Willimann/Arai Selected Works
The gift exercise (2016-) ...................................................
p. 2 - 15
- Invitation 6: Sihlwald .......................................................
p. 3
- Invitation 4 : Taiwan ........................................................
p. 4 - 9
- Invitation 4.3: Camphor ..................................................
p. 5 - 6
- Invitation 4.2: Taroko National Park ................................
p. 7
narratives of the "in-between" in context-specific and
- Invitation 4.1: Skadang/Datong ......................................
p. 8 - 9
research-based working processes.
- Invitation 2 .......................................................................
p. 10 - 14
- Invitation 2.2: Zurich .......................................................
p. 11 - 12
- Invitation 2.1: Nakanojo ..................................................
p. 13 - 14
modern and colonial dichotomous narratives such as West/East, Self/Other, Nature/Culture. In collaboration with visitors, local communities and experts, Nina Willimann and Mayumi Arai create arrangements and
Since 2015 Willimann/Arai have been developing four
Index
Willimann/Arai
In their work, Willimann/Arai (Zurich/Tokyo) question
"umbrella"-projects, which are interconnected: How to disappear (completely), Swiss Gymnastics, The gift exercise and Avatar tours. The format Reflections is a series of Lecture-Performances in which Willimann/Arai analyse and relate recurring topics in their works.
Avatar tours (2020-) .......................................................... p. 15 - 19 - #3: Zurich ........................................................................
p. 17
- #2: Tokyo Ueno ..............................................................
p. 18
- #1: Zurich Altstetten .......................................................
p. 19
CV .......................................................................................
p. 20
This portfolio contains a representative selection of works from the years 2017 - 2021.
Willimann/Arai (Nina Willimann & Mayumi Arai) willimannarai@gmail.com willimannarai.net 1
The gift exercise
The gift exercise / Invitation 3: Taipei (Photo: Dennis Wang)
In their long-term research project The gift exercise, Willimann/ Arai explore hospitality as a cultural technique in dealing with the „foreign,“ as well as its local and global manifestations. Since 2016, within this framework, Willimann/Arai have been developing a series of context-specific settings (Invitations), in which they examine and test the complex role play of guests and hosts from an autoethnographic perspective. In doing so, they ask about the interactions, mutual dependencies and replaceability of these roles – and the power relations inscribed in them.
2016 -
Invitation 6: Sihlwald (2021) Invitation 5: Xintiandi, Shanghai (2018) Invitation 4.3: Camphor (2019) Invitation 4.2: Taroko National Park (2018) Invitation 4.1: Skadang/Datong (2017) Invitation 3: Taipei (2017) Invitation 2.2: Zurich (2019) Invitation 2.1: Nakanojo (2017) Invitation 1: Romainmôtier (2016)
2
1
The gift exercise / Invitation 6: Sihlwald
5
2021, Video essay / Lecture performance / Workshop Hosted by School of the forest in the frame of the project A Forest of Many Worlds
Before the Sihlwald was declared a protected "Wilderness Park" 2
in 2009, it had been exploited by humans for centuries. Its most valuable resource, wood, was used by many generations of Zurich residents for construction and energy production.
6
Willimann/Arai investigate the history of this ancient plantation forest through the lens of the bark beetle. Considered a dan-
3
7
gerous pest by the forestry industry, the Ips typographus – the
1
Video still The gift exercise / Invitation 6:
most famous of his kind – is seen as an „architect of change“
2
Sihlwald
by the park administration and other environmentalists.
3, 4 Forest walk in Sihlwald (Photo: Jana Figliuolo) 5
Lecture performance The gift exercise /
On their own and together with audiences, Willimann/Arai
Invitation 6: Sihlwald during the forest walk
collected and studied bark beetle traces in Sihlwald by means of 拓本 (Tàpiàn) technique, which is known in the West as frottage or rubbing.
