8th Irepresent International Documentary Film Festival
March 22-15. 2018
Lagos, Nigeria

March 22-25, documentary filmmakers and enthusiasts from around Africa and parts of Europe and the West will converge in Lagos for the 2018 edition of the yearly I-Rep International Documentary Film Festival. Produced by the Foundation for the Development of Documentary Film Festival in Africa, the festival will be held at its traditional home, Freedom Park in central business district of Lagos Island.

About IREP

iRepresent International Documentary Film Festival is the prime documentary-only film festival on the coast of West Africa. Since 2011, the festival has brought together the brightest minds in the genre in Nigeria and other parts of the world to showcase their works and as well share experiences through screenings, panel discussions, ‘Producers’ Roundtable’, training, workshops, and networking.

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8th IREP



CAFÉ TOGO Premiere 
in 68th Berlinale FORUM Expanded

The film CAFÉ TOGO will be premiered in 68th Berlinale FORUM Expanded,
in the exhibition A Mechanism Capable of Changing Itself during the whole festival.
Please join us in the opening on 14. Feb 2018 19:00
in Akademie der Künste Hanseatenweg.


13th Forum Expanded
A Mechanism Capable of Changing Itself

James Bening, Musquiqui Chihying und Gregor Kasper,
Laura Horelli, Marta Hryniuk, Jane Jin Kaisen, Nesrine Khodr,
Bahar Noorizadeh, Jen Liu, Ash Moniz, The Otolith Group,
Song Sanghee, Kerstin Schroedinger, Ala Younis

14.02. 19 Uhr / 7pm Greetings: Jeanine Meerapfel (President Akademie der Künste)
Introduction: Stefanie Schulte Strathaus (Head-curator of Forum Expanded)
Keynote-Lecture von/by Ute Holl (Professor of Media Aesthetics, University Basel)
Stoffwechsel-Screening von/by Shelly Silver
20 Uhr / 8pm 
Ausstellungseröffnung/Exhibition opening
21.30 Uhr / 9:30pm 
Film: L.Cohen von/by James Benning, 45’

Artist Talk
15.02. 14 Uhr / 2pm 

Akademie der Künste
Hanseatenweg 10, 10557 Berlin

Opening Hour
15.2.-25.2. daily 11 - 21 Uhr / 11am - 9pm
Guided exhibition tours:
17.2., 18.2. und 24.2, 25.02.
Finissage 26.02. 19 - 21 Uhr / 7- 9pm

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installation view in Akademie der Künste



5th Huayu Youth Award
2017 Art Sanya: Shared Vision

Artist Musquiqui Chihying is nominated for 5th Huayu Youth Award, an independent art prize focusing on artists under the age of 35 that kicked off this year's Art Sanya in South China's Hainan province. The 20 artists in shortlist will show their work in the group show 2017 Art Sanya: Shared Vision in new built Huayu Art Center from December 2017 to March 2018.

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Action Media 
Art Sanya



Musquiqui Chihying
Resistance is Futile

Exhibition                       October 6–November 3, 2017, Mon.–Fri. 12–6pm
Opening Reception        Friday, October 6, 6–8pm
Artist-led Tour                Friday, October 6, 7pm
Extended Hours             Oct. 7–8, 1–6pm

The Chinese American Arts Council (CAAC) and Gallery 456 are delighted to present Resistance is Futile, an exhibition of installation works by Berlin- and Taipei-based artist Musquiqui Chihying (b. 1985). This is his first solo show in New York. Chihying’s recent works investigate the post-colonial and post-immigrant ideology embedded in the images and media culture of a globalized society, questioning the power structures around seeing and being seen. 

The exhibition features four media installations that the artist has created since 2016, which center around the complex tension between human beings and the camera. Printed on film, The Figure is a series of digital images of people covering their faces, representing a straightforward gesture to resist the intrusion of the camera. In keeping with Chihying’s interest in discovering the invisible in current historical narratives, Camera(36) and Camera(16) imagine the world behind the camera lens when subtle resistance took place. Turning the camera toward the people usually behind the machine, Camera(36) recreates the scene when Leni Riefenstahl shot Korean athlete Sohn Kee-chung trying to cover a symbolic Japanese icon on his shirt in the well-known documentary Olympics, while Camera(16) imagines a worker from a Korean entertainment company shooting the video, in which Chou Tzu-yu, the Taiwanese member of a popular Korean girl band, apologized for waving the Taiwan national flag on a variety show. Chihying’s fourth piece envisions the message from the camera itself, based on the fact that the act of looking is sustained with the existence of light. By using flash light and luminous paint, The Flash sends a message to humans -- resistance is futile -- from the perspective of machines.  

