Chia-Wei Hsu’s Huai Mo Village + Ruins of the Intelligence Bureau: A Screening and Discussion

Thursday, November 1, 7:00pm
Asia Art Archive in America
43 Remsen Street, Brooklyn, NY 11201

Space is limited and registration is required.
Tickets Available Here

Join us for a screening of Chia-Wei Hsu’s Huai Mo Village (2012, single-channel video, 8’20”), and Ruins of the Intelligence Bureau (2015, single-channel video, 13’30”), followed by a conversation with the artist moderated by curator and critic Christopher Phillips. Their discussion will touch on the artist’s exploration of filmmaking as a performance art and Taiwan’s complex relationship with other countries in the region.

Huai Mo Village takes place in an orphanage in Chiang Rai, Thailand and tells the true story of a troop of Chinese Nationalist soldiers who retreated to the border regions between Thailand and Myanmar at the end of the Chinese Civil War in 1950. In this film, the founder of the orphanage, who is a pastor and former intelligence officer, recalls the plight of these homeless, stateless soldiers who remained in Thailand rather than return to China or join the Nationalists in Taiwan

The pastor appears again in a second film, Ruins of the Intelligence Bureau, to expand on the story he began in Huai Mo Village. Set in the remains of the demolished Intelligence Bureau, this film features a performance of a traditional Thai puppet show. Narrating the performance is the pastor, who recalls personal memories and recounts the legend of Hanuman—a monkey general who leads his troop to battle and helps a prince return to the kingdom from which he was exiled.

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HSU Chia-Wei (b. 1983, lives and works in Taipei) is interested in the untold histories of the Cold War in Asia. His work often takes the form of films and installations, weave together reality and myth, the past and the present. Hsu’s work has been presented in many museums, including Van Abbemuseum, the Centre Pompidou, Haus der Kulturen der Welt, and Reina Sofia National Museum. A Hugo Boss Asia Art Award finalist in 2012 and the Grand Prize winner of the 2017 Taishin Arts Award—a major accolade for artists in Taiwan, Hsu has also been included in many biennials and festivals, such as the 39th International Film Festival Rotterdam, the 2012 Liverpool Biennial, the 2018 Sydney Biennial and Gwungju Biennial. He will also participate in the upcoming Shanghai Biennale.

Christopher Phillips is an independent curator and critic. From 2000 to 2016 he worked as a curator at the International Center of Photography (ICP) in New York. He has organized many exhibitions that explore modernist photography of the early 20th century as well as contemporary Asian photography and media art, including ”Heavy Light: Recent Photography and Video from Japan” (with Noriko Fuku, 2008); “Wang Qingsong: When Worlds Collide” (2011); “Han Youngsoo: Photographs of Seoul 1956-63” (2016); and “Life and Dreams: Contemporary Chinese Photography” (2018). His books include Photography in the Modern Era: European Documents and Critical Writings, 1913-1940 (1989), Between Past and Future: New Photography and Video from China (with Wu Hung, 2004), and Life and Dreams: Contemporary Chinese Photography and Media Art (with Wu Hung, 2018). He teaches in the Photography and Imaging Department at NYU’s Tisch School of the Arts.

Image caption: Chia-Wei HSU, Huai Mo Village, single channel video, 8 minutes 20 seconds, 2012. Courtesy of the artist.


This program is supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.

