Rianbow Paint-Chou Yu-Cheng solo exhibition
2011.07.01～2011.08.07
09:00 - 17:00
Chou’s works reflect on the existing status quo through
design tricks”, and he highlights the discrepancy between individuals and existing facts through manipulating
products” and
procedures”. Approaches Chou utilizes include modification, shifting, transfer, and the differences of time or locations. With such techniques Chou creates the dialectical interplay between the source and the result of his creations. In his recent projects, Chou has designed
paths of economic structure”, so that alternative benefits are generated for the businesses or organizations which participate in these art projects. Meanwhile, the artist merely assumes the role of a mediator or lobbyist. For instance, Chou proposed the
TOA Lighting” project after he noticed the possible deficiency of lighting in Hong-Gah Museum. Successfully winning the sponsorship from the private company by offering the title of the art and recessive advertisements, he completed the project and transferred the ownership of lighting to the Museum afterwards. At the same time, the exhibition site is depicted in a painting, becoming another piece of work and being displayed at a commercial site. This operation enables the business, the Museum and the Gallery to all obtain what they need. Chou’s works are embedded with a certain dosage of criticism, yet they have also created a new relationship and status for the artist and his object. The project
Rainbow Paint” derives from the concept of
TOA Lighting” in which lights became the medium between the artist and economic operations. The standard color of the museum wall,
off white” or ”white”, has become the artist’s entry point into this space, same as the yellow or white lights mentioned in
TOA Lighting”.” Rainbow Paint” is like a
happening” or
suggestion”, created not to solve the physical problems of a space or the clever economic benefits of a substance, but more to pose questions in contemporary art spaces on the use of
off white” or” white”. Therefore, after the exhibition, the white paint sponsored by the enterprise will be dispersed in exhibition spaces that are willing to use
white paint”. Chou’s works reflect on the existing status quo through
design tricks”, and he highlights the discrepancy between individuals and existing facts through manipulating
products” and
procedures”. Approaches Chou utilizes include modification, shifting, transfer, and the differences of time or locations. With such techniques Chou creates the dialectical interplay between the source and the result of his creations. In his recent projects, Chou has designed
paths of economic structure”, so that alternative benefits are generated for the businesses or organizations which participate in these art projects. Meanwhile, the artist merely assumes the role of a mediator or lobbyist. For instance, Chou proposed the
TOA Lighting” project after he noticed the possible deficiency of lighting in Hong-Gah Museum. Successfully winning the sponsorship from the private company by offering the title of the art and recessive advertisements, he completed the project and transferred the ownership of lighting to the Museum afterwards. At the same time, the exhibition site is depicted in a painting, becoming another piece of work and being displayed at a commercial site. This operation enables the business, the Museum and the Gallery to all obtain what they need. Chou’s works are embedded with a certain dosage of criticism, yet they have also created a new relationship and status for the artist and his object. The project
Rainbow Paint” derives from the concept of
TOA Lighting” in which lights became the medium between the artist and economic operations. The standard color of the museum wall,
off white”or”white”, has become the artist’s entry point into this space,same as the yellow or white ligts mentioned in
TOA Lighting”.” Rainbow Paint” is like a
happening” or
suggestion”,created not to solve the physical problems of a space or the clever economic Benefits of a substance, but more to pose questions in contemporary art spaces on the use of
off white”or”white”. Therefore, after the exhibition, the white paint sponsored by the enterprise will be dispersed in exhibition spaces that are willing to use
white paint”.
