174H x 105W centimeters
Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc. (2010), which takes as its point of departure the political context of the 1950s and the Cold War, when American interests in Taiwan overlapped with the Chinese civil war. Cooperating with the Chinese Kuomintang, the American CIA established something called Western Enterprises, an agency whose main tasks included training an anti-Communist National Salvation Army (NSA) for a surprise attack on Communists in mainland China and establishing Taiwan as a base for anti-Communist operations in Southeast Asia. Narrated from the point of the view of the artist’s father, once a member of the NSA, the project interweaves personal experience with historical events. The restaged ruins of the old Western Enterprise base have a haunting atmosphere, silently recounting the complex history of Taiwanese-American relations in an era of global tensions and conflicts.
One of the most established artists working in Taiwan today, Chen Chieh-Jen creates highly politically charged works that are deeply rooted in his homeland, examining the modern history of Taiwan within the larger context of globalization. Through the visual language of video and photography, he explores collective memories, perceptions, and historical constructions that are closely related to the recent rise of neoliberalism. The work resists the existing “logic” of history writing by looking into past events in depth. It also imagines and proposes new forms of history with democratic potential—histories that counter official ideologies and are actually written by the people.
Los rastreadores is a two-channel video by Claudia Joskowicz narrating the story of a fictitious drug lord, Ernesto Suarez, whose character is based on the well-known Bolivian drug dealer, Roberto Suárez...
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
Forest Gathering N.2 is part of the series of photographs Beneath the Roses (2003-2005) where anonymous townscapes, forest clearings and broad, desolate streets are revealed as sites of mystery and wonder; similarly, ostensibly banal interiors become the staging grounds for strange human scenarios...
Lockhart’s film Lunch Break investigates the present state of American labor through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U...
Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...
Los rastreadores is a two-channel video by Claudia Joskowicz narrating the story of a fictitious drug lord, Ernesto Suarez, whose character is based on the well-known Bolivian drug dealer, Roberto Suárez...
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
The American War , which takes its title from the Vietnamese term for what Americans call the Vietnam War, has toured the United States extensively with the goal of presenting a Vietnamese perspective of that history...
For the two-channel work Asking the Repentistas – Peneira & Sonhador – to remix my octopus works Shimabuku asked two Brazilian street singers to compose a ballad about his previous works with octopi (in which he created traditional Japanese ceramic vessels to catch octopi, with a fisherman who took him on his boat to test them out as we can see on one of the channel)...
Opinion | How the word ‘hostage’ used to mean something quite different to its modern definition, as the Israel-Gaza war rumbles on | South China Morning Post Advertisement Advertisement Hostages who were abducted by Hamas gunmen during the October 7 attack on Israel are handed over by militants to the International Red Cross in an unknown location in the Gaza Strip on November 30, 2023...
Sinae Lee — Exposition personnelle — L'ahah Moret — Exposition — Slash Paris Connexion Newsletter Twitter Facebook Sinae Lee — Exposition personnelle — L'ahah Moret — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour Sinae Lee — Exposition personnelle Exposition Vidéo À venir Sinae Lee, J’ai besoin de la chance, vue de l’installation vidéo à la biennale de la jeune création, Houilles © Marc Domage Sinae Lee Exposition personnelle Dans 8 mois : 2 → 23 mars 2024 L’ahah #Moret est heureuse d’inviter l’artiste Sinae Lee pour une exposition personnelle du 02 mars au 23 mars 2024...
Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...
Foreigners Everywhere is a series of neon signs in several different languages...
Long Long Live (2013) takes the viewer to the setting of the Oasis Villa on Green Island, once a reform and re-education prison to house political prisoners during Taiwan’s martial law period...
Shot in Oliveto Lucano, a village in the south of Italy, AUTOTROFIA (meaning self-eating) by artist Anton Vidokle is a cinéma vérité style film that slides fictive characters into real situations, and vice-versa, to draw a prolonged meditation on the cycle of life, seasonal renewal, and ecological awareness...
In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory...
In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory...