artists at glenfiddich 2013: UNLEASHED FROM THE EAST....

artists at glenfiddich 2013: UNLEASHED FROM THE EAST....: Its been a busy 24 hours. The Slug has been fair rushed off its own slime trail up and down to Aberdeen airport. Collecting firstly, Jung...

重修舊好 Turn Back The Time 2013

Architectural Projection Mapping at National Museum

The Beauties

The Beauties -Solo show of Agi CHEN in VT Art Salon /2013

圈圈島 Circle Island

圈圈島展出於 2012 關渡雙年展/ Circle Island in Kuandu Biennale 2012
Link: http://www.kdmofa.tnua.edu.tw/index.php?REQUEST_ID=bW9kPWV4JnBhZ2U9ZXNzYXkmRUlEPTE1MCZJRD00OSZZWT0yMDEy

 圈圈島」是一個集體共感的視覺記憶資料庫,每個島民都遙在我們的記憶深處- 色被色彩再度虛構的卡漫角色。

         「函數色彩」是我從2004年開始發展的創作,在創作過程中以幾何圖形同心圓為基礎對卡漫角色的色彩進行轉置並且把它們重新置入卡漫的原始場景,探究卡漫角色的訊息式的色彩系譜以及其透過大眾傳播而深植大眾腦海中的集體視覺記憶。 2010年底起我開始開放網友訂製卡漫角色同心圓,並且在具有微網誌特質的Facebook社交網站介面上成立「圈圈島」網路社群。向我訂製卡漫角色之色彩同心圓的網友在社團中分享卡漫角色與劇情或者與之有交集的各種連結。隨著社團成員的增加卡漫角色的系譜的觸角也延伸的更廣,「圈圈島」將「函數色彩」的概念擴充成一個集體共感的視覺記憶的資料庫,一種透過網路連結而產生的社群式田野調查。在這件作品中我想探索的還有訊息傳遞過程所呈顯出的群體的心理運動軌跡,因為這個心理運動的軌跡除了意味著網路媒體年代訊息傳遞的路徑與方法,也意謂著網路提供了一種合作式的與開放式的的群體協作。
The idea of “Circle Island” :

“Circle Island” is a collective visual memory database. Every citizen of the island are tuck away deep down within our memory, characters with fabricated colors.

    “Circle Island” is based on my series works “Function Color” which I started to develop since 2004. During the process of working on “Function Colors”, I transform the characters into centric circles and replace the circles back in to the original setting of the cartoon scenes. By the end of 2010, I started accepting orders of  characters circles from Facebook users, and created a ‘Circle Island Group’ on social networking website Facebook. Members that order characters circles share the character traits and cartoon plot or links related to the character in the group. As members increase, so does the lineage and reach of these characters. “Circle Island” takes the concept of “Function Color” and expanded into a collective visual memory database, a method of field research that is carried out through Internet and social networking groups. Within this piece of work, I am also looking to explore group psychological movements during the delivery of information, because this represents the method and path which information are delivered in the era of Internet media, and also meant Internet provided a cooperative and open platform for collaborative work.

再造物語-家族系譜 The Reproduction-Family

Exhibited in the show "The Spectator(旁觀者)" /2012

波光/ Light Waves @ KOBE Biennale 2011


Artist Residency in Phuket 2011/02/07-20

The idea of Something Red In Phuket is a combination of my impression of Phuket Old Town and the reference from my works.  My impression of Phuket Old Town is very passionate and expanded, and I found it might be because of the mix-culture of Tailand, China and Western Countries. So I try to rebuild a vision of this mix-culture condition through red color researching project. The reason of choosing red color is because I found it is used largely in many ways here.  I want to take pictures of things in red here, and find out the different references of these same color things. 

Project Maneger:信藤博之/ Hiroyuki Nobuto
Organizer: Osaka City University Urban Research Plaza    
Related blog:


Public Art:指尖的詩緒/Poetry of Fingertips-Public Art Project of CABTC

Poetry of Fingertips/ Agi Chen, Fu-hua Chuang
地面燈光設置/Installation of Ground Lamps

This public art work incorporates colorful ground lamps embedded as Braille codes on the pavement. I've endeavored an encounter for the two poets, Fu-hua Chuang and Helen Keller who both suffer from multiple disabilities, to share their life experience. When the two writers’ lines connect in a circle, such encounter symbolizes two poets embrace each other transcending time and space. Furthermore, the encounter has transformed to colorful hues and shades, glittering the viewers’ affection and concern for the under-privileged groups.


Art work:關鍵影格/The Key Frames

國立台南藝術大學 威尼斯建築雙年展台灣館 Tainan National University of The Arts

As an abstract and Virtual reality, cartoon becomes a variation of scene in public life through mass media repetition, and it brings out the collective visual memory of the audience. In "The Key Frames", I analyze the pallet of the cartoon characters, abstract them into centric circles and place them back to the key frames captured from the cartoon. Through this process, I attempt to approach the invisible collective visual reality between the abstract and concrete symbols.


