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Friday, April 13, 2012
"Borderless Map: Taiwanese Painting Now" is on "ON-VERGE!""
Tag Archives: Rooster Gallery
Teaching an Old Dog New Tricks
Ya-Ting Kao, Target No. 1, 2011 oil & acrylic on canvas, 13 x 16 inches. (image courtesy of Rooster Gallery's online catalogue)
Borderless Map: Taiwanese Painting Now, Curated by NuNu Hung
March 9-April 15, 2012
190 Orchard Street
New York, New York
The art world has been notably enamored with Chinese artists for nearly a quarter of a century, inspiring the much-deserved credit to artists that had been pigeonholed and undervalued. Taiwan is indeed ruled by the Republic of China, an opposing force to the People’s Republic of China known as mainland China. The artists in Borderless Map are products of the 70s and 80s, when censorship had been eased and the government moved toward democracy. Technological innovation led to a fruitful economy. A dialogue with the world blossomed and a younger generation of artists came to focus on their introspective contributions to the “virtual society” rather than grandiose political statements. Although the state remains constrained by diplomatic inequality and civil baggage, Rooster Gallery provides insights into a culture developing its own unique artistic production through a complicated mental landscape.
Jean Hua-Chen Huang, 1981, 2010 oil on canvas, 12 x 24 inches. (image courtesy of Rooster Gallery's free catalogue)
Sunday, March 25, 2012
「無界地圖」 台灣新銳畫家聯展 _ 在世界新聞網
「無界地圖」 台灣新銳畫家聯展
March 23, 2012 06:00 AM | 269 次 | 0 
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在「無界地圖：台灣新銳畫家展」展出的年輕的台灣畫家，左起為高雅婷、王亮尹、陳敬元、許尹齡、黃華真、周代焌、以及策展人洪緹婕。(記者杜宜臻/攝影)
該展策畫人洪緹婕 (Nunu Hung) 表示，每年3月因為軍火庫藝博會 (Armory Show)的展出成為紐約藝文圈最大盛事，各國藝文界人士都會來紐約朝聖。她希望藉由這個時機增加台灣藝術家的曝光度，因此籌辦該展，並選在與年輕畫家氣 質接近的下東城藝廊舉辦該展。洪緹婕表示台灣的新一代藝術家創作力豐沛，且觸角多元，視覺表達國際化，她台灣畫家的畫作在西方藝術市場有一定的定位。
這 次參展的八位畫家有王亮尹、邱建仁、周代焌、陳敬元、高雅婷、許尹齡、黃華真以及謝怡如，除邱建仁和謝怡如因工作無法前來紐約，其他畫家皆自費來紐約參 展。這些年輕的畫家除了許尹齡和黃華真還是國立台北藝術大學藝術研究所在讀學生，其餘都是職業畫家。這些畫家共同表示，生長在媒體發達的時代，對社會甚至 是世界正在發生的議題都能立即廣泛的吸收，但是與上一代畫家不同的地方在於，新一代的畫家對議題的觀點除了以宏觀角度切入外，還有更多個人的連結。
許 尹齡舉自己的畫作「獵人」表示，「獵人」其實是他系列作品「床邊故事」中的一張圖，「床邊故事」的畫作都是以帶有「故事」化手法展現畫面的豐富性，但議題 都是深沉的社會議題。「獵人」要表達就是流浪漢的議題，畫面中卡通長相的流浪漢伴隨著地下道常見的老鼠，許尹齡說：「在這幅畫中我讓老鼠成為流浪漢的最好 朋友，我想表達的是流浪漢不是社會的邊緣人，他們是與社會共存的一個族群。他們也有朋友，也有生活。」黃華真的作品則出現大量的人像，「我喜歡用畫作探討 人與人之間的關係，所以我希望透過畫人來討論人」。
該展展出時間由即日起至4月15日，展出地點在盧斯特藝廊，地址在曼哈坦果園街( Orchard St.)190號。
Read more: 世界新聞網-北美華文新聞、華商資訊
http://worldjournal.com/bookmark/17976208
Wednesday, March 21, 2012
interview from Art-Rated
Borderless Map: Taiwanese Painting Now, Interview with Curator Nunu Hung
Interview with Nunu Hung, Curator of Borderless Map: Taiwanese Painting Now
Interview between Jonathan Beer, Nunu Hung (translating and speaking for the artists), and Lily Koto Olive
Tabo Tai-Chun Chou
We always have different congnitive
2011, Acrylic on Canvas, 26 inch diameter.
