Musquiqui Chihying wins Han Nefkens Foundation -
Loop Barcelona Video Art Production Award 2019

Musquiqui Chihying is the winner of the Han Nefkens Foundation - Loop Barcelona Video Art Production Award 2019, in collaboration with the Fundació Joan Miró, recognising his geopolitical perspective which utilizes the historical past to examine contemporary politics in an increasingly illiberal world, attempting to connect world histories together. He does so in a distinctive style that celebrates complex narratives delivered through a dead-pan sense of humor. The jury therefore believes that he would benefit most from the Award at this moment in his career. Established by the Han Nefkens Foundation in collaboration with Loop Barcelona and the Fundació Joan Miró in 2018, the annual award aims to increase contemporary artistic production in the video art field by supporting artists of Asian origin or nationality.

Musquiqui Chihying receives USD 15,000 funding for the production of a new work which will be presented at the Fundació Joan Miró in November 2020 to coincide with Loop Barcelona 2020. At a later stage, the work awarded will be presented also at Art Sonje Center in Seoul, South Korea; at Inside-Out Art Museum in Beijing, China; at the MOCA Museum of Contemporary Art of Tapei, Taiwan and at Ilham in Kuala Lumpur, Malaysia.

The winner has been selected by a judging panel chaired by Han Nefkens, and joined by Emilio Alvarez, Founding co-director of LOOP Barcelona; Marko Daniel, Director of the Fundació Joan Miró; Anita Huang, curator at the MOCA Taipei; Haeju Kim, Deputy Director aof the Art Sonje Center, Seoul; Carol Yinghua Lu, director of the Inside Out Art Museum, Beijing; Dirk Snauwaert, Director of WIELS, Brussels; and Valentine Willie and Rahel Joseph, Creative Director and Gallery Director of Ilham, Kuala Lumpur, in the presence of Hilde Teerlinck, Director of the Han Nefkens Foundation, Alessandra Biscaro, Award Program coordinator for the Han Nefkens Foundation and Zoë Gray, Senior Curator of WIELS.

Featuring artists from all over Asia, the eight shortlisted artists for the Han Nefkens Foundation - Loop Barcelona Video Art Award 2019 were: Kray Chen (1987, Singapore), Rui An Ho (1990, Singapore), Hayoun Kwon (1981, South Korea), Kai Chun Lee (1985, Hong Kong), Li Ran (1986, China), Wasif Munem (1983, Bangladesh), Musquiqui Chihying (1985, Taiwan) and Tzu-An Wu (1985, Taiwan).

The artist long-list for the Han Nefkens Foundation – LOOP Barcelona Video Art Production Award 2019, in collaboration with Fundació Miró, was proposed by: Ms. Zoe Butt (Australia), Mr. Cosmin Costinas (Romania), Mr. Mario D'Souza (India), Mr. Patrick Flores (Philippines), Ms. Alexie Glass Kantor (Australia), Ms. Fang-Tze Hsu (Taiwan), Mr. Chien Hung Huang (Taiwan), Ms. Yukie Kamiya (Japan), Ms. Bae Myungji (South Korea), Ms. Arlette Quynh Anh Tran (Vietnam), Ms. Anca Rujoiu (Romania), Ms. Su Wei (China).

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Gazing From The Sinosphere:
Media Art as Border Crossings
UNSW Galleries Program

01. - 02. November 2019
Lecture Theatre & UNSW Galleries
UNSW Art and Design
Corner Oxford Street and Greens Road
Sydney, NSW 2052

How are cultural borders depicted and disrupted? This program discusses new media works by three post-1980s East Asian artists who have all witnessed rapid globalisation, the rise of new capitalist powers, and swift advancements in digital technologies that are predominately manufactured in East Asia. Musquiqui Chihying (Taiwan), Hao Jingban (China), and Au Sow Yee (Malaysia), all use moving image as the main medium to articulate their research-based projects. They work across geographic and cultural boundaries, with interests in decoloniality, migration, and early moving image and photography practices in war time.

The two-day program includes screenings of each artist’s work, featuring the two-channel video Café Togo, where Musquiqui Chihying and Gregor Kasper narrate the little-known colonial relationship between Togo and Germany; Hao Jingban’s From South Lake Park to Hongqi Street, tracing the early moving image industry during the Japanese occupation of Northern China; and Au Sow Yee’s Pak Tai Foto, weaving fictional narratives by South Asian migrant workers with footage of an early photo studio in Kuala Lumpur. Each artist’s time-based works can be understood in various site-specific contexts although it is not possible to label them as culturally specific, local, or global.

