#hsiang art

[small-bambi]

Harrison Wood Hsiang

[psikonauti]

Chao Chung-hsiang (Chinese,1910-1991)

Cosmic Eye, 1980

Ink and acrylic on paper mounted on canvas

[shihlun]

A One and A Two: Edward Yang Retrospective

Taipei Fine Arts Museum, 2023.

[ciccerone]

[abwwia]

He Xiangning; 何香凝; Ho Hsiang-ning

#bornOnThisDay He Xiangning  (Chinese: 何香凝; Wade–Giles: Ho Hsiang-ning; 27 June 1878, Hong Kong – 1 September 1972, Beijing) was a Chinese revolutionary, feminist, politician, painter, and poet. via Wikipedia #PalianSHOW

[exitwound]

hey! that deer art was stolen and reposted without credit. i reblogged the original post earlier so i still have the link to the original comic if you want to read it (it’s really beautiful) tumblr com /small-bambi/765163331013230592/harrison-wood-hsiang

ohhh thank you for telling me! wow… it is https://www.tumblr.com/small-bambi/765163331013230592/harrison-wood-hsiang

[definitelypreventable]

Wish I knew what to call my favorite art styles so I can find more art like it. I’d never thought about asking what style a piece is until now but now I can’t even if I want to bc I’ll just look like some prompt generating weirdo :(

I deeply want to learn to do stuff like @celestial-fang, unrefle, wlop, Vector Tenoimu, Tayumeru, Lucia Hsiang, KanLiu, @yuumei-art, @pianta, @sillychaotic, @hskachu, and Nenek Hani

Those first two especially I could stare at forever. I think what I like is how they work with color.

I’m also trying to find an artist I want to do a lineart study on or something… I really like Tenoimu for that I think…

[manukyan]

The 59th Golden Horse Awards｜Nominations｜最佳改編劇本 from Bito on Vimeo.

The 59th Golden Horse Awards｜Nominations

Designed by Bito

Creative Director｜Keng-Ming Liu Art Director｜Weahao Shao Project Manager｜Wen-Hui Chen Account Manager｜Naiyun Peng

Ideation｜Weahao Shao Styleframe｜Weahao Shao, RouJia Liang, Chin-Ho Kao, Boris Hsieh, Lu-Wen Hou, Joe Yang, Derrick Liu, Binbin Lu 3D Animation｜Weahao Shao, RouJia Liang, Chin-Ho Kao, Boris Hsieh, Henry Chen, Yen Ke 2D Animation｜Johnny Yang, Binbin Lu, Pei-Hsuan Wang, Cheng Li Feng

【Film Production】 Director｜Weahao Shao DOP｜Joe Yang Producer｜Wen-Hui Chen, Wei-Ni Chen Special Effect Makeup Artist｜Elsie Wang Talents｜Hsien Chen Tsai, Chin-Ho Kao, Wei-Ni Chen, Boris Hsieh, Chung Chieh Yang, Liao Ching Wen, Hwang Sih Yu, Hao Che, Eric Hong, Chen Man Li Equipment｜Chung Chieh Yang, Hsiang Hsieh, Chen Ying Shan, Marbo Wu, Tunhsueh Liang Editor｜Weahao Shao, Joe Yang, Yeh Po Hsiu BTS｜RouJia Liang, Chin-Ho Kao

Music｜Luming Lu Sound Design｜Hsiao-Chin Lin, Szu-Yu Lin Production Assistant｜Li-Chin Chang Mixing｜Hsiao-Chin Lin (WinSound Studio) Coordinator｜Elisa, Yi-Hsin Lin

Voiceover｜Morning Tzu-Yi Mo Recording Studio｜V-Sound Music

[praxismatters]

ℍ𝕠𝕨 𝕥𝕠 ℍ𝕠𝕝𝕕 𝕐𝕠𝕦𝕣 𝔹𝕣𝕖𝕒𝕥𝕙 

ℍ𝕠𝕨 𝕥𝕠 ℍ𝕠𝕝𝕕 𝕐𝕠𝕦𝕣 𝔹𝕣𝕖𝕒𝕥𝕙  2024 Asian Art Biennial, Taiwan

The title of the 2024 Asian Art Biennial, How to Hold Your Breath, evokes the act of voluntarily pausing a vital function, creating a state of anticipation. A twist on the saying "don’t hold your breath," a warning not to expect change soon, is inverted here to suggest latent hope.

Playing with and yet eluding the principle of a guidebook, How to Hold Your Breath can be seen as a call to withdraw from the spheres of visibility and systems perpetuating violence, to make space for opacity from which new forms of  agency can emerge. Imagine it as a deep dive before embracing an uncertain and indeterminate future.

