Sun Yuan & Peng Yu
Ozawa Tsuyoshi, Chen Shaoxiong, Gimhongsok
Dinh Q. Le
curator Dar-Kuen Wu
The objective of Asia Anarchy Alliance's aim is to trigger activities in various Asian regions to attack "globalization" by exercising "local-internationalism": works by 25 artists. "Next Kite, Next Weather" encompasses drawing installation, painting and photography by Mark Geil and Chung-Fan Chang.
Asia Anarchy Alliance
Curator: Wu Dar-Kuen
Participating Artists： AIDA Makoto / CHEN Chieh-Jen / CHEN Ching-Yao / CHEN Ching-Yuan / CHANG Li-Ren / Dinh Q. Lê / HAN Ishu / MOON Kyungwon & JEON Joonho / Jompet Kuswidananto / SAKAGUCHI Kyohei / MORIMURA Yasumasa / TU Pei-Shih / TERUYA Yuken / YAO Jui-Chung /YEH Chen-Yu / YUAN Goang-Ming / SUN Yuan & PENG Yu / Sutthirat Supaparinya /
AAA Tokyo Bay Conference: Xijing Men (OZAWA Tsuyoshi, CHEN Shaoxiong, Gimhongsok) / SAKAGUCHI Kyohei / WU Dar-Kuen /
The background of Asia Anarchy Alliance is set in “modern/contemporary” Asia, with new concepts proposed for the region based on art. With the principle of free thinking, AAA attempts to toss a small pebble in Asia to stir its stagnant perceptual waters, and with the ripple effect created to led to possible ways for breaking free from the complex barriers put up by globalization and neoliberalism. AAA advocates taking up a realistic stance and to retrieve the many beliefs that were forced to be abandoned by capitalism or the state machine. Certainly, the realization process of this ideology may seem quite long and trying, but it is also a rather romantic approach for such an ideal manifestation.
Under the structure of AAA, the artworks created by the over 40 artists included in the Tokyo exhibition and the 25 artists in Taiwan are each considered an individual entity as well as a subject for this artistic symbiosis. This is a transnational “minor movement” initiated by a group of Asian artists, and it is a movement based on artistic fulfillment which echoes with the realistic “imaginations” for the contemporary Asia. Through the questions raised by the artworks, social issues faced by Asia today are pointed out. The objective of AAA’s progressive perception is to instigate field exercises in various Asian regions and to siege “globalization” with “local-internationalism”, and at the same time, it is also an “internal revolution” propelled by introspection of the Asia art world, as we anticipate for this endeavor to open up a referential outlet for Asian contemporary art.
In addition to the contributing artists from the Tokyo exhibition, AAA’s exhibition this time at KdMoFA will further bring together the Taiwanese artists from the Tokyo exhibition with more Japanese and Southeast Asian artists. The contributing artists this time include the following: CHEN Chieh-Jen, CHEN Ching-Yao, CHEN Ching-Yuan, YUAN Goang-Ming, YAO Jui-Chung, TU Pei-Shih, YEH Chen-Yu, CHANG Li-Ren, SUN Yuan & PENG Yu, Jompet Kuswidananto, Xijing Men (OZAWA Tsuyoshi, CHEN Shaoxiong, Gimhongsok), SAKAGUCHI Kyohei, and more; additionally, AIDA Makoto, MORIMURA Yasumasa from Japan, Dinh Q. Lê from Vietnam, and Sutthirat Supaparinya from Thailand are also included on the roster of this AAA exhibition!
2014-05-16 > 2014-07-06
Next Kite, Next Weather
When one focuses on visual representations of display and color, notions of reading these representations are simultaneously attended by attempts at their decryption. As an audience who encounters things that are fundamentally meant to be looked at, the specific relationship that we have with objects and our ability to decipher them comes into sharp focus.
Next Kite, Next Weather encompasses drawing installation, painting and photography by Mark Geil and Chung-Fan Chang. In the exhibition, the messages extracted from displays encourage the viewer to interrogate what is real and who is the authority. The destiny and the purpose of these photographs, paintings and drawings are to be contemplated in so far as the information they convey and the broader implications they begin to reveal. Mark Geil’s work highlights visually and fundamentally how knowledge is conveyed through systems of museum display, using both historical precedent and contemporary practice. Through his photography, Geil seeks to visualize knowledge while Chang identifies the visual metaphor of color and its significance in society. Both bodies of work exhibit a unique internal logic.
For Chang, this internal logic is the byproduct of the states of mindfulness of meditation that inhabit her artistic process. In Geil’s work, the stillness of the photograph and the stillness of the museum display become a “stillness doubled.” This synergy works to highlight both the knowledge these museum displays were meant to convey and the overarching machinery and politics of display. On the other hand, the fluorescent colors in Chang’s Kite series command the viewer’s attention and compel the audience to observe closely the saturated, luminous geometric shapes. The color is obsessive, disturbing yet demonstrates the authority to demand and attack the viewing experience. Chang’s neon color makes its demand yet the contrasting subdued hues of her landscapes yield another viewing experience. These other colors evoke one’s experience of looking at the same forest at different times of the day. These paintings fuse with the wall installation drawing in which the viewer is invited to an uncanny internal weather that runs through the constellation of marks. To the viewer, there is a particular direction and concentration in her mark making that somehow replicates the force of wind. These drawings have a sense of a band of wild horses running through them, kicking up a swirl of earth as they gallop across the wall.
That weather is again organized and synchronized in Geil’s photography, in which the objects of collection and the tropes of display manifest phenomenal and complex information for the viewer to interpret. These collections and the mechanics of their display are the subject of an intense local curiosity. These museums are often specific to their region, much like the local weather is specific to a region.
Geil’s photography depicts collections, dioramas, models and even buildings as displays which deliver a sometimes uncomfortable and visually challenging navigational experience for the viewer. Likewise, the neon color fields in Chang’s abstract landscapes serve as intruders to the surrounding. Intruders that cross-examine how fluorescent and artificial colors affect our vision and how that effect can be a signifier of conflict in society. As Geil identifies visual mysteries, Chang creates puzzles for the viewer through painting and drawing, which disclose the underling harmonies of this exhibition. This orchestration of tacit violence is organized the same way the wind is organized with its gusts, swirls or downdrafts. Chang’s drawing installation appears to be disordered when viewed closely but becomes beautifully organized when viewed at a distance. Her drawing and painting assemble historical concerns, social signifiers and meditative practice all into a singular voice. Geil’s photographs investigate the institutional organization of knowledge, the locality of American History and the anatomy of display. Ultimately Mark Geil and Chung-Fan Chang both propose questions and offer hope for the viewers to contemplate the weather of color, the wind in the drawings, the clouds in the drawings, the rain in the drawings, and the singular curiosity of photography.
Kuandu Museum of Fine Arts
No. 1, Xueyuan Rd Beitou District Taipei City Taiwan 112
Opening hours：Tue ~ SUN 10:00 17:00
(Last admission to exhibitions at 16:30)