Jean Miotte 米奧特的亞洲遺憾--二度未成行

紀念法國藝術家 Jean Miotte 米奧特 （2016年3月 過世於法國南部）

Luchia Meihua Lee

Jean Miotte（1926-2016) 米奧特是80年代第一批在中國開放後進入展覽的藝術家之一，也在87年臺北國立歷史博物館展覽個展過。2012年抱著晚年再訪臺的期望，已準備再次到歷史博物館展覽，卻在各項審核完成後因身體健康狀態不佳無法成行，Miotte與Dorothea抱著理想在紐約雀兒喜成立美術館（Chelsea Art Museum)並夢想著有一日可以在頂樓蓋成望著哈德遜河的屋頂咖啡屋，然而美術館的理想不敵經濟衰頹及實際經營的困境而關閉，在晚年搬回法國。留下這輩子的遺憾！



Jean Miotte 米奧特的亞洲遺憾 - 二度未成行

By Luchia Meihua Lee

Background藝術家背景及繪畫風格   
Jean Miotte 米奧特( 1926出生於法國巴黎) 是50年後旅美的法國抽象藝術家, 為L'Art Informel的發起人之一. L'Art Informel的名詞是由法國評論家 Michel Tapié 所提出解釋”沒有形象”的藝術創作(without form); 相對否定於傳統形式, 這種繪畫風格在歐洲起源被稱為無形式主義 (L'Art Informel), 在美國這種形式後來被發展成為藝術史上重要的抽象表現主義(Abstract Expressionism), 或有人稱之為自動性藝術(Action Art). 。

Jean Miotte 米奧特的抽象創作表現色調帶有法國風, 然跨越歐美, 亞洲與非洲的的世界性藝術語彙。相較於中國或東方的抽象水墨藝術的輕柔與詩意與哲學性. Miottelu品體現出一種激情奔放, 真率的探索宇宙蒼穹下的線條與韻律性藝術。 他的作品主要被保存及研究於米奧特基金會Miotte Foundation。 Miotte 旅居紐約與巴黎兩地。 

他的藝術生涯始於第二次世界戰的十年後, 當非形像式的抽象主義在大西洋兩岸的當代藝術領域帶領風騷之際, 這時擁抱抽象主義不僅是一個風潮的事件, 而是文藝界價值觀及藝術範疇的改變。  事實上, 當時的政治及社會機構對抽象主義的貶抑造成了混亂, 抽象畫的趨向是藝術家創造了自己, 目前看起來似乎是在道德上的重要度已超越了當時政治及社會上實際的景象,  找尋當時領頭推動的藝術家有如 Shiraga Kasuo, Jean-Paul Riopelle, Emil Shumacher 以及 Miotte , 他們帶著藝術家個人的自由解放來表達了厚重彩色厚實的大筆觸的形式。. 如同Miotte的註解 :「我的畫是投射當創作發生時靈魂的張力與接替內在衝突的準確的時刻」 。

米奧的藝術創作受到舞台表演, 現代編舞,爵士音樂及芭蕾的影響, 而其中持續影響他的是芭蕾舞蹈, 1948年他在倫敦替Balanchine舞台設計,並得以欣賞芭蕾表演( Diaghilev  Ballet and Margot Fonteyn )  , 在接觸其他多樣的藝術形式中帶給他很深的啟發。 舞蹈是無聲的國際溝通語言, 透過表演去證明一切. Miotte 企圖透過他的繪畫去表達或實驗這種姿態及琢磨一種詩意的脈動, 如姿態性的繪畫(Gestural painting)    挑起一種日本武士與外科手術的手勢,但Miotte 的創意與柔性延伸的線條回應出一種現場舞動的藝術感,  當他開始作畫的時刻, 他成為修禪的射箭手, 他編輯每一個舞蹈筆觸, 他的油畫是個舞台, 當顏料躍起, 滴下的油彩對抗著地的吸引力, Miotte 實驗各式的繪畫媒材從油畫顏料,壓克力顏料 , 到膠彩 , 水墨, 蝕刻, 石版畫, 拼貼等, 他使用黑色顏料在白色或原始的畫面創作就如書法表現的主題般, 色彩範疇從原始色到泥土的色調出現, 評論家說他獨特之處是在無形式主義的藝術家群中他持續的成長抗拒重複性, 質疑他自己及形式的表現,  90 年代他開始創作大型油畫, 他在80年第一次亞洲展受到極大的好評,作品觸動觀者的內心情感, 在於留白的畫面與大筆觸的黑墨色揮灑和東方禪與道有了深刻的對話。

