Signal Z

2023 / 07 / 29 Sat.

2023 / 10 / 22 Sun.

10:00 - 18:00

  • Curator

    CHUANG Wei-Tzu

  • Artists

    HUANG Yi-Chia & WU Puwei
    FU Ning
    YANG Lee
    YANG Jie-Huai & LU Po-Shun
    JUAN Poyuan
    HUNG Tzu-Ni
    HUNG Sheng-Hsiung
    2ENTER
    CHEN Zi-Yin & CHUANG Hsiang-Feng (Simple Noodle Art)
    LIN Cheng-Yu
    Annie LEE
    ExiStone Workgang
    LI Cheng-Liang & TSAI Pou-Ching
    Aerotropolis Stories Live In Dayuan (WANG Cheng-Hsiang & LIN Yan-Xiang)
    LIAO Chao-Hao

  • VR Exhibition

    https://mocatpe.tw/art06rqeau

  • Supervisor

    Department of Cultural Affairs, Taipei City Government

  • Organizers

    Taipei Culture Foundation
    MoCA TAIPEI
    Taiwan Power Company

  • Co-organizer

    Taiwan Contemporary Culture Lab

  • Annual Sponsors

    THERMOS
    Contemporary Art Foundation
    Hui-Neng Chi Arts and Culture Foundation
    Royal Inn

  • Annual Sponsor for Appointed TV/Screen

    SONY

  • Annual Sponsor for Appointed Projector

    EPSON

  • Media Cooperation

    Radio Taiwan International

  • Special Thanks

    Digital Art Center, Taipei
    Taipei Municipal Jian Cheng Junior High School

About

Dissipating and Flowing Landscapes

Text / CHUANG Wei-Tzu


This is an exhibition comprising concatenated contemporary life experiences and explored through spectacles.

Since the mid-20th century, following the advancement of technology and the change of economic environment, we have moved from being an analog society symbolizing the physical/real to a digital world signifying the virtual/surreal. Modernity has been replaced by post-modernity rapidly. In the pursuit of mobility and speed, technical expansion has catalyzed drastic changes in the environment. Globalization, neoliberalism, and digital revolution are constantly altering the contemporary society. Consequently, we have not only found ourselves embroiled into the surging waves of the Great Acceleration, but have also entered the “liquid modernity” described by Zygmunt Bauman.

We are thereby compelled to ask: what does flowing/liquid really mean? Does it refer to a state in which one must not stop and must keep moving? Or does it denote a lighter state further away from entrenched, fixed conventions and social systems so that individualization and anonymity can be achieved? Or does it maybe point to a comprehensively nomadic attitude towards interpersonal relation, space, and gender identity? This exhibition features Generation Z as well as spectacles found ubiquitous in the era of post-globalization. These spectacles originate from the myriads of things felt by the artists in real life—from exploring the changeability and fragmentation of image, to the body conditioned by the influence of social-formation, to landscapes vehemently altered by the changing economic environment, these are all common social culture and phenomena in the liquid era.

The exhibition begins with the spectacles created by images. Through misreading in the wake of image experiences, the interpretations of and reactions to images reveal how our way of viewing has been influenced by the Internet that entices people into fast consumption of images. Furthermore, the exhibition also addresses experiences related to fluid qualities in contemporary society by looking into the construction or delineation of spatial scenes, which range from the private to the public ones and involve both the physical to the virtual—they might be shifting sites of desire, changing boundaries between the private and public spheres, compiling iterations of online information, alternating soundscapes in the virtual and real worlds, the body confined by the fictious cycle of time, the body that longs to be conditioned by information, the dissipation of all things substantial and the landscapes constituted by them, or the metabolic urban renewal resulting from reorganizing politico-economic strategies.

