Featured Events in Taipei in November, 2024 (April Updated)

The exhibition features more than 80 bird photography works by the "World Wild Bird Photography Team of Heroes", including species endemic to Taiwan, endemic subspecies, raptors, lost birds, endangered bird species in the world, and raptors or other bird species photographed abroad, etc., showing the rich and fascinating wild bird ecology around the world. Through image creation, the public is led to understand various common or rare endangered birds around their lives, and convey the importance of natural ecological conservation to the public.

This is the longest journey, to the place where I started before──Hu Defu’s ‘The Longest Road’ The solo exhibition “The Wind on the Mountain is Still Fragrant” by Taiwanese Paiwan artist Yidan Bawawalon, which will be held at Asia Art Center (Taipei) from September 14 to November 10, 2024, is a continuation and response to the concept of his solo exhibition “The Wind on the Mountain is Very Fragrant” at the Taipei Art Center in 2014. It was Yidan’s first solo exhibition after the 2009 Typhoon Morakot, and it was also the first large-scale and well-organized solo exhibition in his creative career. After 10 years, this solo exhibition “The Wind on the Mountain is Still Fragrant” uses the two images of “wind” and “spiritual bird” to allegorize Yidan’s worldview in art. In Yidan's concept, the spirit bird symbolizes eternal existence. Even though things change over time, life and all things inevitably flow and change with time, but because of the eternal pull, the wind blowing from the mountain is still fragrant.

Asia Art Center is pleased to announce Blind Spot, the first solo exhibition by American artist Katja Farin in Asia, from September 14 to November 10. Katja Farin’s keen observations bring local elements such as fishing boats, window grilles, animals, insects and plants to life in her paintings, using her recognizable orange, red, green and blue tones to create everyday scenes of the local area. Farin’s works are mostly presented in bright colors and dramatic images. Through the seemingly expressionless protagonists in the pictures, he explores the unconscious, the collective unconscious and the relationship between the self, space and the surrounding environment through figurative paintings. In this exhibition, Farin also brought a number of ceramic works for the first time. The ceramics, which are mainly glazed in gray, brown, green and white, are decorated with spikes, chains and mirrors made of ceramic and metal, which are three-dimensional symbols that appear repeatedly in his paintings. Through the interpretation of two-dimensional and three-dimensional works, the artist examines the emotional blind spots hidden in the subconscious that are unwilling to be mentioned, the lingering trauma, and the controversy that has yet to be clarified. The two works of different media are closely combined through the reflection of the mirror, and the viewer's reflection is trapped in this dream-like vortex, as if it has become part of the disturbing space.

Asia Art Center is pleased to announce Blind Spot, the first solo exhibition by American artist Katja Farin in Asia, from September 14 to November 10. Katja Farin’s keen observations bring local elements such as fishing boats, window grilles, animals, insects and plants to life in her paintings, using her recognizable orange, red, green and blue tones to create everyday scenes of the local area. Farin’s works are mostly presented in bright colors and dramatic images. Through the seemingly expressionless protagonists in the pictures, he explores the unconscious, the collective unconscious and the relationship between the self, space and the surrounding environment through figurative paintings. In this exhibition, Farin also brought a number of ceramic works for the first time. The ceramics, which are mainly glazed in gray, brown, green and white, are decorated with spikes, chains and mirrors made of ceramic and metal, which are three-dimensional symbols that appear repeatedly in his paintings. Through the interpretation of two-dimensional and three-dimensional works, the artist examines the emotional blind spots hidden in the subconscious that are unwilling to be mentioned, the lingering trauma, and the controversy that has yet to be clarified. The two works of different media are closely combined through the reflection of the mirror, and the viewer's reflection is trapped in this dream-like vortex, as if it has become part of the disturbing space.

This is the longest journey, to the place where I started before──Hu Defu’s ‘The Longest Road’ The solo exhibition “The Wind on the Mountain is Still Fragrant” by Taiwanese Paiwan artist Yidan Bawawalon, which will be held at Asia Art Center (Taipei) from September 14 to November 10, 2024, is a continuation and response to the concept of his solo exhibition “The Wind on the Mountain is Very Fragrant” at the Taipei Art Center in 2014. It was Yidan’s first solo exhibition after the 2009 Typhoon Morakot, and it was also the first large-scale and well-organized solo exhibition in his creative career. After 10 years, this solo exhibition “The Wind on the Mountain is Still Fragrant” uses the two images of “wind” and “spiritual bird” to allegorize Yidan’s worldview in art. In Yidan's concept, the spirit bird symbolizes eternal existence. Even though things change over time, life and all things inevitably flow and change with time, but because of the eternal pull, the wind blowing from the mountain is still fragrant.

Asia Art Center is pleased to announce Blind Spot, the first solo exhibition by American artist Katja Farin in Asia, from September 14 to November 10. Katja Farin’s keen observations bring local elements such as fishing boats, window grilles, animals, insects and plants to life in her paintings, using her recognizable orange, red, green and blue tones to create everyday scenes of the local area. Farin’s works are mostly presented in bright colors and dramatic images. Through the seemingly expressionless protagonists in the pictures, he explores the unconscious, the collective unconscious and the relationship between the self, space and the surrounding environment through figurative paintings. In this exhibition, Farin also brought a number of ceramic works for the first time. The ceramics, which are mainly glazed in gray, brown, green and white, are decorated with spikes, chains and mirrors made of ceramic and metal, which are three-dimensional symbols that appear repeatedly in his paintings. Through the interpretation of two-dimensional and three-dimensional works, the artist examines the emotional blind spots hidden in the subconscious that are unwilling to be mentioned, the lingering trauma, and the controversy that has yet to be clarified. The two works of different media are closely combined through the reflection of the mirror, and the viewer's reflection is trapped in this dream-like vortex, as if it has become part of the disturbing space.

