2019/01/29 - 2019/06/09
Mirror, Mirror, on the Wall 2019 Exhibition of Juming Museum Collection DATE 2019/01/29 ~ 2019/06/09 Gallery I 1.
The Exhibition is titled “Mirror, Mirror, on the Wall”. It is an exploration of the reflective quality embedded within social interaction, and within the connection between viewers and the artworks. The exhibition probes into the motives and possibilities behind the artists’ portrayal of humans with Reflection of Body, Reflection of Portrait, and Reflection of Surrounding.
Humans are social animals that constantly interact with each other. Such social interaction is like looking into a mirror, and others’ responses are like the mirror image, becoming a reflection and point of reference for self-adjustment and improvement. The repeated reflection is also how one’s self-awareness is constructed and one’s manner of conduct is established. The artists recreated the inner and outer worlds with their creative lexicons. The artworks, which feature humans, are like mirrors. While viewers look into these mirrors, they see their own reflections; they also see others. They find self-exploration; they also find concern for the society.
The 2019 Exhibition of Juming Museum Collection is titled, “Mirror, Mirror, on the Wall”. It is an exploration of the reflective quality embedded within social interaction, and within the connection between viewers and the artworks. The exhibition probes into the motives and possibilities behind the artists’ portrayal of humans with Reflection of Body, Reflection of Portrait, and Reflection of Surrounding. The artworks reveal the complexity behind human nature; viewers who stand in front of the artwork are also integrated into it. This is the core framework for the special exhibition, which features artworks from the museum collection as well as invited artists. The classics and the contemporary are also mirror reflections of one another, sparking rich and insightful dialogues of art.
Reflection of Body features the artists’ depiction of human bodies. Their observation and perception toward life is reflected in the many ways human bodies are presented and interpreted. Reflection of Portrait depicts more than just the facial features. It is reflective of the artists’ metaphorical narration of the mundane world, including contemplation on cultural issues, concern for social events and self-reflection. Reflection of Surrounding is the artists’ account of how petty and detached the physical world is. The emotions are embedded within the surrounding, while the figures and the surrounding are merged as one. These artworks are expressions of inner emotion; they are also reflections of the nuanced emotional bond between humans and their surroundings.
Walasse Ting, Wang Pan-Yuan, Andy Warhol, Ju Ming, Jiang Meng-Si, Henry Moore, Lin Chen-Shun, Liu Yi-Lan, Hung Jui-Lin, Sun Pei-Mao, Keng Chieh-Sheng, Tsui Yung-Yen, Chang En-Tzu, Bernard Buffet, Chuang Ming-Chi, Chen Long-Bin, Huang Hai-Hsin, Yeo Chee-Kiong, Salvador Dali, Zheng Zai-Dong, Zheng Chong-Xiao, Su Tzu-Han
Da Xiang Art Space, Yiri Arts, Xin Yuan Gallery, Art Bank - Taiwan
An interview with Hai-Hsin Huang
By Nick West | Posted on December 6, 2018
To mark Mori Art Museum’s 15th year, “Catastrophe and the Power of Art” brings together artworks depicting human and natural disasters in a serious and thought-provoking exhibition. Addressing events as significant as 9.11, the global financial crisis or the Great East Japan Earthquake, it portrays many of the catastrophes of the early 21st century. Despite its somber tone, there are occasional moments of respite. In the third room is one such occasion, where the Taiwanese artist Hai-Hsin Huang’s canvases of awkward tableaux can be found. Here, the artist’s darkly comic paintings describe more personal, socially-informed ideas of what catastrophe means.
Metropolis: I understand that you are now based in New York and that this is your first museum show in Japan. Do you often visit or work in Japan?
Hai-Hsin Huang: That’s right. I visited Tokyo many times with my parents when I was a kid, but this year was the first time that I worked in Tokyo as an artist when I took part in the artist-in-residence programme at 3331 Arts Chiyoda.
M: How did you feel when you were asked to participate in a show with the word “catastrophe” in the title?
HH: I was very excited about participating in “Catastrophe and the Power of Art.” I had been playing with ideas about fear in personal and daily life, and in public society, so this is absolutely a title that I am interested in.
M: Tell us a little about the paintings that the curator choose to display.
HH: I have five pieces in the show: “Thanksgiving,” “Silent Night,” “Swan Lake #2,” “Red Carpet Dream #3,” and “Birthday Crisis Study.” These paintings are obviously disastrous but lighthearted and humorous at the same time. These are all very recognisable, either from holiday celebrations or social events like weddings. Ordinarily, of course, these events are supposed to be happy occasions. I tried to create different situations to cast doubt over these very common and cliched ideas. People don’t usually question these conventions.
M: Every artist has their own method. How do you make art?
HH: I get inspired by the scenes I witness in daily life. I then attach a psychological add-on. It’s not like I get inspired all the time, but once I have an image in mind, I start to paint very quickly to capture it.
M: How do you imagine the viewer feels when seeing your paintings?
HH: I assume people would laugh a bit. Not a belly laugh, more like the kind of bitter, awkward chuckle.
M: One of the things that people assume when viewing art is that the artist’s own life informs the artwork. Have you ever experienced anything like the things you have painted?
HH: I paint the scenes that I have witnessed in daily life but with exaggeration and imagination. I like to paint things that people are familiar with, things that they can relate to or resonate with.
M: A lot of your work involves people in public situations or at social events; at birthday parties, weddings or on red carpets. What attracts you to these situations?
HH: I made these paintings not long after I graduated from art school. I was trying to adjust to life while I was still new to living in a foreign county. Many of my close friends got married and had kids, but I still felt I was a kid trying to explore the world and myself, all the while celebrating American holidays with people and trying hard to have fun like everyone else.
M: How did these experiences affect your thinking?
HH: I had many doubts about the social conventions of marriage and wedding ceremonies, the things that are supposed to be so important that you are not allowed to fail at. On the other hand, they could also be ridiculous and out of date, but people are so slow and afraid to change. The world is getting sicker today. We need to change old behaviors and values, but instead of taking action I feel that most of us just sit there and watch the tragedies happen as we expect them to.
