Taipei Cultural Center in New York is proud to announce the open call for one Taiwanese artist/curator/collective for a three-month residency, starting March 1 through May 31, 2019, at Triangle Arts Association in Brooklyn, New York. Applications are due December 30, 2018 at 23:59 Taipei Time.
Generously supported by Taiwan’s Ministry of Culture, the residency provides round-trip air tickets between where the artist/curator is based and New York City, a monthly allowance of $2,000 to cover living costs during the residency, and a $1,000 project fee.
All applications should be submitted on-line. For more information, please see the application guidelines 簡章.docx.
To apply, please check HERE.
The Detroit Institute of Arts, Ann Arbor District Library, Michigan Taiwanese American Organization, University of Scranton Asian Studies Program and Taipei Cultural Center are proud to co-presented Yung Shing Le Shadow Puppet Theatre Troupe of Taiwan.
With an emphasis on preserving the traditional art form, this century-old family theater has handed down traditional practices and stories through five generations, while also infusing modern techniques and original stories to keep this art form relevant to modern audiences.
The troupe invites you to experience Taiwanese shadow puppetry in three plays: The Sandbag Trilogy (a comedic series of entanglements with a seemingly mischievous sandbag) The Mountain of Flames (an excerpt from the classic 16th Century Chinese novel Journey to the West) and Momotaro (a traditional Japanese folktale). Guests will then be invited backstage to get a hands-on experience with the beautifully handcrafted puppets. Narration in Taiwanese with live music. Recommended for all ages.
Dates and venues
Nov. 10 @ 2 p.m. – Detroit Institute of Arts, Detroit Film Theatre, 5200 Woodward Ave., Detroit, Michigan
Nov. 11 @ 2 p.m. —Macomb Center for Performing Arts, 44575 Garfield Rd, Clinton Twp., MI 48038
Nov. 12 @ 7 p.m. Ann Arbor District Library, Downtown Library, 343 South Fifth Street, Ann Arbor, MI
Nov. 13 @ 7 p.m. — Oakland Community College / Orchard Ridge campus, 27055 Orchard Lake Rd., Farmington Hills, MI 48334
Nov. 15 @ 7p.m. — The University of Scranton, the DeNaples Center, Mcllenny Ballroom, 600 Linden Street, Scranton, Pennsylvania
The multi-award-winning melodrama DEAR EX, co-directed by acclaimed TV script writer Mag Hsu and emerging director Hsu Chih-yen, will kick off the 22th Toronto Reel Asian International Film Festival, which runs from Nov 8 to Nov 16, 2018. It will be the first time Reel Asian opens the festival with a Taiwanese feature film. Co-director Mag Hsu and the lead actor Roy Chiu will be coming to Toronto for the opening night red carpet and the Canadian Premiere of this film.
As one of the finest films from Taiwan this year, DEAR EX follows three people who are linked by fate because of love and family. Young teen Song Chengxi loses his father to cancer, but instead of having time to mourn, he finds himself caught in a feud between his widowed mother and his father’s gay lover Jay (Roy Chiu). This film not only won four major awards at the Taipei Film Festival but was recently nominated for eight Golden Horse Awards, which honors the best in Chinese-language cinema.
This year’s Taiwanese feature presentations also include Chuang Ching-sen’s gripping thriller HIGH FLASH, featuring the mysterious death of a fisherman Ah-Hai, who is found dead of self-immolation during a protest, puzzles the truth-seeking public prosecutor; Chiang Chung-chieh’s short SHIBA SAN AND MEOW CHAN, chronicles an journey leading the older Shiba san and the young Meow Chan to confront their emptiness inside as they both have something on their minds.
The Taiwanese feature presentations are presented in collaboration with the Taipei Cultural Center in New York, with support from the Taipei Economic and Cultural Office in Toronto. For the full lineup and schedule, please visit reelasian.com.
About Reel Asian
The Toronto Reel Asian International Film Festival (Reel Asian), presented by National Bank, is a unique showcase of contemporary Asian cinema and work from the Asian diaspora. As Canada’s largest pan-Asian film festival, Reel Asian provides a public forum for Asian media artists and their work, and fuels the growing appreciation for Asian cinema in Canada.
