Landscape by Chuan-Wei Ting

Taipei Cultural Center presents Landscape July 2- July 30, 2012 at Tenri Cultural Institute, New York curated by Josiane Lih-Huei Lai

郭英聲 QUO YING-SHENG •葉子奇 YEH TZU-CHI •陳建榮 CHEN CHIEN-JUNG 01

Content

Foreword

LANDSCAPE: Quo Ying-Sheng, Yeh Tzu-Chi, Chen Chien-Jung / Josiane Lih-Huei Lai

Landscape Dreams / Richard Vine

Misty Landscapes and Sweeping Vistas: Quo Ying-Sheng, Yeh Tzu-Chi, Chen Chien-Jung / Thalia Vrachopoulos, Ph.D.

郭英聲 Quo Ying-Sheng 20 24 28

葉子奇 Yeh Tzu-Chi Chronology

The Passing of Time．The Engravings of the World --The Sincerity in Yeh Tzu-Chi’s Oil Paintings / Hsiao Chong-Ray

Plates

陳建榮 Chen Chien-Jung 50 54 58

Foreword

The Taipei Cultural Center (TPECC) is the foreign office for the Ministry of Culture of the R.O.C. (Taiwan). It acts as a cultural bridge between Taiwan and the world, cooperating with artistic and cultural organizations and universities to bring Taiwanese artists and performing arts groups abroad for exhibitions, performances, film screenings, artist residency programs, major art festivals, and other cultural activities. In doing so, the TPECC aims to create a broader stage for Taiwanese artists, increase opportunities for dialogue with audiences as well as artists, and build mutual understanding between Taiwan and the world. In this exhibition entitled “LANDSCAPE”, each of the three artists offers the viewer a glimpse of the landscape of his own life journey: poetic, sometimes cold, and predictably immense. Nevertheless, these works are not just reflections of moods and specific moments in time, but of the artists’ entire philosophies of art. I would like to thank Quo Ying-Sheng, Yeh Tzu-Chi, and Chen Chien-Jung for participating in this exhibition, and to acknowledge Ms. Josiane L. H. Lai, the curator of “LANDSCAPE,” whose efforts made this exhibition a professional success. I am also grateful for the help of the Tenri Cultural Institute in New York for its generous support.

龍應台 Lung Yingtai Minister Ministry of Culture Republic of China, Taiwan

LANDSCAPE: Quo Ying-Sheng, Yeh Tzu-Chi, Chen Chien-Jung

Josiane Lih-huei Lai (Translated by Yin Peet)

A thing of beauty is a joy forever: Its loveliness increases; it will never Pass into nothingness; but still will keep A bower quiet for us, and a sleep Full of sweet dreams, and health, and quiet breathing. … --John Keats, Endymion, 1818

The word “Landscape” comes from the Dutch “landschap” in use around the 16th century, and it literally means “painting of scenery”. The Early Landscape painting was mainly used as the background or accompaniment for artwork with a religious, mythological or figurative purpose. By and large, the Italian Venetian painter Giogione’s La Tempesta (1506-1508) is thought to be the first painting completely done as a landscape. By contrast, Chinese landscape painting that depicts Nature as its central theme appeared earlier than Western landscape painting by about one thousand years. It started in the Northern and Southern Dynasty (420-581AD) and matured during the Sui Tang to Song Dynasties (581-959AD). The earliest example is known to be the “Spring Excursion” by painter Zhan Ziqian (550-604AD) in the Sui Dynasty. Chinese landscape painting stresses Xie-Yi (writing of the mind) and Chi-Yun (rhythm of energy), and it strongly resonates with the scholarly temperament of the East, which is distinctly different from the West where realism and sensations are stressed with a style that pursues form and logic. However, both traditions do share the common theme in Natural scenery and the change from being an object (a secondary role in the background) to being a subject (the main focus in the foreground). Artists’ continuous endeavor in developing various styles of painting have not only enriched the art history, but also brought spiritual solace to human being.

The exhibition “LANDSCAPE” features three artists from Taiwan, QUO YING-SHENG, YEH TZU-CHI and CHEN CHIEN-JUNG, respectively in Photography, Oil Paint and Acrylic. Each investigates their individual life experience, and explores their own unique style and exquisite aesthetics while maintaining their cultural integrity to sensitively express their experience within an international world. “LANDSCAPE” strives to retrace Art’s primitive, simple essence and return to the original core of the artist's heart and mind. This exhibition reveals to the audience not so much the realistic or actual landscape that one can see with one's eyes, but rather the three artists’ inner landscape. Quo Ying-Sheng, born in 1950, had an unusual experience growing up. When he was young, the family moved to Japan due to his father’s work. Later, his mother studied classical signing in Europe, while his father frequently traveled to Korea for work; as a result, the three family members were separated in three countries. There was times when Quo was left alone under the care of a Japanese nanny and endured loneliness. At age 6 or 7, he returned with the family to Taiwan. By then, his mother, a renowned singer, (appointed to be the Chair of the Council for Cultural Affairs of Taiwan in 1993) was fully devoting herself to music education, while his father, a military professional, imposed strict discipline on Quo, eventually the gap between him and the parents grew. Moreover, due to the language barrier, for he could only speak Japanese then, and being called “little Japanese devil, he became increasingly irritable and insecure. Meanwhile, his mother’s close association with artistic circles gave Quo opportunity to be in contact with influential Taiwanese artists from a young age. Creating art naturally became a means of healing for Quo. He started his photography profession at age 19. During the repressed period of martial law on Taiwan, most artists tried to study abroad for self-searching; likewise, Quo traveled to Paris in 1975 and studied photography in the Université Paris 8. During this period, he did commercial photography as well as fine artwork. In 1979 the Galerie Crèatis in Paris issued a limited edition of Quo’s works; in 1981 his artwork was covered by the photography magazine Zoom in a 7-page article. His work was in the spotlight and has been put in important collections, such as the Bibliothèque Nationale de France, Paris, Centre Pompidou, Ministère de la Culture et de la Communication, Canon International Co., Tokyo …etc. These honors have given Quo Ying-Sheng his reputation in the field of Photography. Eventually, he settled back in Taiwan in 1992.

In this exhibition, he shows a series of 16 photos entitled “The Vistas of My Memory”. These works are part of the photographic negatives which were lost and rediscovered by Quo’s ex-wife in 2002 while cleaning up their old residence in France. This group of black and white photographic works are Quo’s early recorded slices of life from various times and scenes; when put together, they construct the private, secret landscape deep down in the artist's heart. Although the time frame of these photographs stretches from 1980 to 1992, and their settings span from his time in Paris, England, Spain, and Normandy to the Far East Japan; the expression is consistent with a desolate, bewildered mood. Critic Susan Sontag (1993-2004) once said (On photography, 1973-1977), “Pictures got taken not only to show what should be admired but to reveal what needs to be confronted, deplored--and fixed up.” For Quo Ying-Sheng, Photography is his way of facing himself, expressing himself to the world, lamenting the past and dealing with the anxiety in his heart. Gazing at Quo’s photography is like reading the artist's life journey; it represents Quo’s past, emotions and nostalgia. The way Quo retraces the primitive essence in Photography is to apply his intuitive visual sense, unmodified, to capture the moment. The grading of black, white and grey, a beauty of cleanness and coldness, an ambiguity intertwined with melancholy and sorrow, it is this universal, empathetic emotion that Quo charms his audience. The photographic “decisive moment”, the first sight of an eternal beauty, also solidifies on Yeh Tzu-Chi’s landscape painting. He was born in 1957 in Yu-Li Town in Hualien, known as the most beautiful backyard of Taiwan, and passed his joyful childhood with the beauty of nature, surrounded by mountains and water. In the summer of 1975, a bitter, melancholy youth having failed the college entrance examination, Yeh left home and began to wander about. He would pass the night under the open sky in the wilderness in Hualien's Mei-Lun mountain, during the day he would frantically do landscape drawing wherever he went as if that were the outlet for venting his frustration and his self-realization. That year, he put up his first solo show entitled “Farewell to age 17-The Solo Exhibition of the Age of 18”, saying good-bye to the melancholy youth and stepped onto his next stage in life. In 1976, he passed the exam and studied Western Painting at the National Taiwan College of Art, but withdrew from the school a year later. In 1978 he attended the college exam again and was accepted by Chinese Culture University, Western Painting Department. In 1987

Yeh Tzu-Chi, accompanied by his wife (Chang

steadfastly and portrayed with dignity in the painting. The

Kin-Tsuei),came to the US and entered the graduate

images occupy a large portion of the canvas and look as if

school of Brooklyn College, CUNY, in New York City.

