陳明福|陳漢聲個展
The Last Farm Boy|Chen Han-Sheng Solo Exhibition
策展人:馮穎君 Vivian Fung
展期|2018.5.19 – 6.17
茶會|2018.5.19 Sat. 15:00
地點|伊日藝術駁二空間
地址|駁二藝術特區大義倉群C9-14倉庫
電話|07-521-5783
時間|Tue. - Sun. 13:00 - 19:00 週一休館
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展覽自述/藝術家 陳漢聲
學會與家人道別,永遠不嫌晚,但總是感覺遲,與土地相處的感覺,也是如此。應該要很熟悉,其實很陌生,以為陌生就不在意,卻又放在心上,難以抹去。北上讀書工作,至今已邁入六年,回到家鄉舉辦個展,以「陳明福」為展名,為了要紀念一段與爺爺的陌生情感 。
我的爺爺陳明福,大家都叫他「鼠仔」,一個一輩子待在高雄大社的莊稼人。鼠仔過世後,再回到福仔耕種的土地上,兒時嬉戲的場景不禁湧現,而泥土裡不時可以挖到的陶瓷碎片,則是回憶的一部分,這個碎片也是鼠仔在整地時,會遇到的日常,而曾經每天被使用的農具,如今也被靜置在工寮許久,不再被使用。
藍白的陶瓷碎片,象徵著無名氏的歷史,是被迫無關緊要,並被迫自我淘去,靜置的農具,其實也從未真的罷工。物件總透過被使用過的痕跡,召喚一個以農入藝的創作方法。倘若農具對鼠仔來說,只是一個工作的「傢伙」,而務農時挖掘到的碎片,是一個鬆土時欲除掉的障礙,但在我來說,農具是一個對抗土地,以及對話的媒介,而這些碎片,或許就是我得重新耕耘的新土地。藝術應該是一種勞動,不崇高,卻很珍貴,有價值,但不是沒有價錢,如此,藝術才有機會跟鼠仔一起下田。
這些無法辨識的藍白陶瓷碎片,以及不捨丟棄卻又不知道怎樣處理的農具,在展覽結束後,或許仍然是無可名狀的,透過展覽,我希望能可以分享這種無奈卻強烈的無可名狀。
策展回應/策展人 馮穎君
最後一個農家子弟
陳漢聲雖為陳明福的孫兒,但他很早便鄭重地解釋:以爺爺的名字為展名,並不是要向前人致敬。
那末,他要紀念的那段陌生的感覺,到底是怎樣的一份心情?
由高雄駁二前往藝術家之故鄉大社的路上,沿途見盡航運、商業、輕工業、重工業。可是,一旦踏進大社以後,四周的林蔭擋住了一道之隔的化工廠,讓這片土地仍可自成一角地散發耕種的氣息。
在這裡成長的漢聲,看著同學們由最初差不多全部來自農業家庭,發展到後來只有自己是課室內唯一的農家子弟──陳明福終生務農,他的兒子也是如此,在大社這裡,自成一角。
陳明福務農,恐怕不是對生命存著一份咬牙切齒的執著,也不是現代文青對田園氣息的嚮往,更不是對身份與別不同的一份驕傲。耕種,只是自然而言的一種生活方式,一種在無可名狀的生活態度。
回到大社,陷入土地那些藍白陶瓷跟回憶的碎片混雜一起。
以當下俗世話語來說明,陳明福和陳漢聲原來活在平行時空:鼠仔在耕,漢聲在耘;鼠仔在種,漢聲在播;而各有收成。
藝術固然是一種勞動,但到了今天,勞動又何嘗不是一種藝術?或者,陳漢聲永遠是最後一個農家子弟──他還可以有這個機會,從真正的農地走到藝術的世界──隨著大社的變化、社會的變化、世界的變化,也許後無來者。
陳漢聲的個展,自成一角。您會否在那裡找到藏於心中的蜜棗?就在乎您的生活態度。
-
策展人
馮穎君,1969年出生,現居香港。她的作品經常運用過了氣的現成物,探討力量和人性的本質。她透過破壞的過程,撇棄物件的表層,尋找埋沒了生命力。
藝術家
陳漢聲,1988年出生於臺灣高雄,畢業於國立臺北藝術大學新媒體藝術研究所。擅長實驗動畫/複合媒材與動力裝置,並從自身家庭背景、身份延伸至創作,關注農業、自然、人與環境間彼此共存卻緊張的關係。
The Last Farm Boy
Artists Statement/ Artist Chen Han-Sheng
Although it is never too late to learn to say farewell to a family member, one always feels that it could be done earlier. Learning to go along with the land is the same case.
