Video Box “Intimacy: the moments of social skin”, curated by Yipei Lee

Video Box, a special non-profit program promoted by the Swab Foundation, gives visibility to video art projects originating in territories with a cultural fabric marked by experimentation with this medium.

Last year’s edition, curated by Yipei Lee, explored the theme “Intimacy: the Moments of Social Skin”. Through this selection, issues such as gender, the intangible forces of geopolitics, power and culture that influenced contemporary social development in Taiwan since the 1990s were addressed. The works dismantled social structures and historical imprints, addressing the relationships between nation, city, tribe and family. The body was presented as a legible text, with human beings compared to skin and texture attached to the surface of society, exploring cultural ideologies, racial prejudice, social status and group identities in Taiwanese society.

Ciwas Tahos (Anchi Lin)
Pswagi Temahahoi, 2022

From the first day of the fair, Video Box became a meeting point for video art lovers. The program was, once again, a space dedicated to offer a vision of contemporary experimental video art through projections that explored the most radical and current visual narratives, deepening the reflection on society and its conflicts.

The space, generated with materials donated by the Miró Foundation, JVC, MNA Stands and BDU, stood out as a design closely aligned with the curatorial proposal of the program, emphasizing the role of video art as an accessible and sustainable medium. In this way, it has made possible the presence of narratives from other territories at the fair without the need for transportation and other processes with a high environmental impact.

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We talk with the curator, Yipei Lee
 
What relationship do you see between the themes addressed in Video Box and the history and current reality of Taiwanese society?

The main theme, “Intimacy: The Moments of Social Skin,” explores fragmented social relationships in contemporary society from multiple perspectives, including psychological repetition, urban landscapes, indigenous connections, and nature, across different generations. It reflects the complexity of Taiwanese society, where traditional ritual practices coexist with critical reflections on the impact of technology. The changing urban fabric highlights the resilience of human communities, while more-than-human concerns shed light on two contrasting spectrums: the interactions between humans and animals in laboratory settings and the the underlying female narratives within tribal culture.

How did you select the works and artists featured in Video Box, and what threads shape the discourse of the “Social Skin” that titles the program?

The selection of works and artists reflects the complexity of historical, ethical, and modern transformations experienced over the past 50 years. The artists’ backgrounds span from the 1970s to the 2000s, offering rich generational perspectives that spark locally spontaneous discussions while resonating internationally. Their works reveal intangible forces and political threads interwoven with moral undercurrents, traversing layers from tribal communities to urbanization and even virtual societies. The poetic nature of these interconnected threads illuminates social issues that concern not only the artists but also humanity as a whole. Through this approach, I aim to present a decentralized narrative that captures the evolving cores of social change.

Additionally, I approach society as a subjective entity, or a “body,” with the term “Social Skin” serving as a metaphor for functionality. The dynamics of this social surface can either lead or displace its underlying meanings. It portrays the depth of social and cultural belonging while also highlighting the fragility of humanity in the face of current democratizing currents.

CHEN CHIEH-JEN
​A Field of Non-Field, 2017

There is a high-quality production of video and new media art in Taiwan. How would you say this context emerged, and how do you see it evolving in the future?

We are born on a small island, but with the growth of technology and the semiconductor industry, these sectors have supported hundreds of thousands of families and become an integral part of our cultural DNA. This foundation has gradually nurtured and shaped the development of new media and video art. Over the years, we have been deeply influenced by Japanese manga and anime culture, which introduced compelling visual storytelling. In the 1990s, interactive and experimental art was widely embraced, driven by Taiwanese individuals who had studied in Western countries. Today, as younger generations grow up immersed in digital-oriented content and creativity across Asia, our educational spectrum has expanded to incorporate digital narratives alongside traditional culture and identity.

Artists are increasingly exploring the perception and embodiment of technology. With the accessibility of affordable components and tools, many creators are empowered to experiment and innovate. Beyond practicality, they are also guided by a distinct aesthetic identity that reflects a unique blend of cultural influences through sound, light, and futuristic elements. We continually explore how the future of video and new media art in Taiwan lies in merging traditional cultural heritage with cutting-edge technology, crafting narratives that resonate both locally and globally. This ongoing journey will continue to redefine how we connect with art, technology, and each other.

Hsu Che-Yu
RABBIT 314, 2020

What do you think video art can contribute to the reflection on the contemporary world, both in terms of form and its distribution possibilities?

I think video art is a “futuring artifact,” holding unique potential to reflect on the contemporary world by blending form, content, and innovative distribution methods. In terms of form, it pushes the boundaries of traditional storytelling and visual representation, enabling artists and audience to explore complex themes through dynamic, multisensory experiences within the context of a hypertext society.

Still and moving images can interact with multiple media, such as sound, light, motion, and interactivity, allowing them to mirror the fragmented, multifaceted nature of contemporary life. This makes video art particularly effective in addressing topics like identity, globalization, and technological change.

Regarding distribution possibilities, video art thrives in both physical and digital spaces. Traditional exhibition formats, such as art spaces, galleries and museums, provide an intimate context for audiences to engage deeply with the work. Meanwhile, digital platforms, including social media, streaming services, and immersive technologies like VR, offer unprecedented opportunities for accessibility and reach.

These platforms enable artists to connect with global audiences, foster real-time plural interactions, and adapt their works to diverse contexts, democratizing access to art and expanding its societal impact.

From my observation, video art often serves as a powerful medium for critical reflection, fostering dialogue about contemporary issues while challenging and expanding the ways we encounter and engage with art in an increasingly interconnected and digital world.

Wu Chi-Tsung
PERSPECTIVE VIDEO, 2008

At a fair, what do you think a video program brings as an experimental and non-commercial platform? What opportunities do you think it offers to artists, professionals, and the general public?

I believe it’s essential to have a non-commercial storytelling section that provides alternative points of view while addressing timely themes that foster a deeper understanding of foreign cultures. For artists, it creates a space to showcase their work beyond traditional market-driven constraints, encouraging experimentation and innovation. At SWAB, Video Box amplifies the voices of cultural practitioners and artists, fostering connections with audiences who value art as a form of critical and creative expression.

For professionals, including curators, collectors, and critics, video program offers opportunities to discover potential intersections between academic, alternative, and commercial realms. They provide deeper insights into the specific ideas and methodologies driving contemporary video art, fostering collaborations and opening pathways for curatorial or institutional projects that prioritize experimentation over marketability.

For the general public, video program democratizes access to art by presenting engaging and thought-provoking works that often address pressing societal issues. They open doors beyond territorial boundaries, enabling audiences to engage with social dialogues that offer fresh perspectives on the world and challenge conventional ways of thinking.

Overall, a video program acts as a flexible playground, enriching the fair environment by bridging diverse audiences and embracing an inclusive art ecosystem that values cultural heritage, dialogue, and accessibility.

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