Po Shun Chuang protfolio

Po Shun Chuang 2015

Po Shun Chuang 2015

Contents Po- Shun Chuang Works

The Baby’s Book #47 Rain as Silver Needles Alchemy Dedicated to Les Fleurs du Mal Re Last Words From Montmartre

Critic

Miss Picked Flowers on the Ground

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Po Shun Chuang

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Po Shun Chuang was born in 1993 in Chiayi, Taiwan.I studied painting and calligraphy in National Taiwan University of Arts. With traditional painting and calligraphy background, I take them as methodologies to experiment different possibilities. My works are spring from life experiences and literature, focusing on relations between context, communication and visual experiences. Transitioning literature into different ways of watching, I do it in calligraphy, seal and publication to discuss varies combinations of modern literature, traditional Chinese aesthetic and contemporary. My recent article have been published in Performing Arts Review.

I was an intern at Taipei Contemporary Art Center in 2015 and Fubon Art Foundation in 2013. In Taipei Contemporary Art Center, I participating in the forum "Made in Public" and being Oliver Klimpel's assistant. The forum “Made in Public” invites speakers from New York, London, Indonesia, Hong Kong and Taipei to share their concept and experiences toward property, protest and commons.

Being Oliver Klimpel's assistant, I work with him to prepare some workshop about design as a cultural requiry and his image works. In Fubon Art Foundation, I worked on the project “Very Fun Park” Taipei East Distract Contemporary Art Exhibition.

In September 2015, I start a part-time job in the Exhibition Department of Museum of Contemporary Art Taipei.

Education 2012 National Taiwan University of Art: Painting and Calligraphy Group Exhibition 2015 Scars, National Taiwan University of Art, Taipei, Taiwan

Original colors, National Taiwan University of Art, Taipei, Taiwan

Changes of quality and quantity, Nanhai Gallery, Taipei, Taiwan Internship 2015 Taipei Contemporary Art Center, Taipei.

Project “Made in Public” international forum.

2014 VT Art salon, Taipei.

2013 Fubon Art Foundation, Taipei.

Project “Very Fun Park” Taipei East Distract Contemporary Art Exhibition.

Awards 2015 Calligraphy and Seal Inspect Competition in Calligraphy, Excellent work

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Works The Baby’s Book #47 Rain as Silver Needles Alchemy Dedicated to Les Fleurs du Mal Re Last Words From Monmartre

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The Baby’s Book #47 2015 paper, ink 45 X 144 cm, 90 X 144 cm 4 pieces

Explanation: Drizzling resides in a old garden, there is a treasure hidden in the downtown.

I wander in old neighborhood.

Every odd door plates or gloomed teashops arouse me the sorrow of time separation.

Luo Zhicheng1, The Baby’s Book no.47 2015 at the beginning of spring, Po- Shun wrote Seal: baby; transparent bird; twenty fifteen; Po- Shun; in the age like this 1

Luo Zhicheng, a Taiwanese poet.

The Baby’s Book is his early work. He made up a baby to write letters to and involved into a love story.

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Rain as Silver Needles 2015 rockpigment on paper 162 X 120 cm

Rain as Sliver Needles is derived from a South America folklore.

A wizard mumbled a spell in a raining night. Drizzling rain was freezed in the air, shivering in moonlight as silver needles floating in the world. Time stops.

T h e w i z a r d s te p p e d o n t h e freezing rain and moved in the sky.

Time stops as this way. There are many transformation of the folklore in literature and movies.

In the subsidence of reality, I try to discover a new dimension of time and space to look for the essence of the ephemeral.

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Alchemy 2015 paper, carbon, gold, silver 21 X 29.7 cm 3 pieces

Al c h e m y i s t h e p r o ce s s o f transforming between personal narratives, words and documents.

I decide to hand out myself, my important stories by taking the price of honesty. Writing is a way to hand myself out. I use three kinds of narrative form, letter, prose and poem. Through Tooled in gold or silver, words are not only capable of communication, but also construct a coherence between texture and the way of watching to complete a dialog.

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Dedicated to Les Fleurs du Mal 2015 digital printing 48 pages 14.8 x 21 cm

Dedicated to Les Fleurs du Mal is the work of a research project for seal study. It inspired from the study of part of speeches of seal context. Because of the function of honesty, seal contexts are names, working positions, or other nouns. As a result, I start to work on exploring the different part of speeches in seal contexts. I take Charles Pierre Baudelaire's Les Fleurs du Mal as a start. The presentation of the project involves into a zine, for I try to make different narrations through editing the zine.

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The zine is majorly composed of three parts. The red, shapeless images are the first part. Those images are the magnifications of certain seal partials. They are magnified into different sizes that they create the relations of color field and the empty part rather than being seals. The second part are conversations of contents and seals. The contents are only left to be nouns and punctuation mark to coherent with seals. The third part is an overview of all seals.

