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: Dungi Sumi
“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.
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: Hou Shur-Tzy