攝影Photographic Art



CHEN Yung Hsien, PhD of Arts and Communication from The University of Brighton, England, founded and curated Taiwan International Video Art Exhibition. He currently serves as a professor in National Taiwan University of Arts. His art works raise discussions on the relationship between body and space, individual and society, human and environment, self and the others, focusing on the differences among each individual’s recognition of social rules, reflecting dilemmas of the society. Through photos of figures, the series works “The Multitudes in Market” record human warmth and local culture in traditional markets, displaying the aesthetics of common people and their memories.

《市場諸眾》#5 The Multitudes in Market #52018 120cm x 175cm
影像裝置,黑白,鋁板裝裱 photography installation
《市場諸眾》#4 The Multitudes in Market #42018 120cm x 175cm
影像裝置,黑白,鋁板裝裱 photography installation
《市場諸眾》#3 The Multitudes in Market #32018 120cm x 175cm
影像裝置,黑白,鋁板裝裱 photography installation
《市場諸眾》#2 The Multitudes in Market #22018 120cm x 175cm
影像裝置,黑白,鋁板裝裱 photography installation
《市場諸眾》#1 The Multitudes in Market #12018 120cm x 175cm
影像裝置,黑白,鋁板裝裱 photography installation
傳統市場作為常民的生活象徵,如何反應區域的文化地理特性?作為一個具差異性的有機體,如何以演繹概念來看待社會現實反射?進一步來說,傳統市場是一群移動人口的聚集所在,他們在零售與物流轉運之消費模式中,面對龐大資本的物流中心和商品條碼環伺情境裡,以自身勞動實踐與價值轉換之間,產生了不可視的抵抗作用。《市場諸眾》藉由社會流動的系統作為地景介面,從地方現象到流動者演化,檢視包括小農生產、市集轉型、攤販衰退危機,以及經濟壟斷貨源等思辨,忖度著生活次文化的承載價值。 Through the mobility of food in common people’s life, the series works “The Multitudes in Markets” discuss the subordinate relationship between production and consumption, local areas and the globe, as well as how the relationship changes due to personal activities and the alteration of the social structure. Traditional markets as one of the relay station between farms and dining tables, confront the chain operation of supermarkets and hypermarkets, getting involved in the economic tug-of-war. The artist’s observation is not only a soundless strike on the gathered human warmth but also a reflection on the transference of the economic structure in the globalization era.
As a symbol of commoners’ life, how do traditional markets reflect the features of the local culture? As an organism that contains different elements, how do traditional markets view the reality through reasoning? To be more specific, as a space for groups of migrants to gather, traditional markets apply labors and transfer values, so as to generate invisible resistant effects against the retail-logistics consumption mode and the barcode system from logistics centers with massive capital. On the basis of social mobility system, from local phenomenon to migrants’ evolution, “The Multitudes in Markets” inspects issues of small-holder farming, market transformation, vendors’ decay crisis, resource monopoly, etc., questing the value of subculture in life.
我在這裡 系列 Here I am2018 267cm x 160cm
數位輸出 Digital print
出現在鏡頭裡的凝視之眼,讓身體穿越時空回返而帶來的差異,人物表情意識到包含了這個時代人的一種願望和期待,也真實地反映當下的生存狀態,或者說是自己對生存的一種熱望。除了身體的存在感,這個「凝視之眼」也是故事源之一,無論是關注於物件或與姿態之關聯出微妙的期盼,以及這些社會底層人物,對現實社會所滋生的反向離心力後的表現。凝視裡的「時間-影像」(time-image)之時空延展,在韻律、時延、重覆與符號隱喻,對於再現的事件所給出的此時「痕跡」。《我在這裡》試圖刺破身體與物體之間關聯,運用身體所能呈現的凝視姿勢之極限,來講述一種即刻的狀態。 The staring eyes in the photography, the differences that the figures brought back after time travel. These people’s countenance includes the era’s wishes and the people’s living status at the moment; or in other words, their expectation of their own life. The figures’ existence forms the story together with the staring eyes, which expresses expectations from inspection of objects, as well as gestures and the anti-centrifugal force to the reality from these people of the lower class. The time-space extension of the time-image in the stares provides the reproduced events with traces through metre, time extension, repetitions and signifiers. “Here I Am” intends to penetrate the connection between body and objects, telling the current status through extreme stares.