Tuesday Tuesday
10AM - 6PM
Exhibition
One year project – Outing
The Unfinished Future Realm – Shu-Kai LIN Solo Exhibition
EXHIBITIONS & EVENTS
2024 / 09 / 28 Sat.
2024 / 12 / 29 Sun.
10:00 - 18:00
Curator
Chiu Chieh-Sen
Margot Guillemot
Artists
Munkhbolor Ganbold
Lin Yu-Cheng
Marie Havel
Clément Philippe
Hyper Wave
Huang Xuan
Yeo Chee Kiong
Teng Wen-Hsin
Chung Hsing-Fu
Supervisor
Department of Cultural Affairs, Taipei City Government
Organizers
Taipei Culture Foundation
MoCA TAIPEI
Annual Sponsors
THERMOS
Contemporary Art Foundation
Hui-Neng Chi Arts and Culture Foundation
Royal Inn
Annual Sponsor for Appointed TV/Screen
SONY
Annual Sponsor for Appointed Projector
EPSON
Media Cooperation
Radio Taiwan International
Special Thanks
Taipei Municipal Jian Cheng Junior High School
French Office in Taipei
Nanyang Academy of Fine Arts
University of the Arts Singapore
National Arts Council Singapore
Against the backdrop of rapidly developing digital technology and new media and the ever-expanding boundaries of contemporary art, Beta+ is an exhibition that explores issues of transience and validity in our quest for information and novelty. Influenced by contemporary visual culture, people are constantly seeking visual stimulation from new technologies and craving new experiences; however, such consumer content often comes in fragmented forms, leaving us eagerly awaiting the next wave of emerging products, such as the next eye-catching article, the next unique scene, or the launch of the next generation of new digital goods. Real-time has become the core principle of our content consumption model, and capturing the latest trend has become the primary motivation for consumption.
The competitiveness of today’s large corporations lies in the accrual of knowledge and information and also the ability to quickly and efficiently update and integrate new functionality. This ability enables companies to adapt quickly to market changes and remain competitive. Even though the apps and tools we use today are relatively well-tested, they can still soon become outdated; in fact, the rate at which technology is being iterated and updated is accelerating. In a world where media, technologies, and materials are constantly being updated, artists have begun to rethink the different aspects of their creative production practices, exhibition methods, and forms of expression to adapt to a society with ever-accelerating changes. Therefore, this exhibition seeks to explore how these updates, rearrangements, additions and deletions, exchanges between developers and users, and the evolutionary phenomena are manifested in art.
The exhibition brings together nine artists/groups from Mongolia, France, Singapore, and Taiwan. They respond to and present multiple facets and challenges related to contemporary spaces, environments, and visual cultures by exploring dynamic and real-time spatial experiences. Not a static exhibition, Beta+ presents the artists’ “real-time” creative processes, with their works constantly constructed and reassembled in the exhibition space, providing the audience with a unique and transient diachronic experience.
The artworks in the exhibition showcase a variety of transformative approaches, including digital and algorithmic, chemical and material, performative and situational. Viewers are invited to actively participate in this evolving exhibition, interact with the artists and their works, and reflect on the impermanence of fixed forms and the transience of information. Beta+ reflects the artists’ keen observations on our current environment and proposes a profound reflection on what the future may hold.
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Born in 1986 in Taoyuan, Chiu Chieh-Sen (Taiwan) is currently an assistant professor at the Department of Art and Design of Yuan Ze University, and he holds an MFA from the Superior School of Fine Arts of Montpellier in France (École Supérieure des Beaux-Arts de Montpellier) and a PhD in Contemporary Visual Culture from the National Taiwan University of Arts. Chiu’s art focuses on memories, spaces, and historical documents, and he transforms his intricate experiences related to human footprints and thought processes into art, concentrating on creating a record of the flow, imagination, and reproduction present in the relationships between people, objects, spaces, and environments. With extensive experience in contemporary art, traditional craftwork, and historical architecture, Chiu has, in recent years, been conducting art experiments that bring together technological objects and materials to explore the possibilities of multidisciplinary integration between historical human footprints and art.