(Photo: Jana Figliuolo) 6
Historical photograph (Installation detail): Forest workers loading a forest railway wagon,
A video essay based on this research reflects on human and
Sihlwald, 1900, Zurich City Archive
non-human sign systems and the origins and spread of ancient
7
Portrait of Ips typographus (Installation detail)
printmaking techniques, addressing the bark beetle as a pro-
8
Installation view group exhibition in la_cápsula,
tagonist in this entangled more-than-human historiography. 4
Frottage/rubbing (Photo: Jana Figliuolo)
Zurich (Photo: Paula Baeza Pailamilla) 8 3
Gojūmanbunnoichi yochizu：Dai Nippon Teikoku Rikuchi-Sokuryōbu (Detail), 1920, The Library of Congress, U.S.
The gift exercise / Invitation 4: Taiwan 2017 The legacy of colonialism still affects contemporary Taiwan, and also the artists themselves are entangled with history: What does it mean to be guests in this territory – as citizens of the former colonial powers Europe and Japan? History is not an exact science, and the ability to interpret and represent it is always a question of power. In order to approximate its complexity, history has to be told by several voices – and in different languages. In their ongoing research in Taiwan, during three years Willimann/Arai collaborated with local experts and collected documents and testimonies from Taiwanese Aboriginal, Japanese, Han Taiwanese, Qing dynasty, European and American sources, which form the raw material for their montage work. Together with their collaborators, Willimann/Arai are experimenting with methods of polyphonic narration, with a focus on marginalized perspectives and their own positions.
Invitation 4.3: Camphor (2019) Invitation 4.2: Taroko National Park (2018) Invitation 4.1: Skadang/Datong (2017)
The gift exercise / Invitation 4.3: Camphor, 2019 4
2
The gift exercise / Invitation 4.3: Camphor Camphor Distillation Song Text & vocals: Zhong Yao Xu Interpretation of a traditional Hakka song. Sound, music stand, note with lyrics
The Hakka are an ethnic group originating from China, who were historically strongly involved in the production of camphor. This orally transmitted song in Hakka language exists in many variations and tells of the hard work, the dangers and the financial gains of camphor production. 2. 3
Installation view solo show The gift exercise / Invitation 4: Taiwan, Tsung-Yeh Arts & Cultural Center Tainan/TW 2019
4
The gift exercise / Invitation 4.3: Camphor The gun that won the West (Video still) Reenactments of iconic Western posters HD Video installation (loops)
1.
From left to right: -The Unforgiven
The gift exercise / Invitation 4.3: Camphor 2019, Mixed media Installation
-Smoke Signal -The Sundowners 3.
Hosted by Tsung-Yeh Arts & Cultural Center/TW
1
The gift exercise / Invitation 4.3: Camphor The gun that won the West (Installation view) Reenactments of iconic Western posters HD Video installation (loops)
From left to right: - Rio Bravo - The Unforgiven - Per qualche dollaro in più (For a few dollars more) - The Sundowners - C’era una volta il West (Once upon a time in the West) - Smoke Signal - Diamante Lobo (God’s gun)
At the beginning of the 20th century, the Japanese colonial government in Taiwan forcibly seized the remaining territory still controled by Indigenous groups at the time. As a part of this maneuver, the Japanese army built large fences ("Ayu-Lines") made of electric barbed wire around these mountanous area – which was also the habitat of the valuable camphor trees. Camphor, a substance extracted from the camphor tree, was a major ingredient in two revolutionary inventions made in the West at the end of 19th century: Smokeless gunpowder and celluloid, the first synthetic resin, whose flexibility made it possible to shoot moving pictures. Camphor is – so to say – the raw material of Hollywood's success. The gift exercise / Invitation 4.3: Camphor is a group of works which investigates these historical connections as well as the question how (this) (hi)story can be told. 4. 5
13 The gift exercise / Invitation 4.3: Camphor Smbrangan ni puniq nseejiq Truku (Taroko hunter’s weapon) Text & voice in Taroko: Nac Hijiyu HD video (8 min 32 sec), Winchester replicas
Nac Hijiyu tells in her mother tongue Truku about the spiritual and ritual meaning of traditional weapons in Truku culture, which was also attributed to modern fire arms. These guns were acquired by bartering with Han Taiwanese – and later confiscated by the Japanese army. Nac Hijiyu points out the connection between the still existing hunting ban and the loss of indigenous cultures and identities.
