RadioARTivity

by on Tuesday, 17 May 2011 8844 hits Comments
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One thing that I couldn't brush from our eyes during the NoNuke preparation and enaction of the 4/30 anti-nuclear power demonstrations, was the formidable displays of innovation and DIY creativity. Following the conclusion of their first major manifestation on the 30th April, NoNuke understandably didn't want the momentum to slip. Within a week of the 4/30 manifestation, they held an exhibition combining ten works from different artists, divided up between and held simultaneously at three separate galleries. Once again it showed the incredible organizational skills of this young yet maturing movement.

Don't Brush off What You See (不可小覷) was a way of keeping the spirit of the movement alive, meanwhile documenting the efforts of the anti-nuclear movement over the past 18 months and allowing individuals participating in the movement resting time to reflect on themselves and let their creative spirits flow. For curator Esther Lu it was also an experiment,

"to weave artistic production into social movement to shift the sociality of art. Quite opposite to the form social intervention, it is a social practice of artists as citizens to participate in the ongoing social debates with their own artistic research and practice that address reality with different visibility. They may reshape and diminish the conventions and collective ideologies of a demonstration, and create dynamic flux in social movement."

While not necessarily the most visually enticing art exhibition I've ever been too, it was full of energy and creativity to change and influence the way people and society think about energy issues. It was clear that the artists had considered many facets of the nuclear question and were certainly not uninformed extremists. The exhibition was full of innovative concepts, combining performance art, design, cinematography, some conceptual inventions and even organic urban regeneration. For example, the Plum Tree Creek group presented a comprehensive urban re-planning for the Zhuwei community in New Taipei City. While this exhibition was perhaps fired off by the Fukishima explosions in March, the works as a whole did not simply enclose themselves in an oversimplified nor purely nuclear framework. Instead, they opened up a dialogue with the rest of society and between themselves in the movement, suggesting alternative ways of living, in order to tackle the imminent environmental and energy crises without the use of dangerous nuclear fuel.

The Nuclear Waste Terrorists, provided documentation of their performance art, in which they carried fake barrels of nuclear waste in downtown Taipei,  before having an 'accident' which they were left trying to contain. After securing the perimeter they proceeded to pour what one could only assume was iodine salts to bring the radiotion levels under control. This use of terror was certainly an effective way to make onlookers wonder - just how prepared are we to deal with nuclear waste disposal and nuclear leaks? This doubt was further backed up by the work 'We never expected this to happen' in which they made a model representation of a nuclear power plant which they filmed blowing up, they further invited the visitors to make their own model power plants. Another work was of the classroom science invention type, The Red Eyes of Tom Boy, showing how tomato juice could be use to power a home-made battery.

Being Taiwan, their had to be some cuter artistic representations - Wu Qiyu, with his work 'Number 1 and the Dog'. certainly met the requirements.  He used film to portray the demise of an alpha male dog, once with a body of steel, who sees his strength waning after eating infected fish from the waters nearby Taiwan's first nuclear power station. The dog first has a headache, then he feels nauseous, eventually he violently coughs up his brains, jaw and even his teeth.

One work, We Create Power really sums up the greater meaning of this exhibition. The work stipulates that all energy eventually stems from human creativity. Indeed, human energy creates possibilities; superhuman energy can create problems...

Last modified on Wednesday, 08 January 2014 17:34
Nick Coulson (聶克)

I was born in sunny Torbay on the south western coast of England's green and pleasant lands. I'm prowling the streets, parks and ruins of Taiwan hunting for absurdities and studying the sociology of the underground. Furthermore with our nomadic arts and action space "The Hole" we attempt to challenge rigid and alienating structures.

出生於英國西南部,海邊的天堂為Torbay。目前在台灣的街上,公園,廢墟尋找世界之荒謬與世界之美,努力盡量在各方面跳脫框框。透過我們的游牧空間「洞」我們不斷地用藝術與行動來挑戰早已僵化的體制。

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