Peoples’ Movements: Sunflower 10th Year Anniversary人民的運動：太陽花十周年
Saturday June 1, 2024 1-4 pm Workshop and lectures 🎉🎉🎉
Session 1: 1:10pm Introduction to the 7b exhibition "Peoples' Movements" reflect the 5 world peoples’ movements around 2014 - namely Taiwan's Sunflower Movement, Hong Kong's Umbrella Movement, the Arab Spring, the Chilean Winter and Ukraine's Revolution of Dignity.
Session 2: 1:20 - 2:50: Workshop and presentation
subject: The Power of Art for Peace and Social Impact co-organized by the Shield Art Foundation
A workshop led by artist Shih-Pao Lin for Painting for Peace action series. This workshop will be open to all - not just painters - and will encourage participants to express their thoughts.
A presentation by Wei-Hsuan Chen, She will discuss how she and tShih-Pao Lin use "One Painting One Prayer" to make a difference and create social impact.
From 2:30 to 2:50, Q & A & discussion
Session 3: Subject: Once upon a Time, Animals of Governors Island
From 3:00 to 4:00: There will be a talk by international expert Dr. Mona Lung whose PhD. is in Philosophy of Science and Technology, on the subject Animals of Governors Island
From 4:00 to 4:30, people will be free to mingle and discuss the talks and other topics that may arise.
(drinks and snacks will be served.)
Seminar: Saturday, March 30, 1:00-3:30 p.m.
Reflecting on the 10th Anniversary of the Sunflower and Umbrella Movements: The Future of Hong Kong and Taiwan
In March 2014, Taiwanese protesters occupied the legislative chamber, thwarting the government's ratification of the Cross-Strait Service Trade Agreement with China and thereby safeguarding Taiwan's sovereignty and democracy. In September of that year, the Umbrella Movement in Hong Kong saw over a million people rallying for universal suffrage. Over the past decade, Taiwan held three national elections, reduced economic dependence on China, and garnered increased international support. Despite these strides, Taiwan faces heightened invasion threats from China. Conversely, Hong Kong has grappled with widespread suppression by China, leading to the arrest, imprisonment, or exile of many protesters, and the loss of political freedoms. This panel discussion features three Sunflower Movement participants and a Hong Kong Umbrella Movement organizer, now based in the United States. Engaged in geopolitical analysis, supporting global democratic movements, and researching China's policies, they continue their efforts for the future of Taiwan and Hong Kong.
Seminar Panelists
● Wei-Ting Chen (陳為廷), Weiting Chen was a Sunflower Movement participant and is now a geopolitics analyst based in Washington D.C., focusing on US-China and Taiwan policy. Before moving to the US in 2021, he worked as a legislative assistant and campaign manager for the New Power Party in Taiwan.
● Sunny Cheung (張崑陽), Sunny Cheung was an Umbrella Movement and Anti-extradition bill movement organizer and is an Associate Fellow at The Jamestown Foundation and Visiting Fellow at Johns Hopkins University, specializes in OSINT concerning China's statecraft, emerging technologies and PLA modernization.
● June Lin (林倢), June Lin was a Sunflower Movement participant and is the Senior Program Manager for the National Democratic Institute, overseeing the institute’s Hong Kong, Taiwan, and regional democracy programs. In her personal capacity, she also supports the Hong Kong Democracy Council as Board Secretary. Before joining NDI, June worked at Freedom House, the International Republican Institute (IRI), and the Formosan Association for Public Affairs since she moved to Washington DC in 2016.
● I-Lun Shih (施懿倫), I-Lun Shih was a Sunflower Movement participant and a Ph.D. candidate in sociology at the University of Michigan. He is interested in the contested relationship between popular and elite politics, broadly construed. His dissertation is a comparative study of the development of green tech and energy markets in democracies and dictatorships, including Taiwan, China, and U.S.
In celebrating TAAC's 10th anniversary, the focus is on commemorating Taiwan’s Sunflower Movement, a catalyst for societal renewal, rather than highlighting TAAC's achievements. This choice underlines the global potential for change. Artists were not absent from this struggle. Many were the first line of chargers. The exhibition features 10 artists responding to youth-led political movements around 2014, including Taiwan’s Sunflower Movement, the Arab Spring, the Chilean Winter, Ukraine's Euromaidan revolution, and Hong Kong's Umbrella Movement. The extradition bill was imposed on Hong Kong, further weakening Hong Kong's special status. This exhibition, however, will celebrate the public spirit of self-sacrifice exemplified in Taiwan's Sunflower Movement and embodied in every popular movement. Arab Spring began in Tunisia, and protests have occurred across the Arab world. These are youth movements against dictatorships and the pursuit of democracy and an economic future.One of the most high-profile episodes of protest in South and Central America was that which took place in Chile from 2011 to 2013. Known as the "Chilean Winter," these were student-led protests against the then-existing impoverished for-profit high education system.
The youth movement in Ukraine has been called the "Euromaidan” Revolution or the "Pomvrancheva.” Protesters also attempted to occupy the legislative branch; unlike Taiwan's Sunflower Movement, armed police blocked this action and killed, injured, or arrested many protesters. In the end, the opposition of Russian-speaking Ukrainian speakers emboldened Russia to seize the Crimean Peninsula. This collection commemorates past youth movements, drawing parallels and distinctions, underscoring the interconnectedness of cultural, social, and political transformations. Through "Peoples’ Movements," TAAC invites unity to shape the nation's destiny, expressing gratitude to artists contributing to the Sunflower Movement and acknowledging global youth courage in defending their countries
Curator: Luchia Meihua Lee Assistant curator: Tzu-Ying Chan
Seminar organizer: Wei-Ting Chen
Advisory team: Patrick Huang, Thomas Chen, Ming Chiang, Patsy Chen, Kenneth Howell, Weiting Chen, I-Lun Shih
● Curator and Artist talk: Thursday, March 21, 1-4 p.m.
Save the date: Saturday May 18, 2024 at house 7b, Nolan Park, Governors Island.
We are proud and happy to announce that TAAC has been selected to be one of the organizations returning to Nolan Park. At house 7b, we plan to have multiple arts programs- exhibitions, workshops, and performances, and will be open to the public from May 1 to November 3 in 2024.
Stay tuned!
Governors Island 2023 Year in Review | Governors Island (en-US) (govisland.com)
Welcome view link: https://www.govisland.com/blog/governors-island-2023-year-in-review
The Governor's Island 2023 review features artworks from the Taiwan American Arts Council's exhibition. Selected performance photos of artist Chin-Chih Yang have received great attention on the official website of Governor's Island. This is not only an affirmation of the artist's personal talent, but also highlights the important position of the TAAC among the general directors. Even more exciting news is that the Taiwan American Literary and Art Association has been invited to be one of the organizations returning to Nolan Park on Governor's Island. This is a moment full of opportunities and challenges. At House 7b, a free venue on Governors Island, we will witness several stunning art projects scheduled to be open to the public from May to October 2024.
Artwork by Taiwanese artist Deng Wen-Jen 鄧文貞
Deng Wen-Jen is coming to NYC to join us on Governors Island
From Island to Island
Saturday June 10, starting from 1pm, we have two Taiwan Green Craft workshops (registration required) and a reception from 5 to 8pm for the exhibition From Island to Island at house 7b, Nolan Park, Governors Island.
We welcome you to join us.
Taiwanese American Arts Council -TAAC will be at the building #7B in Nolan Park. Governors Island
A Press release from Trust for Governors Island today, announced the 2023 Organizations in Residence, with nonprofit organizations from all five boroughs set to expand cultural offerings for Governors Island visitors starting this spring. More than two dozen organizations were selected for this annual seasonal program, and will present free visual art, environmental education, and cultural programming inside historic former military houses from May through October 2023. Presented through Governors Island.
"Meet the 2023 #GovIslandArts Organizations in Residence! From May through October 2023, this dynamic mix of 25 different arts, cultural, educational, and environmental organizations from all five boroughs will present free public programs, exhibitions, workshops, artist residencies, and more in the historic houses of Nolan Park and Colonels Row on Governors Island." Check out the full list and opening dates on Governors Island’s website: https://www.govisland.com/.../trust-for-governors-island...
NYC ART Bridge: Wellness Through Art
April 29, 2023 at 1:00pm- NYC ART BRIDGE CHATogether workshop, artists talk and followed by exhibition opening reception
CHATogether Workshop, artists talk and the exhibition opening reception
Exhibition date: April 20 to June 30, 2023 Venue: QCC Art Gallery/CUNY
In this NYC Art Bridge art exhibition, 14 contemporary artists of diverse backgrounds will responds to societal pressures, or investigate the human condition. It is important to note that the NYC Art Bridge program is not just about creating art, but also about promoting mental wellness and providing support to those in need. The program aims to facilitate a safe and supportive environment for artists and individuals to express themselves and discuss their mental health concerns openly. By addressing these questions and taking proactive steps towards mental wellness, individuals can improve their overall well-being and lead happier, more fulfilling lives. Art can serve as a powerful tool in this process, allowing individuals to express themselves and connect with others on a deeper level. Overall, the NYC Art Bridge program represents a valuable initiative to promote mental health and well-being through the power of art and community. CHATogether Graphic Novels will be also on viewing in the exhibition.
Past program
Chihui Chuang 莊志輝
Date: October 24-November 16, 2019
Opening Reception: Thursday September 24, 2019 6-8pm
Venue：TAAC TriBeCa/E. Tay Gallery Address: 39 White Street, New York, NY 10013
Born in Penhu, living and working in HsinChu, Taiwan, Chuang graduated from the Department of Visual Communication, Xuanzang University. He has been a full-time artist for 30 years. Chuang not only has had extraordinary achievements in the art of graphic painting, but also has a rich and varied expression in the use of color. Through gradual blending and smearing, the saturation of the color is reduced, which makes the picture surface moister and allows introverted and subtle changes, sometimes romantic adventures, and sometimes calm and detached emotions. In recent years, he has explored the relationship between the external world and the inner mind. To do so, he refers to nature and stars, the mountains and rivers, concepts from space to time, the vortex and derived images. These have greatly enriched the symbolism of his work.
