The world changes constantly; we are unable to control what will be. We only know access to the arts is intrinsic to a high quality of life at any moment.

With freedom of texture, mind, hand, space, and meaning, Tang-Wei Hsu creates art that is neither heavy nor sentimental. Whether intentionally playful or not, his objects are accessible to general audiences as public murals, and at green hills, playgrounds, metro entrances, museums, and other places. The parts - organic and in motion - depart drastically from the norm of independent existence and revel in their connectivity. Viewers instinctively desire to penetrate the labyrinths.

We hope your interest is piqued and you do not begrudge praise and admiration.
Tang-Wei Hsu 許唐瑋
Fantasy on the Universe
Floating Travel, 2020, fiberglass, stainless steel, metal paint, L17ft x W12ft x H3.6ft, public art at Taoyuan International Airport Terminal 2, Taoyuan, Taiwan.
Adventures in self-referential, multi-level spatial possibilities: a new generation of sculpture in public spaces
We may take the 1965 exhibition New Generation at Whitechapel Art Gallery as the herald of a distinct school of abstract sculpture, whose object was "the totals or unities created by man in his attempt to understand and control the world" [note 1]. While contemporary pop and graffiti in the US, or anime or manga in Asia, are far removed from the scope of the New Generation artists, their concerns for abstraction, for the essence of sculpture, for total artistic responsibility for effect and medium, predicate the sculpture of contemporary artists such as Taiwanese American Tang-Wei Hsu. If Superflat [note 2] is essentially Warholian, then I would characterize Hsu as attempting to catch the whole universe in a welter of symbolic fecundity.

His objects are coated with pleasant, soft, and primitive colors and lines that nevertheless fail to lend stability - indeed they covertly undermine it. Hsu thus develops an open, airy art language, through seemingly conducting a discourse of abstract animation to determine space or the physical world. Even though there is a definite artistic commonality with graffiti and street murals, the antisocial element has been completely eradicated in Hsu's work. Thematically, he rails against the orderliness of aesthetic limits, stylistically diminishing a principle of symmetrical two dimensional balance, and has blithely deconstructed the division between two and three dimensions, between sculpture and drawing, remanding medium to irrelevance and enthroning content and form that generate excitement regarding the surface of works.

In terms of cultural provenance, Hsu was born and reached artistic maturity in Taiwan, in an atmosphere of global integrated notions of individual recognition. As a consequence, his artistic consciousness ranges from microscopic to universal and has no bounds. Whether in murals or sculpture, Hsu's concept involves endless and detailed correspondence that ricochets between a child's dream, scientific imagination, and fantastical allegory. Nevertheless, his architectural background allows him to take a methodical approach to the liberation of symbolic systems.
Documentary of Mural at Yinchuan Museum of Contemporary Art in 2018

"In this exhibition, I presented a large-scale mural painting about 13 meters high, and painted a large-scale exhibition room. I hope that when the audience enters this space, it finds a colorful, macroscopic and microscopic visual experience. Occupying all available space seems to extend the imagination of the space field."

- Tang-Wei Hsu
Relaxation – The Secret Garden of Cartoon Fantasy, 2018 exhibition at Yinchuan Museum of Contemporary Art, China (銀川當代美術館)
If we look for the portals of culture, we find that they have been thrown open and thus the sense of art must rely more heavily on artistic imaginative form; by contrast, historically the source of cultural symbols is the mystery of religious ecstasy. [note 3]
The modern skill of deploying self-consciously expressive art for the dissolution of the social hierarchy has empowered and legitimized the moving into the public space that is graffiti, mural, or street art. Yet beyond any art historical trend, Hsu's mysteriously fluid graphic line - dripping liquidity beyond nature - leaps beyond culture, beyond narrative science fiction. His creative drive is boundlessly infinitizing his art spirit and thus creating his radical self. It is far from the monolithic norm.
Partial view of Youth Freestyle, 2019, Fiberglass, stainless steel, metal paint, LED lamps, L6.5ft x W6.5ft x H11.6ft. public art project at the Taichung North District Sports Center, Taichung, Taiwan.
Tang-Wei Hsu 許唐瑋

Tang-Wei Hsu (b. 1980 Taiwan) is an international artist based in New York. He is a recipient of the Asian Cultural Council Fellowship (2009) and was a resident artist of the international studio & curatorial program, Brooklyn (2011).
He gained a BA in Architecture from Shih Chien University, Taipei and an MFA in Visual Arts from Tainan National University of the Arts, Tainan, Taiwan.

After relocating to New York in 2011, Hsu participated in many local and international exhibitions such as "Crystal Cave", ASYMMETRIK Gallery, New York(2016); “Across The Pacific”, LAM Gallery, California(2016); “On & On: Art Without End”, Mark Miller Gallery, New York(2015); Outdoor exhibitions include 4heads:GIAF, New York(2016,2013&2012); DUMBO Arts Festival, New York(2013).

