The Activity and Art Practice about Aichin and Iming | Rao Aichin — Fermentation Between Northwest and Southeast & Iming Mavaliw —Living in the MountainsPost date：2023-05-23
Updates：2023-05-23
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- Event Time
- 2023-03-31~2023-07-02Tue.- Sun. 10:00 - 17:00
- Event Location
- No.1, Syueyuan Rd., Beitou Dist., Taipei City Taiwan, R.O.C
Rao Aichin—Fermentation between Northwest and Southeast
Fermentation between Northwest and Southeast shows a journey Rao Aichin had on which she created artworks while living her life from 1999 to 2023. The journey is woven out of her oil paintings, artistic act, and material experiments all together.
Rao created her very own ways of oil painting. One is to, right at the beginning of creation, step into the ring of “observing color intuitively” and to slip into color’s eagerness for shapes. Another is that, during her long stay in the wild, she observed the surroundings and changes. Especially, she repeatedly depicted Shitiping in Makotaay. And the other is to mix the above two ways so that she could recreate, recall, catch, and feel once again those unique moments in life. In the process of oil painting, both the active deployment of external environment and the self-forced display of internal time and space created “wait time” and formed a directional line pointing towards “pre-artistic-creation”. After repeatedly laying down layers of paint and keeping all marks, Rao let color itself remain its temporary images while flowing freely without framing by any shape. Finally, to arrange the process and leave a nomadic mark on a canvas, Rao selected each and every mark and interpreted them.
Living in the Mountains Solo Exhibition of Imin Mafaliw
Like many indigenous artists living in tribal villages, Imin organically integrates his works and daily manual labor, from fishing and hunting for everyday life and collecting driftwood for his art practices. The physical practice of collecting the materials allows the artist to experience the journey of death and rebirth that driftwood takes. Just as prey is more than food for hunters, driftwood is way beyond material for artists, but material for the identity of life and learning. Imin reshapes driftwood, a material with a unique sense of life forged by displacement, into a song of a border exile’s soul – an individual who resists being assimilated by urban civilization in the face of the pervasive control of globalized capitalism. The inner exile, who feels displaced even if they stand on their own land, shares a similar destiny with driftwood, both on the margin of civilization.
Fermentation between Northwest and Southeast shows a journey Rao Aichin had on which she created artworks while living her life from 1999 to 2023. The journey is woven out of her oil paintings, artistic act, and material experiments all together.
Rao created her very own ways of oil painting. One is to, right at the beginning of creation, step into the ring of “observing color intuitively” and to slip into color’s eagerness for shapes. Another is that, during her long stay in the wild, she observed the surroundings and changes. Especially, she repeatedly depicted Shitiping in Makotaay. And the other is to mix the above two ways so that she could recreate, recall, catch, and feel once again those unique moments in life. In the process of oil painting, both the active deployment of external environment and the self-forced display of internal time and space created “wait time” and formed a directional line pointing towards “pre-artistic-creation”. After repeatedly laying down layers of paint and keeping all marks, Rao let color itself remain its temporary images while flowing freely without framing by any shape. Finally, to arrange the process and leave a nomadic mark on a canvas, Rao selected each and every mark and interpreted them.
Living in the Mountains Solo Exhibition of Imin Mafaliw
Like many indigenous artists living in tribal villages, Imin organically integrates his works and daily manual labor, from fishing and hunting for everyday life and collecting driftwood for his art practices. The physical practice of collecting the materials allows the artist to experience the journey of death and rebirth that driftwood takes. Just as prey is more than food for hunters, driftwood is way beyond material for artists, but material for the identity of life and learning. Imin reshapes driftwood, a material with a unique sense of life forged by displacement, into a song of a border exile’s soul – an individual who resists being assimilated by urban civilization in the face of the pervasive control of globalized capitalism. The inner exile, who feels displaced even if they stand on their own land, shares a similar destiny with driftwood, both on the margin of civilization.
