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Siyat.Moses

Exhibitions

2023 | The Photography Exhibition of Indigenous Peoples Compound Vision | Vanishing and Frozen Portraits | Hualien Creative and Cultural Industries Park No..24 | Hualien, Taiwan

2023 | Humus | MoCA Taipei | Taipei, Taiwan 2023 | Lefting Off | FreeS Art Space | Taipei, Taiwan

2023 | What is Print | Who is Print | How to Print? | Eleven Art Gallery | Taoyuani, Taiwan

2022 | “Embanah” Siyat Moses Solo Exhibition | Seek Project | Taipei, Taiwan

2022 | Another Continent | Taitung Art Museum | Taitung, Taiwan

awards

2022 | 2022 Austronesian International Arts Award | Selected

2022 | “Embanah” solo exhibition was nominated for the 20th Taishin Arts Awards

2020 | Recommended by the Ministry of Culture and Council of Indigenous Peoples of ART TAIPEI | 2020 Venuciar Indigenous Emerging Artists

2018 | 2018 Kauhsiung Award | Selected  

Artistic Concept

Name of Artworks : 〈Ririh: he beginning and the ending〉 〈Ririh:I can draw a circle〉

Media : mixed media

Year : 2023  

Mythology often serves as an eternal narrative or symbol of immutable human truth, usually situated within the realm of aesthetics. Artist Siyat Moses explores this in her works Ririh: Past and Present and Ririh: I Can Draw a Circle. Drawing inspiration from the Seediq tribe’s folklore of the “Sisin” bird (Grey-cheeked fulvetta), Siyat employs the figure of the bird traversing seven circles as the central motif of her artwork. Created through silk printing interwoven with textile and mixed media, these seven circles symbolize that though the Sisin bird has evolved over generations, its spiritual significance from tradition to modernity remains intertwined and relevant in the aesthetic and cultural existence of “us.”

I Made Sukariawan

Exhibitions

2022 | Art by Lima – Exhibition of Pre-research Findings for the Austronesian Arts Triennial, 1n1 Original Space, Pintung
2021 | Reborn in Taiwan, Executive Yuan art gallery, Taipei
2021 | New citizen wood carving exhibition, National Taiwan craft research and development institute, Miaoli
2021 | Miracle, Made Sukariawan wood carving solo exhibition, San yi wood carving musium, Miaoli
2019 | Carving & Bali, Made Sukariawan wood carving solo exhibition, Keelung cultural center

Awards

2022 | Oh Water, Yilan Art Awards, 3D Crafts, Selected Award
2021 | Miracle series-Turn around, Huangsi Art Exhibition, 3D Crafts, Excellence Award
2020 | Swing the virus away, Tainan Fine Art Exhibition, 3D Craft, 2nd Place Award
2020 | Mother’s shoulder, Pintung Awards, Second Category, Excellence Award
2014 | Ganesha and Yoga, Taiwan International Wood Sculpture Competition Award 

Artistic Concept

Name of artworks : 〈Barong〉 〈Starting point〉 〈Elephant Series 8〉 〈Elephant Series 10〉 〈Elephant Series 11〉 〈Miracle series–Fearless〉 〈Oh water?〉

Media : wood

Year : 2021-2023  

(Indonesia) large-scale work Barong. The Barong is a mythical mask, a guardian of tribal villages, and a composite of various animals. Entering the exhibition space through the mouth of the Barong lion, visitors open what is known as the Contemporary Indonesian Balinese style “traditional door,” which symbolizes entering the artistic realm of the Pulima (artisan) family. Inside this bamboo-arched chamber that mimics the belly of an animal, I Made Sukariawan’s wooden Barong sculptural series—Elephant, Miracle, and Where is the Water?—allegorically speaks to how artisan families are caught between the functional and cultural values of tradition and modernity, as well as their historical circumstances. Nestled in one corner of the exhibit is a traditional Balinese pavilion from Indonesia, suggesting a peaceful resting stop on this journey of tracing origins.

