Tuesday Tuesday
10AM - 6PM
Exhibition
Hello, Human!
One year project – Outing
Semiotics of the Home
EXHIBITIONS & EVENTS
2010 / 12 / 25 Sat.
2011 / 02 / 13 Sun.
10:00 - 18:00
Tsai-chin Ni is one of the few artists in Taiwan that has been involved with almost every aspect of art and culture, including literature, aesthetics, art history, art creation, art administration, and art education. The artist invested effort and research over the years to these disciplines, developing his own distinctive perspectives and practices as a result. Mediaholic – Arts of Tsai-chin Ni is MOCA Taipei’s 2010-2011 cross-year exhibition, and for the first time since its opening the museum has dedicated all its exhibition spaces to the solo exhibition of a Taiwanese contemporary artist. MOCA Taipei has assembled over thirty years of Tsai-chin Ni’s cross-disciplinary art creations, illustrating in the process Taiwanese art’s development and diversity in the last and present centuries. The main difference between contemporary and modern art is that the former’s creation, exhibition and criticism intend to resonate with the current state of society. This portrayal is proved by the artists and art environment in Taiwan after 1987, the year when martial law was lifted from the nation. Amongst those artists, Tsai-chin Ni was a representative and influential figure who assumed several critical roles. The artist observed the socio-cultural changes of the new era with the cold criticism of an unbiased bystander, yet he was also often involved as a controversial frontline figure. Undeniably, the rise and influence of Tsai-chin Ni was intimately connected to the upcoming era of media freedom in Taiwan. The phenomenon echoes McLuhan’s “The medium is the message, the medium is everything” philosophy and method of action, and further evolves into the concept and creativity of “Everything is the media, everything is the message.” Tsai-chin Ni crosses the discourse and creative aspects of art, expands the definition and scope of an artist, and interweaves contemporary criticism of “using the media to incite against the media itself” present in the art industry over the years. In the same way, this exhibition aims to depict such artistic context. The main difference between contemporary and modern art is that the former’s creation, exhibition and criticism intend to resonate with the current state of society. This portrayal is proved by the artists and art environment in Taiwan after 1987, the year when martial law was lifted from the nation. Amongst those artists, Tsai-chin Ni was a representative and influential figure who assumed several critical roles. The artist observed the socio-cultural changes of the new era with the cold criticism of an unbiased bystander, yet he was also often involved as a controversial frontline figure. Undeniably, the rise and influence of Tsai-chin Ni was intimately connected to the upcoming era of media freedom in Taiwan. The phenomenon echoes McLuhan’s “The medium is the message, the medium is everything” philosophy and method of action, and further evolves into the concept and creativity of “Everything is the media, everything is the message.” Tsai-chin Ni crosses the discourse and creative aspects of art, expands the definition and scope of an artist, and interweaves contemporary criticism of “using the media to incite against the media itself” present in the art industry over the years. In the same way, this exhibition aims to depict such artistic context. Every series of Tsai-chin Ni has a “target,” whether it is traditional art, social convention, phenomenon of the times, or cultural trends. His artistic language is rich in post-modern methodologies such as diversion, disguise and subversion. In the perspective of Tsai-chin Ni, art is a tool and a weapon that serves to create messages and deliver ideologies, while at the same time it is a super stereo speaker that can be used to wake up the numbed people of the world.
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Tsai-chin Ni was born in 1955 in Taipei County, Taiwan. In his artist career, he has served as director of the National Taiwan Museum of Fine Arts, dean of the College of Arts at Tunghai University, and dean of the College of Fine Arts and Creative Design at Tunghai University. He is currently the director of the Taiwan Art History Research Center at Tunghai University. Over the years, he has been an art critic who set in motion debates on the identity of Taiwanese art, an advocate of the environmental protection movement in Kaohsiung, a revolutionist who restructured the operation of the National Taiwan Museum of Fine Arts, a curator, a collector, a university professor, and even chairman of a foundation. Behind these complex identities, Tsai-chin Ni is above all an avid creator of art – and it is this identity of “artist” he cares the most about.
Tsai-chin Ni’s first painting was an ink painting in which he adopted Chao-shen Chiang’s clear and Chen-yao Yu’s exuberant styles to paint the local landscape. Ni was later known for his thick and dark oil paintings. In the early 90s, he joined the environmental movement and became a pioneer of environmental art. Afterwards, he expressed his discontent towards political malice and media tyranny by establishing his own media and collaborating with a legislative candidate to mock the process of “election.” During that time, the artist also created the Who is the Happiest? sculpture, which displayed four animals in what appeared to be sexual positions, obtaining much attention from the public and the media. In 2000, he began his removing inscriptions and seals from ancient paintings that were not by the original artist. This initiative resulted in the Back to the Original series, in which the artist attempted to publicly compete with famous international museums with his self-created, self-produced, and self-promoted art replicas. In addition, he “transformed” by applying Warhol’s printmaking techniques to expensive sculptures by superstar artists such as Jeff Koons and Takashi Murakami, creating the Super Superflat series. In recent years, Tsai-chin Ni recalled his childhood and used A4-sized paper to imitate movie posters and billboards that were popular when he was in his youth. At the same time, he used the task of floor polishing as a method to invoke nostalgia, conveying in his work In Dust the beauty of time. Tsai-chin Ni’s latest creation, Illusion of a Dream, seeks the aid of interactive technology and invites the audience to use body movements to summon their digital appearance in the projection screen. As the digital figures are constructed, they immediately begin to collapse, until there is nothing left of them.
If not reminded by MOCA Taipei director J.J. Shih, Tsai-chin Ni would have long forgotten his environmental artworks at the Danshui River. He would have also forgotten the unusual exhibition he held with Guo-qiang Cai in Italy, where the roles of curator and artist were reversed. Where else has he held other exhibitions? “I can’t remember,” Tsai-chin Ni confesses. Over the years, the true objective of his artistic creations has been to satisfy the surging desires of his heart, and to divert the long affliction of his physical sickness and pain. He designed many invitation cards that were never printed, and did not release any publicity for his works, resulting in his works being excluded from the attention of reviewers and the media. Needless to say, such exhibitions found no place in the market and no response from the public. Creator at heart, Tsai-chin Ni’s personality and behavior motivate him to do things first and worry about the consequences later. The exhibition Mediaholic can be seen as an attitude of indifference towards the media, creating an opportunity to vent and express a voice of discontent – paying no mind to time or place, political correctness, or the number of spectators.
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