邱建仁 簡歷

為繁星演說 81x117 cm 油彩、畫布 2011年

Chiu, Chien-Jen

邱 建 仁

簡歷 RESUME

1981  出生於台灣

現居住 工作於台北

▍個展

2009 《影子傳說 》｜乒乓藝術工作站，臺北，臺灣

2007 《生活照樣繼續! 》｜臺北市立美術館，臺北，臺灣

2007 《影子彷彿這樣對我說》｜5 o.p.t. gallery ， 香港，中國

2005 《NARRATIVE 》｜5 o.p.t. gallery ， 香港，中國

2005 《又有誰能曉得? 》｜也趣藝廊， 臺北，臺灣

▍聯展

2010 《後青春》｜ 國立台灣美術館，臺中，臺灣

2010 《旅人‧記憶：北美館典藏作品展 》｜臺北市立美術館，臺北，臺灣

2009 《弱繪畫》｜ 關渡美術館，臺北，臺灣

2009 《講述》｜ 國立台灣美術館，臺中，臺灣 ｜中國美術館，北京

2009 《當代價值 -- ㄧ個持續進行的歷史》｜ 日昇月鴻，臺北，臺灣

2009 《禪的悟境：十牛圖特展》｜法鼓山世界佛教教育園區，臺北，臺灣

2008 《ART IS NOW》｜ 釜山文化中心，釜山，韓國

2008 《The 2008 Sovereign Asian Art Prize》｜ 南洋藝術學院，新加坡，新加坡

2008 《2008 臺北國際藝術博覽會-Made in Taiwan 新人推薦特區》｜世貿中心，                       臺北，臺灣

2008 《亞洲青年作家美術慶典》｜ 首爾舊火車站，首爾，韓國

2008 《和而不同》｜ 亞洲藝術中心，臺北，臺灣

2008 《浮動》｜鳳甲美術館，臺北，臺灣

2007 《第一屆光州國際當代展– Light & Sound 》｜光州美術館，光州，韓國

2007 《世代．對話》—臺灣當代多元呈現｜印象畫廊，臺北，臺灣

2007 《2007 臺北國際藝術博覽會》｜臺北世貿二館，臺北，臺灣

2007 《臻品新人展：今日研究生的繪畫課題》｜臻品藝術中心，臺中，臺灣

2007 《第一屆龍顏校園藝術創作獎》｜金石堂書店，臺北，臺灣

2007 《藝術新聲》全國研究生邀請展｜龍華科技大學藝術中心，桃園，臺灣

2006 《跳板的兩端面對面》｜也趣藝廊，臺北，臺灣

2006 《臺北二三》｜臺北市立美術館，臺北，臺灣

2006 《富勞而思》｜也趣藝廊，臺北，臺灣

2006 《屏東藝術風華百美展》｜屏東科技大學，屏東，臺灣

2006 《就是要典藏》」｜也趣藝廊，臺北，臺灣

2006 《2006 臺北國際藝術博覽會》｜華山藝文特區，臺北，臺灣

2006 《青春嶺-2006 藝術新星》｜科元藝術中心，臺中，臺灣

獲獎

2008 The 2008 Sovereign Asian Art Prize 2008年傑出亞洲藝術獎入圍

2007第一屆龍顏藝術創作獎

    張心龍美術創作獎

2005美術創作卓越獎
     台灣美術新貌－平面創作系列第二名
2004

2004                 台北美術獎 首獎

2005              典藏

2009國立台灣美術館 ｜雨和眼淚

2008國立台灣美術館 ｜歇息

2008鳳甲美術館｜ 堆疊繽紛樂

2007國立台灣美術館｜無暇追思已然消逝

2006     金石堂龍嚴基金會 ｜移動場域 (一)

2006                國立台灣美術館｜ Narrative ~藍海人作品

2005 台中港區藝術中心｜ Narrative 系列作品(組件)
2004     台北市立美術館典藏｜Narrative 系列作品(組件)

藝術家簡歷Resume

▍Solo Exhibitions

2007 “ Life Goes On !”,TFAM, Taipei, Taiwan

2007 “The shadow seems to say to me so”, 5 o.p.t. gallery, HK

2005 “NARRATIVE”, 5 o.p.t. gallery, HK

2005 “Who know ?”, AKI gallery， Taipei, Taiwan

▍Group Exhibitions

2008 “Harmony in Diversity -Compatibility of 19 Cross-Strait Art Spirits”, Asia Art Center, Taipei, Taiwan

