Date｜03.28-06.16.2024
Venue｜Tainan Art Museum
This curatorial project starts with the Fort Zeelandia built by the VOC in 1624. Through the problematic revolving around the colonization and trade by this state-run commercial company – one that was able to carry out diplomatic actions and launch violent wars – this exhibition concentrates on the exploration of several keywords, including “trade,” “war,” “marine navigation,” “colonization,” “post-colonial,” “map,” and “plants and species migration.”
The exhibition is on view at Galleries B to G of the Tainan Art Museum Building 1 and Galleries A to D of the Tainan Art Museum Building 2. The different subtopics have similar points of attention, and the combination of and dialogue between various artworks also extend into more discussion-worthy topics.
Wu Chi-Yu not only presents the work The LED but also brings the collaborative work Sound Route: Songs of SPECX-"The Singing", created with Shen Sum-Sum, Musquiqui Chihying.
The artwork The LED Future was previously displayed in the group exhibition Liquid Love at Taipei Fine Arts Museum (2020) and in Wu Chi-Yu solo exhibition at TKG+ (2022). It is on view again in the group exhibition VOC, Sea Monsters, Artillery Fire, and Them: 400 Years of Fort Zeelandia, exploring a future universe dependents on artificial light sources with the disappeared sunlight by a four-channel video installation. From the LED, OLED, or Micro LED panels, it aims to delineate the subject consciousness behind these light-emitting display surfaces, associating with the relation from Japan-South Korea trade war
Sound Route: Songs of SPECX-"The Singing" is a performance documentary/installation co-created by Wu Chi-Yu, Shen Sum-Sum, Musquiqui Chihying. Using oral history and musical sound collection, Sound Route aims to reflect on both the modality of contemporaneity and political relations among different regions that have been shaped by transnational trade and globalization since the colonial period. The three artists take up the historical memory of Formosa as their point of departure, but the project is meant to be a comprehensive, multi-thread survey of the early modern history of East Asia that highlights the synchronicity of the historical development of different areas and the diversity of post-modern traits.
