‘The MOMENT:The Taiwanese Art Projects’, Tenri Cultural Institute, USA (2015)
Since its establishment fifteen years ago, the Museum of Contemporary Art (MoCA), Taipei has organized and presented
countless exhibitions that introduced international new waves of contemporary art. Corresponding to each major
exhibition, we have also planned events and activities for academic exchanges, creative dialogues, and art education.
Meanwhile, the museum has strived to introduce Taiwanese contemporary art to the world as one of the projects for
cultural exchange between cities. For example, we had curated and organized SuperGeneration@Taiwan, a major
exhibition that included thirty Taiwanese artists as well as diverse artistic forms and contents, and toured the exhibition
to China Art Museum, Shanghai and Today Art Museum in Beijing. In addition, MoCA, Taipei has curated solo exhibitions
of Taiwanese artists three times in the form of collateral exhibition to the Venice Biennial. Therefore, despite the
museum’s limited resources and manpower, through these endeavors that emphasized on the exchange and interaction
between Taiwan and the international art scene, MoCA, Taipei has accumulated considerable results with the supports
from all fields and the participation of the Taiwanese art circle.
The museum delegates’ trip to New York this time for our collaboration with Taiwanese American Arts Council (TAAC)
in organizing THE MOMENT: Contemporary Taiwanese American Arts is the result of collective efforts for
introducing and sharing the latest development of Taiwanese contemporary art with the city of our friendly country.
As the center of attention for the international art scene throughout decades, New York has attracted innumerable
Taiwanese artists to live and work in the city, to soak up its energy and culture, or to observe and interact with it for a
short period of time. For THE MOMENT: Contemporary Taiwanese American Arts, MoCA, Taipei has invited ten
artists to come to New York, and together with forty-one teams of Taiwanese artists based in New York, to co-create
the first Taiwanese contemporary art festival in New York. It not only resembles an artistic reunion, but also a large-
scale project that combines international collaboration between museums and interdisciplinary integration of both cities.
Therefore, despite the increased level of difficulty and challenges, it is indeed worthy of our collective participation and
I would like to express my respect and gratitude for all participating artists, and in particular, to TAAC chairperson, Mr.
Lung-feng Chen, and TAAC director, Mrs. Luchia Meihua Lee, who have joined forces with us to complete this tremendous
task. My special thanks also go to the five New York art institutions that have provided the exhibition venues and
precious exhibition schedules, as well as the Ministry of Culture, the Ministry of Foreign Affairs, The Taipei Cultural Center
in New York as well as all our fellow Taiwanese and international friends in New York for their assistance in our various
projects. It is our sincere hope that THE MOMENT: Contemporary Taiwanese American Arts would initiate more
creative exchanges and artistic dialogues between the US and Taiwan.
About Museum of Contemporary Art, Taipei (MoCA, Taipei)
The Museum of Contemporary Art (MoCA), Taipei is the first art institution in
Taiwan dedicated exclusively to contemporary art. The museum building was
originally the Jan Cheng Elementary School, established during the Japanese
colonial period. In 1945, the building became the Taipei Government City Hall.
After the government moved to Hsinyi District in 1994, the policy of the reuse
of historical buildings prompted the old city hall to be transformed in May 2001
into the Museum of Contemporary Art, Taipei.
Since its inauguration, the museum has combined its historical architecture
with contemporary art, entwining yesterday’s memories with today’s culture
and introducing the most innovative and avant-garde visual aesthetics, media
technologies, architectural design, and fashion from Taiwan and overseas.
At the same time, MoCA, Taipei continuously promotes artistic education
and encourages the community to regard the aesthetics daily life. In the
future, MoCA, Taipei will persevere on its mission to promote and motivate
multidisciplinary creativity both locally and internationally. With rich and diverse
artistic performances, the museum will vigorously introduce creativity into Taipei,
art into the community, and the ever evolving exhibition technology into the new
life of the historical building.
A professional art museum that focuses on contemporary art, it has not only
to keep up with the global trend, but also to bridge the industry itself with
art appreciation. A system for the integration of artistic creation, information
transmission, education, learning, entertainment, community recognition, and
cultural construction must then be worked out. This integrated system should
remain the spirit of contemporary art itself-- keep moving on actively and
lively day by day. Determined to support such system, MoCA will strengthen
its own ability to pursue more possibilities and broaden its own capacity to
accept different opinions. Working together with other museums and artists, the
prospects of art in Taiwan is immense and without limits.