Yeh has sculpted them as statues; sun beaming subtly,

He studied with Lennart Anderson and Lee Bontecou,

emerging from foggy mist causes the leaves to generate

and was inspired and influenced by these two renowned

contrasts of light and shade, senses of layers and grades

artists. During this period in New York, he developed his

of green; all of these yield a gush of nature’s rhythmic

unique, intense painting style. 19 years later, Yeh and his

flow and movement. “Typhoon Approaching” depicts the

family returned to Taiwan and settled in his old

ocean scene just before the typhoon arrives. In this

hometown in Hualien.

painting, one sees mists filling the far distance, dark green waves moving forward one after another. On the

His style evolved from the typical fashion photo-realism

still canvas, one views the grandeur and fervor of a

in his college days to a style that involves the

flowing pulse; a hidden sea wave could, at any given

criss-crossing of time and space as well as the still

moment, surge upward from the deep sea.

moment of an image; he also adopted triptych, an ancient format in religious art. In 1989 his beloved father passed

For Yeh, “Landscape” is the “outdoor still life”. Their

away, which dramatically changed his work; he began his

seemingly straightforward, classical, lucid and powerful

“Monologue” series with the theme on domestic still life.

composition is not a simple-minded illustration of Nature,

He strives to make a metaphysical analogy to the growth

but a manifestation of a firm belief coming from the

and decay of natural life that surrounds our daily life

deeply held respect for Nature and the Creator. Yeh’s

using left over fruit peels, fallen leaves, flowers, etc. The

aesthetic is similar to that of the 19th century German

recent work he did after he returned from overseas was

Romanticism painter Caspar David Friedrich

primarily on the subject of “Moodscapes” that is

(1774-1840), which is spawned from a strong emotion

transferred from the scenery of nature in Taiwan, as if all

and spirit toward Nature and Mysticism. Reading Yeh’s

of a sudden he poured out years of long-accrued nostalgia

painting, one peeks into the deep mind of the artist in

for his hometown as well as his heart-felt memories for

reflection of one’s own inner world.

his parents. Chen Chien-Jung was born in 1972. Unlike the other two

The four landscape paintings in this exhibition are the

artists who, born in the 50s, through Taiwan's martial-law

work Yeh completed after he returned to his hometown;

period and studied in the two major world art centers,

Viewing the paintings “The Memory of Trees, Tainan”,

Paris and New York, Chen’s art work is of a very

“Mountains, Taroko”, “Sha-mao Mountains” one sees the

different age and artistic incubation; consequently, the

huge banyan tree, mountain and forest towering

motivation, style and tone is distinctively dissimilar as

well. After graduating from the National Institute of the Arts, Chen further pursued an MFA from the Graduate Institute of Plastic Arts, Tainan Nationa College of the Arts. During his college days, under the influence of Professor Chu Teh-I, he began exploring abstract painting. Acrylic is his medium, through which he develops his personal, uniquely distinguishable abstract language in describing a landscape. He has created a series of landscape works using lines and volumes similar to that of an architectural structure, patches and layers of color similar to a machine. In this way, he creates an intellectual and cold tone that gives the audience a certain degree of familiarity associated with the landscape of a city’s downfall or an architectural ruin, an intimate sense coming from the way we decode the common denominators in our civilized urban life. Chen’s background has often been misunderstood; for example in architecture, he explained “I love to collect machinery toys, models, and when they are broken, I would dismantle them, reconstruct them into something that is unlike any existing object, almost ‘virtual,’ and yet I had a sense of achievement from this creation, a sensation that I’ve caught something… now painting is my means in this search…”This could very well explain Chen’s exploration in “landscape” in recent years. There are two methods that he applies; one is to start out by fabricating an abstract (virtual, but realistic) architectural landscape from pure imagination; the other is to photograph objects and structures of things in his daily life, develop them into 3x5 photos, then use them as the base for his paintings, directly overlaying them with images. Sometimes, he would combine or extract from the work of artists he adores, like Anselm Kiefer and Rachel Whiteread; from their work, he tries to discover or decipher of his own life experiences, reconstructing/dismantling them, painting over/ smudging them, a process that eventually dissolves the original base and gives birth to a rough and uncertain spatial body. Chen’s works always look as if they are in the grey zone between finished work and work-in-progress, presenting a strong sense of relativity. He likes grubby, old-looking texture, woven on top with a strong contrast of bright and sweet colors, a reflection of the tone in his heart. The entire process is a random repetitive circulation. The artist has

candidly said, “These painterly reconstruction games really don’t have any particular function; they are just games and playing around…” Chen mocks himself for not having the tolerance to create work in response to an argumentative assignment. Perhaps it is a subconscious regurgitation when the artist is confronted with the modern, urban landscape. For artists, Art, whether it is photography or painting, is not only a visual record, but also the record of their living experience; it is a means for their expression from which they communicate with others of the subjective views in their inner world. Quo Ying-Sheng’s “Mood photography” and Yeh Tzu-Chi’s “Moodscapes” reveal their individual loneliness and quietness, and yet they uncover a shared nostalgia and poetic romanticism. Perhaps because of their nearly 20 years of common experience living abroad, their work shares a certain similar impression. Meanwhile, Chen Chien-Jung builds his inner scene out of his living environment. Though virtually fabricated, it portrays a certain visual familiarity as well as a sense of danger and gloomy. The three artists each exhibit one section of the landscape in their individual life journeys, not only embodying their inner feeling, but also their philosophy of art.

Landscape Dreams Richard Vine

The three Taiwanese artists in “Landscape”—Tzu-Chi Yeh (b. 1957), Ying-Sheng Quo (b. 1950), and Chien-Jung Chen (b. 1972)—find themselves, by virtue of their country’s history and their own artistic predilections, suspended between two cultures and partaking simultaneously of both. Modern Taiwan, largely settled by Nationalist refugees from the one-party Communist state declared by Mao Zedong in 1949, has engaged readily with the West since that momentous split. Taiwan’s eager adoption of capitalism, which proved wildly successful for decades while mainland China stagnated economically, along with the island nation’s eventual embrace of a rough-and-tumble democracy, fostered a great deal of exchange with the U.S. and Europe. Yet links, both public and personal, to China’s rich tradition remain ineradicable. With artists traveling freely these days, and often alternating residence between East and West, art has become one of the prime sites of cultural hybridity. And nowhere is this more evident than in the depiction of landscape, subject to deeply contrasting cultural impulses. Western landscape art can be deceptive, often giving the impression that it presents earth, sky, and all that rests between as they actually appear or are scrupulously recalled. Hence the conventional artistic practice of excursions to the out-of-doors, abundant sketching and note-taking, followed by systematic enlargement and color-matching back in the studio. That, or the frantic effort to “capture” the changing effects of wind and light in plein air sessions on the spot. In either case, the viewer’s “you are there” sensation is the artist’s first validation and measure of success. Eastern tradition, on the other hand, has long considered nature as an aspect of the mind. Ink painting, confined to shades of gray or a bright but limited and rather unnatural palette, never denied its own artifice, treating images as a form of writing, valued for their correct expressiveness rather than their visual accuracy or rhetorical oomph. The formal and spiritual essences of the land’s features—mountains, waterfalls, rivers, bays, rocks, trees—were matched to the essence of the experience one sought to convey. How, then, do each of these Taiwanese artists negotiate, within their work, this implicit confrontation of goals and methods? Tzu-Chi Yeh received an MFA from Brooklyn College, New York, and lived in the U.S. for 19 years before returning to his native town, Hualien, on the east coast of Taiwan. The Pacific vista of that area may have prompted Typhoon Approaching (2007-09), a

dark shoreless seascape marked by a brooding atmosphere and a luminous band aglow along the distant horizon. The only land here is the land we imagine: the waves roll in, one of them foaming slightly at the crest, toward the viewer’s vantage point, presumably on dry soil threatened by the coming storm. The picture thus can be construed as a “landscape” in the Eastern vein, as pure feeling infusing natural correlatives, but the emotions—far from classic ink painting’s timeless harmony and order—are the mounting awe, wonder and dread associated with the Western notion of the sublime. One is reminded both of the slow unfurling of scroll images and of the vast immersive canvases of Albert Bierstadt and Frederic Church. More typically, Yeh concentrates on individual landscape elements—a tree, a thrusting peak, a small swelling mountain—tightly cropped so that our attention cannot wander and endowed with an almost animistic presence. This approach also has dual precedents: on the one hand, the Eastern focus on selected natural motifs (distant soaring mountains, waterfalls, rock formations, twisted trees); on the other, the West’s late 19th-century shift from landscape used solely as a narrative setting (Leonardo, Brueghel) to landscape treated as a prime pictorial subject (the Barbizon School, Monet). Yeh presents each landscape feature with the specificity, the implied care, of a still-life object. This is love of Nature not solely in the grand timeless sweep of space but in the intimate particular, the moment.

Ying-Sheng Quo went to Paris in 1975 and remained there until 1992, when he resettled in Taiwan at the age of 42. At first glance, the black-and-white photographs from his series “The Vistas of My Memory” (1981-92) seem utterly Western in subject matter and style. Nearly all portray scenes in Europe, primarily France, in a uniformly serious, even forlorn, manner suggesting existential despair. Not a person is to be seen anywhere—except as a distant anonymous figure or as dark heads in a vanishing car—even though many of the locales (the courtyard of the Louvre, the grounds of Versailles) are ordinarily quite populous. Quo has deliberately chosen to record moments of maximum solitude. Movement, in his world, rarely amounts to more than the wind’s stirring of grass. A haunting quiet prevails, and the subdued, even light prompts no thought of color. This is intellectual sobriety of a sort found in the nouveau roman (and, earlier, the photographs of Eugene Atget), where each thing is described in its quiddity while human acts and feelings go unstated, to be inferred from objects and the gaze cast upon them. Yet there is something distinctly Eastern

at work here as well. The images were printed from negatives that Quo left behind in France, later discovered and shipped to Taiwan by his ex-wife. We know therefore that an important relationship was faltering and, eventually, ending during the period that these pictures were shot. The photos’ ink-like tonalities meld perfectly with their destitute mood and theme: a sense of something missing, something missed, something lost. There is, literally, much emptiness in these images—vacant fields, vacant parks, vacant courtyards, vacant rooms—but it is the paradoxical, emotionally replete emptiness of classic Eastern landscape painting, where passing time and intense longing are rendered as blank passages between river and mountain peak, between cliff face and wooden hut; and where heart-breaking questions hang in mid-air:

For ten years I wandered and there you lie. I seldom think of you, Yet how can I forget you? With your grave a thousand miles away, Where can I confide my loneliness? Even if we met, could you recognize me, With dust on my face And hair like frost? Last night I had a dream in which I returned home. By the window, You were combing your hair. We looked at each other silently, With tears streaming down our cheeks. There’s a place which every year will by my misery: The moonlit night, The hill of short pines. —Su Shi (1037-1101)

All landscape images posit, somewhere, an eventual shelter—a place, confined and habitable, that is not the open reaches of weathered terrain. One visits the landscape, admires it, passes through it; but one cannot live on the earth’s exposed surface. Taking that basic human fact as his point of departure, Chien-Jung Chen creates diagrammatic paintings of small imagined houses. Simple, one-story, rectilinear, modern, his domestic structures float against flat backgrounds like mental projections of a basic abode, an unadorned “home” in the collective psyche. Yet, emblematic of current social developments, these buildings are utterly denuded, barren not only of people but of décor and furnishings. Habitation will be isolate. The goal of achieving a highly individualized private life, a characteristic Western value, is designated by Chen in a stark form more congruent with elite Eastern pavilions (Pavilion of the Chrysanthemum Fragrance, Pavilion of the Sound of the Rain) than the teeming courtyard houses or alleyway complexes once typical of Asian city life. We live, each of us, in the landscape of our dreams.

