常陵.2004年畢業於法國國立巴黎高等藝術學院(Ecle NipidsxArsdsF2007年加入「悍圖社」擅以繪、裝置、行為等方式討肉身與社之間的關係,怪角度荒唐出不同階層的環境面相,碎片化的空間感與交錯臉孔,形成特異又扭曲的文化觀。

近期展覽:「事件開花在時間不存在的瞬間」(2022·廊,上海)、「肉來閒」(2021·印象畫廊,臺北)、「大玄玄社會歷史日常」(2019・高雄市立美術館.高雄)、常陵一社會」(2019.畫廊,上海)。


Chang Ling graduated from the École Nationale Supérieure des Beaux-Arts de Paris in 2004 and joined the Hantoo Art Group in 2007. He specializes in using painting, installation, and performance art to explore the relationships between the corporeal body and society, as he uses peculiar perspectives and absurd approaches to display environmental features, a fragmented sense of space, and intersected faces to create unique and distorted cultural views.

Some of Chang Ling’s recent exhibitions include It Blossomed in an Instant When Time Did Not Exist (Don Gallery, Shanghai, 2022) ; Idling (InSian Gallery, Taipei, 2021) ; Illusion Society—History of Ordinary Life (Kaohsiung Museum of Fine Arts, Kaohsiung, 2019) ; and Chang Ling - Illusion Society (Don Gallery, Shanghai, 2019).

藝術家｜常陵 Chang Ling

台北當代藝術館是台灣第一座以當代藝術為導向的藝術專門機構，館舍原為日據時代的建成小學校，1945~93年間轉為台北市政府辦公廳舍。市府於1994年遷往信義計畫區新廈後，基於古蹟再利用之政策，於2001年5月將市府舊廳舍轉化為「台北當代藝術館」及建成國中之用，不僅是台灣第一座由古蹟轉型為美術館的成功案例，也是全台唯一與校園共構的藝文展館。

自開館以來，在這個組合了古蹟建築與當代藝術、兼容了歷史記憶與當代文化的場域之中，展演著國內外最創新前衛的視覺造型、媒體科技、建築設計、時尚流行……等多元的藝術展演，刺激國內跨界域的創作火花，把創意帶進台北、把美感帶進社區、用日新月異的藝術展演創造歷史建築的新生命。

Opened in May 2001, the Museum of Contemporary Art (MoCA Taipei) is the first museum in Taiwan devoted entirely to contemporary art practice. Our mission is to provide access to contemporary art from Taiwan and around the world to an increasingly globally-oriented, technologically-savvy audience.The building which houses the museum is a designated Municipal Historical Relic. Built in the late 1920s, this Japanese colonial-style red brick structure served as an elementary school for two decades before a fifty-year stint as the site of the Taipei City Hall.

MoCA Taipei exemplifies a coming together of contemporary art, historical architecture, and high technology – resulting from the joint efforts of the Taipei City Government, the local community, artists, and corporate supporters.

As the world moves toward globalization, digitalization and technologically advancement – Contemporary Art provides an arena for artistic exchange and for the expression of cultural identity.  From its inception, the museum has always recognized as main task to transcend the boundary that exist between art and the community at-large, constantly looking for new ways where art and the community interact, and striving to bring art beyond the confines of the museum walls and into the everyday lives of the community.  MoCA Taipei will continue to move in this direction in the future.  By stimulating inter-disciplinary creativity through multifarious and diverse artistic exhibition and performances, we hope to bring art into our community, and ultimately, to catalyze a spirit of innovation in the city of Taipei.

台北當代藝術館 MoCA Taipei

出生於東港,成長於桃園,就讀於國立臺北藝術大學藝術跨領域研究所。

透過當代藝術的展覽策劃、評論等方式討論歷史、時間及社會體制所帶給人們的諸多限制,並在其中試圖找尋某種自由的出口。近期重要策展包括「CommoningMusicStati(2022·mmer#m的巨愁(2021台北代藝術館)、「鏡水樓台」(2021·台灣代一年、群眾的國家馆:我們的世博OurExpo:ThUnofic World Expo Build-Off,杜拜)、「悍圖行動」(2021·福利社)。


Lin Yu-Chin was born in Donggang in Southern Taiwan and grew up in Taoyuan. He is currently pursuing a master’s degree at the Graduate Institute of Trans-disciplinary Arts, National Taipei University of the Arts. Through contemporary art curating, critiquing, and other methods, Lin engages in discussions on the limitations imposed on people by history, time, and social systems, as he seeks to discover in them some kind of outlet for freedom. Recent major exhibitions curated by Lin include The Hantoo Movement (FreeS Art Space,2021); Gazebo and the Water Mirror (Taiwan Annual and Our Expo: The Unofficial World Expo Build-Off, Dubai,2021); A Dark Cloud of Sorrow Looms Over (MoCA TAIPEI,2021); and Commoning Music Station (Summer School at documenta 15,2022).

策展人｜林郁晉 Lin Yu-Chin

假性自大01 Pseudo-arrogance 01

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大玄玄社會－No More Politician 3

戰前準備－惡犬  War Preparation－Vicious Dog

Nothing Except Love .

