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Wuxia Hits! Joseph Kuo’s Movies Go Hybrid from December 6-13
2021/12/02

The Taipei Cultural Center is pleased to welcome Subway Cinema’s popular series “Old School Kung Fu Fest,” which is now in its ninth edition. This year’s series focuses on Taiwanese director Joseph Kuo (郭南宏) and features nine newly restored films, including fan-favorites Mystery of Chess Boxing (雙馬連環) and 7 Grandmasters (虎豹龍蛇鷹), from December 6-13 online and in theaters.

"9th Old School Kung Fu Fest: Joseph Kuo Edition" features nine Wuxia (武俠) films, all of which include new 2K digital restorations and English-language subtitles. The 36 Deadly Styles (迷拳36招), The 18 Bronzemen (少林寺十八銅人), Return of the 18 Bronzemen (雍正大破十八銅人), 7 Grandmasters (虎豹龍蛇鷹), and Mystery of Chess Boxing (雙馬連環) will screen live at the Museum of the Moving Image (MoMI), while Shaolin Kung Fu (少林功夫), Shaolin Kids (少林小子), The Old Master (師父出馬), and World of the Drunken Master (酒仙十八跌) will be available online.

“When Joseph Kuo talks about movies, he never mentions film or art. He keeps emphasizing that when you make movies, you need to respect two groups of people: the financier … and the audience,” Edwin W. Chen (陳煒智), a film researcher who worked with Kuo for an exhibition showcasing Kuo’s collection of historical objects, said with great admiration.
Edwin W. Chen depicts Joseph Kuo’s style as ever-changing because he has shifted gears between melodrama, Taiwanese dialogue musical films, and martial arts films along his career, finding success at every turn.

As a successful box office director, Joseph Kuo also knows how to follow market trends, as film critic Blade Po (蒲鋒) observes. In 1978, when Jackie Chan (成龍) and Yuen Wo-ping (袁和平) delivered their box office-shattering Kung Fu comedy Snake in the Eagle’s Shadow (蛇形刁手) in September, Joseph Kuo imitated its storyline and action style to make 7 Grandmasters and released it in November. Similarly, soon after Drunken Master (醉拳) became a blockbuster in October 1978 in Hong Kong, Kuo jumped on the bandwagon by producing an imitation, World of the Drunken Master, a few months later.

Joseph Kuo, born in 1935, started his career at an early age as a Taiwanese dialogue film director. When he served in the army, he wrote One Night in Taipei (臺北之夜), the Taiwanese dialogue musical created for the famous singer Bûn-hā (文夏) w. The film proved to be a megahit, with 10 sequels following its massive success. Kuo has also served as his own boss, establishing Hong Hwa International Films (宏華影業) in 1973 and writing, directing, and producing dozens of movies under its banner until it shut down in 1992.

MoMI and Subway Cinema will co-present four titles available exclusively online from December 6-13, and five films in theaters from December 10-12. Edwin W. Chen and Blade Po are invited to record two special introduction videos for the fest. The group discussion will be offered online and the introduction for each film is exclusively for theater viewers.

For more information, please visit:
Subway Cinema at https://www.subwaycinema.com/initiatives/9th-old-school-kung-fu-fest-joseph-kuo-edition
MoMI at http://www.movingimage.us/programs/2021/12/06/detail/old-school-kung-fu-fest-joseph-kuo-online/

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Taiwanese artist, Wang Ya Hui’s work, Scent: Rice Field in the MandaLa Lab, Rubin Museum of Art
2021/12/02
Embedded in a rock-like form at each of six stations are scents selected by six artists and created for the installation by master perfumer Christophe Laudamiel. Visitors can activate a scent at one of the stations and record their reactions to it. The discovery continues as visitors view a two-minute narrative video created by the artist about their memory attached to this scent. This, along with reading previous visitors’ memories of the same smell, allows the visitor to perceive how diverse (and sometimes radically different) those brought up under different conditions can perceive the same stimulus.

Wang Yahui’s (王雅慧) narrative video artwork, Scent: Rice Field describes her experience moving to a rural area after college, where the smell of rice fields imbued her with a sense of calm and mental clarity and subsequently impacted her art practice. Her abstract, poetic juxtaposition of words and moving shapes in the video creates a contemplative moment for guests and opens the door to awareness of attachment and the presence of others.

