Three Expatriates In Paris: The Ties That Bind

Three Expatriates In Paris: The Ties That Bind

Group exhibition curated by: Kamran Diba

December 19, 2024 - January 22, 2025

Kamran Diba, Peihang Benoit, Rebecca Driffield

Three artists, Kamran Diba (Iranian-Spanish), Peihang Benoit (Taiwanese-French), and Rebecca Driffield (Australian-French), each with layered identities, now further shaped by their European experiences, come together in a poetic dialogue at Galerie Keshavarzian. Their works, distinct yet interconnected, explore the interplay of belonging and estrangement, reflecting the multifaceted journey of navigating foreign lands and re-defining home through the lens of painting.

Kamran Diba, an artist-architect with over seven decades of practice, has recently embraced a process of creating collages that evolve into digital prints on canvas. He reconstructs, reassembles, and repaints these works, engaging in a dynamic cycle of creation and destruction. This approach mirrors the experience of living between cultures a continuous negotiation of selfhood, a layering and relayering of identities to reconcile the past with the present.

Peihang Benoit, a Taiwanese artist, draws inspiration from the domestic sphere, often observing her young children as muses. Her work explores coexistence and its inherent dualities, shaped by her adaptation to life in France. Themes such as body and landscape, interior and exterior, the mundane and the transcendent, feature prominently in her art. Through her paintings, she captures the subtle rhythms of life, weaving a dialogue between intimacy and universality, perception and memory.

Rebecca Driffield, originally from Australia and now a long-term Parisian, paints the complexities of human emotion and connection. Her work focuses not on recreating reality but on evoking feelings and psychological states, expressed through oil paint and linseed oil. Inspired by her "outsider" perspective and the multicultural richness of Paris, she crafts theatrical spaces filled with visual metaphors and mysterious connections. Her paintings invite viewers to interpret and uncover their own meanings, delving into the nuances of the human experience.

By uniting the works of Diba, Benoit, and Driffield, The Ties That Bind offers a profound exploration of the expatriate condition, a meditation on the fluidity of identity and the power of creative expression in navigating between cultures. Through their art, these three artists provide glimpses into inner dialogues where memory, displacement, and cultural hybridity converge.

——-
Française:


Exposition collective

Commissaire d’exposition : Kamran Diba

19 décembre 2024 - 22 janvier 2025

Trois Expatriés À Paris": Les liens qui unissent

Trois artistes, Kamran Diba (irano-espagnol), Peihang Benoit (taïwano-française) etRebecca Driffield (australo-française), aux identités multiples, tous résidents de Paris, se retrouvent réunis dans un dialogue poétique et inattendu à la Galerie Keshavarzian. Leurs oeuvres, à la fois distinctes et entremêlées, explorent l’interaction subtile entre appartenance et étrangeté, reflétant les expériences complexes de la navigation entre terres étrangères et la redéfinition du foyer à travers le prisme de la peinture.

Kamran Diba, artiste-architecte, après sept décennies de peinture et de performance, arécemment entrepris un processus créatif de collages évoluant en impressions numériques sur toile qu’il déconstruit, réassemble et repeint. Ce processus interactif de création et de destruction reflète l’expérience de vivre entre les cultures, une négociation continue de l’identité, un empilement et un superposition de couches pour réconcilier le passé et le présent.

Peihang Benoit, artiste taïwanaise, puise son inspiration dans la sphère domestique, observant ses jeunes enfants comme muses pour explorer la coexistence et ses dualités. Inspirée par son adaptation à la vie en France, elle aborde des thèmes tels que le corps et le paysage, l’intérieur et l’extérieur, le banal et le transcendant. Ses oeuvres capturent les rythmes subtils de la vie, tissant un dialogue entre intimité et universalité, perception etsouvenir.

Rebecca Driffield, originaire d’Australie et désormais Parisienne de longue date, peint les complexités de l’émotion humaine et de la connexion. Son travail ne vise pas à créer une réalité, mais à capturer un état d’esprit ou une émotion, exprimés à travers la peinture à l’huile. Inspirée par sa perspective d’"outsider" et la richesse multiculturelle de Paris, elle compose des espaces théâtraux remplis de métaphores visuelles et de connexions mystérieuses. Par ses peintures, elle invite le spectateur à interpréter et découvrir ses propres significations, explorant les nuances de l’expérience humaine.

En réunissant les oeuvres de Diba, Benoit et Driffield, The Ties That Bind propose une exploration profonde de la condition expatriée, une méditation sur la fluidité de l’identité et le pouvoir de l’expression créative pour naviguer entre les cultures. À travers leurs oeuvres, ces artistes ouvrent des fenêtres sur des dialogues intérieurs où mémoire, déplacement et hybridité culturelle convergent.

December 19, 2024 - January 22, 2025
Ouverture : lundi-vendredi 11-19h samedi 12-18h

Galerie Kashavarzian
23 rue de miromesnil, 75008 Paris, France

À UN JARDIN

Duo exhibition / espace temps Paris

6 May – 16 June 2024 

Artist : Peihang BENOIT & Fabrice LANGLADE
Curator : Joseph CUI 

espace temps: 98 rue Quincampoix 75003 Paris

À un jardin

Oui nécessaire clôture
Pour que le lieu devienne lien
Et le temps attente.

Que le sentier mène à l’amante,
Que tout désir aille à son terme,
Que chaque fleur porte visage et nom,
Que chaque fruit préserve faim et soif,
Que vent et pluie soir et aube
Renouvellent leurs offrandes sur l’herbe,
Que l’infini, lui, fasse halte
Sur la cime des pins.

Oui nécessaire clôture
Pour que le lieu soit appel,
Et l’instant répons sans fin.

—— François Cheng, La vraie gloire est ici

The garden is an artificial creation, aiming to replicate a natural state of a living and meeting place. It’s a living space composed of a system of plants and animals, sometimes a pond with an island, accompanied by rocks, and a meeting place accessed by humans to find each other, walk, play, exchange, and embrace.

Peihang BENOIT and Fabrice LANGLADE contribute works included in the exhibition, consisting of rocks and chimeras, colors, lights, and primarily desires. In Fabrice’s work, the quest for simplicity in form and materials is also present, akin to his practice of Judo, representing a floating essence, a contemplation of the moving body.

Peihang combines her native culture of Taiwan and her Western experience, blending nature and yearning, innate and acquired. She draws inspiration from elements of classical masterpieces and takes us on a journey through colors that form interstitial spaces, akin to the secret corners of the garden. The light pierces through clouds and branches, forming shadows where lovers hide.

The mutual encounters of the two artists in the workshops have sparked elusive waves, from art to philosophy, from identity to society. The exhibition of their artistic creations is an invitation to all who come to enter their garden, to see and stroll, to think and contemplate.

