Su-Mei Tse 闒稇哆 INTRODUCTION
A chamber where the sole reverberating sound is your own breath; cellos played against an accentuated Amidst the musical and cultural currents in Tse’s work is additionally a strong sense of poetry and nuanced mountainous green backdrop; conical shells as coated headphones - these are disparate yet interlinked humour. From ‘SUMY’ (2001) to ‘L’Echo’ (2003) and ‘Les Balayeurs du Désert’ (2003), there is a running examples of the delicate, lyrical humour that pervades Su-Mei Tse’s (b. 1973, Luxembourg) practice, which sense of delicate wit. ‘SUMY’, for example, made in collaboration with Tse’s partner Jean-Lou Majerus, is a spans video, installation and sculpture. A trained classical cellist of Chinese and British descent, Tse weaves pair of light-brown seashells enclosed in a transparent red cube, a cloth interconnecting the units in order a meditative, visaural tale empowering the language of music as a primary voice. Investigating associations to resemble a pair of headphones. Playfully combining her name with that of Sony, the sculpture evokes between places, geographies, cultures, traditions, Tse’s work elicits a cross-stimulation of the senses, where the aural experience of listening to the ocean via a seashell. ‘L’Echo’ further explores this sense of play: a time and its flow are suspended in a gentle state of contemplation. large video projection shows Tse herself playing the cello on a lush mountainside in the Alps. The romantic setting is somewhat ridiculed, however, by the over-dramatisation of the picture composition, chiefly the At the heart of Tse’s practice is its relationship with musicality. Brought up by a violinist father and pianist sharp contrast between her red costume and the saturated green of the mountain grass. Additionally, the mother, Tse initially studied at the Luxembourg and Paris conservatories before pursuing fine arts studies melody she plays echoes amidst her surroundings till it falls out of sync, the setting seemingly carrying both at the École des Beaux-Arts in Paris. From ‘Das Wohltemperiete Klavier’ (2001) to ‘Chambre Sourde’ (2003), the music and her into the distance. ‘Les Balayeurs du Désert’ further fleshes out this relationship with the Tse explores a range of relationships with sound, from the literal to the more abstract, each time placing landscape by showing a group of men dressed in Parisian street cleaners’ uniforms sweeping a desert in a music as the prime conveyor of her conceptual pulse. In the former video work, for example, Tse shows continuous loop, the futile motion tracked by the sound of their movements. a close-up of a pianist’s bound-up hands as they voraciously and determinedly play one of JS Bach’s 48 keyboard preludes and fugues. Repeatedly missing the correct notes, Tse points to the journey towards Overall, Tse’s work poetically draws us into contemplation of our sense of place, self and time, using the mastery and conquering of doubt. Conversely, the latter is an installation, which as an anechoic chamber, universal language of music to at once suggest trains of thought but ultimately allow us to formulate our invites a contemplation of silence. Linking to the Ancient Greek Sceptic’s concept of ‘epoché’, there is a own. Balancing Tse’s research-driven, intellectually-complex practice is a subtle sense of humour, which state of suspension as the oral clutter one is accustomed to is blocked, leading to an intellectual pause and lends to an overall delicate dialectical sense of play as well as approachability. Tse’s practice is ultimately attainment of self-consciousness. not just seen, it is heard and felt; a complete multi-sensory experience that plunges one into a state of suspension. Tse contemplates a range of subjects, including the dichotomy of cultures and place. Responding to her personal Eurasian background, certain works flesh out her relationship with Asia and the West whilst Su-Mei Tse is an internationally-celebrated artist who rose to prominence in 2003 when she represented simultaneously diverting from the clichés associated with each. ‘Dong Xi Nan Bei (E, W, S, N)’ (2006), for Luxembourg at the Venice Biennale and was awarded the prestigious Leono d’Oro award for her tripartite example, is an installation of four neon Chinese characters, each signifying a cardinal point. Beyond the installation ‘Air Conditioned’. Tse’s work has since been exhibited nationally and internationally including solo work’s relationship with her personal origin, it equally points to Tse’s running interest in Japanese culture by shows at Taipei Fine Arts Museum, Taipei (2019); Yuz Museum, Shanghai (2018); Aargauer Kunsthaus, Aarau being arranged according to Japan’s azimuth direction. ‘Standard Eye Level’ (2006) also exemplifies Tse’s (2018); Mudam Luxembourg, Luxembourg (2017); Joan Miró Foundation, Barcelona (2011); Isabella Stewart nuanced contemplation of cultural variance; an installation work consisting of numerous bonsai plants, each Gardner Museum, Boston (2009); Art Tower Mito, Japan (2009); Seattle Art Museum, Seattle (2008); PS1, New is placed on a horizontal line of fluorescent orange tape stuck on the gallery walls. Originating from not only York (2006); Casino, Forum d’Art Contemporain, Luxembourg (2006); Renaissance Society, Chicago (2005); Japan and China but also Europe and Oceania, each plant is placed on a tripod adjusted to the standard Moderna Museet, Sweden (2004). Group exhibitions include Kunstmuseum Bonn, Germany (2009); National eye-level of the residents in the country - a reflection on both the standards pertaining to each culture as Gallery of Art, Poland (2009); Singapore Biennale (2008); Kunsthaus Zurich (2006); De Appel, Amsterdam well as a visual metaphor for how environments impact each and everyone’s development. (2005); Sao Paulo Biennale (2004). Tse has additionally been the recipient of multiple prizes, including the Prize for Contemporary Art by the Foundation Prince Pierre of Monaco (2009) and the Edward Steichen Award, Luxembourg (2005). ➝稲
SUMY 2001 ꬅ閶涸䨻Ⰺ〫〳聂鋅ㄎエ耪㣐䲿楩㖈넞耬㥵㿋菚涸笂蒀胜兞饰坾1973 蒪轠媽⻊䧭㝣♳겝蒀涸羭堤 闑稇哆⡲ㅷ涸갉坾ㄤ俒⻊⯋稇⚥⛲崨ꪪ♧珏䓽捘涸鑗䠑ㄤ䗎㦪涸䎕랾䠭կ䖰շ2003 2003 ո Jean-Lou ⵌշ㔐耪ո Majerus 溏⡃䧅婋⡎橇橇湱䩾㸐⦛鿪僽闑稇哆 䎃欰倴湕啿㜃稣芴罜䫉䞔涸䎕랾⯋稇顐瑬Ⱖ嶍⿺䕧⫸ծ酤 ⱄⵌշ尪恉幡䰾罏ո SUMY ⡲ㅷ䒁糵✫♧珏䊫㦪涸兰䢴կ⢾㥵㖈闑稇哆莄⠶⣥ 縨ㄤꧧ㝕涸谀遮㻜驏կ⡲捀♧⦐⚥薉幊過涸㼠噟〢Ⱙ㣐䲿楩怵㤉㹻闑稇哆㼞갉坾铃鎊欽⡲⚺銳⯋稇⢵箠 Ⱏず㸤䧭涸 ⡲ㅷշ ո⚥♧㼩幏啕蒀涸頺媽ⴔⴽ鄄佞ⰆⰎ⦐鷳僈涸秋蒀用倰넒⚥䋒哬㼞Ⰾ⦐鿈ⴔ✽ 籽〥➃小䙼⿶吲吲㥵欰涸鋕聂佦✲կ鸑麔㻋㖑㚖ծ俒⻊ㄤ⫄窠涸鸭穡闑涸⡲ㅷ䒸涮䠭㸽涸❜⿸ⵞ慨⡲ 湱鸭䱹⟄垷⟬♧ⶰ羭堤կ괏馰㖑㼞谀遮㹻荈䊹涸ぜ㶶莄程㽲ざ⢘ꧧ㝕㋍饰➃⦛䖰頺媽⚥聂嵳涸聂錏鎹 欽⢪儗涸崨⹛ⳕ穡倴䎂箣涸小䙼朜䡿կ 䥊կշ㔐耪ո刿鹍♧姿䱲程✫鸎珏䠑纏♳涸麈䨠♧⦐㣐㘗涸ꏖ⫸䫏僥ッ植衼谀遮㹻荈䊹㖈晋⼻倛㿋 ꫬ绻籖薲涸㿋㗗♳怵㤉㣐䲿楩կ搬罜 鸎嵠恟涸㜥兞⿶㔔谀遮㹻늫秋涸酤勲ㄤ䝐䝐ꫬ虊䕎䧭涸늫僈㼩嫱鸎 闑涸ⶽ⡲⟄谀遮莄갉坾䚍涸ꡠ⤙捀ㄐ겗կ㖈㼭䲿楩㹻昿鋶ㄤꏈ楩㹻嫢鋶涸擞ꤲ⛓♴闑饰ⴲ㽠隡倴湕啿Das ♧麔倴䨠ⷛ⻊涸圓㕭罜鷳ꪪⴀ♧窣㏜镽կ〥㢪闑稇哆䔞㤉涸偒䖒㖈㥟ワ㕠鶫諳湬荛갉殥ꐫ⡙⡃⛖搁锸 Wohltemperiete㜃⿺䊼랫涸갉坾㷸ꤎ䖔倴岁㕜㕜用䊼랫넞瘝谀遮㷸ꤎ帿鸣谀遮կ䖰⡲ㅷշ⼧✳䎂㖲䖒꒳湎刼꧋ո Klavier, 2001 Chambre Sourde, 2003 僽갉坾鼨僽㥟劥➃鿪鄄䌞ⵌ✫黆倰կշ尪恉幡䰾罏ո鹍♧姿帿⻊✫鸎♧莄兞錙涸ꡠ⤙⡲ㅷ㾝植✫♧遤➃ ⵌշ搁갉㹔ո 闑♶倬㖈䱲程♧禹莄耪갉涸ꡠ⤙ 魧瑬䊼랫遳걧幡悥䊨涸ⵖ剪幡䰾♧⦐鸭糵♶倬涸橇䕎尪恉鸎♧搁欽⛓莉⠶ꦐ衼➭⦛遤⹛涸耪갉կ 䖰俒㷸ⵌ刿⸈䬄韌涸걅㚖嫦♧妃涸ⶽ⡲鿪㼞갉坾⡲捀Ⱖ椚䙁腟窄涸⚺銳⫄乄㯮➝կ⟄շ⼧✳䎂㖲䖒꒳湎 刼꧋ո鸎♧䕧⫸⡲ㅷ捀⢾闑暵㻨✫♧꧱鄄竀䌞勲簃衼궂庮䘍䧮㖑䔞㤉䊼饟鿈㤉ㄤ颭呔涸ꏈ楩㹻涸 籎罜鎊⛓闑稇哆涸谀遮⡲ㅷ鑗䠑㖑䒸걅䧮⦛鹍Ⰶ㼩瑟ծ荈䧮ㄤ儗涸小䙼갉坾涸兜⚆铃鎊갧ⵠ㖈 䩛կ鸑麔♶倬ꐫ㣟姻焷涸갉痗闑⟱㕭ッ植䧭捀㣐䌌⚛䨞颶毟涸葾鳟騟玐կ湱⿿㖑酤縨⡲ㅷշ搁갉㹔ո㥵 ㋍饰屮弈涸䙼筱罜剒䖔⿶⯈鏪䧮⦛邍鶣荈䊹կⰦ⡲ㅷ䨾ッ植涸䗎㦪涸䎕랾䠭㖲邂✫闑稇哆⟄锄灇捀㼫 Ⱖぜ䒸涮㼩㺑ꬅ涸䙼罌կ撑〢䋞茢䧃毟锸涸䧅仅嚋䙁䔲瑟錛䟗涸➃耪꧸✥鄄꣖ꥬ儗♧珏⡃涸䧅縨 ぢ罌瑕籖醲涸ⶽ⡲䩛岁鸎珏䎕랾䠭⢪䖤Ⱖ⡲ㅷ侮넒♳Ⱘ剣鴄阮涸鰋녻䠭ㄤ鋶ㄤ⸂կ闑稇哆涸⡲ㅷ剒穅 朜䡿㼞欴欰ꦐ⛓罜⢵涸僽♧珏兰⸂涸⨢갾ㄤ荈䧮䠑陏涸格䖤կ ♶⫦銳滚錙刿銳鄄羭老ㄤ䠭濼 姻僽鸎㸤Ⰼ涸㢴䠭㸽넒뀿⢪➃小嵵㖈♧珏䧅仅涸朜䡿կ 2003 ♧禹涸✲暟⺫䭍俒⻊ㄤ㖑倰涸㼩ⴔ鿪剚䒸涮闑稇哆涸小䙼կ⦐ⴽ⡲ㅷㄎ䥰㥟⦐➃涸姗❏胜兞꧋匌銯俒E, W, S, N, 2006 闑稇哆僽♧⡙❧剣㕜ꥸ耪隗涸谀遮㹻 䎃➿邍湕啿㜃⸈㪭㽲倛꧱䎃㾝た㨤䇩ꪪ걧錭㥟涸♲ꅾ ⻊涸䊫䙼倴♧魧罜♶䬳岞倴꤫鑂憬锄կ⟄酤縨⡲ㅷշ匌銯⽂⻌ո 捀⢾㔋⦐ꩩ赙教盗醢⡲ 酤縨⡲ㅷշ瑟孴锄眎ո格䖤殹㾂㕜㹻긬ꆄ柲栀կ闑涸谀遮⡲ㅷ䊺㖈㢴⦐㕜Ⰺㄤ㕜ꥸ谀遮堤圓㾝ⴀ⦐㾝⺫䭍2019 2018 2018 罜䧭涸⚥㕜㶶䕎嫦⦐㶶䕎鿪䠑衼♧⦐倰⡙㛇럊կꤑ✫넒植莄谀遮㹻ⴀ魧胜兞涸耡粯鸎⟝⡲ㅷ鸑麔⣜2006 荩⻌䋑用繠遮긬荩抓 2017 ♳嵳⡮䗞罆繠遮긬 ♳嵳2011 晋넞晋繠遮긬榰㡦 湕啿㜃植2009 亘傈劥倰⡙涸瑟㸝䱗❠넒植✫闑稇哆㼩傈劥俒⻊涸慭⾩莇馰կշ垥彋鋕䎂箁ո ⛲ ッ 植 ✫ 闑 稇 哆 㼩 ➿谀遮⽇暟긬 湕啿㜃2009 碛 繏 㛇 ꆄ 剚2008 䊼 㝱 繏P.S.1 齡 ⟻ 蛎 頺 䬘 ㎗ 秜2006 谀 遮 ⽇ 暟 긬 岚 㡦 갾 俒⻊隶鼃涸稣築䙼程酤縨歋㢴⦐渜呖嗃暟圓䧭嫦⦐渜呖鿪鄄佞縨㖈㾝䑻㠎㠗堜蒀擣⯕芢䌞垥陏涸宐䎂 宐䨩谀遮긬傈劥2006 銯꧈㕭繠遮긬 殹➿谀遮⚥䗱秢秉 2005 շ⽓銯閊ո㾝倴殹➿谀遮2004 箁♳կ⢵荈傈劥⚥㕜欨荛姗崍ㄤ慌崍涸渜呖鄄他佞倴♲艀卹♳谀遮㹻呏亘殹㖑㾀字涸垥彋鋕䎂箁锄 锸㠢湕啿㜃 2009 蓏⸈ㆥ㣐㷸俒谀䗁莇爢剚繠遮긬 2009 植➿繠遮긬榰Ⱙ 2008 կ纈㾝⺫䭍岚傱谀2006 侮넞䏞 ЭЭ 鸎♶⫦⫦僽㼩倴嫦⦐俒⻊⚥垥彋嚋䙁涸⿿䙼⛲僽⦐鋕錏♳涸ꦠ㌇䭷ぢ橇㞯㼩倴䕹姼⟄ 遮⽇暟긬䗞㕜 讌랱㝜㕜用繠遮긬岚貼 2005 倝⸈㗗꧱䎃㾝 2004 豣랫⚆繠遮긬 蒔岚 ⿺橇㞯⚥涸➃涸䕧갠կ 殹➿谀遮⚥䗱㨖倛暵⚸ 翰⥂繏꧱䎃㾝䊼銯 2009 կ〥㢪闑⛲囘格✫門㢴栀갪⺫䭍䷑秜ㆥ淼2005 晋桬㶩㛇ꆄ剚갼䱇涸殹➿谀遮栀 ⟄⿺湕啿㜃䠥䗞螟˙〷岲妲栀 կ Nested
㸝喋 Taipei Fine Arts Museum, Taipei, Taiwan
荩⻌䋑用繠遮긬荩抓 20.04.19 - 21.07.19 Marked by her cosmopolitan origins, between Europe and Asia, and by an attention to the sonorous dimension of the world, the practice of Su-Mei Tse involves issues such as time, memory, musicality, and language. 彂荈Ⱖ騗姗❏俒⻊涸胜兞⟄⿺㼩⚆歲♶ず笞䏞涸ꡠ岤闑稇哆涸谀遮㻜驏䖃䖃嶍⿺儗ծ鎹䥊ծ갉坾䚍⟄ Taking various forms – sculptures, videos, photographs, installations – her artworks always operate between ⿺铃鎊涸㉏겗կ㥟涸⡲ㅷ⟄ꧧ㝕ծꏖ⫸ծ伡䕧䧴酤縨瘝㢴垺䕎䒭ッ植籎僽㖈耪갉莄㕭⫸ծ荈搬莄俒⻊ծ䗱 different fields: between sound and image, nature and culture, mental space and sensory experience for 瑟莄䠭濼넒뀿瘝걅㚖⛓❜✽ծ康獴կ example. 䱲程䠑纏涸곏植莄Ⱖ澕䜂蠜隶僽闑稇哆涸ⶽ⡲呍䗱կ㥟涸⡲ㅷ知悥⽿㺢ゎ〳鄄㢴ꅾ鍒隡涸帿䠑殹⚥慨涮 The question of the appearance of meaning, or its evanescence, is at the heart of the work of Tse. The ⴀ涸腊ꆀ莄Ⱖ䕎䒭ッ植늫僈㼩嫱կ㥟竤䌢⟄韌捀䕎鑑㕭㼞⽪韌ծ䞔筱䧴僽鎹䥊鸎❈䓽捘⚂玕簳⽰鸙涸 simplicity of the forms the artist produces contrasts with their evocative power, with the plurality of the 넒뀿隶䖤Ⱘ넒幡兠㥵ず㥟Ⱖ⚥♧⟝⡲ㅷ涸垥겗圓䧭✫溽鱲➃欰㥟涸⡲ㅷ⛲鸑麔䮔䱡㕭⫸ծ暟넒ㄤ耪 readings that emanate from them. Her works ofen seem to crystallise, in the guise of an “image”, an 갉䨾豩诡涸悳⸂⢵慨涮錙罏涸䟝⫸⸂կ impression, an emotion or a remembrance – those intense and fleeting experiences, which, as in the title of one of her artworks, constitute the “dizziness of life”. In the same way, they also explore the ability of images, objects and sounds to trigger the imagination of the viewer. 㾝錓歋湕啿㜃雊㣐Ⱆ植➿繠遮긬⿺榰㡦晋넞晋繠遮긬瘻ⷔ⚛莄♳嵳⡮䗞罆繠遮긬⿺荩⻌䋑用繠遮긬 ざ⡲莉鳵կ
* The exhibition ‘Nested’ was organized by Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean and 㾝錓㕜ꥸ䊢鶫歋湕啿㜃㕜㹻俒⻊㛇ꆄ剚⿺湕啿㜃㕜ꥸ顉麋菔瑟䣖䢸飬⸔կ the Aargauer Kunsthaus in collaboration with the Yuz Museum Shanghai and the Taipei Fine Arts Museum. 俒荩⻌䋑用繠遮긬 * The international tour of the exhibition received generous funding from the National Cultural Fund, Luxembourg, and is also made possible through significant support from Cargolux Airlines International.
