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Battle City 2: Economic Miracle

The Separate Customs Territory of Taiwan, Penghu, Kinmen, and Matsu as an economic entity is one of Taiwan’s internationally recognized identities nowadays. Revolving around the economic miracle, Battle City 2 – Economic Miracle depicts Taiwan as a mandate whose reconstruction has been entrusted to the JJ Corporation by the United Nations in the form of BOT (build-operate-transfer) after the nuclear disaster known as The Glory of Taiwan, and the JJ Corporation plans to transform Taiwan into “New Formosa,” a special economic zone for foreign exchange earnings. In this story, the investors also call the “New Formosa” an “economic farm” in the sense of a farming concentration camp, where Formosans are kept as economic animals intend- ed to offer services of all stripes for the investors.

Battle City 2: Economic Miracle

NR N/A
More than Necessary

Suthat, a young man from the northeastern part of Thailand, has worked in Taiwan for six years. He does not aim to save money, nor does he have any plans for the future. He has just moved to Taichung. Four months ago, he visited the ASEAN Square for the first time. It was in a Thai disco club that he met the film crew that was scouting locations and looking for materials for a production to be shown in a group exhibition at MoCA Taipei in May. For reasons unknown, the film crew invited Suthat to join the film. That day, Suthat came to the ASEAN Square to celebrate the Songkran festival with his friends. During the past four months, he has made quite a few friends; and today, the film crew with a Thai interpreter became his new friends.

More than Necessary

NR N/A
Mori

Mori investigates the confluence of ecologies with place-based affectivities in Yamaguchi Prefecture, Japan. The title of the three chapters,“守(to protect)”、“森(forest)”、“杜(spirit)” are different in shapes and meaning, yet all pronounced as “Mori in Japanese.” Karst cave, groundwater, the soils, villager, burning mountain ritual, scientist, Buyō dancer, majestic oak and forest, the work questions the ways of contemplating nature through rituals and folklores, and how landscapes have been historically constructed. Conceptualizing Dan Graham’s installation “Two-way Mirror Triangular Pavilion with Shoji Screen” as diffractive model of the work, Mori sees landscape as process and inner mechanism, which is defined by our detached vision and interpreted by our bodymind. It is a panorama which continuously changes as we move along any route.

Mori

NR 2021
Planet A

Planet A is a metaphor for human arrogance, in which humans destroy nature and other beings, justify their behavior as "development", evaluate themselves as "good"(A), and are flattered to be on top of Earth. An experimental musical documentary project, presented as an omnibus of 15 music videos, was created with the goal of challenging the status quo and revealing the truth that lies behind what is happening on this "fantastic" planet right now, along with fighting against all discrimination within it.

Planet A

NR 2022
The Inspired Island:  The Coming of Tulku

The Ancient Chinese philosopher Zhuang Zhou’s dream of becoming a butterfly blurs reality and fantasy, reflecting a poet’s desire for freedom and eternity. The coming of Tulku draws from Buddhist classics, using Chou Meng-tieh’s life as a metaphor. His experiences at WuChang Street and his bookstand, started in 1959, led to enlightenment and loyalty to Buddha and loved ones. Influenced by Buddhism, his poems blend Zen with grace, affection, and prudence, capturing life’s essence with strength and delicacy. He closed his bookstand in 1980 due to illness.

The Inspired Island: The Coming of Tulku

8.0 2011
Hard Good Life

An elderly man cooks himself some noodles and eats them straight from the pot while watching TV by himself. He dozes off at his job as a security guard. Alone since the death of his wife, the father’s daily life is filmed by his daughter. While turning her gaze on ordinary things like garbage, keys, puppies, flies and lizards, we can almost sense the strong smells of summer and the sound of thunder at night. Suddenly, the father turns and waves to us. The father-daughter bond is expressed here in very few words.

Hard Good Life

10.0 2003
The Taoyuan Airport Incident

On 30 November 1986, during the legislative election campaign, leading opposition figure HSU Hsin-liang planned to fly back to Taiwan after years of exile. The Democratic Progressive Party (DPP) called for a mass mobilisation to welcome him at the airport. However, they unexpectedly confronted a large number of police and military personnel on the highway to the airport. The police attempted to disperse the crowd with water cannons and tear gas numerous times. The two sides even attacked each other with rocks. The only three TV stations at the time – TTV, CTV and CTS – repeatedly broadcasted scenes of the crowd throwing rocks and accused the DPP of being a violent party, attempting to affect the election results. The airport incident that Green Team captured soon became a popular video that the DPP candidates played at their campaign headquarters to subvert official lies in a timely manner. This film is a full coverage of the incident, edited after the election.

The Taoyuan Airport Incident

NR 1986
My Wedding Album

Wedding photos are the development of emotions. The unique cultural etiquette and true temperament of the Chinese society are all recorded in the wedding photos. It makes everyone believe that this is a dream factory that can exchange money for concrete happiness. Before entering into marriage, the prince and princess are looking forward to a happy and happy love and future. On the other side, the couple who are already in marriage, what they hear is a frank conversation between them. Looking back at the photo that symbolizes the marriage contract, what kind of form does the "intimacy", "happiness", or "love" between the two transform into?

My Wedding Album

NR 2019
Taiwan Equals Love

In 2016, the parties of the Taiwan Legislative Yuan submitted drafts on the marriage equality act but were confronted with anti-LGBTQ groups. Meanwhile, three pairs of same-sex partners are also facing their own family issues. Tien-Ming and Hsiang have been in love for more than 30 years, but their love is being tested with old-age and illness. Jovi and Mindy spend most of their time protesting for marriage equality, fighting for the rights of Jovi's daughter. Gu flew from Macau to live with Shinchi but is now struggling with finances and the pressure to come out to their parents...

Taiwan Equals Love

NR 2024
My Dear Art

In the past fifteen years, the Asian art market has exploded. Chinese collectors now spend more money in auction than Americans and Brits, while a new generation of Asian artists are reshaping the world’s artistic palate. My Dear Art depicts the wonders and absurdities of the Asian art market. From China, to Singapore to London, it profiles the artists, collectors, gallerists and experts who are changing the face of the art business forever and asks fundamental questions about the value and role of art in modern society.

My Dear Art

NR 2017
The Man Who Cannot Be Excluded

In 2009, a DNA test report that "does not rule out the possibility" turned Chen Longqi from a witness to a defendant. After he was found guilty, he began to flee, fearing that he would not be able to clear his grievances in prison. Fortunately, four years and thirty days later, he met a judge who was willing to investigate again, and finally changed the verdict to not guilty. But from guilty to innocent, what he saw in front of him was the ruin of his career, heavy debts, the mental panic of long-term escape and hiding, and many people who wanted his help and were also suffering from unjust cases...

The Man Who Cannot Be Excluded

NR N/A
The Land in the Middle of the Pond

The Land in the Middle of the Pond makes reference to the 1950’s forced displacement of the Atayal Qara community from their ancestral territory for the construction of the Shimen Reservoir – now the main water supply for Northern Taiwan. Throughout the video, we hear the voice of an elder who recalls the events which resulted in the forced displacement of her community and the impact of diaspora. In the video we see Ciwas tracing veins that run along her limbs like rivers. During the performance, later Ciwas and other Atayal women engage in an Atayal name exchange ritual, between person and plant. This customary ritual Ciwas employs like the tracing of her bloodline at the reservoir, as a symbolic act for reconnecting with her ancestral land while affirming her identity past, present and future.

The Land in the Middle of the Pond

NR N/A