Recognition System–2014 KUANDU BIENNALE
2014.09.26～2014.12.14
09:00 - 17:00
In face of the current cultural values and the freedom of consciousness constructed by humans, how should we deconstruct and restructure contemporary art, and how should artists play their roles? The 2014 Kuandu Biennale will be grandly on view at the Kuandu Museum of Fine Arts on 26 September. The Biennale invites 10 pairs of artist and curator from different countries in the regions of Asia, presenting a distinctive world woven by their respective cultural backgrounds and aesthetic horizons. 10+10: The Joint Interpretation by 10 Artists and 10 Curators The Kuandu Biennale this year treats
Recognition System” as the curatorial theme. Specifically speaking, we intervene in the
systems” of artistic production by treating
recognition” as a
verb,” and then re-build and re-interpret the generative context of knowledge system and the gestalts of art with the assistance of methodological approaches, a process in which we grope for the shared properties and values between the knowledge system and art. From the deduction about civilizations to the landscapes along the skyline, and from the civilian economics to the micro-perceptions in the organic world, the 2014 Kuandu Biennale consists of 10 thematic
solo exhibitions” staged by 10 pairs of curator and artist who present a wide diversity of artistic claims, dialogues, analogies, aggregations, and discrepancies. Their competition, cooperation, and exchange embody a brand new Asian contemporary "recognition system." The Kuandu Biennale centers on curating and features the curatorial mechanism of
asking the participating artists to recommend their own curators.” The mechanism was employed in the first Kuandu Biennale—
I Have a Dream” (2008), the second one—
Memories and Beyond” (2010), and the third one—
Artist in Wonderland” (2012). For the fourth Kuandu Biennale—
Recognition System,” we additionally cooperate with sister universities and other institutions to nominate eligible artists. This approach successfully assigns a distinctive subjectivity and the power of artistic discourse to the KdMoFA. In addition to the Kuandu Biennale, the KdMoFA also organizes the
Asian Contemporary Art Forum” that adequately connects Asian artists, curators, art critics, and local art communities. Through the Biennale and the Forum, we expect to pool the energy and creativity of Asian contemporary art and demonstrate the capacities and academic representativeness of a university museum. List of Participants Artists + Curators CHANG Yung-Ta + GUO Jau-Lan Taiwan Syaiful GARIBALDI + Grace SAMBOH Indonesia David HAINES + Jasmin STEPHENS Australia JANG Suk-Joon + SUL Won-Gi Korea KAO Chung-Li + LIU Yung-Hao Taiwan Mami KOSEMURA + Toyomi HOSHINA Japan KWAN Sheung-Chi + Anthony YUNG Hong Kong LI Gang + WANG Huang-Sheng China Money Faketory + Pichaya Aime SUPHAVANIJ Thailand Valay SHENDE + Veeranganakumari SOLANKI India
Recognition System” as the curatorial theme. Specifically speaking, we intervene in the
systems” of artistic production by treating
recognition” as a
verb,” and then re-build and re-interpret the generative context of knowledge system and the gestalts of art with the assistance of methodological approaches, a process in which we grope for the shared properties and values between the knowledge system and art. From the deduction about civilizations to the landscapes along the skyline, and from the civilian economics to the micro-perceptions in the organic world, the 2014 Kuandu Biennale consists of 10 thematic
solo exhibitions” staged by 10 pairs of curator and artist who present a wide diversity of artistic claims, dialogues, analogies, aggregations, and discrepancies. Their competition, cooperation, and exchange embody a brand new Asian contemporary "recognition system." The Kuandu Biennale centers on curating and features the curatorial mechanism of
asking the participating artists to recommend their own curators.” The mechanism was employed in the first Kuandu Biennale—
I Have a Dream” (2008), the second one—
Memories and Beyond” (2010), and the third one—
Artist in Wonderland” (2012). For the fourth Kuandu Biennale—
Recognition System,” we additionally cooperate with sister universities and other institutions to nominate eligible artists. This approach successfully assigns a distinctive subjectivity and the power of artistic discourse to the KdMoFA. In addition to the Kuandu Biennale, the KdMoFA also organizes the
Asian Contemporary Art Forum” that adequately connects Asian artists, curators, art critics, and local art communities. Through the Biennale and the Forum, we expect to pool the energy and creativity of Asian contemporary art and demonstrate the capacities and academic representativeness of a university museum. List of Participants Artists + Curators CHANG Yung-Ta + GUO Jau-Lan Taiwan Syaiful GARIBALDI + Grace SAMBOH Indonesia David HAINES + Jasmin STEPHENS Australia JANG Suk-Joon + SUL Won-Gi Korea KAO Chung-Li + LIU Yung-Hao Taiwan Mami KOSEMURA + Toyomi HOSHINA Japan KWAN Sheung-Chi + Anthony YUNG Hong Kong LI Gang + WANG Huang-Sheng China Money Faketory + Pichaya Aime SUPHAVANIJ Thailand Valay SHENDE + Veeranganakumari SOLANKI India
In face of the current cultural values and the freedom of consciousness constructed by humans, how should we deconstruct and restructure contemporary art, and how should artists play their roles? The 2014 Kuandu Biennale will be grandly on view at the Kuandu Museum of Fine Arts on 26 September. The Biennale invites 10 pairs of artist and curator from different countries in the regions of Asia, presenting a distinctive world woven by their respective cultural backgrounds and aesthetic horizons. 10+10: The Joint Interpretation by 10 Artists and 10 Curators The Kuandu Biennale this year treats
Recognition System” as the curatorial theme. Specifically speaking, we intervene in the
systems” of artistic production by treating
recognition” as a
verb,” and then re-build and re-interpret the generative context of knowledge system and the gestalts of art with the assistance of methodological approaches, a process in which we grope for the shared properties and values between the knowledge system and art. From the deduction about civilizations to the landscapes along the skyline, and from the civilian economics to the micro-perceptions in the organic world, the 2014 Kuandu Biennale consists of 10 thematic
solo exhibitions” staged by 10 pairs of curator and artist who present a wide diversity of artistic claims, dialogues, analogies, aggregations, and discrepancies. Their competition, cooperation, and exchange embody a brand new Asian contemporary "recognition system." The Kuandu Biennale centers on curating and features the curatorial mechanism of
asking the participating artists to recommend their own curators.” The mechanism was employed in the first Kuandu Biennale—
I Have a Dream” (2008), the second one—
Memories and Beyond” (2010), and the third one—
Artist in Wonderland” (2012). For the fourth Kuandu Biennale—
Recognition System,” we additionally cooperate with sister universities and other institutions to nominate eligible artists. This approach successfully assigns a distinctive subjectivity and the power of artistic discourse to the KdMoFA. In addition to the Kuandu Biennale, the KdMoFA also organizes the