10. 10
The gift exercise / Invitation 4.3: Camphor The victors wrote history, but the unwritten will remain like the slight but persistent scent of camphor in the air Camphor sand, voice recording (10 min)
13. 11
Visitors can scan the QR code and listen the linked audio-file on their mobile phone. A female Chinese voice tells a chronology of 11.
the global history of exploitation, trade and industrial processing of camphor. 12 The gift exercise / Invitation 4.3: Camphor Celluloid dreams HD Video (loop)
The work Celluloid Dreams refers to the invisible history behind the material celluloid which was invented in late 19th century – and which was the physical support for the first moving images. Image disruptions, consisting of interposed 12.
historical foto footage allude to the violent conditions of camphor production, which was a raw material for the production of celluloid – and thus the history of the medium film itself.
14 Installation view The gift exercise / Invitation 4: Taiwan, Tsung-Yeh Arts & Cultural Center 2019 14. 6
In the beginning of 19th century, as a last part of a gigantic military maneuver with the aim of controlling the mountainous area of Taiwan and the remaining indigenous groups living there, Japanese army invaded the land of the Taroko people, leaving traces in landscapes, social structures, collective and personal memories. At the same time, Presbyterian missionaries from the West introduced Christianity to Taiwanese indigenous peoples. They translated the Bible into Indigenous languages, using the Roman alphabet. In the 1980's, KMT government established Taroko National Park – named after the Truku people – on their territory, but without their consent. Today, Taroko National Park is one of Taiwan's major tourist attractions.
1.
1
Performance at the TheCube Project Space Taipei, 11. 08. 2018 (Photo: Dorothy Wong Ka Chung)
2
Booklet containing the script of the lecture performance and a selection of the collected maps (Installation view from solo show The gift exercise / Invitation 4 : Taiwan, Tsung-Yeh Arts & Cultural
The gift exercise / Invitation 4.2: Taroko National Park
4.
2018, Lecture performance / booklet Willimann/Arai in collaboration with Nac Hijiyu and Shang Chiao Li Hosted by TreeTreeTree Person Residency, Taroko National Park/TW Video trailer: https://vimeo.com/291844976
Center/TW 2019)
Willimann/Arai invited their Truku host and researcher Nac Hijiyu and Taiwanese scriptwriter and translator Shang
3.
Chiao Li to contribute their reflections on the history of the territory of Taroko National Park in the form of a text in their mother tongue, which Willimann/Arai interwove with their own reflections. As an attempt to map their common,
3
British, Chinese, Dutch, French, German, Japanese and Taiwanese
violent history, this „kaleidoscope of gazes“ was presented as a collective, multilingual lecture performance. The text
perspectives 1724 - 2018 4
was later published in a book, along with a collection of historical maps of the area of Taroko National Park from Chinese, Han-Taiwanese, American, European and Japanese 2.
perspectives.
Collection of maps of Taroko National Park territory from American,
Gojūmanbunnoichi yochizu：Dai Nippon Teikoku Rikuchi-Sokuryōbu, 1920-, The Library of Congress, U.S.
5
Collection of maps of Taroko National Park territory from American, British, Chinese, Dutch, French, German, Japanese and Taiwanese perspectives 1724 - 2018 (Installation view) 5. 7
1.
The gift exercise / Invitation 4.1: 2.
Skadang/Datong 2017, Performance / Intervention / Map Hosted by TreeTreeTree Person Residency, Taroko National Park/TW
Being hosted by a family of the Indigenous Truku (or Taroko), Willimann/Arai found themselves confronted with the violent and complex colonial history of Taiwan through an Aboriginal perspective. 3.
