{"id":6415,"date":"2025-10-22T10:59:13","date_gmt":"2025-10-22T02:59:13","guid":{"rendered":"https:\/\/01x10.tw\/en\/?page_id=6415"},"modified":"2026-06-02T20:23:55","modified_gmt":"2026-06-02T12:23:55","slug":"comment-the-feast-of-chun","status":"publish","type":"page","link":"https:\/\/01x10.tw\/en\/comment-the-feast-of-chun\/","title":{"rendered":"Comment-The feast of Chun"},"content":{"rendered":"\n
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Sicard Le festin de Chun\u00a0<\/h2> <\/div>\n<\/div>\n <\/div>\n <\/div>\n
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English<\/a><\/em><\/p> <\/div>\n<\/div>\n <\/div>\n

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French<\/a><\/em><\/p> <\/div>\n<\/div>\n <\/div>\n

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English<\/strong><\/em><\/p>\n

The Feast of Chun-te<\/b><\/h4>\n

Monique Sicard<\/strong><\/p>\n

Pleasant interval. Foreigner works. The photographs of Hsieh Chun-te surprise us, shock us, delight us. By playing on our Western conventions, our thoughts \u2013 single and multiple \u2013 they provoke us.<\/p>\n

The format, first. Then the texture. These very large, black, deep blue paintings mix the sharpness and blur into a single image with no other intention than their aesthetic confrontation. From that, waverings between image and reality are born. Pleasantly unsettling.<\/p>\n

Next, the scenes. A “signified” if a bit schematic language is in play. The devices of fiction depict the dreams of the night that the author has carefully drawn before calling the actors to the rescue. (Figure 4-1) Ascendancy over a world that moves, closely entwined with sexual fevers. And since dreams are unspeakable, everybody can see what he wants or what he rejects in these allegorical scenes mingling the violence of happiness with happy anxiety about the future. Hsieh Chun-te reveals these compelling forces, intimate and political \u2013 against which we can do nothing, except perhaps to present them photographically. Reality of human dreams, indexicality of the unconscious.<\/p>\n

The best, perhaps, the subtlest, are these cracks of a changing world. The images tell of an intergenerational conflict, friction between city and countryside, modernity and tradition. They scream the confrontation between a complex past, so tragic that its shadow still grows, and the new world with its skyscrapers, its youth, its hope.<\/p>\n

A family of eight people goes down the river in a long motorboat against the magnificent backdrop of Mt. Guanyin.(Figure4-2) They have taken their motorbike, their animals. They are happy. But at the front, the dog is concerned about the uncertain future that awaits them. They leave the countryside and the old world and they make their way toward the city, hoping to live in one of the dizzying skyscrapers of Taipei. A little further, on the terrace of pretentious buildings hiding mountains, two fishermen watch the movements of unreal fishes. ( Figure4-3) They say that the hope of joining the modern world is partly doomed. They will always be strangers in their own country. Maybe they still dream of the family house with the roof of rounded tiles where elders passed on a passion for books to the youth, where children climbed, laughed, on false stone buffalos( Figure4-4). Happy days that the photograph inscribed forever in memories. But also the power of this “photo-graphy” in witnessing the very happiness to which it gives birth. The black and white claims the truth of this fiction forcefully.<\/p>\n

Crushed by the past, still marked by the former Empire of Japan, dwarfed by its huge mainland Chinese neighbor, Taiwan rebuilds its history gradually. Who better than one of its artists to can claim in photographic dreams the disparity that we cannot without difficulty call “identity”? No need to use the Chinese language: the images speak for themselves. The paltry technology of an old motorcycle shrieks praise for a thousand-year-old culture filled with attention paid slowly to landscapes, as a constructive contemplation. The political status of the economy would reject the island in an uncertain profile and in the grayness of a commercial destiny. But there is a resistance to that. It comes from a philosophy where the body is spirit, where the long time devoted to exercising one\u2019s own freedom is something important.<\/p>\n

Between two curtains near the sea, the lost artists are wondering.(Figure4-5) What to do? What do they need to stage? The music, the children, the animals, the women, the human body? All the while, they are marked by these slow desires in a world that goes too fast.<\/p>\n

