Tuesday Tuesday
10AM - 6PM
Exhibition
One year project – Outing
Rehearsal for Re-her-sal: Preview
CAPTURING NOWNESS–Im Hier und Jetzt
倖存者存在 – MoCA TAIPEI X DresdenContemporaryArt Collaborative Video Art Project
EXHIBITIONS & EVENTS
2024 / 10 / 19 Sat.
2024 / 12 / 15 Sun.
10:00 - 18:00
Curator
Yen Chun-Lin
Artists
Li Shiou-Fen
Lin Pei-Yao
Cheng Shih-Yung X Genn Lau
Chao Man-Chun
Supervisor
Department of Cultural Affairs, Taipei City Government
Organizers
Taipei Culture Foundation
MoCA TAIPEI
Annual Sponsors
THERMOS
Contemporary Art Foundation
Hui-Neng Chi Arts and Culture Foundation
Royal Inn
Annual Sponsor for Appointed TV/Screen
SONY
Media Cooperation
Radio Taiwan International
The exhibition title, Rehearsal for Re-her-sal: Preview, is derived from the homonymous project “Rehearsal for Re-her-sal.” Drawing inspiration from the English word “rehearsal,” the title intentionally incorporates “her,” the female gender object and pronoun, by appropriating the noticeable misspelling, while the affix “re-” denotes “repetition” as well as “repair.” Also, the title signals a curatorial intent to expand gender performance into a contemporary artistic experiment and practice. The “performance” of gender and the “exhibition” of an art museum are conceptually interwoven. At the same time, “repetition” is associated with everyday life, learning, practice, and drill, along with repeated experiences in artistic creation. In fact, every form of creative work requires endless rehearsals, or in this case, “re-her-sal.”
“Preview” in this context refers to a theatrical preview, which is an informal performance or a state that occurs between a work’s final presentation and its rehearsals. A “preview” signals possibilities—it is incomplete, adjustable, and filled with potential momentum.Rehearsal for Re-her-sal: Preview foregrounds women’s life experiences, identity, and sites, engaging the audience in exploring the idea of being “on-stage.” Meanwhile, the exhibition sets out to re-explore the gender and body in the site of an art museum, as well as the curatorial and creative possibilities therein, destabilizing the preconceived idea that the presentation of an exhibition/performance should be finalized as well as the rational framework of art museums and art exhibitions. Instead of being an exhibition that simply showcases women artists, Rehearsal for Re-her-sal: Preview highlights the life experiences of women through the artists’ creations. The exhibition and the featured artworks are organized around two curatorial themes: “Women’s Experience and Body” and “Spatial Sites and Identity.”
The exhibition features five artists. Chao Man-Chun focuses on the topic of the body and specializes in site-specific creations to connect MoCA TAIPEI’s space and its changing surroundings with her family stories, creating her work after her field studies. Li Shiou-Fen concentrates on the formalization of art institutions and artistic creation to critique review mechanisms and misogynist culture. Cheng Shih-Yung and Genn Lau are actors who fluidly transform themselves into different characters to explore the reality and stories of romantic relationships. Lin Pei-Yao’s video installation draws from her experiences to explore women’s self-examination and how performance consciousness emerges.
Lighting Designer: Lin Ping-Hsin
Exhibition Support: Zi-Zhao, Wu Yu-Li, Lin Pei-Ju, Chen I-Hsun, Shigeta Seiji, Haung Hong-Xu, Blend Co., Ltd.
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Yen Chun-Lin was born in Kaohsiung and currently resides in New Taipei City and Taipei. She is a PhD student in the Department of Fine Arts at Taipei National University of the Arts. Initially, her creative work focused on painting and imagery, but she later expanded into spatial installations and interdisciplinary art. Recently, her work has centered around curating, writing, and research, with a particular focus on youth and gender issues. Her curatorial projects include Waste Land (Venue, 2019), where she was involved in spatial installations and co-curation, and Permanent Exemption (from) Censorship (Open Contemporary Art Center, 2021), for which she served as a co-curator. She is also the initiator and curator of the Rehearsal for Re-her-sal project.
Chao Man-Chun (manman) is a performance artist and member of “P.M.S.” With a focus on the shifting nature and ever-evolving forms of power structures throughout history, by delving into specific historical fragments, she pays particular attention to personal experiences within the grander arcs of mainstream history. Through bodily actions that intervene in the routines of daily life, her work calls for reflection on unnoticed and obscured narratives and their revelations about the relationship between individuals and the collective, providing ways of contemplating and responding to contemporary society.
Li Shiou-Fen holds a BA in Political Science (Political Theory) from National Taiwan University and also attended the university’s master’s program of Sociology. An independent, interdisciplinary freelancer with a background in political science and sociology, Li’s practice revolves around movement choreography and directing, theater performance, and curating, and her work often involves body, video, and programming. She also works as a research project coordinator with a focus on art, culture, and body. She founded the dance company “Life Holds No More” to engage in topics and discourses related to mental issues and sexual violence.
Li’s projects have mostly been research-based, and she specializes in creating works for non-traditional performance venues and spaces. In 2019, she participated in the experimental theater project “Wet Base” at Venue, and published Waste Land, which was nominated for the Taishin Arts Award. In 2020, she was selected for the “Project of Supporting Young Art Development” launched by the Ministry of Culture. This has enabled her to initiate a three-year art project, Murder for Love, to explore the theme of sexual violence done in the name of love. Her recent productions include Error After Life and Off-Life (supported by the Ministry of Culture’s “Arts Fun Online Stage Project” in 2022).
Cheng Shih-Yung, born in 1994, Taipei, Taiwan. As an actor, an English teacher, a daughter, a friend, and a lover, she travels within Taipei area for theater, film, teaching, and life. Hoping that she is walking on a path without an end, she continues to learn to enjoy herself a bit more day by day.
Recent works in theater: Adorable (Myan Myan Studio ft. Lee Pin-Yao), Isle of Freaks (Representation Theater), Dissociation (Genesis Ensemble), Home to You (House Peace), Re/turn 10th Anniversary Edition Revival (Tainaner Ensemble), etc.
Genn Lau, a girl born on the equator on the day of Halloween in 1993. She acts for a living and can be seen in theaters, films, commercials, traditional markets, gyms and bars. Her grandma immigrated from Guangdong, China to Malaysia in 1957, got married and divorced; she also moved to Taiwan from Malaysia in 2012, got married and divorced. Before turning 30, she changed her name from Lau Xin Hui to Genn Lau, giving herself a chance to be reborn. She is very happy at the moment.
Recent works: Reality No-Show (Tainaner Ensemble), Somewhere Unknown in Indochina VR (MIMEO FILMS Ltd.), Journey of Automatic Car Wash (Boundary Creative), Good Children (He Ri Jun Comes Again Theater Company), Light The Night Immersive Theater (Inception), As You Wish, Tomodachi Immersive Theater (Jiaoooo.Co.,Ltd), etc.
Lin Pei-Yao was born in 1998, Taichung. She mainly works with media, video, and installation, drawing inspiration from the perplexing moments when subtle disparities between sensory and cognitive perception become apparent in everyday life. Through her practice, she explores the ever-changing space of perception that shifts between the realistic and the surreal, aiming to approach the possibility of multiple timelines and the formation of self-awareness. She endeavors to create elusive, ambiguous bodily experiences posited between reality and virtuality.
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