One Piece Room Lee Ming-Tse Solo Exhibition
2013.07.19～2013.09.22
09:00 - 17:00
Venue: Gallery 401、501 Lee Ming-Tse grew up during the 1970s, a time when the
nativist movement” was at its height in Taiwan. When Lee was awarded the Hsiung Shih New Artists Prize in 1981 for his work, Chinese Style, the movement was nearing its end. Nevertheless, to Lee,
nativism” not only referred to a specific geographical location, but also a state of mind that encompassed local folk customs, ethics, and other cultural aspects. For him, the movement served as a spiritual recollection for a distant and harsh history marked with great change. To express childhood memories, Lee used art to capture scenes of ordinary, daily life in Taiwan. Elements of common life served as the source of inspiration for his artistic themes. Although Lee’s works appear similar to traditional Chinese landscapes, they are, in fact, the artist’s re-interpretation of illustrations from novels, temple decorations, or other elements of traditional Taiwanese culture, such as Bian Zi or Zhou Zi. His works never express a particular reverence for Chinese culture. Rather, his art explores memories from his childhood. In fact,
Chinese Style” might be misleading because Lee’s artworks actually embody a
Taiwanese style.” Lee’s creative career has been marked with constant transformations, which also outline a trajectory of his creative direction. For his art, Lee places much emphasis on the intersection between art and daily life. Reflecting on past experiences, he draws from personal memories to express a sense of wonder for the myth-like aspects of folk culture. Referencing ancient legends and myths, Lee explores and reflects upon his own life to transcend reality and the physical world. Lee’s creative process involving schemata-like images led to his creation of paintings that imbue symbolic meanings and rich narratives. His works combine fiction with reality to express an admiration for traditional folk culture and a nostalgic yet melancholic view of history. They can also be seen as allegories regarding many social aspects. With a focus on daily life, the artist expresses a deep care for society in his works, whether they serve as a scrutiny of religion, an imagination of methodology, or an expression of artistic meaning. Lee’s art serves as an expression of his life experiences, while invoking a deep care for society and history. However, underneath Lee’s poetic schemata-like images, there lurks a hidden desire. Text By Chen Shui-Tsai
nativist movement” was at its height in Taiwan. When Lee was awarded the Hsiung Shih New Artists Prize in 1981 for his work, Chinese Style, the movement was nearing its end. Nevertheless, to Lee,
nativism” not only referred to a specific geographical location, but also a state of mind that encompassed local folk customs, ethics, and other cultural aspects. For him, the movement served as a spiritual recollection for a distant and harsh history marked with great change. To express childhood memories, Lee used art to capture scenes of ordinary, daily life in Taiwan. Elements of common life served as the source of inspiration for his artistic themes. Although Lee’s works appear similar to traditional Chinese landscapes, they are, in fact, the artist’s re-interpretation of illustrations from novels, temple decorations, or other elements of traditional Taiwanese culture, such as Bian Zi or Zhou Zi. His works never express a particular reverence for Chinese culture. Rather, his art explores memories from his childhood. In fact,
Chinese Style” might be misleading because Lee’s artworks actually embody a
