Invited by TheCube Project Space, Chinese artist Zheng Bo has spent multiple periods in Taipei working as an artist in residence since the summer of 2015. On September 3, 2016, Zheng will present Weed Party II + Toad Commons at TheCube Project Space and the nearby Toad Mountain.
TheCube Project Space is pleased to present Cambodian artist Vandy Rattana’s first solo exhibition in Taiwan, titled Working-Through: Vandy Rattana and His Ditched Footages, curated by Fang-Tze Hsu.
TheCube Project Space is honored to present Chen Chieh-Jen’s solo exhibition The Bianwen Book: Images, Production, Action and Documents of Chen Chieh-Jen. Date of the exhibition is from October 24th, 2015 to January 10th, 2016, and the special screening “Realm of Reverberations Returns to Losheng” and the artist talk will be held on 3-6pm, Sat., January 9th, 2016.
An increasing number of artists in recent years seem to regard “archives” as a highly kinetic media in their process of artistic production, both in expressive form and contemplation; utilizing large quantities of archives in their the performance and exhibition of their work. Archives are not only material for but a proposition of multi-layered perspectives. Artists reflect on the fundamental significance intrinsic to “archives”, and expound on its possibilities for awareness. In addition to reinterpreting archives, there is intent to use the archive format as a basis for “re-creation” and “re-exposition”. This suggests that applications of archives are no longer limited to previous modes of appropriation or reproduction, but have become a methodology of constructivism. It initiates dialog on three relevant levels in this still-expanding domain: the field (experience), genealogical excavation (knowledge), and thought (creativity); and collaborates with the three aspects to construct an alternative knowledge and artistic form. This series will explore how archives have become a new method of practice, and how this method manifests, by reevaluating the ways in which archives have been implemented and its meanings converted in various art forms in recent years.
For this lecture series, four panels of speakers have been invited to open up discussions on the significance and applications of “archives” in contemporary art production. I. How and why do artists utilize archives: artists James T. HONG and CHEN Yin-Ju (October 2) dissects their creative concepts and their purposes for utilizing archives through examples in their own work where vast amounts of archives are revisited, appropriated, and even reinterpreted; II. Archives and thought patterns: Historians SING Song-Yong and GONG Jow-Jiun (October 9) discuss how the process of “a return to archives” instigates the occurrence of new practices through the curatorial practice of two contextual paths of Taiwanese video art and Taiwan New Cinema that are currently being researched and implemented. III. Archives and Freedom of Speech: Head of the Research and Publication Department at the OCAT Institute in Beijing, DONG Bingfeng. (October 16) discusses his in-depth observations after years of personal involvement in the research of “moving images” in China, and the challenges of preservation and survival confronted. IV. Fieldwork, documentation, and archive: With his years of working in the field of sound recording as a starting point, sound artist and recorder Yannick Dauby (October 30) explores the significance of recording sound and its ability to be heard repeatedly.
Through these themes and cross-sections of archives and its relevance in contemporary art explored in these four lectures, we hope to illustrate the complex relationship of archives with concepts, actions, and applications; as well as to raise follow-on questions worthy of attention and exploration in the “archive frenzy” of the current artistic environment.
(Curated by Amy Cheng / TheCube Project Space)
#1 Remarks on Prejudices and the Archive / Appropriation — Archives
Remarks on Prejudices and the Archive
“Who controls the past, controls the future. Who controls the present, controls the past.”
For the American band Rage Against the Machine, these words from George Orwell’s Nineteen Eighty-Four are a rallying cry of resistance. To me, they are simple institutional facts concerning archives. The largest archives, such as the U.S. National Archives or Corbis/Bettman, are usually state run or owned by corporations. They and other archives and libraries like them control the distribution of a nation’s collective memory – in this case the United States. Their ultimate reason for existence is to validate the continuation of the state, and as such, they will always be meaningfully incomplete. However, there are possible exceptions, such as Wikileaks and the “stolen” archives of Edward Snowden.
As an artist researcher, I never enter an archive without an agenda. I already have an aim or I am looking for evidence confirming an accusation. My motivations and personal background provide an interpretative context for everything that I find within an archive. I will never discover an unadulterated “truth.” The search for truth is never a primary motivation for archival research. There are simply too many irrational motives and implicit presuppositions. This is one formulation of the “hermeneutic circle” as developed by Martin Heidegger and Hans-Georg Gadamer.
