Ten artists are invited to take part in the Measurement of the Other — Contemporary Art from Taiwan, including Yang Mao-Lin, Lee Ming-Tse, Tao Ya-Lun, Lai Chiu-Chen, Chen Ching-Yao, Wu Chi-Tsung, Chu Chun-Teng, Fan Yang-Tsung, Chen Wan-Jen, Chen Ching-Yuan. Except Chu Chun-Teng who is now studying at Goldsmiths College for over one year, they are native artists born, brought up, studying, living and working in Taiwan, with their age between 26 years old and 57 years old, and the media for their creation including painting, sculpture, photography, video, computer graphics, digital video production, mechanical dynamics and devices. They are expecting to take this rare opportunity to demonstrate a variety of characteristics of the contemporary art from Taiwan rater completely and in a diversified way from the aspects of generations, creative ideas and contexts, to do the accumulative basic work well for future long-term exchanges of contemporary art between Mainland China and Taiwan.

The opening exhibition includes works by 31 internationally renowned artists. These come not only from the Soka Art Collection but also from artists invited to participate in the exhibition by the curators. The exhibition theme “High in the Clouds” comes from the recently popular technological idea of “Cloud Computing,” signifying the hopes and expectations that still very much motivate Soka Art as it fast approaches its twentieth birthday.

The pop icon images are tired and Warhol’s time capsules have had their fifteen minutes of fame. These boxes reek of stale superstardom, copies of copies that once shook institutions. These are a rehash, if not a reboot. Against all odds, we are taken back to where it all started, the 16th century European development that is the Wunderkummer - the cabinet of curiosities. These artist’s cabinets of curiosities - fragments of a culture he has lived in and within - consist of plaster casts of idiot boxes and soda bottles, and copies of popular culture at their kitschiest, packed together tight under the guiding principle of a personal aesthetic. In between the public spectacles are ritual boxes full of thingamajigs - from amulets, to feathers, to rice grain and dried up bladder, to betel nut - used for rituals of the Northern tribes of the Philippines.

Suzhou Art College, founded in September 1922, is one of the oldest art schools. It was founded by Suzhou painters Yan Wenliang, Hu Zhongzhong and Zhu Shijie. It is known as the "Three Masters of Surging waves".Yan Wen-liang, founder and principal, was born in 1893 and died in 1988 at the age of 95.During his stay in China, he purchased a large number of nearly 500 plaster models of famous sculptures.At that time, the school was in the society with strong feudal ideology in Suzhou, which was the first precedent for male and female students, which was a great event in the early 1920s...

In this exhibition Mythical Roots, Tapaya ventures as a bard, part Carlos Francisco, part Brenda Fajardo, that remembers and recounts the myths of creation: the great flood, the first woman, the primordial fire, the genesis of the banana plant, and other foundational fictions of the universe. And what makes Tapaya's work important and valuable is a certain flair in speaking to a folk aesthetic, which is not to be mistaken for a forced provincial, vernacular style. It might be part of his own humble sensibility, a particular homespun attitude toward the everyday life of his milieu as can be gleaned in a previous series.