Tsong Pu discusses six artworks: Part III – On local recognition of local art and the cube redefined

TAIWANESE CONTEMPORARY ART INSTALLATION TAIWAN-CHINA RELATIONS ARTIST INTERVIEW

When Tsong Pu was studying overseas in the 1970s he would introduce himself as Chinese or as being from China. Later, as China opened it’s borders and more art from the country was exposed to the outside world, Tsong began to introduce himself as Taiwanese. Now, he introduces himself as a Shanghai-born artist who lives in Taiwan.

Cultural relations between Taiwan and China have always been complicated and the current success Chinese contemporary artists are enjoying globally generally outstrips that of artists who are living and working in Taiwan. Although originally from China himself, abstract artist Tsong Pu does not see much collaboration between the two countries.

“Each side does their own thing. At the moment you will find that very few Taiwanese artists show their work in Mainland China, in galleries or in museums. But you will find that many artists from China show their works in Taiwanese galleries or museums.”

Tsong believes that Taiwanese artists and art professionals need to work hard to change this situation, “to give collectors and buyers more confidence in Taiwanese art.” He goes on to state that the Chinese art market is created and supported by the Taiwanese collector.

“Much of the artwork coming out of China is being sold to Taiwanese collectors. The [Taiwanese] government supports Chinese artists, but the Chinese government doesn’t support Taiwanese artists.”

This view is expressed in the installation One Comes from Emptiness (2009, mixed media), which we discuss with Tsong in this article. Blake Carter, writing for the Taipei Times in November last year, talked about the piece:

“I was surprised to find that some of the ropes he installed at the Biennial fall onto a bent metal signpost that reads ‘Taiwan Contemporary Art Museum.’ There is no such place. Many artists complain that Taiwan’s museums – especially in the capital, and specifically the Taipei Fine Arts Museum (TFAM) – don’t pay enough attention to the country’s artists.”

Blake went on to say that “Taiwanese artists are relegated to the museum’s smaller galleries downstairs while Chinese artists Fang Lijun, Cai Guo-Qiang and Ai Weiwei get large exhibitions at TFAM.” When asked by Blake whether One Comes from Emptiness was a comment on Taiwan’s art institutions and their treatment of Taiwanese art and artists, Tsong replied, “Yes.”

This is part three of a three part series. In this part we relay to you Tsong’s views on the artistic relationship between Taiwan and China and look at two further installations by the artist. Both of these works are tied to the artist’s signature grid pattern, the repetition of 1 x 1 cm squares often intersected with a diagonal line. This grid form is represented in the weave of the nylon rope in One Comes from Emptiness (2009, mixed media) and pulled apart and reconstituted in the separate canvases of Declaration Independence (first presented 1996, mixed media). For more on what to expect from the first and second parts of this series, please read the notes at the bottom of this post.

Tsong Pu, 'One Comes from Emptiness', 2009, mixed media installation, 10 x 1075 cm. Image courtesy of the artist.

One Comes from Emptiness (2009, mixed media installation) was shown at Viewpoints and Viewing Points: 2009 Asian Art Biennial. In your artist statement for this exhibition you suggested that people from the West and people from the East will perceive this installation differently. Could you explain further?

“I tried to pretend that the rope is just like calligraphy: more natural and softer. This soft line is like Chinese calligraphy or Chinese traditional ink painting. When you see a Chinese courtyard, it makes you feel very natural, it’s soft…. It has something representing the water, the wind, the earth. I used very simple lines or string to create circles. These circles remind me of a Japanese courtyard, its oriental elements, and the lines are like the rain. A traditional Chinese courtyard always expresses these kinds of things. I tried to … merge [this] with Western style.

The steel part is more structural – it has more strength – and represents Western art expression: strong, energetic, long lasting. I am influenced by an artist from England called Anthony Caro who creates sculptures from steel.”

Why do the circles overlay the steel?

“At the very beginning, I tried to present only the circles and the simple white lines but I thought it was too beautiful…. It didn’t have any power. [The circles overlap the steel because] the nylon rope is soft and flexible. It can’t be cut or broken and it will flow over things. Of the material, you can see that one is soft and one is hard, so they contrast. That is the basic structure [of the work]. Different style, different shape, different material, different thinking. But when they come together they can merge.”

So they can exist together?

“Yes, yes. Together they can generate something new, a new way of thinking.”

Is there anything else you’d like to say about One Comes from Emptiness?

“This work was created in 2009. During this year a major typhoon hit Taiwan. This typhoon caused a landslide which covered a mountain village. Because of this event, the natural environment and the view of the landscape was changed. A house that has been moved or destroyed might not actually look so terrible in its new position. After you have viewed it for sometime, you might realise that it actually looks quite beautiful.”

