SUAVEART concentrates on the cultural value between art and life. Presenting the stories and issues related to “island, art and life”. Creating the borderless dialogues that can be found everywhere in our daily life.

June 1 – June 30, 2018

Galeria Curators’ Lab
Poznan, Poland


The exhibition presents seven contemporary Asian artists who think about transmitting ideas in the dislocation of culture and pattern.

The exhibition shows the rise and breakthrough in Asian art. From the traditional media: ink, lacquer, paper, and so on, the contemporary artists explore how to use traditional technology to interact with the audience with present concepts, subvert traditional ideas, transform media images, break the routine narrative model and create a different sensory experience. At the same time, the artists also consider today’s scientific and technological progress in capturing the audience’s accurate perception of expertise.

Chinese traditional art forms are considered as ink paintings, with only water and ink, black and white, presenting realism in the near sight and abstract in the distant view, using monotonous color to represent the rich artistic conception. Honestly, there is no precise year for clearly delineating the boundaries between the traditional and the contemporary ink painting. The word “ink painting” is interpreted time by time in the twentieth century and gradually evolved in a semi-experimental manner in the years of trial and error, including the introduction of a variety of paint and canvas and blatant attempt. In the unique way of Xiao Xu’s ink paintings and Wu Chi-Tsung’s video works, we can see the culture’s continuity and innovation in an elegant and delicate style, while the form is full of bold breakthroughs and attempts. Ink painting is more than the media; it is an attitude, philosophy, and worldview.

In Vietnam, traditional lacquer art is used on the surface of objects such as furniture, utensils, statues, etc. for a long time. Until the founding of the Indochinese Academy of Fine Arts in Hanoi in 1925, lacquer began to become a medium of artistic creation. The comprehensive application combines sculpture, painting, and craft. Artist Nguyen Oanh Phi Phi studied coat for more than 15 years, and we can see a breakthrough of lacquer art in her works. When I first came into her work, I thought it was created with technology. After digging deeper, I realized she released the aesthetic habit of lacquer painting and integrated the digital era’s hardware to recreate the unique sensory perspective.

In addition to clearly seeing the formal transmission of ideas in culture and media, Taiwanese artist Lee Tzu-Ling and Macau director Cheong Kin Man developed unique concepts to discuss their relationship with media. The artist Lee Tzu-Ling has created a weight track of life through collecting invoices, making recycled paper, air-drying, and polishing. Through repeated bodywork, like a craftsman, she transforms daily life material into a seemingly ordinary but unusual sensual experience. In work “Flowing III,” the ordinary and discardable objects sensibly deify themselves into an image of language. They are entirely free to infiltrate into practices and spaces, works and people, and people and space, leading us and infiltrating our senses.

Macau director Cheong Kin Man reflected the function of the novel in diary format in the experimental ethnographic short film “A Useless Fiction.” He cleverly combined the sound of dialect and the picture and asking questions through the visual media. Between the traditional text reading and speaking language, such as Vietnamese, Cantonese, Korean, Japanese overlap, we can see the existence of the variety of identities in Eastern and Western cultures diversity.

Asian artists extend the sensory experience of life aesthetics, and it is allowing us to see the independent value of the art language itself. They connect the innovation and recombination to the traditional concept, and then think of the coexistence of culture and pattern, the existence of traditional art media, the replaceability of material, the natural characteristic of the material itself and the abstract concept and try to contribute to the future of contemporary art.




越南傳統的漆藝,過去長期使用在物件表面的覆蓋,如傢俱、器皿、神像等,直到1925年河內的印度支那美術學院 (Indochinese Academy of Fine Arts ) 創立後,漆開始成為繪畫用媒材,結合雕塑、繪畫與工藝的綜合應用。藝術家阮菲菲研究漆藝超過15年,在她的作品中看見了漆藝的突破。初次接觸到她的作品,會以為是運用科技技術來創作,仔細品味,才知道她釋放漆畫的審美習慣,融合數位時代的硬體,重新創造了獨特的感官視角。




Ho How
From left to right, Wu Chi-Tsung, Nguyen Oanh Phi Phi, and Li Tz-Ling.
Aliansyah Caniago
Li Tzi-Ling
Xiao Xu
Cheong Kin Man
Exhibition site view
Exhibition site view
  • Ho How
  • From left to right: Wu Chi-Tsung, Nguyen Oanh Phi Phi, Lee Tzu-Ling
  • Aliansyah Caniago
  • Lee Tzu-Ling
  • Xiao Xu
  • Cheong Kin Man
  • Exhibition site view
  • Exhibition site view

Artist list: Wu Chi Tsung, Lee Tzu-Ling, Ho How, Nguyen Oanh Phi Phi, Aliansyah Caniago, Xiao Xu, Cheong Kin Man

Curator: Lee Yipei
Assistant: JoKu Chen

Organization: SUAVEART
Partners: Galeria Curators’s Lab
Sponsor: National Culture and Arts Foundation

藝術家: 吳季璁、李姿玲、何灝、阮菲菲、阿里安山‧卡尼阿哥、肖旭、張健文

策展人: 李依佩
策展助理: 陳若谷

主辦單位: 細着藝術
合作單位: 策展人實驗室藝廊
贊助單位: 國家文化藝術基金會

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