林宏璋
Lin Hong-John
簡歷年表 Biography
個展自述 Statement
策展經歷 Exhibitions Curated
相關評論 Other Criticism
相關專文 Essays
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Artist Statement

This exhibition, created by Hongzhang Lin, revolves around a fictitious Taiwanese artist who supposedly had witnessed the tumultuous Russian Revolution in 1917 and later espoused Constructivism, which was all the rage in the 1920s. What would have been his artistic style? How might the Russian experience have transformed the aesthetics of this artist after his return to Taiwan? How was Constructivism's aspiration to Utopia through the arts in tune with the socio-economical realities of Taiwan at that time? And what about the question of universality versus locality when art movement from one origin is transplanted into another? What could have been the profile, the idiosyncrasy, the predilections and the emotional life of this artist?

If the artist was still alive, he would be about one hundred years old today. Of course the whole musing is based on the assumption that this fictitious personage had left an indelible imprint on the artistic scene of Taiwan. "Musing and Amusing" attempts to attain a realm of nowhere through a mock-museum installation complete with spurious captions, images and narratives. The black humor residing in the textual parody and the heteroglossia inherent in the polyphonic dialogues not only subvert the meaning of meaning but also critique the global/local view on meta-art history. On the other hand, through puns as well as parodies on words and concepts like Muse, muse, amuse and Muse-um, this mock exhibition also casts skepticism on the established cultural mechanism.

Taiwan's post-colonial cultural habitus and its schizophrenic non-entity political status are issues central to Taiwan's identity. Other related topics include the succession of power and knowledge and their relations to the heterotopia of artistic movements. The quest for Taiwan's artistic ontology leads inevitably to elements of its hybridity that has become a legitimate part of the cultural genealogy. Is Taiwanese art a cultural version of the Lacanian baby who sees its full image in the mirror but only its fragments in reality?

 

 
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Art Director / Chen Hui-Chiao Programer / Kej Jang, Boggy Jang