【Asian drums: Art Dialogues Among Taiwan, Korea, and Thailand】
Date: 24 Aug 2019- 12 Oct 2019
Artist Talk: 24 Aug 2019 (Sat.) 17:00-18:30
Reception: 24 Aug 2019 (Sat.) 18:30-21:00
Taiwan / Huang Wanling, Hsieh Muchi, Lin Guanming
Korea / Choi SuHwan, Jo Hyeonsu, Lee Moonho, Park NeungSaeng
Thialand / Phornphop Sittiruk, Prasert Yodkaew, Torwong WutthiwongVenue: VT Artsalon (B1, No.17, Ln.56, Sec. 3, Xinsheng N. Rd, TaipeiCity 104, Taiwan)
Seo Sangho / Korea
Seo Sangho had exhibited in 7 Solo shows till 2007. Starting of the Opening show of Busan Museum of Art, he continuously got involved in numerous exhibitions including soft power/Daejeon Museum of Art, Sejong Centre for the Performing Art Reopening show out door/Gwangju Museum of Art, 2002 Busan Biennale Sea Art Festival. KIAF, 2008 Art in Busan and more than 100 exhibitions both as an artist and a director. After 2009, he became to concentrate in directing.
By directing for SanbokDoro 2006, AnchangMaul, An,Chang, Go 2007, SanbokDoro 1Bunji 2010 and many more public arts, his passion over public art got bigger and made him focus on unite various Asian countries. Through these experience, he developed and artist residency and Asian artist exchange program. (5Countries).
One of his successful examples for gathering many artists from various Asian countries is AIA (Asia Independent Art). This unique group of Asian Artists from more than 5 different countries is expending towards the world especially to Europe by making a round abroad in 2014 through the Via Project research in London. Based on these informations, he now, positions himself as a director of Open space Bae, a non-profit space over 20 years. Nonprofit Art Space Network of Korea president.Taiwan art group HantooS curator. Artistic director of 2019 Busan biennale sea art festival.
Chu Hyi Jeong / Korea
Chu Hyi Jeong is a chief curator at Openspace Bae, a non-profit art organization in Busan.She was a curator at Gana Art Busan in 2018 and a coordinator at Total Museum of Contemporary Art from 2014 to 2015. Her ongoing interest lies in how to revitalize local art communities, especially by supporting local young artists and curators.
History, Yonsei University
Art History, Ewha Womans University
Hsieh Mu-chi / Taiwan
Born in Taipei Taiwan in1981, currently lives and works in Taipei. Hsieh Mu-chi whose artistic style incorporates painting, behavior into photography attempts to inquire into the identity of the artist and the relationship between human and painting. From his paintings, audiences are invited to appreciate his passion for painting as well as the humorous and mocking tones in his works. He had solo exhibition “Unforgotten” ( Kuandu Museum of Fine Arts, Taipei, 2017), He has also participated in the group exhibition :Project Island Hopping – Reversing Imperialism: “Lander”(UP Vargas Museum, Manila, 2018); “Archipelago on an Island”(Koganecho ,Yokohama,2018); “Future Theatre”,(KUANDU Museum of Fine Arts, Taipei,2018)“2016 Taiwan Biennial: The Possibility of an Island”( National Taiwan Museum of Fine Arts, Taichung, 2016)He was a resident artist in Pier-2, Kaohsiung .MMCA Residency Goyang ,South Korea and Silpakorn University ,Thailand.
