Taipei Int’l Book Fair (A801)

Taipei International Book Fair
Word Trade Center Hall I, Booth A801
2012/0
2/01 (Wed) ~ 02/06 (Mon)

Taipei Int'l Book Fair (A801)

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2012 Chinese New Year Celebration

Thank you for all your continued support ~
Because of your encouragement, we are not alone in the road of developing photography education ~
Because of our professional, our artists won worldwide recognition and keep going to international stage.

Like every year we continue curating photographic exhibition from the world’s best photographers.  We wish you a very happy and prosperous 2012 new year (a year of Dragon) ~

All the best to you,
1839 Contemporary Gallery

2012 Chinese New Year Celebration

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2011 Year-End Holidays

2011 Year-End Holidays

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Group Exhibition – the world of photography

Present the artworks from who’s who in the world of photography – to collect photography is to collect the world….

Group Artists|Andre Kertesz、Betsy Cameron、Bud Fraker、Consuelo Kanaga、Edward Steichen、Elliott Erwitt、Herb Ritts、Horst、Jerry N. Uelsmann、John Chan、Joyce Tenneson、Lauren Greenfield、Man Ray、Paul Huf、Philippe Halsman、Richard Avedon、Robert Mapplethorpe、Sandy Skoglund、Tom Baril、Yousuf Karsh etc.

COLLECTION PRICE (special offer during the exhibition):
NTD 399 for each;  NTD 1,000 for  any other 3 sets of the works;  

group artists from the world photography

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American Modern Photo Exhibition (12/17-1/31)

On View|Saturday, Dec. 17, 2011 ~ Tuesday, January 31, 2012
Reception and Talk|Saturday, Dec. 17, 2011 at 14:30 & 15:00 ~
Speech by | Dr. Chiu, Edward (Tung Fang Design University, Graduate Institute of Cultural & Creative Design, Assistant Professor)
Venue|1839 Contemporary Gallery  [Tel: (02) 2778 8458]
※ free admission

American Modern Photo Exhibition at 1839 Contemporary Gallery

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Feb-Exhibition announcement

HAPPY 2012 CHINESE NEW YEAR (a year of Dragon)
American Modern Photo Exhibition (Edward Steichen, Edward Weston, Ansel Adams) till 31st of January;
Taipei International Book Fair (Word Trade Center Hall I, Booth A801)  2/1 (Wed) ~ 2/6 (Mon)
Aki Tanaka Solo Exhibition 2/3 (Fri) ~ 2/29 (Wed)
Japan Modern Photo Exhibition (Hiroshi Sugimoto, Nobuyoshi Araki, Daido Moriyama etc) 2/10 (Fri) ~ 3/25 (Sun)

 Feb Photo Exhibition

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Apply exhibition at 1839 Little Gallery (1st half-year 2012)

 Application for emerging artists

1839 Little Gallery provides a chance to the emerging artists/photographers for showcasing their work with a public environment. All applicants from individual, students, group, society organization etc are welcome to apply.

To apply the exhibition in 1st half-year of 2012 (deadline by June 30, 2012), exhibiton from now till June,  please fill the application form include your name, contact details, a short c.v. or description of your work and 100 – 150 words on why you would like to participate.

 Please send details and requst to info@1839cg.com

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Ayano Sudo Exhibition (10.22-12.04)

On View:  Saturday, October 22 – Sunday, December 4, 2011
Opening Reception: Saturday, October 22 at 2:30 pm
Artist Talk: Saturday, October 22 at 3:00 pm
Speech by: Ayano Sudo x Edward Chiu (ph D)

Ayano Sudo Exhibition (10.22-12.04)

 that cause that guy isn’t human butsome kind of goodish Japanese hottie from another world

(by Ayano Sudo, 2011)
When I am looking through a viewfinder, I look at not only optical things but also sparkling something. 
I have an inner lens filter in my heart which I call “sparkled filter”.
When I found charming someone who has androgynous image, I watched him or her with” sparkled filter”.  In the moment, I feel like I’m in sweet love.

I would like to sublimate that feeling into my work.
I use a lot of KIRAKIRA (sparkling) things for surface of cotton paper.
That is Photoshop brushes, glitters, ramps, Swarovski line stones.

KIRAKIRA comes from 70’s manga style for girls in Japan.
Even now, these images are influencing on many things.
Especially PURIKURA (instant photo sticker) and fashion magazine for teenager girls.

