The Weight of Multiple Universes

2021 / 11 / 20 Sat.

2022 / 01 / 23 Sun.

10:00 - 18:00

  • Curator

    HUANG YEN YING

  • Aritsts

    WANG CHUNG-KUN
    CHIANG CHUNG-LUN
    LIN CHIEN-CHIH
    CHANG HUEI-MING
    KUO I-CHEN
    CHIAO SHENG-WEI
    LIAO CHIEN-CHUNG
    SU HUI-YU

About

Address

“What is our address in the universe?” This was a popular topic discussed on the Internet recently. The question has resulted in many interesting answers, which also indirectly showed people’s wide array of imagination towards the universe. When we refer to our familiar everyday experiences to try to grasp a particular circumstance, a wrangling between the unfamiliar and the familiar then ensues. The correct answer to the Earth’s cosmic address is said to be: “Universe-Laniakea Supercluster-Virgo Supercluster-Local Group-Milky Way Galaxy-Orion Arm-the Solar System-The Third Planet—Earth.” Each of the scientific terms listed is based on an allusion, but what really resonates with us, no matter how miniscule the resonance may be, is likely due to some correlating daily experiences that have guided our hearts to a cognitive process that’s far far away.
The Correct Gauge

The title of the exhibition, The Weight of Multiple Universes, alludes to questions on such experiences of perceptual knowledge. The concept of the “universe” entails spatial and temporal factors. It encompasses everything that’s in the celestial skies, things that are unknown and difficult to gauge. Weights and measures refer to the fundamental physical quantities of length, mass, and weight. In order to develop statistics based on this foundation, the correct gauge, an instrument that measures these units, then becomes quite crucial. In astronomy, light-year is a common unit. It may be difficult for us to imagine just how far 9.46 trillion kilometers (9.46×10 ¹ ² km) is, which is the distance that light travels in a vacuum in one year. The concept is still hard to comprehend even if we use the length of Taiwan, which is 394 km, as a gauging reference point. However, it becomes easier for us to visualize when a different method of measuring is used, for instance: “It takes light an average of around 8 minutes to travel from the Sun to the Earth.” Therefore, the Sun we see on Earth was emitted from the actual Sun 8 minutes ago, and we see the Moon not as it is but as it was about 1 second ago. Based on this, things seem to become easier for us to grasp.

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Curator & Artists

HUANG YEN-YING
WANG CHUNG-KUN
CHIANG CHUNG-LUN
LIN CHIEN-CHIH
LIAO CHIEN-CHUNG
KUO I-CHEN
CHANG HUEI-MING
CHIAO SHENG-WEI
SU HUI-YU

Huang Yen-Ying (b. 1981, Pingtung, Taiwan) holds a bachelor’s degree in art from the National Taiwan University of Arts and a master’s degree from the Graduate Institute of Plastic Arts, Tainan National University of the Arts. His major solo exhibitions include “Stop right beside god” (VT Artsalon, 2013); “Love Won’t Wait” (Inart Space, Tainan, 2010); and “Shine Ground” (VT Artsalon, 2010). He works creatively in the formats of painting, sculpture, photography, video, and installation. As a selectee of Taiwan’s Ministry of Culture’s international visual arts talent exchange program, Huang participated in residencies between the years 2009 and 2012 at The International Studio & Curatorial Program (ISCP) in New York and Cité internationale des arts in Paris. In 2012, he was sponsored by the Asian Cultural Council (ACC) to participate in the residency program at Cemeti Art House, Indonesia. Huang specializes in semiotic transformation between form and meaning, through which he attempts to create a meaningful medium where multidimensional ways of thinking can be exercised. He has published a photography monograph, titled President, and founded “Own Publishing” in 2016. He is the chief curator of “Electri City—TaiPower Public Art Festival” for 2019 and 2022.

