在定義中叛逃 – 陳建榮個展
「我有一件Sonic Youth的t-shirt，它質料不佳，棉的成分少，2003年買的時候女友嫌了很久。但因為是一件印了我愛團的黑色T，自己依舊非常喜歡。 衣服正面除了有可愛的圖案還印了幾句法文，熟悉的朋友知道我剛在巴黎待了一陣子，多半以為這是從法國帶回來的。但其實那個樂團是來自紐約而非巴黎，而且衣服是我在東區大安路上的金秋商場閒逛買的，這真是個有趣的錯誤。 想想這種誤判與轉折其實跟我近幾年的創作狀態還挺相像的。」 — 陳建榮
節錄自：張玉音 | 文，〈刺點拾荒與日常證言─陳建榮繪畫的微抵抗〉
Project Fulfill Art Space presents ‘Defection from Definition’, Chen Chien-Jung Solo Exhibition opening in June. The exhibition will include ten new works from the artist’s recognized ‘Landscape’ and ‘Aircraft’ series, through which the artist continues to develop and pursue the exploration of the “meaning behind the existence of painting”. The opening reception will be held on Saturday 23 June at 4pm, and an artist talk will be help on Saturday 7 July at 3pm, with guest speaker Ava Pao-Shia Huesh in discussion with the artist.
“I have a Sonic Youth t-shirt, the quality is not very good, with very little cotton in the fabric. When I bought it in 2003 my girlfriend resented it for a long time. But because the black t-shirt was printed with one of my favorite bands, I still like it a lot. Apart from having a cute image on the front, it is also printed with a few French words. Close friends will know that I lived in Paris for a while, a lot of them assuming that I brought this t-shirt back from France. But actually this band is from New York, not Paris, and I got it while wandering around Jin Qiou Mall on Da An Road in Taipei. This really is an amusing mistake. Thinking about this kind of misinterpretation and divergence is actually quite similar to my art practice these recent years.” – Chen Chien-Jung
Defection from Definition
Compared to Chen’s previous focus on creating something from scratch, in recent years he places more emphasis towards considering how to reproduce the traces of everyday life and objects. The collections of image material that he is drawn to largely consist of technical drawings of cross sections and plan elevations. He explains that whenever he sees these technical replicas, he imagines filling them in. In the process of reinterpreting an image, the difficult choice is whether or not to preserve the traces of everyday life inherent to the physical object. The discrepancies between painting and object is where Chen can find enjoyment in his own articulation, “if the image is perfect, it is rather boring, because it is already perfect, so it does not seem necessary to reproduce it”. Chen’s works enquire into the essence of painting, and at times are filled with a defiant challenge. Painting at its height and most rare uses its medium to evoke influence and an energy that transcends its materiality. While people usually cultivate, presume or construct meaning within themselves, when viewing a painting, it is a moment when the material space and the viewer’s internal space overlap each other, this experience constitutes the uniqueness of painting and its appreciation. This sense of familiarity also becomes what people always hope to find within painting. However, Chen tries to resist these pleasant conditions of comfort, appreciation and unity, he attempts to open up another dialogue of painting, the use of materials, and the definition of classical forms. Finding the gaps in re-understanding painting and detecting the possibility of reinterpreting the established rules of real and imagined, reveals a hidden facet of understanding Chen’s work, one of a nomadic figure constantly defecting from definition.