7 Rue Des Fossés Saint-Jacques -Peihang Benoit Solo exhibition

Dates

2 MARCH 2024 - 20 APRIL 2024

Reception

9 MARCH (SAT.) 4:30 P.M.

Venue

TKG+ Projects 2F, No. 15, Ln. 548, Ruiguang Rd., Neihu Dist., Taipei 11492, Taiwan

Artist

Peihang Benoît

Curator

HSU Fong-Ray

HSU Fong-Ray

When first coined, the French word for a wanderer "Flâneur" was without a feminine form, as women weren't considered as possible participants in explorative pursuits. The eventual emergence of "Flâneuse"[1] in the early 1900s signalled a shift, and acknowledgement of irreversible change. Benoît’s artistic exploration delves into the evolution of the term "Flâneur" and its gendered counterpart, "Flâneuse."

Her journey, spanning from Taipei to the United States, London, and now Paris, intricately intersects with her newfound role as a mother. In her paintings, the transition from a wandering artist immersed in diverse landscapes to a parent is revealed through the evolving hues of her brushstrokes, navigating memories from past journeys to the present.

In her Parisian chapter, the city serves both as muse and constraint. This exhibition, named after Benoît’s first home in Paris "7 Rue des Fossés Saint-Jacques," encapsulates her nuanced journey—an artist and a woman actively immersed in household maintenance- the everyday life experienced by many. This immersion portrays the repetitive nature of daily life, exploring the delicate balance of family and artistic development. The interrogation of identity also plays a central role in Benoît’s new work. Starting a family, moving to Paris and taking on her husband’s last name, so as to better assimilate into her new city, Benoît, an artist and expatriate who has resided in diverse locales, grapples with questions of belonging and personal experiences.

While her daily routine as a parent has replaced the adventurous travels of her past, within her mental space, she assumes the role of a "Flâneuse," constructing a private world that transcends the limitations of time and space. It is not just a reflection of what she has lost but, more importantly, an abundant celebration of the moments of joy she has discovered. From the familiar spaces of her home and blending them with the ephemeral places she has once been, the celebration of daily affection and the contemplation of competing identities are seamlessly woven into her paintings.

This realm is immortalized through intricate brushstrokes, layered paint, and an array of references spanning from the past travels to the present. The paintings outline poetic narratives about the body, memory, and movement, capturing moments of profound emotion and revealing the interplay of multi-layered identities.

Benoît's journey, depicted in emotionally charged tales, crafts fragmented identities, space, and time. From Peihang Huang to Peihang Benoit, 7 Rue des Fossés Saint-Jacques, Paris, to 15 Lane 548 Ruiguang Road, Taipei , it is a heartfelt portrayal of an artist, a woman, a mother, a wife, situated in the space between movement and stillness, in time and out of time.

文/許峰瑞

「Flâneur這個字過去在法文裡似乎沒有陰性[1]，可能當時他們不覺得女性也需要自我遊晃和空間參與吧，當Flâneuse出現且比較多用在書面語時，這個轉向多少也見證了一些改變。｣

Benoît這名女性並不是波特萊爾眼中的遊手好閒者，相反地，她代表的正是漫遊者(Flâneur)概念的反義，一個因撫育幼兒而幾乎失去公共參與時間和空間的母親。在現代家庭中，這剛好也是Flâneur這個字所顯示的性別差異，主責照料家裡的人，踏出家門口那一步都有著明確的目的，送孩子去學校、添購生活用品、買菜、帶孩子去公園玩耍。除此之外，必須有效率地完成家務，剩下才是自己的時間。畢竟，多數創造力的來源，都需要足夠的空間與時間，她必須如此，才能回到她所鍾愛的畫布面前。

然而生活倒也不這麼苦悶，Benoît生活範圍除了巷口的家樂福超市、藥局的奶粉、菜攤外，塞巴斯汀糕點店，是她能夠暫時得到小確幸的地方，因為先生剛好叫塞巴斯汀，也剛好這間蛋糕店有他們喜歡的草莓塔和巧克力蛋糕。當她說起法國的草莓有多好吃時，甚至講起了溫帶海洋性氣候多麼適合栽種，以及他們夏天回到普羅旺斯老家種了些甚麼東西，這棵草莓似乎耀眼過她從莊園窗戶就能看見的，塞尚的聖維多克山，卻也足以讓她跨越記憶與現實間的通道自在漫遊。

巴黎的拉丁區是充滿人文氣息的學區和居住區，當拿破崙三世進行巴黎大改造時，佛西. 聖雅克路的街道慶幸地並沒有被改動得太多，只不過是樓宇多了份奧斯曼建築的味道，而沉眠在巴黎萬神殿裡的雨果卻可能會是第一個跳出來反對，並大聲朗誦著《懲罰集》訴說這罪行的人，但其他偉人說不定還覺得這樣舒適了些。對Benoît而言，巴黎萬神殿卻是阻礙她奔向自由的宏偉建築。這一條每天送孩子去學校的路並不長，大約10分鐘路程，下樓後左轉就是巴黎萬神殿，她已經沒有當初驚嘆的感覺，那只是她必須快點通過，好讓孩子能準時上學的日常建築物而已。巴黎萬神殿就和她站在殿門口便能夠遠眺的巴黎鐵塔是一樣的存在，她似乎被排除在城市空間之外。每天收集起這些空間景象，拼湊成踏入個人空間的識別證，這就是她生活的圖像。

Benoît這個姓，有善良、溫和、恩典的意思。在17世紀時的天主教修道院裡，許多孤兒都被命為這個姓，繼承至今。姓氏這權利義務的主體認定，對外代表本人的符號，對內有歸屬及認同感，從Huang到Benoît，這是一個情感的選擇，也是為了融入法國的符號轉變。然而Benoît個人主體的認同，並非是姓氏符號的改變，更多的是身為一位需要付出所有自我的母親，與身創作者所需擁有最低限度自我空間，這兩者間的拉扯，在脆弱現實與記憶碎片夾雜襲來的衝擊下，感官化為她的繪畫表現。這些隱晦的情感圖像，都曾經或依舊伴隨著身為母親的女性。而生產圖像認識需求的真正原因，卻在於這些圖像的意義總是不在現場，或者已經被人們所遺忘。

｢佛西. 聖雅克路７號｣是Benoît家的地址，她在法國的生活是依此為中心所散開的同心圓，是在物質性的都市空間裡，拓展心理空間的基地。展覽中的畫作，微觀地從居家空間出發，揉合記憶裡曾去過的地方與非地方(Non-lieu)，在色塊與景物所交接成的輪廓邊沿，描繪著關於身體、記憶與移動的抒情故事。這些作品乍看像是符號，但疑似符號的圖像形成，不論其目的是為了溝通、指示，其實都是為了記憶而做的準備。

