(2)Performer: MeimageDance 2018 New Choreographer Project
Leipzig OperBallett Germany- Liu, Fang-Yi
Tanztheater Wuppertal Pina Bausch- Yu, Cai-Yu
Metropolitan Opera House- Li, Ming-Zi
Konzert theater Bern- Chen, Chong-Xian
Grantee: Hsiao-Mei Ho
BULAREYAUNG DANCE COMPANY
Bulareyaung Pagarlava X Luluna Bunun Choir
Commissoned by National Taichung Theater
Against the soundscape of Pasibutbu－a polyphony signing recognized by the UNESCO as an Intangible Cultural Heritage, Bulareyaung Pagarlava in 2018 collaborates LUNA with Luluna Bunun Choir, a tribal choir well known for its rich voice tradition, in bringing the pristine movements and sounds from the Mother Nature. Don't miss the rare chance to see the music and hear the dance from Taiwan!
Grantee: Bulareyaung Pagarlava
Praised as “the master of creating surrealist imagination,” Hsiao-Mei Ho is the highly attention-attracting Taiwanese female choreographer, and her works are imbued with rich imagery and humanistic reflection. Selected and integrated from the various images of Ho’s previous works, New Paradise of Silent Island is a collective creation with the spirit of Taiwanese cosplay. Ho’s dance creates a golden ukiyo-e from the hybridization of the sense of Taiwan and the foreign, presenting a metaphor of modern society where gaudiness and loneliness are juxtaposed with the puppet aesthetics of Barbie dolls. The strong local art style stands out among other contemporary dance works in Taiwan.
New Paradise of Silent Island combines local Taiwanese cultural symbols with observations of social genders, and faithfully portrays the world in a time of change with ingenious surreal techniques. Blurring the boundary between reality and creation, the choreographer resonates with the audience deeply in a frame-breaking and interactive way, inviting them to wander around the stage under a diverse and chaos atmosphere of Taiwanese temple fairs.
Grantee: Hsiao-Mei Ho
Pichet Klunchun X Chen Wu-kang
From a distance, both look alike.
He from Taiwan, he from Thailand.
Their bodies move eloquently, Splintered between past and present.
Their stories speak of being between worlds,
before memory, inside politics, beyond expectations.
One is lonely, two is better.
Half full, half empty. Finding oneself in the other.
Two rebellious choreographers－Pichet Klunchun, an innovator in classical Thai classical dance and Chen Wu-kang, founder of Taiwan’s first all-male dance company HORSE－encounter in Behalf. Through an eloquent body dialogue that transcends documented history, defined geography and social taboos, they go to great lengths in dance to dethrone any gods proclaiming to be!
Tainaner Ensemble is regarded as the role model in Taiwan modern theatre. Established in 1987, it is a professional troupe with the biggest size and longest history in southern part of Taiwan.
Led by the current art director, Lu Bo-shen, it continually develops different series, such as "Western Classics Translation Series" and "Unplug Shakespeare Series", and introduces the works of modern-day dramatists in Taiwan.
As a vigorous troupe in contemporary society, it is dedicated to create high-quality productions and always amazes the audience with innovative and experimental approaches.
In addition, it is dedicated to theatre education. For example, sometimes it holds theatre workshops for community. It opens actor school every summer. It began a youth theatre education program in 1999, and published Taiwan first professional periodical for theatrical comments named Theatre Matters.
Grantee: Pao-Chang Tsai
Munro’s Stories – A Zipped File Concealed Lives –
Unzipping Files To Reveal Fragile Daily Triviality And A Tempest Of Cruelty And Coldness
Dear Life is an adaptation of a short story by Nobel laureate Alice Munro, whose stories usually explore human complexities in an uncomplicated prose style, revealing melodramatic plots and relations or strong desires with the description of subtle movements and ambiguous dialogues in our daily life. The lightness in her language seems to stem from the inability to bear or squarely look into or desire for the heaviness in our lives.
Taiwanese novelist Egoyan Zheng has once described that “Munro’s writing style fathoms the shape of fate.”
