| May-14-2008 |
| Chou Chu Wang at Kaohsiung International Container Arts Festival |
Aki Gallery and Taiwan Contemporary Art Link are delighted to announce our artist Chou Chu Wang at Kaohsiung International Container Arts Festival, and will showing her work in Genoa, Italy from 24 May to 31.
Based on the two concepts of ecological concern and ustainable urban development, the Kaohsiung International Container Arts Festival, 2007 is intended to explore Kaohsiung’s cultural identity and its characteristics as a city by looking back at its development from the past to the present. Containers and ecology are the two major themes of the estival this year. Container transportation is one of Kaohsiung's economic arteries while the container can also serve as a meaningful metaphor for ecological messages for it can imply the migration of life, intercultural connections, media of life and multiplication of being.
Ecology, in this festival, refers to its most fundamental concept—home, according to semantic interpretations. The festival also discusses ecological disruptions, global warming and many other problems that humans have caused collectively up to the present and the consequences we will have to bear in the future.
As the themes assume considerable importance and open up varied possibilities for artists to develop and create their works, this year we received a record high number of applications from both home and abroad. The competition among the applicants was of course rather intense and, after careful review and discussion, totally 13 container works by artists from eight countries were selected to be on display in the festival, including the one (No 091138-05) by Zik
Group from Israel who was invited to join the festival.
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| April-23-2008 |
| In Our Website: New Works of Yao Jui Chung |
Dust in the Wind
By Yao Jui Chung
I used simple brush strokes to depict the details of my Recently life. In producing these works I referred to several distortionist painters (Style Transformed) from the late Ming dynasty that I hold in particularly high esteem and the structure of traditional Chinese landscapes through the ages, combined with my experience of life in that place at that time. The characters in these paintings are largely a combination of cynics and devils, an allusion to the fact that faced with the chaotic social environment in Taiwan today, We just like the Dust in the Wind. rough Indian handmade paper combined with “silkworm” strokes and blank spaces filled with gold foil, all ultimately depict my own yearning for a secluded place in nature. In this sense, they are a personal diary-type reflection on the times and a reflection of my desire to withdraw from the world of art for many years now.
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| April-21-2008 |
| Rviews: The World of a Young Artist, Sat on the Shoulder of Classical Painting’s Giants |
Buoyantly, Merrily, yet Seriously
By Shin Bo-seul, Curator of Total Museum of Contemporary Art
(韓國知名策展人)
Almost nothing was in Sam’s studio, recently returned from his honeymoon. A few paintings were on a wall, a small desk, a notebook computer, and materials on a worktable. Looking around, I saw cola-cans lined up by the window, and recalled a friends’ ambitious project to collect cans from around the world. Such friends have something in common with this unfamiliar artist.
Unlike the bright pink painting on his wall, Sam’s early series material paradise resembles gloomy Northern European still lifes. I consider they are different from his present work. I also found a flask holding plastic flowers, miniature chickens, and manmade butterflies. Looking at them, and the cans, I found it hard not to smile. Sam, who plays with dour European still lifes, seems to know that what is lighthearted and buoyant can also be serious. He makes the provocative suggestion, play as you stand seriously before an artwork!
Sam works with a variety of materials and forms, going beyond conventional time and space. In material paradise for example, he broke away from the historic context of still life, by adding objects onto typical Western still life painting, enabling viewers a new perspective. That is, he presented a forum for the audience to play delightfully and comfortably.
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| April-20-2008 |
| In Our Website: New Works of Su Meng Hung |
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"The Distortion of Kai Dao Tu Mi", 2008 New Series of Su Meng-Hung
In 2003, the artist appropriated paintings of flowers and birds of the Ming Dynasty and the Ching Dynasty from the National Palace Museum’s collection and created the “Kai Dao Tu Mi” series. He was then invited by the Museum of Contemporary Art of Taipei to show the series in the form of solo exhibition. From there he has developed an artistic language representative of a crossing of the antique and the modern, and of a dialogue between classic tradition and modern concepts. The vivid color areas or the popular elements of camouflage replaced the traditional ink painting of flowers and birds. All that was left of the latter was merely the standardized contours and lines. Even if the artist took as his point of departure a kind of critical gesture, he achieved some strange artistic iconography and continued to apply different forms such as T-shirts produced through collaborations with designers or two-dimensional works with textures similar to ancient painting, which are made by means of continuous screen printing of all angles.
