Sun, Nov 03, 2002 - Page 19 News List

Making a place for art in Taiwan's history

An exhibition featuring 60 artists seeks to illustratetrends in Taiwan's contemporary art scene sinceit first burst forth when martial law was lifted in 1987

By Vico Lee  /  STAFF REPORTER

Three Chairs by Liang Jen-hung.

PHOTO COURTESY OF HONG GAH MUSEUM

An increasing number of books on contemporary art in Taiwan have recently arrived in the bookstores. Almost all the latest publications, such as Portraits of Young Artists, focusing on artists who have come into prominence in recent years, Transformation and Transfiguration, a collection of critical essays and History of Contemporary Taiwan Women Artists, tracing the works of female artists in the past 50 years, are only available in Chinese.

Catering to foreign curators, Contemporary Art in Taiwan (台灣當代藝術), jointly authored by five students of the Graduate Institute of Art History and Art Criticism and edited by Hsieh Tong-shan (謝東山), is the only bilingual (in Chinese and English) publication on the market dealing with contemporary Taiwanese art.

The 300-plus-page book with ample color prints serves as a comprehensive and convenient guide to trends from 1980 to 2000. The team of authors briefly introduce genres like art poverta and ideologies like post-modernism and provide Taiwanese examples. The roughly 200 artists and their works mentioned in the book makes for an unprecedentedly comprehensive sampling of the fast-evolving developments of art from the time around 1987, when martial law was lifted.

Accompanying the release of the book, Hong-gah Museum (鳳甲美術館) has put on a group exhibition titled Oeuvre of Contemporary Art in Taiwan (台灣當代藝術全集) as part of its second anniversary celebration, showcasing works by 60 artists in two installments through December.

Oeuvre is less an historically-themed exhibition than a series of illustrations to the book, without which the significance of most exhibits will be lost on viewers.

To avoid favoritism, the selection of works was intentionally random. It consequently offers a chance for exhibition-goers to get a glimpse of works rarely on show. A welcome inclusion is the section of Aboriginal art, consisting of three pieces by aboriginal artists whose works demonstrate a departure from traditionally religious influences. Invisible Project, by Diing-wuu Walis Wu (瓦歷斯吳), is a playful yet pointed observation of the neglected Aboriginal life style.

For all the inclusiveness of the book and the exhibition, the very latest developments in Taiwanese art, such as digital art, were not considered mature enough to be included in the exhibition.

If there is to be a sequel to Contemporary Art in Taiwan, what stories will it tell? "Unlike the years from 1980 to 2000 characterized by a frenzied pace, the developments of Taiwanese art may be more concentrated in several directions in the future. ... Works of regional flavor and integration with the public may develop quickly under the Council for Cultural Affairs's holistic community building plans. Moreover, an increasing number of business-sponsored art awards may also begin to show their influence," Hsieh said.

The book's English translation may be less than satisfactory, a pity for a book trying to attract foreign readers. Language aside, Contemporary Art in Taiwan is a useful handbook while its background description of works complemented with illustrations makes for an enjoyable read.

What: Oeuvre of Contemporary Art in Taiwan

Where: Hong Gah Museum, 5F, 260 Taye Rd., Peitou, Taipei

(台北市北投區大業路2605)

When: Part 1 is on show until Nov. 26, followed by Part 2, which will run until Dec. 29

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