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



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



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

more info 
CAAC Gallery 456