Ana Maria Micu is a Romanian artist who creates drawings, paintings and animations of herself and her surroundings. Her solo exhibition, A Picture on the Wall (牆上的圖像), at Mindset Art Center features black-and-white charcoal self-portraits juxtaposed with colorful oil paintings of her home and studio interiors. Micu is interested in story fragments; she is fascinated “with the fact that she is able to force coherence out of a broken narrative, apparently on a criterion of which she is not fully aware,” writes the gallery. In her paintings, the artist depicts cluttered interiors, drawing attention to potted plants thriving in one corner of a room, unfinished paintings taped to a wall, or bags and clothes hanging on the back of a door. “Marks of the passage of time, the endearing idealism of obsolete design, things that were left behind, abandoned or broken, are the details that the artist notices, allowing herself to be changed by her observations as she paints.”
■ Mind Set Art Center (安卓藝術) 108, Heping E Rd, Taipei City (台北市和平東路108號), tel: (02) 2365-6008. Open Tuesdays to Saturdays from 11am to 6pm
■ Until Jan. 12
Photo Courtesy of Taipei Fine Art Museum
Double Square Gallery presents Apeiron (未定物), a solo exhibition by Wu Tung-Lung (吳東龍). The title is a Greek word that means unlimited, boundless or infinite — a term that critic Chien Tzu-chieh (簡子傑) uses in an essay to describe Wu’s painting language. Wu is known for creating minimalist paintings that feature subtle layers of colors, organic shapes and spaces. These features, though abstract, suggest nuanced meanings and sensibilities. The artist renders “pure and minimalist symbols in a rationally checked yet emotionally charged manner,” writes the gallery. He insists on a hands-on process that involves repetitive work with paint, tape and plaster to create distinct qualities on canvas. In this show, the artist presents 30 paintings from two ongoing series, Symbol and Color Lines, as well as two new series of small-scale works, Little Blocks and Little Symbol. “Wu’s work [conveys] a powerful visual tension and understated emotions while establishing a distinctive style through its minimal, simplified and rational appeal,” writes the gallery.
■ Double Square Gallery (雙方藝廊), 28, Lane 770, Beian Road, Taipei City (台北市北安路770巷28號), tel: (02) 8501-2138. Open Tuesdays to Sundays from 10:30am to 6:30pm
■ Until Feb. 1
Photo Courtesy of Mindset Art Center
It is the time of year for the annual Taipei Art Awards (臺北美術獎), the city’s prestigious contemporary art competition organized by the Taipei Department of Cultural Affairs. For the last 30 years, the award has attested to the developments in the local arts community, celebrating artists that push the frontiers of art. Each year submissions are made by open call and judged by a panel of art professionals to produce 14 finalists. This year the selected projects incorporate a variety of mediums including video, installation, audio-visual art, kinetic art, sculpture and lecture performances, among others. Chang Wen-hsuan’s (張紋瑄) Suicide Technique Foundation: Annual Presentation, International Suicide Award features a presentation room showcasing materials for a fictional competition called the International Suicide Award. The controversial project touches on topics of social taboo such as the death, suicide and the power of storytelling. Yu Siuan’s (于軒) Klein Hertz: A Nonexistent Laboratory is a painting installation featuring strange, scientific instruments found in the laboratory of fictional scientist Klein Hurtz. The artist has been developing the narrative of Klein Hurtz and his inventions by painting over readymade objects of casts with realistic detail.
