Raiken Art Museum, Blurred Scenery: True Freedom Doesn't Have to Happen in a More Transparent and Clear
“WHY IS BLURRING A NECESSARY FREEDOM IN AN AGE OF PURSUIT OF HD AND TRANSPARENCY?”
CURATED BY CURATOR LIN YU-JIN, THIS EXHIBITION FOCUSES ON WHETHER “BLUR” STILL HAS NEW MEANING AND POSSIBILITIES IN AN ERA DOMINATED BY HIGH-RESOLUTION IMAGES. Six emerging artists were invited: Wang Aimei, Li Bingyi, Li Yingzhen, Peng Wei, Chen Kuanui and Liu Wenhao to respond with the work.
The landscape is always determined by the point of view. In a sense, the landscape's connection to the human perspective tends to be closer than nature itself. When we frame the sight line and name it, the landscape has been “created.” Therefore, “blur” is not a clear opposite, but another state hidden in clarity.
In contemporary society, “clarity” has become almost an everyday condition. The terrain is cut into infinitely magnifiable image grids, neighbourhoods are transformed into callable streetscape data at any time, and private lives are compressed into units of images that can be swiped, shared and calculated. However, blur is not just a clear reverse, but a viewing posture. By adjusting the distance, it temporarily opens another dimension in a highly clear world, allowing the image to appear at its own speed and distance.
At the same time, “blurring” also occurs above the boundary between body and perception. Through the arrangement of strokes, lines, and space, the artist makes the blurring of the picture no longer just a visual distraction, but a mark left after the body and the consciousness negotiate.
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Responding again through painting: What does contemporary “fuzziness” mean?
In this exhibition, the artist reidentifies and arranges those things and labels that are seen too clearly. They translate personal feelings into an image language of shapes, blocks, and strokes. As the foreground enters the brain from the retina and is translated onto the canvas through the body, the contours of the picture gradually loosen and the colour blocks penetrate each other. The view may not find a firm boundary in the screen, but it can recognize an unspoken, but not ignored emotion, which is an artist's response to contemporary experience.
Edit notes: “The excessive pursuit of a precise life often generates suffocating anxiety from trying to frame the future. “Blur”, I think, is more than just a visual distraction, but it embodies the philosophical spirit of the moment: every moment's landscape is unique and unreplicable, and if you stick to clear expectations, you lose that uncertain surprise of the moment. Though blurring unsettles those who yearn for control, if we change our perspective and acknowledge the limits and flow of life, this “lack of sight” can instead let go of the expected shackles and encounter the sincere self in the gaps of our lost focus.”
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Rethinking the Narrative Between the Blur
Curator Lin Yu-jin said: “Blurring is not just about distance and visual focus, it's about memory and narrative.” Under “impossibly complete” narrative conditions, we cannot restore all the details, we can only choose how to tell between omissions and gaps. THE KEY IS NOT TO PRETEND OMNISCIENCE, BUT TO REMAIN ACCOUNTABLE FOR WHAT IS SAID UNDER THE PREMISE OF ACKNOWLEDGING YOUR OWN LIMITATIONS.
IN THIS EXHIBITION, THOSE SEEMINGLY INACCURATE LANDSCAPE IMAGES ARE NOT AN ESCAPE FROM REALITY, BUT A REFLECTION AND RESISTANCE TO THE ILLUSION OF ABSOLUTE “COMPLETE REPRODUCTION.” Through obfuscation, the artist openly admits the state of “invisibility” and maintains a slower and cautious narrative in an excessive pursuit of transparency and real-time contemporary contexts, while also a slight resistance to the temporal commandments of “must be clear, immediately explained”.
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Blurring the Scenery: A Gesture of Resistance
｜ Period: 2026/03/07 (Sat) - 2026/05/23 (Sat)
｜ Venue: Rai Yuen Art Museum (No. 57, Qingpu Jiu Street, Zhongli District, Taoyuan City)
｜ Artists: Wang Aimei Aymei Wang, Li Bing-ao Li Bing-ao, Li Yingzhen Li Yin-chen, Chen Kuang-Jui Chen Kuang-Jui, Peng Wei PENG Wei, Liu Wenhao LIU Wen-Hao
｜ Curator: Lin Yu Chin - LIN Yu Chin
｜Visual Design: Miao Cheng Han - Miao Cheng Han
｜ Exhibition Collaborator: Hsieh Ting Hui - Hsieh Ting Hui
｜ Video Director: Ge Ying Chen - Ke Ying Chen
｜ Photo courtesy of: Ge Ying Chen - Ke Ying Chen
｜ Organizer: Rai Yuen Art Museum
｜CO-ORGANIZER: SERVANT BUILDING SPACE INTEGRATION, GARDEN LIFE
｜ Appointment for exhibition:https://reurl.cc/46DyDv
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Built by space designer Li Jingmin, Rai Yuen Art Museum is located in the Qingpu redevelopment area near Taoyuan High-Speed Rail Station. Its minimalist style has a strong sense of popularity, making it a particularly striking art building in contrast to the large number of residential buildings in the vicinity. In rational spatial planning, he wants to break through the covenants of modern life and pursue a living space and lifestyle that embraces nature, humanity, art, and civilized life.
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