This production extracts plots, structures and styles from various stories of Munro’s and then adapt and rewrite them in accordance with different performers and theatric styles so as to put the stories into the comprehensible context of life in Taiwan. Five episodes are separate from yet echo with each other. With the same seemingly plain tone and language with Munro, the production lays out the foundation of life that is beyond description, ambiguous, entangled and heavy. Audiences will see all the characters devoted to the rehearsals between void and performance – alienated, realistic, yet unreal – just like the performance of real life.
DIRECTOR │ WANG CHIA-MING
WANG Chia-ming, founder and director of Shakespeare's Wild Sisters Group, has been working on experimental theater for years and has always kept his creative works a fusion of tradition and innovation, a daring integration of popularity and avant-garde. He is also absorbed in probing the possibilities of new expressions on languages, performance and audio/voice in theater through cooperation with artists from cross genres. With the experiment of empty space and the use of voice, he forces performers to explore, to embrace and to deliberate on the possibilities of theater, thereby creating a unique style in the contemporary Taiwanese theater. His works have twice won the Taishin Arts Awards: the First Prize of Performing Arts and Jury's Special Award.
Production Team/ Shakespeare's Wild Sisters Group
Producer/ Yukio NITTA
Playwright&Director/ WANG Chia-ming
Performers/ Fa、 AN Yuan-liang、 HUANG Pei-shu、 Sunny YANG、 YU Pei-zhen、 CHEN Wu-kang, and others.
Lighting Design/ WANG Tien-hung
Costume Design/ LAI Hsuan-wu, KAO Chia-lin
Music Design/ Blaire KO, LIN Fang-yi
Video Design/ Ray SUN
Percussionist/ YU Rho-mei
Duration: Approx. 110 minutes without intermission.
Pre-talk: 30 minutes before the evening show on 3/23(Fri)、3/24(Sat.) and Matiness on 3/24(Sat.) at the lobby of National Theater.
Post-talk: 3/25(Sun.) at the lobby of National Theater.
STUPIN is founded by artist Kuo I-Chen in 2017. It is an artist studio residency platform where different fields of artists can share and link their studios and connection. Through two main functions－STUDIO and PIN, we expect to build a global studio residency network. The STUPIN pronunciation resembles "stupid", likewise, artist tends to devote to their creation bravely and nearly foolishly. But often this persistence comes out with an unexpected result. STUPIN represents an attitude to explore the unknown without constraining by forms. With an open mind, we invite you to join this journey. Be STUPIN! Be Smart!
STUPIN－Individual as a Unit of Residency
STUPIN turns personal studio into residency space by one on one swapping, which lowers threshold for residency application and also allows each other to share resources effectively. There’s also no constraint on the types of creation, also the type of spaces. From apartment , co-working space to artist collective, as long as you are willing to share, STUPIN welcomes you to become our member and experience this unique residency journey!
Grantee: I-Chen Kuo
First conceived in early 2016, Yao Jui-chung's "Incarnation" series covers more than 230 temples, cemeteries, public gardens, and amusement parks, photographed within one and a half years in an intensive manner, featuring the statues of deities created by the Han people by reference to their self-images. Some of these statues are toppled, while others remain standing. Carefully observing these statues, namely the objects of people’s psychological projection, one may further grasp the endemic political relations in different geographical spaces.
The artist evades narrative by intentionally leaving out people in each frame, shunning religious gatherings or festivities. He focuses on the physical embodiment of the gods — a projection of devotees’ fervent desire. Adopting a typological approach, he captures not the local folk culture, but the landscape that cradles the staggering statues; not unusual cases but mundane existence. Devoid of humans, events, or disasters, this body of work explores the manifestation of human wants in a clinical approach that eschews religious architecture, folk activities, or worship ceremonies. In a dispassionate, monotone palette, this new photography series scrutinizes the inextricable connections between man, religion, and faith.
The desires of the multitudes shape the explicit forms of these colossal statues of deities. However, these materialized forms are every bit as illusory as dreams and bubbles, since emptiness is the nature of tattva, or ultimate reality. Yao Jui-chung captures the absurdity of deity statues against the urban backdrop, where the interconnecting relationships between deities and humans resonate to the mundane desires that are at once vacant and lusty. Distilling a sense of beauty in the monotone palette, the 300 images document the sensualist society with clinical detachment.
