In recent years, the subject of Guo Kai’s landscape paintings has gradually transitioned, from the deconstruction and reconstruction of traditional architecture nestled within a natural landscape to the landscape itself, specifically mountains, and the visual and symbolic significance mountains hold. As an architecture professor at Hefei University of Technology, Guo often accompanies students to draw from life from the abundance of heritage architecture in the southern regions of Anhui province. However, in recent years, the classic motifs of Chinese architecture, such as curving rooflines and grand archways seldom appear on his canvases, and are instead replaced with increasing abstract ensembles of mountains, from life drawing trips that he takes alone deep in the reaches of famous mountains like the Yellow Mountain. In terms of composition, the absence of a formal subject allows him to take complete and personal command of the canvas, where the faint contours of mountains become an elegant system of the artist’s symbols and gestures. With his muted palette and images frozen in time, this shift in subject has given Guo Kai a sense of belonging or attachment at the very heart of traditional Chinese landscape painting – the mountains.
Yi Art Institute 3F, Elephant Duo Art District, Lvzhoudong Road, Shushan District, Hefei August 8 – September 7, 2020 Reception: Saturday, August 8, 3:00 pm Hours: 10:00 am – 8:00 pm
Gallery Touring Exhibition January 9 – March 9, 2021 Hours: Tuesday – Saturday 11:00 am – 6:00 pm
Liu Kuo-sung December 21, 2019 – May 31, 2020 Kaohsiung Museum of Fine Arts
Liu Kuo-sung, Moon Walk, 1969
Liu Kuo-sung, Blue Moon Landscape, 1969 – 1990
Liu Kuo-sung, Wintry Mountains Covered with Snow, 1964
Liu Kuo-sung, Mountain Beyond Mountains, 1968
Liu Kuo-sung, Valley in the Shade of the Darkness, 1979
Liu Kuo-sung, Rising Clouds, 1989
Liu Kuo-sung, Ripples: Jiuzhaigou Valley Series No. 12, 2001
To the Moon exhibition consists of 64 works by the avant-garde contemporary ink painterLiu Kuo-sung (Liu Guosong). The works on display are classified by subject matter into Calligraphic Abstraction, Space, Water Rubbing, Steeped Ink, and Tibetan Suite series; the dates these works span the half-century period from 1964 to the present. The exhibition not only provides an in-depth look at the artist’s personal creative history, but can be also be seen as historical retrospective of the development of art in Taiwan
Liu Kuo-sung’s artistic style was forged during a period of roughly six years in the 1960’s. At that time, he used abstract art concepts to develop a minimalist expressive approach to traditional Chinese ink painting, while also employing a downward-looking or bird’s-eye view perspective to create landscapes that seem to be viewed from the air. His nimble changes of viewing angle, large focal brushstrokes, and attention to detail give his ink paintings a distinctive style; his works of this type can be classified as belonging to his wild cursive abstract series.
On Christmas Eve in 1968, America’s Apollo 8 spacecraft gave the world a gift from lunar orbit—a photograph of Earth from the moon. Inspired by this photo and the movie 2001: A Space Odyssey, Liu Kuo-sung began furiously working on paintings featuring the sun, earth, moon, and their different phases. When the astronauts on Apollo 11 completed the first moon landing in 1969, this milestone in human history completely transformed the then 37 Liu Kuo-sung’s artistic vision. From this point on, his art spun off countless fantasies and variations; his works of this type are huge in number, and span different periods, but are generally classified as belonging to his well-known Space series.
At around the same time, Liu Kuo-sung continued to retain the essence of traditional painting, and neglected neither the physical principles of figurative, realistic painting, nor the imagined spaces of abstract freehand brushwork, which is attested by works from the various stages of his artistic career: His early novice stage, academy and painting association periods, his abstract wild cursive paintings and space paintings, and when he was making his later grand landscape paintings displaying innovative techniques—all of these periods displayed the fruits of his cumulative study and practice. The realism of some of his works attains an intensely micro focus, but also subtly conveying an abstract expressive spirit, while the overall image still consisted of a figurative landscape picture.
Liu Kuo-sung regards the deep elements of traditional culture with an artist’s curiosity. He employs experimental and innovative techniques in his ink paintings, which gives his works a sense of modernity and contemporaneity. In view of Liu’s deep gratitude and affection for Taiwan, the Kaohsiung Museum of Fine Arts has specially assembled a task team to gathered all available assistance to accomplish this meaningful exhibition, which commemorates the 70th anniversary of Liu Kuo-sung’s arrival in Taiwan, and have drawn on the artist’s lifelong indomitable spirit as a response to the courage and initiative shown by humankind’s first moon landing half a century ago.
