In addition to writing, how much do you know about paper? Exploring "The Evolution of Paper" in a century-old paper mill

Photography/杨雅淳. All images courtesy of even production. About paper, how much do you know? I was asked by this sentence. For most people, paper is the material that can be seen everywhere in everyday life. From notebooks to toilet paper, even the body will carry it. Our dependence on paper may be beyond our imagination. Curated by uniform production and cursive heading, in the material warehouse of Yilan Zhongxing Cultural and Creative Park, a paper-based exhibition "The Evolution of Paper" connects the relationship between paper and the local history, and also through the imagination of the artist. Paper is full of visual possibilities. "Knowledge of Paper", "The Evolution of Paper." (left) "Yangyang", Tim Budden's work, "The Evolution of Paper." "Knowledge of Paper", "The Evolution of Paper." "Yangyang", Tim Budden's work, "The Evolution of Paper." The scene came to Zhongxing Paper Factory in Yilan. It was once the largest paper-making factory in Taiwan and the number one production in Southeast Asia. The 13-year-old factory was rebuilt by the Yilan County Government, which contributed to the “The Evolution of Paper”. Built in the post-war period, it was the 15th and 16th warehouses for storing slurry. Now it has become a warehouse for multi-functional exhibition space. The artist Liao Zhaohao challenges the perceptive conflict of "heavy and light" with "Breaking Blocks", while Kangya builds "The Shape of the Future", which is to turn paper into a cloud to express his hope for the future; Wang Dingyi uses "light, sprinkles on The labyrinth design of Paper leads the people to discover the knowledge of paper in the lost way, and encounters the paper, material evolution and various future imaginations that carry important moments of human beings, bringing out the interest of knowledge learning. "Creativity of Paper", "The Evolution of Paper." "Light. Sprinkle on Paper, Wang Ding's work, The Evolution of Paper. "Light. Sprinkle on Paper, Wang Ding's work, The Evolution of Paper. "Light. Sprinkle on Paper, Wang Ding's work, The Evolution of Paper. "Light. Sprinkle on Paper, Wang Ding's work, The Evolution of Paper. In addition, "Paper Creative PAPER CREATIVITY" shows how paper evolved through the imagination of five artists and designers. British artist Tim Budden created a stunning miniature world of paper with the new creation of "Pangyang" by fire-burning technique and paper-cutting; Wu Bingsheng's "Where" uses the thin paper to challenge the possibility of paper as a sounding body, constructing a difference Daily sensory experience; Swiss artist Zimoun tapped 180 cartons with a cotton ball power unit in a high warehouse, and the echoing sound seemed to be an invisible membrane that separated the reality and created another space. Where is it, Wu Bingsheng's work, The Evolution of Paper. "Rose Xiao Huang", Zhang Xuzhan's works, "The Evolution of Paper". "Rose Xiao Huang", Zhang Xuzhan's works, "The Evolution of Paper". Zimoun's work, The Evolution of Paper. Where is it, Wu Bingsheng's work, The Evolution of Paper. Zimoun's work, The Evolution of Paper. "Rose Xiao Huang", Zhang Xuzhan's works, "The Evolution of Paper". "Rose Xiao Huang", Zhang Xuzhan's works, "The Evolution of Paper". Zhang Xuzhan retains the newspaper texture of the traditional paper paste offerings, and tells the story of the dog's soon-to-life through the animated cartoon "Rose Xiao Huang"; the "Banknote Origami" by Hasegawa Yousuke Various folding angles put a hat on the banknotes of various countries, which makes the banknotes more humorous. In addition, various materials such as posters, book design, and packaging design are displayed in the exhibition area. Under the designer's ingenuity, they are rich in different appearances, so that the public can feel the design interest brought by paper. "Banknote Origami", Hasegawa Yosuke's work, "The Evolution of Paper." ...

