周育正:刷新、犧牲、新衛生、傳染、清新、機器人、空氣、家政、潔客幫、香煙、戴森、現代人。三|5.12-7.15|TKG+

周育正:刷新、犧牲、新衛生、傳染、清新、機器人、空氣、家政、潔客幫、香煙、戴森、現代人。三|5.12-7.15|TKG+

 

 

周育正:刷新、犧牲、新衛生、傳染、清新、機器人、空氣、家政、潔客幫、香煙、戴森、現代人。三
Chou Yu-Cheng: Refresh, Sacrifice, New Hygiene, Infection, Clean, Robot, Air, Housekeeping, jackercleaning. com, Cigarette, Dyson, Modern People III

時間 Dates|2018.05.12 – 2018.07.15
開幕 Reception|2018.05.12 (Sat.) 4:30 – 7:00 p.m.
地點 Venue|TKG+
主辦單位 Organizer|TKG+
贊助單位 Sponsor|Dyson


現代化的演進與轉換往往潛移默化著人們的認知與價值觀,在此多重而複雜的進程中,「衛生」二字作為新階段的關鍵詞,是來自一句台灣俚語「沒知識又兼沒衛生」;相較於知識,衛生是相對抽象卻又似乎能用以衡量現代化的判準,並甚至藉此發展出新的社會規則。儘管上述的現象都可以套用於資本主義的詮釋,但周育正在此次展覽中並不以知識論的方法,闡釋現代化脈絡下衛生的歷史與經濟效益,而是藉由衛生來演繹造型藝術,結合多元的方法拓展更廣闊的美學脈絡。

「刷新、犧牲、新衛生、傳染、清新、機器人、空氣、家政、潔客幫、香煙、戴森、現代人。三」是周育正此系列計劃的第三階段,本次的計劃命題,是周育正藉由主觀與客觀的描述形式,參考社群媒體的標籤(Hashtag)並置數個關鍵字構成計劃名稱。此命名方法源自於2015年起的系列計劃「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。」開啓了有別於他過去的創作語彙,以一種更為多元複合的產出形式,屏除了單線式的語言邏輯,在保有一些過往的作品脈絡下企圖刷新創作者個人的造型思維。

繼前二階段在上海與香港的系列發表後,此次展覽也拓展了新的詮釋,其中之一是與傳統曬麵師傅的合作而生成的雕塑《雲霧、山嵐、曬麵場》,命名源於新北市石碇山區的傳統曬麵場在其門口的標語「好山好水才有好麵」,這個標語揭櫫環境與食物密不可分的關聯。其二是出版物《刷新、犧牲、新衛生、家居、洗滌、周育正、顏料、抹布、菜瓜布、畫布、形象、繪畫集》,命名裡即含括了此次出版的概念,它穿梭於家政與藝術媒介的形式之間,最後再以此繪畫集作為紀念。由繪畫、雕塑、表演、出版為基礎,品牌、機器(人)、APP服務系統、傳統技藝等運用,活絡了藝術形式的界線,同時也與過去的作品脈絡有著延續性的發展關係,例如現成物與品牌運用、出版、勞動等命題。

這次的展覽同時也宣示著「一個試圖擁有最佳環境的畫廊」,在於透過戴森Pure空氣淨化風扇系列產品,其具有強勁氣流可循環噴射,同時淨化有害氣體和99.95%小至PM0.1的顆粒物;另外透過潔客幫的APP清潔預約服務,配合戴森Cyclone V10無線吸塵器的運用,吸除存在於畫廊中99.97%小至0.3微米的微塵。如上述,環境成為了此展覽的關鍵元素,因此現成物不只以造型展呈於展演之中,更能藉此使現成物生產新的概念。

周育正擅長處理美學與社會的雙面操作,強調視覺造型背後的工作程序,關注如何在既有事物的機制中產生另類的操作與思考模式,並在「非典型合作」中產生相對應的另類利益,同時顯露既定事實的問題。他的創作形式廣泛於各種媒材,但多以「中介者」的角色媒合了他視為「主體」之個人、企業與機構組織,並透過「工作程序」的操作,例如轉移、轉讓、或是時間、地點的差異,產生出計劃的結果,形成來源與結果間的相互辯證。

周育正
1976年出生於台北,畢業於法國國立巴黎高等藝術學院與塞納河研究計畫學程。他通過多元媒介,包括裝置、出版、表演與繪畫, 處理社會與美學的相互關係,塑造出一套簡潔但精心策劃的知識與美學技巧,最終展現藝術、物體和空間的特性。近期個展於美國丹佛市當代美術館、台北市立美術館、高雄市立美術館、香港與上海馬凌畫廊,聯展於台北雙年展、皇后雙年展、亞洲雙年展、紐約新美術館、利物浦雙年展與香港巴塞爾藝聚空間項目。2011年榮獲台新藝術獎年度視覺藝術大獎,以及2012台北獎首獎。目前工作與生活於台灣台北。

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The progression and transition of modernization plays a subtle yet vital role in shaping people’s perception and values. In this complex process, “hygiene” as the key word for the new phase comes from a Taiwanese slang “without knowledge and without hygiene” (referring to someone dumb, dirty, and without standards). Compared with knowledge, hygiene seems to be a rather abstract yet feasible standard for modernization which leads to new social rules. While a capitalist framework seems perfect for the above-mentioned phenomenon, Chou Yu-Cheng evades the epistemological approach in this exhibition, not expounding the history and economic benefits of hygiene in a modern context. Instead, the artist reinterprets plastic arts through the notion of hygiene, in a multidisciplinary approach that expands aesthetics beyond conventional perception.

