《魔幻日常》匯集臺灣藝術家陳松志結合日常現成物轉化、空間裝置與觀念實踐的近期創作。藝術家延續其作品曾於台北市立美術館、國立臺灣美術館、烏鎮當代藝術邀請展，以及紐約 ISCP、洛杉磯 François Ghebaly Gallery 等國際重要機構與展覽發表的深刻脈絡，關注物件記憶、日常儀式與物質轉換等公共與心靈議題，透過對日常現成物的改造與層次拼接，呈現當代人在冷冽物質世界與複雜心理感知間的微妙連結，將個體的生存經驗與冷靜物質轉化為富有詩意與溫度的當代寓言。
“Magical Everyday” brings together recent conceptual and mixed-media works by Taiwanese artist Chen Sung-Chih, combining found-object transformation with spatial installation. Building upon a distinguished practice presented at prominent global institutions and exhibitions—including Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, Wuzhen Contemporary Art Exhibition, ISCP in New York, and François Ghebaly Gallery in Los Angeles—the artist engages with pressing themes of material memory, everyday rituals, and physical transformation. Through the subtle modification and reassembling of familiar domestic objects, he reflects upon the delicate tension between cold material reality and complex psychological perception, translating human existence and ordinary matter into a poetic and temperature-laden contemporary allegory.
陳松志（Chen Sung-Chih, 1978-）為台灣空間與觀念的代表性藝術家，擅長將富有集體記憶之現成物，透過破壞、掀開、翻轉等手法抽離物件原有的日常面貌，於空間中留下單純的物性。刻意的鋪陳與組合，使觀眾面對的造型裝置轉化為非尋常、難以定義的空間，並以赤裸的感官知覺進行閱讀。
在〈倒裝的語句 Inverted Syntax〉系列作品中，陳松志以隨手可得的材料作為創作語言的詞彙。他將文學中的倒裝修辭應用於空間思考，將生活中常見的木板、窗簾布料、家飾掛鉤等物件上下顛倒，重新編織出時間和空間的概念。織物除了充滿優雅魅力外，同時也可以被作為網，是捕捉生物的陷阱，也是殘酷捕獵的空間，他以編織手法來建構空間，透過空間中所佈局的細微線索，誘導著觀者腦海中的想像路徑。陳松志將「織物」在生活中的符號翻轉，翻轉畫面並逆向懸掛，成為了全新的觀看經驗。他所蒐集具有記憶美感的舊式掛鉤，在作品中象徵著等待，讓久遠的歷史在其中扭曲了時空並反轉，引發生活倒置與聯想，他以不同角度重新詮釋現成物，創造出詩意與時間的遊戲。
〈微弱的美感 Delicate Sensibilities〉系列作品運用了舊建築拆除後的廢棄木材，揭開木材表面，一片片地剝離樹皮般的材質，看似抽象畫的呈現卻同時也揭露了現實的本質，展現了日常經驗中掠影而過的「微弱美感」。我們長期生活在不斷變遷和建設的場所和事件中，目睹著文明生活對物質的破壞。陳松志將原本粗糙、冷漠的物質賦予溫暖和詩意，這種重新詮釋引領了觀者對這些微小事物的好奇心。觀眾不得不細細審視這些透過「減法」呈現的物質特性，反思真實世界中的變遷和意義。
同樣看似抽象畫的操作手法也出現在作品 〈別境系列－邊緣 Another Place Series－borderline〉中。陳松志將廣告傳單撕毀後使用在作品的「邊緣」上，反客為主的角度漠視以往觀看繪畫的視覺中心，同時那些喧鬧的廣告內文也在此沈默。透過物質的獨白產生的衝突與合作，在看得見的界線上尋求看不見之別境，宛如一邊境最後淨土的山水作品。
陳松志擅長將日常經驗與感觸藉由現成物引渡到現實展場，展現了藝術家對痕跡和物質狀態的超常迷戀，以及對空間界限的敏感捕捉。猶如修辭學中強調語言的多層次解讀，他持續的透過抽離物件的部分元素，將其組合與並置，翻轉了現實語境中那些僵化的意義。以此放大局部的微弱美感，事物、記憶、與抽象感知得以連結其中，凝聚出一種類似詩意的狀態，引發觀者對作品的多重感受，企圖在當下的空間與觀者心中製造些風吹騷動。同時，利用了觀眾的不精準與誤讀，形成了藝術家生命的某段敘事與觀眾自身歷史的疊合，從而改變了現實，創造出新的記憶切片。此刻，創作者與觀者，有了不同時刻的交融共感，微弱的情感與心會，在展場中靜靜地迴盪。
Chen Sung-Chih (born 1978 in Nantou, Taiwan) holds a seminal position in the realm of large-scale installation art in Taiwan. He meticulously manipulates found objects that carry collective memories, employing techniques such as destruction, unveiling, and inversion to dissociate these objects from their mundane contexts and reveal their inherent materiality within the given space. Through deliberate arrangement and composition, the spatial installations presented to the audience are transformed into extraordinary and indefinable realms. This immersive experience calls for interpretation that relies solely on unfiltered sensory perception.
In his series of works titled ‘Inverted Syntax,’ Chen Sung-Chih employs ready-made materials as the vocabulary of his creative language. Applying the rhetorical device of inverted syntax from literature to spatial contemplation, he overturns common objects such as wooden boards, curtain fabrics, and decorative hooks, reweaving the concepts of time and space. The fabric, in addition to its inherent elegance and charm, can be seen as a net, a trap that captures living beings, a space of cruel hunting. Through the technique of weaving, he constructs spaces and guides the viewers' imaginative paths through subtle clues embedded within the spatial arrangement.
Chen Sung-Chih subverts the symbolic meaning of "fabric" in daily life, transforming a dining table into a canvas and suspending it in reverse, offering a completely new viewing experience. The vintage hooks he collects, which possess a sense of nostalgic beauty, symbolise a state of suspension, where distant history distorts time and space, prompting reflections on reversed living and evoking associations. From different perspectives, he reinterprets found objects, creating a poetic and playful exploration of time.
In his exhibited series titled ‘Delicate Sensibilities,’ Chen Sung-Chih utilizes reclaimed wooden materials from demolished buildings. By peeling away the surface of the wood, piece by piece, he reveals the texture reminiscent of tree bark. The presentation, seemingly abstract, simultaneously unveils the essence of reality, showcasing the fleeting "delicate sensibilities" experienced in everyday life. We reside in environments and events characterised by constant change and construction, bearing witness to the destructive impact of modern life on materiality. Chen Sung-Chih infuses warmth and poetic qualities into these originally rough and indifferent materials, inviting viewers to reexamine their curiosity for these subtle elements. The audience is compelled to carefully scrutinise the material characteristics presented through a process of "subtraction," prompting reflections on the transformations and meanings within the real world.
Similar abstract techniques are also employed in the artwork ‘Another Place Series - borderline.’ Chen Sung-Chih tears up advertising pamphlets and incorporates the torn edges into the artwork, assuming a perspective that challenges the conventional visual centre of painting. Simultaneously, the cacophonous textual content of the advertisements remains silent. Through the conflicting yet cooperative monologue of materials, he seeks to uncover unseen boundaries within visible delineations, akin to the portrayal of a sublime landscape representing the ultimate pure land.
Chen Sung-Chih transports lived experiences and perception through found objects into exhibition space, revealing the artist's obsession with traces and material states, as well as a keen sensitivity to spatial boundaries. Similar to the emphasis on multilayered interpretations in rhetoric, he consistently dissects elements from objects, combining and repositioning them, thus upending the rigid meanings of the contextual reality. Through this magnification of subtle beauty within fragments, elements of objects, memories, and perceptions intertwine, converging into a poetic-like state that evokes multiple sensations in viewers. Simultaneously, by exploiting viewer imprecision and misinterpretation, an overlap emerges between artist's narrative and viewer's history, reshaping reality and forging new memory fragments. In this moment, artist and viewer harmoniously converge across diverse timeframes, as delicate emotions and contemplation softly reverberate within the exhibition space.