表演藝術類入圍Works in the Performing Arts category
《在路上》是編舞家鄭宗龍用身體語言書寫個人生命旅程體驗之作，在演出節目單上，他引述了美國作家傑克‧凱魯亞克 (Jack Kerouac) 同名著作《在路上》的這段話：「每個人都是自己生命旅程的過客。不管你身在何處，進行著何種跋涉、執著於何種理想，在生命停息之前，你都走在無限風景的旅途中。面對現實、忠於理想，走在自己的人生道路上。
"入圍理由" 複審委員 : 林亞婷
National Chiang Kai-Shek Cultural Center, R.O.C- On the Road by Cheng, Tsung-Lung
In On the Road, the choreographer Cheng, Tsung-Lung uses body language to write a work on the experiences of his own personal journey. On the performance program notes, he alluded to the words of Jack Kerouac’s On the Road: “Everyone is a passing traveler on the road of his or her life. No matter where you are, no matter what kind of trek you are on, or what ideal you are trying to realize, before journey’s end you are still on a road with a limitless horizon. To face reality and stay true to your ideals is to be on your life’s road.”
The entire dance work shows us a fantastic journey of moods and things heard and seen, through the interactions with long-distance traveling companions and reflections on the journey’s motivations and goals, and also investigating the role and meaning of one’s own life journey. In an ambience created by drums and various music including the sitar, through creating visual form with their limbs, rhythm, expression of strength, changing light and shadow, and an organic assemblage of time and space in music the three male dancers display a unique and pure kind of dance. The critic Wang, Mo-Lin praised it as being “full of the minimalist movement that comes from inner control of the body, it particularly captures the inner restraint that inheres in Asian farming culture.”
"Nomination Reasons" Commentator : Lin, Ya-Tin
On the Roadby Cheng, Tsung-Lung exemplified his mastery of spatial composition and musical structure. He developed a unique movement dynamic and aesthetics derived from his own cultural background, through inspirations from his travels to China with his two dancers/collaborators. The expanded trio version, with an excellent production team of costume, video, and other designers, plus the third dancer, added layers and variations to the superbly, enthralling performance. On the Road not only earned rave reviews from the harshest critics at home, but has even garnered top choreographic prizes in Europe. This partly humorous and partly serious work may remind us of Jack Kerouac’s travelogue of the same title, but represents a unique vision of the artist of new generation from a different time and space.
"入圍理由 " 複審委員 : 于善祿
Fantasy Theatre -Cheat to Cheat
Fantasy Theater is a performance art dance troupe formed in recent years with cutting-edge director Liao, Jun-Kai and Artistic Director Judy Tseng at its core, around which are gathered professionals in theater, design and marketing. It is able to provide young artists with a performance space, as well as a place to make connections, discuss and reflect. It is an alternative place where young people inTaiwan’s theater community can gather, and has become a creative force. Fantasy Theater’s entry in the competition was created and is performed by the company itself.
The play uses an imagined social incident to reveal the entirely different viewpoints and values among the players. The story begins with the narration of a woman whose prejudice leads her to be a cold and indifferent. Then, a con artist pretending to be interested in renting her house appears, and sees that the old woman is blind and lives alone. His plan suddenly changes, and from here begins to play different overlapping roles: first the thief becomes the friend of the old woman’s son, then becomes the adult son himself, and the narration intertwines the two roles in the story, with ethical and emotional argumentation. Hard questions are asked here about raising children and intergenerational conflict, and the piece is suffused with conflict and an atmosphere of tragedy.
"Nomination Reasons" Commentator : Stanley Yu
The play reveals the surface layer and inner content of social cases, between the criminal and the blind woman, there are explosive dramatic tensions of probing and uneasiness. The two characters—one dynamic and one static, one tough and one fragile—struggle with one another both physically and verbally, as if engaging in a death match. The story then takes on a sharp turn to focus on the mother-son relationship—the eldest son criticizes the mother as being biased, and his brother a coward, and the younger brother believes that the blind mother is insane—all three characters believe in their own justice. The balance eventually breaks, leading to an irreversible ending. The square fence around the set is a sarcastic design: the madness of implosion is the jail that holds others and oneself! Audiences are kept on the edge of their seats throughout the play - what a thriller!