- Text by Taipei Fine Arts Museum Installation View
㾝錓植㜥 Courtesy of Taipei Fine Arts Museum
h荩⻌䋑用繠遮긬 Installation View
㾝錓植㜥 Courtesy of Taipei Fine Arts Museum
h荩⻌䋑用繠遮긬 Installation View
㾝錓植㜥 Courtesy of Taipei Fine Arts Museum h荩⻌䋑用繠遮긬 Installation View
㾝錓植㜥 Courtesy of Taipei Fine Arts Museum
h荩⻌䋑用繠遮긬 Installation View
㾝錓植㜥 Courtesy of Taipei Fine Arts Museum h荩⻌䋑用繠遮긬 Installation View
㾝錓植㜥 Courtesy of Taipei Fine Arts Museum h荩⻌䋑用繠遮긬 Installation View
㾝錓植㜥 Courtesy of Taipei Fine Arts Museum
h荩⻌䋑用繠遮긬 Installation View
㾝錓植㜥 Courtesy of Taipei Fine Arts Museum
h荩⻌䋑用繠遮긬 Installation View
㾝錓植㜥 Courtesy of Taipei Fine Arts Museum h荩⻌䋑用繠遮긬 Installation View
㾝錓植㜥 Courtesy of Taipei Fine Arts Museum
h荩⻌䋑用繠遮긬 Installation View
㾝錓植㜥 Courtesy of Taipei Fine Arts Museum
h荩⻌䋑用繠遮긬 Installation View
㾝錓植㜥 Courtesy of Taipei Fine Arts Museum h荩⻌䋑用繠遮긬 Installation View
㾝錓植㜥 Courtesy of Taipei Fine Arts Museum h荩⻌䋑用繠遮긬 Installation View
㾝錓植㜥 Courtesy of Taipei Fine Arts Museum h荩⻌䋑用繠遮긬 Installation View
㾝錓植㜥 Courtesy of Taipei Fine Arts Museum h荩⻌䋑用繠遮긬 Installation View
㾝錓植㜥 Courtesy of Taipei Fine Arts Museum h荩⻌䋑用繠遮긬 Nested
㸝喋 Yuz Museum Shanghai, China
♳嵳⡮䗞罆繠遮긬⚥㕜 18.12.18 - 24.03.19 ‘Nested’ was Su-Mei Tse’s first solo exhibition in China, at Yuz Museum Shanghai curated by Christophe Gallois, Mudam Luxembourg and Wen Shi, Yuz Museum Shanghai. 㸝喋僽闑稇哆㖈⚥㕜涸껷妃⦐㾝倴♳嵳⡮䗞罆繠遮긬莉遤歋⯘ꅽ倛䩯㣗v⸈湕檲湕啿㜃㣐Ⱆ㕧植 ➿谀遮⽇暟긬莄倶ꨚ♳嵳⡮䗞罆繠遮긬瘻㾝կ Marked by her cosmopolitan origins between Europe and Asia, and by an attention to the sonorous dimension of the world, the practice of Su-Mei Tse involves issues such as time, memory, musicality, and language. 彂荈Ⱖ騗姗❏俒⻊涸胜兞⟄⿺㼩⚆歲♶ず笞䏞涸ꡠ岤闑稇哆涸谀遮㻜驏䖃䖃嶍⿺儗ծ鎹䥊ծ갉坾䚍⟄ Taking various forms – sculptures, videos, photographs, installations – her artworks always operate between ⿺铃鎊涸㉏겗կ㥟涸⡲ㅷ⟄ꧧ㝕ծꏖ⫸ծ伡䕧䧴酤縨瘝㢴垺䕎䒭ッ植籎僽㖈耪갉莄㕭⫸ծ荈搬莄俒⻊ծ䗱 different fields: sound and image, nature and culture, mental space and sensory experience for example. 瑟莄䠭濼넒뀿瘝걅㚖⛓❜✽ծ康獴կ
The question of the appearance of meaning, or its evanescence, is at the heart of the work of Tse. The 䱲程䠑纏涸곏植莄Ⱖ澕䜂蠜隶僽闑稇哆涸ⶽ⡲呍䗱կ㥟涸⡲ㅷ知悥⽿㺢ゎ〳鄄㢴ꅾ鍒隡涸帿䠑殹⚥慨涮 simplicity of the forms the artist produces contrasts with their evocative power, with the plurality of the ⴀ涸腊ꆀ莄Ⱖ䕎䒭ッ植늫僈㼩嫱կ㥟竤䌢⟄韌捀䕎鑑㕭㼞⽪韌ծ䞔筱䧴僽鎹䥊鸎❈䓽捘⚂玕簳⽰鸙涸 readings that emanate from them. Her works ofen seem to crystallise, in the guise of an “image”, an 넒뀿隶䖤Ⱘ넒幡兠㥵ず㥟Ⱖ⚥♧⟝⡲ㅷ涸垥겗圓䧭✫溽鱲➃欰㥟涸⡲ㅷ⛲鸑麔䮔䱡㕭⫸ծ暟넒ㄤ耪 impression, an emotion or a remembrance – those intense and fleeting experiences, which, as in the title 갉䨾豩诡涸悳⸂⢵慨涮錙罏涸䟝⫸⸂կ of one of her artworks, constitute the “dizziness of life”. In the same way, they also explore the ability of images, objects and sounds to trigger the imagination of the viewer. 闑稇哆㼞荈䊹㨤倴䠑㣐ⵄ莄❏崍瘝♶ず㖑箔腟窄䨾⨞涸㢴䎃灇瑕䧭卓꧋穡倴劥姼㾝錓կ⡲ㅷꤑ✫㓭䭍㣐 ꆀ鵛⡲莄倝⡲⛲⺫ゎ倴♳嵳劥㖑醢⡲涸酤縨շ诡瀖**ոկ湱鯱麔㥟涸ⶽ⡲僈곏剣✫倝涸倰ぢ⫸僽㼩倴 This exhibition was the result of several years of research in different geographical contexts, starting with 小䙼ⱪ䟝涸䙼罌䱲鎣➃莄嗃暟䧴燳暟涸ꡠ⤙䧴僽ꡠ岤㶸㖈涸㢴ꅾ䕎䒭⟄⿺莄麔⛓䨾〳腊㶸剣 Italy and Asia. It brings together a large body of recent and new works, including a major installation produced 涸䗎㦪鸭䱹瘝瘝կ locally in Shanghai, ‘Stone Collection II’. New directions are apparent in her work, such as contemplation, our relation to the vegetable and the mineral, the multiplicity of modes of existence, and the possibility of 姼妃㾝錓㥵ず♧劥瘗鎹劥闑稇哆⟄⚺錙⚂湬錏涸倰䒭꧋⚛輑ざ傈䌢欰崞⚥䨾涮欰涸✲暟♶锸僽ꡠ倴 a sensitive relationship with the past. 鋕錏ծ耪갉鼨僽鎹䥊涸⽪韌⟄㔐갉莄㔐䥰箠籽䧭笩կ㛇倴⡮䗞罆繠遮긬涸瑟礵䗱鏤鎙谀遮㹻涸灇瑕䒭 錙㻋ㄤ噱㺢兰䢴涸䊫䙼㼞姿獴兞殯鷶恸㾝䌞䧮⦛姿Ⰶ籖螟鿪䋑欰崞⚥♧媯鑗䠑⚂猙㺙涸假玐㾝錓 The exhibition was conceived to be like a notebook: a form that brings together impressions that have 㽠姼㸝喋ッ植կ occurred in everyday life – be they visual, sound, or memory related – and blends them in a subjective and intuitive way, allowing a whole network of echoes and correspondences to be deployed. At Yuz Museum, they gradually unfold along the galleries, creating a poetic and intimate space for everyone to be “nested” for a moment of silence and simplicity in the metropolitan city. 㾝錓歋湕啿㜃㣐Ⱆ㕧植➿谀遮⽇暟긬ծ榰㡦晋넞繠遮긬穉籽⚛莄♳嵳⡮䗞罆繠遮긬ㄤ〵⻌䋑用繠遮긬 /// Ⱏずざ⡲ッ植կ
The exhibition was organized by Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean and the Aargauer Kunsthaus in collaboration with the Yuz Museum Shanghai and the Taipei Fine Arts Museum. The 俒♳嵳⡮䗞罆繠遮긬 exhibition in Shanghai was made possible by Yuz Foundation.
- Text by Yuz Museum Installation View
㾝錓植㜥 Image courtesy of Yuz Museum Shanghai
㕭晙歋♳嵳⡮䗞罆繠遮긬䲿⣘ Photo by JJYPHOTO 伡䕧 Installation View
㾝錓植㜥 Image courtesy of Yuz Museum Shanghai
㕭晙歋♳嵳⡮䗞罆繠遮긬䲿⣘Photo by JJYPHOTO 伡䕧 Installation View
㾝錓植㜥 Image courtesy of Yuz Museum Shanghai
Photo㕭晙歋♳嵳⡮䗞罆繠遮긬䲿⣘ by JJYPHOTO 伡䕧 Installation View
㾝錓植㜥 Image courtesy of Yuz Museum Shanghai
Photo㕭晙歋♳嵳⡮䗞罆繠遮긬䲿⣘ by JJYPHOTO 伡䕧 Installation View
㾝錓植㜥 Image courtesy of Yuz Museum Shanghai
Photo㕭晙歋♳嵳⡮䗞罆繠遮긬䲿⣘ by JJYPHOTO 伡䕧 Installation View
㾝錓植㜥 Image courtesy of Yuz Museum Shanghai
Photo㕭晙歋♳嵳⡮䗞罆繠遮긬䲿⣘ by JJYPHOTO 伡䕧 Installation View
㾝錓植㜥 Image courtesy of Yuz Museum Shanghai
㕭晙歋♳嵳⡮䗞罆繠遮긬䲿⣘ Photo by JJYPHOTO 伡䕧 Installation View
㾝錓植㜥 Image courtesy of Yuz Museum Shanghai
㕭晙歋♳嵳⡮䗞罆繠遮긬䲿⣘ Photo by JJYPHOTO 伡䕧 Installation View
㾝錓植㜥 Image courtesy of Yuz Museum Shanghai
㕭晙歋♳嵳⡮䗞罆繠遮긬䲿⣘ Photo by JJYPHOTO 伡䕧 Installation View
㾝錓植㜥 Image courtesy of Yuz Museum Shanghai
Photo㕭晙歋♳嵳⡮䗞罆繠遮긬䲿⣘ by JJYPHOTO 伡䕧 Installation View
㾝錓植㜥 Image courtesy of Yuz Museum Shanghai
Photo㕭晙歋♳嵳⡮䗞罆繠遮긬䲿⣘ by JJYPHOTO 伡䕧 Waterloo Billboard Commission
徾湕堀䑝デ晥㨼鎷⡲ㅷ Hayward Gallery, Southbank Centre, London, UK , 嵳将䗞殥䐤 薉㕜⧍侚⽂䁘⚥䗱 03.09.18 - 19.10.18 Su-Mei Tse is the sixth international artist commissioned by Hayward Gallery to present work on the billboard overlooking Waterloo Bridge, a site seen by thousands of people crossing the bridge each day. Working across video, installation, sculpture and photography Su-Mei Tse ofen explores altered perception, musicality, memory and sense of place. A Certain Frame Work 3 (Villa Farnesina) (2017) is a still from a video by the artist that features an extended close-up of a glass ball being skilfully manipulated by a performer engaged in ‘contact juggling’ – a technique that requires the juggler to remain in constant contact with their prop. The video is one of a series of three works that the artist made in front of, or within, historic sites in Europe. Reflected in the transparent orb in this image is the interior of Villa Farnesina, a 16th century residence in Rome. With this series, Su-Mei Tse addresses the challenge of dealing with the past in the present, and argues for a fluid and poetic relationship to history.
6 闑稇哆僽痦 ⡙鄄嵳将䗞殥䐤鼜锝鹍遤䑝デ晥㨼鎷⡲ㅷ涸㕜ꥸ谀遮㹻կ䑝デ晥⥟澜嫦㣔鿪剣䧭⼪♳蠜涸A Certain➃竤麔涸徾湕堀կ鸑麔ꏖ⫸酤縨ꧧ㝕ㄤ伡䕧 闑稇哆♶倬䱲程」⻊涸錙䙁ծ坾䠭ծ鎹䥊ㄤ㖑㚖䠭կշ Frame Work 3 (Villa Farnesina) (2017) ո 僽ꏖ⫸⡲ㅷ涸Ⱖ⚥♧呔ꬅ䌬鎹ꏖ✫宐兪椕勇罞邍怵罏 䊫㦪乼簳♧⦐梯槴椕涸䒁Ꟁ暵㻨ꖏ걧Ղ姼珏䪮遮銳邍怵罏⥂䭯ㄤ宐兪椕䭯糵涸䱹鍹կ鑪ꏖ⫸僽谀遮16 Villa Farnesina㹻㖈姗崍娛〷鼌㖧⛓䧴ⰻ鿈䬝䶑涸♲⟝⡲ㅷ⛓♧կ撑晙⚥涸鷳僈椕넒⿿㼘涸僽繏꼛 ⚆私⡞㸔 涸Ⰺ鿈橇㞯կ鷳麔鸎⦐禹闑稇哆㼩㖈殹♴贕椚麔涸䮋䨞⚛笞隋莄娛〷⛓崨冱ㄤ鑗䠑 涸ꡠ⤙կ - Text by Hayward Gallery - 俒嵳将䗞殥䐤 Installation View
㾝錓植㜥 Image courtesy of Hayward Gallery
㕭晙歋⽂䁘⚥䗱䲿⣘ Installation View
㾝錓植㜥 Image courtesy of Hayward Gallery
㕭晙歋⽂䁘⚥䗱䲿⣘ Installation View
㾝錓植㜥 Image courtesy of Hayward Gallery
㕭晙歋⽂䁘⚥䗱䲿⣘ Nested
㸝喋 Aargauer Kunsthaus, Aarau, Switzerland
晋넞晋繠遮긬榰㡦 04.05.18 - 12.08.18 The Aargauer Kunsthaus devotes a solo exhibition to the wide-ranging work of the Luxembourg artist Su- Su-Mei Tse wants to create a language that unites rather than separates, a language that is expressive Mei Tse whose object art, photographic works, and videos are suffused with reflections on time, existence, of not just one but multiple cultures and thus epitomises the boundless and the dynamic. The sculpture memory, rhythm, and language. The exhibition features new works the artist created afer sojourns in Italy Many Spoken Words (2009/2018) is, in its surprising combination of materials used, the source for myriad and Japan. Media such as photography, sculpture, and installation are central to Su-Mei Tse’s artistic practice. associations. Black ink gushes, flows, and drips from a pseudo- baroque garden fountain and symbolises In them she articulates transitions between disparate realms—sound and image, music and space, nature “the process of language, from the original idea to the written word” (Su-Mei Tse). With her installation the and culture, mental space and sensory experience. Music, sounds, and silence enter into a unique interplay artist pays homage to literature, alluding to the potential of words and the ever-renewing flow of creativity. in the exhibition spaces and time seems to pass in a changed rhythm in them. Some of the works presented in the exhibition Nested revolves around a critical reflection on the past and Su-Mei Tse has had a previous appearance at the Aargauer Kunsthaus when she showed a poetic neon on historical and cultural references. Created during a fellowship at the Villa Medici in Rome, the 2015 video piece in the 2013 group exhibition Rhythm in it. Nested, her first institutional solo exhibition in Switzerland, Pays de Neige shows the artist performing a ritual of erasure. In the light of a bleak winter sun the artist presents the fruits of her artistic practice. Afer sojourns in countries such as Italy and Japan she has created smooths the gravel path in front of the historically significant villa with a rake she pulls behind her. In doing new works which, realised especially for this occasion, form the gravitational centre of the show. In the so, she symbolically wipes away the traces of her predecessors and “prepares the canvas”, in order to create exhibition spaces music, sounds, and silence enter into a unique interplay, and time in them seems to pass “breathing space” for her own creativity and recover her own voice. The spirit of Zen pervading this video in a changed rhythm. is hard to miss, but the artist deliberately avoids any identification with a typical geographic location. Due to her Eurasian background she carries two cultures within herself, which she constantly defamiliarizes in In Nested, Su-Mei Tse developed a distinct narrative for the Aargauer Kunsthaus, combining the new order to uncouple them from the stereotypes they are usually associated. works and site-specific installations with selected older works. New artistic paths of exploration become apparent: inquiries into the contemplative, into our relationship to the worlds of plants and minerals, or into It is hardly surprising that music plays a key role in the work of the trained cellist Su-Mei Tse, though it is less the possibility of a sensitive relation to the past. With all those interwoven themes, the exhibition is laid out simply a subject for her and more an evocative force which she uses as a magnifying glass through which in the manner of a notebook, that is, a form in which quotidian visual or acoustic impressions or memories she sees, and is able to comprehend, the world. Music is central to a number of works such as the 2006 are gathered and then mixed in a subjective, intuitive way to form a network of echoing references and video Mistelpartition. At the same time the absence of sounds, silence, is also of great importance in her correspondences. work. In White Noise (2009) a vinyl record with small white balls set into its grooves is turning continually on a turntable. “White Noise” refers to an acoustic phenomenon where all audible frequencies are mixed to the A case in point is the 2017 Nested series, which provides the title for the exhibition. It consists of a group point where they neutralise one another and give rise to a kind of “acoustic silence”. To Su-Mei Tse, the work of found limestone sculptures into whose niches variously coloured balls of stone are “embedded”. To represents a visual translation of rustling, the moment just before music begins, as if it were about “giving the artist the sculptures symbolise the precarious balance between holding and being held. In a playful volume to silence”, and in this it allows the viewer a moment to pause. and poetic way, the colourful balls are equally reminiscent of marbles and of the planets of a cosmic system. Other works in the exhibition similarly attest to Su-Mei Tse’s interest in the mineral world and its The exhibition Nested was the result of a collaboration with the Mudam Luxembourg, Musée d’Art Moderne primordial beauty. The elaborate installation Stone Collection (2017) draws its inspiration from the Chinese Grand-Duc Jean, where it is curated by Christophe Gallois and shown from 7 October 2017 until 8 April 2018. tradition of the “scholars’ rocks”. For each of the carefully selected rocks from different regions the artist has For each venue and exhibition situation the artist develops a distinct concept with a selection of key works created a unique pedestal corresponding to the nature of the rock. Macro and microcosm become one in and a number of new pieces and installations created for the exhibitions serving as the common thread. them, as landscapes, mountains, caves, clouds, or waves are hinted at in their surfaces. These works invite Afer the presentation in Aarau the exhibition was shown in adapted form at the Yuz Museum in Shanghai contemplative viewing. (October 2018 – February 2019) and at the Taipei Fine Arts Museum (April – July 2019).