The series, "The Metamorphosis of Kai Dao Tu Mi" are the artist’s latest works made in 2008. Again, he used the manual painting approach on the canvas to metamorphose and deform the series of the paintings of flowers and birds. Therefore, not only the “classic” or “conventional“ traditional iconography is replaced by the ink colors, but the contour of the surface has undergone the “distortion and twist” by the artist. However, such “twist” corresponds even better to the aesthetic demand pertaining to the contemporary life largely under the influence of mediatization. At least it is the conclusion issued from the artist’s own observation. The distortion and twist of the appearance in the contemporary life is no longer to be condemned. On the contrary, it represents a kind of renaissance of contemporary aesthetics since the dislocation of the appearance and the within is something we are used to. Besides, it means a necessary schizophrenic ‘practice’ in real life. Furthermore, the distortion of the classic means no more than an obsessionl pursuit of a new kind of beauty and a myth beyond the linear procession of time and history.
View All works of Su Meng Hung ......《more》 |
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| April-18-2008 |
| AWARD!! CHIMEI Arts Award |
Aki Gallery and Taiwan Contemporary Art Link are honored to announce the artists Huang Pei Hang received CHIMEI Arts Award.
The Chimei Arts Award was initiated by Mr. Wen-Long Shi, who anticipated that the award would make a positive contribution towards the cultivation of new blood in the arts, and hence CHIMEI would be playing its part in the promotion of artistic and cultural activity in Taiwan. The award has made it possible for many young people to concentrate on their creative activity without being overburdened by financial worries. In the future, the award will continue to spread the seeds of art throughout Taiwan, helping to bring art and culture into people’s everyday lives.
Every year, senior academics and leading figures in the world of art and music are invited to select the “rising stars” to whom the award will be awarded.
Many of the past recipients of the award still feel a strong sense of gratitude towards the Chi Mei Culture Foundation; for these individuals, the award provided both practical assistance and a source of encouragement. Each recipient of the award is asked to contribute one piece to the Chi Mei Museum’s collections (musicians are asked to participate in one of the concerts organized by the Foundation) in return for the financial support that they receive from the Foundation.
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| April-18-2008 |
| Rviews: Fan Yang-Tsung’s painting |
Space, Aesthetic Feeling, Instant
By Hsu Ching-Yeh, a Ph.D. in art history and teaches at TNUA & TMUE
Lightness, an important character of contemporary popular culture, is also an ssential metaphor underlies Fan Yang-Tsung’s painting. This lightness enables the artist’s imagination to soar wildly in the sky. The artist’s perspective seems to vary with his altitude, shifting from the driving itinerary at ground level to the three dimensional view from the airplane. Fan Yang-Tsung’s flight has in fact exceeded far beyond the limit of three-dimensional space, soaring in a space of both reality and fantasy, which seems to prevent the spectators from identifying his position or recognizing his perspective. The airplanes depicted in his painting never cease moving and changing, in order to capture the momentary pause and interruption in the space.
When I first saw Fan Yang-Tsung’s work a few years ago, another artist’s name immediately popped into my mind. Then before I could blurt out, Fan Yang-Tsung at once admitted it is David Hockney. But we all know too well that Fan Yang-Tsung has already developed his own style long before others started to associate them together. I think it serves as another example of the momentary, unanticipated encounter between the young artist and the established master, and that is usually the case. Fan Yang-Tsung’s topic of painting mostly drawn from daily life, like the scene people taking sunbath by the pool, or the instant when swimmers jumping into the water. These bits and pieces of life may seem easy and relaxing on the surface level, but we should not underestimate the artist’s sensitivity and effort to liberate his images from the constraint of physical reality. Contrary to the bathers by early modern painters like Paul Cézanne or Henri Matisse, which displayed both excellent painting skills and profound spiritual world, contemporary artist David Hockney’s paintings depicted bright California sunshine and bathing scenes with passionate colors, but absolutely spiritually alienated, thus created an extreme tension within his pieces; other works by Hockney showing his gender identity and sexual orientation also conceived unusual dynamic energy and produced alternative space. Left-wing theorist Henri Lefebvre’s conceptualization on the social production of space includes three dimensions: spatial practice, representation of space and representational space. Among them, “representational spaces” refer to “dreams and aspirations, desires, symbolism, the unconscious, emotions, unexpressed feelings in everyday life, body, the carnival, festivities and celebrations, and the communicative space of human interactions.” A space associated with images and symbols, which is distinguished from perceived spaces of everyday life or conceived spaces of urban planning. Thus, the space embraces poets and artists. “Representational spaces” ensure the freedom of expression, which liberates us from social taboos and normalization and allows our imaginations run wild. Lefebvre considers that “representational spaces” not only complement the deficiency of real life spaces, but also move on to generate a significant power of practice and reinforce the change of existed spatial cognition. It is this space of both reality and fantasy that enables the maximum creative freedom of the artist.[1] ......《more》 |
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| April-16-2008 |
| In Our Website: New Works of Hsieh Mu Chi |
Their eyes crisscross and miss one another – a place with no beginning
The Asian Orphan written by Wu Zhuo-Liu is a famous literary work during the colonial Taiwan. The piece depicts a fable – under the regime intertwined with colonialism and recurrent nationalism, it is impossible and unrealistic for people to actualize and to cling on to a sovereign and lasting identity. The corollary of this fable is that the main character goes insane at the end of the story as he is doomed to consciously become an orphan. The main character’s journey in the story is an epitome of the nation’s ideology in which the people collectively construct the history of an abandoned past. “Orphan” as a metaphor symbolizes the physical segregation and geographical confusion, sentiments that eventually give rise to an acute longing for belonging to a string of lasting identities. The ambivalence in identity inherited from the historical picture still manifests itself and continues in reality.
