City Section by Yang Chin Sheng

YANG, CHIN-SHENG Photo Exhibition
On View: Sat, June 24 – Sunday, July 31, 2011
Opening Reception: Sat, June 24 at 2:30 pm
Artist Talk: Sat, June 24 at 3:00 pm
Speech by:Yang, Chin-Sheng v.s. Liu, Ke-Feng

The fertile soils are the soul where humanity begins to nurture the forces of life;
Homes are the centers of daily living for families;
Cities are those ports in which a dependent humanity engages in interaction.

As the urban expanse ceaselessly grows, the measures of the traversing highways and byways metamorphoses.  The bisected vision of the houses lying in two, reveals not only the living history of the former occupants but the wistful dreams of a glorious renewed urban environ.  In the Mandarin character for fields, the semantic sense reveals that no harvest comes without planting, hinting at a core cultural value behind our industriousness.  In the visual structure of the Mandarin character for fields, the remnants of luggage left behind in the hurry to remove from the premises, recall to mind our exhuberant youthful experiences at playing homel.  And in the world outside the Mandarin character for fields, the changing face of the city, always builds and rebuilds story upon story on its layered history. 

source: http://www.infoto.com.tw/index.php?option=com_ponygallery&Itemid=33&func=viewcategory&catid=1

City Section by Yang, Chen-Sheng

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Viewpoint via Mailbox – Gesta Han

Gesta Han Photo Exhibition

VIEWPOINT via MAILBOX by Gesta Han

 On View: June 17 – 29, 2011
Opening Reception: June 18 (Sat) 3:00 pm
place: 1839 Little Gallery   [Location] 

A city likes as people with a fascinating and normal side as well. Looking at urban landscape, a lot of glamorous images were recorded and a lot of dark side was used with purpose.  It’s not easy to find the plain city image as before. These plain images just as middle-class society, largest and easily were overlooked. This show is standing at Mailbox view to look at the cities, no modern, no cityscape only with the places we remembered and been ignored as well.

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Fractals.Writing – Chien Yung Chung

FRACTALS . WRITING by Chien, Yung Chung
On View: June 3 – 15, 2011
Opening Reception: June 4 (Sat) 3:00 pm
place: 1839 Little Gallery   [Location] 

Fractals﹒Writing by Chien Yung Chung

An exhibit of black-and-white photos by Chien Yung-chung (簡永宗) that depicts urban scenes and their inhabitants.

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Artist Photo-Book Fair

Artist Photo Book Fair
Saturday, May 14 – Wednesday, June 1, 2011
at 1839 Little Gallery  [map]

Books including:  Ansel Adams、Edward Weston、Imogen Cunningham、Man Rays、Joyce Tenneson、Ruth Bernhard、Mariana Yampolsky、James Osamu Nakagawa、Kozo Miyoshi、Chihiro Minato、Ken Kitano

Artist's Book Fair

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Sakura by Kozo Miyoshi

KOZO MIYOSHI Photo Exhibition
On View: Friday, May 13 – Sunday, June 19, 2011
Opening Reception: Saturday, May 14 at 2:30 pm
Artist Talk: Saturday, May 14 at 3:00 pm
Speech by:Kozo Miyoshi v.s. Edward Chiu (curator)

Kozo Miyoshi
Born in Chiba Prefecture, Japan, 1947.
Graduated from the Department of Photography, Nihon University, 1971;  
Stayed in Tucson, Arizona, U.S.A., 1991- 1996;
Living in Tokyo at present

Kozo Miyoshi is one of the representative contemporary photographers of Japan. He began to take photographs of views engaging to him with an 8×10-inch camera in 1981, and has made series of art works more than quarter century. Make several photography travels in Japan and pursues his own photography with an 8×10-inch camera in those impressive works such as “Sakura” (2003), “Seagirt” (2004), “Tokyo Drive” (2006), and “Somewhere, Sometime” (2007) are well known.

Miyoshi began to photograph Sakura (cherry blossom) from 1998. Every spring, traveling toward north with the “cherry blossom front”, he meets Sakura and photographs what he likes. There is a Sakura charms many people, and there is a Sakura nestled in landscape. Miyoshi, who continues to photograph Sakura as sight in the spring, becomes to photograph Sakura itself, and faces Sakura again.

As he says “The feeling and condition when I see Sakura waking up in the morning beneath blossoms of Sakura is important to me, and I am photographing Sakura facing that feeling and condition,”

Miyoshi has photographed many years with the same spirit and attitude. “I think photograph is that, by film and lens, and printing on photographic paper in the darkroom, those are tightly-bound, the whole thing is photograph. It is important to me to continue those things,” he says. Once he decides subject to photograph, he travels many places to photograph, and makes photographic prints. He makes rules to himself and continues “photograph” steadily with the same spirit and attitude as if he is a monk. 