In addition to the array of 300 gelatin silver prints that portray the human desire, a three-channel video installation of Incarnation is also on view, where the rising and falling tones of the complex radio spectrum of Saturn recorded by NASA transport the viewer to the mystical universe. Deities of all stripes on the three screens instantiate the intertwining relationship between history and society. Evoking a road movie, the video installation deconstructs and repaints the landscape of Taiwan, suffused with a magical divinity interspersed with sentient yearnings.
There is also a performance by sound artist Dawang Yingfan Huang and musician Meuko! Meuko!, who is known in Japan and Taiwan for her experimental approach to electronic music. Conceived as a modern version of religious tribute to the gods, the collaboration reassembles the visual and sound elements of a traditional temple fair and conjures an organic performance that manifests Taiwanese cultural and religious beliefs.
Grantee: Jui-Chung Yao
Wu Chi-Tsung has participated in the artist-in-residency program co-organized by Taiwan’s Ministry of Culture and the Künstlerhaus Bethanien in Berlin, Germany. From November 16th to December 10th, 2017, the program will present his solo exhibition “Far From East” at Berlin, showcasing his recent works, including installations, photography, and videos.
In Wu Chi-Tsung’s early works, he utilized media art to discuss the fundamentals of images and seeing. In recent years, he expanded his research field, traversing through the field of culture and art from East to West, as well as integrating traditional aesthetics and contemporary artistic concepts. In his dialectics and diverse way of practices, his artworks nonetheless preserved the sensibility and romance of an oriental literatus.
The exhibition begins with “Crystal City,” giving the audiences a glimpse of the artist’s point of view. Under the radiating light, the sharp and clear shadows of the ordinary plastic boxes became distinct, projecting a view resembling a concrete jungle of skyscrapers. In this artwork, Wu Chi-Tsung observes the ambiguous boundary between reality and fantasy, questioning as the cyber space took a major part in our daily lives, then what is real, and what is illusory?
“Wrinkled-Texture” and “Cyano-Collage” redefine the junction of photography and painting. The photography series “Wrinkled-Texture” is inspired by the “texturing method”, which is the core technique of Chinese literati painting. Cultivating the technique and the spirit of calligraphy, artists draw down a representational depiction of mountains and stones, which serve as the projection of his inner-thoughts. In “Wrinkled Texture”, Wu utilized cyanotype techniques to apply a photosensitive emulsion on Chinese rice papers, and then exposed the hand-wrinkled papers under the sunlight. After washing off extra emulsion, the shades and the patterns of the wrinkled papers were documented. The complete imagery resembles Chinese landscape – Shan Shui, which Wu substitutes ink and brush with photogram. “Cyano-Collage” inherits the cyanotype photography “Wrinkled-Texture.” The exposed rice papers were collaged into mountains, allowing the artist to further probe into the aesthetics of traditional paintings.
Lastly, the artwork “Still-Life 006 – Chrysanthemum” translates the traditional cut-branch flower painting into a time based moving image. As a video installation, the piece is projected on a hanging scroll, suggesting an outlying and ephemeral scenery that is akin to a vaguely fleeting memory. “Still-Life” series is originated from the artist’s awe to contemporary art and his nostalgia to traditional art.
Given the dominance role of European and American culture in globalization, contemporary art has been rapidly expanding, revolutionizing and innovating. However, it is disconnected to local traditional cultural contexts, increasing the disappearance of unique regional arts and aesthetics. Raised under traditional art cultivation, Wu Chi-Tsung is deeply aware of such disconnection. In his recent artworks, Wu has been finding the possible balance between Eastern and Western cultures, as well as traditional and contemporary art.
The term “Far East” is a Eurocentric geographical concept. Yet, in a globalized epoch, Far East is no longer far away, and the East is no longer east.
Grantee: Chi-Tsung Wu
Formosa: the Beautiful. In the 16th century, when approaching the coast of a verdant island, the Portuguese sailors exclaimed with admiration, "Formosa,” later to be the former name of Taiwan. Inspired by the abstract beauty born from land and lore, Lin Hwai-min's new creation FORMOSA for Cloud Gate Dance Theatre of Taiwan uses gesture, script and song to create a lustrous universe--a playground of love and life, mediated by tragedy, hope, and rebirth--against a backdrop projected with Chinese characters coming together and breaking down like waves to imply writing as a precarious vehicle for memories. A coproduction of National Performing Arts Center – National Theater & Concert Hall, Taiwan, R.O.C.; National Kaohsiung Center for the Arts (Weiwuying), Taiwan, R.O.C.; Sadler's Wells, London, UK; Theatre de la Ville – Paris, France; and Carolina Performing Arts, University of North Carolina at Chapel Hill, USA; FORMOSA is already scheduled to be presented in USA, Germany, UK, France, Portugal, Russia and more in 2018 and 2019.
