The artist didi (b. 2006) is an emerging artist living and working in Taipei. Her practice focuses on exploring the relationship between the indoor space and the body, as well as challenging the concept of rheology in contemporary life. In correspond to the book launch, there will be an exhibition showing a selection of works featured in the book.
The 500 years exhibition included three interrelated bodies of work that take the lifespan of a plastic bag as a historical period. Instead of looking forward, however, it looks back to link a period of history that has defined the contemporary age, from the earliest colonisation of Latin America, the Renaissance in Europe and the subsequent modernisation, industrialisation and globalization that pervade contemporary life
Lily, it represents home, it represents motherhood, or years of memories in the living room. Assembling such emotions and memories, yet it has become consumptive merchandise solely under the manipulation of the commercial market. Massive amounts of lilies have been sold as gifts or decorations. Stamens, which have been removed intentionally in order to keep their freshness, stacking up behind people’s memories tranquilly.
This exhibition focuses upon the long-term relationship between Taiwan and Japan, as exemplified through the Taipei Botanical Garden and the Japanese house within it, to consider how other places have shaped Taiwan, and also how Taiwan is imagined - fictitiously or otherwise - by those from other places or people.
2014/5/12 n 2014, the third year after the incident of 311 Fukushima nuclear disaster, with the leaking of radiation and nuclear waste issues still remain unsolved, which alters the political map of the leading countries in Asia. In order to continue its political influences, the governments and multinational enterprise adapt neoliberalism more closely as its consequences.
While abandoned houses and ruins are fascinating subjects, the artist goes beyond spectator. Matalon resists the role of spectating recorder, and disturbs the trace of time in these spaces by rearranging objects, alluding to existence and memory in recreating a “still here” presence in these abandoned buildings.
The new series ‘Floaters’ were ﬁrst photographed in Taipei in 2012, when Hosokura participated in the Artis In Residency program at Kuandu Museum. The images were photographed with color ﬁlms, then printed through the process of tintype. The tintype prints were digitally scanned again and ﬁnally produced as type-C prints, which will be in view at the exhibition.
The materials are chosen by instinctive criterias, but if I had to explain them, I would say that on one hand I am (almost inevitably) in a recycling perspective, and on the other that I choose a material for his “reality level“, which has to be high enough. For instance, I consider wood to be more “real“ than paper or cardboard (not used) as it is less moldable, less easily accessible, thus more efﬁcient. Paint for example is generally avoided, as its “thickness“, or “reality level“ is very small on this instinctive scale.'
The movie itself is used as a mean by En Ning to traverse through spatial and temporal boundaries; it also acts as a tool to select and extend her imagination, claiming these scenes as hers. Similarly, Wu Ma’s choice of portraying his characters in traditional Chinese costumes suggests an attempt to retrieve a certain archetypal period of time that is believed to be long gone.
Face to Face comprises work by second year students on the BA (Hons) Photography course in the Faculty of Arts at the University or Brighton. This exhibition demonstrates a range of photographic practices that take place on our course. These include critical, explorative and experimental works focused upon concepts such as archive, allegory, identity, narrative, performance and place, as well al more traditional works focused upon issues of social, cultural and historical concern.
With a title inspired by a widely utilised flexible economic management model responsive to the needs and demands of the global market which is intended to be implemented not only at the level of the factory floor but to extend to the nation state itself, The Breathing Factory, critically addresses the role and representation of labour and global labour practices in this newly industrialised landscape as manifest in manufacturing and technology.