展览时间：2013-10-12～2013-11-17

　　酒会时间：2013-10-12 15:30

　　展览地点：台北百艺画廊

　　主办单位：百艺画廊

　　承办单位：百艺画廊

　　禚宇祥

　　陈蔚个展《未竟之地》的主题灵感，来自小说《追忆逝水年华》。法国意识流作家普鲁斯特（Marcel Proust，1871～1922）以第一人称的口吻，追溯了隐匿在记忆中逝去的一段光阴。藉由对生活琐碎事物与感官经验的细微描述，作者得以如同神游般地跳脱当下叙事现场的时空秩序，而与过去的须臾片刻重新接轨。或许只是巧合，又或者其实是出于人性对于过往的眷恋。这样的类似手法，也似乎能够在陈蔚的艺术创作中被略微察觉。对于对象的描绘，占据了陈蔚大多数的创作内容。陈旧的衣衫或是干枯的盆栽、褪色的动物标本或是翻阅书籍时意外发现的图片，这些存在于生活中细琐的对象，成为陈蔚追忆过往的材料。对象浸透在时间之中，逐渐模糊的轮廓映照出较为私密且微观的内在风景，并且成为了陈蔚梳理自我生存状态的另一种参照。如果生命的本质原本就是脆弱和短暂的，那么陈蔚笔下几近荒芜与残败的对象形象，与普鲁斯特对于往事细微经验的追忆，不其实都是从中抒发对故人、往事的无限怀念和难以排遣的惆怅，进而在现实的物象与心中的自然之间找出差距。于此，在创作者的引领之下，现实与记忆遂成为梦境一般的剧场，观者进入了另一个纯化的精神世界。对象在陈蔚自行虚构的不明场景之中，不再只是扮演静物的角色，而是在对象与观者、现实与记忆彼此的相互映照之中，去响应生命的真谛，去发掘埋藏在意识之下的未竟之地。

"See You Somewhere Sometime"Chen Wei’s Solo Exhibition

　　The title of Chen Wei’s exhibition See You Somewhere Somtime comes from an idea after reading the novel Le Temps retrouvé. In the novel French stream of consciousness writer Marcel Proust (1871-1922) uses the First Person to trace a period of lost time hidden in memories. By depicting the details of trivial things and sensory experiences in life, he holds himself separate from the time and space of the immediate narrative scene as if in some out-of-body experience, thereby reconnecting with those past moments. Perhaps it is human nature to be sentimentally attached to the past. Certainly, this approach can be readily identified in the art of Chen Wei. The depiction of objects accounts for much of the creative content in her work. Old clothes, withered potted plants, faded animal specimens or pictures accidentally discovered when reading, are all essentially insignificant objects from life that Chen uses to remember the past. Objects are steeped in time and the gradual obfuscation of their outlines reflects the artist’s more private and detailed inner landscape, another point of reference used by Chen Wei to organize her own existence condition. If life is essentially fragile and transitory, then Chen Wei’s desolate and defeated object shapes and Proust’s memories of the details of past experiences are the examples of boundless nostalgia for people and events and a sense of melancholy at being unable to divert ones attention from such things. In the vague scenes Chen Wei constructs from nothing, objects no longer play a passive role, through the interplay of object and viewer, reality and memory they echo the reality of life and subconsciously seek out an unknown place in mind.