This work is based on a local life experience as a start, that is my life experience in working with many people of the tribe (Makutaay) about half a year in Gangkou village of Fengbin Township of Hualien County.
- The cities, portraits and homes, and fields and sandbanks in the images are laid out in front of us. They are from a fantasy dream / reality. - text from Ta Liu
OCAC 3_21 Showing represent another year of Open Contemporary, at the same time it is a time for reviewing and rethinking. 3_21 is not just an exhibit of documents in what has or had happened. It tries to retrace the outline of the studio, also as a gathering site for artists, an interpretation that is closer to reality.
“My living space is always messy and dirty, I also dream of having clean and poetic living space. Can I throw away most things in my house in an almost paranoid and crazy condition, to frame a beautiful living space with minimal conditions? Some questions of reality comes to me, where do those mess...
Our One Work Exhibition Project perpetuates the objective (spirit/aim) with which Open-Contemporary Art Center was founded. We introduce contemporary artists who possess a creative vocabulary by having them participate in year-round alternative exhibitions, in which a single piece is exhibited at a time. We invite curators to select the works of five or six artists for every exhibition — each lasting from Tuesday to Thursday. During the exhibition, artists conduct dialogues with the audience by inviting them to speak. Through conversing with other artists, the creators may re-examine their works. Also, following the conclusion of all exhibitions, we will invite professional art critics along will all participating artists to hold a large seminar concerning the project series.
In this project, we represent a stimulated container on the surface of a real one. By taking the pictures of a model container from each side, and then applying the prints on the surface of the original one, we attempt to create a virtual situation and present our anticipation of a re-constructed container.
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?”.
Dream Construction No.7 is about to start. For people visiting this space, you can enjoy a landscape with a view as if elsewhere, and have a moment of relaxation and quietness. As usual, dream construction continues to build with the studio. Please excuse for any inconvenience.
It’s a kind of warmth from freshly baked bread, an invitation, an observation, a change and a test for adventuring hearts. After experiencing an information overload from artistic fulfillment mixed with the growth and exhaustion from long travels, artists have a small part in their heart that is slowly changing, building and settling down, as if fermenting in butterfly effects.
In 2006, a new generation of artists tried to develop a new language that can be part of our every-day living, rather than restricted by unchangeable classical procedures. The clues of these can be tracked in the previous Taipei Biennials, like Great Theatre of the World, Do You Believe in Reality?, and also Dirty Yoga in 2006.
In October 2006, OCAC had an exhibition titled “Systems inside Constructions” at Kaohsiung Museum of Fine Arts. In questioning body and space, the exhibition look into another form of body in contemporary living - the materiality of bodies. In order to raise awareness for the viewer the changes in our living condition (especially in being immersed in new media technology)...
I - Image: technology arts often explore the forms and qualities of images combining technology based machines. To support the re-representation of images we often have to work the computer as an engineer. While constructing, the intervention of tools and new softwares development, and the complex machine languages and image formation become the subject of artmaking.
Walking down paths in the fields, often we gather up the seeds of cobbler's pegs on our clothes naturally, the seeds spread its territory relying on others to move them. The seed of a cobbler’s pegs has a moustache-like split on...
In her art practice, she continue to explore art-making on site; view the site as an existing structure to the work, practice forms of senses in her physical labour. In the use of mediated (mirrored) object, sense and logic are co-constructed in the form of plastic art; thus transfer the focus to the reflective possibilities of human and site.
In recent work, the use of images is the most noticeable. The features of this medium created more gaps for exploration in its slim and non-physical form. From the movements in history, the use of found objects and site based installations has destroyed many sensory formations within the frame of paintings.
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..
Would it be possible that the school training manipulates the thinking in creating art of those who accept academic education? Non-Nationalisme discusses no issue about races in nationalism. It bases on the art education to meditate how life experiences from different backgrounds influence people’s sense of beauty...
Introduction to The Contemporary Lecture Room The Contemporary Lecture Room is one of the academic activities of Open-Contemporary Art Center that focuses on essential lessons concerning the visual arts. The majority of the lectures are given by OCAC members.
In this group exhibition, artists will investigate everything within a physical space as the suggested title, in how it can be a “resembled” reality: not an objective reality. It should have organism that is filled with elegant temperaments, as if “filled with intangible essence”, even mixed with poetic ingredient as on-site intervention.
We launched this project in response to the invitation of the Art Site of Chiayi Railway Warehouse. The curatorial project follows the trajectory of the Taiwanese contemporary art world and reflects its present conditions. In particular, we investigate the creative methods and thinking concerning installation art.