Public art:時光流,記憶體-好時光藝術節 / Time and Memory-Good Time Public Art project

國立台灣博物館/ National Taiwan Museum

As the theme of the public art project of National Taiwan Museum, “Good Time” inspired me to find a re-thinking point of view of history. So my idea was mainly from several clues, including “Function Color” series, which combine the abstract geometry (concentric circles) and the urban scene as the conflict arising from reorganization of the visual vocabulary of feeling. And I interpret the sense of this conflict as the beginning of a new link. This new link is between figuration and abstraction, or between time and space. I made the historic buildings as the interface of projection, because the most fascinating part is that it doesn’t belong to the present time but gracefully locates on the street. In short, I try to make an historical imagination through this work. And so-called history doesn’t only refer to words, it includes graphics, images, architecture, clothing, implements, music’s…ect. These visual signs just like the teleports for changing into different time and space. We will start our imaginative journey once we see  them.


時光流‧記憶體工作坊/ The Workshop of ''Time and Memory''

「時光流-記憶體」建築投影工作坊/ The Workshop
時間 8月30日 10:00 - 9月8日 15:00
地點 臺博土銀展示館,4F會議室


Public art:雲影鎏光-/The Shadow of Cloud in the Gilding Light(public art project)

藝術家:林光沂、陳怡潔/artists: Kuang-i, Lin &amp & Agi Chen 
"The Shadow of Cloud in the Gilding Light" with the length of 280m is one of the longest and largest public artworks at Taiwan. This piece is collaboration between Mr.Lin and me, in which tradition and modern art, new and old have the best communication and conversation.

雲光鎏影(夜景)/night view

                               記錄片拍攝:林重佑/ documentary film by Chung-Yo, Lin  


Art work:函數色彩/Function Color

超能救世主/台北當代藝術館 The Heroic Colors/ Taipei MOCA

「函數色彩」系列作品的發展根植在個人對於卡漫世界這一虛擬對象的再度虛擬化,並以設定一個新的度量衡介面去鬆動卡漫角色的意義結構。發展過程中,由同心圓被置入原故事場景的圖像中可探出,被個人再度虛擬化的對象,亦不斷地將我個人予以虛擬化,斷裂的意義在具像與抽象的符號之間反覆著 “斷裂—重新搭設—結構—再度斷裂”的週期,標誌出一個沒有終點的空間關係。創作過程中,個人抽取出卡漫角色的色彩,將其化約為色彩矩陣、色彩同心圓,此一將色彩矩陣化、幾何化的過程,使色彩與角色造型脫離並再度置入於幾何造型之中,藉由我所設定的幾何介面的順序編列,色彩因而指向色彩的組合與結構。「函數色彩」系列作品中,「函數」雖然意味著序列化與規格化,但幾何化的色彩在表述自身色彩結構比例的同時,亦指向一個不在場的對象,因此可說是往返於一個還原的過程,而非呈現一個被還原的對象或一個還原的結果。作品的製作是由向量數位繪圖而成,在數位的向量空間中,作品的製作由視窗內的製作延伸到佈景式的展示空間,如同訊息的製作到發射到現場,數位媒體可複製且不受空間所囿限的材質特性,讓每個展示的現場成為了一個被訊息所包覆的現場,現場即為一個場景的搭設,如果說圖像可做為一個通往想像世界的窗口,那麼在個人作品中窗口已經化身為想像世界本身了。
The main idea of my serials works “Function Color” roots in a imagination of fictive cartoon characters— Is there any significance within the color of the popular characters? In the procession, I abstract the colors from the characters, and render the colors into a new geometric interface — the centric circle. Then I put the color centric circles back to the scene of the original cartoon. “Function” in my works means standardizing, the geometric form displays a color structure and points toward an absent subject at the same time, it’s like being back and forth in reducing procession. The color centric circle and the cartoon scene just keep cracking and making meanings to each other endlessly. The meanings in my works repeat a routine of “ cracking—rebuilding—structure—cracking”.“Function Color” is digital vector graphic. The print quality of vector space isn’t limited by the size. So the procession from producing to installation likes shooting message to every show place. If a picture or image could be a path to the imagination, then in my work, the image is the imagination itself.

Art work:趨光體/ The Phototaxis

驅光體-電影院/Phototaxis-The theater

The physical world, the sun, and a variety of illumination light to the role of people's visual perception and thus identify the physical space in the order of objects, shape, texture, by the light stimulation, people on the environment of the visual cognitive system, while is also a perception in the flesh for the weights and measures system, in this system, all objects in our awareness of being dependent on light source, in other words, visual images of all the objects are all run effects of light refraction, if the loss of light, we can still use auditory , touch, taste, and so to find a location corresponding with the world. However, in the digital world, all the visual things seem out of this relies on an understanding of the physical light source systems, digital signal through a screen, digital projectors and other visual images presented by the machine, though so that we can all visual, but the signal light, is no longer only as a medium for light, but as a kind of pass out through the encoded signal, the light diverges out of the image in the world, with the physical world there is no contact off the power, people, and it also lost contact. This signals a very attractive light, as long as the power to open, we touched on in another visual image, a vision for human space for arbitrary switching. This estrangement from the flesh of the world, measured by pleasure, seems to have become one of the themes of contemporary life, from the portable phone, notebook computers, video games to the public transport, department stores, big-screen movie theater, we stand at the a constant state of switching, when the eyes placed like these signal light, which cut into the digital signal of the world, we even live together in the same physical space, remains unable to visually. These signals are composed of light in the visual device, we have only the light and the gaze of the trend.