分類: 未分類

Exhibitions

2023 | Extracts Gallery Sally Dan Cuthbert: Sydney, Australia
2021 | Unnatural History Herbert Art Gallery: Coventry UK
2020 | Nirin Sydney Biennale Cockatoo Island: Sydney, Australia
2020 | A Sea of Islands – Masterpieces from Oceania Museum Volkenkunde: Leiden, Holland
2019 | in Pursuit of Venus [infected] Art Gallery of Ontario: Ontario, Canada
2019 | Toronto Biennale Toronto: Canada
2019 | Cosmopolis Georges Pompidou Centre: Paris, France
2019 | Leaving the Echo Chamber Sharjah Biennale 14, Sharjah Art Foundation, UAE
2018 | APT-9 QAGOMA: Brisbane Australia
2017 | Lisa Reihana: Emissaries Biennale Arte 2017: Venice, Italy

 

Artistic Concept

Name of artworks : Nomads of the Sea

Media : video

Year : 2019

 

Lisa Reihana’s artwork Nomads of the Sea stands as a pivotal chapter in her long-term artistic project In Pursuit of Venus [infected], intricately interweaving colonialism, culture, and gender. This work narrates the societal tensions among cultural leadership, spiritual customs, and self-desire during the 19th century when New Zealand faced external political challenges. Through a guide capable of freely transitioning gender, viewers are granted a glimpse into the journey of a woman fleeing the Western world, how she entered a tribe under the protection of a Maori chief, subverted traditions, flipped the traditional roles and symbols of Maori women, and further introduced Western materialism and spoils of war that empowered the tribe with military might to rival Western colonial forces. 

Employing contemporary digital techniques such as performance, photography, installations, videos, and animation, the artwork seamlessly merges traditional Maori narratives and symbols with modern elements. It transcends temporal and spatial boundaries, vividly portraying the daily lives of the Maori people in meticulous detail, encompassing their traditional attire, cuisine, dwellings, and craftsmanship. The exquisite detailing, coupled with the sounds of nature intermittently echoing in the background, bring the characters and landscapes in the artwork to life, as if the audience is immersed in the islands of the Pacific, experiencing the story through their own sensory perception.

 

 

Exhibitions

2022 | The Oceans and the Interpreters, Hong-gah Museum, Taipei
2022 | Documenta Fifteen: lumbung, Kassel, Germany
2022 | Kathmandu Triennale, Taragaon Museum, Kathmandu
2021 | Distances between Us and the Future: An Exhibition of Taiwanese Indigenous Contemporary Art, Taiwan Indigenous
Peoples Cultural Park, Pingtung
2021 | Pan-Austro-Nesian Arts Festival, Kaohsiung Museum of Fine Arts
2020| The Secret South: From Cold War Perspective to Global South in Museum Collection, Taipei Fine Arts Museum
2019 | Singapore Biennale – Every Step in the Right Direction, Gillman Barracks, Singapore
2018 | Taiwan Biennial – Wild Rhizome, National Taiwan Museum of Fine Arts, Taichung
2018 | XXOO, FOGSTAND Gallery & Studio, Minnesota
2017 | Landscape of Crisis: Indigenous Cultures and Dispositif of Modern Space, National Taiwan Museum of Fine Arts,
Taichung

 

Artistic Concept

Name of Artworks : Snail Paradise Trilogy: Setting Sail or Final Chapter

Media :Single-channel video, embroidery on canvas , paint on Perspex

Year : 2022  

Taiwan’s indigenous people have no written language, only oral history. The same is true in Africa, though there is a kind of bardic historian called a griot, who keeps the oral history. Based on the concept of the griot, this video sings the story of the great voyage of the African snail set to an ancient Paiwan tune used in praying for rain. In looking at the great exchange of species caused by human travel, the artist has explored the spread of the snail and collected plants related to snail cuisine, transforming them into paintings on Perspex, and embroidered documentations of history.