他抽象作品的厚重直接蘊含的力道, 自在灑筆觸, 與流動的繪畫型式,.呼應其後歐美抽象表現與東方書法與水墨有相互的意義。旅法抽象大師趙無極是他的同期舊識 ,美國抽象表現藝術家Franz Klein 有多次互動。他的個人展覽已超過400次, 作品在200以上的地區展出過。Miotte 現年85歲, 仍然不定期往返紐約、巴黎與瑞士工作室. 雖身體健康情況並不佳, 需特別看護, 然對於藝術創作熱勤不減, 當回答與敘述他的藝術創作時刻, 則整個人的能量蜂湧, 參與討論。

Illimité cosmique

1999， Acrylic on canvas

300 x 500 cm (118 1/8 x 196 7/8 in)

法國的藝術運動期,  整個歐洲與法國巴黎在一種振興物質與精神上頹廢的氛圍,  1944年輕的Miotte 在18 歲的年紀,所以得以去追求一種嵑然不同的現代前衛藝術展現. Miotte 的作品這時仍帶有隱約具像的形體,色彩則顯得灰黯,或是帶有幾何圖像的組合。1945存在主義瀰漫, 沙特(Sartre)的著名書籍出版,.象徵與物體仍然於兩級的辯證中, 在那個世代, 繪畫不僅是繪畫, 而是關於經驗與生活的展現, Miotte 發現自己進入以精神為導向的世界中, 他投入了戲劇舞台的設計, 也是他對藝術的第一個表白。他的作品也同時在進行另一種截 然不同的色彩線條實驗。

1947年Miotte受到大師如Robert Delaunay, Leger, Villon, Rouault, Matisse的影響,.1950 法國的藝壇處於複雜情結與動盪中, 在於藝術再現的成就及抽象訴求的糾結, 法國的藝評家Michel Tapie 提出了”Art Informel” 這一個名稱來描述Jean Dubuffet, wols, jean frautier 及alberto burri 等這一新團體的作品, 如Tapie所述, 這類作品部願意受創作過逞的限制, 而全然灌注在相反的 彈性的 不理性的與及自由的形式, 並带著實驗和非傳統性的工具與媒材去敷彩, 藝術史家則同時使用如”Tachisme”, L’art autre” abstract expressionism” 或 “action painting”來標注這類作品. 。 Miotte 開始他的抽象畫,.有別於 1953法國時期畢卡索等大師的重彩形式主義, Miotte 1955的作品有著感情自由高度表現,以黑色為主, 稱為「黑色時期」; 1957 作品直接觸碰而厚重,甩動,有精神上的敏感及衝動的表現,情感上張力與畫布合一 。

 1977在紐約設立工作室, 正式與美國抽象表現相逢; 他 1970「白色時期」的作品, 平靜的再發現, 提供一種間接炫目的能量, 白色成為半透明紗布披在色彩上; 另外1975時發現的棕色質感的特殊表現, 他試著直接在畫布上揮灑,留下原始的構造及粗糙的畫布紋理, 有別於塗底與架構上的安排, 表現一種自在的秘密感. 直接在原畫布上油彩, 所以他可以即時的保留感受, 1977-84 他持續大量進行這種原畫布的表現。 

Illimité cosmique
1999
Acrylic on canvas
300 x 500 cm (118 1/8 x 196 7/8 in)