Pey-Chwen Lin: Eve Clone Augmented Reality 林珮淳：夏娃再製擴增實境
Dates: October 24 – November 25, 2019
Opening reception: Thursday September 24, 5-7pm
Venue: QCC Art Gallery/CUNY, Bayside, Queens, NYC
Curators: Faustino Quintanella, Luchia Meihua Lee
About the artist Pey-Chwen Lin
Pey - Chwen Lin (林珮淳), lives and works in Taipei, Taiwan. Lin received her doctorate in Creative Arts from the University of Wollongong, Australia, taught at various universities in Taiwan, and directed the Digital Art Laboratory at National Taiwan University of Arts. She also published the first digital art book in Taiwan, titled Taiwan Digital Art E-Files. Her work has been exhibited in major art venues and museums all around the world such as Queens Museum in New York, The Globe Museum of Women’s Ignite project in USA, Exit and Via Art Festival in France, WRO Media Art Biennale in Poland, 404 Art Festival in Argentina, Italy and Moscow, Taipei Biennial, Taiwan Biennial, Art Stage Singapore, National Taiwan Museum of Fine Arts, Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts, The Museum of Contemporary Art Taipei, etc.
Eve Clone series
Eve Clone is a recurring figure in my art and an unholy product of 3-D computer animation and associated digital technology. The text below her is a reference to the statue dreamt by king Nebuchadnezzar in the Book of Daniel – a statue that symbolizes human hubris challenging God. In the video Making of Eve Clone I, I superimposed the development of Eve Clone on the drawings of Vitruvian Man by Leonardo Da Vinci, in which he delineates his idea of the ideal human physique. For the video, I used a virtual camera to show from various angles how Eve Clone has been shaped and to emphasize her digital nature. The wire frame and skeleton, VU texture mapping, and pattern engraving not only serve as documentation but also underline how Eve Clone is a digital product of human desire. I elaborate on this theme in a series of two-dimensional works documenting the formation of Eve Clone. These are photographs to which I have added paint and then enhanced by AR techniques. All these works reflect on the relationship between humans and their technology.
Sakura Obsession: Paintings by Huang Chin-Lung 黃進龍
Opening: Friday October 25, 2019 5-7 pm
October 25 – November 27, 2019
Venue: QCC Art Gallery/CUNY, Bayside, NYC
Curators: Faustino Quintanella, Luchia Meihua Lee
Urban Hakka Tribes: Artists from Hsinchu, Taiwan & New York
都會客家部落：台灣新⽵客家庄藝術家 V.S 紐約客家籍藝術家交流展
September 28 to October 31, 2019
Opening Reception: October 3, 2019 6-9pm
venue: (New York Foundation for the Arts-NYFA) http://nyfa.org
20 JAY STREET, SUITE 740 Dumbo, BROOKLYN, NY 11201
co-orgnizers：Hsinchu City Consultancy( 新竹市客家諮詢協會），Taiwanese Hakka Associations of America, Hakka Association of Greater New York 協辦單位：美洲台灣客家聯合會，大紐約客家會
參展藝術家：古榮政 (Ku Long-Cheng)，莊志輝 (Chuang Chih-hui)，莊駿良(Chuang Chun-liang)，藍巧茹 (Catherine Lan)，虞曾富美 (Marlene Tseng Yu)
Curators: Su-Min Yang , Luchia Meihua Lee
Facilitator: Taiwanese American Arts Council (TAAC) http://taac-us.org
Chen-Liang Chuang 莊駿良
Desire 貪婪, What are you eating? 嗔恨, Ignorance愚昧
Greed is like tasty ice cream that makes our mouth water and always makes us want to eat more and more. Hatred is like a long-accumulated volcano - at the moment of eruption the feeling breaks out like a beast. Ignorance is like a fascinating but fatal toxin that makes us addicted.
Desires can never be satisfied; humans devour their external environment without end. When nature strikes back, we can do nothing but feel sorry for ourselves. If we don’t have a good consciousness of ourselves and our environment, humans will eventually become extinct. Nature and humans are inseparable, just like a great mother and her children. When we lose her, we are kids without a mother’s protection.
Born and living in Hsinchu, and working in Hsinchu, Chuang is currently studying at the Institute of Sculpture at the Taiwan University of the Arts, and has just won the Jubilee Award for innovation and experimentation in Taiwan. Unable to bring his wonderful three-dimensional sculptures because of insufficient funds, he instead selected the paintings on display to bring out the influence on the natural environment of human desire.
Long-Cheng Ku 古榮政
Ku’s work excels at abstract concepts through figurative graphic metaphors, direct shapes, and readily accessible content. In his oil painting, he uses numerous techniques to depict movement, including color, weight, and hidden space level are hinted, and the inner tension of the art is saved. The series of small particles is created from the realization of the living environment. The Hakka landscape is abstracted and internalized into another landscape.
Born and living in Hsinchu, Taiwan, Ku earned an MFA from Taipei University of the Arts, and is the chairman of the Hsinchu Hakka Consultation Association. He has held a solo exhibition and won the Hsinchu County (City) Art Exhibition Award. He was the executive director of the Hsinchu City Art Society and is currently the chairman of the Hsinchu County Art Association.
Chih-Hui Chuang 莊志輝
Earthly Love-Spring大地之愛 - 春 , Earthly Love-Summer大地之愛 -夏, Earthly Love-Autumn大地之愛 - 秋, Earthly Love-Winter大地之愛 - 冬
These four seasonal paintings originate from the human world, rebound on the heart, mourn the disorder of society and take great delight in the existing virtuous nature. The preciousness of life lies in the tough vitality emanating from itself and the excellence of a variable sequence. The paintings depiction of human inferiority only reveals the original natural human appearance. Refined estheticism is a naturally pleasant and delightful expression. Co-existence of pleasing and ugly matters in art approximates the nature of the world.
Inner and external心外
Blending painting and wood sculpture in a blue fairy tale atmosphere, this work shows three garden angels peering into a well as if communing with another time-space. Symbolic elements in the well include galaxies, asteroids, and planets; it is surmounted by a red sun beaming down on a large flower, and is supported by another bloom. The petals of the upper flower, however, may also be the spikes of a jester hat.
Born in Penhu, living and working in HsinChu, Taiwan, Chuang graduated from the Department of Visual Communication, Xuanzang University. He has been a full-time artist for 30 years. Chuang not only has had extraordinary achievements in the art of graphic painting, but also has a rich and varied expression in the use of color. Through gradual blending and smearing, the saturation of the color is reduced, which makes the picture surface moister and allows introverted and subtle changes, sometimes romantic adventures, and sometimes calm and detached emotions. In recent years, he has explored the relationship between the external world and the inner mind. To do so, he refers to nature and stars, the mountains and rivers, concepts from space to time, the vortex and derived images. These have greatly enriched the symbolism of his work.
Symbiosis共生
Inside this wooden sculpture, a metal fork has been embedded so that the whole resembles a human head. The top of the sculpture undulates to give a flying bird, its wings made of silver foil. The bird and human become one creature in this sculpture, where form and material are correlated and fuse to give rise to meaning.
Born in Penhu, living and working in HsinChu, Taiwan, Chuang graduated from the Department of Visual Communication, Xuanzang University. He has been a full-time artist for 30 years. Chuang not only has had extraordinary achievements in the art of graphic painting, but also has a rich and varied expression in the use of color. Through gradual blending and smearing, the saturation of the color is reduced, which makes the picture surface moister and allows introverted and subtle changes, sometimes romantic adventures, and sometimes calm and detached emotions. In recent years, he has explored the relationship between the external world and the inner mind. To do so, he refers to nature and stars, the mountains and rivers, concepts from space to time, the vortex and derived images. These have greatly enriched the symbolism of his work.
Marlene Tseng Yu 虞曾富美
Forest fire I, II, III
Born in Taiwan, living and working in New York, Yu’s fascination with nature derives from its constant change in form, movement, and color. Her prime emphasis is natural rhythm and movement. She creates large paintings to allow direct experience. The visual impact of great paintings brings her greater challenge and satisfaction.
This set of three paintings of forest fire reflect the danger and harm to nature – and ultimately to themselves - posed by humans. It also refers to global climate change caused by Amazonian forest fires.
Catherine Lan藍巧茹
Journey of Flower
Rose Bud Feng Shui Landscape Screen
Rose Bud Feng Shui Landscape Screen is an auspicious screen that can be arranged in any type of space to protect the residents from negative energies. Feng Shui is a traditional way of arranging spatial elements in homes and buildings in accordance to psychological activity to bring good luck and wellbeing.
Born in Taiwan, living and working in New York, Lan is currently a doctoral candidate in Art and Art Education at Teachers College, Columbia University. Lan creates a world between the real and artificial through elimination and construction of materials and forms. Recent work reflects upon space, participation, borders, global networks, female identity, and environment.
Undersea Cable Map iii
Inspired by Nicole Strosielski’s book The Undersea Network, Undersea Cable Map is a revelation of the basic infrastructure that supports our global information economy. The threaded map represents the fiber optic network and suggests the infinite amount of information buried in the earth. It refers to redundant investment in rarely used high-capacity cable. Monochromatic thread represents the invisible, and the crinkled patterned print represents the turbulence of the sea. In our Internet world today, knowledge and voice are taken for granted by users who think that the Internet exists in a “cloud” due to the hegemony of large companies. Humans think insulation is protecting them from physical turbulence when, in fact, it is invading our world and is constructed in relation to our social and environmental imagination.