Preface to THE MOMENT: Contemporary Taiwanese American Arts
台北當代藝術館 執行總監 / 石瑞仁
Director, Museum of Contemporary Art, Taipei / J.J. SHIH
‧發行單位：MOCA TAIPEI 台北當代藝術館
游文富 YU, Wen-Fu
“Natural Sensitivity” represents the fundamental aesthetics of YU, Wen-fu’s work. According to him,
human be-ings, much like wild animals, gain the sharpest sensitivity to the environments when we
reach an undisturbed and pure state of mind. Unfortunately, the advancement of technology has led
to a society that overemphasizes sensational stimulation and interpersonal interaction, which directly
or indirectly causes the aesthetic intuition of human being to vanish rapidly. In response, YU, Wen-
fu rests on natural materials such as bamboo and feathers as his media to create installations and
environmental art. His work is often familiar while simultaneously refreshing and allowing room
for imagination. It encourages the audience to calm down and observe, or take a step further to
actively discover and grasp some of the most transient yet inspirational moments and elements of our
surroundings, such as the airflow, the sound of the wind and time.
After Spring Snow
This piece is very oriental in composition and is inspired visually by the classic imagery of landscapes
after a fall of spring snow. The artist has laid out 150,000 bamboo sticks bleached white and a dozen
large bamboo poles on to grass. In the humid climate would grows on the white bamboo sticks
turning the white landscape green again. The “leaves" of the bamboo (actually feathers) are also
gradually scattered by the wind, creating on effect like melting snow in the beginning of summer.
The Territory Series combines traditional ink-brush techniques that YU, Wen-fu began practicing
in 1983 with his own innovative take on using feathers as a creative medium. Images of Chinese
landscapes are superimposed on portraits printed on paper money from around the world, and
upon closer look, they are portraits of important people, but from afar, they appear like landscapes.
ln addition to creating a fantastic visual duality, it also suggests a possible coexisting harmony or
an ironic conflict between money's economic value and landscape's natural value. From a different
perspective, it was said in the ancient times that one that possesses territory is also in possession of
power, and in today's time, financial prowess is used to garner and manipulate power. The intentional
gesture of fusing the money portraits with ink-brush landscapes is the artist's attempt to reinterpret
the duality behind the Chinese saying, "Though death befalls all men alike, it may be weightier than
Mount Taishan or lighter than a feather."
THE MOMENT: Contemporary Taiwanese American Arts
策展人 / 林羽婕
DON DON, Hounwu
La~La~La~ the Islet
I am born at Taiwan, a 36 thousand sq ft island located in East Asia and North-west Pacific Ocean.
Since I live on an island, I grow a sense of belongingness to the ocean. Furthermore, perhaps it is
because of the nature of island resident, I always love to travel around, which is like a boat driving
around on the vast ocean. I am always intrigued by the in-between status between departure and
arrival. What is the most interesting may probably be some unexpected happenings during the
La~La~La~ the Islet is the artwork I created during my 2011 artist-in-residence project at Réunion,
on the west Indian Ocean and as a part of Madagascar under Austronesia. Réunion, sharing similar
colonial history as Taiwan has, is an oversea region of France and has very diverse cultures as other
Austronesia islands have. On this island, there are muslin Arabians, Indians, French, Hakka from China
Guangdong, China, and Creole people. In this artwork, I fight with a Creole and an Indian at Salazie,
a beautiful valley where people hided during war time as well as the “last holy land” in my eye, which
symbolizes the wars of colonial era. I also play Chinese ribbons in front of French style building and
mosque to indicate the fusion among multi-cultures. Extending from my consisting creational style, I
create the La~La~La~ the Islet project with performance and video art.
葉怡利 YEH, Yi-Li
For me, body is one of highly handy mediums while moving around in spaces or time. From 2004 on,
I have often dressed myself in Ruren costume and made video artworks in many places. By dressing
up, my body is thus transformed into different roles. I often dress up like a monster with magic
power, fairy, or wicked woman. Either in a civilized city or the wild natural world as the background
or stage, I conduct in happening art form with a child playing-like primitive instinct and later they
are presented as artworks in the form of video art or interactive installation. Therefore, through the
experiences of poking fun on myself, my creation is internalized to a heart-lighting playfulness. In my
art-works, there are some fairytable-like roles. Those roles are like taking adults back to the original
status and forms in their childhood. During the playing, I create artworks based on my primitive
instincts. “In a play” (playing) coincides with “in a creation” (creating) as the most essential part of
me as an artist.