The intention behind Mandala Lab is to make insights for navigating difficult circumstances and emotions available to visitors of all ages through a combination of artworks, cognitive science, and contemplative practice. When reviewed in the New York Times, The Rubin’s Chief Programmatic Officer and Deputy Executive Director, Tim McHenry, described the space and its installations as “visual tool kits for navigating and surviving in uncertain times”.

Wang Yahui’s works include videos, installations, and photographs. She has exhibited or screened her work in international film festivals and biennials, including the Taipei Biennial, Taipei Fine Arts Museum (2002), Shanghai Biennale (2006), International Film Festival Rotterdam 2008, the Hors Pistes Film Festival at the Centre Pompidou (2008) and Taipei Biennale (2010). She participated most recently in the exhibition Finding Time, held at the Taipei Fine Arts Museum in Taipei in 2020.

The Rubin Museum of Art officially opened on October 2, 2004 and is a museum dedicated to the collection, display, and preservation of the art and cultures of the Himalayas, the Indian subcontinent, Central Asia and other regions within Eurasia, with a permanent collection focused particularly on Tibetan art. The New York Times commends it, “one of the biggest thinking small museums in Manhattan”.

Mandala Lab
October 1, 2021-October 1, 2031
The Rubin Museum of Art,
150 West 17th St. New York, NY 10011
Thursday: 10:00 AM–11:00 AM senior and high risk hours
                11:00 AM–5:00 PM
Friday: 11:00 AM–10:00 PM
Saturday-Sunday:11:00 AM–5:00 PM
www.RubinMuseum.org

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Artist Wu Chi-tsung's solo exhibition, jing-atmospheres opens in New York
2021/12/02
Taiwanese artist Wu Chi-tsung(吳季璁)'s solo exhibition jing-atmospheres《境》takes place at the Sean Kelly Gallery in New York from Nov. 5 to Dec. 18 to present his Cyano-Collage series 《氰山集》as well as representative videos, installation works that integrate Western and Eastern aesthetics.

“I really hope this journey, one that has been full of trial and error in finding a way out, can inspire more young artists to go out to find opportunities, to see this big world,” Wu told Artnet News on a video call. Wu Chi-Tsung: jing-atmospheres is artist's first solo exhibition in the United States. He becomes the first Taiwanese artist of his generation to have a solo exhibition in New York.

Wu Chi-Tsung was trained from an early age in the traditions of Chinese calligraphy, Chinese ink painting, watercolor, and drawing, and worked in these time-honored idioms for many years. While those practices still inform his process, his current work seeks to understand how media and technology are manipulated to represent our relationship to the world. In the main gallery, there are new iterations of his Cyano-Collage series, in which he connects Eastern and Western culture and art to integrate traditional aesthetics within a striking contemporary language. His Cyano-Collages replace the traditional ink and brush used in Chinese shan shui paintings (山水畫) –literally, “mountain-water-pictures”—with experimental photography to reinvigorate the traditional landscape language. To create these stunning images, he prepares hundreds of cyanotype photographic papers—Xuan paper (宣紙) treated with a photosensitive coating—that are crumpled, exposed to sunlight, and then mounted onto aluminum, creating a spectrum of tonalities. The results are collaged images that resemble the mountainous landscapes often found in Chinese shan shui paintings, but which are produced using completely a contemporary process.

The Sean Kelly Gallery, established in 1991, is located near Hudson Yards in West Manhattan. The main gallery displays Wu's series work of Cyano-Collage, of which two pieces are especially designed for spacious gallery space, serving as the highlights of the exhibition.

Still Life (小品之十四-黃梅) series that translates motifs of traditional cut-branch flower painting into time-based moving images is also presented in the main gallery, featuring traditional paintings of flowers and birds to communicate his nostalgia for painting, as it retraces the emotions and memories that have slowly disappeared in life. Installation artworks such as "Wire (鐵絲網)" and "Dust (灰塵)" are presented in the front and lower gallery.

