text by Kao Chien-Hui
Scene at the Venue
In our era, how do we recognize the practical relationships between creation and non-creation, artworks and non-artworks, materiality and immateriality? Within artistic works, how can we simultaneously look for the translational traces of artists amidst life and art, the spiritual and technical, and the elite and workaday world?
The exhibition Unboxing - May the Force Be With You, showcased at Beyond Gallery, holds significant spatial implications. As a location, the Beyond Gallery name inherently points towards discourse concerning aesthetic transformations. Engaging in conceptual deliberations surrounding the everyday and non-routine, material and immaterial, art and non-art, galleries and non-galleries, this exhibition serves not only as an "unboxing" index to female artists over the course of modernization, but also aims to reveal, through the forms of artworks, the translational processes of aesthetic creation beyond personal narratives within their guiding beliefs and artistic practices.
Structured as an inquiry into aesthetic unboxing through visual forms, the exhibition consists of two distinct components: a solo exhibition titled Enter Her Studio, and a small joint exhibition titled Enter Their Transfer Station. Enter Her Studio focuses on the materiality of "studio objects" belonging to a female artist born in the 1950s. These objects include oil paint jars, heavy work uniforms worn while painting, and residues from the working environment, condensing the temporal, spatial, and energetic flow within the creative process. Through the materiality of the materials and tools, they reflexively become the artist's second skin, material evidence of time, and compressed visual expositions of the artist's creative spirit and energy.
Enter Their Transfer Station features six female artists from diverse familial backgrounds born in the 1960s, each presenting works produced after the "lockdown years." Apart from showcasing their individual aesthetic styles and the subtle realities of daily life, the exhibition also displays related objects from their respective personal creative processes. These conceptual visual pieces, hovering between the realms of "artworks" and "non-artworks," take forms such as found objects, sketches, and audio/video recordings, presenting the imaginary worlds they have transformed from their domestic realities and the external phenomena upon which they place their focus.
Unboxing in the Lockdown Space
In the context of "lockdowns," the act of unboxing or lifting a lid implies the potential energy of movement or transplantation. This concept of "transplantation" encompasses shifts from real plants to mythological metaphors of planting, from material vessels to the spiritual realm's planting force, and from the confines of restricted space to the potential liberation of the subject. "May the force be with you," a phrase borrowed from the science fiction movie Star Wars, serves as a positive blessing for the awakening of power. Unlike opening the proverbial Pandora's Box, this unboxing is a visual shot at close range, sending out the blessing "may the force be with you."
Pots can be any vessel used for painting, planting, or cooking. "Pot up" implies opening cans, transplanting, burying pots to cook rice, and starting anew. Using pots, pans, and vessels as a primal domain, or as limited containers, whether in real life or the artistic realm, they resemble witch's cauldrons, capable of either providing feasts (i.e. "crush a pot") or serving as crucibles (i.e. going "into the melting pot"). Making the idea of the "pot" the conceptual starting point of an entire exhibition is a mechanism for peeking into the creative energy of women engaged in activities related to painting and household chores, like witches and healers.
Similar to vessels, a "lockdown" is seen as an emergency measure intended to prevent individuals or information from leaving specific spaces, which can only be activated by authorized personnel. Such restrictions are also employed to protect insiders from threats or actions from external sources. The term "lockdown years" is not limited to pandemics or martial law; it can also represent living and spiritual conditions constrained by subjective and objective ecosystems and situations. Using "lockdown" as a creative environment harkens back to the emergency exits of all repressive eras. In the constrained space-time of restriction and protection, women born between the cracks of modern society, like potted plants, endure processes of being blown by the wind and transplanted. Similar to setting up a camp and cooking in a field, in their relocation they may be transformed from being in pots to becoming witches brewing over pots.
Unlocked Text
The concepts of pots and cooking, as well as pots and planting, interconnect within an artistic realm that encompasses both objects and activities. Since ancient times, plants and food have been used in magic and healing, believed to possess transcendent powers of connection. They are considered to harbor unique energies and characteristics, with each plant carrying its own meaning and symbolism, a force connecting nature and society. Plants and art also share the function of energy transformation. From materials to finished artworks, the creative process is like cooking or grafting, offering a mysterious power of protection and regeneration. The following three planting energies serve as the textual confluence of creative energy shared by the featured artists in this exhibition.
God of Horticulture Text
Entering an age of reflection within the Anthropocene, mysterious phenomena surrounding material life have become subjects of fascination. In nature worship, flowers and plants, imbued with animistic notions, are endowed with a sense of spirituality and divine power. Flowers and plants, serving as essential fragrances and painkillers, have been extensively documented in myths and human history.
In Greek mythology, the plant deity Adonis oversees the annual cycle of plant death and rebirth. He embodies unconventional life forces such as incest, confusion, hermaphroditism, androgyny, and resurrection. In Ovid's Metamorphoses, Adonis's mother, Myrrh, transformed into a myrrh tree after being seduced, giving birth to Adonis in the form of a plant.[1] Myrrh resin signifies bitterness. However, in the Bible, the Magi brought three gifts to the newborn Christ, including myrrh, gold, and frankincense, symbolizing blessings.
Adonis, son of myrrh, is said to have been gored to death by a wild boar, and his spilled blood turned into red anemone flowers. The flowers symbolize unrequited love, and convey a sense of hopelessness and desolation. Adonis worship in systems of human faith bears similarities to the worship of Tammuz in the Middle East. During the midsummer Adonis festivals, women would cultivate "Adonis gardens" on rooftops. The plants grow rapidly but also wither quickly. Women would publicly mourn the premature death of the plant deity by beating their chests and ripping their clothes. Through "planting" and "mourning," women would express the emotions of excitement and self-comfort in an open manner.
Horticultural Therapy Text
The concept of "green witchcraft" posits that plants possess magical properties. Ancient writings on plants reflect the inseparable connection between plant knowledge and witchcraft of our forebears. Today, the relationship between plants, witchcraft, and medicine is analyzed from the perspective of sociocultural anthropology, presenting a rational cultural dialectic.
Popular science author Ruth Kassinger, having experienced various flavors of life's difficulties, was inspired by a visit to a botanical garden to venture into the world of horticulture. In her book A Garden of Marvels: How We Discovered that Flowers Have Sex, Leaves Eat Air, and Other Secrets of Plants,[2] she explores the development of botany and delves into human self-disclosure through the lens of a home gardener's scientific curiosity and intuitive sensibility. Outside of the best-seller category, research by two contemporary female scholars on the West Indies has politicized "green witchcraft" in the context of colonial cultural history.
Karol K. Weaver's Medical Revolutionaries: Enslaved Healers in Eighteenth-Century Saint Domingue[3] discusses medicine as a power space in the competition between enslaved populations and Europeans. She regards enslaved African healers as "revolutionaries," contributing to the formation of Afro-Caribbean medical systems and challenging the medical concepts and professional hierarchies imposed by European colonizers. These enslaved healers' medical practices, including those in plantation hospitals, involved divination, amulets, and herbal remedies. Colonial authorities viewed these alternative healers (kaperlatas) as "the most dangerous elements in the eighteenth-century Saint Domingue medical underworld." They perceived their practices as witchcraft with potentially disruptive impact during the revolution. These misunderstandings and anxieties of cultural encounters involve Creole medical culture, the impact of slavery, relationships between medicine and power, gender, and historical memory.
In Londa Schiebinger's Plants and Empire: Colonial Bioprospecting in the Atlantic World,[4] published in 2007, she investigates indigenous knowledge of abortion drugs among women and reasons for why this knowledge did not spread. In 2017, her Secret Cures of Slaves: People, Plants, and Medicine in the Eighteenth-Century Atlantic World[5] chose plants and medicines as the main axis of exchange in the realm of Atlantic knowledge. In the book, she outlines four fields of research: understanding Africa's contributions to early modern science, racial history in science, the history of experimentation on the human body, and the impact of science in the eighteenth-century Atlantic world.