November 16, 2024 - March 2, 2025 National Taiwan Museum of Fine Arts, Taichung Curated by Fang Yen-Hsiang, Anne Davidian, Merv Espina, Haeju Kim, Asli Seven

Read full text

On March 27, 2021, Croatian freediver Budimir Šobat breaks the record for the longest voluntary breath hold, at 24 minutes and 37.36 seconds.

In June 1986, amidst a year marked by disasters and dissent—from the bloodless People Power Revolution that ousted the three-decade-long Marcos dictatorship in the Philippines, to the Chernobyl nuclear catastrophe—the song Take My Breath Away tops the charts.

In the early centuries CE, the compiled Yoga Sutras of Patanjali describe the practice of kumbhaka as the gradual cessation of breathing, the discontinuance of inhalation and exhalation. The retention of breath has long been known as one of the oldest and simplest techniques for accessing altered states of mind.

The title of the 2024 Asian Art Biennial, How to Hold Your Breath, evokes the act of voluntarily pausing a vital function, creating a state of anticipation. A twist on the saying "don’t hold your breath," a warning not to expect change soon, is inverted here to suggest latent hope.

Taking a deep breath and holding it anchors us in the present moment. As the world unravels into new sublevels of rock bottom, we continue to migrate and navigate through the din and dust, between place and displacement in this late capitalist fallout. This act of calming the breath and setting the mind prepares for transitioning from one reality to another, in a movement of transformation. It is an interval, to listen to the inaudible and retune with the metabolic rhythms of our bodies and the planet. 

Playing with and yet eluding the principle of a guidebook, How to Hold Your Breath can be seen as a call to withdraw from the spheres of visibility and systems perpetuating violence, to make space for opacity from which new forms of agency can emerge. Imagine it as a deep dive before embracing an uncertain and indeterminate future.

[psikonauti]

Chao Chung-hsiang (Chinese,1910-1991)

Crane II, 1969

Ink on paper

[scarletwitchie2]

not my art

chriskin.tumblr

by Loika

ArtStation Canal Fun with sunlight and kitties. by Ming85

Inspirationally Sane By Art And Music

Waterway by mitsuki (yu hsiang yi)

by Omutatsu

[sinophone-net-art]

Title: Flow 《漫》 Year: 2006 URL: N/A [N/A] Format: Web Interactive Installation and images and texts captured from specific websites Themes: Flow of information. Way of browsing. State of chaos. Perception.

Artist(s): Yu-Chuan Tseng 曾鈺涓, Chia-Hsiang LEE 李家祥 City/Country: Taiwan

More about:

Yu-Chuan Tseng. “Statement” FLOW. Accessed December 3, 2023. https://tyuchuan.com/wp-content/1988-2014/2006flow/page/e_page01.htm.

DigitArts. Flow. National Taiwan Museum of Fine Arts (NTMoFA), 2017. Accessed December 3, 2023. https://www.digiarts.org.tw/DigiArts/DataBasePage/1_88650235471356/En.

[abwwia]

He Xiangning (Chinese: 何香凝; Wade–Giles: Ho Hsiang-ning; 27 June 1878 – 1 September 1972) was a Chinese revolutionary, feminist, politician, painter, and poet. Together with her husband Liao Zhongkai, she was one of the earliest members of Sun Yat-sen's revolutionary movement Tongmenghui. As Minister for Women's Affairs in Sun's Nationalist government in Guangzhou (Canton), she advocated equal rights for women and organized China's first rally for International Women's Day in 1924. After her husband's assassination in 1925 and Chiang Kai-shek's persecution of the Communists in 1927, she stayed away from party politics for two decades, but actively worked to organize resistance against the Japanese invasion of China. via Wikipedia

A renowned painter of the Lingnan School of Chinese art, He Xiangning was elected the third chairperson of the China Artists Association in July 1960. She particularly enjoyed painting plum blossoms, pine trees, tigers, and lions. A collection of her paintings was published in 1979 in Guangdong. On 18 April 1997, He Xiangning Art Museum was opened in Shenzhen. It was China's first national-level art museum named after an individual artist, and Communist Partygeneral secretaryJiang Zemin wrote the calligraphy for the museum's name. In June 1998, China Post issued a set of three stamps (1998-15T) featuring her paintings.

He Xiangning, Lion, 1914, ink and color on paper, 63 x 49 cm, © He Xiangning

[tsaiichieh]

Lichtung

2023, real-time video installation with sound, size variable

Technical support: Hsun Hsiang Hsu Special thanks to the curator: Claudia Rasztar

Video Documentation: Konstanze Spät Post Editing: Tsai, I-Chieh Thank you: Julian Kretschel

In a time when technology is advancing rapidly, and the ecological crisis is on the brink of a tipping point, nature’s resources are still greedily exploited by humans. Nature is not perceived as a living entity but rather as a “passive” object that can be endlessly dominated.