When you saw my portrait of a pretty girl, actually she is a boy. 
I treat androgynous images of boys and girls, because they are so charming for me.
after taking them a photograph, the boy would be girl and the girl would be a boy, boy would be a boy….If you are confused, you already fall in my love….maybe.

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Wu, Chun-Yi Photo Exhibition (9.9-9.21)

Reflections of Miyako by Chun Yi Wu

On View:  September 9 – September 21, 2011
Opening Reception: September 11 (Sunday) 2:00 pm
place: 1839 Little Gallery   [Location] 

Reflections of Miyako

In November, 2010, I was in Kyoto. I paid a visit to Miyagawacho one day prior to the end of the trip. Strolling through narrow alleys when the curtain of night dropped down, I watched the lantern cast dim light on the door plank of Machiya (traditional wooden townhouses found throughout Japan) as if I were returning back to good old days. While casually taking a walk, I heard a clacking sound of geta (Japanese wooden footwear) made by someone stepping on the pavement laid with flagstones around the street corner ahead of me. An elegant geisha dressed in elaborate kimono appeared. “Konbanwa (Good Evening)!” I greeted her. Although her hasty steps implied that she was hurriedly on her way, the geisha gracefully leaned to make a bow and smilingly replied, “Konbanwa.”  

That was the most impressive serendipity to me. Even though I failed to catch such a beautiful moment with my camera which was placed in my backpack, the scene from my memory remained vivid. During the days when I traveled around Kyoto, some unexpected episodes occurred in such a flash that my camera could not catch in time. Those that I failed to photograph would be kept deep inside my heart. I would like to share with you those precious moments luckily photographed by me in this exhibition.  

In the past few years, I visited Kyoto and its surrounding areas in different seasons, centering my photography on themes such as gardens, old shrines, geisha, and flowers. I tried to catch the beauty of Kyoto by photographing what I experienced and appreciated. The distinctiveness of Kyoto has been often put into words. Without words, I found it challenging to convey my feelings and emotions, either tangible or intangible, by means of photography integrated with my own views. To gain superiority in both time and space and to probe into the essence of this city, I did my best to prolong my visit in Kyoto and tried not to hurry on my way so that I could slow down my footsteps and enjoyed my stroll around this enchanting city.  

In the process of photography, I not only made reservations and arrived at some scenic spots ahead of time, but also paid a visit to a couple of little known places by referring to information offered by local seniors. What impressed to me most was a sense of tranquility I felt during those days in Arashiyama when I entered Tenryu-ji earlier than other tourists. Daybreak had not yet come, and all sounds were hushed. I alone savored the scarce moment in the washitsu (a Japanese-style room) where no one else but me was there, cautiously got my camera ready, and waited for the sunrise to come.

In my early trips to Kyoto, this city was somewhat unfamiliar to me. But with the increase in my visits to Kyoto, my feelings for it has gradually become intimate and close. My affection for Kyoto never changes even if I always discovered in this ancient city brand new faces and colors different from what I have already known. There are far more themes for me to explore, and my life of photography sentimentally attached to and inspired by Kyoto carries on.

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Wet Plate by Yang Wen-Ching (9.17-10.16)

Yang Wen-Ching Photo Exhibition

RECOVERING THE WET
Yang Wen-Ching WET PLATE Photo Exhibition
On View: Saturday, September 17 – Sunday, October 16, 2011

Opening Reception:
Sat, September 17 at 2:30 pm
Artist Talk: Sat, September 17 at 3:00 pm
Speech by:Xiao, Yong-Sheng / Dr. Edward Chiu / Yang Wen-Ching

Wet plate collodion process, commonly known as glass film photography, was originated in 1851 by Fredrick Scott Archer (1813–1857), an Englishman who applied collodium to photography. In terms of cost, clarity and stability, the images produced by the wet plate method were superior to the daguerreotype or the calotype, which helped the wet plate technique become mainstream. From the process of producing the film base (light-sensitive layer) to shooting to developing, fixing and washing, all procedures must be done when the glass plate is wet, hence the name.

Strictly speaking, the works for this exhibition represent my first experience in wet plate collodion photography. They are images of still life, namely abandoned objects from our daily life. The characteristics of wet plate photography seem to have given them new vitality. No two wet plate photos are the same, as the coating of the light-sensitive layer, the temperature and processing vary from shot to shot. The unpredictability of the results of this type of photography is the biggest challenge, and also what makes it fascinating. In today’s digital world, this “craft” just might inspire a different way of thinking about images.

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