One Piece Room Chen Shun-Chu Solo Exhibition
2014.05.09～2014.07.06
09:00 - 17:00
Venue: Gallery 402 We will see the installation piece
Fengkuei Chair,” consisting of two pieces; one is a ceiling fan combined with a wooden cabinet, while the other piece is a ceiling fan and wooden chair. The rotating ceiling fan is inserted into a gap in the wooden furniture, the objects suspended off the ground like isolated islands, the unusual combination of familiar objects prompting viewers to ponder the implications. Fengkuei is a well-known scenic spot in Chen Shun-Chu’s home county of Penghu. The name, literally meaning
cabinet of the wind,” is related to the unusual landscape created by the long-term interaction of the ocean winds, waves, and the rocky shore, and the sounds that it produces. Chen has therefore used
Fengkuei” in the name of the piece, and adapted the concept; the ocean breeze of nature is replaced by the ceiling fan of civilization, while the rocks hollowed out by the erosion of the ocean becomes a wooden cabinet used by humans for storage, and the scene of the rocky shore becomes a household chair. Similarly, memories and sentiments of natural scenery from the artist’s home have been transformed into images of household life both real and imagined. The cabinet both holds items and stores memories, while the fan both blows air and stirs reflection. When a tiny voice or thought, drifting with the wind, arrives at a space or place that resonates, can it produce an effect like the amplification and reverberation heard at Fengkuei, continually stirring recollections and revitalizing them? In contrast to the nature of the cabinet as a fixed, accommodating, domestic, and collectively used object, the chair is characterized as individual, independent, wandering and carefree; the artist uses this contrast to link his background of having grown up in Penghu with his experience of living in Taiwan, with outwardly visible objects bringing out inner emotional tension.
Fengkuei Chair,” consisting of two pieces; one is a ceiling fan combined with a wooden cabinet, while the other piece is a ceiling fan and wooden chair. The rotating ceiling fan is inserted into a gap in the wooden furniture, the objects suspended off the ground like isolated islands, the unusual combination of familiar objects prompting viewers to ponder the implications. Fengkuei is a well-known scenic spot in Chen Shun-Chu’s home county of Penghu. The name, literally meaning
cabinet of the wind,” is related to the unusual landscape created by the long-term interaction of the ocean winds, waves, and the rocky shore, and the sounds that it produces. Chen has therefore used
Fengkuei” in the name of the piece, and adapted the concept; the ocean breeze of nature is replaced by the ceiling fan of civilization, while the rocks hollowed out by the erosion of the ocean becomes a wooden cabinet used by humans for storage, and the scene of the rocky shore becomes a household chair. Similarly, memories and sentiments of natural scenery from the artist’s home have been transformed into images of household life both real and imagined. The cabinet both holds items and stores memories, while the fan both blows air and stirs reflection. When a tiny voice or thought, drifting with the wind, arrives at a space or place that resonates, can it produce an effect like the amplification and reverberation heard at Fengkuei, continually stirring recollections and revitalizing them? In contrast to the nature of the cabinet as a fixed, accommodating, domestic, and collectively used object, the chair is characterized as individual, independent, wandering and carefree; the artist uses this contrast to link his background of having grown up in Penghu with his experience of living in Taiwan, with outwardly visible objects bringing out inner emotional tension.
Venue: Gallery 402 We will see the installation piece
Fengkuei Chair,” consisting of two pieces; one is a ceiling fan combined with a wooden cabinet, while the other piece is a ceiling fan and wooden chair. The rotating ceiling fan is inserted into a gap in the wooden furniture, the objects suspended off the ground like isolated islands, the unusual combination of familiar objects prompting viewers to ponder the implications. Fengkuei is a well-known scenic spot in Chen Shun-Chu’s home county of Penghu. The name, literally meaning
cabinet of the wind,” is related to the unusual landscape created by the long-term interaction of the ocean winds, waves, and the rocky shore, and the sounds that it produces. Chen has therefore used
Fengkuei” in the name of the piece, and adapted the concept; the ocean breeze of nature is replaced by the ceiling fan of civilization, while the rocks hollowed out by the erosion of the ocean becomes a wooden cabinet used by humans for storage, and the scene of the rocky shore becomes a household chair. Similarly, memories and sentiments of natural scenery from the artist’s home have been transformed into images of household life both real and imagined. The cabinet both holds items and stores memories, while the fan both blows air and stirs reflection. When a tiny voice or thought, drifting with the wind, arrives at a space or place that resonates, can it produce an effect like the amplification and reverberation heard at Fengkuei, continually stirring recollections and revitalizing them? In contrast to the nature of the cabinet as a fixed, accommodating, domestic, and collectively used object, the chair is characterized as individual, independent, wandering and carefree; the artist uses this contrast to link his background of having grown up in Penghu with his experience of living in Taiwan, with outwardly visible objects bringing out inner emotional tension.
