Never Ending Construction is a group exhibition by three Japanese artists working in installation and painting. The paintings of Reika Nakayama, who resides in Mexico, feature a background of vivid, colorful patterns in acrylic paint, to which she has added dynamic pencil drawings of animals and human figures. Sakae Ozawa creates a playful world of little girls in billowing dresses flirting with flying whales and dancing bears. Paramodel, an “art unit” comprising Yasuhiko Hayashi and Yusuke Nakano, transforms the gallery space with their large installations comprising flowing lines and abstract geometric patterns.
■ 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
■ Opening reception on Saturday at 3pm. Until March 4
Photo Courtesy of Aki Gallery
Polyphony Beat (複音。節拍) is a dual exhibition of paper sculpture by Chu Wei-bor (朱為白) and Mia Liu (劉文瑄). The show seeks to show viewers the diversity and range of contemporary paper sculpture.
■ Kalos Gallery (真善美畫廊), 269, Dunhua S Rd Sec 1, Taipei City (台北市敦化南路一段269號), tel: (02) 2836-3452. Open daily from 10am to 6:30pm, closed Sundays
■ Opening reception on Saturday at 3pm. Until March 3
Photo Courtesy of Eslite Gallery
Book From the Sky to the Ground (從天書到地書) is a retrospective exhibit on the work of Chinese artist Xu Bing (徐冰). Xu’s installations question the notion that meaning can be communicated through language and how written words and symbols can be manipulated. In 1999, he received a MacArthur Foundation “genius” award for his originality and contribution to printmaking and calligraphy.
■ Eslite Gallery (誠品畫廊), 5F, 11 Songgao Rd, Taipei City (台北市松高路11號5樓), tel: (02) 8789-3388 X1588. Open Tuesdays to Sundays from 11am to 7pm
■ Opening reception on Saturday at 3pm. Until April 1
Wonderland: New Contemporary Art From Australia is a wide-ranging exhibition that surveys art from Down Under. The 45 artworks by 24 artists include found objects, sculpture, documentary video, painting and interactive installation. The “richly illustrated catalogue,” says MOCA’s press blurb, brings together “22 prominent critics to introduce the historical and cultural contexts within which each artist has evolved their practice.”
■ Museum of Contemporary Art, Taipei (MOCA, Taipei), 39 Changan W Rd, Taipei City (台北市長安西路39號), tel: (02) 2552-3720. Open Tuesdays to Sundays from 10am to 6pm. General admission: NT$50
■ Opening reception on Friday from 7pm to 9pm. Until April 15
In Girls — Spring (女孩春), Isa Ho (何孟娟) explores the traditional and (often) constricting roles of women in Taiwanese society and females’ quests for self-expression. Ho views her new series of photographs, which are shot from a bottom up perspective so that the viewer is constantly focused on the sky, as an “escape from the perspectives and values of seeing.”
■ InArt Gallery (加力畫廊), 315 Youai St, Tainan City (台南市友愛街315號), tel: (06) 221-3638. Open Tuesdays to Saturdays from 1pm to 9pm
■ Until March 11
Turning a Blind Eye (再見不尋常小事) is a joint exhibit of video and drawing by three Taiwanese artists. The videos of Chang Li-ren (張立人), winner of the 2009 Taipei Arts Awards (臺北美術獎), meditate on the changing ideas of beauty through images of women culled from Western art history. Lin Guan-ming’s (林冠名) drawings examine the estrangement of humans from the natural environment, which he views as a peculiar aspect of industrial and urban societies. Huang Hai-hsin (黃海欣) assembles news media images in videos that blur the line between fiction and reality.
■ Agora Art Space (藝譔堂), 104, Ln 155, Dunhua N Rd, Taipei City (台北市敦化北路155巷104號), tel: (02) 8712-0178. Open Tuesdays to Saturdays from 11am to 7pm
■ Until March 17
Nine Taiwanese nervously stand on an observation platform at Tokyo’s Haneda International Airport. It’s 9:20am on March 27, 1968, and they are awaiting the arrival of Liu Wen-ching (柳文卿), who is about to be deported back to Taiwan where he faces possible execution for his independence activities. As he is removed from a minibus, a tenth activist, Dai Tian-chao (戴天昭), jumps out of his hiding place and attacks the immigration officials — the nine other activists in tow — while urging Liu to make a run for it. But he’s pinned to the ground. Amid the commotion, Liu tries to
The slashing of the government’s proposed budget by the two China-aligned parties in the legislature, the Chinese Nationalist Party (KMT) and Taiwan People’s Party (TPP), has apparently resulted in blowback from the US. On the recent junket to US President Donald Trump’s inauguration, KMT legislators reported that they were confronted by US officials and congressmen angered at the cuts to the defense budget. The United Daily News (UDN), the longtime KMT party paper, now KMT-aligned media, responded to US anger by blaming the foreign media. Its regular column, the Cold Eye Collection (冷眼集), attacked the international media last month in
A pig’s head sits atop a shelf, tufts of blonde hair sprouting from its taut scalp. Opposite, its chalky, wrinkled heart glows red in a bubbling vat of liquid, locks of thick dark hair and teeth scattered below. A giant screen shows the pig draped in a hospital gown. Is it dead? A surgeon inserts human teeth implants, then hair implants — beautifying the horrifyingly human-like animal. Chang Chen-shen (張辰申) calls Incarnation Project: Deviation Lovers “a satirical self-criticism, a critique on the fact that throughout our lives we’ve been instilled with ideas and things that don’t belong to us.” Chang
Feb. 10 to Feb. 16 More than three decades after penning the iconic High Green Mountains (高山青), a frail Teng Yu-ping (鄧禹平) finally visited the verdant peaks and blue streams of Alishan described in the lyrics. Often mistaken as an indigenous folk song, it was actually created in 1949 by Chinese filmmakers while shooting a scene for the movie Happenings in Alishan (阿里山風雲) in Taipei’s Beitou District (北投), recounts director Chang Ying (張英) in the 1999 book, Chang Ying’s Contributions to Taiwanese Cinema and Theater (打鑼三響包得行: 張英對台灣影劇的貢獻). The team was meant to return to China after filming, but