The Racing Will Continue
The Dancing Will Stay

22. June. -18.. August. 2019
Guangdong Times Museum

Curated by 
Leo Li Chen

Participated Artists:

Chen Wei, Chen Zhou, Musquiqui Chihying and Chen Liang-Hsuan, Isaac Chong Wai, Jasper Fung, Gao Lei, Guo Hongwei, Hao Jingban, South Ho Siu Nam, Ko Sin Tung, Kwan Sheung Chi, Li Ran, Li Xiaobin, Liu Chuang, Jen Liu, Xiaoshi Vivian Vivian Qin, Tang Chao, Wang Bo, Wang Yin, Xin Yunpeng, Yao Qingmei, Samson Young, Yu Cheng-Ta

How might we live between constant planning and frustration, against the currents of the unknown and volatile times? How can we move forward amidst profuse confusion and predicament? These are the core questions that The Racing Will Continue, The Dancing Will Stay seeks to explore. The exhibition title comes from a saying popularized in Hong Kong and Mainland Chinese civil society since the mid-1980s. The phrase suggests the speaker's expectations for a better future and the collective imagination of effective social systems. Over the past four decades, the Reform and Opening up of China and the handover of Hong Kong have instituted a common political vision, yet the individuals who find themselves suspended in real-life uncertainties. Showcasing the work of twenty-four artists and collectives, this exhibition considers the body and performativity as a method of responding to the absence and presence of the subject...

© Li  Xiaobin, photography, courtesy  of  the artist

Programming Schedule

Sat. 22 June - Performance: Aware of Vacuity, Isaac Chong Wai  
Sat. 6 July - Screening: Life Imitation, Chen Zhou
Sat. 20 July - Screening: Life Imitation, Chen Zhou  
Sat. 20 July - 
Panel Discussion with Curator Leo Li Chen and Artists Chen Zhou, Musquiqui Chihying and Chen Liang-Hsuan
Sun. 21 July - 
Lecture Performance: Gesture, Musquiqui Chihying and Chen Liang-Hsuan
Sat.10 August - Performance: The Red Detachment of Women, Jen Liu  
Sat.17 August - Live Electronic Improvisation: Transient Spikes, Jasper Fung  

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Kunstraum Berlin

18. May. - 15. June. 2019
German Embassy Beijing

Curated by 
Antonie Angerer & Anna-Viktoria Eschbach

We are excited to announce the exhibition titled "Kunstraum Berlin" at the German embassy in Beijing, China. On the occasion of the 25th anniversary of the city-partnership between the two cities, the exhibition reflects on the influences the city has on each of them and how the city Berlin has reappeared in the thematic backgrounds of their works. Through this exhibition, the artists will pose different answers to the question "What does Berlin mean to you?". 

Participated Artists:
aaajiao  徐文愷
Ce Jian  簡策 
Fan Popo   范坡坡 
He Xiangyu   何翔宇 
Li Tingwei   李亭葳 
Musquiqui Chihying & Gregor Kasper   致穎 格雷戈爾·卡斯帕 

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Photo © I: Project Space, Kunstraum Berlin



The Power of My Smile

April. 19 - June. 30, 2019
Opening: April. 19, 2019 17:00
Kuandu Museum of Fine Arts
Gallery 401

We are always chasing faces. Regardless of what kind of images appears in front of our eyes, a person’s face, or any similar construct, it will immediately capture our attention. We collect pictures of all kinds of faces in our installations, and gradually, these machines develop the same preferences under our influences, and sometimes they are even more passionate. Just as German philosopher Georg Christoph Lichtenberg said, “We can see nothing whatever of the soul unless it is visible in the expression of the countenance.” Regardless of men or machine, the truth is, we as mad pursuers simply desire to see the elusive nature deep down inside. Mankind’s face-worshipping craze in the late modern era peaked through the Western world’s global colonization. Western ethnology scholars and researchers began a series of studies recording measurements of faces and skulls, especially those strange ones from exotic colonies. It was also at this point in time, Western African masks, as the faces of the others, became a perfect kind of symbolic objects. They were imported to Europe in large quantities, becoming treasured antiques of collectors, while also triggering a revolution of creative methods of art. For example, a group of critics and artists led by Carl Einstein began to describe these objects from foreign lands through aesthetic perspectives; their works, in addition to defining the so-called African art, have profoundly influenced the way we see even until today. In recent years, when returning problematic African sculptures becomes a huge headache for Western museums, Asian collectors have seemingly become a new generation of powerful consumers. Although their acquisitions do not equivalent to Western colonial looting, their ideology and methodology have obviously referenced Western viewpoints, and such facts have also been reflected through their display methods and publications. “The Power of My Smile” borrows the slogan of a famous toothpaste brand, and tries to explore how the images of the faces of the others call upon the East and integrate into the contemporary capitalist system. 

