Fragment with Dusty Light
Tang Contemporary Art,Seoul
June 4 to July 10, 2022
Exhibition view of Fragment with Dusty Light,Tang Contemporary Art,Seoul
Exhibition view of Fragment with Dusty Light,Tang Contemporary Art,Seoul
Fragment with Dusty Light
Chen Yujun, Li Qing, Marion Bataillard, Niam Mawornkanong, Qin Qi, Rodel Tapaya, Wu Wei
June 4 to July 10, 2022
Tang Contemporary Art is proud is announce our new group exhibition “Fragment with Dusty Light” opening on June 4th, 2022. We shall present excellent pieces from seven artists: Chen Yujun, Rodel Tapaya, Marion Bataillard, Niam, Qin Qi and Wu Wei.
I was trying to love matter.
I taped a sign over the mirror:
You cannot hate matter and love form.
---- Louise Glück, “Archaic Fragment”
Pure conversational tones are often limited, as Glück said in her poem, fragmented records of the new have replaced eternal moments of the old. Matter and form have become fragmented signs or chaotic slogans, their presentation altered completely within different contexts and repetitions.
The artists from this show use their works to catch glimpses of live and self, presenting an obstinate form of beauty through the touch of matter and the conversations of form. The regrouping of these fragmented images and textures resulted in Li Qing’s editing of secular landscapes, Rodel Tapaya’s mingling of myth, life and textual tensions, Chen Yujin’s taciturn yet scopious views of life, Qin Qi’s reconstruction of the rules of painting, Wu Wei’s sensual touch to the grafting of traditional cultural perceptions, Niam’s remodeling of scenic and color experimentations, and Mation Bataillard’s delicate portrayal of urban delights. Together they build a new visual link from a fragmented cycle; supported by perpetual numerical documentations of matter and form, they establish visual and narrative principles outside the laws of disorder.
Through these works, the capture and depiction of fragments resemble the redefinition of residual value. Their dusty light is the wisdom of a reserved mindset. Tantalizing visualizations of a diaspora of fragments draw attention and understanding. There is no change in either observation or scenery in a repeated loop, yet we still strive to be that one keen observer, who blurs the boundary between capture and scrutiny. In our pursuit, these works become the undefined anchor points, providing a haven from the worldly sight we are so keen to envision.
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