Recognized by distinctions, such as the X-site program’s first prize (2021), Taipei Art Award (2017), Yilan Art Award (2018), Next Art Tainan (2016), and Kaohsiung Award (2015), Chiu also curated Montage: 2023 Ulaanbaatar International Media Art Festival; X-site 2021: X-Reality – Booom room at the Taipei Fine Arts Museum; Transcodage: Art Surveying Techniques of Maps in 2021 at the Taiwan Contemporary Culture Lab (C-LAB); Heartvillage.jpeg: Photography Project in Beitou in 2019 at the National Taiwan University of Arts, and other exhibitions.
Born in 1993 in Ireland, Margot Guillemot (France) graduated from the Superior School of Fine Arts of Montpellier in France (École Supérieure des Beaux-Arts de Montpellier) and is currently pursuing her doctoral degree at the Graduate School of Contemporary Visual Culture at the National Taiwan University of Arts. Her work often questions the concepts of “presence” and “representation” in the field of digital images and discusses the definitions of “seeing” and “going” in contemporary life. From the paradoxical relationship between perception and cognition, reality and virtuality, space and time, Guillemot proposes various hypotheses and queries to question the idea of “reality,” asking if “reality” is necessarily “real?” With urban landscapes as her subject of focus, she expresses the urban life of the cityscape in front of her by applying observations made through her personal point of view. Through the methods and rules of her design, she seeks to take stock of places, challenging the tension between the familiar and the unfamiliar, juxtaposing her representation of places with her way of thinking and living.
Guillemot’s works have been recognized by 2016 France’s Création Drawing Room, 2018 Yilan Art Award, and other distinctions. She has exhibited at the 2023 Taiwan Lantern Festival, 2022 Taoyuan Land Art Festival, 2021 Treasure Hill Light Festival, and 2021 Pan-Austro-Nesian Arts Festival at the Kaohsiung Museum of Fine Arts, and was a contributing artist of Bilik Taiwan at the 2021 Biennale Jogja in Indonesia.
Hyper Wave was founded in Wanhua, Taipei, in 2020. Most of its members are talented artists selected for the Ministry of Culture’s “MIT” project of 2020. The founding members include Tsai Shih-Hsiang, Hung Yu-Hao, Chiu Chieh-Sen, Lin Szu-Ying, Margot Guillemot, and Lai Pei-Chun. The name of the artist collective represents their pursuit of changes and uncertainties in contemporary art. They see themselves as wanderers in the art world and aim to merge the unique aspects of contemporary art with the environment to spark thought-provoking artistic conversations.
Founder and principal sculptor of the art space, Sculpture 2052, Yeo Chee Kiong is currently a member of the fine arts curriculum development consulting committee at the University of the Arts Singapore’s Nanyang Academy of Fine Arts.
He founded Sculpture 2052 in 2022 and is an active advocate of contemporary sculptural art. Editor and co-publisher of Sculpture Society, Singapore’s digital book, reTHINGing Sculpture in Singapore 2021, Yeo also wrote a research paper for the sculpture research project, reTHINGing Materiality — Contemporary Sculpture 2021, and the curatorial statement, “reTHINGing in Digital Age – Six Private Objects.” Founded by Yeo, the inaugural Shoebox Sculpture Biennale in Singapore, entitled The Sky, The Land, & The Sea, was held in 2023. His essay, “The Ephemeral Theatre of Clay” was compiled in Frontiers and Peripheries, published by the National Taiwan Museum of Fine Arts in 2022. His solo experimental exhibition in 2023, Teleporting Ng Eng Teng, employed digital tools to explore the search for digital memories and presented a project of contemporary sculpture practice on the shaping of the digital virtual body and the return to the three-dimensional material body. Yeo’s monograph, Vague Vogue, was published in 2021.
Chung Hsing-Fu is a Taiwanese artist born in 1992 in Taipei, Taiwan. He currently resides in Toulouse, France. His art takes various forms of expression, including performance, installation, stage design, and painting. In 2014, he obtained his bachelor'’s degree from National Taiwan University of Arts (NTUA). He furthered his studies in France, earning a DNSEP (Diplôme National Supérieur d’'Expression Plastique) in fine arts from École supérieure des beaux-arts de Toulouse (ISDAT) in 2021, specializing in visual arts, performance, and art installation, among other fields. In recent years, Chung Hsing-Fu has been actively involved in the Franco-Taiwanese art scene, participating in various art residencies and organizing workshops focused on experimental performance.