MFA Department of Fine Arts, Taipei National University of the Arts, Taipei, Taiwan
2017 Unforgotten, Kuandu Museum of Fine Arts, Taipei, Taiwan
2016 Geophilosophical Mining, GAIART, Taipei, Taiwan
2014 Center of the Screen, Café Showroom, Taipei, Taiwan
2014 Give Me A Hand, Eslite ART STUDIO, Taipei, Taiwan
2013 Mountain, Fotoaura Institute of Photography, Tainan, Taiwan
2012 Sketch Up the Hill Road, Ping- pong Space, Taipei, Taiwan
2011 Back to the Junior, VT Art salon, Taipei, Taiwan
2009 Painting is All Hsieh Mu-Chi Solo Exhibition, Hong-Gah Museum, Taipei, Taiwan
M & P – Hsieh Mu-Chi Solo Exhibition, AKI Gallery, Taipei, Taiwan
2006 The Vision Between Interweaving Line, AKI Gallery, Taipei, Taiwan
2018 Mai-Pen-Rai,Dai-Jyuo-Bu,Mei-Guan-Xi, PSG Gallery ,NakornPathom , Thailand
Project Island Hopping – Reversing Imperialism:“Lander”,UP Vargas Museum, Quezon City, Philippines
Black Ships, Civilization, Remarks, and ______s’ Footprints:
From Japanese Modern to East Asian Contemporary Art ,Galerie Nichido, Taipei , Taiwan
Chou Yu-Cheng Collaborative Project at Project Fulfill Art Space, Taipei, Taiwan
Future Theatre, Kuandu Museum of Fine Arts, Taipei, Taiwan
Fleeting landscape, HEIOS Gallery, Taipei ,Taiwan
Archipelago on an Island ,Koganecho ,Yokohama, Japan
Guerrillas, VT Art salon, Taipei, Taiwan
2017 CUMULUS BLIMP: A Transnational Platform of Discourse
1335MABINI, Manila, Philippines
Local to Local ARTFORUM RHEE Seoul, Korea
Limitless Landscapes, Art Influence, Taipei, Taiwan
Extraordinary 25th Anniversary of Soka Art, Soka Art Gallery, Yun Feifan Art Museum
Borders and Beyond, Lin Lin Gallery, Taipei, Taiwan
2016 2016 Taiwan Biennial: The Possibility of an Island, National Taiwan Museum of Fine Arts, Taichung, Taiwan
Shaking, Butchart International Contemporary Art Space , Taipei Taiwan
Atmosphere, HEIOS Gallery, Taipei Taiwan
2015 The Big Scene: Seven Sights, Go-yang Residency Gallery, Goyang, Korea
The Twinkle World, Daegu ArtFair, Daegu, Korea
Shan-Hai-Jing, YIRI Art Pier 2 Gallery, Kaohsiung, Taiwan
Future Flash Fiction, Frees Art Space, Taipei, Taiwan
19699, The Pier-2 Art Center, Kaohsiung, Taiwan
Awards & Honors
2009 2009 S-An Aesthetics praise - Arts Creation Support, The Formative Arts Kind, Taipei, Taiwan
