在那裡,是有誰在等你嗎? ( 2022 )
展覽概念:所有事物,總朝著某個方向前進中,好像認為那裡會是更加美好、或能成就什麼目的之所在,而當抵達後卻可能驚覺,自己其實又回到了原點,一切皆如徒勞般的,位移為 0。展覽中的作品,都正在進行某種,看似有形或無形的移動,它可能是物質、時間甚至意念等,即使最終仍回歸原點,但也不阻礙這項性質它的繼續。
媒材:人工草皮、滅火器放置箱、貨品包裝袋、回收木棧板、鐵絲、塑膠貼鏡、軌道燈、風、單頻道錄像
展出:《 在那裡,是有誰在等你嗎?》個展,新竹市鐵道藝術村,新竹,臺灣,2022
Displacement is 0mm (2022)
Medium: artificial grass, fire extinguisher box, polywoven bag, old wooden pallet, iron wire, plastic mirror, track lighting, wind, single-channel video
Place: Displacement is 0mm solo exhibition, Hsinchu City Art Site of Railway Warehouse, Hsinchu, Taiwan, 2022
展覽概念:所有事物,總朝著某個方向前進中,好像認為那裡會是更加美好、或能成就什麼目的之所在,而當抵達後卻可能驚覺,自己其實又回到了原點,一切皆如徒勞般的,位移為 0。展覽中的作品,都正在進行某種,看似有形或無形的移動,它可能是物質、時間甚至意念等,即使最終仍回歸原點,但也不阻礙這項性質它的繼續。
媒材:人工草皮、滅火器放置箱、貨品包裝袋、回收木棧板、鐵絲、塑膠貼鏡、軌道燈、風、單頻道錄像
展出:《 在那裡,是有誰在等你嗎?》個展,新竹市鐵道藝術村,新竹,臺灣,2022
Displacement is 0mm (2022)
Medium: artificial grass, fire extinguisher box, polywoven bag, old wooden pallet, iron wire, plastic mirror, track lighting, wind, single-channel video
Place: Displacement is 0mm solo exhibition, Hsinchu City Art Site of Railway Warehouse, Hsinchu, Taiwan, 2022
位移 0 ( 2022 )
概念:那是個追逐光的午後,在我試圖凝望的那一刻,它瞬間像含羞草般,躲開視線,進入自己的循環軌道。蹤跡遍布,時而自在且不為他者,毫無保留的舞動,只遵循自然界規律 ───── 靜謐,又猖狂。
媒材:塑膠貼鏡、軌道燈、風
尺寸:依場地而定
Displacement is 0mm (2022)
Medium: plastic mirror, track lighting, wind
Size: dimensions variable
Concept: It was an afternoon of chasing light. The moment when I gaze at it, the light just avoids my eye contact like a mimosa and keeps on its own way. The trace of light exists everywhere, obeys only the laws of physics and dances joyfully for itself, calm and arbitrary.
概念:那是個追逐光的午後,在我試圖凝望的那一刻,它瞬間像含羞草般,躲開視線,進入自己的循環軌道。蹤跡遍布,時而自在且不為他者,毫無保留的舞動,只遵循自然界規律 ───── 靜謐,又猖狂。
媒材:塑膠貼鏡、軌道燈、風
尺寸:依場地而定
Displacement is 0mm (2022)
Medium: plastic mirror, track lighting, wind
Size: dimensions variable
Concept: It was an afternoon of chasing light. The moment when I gaze at it, the light just avoids my eye contact like a mimosa and keeps on its own way. The trace of light exists everywhere, obeys only the laws of physics and dances joyfully for itself, calm and arbitrary.
不起反應 ( 2022 )
概念:最初,滅火器之所以被發明出來,是被賦予了當火災發生,它能擔任起撲滅的作用。而當有一天,原本會釀成災禍的草地,被換作具防焰功能的人工草皮,瞬間 ───── 滅火器成了不知該何從的多餘角色,在這裡,它已失去了立足之地,滅火器從此缺席,僅剩放置箱,象徵它曾存在過的證明。
媒材:人工草皮、滅火器放置箱
尺寸:依場地而定
Useless (2022)
Medium: artificial grass, fire extinguisher box
Size: dimensions variable
Concept: In the beginning, fire extinguishers were invented to put out fires. One day, the lawn that could cause fire is replaced by artificial turf which has a flameproof function. Suddenly, the fire extinguishers became useless in this location, lost its footing and are absent from now on, only the storage box remains as evidence of its existence.