Wu, Chi-Tsung was born in 1981 in Taipei. Wu received his Bachelor of Fine Arts from the Taipei National University of the Arts in 2004. He currently lives and works in Taipei, Taiwan and Berlin, Germany. His work, in which he devotes great attention to the methods used in producing and interpreting images, spans across different media, including photography, video, installation art, painting and set design. He combines traditions and contemporary art forms from the East and the West. Daily objects and phenomena are great inspiration for his work, what he transforms into poetic imagery. He received the top prize of the “Taipei Arts Award” (2003), the “WRO Media Art Biannual” (2013) – Award of Critics and Editors of Art Magazines”, the “Liu Kuo Sung Ink Art Award” (2019), short-listed for the “Artes Mundi” (2006), and the “Prudential Eye Awards” (2015).

Wu Chi-Tsung jing-atmospheres
November 5 – December 18, 2021
Sean Kellery Gallery
475 Tenth Avenue
New York, NY 10018
Tuesday - Friday: 11AM - 6PM
Saturday: 10AM - 6PM

(Photo courtesy of Wu Chi-tsung Studio)
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Anthology Film Archive to Present “The Film of Hsin Chi” Series This Month
2021/11/05
The Taipei Cultural Center, in collaboration with Anthology Film Archives, is pleased to present a series of films titled “The Film of Hsin Chi (辛奇)” from November 17 to November 30, streaming on Vimeo free of charge.

The series showcases five films directed by Hsin Chi from 1965 to 1969, including THE BRIDE WHO HAS RETURNED FROM HELL (地獄新娘), ENCOUNTER AT THE STATION (難忘的車站), FOOLISH BRIDE, NAIVE BRIDEGROOM ( 三八新娘憨子婿), DANGEROUS YOUTH (危險的青春), and THE RICE DUMPLING VENDORS (燒肉粽). These films incorporate elements of horror thrillers, family dramas, romantic comedies, and social critiques, reflecting the thematic diversity of cinema from the era.

According to the Taipei Cultural Center, the 1950s are known as the glory days for Taiwanese-dialect films (Taiyu Pian (臺語片)). An average of over 100 Taiwanese-dialect films were released in Taiwan every year, and the country was recognized by UNESCO as producing the third most films in that era, behind only Japan and India. In presenting these films, the Taipei Cultural Center and Anthology Film Archives hope to help rebuild the post-war cultural history of Taiwan.

Anthology Film Archives was founded in 1970 by Jonas Mekas, with a special focus on independent, experimental, and avant-garde cinema. Anthology Films Archives screens more than 900 programs annually and preserves more than 800 films. For more information, please visit the following website: http://anthologyfilmarchives.org/.

Photos courtesy of the Taiwan Film and Audiovisual Institute (TFAI)

THE BRIDE WHO HAS RETURNED FROM HELL (地獄新娘)
1965, 117 min, 35mm-to-digital
BEI Sui-mi becomes the new tutor for the WANG family in a bid to secretly investigate the death of her sister. Meanwhile, she tries to mend the father-daughter relationship between her niece and Mr. WANG. After a series of hauntings occur in the house, Sui-mi discovers her sister’s diary and comes closer to the truth behind her death. Gradually, Sui-mi and Mr. WANG fall in love, but on the eve of their wedding, the killer appears. An adaptation of the Gothic romance “Mistress of Mellyn (米蘭夫人)”, THE BRIDE WHO HAS RETURNED FROM HELL is aesthetically expressionistic, and the creative mise-en-scène showcases the quality of Taiwanese-language productions. While integrating modern elements such as suspense and murder, the story reflects a feudal context. Though westernized at times, it remains traditional at heart, creating subtle but fascinating contradictions between the portrayal of modern women and the patriarchy which shadows them.

ENCOUNTER AT THE STATION (難忘的車站 )
1965, 112 min, 35mm-to-digital
Tshui-giok’s (翠玉) stepfather sells her to a club to pay off his debt. But when her boyfriend, Kok liong (國良), learns about it, he helps her escape and plans to marry her. However, Kok-liong’s mother disapproves and arranges for him to marry a wealthy girl. Years later, when Kok-liong and Tshui-giok meet again, their feelings are rekindled. ENCOUNTER AT THE STATION is adapted from CHIN Hsing-chi’s popular novel “Leng Nuan Jen Chien (冷暖人間),” though its wartime atmosphere and female protagonist’s personal struggles are removed to focus on the love triangle in order to depict a family melodrama. Told from an omniscient point of view, the film not only boasts a well-executed narrative, a gripping storyline, and strong emotions, but also reshapes its characters to adapt to its form of visual storytelling, placing it at the pinnacle of the Taiwanese-language family melodrama genre.