Taiwanese style.” Lee’s creative career has been marked with constant transformations, which also outline a trajectory of his creative direction. For his art, Lee places much emphasis on the intersection between art and daily life. Reflecting on past experiences, he draws from personal memories to express a sense of wonder for the myth-like aspects of folk culture. Referencing ancient legends and myths, Lee explores and reflects upon his own life to transcend reality and the physical world. Lee’s creative process involving schemata-like images led to his creation of paintings that imbue symbolic meanings and rich narratives. His works combine fiction with reality to express an admiration for traditional folk culture and a nostalgic yet melancholic view of history. They can also be seen as allegories regarding many social aspects. With a focus on daily life, the artist expresses a deep care for society in his works, whether they serve as a scrutiny of religion, an imagination of methodology, or an expression of artistic meaning. Lee’s art serves as an expression of his life experiences, while invoking a deep care for society and history. However, underneath Lee’s poetic schemata-like images, there lurks a hidden desire. Text By Chen Shui-Tsai
Venue: Gallery 401、501 Lee Ming-Tse grew up during the 1970s, a time when the
nativist movement” was at its height in Taiwan. When Lee was awarded the Hsiung Shih New Artists Prize in 1981 for his work, Chinese Style, the movement was nearing its end. Nevertheless, to Lee,
nativism” not only referred to a specific geographical location, but also a state of mind that encompassed local folk customs, ethics, and other cultural aspects. For him, the movement served as a spiritual recollection for a distant and harsh history marked with great change. To express childhood memories, Lee used art to capture scenes of ordinary, daily life in Taiwan. Elements of common life served as the source of inspiration for his artistic themes. Although Lee’s works appear similar to traditional Chinese landscapes, they are, in fact, the artist’s re-interpretation of illustrations from novels, temple decorations, or other elements of traditional Taiwanese culture, such as Bian Zi or Zhou Zi. His works never express a particular reverence for Chinese culture. Rather, his art explores memories from his childhood. In fact,
Chinese Style” might be misleading because Lee’s artworks actually embody a
Taiwanese style.” Lee’s creative career has been marked with constant transformations, which also outline a trajectory of his creative direction. For his art, Lee places much emphasis on the intersection between art and daily life. Reflecting on past experiences, he draws from personal memories to express a sense of wonder for the myth-like aspects of folk culture. Referencing ancient legends and myths, Lee explores and reflects upon his own life to transcend reality and the physical world. Lee’s creative process involving schemata-like images led to his creation of paintings that imbue symbolic meanings and rich narratives. His works combine fiction with reality to express an admiration for traditional folk culture and a nostalgic yet melancholic view of history. They can also be seen as allegories regarding many social aspects. With a focus on daily life, the artist expresses a deep care for society in his works, whether they serve as a scrutiny of religion, an imagination of methodology, or an expression of artistic meaning. Lee’s art serves as an expression of his life experiences, while invoking a deep care for society and history. However, underneath Lee’s poetic schemata-like images, there lurks a hidden desire. Text By Chen Shui-Tsai
nativist movement” was at its height in Taiwan. When Lee was awarded the Hsiung Shih New Artists Prize in 1981 for his work, Chinese Style, the movement was nearing its end. Nevertheless, to Lee,