Despite the historical connections between the Truku and Europe/Japan through colonialism, there is no common language between the artists and their hosts. Therefore, together with their host family Willimann/Arai developed a communication technique which is based on sketches in a notebook, including drawings, Chinese characters and some Japanese and English words. These sketches were assembled to a map, testifying the conversations, experiences and trace the past and present through the subjective perspec-
4.
tives of the guests and their hosts. As a final presentation, the residency program organized a hiking-tour to the mountain village Skadang. In the frame of this event, which was mainly visited by an urban Han-
1
Map
Chinese Art-audience unfamiliar with Indigenous societies,
2
Documentation of communication-technique
the map was distributed as a tour-guide.
3 & 4 Presentation The gift exercise / Invitation 4.1.: Skadang/Datong, Taroko National Park (Photo: Denis Wang)Center/TW 2019)
Installation view solo show The gift exercise / Invitation 4: Taiwan, Tsung-Yeh Arts & Cultural Center/TW 2019 8
The gift exercise / Invitation 4.1: Skadang/Datong, 2017, Map 9
The gift exercise / Invitation 2.1: Nakanojo, Receipt from Receipt book
The gift exercise / Invitation 2 2017 -
In the frame of The gift exercise / Invitation 2, Willimann/Arai live for a certain time in an empty space with a display window in a lively area of a city, town or village. They ask residents and passers-by to lend them furniture and everything else they need for living. In return, the locals can ask services from the artists. Each barter deal is documented by Willimann/Arai – in the form of a contract and a staged self-portrait with the respective loan and optionally also with its owner. This setting forms the basis for a series of site-specific social experiments: By creating a complex system of host - guest constellations, it simultanously questions the ambivalences and interdependencies as well as the replaceability of these roles – and the power relations inscribed in them. On one hand, in their status as non-residents, Willimann/Arai are dependent on the support and hospitality of the locals – they slip into the role of the guests, whereby the locals are referred to the role of the hosts. On the other hand, as hosts of the space, the artists receive the locals as their guests.
Invitation 2.2: Zurich (2019) Invitation 2.1: Nakanojo (2017)
The gift exercise / Invitation 2.1: Nakanojo, 2017, Trophy-photo from Receipt book
10
2.
The gift exercise / Invitation 2.2: Zurich 2019, Installation / Performance / Intervention / Artist books 1.
Hosted by MATERIAL – Raum für Buchkultur, Zurich/CH
1 Tagged objects: date of arrival, date of return, name of the owner, exchange service (Photos: Eva Linder, Mayumi Arai)
During The gift exercise / Invitation 2.2: Zurich, Willimann/Arai
4.
lived for 16 days in the space for book culture MATERIAL in
2 Willimann/Arai in front of their temporary home 3 The borrowed objects are documented by Trophy-pictures, staged self-portraits (optionally
Zurichs district 5. Via flyers they asked residents and passersby to lend them furniture and everything else they needed for living. In return, the locals could ask services from the artists. Each barter deal was documented by Willimann/Arai – in the form of a contract and a staged self-portrait with the respective
with the owner of the object)
loan and optionally also with its owner. Due to the various exchange activities, the initial empty space of MATERIAL became homely within a short time and developed into a local meeting point. People brought along not only furniture and food, but also the (hi)stories of the quarter and the profound changes it had undergone in recent decades: After the collapse of industry in the 1980s and 1990s, the former workers' and industrial quarter – an immigration district from the outset – was characterized by Zurich’s squatter movement, the red light milieu and the local drug scene, and 6.
has been greatly gentrified in recent years. Rising rents have resulted, among other things, in the increasing displacement of low-income sections of the population, the influx of new high-income residents and a restructuring of the public space.
4
Documentation The gift exercise / Invitation 2.2: Zurich
5
Documentation The gift exercise / Invitation 2.2: Zurich (Photos: Eva Linder, Mayumi Arai)
6
Published books The gift exercise / Invitation 2.2: Zurich, ISBN 978-3-906325-47-7
3.
5. 11
No. 9 Question about Kalkbreite [a housing cooperative in Zurich]
No. 31 Family portrait
No. 24 Stick download codes to postcards, Tipps for Japan holiday
No. 34 Doing nothing for 15 minutes
No. 27 Family photo
No. 37 A parrot drawing for Mia 12
2.