2008 “Float”, Hong-Gah Museum, Taipei, Taiwan

2007 “Light & Sound”, Gwangju Art Museum, Gwangju, Korea

2007 “Generation -Conversation” Impressions gallery, Taipei, Taiwan

2007 “Art Taipei 2007”, Taipei，Taiwan

2007 “The issue of drawing for nowadays postgraduates” , Galerie Pierre, Taichung, Taiwan

2007 “1st Long Yen Arts Awards”, Kingstone Culture Square, Taipei, Taiwan

2007 “ New-Sound of Art, NHCUE artist space”, Lunghwa University of Science and Technology, Taoyuan, Taiwan.

2006 “The Two sides of the Spring Board: Face to Face”, AKI gallery, Taipei, Taiwan

2006 “Taipei Two Three”, TFAM, Taipei, Taiwan

2006 “Thirteen Flowers!”, AKI gallery, Taipei, Taiwan

2006 “Pingtung Arts Fair”, National Pingtung University of Science and Technology,Pingtung, Taiwan

2006 “Collection Only”, AKI gallery, Taipei, Taiwan

2006 “Art Taipei 2006”, Huashan Culture Park, Taipei, Taiwan

2006 “Youth Mountain-2006 Emerging artists”, ke-Yuan Gallery,Taichung,Taiwan

故事中的可見與不可見

邱建仁

完成或未完成  指日可待  只留下令人懷念的敘說

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凝視著，眼前盡是快速流逝時光，面對這一連串的改變中，感受著時間一點一滴的消失，最終被剝離了整個面貌，覆蓋的；僅是掩藏住不可見線索。再無刻意選擇下，僅僅將場域放入畫面之中，構築真實且虛幻的景緻，達成所虛構的線索，給予觀者參考猜測，而在影像轉化圖像間有如解碼一般慢慢消逝著它的神聖價值，取而代之,轉化為生命經驗裡的片刻，是顯示著身為旅者的觀察與測量。事件發生中，隨著時空的變化，事實總是非預期的，當超越了速度時間，屬於片刻時空就會呈現出許多不同的故事，而相同時空也會朝向非單一前進，進而再次轉換於繪畫創作之上共通影像記憶經驗。

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於是故事從此開始，運用簡約即時的影像，將之壓縮於畫面之上 ，「片段｣之間卻又是如此的息息相關，看似簡約實際繁瑣。在每一個段落中，刻畫出每個片刻，利用如此反覆的影像關係拉出時間的擴大過去、未來、當下。

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週遭生活就如同一幕幕剪影在其中交錯模糊或覆蓋其中的不必要，進而找尋出另外的可能，而這可能又是下個故事的開始，反反覆覆堆疊之下，影像的虛實造成的不穩定但卻又是每個時間點的延伸，因而故事就此展開…。     

                                                  

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在整個時間脈絡中，存在變的邈小許多，將著眼點放大，人的歷史有如螻蟻一生，恍惚之間，生命不斷的重複著，敘說著同樣的情節，耗損般的將生活一片片切斷，在每個剖面裡，似乎總有些類似的情節發生著，又如同小說一般的可歌可泣，愛恨情仇交雜，重複不斷的事件總是發生的，但是將其濃縮之後，有如石化的畫面，交代了當初最終的瞬息，而過程中，儀式的開始：很難去想像每個動作的進行，每一次的堆疊、塗抹、覆蓋，所照成的痕跡，就像是美麗的傷痕，最不起眼的小地方也會是自成一個小世界，週遭生活的剪影，歷歷在目交錯其中，無非是想要去擴大停留住，對於自身的束縛揮之不去…而只能選擇最簡約的方式，讓它停留於畫面之上，有如虛假的謊言，既真實又美好，一次次的降低每個細節的銳利，卻也纏繞成了最動人的時刻，在擴大的時空下，「消耗」也被消耗著；多餘的筆觸，多餘的覆蓋，多餘的…其實很多皆是在這未經設計過的過程中所產生的，不可否認的，想用最簡單的方式，去述說最複雜動人的故事，的確是強人所難的，沒有所謂的「一定」只有「偶然」，以及碰觸到巧合，東拼西湊，就像是完成了屬於自己的紀念品，在人生的旅途中，偶然遇見最美好的紀念品：一個女孩的微笑，一片安祥的風景，一頓豪華的大餐，一個親人的擁抱…一件能屬於每個人個紀念品…而仍生活照樣繼續呀！！

What Can and Cannot Be Seen in the Story

Chiu Chien-jen

Whether it is finished or not, we will soon know. All that is left is a cherished story.

