Wandering in the Wind—LEE Kuang-Yu.TENG Pu-Chun Dual Exhibition
30 May 2026-05 Jul 2026
Information

■ Wandering in the Wind—LEE Kuang-Yu.TENG Pu-Chun Dual Exhibition
2026.05.30-07.05


▍Opening
2026.05.30 Sat. 14:00
▍Lecture:
2026.05.30 Sat. 15:00-16:30
TUAN Tsun Chen, Assistant Professor of Tunghai University
▍Artist Talk:
06.06 Sat. 15:00-16:30
TENG Pu-Chun×Emerson Wang (Independent Curator)
▍Art Night:
06.06 Sat. 18:00-21:00
▍Venue:Taiwan Prefecture Confucian Examination Hall 
(No. 38-8, Fuhou Street, West Dist., Taichung, Taiwan)
▍Opening Hours:
Thursday- Tuesday 10:30-18:00 (Closed on Wed.)

 

Overview

Text / Emerson Wang

 

Within the historic architecture of Taiwan Confucian Examination Hall—a heritage site bearing the imprint of the late nineteenth-century imperial examination system—time does not simply unfold, but recurs in overlapping and permeable currents. The curatorial theme, Wandering in the Wind, proposes a contemporary negotiation of time and space: it returns to the origins of the classical spirit, alongside its reconfiguration through a contemporary deconstructive gaze.

 

Amid the timber framework of the Taiwan Confucian Examination Hall, Lee Kuang-Yu’s spatially responsive sculptures in dialogue with the magical heterogeneity of Teng Pu-Chun’s ink paintings. Once a site of scholarly ambition and the pursuit of official rank, the hall is reshaped as a contemporary garden for spiritual dwelling.

 

Through Lee’s bronze presence and Teng’s ink structures, Wandering in the Wind transforms classical spirit into a sensory experience charged with contemporary vitality. More than an homage to the aesthetics of the traditional eastern garden, the exhibition proposes a contemplative practice through which individuals, amid the fragmented and fluid conditions of contemporary life, might recover a sense of inner stillness.

Artist

李光裕 (1954-)

LEE Kuang-Yu

Lee employs signature techniques such as “piercing” to break open the closed structure of traditional sculpture, creating a distinctive formal and conceptual language of emptiness. His works embody an “Eastern void” where self and object dissolve, offering not only profound aesthetic value but also a contemplative reflection on the human condition, imbued with contemporary social relevance.
Lee employs signature techniques such as “piercing” to break open the closed structure of traditional sculpture, creating a distinctive formal and conceptual language of emptiness. His works embody an “Eastern void” where self and object dissolve, offering not only profound aesthetic value but also a contemplative reflection on the human condition, imbued with contemporary social relevance.

鄧卜君 (1957-)

TENG Pu-Chun

Different from the elegance embodied by traditional literati painters, his work displays a sense of individual carefreeness; in particular, the unique technique of "rolled wrinkle strokes" created by himself has formed a unique vocabulary of modern magical ink painting.His fantastical and illusory representation seems to transport viewers to a surreal, magical realm of contemporary landscape beyond what is seen by the naked eyes.
Different from the elegance embodied by traditional literati painters, his work displays a sense of individual carefreeness; in particular, the unique technique of "rolled wrinkle strokes" created by himself has formed a unique vocabulary of modern magical ink painting.His fantastical and illusory representation seems to transport viewers to a surreal, magical realm of contemporary landscape beyond what is seen by the naked eyes.
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