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Zit-Dim Art Space




About the space

Zit-Dim Art Space is jointly run by artists from Hong Kong, Macau, and Taiwan as an Asian art platform dedicated to promoting contemporary art, education, field study, cultural research, self-publication, and curating. Also in focus are topics related to art exchanges, including experimental art, cross-media collaboration, international artist-in-residence programs, etc. It is open for venue applications to artists working on different topics and media, and hosts exhibitions, talks, forums, and other open events.

About the exhibition

Post-Anthropocene
The Great Acceleration after WWII has propelled mankind to new heights. “Development” has been the banner over the past nearly 100 years, concealing the needs of other species. Men has unbounded desires; however, development cannot go on forever without limits, and it often leads to all kinds of imbalance and triggers conflicts. 2020 is a year of revelation. Mankind has ceded the center stage as due to their inability to fight against the pandemic, locust plague, and floods that have taken place in succession. Without activities of factories, blue sky and white clouds have returned; without ships, sea creatures have thrived. The various kinds of activities on Mother Earth will not stop due to the reduced footprints of human activities, and it seems that we are really the ones that need enlightenment. Post-Anthropocene is a futuristic fantasy, as development is no longer the cure for everything. Human activities are gradually reducing, as we have slowly realized that decline is not a problem; rather, the society should refocus on progress beyond material advancement. Post-Anthropocene is also a fable. As development satisfies human desires, is progress really a step forward rather than regression? As mankind retreated, other species take center stage. In comparison to the desolate ruins of men, aren’t other species thriving and progressing? Questions are raised through “Post-Anthropocene,” to review the intervention of space and human activities, and reflect on the relationship between men and other species.

About the curator

André Chan
He had worked in a number of international galleries and produced various exhibitions around the world. He is the co-founder of Arts Collective in Hong Kong and his curatorial work is now focusing on artists’ practices and contemporary city issues. He was selected for the Emerging Curator Program 2018 by Shanghai Powerstation of Art and Emerging Curator by Para Site. He curated exhibitions and performances around the world including Shanghai, Seoul, Gwangju, Chicago, Vancouver and Hong Kong; recent exhibitions and performances include, Borrowed Scenery (Cattle Depot, Hong Kong, 2019), “Flanêur” (Hong Kong, 2019), Very Natural Actions (Taikwun Contemporary, 2019), A Tree Fell in the Forest, and No One’s There (Power Station of Art, Shanghai, 2018) Kotodama (Para Site, Hong Kong, 2018) It Was the Best of Time, It was the Worst of Times (Mana Contemporary, Chicago, 2017), I Like Blue When There is More White (KIGOJA, Seoul, 2017), Form Simultaneity (100ft Park, Hong Kong, 2016), What Potions Have I Drunk of Siren Tears (A+ Contemporary, Shanghai, 2016), Songs without Words (100ft Park, Hong Kong, 2016) and These Shores (Rossi & Rossi Hong Kong, 2013).

Erica Yu-Wen Huang
She worked as Curator, Learning and Exhibition for Centre for Heritage, Arts & Textile (CHAT), Hong Kong (2018-2019), Adjunct Lecturer for Institute of Applied Arts, National Chiao Tung University, Hsin-chu, Taiwan (2018) and Curator for Hu’s Art Company (2011-2016). Now she works as independent curator and founding member of curator collective Y TEAM. Her curatorial practice focuses on multi-culture issues and the art as intervention and observation method in urban development and local community. She was selected in several curator residency and fellowship including La Cité internationale des Arts, Paris, France (Granted by Ministry of Culture, Taiwan, 2016), Turner Galleries, Perth, Australia (Supported by Kuandu Museum of Fine Arts, Taipei and Taipei City Government, 2017), Gwangju Museum of Art, Gwangju, Korea (Granted by National Culture and Arts Foundation, Taiwan, 2017) and International Studio & Curatorial Program, New York, United States (Granted by Ministry of Culture, Taiwan, 2020). Her recent curatorial projects include: Sea Views - We Meet at Seaside, (Dalsbruk Harbour, Finland, 2019) and Keelung Nights_Nordic Lights (Architect and Designer’s House, Keelung, Taiwan) which were co-curated with Nina-Maria Oförsagd; and 2017 Keelung Ciao - International Environmental Art Festival (Keelung, Taiwan, 2017), NightView Keelung, (Keelung Culture Center and Keelung Harbor area, Keelung, Taiwan, 2016).

Date: 2020/10/17 – 2020/12/14 (Friday to Monday 15:00-21:00)
Venue: Zit-Dim Art Space (No. 84, Section 2, Yongfu Road, West Central District, Tainan, 700, Taiwan)

Participating Artists

South HO
Bosco LAW Ka-Nam
Stephanie SIN
Eason TSANG Ka Wai
Nicole WONG
Yi-Hsuan PENG
Hang-Sheng CHEN
Sing-You LIU
Kit LEE× x
Ken-Yao CHANG
Yin-Chieh LIN
Yi-Hang PENG

South Ho, Whiteness of Trees XV, 2018, archival inkjet print, dimensions variable. Courtesy of the artist.



Bosco Law, Attach And Detach, 2020, ink on paper, 60 × 130 cm. Courtesy of the artist.



Stephanie SIN, Anxiety's Legacy -1, 2019, Hawaii red clay, neriage, glaze pencil, found iron pieces and glass. Courtesy of the artist and Tu Xing Studio.



Eason Tsang, Housework no.3, 2016, video, CRT TV, media player, 11min 34sec, 53 × 45 × 42.5 cm. Courtesy of the artist.



Hang-Sheng Chen, Rooster Travel, 2018, found objects, ceramics, video, dimensions variable. Courtesy of the artist.



Nicole Wong, Seaside Estate 1, 2019, cast aluminum, oyster shell, plaster, sponge, stainless steel, cast iron, dimensions variable. Courtesy of the artist and Zit Dim.



Kit Lee, Water Deep 1.5M, 2019, animation, installation, 2 min, 10 × 48cm. Courtesy of the artist.



Sing-You Liu, My Parents —As Epiphany, 2019, found objects, video, photographs, dimensions variable. Courtesy of the artist.



Lin Ying-Chieh, Take a Stroll, 2020, single-channel video installation, 37 × 18 × 25 cm. Courtesy of the artist.



Peng Yi-Hsuan, Link, 2020, whiteboard, 60 × 80 × 8 cm (8-16 pieces). Courtesy of the artist.



PENG Yi-Hang, Human Zoo, 2017, giclée print, 24 × 35 cm. Courtesy of the artist.



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