張碩尹：小地獄
TingTong Chang ：Little Hell
15 June to 10 July 2024
Each Modern 亞紀畫廊
Curators | 陳子澂・張瀞尹 André Chan and Chin-Yin Chong
Talk | 15 June, 3.00 – 4.30 p.m.
張碩尹（藝術家）＋張玉音（恆成紙業內容品牌野点 nodate 總監）＋陳子澂・張瀞尹（策展人）
Opening Reception | 15 June, 4.30 – 6.00 p.m.

張碩尹早期以塗鴉作為創作媒介，常以詼諧手法諷刺時弊，在英國進修畢業後的歐洲旅居期間，嘗試各種不同媒介與跨域合作，從文字、繪畫到涉及聲光電等科技元素的裝置，甚至具有實驗性和表演性的計畫，逐漸發展
出具個人特色的創作體系。近幾年以團體協作模式，創作各種場域限定表演及裝置，同時亦主導不同的大型錄
像與互動作品，整合不同的知識領域之餘，作品廣泛利用多種多樣的媒材，充份表現出後媒體時代中當代藝術
創作的媒體流動性。
「小地獄」是張碩尹在亞紀畫廊新空間的首次個展，承襲他創作基因中的多個元素，利用本地各種現成媒材進行創作，是藝術家在近年大型的跨域項目之外，展現更為親暱與個人創作的一面。以《小地獄》為首的一系列
新作品以壁毯作為主軸，壁毯本身是歐洲中世紀以降，室內裝飾當中極為豪華繁複、工藝精細的藝術作品，與
繪畫的地位相比有過之而無不及。

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蠶絲自古以來就是一種高貴的紡織原料，二十世紀的各種人造纖維多以模仿絲綢的機能為目標，以圖將其普及化，在二戰期間物資短缺時，亞洲蠶絲出產困難，促成尼龍纖維正式取代各種自然原料的市場地位。戰後的台灣以生產紡織物作為建立經濟基礎的手段，至七、八十年代紡織業已然成為經濟的一大支柱，然而九十年代起
因為不同的地緣因素導致產業面臨轉型，產量如今已大不如前。藝術家在壁毯作品中特意利用台灣製造的人造纖維布料作為壁毯胚料，以人造物料取代傳統物料的意象，製作出與二十一世紀消費模式以及語境相符的壁毯。
這一系列壁毯以不同文化來源的圖像或圖騰為挪用與發想的起點，卻並非僅是相似主題的再製。受到多種現成圖案的啟發，加上層層疊加、表現自我想法的 DIY 工藝，將各種金屬配件作為裝飾，有些是正式的服裝配件，有些看似服裝配件，實則為文具圖釘之類的實用物件。縫紉機和針線成了藝術家的畫筆，透過縫製與刺繡等工法，在布料上綉出琳琅滿目、色彩搭配搶眼的圖形。就算得到現今的機器幫助，壁毯的製作還是跟數百年
前一樣的費工，這種對手工的高度需求與當代社會的虛擬數位化形成強烈的對比。
將各類素材拼湊與篡改，搭配金屬配件與 DIY 工法，其實與龐克次文化的精神與手法更為相近，從主流文化取樣，卻以重構的方式去叛逆並作出批判，以粗獷、個人主義的手法去挑戰精緻的藝術傳統。對藝術家而言，這些元素和手法與他的其他立體作品創作相似，同時與他早期活用照片影像或現成圖案的塗鴉創作產生呼應，形成極具個人風格的作品。
「小地獄」展覽坦率地呈現藝術家的創作美學，交織幽默、諷刺與自省。作品中重複出現的元素如眼睛、骷髏、骨頭、翅膀等圖案，都是他多年間的一貫題材，有機與無機、柔軟物料與金屬物件、可愛與醜惡、高貴與
俗麗、獨立與協作等價值交錯，從概念、媒材到製作，在過程中創造對話。在揶揄的偽裝當中，我們能一窺藝
術家的創作軌跡、多層次訊息以及新的個人創作方向。
藝術家：張碩尹 Ting-Tong Chang
策展人：陳子澂、張瀞尹 André Chan, Chin-Yin Chong
項目經理：王芮瑀 Ray Wang
製作助理 Production Assistant洪瑜馨 Yu Hsin Hung吳晨瑄 Sheng Wu
鄭晴云 Ching Yun Cheng
張祐熏 You Syun Chang
陳韻至 Yun Zhi Chen
許庭瑄 Ting Hsuan Hsu
李依蒨 Yi Chien Lee黃筱芸 Shino Huang
金恩羽 En Yu Jin周家秀 Chia Hsiu Chou
簡詩翰 Shih Han Chien