Tsong Pu, 'Declaration Independence', 1996, mixed media installation, 480 x 260 x 360 cm. Image courtesy of the artist.

We are interested in your installation Declaration Independence (first presented 1996, mixed media) because you showed it in 1996 and then again this year at your TFAM retrospective, “Art From the Underground“. Can you explain the relationship between the objects and each painting?

“The idea for this work comes from [Transposition of Light and Water (1992, mixed media installation)] but it is represented in a different space. I took one cube from this work and distributed it into several pieces.”

The way you have used the gallery space in Declaration Independence is quite different to how you have used it in other installation pieces.

“These are canvases, just like [The White Line on Grey (mixed media, 1983)] is a canvas. I used the same technique [to paint them both]. The ones that are the same are grouped together. The paintings are like different pages in a book; the pattern [on the canvases] resembles words without any special meaning.

This [coat hanging on the wall] is an object and this object has some dimension – it is 3D and not flat – but [the paintings] are flat, so when they are placed with the 3D objects they will have a conversation. The paintings are like a code and when I separate them in this way they are like the pages [of a book] on the wall.

The paintings have no meaning, but the objects may project some meaning onto them. Among the objects are some maps. When all these things are separate they have no meaning but when they are placed together they could have some meaning. I am not sure whether the paintings influence the objects, or the objects influence the paintings. When you open a book there is a lot of information in it. It is like this book on the wall has been opened and many things have started to happen. There is a conversation between [the paintings and the objects], a relationship.”

And is it you, the artist, who brings meaning to this book, or is it the task of the viewer?

“It should be both. I hope it is the viewer.”

Tsong Pu, 'Declaration Independence', 2010, mixed media installation, 480 x 260 x 360 cm. Image courtesy of the artist.

About this series

This Art Radar interview with Taiwanese artist Tsong Pu has been presented in three parts. In part one, Master Tsong discusses two works in which he has used and adapted his most well known technique, a 1 cm by 1 cm grid pattern. In part two, the artist speaks on two very different installation pieces, close in date of construction but not in their theory of development. Part three talks about some of the artist’s most recent installation work.

We have also premised each part with some of the artist’s views on the current Taiwanese contemporary art industry, as developed from his roles as mentor, curator and master artist.

KN

Related Topics: Taiwanese artists, interviews, installation art

Related Posts:

• Tsong Pu discusses six artworks: Part II – Installations and art funding – August 2010 – the second part in this revealing series
• Tsong Pu discusses six artworks: Part I – Chasing lines across space – August 2010 – the first part in this revealing series
• Not-so-underground artist showcased in basement gallery: Tsong Pu’s TFAM solo – June 2010 – an overview of the Tsong’s 2010 TFAM retrospective, images and biography
• Is China shooting a cultural missile at Taiwanese art? Taipei Times examines – April 2010 – a summary of an editorial, discussion of the two nations’ cultural “cross-pollination”
• China to use “soft power” of arts for international influence – January 2010 – a summary of an article, puts forward the idea that China is intentionally promoting its art and artists to disseminate its political agenda globally

Subscribe to Art Radar Asia for more on Taiwanese installation art and further artist interviews

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Tsong Pu discusses six artworks: Part II – Installations and art funding

TAIWAN CONTEMPORARY ART ARTIST INTERVIEW INSTALLATION

In this second of three interviews, Tsong Pu reveals the concepts behind two important installations, Transposition of Light and Water (1992) and Backyard in June (1997). In it, he shows that works aren’t always created in ideal gallery spaces and what this means for the art work, and we see his unique grid concept move off the canvas. Additionally, independent art space funding issues are framed by a discussion of Tsong Pu’s involvement in the 1988 founding of Taipei’s IT Park Gallery.

Master Tsong developed his trademark 1 cm by 1 cm grid technique very early on in his career; it is evident in 1980s mixed media canvases like The White Line on Grey (1983). The installations discussed in this interview represent a ten year progression on this idea, pushing the interview into the 1990s.

During this time, in 1988, Tsong Pu and three other artists, Liu Ching-tang, Chen Hui-chiao, and Huang Wen-hao, founded IT Park Gallery, one of Taipei’s older gallery spaces and a recipient of the Taipei City government’s 13th Taipei Cultural Award in 2009. When they first opened the space it was unique in Taiwan. As Tsong Pu elaborates, “During that time, there were some similar [galleries] but none exactly the same. The partnership was different, even the interior design was different. Some of the [other spaces] were just rented houses without renovation.”

