攀爬遊戲丘智偉個展 Climbing Games Chiu Chih-Wei Solo Exhibition

Name: 攀爬遊戲 丘智偉個展 Climbing Games Chiu Chih-Wei Solo Exhibition
Start: 2025-12-20T13:30:00+08:00
Location: 軟輪畫廊

Schedule

Sat, 20 Dec, 2025 at 01:30 pm

UTC+08:00

Location

軟輪畫廊 | Taipei, TP

攀爬遊戲丘智偉個展
Climbing Games
Chiu Chih-Wei Solo Exhibition

展覽日期：2025/12/20（六）– 2026/02/01（日）
展出地點：軟輪畫廊 Gallery 80A
地址：臺北市士林區中山北路六段192號3樓
開放時間：週五至週日 13:30 – 18:00
展覽開幕：2025/12/27（六）14:30
展覽座談：2026/01/10（六）15:00
與談人：曹良賓、劉千瑋
Date: 2025.12.20 – 2026.02.01
Venue: Gallery 80A
Address: 3F., No. 192, Sec. 6, Zhongshan N. Rd., Shilin Dist., Taipei, Taiwan
Opening hours: 1300 – 18:00 Fri. to Sun.
Opening: 2025.12.27 Sat. 14:30
Artist Talk: 2026.01.10 Sat. 15:00
Panelist: Tsao Liang-Pin, Liu Chien-Wei

展覽論述：
在公園裡，攀爬架總是既明確又模糊。它是一個物件，也是一種邀請；是遊戲的場域，也是訓練身體與感官協調的機制。對於正在發展中的身體而言，它是一種高度的學習，關於移動、平衡、風險與尺度。
在「攀爬遊戲」中，以攝影作為起點，注視城市中那些仍在建構中、鋼筋裸露的建築骨架。我將這些暫未完工的結構視作城市尺度的「大人攀爬架」，一種與日常疏離、難以親近，卻與我們生活高度相關的存在。這些鋼筋骨架不再只是建築的過渡狀態，而是介於穩定與不穩定、秩序與錯亂之間的存在。這些「未完成」的結構，如同一代人成長過程中所面對的社會圖像——永遠在建構中，尚未抵達，也不知終點為何。對1990年代末出生的我而言，這樣的景象正映照著一種世代處境：在失速發展的城市背景下，攀爬、移動、平衡、尋找依靠的過程成為生活日常，也是一場無法逃脫的遊戲。「攀爬」不只是兒童的遊戲動作，也是一種在不穩定結構中持續尋找立足點與上升可能的身體經驗與心理感受。
展覽中的影像與裝置作品延續我過去對於城市基礎設施的觀看路徑，但在本次展覽中，重點不再放在橋樑與高架的延展性，而是凝視這些「尚未完成」的結構所象徵的當代處境。作品中仿造現實世界的鋼筋結構，透過攝影中的影像語彙，將其抽象化、簡化、拆解與重組，進一步轉化為空間裝置與錄像作品。這些作品並不以「建築」為目標，而是製造一種被觀看、被想像、甚至被身體感知的「攀爬架」，觀者無需真的攀爬，卻能在視覺與心理上產生一種高度移動的錯覺與不穩。
在這些以建築鋼骨為靈感延伸的空間雕塑與錄像裝置中，觀者將被引導進入一個介於真實與想像之間的攀爬空間，不是為了抵達頂點，不是為了通過考驗，而是一次對身體、結構與空間秩序的重新感知。透過轉換觀看的比例與視角，「攀爬遊戲」邀請觀者反思我們所處的社會結構如何像一座攀爬架般，既提供支撐，也限制行動。
「攀爬遊戲」從一個遊樂設施，從一個建築狀態出發，但關注的不只是遊戲或建築本身，而是當代社會如何透過空間與結構去形塑、規訓甚至限制個體的行動能力。鋼筋彷彿構成了一種社會框架——既支撐，也設限；既充滿可能性，也隱含風險。藝術家不以批判姿態介入，而是以中性冷峻的視角，邀請觀者重新審視我們所習以為常的城市景觀與成長經驗。

Artist Statement:
In the park, climbing frames occupy a space that is at once explicit and indeterminate. They operate as objects and invitations—sites of play as well as mechanisms for training the body and its sensory coordination. For a developing body, they offer an early education in movement, balance, risk, and scale.
In Climbing Games, photography serves as a point of departure for observing the exposed skeletal frameworks of buildings still in the process of becoming. I regard these unfinished structures as “adult climbing frames” at an urban scale—forms that remain distant and inaccessible in daily life, yet profoundly shape our lived environment. These frameworks exist not merely as transitional stages of architecture but as states suspended between stability and uncertainty, order and disarray. Their incompleteness mirrors the social landscape encountered by my generation—forever under construction, never fully arrived, and without a clear sense of resolution. For someone born in the late 1990s, such sights echo a broader generational condition: within an accelerating urban context, the acts of climbing, balancing, seeking orientation, and negotiating instability have become both daily experience and an inescapable game. Here, “climbing” is no longer a childhood gesture but a bodily and psychological negotiation of precarious structures.
The images and installations in this exhibition continue my ongoing engagement with urban infrastructure, though the focus has shifted away from the spanning forms of bridges and elevated roads toward the symbolism of what remains “unfinished.” The steel frameworks are abstracted, simplified, fragmented, and recomposed through photographic language, then translated into sculptural forms and video installations. These works do not aspire to become architecture; instead, they construct a perceptual and imagined climbing frame—one that the viewer does not physically ascend but navigates visually and psychologically, encountering a sense of fluctuating height and spatial instability.
Through spatial sculptures and moving-image works inspired by architectural skeletons, viewers are drawn into a threshold space between reality and imagination—not to reach a summit or overcome a challenge, but to reorient their perception of the body, structure, and the ordering of space. By shifting scale and perspective, *Climbing Games* invites reflection on how the social frameworks we inhabit function like climbing frames: offering support while imposing constraints.
Beginning with a playground apparatus and an architectural condition, the exhibition ultimately questions how contemporary society shapes, disciplines, and circumscribes individual agency through spatial and structural systems. The exposed steel bars evoke a social framework—at once supportive and restrictive, full of potential yet laden with risk. Rather than adopting a critical or confrontational stance, the work maintains a measured, observational tone, inviting viewers to reconsider the urban landscapes and developmental narratives they have come to take for granted.