All work exhibited this time are titled “a place with no beginning”. Space is altered by human occupation and transformed into a place. A place marks people’s location and accommodates experience and historical constructs of flux. A place with no beginning implies a wavering yet dynamic relationship between the audience and the bystanders who hover along the permeable borderline, potentiating the exchange and cognizance of different identities. I intervene as a measurer but I do not measure like everyone else does. I draw on a great deal of symbols which images are revised to reflect my understanding of the local environment and geographical location. Each work piece is an individual unit without a steady supporting point. Instead, each unit of the integral is in an undiscovered wavering yet dynamic state. In the distance, observer pries into the scenes that come in sight and explores the unknown. The great deal of repetitive scenes is a result of reproduction.
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| April-06-2008 |
| Reviews: Chen Mei-Tsen in Paris |
La nuit prometteuse
by Jean Louis Poitevin 13 02 08
Chen Mei-Tsen a réalisé, vers 2001, un ensemble de vingt images qui, par la radicalité de leur propos, nous entraînent dans une zone qui existe en chacun de nous mais vers laquelle, le plus souvent, nous hésitons à voyager. Car cette zone est sombre, très sombre et pourtant pleine de promesses. Elle confine à la nuit, la grande nuit qui précède tous les commencements et évoque l’autre grande nuit, celle qui nous attend après la mort. En décidant de plonger son corps dans une malle noire remplie d’eau, en projetant sur cette double surface des éléments minéraux et végétaux divers, en photographiant ce monde primitif et en exposant à la verticale les photographies qui en résultent, elle accomplit un geste étrange qui nous permet de partager avec elle une expérience abyssale.
Il y a dans le travail de Chen Mei-Tsen une ligne directrice tout à fait singulière qui lui fait appréhender les commencements et la fin comme des états du corps à peu près semblables. Et en effet, face à ces images dressées comme des stèles sombres et brillantes à la fois, nous ne pouvons ignorer que ce que nous voyons est un corps, un corps plié comme furent longtemps pliés les cadavres dans les tombes. Ce corps semble s’enfoncer dans la nuit et s’absenter pour toujours. Couvert de traces, griffures du temps lui-même, et peuplé de reflets énigmatiques, pierres de temples ou veines puissantes de la vie qui trame sa renaissance dans les entrailles de la terre, ce corps féminin fait remonter pour nous des profondeurs de la nuit des temps le souvenir impossible de ce que nous sommes avant que nous ne commencions réellement à exister, avant que nous ne venions au monde.
Car entre la mort et la vie, Chen Mei-Tsen le sait et l’expérimente devant nous, il existe un univers impensable qui relie les signes de la fin aux promesses des commencements. Ce monde est composé de plis qui dessinent la carte du pays oublié, celui de l’attente, celui du suspens, ce monde qui n’existe pas et d’où pourtant nous venons et vers lequel, inévitablement nous allons. Cette carte est celle de la mémoire brûlée, du souvenir sans nom de ce moment où la fin redevient origine, ou le temps se replie sur lui-même pour s’engendrer à nouveau. Ce que nous donnent à voir ces photographies de Chen Mei-Tsen, c’est la manière dont ces souvenirs impossibles hantent inlassablement notre esprit sous la forme de rêves, d’images, de visions.
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| March-28-2008 |
| Wang Ya Hui in Taipei Artist Village |
Galerie Grand Siecle and Taiwan Contemporary Art Link are delighted to announce our artist Wang Ya Hui will showing her work at Taipei Artist Village in this weekend.
