Kuandu Museum of Fine Arts

VEINS Antinomy Company

Treatise
Veins are branching flows, rhythmic motions, and the initial momentum and operating rules of this world. They are not generated by the needs of nature but those of humans. Whether needed or not, “veins” exist in the visible and the invisible.
We used to dance around the fire, gazing and standing in awe of the blood moon, dodging the unpredictable lightning strikes. These instincts of flesh never get eliminated by modernity. “Veins” seem to be the rediscovery of earth and the structure of nature, making the exterior and interior layers echo with their texture and pulsation. Beginning with the sewing and stitching of iron net, Veins frames the trajectory of human behaviors. Based on the landscape memory of this island, laboring and repetitive bodies are shown through each other.
It stands to reason that most people have arrived at the modern world, embracing all the development here and now, while one thing human beings rely on for survival remains unchanged -- we “gather.” Time plays an important role in the transition of this behavior. In the long history of evolution, we gather constantly. With our bare hands, with things we make, then the livestock we tame. Till now, we build “bigger selves” to gather from the land. These gatherings are relentless, for they are not always fair, sometimes even free of charge. Humans ceaselessly manufacture things, while all the materials come from the inartificial.
Veins fabricates tortuous textures with bodily needlework, aiming back at the physicality of humans with touches of things. With repetitive physical actions, we investigate the vestige of landscape and the moving earth.

Introduction
Antinomy Company is a fluid mixed media art group with members from different backgrounds such as literature, dance, music, theatre and visual arts. Using text, body, sound and space as the main experimental materials, Antinomy Company explores the possibilities that exist across art forms through theatre, performance art, sounds and installations, especially the polysemic possibilities.
The team’s current focus is to observe and address the conflict between the internal and external experiences of the individual through the diversity of different elements, structures, and expressive forms.

VEINS Antinomy Company

Treatise
Veins are branching flows, rhythmic motions, and the initial momentum and operating rules of this world. They are not generated by the needs of nature but those of humans. Whether needed or not, “veins” exist in the visible and the invisible.
We used to dance around the fire, gazing and standing in awe of the blood moon, dodging the unpredictable lightning strikes. These instincts of flesh never get eliminated by modernity. “Veins” seem to be the rediscovery of earth and the structure of nature, making the exterior and interior layers echo with their texture and pulsation. Beginning with the sewing and stitching of iron net, Veins frames the trajectory of human behaviors. Based on the landscape memory of this island, laboring and repetitive bodies are shown through each other.
It stands to reason that most people have arrived at the modern world, embracing all the development here and now, while one thing human beings rely on for survival remains unchanged -- we “gather.” Time plays an important role in the transition of this behavior. In the long history of evolution, we gather constantly. With our bare hands, with things we make, then the livestock we tame. Till now, we build “bigger selves” to gather from the land. These gatherings are relentless, for they are not always fair, sometimes even free of charge. Humans ceaselessly manufacture things, while all the materials come from the inartificial.
Veins fabricates tortuous textures with bodily needlework, aiming back at the physicality of humans with touches of things. With repetitive physical actions, we investigate the vestige of landscape and the moving earth.

Introduction
Antinomy Company is a fluid mixed media art group with members from different backgrounds such as literature, dance, music, theatre and visual arts. Using text, body, sound and space as the main experimental materials, Antinomy Company explores the possibilities that exist across art forms through theatre, performance art, sounds and installations, especially the polysemic possibilities.
The team’s current focus is to observe and address the conflict between the internal and external experiences of the individual through the diversity of different elements, structures, and expressive forms.

Tree Tree Tree Person - Taroko Arts Residency Project IV Part3: Family Matters in the Mountains

Collaborators
Bnu Pasang、Yuri Pasang、Simat Qurang、Yaya Huwat、Chumay Haloshi、Masow Dumuan、Yeyku Licaw、Qurug Tumiyu、陳政道（CHEN, Cheng-Tao）、砂卡噹教會（Shakadang Church）

