The Trap
2018
The Trap
size | 20*8.5*9 m
material | Bamboo, rattan, steel
From thousand rivers to a museum, from hunter to prey
Cheng Tsung FENG is a Taiwanese young artist. With an old soul in his body, he is fascinated by exploring the wisdom condensed out of time hidden in traditional utensils. He is reluctant to let go of these intangible assets along with traditional utensils. Thus, he inherits them by design and learns to create utensils from their tradition.
Cheng Tsung FENG was invited by the Taipei Museum of Contemporary Art, an influential museum in Taiwan, making a giant translucent space installation by hand. This work was inspired by Taiwan’s traditional ancient culture-Fish Trap.
The fish trap is an ancient fishing tool hand-made of bamboo and rattan which can be found in many ethnic cultures. After collecting and researching the fish trap from various ethnic groups, it can be found that there are huge differences between shape and size.
To further explore the factors, shape and size are mainly influenced by the following factors: materials that are readily available in the environment, the kinds of prey, set environment and aesthetics of each ethnic groups.
Among these different fish traps, we found that there are common production thinking and modeling methods. These intangible cultures hidden behind tangible objects are like living things that can grow in response to the environment.
In this installation art, we relocated the fish trap from thousands of natural rivers to Taipei Museum of Contemporary Art, a 100-year-old man-made building. And replaced various kinds of fishes with the crowd of people. What will this traditional wisdom evolve after adapting to distinct environments and prey?
Hunter & prey / Old building & new installation / Ancient civilization modern civilization / Man-made or natural / Industrial & handmade / Ancient & modern / Put culture in the museum & put the museum into the culture / Inside & outside / Open & close / In & Out
2018 | The Charismatic Rebirth of Yore | 05/19-07/22 | Museum of Contemporary Art | Taipei
artist | Cheng Tsung FENG
photographer | Sheng Da TSAI
2018
筌
尺寸 | 20*8.5*9 m
材質 | 竹、籐、金屬
從河流到美術館, 從獵人到獵物
來自台灣的藝術家范承宗，是個身體裡住著老靈魂的年輕人，他著迷於挖掘隱藏在傳統器物中，以時間凝結而成的智慧。不捨這些無形資產將隨物件一同逝去，致力以設計繼承，從傳統，學創造。
范承宗受台灣具有重要影響力的美術館「台北當代藝術館」邀請，他於現場以竹和藤手工製作了一件巨大的半透明空間裝置，這件作品的靈感是來自台灣傳統的古老文化 - 魚筌。
魚筌是以竹藤手工製作而成的古老捕魚工具，在許多族群的文化中都有這個器物。經過收集與研究來自各族群的魚筌後，能發現它們在造形和尺寸間的差異不小。
進一步探討造成變化的因素，能發現造形和尺寸，主要受以下幾個因素影響，在環境中容易取得的材料、企圖要抓取的獵物、所設置的環境、以及各族群的審美等等。
在這些不同地方的魚筌之中，我們發現其中有著共通的製作思維和造形生成方式，這些隱藏在有形器物背後的無形文化，就像是能順應環境而生長的生命體。
在這項裝置藝術的創作中，我們將環境從千百條自然河流，換成台北當代藝術館的百年人造建築，獵物從各種魚類，換成川流不息的往來人潮，魚筌這項傳統的老智慧，會在順應截然不同的環境和獵物後，演變成什麼模樣？
獵人，獵物
老舊的建物，新作的裝置
古老的文明，近代的文明
人造，天然
工業，手工
古老，現代
把文化放進美術館裡，把美術館放進文化裡
裡面，外面
打開，關上
進，出
2018 | 華麗轉身 | 05/19-07/22 |台北當代藝術館
藝術家 | 范承宗
攝影 | 蔡昇達