Double Square 双方藝廊

Yuyu Yang,Tu Wei-Cheng,Yao Jui-Chung,Hsiao Chu-Fang,Huang Hai-Hsin,Huang Chih-Cheng,Yen Yu-Ting,Wen Gum Gum,Weng Jhen-Ling
YuYu Yang（1926-1997）was born in Yilan, Taiwan. Yuyu’s parents moved to Beijing for business when he was still a child, and he enrolled in school there. After graduating from middle school, Yuyu went to Japan and took the entrance examination for the Tokyo School of Art, but returned to Beijing during the turmoil of World War ll, where he enrolled in the Art Department of Fu Jen University. He was later forced to leave his parents and to Taiwan, then, where he enrolled in what is today known as National Taiwan Normal University. Yuyu studied traditional painting techniques, architecture, and sculpture in Beijing, Tokyo, Taipei, and Rome. Over an art career spanning more than 60 years, he held numerous large and small solo exhibitions and dozens of joint exhibitions. Yuyu saw the modernization and internationalization of Taiwan art, and his art works were a leading force for innovation. Collectively, they mirror the development of Taiwan modern art. While Yuyu was in charge of artistic design for Harvast Magazine, he portrayed the simple and honest lives of people living in Taiwan’s traditional agricultural society. When Taiwan’s economy began to expand, he began to devote himself to landscape development for a number of public spaces, becoming a pioneer in public art in Taiwan. His use of stainless steel in his sculptures showed his respect for both nature and the arts, and many of his works have now become local landmarks. The TFAM, in its study of the modernization of Taiwan art, hopes to present the unique characteristics of Taiwan art and its different stages of development. To this end, the Museum has selected representative works from Yuyu’s different periods, oils, sculptures, spatial planning, and outdoor sculptures, more than ninety works in total.

Tu Wei-Cheng holds an MFA from the Graduate Institute of Plastic Arts of the Tainan National University of the Arts (2005). He now works as an artist, as well as an assistant professor at the Taipei National University of the Arts in Taiwan.
He has exhibited internationally, including at the Musée des Arts Asiatiques, Nice, France (2022); Oku-Noto Triennale 2020＋, Suzu, Ishikawa, Japan (2021); the Rijksmuseum, Amsterdam, Netherlands (2019); 1st Thailand Biennale, Krabi, Thailand (2018); V&A Museum, London, U.K. (2017); Singapore Art Museum (2013); Gwangju Biennale, Gwangju, South Korea (2012); Guangzhou Triennial, Guangdong, China (2012); Queens Museum, New York, U.S. (2008); Palazzo delle Arti Napoli, Napoli, Italy (2007); and Shanghai Biennale, Shanghai, China (2006).
Pivoting around the idea of self and system, his work is a hybrid of archeological excavation and contemporary life, where modern technological gadgets are transformed into ancient relics from an imaginary civilization, deeply imbued with an upturned sense of time. Sometimes site-specific, his large-scale installation becomes a manifestation of local folklore and contemporary phenomena, placed in a falsified reality that has crossed paths with the ancient past. The artist contemplates cultural identity, as well as the incongruities and anxieties that ensue, in an effort to reinterpret the Information Age.

Yao Jui-Chung was born in 1969. Lives and works in Taipei. He was graduated from The Taipei National University of the Arts with a degree in Art Theory. He specializes in photography, installation art and painting. His oeuvre covers broad aspects of the absurdity of human conditions. His magna opuses include Military Takeover (1994) which addresses the issue of Taiwan’s identity, Recovering Mainland China (1997) which debunks Chinese modern political myths, The World is for All (1997-2000) which examines post-colonialism, and Long March - Shifting the Universe (2002), an additional piece of the Action Trilogy. Employing the technique of photographic installation, the artist brilliantly combined the style of “gold and green landscape” with the superstitions that permeate Taiwanese folklore, reflecting a fabricated and alienated “cold reality” endemic in Taiwan. Since 2007, the artist has appropriated Chinese artistic masterpieces and recreated them in his own way, transforming them into his personal life experiences or true stories in an attempt to turn grand narratives into the trivial affairs of his individual life. In other words, the artist intends to usurp the authority of the so-called orthodoxy with his strategy of “pseudo-landscapes.”

HSIAO Chu-Fang was born in Chiayi, Taiwan in 1980, HSIAO Chu-Fang graduated from the Tainan National University of the Arts College of Visual Arts in 2008. She is a recipient of the S-An Cultural Foundation Award and Honorable Mention in the Taipei Art Awards. She has been an artist-in-residence at the Foundation Sacatar in Salvador, Brazil in 2010 and at the Anderson Ranch Arts Center in Colorado, USA in 2013.
Through sketches, HSIAO Chu-Fang collects incidents and snippets from everyday life, turning them into thematic material for painting. Adept at using simple colors and lines, HSIAO brings together the fragmented feelings from real life into a coherent whole, expressing little things that seem insignificant, yet are simply profound, in a lighthearted, humorous style. Most of her works are character driven, with distinct personalities, reflecting people’s varied emotional states. The characters she depicts with her brush are alternately comical and humorous, or quiet and contemplative. Using clean, assertive lines and bright colors, ordinary scenes of life are turned into nonsensical humorous imagination, where humor is used to alleviate the little sorrows in life.