design tricks”, and he highlights the discrepancy between individuals and existing facts through manipulating
products” and
procedures”. Approaches Chou utilizes include modification, shifting, transfer, and the differences of time or locations. With such techniques Chou creates the dialectical interplay between the source and the result of his creations. In his recent projects, Chou has designed
paths of economic structure”, so that alternative benefits are generated for the businesses or organizations which participate in these art projects. Meanwhile, the artist merely assumes the role of a mediator or lobbyist. For instance, Chou proposed the
TOA Lighting” project after he noticed the possible deficiency of lighting in Hong-Gah Museum. Successfully winning the sponsorship from the private company by offering the title of the art and recessive advertisements, he completed the project and transferred the ownership of lighting to the Museum afterwards. At the same time, the exhibition site is depicted in a painting, becoming another piece of work and being displayed at a commercial site. This operation enables the business, the Museum and the Gallery to all obtain what they need. Chou’s works are embedded with a certain dosage of criticism, yet they have also created a new relationship and status for the artist and his object. The project
Rainbow Paint” derives from the concept of
TOA Lighting” in which lights became the medium between the artist and economic operations. The standard color of the museum wall,
off white” or ”white”, has become the artist’s entry point into this space, same as the yellow or white lights mentioned in
TOA Lighting”.” Rainbow Paint” is like a
happening” or
suggestion”, created not to solve the physical problems of a space or the clever economic benefits of a substance, but more to pose questions in contemporary art spaces on the use of
off white” or” white”. Therefore, after the exhibition, the white paint sponsored by the enterprise will be dispersed in exhibition spaces that are willing to use
white paint”. Chou’s works reflect on the existing status quo through
design tricks”, and he highlights the discrepancy between individuals and existing facts through manipulating
products” and
procedures”. Approaches Chou utilizes include modification, shifting, transfer, and the differences of time or locations. With such techniques Chou creates the dialectical interplay between the source and the result of his creations. In his recent projects, Chou has designed
paths of economic structure”, so that alternative benefits are generated for the businesses or organizations which participate in these art projects. Meanwhile, the artist merely assumes the role of a mediator or lobbyist. For instance, Chou proposed the
TOA Lighting” project after he noticed the possible deficiency of lighting in Hong-Gah Museum. Successfully winning the sponsorship from the private company by offering the title of the art and recessive advertisements, he completed the project and transferred the ownership of lighting to the Museum afterwards. At the same time, the exhibition site is depicted in a painting, becoming another piece of work and being displayed at a commercial site. This operation enables the business, the Museum and the Gallery to all obtain what they need. Chou’s works are embedded with a certain dosage of criticism, yet they have also created a new relationship and status for the artist and his object. The project
Rainbow Paint” derives from the concept of
TOA Lighting” in which lights became the medium between the artist and economic operations. The standard color of the museum wall,
off white”or”white”, has become the artist’s entry point into this space,same as the yellow or white ligts mentioned in
TOA Lighting”.” Rainbow Paint” is like a
happening” or
suggestion”,created not to solve the physical problems of a space or the clever economic Benefits of a substance, but more to pose questions in contemporary art spaces on the use of
off white”or”white”. Therefore, after the exhibition, the white paint sponsored by the enterprise will be dispersed in exhibition spaces that are willing to use
white paint”.
Chou’s works reflect on the existing status quo through
design tricks”, and he highlights the discrepancy between individuals and existing facts through manipulating
products” and
procedures”. Approaches Chou utilizes include modification, shifting, transfer, and the differences of time or locations. With such techniques Chou creates the dialectical interplay between the source and the result of his creations. In his recent projects, Chou has designed
paths of economic structure”, so that alternative benefits are generated for the businesses or organizations which participate in these art projects. Meanwhile, the artist merely assumes the role of a mediator or lobbyist. For instance, Chou proposed the
TOA Lighting” project after he noticed the possible deficiency of lighting in Hong-Gah Museum. Successfully winning the sponsorship from the private company by offering the title of the art and recessive advertisements, he completed the project and transferred the ownership of lighting to the Museum afterwards. At the same time, the exhibition site is depicted in a painting, becoming another piece of work and being displayed at a commercial site. This operation enables the business, the Museum and the Gallery to all obtain what they need. Chou’s works are embedded with a certain dosage of criticism, yet they have also created a new relationship and status for the artist and his object. The project
Rainbow Paint” derives from the concept of
TOA Lighting” in which lights became the medium between the artist and economic operations. The standard color of the museum wall,
off white” or ”white”, has become the artist’s entry point into this space, same as the yellow or white lights mentioned in
TOA Lighting”.” Rainbow Paint” is like a
happening” or
suggestion”, created not to solve the physical problems of a space or the clever economic benefits of a substance, but more to pose questions in contemporary art spaces on the use of
off white” or” white”. Therefore, after the exhibition, the white paint sponsored by the enterprise will be dispersed in exhibition spaces that are willing to use
white paint”. Chou’s works reflect on the existing status quo through
design tricks”, and he highlights the discrepancy between individuals and existing facts through manipulating
products” and
procedures”. Approaches Chou utilizes include modification, shifting, transfer, and the differences of time or locations. With such techniques Chou creates the dialectical interplay between the source and the result of his creations. In his recent projects, Chou has designed
paths of economic structure”, so that alternative benefits are generated for the businesses or organizations which participate in these art projects. Meanwhile, the artist merely assumes the role of a mediator or lobbyist. For instance, Chou proposed the
TOA Lighting” project after he noticed the possible deficiency of lighting in Hong-Gah Museum. Successfully winning the sponsorship from the private company by offering the title of the art and recessive advertisements, he completed the project and transferred the ownership of lighting to the Museum afterwards. At the same time, the exhibition site is depicted in a painting, becoming another piece of work and being displayed at a commercial site. This operation enables the business, the Museum and the Gallery to all obtain what they need. Chou’s works are embedded with a certain dosage of criticism, yet they have also created a new relationship and status for the artist and his object. The project
Rainbow Paint” derives from the concept of
TOA Lighting” in which lights became the medium between the artist and economic operations. The standard color of the museum wall,
off white”or”white”, has become the artist’s entry point into this space,same as the yellow or white ligts mentioned in
TOA Lighting”.” Rainbow Paint” is like a
happening” or
suggestion”,created not to solve the physical problems of a space or the clever economic Benefits of a substance, but more to pose questions in contemporary art spaces on the use of
off white”or”white”. Therefore, after the exhibition, the white paint sponsored by the enterprise will be dispersed in exhibition spaces that are willing to use
white paint”.
