「藝術，在那無法變動的現在事實中，偷渡意志、擾動那已然僵化的。」—— 邱承宏

壁癌、磚牆、瀝青路面、地底河流、無名盆景、混凝土殘跡、棄置水泥動物以及文化遺址中的光影切片，藝術家邱承宏近年以大量都市遺留物為研究對象，在創作中建構、刨除、造光影，重塑那存於他個人記憶的過去事實。延續2020年創作計畫「採光」於歷史景致及「邊界」主體的無邊想像，TKG+ Projects與邱承宏共同呈獻全新創作實驗「繡燕與原林」，展覽命名來自藝術家祖父母的名字諧音，閱題時觀者可將「繡」、「原」二字分別以形容詞／名詞／動詞，等詞性組合詮釋解題，藝術家以複合詞性提供觀者一幅抽象有機的未定義風景，展覽現場猶如邱承宏所遐想的一樁行動詩意工程，展現其位處混凝土叢林，意欲探究自然原始的親暱考察。

作為多以立體裝置、雕塑實踐理想的藝術家，邱承宏期許見證造型藝術模糊「邊界」的潛在可能，相信藝術得依創作為媒介乘載(或他所稱的「偷渡」)觀念意志，擾動那陷於現時僵局的對立隔閡。他將「邊界」研究中的「換位思考」套用至創作過程，以考察場域或該場域中的具象物質視角感受光影，並藉展場、作品內容中的時空錯置安排，探索相異材質於雕塑美學的共生平衡。此外，藝術家亦側重創作中選用媒材的獨有特徵，致力呈現物質媒材的內在本質與活力，使多元媒材人格化且自由地存在於裝置之中，作品裡充滿溫柔與想像，試圖重述媒材在被使用的存在歷史中，於人類使用經驗以外的時代敘事。

採光，英譯「Daylighting」，即挖掘工程術語中將都市地底溝渠、地下伏流上方土石移除，使溝渠與管線重新受光的工程施作，這些因採光(Daylighting)工程「重見天日」的存在，多數因現代／工業化營建而遭受掩埋。邱承宏的浮雕作品《採光》，承襲該詞本義及延伸語境，觀察光線涉入考察場域空間的形式與視角，並將空間中的光影碎片與自我生命歷史景緻連結，以空間中的窗框與窗外植物為主題構圖，將其雕刻、紀錄為混凝土石刻版畫中的剪影窗景，補土的灰白作為邱承宏作品中光源的擬像，那些因刨除而顯現於版畫表面的，即是藝術家所欲再現的晦暗肌理。

作品《繡燕》為邱承宏2020年《水泥動物園》的創作延續，藝術家對被棄置於山林間，隱埋的混凝土動物軀體進行考察，將這些軀體中的折舊缺陷、裂痕縫隙以3D列印技術等比放大，並以自然礦物及黃銅為材，將這些物質混合再製成數件尺寸不一的磨石雕塑，動物的軀體缺陷經工業吊車懸置於展間，轉譯隱藏於人類社會世代變遷、用材習慣演繹的造型寓言；雕塑作品《原林》則由鐵皮、土堆與植木所構成，外觀似是一座叢生的野花雜草，這些藝術家自不同地點採集、經自然植法合栽構成的草堆風景，以直觀的方式隱喻天然、野生的原始林茂，安詳地相依坐落、自然生長，展場中的植群與鷹架步道對比成林、向上生長，似是自然與工業的共生返照。