展覽本身既不是再現其居住空間，作品亦不是重現某個特定時刻的心情，而是在象徵的表現式下將空間和圖像做為語言，傳達身為一位女性和母親的生命意義。從十年前離開台灣，移動在倫敦、巴黎、台北之間，從黃沛涵到Peihang Benoît，從佛西. 聖雅克路７號到瑞光路548巷15號，移動的內在特徵是不在場，她既存在於其中一個地方，也不在那一個地方。這些分割的身份和時空是她作品畫面上的碎片，那在線性輪廓與平面上所挖掘的深度，是她充滿情感的訴說。這個｢室內空間｣的展覽，是一個不被分類秩序要求所侵入的收藏空間，好置放這些多出來的自己，以及和她生命所收集、拯救回來之物。

｢佛西. 聖雅克路７號｣ 是身為一個女性，一個母親，一個妻子，一幅關於藝術家的感性圖像，在移動和靜止的時間中，座落於此空間。

Geopoetics: Changing Nature of Threatened Worlds

Geopoetics: Changing Nature of Threatened Worlds

Geopoetics: Changing Nature of Threatened Worlds

Date：2023/12/02(Sat)~2024/03/10(Sun)

Time: Tue.-Fri. 09:00～17:00, Sat.-Sun. 09:00～18:00

Locations：Gallery 102, 202, NTMoFA

Curators：Patrick Flores 、Kim Seong-Youn 、Hsieh Pei-Chun

About the exhibition

In his poem I’m Not Gonna Talk to You about It, poet Wu Cheng uses three negative sentences to unlock the political potential of the following three things: poetry, life experience, and modern society. He reminds us that we’ll get closer to poetics as soon as we cease our empty rhetoric and interpretations in a cramped room, start to approach natural creatures and open fields of production, and try to extend the space-time for objects and humans through our senses.

Titled “Geopoetics: Changing Nature of Threatened Worlds,” this exhibition owes its inspiration to the idea that nothing can be more optimal than poetry to be the rendezvous for the private and the public as well as for introspection and extroversion. This exhibition not only advocates a poetic survey into the material conditions of East and Southeast Asia in postwar geopolitics, but also unravels contemporary art’s critical perspective withinin the landscpae of anti-poetics.On the basis of geopolitics, the term “geopoetics” further accentuates “form-making,” i.e., the shared similarity between geospatial distribution and poetic formation, so as to extend our concern over East and Southeast Asia in terms of international politico-economic issues like nation, region, and the center-periphery structure.

As we employ poetics to imply the likeness between world-making and form-making, we’ll discover that artistic creation bears more than a passing resemblance to geospatial reshuffle, and that natural / artificial landscapes can be analogized to aesthetic propositions. In this sense, poetic practice seems to emancipate Asia from unduly dogmatic geopolitics and ideology, which ergo offers alternative political potential for artistic creation.


地緣詩學：瀕危世界的多變特質

展覽日期：2023年12月02日至2024年03月10日

展覽時間：週二至週五 09:00～17:00、週六、週日 09:00～18:00

展覽地點：本館102, 202展覽室

開    幕    式：2023/12/02 (六) 14:30

策    展    人：Patrick．Flores 派屈克．佛洛雷斯 、Kim Seong-Youn 金聖淵、謝佩君Hsieh Pei-Chun

=================================================================================
 

展覽簡介：

詩人吳晟在《我不和你談論》一詩中以三個否定句開啟詩、每日生活經驗與現代社會的政治潛能。詩人提醒我們，當暫停斗室中的空口談論、詮釋，而開始臨近田野萬物與生產場址，嘗試以感官擴延物與人的時態與空間時，我們同時也更接近了詩學。本展覽「地緣詩學：瀕危世界的多變特質」，以詩作為再理想不過、私人與公眾、內省與外揚的會面點為靈感，提倡以一場詩性的踏查，重新丈量東亞與東南亞自二戰後地緣政治的物質情狀，並爬梳當代藝術的批判性視野如何浮現於反詩學的地景之中。奠基於地緣政治的概念，「地緣詩性」一詞進一步強調地理空間分佈與詩學形塑的相似性——造型（form-making），以擴延我們對東亞與東南亞國族、區域、中心與邊陲等國際政經關係下的關懷。當我們以詩學暗示製造世界地域（world-making）與造型的相似性時，我們將會發現藝術創造仿若重組空間地理，而自然/人造的地形景觀一如美學主張（aesthetic proposition）。而過於武斷的亞洲地緣政經情狀與意識形態，似乎也在詩學的實踐下解套，進而讓藝術創造擁有另類的政治潛能。

參展藝術家| Artists

1. Pei-Hang Benoît 黃沛涵（臺灣）

2. Chang Ling 常陵（臺灣）

3. Chang Wen-Hsuan 張紋瑄（臺灣）

4. Chen Ting-Jung 陳庭榕（臺灣）

5. Kamata Yusuke 鎌田友介

6. Kuo Yu-Ping 郭俞平

7. Viet Le 黎越

8. Lee Yong Baek 李庸白

9. Jet Leyco 傑特．萊科

10. Maharani Mancanagara 馬哈拉尼．馬羌那嘎拉

11. Moon & Jeon 文敬媛 & 全濬皓

12. Nira Pereg 妮拉．裴瑞克

13. Seo Pyoung-Joo 徐平周

14. Prateep Suthathongthai 帕蒂普．蘇薩桑泰

15. Wang Hsiang-Lin 王湘靈

（依英文姓氏字母順序排列 In alphabetical order by English surname）

Hopper Prize interview

Hopper Prize Interview

Back in spring, 2023, I have the honor to be selected as a finalist of Hopper Prize.

Here is an interview that follows the prize selection:

Enjoy!

https://hopperprize.org/peihang-benoit/

Interview by Arting

Here’s a studio visit/ interview by the New York based The ARTing Project.

More on instagram: https://www.instagram.com/theartingproject/

EXH online exhibition with Floorr Magazine

Happy to participate an online exhibition with Floorr Magazine with their 8TH online exhibition

along with a list of exciting artists:

Richard Dean Hughes
Akihiro Boujoh
Peihang Benoit
Yui Yan Rosalyn Ng
Bex Massey
Efrat Merin
Nicky Hodge
Jaffar Aly
Anselm Dyer-Grimes

Here is the link to access the exhibition:

https://artspaces.kunstmatrix.com/en/exhibition/9624987/exh-08

https://www.floorronlineexhibition.com/exh-08

https://www.floorrmagazine.com/

Past interview with FLOORR:

https://www.floorrmagazine.com/issue-24/peihang-huang?rq=peihang%20huang

Multiverse 2

Medium: Oil, acrylic and oil stick on linen
Dimensions: 60 x 50 x 3.5 cm
Year Made: 2022

A walk through the exhibition: All Her Bright Times (video)

Here’s a walk through of my exhibition : “All Her Bright Times” back in May 2021, Yiri Arts Taipei, Taiwan.
I speak about the notion of my work such as thinking about time, memory and personal meanings behind the works.
In Mandarin with English subtitles.

