Khun Ovoo, 2020 - Performance by Mongolian artists
Khun Ovoo, 2020 Performance by Mongolian artists Ganzug Sedbazar & Davaajargal Tsaschikher Produced by Charwei Tsai For the occasion of Lovely Daze Issue 11 book launch C-Lab, Taipei, Taiwan Photo by Christopher Adams
Khun Ovoo, 2020 – Performance by Mongolian artists
Traditionally, Ovoo (Mongolian ceremonial stone cairns which is usually built on top of mountains) is related to spirituality, shamanism and an act of worshipping; a way to communicate with spirits of mountains or rivers. The artists are using “Ovoo” as a metaphor for human cluster caused by rapid migration and the state of contemporary lifestyle in the large cities as a consequence. Through this performance, they create a sensorial experience of the outcry from nature.
Khun Ovoo, 2020 – Performance by Mongolian artists
Numbers, 2020 Video with color & sound, 6 min 34 sec Commissioned by Green Island Human Rights Art Festival, Taiwan 15 May to 15 September 2020
Numbers, 2020, Video with color & sound
This work was realized during the pandemic and is a reflection on how human lives and values are sometimes diminished as numbers under authoritarian and capitalist regimes.
Voice by YANG Tsui, granddaughter of writer YANG Kui who was a political victim imprisoned on Green Island from 1949 to 1961.
Special Thanks: Yuan Goang-Ming, Tsai Tsung Hsun, Lin Yu Hsuan, Hsu Po Yen, Lu Chun Chan
Lullaby for Mother Nature, 2020 – Performance by Mongolian artists
Lullaby for Mother Nature, 2020 Performance by Mongolian artists Ganzug Sedbazar & Davaajargal Tsaschikher Produced by Charwei Tsai For the occasion of Lovely Daze Issue 11 book launch TKG+, Taipei, Taiwan Photo by Anpis Wang, Courtesy of TKG+
Lullaby for Mother Nature, 2020 – Performance by Mongolian artists
From ancient times, nomadic Mongolians have performed many important customs and rituals and one significant part involves rituals for infants. When an infant is frightened or suffering from an illness, certain rituals are performed to dispel the demons and the words “Not to fear” or “Buu ai” is sang to the infant as an reassurance. In time the phrase “Buu ai” was transformed to “Buuvei” or Lullaby. Inspired by this ancient tradition, the artists offer their own interpretation of the said ritual to criticize and highlight the destructive paths of contemporary techno-evolution on our environment.
Lullaby for Mother Nature, 2020 – Performance by Mongolian artists
Green Island Human Rights Art Festival, 2020 – If on the margin, draw a coordinate
Green Island Human Rights Art Festival, 2020 If on the margin, draw a coordinate Curated by Sandy Hsiu-Chih LO Green Island White Terror Memorial Park, Taiwan Exhibited works: Numbers (2020), and Songs We Carry (2017~2018)
Green Island Human Rights Art Festival, 2020 – If on the margin, draw a coordinate
Participating artists: Ashmina Ranjit, Jiandyin in associate with Baan Noorg Collaborative Arts and Culture, WANG Ding-Yeh, Eleng Luluan, The Libera work-gang, Lin Tzu-Ning, LIN Hongjohn, LIN Yi-Chi, HUNG Wei-Ling+ HSIN Pei-Yi, HOU I-Ting, CHEN Eric, HSU Chia-Wei, CHANG En-Man, Charwei TSAI
Green Island Human Rights Art Festival, 2020 – If on the margin, draw a coordinate
The margin usually refers to the verge of an area. Borderlands and islands have some geographic significance. Borderlands are regions far from the center, and islands are isolated lands surrounded by water. In contrast, compared with borderlands and islands, margins can better refer to states of instability. Therefore, marginalization is often used to describe the phenomenon of people or things moving in the opposite direction of the mainstream—that is, non-mainstream and non-central.
Non-central and non-mainstream marginalization can take various forms of marginalization, such as politics, economy, culture, geography, race, gender, ecology, values, and so on. At the same time, various forms of marginalization may also be interconnected, and it is difficult to separate them for inspection. The marginalized groups are not pure and mean. Therefore, under the name of “If on the edge, draw a coordinate”, this art festival attempts to give utterance from the margins in order to unlock the initiative of the margins, focusing on the margins to draw coordinates in order to outline a new ethical map.
Green Island Human Rights Art Festival, 2020 – If on the margin, draw a coordinate
Starting from the margins, artists use archival research, field investigations, image production, text writing, artistic actions, and other methods to dare to challenge mainstream norms, resist the existing social order, re-correct ethics, and draw critical, autonomous, and liberated marginal coordinates. Each margin is the center, where the coordinates are drawn. Individual artists use different reference systems to draw completely different margin coordinates. In these coordinates, the marginalized is no longer just the persecuted under humanitarian care, but a subject with its own initiative. In the 2020 Green Island Human Rights Art Festival “If on the margin, draw a coordinate” conducts marginal narration from marginal perspectives to carry out the social practice of emancipating the marginalized.
Green Island Human Rights Art Festival, 2020 – If on the margin, draw a coordinate
Whirling Natural Pigment Drawing series, 2020 - Natural mineral pigments and ink on rice paper
Whirling Natural Pigment Drawing series, 2020 Natural mineral pigments and ink on rice paper 89x89cm
Whirling Natural Pigment Drawing series, 2020 – Natural mineral pigments and ink on rice paper
A new drawings experimenting with the use of natural pigments extracted from minerals such as malachite, cinnabar, ochre. These pigments were found in the cave paintings around Central Asia and along the Silk Road since the 5th century. This is also the route where the Heart Sutra travelled through and manifested from Sanskrit into many different languages before reaching East Asia.
Whirling Natural Pigment Drawing series, 2020 – Natural mineral pigments and ink on rice paper
