水泥動物園
邱承宏
2020
混凝土
在過去70年代,流行於公園及學校隨處可見的水泥動物雕塑,這些雕塑由不知名的水泥匠所製作,有著沈重的實體,外觀上缺乏設計感,並帶有一種樸素、滑稽的形態,像是人類為了彌補缺席的自然物紀念碑,隱藏在城市及水泥建物之中。隨著社會資本化,這些動物也漸漸被輕便的塑膠亦或是能快速模組化的造型技術所取代,留下一群生產過剩的仿自然廢墟。
在這個計劃中,藝術家邱承宏像是進行一場考古探險,將這些外觀奇異破損,棄置在山間野林的水泥動物群逐一挖出,並將它們移置於海邊。這個看似隱晦又詩意工程,像是把過去時間的碎片揉捏成塊,伴隨著現場的風沙與日影與現地結合,塑造出一處帶有超現實感的場景。作品試著在一種「另類環境生態學」的語境下,重新與近年流行於各類型態的歷史古蹟改造而成的「觀光」場所,或是無處不在的藝術節慶所創造出的「風景」進行對話,凸顯一種詼諧又曖昧的衝突。
[藝術家介紹]
邱承宏1983年生於台灣花蓮,2008年畢業于國立台灣藝術大學造形藝術研究所。 他的創作多以裝置、雕塑的方式呈現,就像是進行一場考古探險般,他善於挖掘生存時空曾經存在的身影與軌跡,並透過抽象的手法重新演繹那些被合理化及設計過的邏輯規則,將它們生動地重塑,藉此發展出一套巨大的記憶修補術。
近年代表個展包括「趨光」(貝塔寧藝術中心,柏林,2019)、「時間的灰燼」(伊日藝術計劃,臺北,2017)、「九色鹿」(關渡美術館,臺北,2015)。代表聯展包括「秘密南方-典藏作品中的冷戰視角及全球南方」(臺北市立美術館,臺北,2020)、「亞洲藝術雙年展:來自山與海的異人」(國立臺灣美術館,臺中,2019)、「小說:雙城計劃」(臺北市立美術館,臺北,2019)、「破碎的神聖」(臺北當代藝術館,臺北,2017)、臺灣美術雙年展「一座島嶼的可能性」(國立臺灣美術館,臺中,2016)、「巴黎/柏林/馬德里國際影像藝術節」(法國La Gaîté lyrique數位影像中心、柏林世界文化之家、西班牙索菲雅皇后美術館,2015)、「利物浦雙年展」(利物浦LJMU大樓,2012)、「理解的尺度-台泰當代藝術展」(曼谷藝術文化中心,曼谷,2012)、「台灣響起-超隱自由」(布達佩斯藝術館,布達佩斯,2010)。2019年駐村于德國柏林貝塔寧藝術中心、2012年駐村於法國巴黎西帖藝術中心。
邱承宏
2020
混凝土
在過去70年代,流行於公園及學校隨處可見的水泥動物雕塑,這些雕塑由不知名的水泥匠所製作,有著沈重的實體,外觀上缺乏設計感,並帶有一種樸素、滑稽的形態,像是人類為了彌補缺席的自然物紀念碑,隱藏在城市及水泥建物之中。隨著社會資本化,這些動物也漸漸被輕便的塑膠亦或是能快速模組化的造型技術所取代,留下一群生產過剩的仿自然廢墟。
在這個計劃中,藝術家邱承宏像是進行一場考古探險,將這些外觀奇異破損,棄置在山間野林的水泥動物群逐一挖出,並將它們移置於海邊。這個看似隱晦又詩意工程,像是把過去時間的碎片揉捏成塊,伴隨著現場的風沙與日影與現地結合,塑造出一處帶有超現實感的場景。作品試著在一種「另類環境生態學」的語境下,重新與近年流行於各類型態的歷史古蹟改造而成的「觀光」場所,或是無處不在的藝術節慶所創造出的「風景」進行對話,凸顯一種詼諧又曖昧的衝突。
[藝術家介紹]
邱承宏1983年生於台灣花蓮,2008年畢業于國立台灣藝術大學造形藝術研究所。 他的創作多以裝置、雕塑的方式呈現,就像是進行一場考古探險般,他善於挖掘生存時空曾經存在的身影與軌跡,並透過抽象的手法重新演繹那些被合理化及設計過的邏輯規則,將它們生動地重塑,藉此發展出一套巨大的記憶修補術。
近年代表個展包括「趨光」(貝塔寧藝術中心,柏林,2019)、「時間的灰燼」(伊日藝術計劃,臺北,2017)、「九色鹿」(關渡美術館,臺北,2015)。代表聯展包括「秘密南方-典藏作品中的冷戰視角及全球南方」(臺北市立美術館,臺北,2020)、「亞洲藝術雙年展:來自山與海的異人」(國立臺灣美術館,臺中,2019)、「小說:雙城計劃」(臺北市立美術館,臺北,2019)、「破碎的神聖」(臺北當代藝術館,臺北,2017)、臺灣美術雙年展「一座島嶼的可能性」(國立臺灣美術館,臺中,2016)、「巴黎/柏林/馬德里國際影像藝術節」(法國La Gaîté lyrique數位影像中心、柏林世界文化之家、西班牙索菲雅皇后美術館,2015)、「利物浦雙年展」(利物浦LJMU大樓,2012)、「理解的尺度-台泰當代藝術展」(曼谷藝術文化中心,曼谷,2012)、「台灣響起-超隱自由」(布達佩斯藝術館,布達佩斯,2010)。2019年駐村于德國柏林貝塔寧藝術中心、2012年駐村於法國巴黎西帖藝術中心。