The themed exhibition, THE MOMENT: Contemporary Taiwanese American Arts, is part of
the Taiwan and America Art Festival in New York as well as the first exchange activity of Museum of
Contemporary Art, Taipei (MoCA, Taipei) in the US since the establishment of the museum fifteen years
ago. The project invites ten Taiwanese artists, displays works such as outdoor installation, sculpture
of public art, graffiti that emphasize on communal interaction, and includes a group exhibition
at Tenri Cultural Institute. With the purpose of displaying the diverse creativity and techniques of
Taiwanese artists and the multifaceted issues in their works, the exhibition aims to initiate dialogues
and exchanges between Taiwan, the New York art circle and the public. The ten artists from Taiwan
and the Taiwanese artists currently living in New York have collaborated to present their exuberant
creativity and amazing artworks on the international stage of New York.
In terms of creative media and artistic expression, one can see the creative ingenuity of the ten artists,
which reflects the richness of Taiwanese contemporary art in general, including CHANG, Yahon’s
contemporary ink painting and sculpture, LEE, Kuang-Yu’s bronze sculpture, YU, Wen-Fu’s outdoor
installation of bamboo sticks and indoor feather painting, Candy Bird’s graffiti and indoor installation,
HUANG, Zan-Lun’s video and acrylic painting, WANG, Hsiao-Hua’s object and mixed media work, LIN,
Pey-Chwen’s new media installation, DON DON Hounwu’s video installation, YEH, Yi-Li’s performance
and installation, and HSU, Wei-Hui’s sculpture made with facial masks.
In terms of content and issues discussed in the works, CHANG, Yahon cares about the innumerable
aspects of humanity, taking a closer look on life through various human faces. LEE, Kuang-Yu’s new
works of sculpture exceed the expression of appearance, beckoning at an elevation to a spiritual
level. YU, Wen-Fu employs his most familiar creative medium, the bamboo sticks, and creates a
Taiwanese landscape in Flushing Weadows Corona Park. In the meantime, he also uses feather ink
painting to delineate his imagination of politics and economy. Because of his care for the communal
culture, Candy Bird has come to the headquarter of graffiti, New York, and creates works onsite,
painting out the city in his mind and his interpretation of it. HUANG, Zan-Lun’s video and graphic
works investigate the relationship between individuals as well as depict his observations of this
world. WANG, Hsiao-Hua uses ready-made objects found in Taiwan and New York, and creates her
works onsite. LIN, Pey-Chwen utilizes the virtual images of the endemic butterflies in Taiwan to invoke
humanity’s awareness of the environment. DON DON Hounwu bases his work on the cultural issue of
Taiwanese indigenous people’s leaving their native land, and represents his own wandering and inner
changes as he travels from the indigenous native home to the urban area of Taipei, and eventually to
the international metropolitan, New York. Bringing rice bowls and an electric pot from Taiwan, YEH,
Yi-Li conducts live art performances, through which she discusses the frame of mind and will of an
artist struggling to survive. HSU, Wei-Hui presents numerous tiny female soldiers carrying a gigantic
ball, reflecting the difficult role of contemporary women, as they need to be simultaneously romantic
and strong. From one’s self-contemplation to the issues of caring for land, with a strong will and
perseverance, these ten artists have rooted in Taiwan and think globally, displaying the most colorful
aspects of Taiwanese contemporary art at this moment.
The exhibition owes its realization to all the friends at TAAC in New York as they provide this
opportunity of international exchange and cultural dialogue for Taiwanese artists. Immense gratitude
goes to Taiwanese American curator, Luchia LEE, Mei-Hua, who has spent much time assisting in
introducing and coordinating the project. Because of her persistence and dedication, Taiwanese artists
have received much attention and praise, creating the opportunity for the urban art festival this time.