Kulele.Ruladen

Exhibitions

2021 | The Distance between Us and the Future – Taiwan Indigenous Contemporary Art, Taiwan Indigenous Peoples Culture
Park, Pingtung
2020 | Futurist Wave : Contemporary Art from Greater Sandimen, Pingtung Art Museum, Pingtung
2019 | Trap : 2019 Kaohsiung International Container Arts Festival, Kaohsiung Museum of Fine Art, Kaohsiung
2018 | Art Taipei, Taipei World Trade Center, Taipei
2018 | Stir Up the Inner World, Solo Exhibition by Kulele Ruladen, Howard Salon, Taipei
2018 | Art Taipei, Taipei World Trade Center, Taipei
2015 | Seeing Purity – Between the Mountains and the Seas, group exhibition, Howard Salon, Taipei
2013 | Sakahàn: International Indigenous Art, National Gallery of Canada, Canada
2012 | Beyond the Boundary: Contemporary Indigenous Art of Taiwan, Tjibaou Culture Center, New Caledonia
2012 | Eyes on the South-: Exhibition of Contemporary Art – Hot Thought Symptoms, Dadong Arts Center, Kaohsiung

 

Artistic Concept

Name of artworks : Forms of ancestral spirits

Media : Iron elements、dynamical machine、mixed media

Year : 2023

 

Kulele Ruladen takes the ancient energy of fire as his creative concept, converting this ancient energy into a modern electrical force that continues to drive the progress of the era, depicting how the wisdom and beliefs of our ancestors can manifest in a modern form through technology. Ancestral wisdom is an ancient form of energy, and it remains etched within us and within the vistas where we focus our gaze. Its spirit traverses the corridors of time and space, ceaselessly nurturing and protecting us. Kulele Ruladen uses this installation to explore the bridge of communication between humans and spirits. Even though we have undergone different evolutions and migrations through time, we believe that ancestral spirits are always present. Invoking the symbolism of the “eagle” as one such form, the artist invites these spirits to engage with this exhibition, allowing “us” to trace our shared origins.

Wu, Yu-Ling (Aluaiy kaumakan)

Exhibitions

2023 | Dear Earth: Art and Hope in a Time of Crisis, Hayward Gallery, London
2022 | 23rd Biennale of Sydney, Pier 2/3 at Walsh Bay Arts Precinct, Sydney
2021 | You and I Don’t Live on the Same Planet, Centre Pompidou-Metz
2021 | South Link Arts Festival, Taimali, Taitung
2021 | 10th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery, Gallery of Modern Art, Brisbane
2021 | Distances between Us and the Future: An Exhibition of Taiwanese Indigenous Contemporary Art, Taiwan Indigenous
Peoples Cultural Park, Pingtung
2021 | Taipei Biennial – You and I Don’t Live on the Same Planet, Taipei Fine Arts Museum, Taipei
2020 | Yokohama Triennale – Afterglow, Yokohama Museum of Art, Yokohama
2019 | Contemporary Art from Greater Sandimen, Taiwan Indigenous Peoples Cultural Park, Pingtung
2018 | Pulima Art Award Exhibition, MoCA Taipei

Artistic Concept

Name of artworks : Cevulj, Path of a Family

Media : fibers, mud-dye cloth, charcoal, ash

Year : 2023  

In 2014, Aluaiy returned to the old site of the Paridrayan community, which she had left after Typhoon Morakot (August 2009), and began working on her Rubbings series. While touching the stone walls built by her ancestors, she happened to see a plant sprouting through a crack, which showed her that even though her people no longer reside here, life and spirits still thrive and remain connected. From the rocks, vegetation, cloth fragments, and charcoal in the stone walls of the homes, the history that she has created rubbings and paintings of has allowed her to hear nature comforting grieving, frail souls. Meanwhile, she is the sprout who has found the power and direction to continue living.

Before a Paiwan ritual, millet stalks are lit to produce smoke (cevulj), which is used to transmit messages between the human and spirit world. For instance, during a murialjak (a ritual for newborns), smoke brings the blessings of the ancestors to the child, allowing their spirits and power to continue within the body, mind, and spirit of the new arrival to make him/her truly human.

Being from a mamazangiljan family (core of the tribe) and a Christian, Aluaiy is always thinking about the conflict between her traditional culture and her faith, along with the issues of cultural breakdown, loss of land, and the dispersion of her people from their home village. In Cevulj, Path of a Family, which is part of her Rubbings series, her pigments come from sediment and ash from burnt vegetation from the old village, and are combined with rubbings and weaving to depict the spiritual significance of smoke (a symbol of ritual, her home village, and the Holy Spirit in the Bible), serving as a witness of existence and pointing the way home for her people and their souls.

