就在藝術空間非常榮幸邀請到有召喚物件靈魂的法師之稱的藝術家方偉文[1]將於2月27日呈現『細細物、座西、吧、管仔、102、垂線、遠方』個展。將展出藝術家獨特有幾拼接的現地製作空間裝置及數件平面繪畫作品。

方偉文的創作想呈現一種世界感，這世界指的是一種內在和外在的循環系統，但內在與外在之間不是密不透風和必然性的關係，而有時是一種全然匱乏，因此全然的在和不在經常是同樣的一件事。這個系統的根源來自於個體的感受、想法和尋找，這個過程中存在著矛盾，但至少是一種骨幹和結構體，處在開放和封密、有與沒有之間的邊緣線，隨時傾向一邊，搖搖晃晃，唯唯諾諾…但那可能是很粗壯，無盡頭的線。

方偉文擅長以各種現成物、材料、物質屬性的集合、拆解、分散、重構的組裝於展場空間中，並根據現場空間的感覺做即興安置。處理的主題是在日常生活經驗中所延伸出的抽象之感受和情緒。所有物件都是來自於他日常生活中的收集，藝術家稱之為「材料庫」。藝術家方偉文說：「『材料庫』靠的是我平常的蒐集，大都是質感、材料和特質是我感興趣的物件。撿東西是一種消極性的蒐集作法，『消極性』意味著一種隨機，不是交易、也不是強求，這種隨機性某些部分也存在我的創作中。」[2]

策展人與藝術家姚瑞中2002在《臺灣裝置藝術 since 1991-2001》中特別討論了方偉文的創作風格：「他的作品似乎沒有完不完成的終點概念，這未知、不確定的心理狀態，卻也構成他作品中自然流露出來的獨特風格」。[3]

展覽將於2月27日（週六）下午4點開幕，並於下午2點舉行座談會，此次特別邀請獨立策展人與立方計畫空間總監鄭慧華和藝術家進行對談。

[1] 許遠達，〈召喚物件靈魂的法師-論方偉文及其作品〉（2017.11）
[2] 孫曉彤，〈方偉文：穿透的空間 從這裡到現實之間的裂痕〉，《當代藝術新聞》（2008.07）
[3] 姚瑞中，《臺灣裝置藝術since 1991-2001》（2002出版）節錄文字

藝術家介紹：
方偉文1970 年生於文萊，畢業於國立台南藝術大學造形藝術研究所(MFA)

重要個展包括：「2020南島國際美術獎」，台東美術館，台東，台灣（2020）、「囉菌新村．滯留村中-註村計劃」，Lostgens，吉隆坡，馬來西亞（2020）、「府城榮光：起南風— 1990年代台南當代藝術發軔小史」，台南美術館，台南，台灣（2019）、「Signature Art Prize」，國立新加坡博物館，新加坡（2018）、「非常持續」，銀川當代美館，銀川，中國（2017）、「刺客列傳-五年級生」，國立台灣美館，台中，台灣（2014）、「亞洲巡戈-鬼島」，關渡美術館，台北，台灣（2013）、「泡沫紅茶：台灣藝術．當代演繹」，國立摩拉維亞美術館，布爾諾市，捷克（2008）、「不設防城市: 藝術中的建築展」，台北市立美術館，台北，台灣（2008）、「綠野仙蹤：台灣當代藝術的奇想世界」，國立台灣美術館，台中，台灣（2007）、「城市謠言-華人建築2004」，台北當代藝術館，台北（2004）、「台灣當代藝術全集」，鳳甲美術館，台北（2002）、「複數元的視野-台灣當代美術1988-1999」，山美術館，國立歷史博物館，清華大學，台灣／北京，中國（2000）、「歷史之心/裝置藝術大展」，鹿港，彰化（1999）、「中華民國第六屆國際版畫及素描雙年展」，台北市立美術館，台北

Project Fulfill Art Space is pleased to invite artist Fang Wei-Wen, referred to as a conjurer who summons the souls of objects[1], to present his solo exhibition titled Bits, West, Ba, Pipe, 102, Saggy, Far Away. The exhibition will showcase his uniquely organic and site-specific installation, as well as selected paintings and illustrations.