Art-Rated: What drove you to put this show of Generation Y painters from Taiwan together?
Nunu Hung: I felt that upon seeing the paintings of the previous generation, especially in the Forties and Fifties in Asia, always had a social or political agenda. The paintings are all about images and conveying Socialism. I found that the painters in Taiwan liked to work with everyday objects; this was different from the previous generation. All these painters belong to the same generation and have been working since the media censorship laws have been lifted by the Taiwanese government. Now the work is totally explorative with a lot of elements, and nothing looks big or heroic like Social Realism.
AR: As painters what makes our generation different? Since the censorship laws have been lifted is everything open now? Are there still any restrictions?
NH: The painters of this generation, who trained in the Eighties or Nineties, without democracy and freedom had a target to react to. We all had the same target of getting freedom from the government. This was in their brains and it got into their work. In mainland China they still have this target, but in Taiwan it has become very liberal and many have criticized the work of this generation of Taiwanese artists, asking “What do you care about?” “You only care about your feelings, or you care about a piece of cake, or video games or a TV show.” Some people criticize this, but Taiwan is very liberal and it is how they grew up, they just want to do what they want.
R2 Chien-Jen Chiu
Lonely Traveler
2011, Oil on Canvas, 28 x 35 inches.
AR: In a culture and a time when we are saturated by a media-driven popular culture where does an artist find meaning? Is that meaning taken from their culture? Or are they reaching back farther into their history, into stories or folklore? What inspires their work?
NH: Before the internet access to imagery was so limited, and there was no way to access that. And there was only one angle or viewpoint to look at things from. These earlier artists wanted to make work with ideas that were large and more universal, but they were actually shallower. This [current] generation, with the opportunity to see many different things pushed their subject matter to more personal things.
AR: More individual and less universal.
NH: Yes. And with all the media and information creates translucence so nothing can really surprise you.
AR: And, then, why choose painting? In the face of sculpture, installation, video, sound, and photography what aspect of a medium that could be considered traditional attracts them? And does it have anything to do with changing the stigma that painting had with the previous generation?
Jean Hua-Chen Huang
1981
2010, Oil on Canvas, 12 x 24 inches.
NH: Painting is something you have to see in person. With new technology photography and video can be sent and viewed identically, they don’t change. You have to be involved with a painting – it creates a different kind of energy, painting makes stronger contact with humans.
AR: How has this generations work been received by the previous generation? Or by people their age who are not artists?
NH: Their friends that are artists just ask about materials, how much their going to sell for, the lighting. But their friends who are not artists feel very connected to the work, and they really enjoy it.
Goody Yi-Ju Hsieh
The Heart of the World
2011, Acrylic on canvas, 21 x 18 inches.
AR: I was really interested in the title of the show, and the idea of a borderless map. Painting and the art making have always had a connection history – creating an object is a way of placing it inside history, in a sense painting has a cartographic function. Do these artists feel that they are redrawing the map for Taiwan and for our generation?
NH: Yes, they all have this kind of ambition; energy directed towards a new map. Some of the artists want to make a new history for themselves or for their generation, but that may not be natural enough. By just working they are leaving a mark that will define a map they can’t see yet, one that half a century later will be seen.
AR: How do the artists see their work dialoguing with a western viewpoint? Are there any main differences?
NH: Since the development of the internet that is difficult. And they feel that artists who are trying to distinguish themselves as Asian or want to bring Oriental elements into their work are being pretentious. So visually, they don’t see a big difference.
For more information on Nunu Hung please visit http://nunuhungartproject.blogspot.com/
Borderless Map: Taiwanese Painting Now
Gallery
190 Orchard Street
http://www.roostergallery.com
Thursday, March 15, 2012
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