{"id":9143,"date":"2020-09-13T18:52:37","date_gmt":"2020-09-13T09:52:37","guid":{"rendered":"http:\/\/ga-beta.geidai.ac.jp\/2020\/09\/13\/not-in-this-image\/"},"modified":"2020-09-14T15:57:57","modified_gmt":"2020-09-14T06:57:57","slug":"not-in-this-image","status":"publish","type":"post","link":"https:\/\/geidai-ga.warpjapan.com\/en\/2020\/09\/13\/not-in-this-image\/","title":{"rendered":"NOT IN THIS IMAGE"},"content":{"rendered":"
\n

Not in this Image<\/span><\/h2>\n

\"\"<\/a> <\/p>\n

Not in this Image
\nDate\uff1a2020 September 11th – November 22th
\nPlace\uff1aKuandu Museum of Fine Arts\uff08Taipei National University of the Arts\uff09
\nArtists\uff1aLyota Yagi, Akihiko Taniguchi, Mari Matsubara, Hsu Chun Yi, Randy Yang, Hsieh Yu Cheng
\nCurators\uff1aJin Qiuyu, Hsu Chun Yi<\/p>\n

\u203bClicck here<\/a> for further information<\/p>\n

Jin Qiuyu, Curator<\/p>\n

The contemporary image, be that on the end of production or reception, attaches too much emphasis on content loading and reading. As a result, people spare no effort to load more mediums on one single image. Either the use of technology or the excessive reliance on exhibition space, for instance, turns out to limit the plasticity of image itself. The term \u201cviewing\u201d seems conditioned by production like \u201cfilmmaking\u201d or \u201cproducing.\u201d Although we have higher freedom of operation toward visuals nowadays, all these are in fact merely perceptual changes pre-manufactured by data computing. That is, people are losing their agency in \u201cviewing\u201d while the relationship between the viewer and viewee appears to be unidirectional.<\/p>\n

Hence, while we enhance senses and messages, do we overlook the imminent yet fleeting mental image that dwells only in individual consciousness? For example, prior to the manifestation of image, it requires matters such as machines, mediums, and materials, whereas we always treat them as the very existence of image. Nevertheless, its true manifestation, i.e. the experience gained by viewers and the part rendered along with imagination and contemplation, is in reality hard to be represented. Situated on the other side of the margin, nearly invisible, it is the key to direction association between the image itself and the existence thereof, nonetheless. Yet, the encounter with the image are not to be interpreted via more discourses and knowledge, but to retard perceptions to attain a new one. Such requirement is literally a decrease of viewing\u2019s intensity instead of an increase of more feelings granted.<\/p>\n

The Exhibition focuses on the images \u201coutside\u201d of works \u2013 that cannot be seen here and now. Then, it reconnects and circulates within viewers, reversing the \u201cinvisible\u201d into the foundation that constitutes visuals. Can we remove the content and leave only the surface of image made of matters that emit light, and allow work to co-construct an interface that engages exchanges directly with the imagination and contemplation of viewers through the Exhibition? To name a few from the participating artists, Mari Matsubara\u2019s work, through the verification of the image\u2019s uncertainty, arrives in front of viewers at last, whereas Akihiko Taniguchi overlaps the work with the mental dimension of viewers to reflect the intention thereupon. If a work is a \u201csmall image,\u201d the exhibition as a whole is the \u201cbig image\u201d comprising all the works. The Exhibition does not write more images and files, nor does it seek supports for narratives and plots. Instead, it endeavors to depict a field of view close to emptiness. These empty images are not suggesting a collective withdrawal, but collectively referring the venue not in here. It stands without while dwells deep within image. The boundary that determines the form of image is in no way pre-defined, but present in the fleeting moment where sight and image encounter.<\/p>\n","protected":false},"excerpt":{"rendered":"

The Exhibition focuses on the images \u201coutside\u201d of works \u2013 that cannot be seen here and now. Then, it reconnects and circulates within viewers, reversing the \u201cinvisible\u201d into the foundation that constitutes visuals. Can we remove …<\/p>\n","protected":false},"author":2,"featured_media":9139,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"post_series":[],"class_list":["post-9143","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-events-en","entry"],"_links":{"self":[{"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/posts\/9143","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/comments?post=9143"}],"version-history":[{"count":0,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/posts\/9143\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/media\/9139"}],"wp:attachment":[{"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/media?parent=9143"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/categories?post=9143"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/tags?post=9143"},{"taxonomy":"post_series","embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/post_series?post=9143"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}