Chen Chieh-jen

Chen Chieh-jen: A FIELD OF NON-FIELD

2017.10.28 – 2018.2.4

Long March Space, Beijing

 

Chen Chieh-jen: A FIELD OF NON-FIELD

Before the Beginning and After the End

Chen Chieh-jen, Hu Xiangqian, Ran Huang, Wang Jianwei, Wang Sishun, Xu Zhen produced by MadeIn Company, Zhou Xiaohu
2014.9.2 – 11.2
Long March Space, Beijing

 

Before the Beginning and After the End

ACT►TION

Chen Chieh-jen, Ran Huang, Liu Wei, MadeIn Company, Wang Jianwei, Wu Shanzhuan, Xu Zhen, Zhou Xiaohu
2011.6.25 – 8.28
Long March Space, Beijing

 

ACT►TION

Chen Chieh-jen: Empire’s Borders I & II

2010.12.4 – 2011.1.10
Long March Space, Beijing

 

Chen Chieh-jen: Empire’s Borders I & II

Long March Project: Ho Chi Minh Trail

Chen Chieh-jen, Liu Wei, MadeIn Company, Wang Jianwei, Wu Shanzhuan, Zhang Hui

2010.9.4 – 11.14

Long March Space, Beijing

 

Long March Project: Ho Chi Minh Trail

Long March Capital III: Visual Economy

Chen Jie, Chen Qiulin, Guo Fengyi, Hong Hao, Jiang Jie, Lin Tianmiao, Liu Wei, Ma Han, Mu Chen and Shao Yinong, Qin Ga, Qiu Zhijie, Shi Qing, Wang Gongxin, Xiao Lu, Xiao Xiong, Xu Zhen, Yu Hong, Yang Shaobin, Yang Zhenzhong, Zhu Yu, Zhan Wang, Zhang Hui, Zhou Xiaohu
2008.5.17 – 8.25
Long March Space, Beijing

 

Long March Capital III: Visual Economy
Long March Project: Building Code Violations II
 

Awakenings: Art in Society in Asia 1960s–1990s

Chen Chieh-jen, Wu Shanzhuan

National Gallery Singapore, Singapore

2019.6.14–2019.9.15

Awakenings: Art in Society in Asia 1960s–1990s

Art Basel in Basel 2019

2019.6.13–6.16

Art Basel in Basel 2019

The Exhibition of Annual of Contemporary Art of China 2017

Chen Chieh-jen, Yu Hong, Wang Sishun

Beijing Minsheng Art Museum, Beijing, China

2018.6.9 – 8.24

The Exhibition of Annual of Contemporary Art of China 2017

People Walking the Future

Chen Chieh-jen

The Museum of Contemporary Art Busan, Busan, Korea

2018.6.16 – 8.12

People Walking the Future

Discordant Harmony: Observations of Artistic Practices in East Asia at the Transition between the 1980s and the 1990s

Chen Chieh-jen, Zhan Wang
Beijing Inside-Out Art Museum, Beijing, China

2017.11.4 – 2018.2.4

Discordant Harmony: Observations of Artistic Practices in East Asia at the Transition between the 1980s and the 1990s

Art and China after 1989: Theater of the World

Chen Chieh-jen, Liu Wei, Lu Jie(Long March Project),  Wang Jianwei, Wu Shanzhuan, Xu Zhen, Xu Zhen produced by MadeIn Company, Yu Hong, Zhan Wang, Zhao Gang

Solomon R. Guggenheim Foundation, New York, USA

2017.10.6 – 2018.1.7

Art and China after 1989: Theater of the World

Please Come Back. The World as Prison?

Chen Chieh-jen

2017.2.9-5.21

Museo Nazionale delle Arti del XXI Secolo, Rome, Italy

Please Come Back. The World as Prison?

Uprisings

Chen Chieh-jen

2016.10.18-2017.1.5

Jeu de Paume, Paris, France

 

Uprisings

Migration Politics

Chen Chieh-jen
2016.9.10-11.06

National Gallery of Denmark, Copenhagen, Denmark

Migration Politics

Hangzhou Triennial of Fiber Art: Weaving & We

Chen Chieh-jen, Liu Wei

2016.8.25-10.25

Hangzhou, China

Hangzhou Triennial of Fiber Art: Weaving & We

Aichi Triennale 2016: Homo Faber A Rainbow Caravan

Chen Chieh-jen, Liu Wei

2016.8.11-10.23

Aichi, Japan

Link

Aichi Triennale 2016: Homo Faber A Rainbow Caravan

Screen Test: Chinese Video Art Since 1980s

Chen Chieh-jen, Wang Jianwei, Xu Zhen, Zhou Xiaohu

2016.7.2 – 8.28

CAFA Art Museum, Beijing, China

Screen Test: Chinese Video Art Since 1980s

Tell me a Story: Locality and Narrative

Chen Chieh-jen

2016.5.28 – 8.14

Rockbund Art Museum, Shanghai, China

Tell me a Story: Locality and Narrative

Biennale of Sydney: The future is already here – it’s just not evenly distributed

Chen Chieh-jen, Xu Zhen produced by MadeIn Company

2016.3.18 – 6.5

Biennale of Sydney, Sydney, Australia

Biennale of Sydney: The future is already here - it's just not evenly distributed

Kochi-Muziris Biennale: Whorled Explorations

Chen Chieh-jen
2014.12.12 – 2015.3.29
Kochi-Muziris Biennale, Kochi, India

Kochi-Muziris Biennale: Whorled Explorations

Shanghai Biennale: Social Facroty

Chen Chieh-jen, Ran Huang
2014.11.23 – 2015.3.31
Shanghai Biennale, Shanghai, China