The feast of Chun-te combines these dreamed and “photo-graphed” performances in the implementation of a meal. Because art is eaten here. Or rather, any fragment of life is rich, potentially, with an artistic future. We are moved by the inestimably long time required to prepare such an exhibition \u2013 twenty years, perhaps more \u2013 in praise of unpolluted water and carefully chosen, beautiful, true food.<\/p>\n

While embracing the latest technologies, an artist sets out to find traces of the past and his own origins. It is not insignificant that Taiwan is an island. The creative forces express their originality in such enclosed places, surrounded by water. Less affected by the masses, protected from the movements of crowds, they are the havens they need. Do not forget, however, that these beautiful places are also the most fragile.<\/p> <\/div>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n

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French<\/strong><\/em><\/p>\n

Le festin de Chun-Te<\/strong><\/h4>\n

Monique Sicard<\/strong><\/p>\n

D\u00e9licieuse distance. Etranges \u00e9trang\u00e8res\u00a0: les \u0153uvres de Chieh Chun-Te nous \u00e9tonnent, nous choquent, nous charment. En se jouant de nos conventions occidentales, de nos pens\u00e9es – uniques et multiples -, elles nous provoquent.<\/p>\n

Le format, d\u2019abord. Puis la texture. Ces tr\u00e8s grands tableaux aux noirs bleut\u00e9s profonds m\u00ealent le piqu\u00e9 et le flou au sein d\u2019une m\u00eame image sans autre intention qu\u2019une esth\u00e9tique de leur confrontation. Il en na\u00eet un flottement entre image et r\u00e9alisme. Agr\u00e9ablement d\u00e9stabilisant.<\/p>\n

Les sc\u00e8nes ensuite, le \u00ab\u00a0signifi\u00e9\u00a0\u00bb pour user d\u2019un langage un peu sch\u00e9matique. Les dispositifs de fiction mettent en sc\u00e8ne ces r\u00eaves de la nuit que l\u2019auteur a soigneusement dessin\u00e9s avant d\u2019appeler les acteurs \u00e0 la rescousse.(Figure 4-1) Emprises d\u2019un monde qui bouge intimement m\u00eal\u00e9es aux fi\u00e8vres sexuelles. Et puisque les r\u00eaves sont indicibles, chacun peut voir ce qu\u2019il cherche, ce qu\u2019il refuse dans ces sc\u00e8nes all\u00e9goriques m\u00ealant la violence du bonheur \u00e0 l\u2019inqui\u00e9tude heureuse de l\u2019avenir. Ce sont des forces irr\u00e9sistibles que donne \u00e0 voir Hsieh Chun-Te, intimes et politiques. Celles contre lesquelles on ne peut rien, sauf peut-\u00eatre, les mettre en sc\u00e8ne photographiquement. R\u00e9alit\u00e9 des r\u00eaves humains, indicialit\u00e9 de l\u2019inconscient.\u00a0<\/span><\/p>\n

Le plus beau peut-\u00eatre, le plus subtil, ce sont ces craquements d\u2019un monde qui change. Les images nous disent les conflits de g\u00e9n\u00e9rations, les frictions entre ville et campagne, modernit\u00e9 et tradition. Elles hurlent la confrontation entre un pass\u00e9 complexe, si tragique qu\u2019il est encore \u00e0 construire et le nouveau monde avec ses buildings, sa jeunesse, ses espoirs.<\/p>\n

Une famille de huit personnes descend le fleuve en longue barque \u00e0 moteur dans les paysages splendides de Guan-yin-shan.(Figure4-2) Ils ont emport\u00e9 leur moto, leurs animaux. Ils sont heureux. Mais \u00e0 l\u2019avant, le chien s\u2019interroge sur l\u2019avenir incertain qui les attend. Ils quittent la campagne et le vieux monde pour la ville, esp\u00e9rant loger dans l\u2019un des vertigineux buildings de Ta\u00efpei.\u00a0 <\/span>Un peu plus loin, sur une terrasse coinc\u00e9e entre de pr\u00e9tentieux immeubles masquant la montagne, deux p\u00eacheurs guettent les mouvements d\u2019irr\u00e9els bouchons.( Figure4-3)\u00a0 <\/span>Ils nous disent que l\u2019espoir d\u2019int\u00e9grer le monde moderne est partiellement vou\u00e9 \u00e0 l\u2019\u00e9chec. Ils seront toujours d\u2019\u00e9tranges \u00e9trangers au sein de leur propre pays. Peut-\u00eatre r\u00eavent-ils encore de la maison familiale\u00a0 <\/span>au toit de tuiles rondes o\u00f9 les plus \u00e2g\u00e9s, lettr\u00e9s, transmettaient\u00a0 <\/span>aux plus jeunes la passion des livres, o\u00f9 les enfants grimpaient en riant sur de faux buffles de pierre.( Figure4-4) Jours heureux que la photographie inscrit pour toujours dans les m\u00e9moires. Mais aussi, puissance de cette \u00ab\u00a0photo-graphie\u00a0\u00bb\u00a0 car en t\u00e9moignant du bonheur, elle le fait na\u00eetre. Le noir et blanc affirme avec vigueur la v\u00e9rit\u00e9 d\u2019une telle fiction.<\/p>\n


Ecras\u00e9e par un pass\u00e9 \u00e9cartel\u00e9 encore marqu\u00e9 par l\u2019ancien Empire du Japon et l\u2019immense continent chinois voisin, Ta\u00efwan trouve peu \u00e0 peu son histoire.\u00a0 <\/span>Qui mieux que la photographie des r\u00eaves de l\u2019un de ses artistes peut crier cette diff\u00e9rence que nous ne saurions imprudemment nommer \u00ab\u00a0identit\u00e9\u00a0\u00bb\u00a0?\u00a0 <\/span>Nul besoin d\u2019user de la langue chinoise\u00a0: les images parlent d\u2019elles-m\u00eames. Sous la technologie d\u00e9risoire d\u2019une moto embarqu\u00e9e pointe l\u2019\u00e9loge d\u2019une culture paysanne mill\u00e9naire, celui d\u2019une attention lente port\u00e9e aux paysages, \u00e0 la contemplation constructive. Le statut politique de Ta\u00efwan si longtemps ind\u00e9cis, accompagn\u00e9 de l\u2019\u00e9volution fulgurante d\u2019une \u00e9conomie moderne, pouvait rejeter l\u2019\u00eele dans le profil vague et gris d\u2019un destin commercial. Mais il y a de la r\u00e9sistance \u00e0 cela.\u00a0 <\/span>Elle nous vient d\u2019une philosophie pour laquelle le corps est esprit, pour laquelle importe le temps long d\u00e9volu \u00e0 l\u2019exercice de sa propre libert\u00e9.\u00a0<\/span><\/p>\n

Les artistes perdus au bord de mer entre deux rideaux de th\u00e9\u00e2tre s\u2019interrogent.(Figure4-5)\u00a0 <\/span>Que faire\u00a0? Que mettre en sc\u00e8ne\u00a0? La musique, les enfants, les animaux, les femmes, le corps humain\u00a0? quand ils sont marqu\u00e9s par ces d\u00e9sirs de lenteur au sein d\u2019un monde qui va trop vite.\u00a0<\/span><\/p>\n

Le festin de Chuan-Te allie ces performances r\u00eav\u00e9es et \u00ab\u00a0photo-graphi\u00e9es\u00a0\u00bb \u00e0 la mise en \u0153uvre d\u2019un repas. Car l\u2019art se mange, ici. Ou plut\u00f4t, tout fragment de vie est riche, potentiellement, d\u2019un devenir artistique. Le temps infiniment long de la pr\u00e9paration d\u2019un d\u00e9jeuner comme celui \u2013 vingt ann\u00e9es \u2013 de la r\u00e9alisation de cette exposition, nous \u00e9meut. Eloge d\u2019un eau non pollu\u00e9e, d\u2019une nourriture vraie, soign\u00e9e, choisie, belle.<\/p>\n

Tout en s\u2019emparant des derni\u00e8res technologies, un artiste part \u00e0 la recherche des traces du pass\u00e9 et de ses origines. Il n\u2019est pas anodin que Ta\u00efwan soit une \u00eele. C\u2019est dans les lieux clos, entour\u00e9s d\u2019eau que les forces cr\u00e9atives expriment le mieux leur originalit\u00e9. Moins atteintes par la masse, prot\u00e9g\u00e9es des mouvements de foule, elles trouvent l\u00e0 les havres dont elles ont besoin. N\u2019oublions pas, cependant, que ces lieux de r\u00eave sont \u00e9galement les plus fragiles.\u00a0<\/span><\/p> <\/div>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n

