EDUCATION

2012

Taipei National University of the Arts／Department of New Media Art（MA）

RESIDENCE

2016

Hangar／Barcelona, Spain

2012

LA MAISON LAURENTINE／Champagne , France

COLLECTIONS

2014

「Collection Project for Young Taiwanese Artists」／National Taiwan Museum of Fines Arts , Taichung , Taiwan

2011

「Collection Project for Young Taiwanese Artists」／National Taiwan Museum of Fines Arts , Taichung , Taiwan

AWARDS

2016

「Taishin Arts Award」／4th Quarter Nominees／Taipei , Taiwan

2014

「ART·SANYA - HUAYU YOUTH AWARD」／Selected／Sanya，China

「FILE 2014 SP - Electronic Language International Festival」／Selected／São Paulo , Brasil

2013

「Taishin Arts Award」／4th Quarter Nominees of Visual Arts／Taipei , Taiwan

2012

「2012 National Art Exhibition, ROC」／New Media Art／The Bronze Medal／Taichung , Taiwan

「Out Standing New Media Art Award 2012」／Selected／Taipei , Taiwan

2011

「TAIPEI ARTS AWARD」／Honorable Mention／Taipei , Taiwan

「MADE in TAIWAN - Young Artist Discovery , ART TAIPEI」／Selected／Taipei , Taiwan

「The 16th Da Dun Fine Arts Award」／Digital Art／Selected／Taichung , Taiwan

「The 9th Taoyuan Creation Award」／Winner／Taoyuan , Taiwan

2010

「The 5th Digital Art Festival Taipei」／Digital Audio-Visual／Selected／Taipei , Taiwan

SOLO EXHIBITIONS

2018

「Da(il)ylight」／Gallery Yamaguchi kunst-bau, Osaka, Japan

2017

「Art Stage Singapore 2017」／Marina Bay Sands, Sands Expo & Convention Centre, Singapore

2016

「Beneath Daylight」／Galerie Grand Siecle , Taipei , Taiwan

2015

「BEYOND SIGHT」／New Taipei City Art Center , New Taipei City , Taiwan

「LIQUID SCENE」／108 Gallery of National Taiwan Museum of Fine Arts , Taichung , Taiwan

2014

「LIQUID SCENE - A Solo Exhibition by DING Chien-Chung」／Galerie Grand Siecle , Taipei , Taiwan

2012

「LOOPS IN THE VACANCY - A Solo Exhibition by DING Chien-Chung」／Galerie Grand Siecle , Taipei , Taiwan

2011

「Vacant Room 2」／The Skylight of National Taiwan Museum of Fine Arts , Taichung , Taiwan

GROUP EXHIBITIONS

2018

「RE-ART2018 Taoyuan Industrial Art Festival」／Chungli Street Creek Trail , Taoyuan , Taiwan

「The Fluid Field of Memory」／Museum of Contemporary Art , Taipei , Taiwan

「CURRENTS NEW MEDIA 2018」／El Museo Cultural De Santa Fe , Santa Fe , United States

「2018 Taiwan Lantern Festival」／Southern Branch of the National Palace Museum , Chiayi , Taiwan「ARTIFICIAL SPACE 334」／435 ART ZONE , Taipei , Taiwan

「Up to 121」／435 ART ZONE , Taipei , Taiwan

「LIGHT on ART」／Gallery Yamaguchi kunst-bau , Osaka , Japan

2017

「Coexist Exhibition：On My Way Home」／SOLAR Kitchen , Taipei , Taiwan

「Keep Going — Contemporary Art Exhibition 」／Farglory Museums , Taipei , Taiwan

「Street Fun, Fun Street — MOCA x Community Art Festival 」／Museum of Contemporary Art , Taipei , Taiwan

2016

「Wandering × Intervening : Hyper-Limit in 4D」／Shin Keh Yuan Art Space , Taipei , Taiwan

「Projecting Beyond － Media Contemporary Light Art Exhibitio」／National Taiwan Craft Research and Development Institute , Caotun , Taiwan

2014

「ART·SANYA - HUAYU YOUTH AWARD」／Huayu Resort & Spa , Sanya , China

「UNBOUNDED - 2014 International Youth New Media Art Exhibition」／Lang Art Centre , Beijing , China

