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Languaging
2003
BY
Chen Yi-Fan
Languaging
2003
Plaster , Fluorescent Paint , Fluorescent Lamps , TV , Single-channel video
空間尺寸
Languaging
2003
Plaster , Fluorescent Paint , Fluorescent Lamps , TV , Single-channel video
空間尺寸
Languaging
2003
Plaster , Fluorescent Paint , Fluorescent Lamps , TV , Single-channel video
空間尺寸
Languaging
2003
Plaster , Fluorescent Paint , Fluorescent Lamps , TV , Single-channel video
空間尺寸
Languaging
2003
Plaster , Fluorescent Paint , Fluorescent Lamps , TV , Single-channel video
空間尺寸
Languaging
2003
Plaster , Fluorescent Paint , Fluorescent Lamps , TV , Single-channel video
空間尺寸
01 / 10

The project ‘Languaging’ is about ‘communication’.
The word ‘languaging’ is wrong in grammar. However I use it as a title to render an issue of communication - a failure to communicate. Communication gaps consist in-between languages transforming: the languages of different countries transformed to another, the languages of practical phenomenon transformed to philosophy theory, the language of visual art transformed to text; even the same language text might be interpreted very differently based on the differences of sex, race, generation, and culture background. I begin to doubt if the possibility of communication can be real and accurate. The using of wrong grammar is to indicate the gaps and errors in communication, as well as the ‘-ing’ tense implies the ongoing changing (or reforming) in language transforming.

I install the gallery space by imitating some conceptual artists’ style (such as Barbara Kruger, Bruce Nauman…etc.): witty and inspiring words surround the audiences. By doing that, I create a space with the impression of profound wisdom, severe criticizing, and clever dialogues – the way we usually expect to see in that style; the style that always bring up lots of thought to think about. But the trick of putting letters in random causes the sentences here unreadable. I make texts in the space to be ‘looked like’ meaningful and shown up in that inspiring way, but they’re actually not readable at all, and, of course, meaningless. Monitors playing films of talking mouths, while the sound is a tedious noise instead. The fluorescent effect is applied to make the looking of work keep changing from daytime to night in relating to the concept of the project. In juxtaposing those, the gallery space is then full of busy information – texts, images, noise, yet none of them reflects the right things as the audiences used to expect.

“Do we really catch the accurate meaning behind what we see and hear?”
“Do we interpret the exact content?”
“Do we really get the understanding deep inside?”
“Are we possibly communicating right?”
I’m questioning those through this project.

My deep appreciation is to the assistance of staffs and artists at 18th Street Arts Complex. It is they who make my exhibition possible, and I’m eager to receive criticism from different thoughts to enhance my resident experience abroad.

ARTISTS
7 artworks / 2 exhibition
Installation Art
VIEW ARTIST PAGE
Chen Yi-Fan, 2001, Installation Art
Chen Yi-Fan, 2003-2005, Installation Art
Chen Yi-Fan, , Installation Art
Chen Yi-Fan, 2012, Installation Art
Chen Yi-Fan, 2006, Installation Art
Chen Yi-Fan, , Installation Art