Photographer Chiang Kai-chun (江凱群) takes a detached observer approach in his latest solo exhibition Third Person Traveler (第三人稱的過客) at Kuandu Museum of Fine Arts. The works are inspired by the eight years Chiang spent living and working in France, particularly his sense of “otherness” being in a foreign land. Normally, the artistic process involves editing, revising and tweaking, but Chiang eliminates this step in his work, and, as a result, the exhibition is a series of rough drafts. It’s refreshing in the sense that viewers see the artist’s thought process rather than a curated final image. Though the question still remains: Is art ever truly objective?
■ 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) 2896-1000 X 2432. Open Tuesdays to Sundays from 10am to 5pm
■ Until Feb. 12
Photo courtesy of Liang Gallery
Some may call Filipino artist Oscar Villamiel’s installations grotesque — entire rooms filled with decapitated doll heads on stakes and contorted Barbie dolls lining the walls — but he prefers to see them as providing viewers with another way in which to perceive beauty. In Unchanging Ever Changing (恆變), which opens at Mind Set Art Center tomorrow, Villamiel continues piecing together found objects, in this case, bird’s feathers and fishing net fibers. He does this to draw attention to the vast beauty of the world from sky to sea. By binding the feathers with fishnets and placing them in wooden boxes, Villamiel also alludes to the interconnectedness of life and nature.
■ Mind Set Art Center (安卓藝術), 7F, 180, Heping E Rd Sec 1, Taipei City (台北市和平東路一段180號7樓), tel: (02) 2365-6008. Open Tuesdays to Saturdays from 11am to 6pm
■ Opens tomorrow. Until Feb. 18
Photo courtesy of Liang Gallery
Opening tomorrow at Liang Gallery is Landscape and Imagery — Group Exhibition of Senior Taiwanese Artists (風景 · 意象 — 台灣前輩藝術家聯展), a joint exhibition of artists including Chen Te-wang (陳德旺), Li Mei-shu (李梅樹) and Yang San-lang (楊三郎), all of whom contributed greatly to impressionist and post-impressionist movements in Taiwan throughout the 20th century. The paintings serve as a time capsule of the history of Taiwan over the same period. Landscapes evolve, as well as modes of transportation and the ways in which people go about their daily lives. What remains constant are depictions of Taiwan’s natural beauty, which also serves as a reminder of the importance of taking care of it.
■ Liang Gallery (尊彩藝術中心), 366, Ruiguang Rd, Taipei City (台北市瑞光路366號), tel: (02) 2797-1100. Open Tuesdays to Sundays from 11am to 6pm
■ Opens tomorrow. Until Feb. 26
Photo courtesy of Art Issue Projects
Japanese sculptors occupy the limelight at Aki Gallery with the opening of Forms and Essence — Contemporary Japanese Sculpture (型態與本質 — 日本當代雕塑) tomorrow. After a successful solo show at Art Taipei, Aki brings back the works of Katsura Funakoshi and three other sculptors: Kunihiro Akinaga, Satoru Koizumi and Takafumi Yagi. While Akinaga renders animal bones aesthetically beautiful, forcing the viewer to think about the ways in which society is desensitized to death and violence, Koizumi’s wooden sculptures of children dressed in animal outfits encourages us to channel our inner child and playfulness.
■ Aki Gallery (也趣藝廊), 141 Minzu W Rd, Taipei City (台北市民族西路141號), tel: (02) 2599-1171. Open Tuesdays to Sundays from noon to 6:30pm
■ Opens tomorrow. Until Feb. 26
Photo courtesy of Aki Gallery
Opening tomorrow at Art Issue Projects is Trace (痕跡), a solo exhibition by Wu I-chien (吳怡蒨), which captures her impressions of changing urban landscapes. Harried brush strokes and contemplative color palates forces the viewer to speed up and slow down. Though the subject matter appears somewhat abstract Wu’s paintings create the impression of holding a magnifying glass over something, whether it be a small crack in a wall or a piece of dirt lying on the sidewalk. Wu’s work suggests that we gain a better understanding of ourselves if we simply take the time and effort to be more attune of our surroundings and the traces we leave behind.
■ 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 Tuesdays to Sundays from 11am to 6pm
■ Opens tomorrow. Until March 12
Photo courtesy of Mind Set Art Center
Photo courtesy of Aki Gallery
In late October of 1873 the government of Japan decided against sending a military expedition to Korea to force that nation to open trade relations. Across the government supporters of the expedition resigned immediately. The spectacle of revolt by disaffected samurai began to loom over Japanese politics. In January of 1874 disaffected samurai attacked a senior minister in Tokyo. A month later, a group of pro-Korea expedition and anti-foreign elements from Saga prefecture in Kyushu revolted, driven in part by high food prices stemming from poor harvests. Their leader, according to Edward Drea’s classic Japan’s Imperial Army, was a samurai
Located down a sideroad in old Wanhua District (萬華區), Waley Art (水谷藝術) has an established reputation for curating some of the more provocative indie art exhibitions in Taipei. And this month is no exception. Beyond the innocuous facade of a shophouse, the full three stories of the gallery space (including the basement) have been taken over by photographs, installation videos and abstract images courtesy of two creatives who hail from the opposite ends of the earth, Taiwan’s Hsu Yi-ting (許懿婷) and Germany’s Benjamin Janzen. “In 2019, I had an art residency in Europe,” Hsu says. “I met Benjamin in the lobby
April 22 to April 28 The true identity of the mastermind behind the Demon Gang (魔鬼黨) was undoubtedly on the minds of countless schoolchildren in late 1958. In the days leading up to the big reveal, more than 10,000 guesses were sent to Ta Hwa Publishing Co (大華文化社) for a chance to win prizes. The smash success of the comic series Great Battle Against the Demon Gang (大戰魔鬼黨) came as a surprise to author Yeh Hung-chia (葉宏甲), who had long given up on his dream after being jailed for 10 months in 1947 over political cartoons. Protagonist
Peter Brighton was amazed when he found the giant jackfruit. He had been watching it grow on his farm in far north Queensland, and when it came time to pick it from the tree, it was so heavy it needed two people to do the job. “I was surprised when we cut it off and felt how heavy it was,” he says. “I grabbed it and my wife cut it — couldn’t do it by myself, it took two of us.” Weighing in at 45 kilograms, it is the heaviest jackfruit that Brighton has ever grown on his tropical fruit farm, located