At the same time, I would like to express my gratitude to the director of MoCA, Taipei, Mr. J. J. Shih,
and all the museum staff for their everlasting dedication in introducing Taiwanese contemporary art
to the world. From Shanghai, to Beijing, to Venice, to New York this time, MoCA, Taipei has once
again proved the necessity and possibility of taking concrete actions. Last but not the least, I would
like to thank all the participating artists and working staff in the exhibition. All imperfections exist
for the achievement of future perfection. Let’s keep striving together for the goal!Because of her
persistence and dedication, Taiwanese artists have received much attention and praise, creating the
opportunity for the urban art festival this time. At the same time, I would like to express my gratitude
to the director of MoCA, Taipei, Mr. J. J. Shih, and all the museum staff for their everlasting dedication
in introducing Taiwanese contemporary art to the world. From Shanghai, to Beijing, to Venice, to New
York this time, MoCA, Taipei has once again proved the necessity and possibility of taking concrete
actions. Last but not the least, I would like to thank all the participating artists and working staff
in the exhibition. All imperfections exist for the achievement of future perfection. Let’s keep striving
together for the goal!
《去紐約，來啉茶 khì Niú-iok，lâi lim tê》(中文台語發音)êê
而創作者借由「去紐約，來啉茶」這 4 個字，來諷刺自身為了在「成功」的道路上直進，
要以台灣人傳統的奉茶心意，去紐約奉茶，而特地奉上價值 2.8 億港幣仿古版的「明成
化鬥彩雞缸杯」來喝茶，邊欣賞著價值 10 億港幣仿古版的 「蕭何月下追韓信元青花梅
瓶 」 ，感受著茶的閒情逸致。
khì Niú-iok，lâi lim tê (Go to New York, Fix with Tea)
For artists from a small island on Pacific Ocean, at East Asia region, “globalization” has been
commonly regarded as a definition of success. So, I sometimes ask myself: “Is it crucially important
for Taiwan artists to gain recognition from American and European countries?”
I chooses the term khì Niú-iok，lâi lim tê (Go to New York, Fix with Tea) to sneer at myself:
In order to move forward on the path toward success, I go to New York all the way to serve tea for
passer-by, which is a traditional folk custom at Taiwan. On purpose, I carefully serveit and present you
with the replica of Chenghua contrasting colors “chicken cup,” which fetches 280 million Hong Kong
Dollars at auction to drink tea while you can appreciate the replica of Yuan Dynasty blue and white
plum vase depicting Hsiao Ho chasing Han Hsin under moonlight, which fetches 1 billion Hong Kong
Dollars at auction. By doing so, I hope you all enjoy such leisurely fun of lim tê (drinking tea).
Almost all artists cannot deny their desire to be “reknowned:” not just as a professional artist, but
also a successful and well-established one. However, what is the definition of “success?”
The artist will present khì Niú-iok，lâi lim tê (Go to New York, Fix with Tea) in site-specific
action art form.
Flushing Meadows Corona Park
Flushing Meadows Corona Park
September 27 - November 23, 2015
Flushing Meadows Corona Park
The site of two twentieth century World's Fairs attended by millions of people, Flushing Meadows
Corona Park continues to draw and delight visitors. As the largest park in Queens, it offers plenty
of space for whatever your recreational desires may be--baseball, soccer, tennis, cricket, et cetera.
Lots more too, including a stunning recreation complex, a zoo, an art museum, a botanical garden,
a science museum, and a baseball stadium. Explore one of the park's six playgrounds, take a stroll
along the Flushing Bay Promenade, or launch your model airplane. Flushing Meadows Corona Park
has room for all your active pursuits!
Every abstract trace was imprints came from our daily objects. Objects that we might pay no attention
to, because of their convenience and disposability. Now, with a little twist and a different angle of
viewpoint, these objects started to leave images their own. And that is why Wang Hsiao-Hua named
her exhibition series Undercover.
As Wang called “a full exercise of an object”, she tried to press, drag and turn the object around
to make as much as traces as possible on the canvas. Imprints we saw on the surface were barely
identifiable at first. And just like all the expressive abstractions would triggered: free associations.
Those marks became everything you imagined, you recognized.
We would also get a chance to see those objects WANG used on her paintings shown as an
excavation scene in this group exhibition at Tenri Cultural Institute. Then we might be amazed,
wondered how she made such prints via these objects. And that is her Undercover meant, things
we used every day on our daily basis, reveal their existence and multi-faceted, only and if only we are
willing to rediscovery them through different perspectives.