In 2012, Chung Hsing-Fu joined the performance art collective POST ESPACE as a stage designer, an experience that deeply fueled his passion for performance art. He then began exploring various forms of experimental performance, ranging from theatrical acts to interventions in public spaces and ephemeral performances. In this context, he collaborated with artists from diverse cultural backgrounds on temporary artistic projects. These interactions ultimately led him to further develop his artistic journey in France. There, he organized short-term workshops and presented behavioral art performances, both in France and Taiwan. Additionally, he has been regularly invited to participate in artistic residencies and international exchange events. At the core of his artistic approach is a reflection on "“everyday life,”" particularly as it manifests in our super-capitalist society.
Teng Wen-Hsin holds an MFA from the Graduate School of New Media Art, National Taiwan University of Arts. Teng embraces multiple identities, including new media artist, digital art performer, and VJ. She specializes in digital noise, electronic synthesis, video, and video installation, and seeks to illuminate technology and life with aural and visual experiments. She won the first prize of The 7 thDigital Art Performance Awards with “Prisoners under the torch” in 2016, as director and sound design. Teng performs and participates in music/art festivals and art fairs by combining sound, images, and performances. Her work attends to the anxiety between humans and technology and attempts to explore the soul and digitized-abstraction of the self through the body.
Ganbold grew up during a period of chaotic shifts in Mongolia’s society in the 1990s. His interest as a young man was finding his own identity in the rapidly changing society. He often uses materials and objects found on the streets, construction sites, and wasteland, as well as images and sounds he recorded or photographed in different environments. His works explore the notions of death, omens, particles, and the universe and often speak about struggles of living beings and self-destructive forces of nature.
Ganbold studied at the Green Horse Art College, the Mongolian University of Fine Arts, then shifted to the Muthesius Fine Art College in Kiel, Germany. After studying for a while, he moved to Sweden; lived and worked there for 3 years. In 2012 he returned to his homeland, founding “the Human - Nature - Love - Freedom contemporary art movement” together with his friends, which consisted of painters, sculptors, cinematographers, and musicians. This collaboration enriched his artistic practice: starting using photos, videos, and natural sounds, as materials for his works.
Ganbold’s works have been displayed in numerous solo and group exhibitions in Mongolia and abroad, including Mongolian National Modern Art Gallery, Art Space 976, Mongolia, Asian Art Center in Gwangju, South Korea, the Kuandu Museum in Taipei, the William Peterson Gallery in the USA, the Edsvik Konsthall in Stockholm, the Shanghai National Museum of Art and some other spaces in Germany, USA, and Philippines. In 2017, he was selected to present Mongolia at 57th Venice Art Biennale, where he represented his work Karma of Eating (2016) at the exhibition entitled Lost in Tngri.
Clément Philippe was born in Annecy, France, in 1987. He currently lives and works in Montpellier.Most of Clément Philippe’s work concerns the degree of chaos of a system (entropy). In the frantic technological race of our time, many “derailments” intervene; they give rise to fertile artistic spaces for this artist who favors all materials and mediums related to the subject.
He seeks a plastic echo to contemporary issues, without sides, trying to be as neutral as possible in order to have a more exhaustive vision of a given subject.
Entropy, dispersion, corrosion, imprint, task, compression, leakage, zone, boundary, checking, containment.
This is a non-exhaustive list of markers of his plastic work that revolves around the notion of accident and processed information . From the parts scrapped due to a micro-level defect to the immense problems caused by the Chernobyl nuclear disaster,he proposes a plastic form addressing the multiple facets of these transformations.
Lin Yu-Cheng was born in Taiwan in 1979. His first solo exhibition took place at the Experimental Gallery of the Department of Sculpture, National Taiwan University of Art. He graduated from the Department of Sculpture, National Taiwan University of Art in 2002. In addition to focusing on Kinetic Art, Lin has also engaged in cross-discipline stage design and public art projects.