概念:最初,滅火器之所以被發明出來,是被賦予了當火災發生,它能擔任起撲滅的作用。而當有一天,原本會釀成災禍的草地,被換作具防焰功能的人工草皮,瞬間 ───── 滅火器成了不知該何從的多餘角色,在這裡,它已失去了立足之地,滅火器從此缺席,僅剩放置箱,象徵它曾存在過的證明。
媒材:人工草皮、滅火器放置箱
尺寸:依場地而定
Useless (2022)
Medium: artificial grass, fire extinguisher box
Size: dimensions variable
Concept: In the beginning, fire extinguishers were invented to put out fires. One day, the lawn that could cause fire is replaced by artificial turf which has a flameproof function. Suddenly, the fire extinguishers became useless in this location, lost its footing and are absent from now on, only the storage box remains as evidence of its existence.
蛻殼 ( 2022 )
概念:現在已來到一個想要什麼,只要支付出相應代價或金額,就能從世界另一端運送至自己眼前的時代。每樣商品的到來,備受重視的總是裡面所乘載的內容,對於裹在外頭進行保護作用的包裝,僅成了某種短效性,或擔任觀望人類這一切行徑的目擊者。
人們不斷依循著欲望,像是滿足或提升自我價值般的,通過物質來形塑個體。而等到不再符合自己當下所需時,即選擇將其拋棄,迎接更貼近此刻的追求。只要這世界仍然保持這樣的運作,故事將永無止境的書寫 ───── 繼續。
媒材:貨品包裝袋、回收木棧板、鐵絲
尺寸:依場地而定
The Molting (2022)
Medium: polywoven bag, old wooden pallet, iron wire
Size: dimensions variable
Concept: In modern life, people can get whatever they want from all around the world. With paying the corresponding price, goods will be delivered from the other side of the earth. The commodity is always valued by the items contained, but see the packaging material as a kind of short-term protection. The packaging is a witness to the materialistic behavior. People tend to follow their desires and satisfy their self-worth by material possessions. While the product does not meet their needs, it will be abandoned in order to pursue the more eager one. As long as the world keeps working this way, the story will never end.
概念:現在已來到一個想要什麼,只要支付出相應代價或金額,就能從世界另一端運送至自己眼前的時代。每樣商品的到來,備受重視的總是裡面所乘載的內容,對於裹在外頭進行保護作用的包裝,僅成了某種短效性,或擔任觀望人類這一切行徑的目擊者。
人們不斷依循著欲望,像是滿足或提升自我價值般的,通過物質來形塑個體。而等到不再符合自己當下所需時,即選擇將其拋棄,迎接更貼近此刻的追求。只要這世界仍然保持這樣的運作,故事將永無止境的書寫 ───── 繼續。
媒材:貨品包裝袋、回收木棧板、鐵絲
尺寸:依場地而定
The Molting (2022)
Medium: polywoven bag, old wooden pallet, iron wire
Size: dimensions variable
Concept: In modern life, people can get whatever they want from all around the world. With paying the corresponding price, goods will be delivered from the other side of the earth. The commodity is always valued by the items contained, but see the packaging material as a kind of short-term protection. The packaging is a witness to the materialistic behavior. People tend to follow their desires and satisfy their self-worth by material possessions. While the product does not meet their needs, it will be abandoned in order to pursue the more eager one. As long as the world keeps working this way, the story will never end.
S 捎來的訊息 ( 2022 )
概念:待慣這尋常的世界,對目睹的種種一不小心竟視為理所當然,甚至停止了懷疑與好奇的念頭。而當一個契機來臨,誤闖入和原先截然不同的環境,在乍看熟悉又陌生的百感交集間,這將可能重新雕塑固有的價值觀及認知。等到再次返回原先所處的世界,或許能多少去鬆動那些,早已認為沒有轉圜餘地的事物。
媒材:單頻道錄像裝置 ( 彩色/有聲 )
尺寸:依場地而定
時長:08 分 20 秒
The Message from S (2022)
Medium: single-channel video installation (color, sound)
Size: dimension variable
Duration: 8'20"
Concept: The message from S is a video art that provides a different perspective for the viewer to redefine their daily routine. Be accustomed to ordinary life, people take everything for granted, even lose curiosity and perception about the world. Once an opportunity comes, find themselves wandering through an unusual environment that is a little bit strange but also familiar. With the complicated feeling, it may be a chance to ease some existing thought limitations and to see the surroundings in a different light when they go back to the normal world.