Following the works K24 and Q&A, talented storyteller TSAI Pao-chang presents the epic The Book of Fate Trilogy One: The Lost Wings. Forced into the sex trade as a stowaway, the heroine struggles with yearnings for her mother and increasing illusions in her mind before discovering her unusual powers. Seeking to recreate the realms of heaven, earth, and the underworld, this production employs a nonlinear narrative to impart the journey of a hero's return, addressing issues of discrimination against differences in religion, race, class, or sexual orientation.
Inspired by Japanese conceptual artist On Kawara, NTCH Artist-in-Residence Baboo teams up with visual artist CHOU Yu-cheng for this third installment of the director's Visual Art and Theater series. Set in a transitional time and space, the production re-investigates the geography in our daily lives. By incorporating important current events, personal experience, and collective memory, Caged Time presents a juxtaposition of reality and recreations, scenery and spectacles, changing sites and fluidity of relationships, to construct this landscape narrative of a parking garage.
Grantee: Baboo Liao
After the performance on TED Taipei in May, 2017, Sauniaw Tjuveljevelj, inheritor of Paiwan ancient songs et expert of nose flute, will re-cooperate in Kei Zemihwng with Pisui Ciyo, Tayan theatre artist and the Taishin Performing Arts award winner, also with the participation of Mexican musician Iván Flores, theatre actresses, Lu Shiau-Han, Zhang Peng-Yu, Wang Shin-Ying, and Huang Ren-Jun as video designer.
Based on the profound purity of ancient vibration songs, Kei Zemihwng will share with spectators, through body, vocal and image creations, the core of oral culture：“Meeting” between “you” and “me”, the irreplaceable presence.
Grantee: Ciyo Pisui
Employing “spectrum of light” as the theme, this exhibition addresses LGBTQ community’s rich history and its appeals for peace, love and diversity with rainbow as its symbol. On the one hand, the spectrum of colors can be seen in a rainbow, a phenomenon caused by the refraction of white light. Rainbow and light are two sides of the same coin, implying that this exhibition is not about the binary opposition between light and darkness, but as diverse and inclusive as the spectrum in terms of its artistic expression and exploration of LGBTQ issues. On the other hand, light is the everlasting source of energy for the creatures on Earth. It treats and nurtures all living organisms fairly and equally, and promises them growth, hope, and kindness. Based on their similar backgrounds in culture, language, geographical location and ethnicity, 22 artists from Taiwan, China, Hong Kong and Singapore are showcased in the exhibition with a total of 51 artworks. The exhibition represents the life stories and related issues of the post-war Chinese LGBTQ community as the artworks on view touch upon a profusion of subject matters such as identity, equality, exploitation by mass media, social predicaments, comments on individuals/groups, human desire, as well as life and death.
PAN Hsinhua was born in Taimili of Taitung County in 1966. He graduated from the Department of Fine Arts at the National Institute of the Arts (currently known as Taipei National University of the Arts) in 1991 and held a teaching position at Taipei National University of the Arts as an assistant professor between 2011 and 2015. The exhibition “Arcadia Curiosities – Pan Hsinhua Solo Exhibition” at Asia Art Center is Pan Hsinhua’s third exhibition in 2017; Pan Hsinhua was invited to exhibit in “Crisscrossing East and West: The Remaking of Ink Art in Contemporary East Asia” curated by Chia-Chi Wang at Yinchuan Museum of Contemporary Art, as well as “Memories Interwoven and Overlapped: Post-Martial Law Era Ink Painting in Taiwan”, the grand exhibition at National Taiwan Museum of Fine Arts curated by Chao-Jen Wu.
As far as contemporary ink art in Taiwan, China, Hong Kong, Japan and Korea, or even considering the art development in the period since the lifting of martial law in Taiwan, Pan Hsinhua has become an irreplaceable force for his uniquely brilliant artistic language.