Enjoy!

All Her Bright Times /Peihang Benoit Solo Exhibition

她山｜黃沛涵個展

撰文 Text / 賴駿杰 Jay Chun-Chieh LAI

Sometimes we could only fully understand a person,

when we miss him/her.

有時候，我們必須透過想念，才能真正開始理解一個人。

It is most often that looking back to the past wakes in us the realisation of how our coming of age experience is tightly tied to ideologies like ‘nation/family’ or ‘patriarchy’. As time passes by, the resistance to patriarchy that derives from the ‘reluctance to grow up’ has left a deep mark in one’s life experience. This has become the core of Peihang Benoit’s artistic practice, a notion developed under the same context and manifested in the Fleshy Fairytale series which has an obvious feminist approach, and her later series of paintings that focus on the issues of European immigrants/refugees and the government policies (in the Wonderland series). Looking at Peihang’s new works for this exhibition, the artist manages to perceive connections with her mother’s process of growth through “(China Youth Corps) Youth Activities”. Encompassed in the pun and contrast in the title of the exhibition All Her Bright Times (她山) are landscapes almost seem to be a Déjà vu and vividly present in the artist’s self-knowledge and memories. To ‘the youth’ who were full of aspirations for the future, the bright and beautiful mountains and waters were a disguise of the setting built by the party-state system for political enlightenment. In order to be one of the promising, one had to conquer the ‘mountains that needed to be conquered.  To a family that is loving and supportive, one should be close to nature to raise and nurture healthy children. Nature and landscapes have become the necessary setting for a certain kind of national indoctrination, and now it is passed down through family albums, showing us the promising ‘youth of the nation’.

我們總是在回望過去時，才意識到自己成長的經驗，與「國/家」或「父權」等意識形態始終脫離不了關係。那些所謂「不想長大」而延伸出的對於父權之抵抗，也隨著歲月移轉而銘刻在生命經驗之中，這也是藝術家黃沛涵一路走來的創作核心：從過去明顯帶有女性主義色彩的「肉身童話」系列、到後來關注歐陸移民/難民與國家政策的系列畫作等，皆是此脈絡下的思想成果。而此次展出的新作，則是透過「（救國團）青年活動」連結了母親的成長歷程，在「她山」的兩相對照下，有些風景彷彿似曾相識，歷歷在目於藝術家對於自我的理解與記憶。陽光、明亮且風光明媚的山林景色，對於未來充滿憧憬的「青年」，漫步在過去由黨國所設定的教化場景，挑戰的是「需要被征服的山岳」；征服它才是有為青年。而美好家庭，更要親近自然以培育身心健康的下一代。自然與風景，成為某種國家教化所必須的人格設定場景，而如今，它透過家庭相本被流傳下來，展示的是青春有為的「國家青年」。

Peihang’s oeuvre embodies delicate and complex emotions, and after some time away from Taiwan, major life transitions and life in Europe have enriched her artistic approach in various senses. All Her Bright Times features her more sophisticated new works with new aspects, revealing the intertwined ties between the artist and her mother. The mother-daughter relationship influences her perception of the role of a woman and a professional in the family and the society, and takes off the mask made by ‘human flesh’ attached to her, especially after experiencing the grief of losing her mother and the joy of becoming a mother herself for the first time.  The slashing of flesh not only echoes the artist’s earlier series Fleshy Fairytale but also refers to labouring (‘new-born’), the process of giving birth and pushing off the precious flesh of one’s child in great joy and extreme pain. It exposes the artist’s long desire of attaining the unattainable from her mother. The pain has encroached on her yet paradoxically by ‘becoming a mother’, she has filled the void in her. By overlapping and scattering time, Peihang looks back and scrutinises herself from inside out in memory of her mother. We would be surprised to find that time does not simply move forward, but under countless repetitions and piling, kneading into similar faces. Just like her paintings, the setting is reorganised and traces of the present would sneak into the future. The way a daughter understands her mother’s times and memories, Peihang’s imagination of the past and the vision for the future are woven and intertwined in this series of painting.

黃沛涵的創作本就有著細膩且多層次的情感，而在離開臺灣一段時間後，歐洲的生活歷練與重要生命轉折都在各種意義上豐富了她的表現手法。「她山」將展出其更臻至成熟且全新面向的作品，揭露黃沛涵與其母親之間的各種羈絆：如何影響她對於女性與專業工作者在家庭與社會上的角色認知，特別是在經歷了喪母之慟與初為人母的喜悅之後，如何能剝除附加在身上的假面「肉身」。削肉，除了回應藝術家過去的肉身童話系列脈絡外，在此也指涉同時帶有喜悅與極度苦痛之「新生」所卸下的心頭之肉；斥出母親在自身沉宕已久的欲望之不可得（某種缺陷），也弔詭地，藉由「成為母親」來填補身上可能有的孔洞。以時間的堆疊與破碎為方法，再次回頭、由外而內地審視自身，想望與紀念其母親。我們將訝異地發現，時間絕不是單純地前行，而是在無數的重複與相互掩映下， 揉雜而出總是相似的面貌。正如同其畫作所運用的方法，場景被重組，而現在潛行於未來。女孩/ 女兒如何理解母親的時代與記憶，以及黃沛涵對於過去的想像與未來憧憬，皆被潛在地編織、交纏在此系列畫作裡。

The rich, opaque and chalky colours are in sharp contrast to the clear, seemingly vivid ‘photo album’. The bright outdoor sceneries are replaced by an overcast sky, and the clear stream becomes a glide of silent blue.
The blue river that cannot be walked past twice is, perhaps, the true colour of life and memory.

濃郁、不透徹且帶有高度白粉顏料的色彩，恰與那清晰、彷彿歷歷在目的「相簿」成顯著對比；明亮的戶外場景被抑鬱的天空所取代，而澄澈溪流也成為靜默的一片藍色。
不可能走過第二次的藍色河流，或許，才是人生與記憶真正的顏色。

她山 All Her Bright Times｜ 黃沛涵個展 Peihang Benoit Solo Exhibition

Curator｜Jay Chun Cheih Lai
Date｜2021.04.29–05.22
Private View｜05.01 16:00-19:00
Artist Talk｜05.01 15:00 與談人 謝鴻均、賴駿杰

Venue｜ 1F. 1F, Yiri Arts
Address｜
No. 1號, Lane 86, Xinming Road, Neihu District, Taipei City, Taiwan 114
Open time｜Tue. – Sat. 13:00 – 19:00 ,
Closed on Sun/ Mon
Sponsored by｜
Department of Cultural Affairs Taipei City Government

策展人 Curator ｜賴駿杰 Jay Chun Cheih Lai
展期｜2021.04.29–05.22
地點｜伊日藝術計劃 1F
地址｜台北市內湖區新明路86巷1號
時間｜Tue. – Sat. 13:00 – 19:00 週日、一休館
贊助單位｜台北市文化局

https://yiriarts.com.tw/show/all-her-bright-times/?v=3d9975706be3

Three Pilars 28th March-7th April 2019

Art Salon+ presents an Exhibition of Contemporary Painting, Sculpture & Video featuring a selection of 16 rapidly emerging artists who have graduated from the Master's Degree course in Fine Art at UAL/Chelsea College of Art during the last five years.