概念:待慣這尋常的世界,對目睹的種種一不小心竟視為理所當然,甚至停止了懷疑與好奇的念頭。而當一個契機來臨,誤闖入和原先截然不同的環境,在乍看熟悉又陌生的百感交集間,這將可能重新雕塑固有的價值觀及認知。等到再次返回原先所處的世界,或許能多少去鬆動那些,早已認為沒有轉圜餘地的事物。
媒材:單頻道錄像裝置 ( 彩色/有聲 )
尺寸:依場地而定
時長:08 分 20 秒
The Message from S (2022)
Medium: single-channel video installation (color, sound)
Size: dimension variable
Duration: 8'20"
Concept: The message from S is a video art that provides a different perspective for the viewer to redefine their daily routine. Be accustomed to ordinary life, people take everything for granted, even lose curiosity and perception about the world. Once an opportunity comes, find themselves wandering through an unusual environment that is a little bit strange but also familiar. With the complicated feeling, it may be a chance to ease some existing thought limitations and to see the surroundings in a different light when they go back to the normal world.
死後的遺言 ( 2022 )
概念:誠如生命的每一次巨大變化之間,總是存在著難以察覺甚被忽略的過渡階段,「 死亡 」絕對是其中最明確且力道強烈的一種。在《 西藏生死書 》中所談到的中陰身,即代表了我們離世後到進入下個過程的中間狀態,搖擺於清明和混亂,所有的機會也存在這裡。
如果死亡是每一個生在世上的人皆須面對的,我們是否可能學習用更欣然的態度迎接它的到來,無論是自己或是對於至親們的離去。在離世的那一刻,重新省視過去的一生,其中包含未完成的志業、那些放心不下的思念等,不過命運的洪流卻迫使也幫助我們學會放下,靜待前方那未知的召喚。
媒材:單頻道錄像 ( 黑白/有聲 )
尺寸:依場地而定
時長:24 分 04 秒
獲獎:宜蘭獎 ( 入選 ),宜蘭縣政府文化局,宜蘭,臺灣
攝影:Yen Chen
Death Letter (2022)
Medium: single-channel video (black&white, sound)
Size: dimension variable
Duration: 24'4"
Concept: There is always a transition stage that is difficult to be conscious of or even ignored in every huge transformation in life, "death" is definitely the most straightforward and powerful one. The concept "bardo" described in book The Tibetan Book of Living and Dying, indicates the situation when lives pass away and are ready to enter the next stage, an intermediate state between death and rebirth. Among clarity and chaos, all the opportunities are here.
Since death is an issue that everyone will experience, whether it is the farewell of ourself or our loved one, can we try to receive it with a more open mind? At the moment when we die, we review our past life, and find many things that are hard to say goodbye, including unfinished careers, what we are still concerned about, and so on. However, the current of fate forces us to learn to let go and wait for the call of the unknown.
Award: Yilan Awards (Nominee), Cultural Affairs Bureau Yilan County, Yilan, Taiwan
Photography:Yen Chen
概念:誠如生命的每一次巨大變化之間,總是存在著難以察覺甚被忽略的過渡階段,「 死亡 」絕對是其中最明確且力道強烈的一種。在《 西藏生死書 》中所談到的中陰身,即代表了我們離世後到進入下個過程的中間狀態,搖擺於清明和混亂,所有的機會也存在這裡。
如果死亡是每一個生在世上的人皆須面對的,我們是否可能學習用更欣然的態度迎接它的到來,無論是自己或是對於至親們的離去。在離世的那一刻,重新省視過去的一生,其中包含未完成的志業、那些放心不下的思念等,不過命運的洪流卻迫使也幫助我們學會放下,靜待前方那未知的召喚。
媒材:單頻道錄像 ( 黑白/有聲 )
尺寸:依場地而定
時長:24 分 04 秒
獲獎:宜蘭獎 ( 入選 ),宜蘭縣政府文化局,宜蘭,臺灣
攝影:Yen Chen
Death Letter (2022)
Medium: single-channel video (black&white, sound)
Size: dimension variable
Duration: 24'4"
Concept: There is always a transition stage that is difficult to be conscious of or even ignored in every huge transformation in life, "death" is definitely the most straightforward and powerful one. The concept "bardo" described in book The Tibetan Book of Living and Dying, indicates the situation when lives pass away and are ready to enter the next stage, an intermediate state between death and rebirth. Among clarity and chaos, all the opportunities are here.
Since death is an issue that everyone will experience, whether it is the farewell of ourself or our loved one, can we try to receive it with a more open mind? At the moment when we die, we review our past life, and find many things that are hard to say goodbye, including unfinished careers, what we are still concerned about, and so on. However, the current of fate forces us to learn to let go and wait for the call of the unknown.
Award: Yilan Awards (Nominee), Cultural Affairs Bureau Yilan County, Yilan, Taiwan
Photography:Yen Chen