Reality Impalpable (不確定的真相) is a solo exhibition of works by Chinese artist Li Hui (李暉). Li’s light installations — including one composed of 13,000 LEDs — are meant to serve as a symbol of China’s hectic and rapidly changing society, particularly his hometown of Beijing, which is contrasted with the philosophies of Buddhism and Confucianism.
■ Museum of Contemporary Art, Taipei (MOCA, Taipei), 39 Changan W Rd, Taipei City (台北市長安西路39號), tel: (02) 2552-3720. Open Tuesdays to Sundays from 10am to 6pm. Admission: NT$50
■ Opening reception on Friday at 6pm. Until June 26
Photo courtesy of MOCA, Taipei
Return to the Essence (返本歸真) surveys Taiwan’s abstract painting scene through the work of five artists: Chu Teh-i (曲德益), Lee Shi-chi (李錫奇), Tsong Pu (莊普), Yang Chi-hung (楊識宏) and Hsueh Pao-shia (薛保瑕).
■ Red Gold Fine Art (赤粒藝術), 15, Ln 116, Da-an Rd Sec 1, Taipei City (台北市大安路一段116巷15號), tel: (02) 8772-5887. Open Tuesdays to Sundays from 11am to 7pm
■ Opening reception on Sunday at 3pm. Until May 29
Modigliani and his Circle showcases works by and documents about Italian figurative painter Amedeo Modigliani and some of his friends and contemporaries, including Moise Kisling and Max Jacob. This is the first exhibition dedicated to Modigliani in Asia.
■ Kaohsiung Museum of Fine Arts, 80 Meishuguan Rd, Greater Kaohsiung (高雄市美術館路80號), tel: (07) 555-0331. Open Tuesdays to Sundays from 9am to 5pm. Admission: NT$260
■ Until July 31
Shanghai’s influx of foreign influences toward the end of the 19th century set traditional Chinese ink painting on a new trajectory, as an exhibit of 20 works by 16 artists at 99 Degrees Art Center attempts to show. The pluralistic tradition that evolved from the merging of disparate cultures and artistic styles continues to the present day. The works on exhibit span the past 100 years and include examples by Ren Bonian (任伯年), Wu Changshuo (吳昌碩), Huang Binhong (黃賓虹) and Chang Dai-chien (張大千).
■ 99 Degrees 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), tel: (02) 2700-3099. Open Tuesdays to Sundays from 11am to 6pm
■ Until May 29
The Animal’s Soliloquy (動物的獨白) presents a new series of surrealist and psychedelic paintings of animals by Johnny Leo (廖文彬). Leo’s dreamy paintings address environmental degradation.
■ Butchart Contemporary Art Space (布查當代藝術空間), 155, Linong St Sec 2, Taipei City (台北市立農街二段155號), tel: (02) 2820-9920. Open daily from 11am to 9:30pm
■ Until May 16
Sound Creature (聲音生物) is an exhibition of sound installations featuring environmental sound artist (wind, waves, water) Wang Fu-jui (王福瑞), cassette tape experimenter (classical music) Chang Yung-ta (張永達) and interactive sound installation guru Hiroko Mugibayashi from Japan, among others.
■ 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), tel: (02) 2578-5630. Open Tuesdays to Sundays from 1pm to 6pm.
■ Until May 8
May 6 to May 12 Those who follow the Chinese-language news may have noticed the usage of the term zhuge (豬哥, literally ‘pig brother,’ a male pig raised for breeding purposes) in reports concerning the ongoing #Metoo scandal in the entertainment industry. The term’s modern connotations can range from womanizer or lecher to sexual predator, but it once referred to an important rural trade. Until the 1970s, it was a common sight to see a breeder herding a single “zhuge” down a rustic path with a bamboo whip, often traveling large distances over rugged terrain to service local families. Not only
Ahead of incoming president William Lai’s (賴清德) inauguration on May 20 there appear to be signs that he is signaling to the Chinese Communist Party (CCP) and that the Chinese side is also signaling to the Taiwan side. This raises a lot of questions, including what is the CCP up to, who are they signaling to, what are they signaling, how with the various actors in Taiwan respond and where this could ultimately go. In the last column, published on May 2, we examined the curious case of Democratic Progressive Party (DPP) heavyweight Tseng Wen-tsan (鄭文燦) — currently vice premier
The last time Mrs Hsieh came to Cihu Park in Taoyuan was almost 50 years ago, on a school trip to the grave of Taiwan’s recently deceased dictator. Busloads of children were brought in to pay their respects to Chiang Kai-shek (蔣中正), known as Generalissimo, who had died at 87, after decades ruling Taiwan under brutal martial law. “There were a lot of buses, and there was a long queue,” Hsieh recalled. “It was a school rule. We had to bow, and then we went home.” Chiang’s body is still there, under guard in a mausoleum at the end of a path
Last week the Directorate-General of Budget, Accounting and Statistics (DGBAS) released a set of very strange numbers on Taiwan’s wealth distribution. Duly quoted in the Taipei Times, the report said that “The Gini coefficient for Taiwanese households… was 0.606 at the end of 2021, lower than Australia’s 0.611, the UK’s 0.620, Japan’s 0.678, France’s 0.676 and Germany’s 0.727, the agency said in a report.” The Gini coefficient is a measure of relative inequality, usually of wealth or income, though it can be used to evaluate other forms of inequality. However, for most nations it is a number from .25 to .50