Asian Contemporary Art Forum” that adequately connects Asian artists, curators, art critics, and local art communities. Through the Biennale and the Forum, we expect to pool the energy and creativity of Asian contemporary art and demonstrate the capacities and academic representativeness of a university museum. List of Participants Artists + Curators CHANG Yung-Ta + GUO Jau-Lan Taiwan Syaiful GARIBALDI + Grace SAMBOH Indonesia David HAINES + Jasmin STEPHENS Australia JANG Suk-Joon + SUL Won-Gi Korea KAO Chung-Li + LIU Yung-Hao Taiwan Mami KOSEMURA + Toyomi HOSHINA Japan KWAN Sheung-Chi + Anthony YUNG Hong Kong LI Gang + WANG Huang-Sheng China Money Faketory + Pichaya Aime SUPHAVANIJ Thailand Valay SHENDE + Veeranganakumari SOLANKI India
Recognition System” as the curatorial theme. Specifically speaking, we intervene in the
systems” of artistic production by treating
recognition” as a
verb,” and then re-build and re-interpret the generative context of knowledge system and the gestalts of art with the assistance of methodological approaches, a process in which we grope for the shared properties and values between the knowledge system and art. From the deduction about civilizations to the landscapes along the skyline, and from the civilian economics to the micro-perceptions in the organic world, the 2014 Kuandu Biennale consists of 10 thematic
solo exhibitions” staged by 10 pairs of curator and artist who present a wide diversity of artistic claims, dialogues, analogies, aggregations, and discrepancies. Their competition, cooperation, and exchange embody a brand new Asian contemporary "recognition system." The Kuandu Biennale centers on curating and features the curatorial mechanism of
asking the participating artists to recommend their own curators.” The mechanism was employed in the first Kuandu Biennale—
I Have a Dream” (2008), the second one—
Memories and Beyond” (2010), and the third one—
Artist in Wonderland” (2012). For the fourth Kuandu Biennale—
Recognition System,” we additionally cooperate with sister universities and other institutions to nominate eligible artists. This approach successfully assigns a distinctive subjectivity and the power of artistic discourse to the KdMoFA. In addition to the Kuandu Biennale, the KdMoFA also organizes the
Asian Contemporary Art Forum” that adequately connects Asian artists, curators, art critics, and local art communities. Through the Biennale and the Forum, we expect to pool the energy and creativity of Asian contemporary art and demonstrate the capacities and academic representativeness of a university museum. List of Participants Artists + Curators CHANG Yung-Ta + GUO Jau-Lan Taiwan Syaiful GARIBALDI + Grace SAMBOH Indonesia David HAINES + Jasmin STEPHENS Australia JANG Suk-Joon + SUL Won-Gi Korea KAO Chung-Li + LIU Yung-Hao Taiwan Mami KOSEMURA + Toyomi HOSHINA Japan KWAN Sheung-Chi + Anthony YUNG Hong Kong LI Gang + WANG Huang-Sheng China Money Faketory + Pichaya Aime SUPHAVANIJ Thailand Valay SHENDE + Veeranganakumari SOLANKI India
Artist-Syaiful Aulia GARIBALDI Syaiful Aulia GARIBALDI (b. Jakarta, 1985), started his study in the Bandung Institute of Technology majoring agronomy in the Agricultural Faculty yet shifted and graduated from the Printmaking Department of the Arts and Design Faculty. GARIBALDI’s artistic practice evolves around the Terhah world, an imaginary world that he had made starting from creating a constructed language called the ‘Terhah language’. GARIBALDI works with various types of living mediums from microogranisms to fungis. These living beings are acted upon as both subject matter and (artmaking) mediums. The organic disposition of his works in terms of its potential to undergo processes of development and transformation. With these materials, Tepu enforces the notion that as a material, fungi—or more importantly: new media artistic expressions—are directly related to the need for new languages. Over the years, GARIBALDI’s works slowly reveal the pilars of Terhah world’s civilization; starting from language, astrology, epigraph, to landscapes. In his first solo show “Regnum Fungi” at Padi Art Ground, Bandung, Indonesia, GARIBALDI presented the landscapes of Terhah using microorganisms (2012). In 2014, two of his solo shows are “Interstitial Terhah” (organized by Roh Project at the Art Basel, Hongkong) and “Abiogenesis: Terhah Landscape” at the Pearl Lam Gallery, Singapore. Curator-Grace SAMBOH Grace SAMBOH started her interest in the arts at ruangrupa—artist-collective based in Jakarta—where she participated in the organizing of “OK Video Militia” 2007. In 2009, Indonesian Visual Art Archive commissioned her to curate the “21 Years Retrospective of Jogja Biennale” as one of the archive-based shows at the Jogja Biennale IX – “Jogja Jamming” (2009). She participated in the making of Langgeng Art Foundation (2010-2012) as the executive director/curator. With her colleagues, she started a closed-door discussion group called ‘Hyphen’ in 2011. In general, ‘Hyphen’ seek to sew bits by bits of the fragmented Indonesian art history. Since 2012, she become a part of the artist-initiated closed-group discussion ‘Ceblang-ceblung’ and is also the program manager for the ‘Equator Symposium’ (run by the Yogyakarta Biennale Foundation). She collaborated with Lifepatch and Hackteria in making the two-weeks makers’ gathering, field trip, symposium and exhibition “HackteriaLab 2014 – Yogyakarta”.
Artist-Syaiful Aulia GARIBALDI Syaiful Aulia GARIBALDI (b. Jakarta, 1985), started his study in the Bandung Institute of Technology majoring agronomy in the Agricultural Faculty yet shifted and graduated from the Printmaking Department of the Arts and Design Faculty. GARIBALDI’s artistic practice evolves around the Terhah world, an imaginary world that he had made starting from creating a constructed language called the ‘Terhah language’. GARIBALDI works with various types of living mediums from microogranisms to fungis. These living beings are acted upon as both subject matter and (artmaking) mediums. The organic disposition of his works in terms of its potential to undergo processes of development and transformation. With these materials, Tepu enforces the notion that as a material, fungi—or more importantly: new media artistic expressions—are directly related to the need for new languages. Over the years, GARIBALDI’s works slowly reveal the pilars of Terhah world’s civilization; starting from language, astrology, epigraph, to landscapes. In his first solo show “Regnum Fungi” at Padi Art Ground, Bandung, Indonesia, GARIBALDI presented the landscapes of Terhah using microorganisms (2012). In 2014, two of his solo shows are “Interstitial Terhah” (organized by Roh Project at the Art Basel, Hongkong) and “Abiogenesis: Terhah Landscape” at the Pearl Lam Gallery, Singapore. Curator-Grace SAMBOH Grace SAMBOH started her interest in the arts at ruangrupa—artist-collective based in Jakarta—where she participated in the organizing of “OK Video Militia” 2007. In 2009, Indonesian Visual Art Archive commissioned her to curate the “21 Years Retrospective of Jogja Biennale” as one of the archive-based shows at the Jogja Biennale IX – “Jogja Jamming” (2009). She participated in the making of Langgeng Art Foundation (2010-2012) as the executive director/curator. With her colleagues, she started a closed-door discussion group called ‘Hyphen’ in 2011. In general, ‘Hyphen’ seek to sew bits by bits of the fragmented Indonesian art history. Since 2012, she become a part of the artist-initiated closed-group discussion ‘Ceblang-ceblung’ and is also the program manager for the ‘Equator Symposium’ (run by the Yogyakarta Biennale Foundation). She collaborated with Lifepatch and Hackteria in making the two-weeks makers’ gathering, field trip, symposium and exhibition “HackteriaLab 2014 – Yogyakarta”.
