“Ouverture,À l’inconnu”Post date：2024-03-14
Updates：2024-03-21
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- Event Time
- 2024-03-23~2024-04-13Mon. - Sun. 13:00 - 18:00
- Event Location
- No. 222, Shidong Rd.,, Shilin Dist., Taipei City Taiwan, R.O.C
Palm Gallery will host an international joint exhibition “Ouverture,À l'inconnu”featuring emerging artists from around the world in March. The exhibition will bring together nine artists from six countries, including France, the United States, Chile, the United Kingdom, South Korea, and Sweden, showcasing their captivating works. In his 1967 publication "The Society of the Spectacle" (La Société du spectacle), French philosopher Guy-Ernest Debord proposed, "The spectacle is not a collection of images but a social relation among people, mediated by images." This group exhibition will analyze the artists' creations from various perspectives, discussing their unique visual narratives.
The formation of the society of the spectacle involves not only control over values and consumer aspects but also imposes an unusually strict mechanized aesthetics on individuals. This is evident in Oli Epp's exploration of anxiety in the digital age through painting. Themes of consumerism and consumption leading to control and addiction are closely related, as the ultra-smooth canvas attempts to mimic screens, playing with the physicality of surfaces. Unwilling to be confined to the fixed aesthetics of the society of the spectacle, Laure Mary creates a world interwoven with tenderness, innocence, violence, and vibrant storytelling. She outlines deformed creatures that do not exist in reality, narrating fragmented ancient tales.
In today's increasingly homogenized contemporary society, people's perceptions of beauty become gradually uniform, overshadowing the subtleties of individuals and their inner selves. Tom White, passionate about portraiture, doesn't aim for realistic depictions of individuals but explores how to portray characters' personalities using the materiality of paint, achieving authenticity in both appearance and essence. Katherine Bradford uses emotionally charged colors to depict the underlying currents between individuals, families, and communities. The sparkling canvas can represent a galaxy scattered across the night sky or the swirling tumult of the human world. Minyoung Kim quietly reveals her sincere emotions hidden within, especially those difficult to express feelings. Her gentle strokes narrate ironic and fantastical adventures, infused with some feminine and cute elements. Daniel Fleur's canvas is like a window, connecting to the intimate perspectives within each person's heart. His fascination with depicting hands adds depth, as hands reveal a person's social status, age, and gender. The viewer becomes a voyeur, observing from the shadows, participating in another person's life in a unique way. Lucile Gauvain strives to explore the theme of reality and illusion. Inspired by film stories and moving images, she creates a fictional world beyond reality, portraying interactions of ordinary people in non-traditional spaces, incorporating surrealistic elements into her works.
If beauty and spectacle become external crowns, forgetting the essence and process of things reduces the spectacle to trivial and redundant externals. Marco Bizzarri addresses issues of memory and commemoration through painting, installations, and videos. By delving into the materiality of image language, he creates a blurred and ambiguous new context, enveloping the streets with nostalgic atmospheres of furniture and window views.
The society of the spectacle has repeatedly become a philosophical issue inspiring artists, influencing them in various ways through its texts and extended concepts. The eighteen works presented in this exhibition aim to rekindle deeper emotions between individuals and memories, as well as between individuals and communities, through the power of philosophical contemplation.
The spectacle is not a collection of images, but a social relation among people, mediated by images.
The formation of the society of the spectacle involves not only control over values and consumer aspects but also imposes an unusually strict mechanized aesthetics on individuals. This is evident in Oli Epp's exploration of anxiety in the digital age through painting. Themes of consumerism and consumption leading to control and addiction are closely related, as the ultra-smooth canvas attempts to mimic screens, playing with the physicality of surfaces. Unwilling to be confined to the fixed aesthetics of the society of the spectacle, Laure Mary creates a world interwoven with tenderness, innocence, violence, and vibrant storytelling. She outlines deformed creatures that do not exist in reality, narrating fragmented ancient tales.
In today's increasingly homogenized contemporary society, people's perceptions of beauty become gradually uniform, overshadowing the subtleties of individuals and their inner selves. Tom White, passionate about portraiture, doesn't aim for realistic depictions of individuals but explores how to portray characters' personalities using the materiality of paint, achieving authenticity in both appearance and essence. Katherine Bradford uses emotionally charged colors to depict the underlying currents between individuals, families, and communities. The sparkling canvas can represent a galaxy scattered across the night sky or the swirling tumult of the human world. Minyoung Kim quietly reveals her sincere emotions hidden within, especially those difficult to express feelings. Her gentle strokes narrate ironic and fantastical adventures, infused with some feminine and cute elements. Daniel Fleur's canvas is like a window, connecting to the intimate perspectives within each person's heart. His fascination with depicting hands adds depth, as hands reveal a person's social status, age, and gender. The viewer becomes a voyeur, observing from the shadows, participating in another person's life in a unique way. Lucile Gauvain strives to explore the theme of reality and illusion. Inspired by film stories and moving images, she creates a fictional world beyond reality, portraying interactions of ordinary people in non-traditional spaces, incorporating surrealistic elements into her works.
If beauty and spectacle become external crowns, forgetting the essence and process of things reduces the spectacle to trivial and redundant externals. Marco Bizzarri addresses issues of memory and commemoration through painting, installations, and videos. By delving into the materiality of image language, he creates a blurred and ambiguous new context, enveloping the streets with nostalgic atmospheres of furniture and window views.
The society of the spectacle has repeatedly become a philosophical issue inspiring artists, influencing them in various ways through its texts and extended concepts. The eighteen works presented in this exhibition aim to rekindle deeper emotions between individuals and memories, as well as between individuals and communities, through the power of philosophical contemplation.
The spectacle is not a collection of images, but a social relation among people, mediated by images.