《傳奇‧Légendes！》音樂會共演出4首曲目，其中有3首為原創新作：一是法國作曲家西耶瑞．佩柯 (Thierry Pécou) 充滿節慶氣氛的新作《繁花之樹》，此作創意融合了墨西哥傳統音樂元素，以及對於前哥倫布時期的歷史想像。二為台灣音樂家楊聰賢的《祭景默思》，他立意「倚賴一種類似於社會/人類學的想像，試圖去尋求一種既超越特定文化參照，卻又微沁著自身文化承襲的質地。」並透過曲目的進行，構設了一種跨文化共享的祭典程序和景觀：進場─祈禱─念咒─驅魔─歌唱─舞蹈─退場。三是法國弗朗索瓦．納波尼 (François Narboni) 的《帕西法爾》，重新詮釋了華格納歌劇《帕西法爾》中，古尼曼說過的一句經典話語：「…在這裡，時間變成了空間。」
Forum Music -Forum Music and Les Percussions Claviers de Lyon—Légendes !
A dedicated enthusiasm for modern music has led Taiwan’s Forum Music and France’s Les Percussions Claviers de Lyon to mount an international collaboration in the form of a musical dialogue, “seeking commonality, seeking diversity”.
Légendes! is a concert with four song programs, among which three are original creations. L’arbre aux fleurs is by French composer Thierry Pécou and is full of a festival atmosphere. This work creatively combines traditional Mexican elements and hints of pre-Columbian history. The second is by Taiwanese composer Yang, Tsung-Hsien, Meditation on an Imaginary Ceremonial. His intention is “to rely on a kind of social science or anthropological imagination to attempt to go beyond cultural reference, and seek the more profound and ingrained cultural traces that are on oneself.” Through song, a kind of intercultural sharing that is in the process of a ritual takes place: entering the hall, prayer, incantation, exorcism, the singing of songs, dance, and withdrawal from the hall. The third song, François Narboni’s Parzi-fal, reinterprets Wagner’s opera and the line by the role of Gurnemanz in the opera, “zum Raum wird hier die Zeit”: here, time becomes space.
"Nomination Reasons" Commentator: Yang, Chien-Chang
The international collaboration of the Forum Music and Les Percussions Claviers de Lyon started with Légendes !Three experienced composers from Taiwan and France were commissioned to create the music for the show. From the different cultural backgrounds represented by the percussion ensembles, the two sides jointly created and performed a new bidirectional cultural interpretation. The piece by Taiwanese composer Yang, Tsung-Hsien, Meditation on an Imaginary Ceremonial, integrates traditional and contemporary vocabularies, expressing the ceremonial scene and spiritual pursuit jointly possessed by human cultures. The symphonic element of the piece that incorporates the maturity and sound quality of percussion instruments makes it one of Taiwan’s best percussion music in recent years.
HORSE Dance Theatre -Successor I, II, III
HORSE Dance Theater is Taiwan’s first all-male dance troupe, founded in late 2004 by five enthusiasts of the new generation of dance and choreography, Chen, Wu-Kang, Yang, Yu-Min, Su, Wei-chia, Chien, Hua-Bao and Chou, Shu-Yi,to perform collaborative works of boundless, unconstrained creativity in dance that is disciplined and precise. In 2008, their Speed won first prize in the performing arts category in the Sixth Taishin Arts Award. This turned them towards intensified introspection. They continued to interest themselves in both returning to, and breaking through, the form and expression of their works they had been working on.
