－OPEN SITE 2016-2017 Project B ＜Open Call Program＞
The Shibuya Incident took place in 1946 in Shibuya, Tokyo, was a violent confrontation between Taiwanese in Japan and police, this incident touched upon complicated identity and nationality issues at the jurisdiction between Taiwan, China, Japan and America, it has not only caught attention and aroused protest at the international level, but generated different discussions at the same time. It mapped out the poor, contention for space and anarchy situations under the postwar urban redevelopment projects, if urban as an actual political sphere, this incident at the same time marked the reconstruction of space and repartition of boundaries regardless of a postwar-colony or an empire, these migrants were forced into fractured and overstepped history, a bare life with no citizenship nor legal protection, if to review this under the Taiwan History, it is where the construction of Taiwanese identity first started and lead to the ambiguity as well as contradiction of Taiwanese identity later.
When personal emotion and identity fluctuate under the struggle between country and geopolitical region, this group of migrants sketched an alternative map of exile, through the transfiguration of country and borderline, affecting their map and route of shifting, as well the imagination of identity and emotional recognition of the moving subject, this imagined composition interweaved from geography and body, it kept circulating in the time of history duplicating its authority relation at the core and margin of the system. With these shifting and transforming spaces, in between overlapping dialectical relations of to and fro, similarities and differences, gaze and otherness, an alien land and homeland, how do they form identity through crossing borders and passing through it.
This project takes the Shibuya Incident as a unique point to go back to the postwar history, relook into the naked condition of human under changing state power and geographical border. It tries to rewrite time from an alternative strategy, let the unsung utters, not into historical studies but the emerge of an antagonistic way, allowing voices from the faraway to be heard in the slit of archives, texts and historical documentations. From the perspective of four artists from Taiwan, Japan, Korea and Malaysia, by carding the changing context of geographic spatial from postwar memory and postcolonial experience, revisiting its history with the attempt to question the meaning of human condition, people and place as well as homeland.
Artists confront with the context of space and postcolonial experience as the frame of reference, to conduct transboundary and passing through in different spaces, beyond the aperture of social time or historical time, to conduct the practical work to reconstruct time, this context also mounts the relation of power and knowledge at the time they lived, and the emotional world within a specific timeframe, from multiple viewpoints to extract, emancipate and salvage historical event from the past, provides the meaning of direct conversation, testing the extension of spaces, through scattered geographical traces inside and outside the border, or fragments of the history as clue, to the possibility to get back into oneself following the line.
Ko Nien-Pu's curatorial practice centers around use of urban spaces in East Asia, artistic action, social movement, and colonial history. In 2013, she was the curator of Reverse Niche ‒ Dialogue and Rebuilding at the City's Edge (Hong Kong, Osaka and Taiwan). In 2014, she participated in the Bi- City Biennale of Urbanism\Architecture (Hong Kong) and organized the symposium We Are Everywhere¬－Community Art in the mist of Proletarianized Spatial Production－A Critical Approach (Hong Kong). In 2015, she was the curator of Beyond the Borderline- Exiles from the Native Land (Taiwan, Hong Kong, Tokyo, Korea and Beijing). Also, in 2015, she participated in TransActions in the Field: Challenging the Role of Citizen Participation through Participatory Public Art Goethe-Institut Malaysia.
Hikaru Fujii, Kum So-Ni, Kao Jun-Honn, Au Sow-Yee
The National Culture and Arts Foundation (Taiwan)