Born in Taiwan, living and working in New York, Lan is currently a doctoral candidate in Art and Art Education at Teachers College, Columbia University. Lan creates a world between the real and artificial through elimination and construction of materials and forms. Recent work reflects upon space, participation, borders, global networks, female identity, and environment.
Building Beyond Place: RUR Engages Taiwan’s Architectural Cosmopolitanism
超越建築：RUR參與台灣的世界主義建築項目
[台北流行音樂中心, 高雄港埠旅運中心, 及地景系列—阿里山套裝旅遊路線]
Date: September 19 - October 17, 2019
Opening Reception: Thursday September 19, 2019
Venue：TAAC TriBeCa/E. Tay Gallery Address: 39 White Street, New York, NY 10013
(New York)-Through large-scale drawings, photography, models and videos, Building Beyond Place demonstrates how RUR approached these three projects, addressing the specific briefs for the buildings while simultaneously engaging Taiwan’s broader cosmopolitan ambitions. Collectively, these projects show how its historical and geographical heritage is key to resisting the homogeneity and placelessness that has overtaken many nearby post-industrial nations.
[紐約建築展】-通過大型繪畫、攝影、模型和錄像視頻，超越建築 (Building Beyond Place) 展示了 RUR 如何處理並解決這三個項目建築的具體內容，同時參與台灣更廣泛的國際化企圖心。這些項目展示了重要的關鍵，就是台灣的歷史和地理資產價值抵制了同質性的問題並保留了其文化景觀中的獨特性，這些特色讓台灣超越許多附近的後工業國家。
CC Yang: Reclaiming the vision 楊金池的視野
Opening reception: Thursday September 5, 5-8pm
Exhibition Dates: August 28-September 27, 2019
Venue: QCC Art Gallery/CUNY
Curators: Faustino Quintanella, Luchia Meihua Lee
Co-organizers: QCC Art Gallery/CUNY and Taiwanese American Arts Council
Reclaiming the Vision presents a unified view of the interconnected segments of society and the physical environment in which it functions. This is accomplished by exhibiting CC Yang’s work related to politics, religion, art history, the environment, and global harmony. Starting in 2013, Yang has carefully planned a daring performance project named Watch Us! Together We Can do it for which he is seeking patronship. Collecting any object in this exhibition will go towards supporting Watch Us! Together We Can do it. We request your loving contribution to enable Yang’s dream. Taken as a whole, this work articulates Yang’s vision of a world towards which we can strive.
An interactive performance will take place at the opening.
About CC Yang
https://www.dailyrecord.co.uk/news/scottish-news/brucie-bonus-brothel-madam-spared-12803409
Watch Us! Together We Can do it.
Watch Us! Together We Can do it. 2013-present, Simulation of the performance
Plans call for Yang to a climb a 300-foot rope ladder attached to a helicopter or blimp, which ascent will be steadied by 230 collaborators – one from each nation on earth. When he reaches the apex, his fellow performers, each holding a unique brightly-colored LED strand, will power on a gigantic artwork illuminating the darkness. Unified in Yang’s version of an interconnected world, these 230 individuals will serve as role models, as a micro-level spiritual force intended to create macro-level worldwide harmony.
楊金池的願景展覽收錄了他近十年來對社會，政治，宗教尤其以與環境的觀察及關心的作品及行爲表演，作品提供了對社會相互關聯與各環境的統一觀點，通過展示楊金池自不同的角度朝向關注全球，提供一種整體性的和諧及實現的可能。 從2013年開始，楊先生精心策劃了一個名為Watch Us!的大膽表演項目！ 計劃將會要求楊攀登一架300英尺的直升機或飛艇上的繩梯，將由230名合作者穩定這繩梯 –這揭示著--來自地球上的每個國家，當他到達頂點時，他的同伴們，每個人都拿著一個獨特的顏色鮮豔的LED線，為一個巨大的藝術作品在黑暗中照亮。 在楊金池版本的相互聯結的世界中統一，這230個人將充當榜樣，旨在創造宏觀層面的全球和諧的微觀精神力量。
我們共同努力為他尋求贊助。 在本次展覽中收集任何物品將用於支持Watch US! 我們一起做到了。 我們要求您的愛心貢獻，以實現楊的夢想。 總的來說，這項工作闡明了楊的觀點, 也是我們可以為之奮鬥的世界。
URBAN TRIBES SERIES
LIGHT YEAR 53：FROM PEOPLE TO THE LAND
光年 53 : 從人民到土地
Video Art Exhibit projected onto the Manhattan Bridge
Thursday, September 5, 2019 | 8 - 10pm
Best place to view: from the Pearl Street Triangle
Curated by: Luchia Meihua Lee, from The Taiwanese American Arts Council (TAAC)
Participating Artists: Jen-Pei Cheng, Pey-Chwen Lin, Yu-Chuan Tseng, Miya Ando, and Ching-Yao Chen
In From the People to the Land we pay special attention to cultural diversity and are naturally respectful to various human beings representing those varying backgrounds who collectively make America what it is.
(2019 Dumbo) In From the People to the Land we pay special attention to cultural diversity and are at pains to be respectful of human beings representing different backgrounds. In the Urban Tribes exhibition, we have pointed out portion of the urgent topic of immigration in this era of globalization. A concern faced on many continents, it portends political, economic, and cultural crises. In this LIGHT YEAR 53, we select five videos to bring forward various concepts which using new technology to unleash physical identity. These videos range from Cheng Jen Pei's international food culture and Yu-Chuan Tseng’s 365 multiple "Jane" faces harvested from the digital world, to Pey-Chwen Lin’s challenge to new issues surrounding cloning and robotics. The lingering insidious effects of colonialism is a complex issue raised by Ching-Yao Chen, while Miya Ando’s flying origami create a deep spiritual cultural affect. These five artists present different aspects of the Urban Tribe.
Still images from video:
1. Your Cuisine My Recipe – Japan by Jen-Pei Cheng
2. Flowing Portraits of Jane, 2018, by Yu-Chuan Tseng
3. Revelation of Eve Clone IV by Pey-Chwen Lin
4. Radio Exercises – Japan, Taiwan, Korea by Ching-Yao Chen
5. The Return of Gratitude of the Crane (Tsuru no Ongaeshi), by Miya Ando
ONE NIGHT ONLY: URBAN TRIBES I @ El Taller Latino Americano CLOSING PARTY August 15, 2017, from 6 to 8 pm El Taller Latino Americano: 215 E. 99th Street, New York City
Unveiling of a new, original piece by YUTIEN CHANG, to meet and greet Urban Tribes artists, and enjoy performances by violinist JOANNE LIN and dancer SAMMI TAI.
Curators: Luchia Meihua Lee, Jennifer Pliego
Urban Tribes-!: Urban Caravan Participating artists : Miya ANDO, Steven BALOGH, Yutien CHANG, Ching-Yao CHEN, Jen-Pei CHENG, Andrea CORONIL, Che-Min HSAIO, Felipe GALINDO, Ming-Jer KUO, Pey-Chwen LIN, Yi-Chun LO, Lulu MENG, Kelly TSAI and Ryan Hartley SMITH, Yu-Chuan TSENG, Pei-Shih TU.
Taiwanese born and bred, Yutien Chang graduated from Brooklyn College. Chang was working on three sculptures for Urban Tribes but was unable to complete them because the federal immigration authorities denied him reentry to the US. He was sent back to Taiwan in May. In a case of art imitating life, his lone work displayed in Tribeca shows a dove-headed man, his wings broken off, sprawled on his back on a cloud. Chang's “Truth Based Freedom” focuses on re-energizing the freedom within us. Freedom is not a list of expectations and comparisons; it demands to be individually defined. The definition they developed built our parents’ homes and dreams, and is the basis for their freedoms. However, we must come up with our own answer to guide our lives.
URBAN CARAVAN focuses on world caravans, that is, all those who choose to leave the hometown looking for a better life on the material or spiritual level. The universal question “What is the human being?” has never lost its relevancy. Part of the answer is that being human means embracing cultural diversity, yet humanity also requires valuing people as individuals. For those in caravans at the US border as well as immigrants who are already here, being human is holding on to aspiration in spite of accidents of birth. For others, it is a reverence for natural and social systems, as elaborated by artistic discourse. For all, it is holding on to human values in order to better employ advancing technology.
● Urban Tribes I @ New York Foundation for the Arts, 20 Jay Street, Brooklyn, New York – still on view until Sept 12
*The Urban Tribes exhibitions are a collaboration by Taiwanese American Arts Council, El Taller Latino Americano, and New York Foundation for the Arts. Special thanks to: TWNY Music Guild, BAS.
Light Year 51: We the People
Manhattan Bridge, DUMBO, Brooklyn
on JULY 4th, 2019
American Independence Day, July 4th, 2019.
The exhibition begins at dark and will run on a continuous loop until 10 PM
Curated by John Ensor Parker & Luchia Meihua Lee, Curator & Executive Director of the Taiwanese American Arts Council -TAAC
Exhibition date: American Independence Day, July 4th 2019
On July 4th, American Independence Day, Light Year will present their fifty-first consecutive exhibition on the Manhattan Bridge Anchorage.
The United States is home to people of many different ethnic and cultural origins, who together compose this nation. Selected works are from artists who represent some of those varying ethnic and cultural backgrounds that collectively make America what it is. Conceptually the selected works address what it means to the artist to be part of the American experience.
The exhibition will be shown on the Manhattan Bridge Anchorage and on the Light Year “Live Feed” online.
