Since 2007, Yao Jui-chung has been developing a distinct style of shanshui painting that challenges the literati’s cultural authority on the genre. Using ink pens, acrylic paint, and gold leaf on thick handmade paper, the artist emulates the motifs and compositions of master landscape works but instills them with a set of aesthetic principles that subvert literati dogma. While traditional landscape painting values simplicity, restraint, and the mediation of the painterly subject’s pure essence, Yao’s shanshui celebrates decor, minimizes negative space, and features a fleshy mountain style that
Vandy Rattana’s debut show in Taipei is an ambitious curatorial effort to address the instability of historicity through a selection of the artist’s complete and incomplete works from the past seven years. Rattana’s work has consistently probed Cambodia’s psychological landscape after the Khmer Rouge. The exhibition title, “Working-Through: Vandy Rattana and His Ditched Footages,” compares the artist’s practice to the psychoanalytic approach of exploring specific meanings across various contexts. The show moves beyond Rattana’s reputation as a photographer and filmmaker and puts equal weight on
In a dark, mazelike gallery, a luminous network of flat-screen TVs, digital picture frames, projectors, and iPads serve as receptors for a selection of filmic representations. Screening an international array of thirty-six videos, documentaries, and installations incorporating the moving image, this exhibition presents a survey of spiritual practices that address the ghostly nature of cinematic images and the modern history of specters.
At the entrance of the museum Lee Ji-Hong projects a faint image of himself cleaning the reception area’s window, in the piece September’s Work, 2014. With the