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日期格式：2019/03/13

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Black Hand of Craftsmanship III—Wu Chien-Hsing Solo Exhibition

MoCA STUDIO

2025 / 08 / 16 Sat.

2025 / 10 / 12 Sun.

10:00 - 18:00

  • Artist

    Wu Chien-Hsing

  • Supervisor

    Department of Cultural Affairs, Taipei City Government

  • Organizers

    Taipei Culture Foundation
    MoCA TAIPEI

  • Annual Sponsors

    THERMOS
    Contemporary Art Foundation
    Hui-Neng Chi Arts and Culture Foundation
    Royal Inn

  • Annual Sponsor for Appointed Projector

    EPSON

  • Annual Sponsor for Appointed TV/Screen

    SONY

  • Media Cooperation

    Radio Taiwan International

Exhibition Introduction

Black Hand of Craftsmanship III centers on the concepts of “technical transformation” and “manual reconstruction,” featuring collaborative work between artist Wu Chien-Hsing and car mechanics to explore the continuation and reshaping of automotive repair craftsmanship in contemporary contexts. Starting from the formal imagination of automobile bodies, the artist deconstructs discarded car bodies and parts, collaborating with car mechanics to hammer, cut, deform, and assemble, thereby transforming these automotive remains into sculptures and installations. The creative process highlights the concept of “tshiú-lōo”—a Taiwanese term referring to the skilled, distinctive craftsmanship techniques in traditional bodywork repair—as a collaborative process that connects industrial labor with contemporary art. By removing, adding, and altering vehicular forms to create artworks, the process transforms values within social, political, and consumer cultures.

The exhibition not only demonstrates the conversion between “the technical value of handcraft” and “the artistic value of handcraft,” but also represents the artist’s reflection on familial ties to the bodywork repair industry. Through collaborative practice with car mechanics, the work embodies technical transformation and labor value within the auto repair industry. The exhibition also responds to the industrial challenges brought about by modernized material innovations, further exploring how traditional techniques can be integrated with digital restoration and contemporary materials, such as carbon fiber and 3D digital restoration technologies.

Black Hand of Craftsmanship III ultimately refines these crashed automotive parts into sculptural and installation works that are informed by new possibilities. This is not only a reinnovation of traditional automotive repair techniques, but also a reconsideration of the landscape transformation within the bodywork repair industry. By combining manual techniques with digital methods, the contradictions and integration reshape the representational process of the auto repair industry, creating continuity and transfer in material application, thereby giving automotive bodywork repair new sustainability.

*Note: “Black Hand” is a colloquial Taiwanese term for car mechanics.

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Artist Biography

Wu Chien-Hsing

Wu Chien-Hsing was born in Taiwan in 1987. Wu received his MFA from Taipei National University of the Arts in 2017. His work spans multiple artistic mediums, including painting, mixed media, installation, video, and sculpture. Wu often utilizes everyday objects in his work, stimulating discussions around their external forms and internal energy as well as their potential for transformation and preservation. His early artwork was in dialogue with the concept of “home,” constructing interpersonal networks, and value systems, taking these as his main points of creative departure. Through the means of artistic expression, Wu singles out parallels between the transformation of Taiwan’s industrial landscape and the course of his own life, over which he watched his family’s business deteriorate with the decline of traditional industries. Through his work, the artist seeks to find an alternative for these withering industries, making them shine again.

His artwork delves into the deconstruction of objects and symbols, employing industrial manufacturing references to uncover the cyclical and harmonious contradictions within production. His artwork often fuses elements of mythology, prophecy, and anti-traditional sculpture, involving concepts such as the past, present, and future, life and death, craftsmanship and industry, secular and sacred, reality and fiction, reflecting the cultural heritage of consumerism and modernization. The artist prompts viewers to contemplate the society, cultures, and individual experiences through unique visual forms and creative techniques. The work is replete with poetic and symbolic elements, creating a uniquely resonant experience through the amalgamation of different elements of contemporary materials.

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