2004 03/05 - 2004 03/14

M16 - a Hsu Yichun solo exhibition

Images transfer messages; messages cover another layer of images forcefully. The multiplicity in the image narrative reflect how the viewers actively read with their own consciousness. Frames can be chosen, and randomly cut into many pictures - this shows that the act of reporting (documenting) the reality of images can be manipulated. Manipulation itself should be part of the field of contemporary video. From the viewable (by others) of video images, and the readable (by others) of video settings, we reconsider what is to view. What do we see? How do we say we saw? Who says what to be viewed? Sampling from documentary films in its raw red and black alternating presentations, the viewers were forced to rethink while viewing the images. In colouring, filling in, and other game-like processing mode, the images were presented, covered up and covered other images. The exhibition looks at how to create a full narration using the readability (by others) in images and its “settings”.


  • 2016 05/03 - 2016 05/07

    Sweet Water - Chen Chia-Jen Solo Exhibition

    Sweetwater is Chen Chia-Jen’s public showcase in Taiwan that features works inspired by a residency program in Indonesia. During the residency, the artist focused his investigation on rivers flowing through the city as well as different ways of life within urban and rural water systems. A few video and photographic installation pieces are selected to demonstrate his observatio...

  • 2015 11/28 - 2015 12/27

    TRANSITIONS | PARTICLES - Noa Yekutieli Solo Exhibitions

    'Transitions’ and ‘Particles’ are part of Noa Yekutieli’s ongoing project Mountains of Narratives.In these exhibitions, Yekutieli creates connections between different memories and subjects by 'rewriting' the history in her own way while questioning the way narratives are built.“I think that our beliefs,

  • 2008 05/17 - 2008 07/05

    Big Game: 1st P - 4th P

    Artists are pretty smart. They renew their strategies again, then again, to support the fragile emptiness. It’s as if asking, in a much heard tone, “we are still anxious about how to form a complete puzzle with broken pieces. If we are further and further away from the studio, what’s the position of producing or the identity of being artists?”.