Intervening Domain: International Dance

Since 2000, the Hong-Gah Museum has offered exhibition space to for both veterans and rookies in the art world to display their work. Over a decade of efforts collecting pieces to exhibit has resulted in rave reviews from all quarters. Tsai Yun-ting’s Intervening Domain: International Dance Video Exhibition 2014 was selected unanimously by the jury out of numerous applicants at the exhibition auditions. This exhibition breaks the boundaries between forms of art, blending the power and beauty of dance with video and the written word, transforming and even distorting them.

The dance video captures instants of strength and speed multiplying in time and space, shattering the confines of the stage, sparking dialogues of beauty, reversing dance phrases, changing time, and moving space. Amid the drama, there will be 18 works on display from the UK, Spain, Finland, the Netherlands, Germany, Sweden, the US, Canada, Taiwan and Tibet, addressing the subtler parts of life: danced with nature, people dancing with horses, delving into the nature of life, never resting.

Seeta Patel, who has toured around the world with DV8 Physical Theatre, will come to Taiwan to give an inaugural performance of the classical Indian dance Bharatanatyam at Taipei’s Hong-Gah Museum at 2:00 p.m. on September 13, and will present the dance video piece The Art of Defining Me, which examines who artists are defined by. Another visitor to Taiwan will be Spanish artist Alex Pachón, whose work Cracks looks at the concept of sound generating movement and movement producing sound. These two artists’ dance and video pieces will be shown on September 14 at the Hong-Gah Museum. Admission is free, so please hurry and register so you don’t miss out.

In a hospital morgue, Robert Lepage and Pedro Pires explore the poetic possibilities of the body at the boundary between life and death in Danse Macabre. John T. Williams offers the piece 2412, based on information from Edward Griffin’s interview of former KGB agent Yuri Bezmeno. Shelly Love’s long-time experimentation with film played backwards visualizes the moment of death: The Forgotten Circus, shot in reverse, is filled with imaginative surrealism that oozes forth from under the skin.