Tsong Pu's trademark grid technique is clearly demonstrated in this detail of his 1983 canvas 'The White line on Grey' (mixed media, 194 x 130 cm). Image courtesy of the artist.

To this day it is non-profit, although there is talk of turning the second floor of the gallery into a commercial space later this year, and from 1988 to 2005 was mostly self-funded. With no profits coming in, it was often hard to obtain funding. “There were always friends and relatives helping us all along, supporting us with small amounts of money,” says Tsong Pu.

While IT Park Gallery now gets some funding from the government – they apply for fund support from the National Culture Arts Foundation every year – Tsong Pu says the biggest constraint on the gallery is still financial. As he explains, today there is greater competition: “In the past, there were no people showing contemporary art but now it’s like everybody is doing it.”

He elaborates further on government support for contemporary art spaces: “The Taiwan government will always observe your operation only and they will not provide help. It’s only when you are successful they will help. Otherwise, they won’t. Unless you become very well-known overseas, then the government will help you.”

Tsong Pu is no longer involved in the management of IT Park Gallery, but through his association with the space, his work as a teacher and a judge, and his regular attendance at local exhibitions, he often finds himself exposed to new contemporary Taiwanese artists. Named as a “father figure to many young artists” by the Taipei Times he acts as a curator, selecting young and emerging artists for exhibitions: “… because I teach in two art schools; sometimes I’m the panel judge for competitions; I also visit exhibitions quite often. I will keep those young artists in my memory. Sometimes when I need to organise an exhibition I will get certain people to join certain kinds of exhibitions.”

This is part two of a three part series. In this part we look at how an installation created by Tsong Pu in the 1990s, Transposition of Light and Water, still reflects the unique grid technique he began using ten years earlier. We also look at an installation, Backyard in June, that has been exhibited five times and changed its name twice since its creation in 1996. For more on what to expect from the first and third parts of this series, please read the notes at the bottom of this post.

Tsong Pu's 'Transposition of Light and Water' (1992) on display at Taipei Fine Arts Museum. Image courtesy of the artist.

Transposition of Light and Water (1992) was given the Award for Biennial Exhibition of Contemporary Art in 1992. It is now held in Taipei Fine Arts Museum‘s (TFAM) permanent collection, is that correct?

Yes. It is collected by TFAM.

Can you explain the concept behind Transposition of Light and Water? I understand it relates to early works such as The White Line on Grey (1983). How?

It’s actually related to the other one [The White Line on Grey] because their forms are the same. Maybe the differences are in the space, sizes, materials. The concept is basically the same; it’s just that it’s not in a square shape. This part [Master Tsong points to the glass boxes] is originally the grid box, taken out. And then a glass [plate] has been inserted to make the slash line. So this part [Master Tsong refers to the 1 cm by 1 cm boxes in The White Line on Grey] has been taken out, and it became this shape, form.

This is the cube, and then you can see the glass, that is the bisecting line. Because this is glass, it’s transparent, so you can see the inside. You can see the light, when the light goes through the glass it creates a rainbow. It’s on the ground, so you can see that there’s a line on the ground, just like the line on the canvas [The White Line on Grey].

This work dismantles [the grid pattern in The White Line on Grey] piece by piece.

You can see the relationship between The White Line on Grey and Transposition of Light and Water and the progression from one to the other. What about the other objects? How do they relate to the installation overall?

This is a tool, a clip… It’s just a coincidence. I use this to support [the glass cubes]. This is its only function. Because I was worried that after I added the water, plus the optical line, plus sunlight, there may be some movement in this line.

[These elements] added a feeling of time.

Can you explain how?

This is water. It will evaporate. It will disappear. I also put some iron on top and on the side. It will corrode, because the iron, the water and the sun will react together. Maybe you can see that there is, that this work is on the ground but with the water, with the iron, with the sun, they enable the work to show the concept of time. We can see that the glass and the water, they have a transparent quality so it’s more pure. When I see this work I think that it’s very beautiful.

So when TFAM displays it now, do they put water in it? Do they place all of the elements together?

Yes, it’s on display now and they put water in it.

Tsong Pu's 'Backyard in June' (1997, mixed media, 420 x 420 cm) shown restrospectively this year at Taipei Fine Arts Museum. Image courtesy of the artist.

Could you please confirm for me why this same installation piece has two different names, A Space Not for the Chorus (1996) and Backyard in June (1997)?

I’ve exhibited this twice. [A Space Not for the Chorus] is in a square shape. When I first did this work in exhibition, the venue space was not ideal, [there were other artworks on display around it]. That feeling was like, for example, if you are a singer and you don’t have the right partner to sing along with. It will not work.

