Starting from the artist’s journey of tracing back to the origins, returning to the region of childhood growth thirty years later. There is a national park inside an industrial city. The park itself is a mountain formed during an orogenic movement in the late Pleistocene. Hunched coral reefs under the sea later became lime- based earth. Rugged and sharp coral stones spread all over the earth’s surface. Due to extended compression, rises, folds, faults and joints appeared among rock strata, creating karst topography. Subterranean streams of rain eroded the terrain and groundwater flowed out through crevices among rocks and became water springs. A series of geologic mutations inspire the artist to investigate relations between water and modernity, body and society. Man’s imagination of nature and desire to control it are strongly inscribed onto water which is a part of the material culture of modernity.
In “Dowsing and Earth Spirit”, an imagined narrative line is conceived, where the seeker of water’s figure transforms into the soul winding around the waterways in the imagery, guiding the viewer to visit special scenes around the national park: stalactite Guanyin statues, shell mound relics and waters of sulphide springs which represent multiple natural and artificial spaces. Each space is linked to one another through imperceptible interactions which compose the network existing among all things. Meanwhile, the artist roams among memory, consciousness, experience and feedback, like in an “unfinished dialogue” with himself.
TING Chaong Wen is skilled in dealing with mixed media, such as space installations which mixed with images and sounds. TING’s works are often inspired by his own experiences and often include ready-made objects, which through the context of a particular exhibition, become part of a particular historical narrative. Thus artist deconstructs, interprets, and reinterprets our shared history in surprising and innovate ways. He examines dominant values, historical conflicts such as colonialism, migration, and cultural collective memory and their cross-border existence.
Recent exhibitions include “Repeat Itself” , Künstlerhaus Bethanien, Berlin (2021) ; “Asian Art Biennial”, National Taiwan Museum of Fine Arts, Taichung (2019) ; “HIGH TIDE 17 FREMANTLE BIENNALE”, Artsource, Fremantle (2017) ; “NAKANOJO BIENNALE 2017”, Former Hirozakari Brewery, Japan (2017) ; “Citation From Craft”, 21st Century Museum of Contemporary Art, Kanazawa (2017) ; “Taipei Biennial 2016: Gestures and Archives of the Present, Genealogies of the Future”, Taipei Fine Arts Museum, Taipei (2016) ; “Koganecho Bazaar 2016”, Koganecho Area Management Center, Yokohama (2016) ; “URBAN SYNESTHESIA”, Kaohsiung Museum of Fine Arts, Kaohsiung (2015) ; “SPECULATIVE DUST”, Corner Art Space, Seoul (2015) ; “Image/ Sound: Concept and Position”, LE CENTQUATRE 104, Paris (2014) ; “NO ONE RIVER FLOWS”, Kuandu Museum of Fine Arts, Taipei (2013).
Coral stone, Synthetic fiber, Object, Water, Multi-channel video. 2019, 2023.