design tricks”, and he highlights the discrepancy between individuals and existing facts through manipulating
products” and
procedures”. Approaches Chou utilizes include modification, shifting, transfer, and the differences of time or locations. With such techniques Chou creates the dialectical interplay between the source and the result of his creations. In his recent projects, Chou has designed
paths of economic structure”, so that alternative benefits are generated for the businesses or organizations which participate in these art projects. Meanwhile, the artist merely assumes the role of a mediator or lobbyist. For instance, Chou proposed the
TOA Lighting” project after he noticed the possible deficiency of lighting in Hong-Gah Museum. Successfully winning the sponsorship from the private company by offering the title of the art and recessive advertisements, he completed the project and transferred the ownership of lighting to the Museum afterwards. At the same time, the exhibition site is depicted in a painting, becoming another piece of work and being displayed at a commercial site. This operation enables the business, the Museum and the Gallery to all obtain what they need. Chou’s works are embedded with a certain dosage of criticism, yet they have also created a new relationship and status for the artist and his object. The project
Rainbow Paint” derives from the concept of
TOA Lighting” in which lights became the medium between the artist and economic operations. The standard color of the museum wall,
off white” or ”white”, has become the artist’s entry point into this space, same as the yellow or white lights mentioned in
TOA Lighting”.” Rainbow Paint” is like a
happening” or
suggestion”, created not to solve the physical problems of a space or the clever economic benefits of a substance, but more to pose questions in contemporary art spaces on the use of
off white” or” white”. Therefore, after the exhibition, the white paint sponsored by the enterprise will be dispersed in exhibition spaces that are willing to use
white paint”. Chou’s works reflect on the existing status quo through
design tricks”, and he highlights the discrepancy between individuals and existing facts through manipulating
products” and
procedures”. Approaches Chou utilizes include modification, shifting, transfer, and the differences of time or locations. With such techniques Chou creates the dialectical interplay between the source and the result of his creations. In his recent projects, Chou has designed
paths of economic structure”, so that alternative benefits are generated for the businesses or organizations which participate in these art projects. Meanwhile, the artist merely assumes the role of a mediator or lobbyist. For instance, Chou proposed the
TOA Lighting” project after he noticed the possible deficiency of lighting in Hong-Gah Museum. Successfully winning the sponsorship from the private company by offering the title of the art and recessive advertisements, he completed the project and transferred the ownership of lighting to the Museum afterwards. At the same time, the exhibition site is depicted in a painting, becoming another piece of work and being displayed at a commercial site. This operation enables the business, the Museum and the Gallery to all obtain what they need. Chou’s works are embedded with a certain dosage of criticism, yet they have also created a new relationship and status for the artist and his object. The project
Rainbow Paint” derives from the concept of
TOA Lighting” in which lights became the medium between the artist and economic operations. The standard color of the museum wall,
off white”or”white”, has become the artist’s entry point into this space,same as the yellow or white ligts mentioned in
TOA Lighting”.” Rainbow Paint” is like a
happening” or
suggestion”,created not to solve the physical problems of a space or the clever economic Benefits of a substance, but more to pose questions in contemporary art spaces on the use of
off white”or”white”. Therefore, after the exhibition, the white paint sponsored by the enterprise will be dispersed in exhibition spaces that are willing to use
white paint”.