「ART TAIPEI 2014」／Taipei World Trade Center , Taipei , Taiwan

「FILE 2014 SP - Electronic Language International Festival」／Centro Cultural FIESP／São Paulo , Brasil

「2014 ASYAAF（Asian Students and Young Artists Art Festival）」／Culture Station Seoul 284／Seoul , South Korea

「What We Are Mapping」／Pier-2 Art Center-Exhibitions／Kaohsiung , Taiwan

「Art14 London
」／Olympia Grand , London , United Kingdom

2013

「Art Nova 100's
」／1929 Art Space , Shanghai , China

「MOBY DICK
」／YIRI ARTS , Tainan , Taiwan

「Art Nova 100's
」／Beijing 798 Art Zone , Beijing , China

「inToAsia: Time-based Art Festival 2013 – MicroCities
」／NARS Foundation space , New York , USA

「THE CIRCLE GAME」／Art Center of Tunghai University , Taichung , Taiwan

「Digital Fabrications」／Fashion Institute of Taipei , Taipei , Taiwan

2012

「MADATAC 04 Contemporary Advanced New Media Audiovisual Art Festival」／Centro Centro , Madrid , Spain

「THE AVANT／GARDE DIARIES TAIPEI」／Huashan 1914 , Taipei , Taiwan

「2012 National Art Exhibition, ROC」／National Taiwan Museum of Fine Arts , Taichung , Taiwan

「Soft Power - The Intangible Indicator」／Main Trend Gallery , Taipei , Taiwan

「D’abord les forêts / Opus 3」／LA MAISON LAURENTINE／Champagne , France

「2010 - 2011 REVIEW of the Digital Audio-Visual Award」／Digital Art Center Taipei , Taiwan

「Hong Kong ArtWalk 2012」／Galerie Du Mond , Hong Kong

「Outstanding New Media Art Award 2012」／Kuandu Museum of Fine Arts , Taipei , Taiwan

「TOKYO FRONTLINE 2012」／3321 Arts Chiyoda , Tokyo , Japan

2011

「PHOTO TAIPEI 2011」／San Want Hotel , Taipei , Taiwan

「TAIPEI ARTS AWARDS」／Taipei Fin Arts Museum , Taipei , Taiwan

「Absolute Motion」／Digital Art Center Taipei , Taiwan

「The 16th Da Dun Fine Arts Exhibition」／Taichung City , Taiwan

「MADE in TAIWAN - Young Artist Discovery , ART TAIPEI」／Taipei , Taiwan

「Indistinct Sympathy」／Treasure Hill Artist Village , Taipei , Taiwan

「Vacant Room 1.5」／Digital Art Center Taipei , Taiwan

「VIBRANCY」／The 9th Taoyuan Creation Award , Taoyuan , Taiwan

「Little Wonders」／Digital Ark of National Taiwan Museum of Fine Arts , Taichung , Taiwan

「THE AGE OF SUPERLUMINAL」／The Video Art Exhibition Series on MOCA Plaza , Taipei , Taiwan

2010

「Cluster」／5th Digital Art Festival Taipei , Taipei , Taiwan

Ordinary Instruments（日常樂隊）

透過反覆對木板紋理的摩擦畫圓，消耗木板以換取的聲音狀態。運轉的過程經由木板紋路的方向性產生聲音的變化，而反覆摩擦下消耗直到最後，成為不能重複再製的當下狀態。

Vacant Room Series（空屋系列）

「空屋系列」（Vacant Room Series）為近期關注在結構、運轉與空間中之關係， 藉由機械運轉對應拍攝裝置所完成的錄像作品。影像中，我將旋轉凝結的光體當作一種空間的雕塑，透過光當中可塑與不安的本質，引導相對的本體構成狀態。光粒組成的光圈，與旋轉繞行的鏡頭，串聯彼此，成為壓縮後，高速移動的時間經驗。而旋轉所創造的重複性運動，不在每回路徑上的差異，而在自然時間的進程中，週而復始的累積、放大其創作者與觀者在身體經驗上的狀態與情緒。