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Inner pages of Dedicated to Les Fleurs du Mal

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seals in Dedicated to Les Fleurs du Mal ( from up to down) We didn’t Waste Time 2.1 x2.4 cm Women are Tired of Love 3x3 cm Sisyphus 3 x3 cm

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Re Last Words from Montmartre 2015 printed on paper 52 pages 14.8 x 21 cm First Editing of 100 copies

Last Words from Montmartre is the last writing work of Qiu Miaojin, a Taiwanese writer, in her Paris time. It’s about honesty, love and the direct connection of writing and subjectivity. The book is consisted of 23 letters. I made each letter into a image and add the title of the book to be 24 images. The 24 images are edited and made into a book, Re Last Words from Montmartre.

Piling words, the way I turned a letter in to a image, is like imitate images, also rearticulating content as close reading and redefining the concept of words. I start to notice that how words to be words, the unique cultural symbol and sprite.

At the same time, words have new interpretations as individualizing from the culture structure. I try to find a different possible of constructing the meaning of words while piling words. Words start to get out of lines to tell story by its own or to tell stories in a different way.

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(left) Re Last Words from Montmartre and Last Words from Montmartre (right) Title of Re Last Words from Montmartre

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Letter 14 of Re Last Words from Montmartre

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Letter 18 of Re Last Words from Montmartre

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Critic Miss Picked Flowers on the Ground

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Miss picked Flowers on the Ground

porary and ancient time faces toward unknown future. The discussion of violence essence of lives in Liyuan opera and contemporary art were written into a short novel in a white cube. Sobbing

Words/ Po-Shun Chuang

sound of Nankuan rose, Liyuan man came out, ladies in white, red and yellow appeared on the

A wooden desk filled with secrets and shined with

stage. They all represented a spirit of time, and

verdigris will be discovered at last.

construct scenes and makes into plot.

The collaboration of River Bed Theatre and

Death is never a real proposition, but abundance.

Gang-a Tsui Theatre make time-space crossing

She wore lipstick, opened a paper fan, stood from

illusion possible using Nankuan as instrument for

five crossing wood sticks. To find her voice back,

its sob-like sound. Cross replacement of contem25

she was independent and well-behaved. At last,

it’s merely a tragedy, just as its name: a flower be-

her soul still existed, what did she die for? Soul

ing picked.

leaves early than physic. After the sadness and the failure of disconnections, the physic no longer

If the performance were a spectacle of fanta-

exists. The text in the introduction quotes from

sy, it will talk about the progress of technology

Sam Taylor Wood’s video work A Little Death

and image about connecting the flower back to

:subjects breakdown gradually in time, the rotten

a plant, creating flourish of flowers by technical

are daily lives. This is the answer if the answer is

medium, or using technology to make the flower

needed.

alive like Shadows of Chin-Wei, Chuang. If it were a romance, the flower would be picked in the

The long table was opened, told all hints and

most important time, as turning something on,

secrets. From that point, time source back to

breaking a code and to run, fight, escape or face

fragments and pieces in the beginning. It finally

like Hollywood hero movie. If it were a comedy,

makes sense. Those hidden, unseen was actually

it would shout and laugh loudly, criticizing the

the proof of relations of each other. White light

dream in reality, having a status of guerrilla such

glowed from the table, being too weird to be nor-

as Faiza Ahmad Khan’s supermen of Malegaon.

mal. The play suddenly back to the beginning, consistence with breaks and sorrow of subjects.

Synchronization takes a vital role in the perfor-

At last, day light appeared, the power, the mys-

mance. Pace, movement and act of actors cor-

tery went down. Everything back to routine, old

respond the physical and mental relation and

stories were past and didn’t know is there going

distance structure of subject towards others. In

to have new ones.

Huang Yi’s dance HUANG YI & KUKA, synchronization leads the blur of identity difference (a

River Bed Theatre took the pedal of reality from

robot and people). There is no identity difference

lives, utilizing a surrealism theatre to build a sea-

here, but a power that is over the control,which

son for falling flowers. As a flower being picked,

was owned by a strong authority. The authority

others are not far from being picked. The magic

is so giant that all they can do is abundance. The

of delay is allowed.

synchronize of body movement claims a paradox of content and power. They looked the same in appearance, but with long distance. It seems that

The article is originally published in Performing Art Re-

the synchronization is to cut the connection in

view 2015 Nov.

between and grow to be a sad story.

She once stood up, but she sat back to a cushion as fall into a barrier. She also walked back to the long table, picking up her bun like taking off a scenery. If she died, did she still need her soul? If

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Po Shun Chuang 2015