Over the past seven years, South Korean painter Choi Young Wook has consistently adopted the moon jar — a porcelain vessel in use during Korea’s late Joseon dynasty (1392-1910) — as the principal subject of his paintings, of which 22 are currently on display in Karma (緣). Choi perceives in the moon jar a pastoral aesthetic of common people. Weathering the course of history, caressed by human hands, bathed by water and rubbed by cloth for many years, the surface of these white porcelain jars change, acquiring scratches, and the “whiteness” of its exterior takes on a completely different quality. Permeated with the scars of life, the cracked glaze on the exterior of the moon jar often increases in the complexity of its fractured patterns, yielding an intermingling of the new with the old. Choi extends the moon jar’s many minute changes wrought by time to signify the universal life memories that humanity collectively shares. The cracked patterns of the glaze thus becomes a symbol of the mutual connections of fate, which he encompasses under the word karma. Here, metaphorically transformed by the artist, the white moon jars become vessels of life.
■ Art Issue Projects (藝術計劃), 32, Ln 407, Tiding Blvd Sec 2, Taipei City (台北市堤頂大道二段407巷32號), tel: (02) 2659-7737. Open daily from 11am to 6pm. Closed Mondays
■ Until Feb. 3
Photo courtesy of Art Issue Projects
Photo courtesy of Art Issue Projects
Photo courtesy of Art Issue Projects
Photo courtesy of Art Issue Projects
Photo courtesy of Art Issue Projects
In the mainstream view, the Philippines should be worried that a conflict over Taiwan between the superpowers will drag in Manila. President Ferdinand Marcos Jr observed in an interview in The Wall Street Journal last year, “I learned an African saying: When elephants fight, the only one that loses is the grass. We are the grass in this situation. We don’t want to get trampled.” Such sentiments are widespread. Few seem to have imagined the opposite: that a gray zone incursion of People’s Republic of China (PRC) ships into the Philippines’ waters could trigger a conflict that drags in Taiwan. Fewer
March 18 to March 24 Yasushi Noro knew that it was not the right time to scale Hehuan Mountain (合歡). It was March 1913 and the weather was still bitingly cold at high altitudes. But he knew he couldn’t afford to wait, either. Launched in 1910, the Japanese colonial government’s “five year plan to govern the savages” was going well. After numerous bloody battles, they had subdued almost all of the indigenous peoples in northeastern Taiwan, save for the Truku who held strong to their territory around the Liwu River (立霧溪) and Mugua River (木瓜溪) basins in today’s Hualien County (花蓮). The Japanese
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