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National Taiwan Museum of Fine Arts
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Small Banner - Lin Hsin-yueh: Magical Light and Shadow in Nature
TAI Chi-Hsien: Mirage
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Today's Date:2019/03/24
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Past Exhibitions
TAI Chi-Hsien: Mirage (Review) Appreciation
Exhibition Banner - TAI Chi-Hsien: Mirage
Exhibition Dates: 2018/07/28 ~ 2018/09/30
Place: Multiple Screens
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  No matter how tantalizing the distant neon light is to one’s eye, it is, indeed, little more than the façade of the flashy night.

Who painted the city? The glittering void taps out a rhythm of debauchery.

The sprawling city expands in an unfettered fashion, whipping itself into a frenzy as if it is nibbling away at something.

The translucent memories of the city shuttle amidst massive civilized transactions.

What on earth is all the razzle-dazzle of the licentiousness; the twinkling of neon light or the clamor of the city dyed?

Memories reflect the hustle and bustle of night as well as the earthly delight. Tears keep streaming from nature’s eye, nothing short of a plaintive cry.


Based on the images of urban architecture, the work Mirage is dedicated to probing into and reflecting on the senses of estrangement, indifference and isolation permeating the urban life in the civilized world. In this work, the imbricated buildings are silhouetted against a space of weightlessness and conflicts. Embracing the idea of “quasi-parallel universe,” this work vividly reflects the acceleration and superficiality of contemporary digital life.


“Mirage” is a scene unfolding through an optical illusion, and “city” is a realm of dream opened up by human beings. In this work, the heterogeneous space interlaced by a digital virtual world and real-life memories allegorically reflects the insatiable desire of humanity. What the desire-made spectacle tries to question is exactly the onward march of technological progress, or even the state of reaching the peak of perfection. However, it is quite paradoxical that we are the very “people” who simultaneously inhabit the city and observe its mirage. In the age of infoxication, our identities switch easily between the virtual and the real. By virtue of our desires, our imaginations are stretched across the world of digital technology. What the vanity of sheer indulgence in such an ostentatious lifestyle projects is, after all, little more than interpersonal indifference and estrangement. These fuzzy and ambiguous fragments of life rush back to us in a continuous loop. Will the acceleration of our world end in an “irredeemable disaster” or a state of “going out of control” amid nothing but the switch between cities (computer programs) and digital codes?
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