Questions from Nehama,
Tel Aviv, January 4, 1998:

Talking about dynamic processes and systems and about continual becoming, as opposed to strings of discrete states or particles, we touch on the theory of Chaos - the study of ever changing complex, non-linear dynamic systems - as well as on Taoist ideas, as brought up by you in your letter. it is indeed relationships
and immaterial, transcendental contexts which seem to lie at the heart of your creative process. in establishing a dialogue with a new place, with an installation site, you seem to be primarily concerned with such contexts, rather than with the site's formal and visual aspects. Whenever you embark on a new site-specific project, you try to plunge into the inner layers of the site's life. Your initial challenge does not derive from the visual, spatial characteristics of the site, but rather from its "invisible" aspects, its contextual factors - historical, cultural, social, ethnic, economic, geographical or political. It is only at a much later stage that you seek a visual solution in the given space. This obviously reflects the priority you allow in your work to the relationship between man and his environment...

...Another aspect common to most of your installation works, I have noted, is the appropriation of ready-mades and found objects, most often used daily objects. Jue Chang recycles these objects - chairs and beds collected in different parts of the world - each with a "Personal" and cultural history, like finds of urban archaeology. This strategy , so prevalent in all of your work, seems by itself to be a comment on consumerism and the accelerated process of its becoming a central global issue( even in China ), and an attempt to catch up with the fast pace of our custom, within the capitalist system, of getting rid of objects. It is your way of dematerializing the object, as an alternative to this system, in order to rediscover a more spiritual existence. Removing the used daily objects from their natural context, you strip the of their materiality by highlighting their human-related and cultural history and by according them a new metaphorical role. Thus, the chair or bed, which, before being salvaged in the flea market or the junkyard, had almost reached the end of its life cycle as a consumer product, is now reborn into a new spiritual existence. Through the transformation you apply to it, the object's spirituality, its soul, are being revived. In its new role, the converted chair, turned into a drum, becomes almost a fetish. Thus, in addition to the above mentioned metaphorical reference, there is also this sanctification - through a fetish - of the natural cycle, of recycling, in its global scope, and of entropy. Or is it connected with the reverence in Chinese culture towards old age?



resume of the artist


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