Hsieh Mu-chi (謝牧岐) is a Taiwanese painter who probes the relationship between the individual, identity, collective consciousness and history. He often references the past by quoting iconic works of art and art styles from Taiwanese art history, or portraying scenes of how daily life in Taiwan used to be for the common folk. Hsieh constantly constructs and overturns meaning, maintaining an attitude of continuous questioning. His solo exhibition, I.O.U. a Painting (我欠你的畫), at Project Fulfill Art Space (就在藝術空間), is described by the gallery as “an artistic construct of the real and the fictitious… with a tone of resignation and irony.” Using creative compositional techniques and editing methods, Hsieh’s paintings are both critical and humorous at the same time.
■ 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 6pm
■ Begins tomorrow; until Oct. 19
Photo Courtesy of Mind Set Art Center
An ecologically-minded exhibition by Singaporean multi-disciplinary artist Robert Zhao Renhui (趙仁輝) is on view at Mind Set Art Center (安卓藝術). As an extension of his previous project, When World Collides (當世界碰撞), which was presented at last year’s Taipei Biennal, Zhao’s new work continues to focus on the changing dynamics between invasive and native species. According to his research, the relationship between the two categories is sometimes tumultuous and unstable and may result in violent encounters for reasons of competition and predation. Zhao is concerned about the human impact on nature and how urbanization since the 1950s has greatly affected the lives of animals and plants. In the past year, the artist has been investigating the conditions of a small wasteland forest in Singapore, recording animal behavior in abandoned buildings using infrared camera technology.
■ Mind Set Art Center (安卓藝術) 180, Heping E Rd, Taipei City (台北市和平東路180號), tel: (02) 2365-6008. Open Tuesdays to Saturdays from 11am to 6pm
■ Until Oct. 12
Photo Courtesy of the artist
Ohi ware is a highly valued Japanese style of tea ceramics created with the soil from Ohi District in Japan’s Kanazawa City. As a unique craft passed down within the Ohi family since the Edo period, it is a form of raku, or traditional Japanese pottery that is hand shaped and fired at low temperatures. Toshi Ohi is the 11th generation craftsmen of his family who not only carries on his ancestral heritage, but also adds his own creative interpretations. Educated in the US, Ohi draws inspiration from East and West, and innovates within tradition. The artist’s solo exhibition, Transcend (承變), at Whitestone Gallery Taipei (白石畫廊), displays a selection of works that demonstrate the artist’s expansive oeuvre.
■ White Stone Gallery (白石畫廊), 1 Jihu Rd, Taipei City (台北市基湖路1號), tel: (02) 8751-1185. Opens Tuesdays to Sundays from 11am to 9pm.
■ Until Sept. 22
Photo Courtesy of Taipei Fine Art Museum
Wu Chuan-lun (吳權倫) is a visual artist based in Tainan and Berlin. He works with a variety of media, including photography, painting and computer generated images. Wu’s exhibition, No Country for Canine, at Taipei Fine Arts Museum, uses the symbol of German Shepherds to examine issues of social class, race and prejudice. According to the press release, the German Shepherd was possibly introduced to Taiwan by the Japanese during the Japanese colonial era and generally kept by the wealthy as a symbol of authority and social status. Through drawings, porcelain and brass objects, photographs and video images, the artist draws parallels between the history of the German Shepherd in Taiwan and Germany, touching on ideas of image dissemination, breeding and national identity.
■ Taipei Fine Arts Museum (台北市立美術館, TFAM), 181, Zhongshan N Rd Sec 3, Taipei (台北市中山北路三段181號), tel: (02) 2595-7656. Open Tuesdays to Sundays from 9:30am to 5:30pm and until 8:30pm on Saturdays
■ Until Nov. 3
Photo Courtesy of White Stone Gallery
Chen I-hsuen (陳以軒) is an interdisciplinary artist with a background in advertising and photography. He is interested in images as a medium of communication and a portrayal of history. For his exhibition, Commissioned (委託製作), at Hong-gah Museum (鳳甲美術館), Chen presents a new collaborate project for which the artist has invited a group of fellow artists to engage in a choreographed process of labor. According to the artist, the work seeks to look at the relationship between labor and laborers especially in the context of contemporary art production in Taiwan. Chen is attentive to the conditions of local young artists, the generational conflicts they face and various means of survival. Presented as an eight-channel video, the project narrates a series of scenarios related to the nature of art production today.
■ Hong Gah Museum (鳳甲美術館), 11F, 166 Daye Rd, Taipei City (台北市大業路166號11樓), tel: (02) 2894-2272. Open Tuesdays to Sundays from 10:30am to 5:30pm
■ Until Oct. 6
Photo Courtesy of Honggah Museum
It has been 26 years since Nicholas Gould hosted his last Issues and Opinions radio show for ICRT a recording studio on Roosevelt Road. He remembers the familiar ‘whoosh’ as the door to the soundproof room closes and recognizes the carpet, but the recording equipment is gone, with half of the space being used for storage. Gould is filled with nostalgia as he greets his guests, two financial writers who are here to discuss Taiwan’s post-COVID-19 economy for his new podcast, Taiwan Matters. Gould had been thinking of revisiting his old career for a while, but being allowed access to
The 22nd Taipei Arts Festival (臺北藝術節) opens tonight with three productions, a slightly scaled-down pandemic version that seeks to keep its tradition of big ideas, challenging programs and international connections alive and moving forward in an increasingly uncertain world. The theme of this year’s festival is “Super@#S%?” — as good a term as any when descriptives and superlatives seem not only inadequate, but somewhat irrelevant in a world where so many people cannot imagine being able to return to theaters, either as performers or audience members — they are too worried about having a job and their health. Technically, however, it is
Shuanglianpi (雙連埤) is both a Hakka outpost and a place of great ecological interest. The conjoined body of water from which it gets its name is the centerpiece of the 17.16-hectare Shuanglianpi Wildlife Refuge (雙連埤野生動物保護區). No waterways of significance fill or drain this scenic lake in Yilan County’s Yuanshan Township (員山鄉). During the 1895 to 1945 period of Japanese rule, the colonial authorities — struggling to secure Taiwan’s foothills — encouraged Han people to settle in areas adjacent to indigenous communities. Around 1910, a 49-year-old Hakka pioneer called Tsou Cheng-sheng (鄒成生) from what’s now Taoyuan decided to begin farming at
Wild Sparrow (野雀之詩) is simple and extremely slow paced, told through the eyes of Han (Kao Yu-hsia, 高於夏), an introspective, shy grade schooler who lives with his great-grandmother in the verdant countryside. Han has a fascination with sparrows, which are either flying high in the sky or trapped in cages and nets, providing a constant metaphor throughout the film. In the most ironic scene, a man catches the birds just to charge people to set them free again, taking advantage of Buddhists who engage in the ritual of “releasing” animals from captivity. Han takes a badly injured sparrow home and