Exhibitions

2023 | Follow the Cooking Smoke, National Museum of Prehistory, Taitung
2023 | Kacalisian, Pingtung 1936 Tobacco Culture Base, Pingtung
2023 | Taipei Lantern Festival, Songshan Cultural and Creative Park, Taipei
2022 | WOKY Huashan Annual Exhibition, Huashan 1914 Creative Park, Taipei
2021 | Coastal Lunar Lanterns – Family Ties, ŠXwƛ̓ƏNƏQ XWTL’E7ÉNḴ Square, Vancouver Art Gallery
2020 | Futurist Wave: Contemporary Art from Greater Sandimen, Pingtung Art Museum, Pingtung
2019 | Original Path – Indigenous Transitional Justice, Taoyuan MRT A17 (Linghang) Station
2019 | When Slope Culture Meets a Vertical City: Contemporary Art Exhibition from Greater Sandimen, Taiwan Indigenous
Peoples Cultural Park, Pingtung
2018 | Pakialalang – Pavavaljung Family Exhibition, Sandimen Township Cultural Museum, Pingtung
2018 | Contemporary Art from Greater Sandimen, National Kaohsiung Normal University 116 Art Center, Kaohsiung

 

Artistic Concept

Name of Artworks : Innumerable Differences, One World

Media : Arylic on canvas

Year : 2023  

I’ve tried to imitate the look of the sculptures in the old community – there were no preconceived notions. As I painted, the boundaries between everything gradually blurred, like an invisible, ancient people in our modern, rapidly developing world. I quietly document symbols that incorporate humans and animals, technology and the primitive, and madness and reason in a depiction of how people must first go on a ridiculous, bizarre journey before truly becoming one of the many spirits in the world.

Exhibitions

2023 Humus. Taipei Museum of Contemporary Art. Taipei.

2023 In-Dialoue: Balancing Between Indigeneity and Modernity. Vancouver Art Gallery. Canada. (Performance)

2022 Persistence / Resistance: Taiwan and Canada Indigenous Art Exhibition. Tainan Fine Art Museum. Tainan.

2022  Wagiwagi – Greeting to Nature. documenta 15. Indonesia, Germany.

2022  Perceiving Nature. Hsinchu City Art Gallery. Hsinchu.

2022  Tides in Bodies. Solid Art Gallery. Taipei 2022  mgluw tuqiy na Temahahoi / Finding Pathways to Temahahoi. Artspace Aotearoa. New Zealand.

2022  2057:Rehearsing Ways of Living. Experimental Theatre – National Theater & National Concert Hall. Taipei, Taiwan. (Performance)

2021 Phantasmapolis – 2021 Asia Art Biennale. National Taiwan Museum of Fine Arts. Taichung.

curating

2023 Guest Curator, Watering Intimacy – Asia Discover Asia Meeting Artist Lab. Taipei Performing Art Center, Taipei, Taiwan. 

2022 Guest Curator, Landing – Asia Discover Asia Meeting Artist Lab. Taipei Performing Art Center, Taipei, Taiwan.

Artistic concept

Name of artworks : Finding Pathways to Temahahoi – Artwork series

Media : double-channel HD video/sound script on paper Single-channel HD Video ceramic ocarina instrument

Year : 2020-2023  

Finding Pathways to Temahahoi– Artwork series

Finding Pathways to Temahahoi explores the Atayal oral story of Temahahoi, through performance, cyberspace, and moving image, in a series of artworks connected through multimedia installation. The artworks engage with Ciwas’s journey to reconnect to the place of Temahahoi. A place deep in the forest, where only women live and flourish by communicating with bees. At the same time, the story is interpreted as a queer space for future connections to build inclusive community and sustainable relationships with the land in a climate of disconnection and displacement. The body of work engages with environmental issues, particularly the plight of bees, by intertwining the bond between quiet queer bodies and imbalanced ecology.

 

Perhaps She Comes From/To____Alang ｜ 2020, double-channel HD video, 11:24

This double-channel video work weaves together three distinct narratives to re-examine queerness, gender, oral history, and displacement from land lost. The first oral story connects the relationship between bees and the land in the telling of the place of Temahahoi. This story is fused with Ciwas’s personal queer journey. A third historical narrative tells how colonialgifted brass pots caused infertility among the Atayal people.

 

My land, glitched me ｜ 2020, Net Art

This work engages Ciwas’s desire to have a sense of place and connect to her ancestral land, to pin forward towards a queer “cultural landscape”, inspired by Net Art, as an online cloud space using the web address https://raxal-mu.glitch.me (raxal mu – my land). This Internet space expands cultural knowledge and queer connections beyond the soil into the cloud.