In the exhibition we encounter an uprooted tree cast in bronze (Trees and Roots, 2011), a fresh pomegranate (A Whole Universe [Pomegranate], 2017), or a landscape reflected in a lake (Reflection, 2017). In terms of subject matter, these sculptures and photographs revolve around the world of plants, but at the core of them are questions about “being in the world” and human existence. The individual and its uniqueness are similarly inscribed into the installation Das Ich in jeder Kartoffel [The Self in Each Potato] (2006–11). Each of the fifeen ceramic potatoes has its very own shape, and the tender sprouts point to the unbridled power of - Text from Aargauer Kunsthaus life that resides in every being. Su-Mei Tse manages to articulate such sweeping philosophical reflections from a point of view firmly anchored in everyday life and with a subtle, humorous wink. She seeks out the poetry of the everyday and renders it visible in her work. 晋넞繠遮긬劥妃荝⸂捀湕啿㜃谀遮㹻闑稇哆涸㢴⯋⻊⡲ㅷ莉鳵⦐㾝㥟涸ꧧ㝕 伡䕧 ㄤ鋕걽⡲ㅷ⯎怐 闑稇哆䟝銳ⶽ鸣♧珏穡ざ罜ꬋⴔꥬ涸铃鎊鸎珏铃鎊♶⫦邍麧♧珏罜僽㢴⯋涸俒⻊➢罜⡤梡ⴀ搁ꣳ⿺崞(2009/2018) ✫㼩儗 㶸㖈 鎹䥊 眎㤉ㄤ铃鎊涸⿿䙼կ鸎妃㾝錓㾝ⴀ闑稇哆麈㸤䠑㣐ⵄㄤ傈劥䖔涸倝⡲կ闑稇哆谀遮ⶽ ⸂կꧧ㝕շ鏪㢴铝麔涸鑨ո 僽搁侷耡䟝涸⢵彂⟄⟁➃䠑䟝♶ⵌ涸勞俱穉ざ랱蒀㟯宐䖰⧺涸 ⡲涸呍䗱門㥵伡䕧 ꧧ㝕 ㄤ酤縨瘝㯮勞կ鷳麔⡲ㅷ㥟ꡪ鶣衼♶ず걅㚖⛓涸麔庋Ղ耪갉莄㕭⫸갉坾莄 䊼峫⯘䒭蔄㕧㑑屮弈ⴀծ崨⹛ㄤ忹衅 韌䗛衼铃鎊涸麔玐䖰剒ⴲ涸䟝岁ⵌ剅俒㶶կ闑稇哆㥟⟄酤 瑟荈搬莄俒⻊䗱椚莄䠭㸽넒뀿կ갉坾 갠갉ㄤ導랾㖈㾝錓瑟⚥䕎䧭♧珏栬暵涸湱✽⡲欽儗涸崨 縨ぢ俒㷸荝侢䭷ⴀ铃鎊涸悳⸂ㄤⰦ♶倬ⶽ倝涸⸂ꆀկ 鸙⡃⛖㖈Ⱖ⚥涮欰✫眎㤉涸隶⻊կ 2015 2013 䊤㾝錓⚥ッ植涸♧❈⡲ㅷ僽㼩麔ㄤ娛〷俒⻊罌涸䪠ⴼ䚍⿿䙼կ 䎃涸鋕걽⡲ㅷշꨓ㕜ո僽闑稇 闑稇哆剎竤⸈麔㖈晋넞繠遮긬莉鳵涸㾝錓㥟倴 䎃涸纈㾝⦐⚥眎㤉⚥㾝爙✫♧⟝⯎怐鑗䠑涸 哆㖈繏꼛繠痦㣼ⵆ㞱꽏殆劍ⶽ⡲涸⡲ㅷ䕧晙⚥谀遮㹻鹍遤䬀涸⭑䒭կ㖈럨帜涸Ⱶ㷍ꤿ⯕♴闑稇 ꩩ赙教⡲ㅷկ䊤僽㥟㖈榰㡦莉鳵涸껷妃堤圓⦐㾝⛲⯎ⴔ邍植✫闑稇哆涸谀遮ⶽ⡲䧭卓կ㖈䠑㣐ⵄㄤ傈 哆㖈娛〷䝐⛉涸ⴽ㞱倰涸燼瀖騟饥衼魧䖔䬘衼♧⦐罸㶩կ㖈鸎⦐麔玐⚥㥟韌䗛䚍㖑䬀✫㥟鰴涸 劥瀊劍假遤䖔㥟ⶽ⡲涸♧禹倝⡲ㅷ⛲䧭捀暵ⴽ捀劥妃㾝錓ⶽ⡲涸呍䗱⡲ㅷկ㖈㾝錓瑟⚥갉坾 耪 汚騋彋⪓殥䋒⟄⤑窍荈䊹涸ⶽ鸣⸂⟄㋉䜂瑟⚛䛪䗁⦐➃涸耪갉կ䕧晙䕥곏✫狪㸺礵牟⡎谀遮㹻 갉 ㄤ導랾䕎䧭✫♧珏栬暵涸❜✽罜Ⱖ⚥涸儗⡃⛖㖈隶⻊涸眎㤉⚥崨鸙կ ⿶ⵠ䠑鼙⯝✫Ⱙ㘗㖑㖑箔魧⟧涸陏ⴽկ歋倴㥟涸姗❏胜兞闑稇哆䪬鯺✫Ⰾ珏❜ꐫ涸俒⻊㥟䭯絯䩧灶䧭 鋊⟄⢪俒⻊䖰耡䟝涸ⵠ匣⽪⫸⚥膧ꨅⴀ⢵կ 㖈䊤⚥闑稇哆捀晋넞繠遮긬涮㾝ⴀ♧㤛栬暵涸㾝錓侃鶣㼞倝⡲ㄤ㖈㖑酤縨莄礵鼆涸莌⡲湱穡ざկ 䕥곏✫㼩倝谀遮鸀䖜涸䱲程㼩嗃暟ㄤ燳暟⚆歲莄➃ꡠ⤙涸導䙼䧴㼩莄麔䒊用併䠭ꡠ⤙涸〳腊䚍涸 ♶ꨈ䟝⫸갉坾㼩「麔㣐䲿楩鎯箻涸闑稇哆䪏怵衼ꅾ銳錭蒀⡎㸐♶⫦⫦僽⚺겗刿僽佞㣐ꖏ䒭涸㋍ꄀ⸂2006 鑉宠կ㖈䨾剣❜籽㖈♧饰涸⚺겗⚥㾝錓⟄瘗鎹劥涸倰䒭ッ植䠑♳僽䱰꧋✫傈䌢涸鋕錏䧴耪갉⽪⫸莄鎹 ꆀ⢵錙㻋ㄤ걅䝎鸎⦐⚆歲կ갉坾僽㥟鏪㢴⡲ㅷ涸呍䗱⢾㥵 䎃涸鋕걽⡲ㅷշ坞㺕欰嗃暟坾陗ոկず垺(2009) 䥊搬䖔⟄⚺錙涸倰䒭幊ざ䕎䧭♧珏剚✽⹛涸笩窄莄彘鸑կ 涸搁耪莄小랾⛲㖈㥟涸⡲ㅷ⚥⡥剣ꬋ䌢ꅾ銳涸⡙縨կ㖈շ涯㐾갉ո ⚥佞縨㖈㈖晙坵秙⚥涸涯蒀㼭 2017 椕ꦐ衼랱芢㖈鱲湎♳♶⨢偒鱲կ涯㐾갉僽♧珏耪갉植韌⽰䨾剣耪갉걽桧幊ざ荛湱✽䫻嶊⚛欴欰耪 ♧⦐䖎㥩涸⢾㶩㽠僽 䎃շ䊤ո禹⡲ㅷ⛲僽鸎妃㾝錓涸垥겗կ⡲ㅷ歋♧穉梡䧭涸瀖抪瀖ꧧ㝕穉䧭㖈 㷸小랾涸럊կ㼩倴闑稇哆⢵铝鸎⟝⡲ㅷ➿邍衼䷑亭耪涸鋕錏缺陼僽갉坾㨤⛓涸♧ⵠ㥩⫸㸐捀չ小 ꧧ㝕鷓䔲涸⡙縨⚥䅺Ⰶ蒀䕙糔移涸瀖椕կ㼩倴谀遮㹻⢵铝ꧧ㝕韌䗛衼乩䫵ㄤ鄄乩䫵⛓♶珘㹁涸䎂邂 랾佞㣐갉ꆀպ⚛絛✮錙滞晙ⵠ㋉䜂կ 䠭կ⟄♧珏⤮淼霜䠑涸䕎䒭❀겝Ⱉ蒀涸䕙椕雊➃耡䟝饰㣐椚瀖ㄤ㸙㸿⚥涸遤僤կ㾝錓⚥涸Ⱖ➭⡲ㅷず呋(2017) 2017 10 7 2018 4 8 阮僈✫闑稇哆㼩燳暟⚆歲⿺ⴲ㨤繠涸莇馰կ礵䗱䩧鸣涸酤縨⡲ㅷշ瀖걧佐诡ո 僽䖰⚥㕜⫄窠涸չ㷸 䊤僽莄湕啿㜃植➿繠遮긬ざ⡲涸䧭卓歋⯘ꅽ倛㢴㣗˖⸈峫⟻倛瘻ⷔ倴 䎃 剢 傈荛 䎃 剢 罏⛓瀖պ⚥寪》䠭կ㼩倴⢵荈♶ず㖑⼥礵䗱䮋鼆涸䀵瀖谀遮㹻捀嫦⦐瀖걧ⶽ鸣✫♧⦐莄䀵瀖涸䚍颶湱 傈㾝ⴀկ㼩倴嫦⦐㜥㖑莄㾝錢谀遮㹻鼆乵✫ꡠ꒳⡲ㅷ涮㾝ⴀ倝涸㾝錓嚋䙁⚛捀Ⱏず⚺겗ⶽ⡲✫㣐ꆀ倝(2018 10 -2019 㼩䥰涸㛇䏠կ㸪錙ㄤ䗎錙涸⚆歲㖈瀖⚥ざ捀♧㔔捀兞錙 㿋腟 峯瑏 ꨢ㾵 䧴嵳嵠鿪鄄㙵㖈㸐⦛涸邍կ鸎 2⡲ㅷㄤ梡㖞酤縨կ㖈晋넞繠遮긬㾝䖔㾝錓剚⟄㤎ざ涸䕎䒭㖈♳嵳涸⡮䗞罆繠遮긬) (2019 4 - 7 䎃 剢 䎃 ❈⡲ㅷ鼜锝錙滞小䙼կ 剢 ㄤ荩⻌䋑用繠遮긬 䎃 剢 剢㾝ⴀկ ( 2011) ( [ ] 㖈㾝錓⚥錙滞剚麁ⵌ♧喏欽ꫬꋜ䩧鸣鸭呏䬬饰涸埠2017) ( 2017) 埠ㄤ呏 ♧ ⦐ 倝 늫 涸 瀖 囤 ♧겎㸙㸿 瀖囤 䧴♧⦐㖈廩⚥⦝僥涸繠兞 ⦝僥 կ鸎❈ꧧ㝕ㄤ撑晙涸⚺겗㕠粕衼嗃暟⚆歲㾝⡎Ⱖ⚥涸呍Das Ich in jeder 俒畎勻荈晋넞繠遮긬 䗱僽ꡠ倴㖈鸎⦐⚆歲涸㶸㖈⟄⿺㼩➃欰㶸涸毟㉏կ⦐넒⿺Ⱖ栬暵䚍⛲鄄ꜵⵠ㖈酤縨Kartoffel( 2006-11) 嫦⦐꼛ꉀ讘⚥涸荈䧮 կ⼧❀⦐ꤲ櫘㕼鞝鿪ぐⰨ䕎朜ⱎⴀ涸㳄蔠䭷ぢ蠜暟Ⰺ㖈涸搁䬳 搁勲涸欰ㄐ⸂կ闑稇哆鏤岁鷳麔暖暖䅺Ⰶ傈䌢欰崞涸錙럊⟄⿺䗎㦪罜䎕랾涸澕⢵ꡪ鶣鸎❈䑝岌涸ㆹ㷸 䙼罌կ㥟㖈䎂ⳝ⚥㼥䪪鑗䠑輑Ⰶ䎇ッ梡㖈⡲ㅷ⚥կ Installation View
㾝錓植㜥 Image courtesy of Aargauer Kunsthaus and the artist © Photo: René Roehteli, Baden Installation View
㾝錓植㜥 Image courtesy of Aargauer Kunsthaus and the artist © Photo: René Roehteli, Baden Installation View
㾝錓植㜥 Image courtesy of Aargauer Kunsthaus and the artist © Photo: René Roehteli, Baden Installation View
㾝錓植㜥 Image courtesy of Aargauer Kunsthaus and the artist © Photo: René Roehteli, Baden Installation View
㾝錓植㜥 Image courtesy of Aargauer Kunsthaus and the artist © Photo: René Roehteli, Baden Installation View
㾝錓植㜥 Image courtesy of Aargauer Kunsthaus and the artist © Photo: René Roehteli, Baden Installation View
㾝錓植㜥 Image courtesy of Aargauer Kunsthaus and the artist © Photo: René Roehteli, Baden Installation View
㾝錓植㜥 Image courtesy of Aargauer Kunsthaus and the artist © Photo: René Roehteli, Baden Installation View
㾝錓植㜥 Image courtesy of Aargauer Kunsthaus and the artist © Photo: René Roehteli, Baden Installation View
㾝錓植㜥 Image courtesy of Aargauer Kunsthaus and the artist © Photo: René Roehteli, Baden Installation View
㾝錓植㜥 Image courtesy of Aargauer Kunsthaus and the artist © Photo: René Roehteli, Baden Installation View
㾝錓植㜥 Image courtesy of Aargauer Kunsthaus and the artist © Photo: René Roehteli, Baden Installation View
㾝錓植㜥 Image courtesy of Aargauer Kunsthaus and the artist © Photo: René Roehteli, Baden Nested
㸝喋 Mudam Luxembourg, Luxembourg
植➿谀遮⽇暟긬 湕啿㜃 7.10.2017 - 08.04.2018 Marked by its cosmopolitan origins, between Europe and Asia, and by its attention to the sound dimension The exhibition was the result of several years of research in different geographical contexts, beginning with of the world, the practice of Su-Mei Tse is crossed by issues such as time, remembrance , musicality, or Italy and Asia. This exhibition brings together a large body of recent works and new productions, including language. Borrowing various forms - sculptures, videos, photographs, installations - his works work each a major installation for the Museum’s Grand Hall. Su-Mei Tse’s work, such as contemplation, our relation to time passages between different fields: between sound and image, nature and culture, mental space and the vegetable and the mineral, the multiplicity of modes of existence, and the possibility of a relationship sensitive experience for example . that is sensitive to the past .
Like the black ink that flows from its Many Spoken Words fountain, the question of the appearance of Taking these preoccupations as braided lines, the exhibition was conceived on the model of a notebook: meaning, or its evanescence, is at the heart of the work of Su-Mei Tse. The simplicity of the forms that the a form that brings together impressions that have occurred in everyday life - whether visual, sound, or artist produces contrasts with their power of evocation, with the plurality of the readings that emanate memorial - and mixes them in a subjective and intuitive way, allowing a whole network of echoes and from it. His works ofen seem to crystallize, in the guise of an “image”, an impression, an emotion or a correspondences to be deployed. memory - these experiences, both intense and fleeting, which, in the title of one of his works, constitute the “ dizziness of life “. In the same movement, they explore the ability of images, objects and sounds to trigger an imaginary in the viewer.
