失效的神話:陳飛豪個展Ineffective Myth: Chen Fei-Hao Solo Exhibition 09.23~10.28

失效的神話:陳飛豪個展Ineffective Myth: Chen Fei-Hao Solo Exhibition 09.23~10.28

 

失效的神話:陳飛豪個展Ineffective Myth: Chen Fei-Hao Solo Exhibition

日期:2017.09.23-10.28
地點:朝代畫廊B館(台北市大安區樂利路43號)
開幕:2017.09.23(Sat.)15:00
座談:2017.10.07(Sat.)15:00
講者:陳湘汶Chen Hsiang-Wen (獨立策展人 Independent Curator)
賴英泰Lai Ying-Tai (國立政治大學台灣史研究所博士生 Doctoral student of Graduate Institute of Taiwan History, National Chengchi University)
網站:https://www.dynastyart.com/


過去一百多年,不同的政權迭替造就了文化脈絡的斷裂與再聚合,城市的樣貌也因此不斷地改變著,陳飛豪以百年來曾發生在台北這座城市而被人淡忘的事件做為創作發想,希望藉由這次個展,探討歷史與當下社會情境的差異性。他在2016年的台北雙年展所展出的作品《家族史翻譯文件》中,便將歷史畫面轉化為書面敘述,並巧妙的運用文字將時下社會人們所擁有的集體意識表達出來,當觀眾觀覽陳飛豪的作品時,看似用冷靜的旁觀視角閱讀著過往,實則因處在其中而感同身受。

此次陳飛豪的新作《心中雪解車》改編於日治初期發生於台北的日本妓女鳴戶與情人梅田末太郎私奔的殉情事件,兩人自縊於大稻埕後由日本文人合葬在當時的三板橋墓地(今14、15號公園),是台灣的比翼塚。比翼塚是日本特有的習俗,將生前無法結合的愛侶共葬,以求了卻其生前的遺憾。三板橋比翼塚的出現,即是這些隨著日本殖民政權而來的新住民們,將自我的文化想像與此地風土相合的獨特案例,亦可反映出台灣多元且獨特的歷史情境與社會結構。本作以日本傳統歌謠中,描寫殉情故事最為經典的《曾根崎心中:道行之段》為引,重新講述這段發生在台灣的東洋式愛戀物語,最後以三板橋戰後成為中國移民群居的康樂里的轉換作為對照,探索台灣土地的文化厚度。

《台北稻荷神社重構計畫》由陳飛豪追溯曾建於新起街市場舊址(今台北西門紅樓旁)附近台北稻荷神社的蛛絲馬跡,並實地訪查其分靈來源的東京穴守稻荷神社以及考究相關資料,發現兩者皆在戰後面臨被拆除遷移的命運,東京的總社之後雖異地重建,但從這兩座神社戰後的命運來看,祂們彷彿就像當時社會的縮影:做為殖民母國的日本以及殖民地的台灣,都在戰後面臨不同的統治架構中的土地分配問題。藝術家藉由本作探討了土地記憶、國族意識與歷史政治間的難以釐清的複雜關係。
闡述政權更迭下建築與城市地景的轉換與權力運作,一直是陳飛豪相當感興趣的題材。戰後的建功神社(今國立藝術教育館)過往做為神社的功能與風貌與如今早已大相逕庭,唯一在不同治權中仍保留原先樣貌的僅剩神池,神池所彰顯的是建築本體的神聖性與自然靈性,而藝術家在作品《建功神社重構計畫》中,以檔案與影像裝置再現該建築原本所具有的莊嚴與宗教祭祀功能;而曾做為日本統治台灣政權象徵的台灣神宮(今圓山大飯店現址),在戰後遭拆除後已不見痕跡,《台灣神宮重構計畫》這件作品藉由今昔的檔案與影像,將重建出的神社建築群融入當今周遭的風貌。

陳飛豪生於1985年,就讀於國立台北藝術大學藝術跨域研究所,擅長文字寫作並運用觀念式的攝影與動態影像詮釋歷史文化、社會變遷與科技發展下所衍生出的各種議題,也將影像與各種媒介如裝置、錄像與文學作品等等結合,探討不同媒介間交匯結合後所產生的各種可能性。他的作品曾參展於台北當代藝術館&空總創新基地《破碎的神聖》(2017)、台北市立美術館《台北雙年展-當下檔案.未來系譜:雙年展新語》(2016)、高雄市立美術館《高雄獎》(2016)、桃園展演中心《第十三屆桃源創作獎:天火同人》(2015)、苗栗客家文化園區《地方・記憶・時間流─紀實攝影與當代藝術的對話》(2015)等。

Dynasty Gallery is very glad to announce that we will present Chen Fei-Hao’s newest solo exhibition “Ineffective Myth” to you during 23 Sep. to 28 Oct. 2017, and the opening will be held on 23 Sep. This solo exhibition will exhibit four recent series of artist’s works, and we will invite Chen Hsiang-Wen (Independent curator) and Lai Ying-Tai (Doctoral student of Graduate Institute of Taiwan History, NCCU) to be our speakers in the discussion on 7 Oct.