That’s why I picked that name.

Let’s talk about Backyard in June then.

It’s in the right space.

Yang Wen-I was the curator for the “Segmentation-Multiplication: Three Taiwanese Artists exhibit at the 47^th International Biennial of Visual Arts (Venice, Italy) in 1997. She is quoted in Taiwan Panorama as saying Backyard in June “is making a piercing commentary on the state of the Taiwan environment, human and natural.” How is this work doing that?

In the 1990s in Taiwan, if you were in Taiwan during this period you would have noticed a lot of political reactions in art. In a painting, the mediums blend together, but if I make an installation or a sculpture the mediums are separate. The elements are separate.

During the 90’s, there were a lot of elections and political disputes in Taiwan. [Yang Wen-I] felt that my work… each part is not attached together, they are separated…

Is that important to your work, when you do an installation compared to a work like The White Line on Grey?

To me it’s a habit more than importance. It’s not very important. When people look at my work, they will feel that it’s like the political situation in Taiwan. One moment they are attached to each other, the next moment they are separated, then re-attached, and separated again.

This separation is shown because it was originally a vase, a flowerpot.

Can you elaborate on what were you trying to show or achieve with this separation?

It’s very simple…. Originally it’s a physical item, a container. A little bit like in a cartoon, it’s been pressed or squeezed, spread into circles; a little bit like in a comic. In reality, it wouldn’t happen this way. I’m using a comic style. When you squeeze [the pot], it will become this way… But in reality, it’s impossible [for the pot] to become this.

It’s like in cartoons, when an object has been hammered… If it’s not a cartoon, you won’t able to see that kind of effect – spreading [out] circle by circle. This is an exaggeration. Normally when we watch cartoons, when [a character] hammers something, the cartoonist is able to draw out the visual effect.

[Backyard in June] feels a little bit like archeology…. When you are doing archaeological research, maybe you will also put it this way [Master Tsong refers to the placement of each piece of broken pot]; collect these pieces, label them with numbers.

About this series

This Art Radar interview with Taiwanese artist Tsong Pu has been presented in three parts. In part one, Master Tsong discusses two works in which he has used and adapted his most well known technique, a 1 cm by 1 cm grid pattern. In part two, the artist speaks on two very different installation pieces, close in date of construction but not in their theory of development. Part three talks about some of the artist’s most recent installation work.

We have also premised each part with some of the artist’s views on the current Taiwanese contemporary art industry, as developed from his roles as mentor, curator and master artist.

KN/KCE

Related Topics: Taiwanese artists, Tsong Pu, interviews, installation art

Related Posts:

• Tsong Pu discusses six artworks: Part I – Chasing lines across space – August 2010 – part one of this three part series provides insight into Master Tsong’s most well-known technique
• “Post adolescent” art on display in two Taiwanese museums – picture feast – August 2010 – a number of images and details on some important emerging Taiwanese painters and installation artists
• Israeli kinetic artist Yaacov Agam helps make “Taipei Beautiful” – July 2010 – a news post on the installation of Agam’s artwork: where and why
• Not-so-underground artist showcased in basement gallery: Tsong Pu’s TFAM solo – June 2010 – Art Radar‘s first post on Tsong Pu contains some excellent biographical information and more images of the artist’s work
• The one’s to watch: four young Taiwanese artists in Taipei Arts Awards – January 2010 – names the artists, accompanied by images and biographical information

Subscribe to Art Radar Asia for more on Taiwanese installation art and further artist interviews

Israeli kinetic artist Yaacov Agam helps make “Taipei Beautiful”

PUBLIC ART INSTALLATION ISRAELI ARTISTS KINETIC ART

A public art installation by pioneering Israeli kinetic artist Yaacov Agam was inaugurated in May this year in Taipei City, Taiwan. The NTD60 million design was commissioned to cover Shuiyuan Market in the city’s Gongguan business district as part of the Taipei City Government’s “Taipei Beautiful” project.

Yaacov Agam's 'The Heart of the Fountainhead' covers Taipei City's Shuiyuan Market.

Catherine Shu, in a feature article published in the Taipei Times, describes the work, titled The Heart of the Fountainhead, as such,

It encompasses the exterior of Shuiyuan Market near National Taiwan University, with rainbow-colored panels concealing air conditioners (which Agam refers to as “visual aggression”). The centerpiece is a giant mural facing Roosevelt Road that relies on audience participation to fully blossom. From the left of the artwork, viewers see a blue and white grid, with ovals, circles and triangles sparsely interspersed throughout. From the right is a geometric rainbow that spirals into a white center.

