2023 「過期霓虹」系列於藝非凡美術館 Neo N' Old series @MEZZO ART
投影裝置、多頻道錄像裝置、全透玻璃貼圖
Projection Installation,Multi-channel Video Installation, Transparent Glass Stickers
2023 「過期霓虹」系列 Neo N' Old series
投影裝置、多頻道錄像裝置、全透玻璃貼圖、壓克力燈箱
Projection Installation,Multi-channel Video Installation, Transparent Glass Stickers, Acrylic Light Box
The phenomenon of “Lak Tshat” (or literally “peeling paint” in Taiwanese) that occurs naturally is examined from a materials science perspective, adapting the method of salt spray test used in industrial weatherproof testing. A greenhouse is constructed using gardening tools and supplies, where “Rust Lingzhi” (Lingzhi, Ganoderma lucidum, also known as reishi, is a polypore fungus) is artificially cultivated. How the patterns on exhausted materials can be “bestowed” with meaning is explored, reflecting on the kind of hesitation that one may have in instances such as tossing away a protective phone case after it has been used for a long time. While testing the composite materials on manufactured protective products, the formation of vivid patterns of rust is also accelerated at the same time. The contradiction and paradox observed between the two reflect the shifting sentiments that sway between compromise and giving up when confronted with memories connected to imprints and marks.
科學與創意協作：宋佳芸 Creative＆Scientific Collaborator - SONG Chia Yun
Artist Lee Yung-Chih has long been interested in Asian urban living spaces amid industrial landscapes. Lee’s past works convert billboards, advertisements, and signs as creative components through approaches including ridicule, appropriation, and material transformation.
Lee’s Neo n’ Old series “copies” out-of-fashion neon billboards. By using mediums such as videos and transparent output images, Lee attempts to imitate and reconstruct the neon billboards that were seen across Asia in the 1980s. Neo n’ Old mourns past technologies and and illustrates “Futurism Out-of-date” For the artist, the work is not only the gathering and collaging of historical images but also references personal memories and experiences, a paradoxical redisplay of fiction intertwined with reality.
On scrutinizing the historical development of Taipei City, the transforming boundary between administrational and geographical region is reflected on the “river civilization” which forms the urban-rural differences of metropolitan and its relational satellite cities. In an economic functional sense, the citizens put up with the half-set urban plan for the sake of convenience, which results in the “special” landscape and dwelling condition as crude, coarse, and somewhat embarrassed.
Located in the convergence of Danshui River and Keelung River, Shezidao, the 50 years exclusion area, reveals the rupture of Taiwanese culture under the historic torrent, and the appearance of Shezidao is spilling over to the whole Shilin District. The artist is inspired by the “rich” spectrum of the buildings and street scenes, and by the project “Where Would You Like to Live?” he embarks on a series of semi-structured interview and sneak shots to process a micro-investigation of Taiwanese residence. It is a behavioral performance in between research and pseudo construction project, as if to pay tribute to the artist’s grown-up place, the outskirt, beside the river dike, often filled with the impression of a desolate city.
The artist Lee Yung-Chih transplanted the texture of the back paint that is about peel off like Ganoderma lucidum to create a fictional Zhishan stone in a cheap hands-on way. Superficially, it is a reponse to the long-last history behind Zhishan and Zhishanyan. In fact, it is still some kind of the daily journey that artist is used to:walking in the streets, imagining and showing off the wastes that no one cares about.
As a common scene of stone landscaping in Taiwan, The artist laid Zhishan stones at the corner of the exhibit room or placed them by the street as stones that would bring luck. In the meanwhile, he 3D printed the stones, making animation through the “Image Texture” effect to create fake photography about the mountains on the island. In addition, it’s like the seemingly genuine display of meteorites that show strata with veins. The description cards that incorporate literacy, geological description, technical skills, and interactive features look like promo pictures, commercial videos, or some kind of “understandable” forms mixed in this fascinating, lightheaded, and hypnotizing flow.