This year’s entry, the trilogy Successor, is a completely new work created in collaboration with the French troupe Volume-Collectif for four interconnected spaces in theHuashanCreativePark. This work stages a three-part performance, and invites the spectators to undertake an investigation of the very concepts of spectatorship and performance space. The first week’s performance, “Questioning”, in an “interrogative” mode, relies on an unfocused style to make manifest life’s multiplicity of planes of existence and its many kinds of questionings. The spectators, having no fixed seats, may wander at will through the space, subverting normal performance practice. In the second week, a unit dedicated to “Remembrance”, the performers remain within a dim stage light and enact a scheme of connected memories, letting the sound and acoustics become the focal point. In the third week’s performance of “Response”, an investigation of the multiform mutual interactions between people, the self, the body, space, the environment and the future, takes place, using the respective choreographic conclusion of each dancer in the troupe to “forge ahead”.
【Nomination Reasons】Commentator: Chao, Yu-Lin
With space as the main axis, Successor reinvents the East Second Hall of Huashan 1914 Creative Park through three sets of dance performances and space designs in three weeks. The HORSE Dance Theatre teams up with Volume-Collectif and eleven performers from other dance and drama disciplines to present the solitude in modern time. The work is philosophical, experimental, and technical, challenging people’s stereotype and existing ideas regarding space; at the same time, the work showcases compound and volatile theatrical effects and symbolic meanings.
ShiuKim Taiwanese Opera Troupe -New Taiwanese Opera－Remembering An-Ping
ShiuKim Taiwanese Opera Troupe was founded in 1986 by Chang, Hsiu-Chin(Shiukim), and emerged suddenly from the rural stage and in 2000 leapt to prominence on the public stage. In 2001 the troupe obtained the support of the Executive Yuan’s Council of Cultural Affairs and have had it ever since. The group has been consistent in terms of quality, producing moving arias with professional seriousness. Collaborating with other fields they have begun producing Taiwanese folk opera, however in this they have taken on a demanding challenge in collaborating with the contemporary theater luminary Wang, Yu-Hui.
The theater piece structures a story around the words of the old song Remembering An-Ping, in a pastiche of contemporary performance and aesthetics and specific elements of traditional Taiwanese folk opera, combining the three elements of song, dance and theater into a new style of Taiwanese folk opera. The play tells the story of the love affair of a first-generation couple, a girl from Tainan An-Ping, and a Dutch ship’s doctor, and proceeds to the second generation where their offspring, a fair-haired orphan girl whose love with a son of a rich family is inconclusive. The folk opera’s director, A-lu Xian, narrates in detail the history of folk opera in Taiwan, and at the same time the tragic loves of two generations, of the self-sacrificing Yu-Mei (the mother) and Si-He (the daughter). By means of a “play within a play”, the emotions and moods of different characters are interwoven; images of the harbor, the sea and drifting signify the range of Taiwan’s history over the past one hundred years.
"Nomination Reasons" Commentator: Chang, Chi-Feng
Based on a folk story, Remembering An-Ping is a unique play that exhibits the emotional transfer across generations. The lyrics and music explore diverse new grounds in Taiwanese opera creation. The orchestration and the lyrics are a perfect match, showcasing the concept of composing music to fit the lyrics. Whether it is an old melody or a new composition, everything works in harmony. Main actors display great acting and singing skills, captivating the audience with their magnificent voices and body languages. The play also exhibits high levels of script-directing integration and completeness in set design. The play inside the play is presented through projection, which is a magical touch. This play does not only show that the ShiuKim Taiwanese Opera Troupe has broken new ground, but it also proves to be a representative work of experimental Taiwanese opera in the new age.
Ju Percussion Group Foundation-2011 Six-Mallet Marimba Concert byWu,Pei-Ching
At age 18 Wu, Pei-Ching was already the principal performer in Ju percussion ensemble, demonstrating outstanding artistic talent and playing an important role in the group. Afterwards she dedicated herself to mastering the marimba repertoire and achieving personal breakthroughs in creating the unique and majestic sound of the marimba, pushing herself to meet most difficult challenge of all, the six-mallet technique. She achieves a level of performance that is both visually and acoustically stunning.
