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.
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...
A mesmerizing experience of a vaguely familiar yet remote world, History of Chemistry I follows a group of men as they wander from somewhere beyond the edge of the sea through a vast landscape to an abandoned steel factory...
La Sombra (The Shadow) is a video of Regina Jose Galindo performing with a moving Leopard tank...
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...
After engaging primarily with video and photography for more than a decade, Chen turned to painting to explore the issue of urban change and memories—both personal and collective...
Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world...
The work Calendars is composed of 1001 images of deserted public areas in Singapore printed on pages of a calendar set from the year of 2020 until 2096...
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...
Pak created New York Public Library Projects (NYPLP) (2008) during a residency in New York, using public libraries as exhibition spaces and the books they house as raw materials...
Behind the simplicity and beauty of this untitled photograph of a brilliantly-colored flowerbed by Félix González-Torres are two remarkable stories of love, loss, and resilience...
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...
Bowers’ Radical Hospitality (2015) is a sculptural contradiction: its red and blue neon letters proclaim the words of the title, signaling openness and generosity, while the barbed wires that encircle the words give another message entirely...
Tino Sehgal’s This Exhibition requires an interpreter (in this particular piece, a gallery attendant) to faux faint each and every time a visitor enters into a given space...
Herculine’s Prophecy by Juliana Huxtable features a kneeling demon-figure on what appears to be a screen-print, placed on a wooden table, which has then been photographed and digitally altered to appear like a book cover, with a title and subtitle across the top, and a poem written across the bottom...