Artist-David HAINES David HAINES’ installation comprises a suite of images using the technique of Kirlian photography and a fragrance he has composed in his Aroma Studio. The photographs are of plants from the Wollemi Wilderness, a remote and mysterious region, that shelters the elusive Wollemi Pine, a species known only through fossil records until it was discovered in 1994. Since 2004 HAINES has been developing an extensive library of aroma molecules and championing the possibilities of aroma in contemporary art. His passion for scent has evolved as part of his long-standing collaboration with Joyce HINTERDING with whom he explores sensation and perception across experimental, traditional and digital media. His extensive exhibition history (with HINTERDING and individually) includes exhibitions in Austria, Brazil, China, France, Japan, South Korea, Taiwan and the UK. HAINES lives in the Blue Mountains, west of Sydney, and his Aroma Studio is based at Sydney College of the Arts, University of Sydney. David HAINES has worked with curator Jasmin STEPHENS and has been supported by Arts NSW, Asialink and Sydney College of the Arts, University of Sydney. Curator-Jasmin STEPHENS Jasmin STEPHENS is an independent curator who lives in Sydney. She has held audience development, programming and curatorial roles in many institutions including Fremantle Arts Centre in Perth, and in Sydney, the Art Gallery of New South Wales, the Museum of Contemporary Art, Artbank and Artspace. She has also been a Visiting Curator and Asialink Arts Management Resident with Singapore Biennale. Her recent exhibitions include “Yonder”, Perth Institute of Contemporary Arts, Perth, 2012; “Metallic”, Edith Cowan University, Perth, 2012; and “Novel Ecologies”, The Cross Art Projects, Sydney, 2013. This year she is curating “Far and Wide: Narrative into Idea” at UTS Gallery, University of Technology Sydney, and “Collection+ Pinaree Sanpitak” for the Sherman Contemporary Art Foundation in Sydney. She is currently researching an exhibition exploring how ideas are circulating across Australia and Southeast Asia and has recently written for ArtAsiaPacific, Vault magazine and ARTAND.
Artist-David HAINES David HAINES’ installation comprises a suite of images using the technique of Kirlian photography and a fragrance he has composed in his Aroma Studio. The photographs are of plants from the Wollemi Wilderness, a remote and mysterious region, that shelters the elusive Wollemi Pine, a species known only through fossil records until it was discovered in 1994. Since 2004 HAINES has been developing an extensive library of aroma molecules and championing the possibilities of aroma in contemporary art. His passion for scent has evolved as part of his long-standing collaboration with Joyce HINTERDING with whom he explores sensation and perception across experimental, traditional and digital media. His extensive exhibition history (with HINTERDING and individually) includes exhibitions in Austria, Brazil, China, France, Japan, South Korea, Taiwan and the UK. HAINES lives in the Blue Mountains, west of Sydney, and his Aroma Studio is based at Sydney College of the Arts, University of Sydney. David HAINES has worked with curator Jasmin STEPHENS and has been supported by Arts NSW, Asialink and Sydney College of the Arts, University of Sydney. Curator-Jasmin STEPHENS Jasmin STEPHENS is an independent curator who lives in Sydney. She has held audience development, programming and curatorial roles in many institutions including Fremantle Arts Centre in Perth, and in Sydney, the Art Gallery of New South Wales, the Museum of Contemporary Art, Artbank and Artspace. She has also been a Visiting Curator and Asialink Arts Management Resident with Singapore Biennale. Her recent exhibitions include “Yonder”, Perth Institute of Contemporary Arts, Perth, 2012; “Metallic”, Edith Cowan University, Perth, 2012; and “Novel Ecologies”, The Cross Art Projects, Sydney, 2013. This year she is curating “Far and Wide: Narrative into Idea” at UTS Gallery, University of Technology Sydney, and “Collection+ Pinaree Sanpitak” for the Sherman Contemporary Art Foundation in Sydney. She is currently researching an exhibition exploring how ideas are circulating across Australia and Southeast Asia and has recently written for ArtAsiaPacific, Vault magazine and ARTAND.
Artist-JANG Suk-Joon JANG Suk-Joon (b. 1981) is Korean artist who works between a variety of media-interplaying digital interfaces and photography, site-specific installation. She graduated from Korea National University of Arts in 2005 with a degree in Fine Art and Master of fine degree in 2011. Since then, she worked with variety of media including photography, site-specific installation and interactive media. She focused on collecting the images of urban landscape under a rapid industrialization that represent vernacular culture in contemporary everyday life. JANG has exhibited solo show “Close sky, Rainbow” (2006), Art Space Hue, Seoul, Korea; “docu_META” (2011), MK2 art space, Beijing, China. In addition, she is widely represented in many curated show “Begining of Yeol”, Insa Art Space of The Art Council Korea; “System_Pia”, Youngeun Museum in 2011; “SeMA 2008 Selected Emerging Artist” , Seoul Museum of Art. She also has participated in UNESCO-Bursary program Djerassi Visual Arts in 2009 (US); International Artist studio program Korea in 2008; the Art centre of Christchurch residency (NZ) with Asia New zealand Foundation-grant for “Bus Stop _Solo Show” in 2009. She is currently selected curating project in Art council Korea, the Nomadic Arts Residency Program between Australia Aboriginal art centre (Deart) and Korea (DocumentA) in 2013. Curator-SUL Won-Gi SUL Won-Gi was born in Seoul Korea. He moved to the United States when he was 10 years old receiving his education in the US until graduation from Beloit College, Wisconsin in 1974. He returned to Korea for 4 years to serve in the Korean armed forces and then completed his MFA in painting at Pratt Institute in New York in 1981. He lived in New York City working as an artist and showing at various venues including the Drawing Center in New York City until 1993, when he took up the post of professor of painting, at Duksung Women’s University in Seoul, Korea. He changed his position to professor of painting at the National University of Arts in Seoul, Korea in 1998. During his career, not only has he exhibited in major galleries and museums, he has also participated in activities in operating art spaces and independent curating of young artists. His art works are presented in collections in various museums in Korea and the USA, including the National Museum of Art in Korea, Soma Museum, OCI Museum, and the Metropolitan Museum of Art in New York.