Among numerous contemporary writings on the "secrets of plants," The Secret Life of Plants by Peter Tompkins and Christopher Bird delves into the mysterious energy of plants through scientific speculation and science fiction. They believe that plants possess intelligence and cognitive abilities, can communicate with those who care for them, remember those who have harmed their kind, are capable of exhibiting fear and feigning unconsciousness, and possess magnetic and divinatory energies. These Anthropocene texts place plant species within the realm of human imagination.
Art Therapy Texts
The healing power of plants, from their chemical properties to the mystical powers of horticulture, is continuously referenced and utilized in contemporary daily life. In the art domain, which similarly possesses healing qualities, plants and flowers have always been an important subject. As the reproductive organs of plants, flowers have dual scientific and mystical connotations, beginning with botanical illustrations in plant books.
Botanical illustrations emerged in the first century CE. Greek physicist Crateuas depicted plants with precision. This method persisted through the Middle Ages and the Renaissance, reaching its peak in the late 18th to mid-19th century. Illustrators traversed various regions, documenting observed species. These botanical illustrators emphasized the appearance and structure of plants, eliminating flaws to standardize them.[6]
In 17th-century Holland, floral still-life paintings became popular subject matter for still life paintings due to the upper class's infatuation with exotic flora and fauna. These lifelike still-life paintings often carried moral connotations, symbolizing the passage of wonderful times. In the Victorian era, the British upper class sent flowers as a means to convey secret messages. People were familiar with flower species that conveyed such connotations as seduction, friendship, and embarrass-ment, and used floral colors to convey emotional secrets. By the 19th century, in the hands of the French Realist and Impressionist artists, this everyday object finally became an important subject matter in everyday painting, and served as a static subject for artistic studies.
In the mid-20th century, Kenneth Clark's The Nude: A Study in Ideal Form termed the depictions of the female form in the Middle Ages, lacking sensuality, as "herbal." In contemporary times, the relationship between women and plants, apart from mutual likening, tends towards collection following internalization. Female artists use herbal plants as metaphors, and their drawings of plants in sizes large and small often extend to new imaginative realms. Twentieth-century artist Georgia O'Keeffe transformed conventional depictions of flowers into new avant-garde art. Emphasizing green life force, artist Wolfgang Laib, a medical student in the 1970s, created landscape art using pollen. The hazelnut flower only blooms for a short time, and it took the artist 27 years to complete his presentation of "pollen as the beginning of life."
Using plants or heterotopic concepts as ecological therapeutic media is a common artistic program in the "post-human era." Pharmacology replaces form, and the mystical power of plants is now seen as a pathway to the return of the Age of Enchantment. Called "Green Magic," there were more practical models during the years of the pandemic from 2019 to 2023. For many contemporary female artists, "plant drawing" is no longer a traditional genre of salon painting, but a natural dialogue of energy in daily life and artistic practice.
Aesthetic Gifts: Between Spirituality and Materiality
In the contemporary local art scene's "plant fever," Unboxing - May the Force Be with You not only presents other realms named after "Green Magic," but also reflects the various aesthetic issues involved in the artist's restrictions in different "spaces and movements."
German sociologist Theodor Adorno's Aesthetic Theory conducted cultural analysis from two perspectives. One was aimed at spiritual culture, or aspects of elite culture; while the other was aimed at material culture, or aspects of mass culture. These two aspects remain dual objects of aesthetic reflection in contemporary times. In addition, contrasting authoritarian, heteronomous technical expression and free, autonomous purposeless generation, how the technical style of art and the inner spirit of art constitute a viewing perspective with aesthetic ideals is also a basis for many audiences' evaluation of artistic value.
