THE POETIC REALM
Artists: Miwa OGASAWARA, WANG Ya-Hui, Kawita VATANAJYANKUR, Ana Maria MICU, LEE Jo-Mei, LIN, Guan-Ming, CHIU Chen-Hung, HSU Jui-Chien, Yoshihiro SUDA, YANG Chi-Chuan, Marina CRUZ, Hiraki SAWA
Dates | 26 June - 26 December 2021
Venue | 1F-3F, Yu-Hsiu Museum of Art, No.26, Ln. 150, Jianxing Rd., Caotun Township, Nantou County 542, Taiwan (R.O.C.)
www.yu-hsiu.org
Upon hearing the word “poetic,” one might immediately think of poetry or associate it with “romantic,” “lyrical” and “symbolism,” etc. Such reflective correspondence between images has always limited our consciousness from expanding to reach more possibilities. As for “dimension,” it usually refers to using mathematical coordinates together with dots, lines and planes to map out space. It is through this conceptual process that we understand the world, become aware of the forms of things, the borders of territories before entering the fourth dimension, in which the subject of cosmic origin and time are further contemplated. Since the ancient time, innumerous physicists, philosophers, sociologists and artists have discussed about space and matter; and in the modern time, there are also theories about the multidimension, superstring theory, parallel universe, pneumatology and so on. However, these are not the theme of this exhibition.
In this exhibition, “poetic” refers various ways of surveying and perceiving the world and can be viewed as a process of dealing with or confronting things, a process that becomes extended and all-inclusive through a poetic quality, which can be found in the works of the twelve artists featured in this exhibition. The poetic quality is not related to any knowledge or methodologies, nor does it solely point to the appearance of visible objects. Instead, it surfaces as an unexpected crevice that suddenly makes us aware of something abstract and invisible, and possibly has its root in memory, perceptual experience or the state of being physically immersed in the surroundings when moving in the exhibition space.
This exhibition brings together artists from Taiwan, Japan, Thailand, the Philippines and Romania, and juxtaposes artworks portraying varied context and texture, not only showcasing the artists’ inner landscapes with interrelating implications, but also creating folds in a space previously static and now dwelled by the artworks. Nevertheless, how does the visual presentation of individual works demarcate and manifest a multifaceted, imaginative space stemming from the surrounding “emptiness”? How does it establish interconnections between the works? Being in a space of boundaryless dimension, the spectator’s body also undergoes a constantly stirring, receptive or adjusting process that perhaps reveals certain dormant matters.
Artists: Miwa OGASAWARA, WANG Ya-Hui, Kawita VATANAJYANKUR, Ana Maria MICU, LEE Jo-Mei, LIN, Guan-Ming, CHIU Chen-Hung, HSU Jui-Chien, Yoshihiro SUDA, YANG Chi-Chuan, Marina CRUZ, Hiraki SAWA
Dates | 26 June - 26 December 2021
Venue | 1F-3F, Yu-Hsiu Museum of Art, No.26, Ln. 150, Jianxing Rd., Caotun Township, Nantou County 542, Taiwan (R.O.C.)
www.yu-hsiu.org
Upon hearing the word “poetic,” one might immediately think of poetry or associate it with “romantic,” “lyrical” and “symbolism,” etc. Such reflective correspondence between images has always limited our consciousness from expanding to reach more possibilities. As for “dimension,” it usually refers to using mathematical coordinates together with dots, lines and planes to map out space. It is through this conceptual process that we understand the world, become aware of the forms of things, the borders of territories before entering the fourth dimension, in which the subject of cosmic origin and time are further contemplated. Since the ancient time, innumerous physicists, philosophers, sociologists and artists have discussed about space and matter; and in the modern time, there are also theories about the multidimension, superstring theory, parallel universe, pneumatology and so on. However, these are not the theme of this exhibition.