- Text from Mudam Luxembourg 闑稇哆涸谀遮㻜驏㣰꧸✫姗崍莄❏崍⛓涸幇彂⟄⿺㼩耪갉⚆歲涸ꡠ岤㕠粕衼儗 私䙁 갉坾ծ⿺铃鎊 鑪㾝錓僽歋䠑㣐ⵄㄤ❏崍捀饰럊㖈㢴珏㖑箔橇㞯⚥鹍遤㢴䎃灇瑕涸䧭卓կ劥妃㾝錓꧋✫㣐ꆀ鵛劍涸倝 瘝⚺겗կ⦶倴ꧧ㝕 ꏖ⫸ 撑晙 酤縨瘝ぐ珏䕎䒭㥟涸⡲ㅷ㖈♶ず걅㚖⛓崨⫄㥵耪갉莄㕭⫸ 荈搬莄俒 ⡲Ⱖ⚥⺫䭍捀⽇暟긬㣐䑻䨾⡲涸⚺銳酤縨⡲ㅷկ闑稇哆涸⡲ㅷꅾ植✫倝涸倰ぢ⺫䭍小䙼➃莄嗃暟ㄤ燳 ⻊ 䗱椚莄䠭㸽넒뀿կ 暟涸ꡠ⤙欰㶸倰䒭涸㢴垺⻊⟄⿺㼩麔併䠭ꡠ⤙贕椚涸〳腊䚍կ
㥵շ鏪㢴铝麔涸鑨ո㑑屮弈ⴀ涸랱蒀㟯宐♧垺㼆✵䠑纏邍韌⿺嶊鸙涸毟僽闑稇哆⡲ㅷ涸呍䗱կ知㋲涸ⶽ 㾝錓⫸瘗鎹劥♧垺♧珏腊㼞傈䌢欰崞⚥ⴀ植涸⽪韌꧋ざ㖈♧饰涸䕎䒭Ղ搁锸僽鋕錏 耪갉 鼨僽㔐 ⡲䕎䒭♸Ⱖ〄涸⸂ꆀ䕎䧭됮僈㼆嫱䎇慨〄ⴀ㢴珏鍒靀♸곭䝎կ㥟涸⡲ㅷ䌢䌢穡兪⚹䕧⫸ ⽪韌 䠭䞔 䥊Ղ⟄⚺錙ㄤ湬錣涸倰䒭幊ざ㖈♧饰雊㔐耪ㄤ鸑䠭涸笩窄䢨䢨㾝կ 䧴鎹䥊涸䌾㶩Ղ ♧❈傁䔂捘⿶瀊冾涸絑⾎㥵㥟⡲ㅷ涸垥겗ｉ垺圓䧭✫欰ㄐ涸溽円կ㖈ず垺涸갚䖒 ⚥⡲ㅷ䱲程满㕭⫸ 暟넒ㄤ耪갉涸腊⸂⟄鍹涮錙罏涸䟝⫸⸂կ 俒畎⢵荈湕啿㜃植➿繠遮긬 Installation View
㾝錓植㜥 © Photo: Aurélien Mole/ Mudam Luxembourg Installation View
㾝錓植㜥 © Photo: Aurélien Mole/ Mudam Luxembourg Installation View
㾝錓植㜥 © Photo: Aurélien Mole/ Mudam Luxembourg Installation View
㾝錓植㜥 © Photo: Aurélien Mole/ Mudam Luxembourg Installation View
㾝錓植㜥 © Photo: Aurélien Mole/ Mudam Luxembourg Rote Leiter (The Scale), 2014
Forged Iron 325 x 45 x 2 cm
© Photo: Aurélien Mole/ Mudam Luxembourg Installation view
㾝錓植㜥 The Ego in Each Potato, 2006 - 2011
Ceramic sculptures, still life Dimensions variable
© Photo: Aurélien Mole/ Mudam Luxembourg
Detail The Ego in Each Potato, 2006 - 2011
Ceramic sculptures, still life Dimensions variable
© Photo: Aurélien Mole/ Mudam Luxembourg A Whole Universe (Pomegranate), 2017
Fresh fruit, wooden shelf Nested, Mudam Luxembourg, 2017
© Photo: Aurélien Mole/ Mudam Luxembourg Nested #3, 2016
Limestone, marble 11 4/5 × 13 × 10 1/5 in 30 × 33 × 26 cm
© Photo: Aurélien Mole/ Mudam Luxembourg Gewisse Rahmenbedingungen 2, (A Certain Frame Work 2), 2017
Wood (Maple, Cherry, Pine, Walnut, Ashtree and Oak), Hooks, Cable, Resin Dimensions variable
© Photo: Aurélien Mole/ Mudam Luxembourg Le coup scellé, 2014
In collaboration with Jean-Lou Majerus
Wooden goban, marble stone, silk thread, white platform, cotton Goban: 42 x 46 x 28 cm, Platform: 250 x 250 x 8 cm, Stone: 4 x 2 cm
© Photo: Aurélien Mole/ Mudam Luxembourg Le coup scellé, 2014
In collaboration with Jean-Lou Majerus Wooden goban, marble stone, silk thread, white platform, cotton Goban: 42 x 46 x 28 cm, Platform: 250 x 250 x 8 cm, Stone: 4 x 2 cm
© Photo: Aurélien Mole/ Mudam Luxembourg Vertigen de la Vida (Dizziness of Life), 2011
In collaboration with Jean-Lou Majerus Moving sculpture with sound, brass, glass, step motors, synchronized sound system, with pedestal
Sculpture: 95 x 75 x 75 cm. Pedestal: 121 x 50 x 50 cm
© Photo: Aurélien Mole/ Mudam Luxembourg
Watch video [PW: EMGSM123] White Noise, 2009
LP disc, white balls, wood, walnut veneer, motorized electrical system 38.1 × 42.9 × 42.9 cm
© Photo: Aurélien Mole/ Mudam Luxembourg (Detail) White Noise, 2009
LP disc, white balls, wood, walnut veneer, motorized electrical system 38.1 × 42.9 × 42.9 cm
© Photo: Aurélien Mole/ Mudam Luxembourg Many Spoken Words, 2009 - 2017
Installation, ink, stone and iron casted fountain centre piece 110 x 110 x 200 cm - Diameter 350 cm
© Photo: Aurélien Mole/ Mudam Luxembourg Installation view
㾝錓植㜥 Trees and Roots (#1, #3, #4), 2011
In collaboration with Jean-Lou Majerus
Bronze 500 x 220 x 325 cm 370 x 248 x 138 cm 350 x 200 x 200 cm
© Photo: Aurélien Mole/ Mudam Luxembourg Bird Cage, 2007
In collaboration with Jean Lou-Majerus Neon Sculpture
© Photo: Aurélien Mole/ Mudam Luxembourg Gewisse Rahmenbedingungen 3 (Villa Farnesina), 2017
2015 - 2017 Video
4 min 27 sec 鋕걽loop
© Photo: Aurélien Mole/ Mudam Luxembourg
Watch video [PW: EMGSM123] Mistelpartition, 2006
Watch video [PW: EMGSM123 Video/Film
© Photo: Aurélien Mole/ Mudam Luxembourg Installation view
㾝錓植㜥 Faded series, 2017
Mirror, hanging system
ꖏ㶩ꊞ㶩 © Photo: Aurélien Mole/ Mudam Luxembourg Elegy
鰉姐
Edouard Malingue Gallery, Hong Kong
꼛ⲳ殥䐤 껺度 21.03.2017 - 13.05.2017 A subtle tone pervades the space. The essence of a past temporality, a flutter of the senses, a trigger of Beyond this aspect of visual interplay, Tse builds a curious game of sonorous associations. Mov- distant memory. Dulcet yet melancholic, ‘Elegy’, Su-Mei Tse’s first solo show in Hong Kong, sets a pensive ing through the space, a delicate splatter reverberates throughout the gallery. Invisible at first pace, a rhythm that invites self-reflection as well as a heightened awareness of one’s surroundings. Acting instance to the eye, one is drawn to ‘The Pond’ as a possible source: a dual work composed of two as punctuations throughout the gallery, the works behold an impact that extends beyond their visual prop- photographs partially covered by glass and placed on the floor, the diptych presents nymphaeae erties; it is about their lasting impression, the reflection they heighten when seen, the experience sensed. appearing mysteriously from the depths of the water. Peering down, as one would in real life, a ‘Elegy’ as an exhibition is an open score, presenting a set of triggers whilst inviting each viewer’s personal temptation lies of making a link between sound and aqueous element - upon second thought, interpretation and impression. however, the impossibility of digital emission settles. As such, one moves through the space till, around the bend, the answer is found; a fountain, jutting black ink fills the space. A hark to the A trained classical cellist of Chinese and British descent, Su-Mei Tse (b. 1973, Luxembourg) weaves a prac- architectural elements that dot the city of Rome, the liquid further drawing in a sense of poetry, tice that spans video, installation, photography and sculpture to mount a meditative, visaural tale empower- of writing, of light yet burdened darkness. ing the language of music as a primary voice. Investigating associations between places, geographies, cul- tures, traditions, Tse’s work elicits a cross-stimulation of the senses, where time and its flow are suspended Surrounding this final element are a range of mirrors, faded by the passing of time and the re- in a gentle state of contemplation. As the exhibition title ‘Elegy’ suggests, Tse’s practice is underpinned by a ality of weathering. It is within these levels of activity, from the captured moment in the photo- strong sense of lyricism and musicality. Brought up by a violinist father and pianist mother, Tse equally grew graphs, the evolving reflections, to the furtive energy of flowing ink, that the viewer encounters up with music at the Luxembourg Conservatory. She maintained this duality when studying visual arts at the the varying notes of ‘Elegy’. It is about the passing of time, which may be a flutter, a slow burn, École Nationale des Beaux-Arts in Paris by accompanying her practice with musical studies. a sequence, or a sequel. And n so experiencing these varying levels the viewer is released to consider what touches them, when, and how fleetingly or lastingly, it traces their everyday lives. As such, a bilingual versatility pervades Tse’s practice. ‘Elegy’ is at once a mysterious visual ballad and a Indeed, each is prompted to write and consider what would be their own ‘elegy’. delicate aesthetic encounter that one unravels, one step at a time. Inspired by, and developed during Tse’s recent residency at the Villa Medici, the viewer encounters photographs, moving images (video), objects, For the realisation of the exhibition, Su-Mei Tse worked in close collaboration with her partner mirrors, references of collected memories that hark back but are not limited to her time in Rome. Each Jean-Lou Majerus. image reflects an emotion: the bust of Adriana - a hymn to past history, traced by the degradation of time whilst bearing delicacy of expression and detail; Gaelle – a friend and writer, a hint of her arm, remembrance of her graceful person, a reference to her feminine sensitivity, a particular moment at a farewell party. Creat- ing links between each visuals are mirrors, aligning multiple captures along a singular sequence, one which changes dependent on the viewer’s position and perception. 闑稇哆䎃ⴀ欰倴♧⦐갉坾⚆㹻昿鋶僽⢵荈⚥㕜涸㼭䲿楩㹻嫢鋶僽♧⡙薉㕜硂涸ꏈ楩㹻կ㥟荈䎓 㖈繏꼛꽏殆劍闑稇哆䬝伡✫♧❈撑晙կ麔✫♧媯儗䖔㥟ꅾ鏞鸎❈撑晙⽿涮植〳⟄䖰鸎❈劢 㷸绡〢Ⱙ갉坾䱹「㓃呔涸ꏈ楩ㄤ㣐䲿楩涸鎯箻կ㔔捀庮劅刿⸈荈歋涸ⶽ⡲瑟罜ꬋ㕄倴♧珏䕎䒭㥟鼆 竤楂熋涸㕭⫸稇勞⚥鼆ⴀ♧❈㼞ꨪ侔涸晙媯穉ざ饰⢵箠籽䧭♧껷չ鰉姐պկ⫸♧⦐溫姻涸錙⯕罏齡 乵㖈䊼랫넞瘝谀遮㷸ꤎ㷸绡鋕錏谀遮⚛倴⛓䖔㖈殹➿谀遮걅㚖䪪ⵌ荈䊹涸莺〵雊㥟䪾荈䊹㼩갉坾ծ俒 垺㥟㼩彋殯㖑⟣⡦♧晙エ䒸㥟涸兞暟鸎❈갫䩛䬖⢵涸䕧⫸僽㥟佐꧋涸鋕錏ㄤ䞔䠭鎹䥊罜殹⚥ 㷸ծ莺骪ծ邍怵瘝㢴珏谀遮䕎䒭涸攧䠥鿪祃ざ㖈♧饰կ䎃姻⧩罜用⛓䎃涸闑稇哆䧭捀✫㪭㽲倛꧱䎃 㣐鿈⟧Ⱘ넒涸⥌䜂鿪鄄䘍䱈✫䬝♧〫捦륯僽㔔捀鸎〫捦륯㾀搬幾鰋✫㙹䋑⾩ꅾ涸娛〷䠭㸤繠涸 㾝湕啿㜃㕜㹻긬涸⚺錭⚛囘格㕜㹻긬ꆄ柲栀荈姼闑稇哆䖤ⵌ㕜ꥸ♳涸䑝岌ꡠ岤կ⢵荈♧⦐匌銯倰穡ざ 㥎䚍걧⫸ㄤ脽⫸ꧧ㝕➿邍✫繏꼛鰜摕涸麔ㄤ㼩繠涸鏽鍒䯍衼砭㶩涸㥎➃ぜ〭(BªMMF僽ず儗꽏 涸俒⻊胜兞雊闑稇哆涸⡲ㅷ♶「괏呔ㄤ겗勞涸ꣳⵖ⯎怐㥩㣼䗱կ㢴䎃涸갉坾⥝귡⿶雊闑稇哆㼩耪갉ծ偒 殆涸♧⡙⡲㹻谀遮㹻鎹⡞✫鸎⡙⡲㹻影ㄤծ納䓳ծ併䠭涸㌲갉ㄤ⦐䚍鼨剣㥟殹儗瑬㖈魧♳涸Ⱙ꧈ 䖒ծ儗ծ孴孧鸎❈䬄⫸⯋稇乩剣併ꌳ涸䠭「⸂կ㥟涸⡲ㅷ♶「㯮➝ꣳⵖ伡䕧ծꧧ㝕ծ酤縨ծꏖ⫸搁锸⟣⡦ 涸酝㶩鸎䓹撑晙伡倴꽏殆穡勲儗デⴽ崣㼩谀遮㹻鎹䖤涸僽殹儗影军ㄤ⿼㊤涸孴孧♧⦐怐剢涸䕎 ♧珏㯮➝ㄤ勞俱鿪〳腊㖈㥟涸䩛酭鱲⻊䧭♧❈䧴鏪⮚꧈嵠恟䧴鏪鰋녻꧖宕涸䠭錏㯮➝㼩倴㥟⢵铝〫 朜Ⰺ㺂僽〳䠥涸㣐椚瀖蔄秙瑟⚥鶫갠涸崨宐耪剚䌞걅錙滞饥ⵌ㾝㜥涸帿贕僽♧⦐姗崍䒭 僽㼞䠑䙁ծ䟝岁ㄤ䞔筱暟⻊涸䩛媯կ 涸〢Ⱙ㑑屮殹⚥崨巷衼㟯宐կ㖈㸐倾鼸䎘鄄娔剢臱躭涸ꖏ㶩崨巷衼㟯宐涸랱蒀կ鸎❈⡲ㅷ㺕鎷 ✫闑稇哆㼩繏꼛涸鎹䥊僽♧⦐尝剣铃鎊ծ〫剣⽪韌涸佦✲➿邍✫闑稇哆谀遮涸銳稇⚛ꬋ齄鰿搁 꼛ⲳ殥䐤껺度倴剢傈莉鳵闑稇哆涸⦐㾝շ鰉姐ո鸎僽闑稇哆㖈껺度涸껷妃㾝錓կ㾝錓⚥涸♧䪠倝 ꡠꅾ㣐涸䠑纏〫剣♧珏♶䗳鷅㉏涸栬暵涸鑗䠑ㄤ偒䖒կ ⡲箔饰㥟剒鵛㖈繏꼛繠痦㣼ⴽ㞱涸谀遮㹻꽏殆կ㖈竤麔✫♧媯儗⛓䖔♧❈➃涸ぜ㶶ծ♧❈✲⟝䊺竤隶 䖤垷祍㈔剣殹儗涸䞔筱ㄤ孴孧➠⟁㥟⽪韌帿ⵠ㸐⦛隶䧭✫㥟䗱⚥涸չ繏꼛պ僽帿诡倴鎹䥊⛓⚥涸♧껷 鰉姐կ♧㥵闑稇哆麔涸㾝錓㸝ꬅ罜猙㺙䪾♧媯麔涸儗⯕䪾ꨈ⟄鎊⫄涸⦐➃䞔䠭⟄㥟栬暵涸谀遮䕎 䒭㼞Ⱖ鋕錏⻊㥟⚛♶銳宠錙滞넒剚㥟ծ椚鍒㥟欨荛♶傋㖈ⴔ❧鸎媯竤娛㥟〫僽㫓㫓麤⢵♧媯䗱⚥涸偒 䖒鑑㕭㖈剣ꣳ涸㾝㜥瑟酭ッ植㿂倴㥟⦐➃涸齡媯㔐䥊կ Installation View
㾝錓植㜥 Installation View
㾝錓植㜥 Installation View
㾝錓植㜥 Installation View
㾝錓植㜥 Installation View
㾝錓植㜥 Installation View
㾝錓植㜥 Installation View
㾝錓植㜥 Gewisse Rahmenbedingungen 3 (Villa Farnesina), 2017
2015 - 2017 Video
4 min 27 sec 鋕걽loop
Watch video [PW: EMGSM123] Moon II, 2017
In collaboration with Jean-Lou Majerus Sculpture, marble, aluminium, wood, aluminium frame, resin
ꧧ㝕㣐椚瀖ꍐ加ꍐ呥卹埠腒140 x 140 x 3 cm Moon I, 2017
In collaboration with Jean-Lou Majerus Sculpture, marble, aluminium, resin
ꧧ㝕㣐椚瀖ꍐ加ꍐ呥卹埠腒140 x 140 x 3 cm Rome (Gaëlle), 2015-2017
Fine art inkjet on hahnemühle mounted on dibond
90ㆁⰊ㨖⹗秶♳㑑㟯䩧⽪ ꍐ㝕匣酤醆 x 62 cm Rome (Athena), 2017
In collaboration with Jean-Lou Majerus Fine art inkjet on hahnemühle mounted on dibond
ㆁⰊ㨖⹗秶♳㑑㟯䩧⽪ ꍐ㝕匣酤醆150 x 100 cm Rome (Jules), 2017
In collaboration with Jean-Lou Majerus C-print, photo paper on Dibond C , Dibond 110䒭䩧⽪ x 76 cm湱秶醆酤倴 ꆄ㿂匣 Rome (Pomegranate), 2015 - 2017
In collaboration with Jean-Lou Majerus Fine art inkjet on hahnemuehle mounted on dibond, museum glass, wooden gold antique frame
ㆁⰊ㨖⹗秶♳㑑㟯䩧⽪ꍐ㝕匣酤醆 ⽇暟긬梯槴加醢ꆄ蒀〢袙呥53 x 40 cm Rome (Adriana), 2017
In collaboration with Jean-Lou Majerus Fine art inkjet on hahnemuehle mounted on dibond Hahnemühle 㑑㟯䩧⽪倴 120 x 82湱秶 cm Rome (Vera), 2017
In collaboration with Jean-Lou Majerus Fine art inkjet on hahnemuehle mounted on dibond Hahnemühle , Dibond 㑑㟯䩧⽪倴 湱秶 醆酤倴 120 xꆄ㿂匣 82 cm Nested, 2017
Limestone, polished mineral balls
瀖抪瀖䬚⯕燳暟椕23 x 39 x 30 cm Faded II, 2017
Diptych, mirror, hanging system
200 ꧱耡殥ꖏ㶩ꊞ㶩x 80 x 0.8 cm each Many Spoken Words, 2009 - 2017
Ink, stone and iron casted fountain center piece
㟯宐瀖걧ꙍ㑑屮110 x 110 x 200 cm Diameter 350 cm (Detail) Many Spoken Words, 2009 - 2017
Installation, ink, stone and iron casted fountain centre piece 110 x 110 x 200 cm - Diameter 350 cm Setouchi Triennal 2016 2016 戦䨩Ⰹ㕜ꥹ谁遯牺
Art Front Gallery, Japan Art Front 08.10.2016 - 06.11.2016殥䐤 傈劥 The abandoned house Su-Mei Tse uses in her work “Moony Tunes” has more than 300 years of history, in- In proximity to Tse’s installation site stands the Takanbou Mountain, which was once a stone quarry for cluding 50 years of desolation since its last occupant. When she first visited the site, Tse felt a sense of sol- building the Oksaka castle. Inspired by the environment’s materiality in highlighting the importance and at- itude in the absent presence of human activities. The artist gives the residual space a dynamic transforma- mosphere of the house itself, onyx, an amulet stone from ancient time in both Western and Eastern cultures, tion by displacing its architectural elements except for its girder, central pillar, and alcove. In this renewed is used to infuse the space with an aura of purification,. environment, she creates a site-specific installation consisting of a large disk-shaped onyx placed on the floor, several igneous rocks hanging from the ceiling, and original sounds. Honjima Island (Marugame city), on the west side of Yoshima where bridge pier of Seto Long-Bridge, was once the political and cultural centre of the Shiaku islands, the homeport of the Shiaku navy. Tse’s work is As for us, it has been a decade since we met at Echigo-Tsumari Art Triennale 2006; Tse was one of the installed in one of the 69 traditional houses conserved on the island. The area called Kasajima is where sev- artists participating in a residency based in a village called Kamishinden. There she created a work using eral powerful oligarchies once flourished. sprouting potatoes as subject. In 2012, Tse was once again selected for the Triennale but could not make it due to her pregnancy and delivery. A long-awaited collaboration was finally realised in the 3rd edition of the The installation title “Moony Tunes” is, of course, a made-up phrase consisting of “moon” and “tune” as in Setouchi Triennale in 2016, which demonstrated an approach toward space and environment beyond sheer a melody or the act of adjusting something (perhaps also a humourous reference to the cartoon “Looney imagination. Tunes”). Life on the sea or by the sea literarily means to live with the rhythm of the tides’ ebb and flow, dic- tated by the gravitation of the moon. As part of the installation, the ingenious rocks hanging from the ceiling Regarding her practice, Tse once said that the site of a potential installation was never her choice; rather, a allude to the islands studding the Setouchi inland sea, all of which are influenced by lunar gravitation. place would draw her close dialogically. As viewers, we can experience the totality of the space and conver- sation thus created, as well as its history: the beauty of the natural stone and its layout, and the sound dis- A thematic parallel to her solo exhibition in Tokyo, the work currently on display is photogenic in a way seminating from the centre of the void, are perfectly harmonised with the empty house’s controlled tension. that may be enjoyed virtually on the Internet. We wish to emphasise, however, that the materiality of the site-specific installation has to be experienced fully in its physical capacity. We hope many will have a chance to visit both venues in Honjima Island and Tokyo. 闑稇哆⡲ㅷշ剢䕧陗刼ո⚥涸䑛㾋剣麔♲涰䎃娛〷ꨅ♳♧妃教抠鸑僈涸儗⦫䊺麧❀⼧䎃⛓⛉կⴲ妃嶍駈鑪 㖈酤縨㜥㖑꣡鵛耬用涸5BLBOCPV㿋剎僽欽⟄⥝眠㣐ꢼ㙹涸ꛁ瀖㜥կ⡲昸谀遮㹻涸䠭⢵彂橇㞯涸暟颶 贕闑帿帿䠭「➃騋虡巜䨾忶鷳涸齡珏㷐栬䞔筱կ谀遮㹻糒罜佖鸣鸎⦐傍鄄鼌唲涸瑟㈔栬⥂殆✫㣐垖ծ 䚍㼩倴䕥곏䑛㾋涸孧㕠㽍昸ꅾ銳槈榧荈〢㖈⚥銯俒⻊䌢欽⡲隋魧兪瀖㖈闑涸⡲ㅷ⚥⤑忶鷳衼♧珏帩⻊ ⚥㣛佅叙ㄤ㠗륡瘝⚺銳䒊眠⯋稇կ》罜➿⛓涸僽♧⦐歋㖑♳涸㕩湎朜槈榧ծ㣔蔄䧅㘌衼涸䎘呏抠䧭䀵⟄⿺ 涸⯕橇կ 耪佪穉䧭涸酤縨⡲ㅷկ 䏠衅倴껺䊛銯涸劥䃋⚶륯䋑剎僽㔋㕜嵳鮪⚺銳度〡涸佟屛ㄤ俒⻊⚥䗱闑涸酤縨⡲ㅷ鼆㖧倴䃋♳ 䧮⦛㼩♳♧妃溏鋅闑僽㖈䎃涸馊䖔㧻剣㣐㖑谀遮特殹儗㥟僽♳倝歊勠꽏殆鎙ⷔ涸莄谀遮㹻⛓ ⥂殆荛➚涸啥䨻㾋⛓♧կぜ昸痌䃋涸⼥㚖⤑剎竤⡞衼侷䨩䓽㣐僅渿涸㻑걧㹻偛կ ♧㾝ⴀ♧⟝⟄涮蔠㕼鞝昸⚺넒涸⡲ㅷկ䎃㥟ⱄ妃格鼆莄馊䖔㧻剣♲䎃㾝⡎㔔昸䧃㶲ㄤ荆欴罜劢 腊䥰鼜կ雊➃劍䖉䊺⛉涸ざ⡲갪湡穅倴㖈䎃痦♲㾂戧䨩Ⰺ㕜ꥸ谀遮特♳䖤⟄㻜植㖈瑟ㄤ橇㞯贕 ⡲ㅷշ剢䕧陗刼ո涸薉陼垥겗շ.PPOZ 5VOFTո僽歋չ剢❭պㄤչ锄պ穉䧭涸贠圓瀊铃䖔罏〳鍒⡲刼锄ぜ 椚♳馄⛖秫礨涸䟝⫸կ 鑂䧴锄侮⹛鑂⛲〳腊僽㖈䎕⹛殥禹շ坾♧鸑-PPOFZ 5VOFTո♧랾կ嵳♳ㄤ屠嵳涸欰崞䠑衼➃ 莄惐恭惐鷍涸Ⱏ欰Ⱏ㶸⡲ㅷ⟄䖰㣔蔄䧅㘌涸抠䧭䀵⦶➿馊䖔㧻剣涸ⰻꤶ纈䃋Ⰾ罏涻歋剢❭涸ꅾ⸂⚺ 㖈ⶽ⡲㾵♳闑剎竤铝麔㜥㚖暵㹁谀遮涸鼆㖧⚛ꬋ㥟涸寸㹁湱⿿♧⦐㖑倰涸栬暵孧㕠䒸㼫㥟鹍Ⰶ䱲 㹬կ 鏞ծ㾝㼩鑨կ䧮⦛⡲昸錙罏❠腊넒뀿歋姼䕎䧭涸✽⹛⟄⿺瑟涸娛〷ㄤ㸤侮䚍瀖걧涸㣔搬繠ㄤ㢪㘗鼨 剣䖰贠瑟⚥䗱⫄ⴀ涸耪갉鿪莄䒊眠瑟涸䎕ꟗ䓹⸂⼿锄♧荝կ շ剢䕧陗刼ո莄闑倴匌❩莉遤涸⦐㾝✽湱ㄎ䥰ず垺⯕荝䖤〳⟄⟄贠亻䕎䒭㖈笩♳懳錓կ⡎䧮⦛湱⥌㜥㚖 暵㹁谀遮涸暟颶䚍〫腊诓ⴗ魧넒뀿䩞腊䖤ⵌ湈荝涸涮䳸կ䧮⦛铇䠑䋞劅錙罏腊鋶魧妇颣姻㖈劥䃋ㄤ匌❩ 莉遤涸Ⰾ⦐㾝錓կ Installation View
㾝錓植㜥 No. 144 Moony Tunes, 2016 Su-Mei Tse: The Breath of Life By Daisuke Murata
*This essay was published in ArtAsiaPacific January 2017
Su-Mei Tse’s exhibition “Moony Tunes,” held at the Art Front Gallery in Tokyo’s Daikanyama district, featured the series “Moons,” realized in collaboration with her partner Jean-Lou Majerus, and “Nested” (both works 2016). “Moons” consists of five round slabs of marble, each partially coated with bright red resin. The organic patterns in the marble are reminiscent of the moon’s surface, while the contrasting bands of red, different in width in each piece, allude to the waxing and waning of the moon and the ocean tides caused by the satellite’s gravitational pull on Earth. The contrast culminated with one entire wall of the gallery painted bright red, halting an otherwise seamless visual experience. All of these elements merged in a consummate balance of static and dynamic energies in the space.