In the dialectics of spiritual culture and material culture, the disdainful attitude of spiritual culture towards material culture and the nihilistic criticism of material culture towards spiritual culture have both brought the "artistic" back to the dualistic nature inherent in the artworks themselves. The dual nature of art is directly manifested in aesthetic phenomena. On the one hand, it is distinguished from experiential reality and social function, yet at the same time, it is also part of the relationship between experiential reality and social function. In contemporary times, the "technical aspects" of art are based on rationalization, but the "sorcery legacy" of art has always existed. How to find a position between the rationalization of technical simulation and the secularization of alchemical sorcery is the key to viewing artworks. From this perspective, viewing the works of these female artists in this exhibition may reveal not only aesthetic interpretations of form and content but also the interaction between creative energy and personal life experiences.
Unboxing the Artworks
Her Trinity - Ava HSUEH
Points, lines, and surfaces are often regarded as subjects of aesthetic research in art. However, in the fluidity and superimposition of forms and colors, they also represent ways of looking at the world. For Ava HSUEH, art is like an outing, the completion of a journey, with both process and result. On this occasion, under the theme of "Unboxing," artists were specially invited to use three-dimensional framing to compress, conceptualize, and create a symbiotic relationship between the self and objects in their artistic process, showcasing the artist's creative process involving time, space, the body, behavior, and energy. The aesthetic window she opened also includes a balance between the urgency and stability in her long-term creative thinking, as well as compositional studies related to cool and hot abstraction.
Under the title Look, Speak, Listen, the artist presents a structure of eight physical entities and one virtual image in the form of cubes. They include objects and fragments between the artist's body, creative actions, and artworks during the creative process. These everyday and found objects, and participants include shoes worn for 18 years, weighing 1.92 kilograms, and clothes splattered with paint. Over time, they have developed their own language, taking on their own patina and weight, imbued with new physical properties and stories. This inadvertent yet natural accumulation witnesses the coexistence and irreplaceability of the "trinity" of time, space, and energy.
Through the referencing, intertextuality, juxtaposition, and revelation of physical entities and images, the artist embarks on a journey of conceptual transformation between reality and representation. The artist's focus is not on "displaying" the spatial dimensions of her art, but rather treating this artwork as an "action of aesthetic exchange" among the artist, artwork, and audience. The three iron monkeys that appear in the work are no longer symbols of "see no evil, hear no evil, speak no evil," but rather comprise a "trinity," welcoming the various experiences and insights triggered by the "unboxing."
Her Chopping Flowers and Smiling - Juin SHIEH
She says: The keywords in my creation are: seeking roots, women, intertextuality, and extension. Internalization and overflow are her magic, simplifying the endless distractions of life into basic daily survival. Eating and breathing can hardly be considered blessings, yet they are also a form of self-redemption. For this reason, she often heads into her rooftop studio at any given time of the day or night.
She chops ingredients on a cutting board, scattering them into different scenarios, using the irregular touch of unevenness like blades to regroup them into frescoes. She stirs and fries in the pot, forming a sharp and hardened maze, yet still sees splendid wallflower designs with the naked eye. On large sheets of paper, she extends the floral designs from the house to the wild, climbing shrubs outside, achieving compromise and symbiosis through mutual contention and chaos, resembling a state of mutual assistance. She plants sharp and heavy relief totems on human models, resembling wings in flight, sinking into the deep sea of memory due to the overload of visual vocabulary. Narrating life, reading, and myths with her polished oil painting technique, moving in and out of the caves of life like flowing clouds and running water.
Wandering brushwork, linear freedom, jagged lines emerging from the surface frequently appear on her paper and canvas, as well as vehicles such as shields, cutting boards, pots, and plates. They evade logical visual vocabulary, actively participating in the folds of her memory, interpreting the fate of women in Greek mythology. In the choice of Syrinx's silver grass, she examines the negative perspective facing the god Pan; in the reproductive destiny of Venus, she understands the diverse lineage of motherhood. Like bobbing on the regular rotation of a carousel, she extends her perspective inward and outward, zooming in flashes on the repetitive areas of life and their inevitable differences, or the inevitable repetition of life and magnified differences. Like nomadic footprints, these records settle and flow in the folds of her memory, summoning her creative energy.