The six pieces in the 2011 solo concert all center on the six-mallet marimba technique. Besides Abe Keiko’s Prism Rhapsody and Akira Yuyama’s Divertimento, both classics in the repertoire, there are four works specially commissioned by her: Hung, Chien-Hui’s Dreaming of the Red Chamber enacts Lin, Dai-Yu’s refined emotions in her entanglements in love and human mortality. Lu, Huan-Wei’s Manimal is a dialogue using gongs, drums and marimba with a tape delay, allowing the performers to interact with the echo of their own music in a kind of reciprocal chase, manifesting the struggle between animal nature and human reason. Pius Cheng’s Poem of Water, inspired by Niagara Falls, uses the marimba to interpret the multifariousness of water’s moods and its power to astonish. Lin, Ching-Mei’s Pulsing Wave features a six-mallet marimba soloist accompanied by three other three percussionists and expresses the theme ofTaichung’s Gaomei Wetland and water imagery.
"Nomination Reasons" Commentator: Joshua Sun
One of the top percussionists in Taiwan, Wu, Pei-Ching is currently the principal of the Ju Percussion Group. In her 2011 solo tour, Wonderland, Wu took on a “mission impossible”—the six-mallet technique. There are only a handful of percussionists currently in the world who can handle the unique technique, yet under Wu’s outstanding skill, the volatile timbre and sound effect of the technique are fully showcased. In the numbers selected for this recital, many new pieces are tailor-made for the six-mallet technique and the performer; interactions and discussions between the composers and the performer during the composition processes have enabled the final presentation of these pieces to be even more persuasive.
Dance Forum Taipei/ TaipeiChinese Orchestra-2011 TaipeiArts Festival—Eastern Tale
“Dance Forum Taipei” was founded in 1989 by Ping, Heng. In addition to producing new works, in recent years it has actively collaborated across disciplines with artists from Taiwanand abroad as well as dance troupes to create new kinds of works and new styles. The Taipei Chinese Orchestra was founded in 1979; it has taken root in this country and over the years it has performed in many countries. Since 2007 it has been under the direction of Chung, Yiu-Kwong, and has actively tried to expand the definition of “traditional Chinese music” with its innovative cross-disciplinary programs. It has a unique orchestral style and aesthetic trajectory. In this collaboration, modern dance is fused with classical song to reinterpret a classic traditional love story of hero and maiden, with dancers that combine toughness, strength and sophistication.
Eastern Tale is inspired by the historical story of Xiang Yu bidding farewell to his concubine [play name: Ba Wang Bie Ji (Farewell My Concubine)] during the struggle between the Han and Chu kingdoms at the end of the Qin Dynasty. Choreographer Yang, Ming-Lung skips over the account in the Historical Records to reimagine the emotional relationship between Xiang Yu and Yu Ji, creating three different atmospheres and conclusions, dispositions of the body and spatial ambiences, creating a refined image of the emotional restraint, forbearance and cunning intelligence of Asian women. The many possibilities in women’s roles, from passive, clinging ones to assertive, active ones, are also investigated. Throughout the piece, the male and female dancers show a rich gestural vocabulary, weaving together an interpretation of life from the repressed to the elated and willful roles in the piece.
" Nomination Reasons" Commentator: Liang, Rui-Rong
After exploration and accumulation over the “Eastern Wind” series, choreographer Yang, Ming-Lung took a step further and completed the new dance Eastern Tale based on the story of Farewell My Concubine. Under red, white and black tones, the dance narrates the heavy heart of Xiang Yu in contrast to his steadfast appearance, as well as the contrast between Yu Ji’s inner tenderness and her determined actions. The second half of the dance is the climax of the choreographer’s imagination and creativity. Fabric is used masterfully throughout the dance to express different meanings, and the overall structure is complete and mature. The dancers give precise performances, and showcase intricate skills and flawless chemistry. As they indulge in their respective characters, the dancers fully convey the thoughts of the choreographer. Also, the music and live instrumental performance prove to be the icing on the cake. This is one perfect combination, and a wonderful performance.