Grantee: Hsin-Hua Pan
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
Jodori Khiang is a community-engaged project that aims at revitalizing the Jodori District in Taipei City through art. Facilitating cultural activities in everyday living spaces is a way in which social responsibility of the arts can be practiced.
“SUZU 2017: Oku-Noto Triennale” aims to be an unprecedented festival in which participating artists can rediscover the charm of the place, its patterns of life and its people, while engaging locals and supporters from elsewhere, jointly create an art festival where traditional culture resonates with contemporary art.
“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.
Colors is based on Bulareyaung Pagarlava’s observations and perceptions of natural elements, as well as the interpretation of “beauty” by the young dancers who perform this work.
Bulareyaung is a well-known dancer and choreographer from the indigenous Paiwan tribe whose professional training with Cloud Gate Dance Theatre since college. He founded the Bulareyaung Dance Company in his hometown of Taitung in southeastern Taiwan.
Taitung is most acknowledged with its beautiful coastline. He, therefore, intends to bring the waters of Taitung to the audience. By sharing the voices and physicality of Taiwan’s indigenous people, Colors successfully transforms the stage into a beach by blue canvas. The beach was the rehearsal space for Colors since a severe typhoon destroyed their dance studio in 2016.
Grantee: Bulareyaung Pagarlava
Grantee: Chien-Ying Tseng
Time to get drunk!
Don't be martyred slaves of Time, Get drunk! Stay drunk! On wine, virtue,
poetry, whatever! – excerpted from the poem Get Drunk by Charles Baudelaire.
This poem is the inspiration for Stay That Way by the Bulareyaung Dance Company. Its founder, Bulareyaung Pagarlava, is from the indigenous Paiwan tribe of Taiwan, and a well-known dancer and choreographer, who has worked with Cloud Gate Dance Theatre. In this production, he shares the beauty of indigenous ballads. Three singers perform traditional songs, complemented by the movements of dancers. This outdoor performance in the National Taichung Theater’s Sky Garden is not constrained by a stage, and, as Bulareyaung notes, that makes it purposely difficult to predict how it will unfold.
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
The exhibition will showcase Isa Ho's ongoing series of the “Westbeth” project and the newly developed serial work “My Peony Pavilion.” While the subject matter of the two series seem to sit on the opposite end of a spectrum: the young and the elderly, the East and the West; the difference between the series embodies Ho's continual focus on socio-cultural issues. The “Westbeth” series was inspired by and shot at the Westbeth Artists Housing in New York, where Ho spent over four years documenting the senior artists living there, their daily lives and environment. “My Peony Pavilion” utilizes and blends the traditional Chinese Kunqu Opera and Korean popular music K-pop to picture female self-identity in two juxtaposed temporal and spatial frameworks, by leveraging similar pop culture element. The exhibition title Not the Chelsea Hotel (Chinese Title: The Black Swan Effect) points to a key concept: the everyday mundaneness taken for granted might be overturned by a new piece of information – just as when a black swan was “discovered” by an explorer in Australia in 1697, only then people started to realize not all swans were white and their understanding was partial. The concept of the Black Swan Effect becomes the connecting thread: through presenting the two series together in this show, the artist wants to inform the audience’s preconceived notions of facts having the possibility to formulate utterly opposing meanings, once approached with a new angle with a new piece of information presented.
Grantee: Meng-Chuan "Isa" Ho
The exhibition theme “After Dawn, Till Moonrise” of Hsia, Ai-Hua is an extraordinary experience that she wanted to present in the gray area of time flows. Like during the chaotic moment from day to night or certain time or place, she could be more insightful to the skyline, thereby she can feel things that others can’t. Most people can only see things and people in our dimension, but some people sometimes could see things from other dimensions. And she is the person who can meet the messengers (or fairies) to bring her messages at some uncertain time flows.
Grantee: Ai-Hua Hsia
Dancing with Death
One of the most exciting choreographers in Asia today, Pichet Klunchun is internationally acclaimed for his contemporary works developed from classical Thai dance. Inspired by a carnival "Phita Khon" that celebrates death from the northeastern Thailand, Pichet transforms Dancing with Death into a dance that is exuberant and spiritual. "I want to show that death is beautiful," said Pichet. With dancers covered with colorful strips, whirling and running on a high-raised loop, audience is transported to a world of ecstasy. Here death is not feared but celebrated, and dance is free, fluid and organic in expression.