An interpretative video by Tang-Wei Hsu about Youth Freestyle-Spirit of Sport

Youth Freestyle is an example of Hsu's public art. It is set up at Taichung North Sports Center. Harmonizing with the activities at the sports center and accompanied by a course for art activities for students,Youth Freestyle consists of three separate pieces. One is placed on the grass, the second is a large-scale work that runs through the first and second floors, and the third is a complete set of seats for the public to rest and use for art. Hsu's architectural background is very much in evidence in this project.


https://youtu.be/XN_BCx4sxKU
As an international artist, he travels widely for varied projects and installations in locales as diverse as Taiwan, Hong Kong, Singapore, Denmark, Australia, the USA, and so on. In 2013, Hsu collaborated with New York City DOT (Department of Transportation) and carried out a public art installation project, Magic Monkeys, at 9th Avenue and 36th Street in Manhattan. His work was shown in Sculpture By The Sea in Denmark (2015) and Cottesloe, Sydney, Australia (2016, 2018).
Hsu's large-scale stainless steel sculptures and the drawings of creatures and organic patterns are seen as his individual signature and art language; they have gradually gained him worldwide publicity.
Welcome to the Galaxy Railway, 2009,Fiberglass, stainless steel, metal paint, LED lamps, public art project of Museum of Contemporary Art, Taipei, Taiwan
video: https://youtu.be/sIdmyXbPRHM
Partial view of Youth Freestyle, 2019, Fiberglass, stainless steel, metal paint, LED lamps, L10ft x W10ft x H33ft. Taichung North District Sports Center, Taichung, Taiwan.
video https://youtu.be/XN_BCx4sxKU
When I am saying Hsu has liberated his hand and mind in these works, I do not wish to minimize the difficulty of his art construction in accordance with a systematic or established form or procedure. The images and the objects that are revealed are interconnected in the body of works which gives them context. When following a smooth line, a shape, or color, we are locked into a structure that flows in then out as through an explosion of imagination without effort. Here, we capture a discourse on extensive reinterpretation. Therefore, instead of overvaluing entry on some level and deriving currency from sensationalism, I refer to the 1986 comment by Jeff Koons: "I would like to offer up a term that has had vital currency in the process of my own thinking: contingency. I think that through this procession of contingencies, discourses are being pulled together into the object itself, promoting an awareness if the fact that all meaning are contingent upon some other meaning where meanings are appropriated for their relationship to eternal forces, the larger social schema in which they're involved" [note 4.]

-- Luchia Meihua Lee, Curator

Notes:
[1] The Moment of Modernism: Modernist Art, 13. William Tucker (1935-??) & Tim Scott (1937-?) 'Reflections on Sculpture" in Art in Theory 1900-2000, An Anthology of Changing Ideas, ed. C. Harrison & P. Wood, 2002. Blackwell: MA, Oxford, pp.801
[2] "[Takashi Murakami] is known for] Superflat art theory—a postmodern art movement—as well as devising an artistic genre wholly of his own".https://www.crfashionbook.com/mens/a32405824/takashi-murakami-art-superflat-louis-vuitton/ ,BY JENNIFER SAUER, MAY 8, 2020 [site accessed on Aug 10, 2020]
[3] op. cit. Idea of Postmodern:The Condition of History, 1. Daniel Bell (1919-?) from 'Modernism and Capitalism' p. 1117-1122
[4] ibid. Ideas of the Postmodern: The Critique of Originality, 11. 'From Criticism to Complicity' p.1051-1054
Fengyuan Pastry Sculptures, 2019, Fiberglass, stainless steel, metal paint, LED lamps, Taichung World Flora Exposition, Fengyuan Huludun Park, Taiwan. (台中花卉博覽會, 豐原葫蘆墩園區)

Monkey Magic, continues Hsu’s use of anime and science fiction-influenced graphics. This totemic sculpture references the ancient Asian fable, Three Monkeys, and the classic novel Journey to the West, as well as Hsu’s own experience in New York where he has lived intermittently for the past three years. Adorned with symbols of both landscape and manufacturing, the sculpture extends into the surrounding bustle, offering a brief respite to passersby.
night view of the Fengyuan Pastry Sculptures, 2019, Taichung World Flora Exposition, Fengyuan Huludun Park, Taiwan.
Fantastic Planet, 2011. Fiberglass, stainless steel, metal paint, LED lamps, L10ft x W10ft x H28ft. Nangang train station F area, Taipei , Taiwan
Pocono Bud, Sculpture by the Sea 2, 2018, Fiberglass, stainless steel, metal paint, L6ft x W6ft x H13ft. Cottesloe, Perth, Australia
partial view of Maze Coordinates, 2018, Beyond Gallery, Taipei, Taiwan (迷宮的座標) documentary video: https://youtu.be/B__Kx5eyfi4
Best Wishes for You, 2011, glass curtain output, vinyl cut sheet in National Taiwan Museum of Fine Art, Taiwan. 29.5 ft x 29.5 ft
Selected video documentary of Tang-Wei Hsu