The same sense of dynamism was present in the adjacent space that displayed “Nested,” a series of small limestone sculptures containing colorful mineral balls in cave-like hollows. The sculptures, which Tse refers to as “scholar stones” in reference to a classical aesthetic concept that originated in China, were placed meticulously in the gallery for a cheerful, rhythmic effect. In setting up “Nested” at the gallery, Tse playfully placed mineral balls of various sizes into “caves” on the stones, improvising their arrangement to reflect the positioning of planets in our universe. Moving around the room, viewers—like Chinese scholars of the past—realize Tse’s sculptures are idealized geological forms that epitomize natural beauty and allude to the order of the cosmos. With “Moons” and “Nested,” Tse successfully delineates the flow of time and depth of space as rhythms, melodies and tempos within the macrocosm.
Owing to Tse’s ethnic background and education—she is a classical musician of Chinese and British descent—many critics describe Tse according to the clichéd East-West dichotomy, or challenge her visual art based on her musical pursuits. However, what better defines her creative practice is her capacity to spin dialogues from the transient, fragile moments and phenomena we encounter every day. Tse believes in the importance of “free breath” for genuine artistic expression. This has long been her signature: in the video L’echo (2003), Tse plays a cello in an open field; her instrument’s melody reverberates from a mountainside, as if the artist and mountain breathe the same air to act in concert. Her creativity is realized as she combines her own bines her own breath with that of natural or living entities—most of which tend to be forgotten or overlooked in modern-day life. In other words, the artist becomes one with an object in the act of creation. It was therefore unsurprising to learn that Tse has been much inspired by Junichiro Tanizaki’s 1933 essay “In Praise of Shadows,” which explores the depth and beauty of light and shadow, and by aesthetics found in delicate natural phenomena such as light filtering through trees, or even the Japanese concept of mono no aware (“sensitivity to things”)—all of which envision nuanced fragments of matter and phenomena as things that should be treasured in one’s mind and assimilated into daily life. Tse’s artistic expressions embrace and embody all of these aesthetic concepts.
Western modernist art discourse has dominated the field of art criticism to date. Relying on the notion that artwork results from an artist’s creative process and manipulation of materials, this Western perspective encapsulates a paradigm in which mediums and materials are subservient to artists. Tse’s artistic practice, however, is rooted in her numerous dialogues with the world around her; by fusing herself into that world, new forms come into being. Grounded in her sensitivity toward the inner essences of the outer world, Tse generates silent “echoes” through her work. These echoes are not only unconventional art forms, but also queries about creation, human behavior and nature. This exhibition, in one of Tokyo’s most trendsetting, metropolitan areas, indeed suggested a way to navigate difficult times, which was fitting feedback as we witness the destructive limits of modernism, science and technology. Installation View
㾝錓植㜥 Past works
麔䖃⡲ㅷ Pays de neige (Snow Country)
շꨓ㕜ո Pays de neige (Snow Country)
շꨓ㕜ո2015
HD video 7 min 40 loop
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A walk to clear your mind as a moment of suspension, the undefined space similar to that of a respiration before every beginning: as the time in which a canvas is being prepared before paint is applied, or the time in which a blank sheet awaits writing, or when a thought is about to be put into language. In this video, Su-Mei Tse’s sweeping emphasises the magical moment in which we are preparing to act, to be carried away by our desires, to walk into the snow - a suspension open to various readings of the world.
♧㜥恟姿㼞贠瑟鱲⻊昸儗⨢갾涸晙ⵠ齡搁ꣳ涸瑟染㥵♧⦐㨤⛓涸♧〡孴կ⫸♴瘗♧澕涸殥秶⫸ꬅ䖉瘗ꍵ涸涯갤 䧴⻊䧭俒㶶⛓㼿ꄖꅥ⚥涸䧅䙁կ㖈闑稇哆涸鸎⦐ꏖ⫸⡲ㅷ酭䩧䰾♧莉姻姻䓽锄♧⦐➃襴䖉涮齡牟㣼涸갧ⵠ䫏鹍荈魧... 涸䣥劅饥麔琎ꨓ Studio 8 (Rome) 8 շ䊨⡲㹔 繏꼛ո Studio 8 (Rome) #1 8 #1 շ䊨⡲㹔2015 繏꼛 ո
Inkjet printed on archival paper mounted on Dibond
120㑑㟯尣⽪ꚩ䅺㖈ꍐ醲ざ匣 x 96 cm
Studio 8 (Rome) #1 and Studio 8 (Rome) #2 are two of a small series where Su-Mei Tse manifests a contemplation of time passed and past into two inkjet print photographs. The image of Studio 8 (Rome) #1 is a photograph of the reflective surface atop Faded, a series of sculptures that are manipulated mirrors realized by the artist in 2014-15. The reflection captured in this work is of Tse’s atelier during her residency at the Villa Medici in Rome, which was also the atelier of Jean-August- Dominique Ingres during the early 19th century. By photographing this atelier through a faded and mirrored surface, Tse emphasizes and explores the meaning of temporal space that is evanescent, absent, and capable of bearing possible residual aura.
8 #1 8 #2 շ䊨⡲㹔繏꼛 ոㄤշ 䊨 ⡲8 㹔 繏꼛#1 ո昸ず♧禹⛓✳Ⰾ䌴㑑㟯尣⽪湱晙㾝ⴀ闑稇2014- 15哆鷅䥊麔涸㦪䙼կշ䊨⡲㹔繏꼛 ո䨾 伡 昸 縨 倴 闑 涸 ⸈ 䊨 ꖏ 㶩 ꧧ 㝕 ⡲ ㅷշ 釾 蒀 ո ⛓♳涸⿿㼘䯲䯝✫㥟㖈繏꼛莄繠痦㣼ⴽ㞱꽏殆鎙ⷔ劍涸䊨⡲㹔䜄䊫❠剎僽Jean-August-Dominique Ingres 19 ♧雊٥㤸〢倛暵٥㢴碛㽲⯘٥㸝呔晋 倴 ⚆私涸殥㹔կ诓衼 ⦐釾蒀涸ꖏ伡䕧鑪䊨⡲㹔闑䕥곏ㄤ䱲程♧⦐瀊冾ծ緃䌏罜腊㣀䪬鯺厤珏婪긄涸儗瑟 胜䖔涸㺱䠑կ Studio 8 (Rome) #2, 2015 8 #2 2015 շ䊨⡲㹔繏꼛 ո Inkjet printed on archival paper mounted on Dibond
㑑㟯尣⽪ꚩ䅺㖈ꍐ醲ざ匣120 x 96 cm Velvet Green
շ笂窑ո Velvet Green, 2014 2014 շ笂窑ո Natural moss, wood, mixed media
㣔搬蕊貐加幊ざ㯮넒700 x 400 cm Light
շ⯕ո Light 2014 շ⯕ո
HD video
12넞鍒區䏞ꏖ⫸ min loop
Watch video [PW: EMGSM123]
On the first of the château, “Green Velvet”, a landscape of foam composed of a natural bright green vegetable bed contrasts with the austere gray walls echoing the delicate velvet, a reminder to some auspicious times of the past. The installation seems to grow together with the actual ground like a carpet and flows as a painting to end up into a damask pattern at the edge of the model like landscape.
In dialogue, a candle flame watches over the room and invites a gentle contemplation. The video projection “Light” include the infinity of time and the power of life facing our own finitude.
㖈㙹㜃涸痦♧㾵绻笂稣芴涸㣔搬兞錙⡲ㅷշ笂窑ո莄㙹㜃蛄㓃涸抪蒀 넞晘圓䧭늫僈㼩嫱⡃㖈䥊鶣♧⦐剎䎘犵岲涸莌儗➿կ嬝㶩菚涸⡲ㅷ 䕱䖁莄㣔搬㖑淼Ⱏず欰Ꟁ搬䖔⫸괏兞殥菚䒁⠽䧭㙹㜃㢪晘鼸箔涸ꐘ 箋垺䒭կ
ず儗撑❭衼䨻涸斦⯕䒸涮䎂箣涸Ⰺ溁կ㖈ꏖ⫸⡲ㅷշ⯕ո儗涸搁 ꣳㄤ欰ㄐ涸⸂ꆀ湬鋕➃涸剣ꣳկ Wood Songs
շ啿卌涸姐ո
Wood Songs
շ啿卌涸姐ո 2011
9 tree trunks, motorized system, vegetal elements, sound system
⛰喏埠䎍ꨵ⹛禹窠嗃暟⯋稇갉갠禹窠 A sound installation offers a meditative walk through a kind of forest still life. Suspended moments in time during which it is possible to hear the almost inaudible music of a stylus in the groove at the start of a vinyl disc played by the life rings of the trees.
耪갉酤縨շ啿卌涸姐ո雊錙罏ⱪ䟝恟姿倴♧禹啿卌ꬅ暟殥⛓⚥կ儗ⳕ穡㖈♧晙䙼筱帩 瑟小嫄♴⢵倰䩞ꦠ蕯聂ⵌ歋埠加䎃鰶涸鄬秙㖈㈖湎♳⫄⢵涸갉坾 Floating Memories
շ怓嵥涸鎹䥊ո Floating Memories
շ怓嵥涸鎹䥊ո 2009
High definition, video projection
12넞鍒區䏞ꏖ⫸䫏䕧 min loop
In the nostalgic dreamy video Floating Memories, an old vinyl record, slightly twisted, is slowly spinning. We are caught by this incessantly repeating wave motion and lulled by its delicate sound. Both metaphoric and poetic, the image is a reminiscence, that of a childhood memory, like a distant mirage. A meditative work, Floating Memories invites us to contemplate time, frozen and slowed down. The cracking sound of the diamond on the vinyl spinning, undulating endlessly brings back to consciousness some blurred memories of the past.
շ怓嵥涸鎹䥊ո僽♧⟝⯎怐䧃莌ծ㣅㞯菚孴䜂涸ꏖ⫸⡲ㅷկ⡲ㅷ⚥罈莌涸랱芢㈖湎箣箣鱲 ⹛雊➃♶犜岤䠑齡鰋䗎⚛⚂鹊罜䗁㨤涸饰⠃⛲鄄㸐涮ⴀ涸厫ㄤ耪갉䨾エ䒸կ⡲ㅷ涸䕧 ⫸傁剣㺱䠑⿶귃ゎ鑗䠑⫸僽麵黆涸嵳䋑踣垛ㄎ㋍衼⯥儗涸㔐䥊կ㈖ꆚ徾麔㈖湎秙騟涮 ⴀ彂彂♶穪涸゛゛㒆㒆갉㖈饰饰⠃⠃涸鱲⹛⛓⚥շ怓嵥涸鎹䥊ո鼜锝錙罏䢨♴艀姿小ꬅ 䗱㼞䠑陏䌞䖃麔垷祍涸㔐䥊䙼罌ⳕ穡涸儗կ Open Score
շ佞鎙ⴔո Open Score 2007
HD Video Electric bulbs, foam structurel 7 min 43 sec
Watch video [PW: EMGSM123]
As a visual artist and musician, the artist uses contrast and hybridity as sources of inspiration and reflection in her work. Her projects combine film, photography, music and dance in a logic that is above all concerned with emotion. For Open Score, Su-Mei Tse returns to subjects such as autism and a certain search of introspection, already treated in Chambre Sourde (2003-2010) and Le Musicien Autiste (1999-2003).
‘Here the Introspection is translated in the form of an invented hybrid game, half-way between squash and tennis, in which we follow a single player confronting a blank space, a ‘white box”. She is simply guided by the appearing colored lines on the walls, without following any specific rules, a visual composition for an improvised choreography. With the strong whiteness and the reverberating sound of the ball’s impacts on the walls, I try to accentuate the idea of the void and of the confrontation with a space symbolizing the mental space.
Suggesting absence, solitude, and confrontation with one’s own ‘I’, or the ‘blank page’ that lies at the beginning of every new creation, the form and the content takes shape in the course of the game.’ շ佞鎙ⴔո2007
7넞鍒區䏞ꏖ⫸䕙蒀耪갉 43 ⴔ 猲
谀遮㹻畀㖈♧晙涯蘈蘈涸瑟⚥㣛䩛䭯椕䬝㼩錙罏կ 㥟⟄箣䢨涸䩛乹ⴀ堜蒀涸椕麈䨠⤑㨤կ晘♳涸겝蒀 箁哬䒸㼫椕涸鮨騋㔔罜ꅾ倝㹁纏鸎♧瑟կ 鸎㜥麈䨠溏饰⢵⫸♧佅莺骪眎㤉涸䠑纏噱昸ꅾ銳㾝植 ⴀ錭蒀涸箠莺ㄤ㪧կ㛇倴❀箁陗♳涸箁哬鸎⦐ꏖ⫸⡲Robert Rauschenberg ㅷ》Ⱖ垥겗荈繏⠭暵٥繏啿⠭呔 Ⱉ ⼧䎃➿涸♧㜥邍怵他儚㖈갉坾ㄤ麋⹛⛓կ
ず儗䖰✲鋕錏谀遮ㄤ갉坾ⶽ⡲涸谀遮㹻䒸欽㼩嫱ㄤ幊祃 ⡲昸ⶽ⡲䠭ㄤⰻ溁涸饰彂կ 㥟涸⡲ㅷ꧋ꏖ⫸ծ伡䕧ծ갉坾ㄤ莺骪倴♧魧邍麧㼩䞔筱帿 䏞涸ꡠⴗկ 2003-2010 1999- 2003糒շ 搁 갉 㹔 ո ㄤշ 荈 ꟗ 氿 涸 갉 坾 㹻 ո 闑稇哆诓շ佞鎙ⴔոⱄ妃䱲鎣荈ꟗ氿ㄤ㼥䪪ⰻ溁 瘝ㄐ겗կ
չ㼞ⰻ溁䳕䧭♧㜥➝⛖㠗椕ㄤ笩椕⛓涸贠亻幊ざ嫱飓 涯蒀涸瑟韌䗛䩧椕罏㖈Ⰺ䗱㼩涸荈䧮կ㥟䗄衼晘㠗涸 箁哬㖈尝剣傁㹁嫱飓鋊⛓♴圓䧭⽰䌏箠莺涸鋕錏圓 㕭կ鷳麔䓽捘涸涯蒀ㄤ椕㖈中乹晘㠗䨾欴欰涸㔐갠䧮鑑 㕭瑲곏贠瑟鸎⦐䧅䙁⟄⿺莄韌䗛Ⰺ䗱帿䏞涸瑟涸㼩䫒կ 䕎䒭ㄤⰻ㺂㖈嫱飓麔玐⚥鷶恸䕎䧭䠑衼♧珏緃䌏ծ㷐 栬ㄤ莄荈䧮涸䫒邂⿶䧴僽♴瘗ⶽ⡲䨾㼩涸♧䓹涯 秶կպ闑稇哆կ Standard Eye Level
շ垥彋鋕䎂箁ո Standard Eye Level, 2006 2006 շ垥彋鋕䎂箁ո Metal supports, fabric, fluorescent lettering and line
ꆄ㿂佅卹䋒輵⯕㶶넒⿺箁哬 Standard Eye Level, 2006 2006 շ垥彋鋕䎂箁ո Metal supports, fabric, fluorescent lettering and line
ꆄ㿂佅卹䋒輵⯕㶶넒⿺箁哬 Dong Xi Nan Bei (E, W, S, N)
շ匌銯⽂⻌ո
Dong Xi Nan Bei (E, W, S, N), 2006 2006 շ匌銯⽂⻌ո 4 Chinese turquoise neon characters’ neons, transformers , 笂匠ꩩ赙教60 x 60 cm隶㠹㐼 each The Yellow Mountain
շ랓㿋ո The Yellow Mountain, 2004 2004 շ랓㿋ո Watch video [PW: EMGSM123] Vertical video projection, colour, sound
簳ぢꏖ⫸䫏䕧䕙蒀耪갉3 min 30 sec loop Chambre sourde
շ搁갉㹔ո Chambre sourde
շ搁갉㹔ո 2003
Electric bulbs, structural foam ꨵ教岙岙屁㝕俱穡圓
Chambre sourde (2003) Anechoic Room was initially conceived for one of the spaces in the Luxembourg Pavilion at the Venice Biennale in 2003.