Riverbed Theatre- Just for You Theatre Festival
The Riverbed Theater strives to promote a dialogue between the art of performance and the visual arts, to investigate the many possibilities in dramatic works and performance. The theater festival Just for You includes four works. The site of the performance is a hotel room, each show allows one spectator to watch and each work was performed 28 times.
The four directors have created a unique and fascinating theatrical event: in Craig Quintero’s Amnesia, keeps the audience in darkness allowing a direct participation in a scene based on the senses. Snow on the Roof by Hung Hung centers on a life-sized cloth mannequin. With a dialogue alternating between performers, the audience and the mannequin, and intercut with the point of view of persons of future generations, the play brings together an anti-nuclear social critique, and induce the audience to reflect on the themes of aging, death and life. Room 206 by Joyce Ho investigates the coincidences that happen in life, and turns a flat, painting artistic conception into an experience of abstract theatrical space. Isaac Lai’s Zip uses smart and cinematic means to depict the strained relationship between a woman and her father and who gradually grow closer over the course of a trip together.
"Nomination Reasons" Commentator: Yang, Mei-Ying
The “Just for You” series by the Riverbed Theatre breaks the myths of magnitude and multitude, and is fearless of the limits of diminutiveness and scarcity; with stereoscopic thinking that incorporates performance, space, and audience to display the essence of modern theatrical art. The series demonstrates and discourses in depth, the definition and practice of the concepts of curated theater, and at the same time, showcases the efforts of the continuous pursuit of perfection, and its consequent quality. The series consists of four plays taking place in different hotel rooms. The performances are carried out in specific sites, providing the audience, at each session, a viewing experience that stimulates all five senses. As the play leads the audience back and forth over the border between reality and fantasy, it explores the sweetness and bitterness deeply hidden in each individual’s social memory, and focuses on the interaction and power relationship between the audience and the performance. Through sensitivity and speculative space, it attempts to establish defined, interesting, and rich possibilities for the audience-performance relationship.
國家交響樂團 (National Symphony Orchestra，NSO) 近十年來從保守的公務體系運作，大步朝專業與開放、勇於創新的職業樂團前進。2010年8月起，呂紹嘉成為NSO國家交響樂團音樂總監，帶領NSO踏上世界樂壇迎向更具挑戰的嶄新未來。
National Symphony Orchestra- 2011TIFA－NSO Opera Concert—Elektra
Over the last ten years, the National Symphony Orchestra (NSO) has been changing from running as a conservative business concern to gradually becoming more specialized and unrestrained, bravely growing in the direction of an innovative professional orchestra. Since August of 2010, music direction of the NSO has been taken over by the Chinese conductor Lü, Shao-Chia, who is leading the NSO into a completely new and challenging future in the music scene worldwide.
This year’s entry is Electra, one of Richard Strauss’ two stunning operatic works drawn from Greek tragedy. The opera narrates Electra’s frantic, persistent effort to take revenge on her mother for the murder of her father, and how a victim in the end turns into a predator. The opera is full of tension and conflict, and it is also Richard Strauss’ greatest opera for large-scale orchestra. The protagonist, in singing the upper registers, must contend with the gigantic orchestra, and led by artistic director Lü, Shao-Chia, the NSO’s performance is incisive and vivid. The soprano, Claire Primrose, has been hailed as “bringing to this operatic role an emotive musical charisma”, and conductor Li, Huan-Hsiung succeeds in creating an atmosphere full of surprise and wonder.
"Nomination Reasons" Commentator: Li, Qiu-Mei
Praised as the pinnacle of orchestra music at the end of the century, Elektra is the most avant-garde and revolutionary work by composer Richard Strauss. Not only is the music complex and difficult, the orchestration techniques also reach new heights. However, this piece is not well received by the general audience, and the music itself poses a great challenge to the orchestra and singer. Performing the opera in the format of a concert is especially a great test for the production team.
A platform was located in front of the stage so that the solo singer was closer to the audience. The orchestra was seated at the far back end of the venue, so that the orchestra, singer, and conductor were perfectly positioned. Lu, Shao-Chia, the conductor, brought out the greatest potential and coherence from the performers, and balanced the powerful sound of the orchestra and the singer. Lu was able to present the intricate layer of the complex music and gain acclaim from audiences. The uninterrupted 100-minute performance is not merely a premiere; it is a new milestone for the orchestra and Taiwan’s music circle.
Preparatory Office of the National Headquarters of Taiwan-Traditional Arts Guo Guang Opera Company -One Hundred Years On Stage
After the Guo Guang Opera Company was founded in 1995 by professionals in the world of Chinese opera, it has continually tried to fuse the best of traditional opera and modern performance, in a new and agile theatrical style.
One Hundred Years On Stage is a completely new work based on the development of Chinese opera. In its “Stage Play”, it interweaves classical Chinese opera pieces to narrate a story of three eras: the first act is set in the 1910’s, with the story of a Peking opera company led by a male dan (a male actor who plays female parts) as the background. The second act describes the conflict between the Shanghai “Hai” style and the Beijing style of performing opera. The third act, set against the Cultural Revolution of the 1960s and 70s, describes the remorse of a young actress who betrays the head of her company, and her story of atonement. In this work, The White Serpent and Searching for and Rescuing the Orphan function as plays-within-the-play, and cleverly bring out the hidden, “intertextual” connections between the plays and life as it is lived.
"Nomination Reasons" Commentator: Chang, Chi-Feng
One Hundred Years On Stage, claimed to be in a style that “combines Peking opera with contemporary theater,” is a continuation of the recent innovative production trend of Guo Guang Opera Company. With elements and sections of the classic play of Peking opera packaged in the format of modern theater, the play illustrates the development of Peking opera through relationships between master and apprentice, and actor and actress. The director shows profound knowledge in traditional opera and modern theater, and is able to integrate the best of each together. The play displays symbols and implications through a variety of methods, and the set design is also impressive. The ensemble of actors displays a high level of uniformity and showcases high skill levels. The script alternates between classic opera and theater seamlessly. The main actors display outstanding opera skills, further enhancing the artistic level and attractiveness of the play. The performance is of high quality, making it a masterpiece of the year.
視覺藝術類入圍Works in the Visual Arts category
Tsai, Ming-Liang - The Theater in the Boiler Room
On the invitation of the Taipei Department of Cultural Affairs, Tsai, Ming-Liang has turned a unique old boiler room in the old Songshan Tobacco Factory into an installation space.
Tsai, Ming-Liang discovered that in Taipei there werealready quite a lot of underpasses that have been turned into alternative “idle spaces”, but they are also a kind of memory medium in which the ambience of former times have congealed. Through a video installation, Tsai Ming-Liang has created a performance piece where an actor, simultaneously on a stage and in a tunnel, is paired with the sinuous and lingering sound of an old song, melding the characteristics of stage and performance space. It therefore produces a unique visual and spatial experience. In addition to all this, he has recycled some old-fashioned items—a chair, a clock, a television, and placed them in the installations, allowing the spectators to sit if they like, discuss, relax, drink coffee and enjoy the atmosphere of the old tobacco factory’s architecture and style as well as the art installations. After experiencing an extraordinary beauty and atmosphere molded by time, one can reflect on the hyper-fast consumerist nature of contemporary civilization.
"Nomination Reasons" Commentator: Chiang, Po-Shin
In the films of Tsai, Ming-Liang, he pays attention to spaces formed by flow of desire; in recent years, however, he has shifted his attention elsewhere, to the viewing site formed by spatial installations at which films are played inside museums. The Theatre in the Boiler Room is an image projection project with the exhibition wall and the silver screen further merged together. Through multilayered projection, Tsai combines different interfaces, such as the dancing bodies shot in an underground pass, the images in the furnace fire, and the old theatre seats, to form non-narrative motion images that pierce through and overlap one another. The viewers seem to be able to submerge and dive into the invisible interface of haptic memory through steam that was once rolling in the boiler room. The project merges the silver screen, the exhibition wall, images, and bodies into an integrated visual form, unveiling the great potential of images in interdisciplinary flow.