Inspired by vigorous vitality of the oldest district in Taipei — Bangka, 13 Tongues is "ultra-Taiwanese, mesmerizing, wild and awesome (PAR Magazine)" with dancers stomp and clap with rhythms, chant Taoist mantra, whirl around and move across the stage, presenting a bizarre spectrum of physical movements.
The Tina Keng Gallery is pleased to present Chen Chun-Hao: Once Upon an Otherworldly Realm, the first solo exhibition of the artist in three years. Chen is known for his mosquito nail painting that emulates ancient landscape with small headless pins, a modern industry product, to conjure a visual effect that reinterprets Chinese ink painting. This exhibition is comprised of his classical “Transcendence,” as well as the latest “Spherical Heavens” and “Flat Earth” series.
Grantee: Howard Chen
Backseat Boulevard is a continuation of Jao’s interest in historical remnants and their reproduction in modern-day society. In addressing these issues, the artist unfolds different interpretations of history, questioning the established, official versions produced by the nation-state and media. This exhibition comprises three works, including Taxi (2016), which debuted at the Solomon R. Guggenheim Museum in New York in November 2016. Adopting a documentary style and a cinematic language, the video chronicles the conversations between the artist and cab drivers as they took him around Taipei to various locations that significant historical events took place, mapping the hidden contours of the geographical, historical, and ideological landscape of Taipei. The second piece is a series of watercolor works on paper through which the artist contests history, examines how history is being perused or traded, and weighs aesthetics against morality. Another piece is a video installation that grapples with the changing state of symbols and icons by documenting the process of a shrine being fenling from Japan and reconstructed in 2015. Fenling, or shared spirit/power, denotes that the power of the enshrined god was taken from a more powerful one in another shrine.
Grantee: Chia-En Jao
Rewoven: Innovative Fiber Art is a collaboration between the Kaohsiung Museum of Fine Arts, Taiwan, Taiwanese American Arts Council, New York, the Godwin-Ternbach Museum, Queens Colleege and the QCC Art Gallery / CUNY. The exhibition showcases twenty-four artists whose extraordinary creativity and commitment to nature, environmental, and social issues are addressed in a convergence of painted, woven, netted, sewn, assembled and installed artworks.
Grantee: Wen-Fu Yu
Let us get rid of social norms, go hand in hand to sing and dance in the open field with the young talented Taiwanese aboriginal dancers! Known for his choreographies with Cloud Gate 2 and Martha Graham Dance Company, Bulareyaung Pagarlava premieres his latest work "Stay That Way", inspired by Charles Baudelaire's poem “Get Drunk,” at Cloud Gate outdoor theater against the backdrop of intoxicating sunset.
Outside of art circles, the artist CHI New-York goes by the name CHI Kai-Yuan. Juxtaposed against his more renowned nom de plume, this unfamiliar name has the appearance of a secret code to the artist’s private life. This eponymous exhibition takes the name “CHI Kai-Yuan”, a proper noun yet unencumbered by projected meaning, as the title of this 2017 solo exhibition. The featured works reveal a constant cycle of memory and craft in his personal experience, and are a reconsolidation of his individual artistic expression. CHI New-York simultaneously transitions into his role as artist in the cultural arena while he attempts to use himself as a vehicle of documenting the Other in a “mutual vehicle” in reciprocal response to the Other. The documentary photographic style approaches the realism of events and objects, while various technologies in the installation capture personal sensory experiences at different junctures.
Grantee: Kai-Yuan Chi
"Few tasks are more like the torture of Sisyphus than housework, with its endless repetition: the clean becomes soiled, the soiled is made clean, over and over, day after day. The housewife wears herself out marking time: she makes nothing, simply perpetuates the present … Eating, sleeping, cleaning – the years no longer rise up towards heaven, they lie spread out ahead, grey and identical. The battle against dust and dirt is never won."--Simone de Beauvoir
The performance combines with percussion, physical movement, little perspective and little humor inspired by daily chore with tears and laughter.