Misty Landscapes and Sweeping Vistas: Quo Ying-Sheng, Yeh Tzu-Chi, Chen Chien-Jung

Thalia Vrachopoulos, Ph.D.

As opposed to French Academic views of landscape painting as the lowest category on the artistic ladder, Chinese and Taiwanese history demonstrates that landscape painting is the oldest, most consistent, and respected of art traditions. After the Japanese annexation in 1895, modern landscape entered Taiwan in watercolor and oil painting media. Masters such as Chen Cheng-po and Yang Sang-lang, and Liao Chi-chun expressed the beauty of Taiwan’s forests, seas, ‘misty landscapes, and sweeping vistas’ in the western style and studied art in Japan during the annexation returning home to paint the local countryside and to influence the younger generation of Taiwanese artists. During the post WWII period with increasing American involvement, Liu Kuo-sung and others like him comprising the new avant-garde, sought to re-organize and re-think the arts of Taiwan. After much experimentation Taiwanese artists began to appreciate their indigenous roots and to seek international stature. Many of these studied abroad especially in the United States as did Yeh Tzu-chi earning his MFA at Brooklyn College, CUNY. While depicting the nostalgia and uniqueness of the Taiwanese landscape artists like Yeh paint in a new hyper-realist style incorporating western oil painting methodologies. Yeh’s Mountains, Taroko, 2007-2009 is a landscape executed in the most elaborate, detailed, expert style resulting in a visually compelling and seductive mountain scene. But, Yeh’s landscapes are anything but simple and anything but typical historical landscapes. They are a re-envisioning of both the variety and the splendor not only of the Taiwanese landscape but, also of landscape in general, in that they contain a fantastic element seen in misty, effects or a re-iteration of the surface against the linear perspective of the scene. In this work we are offered up a rising mountain sloping to the right of the canvas with all its folds and crevices covered with a wild variety of trees executed in an extremely work-intensive style. The words ‘offered up’ here are used to specify that the mountain is backed up by an area of white clouds serving almost like a white platter reiterating all the deep forestation and making it appear even denser than if it were set on a perspectival background. Yeh accomplishes this paradoxical element again in his work Mountain Road to Hualien, 1993-2008 by creating an abstracted background over which the panoply of forest green is juxtaposed. For this horizontal landscape Yeh uses the rough linen support and tempera over color to create some of the tooth or texture that lends even more depth to the forest. Yet, only an abstraction can

possibly have such a straight horizon line as this one. And, only in an abstraction can we see the beige ground left untouched to be read as void. In another of his works entitled A Ship on the Misty Ocean, 2007-09 this abstract quality is even more emphasized as seen in this almost totally abstract surface textured with tempera paint on rough linen. The dark brown ship’s smokestacks point like arrows to the sky as it appears to sit on the extremely high horizon line. A reading can only be attained via Yeh’s placement of elements and their context, for the work is otherwise very abstract. This type of perspectival system was used in Chinese painting where figures are inferred through placement. The lowest layer is brown, becoming at it proceeds upward a soft lilac and blue suggesting the shore and the sea with a ship at the upper sector. Were it not for the ship’s presence, it would appear like a Rothko, totally abstract. Consequently, even though Yeh’s landscapes appear at times to be hyper-realistic, when studying them further one can’t help but note the abstract qualities that result in work engaging the new figuration as well as conceptual painting. Abstraction is also Chen Chien-jung’s expertise, but rather than using the natural landscape as does Yeh, Chen thematically deploys architectural vistas as did the 20th Century American painter Richard Diebenkorn. Like Diebenkorn Chen also hovers between abstraction and figuration, but in fact Chen is even more varied in his style than Diebenkorn. Chen is full of complex dualisms such as the linear and painterly, construction and de-construction, dark and light elements. These tendencies can be seen when comparing his Tenri works Landscape 39, 2009 and Landscape 40, 2010. In the earlier work Chen opposes thick dark red brush strokes against a strong black linear structure further delineated by white line and blue touches. Were it not for these latter highlights it wouldn’t be possible to have a clear reading. The building seems to hover rather than sit comfortably on the ground which lends a de-stabilizing element to this painting as to many of his works. The paint is very neatly applied to form the structure that recedes into the distance while simultaneously through the openings such as doors and windows we are offered a view of painterly areas with a horizontal directionality. The building seems to melt into drips of white and red paint on the far right section. That Chen is using drip painting is even clearer in a 2009 canvas entitled Landscape 38 in which the artist no only drips and spatters paint, but also moves it around by hand creating de Kooning-like passages. In its top portion are the horizontal building structures again but rendered in dematerialized form being composed of line on the turquoise and white ground. These structures appear more like Utopian projects rather than real buildings and have the feel of St. Ellia’s early studies for futuristic architecture in space. In his fantastic urban landscapes Chen uses intuitive processes that offer him the ability to work and rework, alter and re-configure his works. Rather than depicting existing buildings Chen offers us the sensation of city living. In constructing and de-constructing Chen subverts the traditional landscape in order to study the conventions of art but also to arrive at something fresh and to offer us his own new systems of meaning. Quo Ying-sheng is an extensively awarded photographer who studied art in France now working both in Paris and Taiwan. His dark and moody photographs depict the international character of a globalized world while simultaneously being sensitive lyrical artistic

studies into the human imprint. Landscape to Quo is culturally encoded as seen through his many photographs of distinct geographic areas that are shaped by the moirés and people inhabiting them. In this sense they are associative and valued for their historic specificity as is Quo’s image of the Louvre museum, for its international social meaning. The word landscape has a German origin from the verb “scapjan/schaffen” meaning ‘shaped lands’ and was made famous by Carl Sauer who developed the idea of a cultural landscape as one created by a specific human group. Quo’s 1980 image of the Louvre’s façade gutted in preparation for its renovation is reminiscent of a partially dressed female caught in the midst of her toilet. This marred beauty like human nature is an important element in Quo’s works but it is also the quality that makes them critically viable. Quo is not simply depicting the variety in cultural landscape by offering us tourist images of Algiers, Paris, or Taipei rather he’s featuring and critiquing human foible; imperfection and vulnerability. By producing Snow; France, 1991 a photograph of a building with many shut down doors and windows but also cracked walls, Quo is engaging Duchamp in commenting on the follies of man. And like Duchamp’s famous work Dust Breeding or his readymade In Advance of a Broken Arm he also highlights the foolishness of the human need for a safety net. The art critic Chang Cheng-lin in writing about Quo’s French period works, points out that the artist vacillates back and forth between works with panoramic sweeping views and close-ups with limited perspective. It is true that Quo is a man of great contrasts but I choose to see this tendency as part of his working process and his need to make a statement and not as vacillation. Quo is also investigating the great Chinese Sung landscape traditions for by depicting long views he is scrutinizing Northern Landscape while in accessing the close up he’s making contact with Southern painting style. Quo’s Wandering; France, 1991 can be compared to the sweeping landscapes of Dong Yuan while his Interior Body Temperature; Paris, 1981 is analogous to the close-ups of Emperor Hui Zong’s literati style or to the Lyric painting mode of Li Di. These three artists represent the best contributions to the contemporary Taiwanese art world inasmuch as they are unique in their style and vision but also because they created during historical moments when it was very difficult to be creative.

郭英聲 Quo Ying-Sheng

郭英聲 Quo Ying-Sheng 1950

1970

Born in Taipei.

Artists in the Category Fine Arts, heid by the Taipei Fine

had been transferred to Japan, several months after Quo

Arts Museum

was born. Later, his mother went to Europe for advanced

Documents Retrospective of Ms. Ku Cheng-chiu’s (顧正

studies. Quo returned to Taiwan while he was an

秋)Art of the Beijing Opera,Taipei

elementary student.