Li, Jun-Yang-Fairest Fairies Fair, Phû-lōng-kòng Blossom—Solo Exhibition of Ingenious Craftsman Jun-Yang
Li, Juan-Yang is a typical vernacular artist with no ties to the academy. His “Nńg-si (soft silk)” style of painted images shows the obvious influence and rich nourishment ofTaiwan grassroots culture, and at the same time includes the drawing styles of colorful temple paintings and the art of movie billboards. In his work, he has transmuted lower-class popular culture into an art with magical efficacy, including in his paintings the gestural vocabulary of immortals and Buddhist deities.
His work is full of Taiwanese popular beliefs and religious mystery, life experiences and philosophical investigations.
The title of the show comes from an expression in the Taiwanese language, phû-lōng-kòng, which refers to a stupid, useless person who does not engage in honest work, or to something that is broken and should be thrown away. But as far as the able craftsman Jun-Yang is concerned, there are no useless objects; for him there is nothing that cannot be used in artistic creation. This point of view happens to coincide with the current project of Bywood in Kaohsiung; they collaborated in starting a “Formosa Wall Paint Group”,producing site-specific paintings and in the process of which Li, Jun-Xian encountered many Taiwanese artists and experienced true artistic freedom, and gained insight into the creative potential of every person.
【Nomination Reasons】Commentator: Lin, Ping
The “wanderer” master craftsman Li, Jun-Yang adopts cinema billboard paintings and glove puppet carving in this exhibition. His residency at the Taichung No. 20 Warehouse was as if street performers knocked at the doors of the artists. It is merely a pushing wave in the evolution of his philosophy of life. It looks unintentional, yet it is the accumulation of his crossings in life that continue to foster his creation. The artist’ s hidden wave roams on and connects the dots. He reverses the mainstream values and promotes the Taiwanese laborer’s aesthetics of playing at ease and having fun without a purpose. The artist’s solo exhibition in the Bywood Incident and his initiation and full participation in the Formosa Wall Paint Group open ways to his creative practice and knowledge system constructed outside of the schools. The living idea of “immortals” in the local Taiwan culture is actually practiced in modern living actions. The murals paradoxically complete the island culture and alternative aesthetics.
Jao, Chia-En- REM Sleep
After Jao, Chia-En graduated from the Taipei National University of the Arts, he went to London and Paris to study and work. Being abroad sharpened his perception of culture, language and cultural difference and stimulated deeper contact. He became seriously aware of the phenomena and issues around interpersonal relations, which gave rise to a string of different works.
Jao, Chia-En’s works constantly center on sociocultural questions of personal identity, marginality, aesthetics and politics, and because of this he often painstakingly inserts heterogeneous elements, and adopts a kind of systematic refusal, repeatedly echoing and critiquing a rigid system. The entry REM Sleep combines an aesthetic politics with a manipulation of the language of the media to address theTaiwan government’s “Go South” policy initiated in 1994 to bring in foreign workers on a large scale, and the social changes and issues that resulted from it. Using the conceptual means inherent in the documentary format, the work invited manual laborers fromIndonesia, thePhilippines,Thailand andVietnam to narrate, in front of the camera, the dreams they are having in foreign lands. From these dream narrations, the artist attempts to summarize the impact and effects on individuals of concrete factors of economics and migration to foreign countries in an era of globalization.
"Nomination Reasons" Commentator: Chen, Hung-Hsin
REM Sleep is a biopsy of Jao’s creative system and of contemporary Taiwan’s social structure. Following the project Thaïndophiliviet (foreign languages learning camp of Thai, Indonesian, Filipino, and Vietnamese), the artist captured the awakening moments of foreign laborers in Taiwan in the name of “fast eyeball movements in deep sleep.” In the form of a semi-documentary, the foreigners away from their hometowns describe their homesickness and anxiety in their nightmares. With three parallel screens, these foreigners wander between realities (awake) and nightmares (sleep), yet the so-called between state perhaps does not exist. For those living at the bottom of Taiwan’s society, the reality is a nightmare. Although REM Sleep presents the story in simple narration, what else will touch our hearts better than the agony of being away from home?
