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持景行走   Into a Compound Scene






展期|2023.01.13(五) – 06.28(三)

開放時間|09:00 – 17:00



Into a Compound Scene

Curator|Lin Yu-Hsuan

Co-Curator|Huang Yu-Jie

Artist|Lin Yin-Chieh , Hsu Yen-Ting , Frank Tang Kai-Yiu , Liu Yu-Ting , Kwong Kui-Choi


Open Time|9:00-17:00

Venue|New Taipei Gallery(3F., No. 166, Hansheng E. Rd., Banqiao Dist., New Taipei City)








The exhibition Into a Compound Scene features the works by artists from Taiwan and Hong Kong, including Lin Ying-Chieh (Taiwan), Hsu Yen-Ting  (Taiwan), Frank Tang Kai-Yiu(Hong Kong), Liu Yu-Ting (Taiwan), and Kwong Kui-Choi (Hong Kong), seeking to compile personal records of contem-porary collective consciousness from their respective positions. In our modern life and experi-ence of frequently in motion, popular scenic spots, historic sites, architectural landmarks, or monuments not only serve as our tour guides, but also reveal the way in which a place unfolds its history. This exhibition considers the creation of these memorial scenes as a “landscaping” process. It on the one hand testifies to the existence of historical time, and on the other hand offers a glimpse into the previous manipulation and imagination of politics, landscapes, nature, and national consciousness. If such scenes symbolize the establishment of collective memories, is it possible to measure collective identities by appropriating, reproducing, and redrawing these “symbolic centers” in works of art with personal memories as the yardstick?


The New Taipei Gallery, the venue for this exhibition, is located on the 3rd floor of the Guoding Building in Banqiao, New Taipei City. The public area in the building’s interior is designed as an atrium-like open space. The multiple entrances and exits make the venue a route that the resi-dents must use every day. The exhibition Into a Compound Scene brings in such sui generis quality of publicness and synchronizes it with the artists’ personal footprints made in their re-spective works. This exhibition begins with Frank Tang Kai-Yiu’s work Our Audible City. Employ-ing cartography and painting, it takes the visitors on a tour of the symbols existing amid the multitude, history, and nature in Hong Kong. His dispositif of the objects in the composition points to an alternative way of understanding Hong Kong’s historico-cultural development. Lin Ying-Jie’s spatial installation Circle City owes its inspiration to her recent rumination on politics and monuments. Treating the local square where the tides of people converge as a transitional space in the city, this work invokes the metaphor of flowing “water” to represent the precari-ous concepts of identity and state. Using water as a connective medium, Hsu Yen-Ting’s work Waterland can be deemed a response to the common border between nature and humanity. Highlighting the symbiotic voices of people and the ocean, this work not only explores but also enquires into the relations among water, land, nature, and artificial environments.


Kwong Kui-Choi’s painting series A Disappeared Traveler starts from Hong Kong Tourist Yellow Pages (published in 1983) he bought at a used-book store in Taipei. He deliberately blurs the tourists’ faces in the illustrations, guiding the viewers through the paintings to revisit the less-er-known places around Hong Kong and even the places he can’t confirm whether they still ex-ist. The blurred images and personal imagination thus intertwine to form a series of scenes of contemporary Hong Kong. This exhibition also includes Liu Yu-Ting’s video installations Stone Skipping and Floating Man. His single shot gives prominence to the protagonist’s floating and sinking in the water that offset each other. This physical phenomenon is used as a metaphor for the political power of contemporary imaging. Moreover, the viewers are invited to feel the ripples made collectively by the real body and the image through the motion of the rocking chair installation.


The exhibition Into a Compound Scene applies the development of Taiwan and Hong Kong as its index. Adopting a microscopic perspective of regional narratives and beginning with politically charged spaces, buildings, images, media and displays, this exhibition attempts to rediscover how natural features, urban textures and historical structures resonate with people who live therein, and to investigate how individual perceptions underneath the grand history can speak for themselves. A spatial scene loaded with human experience, temporal rhythm and historical trajectory help us identify the boundaries among space, objects and ourselves. It’s meant not so much to connect with the past as to call attention to the reality and logic formed by the social sphere and the body of the time, so as not to be ignored.







主辦單位 |新北市政府

承辦單位 |新北市政府文化局、新板藝廊


感謝單位 |安全口畫廊

Educational Program|Hsu Ting-Jane

Graphic Designer|izhii

Technical Support|Lin Yan-Xiang, Hou William,Yang Sam ,Lai Ko-Wei

Translator|Wang Sheng-Chih, Liao Hui-Fen

Supervisor|New Taipei City Government

Organizer|Cultural Affairs Department, New Taipei City Government, New Taipei Gallery

Co-organizer|Forming Project

Special Thanks|Gallery EXIT

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Kwong Kui-Choi, A Disappeared Traveler,2023

截圖 2024-02-14 凌晨12.16.30.png

鄧啟耀,聽得見的城市 - 虎豹別墅、東蓮覺院、大館,2019

Frank Tang Kai-Yiu, Our Audible City - The Haw Par Mansion, Tung Lin Kwok Yuen, Tai Kwun, 2019


Lin Ying-Chieh, Circle City 2023


Hsu Yen-Ting, Waterland at the New Taipei Gallery, 2023


Liu Yu-Ting, The Man Who Floats, The Man Who Skips a Stone, 2023

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