A+ Contemporary亞洲當代藝術空間榮幸地宣佈，我們即將於2015 年10月31 日下午3 點於台北亞洲藝術中心二館舉行「陳彧凡」同名個展開幕式，是中國藝術家陳彧凡在台灣的第一次個展，展覽將持續至2015年12月6日。

陳彧凡的作品圍繞著視覺的結構與意念的強度，並借由物與空間的集與散，構成了他獨特的藝術實踐。作品由點和線組成的平面，面與物構成空間，再以疊加與重複行為發展出時間的線索，這是藝術家與材料的溝通過程，也成為陳彧凡的一個重要的主題——像是一種自我體驗的修行；以當代藝術的角度來看——是一種觀念性行為藝術。

在80年代的中國，抽象性或是使用非符號性的作品在當時充滿社會政治現實的藝術主流話語中是具有反抗性的意義。在表現形式上選擇「抽象」的中國藝術家們，這是一種抒發心靈的出口，一種不被現實所淹沒的積極逃避；於是在此，就不能將陳彧凡與西方抽象表現藝術劃上等號。或許是可以回到他人生的出發點福建莆田，2011年藉由以故鄉的木蘭溪為主體的創作「木蘭溪計畫」(陳彧凡、陳彧君共同創作)，不僅是強調在藝術家的個人生活、歷史和記憶，更是突顯出陳彧凡在創作中回溯文化主體與生命源泉的特質。雖然作品在具體的形象上抽離，但其實內在富含著敘事性、文字性與東方的哲學性，中國的策展人在解釋陳彧凡的創作上，形容他是的指向一個「道」和「禪」的意念空間。

這次台北個展的作品中，節選了陳彧凡不同時期的系列作品，從早期的《莊子》、近作《衍生物》與裝置作品《山水》完整的向台灣觀眾呈現陳彧凡的創作思路。表現形式上陳彧凡使用當代的藝術表現方法，在精神層面上吸取自於中華文化的土壤。這兩種線索相互的揉和中，集合個人記憶與文化底蘊在抽象跟觀念之間遊離，訂立了他獨特的個人創作語彙。也彰顯70年代一輩中國藝術家強調自我個人意識的特徵下，對於當時閉塞的社會政治現實及集體意識的反抗性。這是中國式的前衛、當代，又或許可以理解成新的東方精神。(文/姜毓芸)

關於藝術家
陳彧凡，1973年出生於福建莆田，1997年本科畢業於福建師範大學藝術學院，2007年畢業於中國美術學院綜合藝術系研究所。重要個展包括「白色之上，黑色之下–陳彧凡個展」（安信信托‧至美空間，上海，2015）、「空間志No.1–陳彧凡、陳彧君」（AYE畫廊，北京，2014），「木蘭溪–不居」分別在2013及2012年於萊比錫與柏林Zhong畫廊展出，並於北京展出「褶曲的時間–2012陳彧凡新作展」（AYE畫廊，2012）、「陳彧凡、陳彧君–木蘭溪」（博而勵畫廊，2011）、「化一」（AYE畫廊，2010）。重要群展包括「不是繪畫–關於繪畫邊界的探索」（台北亞洲藝術中心，台北，2015）、「第八屆深圳雕塑雙年展–我們從未參與」（華僑城當代藝術中心（OCAT），深圳，2014）、「不合作方式2」（格羅寧根美術館，格羅寧根，2013）、「不一不異–中國青年藝術家實驗展」（中國美術學院美術館，杭州，2013）、「鏡子與影子：中國當代藝術」（印尼國家美術館，雅加達，2013）、「ON｜OFF：中國年輕藝術家的觀念與實踐」（尤倫斯當代藝術中心，北京，2013）、「韓國光州雙年展特展：Ctrl+N–非線性實踐」（光州市立美術館，光州，2012）、「2011成都雙年展特別邀請展之『日用–常行』文獻展」（成都當代美術館，成都，2011）、「後傳統，放大的切片–第四屆上海多倫青年美術大展」（多倫現代美術館，上海，2010）。現工作生活於上海。


A+ Contemporary is pleased to announce the opening of “CHEN YUFAN” solo exhibition at 3pm on 31st October at Asia Art Center Taipei II. This is Chinese artist Chen Yufan’s first solo exhibition in Taiwan. The exhibition will continue until 6th December, 2015.