Huang Hai-Hsin was born in Taipei, Taiwan in 1984 and graduated from National Taipei Teachers College (now National Taipei University of Education). She obtained her MFA in Fine Arts from the School of Visual Arts, and currently lives and works in New York. Inspired by events and situations in daily life, Huang captures the amusing and awkward moments and focuses on all kinds of intriguing plots or the theatrical atmosphere. With humorous, entertaining composition reminiscing of journalistic photos and substantial and straightforward lines, she portrays the life of a spectrum of ordinary people in this world and exposes the subtle and neurotic moments of absurdity that inform the interpersonal relationships of the times, politics, society, and family. Her work is not only a form of satire to the reality but also a powerful coup to modern people's worry, fear and detachment. The sense of anxiety from the image sometimes gives rise to a contrasting sense of helpless joy because there is simply nothing more to be done. Other times, it reveals a festival-like, collective escape that is accurate without being aggressive. Her black humor stems from a perspective of child-like innocence, enabling the viewer to gaze into the reality through a fun mirror that still reflects the world's cruelty in a way that is easier to accept.

Huang Chih-Cheng was born in Miaoli and grew up in Kaohsiung, Taiwan, I received my M.F.A. from Tunghai University and became a full-time artist after graduation. Deeply influenced by my past training in ink wash painting and glue color, I often apply mixed media including ink, cotton threads, and photo images on a foil-based foundation to experiment various possibilities of presentation. I pay close attention to topics concerning personal family history, issues on life and death, lust display, etc. I was delighted to be the winner of the 2015 Next Art Tainan and selected for Tianmei Art Foundation's 2016 and 2019 Taiwan Contemporary Artists Overseas Visit Program. Also, I’m selected for Tianmei Art Foundation's 2021 Contemporary Artists Publish Project. My artworks are collected by Tainan Museum of Fine Arts and National Taiwan Museum of Fine Arts. I also participated in a joint exhibition ‘FINE ART / UNIVERSITY SELECTION’ in Tsukuba Museum of Art in Tsukuba, Japan, ‘DREAMS HABITATIONS’ and ‘Flowers of Immense Charm’ in National Taiwan Museum of Fine Arts, ‘Unjust Deadline-Postwar Journalists’ in National Human Rights Museum, ‘Reading Sexaulities’ in National Museum of Taiwan Literature.
Fascinated with the solidity and frailty of metal leaf, Chih-Cheng's art centers upon issues of sensation of time and life to death. He focus on the factors of phenomenon, questioning the reality of contemporary society through his own individual distinctiveness. He believes boundaries don’t really exist between everything, only what matters is how you look it. As an artist, he implies different formation of the world.

Yen Yu-Ting was born in Taipei, Taiwan 1989, Yan Yu-Ting’s practice engages with contemporary lived experience through the cultural lineage of ink painting, creating dialogues and reinterpretations within that framework. Drawing on news images and textual materials as points of departure, she blends personal perception with fabricated scenarios, transforming the visual language of ink to reconstruct narratives and information from disparate times and places. Her works visually capture the collective restlessness, dissociation, absurdity, and dark humor embedded in contemporary society.
In recent years, Yan has further expanded her exploration of the contemporary implications of cunfa (texturing methods), integrating calligraphy, news imagery, and 3D modeling technologies. Departing from the traditional ink focus on natural landscapes, she instead shapes an “internal cunfa,” akin to the noise and turbulence of the mind.
Her works have been collected by institutions including M+ Museum of Visual Culture in Hong Kong, the White Rabbit Gallery in Australia, and the National Taiwan Museum of Fine Arts. She has exhibited at venues such as the Taipei Fine Arts Museum, the National Taiwan Museum of Fine Arts, and the Kuandu Museum of Fine Arts.

Wen Gum Gum is a Taiwanese artist, graphic t-shirt designer, and zine publisher.She specializes in painting and video. Her observation focuses on how the media manipulates public ideology and transmits messages through the use of visual images. Wen Gum Gum uses images as tools for self-introspection and emotional outlets, interweaving her inner spirituality, the world, and the internet, with absurdity as an inevitable adornment in the process of creating her work. Challenging conventional portrayals of gender in mass media, her work utilizes distorted bodies and explores inner experiences as a means of critique