No audio will be included in the public presentation as the sounds of passers by, the subway trains overhead on the Manhattan Bridge and the nearby 4th of July fireworks will provide a live soundtrack. The online “Live Stream” will
have the original video audio track.
Participating Artist:
New American Voices
Ernesto Gonzalez
Kelly Tsai & Ryan Hartley Smith
Pei-Ling Ho
Felipe Galindo Feggo
Dee Hibbert-Jones and Nomi Talisman
Chen Ching-Yao
LIGHT YEAR is an ongoing monthly public art video exhibition series presented by John Ensor Parker, Glowing Bulbs and the Leo Kuelbs Collection in partnership with the DUMBO
Improvement District and the NYC DOT. Originally created for the Manhattan Bridge Anchorage in DUMBO, Brooklyn, in 2015, LIGHT YEAR has become an international project, with exhibitions in DUMBO on the First Thursday of every month and online via Live Feed. Since its launch, LIGHT YEAR has hosted the work of over 500 artists and curators from around the world.
For more information on Light Year visit our Facebook page at
https://www.facebook.com/lightyeararts/
Urban Tribes I - Urban Caravan
exhibition venues & dates
TAAC TRibeca/E. Tay/R Gallery: 39 White St.,
— May 30 to July 15
New York Foundation for the Arts: 20 Jay Street, Dumbo, Brooklyn,
—June 8 to Sept 20
El Taller Latino Americano Art Center: 215 E. 99th St,
— May 23 - July 22
Curatorial team
Luchia Meihua Lee, Executive Director, Taiwanese American Arts Council, NYC (Chief Curator)
Jennifer Pliego, Director of Special Programs and Head of the House of Art, El Taller Art Center, NYC
Sarah Walko, Curator, Director of Education & Community Engagement, Visual Art Center of New Jersey
John Ensor Parker, Light Year, NYC
Participating artists
Miya ANDO
Steven BALOGH
Yutien CHANG
Ching-Yao CHEN
Jen-Pei CHENG
Andrea CORONIL
Felipe GALINDO
Che-Min HSAIO
Ming-Jer KUO
Pey-Chwen LIN
Yi-Chun LO
Lulu MENG
Kelly TSAI
Yu-Chuan TSENG
Pei-Shih TU
We already understand that one evening is not enough for a complete discourse about Urban Tribes, whose Urban Caravans refer both to those waiting at the US border as well as immigrants who are already here or eagerly seeking better spiritual or material opportunity.
Concrete examples of these experiences include sculptor Yutien Chang who was denied admission to the US upon landing at JFK on May 21 despite this young Brooklyn College graduated sculptor holding a dream of New York as the world center for art; multi-faceted artist Ming-Jer Kuo who is still striving to renew his artist visa; his series the Walkers looks at the city crossroads in various regions in Manhattan reflecting cultural diversity. Andrea Coronil whose father was investigated by the FBI and eventually forced to leave the US, and who turned into art the redacted FBI documents on her father; and Steven Balogh who endured Hungarian communism and forced military service and detainment in a refugee camp, and whose work at NYFA includes an old passport with the status "stateless." Felipe Galindo contributes a humorous take on the immigrant story from the immigrant's viewpoint. Building on the robot imagined by Leonardo, Pey-Chwen Lin uses AR and other advanced methods to construct a 3-dimensional clone to dramatize humanity's ill-considered use of technology. New technologies have united many people in a digital tribe without conferring identity, as illustrated in the 365 images of Digital Portrait - Jane by Yu-Chuan Tseng . Life in the city for many people has been like Walkers lined up in pedestrian crosswalks or the street sleeper by Chemin Hsiao, although we carry our own individual purposes. Miya Ando's video reminds us of the magical aspect of life, with her rising and falling origami birds and her fairy-tale. Kelly Tsai and Ryan Hartley Smith co-produce an animation that depicts the actual story of Americorp activities and celebrates voluntary work in the community. Lulu Meng makes a light box cave recalling her passport experiences.
URBAN TRIBES is a collaboration between the Taiwanese American Arts Council, New York; the New York Foundation for the Arts; and El Taller Latino Americano Art Center. The exhibition has been thematically divided into two sections. Section I, Urban Caravan, focuses on world caravans, that is, all those who choose to leave the hometown looking for a better life on the material or spiritual level. Artists from New York and abroad, representing several ethnicities, will exhibit work at three venues. In Section I at TAAC Tribeca/E. Tay/R Gallery, 15 artists from Taiwan or from New York focus on humanitarian and cultural diversity issues, as well as experience of the family and self in a new land; social justice is the common theme.
Exhibition venues & dates
● E. Tay Gallery, 39 White St., New York City - May 30 to July 15
Opening Reception: May 30 from 6pm to 8pm
● New York Foundation for the Arts, 20 Jay Street, Brooklyn, New York – June 8 to Sept 20
Opening Reception: June 8 from 6pm to 8pm
● El Taller Latino Americano Art Center, 215 E. 99th St, New York City, May 23 - July 22
Opening reception: June 20 from 6pm to 8pm
Urban Tribes
- Urban Caravan
Global in scope, Urban Tribes investigates cultural issues in diverse big city communities where inevitable impacts are compounded. Start from the universal question “What is the human being?” Part of the answer is that being human means embracing cultural diversity, yet hum anity also requires valuing people as individuals. For those in caravans at the US border and for those immigrants already here, being human is holding on to aspiration despite accidents of birth. For others, it is a reverence for natural and social systems, as elaborated by artistic discourse.
Section I of Urban Tribes emphasizes caravans, that is, all those who choose to leave the hometown looking for a better life either materially or spiritually. Fifteen artists, variously from New York and around the world, representing several ethnicities, address the urgent topic of immigration with its looming political, economic, and cultural crises. “Tribe” nowadays may be defined by ethnicity, national origin, language, artwork, etc. The members of Urban Tribes never completely take on the living style of the larger population in which they reside, and it is the differences that are most interesting.
It is fashionable to predict that our future, and increasingly our present, belongs to high technologies such as AI, VR, and AR. Humanistic concerns seemingly will be dissolved in a utopian future. However, in order to prepare for a future bristling with technology, it is imperative to understand better who we really are. Widespread automation will afford us much more time, so it is vital to know how and why we can fulfill our true destiny.
Participating Artists:
Miya ANDO, Steven BALOGH, Yutien CHANG, Ching-Yao CHEN, Jen-Pei CHENG, Andrea CORONIL, Felipe GALINDO, Che-Min HSAIO, Ming-Jer KUO, Pey-Chwen LIN, Yi-Chun LO, Lulu MENG, Kelly TSAI, Yu-Chuan TSENG, Pei-Shih TU
Curatorial team：
. Luchia Meihua Lee, Executive Director, Taiwanese American Arts Council, NYC (Chief Curator)
· Jennifer Pliego, Director of Special Programs and Head of the House of Art, El Taller Art Center, NYC
· Sarah Walko, Curator, Director of Education & Community Engagement, Visual Art Center of New Jersey
· John Ensor Parker, Light Year, NYC
Seminar and contributor:
· Alexandra Chang, Associate Professor of Practice, Department of Arts, Culture and Media and Clement A. Price Institute on Ethnicity, Culture, and the Modern Experience, Rutgers— Newark
· Alexandra Wang, Independent scholar, historian, and writer
Urban Tribes Section II. Urban Reverence – September to December - a dialogue between the city motion and the conflicts and harmonies of indigenous ritual and ceremony that might place an integral and holistic concern for nature at the center of environmental consideration.
(Date to be Announced)
Special Thanks to:
Dr. Ken Howell, Edward C. Hsu, Shun-Ping Liu, Will C. Hsu, Wen Lei Chiu, Fini Balogh, Michael Royce (Executive Director, NYFA), Mark Rossier (Director of NYFA grants), and Dr. Mun Lee Lin, Chairwoman, NCAF, Taiwan.