My prejudiced thesis is that the archive researcher, even the occasional apolitical artist type, always has an ideological agenda, which is frequently nationalistic. Moreover, the initial creation of any archive reflects the ideological motivations of the founding archivist(s).
- Hermeneutic circle
- U.S. National Archives and the Hoover Institution
- Corbis/Bettman Archive
- Taiwan’s Academica Historica
- Creating an archive — > Apologies
- Wikileaks and redaction
- Edward Snowden
- Richard Holbrooke and historical bullshit
Appropriation — Archives
Archival information can be categorized into four formats: text, photographs, moving images, and sound. These have been appropriated under the creative framework of contemporary art for over fifty years. In the category of photography, I will give a brief overview of Archive Fever: Uses of the Document in Contemporary Art curated in 2008 by Okwui Enwezor at the International Center of Photography in New York. In the category of textual history, I will introduce artist WANG Hong-Kai’s Dancers of the Millions (2015) unveiled at the 2015 Kyoto International Festival of Contemporary Culture; discuss in appreciation The Military Industrial Complex, another work that is primarily a textual reading, by this year’s Turner Prize nominee Bonnie Camplin; and compare my most recent practice Notes on Psychedelics(2015). In reviewing the category of moving images, I will also share the creative contexts for my own works Action at a Distance(2015), this work appropriates a significant amount of found footage/ archival footage.
The interweaving of artistic creativity and archival data continually produces new meanings in contemporary art. The artist’s research methodology for creative themes has become an important aspect of the work that guides the viewer to the artist’s creative and research context rather than merely satisfying through a visually dazzling transformation. In the process of de-visualization, I will take a few minutes to review some art history, namely the rise of conceptual art. The work of self-documentation Post-Partum Document (1973-1979) which took conceptual artist Mary Kelly seven years to complete will be discussed as an example of an artist creating her personal archival repository.
#2 For that which will not occur: an alternate Image history of Taiwan
Moderator：Amy Cheng / Curator
Speakers：Jau-Lan Guo / Curator and Art critic
Gong Jow-Jiun / Associate Professor of Doctoral Program in Art Creation and Theory of Tainan National University of the Arts
Sing Song-yong / Associate Professor of Graduate Institute of Animation and Film Art of Tainan National University of the Arts
Date: 9th October, 2015
It’s been 33 years since the beginnings of Taiwan New Cinema in 1982. Though the movement came to a close in the 1990s, have we truly experienced the completion of Taiwan New Cinema with the occurrence of various debates and limitations in the domestic cinema system? Hsieh Chinlin’s Flowers of Taipei – Taiwan New Cinema which premiered in Taipei in 2014 represents a shift in perspective and renewed contemplation. In this age of the internet, the “ ACT: Revival Rhizome Plan for Taiwan New Cinema” attempts to reintroduce a plan to resurrect Taiwan New Cinema as an audio-visual archive that presents a potential path for audiovisual diversion and archival contemplation in contemporary art.
In the year after the birth of New Cinema, a new creative trajectory for video art made a first appearance in the developmental history of Taiwan’s image art: KUO Yi-Fen and KAO Chung-Li each unveiled works of video installation and video sculpture. Three decades later, the exhibition Rewind－Video Art in Taiwan 1983-1999 due to open at the Kuandu Museum of Fine Art this October begins with vintage reissues as a starting point for reconstructing Taiwanese video art, then gradually completing a timeline of work completed around a similar era. Vintage reissues are more than mere archival embodiment, but are a curatorial method: the exhibition becomes a form of conceptualizing archives of video art.
#3 Prohibition, Resistance, and Self-Organization: Video Art Archives in China
In the past decade, the retrospection/exhibition, archival excavation, and historical documentation/writing of Chinese contemporary art history has reached an unprecedented fervor and intensity. Specifically, endless discussion and research on the topic of the “85 New Wave”, and the New Wave art movement in China in the 1980s has created its own school of thought.
