ChromaLuxe prints on aluminum plate, ceramics, plants, shelves, stereolithography resin, plaster, UV prints, copypaper 熱昇華轉印於鋁板、陶瓷、植物、層架、光固化樹脂、石膏、UV印刷、影印紙 Installation size 空間尺寸 2023 (Installation view at the Tor111, Berlin, Germany裝置現場於Tor111，柏林，德國)
The first art event of 2023 brought me great joy as I returned to my hometown of Tainan, following the post-pandemic period. As part of the Yuguang Island Art Festival – Remapping Island of Earthsea, curated by Janet Feng, I exhibited a brand-new outdoor installation, The Test. The inspiration for The Test is drawn from The Chemical Brothers' music video of the same name. Specifically, it samples a classic scene from Buster Keaton's silent film "Steamboat Bill Jr." (1928), correlating it with the current solar power crisis occurring in the coastal fishing villages of Tainan.
The Test has garnered attention from the French interdisciplinary environmental art organization, Art of Change 21. I was invited to engage in a comprehensive conversation with the founder, Alice Audouin.
In the warm month of May, I embarked on a two-month residency at the Manuel Rivera-Ortiz Foundation in Arles, France. Later, I took part in an associated exhibition in the Rencontres d'Arles in July at the same location, titled Grow Up. Curated by Florent Basiletti and Meg Chang, Grow Up was sponsored by the Paris Taiwan Cultural Center and the Ministry of Culture of Taiwan. The exhibited work, titled JTC+Arles, is an extension of the JTC series that originated in Taiwan. It documents street bonsai in Taiwan, forming a semi-outdoor installation that combines photography, ceramics, and plants. With a slightly humorous tone, the work aims to discover a daily moment of ordinary folks within the narrative of profound environmental issues.
After the exhibition in Arles, JTC+Arles was invited by Christel Boget of ParisBerlin Fotohaus. In October, the exhibition traveled to Berlin and was showcased at Tor111.
In June, the Chiayi Art Museum exhibited three works, Formation Deformation Dogformation, Grafrath: A Schäferhund Story and A Craftwork Canine, as part of the exhibition titled Here is Where We Meet. The exhibition was curated by Erica Yu-Wen Huang, who was invited by the Tianmei Art Foundation. She selected works from the foundation's alumni, showcasing the transformations after their journeys. This exhibition marked the third museum show for the No Country for Canine series.
In the scorching month of August, I briefly returned to Taiwan. Together with artists from Taiwan and Germany, we collaborated at the Kaohsiung Literature Museum to complete the editing of ShiShiShi (The Food Is Good, the Weather Is Nice, What Have You Been Up To?). This book, based on a series of exchanges between Taiwanese and German artists, was the result of online meetings, offline gatherings, correspondence, and an editorial workshop. It is an artist's publication loaded with imagination and crafted with special printing techniques. This publication project was sponsored by the National Culture and Arts Foundation of Taiwan, Kunststiftung NRW of Germany, published by Islandset, and executed by Suave art. Following its release, "ShiShiShi" was included in the Frankfurt Book Fair in Germany, marking its first formal launch within the European context.
In September, I participated in two simultaneous exhibitions in Asia: Firstly, in Daegu, South Korea, What I Learned from the Mountain and the Sea at the 9th Daegu Photo Biennale. Curated by Michel Frizot, and Ying-long SU, this year's exhibition embraced the concept of returning to the essence of photography. It consciously avoided contemporary issues and selected image works that could only be created through the steps of "photography." The biennale set a record-breaking attendance of 80,000 visitors.
Simultaneously, during the Taiwan Creative Expo, I participated in a special exhibition organized by the Taiwan Art Bank titled First Half Champions. Curator Yong-fen HU selected a work from the Art Bank's collection and invited the artist to provide a new piece, presenting a juxtaposition of the artist's growth trajectory over a decade. I exhibited the collected work Debris - Gourd and a new piece derived from last year's Amazon journey titled Amazon_Anonymous.
As an outcome of last year's residency at Labverde in Manaus, Brazil, Amazon_Anonymous has been published in the catalog, featuring insightful articles by Emanuele Coccia and Camilla Palestra.
In the first year after the pandemic, the world continues to face new challenges. I hope everyone is well and remains steadfast in moving towards their desired goals.
Wishing you all a warm and joyful holiday,
What I Learn from the Mountain and the Sea 山海教我的事 Inkjet Print 噴墨相紙 Variety size 尺寸各異 2021 (Installation view at the Daegu Art Center, Daegu, Korea裝置現場於大邱藝術中心，大邱，韓國)
「The Test (考驗) 」受到法國環境藝術跨界組織Art of Change 21關注，受邀與創辦人Alice Audouin進行了一篇綜合性對談。
春暖的五月，前往法國亞爾Manuel Rivera-Ortiz基金會開始為期兩個月的駐村。亦在同地點參展七月的亞爾攝影節平行展<Grow Up> 。<Grow Up>由Florent Basiletti 和張弘瑜策展， 巴黎台灣文化中心與台灣文化部贊助。展出作品「JTC+Arles」，延續自在台灣發展的「JTC」系列，記錄台灣的街頭盆栽，構成結合攝影、陶瓷以及植物的半戶外裝置。以略帶幽默的口吻，企圖在敘事弘大的環境議題之中發覺一個貼近庶民日常的微小片刻。
在亞爾展出後，「JTC+Arles」受ParisBerlin Fotohaus策展人Christel Boget邀請，在十月回到柏林Tor111展出。
嘉義美術館在六月<我們在此相遇>中展出「編隊 型變 犬變」、「格拉芙拉特：牧犬傳」和「狗匠」三件作品。展覽由天美基金會邀請策展人黃又文策畫，從天美基金會歷屆出訪藝術家中選出了各自在旅程之後默默變化的創作。此展覽也為「馴國」系列第三次的美術館展出。
盛暑的八月短暫回台，與台灣及德國的藝術家相聚高雄文學館完成了<食時事>的編輯。本書基於一系列台德藝術家間的交流，經過線上會議、線下聚會、書信往來以及出版工作坊，完成一本滿載藝術奇想，以特殊印刷技術完成的藝術家出版品。此出版計畫由台灣國家藝術文化基金會，德國Kunststiftung NRW贊助，島座放送出版，細着藝術執行。<食時事> 隨後參與德國法蘭克福書展，完成了在歐洲範圍內的第一次正式曝光。
以十年前後的對照呈現藝術家成長軌跡。我展出受典藏的「 Debris - 葫蘆」，以及基於去年亞馬遜之旅所衍生的新作品「匿名_亞馬遜」。
「匿名_亞馬遜」作為去年在巴西瑪瑙茲Labverde的進駐成果，也於今年出版成為電子書。內含兩篇分別由自然哲學家Emanuele Coccia 和倫敦藝術大學助理策展人Camilla Palestra所撰寫的文章。
The Test (考驗) Steel, photovoltaic panel, LED light tubes, acrylic panels 鐵、光電板、LED燈管、壓克力板 Installation size 裝置尺寸 2023 (Installation view at the Yuguang Island, Tainan, Taiwan裝置現場於漁光島，台南，台灣)