Sunday, June 1, 2014

Baoan Temple and the Qingshui Zushi Temple; Taiwan opulence.




The temples visited in Taiwan were some of the most incredible structures I have ever seen. My first encounter with these lavishly decorated religious structures was on the first day of my arrival in the country. The curator of the 2014 Taiwan Ceramic Biennale, Wendy Gers and I visited the temple, in walking distance from our hotel.  

The Qingshui Zushi temple is situated in the Sanxia district, on the southwest side of the Taipei region. The temple is nestled in between a diverse range of residential structures and on the edge of another famous landmark, the Sanxia Old Street (image on the left).


The temple, built in 1769 to honour the famous general Qingshui Zushi, captures your attention from the moment you spot the richly decorated and brightly coloured sculptured figurines and creatures that adorn the rooves of this lavishly carved and constructed religious structure. It is in sharp contrast to the classical red brick built commercial structures of the Sanxia Old Street.  

Built entirely out of red bricks, residents and tourists shop here for all sorts of handcrafted commercial goods, including tea, soaps, ceramics and the famous indigo-dyed fabric. However the bright colours of the Temple's roof tiles and richly adorned and carved surfaces of the pillars and supporting structures and furniture is an overwhelming visual experience.


The sheer scale of the structure and attention to detail, applied in a number of layers throughout the structure, compels you to zoom in and out, turning about as you try to absorb the complex spectacle of this landmark.





How does one begin to conceptualise and visualise and ultimately assemble all the masterly crafted and excessively decorated components into a single unified built structure, a place for reflection and meditation? The exterior and interior, the ceiling and the walls, as well as the religious figures are all richly adorned, creating a elaborately opulent gaudy space, which local residents frequently visit to ensure the favour of the gods and a fruitful life. Wars and natural disasters wreaked serious damage to this structure that had to be rebuilt three times. 
 

The second temple visited was Dalongdong Baoan, also known as the Taipei Baoan Temple. We visited the temple and the National Palace Museum during an excursion to Taipei, organised by the Museum for all the conference delegates. The religious structure was erected to worship the Emperor Baosheng Wu. 





A God of medicine, he is believed to have performed numerous miracles.  Considered the more famous of the two temples, it is a Class II heritage sight. As a matter of fact, the Taipei Baoan Temple, alongside the Longshan and Chinh-shui Master temples, are classified the most significant religious structures in Taiwan.



However, one’s first encounter of cultural products, albeit a religious structure, is always the more special and memorable.  On close examination, observing the carvings and figurines up closely, it becomes clear why the temple is so highly regarded and one of the most visited temples in the country.


Spectacular in ever sense of the word, totally overwhelming, the bright and intense use of colour, adds to the majestic experience. The fresh flowers and bonsai trees in and around the temple, add to the already opulent and richly decorated and carved structure. The use of warm lights, and intense coulour and gilded carvings of figurines inside the structure, transports the worshipper on his transient spiritual journey – a visually spectacular and enticing encounter, like no other.

Thursday, May 29, 2014

2014 Taiwan Ceramic Biennale at the Yinnge - TERRA NOVA. Hon's Experience.


It is indeed an incredible privilege to have your ceramic work selected for a major international exhibition. It is even a greater experience when your creative statements gets selected for a Ceramic Biennale in countries where ceramics is one of the major economic developing sectors – contributing significantly to the country’s GDP. They include the International Ceramics Festival Mino, Japan; The eighth Gyeonggi International Ceramic Biennale 2015 Korea, and the 2014 Taiwan Ceramics Biennale at the Yinnge Museum.  
The annointed one - Wendy Gers curator of 2014 TCB.
The later, titled TERRA-NOVA, a curated exhibition of cutting edge ceramics by Wendy Gers (Images above & left), opened to the public a few weeks ago. Having your work selected for a biennale can be a huge boost to your creative output, but being there in the flesh is a valuable and exciting experience.  To set up your work alongside international ceramists, to be present at the Opening Awards Ceremony and to participate in the planned conference and associated events organised at the ceramic centre, linked to the exhibition venue, was truly amazing. 


Andile and the master
You develop new friendships with fellow international ceramists, get to interface with key personnel at the museum and get invited to a grand master's studio, working in close proximity to the museum. 
Everywhere you go ceramics take centre stage – after all these are Ceramic Centres of Excellence, built in the heart of the ceramic industry. In these hosting countries, Ceramics is central to the museum collections, and the major attraction at these cultural production venues and exhibition spaces - on all levels.

