Feng Chen 冯晨, Chronophobic Light 双重现实, 2025

Feng Chen's site-specific installation Chronophobic Light (2025) extends on his on-going series “The Darker Side of Light“, testifying to the artist's acute observation of the gap between perception and reality. Using technology to surgically remove the “presentness” of light and shadow, Feng Chen investigates how documentary mediums can demolish and reconstruct reality. When the camera fails to capture the dynamic luminance visible to the naked eye, this "dual reality" raises questions about the authenticity of sensory experience, and points out the rupture between experience and truth in the digital age. The viewer’s body becomes the medium that connects the two dimensions. Alternating between active observation and passive reception, the viewer re-examines how technology shapes and constrains human perception.

Feng Chen creates videos, sculptures and hypnotic installations that investigate the synchronization between visuals and audio, inserting a wedge between different signals and leading us to question which of our senses we should ultimately trust. In his work, perception and reality interact with each other in labyrinthine ways reclaiming that experience is the most essential and authentic part of existence and the ultimate nature of reality.

Feng Chen was born in 1986 in Wuhan, China. He graduated from the Department of New Media Art of the China Academy of Art in 2009, and in 2014 he joined a two-year program at the Rijksakademie in Amsterdam (Netherlands). He currently works and lives in Hangzhou, China.

His solo exhibitions Feng Chen Solo Show, Moment by Moment and Pretend It’s a Game have been presented in 2017 and in 2019 and in 2023 at Capsule Shanghai (Shanghai, China). In 2018 he participated at Art Basel Hong Kong Discoveries with the solo project The Darker Side of Light - Color (Hong Kong, China). A new iteration of this work, titled The Darker Side of Light - Shadow, was exhibited in 2018 at the Annex Project Space of the Fosun Art Foundation (Shanghai, China). Recent group shows include White Holes, 798 CUBE (Beijing, China), A Call to Attention, UCCA Dune (Aranya, Beidaihe, China), The 6th Guangzhou Triennial - As We May Think: Feedforward (Guangzhou, China), City Unbounded - Shanghai Jing'an International Sculpture Project (Shanghai, China), and 8102 - On Reality at the OCAT Shanghai (Shanghai, China) in 2018. His work was presented in 2015 at the Rijksakademie van beeldende kunsten OPEN 2015, (Amsterdam, Netherlands), and Video Art | June Edition, at the Dr. Bhau Daji Lad Museum (Mumbai, India).

Feng's institutional collections include the White Rabbit Contemporary Art Collection in Australia, the China Art Museum and the Rijksakademie van beeldende kunsten. His work has been written about on Artforum, Randian, Art China, Flash Art among others.

冯晨的场域特定装置《双重现实》（2025）延续了艺术家在其持续创作的“光的背面”系列作品中对感知和真实之间的罅隙的敏锐观察。作品通过技术手段剥离光影的“在场性”，探讨媒介记录对现实的消解与重构。当肉眼所见的动态光晕成为摄像机无法承载的“双重现实”，感官的真实性被置于质疑的语境中，暗示数字时代下经验与真相的断裂。观众的身体成为连接两个维度的媒介，在主动观察与被动接收的交互中，重新审视技术对人类感知的塑造与局限。

冯晨的录像、雕塑和装置作品将视觉和听觉同步，试图在不同的信号之间插入线索，引导我们重新审视对于感官的信任。在他的作品中，感知和现实以迷宫般的方式相互作用，他重申经验是存在中最重要和真实的部分，是现实的最终本质。

冯晨于1986年出生于中国武汉，于2009年毕业于中国美术学院新媒体艺术系，并于2014年在荷兰阿姆斯特丹的Rijksakademie参加了为期两年的艺术项目。他目前生活工作于中国杭州。

他分别于2017年、2019年和2023年在胶囊上海（中国上海）举办其同名个展以及个展“瞬间的瞬间”和“假作游戏”。 2018年，他在香港巴塞尔艺术博览会呈现个人项目"光的背面—色彩"（中国香港）。在此项目基础上，"光的背面—影"于2018年在复星艺术基金会（中国上海）的Annex空间展出。冯晨近期群展包括：“白洞”，798 CUBE（中国北京），"请注意——"，UCCA沙丘美术馆（中国北戴河阿那亚黄金海岸），"第六届广州三年展—诚如所思：加速的未来"（中国广州），"城市无界—静安国际雕塑展"（中国上海），上海OCAT群展项目"8102—与现实有关"（中国上海）。他的作品也曾在荷兰皇家视觉艺术学院Rijksakademie OPEN 2015（荷兰阿姆斯特丹）和Video Art | June Edition，孟买城市博物馆（印度孟买，2015）展出。

冯晨的作品被澳大利亚白兔美术馆、中华艺术宫以及荷兰皇家视觉艺术学院收藏，并受到《艺术论坛》《燃点》《艺术当代》和《Flash Art》等媒体的报道。