Photo courtesy of Taipei Artist Village
Photo: Sasha Chan
Exhibition Infomation from TAV site https://www.artistvillage.org/event-detail.php?p=4560
Exhibition Period｜06.25(Sat.)–07.24(Sun.) (closed on Monday)
Opening Reception｜06.25(Sat.)15:00 (physical & live stream)
Venue｜ Taipei Artist Village, Barry Room
Artists｜ARAKAWA Soya ÷ ABE Nyubo, CHANG Yung-Ta, HANASAKI Kaya, NAKASHIMA Kayako + LEE Te-Mao
Exhibition Consultant｜WU Dar-Kuen
Taipei Artist Village (TAV) and Tokyo Arts and Space (TOKAS) are art institutions that were both established in 2001. With shared backgrounds in the public sector and established at the beginning of the millennium, epoch-making and experimental residency institutions such as TAV and TOKAS require unprecedented vision and have been met with profound challenges. As the operations of the two institutions became increasingly on track, in 2007, TAV and TOKAS started the discussion on initiating an exchange project. Since 2008, artists have been selected to participate in the residencies in Taipei and Tokyo. The project enabled the longstanding friendship and ongoing exchange between the two cities and has become the first choice for Taiwanese and Japanese artists when seeking resident opportunities.
Several significant incidents occurred between 2008 and 2022 around the world, deepening the bond between Taiwan and Japan. Apart from the disaster relief during the March 11 Tohoku Earthquake and sending vaccines during the COVID-19 pandemic, the Tokyo 2020 Summer Olympics has also witnessed strengthening partnerships in the sports and cultural fields of the two countries. Throughout the 15 years, 29 artists have participated in the exchange, and the heartwarming interactions have reinforced the relationship between Taiwan and Japan. The artists are like “messengers,” shouldering the responsibility of communication and moving back and forth to deliver information. Either sent from Taipei to Tokyo or vice versa, the artists have brought the support and blessings from their institutions, traveling between their natural and creative lives in the two international cities with their own experiences and understandings of art, bringing transformations, receiving the nourishment of foreign culture, and enabling valuable artistic exchange.
First, two works collaborated by Japanese artists Arakawa Soya and Abe Nyubo are presented at the entrance and hallway of TAV, which are the results of their analysis, dismantling of each other’s work and sharing ideas. Abe Nyubo’s Chroma key Sculpture at the entrance of TAV uses the green screen, which is often used in CG images to create “naked-eye special effects.” He sets up an extending human body sculpture, holding a broom downward in both hands, whose movement and posture seem to create a magical aura between Taiwan and Japan, transforming the façade of TAV into a stage. The audience who pass through the gate also seem to have crossed the virtual and real boundary, and also cross the time and space between Taiwan and Japan. In the hallway, the video work Magical Execution that Arakawa Soya produced during the residency at TAV tries to reflect the fact that the magic wand as a material, has been given memories through people’s projection and superimposition. His images project narratives outside the essence of the object, and give it a different layer of meaning. Traveling through time and space with magic brooms, two works that are full of imaginations kick off the Messenger exhibition.
Chang Yung-Ta presents a Geiger Counter installation module in the exhibition space, which detects and interprets the data of radioactive particles and cosmic rays through an algorithm and rearranges and presents Bach’s BWV 974 as a loop music piece created through machine learning. This creative method was inspired by the impact of the March 11 Tohoku Earthquake and the Fukushima Nuclear Disaster, which occurred during the artist’s residency at TOKAS, and encouraged the artist to reflect on the connection between data and creativity.
Hanasaki Kaya is a performance and multimedia artist whose focus on social, political, and cultural issues reflects her latest observations of society. Through the three video works displayed in this exhibition, the artist documents the daily issues of the residents of Treasure Hill, Toad Hill (Huan Min Village) and Shao Xing Community from the neutral perspective of an observer. The works spotlight the seemingly mundane affairs of the residents to elaborate on issues concerning housing justice amid gentrification and rapid urban changes.
Nakashima Kayako invited Taiwanese artist Lee Te-Mao to collaborate in creating Cross Letters, an experiment that explores the interactions and misinterpretations in two-way communication through repeated behavior to inspire contemplations on the nature of communication. By writing in their native language (Japanese/Chinese) and reading each other’s writings, the language barrier urges the artists to use their imaginations when attempting to overcome the obstacles of interpretation. The contents of Cross Letters seem to be saying something, but due to reading obstacles, the messages are repeatedly covered, piled up, and trapped in incomprehensible contents or misunderstandings. This work transcends languages and texts and encourages new understandings of the self and the other.
Apart from the works of the four groups, a total of six Taiwanese and Japanese artists, the curatorial team also arranged “The Letter Project,” which invites artists who have attended the exchange project between TAV and TOKAS in the past 15 years and the representatives from both institutions to portray the changes in their inner worlds through writing letters or images. Through letters, texts not only become channels for emotional connection but also represent the bond between the cities of Taipei and Tokyo, leaving behind important documentation for future exchanges. In a world of disease and war, harsh realities penetrate the most vulnerable corners of people’s heart in the form of texts and images. Despite the differences in language and life experiences, we make efforts to communicate and understand each other. All the resident artists, the “messengers,” the lingering stories, mixed with tears and laughter, keep inspiring our communications with others and opening new chapters for the residency program for both institutions.
(Text / WU Dar-Kuen)
“The Letter Project” Participating Artists and the representatives:
ABE Nyubo, ARAKAWA Soya, CHANG Yung-Ta, CHEN I-Hsuen, CHEN Yu-Wen, CHIANG Kai-Chun, CHUANG Chih-Wei, CHU Yin-Hua, HANASAKI Kaya, HASHIMOTO Jin, IWAI Masaru, KONDO Yuki, Catherintran LEE, LI Yi-Fan, LU Chih-Yun, LUO Jr-Shin, MARUYAMA Miki, NAKASHIMA Kayako, OHTA Haruka, SHIMURA Nobuhiro, WANG Lien-Cheng, WU Dar-Kuen, YAO Chung-Han (alphabetize by last name)
展期｜06.25(Sat.)–07.24(Sun.) (Closed on Monday)
台北國際藝術村與TOKAS（Tokyo Arts and Space）有著相似的成立背景，皆為2001年創立的藝術機構。在千禧年當年公部門背景之下，成立一個劃時代性意義的駐村實驗機構，需要具備高瞻遠見，其艱辛不可言喻。隨著機構運行日漸上軌道，自2007年雙邊開啟了實質交流的討論，自2008年起遴選本國藝術家到雙邊城市進駐，成為維繫兩城市長年情誼的重要計畫，時至今日，更成為許多臺日藝術家駐村申請時的首選志願。