One Piece Room-Disappearance of Archives KU Shih-Yung Solo Exhibiion
2014.12.26～2015.02.15
09:00 - 17:00
Text by KU Shih-Yung Disappearance of archives seems fairly common in the digital era. It is caused by absolute
non-human” factors and always makes us suddenly startled and upset. In contrast, the
Disappearance of archives” to which the exhibition refers is absolutely caused by
human factors.” What are the criteria for archiving a piece of work in the history of art, evaluating the artistic value of a piece of work, and determine an artist’s reputation? In particular, when an artist, whatever the reason may be, breaks away from the mainstream that holds the discursive power, to what extent does the artist’s
political incorrectness” in the art community compromise the legitimacy of her/his interpretation on artistic value? It is easy to observe two phenomena in the writing of Taiwanese art history. First, it often starts with the issues concerning colonialism in Taiwan, national identity, Taiwanization, and political events. Artworks have meanings only when they are discussed within these issue frameworks. Second, while there is a great deal of literature that examined the styles and forms of artworks with the context of Western modernism, the aesthetic question regarding those artworks has received surprisingly little attention. Creation is in fact a collective text produced by the interplay among internal, external, and trans-regional factors. Accordingly, we should not privilege external factors in our discourse and ignore the internal agency of the artistic subject that points out an alternative historical truth with its sentimental appearance. In fact, artworks often convey the truths that are far more important than the writing of history, which precisely corresponds to Martin Heidegger’s idea that art unveils an
authentic world.” The term
utter silence” can be used for describing the works in this exhibition, if you will. These outstanding works were collected from abandoned shabby houses, antique shops, or flea markets. Their creators and produced dates remain unknown. These exhibited works gaze back at us in a manner of being devoid of identities and spatial-temporal contexts. Although we may surmise the era in which they were created by reference to their forms and styles, these are mere conjectures on our part. Paradoxically, it is the very disconnection that allows us to observe these works with
brilliant eyes” unaffected by the information about their creators and times. At this moment, the relationship between us and the exhibited artworks becomes unprecedentedly direct, though we have no way of knowing their creators’ backgrounds, personalities, and historical significance. Archiving art history may entail more political considerations than we suppose, and the mainstream selection system may lead to many misjudgments. In this exhibition, the anonymous works that are not wore away by time serve as the alarm signal that the past gave to the present, while the works that
are very likely to become anonymous in the future” serve as the alarm signal that the present gives to the future.
non-human” factors and always makes us suddenly startled and upset. In contrast, the
Disappearance of archives” to which the exhibition refers is absolutely caused by
human factors.” What are the criteria for archiving a piece of work in the history of art, evaluating the artistic value of a piece of work, and determine an artist’s reputation? In particular, when an artist, whatever the reason may be, breaks away from the mainstream that holds the discursive power, to what extent does the artist’s
political incorrectness” in the art community compromise the legitimacy of her/his interpretation on artistic value? It is easy to observe two phenomena in the writing of Taiwanese art history. First, it often starts with the issues concerning colonialism in Taiwan, national identity, Taiwanization, and political events. Artworks have meanings only when they are discussed within these issue frameworks. Second, while there is a great deal of literature that examined the styles and forms of artworks with the context of Western modernism, the aesthetic question regarding those artworks has received surprisingly little attention. Creation is in fact a collective text produced by the interplay among internal, external, and trans-regional factors. Accordingly, we should not privilege external factors in our discourse and ignore the internal agency of the artistic subject that points out an alternative historical truth with its sentimental appearance. In fact, artworks often convey the truths that are far more important than the writing of history, which precisely corresponds to Martin Heidegger’s idea that art unveils an
authentic world.” The term
utter silence” can be used for describing the works in this exhibition, if you will. These outstanding works were collected from abandoned shabby houses, antique shops, or flea markets. Their creators and produced dates remain unknown. These exhibited works gaze back at us in a manner of being devoid of identities and spatial-temporal contexts. Although we may surmise the era in which they were created by reference to their forms and styles, these are mere conjectures on our part. Paradoxically, it is the very disconnection that allows us to observe these works with
brilliant eyes” unaffected by the information about their creators and times. At this moment, the relationship between us and the exhibited artworks becomes unprecedentedly direct, though we have no way of knowing their creators’ backgrounds, personalities, and historical significance. Archiving art history may entail more political considerations than we suppose, and the mainstream selection system may lead to many misjudgments. In this exhibition, the anonymous works that are not wore away by time serve as the alarm signal that the past gave to the present, while the works that
are very likely to become anonymous in the future” serve as the alarm signal that the present gives to the future.