而空屋系列作品計畫中，透過每次裝置結構的重新編制，以時鐘指針運轉的對應關係（時針、分針、秒針，相對光體運轉方式與鏡頭運轉之間的關係），探討結構運轉與光之間的可能。影像中，光與鏡頭高速移動的經驗裡，將原先的空間與光圈量體轉向一種感官上的變異，將其可測量性變得矛盾，成為不受意識控制的構成狀態。時間碎片高速併置、互相交纏，產生有如流體般喪失平衡性、以及陌生的重力經驗，擾動日常中的慣常體認與時間知覺。

Église Vide（幽蕩之堂）

2012年6月獲邀參加法國香檳區的藝術中心-洛宏汀之家（La Maison Laurentine）舉辦的「自然與森林藝術節」駐村創作暨發表計畫。該活動是由藝術總監Pierre BONGIOVANNI創辦，策展主軸從探討藝術和自然、森林及土地的關係，人類從自然所能開發的創作能量出發。

Liquid Scene（液態風景）

長途飛行的過程裡，我喜歡端詳著機艙內螢幕上的動態地圖。飛機當前的位置與航線、飛行速度、目的地與出發地的距離及時間。那些錯綜的畫面，伴隨著漸漸加重的時差與持續疲憊的身體，半夢半醒間時常遺忘自己身在何時與何處。原來飛機穿越的不僅僅只是地理與時區，那些飛機底下進行中的此刻，與以另種方式持續進行的過往或是記憶，成為一種恍惚又迷人的風景。

如果說當下所經歷的時間，是套前進且標準化的系統，支配一切生活規律與節奏，那我們擁有的過去就像是一段消解或是永恆的迴路，伴隨著意識的存在湧現或是退後，不帶任何情緒與不捨，流動並存取在斷裂的縫隙中。此次《液態風景》在場景裡，以光一點一滴掃描與紀錄、尋找每段裂縫中的發生，將液態的紋理展開歷史的風景。每段流動的風景就像是一處潮濕的記憶，我們在那裡一無所求，卻發現所有的東西都在那兒等候。

Ordinary Instruments

By repetitively rubbing against the wooden board, the device wears it away in exchange for sounds which change according to the direction of the grain. The process itself is irreversible and the sounds are not likely to be reproduced.

Vacant Room Series

The Vacant Room Series concerns the relationships among structure, rotation and space. In the video, the rotating light is treated as a sculpture of space which can be shaped by the malleability and variability of light itself. The tracks of light form a rotating light circle, captured by a revolving camera. The repetitive activity created by rotation matters not in the difference of tracks but in the disrupted stability and emotions of both the creator and observers evoked by the experience accumulated with the passing of time.

The Vacant Room Series has attempted to investigate the possibilities between structure and light by resetting the device to simulate the corresponding relationship between moving clock hands i.e. the relationship between the light and the camera. The video shows the transformation of space and light into a sensational stimulation of uncertainty. The strings of light circles create imbalance against gravity and overthrow the common understanding of time and space.

Église Vide

In June 2012, several Taiwanese artists were invited to residence and create by La Maison Laurentine for D’abord les forêts/ Opus 3, in which they announced the newest work projects of residency. D’abord les forêts, was founded by the art director of La Maison Laurentine, Pierre Pierre BONGIOVANNI, taking place for two months a year. The main theme of curation was constructed on the basis of the discovery of interrelationship of art, nature, forests and earth, tackled by the creative power humans explored from nature and extended to the scope concerning the development and the connection of local resources.

Liquid Scene

I like to look at the live tracking map on the monitor during long-haul flights. As the intricate images showing the aircraft’s position, route, speed, origin, destination, and time are mixed with my increasingly intensified jet-lag and lethargic body, I often lose track of the time and space of where I am at, as I fall between wake and dream. I’ve come to realize that flights are not just traveling through geographical regions and time zones. An elusive yet mesmerizing landscape is formed as ongoing moments unfold underneath flying aircrafts, with bygone times or memories also continuing to progress in a different way.

