Not many local art exhibitions give a behind-the-scenes look at Taiwan's major public art projects. Jun Lai's (
Public art is a recent phenomenon for Taiwan. The percent-for-art program (inspired by Western programs) became law in 1992 and public art came into being six years later. According to recent government statistics, there were 42 public art projects in the year 2001 and 121 projects in 2002.
In 2001, NT$400 million was spent on public art in the city of Taipei alone. As public art projects increase, so do opportunities for Taiwan's artists to gain
visibility.
Public art projects are normally conducted as competitions with either open calls for submissions or selected invitations to submit. The artist then makes a written proposal along with digital imagery of what the finished art project would look like on site.
The proposals are judged by committees, most often by a committee of government officials and then by another committee composed of art experts.
The first-prize winner is funded to create the public art, while the second-prize winner receives money to cover the artist's initial research and proposal costs.
On view at Lai's clearly organized exhibition are examples of Lai's prize-winning public art projects such as South Melody, a set of colorful geometric Plexiglas shapes installed at the Nanshijiao MRT Station. The cheerful lime- green and tomato-red mobiles and glowing azure-blue wall plaques brighten up an otherwise dreary public passageway and bring to mind the pleasing and playful qualities of the work of early modernists such as Miro and Picasso.
In most of Lai's work, the qualities of lightness and translucency are dominant and the durable pieces of shaped plastic -- based on organic forms -- look like glass and so allow the sculptures to interact with the natural light of the environments where they are installed.
The Penghu Mangong Airport project is a perfect example of this interplay of light and color. Lai's fish shapes made from painted Plexiglas are suspended from the ceiling and seem to float in mid-air.
As light from the skylights filters through the terminal, it picks up the dots of blue and green on the fish and allows the bits of color to shimmer onto the floor, thus giving visitors a feel and preview of the island's natural scenery with its breezy winds and sparkling waters.
The huge free-standing multi-colored sculpture placed at the Sihu Service Area of the Second Highway and titled Sihu Concentric brings to mind the corporate-plaza-sized sculptures of Alexander Calder.
Using a modernist vocabulary of shapes and sizes, Lai also incorporates Chinese mythical creatures such as the dragon, phoenix and Chilin (Chinese unicorn). Whimsical and colorful, the sculpture is a joyful sentinel to a dull part of a non-descript flat highway.
Ocean Garden is a glittery, candy-hued collection of shapes to be installed this March at the bland Airport Arrival Hall of Hong Kong's MTRC.
In addition to the public passageways of commuter trains and airport terminals, Lai has also installed work at financial banks often incorporating Chinese principles of Feng Shui design and symbols.
In Friendliness is Conducive to Business Success for the Bank of Taiwan, Lai installed a chandelier-like sculpture that looks like bamboo grown upside-down as that symbolizes fortune and growth. Her intentional placement of light, color and shape was also done to enhance the space's magnetic field to create an area conducive to financial success.
One point that emerges in the exhibition is that in order to be a successful public artist, one must wear many hats: that of businessperson, interior designer, one familiar with architecture, and one who can gauge the public in order to make work that is accessible, non-offensive and consistent.
While working with a limited palette of bright primary and secondary colors, neon lighting and simple organic and geometric shapes, Lai proves to be that type of artist.
Exhibition notes:
What: Jun Lai Public Art Solo Exhibition
Where: Taipei Fine Arts Museum,181, Zhong-Shan North Road, Section 3, Taipei (
Tel: 2595-7656
When: Now through Feb. 13, 2005,Tuesdays to Sundays, 9:30am to 5:30pm. Closed Mondays.
More information: http://www.tfam.gov.tw; www.junjunart.com
The 2018 nine-in-one local elections were a wild ride that no one saw coming. Entering that year, the Chinese Nationalist Party (KMT) was demoralized and in disarray — and fearing an existential crisis. By the end of the year, the party was riding high and swept most of the country in a landslide, including toppling the Democratic Progressive Party (DPP) in their Kaohsiung stronghold. Could something like that happen again on the DPP side in this year’s nine-in-one elections? The short answer is not exactly; the conditions were very specific. However, it does illustrate how swiftly every assumption early in an
Francis William White, an Englishman who late in the 1860s served as Commissioner of the Imperial Customs Service in Tainan, published the tale of a jaunt he took one winter in 1868: A visit to the interior of south Formosa (1870). White’s journey took him into the mountains, where he mused on the difficult terrain and the ease with which his little group could be ambushed in the crags and dense vegetation. At one point he stays at the house of a local near a stream on the border of indigenous territory: “Their matchlocks, which were kept in excellent order,
Jan. 19 to Jan. 25 In 1933, an all-star team of musicians and lyricists began shaping a new sound. The person who brought them together was Chen Chun-yu (陳君玉), head of Columbia Records’ arts department. Tasked with creating Taiwanese “pop music,” they released hit after hit that year, with Chen contributing lyrics to several of the songs himself. Many figures from that group, including composer Teng Yu-hsien (鄧雨賢), vocalist Chun-chun (純純, Sun-sun in Taiwanese) and lyricist Lee Lin-chiu (李臨秋) remain well-known today, particularly for the famous classic Longing for the Spring Breeze (望春風). Chen, however, is not a name
There is no question that Tyrannosaurus rex got big. In fact, this fearsome dinosaur may have been Earth’s most massive land predator of all time. But the question of how quickly T. rex achieved its maximum size has been a matter of debate. A new study examining bone tissue microstructure in the leg bones of 17 fossil specimens concludes that Tyrannosaurus took about 40 years to reach its maximum size of roughly 8 tons, some 15 years more than previously estimated. As part of the study, the researchers identified previously unknown growth marks in these bones that could be seen only
RSS