1980 年後亞洲之行, 發現他的抽象表現竟與中國水墨書法平行進行; 然而他作品的留白之處卻是不同, 是一種隱含式的遮掩, 是鬥牛開始前的蘊含,是剎那間的分離與開始, 也是火花的爆發點與死亡。 

論及他的更近期繪畫技巧,從作品上可見毛刷筆觸, 掃動、飛奔、 頓壓、投射、噴灑、滴流、塗抹。他的拓印式的摩擦繪畫如飛灑的種子快速的塗抹畫布表面, 這是他美國時期的近期作品, 不同於早年膠彩之處, 他作品色彩也是以拓印方式表現出方向, 力道及速度感。 

他的作品不是形式的投影或是再現, 是情緒的直接表現; 如同Satre的理論快樂的經驗是由自己所決定的。

 他的雕塑作品不多, 但確是他自20歲創作以之維生支持生活的開始, 以桌上型的小件的, 期後將作品放大, 有一種圓潤及原始線條的拙趣。 與他的繪畫並置相較顯得收斂而陳穩。 

Jean Miotte作品系列
· 早年50年代作品
· 黑色系列60-70年代畫作
· 白色系列60-80年代畫作
· 原畫布與版畫 60-70 年代
· 後期厚重彩色厚實的大筆觸的形式80-90年代畫作
· 雕塑作品或圖片
· 創作錄影帶Video
· 其他相關輔助資料



Le Geste

1999
Acrylic on canvas
162 x 130 cm (63.75 x 51 1/8 in)

In memory of  Jean Miotte（1926-2016)
The Missing Jean Miotte L’Art Informel in Asia

 “...Jean Miotte is one of the truly cosmopolitan men of our time and an artist who can be understood and appreciated thought the world , be it in Europe, Asia, America or Africa-he has created a universal pictorial language that transcends borders. ..“-- Karl Ruhrberg (MIOTTE).

Jean Miotte, (b. 1926-2016) came of artistic age in the decade after World War II when non-figurative gestural abstraction was emerging on both sides of the Atlantic as the contemporary artistic language. The term “L’Art Informel”, was coined by the French critic, Michel Tapié to connote “without form”. The negation of traditional form, a radical break from established notions of order and composition, was particularly suited to a cultural environment born out of the circumstances of postwar Europe where abuse of morals and fascist ideology had led to such horror and destruction.

While L’Art Informel is often regarded as the European equivalent of Abstract Expressionism, it is distinguished from its American counterpart by a loss of faith in progress and the collective possibilities of an avant garde. Rather, the artists who came to be grouped as L’Art Informel – Jean Miotte, Jean-Paul Riopelle, Emil Schumacher and Kazuo Shiraga, among others – claimed an individual freedom embodied in the spontaneity of the gestural, abstract language to create a bridge between cultures, to break beyond national barriers of geography or expression to form a truly international language.

The power and transcultural appeal of this painting was soon seen in its international reception. Miotte was invited to exhibit throughout Europe, America, the Near and Far East long before the concept of globalization was current in artistic terms. But whereas globalization tends toward cultural uniformity, Miotte’s work fostered individual dialogue within each culture.  

While Miotte’s work remains committed to the Utopian aspects of gestural abstraction, he has continued to grow, fighting the repetition of a signature style, constantly pushing the boundaries and possibilities of the line, the gesture and the liquidity of paint.

  About  the Artist

“Arising from inner conflicts, my painting is a projection, a succession of acute and intense moments realized in full spiritual tension. Painting is not a speculation of the mind or the intellect; it is a gesture which comes from within.”  --Miotte

 

Jean Miotte began exhibiting in 1952 and continues working to this day. As one of the important protagonists of L’Art Informel, his work is inspired by the desire of the postwar generation to create a universal human language in art, a path to peace after the horrors of war.

