The 2013 Asian Art Biennial Everyday Life (返常) features paintings, photography, video, sculptures and other works that comment on what it’s like to live in the Asia-Pacific, says curator Iris Shu-ping Huang (黃舒屏). Some 40 artists were chosen from Taiwan and abroad. Taipei-based painter Chiu Chien-Jen (邱建仁) brings urban scenes with bleak but mild titles — Heading Up as Before and Nothing Happened So Far — inhabited by alien-like people. Richard Bell is here with his Broken English, a film that tries to find out why Australian Aborigines appear to lack a vision for their future. The biennial also includes symposiums and lectures by guest scholars.
■ National Taiwan Museum of Fine Arts (國立臺灣美術館), 2, Wuquan W Rd Sec 1, Greater Taichung (台中市西區五權西路一段2號) tel: (04) 2372-3552. Open Tuesdays to Fridays from 9am to 5pm, Saturdays and Sundays from 9am to 6pm
■ Until Jan. 5
Photo courtesy of MOCA
Lurking Waves (伏噪) is a themed exhibition about Taiwan’s noise scene, presented through artifacts collected by founding member Wang Fu-jui (王福瑞). On show are objects dating to the scene’s inception in the ‘90s: Wang’s letters with overseas artists, seminal performances, cassette tapes and other low-tech media from Noise, Taiwan’s first experimental music label, which Wang founded in 1993.
■ TheCube Project Space (立方計畫空間), 2F, 13, Alley 1, Ln 136, Roosevelt Rd Sec 4, Taipei City (台北市羅斯福路四段136巷1弄13號2樓), tel: (02) 2368-9418. Open Wednesdays to Sundays from 2pm to 8pm
■ Until Dec. 8
Photo courtesy of Chi-Wen Gallery
At the Museum of Contemporary Art, another Wang Fu-jui (王福瑞) solo exhibition draws attention to the noise native to cities. Hyper Transmission (超傳波) features two installation works. Parallel Waves (平行波) consists of eight ultrasonic speakers that can broadcast pre-recorded sounds of electromagnetic radiation, a reality of city life that affects its denizens intimately, yet its sound normally lies just beyond human hearing range. Another installation, Murmur (呢喃), is a large interactive chip-controlled toy. Users press buttons to recreate the ringing, buzzing and other noises that their technology uses to hail them every day.
■ MOCA Studio, 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. Admission: Free.
■ Until Nov. 3
Lee Hui-fan (李惠芳) holds her largest solo exhibition in years, bringing over a hundred oil paintings — some never-before-seen — that were created between 1986 and 2013. Lee, a Taipei-trained painter who made a career in Paris and the US, has been hailed as the Chardin of the East by critic Wang Tze-hsiung (王哲雄). Her works are western-style still life portraits of animals, people and local domestic objects like ancestral alters.
■ Chung Shan National Gallery (中山國家畫廊) at the Sun Yat-sen Memorial Hall (國立國父紀念館), 505, Renai Rd Sec 4, Taipei City (臺北市信義區仁愛路4段505號), tel: (02) 2758-8008 ext. 542. Open daily from noon to 8 pm
■ Until Oct. 27
Ibrahim Miranda imagines a different kind of Cuba with Reminiscence of the Island (孤島之夜), a solo exhibition of scrolls. Miranda, a Cuba native, bases his mixed media works on actual maps, covering them with his own cartography and symbols to evince long-gone Cubas, or Cubas that could have been if the history of the troubled island nation had turned out differently.
■ Chi-Wen Gallery, 3F, 19, Ln 252, Dunhua S Rd Sec 1, Taipei City (台北市敦化南路一段252巷19號3樓), tel: (02) 8771-3372. Open Tuesdays through Saturdays from 11am to 7pm. On the Net: www.chiwengallery.com
■ Until Oct. 26
Since its launch in 2014, the Taiwan Season has increasingly become a “must-see” at the Edinburgh Festival Fringe. So, when this year’s three-week Fringe became an early casualty of the COVID-19 coronavirus pandemic, Chen Pin-chuan (陳斌全) was determined that the Taiwan Season must continue in some form. Chen, director of the Cultural Division of the Taipei Representative Office in the UK, says that he and Taiwan Season curator and producer Yeh Jih-wen (葉紀紋) had been thinking of ways of growing and adding value to the season anyway. The crisis and the cancellation of the live performances brought those ideas forward as
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