
This display brings together media materials from 1993–1994, when Stone Chun Shi became a widely recognized cultural figure in Taipei. During this period, his creative activities and public presence entered the mainstream sphere and received sustained coverage from major media outlets.
While in Taipei, Stone appeared in the “New New Human” advertising series, which was filmed based on his actual daily life in New York. The New New Human – Kaixi Oolong Tea campaign was broadcast nationwide in Taiwan and sparked a notable cultural response, positioning Stone as a contemporary figure associated with international experience and a distinct personal stance.
Alongside this advertising exposure, Stone continued his work in both music and visual art. During this period, he released a heavy metal rock album and presented significant solo exhibitions at two leading contemporary art galleries. Painting, music, and public media circulation unfolded simultaneously, placing his practice across multiple cultural systems rather than within a single disciplinary framework.
The materials presented here document a phase in which Stone’s presence circulated across advertising imagery, exhibition contexts, and music discourse. These parallel appearances expanded the range of his public engagement and accumulated diverse experiential conditions, forming an important contextual ground for subsequent developments in his artistic trajectory.
本展柜汇集 1993–1994 年间石村在台湾语境中获得高度关注的媒体文献,包括广告影像、娱乐新闻、人物专访与画展相关报道。此一时期,石村在台北成为广受关注的文化人物,其创作活动与公众形象同时进入主流视野,并被多家知名媒体持续报道。
在台北期间,“新新人类”广告系列以石村在纽约的真实日常生活状态为拍摄内容,其中“新新人类开喜乌龙茶”系列在台湾播出后引发广泛讨论,迅速形成文化现象。石村由此被辨识为一种兼具国际经验与个人立场的当代形象,其名字与形象在公共空间中被频繁引用。
与广告曝光并行的,是其在艺术与音乐领域的持续实践。其间, 石村发行重金属摇滚专辑,并在两家顶级当代艺术画廊举办重要个展。绘画、音乐与公共传播同时展开,使其创作活动呈现出跨越不同系统的并置状态,而非被限定于单一媒介或领域。
相关文献显示,这一时期的公共呈现不断扩展石村的社会可见度与现实接触范围。广告影像、画展报道与音乐评论交错出现,构成一组密集的时代记录,使其创作经验得以在不同语境中被观看、讨论与理解。这些材料所呈现的,是一个创作实践持续发生、尚未被收束为单一语言的阶段,为后续路径的展开积累了重要的现实条件。