Future Theatre
2018.05.11～2018.07.08
09:00 - 17:00
Curator ∕ Wang Pin-Hua Artists ∕ Wang Sean, Lin Guan-Ming, Lin Hsien-Chun, Kao Ya-Ting, Huang Wan-Ling, Tzeng Yong-Ning, Liao Zen-Ping, Hsieh Mu-Chi 《Introduction》 Text︱Wang Pin-Hua During the spatial arrangement of this exhibition, two subthemes emerged. One is the dialogue of
Color and Light”. The drama in the paintings of Lin Hsien-Chun, Wang Sean, and Tseng Yong-Ning originated from the color wheel spectrum, the narrative of framed scenery, and the garden of light blooming in the flowing and rebirth of lines. The second theme is
Image and Body”, upon which five creators composed their works. Liao Zen-Ping was inspired by the instant feelings of photography and painted light and shadow. Hsieh Mu-Chi,the war of collaged images. Kao Ya-Ting selected the dead bodies of images from the ruins of paintings. Huang Wan-Ling created a panorama with non-human perspectives capturing vague human figures. Lin Guan-Ming, in his image cycle, depicted how the traces of existence die immediately after birth. This
theater” emerged unannounced while I was reading about the individual creators. The hint, originating from the
theatricalness”, gradually formed in my head a place, a theater, where the multiple creators could meet. This imaginary meeting place, under the diversity of these creators, provides the opportunity to amplify their differences and to connect their similarities. This place becomes a shared framework within which certain moments are experienced. This place becomes a flowing place for observing body movements through multiple perspectives. It is both the continuation and multiplication of time and the expansion of the imagination of space. So, is this concept of a theater equipped with the possibility of continuing to ask questions about the paintings? Or does it become an empty space that actively demands the encounters of people? When the paintings have hidden theatrical factors that continue to generate unexpected incidents, the exhibition venue becomes a theater space that is open to chance encounters. It is no longer a contemporary predesigned object that observes and is observed. Rather, it surrounds the viewer, becoming a place where the viewer is present. Specifically, unlike a theater, where the viewers are only media for actions, this creative installation site, which happens to be in the exhibition venue, is more like it is waiting for the viewers to enter. When the viewers sense the various existing traces of the exhibition displays, they become participants in this virtual narrative, the necessary condition to complete the concept of a theater.
Color and Light”. The drama in the paintings of Lin Hsien-Chun, Wang Sean, and Tseng Yong-Ning originated from the color wheel spectrum, the narrative of framed scenery, and the garden of light blooming in the flowing and rebirth of lines. The second theme is
Image and Body”, upon which five creators composed their works. Liao Zen-Ping was inspired by the instant feelings of photography and painted light and shadow. Hsieh Mu-Chi,the war of collaged images. Kao Ya-Ting selected the dead bodies of images from the ruins of paintings. Huang Wan-Ling created a panorama with non-human perspectives capturing vague human figures. Lin Guan-Ming, in his image cycle, depicted how the traces of existence die immediately after birth. This
theater” emerged unannounced while I was reading about the individual creators. The hint, originating from the
theatricalness”, gradually formed in my head a place, a theater, where the multiple creators could meet. This imaginary meeting place, under the diversity of these creators, provides the opportunity to amplify their differences and to connect their similarities. This place becomes a shared framework within which certain moments are experienced. This place becomes a flowing place for observing body movements through multiple perspectives. It is both the continuation and multiplication of time and the expansion of the imagination of space. So, is this concept of a theater equipped with the possibility of continuing to ask questions about the paintings? Or does it become an empty space that actively demands the encounters of people? When the paintings have hidden theatrical factors that continue to generate unexpected incidents, the exhibition venue becomes a theater space that is open to chance encounters. It is no longer a contemporary predesigned object that observes and is observed. Rather, it surrounds the viewer, becoming a place where the viewer is present. Specifically, unlike a theater, where the viewers are only media for actions, this creative installation site, which happens to be in the exhibition venue, is more like it is waiting for the viewers to enter. When the viewers sense the various existing traces of the exhibition displays, they become participants in this virtual narrative, the necessary condition to complete the concept of a theater.
