ArtSlant - Recently added en-us 40 Larissa Bates, Natasha Bowdoin, Vera Iliatova, Giordanne Salley, Dasha Shishkin - Monya Rowe Gallery - September 25th - December 20th <p style="text-align: justify;">Monya Rowe Gallery is excited to announce the inaugural exhibition in our new location in downtown Saint Augustine, Florida. The gallery recently relocated from the Lower East Side in New York City, where it was located for 12 years. <em>Out of Place </em>, a group exhibition featuring <strong>Larissa Bates </strong>, <strong>Natasha Bowdoin </strong>, <strong>Vera Iliatova </strong>, <strong>Giordanne Salley </strong>and <strong>Dasha Shishkin </strong>, will open on Friday, September 25. The exhibition includes painting, collage and drawing. The work on view in <em>Out of Place </em>ambiguously explores themes surrounding displacement and spatial disorientation.</p> <p style="text-align: justify;"><strong>Larissa Bates </strong>&rsquo; (b. 1981) paintings and drawings merge art history, Hermesinspired patterns and a highly personal narrative. Exploring identity, loss and class, the works, most no larger than 12 by 9 inches, are painstakingly detailed using gouache and gold leaf and range from landscapes and still lifes to interiors and family portraits. Family and cultural identity plays a large role. How does one's&rsquo; background shape their identity? There is a conflicted sense of identity permeating throughout. All these intriguing facets make it so enigmatic. Bates&rsquo; paintings are unabashedly ornate, vibrant and &ndash; strange. <strong>Bates </strong>received a BA from Hampshire College, MA. Her work was recently included in a group exhibition at deCordova Sculpture Park and Museum, Lincoln, MA. Her recent solo exhibition at Monya Rowe Gallery, NY was reviewed in The New York Times, among others. Bates lives and works in Boston, MA. </p> <p style="text-align: justify;"><strong>Natasha Bowdoin </strong>(b. 1986) uses an assortment of mixed media &ndash; cut paper, gouache, graphite &ndash; to meticulously construct abstractions culled from floral imagery and a collection of texts. As the&nbsp; artist transcribes passages from notable literary figures (for this show, Ralph Waldo Emerson's&nbsp; 1836 essay &ldquo;Nature&rdquo;) the collages in turn take on a new meaning. The text grows less legible, becoming merely suggestive of language. These dense floral abstractions press sentences past their breaking point, and through the cracks something less comprehensible can be glimpsed. They are a reminder of the power, limitations, impossibilities and aspirations of language.</p> <p style="text-align: justify;">Bowdoin reshapes and recontextualizes language through seemingly perfectly constructed collages that gleefully echo with imperfections. <strong>Bowdoin </strong>received a MFA from Tyler School of Art, PA, a BA and a PostBaccalaureate Certificate from Brandeis University, MA, and also completed studies at Slade School of Art, London. She completed a residency at The Core Program, Museum of Fine Arts Houston, TX (20082010) and was recently awarded a residency at the Bemis Center for Contemporary Arts in Omaha, NE (2012). Bowdoin is a recipient of a Joan Mitchell Foundation Grant (2007). Her work has recently been exhibited in group shows at Hardesty Arts Center, Tulsa, OK; the CODA Museum, Apeldoorn, the Netherlands; and the Southeastern Center for Contemporary Art, WinstonSalem, NC. This summer Bowdoin exhibited a solo exhibition of a new sitespecific installation at the Savannah College of Art and Design Museum of Art, GA. Bowdoin lives and works in Houston, TX.</p> <p style="text-align: justify;"><strong>Vera Iliatova </strong>&rsquo;s (b. 1975) recent paintings combine narration and abstraction while expressing a curiosity with still life painting when depicted in unusual ways with challenging perspectives. Iliatova employs the use of flowers as a metaphor for change, anticipation, decay and growth. The flower arrangements, coupled with the theatrical setting of the landscape, interconnect with the melodrama unfolding in each painting, like scenes from a film. The paintings hone in on the psychological intensity of her protagonists teenage girls on the awkward brink of adolescence by revealing their idiosyncratic gestures and moods. Focused on the interior self, there is a strong sense of emotional duality permeating throughout; these girls fight, console, cry, ruminate, laugh and judge. The ambiguity surrounding the characters conjures a strong sense of poetic association: nature as subjective feeling. <strong>Iliatova </strong>received a MFA in Painting/Printmaking from Yale University, CT and a BA from Brandeis University, MA. Iliatova has also undergone studies at Sorbonne University, Paris, France, completed a residency at Skowhegan School of Art, ME, and was a Louis Comfort Tiffany Foundation Nominee in 2009. Recent group exhibitions include 68Projects, Berlin, Germany and Girls&rsquo; Club, Miami, FL. Her solo exhibition at Monya Rowe Gallery earlier this year was reviewed in The New York Times, The Wall Street Journal, and others. Iliatova lives and works in Brooklyn, NY.</p> <p style="text-align: justify;"><strong>Giordanne Salley</strong><strong>&rsquo;</strong><strong>s </strong>(b. 1986) paintings depict quiet, seemingly unimportant moments: embracing a tree branch while walking through the woods, searching for fallen glasses in the ocean, gazing at the sun rise. Like a frame from a film, the paintings zoom in on cropped moments that are drawn from memory and imagination. They portray a sense of longing and reflection mixed with humor and elation. <strong>Salley </strong>received an MFA in painting from Boston University, MA in 2013 and a BFA from Anderson University, IN. She also attended the School of Art at the Chautauqua Institution in New York and received a grant from the Vermont Studio Center. Salley lives and works in Brooklyn, NY.