Sung Chih Chen Portfolio 2001-2011

目錄 Contents

004 序 Preface 徐洵蔚—攀旅—深層的幸福與意義 Maggie Hsun-Wei Hsu— A Journey : Endeavor to Sublimity

— the Profound Happiness and Meaning

006 自序 Artist Preface 陳松志—請給我一張單程票，謝謝 Sung-Chih Chen— A One-Way Ticket, Thank You.

008 專文 Essays 010 高子衿—根莖之室—初探陳松志作品中的毀壞、氣味與記憶 Tzu-Chin Kao— Rooms of Rhizome

018

— On the Destruction, Smell and Memory in Sung-Chih Chen’s Artworks

何宜娟—內視的身體：記憶中「你在」的房間」— 談陳松志的裝置創作 I-Chuan Ho— Introspective Body: Memories of “ Your Being” in the Room

030 游崴—書寫陳松志的作品（或被他動了手腳的那些房間） Wei Yu— Illustrating Sung-Chih Chen’s Artwork (also known as "Those Rooms Tinkered by Sung-Chih Chen")

040 對談記實 Artists Talk Records 謝鴻均、陳松志—「拚湊的微處」對談記實 Juin Shieh & Sung-Chih Chen— “ The Delicacy of Collage ” Artists Talk Records

059 圖版 Plates 189

創作理念 Statement of the Artist

192

簡歷 Curriculum Vitae

200 評論報導 Reviews 204 版權頁 Colophon

序

攀旅─深層的幸福與意義

薛西弗斯(Sisyphus)面臨著永不止息的選擇，而他選擇了永不止息的推動，這就是人類的命運，不 斷地以行動來完成他自己。─ 卡謬(Albert Camus) 對我而言夢有睡時的也有醒時的，而後者有時更特殊、動人。「夢是唯一的真實」，費里尼 (Federico Fellini)曾這麼說，對嗜夢的我來說這段真實是混合著記憶的美好。這要回溯到十四年前在

朝陽科大二年級的立體造形課上，看到松志第一個立體複媒作品，具巧思的結構令人驚艷，即鼓 勵他創作參加朱銘美術館比賽，萌芽的動能與才情，作品一舉獲獎典藏，自此他踏入藝術創作的 奇域妙境，也延續了多年創作分享砌磋的可貴師生情誼，同時亦開啟了他充滿挑戰的藝術之旅。 而後松志經歷台南藝術大學研究所學院的衝擊、洗禮到進入真實世界的磨鍊考驗，創作曾讓他承 受現實沈重的壓力，但也因而獲得數項國內重要的獎項，國外藝術村的駐村經驗更拓展他的視 野，雖在不斷的試煉中掙扎但他仍努力與堅持下來，憶及自己早年在紐約的奮鬥，亦因為惜才也 就繼續鼓勵與支持，成長的礪鍊傷痕是生命中寶貴的隱形徽章，這彼此共同的藝術體驗是承傳的 考驗與喜悅，欣慰一路走來始終真誠以待。 藝術家達米恩‧赫斯特(Damien Hirst)說：「藝術是有關於生命而無關於其他…除此外無它。」而生 命的意義隨著時空的轉換變得更複雜抽象，作品是創作者對生命行進內省的紀錄，在可見及不可 見的視界與想像中反思。松志身處在科技掛帥的時代，卻心儀於粗劣卑微素材中搜尋再現人文關 懷，於無生命的物體中他試圖注入自我生命的脈搏，在靜謐又變奏的情境場域裡，各種語彙的力 量交織又拆解，自傳性的文本闡述時間在物質生命外重生的脈絡，亦微妙地散發一息特有的「人 性溫度」。以他對材質的敏銳度，巧妙地將日常卑微或破損的素材轉化，運用細膩繁複的表現手 法，建構出殘美詩意的裝置空間，藉此獨特個人風格景觀，鋪陳傾吐著內在的省思探覺，透過藝 術/生活劇場呈現人與生命情境的對話。 藝術家的宿命是自我完成之生命經驗的不斷探索實踐及自省創作，是一種唯親身經歷才能體悟磨 難後的深層幸福與意義。十多年來亦師亦友的難得藝緣，欣見松志藝術創作豐碩有成，在時間的 洪流裡，十年，不算長也不短，此創作成果的集冊展現是藝術家的心血結晶。所有優秀的藝術創 作者，都如薛西弗斯推著巨石，努力攀向山頂，在登頂的剎那，沉鬱的巨石變成璀璨的寶石，散 發出耀眼的光芒，穿達至其精神的永恆。

寫於二O一二年七月 4

Preface

A Journey : Endeavor to Sublimity — the Profound Happiness and Meaning Sisyphus was faced with endless choices, and he chose to push endlessly. This is the fate of humanity that he completes himself with incessant actions. –Albert Camus For me, dreams take place during sleep as well as when one is awake. The later ones are sometimes more touching and remarkable. Federico Fellini once said, “dreams are the only reality.” For a person like me who likes to dream, this reality is mixed with all the wonderful memories. It all goes back to the sophomore class of Three-Dimension Design at Chaoyang University of Technology fourteen years ago. That was when I saw Sung-Chih’s first sculptural work with mixed media, and his intricate structuring amazed me. I then encouraged him to enter a contest held

by Juming Museum. His passion and talent won the award and placed the artwork in the permanent collection.

Since then, he was submerged in the fantastic realm of artistic creation; and our precious friendship has lasted so many years, during which we exchanged experiences and ideas in terms of artistic creation. After the stimulating training at Tainan National University of the Arts, and the impact of trials from our society, his artist career had put him under tremendous pressure but also won him several prestigious domestic awards. The experience of being an artist-in-residence abroad had also expanded his horizon. Although the struggles and trials have never truly stopped, he has always persevered and survived. Remembering my own grappling experience in New York many years ago, and cherishing his talents, I have never been able to stop encouraging him. Wounds and scars received over the years are the valuable invisible badges of honor in life. This shared experience between artists is a test as well as a joy of passing on the torch. I am glad we have always been true to each other since the beginning.

“Art’s about life and it can’t really be about anything else. … There isn’t anything else,” said Damien Hirst. As time goes by, the meaning of life becomes more complex and abstract. Artworks are the embodiments of contemplation on life carried out by the artists, taking place in visible as well as invisible visions and imagination. Sung-Chih grew up in the era of technology but has always liked to represent his humanitarian concerns through paying attention to and searching within coarse and petty materials. He attempts to revitalize the inanimate things with the pulse of his own life. In silent and divergent sites his created, the power of different kinds of languages are interwoven and deconstructed. These autobiographical texts express a rebirth of time happening outside the physical life, and subtly emit “a kind of warmth of humanity.” His sensitivity to the materials leads him to delicately transform the petty or broken materials into poetic installations of incomplete beauty with exquisite and complicated means.

With such unique and personalized scenes, he narrates his exploration of and contemplation on the inner world.

Through the theater of art and life, he manifests dialogues between humanity and life.

The destiny of an artist is to achieve the self through continuously exploring of, reflecting on, and fulfilling the experience of life through artistic creation. It is a kind of profound sense of happiness and meaning realized after hardships that could only be harvested through personal experience. Being a teacher as well as a friend to SungChih for more than a decade, I am truthfully delighted to see that he has accumulated such abundant amount of artworks. All excellent artists are like Sisyphus pushing the boulder up the slope, trying to climb up to the top. At that precise moment, the heavy boulder would become the iridescent crowning jewel that stands for the eternity.

Maggie Hsun-Wei Hsu July, 2012

5

自序

請給我一張單程票，謝謝

身處在每個時代的藝術家，無疑地都得面對每個時代的困境與難題，透過藝術創造的表現，對我 而言猶如記錄著個人生活之心情散記，著實地讓我從這些累積中學會了正視自己的軟弱，在創作 的路徑上驅使著我鍛鍊起自己面對困難的勇氣，也讓我瞭見自己生命經驗中那些蒐集而來的感動 與悲喜。 小些時候，我跟所有人一樣總在成長的過程中不斷地尋找自己未來的樣態，我曾經夢想過成為一 個文學家、音樂家，然而藝術家從來就不是我的選項之一。曾幾何時藝術成為我生命中極其重要 的部份，對我而言這一切的開端，起因於在我的大學生涯中徐洵蔚老師啟發了我在創作上的動能 與興趣，並鼓勵我循序漸進，一路上除了給予我莫大的精神支持外，也多時在生活窘境中雪中送 炭讓我得以順利度過難關。她除了作為我藝術上的啟蒙之師外，十四年來亦師亦友的引伴著我建 立起踏實的創作態度，讓我一路上能自行穩健、自在的行走，這份情誼無非是我藝術經驗中難能 可貴的寶藏。 這些年來，我持續著從個人生活的幽微光景，去探掘週遭裡稍縱即逝的事物所帶給我們的另一層 價值。在文明的生活中，看見人們對於物的敗壞，誘發了我對諸多微弱事物的好奇與觀察。在我 的創作中慣常地並行著「建構」與「毀壞」的二元關係，揭示出平凡的日常現實中，存在著些許 物質與精神之間交互滲透的難解習題。對我而言，我所創造一場場縮時的生活劇場，你我都像是 這劇中的主角，我們在此時、此地、此刻都無法迴避地去感應那真實靜默的對白。 如果說藝術是動詞，那麼物件則是結果。對於創作者而言，創作行為本身即是重點，做為一個藝 術家必須實踐這個行為，並享受這行為的本身。所幸在這藝術實踐的過程中，我努力地留下了這 些美好的記錄。難得有此機會發行這本專書，此書收錄從2001年至今逾十年的時間裡，個人歷年 的重要創作，透過這些不同階段的創作匯集，也再次地與讀者分享個人在藝術上的珍貴體驗，作 為一個創作者這無非是再次審視個人藝術脈絡延展的良好契機，同時也視為個人創作路程中特殊 的紀念。此外，我要特別感謝我的父母及家人，縱使他們對藝術並不怎麼熟悉，卻願意無私地給 予我生活、創作上的支持與贊助。還有眾多在我創作歷程中曾經給我幫助的人，感謝有你們才得 以讓我有所堅持、繼續的創作動力。 這像是一趟沒有回程的旅行，啟程迄今一晃眼卻已是十年的光景。但願我的腦海裡永遠不會忘記 我曾經說過：「給我一張單程票，謝謝！」。

寫於二O一二年七月 6

Artist Preface

A One-Way Ticket, Thank You.

Artists of different eras must face the difficulties and dilemmas of the time. Through artistic creation, I have recorded my moods and emotions in life. I have learned to confront my own weakness through these accumulations. Artistic creation compels me to forge the courage to face predicaments and opens my eyes to the moving and joyful moments I have gathered from these experiences.

When I was younger, I also steadily searched for the possible faces of my own future like everyone else. I dreamed about being a writer or a musician, but being an artist had never been one of my options. However, art has become an extremely vital part of my life. The beginning of everything was due to my college professor, Miss Hsun-Wei Hsu, who ignited my passion and interest in artistic creation, and encouraged me to progress step by step. Over the years, she has given me immense mental support, and has helped me a lot when I faced the hardship of life. In addition to being my mentor, she has also been my friend to help me build up a steadfast attitude towards artistic creation so that I could walk committedly and freely on this path. This friendship is doubtlessly one of the most precious treasures in my artist career.

Throughout the years, I have kept searching for other values that those ephemeral materials could reveal in the minute interstices of my personal life. In the modern lifestyle, the connection between people and the deterioration of things has stirred up my curiosity towards and observation of these delicate things. In my process of creating art, the dichotomy of “construction” and “destruction” has continued as always and revealed the questions regarding the interaction between the subtle materials and the mind in our ordinary, daily life. I have been creating dramas of life one after another, in which you and I both play important roles. We cannot avoid but immerse ourselves in the dialogues of this realistic silence.

If we equate art to a kind of action, the created works are the results. For the artists, the process of artistic creation itself is what matters. An artist must carry out this action and enjoy it. Fortunately enough, I have been able to kept these wonderful records in the process of art making. Publishing this book is a tremendously precious opportunity.

It includes all my important works of the past decade since 2001. Through this complete collection of my works of different stages, I am able to share my personally cherished experiences of art with the readers as well as set up a special monument of my career as an artist. Moreover, I would like to thank my parents and family, who have given me selfless support in life and in art despite the fact that art has always remained a merely acquaintance to them.

My gratitude also goes to those who had provided their aides in my career that have kept me going and persisting along the way.

This is a one-way journey that has no return. Since the beginning, a decade has passed in a blink of an eye.

Hopefully, I would never forget that I once said, “please give me a one-way ticket, thank you!”

Sung-Chih Chen July, 2012

7

根莖之室 ─初探陳松志作品中的毀壞、氣味與記憶

文/高子衿

談論陳松志的作品往往會陷入於一種面臨雙重性的

而使之成為作品主體，皆為帶有典範性的西方雕塑

拉扯當中，例如若以詞藻去試圖捕捉、描述那些處

價值，注入詼諧與顛覆的挑弄。

理廉價、粗鄙媒材的藝術手法與內容，便可能會失 卻與作品相符的樸實之感；又或是作品的意義實已

做為謎底的「時間」卻被強大的張力凹摺壓進謎題

經由創作者主觀的圈圍、決定留下可供明確討論的

本身，因而解謎本身同時也是建構謎題本身，當

輪廓範圍，但卻又同時與一種意義的缺席僵局相為

中，「毀壞」成為線索，而藝術家的敏銳與美感，

並陳。那些經由人為行動後的殘跡，排拒了手工技

便在這些建構破壞的藝術手法上顯現。例如在《矯揉

藝的喧賓奪主，僅具有功能性的簡單直述可能，並

造作》(2003)作品當中，陳松志以洗衣粉摻混水泥之

在藝術家「毀壞」與「建構」的對比交織當中，形

物來塗刷房間四周壁面，與水遇合後產生不同速度

構出在日常經驗中顯易忽略的詩意片段。

的凝結與溶解之反應，致使這個不牢靠的混合材質 在幾天後，便如壁癌一般，逐漸斑駁脫落，並散落

具有時間的毀壞記憶

於地面舖設的紅色地毯之上；又或是使用 1,000 多片 木碎片，在7公尺長、3.5公尺寬的牆面上所拼組出木

應台新銀行文化藝術基金會邀請而製作的「親愛的

片風景的《微弱的美感》(2012)，這些顏色深淺與形

瑞音蔻」 (2010) 一展，不但開啟了不同於以往的創

狀不一的木碎片來自拆除舊建築後的廢棄物質，且

作取徑，也是陳松志一貫對於時間／痕跡的作品系

因長期使用以致纖維早已脆化，以徒手之力便能輕

列中，較為清晰地揭露那一層物質性的表面膜之

易撕下表皮，並於表層被撕開之餘，讓我們得以目

作。人們對於光滑平坦表面的追求，是出自於無法

睹原先隱現在那時間模層表面之下的物體，在此，

留駐青春年華的抗衡，如同藝術家所說：「皺褶是

內外因而進行了一個翻轉的動作。

歲月顯現於我們身體最深切的記憶」，隨著年齡漸 長，皮膚喪失彈性及緊實度，進而變得粗糙且凹凸

或是加速時間導致外表物質崩落的過程，或是將來

不平，皺紋便是這些身體狀況轉變的忠實紀錄，而

自不同時空所所拆卸下來的牆面，以勞力體現的方

「瑞音蔻」取自摺痕紋理(wrinkle)的擬人化音譯，軟

式，重新組合在一片新構牆面當中，皆讓我們得以

性pvc塑料的使用，讓台座上古典的雕塑作品與包覆

窺見那一幕幕關於時間膜層的存在，以及原先須耗

台座的外模得以連成一氣，原先各具意義與功能之

費曠時才得以見到自然法則消耗後的殘狀。對於毀

兩者在此弭除了界線，彷彿抽取、剝除自台座外模

壞、變質的偏愛，陳松志總是在平淡無奇的日常生

的皺褶擠壓，以及放大雕塑中具裝飾性的紋理，進

活中，尋求那些背離審美慣性、散落在我們日常經

10

驗裡的「殘存」美感。

惠，咬下時濃膩香料幾乎讓人嚥出滿腔汁液的柔軟 夾層，成為包括藝術家自身在內的童年共同回憶。

具有氣味的情感記憶 從這件作品也可觀察到至今仍為陳松志創作關懷的 屬於人類五大感官之一的嗅覺，卻也是最為奇特的

幾個核心，一如進入這個所謂作品的空間中，視覺

一種，負責嗅聞的鼻子雖然隨時處於一種對外開放

上幾乎空無一物，貧瘠的只剩下維持一個（空）房

的狀態，但由於談論氣味時難以達到可被度量化的

間所必須擁有的最低限度，而少數可見的口香糖物

描述和客觀分享，因此充滿模糊性、個人性的色

質卻早已不再保有原有面貌，它變形、失去色彩，

彩，然而，如同荷蘭著名心理學家瓦潤(Piet Vroon)曾

被人踐踏到甚至失去黏性，在參觀者的觀賞和介入

提到嗅覺對於情緒記憶的影響，「嗅覺可充當起動

過程中，成為相反、面目全非的物質。一方面，已

機，讓人記起遺忘的經驗和過去的事」，也就是這

經極簡回返至媒材的物質屬性，但藝術家卻仍嫌不

些時常無法被指稱出名稱的氣味，卻可能因為與記

夠似的持續以消減、清除之邏輯，致力於追求能夠

憶、想像力的特殊連結，故而觸發不同的回憶和各

「增添到最少」的極限；另一方面，在陳松志作品

種情緒的聯想。在藝術領域中，嗅覺也一直未若視

中所出現的物質，每每都能以微弱軀體釋放出強大

覺、觸覺或是聽覺那樣受到重視，但陳松志歷來的

眩目的力量，就像是在《奢侈的墮落》的嗅覺一

創作裡，卻曾經出現過幾件值得一提的作品，無論

般，它微小到甚至無法捉摸、指稱它的所在，但在

是加入嗅覺因素所引發的特殊記憶，或是嗅覺即為

空間中卻無一能遺漏掉它的氣味，其強烈的穿透

作品內容主體等，皆令人印象深刻，例如《奢侈的

性，以及對於記憶與情感的連結啟動，就像是作家

墮落》(2003)是參與當年「高雄國際貨櫃藝術節」的

朱天心曾在〈匈牙利之水〉小說故事中所描述的

作品，以貨櫃所圍塑出來的長方形房間中，室內地

「我」與「朋友A」角色，兩個男人因為香茅油的味

上平鋪了紫色的地毯，並隨意散置口香糖，邀請參

道而將收納在某個許久未開的「抽屜」內、佈滿蛛

觀者穿著有庶民風味的藍白拖鞋，任意踩踏而過，

網的記憶重新打開，故而鮮明的畫面波濤洶湧的傾

黏滯在腳底的已不成形團塊，除了讓人有想要剔除

浪而出，爭先紛呈地跳動著，彷彿從來未曾忘卻。

的慾望之外，更引人留意的，是那些口香糖散發出 來充斥在空間中的香甜味道，鮮明而極易辨識，那

另一件作品則是《無題—房間1》 (2008) ，參觀時，

曾是幾個世代的青春共同記憶，在沒有像現在那麼

我們先被四大片幾乎頂到天花板的玻璃隔絕在外，

多舶來品可供選擇時，這個國產品牌便因為便宜實

只能從層層相疊的白色油漆空隙中，窺見內部擺放

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在地上的棉被、油漆罐、梯子、收音機等物件，還

力，可以將遠在天邊的景象拉近至眼前，看到難以

有瀰漫在空間中忽隱忽現的尿液氣味。在被認為具

想像之外的物象，然而，若以視覺觀察周圍事物，

有殿堂神聖感的美術館中，聞到這樣私密而無序的

觀看主體與被觀看之物體之間，必然因為兩者之間

氣息，無論是對於身體控制所出現的反常，或是在

的距離，故而製造出一種深度感，但嗅覺卻是沒有

都市空間的治安死角時常可觸及的經驗，由於污穢

距離感或空間感的，深陷其中，氣味與身體的嗅覺

所形成的失序感，都讓我們從中意識到這種對於破

器官相互刺激並引起無意識的記憶。氣味在空間中

壞規則、系統而感到焦慮的反應，其背後所存在社

徘徊不去，也在記憶裡流連忘返。

會約束個人行為的規範力量。而這些都是我們在真 身體─作品關係的重新置換

實時空中所可能經歷的，以及與記憶交雜的投射再 現，例如藝術家便是在2007年於巴黎駐村時，在地鐵 車站聞到尿臊味，混雜著異地生活、創作的生活經

陳松志的作品有著低限主義的外觀與面向材質本身

歷，因而給予他作品的靈感來源。

的還原性質地，然而，卻是以取徑變形的方式顯現 在作品當中，亦即是，低限的面貌僅為其創作實踐

其次，作品中的棉被實為藝術家幼時曾經確實使用

當中，諸多複合、融混手法的其一選項，故而得

過之物，因而彷彿重塑了一個幼時床邊的景象，與

以具備原低限主義當中，並不存有的時間性軌跡。

物件得以保留至今的可能依戀感受；以及，佈展期

此外，在那些時常「空無一物」的房間中，被藝術

間所遺留下來的油漆桶等物件，也被當做作品的內

家指名為作品的是關於毀棄、破壞與時間流逝的蒐

容之一，則為作品增添了現實風味。藝術家在作品

集，就像在詩人夏宇的〈與動物密談（二）〉詩作

當中埋入許多輕微甚至是不可眼見而確信的線索，

中，唯一證明時間存在的，是不斷消耗的肥皂、每

而其形式感則與個人的種種日常性體驗相為聯繫，

天滌洗從未洗淨過的臉，以及黏膩挨在浴室同一木

這些不經意的殘片，像是個引子，引領出一段段切

條上的一家九口毛巾，逐漸在不經意之間的腐爛變

身卻又幽微的作品身世。

黑。每一次的觀看、甚至是每一次的呼吸，個人存 在於內心最深層的過往記憶，都在陳松志對於習以

特別是，陳松志藉由嗅覺元素的加入，使作品往往

為常之觀看關係的竄改之下，以身體性參與的感知

暗藏了對於以視覺經驗為基礎的一個推翻與省思。

模式所召喚而出。

在一般的傳播機制當中，隱含著大量「看」的範 式，今日借助更高倍能的器材，延伸了人的視覺能

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13

Rooms of Rhizome — On the Destruction, Smell and Memory in Sung-Chih Chen’s Artworks Text by Tzu-Chin Kao

When talking about Sung-Chih Chen’s works, a dilemma usually presents itself. If one tries to capture or describe with words the artistic method and content that he expresses through the inexpensive, coarse media, one might fail to arrest the simple essence of his works. On the other hand, if one says the meaning of and the discussion about the works have been subjectively determined by the artist at first, one could not help but noticing the absence of meaning in the works at the same time. The artificial traces eliminate the iridescence of craftsmanship and retain a kind of simple statement of functionality.