In this exhibition, “poetic” refers various ways of surveying and perceiving the world and can be viewed as a process of dealing with or confronting things, a process that becomes extended and all-inclusive through a poetic quality, which can be found in the works of the twelve artists featured in this exhibition. The poetic quality is not related to any knowledge or methodologies, nor does it solely point to the appearance of visible objects. Instead, it surfaces as an unexpected crevice that suddenly makes us aware of something abstract and invisible, and possibly has its root in memory, perceptual experience or the state of being physically immersed in the surroundings when moving in the exhibition space.
This exhibition brings together artists from Taiwan, Japan, Thailand, the Philippines and Romania, and juxtaposes artworks portraying varied context and texture, not only showcasing the artists’ inner landscapes with interrelating implications, but also creating folds in a space previously static and now dwelled by the artworks. Nevertheless, how does the visual presentation of individual works demarcate and manifest a multifaceted, imaginative space stemming from the surrounding “emptiness”? How does it establish interconnections between the works? Being in a space of boundaryless dimension, the spectator’s body also undergoes a constantly stirring, receptive or adjusting process that perhaps reveals certain dormant matters.
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OBJECTS MUST BE COMFORTABLE
A Solo Exhibition of Ana Maria Micu Dates | 29 June - 19 August 2021 Venue | Mind Set Art Center: 7F, No.180, Sec. 1, Heping E. Rd., Da'an Dist., Taipei City 106, Taiwan www.art-msac.com The Easy Way to Heal Yourself by Ana Maria Micu is an NFT animation launched in congruence with the show's concept. It describes a step-by-step metaphoric and magical solution on how to heal a person, the same way we would mend a broken object. |
The exhibition combines older paintings with new works and mediums. Two digital observational drawings are printed as serigraphy series. Insisting on documenting the drawing process in a convoluted manner, Micu gathers visual material for a stop-motion animation and invites two other artists, Alexandra and Radu Constantinescu, to contribute with a concept of their own. The collaborative short film creates an entry point into Micu’s over-individualistic world.
The theme is the relationship one develops with the immediate surroundings. In solitude, the interest in ergonomic practices eventually ends up shifting towards animism. Objects gain conscious life, which requires us to make sure they sit comfortably at all times. What is wobbly, should be somehow supported. Things that scratch each other should be cushioned. What is hanged, should be secured for a larger weight. Fabric creases can be caressed and smoothen. The rules are dictated by the blindness of selfhood and the disentanglements of practicality. Once implemented, they generate an aesthetic.
By exercising this, you also see very clearly that everything has to be handled carefully, but it is not enough. True care needs a feedback loop. You have to transform your environment into a living organism and tether yourself from it, as one of the vital components. Each part is aware of neighboring parts and validation circulates back and forth. There is continuous change through incremental and often improvised adjustments.
For the art practitioner, nothing is more stringent than the dilemma of how comfortable your model truly is. In this respect, when engaged with observing life, the shy, considerate, and inquisitive artist refrains from looking at anything else except within.
The theme is the relationship one develops with the immediate surroundings. In solitude, the interest in ergonomic practices eventually ends up shifting towards animism. Objects gain conscious life, which requires us to make sure they sit comfortably at all times. What is wobbly, should be somehow supported. Things that scratch each other should be cushioned. What is hanged, should be secured for a larger weight. Fabric creases can be caressed and smoothen. The rules are dictated by the blindness of selfhood and the disentanglements of practicality. Once implemented, they generate an aesthetic.
By exercising this, you also see very clearly that everything has to be handled carefully, but it is not enough. True care needs a feedback loop. You have to transform your environment into a living organism and tether yourself from it, as one of the vital components. Each part is aware of neighboring parts and validation circulates back and forth. There is continuous change through incremental and often improvised adjustments.
For the art practitioner, nothing is more stringent than the dilemma of how comfortable your model truly is. In this respect, when engaged with observing life, the shy, considerate, and inquisitive artist refrains from looking at anything else except within.