His universality is reflected in international success. Jean Miotte has exhibited regularly since 1952. He first arrived in New York in 1961 with a Ford Foundation cultural exchange grant, and after a period of work and travel throughout the U.S. he had his first New York solo exhibition in 1962 at Alexander Iolas. Later his work was exhibited by the Martha Jackson and Gimpel & Weitzenhoffer galleries and many otheres. Miotte’s extensive collected works are preserved as a legacy for New York, where he has had a studio in SoHo since 1978. Miotte is represented in the collections of the Guggenheim Museum, MoMA, and numerous other major museums in the U.S., Europe and Asia. In 1980 he was the first Western painter invited to exhibit in post-Mao Beijingand has exhibit his works in Taipei National History Museum, National Singapore Museum, Hong Kong and Japan Museums. Nowadays, The Miotte Foundation, dedicated to archiving and preserves the oeuvre of Jean Miotte and fosters research into the L’Art Informel movement.

Miotte describes abstract painting as “a voyage through the 20th century”—revealing at once an experience of alienation and yet breaking through barriers of nationalism to create a wholly international language.

Miotte’s seminal influences include Jazz but especially dance. In London in 1948 he did set design and saw the work of Balanchine, the Diaghilev Ballet, and the Grand Ballet du Marquis de Cuevas. Miotte experiments in media ranging from oil and acrylic to gouache, ink, etching, lithography, and collage. Black paint on a white or raw surface is a nearly constant theme which recalls calligraphy; when color appears, it ranges from primaries to earthy tones. Critics say he is unique among the La’ Informels because he continues to grow, fighting repetition, questioning himself and his form of expression. In the 1990s he began producing the largest canvases of his career.

Gestual Painting 

Le debut

 

“Like dancers, his fluid structures are vigorous and delicate, firm and fleeting,”-John Yau

Gestural painting can evoke the hand of the Samurai or the surgeon, but Miotte’s lithe, inventive line echoes the living art of dance. When painting, he becomes a Zen archer, choreographing each stroke. His canvas is a stage where paint leaps, and where drips refuse gravity. His use of black paint on a white or raw surface is a theme which frequently recalls calligraphy; when color appears, it ranges from primaries to earthy tones.

Miotte's painting technique is based upon unpremeditated strokes and immediate gestures. He allows no repainting or overprinting or reconsiderations.

Upon careful inspection, one finds that Miotte uses splashes of paint or drops of ink in a small part of his painting. The small drops of ink provide a counterpoint to the main theme of the painting and catch the moment. Miotte's devotion to spontaneity of expression s reminiscent of his taste for jazz, in which there is a similar dynamic of experimentation based upon structure.

Dancers and a musician embody the space, color, gesture and feeling of large Miotte’s abstract paintings. Viewers can choose to see the performers and paintings from multiple places as they move through the cavernous gallery space. Paintings which first appear in the background seem to move forward and merge with the dancers as the perspective continually changes. The proximity of the performers to viewers dissolves boundaries between observer and observed. Jean Miotte describes it as, “A magnificent evening where Dance opens the spirit to painting.”

The paintings demonstrate a continual search for renewal through abstract vocabulary, emphasizing Miotte’s unique gestural quality which has such an affinity with dance. The artist has said, “dance, choreographic expression seems to me to be the most acute gesture, instant and intangible, once given and then forever captured by the eye: movement, shifting lines, fixing them in our imagination and in time – abstract art par excellence.”

Dialogue with Asian philosophies

Miotte’s paintings do in certain aspect to conversation with an Asian philosophy and Art style of Caligraphy. his paintings are very Zen-line in their simplicity. They are like a series of sketches and very much of the moment. Unlike the historical western oil painting. There can be no repainting or indecision in a Miotte painting. The paintings may contain much empty space, thus recalling the spirit of Chinese brush-ink landscape painting of the Ming or early Qing, or Taoist painting. Miotte's big black and white paintings have big strokes similar to large brush calligraphy-like painting.

Miotte was a friend and neighbor of Zhao Wu Ji in Paris, and they belonged to the same artistic movement. Zhao's work might be more literate with dissolving brush strokes; softer and more detail-oriented. While Miotte's paintings are stronger - full of energy and movement. Some of his paintings are more colorful, with well-defined layers. Some people in Taiwan might compare Zhao to Chu De Chun or Chen Chen Hsiung; they have been called the three Chinese French artists. The above comments allow viewers to see Miotte’s paintings in a way that is better aligned with the Asian goals.