FOOLISH BRIDE, NAIVE BRIDEGROOM ( 三八新娘憨子婿)
1967, 101 min, 35mm-to-digital
“Bun-tik (文德)” is a naïve, dopey young man who is aggressively chased by the women in his town, all of whom are strangely enamored with him. He is closely guarded by his father, A-kau (阿狗), who throws water at the girls to discourage them from courting Bun-tik. Bun-tik is only interested in one girl, the intrepid and mischievous Kui-ki (桂枝), a modern woman in the context of 1960s Taiwan, when conservative family values and traditional beliefs governed much of societal activity. One day, Bun-tik’s father and Kui-ki’s mother meet to discuss the possibility of the two young lovers getting married, but discover that they themselves were lovers 30 years ago. Both feeling scorned and blaming each other for the past, they oppose the marriage. Disregarding their parents’ wishes and tradition in general, Kui-ki and Bun-tik decide to elope. Eventually, their parents come to forgive them and accept the union, opening the door once again to their own past as well.” –TAIWAN FILM FESTIVAL EDINBURGH (英國愛丁堡國際影展臺灣電影網)

DANGEROUS YOUTH (危險的青春)
1969, 95 min, 35mm-to-digital
Khue-guan (魁元), a deliveryman living in a cheap apartment, dreams of making it big one day. He happens upon a teenage runaway, Tsing-bi (晴美), and entices her to work at a nightclub to make money for him. Meanwhile, the nightclub hostess, Giok-sian (玉蟬), pays for Khue-guan’s company but has no emotional attachment to him. When Tsing-bi becomes pregnant with Khue-guan’s child, she asks him to marry her but is coldly rejected. Khue-guan proposes to Giok-sian only to be sneered at. Faced with a choice between love and money, Khue-guan must decide what he wants. Through the relationships between a prostitute, a pimp, and a procuress, the film presents a vision of capitalist society in moral decay.

THE RICE DUMPLING VENDORS ( 燒肉粽 )
1969, 84 min, 35mm-to-digital
Tsi-bing (志明) is living a wealthy and successful life. However, when he is manipulated by his mistress into believing that his wife is having an affair, he throws her out of the house. When his mistress vanishes with all his money, Tsi-bing is forced to relocate to a makeshift home with his three children, who take on various jobs such as selling rice dumplings to make ends meet. Will this unfortunate family be reunited one day? The story centers on a man who loses his social and economic status but manages to regain his place in his family through sacrifices, an experience usually assigned to the female protagonists of melodramas. Unlike the prevalent female-centric melodramas of the time, this male-centric narrative was recognized as part of a subgenre of Taiwanese-language melodrama. The depictions of a powerful male figure losing his status before eventually turning his fortunes around, and of a woman who is able to support herself after leaving home, represent the shifting attitudes of the late 1960s.

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The 25th Toronto Reel Asian International Film Festival: Steaming two award-winning Taiwanese films in November
2021/11/05
The 25th Toronto Reel Asian International Film Festival (TRAIF) will take place virtually from November 10 to November 19. Two Taiwanese films that received best picture awards, MY MISSING VALENTINE (消失的情人節, recipient of the 57th Golden Horse Award) and TAIPEI SUICIDE STORY (安眠旅舍, recipient of the 27th Slamdance Award), will be available online throughout the duration of the festival.

The festival will present 81 total films, including features and shorts from around the world. Along with Taiwanese films, films from Canada, the US, South Korea, Japan, Malaysia, Hong Kong, Pakistan, India, and Norway will also be presented.

MY MISSING VALENTINE, directed by Chen Yu-Hsun (陳玉勳), is a fantasy romance set in a rural county. Post office teller Yang Hsiao-Chi (Patty Lee, 李霈瑜) has never been an ordinary girl: she is always one step ahead of everyone else. With Valentine's Day approaching, Hsiao-chi's feeling anxious about finding someone. When she lands a dream date, she goes to bed looking forward to Valentine's Day, but to her surprise and disappointment, she wakes up on February 15. Luckily, A-tai (Liu Kuan-ting, 劉冠廷 ), the bus driver who is always one step slower than everyone else, holds the answer to her problems.