In light of this surge, the ecology and status of Chinese “video art” which began in the early 1990s seems comparatively isolated and marginalized. On one hand, it is difficult to carve out a niche for “video art” in the overall marketization of Chinese contemporary art; on the other hand, the innately heterodox (anti museum) character of image art such as video art (anti museum) or art-house and independent films (anti establishment), have always attempted to seek out new linguistic and political autonomy and mobility.
The lecture will explore effective actions of definition, research and publishing of “video art” in China through case studies of two non-profit organizations for the archiving and research of video art, Li Xianting’s Film Fund (established 2006 in Beijing) and Video Bureau (established 2012 in Guangzhou and Beijing), in order to seek out a alternate angle to reflect on and imagine a pluralistic future and potential for Chinese contemporary art in the midst of rapid social change.
#4 Sound Report from the Field
Moderator: Jeph Lo / Curator and Sound culture researcher
Speaker: Yannick Dauby / Artist
Date: 30th October, 2015
Field recording is an unpredictable audio practice. It does not merely capture a sonic event or environmental sound, nor does it objectively document reality, it also involves dialogue with random situations, including sonic spaces, tools, participants, flora and fauna, atmospheric phenomena, and various accidents.
When and how do recordings made in this context achieve the status of reliable documentary? What is the significance of a listening experience that is mediated by a microphone and headset? What does it mean to enable sound memory, or to transform ephemeral sound into something that can be repeatedly played? What is a sound archive? How is an archive established?
In this lecture, sound artist Yannick Dauby who works primarily with field recordings will share his experiences working in Taiwan, as well as his research on sound culture, sound environment, and sound creation.
The exhibition titled The Starry Heavens Above and the Moral Law Within is collaborated by James T. HONG and Yin-Ju CHEN.
Contemporary analyses of “drugs” are mostly confined to the disciplines of medical science and jurisprudence. In this collaborative project, the two artists innovatively address the issue of “drugs” in an interdisciplinary context by examining in depth its relationship with modernity, clashes of civilizations and consciousness awareness. Adopting various media by juxtaposing files, historical documents, paintings and videos to create the perceptional atmosphere and narration, the two artists not only investigate the concepts and metaphors of “drugs,” but also transform them into the media as reflections of the human spirit, history, culture and society.
ALTERing NATIVism－Sound Cultures in Post-War Taiwan (Taishin Arts Award EXhibition) currently shown at the Museum of National Taipei University of Education is an excerpt of the exhibition which was held at the Museum of National Taipei University of Education in Taipei and the Kaohsiung Museum of Fine Arts respectively in 2014, including part of the sound archive of the exhibition, the documentary films Sounds from the Lower Rungs of Taiwan (Crystal Records, 1992 ), 1995 Taipei International Post-industrial Arts Festival (HUANG Ming-chuan, 1995) as well as TENG Chao-ming’s To Sing or Not to Sing? (commissioned work by the exhibition).
ALTERing NATIVism is a curatorial and research project initiated by TheCube Project Space and based on research on sound cultures in post-war Taiwan. In 2014, jointly organized by TheCube and aforementioned museums in two cities of Taiwan, the exhibition is funded by the 2012 Production Grants to Independent Curators in Visual Arts of the National Culture and Arts Foundation.
ALTERing NATIVism explores Taiwan’s various post-war sound culture movements by presenting historical documentation, audiovisual archives, and artworks. In the original exhibition, it begins the discourse with the album Lang laile: Qingting, Taiwan de hua (waves are coming: listen carefully, Taiwan is speaking) released by Crystal Records (now dissolved) in 1997. It is a 47-minute recording of waves crashing on the shore in Ji’an Township in Hualien, Taiwan. The sound is natural rather than man-made, but in the marketing process it was entitled “Taiwan is speaking”, which suggests that the sound, or this sound making, has a definitive political implication.
Beginning with this album, the exhibition excavates the issues that cannot be avoided in the shaping of Taiwan’s modernity, and explores the context of sound culture movements, including the songs banned during the post-war martial law period, American pop songs, the search for our own music in the Folk Song Collection Movement and the Folk Song Movement, and the underground music scene, Noise Movement, Raves and sound art in the post-martial law period. Sifting through the soil of Taiwan’s social history, the exhibition compiles a genealogical record of sound, and hopes to explore more implications of this record through the process of re-examining the sound making.