Shares his time between Taiwan and Paris, Focusing

io Modern Photo Exhibition with Chou Tong-kuo(周棟國)

entirely on creative photographic art work 1992

Visual Art Group Exhibition Woman Graphy at the Ling Yun Art Gallery, Taipei

1972

Joint Exhibition of Wu Sanlian Arts Awards-winning

The whole family moved to Japan with Quo’s father, who

and Yeh Cheng-liang(葉政良) at the Seiko Gallery, Taipei 1971

1986

After his 42 nd birthday, Quo decides to make Taiwan the main subject of his art

1993

Solo Exhibition Tranquil Solitude at the Taipei Fine Arts

The Visual Art Group Exhibition Life at the Chung Hua

Musuem

Gallery, Taipei (for the first time featuring his most

Individual Exhibition at the Hsiung Shih Gallery, Taipei

representative works of that period, the photograph

Solo Exhibition Quo Ying Sheng 1973-1993 at New

Flatiron and the 16mm experimental movie Old House)

Phase Art Space, Tainan

1975

Goes to France to study and work, settles down in Paris

Group Exhibition Art Asia, Hong Kong 1993 Exhibition at

1979

The Galerie Crèatis in Paris issues a limited edition of

the Hong Kong Convention and Exhibition Centre

Quo’s works signed by the artist

Tainan’s New Phase Art Space takes over the agency of

Solo Exhibition at the Spring Gallery, Taipei (sponsored by

Quo’s artwork

the New Aspect Promotion Co. and for the first time

1994

featuring limited edition of signed works by foreign/foreignbased artist) 1981

1982 1983 1984

Exhibition Contemporary Photography from China, HongKong and Taiwan at the Hong Kong Centre

1995

Solo Exhibition Grass at the Taipei Photographic Art

Solo Exhibition Photographic Sketches at the Spring

Gallery (first individual show of black-and-white works by

Gallery, Taipei Exhibition at the Salon de L’art

Quo)

Contemporain Montrouge, Paris

Individual Exhibition at New Phase Art Space, Tainan

Solo Exhibition Coleurs Non Stop at the Canon Gallery,

Publishes collection of his work Quo Ying Sheng

Paris (40 color photographs produced by Michel Fresson)

1975-1995

Solo Exhibition Image of Taiwan at the Canon Gallery,

1996

Impressions of Tainan at Wu Yuan, Tainan

Tokyo

1998

Wu Sanlian Award Artistic Achievement Exhibition at the

Becomes the first photographer to with the Wu Sanlian Arts Award (Taipei)

Taipei Fine Arts Museum 2000

Photo marketing agency LOOK becomes Quo’s agent (Paris)

Viewing Taipei-100 Years of City Photography sponsored by the Taipei City Government

2001

Silhouettes Dancing in the Wind at the Hsinchu Art Performance Hall

CHRONOLOGY 2002

2003

2004

2006

Helps to organize the Lang Ching-shan Vintage Pictures Preserving the Past exhibition of collected photographs at

Recipients at National Museum of History

the Taipei Fine Arts Museum

The Photographer's Book at Taiwan International Visual

Maritime Interconnections-Reverberations of History

Arts Center

Macao Exchange Exhibition of Contemporary Artists from

“The Story of Folk Worship”Exhibition at Taipei Story

Taiwan at the Macao Pozaiwu Art Space

House

Hello Again V-10 Visual Arts 30 th Anniversary Exhibition

Planing fashion designer Jamei Chen 2008 Autumn /

at the Taipei Fine Arts Museum

Winter2008 Collection『Seeing•Class』at Taipei Arena

Quo’s first launch of conceptual image art : Mother-The

Ice Palace

Vistas of My Memory

Imaga column『photographers』 Mingpao weekly

Participates in ‘’Brave New World-Hai An Road Art

The World Photo Book – the Group Exhibition of

Interference Project’’ sponsored by the Tainan City Bureau

Photographers’ Handmade Book TIVAC Gallery

of Urban Development

His photographic works have been regularly published in

Surrealism:Collection of Contemporary Imaging Art at the

the Ming Pao Weekly column “Masters’ Eyes” in after the

Taipei Fine Arts Museum

Taiwan edition was issued.

Special Exhobition The Story of Traditional

Solo Exhibition The Viatas of My Memory Inart Space

Occupations-Artists Catching the Ephemeral at the Taipei

Tainan

Story House

2007

2008 Image of Taiwan-An Exhibition of Wu Sanlian Art Award

2009 Included in the INK Magazine’s Collection of Featured

Twenty Taiwan Photographers 1928-2006

Image Artists.

Published for the first time “The Hidden Temperature of

The Representative of Taipei’s visual art at Expo 2010

Memory ” series at National Art Museum of China、

Shanghai

Shanghai Library

The Group Exhibition Taiwan Photo Bazaar, Taipei Public

「Image is Power –Photo Exhibition for improving Taiwan

Assembly Hall

photograph museum establishment and charity bazaar」

Works introduced as the feature story of LIFE

at Taiwan International Visual Arts Center

MAGAZINE(China)

Planing fashion designer Jamei Chen 2007 Autumn/Winter

Collaborating with the British Designer Anya Hindmarch ,

Exhibition and 20 years classic collection at Huashan

who came all the way from London to Taiwan in October

Culture Park

to meet up with Quo Ying Sheng for promotion, to create

the first non-image theme show individually. presenting in

3 different Picture Bags with limited editions.

conception, Installation art and Performance Art. Also using single piece in a 400 Square meter individual space in Installation art. Inart Space opening Exhibition ,Tainan

2010

Participating in the exhibition at Beitou Temporary

Road Art District, Tainan.

Curating fashion designer Jamei Chen’s autumn/winter

The Group Exhibition “The Reflection of Taipei in a

exhibition The Inborn Nomadity, Huashan 1914 – Creative

Century,” organized by the Taipei City Department of

Park, Taipei

Cultural Affairs, Taipei Photography Center

Invited in the collaboration with New Balance to provide

The feature story of the magazine Photo World(China).

works, along with a Japanese artist and a Korean artist, in

Invited to be the columnist of the magazine WE PEOPLE

a touring exhibition across Pacific-Asia.

to publish his articles and photographic works.

Invited to attend the press conference held by New

Shanghai Art Fair, Shanghai, China.

New Balance M150 Tricolor at Omotesando. The interviewed with Quo has been published by Japanese media as a feature story. The 2010 Taiwan Biennale, National Taiwan Museum of Fine Arts. Invited to join the group exhibition The Twelve Animals organized by Xue Xue Foundation to celebrate the year of Rabbit. The Cross-Strait Photography Exhibition, Xiamen, China Eye of the Times — Centennial Images of Taiwan, Taipei Fine Arts Museum The Opening Exhibition of Taipei Photography Center, organized by the Taipei City Department of Cultural Affairs, Beitou. Invited to exhibit the work with Jamie Chen in A Poster Exhibition of Asian Designers & Tong Yang - Tze's Caligraphy at Taipei World Design Expo 2011 The Group Exhibition 100 Gender Photographs, Tamsui.

The Group Exhibition Hai-An + Playhouse at the Haian

Museum ofArts as his community-based exhibition.

Balance in Tokyo, Japan, and exhibiting image works with

2011

2012

CHRONOLOGY 1996-2011

Creation in image and Cross-territory world, expanding the focus to Taiwan’s living, culture, vogue and changing. After “Vogue” published in Taiwan, discussing important morden image style and sharing personal beauty experience in column ”Photogragher”.

Since 2007

Quo has worked as the artistic director of JAMEI CHEN brand.

Since 2008

Quo photographic works have been regularly published in the Ming Pao Weekly column Masters’ Eyes and The Scenery in Our Memories in after the Taiwan edition was issued.

Important Collections Featuring Quo’s Work Bibliothèque Nationale de France, Paris Centre Pompidou (Paris Museum of Contemporary Art) French Ministry of Culture(Ministère de la Culture et de la Communication) CANON International Co., Toyko Taipei Fine Arts Museum National Taiwan Museum of Fine Arts National Museum of History, Taiwan

Articles and Features Quo’s works and related articles have been printed in important art, photography, news, humanities and popular magazines in Europe, America and Asia, including Newsweek, Asia Magazine, The Sundy Times, L’Express, Zoom,Playboy(an interview), Photo Reporter, Arts, Image, Photo, Vogue, Asahi Camera, Photo Magazine, Ballet International, Photographers International, Esquire, Commonwealth, People, Elle, Harper’s Bazaar, GQ, Men’s Uno, Marie Claire.

Important Experience After Coming Back to Taiwan: National Museum of History, Taipei Fine Arts Museum, National Taiwan Museum of Fine Art, Kaohsiung Museum of Fine Arts, National Dr. Sun Yat-sen Memorial Hall Commissioner in consuderation and advice, National Culture and Arts Foundation, Taipei City Government Department of Culture Affairs, Shin-chu City Government Department of Culture Affairs, Chia-yi City Government Department of Culture Affairs, Yun-lin County Government Department of Culture Affairs, Kaohsiung ArtAwards, Taiwan Provincial Fine Arts Exhibition,National Art Exhibition of The Republic of China, Government Information Office Golden Tripod Awards, Councilfor Cultural Affairs Exhibition to interflow Taiwan and Seattle, Literary and artistic creation award of Ministry of Education,National Culture and Arts Creation Awards, The National Culture and Arts Foundation Award, Juming Museum Photography Awards, Taiwan Photographic Art Awards, Taipei Art Awards, Kaohsiung Awards, Uni-Prisident Photography Awards, -Wu Sanlian Artistic Award, the InternationalArts-in-Residence Project selected by the Council for Cultural Affairs…refereeing for artistic awards and artistic sponsor.

