Kuandu Museum of Fine Arts

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Kuandu Museum of Fine Arts
Between Seen/Unseen—Chang Yung-Ta Solo Exhibition
2012-12-28 ~ 2013-02-24
 How does the border area between Seen and Unseen look like? How should we interpret the messages conveyed across the boundary between Seen and Unseen? Moreover, how should we interpret the state of our body and senses when we are influenced by external environment and ambience?

 Yung-Ta CHANG is a sound artist that very activity in Taiwan in recent year. His works take on a variety of forms such as Audio-Visual, experimental sound, installations and live performances. He focus and be skilled in observing the tiny change, being ignored phenomenon and sound in daily life, then represent the invisible signal and data via sound or visual installation in space. The devastating earthquake occurred on 11 March 2011 in Japan inspired this project, when the author was in Tokyo for artist-in-residence program. And from his contemplation of this natural disaster (earthquake), the threat of lethal radiation, and the information from mass media. This solo exhibitionBetween Seen/Unseenis the first piece of the series.

 Seen/Unseen”—not only involves the visual interpretation of the afore-mentioned questions, but also extends to the interpretation from other physical senses such as hearing and touching. Our body and senses will change with the interference of external factors or the influence of environment such as earthquakes, power-outages, and the threat of lethal radiation, namely natural and man-made messages or information, whether visible or invisible. The earthquake aftershocks occurred frequently during the day after the catastrophe. The feelings of dread and insecurity heightened the authors physical senses to an extremely sharp state. The author therefore became very sensitive to any subtle change in movement and sound. During the twenty-four hours after the earthquake, he was always expecting the next aftershock or the sounds made by the ground vibration. All other sounds seemingly faded away because he was mainly occupied in expecting the aftershocks. The only response he could make to the invisible and unpredictable aftershocks (or seismic waves) was to passively yet carefully detect the ground vibration and the sounds made by the vibration of any medium.

 Two pieces in this solo exhibition seek to transform the visible seismic waveform data into the invisible audio waveform. They compress the twenty-four-hour Seen/Unseen messages into layers of interface. In sum, the two pieces present the conversion of visible things to invisible sounds, that is, the conversion of visual sense to sense of hearing, and conveys a looming silent message.