Focusing on three central pillars of contemporary visual art, this exhibition explores the shared language and shifting boundaries between painting, sculpture, and the moving image in the post-digital age.

Artists:

Paul Abbot,
Natalie Anastasiou,
Michelangelo Arteaga,
Nicholas Cheeseman,
Ozlem Demirel,
Marie Aimee Fattouche,
Stuart Howitt,
Peihang Huang,
Seulgi Kang,
Stella Kapezanou,
Minjoo Kim,
Nazanin Moradi,
Marco Piemonte,
Jonathan Slaughter,
Billy Ward,
Adam Zoltowski.

Curator: Julian McSweeney

EXHIBITION DATES: Thursday, 28th March until Sunday, 7th April, 2019.

Opening times
Monday: 9.30am to 8pm
Tuesday: 9.30am to 8pm
Wednesday: 9.30am to 5pm
Thursday: 9.30am to 8pm
Friday: 9.30am to 5pm
Saturday: 9.30am to 5pm
Sunday: 1 to 5pm

Contacts: joolsmcsweeney@yahoo.co.uk

Residency in Fiskars, Finland 1st-30th Novemebr 20

Peihang Huang is selected as the Artist in Residency of the unique arts and craft town Fiskars, Finland; and will work in the residency programme throughout the November of 2018.

List of artists in 2018:
Sven Domann, environmental artist, DE
Ilan Rabchinskey, photographer, MX
Daniela Bergschneider, textile artist, DE
Arlene Tucker, community artist, US/FI
Ruta Pakarklyte, ceramist, NO
Nicoletta Favari, musician, IT & Christopher Salvito, musician, US
Jorge Nava, painter, ES
Adam Wolpa, artist, US
Ingrida Picucane, artist, LV
Mafune Gonjo, glass artist, JP/SWE
Peihang Huang, painter, UK
Katsutoshi Yuasa, Image maker, JP

Fiskars village, with around 600 inhabitants, is situated in Southern Finland approximately 100 km west of Helsinki. The Cooperative of Artisans, Designers and Artists in Fiskars has over 100 members representing over 20 different fields of arts, design and crafts. The Fiskars Artist in Residence was founded in early 2006.

The Fiskars AiR mission is to stimulate the professional exchange and networking between creative professionals in Fiskars Village and overseas and to enrich the local community by the new insight that the residency visitors can bring into the community. The historical village surroundings are characterized by an exceptionally rich flora, many peaceful lakes and ample forests. Fiskars nature serves as an endless and accumulating source of inspiration for both local and visiting artists. Fiskars Village has a very unique history that has created its population structure and atmosphere. Fiskars community is known to be creative, curious, multicultural, liberal and active.

The residence is open to professionals from all creative businesses, nationalities and ages. This includes working craftspeople, designers, visual artists, architects, industrial designers, performing artists, composers, musicians, curators, producers, journalists, writers and researchers.

For more information, please visit:

http://onoma.fi/en/
https://www.fiskarsvillage.fi/

[Beyond the Barricade ] -Studio 3 Gallery, University of Kent, 28Sep-30Nov

27 Sep - 30 Nov 2018
Private view | 27 Sep
Studio 3 gallery, School of Arts, Jarman building, University of Kent, UK
Canterbury, CT2 7UG

"Beyond the Barricade" exhibition will be hosted by Studio 3 Gallery (University of Kent, Canterbury) between 28 September – December 2018.

By documenting past upheavals and recent events, the exhibition aims to present artistic creation as a form of social and political action.
‘Barricade’ originates from the French ‘barrique’ (barrel) and denotes a physical barrier designed to resist, obstruct or protect. The first barricade as an expression of socio-political turmoil is usually traced back to 16th century France and was largely employed during the 19th century revolutionary events. Nowadays barricades take many forms and shapes but remain essential elements of protests and revolutions.

*The Waterloo 200 Project.
▪️The exhibition, Beyond the Barricade is as part of the nationally funded Waterloo 200 project which looks at the Age of Revolutions.Waterloo 200 is your guide to the Waterloo Bicentenary in 2015 and the period of revolution in Europe between the French revolution in 1789 and the European revolutions of 1848 that spread across France, Germany, Italy and the Austrian Empire.
 

[After Eden ] - Herrick Gallery, 93 Piccadilly, London, W1J 7NQ,

16 - 28 April 2018

Private View : Tuesday6pm, 17th April

RSVP: sales@mehtabellprojects.com

"The mind is its own place, and in itself can make a heaven of hell, a hell of heaven"

- Paradise Lost, John Milton, 1667

'After Eden' celebrates the diversity and richness of the natural world and hints at its fate and potential decline at the hands of man.  Mehta Bell Projects are pleased to present a carefully curated collection of artists that explore these concepts, investigating the complex relationship between man and nature and the potential consequences of the human pursuit for knowledge and power.  'After Eden' uses the fall of man after his banishment from paradise, as a starting point for a broader discussion about the state of the world we live in today.

Artists Orlanda Broom and Kristjana Williams create immersive compositions of lush vegetation and exotic flora and fauna, capturing in both paint and hand-cut paper the alluring power and joy of nature.  Williams’ use of Victorian cartography depicts an intricately carved map of the world, thriving with plants, flowers and exotic animals.  Amongst this dense landscape the roaming flamingos, insects, leopards and birds are competing for the land and are pushed to the edges of the frame, suggestive of man’s encroachment on the landscape and the threat to the animals’ natural habitat.  With issues of over development, logging, human overpopulation etc, humanity’s excessive consumption is having potentially catastrophic consequences to our planet.  How much longer until these creatures are out of the picture completely?  Furthering this idea are the monumental watercolours by Thai artist Tawan Wattuya who deftly illustrates a leopard with this delicate medium and minimal brushstrokes, emphasising the leopard’s majesty and yet hinting at its fleeting and endangered presence.  Lauren Baker’s red deer skull is a poignant and stark pause for reflection; captivatingly painted in vibrant colours, it provides a ‘memento mori’ highlighting nature’s transience and its threat at the hands of man.  It manifests connotations of a hunting trophy and man's mistreatment of animals as recreational or ornamental objects at our disposal.  Jane Ward manipulates digital photographs by dissolving the ink by hand, leaving traces of previous forms, implying man’s manipulation of the landscape and suggestive of a sense of memory and the passage of time.   Her work is meticulously composed from fragmented images that are repeatedly broken down and collaged, creating imaginary land and cityscapes, hinting at an otherworldly Eden-like place, shattered and infinitely altered by time and humanity.