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\n Figure 4-1. Hsieh Chun-te, RAW \u2013 Marriage des nains, Ultra smooth fine art paper, 1987-2011. <\/h3>\n <\/div>\n \n <\/div>\n <\/div>\n
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\n \"Figure4-4. \n <\/div>\n \n \n
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\n Figure4-4. Hsieh Chun-te, RAW \u2013 Portrait de famille, Ultra smooth fine art paper, 1987-2011. <\/h3>\n <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n
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\n Figure 4-3. Hsieh Chun-te, RAW - The p\u00eacheurs sous le toit, Ultra smooth fine art paper, 1987-2011. <\/h3>\n <\/div>\n \n <\/div>\n <\/div>\n
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\n \"Figure4-5. \n <\/div>\n \n \n
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\n Figure4-5. Hsieh Chun-te, RAW \u2013 Artistes vagabonds, Ultra smooth fine art paper, 1987-2011. <\/h3>\n <\/div>\n \n <\/div>\n <\/div>\n
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\n \"Figure4-2. \n <\/div>\n \n \n
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\n Figure4-2. Hsieh Chun-te, RAW - Voyageurs sous la montagne Guan-yin, Ultra smooth fine art paper, 1987-2011. <\/h3>\n <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n","protected":false},"excerpt":{"rendered":"

