Chang：An Exhibition of Contemporary Art: Daxiang Art Space / Chushih Artist Space, Hsinchu

I have decided to hold an exhibition on the theme of Chang after constant reflections on methodology and the theory of knowledge. Most people take Chang to mean “scene,” or perhaps they may connect it with “space” and “boundary.” They may form “relationship” from knowledge of Chang and “human” and “object.” Then, there are some that see Chang as: sky, earth, and human; or “the way of the Tao.” Today, however, I do not wish to discuss Chang with the Tao.

I have invited eight artists, whose artwork relates to my ponderings on Chang, to participate in this exhibition. They are: Wang Guangle, Shi Jin-Hua, Liu Xuguang, Li Huasheng, Zhang Yu, Song Dong, Qin Yufen, and Xu Hongming. These artists’ art—regardless of differing perspectives, media used, levels of awareness, and methods—possesses an intimate connection with the multi-faceted Chang. I believe this to be very significant. Here, I outline what I believe Chang is.

The descriptions just mentioned above are somewhat distant from the Chang that I am discussing. In my opinion, none of them firmly grasp the key thing about Chang. Hidden within the state of being that is Chang, lies an easily ignorable problem that few have considered. It is an internal problem of the core. Chang equals process. Because all problems manifest in the process. In the process, Chang not only includes “space,” but also “connections” and “speculation.”

I want to talk about Chang because it is an important problem that cannot be avoided nor ignored when looking at aesthetics from the point of view of the Asian world view.

Chang is not “scene.” Chang is the “process” of artistic expression. Mainly, this process reflects multiple relationships and connections. In these multitudinous relationships and connections, “speculation” is formed. And because there is “speculation” this process constitutes a form of expression. In other words, Chang can act as a cut in point for artistic expression. In looking at the concept of Chang, my goal is to explore possibilities of artistic expression beyond representational art and abstract art.

In truth, wisdom comes from knowledge. In the same way, methodology is confirmed by theory of knowledge. Methodology is born of knowledge; it originates from concepts.

In regards Chang, I take particular note of: first, artistic expression obtained through knowledge and method, which shows up the artistic process itself that this method reveals; second, the speculative nature of the connections and knowledge of the artistic process; and third, the intuitive reflections of the medium used in the artistic process.
As I see it, “process” is the core of Chang, as well as the core of the artwork. “Speculation” is the deepness of Chang, as well as the deepness of the artwork. Therefore, I believe that Chang equals “process.” It wants to be linked with “space” and “boundary,” and to be connected with “man” and “object.” “Process,” “connection,” and “speculation” form the basis of Chang.

Due to different methods, Chang can manifest in different concrete forms and substances. The participating artists each have their unique methods. What their art has in common is purity, even simplicity or repetition. Through repetitive interpretation of the significance and speculative nature of the process itself, a formless deepness is obtained.

I am certain that Chang is not simply the concept of observable space. Rather, Chang is the knowledge and concepts of which the artist is objectively certain. This concept is open and opened up. The process of opening up is establishing the certainty of the connections of Chang; and it is the most intriguing aspect of this Chang of the artistic process. Therefore, I see Chang as a concealed method of showing an artistic message.

In other words, Chang has no in between; it is the sum of the seen and unseen. This Chang is revealed to us when we use our own methods to experience and know the reflected intuition of human, object, and expressive media in the process, and realizing or manifesting the speculation and boundary within it.

In one way, Chang is the artist’s expression of disdain and repudiation toward representational art, as well as an expression of doubt toward Western abstract art. In another way, this kind of thinking and expression further shows the world view, epistemology and artistic view of Chinese culture and art, which transcends time and space. We advocate the originality of artistic work and promote intellectuals’ aesthetic theories. From this, an aesthetic knowledge system of contemporary art can be attained of our own initiative. Perhaps, contemporary Asian art can open a new window for the art world once more.