nativism” not only referred to a specific geographical location, but also a state of mind that encompassed local folk customs, ethics, and other cultural aspects. For him, the movement served as a spiritual recollection for a distant and harsh history marked with great change. To express childhood memories, Lee used art to capture scenes of ordinary, daily life in Taiwan. Elements of common life served as the source of inspiration for his artistic themes. Although Lee’s works appear similar to traditional Chinese landscapes, they are, in fact, the artist’s re-interpretation of illustrations from novels, temple decorations, or other elements of traditional Taiwanese culture, such as Bian Zi or Zhou Zi. His works never express a particular reverence for Chinese culture. Rather, his art explores memories from his childhood. In fact,
Chinese Style” might be misleading because Lee’s artworks actually embody a
Taiwanese style.” Lee’s creative career has been marked with constant transformations, which also outline a trajectory of his creative direction. For his art, Lee places much emphasis on the intersection between art and daily life. Reflecting on past experiences, he draws from personal memories to express a sense of wonder for the myth-like aspects of folk culture. Referencing ancient legends and myths, Lee explores and reflects upon his own life to transcend reality and the physical world. Lee’s creative process involving schemata-like images led to his creation of paintings that imbue symbolic meanings and rich narratives. His works combine fiction with reality to express an admiration for traditional folk culture and a nostalgic yet melancholic view of history. They can also be seen as allegories regarding many social aspects. With a focus on daily life, the artist expresses a deep care for society in his works, whether they serve as a scrutiny of religion, an imagination of methodology, or an expression of artistic meaning. Lee’s art serves as an expression of his life experiences, while invoking a deep care for society and history. However, underneath Lee’s poetic schemata-like images, there lurks a hidden desire. Text By Chen Shui-Tsai
Lee Ming-Tse 1957 Borne in Hou-Hong Heighborhood, Gangshan Town, Kaohsiung 1977 Graduated from Art and Design Division, Kuen-Shan Senior High School, Tainan 1989 Establishing “Outdoor Painting Club” with Tsai Xian-You, Chen Long-Xing, Wu Kuan-Ying, Wang Wu-Sen and Huang Wen-Yong Award 1981 The 6th Hsiung Shih New Artists Prize Solo Exhibitions 2009 “Taiwan Is The Best, But Southern Taiwan Is Even Better–Lee Ming-Tse”, Kaohsiung Museum of Fine Arts, Kaohsiung 2004 “We are family–Lee Ming-Tse Solo Exhibition, 2004”, Main Trend Gallery, Taipei 2001 “To Know Yourself Well—Installation Art Exhibition”, Dog Pig Art Café, Kaohsiung 1996 “The Front & Rear Ends of Formosa”, Taipei Fine Arts Museum, Taipei、New Phase Art Space, Tainan 1994 “What Is In Your Mind–Lee Ming-Tse”, The Doors Art Space, Kaohsiung、Galerie Pierre, Taichung 1993 “Mr. Lee’s Spring Tour”, New Phase Art Space, Tainan、Galerie Pierre, Taichung 1991 “Lee Ming-Tse Solo Exhibition”, The Doors Art Space, Kaohsiung 1988 “Lee Ming-Tse Solo Exhibition”, Tianmu Ceramics House, Taipei 1986 “Lee Ming-Tse Solo Exhibition”, Taipei KHS, Taipei 1984 “Chivalrous World”, American Cultural Center, Taipei Selected Group Exhibitions 2009 “New Orgasm-Post Industrialization”, Sincewell Gallery, Kaohsiung 2008 “Second Vision”, National Taiwan Museum of Fine Arts, Taichung 2007 “Footprint into the Future: Contemporary Art from Taiwan”, PAN-Palazzo delle arti Napoli, Italy、Kaohsiung Museum of Fine Arts, Kaohsiung 2006 “Macro Vision, Micro Analysis, Multiple Reflections - Contemporary Art in Taiwan since 1987”, National Taiwan Museum of Fine Arts, Taichung 2005 “Crossings : 10 artists from Chicago & Kaohsiung”, Chicago Cultural Center, USA、Kaohsiung Museum of Fine Arts, Kaohsiung “Pseudo Hackers's Art in Parallel Zones”, Museum of Contemporary Art, Taipei 2004 “Contemporary Taiwanese art in the era of contention”, Taipei Fine Arts Museum, Taipei; Museum of Art, Cornell University, USA 2003 “Crossing Over - Thirteen: Eternalness, Tergiversation and Potential Changes”, Galerie Pierre, Taichung 2002 “Fukuoka Asia Art Triennale”, Fukuoka Asian Art Museum, Japan 2001 “Waves Striking: One Hundred Years of Taiwanese Arts”, Kuandu Museum of Fine Arts, Taipei、National Taiwan Museum of Fine Arts, Taichung 2000 “Art in Kaohsiung & The Pulsation of The Society”, Kaohsiung Museum of Fine Arts, Kaohsiung 1999 “Visions of Pluralism-Contemporary art in Taiwan”, Mountain Arts Museum, Kaohsiung、National Museum of History, Taipei、National Art Museum of China, Beijing 1998 “You Talk, I Listen”, Taipei Fine Arts Museum ＆ Taipei Children’s Recreation Center, Taipei、Bissoon Contemporary Art Center, France 1997 “La Biennale di Venezia, 47th Esposizione Internazionale d'Arte - Taiwan: Facing Faces”, Palazzo delle Prigioni and Palazzo Ducale S. Marco, Venice, Italy 1996 “The 2nd Asia Pacific Triennial of Contemporary Art”, Queensland Art Gallery, Australia
Lee Ming-Tse 1957 Borne in Hou-Hong Heighborhood, Gangshan Town, Kaohsiung 1977 Graduated from Art and Design Division, Kuen-Shan Senior High School, Tainan 1989 Establishing “Outdoor Painting Club” with Tsai Xian-You, Chen Long-Xing, Wu Kuan-Ying, Wang Wu-Sen and Huang Wen-Yong Award 1981 The 6th Hsiung Shih New Artists Prize Solo Exhibitions 2009 “Taiwan Is The Best, But Southern Taiwan Is Even Better–Lee Ming-Tse”, Kaohsiung Museum of Fine Arts, Kaohsiung 2004 “We are family–Lee Ming-Tse Solo Exhibition, 2004”, Main Trend Gallery, Taipei 2001 “To Know Yourself Well—Installation Art Exhibition”, Dog Pig Art Café, Kaohsiung 1996 “The Front & Rear Ends of Formosa”, Taipei Fine Arts Museum, Taipei、New Phase Art Space, Tainan 1994 “What Is In Your Mind–Lee Ming-Tse”, The Doors Art Space, Kaohsiung、Galerie Pierre, Taichung 1993 “Mr. Lee’s Spring Tour”, New Phase Art Space, Tainan、Galerie Pierre, Taichung 1991 “Lee Ming-Tse Solo Exhibition”, The Doors Art Space, Kaohsiung 1988 “Lee Ming-Tse Solo Exhibition”, Tianmu Ceramics House, Taipei 1986 “Lee Ming-Tse Solo Exhibition”, Taipei KHS, Taipei 1984 “Chivalrous World”, American Cultural Center, Taipei Selected Group Exhibitions 2009 “New Orgasm-Post Industrialization”, Sincewell Gallery, Kaohsiung 2008 “Second Vision”, National Taiwan Museum of Fine Arts, Taichung 2007 “Footprint into the Future: Contemporary Art from Taiwan”, PAN-Palazzo delle arti Napoli, Italy、Kaohsiung Museum of Fine Arts, Kaohsiung 2006 “Macro Vision, Micro Analysis, Multiple Reflections - Contemporary Art in Taiwan since 1987”, National Taiwan Museum of Fine Arts, Taichung 2005 “Crossings : 10 artists from Chicago & Kaohsiung”, Chicago Cultural Center, USA、Kaohsiung Museum of Fine Arts, Kaohsiung “Pseudo Hackers's Art in Parallel Zones”, Museum of Contemporary Art, Taipei 2004 “Contemporary Taiwanese art in the era of contention”, Taipei Fine Arts Museum, Taipei; Museum of Art, Cornell University, USA 2003 “Crossing Over - Thirteen: Eternalness, Tergiversation and Potential Changes”, Galerie Pierre, Taichung 2002 “Fukuoka Asia Art Triennale”, Fukuoka Asian Art Museum, Japan 2001 “Waves Striking: One Hundred Years of Taiwanese Arts”, Kuandu Museum of Fine Arts, Taipei、National Taiwan Museum of Fine Arts, Taichung 2000 “Art in Kaohsiung & The Pulsation of The Society”, Kaohsiung Museum of Fine Arts, Kaohsiung 1999 “Visions of Pluralism-Contemporary art in Taiwan”, Mountain Arts Museum, Kaohsiung、National Museum of History, Taipei、National Art Museum of China, Beijing 1998 “You Talk, I Listen”, Taipei Fine Arts Museum ＆ Taipei Children’s Recreation Center, Taipei、Bissoon Contemporary Art Center, France 1997 “La Biennale di Venezia, 47th Esposizione Internazionale d'Arte - Taiwan: Facing Faces”, Palazzo delle Prigioni and Palazzo Ducale S. Marco, Venice, Italy 1996 “The 2nd Asia Pacific Triennial of Contemporary Art”, Queensland Art Gallery, Australia
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