Yu-Cheng CHOU August 01, 1976, born in Taipei, Taiwan, lives and works in Taipei Education : 06-08 Programme La Seine of l’ Ecole Nationale Supérieure des Beaux-arts, Paris, FR. 06-07 Post-Graduate of AII, l’Ecole Nationale Supérieure des Arts Décoratifs, Paris, FR. 02-04 Ecole Nationale Supérieure des Beaux-arts, (with congratulations), Paris, FR. Selected Solo Exhibitions : 10 Because 64 Crayons Made in the USA, SUPERFROG Gallery, San Francisco, USA. 10 TOA Lighting, Hong Gah Museum, Taipei, TW. 10 Hong Gah Museum, La Chambre Gallery, Taipei, TW. 10 Horse Trailer Studiolo | Remote Area, Galerie ColletPark, Paris, FR. 10 Taken from society | Give back to society, Taishin Tower, Taipei, TW. 10 Residency Goods, BankART NYK, Yokohama, JP 10 Very Hard, AKI Gallry, Taipei, TW 09 I for the other & the other for me, Pema Lamo Gallry, Taipei, TW 09 Representa.tiff, Galerie ColletPark, Paris, FR. 08 Yu-Cheng CHOU, Museum Contemporary Art of Denver, Colorado, USA. 08 Hierarchy of Surface, Cite Internationale des Arts, Paris, FR. 08 Superb Superficialness, Galerie Grand Siècle, Taipei, TW. 08 Superb Superficialness, Fondation Taishin, Taipei, TW. 08 N.aiff & OBJECT.tiff, Miss China Beauty Room, Paris, FR 07 Pâtisserie, Galerie ColletPark, Paris, FR. 05 M.A.J, Galerie Premier Regard, Paris, FR. Selected Group Exhibitions : 11 Contemporary art of Taiwan - new generation - catalog, Villa Croce - Museum of contemporary art, Genova, IT. 11 Live Ammo, Museum of Contemporary Art Taipei, Taipei, TW. 10 Taiwan Calling - catalog, Mücsarnok Museum, Budapest, HU. 10 Post-Academic, Our Museum, Taipei, TW. 10 Forum Biennial of Taiwanese Contemporary Art, Taipei Contemporary Art Center, Taipei, TW 10 Di-stance – contemporary art & video exhibition- catalog, Kuandu Museum, Taipei, TW. 10 Thank You ART- Nezumiko Exhibition Vol.2, Void +, Tokyo, JP. 10 Distance, Cite Internationale des Arts, Paris, FR. 10 Today - Taiwan Contemporary, Gyeongnam Art Museum, Gyeongsangnam-do, KR. 10 Reshaping History, China National Convention Center, Beiljing, CH. 10 Super - Generation @ Taiwan - catalog, Today Art Museum, beijing, CH. 09 The Epic in the Everyday - catalog, Palazzo delle Arti Napoli, center for Contemporary Arts in Naples, Naples, IT. 09 Resident Artist’s Group Show, 435 International Artist Village of Banciao, Taipei, TW. 09 Mind as Passion - catalog, Taipei Fine Arts Museum, Taipei, TW. 09 taiwanpics.doc - Art contemporain taiwanais - catalog, Galerie d’exposition Ensba, Paris, FR. 09 Super - Generation @ Taiwan - catalog, Shanghai Art Museum, Shanghai, CH. 09 Speak-Describe - cross-strait contemporary art - catalog, Taiwan Fine Arts Museum, Taichuang, TW. 09 Pulse New York, c/o Galerie ColletPark, Pier 40, New York, USA. 09 The Taishin Arts Award Exhibition - catalog, Museum of Contemporary Art Taipei, Taipei, TW. 09 Speak-Describe - cross-strait contemporary art - catalog, National Arts Museum of China, Beijing, CH. 08 ShContemporary 08, c/o Galerie ColletPark, Shanghai Exhibition Centre, Shanghai, CN. 08 Pulse Miami, c/o Galerie ColletPark, SoHo Studios, Miami, USA. 08 Slick, c/o Miss China Beauty Room, 104 le Cent Quarte, Paris, FR. 08 Second Life, La Générale en Manufacture, Sèvres, FR. 08 Open studio - La Seine, Atelier Devot de l’ENSBA, Paris, FR. 08 Polynôme - catalog, mairie du 12e, Paris, FR. Residencies : 11 ISCP, New York City, USA. 10 BankART 1929, Yokohama, JP. 07-08 Cité Internationale des Arts, Paris, FR. 07 Insa Art Space. Seoul, KR. Selected Art Awards : 11 Taishin Arts Awards, Annual Final Award 09 Taishin Arts Awards, Annual Final Nominees 05 Ecole Nationale Supérieure des Beaux-arts , Annuel Prix de la sculpture 05 Taipei Arts Awards, Excellence
