TEXTS

White/black horses go through the gap - run, or not

Text by LIU Chiamin
The artist stretches out his hand and pulls the white figure, which reflects the day and day, through the hole in front of him. "This end" is a space created by magic in the artist's world. Day and day remain on the other side of the p

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成為火星人類學家——「給火星人類學家」的突破與啟示

文|嚴瀟瀟
日前於新北市藝文中心展出的「給火星人類學家」,是該中心首度主辦專注於當代藝術的聯展,策展人張君懿獨特的策展風格也清晰可見。實體與虛擬兩種介面上的內容,不再是如今司空見慣的「再現」或是「紀錄」,而是一體雙生的關係,共構完整的作品場域。

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Aux anthropologues martiens | Curatorial Statement

Text by Chun-Yi CHANG
This is an exhibition planned in particular for you. Now, via the “internet,” a sort of space invented by the earthlings, you can launch a field research of the human art practices. Inventorying the artworks, you will observe the ric

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Daily+: Evolution of an Undefined Aesthetics of Curation

Text by Xiaoxiao Yan
It is very difficult not to compare Air Plant with Daily+ because of the coherence of curatorial conception and mechanism. Through such a curatorial move in a row, the curator Chun-Yi CHANG breaks down the curator-centered stereotype

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A Mirage in Time: The Cinematic Scenes of Daily+

Text by Song-Yong SING
Basing off this curatorial methodology, the biennial is tied up with literature, setting itself apart from the usual practice of exhibitions taking trendy theoretical concepts as the prerequisite while endowing Daily+ with a kind

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Daily+: A Leap Away from the Dimension of the Netherworld

Text by Tom Huang
The vines crawling all over the old dormitory buildings, the camphor trees thriving among the ruins of the abandoned complex, and the giant elephant ears (Alocasia odora) favoring the wet darkness all contribute to the dilapidated asphal

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A Dynamic Relational Model of Quasi-daily Spatial Clusters: An Attempt at Interpreting the Curating Conception and Practice of the 2018 Daily+ NTUA Biennial

Text by Hai-Ming HUANG

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Daily+, the Time Duplicate that Sprung from Wall Climber

Text by Wen-yao CHEN
The novel was no longer confined to the pure text document format that was sent to participating artists as points of consideration for the show. Text became a dual space reference, later derived into Reading Capsule, Guide of Wall Cl

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Entrails-like Passages for Endless Hide-and-seek--Reading Daily+

Text by Yun-Ting CHANG
The ubiquitous “place” provided novels, art works, and the exhibit with various reading paths, just as in “Entrails-like Passages for Endless Hide-and-seek,”4 allowing each reading to be like a fresh start to a logic game; each tim

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「超日常」的展覽實踐 ── 訪談策展人張君懿*

訪談&文字整理|張韻婷、盧思諭
白紙如同日常,摺線出現的時候是維度轉換的時刻,是一個向度過渡到另一個向度的時刻,是可能性湧現的時刻,所以這裡所謂的「超日常」並不是與日常發生斷裂,不只是超越日常,而是探問我們是否能夠通過藝術折返日常,在折返之中發現從來不曾如此思考或注意過的事物。

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The Symbiosis of Curating and Creating: An Artist-Curator Curatorial Practice

Text by Chia-Hui CHIANG
The symbiotic curating mechanism adopted by CHANG in these two exhibitions has paved a unique co-creative and active form of cultural production between the artists and the curator (...).

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Daily+: A Daily Superimposition Technique

Text by Gou HOUNG
In conclusion, art has always been a field of view on the plain daily life itself. As a result, art, compared with the daily life, is not something dispensable or that which one does in pare time. Rather than explaining art as the surplu

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Daily+, the 2nd Greater Taipei Biennial of Contemporary Art | Curatorial Discourse

Text by Chun-Yi CHANG
In other words, keeping a distance from the daily life, a subject is thus able to discover in the relationship of dependency some points of reference, of substantiality and of transcendence, and to further transform the daily into in

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About Chun-Yi Chang's Carousel

Text by Wen-Yao Chen
With the sudden feeling of déjà-vu, experiencing the feel of the instant when we stand in front of the work, and how the instant of our thoughts when we are viewing the work intertwined with the limited eternity within the work.