Chen Yufan’s work revolves around the optical structure and the force of intent; his unique artistic expression is grounded in both the assembly and scatter of objects and space. Through surfaces composed of dots and lines, and spaces constructed by surfaces and objects, a trace for time is unleashed when these elements overlay upon one another. The dialogue between the artist and his mediums becomes a significant subject, resembling that of an internal meditation; when seen in the perspective of contemporary art, it is a form of performance art rooted in concepts.

During the 80s in China, artworks that were abstract in nature or anti-symbolic were viewed as rebellious in the discourse of mainstream art which was filled with notions of realpolitik. For Chinese artists who chose abstraction, it was a means to find an outlet for the soul, a desperate escape so as to not be engulfed by reality. This sets a definite contrast between Chen Yufan and Western abstract art. Putian, Fujian, where the artist grew up, should be the place of departure when examining his work. “Mulan River Project” of 2011 (a collective work by brothers Chen Yufan and Chen Yujun) is an homage to the Mulan River of their hometown. The work not only highlights their lives, history and creative paths, it further accentuated Chen Yufan’s distinct interest in retracing the core of culture and the source of life. Although free from any hints of realist depictions, his work is in fact rich in narratives, literary and Eastern philosophies. Curators in China refer to Chen Yufan’s works as a mindful space of “Daoism” and “Zen”.

Chen Yufan’s solo exhibition in Taipei features works from his different creative periods, from early work Zhuangzi, to Derivative of this year, and installation work Landscape, offering us a comprehensive look into Chen Yufan’s creative path. His work bears the outward expressions of contemporary art while his concepts are buried deep within the rich soil of Chinese culture. Through the interweaving of these two clues, the artist’s intimate memories and culture drift between abstract and concept, and his unique creative context is thereby established. The notion of self-awareness, distinct to Chinese artists born in the 70’s, is further emphasized, as well as the unbowed attitude towards realpolitik and collective consciousness. These progressive and contemporary characteristics distinct to China may also be interpreted as a new iteration of spirit of the East. (Text/Yuyun Chiang)
 
Artist: Chen Yufan
Born in 1973 in Putian, Fujian Province, Chen Yufan graduated from the school of Fine Art at Fujian Normal University in 1997, and graduated from the Graduate School of the Department of Integrated Art at China Academy of Art in 2007. His solo exhibitions include: Beyond the White, Beneath the Black – Chen Yufan Solo Exhibition (Anxin Trust Co. Ltd. – Artemis, Shanghai, 2015), Space Graphy No.1 – Exhibition of Chen Yufan and Chen Yujun (AYE Gallery, Beijing, 2014), and Mulan River – Unsettled was exhibited in Leipzig and Zhong Gallery in Berlin in 2013 and 2012 respectively, and the exhibitions The Folding Time – Chen Yufan’s New Works 2012 (AYE Gallery, 2012), Mulan River Project – Chen Yujun and Chen Yufan (Boers-Li Gallery, 2011), INTO ONE (AYE Gallery, 2010) were held in Beijing. Chen’s selected group exhibitions include: This is Not Painting – Exploring the Boundary of Painting (Asia Art Center Taipei II, Taipei, 2015), The 8th Shenzhen Sculpture Biennale: We Have Never Participated (OCT Contemporary Art Terminal, Shenzhen, 2015), Fuck off 2 (Groninger Museum, Groningen, 2013), Not Same, Not Different – Experimental Exhibition of Young Chinese Artists (The Museum of China Academy of Art, Hangzhou, 2013), MIRROR AND SHADOW: Contemporary Art from China (National Gallery of Indonesia, Jakarta, 2013), On | Off: China’s Young Artists in Concept & Practice (Ullens Center for Contemporary Art, Beijing,2013), Ctrl+N–Non-linear Practice (Gwangju Biennale Special Exhibition, Gwangju, 2012), 2011 Chengdu Biennale Special Invitation Exhibition: Ri Yong-Chang Xing (Museum of Contemporary Art Chengdu, Chengdu, 2011), Post Traditions, Enlarge the Carve: The Fourth Shanghai Duolun Youth Art Exhibition (Duolun Museum of Modern Art, Shanghai, 2010). He currently works and lives in Shanghai.