我們總是在追逐著臉龐。不管任何圖像突然出現在眼前,人的臉,或是任何相似的構成,都會立即吸引注意力。我們在自己的裝置中收藏了各種容顏圖片,逐漸地,這些機械也在耳濡目染下發展出同樣的喜好,有時甚至還要更加熱烈。就如同德國哲學家喬治•克里斯多夫•利西藤貝爾格(Georg Christoph Lichtenberg)所說的:「我們無法觀看靈魂,除非是它透過臉部表情顯露出來(We can see nothing whatever of the soul unless it is visible in the expression of the countenance)」,不論是人類還是機器,說穿了,也許我們這些瘋狂的追求者只是渴望看見內心深處那難以捉摸的本質罷了。現代晚期人類對臉龐的崇拜性狂熱在西方世界的全球殖民活動中掀起一波高潮,西方人種學家和民族學研究者開啟了一系列面容及頭骨的記錄測量,尤其是針對那些陌生、來自異域殖民地的面容。正是在這個時間點,西非洲的面具雕塑作為他者臉龐成為了一種完美的象徵物件。它們大量被輸入歐洲,成為藏家愛不釋手的古玩,同時也引發了藝術創作方式的革新,例如以卡爾•愛因斯坦(Carl Einstein)為首的一批評論家和藝術創作者們即開始以美學觀點描述這些來自他鄉的物品,他們的作品除定義了所謂的非洲藝術外,至今也仍深深影響我們的觀看方式。近年,當歸還有問題的非洲雕塑成為西方博物館頭疼的主要課題時,來自亞洲的藏家儼然成為新一代有力的消費者。儘管他們的收藏並不等同西方式的殖民掠奪,然而他們的意識形態和方法學卻明顯參照了西方觀點,這樣的事實也反映在他們的展示方式與出版品上。展覽《我的笑容力量》借用著名牙膏品牌的廣告詞句,嘗試探索他者的容顏圖像究竟如何召喚了東方,並整合進入當代資本體系。

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Kuandu Museum of Fine Arts

Photo © Kuandu Museum of Fine Arts



South of the South:
Rhetorics of Geography and Imageries of Delinking
南方以南: 地理修辭與脫羈之像

Dec. 19 - 21, 2018
14:oo - 18:30
Guangdong Times Museum
Times Rose Garden III, Huangbianbei Road, Baiyun Avenue
Guangzhou, China

Curated by: Nikita Yingqian Cai
Coordinated by: Cai Qiaoling

Contributing Speakers:
Hera Chan & Xiaoshi Vivian Vivian Qin
Junyuan Feng
Kun Huang
Li Yongning
Liu Ye
Adrián Melis
Kwesi Dzapong Prah
Françoise Vergès
Lyno Vuth
Zairong Xiang
Yang Yuanyuan
Zeng Han
Musquiqui Chihying