2007 Premium, The 4th Taoyuan Creation Award, Cultural Affairs Bureau of Taoyuan County Government, Taoyuan, Taiwan
2006 2006 Taipei Arts Award, Taipei Fine Arts Museum, Taipei, Taiwan
Huang Wan-Ling / Taiwan
1980 Born in Keelung, Taiwan
2009 M.F.A. Printmaking, Graduate School of Plastic Arts, Taipei National
University of the Arts (TNUA), Taipei, Taiwan
2005 B.F.A. Printmaking, Department of the Fine Arts, TNUA, Taipei, Taiwan
2019 仙台湾の風景, Gallery TURNAROUND, Sendai, Japan
2015 Traveling Notes, 182 Art Space, Tainan, Taiwan
2013 Fashion Fetishism-Huang, Wanling Solo Exhibition, Art Taipei, Taipei, Taiwan
Sacrifice-Huang, Wanling Solo Exhibition，H.T. Gallery，Beijing, China
2008 Gongyangren , Perhaps Happiness Never Exists…まるで . 回る.
Merry-go-round, AKI Gallery, Taipei / ARTHIS FINE ARTS , Taichung, Taiwan
2019 Asia Drums, VT Artsalon, Taipei, Taiwan
Imagine Picnic, Seongsan Art Hall, Changwon, Korea
Asia Contemporary Art Show, Conrad Hotel, Hong Kong
Hot Blood, White Rabbit Gallery, Sydney, Australia
2018 Ah! Already!, Sam-yuk Building, Seoul, Korea
Daegu Art Fair 2018, Daegu EXCO, Daegu, Korea
The First Asia-Pacific Art Exhibition, Nanjing University Museum, Nanjing, China
Project Island Hopping – Reversing Imperialism: Lander, Jorge B. Vargas
Museum and Filipiniana Research Center, Quezon City, Philippines
3nd Taiwan Annual, TAIPEI EXPO PARK EXPO Dome, Taipei, Taiwan
Fleeting Landscape, Helios Gallery, Taipei, Taiwan
Listen to the thunder at a silent place, Moon Gallery, Taichung, Taiwan
Archipelago on an Island, Koganecho Site-A Gallery, Yokohama, Japan
Future Theatre, Kuandu Museum Of Arts, Taipei, Taiwan
2017 Phiau-phiet ê - Group Exhibition of Taipei ARTISTS, Openspace Bae, Busan, Korea
2nd Taiwan Annual, TAIPEI EXPO PARK EXPO Dome, Taipei, Taiwan
10e Triennale Mondiale de l'Estampe, Chamalières, France
CROSSOVER , FreeS Art Space, Taipei, Taiwan
EXTRAORDINARY-25th Anniversary of Soka Art, Remarkable-Cultivation Museum of Arts, Tainan, Taiwan
2016 ART.FAIR | Fair for modern and contemporary art, Koelnmesse Hall 1 and 2, Cologne, Germany
1st Taiwan Annual, TAIPEI EXPO PARK EXPO Dome, Taipei, Taiwan
New Taiwan Mural Team- Theather for All, National Taichung Theater, Taichung, Taiwan
Dialogue on Printmaking: The Taiwan-US Exchange Exhibition, Taipei
Economic and Cultural Office, New York, USA
Reunion, TaipeiING, Taipei, Taiwan
Shaking, Butchartart International Contemporary Art Space, Taipei, Taiwan
2015 Shong Dong International Printmaking Invitational Exhibition, Center of
Contemporary art Shong Dong, Nanjing, China
Future Flash Fiction, FreeS Art Space, Taipei, Taiwan
City museum of art-Voice, Taipei city, Taiwan
Artist fair Taiwan, TAIPEI EXPO PARK EXPO Dome, Taipei, Taiwan
2018 R301, Room18. Art Studio, ARTBANK, Taiwan
2016 Traveling Notes No. 5~9, ARTBANK, Taiwan
2015 Traveling Notes No.1~9, Collecting by White Rabbit Gallery, Sydney,Australia
2013 Traveling Notes No.1~4, ARTBANK, Taiwan
2011 Lane.96,Kunming St, Collecting by Kuandu Museum of Arts, Taipei,Taiwan
2007 Jeni and me in Hsimending, Collecting Young Artists’ Works Project,
National Taiwan Museum of Fine Arts
2004 Old Skateboarder, Ancient-costume Boy, Mongolian Fashion,
Green-scarf Arhat, Private Collection of Art Museum @ The Art Park, Shinchu
2013 Selected by「MADE IN TAIWAN」young artist discovery
2005 Selected work, The 12th International Biennial Print and Drawing Exhibition, R.O.C.
2019 KAIKON Art Studio, Japan
2018 Seoul Art Space GEUMCHEON, Korea
2017 Songgu Monastery, China
2013 Vermont Studio Center, USA
The "Meisho-E" series began in 2016 as I ponder the relationship between panorama perspective endpoints and the painting frame, constructing a non-eye perspective structure painting. I create alternative spaces as a painting frame by attaching, collaging, or layering different type and material of papers, and this difference of papers also inspires to imagine the different time and space. By using this method, it seems like I am having a conversation with the old Chinese literary painters.
While Eastern and Western painting for still life and landscape painting both consider perspective and vanishing point, Western painting mainly use one limited vanishing point matching the human eye structure. In contrast, Eastern painting make use of multiple perspectives following the Painter’s movement of viewpoint with several vanishing points. In my "Meisho-E" painting, the perspective starts from the central point and the structure of painting is extending to outwards with no end point in the landscape painting.
The painting process is like the constructing the building. I set up the structure and framework of the painting space, and similar to the destructive creative approach, tear down the existing images, collect the small pieces, and re-create new structures and images of the painting with the chaotic and wet brush strokes to stack up the images layer by layer and to reproduce the landscape. This is a silent shouting of an artist facing the time of image explosion as well as a self-examination and reemergence as an artist.
Lin Guan-Ming / Taiwan
Born in Taipei Taiwan in 1981, Lin graduated with a M.F.A. from the Graduate Institute of Arts and Technology, Taipei National University of the Arts. Lin has been dedicated to video art and regards video as the imagination and contemplation of “time” observation. Attempting to recollect the possible remaining “memory” of videos from the current age where videos are produced in excess. After his showing at the 2004 Media Cramp, Co4 Taiwan Avant-garde DocumentaⅡ, he has since then exhibited at many local and international exhibitions, including in Beijing, Shanghai, Hong Kong, Paris, Fukuoka, and U.S.A. In 2008, he presented his solo exhibition Silence Attacks at the Museum of Contemporary Art Taipei, and also received the Taipei Arts Award in the same year. His art is collected by National Taiwan Museum of Fine Arts.