Link:
E Tay Gallery
https://etaygalleries.com/?fbclid=IwAR2IgfhT4HKA9bMWuXut0Lo2XYeU-qzvsmiS-yRejGHPhAVovFaLB1VAbNk
NYFA
https://current.nyfa.org/…/event-urban-tribes-urban-caravan…
El Taller Latino Americano
Urban Tribes「都會部落」June 8, 2019 NYFA seminor and opening reception
座談及展覽酒會
時間地點： 紐約藝術基金會New York Foundation for the Arts (NYFA)
地址：20 Jay St, Suite 740, Dumbo, Brooklyn, NY
藝術家策展人會談：2019年6月8日（六） 3 pm ；
開幕酒會：2019年6月8日（六） 6-8 pm
展期：2019年6月8日 至9月12日
Taiwanese American Arts Council (TAAC紐約台美文藝協會 )本年特別與紐約藝術基金會（New York Foundation for the Arts-全美最大的非营利藝術服務機構)-聯合推動以Urban Tribes「都會部落」爲主題的系列展覽活動，6月8日(六）下午3到5時即將舉辦藝術家/策展人座談，6時接著舉行展覽開幕酒會；
藝術家程仁珮（CHENG, Jen Pei），林珮淳（Pey-Chwen LIN），曾鈺涓（Yu-chuan TSENG），杜珮詩（Pei Shih TU）特自臺灣前來參加；另外，旅居紐約藝術家蕭喆旻（Chemin HSIAO），孟祥璐（Lulu Meng）與台裔第二代Kelly TSAI ，及匈牙利裔美籍藝術家Steven BALOGH，南美委瑞内拉裔美籍第二代Andrea CORONIL，墨西哥裔美籍Felipe GALINDO均將參與6月8日活動。另外策展團隊主規劃人李美華（Luchia Meihua Lee），紐約拉丁美洲藝術中心（El Taller Latino Americano 館長Jennifer Pliego， 還有台灣歷史學家與作家王善卿（Alessandra Wang） 等共同參與本次討論會及開幕，紐約藝術基金會總監 Michael Royce，台美文藝協會董事及協同創辦人黃再添先生（Patrick Huang), 協和門窗陳秋貴董事長(Thomas Chen)均將前來出席，討論會將由紐約藝術基金會 Mark Rossier座談主持。
本次都會部落展覽系列的策展團隊（Curatorial team）包括：
Luchia Meihua Lee , Executive Director, Taiwanese American Arts Council, NYC (Chief Curator)/李美華,台美藝術基金會執行長,展覽主策劃
Jennifer Pliego, Director of Special Programs and Head of the House of Art, El Taller Art Center, NYC 拉丁美洲藝術中心總監
Sarah Walko, Curator, Director of Education & Community Engagement, Visual Art Center of New Jersey 紐澤西視覺藝術中心社區及教育部門主任，獨立策展人
John Ensor Parker, Light Year, NYC 光年策劃人
15位參展藝術家作品反映出自身的多元文化體驗：
1. Miya ANDO 成長于蘇聯與日裔母親的混血家庭，她受到日本武士刀製造家族影響，通常採用金屬為創作媒材，並在作品的觀念上受到禪學的影響，在NYFA作品不同於TAAC Tribeca的金屬和服（Kimono）,以紙鳶的飄零及英日文旁白錄像藝術。
2. Steven BALOGH 是匈牙利裔第一代移民，以自身在不同地域及國家游離的體驗，特別找到自己的舊護照來進行創作，在NYFA的兩系列作品“難民營” 及“無國籍" ，表現了在難民營及進到美國得到綠卡之間的漂移來反應這之間的困難及混亂過程。
3. Yutien Chang 張郁田畢業於布魯克林藝術學院，他在5月22日在紐約JFK被美國移民單位直接拒絕入境遣送囘臺灣，是活生生的Caravan例子, 原因是因爲太頻繁來美，導致無法本次展出他的原定三件雕塑作品。原定在NYFA展出一件可愛的鳥人小天使沒法展出。
4. Ching Yao CHEN 陳擎耀的我愛紐約系列，在2009年在紐約駐村期閒以戲劇性的舞臺式安排，以美國歷史殖民故事為基礎，創作十件攝影作品, 選擇紐約各區域的不同文化餐館及扮演來表現，藝術家自己擔任其中角色呈現出幽默的場景。
5. CHENG, Jen Pei程仁珮的訪談食物系列，道出每一移居的家庭故事，再重組的食品雕塑造型的攝影組合。
6. Andrea CORONIL維瑞内拉的移民第二代，作品以父親在FBI及自身成長經驗中在政治各種抗爭的文件及插畫塗寫。
7. Felipe GALINDO墨西哥移民第一代，他的作品被列入聯邦優秀藝術家, 此次展出的”曼哈頓土地“以簡潔的動畫幽默的敘事移民的期待希望。
8. Chemin HSIAO 蕭喆旻的插畫刻畫每天搭乘的地鉄中所觀察到的個人及游民行爲，
9. Mingjer KUO 郭明哲的”行走的人“攝影作品系列，在紐約的行人街口截取不同區域的文化及族群生活特色。
10. Pey-Chwen LIN 林珮淳得以文藝復興時期達文西的機器人的創始來表現生物上人造人的預言在高科技時代的危機，作品可以透過手機來互動。
11. Lulu Meng 孟祥璐作品呈現以自己影像為側影結構性的洞穴式燈箱，敘述移民過程的影響她的人。
12. Lo, Yi-Chuan 羅懿君以藝術書的形式來探索自歐洲的移民歷史及點出些不移居的艱困及存活。
13. Kelly TSAI & Ryan Hartley SMITH 的“在世界找到你的家“的動畫影片，描繪Americorp真正在社區的參與故事。
14. Yu-chuan TSENG 曾鈺涓的365片“娟“爲名，一年365天每日在網路世界中找出的同名頭像再拼圖處理。
15. Pei Shih TU 凃佩詩的作品以拼貼及動畫則反映出殖民的歷史
都會「部落」可由種族、國族、語言、藝術創作等賦予意義，同時也在透過數位網路的世界跨國族、性別、身份的影響，呈現生活的多種面貌。城市大篷車（Urban Caravan）的南美難民的術語, 普遍適用於所有選擇離開家鄉尋求在物質與精神層面尋求更好生活的人，《都會部落》的主題所欲探討的都會性多元文化，是在這個全球化時代之中，人們跨越國際藩籬的種種行動所延伸出來的迫切性問題。許多國家也面臨移民議題的進退兩難的情形，這些跨地域的民衆同時也揭示了許多潛在的政治、經濟與文化危機。諸如此類的危機皆指向「何謂人性」的問題，而其中的解答之一無非就是人類得以包容文化的多元與差異性。對於美國邊境所停留的旅行篷車以及既有移民來說，儘管是意料不到的處境，人們仍舊抱持著希望與盼望。然而，相對其他人來說，就如同藝術論述所闡述的那般，這是一個對於自然與社會系統的尊崇。
活動免費入場，歡迎共襄盛舉。
紐約藝術基金會（New York Foundation for the Arts（NYFA）地址：20 Jay Street, Room #740, Dumbo NYC (搭乘地鐵#F 到York Street 地鐵站下車)。
Urban Tribes「都會部落」為主題的展覽。活動分Urban Caravan（城市大篷車） 及Urban Reverence（都會敬畏）兩部分時段，將自5月23日至11月1日紐約的4個場地呈現。
Urban Tribe 展出時間地點：
New York Foundation for the Arts (NYFA 紐約藝術基金會)
地址：Jay St, Dumbo, Brooklyn, NY
研討會：2019年6月8日（六） 3pm-5pm ；
開幕酒會：2019年6月8日（六） 6-8pm
展期：2019年6月8日 至9月15日
https://current.nyfa.org/post/185084816733/event-urban-tribes-urban-caravan-exhibition
TAAC Tribeca/E. Tay/R Gallery (台美文藝協會翠貝卡/E Tay/R 藝廊)
地址：39 White Street, NYC (white & Church St)
開幕酒會：2019年5月30日（四）6-8pm
展期： 2019年5月30日至7月15日
El Taller Latino Americano Art Center（紐約拉丁美洲藝術中心）
地址：215 99th Street, NYC (3 Ave & 99 St)
開幕酒會：2019年6月20日（四）6-8pm
展期：2019年5月23日-7月22日
https://tallerlatino.org/current-exhibit
光年51 Light Year 51：活動於7曰4日舉行，光年51將在曼哈頓大橋上展出“在線直播”，讓從事錄影藝術工作的各種族群藝術家表現。
Urban Tribes first opening reception May 30 6-8pm at TAAC Tribeca/E. Tay Gallery
Photos credit: Huaiyi Tsai, TAAC
E. Tay Gallery Link : https://etaygalleries.com/?fbclid=IwAR1a6kzFt3JPchOBneziDUaokSh1N1HsTNVOmQ30aIMayfjAyf5lTc1CgW0
2018 TAAC delegation's Taiwan visit
The First Day-November 6th 2018
*Debra Wimpfheimer, Interim Director, Queens Museum, *David Freudenthal, Director of Government Relationships, *Dr. Ken Howell, senior editor, *Luchia Meihua Lee, executive director, TAAC
November 6th 2018 -The First Day of the TAAC delegation's Taiwan visit:
*Debra Wimpfheimer, Interim Director, Queens Museum, *David Freudenthal, Director of Government Relationships, *Dr. Ken Howell, senior editor, *Luchia Meihua Lee, executive director, TAAC
5:40am -arrive Taiwan Airport
1pm -Taipei Art District festival, exhibition and lectures in Neihu district
4pm -Ministry of Culture, Taiwan
6pm-visit Taipei 101
繼2015, 2016年開始安排邀請美國紐約藝文機構首長及主管訪問台灣及交流，本年2018 特邀請Queens Museum 代理館長Debra Wimpfiheimer， 以及Carnegie Hall 政府関係主管David Freudenthal 訪臺。一行四人於11 月6日順利抵台北，下午一時參訪大內藝術節，會見文心藝術基金會執行長翁淑英也是活動講座策劃人，尊彩藝術中心總經理陳菁瑩及工作計畫主管修天容。策展人曾珏娟博士及林佩淳博士介紹了展覽內容及互動作品，紐約雕塑藝術家張郁田也來參與，另一位策展人楊衍昀是東歐藝術專業也特前來交流，也會見了藝術家吳耿禎及欣賞其新作。四點與廖修平老師一同前往文化部，會見文化部次長蕭宗煌，國際交流司長吳紹開，相互交流台灣藝文狀況，Focus雜誌總編輯李茵琦Yiyi 也一齊前往，蕭宗煌次長特提及因紐文未有專業展場，希Queens Museum可有固定計畫合作展出台灣藝術家作品，並提到了解TAAC 與QM有長久深厚關係，非常高興有一個在美民間非盈利藝術組織TAAC建立合作的橋樑管道，協助台灣藝術推展等; 他也同時介紹了臺灣數個活動場所給卡內基音樂廳所安排的美國國家青年交響樂團到台灣演出的綜合巡迴住宿活動地點等。 （Day one)
Fully Loaded
Fully Loaded Tainan - New York 2017《大船入港》
-2017臺南-紐約 對飛計劃 Exchange residency program and exhibition
“Fully loaded” references fishing boats returning to port heavily laden, and thus by extension the traditional livelihoods of an island people. It also alludes to the well-rounded culture of those inhabiting that island. Like New Amsterdam, Tainan in the 17th century was an outpost of Dutch influence. While the Dutch colonized all of Taiwan from 1624 to 1662, their capital there was Tainan, and to this day several forts from that era survive in the city and memorialize Dutch sway. Dutch rule over New York stretched from 1609 to 1667. And like New York, Tainan is a port. The various artists included in this exhibition reflect different aspects of the culture of Tainan or New York, generating snapshots growing out of life experience. In various pieces, they react to fissures between male and female, between Taoist folk religion on the one hand and science and technology on the other, and the ever-present strains between rural and urban life. In addition, several artists address themes of self and society that resonate both in Taiwan and in the US.