Straightaway, this installation made out of cuneiform and absorbing yellow elements of foam, invites us to a change of sound in a radically different physical environment. Like suspension points or a parenthesis, this space offers the visitor, cut off from the outside world, a moment of silence and introspection.
Before talking about sound or music, Su-Mei Tse immerses us into silence.
歋랓蒀嘲䕎岙屁㝕芢穉䧭鶴➃涸酤縨꼛♳䒸㼫錙罏 䠭「耪갉㖈♧⦐䨔搬♶ず涸暟椚橇㞯酭䨾欴欰涸隶 ⻊կ㸐染㥵♧⦐瑟♳涸溁殜贪䧴䭍贪窍✮荈植㻜欰 崞䬄ꨅ涸錙罏晙ⵠ㺑ꬅㄤⰻ溁կ
㖈鎣锸耪갉䧴갉坾⛓闑稇哆⯓雊䧮⦛小嫄倴小랾 ⛓⚥կ L’ Écho
շ㔐耪ո L’ Écho, 2003 2003 շ㔐耪ո Watch video [PW: EMGSM123] Video
4 min 55 sec ꏖ⫸loop Les Balayeurs du Désert
շ尪恉幡麤㣗ո Les Balayeurs du Désert, 2003 2003 շ尪恉幡麤㣗ո Watch video [PW: EMGSM123] Video
5 min 30 sec ꏖ⫸loop Das wohltemperierte Klavier (Well-tempered Clavier)
շ⼧✳䎂㖲䖒ꏈ楩刼꧋ո Reinterpreting the title of Johann Sebastian Bach’s famous composition, The Well- Das wohltemperierte Klavier tempered Clavier is a sequence of 4 photographs referring to the video of the same title that Su-Mei Tse realized in 2001. The piece shows hands playing the piano with (Well-tempered Clavier) splinted fingers. As in other works, the artist here highlights the process instead of the result: a harmful path (mentally and physically) to acquire the mastery of a perfect sound. (Sophie Kaplan, CRAC Alsace 2008)
շ⼧✳䎂㖲䖒ꏈ楩刼꧋ո Johann Sebastian Bach ㅷꅾ倝鍒隡秉缦٥㝱䊼倛裥㸝٥䊼饟2001 ぜ⡲涸⚺겗㔋䌴湱⡲ 2001 晙䭷ぢ闑稇哆倴 䎃醢⡲涸ずぜꏖ⫸⡲ㅷ鵛伡♧꧱竀籚䌞涸䩛䔞㤉衼ꏈ楩կ谀 遮㹻顐䗢Ⱖⶽ⡲䧅䙁䓽锄麔玐罜ꬋ䧭卓♧珏昸宠㖈갉坾걅㚖麧荛㸤繠䱍䳣涸剣Sophie Kaplan CRAC Alsace 2008 㹲騟䖜礵牟ㄤ聘넒♳կ Watch video [PW: EMGSM123] Video projection, colour, sound
5ꏖ⫸䫏䕧䕙蒀耪갉 min SUMY SUMY, 2001
Headband, velvet, shells, resin and lettering
걧䌞窣窑頺媻埠腒ⵠ㶶Dimensions variable
㽯㼄♶㹁 BIOGRAPHY
Su-Mei Tse
2015 Born 1973 in Luxembourg. Lives and works in Luxembourg and Berlin. one thousand and one dreams behind us …, Peter Blum Gallery, New York Education 2014 Faded and the space between, Galerie Tschudi, Zuoz, Switzerland 1996 Ecole Nationale Superieure des Arts Appliques Gewisse Rahmenbedingungen, Frieze Art Fair, Peter Blum Gallery, New York 2000 Ecole Nationale Superieure des Beaux-Arts … et a l’horizon il y avait l’orage, CAC-Chateau des Adhemar, Montelimar, France
2012 Residencies The Source, Project One, Eslite bookstore, Hong Kong 2014-15 Académie de France à Rome, Villa Médicis, Rome, Italy 2011 2008 The Fabric Workshop Museum, Philadelphia, USA Distant Voices, Galerie Tschudi, Zuoz, Switzerland MIT List Visual Arts Center and MIT Media Lab, Cambridge, MA, USA Lapses of Time, AD Gallery, Athens, Greece 2007 The Isabella Stewart Gardner Museum, Boston, USA Vertigen de la Vida, Fundacio Joan Miro, Barcelona, Spain Acadia Summer Art Program, Bar Harbor, USA 2005 Acadia Summer Art Program, Bar Harbor, USA 2010 Stille Disco Eslite Gallery, Taipei, Taiwan New Sense Of Order, Su-Mei Tse & Yves Netzhammer, Beaumontpublic, Luxembour Awards 2009 2009 Prix International d’Art Contemporain, Fondation Prince Pierre, Monaco Words and Memories, Peter Blum Gallery Chelsea, New York, USA 2006 SR-Medienkunstpreis, Saarlandischer Rundfunk, Saarbrucken, Germany VARIATIONEN, Galerie Serge Le Borgne, Paris, France International Studio and Curatorial Program (ISCP), New York, US Solo exhibition, Prix International d’Art Contemporain Foundation Prince Pierre, Monaco 2005 Edward Steichen Award, Grant and Art Residency, New York Floating Memories, Isabella Sewart Gardner Museum, Boston, USA 2003 Golden Lion for Best National Participation, 50. Esposizione Internazionale d’Arte, Biennale di Solo exhibition at Art Tower Mito, Mito, Japan Venezia, Venice 2001 Prix d’Art Robert Schuman, interrégional price SaarLorLux 2008 Some Magical Clangs, Su-Mei Tse & Virginie Yassef, CRAC Alsace, France East Wind, solo exhibition at Seattle Art Museum, Seattle, USA Solo Exhibitions 1000 words for snow, solo exhibition Beaumontpublic, Luxembourg Bird Cage, Su-Mei Tse & Jean-Lou Majerus, Public Art Project, Luxembourg 2019 Nested, Taipei Fine Arts Museum, Taipei, Taiwan 2007 DUOLOGUE, Lee Mingwei & Su-Mei Tse, 2 Solo Exhibitions at MOCA, Taipei, Taiwan 2018 Media Test Wall: Su-Mei Tse, MIT List Visual Arts Center, Cambridge, MA, USA Nested, Yuz Museum Shanghai, China Su-Mei Tse, Alpha Delta Gallery, Athens, Greece Waterloo Billboard Commission, Hayward Gallery, Southbank Centre, London, UK Su-Mei Tse: L’Echo, Portland Museum of Art, Portland, USA 2006 Nested, Aargauer Kunsthaus, Aarau, Switzerland Su-Mei Tse, solo show, Tim Van Laere Gallery, Antwerp, Belgium Between eggs, stones and floating balls, Galerie Tschudi, Zuoz, Switzerland
2017 Elegy, Edouard Malingue Gallery, Hong Kong Nested, Mudam Luxembourg, Luxembourg Proposition de detour, Peter Blum Gallery Chelsea, New York, USA 2015 The ICH Manifestation, Noctour by Contour Video Festival, Mechelen, Belgium 30 Years, Artists of the Gallery, Galerie Tschudi, Zuoz, Switzerland P.S.1 Contemporary Art Center, New York, NY Steichen! Making Meaning of a Legacy, Palais des Beaux-Arts, Bruxelles Albion Gallery, London, United Kingdom Personal Notes for a Public Poem, curated by Sofia Eliza Bouratsis, YBDD, Berlin … … , Casion, Forum d’Art Contemporain, Luxembourg About Trees, Zentrum Paul Klee, Bern, Switzerland Conversation Piece, Fondazione Memmo, Roma, Italy 2005 Taking Time, Théatre des Expositions #6, Villa Medicis, Académie de France à Rome, Italy Su-Mei Tse: Video works, Franklin Artworks, Minneapolis, USA The ICH-Manifestation, The Renaissance Society, Chicago, USA 2014 Su-Mei Tse SOLO, Museet for Samtidskunst, Roskilde, Denmark Days of Endless Time, Hirschorn Museum, Washington, DC Visions and Beyond, The 2nd Shenzhen Independent Animation Biennale, Shenzhen, China 2004 Mythos Wald? Historische und zeitgenössische Interpretationen zum Thema Wald und Bäume, Neu Galerie Recent Works, Peter Blum Gallery, New York, USA im Haus Beda, Bitburg, Germany Tim Van Laere Gallery, Anvers, Belgique Bloom, Eslite Gallery 25th Anniversary Exhibition, Taipei, Taiwan The First of Maderna Su-Mei Tse, Moderna Museet, Stockholm, Sweden Guess What ? Hardcore Contemporary Art’s Truly a World Treasure : Selected Works from YAGEO Founda- JETZT, Alpha Delta Gallery, Athens, Greece tion Collection, The National Museum of Modern Art, Tokyo, Japan A corps perdu, Mouans-Sartoux, France 2003 Les Rencontres Internationales, Haus der Kulturen der Welt, Berlin, Germany Air conditioned, Esposizione Internazionale d’Arte, Biennale di Venezia (Luxemburg pavilion), Italy Fruits de la Passion, La Collection du Centre Pompidou, Japan Days of Endless Time curated by Kelly Gordon, Hirschhorn Museum and Sculpure Garden, Washington, USA 2001 Les Rencontres Internationales, Gaîté Lyrique et Palais de Tokyo, Paris, France E:R] conditionné, Galerie Premier Regard, Paris, France NY-LUX. Edward Steichen Award 2004-2014, Mudam Luxembourg < Days of Endless Time, Hirschorn Museum, Washington, DC 2000 Rien a voir, video projection, Instants Chavires, Montreuil, France 2013 exposition des œuvres de la donation Daniel et Florence Guerlain, Musée Centre Pompidou, Paris, France St. Moritz Art Masters, St. Moritz, Switzerland Group Exhibitions Little Water, Dojima River Biennale, Osaka, Japan Rhythm in it. Vom Rhythmus in der Gegenwartskunst, Kunsthaus, Aarau, Switzerland 2018 The Distaff Side, Collection Melva Bucksbaum & Raymond Learsy, The Granary, Connecticut, USA 21st Biennale of Sydney, Various locations, Sydney Still Waters Run Deep, Kaohsiung Museum of Fine Arts, Taiwan 2012 10 Years in Zuoz , Galerie Tschudi, Zuoz, Switzerland 2017 Ateliers Luxembourg, The Venice Biennale Projects 1988-2011, MUDAM, Luxembourg Listen Hear: The Art of Sound, Isabella Stewart Gardner Museum, Boston, USA John Cage, KUAD Gallery, Istanbul, Turkey A House Full of Music. Strategien in Musik und Kunst, Mathildenhöhe, Darmstadt, Germany 2016 4 Films : Adrian Paci, Luisa Rabbia, SUPERFLEX, Su-Mei Tse, Peter Blum Gallery, New York, USA Moony Tunes II, Art Front Gallery, Tokyo, Japan Neon who’s afraid of red yellow and blue? Maison rouge, Paris, France Moony Tunes, Setouchi Triennale 2016, Honjima Island, Kagawa Prefecture, Japan Not Early Not Late, Pace Gallery Beijing, Republic of China Boom Bang III, NN, a contemporary art, Northampton, UK People Like US, USNW, touring Exhibition 2016-2019, Australia Gigantesque! - Experience Pommery #13, Domaine Pommery 5, France Setouchi Triennale 2016, 12 islands of the Seto Inland Sea + 2 ports (Takamatsu & Uno), Kagawa Prefecture, Japan 2011 2007 ANICROCHES, Variations, choral et fugue, curated by Fabienne Fulchéri, Espace Louis Vuitton, Paris, France ReMap KM, parallel project to the 1rst Athens Biennale, Athens, Greece Brick + Mortar International Video Festival, curated by Christopher Cox, MA, USA Kunstpreis Robert Schumann – Best Of, Trier, Germany Incongru. Quand l’art fait rire, Musée cantonal des Beaux-Arts, Lausanne, Switzerland Lieux Communs, Instants Chavirés, Montreuil (Paris), France Thirty Years Peter Blum Edition, Peter Blum Gallery Soho, New York Merveilleux, Château de Malbrouk, Manderen, France Pour une République des Rêves, curated by Gilles A. Tiberghien, CRAC Alsace, France Une Collection Pour Une Région, Chemins de Traversés GR FRAC Lorraine: 550 km Silent Echo, Collection I & II, 21st Century Museum of Contemporary Art, Kanazawa, Japan Musée de la Lutherie et de L’Archèterie Française, Mircourt, France Walking Through …, MUDAM Collection, MUDAM, Luxembourg A L’Horizon de Shangri-La, FRAC Lorraine, Metz, France HELP ! exposition au profit des victimes du Séisme au Japon, Galerie Premier Regard, Paris, France SAMLING´07, Museet for Samtidskunst, Roskilde, Danemark Quiet Attentions : Departure From Women, Art Tower Mito, Mito, Japan Body as Spectacle, Museum of Modern and Contemporary Art Rijeka, Croatia Echoes, Centre Culturel Suisse Paris, France in midair_soundworks, Hong Kong, China Listening Awry, Christian Marclay, Santiago Sierra, Kimsooja, Su-Mei Tse 2010 curated by Jim Drobnick, McMaster Museum of Art Ontario, Canada The Yvonne Rainer Project, screening program, BFI Southbank, United Kingdom The Record, curated by Trevor Schoonmaker, Nasher Museum of Art Duke University, Durham USA 2006 Lebenszeichen, curated by Peter Fischer & Brigitt Buergi, Kunstmuseum Luzern, Switzerland Recent Acquisitions in Contemporary Art, Israel Museum, Jerusalem BRAVE NEW WORLD, From the perspective of Mudam Collection, Mudam, Luxembourg Dans les