Name: 【 from no.00300 】Christian Chambenoit 常易 個展｜開幕茶會
Start: 2025-09-13T15:00:00+08:00
Location: 永康街44號、 Taipei, Taiwan 106

$\u3010 from no.00300 \u3011Christian Chambenoit \u5e38\u6613 \u500b\u5c55\uff5c\u958b\u5e55\u8336\u6703$

【 from no.00300 】
克里斯蒂安‧尚貝努瓦( 常易 )的本次展覽邀請觀者以「觀看」取代「理解」。他設想的體驗，不是刻意將觀眾注意力推往對作品的某種「解讀」，而僅僅是一種最單純的「觀看」。他不是要引領大家看見自己想看見的，更不是去分析一個人自以為已經認識的;而是讓自己保持一種沉靜的觀照狀態，面對眼前可能發生的所有一切。
整體創作概念乃建立在對于「意圖」與「方向」的徹底排拒。在此，作品既不源於任何敘事性的項目，也不來自什麼飽受克制的筆觸，而是面對偶然與物質現象的全然降服。
與那些強調構圖、可讀性或審美效果的實踐相反，這種態度有意地將意外、過程或不完美本身即視為一種「完成」。藝術家不試圖修正、改良或引導，而是將瞬間以最原初的狀態予以定格。
作者使用紙張(楮皮羅紋)、油墨(墨)、與氈。然而，這些歷史上與中國繪畫緊密相關的材料，既非作者對該傳統的參考引用，更無意將自己置入其中。其選擇首先源自於感官與情感上的特質(質地、色彩的濃度、氣味)，將作品的閱讀轉化為對物質的直接經歷。同樣地，黑色單色的呈現既無意與西方極簡主義對話，也不試圖延續皮耶‧蘇拉熱(Pierre Soulages)或理查‧塞拉(Richard Serra)等藝術家的脈絡。尚貝努瓦所展現的形式更接近「空」與「簡」的邏輯，與道家「無為」的精神或韓國單色畫(Dansaekhwa)的探索產生共鳴~在自然觀照中，藝術實踐成為通往虛空的途徑。
這一過程特別依附於偶然性。作品的形成來自外部條件的介入，還有一系列物質上的限制;這些限制反而成為創作表現的組成部分:在工作空間中，兩隻貓積極又寶貴的參與，風雨的突襲，不受控的素材，或是僅僅為了尊重紙張原始尺寸的取捨。作者使用的元素，從不違背它們的原始出廠狀態，而全基於其即時的可得性，並透過直覺選出。比方，接受環境造成的撕裂，並將修補過程納入作品，而非抹去痕跡;以無膠、無裱的方式固定，使紙張能呼吸與移動;採用不干擾視覺的支撐，讓紙張能直立;最後是對脆弱部分的保護，使作品得以延續，更不刻意隱匿其易碎性。這些限制並非邊界，而正是作品生成的條件~在控制與放任之間、在脆弱與顯現的需求之間來回擺盪。
最終的呈現，則必須在十分具體的層面上直面現實。那就是解決一個簡單、近乎荒謬、卻至關重要的問題:如何將一塊氈、或一張紙直立固定，卻依然允許它保有充分自由。

“ from no.00300 “ invites us to look without seeking to understand.
It proposes an experience where attention does not turn toward meaning or interpretation, but toward a form of pure observation. It is not about seeing what one hopes to see, nor analyzing what one believes to recognize, but rather about adopting a contemplative availability before whatever comes to appear.
The entire approach rests upon artistic research that refuses intention and direction. The work arises neither from a narrative project nor from a controlled gesture, but from a voluntary surrender to the forces of chance and matter.
Contrary to practices that privilege composition, legibility, or aesthetic effect, this approach chooses to regard what might elsewhere be seen as an accident, a stage, or an imperfection, as a form of completion in itself. The artist does not attempt to correct, improve, or direct, but to capture the ephemeral in its raw state.
The use of Chinese Xuan paper, ink, and felt, materials historically associated with traditional Chinese painting, does not signify a reference to that tradition nor a desire to inscribe the work within it. The choice of these materials proceeds above all from sensory and affective qualities (textures, chromatic density, fragranc- es ) that shift the reception of the work toward an immediate experience of matter. In the same way, the black monochromes are not intended to align with Western Minimalism, nor to situate themselves in continuity with artists such as Pierre Soulages or Richard Serra. The formal rigor that emerges is rather inscribed within a logic of openness and stripping-down, resonating with the “non-action “ of the Taoist spirit or with certain explorations of the Dansaekhwa movement, where artistic practice becomes a pathway to emptiness through the observation of nature.
This process engages a particular relation to the unforeseen. The work has been shaped by the presence of external conditions and through a series of material constraints that become integral to the artistic gesture: the active participation of two cats within the creation space, the action of wind and rain, the unorthodox use of materials, or the choice to respect the original size of the paper sheets. The elements employed are never diverted from their primary function, but chosen for their immediate availability and intuitively selected: the repairing of tears caused by the environment is embraced as part of the process rather than effaced; the necessity of bindings without glue or mounting that allow the material to breathe and move; the use of supports that hold the paper upright without ever imposing themselves visually; and finally, the protection of fragile parts, enabling the piece to endure without concealing its vulnerability. These constraints are not limits but the very conditions of the work’s emergence, situated in an oscillation between control and its relinquishment, between the fragility of elements and the need to render them visible.
The ultimate gesture consists in confronting matter in its most concrete dimension by resolving a simple, almost absurd yet essential problem: fixing a piece of felt or a sheet of paper vertically, while still leaving it free.
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【 from no.00300 】Christian Chambenoit 常易個展
▋展期｜2025／9／9 (Tue.) – 2025／9／27 (Sat.)
▋開幕茶會｜2025 / 9 / 13 3PM
▋時間｜週一公休、週二-週六13:00-21:00、週日11:00-18:00
▋地點｜台北市大安區永康街44&63-1號
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