Lin Pang-soong September 7 – October 31, 2019 Pingtung Art Museum October 10 – 20, 2019 Setouchi-city Art Museum
Lin Pang-soong, Island of Dreams, 2019
Lin Pang-soong, Hundred Year of May Fourth, 2019
Lin Pang-soong, Straight Up the Mountain, 2019
Lin Pang-soong, Grass Curtain, 2019
Lin Pang-soong, Bamboo, 2019
Lin Pang-soong, Golden Pebbles, 2019
Island Is Land of Dreams commemorates Lin Pang-soong’s departure from his hometown of Tungkang, Pingtung as a youth and celebrates his return in old age. The exhibition begins in 1975 in Lin’s student days away from home in Taipei at National Taiwan Normal University, and spans over forty years to his current works from all over the world, all of which is brought back for the retrospective at the Pingtung Art Museum, as well as the touring exhibition to Setouchi-city Art Museum in Japan.
The exhibition also features a on-going performance piece, in which Lin Pang-soong sends hand-painted Homebound Letters, from his travels back to his home in Taiwan. Lin has accumulated thousands of letters from dozens of countries for over ten years, and will continue this performance for as long as he can.
Xue Song, Peace Dove - Dialogue with Magritte, 2017
Xue Song, Tribute to Rothko No. 5, 2015
Xue Song, Two Tigers, 2010
Shanghai’s Long Museum (West Bund) presents Phoenix – Art from the Ashes, a large-scale solo exhibition by the artist Xue Song. Curated by Jeffrey Spalding, the exhibition features important works from Xue’s prolific artistic career spanning over thirty years, including his early ventures with fire and collage, as well as the artist’s current developments and progress with series such as Dialogue with Masters, History & Reality, City & Youth, Chinese Landscape, and Foam.
Long Museum (West Bund) 3398, Longteng Ave., Xuhui Dist., Shanghai
May 18 – July 14, 2019 Hours: Tuesday – Sunday, 10:00 am – 5:30 pm
Guo Kai September 15 – 25, 2018 National Sun Yat-sen Memorial Hall, Taipei
Installation View, National Sun Yat-sen Memorial Hall
Installation View, National Sun Yat-sen Memorial Hall
Installation View, National Sun Yat-sen Memorial Hall
Guo Kai, Misty Remote Village, 2018
Guo Kai, Tranquil Waters, 2018
Guo Kai, Empty Mountain Spring No. 1, 2018
Guo Kai, Empty Mountain Spring No. 2, 2018
Guo Kai, Quiet Fantasy No. 1, 2018
Guo Kai, The Impression of Huizhou No. 1, 2017
Guo Kai, Snow in Secluded Valley, 2017
Guo Kai, White Bridge No. 2, 2017
Guo Kai, Colors in Shadows, 2017
Guo Kai, Huizhou No. 2, 2015
Guo Kai’s brush captures the beauty of Huizhou, not in a solely realistic manner, but in response to his emotions, dreams, and personal perception of nature, in a balance between scenery and self, and also heaven and man. His landscape paintings are seemingly shrouded in layers of colorful dreamlike mist, in which blurry sunsets, aged trees, windy ponds, and vast mountains, sing with poetic resonance, giving the viewer a calming sense of spring. In his recent works, his brushwork, composition, and color have become even more refined and elegant, carrying the spirit of ancient masters, like a faraway breeze, into the golden age of the Song and Yuan Dynasties.
Elaine Suyu Liu, Curator
National Sun Yat-sen Memorial Hall, Wen Hua Gallery 505 Renai Road, Taipei
September 15 – 25, 2018 Reception: Saturday, September 15, 3:00 pm Hours: 9:00 am – 6:00 pm
Lin Pang-soong, Silent Sound of the Mountain: Atmosphere, 2013
Lin Pan-soong, Silent Sound of the Mountain: Etude, 2013
Lin Pang-soong, Gathering Stones, 2016
Lin Pang-soong, Quiet Reflection, 2011
In 2007 Lin (Apex) Pang-soong was awarded the National Award of Arts in the Fine Arts category, as the youngest recipient of the Fine Arts category as well as the first designer to in the award’s history. In his early years, Lin’s choice of vocation in design was a different path, and he recalls, “it was not an easy path, but it allowed me to see a different perspective in life; and because those who went down this path are few, I have the food fortune of being recognized.”