Yu-Cheng CHOU August 01, 1976, born in Taipei, Taiwan, lives and works in Taipei Education : 06-08 Programme La Seine of l’ Ecole Nationale Supérieure des Beaux-arts, Paris, FR. 06-07 Post-Graduate of AII, l’Ecole Nationale Supérieure des Arts Décoratifs, Paris, FR. 02-04 Ecole Nationale Supérieure des Beaux-arts, (with congratulations), Paris, FR. Selected Solo Exhibitions : 10 Because 64 Crayons Made in the USA, SUPERFROG Gallery, San Francisco, USA. 10 TOA Lighting, Hong Gah Museum, Taipei, TW. 10 Hong Gah Museum, La Chambre Gallery, Taipei, TW. 10 Horse Trailer Studiolo | Remote Area, Galerie ColletPark, Paris, FR. 10 Taken from society | Give back to society, Taishin Tower, Taipei, TW. 10 Residency Goods, BankART NYK, Yokohama, JP 10 Very Hard, AKI Gallry, Taipei, TW 09 I for the other & the other for me, Pema Lamo Gallry, Taipei, TW 09 Representa.tiff, Galerie ColletPark, Paris, FR. 08 Yu-Cheng CHOU, Museum Contemporary Art of Denver, Colorado, USA. 08 Hierarchy of Surface, Cite Internationale des Arts, Paris, FR. 08 Superb Superficialness, Galerie Grand Siècle, Taipei, TW. 08 Superb Superficialness, Fondation Taishin, Taipei, TW. 08 N.aiff & OBJECT.tiff, Miss China Beauty Room, Paris, FR 07 Pâtisserie, Galerie ColletPark, Paris, FR. 05 M.A.J, Galerie Premier Regard, Paris, FR. Selected Group Exhibitions : 11 Contemporary art of Taiwan - new generation - catalog, Villa Croce - Museum of contemporary art, Genova, IT. 11 Live Ammo, Museum of Contemporary Art Taipei, Taipei, TW. 10 Taiwan Calling - catalog, Mücsarnok Museum, Budapest, HU. 10 Post-Academic, Our Museum, Taipei, TW. 10 Forum Biennial of Taiwanese Contemporary Art, Taipei Contemporary Art Center, Taipei, TW 10 Di-stance – contemporary art & video exhibition- catalog, Kuandu Museum, Taipei, TW. 10 Thank You ART- Nezumiko Exhibition Vol.2, Void +, Tokyo, JP. 10 Distance, Cite Internationale des Arts, Paris, FR. 10 Today - Taiwan Contemporary, Gyeongnam Art Museum, Gyeongsangnam-do, KR. 10 Reshaping History, China National Convention Center, Beiljing, CH. 10 Super - Generation @ Taiwan - catalog, Today Art Museum, beijing, CH. 09 The Epic in the Everyday - catalog, Palazzo delle Arti Napoli, center for Contemporary Arts in Naples, Naples, IT. 09 Resident Artist’s Group Show, 435 International Artist Village of Banciao, Taipei, TW. 09 Mind as Passion - catalog, Taipei Fine Arts Museum, Taipei, TW. 09 taiwanpics.doc - Art contemporain taiwanais - catalog, Galerie d’exposition Ensba, Paris, FR. 09 Super - Generation @ Taiwan - catalog, Shanghai Art Museum, Shanghai, CH. 09 Speak-Describe - cross-strait contemporary art - catalog, Taiwan Fine Arts Museum, Taichuang, TW. 09 Pulse New York, c/o Galerie ColletPark, Pier 40, New York, USA. 09 The Taishin Arts Award Exhibition - catalog, Museum of Contemporary Art Taipei, Taipei, TW. 09 Speak-Describe - cross-strait contemporary art - catalog, National Arts Museum of China, Beijing, CH. 08 ShContemporary 08, c/o Galerie ColletPark, Shanghai Exhibition Centre, Shanghai, CN. 08 Pulse Miami, c/o Galerie ColletPark, SoHo Studios, Miami, USA. 08 Slick, c/o Miss China Beauty Room, 104 le Cent Quarte, Paris, FR. 08 Second Life, La Générale en Manufacture, Sèvres, FR. 08 Open studio - La Seine, Atelier Devot de l’ENSBA, Paris, FR. 08 Polynôme - catalog, mairie du 12e, Paris, FR. Residencies : 11 ISCP, New York City, USA. 10 BankART 1929, Yokohama, JP. 07-08 Cité Internationale des Arts, Paris, FR. 07 Insa Art Space. Seoul, KR. Selected Art Awards : 11 Taishin Arts Awards, Annual Final Award 09 Taishin Arts Awards, Annual Final Nominees 05 Ecole Nationale Supérieure des Beaux-arts , Annuel Prix de la sculpture 05 Taipei Arts Awards, Excellence
Works