The gift exercise / Invitation 2.1: Nakanojo 1. 1 Every borrowed object is tagged with the date
2017, Installation / Performance / Intervention / Artist books Hosted by Nakanojo Biennale, Gunma/JP
of arrival, date of return, name of the owner, and the exchange service. (Photo: Ujin Matsuo)
4.
In the frame of Nakanojo Biennale, a month-long regional art
2 Through the glass store front locals and audiences can watch Willimann/Arai's everyday-life
exhibition, Willimann/Arai lived for 25 days in one of the aban-
as a performance. (Photo: Ujin Matsuo)
doned shops in the center of Nakanojo, a town that is strongly
3 The borrowed objects are documented by staged Trophy-pictures (optionally with the owner of the object)
concerned with rural depopulation. Through a call in a local newspaper and flyers that they distributed to the neighborhood, Willimann/Arai asked the locals to lend them everything they needed for living in this temporary home, such as tables, chairs, a refrigerator, futons, blankets, jugs of water, plates, kitchen utensils and also food, clothes and soap. In exchange, Willimann/Arai provided the locals a variety of services: they worked in gardens, gave English lessons, foot massages, prepared dinners and tea, etc. Within a short time, their "home" became a popular meeting point,
6.
a temporary Utopia of non-monetary exchange. After the opening of the Biennale, some locals proposed to replace Willimann/Arai for the remaining 28 days of the exhibition. Wearing their uniforms and taking over their documentation
4
Nakanojo
tasks, the locals kept hosting the space for the visitors of the exhibition.
Documentation The gift exercise / Invitation 2:
5
In every exchange, the owner is asked to sign a receipt, which depicts the loaned object and documents the desired exchange service.
6
Trophy picture, staged and photographed by locals who replaced Willimann/Arai after their departure. (Photo: Kumiko Murakami)
3.
5. 13
No. 22 Have a good meal everyday
No. 48 You made a good tea for me
No. 31 English lesson
No. 64 Thank you for having a nice conversation. Good luck for your future
No. 38 I will visit you once in a while
No. 79 Cheers and all the best! (Captions: translation of the respective "exchange value")
14
Avatar tours
Avatar tours Cap
In the midst of the global Covid-19 pandemic, Willimann/Arai explore the possibilities of traveling beyond the limits of physical mobility by tracing global connections in their local neighborhoods in Zurich and Tokyo. Connected via an online-
2020 -
call, Nina Willimann and Mayumi Arai share a landscape as if they were walking together, while one of them draws a map of what the other sees. In this way, they explore imaginations of places, times, objects, (his)tories and people, and finally share them with the audience in the frame of a guided tour. The vehicle of this practice of "traveling without traveling" is the shared avatar figure willimannarai. Based on the traditional Japanese theater form Rakugo, in which a single actor plays multiple roles, willimannarai can be embodied or hosted by both artists and manifest itself in different places simultaneously. In the Avatar tours series, willimannarai acts as a "guided tour guide" and as a translator of languages, spaces, times and bodies.
#3: Zurich (2020/2021) #2: Tokyo Ueno (2020) #1: Altstetten (2020)
15
Self-portrait of avatar willimannarai 16
1
Avatar tours #3: Zurich 2020/21, Guided tour / Performative installation
5
In the frame of the exhibition Am nächsten Tag ging die Sonne auf in Helmhaus Zurich/CH
During the exhibition period in winter 2020/21, Willimann/ 2
Arai have explored the surroundings of the Helmhaus Museum through the Avatar willimannarai, who found the usually busy area in a state of exceptional silence due to 6
people’s restricted freedom of movement. The mappings of these walks were exhibited as part of the performative
7
installation, forming a constantly growing and changing landscape. 1
In early summer 2021, Avatar willimannarai invited the local audience to a city tour, in which she shared the findings of 3
their research. Guiding the audiences through this historic
documentation: Nora Longatti) 2, 3 Map details 4
One of the reincarnations of Zeus (Video still, documentation: Nora Longatti)
area of the town, willimannarai introduced them to several
5
Tour map which was distributed to the audience
beings and their stories that are given little attention in the
6
Group photo of the participants of the tour
official historiography: Among them the animal guides
7
Amabie, a Japanese mythological being who
who appeared to Charles the Great and led the religious
helps fighting diseases, like Covid-19. Similar to
sisters Hildegard and Bertha to Zurich, the forgotten fates of
the siren in the Starbucks logo she lives in the
so-called witches, the infamous dwarves of Zurich, various re-incarnations of Zeus and a powerful and underestimated 4
Guided tour on 25.6.2021 in Zurich, (Video still,
abbess who supposedly protected Zurich from civil war.