Poetic fragments of the daily life are delineated in the interweaving process of the “destruction” and “construction” by the artist.

decorative lines of sculptures were transformed as the subject of these works. The method infused a kind of fun and subversive tease into the paradigmatic values of the Western art of sculpture. “ Time” was the answer to the puzzle, but it was transformed into the puzzle itself by this powerful force here and represented as the wrinkles. The process of solving the puzzle became simultaneously the construction of the puzzle itself. At the meantime, the “destruction” served as a piece of clue that enabled the revelation of the artistic method of the artist when he constructed the deconstructed. For instance, in his “Artificiality” (2003), Sung-Chih used a mixture of washing powder and cement to plaster the walls of a room.

After the mixture was met with water, the different rate of solidification and solution caused instability of the mixed paste and began to come off after a few days. Like efflorescence, films and pieces fell on the red carpet on the floor. In another work, titled “Delicate Sensibilities” (2012), a wooden landscape was presented with more than 1,000 pieces of wooden chops and shreds on a wall that was 7 meters long and 3.5 meters wide. These wooden pieces that varied in color and shape came from the debris of an old, torn-down building. The fibrous tissues were already very flimsy due to the long-term use, so the surface could be peeled off easily by hands. The removal of the surface allowed us to see the previously hidden interior covered up by the membrane of time; and therefore, the inside and the outside were reversed.

Time-embedded memory of destruction Invited by the Taishin Bank Foundation for Arts and Culture, “My Dear Wrinkle” (2010) not only differed from his previous method, it was also a clearer revelation of the material membrane on Sung-Chih’s works in his representation of time or the traces of time. People’s pursuit of a smooth surface originates from the fact that youth does not linger and rest for anyone. As Sung-Chih has put it, “wrinkles are the most profound embodiment of time on our bodies.” As we grow older, our skin loses its elasticity and firmness, and becomes rougher with more blemishes. Wrinkles turn out to be the faithful records of these bodily changes. The words “Rui Yin Kuo” in the title are direct phonic translations of the word wrinkle. The use of soft PVC unified the classical sculptures and the enshrouding exterior that covered the bases, blurring the boundary that once separated meaning and function.

The crowding wrinkles that seemed to come from the extraction or peeling of the exterior model as well as the

We had a glimpse of the existence of time that covered everything like a membrane; and we also had a chance to see the ruinous state of materials that usually would take a long time to reveal itself, whether it was in the process

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of speeding up the collapsing of material surface, or in the new wall composed of old materials from different time and space manually. With an inclination towards the destructed and degraded, in the common and ordinary daily life, Sung-chih always looks for the “surviving” beauty that deviates from the norm of beauty and exists in our daily experiences.

and-white slippers and stepped on the chewing gum at will. The sticky, trodden gum not only became an abjectlike mass that people wanted to get rid of, what captured the visitor’s attention was the poignantly sweet smell it gave out that filled the space. This distinctive and highly recognizable smell was the shared memory between several generations. When they were young, there were not so many foreign brands of chewing gum to choose from. This domestic brand was inexpensive and affordable.

Its poignant scent came from the filling that immediately filled the mouth with saliva when it was chewed. The artist himself shared this childhood memory as well.

Olfactory memory of affections As one of human’s five major senses, the olfactory sense is also the most unique one. Although the nose or the sense is always open to the outside world, it is still very challenging to quantify and express in words when smells are discussed; hence, its evasiveness and subjectiveness. However, like Piet Vroon, a well-known Dutch psychologist, once said about the effect of olfactory sense on emotional memories: “the olfactory sense could become a motive to remind people of the forgotten experience and past events.” It is precisely because that these unidentifiable smells are possibly connected with our remembrance or imagination that they are able to trigger different memories and all kinds of emotions. In the fields of art, the olfactory sense is rather downplayed comparing to the attention the visual or tactile sense has received. Nevertheless, in Sung-Chih’s series of works, there are a few works that are worth our attention because the element of the olfactory sense in the works is the key to unique memories; or the olfactory sense is precisely the essence of the work. One of these impressive examples was “Luxurious Degradation” (2003) that exhibited in the Kaohsiung International Container Arts Festival. In a rectangular space formed by containers, the room was floored with purple carpet. Chewing gum was randomly scattered in the room. Visitors had to wear cheap, blue-

There are some topics that Sung-Chih has consistently focused on, and they were visible in this work as well.

As one stepped into this space that was the work itself, there was virtually nothing inside. It was kept in its most minimalistic way as a(n) (empty) room. The chewing gum could no longer remain its original form. They were deformed, pale, tramped on until it was stiff. During the visitor’s appreciation of and intrusion into the space, the gum was changed into something beyond recognition.

On the one hand, even though the work had returned to the material base of the media, the artist still continued to lessen or eliminate it in his pursuit of “maximizing the minimum.” On the other hand, the materials appeared in Sung-Chih’s works could always emit dazzling, forceful power with their insignificant existence. Just like the smell in “Luxurious Degradation,” it was so subtle that it was impossible to capture or pinpoint its existence, but somehow the smell filled every corner of the space.

It penetrated everything and elicited the connection between memory and emotion. As the writer, Tien-Hsin Chu, has once stated in the story of “The Hungary Water,” the two characters, “I” and “Friend A,” revisited an old

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memory that they had buried in a “drawer” covered with cobwebs due to the smell of the citronella oil. The vivid memory rushed up in their minds like surging waves, ebbing and flowing as if they had never forgotten it.

the four pieces of glass. They made the work a little bit more realistic. The artist embedded many invisible but assertive clues in his work, and the forms of these clues were associated with his personal daily experiences. These insignificant fragments served like prologues that led to the intimate but lurking subtext of the work.

Another example would be “Untitled—Room 1” (2008).

The visitors would first find themselves shut out by four pieces of gigantic glass that formed a space and extended almost to the ceiling from the ground. They could only peep into the space through the interstices between layers of white paint strokes. Inside the space, a quilt, cans of paint, a ladder and a radio were laid on the ground whereas a stench of urine permeated the space. In a respectable, almost sacred, space such as a museum, the private, disruptive appearance of the smell, whether it was due to the lost of the control over one’s body, or the sense of disorder caused by the filth that was common in the dark corners of an urban space, all made us realize the breaking of a certain system and rules. It also reminded the visitors of the anxiety this realization induced as well as the normative power behind this anxiety, which was projected on individual by the social norm. These were what people might personally experience in real life as well as representations that teased our memories. When Sung-Chih was an artist-in-residence in Paris in 2007, he encountered this stench of urine at a metro station. This incident joined with the experience of living and working in a foreign city inspired him to create this work.

The more unique thing is that by adding the element of the olfactory sense in his works, Sung-Chih transforms his works into a kind of subversion of and contemplation on the other works that usually center on visual experience.

I n common communication mechanisms, visual perception is usually embedded and almost taken for granted. With the help of advanced technology nowadays, visual perception is even more extended. Things that are far away could be brought in front of the viewers, and unimaginable views could be revealed. However, if one only relies on the sight, the distance between the seeing subject and the seen object would remain fixed as the distance between the two, creating a sense of depth inbetween. However, the olfactory sense erases the sense of distance or space, encompassing the subject. The smell and the olfactory organ of the body interact with and stimulate each other, evoking memories from the unconscious. The smell lingers in the space as well as in memory.

Reversion of the body-work relation

Furthermore, the quilt used in this work was an item that had been actually possessed by the artist since he was little. This fact turned the work into a representation of his childhood and his attachment to the item that he has kept until now. In addition, the cans of the paint placed inside the space were actually the ones used to paint

Sung-Chih’s works always carry the elements of looking minimalistic and employing the fundamental essence of the material. Nonetheless, these elements are usually presented in a unique, unexpected way. In other words, the minimalistic look is simply one of the combined, integrating methods in creating his works. Therefore,

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there are the traces of time in his works that do not exist in minimalism. Moreover, in those seemingly “empty” rooms, what the artist prided as his artworks are the deserted, destructed and time-stricken he has gathered. Like what the poet, Shia-Yu, said in her poem, “Private Talks With the Animals II,” the only proof of the existence of time is the diminishing soap that washes the face that is never really cleaned, and the towel used by the nine members in the family that hangs stickily on the bathroom wooden rack, and gradually becomes dirty and rotten. Each glance, or even each breath, exists in the deepest memory in the mind, and each of them is conjured up through the senses of the body that participates in viewing of the works when Sung-Chih transforms the habitual way of viewing artworks.

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「內視的身體：記憶中『你在』的房間」 ─談陳松志的裝置創作

文/何宜娟

「裝置藝術」場域特質與作品之間的密切關係，成

為一種張力，是他創作中的獨特性，也成為討論場

為的獨特氛圍，因此具有「特定場域藝術」 (Site -

域特質很好的參考對象之一。

Specific Art) 這樣的稱呼，「場域」則包含實體和虛

體的共存，即所謂外在的硬體框架加上涵蓋光影、

角落的氣息

氣味等，這些虛與實共構所營造出來的就是「場

在陳松志的創作裡，每件作品都可形塑出一個隱形

域」。在場域性成為作品特徵的同時，裝置藝術的

的場域氛圍，場域之中總埋藏著一股強烈的空間感

觀賞關係，觀者與作品接觸即成為一種「進入」的

與時間流，即便用色簡單、擺設簡潔，看起來有點

狀態，因此，被環繞且包覆就成為一種特殊性，在

收拾的一絲不苟的乾淨，卻存在著一種弔詭的意

觀者「進入」後「融入且消弭的距離」，就跳脫了

境，然而這些都跟他成長的背景以及深活感受息息

「物與我」之間的關係，產生的「距離感、空間經

相關，深深影響他創作的原型。

驗、裝置物的質量，以及觀看遊走的律動感」等， 加上所觸及的任何視覺、聽覺、甚至是嗅覺，就形

用「角落」一詞用來形容陳松志作品中的某些樣

成另一種感知關係，成為另一種觀看的可能。

態，異常的合適。作品中常有散落的木條、隔版， 或斜或躺的挨著地面、牆邊，牆上的油漆還未完

當包覆感反轉了觀看的形式，原本對應於藝術作品

成，地上有膠帶、氣泡布，這樣看似自然的「散置

由外觀轉向內視，在外(Outside)與內(Inside)之間的反

和堆放」，事實上，這樣的「展示」卻刻意悄然的

轉，就成為另一種「觀看的轉移」。因此，裝置創

成為一種「風景」。

作消除了主體 (Subject) 與客體 (Object) 原本是分屬於 「觀者」及「作品」之間的關係，已經模糊掉了原

在這樣的微處角落是他最熟悉的成長環境。「我

本既有的對立，模糊了「內」與「外」的分際，觀

總是趁著大人不在的時候，以雙手碰觸這怪型的

者是處於一種「被裝置涵蓋的狀態」。

物件，將這些金屬、塑膠冰冷的材料像積木一樣堆 疊、組合成一個看似熟悉活潑的形貌，在這充滿不

在裝置藝術場域的特質中，陳松志的裝置創作裡更

確定的尋找、組合過程中，我總是能驚奇地發現其

能看出這類特性，從他2000年發展至今所創作塑造的

中的樂趣，然而從我有記憶以來我總是不敢讓這些

場所空間裡，習慣將原本的空間樣貌置入一種新的

髒汙沾染到我的身上，因為母親的潔癖我可能會換

關係，像是一種拼貼式的縫合，加上善用日常生活

來一陣責罵1」。家裡經營汽車修護廠的陳松志，印

中的物件表達敘事的氛圍，難以言喻的陌生之感成

象中的空間總是佈滿各式雜物及飄散著油漬味，那

18

些零碎的物件對他而言，像是一個有趣的寶庫，然

眼的成為強烈對比，如同死亡的氣息卻依然滿室飄

而，在有潔癖的母親過度保護獨子的限制之下，他

散出蘋果的芬芳，更顯出一種深層的壓迫與省思。

必須「表現出」遠離，但卻又對那樣的空間嚮往。 在成長中壓抑的情緒顯現在他的創作裡，除了表現 「還記得，小時候母親總是以店內髒亂，人口出入

在物件中，更突顯在「氣味」上，並連繫著「家的

2

複雜為由，要我獨自乖乖待在樓上玩耍。 」。母親

味道」。在他二樓的房間裡緊鄰做為洗衣及曬衣的

總會限制著他許多不可做的事情，為了不要碰觸髒

陽台，記憶中的母親常常辛勤的洗滌一家六口眾

汙，他總是被交代不准下樓，母親也喜歡為他穿上

多的衣服並晾曬著，潮濕的水氣瀰漫在空氣中，混

白色的衣服，但如果他染髒了，也少不了一頓罵，

合著洗衣粉的味道，這份氣息總隨著風飄散進他的

在這樣傳統的家庭裡，母親扮演著奉獻的角色，照

房間，伴隨著香味彷彿一切都很「美好」。然而，

顧三個女兒之外，把重心都放在老公與陳松志這唯

這化學所製造出來的香氣，正是模擬所謂的「自

一的兒子上，這樣的保護，的確必然成為一種無形

然」。因此，當下我們以為這般幸福、美好的狀

的壓力。

態，是否原來盡是沉浸在一種「假象」裡？

在這樣的內在壓力之下，陳松志的某些作品裡，會

這樣的反諷在他的創作裡，盡可看見。《晴天》

看到一些女性的意象創作，不論是女性內在自身

(2006)他直接運用洗衣的情境創作，如同在記憶中掛

的，或是對外的壓迫等等，表露無遺。早期作品中

曬在房間窗外的衣服，沾濕的衣裳曝曬在陽光的空

他使用蘋果或椅子來譬喻他作品中的女性，椅子象

氣中，然而仔細觀看會發現這是一雙雙密縫合在一

徵女性被坐、壓以及任意擺置，甚至被空中的細線

起的袖子，彼此間因垂重而拉扯，顯現一種張力綿

懸吊著支撐已經無法站立的椅腳，不自由的拘束更

延卻無法分開的關係，因為沉重而緊繃，卻又無法

呈現一種敗損並被受支配的控制之感。蘋果運用在

分離。

西方聖經脈絡裡，它象徵一種危險的禁果與不潔， 而這樣的原罪卻歸罪於女性，作品裡的蘋果以煎、

在《秀香》2000、《搜尋》(2001)、《矯揉造作》

煮、炸的方式，讓它們焦黑碳化，自比女性在社會

(2003)，則是除了洗衣粉之外另加上水泥製成塗料，

或生活中，所處的那種焦慮或是被迫的狀態，有時

他將它塗抹在腳踏車、玩具，甚至是電視機上，有

候他會把枯槁蘋果放在「潔淨的」反光地面上，眾多

些則塗抹在房間的牆壁及地板上。在這些創作裡水

的蘋果的黑與潔白之間，具有如儀式性的色彩，刺

泥象徵著父親的角色，洗衣粉代替母親，父母親的

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結合這雙雙築起的高牆，保護著家庭與孩子們，這

角的狀態，幾乎每件作品都能變成有如「四面環繞

灰白的顏色如同母親所要求的白，空氣中洗衣粉的

的的微型空間」。而這種微空間狀態，通常充滿著

香味讓一切看起來似曾相似的美好，就如同當年的

一種人性溫度，但卻是冷調的。在《無題-房間1》

回憶。然而，在溫濕度不同的影響下，這些塗料會

(2008)這件創作，密閉的空間裡踏入時隨即會有陣肅

脫離表面而相繼剝落，落下的碎屑塵埃呈現一種殘

黑的光影遮蔽你入內的視線，站定後會發現這是個

缺的剩像，象徵一種瓦解的輓歌，但那些脫離後顯

四方的空間，且中間還存放著一個玻璃屋，玻璃內

現出來的玩具原色以及原始自然的牆面，才明瞭這

垂釣的燈泡透過圓白塗抹的縫隙中透射出亮光，於

一刻才真正卸除了偽裝的禁錮，原來真實的自我是

外牆的白色壁面上形成了殘缺的黑影，馬達感應不

「藏」在斑駁之後的重生。

斷晃動著，使黑影擺盪與同色的地毯連成一氣，有 種不穩定的感受。

在這樣的「美好與毀落」之間，記憶中家裡的一角 呈現一種多重的且模糊好、壞分野的空間關係，敗

當你貼進玻璃屋從縫隙「窺看」裡面的情景，會發

壞的失落也許才是真正帶著真實的美感，孤寂成為

現地面散落著各種物件，地板上鋪著與兒時記憶裡

貫穿它作品場域的主要角色，回溯到童年經驗中由

相似的卡通被單，其它的物品有裝潢的剩料、紙

高處窺看的舉動，刻意保護卻充滿寂寥的身影，空

板、瓦楞板等，以及一些切割過的板材，用過的大

間中隱藏著身體感的縮影，成為具有人性的房間。

鐵桶、水瓢、抹布，另外加上一座小型木梯及紅色 的收音機，裡面不斷播放著夾雜賣藥的地下廣播電

「你在」的房間

台頻道。除了這些物件的線索之外，尿騷味斥鼻而

在陳松志小時候的記憶裡，最常見的情景就是得自

來，看著濕潤的被單容易跟尿床的想像結合，更突

己去面對一個巨大的房間，而這個房間總是只有自

顯出記憶中曾經有的經驗及味道，當這股賤斥的氣

己，「…我多數的童年記憶總是獨自面對諾大的房

息，配合周邊物品整齊的一絲不苟的擺放狀態，如

間，一個人看電視、一個人跟自己說話、一個人等

同「潔癖」卻更顯突兀及荒謬，而這樣的氣味從玻

待著另一個踏入空間的腳步聲… 」也許在獨處的

璃屋中強烈的飄散讓你無法真正的靠近，隱約拒絕

這個時候，寂靜中的「聲響」反而會成為唯一的寄

你繼續窺探玻璃屋中真實的自己與秘密。

3

望，「孤獨感」就成為最大的感受。 聲響與陳松志之間是一種期待的共鳴，氣味則是他 「房間」充斥在他的創作裡，總是保持著某種四

記憶裡的濃愁，空間與他之間的關係更是一種習慣

20

的獨處。這些均構成他對空間的敏感，以及微散出

生機，但由撲襲而來的「沼氣」才發現這竟是一株

的悠寂場域，使空間與他之間有難以劃分的關係，

株的「豆苗」。豆苗是我們日常生活中常見的家常

如同身體感的「你在」的房間。「從我過去的作品

料理，它易於生長且便宜營養，隱意著家庭與做

中我們往往看到的是一個偌大空盪的空間(space)，然

菜的母親，豆苗僅需水分及光線及可成長，空間中

而我通常藉由各式的物質重複呈現於空間的表面，

滿室的豆芽向著光線長大，不斷延伸卻因過重而倒

透過物質進入空間使其生冷的建築體中帶出一絲的

下，最後相繼在水裡死亡。原本植物代表的清新，

溫度與柔軟；在我的空間裝置作品中我總是試著將

卻淪為自生自滅的死亡，這「霉腐」的氣息，本該

陌生的展演空間轉換成一個公領域與私領域交雜的

相生的水，成為盡頭的終極意象，空氣中因腐敗凝

混沌界面，然而這模糊的界線中顯現的往往是一個

結厚重的沼氣，彷彿一切都就此沉澱為寂靜，卻也

4

被人遺棄、忽略的孤寂氛圍。 」當空間隱射出一個

更拒斥的使人退卻。

「私人的場域」，成為一個窺探「房間」的線索， 然而，豆芽原有的翠綠到最後化成為黑腐的爛泥，

身體的想像成為一種記憶的場所。

色澤與線條的曲線錯置，似瑰麗卻隱含著一條條延 同樣的手法在他早期的創作《外面》(2004)也同樣出

伸撲繼的影像，如同生到死的構成，畫面的美麗卻

現過，而當時用活生的植物與廢置的空間，更顯反

帶有淒凌，這些如同曾為人使用的曾經的所在，家

差。這件作品一如他以往處裡房間的方式，由隔板

與之並合的想像，更顯現一種荒蕪的無力。

組成一個小型的場域，隔板不完整的表面及破口處 還用許多氣泡布、黑色塑膠袋、報紙等拼接而成，

生活劇場：怪誕的家屋

地面上只有條小路前進，四周散落著如水盆、水

我們習慣對於「家」的想像，是一種溫暖的、和

桶、魚缸，或者一些木板、椅凳等，這些物件都有

諧的，縱然時間使空間或物件陳舊，但那並不會

使用過拆毀或折損的痕跡，有些還佈滿了塗料的乾

讓人厭卻，反而有種溫度。然而，陳松志所創造的

漬，在如劇場性光源的指引下，好似有什麼曾經存

「家屋」空間，卻是一種「冷調」的「記熟悉又

在卻已悄然毀落，這些散落一地的剩材似隨意卻又

陌生感」，有著難以言喻的距離，成為一種怪誕

刻意的被放置著，慌亂的像倉促離去卸棄後卻無暇

(uncanny)。

收拾的殘局，有一股凌亂的毀落。 佛洛伊德(Sigmund Freud)曾提出uncanny這個名詞， 穿插於毀損間的雜草顯出綠意，看起來像是唯一的

中文可譯為「怪誕」，字面上的意涵是懼怕或恐懼

21

的感覺。而uncanny在辭源上更貼近於「unhomely非

的手法，配置埋藏著開啟記憶的鑰匙與線索，揀選

普通的」，也就是看起來平凡或熟悉的卻帶有怪異

熟悉的材料卻呈現弔詭的離異，呈現一種「失意

的感覺，這通常也是隱藏在其中的，像是危機因而

的」(frustrated)空間。人性溫度的冷調，關注於自我

恐懼。uncanny也被指是精神狀況中，錯亂者的異常

的這份疏離感流竄於場域之中，試圖要引起你與自

想像，而在每個人的心中都深藏一份這樣的想像，

己回憶的共鳴。是否，我的房間也曾經是你的或他

源自於我們小時候的幻想(childhood fantasy)。

的，一種投射你我的隱喻空間，「你在」的房間， 裡面的主角也許曾經是我或者是你甚至是他者，當

陳松志所鋪陳的那些空間，就算是怪誕 (uncanny) ，

氣息的拒斥某種程度上又帶著想被關注的渴望，人

卻也是他對於「家」的記憶，如同佛洛伊德提到的

性溫度的回溫，也許才會真正帶來，想要的「救

「童年印記」。陳松志曾提及「童年記憶中有許多

贖」。

身影，許多情節，熟悉卻又遙遠，年幼時雖無知， 這些曾經偶發的人、事、物，卻也在這些生命行旅 中，後來都成為我記憶底層經常浮現的印象 5。」汽 車修護廠藍領階級的家庭，不敢碰觸的油漬零件， 母親的壓力，空蕩的房間，因而，在他手上創作的 空間化身成家屋的想像，看起來有抽離後一絲不苟 的乾淨，卻又有呢喃低吟的苦愁。 陳松志在他的空間中往往寄存著另一種空間曾經存

1.