Works

• · 50s early more realistic work Black series
• · White series Cavas
• · Large colorabstract painting
• · Sculpture and photos
• · Video
• · Books, Postcard and other marchandice.

Urban Tribes in Art Reaction

Urban Tribes

By Luchia Meihua Lee

"The Urban Tribes in Art Reaction" is a portion of the urgent topic of globalization. From this wider subject, draw back to cultural issues in a new community that has been created typically in the big city. I question whether hybridity is a sufficient description of the profound and ever-present opposition between remaining faithful to tradition and adapting to the circumstances of  the enveloping milieu.  We might find a self-sufficient group in any ethnicity to be developing their own cultural identify, and hardly fully representing their original character. Yet they do not completely take on the living style of the larger population in which they reside, and it is the differences that are most interesting. Here, I would like to use a fresh perspective to view small and possibly even isolated pockets of disjointedness, and then interpret them in a worldwide and international context.

In these cross-disciplinary subject, I would like to bring a discussion to reinterpret the sense of the culture term “Tribe” in terms of urban reactions in the community. Nowadays, the definition of “Tribe” has already transformed to apply to a wider group, defined by ethnicity, national origin, language etc. The program will focus on underlining the diversity of life in and fostering interactivity with the community on Environmental subjects.

Globalization not only influences the international business climate, but also affects the national scene and local tribal natives. As one example, this is apparent among that part of the indigenous population in Taiwan which has moved from ancestral lands to the city. Some contemporary artists create a new language and means of expression from the aboriginal heritage – indigenous ritual, belief, cultural elements, and reverence for the environment. These works could involve individual tribal members or tribal groups – either as subjects or as artists.

Perhaps the most jarring change in the transition from pastoral homeland to urban milieu for aborigines is the loss of ritual and myth, or more accurately the wrenching need to adapt these human needs to the encountered environment.  Myth is a connection to the divine, and artists are best equipped to mediate a new connection that is relevant to city life and shakes off the dust of mundanity.

Here, the interconnection between the mind, body, nature, culture, and how artists work with this concept of the urban tribe create work that is constructed to pull a viewer through a symbolic journey of language and materials. Thoreau wrote of culture as “The Enchanter” and how immersing oneself in nature is the only way one can answer two simple yet indispensable questions without the influence of certain aspects of culture: how much is enough and how do I know what I want? He felt only in nature could one truly hear one’s own heart, divorced from the influence of cultural voices. The rituals and ceremonies and symbolic nature of the urban tribe act as a doorway back into both nature and the natural voice of the individual and group – divorced from the programming of specifically capitalist and consumer culture.

(to be continued)

 

Zhang Hongtu: Expanding Visions of a Shrinking World

Zhang Hongtu: Expanding Visions of a Shrinking World

​

 

http://www.queensmuseum.org/2014/11/zhang-Hongtu

 

https://www.dukeupress.edu/zhang-hongtu?viewby=author&lastname=Lee&firstname=Luchia&middlename=Meihua&sort=newest&aID=2919385

 

http://smile.amazon.com/Zhang-Hongtu-Expanding-Visions-Shrinking/dp/082236042X/ref=pd_rhf_schuc_p_img_2?ie=UTF8&refRID=0RGF031ND1W89F9RQ0Q4

 

 

 

Photograph: Mark Moskin

Acknowledgements

By Luchia Meihua Lee and Jerome Silbergeld

 

To overcome many impediments and actually bring to fruition this book and exhibition about the art of Zhang Hongtu has involved a great effort on the part of many people and organizations. This could not have been conceived of without the artist himself, Zhang Hongtu, and his wife Miaoling Huang, an essential supporter of her husband, and also an artist herself. With unceasing creation of a multifaceted art in an intercontinental career. Hongtu has always sought to expand the way in which viewers of his art perceive the world, and to draw connections between different cultures – hence the title of this book Additional thanks are due to him for his two years of thoughtful and enthusiastic answers to our endless questions. Our special thanks are also due to an inspiring leader, the former executive director of the Queens Museum and now the New York City Commissioner of Cultural Affairs, Tom Finkelpearl, who has made this unique retrospective exhibition at the Queens Museum possible. It was Tom’s vision to design this exhibition on a grand scale and give viewers an appreciation of the full scope of Zhang Hongtu’s expansive career. This contrasts with many past exhibitions and publications, where we have glimpsed only parts of his work. Both this book and the associated exhibition offer wider and deeper coverage of this exceptional career than ever before.

