陳志誠

Glass House

Chen, Chih-Cheng
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我們思慮作品元素或作品導入「進駐」館區展場之關係，進一步看待其與自然景緻、建築體之關係鏈。即此基地場所所在將收容許多個個展，容納具同一性或互斥性之創作（元素）。依此觀點，園林結構可視為體現此藝術思維之具體案例，它是自然環境與（人）身軀活動機能之於其所居之生活空間的秩序性的具體化之顯明課題。但面對今日當下藝術的發展所導引出的「另類園林結構」，它將不只是一種「人化自然所呈之自然景緻微型化」的轉譯作用，它也將是個人參與這次國際展所欲提議的符應於今日消費機制世界所產出（物⁄作品）之藝術新問題：我們所要探討的是在感官世界被機具器械與數位世界駕馭強顯的今日，如何得能以一種在地之台灣文化主體性參照來提議一種進駐與收容？如何得以東方文化中人化自然體呈之質性，也就是自然景緻人為微型化視為台灣主體的一種參與，一種國際展中可提呈的議題，一種既能符合人之立於大地之本原存有之實踐價值，也作為新時代之新美感素之對話平台。當下的文化環境，個體看似具有主動的姿態和開放性的選擇，但由於受制於資本主義意識形態及其價值觀，受制於其體現有如負能量之嫡耗般之消費機制，它如漩渦般吸納了不同的體質範疇的文化趨向，而導致原初質樸之實踐能為與其背離。一種立於大地水平之全人感知，與都會垂直矗立充斥著傳訊透明、貨物流竄…等等之必要收容正是我們的思慮焦點。
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We concern the relation of elements of an artwork or an artwork itself entering a site at a museum and furthermorethink the connection between its scenery and architecture. Where a site as well as a base is located accepts many soloexhibitions that include identity or opposition of artworks. From this aspect, Chinese garden structure can be treated asa concrete instance of this specific art thought which is an obvious examination reflecting concretization of movementsfunctioned by an organic body in living order. The alternative garden structure developed by contemporary art in today'sworld not only a translation of artificial nature into a miniature of scenery but a new question answering to art making/objects produced by the current consuming world/institute that I would propose in Embodying the Scenery of Ecology, aninternational exhibition at JuMing Museum. That is, since our sensation has strongly dominated by machines, apparatus,and the digital world, we discuss how it can suggest residing and embodying by reference to the local identity of Taiwancultural and how artificial nature in the Eastern culture expresses as well as artificial nature of a scenery miniatureconsidered as participation in Taiwan identity, possible issues suggested in the international exhibition, existing valuespracticing human roots on the earth, and also platforms offering dialogue of novel aesthetics in a new era. In the currentcultural milieu, individuals seem to have proactive gestures and open options. Nonetheless they are restricted to theCapitalism ideology and its value and to the performance of a consumption system like exploitation of negative power likewhirlpools that absorbs culture tendency towards different bodies and realms and results in turning away from practice ofinitial naivety. Our main concern is whole perception that stands on expanding-horizontally land and necessary adoptingin rising-vertically urban areas where it fills transparent transmission, commodities passage, and etc.