在過的臆測，當我們以為敗壞的是一種低賤時，陳

台南：國立台南藝術大學 造形藝術研究所。頁8。

松志用一種餘處的依存價值，讓「廢棄」成為一種

2.

參閱：陳松志(2004)。《酸臭之屋─陳松志創作自述》。 參閱：陳松志(2004)。《酸臭之屋─陳松志創作自述》。

台南：國立台南藝術大學 造形藝術研究所。頁8。

「壞掉的」品味，那何嘗不是另一種姿態顛覆著正面

3.

與負面的價值，讓這片殘存的美好光景，雖用以毀

參閱：陳松志(2004)。《酸臭之屋─陳松志創作自述》。

台南：國立台南藝術大學 造形藝術研究所。頁7。

落的姿態卻刻意建構成為一種剩餘物的醜感美學。

4.

參閱：陳松志(2004)。《酸臭之屋─陳松志創作自述》。

台南：國立台南藝術大學 造形藝術研究所。頁15。

觀者接近作品進入場域後的內視，在包覆中窺探內

5.

在的身體，陳松志用低調卻有強烈的故事性般劇場

參閱：陳松志(2004)。《酸臭之屋─陳松志創作自述》。

台南：國立台南藝術大學 造形藝術研究所。頁7。

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23

Introspective Body: Memories of "Your Being" in the Room

Text by I-Chuan Ho

The term “site-specific art” originates from the close relationship between the characteristic of “installation art” and the artwork, both of which co-create a particular ambiance. The term “site” refers to the symbiosis of the physical and virtual existence of the artwork, meaning its physical, actual frame of work with the attached light, shade and smell, etc. All of these come together to establish the so-called “site.” When the site-specificity becomes the representing characteristic of the artwork, the relationship between the artwork and the viewer, or the viewer’s contact with the artwork, can be seen as a state of integration. Therefore, the sense of being surrounded and enfolded establishes the site-specificity— the distance between the viewer and the artwork is eliminated when the viewer enters into and merges with the artwork, and thus, escapes the rigid relationship between all things and one’s being. An alternative way of viewing becomes available when “the sense of distance, the spatial experience, the physicality of the installation, and the rhythm of wondering around the artwork” form a specific sensory relationship together with the visual, audio, or even olfactory experience provided by the artwork.

in site-specific installation art. The site of the artworks he has created since 2000 are all related to some familiar spaces placed within a new type of relationship. It is a type of collage-esque juxtaposition. He also excels in employing objects common in daily life to express his ideas, and to create a dramatic tension given by the unspoken unfamiliarity. This is a unique feature of his art as well as a good example for the discussion about characteristic of sites.

In the corner Sung-Chih’s every artwork delineates an invisible site of ambiance, in which there is always a strong sense of space and time. Even when the colors and setting are simple and minimalistic, or somehow immaculate, one can always find an intriguing frame of mind that is closely related to his childhood background and what he feels in life, both of which have affected the conceptions of his artworks.

To use the word, “corner,” to describe some of SungChih’s works is exceptionally appropriate. In these works, one can see wooden stripes and planks lying around on the floor or against the walls; the paint on the walls is left unfinished; and bits and pieces of tapes and bubble wraps are found on the floor. This seemingly spontaneous “scattering and piling up” is, in fact, a carefully designed “scene.”

This encompassing sense inverts the way of looking at art, turning it from viewing outwardly to introspectively.

This reversion of the outside and the inside is a shift of perspective. Hence, the installation artwork erases the boundary between the subject and the object, or the viewer and the artwork, blurring the fixed binary opposition as well as the border separating the inside and the outside. The viewer enters a state of being encompassed by the installation.

Insignificant corners constituted the familiar environment that Sung-Chih grew up in. “I would touch those bizarre mechanical parts whenever the grown-ups were not around, and pile up the metallic or plastic objects like puzzles, putting them into lively, familiar shapes. During these uncertain searches and combinations, I would

Sung-Chih Chen’s installations are especially characteristic

24

always surprise myself with the fun I’d gotten. However, since I could remember, I always had to avoid getting any stains on my body or clothes because my scrupulous mother would scold me if I got any smudges on me.1” In the family car repair shop, there were always all kinds of mechanical parts lying around, and a greasy smell filled the air. Those tiny objects formed a treasure vault for the little boy. Nevertheless, the discipline of an overprotective mother made it necessary that he should pretend to be keeping distance from such a space that he actually longed for.

to the female sex alone. The apples in this work were sautéed, boiled, fried, and appeared to be carbonized.

They were like women in their daily life in this society, living in an anxious or stressed condition. Sung-Chih also put these blackened, withered apples on meticulously clean floor. The strong contrast brought out by the black color of the apples and the extreme cleanness of the white floor expressed an almost ritualistic atmosphere, as if it was a room filled with the breath of death but mixed with the scent of apples. It demonstrated an even stronger oppression and a more profound contemplation.

“I remember my mother would always say that the shop was dirty and that there were too many strangers, and asked me to stay and play upstairs alone. 2” His mother had many restrictive rules for him. He was told not to come downstairs so that he could keep his hands off the grease. He was dressed in white. If he got himself dirty, he would be told off. In such a traditional family, the mother has always played a devoting role to look after her three daughters, husband, and the only son. Nevertheless, this level of protection was definitely a kind of pressure.

The suppressed emotions accumulated since his childhood surface in his artworks. They are expressed through objects as well as through “smells” that are connected to the “smell of home.” His childhood room was next to a balcony, which was used for laundering and hanging the laundry. He remembered that his mother would diligently wash and hang the clothes of the six family members. The moisture permeated the air with the scent of washing powder. The smell would be blown into his room and made him feel that everything was “wonderful.” However, this chemical scent was aimed to simulate “nature.” As a result, one could not help wondering that whether the so-called state of happiness might have been a “false front.”

Under the working of this inner pressure, some of SungChih’s works are understandably related to women, in which one cold see the female oppression whether coming from within or towards outside. In his earlier works, he used apples and chairs to symbolize women.

Chairs referred to the fact that women were suppressed, bearing burden, and disposed at will. Some of the chairs were even presented with useless legs suspended in the air with strings. They were confined, broken, and even dominated. The image of apples came from the biblical discourse, in which it represented the forbidden and the impure. This original sin, nevertheless, was distributed

Such ironies could easily be seen in his works. In “A Sunny Day” (2006), he directly worked on the activity of laundry.

In this work, clothes were hung in a room recreating the memory of the wet clothes hanging in sunlight outside the window of his childhood room. However, to take a closer look at these clothes, one could see that the clothes were stitched together by their sleeves. The collective weight and pull expressed a kind of ripping tension yet

25

“Your being” in the room

inseparable relationship; they were heavy and tense but unable to pull apart from each other.

In the memories of his childhood, what Sung-Chih remembered the most was to face the enormous room alone. He was always by himself in that room. “Most of my childhood memories were related to being in that big room, watching TV by myself, talking to myself, and waiting for the sound of someone’s footsteps toward the room.3” Perhaps, in these solitary moments, the “sounds” in silence became something he held on to, and the sense of loneliness became the prevailing feeling.

In “Showing Scent” (2000), “Search” (2001), and “Artificiality” (2003), washing powder was mixed with cement and made into a unique paint. He used it to paint things like bicycles, toys and even a television as well as the floor and the walls of a room. The cement in these works signified the role of the father whereas the washing powder referred to the mother. The combination of the parents was used to build up the walls that protected the family and children. The whitewashed color implied the cleanness demanded by his mother. The fragrance of washing power seemed to sugarcoat everything and brought back the sweet childhood memory. Nonetheless, under the effect of changing temperature and humidity, the paint would gradually peel off the walls. The crumbs and dust piled up into an image of the fragmented, making an elegy of decay. On the other hand, the original colors of the toys and walls revealed after the paint came off gave out a sense of freedom that had been imprisoned behind the false front. It spoke a rebirth of the original self unveiled by the crumbling.

One can see the image of rooms in many of Sung-Chih’s works. They are always given four corners. Almost each of his works could be turned into “a walled-up microspace,” which is filled with the warmth of humanity but set in a chill tone. When you stepped into the space of “Untitled—Room 1” (2008), your view would be shaded immediately by the darkness of the room. After a while, you would realize it was a cubic space with a glass house at the center painted from the outside with white paint in circular brushstrokes. Within the glass cube, hanging light bulbs gave out light through layered paint, forming fragmented silhouettes on the painted white walls. A motor with a sensor kept swinging, causing the shadow to dance on the dark carpeted floor, creating a sense of instability.

In between such sweetness and deterioration, this corner of the home in memory appeared to a multiple-faceted space that could not be easily defined as good or bad. The sense of loss created by the deterioration was perhaps the real beauty. The sense of loneliness became the leading role of this particular site of the works. The artist went back to his childhood memories, in which he always had to spy around from high above. He was deliberately protected in extreme solitude. Such a space was hidden with an image of his body that made the room a human space.

When you took a look inside the glass house, there were all kinds of objects lying on the floor. Cartoon bed sheets one used to have as a child were spread on the floor. There were materials used for remodeling, such as cardboards, corrugated boards as well as some segmented planks, used iron buckets, ladles, and mopping cloths. A small wooden ladder was set on the side with a red radio

26

broadcasting Chinese medicine commercials from an illegal radio channel. In addition to these hinting objects, a stench of urine stole upon the viewer as the damped bed sheets reminded him of bed-wetting, highlighting the smell and experience in memories. When the irritating odor was juxtaposed with the surrounding objects placed meticulously, the idea of “mysophobia” surfaced as abrupt and ridiculous. The odor kept the viewer from coming closer, ambiguously resisting the viewer to peep into the glass house to explore the secret and the true self inside.

bubble wraps and black plastic bags. There was only a small path in the space, in which a few basins, buckets, fish tanks, wooden boards and stools were lying around.

All these objects were somewhat broken or used to a certain degree. Some had paint stains on them. Under the guidance of theatrical lighting, one felt that there might have been something going on here but had been abandoned. These items seemed to be laid around casually, but were actually deliberately positioned to execute a designated scene. It was as if someone had left in a hurry and deserted this place without tidying up the place, leaving it in a state of wreckage.

The sounds in Sung-Chih’s works expect a kind of resonance. The smells express the nostalgia in the memories. The space reflects the habitual solitude. These elements constitute his sensibility towards space and sites of solitude. He becomes inseparable to the space, a space of the body and with “his being.” “In my previous works, we usually see an enormous space. I repeatedly place different kinds of objects to enter this space and bring out a touch of its warmth and tenderness within the cold and unfamiliar structure. In my spatial installations, I have always tried to transform a strange exhibition space into an in-between space of public sphere and private sphere, in which the boundary is blurred. In such a space, what surfaces is often a deserted, neglected space of solitude.4” When a certain space signifies “a personal site,” it becomes a clue that leads to an exploration of the “room,” a place of memories given birth by the imagination of the body.

Among these items, greenery had grown, which seemed to be the only living organism in the space. However, overwhelming “marsh gas” permeated the room. Then, one realized that the greenery was actually a roomful of bean sprouts. Bean sprouts are common on the dining table of every family. They are easy to grown, cheap and nutritious. In this work, bean sprouts beamed at the family and the cooking mothers. They needed only water and light to survive and grow. Therefore, all the sprouts in this space had grown towards the same source of light, extending their thin stems and falling on top of each other because the stems could not hold up the weight. Finally, the fallen sprouts died in the water. Whereas plants were usually supposed to mean freshness, the bean sprouts were left to die in the room. This stench of decomposition and the water that was supposed to give life to the sprouts manifested the ultimate images of death. The thick and heavy gas in the air spoke the fact that everything ended here in the silence, appalling and repelling all viewers.

The same method had been used in his earlier work, “Outside” (2004). Living plants were placed in a deserted space to bring out an obvious contrast. As many of his other works, the room was dealt in the same manner: a few partitions formed a small space, and the holes and gaps on the partitions were filled and bridged with

However, the originally fresh bean sprouts were becoming deteriorating black mash. The color of the sprouts and

27

the interweaving lines they formed looked magnificent as they presented an extending, on-going image. It was a composition that exhibited a spectrum from life to death, constructing a beautiful but desolate image. The once useful things, combining with the image of the family, accentuated a wasting helplessness.

along the way.5” A car repair shop owned by a blue-collar family, the greasy and untouchable mechanical parts, the stress from his mother, and the empty room all took parts in his imagination of the home as well as in the space he created. The space seemed meticulously clean but voiced the susurration of sorrows.

Theatre of life: uncanny homes

In the space Sung-Chih created, there often seems to be another space that once existed. When deterioration may equal cheapness, he transforms the “deserted” into an appreciation of the damaged by bringing out the residual value of what has been left behind. This is also a reversion of the good and the bad and of their values by presenting an alternative perspective. All that have survived construct a scene of beauty, standing in ruins but deliberately presented in his aesthetics of the grotesque remnants.

We are all used to the image of “homes” as being warm and harmonious. Although the rooms and things might become old as time passes, the degradation is not irritating. Instead, it feels sympathetic. However, SungChih’s spaces of “homes” carried “a cold sense of familiarity mixed with strangeness,” and therein lay a sense of distance that was uncanny.

The term uncanny was first used by Sigmund Freud to literally mean fearful or scary. Etymologically speaking, nevertheless, it is closer to the term, unhomely, meaning uncommon. It describes a feeling invoked by something that seems common or familiar yet strange. Therefore, the sense of crisis gives way to fear. The term is also used as a psychiatric term, referring to the delusions of deranged patients. This kind of imagination actually exists in everyone’s mind, which is related to the childhood fantasy.

To appreciate Sung-Chih’s works, viewers enter the site as well as the introspective perspective of the works, peeking into the internal body embedded within the space. Sung-Chih uses a quiet but strongly theatrical means to offer keys and clues for accessing the buried memories. With ordinary, familiar materials, he presented an eerie strangeness in a frustrated space. His works give a chill in a somewhat sympathetic space that focuses on an estranged sense of self in order to achieve the resonance between the viewer and his own past. Perhaps, my room could have been yours or his. It could have been a metaphorical space that embodies you and me—a room of “your being.” We could all have been the person in the room. When the smell of the room repels the viewers, it simultaneously longs for attention. Perhaps, the re/ awakening of the humanity is what really paves way to the desired “salvation.”

The spaces constructed by Sung-Chih fall into the category of the uncanny, but they originate from his “memories of home.” It is similar to Freud’s “childhood impression.” Sung-Chih once said: “there were many people and circumstances in my childhood memories that are familiar yet distant. Although I was young and naïve, these people, events and things I came across all became the images that later surfaced in my memories

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1.

See page 8. Chen, Sung-Chih. The Acid House-Statement of Chen Sung-Chih. Graduate Institute of Plastic Arts, Tainan National University of the Arts: Tainan, 2004.

2.

See page 8. Chen, Sung-Chih. The Acid House-Statement of Chen Sung-Chih Graduate Institute of Plastic Arts, Tainan National University of the Arts: Tainan, 2004.

3.

See page 7. Chen, Sung-chih. The Acid House-Statement of Chen Sung-Chih. Graduate Institute of Plastic Arts, Tainan National University of the Arts: Tainan, 2004.

4.

See page 15. Chen, Sung-Chih. The Acid House-Statement of Chen Sung-Chih. Graduate Institute of Plastic Arts, Tainan National University of the Arts: Tainan, 2004.

5.

See page 7. Chen, Sung-Chih. The Acid House-Statement of Chen Sung-Chih. Graduate Institute of Plastic Arts, Tainan National University of the Arts: Tainan, 2004.

