Kuandu Museum of Fine Arts

Exhibition Introduction

The 2022 Contemporary Art Prize is a competitive exhibition co-organized by the School of Fine Arts and School of Film and New Media of Taipei National University of the Arts along with the Kuandu Museum of Fine Arts to promote the art and research capabilities of students, while encouraging openness, participation, and creativity. This year’s exhibition features a total of 73 participants and 63 works of art as candidates. Of these, eight works will be selected by teachers and experts from TNUA and beyond after undergoing written examinations and preliminary reviews, and only two candidates will be selected for final review. The announcement and conferring of awards will commence during a joint opening with the Kuandu Museum of Fine Arts on June 10th.

This year’s qualifying artwork demonstrates the novel appearance of modern art and the distinct, lively attitude of self-expression belonging to a new generation of creators. Through creative presentation, this award hopes to establish a benchmark for visual art creation at the Taipei National University of the Art, while continuing to be a platform for advancing dialogue and interaction between young creators in the future, and expanding Taiwan art students’ understanding and vision of contemporary visual art.

The 2022 TNUA Contemporary Art Prize will be on exhibit at the Taipei National University of the Arts Kuandu Museum of Fine Arts from June 6th to September 4th.

Exhibition Introduction

The 2022 Contemporary Art Prize is a competitive exhibition co-organized by the School of Fine Arts and School of Film and New Media of Taipei National University of the Arts along with the Kuandu Museum of Fine Arts to promote the art and research capabilities of students, while encouraging openness, participation, and creativity. This year’s exhibition features a total of 73 participants and 63 works of art as candidates. Of these, eight works will be selected by teachers and experts from TNUA and beyond after undergoing written examinations and preliminary reviews, and only two candidates will be selected for final review. The announcement and conferring of awards will commence during a joint opening with the Kuandu Museum of Fine Arts on June 10th.

This year’s qualifying artwork demonstrates the novel appearance of modern art and the distinct, lively attitude of self-expression belonging to a new generation of creators. Through creative presentation, this award hopes to establish a benchmark for visual art creation at the Taipei National University of the Art, while continuing to be a platform for advancing dialogue and interaction between young creators in the future, and expanding Taiwan art students’ understanding and vision of contemporary visual art.

The 2022 TNUA Contemporary Art Prize will be on exhibit at the Taipei National University of the Arts Kuandu Museum of Fine Arts from June 6th to September 4th.

About the Works

CHIANG,TUNG-YU |《Where is green?》

Acrylic on canvas
224 x 145.5 cm, 2022

Green is a fusion of color, a composite of yellow and blue. Where is Green? presents green in two orientations, a juxtaposition of evenly distributed, multiple gradient color bars, with a tone adjusted little by little so that each bar in the picture changes. Our perception of the color’s boundaries is expanded through the addition of different hues, simultaneously causing doubt to arise over green’s position. Where is Green? is one in a series of works where I arrange colors in different permutations - gradual, expansive, tight - and attempt to expand the space developed within each model. It serves as a deep study of our sense of space in sequential colors that attempts to investigate where colors begin and end.

PUWEI WU |《LOOK OVER THERE!》

Acrylic on wall
Depending on exhibition, 2022

A spray-painted likeness of a person in real proportions on the wall and a participant standing for a long time in the midst of an exhibition…is the image that of a librarian? Is it the audience? The artist? Maybe it isn’t anyone, only each and every one hiding in the corner, on the side of a pillar, a flat persona waiting to be discovered once more. Mistaken for someone else, they reveal themselves at the exhibit’s opening, only to disappear along with the visitors at its closing. Perhaps there are a few that have escaped our notice. But, it’s okay, we’ll just have to wait and see.

About the Works

CHIANG,TUNG-YU |《Where is green?》

Acrylic on canvas
224 x 145.5 cm, 2022

Green is a fusion of color, a composite of yellow and blue. Where is Green? presents green in two orientations, a juxtaposition of evenly distributed, multiple gradient color bars, with a tone adjusted little by little so that each bar in the picture changes. Our perception of the color’s boundaries is expanded through the addition of different hues, simultaneously causing doubt to arise over green’s position. Where is Green? is one in a series of works where I arrange colors in different permutations - gradual, expansive, tight - and attempt to expand the space developed within each model. It serves as a deep study of our sense of space in sequential colors that attempts to investigate where colors begin and end.

