PRINT December 2016

Du Keke

View of “Discordant Harmony,” 2015–16, Hiroshima City Museum of Contemporary Art. Photo: Kazuhiro Uchida.

1 “DISCORDANT HARMONY” (KUANDU MUSEUM OF FINE ARTS, TAIPEI; CURATED BY CHIEN-HUNG HUANG, YUKIE KAMIYA, SUNJUNG KIM, AND CAROL YINGHUA LU) Asia may not actually exist. Such is the provocation suggested by this exhibition’s oxymoronic title and elaborated in the curators’ statement. Unfolding across three venues over two years and featuring a shifting constellation of works by artists from Korea, Japan, mainland China, Taiwan, and Hong Kong, the show shattered any simplistic notion of the region as a cohesive cultural entity—indeed, exploded the term harmony itself, which is frequently deployed as the key word for any discussion of Asia’s social and political stability. Viewers were left asking themselves whether Asia is a site, a method, or a palimpsest of images and dialogues in perpetual flux.

Co-organized with the Goethe-Institut; Art Sonje Center, Seoul; and Hiroshima City

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