TAIPEI SUICIDE STORY, directed by KEEF (王凱民), is set in a society different than our own, at a hotel in Taipei that welcomes suicidal people and assists them in committing the act by providing several methods which they can choose from. Over the course of one night, a receptionist (Tender Huang, 黃騰浩) begins to defy the rules and develops an unusual friendship with a hotel guest (Vivian Sung, 宋芸樺) who can't make up her mind on whether she wants to live or die.

This year’s title for the festival’s Ideas Conference is “Here in The Future Past,” as the festival wishes to use the energy of the community to reminisce while maintaining an eye towards the future. Gathering industry professionals, filmmakers, performers, media artists, programmers, and curators, this conference reflects on racialized filmmaking, the function of art in a time of crisis, working in other mediums, and children's programming.

TRAIF is one of the most important Asian film festivals in Canada, and the Taipei Culture Center in New York is pleased to partner with TRAIF to present Taiwanese cinema. Since 2005, 2-3 Taiwanese films have been presented at TRAIF every year.
For more information, please visit the following website: https://www.reelasian.com/festival/.

Photos courtesy of the 25th Toronto Reel Asian International Film Festival (TRAIF)

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Taiwanese curator Erica Yu-Wen Huang  (黃又文) participates ISCP 2021 Fall Open Studios!
2021/11/05
Taipei Cultural Center in New York is very pleased to announce that Taiwanese curator; Erica Yu-Wen Huang starts her residency program, International Studio & Curatorial Program (ISCP) in October in Brooklyn. She is one of a few Taiwanese artists joins the program since ISCP begins reopening to resident artists in March. Twice a year only, ISCP Open Studios offers the public access to private artists’ and curators’ studios to view artwork and share one-on-one conversations. Erica Yu-Wen Huang will join with other 33 artists and curators from 26 countries currently in residence to present their interests of research and creation.

Taiwanese curator, Erica Yu-Wen Huang holds a Master of Arts in Museum Studies from University of Leicester, United Kingdom. Formerly Curator of Exhibition and Learning at Centre for Heritage, Arts & Textile (CHAT), Hong Kong and Guest Lecturer of Applied Art Institute at National Chiao-Tung University (Taiwan), Huang is an independent curator based in Taipei. Her curatorial research focuses on the hybrid culture, migration history, geopolitics, and the dynamic among nature, human being and environment. Recent curatorial projects include The World is yet to Come, Museum of Contemporary Art, Taipei (2021), Post-Anthropocene – 2020 Taiwan Biennial collateral exhibition (co-curated with Andre Chan), Zit-Dim Art Space, Tainan (2020), Sea Views - We Meet at the Seaside, Finland (2019) and Keelung Nights - Nordic Lights (co-curated with Nina-Maria Oförsagd), Taiwan (2017). Huang has partook in residencies at International Studio & Curatorial Program, New York (2020), Turner Galleries, Perth, Australia (2017), Curatorial Fellowship in Gwangju Museum of Art, South Korea (2017) and La Cité Internationale des Arts, Paris, France (2016-2017).

Open Studios participating artists and curators: Hana Al-Saadi (Qatar), Chris Andrews (Canada), Svetlana Bailey (United States/Australia/Germany/Russia), James Beckett (South Africa/The Netherlands), Maja Bekan (The Netherlands/Serbia), Marie-Michelle Deschamps (Canada), Chun Hua Catherine Dong (Canada), Carlos Franco (Puerto Rico), Moko Fukuyama (United States/Japan), Baris Gokturk (Turkey/United States), Wieteke Heldens (United States/The Netherlands), Erica Yu-Wen Huang (Taiwan), Anthony Iacono (United States), Silas Inoue (Denmark), Valentýna Janů (Czech Republic), Sam Keogh (Ireland), Kim Kielhofner (Canada), Conny Karlsson Lundgren (Sweden), Chase Middleton (Australia), Marie Nerland (Norway), Daniel Neumann (United States/Germany), Lotte Nielsen (Denmark), Tamás Páll (Hungary), Bundith Phunsombatlert (Thailand/United States), Mia Raadik (Estonia), Elisabeth Rastl-Dorner (Austria), Alona Rodeh (Germany/Israel), Micha Serraf (Zimbabwe), Skaus (Norway), Julie Stavad (Denmark), Maja Štefančíková (Slovakia/Czech Republic/United States), Anna Witt (Austria), Kenji Yamada (Japan/United Kingdom), and Rafał Żarski (Poland).