            Abundant gratitude is due to Tina Keng and Shelly Wu of TKG+ Foundation; without their support, neither the book nor the exhibition would have been possible. TKG+ has very keenly supported artists in Taipei and all over the world. Catherine Yu-Shan Hsieh of TKG+ has been involved in advising on the book design as well as many other details. The careful attention from Shelly and the TKG+ team is reflected on every page of the book.

            Manjari Sihare, Curatorial Manager of the Queens Museum, has provided invaluable assistance and support throughout the various stages of development, and has stood beside Hongtu and myself from the first day of the whole procedure. Also, my deep thanks also go to the current Queens Museum director, Laura Raicovich, with her global and open-minded view; to Jodi Hanel, for supervising this book and exhibition project during her time at the Queens Museum; and to Hitomi Iwasaki, Director of Exhibitions for overseeing the whole; also to Louise Weinberg, who effectively facilitated the loans of art from various museums and collectors. Also, the staff at the Queens Museum has provided immeasurable administrative assistance.

            We both have had many occasions - at exhibitions, lectures, and in classes - to meet and work with Hongtu. For example, the exhibition entitled Infinity/Unknown-Culture and Identity in the Digital Age at the Taipei Gallery of the Taipei Cultural Center of TECO (Taipei Economic and Cultural Office) in New York. Mounted in the Rockefeller Center McGraw-Hill Building, this exhibition contained several pieces that impressed Luchia and intrigued her with Hongtu’s creative and advanced ideas in 2001. Numerous other exhibitions to display Hongtu’s different artistic series, such as that at Princeton University Museum, and Reason’s Clue at the Queens Museum of Art in 2008, confirmed and strengthened this feeling for both co-editors of this book. For us, Zhang Hongtu is one of the artists we most respect and with whom we feel most comfortable among all the many Chinese artists in New York. With his free mind, his true genius, and his generous wit, Hongtu is simultaneously a traditional artist and a very modern character.

            This book starts with an essay of introduction providing a full view of Hongtu’s life and oeuvre. It closes by treating the environmental concerns that have marked the artist’s recent development.  In between, many distinguished authors who wrote for the book provided admirable breadth. Wu Hung, from the University of Chicago, has a background similar to Hongtu’s, and has contributed a superb essay on Hongtu’s new work, “Great Wall with Gates,” following his earlier work on Zhang Hongtu’s “Door” series to develop an in-depth essay. It is interesting to read in Thuy Linh Nguyen Tu’s essay how the world of fashion design has been impacted by Hongtu’s interpretation of Mao’s image. Eugenie Tsai conducted an interview with Hongtu of more than 30,000 words covering the dialogue between Western and Eastern aesthetics, which she reduced to a size that could be accommodated in this book and gave the beautiful and mythical title of “The Man in the Moon.” Michael Fitzgerald, an expert in Cubism, presents an elegant analysis from Hongtu’s Picasso pieces to the Cubist influence in his oeuvre. Also, my thanks to Alexandra Chang, who considers Hongtu’s art in the context of the Chinese diaspora, and to Kuiyi Shen and Julia Andrews, who joined forces for an essay about Hongtu’s “Van Gogh” and “Buddha” series that presents these two series from a fresh perspective. Lilly Wei contributes an overview of the nexus between New York artists—and in particular, Hongtu—and popular culture. Morgan Perkins contributed an astute essay about the relationship between the artist and his oeuvre and its place in the world. Tom Finkelpearl reminds us of Hongtu’s status as a member of the Queens art community.           