The exhibition is titled after a line delivered by a villain called The Borg from the popular sci-fi franchise Star Trek. The Borg assimilates the culture of those it conquers, turning its enemies into living machines without independent consciousness . As our perception is gradually replaced by digital apparatuses and our reality is constructed through the images and moving images circulated on social media, are we becoming an entity similar to the Borg in the future? 

CAAC and Gallery 456 Visual Arts Exhibition Series are supported, in part, by public funds from the National Endowment for the Arts, and the New York City Department of Cultural Affairs, in partnership with the City Council. This program is also made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Special thanks to friends of CAAC.

The exhibition at Gallery 456 is organized by curator Shih-yu Hsu, with special thanks to SCREEN.

《 抵抗徒勞無功 》

藝術家           致穎 Musquiqui Chihying
展覽期間        2017年10月6日 - 11月3日,週一至週五12 - 6 pm.
開幕酒會        10月6日週五,6 - 8 pm.
藝術家導覽    10月6日週五,7 pm.
特別開放        10月7日- 8日,1 - 6 pm.

美華藝術協會 (CAAC) 與456畫廊 (Gallery 456) 宣布將在2017年10月6日至11月3日呈現展覽《抵抗徒勞無功 (Resistance Is Futile) 》,為旅居德國柏林與臺灣臺北藝術家致穎於紐約首度個展。致穎近期創作著重在探討當代全球化社會中,後殖民與後移民時代的意識形態是如何嵌入在圖像與大眾媒體文化,同時對觀看與被觀看的權力結構提出質疑。

本展覽共展出藝術家從2016年開始創作的全新四件作品,呈現人與攝像機之間錯綜複雜的張力與失真。〈像〉是一系列被轉印在投影底片上的數位照片,當中的主角面對藝術家的手機鏡頭有意識或無意識地遮住臉孔,面對鏡頭做出最直接的抵抗。〈攝像機〉系列作品,藝術家重新挖掘被鏡頭記錄下的歷史事件中,攝影機後不為人知的世界。致穎在兩件作品〈攝像機 (36)〉與〈攝像機 (16)〉將鏡頭反轉,對準操控攝影器材的人們,試圖具象化被拍攝者在面對身份認同的掙扎抵抗發生時,那些不曾存在流通的大眾媒體影像中的視角。〈攝像機 (36)〉重現拍攝1936柏林奧林匹克運動會紀錄片導演蕾妮萊芬斯坦 (Leni Riefenstahl) 的劇組場景,當時紀錄片紀錄下贏得獎牌的韓國選手孫基禎,試圖用冠軍所得的小型橡樹遮住胸前的日本國旗;〈攝像機 (16)〉則虛構重建工作人員拍攝韓國偶像團體中台灣成員周子瑜被迫道歉影片的辦公室場景。這隻道歉影片出現在爭議的時間點,當中主角因在節目中揮舞台灣國旗而被迫道歉。作品閃光〉回到觀看需要藉由光線存在而成立的特質,嘗試以機器的視角,對人類發出訊息 ── 抵抗徒勞無功。

