She salutes the sun dressed in a qipao and wears large-framed sunglasses or aviator goggles. In the background her image has been reproduced to look like a passport photo and is repeated eight times across the page looking right, and eight times looking to the left. These pictures are superimposed over a typical Taipei building from the 1970s, with air conditioners hanging out of every window.
The themes are fairly obvious: East versus West is represented by the woman looking both ways; modernity versus tradition is symbolized by her wearing fashionable shades and Qing Dynasty (1644 to 1911) apparel.
It is familiar ground and the supporting idea of localization and globalization is also covered in US photographer Tina Gionis’ City exhibition at Gallery 41, which had its opening on Saturday.
“The background of faces and the rows of air conditioners represent the values of conformity, conservativeness and unity that are so prevalent in Asia,” Gionis comments, adding these are the opposite of her Western values.
She says the Chinese girl is wearing shades “because the future is so bright” and the “salute represents both adherence to Asian values, as well as a determination to develop as a first-world nation.” The blue tints are “subliminal” indicators of modernity.
It is a pretty picture and a strong image, with a stylistic nod to social realism but transformed into a personal style that marks the arrival of Gionis as a photographer. Her first major exhibition is a success overall, but occasionally fails when it deals in stereotypes.
While Gionis makes no value judgments here, her observation that Asia is united and Asians act uniformly, rather than individually, is ubiquitous. But this is precisely the problem. It is a commonly held opinion rather than a truth.
If the statement was true then all would be peace and love in Asia. Taiwanese and Chinese would be holding hands across the Taiwan Strait. There would be one religion, no competition and stasis. Regrettably, the “Age of Aquarius” has not arrived and is not scheduled to do so for another 600 years.
Another blue-washed picture is of an Asian woman superimposed over a Taipei building with air conditioners hanging out (uniformity) and an advert that has a picture of Pamela Anderson (Western values). The issue here, according to Gionis, is that Asian women are being told if they go to the gym they can have a body like her. They are following Western ways, rather then being themselves.
I think it is a little simplistic to suggest most Asian women believe they can look like Anderson, or would even want to look like her. Jolin Tsai (蔡依林), Rainie Yang (楊丞琳) and Xiao S (小S) appear to be more likely role models.
The problem with inserting our values into other people’s belief systems is that we may end up saying more about ourselves than the people we are talking about. Gionis’ observations are valid and well constructed, but are they correct? Do they add anything to what we already know?
Despite these criticisms, Gionis is a young artist who shows promise. I particularly liked the scooter riders waiting at traffic lights because it was a quintessentially Taiwanese image; and the picture of ancient rooftops with a flipped panoramic view of Taipei city’s sprawl worked well.
Traveling around the world for the past 10 years has shaped Gionis’ views and her Web site (www.owlphotography.com) is an open window on her life and work.
As for Gallery 41, it is an oasis for art in the East Side shopping district. Run by the effervescent Emily Zhou (周郁萍), who has sold art on TV and at hi-tech companies, it will feature young artists and the work of people she likes.
In addition to Gionis’ show there is an uneven and slightly baffling exhibition in the basement called Various Phase of the Multitude by the Chinese artist Du Ke-xi (杜可西).
Gallery 41 is located at 41, Ln 100, Dunhua S Rd, Sec 1, Taipei (台北市敦化南路一段100巷41號). Phone (02) 8773-5089.
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