Artist-JANG Suk-Joon JANG Suk-Joon (b. 1981) is Korean artist who works between a variety of media-interplaying digital interfaces and photography, site-specific installation. She graduated from Korea National University of Arts in 2005 with a degree in Fine Art and Master of fine degree in 2011. Since then, she worked with variety of media including photography, site-specific installation and interactive media. She focused on collecting the images of urban landscape under a rapid industrialization that represent vernacular culture in contemporary everyday life. JANG has exhibited solo show “Close sky, Rainbow” (2006), Art Space Hue, Seoul, Korea; “docu_META” (2011), MK2 art space, Beijing, China. In addition, she is widely represented in many curated show “Begining of Yeol”, Insa Art Space of The Art Council Korea; “System_Pia”, Youngeun Museum in 2011; “SeMA 2008 Selected Emerging Artist” , Seoul Museum of Art. She also has participated in UNESCO-Bursary program Djerassi Visual Arts in 2009 (US); International Artist studio program Korea in 2008; the Art centre of Christchurch residency (NZ) with Asia New zealand Foundation-grant for “Bus Stop _Solo Show” in 2009. She is currently selected curating project in Art council Korea, the Nomadic Arts Residency Program between Australia Aboriginal art centre (Deart) and Korea (DocumentA) in 2013. Curator-SUL Won-Gi SUL Won-Gi was born in Seoul Korea. He moved to the United States when he was 10 years old receiving his education in the US until graduation from Beloit College, Wisconsin in 1974. He returned to Korea for 4 years to serve in the Korean armed forces and then completed his MFA in painting at Pratt Institute in New York in 1981. He lived in New York City working as an artist and showing at various venues including the Drawing Center in New York City until 1993, when he took up the post of professor of painting, at Duksung Women’s University in Seoul, Korea. He changed his position to professor of painting at the National University of Arts in Seoul, Korea in 1998. During his career, not only has he exhibited in major galleries and museums, he has also participated in activities in operating art spaces and independent curating of young artists. His art works are presented in collections in various museums in Korea and the USA, including the National Museum of Art in Korea, Soma Museum, OCI Museum, and the Metropolitan Museum of Art in New York.
Artist-KAO Chung -Li Soon after Karl Marx has predicted that “All fixed, fast-frozen relations…are swept away, all new-formed ones become antiquated before they can ossify,” the elder generation witnessed the complete colonization of spaces by various types of institutional violence such as the industrial system, the military system, capitalism, and representative democracy. Subsequently, the advances in digital technologies not only synchronize the consciousness of the people around the world but also turn the globe into a single market. In other words, no any individual or group is able to escape the fate of having colonized consciousness and spirit. Chung-Li KAO’s adherence to or opinion on machine-produced images is prone to convey different impressions such as crossing his bridges before he comes to them, going beyond his depth, having a very narrow view, being disconnected with the reality, and just caring about limited and immediate interests. KAO presents his reflections in his artworks, to mention some, Photochemical and Mechanical Installation of Moving Images, Illuminated Cinema, A Slide Briefing Film, A Patent on Visual Toys, The Image-implicated Images, Ten Digital Short Films, and 24x18.half. KAO has a turbulent career, and muttered “don’t forget your original goal” from time to time. To what goal does he refer? “The goal of preventing the younger generation from facing the predicament of alienation that the elder generation has suffered from”, KAO mumbled. Curator-LIU Yung-Hao LIU Yung-Hao earned his doctorate in film and literature (Pratiques et Theories Du Sens) from Université Paris VIII. He is an assistant professor at the Department of Radio, Television and Film, Shih Hsin University. He specializes in film theory, the study on minorities and marginalized groups as well as the studies on family films, diary films, and experimental films. During his stay in France, he has worked as an assistant in the Department of Film and Art at the American Center in Paris. The exhibitions with which he offered to assist included the “Retrospective Exhibition on the Films by Gregory J. Markopoulos” (1995), the “Exhibition on the Photographs by David Wojnarowicz”, and the exhibition entitled “My Brain is Driving Me Crazy” (1996). He has also regularly introduced and promoted video artworks in the program ‘Video News’ made by the American Center in Paris. He has independently curated the Solo Exhibition by Yann BEAUVAIS—“Le cinéma décadré” (1999) (in collaboration with the Centre Georges Pompidou), and the Second Experimental Media Art Festival in Taiwan—“Repetition and Pause: The Light that Pierces through Experimental Films—The Experimental Films Directed by KAO Chung-Li” (2011).
Artist-KAO Chung -Li Soon after Karl Marx has predicted that “All fixed, fast-frozen relations…are swept away, all new-formed ones become antiquated before they can ossify,” the elder generation witnessed the complete colonization of spaces by various types of institutional violence such as the industrial system, the military system, capitalism, and representative democracy. Subsequently, the advances in digital technologies not only synchronize the consciousness of the people around the world but also turn the globe into a single market. In other words, no any individual or group is able to escape the fate of having colonized consciousness and spirit. Chung-Li KAO’s adherence to or opinion on machine-produced images is prone to convey different impressions such as crossing his bridges before he comes to them, going beyond his depth, having a very narrow view, being disconnected with the reality, and just caring about limited and immediate interests. KAO presents his reflections in his artworks, to mention some, Photochemical and Mechanical Installation of Moving Images, Illuminated Cinema, A Slide Briefing Film, A Patent on Visual Toys, The Image-implicated Images, Ten Digital Short Films, and 24x18.half. KAO has a turbulent career, and muttered “don’t forget your original goal” from time to time. To what goal does he refer? “The goal of preventing the younger generation from facing the predicament of alienation that the elder generation has suffered from”, KAO mumbled. Curator-LIU Yung-Hao LIU Yung-Hao earned his doctorate in film and literature (Pratiques et Theories Du Sens) from Université Paris VIII. He is an assistant professor at the Department of Radio, Television and Film, Shih Hsin University. He specializes in film theory, the study on minorities and marginalized groups as well as the studies on family films, diary films, and experimental films. During his stay in France, he has worked as an assistant in the Department of Film and Art at the American Center in Paris. The exhibitions with which he offered to assist included the “Retrospective Exhibition on the Films by Gregory J. Markopoulos” (1995), the “Exhibition on the Photographs by David Wojnarowicz”, and the exhibition entitled “My Brain is Driving Me Crazy” (1996). He has also regularly introduced and promoted video artworks in the program ‘Video News’ made by the American Center in Paris. He has independently curated the Solo Exhibition by Yann BEAUVAIS—“Le cinéma décadré” (1999) (in collaboration with the Centre Georges Pompidou), and the Second Experimental Media Art Festival in Taiwan—“Repetition and Pause: The Light that Pierces through Experimental Films—The Experimental Films Directed by KAO Chung-Li” (2011).