Grantee: Chong Leong Ng
Humans are constantly shifting between the roles of subject and object. Based on the works of British playwright Harold Pinter from different stages of his career, director and playwright KOH Choon Eiow rewrote and re-renders Outsider. The happy family of a contemporary Taiwanese couple hosts an elderly relative while visited by a friend from afar. Boundaries are masked by daily conversations, revealing the closeness between characters or the lack thereof; embedded within their everyday life is the shadows of Southeast Asian history.
Grantee: Yin-Chen Cheng
Theater director Wang Chia-ming turns himself into a DJ, remixing Shakespeare's historical plays and re-interpreting the War of the Roses. How would the history be rewritten? How would the stories be disseminated? What kind of intertwining complexities exist between blood and roses as well as between violence and beauty? Following his experiments of separating bodies and voices in Richard III, Wang Chia-ming re-constructs classic texts to re-present the political issues in the complicated history as well as their rules and forces.
Grantee: Chia-Ming Wang
Coming from the concept of love and relationship, I invited ten pairs of lovers - who also are artists - to collaborate. Many decades ago, there were a group of people decided to build their homes at Treasure Hill, and they lived here with their loved ones. Treasure Hill was actually a living space, and now it is an ocean for artists to create.
Grantee: Dar-Kuen Wu
The background of the story is the Franco-Chinese War from 1883-1885 and the battles that took place in Taiwan. A French sailor leads a happy life with his young wife. One day he takes leave of his wife and set sail on a ship to Asia. The ship encounters a typhoon as it approaches Taiwan and the ship sinks. The wife of the sailor receives a message from the army saying that her husband in missing in action and maybe dead, she breaks down...She doesn’t know her husband was still alive and had an adventure in Taiwan.
Director/Writer : Robin Ruizendaal
Soprano : Anne Rodier
Musician : Shih-Neng Chang
Puppeteer : Chien-Fu Kuo
Massimo Godli Peli
Grantee: Taiyuan Puppet Theatre Company
Grantee: I-Chen Kuo
新時代的來臨，西部的進步帶來生活的矛盾與價值牴觸，使得島嶼東部出現另一種可能。壯闊的大地、無情的自然、簡單的人文，必定有它的意義。康德（I.Kant）在他的《判斷力批判》（The Critique of Judgment）中提及崇高與壯美，他說由於自然對象的巨大體積或力量超過想像力所能掌握時，於是在人心中會喚起一種要求對對象予以整體把握的「理性理念」來掌握和戰勝對象，從而對對象的恐懼、畏避的痛苦，轉化為對自身（即人）尊嚴、勇敢的肯定而生快感。這種審美特質在於它不是和諧優美那種，而是在愉快中包含痛苦，痛苦中又含有愉快。
Grantee: Idas Losin
FreeSteps is the project launched by Su Wei-chia of HORSE Dance Theatre in 2013, aiming to explore the most primitive status of dance and to re-develop the possibilities of dancing. The latest production follows the creative theme of the project, that is, creating various possible imaginations through the dancers’ figures, dancing steps, movements, emotions and rhythms so as to explore the human feelings, status, roles and relations. Presented by two experienced Taiwanese dancers, Chen Wu-kang and Chou Shu-Yi, FreeSteps brings to you the most refreshed feelings toward the bodies.
3/30-4/1 19:30; 4/2 14:30
Grantee: Jui-Chung Yao
世界畫廊（Galerie du Monde）呈獻台灣藝術家吳季璁（1981年生於台灣台北）的首次香港個展《憬》，展期自2017年2月16日至3月14日。吳季璁熱衷於對影像的解讀與創作，其作品透過不同的媒材如攝影、錄像與裝置，挑戰觀者對真實及自然世界的固有概念。《憬》以豐富的創作系列全面介紹藝術家十年中的藝術發展脈絡。世界畫廊（Galerie du Monde）首次呈獻吳季璁從未公開展出過的全新作品系列《布紋習作》（2014-2017年）、近期錄像作品。同時展出的亦有藝術家具標誌性的氰版攝影作品，以及大型場地特定裝置作品《水晶城市007》。
Grantee: Chi-Tsung Wu
Huang Yi & Kuka is a film shot in 2D and 3D that attempts to capture the unique performance and relationship between choreographer, media artist and dancer Huang Yi and an eight foot tall Kuka industrial robot. Filmed over eight days with twelve cameras, 3LD attempted to capture the film inside out and directed, produced, and edited the film as part of 3LD’s cross platform production program 3LD/3D+.
