A new series of large-scale paintings by Chiu Hsien-te (邱顯德) will be shown at 99 Degree Art Center. The works are the product of a personal breakthrough in the use of watercolor. Chiu combines the medium’s transparency and washes of color with ink painting’s lyricism and the layering and color saturation of oil painting. These flowing effects bring the paintings to life, allowing viewers to ponder the artist’s expansive landscapes.
■ 99 Degree Art Center (99度藝術中心), 5F, 259, Dunhua S Rd Sec 1, Taipei City (台北市敦化南路一段259號5樓). Open Tuesdays to Sundays from 11am to 6pm. Tel: (02) 2700-3099
■ Opening reception on Saturday at 3pm. Until Feb. 20
Chinese painter Sang Huoyao (桑火堯) literally deconstructs his country’s landscape with Cosmic Spirit (境象), a new series of paintings. Not content with traditional ink materials, Sang works on silk cloth with paints made from mineral substances collected from various locations in China. The resulting ink wash paintings of dappled grays are expressionist renderings of the dichotomy between the Earth’s external appearance and the human body’s internal biology.
■ Soka Art Center (索卡藝術中心), 2F, 57, Dunhua S Rd Sec 1, Taipei City (台北市敦化南路一段57號2樓). Open Tuesdays to Sundays from 11am to 9pm. Tel: (02) 2570-0390
■ Opening reception on Saturday at 4pm. Until Jan. 30
Chang Teng-yuan (張騰遠) claims to move beyond the limitations of seeing with The Edge of Sight — After (望穿術:凝結之後的事情), a solo show of animated installations and paintings. With the intention of challenging commonly accepted perceptions of how art is viewed, Chang’s intricately designed viewing devices and stylized imagery present an alternate reality using what the artist describes as “guerrilla images.”
■ Galerie Grand Siecle (新苑藝術), 17, Alley 51, Ln 12, Bade Rd Sec 3, Taipei City (台北市八德路三段12巷51弄17號). Open Tuesdays to Sundays from 1pm to 6pm. Tel: (02) 2578-5630
■ Until Sunday
Ambiguity and uncertainty are the two themes that link the paintings by three emerging artists — Joyce Ho (何采柔), Wang Tzu-ting (王姿婷) and Chung Yi-lung (莊毅朗) — in a group show of their representational and surreal paintings at La Chambre Art Gallery.
■ La Chambre Art Gallery (小室藝廊), 31, Ln 52, Siwei Rd, Taipei City (台北市四維路52巷31號). Open Tuesdays to Sundays from noon to 9pm. Tel: (02) 2700-3689
■ Until Jan. 22
Swing (游) brings together light installations made by Japanese artist Shimura Nobuhiro that have been displayed at venues throughout Taipei over the past year.
■ Sakshi Gallery (夏可喜當代藝術), 33 Yitong St, Taipei City (台北市伊通街33號). Open Tuesdays to Saturdays from 11am to 7pm, closes at 5:30pm on Sundays. Tel: (02) 2516-5386
■ Until Jan. 31
If you like manga and anime, The Golden Present is an exhibition for you. It presents the work of some of Asia’s hottest contemporary artists working in the “Super Flat” and “animamix” genres, including superstars such as Yoshitaka Amano, Yoshitomo Nara, Kwon Ki-soo, Eddie Kang and Yang Mao-lin (楊茂林).
■ Metaphysical Art Gallery (形而上畫廊), 7F, 219, Dunhua S Rd Sec 1, Taipei City (台北市敦化南路一段219號7樓). Open Tuesdays to Sundays from 11am to 6:30pm. Tel: (02) 2711-0055
■ Until Jan. 26
Timed to coincide with the Taipei International Flora Exposition, Fragrance Fills the Courtyard: Chinese Flower Paintings Through the Ages (滿庭芳－歷代花卉名品特展) presents an historical overview of this sub-genre of ink painting. Divided into four sections — Beautiful Scenes All Year Round, Formal Expressions of the Mind, Their Many Features in Painting and Auspicious Signs and Lucky Omens — the works intimate the close connection flower painting has to the seasons and Chinese festivals. Additionally, the paintings demonstrate how artists used their skill of compositional arrangement and techniques such as ink outlines filled with colors, “boneless” washes, fine ink lines and freehand sketching to transform apparently simple flower subjects into a wide variety of forms.
■ National Palace Museum (國立故宮博物院), 221, Zhishan Rd Sec 2, Taipei City (台北市至善路二段221號). Open daily from 9am to 5pm. Tel: (02) 2881-2021. Admission: NT$160
■ Until May 31
Since its launch in 2014, the Taiwan Season has increasingly become a “must-see” at the Edinburgh Festival Fringe. So, when this year’s three-week Fringe became an early casualty of the COVID-19 coronavirus pandemic, Chen Pin-chuan (陳斌全) was determined that the Taiwan Season must continue in some form. Chen, director of the Cultural Division of the Taipei Representative Office in the UK, says that he and Taiwan Season curator and producer Yeh Jih-wen (葉紀紋) had been thinking of ways of growing and adding value to the season anyway. The crisis and the cancellation of the live performances brought those ideas forward as
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