This was certainly the case at the Yinnge Museum; a contemporary building designed and built by an award-winning architect, to showcase ceramics in every conceivable form shape and concept. Children from a young age visit these ceramic centres; they travel from afar to be introduced to the world of clay, sowing a seed that will germinate with an incredible support program, should the individual demonstrate talent, passion and the individual creative potential.
I arrived at the Yinnge Ceramics Museum, venue for the 2014 TCB, a week before the opening ceremony, to set up my work. When your work involves Digital technology always consider the worse – things can go horribly wrong. Needless to say I struggled to get the registration right – in the end was it perfect – no, but the work looked great and hopefully visitors to the exhibition will enjoy the ceramic inspired animation projected onto the ceramic installation. 

The work formed part a number of works titled Digital materialities. The other themes included Global Identities, Shattered, upcycled and recycled ceramics and finally 3d printed and cnc ceramics. 


Most of the work was exhibited on the third floor, except for a few ceramic installations on ground floor at the entrance; Andile Dyalvane’ expressive vessels and sculptures, Clementina Van der Walt’s  ceramic masks,  tilted Masquerade and a complex ceramic chess set with architectural space structures set inside them - kinetic.

Then there were the ceramic statements by Kukuli Velarde’s – winner of the Korean Ceramic Biennale (images above and below). Her evocative vessels and sculptures tiled, Plunder Me Baby, is crafted to perfection, a link between the past and the present, deeply rooted in the Peruvian pottery tradition. They were by design interspersed amongst the permanent traditional ceramic collections on the second floor at the Yinnge museum. 

A brave and challenging curatorial step forward, to evoke viewers response to the shifts within contemporary ceramic thought and cultural production and the display thereof. Much of the work chosen and exhibited at this major international curated exhibition asks pertinent questions about the future direction of ceramics.  A practical Handbook and brochure were made available at the launch whilst a catalogue is being produced and will soon be published.  It will be a necessary alternative for those unable to travel to see the exhibition, yet wish to get insight into the scope of the curated exhibition.
 
Bouke de Vries, Restorer turned ceramist - the star of the show.
The critical response has yet to be scripted and published, however only time will tell whether the curatorial stance was a pioneering step forward in the right direction. Breaking down the barriers to extend the ceramic discourse and provide designers, artists and craftspeople, the creative scope to expand the horizons of clay as a significant medium in the broader context of cultural production. 
Wendy Gers curator of the 2014 TCB. Working on the catalogue.
I can’t wait to see the work selected for the next major ceramic biennales. Will the work chosen by the jurors and organisers of future awards exhibition reflect the critical currents within contemporary ceramics posed at the conference linked to the 2014 TCB. The work will be on display at the Yinnge museum until November. TERRA-NOVA as it is titled could yet prove to be the turning point, a radical shift in the juror process to be more inclusive and open to a wider selection of ceramic works, incorporating mixed media and new media.

Gillian and the team of volunteers at work at Yinnge
Head of Education, Bouke and
the Director of the Museum.
I wish to thank the Yinnge Museum staff, including a large number of volunteers, especially Irvin the computer programmer, who went the extra mile to ensure our work and my work in particular was displayed to its optimum at the 2014 Taiwan Ceramic Biennale. 
The hospitality and support was beyond my expectations and the entire experience far beyond what I could ever have imagined. The planned visits to the state museum and temples were extraordinary. The planned well-organised excursions to the National Palace Museum (Taipei), restaurants and incredible Temples (Qingshui Zushi and Baoan Temples) provided much needed time for bonding amongst exhibitors, jurors and museum staff, contributing to an inclusive and memorable cultural exchange experience.
Wendy Gers and Kukuli
And to think planning has already started for the next awards exhibition. This is an excellent platform to attract the best of ceramists worldwide and draw upon their experiences to help shape the future of the hosting country’s understanding of this age-old craft form. But more importantly, it is an opportunity for a country with few diplomatic ties to showcase their incredible hospitality, vast knowledge and unrelenting generosity to host an event of incredible cultural significance, contributing to the development of our experience and value of clay.
First visit to the Yinnge Museum.