De Humani Corporis Fabrica

Five centuries after anatomist Andreas Vesalius opened the human body to science, De Humani Corporis Fabrica opens it to cinema. Revealing flesh as an extraordinary landscape shaped by care, suffering and hope, the film presents hospitals as laboratories that connect every body in the world.

No Desire to Hide

WU Haohao, a worshipper of MAO Zedong, describes himself as a video producer. He shoots a lot of videos, mostly with sexual content. He and his girlfriend try to function in an open relationship, which suits only one of the partners, while the other suffers and longs for a family life. The possibility of emigration to America is a hope, but it is gradually receding due to the worsening political situation.

Danse Macabre

'Danse Macabre' is a dance that explores deaths that are remembered and forgotten in history, including those of kings, citizens, and stateless people, on land that many kings chose as their vacation residence. People's deaths are as different as the social class they belong to, in a country where social inequality strongly persists.IIn Thailand, many deaths were suspicious in nature over the past 90 years, but nobody dared to question them.

Green TV's Inaugural Film

For a long time the KMT government has held a monopoly over Taiwan’s TV channels, using the lack of channel bandwidth as an excuse for its stranglehold. During the build-up to the elections at the end of 1989, Green Team set up a satellite transmission channel on its own, poking a hole in the KMT’s argument.

How Was History Wounded

Three commentators sit in a news studio in front of a TV discussing the Tiananmen Square massacre as reported by local and foreign media. This film aims to examine the politics of image and the image of politics through commenting on the topics of democracy, media control, consumption and commercialism.

FACE／TV

After the martial law was lifted in the nascent democratised Taiwan, WANG, without any source of reference, created five video artworks including FACE/TV, addressing criticism against mass media and political hegemony. Using a satirical approach, he questioned if the images we saw on TV are identical to the objects being captured.

Out of Position

YUAN is highly adept at combining symbolic metaphors with technological media. His works vividly illustrate contemporary human conditions. Despite its original emphasis on the dialectical dialogue between moving image and sculpture, Out of Position will be re-represented as a single-channel video work in this exhibition.

東／West

East/West is a video with two channels of sound, based on the artist’s citizenship interview. It shows a mouth split in half, with one half speaking English and one half speaking Chinese. Occasionally, the two halves come together to create a whole. The half-mouths reflect the artist’s struggle and conflict in reconciling two cultures.

Flash

After the first bank robbery in Taiwan happened in 1982, the three oligopolistic TV stations repeatedly screened the surveillance video of the robber LEE Shih-ke carrying a gun and crossing the bank counter. To the director, LEE’s action symbolised the transgression of law and the reclamation of his right of name.

Blind Pig Who Wants to Fly

A movie that is rich in cinematic innovations and full of absurd humour as well as serious content that it became legendary among the new generation of Southeast Asian filmmakers. Unlike most Southeast Asian films it was not shot digitally but on 35mm film and it will also be shown on celluloid here. The theme of the film is the oppression of people with a Chinese background in Indonesia.

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