M: There is a dark humor that runs through your work. Is tragedy ever funny?
HH: Of course, tragedy is not funny, but funniness isn’t really the point either. It’s more about the reaction to certain social expectations. People tend (at least I do) to laugh hollowly through an awkward situation. It’s as though everyone knows things aren’t going right and everyone is secretly anticipating the worst outcome, but no one would say anything until a child suddenly says something to point it out.
M: Do you think that art can overcome catastrophe?
HH: I can’t say that art can overcome catastrophe, but I feel that dark humor is filling our daily lives. Art can lead us to see and think about things differently. And that’s a start.
“Catastrophe and the Power of Art” runs until January 20, 2019.
52F/53F, Roppongi Hills Mori Tower, 6-10-1 Roppongi, Minato-ku
Roppongi Hills and Mori Art Museum 15th Anniversary Exhibition
[Catastrophe and the Power of Art]
What art can do in chaotic times where the future is uncertain
2018.10.6 [Sat] - 2019.1.20 [Sun]
September 20 - 23, 2018
Printed Matter, Inc. presents THE NY ART BOOK FAIR
September 21-23, 2018, Free Entrance
MoMA PS1, Long Island City, Queens
Hai-Hsin Huang's "Birthday Party" uses colors set in a minor key to recall disaster-preparedness drills from the artist's childhood. (Hai-Hsin Huang)
KT HawbakerChicago Tribune
In between killing Olive Gardens and gazing into an abyss of student debt, millennials are often labeled the “Most Anxious Generation” — a title that curator and artist Gwendolyn Zabicki took to heart with her latest show, “On Anxiety,” which opened Friday at the College of DuPage’s Cleve Carney Art Gallery.
An exploration of tension, worry and panic, the show aims to use artistic narratives to start discussions about mental health. The Tribune spoke with Zabicki about the exhibition and what it means to curate a feeling.
The following is an edited transcript.
Q: What’s the story behind the show?
A: I think there's a lot to be anxious about. There are things like climate change, immigration status and reproductive rights, but there's also a continuous low-grade anxiety — the kind that most people have but have learned to ignore. At this time, students and young people have a lot to be anxious about. I really wanted to this show to be at a university or a school, where young people could see it.
Q: Specifically so young folks can see reflections of their own anxieties?
A: I think it's helpful and comforting to see that other people are anxious about the same subjects. I also hope that young artists see it and say, “Oh, I didn't feel like this is something you can make art about.”
Q: Tell me more about the experience of curating anxiety.
A: The artists in this show are by all accounts successful and doing well in their careers. But as an artist and a curator, I've noticed that my colleagues are addressing anxiety in their work. It would just make sense as a group.
Q: When did the process begin?
A: I actually started this years ago. I was reading "Fear and Trembling" by Soren Kierkegaard, and he wrote so beautifully about anxiety. He said, "Anxiety is the dizziness of freedom." I knew it was something I had to use. He so beautifully explains how one form of anxiety can be when you’re lost in the infinite, when you're unable to choose what it is that you want to do. That's the kind of anxiety that I feel, when I’m overwhelmed by choices and I’m anxious about choosing the wrong thing.
I really think that Kierkegaard was writing about FOMO — the fear of missing out — years before anybody else was even talking about it.
I hate to bring up social media, but it's so easy to look on Instagram and see what your friends are doing. It's easier than ever to feel like you're not measuring up or you're wasting your time or you're doing the wrong thing.
A section of Celeste Rapone's "Peeling Onions" (Tom Van Eynde photo)
Q: Let's talk more about the media employed by the show — it's all painting.
A: It is all painting. It's a very figurative show. With a figure, it's so easy to see that contortion and despair in the face.
In particular, I am thinking of Celeste Rapone's painting — her figures are always contorted and straining and mashed into the frame of the painting. They're always exhausted, and they look like they're straining, but they're also striving. They're always trying to live up to some kind of standard or ideal. They're trying to be a perfect spouse or a CrossFit athlete — something that they are pressured into doing by society.
That’s the other kind of loss that Kierkegaard writes about — you can also be lost in the finite, when you don't do things because you want to do them. You're doing them because it's what you're supposed to do. “Oh, I'm an adult, I'm supposed to get married, I'm supposed to have a job, I'm supposed to have a kid.” You go so far doing these things that you're supposed to do and then one day you wake up and realize that ‘This isn't me, this isn't what I want. I'm just kind of doing this.’ When I look at Celeste's paintings I think about that person who's lost in the finite, trying to live up to some kind of unrealistic ideal.
Q: Is there a particular piece that speaks to both forms of anxiety at once?
A: One of my favorites in this show is “Birthday Party” by Hai-Hsin Huang. It’s a beautiful, giant painting, but it's such a stressful image. It's of children at a birthday party, and the cake is giving off this blinding light as it’s collapsing — all of the candles are smoking, and the children look visibly upset. They're covering their ears, they're covering their eyes.
She grew up in Taiwan, and she said they were always doing this disaster-preparedness drills when she was a kid. In school, they were always worried about what mainland China was going to do, so Taiwan was preparing for the worst. It recurs in her work. People are laughing, they're having a good time, but there are also people throwing up, hiding under tables and doing CPR. It's a mixture of extreme happiness and terror, total chaos.
“On Anxiety” runs through Oct. 13 at the Cleve Carney Art Gallery, 425 Fawell Blvd., Glen Ellyn.
A reception will be held at 3 p.m. Sept. 8. Visitors can RSVP at www.clevecarneygallery.org for a bus from Chicago to the event.
4 August - 9 September 2018
Capsule Shanghai is delighted to present “The Common Places,” New York-based artist Huang Hai Hsin’s first solo exhibition in Shanghai. The exhibition, on view from August 4, 2018 to September 9, 2018, brings together a cohesive, yet diverse body of work from the most recent phase of the artist’s long investigation into various aspects of the human character and behaviors.
