The National Museum of History presents snuff bottle art by the late Chinese artisan Suo Zhen-hai (索振海). Inside-Painted Masterpieces (神壺奇技) is 150 snuff bottles with intricate inch-tall birds, horses, people and splendid mountain views painted on the glass interior with a tiny curved brush. Decorated snuff bottles were used to hold powdered tobacco leaves during the Qing Dynasty, during which smoking tobacco was illegal.
■ National Museum of History, 49 Nanhai Rd, Taipei City (台北市南海路49號), tel: (02) 2361-0270. Open Tuesdays to Sundays from 10am to 6pm. General admission: NT$30
■ Until Jan. 19
Photo Courtesy of National Museum of History
Tu Pei-shih (杜珮詩) presents three offbeat animations in Making Fantasies (想像的製造). In the titular Making Fantasies (想像的製造), Tu tells a winsome but ultimately deceptive narrative using images “of truth”: documentary photographs by famous photographers. In King Kong (金剛), she stitches together clips from all the King Kong movies since 1933, creating a “best-of” video that highlights Hollywood’s advances in animation technology. Last Wills (遺願) features the last words of seven historic figures including Franz Kafka (“Kill me, or else you are a murderer!”) and Beethoven (“I shall hear in heaven.”) In lighthearted animation sequences, she recreates the speaker and the original intentions, or the secret wish, behind each famous last utterance.
■ Project Fulfill Art Space (就在藝術空間), 2, Alley 45, Ln 147, Xinyi Rd Sec 3, Taipei City (台北市信義路三段147巷45弄2號), tel: (02) 2707-6942. Open Tuesdays to Sundays from 1pm to 7pm
■ Until Dec. 22
Photo Courtesy of Project Fulfill Art Space
A Space Elsewhere (另一個空間) features oil paintings, installations and works on paper by Chiang Yomei (蔣友梅), former president Chiang Ching-kuo’s (蔣經國) oldest grandchild. She brings I Can See What I Am, an installation based on her redevelopment project for the Famen Temple complex in Xian, China. In paintings, Chiang layers colors so that the canvas is fluid and bright yet opaque, like the surface of a lake, and appears to change under the gaze. “The works reflect an ephemeral nature, emphasizing the elusiveness of identity, and the possibilities beyond boundaries,” according the gallery notes. Chiang is an artist and art historian who works in London.
■ Tina Keng Gallery (耿畫廊), 15, Ln 548, Ruiguang Rd, Taipei City (台北市瑞光路548巷15號), tel: (02) 2659-0798. Open Tuesdays to Sundays from 10am to 7pm
■ Opening reception tomorrow at 2:30pm. Until Dec. 29
Imaginary Landscapes II – Immortal Quest (想像的風景II — 不朽的追求) is a showcase for the 50 winning computer graphics, video art, installations and interactive works in a competition hosted by Ecole Professionnelle des Arts Contemporains (EPAC), a comic and game art college in Switzerland. EPAC invited students from Europe and Asia to submit works that investigate the issue of human death in a digitized society.
■ MOCA Studio Underground (地下實驗), Zhongshan Metro Mall B30/32/34, near Exit R9 (捷運中山地下街,近R9出口), tel: (02) 2552-3721. Free admission
■ Until Dec. 22
In Indexing the Moon (指月錄), conceptual and performance artist Shi Jin-hua (石晉華) questions the concept of the art gallery. Shi believes the objects contained within the exhibit can’t be art, but at most behave as indices of art that lies elsewhere. Shi coaxes viewers to this realization with photographs of buildings, penned notes and other pedestrian objects that make no claims to meaning within the gallery.
Mind Set Art Center, 16-1, Xinsheng S Rd Sec 3, Taipei City (台北市新生南路三段16-1號), tel: (02) 2365-6008. Tuesdays to Sundays 2pm to 7pm
Until Dec. 8
The Opposite Shore (對岸) presents several video installations and paintings by rising Chinese artist Wu Junyong (吳俊勇). In highly detailed though simply wrought animations, Wu updates ancient Chinese fables with contemporary slang to depict the absurdity of the human condition. The artist’s paintings show people participating in wacky exercises like slicing the neck of a dragon into steaks — a gently pointed metaphor for contemporary politics, particularly the manner in which it plays out on both sides of the Taiwan Strait.
■ Art Issue Projects (藝術計劃), 32, Ln 407, Tiding Blvd Sec 2, Taipei City (台北市堤頂大道二段407巷32號), tel: (02) 2659-7737. Open daily from 11am to 6pm. Closed Mondays
■ Until Dec. 15
A few weeks ago I found myself at a Family Mart talking with the morning shift worker there, who has become my coffee guy. Both of us were in a funk over the “unseasonable” warm weather, a state of mind known as “solastalgia” — distress produced by environmental change. In fact, the weather was not that out of the ordinary in boiling Central Taiwan, and likely cooler than the temperatures we will experience in the near-future. According to the Taiwan Adaptation Platform, between 1957 and 2006, summer lengthened by 27.8 days, while winter shrunk by 29.7 days. Winter is not
Taiwan’s post-World War II architecture, “practical, cheap and temporary,” not to mention “rather forgettable.” This was a characterization recently given by Taiwan-based historian John Ross on his Formosa Files podcast. Yet the 1960s and 1970s were, in fact, the period of Taiwan’s foundational building boom, which, to a great extent, defined the look of Taiwan’s cities, determining the way denizens live today. During this period, functionalist concrete blocks and Chinese nostalgia gave way to new interpretations of modernism, large planned communities and high-rise skyscrapers. It is currently the subject of a new exhibition at the Taipei Fine Arts Museum, Modern
March 25 to March 31 A 56-year-old Wu Li Yu-ke (吳李玉哥) was straightening out her artist son’s piles of drawings when she inadvertently flipped one over, revealing the blank backside of the paper. Absent-mindedly, she picked up a pencil and recalled how she used to sketch embroidery designs for her clothing business. Without clients and budget or labor constraints to worry about, Wu Li drew freely whatever image came to her mind. With much more free time now that her son had found a job, she found herself missing her home village in China, where she
In recent years, Slovakia has been seen as a highly democratic and Western-oriented Central European country. This image was reinforced by the election of the country’s first female president in 2019, efforts to provide extensive assistance to Ukraine and the strengthening of relations with Taiwan, all of which strengthened Slovakia’s position within the European Union. However, the latest developments in the country suggest that the situation is changing rapidly. As such, the presidential elections to be held on March 23 will be an indicator of whether Slovakia remains in the Western sphere of influence or moves eastward, notably towards Russia and