MORE

LESS

Curator & Artists

CHUANG Wei-Tzu
HUANG Yi-Chia & WU Puwei
FU Ning
YANG Lee
YANG Jie-Huai & LU Po-Shun
JUAN Poyuan
HUNG Tzu-Ni
HUNG Sheng-Hsiung
2ENTER
CHEN Zi-Yin & CHUANG Hsiang-Feng (Simple Noodle Art)
LIN Cheng-Yu
Annie LEE
ExiStone Workgang
LI Cheng-Liang & TSAI Pou-Ching
Aerotropolis Stories Live In Dayuan (WANG Cheng-Hsiang & LIN Yan-Xiang)
LIAO Chao-Hao

Chuang Wei-Tzu, the current curator of C-LAB and former Editor in Chief of Artist Magazine, is deeply interested in exploring the diversity of contemporary art in Taiwan. Her research has focused on the evolution of artistic ideas and technology as they are showcased in exhibitions and performances, as well as gender issues in the context of art history. Notable among her recent curatorial projects are the C-LAB annual exhibition Re: Play (2020), Project: The Folly (2021, nominated for the 20th Taishin Arts Award), (De)phallocentrism (2022), and The Unrestricted Society (2022).

Huang Yi-Chia (b. 1998, Taipei) holds a BFA from National Taiwan University of Arts, and is now studying for her MFA in New Media Art at Taipei National University of the Arts. Her work revolves around performance and video installation, through which she investigates the relations between herself and the audience’s body. In a flamboyant, humorous manner, her work responds to contemporary images in popular culture.

Wu Puwei (b. 1999, Keelung) holds a BFA from National Taiwan University of Arts, and is now studying for his MFA at Taipei National University of the Arts. Engaging in creating site-specific works with painting media, Wu’s practice moves beyond the framework of painting to produce unexpected encounter between the audience and his works, as he responds to the interrelations between the works and the exhibition space through the intervention of images.

Fu Ning (b.1995, Taoyuan) takes the forms of image-making that forge images into materials in her works. Her focus / paintings mostly involve images that are not produced by herself, but rather come from numerous life archives of others. Those images did not witness a capital History, nor are they noteworthy. They are pictures we’ve once come across. For Fu Ning, this working process reflects the contemporary experience where our living life is constantly imaged, even archived. Once uploaded to social media, these images constitute us on the internet. For what it shapes has become a new reality, everything is real, and the presence of matter no longer affects priority.

Yang Lee (b. 1993, Taipei) graduated from the École des Beaux-Arts de Versailles, Paris, France. In his creative career, “painting” has been his sole medium. He defines himself as a “painter.” Regarding the “artist” label imposed on him by society, Yang states that “it is not wrong to call me an artist because everyone can be an artist, but not necessarily a painter.” Yang does not confine himself to a fixed style. According to the artist himself, “a consistent style only exists in series of works. If a style is matched with an artist’s name, it is the most limiting frame to the artist.” Based on the artist’s works, one can detect his attitude towards painting, style, and art. Perhaps, the preconceived gestalt painter has not yet appeared; or he himself is moving towards this very goal, while trying to bring forth a society in which painting is highly autonomous.

Yang Jie-Huai (b. 1992, Taichung) holds an MFA in New Media Art from Taipei National University of the Arts. His practice mainly engages in creating works hybridizing video, photography, concept, and installation, through which he investigates technology as media, its visuality, and expanded image with regard to how they carry out production and operate in the spiritual life of humanity, even to the point of constituting a spiritual framework. His work is posited in the elusive interstices between human emotions and the coded world, and constructs an absurd yet romantic scenario.

Lu Po-Shun (b. 1992, Yunlin) holds a BA in Graphic Communication from National Taiwan University of Arts (NTUA), with a double major in film. He is now a graduate student at the Graduate School of Contemporary Visual Culture and Practice, NTUA, where he endeavors in the creation of video. His work is primarily based on his personal experiences, through which he teases out the developmental trajectory of his life through video, and expands his practice to include different communities, even the life condition of the collective.

Juan Poyuan, an artist, gamer and Internet addict, takes digital archaeology as the core concept of his creative process, and has been focusing on digital games and online spaces for a long time. Juan’s creation source combining online games, online communities, Machinima, game engines, 3D software, history, memory, aesthetics and technical characteristics to create a new, contemporary visual experience, technical thinking, sculpture, video and other ways of viewing, presenting new perspectives and ways of thinking to reflect on and question the meta-set-up behind this post-Internet era.