Central to the exhibition is the theme of the consequential fallout as a result of human actions.  This is perhaps best illustrated through the character of Eve, who was punished for introducing original sin to the world, although she was duped by the evil serpent.  It is her defiance and quest for knowledge that are largely held responsible for the fall of Eden, and so through her representation we discuss the role of humankind in the condition of the world today.   Nick Archer depicts Eve as an innocent young girl in his lusciously painted ‘Eden’. She innocuously wanders through a verdant landscape, however, the deep, foreboding sky envelops the figure, and she is almost swallowed up by the triffid-like flowers and vegetation.  Amongst this beautiful otherworldly scene, seductively flecked with gold-dust, the viewer is aware of an impending sense of doom, conscious of the devious serpent lurking in the depths of Eden and his inevitable encounter with the unsuspecting Eve.  This raises questions of how intentional the harm caused to earth has been by man, whilst also being suggestive of how apprehensive we are as a society of our advancements and their ramifications.  The symbol of Eve is further explored in the work of Marc Quinn, as he presents the hallucinatory face of Kate Moss, arguably the archetype of modern beauty, endowed with a reverential and goddess-like quality, evocative of Eve as the first woman and “the mother of all the living”.  Her beauty which captivated Adam, and eventually contributed to the fall of Eden, is implicitly explored in the enchanting photographs by Anouska Beckwith, where a beautiful girl’s hair is carried by birds – an ‘earth mother’ interpretation of the figure of Eve.  In ‘Aura’ a female nude lies across a rocky landscape, surrounded by a halo-like form surrounding her body, created with meticulously sewn embroidery thread through the actual photograph.  However, the figure’s pose and stark nudity suggest submissiveness and possible surrender, a resignation of her fate and the consequences of her actions in Eden. Kamolpan Chotvichai’s photograph of the female form embodies the notion of female desirability and sexuality that was prevalent throughout the story of Eden.  Her photograph of the female figure is printed on canvas, and then shredded away with fine strips of the canvas suspended from the picture plane. Striking in its ‘V’ shaped composition with the female's legs suggestively parted; this work alludes to the female form and its sexuality, a factor that Adam and Eve became shamefully aware of after their loss of innocence.  The implications of physically shredding away the female form remind us of the curse of physical pain in childbirth that Eve is given from God as a results of her actions, and broadly asks the question of whether there is always a price to pay for man's crusade for advancement.  The depiction of nature and desire is surreally captured in Taiwanese artist Ting Cheng’s quirky installation, incorporating photographs and a neon work.  These four works touch on issues of religion, nature and sexuality.  The neon piece ‘I am your F(o)l(l)ower’ poses the question: is Eve a subservient follower of man, or is she the flower, empowered by her prowess, beauty and ability to procreate?  This work hints at the subtle power play between man and woman that echoes the Genesis narrative. 

The idea of the inevitable downfall of paradise is subtly explored in the works of Peihang Huang.  Frequently inspired by images from the media, the artist seduces the viewer with rich swirls of vibrant oil paint, in a vivid colour palette that belie the darker subject matter she depicts.  In ‘The Boy’s’ we see the abstracted and blurred outline of a young child, depicted in a flurry of dynamic brushstrokes and streaks of colour that suggest a hazy recollection of a memory or image.  On closer inspection this familiar image presents itself – derived from the heart-wrenching photograph that flooded the news in 2016 of the Syrian boy pulled from the rubble in the aftermath of an airstrike.  Syria, once a flourishing country and nostalgically considered a paradise, is all but destroyed through the act of war.  Man’s destruction of itself and not only nature through his hungry pursuit of power, is evocatively portrayed in this emotionally charged work.  If man continues in this vein what will remain of our world?  In the surreal and intimate paintings by Tom Shedden, a strange and hybrid version of paradise is depicted. In 'Adrift' a human skull dominates a scene of tropical paradise, evocative of the inevitably dark cost of man's colonisation.  In 'Armadillo' snow falls over armadillos hanging from palm trees.  This disorientating scene once again contains opposing elements that are ambiguous and hint at a sense that something is not quite right. At the centre of this composition we see a baffled man who looks up in bewilderment at what he has engendered.  Benjamin Thomas Taylor presents us with a painting-by-numbers depiction of the word 'Happiness', ironically juxtaposed against the background of a picture-perfect green landscape.  His work suggests atonement as we try to compensate for what we have now lost.  Are we paying the price for man’s insatiable quest for natural resources, globalisation, the destruction of the natural world in the pursuit of happiness?  By now having to 'paint by numbers' to create an artificial version of paradise, have we lost the very soul of our world? It suggests a regret as we try to fill the void through a simulation of paradise, when it was there right in front of us all along.

‘After Eden’ encourages a dialogue on the potential hazards and misgivings of the world we live in, and investigates the consequences of our actions in these deeply troubled times.  On a voyage through the exuberance of nature and its infectious energy, these works also pose a valuable reminder of the temptations and risks that are ever present and ask that we be mindful that paradise can be lost.

Artist:

Nick Archer

Lauren Baker

Anouska Beckwith

Orlanda Broom

Ting Cheng

Kamolpan Chotvichai 

Peihang Huang

Marc Quinn

Tom Shedden

Benjamin Thomas Taylor

Jane Ward

Tawan Wattuya 

Kristjana Williams

https://www.mehtabellprojects.com/copy-of-liu-bolin-1

Catalogue/RSVP:  sales@mehtabellprojects.com

Women Artists 1 st  International Biennial of Macao

Mulheres Artistas 1ª Bienal Internacional de Macau

第一屆國際女藝術家澳門雙年展

2018-03-09 - 2018-05-13  3rd Floor 三樓專題展覽廳
 

http://www.mam.gov.mo/c/index
 

Jointly organised by the Macao Museum of Art (MAM), under the auspices of the Cultural Affairs Bureau, and Albergue SCM, the exhibition “Women Artists – 1st International Biennial of Macao” features 142 works from the 1970’s up to present created by 132 women artists from 23 countries and regions, including paintings, silkscreen printings, drawings, sculptures, installations and videos, among others. This exhibition aims to enhance the reputation of contemporary female artists and show the impact of their creative works on society and culture, as well as reveal the diverse roles of female identity, the multiple interpretations of women and artistic practices that transcend gender differences.

The opening ceremony of the biennial will be held on Thursday, 8 March, at 6:30pm, on the 3rdfloor of the MAM and is open to the general public.

Women artists from Mainland China, Macao, Hong Kong, Taiwan, South Korea, Japan, East Timor, Russia, India, Iran, Angola, Guinea-Bissau, Sao Tome and Principe, Cape Verde, Portugal, Spain, United Kingdom, Georgia, Brazil, United States and Australia, among other countries and regions, were invited to participate in this biennial, which also includes works by female artists from the MAM’s collection. These artists are from different generations, regions and cultural backgrounds, their personal feelings and creativity are different, and their works will show the public the unique female art world.