</p> <p style="text-align: justify;"><strong>Dasha Shishkin</strong><strong>&rsquo;</strong><strong>s </strong>(b. 1977) energetic and pastel-colored drawings are windows into into a strange psychedelic world. The environment of the surreal imagery sometimes feels akin to a 19th century salon gone awry. Like James Ensor (18601949), the subjects are simultaneously grotesque and beautiful. It is difficult to discern exactly what IS going on in Shishkin&rsquo;s drawings this mystery is part of their complicated charm. <strong>Shishkin </strong>received a MFA from Columbia University, NY. She recently had solo exhibitions at Susanne Vielmetter Los Angeles Projects, CA and at the Museum of Contemporary Art Santa Barbara, CA; recent group exhibitions include &ldquo;Vintage Violence&rdquo; at Monya Rowe Gallery and "One Torino," organized by Maurizio Cattelan, at Myriam Ben Salah, Marta Papini, Italy. Shishkin was born in Moscow, Russia and currently lives and works in Brooklyn, NY.</p> Sat, 05 Sep 2015 10:18:18 +0000 - Fotomuseum Winterthur - October 24th - February 14th, 2016 <p class="bodytext">Photographs often seem immediately familiar and understandable. But they can also provoke sudden amazement or generate a more sustained perplexity and inquiry. Drawing on a diversity of photographs from his private collection, the photo historian Michel Frizot offers us a questioning counterpoint that works against the grain of received historical and artistic criteria. His assembled images, taken by lovers or unknown career photographers, fall through the gaps of contemporary aesthetic and interpretative categories. Every photograph generates a distance between the human mind and the light-sensitive recording of the camera apparatus; every photograph has a secret. Since photographs exceed our capacity for vision and can inspire intense emotion, they foster empathy and the desire to project our personal fears onto them. The intensity of the secret in every photograph is testimony to our humanity.</p> <p class="bodytext">In collaboration with the Maison europ&eacute;enne de la photographie and the Mus&eacute;e Nic&eacute;phore Ni&eacute;pce de Chalon-sur-Sa&ocirc;ne.</p> Fri, 04 Sep 2015 13:11:39 +0000 - Fotomuseum Winterthur - October 24th - February 14th, 2016 <p class="bodytext">Following their phenomenally successful work <em>The Great Unreal, </em>a road trip through the USA that they subsequently estranged in their studio to the point of recognizability, in 2013 the Swiss duo Taiyo Onorato &amp; Nico Krebs set out once again on a new trip. Now, in their newest large-scale project, they take us on a road trip eastwards. The route took Onorato &amp; Krebs through Austria, Hungary, Rumania, Moldavia, Ukraine, Georgia, Azerbaijan, Turkmenistan, Uzbekistan, Kirgizstan, Kazakhstan, Russia, and Mongolia. Through regions that are also in a state of transition, territories about which those in the West know very little. The resulting photo series poses a counterpoint to <em>The Great Unreal</em>. In contrast to the omnipresent cultural and visual material that pours out of the USA, the artists hardly had few visual preconceptions of the East. Using obsolete mediums such as 16&nbsp;mm film and large-format plate cameras, as well as additional constructions built in their studio, they expand the terrain of the documentary. In a grotesque way, the idea and myth of a thing stands as much in the foreground as its concrete reality; its possible past and future come together in a single moment.</p> Fri, 04 Sep 2015 13:05:21 +0000 - Fotomuseum Winterthur - May 30th - October 4th <div id="archiv-text"> <p class="bodytext">Representations of animals are ubiquitous in our culture, from advertising hoardings, to newspapers and television, to hundreds of thousands of images uploaded every day to the internet. Human beings, it seems, are obsessed by the image of the animal. Animals are also consistently subjects of public controversy, whether in relation to animal rights, agro-industrialisation, conservation or genetic engineering. <br /><br />Over the last two decades, artists have sought to question humankind&rsquo;s relation to the animal world, reworking categories of representation in order to rethink human-animal relations as well as the nature of creative practice itself. <em>Beastly/Tierisch</em> explores these issues in recent photography and video by Sammy Baloji, Marcus Coates, Revital Cohen und Tuur Van Balen, Charlotte Dumas, Peter Hujar, Simen Johan, Erik Kessels, Elad Lassry, Jochen Lempert, Katja Novitskova, Alessandra Sanguinetti, Moussa Sarr, Carolee Schneemann, Xiaoxiao Xu and many more, revealing how the traditionally anthropocentric nature of vision has been overturned. The exhibition examines the way in which animals become embroiled in human processes and passions, whether caged, consumed or otherwise caught up in a very human animal-industrial complex. It also explores how the animal appears in art as a figure of critique, either in the form of political allegory or through aesthetic transformation. In recent practice, a more &lsquo;beastly&rsquo; position begins to emerge, pursued by those who seek a bio-centric perspective. In such work, artists attempt to think the animal creatively in its own terms, forging worlds of fantasy freed from humankind.<br /><br /></p> <p class="bodytext">Finally, <em>Beastly/Tierisch</em> includes an innovative installation of vernacular photography and film, including books, posters and postcards, as well as a host of recent internet images, a veritable virtual zoo. How is animality reconfigured today through everyday photographic practice?