Treatise
In the summer 2021, COVID-19 impacted the operation of the society in Taiwan, the lives of the Datong Village and Dali Village in the mountains of Taroko, and the execution of “Tree Tree Tree Person - Taroko Arts Residency Project IV Part 2.” After all the known elders in the tribe were verified as having received their second dose, Tree Tree Tree Person resumed the arrangements and residencies of the researchers in the mountains. During one revisit to the tribal community beneath the mountains in October while searching for inspirations for the art residency project, we found Auntie Bnu troubled by the replacement for the balcony extension supports behind her place, which collapsed due to aging. It was in part because of the construction cost as well as the terrible inconvenience and extreme danger with the surviving half of the balcony. Also, we learned that the balcony was in service for over twenty years since she had relocated beneath the mountains. This conversation has been lingering in our minds ever since. We are wondering if we could allocate a portion of the fund of the exhibition at Kuandu Museum of Fine Arts (KdMoFA) next year (2022) to the family matters of the women in the mountains, can we depict a different labor landscape?
With that, the project invited Bnu Pasang, Yuri Pasang, Simat Qurang, Yaya Huwat, Chumay Haloshi, Masow Dumuan, Yeyku Licaw, and Qurug Tumiyu, totally eight tribal women, for collaboration. The production fund for art exhibition is entrusted at their disposal on a condition that they are required to share their thinking in the exhibition at KdMoFA in February as to how they use the fund. Meanwhile, extending the discourse and spirit of Taroko Arts Residency Project IV Part 2, the Shakadang Church was invited to this funded exchange project as well.
Tree Tree Tree Person - Taroko Arts Residency Project IV began with Family Tree: Preface produced collectively by nine females in 2020 as its Part 1. In 2022, themed with Family Matters in the Mountains, the Part 3 calls for residency research projects. The housework labor in the mountains during the pandemic shall be brought into focus, extending the imagination for the relationships between nature and art in the traditional arena.

Introduction
Caring for “nature” in art and its derivative paradoxes, Nature Interaction via Residency with Art is the recent project attempted by the project guide CHEN Cheng-Tao, probing curiously into if a fictional curatorial framework can flip certain local identity and distill alternative natural knowledge within the boundary of art. Tree Tree Tree Person - Taroko Arts Residency Project adopts art residency as the exhibition framework, inviting contemporary art workers to engage art residency at Taroko National Park in Hualien. In the real environment where no contemporary art institution exists, the residents of dark village live together with the artists. Amidst the encounters of the residents and the contemporary art community as well as their cross-practices, the project revisit, contemplate, and construct the imagination of human-nature relationships.

Tree Tree Tree Person - Taroko Arts Residency Project IV Part3: Family Matters in the Mountains

Collaborators
Bnu Pasang、Yuri Pasang、Simat Qurang、Yaya Huwat、Chumay Haloshi、Masow Dumuan、Yeyku Licaw、Qurug Tumiyu、陳政道（CHEN, Cheng-Tao）、砂卡噹教會（Shakadang Church）

Treatise
In the summer 2021, COVID-19 impacted the operation of the society in Taiwan, the lives of the Datong Village and Dali Village in the mountains of Taroko, and the execution of “Tree Tree Tree Person - Taroko Arts Residency Project IV Part 2.” After all the known elders in the tribe were verified as having received their second dose, Tree Tree Tree Person resumed the arrangements and residencies of the researchers in the mountains. During one revisit to the tribal community beneath the mountains in October while searching for inspirations for the art residency project, we found Auntie Bnu troubled by the replacement for the balcony extension supports behind her place, which collapsed due to aging. It was in part because of the construction cost as well as the terrible inconvenience and extreme danger with the surviving half of the balcony. Also, we learned that the balcony was in service for over twenty years since she had relocated beneath the mountains. This conversation has been lingering in our minds ever since. We are wondering if we could allocate a portion of the fund of the exhibition at Kuandu Museum of Fine Arts (KdMoFA) next year (2022) to the family matters of the women in the mountains, can we depict a different labor landscape?
With that, the project invited Bnu Pasang, Yuri Pasang, Simat Qurang, Yaya Huwat, Chumay Haloshi, Masow Dumuan, Yeyku Licaw, and Qurug Tumiyu, totally eight tribal women, for collaboration. The production fund for art exhibition is entrusted at their disposal on a condition that they are required to share their thinking in the exhibition at KdMoFA in February as to how they use the fund. Meanwhile, extending the discourse and spirit of Taroko Arts Residency Project IV Part 2, the Shakadang Church was invited to this funded exchange project as well.
Tree Tree Tree Person - Taroko Arts Residency Project IV began with Family Tree: Preface produced collectively by nine females in 2020 as its Part 1. In 2022, themed with Family Matters in the Mountains, the Part 3 calls for residency research projects. The housework labor in the mountains during the pandemic shall be brought into focus, extending the imagination for the relationships between nature and art in the traditional arena.

Introduction
Caring for “nature” in art and its derivative paradoxes, Nature Interaction via Residency with Art is the recent project attempted by the project guide CHEN Cheng-Tao, probing curiously into if a fictional curatorial framework can flip certain local identity and distill alternative natural knowledge within the boundary of art. Tree Tree Tree Person - Taroko Arts Residency Project adopts art residency as the exhibition framework, inviting contemporary art workers to engage art residency at Taroko National Park in Hualien. In the real environment where no contemporary art institution exists, the residents of dark village live together with the artists. Amidst the encounters of the residents and the contemporary art community as well as their cross-practices, the project revisit, contemplate, and construct the imagination of human-nature relationships.

Works