sea. 8
Installation view of the map in the exhibition in Helmhaus Zurich
8 17
1
Avatar tours #2: Tokyo Ueno
5
2020, Mapping / Guided tour / Performative installation Hosted by Helmhaus Zurich/CH & Museum of Tokyo University of the Arts, Tokyo/JP
2
3
Ueno Park is the first public Park in Japan and today hosts a zoo, several museums and many monuments and historical sites. In the frame of their walks in Ueno Park Willimann/Arai were particularly interested in the traces of Meiji Restoration – Japans modernization period after the forced opening at the end of the 19th century – in which this park had been created and whose spirit had shaped this park. In doing so, they encountered various hybrid phenomena that emerged from appropriations of Western practices, values, and institutions – as well as alternative concepts of space and time. In a series of park tours, willimannarai guided the visitors in Tokyo physically – and the guests from Zurich in their own imagination – through Ueno Park.
6
1
Ueno Park Tokyo/JP (Photo: Ujin Matsuo) 2
Video still, documentation of mapping
3
At the opening of the exhibition, willimannarai
7
took the visitors to an imaginary tour around Ueno Park in front of Helmhaus, Zurich (Photo: Vreni Spieser) 4
The mappings of Ueno were exhibited simultaneously as part of the exhibition Am nächsten Tag ging die Sonne auf at Helmhaus Museum in Zurich, as well as at the Museum of the University of the Art in Tokyo.
Documentation of guided tour on 19.12.2020,
Documentation of guided tour on 20.12.2020, Ueno Park Tokyo/JP (Photo: Kenji Agata)
5, 7 Installation views, Museum of the University of the Arts in Tokyo (Photos: Ujin Matsuo) 6
At the end of every tour, willimannarai took selfies with the participants
・[Video trailer & Short Documentation] Avatar tours # 1: Zurich Altstetten & 4
Avatar tours #2: Tokyo Ueno: https://vimeo.com/647156466
8
Installation view of the map at Helmhaus Museum (Photo: Nina Willimann) 8 18
1
3
Avatar tours #1: Altstetten 2020, Mapping / Guided tour
During the pandemic summer, Willimann/Arai stayed for 3 months at the guest studio of Genossenschaft Gleis 70. Connected via the internet, they explored and mapped
4
their surroundings at the border of the city of Zurich – a 5
former industrial neighborhood which expands along the train line Olten-Zurich and is today home, amongst others, to IT and transport companies, a postal distribution center, community gardens and a new hockey stadium.
1
In the frame of a guided tour at the end of the stay, avatar willimannarai shared the experiences and the knowledge which the artists had acquired during the walking and mapping practice with the audience. In this stroll through the interwoven (hi-)stories of global connections, willimannarai invited her guests to follow the traces of migrations of goods,
2
Documentation of guided tour on 10.9.2020, Zurich Altstetten/CH, (Photo: Bruno Alder)
2
Map no. 14 (11.8.2020)
3
Tour map which was distributed to the audience
4
Map no. 26 (21.8.2020)
5
Documentation of guided tour in Zurich Altstetten/CH on 10.9.2020 (Photo: Bruno Alder)
6
Video still, documentation of guided tour Avatar
informations, people and plants that have inscribed them-
tours #1: Zurich Altstetten (Camera: Paloma
selves in the surroundings.
