Fri, Aug 03, 2018 - Page 14 News List

Art exhibition listings

By Sheryl Cheung  /  Contributing reporter

Kino Satoshi, Oroshi (2018).

Photo Courtesy of National Taiwan Museumy

The Taipei Art Festival (台北藝術節) celebrates its 20th edition this year with a diverse program of performances, workshops and talks curated by new director Tang Fu-kuen (鄧富權). Assembly (為了 — 在一起) examines future human co-existence, self-determination and probes the complex relationships between individual and society. “Taiwan, oft-admired as Asia’s progressive frontier, is the site from which ‘Assembly’ seeks to reflexively stage ‘social democracy’ and ‘self-determination,’” writes Tang in a statement. The program started last month and will continue through October; be sure to checkout the festival’s THINK BAR section, which features an international repertoire of events including Filipino artist Eisa Jocson’s Macho Dancer, a “transgressive gender-bending performance inspired by a seductive form of dancing performed only by young men in Manila nightclubs.” Korean artist and composer Jaha Koo’s Cuckoo is a critically-charged performance between himself and his artificially intelligent rice cookers. The two-day program of Noise Assembly, the Taipei edition of Asian Meeting Festival, brings together 10 Taiwan-based musicians and 5 Southeast Asian musicians to engage in the idea of an immersive sound forest that encourages an experience of listening together.

■ Event times and venues vary by event, please check Taipei Art Festival Web site for full schedule: www.taipeifestival.org/

■ Until Oct. 21

Noisesound Fest (聲波造動) is an exhilarating set of noise performances and archival exhibitions hosted by Taipei’s newly-opened Boven Magazine Library. The library, possessing magazines on design, art, fashion, lifestyle and photography is tucked in the back streets of Taipei’s east area. Boven regularly hosts talks, events and a program of exhibitions in its two-level space. Currently on view is a display of publications, tape cassettes, fliers and other documents that provide “a glimpse of the ephemeral development of local sound artists since the 1990s,” reads the show’s preface. Highlights include rare copies of the legendary sound zine NOISE established by Wang Fu-jui (王福瑞) in the 1993; reprints of fliers and hand-written drafts about experimental sound activities and theories that involved artists Lin Chi-wei (林其蔚), The Zero & Sound Liberation Organization (零與聲音解放組織) and works from Taipei International Post-Industrial Art Festival (台北國際後工業藝術展). The archival presentation offers a generous introduction to the forerunners of the sound scene, the creative climate of the 90s and their ongoing interests in sonic investigations that include “performing with analogy and digital sound medias showing linear and nonlinear, avant-garde and industrial, impromptu and provocative, performing music and sound designs; presenting all the different possibilities of sound design and transfer.”

■ Boven Magazine Library (BOVEN雜誌圖書館), B1, 18, Aly 5, Ln 107, Fuxing S Rd, Taipei City (台北市大安區復興南路一段107巷5弄18號B1), tel: (02) 2778-7526. Open Daily from 12pm to 10pm

■ Until Sunday

Tai Chi-hsien’s (戴吉賢) digital artwork often reflects on how technological progress drives civilization. His most recent video work, Mirage (蜃城), is currently on display at the National Museum of Fine Arts in Taichung, as part of the museum’s selection of digital art proposals for this year. Mirage depicts a cityscape that blends the virtual with memories of the real — a hybrid vision of the world driven by “the insatiable desire of humanity” for spectacle, according to the exhibition preface. Our sense of reality is continually in transition, and urban lives are becoming increasingly accelerated and superficial, says the artist, “no matter how tantalizing the distant neon light is to one’s eye, it is, indeed, little more than the facade of the flashy night.” Personal sentiments of disillusionment and moral musings are revealed in the work through images of silhouetted buildings and urban architecture. The work appears abstract and almost expressionistic and features an overlay of painted white lines and layered nuances of color. While the work offers an allegorical view of the progress of human civilization, it also points towards the future, asking questions such as: “Will the acceleration of our world end in …a state of ‘going out of control’ amid nothing but the switch between cities (computer programs) and digital codes?”

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