</p> </div> Fri, 04 Sep 2015 12:59:36 +0000 Chuang Che - Taipei Fine Arts Museum - September 26th - November 15th <div class="column"> <div class="content"> <p style="text-align: justify;">Chuang was born in 1934 in Beijing, China, and spent his formative years in Taiwan. In 1954, he enrolled in the Department of Fine Arts at National Taiwan Normal University and graduated in 1958. He joined the Fifth Moon Group in 1958, becoming one of the group's principal members. In 1965, Chuang had his first solo exhibition at the National Center of Arts in Taipei, which launched his long and distinguished career. From 1963 to 1973, he taught in the Department of Architecture at Tunghai University. He was awarded a grant from the John D. Rockefeller III Fund in 1966, which enabled him to study contemporary international art in the United States. Since then, Chuang has lived and worked in New York.</p> <p style="text-align: justify;">A reserved and scholarly artist, Chuang Che has devoted much time to the study of painting, accumulating vast knowledge concerning its theories and those of abstraction. His approach to abstract landscape paintings has been to start from nature's outward appearance and ultimately move toward the essence of the physical world. Influenced by calligraphy, Chuang's lines, forms and compositions overflow with high-spirited and intrepid momentum. He uses the brush to paint lyrical colors and spaces in a rhythmic and ecstatic manner. Compositions include organic drips and splashes of paint that impart his work with feelings of force, gravitas, and desolation, and create areas of hazy richness. Profound rhythms of drawing in and pushing out glide chaotically through his compositions, and open pathways that reveal the artist's genuine moments of epiphany.</p> <p style="text-align: justify;"><strong><em>Effusive Vitality: Chuang Che Retrospective Exhibition</em></strong> is a comprehensive presentation of the artist's work and philosophy over the course of his career. Chuang has developed his bold painting and calligraphic style since the 1960s, starting in Taiwan and extending his sights to the world, and following the development of various modern art movements. The exhibition includes over 100 oils, acrylics and sculptures, carefully selected from among hundreds of works, and presents the evolution of Chuang's artistic style from the early 1960s to today.</p> <hr /> <div class="column"> <div class="content"> <p style="text-align: justify;">1934 年莊喆出生於中國北京,成長養成教育於臺灣。1954 年進入台灣師範大學美術系就讀,1958年畢業後,同年加入「五月畫會」,成為主要成員之一。1965 年,莊喆首次個展於台灣台北的國立藝術館,從此展開漫長的創作旅程。1963~73 莊喆曾執教於東海大學建築系,1966年曾獲美國洛克菲勒三世基金會資助,赴 美研究當代世界藝術,自七〇年代後旅居於美國紐約創作至今。</p> <p style="text-align: justify;">莊喆是一位內斂儒雅的藝術家,他長期致力探討繪畫藝術,繪畫與抽象理論同時並進多年積累十分豐碩。莊喆的抽象山水繪畫源自於外觀自然進而走向形神為 終極目標,他以書法的線形結構入畫,運筆虛靈轉潤顯出獷悍之昂揚氣勢,筆觸抑揚頓挫伴隨色彩宛轉空間近乎狂喜狀態,畫面經常展現自然滴流波濺、撞擊、冷 峻、氤氳、蒼潤之氣質,伴隨縱橫吞吐及疏密深遠之律動,在渾沌與飛揚之中另闢圖象蹊徑,誠可視為藝術家內省感受頓悟之智慧。</p> <p style="text-align: justify;">本展「莊喆回顧展&rarr;鴻濛與酣暢」(Effusive Vitality: CHUANG CHE Retrospective Exhibition ),既是莊喆個人的創作歷程,也是全面研究其藝術思想與作品的重要展覽。莊喆執著自由澎湃的繪畫與書寫文字,從六○年代發展至今,從台灣走向國際,伴隨現 代美術運動的各個階段歷程。本次展覽之繪畫展品包括:油畫、壓克力彩、雕塑,從數百件作品之中精選出百餘件作品,展品從六○年代初跨越至今,完整呈現其藝 術風貌。</p> </div> </div> </div> </div> Fri, 04 Sep 2015 09:03:40 +0000 Hsu Che-Yu - Taipei Fine Arts Museum - September 26th - January 3rd, 2016 <div class="column"> <div class="content"> <p style="text-align: justify;">Hsu Che-yu specializes in using video installations and new media art to examine media abnormalities, and through the use of interfaces, reflections on the cross dialectics between reality and fiction are conducted. The title of the exhibition is inspired by the short prose collection, Microphone Test, by Huang Kuo-chun before he passed away, with hybrids of technology and life presented by the author in the style of black humor. These beings of exclusion in the form of human figure are fed by televisions, computers, surveillance monitors, and a medley of other equipment, resulting in various bizarre and deformed faces. </p> <p style="text-align: justify;">Microphone Test&mdash;Hsu Che-yu Solo Exhibition is based on this context, with a story about memories narrated by the artist, recounting the tales of family memories and how such memories are constructed and perceived. </p> <p style="text-align: justify;">Using family memories of Yuan Zhi-jie, Cheng Liang-hui, and Lo Tien-yu, who are good friends with the artist, their oral recounts of their memories are then rewritten, deconstructed, and reconstructed by Chen Wan-Yi, who started off as a complete stranger to them. During this process, this stranger also subtly embedded her personal memories into the narratives. The deconstruction and reconstruction then resulted in a script that was used by the artist for an animated documentary, with his three friends invited to reenact their memories in front of a camera. </p> <p style="text-align: justify;">People that were filmed are replaced by fictional characters that the artist has created with outlines in Microphone Test&mdash;Hsu Che-yu Solo Exhibition, with these fictional characters integrated in the real setting appearing in the video. However, is this form of reality based on the sense of reality of those doing the reminiscing? Or is it based on the rewriter&rsquo;s form of reality? Maybe it is the reality of the person remaking the stories on video? When reality is intruded by fiction and thoughts about &ldquo;reality&rdquo; is turned, the question being raised by the artist is then turned into a dialectical approach. </p> <p style="text-align: justify;">In the prose collection, Microphone Test, by Huang Kuo-chun, the author treated &ldquo;death&rdquo; as &ldquo;effects for making an exit&rdquo;. Similarly, these performance-based segments are expressions of the inquiries stemming from deep within. In Microphone Test&mdash;Hsu Che-yu Solo Exhibition, the suicide of the grandfather from one of the artist&rsquo;s friends is also used to spark dialogues between them via art. </p> <p style="text-align: justify;">As stated by the artist, perhaps this exhibition is not about the specific memories of someone; it is about the process of how memories are constructed and perceived.</p> <hr /> <div class="column"> <div class="content"> <p style="text-align: justify;">藝術家許 哲瑜擅長以錄像裝置、新媒體創作探討媒體異相,並透過媒體介面反思真實與虛擬間交錯辯證性。展題靈感來自黃國峻辭世前集結的短篇散文集《麥克風試音》,作 家以黑色幽默的風格,呈現各種經由科技與生命體融合,所誕生出的孤立生物,這些具有人型的結合體,在電視、電腦,監視螢幕及千變幻化的延伸器材餵養下,勾 勒出一張張光怪陸離的畸形面貌。 </p> <p style="text-align: justify;">在這樣的脈絡下,《麥克風試音&mdash;許哲瑜個展》由藝術家講述一個關於記憶的故事,一個關於家族記憶及這些記憶如何被建構與被觀看的故事。 </p> <p style="text-align: justify;">藝術家以三位好朋友:袁志傑、陳良慧、羅天妤的家庭記憶為題材,並找了一位與他們都不認識的陌生人:陳琬尹,將這些口述的記憶重新書寫、拆解與重 建,在這過程中,陌生人亦將他自身的記憶,偷渡到敘事之中。藝術家依著記憶被拆解重組後的劇本,為其拍攝出一部動畫錄像影片,並邀請三位好友在鏡頭前,再 次重演他們的記憶。 </p> <p style="text-align: justify;">在《麥克風試音&mdash;許哲瑜個展》中,藝術家以線描勾勒的虛擬人物取代被攝者,讓這些虛擬人物滲入真實的場景裡,但這樣的真實究竟是記憶者的真實?重撰者的真實?亦或是翻拍者的真實呢?當虛構侵入到現實之中,對「真實」的想像與翻轉,為藝術家拋出的提問,也成為辯證的手段。 </p> <p style="text-align: justify;">在《麥克風試音》的散文集中,作家黃國峻將「死亡」作為一種「退場的效果」,如同這些展演性的橋段欲表達的是對自我內心深層的探問,在《麥克風試音&mdash;許哲瑜個展》中,藝術家也透過其中一位好友爺爺的自殺事件,作為彼此創作中的對話。 </p> <p style="text-align: justify;">因此,如同藝術家所說,這個展覽或許不是關於誰的記憶,而是關於記憶如何被建構與被觀看的過程。</p> </div> </div> </div> </div> Fri, 04 Sep 2015 09:00:22 +0000 Hu Kun Jung - Taipei Fine Arts Museum - July 25th - September 13th <div class="column"> <div class="content"> <p style="text-align: justify;">Abstraction&mdash;Liberating Space and Time</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Abstraction frees up communication between the artist and audience by eschewing the constraints of figuration. Subtly presenting a high degree of spiritual artistry, abstraction calls upon the viewer to intuitively grasp the meaning of the work rather than formulaically identify it. Abstract art does not visually represent real objects, but instead, strongly suggests imagery not observable in the real world. The impact of thinking about and making art on the artists themselves generates unique impressions that are then expressed to the greatest degree. Creating abstract art requires a well developed knowledge of art history, professional expertise, and skills to coordinate materials and composition. This renders abstraction beyond the scope of familiarity and places it at greater distance from the audience. Therefore, to reduce distance between the viewer and artwork, abstraction requires an understanding of art history, and a liberated, objective mentality.</p> <p style="text-align: justify;">In addition to using material to explicate material itself or create other significance, the abstractionist seeks unique ways of constructing, contrasting or aligning different materials such that they impart a spiritual presence and reach that sublime state of ineffability.</p> <p style="text-align: justify;">Symbols of both perception and reason abundantly and reliably have their place in abstraction, and can closely unite life with thought and individual character in ways that are not in the least ambiguous. Because the artist is invested in the creative process, his inherent nature cannot be concealed, but rather is fully and involuntarily inscribed on the abstract form, which holds the ideal world sought by the innermost being. In fact, this moment allows artists to grasp the meaning and value of existence, and therefore they are given the ultimate freedom in pursuing the continuation of human civilization.</p> <p style="text-align: justify;">Abstraction is not an escape from limits imposed by reality or tradition, but rather a solemn quest for pure and liberated painting, in any medium, that reality and tradition are incapable of providing.</p> <p style="text-align: justify;"><em>Original article published in 1984 in the Independence Evening Post.</em></p> <p style="text-align: justify;"><em>&nbsp;</em></p> </div> </div> <p style="text-align: justify;">Born in 1955 in Sanchong City, Hu Kun Jung entered the art department of National Academy of Arts (later renamed National Taiwan University of Arts ) in 1977. It was there that he was inspired by the Spanish-trained artist Chen Shu-ming to study modern art forms and theories from the West. In 1982, he had his first solo exhibition, which was held at the American Cultural Center of AIT and drew widespread attention. In 1984, Hu held a solo exhibition at Lung Men Art Gallery of works in geometric abstract, hard edge, and minimalist styles, which were well received. His unique visual imagery broke through the framework of traditional painting by introducing concepts unrelated to the world of identifiable objects. At this time, Hu became acquainted with Richard Lin, who had recently returned from Great Britain. Deeply inspired by Lin, Hu strengthened his resolve to explore the essence and principles of art. He next participated in the 1984 <em>Alien&mdash;Play of Space</em> and 1985<em> Transcendent&mdash;Play of Space</em> exhibitions, presenting work that blended three dimensional space, color and composition. The exhibitions have been regarded as the most avant garde and controversial of their time. His 1985 work <em>Condensation</em> was selected by the Taipei Fine Arts Museum for its <em>Contemporary Sculpture Exhibition in R.O.C. 1985</em>, awarded a prize at the exhibition and added to the museum's collection. Determined to go to France, Hu started a ten year sojourn in Paris in 1991. He received a Comp&eacute;tences et Talents visa in 1992, allowing him to reside in France, and funding for a one-year at the Cit&eacute; Internationale des Arts from the Taiwan Ministry of Education in 1993. Since returning to Taiwan in 2000, Hu has focused on geometric abstraction, showing work in many solo and group exhibitions at galleries and major museums.</p> <hr /> <div class="column"> <div class="content"> <p style="text-align: justify;">胡坤榮(1955-)從事創作逾三十年,始終堅持抽象藝術的探索,尤其專注於幾何抽象繪畫的表現形式。本展展出從2008到2010年間的創作,包括「雙蝶系列」、「非連續四方系列」、「移動系列」三大系列。這次展出的23件近期畫作延續著胡坤榮一直以來的態度:從繪畫的本質出發,呈現「幾何抽象」全新的觀念與面貌。</p> <p style="text-align: justify;"><strong style="line-height: 1.6em;">「雙蝶系列」</strong>純粹色塊與幾何形體的組構充份展現色彩中所蘊含的抽象潛質,色彩在此擺脫既有的束縛,獲得解放,無需依附外在客觀的標準,更不用附鑿於文字或語言意象,這裡所強調的繪畫自主性正是胡坤榮向來創作的主軸之一。</p> <p style="text-align: justify;"><strong style="line-height: 1.6em;">「非連續四方系列」</strong>(The Discontinuous Squares)是胡坤榮自1997年就已開創的主題,運用「四方」的造型與平塗的色面維持極簡、低限的基調,相對於此,圖面的動態微妙,饒富變化。</p> <p style="text-align: justify;"><strong style="line-height: 1.6em;">「移動系列」</strong>(Movement Series)多重繁複的圖面構成則是由各自獨立的幾何圖面匯聚而成,或是彼此重疊,或是互相銜接,產生微妙的節奏與律動,形成嶄新的視覺意象,改變了平面繪畫在空間上乃至時間上的邏輯,賦予「幾何抽象」更開放與複雜的視覺思維。