Ayala) 6 19
CV
Willimann/Arai Nina Willimann *1982 in Sursee/CH, lives and works in Zurich/CH 2014 - 2018 MA Transdisciplinary Studies, Zurich University of the Arts ZHdK, Zurich/CH 2006 - 2008 TIP Bewegungs-art, School for Contemporary Dance, Improvisation and Performance, Freiburg i.Brsg/D 2003 - 2004 Preliminary course, School for Visual Arts Bern - Biel/CH
Mayumi Arai *1988 in New York/US, lives and works in Tokyo/JP 2021 - 2022 Acadmic Guest, Global History, Zurich University (UZH)/CH 2021 - Postdoctoral Fellow, Fine Arts, Tokyo University of the Arts /JP 2016 - 2021 PhD, Fine Arts, Tokyo University of the Arts/JP 2012 - 2016 MA, Fine Arts, Tokyo University of the Arts/JP 2015.8 - 2015.11 Semester program Transcultural Collaboration, Zurich University of the Arts (ZHdK)/CH & HK 2013 - 2015 Photography, University for applied Arts, Vienna /AU (exchange student) 2008 - 2012 BA, Painting & Printmaking, Musashino Art University, Tokyo/JP
Willimann/Arai Solo Exhibitions 2019 The gift exercise / Invitation 4: Taiwan, Tsung-Yeh Arts & Cultural Center, Tainan/TW ------- The gift exercise / Invitation 2.2: Zurich, Material, Zurich/CH Group Exhibitions (selection) 2021 A Forest of Many Worlds / School of the forest, la_cápsula, Zurich/CH 2020 Am nächsten Tag ging die Sonne auf, Helmhaus Museum, Zurich/CH 2019 Taipei Art Awards, Taipei Fine Arts Museum, Taipei/TW ------- Werkschau 2019 (Canton of Zurich), Haus Konstruktiv, Zurich/CH ------- Milan Design Week, Milan/IT 2018 Art-72rooms Fair, Hotel Xintiandi, Shanghai/CN ------- Spoken / Unspoken, McaM (Ming Contemporary Art Museum), Shanghai/CN ------- My grammar and (y)ours?, OnCurating Project space, Zurich/CH ------- Taroko Arts Residency Project ( I & II ) / TheCube Project Space Taipei, Taipei/TW ------- It's just about we, Ausstellungsraum Klingental, Basel/CH 2017 Nakanojo Biennale, Nakanojo/JP 2016 International Afternoon, ZHdK, Toni-Areal, Zürich/CH ------- Showroom Z+ N°6 Kollaborationen, ZHdK, Toni Areal, Zurich/CH ------- Highlights 2016, ZHdK, Toni-Areal, Zurich/CH 2015 Hot Pot, Connecting Space Hong Kong / Kai Tak Campus, Academy of Visual Arts, Baptist University/HK Performances / Interventions (selection) 2021 The gift exercise / Invitation 6: Sihlwald, School of the forest, Sihlwald, Zurich/CH ------- Avatar tours #3: Zurich, Helmhaus Museum, Zurich/CH 2020 Avatar tours #2: Tokyo Ueno, Ueno Park, Tokyo/JP ------- Avatar tours #2: Tokyo Ueno, Helmhaus Museum, Zurich/CH ------- How to disappear (completely): Practice 5, 4. Schwamendinger Kurzauftritte, Zurich/CH ------- Avatar tours #1: Zurich Altstetten, Gastatelier Gleis70, Zurich/CH ------- The gift exercise / Invitation 4.2: Taroko National Park, Liouguei Police-guard Line, Kaohsiung/TW ------- The gift exercise / Invitation 4.2: Taroko National Park, Taipei Fine Arts Museum, Taipei/TW 2019 Reflection fig.3: Otherness, Symposium Shared Campus, Zurich University of the Arts, Zurich/CH ------- The gift exercise / Invitation 4.2: Taroko National Park, Tsung-Yeh Arts & Cultural Center, Tainan/TW ------- The gift exercise / Invitation 2.2: Zurich, Material, Zurich/CH ------- Swiss Step Aerobics, Tanzfest Winterthur, Winterthur/CH
