Ju Ming (朱銘) returns to Kalos Gallery with Citizen (市民), a series of 80 human-scale wood sculptures that form part of the Living World Series (人間木雕系列), a long-term art project begun in 1981 that has as its focus the people and society of Taiwan. The exhibition portrays ordinary city dwellers from all walks of life. The unpainted and rough-textured sculptures express the diversity of humanity and, in their majestic grandeur, suggest the extraordinary aspects of ordinary people in everyday life.
■ Kalos Gallery (真善美畫廊), 269, Dunhua S Rd Sec 1, Taipei City (台北市敦化南路一段269號). Open daily from 10am to 6:30pm, closed Sundays. Tel: (02) 2836-3452
■ Until Feb. 8
Orientations (方向) showcases new and old paintings by Jorinde Jankowski (張友鷦), whose canvases vary in subject matter and style. In her vaguely monochromatic cityscapes, she depicts the isolation and fragmentation of urban life, delineating an all too common alienation as a symbol for human longing. In other paintings, she employs a vibrant palette of color and cartoon-like, personified animal figures to mock human flaws, while in other canvases she becomes more introspective and investigates the meaning of home, family and belonging with fairytale-like images that possess dark undertones.
■ Art Den (藝研齋), 3F, 309, Xinyi Rd Sec 4, Taipei City (台北市信義路四段309號3樓), tel: (02) 2325-8188. Open Mondays to Fridays from 11am to 5pm, and Saturdays from 10am to 6pm
■ Until Jan. 19
Contemporary Chinese artist, Shi Jinsong (史金淞), works in sculpture, painting, and on-site experiential performance, and uses non-traditional easel-painting forms to express his concern for the transitory nature of life and its objects. With Scenes from an Unpredictable Theatre, Shi uses theatrical elements as the artistic medium for his new exhibition, which is in two parts. The first involved Shi traveling throughout Taiwan over the past few months, collecting everyday objects and returning them to the gallery, where an invited audience was encouraged to smash them using a variety of hammers. The artist will, over the coming weeks, use the detritus — what he dubs “a script” — to form an installation, which he calls “a play,” which will be on view in the gallery until May.
■ MOT Arts, 3F, 22, Fuxing S Rd Sec 1, Taipei City (台北市復興南路一段22號3樓), tel: (02) 2751-8088. Open daily from 11:30am to 8pm
■ Until May 26
Experimental sound installations and live performances make up a solo exhibition by Chang Yung-ta (感知‧交界). Entitled Seen/Unseen (張永達), Chang transforms invisible signals and data — radiation from a nuclear power plant, for example — into sound waves, which serve as the primary objects of his installations. The two pieces present the conversion of visible things to invisible sounds, or the conversion of something visual into something auditory, which is meant to convey a looming yet silent message.
■ Kuandu Museum of Fine Arts (關渡美術館), Taipei National University of the Arts (台北藝術大學), 1 Xueyuan Rd, Taipei City (台北市學園路1號). Open Tuesdays to Sundays from 10am to 5pm. Tel: (02) 2896-1000 X2432
■ Until Feb. 24
Huang Pei-ju (黃珮如) continues her exploration of light and darkness as a metaphor of liminality with Reduced to Light (躲進光裡面). Huang uses pen to create various wash effects on the canvas, which are meant to suggest a visible contour to light.
■ IT Park Gallery (伊通公園), 2F-3F, 41 Yitong St, Taipei City (台北市伊通街41號2-3樓). Open Tuesdays to Saturdays from 1pm to 10pm. Tel: (02) 2507-7243
■ Until Jan. 26
The Taiwan of yesteryear was dominated in whole or in part by the Dutch, Spanish, Qing Empire and Japanese. But is the Taiwanese name for a popular edible fish derived from the Portuguese language? Cheng Wei-chung (鄭維中), an associate research fellow at Academia Sinica’s Institute of Taiwan History, says yes. The fish in question is the narrow-barred Spanish mackerel, which was listed in early 18th century Qing local gazetteers as Taiwanese specialities alongside milk fish and mullet, according to Cheng’s paper, “Mullet, narrow-barred Spanish mackerel and milkfish: Multiple contextual developments of three certified seafood specilaities in Taiwan, from the
Aug. 10 to Aug. 16 They called him the “No Problem Doctor” (沒關係醫生) because that’s what he always told his patients when they couldn’t pay up. Operating the only clinic in Changhua County’s Pusin Township (埔心) during the 1950s, Hsu Tsai-chih (許再枝) knew that life was difficult in his remote hometown. “They barely had enough to survive, so it was pointless to chase after them for the money,” an 81-year-old Hsu told the United Daily News in 2002. “I just went with the flow, some offered to pay me back years later but I had already forgotten
I didn’t expect to spend more than three minutes out of my car, yet the sun was so brutal I put on my hat before approaching the seawall. Beimen (北門) is the flattest and most sun-baked part of Tainan. It lacks trees and people. In wintertime, the weather is often delightful. It wasn’t yet mid-morning in the hot season, however, and I felt like a leaf shriveling in the desert. Atop the seawall but facing inland, I could see dozens of the rectangular ponds which account for a significant percentage of Beimen’s “land” area. Some, no doubt, were dug to produce
A widely criticized peer-reviewed study that measured the attractiveness of women with endometriosis has been retracted from the medical journal Fertility and Sterility. The study, “Attractiveness of women with rectovaginal endometriosis: a case-control study,” was first published in 2013 and has been defended by the authors and the journal in the intervening years despite heavy criticism from doctors, other researchers and people with endometriosis for its ethical concerns and dubious justifications, with one advocate calling the study “heartbreaking” and “disgusting.” The study’s conclusion was: “Women with rectovaginal endometriosis were judged to be more attractive than those in the two control groups.