Concrete Zoo
CHIU Chen-Hung
2020
concrete
In the 1970s, concrete animal sculptures were popular in parks and schools. These heavy sculptures without delicate design were made by unnamed artisans. They appear to be simple and comical, just like monuments humans built to compensate for the absence of nature in the city, hidden in the concrete jungle. With the capitalization of society, these animals have gradually been replaced by lightweight plastics or modeling techniques that can be quickly modularized, leaving behind an overproduction of fake animal ruins.
For this work, the artist CHIU Chen-Hung went on a journey resembling an archaeological expedition, digging out these damaged concrete animals with strange shapes that were abandoned in the wild forests of the mountains one by one, and moved them to the beach. The seemingly obscure and poetic process is like kneading the fragments of the past into pieces, and along with the combination of wind, sand, sunlight and shadow on-site, it creates a scene with a sense of surrealism. In the context of an “alternative environmental ecology,” the work attempts to reconnect with the recently popular "sightseeing" places that were transformed from various types of historical monuments, and the “landscape” created by the ubiquitous art festivals, highlighting the humorous yet ambiguous conflict in between.
Artist:
CHIU Chen-Hung was born in 1983 in Taiwan. In 2008, he completed the graduate program in plastic arts at National Taiwan University of Arts. His works are primarily presented in the framework of installation and sculpture. Like conducting an archeological expedition, he is especially proficient in excavating remaining outlines and imprints from bygone time and space. Through his practice of abstraction and reinterpreting both designed and rationalized logics, he vividly reshapes these existed objects and thus develop a vast memory restoration.