An avid observer of people and situations, Huang’s sharp, trained eye allows her to grasp the odd and bizarre aspects hidden behind apparent normality or the mundanities of everyday life. The most striking aspects of the latter are translated into sketches, paintings, and video installations, media all present in this show and used by the artist in a fresh and profound way.
Through her work, Huang seems to willingly put herself in the “in-between” zone that divides, yet blurs the roles of actor and spectator. In any case, she doesn’t act as a typical third-person narrator, but rather as someone who discovers reality and tries to capture it as if it were a live-stream, the plot unfolding before her eyes, and indeed, the viewer’s eyes.
Despite their varied subjects and objects, each work affords the viewer a fresh perspective on these familiar scenarios that, as the title suggests, are “common” because we’ve all experienced them, these public, communal and popular places.
However, when seen through the lens of classical rhetoric, the title seems to play with the larger meaning of the word “commonplace”: something appearing so unquestionably evident and trivial that perhaps it warrants further investigation to explore new perspectives. Huang’s new angle doesn’t stress the idea of a place as a site with value per se, but on how an ordinary site is transformed into a sight by activating its genius loci - the people. With their unconscious and spontaneous yet surreal behaviors, they traverse, inhabit, or just happen to engage with certain spaces or situations, attracting the artist’s attention and turning out to be the key element that makes a place unique. Therefore, despite their light-heartedness and freshness, Huang’s works are more sociologically charged than architecturally relevant. Her work is a visual metaphor for a broader scope that starts well before the artwork and goes far beyond it: humanity itself.
A few leitmotifs recur in the show: public spaces such as parks, museums and shopping malls – more specifically, public places and spaces that often draw crowds. Perhaps another hidden theme is that of culture or the perception of culture through the lens of stereotype. For instance, the works devoted to Da-an Forest Park in the artist’s native Taipei; the halls of the museums all over the world that the artist has visited, especially the Met and the MoMA; crowds in public spaces in moments of collective frenzy (whether “sacred” as in her record of Pope St. Francis’ visit to New York in 2015, or “profane” as in her depiction of excited female crowds shopping at Victoria’s Secret); the works inspired by her 2016 residency in Finland at Arteles Creative Residency Program depicting typical Scandinavian scenes of saunas and reindeer (I have been to North Pole, 2017).
Each work is populated by figures that are larger than life. Take the elderly people exercising with such vigor and agility that they seem to be performing on a stage (Da-an Forest Park, 2018). Or museum goers that verge on being caricatures (Power of Kongo, 2016); ordinary people inadvertently using iconic artworks as a backdrop for their self-spectacle and often narcissistic antics (The MET #2, 2016). Here, the extraordinary is not represented by the masterpieces on view, but by the reactions and actions of the viewers that literally activate the compositions. The iconic dimension meets the ordinary one, the high and the low co-exist; viewers are invited not to judge, but to enjoy these moments of exhibitionism that create a kind of derailment.
In the current art world that arguably takes itself too seriously, artists like Huang Hai-Hsin are truly a breath of fresh air. Her remarkable and distinct ironic sensibility are a gift, as is her sharpness of wit. By creating micro-clichés, she challenges bigger ones, and presents the viewer with an alternative version of reality, which is more real than it seems. In this process, she has the rare gift of amusing people, and amusing herself.
Text: Manuela Lietti
Hai-Hsin Huang was born in Taipei in 1984 and received her BA degree from National Taipei University of Education in 2007. In 2009 she received a MFA from The School of Visual Arts in New York. She currently lives and works in Brooklyn, New York. Huang has held solo shows at Capsule Shanghai (Shanghai, China), the Museum der bildenden Künste (MdbK) (Leipzig, Germany), ISE Cultural Foundation (New York, USA), VT Art Salon, Aura Gallery Taipei(Taipei), Gallery 456 (New York, USA), and group shows at the Herzliya Museum of Contemporary Art (Herzliya, Israel), the Kyoto Cultural Center (Kyoto, Japan), the Kuandu Museum of Fine Arts (Taipei), the Herbert F. Johnson Museum of Art (Ithaca, USA) and Capsule Shanghai (Shanghai, China). Huang’s work has been collected by multiple private and public collections, including the White Rabbit Collection, Sydney, Australia, the Taipei Fine Arts Museum, Taipei and the National Taiwan Museum, Taichung. She was artist in residence at the PILOTENKUECHE (Leipzig, Germany).
Opening: 5pm – 8pm, 15th October, 2016
Duration: 15th October – 27th November 2016
Capsule: 1st Floor, Building 16, Anfu Lu 275 Nong, Xuhui District, Shanghai, China
Capsule, a new gallery in the heart of Shanghai’s Former French Concession, is pleased to announce its inaugural exhibition When We Become Us, on view from October 15th to November 27h. The exhibition features eight international artists working across several mediums. Each artist and their respective works have been selected for the poetic nature in which they, at times share an affinity in intent and expression, while in other instances are clearly diametrically divergent. The artists include Alice Wang, Feng Chen, Yingmei Duan, Katarzyna Kozyra, Sarah Faux, Doron Langberg, Hai-Hsin Huang, and Pixy Liao.
Collectively, the works invite us to investigate the question of how we, as viewers, approach art and what kind of catalysts are used to shape a sense of Self in relation to the Other. Consider what happens when the nature of our relationship to the work changes from a subjective to an objective reaction – is this the instant when We become Us with the artwork itself? Can this shift from subjectivity to objectivity turn our experience into something more meaningful?
LA-based artist Alice Wang (b. 1983, Xi’an, China) employs technology to explore shifts of perception in time and space. Wang’s work invites us, through our own observation, to stretch and reframe the boundaries of these elements. In the video Untitled, 2014 the physical exertion that an inversion yoga pose requires, highlights the laws of physics that govern the universe in such a way as to challenge our understanding of buoyancy and gravity. The installation Untitled, 2014, combines advanced science and photography with the mid 19th Century daguerreotype technique to capture images of electrified gas (Plasma) which are printed onto small polished aluminum plates. The resulting images are mesmerizing primordial-like forms, seemingly floating on a metal surface.