Artist-Mami KOSEMURA Born in Kanagawa in 1975. Completed a D.A. in painting at Tokyo University of the Arts. Kosemura was given a D.A. for a thesis, on the relation between painting and film and a movie, which won the Nomura Prize (Nomura Art Foundation Prize). By creating animation works, which connect an enormous amount of photographs and drawings, and also photographic works, she has gained recognition mainly in the field of contemporary art. Her artwork is in the collection of the University Art Museum, Tokyo University of the Arts, Asia Society and Museum, NY and Museum of Contemporary Art Tokyo. Selected Exhibition & Screening: “MOT Annual 2004”(2004), Museum of Contemporary Art, Tokyo; “Projected Realities : video art from East Asia”(2006), Asia Society and Museum, NY; “Mind as Passion: A video art exhibition featuring 17 new-generation artists from Taiwan and Japan”(2009), Taipei Fine Arts Museum, Taiwan; “International Incheon Women Artists' Biennale”(2009), Incheon Art Platform, Korea; “Yebisu International Festival for Art and Alternative Visions”(2009), Tokyo Metropolitan Museum of Photography; “RA Forum 'Diana BALMORI : Landscape Manifest'”(2010), Royal Academy of Arts, London; “AIR Combaz7”(2013), Residence of Crans-Montana, Swissland. KOSEMURA had been exploring the relationship between time and space in pictures through the video created from a large quantity of compiling photographs. By paying equal attention to both the stop and the motion. She quietly conveys the importance for everybody who shares time in this world to continue to look hard, even if it is difficult to recognize the whole of the world. Curator-Toyomi HOSHINA Dean of the Collage of Fine Arts, Tokyo University of the Arts Executive Director, Echigo-Tsumari Art Triennial Executive Director, “Story of the Island” Exhibition, Shōdo Island, Kagawa Executive Director, Ueno Town Art Museum Executive Director, GTS (Geidai Taito Sumida) Sightseeing Art Project Toyomi Hoshina has been an active artist domestically and internationally since the 1980s. He has participated in Paris Biennale and various international exhibitions in Switzerland, Germany, the United States, China, South Korea, and the Netherlands. He continuously creates installations, paintings, multimedia, and other works that blend perfectly with the environment. These works open up a neutral ‘space’ though the interaction among the environment, sociality, and corporeality. His recent works primarily focus on the inter-modality between history and self.
Artist-Mami KOSEMURA Born in Kanagawa in 1975. Completed a D.A. in painting at Tokyo University of the Arts. Kosemura was given a D.A. for a thesis, on the relation between painting and film and a movie, which won the Nomura Prize (Nomura Art Foundation Prize). By creating animation works, which connect an enormous amount of photographs and drawings, and also photographic works, she has gained recognition mainly in the field of contemporary art. Her artwork is in the collection of the University Art Museum, Tokyo University of the Arts, Asia Society and Museum, NY and Museum of Contemporary Art Tokyo. Selected Exhibition & Screening: “MOT Annual 2004”(2004), Museum of Contemporary Art, Tokyo; “Projected Realities : video art from East Asia”(2006), Asia Society and Museum, NY; “Mind as Passion: A video art exhibition featuring 17 new-generation artists from Taiwan and Japan”(2009), Taipei Fine Arts Museum, Taiwan; “International Incheon Women Artists' Biennale”(2009), Incheon Art Platform, Korea; “Yebisu International Festival for Art and Alternative Visions”(2009), Tokyo Metropolitan Museum of Photography; “RA Forum 'Diana BALMORI : Landscape Manifest'”(2010), Royal Academy of Arts, London; “AIR Combaz7”(2013), Residence of Crans-Montana, Swissland. KOSEMURA had been exploring the relationship between time and space in pictures through the video created from a large quantity of compiling photographs. By paying equal attention to both the stop and the motion. She quietly conveys the importance for everybody who shares time in this world to continue to look hard, even if it is difficult to recognize the whole of the world. Curator-Toyomi HOSHINA Dean of the Collage of Fine Arts, Tokyo University of the Arts Executive Director, Echigo-Tsumari Art Triennial Executive Director, “Story of the Island” Exhibition, Shōdo Island, Kagawa Executive Director, Ueno Town Art Museum Executive Director, GTS (Geidai Taito Sumida) Sightseeing Art Project Toyomi Hoshina has been an active artist domestically and internationally since the 1980s. He has participated in Paris Biennale and various international exhibitions in Switzerland, Germany, the United States, China, South Korea, and the Netherlands. He continuously creates installations, paintings, multimedia, and other works that blend perfectly with the environment. These works open up a neutral ‘space’ though the interaction among the environment, sociality, and corporeality. His recent works primarily focus on the inter-modality between history and self.
Artist-KWAN Sheung-Chi KWAN Sheung-Chi was born in 1980, Hong Kong. He obtained a third honor B.A. degree in Fine Art from The Chinese University of Hong Kong in 2003. He failed in applying the MFA programme from the CUHK in 2004 and 2007. He was also a founding member of local art groups, ‘Hong Kong Arts Discovery Channel’ (HKADC), ‘hkPARTg (Political Art Group)’ and ‘Woofer Ten’. In 2009, He had been awarded the Starr Foundation Fellowship from the Asian Cultural Council, to take part in an international residency program in New York, USA. He won the inaugural ‘HUGO BOSS ASIA ART’ in 2013. His artworks haven’t widely exhibited around the world, and he has never participated in any major exhibitions held internationally. Curator-Anthony YUNG Anthony YUNG is a senior researcher at Asia Art Archive, specializing in China’s related research projects. He managed AAA’s major research project ‘Materials of the Future: Documenting Contemporary Chinese Art from 1980-1990’, which produced 100 interviews with artist, critics, scholars and other participants and collected a large amount of research materials about Chinese contemporary art from late 1970s to early 1990s. YUNG is also co-founder of ‘Observation Society’, an independent art space in Guangzhou, and is the awardee of ‘The Fourth Yishu Awards for Critical Writing on Contemporary Chinese Art’ (2014).
Artist-KWAN Sheung-Chi KWAN Sheung-Chi was born in 1980, Hong Kong. He obtained a third honor B.A. degree in Fine Art from The Chinese University of Hong Kong in 2003. He failed in applying the MFA programme from the CUHK in 2004 and 2007. He was also a founding member of local art groups, ‘Hong Kong Arts Discovery Channel’ (HKADC), ‘hkPARTg (Political Art Group)’ and ‘Woofer Ten’. In 2009, He had been awarded the Starr Foundation Fellowship from the Asian Cultural Council, to take part in an international residency program in New York, USA. He won the inaugural ‘HUGO BOSS ASIA ART’ in 2013. His artworks haven’t widely exhibited around the world, and he has never participated in any major exhibitions held internationally. Curator-Anthony YUNG Anthony YUNG is a senior researcher at Asia Art Archive, specializing in China’s related research projects. He managed AAA’s major research project ‘Materials of the Future: Documenting Contemporary Chinese Art from 1980-1990’, which produced 100 interviews with artist, critics, scholars and other participants and collected a large amount of research materials about Chinese contemporary art from late 1970s to early 1990s. YUNG is also co-founder of ‘Observation Society’, an independent art space in Guangzhou, and is the awardee of ‘The Fourth Yishu Awards for Critical Writing on Contemporary Chinese Art’ (2014).