Cheng-lin Chang

From me, i n this new and d ifferent age, rereading t he work and c areer o f Quo Ying Sheng i s a serious matter. Serious because his works lack clues that are easily read; instead, there are marks pointing the way to the artist's self and good things. In contemporary life—real life—on this island, these are things that many of us can't find, or aren't brave enough to find—we can only accept the grind of life's tedious matters. But my guess is that this is why so many people ar e attracted to his art—Because they can see a kind of nostalgia for an unbroken self in Quo's works. An ancient view of aesthetics once told u s that a rt i s poetry, has a purifying effect, and can evoke our i nner experiences. I n this light, in t he f orm of life's sorrowful and tragic essence, his works give us a moment of rest and contemplation, which is like a brief rescue from our suffering. This was my first impression upon viewing Quo Ying Sheng's works. I think that the loneliest works are actually aiming toward the souls of all people. A sense of loneliness was the second impression that Quo Ying Sheng gave me. I guess it is only when people strip away the sounds of confusion that that transparent loneliness changes into this still quiet. Quo Ying Sheng was born in Taipei in 1950. After living through the oppressive 1970s, he drifted to Paris in 1975. Following a familiar pattern, Quo had a lonely childhood, was rebellious as a youth, and spent a legendary period in Europe. The many stories about Quo Ying Sheng are unquestionably full of visual elements. For instance, his account of a lonely period of his childhood when h e lived i n Kyoto contained i nnumerable descriptions o f Japanese-style genkan entryways, little g irls wearing Japanese-style clothing, cherry blossom petals, maple leaves, and the poverty and shabbiness of Japan during the immediate post-war period, all collected as special remembered scenes. In 1971, Quo and some friends organized the V-10 experimental visual art group, which was motivated by the anti-traditionalist urges of youths living in Taiwan's stifling social atmosphere during that time. L ike many young people who l onged t o breathe f reely, Quo t hirsted for contact w ith existentialism, surrealism, i mpressionism, contemporary music, and F rance's new-wave movies. B rowsing through t he events of Quo Ying Sheng's past is like viewing engrossing old photos, and his background resonates with his photographic works.

I had some misgivings when I wrote to here, however. Could it be that, when we are discussing an artist, we are making a statue of him or her, or weaving an all-inclusive, emotionally-coherent story, and thereby proving that the legend of which we speak did not happen by accident? However, I feel that this kind of legend is certain to be too distance from the artist's real creativity life and real life journey. And whose life is really full of one consciousness step after another, and not constantly cycling between chance, choice, error, retry, and regret, before eventually obtaining a bit of wisdom? I think that Quo Ying Sheng's artistic life is the latter, and not the former. The beguiling aspect of Quo's works is that they are headed into the unknown. I have no intention of making a statue of Quo Ying Sheng. The artist himself has used the language of his works to shape what is only a myth. There is a metaphor that life is like a boat, and I suggest that readers consider his artistic career in this light. This is naturally has a unique appeal, but it also requires a tremendous price. When many people wanted a smooth and stable life, his search for life's beauty while drifting about was perhaps quite an unwise and extravagant investment. Quo Ying Sheng left Taiwan and went to Paris in 1975, where he led a Bohemian, impetuous life. Leaving the barren wasteland was a common method of self-treatment for many of the sensitive artistic souls in Taiwan at that time. From that time on, as the days slipped by, Quo's art accumulated a sense of indifference and alienation. Perhaps, for him, photography is only a way of understanding his self and conveying his loneliness. The human mind inevitably has a part that cannot be spoken, but can only be made whole through one's works. The interesting thing is that, the wanderer chose to return home in 1992, and at that time the 42-year-old Quo declared that he would make Taiwan his permanent artistic homeland. I donâ&#x20AC;&#x2122;t want to make any forced interpretation about this concerning his home or native landâ&#x20AC;&#x201D;that is done all too often in present-day Taiwan. Nor do I feel that Quo Ying Sheng's return home ushered in a new direction in his art. It didn'tâ&#x20AC;&#x201D;His art still deals with an icy-cold yet intricately

tangled subject: I am looking at my own self. In his works,

Quo Ying Sheng held a solo exhibition entitled "The

the entire world is transformed into a slightly warm

Vistas of My Memory" at the InArt Space in the old city

metaphor, and consciousness and reality are linked with a

of Tainan this winter. Most of the works on display were

final implication. It seems as if we will say goodbye to all of

older works from his time in France during 1980 and

this. From this perspective, Quo's art is cruel and

1990s. Apart from France, the locations of the

heartless.

photographs also include Spain, India, Taiwan, and Germany.

For him, photography is just his action to rescue his self when he faces a subject on the verge of being estroyed.

This batch of works has been rescued from the past.

Only the artist knows whether this action has actually

When Quo decided to return to Taiwan in 1992, he left

achieved its effect, but all may in fact be in vain.

many of his works in Paris, which may imply that returning was a chance turning point in the drama of his

However, it is only due to this futile effort that viewers have

life. After living a life of complete exile for a while in the

such great aesthetic encounter. It bears witness to the

early 1990s, returning to his homeland and this island

cruel relationship between the world and the self. After our

where his mother and family still lived must have been a

brief time in the world suddenly comes to an end, the latter

natural decision. I donâ&#x20AC;&#x2122;t want to go too far speculating

will still quietly watch our life and death from the sidelines.

about the details of this decision, which is not the job of an art critic. As far as an art critic is concerned, an artist

To take this line of thinking a bit further, what

only exists because of good works of art.

photographed scenes really capture are not the landscape objects, but rather the viewer's self. In Quo Ying Sheng's

This batch of works was sent back to Taiwan by his

works, what the street scenes, views outside the window,

ex-wife, who was still living in France. They not only

street ends, seacoasts, highways, prairies, cemeteries, and

symbolize the artist's lost and then found past

other landscapes without people all ultimately point to is

memories, but, even more importantly, they also contain

the end point of our fate. Life is a beautiful ruin.

the fine scale of human nature, which deals with the linkage between memories, expression of the self, and

However, since life is predestined to be futile, if one finds a

artistic creativity.

self, finds a voice with which to speak, and finds freedom,

one need not fear loneliness and failure to understand.

Quo describes this batch of works in this way: "Walking

This is the strongest impression that the dank, cold,

in v istas of m y memory, I find a way t o calm myself,"

gloomy winter in Quo's works gives me.

"...As far as I am concerned, it's a kind of

homesickness." He considers these works to be the transformations of inner landscapes. What these works, taken in

different locations, reflect is something that is truly unique and yet also broken: the artist's mental imagery. If you visit the exhibition, you will see his form, and those scenes in his photographs are unquestionably the artist's lonely self, secret

memories, endless journey, and chance convergence of breathing and the body.

For instance, his work "Beach in Normandy" portrays this feeling in a rich and subtle manner. The artist has come, seen, and witnessed; the hole seems to be suggesting melancholy, and is deeply hidden in the eroded rock carved by time. We

can also discover that Quo Ying Sheng apparently habitually uses two types of scenes to express his sad poetics: One

consists of self-enclosed spaces, and the other consists of limitlessly open spaces. Both of these have the same

loneliness.The interesting thing is that these two types of spaces are not connected in Quo's works; there are no images

of closed spaces transformed into open spaces, nor any of the reverse. Is this a metaphor for the artist's mental

condition, in which he is always wavering between these two states? If so, then is it saying that the artist's

sharply-changing and sentimental personality is delicate and fragile?

However, what really attracts me about this exhibition of Quo's works in Tainan are the strong metaphors of death that

pass back and forth through space. So clean, and so confusing to our eyes. Doesn't the temptation of the powerful

driving force of death also reveal the artist's similar great longing for survival? Isn’t it the case that only a person who

longs for true life like this will be able to bear the suffering and inner torture that comes from being unable to have a true dialog with others? In that case, the only thing to do is to use art to get that distress of one's chest for a moment. In art, we can term this state melancholy.

In the case of Quo Ying Sheng, I don't want my discussion to wander to far. I don’t want to talk about a legend—I want

to talk about a real person, a real flesh and blood, feeling person. But investing a long time toiling to find a person with real feelings, who lives for the sake of survival and his ideals, is something that might elicit a few giggles on this worldly island. There was once a time of depth of humanity, passionately fighting for one's ideals, and struggling against

oppression in Taiwan during the 1970s and '80s (in contrast, Taiwan's cultural creativity today is depressed and conservative), and we produced many good artists such as Quo Ying Sheng. Up to now, we can still see his exploration

of the light and shadows emitted by life in his art. His sensitivity and delicacy should be the origin of much art and cultural

creativity, and are the marks of a self that is unique and inherently full. With regard to this notion, Quo Ying Sheng's works

don’t need any extra explanation. I may be rambling on at this point: Perhaps it is nostalgia for lost good times and dissatisfaction with the state of things today, but we seem to have forgotten for too long that we need freedom of the soul

in order to attain an age of freedom.