大玄玄社會－No More Politician

一個防空洞 A bomb shelter

避難的人 People who took refuge

東方的風景 Oriental Landscapes

Ｍy Own Refuge

Nothing to Do with Bravery

戰前準備－One Way to Go

糖果樹林之戰 Candy Grove Battle

戰前準備－ Green Cross

戰前準備－寶石的女人

戰前準備－賞飛機

戰前準備－無用的大砲

戰前準備－東倒西歪進行式

戰前準備－東方危機

戰前準備－生日會

策展人_林郁晉導覽

戰前準備－未及的廢墟 2

戰前準備－未及的廢墟

槍與老人 Pistol and Old Man

大廳邊的酒宴 Banquet in the Hall

大玄玄社會－2020 Need Help

準備前的支撐物 Support of Preparation

準備前的支撐物  Support of Preparation

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假性自大  Pseudo-arrogance

大玄玄社會  Illusion Society

戰前準備─常陵個展
War Preparation─Chang Ling Solo Exhibition


展覽簡介 Exhibition Introduction

新冠肺炎假性解封，人們選擇駐足於家中，或戴上了口罩，熱鬧喧嘩的城市場景，成了困在封閉與寂寥的循環之中。同時，外界傳來的聲響，是臺灣國防部在官方網站上，首次發佈「全民國防手冊」、或烏俄戰爭的延續、中印小規模戰事等兵火連天的槍砲聲、還有伊朗、朝鮮半島等。隨著危機逼近，種種景象彷彿在眼前出現，在地緣政治如此緊繃的壓力下，所有選擇性政治、通膨經濟、強加文化等問題，如排山倒海而來。身處於現狀的我們，應該如何面對及準備？此次展覽「戰前準備」，藝術家常陵以思考「戰前」的準備姿態，重新組織其創作語言，從緊急避難，至民生物資的供應等面向，乃至切身存活的問題，提出以繪畫、裝置構成等媒材，碰觸即將面臨的挑戰。

《大玄玄社會》（Illusion Society）系列作品，是常陵長年創作發展的主要軸線，刻畫世間各種不同的歷史日常、或人性的面相，直搗社會裡，那些被虛幻現實給裹著的真實慾望，描繪出非現實的另一種狹隘扭曲。在看見那慘絕人寰的戰爭影像，焦躁不安的人們，面對未知所延展出的驚愕與恐懼，如今，只能介於見或不見、想或不想間持續晃蕩。常陵將這些感受，透過創作進行轉化，探勘其中創建的各種瘋狂和偏執，他選擇用一種覆蓋、竄改歷史的方式，將集體所知的記憶，進行一種主觀的重新拼湊；《假性自大》（Pseudo-arrogance）則是在擴張的記憶裡，分岔出另一種現實。這些畫面，生產出時空背景的錯置與虛幻，不再有時間線性的存在，只有當下沉浸於碎片揉合的影像裡。其中蔓長出的各種故事，是歷史、未來和記憶相互穿梭的結果，彼此之間場面調動，持續碰撞中，卻意外地指向某種共通的感覺邏輯。這些貌以預言之姿所留下的圖像，跳過了語言上的隔閡，留下某種未來文明的檔案，將記憶的碎片，雜揉成一則則往後的風景切片，只為指向生命最完善秩序的狂想。

新世界的期待是對於現狀擲地有聲的一顆炸彈。


Although the COVID-19 pandemic restrictions have been eased, some people still choose to shelter in place or wear masks, and the hustle and bustle of city life has become trapped in a cycle of lockdowns and isolation. In the meantime, a raucous is heard coming from the outside, perhaps sparked by Taiwan’s Ministry of National Defense’s first-ever release of the All-out Defense Handbook on its official website, or the ongoing Russo-Ukrainian War and the China-India skirmish, as well as other conflicts in Iran, the Korean Peninsula, and elsewhere. As crises loom and various incidents appear before our eyes, under such intense geopolitical pressure, we are faced with overwhelming conundrums that involve issues such as selective politics, inflationary economics, or cultural imposition. Caught in the midst of such circumstances, how should we face and prepare for the situation? The exhibition of War Preparation by Chang Ling shows the artist’s thoughts on war preparation. The artist has reconstructed his creative language to consider topics such as emergency responses, daily necessities and supplies, and survivability and has created paintings and installations to examine the challenges we may soon face.

Illusion Society is a major art series that Chang Ling has been developing for many years, which comprises depictions of different historical everyday scenarios or faces of humanity. The series directly probes into realistic desires that are concealed by illusions and illustrates an alternative reality that is restricted and distorted. People are overcome with anxiety after seeing tragic images of war, which causes shock and fear of the unknown. At the moment, people can only continue to drift between whether to see or not to see, to think or not to think. Chang Ling has transformed these feelings using art, exploring the various madness and paranoia that have developed from the circumstances, and the artist opts for an approach that masks and alters history, as he subjectively reconstructs collective memories. Pseudo-arrogance, on the other hand, presents an alternative reality that has branched from expanded memories. The images presented evoke a sense of temporal and spatial displacement and illusion, where temporal linearity ceases to exist, immersing at the moment only in images that are an amalgamation of fragments. The various stories that are growing from it are the result of the interexchange between history, the future, and memories, and the mise-en-scène that takes place between them persists to undergo impact, where a collective logic of sensation unexpectedly becomes apparent. These images that seem to be relicts of premonition have leapt over language barriers, leaving behind some kind of archives of future civilization, with fragments of memories blended together to result in slices of future landscapes; the sole intention is to point toward a fantasy of a life in perfect order.

This expectation of a new world is a powerful explosive that’s thrown toward the existing state of affairs.

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指導單位｜台北市文化局
主辦單位｜台北市文化基金會、台北當代藝術館
年度贊助｜THERMOS、當代藝術基金會、財團法人紀慧能藝術文化基金會、老爺會館
年度指定電視／螢幕｜SONY
媒體協力｜中央廣播電臺

展期｜2023-03-11～2023-05-07
地點｜台北當代藝術館實驗展場 MoCA Studio
地址｜台北市大同區長安西路39號

戰前準備─常陵個展

假性自大17  Pseudo-arrogance 17

相紙、油彩／45 x 30 cm／2018