In addition to featuring the albums, posters, flyers and documentary films collected by the research team, the exhibition has invited 15 groups of sound and visual artists to expand the discourse with art works. Rather than presenting a comprehensive history of Taiwan’s sound cultures, this exhibition proposes an “approach for listening to and explaining Taiwan’s sounds”, and attempts to investigate history through the sense of hearing, in order to stimulate further discussion.
Sounds in this exhibition
Taiwan seemed to be in the grip of American hot music fever with the stationing of American troops in the 1960s. A large number of young people were itching for a chance to start a band during that time. The thriving club culture happened to create plenty of venues such as cabarets and saloon bars from where professional and amateur bands may gain invaluable experience of performing. The Sun Shine (formed in 1960) and The Raymond (formed in 1962) were the flagships of them. Based in southern and northern Taiwan respectively, they made a name of “the North Raymond and the South Sun Shine” for themselves as excellent and iconic bands.
Folksong Collection Movement
An atmosphere of “total Westernization” pervaded the Taiwanese music community in the 1960s. What could be learned from music academies were mostly Western skills of composition, while collating the folksong literature since the 1930s remained the primary concern of the intelligentsia. Between 21 July and 1 August 1967, Shih Wei-liang and Hsu Tsang-houei organized an expedition for folksong collection, which was divided into two teams that comprehensively collected the recordings about local folksongs along the eastern and western coasts of Taiwan respectively. The collected recordings were used in systematically collating and analyzing Taiwanese folksong culture and establishing an independent discipline, through which the two leaders expected to forge new connections with the international academic network of music studies. What is worth noticing is that the Folksong Collection Movement was not so much an occasional activity of academic material collection as an intellectual, cultural movement comprised of appeals, theories, actions, objectives, and vision.
Born in Da-guang Neighborhood, Heng-chun Township, Ping-tung County, 1905, Chen Da went partially blind due to an obscure disease, which was why people called him “red-eye Da’la.” He was one-quarter of aboriginal descent and uneducated throughout his life. His self-taught skills in singing and playing moon-lute were derived from the imperceptible influence of his environment of growth. His singing sounded desolate yet emotionally rich. He was proficient in improvisatory writing and singing songs, which made him a minor celebrity in his hometown. Hsu Tsang-houei recorded Chen’s singing on the expedition of folksong collection in 1967. Then Hsu produced and released Chen’s first album. Afterward, Chen was invited to the Scarecrow Café in Taipei as a singer-in-residence, since when he attracted the attention of Taipei’s cultural community. He died of a car accident in 1981 at the age of 76.
Sounds from the Lower Rungs of Taiwan
Between 1992 and 1995, the Crystal Records initiated Sounds from the Lower Rungs of Taiwan, a long-term fieldwork project that aims to document the sound performances of Taiwan’s grass-root sub-culture in the forms of sound, image, and text. The recordings resulted in two albums with three CDs. The content encompasses a diversity of vulgar sounds from Nakasi music and pirate radio broadcast to vendors’ hawking in night markets. The repertoire includes some replicas of the songs in lost records. The members knew very little about the Folksong Collection Movement of the 1960s when they launched this fieldwork project. Nevertheless, their results unwittingly contributed to remedying the deficiency of the Folksong Collection Movement that emphasized simply the academic and artistic dimensions and ignored the riotous profusion of folk cultures and sounds.
The Taiwan Sound Archive
Based on the success of Sounds from the Lower Rungs of Taiwan, the Crystal Records launched a more ambitious fieldwork project – The Taiwan Sound Archive. This project assembled scholars of ethnic music, anthropologists, photographers, documentary writers, and graduate students of ethnic music, uniting them to actively record the folk music which was on the brink of vanishing. The recordings were divided into three parts, namely sound, image and text. The members’ efforts resulted not only in the release of records, but also in the publication of the quarterly The Sound of Taiwan wrapped in the CD box set. The Taiwan Sound Archive consists of six main categories, including folk song, traditional opera, narrative and singing, instrumental music, dance music, and sacred music. Each category further consists of two sub-categories, namely “tradition” and “modern,” amidst which the Crystal Records attempted to construct the full picture of the sound of Taiwan.
