2016年12月16日 星期五

植栽(Plant)

小花蔓澤蘭
裝置 2019
雕刻於混凝土上
展覽:小說:雙城計劃
台北市立美術館,台北/台灣。

Mikania Micrantha
Installation 2019
concrete, c-clamp, factory trolley
installation view of the exhibition
Island Tales: Taiwan and Australia
Taipei Fine Arts Museum, Taipei/Taiwan



本計劃透過雕刻植物影子,展示出一種生物及礦物造型化的過程,轉化了歷史、邊界、事件之間的侵入關係,並藉由作品的形式與空間佈局,刻劃出歷史景觀或事件碎片,並將之塑造成一塊塊時間的結晶。

浮雕作品「小花蔓澤蘭」,是以植物小花蔓澤蘭的影子作為對象,運用雕刻的手法,將影子雕鑿在由混凝土及礦物所製成的面板上。這種生長速度奇快的攀綠藤本植物,原是中南美洲的原生植物,在二次大戰時因為戰術需求被引入亞洲,當時僅作為機場偽裝掩體的軍事用途,現已成為太平洋地區分佈最廣泛的外來物種。邱承宏透過這種方式,揉合了生物與陰影,轉化了歷史中隱含的人與植物之間的關係。


By carving plant silhouettes, the project” The Dust of time” presents the process of stylising living creatures and minerals, where the invasive relationships amongst history, borders and events are transformed. Taking the composition and arrangement of the exhibition space into account, the artist attempts to depict and present historical scenes or fragments of specific events in the form of crystalized time.

The relief, The Dust of Time: Mikania Micrantha, portrays shadows of Mikania Micrantha by carving on a surface made from concrete and minerals. Mikania Micrantha is a tropical plant known as bitter vine or climbing hemp vine. It is a vigorously growing perennial creeper originated from Central and South America. The plant was brought to Asia During World War II for military Purposes as it makes good camouflage for the airports, The vine has now become the most widely spread alien species in the Asia Pacific region. Blending living creatures and shadows, the artist transformed the historical relationship between humans and plants.


















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植栽、牆上雕刻
現地裝置 2016
展覽:大台北當代藝術雙年展:去相合-藝術與暢活從何而來?
國立台灣藝術大學,台北/台灣

carve on wall. plants
installation in situ, 2016
installation view of the exhibition
Greater Taipei Biennial of Contemporary Arts: De-coincidence—Where do art and existence come from?
National Taiwan University of Arts, Taipei/Taiwan.


















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展覽:河流沙
臺北國際藝術村,台北/台灣。
carve on concrete slab. iron
installation view of the exhibition
Mile-a-minute weed
Taipei Artist Village,Taipei/Taiwan




















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北美花旗松
雕刻於混凝土上
Douglas spruce
carve on concrete slab
50x50x5cm


浮雕作品「北美花旗松」是從台灣產品及事件所延伸出的創作軸線,透過植物特有習性轉化為一種造型的邏輯。花旗松作為植物界的先驅樹種,可以快速的潛入沒有其他樹木的區域進行殖民,並通過火焰(森林火災)繁衍。藝術家轉化植物本身的生長特性,並運用黑炭、礦物及混凝土製成底板,再將樹形樣貌的局部特寫雕鑿在上面,製造出如同地形軌跡般的刻劃,除了對於物種與地域做另一層的描寫,也同時轉喻了產地樹種(美國)及商品木料(台灣)的經濟流動關係。

The relief, The Dust of Time: Douglas Fir, is inspired by products made in Taiwan and a related historical incident, transforming the plant’s notable habits into a stylised expression of logic. Douglas fir is a pioneer tree species in the kingdom of plant as it displays the ability to quickly infiltrate and take over lands ahead of other trees. Regeneration of Douglas fir is also favored by fire (forest fires). The artist transformed the traits noted with the plant’s growth patterns, and then carves the tree’s partial features on a board made from charcoal, minerals, and concrete, creating etchings that appear like topographic markings. In addition to showing a different way of illustrating the species and topography, the economic exchange between the tree species (from the U.S.)and wood for commercial use(Taiwan) is also suggested.






















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展覽:破碎的神聖
臺北當代藝術館,台北/台灣。
carve on wall. plants
installation view of the exhibition
Shattered Sanctity
Museum of Contemporary Art,Taipei/Taiwan



作品《植栽》概念源自于空軍總部廢棄大樓牆面上的一幅外銷畫,內容是由山林組構而成的風景圖,它被靜靜地保留在荒廢的空間裡,藝術家辨析出畫中樹種,將之種植在現場,同時在光線的投映下,循著這些植物的影子輪廓,一一雕鑿在空間中。藝術家刻劃出某個日常片刻的光影印跡,重新將註留在現場的時間與歷史,引導入藝術場域生產的過程裡。
邱承宏的作品《植栽》,藉由植物影子浮雕和燈具表現了空間/建築在被廢棄或轉換後,其原有的物件、記憶或生活等,將會像影子般的刻印或轉渡為另一意象的空間情境。此次作品連結當代館和空總創新基地展出,透過影子雕刻扮演一種穿越時空和空間轉化的想像,也將兩地作為歷史場域的轉化使用進而產生連結,將時間和歷史留駐於空間中。

The idea came from a painting of landscapes which was left in Air Force Command Headquarters, MND. Chiu recognized the trees from the painting and planted the same trees in the building. In the reflection of light, the shadows of these plants were projected into the space. The light and shadow which he intended to create convey the idea to preserve time and history in space. In the transition of objects and images, audience were guided into the process of artistic production.
Chen-Hung Chiu's work, Plants, employs a plant's shadow relief and lighting to portray the space and situation, in which objects, memories, and life of an abandoned or converted space/architecture has been transformed into a different image reminiscent of a shadow. The work is on view at both MOCA, Taipei and TAF Innovation Base, enacting the imagination of traversing time and converting space through the shadow relief. It also connects the venues, which are both converted from historical sites, encapsulating time and history in the space.
















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玉山圓柏
裝置 2016
展覽:香巴拉
弔詭畫廊,高雄/台灣。
Juniperus squamata
carve on wall. plant
2016,installation in situ
installation view of the exhibition
Sham-bha-la
Crane Gallery , Kaohsiung/Taiwan











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