2010 M.F.A., Graduate Institute of Arts and Technology, Taipei National University of
the Arts, Taiwan
2014 Boundless Sea, National Taiwan Museum of Fine Arts, Taichung, Taiwan
2012 STAR, IT Park, Taipei, Taiwan
2011 For Years and Years, Kuandu Museum of Fine Arts, Taipei, Taiwan
2008 Shadowless, Aki Gallery, Taipei, Taiwan
Silence Attacks, Museum of Contemporary Art Taipei, Taipei, Taiwan
2005 A Condition of Never Sinking, Etat Lab, Taipei, Taiwan
Selected Group Exhibitions
2018 Future Theatre, Kuandu Museum of Fine Arts, Taipei, Taiwan
Guerrillas, VT Artsalon, Taipei, Taiwan
2017 Tropical Cyclone, Kuandu Museum of Fine Arts, Taipei, Taiwan
Local to Local, ARTFORUM RHEE, Bucheon, Korea
Hot Body, Cool Tech: Performative and Choreographed Bodies in New Media,
National Taiwan Museum of Fine Arts, Taichung, Taiwan
Crossover, FreeS Art Space, Taipei, Taiwan
2016 Delayed, NHCUE Art Space, Hsinchu, Taiwan
2016 Urban Nomad Film Fest - A Gaze on the Contemporary, Not Just Library,
Light Pollution, EXPO Dome, Taipei EXPO Park, Taipei, Taiwan
2015 Feigning Movement 10 - Art Only, VT Artsalon, Taipei, Taiwan
Future Flash Fiction, FreeS Art Space, Taipei, Taiwan
Returning Sight - The Fissures of Moving Image, TKG+, Taipei, Taiwan
2014 For for for Forest, TKG+, Taipei, Taiwan
2013 Asia Cruise, Kuandu Museum of Fine Arts, Taipei, Taiwan
Summer Screening Room: Part Two, Kalos Gallery, Taipei, Taiwan
Futures on the Table: Home, Artist, Relationship, Kuandu Museum of Fine Arts, Taipei, Taiwan
A Platform for Imagination - A Vision for the Future, Soka Art Center, Tainan, Taiwan
Mental-logue / Monster-logue, Soka Art Center, Taipei, Taiwan
2012 Pause in Time and Space: Video Art in Taiwan, CentroCentro (5Cs), Madrid, Spain
Crush on EMU, Museum of Contemporary Art Taipei, Taipei, Taiwan
Ambiguous Being: who is afraid of identity?, tamtamART, Berlin, Germany / Kav
16 - Community Gallery for Contemporary Art, Tel Aviv, Israel / Hong-Gah
Museum, Taipei, Taiwan
Stand-In TechniquesⅡ, Hui Gallery (New Asia College, CUHK), Hong Kong, China
Made in Taiwan, I/O Gallery, Hong Kong, China
Zero Plan, Play Zero, Nanhai Gallery, Taipei, Taiwan
Turning a Blind Eye, Agora Art Space, Taipei, Taiwan
2011 fragile reality, Galley artlier, Fukuoka, Japan
Videonale: Dialogue in Contemporary Video Art, National Taiwan Museum of
Fine Arts, Taichung, Taiwan
Scanning the Daily Lives: Highlights of New Media Arts from the National Taiwan
Museum of Fine Arts Collection, National Taiwan Museum of Fine Arts, Taichung, Taiwan
Awards & Honors
2009 Premium, The 7th Taoyuan Creation Award, Cultural Affairs Bureau of Taoyuan
County Government, Taoyuan, Taiwan
2008 2008 Taipei Arts Award, Taipei Fine Arts Museum, Taipei, Taiwan
2006 2006 S-An Aesthetics praise - Arts Creation Support, The Formative Arts Kind, Taipei, Taiwan
2004 2004 S-An Aesthetics praise - Arts Creation Support, The Formative Arts Kind, Taipei, Taiwan
2016 Boundless Sea (Art Bank, Taiwan)
Never Ever Happened (Art Bank, Taiwan)
2012 The Fable (National Taiwan Museum of Fine Arts, Taichung, Taiwan)
2008 In the Memories of … (National Taiwan Museum of Fine Arts, Taichung, Taiwan)
Recurrence, Trace and Différence (National Taiwan Museum of Fine Arts, Taichung, Taiwan)
Choi Su Hwan / Korea
1999-2006 Fine Art, Changwon National University
2007-2011 Academy of Fine Arts, Karlsruhe
2011-2012 Berlin University of the Arts