South of the South: Rhetorics of Geography and Imageries of Delinking, the 7th Para-curatorial symposium presented by Times Museum and curated by Nikita Yingqian Cai, recognizes the constitutive histories and indigenous culture of Canton and the constructed narratives of the Pearl River Delta as a situated point of departure. The three-day symposium reignites the imaginations of “South of the South” by reflecting on the accelerated state of the PRD as a scalable model of modernization in Asia and a test site of globalization in China, where circulation of labors, capitals, cultural rituals, objects, images and ideas reveals an invisible undercurrent of southern geographies and imageries. Setting off from the historical moment of Bandung Conference and its deliberate economic and political choices of delinking with imperial power and hegemonic system, lectures and screenings shed light on the legacy of solidarity among the third world countries and how the Souths relate to each other by confronting “The Promise of Development” in the neoliberal, post-Cold War period. While rhetorics of geography and transnational trajectories of postcolonial subjects have been assimilated by major US-European institutions in the past two decades, the symposium enacts the performative potential of story-telling by inviting artists and institutional practitioners to speculate on “What if Stories are Tools?” beyond the exhibition and institutional formats, and to recuperate the capacity of creating disparate vocabularies and disruptions on a vernacular level. The last part of the symposium is dedicated to the interrogation of “Where is the South Now?” by collectively imagining a coordinated site of resistance. Informed by the intertwined histories of various Souths, the spectral entanglement of imperial powers and the global nationalistic movements of “closing down”, perspectives of gender, culture and technology are introduced to hack into the dominant infrastructures of hierarchy, to invoke other ways of interrelation and worlding, and to transform the dualistic demarcation of north and south, west and east ...

由時代美術館呈現,並由蔡影茜策劃的第七屆泛策展研討會以“南方以南:地理修辭與脫羈 之像”為主題,重新審視珠三角建構和被建構的歷史,及其自我塑造的美學和傳統,將中國 南方的社會、政治和文化情景,納入全球南方的地理坐標和圖像網絡之中。珠三角作為20世紀90年代新自由主義全球崛起的一個區域性典型,其試點性的經濟加速和城市化規模被作為一個可計量的模型推行全國,並被認可為亞洲現代化的特定標杆。這種對“發展的承諾”掩蓋了勞動力及資本以外由慣例、物品、形象和概念所承載的文化潛流。三天的研討會旨在重啟一種南方想像,並從萬隆會議提出的在政治和經濟上與帝國權力和霸權體系的決裂​​開始,探討後冷戰格局下,現代性框架中有關持續增長的普世信仰的破產。當地理修辭和後殖民主義的跨國議題完全為以歐美為代表的北方藝術體制主流化之時,藝術家和文化實踐者又如何超越展覽和機構的既定框架,在日常的層面上保存地方語彙的創造力?研討會的第二部分“溫故知新”激發“講述”這一古老技藝的潛力,從個體的、不受約束者的角度呈現斷裂和乾擾的可能。多樣化的南方及其交織的歷史,帝國慾望的互映和糾纏,以及以自由個人主義為代表的身份固化和右翼民粹主義的崛起,使得“何為今之南方?”成為一個迫切的問題。研討會的最後部分將引入性別、文化和技術等維度,以集體想像的方式探討對現存的等級秩序和帝國敘事的挑戰,並從超越“南北-東西”二元格局的角度,尋求新的聯結策略和世界圖景 ...

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Times Museum




Sep. 15 - Nov. 25, 2018
Opening: Sep. 14, 2018 19:00 - 21:00
Performance: 19:30
Don't wind it up, turn it on! directed by Marge Monko

Para Site is delighted to present Crush, a group exhibition that delves into the dark side of love and the complexities of unrequited emotion found therein. By tracing the injury, heartbreak, defeat and pathology associated with love, the exhibition reflects upon this vulnerable feeling and its interstices in both private life and the social structures found in the public realm.
Unrequited love oscillates like a pendulum on an axis of passionate extremes; it is at once an epic and an epidemic, a feeling of ravishing euphoria and a perverse quest. The figure of the stalker is perhaps one of the most dramatic representations of the kind of wild obsession that one might succumb to when love is not returned. Although unrequited love is itself old and widespread, albeit not universal, it is contemporary life that now breeds obsession with unprecedented vigour: from the stars and celebrities who are constantly followed by groups of crazed fans, the nationalistic slogans that avidly call for unconditional patriotic love, to the hopeful romantics on omnipresent dating apps, the packaging of shop products covered in symbols of love and success, and the often-neglected emotional labour that underlies all relationships. The flow and exchange of emotions in everyday life are often regulated by the prevailing institutions of contemporary society. Owing to their ubiquity, the conflicting feelings associated with unrequited love become the rather tender avenue through which these institutions can be investigated. Taking inspiration from the rhetoric of love and obsession, the exhibition conjures a fictive space for lyricism, tracing the sensations of euphoria and perversion while simultaneously investigating the threats of entrapment ...