Artist-LI Gang LI Gang, born in Puning city of Guangdong Province, China, in 1962, now works in the Art Museum of Central Academy of Fine Arts in China. LI Gang is one of the representative artists who employ ink-related mixed materials as mediums and succeed in transforming from traditional Chinese freehand painting to contemporary painting. He tries to build a link between contemporary ink and the current social reality, as a way to think about the inheritance of Chinese traditional culture and the cultural problems in modern time. LI focuses on mixed media creation with techniques and mediums of ink, performance, video, installation, rubbing, etc. Ruins: Re-Deconstruction of LI Gang’s Ink is a work that cost him three years to create, consisting of four parts: ‘picking’, ‘extracting’, ‘transforming’ and ‘exchanging’. It contains LI ’s intention of using ‘ruins’ as a tool to question and reinterpret our civilization. LI Gang’s work has participated in the second “Guangzhou Triennial”, the Collateral Events of the 35th Venice Biennale, and solo exhibitions held in Guangdong Museum of Art, Shaanxi Province Art Museum, and Today Art Museum in Beijing, and other exhibitions organized by art museums and art centers of some cities in Belarus, Thailand (Bangkok), Singapore, Korea, Estonia, Austria, as well as cities around China, Hong Kong included. Art institutions like Guangdong Museum of Art, Art Museum of Guangzhou Academy of Fine Arts and Shenzhen He Xiangning Art Museum now have registered collections of LI ’s work. Curator-WANG Huang -Sheng Ph.D of Art History, professor of China Central Academy of Fine Arts, doctoral adviser, director of CAFA Art Museum, deputy director of the Committee of Art Museums in China, Expert Committee member of National Contemporary Art Research Centre, Ministry of Culture. Wang is an outstanding art expert who enjoys special allowance of the State Council in China, also a specially-appointed professor in Guangzhou Academy of Fine Arts, Nanjing Art Institute and South China Normal University. In 2004 he obtained the ‘Knight Medal of Art and Literature’ awarded by the French government. In 2006 he obtained the ‘Knight Medal’ awarded by the President of Italy. Founded and organized the “Guangzhou Triennial”, “Guangzhou Photo Biennale”, “CAFAM Biennale”, “CAFAM · Future Exhibition” and “Beijing Photo Biennale”. Exhibitions curated include "Documentary Exhibition of Art in Mao Zedong’s Era (1942-1976) ”, “The Humanism in China: A Contemporary Record of Photography”, etc. He was the director of Guangdong Museum of Art from 2000 to 2009. WANG Huang-Sheng had the solo exhibitions at domestic and international known art institutes, such as National Art Museum of China, Zhejiang Art Museum and Schiller Gallery, and also collected by Victoria and Albert Museum, Uffizi Gallery, National Art Museum of China and other important museums. Since 1996, WANG Huang-sheng published a series of personal catalogues, such as Boundless: WANG Huang-sheng’s Works 2009-2013.
Artist-LI Gang LI Gang, born in Puning city of Guangdong Province, China, in 1962, now works in the Art Museum of Central Academy of Fine Arts in China. LI Gang is one of the representative artists who employ ink-related mixed materials as mediums and succeed in transforming from traditional Chinese freehand painting to contemporary painting. He tries to build a link between contemporary ink and the current social reality, as a way to think about the inheritance of Chinese traditional culture and the cultural problems in modern time. LI focuses on mixed media creation with techniques and mediums of ink, performance, video, installation, rubbing, etc. Ruins: Re-Deconstruction of LI Gang’s Ink is a work that cost him three years to create, consisting of four parts: ‘picking’, ‘extracting’, ‘transforming’ and ‘exchanging’. It contains LI ’s intention of using ‘ruins’ as a tool to question and reinterpret our civilization. LI Gang’s work has participated in the second “Guangzhou Triennial”, the Collateral Events of the 35th Venice Biennale, and solo exhibitions held in Guangdong Museum of Art, Shaanxi Province Art Museum, and Today Art Museum in Beijing, and other exhibitions organized by art museums and art centers of some cities in Belarus, Thailand (Bangkok), Singapore, Korea, Estonia, Austria, as well as cities around China, Hong Kong included. Art institutions like Guangdong Museum of Art, Art Museum of Guangzhou Academy of Fine Arts and Shenzhen He Xiangning Art Museum now have registered collections of LI ’s work. Curator-WANG Huang -Sheng Ph.D of Art History, professor of China Central Academy of Fine Arts, doctoral adviser, director of CAFA Art Museum, deputy director of the Committee of Art Museums in China, Expert Committee member of National Contemporary Art Research Centre, Ministry of Culture. Wang is an outstanding art expert who enjoys special allowance of the State Council in China, also a specially-appointed professor in Guangzhou Academy of Fine Arts, Nanjing Art Institute and South China Normal University. In 2004 he obtained the ‘Knight Medal of Art and Literature’ awarded by the French government. In 2006 he obtained the ‘Knight Medal’ awarded by the President of Italy. Founded and organized the “Guangzhou Triennial”, “Guangzhou Photo Biennale”, “CAFAM Biennale”, “CAFAM · Future Exhibition” and “Beijing Photo Biennale”. Exhibitions curated include "Documentary Exhibition of Art in Mao Zedong’s Era (1942-1976) ”, “The Humanism in China: A Contemporary Record of Photography”, etc. He was the director of Guangdong Museum of Art from 2000 to 2009. WANG Huang-Sheng had the solo exhibitions at domestic and international known art institutes, such as National Art Museum of China, Zhejiang Art Museum and Schiller Gallery, and also collected by Victoria and Albert Museum, Uffizi Gallery, National Art Museum of China and other important museums. Since 1996, WANG Huang-sheng published a series of personal catalogues, such as Boundless: WANG Huang-sheng’s Works 2009-2013.
Money Faketory Pisitakun KUANTALAENG, leaders of the group is an upcoming artist with a strong interest in having participation and engaging with wider audience. Eclectic in his pursue and extremely inventive, his idea of bringing art to general public is evident in many of his exhibitions; some are presented as free copies of books being handed to general public, some explores the realm of art in temporal mundane objects. Working as a curator, he organized a ‘Museum Serve’ project, turning a motorcycle taxi station next to Bangkok Art and Culture Centre to be a street museum curating artists to exhibit their works associating with motorcyclists. For this project, he and his peers form a group ‘Money Faketory’ consisted of Donlakarn SENGBOONTON, Nuttapon SAWASDEE, Sina WIDHAYAWIROJ, Henry TAN and Kittima CHAREEPRASIT; a collective group of active young artists with formidable artistic works holding background of solo and group exhibitions showing their social experimenting approach to art and at times questioning its boundary. Together they combine diverse skills under various roles forming a fresh look towards the economic system introducing an artwork as a method of operation in which becomes a condition to counter common consciousness of the audience. ‘Money Faketory’ will be an on-going project for the group to investigate different grounds for a self-organized artwork where it is considered under a dynamic relationship of the artists, artwork, social context, and audience. Curator-Pichaya Aime SUPHAVANIJ MFA in Museum Exhibition Planning and Design at University of the Arts USA (1996). She has worked across subjects with various types of museum in the US from 1996-2004 through planning and designing. Since 2008 assumed the position of Head of Exhibitions at Bangkok Art and Culture Centre (BACC). Her past projects include, “Twist and Shout: Contemporary Arts from Japan, Bangkok” (2010), “Dialogic: A Multidisciplinary Exhibition”, Bangkok (2011), “Politics of ME: An Exhibition for Micro-perspective”, Bangkok (2012), “Hear Here: Sound Installation Exhibition”, Bangkok (2013), “Resort: Art, Design and Architectural Landscape Exhibition” (2013), “Media Art Kitchen: Japan / Southeast Asia Media Art Project”, Indonesia, Malaysia, Thailand, Philippines (2014), “Proximity: Media and Contemporary Art in Poland” (2014). Recently she has received the grant for 2013 Berliner Künstlerprogramm des DAAD (Curators-in-Berlin Program of the German Academic Exchange) to investigate sound arts in connection with contemporary arts.
