陳界仁 金融風暴與自動化生產之後…… |2018.12.15 – 2019.1.26|大未來林舍畫廊

2018.12.15 – 2019.1.26
Opening|12.15, 16:00
大未來林舍畫廊

更多展覽資訊:http://www.linlingallery.com/exhibition-d.php?id=285
More Information: http://www.linlingallery.com/eng/exhibition-d.php?id=285


大未來林舍畫廊很榮幸地宣佈於十二月推出陳界仁個展─「金融風暴與自動化生產之後……」,此為藝術家第三度於大未來林舍畫廊舉辦個展。

Lin & Lin Gallery is honored to announce Chen Chieh-jen Solo Exhibition “ After the Financial Crisis and Automated Production”. This is the 3rd solo exhibition of Chen Chieh-jen in Lin & Lin Gallery.

在金融資本主義與科技技術已徹底合流為「金融—科技資本主義」,並發展出比過往任何治理形式更具包覆性與穿透力的「全域式」操控技術,致使當代社會與個體的感覺構造、欲望構造與思維方式,全面淪為可被公司王國(Corporatocracy)操控的處境。那麼,人是否還有其他的出路?

在本展中,將以兩個展區,展出陳界仁思考此一艱難課題的三件相關作品,分別為《十二因緣-思考筆記》(1999-2000/重新編輯 2018)、《星辰圖》(2017)、《中空之地》(2017)。

Since financial capitalism and technology completely joined together to create the financial-technological capitalist system, new forms of administrative technology with unprecedented power to permeate both systems and individual consciousness have developed. This has made it possible for the corporatocracy to manipulate contemporary society and the perceptions, desire, and thinking of its individuals. Is there a way for people to get out from under this situation?

Presented in two galleries, this exhibition includes Notes on the Twelve Karmas (1999-2000/re-edited 2018), Star Chart (2017), and A Field of Non-Field (2017), in which Chen considers these difficult issues.

對於這個看似難以改變的困局,陳界仁認為除了應從科技技術層面進行介入外,也應該同時改變「金融—科技資本主義」對當代社會與個體所植入的各種認識論,因此他通過重思龍樹菩薩繼承自佛陀的「中道」思想,並發展出論證更為嚴謹的《中觀學》的三個核心論題——緣起、(無)自性、空性,以及其所提出具有多重辯證精神的「八不」辯證法(不生不滅、不常不斷、不一不異、不來不去),作為在被「全域式」操控技術所包覆、穿透的世界內,建立另一種世界觀、生命價值觀,以及開展其他感覺構造、欲望構造與思維方式的實驗與實踐路徑。

Chen Chieh-jen believes solutions to this seemingly unsolvable problem include epistemological shifts away from technology and away from the financial-technological capitalist system that is now embedded in society and the individual. To achieve this, Chen has returned to The Middle Way associated with the Madhyamaka School of Buddhism, which was founded by the Nāgārjuna Bodhisattva. Nāgārjuna invested The Middle Way with the precepts dependent-arising, (no) self-existence, and emptiness, and also practiced the multiple dialectical spirit of the Eight Negations, which are neither arising nor ceasing, neither permanence nor nullification, neither identity nor difference, neither coming nor going. Using these principles, Chen hopes to establish a new worldview and value system, and experiments with ways to expand both perception-desire constructs and modes of thinking in our world now permeated by control technologies.

1999至2000年,當世界邁入千禧年之際,陳界仁即藉由創作《十二因緣-思考筆記》,想像當每個個體的各種數據與生物資料,都成為「全域式」操控技術下,再生產新生命政治的原始資料時,所可能面臨的危機與命運。《星辰圖》與《中空之地》則為陳界仁從其哥哥因亞洲金融風暴導致長期失業,而於罹患重度憂鬱症後選擇自殺,並於自殺獲救後,開始緩慢重建自身的世界觀與生命價值觀的過程中,逐漸體會到《中觀學》所提出的三個核心論題與「八不」辯證法,不但對個體如何重塑自身生命價值觀與如何重塑社會,所能帶來的積極意義,更可以作為從「全域式」操控技術所操控的世界內部,進行質變的方法。

In 1999, as the world entered the new millennium, Chen believed that we were facing a crisis because the collection of data on each individual and was being integrated into extant data to generate a new biopolitics under the technological control system. He therefore started to visualize this crisis in Notes on the Twelve Karmas. Some years later, Chen’s brother attempted suicide after years of severe depression and unemployment following the 1997 Asian financial crisis. While witnessing his brother slowly rebuild his worldview and values, Chen created his works Star Chart and A Field of Non-Field, and realized that the Madhyamaka School’s three precepts and Eight Negations not only have active significance in reshaping the individual, but also can serve as a way to qualitatively transform a world in the grips of those pervasive control technologies.