2018 How to disappear (completely): Uniformity / Practice 4, Volumes 2018, Kunsthalle Zürich, Zurich/CH ------- Reflection fig.2: Translations, Spoken / Unspoken, McaM (Ming Contemporary Art Museum), Shanghai/CN ------- Swiss Step Aerobics, my grammar and (y)ours?, OnCurating Project space, Zurich/CH ------- The gift exercise / Invitation 4.2: Taroko National Park, TheCube Project Space Taipei, Taipei/TW ------- Swiss Step Aerobics, Marktplatz Basel / Ausstellungsraum Klingental, Basel/CH 2017 Reflection fig.1: Hospitality, Migros Herdern, Zurich/CH ------- The gift exercise / Invitation 2.1: Nakanojo, Nakanojo Biennale, Nakanojo/JP ------- The gift exercise / Invitation 4.1: Sakadang/Datong, Taroko National Park/TW ------- The gift exercise / Invitation 3: Taipei, Taipei Contemporary Arts Center TCAC Taipei/TW 2016 The gift exercise / Invitation 1: Romainmôtier, Arc Residency, Romainmôtier/CH ------- How to disappear (completely): Radio exercise, Highlights 2016, ZHdK, Toni-Areal, Zurich/CH ------- Presentation How to disappear (completely), International Afternoon, ZHdK, Toni-Areal, Zurich/CH 2015 How to disappear (completely), HOT POT, Connecting Space Hong Kong/HK Artist-in-Residency 2022 Fundaziun Nairs, Scuol/CH 2021 Fundaziun Nairs, Scuol/CH 2020 Gastatelier Gleis70, Zurich/CH 2019 Tsung-Yeh artist village, Tainan/TW 2018 Art-72rooms, Shanghai/CN ------- TreeTreeTree Person, Taroko National Park/TW 2017 Nakanojo Biennale, Nakanojo/JP ------- TreeTreeTree Person, Taroko National Park/TW 2016 Arc Residency, Romainmôtier/CH 2015 Connecting Space Hong Kong/HK Workshop / Teaching / Talk 1. 2022 Workshop Avatar mapping, Zurich University of the Arts (ZHdK)/CH 9-12. 2021 Narratives of „Nature“, Zurich University of the Arts (ZHdK)/CH 7-11. 2021 Avatar mapping Münster - Tokyo, Joint program Kunstakademie Münster × Tokyo University of the Arts, Münster & Tokyo/DE & JP 7. 2021 Reflection fig.4.2: Self & Otherness, Joint program Victorian College of the Arts (VCA) × Tokyo University of the Arts, Melbourne & Tokyo/AU & JP 3. 2021 Reflection fig.4: Self, Symposium Art and Education, Association for Language and Cultural Education, Tokyo/JP Artist books 2019 The gift exercise / Invitation 2.2: Zurich <ISBN 978-3-906325-47-7> 2018 The gift exercise / Invitation 4.2: Taroko National Park 2017 The gift exercise / Invitation 2.1: Nakanojo Awards 2020 Winner of art in architecture competition Haus Eber, Foundation Juwo, City of Zurich/CH 2019 Taipei Art Awards (Tree Tree Tree Person - Taroko Arts Residency Project), Honourable Mention /TW Grants / Fundings 2021 I LOVE YOU project/JP 2020 Gastatelier Gleis70/CH ------- Tokyo University of the Arts Fund/JP 2019 Curtural department of Canton of Zurich/CH ------- Cultural Affairs Bureau of Tainan City Government/TW 2018 Canton of Basel/CH ------- Ernst Göhner Stiftung/CH ------- Department for Cultural Affairs, Taipei City Government/TW ------- National Culture and Arts Foundation, National Taiwan Museum of Fine Arts/TW 2017 Avina project found/CH 2016 Migros Kulturprozent/CH 20