2013-2014 Berlin University of the Arts, Meisterschüler
2018 Ghost Practice, Space Heem, Busan
2017 Together-Alone, Gallery Rhizome, Changwon
2015 Two Doors, KWADRAT, Berlin
2012 Installation, Plattenpalast, Berlin
2019 POST-COMMUNITY ing/1, Suchang Youth Mansion, Daegu
2018 N-Artist. New Bearer, Gyeongnam Art Museum, Changwon
2018 Steel-Being, F1963, Busan
2018 Untitled, KWADRAT, Berlin
2017 ART IN MANF, Seongsan Art Hall, Changwon
Body and space mutually occupy and are occupied while they are contacting with each other. The space never remains stationary, changing constantly its characteristic by the subject that uses it. A room can function as a cinema with someone who watches a movie in it, become a bedroom for a tired person, and turn to a dining area when we have meals, which means that space keeps changing and extending the active region through contacting with people. That is to say, space always acquires its meaning in the relationship with a person after all.
Society is a series of spaces. Entering society requires repetition of opening and closing the door of a place. Those spaces appear natural and friendly to us, but on the contrary, they sometimes look unfamiliar with accidental events. The various spaces lead people to new relationships, which create another new space. From this point of view, a question about space can be considered same with that about society.
Spaces in a city are multidimensional, accumulated with numerous stories, questions, and time including things such as a connection between an individual and society, unconsciousness of the city, overlapped memories in the past and the present, and floating senses. I imagine the potential capacity of the space while observing and communicating the city most personally but objectively.
Jo Hyeonsu / Korea
M.F.A. Changwon Art graduate school, Changwon-si, Korea
B.F.A Changwon Art University, Changwon-si, Korea
2019 2019 changwon asia art festival ─ Seongsan art hall, changwon _republic of korea
2019 ing/n ─ Suchangmansion, daegu _republic of korea
2018 Young artist festival ─ Shinsegae gallery, busan_republic of korea
2018 Hello, artist ─ Open space bae, busan_republic of korea
2018 Korean Residency Program Exhibition ─ Somos art house, Berlin_Germany
2017 PROJECT ART BUSAN 2017 ─ F1963, busan_republic of korea
2017 Art Market ─ Shinsegae gallery, busan_republic of korea
2017 摸索 展 ─ Seogwipo artcenter, Jeju-do_republic of korea
One of the most familiar of traditional Korean painting, the Four Gracious Plants, describe the good qualities of the plant -bamboo - as the noble characters of a person of virtue, goodness, and great erudition. And I attempt to infuse traditional meanings of the Four Gracious Plants, such as loftiness, constancy, and fidelity, into my works, through various experimental techniques.
What I study is a new type of expression for the collage of the traditional Four Gracious Plants, using a thin metal foil. The copper foil begin to peel, discolor, and get corroded naturally as time goes by, and these natural changes on the collaged work over time show unartificial, natural beauty in the screen.
In this art work, i seeks modern interpretation of bamboo painting. She captures the moment of copper corrosion and expands the possibility of the material and techniques of work without passing the limit of traditional ink-and-wash painting (Su-Muk) and traditional symbol of bamboo.