29

書寫陳松志的作品 （或被他動了手腳的那些房間）

文/游崴

畫廊的陰暗

陳松志的創作是一種抵抗，抵抗那個習於架構意

詩的惡質

義、並不時被幻覺困擾的我們。

哲學的蚊蠅滋生 但評論文字的宿命讓故事好像還是得說下去，而這 ──鯨向海，〈用世紀末最常見口吻〉

反而成為整件事最有趣的地方。意義匱乏作為一個 藝術癥候其實並不無力，「書寫的困惑」或許正是

陳松志向我說明他是如何叫了一批板材，釘完地

整個故事中的引子。它所造成對文字世界的抵抗

板，發覺還剩下一些，因此把已裁切的剩餘板材，

（一種文字書寫的障礙），並使我們反身思索評論

大概安排一下，三三兩兩斜靠於牆面，決定時間其

本身的效度與正當性，事實上就是作品第一個有力

實很短暫，有點不加思索的意味。而這就是這件作

的效應，一個引人困惑的力量。

品──這個特定的、被藝術家設定為作品的空間── 背後僅有的故事。我注意到了木板地上的水漬，暈

這個效應的確一點也不夠基進不夠聳動，在西方現

開幅度及潮濕的狀態顯示這灘水漬已在這一段時間

代藝術史之中，關注於形式、材料或行動本身「如

了。「這間屋頂有點漏水」，陳松志說。水漬顯然

其所是的狀態」，事實上便是 60 年代反覆演練的某

不在他的計畫內，純粹意外一個，但放在這裡卻耀

種精神狀態，並成為當代藝術靈魂之一角。陳松志

眼得像是個主題。

的作品混合著低限主義的極簡外觀、與貧窮藝術對 原生材質的偏好，這些作品背後的歷史條件，主要

沒有繁花聖景的身世，陳松志的作品，展現了一種

透過台灣學院裡對於整個西方現代藝術歷史悠久的

意義的匱乏，一種「它們就是這樣了，除此無它」

轉譯系統而產生1。但很顯然的，書寫如此的大歷史

的簡單陳述。他對這件作品的描述是功能性的（事

條件，對於陳松志的創作而言，比較像是聊備一格

實上這些東西看起來也只禁得起這樣的描述）：

的附註，更令人感興趣的，在於這些藝術形式背後

多大的一個空間？放了多少的東西進去？剩下多少

的精神狀態，或，這樣的作品空間（那些房間）究

東西？做了幾個動作？當我試著要書寫他與他的材

竟意味著什麼？

料及他對材料所做的一些看來極其簡單的事時，我 不免覺得那其實是條相反的路，透過一連串自問自

在他的個展「第七卷」的另一個空間中，牆面上釘

答、透過偶爾濫情地望物生義，文字像廢棄物般堆

著等距離的垂直木條，每根木條上面都存在著若干

積在與作品相反的另一端，每句話彷彿都是反話。

木板殘片，這些不起眼的殘片，像是個引子，引出

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一段作品身世：原來木條是作為某片假牆的骨架或

的審美經驗是從緊貼壁面而向內凝聚的。它們是房

支撐物，而木板假牆被外力（藝術家的拆毀動作）

間內的氣味、房間內的遺跡、房間內的生命週期。

徹除。同樣，故事簡單到僅堪如此功能性描述，殘

陳松志的「空房間」儘管看似貧瘠，卻傾向於完整

跡暗示出的拆毀動作，已是整個故事的最高潮，這

的存在，它不只反映著我們以公寓空間為藍本的城

件作品是《無題2005》。

市經驗：一個足以作為自我防衛的屏障，而故事在 裡面發生。它同時也近於一種青春經驗：以自己的

故事如無聊的極短篇，但一些細節放在外表貧瘠的

房間作為屏障及探測的基地，眼光是偷偷向外的，

架構裡，卻如荒原中唯一路標，反覆提醒我們思索

但卻易感而纖弱，如此小心翼翼。「在空房間內的

「藝術家究竟做了什麼？」，它透露作品背後一個

我……」 2宛若陳松志作品裡一個起點、一個精神圖

藝術家的身影、一段有事情發生的時間。陳松志在

像。

空間中埋入的線索是輕微而低限的，因此這使它總 是暗示，「有人曾在這空間裡動了一些手腳」那樣

對此，《奢侈的墮落》稱得上是陳松志作品中充滿

的氣氛。如此暗示性在《矯揉造作》中清晰可見，

抒情意味的青春肌理之代表。藝術家在紫色的地板

陳松志以洗衣粉混合水泥塗刷壁面，這其實是個不

上，灑滿口香糖，邀請我們穿著拖鞋任意踐踏，那

牢靠的材質，幾天後，水泥漆便如壁癌般，開始剝

是「飛壘」口香糖，大概對許多人來說，都是記憶

落，碎片散於紅色地毯。毀壞成為線索，揭露著暗

裡從小吃過最大最香吹出來的泡泡最像樣的一種。

藏在這件作品中的藝術手段。這裡面包含了兩個主

雖然脫離童年後，它的香甜慢慢被打入過於粗糙與

題：房間及它的毀壞。

廉價之一款，但它廉價的香甜，卻也引為我們這個 世代一種可資推敲、可供玩味的青春象徵。它構成

陳松志對於一個擁有四個壁面的房間似乎有種偏

一種獨特的文化記憶，而不只是作為物理的、或作

愛，這不只在於他習於在房間內動些手腳，更在

為觀念的存在，陳松志作品裡的材質，其實是被藝

於這些被動了手腳的房間總是洋溢著一股自給自足

術家（或作為觀者的我們）在真實時間中所確實經

的氣氛。不論是牆上不牢靠的水泥漆（《矯揉造

歷過的──情感的投射物。正是因為如此，使得這

作》）、壁紙般的圖樣（《第八天》）、支撐假牆

些作品即便擁有十分貧瘠的外觀，但其底蘊卻是抒

的木條（《無題 2005 》）到斜倚於牆面的板材；它

情的，它連結著記憶與情感，透過對「生活如其所

們都以「空房間」所擁有的最低條件──四個壁面

是」樣貌的編排，陳松志的空房間不僅是他個人的

──做為書寫基底，甚至是全部的運作場域。它帶來

小宇宙，也擁有了分享的可能。這種分享不致力於

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普遍性，而比較像是同一世代（或曾經歷同一種青

而背面透露著日光燈的白光。它具有一個具破綻的

春經驗的）的小眾所秘密交換的耳語。

表層，但那裡頭卻一點也不神秘。那像是一個淺深 度的空間，生活如其所是，它並非深藏於底層的奧

《奢侈的墮落》另一個值得討論的是裡頭暗藏的破

義，而僅是緊接於表皮之後。它既非是無深度地對

壞性。如果展示記憶中的廉價香甜僅僅具有懷舊的

於表層形式的無限延伸，亦非對於奧義的深掘。陳

效果，那麼，將無數個廉價的香甜在腳底使勁踩成

松志的創作欠身於兩者之間，被遮掩於表層之後。

一個髒掉的團塊，無疑是使《奢侈的墮落》從某種 「情感的摹寫」轉為「情感的詩」的關鍵。在陳松

陳松志的作品，一方面透過材料的原貌，彷彿展示

志一系列的作品中，的確可以清晰地看見他對於毀

出一種自明的、「生活如其所是」之狀態，但其中

壞、變質的偏好（那些璧癌般脫落的水泥漆、拆下

暗藏的象徵性的結構（它們大量透過「在空房間內

的假牆、煮炸烤過的爛蘋果）。藝術家在房間內動

的我……」為起點，並以「無傷大雅的暴力」所揭

的手腳，大多是種破壞，但他的暴力是輕微的，如

露的詩意為終點），才是這些作品所展現出的真正

一個破皮、一個擦傷，對過度安全的世界一次無傷

視野。這些作品的空間儘管看來與日常生活極其接

大雅的襲擊。

近，但它終究不是一個「真正的」房間，那個宛若 「生活如其所是」的簡單陳述裡，事實上被藝術家

陳松志的「空房間內無傷大雅的暴力」所一再反映

埋進了隱晦的線索。陳松志像是利用現代社會早已

出的，正是這種如破皮、擦傷般的傷害：假牆的支

精熟的那些時空分割技術，重構出一個獨一無二世

撐物、剝落的壁面。它們同樣關於表層，並帶著一

界的可能，而這個世界正處在被規格化技術所分割

種對偽裝的揭秘氣氛。而這種通過表皮創傷來揭

的事物集合間的極微隙縫中。

露些什麼的方式，似乎正是陳松志處理「粗（劣） 鄙媒材／手法」的技藝，及詩意之所在。「包裝是 一個偽裝，裡面是再粗糙不過之材質的歷史與殘 狀」，陳松志說 3 。「生活的實然」被藝術家放進 一個重要的位置，只是這個實然總是處於什麼表層 之後、在偽裝之後，因此必須透過破綻而遮遮掩掩 的局部顯現。《背部空間系列 1-4》隱喻著這樣的架 構：藝術家將拼貼了塑膠布的木板斜倚在牆面上，

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1.

陳松志認為其作品雖近於低限主義的外觀，但卻意圖去

除其神聖性。其方式是藉由引入大量日常生活中「人的痕 跡」，而使藝術的位階由高至低。（引自5月28日陳松志於 新樂園藝術空間的個展「第七卷」時的訪談記錄） 2.

這裡值得參照陳松志的一段自述：「我多數的童年記憶

總是獨自面對的偌大的房間，一個人看電視、一個人跟自 己說話、一個人等待著另一個踏入空間的腳步聲」。 3.

引自5月28日陳松志於新樂園藝術空間的個展「第七卷」

時的訪談記錄。

33

Illustrating Sung-Chih Chen’s Artwork (also known as “Those Rooms Tinkered

by Sung-Chih Chen”) Text By Wei Yu

Art gallery’s gloom Poetry’s bad characteristics Creation of philosophical mosquitoes ——Jing xiang hai, <Refer to the most common tone of voice used in the century end>

of the artwork and every phrase seems contradicting.

Sung-Chih Chen’s art creation is demonstrated in a form of rebellions to resist stereotypical-minded and fantasyobsessed ordinary folks like us.

However, the fate of critics’ words enlightens the story and has become the most important feature of this subject.

Lacking in meanings does not fall short when becoming a symptom of art presentation. “Words’ mystery” may become the trigger of this story. It results in resistance to literature world ( a type of obstacle over words) and also empowers us to rethink the effectiveness and validity of the critics words. In fact, it is the first powerful effect and a puzzling power.

Sung-Chih Chen described to me how he ordered a bunch of boards and ended up using the leftovers from making the floor. Because of the leftovers, he rearranged the leftover pieces and leaned them against walls. He made this presentation at the spur of the moment and it appears to be with free spirits. Nonetheless, this is the story of the unique artwork, from an artist’s viewpoint. Meanwhile, I noticed the water stain. Judging from the dimension of the water stain and the wetness, the water has stood here for a while. “The roof leaks a little”, said Sung-Chih Chen.

Obviously, the water stain is no part of his plan and it was just an accident. However, it stole the thunder as if it was the center of the topic.

This effect is neither radical nor rousing. From the western modern art history’s point of view, it is more important to focus on “maintaining the way it is” in terms of format, materials, or actions. As matters of fact, this coincides with the norm of repetitive practice in the 60s and becomes one of the major spirits of modern arts. Song-Chih Chen mixes plan looks featuring in Minimalism and preference in original materials featuring in Arte Povera. Sung-Chih Chen’s artwork favors original materials. The historical requirements for this series of his artworks are inspired by how western modern art history is interpreted among Taiwan’s academia circle for arts1. Frankly, to illustrate such enormous historical requirements, the task seems to be less relevant in Chen’s artworks. For many, something more exciting is the spirit of the artwork beyond its physical presence. What is the essence of such room of art (Those Rooms Tinkered by Song-Chih Chen)?

Without versatile background, Sung-Chih Chen’s artwork demonstrates a creation lacking in specific meanings, a “What you see is what you get. The one and the only.”.

His own words for his artwork are functional (As matters of fact, the only things fit this type of descriptions are artwork of this type). His illustrations are “how large is the room? How many things have been placed in the room? How many of them are left? What types of actions have been performed? When I was trying to describe the materials he used and what he has transformed using these materials, I can’t help to think the complete opposite. Through a series of self-questioning and answering, meanings of the object suddenly welled up inside of me after focusing on the object for a while. To me, words are like garbage located on the opposite side

In his solo exhibition, another room in Vol.7 has wood strips secured with equal distance next to one another.

34

Each strip is covered with several partial pieces. These pieces of wood are like triggers unfolding the story of the artwork. The story has it, these wood strips were used for framing and supports for a wall though later the wall was torn by forces (artists’ devastating acts). Similarly, the story is as simple as it seems whereas the peak of the story was the devastation. This artwork is named “Untitled 2005”.

surround a room faithfully. There are the room’s smell, traces, and lifecycle everywhere. Although Sung-Chih Chen’s “empty room” seems bare, it speaks for its complete existence. The spirit of “the room” not only reflects average people’s city living in limited apartment space - a selfdefensive shelter but also depicts a vibrant experience basing one’s room for sheltering and exploring purpose and constantly peeking outside, a fragile yet vigilant action. “Myself in the empty room…”2 implies a starting point and a symbol of spirit for Sung-Chih Chen’s artwork.

Though the story is nothing but plan, little details stand out within a structure of bare minimums like a road sign standing alone in a deserted area. It is like a constant reminder for probing “What have artists contributed?

The story of an artwork reveals the artist’s background detailing sequence of events. Because Sung-Chih Chen left barely any clues, his artworks uncover subtle hints like “Someone has tinkered with this room”. This type of illustration can be identified with “Artificiality”. Sung-Chih Chen mixed laundry detergent with cement and paste the mixture onto walls. Because the application is not suitable for interior works, cement mixture started to peel off infectiously. Pieces are scattered all over the red carpet.

As a result, devastation became the leading clue unveiling the artistic technique. This artwork involves two topics: the room and its devastation.

Therefore, “artificiality ” is the best example of his artworks featuring idealistic and youthful muscularity.

Artists scattered bubble gums all over a purple floor and encouraged anyone to stump on the floor. It is the scene from “Play Gum” commercial. In many people’ childhood memories, “Play Gum” was the gum enabling the biggest bubble. As time went by, the brand has been listed as one of the lousiest and cheapest brands.

Nonetheless, the scent of the cheesy gum turns into a vibrant symbol, something worthy of exploring and enjoying. In fact, it has developed into a unique cultural experience, beyond the physical or conceptual existence.

The materials used in Sung-Chih Chen’s artwork are indeed reflections of affections experienced by artists (or audiences like us). Therefore, Sung-Chih Chen infused affections into the souls of this artwork despite the fact that his artworks appear to be deprived. Because this artwork is in conjunction with memories and affections, Sung-Chih Chen’s “empty room” serves not only his own universe but also a shared community through “Life as it is” arrangement. The artwork’s ability to influence may be limited whereas it is likely to identify close-net groups of the same generation exchanging thoughts and feedbacks among themselves.

Sung-Chih Chen seems to favor rooms with four walls in his artworks. Not only is he used to tinkering with rooms but also mastering the skills to fill rooms with selfsufficiency. From unstable cement pastes (artificiality) and wallpaper-like graphs (The eighth day) to wood strips supporting fake walls (Untitled 2005) and boards leaning against walls, his artworks employ bare minimums of an “empty room”, four walls, to depict their fundamental natures or even to use as a place for demonstration. The artistic experience concludes that the essence is how walls

35

“Luxurious Degradaton” is worth of discussing implied devastation. If past is remembered through cheap and scented gums, stumping on countless scented gums and turning them into a nasty mess is without a question a key transformation of ”Luxurious Degradation” from “affectionate writing” to “affectionate poem”. From SungChih Chen’s series, it is clear to see his preference over devastation and distortion (such as peeled cement pastes, removed fake wall, and cooked, fried, and baked rotten apple). When artists tinker with rooms, it is likely to be somewhat damaging. However, his damage has much less impact to the room he worked on similar to a cut and scratch to human skins, a harmless impact in this overly protected world.

everyday living is. It is not supposed to be something in a profound nature and it can be found under the surface. It is designed neither for aimlessly exploring surface formats nor for exhausting search for profound meanings. This artwork comparably rests in the neural ground of the two scenarios, a place shadowed by the surface Through raw edges of certain materials, Sung-Chih Chen’s artworks demonstrate a self-realizing statement “Life as it is” though its implied symbolic structure (mostly start at “Myself, in the empty room”, and end with the idealism uncovered by “harmless violence”) is the true vision of his artworks. Though these artistic rooms seemingly comply with daily living, they are not exactly a so-called “real room”. In fact, the plain statement of “Life as it is” by the artist entails the rooms with clues. Song-Chih Chen seemed to use the state of the art techniques for separating time and space dimensions for reconstructing a dynamic and one-of-its-kind world of arts even though the world is now squeezed in-between clusters of objects formatted by highly specific techniques.

Sung-Chih Chen’s “Harmless violence in the empty room” continues to convey ideas like such minimal damages like cuts and scratch on human skins. Examples are supporting structures for the fake wall and peeled wall. They are both associated with surface layers with intentions to reveal disguises. The technique using surface damages to uncover something in a profound nature is the core of handling “rough and un-refined materials/methods” skills and romance. “Packaging is a form of disguise because behind is the history and remain of a rough material”, said Sung-Chih Chen3. “Trueness of living” is highly regarded by artists, though the trueness is often disguised and requires effects of partial unveiling by making clues seen.

“A reverse space 1– 4” is an example of implying this type of structure. The artist leaned a piece of wood pasted with patched plastic materials against a wall and the reverse side of the wood is lighted with a fluorescent light. The piece of wood has a surface layer with plentiful clues though the interior content is everything but mysterious.

It is like a room without a lengthy depth similar to how

1.

Sung-Chih Chen pointed out that though his artworks were closer to Minimalism, he intended to pull away sacredness from his artworks. The way he has done was to introduce a great deal of “human trace” found in daily living and effectively format art forms into various categories (from high to low). (Courtesy of the interview for “The 7th Volume” of his solo exhibition in SLY Art Space on 5/28) 2.

Refer to Sung-Chih Chen’s own statement: “My childhood memories were filled with moments alone in an enormous room, watching TV, talking to myself, and waiting to hear the sound of someone’s first step into the room” 3.

Courtesy of the interview for “The 7th Volume” of his solo exhibition in SLY Art Space on 5/18.

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對談記實 Artists Talk Records

39

「拼湊的微處」對談記錄

謝鴻均Ⅹ陳松志

陳：感謝大家撥空前來，這次的展覽內容跟日常生

裡底層的觸探，試著釋放，卻放不下，放一點會帶

活很貼近，所以我們對談不用太嚴肅，我也會透過

些痛苦，痛苦之處搓磨到漂漂亮亮，搓磨過程則像

這次的對談來闡述我的作品理念。

是撥弄洋蔥，一片一片撥到最後空空如也卻也淚流 滿面。這樣一個大男生，卻有罕見的精細。大概也

謝：這是今年我看他第二次的個展，以創作者來講

是從那個時候我非常注意他創作的發展。當然更早

一年執行兩次個展是頗吃重的，但他做到了，背後

是他大學還沒畢業時，曾在台中租了一個房子辦展

雖辛勞與壓力總伴隨執行的忙亂過程，但最後成果

覽，在裡面遍灑肥皂粉於地上以及小時候的玩具，

卻是如此安靜且理所當然。我非常喜歡他在前一個

還有許許多多他童年的回憶物件。那時期他從設計

在日升月鴻畫廊用膠帶所作的雕塑，縱然作品在收

跨到創作的領域，作品其實很囉唆，細細碎碎什麼

藏上會是很大的挑戰，但它們卻透露了很重要的訊

都想說，就連肥皂粉他都可以講上一個半小時，那

息，連結了他自早期至今日的思維---即是「黏」，

陣子我聽了很多他的過去，當時覺得很有意思，因

那種在觸感上是黏膩的經驗，卻在視覺上呈現了極

為我所接觸的創作類型學生會將創作視為藝術品的

端的潔癖，這種不乾脆的潔癖在松志的個人形象、

製作，執行上的細緻壓倒了思考，而松志這位所謂

品味與說話的方式都洞悉得到。而如何將黏膩感、

「非本科系」出來的創作者，相對卻有比本科出身

或是撕落的碎屑、眾人視而不見或看了即忘的物件

的學生更細緻的思維，沒有學院創作傳統技巧的包

帶到展場，讓大家在聚光燈下必須睜大眼看，這是

袱，得以悠遊於自己所執著的思考與材質，以細如

松志的執行策略，講策略太過於世俗，且稱之為方

懸絲的詮釋則帶給觀者生命經驗上的刺激。

法論。 接下來他去台南藝術大學念研究所， 2003 年在新樂 猶記2003高雄貨櫃藝術節，進到他的展覽會場後

園的個展，我感受到他的收斂，他精準地將單純的

看灑滿地的「飛雷口香糖」，瀰漫著屬於童年的

元素鋪陳在「新樂園」的空間，將自己生命的歷史以

嗅覺，是那種悶熱後的黏膩感是洗不掉的過去，穿

轉喻的手法說出，此時他所使用的肥皂粉開始發酵

著廉價拖鞋踩在口香糖上，口香糖被搓揉在象徵著

了，發酵是物質與物質、材質與材質發生對話，或

歐洲貴族的紫色地毯，但黏膩過後的地毯卻再也高

是對立、或是相斥，但不論是對立相斥或是相交相

貴不起來。當時穿著拖鞋踩口香糖，有點狼狽的肉

合，都是一個關係性。松志在材質領域極盡可能產

身與嗅覺經驗讓我發現這個年輕藝術家的細膩與敏

生對話方式，在他的系列推展中，我看到的是材質

銳，對於材質、自己的過去、記憶、認知甚至是心

的執行與材質的思考。他是一個很誠實的創作者，

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除了材質還是材質。雖然這次的主題叫作「極地」，

今年度在「日升月鴻」個展的作品中，第一次看

沒去過極地，對極地形而上的概念，雖然無法貼切

到他的作品脫離了完整度，他以膠帶在石膏像上

於寫實的狀態，但他卻藉著創作和材質間的對話達

塑型，這件作品帶給我很大的感動，因為在此之前

到昇華性，這種昇華性不是刻意製造而來，是材質

與之後，他的作品即使是指甲屑他也會裝得漂漂亮

在對話中自然發生的，他於是發現了這塊極地。

亮，我想這跟松志的設計背景有關，但是我覺得更 大的相關是他的成長背景。他們家是修車廠，樓下

我們再回到他 2003 年在新樂園的作品，他表現了頹

都是廢油污境，樓上是潔淨無塵，媽媽將他從小穿

廢、時不我予和繁華之後的凋零狀態，將水泥夾雜

扮潔淨，全白的衣物。下了樓是髒穢的現實，上了

肥皂粉塗在牆壁上，這兩種東西合在一起幾天之後

樓就是潔白的天堂，此強烈對比的生活環境孕育了

就會慢慢剝落下來，掉落在地上為深紅色的地毯所

他作品中的分裂氣質。他的血液於是留存了這種狀

承接，讓觀者覺似乎踏入一個貴氣的環境，但地上

態，心裡存有一條界線，成為藝術發展的平台，有

掉落的碎屑則形成頹廢的狀態，展覽三個禮拜內作

天分的藝術家，發展的痕跡會感動人。這次在「就

品就慢慢掉落，所以他的作品是有時間性的，這件

在」的作品延伸自「日升月鴻」，只是先前作品中

作品的多元考量與製作得到了台北獎。

的粗糙感和感動在這裏做更完整的呈現，小件畫作 也是從膠帶衍伸過來。「日升月鴻」那系列膠帶雕

此外，國外駐村也帶給他許多創作經驗，且發酵於

塑有沒有保存起來呢…？

2008年在台北當代館的個展，他將展場佈置為工寮，

陳：我有作一個盒子把它封起來。

走進去會聞到一個似曾相識的水泥味，水泥夾雜垃 圾和工人隨地排泄的腥味。台灣一直都在蓋房子搞

謝：是否有打開來看狀況？

建設，所以大家一定都聞過這種味道，進到松志的 展場再次聞到這種熟悉的腥味，在懷舊中其實是不

陳：完好如初。

舒服的。同時開始的系列是玻璃砸碎的作品，玻璃 碎片的造型與影像反射，事實上與撕紙系列是有連 結的，雖然材質上很不一樣，但它們反映著松志的

謝：台灣這種炎熱天氣，膠帶遇悶熱一定會呈黏黏

心裡底層，一種破碎不完整，一個過程性。縱使如

狀地萎縮。

此，他還是堅持呈現完整、潔癖與漂亮的一面。 陳：它本身的造型就是滿有機的狀態。

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我們這就是一個物件，就已經和創造生命史切斷， 謝：所以不會介意它在萎縮？