            Nell McClister was strongly recommended by Tom Finkelpearl as our copy editor, and she has provided us with attentive reading and perceptive editing. Tom also brought us to Duke University Press, where editorial director Ken Wissoker graciously accepted this project. Michael McCullough, sales manager, and Christopher Robinson, copy writer, brought their professionalism to publicizing and marketing this book. We would like to extend a heartfelt thanks to the Taiwanese American Arts Council founders, who allowed Luchia to take time that she would otherwise have contributed to the Taiwanese American community; they are Thomas Chen, Lung Fong Chun, and Patrick Huang. Also the Crystal Window and Door Systems helped with the manufacture of exhibit vitrines. Many individuals, such as Kenneth Howell and Edward C. Hsu, helped to make this project run so smoothly.

            A panoply of collectors and organizations have facilitated this exhibition with generous loans of private and institutionally owned artworks. The Art Students League of New York curator Jillian Russo and Princeton University Art Museum Asian art curator Cary Y. Liu were especially helpful in arranging loans from their institutions. Tina Keng Gallery, Lin & Lin Gallery, and Ethan Cohen Fine Arts generously lent works for the exhibit, Sumiko Roberts from Christie’s Japan provided help, as did Sotheby’s. Other collectors like Leo Shih, Andrew Cohen, Jeff Wimmer, Miani Johnson, and many private collectors also provided invaluable assistance in this regard.

            Working with designer Lin Xiao Yi, Shelly Wu and Catherine Yu-Shan Hsieh of TKG+ to see this book design take shape has been a great experience. You now hold in your hands the fruits of the extraordinary creativity and talent of their design.

 

 

 

 

 

Link to the details Crystal Park Call for Art Proposal / Cash Award Crystal Park invites artists of Taiwanese heritage to submit proposals for an outdoor installation; it is hoped that this will become an icon symbolizing Crystal Park. The installation must have the same shape as Taiwan. The successful proposal will embody the  culture of Taiwan and harmonize with the natural environment of the park. Submission Deadline:Monday, February 29, 2016   Award: US$ 2,000 for the best creative design. (Fabrication and installation budget will be separate from the design award)   Crystal Park, located in Holmes, NY, is a nature park newly established by a Taiwanese-American entrepreneur. This park contains all manner of mountain beauty - fauna and flora, a lake, and many trees. We would like to connect the park and Taiwanese culture with this installation.   The selected work will be widely publicised. Please pass this opportunity along to your Taiwanese friends. 邀請旅美台灣藝術創作者提出大型戶外裝置創作計劃，作品以台灣島形為視覺元素，表現台灣地理人文風情，並融入Crystal Park 自然景觀。 創意設計計畫獎金: 兩千美元，製作施工安置費用將於入選後與創作者詳細討論。入選作品將會經由多管道文宣發佈。 收件截止日期：二〇一六年二月二十九日（星期一）。   Crystal Park期望集合台美藝術社群逐步開墾, 建立一個臺灣藝術家駐村與創作交流的園地。 Call-to-Action Link   Theme An outdoor installation will highlight the shape of Taiwan and the spirit of Taiwan's culture.   Award The winning project will earn a $2,000 cash award for its proposer. Details of the fabrication budget and construction procedure will be discussed with the artist once the proposal is selected.         Site and Size Please see website link images, and the map of Crystal Park on our website, for more details. The selected installation will be a landmark for the park. The proposed work will need to be large enough to fulfill this purpose. Artists who are interested in proposing a project are welcome to arrange a visit to Crystal Park. Contact info@crystalpark.us to schedule a visit.   Exhibition Specification Work will be exhibited outdoors permanently; please consider this when choosing materials for the proposed work.   Eligibility Taiwanese artists resident in the United States   Submisstion  Deadline Monday, february 29, 2016 The winning project will be announced in March 2016. Interviews may be scheduled for proposers of strong projects.   For more information about how to apply, please visit our website: http://www.crystalpark.us/call_twmap.html

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