Had been away from Taiwan over 7 years, now he’s back and exhibiting over 30 gelatin silver prints (print size: 20×24 inches) including photographs after 2003 by 8”x10” large-format camera and the most recent photographs by 16”x20” super large-format camera as well are shown at 1839 Contemporary Gallery, Taipei, Taiwan.  [Location]

SAKURA (direct contact print by 16"x20")

SAKURA (direct contact print by 16x20-inch)

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[Even] Kozo Miyoshi

Kozo Miyoshi:SAKURA
Opening Reception:Saturday, May 14, 2011
On View:May 13 ~ June 19, 2011

Artist Talk
Kozo Miyoshi v.s. Dr. Edward Chiu (curator)

Saturday, May 14, 2011 at 3 p.m.

SAKURA by Kozo Miyoshi

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Extension Exhibition to May 10

As the grand occasion like the Flora Expo, many people enjoy and appreciate the current photograph exhibition which will be extension till May 10.

This is last opportunity to see those fine art photographs awarded by John Simon Guggenheim at 1839 Contemporary Gallery ~

April Exhibition

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Limited Edition – Daid Moriyama

Daido Moriyama

Daido Moriyama: Hokkaido,Limited Edition 1500 [SIGNED]
price NT$ 9,000

Weighing in at over 5kg, this is one of the largest and perhaps finest photobooks ever produced of Daido Moriyama’s images. Contains beautifully printed photos from Moriyama’s stay in Hokkaido in 1978.  Most of these photographs have never been seen before.  Limited edition of 1500 copies.

Record No. 19 (April 22, 2011) – [SIGNED]
price NT$ 1,400

Showcases grainy, high-contrast street snapshots of Florence and other Tuscan towns taken by the leading Japanese photographer during a trip to Italy last year for his big retrospective show “The World through my Eyes”, held at the Fondazione Cassa di Risparmio di Modena, Modena.

Record No. 18 (Feb 28, 2011) – [SIGNED]
NT$ 1,200

Showcases grainy, high-contrast street snapshots at Lin Sen North Road district in Taiepei City taken by the leading Japanese photographer during a trip to Taipei since 2009 and 2010 for his big retrospective show “The World of Daido Moriyama” held at the 1839 Contemporary Gallery, Taipei, Taiwan.

Email to us for ordering ……info@1839cg.com

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[Event] Osamu James Nakagawa

Osamu James Nakagawa:BANTA
Opening Reception:Saturday, March 12, 2011
On View:March 11 ~ April 24, 2011

Artist Talk
Osamu James Nakagawa v.s. Dr. Edward Chiu (curator)

Saturday, March 12, 2011 at 3 p.m.


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Banta by Osamu James Nakagawa

Osamu James Nakagawa Photo Exhibition
2011 / 3 / 11 (Fri) – 4 / 24 (Sun)
Opening Reception:2011 / 3 / 12 (Sat) 14:00
Artist Talk: 15:00
Speech by:Osamu James Nakagawa v.s. Edward Chiu (curator)

Press Report (in Chinese language) :
China Times (2011-03-20);
The Liberty Times  (2011-03-08);
2010 the 26th New Photographer Award of Higashikawa Price;
John Simon Guggenheim (2009 US & Canada Competition Creative Arts – Photography)

BANAT  (by Osamu James Nakagawa)
In Okinawa, the precipitous cliffs that fall hundreds of feet to the ocean below are called banta.

For years I have carried with me a vivid memory of the first time I stood atop these cliffs – a memory of beauty in the endless blue expanse of sea and sky intensified by the fearsome height and history that met my downward gaze.

Five years later this memory drove me to revisit and descend those very cliffs.  Standing at their feet for the first time I felt in the cliffs’ full visceral weight, something so powerful that I was initially unable to take even a single photograph.  The shadows seeping from the cliffs’ surface, the white craters riddling the cliffs’ coral limestone, and the charred black carves were start reminders of all that these cliffs had witnessed.

I returned to my studio after six months of researching and exploring the South Pacific Theater with thousands of image files of the cliffs to piece together.  As I re-shaped and re-experienced the original digital images, these cliffs became a metaphor for Okinawa[s history as well as digitally-manipulated, hyper-real vision of my experience standing between fear and beauty on Okinawa’s banta.


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