Wang Chung-Kun (b. 1982, Kaohsiung, Taiwan) has been dedicated in art that combines kinetic machine and sound since 2006. The studies of sound-making machines and treating the audience as sound energy have always been at the core of his creative practice. He interprets sound as a form of information, whereby the process of transmitting, coding, and decoding information can all lead to extended expressions of various media. With how to carry out more instinctive engagements constantly contemplated, simple and fun experiences are created, and through experimenting with different approaches, members of the audience are able to transmit “the intrinsic nature of sound” through a participatory process.

Chiang Chung-Lun (b. 1979, Taichung, Taiwan) specializes in using a wide array of creative formats to contextualize his personal history. His oeuvre focuses on using everyday banalities to express landscapes of art, with daily life and art practice engaged to prompt mutual interactions, unveiling the minimalistic energy of everydayness which differs from the spectacular. He co-founded the art group, Wonder Boyz, with Huang Yen-Ying and Su Yu-Hsien in 2009, as they use relaxed, playful, humorous, and absurdly nonsensical approaches to engage in art and to eradicate and deconstruct art’s barriers.

Lin Chien-Chih (b. 1985, Yunlin, Taiwan) uses wood as his primarily creative medium. His earlier work focused on linking languages of form with consumer culture. In recent years, he has shifted his focus to exploring materials left over from production processes.

Liao Chien-Chung (b. 1972, Taipei, Taiwan) began his art career as a member of the art collective, Nation Oxygen. He then later began to focus on his own art series, Surface Engineering Method, which is both the title of the work and a technique, where the artist seeks to use methods of modeling and mimicking to superficially simulate realistic things. Through his playful approach and meticulous technology, the work explores the power relations between authenticity and simulation.

Kuo I-Chen (b. 1979, Kaohsiung, Taiwan) uses various media to create art and has developed a unique language that’s poetic and situational. His work focuses on the environment and the ephemeral and ever-shifting psychological conditions constituted by the inner sense of belonging, as the artist explores life’s intrinsic nature through non-existent circumstances.

Chang Huei-Ming (b. 1984, Taichung, Taiwan) focuses on contemporary images and physical perceptions and specializes in new media, kinetic and spatial installations, as he works across disciplines of theater and multimedia. He creates artworks that explore intrinsic issues related to mirrored images/images and corporeality/space/speed. Through an approach that adds vibration to objects in unusual ways, Chang seeks to awaken aspects that people tend to overlook when it comes to our ability to see and highlights experiences connected to temporality and pace that are often unnoticed.

Chiao Sheng-Wei (b. 1979, Taipei, Taiwan) specializes in mixed media sculptural installation, and in recent years, he has shifted his focus to painting. He creates patterns using black and white lines to depict various contemporary states of detachment, presenting imageries of imbalance through weaving together symbolic elements. He formed the collective, Euglena Program of Art, with artist Lu Mu-Jen in 2011. Euglena (a genus of single-celled flagellated microorganisms) suggests life’s most primal state, which has evolved into a wide array of peculiar forms of life. This concept sets the foundation of their impromptu creative approach. Working without drafts or sketches, the two artists see the creative process as a process of engaging in dialogues through the use of images. Similar to the interdependent and complimentary systems of life dwelling in nature, the images that they create are also like creatures in nature, which naturally reproduce and grow or go into hiding and disappear.

Su Hui-Yu (b. 1976, Taipei, Taiwan) uses video, photography, and installation art to explore the relations between memories, body politics, martial law, and ideology formation. Su uses his way of art to engage in different interpretations for matters from the past, the unfinished, the forbidden, and the misunderstood, with new realizations thereby acquired or assertive ways of seeing history and face the future opened up. Future Shock was supported with a grant from the Kaohsiung Film Archive and was shown for the first time in a three-channel video format at the “Wuzhen International Contemporary Art Exhibition”, followed by exhibitions in 2019 at the “Bi-City Biennale of Urbanism/Architecture”, “Biennale Chroniques”, Marseille in 2020, and the “Singapore International Film Festival” in 2021.

Artworks

Swing Flute #2
Black Dream No.1
Black Dream No.2
Black Dream No.3
Black Dream No.4
Black Dream No.5
REC End
Vanguard 1
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