</p> </div> </div> Fri, 04 Sep 2015 08:57:33 +0000 I-Hsuen Chen - Taipei Fine Arts Museum - July 25th - September 13th <div class="column"> <div class="content"> <p style="text-align: justify;">From photography I-Hsuen Chen develops his myriad forms of art practice. Photos, artist books, videos, installations, and performances make up the interdisciplinary body of his work. Chen&rsquo;s recent projects explore how photography as a mode of production portrays personal life history, and how imagery as a medium of communication generates fallacy and obscurity. </p> <p style="text-align: justify;"><em>I Went Abroad, and then I Went Back. </em>I-Hsuen says. </p> <p style="text-align: justify;">The title of the exhibition seems blunt. It in fact mirrors the artist&rsquo;s life in the past few years. Through artist books, videos, slides, and other extended methods of photography, Chen presents three periods of image voyages that depict his experiences studying in the US and traveling between home and abroad. The journey initiated a deductive sort of self-reflection. Taking on the role as an outsider/stranger/L'&Eacute;tranger seeking directions, Chen began to search for the disappearing sense of belonging and self-existence en route.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">1. Nowhere in Taiwan</p> <p style="text-align: justify;">I-Hsuen Chen went abroad in 2010 and became a foreigner in New York City. During a brief visit back home after one year overseas, he found himself rootless and isolated: a reverse culture shock so to speak. Attempting to locate his disappearing self, Chen began an image voyage that brought him to the roads of Taiwan. As if a lead character to a classic road movie, Chen adapted the tradition of American road photography and drove on to his own, personal journey. </p> <p style="text-align: justify;">Things and scenes passed and replaced each other on the road, from cities to towns to countrysides. Time and space seemed to loose their significance, becoming independent from the context of past and future. The sense of individual subjectivity solidified, while the sense of identity and belonging evanesced and dissipated. Chen began to document the &ldquo;nowhere&rdquo; in his journey&mdash;the undefined, obscured spaces in the midst of scenic sites and cityscapes; some were hardly urbanized, and others appeared to be abandoned. The series of documentation allowed the artist to reflect on the various forms of self-isolation that he found himself in.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">2. In Between</p> <p style="text-align: justify;">In 2012, Chen broke up with his long-distanced girlfriend in the US. As a way to reminisce, he compiled a book containing a variety of private moments that took place within his two years abroad. The Punctum&mdash;a distinct and personal visual signifier&mdash;to each imagery in the book was intentionally positioned at the center fold, with the subjects&rsquo; faces and facial expressions hidden deep beneath the rift. Readers could only decipher the abstracted version of the artist&rsquo;s memory, the muted plot to a story. As the author who made the seen unseen, Chen allowed his true reminiscence to reside in his own creation, the book that resembled a storeroom of memories.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">3. Past in the Future, Future in the Past</p> <p style="text-align: justify;">2013 marked the final chapter to the artist&rsquo;s journey. Chen was at a loss about his future, whether to leave or stay, as his US visa was close to expiry. The time to go home drew near and Chen felt a familiar sense of detachment. As an attempt to figure out what may lie ahead, he set off examining his personal history in the past few years through organizing old photographs. 100 photos from the past were selected. Each photo was reassigned a future date, spanning one year in total and beginning from the date when Chen would leave the US (Aug. 31st, 2013&mdash;Aug. 30th, 2014): The Past in the Future was thus created. </p> <p style="text-align: justify;">After returning to Taiwan, Chen continued documenting his days for a year using an old date stamp camera. The photos taken turned into vintage images that alluded to a past prior to studying abroad, the Future in the Past. These two sets of photographs, The Past in the Future and the Future in the Past, became mirrors of a predicted future and an imagined past, reflecting on each other&rsquo;s accuracy and authenticity. </p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>#roadmovie #real-lifescenario #goingabroad #goingback #phototext #existence #belonging #domesticity #books #time #breakinnarrative #fictional #factional #memory</em></p> <hr /> <div class="column"> <div class="content"> <p style="text-align: justify;">藝術家陳以軒以攝影為創作主體,媒材形式橫跨平面攝影、創作書、錄像、影像裝置、以及行為演出,近期創作多關注在攝影如何處理個人的生命史,以及影像媒介在進行溝通傳達時的所產生的模糊與誤謬。</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>「我出國了,然後我回來了。」陳以軒說。</em></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">展覽命題看似直白,其實是藝術家這幾年的生命寫照,用書本、錄像、及幻燈片等等各種攝影的轉譯形式,描繪他赴美留學、往返異鄉的三段影像旅程,旅程中如按圖索驥般自我觀照,旁觀其身為異鄉局外人的找路姿態,找尋在路上失去的自我存在與歸屬感。</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">一、遍尋無處</p> <p style="text-align: justify;">2010年,陳以軒出國了,在紐約正式成為異鄉人。一年後回來探親時卻發現已無所適從、四處孤立,經歷了反向的文化衝擊。於是像公路電影中的主角般,為了尋找自我而上路拍照,仿製美國公路攝影的傳統,進行台灣版的、個人式的公路攝影之旅。</p> <p style="text-align: justify;">在路上不斷看到景物更替,從城市到鄉鎮,逐漸失去時間與空間感,遺世獨立於過去和未來的歷史脈絡;主體意識愈發清晰存在,但認同與歸屬感卻四處漂 流。行旅的當下,他漸漸開始紀錄各種在中間的「無處」場景,一些既不是風景也不是城市景觀的曖昧交界,有的未都市化,有的更像是被遺棄。記錄的同時,也不 自覺反身鏡像記錄了各種孤立疏離的自身狀態。</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">二、在中間</p> <p style="text-align: justify;">2012年,在美國與遠距離的女友分手,想回顧,於是將留美這兩年之間的私密回憶整理成冊,刻意把每幅影像的刺點放置在書本裝禎的中間處,看不見 臉,也看不見表情,讓讀者只能窺視回憶的抽象形,或模糊的敘事元素;身為作者也因為再次的看不見,使得真實的回憶得以封存在書本中間,像是他的記憶深處。</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">三、過去的未來,未來的過去</p> <p style="text-align: justify;">2013年,最後一段旅程,在美國簽證期滿之際對未來的去留感到茫然,近鄉開始情怯,於是又著手整理舊照片,研究近年來的個人生命史,試著觀察出未 來可能的生活情節與套路,共挑選了100張舊照片加上未來的日期,從離開美國那一天算起的一年內對未來預測(2013/08/31 &ndash; 2014/08/30),稱為「過去的未來」。