陳界仁,1960年生於台灣桃園,高職美工科畢業。陳界仁屢受海外邀約,於世界各地皆享有知名度,其作品獲多所國際藝術機構收藏,包括巴黎龐畢度藝術中心、香港M+美術館、東京森美術館、福岡亞洲美術館、台北市立美術館、國立台灣美術館、高雄市立美術館、美國亞洲協會美術館、美國威廉大學美術館、西班牙Artium美術館、法國國家藝術基金會中心、瑞士銀行藝術收藏基金會、西班牙COFF 攝影基金會、法國 DSL Collection Contemporary Chinese Art等。曾個展於:盧森堡現代美術館、台北市立美術館、洛杉磯REDCAT藝術中心、馬德里蘇菲雅皇后國家美術館、紐約亞洲協會美術館、巴黎網球場國家畫廊等機構。參加過的聯展包括:威尼斯雙年展、里昂雙年展、利物浦雙年展、哥德堡雙年展、聖保羅雙年展、伊斯坦堡雙年展、莫斯科雙年展、雪梨雙年展、紐奧良雙年展、台北雙年展、科欽-穆吉里斯雙年展、上海雙年展、光州雙年展、愛知三年展等當代藝術展覽,以及西班牙、里斯本、阿爾等攝影節。並曾獲2018年AAC藝術中國年度影響力─年度藝術家、2009年台灣國家文藝獎─視覺藝術類、2008年美國邁阿密PULSE當代藝術博覽會PULSE獎、2000年韓國光州雙年展特別獎。

Chen Chieh-jen was born in 1960 in Taoyuan, Taiwan, and graduated from a vocational high school for the arts. Chen frequently receives overseas invitation, and enjoys high reputation worldwide. His works were collected by several significant art museums, such as Centre Georges-Pompidou, Paris; M+, Hong Kong; Mori Art Museum, Tokyo; Fukuoka Asian Art Museum, Fukuoka; Taipei Fine Arts Museum, Taipei; National Taiwan Museum of Fine Arts, Taichung; Kaohsiung Museum Fine Arts, Kaohsiung; Asia Society and Museum, New York; Williams College Museum of Art, Massachusetts; Artium Centro-Museo Vasco de Arte contemporáneo, Vitoria, Spain; Centre national des arts plastiques, Paris; UBS AG The UBS Art Collection, Zürich; COFF Photography Foundatio, Spain; DSL Collection Contemporary Chinese Art, France. Important institutions held the artist’s solo exhibitions include: MUDAM Luxembourg, Luxembourg; Taipei Fine Arts Museum, Taipei; REDCAT, Los Angeles; Museo Nacional Centro de Arte Reina Sofía, Madrid; Asia Society and Museum, New York; Galerie Nationale du Jeu de Paume, Paris. The artist’s important group exhibitions include: Biennale di Venezia, Biennale de Lyon Contemporary Art, Liverpool Biennale, Göteborg International Biennial for Contemporary Art, Bienal de São Paulo, International Istanbul Biennial, Moscow Biennale of Contemporary Art, Biennale of Sydney, New Orleans Biennial, Taipei Biennia, Kochi-Muziris Biennale, Shanghai Biennale, Gwangju Biennale, Aichi Triennale; and photo festivals in Spain, Lisbo, Arles. The awards Chen has won include: 2018 The 12th Annual Artist Award, Award of Art China, China; 2009 The 13th National Award for Arts, The National Culture and Arts Foundation , Taiwan; 2008 PULSE Prize, PULSE Contemporary Art Fair, Miami, USA; 2000 The Special Prize, Gwangju Biennale, Gwangju, South Korea.


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