Curator ∕ Wang Pin-Hua Artists ∕ Wang Sean, Lin Guan-Ming, Lin Hsien-Chun, Kao Ya-Ting, Huang Wan-Ling, Tzeng Yong-Ning, Liao Zen-Ping, Hsieh Mu-Chi 《Introduction》 Text︱Wang Pin-Hua During the spatial arrangement of this exhibition, two subthemes emerged. One is the dialogue of
Color and Light”. The drama in the paintings of Lin Hsien-Chun, Wang Sean, and Tseng Yong-Ning originated from the color wheel spectrum, the narrative of framed scenery, and the garden of light blooming in the flowing and rebirth of lines. The second theme is
Image and Body”, upon which five creators composed their works. Liao Zen-Ping was inspired by the instant feelings of photography and painted light and shadow. Hsieh Mu-Chi,the war of collaged images. Kao Ya-Ting selected the dead bodies of images from the ruins of paintings. Huang Wan-Ling created a panorama with non-human perspectives capturing vague human figures. Lin Guan-Ming, in his image cycle, depicted how the traces of existence die immediately after birth. This
theater” emerged unannounced while I was reading about the individual creators. The hint, originating from the
theatricalness”, gradually formed in my head a place, a theater, where the multiple creators could meet. This imaginary meeting place, under the diversity of these creators, provides the opportunity to amplify their differences and to connect their similarities. This place becomes a shared framework within which certain moments are experienced. This place becomes a flowing place for observing body movements through multiple perspectives. It is both the continuation and multiplication of time and the expansion of the imagination of space. So, is this concept of a theater equipped with the possibility of continuing to ask questions about the paintings? Or does it become an empty space that actively demands the encounters of people? When the paintings have hidden theatrical factors that continue to generate unexpected incidents, the exhibition venue becomes a theater space that is open to chance encounters. It is no longer a contemporary predesigned object that observes and is observed. Rather, it surrounds the viewer, becoming a place where the viewer is present. Specifically, unlike a theater, where the viewers are only media for actions, this creative installation site, which happens to be in the exhibition venue, is more like it is waiting for the viewers to enter. When the viewers sense the various existing traces of the exhibition displays, they become participants in this virtual narrative, the necessary condition to complete the concept of a theater.
Color and Light”. The drama in the paintings of Lin Hsien-Chun, Wang Sean, and Tseng Yong-Ning originated from the color wheel spectrum, the narrative of framed scenery, and the garden of light blooming in the flowing and rebirth of lines. The second theme is
Image and Body”, upon which five creators composed their works. Liao Zen-Ping was inspired by the instant feelings of photography and painted light and shadow. Hsieh Mu-Chi,the war of collaged images. Kao Ya-Ting selected the dead bodies of images from the ruins of paintings. Huang Wan-Ling created a panorama with non-human perspectives capturing vague human figures. Lin Guan-Ming, in his image cycle, depicted how the traces of existence die immediately after birth. This
theater” emerged unannounced while I was reading about the individual creators. The hint, originating from the
theatricalness”, gradually formed in my head a place, a theater, where the multiple creators could meet. This imaginary meeting place, under the diversity of these creators, provides the opportunity to amplify their differences and to connect their similarities. This place becomes a shared framework within which certain moments are experienced. This place becomes a flowing place for observing body movements through multiple perspectives. It is both the continuation and multiplication of time and the expansion of the imagination of space. So, is this concept of a theater equipped with the possibility of continuing to ask questions about the paintings? Or does it become an empty space that actively demands the encounters of people? When the paintings have hidden theatrical factors that continue to generate unexpected incidents, the exhibition venue becomes a theater space that is open to chance encounters. It is no longer a contemporary predesigned object that observes and is observed. Rather, it surrounds the viewer, becoming a place where the viewer is present. Specifically, unlike a theater, where the viewers are only media for actions, this creative installation site, which happens to be in the exhibition venue, is more like it is waiting for the viewers to enter. When the viewers sense the various existing traces of the exhibition displays, they become participants in this virtual narrative, the necessary condition to complete the concept of a theater.
Works
