09 Mar 2022 Art Tainan
Earthly World, Transmigration
Relational aesthetics, an iconic characteristic of modern art, places special emphasis on the interactions and social context between the creative subject and others. In addition to focusing on the connection between the public and concerns of public events, it is also touted as the trend of future development. Along with the vibrant development of technology, the diminution of physical space and time, and the expansion of virtual networks have allowed cross-border close interactions via various media. Such technology enables the creation of viewing methods completely different from the past, and facilitates qualitative changes in the feelings and the relationships between the subject and others, leading to the emergence of a brand new understanding of ethics and method of aesthetics implementation.
Even though the creative practice of such aesthetics originates from life, it is not just a reference to some existence in the real world. It is an exploration of the perception and relationship between each other through the experiential testimony of the existing society, which is simultaneously sublimated into an existence beyond life. “Earthly World, Transmigration” is an attempt to take the artist’s various depictions of spiritual beings, life, ecology, and existence, and refine relevant social relations into another type of spiritual imagery via their own experience, understanding, and implementation style. As a result, “Earthly World” is transformed into a “Transmigration”, reflecting the proactive contemplative aspect of human nature.
Even though everyone enjoys their own subjectivity, they are inseparable from the existence of other spiritual beings: Lo Chan Peng reveals humanistic values through singular iconic imagery like a ghostly campfire in religion and history, and Hu Shun Xiang’s clear or fuzzy images of the masses subtly depicts the close or distant interpersonal relations. Outside of the interactions of people with models, and people with others, there are also interactions among different species: Wu Jhycheng draws a close-up of the family dog to commemorate their times together, Chang Chin Hsien creates a dynamic silhouette of an instant in time as a metaphor of the interactions between two parties, and Cheuk Ka-wai carves out a fairy-tale scene to convey best wishes for the holidays.
Plant ecology, which has become part of the macro-philosophical contemplation, is also an eternal symbolic system: Yang Po Lin transforms the media to reveal budding seedlings with enduring hopes for the future, Cheng Tan Shan whispers the connection and spirit of gentle friendships, and Yen Chun eulogizes the blossoms with dreamy rendering of glowing light. The subject’s different sensations about space and time also leads to different considerations about the living environment: Liang Yu Hsuan portrays the silent shadow and light to interpret spatial poetics of their own emotions, Liou Shiuan Shi returns to the glorious past of the industrial era by reshaping soil and debris, and Takeshi Shikama captures primitive natural sceneries to summon the desire to return to Mother Earth.
For this exhibition, Daguan Gallery has invited 11 artists, whose works are rich in the creation and exploration of “life” and their concrete representations, to re-anchor the subject’s diverse relationships with the environment and other people in the earthly world. The exhibition also bears witness to the image viewing method, ethical practice, and aesthetic transmigration of the new generation.
2021 Art Tainan
Venue｜台南晶英酒店Silks Place Tainan
Room｜721
VIP Preview｜3.10 (Thur.) 15:00-19:00
Opening Hours｜3.11 (Fri.) -3.13 (Sun.)
Participating Artists｜Chang Chin Hsien, Tan Shan Cheng, Ka Wai Cheuk, Hu Shun Xiang, Liang Yu Hsuan, Liou Shiuan Shi, Lo Chan Peng, Takeshi Shikama, Jhycheng Wu, Yang Po Lin, Yen Chun