Steven Balogh -Loaded Roses

Steven Balogh, Loaded Roses, 2018. acrylic on canvas, 5'4" X 18 ' Loaded Roses，Loaded with dreams, love, fragrance, hopes, expectations, a broken beauty, and even death.

Rewoven- Part III Video @ Los Sure - with text and Yuhan Music

《背離親緣》作者安德魯．所羅門 致台灣讀者──

GTM Video 05232017 1080p

2017 04 21 17 34 33 Full Video

Rewoven-III @ El Museo de Los Sures

Rewoven New York 紐約再織

REWOVEN - New York

by Luchia Meihua Lee

 “Our problems stem from our acceptance of this filthy, rotten system.”                                                                                                           ---Dorothy Day

The seven artists in Rewoven Part III at El Museo de Los Sures all live and work in New York City. These artists personally watch and experience the direct impact of the political chaos emanating from the authority center; the White House desk has been switched to a golf course. Curator Luchia Meihua Lee said “artists regenerate a parameter of relationship between individual and society, symbolically exposing endless exhausted whirlpools with revels into sarcastic dialogue.” In Rewoven, powerful questions adumbrate crisis; these views expand connectivity and reach globally.

 In ChinChih Yang’s Mathematics of Light, he reflects as curator Lee puts it, on “the current sickness of society” by depicting a chaos of desire, confusion, pollution, and cupidity in the small video under a thicket of shiny metallic ribbons cut from discarded beverage cans. Steven Balogh escaped from communist territory only to find himself behind the barbed wire- topped walls of a concentration camp, and now resides in New York. His piece Peacock in trap reflecting on the political scene, is especially relevant today with a golf aficionado in the White House. Money Windfall with its green hurricanes perhaps refers to the obscene profits on Wall Street that result from mindless paper chases.

 

The womb-like chair made by Catherine Lan is an exotic shelter from the storm; covered with artificial fur, this chair is equipped with flashing neon lights and with the recorded sounds of a baby. This fake shelter has been placed in the front porch of the Museo de Los Sures gallery space, in contrast with a background of old peering paint mural of two Los Sures heroes. Williamsburg, like many artist areas, has been attractive to developers, and Los Sures has been fighting the unwanted effects of gentrification there. Mingjer Kuo’s Suburban Form from reviews the over developed land transformed into beautiful shining plastic chips, and originates with an aerial view of the repeating shape of suburban housing. A symbolic mapping of urban public transportation is shown in Atlas by Poyen Wang, where he makes unnatural abstract landscape from subway advertisements. Lulu Meng’s Model discusses the relationship of self to society. Her other wall installation is an artist diary which directly illustrates life as an artist in NYC, fighting for survival and to express her dream. Taking matters to a global level, Hiroshi Jashiki powerfully suggests a melting iceberg indicative of a dangerous water crisis facing NYC and the world.

New York artists for Rewoven- part III were selected by curator Luchia Meihua Lee. Their works naturally formulate laws to redefine and reshape “fiber art” ideas, practice, and content. With different contents at each of its three venues.

 再織-紐約

「我們的問題來自於我們接受這個骯髒的﹑腐爛的系統」。-- 多蘿茜.迪 

這七位藝術家都居住在紐約市，以自己在美國的社會體驗與觀察中，試圖找出個人與社會之間的平衡關係, 在他們的作品看到了政治權力中心所暴露出的混亂與現實﹑疲憊無止盡的金錢漩渦﹑到過度的房地產操作﹑還有被忽略的環境污染地球暖化的危機，這些紐約展出的作品表現觀點事實上也是全球災難的縮影，而這些諷刺的對話與也將尋求回歸到子宮般的庇護所中恢復與蘇醒。

藝術家史蒂文·巴洛克（Steven Balogh）從共產主義領土逃脫到了美國，發現自己還只能在集中營的鐵絲網牆壁後面掙扎；他的作品「孔雀陷阱」反映政治舞台的游戲，當白宮談判桌已經轉向高爾夫球場之際，高爾夫球杆被藝術家隨意擺置有如美麗的孔雀毛被陷在牢籠中；還有如龍捲風漩渦的綠色繁複綫條的繪畫作品主題爲「金錢風暴」，指向了華爾街的貪婪利益凸顯無意識的紙張追逐。

 

在楊金池的「數學光」作品，通過飲料罐剪出的閃亮金屬絲帶下的小視頻中描繪了「現在的社會病態」，包括了快速轉換的恐怖﹑暴力﹑戰爭﹑慾望﹑淫穢﹑污染和諷刺混亂的影像交錯；