Humans have perfected the art of instrumentalizing nature: they control it through technologies in agriculture, forestry, fishing, and livestock breeding, transforming it into an efficient food producer without concern for the consequences. Many elements of nature are deconstructed to symbolize the connection of people with nature in their daily lives. For instance, shapes of plants are used as plastic props for interior spaces to create a visual illusion for those living far from nature, aiming to relax or heal them. The high-frequency sounds of forests, rain, or waves are employed to soothe tense nerves or induce sleep. We yearn for a connection with nature even as we simultaneously destroy it.

Can humans satisfy their need for harmony with living nature through instrumentalized nature experiences, even though the future of the environment looks bleak? Is this starting point for the question appropriate, or is it too anthropocentric?

“Lichtung” is an immersive real-time projection installation. It is a place for reflection - a place of the “unconcealment” of the self (Heidegger). Using the concept of “Fractal,” a forest is visually simulated in the exhibition space as if it were growing in a synchronistic parallel world. The viewers perceive the spirit of the forest from the play of light projected onto the walls. The trees themselves are not visible, only their light and shadows, and the sounds of the forest can be heard. The forest becomes “the metaphor of nature.” “Lichtung” provides viewers with an opportunity to reflect, contemplate, and undergo a healing process through their senses of sight and hearing.

The organic form of the light and shadow patterns resembles intricate human blood vessels or neural networks, serving as a metaphor for the inseparable relationship between humans and nature.

Installation view from the exhibition "Into the Woods" at Kulturstiftung Schloss Agathenburg, DE, 2023

Photo credit: Manfred Wigger

[the-third-other]

- 爆爆千歲 + bban

Sand blasts your ears.

一粒粒沙子聲響破爆電鼓撕碎耳朵

- Hitachi Wand

is the experimental wing of Taipei based guitarist and singer-songwriter Christopher Loomis. Colliding electrical input with dopamine inducing analog sounds and textures Hitachi Wand is a rolling experience of aural sensory perception.

是台北的實驗翼吉他手和創作歌手克里斯托弗·盧米斯。碰撞電輸入與多巴胺誘導模擬聲音和紋理 Hitachi Wand 是聽覺感官知覺的滾動體驗。

- Hsiang-Hsin “Malikah” Wang

As a tap dancer, the condition of being “in the moment” is attract Malikah the most from this beautiful art form, therefore, she often take it as a reminder and tend to invite the audience to join, to play and share the magical moment together. No matter traveling, participating artist residency, performing,

collecting sound & natural materials, experimental/improvisation,

waving/making handcrafts, her artistic practices are discovering the

environment and elements around for creating surprises.

Malikah是Savion Glover贈予的名字，就像以往踢踏舞者會把”藝名”標註放在名與姓之間那樣，變成了祥馨自我認同也深感榮幸的稱號。藉種植向土地學習、友善愛惜資源，無論旅行、駐村交流、表演、聲音採集、實驗即興、撿拾採集或編織，都是她創造碰撞出驚喜的創作元素。 

- Mishka

In the past five years, I have been working on No-Input noise. The noise in the equipment is based on feedback, and then operate it become likes music. I often think about it: Is it possible for noise to make people dance? Making noise to dance music is what I've been trying to do. After I started working as a DJ this year, I started to perform sequenced things with sound sources. It was no longer pure noise, but let electronics and analogy reconcile under beautiful interaction. Bringing the concept of remixing to noise performance opens up a whole new adventure. This journey will have more layers and storytelling than before, while retaining the organic and ever-changing sound by No-Input. I don’t know how the story will be written, so let’s look forward to it together.

過去五年我在做No-Input的噪音創作，藉由設備內的迴路發出噪音，進而去異變它而產生音樂性。我常去試想：噪音有可能讓人跳舞嗎？將噪音變成舞曲是我一直以來在嘗試的事情。今年開始DJ的身份後，我開始把帶有音源的序列加進表演中，不再堅持純粹的噪音，而是讓電子與類比在美妙的交互作用下調和。將混音的概念帶入噪音表演後開啟了全新的探險。這次的旅程會比以往更具層次與故事性，而保留了No-Input的有機與千變萬化，我自己也不知道故事會怎麼寫，讓我們一起期待吧。

- Rogan Wang

Through the effluvium of inner hollow to the end of self-interrogation

穿越縈繞於心智洞穴裡的瘴氣而走向自我詰問的終點

- Silla Turca

I like to use sound recording’s as the main object in the composition, and add sound layers using different instruments.

我喜歡使用錄音作為構圖的主要對象，並使用不同的樂器添加聲音圖層。

- 林子寧 + Huang Ching

Sound improvisation for vocals, violin and effects unit.

人聲、提琴與效果器的聲音即興。

another night of improvisors improvising

another night of the unexpectedly unexpected

the next THIRD OTHER

will be at the beginning of January 2024

hope you can make it :P

foto's for number 10 / Silla Turca + Christopher Loomis