Fri, Jun 12, 2015 - Page 10 News List

Art exhibition listings

By Dana Ter  /  Staff reporter

Lee Chung-chung, Pure Space (2015).

Photo courtesy of Liang Gallery

The advancement of technology has made possible methods of communication that were unimaginable in the past, chipping away at boundaries such as time and space. With this in mind, the Digital Art Center in Taipei is currently showcasing Post Necromancy (後喚術), a collaborative exhibition featuring works that question the possibility of communicating with the dead via technology. Fascinating? Yes. Morbid? Absolutely. Crazy as it seems, the exhibition does a good job at fleshing out the idea of a person not being a “real person” in today’s world, as we are so consumed by our gadgets, letting these machines dictate how we live our lives, rather than making decisions ourselves.

■ Digital Art Center (台北數位藝術中心), 180, Fuhua Rd, Taipei City (台北市福華路180號), tel: (02) 7736-0708. Open Tuesdays to Sundays from 10am to 6pm

■ Until June 21

I’ve yet to come across an artist who manages to make childlike squiggles appear so poignant than Chinese artist Wang Huang-sheng (王璜生). Sent to the countryside with his calligrapher father during the Cultural Revolution, Wang had ample time to ponder and doodle. His signature style — ink squiggles on paper done with a single, unbroken line — is in part a critique on the elite, exclusive nature of literature, calligraphy and the like. Moreover, the squiggles point to the fact that there exists a world outside the realm of what words can capture. Wang’s paintings are currently on display at Taipei’s Lin & Lin Gallery. The exhibition is entitled Roaming | Apparition (游·象).

■ Lin & Lin Gallery (大未來林舍畫廊), 16, Dongfeng St, Taipei City (台北市東豐街16號), tel: (02) 2700-6866. Open Tuesdays to Sundays from 11am to 7pm

■ Opens tomorrow. Until July 5

Elegance of Landscape (山水風華) is a solo exhibition at Taipei’s Liang Gallery by Chinese-born Taiwanese artist Lee Chung-chung (李重重). Lee has been creating beautiful, bold abstract landscape paintings for decades. Born into a literary family from China’s Anhui province, her paintings are as deeply poetic. Images from Lee’s childhood in the Tainan countryside are translated into ink, expressed through baby blue skies, white sand mounds and topsy-turvy green pastures — all highly distinct from her father’s preference for traditional ink painting. While Lee’s father might have strived to conform, she wanted to stand out. According to Lee, bright colors such as pink and yellow are meant to create a loud statement, just like how “an elephant heavily puts down its foot.”

■ Liang Gallery (尊彩藝術中心), 366, Ruiguang Rd, Taipei City (台北市瑞光路366號), (02) 2797-1100, open Tuesdays to Sundays from 11am to 6pm

■ Until July 19

Each time I return from visiting my family in South Korea, my suitcase is laden with top-of-the-range face masks and cosmetics — a symbol of both my unabashed vanity and the success of consumer society in convincing women that they “need” these products in order to be “attractive.” Chungli-born artist Hsu Wei-hui (徐薇蕙) has been challenging this idea of a constructed feminine beauty since her college days in Savannah, Georgia, to her residency in Seoul. She uses face masks — and cheek masks, neck masks and breast masks (who knew there was such a thing?) — as her prime medium, which she dyes with various shades of pink and twists into shapes that resemble flowers and firearms. The result, which is simultaneously beautiful and repulsive, enables viewers to envision the constant pressure that women are under to look and act a certain way. Her contorted face masks can be viewed at the Museum of Contemporary Art (MOCA) in Taipei in an appropriately-titled exhibition, Unknown Depths (未知的深處).

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