The Crystal Records and the Wave of Taiwan New Music
Founded in 1986, the Crystal Records was the first label in Taiwan that not only advocated “non-mainstream music” but also sparked the wave of “Taiwan New Music.” Along with the publications and released records of the label, the new Taiwanese song movement exerted significant influence on the mainstream music at that time. Taiwan New Music sought to transcend the institutional confines of mainstream labels and carved out a new path. The movement not only overthrown the traditional forms of pop music, but also reflected on the stereotypes of “localization,” to wit, nostalgia and sadness. The Crystal Records was a small label with limited amount of capital. However, the fulfilment of “localization” had been loftily expected from such a small label since the lift of the martial law. The label began to reduce its scope of business in the 2000s, and unfortunately collapsed later through mismanagement and lack of proper financial controls.
Aboriginal Popular Songs
The popularization of aboriginal songs emerged as an important phenomenon in contemporary aborigines’ social life and civilian literature. It not only encourages a high level of participation but also exhibits the characteristics of diversity, hybridization, and non-excludability. It is the most vibrant and vigorous part of aboriginal pop culture. The popular songs, whether in Chinese, Japanese, or aboriginal languages, that circulate among all tribes of Taiwan’s aborigines have been recorded and sold in the form of vinyl recordss or cassettes since the end of the Second World War. The compositions and ways of expression plainly and vividly depict the aborigines’ living experiences in a carefree and vivacious manner. These songs originated from the chants sung by the workers of forest compartments, the elegies sung by the aboriginal construction workers who were previously hunters in their tribes, the messages from battle zones, the love songs that cement long-distance relationships, and wayfarers’ wistful nostalgia. The lyrics and melodies of these songs are, among other things, melancholy, resounding, gently flowing, softly sweet, or witty, which faithfully reflect the real life of Taiwan’s aborigines in the past decades.
Founded in 1996, Underworld was a famous live house in Taipei for cultivating numerous well-known and unheard-of independent rock bands. Since the attributes of live houses have never been clarified in Taiwan, their legal status is often questioned by the government or local residents, which resulted in frequent inspections and residents’ repelling. Underworld closed down in 2013 due to its ambiguous legal status and government’s strict regulations, even though it had been cherished as an invaluable asset for the development of Taiwan’s independent bands.
The Realist Folk Song Represented by Li Shuang-tze and Yang Tsu-chuen
Li Shuang-tze and Yang Tsu-chuen stood out as extraordinary singers in the folk song movement arising in the 1970s. In 1976, Li provoked the moderator and the audience publicly at a campus concert of Western folk song by chanting the slogan: “sing our own songs.” Yang devoted herself to a touring folk song concert around Taiwan and organized the Green Field Charity Concert in 1978, the first large-scale outdoor concert in Taiwan. What Li and Yang have in common is that they both treat music as not only the means to voice the opinions among the lower middle class and the oppressed groups, but also a practical approach of musical aesthetics used for social critique. Their works were officially banned because they were considered potentially detrimental to the authority’s legitimacy of ruling at that time. It was not until the lift of the martial law that their approach was followed by several independent bands such as the Blacklist Studio, Chu Yeuh-hsin, Black Hand Nakasi, the Labor Exchange/Sheng-xiang Band, and the Village Armed Youth.
Founded in 1989, the Blacklist Studio consists of a number of singers and musicians, among which Wang Ming-hui, Chen Chu-hui, and Keith Stuart shoulder the responsibility for music production and conception. Wang Ming-hui, the director of the Blacklist Studio, proposed the idea of New Taiwan Music to summarize the Blacklist Studio’s musical practice and aesthetics that try to blend folk perspective, history, knowledge, and the Third World sound into pop music. They not only introduce salient documentality into the production of musical albums, but also serve as the mediator between history and sound, trying to enrich our understanding and cogitation of the world with music.