3-Legged Dog exists to produce new, original works in theatre, performance, dance, media and hybrid forms. 3LD’s mission is to explore narrative possibilities created by digital technology; to foster self-expression and skill in artists through training initiatives; and to provide an open environment free of censorship for our artists to create new tools and modes of expression so that they can excel across a range of disciplines.
From their home, 3LD Art & Technology Center in Lower Manhattan, 3-Legged Dog has built an unrivaled talent magnet, drawing artists from throughout our urban community and around the globe to create large-scale, immersive and technology-driven art projects in New York City.
2005年，陳慧嶠是台灣第一位受邀格蘭菲迪藝術駐村計劃 (Glenfiddich Artists in Residence) 的藝術家，在蘇格蘭達芙鎮 (Dufftown) 生活與創作，開啟了台灣藝術家與當地深厚的文化交流。從此，台灣的駐村藝術家透過伊通公園的推薦，每年夏天在達芙鎮駐地創作三個月，了解威士忌的傳統製程、當地環境、品牌歷史與價值，並吸取與轉化為藝術作品，每個人都以獨特的方式與策展人安迪‧費爾葛瑞福 (Andy Fairgrieve) 建立起一段特殊的情誼。在格蘭家族第五代傳人彼得‧高登 (Peter Gordon) 的支持下，由蘇格蘭格蘭菲迪酒廠、伊通公園、格蘭父子台灣分公司三方合作，不斷轉型、累積與推展下，台灣成為格蘭菲迪各國AiR計畫中，最完整亦最具代表性的國家。
「金馬電影編導陳以文受到法國文豪雨果小說“Le Dernier jour d’un condamné”（死刑犯的最後一天）的靈感啟發，
Grantee: Yi-Wen Chen
VT非常廟2016年最後一檔展覽，推出台灣-墨西哥攝影藝術交流展，透過難得的機會，一窺墨西哥當代攝影藝術的發展。展覽邀請墨西哥當紅的三位攝影藝術家：Adam Wiseman、Juan Carlos Coppel與Raul Gasque參展。他們擁有豐富的創作及跨領域資歷，是ESPN、華爾街日報與時代雜誌愛用的攝影師，普立茲獎得主的學生，雙年展藝術家以及美媒VICE的特約撰稿人。
同時參展的還有三位台灣當代攝影界重量級的藝術家: 楊順發、沈昭良與姚瑞中。此次的陣容堪稱台灣、墨西哥攝影藝術的夢幻組合。此外，展覽更展出姚瑞中與Raul Gasque全新、首次曝光的新作！
Grantee: Jui-Chung Yao
Grantee: Ching-Yao Chen
[來]: 美國學者問日本神職人 員：「你們的神學，哲學或意識型態是什麼？」神職人員回答：我們沒有那種東西。我們「跳舞」。
Performance by 2016 ACC Taiwan grantee Cloud Gate 2.
Grantee: Rong-Yu Wang
「五十步的空間」系列創作起源於2013年拉黑子‧達立夫一段東海岸的旅行，以他父親生前所說的一句話「我們只剩下五十步」，作為環境關照的初始視角，延續「颱風計畫」(2008 – 2013)中的拖鞋撿拾作為行動，然而這次的行走卻讓創作者不得不開展出與以往全然不同的太平洋觀看。回到傳統的認知中，事件、問題、衝突……都是非單一線性的發生，而是多重空間交互影響的概念，神話傳說、部落經驗、兒時記憶、個人省思、當代困境等，於是透過多重線索反覆交織重組，穿梭於有形無形的諸多空間之中，為當下的困頓尋求更進一步的答案，直抵轉化或者療癒的可能。
Grantee: Rahitzu Liu
布拉瑞揚舞團自創團作品《拉歌 La Song》開始，一直沉迷在舞者們唱歌亂跳的過程。如果我們一定要說話，是不是用唱的比說得更好聽更動人，如果我們一定要唱歌，是不是有了身體之後就更接近靈魂，有故事的人。「有聲音的身體」是布拉瑞揚目前努力想走的路，並試問為什麼我們要去山上走路、唱歌？我們會在歌的學習當中，讓身體走在山路上，歌緩緩進入身體，再回到作品中產生意義，才有機會認識自己，看見歷史，然後對應當下。