VOICES 2024 | Nangang Bottle Cap FactoryPost date：2024-01-24
Updates：2024-01-24
190
- Event Time
- 2024-01-26~2024-01-2913:00 - 21:00
- Event Location
- Nangang Bottle Cap Factory, Nangang Dist., Taipei City Taiwan, R.O.C
“When the Metallic Cicada Sings”
The artwork series “When the Metallic Cicada Sings” reflect the ambient sounds of manual labourers in their working environment. The irregularities found in hoods and the distinctive streamlined design of automobiles. Both aspects serve as metaphors for the evolution of automobiles, consumerism, and the embodiment of labour value. In the context of contemporary industrial material application, both conservation and transformation of materials introduce a new sense of continuity.
Chien-Hsing WU, originally from Taiwan, currently resides and works in Taipei. His artistic practice encompasses various mediums, including painting, mixed media, spatial installations, videos, sculpture, and performance art. By employing everyday objects, his works explore the transformation and potential continuity of both the external form and internal energy of objects. In his earlier works, he delved into the interpersonal networks and value systems constructed by the concept of "home," seeking parallels between the shifting industrial structure in Taiwan and his personal life experience. By the means of artistic creation, he aims to give a voice to fading industries, drawing attention to them in diverse fields.
Chien-Hsing WU, originally from Taiwan, currently resides and works in both New York and Taipei. His artistic practice encompasses various mediums, including painting, mixed media, spatial installations, videos, sculpture, and performance art. By utilizing everyday objects, his works explore the transformation and potential continuity of both the external form and internal energy of objects. In his earlier works, he delved into the interpersonal networks and value systems constructed by the concept of "home," seeking parallels between the shifting industrial structure in Taiwan and his personal life experience. Through art, he aimed to give a voice to fading industries, drawing attention to them in diverse fields.
His recent works often involve the deconstruction of objects and symbols through industrial manufacturing research, uncovering the cycles and contradictions inherent in production. These works seamlessly integrate elements of mythology, prophecy, and anti-traditional sculpture, touching on concepts such as the past, present, and future, craftsmanship and industry, secular and sacred, as well as reality and fiction. This integration reflects the cultural legacy of consumerism and modernity. Through his unique visual forms and creative techniques, the artist prompts contemplation on society, culture, and individual experiences,
infusing his works with poetic and symbolic elements and creating a distinctive empathetic experience by blending various contemporary materials.
The work series“When the Metallic Cicada Sings” draws inspiration from WU's family's auto repair shop in his hometown. Seeking to rediscover old memories within the family industry, he contemplates the possibilities of transformation. Conducting research on manual labour industries, he incorporates ready-made automobile parts, materials, and symbolic car components. The recurring motif of the car engine cover in the artwork symbolizes an era, reflecting the cultural remnants of consumerism and modern products. The work incorporates a hammering device that produces rhythmic sounds by repetitively striking the engine cover, mirroring the rhythmic and unchanging lives of labourers.
WU's body of work primarily explores the potential for the continuation and renewal of industries that were once at their peak but have now been phased out. Sequentially unfolding this series of objects reveals their connection to the middle-class family history of Taiwan's social modernization process. The artist's upbringing inevitably shapes his work, and through this creative approach, WU presents his own life experience.
The artwork series “When the Metallic Cicada Sings” reflect the ambient sounds of manual labourers in their working environment. The irregularities found in hoods and the distinctive streamlined design of automobiles. Both aspects serve as metaphors for the evolution of automobiles, consumerism, and the embodiment of labour value. In the context of contemporary industrial material application, both conservation and transformation of materials introduce a new sense of continuity.
Chien-Hsing WU, originally from Taiwan, currently resides and works in Taipei. His artistic practice encompasses various mediums, including painting, mixed media, spatial installations, videos, sculpture, and performance art. By employing everyday objects, his works explore the transformation and potential continuity of both the external form and internal energy of objects. In his earlier works, he delved into the interpersonal networks and value systems constructed by the concept of "home," seeking parallels between the shifting industrial structure in Taiwan and his personal life experience. By the means of artistic creation, he aims to give a voice to fading industries, drawing attention to them in diverse fields.
Chien-Hsing WU, originally from Taiwan, currently resides and works in both New York and Taipei. His artistic practice encompasses various mediums, including painting, mixed media, spatial installations, videos, sculpture, and performance art. By utilizing everyday objects, his works explore the transformation and potential continuity of both the external form and internal energy of objects. In his earlier works, he delved into the interpersonal networks and value systems constructed by the concept of "home," seeking parallels between the shifting industrial structure in Taiwan and his personal life experience. Through art, he aimed to give a voice to fading industries, drawing attention to them in diverse fields.
His recent works often involve the deconstruction of objects and symbols through industrial manufacturing research, uncovering the cycles and contradictions inherent in production. These works seamlessly integrate elements of mythology, prophecy, and anti-traditional sculpture, touching on concepts such as the past, present, and future, craftsmanship and industry, secular and sacred, as well as reality and fiction. This integration reflects the cultural legacy of consumerism and modernity. Through his unique visual forms and creative techniques, the artist prompts contemplation on society, culture, and individual experiences,
infusing his works with poetic and symbolic elements and creating a distinctive empathetic experience by blending various contemporary materials.
The work series“When the Metallic Cicada Sings” draws inspiration from WU's family's auto repair shop in his hometown. Seeking to rediscover old memories within the family industry, he contemplates the possibilities of transformation. Conducting research on manual labour industries, he incorporates ready-made automobile parts, materials, and symbolic car components. The recurring motif of the car engine cover in the artwork symbolizes an era, reflecting the cultural remnants of consumerism and modern products. The work incorporates a hammering device that produces rhythmic sounds by repetitively striking the engine cover, mirroring the rhythmic and unchanging lives of labourers.
WU's body of work primarily explores the potential for the continuation and renewal of industries that were once at their peak but have now been phased out. Sequentially unfolding this series of objects reveals their connection to the middle-class family history of Taiwan's social modernization process. The artist's upbringing inevitably shapes his work, and through this creative approach, WU presents his own life experience.
