Taipei Dangdai 2022

Taipei World Trade Center 19 - 22 May 2022
Taipei World Trade Center Hall 1, Booth A08

Galerie du Monde is thrilled to return to Taipei Dangdai for its 2022 edition at booth A08, Taipei World Trade Center Hall 1, debuting new works by Fong Chung-Ray, Lam Tung Pang, Crystal Liu, Adia Millett, Michael Müller, Wang Gongyi, Wu Chi-Tsung and Zheng Chongbin.


About the artists:

Fong Chung-Ray (b. 1933, China) started his formal art training at the Cadre College of Arts and Crafts during his time at the military in Taiwan. After graduating in 1954 with a degree in fine arts, he served as an officer and created art works for the Navy. In 1961, he was invited to join the influential Fifth Moon Group. In the past six decades, Fong Chung-Ray has trailblazed an experimental fusion of Chinese traditional ink art and abstract expressionism, a result of a unique amalgamation of cultural, stylistic, and period influences in his life.


Lam Tung Pang (b. 1978, Hong Kong)’s artistic practice encompasses painting, drawing, performance, video, and installation. Assembling traditional iconography and found objects, Lam creates layered allegorical landscapes that engage themes of history, memory, and time. These works capture the nuanced emotions that seep out from beneath the weight of drastic socio-political change. 


Crystal Liu (b. 1980, Canada) constructs landscapes as metaphors for the intangible forces that drive human beings from within. Tying intimately with her emotional states, Liu derives the narratives of intention and desire with teetering optimism through her portrayal of the moon, stars, mountains and rocks in her paintings. The complexities of life, from hopefulness to desolation, are carefully infused into the landscapes of her work, alluding to truths from the artist’s own private life.


Adia Millett (b. 1975, United States) is acclaimed for her deep exploration of basic configurations, diverse expressive practices, and experimentation with mediums. Trained in the fine arts, art history, and the postmodernist theories of cultural studies, Millett conveys her felt concerns in the discourses of the domestic, the public sphere, gender positions, and spirituality through the interdependent form and content of the abstract compositions of her works.


Michael Müller (b. 1970, Germany) is an artist whose manifold, proliferating oeuvre cannot be ascribed to any one-way interpretation. The artistic work by Müller develops out of existing historical narratives, methods and norms: systems which he pushes to their limits by modifying them along fictitious lines. Every boundary – whether it is culturally encoded, materially circumscribed, or rationally established – is a provocation for Müller. The spectrum of his themes spans from literature, language, writing, music, and dance, across mythology and nature, religion and its rituals, across gender identity or clothing, to the operating system of art.


Wang Gongyi (b. 1946, China) gained wide recognition in China after being awarded first prize in the second National Youth Fine Art Exhibition in the early 1980s for her powerful suite of seven woodcuts devoted to the Chinese feminist and revolutionary martyr Qiu Jin, this work called for social reforms and represented the passion of a new generation. It has become an important work in the historical narrative of contemporary Chinese art. Using charcoal to imbue strength in her marks, made against a background of ink, watercolor and acrylic, Wang Gongyi brings new life to her recollections of natural landscapes. Wang Gongyi’s landscapes are characterized by an agitated and an unrestrained energy that defies our idealized memories of nature as a soft and subdued realm.


Wu Chi-Tsung (b. 1981, Taiwan) is a multi-disciplinary artist whose work seamlessly weaves Western and Chinese arts both on a technical and philosophical level. Wu’s signature Wrinkled Texture and Cyano-Collage series explore the process of “recording light” on Xuan paper. In 2012, Wu began the Wrinkled Texture series with the intention to reinterpret the traditional Texturing method (Cun Fa) of Chinese landscape painting. Instead of using ink and brush, Wu utilizes a classical photographic technique Cyanotype, to treat his Textures. He shows the world that he could somehow manipulate the unpredictable, creating beautiful illustrations of the relationship between man and nature.


Central to Zheng Chongbin (b. 1961, China)'s art is the notion of the world as always in flux, consisting of flows of matter and energy that repeatedly cohered and dissipated. Systematically exploring and deconstructing classical Chinese ink tradition and Western pictorial abstraction conventions – through the interactions of ink, acrylic, water, paper and light, Zheng’s paintings demonstrate the processes found in nature. In his videos and installations, Zheng explores the structures that emerge from within the human chaotic existence.

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