Artists
Marius BERCEA, Michelle BLADE, CHUANG Che, DONG Shawhwei, Howard FONDA, Katarina JANEČKOVÁ WALSHE, LI Chen, Crystal LUPA, Etan PAVAVALUNG, Chiharu SHIOTA, Ryan SCHNEIDER, Adam Parker SMITH, Rex SOUTHWICK, Jake WOOD-EVANS, Guy YANAI, YANG Chihung
SVIP Preview
Oct. 21, 2020 (Thu) 12:00–21:00
VIP Preview
Oct. 22, 2020 (Thu) 15:00–21:00
Oct. 23, 2020 (Fri) 11:00–14:00
Public Opening
Oct. 23, 2020 (Fri) 14:00–19:00
Oct. 24, 2020 (Sat) 11:00–19:00
Oct. 25, 2020 (Sun) 11:00–19:00
Oct. 26, 2020 (Mon) 11:00–18:00
At Art Taipei 2021, Asia Art Center presents a curated exhibition of 3 sections that offers works from sixteen artists. Artist LI Chen curated a section to demonstrate and explores his philosophical thinking about society and the changes in life. The subtopics include ethic, family, and the mindset that had been turbulent but now reset in the present with a renewed spirit. The international artist section is a part of our long-term project since the 90s. In recent years, AAC has successfully entered the international art scene and has reached a fruitful result of representing international aritsts. With years of preparation, we are honored to present a group of artists from America, UK and Europe in our booth. In the third section is Asian artists, which is the most long-term focus of Asia Art Center, and the foundational project as well.
In the 1950s, after the Second World War, Abstract Expressionism swiftly took over the global mainstream. After the center of the art world shifted from Paris to New York, avant-garde art developed rapidly alongside the pace of globalization over the next 20 years. During this time, the Asian art scene began actively responding to this new wave of art. Nevertheless, various regions in Asia are still piecing together fragments of their culture. Under the circumstances set in motion by the Cold War, the strong cultural development of advanced countries resulted in considerable setbacks in the artistic ecology of other regions.
Following the accumulation of artistic exchanges between Eastern and Western cultures after the war, the “Spirit of the East” arose as a new conceptualization of contemporary art. However, the Spirit of the East is not only an artistic style that expresses cultural differences, nor is it an alternative code shaped by blindly feeding back to Western vocabulary. It breaks through the boundaries of contemporary art with an attitude of the “other” in order to distinguish its position.
Just as Zen returned to the East through Western conceptual art, cultural introspection/retrospection has proven to be an indispensable method for aesthetic development since ancient times. Especially in this context characterized by the rapid turnover of globalized images, the fusion of different artistic styles, as well as repeated forms and themes, the value of contemporary art is increasingly difficult to distinguish, making creations with cultural heritage increasingly rare. The Spirit of the East provides an alternative aesthetic outlet for contemporary art. eventually promoting an even more diverse and unique artistic framework.
Artists living abroad face even more complex challenges, such as defining how to express one’s cultural heritage in the form of modern art and negotiate one’s identity in a foreign landscape, using a non-native artistic language. In the contemporary era where cultures are becoming increasingly homogenous, the expression of local cultural identity has become a critical pursuit.
