2015.01.31 - 2015.03.08
The linkage of people and objects reflects phenomena, from which self-sustained habitats emerge in the course of time. Such habitats premise upon the concept of “axis,” around which they revolve without deviating from their own tracks.
The epoch's trajectories are proliferated with the “wheel,” itself a symbol of progress, in augment with these self-sustained habitats. The wheel of time, ever-changing and on rocky tracks, nevertheless remains within the torque of the axis. With all the queries, criticism, parodies or dialectics that have been proposed over and again across generations in the name of arts, we are confronted with an inexorable doubt: What is there to change?
Artist WU Tsan-Cheng (吳燦政) attempts to delineate us from preconceived visual imagery with his“sonic” sketches, while WU Chien-Hsing (吳建興) makes plain the rage of the homeless generation with an installation of blades. The glamorous theatricality apparent in HUANG Chien-Hua's (黃建樺) works is a metaphor for the sense of absurdity in life, and at the same time a query for the identity dialectics of our time. By comprising washed-out “traces”of history as generational records, both LIN Chien-Chih (林建志) and Mutsan (木殘) try to re-enact visual interpretations of the “new” and “old”with tactile experience.
In different but convergent ways, these works express profound understanding of the ongoing progress of our time. If the human beings are still capable of moving about by driving certain objects at will, the ride should at least afford us with the freedom of loitering: the wheels will trace and draw sceneries of different journeys, sustaining the “time-space travellers”.