Lee Moonho / Korea
B.F.A. College of Fine Art(Sculpture), Hongik University, Seoul
Meisterschueler, Prof. Guillaume Bijl
Kunstakademie Muenster Akademiebrief fuer den Studiengang Freie Kunst, Germany
2014 EMPTY ─ Creative Space_P, Busan, Korea
2013 INDEX ─ Toyota-Photospace, Busan, Korea
2010 Contemplation ─ OSAN Gallery, Seoul, Korea
2008 extra space & empty object ─ SeMA Young Artist Support Program, Seoul, Korea
2006 Raum ─ galerie januar e.V Kunstverein zur Foederung junger Kunst, Bochum, Germany
2014 DOUBLE SENSATION ─ Gallery rea, Busan, Korea
2014 photo & media: 4:00AM ─ Seoul museum of art’ Seoul, Korea
2013 MODERNITY AND TECHNOLOGY ─ Culture Station Seoul 284, Seoul, Korea
2013 Balance of Boundary ─ Gallery WOO, Busan, Korea
2013 meeting on stage#1 ─ project space stage3x3, Seoul, Korea
The boundary between photographs and sculptures collapse in the works of Moonho Lee, at an ambiguous point that is neither a photograph nor a sculpture where the audience comes to face experiences of somebody that are neither mine nor other else’s, neither realistic nor imaginary. These experiences are a collection of bizarre moments that could never have been encountered if they had not been photographed, and produced prior to that, such as an endlessly deepening corridor, infinitely repeating stairs, a murder scene at a temple, or a location of illegal organ harvesting. In those moments, time, gravity, the way of looking at an object and knowledge of the object are soon sunk and buried into the deep, bottomless staircase and the darkness of an infinite corridor. Something that is not anything, something that does not belong to anyone, therefore something that defies that question regarding the experience of it- this is the nature of Lee’s photographs and photography itself.
“My photographs pose basic questions like ‘who am I?’ and ‘What is this that I am seeing?’ and encourage spectators to ask themselves these questions in greater depth. Spectators are given the chance to contemplate objects, themselves and their surroundings and speculate on the value of each. As the first step, I present a situation where ‘anxiety’ and ‘fear’ are expressed in a visual way. Visualizing these feelings should be the primary task after basic research on the causes of ‘anxiety’ and ‘fear’. This will put spectators into unfamiliar and uncomfortable situations or lead them to stand in awe, eventually making them ‘stop and think’. In this way, I inte
Park Neung Saeng / Korea
B.F.A in Painting Art, Chungnam University, Korea
M.F.A in PaintingFine Arts, Chungnam University, Korea
D.F.A in Fine Art, Sungshin University, Korea
2018 Travelling through the seasons ─ THE SpaceStation Gallery , London
2016 Fight, Dorossy Salon ─ Seoul, Korea
2015 City lmpression, FM Gallery,Seoul ─ Korea
2014 City wanderer ─ Gallery Lee, Berlin, Germany
2013 (upcoming) 'Nungsaeng, Park Solo Show' 'seKorea Council Regular Exhibitions Jubul Invitational ─ Jubul Korea Council, Pairs, Korea Cultural Center, Paris, France
2007-08 6th short-term artist, National art studio, Korea
2008 International Exchanging Residecy Program ‘VIS A VIS Art lab’, National Museum of Contemporary Art, 798 ArtZone Beijing,VIS A VIS artlab, China
2008-09 3rd short-term artist, Nanji Art Studio, Korea
2009-11 1rd Seoul Art Space Geumcheon, Korea
2011 Seoul Foundation for Arts and Culture - The New York occupancy apexart International Artist Residency Program, New York, USA
City - Past, present, and future coexist. Demolished hillside town, reconstructed apartment complexes, blue and yellow water tanks on top of the building, modernized office buildings, and houses made of ancient bricks all coexist in my mind expressionlessly. Surrounding the Han River, especially the landscape of Seoul is consisted of numerous bridges and various modernized, dynamic skyscrapers along with an enormous urban forest. As I climb, walk, run, observe, and breathe, I try my best to sketch the actuality of the city in my mind. My mind depicts the present and the past’s scenery and demonstrates the actual objects and surrounding circumstances through the eyes and the body.
Nature - As I climb up the mountain, I notice the significant difference between the mountain’s ridge and the skyscrapers’ height. When I examine the building’s human constructed high altitude, I realize how meaningless to have such high desires in life. Throughout the history, mountain has contributed a lot to humans. As a spiritual idol and a basis in our daily life, mountain has delivered us a universal experience. Mountain is a sacred space with a generic origin, a pure space filled with diverse sounds of creatures, and a natural space all around. For me, depicting mountain is unveiling the nature’s origin through personal experiences and discovering my mind.