Thursday, November 8, 7:30 pm
Isabel Bader Theatre (93 Charles St W, Toronto, ON M5S 2C7)
Dir. Mag Hsu, Hsu Chih-yen / 2018 / 100 min / Mandarin with English Subtitles
*With co-director Mag Hsu and lead actor Roy Chiu in person!
Monday, November 12, 8:15 pm
Tiff Bell Lightbox, Cinema 4 (350 King St W, Toronto, ON M5V 3X5)
Dir. Chuang Ching-sen / 2018 / 109 min / Mandarin with English subtitles
Tuesday, November 13, 10:30 am
Bachir / Yerex Presentation Space (401 Richmond St W, Toronto, ON M5V 3A8)
Dir. Chiang Chung-chieh / 2018 / 30 min / Taiwanese with English Subtitles
Thursday, November 1, 7:00pm
Asia Art Archive in America
43 Remsen Street, Brooklyn, NY 11201
Space is limited and registration is required.
Tickets Available Here
Join us for a screening of Chia-Wei Hsu’s Huai Mo Village (2012, single-channel video, 8’20”), and Ruins of the Intelligence Bureau (2015, single-channel video, 13’30”), followed by a conversation with the artist moderated by curator and critic Christopher Phillips. Their discussion will touch on the artist’s exploration of filmmaking as a performance art and Taiwan’s complex relationship with other countries in the region.
Huai Mo Village takes place in an orphanage in Chiang Rai, Thailand and tells the true story of a troop of Chinese Nationalist soldiers who retreated to the border regions between Thailand and Myanmar at the end of the Chinese Civil War in 1950. In this film, the founder of the orphanage, who is a pastor and former intelligence officer, recalls the plight of these homeless, stateless soldiers who remained in Thailand rather than return to China or join the Nationalists in Taiwan
The pastor appears again in a second film, Ruins of the Intelligence Bureau, to expand on the story he began in Huai Mo Village. Set in the remains of the demolished Intelligence Bureau, this film features a performance of a traditional Thai puppet show. Narrating the performance is the pastor, who recalls personal memories and recounts the legend of Hanuman—a monkey general who leads his troop to battle and helps a prince return to the kingdom from which he was exiled.
HSU Chia-Wei (b. 1983, lives and works in Taipei) is interested in the untold histories of the Cold War in Asia. His work often takes the form of films and installations, weave together reality and myth, the past and the present. Hsu’s work has been presented in many museums, including Van Abbemuseum, the Centre Pompidou, Haus der Kulturen der Welt, and Reina Sofia National Museum. A Hugo Boss Asia Art Award finalist in 2012 and the Grand Prize winner of the 2017 Taishin Arts Award—a major accolade for artists in Taiwan, Hsu has also been included in many biennials and festivals, such as the 39th International Film Festival Rotterdam, the 2012 Liverpool Biennial, the 2018 Sydney Biennial and Gwungju Biennial. He will also participate in the upcoming Shanghai Biennale.
Christopher Phillips is an independent curator and critic. From 2000 to 2016 he worked as a curator at the International Center of Photography (ICP) in New York. He has organized many exhibitions that explore modernist photography of the early 20th century as well as contemporary Asian photography and media art, including ”Heavy Light: Recent Photography and Video from Japan” (with Noriko Fuku, 2008); “Wang Qingsong: When Worlds Collide” (2011); “Han Youngsoo: Photographs of Seoul 1956-63” (2016); and “Life and Dreams: Contemporary Chinese Photography” (2018). His books include Photography in the Modern Era: European Documents and Critical Writings, 1913-1940 (1989), Between Past and Future: New Photography and Video from China (with Wu Hung, 2004), and Life and Dreams: Contemporary Chinese Photography and Media Art (with Wu Hung, 2018). He teaches in the Photography and Imaging Department at NYU’s Tisch School of the Arts.