像一個剪斷臍帶的小孩獨立存在；在「日升月鴻」 的作品是剪不斷的臍帶，一直栓在我的心裡，但在

陳：其實在搬運過程或多或少都會有一些碰撞，造

這裡我看一件一件作品被處理到極為完整，是不是

型上會有所改變，所以它其實很彈性，可能這邊凹

可以敘述一下創作過程，因為我比較相信現象學裡

下去，但在現場可以透過手部再隨機的造型處理，

活生生的肉體、活生生的記憶、活生生的創作，而

雖然這些物料十分工業性，但這樣處理下來它其實

不是所謂的後現代後歷史的冷調理論。

是很有機，在外力介入下反而會孕育出新的造型。 陳：回應到這個問題，其實運了將近 32 件作品來這 謝：也許是因為它的有機性。那一系列作品膠帶和

個空間，這批作品是我有史以來做過最久的作品，

墨汁的滴流，形成很特殊有趣的效果，我剛才詢問

因為老師剛有提到我的設計背景，我以前做很多空

了這個技巧，原來是膠帶在貼的當中，讓墨汁滲進

間和裝置，那其實我有時候是有一個想法，然後很

去產生國畫皴法的效果，他把雕塑的技法帶到平面

快速的完成它，呈現的是一種觀念，或者是一個行

之可看性較高的現況。那我真的很好奇像這樣框進

動，那是以一種很快速也很高濃度的方式讓觀眾被

去的感覺還會再帶出甚麼樣的有機效果。還沒詢問

空間和材質包圍，這一系列的創作我原先以為只是

時，我看這幾件玻璃的作品，似乎是罩著一層壓克

把紙撕開，這樣有什麼難度，但是這也是我開始做

力，因為那是紙張撕下來的痕跡，也像皴法一樣的

這件事情的的一個錯誤，因為我覺得我的作品有一

筆觸。古早文人在畫畫時不僅畫一張畫而以，而是

種偶發，是從很多小的錯誤開始，我會從這些小錯

先寫詩再隨意境畫，要成為一個文人藝術家，必須

誤找到一個值得我去矯正這些錯誤成為新的型態的

要會琴棋書畫，彈琴開展你的聽覺感官，下棋是人

樣貌，比如說一開始洗衣粉和水泥混合在一起，或

與人之間的相處，讀書之後自然而然就成就你成為

是口香糖從口部改成腳部來踩踏，或者尿液或是氣

一個藝術家，松志會彈琴，他的生命經驗，不論是

味跟空間的衝突。回應到這個問題，只是把紙張黏

家庭、學校、駐村或是人際關係的經驗，也都會逐

貼再撕開有什麼難度，其實在製做的過程，很多部

漸出現視覺圖形，所以在戶外留下來的、別人不屑

份我無法控制，因為我一直在擺脫過去大學訓練的

一顧的痕跡，反到被他帶來變成很高貴的造型，為

科學、邏輯理性的思考，所以我多半選用的材料和

了掩飾紙被撕開得粗糙感，還蒙上一層壓克力，就

技術，都是很偶發的或是隨機的來製作，但那個隨

像他的雕塑作品一樣，會罩上一個框架，似乎告訴

機可能呼應到我希望我不是過度有意識的操作我的

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身體來呈現這樣一個意象。

批作品是我頭一次感受到它是需要靜下心來的。

謝：所以很刻意切割大學所訓練的邏輯性思考，讓

謝：是說製作過程嗎？

自己沉浸到直觀性的環境。 陳：對，無法急躁，包括我選用任何一個材料都非 陳：對，我希望我能夠在製作過程中去選擇，也許

常脆弱，所以我每天都非常提心吊膽，包括運送過

它做出來已經是不對的事情，如果我透過觀察，把

程，選用的鏡面厚度上，隨時都可能讓它產生某種

這個不對的事情放置到我想傳達這個材質可以有另

變化，這回應到我還是在控制它，材質讓我產生一

外一個觀看的角度或是另外一種偶發成的現象。其

種反抗，我和材質之間的拉扯讓我覺得很樂於去挑

實每次在選擇另外一種材質的時候，我跟各位一樣

戰彼此之間的拉扯。

都是陌生的，但是我覺得在認識它的過程中，例如 謝：所以在製作過程中的勞作性非常重要。

這種在一般書店就買的到的列印紙，其實這些紙張 不同廠牌它所撕出來紙的纖維都有差異，甚至是我

陳：對。

使用不同廠牌的膠，殘存的痕跡，其實我一直不斷 在錯誤裡面尋找哪一個比較符合我的想像，那目前 大家看到的是最後合乎我想像的樣貌，過程中我本

謝：現在藝術家創作作品都會依靠很多幫手，如大

來以為很簡單，但是包括我需要預留他乾的時間或

陸的製模切割都很快速便宜準確，但在此親力親為

是黏貼，因為我是用一張一張貼，像繪畫的方式一

是重要的？

筆一筆，再去一張一張撕，撕完後再用刀板刮除， 之後再擦拭再貼，我作了七層八層，其實有時候多

陳：這是不能迴避的問題，對幫手來講，每塊是一

了一點或少了一點都不對，其實我每天看待這作品

樣的，對我而言每塊是不一樣的，所以修工跟收尾

的時候，我永遠記不得作品的樣子，但是他每天呈

的部分，最後還是需要我決定何時停止、哪部分需

現給我的感受都有新的樣貌，其實這回歸到我創作

要增加減少，這回應到一個部分，這樣一個不斷堆

的中心思想，我在作品尋找自己的不同樣貌，我被

積的動作所覆蓋的厚度，對我來講，它就是時間和

一個常規的環境制約，那包括你發現它被壓克力罩

體力的賽跑，因為它有時間性的考量。

住或包覆，透過玻璃的材質反射性的空間，去擾亂 謝：時間性指的是開始做了就會把它執行到結束？

原本被遮蔽的或是不斷覆蓋的一層膜，所以製作這

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陳：沒有，其實是一整批開始作，同時間進行。

其實撕開時候已經既定了，膠附著在紙上殘存的痕 跡會決定造型，那部份我只能控制到 80% ，但最後

謝：所以全部都是一整批？

的刮除我可以刮成類似薄膜，或是一個破壞，到最 後我還是有在考慮構圖，其實看似每部分很偶發隨

陳：對，其實我一開始在製作是沒有方向，其實每

機，但還是有我個人的審美角度在裡面。

天拿到這些面對我來講都是重新看待昨天累積出來 的厚度和結果，我必須要重新觀看它認識它，來決

謝：可否談談在撕裂的時候的快感，身體的部分。

定它是否要繼續進行或是停止。

比如「就在」辦公室裡那件一整片撕開的時候？

謝：指視覺上？

陳：動作上的力道是相同的。

陳：對。

謝：跟什麼相同？

謝：但是從黏貼撕下的時候，那個觸感呢？

陳：不管是撕大面積的，還是小面積的，它就是一 個力道，一去不復返，無法作回復的動作。它就是

陳：那個觸感就如同回應到我以前作的毀壞的動

執行後我必須去面對殘存下來的後果。

作，我以前也有一系列作品是這樣。 謝：我說的是撕得當下的physical sense，好比手上塗 謝：指紙張的作品？

一層南寶樹脂，乾了之後撕下來，南寶樹脂與皮膚 之間的對話。還有紙張跟紙張，紙張跟玻璃之間的

陳：對，撕的力道是很短暫的快感，或是一種你不

對話。

需要思考太多但最後就是一翻兩瞪眼，它取決於材 陳：應該是一個去除屏障的推進感…如果作品回應到

質本身的纖維組織。

的是自己的感知，我覺得我是把我不願意見到的， 謝：不需要思考太多？難以置信。

不願意被遮蔽的部分，用一種很生猛的方式去除， 或著是我覺得很暴力的方式把它去除。我覺得那個

陳：我覺得需要比較多思考的是最後刮除的動作，

動作比較像是自己看不到的內在的原型，你們現在

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看到得比較像表像上的我的樣貌，但我覺得製作的

陳：畢竟我也有年輕的時候，我覺得我做創作的時

過程中，像我玻璃敲碎的過程，當下砰的一聲，包

候很老成，可是私底下的我有也有幼稚的一面。其

括那個聲響和碎裂的一霎那，我覺得滿足到現實生

實我很好奇，因為老師在 2005 年的時候問過我一個

活宰制與被宰制的關係，所以我的作品從2002年開始

問題：是甚麼樣的動機讓我像在「山洞」裡尋找我

都是朝向一種毀滅死亡，或是一個物件不斷撥除碎

在創作裡的靈感或是動機？後來我去想這個問題，

裂離開，因為我一直覺得殘存的部分比離開的部分

我發現在我完全不思考藝術的時候，引起我的注意

更殘酷，那我留下來的部分是讓你們看不完美、殘

的驚鴻一瞥其實就是我藝術的養分，是一個開端，

酷的現實縮影，可能是那些小視窗或是大的裝置空

比如說我提到過去我在義大利茱麗葉之家的口香糖

間裡。

牆，它能夠連結人跟人之間某種情感，或是家裡只 是洗衣粉堆在旁邊，上面有些灰塵，我去作一些聯

謝：所以是悲傷、殘酷、暴力的美感，寧靜的一霎

想，所以這些事情的偶發性不是來自於我在思考什

那，就像是我們常常看恐怖片，背景音樂是華麗的

麼可以做成藝術。所以當我從學院念了一遭回來之

歌劇音樂。

後，包括各位可以看到我在這次展覽寫的小短文， 我試著用一種比較「簡」的方式來講我的作品，這

陳：其實我很嚮往那種淒美的情境，包括你們看我

種簡不是寫得很精簡，而是很直白的引領各位大家

寫的文字，或是我作品用的色調和空間感，我都在

進入我思考的極地或我創作的開端，直接導入讓你

暴力的表像上帶出蒼涼或淒美的圖像。

覺得這是不是很直接的地貌的造型，我不強求觀眾 要有絕對的思考，我反而希望引裡觀眾注意到創作

謝：創作時都聽什麼音樂？

者透過生活的縮影不斷把這些小東西擴大發酵，最 後成為我們認為得這個空間的藝術創作，我就是做

陳：我都聽流行歌曲。

分享的動作，我用這樣的方式跟大家分享我當下對 環境的相處態度。剛老師提到我三十歲了，其實我

陳：我覺得身體裡面有很多的我，我跟一般年輕人

三十二歲了，以前作作品也很生猛，要把所有東西

也沒甚麼不同。

掏出來給大家看，也一度時段變得很保守，我要講 得很玄把自己保護很好，這是我創作以來第十年，

謝：三十歲了，不算年輕人了。

第十五個個展，希望把過與不及的部份找到一個中 間的區域，它跟人或物之間，或是你在觀看材料之

45

間，它其實提供各位一個觀賞的平台，但也是透過

謝：我想不僅僅是創造，應該是發現，作品是發

一個膜，一個我丈量出來的距離尺幅，讓你們可以

現，發現中創造它。

看到現階段的我，其實這裡面也並不一定要很指涉 性的傳達一個大議題或是大論述，對我來講我只表

陳：我只是把生活中的縮影移駕到一個很乾淨的藝

露出原來創作可以有這樣子的途徑，其實很多作品

術環境，讓我們去直觀它，事實上我覺得這些物質

沒有一個絕對的完成跟未完成，我講一個插曲，這

都有一個值得被看待或是蘊藏它們天性的能量。

個大張的作品我辛辛苦苦做了四張，但在運送的過 程中毀壞一張，可是毀壞的那一張讓我偶發出一個

謝：我想創作者是發現跟自己心靈相契合的瞬間，

想法，在這個展覽的 Part2 我會做一件現地製作的大

觀者也是在尋找跟自己產生共鳴的平台，學院重要

的裝置，我後來想想，每個讓我痛苦的不順遂的，

嗎？出道十年，十五個個展，已經是相當生猛，每

沒有辦法完成在我控制範圍內的線索，其實會引發

一次的個展都要有新的議題和呈現，不同於某些以

我在去完成新作品的方向，我希望我能夠時時保有

一個樣貌延續各處巡迴的方式，我注意到松志每次

把這些意外所產生出來地事件好好的發酵成未來的

個展都是藕斷絲連的效應但是不同的東西，這是生

創作。

猛之處。所以我剛才問了學院修行的必要性，因為 台灣的藝術教育往往是把藝術跟生活做了隔絕，這

謝：這次才學到這個經驗？因為我記得松志遇到挫

個隔板有時候是透明或是不透明。如我早上收到一

折，情緒會很焦慮。

封朋友寄來的e-mail，瑞士的一個大教堂後面的大柱 子下面放了很多彩色樂高，許多小朋友就用樂高拼

陳：對。

湊東西，然後在建築物的縫隙中長出小朋友用樂高 做的東西，這就是生活跟藝術沒有交界之處；我因

謝：但這次的焦慮做了轉換。

而很感慨於台灣的教育就是在白紙上面，在所謂工 作坊的環境裡，但如果是公共藝術的話，只可遠觀

陳：其實好像沒甚麼大不了，既然是藝術，我很慶

不可近玩，所以我常稱那些東西為大路障，完全不

幸我是一個藝術家，至少現階段我有這個身分去面

可能跟它互動，這是一種「加」的藝術，加出了個

對這些材料物件，藝術家的天職是創造，好像沒有

路障。什麼是生活？什麼是藝術？什麼是專業？專

甚麼事情是不可以這樣做，那也因為這樣，所謂冒

業如何穿梭在這兩種之間？我覺得松志有天生的本

險或是突發奇想是最自由的部分。

能穿梭在這兩者之間，但是學院的訓練有時候會被

46

約束在一個空間，這個可能要很仔細的再去檢討，

視角，其實人是龐大的，透過高度讓觀賞者跟微小

自己有什麼，別人不需要再給予什麼，不需要透過

的物件產生對等的關係。作品上有鏡像的反射空

獎項來激勵藝術的路途。像茱麗葉之家的口香糖牆

間，或是影像介入到反光的材料上，我把它界定在

可以讓人在看了之後走下一步，那不是學院告知

很詩性的把生活裡面或是空間裡面跟不同空間產

的，而是個人已有的本能。松志在 20 歲時在台中作

生的衝撞，那個東西我覺得不在我需要控制的範圍

的作品已經透露這個訊息了。其實只要信任自己，

裡，因為我覺得它會跟整個場域對話，不斷的被放

有時候不需要外界給太多藝術獎項，自己已經飽足

大，因為人會把反射的面不斷的拓展，雖然載體的

了。

面上是穩固的，被包覆起來的和不斷延展出來的， 也許是光澤或是空間感，我認為是非常有趣的層

陳：我以前的東西沒有太指涉性的形像，當然這次

次。

我用了極地的隱喻，為什麼會有這個想法，是因為 我其實非常期待世界末日，每次在新聞上看到氣候

謝：生物學上說某些生物只能感應到二度空間，有

變遷冰山崩毀的時候都有一種快感，他就深植在我

些是三度空間或四度空間，當三度空間的生物攻擊

腦海裡，這當然是我生活中的小故事，但這是我發

二度空間生物時，二度空間生物並沒有辦法感受威

想出這個圖像的很根本的草圖或意念。我並沒有學

脅，對它來講三度空間生物並不存在，但是以我們

過學院式的雕塑訓練，如果我們提到雕塑的概念是

外人來看會很緊張。所以像你的雕塑，應該不稱它

加和減的過程，我覺得用我現有的技術，一個很機

為雕塑而是立體造型，它白色的部分是很low-tech，

械很人工的方式去形塑它，我在形塑的過程中，我

鏡面的部分很 high-tech ，鏡面反射出來的是三度空

一開始接觸到的景象是平面單面的，所以我在處理

間，甚至是一個「反物質」的社會，但這外頭白色

立體的造型時引起我需要去做意識上的想像，接下

的地方卻是老到不行的構造，兩者有點像二度空間

來會需要什麼樣的切痕切面，也許你們會覺得它就

和三度空間的對話，兩者各自存在。

像極地的造型，或許它們並不是，它們就是一個未 陳：並存在這一個時候。

完成，什麼都不是的不銹鋼和粗胚般的保麗龍間意 外的結合，當然它有我想像中的極地，或是我從來 沒去過的遠方，靠想像去形塑出來的物件，透過我

謝：對彼此來說不應該構成威脅的，穿梭其中需要

把極大的場域縮小，把很小的類似水分子擴大，當

智慧。如果我們有能力面對二度、三度、四度空間

我把很大的場景縮成這樣的尺幅，人在裡面觀賞的

的思維，即可坦然面對其中自然撕裂的縫細。

47

“The Delicacy of Collage” Artists Talk Records

Guest interlocutor: Juin Shieh, Sung-Chih Chen

Chen: Thank you all for coming. This exhibition is deeply associated with our daily life. So, there is no need to be very serious. I will also explain my concept of works today.

the slightly sense of embarrassment and that particular olfactory experience had me notice this young artist’s subtlety and sensitivity. When it came to the materials, his background, memories, conceptions, and all those subtle tactile experience all surfaced. He tried to release them but could not let go without feeling a little resistance that was polished as smooth as possible. The process was like peeling an onion, one layer after another, until there is little left but with a tearful face. A big boy like him had showed such rare refined sensitivity! Since then, I have been following his career.

Shieh: This is Sung-chih’s second solo exhibition that I have watched this year. For an artist, two solo exhibitions in one year is quite a heavy load, but he managed to accomplish them. Although the process of planning and implementing might be trying and stressful, the final results turned out to be so tranquil and unforced. I extremely admired his previous sculptural works that he created with duct tapes at Ever Harvest Art Gallery even though I could imagine that it would be a great challenge for the works to be placed in a personal collection.

Nevertheless, they showed a very crucial point that has linked the works to his long-term concept, “the sense of stickiness.” It is visually extremely neat yet tactilely sticky. You can actually detect this ambivalent neatness in Sung-Chih’s personal image, taste and the way he talks.

To present something that is normally ignored or easily forgotten in an exhibition, such as the stickiness or torn scraps, and to make people open their eyes to see them under spotlights, it requires strategies. Perhaps, it is a bit too market-oriented to use the word strategy. I would rather say it is his methodology.

Prior to that exhibition, before he graduated from college, he had rented a house for an exhibition, in which he spread the whole floor with washing powder, children’s toys along with many other memorabilia of his childhood.

At that time, he was just beginning to step out of his comfort zone as a designer and into the field of artistic creation. There were actually too much in his works, and too many trivialities that he wanted to talk about. He could even talk about washing powder for one and half an hour. During that time, I had heard a lot about his past.

I found it fascinating because most of the artist type of students would deem the process of artistic creation as the production of artworks. The way of thinking about the artwork would be lost in the process of perfecting the work. However, Sung-Chih, a student of another subject, possessed a more refined way of thinking than the students of this profession without the common baggage of the creative techniques from traditional academic training. He was already able to feel free in his chosen way of thinking and in dealing with the materials he was attracted to; he could deliver stimulations of life experience with delicate and subtle interpretations.

I still remember seeing the whole floor of “Play Gun,” an old-time chewing gum, at his exhibition at the 2003 Kaohsiung International Container Arts Festival. The smell of the gum reminded me of my childhood. It was also a sense of stickiness heated by the air, a past memory that could not be cleaned. Wearing cheap flip-flops and stepping on the gum on the luxuriously purple, royal carpet, the trodden gum stuck to the carpet that soon no longer appeared lavish. With flip-flops sticking to the gum,

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Then, he entered the graduate school at Tainan National University of the Arts. In his solo exhibition at Hsin Leh Yuan Art Space, I saw his restraint. He was able to precisely represent the simple elements in the art space and spoke the stories of his life metaphorically. At that moment, the washing powder he once used began to reactively change. The reaction was a kind of dialogue between materials and media. Whether they contrasted or contradicted each other, or they were able to merge as one, the relationship had formed. Sung-Chih tried very hard to conduct this type of dialogue in terms of materials. In the development of his series, I have seen the employment of and contemplation on the materials. An incredibly honest artist, he only works on the materials. The exhibition is titled, “Polar Region,” but he has never been to the arctic region. Although he does not delineate the polar region in a realistic way in terms of its metaphysical concept, he is able to transcend it through the interaction between his works and the materials. This transcendence is not intentional but a natural consequence that has led him to this “polar region.”

Furthermore, his experience as an artist-in-residence also nourished his creative career, and the result could be seen at his solo exhibition at the Museum of Contemporary Art, Taipei, in 2008. In this exhibition, he staged the space as a construction site. Viewers could smell a familiar odor of cement joined with the stink of garbage and workers’ urine. Construction sites are common in Taiwan. So, it was a mixture of smell that everyone might have encountered before. Detecting this familiar odor at the exhibition was nostalgic and, to be frank, uncomfortable. At the mean time, he had begun the series that he conducted with smashed glass. The fragmented shape of the broken glass and the reflection of image could be associated with the torn scraps of paper even though they differed material-wise. Nevertheless, they both reflected a sense of fragments and incompleteness, a past experience, rooted deep inside his mind. Despite so, he still insisted on representing the complete, neat and polished side.