王曉華 WANG, Hsiao-Hua
Born and currently undertakes her PhD program in the field of artistic practice and critical research
of fine arts at Taipei National University of the Arts in Taipei, Taiwan. WANG’s projects is more about
the practice of daily life than the crea-tion of objects and to capture forces of the forming, the never-
ending process of becoming which is not meant as a revela-tion in the sense of rendering visible
something that was previously unseen, but as the opening of our vision to the greater and fuller span
of the generative forces of our everyday life.
The style of the work Empty Procession was inspired by
the kanzhoima of Tibetan Buddhism, having the image of
“dancing in the air.” In this work, a piece-like structure
formed by flowing lines similar to the lines of calligraphy is
used to depict the kanzhoima dancing in the air with a joyful
expression. LEE also introduces the meaning of kanzhoima,
stressing individual self-reflection, understanding and
enlightenment, to finally achieve the transformation of the
physical body into the body of truth.
展覽場地介紹-Tenri Cultural Institute
Tenri Cultural Institute
September 30 – October 29, 2015
Tenri Cultural Institute
43 West 13th St, New York, NY
Tenri Cultural Institute is a non-profit organization with a mission to promote the study of Japanese
language and the appreciation of international art forms. The Institute hosts a variety of traditional
and contemporary cultural programs in our modern, spacious educational facility, performing arts and
Conveniently located in the heart of Greenwich Village, the center of New York City's educational and
artistic communities, Tenri Cultural Institute is a beautiful cultural oasis amidst the hustle and bustle
that is New York City.
Tenri Cultural Institute has a 20-year history in the celebration of Japanese and Western culture. By
providing our audience with a traditional and unique point of view to the understanding of culture
and the arts, we fulfill our mission: To foster cultural understanding, harmony and community.
江山系列-林肯、富蘭克林、孫中山 Territory Series
113 x 146 x 24 公分，共三件
435 x 366公分(each 145 x 366)
太極 Tai chi
35 x 32 x 82公分
Cake slice knife 33 x 33cm
Cup holders 33 x 33cm
Paper clips 33 x 33cm
Clotheshorses 33 x 33cm
Ruler 111 x 111cm
Plastic grass mat 22 x 25cm
Packing bands 22 x 25cm
exercise 180 x 80cm
《標本 I》“Specimens I”
25 x 25 x 5公分，10件
180 x 180 x 200 公分(球體)
游擊女孩－童話幻境 Guerrilla Girl － Fairy Tale Illusion
78 x 109 公分，共3件
李光裕 LEE, Kuang-Yu
LEE, Kuang-Yu was born in 1954 in Taiwan. In the early 1970, he entered the Department of Sculpture
of the National College of Arts (predecessor of the National Taiwan University of Arts). Following
graduation in 1975, he went to Spain to study western sculptural technique and theory in Real
Academia de Bellas Artes de San Fernando and Universidad Complutense de Madrid respectively and
studied with celebrated sculptor Toledo. On returning to Taiwan, he taught at the Taipei National
University of the Arts and the National Taiwan University of Arts, retiring in 2006 to devote himself to
his work. LEE, Kuang-Yu's creations crosses cultural and historical boundaries, representing a cultural
marker in which tradi-tional Buddhist and Daoist thought intertwines with modernism. His work
cannot be assigned to any usual stylistic cate-gory. Instead, his works create a unique language with
his incomparable skill, style and materials which in turn embodies the complex nature of Taiwanese
art while representing the essence of Taiwanese culture. His work has previously been exhibited in
Spain, Austria, Japan and Singapore. His works can be seen in the public spaces or National Taiwan
Univer-sity Hospital MRT station, on Civic Boulevard, and at National University of Kaohsiung. Within
Taiwan, three major galleries have collected many of his works.
中 國 「 太 極 」 乃 指 宇 宙 最 原 始 的 秩 序 狀
生 兩 儀 」 ， 陰 陽 兩 極 交 融 ， 大 地 於 是 生
In China, Tai chi refers to the most primeval
state of the cosmos, when Yin and Yang were
not divided and the world was in chaos. It
subsequently formed the source of all living
things, as the I Ching says: “In the system of
Change there is the Great Ultimate. It generates
the Two Modes (yin and yang)”; the mixing of
the two extremes of yin and yang gave rise to
the world. Lee transforms the meaning of Tai Chi
into a human form made up of planes and round
objects, investing the sculpture with a dreamlike
and imaginary humanity, revealing the deep
Eastern roots inherent to Chinese culture.
