SELECTED SOLO EXHIBITIONS
Residual Heat
27 November 2021 - 01 January, 2022
AKI Gallery Leipzig Prospect, Leipzig, Germany
餘溫
27 November 2021 - 01 January, 2022
AKI Gallery Leipzig Prospect，萊比錫，德國
補助單位：國藝會
View on AKI Gallery
27 November 2021 - 01 January, 2022
AKI Gallery Leipzig Prospect, Leipzig, Germany
餘溫
27 November 2021 - 01 January, 2022
AKI Gallery Leipzig Prospect，萊比錫，德國
補助單位：國藝會
View on AKI Gallery
You will find references to historical wars, including World War II, the Korean War, and the Vietnam War, in the exhibition. Although these conflicts seem irrelevant to my personal background, they still construct the world I live in. The influences brought by the wars extend beyond their political and geographical contexts. They persist today in forms of entertainment such as pop culture, cinema, and video games, presented in specific aspects defined by certain standpoints. However, the exhibition title “Residual Heat” describes not only the aftermath of past wars.
Through erasing, forging, or remaking historical objects, I remove recognizable labels and emphasize body temperature and death—a biological characteristic and fate shared by all of us—to imply the commonality of human beings. This is what “Residual Heat” indicates, regardless of who we are fighting for and who we are fighting against. It could be said that it is my expectation for the hometown’s “pre-war” state as well as any ongoing or potential war in the rest of the world.
"Residual Heat" (2021) is a series that presents images of fallen soldiers made by a thermal camera. Unlike war journalism photos, these kinds of war images are usually seen in modern conflicts and somehow offer the audience a cooler, more innocent, and safer observing distance. In the works, we can hardly project our personal positions because of the indistinguishable uniforms and faces. Nevertheless, the shapes of the weapons vaguely reveal their historical status—they clearly don’t belong to the present time. "Residual Heat" preserves body temperature, something we all share despite the war, from the past to now. Under "Residual Heat," there is "Abandoned Spears" (2021), a pile of spears made by me. The spears imitate the primitive cold weapons we see in museums, but they are placed haphazardly here, implying the act of surrender or quitting the war from the very beginning of human warfare history.
Meanwhile, "Residual Heat (objects)" (2021) presents five metal figurative shooting targets with thermal images of military objects, including a V2 rocket and a German helmet from World War II, a Chinese medal from the Korean War, a component of an American missile, and a mortar bullet from the Taiwanese army. I heated these objects to approximately human body temperature and then captured them with a thermal camera. Although each object represents different war periods and functions, the temperature readings on the images and the human-shaped target plates beneath both hint at the anonymous, invisible persons who will lose their lives in warfare.
In "Death Cards" (2021), I remake death cards issued by Germany. They were distributed mostly in 1945, the final year of World War II. I remove and deconstruct the signs on the uniforms, the text except for the date the soldiers died, and the religious images printed on the cards. "Death Card" attempts to reject the personal information determined by the government and society of their time as well as the history and interpretations made by later generations. I refocus on each individual person who was so close to surviving the war.
"Target Sheet’s Flying Time" (2021) is composed of multiple paper planes folded from three types of Taiwanese army shooting target sheets. The target sheets were made in different periods for different service rifles, stating the same military goal across generations. In "Target Sheet’s Flying Time," I see the act of shooting as the fundamental unit of war. I then transform these training objects into paper planes to replace the flying curve of fatal bullets and eliminate their function of killing. "Drawing 8" (2021) is from the collaborative project "Drawing" I started in 2021. The project invites children to draw on vintage war-related printed materials I collect, including newspapers and target sheets, without explaining what the papers are. As a result, their abstract, intuitive, and naive doodles softly reject and counter the original information and purposes of the objects.