Feng Chen’s (b. 1986, Wuhan, China) work spans the disciplines of art, engineering and science, intertwined with traditional Eastern aesthetics. Feng’s earlier works employed video and video installation to “question the manipulative power of media”. While later works, influenced by his residency at Amsterdam’s Rijksakademie (2014-2015), express a deeper exploration and focus on the process of image making, to the extent that the process of making the video becomes a narrative and the artwork itself. S-1, 2016 and S-2, 2016 experiment with thermal ink, as images slowly materialize out of “nothingness”, only to disappear and reappear. His current series, 7 Real Magic Books, 2016, employs carbon fiber as a sculptural expression of images taken from ancient texts and artifacts such as The Tao and The Greek Papyri. Here, Feng uses
www.capsuleshanghai.com | firstname.lastname@example.org
CAPSULE 胶囊画廊 | 1st Floor, Building 16, Anfu Lu 275 Nong, Xuhui District, Shanghai, China – 200031 中国上海徐汇区安福路 275 弄 16 号 1 楼-200031 | PH 座机: +86 021 64170700
contemporary technology in the characteristically light, but tensile carbon fiber to introduce a discussion about an ancient type of technology and magic, both of which are heavily charged subjects.
While questioning our role in time and space, the discourse often shifts to embrace topics related to gender, identity and everyday behavior.
Yingmei Duan (b. 1969, Daqing, China) began her career as a painter, eventually becoming a key figure of the Chinese avant-garde community in the Beijing’s East Village. After moving to Germany in 2000, Duan turned her focus on performance art, studying under teachers such as Marina Abramovic. Duan’s art embodies her personality and often has a profound effect on her audience. A video presentation of a selection of Duan’s earlier works introduces a number of her highly confrontational performances, exposing viewers to emotions such as fear and desire (Sleepwalker, 2002 and Friend, 2003).
In 2013 the Huffington Post named Polish sculptor, photographer, performance artist and filmmaker Katarzyna Kozyra (b. 1963, Warsaw, Poland) as one of the ten most important female artists of the new millennium. Kozyra’s fascination with dance is often used as a platform to discuss the most fundamental issues of human existence, such as identity and transience, life and death, sex and religion. The video Faces, 2005-2006 features close-ups of dancers’ facial expressions during a performance, revealing their intense concentration, tension, and exertion, shedding light onto the grander narrative of dance that is virtually invisible to the viewer.
NY-based American painter Sarah Faux (b. 1986, Boston) depicts bodies in varying fragmented states to recreate out-of-body experiences that investigate relationships between people, body parts and physical sensations. Using a process that entails bleaching, dying and spray-painting, the resulting forms often take the shape of a tantric kaleidoscope, where “fingers, legs, nipples and hair push to foreground, never remaining at a safe distance”. Faux’s work embodies both figuration and abstraction apprehending the viewer, as in Shallow Waters, 2014 or Kindling, 2016 where we cannot help but try to analyze the work, like a sexier version of a Rorschach’s blot test.
NY-based Israeli artist Doron Langberg (b. 1985, Yokneam Moshava) defines his work as a “response to the subtle but pervasive dehumanization of queerness”, sharing his intent to “assert the validity and necessity of queerness in the greater narrative of human sexuality and identity”. The works on show depart from observational drawings (Bent #2, 2012) to depict personal interactions with both people and his immediate environment. Often charged with a raw sexual energy, Langberg’s work invites the viewer to share an intimate moment that simultaneously exposes conflicting feelings, such as erotic desire, vulnerability, awkwardness and tenderness (Sleep, 2014).
NY-based Taiwanese artist Hai-Hsin Huang (b. 1984, Taipei) uses painting and drawing to unearth what lurks beneath the surface of life's banalities (Barber Shop # 3, 2015). Huang’s voice is one of social commentary, focusing on cross-cultural and socio-political themes that are evident, if we pay attention, in interactions between people, with our environment and with institutions of sorts. Set in the establishment of The Museum, Huang's latest series reveals the comical side of the art world and the maniacal behavior of Museum patrons (The MET # 3, 2015).
NY-based artist, musician and actress Pixy Liao’s (b. 1979, Shanghai) social commentary takes the form of video and the use of ready-made objects to express her prickly attitude towards standardized roles in heterosexual relationships. Her sculptures Soft Heeled Shoes, 2013 and Breast Spray, 2015, with their respective accompanying videos, delve into the topics of fetish objects and gender roles. Sometimes, playfully witty, often boldly ironic, Liao’s images push the viewer to rethink the status quo, be it power symbols, our perception of social norms or the function of breasts.
About the Gallery
Capsule, the newest addition to Shanghai’s burgeoning contemporary art scene, opens its doors in October 2016. Located in the historic Former French Concession, the gallery is set in a stunning 1930’s garden house, away from the hustle and bustle, a haven in which to experience and enjoy art.
Committed to exhibiting the best of international and China’s contemporary art, by both established and emerging artists, Capsule proposes a less conventional gallery formula, acting as both gallery and art laboratory. Special focus is dedicated to artists who through their personal and professional trans-regional migrations are reshaping the borders of the current global art map. More than a place to show art, Capsule is also a lab, an experimental space geared to the unique rhythm and fast-changing dynamic of contemporary art in China. Here, creativity is ignited, as visitors are inspired to learn, to engage and to broaden their knowledge and appreciation of contemporary art.
For more information, please contact:
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开幕:2016年10月15日,下午5—8点 展期:2016年10月15日—11月27日 胶囊画廊:上海市徐汇区安福路 275 弄 16 号楼 1 层
胶囊上海,一个落成于上海法租界的中心地带的新兴空间,将在 10 月 15 日至 11 月 27 日期间向公众开放 首展《忘物志》。展览将呈现 8 位来自不同国家的艺术家的创作,参展作品涉及多种媒介。诗意化的内在 共鸣贯穿整个展览,把艺术家及其作品联结到一起,尽管从创作意图和表达方式看,有的互相呼应,有的 则截然不同。参展艺术家包括 Alice Wang、冯晨、段英梅、Katarzyna Kozyra、Sarah Faux、Doron Langberg、⻩海欣以及廖逸君。
此次展览通过作品邀请我们,以一个观者的视角,思考应该以什么方式接触艺术,又是什么促使了“自我” 意识在与“他者”的遭遇中生成。当我们和艺术作品建立联系的时候,试想把自身由主体代入到被观看的 客体,这个过程会引发什么?是否恰是通情应物,物我交融,忘物于彼的那一个瞬间?而这一由主体性到 客体性的视角转换,又会否把我们的观感体验提升到另外一个层次?