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20th century, abstract art, Abstraction, Access, acrylic, acrylic painting, Afghanistan, Alternative Space, American History, Animation, Anthology, anthropology, Architecture, Archive, Art Administration, art history, art writing, Artificial Intelligence, artist book, artist's book, artist’s book, Asia Art Archive, Asian American, Automation, Autonomy, avant-garde, Bangladesh, Buddhism, Burma, Cambodia, care-giving, Catalogue, Censorship, Central Asia, ceramic art, ceramics, Chance, Chengdu, China, Chinatown, cities, collage, Collecting, Collective, Collectivity, commercial art, Communism, Composition, conceptual art, conceptual photography, Conservation, contemporary art, Cultural Revolution, culture, Curating, Cutlural Revolution, Design, Diaspora, digital, digital print, Displacement, DNA, Documentary, Domestic Labor, Drawing, Economics, Education, encyclopedia, EPOXY, essays, exhibition, Exhibition History, Experimental Music, Feminism, Festivals, Fiction, Field-recording, Fluxus, Folklore, Form, Foundations, Gender, Genetics, Geography, ghosts, Godzilla, Graphic Novel, group exhibition, Gutai, Gwangju Biennale, histories, history, Hong Kong, hong kong S.A.R., Identity, Imaging, Imitation, in situ, independent art space, Independent Publisher, Index, India, Indonesia, Infrastructure, ink, ink and colors, ink painting, ink-painting, Installation, installation art, Institution, Internet, Iran, Island, Japan, Khmer Rouge, Korea, Labor, Land, Land Art, Language, Lhasa, literature, Locality, Madagascar, Malaysia, Manananggal, mapping, Memory, Mexico, Migrant Workers, Migration, Miniature Painting, Minimalism, mixed media, mixed-media, Model Opera, modern art, mourning, Moving Image, multi-media art, multimedia, multimedia art, Murals, Museum studies, Museums, Music, Myanmar, mythology, nationalism, Nations, New Media Art, New York City, North Africa, oil, oil painting, painting, paintings, Pakistan, Pakistani, participatory, Pedagogy, people, Perennial exhibition, Performance, performance art, Philippines, photographs, Photography, Pop Culture, Pop Music, Preservation, print, prints, Protest, Public Space, Publication, Publishing, Realism, Revolution, Saudi Arabia, Sci-Fi, Science, Sculpture, Secrets, Shamanism, Singapore, Small Press, Socialist Realism, socially engaged art, Sonic Art, sound, Sound Art, South Asia, South East Asia, south korea, Southeast Asia, Sri Lanka, Surveillance, System, Taiwan, technology, Television, Thailand, the Middle East, The Philippines, Theater, Tibet, Time-Based Media, Tomato Grey, Tradition, trama, Tunisia, United States, united states of america, Unity, USA, Vampires, Video Art, Video Game, Vietnam, Violence, Virtual Reality, visual culture, VR, War, Water Rights, watercolor, watercolour painting, woman artist, women, women artist, women artists, woodcuts, writing, Zhejiang Academy, Zine