《餘溫》聚焦在現代戰爭並收集了戰爭物件，利用抹除、偽造、修改、重製的方式，試圖提出另一種看待歷史的觀點：非批判、旁觀、普世且低調。展名意指了戰爭結束之後遺留在世界上的溫度，如此的餘溫可以被視為一個火種，藴育了不同的立場並在未來升溫，再次形成衝突；而餘溫也可意指屏除意識形態之後，我們所看見的共同溫度：人類的體溫。
與展名同名的作品〈餘溫〉（2021）以熱感相機拍攝了擺拍的陣亡士兵景象。與近距離的傳統戰爭報導攝影相比，如此的戰爭影像提供了一種較遠，或者說無情、無辜、又安全的距離。因為幾乎無法看清軍服與臉孔，我們並無法分辨出他們所效忠的陣營，也就從而無法投射立場，只有生命消失後所留存下來的相同體溫；堆疊在〈餘溫〉下方的〈棄矛〉（2021）則是藝術家自行組裝的數根長矛，將戰爭武器回歸到原始衝突的冷兵器。與在博物館中所見的長矛文物不同，這些矛凌亂堆疊，看似棄械的樣貌暗示了從遠古之初便放棄戰爭的憧憬。
〈餘溫（物件）〉（2021）在金屬人形靶牌的上呈現了戰爭物件的熱感影像，並標示出了人類體溫。這些物件包括二戰時期的V2火箭與德軍鋼盔模型、韓戰的人民軍勳章、美軍飛彈尾部結構、以及國軍迫擊砲彈。它們被加熱至接近人類體溫後，再被熱感相機拍攝。這些匿名的人形目標被賦予了戰爭的餘溫，而人體的餘溫卻也否定了這些物件的分歧。熱感影像中的物件也將實際的在展場中呈現。
〈死亡卡〉（2021）再製了5張二戰德軍印刷的戰亡紀念卡。藝術家選擇了於1945年過世的士兵紀念卡，其中有兄弟在短時間內陣亡並被印製在同一張、戰爭結束前幾天陣亡的士兵、以及戰爭結束後身故的軍人。除了肖像與死亡日期之外，其他紀念與軍事文字、軍服上的標誌、宗教圖案的人臉與符號皆被抹除或部分更改，並重新依照原物件比例印製。〈死亡卡〉將符號與文字的意義破壞，移除了意識形態並強調個體的人，原物件雖描述死亡，卻也更大的強調了對生命的唏噓：無論是離活過戰爭如此接近，或即使戰爭結束卻仍死去。
〈靶紙的飛行時間〉（2021）是一堆散落在展場地面的紙飛機，由三種國軍靶紙摺成。這三種靶紙分別適用於國軍遷台後的三把制式步槍，意指不同世代的共同目標，也是一種傳承性的意識形態。若將射擊視為構成戰爭的基本單位，那〈靶紙的飛行時間〉便將子彈的飛行改變成紙飛機的飛行，最終被遺棄在展場一角，使其成為一種失去其訓練殺戮的功用的無害玩具；〈畫畫8〉（2021）則是藝術家邀請孩童在歷史印刷品原件上隨意塗鴉的創作計畫，柔性地抹滅、抵抗了物件的原始意圖。在這件作品中，參與孩童隨性的線條雖然如報導韓戰停火的頭條訊息般混亂，卻也跳脫出了那場戰爭以及其帶來的後果，成為了生命的純真表現。
Through erasing, forging, or remaking historical objects, I remove recognizable labels and emphasize body temperature and death—a biological characteristic and fate shared by all of us—to imply the commonality of human beings. This is what “Residual Heat” indicates, regardless of who we are fighting for and who we are fighting against. It could be said that it is my expectation for the hometown’s “pre-war” state as well as any ongoing or potential war in the rest of the world.
