Bats represent good luck, while pine trees symbolise longevity due to their resilience. Many of us can quickly identify the 8 Immortals, yet remembering their individual names and attributes is more challenging. When faced with artworks from ancient times, we often find ourselves astonished by the intricate ornaments, marvellous signs and rich symbolic language. We can sense the deep meaning behind them, yet the stories they tell and the secrets they hold are no longer widely known or taught.
In both mythology and this exhibition, the number 8 plays a crucial role. The symmetrical shape of the number 8 symbolises an endless cycle, a constant flow of energy, balance, harmony and infinity. While in Cantonese-speaking communities the number 8 stands for wealth, in Christian numerical symbolism it signifies new beginnings and resurrection. And since 8 is a Fibonacci number, it can be found in nature all over the world. In Asian art this can be seen, for example, in the 8 trigrams of the I Ching, the 8 Immortals, the 8 Buddhist symbols or Auspicious objects. These interrelated elements are often depicted as a group of 8 in the form of a serial narrative, which are supplemented by motifs of pairs, figures or scenes from stories, landscapes, plants, flowers, animals, ornaments and symbols.
To illustrate this point, several objects⏤each consisting of eight sections⏤were selected from the UMAG collection. These items demonstrate the diversity and richness of serial narratives in Chinese art and craftsmanship. In addition to the narrative structure, these eight-part objects can be understood as components of superordinate systems. In the microcosm of their diverse details, they refer to the macrocosm of mythology, which results in a network of relationships that continuously refer back to one another.
This dynamic interplay between individual elements within a larger whole is also evident in the contemporary artworks of YAU Wing Fung (*1990) and Daphne Alexis HO (*1975) from Hong Kong, YU Hee (*1967) from Korea, Adrian FALKNER (*1979) from Switzerland and Klaus MERKEL (*1953) and Arvid BOECKER (*1964) from Germany. However, in their work this interaction unfolds through form and colour, alienation and manipulation, as well as self-referential quotations and artistic dialogue.
The six contemporary artists are juxtaposed with the traditional works of applied art so as to demonstrate that serial and systemic narratives are still used today as artistic strategies. Systemic is used here in the sense that individual works of art can be seen as part of a larger overall system of interrelated elements. The interplay between the individual symbols and the overarching programme mirrors the relationship between contemporary art and traditional arts and crafts. Together, they complement each other in an inspiring way, inviting our visitors to uncover hidden meanings and deeper connections.