It is supposed to be a familiar thing, while in reality, it is not. As I thought it is something unfamiliar, I do not seem to care about it. However, it is always there lingering in my mind and can never be erased.
It has been six years since I came to the North to study and work. To memorize a strange relationship with my grandfather, I organize an exhibition called Chen Ming-Fu.
My grandfather Chen Ming-Fu, nicknamed 'Mousey', is a farmer who had lived in Dashe, Kaohsiung for the whole life.
After Mousey passed away, I came back to the land where Fu farmed. Scenes of me playing here in my childhood emerge continuously in my mind. Pieces of porcelain that can easily be found in the soil are part of my memory. Cleaning these pieces is part of Mousey’s daily life when he ploughed the land. The farming tools are no longer used and have been placed in the cottage for a long while.
Blue and white pieces of porcelain signify the history of an anonymous person. It was brutally removed from my memory because of its irrelevancy. The entirely standing farming tools have not stopped working but emerged in the artworks with the traces left by the user, thereby summoned a different way of creating artwork.
For Mousey, farming tools could be just normal things for working. The porcelain pieces are just obstacles that need to be removed when ploughing. For me, these tools are media for fighting and interacting with the land, while these pieces are the new lands that I need to cultivate again. Art should be taken as a form of labouring. It is not supreme, but still precious and valuable. It is not priceless though - that is the reason art could be taken to the fields and work with Mousey.
These unidentifiable porcelain pieces and farming tools will perhaps remain anonymous after the exhibition. I hope this strong but helpless anonymity can be shared through the exhibition.
Curating Response/ Curator Feng Ying-Chun
The Last Farm Boy
Although Han-Sheng is Ming-Fu's grandson, he explained explicitly that naming the exhibition with his grandfather's name is not meant to salute his ancestor.
What, then, is the unfamiliar feeling which he wants to memorize?
On the way to Dashe, the artist's hometown, various industries can be seen on both sides of the road: shipping, merchanting, light manufacturing, heavy manufacturing and so on. Once you enter Dashe, the surrounding shadows of the forest hide the chemical works nearby, making this land still seems cultivable.
Han-sheng, grown up here, experienced a drastic change of the constitution of school classes. At first, pretty much all his classmates were from a farmer's family. Coming to the later stage of schooling, Han-Sheng became the only one who is a descendant of a farmer. Ming-Fu worked as a farmer for his life, so did his son.
The reason for Ming-Fu to be a farmer is probably not the struggling insistence on life, not the hipster-style fancy imagination of the countryside, and surely not a pride about a different identity. Back in Dashe, step into the soil and mix up with the pieces of porcelain and the memories they carry.
Explain in the language of pop culture, Ming-Fu and Han-Sheng used to live in parallel universes. Mousey ploughs; Han-Sheng furrows. Both of them achieve something.
Creating artworks is a form of labor. However, laboring is a form of creating nowadays. It could be the case that Han-Sheng Chen is the last one from a real farmer- He still has the chance to walk from real farm to the world of arts - following the flow of Dashe, of the society, of the world. Perhaps there will not be anyone like him in the future.
Han-Sheng's exhibition forms a unique space. Would you find the jujube deep in your heart? It all depends on your attitude to life.