Thinker was inspired by the Metteyya Buddha image of Eastern culture. With concise, light, unhurried
but powerful line transition, Lee Kuang-Yu depicts the expression of a person deep in thought. The
work also borrows the creative meaning of “between the real and the incorporeal” of eastern art,
using a plate-shaped structure to form a spatial style in which real and unreal are intertwined. No
matter where he is, the thinker merges into the surrounding space, the space around becomes his
own spiritual world, like entering a place with no one else during deep contemplation.
Subduing was inspired by the story of The Arhat Who
Tamed a Tiger, showing the expression of the tiger after
being subdued by the tremendous magical power of the
warrior, portraying dramatic dynamism of movement and
vividly depicting the colossal power and courage of the
warrior who is able to vanquish such a fierce beast. The
extreme bravery shown in the face of the fierce wild beast
is used by Lee as a metaphor for self-transcendence,
overcoming the limitations of the mind and subduing
greed, hatred and ignorance.
M 6 M 11
糖果鳥 Candy bird
此來回應展覽名稱 「The Moment」。
All my works care about is human and show what happen in the contemporary world.
I have different thoughts in different works. Sometimes I paint in order to respond to a social problem
but sometimes I paint just for fun. I hope to remind people to think more deeply about the value of
human beings, and hope visitors can feel as what I feel in my life experience.
林珮淳 LIN, Pey-Chwen
感動與信仰，作品展於國內外重要藝術中心如：紐約皇后美術館、法國 Exit and Via
LIN, Pey-chwen received her doctorate degree in Creative Arts from the University of Wollongong
in Australia. Currently, she is the director of the Digital Art Laboratory and a professor in the
Department of Multimedia and Animation Arts at National Taiwan University of Arts. Her work has
been exhibited in major art venues and events all around the world such as Queens Museum in New
York, the International Museum of Women’s Ignite project, Exit and Via Art Festival in France, WRO
Media Art Biennale in Poland, 404 Art Festival in Argentina, Taipei Biennial, Taiwan Biennial, Art Stage
Singapore, National Taiwan Museum of Fine Arts, Taipei Fine Arts Museum, Kaohsiung Museum of
Fine Arts, The Museum of Contemporary Art Taipei, etc. In 2015, LIN and her work were featured in a
40 year edition of Chronicles of Contemporary Taiwanese Art, published by Artist Magazine.
Portrait of Eve Clone
I made an acrylic model resemble the “Ice Cube” and placed the image of a digital butterfly and a
LED to represent the “specimen of butterfly”. The butterfly is a 3D animated image with a lenticular
lens to create the special effects of the wings’ movement, and each LED light shows 7 colors in the
very slow motion like butterfly’s breathing alive. In addition, each specimen has a Code Number,
like an experimental object that has been created and preserved as a species. This series of work
emphasize that if people do not cherish Mother Nature, then one day it will be only possible to
admire, chase and mourn for the reality that we once possessed, and that any replacement of digital
images will be an illusion. The irony, then, is that the Butterfly Specimen is an illusory although it
appears alive and beautiful.
Emphasizing Eve Clone’s facial features through the use of 3D hologram technology, her gestures
and expression are presented through a variety of angles. Each face is made of a different skin
texture. As viewers look at her from these angles, they will be surprised to find that the Eve Clone
continues to stare back and follow the movement of them, hinting at the dangers of temptation
lurking beneath her beauty. On the forehead of Eve Clone, the Mark of the Beast, 666, which is
presented in many languages, signals that those who are branded with the Mark of the Beast in the
coming great tribulation will not be able to escape the Devil’s control regardless of race, society, or
nation. This was based from the Book of Revelation in the Holy Bible.
M 7M 10
黃贊倫 HUANG, Zan-Lun
Born in Yilan, Taiwan, and currently lives and works in Taipei. HUANG went for Taiwan National
University of the Arts for his BA. Degree and then undertook his Master Degree at Taipei National
University of the Arts in the field of fine arts. As a young emerging artist in Taiwan, HUANG has held
solo exhibitions nationally, including Kuandu Museum of Fine Arts, Taipei Artist Village. HUANG’s
works are often taken on different forms, such as kinetic installations, videos and paintings, where
visitors can explore and contemplate issues of modern technology, desires and self-awareness.
