革命的做法:從 318 太陽花看公民 運動的創造性 The Methodology of Revolution: Evaluating the Creativity of Citizen Movements from March 18 Sunflower Movement

This publication is the catalogue of the Art as Social Interaction – Hong Kong/Taiwan Exchange exhibition that was shown in Hong Kong and Kaohsiung, Taiwan in 2014. The exhibition featured the works of thirty artists and artist collectives from Taiwan and Hong Kong, which explored new ways of connecting art, society and the public in East Asian contexts. In contrast to an earlier emphasis on ‘intervention’ or ‘participation’, the term ‘social interaction’ aims to avoid the binary between art and society by highlighting their interactive relationship. The exhibition was divided into several sections that focused on the different approaches and functions of art in society: art as social movement, art as education, art as companionship, art as ecology, art as cultural preservation, art as social design and art as residency in community and space. 

What are the commonalities across Indigenous experience, political struggle and artistic practice trans-regionally? What sovereign Indigenous projects find ground across the national spaces known as ‘Taiwan’, ‘Australia’, ‘Finland’, ‘Bangladesh’, ‘Samoa’ or ‘Canada’, to name a few? The anthology Sovereign Words makes a stride towards potentials of Indigenous dialogues across continents. The sixteen contributions emerge from the Critical Writing Ensembles workshop supported by OCA at the 2018 Dakar Art Summit.

When I finally got my own kitchen, I happily experimented with cooking at home, often following the recipe blogs of Indonesian expatriate housewives living abroad. Through discovering food preparation as a ritual of communication between self and others - and as an instrument for both healing and inventing identity - I felt inspired to study food as my core artistic practice.

The contributors in this publication are artists and theorists from Taiwan, Hong Kong, Japan, Korea etc., exploring the politics of space in East Asian cities. The recent upsurge and intensification of the forces of neoliberal capital has given rise to the increasing use of art and design as an instrument of gentrification. This publication serves as a document of their research findings, and suggests what roles art could play as both a critical social practice and site of resistance. Significantly it offers a detailed account of how artists are involved in acts of spatial resistance by creatively remaking space and by establishing connections between various forms of spatial politics across East Asia. 

This publication is the exhibition catalogue of the 8th Shenzhen Sculpture Biennale: We Have Never Participated, that took place at OCAT Shenzhen in 2014. This exhibition coined the term ‘post–participation’ in the wake of the increased salience and focus on notions of process and participation as key to understanding contemporary art in the West. However, as suggested by the title of the Biennale, the artistic context in China is defined by the absence of historical traditions of participatory art. The significance of this catalogue lies not only in its documentation of the works featured in the exhibition but also in its inclusion of key essays by international scholars, such as Boris Groys and Shannon Jackson; essays by Zheng Bo and Su Wei that introduced recent artistic development in China; and Lu Pei–yi’s essay entitle ‘We are Participating: Taiwan Context’, which directly addressed the Sunflower Student Movement that took place in Taiwan in the Spring 2014. 

Art as Environment: A Cultural Action at the Plum Tree Creek, is a project that curator Wu Mali and Bamboo Curtain Studio developed, since 2009, to help the Zhu-Wei neighborhood to understand their Plum Tree Creek which has gone through a dramatic change. The first phase of the project is to raise pollution and water

When the new semester began in February 2010, Yao Jui-Chung, presiding over the first classes of the fine arts departments at Taipei National University of the Arts and the National Taiwan Normal University, asked the students about their expectations for this class: did they wish to follow the normal class format, where the teacher would