Phornphop Sittiruk / Thailand
I was born in Nakhon Si Thammarat, Thailand,1986. My work is focused on the content of ideas (concepts). It is important that the issues of creation are mostly relevant. With the feeling (of mine) towards the events of life and social conditions around that time, most of which, such ideas will be shown in many type in art like a Sculpture, Installation art, VDO or Painting and Printmaking
2019 “Sometimes you can be weak” solo exhibition at A+ work of art , Kuala Lumpur, Malaysia
2017 “JOM PLAK”exhibition in artist in residency program at Faculty of Applies Arts, Khon Kaen University, Khon Kaen, Thailand
2018 Bangkok Art Biennial 2018 at Bridge art space , Bangkok ,Thailand
2018 “Ouroboros”exhibition in Gallery Nights project of France Embassy in Thailand at Bridge art space , Bangkok ,Thailand
2017 NIGHTMARE IN A BIZARRE LAND duo exhibition at WTF gallery, Bangkok,Thailand
2016 TWO MEN LOOK OUT THROUGH THE SAME BARS:ONE SEES THE MUD, AND ONE THE STARS group exhibition at Silpakorn Art Centre , Bangkok ,Thailand
2014 “DRAWSE” group exhibition at USE space, Bangkok Thailand
2013 Recruited for artist residency in cooperation program of Silpakorn University and Mite’-Ugro art space, Gwangju, South Korea
2012 The exhibition of 36th years anniversary Department of Thai Arts, Faculty of Painting Sculpture and Graphic Arts, Silpakorn University ,Bangkok ,Thailand
2010 The “Truth-Substantive“ group exhibition at Lighten Art Gallery, Bangkok Thailand
Usually, most of my work is created from stories in my life. In this work (The same stones), in fact, this work is my long time question that happened to me in 2012. I questioned the beliefs and knowledge that we acknowledge as human beings, whether science, physics, astronomy or even religion I wonder how all these things are true? In this piece I try to make a copy of an original in nature (Stones) to be try to prove a relation of reality in human acknowledge. What's a real or not? What a real? Or just you accept, that’s can be real...? I don't know ...it's up to you.
Prasert Yodkaew / Thailand
Born in 1987 in Thailand — received extensive fine art training in traditional Thai art. In recent years, his practice has shifted towards installation and performance art, as he explores the three dimensional, constantly shifting experience of being and believing. “I get bored very easily” says Prasert. “When I start working, I have no idea how it’s going to end. Unlike my friends who would have a definite sketch and the work would come out of that. For me, I keep changing. I have fun dealing with the challenges that constantly come up.” This process thus mirrors the philosophical stance the artist takes — it is human nature to grapple endlessly with obstacles, contradictions and oppositions. Through this stuggle, we create systems of beliefs, ideas or truths in order to navigate the chaos of existence.
2012 Science faith, Project pace Gallery, Luang Prabang, Laos
2013 How to get back to heaven, Tang Contemporary Art, Beijing , China
2015 Predetermined, Tang Contemporary Art, Bangkok, Thailand
2018 Nightmare, Vin gallery Saisong Vietnam
2018 Ouroboros, Bridge gallery. Bangkok
2017 1 Project at Art Stage Singapore
2010 Contemporary Art Thai Youth Exhibition in Thai Embassy in Los Angeles, USA –
Navigating Human Sundaram Tagore Gallery, Singapore – Art Sanya, Hainan, China
2016 Bangkok-Quebec exchange programme. Oeildepoisson, Center of production and distribution in current and multidisciplinary art Quebec, Canada
Torwong Wutthiwong / Thailand
Born in Bangkok, Thailand. Currently live and work in Bangkok.
After completing MFA from Silpakorn University in 2011.Torwong had first solo exhibition “Kind of Blue” at Bridge Art Space in 2016. He also had participated in the group exhibition Galleries’s Night Project “Ouroburos” and Bangkok Biennial “A/PART” in 2018
2016 Bridge Art Space, “Kind of Blue”, Bangkok, Thailand.
2018 Bridge Art Space, “A/PART” Pavillion of Bangkok Biennial,Bangkok, Thailand.
Bridge Art Space, “Ouroburos” Galleries’Night, Bangkok,Thailand. (Group Exhibition)
2015 Queen’s Gallery, “Music Poetry Art”, Bangkok, Thailand.
My work often represents remembrance and feelings towards things, places, events or phenomena. Either in personal life, social or history. That have an effect on our contemporary today. My work reproduces familiar visual and symbols or words. Then arranging them into new conceptually. I always focusing on the visual and atmosphere that appear in or surrounding my work. That provided me an experimental chance to challenge viewer’s perceptions, perspectives and assumptions. Through various media that different from each project.
