時間 2021/09/18 09:00 ~ 2022/02/06 18:00
There are geographical and historical contexts underlying the building and location of the Tainan Art Museum. With the "localization" policy, the museum serves as a physical space showing artworks and as a historical site of formulating and exploring the city's cultural landscape. In previous exhibitions, "landscape" and "terroir" are distinctive thematic concepts and keywords. For instance, Everyday Life and Landscapes of the island: Betel Nuts, Bananas, Sugar Cane, and Palms examines how Taiwan's economic sectors and policies shaped everyday life in Southern Taiwan. Paying Tribute to Gods: The Art of Folk Belief showcases the cultural landscape of folk belief art that is exclusive to Tainan. Re-presentation of a Legend: Centennial Celebration of HUNG TUNG adopts "terroir" as the curatorial method to explore the artist's expression and the source of his cultural implications.
Continuing the context of focusing on landscape and terroir with the guideline of localization, this exhibition includes artists who are graduates of the Art Talent Class of National Tainan Second Senior High School (founded in 1988) and Art Talent Class of National Sinying Senior High School (founded in 1992) and continue their career as artists. With the theme of "landscape" and "the possibility of perceiving landscape," Lee Hsin-yuan, Lin Shu-kai, Chen Yen-yi, and Chang Ting-ya are invited to participate in this exhibition.
Instead of developing the exhibition through sub-themes, the exhibition organizes works of the four artists in a particular order in four galleries. Key phrases that describe the connotation of the works function as the point of departure, and the artists arrange the flow with those key phrases: "imagination of the city," "doubts about the landscape," "perceiving space from multiple viewpoints," "awareness of the historical quality in the landscape," and "natural elements and urban civilization." They aim to remind the audience of the inquiries raised by the artworks and the responding aspects with the fictional descriptions on the gallery walls, showing an alternative landscape hidden in everyday life.
Born in Taipei, Taiwan
Lives and works in Tainan, Taiwan
2008 M.F.A, Gradual Institute of the Plastic Art, Tainan national university of the art, Taiwan
2004 B.A, Fine Art and Crafts Education（Major in oil painting）, National Hsin-chu Teachers College, Taiwan
2000 Art Talent Class of National Sinying Senior High School
Born in Tainan, Taiwan
Lives and works in Tainan, Taiwan
2012 MFA Department of Fine Arts, Taipei National University of the Arts
2007 BFA Department of Fine Arts, Taipei National University of the Arts
2002 Art Talent Class of National Sinying Senior High School
Born in Kaohsiung, Taiwan
Lives and works in Tainan and Taipei, Taiwan
2004 MFA Graduate Institute of Applied Arts, Tainan National University of the Arts
2000 BFA Department of Sculpture, National Taiwan University of Arts
1996 Art Talent Class of National Tainan Second Senior High School
Born in Tainan, Taiwan
Lives and works in New Taipei City, Taiwan
2010 MFA Graduate School of Printmaking, National Taiwan University of Arts
2007 BFA Department of Fine Arts, National Kaohsiung Normal University
2002 Art Talent Class of National Tainan Second Senior High School
Lee Hsin-yuan used to be disgusted and puzzled by the everyday landscape. However, after “sound” came into her thinking, she saw the order and rhythm of landscape and presented it in her photographic works “Everything in its place here” and “Collection of Understanding: Listen, everything is in its place here.” Through entering different sites, Lee began to explore the interwoven significances of consciousness and history behind the landscape, such as her site-specific and performance work “A Pool, a Group of Koi, Knocking” in Minzhi Civil Center of Tainan City Council. Recently, she has been using the basic element of nature, water, as the core of her practice and developed sound-oriented works. Through the imagery and metaphor of “water,” she considers the various connection between the environment and life. “The Miracle,” which is recently done, follows the traces of water to explore the environmental cost of the technology industry and the relationship between the local green energy industry and human’s life.
Lin Shu-kai’s motivation came from “the experience of his home being demolished due to the urban renewal plan.” He also draws on the unique patterns found in local temples, alleys, and city gates of Tainan. With the molds of his family-run mold casting factory as the medium, he develops a series of work from his memory and imagination of the island landscape “the Balcony City Series” through graphic and spatial installation. The works selected for this exhibition are “the Balcony City Civilization— The Building Blocks City Quotation” and “the Red Civilization of Balcony City - Day and Night Glowing Wonderland,” which have a strong visual experience of temple vibes. In the work “the Balcony City Civilization Series - The Fenced Village Will Reborn When The Balcony People Return To His Birthplace Here,” the buildings in the painting equip eyes, creating an associate of human facial expressions with the surroundings, making the city seem to reveal curious and exploratory gaze, as well as a lovely and joyful appearance.
In recent years, Chen Yen-yi has been concerning with the ultimate harmony between human beings and nature and she often draws a parallel between objects and living being in her practice. For example, in her photographic works “A Fine Fowl Perches Only On a Fine Tree” and “CCTV Birds” series, Chen looks at the surveillance devices on the streets as if they are birds that used to flock on the power poles. Buildings carrying historical and political symbols often appear in her photographic works, which may function as a metaphor for governmental surveillance and power. “Venus of Qigu,” “Venus of Nanxi,” and “Venus of Annan,” which are new works presented for the first time in this exhibition, are 1:1 beeswax replica of Chen’s body shape during pregnancy. Chen installs electronic components and has bees build their nest and shape the work. The geometric mass and electronic parts above her chest resemble large construction sites or organic urban landscape, interrogating the harmonious and conflicting relationship between human civilization and nature.
Chang Ting-ya’s works are mainly woodblock prints. In recent years, she has adopted the notion of “dream journey” in ink painting as the basis for her works, such as “Stopover” and “Set Off.” Her recent work “In Between” series take “screen” as the main element, exploring the changes of the inner and outer space in everyday life through elements such as starts, airflows, and plants. Her works contain rich visual perception of oriental allure, manifesting the shuttling nature of the landscape and the ambiguous and mysterious quality of the space hidden by screens or walls. In the context of this exhibition, it seems to suggest that the viewer can learn space and landscape with alternative perceptions and imaginations, thus responding to other works in this exhibition.