藍巧茹子宮般的座椅「庇護所」是一座充滿風情的避風港，她用人造毛皮包住了這把椅子並圍繞著閃閃發光的霓虹燈，背景加上嬰兒的聲音與放鬆的音樂；這個假的「庇護所」被放置在Los Sures畫廊空間的狹窄前院中，對照著Los Sure創始人斑駁掉落的油漆壁畫背景；像許多藝術家開啓商機然後被趕出的地區一樣，威廉斯堡的波西米氣質一直對房地產開發商具有莫大吸引力，而HDFC-Los Sures這個機構一直在威廉斯堡奮戰區域的高檔化。郭明哲的「郊區形式」，從美麗的閃亮塑料芯片上觀看過度發展的土地轉型，以及重複的社區房屋形狀的空鳥瞰景觀。

另一件錄像作品看起來像是像個抽象的自然景觀緩慢不被察覺的的移動著，Atlas這個圖像是由王博彥取自紐約地鐵，再加以轉化表現出來似地球或是外星球表層的一種不自然的地理景緻。此外，Jashiki Hiroshi謝敷 宏的「水」在看似冰山融解潮流動在優雅的布面水紋中蘊釀著强勁的大瀑布墜落來臨，或是海嘯危機的接近感。孟祥璐的「模特兒」在社會制約與個人之間穿透一種尷尬的流動關係，她的另一個牆壁安裝作品，用綫條拉出的藝術家的日記，鏈接了網路的虛擬世界，直接標示了藝術家在城市的戰鬥生活，每日在工作室和其他各類型的兼職工作環境倖存的逐夢中逐夢。

布魯克林的南威廉斯堡美術館(El Museo De Los Sures，Williamsburg，Brooklyn.)是由以追求住房公平公義爲訴求的機構HDFC-Los Sures，所設立的社區小型藝術場地。

地點：EL Museo de Los Sures,

Opening reception: Thursday April 20, 6-8pm

April 20 - June 30, 2017

參展藝術家Artists : Steven Balogh 史蒂芬.巴洛, Hiroshi Jashiki 謝敷 宏, Ming Jer Kuo 郭明哲, Catherine Lan藍巧茹, Lulu Meng 孟祥璐, Poyen Wang 王博彥, Chin Chih YANG 楊金池.

Event Register

Light Year 24: Passenger Moments

Dumbo Is: Dumbo.is/hosting/light-year-24/

Queens Times: Queens Times article-Video Exhibition on the Manhattan Bridge Anchorage

World Journal: World Journal- New York and Berlin

Ming Pao daily: Ming Pao Daily- Manhattan Bridge Public Art

DW News: DW News-Light Year 24: Passenger Moments

My Brooklyn Calendar: my brooklyn calendar

Art In Dumbo: Art in Dumbo

Light Year24

Passenger Moments

Curator: Luchia Meihua Lee

The April 2017 version of the New York Festival of Light is entitled Passenger Moment, a title which designates reacting to a system of thought that is based on life. As humans, we are confronted with a transitory existence that is relative to the world when we arrived. Included in this exhibit are five artists who use their personal experiences in life to expand the relationship between themselves and their subjects, and furthermore to express their concerns about the surroundings. This presentation is not to celebrate the beauty of nature or to praise the charming, romantic and magnificent. Instead of that, we investigate self and society.  Poyen Wang in A Fabricated Personal History took faces of stranger children and transferred them to familiar yet alien faces. In doing so, he addresses the assimilation period to the new land or the new world. All various color skins are also present in this multi-cultural city and in the Skin Deep project sketched by Rosalie Yu and Alon Chitayat, where a wide variety of human faces appear in the running video that been painted in different colors. The dripping lines and colors show its spontaneous drawing texture and a cold, lifeless face as urban residents pass by. After learning the various languages, the letters and venues in another way turn to familiar or unfamiliar ways to connect people universally, as decoded by Meng Chih Chiang’s A Stranger to Words that intertwines lines and mingles them with letters. The turning shape takes the viewer to an illuminated and illusionary world. In our materials world, we take pride in rapid high-tech development, ignoring the harmful effect on the environment and our very lives. Overused consumer goods turn to be undecomposed chemical elements that fly around in Jeremiah Teipen’s Ice Cubes Melting in a Plastic Cup. Also, the 30,000 beverage cans – the number used by the average American in a lifetime - that drop onto Chinchih Yang’s head in Kill Me or Change remind us of the astonishing quantities of waste that we have created and that are so deleterious to the earth, the planet which we only recently have come to see as fragile. This view project in this light year is without doctrine, but a beautiful, creative, abstract image that indicates us as strangers to this world.