If the time that we are in at the moment is a progressing and standardized system that controls the rhythms and tempos of life, past memories that we hold are then a looping course of dismissal or eternity. This loop accompanies the conscious in surfacing or retrieving, and it occurs without any emotion or nostalgic melancholy, as it flows and dwells in fragmented crevices. Liquid Scene uses light to meticulously scan and document each crevice in sceneries to search for occurrences in memory scapes, with historical landscapes expanded from liquid textures. Each flowing scene is like memory infused with humidity, and in that place, we desire for nothing, but we also realize that everything is waiting for us there.

面對「丁建中」，必須冒著失去自我的風險

陶亞倫 / 國立台北藝術大學新媒體藝術系 助理教授

……………………………………………………………………………

藝術家必須要反映「現實」

當代的現實即是「速度」與「慾望」。

當代的速度，已遠遠超越二十世紀初未來主義所宣揚的機械的速度，而是「資訊光的速度」；它無所不在，也無所不能，已經完全滲入了我們的神經末稍。

速度是絕對的權力，也是絕對的剝奪，速度並非創造永恆，而是讓一切在瞬間中消失。極速是為了消解時空而存在，同時，極速也消解了身體，欲望早已化為飄浮與顫動的光子，肆意的流竄。速度的蠻橫暴力將存有的過程與經驗都抹除了，更摧毀了藝術原有的詩意與深度，使意識僅能停留在光的表面，顫動不已。

在極速中，意識的穿過失神(picnolepsie)狀態，殘存於「不在場」的瞬間，這是一種超越真實，卻又可以親身經歷的存在。這種意識瞬間停格狀態，成因於一種時空的剝離、顫動與跳耀，透過自我主體的崩解，徹底剝離外部的符號與概念後，敞開了當下的現實。

「丁建中」，一個並不響亮的名字，木訥寡言，在同儕中並不顯目，但是他一開口，總是有驚人之語。一次次的駭人之作，震碎了原本平庸的外表，也震裂了我們的大腦，讓我們無法喘息與思考。他早已被命定，必須成為一位優秀的藝術家，強大而未知的慾望迫使他，在秘密的進行著一連串的冒險實驗：極速失序的光環，在強大的重力與反重力的拉扯下，將自我推向狂暴的黑洞中心，對自我主體，進行慘無人道的裂解與超越；並從損壞「breakdowns」和突破「breakthroughs」中找到自我治癒（curing）的路徑，與最真實的存有。

傅科對「人文主義」做了一番批評與補充，談到如果把「人性」作為一種清楚的「概念」，無限上綱的強調，並以理性的來論述它時，人文主義產生的危機，會遠比不強調它來得大的多。他並指出人文主義空洞化的危機，為社會學、心理學的積極建構；此兩者高舉人性與真理的大旗，作為論述人類行為的概念與準則，用以判斷是否合乎人性，但長久下來，卻壓抑了人類行為中不被理解的部份，顯露出偽善的一面；但真正潛藏在偽善身後的，確是與人性相對的的法西斯主義。他談到，「慾望」是人存有的「現實」與本體，求生存與創造力量的來源；混沌無名的慾望，片面的被理性所選取，稱作為「人性」，她被形塑成一種概念，一種真理。而理性作為強力的助燃劑，使概念與真理成為隱身於萬物之中的變形金剛，這個變形金剛最終以「人文主義」的姿態現身。

慾望不是一個可以高談闊論、說明清楚的東西，而是一個當下可以經驗的「現實」。彰顯慾望，不是要去批判理性與人性，而是要弭補其缺憾，贖回一個被理性所吃掉的非理性身體。

滿足人最基本的存在條件－「慾望」，即是「現實本身」，這是人最原初、最根本的政治經驗（a politics of experience），與身體外部的政治概念或論述不同；滿溢的慾望，是一切權力的基礎，這就是現實（reality）。

凝視「丁建中」的作品，透過「極速顫震的光」，瞬間震碎了知識體系，直接觸發了由埋藏在慾望深處的地震震央，創造了一個全新的現實，全新的身體經驗，讓我們體會了當下的真實。「丁建中」的靜默行動，無意間摧毀了高談闊論、高舉人性概念的法西斯主義。他在大量的概念性、論述性的當代藝術作品中，選擇獨自挑戰「光」，這個統治世界的權力中心、一頭現代主義借屍還魂的巨獸；卻也無心的拆解了藝術龐大的知識框架，並不發一語的投出強大的震撼彈。