Sylvielin's Blog

More Than a Magazine — ‘Parkett ─220 Artists Editions & Collaborations Since 1984’

Posted in about Art, about Photography, about Video Art, Interviews (uncategorized) by sylvielin on January 15, 2014

“Since its inception, Parkett has asserted itself as one of the best publications on contemporary art available today. It is one of those rare periodicals that does not resemble a magazine. The quality of its operations and topicality of its discussions combine to make Parkett both a luxurious and necessary publication.”
Centre Georges Pompidou【1】 (more…)

Advertisements

‘Cinema Otherness of Cinema’ : A Film and Art Exhibition of Kao Chung-Li(高重黎). Dissect the Image. Gaze upon the History

Posted in about Art, about Video Art, Between Art & Cinema by sylvielin on July 28, 2013
Image

The hand-held projector modified by Kao Chung-Li is constituted of an old cassette as its structure. The viewer sees 8mm film by operating the handle. Courtesy――Tina Keng Gallery, EX!T Experimental Media Art Festival in Taiwan. Copyright――Kao Chung-Li

‘[…]here, if we regard the visual culture of image as an arena for struggles, never follow the rhythm and the pace of other competitors : such passivity is the curse for which one is bound to be won over and colonized.’

――Kao Chung-Li, ‘The Reform of Visual Writing’〈1〉 (more…)

Where the Wild Things Are : Taipei Biennial

Posted in about Art, about Photography, about Video Art by sylvielin on April 11, 2013
Extract : 
As Franke states, the show addresses the need to “break free from the ‘frame’ of colonial modernity and its narratives, its way of describing the world, and the need to tell different histories of modernity (… ) ”. He writes, “The idea is to make an exhibition that shifts between fiction and historical analysis, just as the identity, or face of the ‘monster’ in this exhibition constantly changes.” (1) The entire repertoire consists of contributions from around 43 artists (a third of the works were commissioned for the Biennial) and several “mini-museums.” It features some of the most interesting Taiwanese artists such as Kao Chung-Li (高重黎) whose “Taste of Human Flesh,” an audio-visual installation with slide show and audio cassette, reveals the story of his father who got shot during the civil war in China around 1948. The work employs a mixture of images including archival photos, footage, hand-drawn animation; the work is narrated from the point of view of the bullet that remains inside the father’s body, voicing an overall criticism on the political and economic mutations which are brought on in times of war, colonization and globalization. (2)”

(Originally published on 2012.12.20. Read the entire article : http://www.randian-online.com/np_review/where-the-wild-things-are-taipei-biennial/)

Changing Faces of the Monster: Taipei Biennial 2012

Posted in about Art, about Photography, about Video Art by sylvielin on April 11, 2013

Review by Sylvie Lin, published in Yishu journal, Volume 12, Number 2, March/April 2013. More info :
http://yishu-online.com/browse-articles/?661

Extract :
A Symptomatic Mirror
In his curatorial statement Franke writes, “The systemic aspect of modernity is willfully ignorant of culture and human relations, and this is its strength, and its anonymous monstrosity.” The Taipei Biennial 2012 represented an attempt to disclose the multiple incarnations of the monster of modernity that lie under the masks of rationality, progress, culture, or, in their more advanced and elaborated forms, as colonialism, internationalism, neoliberalism, and globalization. Each of the works and the Mini-Museums in the show tackled a certain aspect of the monstrosity, as if holding up a symptomatic mirror that revealed the processes, causes, and possible fictions around the great myth called modernity.”

Chen Chieh-Jen : une pratique artistique comme moyen de résistance

texte par Sylvie Lin

Né en 1960 à Taoyuan à Taïwan, Chen Chieh-Jen a débuté sa pratique artistique dans les années quatre-vingt, l’époque où la loi martiale était encore en vigueur dans le pays. Dans cette ambiance lourde et contrôlée, Chen Chieh-Jen et certains artistes menaient des performances, parfois dans la rue, qui représentaient une provocation par rapport au système politique. (more…)

Tagged with:

History of the Photographed – The Age of Provocation. Interview with Chen Chieh-Jen (Part II)

Posted in about Photography, about Video Art, Interviews with Artists by sylvielin on December 8, 2012

A01Happiness Building I: Apartments

(Courtesy- Chen Chieh-Jen Studio)


Chen Chieh-Jen is the most renowned Taiwanese artist in the international art scene. His work focuses on the situations and psychological states of exploited social classes such as that of workers. In his works, he explores issues of colonization, globalization and capitalism in history and the contemporary world. In the second half of the 1990s, he made photographic works by means of computer imaging techniques, based on archive images of tortures or massacres before focusing on making video works. The interview with the artist traces his youth and education during the era of martial laws as well as his action art projects on the streets at the time. He also talks about the ideas of his photographic work and how, through his own practice, he attempts to construct a perspective on photography and cinema that distinguishes itself from its western counterparts.

(Interview & Editing by Sylvie Lin, Assisted by Wei-I Lee, 2012, Taipei. See Note of publication at the end of the text.)
(more…)

History of the Photographed – The Age of Provocation. Interview with Chen Chieh-Jen (Part I)

Posted in about Art, about Photography, about Video Art, Interviews with Artists by sylvielin on December 8, 2012

A01 (640x242) (380x144)

Film set of Happiness Building I: Apartments

(Courtesy- Chen Chieh-Jen Studio)

Chen Chieh-Jen is the most renowned Taiwanese artist in the international art scene. His work focuses on the situations and psychological states of exploited social classes such as that of workers. In his works, he explores issues of colonization, globalization and capitalism in history and the contemporary world. In the second half of the 1990s, he made photographic works by means of computer imaging techniques, based on archive images of tortures or massacres before focusing on making video works. The interview with the artist traces his youth and education during the era of martial laws as well as his action art projects on the streets at the time. He also talks about the ideas of his photographic work and how, through his own practice, he attempts to construct a perspective on photography and cinema that distinguishes itself from its western counterparts.

(more…)

Un regard incertain : “Vietnam” de David Claerbout

Posted in about Art, about Photography, about Video Art by sylvielin on August 2, 2010

( English title : “Uncertain Gaze : “Vietnam” by David Claerbout. Here’s the original French version of the essay by Sylvie Lin. )

Introduction

  Vietnam, 1967, near Duc Pho (reconstruction after Hiromishi Mine) ( 2001 ) de David Claerbout est un court métrage d’environ trois minutes et trente secondes. Comme son titre l’indique, l’œuvre est conçue à partir d’une photo historique prise pendant la guerre du Vietnam par Hiromishi Mine, photographe japonais de l’agence Magnum Photo.

(more…)

Interview with Philippe-Alain Michaud

Posted in about Art, about Video Art, Interviews with Curators/Museum Directors by sylvielin on August 1, 2010

(Interview made in July 2006, Paris. Michaud is Director of the department of film of Centre Pompidou & Curator of The Movement of Images Exhibition)

Work by Alexandre Calder in "The Movement of Images/Le Mouvement des images" exhibition. Photo©Sylvie Lin

(more…)

Interview with Apichatpong Weerasethakul

Apichatpong Weerasethakul, 'Primitive'(2009). Courtesy Kick the Machine Films, Bangkok. Credits : 2009 Kick the Machine Films. Photo/Chaisiri Jiwarangsan

“I’m attracted to the spirit of the bygone era, the handmade quality. I think that even Warhol’s machine-like approach was very human.”             

—-Apichatpong Weerasethakul, extrait from the interview  (more…)