣、中國等。 |