展覽時間｜2018/3/9 – 2018/4/6
開放時間｜1pm - 6pm (Tue - Sun)，週一休
One-Man Mission- Solo Exhibition by CHANG Teng-Yuan
Time｜2018/3/9 – 2018/4/6
Venue｜Galerie Grand Siècle
Open Hours｜1pm - 6pm (Tue - Sun)，Closed on Monday.
一起迷失方向｜Getting lost together, 91x72
山谷裡的神秘產線The secret production line in valley,70x100cm,2017
張騰遠_先鋒與資訊大師 Pioneer and Master of Information_壓克力顏料 畫布_91x72.5cm_2017
張騰遠_導航 Navigation_壓克力顏料 畫布_112x145.5cm_2018
張騰遠_繆思之島 The Island of Muse_壓克力顏料 畫布_160x270cm_2018
張騰遠_豐收日 Harvest Day_壓克力顏料 畫布_95x42cm_2017
張騰遠_靈感的形狀 The Shape of Inspiration_壓克力顏料 畫布_112x145.5cm_2018
張騰遠_Branch of Being_壓克力顏料 畫布_91x72.5cm_2017
閱讀，螢光之書Reading, the Fluorescent book _112x145
獻寶時刻｜The moment of presenting a treasure｜116
One-man Mission: Solo Exhibition by CHANG Teng-Yuan
展出藝術家｜張騰遠 Artist｜CHANG Teng-Yuan
開幕時間｜2018/03/09(五) 6:00pm Opening｜2018/03/09(Fri.) 6:00pm
展覽時間｜2018/03/09(五) - 2018/04/06(五) Duration｜2018/03/09(Fri.)- 2018/04/06 (Fri.)
張騰遠曾獲高雄美術獎首獎，台北美術獎優選，並獲多次獎助補助。曾於倫敦、紐約、科隆、首爾、大阪、東京、台北等地舉辦個展及聯展，並於2014年前往紐約ISCP藝術駐村， 2017年甫結束首爾Keumsan Gallery個展，作品受國美館藝術銀行及高美館等多所機構典藏。
Solo Exhibition by CHANG Teng-Yuan
Exhibition Date｜2018/03/09(Fri.)- 2018/04/06 (Fri.)
Galerie Grand Siècle is going to grandly present One-man Mission, a ten-year retrospective of CHANG Teng-Yuan’s work, on view from March 9th to April 6th. Opening reception is held at 6 p.m., on the first day of the exhibition. Scheduled to be the milestone of CHANG Teng-Yuan’s ten-year devotion to a full-time artist, One-man mission traces back to CHANG’s path of creation and the art vocabulary, while recollecting slight evidences within it. To CHANG Teng-Yuan, creation is like an endless, boundless one-man mission as one “sometimes explores in the night with shimmering light, and sometimes getting lost in a ravine,” where unavoidable loneliness and uncertainties often invades like dense fogs. Nonetheless, though being attacked by the sense of unsureness, artist still needs to repress his instinct of resistance, eyeing on the silver lining through the mist, wondering all sorts of possibility to aspire himself to continue the path of mission.
“Switch of perspectives brings forth different situation.” Understanding the interlinking relationships between visual experience and the sensual world, CHANG Teng-Yuan has committed to showcase visual exploration of different species since his first solo exhibition in 2008 which has always been the most attained subject under CHANG’s paintbrush. From his portrayal of a Japanese comical girl’s visual experience in the early stage, to the compound eye of insects, CHANG’s experiments on the subject had trespassed the bounds of roles and species, in the latter stage adding up to the fourth dimension―time. The role he created changed from existing species to future creatures, bringing upon the known series, Parrot Man, in 2012.
In the Parrot Man series, thousands years after the doomsday, Parrot Man, a biologist living originally in a remote galaxies, lands on the earth, endeavoring to recreate earth creatures and phenomena with their high-tech foster techniques. The thorough construction of plotline anchors CHANG’s art alteration. On one hand, CHANG portrays his future imagination by the spectacle of Parrot Man; on the other hand, through explicit time-space distance, he stresses the estranged relationships between Parrot Man and the modern society, meanwhile reflecting abnormality of all sorts of social phenomena through the spectacle of Parrot Man. Regarding multiple attempts of imitation and recreation, CHANG triggers the gates for viewers to reconsider on our habitus.
Compared to the elapsed time, CHANG focuses more on the future. Though targeting Parrot Man as the protagonist, in the recent two years, CHANG’s interest for the future world has gradually taken up the canvas. Arising from the premise of retrospecting the contemporary and imagining technology, CHANG expands boundaries of his fantasy world to the approaching future, accordingly posing queries through composition of amusing elements. CHANG’s works in 2016, for instance, applies the form of allegory. Within the future scene where Parrot Man dwells, uncanny occurrences of tech giants’ hegemony and technology deification are carved out, explicating CHANG’s fretting attitude toward the adoration of novelty, velocity, and the breakthrough of technology in the modern society.
Regarding past ten years’ of CHANG’s path of creation, seemingly emphasizing solely on spectacles, the themes of works differ in every stage of creations. As the focal point to inherit the past and usher into the future, this solo exhibition functions as a venue for retrospection and resettlement, in which CHANG arranges fractions left in his mind in the process of creation, reexamining them, and finally transforming them into art vocabularies, which will then be regulated neatly within the exhibited works. To break past limitations, pondering on the contemporary, and imagining the future, this exhibition forestalls the upcoming ten years of CHANG Teng-Yuan.
CHANG Teng-Yuan had won the first prize of Kaohsiung Awards, merit award of Taipei Art Awards, receiving multiple times of subsidies and grants. CHANG has hold solo exhibitions and joint exhibitions in London, New York, Koln, Seoul, Osaka, Tokyo, Taipei, etc., and had been invited to ISCP, New York, for residency in 2014. CHANG had just finished solo exhibition in Keumsan Gallery, Seoul, 2017. His works have been collected by a number of facilities, including Art Bank of National Taiwan Museum of Fine Arts and Kaohsiung Museum of Fine Arts.
Media Contact: Mesha YANG TEL: 02-2577-1676 Email: email@example.com
Dedicated as a full-artist for ten years, still I am unsure about the outline of art, which paradoxically turns out to be the most alluring characteristic of art for me.
For me, art creation is like executing a one-man mission, occupied with the unknown, desolation, and possibility. Sometimes I will be wandering in mist; sometimes I will be fumbling in dim lights; even sometimes I feel like getting lost in a ravine. The term, one-man, does not stand for the number of people, but the status in mind when one’s confronting different variants in the path of creation. And it feels like a cycle, in which I can be guided by the strong instinct of unlimited possibility, even when I am facing the threat of loneliness and uncertainty. As this one-man mission grows more capricious, I feel more enticed to keep executing it.
Therefore, I regard this solo exhibition as an arrangement of my journey of one-man mission. In the process of retrospection, I dispose evidences buried in my body in these ten years, trying to transform them into new vocabulary of art, and then, reediting them into proper positions.
Ten years, though not a long time, are long enough to be called a journey. If creation is regarded as a journey, I would be arranging and packing baggage in this solo exhibition, and finally executing this charming mission.
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