"Residual Heat" (2021) is a series that presents images of fallen soldiers made by a thermal camera. Unlike war journalism photos, these kinds of war images are usually seen in modern conflicts and somehow offer the audience a cooler, more innocent, and safer observing distance. In the works, we can hardly project our personal positions because of the indistinguishable uniforms and faces. Nevertheless, the shapes of the weapons vaguely reveal their historical status—they clearly don’t belong to the present time. "Residual Heat" preserves body temperature, something we all share despite the war, from the past to now. Under "Residual Heat," there is "Abandoned Spears" (2021), a pile of spears made by me. The spears imitate the primitive cold weapons we see in museums, but they are placed haphazardly here, implying the act of surrender or quitting the war from the very beginning of human warfare history.
Meanwhile, "Residual Heat (objects)" (2021) presents five metal figurative shooting targets with thermal images of military objects, including a V2 rocket and a German helmet from World War II, a Chinese medal from the Korean War, a component of an American missile, and a mortar bullet from the Taiwanese army. I heated these objects to approximately human body temperature and then captured them with a thermal camera. Although each object represents different war periods and functions, the temperature readings on the images and the human-shaped target plates beneath both hint at the anonymous, invisible persons who will lose their lives in warfare.
In "Death Cards" (2021), I remake death cards issued by Germany. They were distributed mostly in 1945, the final year of World War II. I remove and deconstruct the signs on the uniforms, the text except for the date the soldiers died, and the religious images printed on the cards. "Death Card" attempts to reject the personal information determined by the government and society of their time as well as the history and interpretations made by later generations. I refocus on each individual person who was so close to surviving the war.
"Target Sheet’s Flying Time" (2021) is composed of multiple paper planes folded from three types of Taiwanese army shooting target sheets. The target sheets were made in different periods for different service rifles, stating the same military goal across generations. In "Target Sheet’s Flying Time," I see the act of shooting as the fundamental unit of war. I then transform these training objects into paper planes to replace the flying curve of fatal bullets and eliminate their function of killing. "Drawing 8" (2021) is from the collaborative project "Drawing" I started in 2021. The project invites children to draw on vintage war-related printed materials I collect, including newspapers and target sheets, without explaining what the papers are. As a result, their abstract, intuitive, and naive doodles softly reject and counter the original information and purposes of the objects.