本展使用大量工業化及人類文明脈絡發展下的媒材與技術工法，邱承宏以物質混合及質性差異的並陳，在展場中創建多組獨特寓意索引，這些索引蘊含著各自特有的樣貌與習性，旨在打破自然與人工、有機與幾何、完全與不完全等「邊界」交織而成且看似牢不可破的固有脈絡，本次發表藝術家將這些命題重新回到立體創作演繹，結合創作媒材與創作方法的多元性，形塑另類美學的觀念創造。「繡燕與原林：邱承宏個展」以雜草、鋼筋、鷹架、碎石隙痕等物質媒材，於「採光」、「繡燕」、「原林」系列作品中微觀邊緣風景，宛若你我在日常交通過路瞥見即忘的施工地景—— 毀棄、野生、蒼白、浪漫皆在此處遐想疊合。
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▋邱承宏 ▋
1983年生於台灣花蓮，2008年畢業於國立台灣藝術大學造形藝術研究所。目前居住和工作在花蓮。他的創作多以裝置、雕塑的方式呈現，就像是進行一場考古探險般，他善於挖掘生存時空曾經存在的身影與軌跡，並透過抽象的手法重新演繹那些被合理化及設計過的邏輯規則，將它們生動地重塑，藉此發展出一套巨大的記憶修補術。
近年代表個展包括「趨光」（貝塔寧藝術中心，柏林，2019）、「時間的灰燼」（伊日藝術計劃，臺北，2017）、「九色鹿」（關渡美術館，臺北，2015）。代表聯展包括「秘密南方-典藏作品中的冷戰視角及全球南方」（台北市立美術館，台北，2020）、「亞洲藝術雙年展：來自山與海的異人」（國立台灣美術館，台中，2019）、「小說：雙城計劃」（台北市立美術館，台北，2019）、「破碎的神聖」（台北當代藝術館，台北，2017）、台灣美術雙年展「一座島嶼的可能性」（國立台灣美術館，台中，2016）、「巴黎／柏林／馬德里國際影像藝術節」（法國La Gaîté lyrique數位影像中心）、柏林世界文化之家、西班牙索菲雅皇后美術館、「利物浦雙年展」（利物浦LJMU大樓，2012）、「理解的尺度－台泰當代藝術展」（曼谷藝術文化中心，曼谷，2012）、「台灣響起-超隱自由」（布達佩斯藝術館，布達佩斯，2010）。2019年駐村于德國柏林貝塔寧藝術中心、2012年駐村於法國巴黎西帖藝術中心。
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► Chiu Chen Hung: Embroidered Swallows Across Original Jungle
Exhibition Dates | 11.27.2021-01.22.2022
Reception | 11.27.2021 (Sat.) 4:30 p.m.
Venue | TKG+ Projects (2F, No. 15, Ln. 548, Ruiguang Rd., Neihu Dist., Taipei, Taiwan)
Within the immutable present reality, art hijacks our will, and disrupts that which has ossified. – Chiu Chen Hung
Mold on walls, brick walls, asphalt roads, and underground streams, nameless potted plants, traces of concrete, abandoned animal statues, and slices of light and shadow in cultural heritage sites: In recent years Chiu Chen Hung has homed in on mass urban remains, and centered his practice on reshaping the past reality in his personal memory through the act of building, effacing, and conjuring light and shadow. Conceived as a continuation of Chiu＆#039;s 2020 project "Daylighting," which tackles historical landscapes and the idea of boundary, TKG+ Projects is pleased to present Embroidered Swallows Across Original Jungle, the artist＆#039;s latest creative experiment. The exhibition title originates from the names of the artist＆#039;s grandparents: Viewers are free to see "Embroidered" (Hsiu) and "Original" (Yuan) as adjective/noun/verb in their own interpretation of the title. Through this play on Chinese homophones , Chiu offers the viewer an abstract, organic, and undefined scenery, where the exhibition venue morphs into a searingly poetic space that cradles Chiu＆#039;s intimate investigation of the primordial state of nature within the concrete jungle.
As an artist who works with installation and sculpture, Chiu anticipates the latent capacity of art to blur boundaries, with a belief that art can carry (or in his words, "hijack") our will, so as to disrupt the impasse between opposing forces. He applies the sense of empathy from his earlier study of boundaries to his current creative process, where he experiences light and shadow from the perspective of his subject in the space. By recontextualizing his works in the space, he explores the symbiotic balance between the aesthetics of sculpture and heterogeneous materials. The artist accentuates the quality of each medium in his work, in an attempt to bring forth the medium＆#039;s vitality and essence, allowing it to exist on its own terms in his installation. Filled with tenderness and fantasy, Chiu＆#039;s work rearticulates the epochal narrative of each medium in its history of use, outside of human experience.
"Daylighting" is an excavation process that exposes subterranean rivers and underground ditches (mostly buried due to urban construction) to the surface by removing soil above them. Chiu＆#039;s relief work, Daylighting, inherits the term＆#039;s denotation and connotation: In what form, and from what angle, does light seep into a space? The artist connects fragments of light and shadow to the landscape of his personal history, tracing window frames and foliage outside the window, each silhouette a fugacious moment engraved in concrete. The ashen white of putty serves as daylight in Chiu＆#039;s work, whereas the engraved surface, given form through carving, becomes the subtle texture that the artist longs to materialize.
