具体描述
在这次「情定终身」个展中，吴建兴(1987-)尝试以自己的终身大事作为启动点，演绎婚姻关系及其仪式「展演」的可能性，探索联系个体与个体之间的共生关系。他不只将婚纱摄影、红地毯、婚宴乃至婚礼仪式镶嵌于展览之中，他甚至要求观众「出双入对」的连袂进场－－先以手环缠绕两人手腕，再入场参观展览。相较于吴建兴之前的作品，这样的手法与表现，的确不是我们熟悉的。 一直以来，他善用日常的物件，探讨物件外在型态与内在能量转换与存续的可能性，例如「钢铁苍穹」 (2012)被改装成沙发的汽车车头、「家族」系列(2013)被当作绘画颜料的机油、「同心圆」系列(2013-15)被转化为组合玩具的菜刀。尽管如此，「情定终身」探索的主题仍承接了吴建兴创作的核心概念，也就是对于「家」所建构的人际网络与价值体系的省察。尤其这次展出加入了「家庭记忆」 (2012)，这件旧作静态的空间转化与两件新作「座上宾」、「家庭事件」耐人寻味的、变动不安的情绪相互对应，可以读出吴建兴尝试釐清自身创作线索的企图。 吴建兴透过艺术的手法将自身的生命课题作为展演的主题，进驻到美术馆的场域，试图扩充展览的意涵，丰富展览的面向，对美术馆的展览机制来说，别具新意。「情定终身」不仅见证了吴建兴个人生命的关键时刻，从他创作脉络的深化与延展来看，可预见本次个展在他创作生涯可能具有的指标意义。
In the solo exhibition The Endless Ties of Love, Chien-Hsing Wu (1987-) takes a momentous event of his own life – his marriage – as a starting point to construe the possibilities of “exhibiting” marital relations and nuptial rituals, and to explore mutually dependent relationships between two individuals. He not only inlays marriage photos, red carpets, wedding banquets and wedding ceremonies onto the exhibition; he even asks visitors to enter the exhibition side by side as couples –wrapping bracelets around two people’s wrists before they enter the exhibition space. Such a method of expression is not what we are accustomed to in Wu’s previous works. Chien-Hsing Wu has always been adept at using everyday objects, and at exploring the possibilities of interchanging the outer forms of objects with their inner energies, and thus perpetuating them. For example, in Iron Sky (2012), the front of a car is transformed into a sofa. In Family Series (2013), motor oil serves as a pigment in a painting. In Concentric Circles Series (2013-15), cooking knives are turned into a set of toys. Be this as it may, the themes investigated in The Endless Ties of Love inherit the core concepts of Wu’s earlier works – that is, a rumination on the interpersonal networks and value systems formed by families. In particular, the static space of the old work Family Memories (2012) has been converted into two new works for this exhibition: Guests at a Banquet and Family Event. The thought-provoking, restlessly shifting mutual resonance of emotions in these two works make apparent Chien-Hsing Wu’s attempt to clarify the threads in his own creations. Through artistic means, Chien-Hsing Wu has adopted an important issue in his own life as the theme of his exhibition. Taking up residence in the spaces of an art museum, he has attempted to broaden the meaning of the exhibition and enrich its dimensions. For an art museum – an institution facilitating exhibitions – it holds particularly novel significance. The Endless Ties of Love not only bears witness to a key moment in Chien-Hsing Wu’s personal life, but also demonstrates the deepening and expansion of his artistic development. We may anticipate that this solo exhibition will prove a milestone in his artistic career.
In the solo exhibition The Endless Ties of Love, Chien-Hsing Wu (1987-) takes a momentous event of his own life – his marriage – as a starting point to construe the possibilities of “exhibiting” marital relations and nuptial rituals, and to explore mutually dependent relationships between two individuals. He not only inlays marriage photos, red carpets, wedding banquets and wedding ceremonies onto the exhibition; he even asks visitors to enter the exhibition side by side as couples –wrapping bracelets around two people’s wrists before they enter the exhibition space. Such a method of expression is not what we are accustomed to in Wu’s previous works. Chien-Hsing Wu has always been adept at using everyday objects, and at exploring the possibilities of interchanging the outer forms of objects with their inner energies, and thus perpetuating them. For example, in Iron Sky (2012), the front of a car is transformed into a sofa. In Family Series (2013), motor oil serves as a pigment in a painting. In Concentric Circles Series (2013-15), cooking knives are turned into a set of toys. Be this as it may, the themes investigated in The Endless Ties of Love inherit the core concepts of Wu’s earlier works – that is, a rumination on the interpersonal networks and value systems formed by families. In particular, the static space of the old work Family Memories (2012) has been converted into two new works for this exhibition: Guests at a Banquet and Family Event. The thought-provoking, restlessly shifting mutual resonance of emotions in these two works make apparent Chien-Hsing Wu’s attempt to clarify the threads in his own creations. Through artistic means, Chien-Hsing Wu has adopted an important issue in his own life as the theme of his exhibition. Taking up residence in the spaces of an art museum, he has attempted to broaden the meaning of the exhibition and enrich its dimensions. For an art museum – an institution facilitating exhibitions – it holds particularly novel significance. The Endless Ties of Love not only bears witness to a key moment in Chien-Hsing Wu’s personal life, but also demonstrates the deepening and expansion of his artistic development. We may anticipate that this solo exhibition will prove a milestone in his artistic career.
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