Alpes-Panorama, Kunsthaus Zürich, Switzerland CUE: Artists’ Videos, Vancouver Art Gallery, Vancouver, Canada Tell me/ Raconte-moi, Casino, Forum d’Art Contemporain, Luxembourg Women of Europe, Saint Tropez, France 2009 Echigo-Tsumari Art Triennal 2006, Japan ARTLV_09 - The Tel Aviv Bienial, Tel Aviv, Israel Far and Near: Nature in Contemporary Art, Kunstmuseum Bonn, Germany 2005 Tenants, AD Gallery – Remap2, Keramikos, Athens GR i-Dentity_An exhibition celebrating 25 years of i-D magazine, London, UK Contemporary Art Collection Art Unlimited, Art 36 Basel, Switzerland Contemporary Art Collection, The Cleveland Museum of Art, USA Tell me/ Raconte-moi, Musée national des Beaux-Arts, Québec, Canada Reflection: The World Through Art, Dojima River Biennale, Osaka, Japan Variations Xanadu, MOCA, Taipei, Taiwan Tenants at ReMap2, parallel project to the 2nd Athens Biennial, Athens, Greece Dis_appearance, Fri-Art, Kunsthalle Freiburg, Fribourg, Suisse Invasion of Sound, Zacheta National Gallery of Art, Warsaw, Poland AURAL CULTURES, Walter Philips Gallery, Banff, Alberta, Canada Biennale Cuvée, World Selection of Contemporary Art, OK, Linz, Austria Radiodays, Foundation De Appel, Amsterdam, Pays-Bas Nouvelles Vagues, collections du Musée National d’Art Moderne Centre Georges Pompidou, Shanghai, Can- 2008 ton, Beijing, Chine Images in the night, pour le 10e anniversaire Le Fresnoy, Grand Palais, Paris Irreducible, CCA Wattis Institute for Contemporary Arts, San Fransisco, USA Time Square, Beaumontpublic, Luxembourg WONDER, Singapore Biennale 2008, curated by Fumio Nanjo, Singapore 2004 L’Art en Europe, Pommery Expérience #5, Domaine Pommery, Reims, France 18e Rencontres Parallèles, Festival, Centre d’Art Contemporain de Basse-Normandie, France 26e Biennale de São Paulo, São Paolo, Brésil Bunker Museum of Contemporary Art – 18 Solo Exhibitions, Kinmen, Taiwan InVisible Silence, David Winton Bell Gallery, Brown University, Providence, USA Fiction Love, Museum of Contemporary Art, Taipei, Taiwan 2011 Emotion 1, Frankfurter Kunstverein, Francfort, Allemagne Edward Steichen Award, Luxembourg : Su-Mei Tse, Etienne Boulanger, Bertille Bak, Maria Loboda, publié par Edward Steichen Award Luxembourg asbl, novembre 2011 2003 Quiet Attentions : Departure from Women, publié par Art Tower Mito, Japon, 2011 Montagna arte scienza mito, Contemporary and Modern Art Museum of Trento and Rovereto, Italy Affinités sélectives - Wahlverwandtschafen, Metz, France 2010 Stille Disco edited by Eslite Gallery, Taipei, Taiwan Réalités_Collections sans frontières II, Galerie Zacheta, Warsaw, Poland Volume, What you see is what you hear, A Contemporary Art Journal about Sound, N° 1, June-November Scale 1:1, beaumontpublic + koenigbloc, Luxembourg 2010, Su-Mei Tse, Echo romantique, Magali Lesauvage, page 68-75 Mursollaici, Centre Culturel Suisse, Paris, France The Record, Contemporary Art and Vinyl, Edited by Trevor Schoonmaker, Nasher Museum of Art Duke Uni- versity, Durham USA SU-MEI TSE, NOTES, Special Edition, published by Peter Blum Edition, New York Publications Kunstbulletin, Emil Sennewald, 1-2/2010, page 14-21
2015 2009 Conversation Piece Part 1, edited by Fondazione Memmo, ArteContemporanea, Roma, Italy SU-MEI TSE, NOTES, published by Isabella Stewart Gardner Museum & Charta (ISBN 978-88-8158-766-7) THE COLLECTION, 21st Century Museum of Contemporary Art, Kanazawa (ISBN 978-4-907490-06-5) Brigitte Ollier, Les sept sons du silence, Libération Supplément, 31 oct/01 nov 09, p.16 Yasmine Youssi, La petite musique de Su-Mei Tse, La Tribune, 24 octobre 2009 2014 Marie-Anne Lorgé, Douleur exquise, Le Jeudi, 22 octobre 2009, p. 33 Guess What ? Hardcore Contemporary Art’s Truly a World Treasure : Selected Works from YAGEO Founda- Catherine Francblin, Su-Mei Tse écho d’un rêve éveillé, art press n° 360, octobre 2009, p. 60-64 tion Collection, The National Museum of Modern Art, Tokyo, Japan Nuit Banai, Su-Mei Tse Isabella Stewart Gardner Museum, ARTFORUM, october 2009, p. 243 Fruits de la Passion, La Collection du Centre Pompidou, Hyogo Prefectural Museum of Art, Japan Biennale Cuvée 2009, World Selection of Contemporary Art, OK Books, exhibition catalogue, p.21 NY-LUX Edward Steichen Award 2004-2014, publié par Mudam Luxembourg & Edward Steichen Award SU-MEI TSE, published by Contemporary Art Center, Art Tower Mito, Japan Luxembourg a.s.b.l., février 2014 ART iT No.22 Winter / Spring 2009, Faces 22, Tse Su-Mei Between West and East by Yanashita Tomoko, p. 16/17 2013 donation Daniel et Florence Guerlain, dessins contemporains, éd. Centre Pompidou, Paris, 2013 [ISBN 978- 2008 2-84426-625-5] Catherine Francblin, Su-Mei Tse & Virginie Yassef, CRAC Alsace, art press n° 350, novembre 2008, p. 100 Rhythm in it, Vom Rhythmus in der Gegenwartskunst, On Rhythm in Contemporary Art, published by Mad- Singapore Biennale 2008 Wonder, exhibition catalogue, National Arts Council Singapore, ISBN 978-981-08- eleine Schuppli & Aargauer Kunsthaus, Aarau, Switzerland 1684-1 Magazine Air France, février 2013, Maintenant j’entends les oiseaux, Muriel Teodori, page 84-87 2006, publised, edited and designed by Charwei Tsai Some Magical Clangs, Su-Mei Tse & Virginie Yassef, Exposition CRAC Alsace, 04.06. – 14.09.08, journal 2012 d’exposition Neon, Le néon dans l’art des années 1940 à nos jours, published by La Maison Rouge, 2012 L’Art Contemporain en Europe, Expérience Pommery #5, BeauxArts éditions (ISBN 978-2-84278-631-1) A House Full of Music. Strategien in Musik und Kunst, Edited by Ralf Beil, Peter Kraut, Mathildenhöhe, Darm- stadt, Hatje Cantz, 2012, ISBN 978-3-7757-3318-2 2007 Kunstbulletin Gisela Kuoni, Su-Mei Tse, ‹Distant Voices›, 3/2012 page 82-83 DUOLOGUE : Lee Mingwei & Tse Su-Mei, Monographies, first published in November 2007 by Contemporary Art Foundation/Museum of Contemporary Art, Taipei (ISBN 978-986-83211-3-7) Merveilleux ! D’après Nature, Exhibition Catalogue for Château de Malbrouck, Manderen, edited by Fage 2003 éditions (ISBN 978-2-84975-118-3) Dreams and conflicts. The dictatorship of the viewer. Éd.Marsilio, Florence. Catalogue d’exposition de la 50e Exposition internationale d’art, Biennale de Venise, Venise, 2003 2006 Su-Mei Tse « air conditioned ». Éd. Musée d’Art Moderne Grand-Duc Jean, Luxembourg. Publication dans le Kunsthaus Zürich In den Alpen Exhibition Catalogue (ISBN 3-906574-35-0) cadre de la 50e Exposition internationale d’art, Biennale de Venise, Venise (pavillon du Luxembourg), 2003 Wei, Lilly. “Su-Mei Tse,” ARTnews, December 2006. Réalités_Collections sans frontières II. Catalogue d’exposition. Galerie Zacheta, Varsovie, 2003 LeMieux-Rutbal, Bruno. “Su-Mei Tse,” Lapiz, no. 227, November 2006. Niru Ratnam It’s oh so quiet, Éd. I-D Magazine, The Studio Issue, septembre 2003, n° 241, p.200 Gopnik, Blake, ‘Breathing Room Amid Chelsea’s Mega-Galleries’, The Washington Post, October 17th, 2006 Stringfield, Anne, ‘Goings On About Town’, The New Yorker, October 16th, 2006 Morton, Julia, ‘Walk the Line’, New York Press, October 18th, 2006 Collections Koplos, Janet, ‘Su-Mei Tse at Franklin Art Works’, Art in America, October 2006 Echigo-Tsumari Art Triennal 2006, Japan National Taiwan Museum of Fine Arts, Taichung, Taiwan “I-Dentity”, published on the occasion of the 25th anniversary of i-D Magazine, London 21st Century Museum of Contemporary Art, Kanazawa, Japan Lovely Daze issue n°3, When I am alone, everything is so surreal, fall Coppel Colleciton, Mexico Su-Mei Tse. Monographie. edited by Casino, Forum d’art contemporain & The Renaissance Society at the CNAP – Centre National d’Art Contemporain, Paris, France University of Chicago, 2006 (ISBN 2-919893-61-0) Centre, Pompidou – Musee National d’Art Moderne, Paris, France Lovely Daze issue n°2, Take A Stroll, spring 2006, publised, edited and designed by Charwei Tsai FRAC – Lorraine, Metz, France Bunker Museum of Contemporary Art Kinmen, Island. Catalogue de l’exposition Bunker Museum of Con- MART – Museo d’Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto, Italy temporary Art - 18 Solo Exhibitions, Kinmen, Taiwan, 2004. Edited by Charta, 2006 (ISBN 88-8158-598-7) Moderna Museet, Stockholm, Schweden MUDAM - Musée d’Art Moderne Grand-Duc Jean, Luxemburg 2005 MHVL - Musée d’Histoire de la Ville de Luxembourg, Luxembourg raconte-moi / tell me, Exhibition Catalogue edited by Musée National des Beaux-Arts du Quebec et Casino Museet for Samtidskunst, Museum for Contemporary Art, Roskilde, Denmark Luxembourg - Forum d’art contemporain, Luxembourg New Museum of Contemporary Art, New York, NY, USA Variation Xanadu Exhibition Catalogue edited by MoCA, Taipei (ISBN 986-81341-1-0) NMNM - Nouveau Musée National de Monaco, Monaco Chris Chang FilmComment. “The Hills Are Alive” Éd. The Film Society of Lincoln Center, mars/avril 2005, The Cleveland Museum of Art, Cleveland, Ohio, USA vol.41/n°2, p. 16 The Israel Museum, Jerusalem, Israel Art Unlimited. Art 36 Basel, 2005 UBS Art Collection, UBS (Luxembourg) S.A., Luxembourg Jos Van den Bergh Su-Mei Tse Tim Van Laere Gallery. Éd. Artforum International, février 2005, p. 185 YAGEO Foundation, Taipei, Taiwan Aural Cultures. Catalogue d’exposition. Éd. Jim Drobnick. YYZBooks, Toronto, 2005 Yeh Rong Jai Culture & Art Foundation, Taiwan Irreducible. Catalogue d’exposition. Contemporary Short Form Video 1995-2005, CCA Wattis Institute, San Fransisco
2004 Territorio libre, 26e Bienal de Sao Paolo 2004 catalogue d’exposition Marie-Claude Beaud, Su-Mei Tse Jetzt = Jetzt, Éd. art press n° 306, novembre 2004, p. 38 InVisible Silence. Catalogue d’exposition. David Winton Bell Gallery, Brown University, Providence, 2004 Passport. Catalogue de l’exposition Bunker Museum of Contemporary Art - 18 Solo Exhibitions, Kinmen, Taiwan, 2004 知娛
2011 闑稇哆 Tschudi չ麵黆耪갉պ AD 殥䐤⡠蘗榰㡦 1973 չ儗䲀獴պ 殥䐤꧈Ⱙ䋞茢 欰倴湕啿㜃㖈䗞㕜厣卌ㄤ湕啿㜃Ⰾ㖑㾀⡞ㄤ䊨⡲ չ欰ㄐ涸溽円պ 碛繏㛇ꆄ剚繠遮긬䊼㝱ꥑ秜銯棴暅 2010 DISCO 㷸娛 չ搁耪New Sense պ铇ㅷ殥䐤〵⻌〵抓of Order Beaumontpublic 1996 չ պ 闑稇哆⟻㣗Ⰺ蘀ㆁ랾 湕啿㜃 2000 岁㕜㕜用䊼랫넞瘝酤귆谀遮㷸ꤎ 2009 岁㕜㕜用䊼랫넞瘝谀遮㷸ꤎ殖噟 չ鑨铃莄鎹䥊պ䕹䖤˙䋒뉓㨖殥䐤秢秉繠㕜VARIATIONEN չ պ榲し˙厣䛸殥䐤䊼랫岁㕜Prix International d’Art Contemporain Foundation Prince Pierre Monaco 谀遮㹻꽏殆갪湡 չ闑稇哆⦐㾝պ 2014-15 չ怓嵥涸鎹䥊պ⟻蛎頺䬘㎗秜谀遮⽇暟긬岚㡦갾繠㕜 2008 繏꼛岁貼銯㷸ꤎ 哆鶓㣼蛄㕧 繏꼛 䠑㣐ⵄ չ闑稇哆պ宐䨩谀遮긬宐䨩傈劥 稉籽䊨⡲㖷莄⽇暟긬 顥㙹 繠㕜 2008 2007 띿溁椚䊨㣐㷸ⷧ堀繠㕜 꽏긬谀遮㹻⟻蛎頺䬘㎗秜谀遮⽇暟긬岚㡦갾繠㕜 չ㣼㦪耪갠պ闑稇哆ծ笞し㽲˙❏榲蓆$3"$晋讌倛岁㕜 2005 꽏勠谀遮㹻莄闍䌌⳯鶓❏冖劍谀遮鎙殥䊼晋ㆁ⠭繠㕜 չ匌괏պ銯꧈㕭繠遮긬銯꧈㕭繠㕜Beaumontpublic 꽏勠谀遮㹻莄闍䌌⳯鶓❏冖劍谀遮鎙殥䊼晋ㆁ⠭繠㕜 չꨓ涸♧⼪⦐䕎㺂鑂պ 殥䐤湕啿㜃 չ둷硰պ闑稇哆ծ㼿騟僒˙꼛羴뉓倛ⰖⰟ谀遮鎙殥湕啿㜃 2007 ⦐㾝 2019 չ醲갉ˋ闑稇哆ծ勚僈笞꧱⦐㾝պ〵⻌殹➿谀遮긬〵⻌〵抓 չ㯮➝庠鑑晘闑稇哆պ띿溁椚䊨㷸ꤎꅽ倛暵鋕錏谀遮⚥䗱岚㡦갾繠㕜 չ㸝喋պ 〵⻌䋑用繠遮긬〵⻌〵抓 չ闑稇哆պ"MQIB%FMUB殥䐤꧈Ⱙ䋞茢 2018 2006
