​待解的灰 Unsolved Grey

待解的灰

-詹詠幀個展

2016.06.04-06.30
開幕時間 6.04 (六) 17:00
於台北 福利社FreeS Art Space

The Unsolved Grey

Solo Exhibition by Chan Yung-Jen

2016.06.04-06.30

Opening 6.04 Sat. 17:00

FreeS Art Space (Taipei)

〈待解的灰〉

文/詹詠幀

 

若去撿拾都市中位移的日子,灰色是生活最常見到的顏色:水泥建築與大廈、被柏油取代的草皮或泥沙、煙霧或粉塵環繞的空氣、招牌並肩閃爍的光暈、還有所有不是特別好也不是特別壞的那些抽象妥協…,灰色的馬路延展於大街小巷,在事件與事件的中間被碰觸,串連生活與生活的空隙,成為人們在都市內移動所遇見的第一道介質。在展覽中我以如是灰色的道路作為起點、反映大眾生活的媒介,將路面作為模具,翻製、採集人類所活動的痕跡與破損,路見所遇皆成為樣本,交通的來往去回便是人類生活遞嬗的描寫。「交通」原有往來、溝通之意,這裡所言除了指的是運輸工具行駛過程的途徑,更延伸或張開了原有的詞意,將其指涉的範圍囊括了日日間的瑣碎,試圖從日常所見的交通關係中尋找對應社會中其他實際存在,卻又不輕易被理解或梳理的落差。

 

這種不再只指涉有形的人車來往的、延展過後的交通關係,一直是我創作的主要根源。無論是身體與自我的、自我與社會的、個體與群體的、群體與群體的到社會與身體之間的多種關係,我將翻模的技術作為討論這些關係的主要方法。翻模是人類自青銅器時代以來就廣被使用的複製方法,也是與現代化的人類社會有緊密關係的生產模式。其基本原理是:擁有內容物的必要基礎,然後創造一個複製用的外模,並以此外模製作出相對應的內模,達到複製的目的。整個翻製的過程,流動在內模與外模的轉換,其空間與造型也在凹凸、陰陽之間互相變動、融合、然後再度剝離,成為一個新的個體。也因此翻模對我來說不再只是一個行使作品的必要過程或工具、一種雕塑的類型、或描述複製物品的動作,我透過這種內與外、產出物與原生母體(模具)有深刻關聯的手段,映襯每個生物相容於群體之內卻又獨立於體制之外的矛盾疏離感,就好像被模具擠壓、翻製、形塑出的大同小異。我將一個個片段翻模、複製、留存,擷取當下的時空與有形無形的物質與文化狀態,試圖勾勒生活於都市中日日面對的細微聲響。

 

在社會體制發展下,人一出生就幾乎註定要被丟入某個框框,朝向型塑典範的樣本,面對價值觀、社會期待、意識形態的影響,選擇的單一向造就不同於主流價值走向者的困難與矛盾,而政府、社會、媒體、群眾仍然在教育與傳輸下將不同形狀的人強硬卡入類似形狀的模具,抹殺了原有的多元性與自主權益,成就了大眾集體類似的悲傷。我試圖以物的模具討論也處於模具之中的人們,一如前面那個常見的,夾雜在黑與白之間的尺幅廣大的待解的灰。

闕漏好朋友:台北漫步(前導片)

詹詠幀

單頻道錄像裝置

2014-15

Dear Cracks: TAIPEI WALKING Trailer

CHAN, Yung-Jen

Single Channel Video Installation

2014-15

Starting off with the cityscape of Taipei, I discuss the people, relationships, and community within Taipei, translating the experiences and processes of people who grew up there into a resonance of the generation. Through sculptures or installations, I carve out the non-regular appearance of day-to-day life, and seize the bits of low sound that actually exist. In these works, light and shadow, joy and melancholy, and optimism and pessimism all simultaneously exist. The different directions state different facts. Mixed in with forms of doubt and awareness, at the same time, the works also maintain the relationship between love and compassion that always happens in our community. These qualities also happen to be human characteristics. I attempted to comb out the specious narrative methods in urban context, and depict people. I organized and expressed the response to the modernization of urban planning and the top-down structure. Within, what seems to be located on the edge of grand narrative is actually the mass of social subject, the contradictions and disparity that an individual faces in a large system. I set out to expand, modify, or reverse the definition of reality conveyed by popular culture or day-to-day life, and draw out the routes that shows the world is not just black and white from the overly divided values in society. What exists is a large piece of grey that has multiple narratives and is waiting for explanations.

闕漏好朋友:路的皺紋

詹詠幀 

水泥、瀝青、樹脂

2014-16

Dear Cracks: Wrinkles of the Road

CHAN, Yung-Jen

concrete, asphalt, plastic

2014-16

闕漏好朋友:台北取樣
詹詠幀

石膏、樹脂

2014-16

Dear Cracks: Sampling of Taipei

CHAN, Yung-Jen

plaster, plastic

2014-16

闕漏好朋友:太空人之死

詹詠幀

攝影

2015

Dear Cracks: The Astronaut's Death

CHAN, Yung-Jen

Photography

2015​

更好的地方

詹詠幀

​現地裝置

2016

The Better Place

CHAN, Yung-Jen

Site-specific Installation 

2016

電動旗手
詹詠幀

170*170*65cm

矽膠、金屬、電動裝置、現成物

2016

Electric Flagman

CHAN, Yung-Jen

170*170*65cm

Silicone, Metal, Electronic installation

2016

水循環
詹詠幀

赤燒陶、不鏽鋼、汞浦裝置、水

2016

Water Cycle

CHAN, Yung-Jen

terracotta, Stainless steel, Pump Installation

2016

© 2018 by CHAN YUNG-JEN