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Staring ahead, before one's eyes is time, rapidly elapsing. Facing a series of changes, one can feel the time fading bit by bit, and in the end the face of things is peeled off and then replaced. It is only the hiding of clues that cannot be seen. Without making a conscious decision, the scene is inserted into the painting, creating a landscape that is both real and illusory, a fabricated clue for viewers to look at and guess about. In the process of converting moving pictures into static ones, a kind of deciphering occurs that gradually dissolves the sacred value of the image. This is superceded by a scene from life, the observations of a traveler. As the incident happens, as time changes reality is always unpredictable. When time passes at a certain speed, many stories related to that period of time will appear. The same period of space and time will move in different directions, transforming again into a common remembered experience in the painting.

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The story begins at this point, and timely and concise images are condensed and incorporated into the painting. The fragments are thus closely linked together, and what appears simple is actually complicated. In every section a new moment is created, and the repeating image is used to draw out time and expand the past, the future, and the present.

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The life around us is cut and preserved, scene by scene, staggered and blurred or with the unimportant parts covered up, working always to find another possibility. This possibility is the beginning of the next story, one story layered on top of another. The reality of the image creates an unstable extension of every moment, creating the beginning of a story.

                                              

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In the flow of time there are many minute changes that expand the focus of attention. Man's life is like that of an ant, with life endlessly repeating itself while we are distracted. The same plot is told, severing scene after scene of life. In every section there always seem to be plot elements that repeat themselves. It moves like a novel, with love and hate intertwined and events repeating themselves one after another. But after being condensed they are preserved forever in the painting, the beginning and the end captured together in the same instant. During the process, a ceremony begins: it is hard to imagine the mark left by each movement, each accumulation, each smear, each covering. It is like a beautiful scar, with each inconspicuous little space becoming its own little world. The outline of the world around us comes clearly into view. One does not want to expand it and keep it, ones fetters cannot be released. One can only select the most concise method to help keep it on the frame, like a falsehood, real and beautiful, decreasing one by one the sharpness of each detail but winding to become the most moving moment. In an expanded sense of time "consumption" becomes consumed; extra brush strokes, extra covers, extra...so much is created but not planned, it can't be denied. I want to use the simplest method to narrate the most complicated, most moving story. It's a difficult task, and there is no "definite," only "by chance" and coincidence, scraping something together, like completing a In the flow of time there are many minute changes that expand the focus of attention. Man's life is like that of an ant, with life endlessly repeating itself while we are distracted. The same plot is told, severing scene after scene of life. In every section there always seem to be plot elements that repeat themselves. It moves like a novel, with love and hate intertwined and events repeating themselves one after another. But after being condensed they are preserved forever in the painting, the beginning and the end captured together in the same instant. During the process, a ceremony begins: it is hard to imagine the mark left by each movement, each accumulation, each smear, each covering. It is like a beautiful scar, with each inconspicuous little space becoming its own little world. The outline of the world around us comes clearly into view. One does not want to expand it and keep it, ones fetters cannot be released. One can only select the most concise method to help keep it on the frame, like a falsehood, real and beautiful, decreasing one by one the sharpness of each detail but winding to become the most moving moment. In an expanded sense of time "consumption" becomes consumed; extra brush strokes, extra covers, extra...so much is created but not planned, it can't be denied. I want to use the simplest method to narrate the most complicated, most moving story. It's a difficult task, and there is no "definite," only "by chance" and coincidence, scraping something together, like completing a memento for oneself. During life's journey, one sometimes comes across the most beautiful memento: the smile of a beautiful girl, a still and quiet landscape, a sumptuous meal, the hug of a loved one...it is great to have a memory that is all one's own...and then to keep on living!