Taipei Film Festival
25. June - 11. July  2020
Taipei, Taiwan

The Sculpture will have Asian Premiere of its Theater / Kino version in this year's Taipei Film Festival. As one of the most important film festivals in Asia, Taipei Film Festival builds closer relationships with Asian independent filmmakers and film industries through film screenings, activities, workshops and other forms of cooperation. It is a platform for connecting filmmakers, the film industry and audiences that maintains flexibility for innovation and change, preserving its potential to be a fresh and cutting-edge film festival.

The Sculpture 
2020 / DCP / B&W / 29 min

The Sculpture, an experimental documentary consisting of performance and photographs, focusses on the new collection of African art in the National Museum of China in Beijing. The film attempts tp explore the meaning of museums and the geopolitical relations between Asia, Africa and Europe.

Screening schedule: 

01. July 20:30  Hsinyi
05. July 15:00  Hsinyi
06. July 15:10. Hsinyi

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Taipei Film Festival



Meditations in an Emergency

UCCA Center for Contemporary Art
798 Art District
No. 4 Jiuxianqiao Road
Chaoyang District, Beijing 100015

Opening Hours /
21. May 2020 - 30. August
From Mon to Sun 10:00 - 19:00

Artists /
Lawrence Abu Hamdan
Musquiqui Chihying
Forensic Architecture
Han Bing
Christopher K. Ho
Joyce Ho
Hsu Chia-Wei
Hu Rui
Pierre Huyghe
Jiang Zhuyun 
Oliver Laric
Amiko Li
Li Liao
Lu Lei
Shana Moulton
Qiu Anxiong
Mika Rottenberg 
Angela Su
Wolfgang Tillmans
Yi Xin Tong
Wang Bing
Yang Fudong
Zhang Hui
Zhang Peili
Robert Zhao Renhui
Payne Zhu

Curatorial Team /
UCCA exhibitions team
Guo Xi, Luan Shixuan, Ara Qiu, Lin Luqi, Duffy Du, and Neil Zhang

From May 21 to August 30, 2020, UCCA Center for Contemporary Art presents the group exhibition “Meditations in an Emergency.” The exhibition emerges in the wake of the pandemic which has created the first truly global moment of the twenty-first century. As it marks UCCA’s reopening after the longest closure in its history, since late January, the exhibition looks to art as a source of solace, reflection, and solidarity. Structured in five sections—focused on everyday life, the body and biopolitics, the human/animal dichotomy, migration and borders, and the information landscape—the exhibition includes works by 26 artists. These engage with the currents that have led to our present circumstances, and what futures we might find in the aftermath. The exhibition takes its title from an anthology of poetry by Frank O’Hara (1926-1966), better known during his short life as a curator at New York’s Museum of Modern Art. As O’Hara wrote in one of the included poems, “In times of crisis, we must all decide again and again whom we love.”...

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Crossing the World Color Line

Centre Pompidou
Place Georges-Pompidou
75004 Paris, France

Opening /
03. March 2020
18:00 - 21:00

Public Open /
04. March - 18. May 2020
From Wed to Mon 11:00 - 21:00

Artist Talk /
Le Mensuel #3
04. March 2020
19:00 - 20:30

Artists /
François-Xavier Gbré
Anawana Haloba 
Wang Bing
Marie Voignier
Musquiqui Chiying  (in cooperation with Elom 20ce and Gregor Kasper)
Kiluanji Kia Henda
Cui Jie

Curated by
Alicia Knock and Yung Ma

Should the China-Africa connection be seen as a form of total emancipation from colonialism or as the expression of a new relationship based on domination? The China – Africa exhibition examines the real and imaginary spaces resulting from this dialogue, which were first constructed within a framework of Marxist ideology and colonial and then decolonial history. It is an implicit interrogation of Western history.

At the turn of the 20th century, W. E. B. DuBois, the pan-Africanist American thinker, advocated the idea whereby the Asian world could trace the pathway for worldwide racial emancipation. The last century was shaped by the progressive establishment of a link, in certain cases a community of political, ideological and then largely economic interest, between China and Africa. This Afro-Asian meeting of two "Southern" zones liberated representation systems from both the colonial and Western framework, and asserted a common need for a change of focus. What new realities emerged from this transcultural encounter? What mobilities, what cities, what communities? What Utopian or dystopian projections came to light?

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Centre Pompidou



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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