The exhibition “Women Artists – 1st International Biennial of Macao” is open until 13 May 2018. The Macao Museum of Art, located at Avenida Xian Xing Hai, NAPE, is open daily from 10am to 7pm (no admission after 6:30pm), including on public holidays and closes on Mondays. Admission is free. For more information, please visit the MAM website at http://www.MAM.gov.mo. For enquiries, please contact MAM through tel. no. 8791 9814 during the opening hours.

Macao Museum of Art

Address: Av. Xian Xing Hai, Macao

Tel: (853) 8791 9814

E-mail: MAM@icm.gov.mo

’Past & Present‘ Peihang Huang Solo Exhibition

START Art Fair/ Saatchi Gallery

Peihang Huang’s background as a migrant in the UK and her family’s history of diaspora, has led her to develop a body of work that examines the relationship between culture, society and the media.

In her recent work from her latest collection “Past & Present”, she focuses on challenging our perception of reality by exploring the hidden relationships between the visual documents of the human experience.

Her color palette has a strong east-Asian influence, provoked by internet subculture. Starting with collages of photographs gleaned from historical sources and everyday media, in this case, Google images from Chinese civil war, contemporary forced migrations and random daily life holiday elements, Peihang looks for the subtle associations that persist through time and space with a sense of humor. She recreates a world that is both familiar and yet at odds with our experience, questioning our relationship to history and how our perceptions are constructed.

Last year Peihang Huang was invited to the “Future Island-Start Art Fair Project, 2016 ” at the Saatchi Gallery. This lead her to the “The Future and Potential of Taiwanese & Japanese Contemporary Painting, 2016” in the Museum of Tokyo University of Arts in Japan, which is part of the “The Spotlight Taiwan Project, 2016”, sponsored by the Ministry of Culture Taiwan.

“Future Island-Start Art Fair Project” was commissioned by START Art Fair as part of their program; exhibited in the vast space, Gallery 10, at the Saatchi Gallery.

Peihang Huang’s large-scale triptych painting “Candy House” was one of the most memorable works in START; and she joined a successful panel discussion lead by the fair director Niru Ratnam, accompanied by Hsiao-chi Tsai and Jag Mehta, one half of the Mehta Bell Projects curatorial partnership.  This fascinating discussion gave insight into the artists' practices, the cultural context of this compelling region, and the influences and experiences contemporary Taiwanese artists encounter today.

About JingLu Gallery
 

Founded by Yao Liu and Ching-Ju Cheng in 2014, Jing-Lü Gallery is located in the heart of Taipei, Taiwan.

The gallery is dedicated to establishing the careers of local emerging artists, exhibiting those whose works reflect new and innovative developments in contemporary art, focusing on themes specific to Taiwan, Hong Kong, China, Japan and South-East Asia.

With Wen-Tsao Lin and Patrice Chou as Artistic Director and Curator, respectively, the gallery is both engaged with local communities, and international artists, scholars and curators, bringing emerging artists to Asia under our International Exchange Program.

The fourth edition of START runs 14-17 September 2017. The fair is held at the Saatchi Gallery in the Duke of York HQ building on King's Road in Chelsea, London.

VIP Preview 13th September 15:00-20:00 (By Invitation Only)

Thursday 14th September 11:00 - 18:00 Public Opening

Friday 15th September 11:00 - 18:00 Public Opening

Saturday 16th September 11:00 - 18:00 Public Opening

Sunday 17th September 11:00 - 17:00 Public Opening

http://startartfair.com/visitors

童年的逆襲 Childhood Memories Collapsed

The Pier-2 Art Center /Kaosiung, Taiwan

Time: 2017-09-09~2017-11-26

Open: Mon to Thu: 10.00-18.00 Fri to Sun/National Holidays: 10.00-20.00

               週一至週四 10am-6pm；週五至週日及國定假日 10am-8pm

Location: The Pier-2 Art Center - Dayong C5

                駁二倉庫 藝術特區大勇C5倉庫

售票資訊: 憑票入場 | 單人當日進場149元，年齡12歲以下或身高150公分以下之幼童，與持身心障礙手冊及必要陪同者，請出示相關證明文件正本，得免票進場。詳情請洽C5、C7-2、B8、駁二哨船頭售票點。

If, today, in the 21st century, deep in every heart dwelled a princess or a hero, what would they be like?

Push open the door of childhood memories to find fairy tales one simply never getting tired of re- reading; cartoons one never ever getting bored of watching, which are sweet recollections of a child; Princess Dismay always being able to win the love of Prince Charming, and common people persecuted by evil forces always being able to get rescued by heroes, never failing. Images of princesses and superheroes are superb, whose inspiring and diehard attitude have burnt into the imaginations and longings for this world in childhood.

We children, however, are meant to grow up. The truth will only emerge when sugar coatings of reality are peeled off layer after layer. Outdated princess syndromes and hero dreams gradually impact on people’s childhood memories.

Most of today’s well-known stories are from Grimm's Fairy Tales, which is a collection of folktales, myths, and legends first published in 1812 by the Grimm brothers, Jacob and Wilhelm. Because the original stories were too controversial for people to accept, the two brothers kept revising, re-editing and toning down the parts not regarded as suitable for children. However, its important value of its touch with social realities and exploration of humanity was deprived at the same time.

The exhibition, “Childhood Memories Collapsed”, will be inviting 8 contemporary artists in Taiwan, through their artwork, to explore modern versions of well- known fairy tales and superheroes in real life.
To tear down the illusion of perfection in the hope of bringing out hidden truths. A counterattack is a force to recover lost ground. While we believe that every story has a happy ending, how will realities counterattack?

Artists: Angela Chen、林慶芳Lin Ching-Fong、游孟書You Meng-Shu、黃瑞貞Huang Jui-Chen、黃沛涵Huang Pei-Hang、黃鈺軒Huang Yu-Hsuan、陳傑強TAN KENT KEONG、張凱翔Chang Kai-Hsiang

如果說，每個人內心都住著一位公主或英雄，21世紀的今天，他們究竟會是什麼模樣?

推開童年記憶的那扇門，百聽不厭的童話故事和百看不厭的卡通影片是孩時歡樂回憶，受人陷害的公主總會贏得王子的深情，被邪惡勢力脅迫的市井小民總能等到英雄相救。公主與英雄的形象是美好的，激勵人心和永不放棄的態度，深深地烙印在小時候對這個世界的想像與憧憬。如果說，每個人內心都住著一位公主或英雄，21世紀的今天，他們究竟會是什麼模樣?

