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Selected Essays on Painting and Calligraphy by Song Ta

May 18 - Jul 21, 2024


Ginkgo Space is delighted to announce that it will present a solo exhibition by Song Ta titled "Selected Essays on Painting and Calligraphy by Song Ta" in Shenzhen. This exhibition marks the first collaboration between the artist and GinkgoSpace, as well as the artist's inaugural solo exhibition in Shenzhen.

 

The exhibition continues the artist's consistent style of "non-professional" approach. The main exhibition is divided into two parts: "Calligraphy" and "Pictorial Art". In Song Ta's works, the immediacy and fantasy of the visual language are not representative of the works themselves, but are inseparable from them. He blurs the original inner point of reference through the heterogeneous transformation of symbolic language, highlighting the fact that behind the creative intention of the “spontaneous” level is the artist's ease of travelling between the real and the imaginary, and his ability to move from the brush to the mind to the realm of forgetfulness of the world.

 

Once entering the field of view, Song Ta's calligraphic works, which at first glance appear to be like daily life's sticky notes, are gradually introducing one into his "mind map". In new works such as Excellent,Unexpected Weekdiary (Page One, Page Two), spontaneous improvisation, self-created font, gel pen, readable but illegible... the artist intentionally strengthens the form of handwriting and the elusive black humor. Song Ta's decades of deep cultivation in the field of calligraphy make the communication between people and characters increasingly tacit, and his works emit an atmosphere of wandering with the pen. The exhibition also presents two calligraphy works with religious content as the theme. Advent Banner for the Chapel of Taiwan Theological Seminary, Featuring Selected Verses from the Book of Isaiah Chapter 61 (Four Scrolls) was created by the artist at the invitation of the chapel at the Taiwan Theological College in 2023. The fragmentary words and scenes copied by the artist from the book of Isaiah are linked, and the techniques of joining and deciphering characters and the discernible chapter structure are evident. The hand scroll Hand-Copied The Supreme Mysterious Northern Dipper's True Birth Scripture (Collated and Printed Edition) incorporates personal understanding into the copying process after abandoning personal handwriting. His adherence to calligraphy principles and legal principles, as well as the present, are all unobstructed.

 

Unlike the common practice of "hiding clumsiness in paintings", Song Ta naturally reveals the element of "clumsiness" in his painting works, while simplifying the language of painting, he uses exaggerations and deformations with a sense of jokes and cartoons to make the works abstract from their original specific context. Works such as Rabbit and Elephant and Coconut, created on A4 paper, borrow the dislocation of information and the substitution of image to create an inexplicable sense of absurdity, and then use non-imagery and non-contextual games to make a serious defence. Copy of Fan Zeng's Lao Tzu's Out of Customs Front/Side/Back is a large-scale painting by Song Ta, which subverts the definition of “copying”. The originally carried image connotation has been transformed into a completely planar 3D view structure. The artist intentionally creates "confusion" and "ambiguity" in an attempt to recapitulate pictoriality and ideology.

 

Compared to the form of the artwork, the artist's gesture seems more important, and its implicit role is self-evident. Song Ta, who has multiple artistic identities, also has multiple artistic forms in his works. He establishes potential "order" with superficial "disorder", emphasizes "subjectivity" with the absence of subjectivity, strengthens "introspection" with the absence of introspection. Then he reflects on the art of calligraphy and painting in a way that visually compensates for it.

 

 

Song Ta, (b. Guangdong, 1988) graduated from Guangzhou Academy of Fine Arts in 2010, received a grant from the Rockefeller Foundation for Asian Culture Cuncil in 2015 and won the Paulo Cunha e Silva Art Award from the Porto City Council of Portugal in 2020. Recent solo exhibitions include Song Ta visits Taiwan at Hy-phen Art Center (Taipei, 2022), Hanfu Architecture + Gel Pen calligraphy, ZIWU (Shanghai, 2021), and Song Ta's paintings: 1999-2020, Beijing Commune (Beijing, 2020). His works have been exhibited in the National Museum of Indonesia; Julia Stoschek Collection Foundation, Düsseldorf; Nassauischer Kunstverein Wiesbaden, Germany; UCCA Center for Contemporary Art, Beijin; Kunsthalle Bern, Switzerland; Marres, House for Contemporary Culture, Maastricht, Netherlands; CASS Sculpture Foundation, UK; Asia Cultural Center, South Korea; The Zentrum Paul Klee, Switzerland; Museu Do Porto, Portugal; Sharjah Art Foundation; Kunsthaus Bregenz, Austria; Lunds Konsthall, Sweden; Times Art Museum, Guangdong and other contemporary art institutions. Also participated in the 19th Jakarta Biennale; The 4th New Museum Triennale in New York; The 8th Shenzhen Sculpture Biennale and the 6th Home Works: A Forum on Cultural Practices (Ashkal Alwan, Beirut, Lebanon). Public collections include the M+ Visual Culture Museum of Hong Kong, the Kadist Art Foundation of San Francisco / Paris, France and the New Century Art Foundation of Beijing.