The International Studio & Curatorial Program announces Chia-Wei Hsu: Black and White – Malayan Tapir, a solo exhibition by Hsu that focuses on a specific non-human animal—the Malayan tapir. The exhibition opens on Oct. 30, and will run through January 25, 2019.
Through evocative storytelling, Hsu cuts across time and geography to narrate the history of the Malayan tapir and its relationship to colonial power and zoos in Southeast Asia.
According to the artist, his intention with Black and White –Malayan Tapir is to use an encyclopedic narrative style to deal with issues of equality between people and non-humans, man and nature, and to explore changes in the way modern people view images.
The exhibition is composed of a synchronized four-channel LED-screen installation. The scenes in the video switch between the National Gallery Singapore, the National History Museum, and the Singapore Zoo, to search engines and multiple computer screen windows. Across the screens, a zoo tour guide recounts the initial recording of the black and white Malayan tapir by a Chinese painter, who mapped it in the early nineteenth century at the request of William Farquhar, a commander of the British East India Company.
This was likely the first documentation of the species, an endeavor that was ultimately contested by Farquhar’s boss Stamford Raffles, who also purported to be the first to discover the animal. Due to the rapid development of the natural sciences during the colonial era, the naming and documentation of animals and plants became a competitive field, and accordingly, conflict is entwined with the history and legend of the Malayan tapir, now an endangered species.
About the artist:
Chia-Wei Hsu (born 1983, lives and works in Taipei) is interested in the untold histories of different periods in time, and frequently focuses on the Cold War in Asia. His works, often in the form of films and installations, weave together reality and myth, the past and the present. Hsu’s work has been presented in many museums, including the Van Abbemuseum, Eindhoven; Centre Pompidou, Paris; Haus der Kulturen der Welt, Berlin; and Museo Reina Sofia, Madrid. A Hugo Boss Asia Art Award finalist in 2012 and the Grand Prize winner of the prestigious 2017 Taishin Arts Award, Hsu has also been included in many biennials and festivals, including the 39th International Film Festival Rotterdam, the 2012 Liverpool Biennial, the 2018 Sydney Biennale and the 2018 Gwangju Biennale. He will also participate in upcoming Shanghai Biennial.
ISCP supports the creative development of artists and curators, and promotes exchange through residencies and public programs. Housed in a former factory in Brooklyn, with 35 light-filled work studios and two galleries, ISCP is New York’s most comprehensive international visual arts residency program and fourth largest in the world, founded in 1994. ISCP organizes exhibitions, events and offsite projects, which are free and open to all, sustaining a vibrant community of contemporary art practitioners and diverse audiences.
Major support for this exhibition is provided by the Ministry of Culture, Taiwan and Taipei Cultural Center in New York. This program is also supported, in part, by Department of Cultural Affairs, in partnership with the City Council, New York City Council District 34, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.
This year the New York Comic-Con collaborate with Anime Expo to host the first-ever Anime Fest @ NYCC at Pier 94 from October 4th to 7th, alongside with the New York Comic-Con in the Javits Center at the same time. Sponsored by the Ministry of Culture, and organized by the Taipei Cultural Center in NY and the Chinese Animation and Comic Publishers Association, nine Taiwanese comic publishers including Tongli Publishers, Sharp Point Publishing, Ever Glory Publishing Co., Ltd. Kadokawa Taiwan Co., Dala Publishing Co., Gaea Books, Friendly Land Creative Co., Ltd., Uei-Shiang Co., Ltd., and VMage Co. Ltd., and two Taiwanese video game companies including Red Candle Games and Toii Games, will be participating at a special Taiwan Pavilion. Golden Comic Awards winner Chang Shang has also been invited to hold activities to interact with fans, with the hopes of representing Taiwanese comics in the American market.
The Taiwanese Pavilion will spotlight Taiwanese comics, video games. Following on the Chen Uen exhibition at the National Palace Museum, the Taiwanese Pavilion will also introduce works of Chen Uen to exhibition participants, including Banzai, The First King, Heroes of the Eastern Chou, and translated editions of Legend of Assassins and A-Bi Sword, brought for the first time to America to be seen by readers. Well-known Taiwanese publishers including will bring works such as Ever Glory Publishing Co., Ltd.’s Attentively Listening to the Heart series, Taiwan Kadokawa Co.’s Words in the Night series, hoping to give American comic fans a different experience.