推開童年記憶的那扇門，百聽不厭的童話故事和百看不厭的卡通影片是孩時歡樂回憶，受人陷害的公主總會贏得王子的深情，被邪惡勢力脅迫的市井小民總能等到英雄相救。公主與英雄的形象是美好的，激勵人心和永不放棄的態度，深深地烙印在小時候對這個世界的想像與憧憬。

然而，小時候的我們終究會成長，當真實社會一層層剝掉世界的美麗糖衣，現實才真正的顯露出來，不合時宜的公主病與英雄夢，正一步一步衝擊人們的童年回憶。

今天我們耳熟能詳的童話故事多源自《格林童話》，由19世紀德國格林兄弟搜羅民間文學與神話故事而成，但因為原版內容過於爭議不為人們接受，於是兩兄弟將兒童不宜的內容編修潤飾，卻也掩蓋了故事最初記錄社會現實與人性探討的重要價值。

「童年的逆襲」一展邀請8位台灣當代藝術家，藉由藝術創作的詮釋，探討童話故事與英雄人物在現實生活中的嶄新樣貌，針對過度美好的假象進行深刻拆解，試圖把隱藏的真相揭露出來。逆襲是一種反擊的力量，當我們深信所有故事都有美好結局的期待，現實又會如何向我們反撲?

參展藝術家: Angela Chen、林慶芳Lin Ching-Fong、游孟書You Meng-Shu、黃瑞貞Huang Jui-Chen、黃沛涵Huang Pei-Hang、黃鈺軒Huang Yu-Hsuan、陳傑強TAN KENT KEONG、張凱翔Chang Kai-Hsiang

主辦單位:高雄市政府文化局 駁二當代館
協辦單位:靜慮藝術

More information:

CHINESE: http://pier-2.khcc.gov.tw/home02.aspx?ID=%243001&IDK=2&EXEC=D&DATA=3801&AP=%243001_HISTORY-0

ENGLISH: http://pier-2.khcc.gov.tw/eng/home02.aspx?ID=$3001&IDK=2&EXEC=D&DATA=2179&AP=$3001_HISTORY-0

The Future and Potential of TAIWANESE & Japanese Contemporary

Painting [The Spotlight Taiwan Project 2016] 

台湾・日本芸術文化交流事業

（2016 年台湾文化光点計画

The Future and Potential of TAIWANESE & Japanese Contemporary Painting

[The Spotlight Taiwan Project 2016] -Sponsored by Ministry of Culture Taiwan

台湾・日本芸術文化交流事業 （台湾文化光点計画） 2016 年
■展覧会名： 台湾・日本・現代絵画の未来と可能性
■展示会場： 東京藝術大学大学美術館陳列館
■会 期： 2016 年 10 月 15 日（土）～10 月 25 日（火） 計 11 日間〈予定〉
■開館時間： 10:00～17:00（入館は 16:30 まで） ■休館日： 無休
■入場料： 無料
■展示ジャンル： 平面絵画

■The Future Possibility Contemporary Painting of Taiwan & Japan

■Museum of Tokyo University of Arts. Symposium

■15th October 2016- 25th October 2016

■ 10:00～17:00 (Last entry 16:30)  ■ Open on Sunday/Saturday

■Free Entrance

http://www.geidai.ac.jp/english/

Yellow Brick Road 100x100cm 2016

Future Island -Start Art Fair/ Saatchi Gallery-Gallery10- 14-18th September

Future Island captures the forward-thinking and unique identity of the vibrant contemporary art scene in Taiwan.  Each artist investigates notions of identity, environment and the unique position of Taiwan in a contemporary context.  These artists seek to create an independent and striking visual language that communicates their sense of self, and engages with the social and political influences and traditions that have infiltrated their culture.  Whilst Future Island features some already well-established artists from the region, true to START's ethos of "Emerging Artists and New Art Scenes", 

Future Island also highlights talent yet to be discovered from this fresh art scene, allowing savvy collectors the chance to catch these rising stars, as they embark on their rich careers.

Especially commissioned by START art fair as part of their program of Special Projects Future Island will dominate the entire Gallery 10 in the immaculate Saatchi Gallery.  Mehta Bell Projects are delighted to make a return to the art fair with this unique exhibition, alongside Future Island we will be hosting an engaging panel discussion.  Director Wang of the Taiwanese Ministry of Culture will inaugurate the panel discussion which will be lead by Fair director Niru Ratnam. He will engage in a discourse surrounding this exciting art scene, accompanied by artists Peihang Huang and Hsiao-chi Tsai and Jag Mehta, one half of the Mehta Bell Projects curatorial partnership.  This fascinating discussion will give an insight into the artists' practices, the cultural context of this compelling region, and the influences and experiences contemporary Taiwanese artists encounter today.

Future Island 15th - 18th  September                                                  

Private View 14th September  by invitation only                                                            

Panel Discussion 15th September 4 - 6pm  RSVP essential

Gallery 10, Saatchi Gallery, Duke of York's HQ, King's Rd, London, SW3 4RY

http://www.mehtabellprojects.com/#!future-island-start-art-fair/ckgbx

RSVP: info@mehtabellprojects.com

[UN]REAL  -Solo Exhibition by Peihang Huang

April-May 2016

 

Private View: 6:30-8:30, 7th April 2016

(RSVP for PV required,  please contact to guarantee your entrance..)

Grace Belgravia (Private Membership Club)  London

11c West Halkin Street, Knightsbridge SW1X 8JL

Organized by Mehtabell Projects

To suffer is one thing; another thing is living with the photographed images of suffering, which does not necessarily strengthen conscience and the ability to be compassionate.  It can also corrupt them.  Once one has seen such images, one has started down the road of seeing more – and more.  Images transfix.  Images anaesthetize.”

Susan Sontag, ‘On Photography’, 1979

At first glance, Taiwanese painter Peihang Huang’s paintings are enchanting and irresistible, with their swathes of rich oil paint, dynamic brushstrokes and pastel hues.  Upon closer inspection, darker elements surface; an aeroplane fractured in two, the devastation of an earthquake or avalanche, scenes from a refugee camp.  Huang’s practice consists of the multiple aspects of her imagination, her perception of reality through media images and the physical process of painting.  She references familiar and often iconic images from the mass media and weaves these events or incidents into an imagined painterly scene, reflecting the artist’s parallel universe and her re-visioned reality.  Huang filters the images through her own imagination, perhaps as a way of processing the negative aspects of human nature, or to digest life’s harsh realities.  The world she creates hovers between a visionary realm, the unreal, and a fragmented interpretation of the modern world.  The paintings are dream-like, almost hallucinatory, highlighting the beauty and joy of the visual experience, yet the viewer is not able to escape the sinister undertones of the image’s origins.  The overall effect is a dichotomy between a seductive and an apocalyptic representation of the world we inhabit and how we respond to the crises and adversities of life in the 21st century. 

RSVP: info@mehtabellprojects.com(Melissa)

 nickiemai@true-art-collaboration.com (Nickie)

More info: http://www.mehtabellprojects.com/#!peihang-huang-1/inlc2