Chinese literati of 700 years ago were not much different from their contemporary counterparts. They trained in literature and philosophy, "loved good houses, nice clothes, delicacies, night life, going to entertainments, collecting vintage items ..." Ming dynasty prose writer Zhang Dai (
As Literati Aesthetics in the 21st Century, (
The literati painters in the past set themselves apart from those producing meticulously realistic works for the imperial academy. While earning their bread on government jobs, they sublimated their longing for an idyllic life away from the treacherous world of politics to express themselves in ink and paper.
PHOTO COURTESY OF JEFF HSU'S ART
The works of 10 of the contemporary artists in the exhibition constitute a wide range of genres, from oil painting, furniture/sculpture, installation, to traditional ink painting and calligraphy. As ancient literati artists enthused about their moods and enjoyments in the tranquility of their homes, today's literati artists are more self-absorbed and express that through depicting the apparently uneventful surroundings of their lives.
"The transition into a new century sounds an alarm for traditional literati. Paper fans [a favorite medium in the past] have been replaced by air conditioners. The prevalence of computers made ink brushes useful only for a few calligraphy die-hards. The onslaught of technology and a transformed, Westernized society are testing the traditional literati lifestyle," writes curator Michael Chen (
At first glance, the works are all flowers and mountains, but in their respective choice of media and styles, they are all attempts to solve the traditional/modern and Chinese/Western conflicts.
Lin Chuan-chu (
Chen Kun-de (
Extension of the Unusual combines two studies of popular Sung dynasty subjects -- a gentleman on a horse and a dancing lady. What prevents the Sung man and the woman from catching sight of each other is an expanse of meadow on top of today's Yangmingshan. A stray zebra also betrays the post-modernist era in which Chen made the work.
Cheng Tzai-dong's (
"Literati Aesthetics in the 21st Century" will run until Oct. 5 at Jeff Hsu's Art, B1, 1, Ln 200, Sungteh Rd. (台北松德路200巷1號B1).
In Taiwan there are two economies: the shiny high tech export economy epitomized by Taiwan Semiconductor Manufacturing Co (TSMC, 台積電) and its outsized effect on global supply chains, and the domestic economy, driven by construction and powered by flows of gravel, sand and government contracts. The latter supports the former: we can have an economy without TSMC, but we can’t have one without construction. The labor shortage has heavily impacted public construction in Taiwan. For example, the first phase of the MRT Wanda Line in Taipei, originally slated for next year, has been pushed back to 2027. The government
July 22 to July 28 The Love River’s (愛河) four-decade run as the host of Kaohsiung’s annual dragon boat races came to an abrupt end in 1971 — the once pristine waterway had become too polluted. The 1970 event was infamous for the putrid stench permeating the air, exacerbated by contestants splashing water and sludge onto the shore and even the onlookers. The relocation of the festivities officially marked the “death” of the river, whose condition had rapidly deteriorated during the previous decade. The myriad factories upstream were only partly to blame; as Kaohsiung’s population boomed in the 1960s, all household
Allegations of corruption against three heavyweight politicians from the three major parties are big in the news now. On Wednesday, prosecutors indicted Hsinchu County Commissioner Yang Wen-ke (楊文科) of the Chinese Nationalist Party (KMT), a judgment is expected this week in the case involving Hsinchu Mayor Ann Kao (高虹安) of the Taiwan People’s Party (TPP) and former deputy premier and Taoyuan Mayor Cheng Wen-tsan (鄭文燦) of the Democratic Progressive Party (DPP) is being held incommunicado in prison. Unlike the other two cases, Cheng’s case has generated considerable speculation, rumors, suspicions and conspiracy theories from both the pan-blue and pan-green camps.
Stepping inside Waley Art (水谷藝術) in Taipei’s historic Wanhua District (萬華區) one leaves the motorcycle growl and air-conditioner purr of the street and enters a very different sonic realm. Speakers hiss, machines whir and objects chime from all five floors of the shophouse-turned- contemporary art gallery (including the basement). “It’s a bit of a metaphor, the stacking of gallery floors is like the layering of sounds,” observes Australian conceptual artist Samuel Beilby, whose audio installation HZ & Machinic Paragenesis occupies the ground floor of the gallery space. He’s not wrong. Put ‘em in a Box (我們把它都裝在一個盒子裡), which runs until Aug. 18, invites