 

Pswagi Temahahoi ｜ 2022-2023, sound script on paper Single-channel HD Video ceramic ocarina instrument , Determined by venue size

Pswagi Temahahoi explores further the possibility of the place of Temahahoi by combining documentary video work alongside visual and sound performance to weave together a hybrid video installation piece. In Atayal language, “P” is future tense, “S” is the instrumental case indicating a tangible or intangible tool and “wagi” means sun or sisters in some Atayal regions. The documentary thread follows the path taken by Atayal Elder Yumin, who uses the technique “pswagi”, the Indigenous knowledge of sunlight and shade to trace the locations of wild bees. Alongside, a performance piece with a selfinvented and assembled ceramic instrument as a sound wayfinding tool to connect to the queer space of Temahahoi

Exhibitions

2023 | Meet Greater South – Waste Rebirth Art Exhibition, Kaohsiung
2022 | Art by Lima – Exhibition of Pre-research Findings for the Austronesian Arts Triennial, 1n1 Original Space, Pintung
2018 | Mirag, Taoyuan Land Art, Taoyuan
2018 | Chameleon, CC Gallery, New Taipei City
2017 | Beyond Conversation, Chee Wai Loong and Chen Po-Yuan, Dual Solo Exhibition, No.16 Chingtian Art Space, Taipei
2016 | Wind Island, North Coast Art Festival, Lao Mei Elementary School, New Taipei City

Artistic Concept

Name of artworks : Homesick

Media : Mixed media

Year : 2023  

Stepping out of the indoor exhibition space, another installation situated in the outdoor Performance Hall (kakataliduan) greets the visitor. Malaysian artist Chee Wai  Loong’s piece, Homesick, positions the ocean as its central motif. Using the lighthouse in the middle of the ocean as a symbolic image, the artist situates a traditional Malay stage house in the center of the sea, its rooftop adorned by a cultural Malaysian kite. Through the drifting forms, the sound waves, and the play of light and shadow of the work, the artist hopes to facilitate a destined reunion between the Austronesian ancestors and the “us” of today. It also aims to provide those who are abroad with a beacon to find their way back to the home they long for. Thousands of years ago, the Austronesian people spread from Taiwan across the ocean to the islands of Southeast Asia; the sea carried language, culture, and seeds to other islands worldwide; in essence, connecting us all. This maritime connection transcends distance, time, and space, uniting the hearts of “us” in a single, collective experience. The positioning of the work allows a clear view of the Ailiao River below, a significant local waterway that flows into the sea in the west, resonating with the artist’s work: trace back its origins, and one may find their true home within.

Exhibitions

2022 | Our Lima art- Preliminary Research Document Exhibition, 1n1 creative art space, Pintung.
2022 | Art Taipei, Taipei World Trade Center, Taipei
2021 | MILD X WILD solo exhibition, Homey’s Cafe, Taipei
2019 | Ceoa.Pusu.Wawa-Taiwan Indigenous Group Exhibition, National Chiang Kai-Shek Memorial Hall Gallery, Taipei
2018 | Body Publishing House: Desire Limited – Small Room of 18+only, Venue, Taipei
2018 | Eyeflow group exhibition – Tadpole point Café, Taipei

Artistic Concept

Name of Artworks : 〈Memory Tablet series〉 〈The Among Beast Heads series〉

Media : trichannel digital imaging/photography paper

Year : 2023  

Ljaljeqelan Patadalj and Sudipau Tjaruzaljum (Taiwan) employ video, hand-weaving, and mixed media in their installation to delve into topics of migration and “return.” They seek pathways for reclaiming individual agency and the cultural self-awareness and identity of the new generation, redefining the essential relationships between human existence and our environmental sphere. In their work The Distance Between Us is Not the Ocean, the “ocean” serves as a cultural bridge, while human bodies navigate the migratory routes of “mountains and rivers.” These geographical features—mountains, rivers, and sea—intertwine and engage in dialogue amid history. In the A Voice series, traditional shell ginger weaving techniques are employed to give “voice” to a central theme. Whether in the natural landscapes of their native lands or in bustling urban cities, the artist convey a longing: to emerge from the labyrinth of existential uncertainties and to articulate an unambiguous sense of identity and belonging through their artistic oeuvre.

