Still Disco is a solo exhibit by Luxembourg artist Tse Su-mei that brings together sculpture, photography and installation dating back to 2003, when she won the Golden Lion Award at that year’s Venice Biennial. Tse’s output addresses time and memory with a sense of introspection.
■ Eslite Gallery (誠品畫廊), 5F, 11 Songgao Rd, Taipei City (台北市松高路11號5F). Open Tuesdays to Sundays from 11am to 7pm. Tel: (02) 8789-3388 X1588
■ Opening reception on Saturday at 3pm. Until Nov. 7
Photo courtesy of Eslite Gallery
Memories and Beyond (記憶的總和) brings together nine artists from Taiwan, Thailand, Indonesia, Vietnam, Singapore and Japan for the Kuandu Biennial. Sculptural and video installation are the predominant mediums the artists use to examine their memories of their home countries.
■ Kuandu Museum of Fine Arts (關渡美術館), 1 Xueyuan Rd, Taipei City (台北市學園路1號). Open Tuesdays to Sundays from 10am to 5pm. Tel: (02) 2893-8870
■ Opening reception on Saturday at 9:30am. Attendees must register first at kdmofa.tnua.edu.tw. Until Dec. 26
Photo courtesy of Kuandu Museum
Substitute (替代) is a solo exhibition by emerging artist Huang Zan-lun (黃贊倫). Huang’s sculptural installations deploy mechanical elements to question the automation of industrial production.
■ Barry Room, Taipei Artist Village (台北國際藝術村百里廳), 7 Beiping E Rd, Taipei City (台北市北平東路7號). Open daily from 10am to 7:30pm. Tel: (02) 3393-7377
■ Until Oct. 24
Photo courtesy of Kuandu Museum
Flowerpots in the shape of human feet, or the paws of animals, come together in a new series of sculptures by Wu Chi-Jeng (吳其錚). Wu’s bizarre, though well-crafted, objects are rendered in a broad array of colors and resemble the kind of knickknacks found in bric-a-brac stores.
■ Singart (新心藝術館), 67 Shengli Rd, Tainan City (台南市勝利路67號). Open Tuesdays to Sundays from noon to 8pm; closed Mondays and every second and fourth Sunday each month. Tel: (06) 275-3957
■ Until Oct. 30
A survey by the Department of Health and the artist’s experiences with sleeping pills form the basis of Stilnox Home Video (使蒂諾斯家庭實境秀), a video installation by Su Hui-yu (蘇匯宇). According to the press release, the poll showed that there are currently 3 million users of sleeping pills in Taiwan and the video stems from the artist’s own ideas about the relationship between watching television at night and the effects of sedatives, which Su says forces an individual to “unconsciously [enter] a world that does not sleep.”
■ Tina Keng Gallery (大未來耿畫廊), B1, 15, Ln 548, Ruiguang Rd, Taipei City (台北市瑞光路548巷15號B1). Open Tuesdays to Sundays from 10am to 7pm. Tel: (02) 2659-0798
■ Until Oct. 31
It has been 26 years since Nicholas Gould hosted his last Issues and Opinions radio show for ICRT a recording studio on Roosevelt Road. He remembers the familiar ‘whoosh’ as the door to the soundproof room closes and recognizes the carpet, but the recording equipment is gone, with half of the space being used for storage. Gould is filled with nostalgia as he greets his guests, two financial writers who are here to discuss Taiwan’s post-COVID-19 economy for his new podcast, Taiwan Matters. Gould had been thinking of revisiting his old career for a while, but being allowed access to
The 22nd Taipei Arts Festival (臺北藝術節) opens tonight with three productions, a slightly scaled-down pandemic version that seeks to keep its tradition of big ideas, challenging programs and international connections alive and moving forward in an increasingly uncertain world. The theme of this year’s festival is “Super@#S%?” — as good a term as any when descriptives and superlatives seem not only inadequate, but somewhat irrelevant in a world where so many people cannot imagine being able to return to theaters, either as performers or audience members — they are too worried about having a job and their health. Technically, however, it is
Shuanglianpi (雙連埤) is both a Hakka outpost and a place of great ecological interest. The conjoined body of water from which it gets its name is the centerpiece of the 17.16-hectare Shuanglianpi Wildlife Refuge (雙連埤野生動物保護區). No waterways of significance fill or drain this scenic lake in Yilan County’s Yuanshan Township (員山鄉). During the 1895 to 1945 period of Japanese rule, the colonial authorities — struggling to secure Taiwan’s foothills — encouraged Han people to settle in areas adjacent to indigenous communities. Around 1910, a 49-year-old Hakka pioneer called Tsou Cheng-sheng (鄒成生) from what’s now Taoyuan decided to begin farming at
Wild Sparrow (野雀之詩) is simple and extremely slow paced, told through the eyes of Han (Kao Yu-hsia, 高於夏), an introspective, shy grade schooler who lives with his great-grandmother in the verdant countryside. Han has a fascination with sparrows, which are either flying high in the sky or trapped in cages and nets, providing a constant metaphor throughout the film. In the most ironic scene, a man catches the birds just to charge people to set them free again, taking advantage of Buddhists who engage in the ritual of “releasing” animals from captivity. Han takes a badly injured sparrow home and