Outside of this, the Taiwanese Pavilion will allow participants to experience two different video game works, the mystery horror game Detention, and AR-based cell phone game Unforgivable: Eliza. Both are highly creative works engaging with modern Taiwanese history, which may allow American gamers to experience Taiwanese culture and history.
The opening reception of Taiwan Pavilion will be on October 4th between 12-13 pm with free goods available for participants. Besides, there are two panels organized by them. On October 4th, the panel discussion on Unforgivable: Eliza will be held at the 350-seat capacity Mirai Stage, with Taiwanese-American author Ed Lin, a three-time winner of the Asian American Literary Awards. On October 6th, another panel event will be held by Dala Publishing Co- founder and editor-in-chief Huang Chien-Ho to discuss the recent exhibition on the works of Chen Uen exhibited at the National Palace Museum, including discussion of the history of Taiwanese comics in the 1980s and 1990s and the accomplishment of Chen Uen.
Another Taiwan booth is located in the Javits Center’s Artists Alley, with Golden Comic Award winner Chang Shang invited for four consecutive days of signings. Chang’s work Hidden Checkpoint THL won the Kyoto International Manga Award and the 8th Golden Comics Awards in the Youth Comics Category. Chang’s style is less like Japanese comics, but more similar to American comics, which may be of interest to American comic readers.
【Taiwan ACG Carnival Pavilion 】
Anime Fest @ NYCC：2018/10/4-7，10 am - 19 pm
Venue 1：Pier 94，Booth number #5422
Venue 2: Javits Center，Artist Alley ＃G27
1.Mystery Horror Game Detention:
Created by Red Candle Games, Detention is set in the martial law period of the 1960s, in a high school in the mountains during a storm, and incorporates elements of Taiwanese culture, spiritual beliefs, and culture. This includes elements such as city gods, Heibai Wuchang, chimimōryō, weimiaofan, poe divination, shrines, fulu, and the White Terror persecution of communists, secret reports, and the political blacklist. The game is set in Cuihua Middle School, with the high school students Wei Zhong-ting and Fang Rui-xin trapped in the campus, and the two of them seeking a way to escape the school. However, they encounter ghosts and other mysteries within the school.
2.AR-based Cell Phone Game Unforgivable:
Unforgivable is an AR-based game, which utilizes the GPS function of smartphones, with a story which involves Taiwanese history and culture, particularly regarding the martial law period. The game hopes to introduce players to Taiwanese history, with a scenario written by Taiwanese-American author Ed Lin, involving political persecutions during the Chiang Ching-Kuo period.
An Introduction to Chen Uen
Chen Uen is the representative master of a generation of Taiwanese artists. Born in Daxi in Taoyuan, he was the first Taiwanese artists to establish a reputation for himself in Japan with his work, Heroes of the Eastern Chou, winning the Excellence Award from the Japan Cartoonists Association in 1991, and designing Chen Uen’s Three Kingdoms, as the first Taiwanese artist to make his name in the world of Japanese video games. He was hailed as a talent without equal in twenty years by the Asahi Shimbun, and combined eastern and western styles in his work, using watercolors and acrylics, employing dramatic tension and exquisite detail in his work. This spotlight Taiwanese comics in the international world. At the end of 2018, the exhibition, The Legacy of Chen Uen: Art, Life and Philosophy, was held at the National Palace Museum.
The Taipei Cultural Center in New York is pleased to co-present a special series featuring Taiwan’s experimental films from the 1960s with Lightbox Film Center in Philadelphia and Anthology Film Archives in New York Oct. 17-21, 2018.