Sicard Le festin de Chun\u00a0<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-6415","page","type-page","status-publish","hentry","has-post-title","has-post-date","has-post-category","has-post-tag","has-post-comment","has-post-author",""],"yoast_head":"\nComment-The feast of Chun - Hsieh Chun-Te<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/01x10.tw\/en\/comment-the-feast-of-chun\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Comment-The feast of Chun - Hsieh Chun-Te\" \/>\n<meta property=\"og:description\" content=\"Sicard Le festin de Chun\u00a0\" \/>\n<meta property=\"og:url\" content=\"https:\/\/01x10.tw\/en\/comment-the-feast-of-chun\/\" \/>\n<meta property=\"og:site_name\" content=\"Hsieh Chun-Te\" \/>\n<meta property=\"article:modified_time\" content=\"2026-06-02T12:23:55+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/06-Dwarf-Wedding-1987-2010.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2000\" \/>\n\t<meta property=\"og:image:height\" content=\"1566\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"14 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/01x10.tw\\\/en\\\/comment-the-feast-of-chun\\\/\",\"url\":\"https:\\\/\\\/01x10.tw\\\/en\\\/comment-the-feast-of-chun\\\/\",\"name\":\"Comment-The feast of Chun - 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Foreigner works. The photographs of Hsieh Chun-te surprise us, shock us, delight us. By playing on our Western conventions, our thoughts \u2013 single and multiple \u2013 they provoke us.<\/p> <p>The format, first. Then the texture. These very large, black, deep blue paintings mix the sharpness and blur into a single image with no other intention than their aesthetic confrontation. From that, waverings between image and reality are born. Pleasantly unsettling.<\/p> <p>Next, the scenes. A \"signified\" if a bit schematic language is in play. The devices of fiction depict the dreams of the night that the author has carefully drawn before calling the actors to the rescue. (Figure 4-1) Ascendancy over a world that moves, closely entwined with sexual fevers. And since dreams are unspeakable, everybody can see what he wants or what he rejects in these allegorical scenes mingling the violence of happiness with happy anxiety about the future. Hsieh Chun-te reveals these compelling forces, intimate and political \u2013 against which we can do nothing, except perhaps to present them photographically. Reality of human dreams, indexicality of the unconscious.<\/p> <p>The best, perhaps, the subtlest, are these cracks of a changing world. The images tell of an intergenerational conflict, friction between city and countryside, modernity and tradition. They scream the confrontation between a complex past, so tragic that its shadow still grows, and the new world with its skyscrapers, its youth, its hope.<\/p> <p>A family of eight people goes down the river in a long motorboat against the magnificent backdrop of Mt. Guanyin.(Figure4-2) They have taken their motorbike, their animals. They are happy. But at the front, the dog is concerned about the uncertain future that awaits them. They leave the countryside and the old world and they make their way toward the city, hoping to live in one of the dizzying skyscrapers of Taipei. A little further, on the terrace of pretentious buildings hiding mountains, two fishermen watch the movements of unreal fishes. ( Figure4-3) They say that the hope of joining the modern world is partly doomed. They will always be strangers in their own country. Maybe they still dream of the family house with the roof of rounded tiles where elders passed on a passion for books to the youth, where children climbed, laughed, on false stone buffalos( Figure4-4). Happy days that the photograph inscribed forever in memories. But also the power of this \"photo-graphy\" in witnessing the very happiness to which it gives birth. The black and white claims the truth of this fiction forcefully.<\/p> <p>Crushed by the past, still marked by the former Empire of Japan, dwarfed by its huge mainland Chinese neighbor, Taiwan rebuilds its history gradually. Who better than one of its artists to can claim in photographic dreams the disparity that we cannot without difficulty call \"identity\"? No need to use the Chinese language: the images speak for themselves. The paltry technology of an old motorcycle shrieks praise for a thousand-year-old culture filled with attention paid slowly to landscapes, as a constructive contemplation. The political status of the economy would reject the island in an uncertain profile and in the grayness of a commercial destiny. But there is a resistance to that. It comes from a philosophy where the body is spirit, where the long time devoted to exercising one\u2019s own freedom is something important.