生活在洛杉矶的艺术家 Alice Wang(1983 年出生于中国⻄安)运用科学技术原理来探讨在时间和空间中 知觉的转换。Alice Wang 的作品引导我们通过亲身的观察,延展和重塑时空中不同元素的边界。录像作 品《无题》,2014 纪录了一组倒转的瑜伽动作中的体能消耗,在此过程中支配宇宙的物理法则渐渐突显, 挑战着我们对浮力与重力的认知。装置作品《无题》,2014 是前沿科技和起源于 19 世纪中期的银版摄影 的结合,作品捕捉了电离气体(即等离子体 Plasma)的形态,并转印至小尺寸的抛光铝板上。经处理的图 像保留了气体离子迷幻的原生形态,仿佛悬浮在金属板的表面上。
冯晨(1986年出生于中国武汉)的创作打破了传统的艺术分类,他通过机械工程和自然科学传达东方古典 美学。冯晨早期曾用录像及录像装置作品“质疑媒体的操控力”。在阿姆斯特丹的荷兰皇家视觉艺术学院 (Amsterdam’s Rijksakademie,2014-2015)驻留后,艺术家受到启发并于近期对图像的制作过程 有了更深层的探索和关注,他进一步把录像制作的过程延伸成为一段叙事,亦即作品本身。《S-1》, 2016和《S-2》,2016是对热感应墨水的实验,作品中的图像从“空无”的状态缓缓成形,接着消失,而 后重现。他的最新创作系列《7本真实存在的魔法书》,2016运用碳纤维生动地塑造了在古典书籍和手工 制品中出现的形象,比如《道德经》和《希腊纸草》(The Greek Papyri)。 在这些创作中,冯晨把当 代技术和具有轻巧、可拉伸等特质的碳纤维材料结合,探讨了关于远古科技和魔法的主题,寓意深远。
段英梅(1969年出生于中国大庆)在其职业生涯早期曾是一名画家,后来她成为了中国先锋艺术群落北京 东村的一名核心人物。在2000年移居至德国后,段英梅把其创作重心放在了行为艺术上,跟随诸位导师包 括Marina Abramovic等进行学习。段英梅的作品带有其个性的烙印,并常常会对她的观众有着切身的深 远影响。此次展览选择展出了段英梅早期的一些十分具有争议性的行为艺术现场录影,为观者重现了其作 品带来的恐惧与欲望等种种情感冲动(《梦游者》,2002及《朋友》,2003)。
2013 年赫芬顿邮报(Huffington Post)把波兰雕塑家、摄影师、行为艺术家及电影制作人 Katarzyna Kozyra(1963 年出生于波兰华沙)评选为新千禧年十大重要女性艺术家之一。Katarzyna Kozyra 对舞蹈 的关注常常成为其创作的起源,艺术家籍此探讨人类存在所面临的最根本的问题,比如身份认可与无常变化、生命与死亡、性与信仰。录像作《脸》,2005-2006 呈现了舞者在表演时的脸部特写,反映了他们 高强度的专注、张力以及发挥,作品通过揭露舞者鲜为人知的一面把观者领入一个更为宏观的叙事脉络。
生活在美国的画家 Sarah Faux(1986 年生于波士顿)的作品描绘了身体的各种碎片状态,营造一种从肉 身出离的体验,并以此探讨人、肢体以及生理感受间的关系。艺术家的绘画过程经漂白、渲染和喷涂等步 骤,创作出了带有密宗意味的万花筒图形,我们可以看到“手指,腿,乳头和须发被推至画面中显著的位 置,从不与观者保持安全距离”。Sarah Faux 的作品是具象和抽象的结合,引人入胜,比如作品《浅水》, 2014 或者《点燃》,2016,这些绘画总有一种让人忍不住去解析的吸引力,可以说是一个情色版本的罗夏 墨迹测试(Rorschach’s blot test)。
生活在纽约的以色列艺术家 Doron Langberg(1985 年出生于以色列 Yokneam Moshava)把其作品描 述为“对不易察觉却无处不⻅的剥除酷儿人性的势力的回应”,表达了他希望“通过创作来捍卫酷儿在人 类性征和身份的宏观叙事中的合法性和必要性”的诉求。此次展出的写生作品(《弯#2》,2012)描绘了 作者和他人以及周遭环境的亲密互动。Doron Langberg 的作品画面中往往充斥着生涩且源源不断的性能 量,牵引着观者进入一个暧昧而又冲突的时刻,饱含情欲、脆弱、尴尬和温柔(《睡眼》,2014)。
生活在纽约的台湾艺术家⻩海欣(1984 年出生于台北)通过绘画发掘潜伏在平庸生活表层下的另一面 (《理发厅#3》,2015)。⻩海欣的艺术表述是对社会生活的注释,她关注跨文化以及社会政治议题,如 果我们留心观察,不难发现这些话题其实都离不开我们身边的人、生活环境以及各个层面的组织机构。⻩ 海欣近期创作系列以美术馆为主线,揭开了艺术圈滑稽的一面,同时也描绘了美术馆赞助人的神经质行为 (《大都会#3》,2015)。
生活在纽约的艺术家、音乐人和演员廖逸君(1979 年出生于上海)的社会诉求则反映在她的录像和现成物 品装置作品上,传达了她对异性关系中刻板角色设定的尖锐态度。雕塑《软跟鞋》,2013 和《喷奶瓶》, 2015,以及两部相关的录像深入探讨了关于恋物情结和性别角色的话题。廖逸君的创作偶尔是诙谐有趣的, 但其主线往往是大胆而具有讽刺意味的,这样的画面会迫使观者重新审视现状,去思考性别权力象征以及 我们对社会准则,或者说,对乳房功能的认识。
胶囊——上海欣欣向荣的艺术图景中的最新版块,在 2016 年 10 月开启大⻔。画廊位于历史悠久的法租界, 落户在一座始于 1930 年代的花园楼房,隐匿于都市的繁华与喧嚣,是一处可以真切体验和感受艺术的净 土。
胶囊上海致力于推干国内外顶尖的当代艺术,同时和处于不同发展阶段的艺术家合作,空间以一种非传统 的形式,展现了画廊与艺术实验室并存的状态。胶囊关注具有跨区域性和迁徙特质的艺术家,其性质既体 现在个人身份层面,也反映在学术领域方面,这样的艺术家正重塑着当下全球艺术版图的边界。胶囊不仅 是呈现艺术的场所,它还是一个充满可能性的空间,切合了中国当代艺术独特运转的节奏和迅速变化的韵 律。在这里,灵感被点燃,观众受到启发去了解、参与,从而拓展了他们自身对当代艺术的认识和领会。
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Hai-Hsin Huang, “The MET #2” (2016)
Just past the metal detectors at the entrance to the Metropolitan Museum, 11 people cluster together, tablets and smartphones raised in front of their faces, photographing the central information desk and the arches beyond. Just to the right of the kiosk, five people squeeze and half-squat together while one of them angles his selfie stick. On the other side of the desk, a family of six gets its bearings: four by looking at their immediate surroundings through screens; one by queuing up her audio guide; the sixth, a baby in his stroller, by quietly waiting. Right next to them — awkwardly close, in fact — a stylishly dressed man (a local, surely) types on his raised smartphone, possibly sending a friend a mocking message about the device-toting family. Inside the galleries, the situation is even more chaotic — three friends leap amid the Assyrian reliefs while a fourth attempts to photograph them mid-jump; visitors lounge around the Temple of Dendur consulting their phones and ignoring the antiquities; wandering museum-goers, faces bent toward their devices, strike silhouettes eerily similar to the ancient and headless marble statues looming nearby. These are not scenes from a recent Saturday at the Met — though they could be — but details from paintings and drawings in Hai-Hsin Huang’s exhibition A Museum Show at the Chinese American Arts Council.
Huang’s earlier works (one of which, full disclosure, I included in an exhibition I curated three years ago) often feature demented family scenes, but her latest series focuses on the foibles of a more public institution. The paintings, with their unflattering figures rendered in unnatural tones from improbable angles, evoke some absurdist fusion of Jules de Balincourt and Peter Saul. Her drawings, especially the 10-foot-wide “The MET” (2014) and seven-and-a-half-foot-wide “The MET #2” (2016), fall on the more satiric end of the crowd comedy spectrum that culminates in the symphonic pandemonium of Where’s Waldo? and Hilary Harkness. The drawings’ plethora of strange details rewards precisely the type of close and sustained viewing of which the works’ subjects are clearly incapable.