The work in the solo exhibition at Ever Harvest Art Gallery this year was the first ones that shed this need of completeness in appearance. It touched me deeply because the works prior to or after it were polished and refined to the smallest details. I think this has something to do with Sung-Chih’s previous training as a designer, and is even more related to his childhood background.

His family owned a car repair shop. The first floor was the shop and always greasy and dirty whereas the second floor was almost immaculate. This powerful contrast of his living environment brought about this splitting quality in his works. Within him, this dichotomized state lingered.

In his mind, a boundary materialized into a space in which his artistic talent could be nourished. The traces of development of a talented artist are always powerful to move people. The works here in Project Fulfill Art Space

Let’s return to the work exhibited in Hisn Leh Yuan in 2003. In this work, he revealed a deteriorated, out-ofdate, withered state after posterity. He mixed cement with washing powder and used the mixture to plaster the walls of a room. The mixture could only last for a few days before it gradually flaked off the walls, leaving piles of crumbs on the burgundy carpet. Viewers first felt like they had entered a fancy space, and then, saw the fallen scraps had turned the room into a deteriorated state.

Within the three weeks of the exhibition, the work slowly perished, given the work a limited life span. The diverse perspectives and production of the work won him the Taipei Arts Award.

49

are extended from the series exhibited in Ever Harvest Art Gallery, but the rawness and heart-warming factors are represented even more thoroughly. Even the small pieces of paintings are related to the works created with tapes.

Did you preserve the work exhibited at the Ever Harvest Art Gallery?

dimensional works and made them more intriguing. So, I am very curious now that when you framed the works, what kind of organic effect it might induce. Before I asked him about it, when I looked at these works of glass, I thought they were covered by a layer of acrylic. Now I know that the strokes similar to the technique of texturing are due to the traces left on the paper when the tapes were ripped off. When ancient scholars painted, they did not just paint. Instead, they wrote poetry first and painted according to the artistic conception of the poem. To become an artist like that, one had to master the arts of Chinese zither, the game of “go,” calligraphy and painting.

Playing the Chinese zither nurtures one’s audio sensitivity, and the game of “go” teaches the players the art of getting along with people. Studying these arts naturally turn the student into an artist. Sung-Chih plays the piano. His experiences in life in terms of family, school, being the artist-in-residence, and his interpersonal relationships all materialize in his works. That is why the traces of what people have left outdoors or neglected are all transformed into elegant forms in his works. In order to cover up the coarseness of the torn paper, he added a cover of acrylic on top of the work. It is the same as his sculptural works, which he would shield with frames as if announcing that they were still objects; the works were severed from the life that gave birth to them; the umbilical was cut off, and the babies existed as individuals. The artwork I saw at Ever Harvest Art Gallery represented the umbilical that could never be cut, and it has linked the work to my memory.

Nevertheless, the works here are all represented in a very complete way. Can you talk about how you created them? Because when it comes to the process of how a work is made, I prefer to talk about it from a hermeneutic perspective such as the physicality, memories and actual process of creating the work rather than from a cold,

Chen: I made a box and preserved it inside.

Shieh: Did you check on it from time to time?

Chen: Yes, it was well-preserved.

Shieh: The tape would definitely become badly withered and sticky in such hot weather in Taiwan.

Chen: The work itself was pretty organic in its form.

Shieh: So you don’t mind that it’s withering?

Chen: During transportation, there might be some bumps that altered the form. In fact, the work could be very moldable. If I saw a dent here or there, I could immediately reshape the work by hands on-site. Although this medium is an industrial material, it could be dealt in a very organic way. With unexpected bumps, the work would grow into a new form.

Shieh: Perhaps, it was because of its quality of being organic, the tapes and ink drops formed a unique effect on the works. I just asked him about this technique. SungChih dripped the ink into the layers of tapes when taping the works, creating an effect similar to the technique of texturing used in Chinese ink painting. By doing so, he employed the technique of sculpturing into two-

50

Chen: Yes, I hoped that I could select in the process of making the works. Perhaps, it was a mistake at the beginning, but maybe I could somehow transform this mistake through further observation, and convey the idea that there still existed another angle to look at this material or a kind of spontaneous phenomenon taking place during the process. Honestly speaking, every time I choose a new material, I am no less of a stranger than you guys are; but I get to know this material during the time of making use of it. For example, you can find printing paper in all the common bookstores, but the fiber of each brand actually varies. Even different brands of tapes create different residual glue. At the end, I was simply continuously looking for a material that fitted more properly to what I had imagined at the first place.

So, what you see right now is what finally matched my imagination. I had thought it would be quite simple.

However, it was more complicated because I had to wait for the glue to dry to paste the paper. I paste it one piece of paper after another, which was similar to painting a picture in successive strokes; and then, I ripped the paper one layer after the other. Afterwards, I scraped the surface with a cutting board, and started from the beginning all over again. I made seven or eight layers at the end. It would not do with a bit more or a bit less. When I looked at these works the next day, I could never remember how they looked the day before because they made me feel differently and had new faces each day. This corresponds to my creative concept that I look for different faces of myself in my works. I am conditioned by the normal order of the environment just like the works are covered by or embedded in acrylic boards. However, with the space created by the reflection of the glass, I was able to interfere with the concealing or covering membrane. So, this series of works is the first one that I felt I needed to be

theoretical perspective of post-modernism or posthistoricism.

Chen: Responding to this question, I must first say that I brought almost thirty-two pieces of works here and this was a series that took me the longest time. Professor just mentioned my training as a designer. I used to do a lot of spatial works and installations under one specific ideaâ&#x20AC;&#x201D;that all projects should be done in a fast pace. I wanted to show a concept, or an action, which was to surround the viewers with the space and the material in a way that was fast and concentrated. Originally, I thought this series should be easy because it involved simply tearing paper into pieces. This was a mistake I made at the very beginning. I often feel that there is an element of fortuity in my works that arises from many tiny mistakes.

I look into these errors to find a way to correct them and transform them into new possibilities. The examples include the mixture of washing powder and cement, the gum stepped on instead of being chewed, and the contradiction between the urinal odor and the space. Letâ&#x20AC;&#x2122;s return to the question. How difficult is it to rip the glued paper? Frankly, there were many procedures I could not entirely control during the creative process of making this series. I have been trying to discard the academic training of scientific, logical thinking. So, I have mostly chosen materials and techniques that could allow the element of spontaneity or fortuity. This also echoes the fact that I have always avoided an overly conscious manipulation of my body to represent the images of my works.

Shieh: So, you intentionally put aside the training of logical thinking received in school, and allowed yourself to be intuitive.

51

in a tranquil state of mind.

and continued together at the same time.

Shieh: Do you mean during the process of production?

Shieh: So all the works were actually produced together?

Chen: Yes. I couldnâ&#x20AC;&#x2122;t rush it because even the material I selected was really fragile. So, I was worried about the transportation, the thickness of the mirrors, and so on, all of which could lead to another unexpected change. I was, in fact, still trying to control the materials. They made me want to resist. I was happy to submerge in and challenge this sense of tug-of-war between the material and myself.

Hsieh: Youâ&#x20AC;&#x2122;re saying that the element of physical labor matters a lot during the production.

Chen: Yes. When I started, I did not really have a clear idea in terms of how the production would turn out. As a matter of fact, when I looked at these works every day, it was like a review of the thickness and results I had done the day before. I had to re-familiarize myself with it, to observe it again, so that I could decide whether I should continue or make it the end.

Chen: Exactly.

Chen: Yes.

Shieh: Many artists nowadays rely on assistants to produce their works. For instance, they rely on China to make the molds and the cutting, which is quick, cheap and precise. Are you saying that, on the contrary, personal labor is important in the production of your works?

Shieh: How about the tactile sensation when the paper was ripped off?

Shieh: You mean visually speaking?

Chen: That sensation was similar to the destructive procedure I used to do. I created a series by using this method.

Chen: This is unavoidable. For the assistants, every piece is the same, but it is different for me. So, the embellishing and the finalizing parts of the production still depend on me. I have to decide when to stop and what to add in or take out. When it comes to this, it is a repetitious procedure of piling up the thickness. For me, it becomes a race with time and my own strength because the work itself is concerned with time.

Shieh: Are you referring to the works of paper?

Chen: Yes. The sensation of ripping the paper was temporary. It was a process that you did not give much thinking to and the result was instant and irreversible. It depended on the fibrous tissue of the material.

Shieh: Not much thinking? Unbelievable.

Shieh: What you mean by your concern of time is that you would finish one work at a time once you begin, right?

Chen: The process that required more considerations was the scrapping. The result of the ripping was unchangeable.

The glue that remained on the paper would affect the

Chen: No. Actually, the whole series of works had begun

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form. I could only control this part up to 80 percent.

However, by scrapping the paper, I could decide whether I would make it membrane-like or simply destructed.

During this process, I could think about the structuring of the image. Therefore, although every part of the works might seem spontaneous, the finalized look still reflected my aesthetics.

covered parts were revealed. This process is similar to what I am inside that I could not see. What you see as the works is closer to who I am in appearances. However, I think the process of production, such as smashing the glass and hearing the sound, the bang and the moment of breaking, actually tackles the relation of governing and being governed by real life. This is also the reason why my works since 2002 have been delineating a form of destruction and death, or an object that is crumbling, breaking and disappearing. I have always felt that the remained is much more brutal than the disappeared. I reveal the imperfect, cruel reality in what is left of my works, whether in those small windows or in the spaces of bigger installations.

Shieh: Could you talk about the thrilling sensation of ripping the paper? I mean physically speaking, for example, when you did the piece hanging in the office of Project Fulfill Art Space; the one that was ripped altogether.

Chen: The power I used was the same.

Shieh: So it is a kind of sorrowful, brutal, and violent beauty. That particular moment of silence is like what we often see in the horror movies that the scary scenes are dubbed with splendid operatic music.

Shieh: Same as what?

Chen: Whether it was ripped in a large piece or a smaller scale, the power was the same. It was an action I could not redo, an irreversible action. It became the result I had to deal with afterwards.

Chen: Actually, I am really attracted to that kind of desolate beauty. You can see that in my writings as well as in the colors and the spatiality of my works. I have often created images of bleak or desolate beauty on top of the violent surfaces.

Shieh: I mean the sensation of ripping the paper in a physical sense. For example, when you smeared your hands with a thin layer of glue, and you ripped it off after it was dry, there should be a kind of dialogue between the membrane of glue and your skin. How about the dialogues between pieces of paper and between the paper and glass?

Shieh: What kind of music do you usually listen to when you’re working?

Chen: I mostly listen to pop music.

Chen: I feel that there are many sides to my personality. I’m really not that different from ordinary young people.

Chen: I would say it was like a sense of advancement, like getting rid of a barrier. When it comes to my own sensation, I think I was removing what I did not want to see in a powerful way or by a violent means so that the

Shieh: You’re thirty, and no longer young.

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Chen: I have my youthful moments after all. I think I am mature when I am working, but I am childish sometimes.

I am very curious. I remember Professor Hsieh asked me a question in 2005. “What made me to search for my inspiration or motive as if I am in a ‘cave’?” I gave this question much thought, and I realized that when I was not thinking about art, the transient moments that caught my attention were actually the nourishment of my art.

They became the beginnings. For example, I mentioned that I saw the wall of gum at Juliet’s House in Italy. It could connect people’s emotion. Or, a dusty box of washing powder at home might trigger my imagination. These things are accidental. They are not the outcome of my contemplation on what could be turned into art. So, after my academic training, I am more inclined to explain my works in a relatively “simple” way, for example, the short paragraph I have written for this exhibition that is available here. The simpleness is not precision but rather a kind of directness that leads the viewers to enter my thinking on the polar region or the beginning of my works. I straightforwardly make you wonder whether the forms are close to the geography. I demand no profound interpretations from the viewers. Instead, I hope to bring the viewers’ attention to how the artist has tried to expand and develop these insignificant materials through the epitome of life. Finally, it became this series of artworks in this space. What I have done is to share. I share with everyone my attitude toward the surrounding environment at the moment. Professor mentioned that I’m thirty. Actually, I’m already thirty-two. My works used to be very sharp and edgy because I wanted to show you everything. For some time, my works became very reserved because I tried to be evasive to protect myself.

This is the first decade of my career and this exhibition is the fifteenth. I hope to find an area of balance between

the excessive and the inadequate. Between people and the objects, or between the viewer and the material, this area provides a space of appreciating my art. It is, however, a membrane, a frame of length I have measured to let you see me at the present stage of my life. The truth is I don’t necessarily mean to specifically communicate a major issue or deliver a lofty theory. For me, I simply reveal alternative methods of artistic creation. Many of my works are, therefore, absolutely finalized, or unfinished for this matter. Allow me to digress. I put a lot of efforts in making four pieces of that huge artwork, but one was damaged during the transportation. However, the damaged one accidentally gave me another idea. At the subsequent exhibition to this one, I’ll make a large installation onsite. In fact, after I think about it, every painful or bumpy incident, every clue that does not fall into the range of my control, always unveils a new direction of my work. I hope that I could always persist in finely developing these accidents into future works.

Shieh: Did you learn that doing this series? I remembered that when you were frustrated, you would feel very anxious.

Chen: Yes. Shieh: But you managed to transcend this anxiety this time.

Chen: To look back upon it, it doesn’t seem much of a big deal since what I am doing is art. I feel very fortunate that I am an artist because that entitles me the license to deal with these materials and objects at least. To create is the duty of artists. So, there seems to be nothing that an artist could not do, and because of this, the most unrestricted

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part of it is the so-called adventures or the unexpected inspiration.

is no interaction between the public and the works. It is an art of “adding” stuff, an art of putting roadblocks in the streets. What is life? What is art? What is professionalism?

How does professionalism connect art and life? In my opinion, Sung-Chih has the talent to amalgamate these two. However, academic training could confine artists in certain ways. This is a problem that is worth careful consideration. What are your capabilities? What don’t you need from others? You do not need awards to encourage your pursuit an artistic career. As the wall of gum at Juliet’s House could inspire your, you can see that it is no longer an acquired skill from school but your artistic instinct.

Sung-Chih had demonstrated this ability in his work in Taichung when he was twenty. In fact, you only need to believe in yourself, you will feel satisfied without the acknowledgements of awards.

Shieh: I think the duty involves not only the mission of creating art but also discovering it. Our works are discoveries, or created in the process of discoveries.

Chen: What I do is simply replacing microcosms of life in a pure environment of art so that we could look into them intuitively. As a matter of fact, I think these materials have their values that define them and are worth our attention.

Hsieh: I think that what artists discover is the moment that something resonates with his being. Viewers are also looking for the works they can relate to. Is the academic training important? Holding fifteen solo exhibitions in ten years is already pretty impressive. Every exhibition had to present a new topic in a different form. It differs from the touring exhibitions that show the same thing at different locations. I notice that Sung-Chih’s every exhibition is subtly connected yet unique. This is what impressed me. That’s why I asked whether an academic training is necessary because artistic education in Taiwan habitually partitions art and life into two parts. This partition is sometimes transparent and sometimes opaque. I just got an email from a friend telling me that there are a lot of colorful LEGO under the pillars of a cathedral in Switzerland. Many children can use this material to create things. Then, people begin to see those creative works growing between the spaces of those pillars. This shows us that there is no boundary between life and art. It saddens me that Taiwanese art education only concerns with drawing on paper in those so-called art classrooms. When it comes to public art, the public could only appreciate the artworks from a distance without touching them. So, I often call these artworks major roadblocks because there

Chen: My previous works didn’t have a subject I was referring to, but this time I used the polar region as a metaphor. What gave me this idea is frankly my expectation of the end of the world. Every time I saw the news about collapsing icebergs caused by climate change, I felt a sudden rush of excitement. That image was imprinted in my mind. Of course this was a very minor incident in my daily life, but this preliminary impression or idea germinated this image. I have never received any academic training in sculpture. If the basic concept of sculpture were a process of adding and reducing, I would say that I have used a very mechanical, manual approach, which is the technique I have, to do my works.

At the beginning of making sculptural works, the first thing I came in contact with was very flat and monofacet. Therefore, as I was dealing with three-dimensional works, I had to consciously imagine their forms as well as the subsequent cutting traces and the facets. Maybe

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these works appear to you as the geography of the polar region, or maybe they donâ&#x20AC;&#x2122;t. They are simply unfinished, a simply accidental combination of stainless steel and raw styrofoam. They certainly match my imagination of the polar region, or some remote places that I have never been to. They are the objects that I have created with my imagination.

or even an anti-material society; but the styrofoam parts on the outside are utterly unrefined structures. It is like a dialogue between the second dimension and the third dimension. They exist independently.

Chen: And co-exist at the same time.

Shieh: They do no pose any threat to one another, but one needs wisdom to traverse between them. If we are capable of thinking from the perspectives of the twodimensional, three-dimensional and four-dimensional, we could comfortably cope with the natural disparities inbetween.

By minimizing the extremely large site, and by maximizing the tiny water molecule, people become gigantic from their perspective of appreciating these works in this miniature size I have created. I use height to form an equal relation between the viewers and the small objects.

There are mirroring spaces on the works as well as images mirrored on reflective materials. I define this to be a kind of poetic conflict between our life or our space and other different spaces. I would say that this conflict is not something I need to control because it speaks to the entire site, and it is constantly enlarged because people will continue to interfere with the reflection factor. Although the works are firmly fixated on the bases, the shine or spatiality that is embedded and endlessly extended produces many levels that I think is very compelling.

Shieh: Biologically speaking, some species could only sense the second dimension, and some the third, and some the fourth. When a creature of the third dimension launches an attack on a creature of the second, the latter one honestly cannot feel a sense of threat because, to the latter, the former does not even exist. However, as outsiders, we might feel nervous to see this. Therefore, your works should be called three-dimensional modeling instead of sculptures. The parts of the white color are very low-tech whereas the parts of the mirror seem very high-tech. The mirror reflects a three-dimensional space,

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圖版 Plates

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Delicate Sensibilities ( 微弱的美感 ) Timber, 775 x 338 cm/ site specific installation 2011-2012 (Project Fulfill Art Space, Taipei) 61

Delicate Sensibilities- partial ( 微弱的美感‐局部 ) Timber, 775 x 338 cm/ site specific installation 2011-2012 (Project Fulfill Art Space, Taipei) 62

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Untitled-Daily Sculptures 2 (無題-日常的雕塑2) Timber, 250 x 235 x 320 cm, 2011-2012 64

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Delicate Sensibilities #0525- Drawing ( 微弱的美感系列 #0525- 素描 ) Drawing, 58x68cm, 2011-2012 Delicate Sensibilities #0526- Drawing ( 微弱的美感系列 #0526- 素描 ) Drawing, 58x68cm, 2011-2012

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Delicate Sensibilities #0526 (微弱的美感系列 #0526) Drawing, timber 58 x 68cm/ 46 x 240 x 1.5 cm, 2011-2012 67

Delicate Sensibilities #0525 (微弱的美感系列 #0525) Drawing, timber 58 x 68cm/ 46 x 240 x 1.5 cm, 2011-2012 68

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Delicate Sensibilities #0527 (微弱的美感系列 #0527) Timber, 58 x 68 cm, 2011-2012 70

Delicate Sensibilities #0528 (微弱的美感系列 #0528) Timber, 58 x 68 cm, 2011-2012 71

Delicate Sensibilities (微弱的美感系列) Canvas, timber, 32 x 42 cm, 2011-2012 72

Delicate Sensibilities #3 (微弱的美感系列 #3) Canvas, timber, 32 x 42 cm, 2011-2012

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Untitled-Daily Sculptures - partial(無題-日常的雕塑‐局部) Paper, glasses, 3 tones of construction sand/ site specific installation Dimensions variable, 2010 (Project Fulfill Art Space, Taipei) 74

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Untitled-Daily Sculptures (無題-日常的雕塑) Paper, glasses, 3 tones of construction sand/ site specific installation Dimensions variable, 2010 (Project Fulfill Art Space, Taipei) 76

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Untitled 2010 (ç&#x201E;ĄéĄ&#x152;2010) Mirror and paper/ installation 550 x 550 x 550 cm, 2010-2011 (National Taiwan Museum of Fine Arts, Taichung) 78

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Untitled 2010- partial (無題2010-局部) Mirror and paper/ installation 550 x 550 x 550 cm, 2010-2011 (National Taiwan Museum of Fine Arts, Taichung) 80

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Untitled 2010 (ç&#x201E;ĄéĄ&#x152;2010) Mirror, paper/ installation 638 x 540 x 420 cm, 2010 (Taipei Fine Arts Museum, Taipei)

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Untitled 2010-A (無題2010-A) Stainless steel, styrofoam 45 x 25 x 20 cm, 2010 84

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Untitled 2010-B,C (無題2010-B,C) Stainless steel, styrofoam 45 x 25 x 20 cm, 2010

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Untitled 20100705-1 (Drawing) (無題20100705-1素描) Tape, ink, 19.7 x 30 cm, 2010 Untitled 20100705-2~4(Drawing) (無題20100705-2~4素描) Tape, ink, 19.7 x 30 cm, 2010

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Untitled 201101~9 (Drawing) (無題201101~9 素描) Tape, ink, 21 x 29.7 cm, 2011 91

My Dear Wrinkle–A (親愛的瑞音蔻- A) C-print/ photograph 90 x 60 cm, 2010 (each), 2010 92

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My Dear Wrinkle–B~E (親愛的瑞音蔻- B~E) C-print/ photograph 90 x 60 cm, 2010 (each), 2010 94

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My Dear Wrinkle–F,G (親愛的瑞音蔻- F,G) C-print/ photograph 90 x 60 cm, 2010 (each), 2010 96

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My Dear Wrinkle–H,I,J (親愛的瑞音蔻- H,I,J) C-print/ photograph 90 x 60 cm, 2010 (each), 2010

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My Dear Wrinkle–1 (親愛的瑞音蔻-1) Pvc, timber 80 x 80 x 170 cm (each), 2010 101

My Dear Wrinkle–2~5 (親愛的瑞音蔻-2~5) Pvc, timber 80 x 80 x 170 cm (each), 2010 102

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My Dear Wrinkle–Drawing5 (親愛的瑞音蔻-素描5) Paper tape, charcoal 21 x 29.7 cm (each), 2010 105

My Dear Wrinkle–Drawing1~4 (親愛的瑞音蔻-素描1~4) Paper tape, charcoal 21 x 29.7 cm (each), 2010 106

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To Sung-Chih CHEN (寫給陳松志) Digital print, 45 x 60 cm, 2008

寫給陳松志 松志： 你好嗎？沒什麼特別的事，就是跟你閒聊問候一下近 況，我幾乎已不太記得上一回看到你是什麼時候了？你依 舊習慣穿著那一條破掉的Levi's 532、黑色的All star，愛吃炸 雞喝可樂、愛看暴力驚悚的電影，老是重複聽著杰倫的同 一首歌，以及維持你一貫的面無表情？ 我知道你一直是一個想很多的人，你雖然不常聊你自己 的事，不過從你的創作中我知道你對於即將逝去的一切總 有多一點不捨，你花了很多的時間在尋找生活中我們所忽 略的角落，或許這些現實都讓你一再一再的看到現實世界 的多變無情，也反映著你對於生活有極大的不安感，你幫 我們把這些、那些留住，的確讓我對生活多一點關愛以及 多在乎自己的感受一點，哪怕是從這塊玻璃的縫隙中看到 行進中的改變事物、從那塊碎裂的鏡子端看自己不完全的 潛在樣貌，或者在無意間都能學會發現生活裡平凡中的神 聖。 很快的，今年你都滿三十歲了，雖然你總是覺得生活中 沒有什麼好開心的，在我看來你是個很幸運的人，我倒是 很羨慕你可以透過你的創作記載你每個階段的生活點滴， 這些年間你有機會到世界去走走看看，找個機會記得多跟 我分享你一個人在倫敦、開羅、巴黎、柏林、雅典、巴塞 隆納、哥本哈根……或者在台北發生的事物好嗎？不要忘 記你的朋友還是很關心你的，現在的時間是早晨的六點 二十三分，寫信給你的同時，天剛剛亮，我頭一次發覺外 邊的鳥叫聲還滿好聽的，從窗外灑落在牆邊的搖曳樹影頗 有你的幾分味道，我決定待會先去一趟早餐店點一份你敎 我吃的「花生土司夾蛋」以又鹹又甜的滋味作為今天的開 始，記得多愛自己一點，期待再見。 願一切都好 陳松志 二零零八年五月十五日

Letter for Sung-Chih CHEN Sung-Cchih, How's it going? Nothing special around here, I just wanted to update you on what's going on lately. I hardly remember the last time I saw you.

