尺寸依現場而異
展覽：亞洲藝術雙年展 來自山與海的異人
國立台灣美術館，台中/台灣
sail(thermo-modified wood: teak, douglas fir, Taiwan red pine, mahogany, white meranti. metal, crane, polyester, nephrite mineral, meteorite) , marble sculpture(by Kan Tan).
Dimensions variable
installation view of the exhibition
Asian Art Biennial-The Strangers from beyond the Mountain and the sea
National Taiwan Museum of Fine Arts, Taichung/Taiwan
2019
破碎的羅曼史
本計畫試著以歷史、礦物與自然元素之間的流動狀態,做為一種另類的美學觀察。受到 1819 年探險家迪蒙.迪維爾(Dumont d ́Urville)航行的啟發,這件作品透過不同物體與事件的組合,將海洋探險與洋流、文化政治之間的關係聯繫在一起,例如米洛島維納斯雕像的發掘,以及 1960 年代太空競賽等特殊事件做為參照的軸線,試圖提出不同於過去以人類為中心的宇宙觀,轉而尋求一種物質的內在活力與創造性,並轉化在造形的邏輯中。
這個創作計畫試著與多樣性的材料來進行對話。透過一艘由碳化木料、金屬共構,搭配玉石及隕石礦物而製成的克拉克式帆船(三桅或四桅帆船),和借展作品(〈海風〉,2006)的奇異組合,展開人類航海探索的歷史與洋流活動的交錯關係。透過遊走在歷史和自然活動之間,這件作品開展出不同時空之間的無聲對話。在這過程中鬆動原本對立的邊界,如同人工與自然、生與死、欲望與現實、未知與理性、原生與外來、有機與合成、破碎與完整。藝術如何在這災難性變化的時代中,重新建構材料的主體性、感知意識、甚至秩序,本創作計畫試圖提供一種潛在路徑,書寫出一篇破碎的羅曼史。
大理石雕塑〈海風〉(2006)由藝術家甘丹(甘朝陽)製作及提供。
Shattered Romance
In this project, Chiu attempts to portray the fluidity of history, minerals, and natural elements as an alternative method of aesthetic observation. Inspired by the 1819 voyage of the explorer Dumont d’Urville, this work ties together ideas of oceanic exploration, sea currents and cultural politics, through an assemblage of disparate objects and events. Tales of colonial seafaring are further overlaid with trace memories of the Venus de Milo sculpture and the 1960s Space Race. Shattered Romance is imagined by the artist as an adventure into the unknown, as well as an embodiment of a form of history where humans no longer occupy a privileged centre. Instead, this work proceeds by pursuing the inner energy and creative potential of diverse materials, engaging them in dialogue, and seeking to embody them through the logic of their internal designs.
Shattered Romance’s interweaving of the history of human exploration and the activity of ocean current is manifested in the strange combination of a borrowed sculpture by Kan Tan (Wind from the Sea, 2006), a jade and meteorite carrack (a three- or four-masted ship), and a sculpture made of thermally-modified wood and metal. Altogether, the works restlessly oscillate between the historical and the natural, a silent dialogue between different times and spaces. The process of combining these elements has loosened the borders of what had previously been opposed: the artificial and the natural, life and death, desire and reality, the unknown and reason, the native and the foreign, the organic and the synthetic, the broken and the complete. How does art, in a time of catastrophic change, manage to reconstruct autonomy, perceived consciousness and order? This project aims to present an underlying route for writing a shattered romance.
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