《抵抗徒勞無功》取自於熱門科幻影集《星艦奇航記》,其中外星種族博格 (Borg) 入侵其他文化時的著名宣言。博格吸收被侵略種族的文化,將其改造為無意識的機械混合體。如同當今社會,我們的感知逐漸被電子儀器拓增或取代,對於現實的理解往往建立在社群媒體中所見的圖像與影像,而當圖像與影像越來越脫離原先被生產的脈絡,人類如何建構現實?是不是我們正逐漸走向博格人的未來?
美華藝術協會與456畫廊視覺藝術計畫部分經費由國家藝術基金會贊助以及紐約市政府文化局與議會聯合贊助。紐約州議會與州長 Andrew Cuomo 的支持讓本計劃得以順利進行。另外特別感謝美華藝術協會之友們。


press Kit 媒體資料 
Resistance is Futile

Critics Picks

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CAAC Gallery 456



OSMOSIS - Audiovisual Media Festival 2017

The ART SHELTER AND CINEMA, the host of the “OSMOSIS - Audiovisual Media Festival 2017”, has invited artists and curators from Austria, Argentina, Germany, Lithuania, Italy, Japan, Nigeria, Poland, Qatar, Russia, Spain, UK, United States and Taiwan. Each curator provides different topics or programs for the festival. The festival takes place from 19th of August to 3rd of September, 2017 in various venues including the Cultural and Creative district of Taiwan Power Company, Shin Min building, Sun Yun-Suan Memorial Museum, Waley Art space, The wall music, woolloomooloo and so on. The host and the curators presenting screenings, live performances, exhibitions, and forum focusing on moving, audiovisual and media art. In addition, some tours to the participating countries and regions are expected to be carried out by the end of 2017 or 2018.

Exhibition Programm /
Date: 26. August – 03 September, 2017
Time: 11:00 am - 17:00 pm
Opening Reception: 13:00 pm, 26. August, 2017
Taiwan Power Company Shin Min building
No.1, Sec. 2, Xianmin Blvd., Banqiao Dist., New Taipei City, Taiwan 
(MRT Banqiao station Exit 2)

Curator /
Wang Wen-Chi

Artists /
Hung Yun-Ting, Fan Chih-Ming, Wang Lien-Cheng
Musquiqui Chihying, Wu I-Yeh, Chen HsienYu

滲透影音媒體藝術節 2017

OSMOSIS - Audiovisual Media festival 2017一個新興的影像藝術節,每次由不同的藝術家與策展人共同合作,並號召各國藝術節、藝術單位前來參與聚會並進行交流呈現。「滲透影音媒體藝術節 2017」,今年預計將邀請了來自日本、英國、波蘭, 俄羅斯, 西班牙, 奈及利亞, 阿根廷及台灣等約計10位策展人,分別策劃自定主題之影像展演節目,共含蓋14國藝術家作品於2017 81993日間,在各式展演空間呈現。整體藝術節節目含括:國內外藝術節作品展、藝術節邀請交流節目、藝術節現場表演單元節目、論壇、藝術空間平行單元、獨立策展人特別單元等活動展演呈現。

展覽單元 /日期: 2017年8月26日 至 9月3日
時間: 11:00 am - 17:00 pm

開幕: 2017年8月26日13:00 pm

策展人 /

藝術家 /
洪韵婷, 鄭先喻, 吳宜曄, 王連晟, 樊智銘, 致穎

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A Chemical Love Story

Date / 05. August – 16 September, 2017
Time / 11:00 am - 18:30 pm (May-Oct)

Opening Reception / 16:00 pm, 05. August, 2017
Venue / 
Tang Contemporary (First Space)
Gate No.2, 798 Factory Jiuxianqiao Road, Chaoyang District
Beijing, China

日期 / 2017年8月5日 至 9月16日
時間 / 11:00 am - 18:30 pm (5月-10月)

開幕 / 2017年8月5日16:00 pm
地點 / 


Artists /
Carla Chan, Han Qingzhen, Liao Fei, 
Liu Yujia, Liu Zhangbolong, Musquiqui Chihying
Shi Zhiying, Yao Qingmei, Yorkson 

參與藝術工作者 /

The exhibition title “A Chemical Love Story” comes from PiHKAL: A Chemical Love Story, a book about psychedelic drugs.
Through chemical compounds, we can overcome the self, permitting unreality to circumvent the retinas and sensory organs and move directly into the cerebral cortex. The senses become heightened, and the sense of rhythm in the body becomes more intense. These drugs often have serious side effects, but people are still entertained by them. All of humanity’s inventions are intended to liberate the body; they are an external way of banishing humanity’s lazy or greedy instincts. In contrast, drugs use chemical reactions with the blood stream to “exile” the mind and body, which puts the user at a moral disadvantage. You are doing obvious harm to yourself, and possibly because the pleasure of this act is limited to the individual, a communal social system is unable to accept this form of self-consumption and self-exile. ...
(Text / Bian Ka)
“化學之愛(A Chemical Love Story)”作為標題,最初來自一本書的名字——關於致幻劑的一部著作。



