The Shin-Leh-Yuan Art Space, also called New Paradise, is an little-known jewel among Taipei's alternative art spaces. For years, this artists collective space has been conducting seminars, events, performances and exhibitions for its artist members and numerous art students. The space is rarely known outside of the local arts community, so now is a good chance to experience what it has to offer, as there are two solo shows on view.
Presence and Absence by Hui Yu Lo (
Hui began to notice that shooting images with no people seemed to invoke much more presence. In Vegetable Garden a big tree creates a shaded sanctuary for a grouping of dilapidated armchairs. Even though the image is devoid of people, it is easy to imagine the hours of animated discussion and camaraderie that take place among locals in this vegetable garden.
PHOTO: SUSAN KENDZULAK, TAIPEI TIMES
The other installation on view is interactive: Immersing ME by Tseng Yu-chuan (
The participating viewer stands against a frame where six Web cams shoot the head, chest, both arms, waist and feet. These six images are then broken into a color RGB chart that can be printed out. The images are also projected on a set of monitors in the shape of a cross, and on a large screen, where the image pixillates and turns fuzzy, thus obscuring the figure. This work allows the viewer to participate in the process of art making, rather than just see the end result.
At another space, TIVAC, Chang Kuo-chih's (
PHOTO: SUSAN KENDZULAK, TAIPEI TIMES
The background story for his concept is at times more fascinating than the work on view. The exhibition is separated into three sections: Liberation of Red, Epistles in Red and The Absolute
Safeness.
The first part is based on the idea of a red blanket. Many impoverished Kinmen locals had to emigrate to other places to work. His aunt went to Indonesia and returned, bringing him a red blanket for his future wedding, an exceptional gift during a difficult time. In the photos, he portrays the female body atypically with images such as a Ming-style chair, a parquet floor and a bonsai tree.
For the second part, red-cloth hangings with calligraphic slogans are a ubiquitous part of Chinese culture, and the artist links that tradition with the visual effects found in abstract modern art.
And lastly, The Absolute Safeness installed in the basement alludes to taking refuge in the air-raid shelters on odd-numbered days. On Kinmen it was restricted for civilians to possess photographic equipment; however Chang was able to earn money from his writings published in the local paper, and rented the equipment, becoming the first island resident to become a professional photographer. This childhood of dim lighting and musty air-raid cellars let him feel the darkroom was a sanctuary where he could feel safe to create his own world.
Exhibition Notes:
What: Two-artist exhibition at Shin-Leh-Yuan Art Space: Presence and Absence by Hui Yu Lo (
When: Until May 22. Wednesdays to Sundays, 1pm to 8pm
Where: 15-2 Chungshan N Rd, Sec 2, Lane 11(
Tel: (02) 2561 1548
Web site: http://www.etat.com/slyart
What: In the Name of Reds: Liberation of Red and Epistles in Red and The Absolute Safeness by Kuo-Chih Chang (
When: Until June 8
Where: Taiwan International Visual Arts Center (TIVAC) 1F, No 29, Alley 45, Liao-Ning Rd, Taipei (
Tel: (02) 2773 3347
Web site: http://tivac.net
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