Text by KU Shih-Yung Disappearance of archives seems fairly common in the digital era. It is caused by absolute
non-human” factors and always makes us suddenly startled and upset. In contrast, the
Disappearance of archives” to which the exhibition refers is absolutely caused by
human factors.” What are the criteria for archiving a piece of work in the history of art, evaluating the artistic value of a piece of work, and determine an artist’s reputation? In particular, when an artist, whatever the reason may be, breaks away from the mainstream that holds the discursive power, to what extent does the artist’s
political incorrectness” in the art community compromise the legitimacy of her/his interpretation on artistic value? It is easy to observe two phenomena in the writing of Taiwanese art history. First, it often starts with the issues concerning colonialism in Taiwan, national identity, Taiwanization, and political events. Artworks have meanings only when they are discussed within these issue frameworks. Second, while there is a great deal of literature that examined the styles and forms of artworks with the context of Western modernism, the aesthetic question regarding those artworks has received surprisingly little attention. Creation is in fact a collective text produced by the interplay among internal, external, and trans-regional factors. Accordingly, we should not privilege external factors in our discourse and ignore the internal agency of the artistic subject that points out an alternative historical truth with its sentimental appearance. In fact, artworks often convey the truths that are far more important than the writing of history, which precisely corresponds to Martin Heidegger’s idea that art unveils an
authentic world.” The term
utter silence” can be used for describing the works in this exhibition, if you will. These outstanding works were collected from abandoned shabby houses, antique shops, or flea markets. Their creators and produced dates remain unknown. These exhibited works gaze back at us in a manner of being devoid of identities and spatial-temporal contexts. Although we may surmise the era in which they were created by reference to their forms and styles, these are mere conjectures on our part. Paradoxically, it is the very disconnection that allows us to observe these works with
brilliant eyes” unaffected by the information about their creators and times. At this moment, the relationship between us and the exhibited artworks becomes unprecedentedly direct, though we have no way of knowing their creators’ backgrounds, personalities, and historical significance. Archiving art history may entail more political considerations than we suppose, and the mainstream selection system may lead to many misjudgments. In this exhibition, the anonymous works that are not wore away by time serve as the alarm signal that the past gave to the present, while the works that
are very likely to become anonymous in the future” serve as the alarm signal that the present gives to the future.
non-human” factors and always makes us suddenly startled and upset. In contrast, the
Disappearance of archives” to which the exhibition refers is absolutely caused by
human factors.” What are the criteria for archiving a piece of work in the history of art, evaluating the artistic value of a piece of work, and determine an artist’s reputation? In particular, when an artist, whatever the reason may be, breaks away from the mainstream that holds the discursive power, to what extent does the artist’s
political incorrectness” in the art community compromise the legitimacy of her/his interpretation on artistic value? It is easy to observe two phenomena in the writing of Taiwanese art history. First, it often starts with the issues concerning colonialism in Taiwan, national identity, Taiwanization, and political events. Artworks have meanings only when they are discussed within these issue frameworks. Second, while there is a great deal of literature that examined the styles and forms of artworks with the context of Western modernism, the aesthetic question regarding those artworks has received surprisingly little attention. Creation is in fact a collective text produced by the interplay among internal, external, and trans-regional factors. Accordingly, we should not privilege external factors in our discourse and ignore the internal agency of the artistic subject that points out an alternative historical truth with its sentimental appearance. In fact, artworks often convey the truths that are far more important than the writing of history, which precisely corresponds to Martin Heidegger’s idea that art unveils an
authentic world.” The term
utter silence” can be used for describing the works in this exhibition, if you will. These outstanding works were collected from abandoned shabby houses, antique shops, or flea markets. Their creators and produced dates remain unknown. These exhibited works gaze back at us in a manner of being devoid of identities and spatial-temporal contexts. Although we may surmise the era in which they were created by reference to their forms and styles, these are mere conjectures on our part. Paradoxically, it is the very disconnection that allows us to observe these works with
brilliant eyes” unaffected by the information about their creators and times. At this moment, the relationship between us and the exhibited artworks becomes unprecedentedly direct, though we have no way of knowing their creators’ backgrounds, personalities, and historical significance. Archiving art history may entail more political considerations than we suppose, and the mainstream selection system may lead to many misjudgments. In this exhibition, the anonymous works that are not wore away by time serve as the alarm signal that the past gave to the present, while the works that
are very likely to become anonymous in the future” serve as the alarm signal that the present gives to the future.
