首次展演日期: 2016-07-16 結束展演日期: 2016-08-28
「來來往往之間，我們在不同的地方注入了情感。 而人透過記憶與感知，將一個又一個真實的房間納為自己腦海中永存的回憶。」 — 「7號（房）」展覽於台北和香港
(Room) No.7 Special Issue : Un Nomade
Opening Party 2016/07/16（Sat） 15:00
@b. LAB 基礎實驗
2F, No.76, Chaoma Rd., Xitun Dist., Taichung City（ the exhibit hall open every day from 10 a.m. to 6 p.m.）
‘Between the travelling, we inserted personal emotions into each stops passed. Through memories and senses, the rooms have had, one by one, become a part of our eternal memory forever stored in our minds.’ — ‘(Room) No.7’ Taipei & Hong Kong exhibition
Carrying on the idea of the (room) in relation to the connection between spaces and the search for human emotions, the exhibition received its name from the current status of our collaborating curator Yen, who is currently away from Taiwan and living in France. In French, ‘nomade’ means ‘traveller’ or ‘wanderer’, and ‘un’ means ‘a’.
The works of the three artists — Cindy, Huang Chih-Cheng, Wong Xiang-Yi — reveal the nomadic living experiences together with their similar existential manners. Throughout centuries of historical and cultural nourishment regarding both aspects of the geographical environment and the psychological environment, Taiwan is a nomadic piece of land constantly in search of its fundamental roots as well as its self-identity while simultaneously absorbing and digesting cultures from around the world. The exhibition name ‘Un Nomade’ of the ‘(Room) No.7 Special Issue’ literally means ‘a nomad’ and widely refers to the identity of the audience, the curators, the artists, or even the nation, connecting the ever-flowing figures from all walks of life and their emotional communications travelling through lands and territories. The artists summon the very medium of memory, exploring the surrounding cultural environment and the ultimate value of today’s society.
Cindy moved to Malaysia with her family at a young age and has since established her dual identity constantly travelling between Malaysia and Taiwan. Using the familiar ball-point pens to create print-like images, the artist illustrates the Campbell’s Soup cans she grew up with since childhood, reproducing iconic images of modern day culture and popular commodity of the current time. Through the technique of repetitive brushstrokes and the subject of western icons, Cindy embodies the highly saturated colour palette of the subtropics, reacting to the reproducibility of images in the time of mechanical and digital reproduction, in search of the utmost humble yet essential human qualities in the less and less human-engaging reality of the present.
Huang Chih-Cheng embraces the Eastern religious beliefs, through handmade collages, illustrations and sewings, respecting the connections between the anatomies of animals and plants and the immortal spirits of thoughts within reincarnations. Echoing the nomadic spirits of human cohabiting with nature, his works on paper of objects covered with gold foil pieces represent the essence, fragility and eternity of life itself, a systematic cycle going arounds with the four seasons as well as man’s emotional ups and downs. Moreover, the trait of the gold foil reflecting present surroundings under light creates a symbolic reference to the spontaneous yet destined life lessons. In Huang Chih-Cheng’s works, the pigeons born with an innate admiration for freedom are inevitably captured to perform for pigeon races. The animals on the stage refer to the life of human beings and especially epitomise the finite standards of the Taiwanese society.
Wong Xiang-Yi left her family home in Malaysia to study and travel in Hong Kong and Taiwan. The ambiguous inner adjustment between the stern gender boundaries led the artist to eventually position her female desire onto the bodies of the beautiful yaoi boys. Under the Asian patriarchal regime, Wong Xiang-Yi’s ink brush stokes derive from the distinctive female gaze, the suppression of desires and the following fantasies. Through portraying the love relationship between male characters from Japanese manga, the artist aims to reposition the subject’s opposite position and power. Her artworks present camouflaged figures and the independent desires through the dynamic restraint of the lightness and darkness of the ink, with the attempt to grip the balance between defying the bounded moral standards set by society and yielding to the borderline of bodily limitations.