Fri, Jun 29, 2018 - Page 14 News List

Art exhibition listings

By Sheryl Cheung  /  Contributing Reporter

Chen Chien-Jung, Aircraft 17 (2017).

Photo Courtesy of Project Fulfill Art Space

After a year hiatus, Taipei’s Digital Art Center reopens this month with a new management team that promises to “bring a brand new start to the landscape of the digital art industry.” As part of a series of events that celebrate the center’s second coming, an inaugural exhibition about the use of home appliances in artistic practices will be on view next month. The Romance of Home Appliance brings together 11 Taiwanese artists who work in various mediums, including sound, performance, installation, video and new media art. The show questions the idea of lifetime warranty and the inevitable process of malfunction, misuse, inconvenience and abandonment that each home product undergoes throughout its lifetime. Tsai Yu-ting’s (蔡玉廷) Make-believe (2018) involves a series of plastic mold casts of Taiwanese 80’s home appliances. The work reflects upon the relationship between domestic products and family life and how their histories are intertwined. Peng Yi-hsuan’s (彭奕軒) The Death of Light (2016) is an expansive field of mosquito lamps placed in an orderly grid fashion. The lamps radiate a neon blue light that would be familiar to any household in Taiwan. Kuo Yi-chen’s (郭奕臣) Full HD TV-Buddha is an installation of machine dialogue that pays homage to the work of Korean media art pioneer Nam Jun Paik. A series of workshops, talks and performances are scheduled throughout the exhibition period. The performance of Liu Fang-yi (劉芳一), Zhang Ke-yang (張可揚) and Hsieh Feng-chen (謝奉珍) will take place on July 6. For more information, visit the center’s Web site:

■ 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 Aug. 4

Soundwatch is an experimental audio art studio founded in 2011 by sound artists Wang Fu-jui (王福瑞) and Lu Yi (盧藝). The studio was created to represent the collaborative efforts of the two artists, who also maintain their own separate art practices. Wang is a pioneer of sound art who has played a prominent role since the 1990s in shaping Taiwan’s sound art scene. He is known for founding NOISE, Taiwan’s first experimental music label and magazine. Lu Yi is a sound artist with a background in art education; her practice involves live sound performances, workshops and new media installations. Digilog opens a collaborative exhibition tomorrow by the duo, Soundwatch X SoundObject Exhibition. The exhibition showcases a number of handmade electronic objects that combine sound art and noise aesthetics. Lu Yi’s Little Sonic is a series of glowing alien creatures that each embody a sound control chip. The project is an extension of her regular engagement with children workshops. Wang’s Tape Loop is a looped tape that creates a meditative sound. In addition to the objects on view, an updated pamphlet of the studio’s work and mission is available at the gallery.

■ Digilog (Digilog聲響工作室), 2F, 2-1, Alley 2, Ln 244, Roosevelt Rd Sec 3, Taipei City (台北市羅斯福路三段244巷2弄2-1號2樓), tel: (02) 2363-8171. Open Mondays to Saturdays from 1:30pm to 7:30pm

■ Until Sept 1

Project Fulfill Art Space presents Defection from Definition, a solo exhibition by Taiwanese painter Chen Chien-jung (陳建榮). Growing up at a time when toy models were popular, Chen developed an interest in their instruction manuals, rather than the toys themselves. In this context, Chen’s work consistently explores the potential of two-dimensional representation of three-dimensional objects. What is the correlation between the real and the imaginary, the abstract and the concrete? The artist, through painting, consistently works through such questions that concern “the meaning behind the existence of painting,” writes the gallery. Chen’s current show features new developments in his well-known series Landscape and Aircraft. His paintings draw heavily from technical drawings and architectural plans; the functional renditions of order and precision are abstracted into poignant impressions of color fields, shapes and lines. Aircraft 17 is an abstract landscape of industrial order framed within a thick border of white and red. Landscape 131 is a less abstracted interpretation of systematic order that encourages questions of rational planning of living spaces.

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