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“Relational Field: The Cultural Landscape of New Taipei in the 1990s” Exposition in NTＣAＭ, 2025-08-16 — 2025-12-21 Curated by WANG Pin-hua

Starting from sound as an object of exhibition, this show opens a dialogue between the This exhibition takes a research-based approach, presenting archives from pioneering exhibitions in New Taipei County, works from the museum collection, and newly commissioned pieces. It brings together artists who respond to the historical context of New Taipei’s avant-garde exhibitions of the 1990s, including Wang Fujui, Wu Mali, Lin Chi-wei, Yao Jui-chung, Kao Jun-honn, Huang Ming-chuan, and Liu Chen-hsiang. Their works evoke the radical spirit of the 1990s from a 21st-century perspective, revisiting the cross-disciplinary, diverse, and internationally connected practices of that era. (WANG Pin-hua)

ＬＩＮＫ：https://ntcart.museum/EN/exhibition/H2507001

This room features three acrylic paintings related to sound, together with two sets of”scores” that transform color and form into sound.

Chapelet Sonore / 2018

Five performers each hold a strand of beads. As they slide the beads with their thumbs,they simultaneously recite the color of the bead: “black” for black beads and “white” for white beads. Large beads represent a full beat and small beads represent a half beat.The artist predetermines the sequence and color-sound combinations of the beads, using eight colors in total. The beads unfold in five phases, beginning with solid red and evolving through red-purple and red-blue. They reach a culmination in red, green, yellow, flesh, and purple before finally resolving into gray and white.Following this simple set of rules, the five performers jointly produce a sonic composition resembling constructivist sound painting. Through proportioned vowel arrangements and sonic contrasts, the performance creates a compact and powerful sound composition.Inspiration comes from the artist’s grandmother’s Buddhist prayer beads, Taoist incantations witnessed during field research, and the Suprematist art of Russian artist Kazimir Malevich. The grandmother’s beads seemed to conceal mysterious syllables, released one by one through the recitation. The mantra Qingxuan Zhou from the Taoist liturgy, is especially noted for its intense synchronization of light and sound, evoking the presence of deliverance.

Project Producer & Director： Singing CHEN ,On-set Production Manager： Yung-Hsin PAI ,Camera： Ching-Yao LIAO , Sound Recordist：Song-Ce LO. Dresser ：Feng Chin TSAI , 2018/2019 Ｍodule Development Collaboration: Singing CHEN

Calligraphie Sonore / 2018

Sound Caligraphy is an experimental Graphic Notation. Six performers are each assigned a color and they read only the portions of the embroidered ribbon that match their color. They interpret the height and width of the embroidered strokes as sound: width indicates volume and height corresponds to pitch.The performers are arranged by vocal range and dressed accordingly: blue and brown (bass), purple and madder red (baritone), and red and orange (tenor). Together, they create a polyphonic performance without fixed pitch—an open, improvisational interpretation of visual elements as sonic cues.

Project Producer & Director： Singing CHEN ,On-set Production Manager： Yung-Hsin PAI ,Camera： Ching-Yao LIAO , Sound Recordist：Song-Ce LO. Dresser ：Feng Chin TSAI , 2018/2019 Ｍodule Development Collaboration: Singing CHEN

OPENING PERFORMANCE : Hsin-Hao CHEN, Wen-Ray LIAO. Kevin LEE, Sing-Fei WU, Po-Neng YU .

Technics : Wei-Lun CHEN, Production : Yu-Jie HUANG,Chih-Wei CHIU

Camera: Singing CHEN ,On-set Production Manager：Yung Hsin PAI