Hung Tzu-Ni’s work explores the reciprocal relationship formed between light and sound. She mainly works with sound and installation. As each element of her works is respectively constructed and embodied in a given space, she explores the boundaries of what audio and visual work can be in site-specific installations, as well as how such work can interact with its environment. Her practice in installation art primarily concerns how visual or spatial components of a work can reflect, resonate, and be made responsive to and interactive with aural elements, through which she explores the interrelation among sound, material, light, and space.

In his art practice, Hung Sheng-Hsiung (b. 1988, Kaohsiung) works with diverse media, including installation, multimedia, and sculpture to deal with the mediating relations among material, space and the body. He has focused on the plastic realities involved in the subject of sculpture, and has utilized multidimensional language of media to expand the scope of sculpture and propose new ideas, trying to shape a new direction of sculpture and formulate a plastic aesthetics. Hung’s creative approaches include sculpting piles of soil, collaging found objects, and creating damages by carving, through which he unearths and reveals spatial-temporal traces made by the changes of a place, turning these traces into his aesthetic conception through his art practice.

2ENTER is formed by a group of new media artists, namely, Chuang En-Chi, Chen Cheng-Wei, Chiu Jie-Yi, and Liu Ji-Jung. The artist collective works with various media, including video installation, animation, internet information, and game engine, with which they produce works of visual art. Recently, their practice has focused on collecting large numbers of online data, which are translated into contemporary signs and reassembled in game engine, constructing a virtual online ecosystem in their work.

Simple Noodle Art is an art collective founded by Chen Zi-Yin and Chuang Hsiang-Feng in 2019. They utilize diverse media, including installation, video, net art, photography, and AI, to create their work. Coming from the background of art and information respectively, they are both interested in the interaction between technological products and people, as well as how such interaction changes and impacts lifestyles. Through interdisciplinary thinking, they aim to create works that are like a simple bowl of noodles, which has simple ingredients but an amazing taste.

Lin Cheng-Yu (b. 1996, Chiayi) is now studying in the MFA Program at the Department of Fine Arts, Taipei National University of the Arts. His practice focuses on the push and pull between the body and video media occurred when contemporary people watch videos. His works are constituted of installations that interact with the audience, along with collages of different video works (including films, computer software, applications on smartphones, and other interfaces), through which he explores the relationship between the media body and the physical body that influence each other in the works, and extends such relationship into a different kind of perceptual experience.

Annie Lee (b. 1993, Kaohsiung) used to run the Bansu House, a creative space opened for different possibilities. She graduated from the Department of Material Arts and Design at the Tainan National University of the Arts and is currently enrolled in the Graduate Institute of Transdisciplinary Art at the National Kaohsiung Normal University. Lee likes to explore what sits at the heart of her creative desire and then searches for a corresponding medium to work with. Earth, clay, the body, and fibers are some of the materials that she often works with. Since 2015, she has been using art to respond to important events and places she associates with. Each of her artworks does not begin with a specific material, but she tries to find the corresponding media through various reflections and seeks to focus on the materials’ notable characteristics and to appropriate and translate them.

Founded in 2020, ExiStone Workgang is formed by residents of Magang fishing port currently facing relocation as well as arts and cultural workers from different fields. Its core members include Lin Kuei-Miao, Ho Mu-Yun, and Chen Yan-Liang, whose cultural practice focuses on connecting sites of events with the masses as a way to engender the public through a collaborative method that emphasizes on organic assembly and urban-rural connection.

Li Cheng-Liang (b. 1986, Keelung) graduated from the Taipei National University of the Arts in 2013, where he pursued a degree in the Department of Media Art MFA program. Early in his career, Li and his friends founded “Fuxinghen Studio,” where they embraced a non-conventional approach to spark new possibilities for artistic creation. Since 2013, he has been based in Tainan, where he has explored a wide range of creative media. By incorporating handicraft into his visual art, Li has developed a unique aesthetic that blends art and craft seamlessly. His primary research areas include three-dimensional modeling and spatial environments, and he draws inspiration from everyday life to provide insightful commentary on living conditions.

Tsai Pou-Ching (b. 1986, Chiayi) specializes in video and installation art. In recent years, his work has focused on exploring biology-related studies and translating his discoveries into art using techniques like misuse and fabrication. Through his art, Tsai seeks to investigate the complex relationships between humans and animals, reimagining biological research through an amateur lens, which diverges from traditional scientific methods. By doing so, he offers a fresh perspective on the human-animal relationship.

