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.
Memo-Scape encapsulates over 2 years of in-depth field research and interviews conducted in Kaohsiung City’s Cijin and Yancheng Districts by Professor Huang Sun-quan and the Islands group. Other narrative experiments conducted under this project have previously been featured in the art of Inconvenient Truth: New Ideas on Environmental Art in Cijin (Islands, 2012/2013) and in the Cijin Ferry Action Plan (late 2013).
The influential sound artist, sound creation pioneer and promoter Fujui Wang will be the subject of Lurking Waves, an exhibition to be held at TheCube Project Space. The exhibition presents documentation from the early period of Wang’s career, including publications, cassette tapes and CDs produced by Wang’s experimental music label NOISE founded in 1993. Correspondence and objects exchanged between Wang and international sound artists, sound works produced in the 1990s by international artists, a 1990s recording of a sound art talk/performance produced by ETAT.
Living As Form is a research-based audio-visual documentation exhibition, curated by chief curator of Creative Time of New York, Nato Thompson. It surveys more than 100 projects in the past 20 years that blur the line between art and everyday life, and that emphasize participation, dialogue, and community engagement.
There are Part I “The Nomadic Version” and Part II “The Local Version”. The Nomadic Version presents more than 20 pieces of international works and activity documents. The Local Version consists of two projects rooted in localized contexts in Taiwan:Seventeen Years of Cultural Intervention: An Exhibition on the Black Hand Nakasi Workers’ Band and Will the Vole and the Egret Speak? created by the Taiwanese artist Hong-Kai Wang and the Huiwei-based Natural Life Studio in Yunlin County.
Living As Form
Curator | Nato Thompson
Will the vole and the Egret Speak?
Artist | Hong-Kai Wang & Natural Life Studio
Seventeen Years of Cultural Intervention
Artist | Black Hand Nakasi Worker’s Band
Women on Waves rocked the boat well before setting sail in 2001. Lead by physician Rebecca Gomperts, this women’s healthcare advocacy group aimed to provide abortion services in countries where the procedure is illegal. They built a seafaring abortion clinic registered in The Netherlands, anchored it 12 miles away from harbors in international waters, where they could operate under Dutch law, and attempted to safely bring women on board. Yet, media buzz resulted in strong resistance–such as military intervention as they approached Portugal, and pelts from fake blood and eggs in Poland. No surgical abortions were performed at sea, and only fifty women received abortions of any kind on the vessel. “But the boat created a lot of controversy, which has always been important to the campaign,” says Kinja Manders, project manager for Women on Waves. “Our goal has always been to stir public debate, and to send the message that abortion is not simply a public health issue–it’s a social justice issue.
The small team, a mix of healthcare specialists and activists, provided contraceptives, pregnancy testing, information about STDs, and prescribed the abortion pill (RU-486) aboard until 2008. While the sea voyages have ended, Women on Waves has exhibited the boat in international exhibitions, in homage to the organization’s roots in the arts: Early funding was provided by the Mondriaan Foundation, and Gomperts earned a degree in art before attending med school. “We’ve always been interested in the link between activism and art,” Manders says. “And in finding creative and conceptual solutions that are on the edge.” The organization now exists online and educates women on safe, self-induced abortions, a medically uncontroversial, but politically charged practice; how to obtain abortion pills; and where to seek accurate information and counseling before and after an abortion. The website receives two million hits a year.
In April 2010, a shocking video of an American helicopter firing upon a group of Iraqi journalists on the ground in Bagdad stunned mainstream media and the diplomatic world, and inspired a global debate about the relationship between news outlets and the governments they report on. The video, titled Collateral Murder, was released by WikiLeaks, a whistle-blowing non-profit organization that since its inception has aimed to shine light on the operations of governments and corporations around the world. Founded by former computer hacker Julian Assange, as well as a group of technologists, dissidents and activists, WikiLeaks is guided by the premise that democracy works best when citizens are aware of state and military operations, and can hold governments accountable to their actions.
Historically, large media groups consult with government sources before releasing potentially sensitive information, in order to leverage these relationships for greater access to information. WikiLeaks has challenged this process by eschewing such negotiations and releasing classified memos, diplomatic cables, videos, and other materials directly to the public via its website. “Publishing improves transparency, and this transparency creates a better society for all people,” states WikiLeaks’ mission. “Better scrutiny leads to reduced corruption and stronger democracies in all society’s institutions, including government, corporations and other organizations. A healthy, vibrant, and inquisitive journalistic media plays a vital role in achieving these goals. We are part of that media.” WikiLeaks’ critics, with the U.S. government at the helm, have countered that the organization’s practices have endangered military and intelligence personnel as well as their civilian sources.
WikiLeaks operates with a small all-volunteer staff as well as a network of 800 to 1,000 experts who advise on issues such as encryption, vetting information, and programming. Its material is housed on servers around the globe–outside of the jurisdiction of any single institution or government.
“If you really want to contribute to changes in social structures, you need time.” Jeanne van Heeswijk took this ethos to heart in Valley Vibes, her effort to gather the voices of East London’s residents, who in 1998 began witnessing gentrification–or the replacement of local culture for corporate business–in their neighborhood. As part of the project, van Heeswijk, along with curator Amy Plant, built a “Vibe Detector,” a simple aluminum storage container on wheels that functions as a mobile karaoke machine, radio station, and recording studio, equipped with a professional sound kit and DAT recorder.
At the project’s launch, van Heeswijk enlisted members of the architecture and urban-planning research group CHORA to occupy sidewalks (à la street food vendors) and ask residents to use the available equipment to record their stories, music, performances, or any other signifier of local culture that countered the regeneration taking place in the neighborhood. The Vibe Detector traveled to private parties, the local hairdresser’s salon, shops, nightclubs, poetry readings, school events, municipal meetings, and festivals–wherever residents would gather to discuss issues important to them. CHORA still operates the Vibe Detector by offering the equipment for use free of charge, as well as technical assistance and marketing advice.
Van Heeswijk is the 2011 recipient of the Leonore Annenberg Prize for Art and Social Change. Since 1993, she has created public art that mediates relationships among neighborhood residents by initiating different modes of communication around pressing issues. For one of her first projects, she organized a joint exhibition between Amsterdam’s Buers van Berlage art museum and the Red Cross that addressed notions of human dignity in an age of violence. In 2008, she revitalized the Afrikaander market in South Rotterdam by bringing artists, vendors, and consumers together to rebuild stalls, rethink the selection of wares for sale, and create a new economy within this struggling neighborhood.