Fang Wei-Wen’s artworks seek to present a particular sense of the world around us. This world is one that is based on internal and external circulatory systems, however the relationship between the internal and external is not impermeable or inescapable, but sometimes there is a complete absence, thus presence or absence often concerns the same matter.

The root of this system stems from the individual’s perceptions, thoughts, and searching. There exists an ambiguity within this process, although an underlying structure lies at the borderline between dualities of open and sealed, with and without; these insights may lean to one side at any given time, swaying and shaking, going with the flow, however the border of perception may be a very solid, endless line.

Fang Wei-Wen’s approach uses a range of ready-made objects and materials, combining their unique properties, while assembling and disassembling, dispersing and reconstructing in the exhibition space, forming the artwork impromptu out of his subjective perceptions of the particular space. Fang’s artworks deal with the abstract perceptions and emotions that extend from everyday experiences, collecting objects and materials from his daily life, building what he terms as his ‘material library’. Fang states; “the material library relies on my habitual collecting, mostly textures, materials and characteristics that I am interested in. To pick up an object is a passive collection method, ‘passive’ implies a random spontaneity, not acting as a transaction or through force. Parts of this randomness also exists in my artworks.”[2]

Fang Wei-Wen’s unique style was highlighted by curator and artist Yao Jui-Chung in his 2002 book ‘Installation Art in Taiwan since 1991-2001’; “his artworks seem to have no concept of completion or incompletion. This unknown and uncertain psychological state also constitutes a unique style naturally revealed in his works.”[3]

Fang Wei-Wen’s solo exhibition opens on 27 February at 4pm, with an artist talk held at 2pm, inviting guest speaker Amy Cheng in conversation with the artist.

[1] Hsu Yuan-Da, ‘Conjurer Who Summons the Souls of Objects – Discussion of Fang We-Wen’s Artworks’, critical essay, (November 2017)
[2] Sun Xiao-Tong, ‘Through Space – The Rift from Here to Reality’, in CANS Asia Art News, July 2008
[3] Yao Jui-Chung, Installation Art in Taiwan since 1991-2001, Taipei: ECUS Publishing House, 2002

Artist Introduction:
Fang Wei-Wen was born in 1970, Brunei and obtained an MFA from the Graduate Institute of Plastic Arts, Tainan National University of the Arts.

Selected exhibitions include: 2020 Austronesian International Arts Award, Taitung Art Museum, Taitung, Taiwan (2020); Kampung Logeen: Stranded in Kampung, Lostgens’ Contemporary Art Space, Kuala Lumpur, Malaysia (2020); The Glory of Tainan: A Southern Wind, Tainan Art Museum, Tainan, Taiwan (2019); Signature Art Prize, National Museum of Singapore, Singapore (2018); Very Sustainable, MOCA Yinchuan, Yinchuan, China (2017); The Pioneers of Taiwanese Artists 1961~1970, National Taiwan Museum of Fine Arts, Taichung, Taiwan (2014); Asia Cruise – Island of Ghosts, Kuandu Museum of Fine Arts, Taipei, Taiwan (2013); Bubble Tea: Art of Taiwan and Its Contemporary Mutations, The Moravian Gallery, Brno, Czech Republic (2008); Open City – Architecture In Art, Taipei Fine Arts Museum, Taipei, Taiwan (2008); Taiwan Contemporary Art in Wonderland, National Taiwan Museum of Fine Arts, Taichung, Taiwan (2007); Oeuvre of Contemporary Art in Taiwan, Hong-Gah Museum, Taipei, Taiwan (2002); Vision of Pluralism-Contemporary Art in Taiwan 1988-1999, Mountain Museum, National History Museum, Chin-Hwa University, Taiwan / Beijing, China (2000); The 6th International Biennial of Print and Drawing, Taipei Fine Art Museum, Taipei, Taiwan (1993).