倒裝的語句 Chen Sung Chih|03.22 – 05.19|GALLERY VACANCY

倒裝的語句 Chen Sung Chih|03.22 – 05.19|GALLERY VACANCY

 

 

倒裝的語句 Chen Sung Chih
Rambling Sentence

展期 |03.22 – 05.19
地點|GALLERY VACANCY
藝術家|陳松志

更多訊息|https://www.galleryvacancy.com/


Gallery Vacancy榮幸地呈現藝術家陳松志在上海的首次個展 “陳松志:倒裝的語句”,展出的作品來自藝術家對於空間的個人觀察以及空間與感知的相互關係。展覽將持續至5月19日。

展覽中的作品均依場地現地製作,《無題2017 (SH)》所在的一樓地面覆蓋滿佈閃耀的金色沙粉,空間之中矗立著若干基座鑄型的玻璃台柱,無論從視覺上還是以從物理的角度來看,可被理解為一種與特定環境中有形的客觀存在而對抗的反經驗象徵。陳松志希望藉由玻璃柱的尺寸變化,提示不同的思考維度,試圖揭露一個日常經驗中不易察覺,卻干預支配了人們意識和知覺的內部關係。觀者在展覽空間中徘徊的同時,那些閃閃發光的金色沙粉見證並回應了某種意識與空間不可見的交換過程。

《散場 (SH)》中運用在公眾空間常見的紅地毯,順著樓梯台階盤旋而上覆蓋部分的二樓空間和三樓空間。作品在空間中重構了一個場域,包含了觸覺與嗅覺,這樣的設定對應並調動了記憶中音樂、戲劇或是各類慶典活動的經驗。作品在空間中的元素都源於這些場所和活動的空間配置。從整體來說,空間中任何細小的特徵都過於典型和尋常,以至於觀眾身處作品中而不會關注到作品本身。而作品的標題-散場,是在電影或演出結束時出現的一個制式短語,對藝術家而言它被視為啟動記憶的一種符碼,人們試著找回那段經歷,它總在縈繞,但卻如此碎片化而不具整體性。

二樓的兩個空間中各有一組鏡面地板和床墊的組合。作品《無題-房間5 (靜物)》讓觀眾在一個看似隨機的房間裡審視每個人每天發生的日常事務,意圖模糊個人與社會、隱私與公開以及一個自戀情結和情境示現之間的邊界。身處其中,眼前所見不再是一個完整封閉的房間,而是一個意識、動作、事件不斷交換的劇場,看似靜止卻從來沒有停止轉動。

《倒裝的語句-4,5,6》佔據了整個三樓空間,作品被白牆、紅色地毯以及通往明亮露台上鎖了的門所圍繞。陳松志移植了老式壁燈,並將其固定在用染色絨面革覆蓋的木板上。壁燈從面板裡伸出,抬起其餘垂下的布料。每一個元素都是室內建築原有的部分,觀眾不會注意到其在展廳內此時此刻的角色,也不會意識到與其他元素之間的不和諧。這件作品重述了現代中產階級的審美,在不同時空的調度下顯得悖理而有趣。

關於陳松志
出生於1978年,現在台北生活和工作。畢業於台南藝術大學造形藝術研究所藝術碩士。歷年作品皆以觀念出發,藉由材質本身的語彙去呈現生活中經常被忽略之感性片段,呈現方式以復合媒體空間裝置為主。在過去的創作中常以生活的特定事件,並融入自身與社會的時間性敘述塑成多項混合的藝術現場。這些現成的生活素材在創作者的任意拼湊、組合下,轉化後呈現出有別於粗糙、生冷的物質原性,並微妙地註入濃厚複雜的心理元素,作品往往因此產生溫度,饒富詩意。過去作品曾獲路易威登LOUIS VUITTON台北藝術徵件計劃首獎、第三屆台新藝術獎2004年度七大視覺藝術、2003台北美術獎優選、2001世安藝術創作獎等。

Gallery Vacancy is pleased to announce Rambling Sentence, the first solo exhibition by artist Chen, Sung-Chih in Shanghai. This exhibition presents the body of work that the artist has developed in recent years and his personal observation that pertains to the idea of space and its perception to the viewer. The exhibition will run through 19th May.

Untitled 2017 (SH), 2018, consists of gold glitters over the space on the first floor with glass columns molded from plinth which is usually used for display and stands in the gallery space as a symbolism of counter-experience to the visual and physical confrontation to the tangible objective existence in the given circumstance. The varied sizes of glass columns, to Chen, may be understood as different perspectives through which allow us to see transformation of a defined system that we grow within, by nature in terms of the scale, without being aware of its dominance in our consciousness and perception. Those gold glitters then leave and witness the traces of visitors while wandering around the exhibition.

Climbing up along the staircase, End of the Show, 2018, a red theater carpet running through the rest of the gallery space on the second and the third floor continues the exhibition. This work aims to re-construct a surrounding that could be reminiscent of any ceremonial occasions. Each element refers directly to architectural structures of these venues and events, too ordinary and typical that the viewer will not even pay attention to the work itself while being enclosed within it. The title, a phrase usually seen in the end of a movie or show on the screen, is taken as a denotation to the memories that we always try to retrieve but that is always hunting not allowing us to seize it as a whole.

Each of the two smaller rooms on the second floor includes a set of mattress placed on top of the glass-mirrored floors. The work, Untitled – Room 5 (Still Life), 2018, allows the viewer to examine a daily routine that happens to every one of us in any single day in a random room. It attempts to blur the boundary between the personal and the social, privacy and openness, perception and delusion in a narcissist manner.

Inverted Syntax 4,5,6, 2018, occupies the whole room on the third floor where the work is enclosed with empty walls, carpeted floor and an illuminated locked door on the far side of the space connected to a terrace. Chen adopts found vintage wall lamps for exterior use and attaches them on wood panels which are covered by dyed suede hide. The lamps pop up from the panel lifting the spare fabric drips. Each of the elements was such an inherent part of any room that the viewer would not notice the change in its function nor its disharmony among the others on the site. This work absurdly conflates the description of middle class aesthetics in the modern era but in a deliberately reverted order.

About Chen Sung-Chih

Chen, Sung-Chih, born 1978 in Nantou, Taiwan, graduated from Graduate Institute of Plastic Arts, Tainan National University of the Arts, with emphasis in mixed media installation. Previous works include mixed media and ready-made objects.  These ready-made materials taken from everyday life are assembled, combined, and transformed in order to present the other aspect of original rough and cold materials, adding a delicately blended and complex psychological element. These artworks are imbued with warmth and poetic meanings. His previous work has received the Spirit of Travel–Espace Louis Vuitton Taipei Audition – First Prize (2013); 35 Visual Artist Support Winner (2012); The 12th Visual Arts Prize of Li Chun-Shan Foundation; Taishin Arts Award – Top 7 of Visual Arts (2004); Taipei Arts Award Best-Selected (2003 & 2008); and S-An Aesthetics Award – Arts Creation Support (2001).