<\/p> <p>Between two curtains near the sea, the lost artists are wondering.(Figure4-5) What to do? What do they need to stage? The music, the children, the animals, the women, the human body? All the while, they are marked by these slow desires in a world that goes too fast.<\/p> <p>The feast of Chun-te combines these dreamed and \"photo-graphed\" performances in the implementation of a meal. Because art is eaten here. Or rather, any fragment of life is rich, potentially, with an artistic future. We are moved by the inestimably long time required to prepare such an exhibition \u2013 twenty years, perhaps more \u2013 in praise of unpolluted water and carefully chosen, beautiful, true food.<\/p> <p>While embracing the latest technologies, an artist sets out to find traces of the past and his own origins. It is not insignificant that Taiwan is an island. The creative forces express their originality in such enclosed places, surrounded by water. Less affected by the masses, protected from the movements of crowds, they are the havens they need. Do not forget, however, that these beautiful places are also the most fragile.<\/p>\n<p><em><strong>French<\/strong><\/em><\/p> <h4><strong>Le festin de Chun-Te<\/strong><\/h4> <p><strong>Monique Sicard<\/strong><\/p> <p>D\u00e9licieuse distance. Etranges \u00e9trang\u00e8res\u00a0: les \u0153uvres de Chieh Chun-Te nous \u00e9tonnent, nous choquent, nous charment. En se jouant de nos conventions occidentales, de nos pens\u00e9es - uniques et multiples -, elles nous provoquent.<\/p> <p>Le format, d\u2019abord. Puis la texture. Ces tr\u00e8s grands tableaux aux noirs bleut\u00e9s profonds m\u00ealent le piqu\u00e9 et le flou au sein d\u2019une m\u00eame image sans autre intention qu\u2019une esth\u00e9tique de leur confrontation. Il en na\u00eet un flottement entre image et r\u00e9alisme. Agr\u00e9ablement d\u00e9stabilisant.<\/p> <p>Les sc\u00e8nes ensuite, le \u00ab\u00a0signifi\u00e9\u00a0\u00bb pour user d\u2019un langage un peu sch\u00e9matique. Les dispositifs de fiction mettent en sc\u00e8ne ces r\u00eaves de la nuit que l\u2019auteur a soigneusement dessin\u00e9s avant d\u2019appeler les acteurs \u00e0 la rescousse.(Figure 4-1) Emprises d\u2019un monde qui bouge intimement m\u00eal\u00e9es aux fi\u00e8vres sexuelles. Et puisque les r\u00eaves sont indicibles, chacun peut voir ce qu\u2019il cherche, ce qu\u2019il refuse dans ces sc\u00e8nes all\u00e9goriques m\u00ealant la violence du bonheur \u00e0 l\u2019inqui\u00e9tude heureuse de l\u2019avenir. Ce sont des forces irr\u00e9sistibles que donne \u00e0 voir Hsieh Chun-Te, intimes et politiques. Celles contre lesquelles on ne peut rien, sauf peut-\u00eatre, les mettre en sc\u00e8ne photographiquement. R\u00e9alit\u00e9 des r\u00eaves humains, indicialit\u00e9 de l\u2019inconscient.\u00a0<\/p> <p>Le plus beau peut-\u00eatre, le plus subtil, ce sont ces craquements d\u2019un monde qui change. Les images nous disent les conflits de g\u00e9n\u00e9rations, les frictions entre ville et campagne, modernit\u00e9 et tradition. Elles hurlent la confrontation entre un pass\u00e9 complexe, si tragique qu\u2019il est encore \u00e0 construire et le nouveau monde avec ses buildings, sa jeunesse, ses espoirs.<\/p> <p>Une famille de huit personnes descend le fleuve en longue barque \u00e0 moteur dans les paysages splendides de Guan-yin-shan.(Figure4-2) Ils ont emport\u00e9 leur moto, leurs animaux. Ils sont heureux. Mais \u00e0 l\u2019avant, le chien s\u2019interroge sur l\u2019avenir incertain qui les attend. Ils quittent la campagne et le vieux monde pour la ville, esp\u00e9rant loger dans l\u2019un des vertigineux buildings de Ta\u00efpei.\u00a0 Un peu plus loin, sur une terrasse coinc\u00e9e entre de pr\u00e9tentieux immeubles masquant la montagne, deux p\u00eacheurs guettent les mouvements d\u2019irr\u00e9els bouchons.( Figure4-3)\u00a0 Ils nous disent que l\u2019espoir d\u2019int\u00e9grer le monde moderne est partiellement vou\u00e9 \u00e0 l\u2019\u00e9chec. Ils seront toujours d\u2019\u00e9tranges \u00e9trangers au sein de leur propre pays. Peut-\u00eatre r\u00eavent-ils encore de la maison familiale\u00a0 au toit de tuiles rondes o\u00f9 les plus \u00e2g\u00e9s, lettr\u00e9s, transmettaient\u00a0 aux plus jeunes la passion des livres, o\u00f9 les enfants grimpaient en riant sur de faux buffles de pierre.