2008 Spring Open Studio Program Schedule
2008.03.29 ~ 2008.03.30
Taipei Artist Village - No.7, Beiping East Rd.,Taipei, Taiwan
Link: www.artistvillage.org/events.php?type=4&lang=en
AV Spring Open Studio is a big event that you can’t miss this spring. Besides the new visual experiences brought by our residency artists in their joint exhibition, there will be performance art of Kuso from Japan and work of installation art inviting possible interactions to appreciate the equality among different peoples and nationalities. One of the artists even comes up with a survival plan that proposes an interesting exchange with her works of art & delicious curry rice. Moreover, we will announce our future plan to launch our new venue of residency program in the mountain. In the upcoming Summer Open Studio, we will invite you to Yangmingshan, searching for the creative minds of our residency artists there. For a glimpse of the mountain culture, we also organize a special place this time featuring the gourmet food from the mountain in hope to let you learn more about the natural environments at this weekend rendez-vous.
TAV Spring Open Studio is going to bring you unexpected surprises. Now you are invited to immerse yourself in the world of art and enjoy the fun that you shall never forget.
Open Studio by International Artists 14:00~18:00
Participating Artists
Anthony Luensman/ U.S.A
Chee-Kiong Yeo/ Singapore
Mineki Murata/ Japan
Soya Arakawa / Japan
Charlene Shih / Taiwan
Susan Stockwell/ U.K
Yossi Berg & Oded Graf/ Israel
Lan-Ya Huang & Takahiko Suzuki/ Taiwan & Japan
Ling-Chih Chou/ Taiwan
Ya-Hui Wang/ Taiwan
Activity
3/29 (Sat.)
14:00~14:30 TAV Tour
15:00~16:00 Workshop of Mapping your Body/ Susan Stockwell
16:00~16:30 TAV Tour
16:30~17:10 Performance Art: Decomposing Arakawa/ Soya Arakawa
17:20~18:00 Performance Art: Tell a person with my back/ Mineki Murata
3/30 (Sun.)
14:00~14:30 TAV Tour
15:00~16:00 Gallery Talk：EmptysignsAnthony Luensman
16:00-16:30 TAV Tour
16:30~17:10 「One Cubic Taiwan」/ Chee Kiong Yeo
17:20~18:00 Performance/ Yossi Berg and Oded Graf ......《more》 |
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| March-11-2008 |
| AWARD - 2008 Taishin Arts Award |
Galerie Grand Siecle and Taiwan Contemporary Art Link are delighted to announce our artist Kuo I Chen, who nominated the 2008 Taishin Arts Award.
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Survivor Project 《41°N，74°W》 Digital Print.350x127cm.2007
The solo exhibition entitled ‘Mutation’ explores four phases : spirit to corps, corps to city matrix, separation from the city matrix, and return to spiritual matrix. The form of the exhibition space is constituted of urban exhibition spaces and alternative spaces that link up an overall feature of the show. According to the properties of works, they can be divided into : spirit and o space of corps, body space and city matrix to separation from city matrix, and return to spiritual matrix. Works of three levels are respectively shown as they belong to three different urban spaces. The solo exhibition format escapes the normal mode of exhibition space. One of the venues is a television wall on a building, showing work through incessant and dense transmission by means of the interface usually used for commercial advertising. Television wall is also situated in the commercial space which represents a dense locus of commerce. Such commercial space also results in transformations between the city and border-structure space. By way of the intervention and transmission of works, the television wall for advertising is shifted into a new perspective allowing us to see our surroundings. It also reincarnates the relation between our spiritual body and the city matrix
About Taishin Arts Awards
Taishin Arts Award aims to give recognition to creative ideas, professional performance which demonstrates the zeitgeist of our era. We anticipate the involvement of experts from various fields will help to improve our art environment and shorten the distance between art and the ordinary people.
Since its establishment, the Taishin Arts Awards have upheld the criterion for new "Concept," "Vision" and "Direction" in their selection of recipients. Thus, the process of distinguishing between Nominee, Finalist, and Award Recipient involves extensive exhibition or performance review plus a discussion of artistic and cultural milieu. This process serves the two missions of the Taishin Arts Award: to select this year's outstanding artistic work and evaluate the current artistic environment. ......《more》 |
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| February-25-2008 |
| Chen Chien Jung received the Li Chun Shen Foundation of Contemporary Painting’s Visual Arts Award |
Dynasty Art Gallery and Taiwan Contemporary Art Link are delighted to announce our artist Chen Chien Jung, who received the Li Chun Shen Foundation of Contemporary Painting’s Visual Arts Award. Chen Chien Jung will be showing 10 acrylic works and many other composite media planar works from 23 February to 20 March, at the Establishment of Art Center at National Cheng Kung University.