My current project, “Keepsakes” is an installation that consists of a frame of various sizes. Like a picture hanging in the living room. In each image is a picture of the symbol, events or messages that appear as traces on the glass surface. Some of image might be broke by transportation or all of its. This work is like a souvenir that was created to record memories and remind ours about the events that had happened.
The Geopolitics of Art - Asian drums / Sang Ho Seo (Director of Open Space Bae)
Over the last century, most Asian states followed the same path of modernization as the West. During this process, these nations all shared a similar experience of being liberated from imperialism, fundamentalist religious authority or dictatorships and authoritarian rule that constituted the politics of the old era. The prevailing social environment of those times gave birth to the possibility of a new relationship based on ‘Asianness.’ The unparalleled instability and speed of Asian modernization, coupled with the change that the West forced upon Asia, meant that many elements of Asian culture were destroyed or distorted. Given the repeated nature of such cultural contact, it is only natural that Asian artists tend toward political public art that reveals their self-identity. This quality of ‘Asianness’ that manifests itself in many ways, works like a code that dominates their art.
However now, as in the past, the West’s superior cultural status remains unchanged. Politically, we obtained superficial freedom from the West’s subordination (and from the second world, socialism, which gripped the Soviet Union, and became the basis upon which they contested the concept of one world.) However, as neoliberalism caused globalism to accelerate, our right to examine ourselves and who we were in relation to these three worlds of history and society was ignored. Globalization further obscured what it meant to be Asian at that time. The situation in Korea was no exception. Many institutions, first and foremost artistic institutions, followed the trend of emphasizing the value of Asia in the titles of all their artworks.
Unlike continental Europe, Asia is formed of many independent island-nations and these geographical features form physical barriers to cultural communication and exchange. However, despite that, the identity that creates Asia, is simultaneously both different from and similar to other regions; even now some people hold the opinion that Asia is one enormous cultural block. That is to say, Asian identity provided the energy that was essential for creating new nations and overcoming individual differences that arose during that process of creating new nations that was sometimes simultaneous, and sometimes asynchronous.
Taiwan VT ARTSALONE's endeavour to reconstruct and develop a major artistic hub in Asia is one example of this struggle. Our chosen approach is not the top-down approach that is characteristic of nationalism, rather our approach is based on horizontal relationships that emphasize the importance of local identities. Local networking is key for institutions where artists of Asian nations are active. Many artistic groups and activists provided us with their support. We do not covet fame or cultural power, instead we are taking one small step at a time and have created an alternative space to allow artists collectives, from countries including Thailand, Taiwan, and Korea (OPENSPACE BAE), to collaborate.
It would be rash to claim that this exhibition is exceptional in its portrayal of Asianness. However, our plan is to provide a clear report on a variety of groups who have been active in the artistic field for more than ten years and diffuse the sounds of their rhythms far and wide. No matter how small the wave is we will continue to function as a stronghold that faithfully stores even the smallest of Asian artist’s clamors. Our exhibition is not about overemphasizing the character of any particular locale; indeed, we have no qualms about becoming a conduit of mutual examination and feedback. Above all, one of the essential underlying facts about the exhibition that viewers need to understand when interpreting individual artworks is that when a locality’s art has a political function, art can lose its meaning. Politics, society and regionalism are keywords in this exhibition, and even at this moment they are all developing in various different fashions, sometimes some aspects of each are really worth observing closely. What you focus on will change the way that you interpret the exhibition. I hope that Asian art will continue to be debated and discussed. This encounter with visual art will spotlight Asia’s past, present and future, and pique your interest in the culture of the various nations of Asia.
The powerful beats of the drum are not just heard by the ears, they also collide with the body. We wonder how the social potency of art will be interpreted by the many viewers of this exhibition. The artists who participated in this exhibition, Asian Drums, will return to where they are based, make their thoughts into artworks anew and meet each other again somewhere on this earth. Don’t forget that the sound of the drums that knock on our hearts is the echo of Asia; and the echo of the cry of art will grow louder and louder, and live on around us, wherever we are.