Idas.Losin

Exhibitions

2022 | 「Homesick Rhapsody」8/CUBE,Shibuya,Tokyo

2022 | 「The Pulsating Islands」Indigenous People Cultural Develoment Center,Pingtung,Taiwan

2021 | 「New Perspectives of Hualien’s Landscape」Stone Sculpture Museum ,Hualien ,Taiwan

2021 | 「Pan-Austro-Nesian Arts Festival」 Kaohsiung museum of fine arts,Kaohsiung , Taiwan

2020 | 「Were there is an island there is me」Gallery de sol ,Taipei ,Taiwan

2020 | 「Islands Colors Humanity / Weaving the Blossom of Life – Solo Exhibition」Taipei ,Taiwan

2019 | 「Island Hopping. Fantasy and Milky Way- Solo Exhibition」Taipei ,Taiwan

2018 | 「Asia Pacific Triennial of Contemporary Art 」Brisbane, Australia

2018 | 「A beast, a god, and a line」Dhaka Art Summit ,Hong Kong, TS1 Yang ,Warsaw Poland

Award

2012 | First Prize of “The First Pulima Art Award”  

Artistic Concept

Name of Artworks : 〈Poton〉 〈Si Jiazigat〉 〈Puhungan〉 〈Si Jinoboya〉

Media : Oil on canvas

Year : 2023

 

With my return to Taiwan three years ago after years of my Island Hopping Project (which began in 2013 and brought me to places around the Pacific), I noticed the abundance and diversity of culture in Taiwan, the historical site of origin of the world’s Austronesian peoples. At this year’s Austronesian Art Triennial, I’m showing four images of people, entitled Tribute to Gauguin?, for which I imitated Gauguin’s style of thick strokes while purposely almost filling the canvas with the human subject and leaving only a little room for just a bit of tropical vegetation to make the setting known. My subjects are Tao, Paiwan, and Amis men, young and stout, wearing flowers and other accessories. Their sun-darkened skin and nude, untamed bodies are depicted amid the natural environment. This choice of subject matter is a response to that of Gauguin, who mainly chose women. His subjects were also dark-skinned, their long-haired, beautiful figures frequently depicted with fruit and against a natural backdrop. The nudity was quite intriguing to Westerners of his time, who came from relatively cold regions, but for people born and raised on the southern islands, it was just part of daily life. Through these pieces, we see that Gauguin’s view of us through Western eyes was worlds apart from how we view ourselves.

Wang, Yu-Hsin(Tanivu tapari)

Exhibitions

2022 | 2022 Makotaay Eco Art Village Exhibition, Makotaay Eco Art Village, Hualien
2022 | 2022 Mattauw Earth Triennial, Dalongtian Ecological Culture Park, Tainan
2022 | Bimisi – Wang Yuhsin Solo Exhibition, Stone Sculpture Museum, Hualien
2020 | Walking Through the Waves, Resting in This Land – Wang Yuhsin Solo Exhibition, National Taitung Living Art Center
2020 | Departure Project of Residency and Curation Plan, Tenjinyama Art Studio, Hokkaido
2017 | Taitung’s 100 Kinds of Blue, Taitung Art Museum

Curating

2023 | Facing the Pacific: Female Artists Pushing Sculpture Forward Opening, Hualien Stone Sculpture Museum
2021 | Hualien Ceramics Festival, Hualien Cultural and Creative Industries Park
2019 | Strength from the Mountain and the Sea: Ceoa . Pusu . Wawa (Land, Root, Ocean), Chiang Kai-shek Memorial Hall,
Taipei
2018 | Taiwanese Indigenous Ceramics Exhibition, National Museum of Prehistory, Taitung

Artistic Concept

Name of artworks : Awakenings

Media : Tafalong clay, rebar, Terracotta (fragments), Cement, wood

Year : 2023  

 

Millet (millet) is a traditionally important and sacred grain for Taiwan’s indigenous people. It was discovered at the archaeological site of the Tainan Science Park. The earliest date was about 5,000 years ago. Millet was probably the first to enter Taiwan from the beginning. The Austronesians immigrated, and their dependence in life and its long history have become the main body of agricultural rituals.

