{"id":4768,"date":"2021-12-28T14:30:31","date_gmt":"2021-12-28T06:30:31","guid":{"rendered":"https:\/\/tvaa.tw\/post-war-exhibition-history-in-taiwan\/%e8%87%ba%e5%8c%97%e7%b8%a3%e7%be%8e%e5%b1%95%ef%bc%9a%e7%92%b0%e5%a2%83%e8%97%9d%e8%a1%93%ef%bc%881994%ef%bc%89\/1995%e5%8c%97%e7%b8%a3%e7%be%8e%e5%b1%95\/"},"modified":"2021-12-28T14:54:44","modified_gmt":"2021-12-28T06:54:44","slug":"1995%e5%8c%97%e7%b8%a3%e7%be%8e%e5%b1%95","status":"publish","type":"page","link":"https:\/\/tvaa.tw\/en\/post-war-exhibition-history-in-taiwan\/%e8%87%ba%e5%8c%97%e7%b8%a3%e7%be%8e%e5%b1%95%ef%bc%9a%e7%92%b0%e5%a2%83%e8%97%9d%e8%a1%93%ef%bc%881994%ef%bc%89\/1995%e5%8c%97%e7%b8%a3%e7%be%8e%e5%b1%95\/","title":{"rendered":"1995\u5e74\u5317\u7e23\u7f8e\u5c55"},"content":{"rendered":"\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-2vqo4a-580f6cdff85fff97a27acc2ba2dc8453\">\n.flex_column.av-2vqo4a-580f6cdff85fff97a27acc2ba2dc8453{\nborder-radius:0px 0px 0px 0px;\n-webkit-border-radius:0px 0px 0px 0px;\n-moz-border-radius:0px 0px 0px 0px;\n}\n<\/style>\n<div class='flex_column av-2vqo4a-580f6cdff85fff97a27acc2ba2dc8453 av_one_full  avia-builder-el-0  avia-builder-el-no-sibling  first flex_column_div av-zero-column-padding '   ><p>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_heading-5df3ded29251f73e6f9b6f60df02142b\">\n#top .av-special-heading.av-av_heading-5df3ded29251f73e6f9b6f60df02142b{\npadding-bottom:10px;\n}\n<\/style>\n<div  class='av-special-heading av-av_heading-5df3ded29251f73e6f9b6f60df02142b av-special-heading-h2  avia-builder-el-1  el_before_av_textblock  avia-builder-el-first  '><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >1995\u5e74\u5317\u7e23\u7f8e\u5c55<\/h2><div class='special-heading-border'><div class='special-heading-inner-border'><\/div><\/div><\/div><br \/>\n<section class=\"av_textblock_section \"  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock  '   itemprop=\"text\" ><ul>\n<li><strong>The 7th Taipei County Art Exhibition \u201cResurgence on the Tamsui River\u201d<\/strong><\/li>\n<\/ul>\n<p>This exhibition canceled its general call out and continued with \u201cjuror responsibilities.\u201d Organized by Lin Hsin-yueh, with the theme \u201cResurgence On the Tamsui River,\u201d the exhibition combined the imagery of a kite with selected artists to create works in the sky above Tamsui River. Most artworks echoed the theme by flying, floating or hanging in the air.<\/p>\n<p>\u201cTaipei Breaking Sky Festival\u201d<\/p>\n<p>Wu Chung-wei\u2019s project \u201cTaipei Breaking Sky Festival\u201d was selected for the 7th Taipei County Art Exhibition, held at the mouth of Erchong Floodway under the Chongxin Bridge in Sanchong. The one-month village of \u201cWrong Homeland\u201d was erected, banknotes were issued, with a new community integrated with installation, performance, theater and noise art. At the same time, the plan utilized large balloons in human-form to lift up tables and chairs, a bronze statue of Chiang Kai-shek and a boiling hotpot, drifting to another place in the city, falling from the sky, smashing and stacking onto a small hill. However the balloon was damaged shortly after take off, and the original plan was not realized.<\/p>\n<ul>\n<li><strong>The 4th \u201cGhost Festival Zhongyuan Pudu: Religious Arts\u201d<\/strong><\/li>\n<\/ul>\n<p>The 4th \u201cGhost Festival Zhongyuan Pudu: Religious Arts Festival\u201d not only continued eco-friendly water lanterns, religious processions, and Pudu ceremonies of erecting bamboo poles, releasing water lanterns, chanting and offerings, but also incorporated contemporary art with Wu Chung-wei\u2019s <em>Ten Court Labyrinths<\/em>, small theater including <em>Pudu Pervert Ghost<\/em> by United Association of Wage-earners and <em>Ghost Lantern<\/em> by Extra Theater Troupe, and <em>Yin Yang Road<\/em> by Box Theater Troupe.