-
贊助單位:國藝會
The Last Farm Boy|Chen Han-Sheng Solo Exhibition
策展人:馮穎君 Vivian Fung
展期|2018.5.19 – 6.17
茶會|2018.5.19 Sat. 15:00
地點|伊日藝術駁二空間
地址|駁二藝術特區大義倉群C9-14倉庫
電話|07-521-5783
時間|Tue. - Sun. 13:00 - 19:00 週一休館
-
展覽自述/藝術家 陳漢聲
學會與家人道別,永遠不嫌晚,但總是感覺遲,與土地相處的感覺,也是如此。應該要很熟悉,其實很陌生,以為陌生就不在意,卻又放在心上,難以抹去。北上讀書工作,至今已邁入六年,回到家鄉舉辦個展,以「陳明福」為展名,為了要紀念一段與爺爺的陌生情感 。
我的爺爺陳明福,大家都叫他「鼠仔」,一個一輩子待在高雄大社的莊稼人。鼠仔過世後,再回到福仔耕種的土地上,兒時嬉戲的場景不禁湧現,而泥土裡不時可以挖到的陶瓷碎片,則是回憶的一部分,這個碎片也是鼠仔在整地時,會遇到的日常,而曾經每天被使用的農具,如今也被靜置在工寮許久,不再被使用。
藍白的陶瓷碎片,象徵著無名氏的歷史,是被迫無關緊要,並被迫自我淘去,靜置的農具,其實也從未真的罷工。物件總透過被使用過的痕跡,召喚一個以農入藝的創作方法。倘若農具對鼠仔來說,只是一個工作的「傢伙」,而務農時挖掘到的碎片,是一個鬆土時欲除掉的障礙,但在我來說,農具是一個對抗土地,以及對話的媒介,而這些碎片,或許就是我得重新耕耘的新土地。藝術應該是一種勞動,不崇高,卻很珍貴,有價值,但不是沒有價錢,如此,藝術才有機會跟鼠仔一起下田。
這些無法辨識的藍白陶瓷碎片,以及不捨丟棄卻又不知道怎樣處理的農具,在展覽結束後,或許仍然是無可名狀的,透過展覽,我希望能可以分享這種無奈卻強烈的無可名狀。
策展回應/策展人 馮穎君
最後一個農家子弟
陳漢聲雖為陳明福的孫兒,但他很早便鄭重地解釋:以爺爺的名字為展名,並不是要向前人致敬。
那末,他要紀念的那段陌生的感覺,到底是怎樣的一份心情?
由高雄駁二前往藝術家之故鄉大社的路上,沿途見盡航運、商業、輕工業、重工業。可是,一旦踏進大社以後,四周的林蔭擋住了一道之隔的化工廠,讓這片土地仍可自成一角地散發耕種的氣息。
在這裡成長的漢聲,看著同學們由最初差不多全部來自農業家庭,發展到後來只有自己是課室內唯一的農家子弟──陳明福終生務農,他的兒子也是如此,在大社這裡,自成一角。
陳明福務農,恐怕不是對生命存著一份咬牙切齒的執著,也不是現代文青對田園氣息的嚮往,更不是對身份與別不同的一份驕傲。耕種,只是自然而言的一種生活方式,一種在無可名狀的生活態度。
回到大社,陷入土地那些藍白陶瓷跟回憶的碎片混雜一起。
以當下俗世話語來說明,陳明福和陳漢聲原來活在平行時空:鼠仔在耕,漢聲在耘;鼠仔在種,漢聲在播;而各有收成。
藝術固然是一種勞動,但到了今天,勞動又何嘗不是一種藝術?或者,陳漢聲永遠是最後一個農家子弟──他還可以有這個機會,從真正的農地走到藝術的世界──隨著大社的變化、社會的變化、世界的變化,也許後無來者。
陳漢聲的個展,自成一角。您會否在那裡找到藏於心中的蜜棗?就在乎您的生活態度。
-
策展人
馮穎君,1969年出生,現居香港。她的作品經常運用過了氣的現成物,探討力量和人性的本質。她透過破壞的過程,撇棄物件的表層,尋找埋沒了生命力。
藝術家
陳漢聲,1988年出生於臺灣高雄,畢業於國立臺北藝術大學新媒體藝術研究所。擅長實驗動畫/複合媒材與動力裝置,並從自身家庭背景、身份延伸至創作,關注農業、自然、人與環境間彼此共存卻緊張的關係。
The Last Farm Boy
Artists Statement/ Artist Chen Han-Sheng
Although it is never too late to learn to say farewell to a family member, one always feels that it could be done earlier. Learning to go along with the land is the same case.
