The International Design House Exhibition caps off Taipei’s time as World Design Capital 2016, but ultimately presents a vision of the city as an aestheticized consumer capital through an overemphasis on designer consumer products
The transformation of Chinese landscape painting should not only can be seen as a history of incorporation with Western style, but also should be regarded as the psychological molding process of building a culture’s subjectivity, in which artists contribute to the construction of national nostalgia and a literature of tragedy.
If the artwork of Hwang Buh-Ching can be said to be concerned with the artistic representation of “homeland,” as his current exhibition “Homeland: Edge of Desolation” at the Museum of Contemporary Art, Taipei suggests in representing Taiwan, Hwang points to both falsity and authenticity
The specter of Taiwanese politics is everywhere in the artwork of Dean I-Mei. While, certainly, the artist himself poses his recent exhibition in light of a search for personal identity in the title “Wanted Dean I-Mei,” his search for individual identity is one deeply bound up with Taiwan’s state of unbelonging in the world