Lee Ji-hong’s (李基宏) Anachronism (過時) is a solo exhibition of short time-lapse videos titled after their month of production. The films show Lee himself playing different whimsical games for one. April’s Work 2013 is a record of Lee walking backwards daily at the Taipei Main Station and the reactions of other pedestrians. In July’s Work 2013 — Lee’s interpretation of the “romantic life of the artist” — he is clocking in at the IT Park Gallery every day to wash its windows.
■ IT Park Gallery (伊通公園), 41 Yitong St, Taipei City (台北市伊通街41號), tel: (02) 2507-7243. Open Tuesdays to Saturdays from 1pm to 10pm
■ Opening reception tomorrow at 7pm. Until Aug. 31
Photo Courtesy of Wu Pei-han
Chinese artist-hermit Hong Ling (洪凌) shows recent work in a rare solo exhibition titled Nature (道法自然). Born in Beijing in 1955, Hong was one of the first Chinese artists to reinterpret the classic form of Chinese landscape using Western oil painting techniques. Hong’s oeuvre is inspired mostly by Yellow Mountain (黃山), where he lives as a recluse.
■ 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) 2893-8870. Open Tuesdays to Sundays from 10am to 5pm
■ Until Sept. 22
Photo Courtesy of Yesart Air Gallery
Meanwhile at the group exhibition New Poetry (新詩意), Chinese painters use the age-old medium of ink in fresh ways. Eighteen artists render untraditional visual subjects — like a carousel, or a bikini-clad woman — while calling on techniques from Cubism and other Western aesthetics.
■ Soka Art Center (索卡藝術中心), 2F, 57, Dunhua S Rd Sec 1, Taipei City (台北市敦化南路一段57號2樓), tel: (02) 2570-0390. Open Tuesdays to Sundays from 11am to 9pm
■ Until Sept. 8
Withered Childhood (凋零的童年) is a solo photography exhibition by Wu Pei-han (吳珮韓), a professional costume designer and make-up artist. The gallery includes nearly 100 works of original costumes, props and makeup design in macabre scenes. In the Playmates (玩伴) series, adults stare into space through bruised eyes, while friends in The Joys of Childhood (童趣) have permanent crimson smiles drawn over a pallor foundation.
■ Sun Yat-sen Library (逸仙書坊), Sun Yat-sen Memorial Hall (國父紀念館), 505, Renai Rd Sec 4, Taipei City, (台北市仁愛路4段505號), tel: (02) 2758-8008 ext. 545, open daily from 9am to 6pm
■ Until Sunday
Origins (源) is Annie Hsiao-wen Wang’s (王筱雯) first solo show of oil paintings and ink sketches in Taipei, her birth city. Works of the long-term Australia resident are like a remote moor shown out of focus: They are fog-like spreads of muted colors that reveal no story and no concrete objects. Interested in transcending the materialistic world, Wang uses the language of abstraction to create a silent and perhaps revelatory moment for the viewer.
■ Yesart Air Gallery, 2F, 48, Zhongshan N Rd Sec 7, Taipei City (台北市中山北路七段48號2F), open Tuesdays to Sundays from 2pm to 8pm
■ Until Aug. 13
The canonical shot of an East Asian city is a night skyline studded with towering apartment and office buildings, bright with neon and plastic signage, a landscape of energy and modernity. Another classic image is the same city seen from above, in which identical apartment towers march across the city, spilling out over nearby geography, like stylized soldiers colonizing new territory in a board game. Densely populated dynamic conurbations of money, technological innovation and convenience, it is hard to see the cities of East Asia as what they truly are: necropolises. Why is this? The East Asian development model, with
June 16 to June 22 The following flyer appeared on the streets of Hsinchu on June 12, 1895: “Taipei has already fallen to the Japanese barbarians, who have brought great misery to our land and people. We heard that the Japanese occupiers will tax our gardens, our houses, our bodies, and even our chickens, dogs, cows and pigs. They wear their hair wild, carve their teeth, tattoo their foreheads, wear strange clothes and speak a strange language. How can we be ruled by such people?” Posted by civilian militia leader Wu Tang-hsing (吳湯興), it was a call to arms to retake
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When Lisa, 20, laces into her ultra-high heels for her shift at a strip club in Ukraine’s Kharkiv, she knows that aside from dancing, she will have to comfort traumatized soldiers. Since Russia’s 2022 invasion, exhausted troops are the main clientele of the Flash Dancers club in the center of the northeastern city, just 20 kilometers from Russian forces. For some customers, it provides an “escape” from the war, said Valerya Zavatska — a 25-year-old law graduate who runs the club with her mother, an ex-dancer. But many are not there just for the show. They “want to talk about what hurts,” she