CHU CHUNTENG 朱骏腾

 

­自我 演绎

朱骏腾是一位对外界感受极具敏感的艺术家。

此感受力对于朱骏腾来说,是串起他作品的重要思路与表现手法。朱骏腾善于使用影像、摄影、装置等表现媒材,作品裡围绕著艺术家自我演绎过程的精神表述,这种间接的虚拟幻象被用来隐喻艺术家所辨识的世界。所以,与其说作品是朱骏腾对于是外部感受的回应,不如说是他以此来重塑他自己,从早期朱骏腾海外留学时期的作品开始他藉由物件寻找自我价值,也愈加渐进的在其创作核心中反射出自我怀疑与焦虑感。在此交织之下,观看朱骏腾的作品时,可以明显的感受到他用影像与声音加付给观者的受迫力,如同急迫的希望将一切的纠葛思绪倾诉殆尽;同时,也与以解释朱骏腾的作品都具有明显的外在张力。

1982年出身的朱骏腾,生长在台湾经济最发达的年代,宽裕的物资生活,带来的是更趋複杂与多元的社会结构,以及历史上多重的文化解读。近年来,其创作很清晰的延展出两种表现方式:非正史的索引;以及语言和文字所嫁接的变证关系。本次个展「小眼睛」、「伟大的光荣的正确的…」到「中国、中国」等作品,渐进式地呈现朱俊腾从个体生活到面对史观的解读,以虚拟实体取代原本的真实物,近似戏谑式逃离主流的价值判断体系。立场已经不再是他所寻找的标的,他转以自我标记。

朱骏腾自述:

「原地打转」中展出的五件新作品忠实地纪录了我2015年到2016年这两年裡创作思考的轨迹与改变,整个展览也延续著我长期创作中的主轴 – 政治与文化是如何影响著个人生活,不论是日常/ 精神/价值观…等各层面上

这次展览中的主要作品「中国 中国」我在北京找了两个演员拍摄,, 演员们事先并不知道将要表演的内容与唯一允许说的台词直到开机的那一刻, 作品最后呈现的是一百零五分钟ㄧ镜到底的即兴演出. 影像中的男女在一百零五分钟内尽其所能的用不间断地用各种情绪, 动作与方式来演译他们所认知的「中国」,两个影像是分开拍摄的,最后我把两个影像并置, 双方随机不可预期的诠释/节奏时而像对答时而像争吵,对我而言这样的关系产生了一个永无止尽的辩证,也藉由他们两的表演和自身的经验发掘著「中」「国」这两个字背后包含的所有可能性,不论是历史、文化、政治….同时随著时间进展,演员们逐渐显露出真实情绪的「真实性」与表演的「诠释」的也分野越来越模糊。

在我中国的首次个展中,「中国」成了不可迴避的研究主体 . 撇除掉长期因为历史与政治上的複杂关系所产生的矛盾与衝突,对于成长在台湾的我,「中国」像是非常熟悉却又庞大陌生的存在,整个展览也像是一面镜子真实反映了我寻找过程中对于国家与文化认知上的的焦虑与矛盾,我越试著想看清全貌但一切却越来越複杂模糊…

 

Self-Deduction

Chu ChunTeng is an artist who is very sensible to external feelings.

For the artist, this sensibility is an important train of thought and expression technique to link all his art works. He is good at exploiting media such as video, photography and installation etc. In his art works revolves around the spiritual grafting of his self-deduction. This indirect fictious vision is used as a metaphor for the world that artist cognizes. Hence, he reshapes himself with his works rather than responds to external feelings. He has begun to search his self-value through objects since he created artworks during his overseas study and more gradually the core of his creation reflects his self-doubt and sense of anxiety. Intertwined together, when we look at works of Chu ChunTeng, we can clearly feel the pressure he imposes on the beholders through video and sound, as if he eagerly hopes to tell you all the entanglements and thoughts; meanwhile there is an obvious external tension when you try to explain his art works.

Born in 1982, Chu ChunTeng grew in the period that was an era with the most developed economy in Taiwan. The prosperous material life brought about a more complex and plural social structure and historically, the multiple cultural interpretations. In recent years, his creation has distinctly extended towards two kinds of expression method: reference to unofficial history; and dialectic relations between language and character. His works in this exhibition from Small Eyes to Great, Glorious and Correct and to China, China etc. gradually present Chu ChunTeng’s individual life and his interpretation when he encounters with history. He replaces the original real objects with virtual entities and he escapes from the mainstream value evaluation system in a nearly humorous manner. Standpoint is no longer the target the artist pursue for, because he spiralling around the original position where he is.

Personal Statement by Chu ChunTeng:

The five new works exhibited in Spiralling devotedly records the tracks and changes of my creative thinking in year 2015 and 2016. The exhibition also continues the main axis of my long term concern: How does politics and culture influence individual life at all levels, no matter daily life, spiritual life or values etc.

For the key work “China-China in this exhibition, I found two actors in Beijing to shoot and they didn’t know the contents and lines until the Action moment. Finally they came out with 105 minutes’ improvisational acting in one take. They tried their best to apply all kinds of emotions, movements and methods to demonstrate China that they perceive. In the end, I parallel the two separate videos by itself. The random, unpredictable interpretation and rhythm of two videos sometimes reply to each other, sometimes quarrel with each other, and thus formulate an endless dialectics. Through their acting and experience, they also explore all the possibilities behind two chareacters 中and 国, no matter historically culturally or politically. As time progresses, the difference between inner reality and performing interpretation of the actors has become more and more obscure.

In my first solo show in China, China has unavoidably become the objective of my research. Regardless of the contradictions and conflicts resulting from the complex historical and political relations, born in Taiwan, “China” has always been a familiar yet giant and strange existence for me. The entire exhibition is like a mirror, it truly reflects my anxiety and contradictions about national and cultural identity during my exploration. The more I try to see the whole picture the more complex and obscure it gets.

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