Mipaliw, to practice the intention of beauty out of mutual assistance.
9 local and 2 international artists, after a month long residency in Fengbin Township and with the help from each other as well as from local habitants , completed their artworks in Shitiping and Fuxing, creating 11 eye-catching installations that bring a whole new scenery to the East Coast
Grantee: Sumi Dungi
“Memories Interwoven and Overlapped: Post-Martial Law Era Ink Painting in Taiwan” features works of diverse categories and media, including ink and wash painting, meticulous heavy color painting, gouache painting, installation, video, and animation; in terms of style and expression, all the works manifest artists’ realizations and sentiments of life, social and cultural concerns, dialectics on history and reality, and the depth and breadth of ink art exploration, exhibiting vibrant creative energy and dynamics. Through interpretation of and dialogues with exciting works of 24 artists from different generations, this exhibition aims to investigate the intertwined relation between Taiwanese ink painting and politics, and present artists’ diverse creative visions inspired by overlapped and interwoven historical memories, as well as the splendid and exciting new look of ink art constructed on such visions, concretely, and in details, presenting and explaining the course of development of Taiwanese ink painting from the lifting of martial law up to the present time.
This exhibition explores some of the current practices by artists working with printmaking who are approaching the form not specifically as printmakers but are in many cases using print as one of a number of forms of expression or in combination with other media. They represent new forms of engagement that is informed by current art practices and the impact of digital media, the relation to drawing and photo based media, as well as in some cases, durational, installation and performative practices. This is represented in the different cultural traditions in Taiwan, London and Madrid where most of the artists gravitate to or are based. It is possible to recognise some of the specific cultural conditions that inform the work from each country and the extent to which traditional forms of printmaking have been embraced or even rejected. The exhibition therefore highlights how these artists apply the concepts of print to their artistic expression. By presenting the prints created from different aspects and in different forms, the viewers will get a grasp of the new vision of printmaking which comes along with the departure from old traditions.
Out of Place — A Trilogy on Kaohsiung Military Dependents’ Villages: Lulu Shur-tzy Hou Solo Exhibition
A Trilogy on Kaohsiung Military Dependents’ Villages summarizes the artist’s creative work involving Kaohsiung’s Zuoying and Fengshan military dependents’ villages over the course of many years. Employing the juxtaposition of positive and negative image pairs — which is termed a “Double-gaze” style by the curator, the artist superimposes subjective and objective viewpoints. Her work displays the dispersion and disruption of the military dependents’ villages, the turmoil and transience of the village residents’ lives as well as their appeals for “going back home” due to the improper execution of “Act for Rebuilding Old Quarters for Military Dependents,” and creates a contemporary epic of local history interwoven with the artist’s narratives and her dialogue with the residents.
Grantee: Shur-Tzy Hou