Jia-Jhen Syu
許家禎
Jia-Jhen Syu, recently based in Taipei, was born in 1986 in Changhua, Taiwan. His artistic practice often starts from objects within the social and cultural context of his surroundings, extending into artistic reflections that intertwine with the sculpture’s essence and historical context. Through intuitive expressions in form, Syu employs the materials with new relationships between their history, and current circumstances in various exhibition contexts. His recent exhibition experiences include “A Mason in the Darkroom,” Chiayi Art Museum, Chiayi, 2021; “Amongst the Silence” Kaohsiung Museum of Fine Art, Kaohsiung, 2021; “Everyone Has the Right to Sit and Tell a Story, but not Necessarily,” OCAC, Taipei, 2021; “So Far, So Right: A Study of Reforms and Transitions Across Borders,” Kuandu Museum of Fine Arts, Display, Prague, 2019; “10th anniversary, Coconut, Banana tree, Memorial, Sulfur, Storytelling, Arrangement, Perfect, Hyper trace, Third,” Project Fulfill Art Space, Taipei, 2018.
The project The Third Memorial is inspired by the story of the memorial pedestals left over from the Japanese colonial period in Taiwan. Originally built to commemorate Japanese figures, these monuments were replaced following the relocation of the Republic of China Government to Taiwan. According to research by Syu, the original pedestals of these monuments still exist, although they have been transformed into public statues. In other words, these incompletely preserved monuments served under two different regimes, which the artist respectively named ‘The First Memorial’ and ‘The Second Memorial’. The Third Memorial re-examines the monuments through the lens of art and draws inspiration from the surviving pedestals of the two governments. The artist creates a series of molded sculptures, sketches, and images, responding to the expansion and erasure of the ‘pedestal’ in modernist discourse. Deliberately connecting two temporal dimensions, it reconsiders the dimension of time in relation to the material itself, while commemorating the historical encounters of these pedestals. The Hair is the first ceramic artwork created by Jia-Jhen Syu during his residency at the European Ceramic Work Centre (EKWC) in 2021. This work reflects on the functional and stylistic relationship of ceramics throughout history, drawing inspiration from the hairstyles of human sculptures from various civilizations to create a series of ceramic floral vessels.
許家禎，現居住工作於台北，1986年出生於彰化。創作經常從身處之地的社會文化中的物件出發，延展出牽繫著雕塑本體與歷史脈絡上的藝術思考。藉由創作上直觀的造形表現，他在各種展示情境中賦予所使用之物材在其歷史與現下境況的新關係。近年展覽經歷包含 :「暗房裡的石匠」—許家禎個展，嘉義美術館，嘉義，2021 ；「沈默之間」，高雄市立美術館，高雄，2021 ；「每個人都有坐著說一個故事的權利，但不是必須的」，打開當代，台北，2021 ；「走私：一個越境的生命經濟學」，展示協會，布拉格，2019；「十年、椰子、芭蕉樹、紀念、硫磺、說故事、安排、美好、幻聲跡、第三」，就在藝術空間，台北，2018。
〈第三紀念〉以台灣日治時期遺留下來的紀念碑座的故事為藍本。最初，紀念碑的建造是為紀念日本人物，但卻在國民政府遷台後被順勢更換。根據許家禎的研究，這些紀念碑的原始座基仍在，儘管它們目前的外觀已改成為公共雕像。換句話說，這些未被完整保存的紀念碑實際上以不同形式服務於兩個政權底下，藝術家將其分別命名為「第一紀念碑」和「第二紀念碑」。作品〈第三紀念〉通過藝術的視角重新檢視這些紀念碑，並從兩個政權倖存的基座為靈感，創作出系列的翻模雕塑、草圖及影像，回應「基座」在現代主義的擴張、消除下，有意地將兩段時空連結，重新關照時間的向度對物質本身的探討，同時紀念這些基座的歷史遭遇。〈頭髮〉是許家禎在2021年荷蘭陶瓷中心(EKWC)駐村時初次使用陶瓷的創作，思考陶瓷在歷史發展中的功能性與造型性的關係，並參考各個文明的人體雕像的頭髮，拼湊出的陶瓷花器系列作品。
⭢ Main Page
⭢ Participated Artist
The project The Third Memorial is inspired by the story of the memorial pedestals left over from the Japanese colonial period in Taiwan. Originally built to commemorate Japanese figures, these monuments were replaced following the relocation of the Republic of China Government to Taiwan. According to research by Syu, the original pedestals of these monuments still exist, although they have been transformed into public statues. In other words, these incompletely preserved monuments served under two different regimes, which the artist respectively named ‘The First Memorial’ and ‘The Second Memorial’. The Third Memorial re-examines the monuments through the lens of art and draws inspiration from the surviving pedestals of the two governments. The artist creates a series of molded sculptures, sketches, and images, responding to the expansion and erasure of the ‘pedestal’ in modernist discourse. Deliberately connecting two temporal dimensions, it reconsiders the dimension of time in relation to the material itself, while commemorating the historical encounters of these pedestals. The Hair is the first ceramic artwork created by Jia-Jhen Syu during his residency at the European Ceramic Work Centre (EKWC) in 2021. This work reflects on the functional and stylistic relationship of ceramics throughout history, drawing inspiration from the hairstyles of human sculptures from various civilizations to create a series of ceramic floral vessels.
許家禎，現居住工作於台北，1986年出生於彰化。創作經常從身處之地的社會文化中的物件出發，延展出牽繫著雕塑本體與歷史脈絡上的藝術思考。藉由創作上直觀的造形表現，他在各種展示情境中賦予所使用之物材在其歷史與現下境況的新關係。近年展覽經歷包含 :「暗房裡的石匠」—許家禎個展，嘉義美術館，嘉義，2021 ；「沈默之間」，高雄市立美術館，高雄，2021 ；「每個人都有坐著說一個故事的權利，但不是必須的」，打開當代，台北，2021 ；「走私：一個越境的生命經濟學」，展示協會，布拉格，2019；「十年、椰子、芭蕉樹、紀念、硫磺、說故事、安排、美好、幻聲跡、第三」，就在藝術空間，台北，2018。
〈第三紀念〉以台灣日治時期遺留下來的紀念碑座的故事為藍本。最初，紀念碑的建造是為紀念日本人物，但卻在國民政府遷台後被順勢更換。根據許家禎的研究，這些紀念碑的原始座基仍在，儘管它們目前的外觀已改成為公共雕像。換句話說，這些未被完整保存的紀念碑實際上以不同形式服務於兩個政權底下，藝術家將其分別命名為「第一紀念碑」和「第二紀念碑」。作品〈第三紀念〉通過藝術的視角重新檢視這些紀念碑，並從兩個政權倖存的基座為靈感，創作出系列的翻模雕塑、草圖及影像，回應「基座」在現代主義的擴張、消除下，有意地將兩段時空連結，重新關照時間的向度對物質本身的探討，同時紀念這些基座的歷史遭遇。〈頭髮〉是許家禎在2021年荷蘭陶瓷中心(EKWC)駐村時初次使用陶瓷的創作，思考陶瓷在歷史發展中的功能性與造型性的關係，並參考各個文明的人體雕像的頭髮，拼湊出的陶瓷花器系列作品。
⭢ Main Page
⭢ Participated Artist