Wei-Li Yeh
The "Antiquity-like Rubbish Research & Development Syndicate" Project
Selected Photographs & Documents
2010 to Present

2014 / 03 / 29 (Sat) ~ 2014 / 04 / 27 (Sun)

❖ 開幕茶會/Opening/2014.03.29 (Sat) 15:00
❖ 藝術家對談/Artist talk/2014.04.26 (Sat) 15:00

每件物品皆有其名稱、位置、價值與利益或象徵意義。大部分的社會心力都是花在保持「物品」和它們的分類(尤其是考量安全或是文化價值之需)。但在這項法則之前、之下與之後,總有著許多不確定性與混亂雜生。由藝術家葉偉立於2010年發起的〈古董級垃圾研發公司 在二零六〉,正是獻給這樣的不確定性與事物的越界運動。



文 / 安森‧法蘭克,Haus der Kulturen der Welt 視覺藝術部主任
原文出處 / 2012台北雙年展導覽手冊



Every object assumes a name, a place, a value, and utilitarian or symbolic meaning. Much of a society‘s labor is spent keeping objects and their classifications pure and stable (above all, in the name of safety or cultural values). But before, underneath, and after this order, there is plenty of uncertainty and impurity. Antiquity-Like Rubbish Research & Development Syndicate, led by artist Yeh Wei-Li since 2010, is dedicated to this uncertainty and to the movement of things across boundaries.

This process-oriented work began in 2010 with a concrete spatial renovation project in which sixteen artists collaborated, and has since materialized in different temporary collaborations involving various forms of production, reflection, and media. The project maps the processes and movements among the categories of “art,” “antiquity,” and “trash.” The precarious balance between these categories functions like a map that registers “transformation” in the order of society, whether this be devaluation and destruction in urban renewal, or value-production in commodity capitalism, or the quasi-magical production of “value” in art.

Each of these three categories delineates a class of objects beyond utility. “Trash” designates objects that have become value-less. Objects here literally “fall apart” and become “impure” and “undifferentiated,” that is, without clear borders—hence the affinity of trash with monstrosity. It is in this realm of hybridity that the project finds its materials: objects salvaged during spatial renovation projects, objects from illegal roadside dumping grounds, neighborhood construction sites, beaches, and riverbeds. Can such discarded debris be “elevated” and achieve the status of either “antiquity” or “art” through analysis, evaluation, and aesthetic judgment? Can it simultaneously challenge the hierarchy between trash and art—its connection, for instance, to the classifying and evaluating institutions of the museum, the market, or individual authorship, and its disconnection from everyday collective practice, life, and locality?

Text: Anselm Franke, Head of Visual Arts and Film Department, Haus der Kulturen der Welt
Quote from Taipei Biennial 2012 quidebook

Wei-Li Yeh
Born in Taipei, Taiwan, in 1971, Wei-Li Yeh emigrated to the United States at the age of eleven and returned to reside in Taiwan in 2002. He obtained an MFA Degree in the Department of Photography from the Rhode Island School of Design, USA, in 1997 and has exhibited internationally since 1990's. Yeh's various photographic and textual based projects for the past decade explore the dynamics of the individual within collective practices that centralize on the personal and socio-political relationships between oneself and the city in which he resides. Yeh's work is represented by Hanart TZ Gallery, Hong Kong, China. He currently lives and works in Yangmei, Taiwan.

展覽日期/2014.03.29 (六) - 2014.04.27 (日)
開幕茶會/2014.03.29 (六) 15:00
藝術家對談/2014.04.26 (六) 15:00
開放時間/週三 - 週日 13:00 - 20:00 (週一、二休館)

Duration/2014.03.29 (Sat) - 2014.04.27 (Sun)
Opening Reception/2014.03.29 (Sat) 15:00
Artist Talk/2014.04.26 (Sat) 15:00
Location/2F., No.83, Chenggong Rd., Tainan City 700
Gallery Hours/Wed-Sun 13:00-20:00 (Mon.~Tue. off)