Participating Artists and video titles (alphabetical by last name)

• ·        Meng Chih Chiang: A Stranger to Words
• ·        Jeremiah Teipen: Ice Cubes Melting in a Plastic Cup
• ·        Poyen Wang: A Fabricated Personal History
• ·        Chinchih Yang: Kill Me or Change
• ·        Rosalie Yu and Alon Chitayat: Skin Deep

Meng Chih Chiang

A Stranger to Words, 2013-2017

HD projection, with color and sound, running time 4 minutes 51 seconds

Technical support: Yu-Cheng Lin, Alice Chen, Vick Hsieh Score. Composer: Tzu-Ho Lin

A Stranger to Words is a video based on a network graph created by Meng Chih Chiang to visualize her personal learning experience. Based on her daily reading report, a personal database of 23,358 words was created to express how she understood words. The complicated graph evolves a great diversity of transformations, creating a mesmerizing visual experience in which language and the line of connection work in unison. Its goal is to reveal a connecting system of underlying text algorithm in a novel and insightful way and to unfold personal sentiments through the capabilities of data visualization. As an English dyslexic, Meng Chih Chiang explores the relationship between language and people with language-based learning disabilities. By recording thousands of daily words for about one year, Chiang built a huge individual data set to make invisible reading progress visible and to reveal the novel perspectives of learning a second language in the experimental interface. Through this process Chiang realized that a tedious learning experience can become a source of inspiration. She wishes to transform the suffering of depression and frustration into a fantastic and imaginative production.  http://www.astrangertowords.com/

Meng Chih Chiang is a Taiwanese digital designer, data artist, and writer based in New York. Chiang was born in Pingtung, Taiwan, and earned her BFA in Visual Communication Design at National Taiwan Normal University. Upon graduating, Chiang was hired as a web designer at Medialand, one of the top digital design agencies in Taiwan. In 2013 she graduated from School of Visual Arts in New York and earned the Paula Rhodes Memorial Award for exceptional achievement in Computer Art. At the School of Visual Arts, Chiang concentrated on interactive art of interfaces, infographics, programming, and internet. Chiang’s artwork A Stranger to Words has won the Red Dot Award, Macao Design Biennial Award, The Lumen Prize, Adobe Design Achievement Award, and Google Chrome Experiments, and has been featured in exhibitions worldwide. Chiang continues her career as a creative designer and an interactive designer at American Express and Hi-Res! in New York. Meanwhile, she founded Mengdom Experimental Design Lab to keep exploring big data and new technologies in arts.

Jeremiah Teipen

Ice Cubes Melting in a Plastic Cup, 2015

HD video projection, color with sound, running time 5 minutes

http://www.teipen.com/jeremiah/

Ingesting information that is both highly compacted and immediate is fundamentally changing our perception. Our increased and accelerated access to information, which has alleviated the pain and boredom of the process of searching and gathering, has been replaced with a new distress, that of dealing with such a large amount of data and analyzing its quality. For this we develop new tools and technology that have such high organizational power that they pose a potential danger to eliminate the accidental and serendipitous. However, consuming information at high speed and from multiple points-of-view simultaneously allows us to perceive interconnectedness of diverse media and form creative misinterpretations (mutations) of singular elements as well as their interrelationships. By doing so, one can form new concepts that transcend the current limitations of the physical/virtual paradigm. The intersection of these concepts and spaces form a nexus that is the subject of much of Teipen’s work.

Born in Bloomington, Indiana, Jeremiah Teipen currently lives and works in Brooklyn. Teipen received an MFA from the School of Visual Arts and a BFA from Columbus College of Art & Design, has been the recipient of several awards including grants from the Asian Cultural Council, SIGGRAPH, Seoul Foundation of Arts & Culture and Arts Council Korea. He has exhibited his work in numerous exhibitions in the United States, Europe, and Asia.

Poyen Wang

 A Fabricated Personal History, 2017

Computer animation, color with sound, 2k, running time 4 minutes

In Poyen Wang’s project, A Fabricated Personal History, he examines the issues of identity and image authenticity in relation to digital technology by presenting a documentation of fake childhoods.

Wang collected footage of American home movies found on YouTube and recorded in the 1960s and 1970s and screen grabbed certain snapshot moments from these movies when the child in the video looks at the camera. Then he replaced the child’s face with his own at a similar age from family photos taken in Taiwan. The video borrows from algorithmic presentations like those employed by social media, replacing lived experiences with fabricated memories.

This series of manipulated childhood photos constructs an extensive personal archive, derived from collective memories circulated on the Internet. This questions our conceptions of reality and illustrates a digitization of identity. The uncanny atmosphere of the project's imagery suggests a sense of cultural rupture resulting from pressures to conform to American culture.

