14/05/2026
#福利社視什麼꧂
沿樓梯抵達位於地下一樓福利社，燈光明亮如日常，彷彿又走回地面上正在行進的生活。這種如平行時空般的熟悉與錯覺，也夾藏在「境界線」的作品當中。
熟悉的是物件形貌、材質和色彩，如磁磚、鐵皮和頂樓加蓋；錯覺則在帶有些微異樣的邊際現身，如鐵打造的樹形、留有數位筆觸的大型組合壁面、磁磚與平面攝影輸出的嵌合。
除此之外，熟悉與錯覺也來自於「境界線」聯展的兩位藝術家的背景差異，台灣藝術家陳為榛擅長雕塑，日本藝術家花田智浩專精於攝影，兩人在福岡的駐村經驗中認識、開始合作，如今再度在福利社聯手展出。
在陳為榛2023年於福岡亞洲美術館的《 Fukuoka Landscape― through the traces and fragmented memories 》駐村論述中，她提到：「雖然日語和中文使用相同的漢字，但用法並不相同。有時我會注意到帶有強烈警告的單詞，如『禁止』和『断』，但我無法準確理解它們的含義，這就是作品 止まれ（Tomare）的起源。」
作為外來的駐村創作者，當語言或文化近似而產生好奇、靠近，卻又因理解的偏差而困惑。這些「既像是，又不像是」的物件，熟悉與錯覺交織，以致邊界模糊，也是「境界線」聯展所討論的主軸之一。
《境界線 #1》作為本次展覽主視覺，是台灣藝術家陳為榛和日本藝術家花田智浩共同製作的作品。乍看之下，它是由三種不同樣式的牆面組成的平面作品，近看卻發現左邊三分之一的黃色磚面確實是真的磁磚。《境界線 #2》則是以拍攝到磚面的影像，搭配側邊磁磚做成的框，使攝影和雕塑在平面與立體間相互對話。
在共製作品外，陳為榛《鐵形植》系列雕塑使用帶有規則波浪狀的鐵皮、束帶、黑鐵與現成物製成，即使全是工業製品，卻因為低矮且大片、下垂的葉片造型，而帶有淡淡的熱帶、亞熱帶氣息；《Untitled》大型壁面作品，則將磁磚、水泥及鐵捲門排列組合，不僅穿插以鐵皮製作的電腦繪圖筆觸，呼應了壁面材質構成的規則性矩陣，還悄悄留下了鐵鋁罐、貼紙和膠帶撕除的痕跡。花田智浩《Untitled》系列攝影皆取材於台灣街邊，廢木板拼接、散落一地的塑膠包裝繩、肥料袋和滅火器隨意地斜臥在陽光與樹影的交界處。
這些看起來毫無秩序的組成，卻也正是台灣風景中無須言明的規律。無論身分為何，一旦跟上隱藏的規律，似乎也就建立了人與此地的親近感。
*註：
《 Fukuoka Landscape― through the traces and fragmented memories 》摘錄原文 : “ Although both Japanese and Chinese use the same Chinese characters, the usage is not the same. Sometimes I would notice words with strong warnings, such as “ 禁止 ” and “ 断 ” , but I could not understand their meanings accurately, and this is the origin of the work 止まれ (Tomare). “
(For English, please scroll down)
Descending the stairs to the "FreeS Art Space" located in the basement, the bright fluorescent lights in the space evoke the familiarity of daily life, making it feel as though one has stepped back into the rhythm of life above ground. This sense of familiarity and illusion, akin to a parallel reality, is also embedded within the works in the exhibition “Boundary”.
Familiar forms, materials, and colors of the objects: tiles, corrugated iron, and rooftop additions. The illusion, however, emerges in subtle moments where the familiar begins to feel strange, such as tree-like forms constructed from iron, large-scale modular wall surfaces overlaid with digitally rendered brushstroke-like imagery, and the seamless merging of physical tiles with photographic prints.
Furthermore, this interplay of familiarity and illusion stems from the different backgrounds of the two artists in this joint exhibition. Taiwanese artist Chen Wei-chen, who specializes in sculpture, and Japanese artist Tomohiro Hanada, whose practice centers on photography, met and began collaborating during a residency in Fukuoka. Now, they reunite for this exhibition once again at FreeS Art Space.
In her 2023 residency statement for Fukuoka Landscape—through the traces and fragmented memories at the Fukuoka Asian Art Museum, Chen noted:
"Although both Japanese and Chinese use the same Chinese characters, the usage is not the same. Sometimes I would notice words with strong warnings, such as '禁止' (prohibited) and '断' (refuse/cut off), but I could not understand their meanings accurately. This was the origin of the work 止まれ (Tomare)."
As foreign artists-in-residence, they experience curiosity and proximity when languages or cultures appear similar, yet encounter confusion when communication breaks down.
These objects, which appear to be one thing yet are not quite what they seem, weave together familiarity and illusion until the boundaries begin to blur. This tension lies at the core of “Boundary”.
Boundary #1, the main visual for the exhibition, is a collaborative piece by Chen and Hanada. At first glance, it appears to be a flat image composed of three different wall patterns; upon closer inspection, however, the yellow brick surface on the left is revealed to consist of actual ceramic tiles. Boundary #2 utilizes images of brick surfaces paired with a frame made of lateral tiles, creating a dialogue between photography and sculpture, as well as between flatness and three-dimensionality.
Beyond the collaborative works, Chen Wei-chen’s “鐵形植” sculpture series is constructed from industrial materials like corrugated iron, cable ties, black iron, and readymades. Despite their industrial origins, the low-slung, large, drooping leaf shapes subtly evoke the atmosphere of tropical and subtropical landscapes. Her large-scale wall work, Untitled, assembles tiles, cement, and rolling shutters, interspersed with iron-sheet forms resembling digitally drawn brushstrokes that echo the regular matrix of architectural surfaces, while retaining traces of aluminum cans, stickers, and torn tape.Tomohiro Hanada’s Untitled photography series captures scenes from the streets of Taiwan: patched-together scrap wood, plastic packaging twine scattered on the ground, fertilizer bags, and fire extinguishers lying haphazardly at the intersection of sunlight and tree shadows.
These compositions may chaotic at first glance, yet they reveal an unspoken internal and visual logic of the Taiwanese landscape. Regardless of one’s background, once attuned to these hidden rhythms, a sense of intimacy between people and place begins to take root.
文字｜梁佳欣
▒*,.*▒*,.*▒*,.*▒*,.*▒*,.*▒
「境界線」— 陳為榛、花田智浩 聯展
" Boundary : CHEN Wei-Chen & Tomohiro HANADA Group Exhibition "
2026.04.25 sat.－2026.05.27 wed.
開放時間｜週二至週六 11:00 - 19:00
地點｜福利社 (台北市中山區新生北路三段82號B1)
Exhibition Dates｜Tue–Sat 11:00 - 19:00
Venue｜FreeS Art Space (B1, No. 82, Sec. 3, Xinsheng N. Rd., Zhongshan Dist., Taipei)
▒*,.*▒*,.*▒*,.*▒*,.*▒*,.*▒
燈光設計｜ 何仲昌
展場攝影｜ 丘智偉
➤本空間獲 國家文化藝術基金會、財團法人春之文化基金會、台北市文化局 空間營運補助
#福利社 #陳為榛 #花田智浩 #境界線