It is supposed to be a familiar thing, while in reality, it is not. As I thought it is something unfamiliar, I do not seem to care about it. However, it is always there lingering in my mind and can never be erased.
It has been six years since I came to the North to study and work. To memorize a strange relationship with my grandfather, I organize an exhibition called Chen Ming-Fu.
My grandfather Chen Ming-Fu, nicknamed 'Mousey', is a farmer who had lived in Dashe, Kaohsiung for the whole life.
After Mousey passed away, I came back to the land where Fu farmed. Scenes of me playing here in my childhood emerge continuously in my mind. Pieces of porcelain that can easily be found in the soil are part of my memory. Cleaning these pieces is part of Mousey’s daily life when he ploughed the land. The farming tools are no longer used and have been placed in the cottage for a long while.
Blue and white pieces of porcelain signify the history of an anonymous person. It was brutally removed from my memory because of its irrelevancy. The entirely standing farming tools have not stopped working but emerged in the artworks with the traces left by the user, thereby summoned a different way of creating artwork.
For Mousey, farming tools could be just normal things for working. The porcelain pieces are just obstacles that need to be removed when ploughing. For me, these tools are media for fighting and interacting with the land, while these pieces are the new lands that I need to cultivate again. Art should be taken as a form of labouring. It is not supreme, but still precious and valuable. It is not priceless though - that is the reason art could be taken to the fields and work with Mousey.
These unidentifiable porcelain pieces and farming tools will perhaps remain anonymous after the exhibition. I hope this strong but helpless anonymity can be shared through the exhibition.
Curating Response/ Curator Feng Ying-Chun
The Last Farm Boy
Although Han-Sheng is Ming-Fu's grandson, he explained explicitly that naming the exhibition with his grandfather's name is not meant to salute his ancestor.
What, then, is the unfamiliar feeling which he wants to memorize?
On the way to Dashe, the artist's hometown, various industries can be seen on both sides of the road: shipping, merchanting, light manufacturing, heavy manufacturing and so on. Once you enter Dashe, the surrounding shadows of the forest hide the chemical works nearby, making this land still seems cultivable.
Han-sheng, grown up here, experienced a drastic change of the constitution of school classes. At first, pretty much all his classmates were from a farmer's family. Coming to the later stage of schooling, Han-Sheng became the only one who is a descendant of a farmer. Ming-Fu worked as a farmer for his life, so did his son.
The reason for Ming-Fu to be a farmer is probably not the struggling insistence on life, not the hipster-style fancy imagination of the countryside, and surely not a pride about a different identity. Back in Dashe, step into the soil and mix up with the pieces of porcelain and the memories they carry.
Explain in the language of pop culture, Ming-Fu and Han-Sheng used to live in parallel universes. Mousey ploughs; Han-Sheng furrows. Both of them achieve something.
Creating artworks is a form of labor. However, laboring is a form of creating nowadays. It could be the case that Han-Sheng Chen is the last one from a real farmer- He still has the chance to walk from real farm to the world of arts - following the flow of Dashe, of the society, of the world. Perhaps there will not be anyone like him in the future.
Han-Sheng's exhibition forms a unique space. Would you find the jujube deep in your heart? It all depends on your attitude to life.
-
贊助單位:國藝會