PUWEI WU |《LOOK OVER THERE!》

Acrylic on wall
Depending on exhibition, 2022

A spray-painted likeness of a person in real proportions on the wall and a participant standing for a long time in the midst of an exhibition…is the image that of a librarian? Is it the audience? The artist? Maybe it isn’t anyone, only each and every one hiding in the corner, on the side of a pillar, a flat persona waiting to be discovered once more. Mistaken for someone else, they reveal themselves at the exhibit’s opening, only to disappear along with the visitors at its closing. Perhaps there are a few that have escaped our notice. But, it’s okay, we’ll just have to wait and see.

LIN YAN-XIANG |《Copy Island》

Full HD Two-channel Video , 3D Print Model , wooden Model, 12′ 33″
2021

The video Copy Island is based on the dream of a believer, the intertwined narrative of the island and the land Gods. Using 3D models in computer software to simulate the process of visualizing faith in religion, and the fictional grafting of spirituality from different eras. In this way, it reflects how society transforms natural capital and responds to the sense of Taiwan as an island.

Chuang En-Chi, Chen Cheng-Wei, Lion Gi-Rong, Chiu Chieh-Yi |《Data-verse Taipei》

This work predicts immediate images of no fixed duration. 2022

Right now, the Internet, web browsers, social media, and the like get large amounts of use as the digital world moves at a break-neck pace. The current proposal presents the world of the Internet we imagine through picture animation. Utilizing computer-generated web data as a variable parameter, the exhibit’s images update randomly. Receiving the latest data and designing a website that allows visitors to use their smartphones to post comments or pictures while they enjoy the exhibition, objects deliver unpredictable variations. The exhibit attempts to connect the world of the Internet world through actual physics, creating a relationship between both sides through 3D visualization.

LIN YAN-XIANG |《Copy Island》

Full HD Two-channel Video , 3D Print Model , wooden Model, 12′ 33″
2021

The video Copy Island is based on the dream of a believer, the intertwined narrative of the island and the land Gods. Using 3D models in computer software to simulate the process of visualizing faith in religion, and the fictional grafting of spirituality from different eras. In this way, it reflects how society transforms natural capital and responds to the sense of Taiwan as an island.

Chuang En-Chi, Chen Cheng-Wei, Lion Gi-Rong, Chiu Chieh-Yi |《Data-verse Taipei》

This work predicts immediate images of no fixed duration. 2022

Right now, the Internet, web browsers, social media, and the like get large amounts of use as the digital world moves at a break-neck pace. The current proposal presents the world of the Internet we imagine through picture animation. Utilizing computer-generated web data as a variable parameter, the exhibit’s images update randomly. Receiving the latest data and designing a website that allows visitors to use their smartphones to post comments or pictures while they enjoy the exhibition, objects deliver unpredictable variations. The exhibit attempts to connect the world of the Internet world through actual physics, creating a relationship between both sides through 3D visualization.

Hsu, Chih-Chen, Liu, Yu-Hsuan, Hsiung, Tien-Yu |《Red Flower》

Celluloid, Acrylic, Crayon, 2D Animation, Color, Stereo
3’16’’, 2021

A Journey of the girl begins with the circulation between reappearance and comprehension. Flowers in the state of bud, creatures under excessive agitation, overloaded trains not only reveal their mental pressure and external fear but also imply their sensation that couldn’t be enclosed and illustrated.

Through the reflection of our piece and the transition of various mixed material to pile up the essence from their deformable differences and restore their original appearance, we build up a spatial imagination in the sense of female body.

Yi-Shiuan Chen |《Between Shadows》

Single-channel video(color,sound,1080P), Coarse Glasses, Suede curtain
dimensions variable, 2021-2022

This work takes a look back to the beginning of the White Terror period, seeking a way of remembering in that era. Inspired by the struggle between sleep and wakefulness, it is difficult to tell if what you see is reality or a dream. After waking up, the terror or beauty within become indistinct feelings. I cannot recreate memories of the White Terror, only give some sort of quiet consolation to victims and the departed by means of a dim tableau in an awareness out of time.