<\/p>\n<ul>\n<li><strong>New Formosa Art Festival<\/strong><\/li>\n<\/ul>\n<p>In 1995, Taipei County Art Exhibition organized four chapters of \u201cNew Formosa Art Festival,\u201d including \u201cInternational Post-Industrial Art Festival,\u201d \u201c1995 Body Performance Festival: When East Meets West,\u201d \u201cI Don\u2019t Know, I Want,\u201d Women Artists Group Exhibition, and \u201cNew Formosa Spatial Sculpture Exhibition.\u201d<\/p>\n<p>New Formosa Art Festival I: International Post-Industrial Art Festival<\/p>\n<p>Organized collectively by Wu Chung-wei, Lin Chi-Wei, Taipei County Cultural Center and \u201cNude Ginseng Studio\u201d in September of 1995, at the soon-to-be-demolished third warehouse of Banqiao Winery, \u201cInternational Post-Industrial Art Festival\u201d brought together domestic and foreign underground noise and avant-garde performance groups. In controversial performances of sex and violence, long-accumulated underground cultural energy was explosively released, and considerable underground performances were exposed to mass media for the first time.<\/p>\n<p>New Formosa Art Festival II: 1995 Body Performance Festival (When East Meets West)<\/p>\n<p>A program planned by the Body Phase Studio, invited Dutch performer Anneke Bargel and Japanese performance artist Seiji Shimoda to perform two pieces. Anneke Bargel and Seiji Shimoda also held two body workshops.<\/p>\n<p>New Formosa Art Festival III: I Don\u2019t Know, I Want<\/p>\n<p>This exhibition gathered the works of 9 female artists. According to Tang Huang-Chen\u2019s interpretation, the \u201cI Don\u2019t Know\u201d in the exhibition title represents a state before consciousness, while \u201cI Want\u201d points to desire. Therefore the nine artists apply \u201cI Don\u2019t Know, I Want\u201d as their exposition, and through unique feminine visual vocabulary showcase inner monologues of each female artist.<\/p>\n<p>New Formosa Art Festival IV: New Formosa Spatial Sculpture Exhibition<\/p>\n<p>The exhibition title \u201cDoomsday vs Foreign Land\u201d alters the bright display of the gallery into two contrasting spaces: Wang Te-Yu\u2019s <em>Work No. 21 <\/em>converted the black space into a feminine space with soft, elastic curtains, while Huang Chih-Yang\u2019s <em>Melancholy Forest<\/em> hangs 24 plastic human figures wound with telephone cords in mid-air, forming a melancholic forest that critiques industrial civilization and consumer culture.<\/p>\n<\/div><\/section><\/p><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":13,"featured_media":0,"parent":4617,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/tvaa.tw\/en\/wp-json\/wp\/v2\/pages\/4768"}],"collection":[{"href":"https:\/\/tvaa.tw\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/tvaa.tw\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/tvaa.tw\/en\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/tvaa.tw\/en\/wp-json\/wp\/v2\/comments?post=4768"}],"version-history":[{"count":1,"href":"https:\/\/tvaa.tw\/en\/wp-json\/wp\/v2\/pages\/4768\/revisions"}],"predecessor-version":[{"id":4771,"href":"https:\/\/tvaa.tw\/en\/wp-json\/wp\/v2\/pages\/4768\/revisions\/4771"}],"up":[{"embeddable":true,"href":"https:\/\/tvaa.tw\/en\/wp-json\/wp\/v2\/pages\/4617"}],"wp:attachment":[{"href":"https:\/\/tvaa.tw\/en\/wp-json\/wp\/v2\/media?parent=4768"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}