Shanghai Biennale: Social Facroty

The Power of the Public Realm

Chen Chieh-jen, Hu Xiangqian, Liu Wei, Wang Jianwei, Yang Shaobin
2014.6.25 – 10.10
Beijing Minsheng Art Museum, Beijing, China

The Power of the Public Realm

Tales from the Taiping Era

Chen Chieh-jen, Wang Jianwei, Inga Svala Thorsdottir & Wu Shanzhuan
2014.5.23 – 8.24
Red Brick Art Museum, Beijing, China

Tales from the Taiping Era

2012 Frieze Art Fair London

Chen Chieh-Jen, Liu Wei, MadeIn Company, Wang Jianwei, Xu Zhen, Yang Shaobin, Zhang Hui, Zhan Wang
2012.10.11 – 10.14

2012 Frieze Art Fair London

Guangzhou Triennial: The Unseen

Chen Chieh-jen, Ran Huang, MadeIn Company, Wang Jianwei, Zhou Xiaohu
2012.09.28 – 12.06
Guangdong Museum of Art, Guangzhou, China

Guangzhou Triennial: The Unseen
 

陈界仁谈《残响世界》在东京的放映与演讲表演

2016.02.27_artforum 艺术论坛_by 杜可柯

变文与残响:陈界仁的影像、生产、行动与文件

2015.12_典藏今艺术_by 林怡秀, 郑慧华

可见之外:非历史影像的未来(陈界仁)

2015.06.21_ARTalks_by 孙松荣

History repeating itself (Chen Chieh-jen)

2010.10.27_Taipei Times_by 巴诺亚

 

download exhibition history

 

Chen Chieh-jen was born in 1960 in Taoyuan, Taiwan, and graduated from a vocational high school for the arts. He currently lives and works in Taipei, Taiwan.

 

While Chen’s primary media is video installation, in his production process, he has consistently experimented with community formation, integrating other participants with his film crew. This has added an activist quality directed at re-envisioning society in his creative process.

 

During Taiwan’s martial law period (1949 – 1987), a time marked by the Cold War and anti-communist propaganda, Chen employed extra-institutional underground exhibitions and guerrilla-style art actions to challenge dominant political mechanisms. After martial law ended, due to difficulties produced by an inability to understand or recognize history and reality, Chen gradually ceased making art, which lasted for eight years. During this period he re-examined his family history and experiences growing up, and reflected on the trajectory of Taiwan’s modern history. The environment of his youth was filled with places of discipline, governance and illegitimacy, such as military courts, munitions factories, industrial areas, and illegal shanty towns.

 

This situation stemmed from Taiwan’s long history of subjugation, from Japanese colonization (1895 – 1945) to the Cold War/anti-communist/martial law mechanisms jointly created by the Kuomintang and United States in the post-World War II period. It was during this time that Taiwan joined the system of capitalist and international division of labor, becoming an export-led, lower-end economy reliant on labor intensive, high polluting industries. After martial law ended in 1987, Taiwan was again remade, this time as a neoliberalist society.

 

Chen believes, “Taiwan’s historical and political situation of long-term domination and placement under the overlapping sovereignty of different nations has resulted in the complete disintegration of the people’s spirit. Taiwanese society has been repeatedly forced to become one with historical amnesia and have lost the ability to imagine and reflect on the future from the context of past.”

 

Returning to art in 1996, Chen started collaborating with local residents, unemployed laborers, day workers, migrant workers, foreign spouses, unemployed youth and social activists. He formed a temporary community and a film-making team with those marginalized by society, social activists and movie industry workers. They have learned from each other, occupied factories owned by capitalists, slipped into areas cordoned off by the law and utilized discarded materials to build sets for his video productions. In order to visualize contemporary reality and a people’s history that was obscured by neo-liberalism, Chen embarked on a series of video projects in which he used strategies he calls “re-imagining, re-narrating, re-writing and re-connecting.”

 

Although Chen addresses political and economic issues in his work, he believes that art should not only to criticize and reveal political and economic manipulation, but even more promote the creation of experimental communities and mutual learning in the process of filming his videos. Using poetic, dialectical imagery, Chen generates a different aesthetic and political imagination from difficult to articulate bodily experiences and memories, individuals in nebulous states of spiritual disintegration, and various indistinct or marginalized areas within society. Chen invites viewers from different historical, cultural, and social contexts and with different life experiences to deploy their imagination within the narrative gap he creates by linking disparate events and historical horizons, and using concise dialogs or completely silent, slow-motion video. As the audience watches Chen’s videos, imaginings evoked by these gaps helps establish a forum for multiple dialogs and multiple dialectics.

 

He has held solo exhibitions at the Mudam Luxembourg; the Taipei Fine Arts Museum; Redcat art center in Los Angeles; the Museo Nacional Centro De Arte Reina Sofia in Madrid; the Asia Society in New York; and the Galerie nationale du Jeu de Paume in Paris. Group exhibitions include: the Venice Biennial, São Paulo Biennial, Lyon Biennial, Liverpool Biennial, Gothenburg Biennial, Istanbul Biennial, Moscow Biennial, New Orleans Biennial, Sydney Biennial, Taipei Biennial, Gwangju Biennial, Shanghai Biennial, Shenzhen Sculpture Biennial, Kochi-Muziris Biennale, Guangzhou Triennial, Fukuoka Triennial, and the Asia Pacific Triennial. Chen has also participated in photography festivals in Arles, Spain and Lisbon. He was also the recipient of the Taiwan National Culture and Arts Foundation’s National Award for Arts in 2009, and the Korean Gwangju Biennial Special Award in 2000.

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