Are you still wearing that old pair of Levi 532s with your black Converse All-Star sneakers? Do you still love eating fried chicken, drinking cola, and watching violent thrillers? And are you still listening to that same Jay Chou song while maintaining your air of nonchalance?

I know you've always been a thinker. Though you don't like to talk about yourself, I can see from your work that you are nostalgic about things that are on the brink of disappearing. You spend a lot of time looking for those forgotten corners that the rest of us neglect in our everyday lives. Maybe all of these are constant reminders to you of the changeable and indifferent nature of reality, and are a reflection of your uneasiness about the way we live. Your effort to preserve this and that really does help me to care about life a little more, and to be more aware of my own feelings -- even if we only catch a quick glimpse of ongoing changes through gaps between planes of glass, or observe a fragmented reflection of ourselves though a fractured mirror, or unconsciously learn to discover the ordinary sacredness of everyday living.

Time flies. You are 30 this year. You've always felt as though there is not much to be glad about in life, I think you have been a fortunate person though. I envy how, through your work, you are able to record the drips and drabs of each stage of your life. In the last few years, you've had opportunities to travel and see the world. When you get a chance, will you tell me about the things you encountered on your own in London, Cairo, Paris, Berlin, Athens, Barcelona, Copenhagen… or Taipei?

Don't forget that your friends still care about you. It's 6:23 in the morning as I write to you, and day has just broken. For the first time, I notice how nice it is to hear birds chirping outside. There is a shadow on the wall from light filtering through the leaves of the tree outside my window, and it reminds me of you. I've decided that I am going to go to the breakfast café to order the “peanut butter and fried egg on toast” that you introduced me to, and to begin my day with that sweet yet savory taste in my mouth.

Please remember to love yourself a little more. I look forward to seeing you again.

Hope everything is well, Sung-Chih CHEN May 15, 2008

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Untitled-Room 1 (無題-房間1) Found objects, urine, awhirl motor / interactive installation 730 x 610 x 300 cm, 2008 (Museum of Contemporary Art, Taipei) 110

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Untitled-Room 1- partial (無題-房間1-局部) Found objects, urine, awhirl motor / interactive installation 730 x 610 x 300 cm, 2008 (Museum of Contemporary Art, Taipei)

Untitled-Room 2 (無題-房間2) Mirror, timber / installation 730 × 610 × 300 cm, 2008 (Museum of Contemporary Art, Taipei) 114

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Untitled-Room 2- partial (無題-房間2-局部) Mirror, timber / installation 730 × 610 × 300 cm, 2008 (Museum of Contemporary Art, Taipei) 116

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Untitled-Room 2- partial (無題-房間2-局部) Mirror, timber / installation 730 × 610 × 300 cm, 2008 (Museum of Contemporary Art, Taipei) 119

Untitled – Window (無題-窗) Site-specific installation Dimensions variable, 2008 (Museum of Contemporary Art, Taipei)

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Untitled 20080809-1,2 (ç&#x201E;ĄéĄ&#x152;20080809-1, 2) Wallpaper, timber, water paint 366 x 244 cm (each), 2008 (435 International Artist Village, Taipei) 122

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Untitled 20080809-1 (ç&#x201E;ĄéĄ&#x152;20080809-1) Mixed media, 366x244cm, 2008 (435 International Artist Village)

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Untitled 20070719-1 (無題20070719-1) Wallpaper, timber 122 x 122 cm, 2007~2009

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Untitled 20070719-2 (無題20070719-2) Wallpaper, timber 122 x 122 cm, 2007~2009

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Untitled 20070801-4 (無題20070801~4) Wallpaper, timber 122 x 122 cm, 2007~2009 129

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Untitled 20060107 (無題20060107) Wallpaper, timber, 600x200cm, 2007~2009 131

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Metro Paris -1~5 (地鐵巴黎1~5) C-print/ photograph, 42 x 29.7 cm (each), 2007~2009

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Untitled 20071017-1,4 (無題20071017-1,4) Rubbish bag, sticky tape 40 x 20 cm, 2007~2008 135

Yesterday (昨天) Rubbish bag, sticky tape/ site specific installation 650 x 350 x 30 cm, 2006~2007 (The Stock 20, Taichung) 136

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Yesterday-1 (昨天系列1) Rubbish bag, newspaper 29 x 35 cm, 2006

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The Sunday Morning (星期天的早晨) Rubbish bag, newspaper/ installation 50 x 50 x 30 cm (42 pcs), 2006 (The Townhouse Gallery, Cairo)

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How Far is the Distance? (有多遠的距離?)

Video, 4 mins, 2006 (still image) 142

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Borderline (é&#x201A;&#x160;ç&#x2022;&#x152;) Timber, pvc, bright water paint / site specific installation Dimensions variable, 2006 (Taipei Fine Arts Museum, Taipei)

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In Between…(界…)

Timber, water paint, making tape / site specific installation 600 x 330 x 300 cm, 2005 (Shin Leh Yuan Art Space, Taipei) 146

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In Between…- partial(界…-局部) Timber, water paint, making tape / site specific installation 600 x 330 x 300 cm, 2005 (Shin Leh Yuan Art Space, Taipei) 148

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Untitled 2005 (ç&#x201E;ĄéĄ&#x152;2005) Timber, varnish / site specific installation 750 x 330 x 300 cm, 2005 (Shin Leh Yuan Art Space, Taipei) 151

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Untitled 2005- partial (無題2005-局部) Timber, varnish / site specific installation 750 x 330 x 300 cm, 2005 (Shin Leh Yuan Art Space, Taipei) 153

Untitled 2005 (ç&#x201E;ĄéĄ&#x152;2005) Timber, water paint / site specific installation 750 x 330 x 300 cm, 2005 (The Stock 20)

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Domestic Play and Quotidian Poetry (家庭劇與日常詩) Mixed media/ installation Dimensions variable, 2006 (The Stock 20, Taichung) 156

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The Sunny Day (晴天) Mixed media/ site specific installation Dimensions variable, 2005~2006 (The Stock 20, Taichung) 158

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A Reverse Space1-4 (背部空間系列1~4) Timber, plastic, incandescent bulb 150 x 180 cm (each), 204-2005 160

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Outdoor Scene (外面) Wood , plastic ,bean sprouts, smell/ site specific installation 600 x 320 x 300 cm, 204-2005 ( Sin Pin Art Space, Kaohsiung)

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The Eighth Day-Single Room (第八天系列-單人房) Bright water paint on wall/ site specific installation 560 x 450 x 300 cm , 204-2005 (Shin Kong Mitsukoshi A9, Taipei) 168

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The Eighth Day (第八天) Bright water paint on wall/ site specific installation 336 x 375 x 289 cm, 2004 (Nells Home Art Space, Taichung) 170

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Luxurious Degradation (奢侈的墮落) Chewing gum, carpet, smell / site specific installation 259 x 1219 x 244 cm, 2003 (Kaohsiung International Container Arts Festival 2003) 173

Luxurious Degradation (奢侈的墮落) Chewing gum, carpet, smell / site specific installation 259 x 1219 x 244 cm, 2003 (Kaohsiung International Container Arts Festival 2003) 174

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Artificiality (矯揉造作) Washing powder mix concrete, carpet/ site specific installation Dimensions variable, 2003 (Shin Leh Yuan Art Space, Taipei) 177

Artificiality- partial (矯揉造作-局部) Washing powder mix concrete, carpet/ site specific installation Dimensions variable, 2003 (Shin Leh Yuan Art Space, Taipei) 178

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Memory‧Orchard (記憶‧果園) Baked apples , varnish / site specific installation Dimensions variable, 2003-2004 181

Wa! ha-ha! (哇.哈哈) Mixed media /kinetics installation 400 x 800 x 550 cm, 2001-2002 (The Stock 20, Taichung) 182

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Search…(搜尋) Washing powder mix concrete, toys Dimensions variable, 2001

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D2 (D2) Acrylic, mirror 33 x 22.5 cm, 2000-2001

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創作理念

對於「時間/痕跡」的眷戀描繪一直是陳松志創作中持續關注的面向，過去以來常 藉以粗劣(鄙)的媒材/手法，來建構一個看似簡約卻又夾雜著極繁情感的頹糜/荒謬 空間。當科技引領人類走向高畫質(Hi-Fi)的視窗，在陳松志的創造過程中，卻以幾 近粗劣(Low-Fi)的途徑來背離當前的審美慣性，嘗試在「醜陋美學」的認知上提供 觀者新的感官經驗，其創作中顯見年輕世代存在現實，反觀既往的荒謬衝突，創作 者透過各種微觀的角度來觸發身處在機械時代的人們，在其建構的壓縮時空中，尋 找那逐漸被忽略的生活片段/記憶，從陳松志的創作發展看來儘管媒材迥異，然而 不變的是作品中不斷地找尋、釋放那失落的人性與體溫。 在其過往的創作思考中，似乎存在著一種企圖，企圖去碰觸各式非視覺元素的形式 語言，過往的作品中透過各式的氣味(嗅覺)、不同的身體互動(視覺、觸覺)、以及 生活中熟悉的聲響（聽覺），試圖利用我們的感官去活絡被理性以及現代生活速度 所排擠的身體/心靈空間，透過人類最基本共通的感官知覺，來破除既定的文化差 異及社會價值顯然這是一個十分柔軟潛入的途徑。當身體原生本能與生命歷程經驗 被引領至其所創造的空間場域中，人在參與互動的過程中感知兀自的碰撞、分離、 重組，由於每個個體的生命歷程經驗各異而使得在這求「知」的途徑中，變得極 為敏感而又複雜。在此一「無所見」抑或「不可見」的形態下被全然瓦解，彷彿讓 人、讓所有的物料回歸到原生、或是趨近於歸零的狀態，以最輕的體態捕捉當下迅 速的各自感受，其所顯現的往往觸及人們感/詩性思維的本質所在。 陳松志總是盡可能在平淡無奇的生活中尋找人性、物性醜態下的殘存美感，這美是 來自於自然法則的毀落，這美是來自於消耗後的殘狀，這美也可能是來自暴力後的 痕跡。其善於抽象化一日常生活的記憶片段，在具形與意之間牽引出個人之於荒謬 現實的多重矛盾關係。藉以最粗陋的物質建構起一場場質變再生的輪迴劇情，在這 荒謬、虛構的生活劇場中，觀眾是被邀請來目睹每一個我們都熟悉卻總是被我們忽 略的寫實人生，歷歷在前的則是一個充滿神聖的死亡儀式，任何的生命、物質在此 透過毀落並非終結，而是轉化成另一個重生的序幕。

189

Statement of the Artist The depiction of attachment to “time/vestige” has been a focus of Sung-Chih Chen, who is skilled in utilizing the materials that portray the opposition between the industrial civilization and natural organisms to manifest how people in the mechanical period survive the changing environment and introspect. Chen often uses crude media or techniques to construct an absurd space with concise design mixed with complicated emotions. As technology guides the humans to hi-fi window, the creation was completed in a rather low-fi approach to detach from the conventional appreciation of beauty. It offers a new experience to the audience on “deformation aesthetics”. The work portrays the reality existed in the younger generation and reflected the existing absurdity and conflict. The artist inspired the audience in the mechanical period through different sensory paths (vision, smell, and touch) to seek out the subtle feeling that faded from their memories in the compressed space. Although the media used for Chen’s works varied, his determination and attention to “the warmth of humanity” persisted.

Looking at Sung-Chih Chen’s creative thinking in the past, there seems to exist a certain attempt, an attempt to touch all sorts of non-visual formal languages. In his past art pieces, he tries to use our senses, the sense of smell through all kinds of smells, the sense of vision and touch through different body interactions and the sense of hearing through familiar sounds in life to enliven bodies and minds that are squashed under rationality and modern living paces. This is obviously quite a soft approach going through human beings’ most common senses and perceptions to break away from rigid cultural differences and social values. When human body’s primary instinct and its experience in life are guided to enter into a space that it creates, people’s perceptions collide, divide and reassemble among one another in the process of interactions. As the experience of life for each individual differs, the path to search for “the perception” becomes sensitive and complicated, and is entirely broken down under the “non-perceptible” or “imperceptible” conditions. It seems to let people or all objects return to the primary state, or the state close to zero. To catch instant perception of each individual by the lightest measure may often touch people’s nature of perceptual or poetic thinking.

Sung-Chih Chen always tries his best to search for human nature in plain life, and for the remaining sense of beauty from ugly objects. This beauty comes from the destruction of natural law, from the residue after consumption, or maybe from the trace after violence. Its abstracted marvel – memory fragments from daily lives between the form and the meaning reveals the multi contradictory relations of each individual toward the absurd reality. By the roughest materials, incarnation dramas of change and rebirth are constructed one after another. In this absurd, fabricated life show, the audience is invited to witness each and every real life that we are familiar with while ignorant of. What have been shown in front of us are death rituals full of holiness. Any fallen life or substance does not end here, but opens up the beginning of another transformed rebirth.

190

191

簡歷 陳松志 1978 生於台灣南投，目前居住創作於台中、台北

學歷 2005

國立台南藝術大學造形藝術研究所 藝術碩士(MFA)

2002

朝陽科技大學-視覺傳達設計系 藝術學士(BFA)

經歷 2011

倫敦中央聖馬汀藝術設計學院Central Saint Martins平面造型設計研修(英國/倫敦)

行政院文建會鐵道藝術網路台中站-二十號倉庫第十一屆駐站藝術家(台灣/台中)

2009

朝陽科技大學駐校藝術家(台灣/台中)

2008

獲選三宅一生(ISSEY MIYAKE)與台灣年輕藝術家年度合作案(台灣/台中)

台北縣政府甄選第二屆板橋435國際藝術村駐村藝術家(台灣/台北)

2007

行政院文建會96年度甄選出訪Cité International des Arts駐村藝術家(法國/巴黎)

2005

台北國際藝術村2005年出訪The Townhouse Gallery駐村藝術家(埃及/開羅)

2004

行政院文建會93年度甄選文化創意人才出訪Visiting Arts London藝術家 (英國/倫敦)

行政院文建會鐵道藝術網路台中站-二十號倉庫第四屆駐站藝術家(台灣/台中)

獲獎 2012

第二屆35視覺藝術家支持計畫-易雅居藝術獎得主

第12屆李仲生基金會視覺藝術獎得主

2008

台北美術獎 優選

2005

第三屆台新藝術獎2004年度七大視覺藝術

2003

台北美術獎 優選

2001

財團法人世安文教基金會 世安藝術創作獎

1999

1999國際紙藝術創作 優選

獎助 2012

財團法人國家文化藝術基金會101-1美術出版補助

台北市文化局101-1展覽補助

2007

台北市文化局97-2展覽補助

2006

財團法人國家文化藝術基金會95-2創作補助

2005

財團法人國家文化藝術基金會94-1美術展覽補助

192

個展 2012

2012陳松志個展，就在藝術空間，台北

微弱的美感，Art Fair Tokyo，東京

無關的意外，黑白切藝術空間，台中

2010

極地，就在藝術空間，台北

親愛的瑞音蔻，日升月鴻畫廊，台北

2009

未命名，有寬藝術畫廊，台中

2008

你在，台北當代藝術館，台北

陳松志同名個展，新樂園藝術空間，台北

2007

從前‧從前，Cité Internationale des Arts Gallery，巴黎

2006

星期天的早晨，The Townhouse Gallery，開羅

家庭劇與日常詩，20號倉庫，台中

2005

第七卷，新樂園藝術空間，台北

2004

於是，你看見這樣的我，新濱碼頭藝術空間，高雄

第八天， Nell's Home藝文空間，台中

2003

失溫三十七度半，中研院生圖美學空間，台北

矯揉造作，新樂園藝術空間，台北

2001

哇‧哈哈，得旺公所，台中

搜尋，Showplace，台中

聯展 2012

軟實力-形態與趨向，大趨勢畫廊，台北

集合物語，20號倉庫，台中

第12屆李仲生基金會視覺藝術獎作品展，成功大學藝術中心，台南

尋找101，伊通公園，台北

一步，20號倉庫，台中

2011

粉樂町2011，富邦藝術基金會，台北

複感‧動觀-2011海峽兩岸當代藝術展，國立台灣美術館，台中

複感‧動觀-2011海峽兩岸當代藝術展，中國美術館，北京

T-Art藝術博覽會，長榮桂冠酒店，台中

迎新舞會，20號倉庫，台中

2010

白駒過隙 山動水行，台北市立美術館，台北

2009

一日十年，20號倉庫，台中

193

當代價值：一個持續進行的歷史，日升月鴻畫廊，台北

2008

2008台北美術獎，台北市立美術館，台北

小甜心-伊通公園二十週年慶，伊通公園，台北

光芒-三宅一生/台灣年輕藝術家，ISSEY MIYAKE 旗艦店，台中

臺灣製造-在地性．觀點，竹圍工作室，台北

2008板橋435國際藝術家駐村藝術家聯展，435藝文特區，台北

M.O.T沙龍展，明日美術館，台北

2007

感知相變，現代畫廊，台中

2006

CO6台灣前衛文件展，台中市文化局動力空間，台中

過境-城市行旅，20號倉庫，台中

2006藝術家博覽會，華山文化創意園區，台北

無所不在，台北國際藝術村，台北

台北二三，台北市立美術館，台北

0到10到無限-台南藝術大學十周年校慶校友展，藝象藝文中心，台南

城市曼波，新樂園藝術空間/ Chrissie Cotter Gallery，台北/雪梨

2005

吵藝術節-吵短片，信義華納威秀影城，台北

流動的市中心-Bee TV錄像展，大台北聯合公車，台北

地平線-開啟閱讀的新風景，誠品書店，台中

最藝．醉藝-第三屆台新藝術獎入圍特展，新光三越A9，台北

流形感冒-南新濱北樂園交流展，新濱碼頭藝術空間，高雄

捉影-素描主題展，20號倉庫，台中

再看我一眼，伊通公園，台北

2004

CO4 台灣前衛文件展，華山藝文特區，台北

大無限─國立台南藝術學院造形所第七屆畢業創作展，20號倉庫，台中

打開心胸鐵鎚功-新樂園第六期成員展，新樂園藝術空間，台北

情人座與自在的產房，20號倉庫，台中

後文明-2003高雄國際貨櫃藝術節，高雄

2003

異時。在地/20號倉庫，嘉義鐵道倉庫，台中，嘉義

2003台北美術獎，台北市立美術館，台北

有菱有角的顆-台南藝術學院造形所第七屆成果展，台南藝術學院，台南

搜尋未來片段的軌跡，中研院生圖美學空間，台北

2002

CO2台灣前衛文件展，華山藝文特區，台北

阿貓也有春天-台南藝術學院造形所所展，台南藝術學院，台南

194

20號倉庫的浪漫革命，20號倉庫，台中

無敵海景大排檔-新樂園第五期成員開幕聯展，新樂園藝術空間，台北

椅子新風貌/台中市立文化中心-動力空間，台中

2001

中日稻草文化交流及編織工藝展，草屯，南投

陽漾-陳松志 胡財銘 Alexandre Chevalier三人展，新樂園藝術空間，台北

鐵道色區藝術節-台中20號倉庫特展，嘉義鐵道倉庫，嘉義

得藝旺形-得旺公所遶境展，台中縣立港區藝術中心，台中

中途站-二十號倉庫第二屆駐站藝術家聯展，20號倉庫，台中

Body party-六人聯展， showplace ，台中

2000

觀雨季聯展，朱銘美術館，台北

清水碑仔口光的裝置藝術展，清水碑仔口，台中

1999

1999國際紙藝術創作聯展，中興紙廠，宜蘭

收藏 2001-2012 朱銘美術館、國立台灣美術館透視當代藝術數位典藏、私人收藏

公共藝術 2011

作品「無題-系列」獲高雄市亞熱帶低碳智慧生活應用科技與設計發展研究中心公共藝術新建工程

2007

作品「和平之歌」獲台中市西屯第二分局暨永興派出所公共藝術新建工程

2005

作品「第八天起飛」獲台中市北屯區四民衛生所公共藝術新建工程

195

Curriculum Vitae Sung-Chih CHEN 1978 born in Nantou, Taiwan, lives and works in Taichung, Taipei, Taiwan Education Background 2005 M.F.A, Institute of Plastic Art, Tainan National University of The Arts, Taiwan 2002 B.F.A, Department of Visual Communication Design,