Double represents the old Chinese food culture that people commonly use animals’ organs into
recipes to complement the corresponding organs in human’s bodies. The idea of this video is to
question the nutrition of these organs could fortify weakened parts of human bodies and even spirits
because they carry out similar functions in animals. And followed by the same logic, as a weakened
human being, should we multiply these outsources powers as many as possible? How much do we
need and what would we become once we started such an infinite complementary cycle?
張耀煌 CHANG, Yahon
Born in 1948, CHANG, Yahon lives and works in Taipei, Taiwan. He has shown in numerous
international solo and group exhibitions, with his most recent solo show, The Question of Beings,
held at the Collateral Event of this year’s 56th International Art Exhibition - la Biennale di Venezia.
Employing Chinese ink painting techniques, his artwork encom-passes a wide variety of media and is
imbued with elements of the Literati and Zen traditions. With his upbringing in post-Japanese-colonial
Taiwan, his works portray a particular visual language that voices the agony, rejections, struggles,
adversity, acceptance and love in this world as well as his quest to find higher spirituality and peace.
There is a certain mysterious quality to Yahon’s painting that cements a state of serenity within the
viewer, as if they could see through the painting into a flux of time that is neither past nor future, but
in a state of eternal existence.
For THE MOMENT: Contemporary Taiwanese American Arts exhibition, CHANG, Yahon has
incorporates and transform the expressive ink brushwork of his Arhat and Vital series paintings into
three-dimension form, with new large scale ink painting that coincide with this year’s 56th Venice
Biennale which will be shown at the Tenri Culture Institute for the very first time.
The early works of CHANG, Yahon always entailed the visualisation of meditative monks or unknown
figures that emerged from his meditation. In Arhat series sculpture, his figurative evoke a particular
state of mind that draws the viewer into its gaze and stillness. There is a certain mysterious quality to
Yahon’s figurative that cements a state of serenity within the viewer, as if they could see through the
form into a flux of characters - the divine, the demon and the mortal. The stern gaze of the Arhat and
its stillness suggests one’s state of fortitude and goal to become divine, yet one needs to overcome
the mortal desire and avoidance of sin before reaching the state of nirvana. CHANG’s expressive
outline of the Arhat’s profile suggest the fine line between the state of nirvana and the fallen, where
one could easily lose its way between the two states of mind. There is also a self-reflection element
within the Arhat’s facial feature that expresses the perplex state of mind that the artist felt at the
time of creation.
In the Vital series sculpture, CHANG believes that a person’s ‘face’ and ‘gaze’ are critical for
the first impression he/she makes. Therefore, he has chosen to use gazes and expressions as his
subject matter. His unrestrained calligraphic lines of the East depict the multi-layers of modern day
people’s mixed emotions of joy, anger, sorrow, and ecstasy. Vital series sculpture symbolise the
‘human’ behaviours, such as desire, love, rivalry, and contemplation. It is also a subtle indication of
certain aspects of people’s internal beings. Moreover, the painting acts as a documentation of his
interpretation of literati expression, in a Xieyi manner, which requires both the body and brushes to
gesturally manoeuvre around the painting, in which the fluidity of brushstrokes is interwoven with
the movement of the body. In the end this act of painting and its brushstroke has been solidified into
three-dimension form of iron sculpture, leaving only the weathered and rusted iron of calligraphy
brushstrokes of undefined countenances to the viewer’s imagination. Furthermore, the sculpture can
be seen in twofold, the construction and the deconstruction of figurative form, it can also be seen as
two figurative in opposition or in unity of one another.
The ink painting of the Faces series is based on the study of human nature, with focus on the
‘countenance’ of different beings as the subject matter. Throughout CHANG’s body of work, the
subject on identity, the questioning of one’s existence in society and the transcendental mediation
on his subject matter are palpable in his series of portraitures. In his portraits of different beings,
the various countenances explore the space between the state of being and the subconscious that
questions the existence of all beings, which also suggests the phenomenon of social discrimination in
post-colonial Taiwan and the quest of spirituality. CHANG believes that a ‘portraiture’ can embodied
the characteristic of the gallant, the strong and the weak, and the most expressive part is intended
to be the ‘eyes.’ Therefore, the ‘eyes’ have become the major theme of CHANG’s painting for a long
period. In overall, Faces series is compiled with a group of various portraits from the painting series
of Arhat, Animal, Sentient Beings and Vital, that explores and questions the existentiality and
spirituality of various beings. Moreover, this ink painting is an extension of CHANG’s new work in
dialogue with The Question of Beings exhibition at the Venice biennale this year.