Ljalj eqelan Patadalj

Exhibitions 

2023 | Microdomains – Contemporary Art Exhibition, Hualien County Stone Sculpture Museum, Hualien.
2023 | Degrees of Freedom for Black Hole, New Taipei City Arts Center, Banciao
2023 | Boundary Layer Flow, Pingtung Art Museum, Pingtung
2023 | Another continent, Taitung Art Museum, Taitung
2022 | Overgrown – Excellent graduate recommendation exhibition, China Academy of Art, China
2021 | The oceans and the interpreters, Interpreters’ Screening, Hong-gah Museum, Taipei
2020 | Contemporary Art in Greater Sandimen, Pingtung Art Museum, Pingtung
2020 | Assembly of Communities:MIX, MoCA Taipei
2020 | Taiwan Annual, Expo Dome, Taipei
2019 | Length x Width, Student group exhibition, Taipei National University of the Arts, Waley Art, Taipei

Sutipau Tjaruzaljum

Exhibitions

2023 | Bagage Cabine – Centre Soleil d’Afrique, Exposition collective, Bamako, Mali
2022 | Listen and Practice – Youth Art Training Program, National Tainan Living Art Center, Tainan
2022 | Art by Lima – Exhibition of Pre-research Findings for the Austronesian Arts Triennial, 1n1 Original Space, Pingtung.
2022 | Kipakim – Group exhibition of Kacalisian art village artists, Taiwan Indigenous Peoples Cultural Park, Pingtung

 

Artistic Concept  

Name of artworks : 〈pacacada〉 〈A Voice series -Facial recognition〉 〈A Voice series -XY XX XX XY〉

Media : trichannel digital imaging/photography paper

Year : 2023

Ljaljeqelan Patadalj and Sudipau Tjaruzaljum (Taiwan) employ video, hand-weaving, and mixed media in their installation to delve into topics of migration and “return.” They seek pathways for reclaiming individual agency and the cultural self-awareness and identity of the new generation, redefining the essential relationships between human existence and our environmental sphere. In their work The Distance Between Us is Not the Ocean, the “ocean” serves as a cultural bridge, while human bodies navigate the migratory routes of “mountains and rivers.” These geographical features—mountains, rivers, and sea—intertwine and engage in dialogue amid history. In the A Voice series, traditional shell ginger weaving techniques are employed to give “voice” to a central theme. Whether in the natural landscapes of their native lands or in bustling urban cities, the artist convey a longing: to emerge from the labyrinth of existential uncertainties and to articulate an unambiguous sense of identity and belonging through their artistic oeuvre.

Exhibitions

2022 | Art by Lima – Exhibition of Pre-research Findings for the Austronesian Arts Triennial, 1n1 Original Space, Pintung

Artistic Concept

Name of artworks : 〈After the Flood, There Are Islands〉 〈13 Months〉

Media : woodblock printing、mixed media/resin plate printing

Year : 2023  

 

After the Flood, There Are Islands. Through a fusion of literature and artistic expression, the work explores human
connections with islands, oceanic environments, and interpersonal relationships from her own sense of identification
with her culture. After the great flood, islands form, and people disperse. Some remain at their point of origin, while
others drift away to other places with the water. Different paths are chosen, and new lives unfold—in this journey, we
are individually distinct yet collectively similar. If islands are to be found after the flood, then let us fully evolve into
our individual selves, which in unity will become “us.” Adding to the portfolio of printmaking is 13 Months, where the
artist outlines her perception of ecology through the lens of traditional calendrical culture. Amidst the perennial cycle
of seasons, the Bunun people lead lives governed by lunar cycles and the mountain’s time. In the midst of the ceaseless
months, a unique 13th month quietly accrues, setting itself apart as distinctly its own.