I started to develop the creation of the “Awakenings” series in 2015. The content also revolves around the observation of “Austronesian ethnic groups and millet” and “timepieces”, starting from tracing the origin of related millet, mythological stories, planting and related rituals. The top may mean awakening the earth god, or even giving power to crops. In the process of exploration, we understand the animistic thinking of the past indigenous people and their belief in the existence of spirits/supervising gods on the land. Farming is completely dependent on the good weather or severe climate changes that nature may bring. The chances of mastering it are extremely limited.

The spinning top is part of the myths and oral histories of some ethnic groups, as well as descriptions of its use as instruments related to farming rituals and toys. Its shape is also recorded in many drawings and cultural relics. The top has the form of the growth and emergence of all things. It is still a prototype, but it has the possibility of infinite development, symbolizing the infinite extension of our imagination and creative energy.

Labay.Eyong

Exhibitions

2023 | South Link Arts Festival, Taimali, Taitung
2021 | Palafang–New Perspectives of Hualien’s Landscape, Hualien Stone Sculpture Museum, Hualien
2020 | The Beginning of Life/Art: Cloth Weaves Our Times, Aomori Contemporary Art Centre, Japan
2020 | Moving & Migration, Kaohsiung Museum of Fine Arts; National Museum of Prehistory in Taitung; Gyeonggi
Museum of Modern Art, Seoul
2019 | Yirramboi, Meat Market, Melbourne
2017 | Hiding in the Island, MoCA Taipei
2016 | The Possibility of an Island, National Taiwan Museum of Fine Arts, Taichung

Curating

2022 | Dungku Asang, Ruixin Mine, Hualien

Awards

2016 | Public Art Award for Best Creativity for Woven Path
2016 | 3rd Pulima Art Award – First Prize
2014 | 2nd Pulima Art Award – First Prize 

Artistic Concept

Name of artworks : Milk and Tear〉 〈Trails People of Cepo’〉

Media : recycled rebar, 6mm round bar, fibers/Single-channel video

Year : 2022-2023  

 

Milk and Tear Trails

A trail of milk or tears shines on the ground with gorgeous curves and a sense of anxiety, at times exhausted, at times wild. I enjoy nestling against and rocking with this river, which, like a kind of milk, nourishes the people, vegetation, barking deer, and wild boars here; it is also comparable to a tear trail containing countless stories of pain. As the sun blazes overhead and I dance with the river, I can’t bear to leave its coolness. Standing next to a mountain bamboo forest in winter, I peek at the new lines it has drawn on the ground. I enjoy the nestling and rocking, and in fact, that’s all I can do.

 

People of Cepo’ 

The mud in Cepo’ was once rocks at the 19-km mark along the Ruisui Forestry Road. I have imagined how to weave a river. The direction in which the Xiuguluan River flows to the ocean is similar to the direction I took in coming to Makotaay: from the 19-km mark through Ihownang toward Ruisui, and then toward the Coastal Mountain Range to Kiwit. In Cepo’, I crossed the Changhong Bridge and slowly drifted toward the ocean. Weaving and being a nomad are my religion. Whether in the mining area of Dungku Asang or in the mud of Cepo’, whenever I’ve got the loom between my legs, an invisible power fills me.

Dondon.Houmwm

Exhibitions

2022 | Taiwan Art Biennial, National Taiwan Museum of Fine Arts, Taichung
2022 | Theater in the Mountains Project – Awakening from a Dream of a Forest Walk (performance), Tomong Tribe, Hualien
2020| Awakening from a Dream of a Forest Walk: Hagay Dreaming (LKL First Draft), C-LAB Library, Taipei
2019-2020 | PHPAH ART FESTIVAL – Mtukuy: Be a Sower, Tomong Tribe, Hualien
2019 | Unfolding Acts: New Art from Taipei and Perth, Perth Institute of Contemporary Arts
2018 | Dispossessions: Performative Encounter(s) of Taiwanese Indigenous Contemporary Art, Goldsmiths, University of
London

Award

2018 | Taipei Fine Art Award
2016 | 3rd Pulima Art Award – Merit Award
2014 | 2nd Pulima Art Award – First Prize
2012 | 1st Pulima Art Award – Jury Award