Organized by Yu-Chieh Li, Judith Neilson Postdoctoral Fellow in Contemporary Art, UNSW Art & Design with Dr. Veronica Tello, UNSW Faculty Research Forum and Julia Mendel, UNSW Galleries. Supported by the Faculty Research Fund, UNSW Art & Design.

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Musquiqui Chihying

08. October 18:30 - 21:00
08.October - 10. December 2019
From Wed to Sat 14:00 - 18:00 and by appointment
Free entrance


12 rue de la Coifferie, 63000 Clermont-Ferrand, France

Curated by 
Pietro Della Giustina

In extenso is pleased to present the first solo show in France by Taiwanese artist Musquiqui Chihying. The Chinese Museum F questions contemporary museum practices and the social function of cultural heritage by putting them in perspective with the way certain collections have historically been established. It will also examine how this knowledge has been constructed, preserved and redistributed. The artist creates a parallel between the artifacts in the African collection of the National Museum of China in Beijing, built up between 2007 and 2011 thanks to the donations of a private collector, and the Chinese art objects looted by the Franco-British army during the Sack of the Old Summer Palace in 1860, which are now conserved in the Chinese Museum at Fontainebleu Castle.

As an artist who grew up on an island marked by a long colonial history, Musquiqui Chihying’s investigation naturally involves certain decolonial gestures that highlight the need for a radical change in the hierarchies between the culturally dominant and the culturally dominated. However, through his artistic practice, he tries to take the debate even further, not only to clarify the historical causes of the constitution of these collections, but also to interrogate the metaphorical function and material fate of these objects in contemporary globalized society.

The exhibition is part of «Résonance»
parallel program of the 15th Lyon Contemporary Art Biennale.

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Berlin Art Prize 2019
Nominee Exhibition

30. August. 18:00 - 22:00
31. August. - 27. September. 2019
Thu - Sun 12:00-18:00

Badstr.66, 13357 Berlin

Curated by 
Berlin Art Prize

The original image, the reproduced image, and the received image — Musquiqui Chihying (b. Taipei, 1985) examines the power relations under which humans and objects move through the world by tracing key images. In his film and video installation for the Berlin Art Prize 2019, Chihying emphasizes particular moments, objects and people in which the global entanglements of historical and modern colonialism converge.

Paris 1936. Walter Benjamin's essay on the technical reproducibility of the work of art appears for the first time in French with the title “L'œuvre d'art à l'époque de sa reproduction mécanisée” - paving the way for a new theoretical understanding of that art which is always available in the form of photographic representation but that is detached from its “Kultwert,” or cult value. Shortly thereafter, André Malraux adopts Benjamin's analysis as the intellectual starting point for his pictorial essay of a Musée imaginaire. The artistic treasures of the world lie at the smoking art historian's feet when Paris Match visits him in 1947 for the now-famous photo shoot in his Paris apartment. In his two-channel video installation The Sculpture (2018/19), Musquiqui Chihying, himself, appears as Malraux. And while, visually, he asserts ownership over the objects in the manner of the French intellectual showman, Chihying simultaneously presents the political history of the theft, appropriation, and renewed expropriation of African cultural assets in an essayistic reading on an actual museum in Togo. 

Berlin 1936. National Socialist Germany makes the Olympic Games in the image of a Germanic Cult—filmed by Leni Riefenstahl. One of the heroes of her recording is the Korean marathon runner Sohn Keih-Chung, who broke a world record that year. Sohn ran under Japan's flag as Korea was a Japanese colony at the time. As Sohn is presented with the seedling of an oak tree at the awards ceremony, he lowers his gaze and covers the national flag on his jersey with its leaves. In his 16mm film projection The Camera (2016), Musquiqui Chihying reenacts this ambivalent award ceremony, but he does not depict the silent protest of Sohn Keih-Chung. Rather, he portrays those behind the camera: Leni Riefenstahl and her assistants, who had intended to create a film in the service of the Third Reich, and instead caught a moment that would become iconic to Korea's struggle for independence.

Text / Sophie Jung

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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