 

Exhibitions

2021 |Taiwan Indigenous Contemporary Art: The Distance Between Us and the Future. Taiwan Indigenous Cultural Park, Pingtung
2020|The Charm of Taimu Mountain:Taiwu Fine Arts: Return to Puljetji Classic Sculpture Competition Exhibition, Taiwu
Junior High School, Pintung
2018|Passing on the Beauty of Wood: Exploring the Craftsmanship of Woodcarving in Taiwu, Pintung County Indigenous
Cultural Center, Pintung
2011 | Taiwan Indigenous Aritist: Indigenous Artist Residnecy Project. Taiwan Indigenous Cultural Park, Pingtung
2010 | The beauty of Paiwan Wood Carving (Solo). Laiyi Indigenous Museum Pingtung County, Pintung
2004|Carving the Spirit of Mountains and Seas, 2nd Indigenous Taiwanese Giant Wood and Stone Carving Exhibition.
National Chiang Kai-Shek Memorial Hall, Taipei
2000|Carving the Spirit of Mountains and Seas, 1st Indigenous Taiwanese Giant Wood and Stone Carving Exhibition. Daan
Forest Park, Taipei
2000|Indigenous Crafts Exhibition. The Presidential Gallery, Taipei

Award/ Others

2022 | Paiwan Wood Carving Cultural Heritage Conservator. Bureau of Cultural Heritage, Ministry of Culture
2021 | Lifetime Achievement Award for Indigenous Peoples Pintung County

Artistic Concept

Name of Artworks : i tjaivililj (Our Future Tense)

Media : wood, paints

Year : 2008-2023

 

i tjaivililj (Our Future Tense)

Totems record ancient stories passed down through generations. Pulimas narrate lives with land and nature through their carving. They also reveal a tangible ideological realm through their art. Taiwanese artist Ljailjai Tult (Shen Wanshun) installed seven colossal wooden figures next to the traditional slate house, an existing feature of the exhibition. Arranged in a linear progression from rudimentary carvings to finely detailed, from monochrome to colorful, these figures gaze intently forward, in a unified direction. Their gaze points towards the origins of the Austronesian language family—the dwelling place of ancestral spirits, the starting point for human life, language, culture, and mythologies. This place is also the subject of Ljailjai Tult’s work i tjaivililj (Our Future Tense).

Exhibitions

2022 | Art by Lima – Exhibition of Pre-research Findings for the Austronesian Arts Triennial, 1n1 Original Space, Pingtung
2021 | The Distance between Us and the Future – Taiwan Indigenous Contemporary Art, Taiwan Indigenous Peoples Culture
Park, Pingtung
2020 | Exhibition of Tao Plank Canoes and Handicrafts, National Sun Yat-sen University, Kaohsiung
2017 | Echoes of Taitung Settlements – Taitung Creative and Cultural Image Exhibition, Gallery 101, Taipei 101 Office
Building, Taipei
2012 | Naruwan- Life finds a way – Taiwan Indigenous Artists Exhibition, Kaohsiung Museum of Fine Arts, Kaohsiung

Experience

2022 | Art by Lima – Exhibition of Pre-research Findings for the Austronesian Arts Triennial, 1n1 Original Space, Pingtung
2021 | The Distance between Us and the Future – Taiwan Indigenous Contemporary Art, Taiwan Indigenous Peoples Culture
Park, Pingtung
2020 | Exhibition of Tao Plank Canoes and Handicrafts, National Sun Yat-sen University, Kaohsiung
2017 | Echoes of Taitung Settlements – Taitung Creative and Cultural Image Exhibition, Gallery 101, Taipei 101 Office
Building, Taipei
2012 | Naruwan- Life finds a way – Taiwan Indigenous Artists Exhibition, Kaohsiung Museum of Fine Arts, Kaohsiung

Artistic Concept

Name of artworks :Drifting Islands
Media : wood/Bamboo
Year : 2013-2023  

Drifting Islands

The exhibition space alludes to the beachside, featuring the work of Tao artist Sya man Misrako (Taiwan), who was born on Orchid Island. Above the beach, numerous small wooden canoes are suspended, and boats from Pacific nations like the Marshall Islands and Solomon Islands are placed upon the sand. The arrangement evokes how Austronesian maritime societies acquire cultural significance from the sea, forming individual footprints that make up the broader Austronesian narrative. Beyond the display of boats, a corner of the wall projects images of open-sea navigation accompanied by the sound of crashing waves. This captures ongoing discussions about contemporary challenges faced by Austronesian communities: youth migration and disorientation, the erosion of traditional crafts, boat-building techniques, language, and culture. It serves as a reflection and advocacy captured in the term “Drifting Islands” the title of a work by Sya man Misrako.