</p> <p style="text-align: justify;">回國後,在這一年的當下,持續使用有記錄日期功能的舊式相機隨手拍攝,拍攝出的像是懷舊復古照片般,欲連結遙想出國前的過往,稱為「未來的過去」。這些兩組照片,便成為預測未來與真實當下未來的對照,對照當初的預測是否如實發生。</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>#公路電影 #生命情節 #出去 #回來 #攝影文本 #存在 #歸屬 #家居 #書本 #時間 #敘事斷裂 #虛構 #真實 #回憶</em></p> </div> </div> </div> </div> Fri, 04 Sep 2015 08:50:27 +0000 Group Show - Taipei Fine Arts Museum - June 13th - February 21st, 2016 <p style="text-align: justify;">&ldquo;I Want to Dream&rdquo; is a special thematic exhibition presented by the Children&rsquo;s Art Education Center at TFAM. Its concept arises from how we imagine the future. This exhibition serves as a platform for dialogue, in which we explore the relationships among dreams of the night, dreams of the heart, and reality, through four thematic segments: &ldquo;Shall We Dance?&rdquo; &ldquo;Hello, Artist!&rdquo; &ldquo;Go Ahead and Go Wild!&rdquo; and &ldquo;Fantasia of Life.&rdquo; Through contemporary art, we embark on an experience of perception and thinking.</p> <p style="text-align: justify;">The segment &ldquo;Shall We Dance?&rdquo; spans a wide range of art forms: paintings, readymade sculptures, mechanical kinetic sculptures, interactive sound installations, space installations, participatory projects, on-site murals, and video documentaries. &ldquo;Hello, Artist!&rdquo; is a temporary on-site studio, where artists from different disciplines take turns setting up shop, making art in the museum on an unscheduled basis. In &ldquo;Go Ahead and Go Wild!&rdquo; artists collaborate with the museum staff in designing &ldquo;creative experiments,&rdquo; and visitors of all ages are welcome to come join us, to trigger observations and musings about daily life. &ldquo;Fantasia of Life&rdquo; is a reading area with 80 story books and picture books about dreams, aspirations, adventure, courage, exploration, and self-realization.</p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">「我想要做一個夢」是北美館兒童藝術教育中心推出的主題策劃 展。策劃構想起自對未來的想像,以展覽作為對話平台,透過「我們來跳支舞吧!」、「藝術家你好」、「胡思亂想做做看」、「枕頭外的狂想曲」四個主題探索 夢、夢想與現實的關係,並藉由當代藝術的形式開啟感知與思辨的體驗。</p> <p style="text-align: justify;">「我們來跳支舞吧!」展出作品涵蓋繪畫、現成物雕塑、機械動力雕塑、聲音互動裝置、空間裝置、參與式計畫、現地製作壁畫、錄像紀錄等。「藝術家你 好」是臨時駐點工作室,由不同領域的專業創作者,接力展出日常創作的工作室,並不定期駐館創作。「胡思亂想做做看」邀請創意工作者與策展團隊合作,設計 「創意實驗」,歡迎大小觀眾前來參與,觸發對日常生活的觀察與思考。「枕頭外的狂想曲」閱讀區以夢、夢想、冒險、勇氣、探索、自我實現為主題選書,展出約 80冊相關書籍與繪本。</p> Fri, 04 Sep 2015 08:42:12 +0000 Group Show - Taipei Fine Arts Museum - May 30th - September 6th <div class="column"> <div class="content"> <p style="text-align: justify;">── Seeing, Conversing, Gift-giving, Writing, Dining and Getting Connected to the World</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">In May this year, the Taipei Fine Arts Museum and the Mori Art Museum in Japan will jointly organize and present the exhibition &ldquo;<em>Lee Mingwei and His Relations: The Art of Participation.</em>&rdquo; touring in Asia and curated by the Mori Art Museum in Tokyo in 2014. Born in Taichung, Taiwan in 1964 and now based in New York, Lee Mingwei is a world-renowned artist. He creates different participatory art projects to highlight the &ldquo;public&rdquo; and &ldquo;social&rdquo; aspects of art. Turning viewers silently looking at works into participants intervening in the artist&rsquo;s projects, Lee Mingwei&rsquo;s participatory art creates subtle emotional connections among people, and attempts to build a kind of micro social relations.</p> <p style="text-align: justify;"><em>Lee Mingwei and His Relations</em> gathers together fifteen major projects, including new work, providing the first opportunity to experience art spanning Lee&rsquo;s twenty-year career in a single exhibition. Although the form of audience participation varies, from works that anyone can become involved in on the spot to works that involve registration in advance and/or selection by lottery, all visitors are encouraged to participate as much as possible. As well, to aid in understanding the historical milieu of Lee&rsquo;s practice, artworks and quotations by ten artists, religious leaders and thinkers &ndash; Hakuin, D. T. Suzuki, Yves Klein, John Cage, Allan Kaprow, and Rirkrit Tiravanija, as well as Wu Mali, Michael Lin, Jun Yang, and Wu Chien-Ying &ndash; provide contemporary art contexts both global and local, which resonate on various levels with Lee Mingwei&rsquo;s consciousness and concerns.</p> <hr /> <p style="text-align: justify;">&nbsp;</p> </div> </div> <p style="text-align: justify;">本館與日本森美術館共同主辦,引介由其在2014年於東京策 劃展出的「李明維與他的關係」亞洲巡迴展。1964年生於台中,目前定居紐約的台灣藝術家李明維,擅於透過與陌生人的互動,在彼此逐漸熟悉的過程裡和自我 意識的覺醒間,探索信任與親密等議題。藝術家透過食衣住臥等生活作息,探索日常事件的核心本質。</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">本展集結了李明維15個重要計畫,其中包括2015年的新作,讓我們首次有機會在同一展覽中綜覽觀看李明維20年間創作生涯的全貌。雖然觀眾參與的 形式各異──從在場任何人都可以參與的作品,到必須事先登記,且∕或經過抽籤獲選才能參與的作品──藝術家都鼓勵所有觀眾盡可能參與。為有助於了解李明維 創作背後的歷史和文化脈絡,本展也同時展出了其他10位藝術家、宗教家和思想家──白隱、鈴木大拙、伊夫.克萊因、約翰.凱吉、亞倫.卡布羅、里克力.提 拉瓦尼,以及吳瑪悧、林明弘、楊俊、吳建瑩──的作品和語錄,提供兼具在地及全球視野的當代藝術脈絡,透過這些作品與李明維覺知及關注的議題產生共鳴。</p> Fri, 04 Sep 2015 08:40:01 +0000 - Yekaterinburg Gallery of Modern Art - September 3rd - September 7th <p style="text-align: justify;">Yekaterinburg gallery of modern art is glad to present an exhibition of artworks included in &ldquo;View the world as doctors&rdquo; project. The project was organized by Public Health Ministry of Sverdlovsk region and non-profit organization &ldquo;Medical association of Sverdlovsk region&rdquo;.</p> <p style="text-align: justify;">The main idea of the project - to show professional doctors are also gifted artists. More than 50 health care centers take part in the project.</p> <p style="text-align: justify;">The best artworks were nominated in different categories. The jury consisted of Yurii Kazarin (Ural Federal University professor and the Head of poetry department in &ldquo;Ural&rdquo; magazine), Raisa Zorina (the Head of Metenkov House museum of photography) and Alexey Yefremov (member of the Russian union of artists).