The Black Hand Nakasi
Founded in 1996, the Black Hand Nakasi is one of the few bands that have a long history in evolving and cooperating with blue-collar workers and labor movement organizations in Taiwan. It participated in over three hundred rallies and parades in support of social movements concerning various issues such as labor condition, gender inequality, occupational injury, migrant worker, environmental protection, anti-war, anti-relocation, and vagrancy. The members sang songs to raise the participants’ spirits and strengthen the momentum of social movements. The Black Hand Nakasi has not only tried to create their works in collaboration with blue-collar workers, but also organized workshops and activities that help them and disadvantaged minorities to voice their heartfelt wishes with their own language.
The Labor Exchange/ Sheng-xiang Band
Lin Sheng-xiang and Chung Yung-feng, the leading members of the Labor Exchange/Sheng-xiang Band, redefined the scope of “Hakka” with music. They not only give their voices as Hakkanese, but also represent the concrete living conditions and the diverse, complex backgrounds of farmers, workers, foreign spouses, and young people who go back to their roots. A variety of issues have been touched on. Their music encompasses a riotous profusion of genres from folk music and rock n’ roll to the innovations of traditional instruments such as moon-lute, Pipa, and Suona, as well as the traditional Okinawa melody in collaboration with Japanese musicians. They keep exploring new possibilities for composition, finding rhythmic delight in simple melodies. In their works, music not only reflects realities but also bears the signature of realism. It is a controllable medium for aesthetic and social practice.
The Village Armed Youth
The Village Armed Youth is dubbed the “Big Band on Ketagalan Boulevard” on account of its spirit of street protest. The purpose of their music is to defend Taiwan’s agriculture and disadvantaged minorities. Its members participated in various social movements such as anti-relocation of San-Ying tribe, anti-Su-Hua Freeway movement, anti-relocation of Lo-Sheng Sanatorium and Hospital, anti-water allocation to Central Taiwan Science Park, and anti-land expropriation in Da-Pu. They tend to participate in a variety of social movements that focus on justice and human rights, challenging the impotent government by using rock n’ roll and guitars as their weapons. They dissed the police and cursed the bureaucrats at the sites of demonstration. They devoted themselves to protecting Taiwan’s agriculture, environment and human rights, sparking revolts against the injustice with their songs.
L.T.K. Commune coined the term “Taike Rock.” It marked the heyday of underground culture in the post-authoritarian Taiwan, and the flourishing scene lasted for years. Its membership has changed several times since its establishment in 1989. The members have adopted music and various actions to combat the boredom of life when they were still students. They not only overthrew the so-call rock n’ roll with vulgarity and riots, but also transformed local folk culture into avant-garde noise. They often take part in street demonstrations and maintain a close association with activists of student movements. L.T.K. Commune is the most long-lived underground band in Taiwan. Although most of the founding members (except the vocalist Ko Ren-chien) left the band and the other members are now middle-agers, L.T.K. Commune still persists in finding more possibilities for music and actions.
Zero and Sound Liberation Organization (Z.S.L.O.)
Zero and Sound Liberation Organization is a prominent group that galvanized the Noise Movement in Taiwan. Liu Hsin-yi, Lin Chiwei, and Steve Chan were still undergraduates in Fu Jen Catholic University when they established the organization in 1991. They made their public debut at the competition “ICRT Young Star” with outlandish costumes and un-tuned guitar improvisation, which successfully irritated the audience and established their orientation towards overthrowing the system with noise. In 1993, they released a self-titled album which is the first self-produced and self-released CD album in Taiwan.
Ying Wei-min (nicknamed as Xiao Ying) is the leader of the Clippers, one of the pioneering groups of Noise Movement in the 1990s. In 1998, he hosted the Psychological Collapse of Xiao Ying, a program broadcasted by the Big Tree radio station (FM 90.5). He not only arbitrarily played a variety of sounds in this program but also designed its content in collaboration with his bosom friend Tsai Hai-en (one of the founding members of L.T.K. Commune). By virtue of this radio program, he tried to explore various possibilities for sound and talk show. This piece of recording is the last episode of Psychological Collapse of Xiao Ying that was off the air due to its inappropriate content.
