As an important access road between eastern and southern Taiwan, the South Link Highway of Provincial Highway No. 9 possesses rich natural topography and cultural landscape, and is also a crucial area where the Austronesian culture has been preserved. This project hopes to connect people and nature while exploring the cultural legacy and development in this region. Nature becomes the stage of the project, and art serves as an instrument to enable the encounter and sharing between people in this southern region. Through the energy of art as well as local culture and resources, the project aims to enrich the landscape of the south by re-defining the relationship between people and nature and initiating dialogues between people and the environment—dialogues that transcend nationality, culture and age—through collaborations between artists and local residents, and eventually creating artworks and projects that address the our co-existence with Great Nature. This is a project that evokes our remembrance of home to co-construct and play a part for the place, where we collectively dwell.
Vector of The South
The work extends from beach towards the land, and from lines to planes, forming waves that materialize the direction of the southern wind. The wind from the vast sea arriving at the narrow strip of plain in Taitung weaves out a fascinating humanistic dimension. The arrival of the wind brings the sand, plants, reef rocks of different shapes, mist, drifting objects, and waves. Facing the ocean, even the hair and clothes are eternally drawn by the hidden south and its invisible magnetic field.
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!
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: Ho Hsiao-Mei