Money Faketory Pisitakun KUANTALAENG, leaders of the group is an upcoming artist with a strong interest in having participation and engaging with wider audience. Eclectic in his pursue and extremely inventive, his idea of bringing art to general public is evident in many of his exhibitions; some are presented as free copies of books being handed to general public, some explores the realm of art in temporal mundane objects. Working as a curator, he organized a ‘Museum Serve’ project, turning a motorcycle taxi station next to Bangkok Art and Culture Centre to be a street museum curating artists to exhibit their works associating with motorcyclists. For this project, he and his peers form a group ‘Money Faketory’ consisted of Donlakarn SENGBOONTON, Nuttapon SAWASDEE, Sina WIDHAYAWIROJ, Henry TAN and Kittima CHAREEPRASIT; a collective group of active young artists with formidable artistic works holding background of solo and group exhibitions showing their social experimenting approach to art and at times questioning its boundary. Together they combine diverse skills under various roles forming a fresh look towards the economic system introducing an artwork as a method of operation in which becomes a condition to counter common consciousness of the audience. ‘Money Faketory’ will be an on-going project for the group to investigate different grounds for a self-organized artwork where it is considered under a dynamic relationship of the artists, artwork, social context, and audience. Curator-Pichaya Aime SUPHAVANIJ MFA in Museum Exhibition Planning and Design at University of the Arts USA (1996). She has worked across subjects with various types of museum in the US from 1996-2004 through planning and designing. Since 2008 assumed the position of Head of Exhibitions at Bangkok Art and Culture Centre (BACC). Her past projects include, “Twist and Shout: Contemporary Arts from Japan, Bangkok” (2010), “Dialogic: A Multidisciplinary Exhibition”, Bangkok (2011), “Politics of ME: An Exhibition for Micro-perspective”, Bangkok (2012), “Hear Here: Sound Installation Exhibition”, Bangkok (2013), “Resort: Art, Design and Architectural Landscape Exhibition” (2013), “Media Art Kitchen: Japan / Southeast Asia Media Art Project”, Indonesia, Malaysia, Thailand, Philippines (2014), “Proximity: Media and Contemporary Art in Poland” (2014). Recently she has received the grant for 2013 Berliner Künstlerprogramm des DAAD (Curators-in-Berlin Program of the German Academic Exchange) to investigate sound arts in connection with contemporary arts.
Artist-Valay SHENDE Born in Nagpur in 1980, Valay Shende completed his BFA in Sculpture from Mumbai's Sir J.J.School of Art in 2004. Drawing from his surroundings, Shende uses his artistic voice to crystallize the challenges and dichotomies that characterize contemporary India, raising familiar concerns about class divide, capitalism, social hierarchy and religion. SHENDE’s preoccupations are usually immediate and commonplace, but his subtle interventions on his chosen subjects offer incisive commentary that is sensitive as it is hard-hitting. It is this ability to re-conceptualise even the most of charged symbols and objects that makes him such a potent artistic commentator on contemporary India. SHENDE’s works are part of numerous private collections in India and overseas and has been included in such prestigious exhibitions as “Indian Highway” in collaboration with Serpentine Gallery, London and Astrup Fearnley Museum of Modern Art, Oslo at MAXXI Rome and MAC, Lyon; and “Finding India: Art for the New Century” at Museum for Contemporary Art, Taipei; “Frontier(s)” at the Department of Côtes d’Armor at Saint Brieuc, France; “Bombay Maximum City” at Lille 3000, France; “Made by Indians: Art on the Beach” at Galerie Enrico Navarra, St. Tropez; “Between Myth and History: Indian Video Art” at Tate Modern, London; and “Indian Video Art: History in Motion” at Fukuoka Asian Art Museum, Fukuoka. Curator-Veeranganakumari SOLANKI Veeranganakumari SOLANKI is an independent curator and art-writer; based in Mumbai, India. She studied English Literature; and holds post-graduate diplomas in Indian Aesthetics, Art Criticism and Theory, as well as a Masters in History. She was a participant of ‘the first Gwangju Biennale International Curators’ course. She dedicates herself to research, curating and co-curating exhibitions and writing for several art publications and journals on emerging Indian, Asian and international artists and art practices. She was on the jury panel of the 8th Arte Laguna Prize and is invited again to be a juror in the 9th Prize. She is also the recipient of the first ‘Illy Sustain Art Curator’s prize’ (2011) and the 1st Annual ALICE (Artistic Landmark in Contemporary Experience) ‘Public’s Voice Award 2012’ for best Emerging Curator. Currently she is working on an exhibition at Tarq Art Gallery, Mumbai - “Pocket Maps of the Mind (Residues of Memory)”, and an exhibition on sport and art in collaboration with India’s most celebrated cricketer, Sachin TENDULKAR and 10 Indian contemporary artists. This exhibition will take place at the National Gallery of Modern Art, Mumbai in December 2014.
Artist-Valay SHENDE Born in Nagpur in 1980, Valay Shende completed his BFA in Sculpture from Mumbai's Sir J.J.School of Art in 2004. Drawing from his surroundings, Shende uses his artistic voice to crystallize the challenges and dichotomies that characterize contemporary India, raising familiar concerns about class divide, capitalism, social hierarchy and religion. SHENDE’s preoccupations are usually immediate and commonplace, but his subtle interventions on his chosen subjects offer incisive commentary that is sensitive as it is hard-hitting. It is this ability to re-conceptualise even the most of charged symbols and objects that makes him such a potent artistic commentator on contemporary India. SHENDE’s works are part of numerous private collections in India and overseas and has been included in such prestigious exhibitions as “Indian Highway” in collaboration with Serpentine Gallery, London and Astrup Fearnley Museum of Modern Art, Oslo at MAXXI Rome and MAC, Lyon; and “Finding India: Art for the New Century” at Museum for Contemporary Art, Taipei; “Frontier(s)” at the Department of Côtes d’Armor at Saint Brieuc, France; “Bombay Maximum City” at Lille 3000, France; “Made by Indians: Art on the Beach” at Galerie Enrico Navarra, St. Tropez; “Between Myth and History: Indian Video Art” at Tate Modern, London; and “Indian Video Art: History in Motion” at Fukuoka Asian Art Museum, Fukuoka. Curator-Veeranganakumari SOLANKI Veeranganakumari SOLANKI is an independent curator and art-writer; based in Mumbai, India. She studied English Literature; and holds post-graduate diplomas in Indian Aesthetics, Art Criticism and Theory, as well as a Masters in History. She was a participant of ‘the first Gwangju Biennale International Curators’ course. She dedicates herself to research, curating and co-curating exhibitions and writing for several art publications and journals on emerging Indian, Asian and international artists and art practices. She was on the jury panel of the 8th Arte Laguna Prize and is invited again to be a juror in the 9th Prize. She is also the recipient of the first ‘Illy Sustain Art Curator’s prize’ (2011) and the 1st Annual ALICE (Artistic Landmark in Contemporary Experience) ‘Public’s Voice Award 2012’ for best Emerging Curator. Currently she is working on an exhibition at Tarq Art Gallery, Mumbai - “Pocket Maps of the Mind (Residues of Memory)”, and an exhibition on sport and art in collaboration with India’s most celebrated cricketer, Sachin TENDULKAR and 10 Indian contemporary artists. This exhibition will take place at the National Gallery of Modern Art, Mumbai in December 2014.
