The Reclusive Poeticity Solo Exhibition by Chang Nai-Wen

【Statement】

The exhibition this time is named “The Reclusive Poeticity.” In sociology, reclusion refers to the repression of various phenomena that constitute a threat to daily continuity. Reclusion, as it is, indicates the seclusion from most people’s everyday life. It is inevitable to see art is presented as the practice of everyday life in convenient contemporary. The overabundant accumulation of ready-made is where the self-awareness exists. The subjective illusion is incarnated in the representation of collective subconsciousness. What do we lose in this process? Thus, reclusive poeticity points out the repressive and evanescent part in artistic practices of everyday life.

Henri Lefevre thinks everyday life in the modern world involves efficacy and routine life lacks poeticity. “Mundane Prose” – things like the vantage of economy, instrument and technique dissolve literature, art, object and poeticity into air. To be sure, owing to the commercialization of reality in industrial capitalist society and the confusion of art creation and goods production, the concept of art is not simply the issue of ontology, and the technique is not even related to aesthetic sensibility. Art, eventually, becomes a style of mundane prose. How do we experience the existence of art poeticity? If the time we’re living in now is the era of information revolution, art is producing images in an unprecedented rate, responding to a lot of phenomena in reality, and talking about the interlacement of the virtual and the real. To a certain extent, creating the non-image material form comes to be a possibility to break away from it.

In the past, Adorno believed that “the subject of poem” belonged to a category for new poem/art to represent, which used obscure images to resist becoming an individual dominated by socialization. This argument defended avant-garde at that time. The negative dialectical thought produced by the past avant-garde image itself has now become an artistic means for social assimilation. The concept of the subject of poem should start over, return to the original spirit to face the shift of contemporary art’s image and bring up again the strategy for dialectical logic. In the exhibition “The Reclusive Poeticity,” I intend to respond the group consciousness that uses images as art representation in the time of information revolution with my unusual poeticity from material images. I reexamine the taste connoted by abnormal form and its resistance in contemporary art phenomena with my untimely way of creation.