Founded in 1994, the International Studio & Curatorial Program (ISCP) supports the creative development of artists and curators, and promotes exchange through residencies and public programs. Taipei Cultural Center in New York, the Ministry of Culture in Taiwan has worked with ISCP since 2000 to select and participate the program.

ISCP
2021 Fall Open Studios
Open Hours: Saturday, November 13, 12–7pm
Registration is required here.
https://iscp-nyc.org

Photo, Erica Yu-Wen Huang
Photo Courtesy of Erica Yu-Wen Huang
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Wet Networks at the Queens Museum: Shu Lea Cheang and her Geek Camp
2021/11/05
Wet Networks is supported by Taipei Cultural Center in New York and is mainly organized by the Queens Museum (QM) and is presented in partnership with Rhizome and CycleX. It features artifacts and commissioned projects from Geek Camp 2021: Neversink Never Ever. The output of Geek Camp, Wet Networks is installed alongside the Queens Museum’s long-term exhibition of The Relief Map of New York City’s Water Supply System at the Watershed Gallery.

Taking place in July 2021, this was the first of Taiwanese artist Shu Lea Cheang’s annual “Geek Camp” convening, at CycleX, an experimental farm and cultural center located in what is today known as the town of Andes, New York. Shu Lea Cheang invites curator, Celine Wong Katzman to gather a group of artists for the camp. She chose artists whose practices resonated with the context of the watershed to take part in the camp at the site located just a few miles uphill from where the East Branch of the Delaware River feeds the Pepacton reservoir.

The artists, Tecumseh Ceaser, Nabil Hassein, Melanie Hoff, Christopher Lin, Jan Mun, and TJ Shin considered Cheang’s prompts to walk the trails, consider the ebbs and flows of the reservoir, and engage waves as carriers to recall buried, bittersweet sentiments of displacement and relocation. They were joined by Erwin A. Karl, mycologist and Evan T. Pritchard, Founder of the Center for Algonquin Culture. Together their reflections and offerings illuminate the relationships between new technologies and traditional ways of knowing, the challenges of collective care, and how land and water shape and are shaped by one another and us.

About the Artist, Shu Lea Cheang
Shu Lea Cheang 鄭淑麗 (b. 1954, Taiwan) is an artist and filmmaker currently based in Paris, and who often travels to the United States to spend time at CycleX, her recently-formed artist residency and media lab in Andes, New York. Cheang is a pioneering figure in internet art whose multimedia approach includes film, video, installation, software interaction and durational performance. Employing multidisciplinary techniques, Cheang seeks to challenge the positions taken by the popular media, institutions and the government.

About the Queens Museum
QM was established as an independent 501(c)3 nonprofit in 1972 by a group of community leaders seeking to create a vibrant cultural center in Flushing Meadows Corona Park (FMCP). Housed in the historic New York City Building—the City’s official pavilion during the 1939 and 1964 World’s Fairs, and the temporary former home of the UN General Assembly—our galleries overlook the Unisphere—the unofficial emblem of Queens. From this historically relevant past, QM is now a vibrant community center that welcomes individuals of all ages, abilities, linguistic preferences, socio-economic backgrounds to engage with the diverse programs and resources that the museum has to offer. QM works to ensure our exhibitions, education initiatives, and public programs are fully accessible to all individuals that visit the museum and utilize our resources each year.

About Geek Camp
Geek Camp 2021 was supported by CycleX and Rhizome. CycleX is a non-profit intercultural land trust located in Andes NY, dedicated to cross-disciplinary artistic and farming pursuits with a focus on nurturing future farmers. CycleX engages in biodiversity, mycology, and permaculture, and is a free-form laboratory where plants and fungi are acknowledged as both food and medicine.

Exhibition:
Title: Wet Networks
Date: October 30, 2021- January 30, 2022
Venue: The Queens Museum, (New York City Building Flushing Meadows Corona Park Queens, NY 11368)
Website: queensmuseum.org
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