His work reflects on spatial identity in the city. The object-filled spaces he produces are reminiscent of those corners of buildings which have we take for granted. He turns these perceptions of buildings and the city into installations.
Prior to 2010 his work utilized discarded metalwork as a means to uncover parts of a building and conduct archaeological-like excavation. This emphasized the horizontal and vertical elements of the architecture, returning to visibility those parts of a building, we take for granted, such as floors, corners and ceilings.
Starting in 2011, a new creative context was established, with “"A Collection Plan of City - Fragment - Wandering”" as the overarching framework for the creative project. Between 2010 and 2020, the approach involved mixing everyday objects with industrial materials, stripping them of their original functionality, and then reconstructing them. The act of seeking answers within the set framework began with observation, collection, symbolization, modular manipulation, replication, reconstruction, and counterfeit creation. Through continuous calculation and verification, this creative behavior aimed to break the inertia of viewing, thereby presenting the tension between abstract concepts and concrete emotions.
In 2021, the emergence of box-object compositions symbolized a reboot of the creative context. It involved showcasing the compositional state of objects inside and outside the box, encompassing fragmented, self-made objects and various collected miscellaneous items accumulated over more than a decade. Each presentation featured on-site rehearsals and assembly, from the scaffolding setup to the selection of objects, demonstrating a kind of self-practicing module/program.
Born in 1990 in France, Marie Havel lives and works in Montpellier (south of France) since 2011 from which she graduated in 2016 from the Montpellier Fine Art School (Mo.Co ESBA) with the congratulations of the jury. She was awarded the Young Creation Drawing Room Prize 2016 in Montpellier and the First Ddessin Paris Prize in 2017. Her work has been presented at several exhibitions and fairs such as Drawing Now Art Fair, Paris (2022), Luxembourg Art Week (2019, 2021, 2022), Bienvenue Art Fair, Paris (2019), Art Paris Art Fair at the Grand Palais, Paris (2018) or DDessin, Paris (2017, 2018, 2019). She also participated in several residency programs, such as Fondation Daniel et Nina Carasso X Cité Internationale des Arts Paris or at the Drawing Factory program developed by the Drawing Lab Paris and the CNAP (National Center for Visual Arts).
She has been working since February 2022 on a long-term project with the Vassogne Museum — - The art of reconstruction, entitled Vivre au Provisoire (living short-term) which gives rise to the solo show CATAKIT visible since June 2023 and until the end of 2024 within the historical monument of 1919 La Maison Provisoire of Vassogne (Aisne), built after the First World War.
Through model making and drawing, Marie Havel’s work questions ruin. She tries to capture the moment when ruin occurs, whether in the landscape, in our practices, in our gaze. She thus tries to consider its potential reactivation and the possible changes in the identity of places or landscapes that result from it; to reveal the disguise of places by memory, by individualities, perhaps through the notion of “used landscapes.”. Marie looks for the points of friction in individual and collective history which open up new perspectives in the way in which both can be read by questioning the ruin. It is then a question of considering the latter as a possible mode of construction in its own right. Ruin as an extension rather than an end, as an unstable state, a latency. A non-definitive state, awaiting fall as well as renovation, constantly disappearing and being reborn. Ruin also serves as a foundation or humus, becoming a new base and incubator of new constructions, whether physical or psychological. Her work is based on tensions, points of balance and cycles of construction / de(con)struction, discoveries / recoveries, between childhood and adulthood, humans and nature, nature and child, in constant comings and goings and playing with scales.
Huang Xuan was born in 1995 in Taipei, Taiwan. With most of her works being performance and film, she uses her own body as the material, and uses simple but persistent movements as a scale for testing in the environment, exploring many subtle limitations and the operations of routine in daily life. She also focuses on objects and their functions in life to discover their interrelationship with human gestures and images in use and tries to reverse the audience’'s perception through misuse.
Huang Xuan recently exhibited at "Around aground", Kirishima Open-Air Museum, Kagoshima (2023); "Space out", PTT SPACE, Taipei (2022); "2222", Chiayi Art Museum, Chiayi City (2022); "Mediations Biennale Polska", Spazio Thetis - Arsenale nord - Venezia Palazzina Modelli, Venice/ Zbrojownia Sztuki, Gdańsk (2022).
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