Post-Loyalist of Doomsdayism
2012.12.28～2013.02.24
09:00 - 17:00
The
loyalists” swing the saber to separate their body and soul from past glory, but the pain remains…It is the pain from the irreversible lost of the kingdom. Eilleen Chang’s famous line,
I can’t go back anymore”, has become a popular quote for the digital generation, ever since the heroin (Hsie An-Chen) in the TV drama, The Fierce Wife, made a powerful declaration as to her stance on the intertwining love-hate relationship. In the digital world,
newer things” continue to replace the
older things” in the wink of an eye and people stay in the constant state of time-space irreversibility. Thus, feelings lost and fast time-object dissipation become a shared experience in these modern-days. In the torrent of time, we are not just the passersby, but the
loyalists” of the past who mourn for the irreversible. If the 2012 doomsday prophecy comes true, this exhibition will fall into the torrent of time before its existence ever takes place. When the day comes, history will be rewritten and civilizations disintegrated. What if we survive the doomsday scenario or if it never comes? This point in time will indubitably become a breaking point or a landmark in history. Set after the doomsday of the Mayan prophecy, this exhibition accentuates the time mark that denotes the end of the world, which arouses the imagination
once and for all” and makes people rethink the concept of
time”. The
Doomsday Legend” pushes the mourning for lost time into the ultimate. The
post loyalists” share only one thing, that is, the endless extension of the sorrow for the lost era. In this joint exhibition, the artists may show great divergence in style and creative concepts, but they all carry certain elements of
post-loyalties” and present the feel of dissipating time to the ultimate. Some artists tackled the
doomsday” feeling or addresses the feeling of lethargy in apparent presentations through the manipulation of media and symbols. From their works, we can see the implicit interplay of praises and criticisms in the digital world hovering over the time before doomsday.
loyalists” swing the saber to separate their body and soul from past glory, but the pain remains…It is the pain from the irreversible lost of the kingdom. Eilleen Chang’s famous line,
I can’t go back anymore”, has become a popular quote for the digital generation, ever since the heroin (Hsie An-Chen) in the TV drama, The Fierce Wife, made a powerful declaration as to her stance on the intertwining love-hate relationship. In the digital world,
newer things” continue to replace the
older things” in the wink of an eye and people stay in the constant state of time-space irreversibility. Thus, feelings lost and fast time-object dissipation become a shared experience in these modern-days. In the torrent of time, we are not just the passersby, but the
loyalists” of the past who mourn for the irreversible. If the 2012 doomsday prophecy comes true, this exhibition will fall into the torrent of time before its existence ever takes place. When the day comes, history will be rewritten and civilizations disintegrated. What if we survive the doomsday scenario or if it never comes? This point in time will indubitably become a breaking point or a landmark in history. Set after the doomsday of the Mayan prophecy, this exhibition accentuates the time mark that denotes the end of the world, which arouses the imagination
once and for all” and makes people rethink the concept of
time”. The
Doomsday Legend” pushes the mourning for lost time into the ultimate. The
post loyalists” share only one thing, that is, the endless extension of the sorrow for the lost era. In this joint exhibition, the artists may show great divergence in style and creative concepts, but they all carry certain elements of
post-loyalties” and present the feel of dissipating time to the ultimate. Some artists tackled the
doomsday” feeling or addresses the feeling of lethargy in apparent presentations through the manipulation of media and symbols. From their works, we can see the implicit interplay of praises and criticisms in the digital world hovering over the time before doomsday.
The
loyalists” swing the saber to separate their body and soul from past glory, but the pain remains…It is the pain from the irreversible lost of the kingdom. Eilleen Chang’s famous line,
I can’t go back anymore”, has become a popular quote for the digital generation, ever since the heroin (Hsie An-Chen) in the TV drama, The Fierce Wife, made a powerful declaration as to her stance on the intertwining love-hate relationship. In the digital world,
newer things” continue to replace the
older things” in the wink of an eye and people stay in the constant state of time-space irreversibility. Thus, feelings lost and fast time-object dissipation become a shared experience in these modern-days. In the torrent of time, we are not just the passersby, but the
loyalists” of the past who mourn for the irreversible. If the 2012 doomsday prophecy comes true, this exhibition will fall into the torrent of time before its existence ever takes place. When the day comes, history will be rewritten and civilizations disintegrated. What if we survive the doomsday scenario or if it never comes? This point in time will indubitably become a breaking point or a landmark in history. Set after the doomsday of the Mayan prophecy, this exhibition accentuates the time mark that denotes the end of the world, which arouses the imagination
once and for all” and makes people rethink the concept of
time”. The
Doomsday Legend” pushes the mourning for lost time into the ultimate. The
post loyalists” share only one thing, that is, the endless extension of the sorrow for the lost era. In this joint exhibition, the artists may show great divergence in style and creative concepts, but they all carry certain elements of
post-loyalties” and present the feel of dissipating time to the ultimate. Some artists tackled the
doomsday” feeling or addresses the feeling of lethargy in apparent presentations through the manipulation of media and symbols. From their works, we can see the implicit interplay of praises and criticisms in the digital world hovering over the time before doomsday.
loyalists” swing the saber to separate their body and soul from past glory, but the pain remains…It is the pain from the irreversible lost of the kingdom. Eilleen Chang’s famous line,
I can’t go back anymore”, has become a popular quote for the digital generation, ever since the heroin (Hsie An-Chen) in the TV drama, The Fierce Wife, made a powerful declaration as to her stance on the intertwining love-hate relationship. In the digital world,
newer things” continue to replace the
older things” in the wink of an eye and people stay in the constant state of time-space irreversibility. Thus, feelings lost and fast time-object dissipation become a shared experience in these modern-days. In the torrent of time, we are not just the passersby, but the
loyalists” of the past who mourn for the irreversible. If the 2012 doomsday prophecy comes true, this exhibition will fall into the torrent of time before its existence ever takes place. When the day comes, history will be rewritten and civilizations disintegrated. What if we survive the doomsday scenario or if it never comes? This point in time will indubitably become a breaking point or a landmark in history. Set after the doomsday of the Mayan prophecy, this exhibition accentuates the time mark that denotes the end of the world, which arouses the imagination
once and for all” and makes people rethink the concept of
time”. The
Doomsday Legend” pushes the mourning for lost time into the ultimate. The
post loyalists” share only one thing, that is, the endless extension of the sorrow for the lost era. In this joint exhibition, the artists may show great divergence in style and creative concepts, but they all carry certain elements of
post-loyalties” and present the feel of dissipating time to the ultimate. Some artists tackled the
doomsday” feeling or addresses the feeling of lethargy in apparent presentations through the manipulation of media and symbols. From their works, we can see the implicit interplay of praises and criticisms in the digital world hovering over the time before doomsday.
Works