( Figure4-4) Jours heureux que la photographie inscrit pour toujours dans les m\u00e9moires. Mais aussi, puissance de cette \u00ab\u00a0photo-graphie\u00a0\u00bb\u00a0 car en t\u00e9moignant du bonheur, elle le fait na\u00eetre. Le noir et blanc affirme avec vigueur la v\u00e9rit\u00e9 d\u2019une telle fiction.<\/p> <p><br>Ecras\u00e9e par un pass\u00e9 \u00e9cartel\u00e9 encore marqu\u00e9 par l\u2019ancien Empire du Japon et l\u2019immense continent chinois voisin, Ta\u00efwan trouve peu \u00e0 peu son histoire.\u00a0 Qui mieux que la photographie des r\u00eaves de l\u2019un de ses artistes peut crier cette diff\u00e9rence que nous ne saurions imprudemment nommer \u00ab\u00a0identit\u00e9\u00a0\u00bb\u00a0?\u00a0 Nul besoin d\u2019user de la langue chinoise\u00a0: les images parlent d\u2019elles-m\u00eames. Sous la technologie d\u00e9risoire d\u2019une moto embarqu\u00e9e pointe l\u2019\u00e9loge d\u2019une culture paysanne mill\u00e9naire, celui d\u2019une attention lente port\u00e9e aux paysages, \u00e0 la contemplation constructive. Le statut politique de Ta\u00efwan si longtemps ind\u00e9cis, accompagn\u00e9 de l\u2019\u00e9volution fulgurante d\u2019une \u00e9conomie moderne, pouvait rejeter l\u2019\u00eele dans le profil vague et gris d\u2019un destin commercial. Mais il y a de la r\u00e9sistance \u00e0 cela.\u00a0 Elle nous vient d\u2019une philosophie pour laquelle le corps est esprit, pour laquelle importe le temps long d\u00e9volu \u00e0 l\u2019exercice de sa propre libert\u00e9.\u00a0<\/p> <p>Les artistes perdus au bord de mer entre deux rideaux de th\u00e9\u00e2tre s\u2019interrogent.(Figure4-5)\u00a0 Que faire\u00a0? Que mettre en sc\u00e8ne\u00a0? La musique, les enfants, les animaux, les femmes, le corps humain\u00a0? quand ils sont marqu\u00e9s par ces d\u00e9sirs de lenteur au sein d\u2019un monde qui va trop vite.\u00a0<\/p> <p>Le festin de Chuan-Te allie ces performances r\u00eav\u00e9es et \u00ab\u00a0photo-graphi\u00e9es\u00a0\u00bb \u00e0 la mise en \u0153uvre d\u2019un repas. Car l\u2019art se mange, ici. Ou plut\u00f4t, tout fragment de vie est riche, potentiellement, d\u2019un devenir artistique. Le temps infiniment long de la pr\u00e9paration d\u2019un d\u00e9jeuner comme celui \u2013 vingt ann\u00e9es \u2013 de la r\u00e9alisation de cette exposition, nous \u00e9meut. Eloge d\u2019un eau non pollu\u00e9e, d\u2019une nourriture vraie, soign\u00e9e, choisie, belle.<\/p> <p>Tout en s\u2019emparant des derni\u00e8res technologies, un artiste part \u00e0 la recherche des traces du pass\u00e9 et de ses origines. Il n\u2019est pas anodin que Ta\u00efwan soit une \u00eele. C\u2019est dans les lieux clos, entour\u00e9s d\u2019eau que les forces cr\u00e9atives expriment le mieux leur originalit\u00e9. Moins atteintes par la masse, prot\u00e9g\u00e9es des mouvements de foule, elles trouvent l\u00e0 les havres dont elles ont besoin. N\u2019oublions pas, cependant, que ces lieux de r\u00eave sont \u00e9galement les plus fragiles.\u00a0<\/p>\n<img src=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/06-Dwarf-Wedding-1987-2010.jpg\" title=\"Figure 4-1. Hsieh Chun-te, RAW \u2013 Marriage des nains, Ultra smooth fine art paper, 1987-2011.\" alt=\"Figure 4-1. Hsieh Chun-te, RAW \u2013 Marriage des nains, Ultra smooth fine art paper, 1987-2011.\" srcset=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/06-Dwarf-Wedding-1987-2010.jpg 2000w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/06-Dwarf-Wedding-1987-2010-400x313.jpg 400w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/06-Dwarf-Wedding-1987-2010-1024x802.jpg 1024w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/06-Dwarf-Wedding-1987-2010-768x601.jpg 768w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/06-Dwarf-Wedding-1987-2010-1536x1203.jpg 1536w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" \/> <h3> Figure 4-1. Hsieh Chun-te, RAW \u2013 Marriage des nains, Ultra smooth fine art paper, 1987-2011. <\/h3>\n<img src=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/19-RAW-Family-Portrait-1987-2010.jpg\" title=\"Figure4-4. Hsieh Chun-te, RAW \u2013 Portrait de famille, Ultra smooth fine art paper, 1987-2011.\" alt=\"Figure4-4. Hsieh Chun-te, RAW \u2013 Portrait de famille, Ultra smooth fine art paper, 1987-2011.