Artist-CHANG Yung-Ta CHANG Yung-Ta, born in Taiwan in 1981, is autodidact and residing in Taipei currently. His works take on a variety of forms such as Audio-Visual, experimental sound, installations and live performances. He focus and be skilled in observing the tiny change, being ignored phenomenon and sound in daily life, then represent the invisible signal and data via sound or visual installation in space. In recent years, also collaborated with dancers, musicians and artists. His works has been featured in numerous group shows and festivals throughout Asia, Europe, Australia, North and South America. “Evolving from the coupling between perceptions and systems to the sounding and volumetric composition in the art museum, CHANG’s Relative Perception N°1［0°–N°］ addresses the following question: how can we palpate the world with the ear? CHANG deliberately puts this work in a dynamic state. Instead of installing a sculpture in the art museum, the artist reorganizes the space of the museum and the viewers’ perceptions with an instrument installation. This work produces different sounds of vaporization in the exhibition room by dropping water on several heated metal plates of different angles of inclination. In other words, the proportional and material relationships between sounds and volumetric composition are highlighted through the energy conversion carried out by the artist’s installations. Through Relative Perception N°1［0°–N°］, CHANG intends to break our perceptional inertia concerning the environment and highlight the interaction between somatosensory perceptions and auditory perception. This approach takes the viewers into an uncharted territory mapped with sounding and volumetric composition.” (Abstracted from GUO Jau-Lan, Traversing the Hinterland between Sounding and Volumetric Composition) Curator-GUO Jau-Lan GUO Jau-Lan is an independent curator and art critic based in Taipei. She received her doctorate in Western art history in 2006, with a primary research interest in the way the American critiques constructed its anti-modernism postmodern art theory based on an interpretation of Robert Rauschenberg and the American Neo-Dada art movement. GUO taught Modern Art and Contemporary Art from 1996 to 2011 at the Department of Fine Art in Hua-Fan University, as well as at Graduate School and Department of Fine Art at the National Taiwan University of Arts. Now she as an adjunct Associate Professor for MFA Program in New Media Art, Department of New Media Art, and Graduate Institute of Trans-disciplinary Arts, Taipei National University of Arts, teaches Visual Art since 1960 and Seminar in Contemporary Art.
Her curatorial involvement began in 2006, with a focus on the cultural praxis of image and visual culture. Her articles have been published in periodicals including The Journal of Taipei Fine Arts Museum and Artist Magazine. She has curated numerous exhibitions including “Polyphonic Mosaic: CO6 Avant-Garde Documenta” (National Taiwan Museum of Arts, Taichung, Taiwan, 2006), “Nostalgia for Future” (2009, Taichung), “Somnambulism: Phantasmagoric Fugue” (Taipei, 2010), “Paradise: Under RE-Construction” (ISCP, New York, 2011), and “Taiwanese Contemporary Art” (TCA Project) (ISCP, New York, 2011), “How Can I Tell You Who I Am?”(Spain, 2012), “Melancholy in Progress, The 3rd Taiwan International Video Art Exhibition at Hong-Gah Museum of Taipei” (Co-curate with Amy Cheng , Taipei, 2012).
Artist-CHANG Yung-Ta CHANG Yung-Ta, born in Taiwan in 1981, is autodidact and residing in Taipei currently. His works take on a variety of forms such as Audio-Visual, experimental sound, installations and live performances. He focus and be skilled in observing the tiny change, being ignored phenomenon and sound in daily life, then represent the invisible signal and data via sound or visual installation in space. In recent years, also collaborated with dancers, musicians and artists. His works has been featured in numerous group shows and festivals throughout Asia, Europe, Australia, North and South America. “Evolving from the coupling between perceptions and systems to the sounding and volumetric composition in the art museum, CHANG’s Relative Perception N°1［0°–N°］ addresses the following question: how can we palpate the world with the ear? CHANG deliberately puts this work in a dynamic state. Instead of installing a sculpture in the art museum, the artist reorganizes the space of the museum and the viewers’ perceptions with an instrument installation. This work produces different sounds of vaporization in the exhibition room by dropping water on several heated metal plates of different angles of inclination. In other words, the proportional and material relationships between sounds and volumetric composition are highlighted through the energy conversion carried out by the artist’s installations. Through Relative Perception N°1［0°–N°］, CHANG intends to break our perceptional inertia concerning the environment and highlight the interaction between somatosensory perceptions and auditory perception. This approach takes the viewers into an uncharted territory mapped with sounding and volumetric composition.” (Abstracted from GUO Jau-Lan, Traversing the Hinterland between Sounding and Volumetric Composition) Curator-GUO Jau-Lan GUO Jau-Lan is an independent curator and art critic based in Taipei. She received her doctorate in Western art history in 2006, with a primary research interest in the way the American critiques constructed its anti-modernism postmodern art theory based on an interpretation of Robert Rauschenberg and the American Neo-Dada art movement. GUO taught Modern Art and Contemporary Art from 1996 to 2011 at the Department of Fine Art in Hua-Fan University, as well as at Graduate School and Department of Fine Art at the National Taiwan University of Arts. Now she as an adjunct Associate Professor for MFA Program in New Media Art, Department of New Media Art, and Graduate Institute of Trans-disciplinary Arts, Taipei National University of Arts, teaches Visual Art since 1960 and Seminar in Contemporary Art.
Her curatorial involvement began in 2006, with a focus on the cultural praxis of image and visual culture. Her articles have been published in periodicals including The Journal of Taipei Fine Arts Museum and Artist Magazine. She has curated numerous exhibitions including “Polyphonic Mosaic: CO6 Avant-Garde Documenta” (National Taiwan Museum of Arts, Taichung, Taiwan, 2006), “Nostalgia for Future” (2009, Taichung), “Somnambulism: Phantasmagoric Fugue” (Taipei, 2010), “Paradise: Under RE-Construction” (ISCP, New York, 2011), and “Taiwanese Contemporary Art” (TCA Project) (ISCP, New York, 2011), “How Can I Tell You Who I Am?”(Spain, 2012), “Melancholy in Progress, The 3rd Taiwan International Video Art Exhibition at Hong-Gah Museum of Taipei” (Co-curate with Amy Cheng , Taipei, 2012).
Works