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關於策展人陳子澂是香港策展人、「藝類」的共同創辦人。他的策展項目著眼於藝術家回應當代城市問題
的實踐，最近的研究集中在藝術家製電子遊遊及當代科技所帶來的謬誤上。2018 年，他於上海當代藝術博物館的青策計劃及 Para Site 藝術空間的新晉策展人計劃中獲選。他曾於世界各地策劃展覽及表演，包括香港、東京、台中、上海、首爾、芝加哥、溫哥華等。他亦是 Art Central
2021 年度的策展總監。
張瀞尹是策展人、藝術行政以及 Arts Collective「藝類」的聯合創辦人。她曾任職於台北當代
藝術館、香港藝術中心以及藝廊，亦參與亞洲地區的多項藝術計畫。近期透過集體和獨立研究，探索文化影響、藝術家實踐、跨學科交流以及藝術協作等主題。她曾獲選 2018 年上海當代藝術博物館的青策計畫，並參與 2022 年倫敦 Delfina Foundation 的策展人駐村計畫。

關於藝術家張碩尹 1982 年出生於台北，現工作與居住於台灣台北與西班牙聖地亞哥德孔波斯特拉。張碩尹早期以塗鴉藝術家 Bbrother 為名創作，其充滿政治意識的模板大量出現在台北街頭，並數度為媒體焦點與話題人物。2011

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年自倫敦大學金匠學院藝術碩士畢業後，其詼諧反諷的創作語彙擴及社會政治議題、自然生態與當代生活的各種層面，其合作計畫統合科技、科學與歷史等不同知識領域，媒材跨及大型裝置、錄像、與劇場。
他的近期個展於北師美術館、台北市立美術館舉行；並參與台北雙年展（台灣）、廣州三年展（中國）、山口情報藝術中心（日本）、 康普頓弗尼美術館（英國）、惠康基金會（英國）之群展與委託案．近期獲獎包括
台新藝術獎（台灣）、台北美術獎（台灣）、Art Central 新晉菁英大獎（香港）、伊比利美術獎（英國）、吉爾伯特·貝葉斯獎（英國）。作品受台北市立美術館（台灣）、洪建全基金會（台灣）、アウラ現代藝術振興財団（日本）、赫爾佐格·達席爾瓦基金會（西班牙），與亞洲歐洲私人收藏．

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TingTong Chang ：Little Hell
15 June to 10 July 2024
Each Modern
Curators| André Chan and Chin-Yin ChongTalk | 15 June, 3.00 – 4.30 p.m.
TingTong Chang /artist＋YuYin Chang /director, nodate＋André Chan・Chin-Yin Chong /curators
Opening Reception | 15 June, 4.30 – 6.00 p.m.

Ting-Tong Chang used graffiti as a creative medium early in his career, often employing humour tosatirize social issues. During his stay in Europe after completing studies in the United Kingdom, heexplored various mediums and interdisciplinary collaborations, ranging from text and painting toinstallations incorporating elements of sound, light, and electronics. He even ventured into experimentaland performative projects, gradually developing a distinctive creative approach. In recent years, he has
been involved in collaborative works, creating site-specific performances and installations. At the sametime, he has led different large-scale moving image and interactive projects, integrating diverse fields ofknowledge. His works utilize a variety of materials extensively, expressing the media fluidity in the postmedium age of contemporary art.