\" srcset=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/19-RAW-Family-Portrait-1987-2010.jpg 2000w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/19-RAW-Family-Portrait-1987-2010-400x314.jpg 400w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/19-RAW-Family-Portrait-1987-2010-1024x805.jpg 1024w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/19-RAW-Family-Portrait-1987-2010-768x604.jpg 768w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/19-RAW-Family-Portrait-1987-2010-1536x1207.jpg 1536w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" \/> <h3> Figure4-4. Hsieh Chun-te, RAW \u2013 Portrait de famille, Ultra smooth fine art paper, 1987-2011. <\/h3>\n<img src=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/10-RAW-The-Fishermen-on-the-Rooftop-1987-2010.jpg\" title=\"Figure 4-3. Hsieh Chun-te, RAW - The p\u00eacheurs sous le toit, Ultra smooth fine art paper, 1987-2011.\" alt=\"Figure 4-3. Hsieh Chun-te, RAW - The p\u00eacheurs sous le toit, Ultra smooth fine art paper, 1987-2011.\" srcset=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/10-RAW-The-Fishermen-on-the-Rooftop-1987-2010.jpg 2000w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/10-RAW-The-Fishermen-on-the-Rooftop-1987-2010-400x314.jpg 400w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/10-RAW-The-Fishermen-on-the-Rooftop-1987-2010-1024x804.jpg 1024w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/10-RAW-The-Fishermen-on-the-Rooftop-1987-2010-768x603.jpg 768w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/10-RAW-The-Fishermen-on-the-Rooftop-1987-2010-1536x1206.jpg 1536w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" \/> <h3> Figure 4-3. Hsieh Chun-te, RAW - The p\u00eacheurs sous le toit, Ultra smooth fine art paper, 1987-2011. <\/h3>\n<img src=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/02-RAW-Wondering-Artists-1987-2010-150cmx200-cm.jpg\" title=\"Figure4-5. Hsieh Chun-te, RAW \u2013 Artistes vagabonds, Ultra smooth fine art paper, 1987-2011.\" alt=\"Figure4-5. Hsieh Chun-te, RAW \u2013 Artistes vagabonds, Ultra smooth fine art paper, 1987-2011.\" srcset=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/02-RAW-Wondering-Artists-1987-2010-150cmx200-cm.jpg 2000w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/02-RAW-Wondering-Artists-1987-2010-150cmx200-cm-400x315.jpg 400w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/02-RAW-Wondering-Artists-1987-2010-150cmx200-cm-1024x806.jpg 1024w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/02-RAW-Wondering-Artists-1987-2010-150cmx200-cm-768x604.jpg 768w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/02-RAW-Wondering-Artists-1987-2010-150cmx200-cm-1536x1209.jpg 1536w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" \/> <h3> Figure4-5. Hsieh Chun-te, RAW \u2013 Artistes vagabonds, Ultra smooth fine art paper, 1987-2011. <\/h3>\n<img src=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/21-RAW-Ferry-Voyagers-at-the-Guan-Yin-Shan-1987-2010.jpg\" title=\"Figure4-2. Hsieh Chun-te, RAW - Voyageurs sous la montagne Guan-yin, Ultra smooth fine art paper, 1987-2011.\" alt=\"Figure4-2. Hsieh Chun-te, RAW - Voyageurs sous la montagne Guan-yin, Ultra smooth fine art paper, 1987-2011.\" srcset=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/21-RAW-Ferry-Voyagers-at-the-Guan-Yin-Shan-1987-2010.jpg 2000w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/21-RAW-Ferry-Voyagers-at-the-Guan-Yin-Shan-1987-2010-400x313.jpg 400w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/21-RAW-Ferry-Voyagers-at-the-Guan-Yin-Shan-1987-2010-1024x801.jpg 1024w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/21-RAW-Ferry-Voyagers-at-the-Guan-Yin-Shan-1987-2010-768x601.jpg 768w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/21-RAW-Ferry-Voyagers-at-the-Guan-Yin-Shan-1987-2010-1536x1201.jpg 1536w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" \/> <h3> Figure4-2. Hsieh Chun-te, RAW - Voyageurs sous la montagne Guan-yin, Ultra smooth fine art paper, 1987-2011. <\/h3>","_links":{"self":[{"href":"https:\/\/01x10.tw\/en\/wp-json\/wp\/v2\/pages\/6415","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/01x10.tw\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/01x10.tw\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/01x10.tw\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/01x10.tw\/en\/wp-json\/wp\/v2\/comments?post=6415"}],"version-history":[{"count":46,"href":"https:\/\/01x10.tw\/en\/wp-json\/wp\/v2\/pages\/6415\/revisions"}],"predecessor-version":[{"id":8069,"href":"https:\/\/01x10.tw\/en\/wp-json\/wp\/v2\/pages\/6415\/revisions\/8069"}],"wp:attachment":[{"href":"https:\/\/01x10.tw\/en\/wp-json\/wp\/v2\/media?parent=6415"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}