■ 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 March 31
Kaohsiung’s Yiri Arts Pier-2 is presently hosting a solo exhibition by Spanish artist Guim Tio Zarraluki. Playing with Fire features new paintings that explore the relationship between humans, nature and society. This appears to be a new direction for the artist, whose earlier works focus on portraiture that examines the human condition. Zarraluki’s figurative work involves manipulation of fashion magazine images with chemicals and oil pastels to create stylized figures with ironic and exaggerated features. By contrast, Zarraluki’s new series of paintings depict small representations of humans traveling amid vast landscapes. This change in perspective seems to suggest a shift in Zarraluki’s ways of seeing. “In the past, Zarraluki had asked, where do we come from? And now, He desires to know where we will we go?” writes the gallery in a press release. La Pujada is an oil painting that depicts three figures walking through a white, minimalist mountainscape. The figures leave behind a trail of footprints that trace their trajectory uphill. In Tavascan , a lone figure walks through a snowy scene intersected by patches of black terrain towards the other side of the mountain.
■ Yiri Arts Pier-2 (伊日藝術駁二空間), Pier-2 Art Center Unit C9-14, 1 Dayong Rd, Kaohsiung City (高雄市大勇路1號駁二藝術特區大義倉群C9-14倉庫), tel: (07) 521-5783. Open Tuesdays to Sundays from 1pm to 7pm
■ Until Jan. 13
Photo Courtesy of Taipei Fine Art Museum
A video art program, Who’s Singin’ (是誰在唱歌), is currently on view at the Museum of Contemporary Art Taipei’s main plaza. The program consists of four artists who explore the behavior of singing and its associated video culture. In the curatorial preface, curator Huang Hsiang-ning (黃香凝) speaks of the history of karaoke in Taiwan and its rise to popularity in the late 80s. While karaoke culture was first introduced to Taiwan from Japan, “the successful business model of Taiwanese KTV spread [back] to Japan” in the 90’s where it became a “popular leisure activity found in households, restaurants and the countryside for people to briefly escape the pressure of everyday life,” writes Huang. The artists use the karaoke format as a departure point to reflect on various historical and social issues. Yu Cheng-ta’s (余政達) A Practice of Singing: Japanese Songs is a video that addresses the cultural translations between Japan and Taiwan and the transformation of meaning during the process. Chen Han-yu’s (陳含瑜) The Sungai Duri Karaoke Project narrates family relationships between Indonesia and Taiwan through film and song.
■ Museum of Contemporary Art, Taipei (台北當代藝術館, MOCA, Taipei), 39 Changan W Rd, Taipei City (台北市長安西路39號), tel: (02) 2552-3721. Open Tuesdays to Sundays from 10am to 6pm
■ Until Jan. 27
Photo Courtesy of Double Square Gallery
Photo Courtesy of Museum of Contemporary Art Taipei
May 18 to May 24 Pastor Yang Hsu’s (楊煦) congregation was shocked upon seeing the land he chose to build his orphanage. It was surrounded by mountains on three sides, and the only way to access it was to cross a river by foot. The soil was poor due to runoff, and large rocks strewn across the plot prevented much from growing. In addition, there was no running water or electricity. But it was all Yang could afford. He and his Indigenous Atayal wife Lin Feng-ying (林鳳英) had already been caring for 24 orphans in their home, and they were in
On May 2, Chinese Nationalist Party (KMT) Chairman Eric Chu (朱立倫), at a meeting in support of Taipei city councilors at party headquarters, compared President William Lai (賴清德) to Hitler. Chu claimed that unlike any other democracy worldwide in history, no other leader was rooting out opposing parties like Lai and the Democratic Progressive Party (DPP). That his statements are wildly inaccurate was not the point. It was a rallying cry, not a history lesson. This was intentional to provoke the international diplomatic community into a response, which was promptly provided. Both the German and Israeli offices issued statements on Facebook
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Australia’s ABC last week published a piece on the recall campaign. The article emphasized the divisions in Taiwanese society and blamed the recall for worsening them. It quotes a supporter of the Taiwan People’s Party (TPP) as saying “I’m 43 years old, born and raised here, and I’ve never seen the country this divided in my entire life.” Apparently, as an adult, she slept through the post-election violence in 2000 and 2004 by the Chinese Nationalist Party (KMT), the veiled coup threats by the military when Chen Shui-bian (陳水扁) became president, the 2006 Red Shirt protests against him ginned up by
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