Exhibiting Artists | CHU Weibor (1929-2018), CHUANG Che (1934-), FONG Chung-Ray (1934-), LEE Shi-Chi (1938-2019), Yuyu YANG (YANG Ying-feng, 1926-1997)
Private View (by invitation only)
Wednesday, March 26. 12:00 - 20:00
Thursday, March 27. 12:00 - 16:00
Friday, March 28. 12:00 - 14:00
Saturday, March 29. 12:00 - 14:00
Sunday, March 30. 11:00 - 12:00
Vernissage
Thursday, March 27. 16:00 - 20:00
Show Hours
Friday, March 28. 14:00 - 20:00
Saturday, March 29. 14:00 - 20:00
Sunday, March 30. 12:00 - 18:00
During the 1950s and 1960s, as Abstract Expressionism gained momentum globally, Taiwan's art scene engaged deeply with this influential movement. Artists and cultural practitioners, navigating through strict political censorship and information control, sought to align with international trends and explore the essence of modern art within their unique context. This period marked a pivotal chapter in Taiwan's art history, distinguished by the emergence of influential painting societies.
At this year's Art Basel Hong Kong, Asia Art Center will present the avant-garde artistic styles that emerged in Taiwan in the late 1950s. The exhibition will feature works from the Fifth Moon Group and the Eastern Painting Society, showcasing the paintings of artists such as Chu Weibor, Chuang Che, Fong Chung-Ray, Lee Shi-Chi, and the remarkable sculptures of Yuyu Yang, tracing the development of postwar modern art in Taiwan.
After WWII, Taiwan became a strategic frontline in the Cold War, serving as a critical outpost of the free world. In this context, art evolved as a significant marker of local culture and identity, prompting reflections and contradictions within Taiwan's journey toward modern art. As abstract painting spread globally, regions across Asia, including Taiwan, responded and experimented with this trend. The late 1950s saw the formation of art collectives like the Fifth Moon Group and the Eastern Painting Society. Artists from these groups, including Yuyu Yang, Chuang Che, Fong Chung-Ray, Chu Weibor, and Lee Shi-Chi, challenged traditional frameworks and sought to blend Eastern classical culture with avant-garde forms.
The exhibition incorporates Walter Benjamin's concept of aura, presenting artworks that transcend textual interpretation. While texts can provide context, the aura of these artworks invites viewers to reflect on the artists' thoughts and the time of creation, offering insights into the origins of modern art in Taiwan.
Chu Weibor transcended the two-dimensional plane, infusing simple structures with Daoist concepts of coexistence and the interplay of emptiness and reality. Fong Chung-Ray, influenced by Chinese calligraphy and Buddhism, integrated Chinese characters into abstract compositions, crafting textures through collage and layered colors. Chuang Che drew inspiration from natural landscapes, blending traditional ink brushwork with Abstract Expressionism in Western Art. Lee Shi-Chi's works combined Eastern traditions with Western modern ideologies, spanning prints, ink paintings, abstract calligraphy, mixed media, and installations. The presentation features outstanding works from the 1960s to the 21st century, showcasing a rich and comprehensive narrative of Taiwanese art modernization. The highlighted artists were pioneers of Taiwan's postwar modern art movement, creating forms that fused Chinese classical elements with avant-garde concepts.
Additionally, Yuyu Yang stands as one of Taiwan's most representative and influential postwar artists. This exhibition centers on his iconic stainless steel series, reflecting on his remarkable and prolific artistic career. A defining feature of his work is his mastery of paper sculpting techniques, which he adapted to shape heavy stainless steel into light, dynamic forms. Advent of the Phoenix exemplifies this approach, merging traditional culture with personal memory. As one of Yang's most representative works, it was also selected for exhibition at the Republic of China Pavilion at Expo ‘70 in Osaka, Japan.
