Asia Art Center (Taipei, Beijing) is pleased to announce the opening of the Chu Weibor, Fong Chung Ray duo exhibition at Booth 3D35 in 2018 Art Basel in Hong Kong.
When it comes to the postwar art development in the ethnic Chinese regions, Chinese Nationalist Realism, the “art form” employed in the Cultural Revolution in the 1960s. Taiwan does not seem to exist in the realm of global art.
In fact, in the 1960s, the joint effort of “Eastern Art Association” and the “Fifth Moon Group” with the flourishing art associations throughout Taiwan enabled a thrive in the development of art. The progressiveness of this generation of artists had in turn projected a great influence on its successors. With the introduction of modern art concept, coupled with an approach that integrated the East and West, a powerful stance was thereby proposed.
The Eastern spirit is not wistful nostalgia but an issue of value. If one were to categorize “contemporary art” as a kaleidoscope of our society since the 1980s, a time when constant calls for reforms and freedom echo through the air, there must be a so-called “contemporary” in the 1960s: the then revolutionary prowess and resilience are well-worth our time to rediscover and properly position them in history after the 60 years since the war ended. In its recent history until now, Taiwan has faced a 50-year-long colonization by the Japanese and a 38-year-long period of martial law following Kuomintang’s retreat to Taiwan; this tiny island has long been rid of its voice, passively allowing foreign political regimes to dominate and intervene in its cultural development. We must know the origin of Taiwan’s modern art and its development as it sat in the rift separating the two confronting sides in the chilling Cold War era, and how Taiwan was able to retain its local, cultural identity as it witnessed the great and absolute influence of Cold War – what is more, the development of art of this place as well as the continuation and regurgitation of the art discourse coming from the East, the West, China, Taiwan and Japan have identified the complexity in Taiwan’s identity. Asia Art Center has been an active contributor to the Chinese art scene for 35 years, and we curate the duo exhibition for 89-year-old Chu Weibor and 84-year-old Fong Chung Ray where history and form are compared and contrasted in Art Basel Hong Kong in 2018, proudly illustrating the fact that the one of the luckiest draws in Chinese culture occurred in Taiwan. The robust city of art – Hong Kong – will be where Asia Art Center, the Eastern Art Association and the Fifth Moon Group bring forth our shared value.