Chen Chien Jung tries to illustrate his own ideal architectural space through the works, limited not by the current rules in design, but only his own imagination. What is reflected in his works are mostly structural spaces that has strong sketch like qualities, this can be seen as a process of construction and dismantlement, of drawing and erasure, and of all that accompany the process.
The works embody continuous repetitions very similar to a process of construction, detachment and restoration, constructing possible spatial bodies in the visual frames. These spatial bodies are often uncertain, or flat, or open, or hollow, or solid, the only commonality is that all of these may not have an applicable functionality. The presentation of these works seem to have offered a certain visual field, let viewers to enter, exit, or have a moment of pause, all in a state of sluggishness.
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| February-23-2008 |
| Chen Yung Hsien hosting an exhibition “Animotion Tropes” |
Galerie Grand Siecle and Taiwan Contemporary Art Link are pleased to announce that our artist Chen Yung Hsien will be hosting an exhibition “Animotion Tropes” at Art Center, National Yang Ming University, from 20 Febreaury untill 15 April 2008. Our artists Wang Ya Hui (Galerie Grand Siecle), Chen Wan Jen (Aki Gallery) and Huang Hsin Chien (Galerie Grand Siecle) have also been invited to show their video works in the exhibition.
Animotion Tropes trys to talk about the process of animation creation under the influence of digital media. It sets to explore how these creators construct their interpretation of happiness and sadness under a system of fast consumerism and commercialized media; and how they reconsider the sense of “pleasure” brought to us by the new media images to today.
Our sense of “pleasure” originates from physiological impulses. However, for modern human, it goes beyond of simply being a bodily reaction, the sense of pleasure also extends itself to practices in cultural activities. A set of mechanisms about the pleasures of reading is derived from Roland Barthes’ discourse “From work to text”, that the work is linked to a pleasure of consumption, yet the text is associated with “jouissance” indulging oneself in a form of “pleasure without separation from the production” of these works; hence this pleasure extends further into a pleasure of consumption and a pleasure of production. This exhibition quotes the latter in its interpretation of “pleasure”, where video imaginary is no longer a relationship of self-existence, but instead it is a social value of which the stationary order is being manipulated and suppressed; how to entrust a further layer of meaning to the interpretation of animation culture and pop consciousness? And between the author and the viewer, how do they communicate the sense of “pleasure” in fast linguistic structures through the use of media such as video imaginary.
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| February-10-2008 |
| In Our Website: New Works of Wang Chia Chi |
A tasty strawberry cake, its vividness conveys the sweetness visually without even savoring it, the gustatory sense is turned into a visual one. The bright red strawberry, possesses a sense of joyfullness visually, is more directly transformed into a body sensation.
Roland Barthes called "Punctum" to those things which pierces the viewer when they stand in front of the artwork. These are not just any ordinary, insignificant things, nor do they inflict just any kind of warm feelings, instead they are something that topples the viewer,letting out a sense of unexpected emotions. ......《more》 |
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| January-03-2008 |
| In Our Website: New Works of Liu Wen Ter |
Taiwan Contemporary Art Link is pleased to present the new works of Liu Wen Ter in our website. Liu Wen Ter, the winner of Taipei Fine Arts Award 1999, has been devoting himself of creating ink, calligraphy and other mixed media works for more than 10 years. His most significant body of works, Doggy series by which he marks his memorial to his pet, reveals his accomplished skills of Chinese ink as well as his loving to his passed pet.
View works of Liu Wen Ter
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| December-07-2007 |
| News: Chou Chu Wang Received Taipei Fine Arts Award |
Aki Gallery and Taiwan Contemporary Art Link are honored to announce artist Chou Chu Wang received Taipei Fine Arts Award 2007 Grand Prize.
Chou Chu Wang is the new artist in Aki Gallery. Chou has devoted himself into documenting his hometown by realistic painting for a long time, and started to explore the same concept by video from this year. Taipei Fine Arts Award 2007 rewards his video works as the profound presentation.
Taipei Fine Arts Award, organized by Taipei Fine Arts Museum annually, is the most important contemporary arts award in Taipei. Link artists Chen Chien Jung, Chen Kun Feng, Chen Wan Jen, Chen Yi Chieh, Hsieh Mu Chi, Hua Chien Chiang, Huang Hsin Chien, Kuo Hui Chan, Kuo I Chen, Liu Wen Ter, Shiau Bei Chen, Su Meng Hung, Tao Ya Lun, Tseng Wei Hao and Wang Ya Hui have been rewarded.
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