Edit MURMUR Notes | Stupid and enjoyable creative style: blur the boundaries of the exhibition space and the artist's studio, STUPIN

In the past two months, I participated in an interesting event at the Baili Hall of the Taipei International Art Village, featuring the "STUPIN.ORG Guo Yichen Solo Exhibition" by artist Guo Yichen. Although named after "solo exhibition", it is actually Guo Yichen's concept of using the platform of the village. Through the "Studio Space Exchange" and the "Pin resident cultural guide", the connection and sharing of the studio and the human resources are carried out, and a new type is connected in series. International Art Resident Network. The space of the Baili Hall is usually a formal exhibition venue, but as a result of the 14 groups of artists, it has become a somewhat chaotic but fun-filled creative style, which makes the coming audience confuse at first – this is the exhibition, or Mistaken the artist's private space? STUPIN.ORG publishes the exhibition site. STUPIN.ORG publishes the exhibition site. Although I have been stationed in the Taipei International Art Village for a while, I also slowly understood the plan. STUPIN is an individual artist. Through the space exchange of the studio, the resources are connected and shared, so that artists from all over the world can find studios of interest in other countries on the platform; exchange studios and experience each other. When you live, you can also solve the difficulties of finding a studio in a strange environment. Similar to stupid (stupid) pronunciation, STUPIN implies that the artist is often devoted to the creative process of the brain; seemingly small stupid attitudes often lead to unexpected results. This time, in the Baili Hall of the Taipei International Art Village, the artists who are stationed can use the space free of charge and transform the space originally designed into a studio for creation. Such a crazy idea comes from the founder of STUPIN, who is also an artist of Guo Yichen. He gathers artists from various fields such as painting, installation, photography, sound, performance, theatre scriptwriting, and fashion design to participate in his project; In the process of human creation, Guo Yichen explored the possibility of the studio in the artist. Those of us who we didn't know each other got together to work, wondering what each other is doing, asking some layman questions, and opening each other's vision. STUPIN Sharing Studio Project Entering Artists: Let the pigs fly by 10 art groups composed of students from the Institute of North Art and Nanyi University, "Let the pigs fly WHENPIGSFLY!". The exhibition "Guerrilla", organized by young curator Lin Yuxuan, was also exhibited at VT Artsalon. ▲ STUPIN sharing studio project to enter the artist: let the pig fly. The art group consisting of 10 students from Beiyi University and Nanyi University, respectively, let the pigs fly WHENPIGSFL Y...

Memory with physical cemeteries, or stacked emotional warehouses? Enter the labyrinth of perception, dark matter "MATIÈRE NOIRE"

In the flea market on the outskirts of the old city of Marseille, the Galerie Saint Laurent Gallery has handed over about 4,000 square meters of warehouse space to 28-year-old Gonzalo Borondo and his seven artist friends; For the performance of "Matière Noire" (dark matter). Eight participating artists BRBR FILMS, Carmen Main, Diego López Bueno, Edoardo Tresoldi, Isaac Cordal, Robberto Atzori, Sbagliato and AL Crego, experimented with various forms and media in this warehouse, trying to deal with the theme of "dark matter". But what is dark matter? Imagine something that we can't directly see or detect, an invisible substance that exists in consciousness and in memory. So, it’s fun to implement this idea in a historic warehouse site. Gonzalo Borondo, Matière Noire. Act I, Projection. 'ROUTE', collaboration with Carmen Main © Blind Eye factory. Image Source: Gonzalo Borondo. Gonzalo Borondo, Matière Noire....

Raising a violent gender provocation: middle-aged bald man by American artist Tala Madani

Tala Madani, or the author, is the artist who recently raised the most topics in foreign art circles; the work portrays the stereotypes of middle-aged men – “bald” and “beard” are like keywords in her pen, with The absurd and awkward composition of the upper limbs will present the provocation and humor of culture and gender. Because this contemporary painter is good at painting with dark and humorous explicit narratives, loose and powerful expressive strokes have brought shocks to countless audiences. Controversy, people can't look directly at them but still curiously think about it. Madani, born in 1981, grew up in Tehran, Iran. When he was a child, he got up at four o'clock every morning to accompany his grandfather to the park. It was one of the biggest green areas in the city with traffic chaos. Where the grandfather will meet with business friends to do sports, feed the birds, and eat fresh bread and cheese together; these gatherings have inspired Madani and have become obsessed with "the secret life of men." She even felt that she was one of the men. The protagonists in Madani's paintings are almost all male, but they have added many of their own imaginations; for example, turning a man in a prayer rally into a homosexual, or a super-masculine beauty makeup. These ironic and ironic stereotypes with frustration and enthusiasm show cultural conflicts: men and women, Western and non-Western rationality and absurdity. These men are usually middle-aged, bald, and the actions of violence and chaos are ruining in the picture; although the visual sense is a mess, the hidden contours of passion, happiness, sadness and violence are combined. It is mixed with the taste of comedy. Madani's brushstrokes seem easy. These are not very regular lines, almost subconsciously absorbing the whole picture; men are her unique themes, ruthlessly depicting their fragility with a brush. From a woman's point of view, the man in the picture is in a difficult, painful situation; some are ridiculous as shown below, men are trapped on the table, humor is as obvious as violence. Madani's work not only does not have any beautiful imagination, but is replaced by magnified shame. In this weird world and fantasy scene, Madani's actor became a poor entity, causing unbearable pain between them. "Square or rectangular artboards always feel like a drama space." Madani looks at her creations. When she was painting, she felt like this painting was performing, so she gave it a metaphorical spotlight; and by painting, she really gave it a spotlight that stared at it. Sometimes light comes from the body of a person, sometimes a light hits their body or another surface. In the past few days, I watched an interview with the famous British artist Tracey Emin. In the film, she took the audience to see the exhibition of Egon Schiele and talked about why she likes Schiller's painting. "Because the woman presented is not very good." The same, some beautiful, strong and beautiful, let people feel the charm of different women. Like the men in Madani's paintings, each one makes me think maybe this is what happened in the last moment of their life, perhaps echoing what Madani himself said, "giving each drawing board a drama space"; The characters inside are all performers. In order to capture the audience's gaze, everyone enjoys the performance of indulgence. No matter what the audience interprets, pain, cowardice, out of place, and ridiculous, they all define themselves in the performance of the painting. Image Sources: Tala Madani | Pilar Corrias & DAVID KORDANSKY GALLERY & BOMB – Artist in Conversation. Join Polysh Facebook to read the latest and interesting art stories at any time.

Pick the most exaggerated paper sheet! Li Hanqiang, Rolls Royce Rolex

Born in Taiwan, Lee Kan Kyo is an artist active in Japan. I was interested in Japanese culture. After I went to Japan to enter Tokyo to specialize in graphic design in 2007, I went to the institute of the same school. At present, the main axis of the creation is the use of images that are produced and consumed in large quantities through the media, and are presented in the form of planes and performances. Taiwanese artist Li Hanqiang. Image Courtesy of BEANS & BEATS. Taiwanese artist Li Hanqiang. Image Courtesy of BEANS & BEATS. His work uses bold and intense colors to draw objects from life, such as common supermarket flyers, carry-on documents, and more. In 2014, the theme of the idol group, which is proliferating in Japan, is a large-scale production and consumption phenomenon in contemporary society. It was awarded the “1_WALL” graphic art award in Japan, and it was the first solo exhibition in Ginza Guardian Garden. The first person in Taiwan. His work uses a unique eye-catching color line to create a visual style. "Vivid color. I want to be related to the boldness, explosiveness and enthusiasm of Taiwanese people. I can feel the vitality from bright colors. It is natural for Taiwanese." Just show this in the picture," he said. Li Hanqiang, "SUPER", 2015. Image Courtesy of Li Hanqiang. Li Hanqiang, SUPER, 2015. Image Courtesy of Li Hanqiang. Li Hanqiang, SUPER, 2015. Image Courtesy of Li Hanqiang. Li Hanqiang, SUPER, 2015. Image Courtesy of Li Hanqiang. A large number of leaflets that have been copied and filled with excessive information have been enlarged into large-scale hand-painted works. In the past, paintings were used to copy paintings or photographs. Nowadays, digital files have become originals, and prints have been copied. The images that have been seen lost are saved by hand-painting. When I browsed Li Hanqiang's work, it was a bit confusing. The design of the flyers has always been aimed at achieving the goal, so there are no problems that are not good-looking. Even when these leaflets are arranged on the wall, this strong sense of existence is reminiscent of heavy makeup, too much too Reversely achieve the opposite effect. But Li Hanqiang did the same thing, but he managed to shift his attention. What we saw was his understanding of the flyer, the imagination of the food photo; the more he noticed what he was painting (in the flyer series, my favorite is his All kinds of meat), the price is just a number, it does not make any sense. Li Hanqiang, "チラシXL" (flyer XL), 2016. Image Courtesy of Li Hanqiang. Li Hanqiang, "チラシXL" (flyer XL), 2016. Image Courtesy of...