Beyond Freedom
r:ead#5 Documentation & Response Exhibition


Date / 23rd July – 15th August, 2017
Time / 1:00pm - 7:00pm
Venue / 

Unit 12, Cattle Depot Artist Village, 63 Ma Tau Kok Road, To Kwa Wan, 
Kowloon, HongKong

日期 / 2017年7月23日 至 8月15日 | 23rd July – 15th August, 2017
時間 / 1:00pm - 7:00pm
地點 / 香港 九龍 土瓜灣 馬頭角道63號 牛棚藝術村12號單位

Art Practitioners /
Oscar CHAN Yik Long, TANG Kwok Hin, CHENG Yee Man(Gum), 
CHEUNG Clara, QU Chang, HK Farm and Contributors, LO Lai Lai, Map Office, 
Trevor YEUNG, Frankie ZHANG, HYUN Woomin, TAKEKAWA Nobuaki, CHO Sunhe,
Yun CHO, KIM Dongkyu, JIN Zhen, LEE Jangwook, CHEN Guan-Jhang, Nicole LAI,  
WU Chi-Yu, SHEN Sum-Sum, Musquiqui Chihying 

參與藝術工作者 /
陳翊朗, 鄧國騫, 鄭怡敏, 張嘉莉, 瞿暢, HK Farm與參與者, 
勞麗麗, Map Office, 楊沛鏗 , 張碧霄, 玄宇民, 竹川宣彰, 
趙純惠, 崔允, 金東圭, 金真, 李將旭, 陳冠彰, 賴依欣, 
吳其育, 沈森森, 致穎     

About the exhibition /
Inspired by both the dialogue-based format and critical content from their previous experience in r:ead #4 during 2015, C&G Artpartment proudly takes turn to host r:ead #5 in Hong Kong this year, after many different attempts to look for funding and resources. While Hongkongers are still urgently in search for our identity and subjectivity, twenty years after the handover, many others in the globe are also re-considering multiculturalism and re-defining their identities as well. With the theme on "Myth・History・Identity," r:ead #5 attempts to examine our “identity” through looking into mythical stories and history writing, with a group of contemporary artists and curators from Japan, Korea, Taiwan and Hong Kong. 
Myths provide us more possible imaginations about time and space, and help break away from the linear thinking mode in traditional history-writing. Subjectivity is, thereafter, re-constructed and re-developed through traversing back and forth different boundaries in time and space. Many mythical stories from the ancient age interconnect with natural phenomenon, animals and plants, and often reveal the complex relationship between human beings and different elements in the world in a symbolic manner. There are also old myths, like the famous Greek mythology and the Jade Emperor in the Heaven for Chinese, which consist of vivid individual personalities, strong family networks and infinite care of the world. The Confucius’s saying: “Universal peace must be preceded by national harmony; national harmony, by familial solidarity; and familial solidarity, by personal integrity,” is well-known in Chinese culture. While many mythical characters do carry strong personal integrity, have a strong family network and rule out the world at the same time, they seldom process the concept of nation building. How much does such worldview without nations, in the old myths, resemble nowadays’ global vision? How much does it relate to the micro-perspective in Hongkongers’ identity? 

關於展覽 / 
閱讀神話有助我們開闊對時、空的想像,打破直線式的歷史書寫習慣,反覆穿越不同的邊界,去重塑自身。遠古的神話故事,多與自然現象或動植物緊扣互動,每每象徵著人與天地萬物的複雜關係,也有如希臘神話或玉皇大帝的天庭故事,由個人、家庭、以至天下都無所不談。我們傳統有句金科玉律:「修身、齊家、治國、平天下」,但在神話世界中,不少神話人物雖會修身、齊家、 平天下,治國的概念似乎很低。這更突出神話塑造的「超級世界觀」。而這與全球化視野有多少不謀而合?與微觀的香港身份定位又有多少牽連? 

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