Generally, a new generation of young artists that shows superb technique boasts a range of stunning academy backgrounds. Yet, the few who are truly outstanding are able to maintain a sense of self-integrity and remain true to themselves. Zhao Bo and Xun Guipin indeed fall under this category of artists. With a sense of sorrow, Zhao Bo reads many books and contemplates many things. However, similar to Schophenhauer’s extreme pessimism as well as the notion of “when things reach an extreme, they can only move in the opposite direction” in Chinese philosophy, the ultimate sadness is also the expression of a boundless love for life and living. In contrast, Xun Guipin offers a more sunny personality, perhaps because the influences of social change have been comparably weaker in Yunnan than elsewhere. Or, perhaps he lives relatively closer to the countryside, so that he is able to maintain a more simplistic and content attitude.

NATURE: Hong Ling derives its name from Laozi’s Tao Te Ching: “Man follows the laws of the Earth, the Earth follows the laws of Heaven, Heaven follows the laws of Tao, Tao follows the laws of Nature.” This notion echoes the unique language of Hong Ling which combines realizations about nature with the art of painting. Since the Song Dynasty, China has been seeking the harmony between heaven and man emphasized in the teachings of Confucianism, Buddhism and Taoism. This led to notions of a harmonic existence amongst man, nature, and society in which there would be care for nature.

Co-curated by YungLin Wang and Po-Wei Wang, Mental-logue/Monster-logue will feature the latest works by Sung-Chih Chen, Kuo I-Chen, Lin Guan-Ming, Chu Chun-Teng, and HsienYu Cheng at SOKA Art Center Taipei. As stated in the discussion on Mental-logue/Monster-logue - “The core interest of this exhibition lies in exploring methods for transmitting aspects of humanity and spirituality through modern artistic expressions. Through machines and imagination, artists endow a perspective from which to view the various experiences of life and the anxieties associated with this era.” The curators and artists set suitable artworks for every corner of the exhibition, in essence, placing “sense datum” in direct contact with the viewers.