Kuandu Museum of Fine Arts

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Kuandu Museum of Fine Arts
BOOCHOA
哺挫
Date
2019-10-18 ~ 2020-01-05

BOOCHOA

With technology of the Internet and smart phones becoming closely integrated with daily life, our democratic life today is headed into a direction with contradicting and parallel developments of (diverse) echo chambers and (closed) control systems; socialization, business, management, and science, now have far greater importance and influences than humanities people used to adhere to as standards in the past. These giant changes have gradually given rise to all kinds of cognitive confusions and consciousness crisis, severe ruptures of social relation and cognition, conflicts between opposing values, serious imbalance in distribution of resources, and destruction of the environment on Earth, in the first decade of the 21st century. Undoubtedly, explorations and discussions on issues such as occupation, Anthropocene, animism, community network, return to Earth, and gender friendliness, have quickly become the main concerns of all people, and we do need reconstruction of relationships and knowledge.

Based on this kind of changes in contextual environment, art museums and exhibitions seem to have to face the demands of this age too. This is a grave task, for the reconstruction of knowledge and relationships requires full qualitative change of sensations in order to break free from various layered mechanisms and repetitions. This, undoubtedly, is the theme of “body without organs”—that is, breaking away from the structured cognition accumulated over centuries; only “art” is the existing and the most direct “method.” This project, “BOOCHOA,” originated from the interactions between the three curators, allowing three separate projects to launch from three different aspects the reform of “sensation;” “BOOCHOA” directly resorts to “voice” that is closely related to body, and attempts to challenge our existing sensations through alternative courses, performance derivatives, and mutant parties, and experiment with the relationship between art museums and audience, launching a journey of “time-space” that probes deep into the inner world: getting rid of all the organs that resemble timing devices and routine routes.

 

ProjectsArtists:

l   The Village Project

Ham Yang AhKorea

Ali Nesin Turkey

Chih-Chin Wang & Shih-To SunTaiwan

Hyunjin ShinKorea

Keiko SeiJapan

Marianne FlotronSwitzerland

Pascal GielenNetherlands

Sohyun ParkKorea

 

l   Terrace of Subjectivities

Judha Su

Amy Lien&Enzo Camacho

Ho Rui An

Jing Y Ng

Sheryl Cheung & Xia Lin

Thanapol Virulhakul 

 

Dear visitors,

The identification of countries is made absent here; I would like to suggest that artists do not represent their countries. In contemporary times, nationalities should be strictly used for the immigration control, and we should aim to give them up, instead of reinforce them. It is not yet politically possible, still, I offer such an imagination here. Curatorially, there are numerous ways of giving information, and I encourage artists to keep re-envisioning what could be considered as part of exhibition-making and presentation. This is how I negotiate with the conventions of wall texts by offering an alternative way to look at them. For any further questions and information, please refer to the publication available in the exhibition, so email me for a free pdf file. I’m also more than happy to discuss further via email.

I hope you enjoy the exhibition.

Yours,

Judha Su

 

The curator of The Terrace of Subjectivities. 

 

l   Liqueered

         Yu Cheng-TaTaiwan

Betty AppleTaiwan

Huang Ding-YunTaiwan

 River LinTaiwan

Tzuan WuTaiwan