Period of Stay: September 21 - November 30, 2012
Exhibition: November 3 - December 16, 2012
Now Residency in Aomori Contemporary Art Center
Period of Stay: September 21 - November 30, 2012
Exhibition: November 3 - December 16, 2012
IT TAKES FOUR SORTS– CROSS-STRAIT-FOUR-REGION ARTISTIC EXCHANGE PROJECT
Taipei Fine Arts Museum, Taipei
Macau Old Court Building, Macau
Osage Gallery Kwun Tong, Hongkong
He Xianguing Art Museum, China
For“It Takes Four Sorts – Cross-Strait Four Region Artistic Exchange Project (2012)”, five curators of contemporary art from Taiwan, Mainland China, Hong Kong, and Macau have each selected three to four active young artists from a geographic region not the curators own to create separate exhibition units. Working from their own geographic and experiential specificities, the five curators made their selections and compromises with the concept of exchange as a starting point to created a four-unit exhibition representing the four regions that comprise the 2012 “Cross-Strait Four Region Artistic Exchange Project”. This marks the third year for the project which began in 2008 with “Departure”, followed by “Butterfly Effect” in 2009, and “1+1” in 2010. The artistic exchange project continues in 2012 will be held at the Taipei Fine Arts Museum for the first time. The ‘chimera’(四不像) in the Chinese title in 2012 refers to Père David's Deer. Known as milu in Chinese, the beast is also known by its nickname sibuxiang-- literally “unlike any of the four”— referring to the milu’s appearance of having the antlers of a deer but is not a deer, the face of a horse but not a horse, the tail of a donkey but not a donkey, and the hooves of a cow but not a cow. This is an apt metaphor for this exhibition of works from four regions across the China Strait, each with their own geopolitical differences as well as cultural and artistic contexts. The ‘chimera’ (四不像) becomes a concept for in-depth exchange, where five curators each observe the other in their geographical and contemporary artistic context. The understanding and friction that the exchange inevitably produces creates an opportunity for us to observe the ambiguities and differences that exist across the Strait and in the four regions.
photo at Macau Old Court Building
Macau Old Court Building, Macau
Osage Gallery Kwun Tong, Hongkong
He Xianguing Art Museum, China
For“It Takes Four Sorts – Cross-Strait Four Region Artistic Exchange Project (2012)”, five curators of contemporary art from Taiwan, Mainland China, Hong Kong, and Macau have each selected three to four active young artists from a geographic region not the curators own to create separate exhibition units. Working from their own geographic and experiential specificities, the five curators made their selections and compromises with the concept of exchange as a starting point to created a four-unit exhibition representing the four regions that comprise the 2012 “Cross-Strait Four Region Artistic Exchange Project”. This marks the third year for the project which began in 2008 with “Departure”, followed by “Butterfly Effect” in 2009, and “1+1” in 2010. The artistic exchange project continues in 2012 will be held at the Taipei Fine Arts Museum for the first time. The ‘chimera’(四不像) in the Chinese title in 2012 refers to Père David's Deer. Known as milu in Chinese, the beast is also known by its nickname sibuxiang-- literally “unlike any of the four”— referring to the milu’s appearance of having the antlers of a deer but is not a deer, the face of a horse but not a horse, the tail of a donkey but not a donkey, and the hooves of a cow but not a cow. This is an apt metaphor for this exhibition of works from four regions across the China Strait, each with their own geopolitical differences as well as cultural and artistic contexts. The ‘chimera’ (四不像) becomes a concept for in-depth exchange, where five curators each observe the other in their geographical and contemporary artistic context. The understanding and friction that the exchange inevitably produces creates an opportunity for us to observe the ambiguities and differences that exist across the Strait and in the four regions.
心動 EMU / Crush on EMU
Exhibition | Crush on EMU
Date | 2012/09/08-11/11
Venue | MOCA Taipei
As computer technologies and Internet are rapidly advancing, not only our daily life has stepped into an era of digital application, a trend of hi-tech media and digital art has become prevailing since 1980. Facing this so-called “third wave revolution” of our civilization, an irresistible new wave, many Taiwanese contemporary artists, especially the new generation, have begun to explore new means amongst traditional media, such as that of the brushes, paper, canvases and paint. They submerge themselves in creative works of the new media art, employing computer programs, mouses and screens, and electro-kinetic devices as media. Meanwhile, the utilization of the digital images, video installations, screen projections, virtual spaces and platforms on the Internet, and the mechanism of hyper links has brought about new models for art exhibitions as well as the investigation into various possibilities of artistic creation and publicization.
“Crush on EMU” is co-curated by curators, Huang Chien-Hung and Chang Ching-Wen. While the title, EMU, uses the initials ofElectronic-Mobile-Ubiquitous to point out the change and formation of the three stages of the digital era, it also simultaneously corresponds to the French term, ému (as in “Je suis ému”), as an epitome of modern people’s reliance on the humanitarian environment and vision of the new digital technology. This exhibition includes 25 groups/28 contemporary Taiwanese artists, and they can be roughly divided into two types: (1) artists who specialize in digital media art, including Wang Jun-Jieh, Yuan Goang-Ming, Wu Chi-Tsung, Lin Guan-Ming, Wang Fujui, Tseng Yu-Chin, Yao Chung-Han, LuxuryLogico, Wu Chi-Yu, Chen Ching-Yuan, Yu Cheng-Ta, Hsieh Mu-Chi, Kuo I-Chen, Chang Ming-Yao, Li Cheng-Liang, Huang Po-Chih; and (2) artists who make use of non-digital media, including Chen Chun-Hao, Chen Shiau-Peng, Wang Sean, Tzeng Yong-Ning, Hsi Shih-Pin, Chou Tai-Chun, Tsai Home, Liao Chien-Chung, Huang Pei-Ying, whose works reflect the values and thinking, contemplations on trends, references of techniques or transformation of aesthetics of the digital era.
The curatorial logic and the placement of the artworks in this exhibition indicate an attempt to incorporate and convert the exhibition rooms and hallways into a corridor of time to stimulate trends reading as well art experience. The planning of the space and traffic flow intentionally juxtaposes characteristic artworks of digital art of the recent decade in Taiwan and the correlating, exemplifying art works created by artists outside the digital art circle. In this exhibition, viewers can conduct an on-site, intensive, multi-perspective reading of the embedded dialogues and subtle tensions between various parties ranging from the walled-in academia to the diverse and competitive art circle, and therefore, perceive and imagine a “consequent and continuous” surging relationship therein.
photo/ MOCA Taipei
OURS．KARAOKE - A Project by Yu Cheng-Ta
There are both the desires of "performing" and "seeing a performance" hidden deep inside us. The webcam and the system turns on the switch, allowing the Body to enter a visualized situation. Simultaneously, part of the Body is doing its best to perform, while the other part of it is gazing into the recorded self through the camera. In the project "OURS．KARAOKE," the artist Yu Cheng-Ta has invited his friends to join the performance: he has walked in his friends' places with a laptop, recording their Karaoke performance. The YouTube-like collected videos of those unrehearsed clips creates a show of desire which is beyond the songs being recorded.
Invisibleness is Visibleness International Contemporary Art Collection of a Salaryman- Daisuke Miyatsu
Exhibition Time：2011 / 7 / 9 ~ 2011 / 9 / 4
Exhibition Venue：台北當代藝術館 MOCA TAIPEI
Opening：2011 / 7 / 9 PM15:00
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