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"Little Hell" serves as Ting-Tong Chang’s inaugural solo exhibition at Each Modern. The exhibition will
showcase a more intimate and personal side of the artist's work, in addition to his involvement in recent
large-scale interdisciplinary projects. Featuring the centerpiece ‘Little Hell’, the series of works focuseson tapestries, which since the Middle Ages have been luxurious and intricately crafted art forms in interior
decoration, rivaling the status of paintings. The series inherits multiple elements of Chang’s creative DNA,utilizing various locally found materials for artistic creation.
Silk has been a noble textile material since ancient times, and in the 20th century, various synthetic fibres
aimed to imitate the property of silk in order to popularize it. During World War II, the difficulties in
producing silk in Asia led to the replacement of various natural materials by nylon fibres. After the war,
Taiwan built up textile production as a means to establish its economic foundation. By the 1970s, thetextile industry had become a major pillar of the economy. However, in the 1990s, the industry collapsed
due to various geopolitical factors, and the production volume is now only a small fraction of its former
years. In the tapestry works, the artist deliberately uses Taiwan-made synthetic fibre fabrics as the basematerial, symbolically replacing traditional materials with synthetic ones, aligning with the consumption
patterns and contexts of the 21st century.
The series of tapestries takes found images and motifs from different cultures as its starting point and islayered with personal ideas through DIY crafts and decorated with numerous metal knickknacks. Someare actual clothing accessories, while others are only imitations of practical objects like stationary pins.
The sewing machine and needle become the artist's brushes, embroidering intricate and eye-catchingpatterns on the fabric through embroidery techniques. Even with the assistance of modern machines, theproduction of tapestries still requires as much labor as it did hundreds of years ago, creating a strong
contrast between the high demand for craftsmanship and the virtual digitization of contemporary society.
By piecing together various materials, appropriating and sampling; incorporating metal accessories andDIY techniques, the artist's approach is actually closer to the spirit and methodologies of punk subculture.
It samples from mainstream culture but rebels against and critiques through reconstruction, challenging
the refined traditions of art with bold, individualistic means. For the artist, these elements and techniquesdraw parallel with his other three-dimensional works, while also echoing his early graffiti creations thatutilised found images, resulting in highly stylized work.
"Little Hell" exhibition candidly presents the artist's aesthetic of creation, interweaving humour, satire,and introspective musings. Recurring elements in the artworks, such as eyes, skulls, bones, and wings,
have been consistent motifs in Chang’s oeuvre. Organic and inorganic materials, soft fabrics and metal
objects, cuteness and ugliness, nobility and vulgarity, independence and collaboration, all intertwined.
Behind the ironic disguises, one can catch a glimpse into the artist’s creative trajectory, incorporating
intricate layers of messages and novel creative direction.

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About the ArtistTing Tong Chang (b.1982, Taipei) is an artist
who lives and works in Taipei, Taiwan andSantiago de Compostela, Spain. Starting his early
career as a street artist, Bbrother, Chang's
politically charged works had repeatedly become
the focus of media attention and public debate.
After completing his MFA at Goldsmiths,
University of London in 2011, Chang transitioned
towards contemporary art. His satirical gazeleaves no aspect of society untouched. Revellingin the absurd and illogical, he makes a mockeryof socio-political subjects ranging from the social and ecological effects of consumerism to thefunctioning of the art world itself. Working across the distinct practices of immersive installation, videoand theatre, his transgressive practice co-opts science, technology and history to dissect the world
around him.
Chang has exhibited internationally. He held solo exhibitions at the Museum of NTUE(TW) and Taipei
Fine Arts Museum(TW) and has participated in group shows and commissioned projects in Guangzhou
Triennial(CN), Taipei Biennial(TW), Yamaguchi Center for Arts and Media(JP), Compton Verney Art
Gallery(UK) and Wellcome Trust(UK). Chang’s major awards include the Taishin Arts Award(TW),
Taipei Art Award(TW), Art Central RISE Award(HK), VIA Arts Prize(UK), and Gilbert Bayes
Award(UK). His works can be found in the Taipei Fine Arts Museum(TW), Hong Foundation(TW),
Aura Contemporary Art Foundation(JP), Hertzog Da Silva Collection(ES) and private collections inEurope and Asia.

About the Curators
André Chan, a Hong Kong-based curator and co-founder of Arts Collective. His
curatorial work focuses on artists’ engagement with contemporary urban issues. His
recent research is on the video games made by artists and exploring the fallacies
within the modern tech world. Chan has been recognized for his curatorial workthrough programs such as the Emerging Curators Project 2018 by Shanghai Power
Station of Art and as an Emerging Curator by Para Site. He has curated exhibitions
and performances in various cities and institutions, including Hong Kong, Tokyo,Taichung, Shanghai, Seoul, Gwangju, Chicago and Vancouver. He was also the Curatorial Director ofthe 2021 edition of Art Central.

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Chin-Yin Chong is a curator, art administrator, and co-founder of ’Arts Collective’.
She has previously worked at the Museum of Contemporary Art, Taipei, and Hong
Kong Arts Centre, as well as experiences in galleries and various art projects in theAsian region. Working collectively and independently, Chong’s recent research
explores cultural influence, artistic practices, transdisciplinary exchanges andcollaborations. She was selected for the Emerging Curators Project at the Power Station of Art,
Shanghai in 2018, and a curator-in-residence for the Delfina Foundation's summer 2022 season.

EACH MODERN 亞 紀 畫 廊 3F, 97 Sec. 2 DunHua S. Rd. Taipei Taiwan +886–2–27527002 www.eachmodern.com