Curator策展人: HSU Yuan-Ta 許遠達 July 18, 2017 - September 10, 2017; Opening Reception: Saturday July 26， 2017 6-9pm
Venue: Pfizer Building 630 Flushing Ave, Brooklyn, NY 11206
PARTICIPATING ARTISTS: (alphabetically)
CHANG Yutien張郁田 CHEN Yen-Yi 陳妍伊 CHIU Kuo-Chun 邱國峻 FANG Wei-Wen 方偉文 HUANG Yi-Mi 黃逸民
KUO MingJer郭明哲 LIN Huang-Ti 林煌迪 LIN Shu-Kai林書楷 MENG Lulu 孟祥璐 NI Jui-Hung 倪瑞宏
WANG Wan-Ting 王婉婷 WU Jam吳耿禎
Organizers: Cultural Affairs Bureau of Tainan City Government, Taiwan.
Major support for this art residency exchange program and exhibition by:
· Cultural Ministry, Taiwan The Cultural Affairs Bureau, Tainan City Government, Taiwan.
General support by: Brooklyn Artists Studios (BAS) Cope NYC (logo)
Other Support:· Absolute Space for the Arts, Paint House Studio
《大船入港》2017臺南-紐約 對飛計劃是由台美文藝協會促成與臺南市文化局, COPE NYC合作的駐村交流展覽, 本年台南共遴選了一位策展人及三位藝術家前來紐約進行駐地創作交流，本次策展人許遠達博士邀請了能深刻呈現台南歷史、文化及城市深度的方偉文、王婉婷、吳耿禎、林書楷、林煌迪、邱國峻、 倪瑞宏、陳妍伊、黃逸民的九位臺南藝術家，並安排紐約的三位藝術家孟祥璐、郭明哲、張郁田一起互動展出，《大船入港》展覽共包含十二位藝術，此展並非完整地呈現台南當代藝術的面貌，但卻試圖簡潔地勾勒出台南當代藝術發展與歷史文化與台南人生命經驗的特殊樣貌。
在台語中，大船入港有漁民滿載而歸，而後延伸為努力後的豐穫。本展以「大船入港」作為展名，是想要以台語中與漁民相關的台灣海洋島嶼的文化與歷史作為展覽思考的出發點，表現台南在海洋文化所蘊育出的當代藝術。一方面，「大船入港」企圖呈現台南與紐約在各自在城市發展上，所共同經歷的歷史關連性。另外一方面，是台南作為台南古都重要的文化與生活特色。作為一個交流展，本展所欲呈現的是關於台南或是台灣相關的歷史、文化與生活於台南個人的生命經驗，以此作為城市相互文化交流及相互理解的踏腳石。
歷史上，台南與紐約在16世紀初，做為大航海時期重要的港口，有著相似的生命經驗。他們與世界的交流都是由歐洲來的荷蘭人以軍事武力所打開的，雖然，各分處於被荷蘭東、西印度公司殖民的狀態。台灣因地域戰略位置的關係，在荷蘭佔據後，一再的被不同的政權統治，西班牙、葡萄牙、鄭氏王朝、清朝、日本及國民黨政權，也因此台灣有著許多不同政權的文化痕跡。這些交流在當時是被強迫打開的，而現在則是以藝術的方式和平的交流，大船入港所展現的就是參展藝術家所展示滿滿的台南文化、宗教、社會、科技及個人的生命經驗。以台語諺語「大船入港」寓意台南作為台灣島重要文化港口常民文化與日常的生命經驗。而作為交流展，是企圖以展名帶出台南與紐約作為各自作為國家歷史上重要的吞吐港口的意象，以作為分屬港口城市的交流展意象。「大船入港」對兩個港都城市來說，都有兩向意涵。對台南來說，台南府城承載了自原民居住以來的歷史發展，加上解嚴後的認同建構，已形成豐厚的在地文化藝術，以此作為交流基礎。在全球化的蓬勃發展趨勢下，台灣已無法自外於全球潮流下，因此紐約藝術家的來訪，對台南來說亦如大船入港。對台南來說，這樣的城市交流同時為在地文化全球化與全球文化在地化的交流效果。
Summer Art Roses Party [Art Talk, Performance and Reception] 夏末午後藝術對談+表演
Loaded Roses @Fully Loaded Tainan-New York 玫瑰上船 @《大船入港》2017臺南-紐約 系列
A new 18 foot painting of roses has just joined the Fully Loaded exhibition at Pfizer.
Saturday August 26, 2-5pm @ Pfizer building
Art historian: Shupei Lee (李書豆）from Tainan, Taiwan
Curator: Luchia Meihua Lee, executive director TAAC, NY
NY artists: Steven Balogh, Mingjer Kuo, Lulu Meng, Yutien Chang
Fully Loaded: curator: Yuan-Da Hsu; Artists from Tainan: Wan-Ting Wang, Jam Wu, Wei-Wen Fang, Huang-Ti Lin, Kuo-Chun Chiu, Yi-Min Huang
Yutien Chang : A live performance to crash his painting; guess what you will witness given his ceramic sculptures.
Pfizer Building, 630 Flushing Ave, Brooklyn, NY 11026 [1st floor, by door on Flushing Ave nearest Marcy]
2017 REWOVEN
New York Rewoven
by Luchia Meihua Lee
Hans Hofmann remarked in On the Aims of Art that “every medium of expression has its own laws; founded on these laws it can be made to resonate and vibrate when stimulated by the impulses coming directly from the natural world.”[1] New York artists selected for Rewoven naturally display extreme creativity in intuiting and formulating laws to redefine and reshape “fiber art” ideas, practice, and content. In pursuit of a radical agenda, compelling voices reexamine innovation, social justice, and ingenuity in art history in a new context. Parsing our theme, isolate from “rewoven” the term “re-” to emphasize its meaning of “regenerate.” Clues[2] provided a hint which Rewoven has developed. While New York artists prosecute a provocative reweaving, more profound than intimated by the prefix. This exhibit celebrates concept and relentlessly questions and confronts the requisites of "Fiber Art." While weaving itself indicates an element of reversion and repetition, it has been ready to absorb the practical implication of the new critical regime with no delay. Works here depart from a straight line to seek a new form and awareness, to more actively rebuild, furthermore to renew a value judgment. And these ineluctably update our contemporary conception world. By no means, has weaving been politically correct.[3]
Art in the past two centuries is a direct consequence of the separation between society and real life. Yet in reimagining fiber art from craftsmanship to a new relevance and placing it beside new media in the forefront of the development of art. Ming-Jer Kuo has straddled this gap. Kuo’s series Suburban Form apparently is manual and industrial, but upon closer inspection reveals an astonishing organic character. He challenges and expands the parameters of weaving by interlacing dried twigs and clear plastic chips which subtly reflect the metallic shining in an installation. In the two-dimensional pieces, he takes as his point of departure real estate maps, but he proceeds to lyrical and abstract forms. In fact, he produces a diagram of typography of Earth in a whirlpool caught in a spider’s web. In other work, he uses aerial views of repeating construction patterns to rethink and review the over developed land.
In the history of craftsmanship, fiber art reached its zenith in the traditional manual mode. The weaving of strand, fabric, and textiles accompanied everywhere in the world the development of human life and civilization. Insofar as it was pictorial, realism of the land and humankind were valued. Fabric intertwines an infinite possibility within a simple latitude and longitude to form a universe, but traditional weaving did not often explore these potentialities. Going beyond conventional methods, Chin Chih Yang uses weaving to discuss the harm we do to our earth. Using recycling materials, for 123 Pollution Solution in this exhibition, he chooses cans with shiny metal and dramatic labels or brand names, cutting and reworking them into a big blanket, and then twisting them to fit his message. And in a more direct piece, Mathematics of Light, thin, silky metal threads cut from cans are formed into a thicket equipped with flashing LED lights and join a small video that depicts factory chimneys polluting with endless exhaust. In Yang's oeuvre, he deals with the environment, social justice on Wall Street, religion, and natural disasters. Whether he uses beverage cans, manikins, video, or unexpected lighting, his art always addresses issues of current concern.
To be in harmony with the environment, artists like Hiroshi Jashiki blend emotional and intellectual effort to reach greatest simplicity, sharing some methods with artisans illustrating scenes from daily folk and personal experience. Magnificent artistic works are often produced. They result from facets of reality, the enthusiasm of the romantic, and some are strong fantasies depicting linear nature with a charming rhythm. Jashiki has been working in textile design; so naturally, he takes fabric as material for his work and experiments with color by way of textile software, creating both realistic and highly abstract motifs to create a romantic feeling. In paintings, curtains, triptychs, and screens, Jashiki is influenced both by Japanese Okinawan handweaving and modern digital textile design methods. Nice South France 03, a six-panel folding silk screen, is another sample of his fabric work taking inspiration from nature; the artist reveals the azure mysteriousness of the ever-changing ocean. The waterscape can be viewed from both sides of the mounted silk, light passing through the transparent screen bringing out a rigorous and impulsive feature. Diderot championed a reconciliation of reason with feeling so as to establish harmony, insisting that discipline is also essential to creating sublime work.[4]
To deal with fabric in joining the conceptual with the interactive, Lulu Meng has created an intimate piece Threshold in which cloth forms three dripping gates through which people may walk. The artist thus discusses a way to interpret the relationship between body and fabric The harsh metal stainless steel and sterling silver wire in "Model" is suggestive of a corset straining a fetish in space, and gives an ambiguous clue. In "Parts of a Whole,"(fig 2) made in 2015, she deftly uses fabric as a medium to address the weaving of individuals into the larger whole that is society. Her square, cloth lightbox hanging from the ceiling demands both appreciation from a distance as well as close scrutiny. It adumbrates the concern that runs through many of her works – the relationship between the individual and society.