Refresh, Sacrifice, New Hygiene, Infection, Clean, Robot, Air, Housekeeping, jackercleaning.com, Cigarette, Dyson, Modern People. III is the third phase of Chou Yu-Cheng’s ongoing project. The title of this project — a group of keywords — references hashtags on social media described by the artist in a subjective or objective way. This particular naming method originated with the 2015 project Chemical Gilding, Keep Calm, Galvanise, Pray, Gradient, Ashes, Manifestation, Unequal, Dissatisfaction, Capitalise, Incense Burner, Survival, Agitation, Hit, Day Light, which opened a new path for his creative process. In a more diverse and complex form of production, the artist disregards a linear linguistic logic, and attempts to reinvent his personal approach to plastic arts, interwoven with a few threads from his past practice.

Following the launch of the first and second phases of the project respectively in Shanghai and Hong Kong, this exhibition unveils the artist’s new conceptions, including sculptural work Cloud, Mist, and Field for Sun Dried Noodles (2018), a collaboration between the artist and traditional noodle makers. The title of the work comes from “Green hills and clear water breed good noodles,” a slogan hung on the gate of a traditional noodle factory in Shiding Town, New Taipei City, which highlights the inseparable relationship between the environment and food. A special publication also debuts in this exhibition, titled Refresh, Sacrifice, New Hygiene, Home, Washing, Chou Yu-Cheng, Acrylic, Rag, Scouring Pad, Canvas, Image, Album. With a title that suggests a hybridity between housekeeping and artistic media, this publication serves as a memento for the exhibition. Comprising painting, sculpture, performance, and publication, the exhibition blurs the boundary between art forms through an adroit deployment of brands, machines (robots), apps, and traditional handicrafts, while resonating with the artist’s past body of work, evidently in the use of found objects, brands, publication, and manual labor.

This exhibition also serves as an attempt to create “a gallery with the best environment,” with the use of Dyson Pure Cool Link air purifiers, which automatically remove 99.95% of pollutants and allergens as small as PM0.1, as well as through the Jackercleaning app that provides housekeeping appointments, along with the use of Dyson Cyclone V10 cord-free vacuums, which remove 99.97% of pollutants and allergens as small as 0.3 microns. The environment becomes a key element in this exhibition. The artist believes that a better environment can be created with the use of machines. In this way, found objects not only manifest themselves in their physical forms, but are also allowed the chance to demonstrate their functions, transcending their original hackneyed notion.

Known for his deft manipulation of aesthetics and social issues, Chou Yu-Cheng is deeply concerned with the working process behind visual arts, as well as alternative operational and thinking modes in existing mechanisms, corresponding alternative interests in atypical collaboration, and problematic established facts. His practice involves diverse mediums, where he acts as the mediator who integrates the individual as “subject,” the enterprise, and the institution, while through a working process that entails the act of transition or transferal, or the difference in time or locale, yielding specific results of a particular project, thereby creating a dialectic between the source and the outcome.

Chou Yu-Cheng
Born in Taipei, Taiwan in 1976, Chou Yu-Cheng graduated from the École Nationale Supérieure des Beaux-Arts de Paris and the research program – La Seine. Working across a wide range of mediums from installation, publication, performance to painting, the artist investigates the interrelationship between society and aesthetics through a minimalist yet thoughtfully choreographed skill set of knowledge and aesthetics that allows him to reveal the peculiarities of art, object, and space. Chou Yu-Cheng has exhibited internationally, including solo exhibitions at the Edouard Malingue Gallery, Shanghai (2017) and Hong Kong (2016), China; Taipei Fine Arts Museum, Taipei, Taiwan (2014); Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan (2014); and Museum of Contemporary Art Denver, Colorado, U.S.A. (2008); as well as group exhibitions at the Liverpool Biennial of Contemporary Art, U.K. (2018); Art Basel in Hong Kong (Encounters sector) (2018); The Great Ephemeral, New Museum, New York (2015); Asian Art Biennial, National Taiwan Museum of Fine Arts (2015); Queens International, Queens Museum (2013); and Taipei Biennial, Taipei Fine Arts Museum (2012). Awards and recognitions include the Taipei Art Awards, Taiwan (2012) and Taishin Arts Award, Taiwan (2011).