Yao, Jui-Chung + Lost Society Document (LSD) - Mirage—Disused Public Property in Taiwan
Mirage is the project of artist Yao, Jui-Chung and launched through 120 students of theTaipeiNationalUniversity of the Arts and the National Taiwan Normal University Department of Fine Arts. They formed the Lost Social Documentary (LSD) collective, which had students go back to their respective homes inTaiwan and investigate and photographically document “disused public property”. From March of 2010 to October 2011, they assembled up to 258 disused public structures—also known as “Mosquito Halls”—that were abandoned, underused, whose opening was postponed, or whose approval or inauguration was rescinded. These were photographed and documented.
This project, through its publications and exhibitions, has attempted to delineate an absurdity in Taiwanese society, and by means of illustrations and short texts, to objectively reveal the hidden etiology of these “Mosquito Halls” in cities and in rural areas. In addition to providing the public a topic for reflection, it also allows scholars to awaken civic consciousness through the objectivity of photography, and to remonstrate with those who are responsible.
"Nomination Reasons" Commentator:Chen, Hong-Yi
The Mirage project addresses social issues on a basis with broadness and depth of a field study. Photographs that seem to capture the details in everyday life are put together, creating an enormous tension, which materializes into an effect that stirs the society and inspires people. In recent years, the form of protest is in a transition phase, as many artists are now actively participating in protests and have shown substantial influences. However, how to avoid having these protests becoming political actions disguised in the name of art—turning art into a mere slogan—has remained a great difficulty for the artists. Yao, Jui-Chung and his team adopt a literature writing strategy; through precise and detailed narratives in everyday life, they are able to examine the matters to a depth that other activists are unable to reach. Consequently, Yao and his team are able to reflect intricate metaphors that ultimately concentrate into an intense and touching poetic sense.
《後民國》的展覽子題：「沒人共和國Republic without People」一語雙關地再現當下民眾對未來社會及政治之不確定性的焦慮感，繼而反映出今日世界正在擴張的一種去中心及去身分認同的集體意識形態。本質上，「後民國」既是策展人和創作者透過實體展覽虛擬介入現實的一個干擾運動，也展現了對所謂「官方說法」的一種批判意識。
Wu, Dar-Kuen (Curator) -【People’s Republic of China】— Republic without People
This exhibition, 【People’s Republic of China】 was specially planned by Wu, Dar-Kuen to coincide with the centenary of the birth of the Republic of China. Twenty-four artists were invited to speculate and to create works about an imaginary future country, to pose different inquiries about Taiwan itself today, to imagine the future lives of the residents of the island, or to carry out a critique of today’s world and the future political situation.
【People’s Republic of China】 is subtitled “Republic Without People”, a pun that recreates the anxiety concerning the social and political uncertainties confronting the public at present. It also reflects a collective ideology spreading to the heart and very identity of today’s world. Essentially, 【People’s Republic of China】 is both an interventionist campaign by the curator and creator to fictitiously intervene in reality and a display of critical awareness with regards to “official speak”
"Nomination Reasons" Commentator: Chen, Hung-Hsin
Republic without People assembles a group of artists. As the R.O.C celebrated its 100th anniversary, the artists staged a revolution in the city where the Formosa Incident took place. The artists used sarcasm as knives and humor as bullets, to destroy all politically-correct strongholds along the way, and established an art utopia against the Republic of China, a country unrecognized by the majority of the world. On the foundation laid the keystone of history and past documents, the artists created a mythical and fairytale-like kingdom, providing the souls of the Republic of China a place they cannot rest in peace, and the visitors a memorable haunted house experience. With horror and excitement, a game of subject exploration versus the corpse of the Republic of China was carried out.