</p> <p style="text-align: justify;">In the result 338 photos and 42 paintings were selected. &ldquo;View the world as doctors&rdquo; almanac was published where the best art works of medical workers in Sverdlovsk region were included.&nbsp;In the gallery on the 3rd floor you can see more than 70 art works.</p> <p style="text-align: justify;">You can visit the exhibition from 3rd September till 7th September daily from 11:00 a.m. till 20:00 p.m.</p> Fri, 04 Sep 2015 08:32:20 +0000 Group Show - Waterstone Gallery - September 1st - September 27th <p style="text-align: justify;">Waterstone Gallery is moving. After 17 years in our current location and 23 years in business, we will be relocating to the former Quintana Gallery space located at 124 NW 9th Avenue in the Pearl District. To celebrate our move, the final exhibition at 424 NW 12th Avenue is a themed group exhibition titled "Move, Grow, Change." The exhibition runs from September 1st through 27th.</p> <div style="text-align: justify;">Waterstone Gallery will open in our new location on September 29th. The new space has nearly twice the square footage and will open up new possibilities for Waterstone Gallery and its member artists.</div> Thu, 03 Sep 2015 19:12:27 +0000 Joanne Clarke, Michele Van Maurik, Caroline Ji - Trias Gallery - August 21st - September 20th <p style="text-align: justify;"><span style="font-size: small;">A selection of floral and garden themed paintings by gallery artists. Also introducing guest artists Joanne Clarke, Michele Van Maurik and Caroline Ji.</span></p> Thu, 03 Sep 2015 19:07:34 +0000 Assem Hendawi, Maged Abou El-Dahab, Osama El Wardani - The Townhouse Gallery - September 6th - October 10th <p style="text-align: justify;">The images reveal the space as an actor, one that haunts, a being with which you form an association of aversion and of refuge. You forget that the space is one with its subjects and what they choose to do with it. The space then can be negative, submissive to the aesthetic imposed on it.&nbsp;</p> <p style="text-align: justify;">The space hides vaults of memory. Pockets with superfluous consoles and side tables are transformed into shrines; doilies and golden frames are left behind to commemorate a loss one would rather not acknowledge. Others reserve the right to express emotions through the space they share with you.&nbsp;</p> <p style="text-align: justify;">The space is marked by those who are (heavily) present, by anxiety toward the inevitability of their loss, and by the daily pleasantries indicative of larger dynamics.&nbsp;</p> <p style="text-align: justify;">There are no borders between the space and its inhabitants. Landscapes of comfort stretch across all surfaces that imply remembrance.&nbsp;</p> <p style="text-align: justify;">Assem Hendawi, Maged Abou El-Dahab and Osama El Wardani are three photographers in their mid twenties embarking on a self-reflexive attempt to tame anxiety and fear. In this exhibition, they take us through photographs of their personal spaces and deeply private memories, giving us, perhaps, too much power</p> Thu, 03 Sep 2015 19:03:17 +0000 Chun Kaifeng, Chun Kai Qun, Martin Constable, Warren Khong, Kai Lam, Jane Lee, Francis Ng, Shubigi Rao, Jeremy Sharma - Sundaram Tagore Gallery - Singapore - September 4th - October 25th <p style="text-align: center;"><strong>SUNDARAM TAGORE SINGAPORE PRESENTS NINE ARTISTS AT SINGAPORE&rsquo;S FOREFRONT IN CELEBRATION OF INDEPENDENCE</strong></p> <p style="text-align: justify;">As the nation celebrates fifty years of independence, Sundaram Tagore Gallery presents a selection of specially commissioned artworks by nine artists of and from Singapore. Curated by June Yap, this exhibition offers a look at contemporary aesthetics and its challenges through the subject of paint in its relation to history and production.<br /> <br /> <strong>ABOUT THE ARTISTS</strong><br /> <br /> <strong>Chun Kaifeng</strong> (b. 1982) is interested in mapping the day-to-day. Using industrial techniques and materials, he makes sculptural objects based on ordinary urban elements that exist in the background of a city. Co-founder of artist-run space Latent Spaces, Chun is also a curator, educator and writer.<br /> <br /> <strong>Chun Kai Qun</strong> (b. 1982) works primarily as a sculptor and installation artist, investigating material culture in the form of objects and how they inform contemporary society. Educated at the Glasgow School of Art, Scotland, he has exhibited at the Singapore Art Museum and Art Stage Singapore.<br /> <br /> <strong>Martin Constable</strong> (b. 1961), a teaching professor at Nanyang Technological University, Singapore, combines photography, painting and visual effects to research ways in which aesthetics as well as the role of the artist are being redefined by technology. <br /> <br /> <strong>Painter Warren Khong</strong> (b. 1984), whose approach has been inspired by Japanese manga, investigates the concepts of his medium and its relation to surface, materiality and notions of beauty. Additionally, in his present series of works, Khong focuses on the aspect of light as material for an aesthetic effect.<br /> <br /> A trained sculptor, <strong>Kai Lam</strong> (b. 1974) employs a range of mediums, including painting, video, performance and sonic art, to translate his observations of daily life, the human condition and social environments. Lam has initiated numerous art groups and platforms, including Artists Investigating Monuments and Rooted In the Ephemeral Speak, Singapore.<br /> <br /> <strong>Jane Lee</strong> (b. 1963) is best known for her innovative techniques and use of materials. Awarded the 2011 Celeste Prize for painting, she explores the very nature of the way paintings are constructed by treating the components of painting in new ways. Her work is currently on view in Frontiers Reimagined, a collateral event of the 56th Venice Biennale.