Born in 1987 in Taichung, Taiwan and based in New York, Poyen Wang is a conceptual media artist interested in experimental animation and video art. He focuses on time-based media that incorporate immersive installation with computer animation, using both still and moving images. His work has been shown at museums, galleries and film festivals nationally and internationally. Wang has a background in Graphic Design, received an MFA in New Media Art from Taipei National University of the Fine Arts in Taiwan, and is currently pursuing a second MFA in Computer Art through the School of Visual Arts in New York.

Chin Chih Yang

Kill Me or Change, 2012-1016

HD projection, color with sound, running time 5 minutes

Presented at the Queens Museum of Art New York 2012 & Museum of Contemporary Art, Taipei 2016

In Chin Chih Yang’s interactive performance art piece Kill Me Or Change, 30,000 aluminum cans—the average number of cans one person throws away over a lifetime—are contained in a mesh net suspended 30 feet above the ground from a crane. As the finale to each performance, the contents of the net are released onto Yang’s head, in a colorful and overwhelming display of aluminum waste. By showing, quite literally, the suffocating effects of one person’s personal polluting, Yang hopes this piece will serve as a call to action, and that audience members and the public at large will examine their habits of personal consumption. 

Yang was born in Taiwan, and has resided for many years in New York City, where he studied at Pratt Institute and Parsons School of Design. He has received many fellowships; the Lower Manhattan Cultural Council has granted him a Swing Space residency at Governors Island. Yang’s interests in ecology and constructed environments have resulted in interactive performances and installations in the United States, Poland, Taiwan, Singapore, and Hong Kong. His work incorporates the rhythms and discords of human society, correlating them with materials discarded by industrialized society. Finding the modern world both disturbing and entrancing, he aims to capture the complex state of anxiety and compulsive fascination specific to the contemplation of contemporary social problems. His performances often dramatize the divided quality of the self, and he uses video projections to create a discordant ambience.

Rosalie Yu & Alon Chitayat

Skin Deep, 2015

HD projection, body scanning, hand drawn textures, running time 5 minutes

Music by Aaron Arntz, T.K. Broderick, and Justin Peak

https://vimeo.com/114555862

Skin Deep is a series of collaborative self-portraits for which the body is treated as a canvas for 3D drawing. It is an exploration of a new kind of drawing format where the artists are 3D-scanned to produce a mesh of their bodies and texture maps of their skin from all angles. Skin Deep explores the core value of one’s self after peeling away layers of consciousness to reveal vulnerability, and how this transformation provides a new way of seeing.

Rosalie Yu is a visual designer, creative coder and maker. Her work draws inspiration from the fields of cognitive science, storytelling, art, and technology, and spans multiple artistic platforms including interactive installation, live performance and conceptual art.  She strives to incorporate narratives in her art in order to explore the connection of emerging 3D technologies to our daily lives and to bridge human and machine intelligence. Yu graduated from NYU’s Interactive Telecommunications Program.  She holds a BA in psychology and film from UCLA.

Alon Chitayat (Israel – US) is a digital artist and founder of Animishmish Creative Studio , which explores the intersection of video and interactivity. His artistic work has been exhibited at international venues, including ARS Electronica Festival (2010), Siggraph Festival (2011). Chitayat graduated from the Interactive Telecommunications Program, NYU. His research concentrates on the study of drawing as a means for interaction.

20170328_Taiwan artist installation view

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Rewoven exhibition will be held at QCC Art Gallery/CUNY 
 opening reception:March 30, 2017 5-8pm

Pieced together from fabric-like plaster components, the white bust of Poyen Wang's Construction of intimacy signifies his healing or acclimating to a new environment. For this piece, he smashed a 3D print sculpture to fragments then gradually sewed it back together to form a complete face. His work is less open to the outside world but more personal and profoundly investigates the self. Theatrically projecting light onto a resewn face casts up an iconographic great man, and alludes to a fake or self-content social situation. In the brave new land, fragility morphs into apparent dominance. A formidable stitch fabric book Atlas demonstrates both technique and manual expertise. The prototype of a landscape was captured from a painted wall in the New York City subway. Processing these images, he stitched together the fabric book by assembling digital pigment prints on silk fabric. These urban and nature landscape application to an unaware delaying motion video piece. The projection where the artist intended to project the contraction with the rush crowd nowadays we experience in the urban and his preferences.

 Poyen Wang, Construct Intimacy, 2016. 3D-Printing Digital Sculpture (Plaster, Threads, glue) Life Size (around 24 x 13 x 15.5 inch) Courtesy of the artist.