At halfway to a hundred, Lin met a fork in the road and shifted more time and energy towards his painting, which was another different path, and also one of great change. His success in the field of design plays both positive and negative roles on his art; he is driven by his reputation, which can sometimes be a burden. Fortunately, he has the spirit of the sea, in which “the sea encompasses a hundred rivers, it is great because of its capacity,” thereby encouraging him to forge another path.
Since his youth, Lin Pang-soong firmly walked his own path. From design to painting, he found endless inspiration and the sense of belonging in his native land. Like steady continuous drops of water piercing through stone, Lin’s adherence to his approach to painting, is in itself a form of art.
Lin Pang-soong January 14 – March 5, 2017 Fo Guang Yuan Art Gallery, Taichung March 18 – April 23, 2017 Fo Guang Yuan Main Art Gallery, Kaohsiung
Lin Pang-soong, Outside Radiance, 2016
Lin Pang-soong, Mountain Fans, 2016
Lin Pang-soong, Complete Freedom, 2016
Lin Pang-soong, A State of Being, 2016
Lin Pang-soong, Fascination of Rocks, 2015
Lin Pang-soong, Rocks Below the Water, 2015
Lin Pang-soong, Desert Rose, 2016
Lin Pang-soong, Spring Cometh, 2016
Lin Pang-soong, Peace & Joy, 2016
2007 winner of the National Awards of Arts by the National Culture and Arts Foundation, Lin (Apex) Pang-soong was the youngest recipient of the Arts category in the award’s history, at the age of fifty. Over the years, Lin often finds himself repeating the words “dot by dot,” as a way of self-encouragement through his meticulous series such as My Homeland, Island of Dreams, and Homebound Letters working with the image of Taiwan through pointillism. Lin consciously returns to the most foundational element in painting, the dot, and voluntarily invests his time and energy in piecing together the composition one dot at a time. Slowly and steadily like the beating of a drum or chanting of a sutra, Lin’s painting thereby crosses over into a form of meditation, where Lin develops a new and profound understanding of simplicity, such that a simple act, through repetition becomes great; and a great act, through repetition becomes simple.
Since 2007, Lin Pang-soong’s decade-long commitment to pointillism and the image of Taiwan has allowed him to harvest creative nourishment and cultural roots from his native land. So in facing his art, Lin is free and at ease, and through the thousands of intricately placed dots, the viewer captures a glimpse into Lin’s state of being.
Fo Guang Yuan Art Gallery, Taichung 65 Huizhong Road, Taichung January 14 – March 5, 2017 Reception: Saturday, January 14, 2017, 3:00 pm Hours: 10:00 am – 7:00 pm
Fo Guang Yuan Main Art Gallery, Kaohsiung 153 Xingtian Street, Kaohsiung March 18 – April 23, 2017 Reception: Sunday, March 19, 2017, 10:00 am Hours: 9:00 am – 5:00 pm
Hung Yi, Tuantuan & Yuanyuan, 2015, Yanqi Lake, Beijing
Hung Yi, Swan, 2015, Yanqi Lake, Beijing
Hung Yi, Swan, 2015, Yanqi Lake, Beijing
Hung Yi, Dachshund, 2015, Yanqi Lake, Beijing
Hung Yi, Three Little Pigs, 2015, Yanqi Lake, Beijing
Hung Yi Has become the leading Taiwanese sculptor in recent years, exhibiting at the Hakone Open-Air Museum in Japan in 2013 and at San Francisco’s City Hall in 2015. Following the recent exhibition at the National Taiwan Museum of Fine Arts in Taichung, Hung Yi has set his path on Mainland China, starting with Beijing; specifically, the stadium at Olympic Green, the Yangqi Lake International Convention and Exhibition Center with the APEC summit was held, as well as Ditan Park, also known as the Temple of Earth. This touring exhibition across Beijing marks Hung Yi’s first exhibition on the mainland, and is a joint collaboration between Guilin Yuzi Paradise and Loftyart Gallery.