Inscription and exploration of the face and body: in the name of art, those portraits and memories dedicated to and stimulating the nerves

Born to be human, what kind of look do we look at in our faces? Is there any other way to express yourself to the "face" of social media photos that can be seen every day? Have you ever thought that there are many differences between us and our own appearance and what others see us? In all the creations, it is undeniable that the images related to "face" and "body" always attract our attention, because the human body itself is unique, and each of us has more or less Attachment, love your face, traces and wrinkles on your body, have a little story or memory. These explorations of the body stimulate the nerves of the artist. Image: Hannah Wilke. Image Source: Hannah Wilke. Hannah Wilke, born in New York in 1940, covers sculpture, film, painting and collage. Material, the media's impression of her is that feminism is the most vivid, but what I am most interested in is that she stares at the camera, licks her face, repeats the performance of a series of actions, and forms various facial expressions again and again. This is a film about half an hour. Wilke uses his skin as a sculptural material to tap, slap, knead, pull the skin and explore his facial features. The length of the shot makes the audience feel uncomfortable, because these self-exploring behaviors are almost too private and the audience becomes a voyeur. Wilke said that she deliberately showed herself and became the object of the artist and her work. In the process, she explored her face for herself and for her own audience. Hannah Wilke, Alison Jacques Gallery, London, 2007. Image source: Alison Jacques Gallery. Hannah Wilke, Alison Jacques Gallery, London, 2007. Image source: Alison Jacques Gallery. The photo above is Hannah...

Edit murmur notes: wind, sun, rain, photocopying on the roof, challenge "Thomas at Roof"

Taipei in May was hot and humid, and the body felt full of water, but the plants on both sides of the alley were unusually bright green, and sometimes there was an illusion of living in the forest. From Qingtian Street, follow the mobile map to find the roof of a residential building, drilled in the alley, the purpose is to see a top floor exhibition - "Thomas at Roof." It sounds confusing to the name of the exhibition. It is said that the famous German photographer Thomas Ruff has a homonym, but what is the connection between it and "Thomas"? It turned out that the ten artists participating in the exhibition all took photography as the main axis of creation, and took the name "Thomas" as their new identity, and boldly tried an adventure. Image Courtesy of Chen Yixuan. Image Courtesy of Chen Yixuan. On the top floor, you just need to ring the doorbell to get up the stairs. In the introduction of the exhibition, this inspiration came from many years ago when the curator Hans Ulrich Obrist planned a side event called "do it"; Hans Ulrich Obrist made an exhibition about the artist, but the artist did not really do things, but proposed "Operation method", then find someone to complete. Every time a new location is reached, "do it" will be added to the new operation mode, and then executed by new people, and the tour will be exhibited to this day. Recently, I was also reading Hans Ulrich Obrist's book. In short, he is a romantic, mobile, and willing to explore the various ways in which art can be expressed (this is also the part that motivates every curator and artist in the world). people. He breaks the established impressions of art only in galleries and museums, and curates in unexpected places. He once held an exhibition in his own kitchen. The artist was free to choose where to show it, refrigerators and cabinets. He also made an exhibition in the Paris hotel room. Until the local media reported and visitors continued, the hotel knew this. The matter is too late to stop. From the artist's point of view, you can choose a place or even a toilet in the hotel room - such a special space brings a strong spiritual impact to the artist, an interactive desire. A little condolence, but the more fresh ideas and spaces, the more sparking the artist. "Thomas at Roof", visual design: Chikaya Takahashi. "Thomas at Roof", visual design: Chikaya Takahashi. Hans Ulrich Obrist understands this, he constantly emphasizes the importance of the artist's talks Curation involves a lot of dialogues. He cherishes and values ​​these conversations, and even records them and reads them over and becomes the nutrients of the next curatorial. Spending so much time talking and recording, from the understanding of the artist, the expectation of the curator who wants to be "different". I believe that Hans Ulrich Obrist is not for rebellion, or deliberately against the gallery, the museum, but he really understands the artist and himself, what they want each other. Notes Thomas #001 陈以轩...

Unbelievable deep sea treasure: British artist Damien Hirst spends ten years of weaving underwater legend

"Treasure" was born in an unparalleled existence; strictly speaking, the inspiration from the image, its richness, diversity of media and near-perfectness have made the "treasure" realistic. Martin Bethenod, Director of Palazzo Grassi ‒ Punta della Dogana. When the British artist Damien Hirst recently exhibited in Venice, the headline "Damien Hirst launched a shipwreck spectacle in Venice" caused by the index media, I couldn't help but laugh at the heart of the exhibition. - If not Damien Hirst is so famous, how can he get such a strong concern? Of course, there are reasons why he will be liked and discussed by the public. He is one of the few artists who are famous and truly admire. The new exhibition "Treasures from the Wreck of the Unbelievable" in Venice is the first major exhibition of Damien Hirst in the past decade. He has been quiet for a few years, and his aura is not as dazzling as he was; in this era of relying on fame, he must do something different. Despite this, Damien Hirst has never lacked self-confidence – this is what people appreciate most. When Damien Hirst traveled to Venice, people in the art world were wondering what he was going to do next. Damien Hirst, born in Bristol, England in 1965, grew up in Leeds and studied art at Goldsmiths University in London. At that time, he planned a remarkable exhibition "Freeze", which also opened the curtain of the British artist of the generation. He produced a variety of installations, sculptures, paintings and other works to explore the complex relationship between beauty and religion, science, life and death. Of course, there is also the shark that is the most popular discussion - "The Physical Impossibility of Death in the Mind of Someone Living" (1991), and that is set with 8,601...

