A Thread of Artistic Fate – Beautiful Scenery in Serendipitous Encounters

Text and photos by Chen Chi-Hsiang. I visit contemporary art exhibitions everywhere. Regardless of whether I understand the work or know the artist, famous or not, seeing it with my own eyes is a witness to the present; viewing art is one of life’s great enjoyments. In 2013, while visiting the new building of the Centre Pompidou-Metz in northern France and Paul Verlaine’s hometown, I unexpectedly discovered a contemporary art center during a stroll around the square. It was hosting a solo exhibition by French artist Fabien Lerat titled “More Gentle,” which was also being shown at the Taipei Contemporary Art Museum. I visited with great excitement, especially since it was on display in Taipei. The reference to Laozi’s Tao Te Ching—“Only that which is more gentle can penetrate that which is more solid”—seemed to attract my attention even more. Although I did not know this French artist, nor did I need to, it was an exhibition with texture, featuring poetic games and interactive installations that resonated with me. I carefully observed each piece, took photos, and collected exhibition materials. After returning to Paris, I wrote a series of articles about Metz, including a short essay on Fabien Lerat’s “More Gentle” solo exhibition (readers interested can refer to my blog’s November 2013 art section).

Unexpectedly, late last year while in Taiwan, I was invited by Taiwanese artist Ding Changwen to visit the exhibition “Mysterious Memory – Viewing ‘Bangka’ through Narrative Traces,” curated by emerging Taiwanese curator Wang Junqi at Beipiliao in Taipei. There, I coincidentally encountered another social spatial installation by the French artist Fabien Lerat (born 1960) and met the curator and several promising Taiwanese artists. According to curator Wang Junqi, she had found the only Chinese article I had written about Fabien Lerat online. Three years had passed, and I had almost forgotten writing about this artist. Nevertheless, taking it seriously, I never looked back for my article until today when I finally found it again.

The day before yesterday, curator Wang Junqi, who resides in Berlin, Germany, returned to Berlin but stopped in Paris, inviting me to have dinner with her at the home of the French artist Fabien Lerat, whom I had never met. At noon, Junqi and our group visited MAC Val, the French Museum of Contemporary Art, in the southern suburbs. She also invited two artists participating in the “Bangka” theme exhibition who were currently in residency in Paris to join us. After the visit, the four of us went together to keep the appointment for dinner at Fabien’s home. Unexpectedly, a thread of artistic fate connected us, and I finally arrived at the home of French artist Fabien Lerat, whose work I had written about but had never met, to greet him and his family.

Although the dinner was simple, it was warm and hospitable. We enjoyed drinks and conversation. Joongho Yum, a Korean artist participating in the “Bangka” theme exhibition, also joined us. Naturally, the topics among artists and curators revolved around art. We enthusiastically discussed art, interspersed with playful antics from Lin Cheng-wei’s magic trick performance. Finally, the artist warmly invited us to visit his studio to see his new works: sculptures of tiger-head honeycomb structures and some vivid pencil sketches. Amidst our concise and interesting dialogue, we took a group photo with the artist and his family. Late at night, in the quietude, I warmly sketched this evening of deep artistic connection. Life is full of unexpected encounters and beautiful scenery, all gifted by art. I sincerely wish everyone well.