鋁形蟲 Aluminum Crawler

A 快樂天堂 Fixe7169 72dpi (1)

29.《快樂天堂》

Paradise of Joy

吳建興 Chien-Hsing Wu

時間

2025.10.17 (五) - 11.09 (日)

地點

花博公園圓山園區

主題類型

視覺藝術

分享

關於作品

About this project

過去的圓山可說是「快樂天堂」的代名詞,從動物園到兒童樂園,承載著跨世代的童年回憶,園區更一度引進全臺罕見的大型機械遊樂設施,一時間蔚為風潮。本件作品取材自圓山兒童樂園的經典遊具形象,融入藝術家對汽車語彙的轉化與重組,撐起多組可隨風轉動的部件,象徵旋轉、飛行與漂浮的快樂記憶。 經由不同形狀材質構件巧思,重現的碰碰車、旋轉木馬等遊具意象,交織陽光與照明而律動,成為時間流動的象徵,喚起對童年遊歷與自由嬉戲的感性想像。

For generations of children, the Taipei Children’s Amusement Park was a paradise of laughter and play. Located in the Yuanshan area near the city zoo, it originated in the Japanese colonial era and later introduced Taiwan’s first large-scale mechanical rides in the postwar years.

Drawing inspiration from iconic playground attractions, this work reassembles and transforms their forms through the artist’s distinctive automotive vocabulary. Kinetic elements move in the wind, symbolizing joyful memories of spinning, flying and floating.

Through creative combinations of shapes and materials, images of bumper cars and carousels rhythmically move, interweaving with sunlight in the day and illuminated at night. They stand as symbols of time’s passage, evoking a tender nostalgia for the freedom and wonder of childhood play.

A 快樂天堂 Fixe7295 72dpi (1) (1)
A 快樂天堂 Fixe7346 72dpi (1)

Artist

吳建興 (1)

吳建興 /
Chien-Hsing Wu臺灣 / Taiwan

1987 年出生,現生活、工作於臺北。創作橫跨繪畫、裝置、錄像、雕塑,擅長運用日常物件探索外在形態與內在能量的轉換與存續可能。他早期以「家」作為創作出發點,思考人際網絡、價值體系與臺灣產業結構的變遷,並將自身生活經驗融入其中。作品往往深入解構物體與符號,透過工業製造的脈絡,揭示生產循環中潛藏的和諧與矛盾。
近年展覽包含台北當代藝術館《2025黑手煉金術III個展》、《2022紐約·紐約客個展》,以及多場國際聯展及博覽會。他以獨特的手法讓觀眾重新思考社會、文化與個體經驗。

Born in 1987, he currently lives and works in Taipei. His artistic practice spans painting, installation, video, and sculpture, skillfully employing everyday objects to explore the transformation and continuity between external forms and inner energies. His early works centered on the concept of “home,” reflecting on shifts in interpersonal networks, value systems, and Taiwan’s industrial structure, while integrating his own lived experiences.

Through a deep deconstruction of objects and symbols, his works reveal the harmony and contradictions embedded within industrial production cycles.

Recent exhibitions include “Blacksmith Alchemy III” (solo, 2025, Museum of Contemporary Art Taipei) and “New York · New Yorker” (solo, 2022), as well as numerous international group exhibitions and art fairs. With his distinctive approach, he invites audiences to reconsider the relationships between society, culture, and individual experience.