2022 Tree Tree Tree Person｜IV Part2: 1936 Ka Pnhiyug Prnulan Skadang

About Exhibition Title

In 2020, Tree Tree Tree Person—Taroko Arts Residency Project IV presented four resident researches inspired by Family Tree: Preface, a collective painting created by nine indigenous village women. One of the projects, started by researcher-in-residence Cheng-Te CHIN a.k.a A-de, was a monument installation project aiming to commemorate the Truku community’s three hundred years of migration and development in the Liwuxi River Basin. The project was eventually put on hold. Now, after several rounds of discussion between the tribe elders and the curatorial team, a new direction has emerged…

A-de’s Truku People’s Back to Home Project 1: Si Mu Ke is a joint project between different families of the Truku People to install a monument to commemorate their migratory pedigree. The original plan was to work with Aunt Yuri Pasang’s family in the summer of 2020, yet many oppositional voices arose after they finished scouting Si Mu Ke, the tribe’s traditional territory. Tribe members consulted the tribe’s elders, and decided to put the project on hold. Afterwards, the indigenous village women came up with an alternative proposal and asked the church that aided the tribe’s migration to Fu Shih Village’s Min Le community to install the monument instead. The monument would be erected in the mountains, near their ancestral village site thirty minutes away from Datong tribe. When discussing what the inscription should say, Yaya Huwat, a elder woman, wrote “1936, Ka Pnhiyug Prnulan Skadang” (Datong Church was est

About Resident Researcher

Cheng-Te CHIN
BFA, Chinese Culture University and the founding member of the studio “Grass Arts Academy.” He continuously focuses on producing postcards, printed with traditional images found within Taiwan’s historical documents. He developed his artistic methodology through geographical fieldwork techniques. Through the action of erecting stones in the field, his artistic project reveals important elements of historical events that Taiwanese people tend to ignore. Participated in exhibitions includes Refrigerated Abstract; group exhibitions Towards Mysterious Realities (Total Museum of Contemporary Art, Seoul, Korea, 2018), Busan Biennale 2018, Taipei Biennale 2020, etc.

Arion DAUBY/ Lysianassa DAUBY/ Wan-Shuen TSAI/ Yannick DAUBY

Arion DAUBY, 8 years old. Interested into animals, handicraft, and in general playful and beautiful objects. His mother languages are Taiwanese, French and Mandarin. Professional child.

Lysianassa DAUBY, 11 years old. Interested into handicraft, miniatures and rationally organized things. Her mother languages are Taiwanese, French and Mandarin. Professional child.

Wan-Shuen TSAI
Her artwork is shared between mixed-media installation, drawing, video and poetry. In parallel of her personal projects, she collaborates since 2004 with sound artist Yannick DAUBY.

Yannick DAUBY
Sound artist. Works for cinema and other art forms, providing sound design and audio post-production. Focuses on field recording since 1998 and composes audio documentaries, experimental music, develops projects about environment in Taiwan.

Yinru LO
As a freelance theater producer, Yinru LO occasionally plays other roles in theatrical performance. She sets great store by the process of corporeal practice whether in her personal life or in workplace. She has been paying attention to community-based art and atypical theatrical performance. She was the co-producer of Remote Taipei (with Rimini Protokoll, Germany) and Fun Run Taipei (with All the Queens Men, Australia) for the Taipei Arts Festival. She also worked as the executive director of 100% Kaohsiung (by Rimini Protokoll, Germany) at the National Kaohsiung Center for the Arts (Weiwuying), the producer of Sentimental Journey and Book of Lost Words by the Against Again Troupe, as well as the production coordinator of The First Dream at the 2019 Asian Art Biennial.

Szu-ni WEN
Szu-ni WEN is a theater director and a transdisciplinary artist. Since her homecoming to Kaohsiung from Berlin in 2015, she has tried to rediscover Taiwan by old house renovation, knitting, mountain climbing, and acquainting herself with local culture and history. Being concerned with the relationship between urban development and humanity, she tends to deliver performances that integrate local memories, imagination and identity with art forms of all stripes in non-theatrical spaces or communities. In recent years, she has conducted field surveys in a maker spirit and become captivated by the multiple dimensions embodied/hidden in humanity. She ergo immerses herself in learning from the network of interactions among various players. She was the assistant to director of Remote Taipei, the executive director of 100% Kaohsiung (by Rimini Protokoll, Germany), and the co-creator of Six Dreams by the Sea. She was a member of the curatorial team for Performing (with/in) Communities in the ADAM Project 2019 and now works as the editor-in-chief of How Do You Turn This On, a magazine featuring the life of new immigrants and migrant workers from Southeast Asia in Kaohsiung and Pingtung.

Candy Bird
Carny Bird began his career as an artist by graffiti with works featuring sociality and marginality, seeking to interpret the values overlooked by the mainstream media. From 2018 onwards, he shifted his focus onto portraying different dimensions and conditions of life and engaging in a profound dialogue with his innermost self. Following the concept of imbrication in graffiti, he employs pluralistic techniques and new narrative approaches such as collaborating with amateur literature or contemporary dance. Up to now, his oeuvre spans the fields of painting, writing, performance, and public art.