Plates

Grass. Chi-ku,Tainan 181x127 cm USA MUSEO速 100% cotton Silver Rag Paper 300gsm 1994

葉子奇 Yeh Tzu-Chi

1957

Born in Hualien, Taiwan

Education 1989

M.F.A. in Painting and Drawing, Brooklyn College of City University of New York, USA

1981

Chinese Culture University, Taipen, Taiwan

1976~77 Studied at National Taiwan College of Art, Taipei, Taiwan

Solo Exhibition 2010

“The Memory of Tainan,”Inart Space Jali Gallery, Tainan, Taiwan

2009

“Landsacpe•Taiwan,”Eslite Gallery, Taipei, Taiwan

2008

“Landsacpe,”Moon Gallery, Taichung, Taiwan

2007

“Landsacpe,”Eslite Gallery, Taipei, Taiwan “1978-2007 Tzuchi Yeh’s Selections,” National Dong Hwa University, Hualien, Taiwan “Tzuchi Yeh’s Selections,”Pine Garden, Hualien, Taiwan

2005

“Monologue-Near and Far from Home,1989-2005,”Moon Gallery, Taichung, Taiwan

2004

“Monologue-Near and Far from Home,1989-2004,”Eslite Gallery, Taipei, Taiwan

2002

“Landsacpe•Taiwan II,”Dimensions Art Center, Taipei, Taiwan

2000

“Landsacpe•Taiwan,”Dimensions Art Center, Taipei, Taiwan

1998

“Flowers I,”Home Gallery, Taipei, Taiwan “Flowers II,”New Phase Art Space, Tainan, Taiwan

1997

“Landsacpe1988-96,”Home Gallery, Taipei, Taiwan

1995

“The Sacrifice of Flowers,”Home Gallery, Taipei, Taiwan

1994

“Nostalgia from the Bathroom:Dialogue & Monologue,”Eslite Gallery, Taipei, Taiwan

1993

“1978-1993 Selections,”Hualien County Cultural Center, Hualien, Taiwan “Monologue II,”New Trends Gallery, Taichung, Taiwan

1992

“Monologue ,”The Trends Gallery, Taichung, Taiwan

1989

MFA Thesis Exhibition, Westbeth Gallery, New York,USA

1987

“The Legend of Growth,”Cultural Center of American Institute in Taipei, Taiwan

1985

“The Legend of Life,” Nan Gallery, Taipei, Taiwan

CHRONOLOGY

Selected Group Exhibition 2011

“Flourishing and Flowing ：A Contemporary Art Exhibition across the Strait 2011,” National Taiwan Museum of Fine Art , Taichung, Taiwan “Flourishing and Flowing ：A Contemporary Art Exhibition across the Strait 2011,” National Art Museum of China , Beijing, China

2006

“Six Artists’World of Representation,”Moon Gallery, Taichung, Taiwan

2002

“Oeuvre of Contemporary Art in Taiwan,”Hong-Gah Museum, Taipei, Taiwan “Song of Clouds and Waters-New Realist Painting in Taiwan Since 1970s,”Asiart Center, Taipei, Taiwan

1997

“Force of Nature-Contemporary Paintings,”co-curated by Ronny Cohen and Marlene Yu, Taipei Gallery, New York, USA “New York-Hualien,”Neocitizen Gallery, Hualien, Taiwan

1995

“Looking Through Lines,”Dimension Endowment of Art, Taipei, Taiwan

1994

“Rereading Taiwan Modern Art-The Exploration of Style in Realistic Painting,”Home Gallery, Taipei, Taiwan

1991

“A Spark of Genius:Power/Strength/Movement,”Atrium Gallery, General Electric Research & Evelopment Center, Schenectady, New York, USA

1990

“Third Annual Dia De Los Muertos,”Alternative Museum, New York, USA “New Talent,”Alexander Milliken Gallery, New York, USA “Micro/Macro,”Helio Gallery, New York, USA “National Competition, Lennart Anderson/Juror,”First Street Gallery, New York, USA

1989

“Second Annual Dia De Los Muertos-Los Angetitos,”Alternative Museum, New York, USA

1987

“The New Look of Chinese Modern Art,”National Museum of History, Taipei, Taiwan

1986

“Contemporary Arts Trends in the Republic of China in 1986,”Taipei Fine Arts Museum, Taipei, Taiwan “The Style of Twenty-Two Artists,”Taipei Fine Arts Museum, Taipei, Taiwan

1984

“101 Modern Art Group Exhibition,”Taipei Social Education Hall, Taipei, Taiwan “New Trends Exhibition,”Artist Gallery, Taipei, Taiwan

1983

“101 Modern Art Group Exhibition,”Culture Center of American Institute in Taipei, Taipei, Taiwan “101 Modern Art Group Exhibition,”Multi-media Art Square, Kaohsiun, Taiwan

1980

“Asian Young Artists Exhibition,”Hong Kong “The Prospects of Taiwan’s Art World-Young Artists,”Spring Gallery, Taipei, Taiwan

The Passing of Time．The Engravings of the World The Sincerity in Tzuchi Yeh’s Oil Paintings

A Chong-ray Hsiao (Director of Art Center, National Cheng Kung University)

Yeh Tzuchi, the son of a Hakka man from Guangdong and a woman from Yunan, grew up in a valley town, Yuli, in Eastern Taiwan. Inheriting his father’s sensitive emotions, his mother’s persistent personality, and the infinite yearning for the hometown where he spent his youth, he has created numerous oil paintings which carry the memories and emotions. Yeh’s works capture the memory and the humanity of Taiwan through tranquil images of blowing wind, floating clouds, grass, and woods. There is a time to live and there is also a time to die. However, human emotions will last forever. Yeh Tzuchi was born in 1957. His father served the Anti-Communist National Salvation Army at Dianmian Frontier as a captain. He married a woman from Yunnan who was 18 years younger than him. Taken into custody and later going into exile, Captain Yeh finally survived all the obstacles and arrived in Yuli, a valley town in Hualien, Taiwan, where Yeh Tzuchi was born to the family as the youngest child. Yeh’s father had been to college. Gentle, friendly, but not talkative, Captain Yeh loved to read and to spend time with nature. He had taught Yeh Tzuchi to identify various kinds of plants and flowers. As for Yeh’s mother, although she was illiterate, she was of the “Water Baiyi (Shui Baiyi)” decent – a government-assigned aristocratic family in Yunnan. Her family background had made her a noble woman of persistence, elegance, and confidence. Surrounded by the beautiful mountains and valleys in Yuli, Hualien, Yeh Tzuchi spent his carefree childhood and sentimental youth here. In 1975, when the 18-year-old failed to pass the college entrance exam, he escaped from his family and started wandering. In the winter of the same year, he held the exhibition “A Farewell to 17 – The Solo Exhibition of the Age 18” to exhibit the paintings made during his self-exile. It was also a farewell to his sweet but as yet unrequited first love. In the year of 1976, he was admitted to the Department of Fine Arts (the Division of Western Painting) at the National Academy of Arts in Banciao. One year later, he dropped out from school because his work “Sunflower,” made for the school exhibition, had been rejected. In the following year, he was admitted to the Department of Fine Arts (the Division of

CHRONOLOGY

Western Painting) at Chinese Cultural University. The air of freedom in the university allowed him to taste the joy of art making for the very first time.After he graduated

and later served in the military service in 1981, he joined the “R.O.C’s Modern Painting Association” at the end of 1982. In 1983, he co-established “101 Modern Art

Group” and held the first group exhibition. However, he quit the group the following year because his aesthetic beliefs differed from those of the rest of the group.

The emotional concepts of “family” and “self-growth”

have always been major themes throughout his artistic practice, including the solo exhibitions The Legend of

Life at Nan Gallery in 1985 and The Legend of Grow th

at American Cultural Center in Taiwan in 1987. However,

he had not established his personal style until mid-1987, when he went to the United States of America for

advanced studies. Being far away from home, made him know more about his hometown, while being far away from his family made him feel closer to them.

We might conclude that Yeh Tzuchi’s artistic style is the practice of “realism,” but the term still cannot fully

represent the spirit of Yeh’s artworks. While he was in

former, Yeh meticulously depicted the three “facades”

objects randomly displayed as offerings to create an

of a motorcycle. The latter work was a dedication to

altar-like atmosphere of sanctity. During this period, Yeh

his days in the military service. Such triptych-like

Tzuchi started to explore the skill of blending tempera

structures can be seen in the works made before he

and oil painting together. Through light, shadow, colors,

came to the USA, including “The Tenth Military

and texture, Yeh offered a visual experience that was

Company” (1983), “The Key of Heaven” (1984),

delicate yet solid. In the work “The October of Last

“Nostalgia-Express or Regular” (1984-85), “Nostalgia”

Year” (1990), Yeh Tzuchi’s monumental oil painting style,

(1985), “Landscape” (1985), “Family Legend – the

which features the focused depiction of single object,

Great Figures” (1986-87), and etc.

had finally come to its full-fledged stage. Each artwork indeed has its own story to tell and each object/image

Through the triptych-like composition structure, the

carries its own memory which cannot be easily

artist represents the modern aesthetics of multiplicity

forgotten. Yeh Tzuchi transforms emotions into

beyond time and space. Moreover, it reminds us of

artworks. He not only heals himself but also touches

religious Christian art in the middle Ages, especially

thousands of people.

altar paintings. It helps creates a religious atmosphere with a sense of solemnity and concentration. The

The solo exhibition Monologue at The Gallery in 1992

religious implication can probably be traced back to

provided a complete demonstration of these works for

the influence of Yeh’s Christian family.

the first time. On the first page of the catalogue published with the exhibition is “a dedication to my

After he left Taiwan, Yeh still used the triptych-like

father.” Yeh’s father, Yeh Chuan, was born in the last

structure for a short while. In the work “The Gap of

year of Emperor Guangxu's reign. He gave birth to Yeh

Time-and-Space,” he used several white lines to

Tzuchi, his youngest son, when he was fifty years old.

separate the image. A wash-basin was carefully

Among the eight children, he loved this disobedient son

depicted in an ambiguous and complex way. However,

the most. In 1986, Yeh Chuan sold the mountain cottage

this technique did not last long. Yeh might have

to provide financial support for his youngest son who

realized that purity and unity could also help him

decided to study abroad. He died at the age of 81 – like

capture the religious atmosphere of solemnity. Take

the withered leaf in the work “The October of Last Year”

the works “Summer”(1989) and “Autumn”(1989) for

(1990), in which Yeh Tzuchi visualized the dignity and

example; both feature a wash-basin with a visual

the glory of the withered leaf. Yeh Chuan’s love for

focus on its edge, beside the faucet, with watermelon

nature was the best gift for his children, particularly for

rind or fruit peel on its top. Yeh stretched the image,

Yeh Tzuchi. The withered leaf in “The October of Last

and added fruit peel, faucet, tooth mug, and other

Year” was put on an altar-like table. It looked proud

though speechless, symbolizing Yeh’s father who was always silent because of his Cantonese accent – smiling became the only way for him to communicate. (The Chinese meaning of Yeh is “leaves”. His father died in October, so the withered leaf symbolized his father’s death.) “Life” has always been a reoccurring motif in Yeh Tzuchi’s artworks. These paintings express the artist’s emotions, the memories of his family, hometown, first love, friendships, etc. No matter if it is a still life painting or a landscape painting, Yeh Tzuchi’s sensitive mind experiences a journey from sadness and pain, to yearning, to thanksgiving. Finally, the journey is completed through the slow process of painting. The artist’s most intimate stories have been told through the images of a sleeping goldfish, a fruit from his hometown, a camellia which reminds him of his mother, a piece of watermelon rind, and more. Yeh Tzuchi’s artistic practice not only inherits the Chinese poetry tradition that the world feels the way we feel, but also combines the Christian philosophy that “There is an appointed time for everything … A time to give birth, and a time to die…A time to tear apart, and a time to sew together…” as written in Ecclesiastes. He opens up a straight pathway for the development of Taiwanese art. For those who wish to know Yeh’s paintings, they are encouraged to explore the artist’s legendary stories; but for those who want to embrace his artworks, they only need to feel the image in the most sincere way and to search their own life experiences – it doesn’t matter if the subject is a fruit peel, the forest edge of Shamao Mountain, or the banyan tree standing tall in the campus of National Cheng Kung University.

