Published on：2020-10-16Views：21
Artwork Analysis
Chen Chieh-Jen (1960-) was born in Taoyuan, Taiwan, and graduated from vocational high school. He currently lives and works in Taipei, Taiwan. In the 1980s during the period martial law period, Chen challenged the political system through performance art. After martial law was lifted in 1987, Chen went into creative hibernation, which ended in 1996 when he started to create art again. He is currently a world-renowned avant-garde artist.
Different from other art forms like two dimensional paintings or three dimensional artworks, Chen Chieh-Jen takes a modern medium like video and ingenious integrates the nature of video documentation in a historical retrospective, using the shrewdness and clarity of video to express a critical perspective. The bold thinking of an avant-garde artist is embodied in all of Chen's photography and video series.
The space of meaning in "Bade Area" falls right on the act of sauntering by temporarily employed workers and the dialogue between meaningless actions, deserted spaces, and discarded objects. The video represents the barrenness and desolation of the contemporary margins, corners, and industrial zones of the city, as well as a sense of emptiness that comes with the change of an era. They are the scant traces of the process of Taiwan's modernization. Construction sites, cables, iron sheets and spreading weeds and so on are symbols, parts of the stage where modernization is enacted.
Different from other art forms like two dimensional paintings or three dimensional artworks, Chen Chieh-Jen takes a modern medium like video and ingenious integrates the nature of video documentation in a historical retrospective, using the shrewdness and clarity of video to express a critical perspective. The bold thinking of an avant-garde artist is embodied in all of Chen's photography and video series.
The space of meaning in "Bade Area" falls right on the act of sauntering by temporarily employed workers and the dialogue between meaningless actions, deserted spaces, and discarded objects. The video represents the barrenness and desolation of the contemporary margins, corners, and industrial zones of the city, as well as a sense of emptiness that comes with the change of an era. They are the scant traces of the process of Taiwan's modernization. Construction sites, cables, iron sheets and spreading weeds and so on are symbols, parts of the stage where modernization is enacted.
Artist Profile
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