Wang Yu-Lin & Chou Chi-En: Things and Objects
A Thousand Ways to Objecthood provides a perceptual outlet, inviting the audience to break away from the ordinary and discover more 鈥渦nfamiliar spaces.鈥� Engaging with 鈥渙bjecthood鈥� goes beyond leisurely observation; it involves understanding the fundamental essence of the world, its contents, and existence itself鈥攆luid, fleeting, and transient. As visitors navigate the gallery rooms from the first to the third floor, they partake in the deconstruction and emergence of objects, transitioning between various contexts. In today鈥檚 rapidly changing environment, where bodily memories are constantly eroded, maintaining a sense of calm and poise seems achievable only by flowing with the change and embracing the peculiar. This exhibition uses 鈥渙bjects鈥� to weave a narrative for viewers. It showcases the work of six artists who reinterpret elements from life, striving to capture, symbolize, reveal, or evoke the feelings and spirituality that lie within. As audiences recognize the relationship between the artists and these objects鈥攂e it intimate or neutral鈥攖hey experience various pathways to understanding objecthood, becoming enveloped in a realm of fragmented signs. The first floor showcases the works of Taiwanese artist Chou Chu-Wang and Romanian artist Dan M膬ciuc膬. Their landscapes merge figurative and abstract styles, focusing not on natural scenes but on illusory perspectives that reflect their personal realities, unveiling the hidden impacts of time and the true essence of objects through their portrayals of illusion. On the second floor, the gallery features contributions from Korean artist Rho Eunjoo and Taiwanese artist Chou Yu-Cheng. They depict what they refer to as 鈥渁 resemblance of certain things,鈥� evoking a sense of being 鈥渦biquitous yet non-existent.鈥� They challenge traditional concepts and structures, utilizing free association to highlight the ambiguity and neutrality of objects. The third floor displays paintings by Japanese artist Ai Makita alongside photographic works by Taiwanese artist Wu Mei-Chi. Their artworks personify objects, igniting curiosity about the relationship between technology and human society, as well as the division between the artificial and the natural. By interpreting objects as a medium, the exhibition reveals a space where the meanings of existence and freedom converge as bodily perception has been continuously expanded through technological advancements in contemporary time.
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A Thousand Ways to Objecthood provides a perceptual outlet, inviting the audience to break away from the ordinary and discover more 鈥渦nfamiliar spaces.鈥� Engaging with 鈥渙bjecthood鈥� goes beyond leisurely observation; it involves understanding the fundamental essence of the world, its contents, and existence itself鈥攆luid, fleeting, and transient. As visitors navigate the gallery rooms from the first to the third floor, they partake in the deconstruction and emergence of objects, transitioning between various contexts. In today鈥檚 rapidly changing environment, where bodily memories are constantly eroded, maintaining a sense of calm and poise seems achievable only by flowing with the change and embracing the peculiar. This exhibition uses 鈥渙bjects鈥� to weave a narrative for viewers. It showcases the work of six artists who reinterpret elements from life, striving to capture, symbolize, reveal, or evoke the feelings and spirituality that lie within. As audiences recognize the relationship between the artists and these objects鈥攂e it intimate or neutral鈥攖hey experience various pathways to understanding objecthood, becoming enveloped in a realm of fragmented signs. The first floor showcases the works of Taiwanese artist Chou Chu-Wang and Romanian artist Dan M膬ciuc膬. Their landscapes merge figurative and abstract styles, focusing not on natural scenes but on illusory perspectives that reflect their personal realities, unveiling the hidden impacts of time and the true essence of objects through their portrayals of illusion. On the second floor, the gallery features contributions from Korean artist Rho Eunjoo and Taiwanese artist Chou Yu-Cheng. They depict what they refer to as 鈥渁 resemblance of certain things,鈥� evoking a sense of being 鈥渦biquitous yet non-existent.鈥� They challenge traditional concepts and structures, utilizing free association to highlight the ambiguity and neutrality of objects. The third floor displays paintings by Japanese artist Ai Makita alongside photographic works by Taiwanese artist Wu Mei-Chi. Their artworks personify objects, igniting curiosity about the relationship between technology and human society, as well as the division between the artificial and the natural. By interpreting objects as a medium, the exhibition reveals a space where the meanings of existence and freedom converge as bodily perception has been continuously expanded through technological advancements in contemporary time.
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