Plates

Typhoon Approaching. 96.9 x 295.3cm Oil over tempera on linen 2007-2009

The Memory of Trees, Tainan 213.4 x 137.2cm Oil over tempera on linen 2010

A Big Banyan Treeâ&#x20AC;˘Tainan 127x213.4 cm Oil over tempera on linen 2009-2010

Sha-mao Mountains 116.8 x 233.7cm Oil over tempera on linen 2005-2007

Mountains, Taroko 196.9 x 295.3 cm Oil over tempera on linen 2007-2009

陳建榮 Chen Chien-Jung

1972

Born in Taipei, Taiwan

National Institute of the Arts, dept. of Fine Arts, Taipei ,Taiwan , B.F.A., 1995. Tainan National College of the Arts , Graduate Institute of Plastic Arts , Tainan ,Taiwan , M.F.A., 2001. Lives and works in Taipei.

Solo Exhibition 2011 2010 2009 2008 2007 2006 2004 2003 2001 2000 1999

Selected Group Exhibition 2012

“No One to Hear You Scream”, Saamlung Gallery , HK

2011

“City Equations”, Yu Hsiu Art Space , NHCUE , Hsinchu “Y.E.S Taiwan III”, Aki Gallery, Taipei “A Flash of Enlightenment”, New Urban Garden, Taipei

CHRONOLOGY

2010

“ART TAIPEI 2010”, Taipei World Trade Center, Taipei “Feeling and Form - Contemporary Taiwanese Painting”, Sakshi Gallery , Taipei “Continuation – Special Exhibition of LI Chun-Shen Modern Painting Award Winners”, National Taiwan Museum of Fine Arts , Taichung “Beyond Vision ”, National Taiwan Museum of Fine Arts , Taichung

2009

“Contemporary Value－A processing History ”, Ever Harvest Art Gallery , Taipei “Local Scenery”, Ke-Yuan Gallery, Taichung “YOUNG ART TAIPEI 2009 –Contemporary hotel art fair”, Sunworld Dynasty Hotel, Taipei “The Exotic Flora River Bbasinel”, Kao Yuan Art Center, Kao Yuan University ,Kaohsiung “How Young”, Dynasty Art Gallery ,Taipei

2008

“Open City: Architecture in Art”, Taipei Fine Arts Museum , Taipei . “The Empire Strikes Back – Episode III / The Phantom Menace”, Impressions Contemporary , Taipei . “Sweeties”, IT Park , Taipei . “Lines, by the 7th Gendres”, DuBang Contemporary Space. , San-Yi . “The 10th Visual Arts Prize of Li Chun-shan Foundation”, NCKU Art Center , Tainan.

2006

“Exhibition of New Perspective Art Taiwan”, Taichung County Seaport Art Center , Taichung “Meditation in Feeble Light ”, Safulak Art Village , Hsinchu “Scylla and Charybdis in Love: The Challenges Facing Contemporary Taiwanese Artists”, Kuandu Museum of Fine Arts, Taipei, Taiwan “Depth of Space”, Gallery Su , Taipei “Kuandu Extravaganza: Exhibition of Modern Art in Taiwan”, Kuandu Museum of Fine Arts ,Taipei “Art of the "E" Generation in Taiwan” , National Taiwan Museum of Fine Arts , Taichung

2004

“The 11th International Biennial Print and Drawing Exhibition R.O.C.”, National Taiwan Museum of Fine Arts , Taichung “Scylla and Charybdis in Love: The Challenges Facing Contemporary Taiwanese Artists” , National Taiwan Museum of Fine Arts , Taichung , Gwangju Art Museum, Gwangju , Korea “Depth of Surface”, Main Trend Gallery , Taipei “Tile Project, Destination: The World”, Taipei and 20 international sites

2003

“Intershop Südstattsüd”, Karlsruhe Südstattsüd , Karlsruhe , Germany “Exposition Collective 2003”, Cité Internationale des Arts, Paris, France

2002

“Chain - Nomads．Rally”, Huashan Arts District , Taipei . “Rising Force – Safulak Art Festival”, Safulak Art Village , Hsinchu “2002 Tainan Biennial”, Tainan Municipal Art Center , Tainan “Abstract Stars 2002”, Ke-Yuan Gallery , Taichung

2001

“New Minds”, Artist Creations in Motion , Taipei Fine Arts Museum , Taipei ‘‘Fine Arts Prize of The Rotary of Taipei Tunghua”, Taipei Art Fair ,Taipei “Concealed Movement”, Paint Shop Gallery , Tainan

2000

“Random Door”, Kuo Mu Sheng Foundation Art Center , Taipei “Thriving Momentum．Observing Phenomenon Comprehending Moods－Poetic Space Inside of Painting”, Koche Space Art , Tainan “The 17th Kaohsiung Fine Arts Exhibition”, Kaohsiung Museum of Fine Arts , Kaohsiung “Abstract Stars 2000”, Ke-Yuan Gallery , Taichung “2266”group exhibition , gallery of TNCA, Tainan “New Stars 2000”, Ke-Yuan Gallery , Taichung

1999

“Resplendent Years”, Prototype Art , New Heart Life Art Center , Tainan “Songs of Tachi”, gallery of TNCA, Tainan “The 26th Taipei Annual Arts Competition”, Taipei Fine Arts Museum , Taipei “The 16th Kaohsiung Fine Arts Exhibition”, Kaohsiung Museum of Fine Arts , Kaohsiung

1997

“The 8th International Biennial Print and Drawing Exhibition R.O.C.”, Taipei Fine Arts Museum , Taipei

1996

“The 23th Taipei Annual Arts Competition”, Taipei Fine Arts Museum , Taipei

1994

“Mini Sculptures Exhibition”, Arp Gallery , Kaohsiung “Exhibition of Seven Guantu Artists ”, Tamsui Center of Arts and Culture , Taipei . “Shifts of Light”, Jazz Photo Gallery , Taipei “International Print Exhibt：“Taipei .New York .Tokyo”, Library of NIA , Taipei

CHRONOLOGY

AWARDS AND FELLOWSHIPS 2011

The 100-2nd Grants for Professional arts of The Department of Culture Affairs , Taipei City Government ,Taiwan

2010

The National Cultural and Arts Foundation 99-1 Fellowship,Taiwan

2008

Subsidy for art creation from The National Cultural and Arts Foundation

2007

“The 10th Visual Arts Prize of Li Chun-shan Foundation” by Li Chun-shan Foundation The National Cultural and Arts Foundation 96-2 Fellowship,Taiwan

2006

The National Cultural and Arts Foundation 95-2 Fellowship,Taiwan

2005

Subsidy for art creation from The National Cultural and Arts Foundation

2004

The National Cultural and Arts Foundation 93-1 Fellowship,Taiwan

2003

‘‘Golden Prize in Drawing ”of “The 11th International Biennial Print and Drawing Exhibition R.O.C.”, National Taiwan Museum of Fine Arts , Taichung

2001

Subsidy for art creation from The National Cultural and Arts Foundation Artist- in- residence at Cité Internationale des Arts in Paris , sponsored by the Ministry of Education , R.O.C. ‘‘Kaohsiung Prize”of“The 18th Kaohsiung Fine Arts Exhibition”, Kaohsiung Museum of Fine Arts , Kaohsiung ‘‘Fine Arts Prize of The Rotary of Taipei Tunghua” The National Cultural and Arts Foundation 99-2 Fellowship,Taiwan

2000

Artist- in- residence at the International Studio and Curatrial Program in New York , a program of The Elizabeth Foundation for the Arts The National Cultural and Arts Foundation 89-1 Fellowship,Taiwan

1999

“Honorable Mention Artist”, selected by Vermont Studio Center ,U.S . The National Cultural and Arts Foundation 88-3 Fellowship,Taiwan .

1997

“Taipei Prize”of “The 24th Taipei Annual Arts Competition”, Taipei Fine Arts Museum , Taipei .

ARTWORK COLLECTED Council for Cultural Affairs of Taiwan National Taiwan Museum of Fine Arts, Taichung, Taiwan Taipei Fine Arts Museum , Taipei, Taiwan Kaohsiung Museum of Fine Arts , Kaohsiung , Taiwan Taipei National University of the Arts, Taipei, Taiwan The Rotary of Taipei Tunghua, Taipei, Taiwan private collections.

