Projects for Virtual Archive : Chien-Hsing Wu’s Work
碩士 === 國立臺北藝術大學 === 美術學系碩士班創作組 === 105 === My works are motivated by self-exploration. By creative methods which reform personal empirical memory, I convert my curiosity about time and memory into a medium that transforms life experiences. Projects that I''ve worked on since 2009 have been...
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ndltd-TW-105TNUA52350012019-05-15T23:17:16Z http://ndltd.ncl.edu.tw/handle/8sv6bz Projects for Virtual Archive : Chien-Hsing Wu’s Work 偽(為)檔案計畫:吳建興的創作 Chien-Hsing Wu 吳建興 碩士 國立臺北藝術大學 美術學系碩士班創作組 105 My works are motivated by self-exploration. By creative methods which reform personal empirical memory, I convert my curiosity about time and memory into a medium that transforms life experiences. Projects that I''ve worked on since 2009 have been a self-searching journey. "Get Dolled Up" is an exploration of identity through the transformation of gender. For the series "Family Memories", "Black Hand","Iron Sky", I returned to my father''s auto repair factory in my hometown, Nantou, Puli,to seek for old memories of the family industry, and to further reflect onreinterpretation and transformation. By using traditional repairing techniques to transform scrapped vehicles into a sofa, I explore the possibility of continuing and improving the industry. In "Iron Tree", agricultural tools handed down in the family were reassembled and embedded in wood to convey the vitality of the traditional family. In these works, I use a lot of "domestic objects" to inscribe the memories of my own family. When these objects are sequentially spread out, we will discover that they,in fact, interweave the histories of the average middle-class family in the context ofTaiwan''s modernization. "The Endless Ties of Love" was a solo exhibition project that took place at the Taipei Fine Arts Museum. Apart from extending the discussions and concerns in my projects between 2011 and 2016, it was also a process of converting one''s rite of passage into an object for viewing, and an attempt to transform individual relationships into an aesthetic form, addressing the significance of the solo exhibition as a medium for self-expression. It was an endeavor to see the first solo exhibition as not only a retrospective, representation or re-contextualization, but also as part of life, and to draw more life experiences through the facilitation of the museum''s public mechanism. The publication will concentrate on the works in between 2011 to 2016, ruminating on keywords such as self-observation / family / memory / recovery / recycle / everyday objects / ritual and others. In order to instigate possible discussions and dialogues between the individual and history, it is an attempt to extract a context regarding the self and the intertwined relationship with the era and environmental change through creative practice. Hong-John Lin 林宏璋 2016 學位論文 ; thesis 47 zh-TW |
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碩士 === 國立臺北藝術大學 === 美術學系碩士班創作組 === 105 === My works are motivated by self-exploration. By creative methods which reform personal empirical memory, I convert my curiosity about time and memory into a medium that transforms life experiences. Projects that I''ve worked on since 2009 have been a self-searching journey. "Get Dolled Up" is an exploration of identity through the transformation of gender. For the series "Family Memories", "Black Hand","Iron Sky", I returned to my father''s auto repair factory in my hometown, Nantou, Puli,to seek for old memories of the family industry, and to further reflect onreinterpretation and transformation. By using traditional repairing techniques to transform scrapped vehicles into a sofa, I explore the possibility of continuing and improving the industry. In "Iron Tree", agricultural tools handed down in the family were reassembled and embedded in wood to convey the vitality of the traditional family. In these works, I use a lot of "domestic objects" to inscribe the memories of my own family. When these objects are sequentially spread out, we will discover that they,in fact, interweave the histories of the average middle-class family in the context ofTaiwan''s modernization.
"The Endless Ties of Love" was a solo exhibition project that took place at the Taipei Fine Arts Museum. Apart from extending the discussions and concerns in my projects between 2011 and 2016, it was also a process of converting one''s rite of passage into an object for viewing, and an attempt to transform individual relationships into an aesthetic form, addressing the significance of the solo exhibition as a medium for
self-expression. It was an endeavor to see the first solo exhibition as not only a retrospective, representation or re-contextualization, but also as part of life, and to
draw more life experiences through the facilitation of the museum''s public mechanism.
The publication will concentrate on the works in between 2011 to 2016, ruminating on keywords such as self-observation / family / memory / recovery / recycle / everyday objects / ritual and others. In order to instigate possible discussions and dialogues between the individual and history, it is an attempt to extract a context regarding the self and the intertwined relationship with the era and environmental change through creative practice.
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author2 |
Hong-John Lin |
author_facet |
Hong-John Lin Chien-Hsing Wu 吳建興 |
author |
Chien-Hsing Wu 吳建興 |
spellingShingle |
Chien-Hsing Wu 吳建興 Projects for Virtual Archive : Chien-Hsing Wu’s Work |
author_sort |
Chien-Hsing Wu |
title |
Projects for Virtual Archive : Chien-Hsing Wu’s Work |
title_short |
Projects for Virtual Archive : Chien-Hsing Wu’s Work |
title_full |
Projects for Virtual Archive : Chien-Hsing Wu’s Work |
title_fullStr |
Projects for Virtual Archive : Chien-Hsing Wu’s Work |
title_full_unstemmed |
Projects for Virtual Archive : Chien-Hsing Wu’s Work |
title_sort |
projects for virtual archive : chien-hsing wu’s work |
publishDate |
2016 |
url |
http://ndltd.ncl.edu.tw/handle/8sv6bz |
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