Meanwhile, the paintings in A Museum Show, with two exceptions, capture moments of quiet contemplation — or total, #EmptyMet calm. A series of smaller canvases depict display cases containing Greek vases or the bases of pedestals holding marble busts. In another, an older woman who seems to have stepped out of Cindy Sherman’s series of faux portraits of society women stares blankly at an artifact. The exhibition’s centerpiece, “China Wing” (2016), is closer in spirit to the drawings and Huang’s more manic earlier work. The cinematic tableau shows 12 figures sprawled and stretched out in front of a recessed display of historical ceramics, each with a mask-like grin on their faces (fleetingly evoking Yue Minjun) and — save a couple — device in hand. It’s the sort of high culture-meets-the masses satire and “that’s so true!” image that you’d expect to find on the cover of the New Yorker. The exhibition’s most startling work, though, doesn’t feature any tablet-toting visitors or bleary-eyed socialites; “MoMA” (2016) shows a snaking line of visitors waiting for the coat check and, above it, a matching line of coats on hangers waiting for their owners. The pleasingly symmetrical composition of pinks, blues, and black completes Huang’s vision of the museum experience as its own kind of show.
These playful, melancholy, and crazed scenes depict the museum not only as a place where artifacts are displayed, but also where people display themselves, and where the supporting structures of display — the security guards, gift shops, coat rooms, pedestals, floorboards, flower bouquets, and more — can be just as compelling as what’s being exhibited. Huang’s approach to this material melds the sensibilities of a caricaturist and an anthropologist. In the paintings and drawings of A Museum Show, the museum is the show.
The 2016 Taiwan Biennial organized by the National Taiwan Museum of Fine Arts (NTMoFA) under the jurisdiction of the Ministry of Culture will be presented from September 10, 2016 till February 5, 2017. This will mark the 5th presentation of this biennial held at NTMoFA. Co-curated by guest curator WU Dar-Kuen and curator of NTMoFA LIN Hsiao-Yu, the overarching theme of this year’s biennial is The Possibility of an Island, with 30 artists/collectives invited to take part in the exhibition, seeking to examine how contemporary Taiwanese artists go about witnessing the changes and shifts unfolding in this era and how art is used to depict the present, future, and past of this island.
The exhibition title takes its inspiration from the novel of the same name by Michel Houellebecq. The novel is told in the first person by the protagonists Daniel and two of his clones, Daniel 24 and Daniel 25, with the story unfolding in crisscrossing timelines, exploring the ultimate meaning of life. Extending from its narrative approach and the underlying theme of an island, this year’s Taiwan Biennial brings together overlapping times, spaces, memories, and perceptions and seeks to use space-time transcending rhetoric to examine the changes and contemporary issues happening on the island of Taiwan through continual inspection and reflection, while also proposing possibilities for the future world. The artworks on view include landscapes, imaginations sparked by geography and borders constructed with realistic and fabricated elements and expand to include profound considerations for the drifting and assured subjectivity for the island of Taiwan (both for the nation as a whole and applying to individuals). The exhibition revisits and interprets the history of Taiwan and also observes certain absurdities or chaotic conditions found in its contemporary society, which are closely connected to historical developments. As the environment that artists dwell in continue to shift and change, what kind of principles are being upheld in their artworks? Contemporary art seems to be providing hints about the future, with diverse creative methods and different issues discussed evoking a restless ambiance on the island, resulting in various unknowns and possibilities that are also exciting at the same time.