չ㸝喋պ ♳嵳⡮䗞罆繠遮긬⚥㕜 չ闑稇哆⦐㾝պ䲿㨖˙薴˙䬘晋殥䐤㸝暵遺兜嫱ⵄ儗 չ徾湕堀䑝デ晥㨼鎷⡲ㅷպ 嵳将䗞殥䐤 薉㕜⧍侚⽂䁘⚥䗱 չ鴵鶫⛓麤պ䕹䖤˙䋒뉓㨖殥䐤秢秉繠㕜Noctour by Contour չ闑稇哆㔐耪պ 岚暵貼谀遮⽇暟긬繠㕜岚暵貼 չ䧮ˋ곏爙պP.S.1 ꏖ䕧谀遮眎哆饟⧍嫱ⵄ儗 չ㸝喋պ 晋넞晋繠遮긬榰㡦Between eggs, stones and floating balls , Tschudi չ պ殹➿谀遮⚥䗱秢秉繠㕜 չ պ 殥䐤 嘽㤸蘀 榰㡦 蒔嫱傱殥䐤⧍侚薉㕜 2017 չ ⽓銯閊պ殹➿谀遮锸㠢湕啿㜃 2005 չ鰉姐պ 꼛ⲳ殥䐤 껺度 չ䊤պ 植➿谀遮⽇暟긬 湕啿㜃 չ闑稇哆ꏖ⫸⡲ㅷպ㺢貼⯘卌谀遮ㅷ⚥䗱僈㽲❏岚ꅽ倛繠㕜 2015 չ䧮ˋ곏爙պ蓏⸈ㆥ㣐㷸俒谀䗁莇爢剚繠遮긬蓏⸈ㆥ繠㕜 One thousand and one dreams behind us …, չ闑稇哆⦐㾝պ殹➿繠遮긬繏倛㛇晋䗞⚸띊 չ պ䕹䖤˙䋒뉓㨖殥䐤 秢秉 2014 Faded and the space between Tschudi չ鵛⡲պ䕹䖤˙䋒뉓㨖殥䐤秢秉繠㕜 չ… Et a l’horizon il y avait l’orageպ 殥䐤 嘽㤸蘀 榰㡦 䲿㨖˙薴˙䬘晋殥䐤㸝暵遺兜嫱ⵄ儗 չ պ殹➿谀遮⚥䗱➿꼛晋㙹㜃褐暵ⵄ槈岁㕜 չ闑稇哆ⴲ䱲պ植➿繠遮긬倛䗞ㆥ晋䷑榰Ⱙ 2012 չ植㖈պ"MQIB%FMUB殥䐤꧈Ⱙ䋞茢 PROJECT ONE չ宠濼蕯庮պ 铇ㅷꋜꚻ抓剅䏅껺度 չ瑟孴锄眎պ㪭㽲倛꧱䎃㾝㕜ꥸ繠遮㾝湕啿㜃㕜㹻긬㪭㽲倛纏㣐ⵄ 2001 Les Rencontres Internationales Gaîté Lyrique et Palais de Tokyo [E:R] conditionné Galerie Premier Regard չNY-LUX պ 䊼랫岁㕜 չ պ 䊼랫 岁㕜 չDays of պ 䠥䗞螟〷岲妲栀湕啿㜃㣐Ⱆ植➿谀遮⽇暟긬湕啿㜃Endless Time չ պ饟䋞峿⽇暟긬螟渿갾ㆥ⧍嫱❏暵⼥繠㕜 2013 չ搁㉹〳溏պ⫙銻涸澕谀遮⚥䗱褐暵㬼䊼랫 exposition des œuvres de la donation Daniel et Florence Guerlain չ պ륓殖䏞⚥䗱䊼랫岁㕜 չ翰蜒ꅽ蘀谀遮㣐䌌պ 翰蜒ꅽ蘀榰㡦Little Water 耡㾝 չRhythm in it:պ 㛔䃋屎崨꧱䎃㾝 㣐ꢼ 傈劥 The rhythm in contemporary art 2018 չThe Distaff Side Collection Melva Bucksabaumպ 晋넞繠遮긬榰㡦 & Raymond Learsy The Granary 21 չ պ 䐀⛇朣⯘䊜繠㕜 痦 㾂䜪㽲꧱䎃㾝㢴⦐剚㜥䜪㽲慌崍 2012 չꬅ屎崨帿պ넞꧆䋑用繠遮긬〵抓 10 Years in Zuoz Tschudi 2017 չAtelier Luxembourg,պ The Venice殥䐤⡠蘗榰㡦 Biennale Projects 1988 – 2011 Musée d’Art Moderne Grand Duc Jean Listen Hear: The Art of Sound չ պ չ պ⟻蛎頺䬘倛㕭晋暵˖⸈䗞秜⽇暟긬岚㡦갾繠㕜 湕啿㜃 KUAD 2016 չ秉缦˖⳯㣼պA House Full of Music,殥䐤⟻倛㗞䋒晋㕼羭Ⱖ Strategien in Musik und Kunst Mathildenhöhe 2016 չ4 Films պ 麧㨖倶㝜暵 䗞㕜 չ戧䨩Ⰺ㕜ꥸ谀遮特Gigantesque! - Experienceպ戧䨩傈劥 Pommery #13 Domaine Pommery 5 չ պ 䕹䖤˙䋒뉓㨖殥䐤秢秉繠㕜 չMoony Tunes II Art Front Gallery պ 岁㕜 չꩩ赙教铪㹲䙲秋蒀랓蒀ㄤ诜蒀պ秋熋㖷䊼랫岁㕜 չMoony Tunes պ 匌❩傈劥2016 2011 չ պ 戧䨩Ⰺ㕜ꥸ谀遮特 ⚶륯䋑껺䊛簕 ANICROCHES, Variations, choral and fugue LV չ♶傍♶儻պ⻌❩⢆倛殥䐤⚥㕜Boom Bang III չBrick + Mortar International Video Festival պ Christopher俒⻊谀遮瑟䊼랫岁㕜 Cox չPeople Like USպ//殹➿谀遮殥䐤⻌㸝兜갾薉㕜 2016-2019 չIncongru. Quand l’art fait rire Musée cantonalպ歋 des Beaux-Arts瘻㾝띿讌門㝱䊜繠㕜 չ պ倝⽂㪭晋倛㣐㷸䊢㾝 慌崍 չThirty Years Peter Blum Editionպ 峫呹榰㡦 չPour une République des Rêves,պ 䕹䖤˙䋒뉓㨖殥䐤 秢秉 Gilles A Tiberghien CRAC Alsace 30 Years Galerie Tschudi չSilent Echo (Collection I + II) 21 պ 瘻㾝 岁㕜 չSteichen!պ Making Meaning 嘽蘀榰㡦 of a Legacy չWalking Through … MUDAMպꆄ愯Mudam⚆私繠遮긬 ꆄ愯 傈劥 չPersonal Notes for a Public Poem Soպ䋒뉓㝱晋繠遮䑻䋒뉓㝱晋fia Eliza Bouratsis YBDD չHELP ! exhibition toպ benefit the佐诡 victims of the⽇暟긬湕啿㜃 Japan earthquake Premier Regard չAbout Trees պ歋 瘻㾝 厣卌 չQuiet Attentions: Departure from Women պ 殥䐤䊼랫岁㕜 宐䨩繠遮긬宐䨩傈劥 չConversationպ⥂繏٥⯘⹗⚥䗱榰㡦 Piece Fondazione Memmo չEchoes Centre Culturel Suisse պ չTaking Time պ 繏꼛䠑㣐ⵄ չ պ 䊼랫岁㕜 չ պ哆鶓㣼蛄㕧繏꼛䠑㣐ⵄ 2010 2014 The Yvonne Rainer Project screening program BFI Southbank Days of Endless Time չ պ 薉㕜 չVisions and Beyond պ饟䋞峿繠遮긬螟渿갾繠㕜 չ私ꏖպ䄄⡱˙〷䛸띊〳晋瘻㾝勭⯘㣐㷸秜鏪晋繠遮긬麧⹗㨖繠㕜Lebenszeichen չMythos Wald? Historischeպ痦✳㾂帿㖕栬用⹛殥꧱䎃㾝帿㖕⚥㕜 und zeitgenössische Interpretation zum Thema Wald und Bäume Neu չ պ䕹䖤˙顥ꨓծ䋒酆し㝜˙呔뜨瘻㾝湕啿繠遮긬湕啿榰㡦 չim Haus Beda Germany պ 殥䐤 չ⹄侓倝⚆歲պ湕啿㜃㣐Ⱆ繠遮긬Ⱙ诡㾝湕啿㜃㣐Ⱆ繠遮긬湕啿㜃 嫱暵㜃 25 չꫬ僱պ铇ㅷ殥䐤 鹊䎃暵㾝〵⻌荩抓 չ㧧枣䙦랅衼溫姻涸殹➿谀遮僽⚆歲涸頿㺢պ匌❩鿪植➿繠遮긬匌❩A corps perdu չLes Recontresպ䷑傱讌㕭岁㕜 International չFruits de la Passion պ䊼랫侷⡙俒⻊㯮넒谀遮⚥䗱 䊼랫岁㕜 չDays of Endless Timeպ륓殖䏞⚥䗱傈劥Kelly Gordon չ պ歋 瘻㾝饟䋞峿⽇暟긬ㄤꧧ㝕㕧螟渿갾繠㕜 CUE 2005 չ 谀遮㹻ꏖ⫸⡲ㅷ㾝պ影ㆥ螟繠遮긬影ㆥ螟⸈䭭㣐 i-Dentity i-D 2009 չ ꧸钟涮遤✳⼧❀鹊䎃私䙁㾝պ⧍侚薉㕜 ARTLV_09 չ谀遮搁ꣳպ痦♲⼧Ⱉ㾂䊼㝱晋谀遮⽇錓剚䊼㝱晋榰㡦 չꡠ倴埠պ 暵䬘笞㣗꧱䎃㾝暵䬘笞㣗⟄蒀 չデ鏯䧮պ뇶⻌⯘㕜㹻繠遮긬뇶⻌⯘⸈䭭㣐 չ黆莄鵛殹➿谀遮⚥涸荈搬պ岚傱繠遮긬岚傱䗞㕜Tenants AD Remap2 GR Contemporary Art Collection չ➲秜䏞隶㤉刼պ〵⻌殹➿繠遮긬〵⻌〵抓 չ պ 殥䐤 鋹䬘碛⯘倛꧈Ⱙ չ铝䎑韌պ僒烱谀遮䒼ꅽ㜃殥䐤䒼ꅽ㜃榰㡦 չ殹➿谀遮佐诡պ⯘ⵄ㣗貼谀遮⽇暟긬繠㕜 չ聂涸俒⻊պ螟暵˙螨ⵄ兜殥䐤棴㣗⸈䭭㣐 չ⿿僥谀遮⚥涸⚆歲պ㛔䃋䊛꧱䎃㾝㣐ꢼ傈劥ReMap2 չ佐갉堤儗⯕պ䗞꧈頺㛇ꆄ剚㨖倛暵⚸蚚貼 չ 䨻㹐պ痦✳㾂꧈Ⱙ꧱䎃㾝䎂遤鎙殥꧈Ⱙ䋞茢 չ倝嵠惐պ㕜㹻植➿繠遮긬⛓륓殖䏞⚥䗱⛓佐诡ㅷ㾝錓䊼랫岁㕜♳嵳䑝䊜⻌❩⚥㕜 չ耪갉涸Ⰶ⤀պ讌랱㝜㕜用繠遮긬螟尪岚貼OK չ搁⟄簮幾պ⸈䊜繠遮㷸ꤎ⛓螟䲿倛殹➿繠遮灇瑕⚥䗱莌ꆄ㿋繠㕜 չ꧱䎃㾝礵螟⚆歲殹➿谀遮礵螟պ卌蘗 殹➿谀遮⚥䗱卌蘗㤸㖑ⵄ 2004 2008 չ⼧Ⱃ妃䎂遤涸湱麁պ♴閊削痦⛓殹➿繠遮⚥䗱㙩뉓笞晋翰⯘蟚晋岁㕜 չ㢹儻涸䕧⫸պ螨閊晋㕜用殹➿䕧⫸䊨⡲㹔⼧鹊䎃䣓㣐涽㹨䊼랫岁㕜Beaumontpublic չ荈歋걅㚖⚥涸㕭⫸饥猙罏պ痦✳⼧Ⱉ㾂䊼銯翰⥂繏꧱䎃㾝翰⥂繏䊼銯 չ儗➿䑝㜥պ2008 殥䐤湕啿㜃 չꆄ烨㜃谀遮긬ˋ⦐⦐㾝պꆄ〵抓 չ끆㣼պ 䎃倝⸈㗗꧱䎃㾝⽂哬〷欰瘻㾝倝⸈㗗#5 չ溏♶鋅涸小랾պ㣐遺˙影갾˙頺晋殥䐤䋒剽㣐㷸䊜兜笞갾倛繠㕜 չ姗崍谀遮岚藃蛁徱 պ岚藃蛁껺墼㕧⼥貼倛岁㕜 չ贠亻涸䠥պ〵⻌殹➿谀遮긬〵⻌〵抓 2007 չ䞔䠭♧贪պ岁貼⯘犷谀遮⼿剚岁貼⯘犷䗞㕜 ReMap KM 2003 չ պ痦♧㾂꧈Ⱙ꧱䎃㾝䎂遤鎙殥꧈Ⱙ䋞茢 չ繏⠭暵莞削谀遮栀礵鼆պ暵ꅽ晋䗞㕜 չ㿋˙谀遮˙猰㷸˙牟鑨պ暵⧍㢴植➿冷殹➿繠遮긬繏⡱㢴纏㣐ⵄ չ馄荈搬պ꼛坾䋒⯘㙹㜃褐䗞㸪岁㕜Merveilleux չ鋶ざ⸂պ哆蘗岁㕜 չ պ 껺岚晋㙹㜃 蒹䗞剽 岁㕜FRAC չ植㻜ˋ搁㕜歲禹⡲⛓✳պ叅蚚㝜殥䐤螟尪岚貼 չ捀♧㖑⼥ⶽ⡲涸禹⡲ㅷˋ❜⿸騟♳涸A L’Horizon de Shangri-La Fonds Regional d’Artˋ峫卌Ⱆꅽպ岁貼銯䬘晋㤎冷騟暵ꅽ繠遮긬碛晋䏨 Contemporain de Lorraine չ嫱⢾պ㼂㿋ⰖⰟ 叕㽲呔鿈衅湕啿㜃Mursollaici չSAMLING´07 պ 哆倛岁㕜 չ պ榰㡦俒⻊⚥䗱䊼랫岁㕜 չ պ殹➿繠遮긬繏倛㛇晋䗞⚸띊 չ魧넒㣼錙պ植➿莄殹➿繠遮긬饟檲妃⽓⯘繏㙩銯❏ չ䪍刼涸翔聂պ띊⯘꼛倛暵㣐㷸吥Ⰺ繠遮긬恍碛晋갾⸈䭭㣐 ⴀ晜 2006 2015 Conversation Piece Part 1 Fondazione Memmo չ殹➿谀遮倝佐诡պ⟄蒀繠遮긬羴騟专ⲇ⟄蒀 չTHE COLLECTION 21պ 歋 ISBN箠鰿 殹➿谀遮 繏꼛 䠑㣐ⵄ 978-2-907490-06-5 չ晋⼻倛㿋Ⰼ兞պ豣랫⚆谀遮긬豣랫⚆榰㡦 չ պ ꆄ愯 ⚆私繠遮긬 ꆄ愯䋑 չデ鏯䧮պ湕啿㜃⽓銯閊殹➿谀遮锸㠢湕啿㜃 2014 չ姗崍㥎➃պ翰䩯㛆岁㕜 Guess What? Hardcore Contemporary Art’s Truly a World Treasure: Selected Works from YAGEO Founda- չꡠ倴埠պ馊䖔㧻剣㣐㖑谀遮特♲䎃㾝倝悼傈劥 չtion Collection պ 匌❩㕜用鵛➿繠遮긬 匌❩ 傈劥 Fruits de la Passion Contemporary Art Center չNY-LUX Edward Steichenպ륓殖䏞⚥䗱 Ⱕ䏨簕用繠遮긬 傈劥 Award 2004-2014 Mudam Luxembourg & Edward Steichen Award Luxem- չ闑稇哆պ 歋Tse Su-Mei Between West and East byⴀ晜 宐䨩谀遮긬 傈劥 Yanashita Tomoko ART iT No.22 Winter / Spring 2009 Faces 22 չbourg 2 պ 歋 չ 16/17 պ ⴀ晜 剢 痦 갤 2013 2008 donation Daniel et Florence Guerlain, dessins contemporains, éd. ISBN 978-2- Catherine Francblin Virginie Yassef CRAC Alsace art press n° 350 11 p. 100 չ84426-625-5 պ 륓殖䏞⚥䗱 䊼랫 չ2008 պ闑稇哆⿺Wonder National Arts Council ISBN 978-981-08-1684-1 剢 Rhythm in it, Vom Rhythmus in der Gegenwartskunst , On Rhythm in Contemporary Art, Madeleine չSome倝⸈㗗꧱䎃㾝պ Magical Clangs 㾝錓湡ꏖ倝⸈㗗Virginie Yassef Exposition CRAC Alsace, 04.06. – 14.09.08 չSchuppli & Aargauer Kunsthaus պ 歋 չ պ闑稇哆⿺5 BeauxArts ISBN 978-2-84278-631-1 㾝錓㜡秶 Maintenant j’entends les oiseauxⴀ晜 榰㡦, Magazine Air France, Muriel Teodori, Magazine Air France 84-87 չ姗崍谀遮岚藃蛁徱 պ 晜劥 չ պ 痦 갤 2007 2012 11 ISBN 978-986- Neon, Le néon dans l’art des années 1940 à nos jours La Maison Rouge չ醲갉崨⹛㖈勚僈笞ծ闑稇哆⛓պ㼠겗锸俒倴83211-3-7 剢歋殹➿谀遮긬껷妃ⴀ晜〵⻌ չA House Full of Music, Strategien in Musik und Kunst պ 歋Ralf Beil, Peter Kraut,ⴀ晜 Mathildenhöhe, Darmstadt, Merveilleux! D’après Nature Fage éditions ISBN 978-2-84975-118-3 չHatje Cantz ISBN 978-2-7757-3318-2 պ 歋 չ պ㾝錓湡ꏖ蒹䗞剽歋 箠鰿 ⴀ晜 2006 2011 Kunsthaus Zürich In den Alpen ISBN 3-906574-35-0 Edward Steichen Award, Luxembourg: Su-Mei Tse, Etienne Boulanger, Bertille Bak, Maria Loboda չ Wei Lily ARTnews 12պ 㾝錓湡ꏖ չEdward Steichen Award Luxembourg 11 պ 歋 չ闑稇哆պLeMieux-Rutbal, Bruno 剢Lapiz no. 227 11 Quiet Attentions: Departure from Womenⴀ晜 剢 չBreathing Room Amid Chelsea’sպ闑稇哆 Mega-Galleries Gopnik剢 Blake 10 17 չ պ 歋宐䨩谀遮긬ⴀ晜 傈劥 չGoings On About Town Anne Stringfield պ 10 16 螟渿갾鿞㜡 剢 傈 2010 չWalk the Line ulia Mortonպ New York Press秢秉㹐 剢 傈 Stille Disco չSu-Mei Tse atպ+ Franklin Art Works Janet Koplos剢傈Art in America 10 չVolume, Whatպ 歋铇ㅷ殥䐤箠鰿 〵⻌ 荩抓 you see is what you hear, A Contemporary Art Journal about Sound N° 1 68-75 6-11 չEchigo-Tsumari Art Triennial 2006պ 剢 չThe Record, Contemporary Art and Vinyl Trevor Schoomaker Nasher Museumպ 痦 of Art Duke갤 Uni剢- I-Dentity i-D 25 傈劥 չversity պ 歋 箠鰿 չWhen I amպ倴 alone,꧸钟 everything鹊䎃儗ⴀ晜⧍갾薉㕜 is so surreal Lovely Daze issue n°3 SU-MEI 勭⧍㣐㷸 繠㕜 TSE, NOTES Peter Blum Edition չ Casino Forum d’ARTպ contemporain & The Renaissance猧㣔歋詍⢕裃ⴀ晜箠鰿⿺鏤鎙 Society at the University of չKunstbulletin, Emil Sennewaldպ 暵ⴽ晜劥 歋倴14-21 1-2 箠鰿 秢秉 繠㕜 չ闑稇哆պ㼠겗锸俒歋Chicago ISBN 2-919893-61-0 痦 갤 剢 Take A Stroll Lovely Daze issue n°2 2009 չIsland Bunkerպ Museum of Contemporary 僱㣔歋詍⢕裃ⴀ晜箠钟⿺鏤鎙 Art Kinmen SU-MEI TSE, NOTES Isabella Stewart Gardner Museum & Charta ISBN 978-88-8158-766-7 չ18 Soloպ Exhibitions Bunker Museum of Contemporary 㾝錓湡ꏖ Art Charta 2006 ISBN 88- չBrigitte Ollier, Les septպ 歋 sons du silence Libération Supplément 10ⴀ晜 31 11 1 16 չ8158-598-7 պ ꆄ簕荩抓歋 箠鰿 չYasmine Youssi, La petite musique de Su-Meiպ Tse La Tribune 10 24剢 傈 剢 傈 痦 갤 չMarie-Anne Lorgé, Douleur exquise, Le Jeudi 10պ 22 33 剢 傈 2005 չCatherine Francblin, Su-Mei Tse écho d’un rêveպ éveillé剢 傈 痦art press갤 n° 360 10 60-64 raconte-moi / tell me Musée National des Beaux-Arts du Quebec et Casino չNuit Banai, Su-Mei Tse Isabella Stewart Gardner Museumպ 10 剢 痦243 갤 չ ISBN 986-81341-1-0պ㾝錓湡ꏖ歋 湕啿⥂箠鰿 չBiennale Cuvée 2009, World Selection of Contemporary Artպ 谀遮俒⻊ OK Books 剢 痦 갤 21 〵⻌ չ պ 㾝錓湡ꏖ 痦 갤 The Hills Are Alive Chris Chang FilmComment Éd The Film Society of Lincoln Center 2005 3/4 UBS Art Collection, UBS S.A. չ 41 /n°2 16 պ 䎃 剢 YAGEO Foundation 湕啿⥂ 湕啿⥂ 痦Art 劍Unlimited 痦 갤36 չ պ〵⻌荩抓 չJos Van den Berghպ痦 Su-Mei㾂䊼㝱晋谀遮㾝 Tse Tim Van Laere Gallery 2005 2 185 囘㎗俒⻊谀遮㛇ꆄ剚荩抓 չAural Cultures Jim Drobnick YYZBooks պ谀遮锸㠢 䎃 剢痦 갤 չIrreducible պ㾝錓湡ꏖContemporary Short Form Video㢴⧍㢴 1995-2005 չ պ㾝錓湡ꏖ 螟䲿倛殹➿谀遮긬莌ꆄ㿋 꽏勠 2004 2015 Territorio 26e Bienal de Sao Paolo 2004 2008 繏꼛岁貼銯㷸ꤎ哆鶓㣼蛄㕧繏꼛䠑㣐ⵄ չSu-Mei Tseպ Jetzt = Jetzt Marie-Claude Beaud 㾝錓湡ꏖart press n° 306, 11 38 2007 띿溁椚䊨㷸ꤎ-JTU鋕錏谀遮⚥䗱瀊劍꽏吥谀遮㹻⚛㹐䏠띿溁椚䊨㷸ꤎ㯮넒㻜뀿㹔ⷧ堀繠㕜 չInVisible Silence պ David Winton Bell Gallery 剢痦 갤 꽏긬谀遮㹻⟻蛎頺䬘㎗秜谀遮⽇暟긬岚㡦갾繠㕜 չPassport պ㾝錓湡ꏖBunker Museum of Contemporary䋒剽㣐㷸兜峫㪭갾倛 Art 18 Solo Exhibitions 2005 꽏勠谀遮㹻莄闍䌌⳯鶓❏冖劍谀遮鎙殥䊼晋ㆁ⠭繠㕜 չ պ㾝錓湡ꏖ ꆄ簕荩抓 꽏勠谀遮㹻莄闍䌌⳯鶓❏冖劍谀遮鎙殥䊼晋ㆁ⠭繠㕜 2003 Dreams and conflicts The dictatorship of the viewer Marsilio չ 50 պ ⡱繏⧍倛 ꅾ銳格栀 痦air conditioned㾂㕜ꥸ谀遮㾝㾝錓湡ꏖ㪭㽲倛꧱䎃㾝㪭㽲倛Musée d’Art Moderne Grand-Duc Jean 2009 չRéalités_Collectionsպ sans frontières II Zacheta, 湕啿⥂ Varsovie 2006 SR-Medienkunstpreis䷑秜ㆥ淼晋桬㶩㛇ꆄ剚褐㖑⽓繏䷑秜ㆥ չIt’s oh so quite Niru Ratnam I-D Magazineպ㾝錓湡ꏖ The Studio Issue 9 殥䐤241 200 ISCP 讌晋䑝乄ꨵ〵讌晋䋒ス肤䗞㕜 չ պ 剢Oo 痦 갤 2005 㕜ꥸ谀遮䊨⡲㹔秢秉繠㕜 2006 2003 䠥䗞螟˙〷岲肤栀湕啿㜃格栀㷸ꆄ⚛倴 䎃荛秢秉꽏勠 2001 ꆄ柲剒⢕㕜㹻긬栀痦❀⼧㾂㪭㽲倛꧱䎃㾝㪭㽲倛纏㣐ⵄSaar-Lor-Lux 佐诡 繏⠭暵莞削谀遮栀 騗⼥栀湕啿㜃
㕜用〵抓繠遮긬 荩⚥21 〵抓 ꆄ愯Coppel⚆私繠遮긬ꆄ愯䋑傈劥 Collectin չCNAP Centre Nationalպ㟯銯ㆥ d’Art Contemporain Musee National d’Art Moderne䊼랫岁㕜 FRAC륓殖䏞⚥䗱Lorraine Metz 䊼랫岁㕜 MARTMuseo d’Arte Moderna 岁㕜 e Contemporanea di Trento e Rovereto Moderna Museet 繏ꯂꨭ䩯纏㣐ⵄ MUDAM Musée 倛䗞ㆥ晋䷑榰Ⱙ d’Art Moderne Grand-Duc Jean MHVL Musée d’Histoire de la Ville de Luxembourg湕啿⥂ Museet for Samtidskunst, Museum for Contemporary湕啿⥂ Art 繏倛㛇⹗⚸띊 NMNM倝殹➿谀遮⽇暟긬秢秉繠㕜 - Nouveau Musée National de Monaco ䷑秜ㆥ ⯘ꅽ㣗貼繠遮긬⯘ꅽ㣗貼⤜❞⤜䊜繠㕜 ⟄蒀⽇暟긬羴騟专ⲇ⟄蒀 Edouard Malingue Gallery
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Su-Mei Tse | 闑稇哆
Published by Edouard Malingue Gallery, 2019
Edouard Malingue Gallery hSu-Mei Tse h All images courtesy of Edouard Malingue Gallery and the artist Edouard Malingue Gallery 꼛Ⲵ殥䐤