Fengkuei Chair,” consisting of two pieces; one is a ceiling fan combined with a wooden cabinet, while the other piece is a ceiling fan and wooden chair. The rotating ceiling fan is inserted into a gap in the wooden furniture, the objects suspended off the ground like isolated islands, the unusual combination of familiar objects prompting viewers to ponder the implications. Fengkuei is a well-known scenic spot in Chen Shun-Chu’s home county of Penghu. The name, literally meaning
cabinet of the wind,” is related to the unusual landscape created by the long-term interaction of the ocean winds, waves, and the rocky shore, and the sounds that it produces. Chen has therefore used
Fengkuei” in the name of the piece, and adapted the concept; the ocean breeze of nature is replaced by the ceiling fan of civilization, while the rocks hollowed out by the erosion of the ocean becomes a wooden cabinet used by humans for storage, and the scene of the rocky shore becomes a household chair. Similarly, memories and sentiments of natural scenery from the artist’s home have been transformed into images of household life both real and imagined. The cabinet both holds items and stores memories, while the fan both blows air and stirs reflection. When a tiny voice or thought, drifting with the wind, arrives at a space or place that resonates, can it produce an effect like the amplification and reverberation heard at Fengkuei, continually stirring recollections and revitalizing them? In contrast to the nature of the cabinet as a fixed, accommodating, domestic, and collectively used object, the chair is characterized as individual, independent, wandering and carefree; the artist uses this contrast to link his background of having grown up in Penghu with his experience of living in Taiwan, with outwardly visible objects bringing out inner emotional tension.
Chen, Shun-Chu Biograghy Chen, Shun-Chu was born in 1963 at Penghu. He graduated from The Chinese Culture University with a B.F.A. degree in Painting in 1986. He lives and works in Taipei. Since 1990s, Chen has derived from his autobiographical viewpoint into the image thinking with photography as the major expressive language, in which he often applies mixed media and installation to interfere with space and landscape. He received “Taipei Arts Award” in 1995 and “Li Chung-Shen Foundation Visual Art Awards” in 2009. His works have been collected by the National Taiwan Museum of Fine Arts, Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts, Fukuoka Asian Art Museum, Deutsche Bank Hong Kong, White Rabbit Collection. Generally speaking, Chen is widely regarded as one of the pioneers of fine art photography at Taiwan and representative artists of contemporary “New Image.” Currently Chen has presented over 25 major solo exhibitions both at Taipei Fine Arts Museum, Paris (France), Fukuoka (Japan), Hong Kong (China), etc, attended more than 150 group exhibitions, and invited to participate in over 50 international biennales, triennales and specific theme exhibitions curated by many well-known professional art institutions. He participated in many international exhibitions : “Taiwan Calling- The Phantom of Liberty” 2010 Mücsarnok Kunsthalle, Budapest (Hungary) “Four Dimensions” 2010 -Contemporary Photography from Mainland China, Hong Kong, Taiwan & Macau” Hong Kong Arts Center, Hong Kong (China) “Beyond 20 Degree Celsius: Exhibition of "Room Temperature Luminescence" 2008 from Taiwanese Contemporary Imaging Art” National Taiwan Museum of Fine Arts, Taichung, (Taiwan) He Xiang Ning Art Museum, Guang Dong (China) “The Tide is High” 2005 Dieppe (France) “Techniques of the Visible: Shanghai Biennale” 2004 Shanghai Art Museum, Shanghai (China) “Spellbound Aura: The New Vision of Chinese Photography” 2004 Museum of Contemporary Art, Taipei (Taiwan) “A Strange Heaven: Contemporary Chinese” 2003 Photography- Galerie Rudolfinum, Prague (Czech) “Pingyao International Photography