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The Growth Patterns of Air Plant: An Interview with Chun-Yi CHANG

Interviewed by Yun-Ting CHANG
I want us to answer the questions “Can we travel even further upstream; can we return to a place before professional art fields are divided into different categories; and can we search for and spark common thinking patterns

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The Botanic Image of “Air Plant” and its Strong∕Weak Curating

Text by Sheng-Hung Wang
Chun-Yi Chang, curator of the Air Plant: Performance Ability within Contemporary Arts exhibition (hereafter referred to as the Air Plant exhibition) introduces a distinctive, plant-based image/concept that is closely related to cur

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The Rise of Minimalism-based Postnatural Aesthetics, Observing the Vibration Ability of Air Plant by Adopting a Playful, ‘Game-oriented’ Perspective”

Text by Chien-Hui KAO
For the Air Plant: Performance Ability within Contemporary Arts exhibition, a group of artists engaged in human sociology and New Historicism-oriented art practice and utilized images and files to tell stories in a variety of ways. O

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PLANTE AÉRIENNE : CAPACITÉ DE PERFORMANCE DANS L'ART CONTEMPORAIN

Écrit par Chun-Yi CHANG
S’il faut sortir des sentiers battus pour avoir un aperçu des choses non observées qui résident depuis longtemps dans la pensée, le sujet de la création artistique ne peut observer que par cette distance l’impensée dans la pensée,

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The Boundaries of Strange Lands: Imaginations Inspired by Root-Free Air Plants

Text by Yun-Ting CHANG
“The more lost a person is in a strange neighborhood of a remote city, the more he remembers the cities that he has passed through. As he reflects on the various stages of the journey, he learns more about the city where he departed

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古早糖果紙幻化,十鼓展多彩童年

文|吳俊鋒(自由時報記者)
十鼓邀請旅居法國的台灣藝術家張君懿駐村,首展創作的主題為《糖衣》,十鼓邀請旅居法國的台灣藝術家張君懿駐村,全力打造,以包裹童年甜蜜回憶的元素,運用色彩轉化的技術,精彩呈現繽紛的視覺效果。

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十鼓糖衣影像展,營造奇幻世界

文|綦守鈺(聯合新聞網記者)
台南仁德的十鼓文創園區,多年來致力於糖廠工業遺址的保存並為糖廠的活化再生,定期提供國內外藝術家駐村創作,讓藝術家與這片土地的過去、現在、未來產生交流與對話,更期望讓來自各地的遊客們感受到台南在地又多元的藝術之美。

十鼓文創園區邀請到旅法多年的台灣藝術家張君懿駐村,以情人糖、牛奶糖、沙士糖、牛軋糖、足球巧克力等台灣昔日常見的糖果圖案,將其圖案和色彩轉化成純粹的視覺造形元素,並結合糖箱重新打造出由糖果外衣所幻化而成的絢麗空間,「糖衣作品計劃」兩件常設展作品《糖衣#1》與《糖衣#

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謝芳珍

文|黃同弘
你都說些什麼?害怕的時候,孤獨的時候,下雨的時候,恐慌的時候,離別的時候,黃昏的時候,臨終的時候,你在房子裡說些什麼?你把什麼話語,留給一間兀自亮著的空屋。

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Chance of Déjà vu, a review on Chun-Yi Chang’s exhibition ‘Instant d’entre’

Text by Wen-Yao Chen
Chun-Yi Chang’s exhibition ‘Instant d’entre’, opens with the above mentioned quote. I could not help but imagine that as the moment when St Augustine was facing the probing of the others. Is not that an urgent yet hesitant moment whic

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18 Carousels turning on childhood memories

By Ericamigo Wu ( From China Times)
White horses, unicorns, pirate ships and all kinds and shapes of cute, colorful carousels, carried the childhood memories of adults and children. Taiwanese artist Chun-Yi Chang made video recordings on 18 carousels in P

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‘Instant d’entre’ - Chun-Yi Chang’s solo exhibition

By Yu-Kuan Hou (From Artco)
Chun-Yi Chang uses the corresponding relationship between video recording and the space to enhance people’s emotion toward video recording. Creating a dream-like environment allowing people to loose themselves in time and space

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Another temporality: Starts from Chun-Yi Chang’s ‘Carousel Waltz’ series

Text by Tzu-Chieh Jian
So far, this journey without destination had made me felt incomprehensibly gloom. Unlike the beginning, which reminds me of the younger years when I had the obsession to put on my headphone and listened to the same song over and ove

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事件視域。彼岸靜浦。一時之間

文|黃同弘
童年的每個夢如果存活得夠久都會成為惡夢,比如你會受困於引力在永恆的軌道上轉著圈圈,相對於線性發展下去、生活下去、苦難下去的現實,旋轉木馬成了奇異點,美夢成真的時候,也就是你通過奇點進到事件視域消失於此的時候。

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「一時之間」觀後感之一:卡羅索爾華爾滋

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「一時之間」觀後感之三:仙女湖

文|陳彥伯
我想<仙女湖>系列可以看作是從<天空藍>延伸出來的作品,但是更富有遊戲性、並且挑戰了更多不同的元素── 捉迷藏、數數、湖中倒影、樹幹與背景,並且緊扣著「時間」這個主題── 時間的不同步、重複、佚失、與倒流。

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虛擲空響:2.7克的獨白

文|陳文瑤(典藏今藝術)
展場充塞著地窖獨有的陰涼與幽暗,建築表面即使漆成白色仍無法掩飾其肌理的粗糙,空間被切割得零碎甚至有種迷宮況味。然而在如此複雜的條件之下,包含了攝影、動畫、錄影以及錄影裝置的八件作品卻安排得極具巧思。

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