Taiwan in the 1960s was a nation marked by a repressive political climate, a heavily restricted flow of information, and a mainstream film culture that was dominated by Taiyupian (Taiwanese-language cinema) and what came to be known as “healthy realist” melodramas. Nevertheless, young Taiwanese intellectuals, who had become aware of the Western avant-garde movement through writings and translations, were eager to align themselves with the innovations of their counterparts in the West. They formed for themselves a concept of what the “avant-garde” could look like and carried out their own experiments with film and theater.
This year’s edition of the Taiwan International Documentary Festival featured a special series showcasing films from the 1960s by some of the most daring and creative artists in Taiwan. A large number of these experimental works have not been preserved, yet traces have been found and periodically studied, and gradually the 1960s has come to be known as an era of vanguard cultural activity in Taiwan. The TIDF curatorial team conducted an exhaustive search for all the films of that period. They reached out to the surviving artists (now all in their seventies or eighties), interviewed those in Hong Kong and Western art circuits who worked or were in contact with their Taiwanese counterparts, and pored through every issue of the Theatre Quarterly 劇場雜誌, the magazine that played a pivotal role in advocating the latest developments in the Western art world by dedicating more than 90% of its pages to translations of new European and American works. A rough sketch of the 1960s film experiments gradually took shape. In May, the TIDF presented this special series in Taipei, with some titles screening publicly for the first time since their completion half a century ago.
The TIDF team went the extra mile to search for evidence of lost films made in the 1960s, eventually putting together a filmography of 34 titles. These works collectively represent a sudden surge in creative energy and can be seen as a reflection of the unique zeitgeist of the 1960s. Moreover, the formal diversity of these works challenged the definition of the cinema, and also sketched out the rough edges of the generation’s own sense of modern film. These five programs bring the fruits of the TIDF team’s efforts to the United States for the first time! Program Director of the TIDF, Mr. Wood Lin, will be present to give pre-screening introduction.
The series will meet local audiences for the first time at Lightbox Film Center Oct. 17-19 and then at Anthology Film Archives Oct. 19-21.
Program A: Richard Yao-chi Chen’s Student Films, 1963-1966 陳耀圻的短片習作
Born in Sichuan, China, in 1938, Richard Yao-chi Chen moved to Taiwan in 1945 where he studied architecture before relocating to the U.S. He attended the Chicago Art Institute and received his MA in film studies from UCLA in 1967, and then returned to Taiwan to embark on a successful filmmaking career in the Chinese-speaking world. This program features four films Chen made while studying at UCLA. The Archer 后羿 is a hand-drawn animation of the Chinese folktale “Houyi Shoots Down the Suns” 后羿射日. Through the Years 年去年來 touches on the theme of Westward expansion by combining facts with fiction. A film about three college students, The Mountain 上山 employs a modernist narrative to reflect young people’s longing for freedom in the 1960s. The original copy of this short lay forgotten in a UCLA professor’s garage for decades and was digitally restored by the Taiwan Film Institute in 2017. Liu Pi-Chia 劉必稼, a biographical documentary depicting the life of a veteran who joined tens of thousands of others to work on national infrastructure construction projects in the 1960s, is considered Taiwan’s first cinéma vérité film.
Program B: Experimental Shorts from the 1960s
This program presents films by five key figures, including filmmaker Pai Ching-jui 白景瑞(1931-97), painter Han Hsiang-ning 韓湘寧(born 1939), photographer Chuang Ling 莊靈 and Chang Chao-tang 張照堂, and designer Long Sih-liang 龍思良(1937-2012). While the movement was short-lived these filmmakers went on to become well-established artists in their own disciplines. Pai, the first person from Taiwan to study film in Italy, built his reputation making classic melodramas and literary adaptations. Han, still active today, is a noted painter, while Chuang and Chang are two highly respected photographers in Taiwan, and Long created many memorable visual designs for films and books.
The works in this program were either made as silent films or suffered damage to their soundtracks. This screening will be accompanied by a live musical performance by sound artist C. Spencer Yeh.