The work Embroidered Swallows is an extension of Chiu＆#039;s work, Concrete Zoo (2020). The artist surveys concrete animal statues, hidden and abandoned across Taiwan＆#039;s mountain woods. Using 3D printing, he proportionally enlarges the wear and tear endured by these statues, as well as the subsequent cracks and crannies. Then, mixing brass with natural minerals, Chiu produces multiple terrazzo sculptures of varying sizes. These enlarged defects in the animal statues, suspended in midair upon industrial cranes in the gallery space, translate into an allegory of plastic arts hidden in our society＆#039;s passing generations, in the evolution of construction materials. The work Original Jungle is composed of sheet metal, earth mounds, and vegetation. The installation appears to be a knoll of wilderness, with plants that have been gathered from different locations and replanted to mimic a natural scene. It encapsulates the idea of an untouched forest, nestled peacefully next to scaffolding, both sprouting upwards, in a parallel between the natural and the urban.
This exhibition employs a number of mediums and technologies that were born out of industrialization. By juxtaposing mixed and diversified materials, the artist leaves distinct clues for the viewer that aim to remap our understanding of natural vs. artificial, organic vs. man-made, whole vs. incomplete. These motifs become an integral part of his sculpture practice, where his materials marry with a diverse creative approach, shaping an alternative aesthetics. Ultimately, Chiu Chen Hung: Embroidered Swallows Across Original Jungle is a gesture toward nature, where weeds, rubble, scaffolding, and rebar coalesce into a scene on the periphery that evokes a pedestrian glance at a construction site soon forgotten in our daily commute - at once ruined, deserted, pallid, even poetic.
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▋Chiu Chen Hung ▋
Chiu Chen Hung was born in 1983 in Hualien, Taiwan. In 2008, he completed the graduate program in plastic arts at the National Taiwan University of Arts. His works are primarily presented in the framework of installation and sculpture. Like conducting an archeological expedition, he is especially proficient in excavating remaining outlines and imprints from bygone time and space. Through his practice of abstraction and reinterpreting both designed and rationalized logics, he vividly reshapes these existed objects and thus develop a vast memory restoration.
Chiu＆#039;s notable solo exhibitions include Phototaxis, Kunstlerhaus Bethanien (Berlin, Germany, 2019); The Dust of Time, Yiri Arts (Taipei, Taiwan, 2017); and A Deer of Nine Colors, Kuandu Museum of Fine Arts (Taipei, Taiwan, 2015). Group exhibitions include The Secret South: From Cold War Perspective to Global South in Museum Collection, Taipei Fine Arts Museum (Taipei, Taiwan, 2020); Asian Art Biennial: The Strangers From Beyond the Mountain and the Sea, National Taiwan Museum of Fine Arts (Taichung, Taiwan, 2019); Island Tales: Taiwan and Australia, Taipei Fine Arts Museum (Taipei, Taiwan, 2019), Shattered Sanctity, Museum of Contemporary Art (Taipei, Taiwan, 2017); Taiwan Biennial: The Possibility of an Island, National Taiwan Museum of Fine Arts (Taichung, Taiwan, 2016); Rencontres Internationales, La Gaîté lyrique, Paris, France; Haus der Kulturen der Welt Berlin; and Reina Sofia National Museum (Madrid, Spain, 2015); Liverpool Biennial, LJMU Copperas Hills (Liverpool, U.K., 2012), THAITAI: A measure of Understanding, Bangkok Art and Culture Centre (Bangkok, Thailand, 2012); Taiwan Calling: The Phantom of the Liberty, Mücsarnok Museum (Budapest, Hungary, 2010). Artist residency programs include Künstlerhaus Bethanien (Berlin, Germany, 2019) and Cité internationale des arts (Paris, France, 2012).