Oscar Chan Yik Long
Chen Zhe
Chen Dandizi
South Ho
Huang Jingyuan
Sarah Lai Cheuk Wah
Lau Wai
Lee Kit
Li Jinghu
Dawn Kim
Marge Monko
Pak Sheung Chuen
Sunny Wong Wing Sang
Sound Route (Musquiqui Chihying, Shen Sum-Sum, Wu Chi-Yu)
Magdalen Wong
Writing Mothers (organised by Huang Jingyuan, Wang Yamin, Feng Junhua)
Cici Wu

Para Site藝術空間隆重呈現展覽《黯戀》。展覽聚焦愛的暗面以及在它的陰影中,積累著大量情緒的單戀。循著陶醉與沉迷、心碎與病變的線索,《黯戀》 嘗試描畫單戀的糾葛情緒,同時思索它生長和附身於我們的軌跡。
求而不得的愛總是搖擺在兩極之間:它既是史詩又是頑疾,既是痴迷的陶醉又是變態的追索。通俗文化中「跟蹤狂」的形象或許是描畫單戀者們深陷癡迷的最佳寫照,僅管單戀由來已久,當代生活卻在以前所未有的強度飼養著單戀的「跟蹤狂」們:從簇擁著成群粉絲的娛樂偶像、召喚愛與奉獻的民族主義宣言,到包裝著愛與想像的各式商品、商品背後流於隱形的情感勞動,和社交媒體中沒有實體的愛人們——情感於日常生活的起伏與流動時常被現代社會所規範、引流。苦痛的愛戀與迷醉,因而成為觀察現代性機制的一個柔軟開口。模擬愛與迷戀的修辭,展覽呈現出一個抒情的虛構空間;在勾勒一個兼具病態與迷醉的情緒現場的同時,也審視它將我們圍困的可能路徑 ...

Dawn Kim
Marge Monko

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Para Site





Curator: Huang Chien-Hung

The year 2017 marks the 30th anniversary of the lifting of martial law in Taiwan, with that moment of liberation in history belonging, nonetheless, not only to Taiwan. Geopolitically, other nations, whether originally on the side of liberalism or communism, were also in the midst of democratization, and historically, the three years between 2017 and 2019, also mark the centennial of the October Revolution, the semi-centennial of the May 1968 in France, and the 30th anniversary of the fall of Berlin Wall. However, the abundance of “transitional justice” in the late 80s has not led to the guarantee of social justice two decades later; in other words, communal social values, equality, fair distribution of power resources have all remain unresolved, resulting in the heavy influx of “quasi-anarchism” occupy movements. In short, global democratization and liberalization have caused power disparity and a gap between rich and poor in society ...
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MOCA Taipei

2017年是臺灣宣告解嚴的三十週年,然而當時那個解放時刻並非臺灣獨有,就地緣政治而言,無論是原屬自由主義陣營或是共產主義陣營的國家,都進行著民主化運動,另一方面就歷史縱深而言,以2017-2019三年來回溯,也是十月革命一百年、六八學運五十年、推倒柏林圍牆三十年;然而,八○年代後期大量的「轉型正義」,似乎在二十多年後並沒能保障社會正義,意即社會價值的共享、平等與權力資源的公平分配都沒能獲得解決,以至於在這十幾年間出現大量「準無政府主義」的佔領運動。簡言之,全球的民主化與自由化牽動了所有社會中權力與貧富差距的懸殊 ...
MOCA Taipei


Kader Attia
Pak Sheung Chuen
Wu Chi-Yu
Ham Yang Ah
Harun Farocki
Musquiqui Chihying & Gregor Kasper
Xu Tan
Chang Wen-Hsuan
Chen Chieh-Jen
Estella Huang
Huang Pang-Chuan
Ming Wong

致穎 & 格雷戈爾.卡斯帕