Youtube:
Tang-Wei Hsu Mural Graffiti


許唐瑋 Public Art：[ Youth Freestyle-spirit of sport ] by Tang-Wei Hsu

Maze Coordinate 迷宮的座標- Solo Exhibition By Tang-Wei Hsu

Tang-Wei Hsu 許唐瑋 Artworks -Group Show in stART up LA
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Shan Shui Boundle, 2017, Sculpture By The Sea, Aarhus, Danmark
Hsu imagined a secret garden beside the beautiful Aarhus coast. The artist hoped the viewers would feel as if they are walking in an imaginary landscape, interspersed with real and illusory scenery. The smooth painted metal surfaces as well as the stainless steel-like mirrors reflect the sea and sky.
Contact: info@taac-us.org if you are interesting to support this artist in any creative way.
TAAC -- Building bridges between communities, national and internationally through art and culture to deepen our senses of beauty, inspiration, and empathy.

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- The TAAC team wishes you cool, safe summer time
Image courtesy of artist
Alexander Khimushin
Image courtesy of artist
Wei Lee
Image courtesy of artist
Sarah Walko
Exhibition: Urban Reverence, New York (paused due to coronavirus)
The phenomenon of migrants forming an international cross-cultural "urban tribe" is one of the urgent topics in the 21st century. Analyzed historically in the context of the planet and symbiosis, this involves the survival of human beings and maintenance of balance among various living things. The discourse thus moves to valuing human nature, preservation of multiple cultures, the environment, and the new multi-faceted unity. Potential political, economic, and cultural crises can only be averted by an emphasis on the diversity of life that promotes interactive relationships.

Curatorial team:
Chief Curator: Luchia Meihua Lee, Executive Director, TAAC
Co-curators: Jennifer Pliego, Director of Special Programs and Head of the House of Art, El Taller Latino Americano, NYC
Sarah Walko, Curator, Director of Education & Community Engagement, Visual Art Center of New Jersey

Urban Tribes-II Urban Reverence Participating artists 
Herberto Turizzo Anaya, Reinhard Blank, Dennis Redmoon Darkeem, Catherine Lan, Wei Lee, Yen-Hua Lee, Stephanie Cheung/Chengwen Lin, Shih Pao Lin, Eleng Luluan, Sarah Haviland, Diana Heise, Hiroshi Jashiki, Alexander Khimushin, Rosalía Mowgli, Walis LaBai (Dingwu Wu), Sarah Walko, j. maya luz, Chin Chih Yang, Yeh Fang

2019 Urban Tribes-I Urban Caravan Participating artists: Miya Ando, Steven Balogh , Ching-Yao Chen, Yutien Chang, Jen-Pei Cheng, Chemin Hsiao, Andrea Coronil, Felipe Galindo, Mingjer Kuo, Pey-Chwen Lin, Yi-Chun Lo, Kelly Tsai & Ryan Hartley Smith, Yu-Chuan Tseng, Lulu Meng, Pei Shih Tu
LIGHT YEAR 51-We the People & LIGHT YEAR 53-From People to the Land  

Revelation of Eve Clone :
Lin Pey-Chwen Digital Art Lab Exhibition (林珮淳 .數位藝術實驗室創作展）

Curator ：Ming Turner （陳明惠）
Sep.10 - Dec 13, 2020
Opening: Thur. September 10 @2:00pm
Tainan City Art Museum (Building 2,Gallery K - L), Tainan, Taiwan
Click below link to view more information:

https://artemperor.tw/tidbits/10281

https://www.facebook.com/137972956250253/posts/3245179978862853/?d=n
j. maya luz, Heart Mandala for Ric and Ev, 2017, Printed on glass, 16 x 16 inches, courtesy of artist
Image courtesy of the artist Reinhard Blank
Reinhard Blank Current exhibition AusZeit : Kunst als Klärung at Stadtmuseum Memmingen,
The exhibition lasts until January 24, 2021

In case you missed our Artist-To-Watch series, below are links to it:
 
Chin Chih Yang 楊金池- 2020 NYFA Hall of Fame artist

Marlene Tseng Yu 虞曾富美- 2020 at the Springfield Museums

Tina C J Chen 陳秋瑾- 2020 packing up at a NY Gallery

Chemin Hsaio 蕭喆旻 - Aware the Living Moment 

Nina Edwards - Appreciate the world we live in today

Shida Kuo 郭旭達 - The Still, Protruding Moment

Eric. C. Chiang (江俊雄) - A Grand Whim of Running Melody

Felipe Galindo (Feggo) - An Indescribable further turn way among us 

YunMing Chang 張韻明 - Reverie on the green rice fields of Taiwan