Artistic Concept

Name of artworks : BBRBAR-2.0

Media :  concept, packing straps, video

Year : 2018 installation/ 2023 concept

 

A migration over land and water, the charcoal of burnt wood, following a stream, pulsating with the mountains. Which group of people has drifted from the timelessness of nature to this extremely rapidly duplicating and changing space, like an illusory shadow? We only hear remnants of voices, small and shattered. We see no process of movement. It has the appearance of an island nearly covered over by the sea, the sounds muted. As a hill covered with ash, its lines are made manifest. The only thought is impressed into the pot, a symbol of a clan’s proliferation. Before fading out, a once beautiful pattern glimmers. Has it lost its color, or was there in fact never any color there? Which is in ruin, and which is perfectly complete?

 Iyo.Kacaw

Exhibitions

2023 | Matsu Biennial, Magang Beach, Matsu
2023 | Taipei Lantern Festival, Songshan Cultural and Creative Park, Taipei
2022 | Mattauw Earth Triennial, Dalongtian Ecological Culture Park, Tainan
2021 | Palafang–New Perspectives of Hualien’s Landscape, Hualien Stone Sculpture Museum, Hualien
2019 | Kaohsiung International Container Art Festival, Kaohsiung Museum of Fine Arts
2019 | Romantic Route 3 Art Festival – Dawo Land Art Festival, Dawo Natural Ecological Zone, Miaoli
2018 | Pulima Art Festival, MoCA Taipei
2016 | 12th Festival of the Pacific Arts, Guam

Awards

2023 | Muse Design Award – Platinum Award in Lighting Design – Architectural Lighting category
2018 | 10th Sites en Ligne Symposium International – First Prize for wood sculpture

Artistic Concept

Name of artworks : Between You and Me

Media : wood

Year : 2023  

 

Get to know the ocean with your body. To leave is to move toward the ocean. Drifting is the final course. The unknown and the terminal destination in life can never be understood. What is the true end? The ocean accepts all with its boundless capacity for inclusion, and heals all. May we meet in the sea, just as does every earthly drop of water. The sea is the last resting place for all things. It is so ordinary and ruled by regularity. On this vast expanse of blue, whose edge is too far off to see, perhaps we can find another drifting oasis.

Tuwak.Tuyaw Chen Shu Yen

Exhibitions

2023 | The Hidden Light, Taiwan Lantern Festival Indigenous Theme, Taipei
2022 | Planting Dreams From the Island View, Zhuangwei Living Arts Festival Wandering Dune, Yilan
2022 | NTCAM On the Move — Sensing Nature. New Taipei City Art Museum, New Taipei City
2021 | Lookout on the Slope, South Link Art Festival, Taitung
2021 | Being the Tribe – Rowoted Indigenous Contemporary Art in Flux, Luodong Cultural Working House, Yilan
2018 | Abode of Light. National Taitung Living Art Center, Taitung
2018 | ECO- Sublime, Biennial International Paper Fibre Art. National Taiwan Craft Research and Development Center,
Nantou
2017 | Spirits from the Land, ational Tsing Hua University Arts and Culture Center, Hsinchu
2016 | Island Wind, Natural Breathing. Sin Pin Pier, Kaohsiung

Experience

2020 | Planning, Designing, Executing for Hualien County Participated Sister City Area in Taiwan Lantern Festival . Houli
Horse Ranch and Forest Exposition, Taichung.

Awards

2021 | Land Art: PateRongan-Settling Down, 7th Public Art Awards  

Artistic Concept

Name of artworks : Ocean of Island Boats

Media : mixed media

Year : 2023  

 

Artists Tuwak Tuyaw and Chen Shu-yen (Taiwan) use multiple materials like bark and fiber to create designs resembling boats, fruit, and seeds, suspended outdoors in the exhibition space. These designs symbolize fluidity, navigation, and dissemination, echoing the “Out of Taiwan Hypothesis” about Austronesian origins, and corresponding with the history of Austronesian migration. Taiwan has always been a vibrant island, rich in diverse qualities in geography, species, and culture. Facing the Pacific Ocean, we are not alone on this island in the sea; we exist in a web of interrelations, each thread imbuing our unique characteristics and vitality.