Turner Prize 2016: Michael Dean, writer or philosopher of installation art

The former introduction of the 2016 Turner Prize winner Helen Marten mentioned that the nominees have a total of four outstanding artists; and one of the list wants to introduce it to everyone, from Newcastle, UK, currently working. And Michael Dean living in London. Michael Dean (b. 1977) thought of creating a work, starting with writing and then creating a visible form of the content. The materials used are also materials that can be immediately identified, such as mixed soil, steel, soil, sand and metal sheets. He abstracts these materials into new ones and lets you re-recognize it. He is regarded as a sculptor, but he always calls himself a "writer who likes to install art, but also a playwright or a philosopher." He would think so strangely, many ideas are extended from the sentence - one How to abstract the work will also have its own discussion. Michael Dean, 2016 Turner Prize shortlisted artist. Image Source: Evening Standard. Michael Dean, 2016 Turner Prize shortlisted artist. Image Source: Evening Standard. Wonderful, I didn't feel anything when I first saw Michael Dean's name and introduction. Until I watched the film; he touched the material, used his dirty hands, and was busy in the studio, and was unconsciously attracted. "I will shape these materials as soon as possible, and let it appear as soon as possible." I can imagine how fast his brain moves and how fast it moves. This speed shows his personality, like the body is closely linked to the brain and heart, and is stimulated together, without cowardice and suspicion. Michael Dean's creative process is undoubtedly full of charm, with a clean and persistent heart. When he looked at the black mud, he remembered that he used to like himself to get dirty. In the studio, I share the space with everyone. Everyone has traces of paint, and the hands are covered with dirt that cannot be washed away. One time it was too big, it was paint when washing the brush - it was not ordinary paint but paint with brightener, so the hands were sticky and black, and it took about two days. Slowly recede. After the students saw it, they laughed, but they also offered their secrets sympathetically and wanted to help me solve this problem. I looked at them and my face was full of colors. It seems that these recipes are not credible. But this feeling has always been remembered - the feeling of freedom, like taking off the shoes and running on the beach, seeing the pleasure of sticking to the sand. It can be said that the process of getting along with the material is a soothing treatment - the touch of the fishing net on the hand, the rough surface of the canvas, the brush and the subtle flaws of the bleach. And while Michael Dean touched, touched, pinched, and grasped the material, the beauty of the memory production came back at that moment (but he was smart, he wore gloves), that kind of satisfaction, no wonder this Michael Dean looks so happy with the record of the creative process. Michael Dean's exhibition for 2016 Turner...

Turner Prize 2016 Winner: Helen Marten, a poetic puzzle of life objects stitching

Each year, four artists are nominated for the UK Turner Prize (reviewing the 2015 Turner Prize Winner - ASSEMBLE) and the winners are announced in December. Most of the artists who are nominated will be noticed by the public, such as Anish Kapoor, Damien Hirst and Tracey Emin; it can be said that as long as they enter this list, they are greatly affirmed. To get the opportunity to nominate the Turner Prize, the first cruel thing is that the age must be under 50, and it is specifically stated that this is not a lifetime achievement award. Interestingly, from the beginning, there were actually curators/critics and even gallery operators who had the opportunity to be nominated, but later changed to only artists, and now there are age restrictions, so we can say that this is an encouragement. And discover the artist's awards. This award is attractive, not only for the winners to get a £25,000 prize, but also for being honored to be selected as the “Best Exhibition of the Year” or for their artistic career. Help (the above three points are already the dream of many artists); instead, from the perspective of the whole art development, we can clearly see the changes of artists, the ideas of the public, and the relationship between people and art. Relationship. Helen Marten's exhibition for 2016 Turner Prize. Photography/ Martin Godwin. Image Source: The Guardian. Helen Marten's exhibition for 2016 Turner Prize. Photography/ Martin Godwin. Image Source: The Guardian....