When I first did it in Taiwan, I was using an ancient printing skill called “rubbing” but I kind of reversed its typical object: i wasn’t rubbing ancient monument, but I was rubbing modern industrial company boards. I was “pirating” their trademarks into my artwork and put them into a museum, just like a display of hidden Taiwanese economic history. And I expect to create a sense of irony by showing no one really care about them, the so-called economic miracle, unless we “pirate” them into a group.
Originally, it’s an sneaky behavior at night. Now the scene shifts to Jogja,it becomes a legalized act only through formal procedure, which erases the sense of irony I meant to create in my previous series of work. The interval of detained work could explain the difference.
So how to respect the local culture of Jogja yet reach the “pirating” effect? I guess the answer is in my video title : “To Those about to Disappear.” I choose to rub old store sign boards. It’s like a nostalgic act to those genuine ones, wishing to witness their existences by rubbing out their ghosty shadows.
Inspired by the ‘Project Starlight’ between Singapore and Taiwan, the work reflects the present that ceased to a point of transition from the past to the future. A relationship between two countries becoming swayed by a third party, evidently portray in the incident where Singapore nine armored troop carriers were intercepted in Hong Kong.
Akin to the chewing gum slogan: Let’s make a friend, this project is a friendly exchange where Singapore artist (Jacqueline Sim) and Taiwan artist (Yung-Chih Lee) send items through legal postages to each other. The artist further smuggled tank replicas in the name of artistic exhibition and launched a series of “military parade.”- slipping through the seepage between permitted and restricted, constraint and possibilities.
‘Project Starlight’ is a military agreement made in 1975 between Singapore’s late prime minister Lee Kuan Yew and Taiwan’s then premier Chiang Ching-Kuo. In the recent years the project has been under close scrutiny from China.
Collaboration with Jacqueline Sim
2019 複合媒材:口香糖、包裝禮盒、行為影片、動畫。
Mixed Medium : Chewing Gum, Gift Package, Performance Documentary, Animation.
Inspired by the ‘Project Starlight’ between Singapore and Taiwan, the work reflects the present that ceased to a point of transition from the past to the future. A relationship between two countries becoming swayed by a third party, evidently portray in the incident where Singapore nine armored troop carriers were intercepted in Hong Kong. Akin to the chewing gum slogan: Let’s make a friend, this project is a friendly exchange where Singapore artist (Jacqueline Sim) and Taiwan artist (Yung-Chih Lee) send items through legal postages to each other - slipping through the seepage between permitted and restricted, constraint and possibilities. ‘Project Starlight’ is a military agreement made in 1975 between Singapore’s late prime minister Lee Kuan Yew and Taiwan’s then premier Chiang Ching-Kuo. In the recent years the project has been under close scrutiny from China.
Science Park Renaissance Cement,Close lightly pebble, Performance Documentary
This work is resident project at HsinChu City old street.
I rubbed the paper over the signboards of the companies at Hsinchu Science Park and transferred the print to the inscribed boards I made that had been common on the old, Western-style buildings. Then I placed the boards inside some old and shabby frames, carefully embedding them as animal camouflage. With the change of times, such Taiwanese architectural style and materials become familiar as well as nostalgic to all.
The way we value the profundity of culture is preserving architecture and remodeling it to be another “culture.” What I did is simply relocating those technology brands that have contributed greatly to Taiwan’s economy and turning them into another sort of “culture.” No one would find them awkward if they were just treated as new signboards.
This work is resident project at HsinChu City old street.
I rubbed the paper over the signboards of the companies at Hsinchu Science Park and transferred the print to the inscribed boards I made that had been common on the old, Western-style buildings. Then I placed the boards inside some old and shabby frames, carefully embedding them as animal camouflage. With the change of times, such Taiwanese architectural style and materials become familiar as well as nostalgic to all.
The way we value the profundity of culture is preserving architecture and remodeling it to be another “culture.” What I did is simply relocating those technology brands that have contributed greatly to Taiwan’s economy and turning them into another sort of “culture.” No one would find them awkward if they were just treated as new signboards.
