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01-Jul-2017 11:31

, the sculptural head at the center of Room 205, is a mythologized self-portrait of the artist Kuo Wei-kuo.While its countenance is a realistic casting of the artist’s face, the tapered ears recall the features of an elf.In the lower right corner of the scene is a broken-winged angel looking as if it cannot bear to face itself or the reality of its injuries, like escaping passion yet in hesitation.In the lower right corner stands a playfully imagined house and small white dove, connected together to protect these surviving romances and fantasies.After graduating from Nanjing University of the Arts in 2008, he served as managing editor at Art Monthly magazine (Jiangsu Art Monthly).Currently he devotes in various artistic careers: producing research in art history and criticism, working as an art critic and curating art exhibitions.While visually grand and symbolically mystical, the stylized sculpture framework is offset by the surface treatment details depicting flesh, muscle and blood, as though under vivisection.

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In the physical architecture of MOCA Taipei, we can at once detect the history that our city weathered and the cities of the artists’ visions.

Both Lu Hsien-ming and Kuo Wei-kuo attempt to trace out the clues to the development of Taiwanese culture, the human and existential predicament on this tiny island under the advent of urban development and modernization.

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