Festival” 2002 Shanxi (China) “Pause: Gwangju Biennale” 2002 Gwangju (Korea) “Man + Space: Gwangju Biennale” 2000 Biennale Exhibition Hall, Gwangju (Korea) “Inside Out: New Chinese Art” 2000-1998 Hong Kong Arts Centre, Hong Kong (China) National Gallery of Australia, Canberra (Australia) Seattle Museum, Seattle (U.S.A.) Museo de Arte Contemporáneo de Monterrey, Monterrey (Mexico) San Francisco Museum of Modern Art, San Francisco (U.S.A.) Asia Society & P.S.1 Contemporary Art Center, New York (U.S.A.) “Communication- Channels for Hope, The 1st Fukuoka Asian Art Triennale” 1999 Fukuoka Asian Art Museum, Fukuoka (Japan) “Taiwan: Art Today” 1997- 1996 The Museum of World Culture, Berlin (Germany) Ludwig Art Forum, Achen (Germany) “Asian View: Asia in Transition” 1996 Tokyo Metropolitan Museum of Photography, Tokyo (Japan) “November．Horizon of Korean Photo” 1992 Seoul Fine Arts Museum, Seoul (Korea)
Chen, Shun-Chu Biograghy Chen, Shun-Chu was born in 1963 at Penghu. He graduated from The Chinese Culture University with a B.F.A. degree in Painting in 1986. He lives and works in Taipei. Since 1990s, Chen has derived from his autobiographical viewpoint into the image thinking with photography as the major expressive language, in which he often applies mixed media and installation to interfere with space and landscape. He received “Taipei Arts Award” in 1995 and “Li Chung-Shen Foundation Visual Art Awards” in 2009. His works have been collected by the National Taiwan Museum of Fine Arts, Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts, Fukuoka Asian Art Museum, Deutsche Bank Hong Kong, White Rabbit Collection. Generally speaking, Chen is widely regarded as one of the pioneers of fine art photography at Taiwan and representative artists of contemporary “New Image.” Currently Chen has presented over 25 major solo exhibitions both at Taipei Fine Arts Museum, Paris (France), Fukuoka (Japan), Hong Kong (China), etc, attended more than 150 group exhibitions, and invited to participate in over 50 international biennales, triennales and specific theme exhibitions curated by many well-known professional art institutions. He participated in many international exhibitions : “Taiwan Calling- The Phantom of Liberty” 2010 Mücsarnok Kunsthalle, Budapest (Hungary) “Four Dimensions” 2010 -Contemporary Photography from Mainland China, Hong Kong, Taiwan & Macau” Hong Kong Arts Center, Hong Kong (China) “Beyond 20 Degree Celsius: Exhibition of "Room Temperature Luminescence" 2008 from Taiwanese Contemporary Imaging Art” National Taiwan Museum of Fine Arts, Taichung, (Taiwan) He Xiang Ning Art Museum, Guang Dong (China) “The Tide is High” 2005 Dieppe (France) “Techniques of the Visible: Shanghai Biennale” 2004 Shanghai Art Museum, Shanghai (China) “Spellbound Aura: The New Vision of Chinese Photography” 2004 Museum of Contemporary Art, Taipei (Taiwan) “A Strange Heaven: Contemporary Chinese” 2003 Photography- Galerie Rudolfinum, Prague (Czech) “Pingyao International Photography Festival” 2002 Shanxi (China) “Pause: Gwangju Biennale” 2002 Gwangju (Korea) “Man + Space: Gwangju Biennale” 2000 Biennale Exhibition Hall, Gwangju (Korea) “Inside Out: New Chinese Art” 2000-1998 Hong Kong Arts Centre, Hong Kong (China) National Gallery of Australia, Canberra (Australia) Seattle Museum, Seattle (U.S.A.) Museo de Arte Contemporáneo de Monterrey, Monterrey (Mexico) San Francisco Museum of Modern Art, San Francisco (U.S.A.) Asia Society & P.S.1 Contemporary Art Center, New York (U.S.A.) “Communication- Channels for Hope, The 1st Fukuoka Asian Art Triennale” 1999 Fukuoka Asian Art Museum, Fukuoka (Japan) “Taiwan: Art Today” 1997- 1996 The Museum of World Culture, Berlin (Germany) Ludwig Art Forum, Achen (Germany) “Asian View: Asia in Transition” 1996 Tokyo Metropolitan Museum of Photography, Tokyo (Japan) “November．Horizon of Korean Photo” 1992 Seoul Fine Arts Museum, Seoul (Korea)
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