In this same article, Agam describes his work:

The artwork I call unity and diversity, because [on one side] you have this composition, it is only blue and white and then you have the other side, which is all color. The two are different, so you can call it the yin and yang. [The right side] is like the positive, with the revolving lines, the spiral and the color. It’s positive like the movement of life and then the other side is the opposite, with no color.

This is not Agam’s first project in Taiwan; two years ago he erected an installation titled Peaceful Communication for the World, consisting of a number blocky colorful columns, at the Kaohsiung National Stadium. It was one of five public artworks created by world-renowned artists, invited during the building of the stadium.

Yaacov Agam's 'Peaceful Communication for the World' at the Kaohsiung National Stadium.

This could explain why, as stated on the Park West Gallery Art Blog, “when the Taipei City Government decided a renovation was in order for Shuiyuan Market, they immediately invited Agam to design a large-scale public artwork.”

According to the Taipei City Government’s Department of Culture Affairs, The Heart of the Fountainhead “is the first super-size polymorph creation in Asia.”

KN

Related Topics: public art, kinetic art, Israeli artists, utopian art

Related Posts:

• First Hong Kong solo for Korean artist sculptor artist Lee Jae-Hyo – July 2010 – Lee expresses similar utopian ideals in his sculptures to those embodied in the work of Agam
• What is street art? Top 5 street artists in the art world – Part II – March 2010 – part two of an exploratory two-part series on a very different form of public art
• What is street art? Vandalism, graffiti or public art – Part I – January 2010 – part one of an exploratory two-part series on a very different form of public art
• Property companies splurge on art in Hong Kong, recent trend – June 2009 – outlines the trend as noticed by Hong Kong publication Time Out
• Guide to the art scene Tel Aviv, Israel – New York Times – November 2008 – an older post but still a relevant summary of what to visit when in Tel Aviv

Subscribe to Art Radar Asia for more on high-profile public art projects

Is China shooting a cultural missile at Taiwanese art? Taipei Times examines

CHINA TAIWAN CULTURE CROSS-STRAIT RELATIONS

More on China’s use of cultural power to influence social change

In January this year Art Radar Asia published a summary of an article printed in Canada’s Toronto Star regarding the Chinese government’s use of the “soft power” of the arts for international influence, specifically their growing recognition that media and culture can be a powerful tool to spread political, social and economic ideologies beyond its borders.”

Drunken Beauty, the star attraction in a recent popular Taiwanese exhibition of works by Chinese artist Liu Linghua. source

In a recent editorial in the Taipei Times, J. Michael Cole develops this notion further, discussing the possibility that Beijing is beginning to proactively and openly push Chinese culture into Taiwan, hoping to increase acceptance of its “one China” policy.

Under President Ma Ying-jeou, there has been a strong push by both China and Taiwan to better develop cross-strait relations and this has meant that the creative industries of both countries have been “cross-pollinating”. Coles warns that this could lead to “an assault on the Taiwanese consciousness through cultural means. By dint of repetition and subtle changes here and there (on television, in schoolbooks and academic forums), the Chinese plan could succeed in eroding Taiwanese cultural identity – at least to a certain extent.”

But just how much influence can this cultural “soft power” have on a nation with such a strong cultural identity. As Cole counteracts, “The willingness of Taiwanese to engage in more discussions with Chinese, to watch Chinese movies, attend Chinese art expositions (or gaze at pandas) is simply natural curiosity. By no means does this signify, however, that by doing so Taiwanese accept the so called Chinese nation…”

Rare artworks from China’s Palace Museum went on display in Taiwan’s National Palace Museum during a three month exhibition in late 2009. source

So, while the Chinese government has made it clear that their “cultural influence is no mere collateral – it is, in fact, the tip of a missile aimed straight at the heart,” Cole writes that “if Beijing subscribes to the belief that interest in seeing things Chinese means acceptance of its dominion over Taiwan, it is in for a very unpleasant surprise.” It does seem, however, that “for Beijing, nothing is sacred, or off limits, in its pursuit of unification.”

You can read the full editorial on the Taipei Times website: Beijing sees culture as a weapon J. Michael Cole, 5 March, 2010.

KN/KCE

Related Posts:

• Three sculptors who influenced the Taiwanese art landscape: Yang Ying-feng, Ju Ming and Pu Hao-ming – February 2010
• China to use “soft power” of arts for international influence – January 2010
• Touring Taiwan: 50 of Taiwan’s top artworks on display at the Busan Museum of Arts, Korea – January 2010
• Top 6 research sources for contemporary Chinese art by Asian art history major – January 2010
• Which museums are collecting Chinese contemporary art? New database just released – November 2009