Hsu, Chih-Chen, Liu, Yu-Hsuan, Hsiung, Tien-Yu |《Red Flower》

Celluloid, Acrylic, Crayon, 2D Animation, Color, Stereo
3’16’’, 2021

A Journey of the girl begins with the circulation between reappearance and comprehension. Flowers in the state of bud, creatures under excessive agitation, overloaded trains not only reveal their mental pressure and external fear but also imply their sensation that couldn’t be enclosed and illustrated.

Through the reflection of our piece and the transition of various mixed material to pile up the essence from their deformable differences and restore their original appearance, we build up a spatial imagination in the sense of female body.

Yi-Shiuan Chen |《Between Shadows》

Single-channel video(color,sound,1080P), Coarse Glasses, Suede curtain
dimensions variable, 2021-2022

This work takes a look back to the beginning of the White Terror period, seeking a way of remembering in that era. Inspired by the struggle between sleep and wakefulness, it is difficult to tell if what you see is reality or a dream. After waking up, the terror or beauty within become indistinct feelings. I cannot recreate memories of the White Terror, only give some sort of quiet consolation to victims and the departed by means of a dim tableau in an awareness out of time.

Chen Chen |《Imitation Training》

Double Channel Video Installation
9’ 30’’, 2022

In the movie Snake in Eagle’s Shadow (1978), the lead actor undergoes training in the martial arts through imitation. Through deepfakes, the present work zeroes in on childhood memories of pretending to be kung fu movie stars. In the process, practice and calculation, martial arts and technology, Jackie Chan and the self, all gradually converge. When ‘technology’ no longer refers to technology itself, it becomes a tool of nostalgia. This video presents the transformation in my relation with kung fu movies from pure spectator to collaborative editor, as well as the gradual process of digitization between physical and artificial interfaces.

HSIEH,YU-CIAO |《Paradise of Chaos II: Virus Creation》

Three-channel video installation, Color, sound
5’ 19’’／4’ 33’’／5’ 43’’
Dimensions variable, 2022

During the pandemic, the actual space between people seems to have become isolated and compartmentalized. Yet, in the virtual world, people seem to communicate in more intimate and explosive ways. From an evolutionary perspective, viral iteration is facilitated by the intense cultivation of animals (such as poultry) in crowded, confined, and unnatural conditions. Compared with human societies, digital media is like a mental virus, propagating in humans’ collective brains and the realm of virtual imagination. During the spread of both physical and mental viruses, we have become the hybrid lifeforms of a new age. To rediscover a world that escapes the constructs of digital media, do we suppress or live with it?

Chen Chen |《Imitation Training》

Double Channel Video Installation
9’ 30’’, 2022

In the movie Snake in Eagle’s Shadow (1978), the lead actor undergoes training in the martial arts through imitation. Through deepfakes, the present work zeroes in on childhood memories of pretending to be kung fu movie stars. In the process, practice and calculation, martial arts and technology, Jackie Chan and the self, all gradually converge. When ‘technology’ no longer refers to technology itself, it becomes a tool of nostalgia. This video presents the transformation in my relation with kung fu movies from pure spectator to collaborative editor, as well as the gradual process of digitization between physical and artificial interfaces.

HSIEH,YU-CIAO |《Paradise of Chaos II: Virus Creation》

Three-channel video installation, Color, sound
5’ 19’’／4’ 33’’／5’ 43’’
Dimensions variable, 2022

During the pandemic, the actual space between people seems to have become isolated and compartmentalized. Yet, in the virtual world, people seem to communicate in more intimate and explosive ways. From an evolutionary perspective, viral iteration is facilitated by the intense cultivation of animals (such as poultry) in crowded, confined, and unnatural conditions. Compared with human societies, digital media is like a mental virus, propagating in humans’ collective brains and the realm of virtual imagination. During the spread of both physical and mental viruses, we have become the hybrid lifeforms of a new age. To rediscover a world that escapes the constructs of digital media, do we suppress or live with it?

Works

Chuang En-Chi, Chen Cheng-Wei, Lion Gi-Rong, Chiu Chieh-Yi_Data-verse Taipei

Hsu, Chih-Chen, Liu, Yu-Hsuan, Hsiung, Tien-Yu_Red Flower

HSIEH,YU-CIAO_Paradise of Chaos II: Virus Creation