中文
In the year that three and half moons ___________ on the fingertips, Salt is yet to be a colony. _____________ recedes counterclockwise over the horizon. When are the high tides on the ______________?
Riding the ebb and flow of civilization at the edge of the Anthropocene, Moon Salt is proposed as a research methodology or a conceptual token that enlivens new senses and consciousness. The workshop is designed as a speculative process to explore yesterdays and tomorrows in a collective journey in which participants will take part in a series of activities, debates, brainstorms and writing exercises.
Moon Salt is a collaborative time machine that borrows lunar orbits to arrive in the Chthulucene, a speculative future of sympoiesis. We will compose new mythologies to tell the stories of holobionts and disrupted boundaries between living entities, re-imagining kin-making beyond the entanglement of matter and organisms. What will be the new orders for worlding and evolution when the ethics that govern species, reproduction, family and society are archaic and displaced, and God is no longer a capitalist?
We shall investigate micropia and cryptobiosis, chewing mosses and talking with microbes, and even faking sleep in the structure of our future memory. We will run imagination and observation at full speed, swallowing down all the salty, soupy messages from the next age.
About the Moderators
Esther Lu
Esther Lu is a curator and writer with a background in literature, art history, activism, and curatorial studies. She is interested in formulating conceptual ways of seeing and discursive events crossing art, and reality. Many of her projects focus on interplays of sensibility, body, institution and memory, driven by the curiosity to explore human conditions, boundaries of knowing, and how art embodies and exceeds our imagination to address various concerns toward humanity, culture, and relevances of life.
Esther was the director of Taipei Contemporary Art Center from 2015 to 2107, and the curator of This is not a Taiwan Pavilion — collateral event in the 55th Venice Biennale in 2013. She has curated a number of international exhibitions and workshops in Asia and Europe. Her recent curatorial practice involves creating co-learning and innovative mediation strategies for professional workshops and audience experience.
www.lo0.tw
Tzu-An Wu
Tzu-An Wu makes experimental films. He likes to manipulate heterogeneous images, sounds, and texts, to question the construction of the narrative and the selfhood. In recent years he works mainly with Super 8 and 16mm film techniques, while he is also interested in the intersection of both analog and digital techniques of visual reproduction.
He holds an MA in Media Studies from The New School, New York, and a BA in Gender and Cultural Studies from National Tsing Hua University, Taiwan. His works have been shown internationally, including BFI Flare (London), International Film Festival Rotterdam (Netherland), CROSSROADS (San Francisco), MixNYC (New York), EXiS (Korean). He was awarded the jury prize at Festival of Different and Experimental Cinema (Paris). Exhibitions include Taiwan Biennial, Metropolitan Museum of Manila, and Taipei Artist Village, etc. Also, he is a member of The Other Cinema, a collective focus on programing, promoting, and discussing experimental cinema and artist's moving image.
tzuanwu.net
Hou I-Ting
Hou's art practice mainly focuses on long-term project-based creations that employ digital media installation, site-specific performance and participatory projects. In her work, she re-arrange economic production modes in different social sites while exploring more potential methods beyond these modes, which involves economy, body politics and gender education in the post-modern society as well as penitentiaries, incarceration spaces and their history.She is especially interested in the female labor condition in the socioeconomic system of the past and of today. Her practice pivots around the changing relationship between the body and imagery over the course of time. In particular, she transforms her on-site sewing performance into a cultural critique on the labor process within a capitalist society.
She has exhibited internationally, including We Now Stand — In Order to Map the Future, 21st Century Museum of Contemporary Art, Kanazawa, Japan (2019); Contemporary Art from Asia, Australia and the Pacific: A Selection of Works From QAGOMA’s Asia Pacific Triennial, Centro Cultural La Moneda, Santiago, Chile (2019); Tejiendo identidades (Weaving Identities): Hou I-Ting Solo Exhibition, PHotoEspaña, Centro de Historias, Zaragoza, Spain (2019); Cold Chain: Hou I-Ting Solo Exhibition, Taipei Fine Arts Museum, Taipei, Taiwan (2019); 9th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery | Gallery of Modern Art, Brisbane, Australia (2018）
Tan Zi Hao
Tan Zi Hao is an artist, writer, and researcher whose idea has taken shape across a diverse range of topics involving soil ecology, language politics, interpretive etymology, mythical chimeras, and organic assemblages. Informed by the political contestation of identity vis-à-vis the nation-state, his works are conceived with an intention to challenge cultural essentialism and sovereignty by privileging the assemblage.
Tan completed his PhD in Southeast Asian Studies at the National University of Singapore, undertaking fieldwork research on animal imagery in the Islamic art of Cirebon, West Java. His recent exhibitions include Back to Art, A+ Works of Art, Kuala Lumpur, 2020; The Horizon is Just an Illusion: New Thoughts on Landscape, OUR ArtProjects, Kuala Lumpur, 2018; ILHAM Contemporary Forum (Malaysia 2009–2017), ILHAM Gallery, Kuala Lumpur, 2017; Singapore Biennale: An Atlas of Mirrors, Singapore Art Museum, Singapore, 2016–2017.