Post date:2025-01-17
Updates:2025-01-17
89

- Event Time
- 2025-01-17~2025-05-04Tue. - Sun. 10:00 - 18:00
- Event Location
- NO.39 Chang-An West Road,, Zhongshan Dist., Taipei City Taiwan, R.O.C
All languages are inherently abstract, though some are more so than others.
—George Orwell
As the foundation for conveying messages, language provides a shared standard that makes our communication relative and enables us to achieve different goals. Because of its high compatibility and a certain degree of universality, language often serves as the dominant instrument for us to describe and interpret the world and the things in it. However, its dominance is transformed in contemporary art into a different indicator for pursuing creativity.
What is it that the body has already felt but language has yet to capture?
The exhibition, No Language, is not a process of portraying how artistic creation opposes the systemic classification of language but instead reveals refractions that show how artists pursue spirituality in materiality, inspiration in interpretation, and transcendence in reality.
In every era, creativity has always struggled. Today, one of the dilemmas we face is an “excess” generated by the highly mediated world. As algorithms cater to our preferences, we have become aware of numerous possibilities, which do not necessarily guarantee more and richer experiences. This is like we are standing in a rock-climbing gym, dressed in brand-new gear, staring absentmindedly at the colorful, towering rock walls. We may discuss the climbing paths that others take and analyze their physical capacities, living their adventures vicariously. While the scent of sweat permeates the air conditioning, the tags on the newly bought activewear remain on the clothes. We are constantly aware of being too slow due to the “excess”; our actions are hindered by hesitation despite the longing to sweat. Somehow, we still hope to microwave our passion in a rush. So, instead of asking questions, we binge-watch, eventually entering an endless loop of being repeatedly splashed by self-imagination and becoming models trained by artificial intelligence (AI).
Through browsing, unconscious navigation transforms into conscious wandering.
We can maybe view the “excess” as a fresh opportunity to create a gaze through browsing, just like creating an AI language model, which approaches the world by inferring connections between things using big data. Although AI makes predictions based on “known” data and differs from art that explores “the unknowable” in the realm of the unknown, it is possible for the “excess” to hold creative potential if a new order could be created within the boundaries of awareness. In this context, art has long been pursuing the “feeling model” that the “language model” fails to deliver. The reason for this lies in the fact that AI aims for efficiency with specific objectives, while art seeks the value of existence—a feeling that remains inherently abstract despite our endless attempts to define it.
Featuring mid-generation and emerging artists in Taiwan, this exhibition represents their achievements in creating resonances in the process of surpassing the mere generation of issue-related criticisms and their intellectual thresholds. It also offers more modest insights compared to the endless accumulation of fieldwork. They assume the position of “the other” in the language system and try to weave the distant unknown, which is always abstract and gives rise to clarity that, in turn, introduces fresh possibilities for universality.
—George Orwell
As the foundation for conveying messages, language provides a shared standard that makes our communication relative and enables us to achieve different goals. Because of its high compatibility and a certain degree of universality, language often serves as the dominant instrument for us to describe and interpret the world and the things in it. However, its dominance is transformed in contemporary art into a different indicator for pursuing creativity.
What is it that the body has already felt but language has yet to capture?
The exhibition, No Language, is not a process of portraying how artistic creation opposes the systemic classification of language but instead reveals refractions that show how artists pursue spirituality in materiality, inspiration in interpretation, and transcendence in reality.
In every era, creativity has always struggled. Today, one of the dilemmas we face is an “excess” generated by the highly mediated world. As algorithms cater to our preferences, we have become aware of numerous possibilities, which do not necessarily guarantee more and richer experiences. This is like we are standing in a rock-climbing gym, dressed in brand-new gear, staring absentmindedly at the colorful, towering rock walls. We may discuss the climbing paths that others take and analyze their physical capacities, living their adventures vicariously. While the scent of sweat permeates the air conditioning, the tags on the newly bought activewear remain on the clothes. We are constantly aware of being too slow due to the “excess”; our actions are hindered by hesitation despite the longing to sweat. Somehow, we still hope to microwave our passion in a rush. So, instead of asking questions, we binge-watch, eventually entering an endless loop of being repeatedly splashed by self-imagination and becoming models trained by artificial intelligence (AI).
Through browsing, unconscious navigation transforms into conscious wandering.
We can maybe view the “excess” as a fresh opportunity to create a gaze through browsing, just like creating an AI language model, which approaches the world by inferring connections between things using big data. Although AI makes predictions based on “known” data and differs from art that explores “the unknowable” in the realm of the unknown, it is possible for the “excess” to hold creative potential if a new order could be created within the boundaries of awareness. In this context, art has long been pursuing the “feeling model” that the “language model” fails to deliver. The reason for this lies in the fact that AI aims for efficiency with specific objectives, while art seeks the value of existence—a feeling that remains inherently abstract despite our endless attempts to define it.
Featuring mid-generation and emerging artists in Taiwan, this exhibition represents their achievements in creating resonances in the process of surpassing the mere generation of issue-related criticisms and their intellectual thresholds. It also offers more modest insights compared to the endless accumulation of fieldwork. They assume the position of “the other” in the language system and try to weave the distant unknown, which is always abstract and gives rise to clarity that, in turn, introduces fresh possibilities for universality.