Photographic portrait of an older man in a black knit turtleneck against a dark background. Viewed from the torso up, he leans on the back of a chair and looks towards the viewer’s right.

An Homage to Huang Yong Ping

Huang Yong Ping (1954–2019), founder of the influential conceptual art group Xiamen Dada in the 1980s, passed away on 20 October 2019. Widely regarded as one of the most important voices in global contemporary art of the last three decades, Huang’s untimely passing leaves an irreplaceable void. M+ is honoured to hold some of the artist’s most significant works in the museum’s collection.

The below text was originally written in 2016 by Doryun Chong, the M+ Deputy Director, Curatorial and Chief Curator, for the artist when he was the winner of the prestigious annual Wolfgang Hanh Prize given by Museum Ludwig in Cologne, Germany, where Chong was the guest juror. The text, meant to be a laudatio (or laudation, homage), was delivered at the award ceremony and the opening of the artist’s solo exhibition on 12 April 2016, and was published in the exhibition catalogue.

We are pleased to present this reprint in English and Chinese with the permission of the author and Museum Ludwig. It has been translated and edited to fit house style.


7 Facts About Taiwan’s ‘Mother of Libraries’

Wang Chiu-hwa (b. 1925) is one of Taiwan’s most prominent female architects. She has earned the unofficial title of ‘Taiwan’s mother of libraries’ not only for the many libraries she has designed, but also for pioneering the earliest modern university library in Taiwan. Her work as a Chinese female architect practising in the United States and Taiwan has been underrepresented both regionally and globally.

The M+ curatorial team met Wang in 2015 and learned about her archive, of which she generously donated a large part to the M+ Collection Archives. Acquiring this archive was the beginning of M+’s efforts to uncover the histories of women architects, whose work often lacks documentation and research. Topics related to the visibility, fluidity, and multiplicity in the practice of women architects—including that of Wang Chiu-hwa—will be further explored at the event M+ Matters: Conversations on Women, Architecture and the City on 23 November 2019.

Below are seven facts about Wang Chiu-hwa, told through images of her work represented in the M+ Collection Archives and her personal photos.

1. Wang Chiu-hwa is one of the few women to have been trained in China’s first architecture school.

Lamp with an acrylic lampshade that looks like a white cloth has been draped over the lamp. The lamp is lit, casting a warm yellow light, within a darkened space.

From the Collections: 'Lamp (Oba-Q)' (1972) by Kuramata Shiro

Lamp (Oba-Q) (1972) by Kuramata Shiro is in the M+ Collections, but what is it, who made it, and why did M+ acquire it?

What is this?

This pair of ghost-like lamps was designed in the early 1970s by Japanese designer Kuramata Shiro. Each Oba-Q light was made by draping a heated, pliable sheet of acrylic over a pole, allowing it to hang naturally, and then letting it harden. The finished lampshade was then placed over a light bulb inserted into a base, which sat on the floor. This creates the illusion of floating. It’s a prime example of Kuramata’s love of lightness and fluidity.

Timelapse video showing sculptures consisting of modular parts shaped like ventilation ducts out of cardboard and galvanised steel being put together to form various shapes within a gallery space.

Four Configurations of Charlotte Posenenske's Sculptures

Charlotte Posenenske’s (1930–1985) steel-and-cardboard works Series D and Series DW Vierkantrohre (Series D and DW Square Tubes) were first created as modular sculptures in the 1960s. Her unusual approach allows for them to be assembled in various shapes according to the display space and the desires of the owner. To highlight this, the works were reconfigured three times over the course of Five Artists: Sites Encountered by three invited guests from different backgrounds. This was likely the first real performance of Posenenske’s work done in Asia.

Posenenske’s ideas about art combine sameness and variability in an unusual way, so showing different configurations of her work allows audiences to see multiple responses to the space. To offer viewers the full experience of all four configurations even if they couldn’t witness each one in real time, they are individually summarised below.

1. Initial configuration by the M+ curatorial team: