He picked up the garbage discarded by the roadside and took it home, singing praises of the most primitive desire, her numbest life, you violently tore yourself limb from limb, driven by the most unbridled love. As time passed, one day after another, getting older, all that remained were muscles on its body and guns in its veins, destined to be killed and consumed. A distant realm of consciousness with fragmented slices of time.
Each moment in this memory could have occurred in real life or transpired in a dream; it could represent an event, a person or several people, an encounter, and so forth. It might also take the form of a story, a poem, a text, a word, or a big band.
Post-dynamic Times: Reality Dynamic Series:
This performance begins with a concept and invites various organisms to co-create a scene with incessant passion, where the environment interplays between reality and imagination. Climax and anticlimax alternate through the collision of bodies, movements reminiscent of guerrilla tactics, and the hybridization of materials and collective behavior.
CHIANG Yuan-Hsiang is a performance artist, and the founder of the cultural movement group “Potestas Creative Workshop”. His practices revolve around the creation and curation of live art. Chiang Yuan Hsiang is a performance artist and the founder of the live art group The Post-Theater. His practices revolve around the creation and curation of live art. Chiang’s works often focus on the contemporary phenomenon of the body, deconstruct space with action, intervene in the social scene, experiment with the body, and hyperlink to literature and texts. He’s interested in challenging the boundaries between spectators and performance and producing heterogeneous landscapes. In 2020, his performance ‘The Singularity of Taipei’ was nominated for the 19th Taishin Arts Award (Fourth Season).
Hibig Band
With the unreliable emotions generated by constant immersion in theater music, we made an irrational decision to form a group in 2018. However, the practice process can be harsh. Day after day, we endure the frustration of playing wrong notes and missing beats, trapped in an anxiety loop of unemployment, work, and a lack of time to practice. Yet, we persist in this self-inflicted struggle for the occasional emergence of beautiful sounds. While it may seem absurd to laypeople to pursue music, nothing is more absurd than the vast and silent daily life. If we hold any expectations about “music as a defense,” we need not be professional musicians to feel confident. Big bands have publicly demonstrated, in good faith, that there is no harm in missing a beat and no issue with playing off-key; anyone can find a way out by adopting a frenemy attitude toward the reality. (Xu Jian-Yu, 2024)
Performers: Wang Hsin-Yi, Lin Hsin-I, Chiu Chih-Cheng, Ke Te-Fong, Kao Hsiou-Hui, Hsu Tsung-Jen, Hsu Ya-Hung, Huang Lung-Hsiu, Huang Hsin-Yu, Liang Chia-Wei, Liang Hsin-Wen, Han Kai-Jan.