Lee Ji-hong’s (李基宏) Anachronism (過時) is a solo exhibition of short time-lapse videos titled after their month of production. The films show Lee himself playing different whimsical games for one. April’s Work 2013 is a record of Lee walking backwards daily at the Taipei Main Station and the reactions of other pedestrians. In July’s Work 2013 — Lee’s interpretation of the “romantic life of the artist” — he is clocking in at the IT Park Gallery every day to wash its windows.
■ IT Park Gallery (伊通公園), 41 Yitong St, Taipei City (台北市伊通街41號), tel: (02) 2507-7243. Open Tuesdays to Saturdays from 1pm to 10pm
■ Opening reception tomorrow at 7pm. Until Aug. 31
Photo Courtesy of Wu Pei-han
Chinese artist-hermit Hong Ling (洪凌) shows recent work in a rare solo exhibition titled Nature (道法自然). Born in Beijing in 1955, Hong was one of the first Chinese artists to reinterpret the classic form of Chinese landscape using Western oil painting techniques. Hong’s oeuvre is inspired mostly by Yellow Mountain (黃山), where he lives as a recluse.
■ Kuandu Museum of Fine Arts (關渡美術館), 1 Xueyuan Rd, Taipei City (台北市學園路1號), tel: (02) 2893-8870. Open Tuesdays to Sundays from 10am to 5pm
■ Until Sept. 22
Photo Courtesy of Yesart Air Gallery
Meanwhile at the group exhibition New Poetry (新詩意), Chinese painters use the age-old medium of ink in fresh ways. Eighteen artists render untraditional visual subjects — like a carousel, or a bikini-clad woman — while calling on techniques from Cubism and other Western aesthetics.
■ 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), tel: (02) 2570-0390. Open Tuesdays to Sundays from 11am to 9pm
■ Until Sept. 8
Withered Childhood (凋零的童年) is a solo photography exhibition by Wu Pei-han (吳珮韓), a professional costume designer and make-up artist. The gallery includes nearly 100 works of original costumes, props and makeup design in macabre scenes. In the Playmates (玩伴) series, adults stare into space through bruised eyes, while friends in The Joys of Childhood (童趣) have permanent crimson smiles drawn over a pallor foundation.
■ Sun Yat-sen Library (逸仙書坊), Sun Yat-sen Memorial Hall (國父紀念館), 505, Renai Rd Sec 4, Taipei City, (台北市仁愛路4段505號), tel: (02) 2758-8008 ext. 545, open daily from 9am to 6pm
■ Until Sunday
Origins (源) is Annie Hsiao-wen Wang’s (王筱雯) first solo show of oil paintings and ink sketches in Taipei, her birth city. Works of the long-term Australia resident are like a remote moor shown out of focus: They are fog-like spreads of muted colors that reveal no story and no concrete objects. Interested in transcending the materialistic world, Wang uses the language of abstraction to create a silent and perhaps revelatory moment for the viewer.
■ Yesart Air Gallery, 2F, 48, Zhongshan N Rd Sec 7, Taipei City (台北市中山北路七段48號2F), open Tuesdays to Sundays from 2pm to 8pm
■ Until Aug. 13
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