A total of 30 artists/artist collectives are included in this year’s Taiwan Biennial, and they are: Yu Siuan, Wang Yu-Ping, Lee Chia-Hung, Huang I-Chieh, Liao Xuan-Zhen, Wang Te-Yu, Ho Chia-Hsing, Wu Chien-Yi, Wu Tsan-Cheng, Li Cheng-Liang, Wang Shao-Gang, JUAN Sea, Lin Gieh-Wen, Lin Shu-Kai, Lin Hong-Wen, Chiu Chen-Hung, Chiu Chao‐Tsai, Hou Chun-Ming, Hsu Yung-Hsu, Chang Ting-Tong, Mei Dean-E, Chuang Chih-Wei, Kuo I-Chen, Chen Wen-Chi, Chen I-Chun, Chen Sung-Chih, Chen Chien-Pei, Chen Ching-Yuan, Chen Shiau-Peng, Huang Hai-Hsin, Xindian Boys, Hsieh Mu-Chi, and Su Hui-Yu. The artworks will be displayed throughout the ground floor of the museum, more than 30 possibilities are presented by these 30 artists and collectives, symbolizing surges of inner energy embedded in Taiwan. This year’s Taiwan Biennial anticipates to offer to the audience a different exhibition experience, and hopes that the audience can also find a sense of anchor on the map for themselves from this journey.
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双方藝廊將於9月3日展出「双視Double Vision」，參展藝術家共有十二位，分別為陳擎耀、陳萬仁、曲德義、何孟娟、徐永旭、黃海欣、廖建忠、蘇匯宇、陶亞倫、崔廣宇、吳東龍與于軒，在藝術 蓬勃迸發的秋日，双方藝廊集結台灣不同世代的優秀藝術家，藉由各種媒材呈現新媒體裝置、錄像、攝影、繪畫及雕塑所交會出的多元視野，剖析當代藝術橫切面， 面面俱到拳拳到肉地以幽默揶揄、寫實尖銳、理性梳理，或無以名狀之抵抗，回應社會現象及時代氛圍；「双視Double Vision」展覽開幕為9月11日下午三點，展出日期至10月2日。
Double Square will present Double Vision on September 3. The exhibition showcases the artworks of twelve artists, including Chen Ching-Yao, Chen Wan-Jen, Chu Teh-I, Isa HO, Hsu Yung-Hsu, Huang Hai-Hsin, Liao Chien-Chung, Su Hui-Yu, Tao Ya-Lun, Tsui Kuang-Yu, Wu Tung-Lung, and Yu Siuan. This autumn, with bounteous artistic force, Double Square brings together excellent works of Taiwanese artists from different generations. Through a vast array of media, the exhibition displays diverse perspectives embodied by new media installation, video, photography, painting, and sculpture. Double Vision is an epitome of Taiwanese contemporary art, truthfully and compellingly illustrating social phenomena and the atmosphere of our time with humorous satire, realistic shrewdness, rational inspection, or unnamable resistance. The opening reception is scheduled at 3 pm on September 11, and the exhibition ends on October 2.
Exhibition: A Museum Show–Hai-Hsin Huang Solo Exhibition Venue: Gallery 456
Location: 456 Broadway, 3rd Floor, New York, NY 10013 Dates: August 26 – September 23rd, 2016
Opening Reception: Friday, August 26th, 6 – 8 pm
CAAC | Gallery 456 Visual Arts Exhibition Series” is supported, in part, by public funds from the National Endowment for the Arts, and the New York City Department of Cultural Affairs, in partnership with the City Council. This program is also made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Special thanks to friends of CAAC.
Gallery 456 and the Chinese American Arts Council is pleased to present “A Museum Show,” a solo exhibition of Taiwanese painter Hai-Hsin Huang. The exhibition presents a series of recent oil paintings and drawings, and will be open August 26th through September 23rd, 2016.
The exhibition explores the unfortunate qualities of a popular museum that often dampen one’s experience: tweeting crowds, forever queues, rowdy schoolchildren, the unapologetic gift shop, bloated benches of the bored and erudite. Her humorous and bewildered characters — each face as singular and studied as a portrait — gaze with half lids, yawn or Instagram. The Greco-Roman sculptures, Grecian vases and Picassos are pulled from the MET and MoMA, each piece possessing as much personality as their admirers. Her mobbing of museum objects remind us of Paul Valéry’s marvelous little essay of a similar tone, The Problem of Museums:
“I am not overfond of museums. Many of them are admirable, none are delightful. Delight has little to do with the principles of classification, conservation, and public utility, clear and reasonable though these may be. At the first step that I take toward things of beauty, a hand relieves me of my stick, and a notice forbids me to smoke. Chilled at once by this act of authority and by the sense of constraint, I make my way into a room of sculpture where a cold confusion reigns...I am lost in a turmoil of frozen beings.”
Such turmoil is well related in Huang’s large-scale drawings, such as The Met (#1 and #2), where a number of sphinx, Rodins and the Three Graces exist listlessly alongside tourists in the Great Hall; of marble or Manhattan Tours, each subject is exquisitely depicted. These drawings present a playful sampling of New York personalities, but also question the institutional hoarding — and occasional stealing — of objects, as well as the upper class system that supports it. Indeed, many of her characters, as in Gala, sport teetering wine glasses, formidable jewelry and heavy makeup. They stare, mesmerized or possibly drunk, at objects with hilarious intent. Just as Valéry warned, in the midst of such artistic glut, “we grow superficial.”