Changes in the political environment that occurred throughout the last century led to breakage and reform in cultural context, while the urban environment also underwent transformations. Inspired by forgotten incidents that happened in Taipei during the past hundred years, artist Chen Fei-Hao hopes to explore the difference between history and the current social environment through this exhibition. Chen’s work Family Documents in Translation, showcased in the 2016 Taipei Biennale, transforms historical images into text, cleverly expressing the collective consciousness of society through words. Viewers will empathize with the message of the work through the seemingly detached and distant perspective of the artist.

Chen’s new work Love Suicide at Snow Melting Train is inspired by an incident that happened during the early days of the Japanese Colonial Rule. Japanese prostitute Naruto and lover Umehara Suetaro eloped, hanged themselves in Dadaocheng, and were buried together in a Hiyokuzuka (“lover’s grave”) in the then San Ban Qiao Graveyard (currently Park No. 14 and 15). The Hiyokuzuka is a unique Japanese custom which involves the burial of lovers who could not be together during their lifetime, granting their unfulfilled wishes after death. The Hiyokuzuka in San Ban Qiao is a unique case of cultural transfer of immigrants who traveled to Taiwan with the Japanese government, mixing foreign and local culture, at the same time reflecting the special historical scenario and social structure of Taiwan. Love Suicide at Snow Melting Car takes a section of traditional Japanese song “The Love Suicides at Sonezaki: Journey Scene” and retells the love story that happened in Taiwan, ultimately comparing San Ban Qiao with its postwar transformation into Chinese community Village KangLe to show the diversity and richness of Taiwan culture.

In Taipei Inari Shrine Reconstruction Archives, Chen traces evidence of the historical site of Taipei Inari Shrine, which is located near Shinkigai Market (located next to The Red House in Ximen). Through investigating the history of the Tokyo Anamori Inari Shrine and the Taipei Inari Shrine, Chen discovered that both faced the fate of being torn down and relocated after the war ended. Although the main shrine in Tokyo was reconstructed in a different location, the fate of the two shrines after the war are like miniature histories of the social environment: both the colonist Japan and colony Taiwan went through the allocation of lands under different political structures. Through this work, the artist explores the complex relationship between memories of the land, national consciousness, history, and politics.

Chen Fei-Hao has always been interested in the changes of the urban landscape during political shifts. The original KenKou Shrine built before the war is very different in appearance and function from its post-war transformation into today’s National Taiwan Arts Education Center. Only the pool remains unchanged, displaying the sacredness of the architecture. In artwork KenKou Shrine Reconstruction Archives, Chen uses archives and video installation to restore the architecture of its previous solemn and religious function. Taiwan Grand Shrine, which was a representation of the Japanese Colonial Rule in Taiwan and previously located at today’s Grand Hotel, was removed after the war. Taiwan Grand Shrine Reconstruction Archives uses archival materials and images to re-present the architecture of the shrine and merges it with modern scenery.

Chen Fei-Hao was born in 1985, and now is studying in Graduate Institute of Trans-disciplinary Arts, Taipei National University of the Arts. He is a Taiwanese contemporary artist and writer, mainly working with video and photography to interpret the issues, which are aroused by the progress of history, society and technology. He also combines video and photography with varieties of media such as installation, video and literature to discover much more possibility of the convergence of different media. His works were exhibited in many important events as MOCA Taipei and TAV Innovation Base “Shattered Sanctity” (2017), Taipei Fine Art Museum “Taipei Biennial- Gestures and archives of the present, genealogies of the future: A new lexicon for the biennial” (2016), Kaohsiung Museum of Fine Arts “Kaohsiung Awards” (2016), Taoyuan Cultural Department “Harmony in Diversity” (2015), Miaoli Hakka Cultural District “Site –Memory- Time: the Dialogue between Documentary Photography and contemporary art” (2015), and so on.