《餘溫》聚焦在現代戰爭並收集了戰爭物件，利用抹除、偽造、修改、重製的方式，試圖提出另一種看待歷史的觀點：非批判、旁觀、普世且低調。展名意指了戰爭結束之後遺留在世界上的溫度，如此的餘溫可以被視為一個火種，藴育了不同的立場並在未來升溫，再次形成衝突；而餘溫也可意指屏除意識形態之後，我們所看見的共同溫度：人類的體溫。
與展名同名的作品〈餘溫〉（2021）以熱感相機拍攝了擺拍的陣亡士兵景象。與近距離的傳統戰爭報導攝影相比，如此的戰爭影像提供了一種較遠，或者說無情、無辜、又安全的距離。因為幾乎無法看清軍服與臉孔，我們並無法分辨出他們所效忠的陣營，也就從而無法投射立場，只有生命消失後所留存下來的相同體溫；堆疊在〈餘溫〉下方的〈棄矛〉（2021）則是藝術家自行組裝的數根長矛，將戰爭武器回歸到原始衝突的冷兵器。與在博物館中所見的長矛文物不同，這些矛凌亂堆疊，看似棄械的樣貌暗示了從遠古之初便放棄戰爭的憧憬。
〈餘溫（物件）〉（2021）在金屬人形靶牌的上呈現了戰爭物件的熱感影像，並標示出了人類體溫。這些物件包括二戰時期的V2火箭與德軍鋼盔模型、韓戰的人民軍勳章、美軍飛彈尾部結構、以及國軍迫擊砲彈。它們被加熱至接近人類體溫後，再被熱感相機拍攝。這些匿名的人形目標被賦予了戰爭的餘溫，而人體的餘溫卻也否定了這些物件的分歧。熱感影像中的物件也將實際的在展場中呈現。
〈死亡卡〉（2021）再製了5張二戰德軍印刷的戰亡紀念卡。藝術家選擇了於1945年過世的士兵紀念卡，其中有兄弟在短時間內陣亡並被印製在同一張、戰爭結束前幾天陣亡的士兵、以及戰爭結束後身故的軍人。除了肖像與死亡日期之外，其他紀念與軍事文字、軍服上的標誌、宗教圖案的人臉與符號皆被抹除或部分更改，並重新依照原物件比例印製。〈死亡卡〉將符號與文字的意義破壞，移除了意識形態並強調個體的人，原物件雖描述死亡，卻也更大的強調了對生命的唏噓：無論是離活過戰爭如此接近，或即使戰爭結束卻仍死去。
〈靶紙的飛行時間〉（2021）是一堆散落在展場地面的紙飛機，由三種國軍靶紙摺成。這三種靶紙分別適用於國軍遷台後的三把制式步槍，意指不同世代的共同目標，也是一種傳承性的意識形態。若將射擊視為構成戰爭的基本單位，那〈靶紙的飛行時間〉便將子彈的飛行改變成紙飛機的飛行，最終被遺棄在展場一角，使其成為一種失去其訓練殺戮的功用的無害玩具；〈畫畫8〉（2021）則是藝術家邀請孩童在歷史印刷品原件上隨意塗鴉的創作計畫，柔性地抹滅、抵抗了物件的原始意圖。在這件作品中，參與孩童隨性的線條雖然如報導韓戰停火的頭條訊息般混亂，卻也跳脫出了那場戰爭以及其帶來的後果，成為了生命的純真表現。
LAN Chung-Hsuan
Residual Heat 餘溫, 2021
Archival inkjet print
90 x 120 cm each
Residual Heat 餘溫, 2021
Archival inkjet print
90 x 120 cm each
LAN Chung-Hsuan
Death Cards 死亡卡, 2021
Archival inkjet print
30 x 25 cm each
Death Cards 死亡卡, 2021
Archival inkjet print
30 x 25 cm each
LAN Chung-Hsuan
Residual Heat (objects) 餘溫（物件）, 2021
Stainless steel, archival inkjet print with Diasec
65 x 35 x 1.5 cm each
Residual Heat (objects) 餘溫（物件）, 2021
Stainless steel, archival inkjet print with Diasec
65 x 35 x 1.5 cm each
LAN Chung-Hsuan
Abandoned Spears 棄矛, 2021
Iron, wood, rope
170 x 8 x 7 cm each
Abandoned Spears 棄矛, 2021
Iron, wood, rope
170 x 8 x 7 cm each
LAN Chung-Hsuan
Drawing 8 畫畫 8, 2021
Newspaper, crayon
46.8 x 37.5 cm
Drawing 8 畫畫 8, 2021
Newspaper, crayon
46.8 x 37.5 cm
LAN Chung-Hsuan
Target Sheet's Flying Time 靶紙的飛行時間, 2021
Target sheets
43 x 20 x 6 cm / 38 x 16 x 5 cm / 26.5 x 12 x 4 cm
Target Sheet's Flying Time 靶紙的飛行時間, 2021
Target sheets
43 x 20 x 6 cm / 38 x 16 x 5 cm / 26.5 x 12 x 4 cm
Cruel yet Beautiful, Sean Wang, Art Emperor, 2022 (Chinese)
Residual Heat, Chuan Lun Wu, 2021 (English / Chinese)
殘酷而美麗｜藍仲軒：餘溫，汪正翔，非池中藝術網，2022 (中文)
餘溫，吳權倫，2021 (英文 / 中文)
Residual Heat, Chuan Lun Wu, 2021 (English / Chinese)
殘酷而美麗｜藍仲軒：餘溫，汪正翔，非池中藝術網，2022 (中文)
餘溫，吳權倫，2021 (英文 / 中文)
SOLO EXHIBITIONS
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LAN CHUNG-HSUAN © 2024
GROUP EXHIBITIONS
FEATURES
CURATING
PRESS
TEXT
CV
@lanchunghsuan
[email protected]
LAN CHUNG-HSUAN © 2024