KU Shih-Yung 1960 born in Changhua, Taiwan Educational Background 1996 Ph.D. in Arts Science – Plastic Arts, Paris University I (Pantheon Sorbonne). Awarded the highest grade of “honors with distinction” 1991 Diploma at the National Superior School of the Decorative Arts, Paris Work Experience 2011-2014 Professor/Director, Graduate Institute of Plastic Arts, National Tainan University of the Arts 2004-2008 Dean of College of Visual Arts, National Tainan University of the Arts Honors & Awards 1994 Major award, Taipei County Biennial Fine Arts Exhibition, Taipei Fine Arts Museum, Taiwan 1992 Major award, Taipei County Biennial Fine Arts Exhibition, Taipei Fine Arts Museum, Taiwan 1988 Prize for Excellence, New Prospects for Modern Art in the Republic of China, Taipei Fine Arts Museum, Taiwan Solo Exhibitions 2014 “Disappearance of the archives”, Kuandu Museum of Fine Arts,TNUA,Taipei, Taiwan 2011 “Time package”, IT Park Gellery, Taipei, Taiwan 2008 “Oh! Formosa”, IT Park Gellery, Taipei, Taiwan 2006 “Shoot”, Taipei Museum of Contemporary Art,Taipei, Taiwan Major Group Exhibitions 2013 “The Real Settlement:Future City, Design Shan Ghai 2013. China 2009 “Höhenrausch”,Linz 2009 Kulturhauptstadt Europas,Ok Center of Contemporary Art, Linz, Austria 2007 Remote/Control – Interactive and Multi-media Art，Museum of Contemporary Art, Shanghai, China 2007 EXIT Festival & VIA Festival, ─ ANIMANGA！, CRETEIL MAISON DES ARTS, FRANCE 2006 Kuandu Hero Journal ,Taiwan Modern Arts Exhibition: Kuandu Museum, Taipei National University of the Arts, Taipei, Taiwan 2004 Lost Words,CO4- Taiwan Avant-Grade Documenta IV: Hong Gah Museum, Taipei, Taiwan 2004 Simulation - The Poetics of Imaging in the Technology Age, Acer Aspire Park, Taoyuan, Taiwan 2004 Gazing Poetics – Multirealization of Contemporary Photography and Painting in Taiwan, Paris Culture Center, Paris, France 2004 The Multiform Nineties: Taiwan’s Art Branches Out, Taipei Fine Arts Museum, Taipei, Taiwan 2004 In an Era of Upright Words: Contemporary Visual Culture in Taiwan, Herbert F. Johnson Museum of Art, Cornell University, USA 2003 Simulation - The Poetics of Imaging in the Technology Age, Hong Gah Museum, Taipei, Taiwan 2002 Pause, Kwangju International Biennial Exhibition, South Korea 2001 Asian Stroll, Art Tower Mito, Japan 2000 A Sparkling City - 2000 Taipei County International Technology Art Exhibition, Taipei County Government, curated by Wang Pin-hua, Taiwan 2000 Exhibition of Contemporary Taiwanese Art in a Multi Dimensional Era, Beijing, PRC 1999 Invited by Li Xianting and Liao Wen to curate “A Rainbow into the Next Century – An Exhibition of Chinese Folk Art”, Teda Contemporary Art Museum, Tianjin City, China The Heart of History – Exhibition of Installation Art, Lukang, Taiwan, Department of Culture, Taiwan Provincial Government 1997 River: New Asian Art – A Dialogue in Taipei, Dimension Endowment of Art, Taipei, Taiwan 1995 The Contemporary Art of Taiwan, Museum of Contemporary Art, Sydney, Gold Coast City Art Gallery, Art Gallery of National Canberra University, Wollongang City Art Gallery, Australia 1994 History of Poetry in Taiwan, Crown Art Center, Taipei, Taiwan Taipei County Biennial Fine Arts Exhibition, Taipei Fine Arts Museum, Taiwan Taiwan’s New Appearance ‘49-‘93, Taipei Fine Arts Museum, Taiwan Fushan Biennial, Fushan Modern Art Museum, South Korea 1992 Taipei County Biennial Fine Arts Exhibition, Taipei Fine Arts Museum, Taiwan Paris Youth Art Gallery, Grand Palais, Paris 1988 New Prospects for Modern Art in the Republic of China, Taipei Fine Arts Museum, Taiwan 1987 Experimental Arts – Behavior vs. Space, Taipei Fine Arts Museum