Aerotropolis Stories Live In Dayuan was co-initiated by Wang Cheng-Hsiang and Lin Yan-Xiang in 2022.

Wang Cheng-Hsiang started the Chungli Deepee Meet Place in 2021, a cultural action that takes place at the site of Chungli’s urban planning zone. The project seeks to expose the fading cultural landscapes caused by the zone expropriation for the development of the Chungli Sports Park and the invaluable emotions, history, and culture that are nonchalantly erased along the way, which is commonly the case with the many zone expropriation projects in Taiwan.

Lin Yan-Xiang’s recent projects include the series If mountain has deities, which is based on studies on the Lord of the Land (Tudi Gong) that departs from animism beliefs and practices and concentrates on the areas in New Taipei City and Taoyuan; Copy Island; and Empty Aerotropolis that is based on the zone expropriation taking place in the artist’s hometown, Dayuan.

The two artists continue to persistently follow and write about the dramatic changes happening to the urban planning development site of the Taoyuan Aerotropolis. Incorporating both artistic and cultural features, they conduct tangible actions to explore and question various issues related to Taoyuan, including urban development, local culture, and human-land relationship, responding to the peculiar anomalies observed at development construction sites, with the objective of using their art action, documentation, and practice to bring their long-term observations into the public eye.

Liao Chao-Hao (b. 1990, Taichung) uses pulp to simulate artificial landscape found in Taiwan, ranging from pieces of tetrapod commonly found along seacoasts, retaining walls erected along a mountain road, a vegetation slope for conserving soil and water, or Jersey barriers on the roadside. Through simulating soil, rock and concrete using pulp, Liao aims to move outdoor “landscape” indoors, and attempts to create solid, protective structures with the soft, hand-made material. These ordinary objects made of cement have become a shield against nature’s forces. Yet, the mottled traces of paper and the internal wooden stands visible from the outside also hint at their fragility to nature’s power, which conveys the artist’s reflection on artificial development in relation to the issues of natural environment.

Artworks

vision 404
Burrs and Branches Stuck in the Eyes Series
Petite Chaos Series, Great Fortune Series
Midnight Playground
Feel your information flow and body through this shell layer of the body
Vast Extension
The Dwelling of Collaborators
Data-Verse Taipei 02
MORE

CLOSE

CLOSE

Notice Copyright & Privacy Policy

Copyright Notice

MOCA Taipei holds a high respect for the copyright of others, and it is stated in MOCA Taipei’s terms of service that any user of the museum’s service shall not infringe on others’ copyright. Therefore, MOCA Taipei hereby ask all our users to respect others’ copyright. If you think any of the content on MOCA Taipei’s website or anyone using MOCA Taipei’s service has infringed on your copyright, we strongly advice to you to file a complaint according to the regulations stated below, and MOCA Taipei customer service center will initiate related procedures as soon as possible.

  • Regulations Governing the Report on Copyright Infringement

    If any of the content on MOCA Taipei’s website or anyone using MOCA Taipei’s service has infringed on your copyright, please fill out the “Copyright Infringement Notice,” provide the information and statements listed on the notice, and send them to MOCA Taipei via fax.

    1. Signature of the copyright owner or the signature of the proxy of the copyright owner; document proving the ownership of the copyright and the copyrighted contents, i.e. the cover and related pages of a publication, print-outs of webpage contents and the URL.

    2. The webpage and URL containing the contents that cause the copyright infringement.

    3. Your contact address and phone number.

    4. A written statement stating that you believe the use of the webpage content is without the consent of the copyright owner, the proxy of the copyright owner, or the authorization of the law.

    5. A written statement confirming that the information you state in the notice is truthful and you hereby make the statement as the copyright owner or the proxy of the copyright owner.

  • MOCA Taipei’s principle of handling the report on copyright infringement:

    1. MOCA Taipei will remove the webpage content claimed to cause the copyright infringement as soon as possible after receiving your notice, and will inform the user about the infringement via email. If the said user objects to said infringement, MOCA Taipei can provide your name, email or phone number to said user so that direct communication can be achieved to resolve the dispute.