Program C: Experimental Shorts from the 1960s
This program includes five films by artists who were indirectly involved in the 1960s artistic experiments. The Theater Quarterly did not just serve as a medium bringing in latest news on the Western art world, but also functioned as a platform for artists to present their new creations. Macao-born, Hong Kong based film critic Law Kar 羅卡 and Hong Kong’s renowned writer Xi Xi 西西 both had briefly served as editor of Theatre Quarterly in the 1960s and made experimental films at that time which are included in this program. In addition, Tom Davenport, an American independent filmmaker, spent years studying the Chinese language and culture in Taiwan, was commissioned by National Geographic to film there. This program includes his first documentary T’ai Chi Ch’uan in which he captured the philosopher Nan Huai-chin 南懷瑾 practicing Tai-chi at Taiwan's northeastern coast.
The last two shorts provide an indirect view of the artistic achievements of Huang Hua-cheng 黃華成, a pivotal figure who co-founded Theater Quarterly and spearheaded the 1960s’ experimental movement in theater, film, and visual art. As none of Huang's video works have survived, the video documentation of the 1994 seminar "Theater Quarterly and I"「劇場與我」座談會, in which Huang played his 1967 experimental work Experiment 002 in the original 8mm format, allows us to have a peek of his original work, whereas The Prophet is a video remake of Huang’s first attempt in experimental theater.
Program D: The Mountain + I Didn’t Dare Tell You 不敢跟你講
Mou Tun-fei 牟敦芾, 1969, 78 min, 35mm-to-digital. In Chinese with English subtitles.
Born in China in 1941, Mou Tun-fei moved to Taiwan in 1949. He declared that cinema would be his lifework when he was still an art college student. I Didn't Dare to Tell You and The End of the Track, both included in this series, are the only two feature lengths he made in Taiwan and are among the nation’s first independent titles. Both films were not released for unknown reasons, though rumor has it that the realistic depiction of the stifling society in I Didn’t Dare to Tell You and the hint of homosexuality in The End of the Track could be the causes. Discouraged by the setback, Mou spent the following years travelling in Europe and South America before working in Hong Kong for Shaw Brothers Pictures 邵氏電影. He then became known for making bloody, gory films.
In this film, a primary school student secretly works a night job to pay off his father's gambling debts, and as a result constantly dozes off during classes in the day. When the teacher investigates, a series of family disputes ensue.
Only a small number of people saw the film at private screenings upon its completion, still, its realism style spurred discussion among viewers. One reel of the film’s original 35mm copy has lost, and this only available complete copy has an abrupt, inconsistent ending that’s considered a modification by the government to serve as propaganda. This is Mou's first film after graduating from college. The script was written by Huang Gui-rong 黃貴蓉; some say it was adapted from the children’s novel Cuore (Heart) by Edmondo de Amicis.
Proceded by The Mountain (1966, Richard Yao-chi Chen).
Program E: The End of the Track 跑道終點
Mou Tun-fei 牟敦芾, 1970, 91 min, 35mm-to-digital. In Chinese with English subtitles.
Tong and Yong-sheng are inseparable playmates, but when Yong-sheng dies in a training accident with Tong present, Tong feels heartbroken and guilt-ridden. Since both families fail to understand him, and burdened by the solitude after losing his best friend, Tong falls into a downward spiral. At the time, this film was banned due to its homosexual overtones. Some felt that certain segments drew comparison with the short story The Noodle Stall 麵攤 by Chen Ying-zhen 陳映真, a key figure of Taiwan’s 1960s literary movement who was imprisoned twice for “subversive activity.”
Lightbox Film Center (3701 Chestnut St., Philadelphia, PA 19104)
Wed., Oct. 17 7:00pm Program A + B (Program B with live score performance by Jeff Zeigler and Sarah Schimeneck)
Thu., Oct. 18 7:00pm Program D
Fri., Oct. 19 6:00pm Program C
Fri., Oct. 19 8:00pm Program E
Anthology Film Archives (32 2nd Ave., New York, NY 10003)
Fri., Oct. 19 7:45pm Program A
Sat., Oct. 20 5:30pm Program C
Sat., Oct. 20 8:00pm Program D
Sun., Oct. 21 5:15pm Program E
Sun., Oct. 21 8:00pm Program B (with live musical performance by C. Spencer Yeh)