Tina Keng Gallery is pleased to present Ava Hsueh: Within the Pulse of Time, her latest solo exhibition at the gallery after a four-year hiatus. The exhibition encapsulates the artist’s years of contemplation of abstract art, her navigation of thought and creative practice, and her exploration of postmodern era abstract painting.

Tina Keng Gallery is pleased to present Ava Hsueh: Within the Pulse of Time, her latest solo exhibition at the gallery after a four-year hiatus. The exhibition encapsulates the artist’s years of contemplation of abstract art, her navigation of thought and creative practice, and her exploration of postmodern era abstract painting.

Since the 20th century, when exhibitions have become the core venue for displaying artworks, a strong sense of space has also become an important characteristic of calligraphers' creations. The name of the exhibition "When the Big Waves Come" is based on this. It is not only about the huge space, but also the huge sight. It explores how artists respond to the towering white walls and the viewing perspectives from different cultural backgrounds through calligraphy creation. This time, four artists, Bu Zi, Li Maocheng, Wada Hiroshi, and Yu Tongsheng, are invited to participate in the exhibition. Through changes in size, style, content, number of words, color, and material, they have created new ideas for traditional calligraphy and reflected the myriad aspects of contemporary calligraphy art.

Since the 20th century, when exhibitions have become the core venue for displaying artworks, a strong sense of space has also become an important characteristic of calligraphers' creations. The name of the exhibition "When the Big Waves Come" is based on this. It is not only about the huge space, but also the huge sight. It explores how artists respond to the towering white walls and the viewing perspectives from different cultural backgrounds through calligraphy creation. This time, four artists, Bu Zi, Li Maocheng, Wada Hiroshi, and Yu Tongsheng, are invited to participate in the exhibition. Through changes in size, style, content, number of words, color, and material, they have created new ideas for traditional calligraphy and reflected the myriad aspects of contemporary calligraphy art.

Since the 20th century, when exhibitions have become the core venue for displaying artworks, a strong sense of space has also become an important characteristic of calligraphers' creations. The name of the exhibition "When the Big Waves Come" is based on this. It is not only about the huge space, but also the huge sight. It explores how artists respond to the towering white walls and the viewing perspectives from different cultural backgrounds through calligraphy creation. This time, four artists, Bu Zi, Li Maocheng, Wada Hiroshi, and Yu Tongsheng, are invited to participate in the exhibition. Through changes in size, style, content, number of words, color, and material, they have created new ideas for traditional calligraphy and reflected the myriad aspects of contemporary calligraphy art.

As the TFAM’s new collection vault is about to be inaugurated, this exhibition focuses specifically on female artists’ works in our collection, aiming to shine a light on a creative dimension of contemporary art that is both tender and resilient. It seeks to provide a new perspective from which audiences can understand and interpret the collection. Moreover, this exhibition foregrounds that our new collection vault not only implies the expansion of physical space but also commits to unwavering exploration of the inner conditions of contemporary art. As a concept of human geography, “enclave” refers to a territory entirely surrounded by the territory of one country but not under its jurisdiction. Derived from Latin, enclave comprises the prefix “en” (in, within something) and “clave” (key), literally translated as “a locked space.” This exhibition invokes the metaphor of “enclave” to represent a creator's inner world, indicating a safe haven for consciousness, a space which can be shielded autonomously, so that the creator can maintain inner peace and steadfastness in the face of external interventions or emotional fluctuations. The exhibition mirrors the rich inner worlds and diverse life experiences expressed in women's art, extending the common autobiographical narrative in literature to convey the context and life concerns of artists across different stages of their lives.

As the TFAM’s new collection vault is about to be inaugurated, this exhibition focuses specifically on female artists’ works in our collection, aiming to shine a light on a creative dimension of contemporary art that is both tender and resilient. It seeks to provide a new perspective from which audiences can understand and interpret the collection. Moreover, this exhibition foregrounds that our new collection vault not only implies the expansion of physical space but also commits to unwavering exploration of the inner conditions of contemporary art. As a concept of human geography, “enclave” refers to a territory entirely surrounded by the territory of one country but not under its jurisdiction. Derived from Latin, enclave comprises the prefix “en” (in, within something) and “clave” (key), literally translated as “a locked space.” This exhibition invokes the metaphor of “enclave” to represent a creator's inner world, indicating a safe haven for consciousness, a space which can be shielded autonomously, so that the creator can maintain inner peace and steadfastness in the face of external interventions or emotional fluctuations. The exhibition mirrors the rich inner worlds and diverse life experiences expressed in women's art, extending the common autobiographical narrative in literature to convey the context and life concerns of artists across different stages of their lives.

Artists: Chingltu - Dai Junpeng - Bay Tang Jiaxin - Pi Kai - Ai Xuefeng - Lu Jusong - Yu Wenjie - Wei Yi - Shaw - Agan - Zhao Zhuang - PEI - Marck - Dirk Salz - Thierry Feuz - Christiane Grimm - Janna Watson