Founded by Wang Fujui in 1993, NOISE is the first independent label and magazine of experimental music in Taiwan. It released a series of selection albums of the works by domestic and foreign noise artists, which made Taiwan a node in the international noise network. In that period, the label not only promoted Taiwan’s works to the international sound art community, but also introduced foreign counterparts into Taiwan. Before the popularization of the Internet and e-mail, physical posts served as the only means for artists to do networking and exchange their works. The international connections established by Wang not only broadened the horizons of Taiwanese audience, but also laid a solid foundation for the Taipei International Post-Industrial Art Festival held in 1995. The album Killing Me Softly with Noise released by NOISE in 1997 includes Wang’s experimental sound work The Ford of Delusion published in the pseudonym of Ching-Shen-Ching.
1995 Taipei International Post-industrial Arts Festival
The energy accumulated early 90s after the lift of Martial law came to an outbreak in 1995. As a result, Broken Life Festival expanded into Taipei International Post-industrial Arts Festival. Lin Chi-wei, a contemporary sound artist served as planer, orchestrated performances from Britain, America, Japan, Switzerland and local Taiwan. This event took place in Banqiao distillery was held for several days. The x-rated visual and horror shows may hit a record high in live action in Taiwan: Thriller theater, artists’ physical aggression against women, LTK’s brutality toward its own member, Z. S. L. O. poured gutter water and splashed it to the audience.
Teng Chao-ming, To Sing or Not to Sing?
Sound, Poster, 2014
The work To Sing or Not to Sing? features the song Rainy Night Flower that has been sung for more than eight decades since the Japanese colonial period. Since Columbia (a Japanese record label in Taiwan) released this song in 1934, a variety of people, events, objects, and ideologies has been mobilized to cement its status as the “iconic Taiwan folk song.” The artist studied and collected various forms of this song, such as the albums that included it, the rewritten versions of its lyrics, its symbols and metaphors that people invoked, and the news about it. The artist then traced the history of this song by editing these materials in a chronological order.
The answer to the question of “how things happened exactly” is destined to be as incomplete as any other historical writing. The artist tackled such incompleteness by deconstructing the narrative into visual graphics and then reconstructing them into new and reusable texts, which resulted in five “diagrammatic surfaces” that help the viewers construct the narrative. The loudspeakers randomly blares the newly recorded overture of Rainy Night Flower, which prompts the viewers to reflect on the true meaning of “singing” a song. The whole work rests temporarily on a request, that is, “since the history of this song has generated some structures and systems, let’s ponder how we can utilize them to create new things.” (Teng Chao-ming)
The exhibition curated by TSAI Jia-zhen, adopting the narration of Underground, this exhibition will focus on the “narrative syntax of political reality in video works and its construction and expression of context,” inviting two young Korean artists Jungju An and Sojung Jun, who also teach in the university, and often partake in residencies abroad, which have astutely enriched their observation of subjects and phenomena, expanding the expression of their work.
TheCube Project Space of Taipei, in collaboration with Casino Luxembourg – Forum d’art contemporain, is pleased to present on September 11th UNGROUND, an 8-channel audio-visual installation by the Luxembourgish artist-duo Gast Bouschet and Nadine Hilbert. Kevin Muhlen, artistic director of Casino Luxembourg, where the exhibition had its first reveal in 2012, is curating the Taipei exhibition.
An exhibition about research on sound cultures in post-war Taiwan will open at the Museum of National Taipei University of Education in Taipei and the Kaohsiung Museum of Fine Arts on February 22 and June 7 respectively. Jointly organized by these two museums and TheCube Project Space of Taipei, it is funded by the 2012 Production Grants to Independent Curators in Visual Arts of the National Culture and Arts Foundation. Curated by Amy CHENG, Jeph LO and Tung-Hong HO.
Based on ongoing fieldwork, the exhibition Altering Nativism explores Taiwan’s various post-war sound culture movements by presenting historical documentation, audiovisual archives, and artworks.
TheCube Project Space is delighted to host A Journal of the Plague Year’s first touring stop in Asia. The exhibition curated by Cosmin Costinas(Director of Para Site, HongKong) and Curator Into Guerrero.
Taiwan and Hong Kong share many chapters of their history. This exhibition wants to serve as a start for a reflection on this shared historical background and rhetoric narratives between the two regions facing a tumultuous present and an uncertain future under the same specter.