Pieced together from fabric-like plaster components, the white bust of Poyen Wang’s Construction of intimacy signifies his healing or acclimating to a new environment. For this piece, he smashed a 3D print sculpture to fragments then gradually sewed it back together to form a complete face. His work is less open to the outside world but more personal and profoundly investigates the self. Theatrically projecting light onto a resewn face casts up an iconographic great man, and alludes to a fake or self-content social situation. In the brave new land, fragility morphs into apparent dominance. A formidable stitch fabric book Atlas demonstrates both technique and manual expertise. The prototype of a landscape was captured from a painted wall in the New York City subway. Processing these images, he stitched together the fabric book by assembling digital pigment prints on silk fabric. These urban and nature landscape application to an unaware delaying motion video piece. The projection where the artist intended to project the contraction with the rush crowd nowadays we experience in the urban and his preferences.
In another example of highly sophisticated conceptual fiber art, Catherine Lan has confronted the artificial and the intimate. She uses synthetic fur to transmit feelings at once organic, feminist, as well as exotic, in her series of "relief paintings" accomplished by cutting fur to form new topographies of forests, mountains, and even streams. As the viewer changes position or strikes the cut faux-fur, so too the fabric alters color and texture, resulting in interactive scenery. In another installation piece, Rest Inside Me, Lan creates a fetishistic, exotic phenomenon – a hanging chair, covered with faux fur. The artificial fur, the cradle-like chair, the festive lighting, and the enveloping music all give shelter and reference the womb. Or from a different perspective, the work speaks to the need to break away from the hectic importunities of quotidian life, to deny imposed societal values, and take the time to rest and to focus on personal balance.
Awareness of the essence of life is difficult. For Steven Balogh, memory is barbed wire, looped around and around, layer on layer, and surmounting a high wall to recall a refugee camp. By contrast, his Money Windfall in its strict two-dimensionality, and as in Hoffman’s Aim of Art, “swings and resounds to the rhythm of color” in “achiev[ing] a three-dimensional effect by means of the creative process.”[5] The strokes drip color and form to then function symbolically, and the literary or journalistic consideration has been abandoned. Fiber to Balogh brings art to hard metal as in Peacock in a Trap where he arranges golf clubs in a cage-like structure, with the heads of the golf clubs signifying peacock feathers. Playing on golf’s sand trap, he entangles his notional peacock in an endless cycle, wire, line or metal web, the increasingly restrictive web imposed on him by the pressures of the outer world.
A restructuring process to a new form, constructs and might not destruct. The reweavings we take reflect a new perspective on making from traditional methods, new imagination leading to an unpredictable result. In this exhibition, fiber art elides into a subtitle, thereby, seemingly into a line, thread, fabric, or something else.
Sarah Walko’s delicate installation looks beyond traditional weaving materials and physical constraints to ideological and conceptual possibilities. Her works address questions related to science, ritual, land, urban areas, and the surroundings. Walko’s reconstructed test tubes sometimes are wrapped together as sacrificial objects, or displayed along with small objects. She carefully arranges various sized materials then crosses air and space tightening thin threads to frame an astrologic and philosophical structure that transmits sublime and mystical notions of the universe. Glass Orchestra entails a constellation of test tubes united by fanciful trails of fabric. This Glass Orchestra installation is a performance. It exposes an exquisite beauty that reveals a quiet melody to us and those within the glass test tubes.
With a scientific and mechanical background, John Ensor Parker has conceived a science-based video entitled Multiverse that encapsulates formulae from Einstein’s theory, numbers which form and reform, dissolving into a series of words, and lines which merge into a surface. The digits, numbers, letters fly from a glowing sphere. His mapping pieces on buildings impose upon their targets light, motion, and another dimension. In this Multiverse, a time-space grid crosses the entire world both spiritual and virtual, drawing on both literature and science. Mirroring the entwining of images on the visual level, the light beams themselves are arrays of chains of photons. And LCDs, used ubiquitously in computer monitors, depend on a tapestry of pixels and the warp and woof of polarizing filters.
We build up a net that is destabilizing and transformative for ourselves and outside people. These artists reweave a world of creativity to reflect their surroundings. No matter whether this presentation is philosophical, minimal, literary, conceptual, abstract, or commentary on beauty or on the grotesque; the concept of fiber art in New York section has exceeded the capacities for a conventional control and rational comprehension. Equipped with a changing global point of view, especially in view of our expanded connectivity and reach globally, we chafe at the restrictions sometimes enforced.
___________________________________________________________________________________________
[1] 3. Hans Hofmann On the Aims of Art. IVA The Modern as Ideal, Ed. Charles Harrison & Paul Wood, eds. Art in Theory 1900-2000-An anthology of changing ideas. Blackwell publishing 2002 p. 371.
[2]The Clues exhibition was held at Kaohsiung Museum of Fine Arts March 26 to June 26, 2016, and included 24 Taiwanese artists. The Taiwanese American Arts Council (TAAC) arranged a cultural visit to Kaohsiung for some guests from New York Cultural and Art organizations, and they had the opportunity to view the exhibition.
[3] In 2001 when Alexander McQueen was in Paris for his debut a few days after Sep 11, he was unapologetic for his smoke-screens and pornographic creation. He refused to make any change. “There is no link between the two things as far as I can see. Fashion should never be politically correct. Otherwise it wouldn’t be revolutionary. I just did what I always do.” Susannah Frankel, introduction, Alexander McQueen Savage Beauty. The Metropolitan Museum of Art 2011 p.22.
[4] Will Durant (1965). The Story of Civilization Volume 9: The Age of Voltaire Simon & Schuster p. 626
[5]Hans Hofmann ‘On The Aims of Art.’ IVA The Modern as Ideal, Ed. Charles Harrison & Paul Wood, eds. Art in Theory 1900-2000-An anthology of changing ideas. Blackwell publishing 2002 p. 372, 373.
2016 VIBRANT
2016
2016 March, We, TAAC, wrapped up the last THE MOMENT program, a beautiful outdoor exhibition in Flushing Meadows Corona Park. In May, we invited four New York guests to visit Taiwan; they are Dr. Amy Winter, Director/Chief Curator of the Godwin Ternbach Museum; Dr. Faustino Qinnatilla. Director of QCC Gallery, CUNY; Michael Royce, Executive Director, New York Foundation for the Arts; and Dr. Kenneth Howell, Senior editor.
The guests were guided to visit various cultural and art organizations, museums, artist studios， from north Taiwan to the south, and the towns on the east coast. These cities included Taipei, Nantou, Tainan, Chiayi, Kaohsiung, Taitung, and New Taipei City. They were invited to attend the inauguration ceremony of Taiwan's new National President Tsai Ing-Wen. Following the visit, there will be several collaboration projects forthcoming.
Dr. Amy Winter states “This trip was transformative. Taiwan is an amazing island of enlightened people who treasure community, creativity, and democracy. My thanks to Luchia(TAAC）understates my gratitude and appreciation.”
THE MOMENT
Contemporary Taiwanese American Arts
To draw a Contemporary Art forum is to separate from both modern and historical perspectives, to immerse oneself in current time and space. A meeting point in the processing time from past and to the future. We might call it the “moment;” it is short and creative. It entails catching an idea when it appears like a flash of light. It can – and must - disappear in the next femtosecond. A “moment” can mean a minute portion of time, or the product of quantity (as a force) and the distance to a particular point. THE MOMENT in contemporary art can be ideally a philosophical term and scientific necessity.
In 2015, we take THE MOMENT as a theme, and develop it to a series of multi-disciplinary programs taking place in various venues. THE MOMENT starts here at the New York Hall of Science. The traditional format of painting shares space with an intertwining of natural with industrial material, and a literature space employs the latest interactive technology. These are threads expressing multiple directions, meeting in this MOMENT. The MOMENT investigates the play of the virtual and the real, inward and outward, our intimate reflection on a surface, dark and light, or a view of self in the outside environment. The Moment visualizes a picture, an object, a location, a person, or a fanciful collective memory of how we evolved as creatures. We are about to investigates the artist’s relation to society and himself.
Romping through contemporary aesthetics, artists and the curators share different interpretations; each artwork displays its own moment, as the product of a unique insight and the distance the artist has carried his or her conception, and this is a moment for us to carefully experience and think about “no-where” and “now-here.” -- Luchia Meihua Lee
THE MOMENT @ Flushing Meadows Corona Park, September 27, 2015-February 29, 2016
Artists: CHANG, Ya Hon張耀煌 HSU, Tang Wei許唐瑋 LEE, Kuang Yu李光裕 YU, Wen Fu游文富
New Public Art Exhibition, THE MOMENT, Presented in partnership with the Taiwanese American Arts Council and MOCA, Taipei exhibition includes 7 works by 4 artists. The sculptors include four Taiwanese Artists, CHANG Ya Hon, HSU Tang Wei, LEE Kuang Yu and YU, Wen Fu. The exhibition is curated by Luchia Meihua Lee (TAAC, NY) and Maple Yu Chieh Lin (MOCA, Taipei), and organized by the Museum of Contemporary Art, Taipei and Taiwanese American Arts Council in partnership with NY Parks.