Ching-Wen Chang

The concepts represented by the word "landscape" are numerous and diverse, and the meaning that it represents is constantly changing. In her discussion of landscapes and contemporary art, French scholar Catherine Grout first explains

the history of "landscapes." In the West, in contrats to art history or the history of thought, there was no word relating to

landscapes until the Dutch landschap appeared in the late 15th century. According to Grout's research, the landscapes that

appeared in Western art prior to the first half of the 15th century obviously had a different meaning than the one we currently

acknowledge, see, and understand. Before the word "landscape" appeared in Europe, such paintings only depicted "places which produced activity," with artists showing greater attention to bringing out a place or story in their landscape paintings

than to the depiction of nature. Grout maintains that the means by which landscapes are expressed relates to the artist's

way of seeing and thinking about the world, and landscape pieces are not only a work of art, they are the concrete results of the arrangement of these ideas and emotional pillars for people.

Chen Chien-Jung’s paintings have always been associated with urban civilization or industrial ruins, and most of them tend

towards “incomplete” or “lo-fi” interpretations. Critics often feel his works are reflections of the decrepit or even violent side of cities, bringing out a certain fascinating quality through the use of beautiful color and arrangement of uniform lines.

In an era of overdevelopment, imagery of dilapidation or fracturing can easily conjure up nostalgia for the countryside and

arouse cultural feelings imagination, forming a perceptual viewing experience. Looking at Chen Chien-Jung's works, particularly a series of post-2007 paintings named Landscape, all contain suggestions of their locale as viewing clues, and

locations that echo Catherine Grout's " emotional dependence."The possibility that these pictures can be viewed as

landscapes also explains precisely why the empty houses or two-dimensional buildings in Chen’s paintings attract our gaze; they do not actually exist, yet linger in the perception of every viewer with experience of cities.

Urban historian Joel Kotkin believes that the experience of city life is universal, regardless of race, climate, or geographic

location. He quotes from the diary of 16th century conquistador Bernal Diaz del Castillo, who writes that although

Tenochtitlan (now Mexico City) was a completely unfamiliar city, it was only superficially different from Seville, Antwerp, Constantinople, or other European cities. Today, such commonalities can still be observed in major cities throughout the world. Cities operate similarly around the globe, and even share common architectural styles. “Then there is the visceral "feel" of the city almost everywhere- the same quickening of pace on a busy street, an informal marketplace, or a freeway interchange, the need to create notable places, the sharing of unique civic identity." This idea does not only exist i n Kotkin's view o f history. R ichard Sennett, interested i n the study o f the relationship between the human body and urban spaces, has also found that the structure of modern cities has long involved straight roadways, rapid and unobstructed transportation routes, eliminating the work of getting around and all impediments to efficiency, i ncluding i nteresting architecture and c ity appearance s o that t he d rivers will not b e distracted b y the street-side landscape. As the velocity of travel has created new geographic possibilities for settlement, Sennett laments, “Space has t hus b ecome a means t o the end o f pure motion,” and “The physical condition o f the traveling body reinforces the sense of disconnection from space.” Perhaps it is this potential fracturing that arouses the interest of contemporary painters in the structures that surround their bodies. The works of Chen Chien-Jung are a highly representative example. These paintings call upon and stir a certain common sense of space- or, perhaps, sense of the urban- possessed by all with experience of cities, and add to the current relationship between people's bodies and space. Although he has never painted the scenery of any particular community, nor attempted to represent a specific building or house, certain forms are clearly and confidently brought out in the pictures. They appear to be buildings, or sculptures shaped like houses, or may even really be forms from certain other artists' works. These objects easily attract the eye, further drawing the viewer into the space to explore the pure appeal of lines or colors that exist beneath these forms. Chen Chien-Jung's earlier works, such as 1997's In the Park, already displayed his technique of using buildings as the

primary line structures in the pictures. The tableau has

the landscape presented in an upward-looking or

the corner of a stainless steel stage, the crisscrossed

panoramic view. Included among these is 2007’s

well-executed straight lines appearing on the relatively

Landscape 09, uses incompletely covered color blocks

disorderly paint on the base photograph. The sharp,

to give the building shape formed by the ink lines a

fine light blue lines, and decorative lines painted after

different voice-part spatial feel, the dual effect of the

masking the work in tape, correspond to the image in

lines and color creating a rich false space experience.

the photograph at the base layer of the work, the

Landscape 10 (2007), by being more automatic and

scene of an outdoor performance. The line and color

spontaneous in nature, brings out the emotional power

composition techniques revealed in this piece were

of plane painting, with numerous voices tangled

extended to become the typical structure of Chen’s

together, a thin, transparent swath of aquamarine

later works, although he stopped using photographic

rushing upward around a white form, gracefully breaking

images after this, shifting to the creation of

through the restraints of the grey and white color areas

quasi-spatial scenes entirely through the layering of

to either side. In 2009’s Landscape 24, Landscape 33,

paint.

and Landscape 34 bring a more concrete architectural appearance to their images, the imagined buildings

The 2006 Park depicts the corner of a car park. As the

supported by the lines broken one after another by the

viewer casts his eyes on this enclosed, deep black

application of color. Within the crowded pictures, a few

and gray space, the lines draw the gaze to an

eye-catching orange lines or patches shine like fire,

obstruction in the foreground. The fine black lines

becoming the focal point of each landscape. Numbers

imply physical space, while white lines brightly

23, 27, 35, 36, and 37 of the Landscape series, new

intersect with them to create a hint of the ground,

works from after 2009, make a single structure the

extending to form one axis of a perspective drawing.

center of the image; The forms are oppressively heavy,

These white lines also confuse the viewer's reflexive

while soft, highly transparent colors cover the picture,

visual judgment, allowing the sightline to pierce

softening the dense feeling of the square central

through the ground and extend downward. The use of

objects. These immense objects stand alone, cold and

color in the picture does away with the gloom of

isolated; like the eye of the viewer, people can only walk

constant grey and black, with the blue patches of

around them on the outside, sizing up the relationship

color rhythmically stretching out the distance above

between them.

with changes in the space. Many of the later

Landscape series hold a similar appeal, but with the

Informational d iagrams, a s purely f unctional objects,

scenes having shifted to the outside of the structures,

could be considered the blandest form of artistic

representation. Elevation drawings of buildings or depictions of houses use numerous straight lines conforming with the logic of perspective to r epresent t he horizon, walls, and supports, corresponding t o the tidy charcoal pencil lines, produced b y masking t he work w ith tape; 2008â&#x20AC;&#x2122;s Untitled 08-6 and Untitled 08-2 a re the best examples. The a rtist employs numerous straight lines, rarely occurring in natural landscapes, which continually intersect and shift, creating landscapes with strong urban connotations. Within the seemingly unemotional structure of straight lines, the covering and crossing o f color d isplays the transparency o f acrylic paint, and b reaking f ree of f ormerly familiar spaces. A fter modification, ordinary outdoor landscapes retain only a part of their original form, finally returning to your lines and color. Although some images appear to be the result of careful planning, they were completed referring only to items the artists had at hand, which become personalized and obscure signs of his work. Chenâ&#x20AC;&#x2122;s paintings have become a portal to the reestablishment of the relationship between space and the body for those born in this era of excessive urban sprawl. As cities become increasingly similar in appearance, and as the bodies moving through cities are no longer keenly aware of space, each landscape that Chen opens up to the viewer in his works, in addition to being a r esponse t o the p resent mood o f the c ity, a lso leads t he v iewer o n a journey o f unfamiliar visual experiences. Outside the lines supporting each indistinct form, vague images of sky, sea, clouds or trees emerge from the indistinct splashes of color, rational visual experiences asserting themselves within landscapes that confuse the vision or differ wildly from reality. The viewer may at times be convinced that he is looking at a forest, the night horizon, or an object in the middle of the sea or under a misty morning sky, but these may very possibly be the result of unconscious projection of existing visual experiences or visualizations of classical landscapes and not necessarily the landscapes that Chen's works are intended to reflect. When our gaze l eaves t he canvas and returns t o the carbon copy scenery of t he c ity, w ill w e still b e able to see t he desolation and beauty amidst it?

Plates

Dessous du Bleu. 116.5 x 182cm Acrylic, mixed media on canvas 2003

Landscape 40 112 x 146 cm Acrylic, mixed media on canvas 2010

Landscape 59 112 x 148 cm Acrylic, mixed media on canvas 2011

Landscape 39 130 x 162 cm x 2 pieces Acrylic, mixed media on canvas 2009

Landscape 64 162 x 260 cm Acrylic, mixed media on canvas 2011

Landscape 郭英聲 QUO YING-SHENG•葉子奇 YEH TZU-CHI •陳建榮 CHEN CHIEN-JUNG

July 2 – July 30, 2012 Tenri Cultural Institute in New York 43A West 13th St., NYC 10011 Tel:212-6452800 Hours:Mon-Thur:12pm-6pm;Sat:10am-3pm; Fri & Sun:Closed

Published by Taipei Cultural Center of TECO in New York Director : Susan Yu Guest Curator : Josiane Lih-Huei Lai Exhibition Coordinators : Chi-Ping Yen, Yuji Okui Executive Editor : Inart Space, Jali Gallery Editor : Chi-Fen Fang Graphic Design : Cyuan-Wei Ding Printed in June, 2012 First Ed 500 Printed by TaiLight Lithographic Printing & Design Ltd. Special thanks to

, Jali Gallery and

Chao-hsien Tu, Shu-Chen Tu, Hsien-Hsi Wang, Kuo-Sheng Yeh, Michael Chen.