M 8 M 9
東冬.侯溫 Don Don, Hounwu
Don Don Hounwu, Truku, born in Tongmen, Xiulin Township, Hualien County, Taiwan. “Don Don”
means adora-ble child, between the culture development of these years in the tribe, it is a special and
modern name . “Hounwu” is Don Don father’s name, means sharp knife, “Don Don Hounwu” "is a
combination of contemporary and tradition-al, reflecting the creator's personality and sense of humor
but serious creative attitude, modern and traditional elements and keep hitting the rub, as Don Don
said a" knife fight ", " expecting the refined knife , is able to guard the pure soul of child , is enough
to create a bright future ...."
《交換 ( 交錯在破敗與完美之間 )》
Which represents perfection, which wreckage?
Constantly intertwining, constantly exchanging.
Constradictory sometimes, and sometimes harmonious.
Faith originates from the contemplation on the relationship between people’s beliefs and the religions
they have come across as well as the consequent influences, ripples and halo effect. If one did not
first obtain an image of the self and the belief in oneself, how would the person be able to distinguish
and question the religion and its religious doctrines inherited from ancient times? Everyone has desire
due to regrets and hopes in real life as well as the tendency to making amends or finding consolation,
which would eventually offer certain spiritual transcendence and catharsis. The question is, however,
when you find this origin, whom would you worship, serve and pray to? Perhaps, it is all but just a
kind of “selection” and “process.”
When the selective process is influenced by the oppression of colonization, the weakening of the
native history, the coercion of power, how would a person become an independent individual that
has autonomous belief? Despite all forms of missionary work, goals and means, putting the spiritual
power of the religious doctrines aside, a person’s belief comes from the inner self-awakening. When
one falls in the conflicts between different sects and doctrines, one eventually realizes that the
philosophical thinking, the sense of values and spirituality in religions, with their elaborate rituals, not
only display a kind of power but also an atmosphere of undeniable domination.
Since the ancient times, there has been a group of people in Taiwan, who have kept their ancient
languages as well as inherited the rituals that connect them to their ancestors; it indicates that
they have retained and accumulated the affections toward this land, and still remember how to
communicate with the spirits in Mother Nature, holding on to the memory of returning to that
ancient, historic path. When I am wearing traditional clothes, flipping through the Scripture, I might
be concentrating on reading them, or trying to break the forbidden rule of worshipping other gods, a
rule laid down by the followers. When I am wearing modern clothes and doing traditional rituals, all
exterior appearances and forms are simply means to increase the power of focused, sincere prayers.
What transcends the exterior forms is the true will and faith that operates within the human mind.
Boisterous solitude, longing souls, wandering in the city.
Tattooed faces, exploited and consumed; traditional clothes, commercial marketing symbols.
The white spirit hurries to return to nature, to settle on the life-nurturing land, to infuse the revered
Urging the lingering faces in modern outfits in the tribe, staring in.
The Brink between Perfection and Wreckage
徐薇蕙 HSU, Wei-Hui
HSU, Wei-Hui was born in 1979 in Taoyuan, Taiwan. She received her BFA degree with a major in
Painting from National Hsin-Chu University of Education in Taiwan. She came to the United States in
2004 and received her MA degree in Painting from Savannah College of Art and Design in Savannah,
Georgia. Later on, she received her MFA degree from Cranbrook Academy of Art, Bloomfield Hills,
Michigan. Currently she stays and works in Taiwan.She makes full-scale installations as well as
smaller mixed-media pieces, and sometimes she combines with photography and performance. Her
work has been exhibited at alternative spaces, galleries, and museums in Taiwan, China, Hong Kong,
Korea, Japan, the United States, Canada, Italy and United Kingdom.
Guerrilla Girl - Fairy Tale Illusion
In the fairy-tale scenario, the guerrilla girl characterized with both firmness and flexibility symbolizes
the brave spiritual weapon. It is just like a fight to chase the dream-like romance in fairy tales and
the ideal life. It seems like the houses and castles in the dream of colorful fairy tales but it is a real
building. Through photography and deformed screens, it aims to demonstrate a kind of contradiction
between illusion and reality and between ideal and actuality like the illusion shaping like crystal balls