<br /> <br /> Multidisciplinary artist <strong>Francis Ng</strong> (b. 1975) produces installation- and photography-based conceptual work that addresses contemporary social issues surrounding space and identity. A Grand Prize recipient of the 2001/2002 Philip Morris Group of Companies ASEAN Art Awards and the Singapore National Arts Council&rsquo;s Young Artist Award, 2006, Ng has also participated in the 50th Venice Biennale.<br /> <br /> <strong>Shubigi Rao</strong> (b. 1975), a visual artist and writer, creates complex and layered installations that reflect her interests, ranging from archeology and neuroscience to 13th to 15th century science and cultural genocide. Her installations include handmade books, drawings, etchings, pseudo-science machinery and garbage. She was recently granted the Centre for Contemporary Art 2015-2016 Artist in Residence.<br /> <br /> <strong>Jeremy Sharma</strong> (b. 1977) works primarily as a painter, but his body of work includes video, photography, drawing and installation. His practice investigates the concept of art as a reflection of a conscious life in the age of mechanical, industrial and digital reproduction and interconnectivity.<br /> <br /> <strong>CURATORIAL STATEMENT</strong><br /> <br /> Since Paul Delaroche's alleged 1839 declaration of the end of painting with the advent of the daguerreotype and thus the birth of photography, painting's death knell has repeatedly been sounded. Yet painting has steadfastly refused all attempts of burial, its artful tenacity due less to its malleability than to its essence. Dear Painter draws its title from German artist Martin Kippenberger's seminal 1981 series of paintings &mdash; <em>Lieber Maler, male mir</em> (<em>Dear painter, paint for me</em>) &mdash; which he commissioned of a billboard painter, in a comment on the aesthetic act and its limits. In <em>Dear Painter</em>, the focus shifts from artistic hand to the material of paint in its guises of mark, craft, concept and objectification, recalling as well an aesthetic patrimony stretching back to the time of the nation's syncretic modernist turn. Through the artworks of nine artists, <em>Dear Painter</em> presents a dialogue of contemporary approaches at the juncture of Singapore's semi-centennial, to reflect upon the stakes at the vanguard of art. <br /> <br /> &mdash; June Yap<br /> <br /> <strong>ABOUT THE CURATOR</strong><br /> <br /> June Yap is a curator and art historian based in Singapore. She was previously Guggenheim UBS MAP Global Art Initiative Curator for South and Southeast Asia, Deputy Director and Curator of the Institute of Contemporary Arts Singapore and curator at the Singapore Art Museum. She researches and writes on contemporary art in Asia. Selected curatorial projects include <em>No Country: Contemporary Art for South and Southeast Asia</em> at the Guggenheim Museum; <em>The Cloud of Unknowing</em> at the 54th Venice Biennale, Italy; <em>Das Paradies ist Anderswo/Paradise Is Elsewhere</em> at Institut f&uuml;r Auslandsbeziehungen, Germany; and Bound for Glory at the National University of Singapore Museum.</p> Thu, 03 Sep 2015 19:00:53 +0000 Malin Ahlsved - Sinne - September 3rd - September 27th <p style="text-align: justify;">Malin Ahlsved has created an entire world of her own in her small watercolours. The copious illustrative autobiographical images on paper, like smells or voices, create openings that allow memories and feelings to rise to the surface. Like echoes from hard times that we have forgotten or repressed. The exhibition I Want marks a turning point, at which Ahlsved&rsquo;s art has taken a step further; fate has lost its foothold and the characters in her subject matter now have more control. <br /> <br /> Ahlsved&rsquo;s art is characterized by a darkness that hangs over it, and the I Want exhibition is no exception; it, too, carries Ahlsved&rsquo;s jet-black torch forwards. Nonetheless, this material is not pervasively gloomy, but rather a recognition of the transitory nature of life and of the individual&rsquo;s constant sense of solitude. Ahlsved works with the minor defects and scars that we bear within us, and which make us what we are. Her subjects and themes take our thoughts to tales of disappointment, despair, morality and love. The narrative is occasionally nightmarishly unreal. Looming over it is a kind of Ingmar Bergmanesque "God&rsquo;s silence". The human entity is alone in its attempts to figure out itself and its own despair.<br /> <br /> Markus &Aring;str&ouml;m<br /> Curator<br /> SINNE</p> <hr /> <p style="text-align: justify;">Malin Ahlsved har med sina sm&aring; akvareller skapat en helt egen v&auml;rld. Det &auml;r m&auml;ngder av illustrativa sj&auml;lvbiografiska bilder p&aring; papper som likt dofter eller r&ouml;ster &ouml;ppnar upp f&ouml;r minnen och k&auml;nslor att komma upp till ytan. Som ett eko fr&aring;n sv&aring;ra stunder vi gl&ouml;mt eller f&ouml;rtr&auml;ngt. Utst&auml;llningen Jag vill markerar en v&auml;ndpunkt d&auml;r Ahlsveds konstn&auml;rsskap g&aring;tt vidare; &ouml;det har tappat fotf&auml;ste och karakt&auml;rerna i motiven har mer kontroll. <br /> <br /> Ahlsveds konst karakt&auml;riseras av ett m&ouml;rker som h&auml;nger &ouml;ver den och utst&auml;llningen Jag vill &auml;r inte ett undantag, ocks&aring; den b&auml;r vidare p&aring; Ahlsveds kolsvarta fackla. &Auml;nd&aring; &auml;r det inte fr&aring;gan om ett genomg&aring;ende dystert material utan om ett erk&auml;nnande av livets f&ouml;rg&auml;nglighet och individens fortg&aring;ende k&auml;nsla av ensamhet. Ahlsved arbetar med de sm&aring; defekter och &auml;rr som vi b&auml;r inom oss och formar oss till den vi &auml;r. Hennes motiv och teman f&ouml;r tankarna till sagor om besvikelse, f&ouml;rtvivlan, moral och k&auml;rlek. Narrativet &auml;r stundvis mardr&ouml;mslikt overkligt. Det h&auml;nger ett slags Ingmar Bergmanskt "guds tystnad" &ouml;ver det. M&auml;nniskan &auml;r ensam i sitt f&ouml;rs&ouml;k att reda ut sig sj&auml;lv och sin egen hoppl&ouml;shet.<br /> <br /> Markus &Aring;str&ouml;m<br /> Curator<br /> SINNE</p> Thu, 03 Sep 2015 18:55:38 +0000