Olympic Green, Beijing Olympic Village Street, Chaoyang District, Beijing January 1 – February 29, 2016
Yanqi Lake International Convention & Exhibition Center, Beijing 16 Yanqi West Road, Huairou District, Beijing January 1 – February 29, 2016
Ditan Park (Temple of Earth), Beijing Andingmen Outer Street, Dongcheng District, Beijing February 8 – 12, 2016
Chen Yufei, Ma Baozhong October 22 – November 19, 2013 National Chiao Tung University Art Center, Hsinchu
Chen Yufei, Hollow Man, 2012
Chen Yufei, Hurt, 2012
Chen Yufei, Insomnia, 2011
Chen Yufei, Fake Flowers, 2010
Chen Yufei, As id the Future is Unimaginable 3, 2010
Ma Baozhong, Criss-Cross: A Girl's Dream No. 1, 2013
Ma Baozhong, Criss-Cross: A Girl's Dream No. 4, 2013
Ma Baozhong, Ullrich Baez, 2012
Ma Baozhong, Transaction No. 1, 2012
Ma Baozhong, Transaction No. 3, 2013
In any post-modern society, especially in China today, one cannot help but feel somewhat apathetic or emotionally detached from the larger society. With the advancement of free press, mainstream media, and also social media, social problems have become more apparent to the individual. Also, individuals are less burdened with social or political restrain on their thoughts and beliefs. However, as some individuals dwell and reflect more freely upon their surrounding environments, they become less and less confident in their society. As a self-defense mechanism, these individuals, either consciously or unconsciously, are forced to emotionally detach themselves from the society. Thus, they feel a sense of dislocation; being estranged by their own environment.
From a brief job venture into Shenzhen in 1987, Chen Yufei felt the full force of China’s economic reform and transformation, as well as all of its social ramifications. Chen observed as the lives of those around him became absorbed by the sudden influx of capital. As discrepancies of wealth and power skyrocketed, lower echelons of society became prone to exploitation. While Chen himself is an intellectual, his sympathies lay with the everyday people. Unable to confront the social problems directly, he withdraws himself in becoming a passive observer through his art, with his ultimate subject matter being the common hardships of the lives known to him.
With China’s rise into global politics since the 1980s, global humanitarian issues have been brought to the attention of many keen Chinese observers, one of which is Ma Baozhong. Intrigued and genuinely concerned with contemporary social events, Ma uses his art as vehicles of reflection and contemplation, as well as commentary and critique. However, in his critique, Ma consciously removes himself from any obvious viewpoints, and seemly adopts the position of the neutral observer. He is forced to do so, in order not to further upset the tense political atmosphere surrounding him. Yet, his compositions are so powerful and cleverly constructed, the learned art viewer can carefully sense Ma’s commentary and critique.
Cheng Tsai-tung, Chu Youye, Hou Chun-ming, Huang Ming-che, Lin Pang-soong, Lin Wan-shih, Liu Dahong, Wu Jun, Yu Youhan September 20 – October 20, 2013 Shanghai Xuhui Art Museum November 22 – December 27, 2013 Cheng Shiu University Art Center January 8 – February 16, 2014 Cultural Affairs Bureau of Taoyuan County March 7 – April 27, 2014 Luodong Cultural Working House of Cultural Affairs Bureau of Yilan County
Yu Youhan, 2012.12, 2012
Huang Ming-che, Straight to Beijing, 2008
Cheng Tsai-tung, Cat and Rock, 2008
Lin Pang-soong, Listening to Rain, 2013
Wu Jun, Click Series: Landscape No. 8, 2012
Liu Dahong, Neighbors, 2013
Hou Chun-ming, Eight Generations of the Hou Clan: 1978, 2007
Lin Wan-shih, Misty Morning, 2013
Chu Youye, Floating Clouds on the River, 2012
Contemporary Art is a constantly developing and changing, especially on different sides of the Taiwan Strait. Although Contemporary Art on the Mainland developed significantly later than Taiwan, the drastic social and economic changes bolstered its incredible development in recent years. Sharing a similar culture and language, and yet separated by the Strait, the differences and similarities on both sides are comparable and remarkable.
In art, cross-strait exchanges, whether trade or exhibition, have always been on unequal footing. Due to the overwhelming size of the Chines population and economy, the accessibility of Chinese art as a whole, always been difficult to Taiwan. After the economic rise of China, most Chinese collectors prefer to limit their collections on domestic artists, and is therefore challenging for Taiwanese artists to enter the Mainland Market. In terms fo exhibitions, the number of Chinese artists and artworks exhibited in Taiwan is far greater than that of Taiwanese artists and artworks exhibited on the Mainland.
This Cross-Strait Contemporary Art Exchange Exhibition, Hui Aggregation brings together nine outstanding and unique Contemporary Artists from both sides of the Strait, and to tour in four museums and art centers in both Mainland China and Taiwan. The exhibition aims to promote a well-rounded exchange of Contemporary Art from both Mainland China and Taiwan, and encourage its development on both sides of the Strait.