當下. 當代
這個展演計劃選用了“Moment”-當下這個詞來描繪當代藝術，試圖將之與“現代”和“歷史”觀點分開，專注在當前的時間和空間。從過去和未來處理時間的交匯點；我們可以把它叫做“當下”，這是一種抓住短期的創造靈感。在需要抓住想法那一霎那，這個靈感像一道閃光。它可以 - 並必定 - 消失在下一秒。“當下”可以指那一分秒鐘的時間部分，也是數量的產物（它可作為力）和距離到一個特定的點。在當代藝術裏處理“當下”也成為長期以來一個理想的哲學性的概念，它也和與科學有著聯結的必要性。
在2015年，TAAC- 以THE MOMENT爲主題進行一系列發生在紐約不同的人文展場的展演活動計劃。「當下 . 當代」（The Moment） 的第一場展覽從紐約科學博物館（New York Hall of Science）開始。在這裡，繪畫，自然，人工，與工業材料的交織共享一個空間，另外文學空間的傳統格式採用了最新的互動技術，或者我們看見演化而來的生物集體記憶，這些作品拉出的聯結線表達多個方向，在接著的多場展演中持續向外延伸。 一直到花園的竊竊私語，翩翩起舞，吟詩朗誦，在美術館内原聲呐喊，在公園的雕塑矗立，與孩童的嘻戲的時刻。我們在這當下的一秒交會，在此刻看見數位傳送的虛擬和現實，接觸及遠離。如同我們表面上看到的THE MOMENT主題設計的深色和淺色交錯，瞬間的可視化圖像，在對象地點與人，自我與外部環境景觀的交互親密的反映，我們在這裏即將考察藝術家，社會和自我的關係。
「當下 . 當代」（The Moment ） 展覽通過當代美學嬉戲，來接觸更多的群衆。這群臺裔藝術家與策展人分享著不同的解釋; 每個作品顯示了自己的獨特視角。這個時刻，我們要認真體會和思考「當下 . 當代」的概念 -“就在現在，就在這裡”。
THE MOMENT
THE MOMENT is a series of multi-disciplinary arts programs for which we have invited distinguished contemporary Taiwanese American artists. It will take place from August 8 through October 30, 2015 in various venues in New York City. Selected both from New York and Taiwan, but not limited to Taiwanese American, the artists will present diverse perspectives on the fluidity and fusion of culture between locations as remote as Queens. The works in diverse disciplines —sculpture, installation, interactive art, Performance, and a workshop—will be created specifically for THE MOMENT program and involve the community in dialogue.
Program Venues and Dates
New York Hall of Science: August 8-September 13, 2015
Queens Museum August 20, 2015 5-8pm
Queens Botanical Garden: August 22-23, installation: August 20-October 30, 2015
Tenri Cultural Institute September 30-October 28, 2015
Queens Museum: September 27, October 12, 2015 2-5pm
New York Depart of Park & recreation, Flushing Meadows Corona Park: September 21-Novmebr 15, 2015
Queens Museum: October 11, 2015 3-6pm
Partnership Team:
NYSCI: Margaret Honey, Ph.D., Dam Wimpa, Elizabeth Slugas, Erin Thelen, Michael Lane，Mary Record.
QBG: Susan Lacerte, Regina Forlenza, Pauline Huang
TENRI: Yoichi Fukui , Isamu Ryono, Thalia Vrachopoulos
Queens Museum: Laura Raicovich, Debra Wimpfheimer, Prerana Raddy, Jacqueline Candia
City of New York, Parks & Recreation: Jennifer Lantzas, Janice Melnick
MOCA, Taipei: J.J. Shih, Curatorial Assistants: Shirney Wang, Ying-Chen Liao
(Special thanks to the many people who have not been listed )
THE MOMENT
Contemporary Taiwan Art Project
at TENRI Cultural Institute
43 West 13th Street, New York, NY 10011
October 1-28, 2015 6-8 pm
TAAC 2015 Art Benefit GALA
Sunday September 27, 6pm-9:30pm
Taiwan Center, Northern Blvd, Flushing, Queens, New York
Enjoy a night of art phenomena at community center, and a gourmet Taiwanese cuisine.
TC Outdoor l by artist Candy Bird. 糖果鳥
2:00pm start by enjoying an afternoon performance at the Queens Museum, then walk out into Corona Park, and admired the sculptures
THE MOMENT
Contemporary Taiwanese American Arts
To draw a Contemporary Art forum is to separate from both modern and historical perspectives, to immerse oneself in current time and space. A meeting point in the processing time from past and to the future. We might call it the “moment;” it is short and creative. It entails catching an idea when it appears like a flash of light. It can – and must - disappear in the next femtosecond. A “moment” can mean a minute portion of time, or the product of quantity (as a force) and the distance to a particular point. THE MOMENT in contemporary art can be ideally a philosophical term and scientific necessity.
In 2015, we take THE MOMENT as a theme, and develop it to a series of multi-disciplinary programs taking place in various venues. THE MOMENT starts here at the New York Hall of Science. The traditional format of painting shares space with an intertwining of natural with industrial material, and a literature space employs the latest interactive technology. These are threads expressing multiple directions, meeting in this MOMENT. The MOMENT investigates the play of the virtual and the real, inward and outward, our intimate reflection on a surface, dark and light, or a view of self in the outside environment. The Moment visualizes a picture, an object, a location, a person, or a fanciful collective memory of how we evolved as creatures. We are about to investigates the artist’s relation to society and himself.
Romping through contemporary aesthetics, artists and the curators share different interpretations; each artwork displays its own moment, as the product of a unique insight and the distance the artist has carried his or her conception, and this is a moment for us to carefully experience and think about “no-where” and “now-here.” -- Luchia Meihua Lee
The Moment Curators:
Luchia Meihua Lee (NY)
Maple Yu Chieh Lin (MOCA, Taipei)
CJ Yeh (NY)
THE MOMENT - PART I
1. Chin Pao CHEN 陳敬寳 (攝影記錄投影)
2. Yu-Ting FENG 馮鈺婷 （參與互動影像裝置）
3. Chemin HSIAO 蕭喆旻（生活敘事繪畫）
4. Scottie HUANG 黃致傑（互動錄像）
5. Shih Chieh HUANG 黃世傑 (錄像)
6. Ming Jer KUO 郭明哲 (多媒材裝置)
7. Daniel LEE李小鏡 （錄像）
8. HsiangLu MENG 孟祥璐 （燈箱裝置）
9. Hao NI倪灝 （玻璃窗組件裝置）
10. Mennie Hsiu-Ying SHEN 沈秀穎 （互動文字書寫裝置）
11. Amy ChingChun WEN溫淨淳 （互動裝置）
12. Chin Chih YANG 楊金池 （LED人形雕塑裝置）
13. C.J. YEH 葉謹睿（互動媒體）
14. Rosalie YU 余香瑩（錄像）
THE MOMENT PART II
Six Interactive pieces at Queens Museum
THURSDAY August 20 5pm - 8pm at Queens Museum Unisphere Gallery
http://www.queensmuseum.org/events/the-moment-interactive-art
Presented to coincide with the final event for the Queens Museum’s Passport Thursday’s International Music, Dance, and Film Festival.
PAI Yu-Hsuan 白喻萱 (Pin a Color, interactive installation)
Ya-Ting CHI 紀雅婷, Leslie Ann Kilpatrick, and Megan J. Minturn (interactive Dance from In the Mists of Lights and Shades: a collaborative project)
Beryl CHEN 陳韋竹 & Catherine LAN 藍巧茹 (a single channel video projection of In the Mists of Lights and Shades: a collaborative project which contains the image of fur painting by Catherine LAN 藍巧茹, music by Shuo-An CHEN 陳芍安 and dance by Ya-Ting CHI紀雅婷, Leslie Ann Kilpatrick, and Megan J. Minturn)
WEI Hsinyen 魏欣妍 & CHANG Mienmein (Good Morning and Goodbye, Interactive performance)
Allen YU 余政彥 & Bruce LAN 藍英禎 (The Curse of Mannequin Island, Video Game)
Rosalie YU 余香瑩 & Alon Chitayat: (Skin Deep- Collaborative Self-Portrait)
THE MOMENT PART III
THE MOMENT at QBG
Contemporary Taiwanese American Arts
at Queens Botanical Garden, Flushing, New York
http://www.queensbotanical.org/…/TheMomentatQBG_8.21-23.15.…
http://www.queensbotanical.org/programs/events
Saturday, August 22 and Sunday, 23, 2015: A full art feast moment at Botanical Garden in Queens
Site specific installations will remain on display at Queens Botanical Garden until October 30, 2015
The Moment is a diverse, multidisciplinary, site-specific program, created specifically for this art feast. The Moment at QBG will involve the garden and the community in dialogue.
Over 25 contemporary artists use “The Moment at QBG” as a chance to visualize a picture, an object, a location, a person, or a memory to be built upon. They will lead to deeper, richer, and more personalized experiences – experiences that we can take part in together. And thus, cultural and art experiences will flower into a garden. Very appropriately, this will take place at Queens Botanical Garden. Selected artists from New York –including but not limited to Taiwanese American artists–will present diverse perspectives on the fluidity and fusion of cultures. On August 22 and 23, enjoy mid-summer moments by enriching your senses with an art feast at Queens Botanical Garden’s surroundings. Watch the splash dance; meet various artists; and converse with them about their art.
Art Benefit: TAAC 2015 GALA Sunday September 27, 6pm-9pm
Taiwan Center, Northern Blvd, Flushing, Queens, New York
2:00pm start by enjoying an afternoon performance at the Queens Museum, then walk out into Corona Park, and admired the sculptures
Enjoy a night of art phenomena at community center, and a gourmet Taiwanese cuisine.
Outdoor Mural by artist Candy Bird. 糖果鳥
