Employing “spectrum of light” as the theme, this exhibition addresses LGBTQ community’s rich history and its appeals for peace, love and diversity with rainbow as its symbol. On the one hand, the spectrum of colors can be seen in a rainbow, a phenomenon caused by the refraction of white light. Rainbow and light are two sides of the same coin, implying that this exhibition is not about the binary opposition between light and darkness, but as diverse and inclusive as the spectrum in terms of its artistic expression and exploration of LGBTQ issues. On the other hand, light is the everlasting source of energy for the creatures on Earth. It treats and nurtures all living organisms fairly and equally, and promises them growth, hope, and kindness. Based on their similar backgrounds in culture, language, geographical location and ethnicity, 22 artists from Taiwan, China, Hong Kong and Singapore are showcased in the exhibition with a total of 51 artworks. The exhibition represents the life stories and related issues of the post-war Chinese LGBTQ community as the artworks on view touch upon a profusion of subject matters such as identity, equality, exploitation by mass media, social predicaments, comments on individuals/groups, human desire, as well as life and death.
PAN Hsinhua was born in Taimili of Taitung County in 1966. He graduated from the Department of Fine Arts at the National Institute of the Arts (currently known as Taipei National University of the Arts) in 1991 and held a teaching position at Taipei National University of the Arts as an assistant professor between 2011 and 2015. The exhibition “Arcadia Curiosities – Pan Hsinhua Solo Exhibition” at Asia Art Center is Pan Hsinhua’s third exhibition in 2017; Pan Hsinhua was invited to exhibit in “Crisscrossing East and West: The Remaking of Ink Art in Contemporary East Asia” curated by Chia-Chi Wang at Yinchuan Museum of Contemporary Art, as well as “Memories Interwoven and Overlapped: Post-Martial Law Era Ink Painting in Taiwan”, the grand exhibition at National Taiwan Museum of Fine Arts curated by Chao-Jen Wu.
As far as contemporary ink art in Taiwan, China, Hong Kong, Japan and Korea, or even considering the art development in the period since the lifting of martial law in Taiwan, Pan Hsinhua has become an irreplaceable force for his uniquely brilliant artistic language.
Mipaliw, to practice the intention of beauty out of mutual assistance.
9 local and 2 international artists, after a month long residency in Fengbin Township and with the help from each other as well as from local habitants , completed their artworks in Shitiping and Fuxing, creating 11 eye-catching installations that bring a whole new scenery to the East Coast
Grantee: Sumi Dungi
Jodori Khiang is a community-engaged project that aims at revitalizing the Jodori District in Taipei City through art. Facilitating cultural activities in everyday living spaces is a way in which social responsibility of the arts can be practiced.
“SUZU 2017: Oku-Noto Triennale” aims to be an unprecedented festival in which participating artists can rediscover the charm of the place, its patterns of life and its people, while engaging locals and supporters from elsewhere, jointly create an art festival where traditional culture resonates with contemporary art.
“Memories Interwoven and Overlapped: Post-Martial Law Era Ink Painting in Taiwan” features works of diverse categories and media, including ink and wash painting, meticulous heavy color painting, gouache painting, installation, video, and animation; in terms of style and expression, all the works manifest artists’ realizations and sentiments of life, social and cultural concerns, dialectics on history and reality, and the depth and breadth of ink art exploration, exhibiting vibrant creative energy and dynamics. Through interpretation of and dialogues with exciting works of 24 artists from different generations, this exhibition aims to investigate the intertwined relation between Taiwanese ink painting and politics, and present artists’ diverse creative visions inspired by overlapped and interwoven historical memories, as well as the splendid and exciting new look of ink art constructed on such visions, concretely, and in details, presenting and explaining the course of development of Taiwanese ink painting from the lifting of martial law up to the present time.
Grantee: Chien-Ying Tseng
This exhibition explores some of the current practices by artists working with printmaking who are approaching the form not specifically as printmakers but are in many cases using print as one of a number of forms of expression or in combination with other media. They represent new forms of engagement that is informed by current art practices and the impact of digital media, the relation to drawing and photo based media, as well as in some cases, durational, installation and performative practices. This is represented in the different cultural traditions in Taiwan, London and Madrid where most of the artists gravitate to or are based. It is possible to recognise some of the specific cultural conditions that inform the work from each country and the extent to which traditional forms of printmaking have been embraced or even rejected. The exhibition therefore highlights how these artists apply the concepts of print to their artistic expression. By presenting the prints created from different aspects and in different forms, the viewers will get a grasp of the new vision of printmaking which comes along with the departure from old traditions.
Out of Place — A Trilogy on Kaohsiung Military Dependents’ Villages: Lulu Shur-tzy Hou Solo Exhibition
A Trilogy on Kaohsiung Military Dependents’ Villages summarizes the artist’s creative work involving Kaohsiung’s Zuoying and Fengshan military dependents’ villages over the course of many years. Employing the juxtaposition of positive and negative image pairs — which is termed a “Double-gaze” style by the curator, the artist superimposes subjective and objective viewpoints. Her work displays the dispersion and disruption of the military dependents’ villages, the turmoil and transience of the village residents’ lives as well as their appeals for “going back home” due to the improper execution of “Act for Rebuilding Old Quarters for Military Dependents,” and creates a contemporary epic of local history interwoven with the artist’s narratives and her dialogue with the residents.
Grantee: Shur-Tzy Hou
The exhibition theme “After Dawn, Till Moonrise” of Hsia, Ai-Hua is an extraordinary experience that she wanted to present in the gray area of time flows. Like during the chaotic moment from day to night or certain time or place, she could be more insightful to the skyline, thereby she can feel things that others can’t. Most people can only see things and people in our dimension, but some people sometimes could see things from other dimensions. And she is the person who can meet the messengers (or fairies) to bring her messages at some uncertain time flows.
Grantee: Ai-Hua Hsia
The exhibition will showcase Isa Ho's ongoing series of the “Westbeth” project and the newly developed serial work “My Peony Pavilion.” While the subject matter of the two series seem to sit on the opposite end of a spectrum: the young and the elderly, the East and the West; the difference between the series embodies Ho's continual focus on socio-cultural issues. The “Westbeth” series was inspired by and shot at the Westbeth Artists Housing in New York, where Ho spent over four years documenting the senior artists living there, their daily lives and environment. “My Peony Pavilion” utilizes and blends the traditional Chinese Kunqu Opera and Korean popular music K-pop to picture female self-identity in two juxtaposed temporal and spatial frameworks, by leveraging similar pop culture element. The exhibition title Not the Chelsea Hotel (Chinese Title: The Black Swan Effect) points to a key concept: the everyday mundaneness taken for granted might be overturned by a new piece of information – just as when a black swan was “discovered” by an explorer in Australia in 1697, only then people started to realize not all swans were white and their understanding was partial. The concept of the Black Swan Effect becomes the connecting thread: through presenting the two series together in this show, the artist wants to inform the audience’s preconceived notions of facts having the possibility to formulate utterly opposing meanings, once approached with a new angle with a new piece of information presented.