    2. According to MOCA Taipei’s privacy policy and related regulations, MOCA Taipei is only allowed to provide a user’s personally identifiable information to a third party by the request of the law or a governmental agency unless said user agrees or for the purpose of providing a service. Therefore, when you file a report, MOCA Taipei will only remove the contents causing the copyright infringement, and will not provide you any personally identifiable information of said user. If you wish to obtain the user’s information, a legal proceeding must be filed at the District Prosecutor’s Office or the Criminal Investigation Bureau, who will issue an official letter to MOCA Taipei requesting the user’s information. In the case, MOCA Taipei will comply accordingly.

Privacy and Data Protection Policy

MOCA Taipei values user’s privacy very much and has implemented the following privacy and data protection policy, which is listed below for your reference.

The privacy and data protection policy includes MOCA Taipei’s management of personal identifiable information collected when providing users the website service as well as MOCA Taipei’s management of any personal identifiable information shared between the museum and our business partners.

The privacy and data protection policy is not applicable to any enterprise other than MOCA Taipei, nor does it apply to those that are not staff or managements employed by MOCA Taipei.

When you register a MOCA Taipei account, use MOCA Taipei’s products or services, browse MOCA Taipei’s website, take part in related promotional activities or gifting programs, MOCA Taipei will collect your personal identifiable information. MOCA Taipei is also allowed to obtain said information from our business partners.

When you register a MOCA Taipei account, you will be asked to provide your name, email, date of birth, sex, work title, field of profession and personal interests. Once your registration is successful and the account is successfully logged into for the use of our service, we will be able to recognize you.

MOCA Taipei also automatically receive and record the server data on your browser, including IP address, the information in MOCA Taipei’s cookie and the record of visited webpages.

MOCA Taipei uses the information for the following purposes: to improve advertisement and webpage contents provided for you, to complete your request for a certain product and to notify you about a special event or new project.

MOCA Taipei will not sell or loan your personal identifiable information to anyone.

In the following circumstances, MOCA Taipei will provide your personal identifiable information to a governmental agency, an individual or a company.

To obtain your consent before sharing the information with other individuals or companies.

To provide a requested product or service, which requires sharing your information with other individuals or companies.

To provide a requested product or service, which requires providing the information to companies providing the product or service on behalf of MOCA Taipei. (Without our notice in advance, these companies will not have the right to use the personal information we provided for purposes other than provide a product or service.

To abide the law or the request of a governmental agency.

When an action on the website violates MOCA Taipei’s terms of service or the specific user’s guidelines of a product or service.

Other information required to be disclosed by the Computer-Processed Personal Data Protection Law or other regulations.

To protect user’s privacy and personal data, MOCA Taipei is not allowed to look up other user’s account information for you. Should you need to look up someone else’s information due to legal issues, please contact the police to file a legal proceeding. MOCA Taipei will fully cooperate with the police to provide necessary information to assist with the investigation and solve the case.

MOCA Taipei will access your computer setup to extract MOCA Taipei’s cookie.

MOCA Taipei allows the companies that place advertisements on the museum website to access your computer setup and extract cookies. Other companies will follow their own privacy and data protection policies to use cookies instead of MOCA Taipei’s policy. Other advertisers or companies are not allowed to extract MOCA Taipei’s cookie.

When MOCA Taipei conducts tasks related to our products and services, web beacons are used to access our website network to use cookies.

MOCA Taipei’s users have the right to revise their personal MOCA Taipei account information and set up personal preferences anytime, including the option as to whether you would like to receive notifications about special events or new products.

Based on the Computer-Processed Personal Data Protection Law, when the purpose of using your personal information expires, MOCA Taipei will provide the service to delete your account and data. However, to do so, please contact us via telephone.

MOCA Taipei adopts a method that conforms to the Computer-Processed Personal Data Protection Law to protect your personal information.

To protect your privacy and safety, the data in your MOCA Taipei account will be password-protected.

Under some circumstances, MOCA Taipei uses the standard SSL security system to ensure the safety of data transmission.

MOCA Taipei has the right to revise our policies at any time necessary. When the regulations regarding using personal information are extensively revised, public announcements will be made on our website to inform you about the revisions.

Please tell us your ideas and suggestions here.