Art history imbues the rendering of Huang’s subjects beyond the museum object as well. In the large oil painting, The Chinese Wing, a gaggle of half mad schoolchildren photography a display of ancient vases with atypical enthusiasm. Wild eyed with mouths gaping, each child caricatures the “laughing man” — the leitmotif of Yue Minjun (who is perhaps China’s most recognized contemporary painter). This is a poignant intersection of ancient Chinese and contemporary art: both are leveled under the consumer gaze, separated and dissected by panes of glass (iPadded or museum-grade).
Throughout “The Museum Show,” each bemused millennial, deranged schoolboy and punch drunk patron speaks to the heart of Valéry’s problem with museums: “The ear could not tolerate the sound of ten orchestras at once,” no more than our smart phones can document every blockbuster acquisition. Nonetheless, the honest individuality granted to each of Huang’s subjects celebrates the diversity of humanity, and its embarrassment of riches, with as much humor as melancholy.
Hai-Hsin Huang was born in Taipei, Taiwan 1984 and received her MFA from The School of Visual Arts in 2009. She currently lives and works in Brooklyn, New York. Huang is interested in the ridiculousness and fear in society, the absurdity and the loneliness. As part of a generation marked by hedonism, people seem to know more but feel less. Catastrophes become assumptions; we practice suffering and crisis with laughter. Huang tries to highlight the lives of this easy and comfortable generation, and in particular, their lightness of being. At the same time, she is trying to show audiences the beauty and uncanniness of single moments, the humor and tragedy that is in us, life’s grandeur as well as frailty of humanity.
Huang’s work has been exhibited and collected at museums and galleries in New York, Shanghai, Sydney, Herzliya, Kyoto and multiple cities in Taiwan including ISE Cultural Foundation, White Rabbit Collection, Kyoto Cultural Center, Herzliya Museum of Contemporary Art, Kuandu Museum of Fine Arts, Taipei Fine Arts Museum and National Taiwan Museum of Fine Arts.
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On view from March 14th to 30th, 2016, the Taipei Cultural Center of TECO in New York is delighted to present HER Gaze, an exhibition of paintings by women artists born in the 1980s. Organized by independent curator Josiane Lih-Huei Lai, HER Gaze showcases nearly 20 paintings by eight female artists: CHANG Chia-Ying (b.1982), CHANG En-Tzu (b.1983), Joyce HO (b.1983), HO Szu-Wei (b.1985), HUANG Hai-Hsin (b.1984), HSIEH Yi-Ju (b.1983), YEN Yu-Ting (b.1989), and HSIAO Chu-Fang (b.1980). It is an opportunity to explore the styles and focus of these young artists from Taiwan.
The renowned 20th century British feminist writer Virginia Woolf (1882-1941) wrote in the collection of essays, A Room of One’s Own (1929), that “a woman must have money and a room of her own if she is to write fiction.” She plainly pointed out that as long as a woman can maintain her independence, she can fulfill her creative desires. The female artists in this exhibition were all born between 1980-1989, more than 100 years after Woolf. They are not burdened with much baggage from the past. Growing up in the age of greater gender equality, the female artists of this generation do not deliberately discourse on feminist issues. Rather, they are more concerned about the society, the environment and their own life experiences. Their style and choice of medium are also more diverse and unconventional.
There is a thematic thread in CHANG Chia-Yiang and CHANG En-Tzu’s paintings that suggests something like a fairy tale. The former juxtaposes Eastern and Western fairy tale characters such as in “The Wolf and A Fairy Fox At the Magical Theatre.” The central character has a pair of big dark eyes devoid of facial expression that sets it apart from the usual outpouring of emotions in fairy tales. CHANG Chia-Yiang creates a seemingly peaceful yet strange and eerie world.
CHANG En-Tzu’s Perfect Imperfection offers an alternative interpretation of the familiar Snow White in a mixed media of paint and embroidery. It bespeaks the distance between reality and the imagined while simultaneously, attempts to bridge and close the gap between the two worlds. The eerie color and material residue suggest a realistic and anxious atmosphere.
Fairytale elements also appear in the work of Joyce HO. Her sculpture Daydream features a yellow bird with a disproportionately small body and disguise. But her paintings often feature female protagonists with intensely awkward bodily angles and repressed postures. The use of highly saturated colors accentuates a tense state of mind.
HO Szu-Wei and Hsieh Yi-Ju’s paintings are full of childlike imagination based on nature, life memories and experiences. From the intertwining of animals, plants, people and objects in HO’s watercolor Blue Egg I, and print The Child with Rabbit Ears, emerges a strange and delicate fantasy world. With fairytale-like dolls and animal puppets in brilliant colors, Hsieh Yi-Ju’s Be Brave successfully projects a beautiful world. The graffiti element in HSIAO Chu-Fang’s Smoking Head expresses a feeling of helplessness with blunt humor.
YEN Yi-Ting and Huang Hai-Hsin’s creative ideas stem from societal issues and news headlines, with a very distinct style of their own. YEN illustrates news events and their related visual elements. The elaborately rendered Unbridled #2, in the vein of Chinese landscape painting, depicts a very well known news event – “nude BBQ party in the mountains.” In contrast, Huang Hai-Hsin simulates daily life imagery, news media, and official propaganda in free, child-like and colorful style. Amuse Ourselves to Death depicts the excessive indulgence of the pleasure generation who experiences a sense of crisis, dismay, and loss of control.
The eight female artists range in age between 26 and 35. Although none of their work shows notable feminist ideas or gender awareness, the unique sensitivity and feminine qualities are naturally ingrained. As Woolf said, “every secret of a writer’s soul, every experience of his life, every quality of his mind is written large in his works”, these artists relate their concerns to contemporary issues in their life in each their own ways.
Title: HER Gaze: An Exhibition of Contemporary Women Artists from Taiwan
Dates: Mar 14-30 & May 2-25, 2016, Monday – Friday, 9:30am-5:30pm
Opening Reception: Mar 15, 2016, 6:30pm
Venue: Taiwan Academy in New York (1 East 42nd Street, New York, NY 10017)
This exhibition received support from the Taiwanese Ministry of Culture, for more Information: Please contact TPECC at email@example.com