ARTISTS, CRITICS, CURATORS, AND OTHER CONTRIBUTORS

Aisha Khalid, Aki Onda, Alexander Keefe, Alexandra Chang, Alexandra Munroe, Alf Chang, Amy Lien, Amy WOOD, Annysa Ng, Anthony Yung, Arin Rungjang, Ashley Billingsley, Ashok Sukumaran, Bani Abadi, Bani Abidi, Barbara London, Benjamin Moskowitz, Beth Citron, Betsy Damon, Bing Lee, Birgit DONKER, Boon Hui Tan, Boris Groys, Brinda Kumar, Cai Guoqiang, CAMP, Cao Fei, Casey Tang, Chang Chao Tang, Chen Chieh-jen, Chen Tong, Chen Wei-ching, Chen Xiaomei, Chihoi, Chitra Ganesh, Christoph NOE, Christopher K. Ho, Christopher Phillips, Chương-Đài Võ, Cici Wu, Cooperativa Cráter Invertido, Cosmin Costinas, David Smith, Desire Machine Collective, Dinh Q Le, Dooeun Choi, DREAMER FTY, Ei Arakawa, Eleanor Heartney, Enzo Camacho, EPOXY Art Group, Erin Gleeson, Eugene Wang, Fang Lu, Farah Wardani, Fei Dawei, FENG Yuan(馮原), Frédéric Dialynas Sanchez, fwf, Gao Shiming, Gianni Jetzer, Glenn Phillips, Go Hirasawa, Hajra Waheed, Hammad Nasar, Heman Chong, Herb Tam, Hiroko Tasaka, Hitomi Iwasaki, Ho Tzu Nyen, Howie Chen, Hsu Chia-Wei, Huang Chien-Hung, Huang Hua-Chen, HUANG Xiaopeng, I-Hua Lee, Il Lee, Ingrid Chu, Jaeyong Park, Jane DeBevoise, Jean-Hubert Martin, Jen Liu, Jennifer Davis, Jewyo Rhii, Joan Lebold Cohen, Joanne, John Pirozzi, José Maceda, Julian Ross, Jun Yang, June Yap, Kaho Albert Yu, Katherine Grube, Kim Yong-Ik, Kimia Maleki, Kit Yi Wong, Koki Tanaka, Korakrit Arunanondchai, Laurel Ptak, Lê Thuận Uyên, Lee Kit, Lee Mingwei, Lee Weng Choy, Lesley Ma, Levi Easterbrooks, Li Ming, Li Ran, Li Xiaofei, Liang Jianhua, Lin Yilin, LinDa Saphan, Liu Ding, Liu Shiyuan, Lynn Gumpert, Lyno Vuth, Maline Yim, Mao Chenyu, MAP Office, Margaret Lee, Margo Machida, Mariam Ghani, Marvin Taylor, Meghan Forbes, Meiya Cheng, Mel Bochner, Michelle Wong, Michelle Yun, Midori Yoshimoto, Ming Fay, Minoru Yoshida, Miwako Tezuka, Moe Satt, Murtaza Vali, Museum of Unknown, Nadim Abbas, Naeem Mohaiemen, Nate Hun, Nico Baumbach, Nikhil Raunak, Nonny de la Peña, Nora Taylor, nos:books, Ocean Leung, Onejoon Che, Pad.ma, Pak Sheung Chuen, Pan An-yi, Park Chankyong, Passenger Pigeon Press, Patty Chang, Pi Li, Polit-Sheer-Form Office, Prem Krishnamurthy, Qiu Anxiong, Qiu Deshu, Qiu Zhijie, Rabbya Naseer, Rania Ho, Raqs Media Collective, Reiko Tomii, Richard Vine, Rina Banerjee, Risha Lee, Roslisham Ismail a.k.a. Ise, Ruijun Shen, Ryan Lee Wong, Saadia Toor, Sabih Mohd Ahmed, Sam Hart, Samita Sinha, Samsom Young, Samson Young, Sareth Svay, Sean Anderson, Sen Uesaki, Shaina Anand, Shanta Rao, Sharmini Pereira, Shen Xin, Shiraga Kazuo, Shuddhabrata Sengupta, Simon Wu, Sming Sming Books, Sohl Lee, Son Ni, Song Dong, Sopheap Pich, Stephanie Comilang, Stephanie H. Tung, Stephen Teiser, Su Yu-Hsien, Sung Hwan Kim, Sunghee Lee, Tabaimo, Takahiko Iimura, Takako Tanabe, Takeshi Ikeda, Tammy Nguyen, Tang Kwok Hin, Teresa Kwong, The Dunhuang Foundation, The Otolith Group, Theresa Hak Kyung Cha, Tiffany Chung, Tobias Madison, Trần Minh Đức, Uli Sigg, Umber Majeed, Vivian Sming, Wang Jianwei, Wang Jing, Wang Wei, William LIM, Work on Work, Wu Shanzhuan, Xiaoyu Weng, Xie Xiaoze, Xin Wang, Xu Bing, Xu Tan, YANG Jiechang, Yang Wang, Yin Xiuzhen, Ying Kwok, Yoon Hwan Bae, YOUNG-HAE CHANG HEAVY INDUSTRIES, Yung MA, Zhang Hongtu, Zhang Peili, Zheng Shengtian, Zhenzhen Qi, Zhou Tao, Zoe Butt