CHEN I-Hsuen

                   LEE Jo-Mei

                   LIN Kun-Ying 

2016.05.14 - 06.26

The exhibition concept of Mark originates from the mundanity of a sundial measuring time with light and shadow. The endless cycle of time interacts with one’s sentiment, leaving traces of either personal or collective memories behind. However, memories have shifted between disappearance and visualization throughout the passing of time, while their realistic substance turns void and their existence becomes imitation. If time is a fair measurement, showing the marks of lives in different ways, with what marks should an artist, a traveler in time, measure their lives ?

A key of art will not necessarily help you to open every door easily. The heartbeat of an artist keeps changing its rhythm throughout the whole path of expression. The unreachable gap is unavoidable, but the moment of transcendence is also there. The measurement of “strangeness” is a way to validate, as in Lin Kun-Ying’s Perfectly Strange Series, where the artist intentionally removes the symbol of “humans” and creates something in the void with his pure thoughts based on the fantasy of time and light. The light comes unannounced, crystalizing an unknown sense of suffocation rather than bringing us the sticky sweetness of the marshmallow-like memory. The unexpected experience of blocking the camera with one’s finger when photographing allows Chen I-Hsuen to create the works like Fingerclipes and Insomnia. Light makes finger a sun-like block, while “chances” become the measurement, deliberately wandering between fullness and failure to search for an absurd dialogue to realize the real life.

Garden design is the natural landscape in a smaller size. As shown in Lee Jo-Mei’s self-assured installation, the mixed-media landscape of the garden – where the familiar natural scenes are displaced and rearranged in the space, making these objects into a poem – offers a poetic viewing experience to demonstrate that “even with fragmentized memories like these, I can piece them together into my own Arcadia.” There will always be a trace left behind. With its sources from various memories and associations, an autobiography becomes a fiction too. To measure in expectations, Chang Wen-Hsuan’s ’S Autobiography attempts to find this “someone” a place in history. The autobiographical blueprint thus surprisingly turns into a well-scripted life. The narration in Taiwanese describes the life of Siā Suat Hông – the biography of an individual but also the collective history.

Sisyphus’s everyday futility is a stagnant door, with which the meaningless defines all the meaning. If death is the ultimate measurement that no one can get away with, the written memories and experiences are nothing but repetitive reminders. When all beings meet the doom, the meaning becomes a matter of time. Is the cycle of history really like what Socrates describes: “if all misfortunes were laid in one common heap whence everyone must take an equal portion, most people would be contented to take their own and depart?”