講者Speakers 陳湘汶Chen Hsiang-Wen （獨立策展人 Independent Curator）
賴英泰Lai Ying-Tai （國立政治大學台灣史研究所博士生 Doctoral student of Graduate Institute of Taiwan History, National Chengchi University）
Dynasty Gallery is very glad to announce that we will present Chen Fei-Hao’s newest solo exhibition “Ineffective Myth” to you during 23 Sep. to 28 Oct. 2017, and the opening will be held on 23 Sep. This solo exhibition will exhibit four recent series of artist’s works, and we will invite Chen Hsiang-Wen (Independent curator) and Lai Ying-Tai (Doctoral student of Graduate Institute of Taiwan History, NCCU) to be our speakers in the discussion on 7 Oct.
Changes in the political environment that occurred throughout the last century led to breakage and reform in cultural context, while the urban environment also underwent transformations. Inspired by forgotten incidents that happened in Taipei during the past hundred years, artist Chen Fei-Hao hopes to explore the difference between history and the current social environment through this exhibition. Chen’s work Family Documents in Translation, showcased in the 2016 Taipei Biennale, transforms historical images into text, cleverly expressing the collective consciousness of society through words. Viewers will empathize with the message of the work through the seemingly detached and distant perspective of the artist.
Chen’s new work Love Suicide at Snow Melting Train is inspired by an incident that happened during the early days of the Japanese Colonial Rule. Japanese prostitute Naruto and lover Umehara Suetaro eloped, hanged themselves in Dadaocheng, and were buried together in a Hiyokuzuka (“lover’s grave”) in the then San Ban Qiao Graveyard (currently Park No. 14 and 15). The Hiyokuzuka is a unique Japanese custom which involves the burial of lovers who could not be together during their lifetime, granting their unfulfilled wishes after death. The Hiyokuzuka in San Ban Qiao is a unique case of cultural transfer of immigrants who traveled to Taiwan with the Japanese government, mixing foreign and local culture, at the same time reflecting the special historical scenario and social structure of Taiwan. Love Suicide at Snow Melting Car takes a section of traditional Japanese song “The Love Suicides at Sonezaki: Journey Scene” and retells the love story that happened in Taiwan, ultimately comparing San Ban Qiao with its postwar transformation into Chinese community Village KangLe to show the diversity and richness of Taiwan culture.
In Taipei Inari Shrine Reconstruction Archives, Chen traces evidence of the historical site of Taipei Inari Shrine, which is located near Shinkigai Market (located next to The Red House in Ximen). Through investigating the history of the Tokyo Anamori Inari Shrine and the Taipei Inari Shrine, Chen discovered that both faced the fate of being torn down and relocated after the war ended. Although the main shrine in Tokyo was reconstructed in a different location, the fate of the two shrines after the war are like miniature histories of the social environment: both the colonist Japan and colony Taiwan went through the allocation of lands under different political structures. Through this work, the artist explores the complex relationship between memories of the land, national consciousness, history, and politics.
Chen Fei-Hao has always been interested in the changes of the urban landscape during political shifts. The original KenKou Shrine built before the war is very different in appearance and function from its post-war transformation into today’s National Taiwan Arts Education Center. Only the pool remains unchanged, displaying the sacredness of the architecture. In artwork KenKou Shrine Reconstruction Archives, Chen uses archives and video installation to restore the architecture of its previous solemn and religious function. Taiwan Grand Shrine, which was a representation of the Japanese Colonial Rule in Taiwan and previously located at today’s Grand Hotel, was removed after the war. Taiwan Grand Shrine Reconstruction Archives uses archival materials and images to re-present the architecture of the shrine and merges it with modern scenery.
Chen Fei-Hao was born in 1985, and now is studying in Graduate Institute of Trans-disciplinary Arts, Taipei National University of the Arts. He is a Taiwanese contemporary artist and writer, mainly working with video and photography to interpret the issues, which are aroused by the progress of history, society and technology. He also combines video and photography with varieties of media such as installation, video and literature to discover much more possibility of the convergence of different media. His works were exhibited in many important events as MOCA Taipei and TAV Innovation Base “Shattered Sanctity” (2017), Taipei Fine Art Museum “Taipei Biennial- Gestures and archives of the present, genealogies of the future: A new lexicon for the biennial” (2016), Kaohsiung Museum of Fine Arts “Kaohsiung Awards” (2016), Taoyuan Cultural Department “Harmony in Diversity” (2015), Miaoli Hakka Cultural District “Site –Memory- Time: the Dialogue between Documentary Photography and contemporary art” (2015), and so on.