Chiu’s notable solo exhibitions include Phototaxis, Kunstlerhaus Bethanien (Berlin, 2019), The Dust of Time, YIRI ARTS (Taipei, 2017), and A Deer of Nine Colors, Kuandu Museum of Fine Arts (Taipei, 2015). Group exhibitions include The Secret South: from Cold War Perspective to Global South in Museum Collection, Taipei Fine Arts Museum (Taipei, 2020), Asian Art Biennial-The Strangers from beyond the Mountain and the Sea, National Taiwan Museum of Fine Arts (Taichung, 2019), Island Tales: Taiwan and Australia, Taipei Fine Arts Museum (Taipei, 2019), Shattered Sanctity, Museum of Contemporary Art (Taipei, 2017), Taiwan Biennial: The Possibility of an Island, National Taiwan Museum of Fine Arts (Taichung, 2016), Rencontres Internationales (La Gaîté lyrique, France, Haus der Kulturen der Welt Berlin, and Reina Sofia National Museum Madrid, 2015), Liverpool Biennial, LJMU Copperas Hills (Liverpool, 2012), THAITAI: A measure of Understanding, Bangkok Art and Culture Centre (Bangkok 2012), Taiwan Calling-The Phantom of The Liberty, Mücsarnok Museum (Budapest 2010). He was the artist-in-residence at Kunstlerhaus Bethanien, Berlin/Germany in 2019, and at Cite internationale des arts Paris in 2012.
CHIU Chen-Hung
2020
concrete
In the 1970s, concrete animal sculptures were popular in parks and schools. These heavy sculptures without delicate design were made by unnamed artisans. They appear to be simple and comical, just like monuments humans built to compensate for the absence of nature in the city, hidden in the concrete jungle. With the capitalization of society, these animals have gradually been replaced by lightweight plastics or modeling techniques that can be quickly modularized, leaving behind an overproduction of fake animal ruins.
For this work, the artist CHIU Chen-Hung went on a journey resembling an archaeological expedition, digging out these damaged concrete animals with strange shapes that were abandoned in the wild forests of the mountains one by one, and moved them to the beach. The seemingly obscure and poetic process is like kneading the fragments of the past into pieces, and along with the combination of wind, sand, sunlight and shadow on-site, it creates a scene with a sense of surrealism. In the context of an “alternative environmental ecology,” the work attempts to reconnect with the recently popular "sightseeing" places that were transformed from various types of historical monuments, and the “landscape” created by the ubiquitous art festivals, highlighting the humorous yet ambiguous conflict in between.
Artist:
CHIU Chen-Hung was born in 1983 in Taiwan. In 2008, he completed the graduate program in plastic arts at National Taiwan University of Arts. His works are primarily presented in the framework of installation and sculpture. Like conducting an archeological expedition, he is especially proficient in excavating remaining outlines and imprints from bygone time and space. Through his practice of abstraction and reinterpreting both designed and rationalized logics, he vividly reshapes these existed objects and thus develop a vast memory restoration.
Chiu’s notable solo exhibitions include Phototaxis, Kunstlerhaus Bethanien (Berlin, 2019), The Dust of Time, YIRI ARTS (Taipei, 2017), and A Deer of Nine Colors, Kuandu Museum of Fine Arts (Taipei, 2015). Group exhibitions include The Secret South: from Cold War Perspective to Global South in Museum Collection, Taipei Fine Arts Museum (Taipei, 2020), Asian Art Biennial-The Strangers from beyond the Mountain and the Sea, National Taiwan Museum of Fine Arts (Taichung, 2019), Island Tales: Taiwan and Australia, Taipei Fine Arts Museum (Taipei, 2019), Shattered Sanctity, Museum of Contemporary Art (Taipei, 2017), Taiwan Biennial: The Possibility of an Island, National Taiwan Museum of Fine Arts (Taichung, 2016), Rencontres Internationales (La Gaîté lyrique, France, Haus der Kulturen der Welt Berlin, and Reina Sofia National Museum Madrid, 2015), Liverpool Biennial, LJMU Copperas Hills (Liverpool, 2012), THAITAI: A measure of Understanding, Bangkok Art and Culture Centre (Bangkok 2012), Taiwan Calling-The Phantom of The Liberty, Mücsarnok Museum (Budapest 2010). He was the artist-in-residence at Kunstlerhaus Bethanien, Berlin/Germany in 2019, and at Cite internationale des arts Paris in 2012.