Date of birth: December 21, 1987, Shanghai, China Visa Status in France: Passeport Talent for excellent achievement in new technology of Art

Transcription

1 愷陳 印俊 Junkai CHEN

2 Current Resume JUNKAI CHEN is a pilot for audiovisual and interactive installation, which evolved into a kind of guide for future visitors and also transformed an essay into a performance whose detail became the main character. He has developed audiovisual creation as a tool to achieve my performances, and have always tried to find a new musical instrument and a new audiovisual installation to tell his story with his own experiences that were melted with different cultures. Date of birth: December 21, 1987, Shanghai, China Visa Status in France: Passeport Talent for excellent achievement in new technology of Art EDUCATION: Live and study in France since , Le Fresnoy-National Studio of contemporary arts, Tourcoing, France (Post diploma) , Villa Arson-National High School of Fine art, Nice, France (Diploma : Bachelor-DNAP and Master-DNSEP) , National Conservatory of Nice, Nice France , Shanghai Institute of Visual Art, Fudan University, Shanghai, China (Diploma) EXHIBITION: 2018 March (in schedule),installation: Bagua. Program Culture, University Lille 3, France February (in schedule), installation: Correspondance, Artfaire,Tripostal, Lille, France 2017 November, installation: Correspondance, Inauguration Culturelle IESA, Paris, France October, installation: Correspondance, La nuit blanche, Paris, France October, installation: Bagua, Lille 3000 Happy performance France September-December, installation: Bagua, Panorama 19, Le Fresnoy, Tourcoing, France March, installation: Correspondance, Rencontre du numérique-le Grand Barouf, CCI, Lille, France March-May, installation: Correspondance, Incarnation numérique, Galerie municipale Jean-Collet, Ivry sur seine, France 2016 September-December, Panorama 18, Le Fresnoy, Tourcoing, France-work supported by Fondation Neuflize OBC SITE: CONTACT: chenjunkai.art@gmail.com Tel: Home Address: 23 Rue Barbes Ivry Sur Seine France

3 Project Bagua 2017 Exhibition, Panorama 19, Le Fresnoy-Studio National des arts contemporains, Tourcoing, France

4 Project Bagua 2017 Performance interactive, installation System captation VR HTC Vive,two visual projections, diffusion sound10.1, screen rotary automobile. Link video: The Bagua installation arose from the notion:, the eight trigraphs that are the concrete representations of Yin and Yang. It is one of the oldest stratums of the Yi Jing. The Yi Jing was created more than thirty centuries ago. Hence, these eight elementary forms in nature are created from the two lines of Taiji Yin-Yang. By permuting these two lines, and by grouping them in threes, we can make up eight symbols. These eight elements represent different sensations. In the piece, the artistic language takes the form of two video projections onto a mobile screen. Each element is embodied by a specific movement. The Bagua brings with it the notion of movement, it s the nucleus of the theory of the interior. The image and circular screen merge and evoke the mythical movements of the Bagua. Lastly, the installation operates in two timeframes. One is performance based: I ll interact with the work thanks to an enhanced sword. The body merges into the audiovisual movements. The other becomes an interactive installation: the framework stills exists and varies. Visitors can play with the piece in order to find their particular language.

5 Project Bagua Performance interactive

6 Project Bagua Public in the installation

7 Project Bagua Wherever you go, whatever the situation you are engaged in, there is luck and there is peril, there is charm and there're accidents, there are complication, sometimes even an intrexicable world of knots, but there is always an enchanter. Yes, look closely: in the heart of the forest there is still that well of images spoken of by Rimbaud. I was progressing gradually towards the centre and I could feel the rays of a sun that was more intense. I was getting close to the kernel. It seemed to me that in the conjunction, the bundling of all these works, the clarity would be powerful. In this forest, the enchanter is Junkai CHEN, The ceremony is called Bagua. It was the sound that attracted me first: like a sonar, an underwater music like the song of whales. A luminous curtain rises in the penumbra, in a semicircle: the light that is projected there reflects on the ground, so much so that a second semicircle forms a track, as if in a mirror, where the body of Junkai CHEN begins to move. I carry with me an immemorial desire for suppleness. I believe that this desire runs through the whole history of writing: you would want to be able to write in the air, leaving no trace, with the body free of its rectilinear grammar; you would want to be able to produces signs in the invisible. Dance is the accomplishment of this dream Yannick Haenel, from catalogue PANORAMA 19; ISBN: (in French, English translation by Charles Penwarden, David Rodzinowicz, Sandra Reid and Adel Tincelin)

8 Project Correspondance 2017 La Nuit Blanche, l Église Saint-Bernard de la Chapelle, Paris, France

9 Project Correspondance 2016 Performance interactive, installation System captation Kinect, machine interactive, Instrument: Zither, Drum, Harp, Caisse Snare. Link video: Correspondence was the title of one poem from French writer Charles Baudelaire. In his poem we could get different synthetic sensations under his description of sound, voice, perform and light in the night. Correspondence gave the lecture a huge imagination. Correspondence impacted me so immensely that I had to create one interactive performance in an oriental natural environment that coordinated by music and audiovisual instruments and innovative interactive devices. This new performance would transmit to public readers synthetic sensations of sound, voice, perform and light in the night that were beautifully and vividly demonstrated in the poem of Correspondence. That also was the reason why I used the title of Correspondence for my project. The successful use of acoustic instruments and digital projection helped to create a real-time audiovisual symphony that captured the performer s movements and gave the real-time audiovisual performance with a new life of choreographic dimension of gesture, image and sound. The performer s body transformed to a tool, seemingly as a painter s brush or conductor s baton. I interrogated my sensorial and spiritual experience in relation to these two artistic and cultural worlds which I inhabited.

10 Project Correspondance Performance interactive

11 Project Correspondance Public in the installation

12 Project Correspondance We used to waltzing to the rhythm of music. We are also accustomed to seeing an orchestra conductor bursting around, turning his back to the audience. Junkai CHEN does it very differently. He is the maestro of an audio-visual symphony that is both traditional and technological. His installation is dense: it displays classical inspired instruments (a zither or Chinese percussion instruments, a Celtic harp, a snare drum) that are expanded with electronic systems. Dancing in the centre of his platform, the artist activates his musical apparatus, using sensors. Every move he makes corresponds to a note or a visual sequence. Indeed, he performs before five vertical, Chinese paper pieces on which changing patterns are projected (writings that are logographic, geometrical, organic...). A gesture of invitation that is dressed to the viewer may, for instance, lead zooming in on this projection - accompanied by a wind effect -, whereas a backward movement could slow it down. More than an installation, it is therefore a performance. Every time the body performs with intensity, generating unexpected music sequences. Of Chinese origin, Junkai CHEN explore his own History, creating new tales. His face is painted like a Beijing opera actor and his dance moves are inspired by Kungfu. His procedure is precise but the interactive installation can be re-appropriated by the audience. What is presented here is thus a mix of cultures, from the very origin of the project that is based on two poems: Correspondences by Charles Beaudelaire and Birds Calling in the Ravine by Wang Wei, texts which invite human beings to decipher nature s secrets. Correspondence is thus a kinesthetic experience, seeking to give meaning to the sensitive world. --- Manon KLEIN, from catalogue INCARNATION; ISBN: in French, English translation by Callisto Mc Nulty

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