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.
Grantee: Hsin-Hua Pan
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.