Chaoyang University of Technology, Taiwan Experiences 2011 Graphic Design Course Study Program, Central Saint Martins, London, UK

Artists-in-residence Program, The Stock 20 , Taichung, Taiwan 2009 Artists-in-residence Program, Chaoyang University of Technology, Taichung, Taiwan 2008 Artists-in-residence Program, 435 International Artist Village, Banciao, Taipei 2007 Artists-in-residence Program, CitĂŠ International des Arts, Paris, France 2005 Artists-in-residence Program, The Townhouse Gallery, Cairo, Egypt 2004 Artists-in-residence Program , Visiting Arts London, London, UK

Artists-in-residence Program, The Stock 20 , Taichung, Taiwan Awards 2012

2008 2005 2003 2002 1999

35 Visual Artist Support Winner The 12th Visual Arts Prize of Li Chun-shan Foundation 2008 Taipei Arts Award Best-selected 2004 Taishin Arts Award - Top 7 of Visual Arts 2003 Taipei Arts Award Best-selected S.A.N Art Creativity Sponsored Reward of S.A.N Foundation Best-selected in International Paper Art

Grants 2012

2008 2006 2005

National Cultural and Arts Foundation 2012-1 Fellowship Taipei City Government Department of Culture Affairs 2012-1 Fellowship Taipei City Government Department of Culture Affairs 2008-2 Fellowship National Cultural and Arts Foundation 2006-2 Fellowship National Cultural and Arts Foundation 2005-1 Fellowship

Solo Exhibitions 2012 Sung-Chih Chen 2012, Project Fulfill Art Space, Taipe

Delicate Sensibilities, Art Fair Tokyo, Tokyo

196

2010

2009 2008

2007 2006

2005 2004

2003

2001

Unrelated Accident, Black&White Gallery, Taichung Polar Region, Project Fulfill Art Space, Taipei My Dear Wrinkle, Ever Harvest Art Gallery, Taipei Untitled, The Quan Gallery, Taichung You to Be , Museum of Contemporary Art, Taipei Chen Sung-Chih Solo Exhibition 2008, Shin Leh Yuan Art Space, Taipei Once Upon a Time, Cité Internationale des Arts Gallery, Paris The Sunday Morning, The Townhouse Gallery, Cairo Domestic Play and Quotidian Poetry, The Stock 20, Taichung Vol.7, Shin Leh Yuan Art Space, Taipei Then …You See Me Like That, Sin Pin Art Space, Kaohsiung The Eighth Day, Nell’s Home, Taichung Dropping Body Temperature to 37.5℃ ,Life Science Library, Taipei Artificiality, Shin Leh Yuan Art Space, Taipei Wa-Ha Ha, Want space, Taichung Search…, Showplace, Taichung

Group Exhibitions 2012 Soft Power-The Intangible Indicator, Main Trend Gallery, Taipei

Daily Collection of Abstract Play, The Stock 20, Taichung

2012 The 12th Visual Arts Prize of Li Chun-shan Foundation, NCKU Art Center, Tainan

Looking for 101 , IT Park Gallery, Taipei

2012 A Pace, The Stock 20, Taichung 2011 Very Fun Park 2011, Fubon Art Foundation, Taipei

Flourishing and Flowing, National Taiwan Museum of Fine Arts, Taichung

Flourishing and Flowing, The National Art Museum of China, Beijing

T-ART Taichung Art Fair, Evergreen Hotel, Taichung

Freshmen Welcome Party, The Stock 20 , Taichung 2010 Time Unfrozen, Taipei Fine Arts Museum, Taipei 2009 One Day One Decade , The Stock 20 , Taichung

Contemporary Value-A Processing History, Ever Harvest Art Gallery, Taipei 2008 2008 Taipei Arts Award, Taipei Fine Arts Museum, Taipei

Sweeties-Celebrating 20 Years of IT Park, IT Park Gallery, Taipei

The Light Enters You- ISSEY MIYAKE x Young Taiwan’s Artists, ISSEY MIYAKE, Taichung

Local Viewpoint- Made In TAIWAN, Bamboo Curtain Studio, Taipei 2008 Resident Artist's Group Show, 435 International Artist Village of Banciao, Taipei

M.O.T. Salon, Museum of Tomorrow, Taipei

197

2007 2006

2005

2004

2003

2002

2001

2000

1999

Transformation in Perception, Modern Gallery, Taichung CO6 Taiwan Avant-Garde Documenta , Taichung City Cultural Hall , Taichung Transit-City Passenger, The Stock 20, Taichung Artist Exposition, Huashan Art District, Taipei Ubiquitous, Taipei Artist Village, Taipei Taipei Taipei, Taipei Fine Arts Museum, Taipei 0~10~â&#x2C6;&#x17E;, Art Center T.N.N.U.A &The Stock 20, Tainan/ Taichung City Mambo- An Exchange Exhibition of SLY Art and Stone Villa, Taipei/ Sydney Noise-Video Art Festival, Warner Village Cinema - Xin Yi, Taipei 2005 City: Flying Hearts Bee TV, Bee TV, Taipei Skylight-Open the New Page..., Eslite Bookstore, Taichung Best of 2004 Taishin Arts Award Exhibition, Shin Kong Mitsukoshi A9, Taipei Shin Leh Yuan vs. Sin Pin Group Exhibition, Sin Pin Art Space, Kaohsiung Drawing-Selected Exhibition of Sketch, The Stock 20 , Taichung One More Glance, IT Park Gallery, Taipei CO4 Taiwan Avant-Garde Documenta , Huashan Art District, Taipei Out of Infinity- T.N.C.A Graduate Institute of Plastic Arts(91),The Stock 20 , Taichung The 6th Term Group Exhibition of S.L.Y , Shin Leh Yuan Art Space, Taipei Kaohsiung International Container Arts Festival 2003, Kaohsiung Asynchronism in Local, Stock 20, Chiayui Village of Railway Art, Taichung/ Chiayui 2003 Taipei Arts Award, Taipei Fine Arts Museum, Taipei Life Science Library Group show, Life Science Library, Taipei CO2 Taiwan Avant-Garde Documenta , Huashan Art District, Taipei You Can Use Me- Group Exhibition of Plastic Art Graduate Institute in T.N.C.A. , Tainan Romantic Revolution of The Stock 20 , The Stock 20 , Taichung Super Dexule Display, Shin Leh Yuan Art Space, Taipei 2002 New Appearance of Chairs, Taichung City Cultural Hall, Taichung Taiwan-Japan International Haulm Culture Exhibition, Nantou Floating Masculinity Group Exhibition, Shin Leh Yuan Art Space, Taipei Railway Art Festival Exhibition, Chiayui Village of Railway Art , Chiayui Want Space Group Exhibition, Taichung Port Art Center, Taichung Stopover, The Stock 20, Taichung Body Party- Group Exhibition, Showplace, Taichung Group Exhibition in Rain Season, Juming museum , Taipei The Light Installation Exhibition, Chingshuei, Taichung International Paper Art Exhibition 1999, Chungshi Paper Factory, Ilan

198

Collections 2000-20012

Juming Museum, National Taiwan Museum of Fine Art , Private collection

Public Art Projects 2011 Kaohsiung Subtropical Low-Carbon Wisdom of Life Application of Technology and Design

Development Research Center, Kaohsiung 2007 Second Police District Taichung City Police Bureau, Taichung, Taiwan 2005 The Su-Min Public Health Center, Taichung, Taiwan

199

評論/報導 徐洵蔚 —“攀旅─深層的幸福與意義”/陳松志2001-2011專輯 高子衿 —“根莖之室─初探陳松志作品中的毀壞、氣味與記憶”/陳松志2001-2011專輯 吳垠慧 —“廢木風景‧陳松志瞥見微弱美感”/ 101.6.24中國時報A14 巴諾亞 —“碎裂之鏡-陳松志於就在藝術”/ 2010.9.8 TAIPEI TIMES 王聖閎 —“從低限、觀念到特定場域：台灣低限策略中的離散潛影”/藝外雜誌2010.6月號 何宜娟 —“內視的身體：無機質空間中的有機轉化─以陳松志『於是，你看見這樣的我』作品為例”

/2010.01 國立台北較教育大學藝術與造型設計學系研究所碩士論文

何宜娟 — “內與外之間─談陳松志「你在」展覽中裝置的包覆場域與觀看的他者”

/2009.06性別、影像、行動與場域 學術研討會

吳垠慧 —“化醜陋為藝術‧陳松志展現碎裂美”/ 97.7.26中國時報A14 劉士楷 —“在生活中堆積出生活-評台北當代藝術館陳松志「你在」一展” /藝術家雜誌401期 吳嘉瑄 —“揭示存在的感受”/典藏今藝術雜誌191期 張晴文 —“用細膩的感知來體會”/藝術家雜誌399期 沈怡寧 —“花園裡的幸福一切從「你」開始”/你在-陳松志個展專文 黃海鳴 —“物質及精神的荒蕪－陳松志/於是，你看見這樣的我”/

台新藝術獎‧藝評集-視覺藝術篇新藝見

劉士楷 —“揮發-一種有關狀態的初級教材/CO6台灣前衛文件展策展論述” 林育聖 —“唱詩的人，比詩更多－評「家庭劇與日常」詩劉孟晉與陳松志聯合 個展”

/藝術觀點雜誌2006春季號

黃瓊如 —“沒有最短直線距離－評「家庭劇與日常」詩劉孟晉與陳松志聯合個展”

/典藏今藝術雜誌162期

李玉玲 —“詩劇之間 – 生活之外，藝術安在 ?-評「家庭劇與日常」詩劉孟晉與陳松志聯合個展”

/典藏今藝術雜誌162期”

劉孟晉 —“知覺能量的歸零與迷航－淺介劉孟晉與陳松志展覽：家庭劇與日常詩”

/劉孟晉與陳松志聯合個展專文

盧怡安 —“平凡中的不平凡”/看！誰在搞藝術–第三屆台新藝術獎專書 李思賢 —“閱讀生命的天份-短評「第七卷-陳松志個展」”/94.7.27民生報A10台新藝術獎每週藝評 游 崴 —“書寫陳松志的作品（或被他動了手腳的那些房間）”/「第七卷-陳松志個展」專輯 黃寶萍 —“於是，你看見這樣的我-陳松志個展-第三屆台新藝術獎年度視覺藝術獎入圍之四”

/94.4.2民生報A12

200

陳泰松 —“第三屆台新藝術獎年度視覺藝術TOP 7-入圍的理由” /典藏雜誌151期 簡子傑 —“於是，你看見這樣的我-陳松志個展”/典藏雜誌151期 顧振清 —“幻想與物” ─ CO4 台灣前衛文件展徵件導言 徐洵蔚 —“搜尋，在生命內外…”/國立台南藝術大學第七屆畢業專輯-陳松志作品專輯 陳天福 —“你的位置正確嗎？-寫在「於是，你看見這樣的我-陳松志個展之後」” 尤傳莉 —“走過從前，邁向未來-在黑暗中漫舞”/台灣當代藝術大系(議題篇-政治‧權力) 陳天福 —“於是你看見這樣的我”/於是，你看見這樣的我-陳松志個展專文 黃小燕 —“請記住!現在是二十一世紀!”/典藏今藝術131 陳香君 —“在焦慮與意識裡潛泳的新性別/藝術符碼－探索新樂園的「陽漾」展”/典藏雜誌112期 黃珮怡 —“「哇‧哈哈」陳松志新作發表的四則「哇‧哈哈」”/旺報第七期 江敏甄 —“遶境，或者流離？記「得藝旺形 ─ 得旺公所遶境展」”/藝術家雜誌319期 張正霖 —“空間中的偶遇－ 與幾件＜中途站＞展作品的對話” /旺報第七期 王靜靈 —“如蜜的童年絮語-記陳松志「搜尋」創作首展” 徐洵蔚 — “「搜尋」之外-陳松志創作首展”/藝術家雜誌310期

201

Reviews Hsu , Hsun-Wei

“A Journey : Endeavor to Sublimity—the Profound Happiness and Meaning”,

Sung-Chih Chen 2001-2011 Catalogue

Kao, Tzu-Chin

“Rooms of Rhizome—On the Destruction, Smell and Memory in Sung-Chih Chen’s Artworks”,

Sung-Chih Chen 2001-2011 Catalogue

WU, Yin-Hui

“Scrap landscape—Delicate Sensibilities by Sung-Chih Chen”, June. 24. 2012 China Times News A14

WANG, Sheng-Hong “From Minimal, Concept to Site-specific Installation”, Artitude Magazine, Issue 9, 2010 HO, I-Chuan

“Inside of the Body: An Inorganic Space Change to An Organic Field

— by CHEN Sung-Chih Solo Exhibition "Then …You See Me Like That"” , 2010.01

HO, I-Chuan

“Between Inside and Outside: Field and View of the Installation Art

— by CHEN Sung-Chih Solo Exhibition "You to Be"”, 2009.06

WU, Yin-Hui

“Turning Ugliness into Art—the Beauty of Fragmentation Exhibited by Sung-Chih Chen”,

July. 26. 2008 China Times News A14

LIU, Shih-Kai

“Accumulating Life in Life—Comment on the Exhibition of Sung-Chih Chen’s “You to Be”

in the Museum of Contemporary Art Taipei”,The Artist Magazine, Issue 401, 2008

WU, Chia-Hsuan

“Bringing the Feeling of Existence to Light”,Artco Magazine, Issue 191, 2008

CHANG, Ching-Wen “Appreciating Through Delicate Perception” The Artist Magazine, Issue 399, 2008 SHEN,Yi-Ning

“All the Happiness in the Garden Starts from “You” ”

/The Special Article in Sung-Chih Chen’s Solo Exhibition, Museum of Contemporary Art Taipei, 2008

HUANG, Hai-Ming

“Desolation of Materials and Spirit—Sung-Chih Chen/Then …You See Me Like That”,

Taishin Art Review-Visual Arts 2007 Edition, 2007

LIU, Shih-Kai

“Vaporization—a Kind of Primary Teaching Materials Related to State/Discussion on CO6 Taiwan

Avant-Garde Documenta”, 2006

LIN, Yu-Sheng

“Poetry is Outnumbered by Chanters of Poetry—Comment on “Domestic Play and Quotidian

Poetry””, ArtTop Magazine, Issue 29, 2006

HUANG, Chiung-Ju “A Beeline Does Not Exist—Comment on “Domestic Play and Quotidian Poetry” in Sung-Chih

Chen’s Solo Exhibition”, Artco Magazine, Issue 162, 2006

LI, Yu-Ling

Between Poetry and Play—In Addition to Life, Where Does Art Exist in?—Comment on “Domestic

Play and Quotidian Poetry” in Sung-Chih Chen’s Solo Exhibition”, Artco Magazine, Issue 162, 2006

LIU, Meng-Chin

“The Zeroing and Losing Direction of Perceptual Energy—A Brief Introduction to Sung-Chih Chen’s

Solo Exhibition: Domestic Play and Quotidian Poetry”, The Special Article in Sung-Chih Chen’s Solo

Exhibition LU, Yi-An

“The Extraordinary in the Ordinary”, Look! The Artists-2004 Taishin Arts Award - Top 7

of Visual Arts, Taishin Bank Foundation for Arts and Culture, 2006

202

LI, Ssu-Hsien

“Talent for Reading Life—Brief Comment on “Vol.7-Chen Sung-Chih Solo Exhibition”,

Taishin Art Review-Visual Arts 2007 Edition, 2007

YU, Wei

“Writing the Works of Sung-Chih Chen (or Those Rooms Manipulated by Him)”,

The Special Article in Sung-Chih Chen’s Solo Exhibition Catalogue, 2005

HUANG, Pao-Ping “Then …You See Me Like That—Sung-Chih Chen’s Solo Exhibition— The Third Taishin Arts

Award – the Finalist of Visual Arts Award”, April. 2. 2005 Mingshen News A12

CHEN, Tai-Sung

“The Third Taishin Arts Award - Top 7 of Visual Arts Awards –the Reasons for Being Selected as

the Finalists”, Artco Magazine, Issue 151, 2005

CHIEN, Tzu-Chieh

“Then …You See Me Like That—Sung-Chih Chen’s Solo Exhibition”,Artco Magazine, Issue 151,

2005 KU, Chen-Ching

“Fantasy and Materials—Introduction to Invitation of Works of CO4 Taiwan Avant-Garde

Documenta” HSU, Hsun-Wei

“Searching, in and out of Life…”/The 7th Special Graduation Collection of Tainan National

University of The Arts–Special Collection of Sung-Chih Chen’s Works, 2004

CHEN, Tien-Fu

“Are You in the Right Position?”—Writing after “Then …You See Me Like That—

Sung-Chih Chen’s Solo Exhibition”, 2003

YU, Chuan-Li

“Experiencing the Past, Moving Towards the Future~ Dancing in the Dark”,

Taiwan Contemporary Art Series(Politics/ Power), 2003

CHEN, Tien-Fu

“Then …You See Me Like That”/The Special Article in Sung-Chih Chen’s Solo Exhibition”, 2003

HUANG, Hsiao-Yen “Please Remember! It is the 21st Century Now.”, Artco Magazine, Issue 131, 2003 CHEN, Hsiang-Chun “The New Gender Lurking in Anxiety and Consciousness”, Artco Magazine, Issue 112, 2001 HUANG, Pei-Yi

“Wa-Ha Ha” The Four “Wa-Ha Ha” Exhibited in the Exhibition

of Sung-Chih Chen’s New Works.,2001

CHIANG, Min-Chen “Making a Tour or Going Exiled?” A Report on “Group Exhibition of Want Space”,

The Artist Magazine, Issue 319, 2001

CHANG, Cheng-Lin “Casual Meetings in Space—Conversations with Several Pieces of Works in the Exhibition

of <Stopover>”, Want News Issue 7, 2001

WANG, Ching-Ling “Honey-like Whispers of the Childhood-A Report on Sung-Chih Chen’s “Searching” Exhibited

in the Premiere of His Creations”, 2001

HSU, Hsun-Wei

“Aside from “Searching”—The Premiere of Sung-Chih Chen’s Creations”,

The Artist Magazine, Issue 310, 2001

203

國家圖書館出版品預行編目(CIP)資料 陳松志. 2001-2011 / 陳松志作.

-- 初版. --

臺北市 : 就在藝術國際, 民101.10 200面；21x26.5公分

中英對照 ISBN 978-986-88820-0-3(精裝) 1.裝置藝術 2.視覺藝術 3.作品集 960

101019853

陳松志2001-2011

SUNG-CHIH CHEN 2001-2011

發行人：林珮鈺

Publisher: Pei-Yu LIN

作者：陳松志

Author/Editor: Sung-Chih CHEN Graphic Designer: Yu-Te LIN

美術設計：林祐德

Photographer: Sung-Chih CHEN, Yu-Che HSIAO, Tsai-Ming HU,

攝影：陳松志、蕭裕哲、胡財銘、複氧國際

Translator: Liang-Jung HUANG, Choice Language Service Co., Ltd.

翻譯：黃亮融、群益翻譯社

Printed at Yue Xiang Digital Printing Co., Ltd., Taichung , Taiwan

印刷：悅翔數位印刷有限公司

Publisher by Project Fulfill Art International Co., Ltd.

出版單位：就在藝術國際有限公司

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Publishing Date: Aug. 2012

出版日期：中華民國一O一年十月 初版 定價: 新台幣1200元

Copyright 2012 by Project Fulfill Art International Co., Ltd. All Rights Reserved Printed in Taiwan

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ISBN 978-986-88820-0-3

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