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2023 Art Basel HK｜Artist｜Tseng Chien-Ying

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2023 Art Basel HK｜Artist｜Tseng Chien-Ying 崇真艺客

Instanimals 社畜态, 2020

Ink and colors on paper, mineral pigments
纸本设色、墨、矿物颜料

73.5 x 73.5 cm x 18

Tseng Chien-Ying was born in 1987 in Nantou County, Taiwan and currently works in Taipei. He graduated in 2009 with a BFA from National Taiwan Normal University and in 2013 with an MFA from Taipei National University of the Arts. During his MFA studies, Tseng methodically researched and mastered the materials and methods of jiaocai and Nihonga painting in which mineral pigments such as azurite, malachite, lapis lazuli, lead, cobalt and cinnabar are mixed with animal glue and applied with a fine brush on paper, silk, metal foil or plaster. After graduating, Tseng began to investigate the historical origins of this traditional painting method in East Asian religious and court painting and was awarded an Individual Fellowship by the Asian Cultural Council in 2017 through which he traveled to New York; Yogyakarta, Indonesia; and Northern and Western China where he researched the early Buddhist religious art at the Longmen Grottoes in Luoyang, the Maijishan Grottoes in Tianshui, the Mogao Caves in Dunhuang and the Yungang Caves in Datong.

Instanimals #13 社畜态 #13, 2020

Instanimals #04 社畜态 #04, 2020

Instanimals #18 社畜态 #18, 2020

Central to Tseng’s artistic project is his exploration of religious iconography and religious visual experience in an interrogation of normativity. Using a personally-inflected “queer” sensibility, Tseng inverts or transgresses received notions of normal/abnormal, good/bad, beautiful/ugly, desirable/undesirable using the religious iconography of the sacred and sacrilegious. In his aesthetic rendering of the “queer,” body, artifice, flesh, fetish, sacrifice, bondage, death and decay are made sacred. Tseng’s “queer” sensibility, however, is more than a personal interpretation of post-modern critical theory as his notion of the non-normative draws as well from his investigations of Buddhist philosophy—specifically, the non-reality of dualistic constructions—and Taoism—namely, the radical relativism of thinkers such as Zhuangzi. His artistic project, thus, can be seen as an exploration of how historical Buddhist and Taoist artistic practice and aesthetic experience can be repurposed to give experiential form to our post-modern notion of the non-normative or the “queer.”

Bodysuit XX 角质身体XX, 2020

Ink and colors on paper, mineral pigments

纸本设色、墨、矿物颜料

109 x 75 cm

Coastside 背海, 2023

Ink and colors on paper, mineral pigments, silver foil
纸本设色、墨、矿物颜料、银箔

133.5 x 95 cm

Tseng’s interest in religious iconography extends beyond his proximal Asian sources and includes Byzantine icon painting which shares many of the same materials and techniques seen in early Buddhist art. The Buddhist art of Gandhara, which arrives in China in the 3rd Century via the Silk Road is itself an admixture of the religious art of Northern India with classical Greek forms brought to Central Asia by Alexander in the 4rd Century B.C. Because of this, the technical and visual similarities between Byzantine Christian and Central Asian Buddhist art can be striking and Tseng exploits these pre-modern similarities to create a post-modern, trans-national religious iconography—part Christian, part Buddhist, part European, part Asian—in pursuit of a post-modern, trans-national aesthetic of the “queer.”

Wildfire 野火, 2017

Ink, gouache, mineral pigments on Kumohada linen paper

墨矿物颜料云肌麻纸

183 x 92 cm

Tseng Chien-Ying’s artwork has been exhibited at the National Taiwan Museum of Fine Arts, Taichung (2020, 2017, 2015), Kaohsiung Museum of Fine Arts, Kaohsiung (2014, 2009), Taipei National University of Art, Taipei (2013, 2011), and the Tunghai University Art Gallery, Taichung (2011). His works are included in the permanent collections of National Taiwan Normal University, Taipei, Taiwan; the National Taiwan Museum of Fine Arts, Taichung, Taiwan; and the White Rabbit Collection, Sydney, Australia.

The artist in his studio.

Conversations | Ink and Miniaturism

Bridging Histories of Painting from East to West Asia?

Friday, 24 March, 12:30pm - 2pm

Panelists

Tseng Chien-Ying, artist, INKstudio

Amir H. Fallah, artist, Denny Gallery

Wardha Shabbir, artist

Moderated by Craig Yee, Director, INKstudio and Dr. Yeewan Koon, Associate Professor and Chair, Department of Art History, University of Hong Kong.

Venue

Auditorium, N101B, Level 1

Hong Kong Convention and Exhibition Centre

Artists share the traditions they reference in their work to explore the histories of ink and miniature painting in Asia from a trans-regional perspective; from the emergence of religious pictorial art in South Asia and its transmission via Central Asia to China in the 3rd Century along the Silk Road, to Yuan Dynasty cultural exchanges with the Moghul and Ottoman courts, and revivals of Persian and miniature painting in the 20th and 21st centuries.

*This talk will be conducted in English, with simultaneous interpretation available in Cantonese and Mandarin.

About INKstudio

INKstudio is an art gallery based in Beijing and New York. Its mission is to present Chinese experimental ink as a distinctive contribution to contemporary transnational art-making in a closely-curated exhibition program supported by in-depth critical analysis, scholarly exchange, bilingual publishing, and multimedia production. INKstudio's program encompasses Postwar and contemporary artists from Taiwan, Hong Kong, China, Korea and Japan including Bingyi, Chang Yahon, Chen Haiyan, Cheng Yen-ping, Dai Guangyu, Ding Qiao, He Yunchang, Hung Fai, Huang Chih-yang, Inoue Yu-ichi, Jennifer Wen Ma, Jeong Kwang-hee, Kang Chunhui, Kim Jong-ku, Lee In, Lao Tongli, Li Jin, Li Huasheng, Lim Hyun-lak, Lim Ok-sang, Liu Dan, Peng Kang-long, Ethan Su Huang-Sheng, Tao Aimin, Tseng Chien-ying, Wai Pong-yu, Wang Dongling, Wang Tiande, Wei Ligang, Xu Bing, Yang Jiechang and Zheng Chongbin and exhibits works of diverse media, including painting, calligraphy, sculpture, installation, performance, photography, and video. Since its inception in 2012, INKstudio has regularly appeared at art fairs such as the Armory Show (New York), Art Basel Hong Kong, and West Bund Art & Design (Shanghai) and placed works into major public collections, including the Metropolitan Museum of Art, Los Angeles County Museum of Art, Brooklyn Museum, and M+, Hong Kong.