KU Shih-Yung 1960 born in Changhua, Taiwan Educational Background 1996 Ph.D. in Arts Science – Plastic Arts, Paris University I (Pantheon Sorbonne). Awarded the highest grade of “honors with distinction” 1991 Diploma at the National Superior School of the Decorative Arts, Paris Work Experience 2011-2014 Professor/Director, Graduate Institute of Plastic Arts, National Tainan University of the Arts 2004-2008 Dean of College of Visual Arts, National Tainan University of the Arts Honors & Awards 1994 Major award, Taipei County Biennial Fine Arts Exhibition, Taipei Fine Arts Museum, Taiwan 1992 Major award, Taipei County Biennial Fine Arts Exhibition, Taipei Fine Arts Museum, Taiwan 1988 Prize for Excellence, New Prospects for Modern Art in the Republic of China, Taipei Fine Arts Museum, Taiwan Solo Exhibitions 2014 “Disappearance of the archives”, Kuandu Museum of Fine Arts,TNUA,Taipei, Taiwan 2011 “Time package”, IT Park Gellery, Taipei, Taiwan 2008 “Oh! Formosa”, IT Park Gellery, Taipei, Taiwan 2006 “Shoot”, Taipei Museum of Contemporary Art,Taipei, Taiwan Major Group Exhibitions 2013 “The Real Settlement:Future City, Design Shan Ghai 2013. China 2009 “Höhenrausch”,Linz 2009 Kulturhauptstadt Europas,Ok Center of Contemporary Art, Linz, Austria 2007 Remote/Control – Interactive and Multi-media Art，Museum of Contemporary Art, Shanghai, China 2007 EXIT Festival & VIA Festival, ─ ANIMANGA！, CRETEIL MAISON DES ARTS, FRANCE 2006 Kuandu Hero Journal ,Taiwan Modern Arts Exhibition: Kuandu Museum, Taipei National University of the Arts, Taipei, Taiwan 2004 Lost Words,CO4- Taiwan Avant-Grade Documenta IV: Hong Gah Museum, Taipei, Taiwan 2004 Simulation - The Poetics of Imaging in the Technology Age, Acer Aspire Park, Taoyuan, Taiwan 2004 Gazing Poetics – Multirealization of Contemporary Photography and Painting in Taiwan, Paris Culture Center, Paris, France 2004 The Multiform Nineties: Taiwan’s Art Branches Out, Taipei Fine Arts Museum, Taipei, Taiwan 2004 In an Era of Upright Words: Contemporary Visual Culture in Taiwan, Herbert F. Johnson Museum of Art, Cornell University, USA 2003 Simulation - The Poetics of Imaging in the Technology Age, Hong Gah Museum, Taipei, Taiwan 2002 Pause, Kwangju International Biennial Exhibition, South Korea 2001 Asian Stroll, Art Tower Mito, Japan 2000 A Sparkling City - 2000 Taipei County International Technology Art Exhibition, Taipei County Government, curated by Wang Pin-hua, Taiwan 2000 Exhibition of Contemporary Taiwanese Art in a Multi Dimensional Era, Beijing, PRC 1999 Invited by Li Xianting and Liao Wen to curate “A Rainbow into the Next Century – An Exhibition of Chinese Folk Art”, Teda Contemporary Art Museum, Tianjin City, China The Heart of History – Exhibition of Installation Art, Lukang, Taiwan, Department of Culture, Taiwan Provincial Government 1997 River: New Asian Art – A Dialogue in Taipei, Dimension Endowment of Art, Taipei, Taiwan 1995 The Contemporary Art of Taiwan, Museum of Contemporary Art, Sydney, Gold Coast City Art Gallery, Art Gallery of National Canberra University, Wollongang City Art Gallery, Australia 1994 History of Poetry in Taiwan, Crown Art Center, Taipei, Taiwan Taipei County Biennial Fine Arts Exhibition, Taipei Fine Arts Museum, Taiwan Taiwan’s New Appearance ‘49-‘93, Taipei Fine Arts Museum, Taiwan Fushan Biennial, Fushan Modern Art Museum, South Korea 1992 Taipei County Biennial Fine Arts Exhibition, Taipei Fine Arts Museum, Taiwan Paris Youth Art Gallery, Grand Palais, Paris 1988 New Prospects for Modern Art in the Republic of China, Taipei Fine Arts Museum, Taiwan 1987 Experimental Arts – Behavior vs. Space, Taipei Fine Arts Museum
Works
