An Exhibition of Ou Jing-Yun, Peng Yu-Tzu, and Chen Jun-Yu
Curator 策展人 | Chen Sung-Chih 陳松志
Opens 開展 | 2020.07.25 3pm
Chen Jun-Yu Performance 陳俊宇 行為表演
Saturdays 週六 | 7.25, 8.01, 8.08, 8.15, 8.22
「爛石與枯海」取其文學敘事中「海枯石爛」一詞之於永恆、觸不可及的雙關喻意，透過字詞的反置倒述，作為外部現象與實質精神在直觀（intuition）意義上岐見的闡釋與思考進行題引。恆久以來藝術作為生活文化的顯形表徵，自十九世紀初以降，藝術家開始以浪漫主義（Romanticism）一詞來描繪自身的渴求，然而浪漫主義的字根始源於中世紀，是有關於傳說、奇幻與暴力的傳奇敘事詩（romance）。法國詩人波特萊爾（Charles Pierre Baudelaire）曾提到：「美不應該受到束縛，善並不等於美，美同樣存在於惡與醜之中。藝術之美是窮盡所有能力所表達出來的親密、靈性、色彩和渴求無限。」藝術家如是在可見的現實中為生命留下記錄，亦在藝術的實踐中進行個人理想的精神流放。爛石與枯海彷彿是末世絕境中的一處涼荒，也如是寓示著當下我們所身處的無常世界。想像在這般毀滅的景致中，仍存續著藝術家們不曾被抹去的創造行跡以及浪漫情懷，在有形與無形的世界（視界）之中勾勒出個人定見的輪廓。
Obliteration Amidst Crevices
Text / Chen Sung-Chih (Artist and Adjunct Assistant Professor, Department of Fine arts, National Changhua University of Education)
Translated by Wang Sheng-Chih
Obliteration, the title of this exhibition, owes its inspiration to the idiom “the seas run dry and the rocks crumble” which subtly implies eternity and unreachability. Reversing the sequence of the idiom, this exhibition starts by explicating and contemplating the intuitively observed differences between external phenomena and internal spirit. Arts have long been an explicit manifestation of human cultures. In the early 19th century, artists began to express their personal desires with the term “romanticism.” The etymological root of the term is “romance,” a medieval literary style revolving around legend, fantasy and violence. French poet Charles Pierre Baudelaire stated that, “Beauty shall neither be confined nor be equated to goodness. Beauty exists simultaneously in wickedness and ugliness. Beauty is the intimacy, spirituality, color, and aspiration towards infinity expressed by every means available to the arts.” Artists not only document their lives in the tangible real world, but also set out on an inner journey across the spiritual universe through their artistic practice. Obliteration conveys an impression of a desolate expanse after doomsday, which also alludes to the impermanent world that we live in. Traces still remain of the artist’s creative practice and romantic passion, outlining their individual viewpoints of the tangible and intangible worlds (horizons) in this apocalyptic vision.
This proposition suggests a symbiotic relationship and mutual intervention between humanity and the material world, while witnessing a new cycle that begins with destruction. Treating their creative thinking as the point of departure, the three artists in this exhibition: Ou Jing-Yun, Peng Yu-Tzu and Chen Jun-Yu meticulously address the questions as to how digital media alters the consciousness and causes us to hallucinate, and how humanity can respond to space, time, the environment, and history in the era of post-globalization. Our co-existence with a myriad of entities drift within a turbulent space and time, accelerating the process of our birth and death, but also galvanizes us to transcend the confines of our pure intuition. A common thread in the three artists’ works is the exploration of the corporeal schemata defecting from politics, adeptly examining the inner tension between visual and psychological dynamics. Encompassing the classical and the contemporary, the artists experiment with media, reconfigure forms, and revolutionize concepts, hence their innovative works, where they evolved their distinctive styles.
In terms of embodying the humanistic spirit, the three artists are equally resolute though differ in their approach; Ou Jing-Yun’s art practice primarily touches upon the emotional perplexities of collective consciousness amidst fables and the complexity of history, referencing a Mannerist style, creating an open-ended narrative atlas comprising of the natural environment, artificial life, and sites of events. By projecting the force of biological instinct through incarnations of different species, that actively dwell among the sites interlaced by the real and the virtual and wandering along the boundaries of different environments, they transcend rigid ideological confines and foregrounds the contradictions between desires and rationality in these ever-changing scenes. The artist captivates viewers with his paintings imbued with passionate sensory delight, with empty spaces left intentionally blank in the composition, seemingly to imply the unfinished state of his works. In other words, he constantly excavates the underlying realities from romantic fantasies amid the remnants of color and shape, repeatedly deconstructing the aggressive, subjective viewpoint (position), and offering the volatile subjects and space a spiritual escape amid the crevices between forms and meanings.
Treating painting as a place where visual space and spiritual awareness converge, Peng Yu-Tzu concentrates on psychological exploration in her creative process and collects imagery that are composed through a reversal of reality. Her art practice depicts not so much real scenes or objects as the figments of her imagination. She attempts to render invisible light visible through painting, and highlight the faintly discernible physical spaces with abstract brushstrokes. In terms of composition, her works feature layered fractal lines that ignites the fertile imagination amidst composition and scale, while a hallucinogenic power lurks in the images. The blanks heighten the implicit tension of the negative space, and the chaotic brushstrokes not only facilitate the fusion and mutual infiltration between the subconscious and her painting vocabulary, but also suggest the bilateral relationships between her paintings and the viewers, allowing us to experience intimacy and unfamiliarity simultaneously.
Chen Jun-Yu’s art practice focuses on site-specific performance and photographic works. By treating his own body as the site of collision and encounter with the environment and society, his physicality becomes the organic vehicle for the extension of his conceptual force, through which the artist produces performance–based works brimming with visual metaphors. In his performance, Chen pushes his limits with the strength born through overcoming desperation and awkwardness in face of the reality. Through the soft, slow consumption of his spirit and body, he expresses the current plight of individuals in terms of cultural identity and social mechanism. His art practice encapsulates an intense gaze at the body and passion for internal reflection. Through the fulfillment of each movement and stillness, catalyzes viewers to find a commonplace resonance in his work. The artist not only uses humor and a refreshing sense of life to deconstruct the stereotypical cultural awareness and symbolic system, but also transforms processes into morphological elements, encouraging the enquiry into the sensitive body’s significance and sustainability from profound reflections on the past and the present.
In an environment of dire predicament, the potential for intuitive exploration is unlocked. In this explorative space, there exists the defective body, spaces left blank, and a fragmented history to be interpreted through intellectual perception. In the blurred boundary between forms and shapes, these artists articulate their existence in the form of artistic creation and immerse viewers in a transcendental realm packed with imagination. They not only fulfill their promises, but also envisage a miraculous future. I expect this introduction to bridge the gap of understanding and weave possible narratives among these artists’ works, preventing them from being mere monologues and forging the precious spirit and zeitgeist of this era.
We are honored to receive sponsorship from Auspic Paper for Chen Jun-Yu’s new performance work _USED TO