11. Net http://www.icf.de/neonurlaub
"More importantly, the globalization of modernity also brought
cultural modernism to newly industrialized countries, producing
different blends with tradition. One of the common threads is the
establishment of the museum institution and the artworld at large. In
Taiwan, this happened rapidly in the 1980s. And as if to complicate
the situation, the cultural as well as economic and political
modernization that evolved in the West over the past two or three
hundred years was experienced in countries like Taiwan in a much
shorter time. One of the results is the belated import of modernism
in its various forms into these countries, which somehow turns
localized modernism against its own spirit, an attitude of artmaking
that seeks to become the future's past. Ironically, the rise of
postmodernism and postcolonialism since Pop Art in the 1960s offered
a timely resolution of this contradiction by dissolving modern art
history and bringing the globalization of contemporary art into
focus. Thus we see in Jun Jieh Wang's recent works an attempt to
deconstruct allegedly modernist aesthetic spaces such as the museum
and galleries and the public's self-image as a purely aesthetic
spectator, through conflating artistic perception and consumption.
And while nationalism might provide a justification for imported
modern art, Wang's work confronts the audience with global
contemporariness in the arts and media." (Wen-rwei Hsu) (22)