Her Cat and Rose - CHEN Hui-Chiao
Beyond her identity as an artist, CHEN Hui-Chiao is a cat lover and a rose gardener. Needlework, cat scratches, thorn pricks, like the painful or punctual points of life and existence, form a certain impression in her heart, which she sees as "awareness of love."
Along the flight path of insomnia, the artist often mixes the forces of dreams, the universe, and nature as the internal energy of her artwork. Cats and roses call to mind a family incident that occurred in her home garden during the pandemic. Cats and roses, tangible living things, became characters of the post-pandemic unveiling. Over the course of three years, three new cats entered her life; in three years, she cultivated a rose garden. The liquid legends and meowing of the cats, and consciousness falling like rose petals, summon in fragments a covenant of the soul.
On a winter day three years ago, her younger brother posted two photos on Facebook, one of a woodworking table, and the other of roses that Hui-Chiao had planted. Everything seemed fine. But only a week later, the person who always returned in the morning, switched on the equipment in the studio, put on some music, and who always told her to be gentle to the wood, passed away. Grief overcame the gentleness, and the amazing sandalwood and three cats outside the door became the family's imagination of his gentle return.
Imagination is transformed into painful, prickly calls of memory. Like a collage of fragments assembled by a spirit medium, she believes that on the eve of that sleepless day, the god of sleep, Hypnos, holding poppies in his hand, allowed her brother to enter his eternal sleep with memories of love. Cerberus, gatekeeper of Hades, also seemed to have appeared in front of her brother's studio. That afternoon, when she went to the tool shed to retrieve tools, four strange brother's studio. That afternoon, when she went to the tool shed to retrieve tools, four strange dogs appeared in front of the studio. They slowly approached the vegetable garden, and in al moment of distraction, they vanished. These murky scenes that cannot be distinguished as real or dreams thus became the background for this Cats and Roses work.
Her Silent Genes - LIU Shih-Fen
Working in the ivory towers of the medical field provided her with interdisciplinary creative sources. Gynecology and the operating room also exposed her to the creation of life and bioethics. In the early days, as she looked at an MRI of her own brain, she pondered: if these lesion-free images had not been stored and annotated as belonging to her, they could conceivably also belong to any normal "other person." Thus fashioning reproductions using her own facial images became her creative approach to "de-othering," while deconstructing the relationship between graphic images and manifestation.
She traced a body of knowledge. The Rorschach inkblot test was created by Swiss psychiatrist and psychoanalyst Hermann Rorschach. By presenting standardized symmetrical inkblot patterns formed randomly to subjects, and allowing them to freely associate, the test records and classifies these associations into categories. Through analysis, various characteristics of the subject's personality are diagnosed. Such level symmetrical inkblots provide room for imagination of assorted images, such as the hemispheres of the brain, mirrored reflections, mental projections, semantic implications, and even dualistic theological truths.
In the field of orchid cultivation, "gene silencing" technology has produced orchids with a diverse variation of labella - a specialized petal that forms the "lips" of the orchid. Like a "runway" that attracts insects for pollination, it symbolizes sensuality and desire. Etudes in Ventricle Phenomena - Rorschach Flowers interprets variable orchid labella with imagined specific organs and generates "Rorschach flowers" based on large Holcoglossum orchids as a template. By creating symmetrical inkblot patterns, followed by pencil sketching and digital image processing, she then reproduces the patterns into quasi-cultivated orchids. Austrian philosopher Ludwig Wittgenstein once said, "I am my world," and Rorschach Flowers belong to her allegorical botanical iconography, as well as the reciprocal pathway of image meaning and practice in her "ventricular phenomena etudes."
Her Ephemera - HUANG Hsiao-Yen
All is fate
All is cloud
All is a beginning without an end
All is a search that dies at birth
All joy lacks smiles
All sorrow lacks tears
All language is repetition
All contact a first encounter - Bei Dao (b. 1949)
The Chinese poet Bei Dao wrote the poem "All" at the age of 28. HUANG Hsiao-Yen came to fully grasp its meaning at the age of 58. Looking back, she considered herself to have been severely afflicted with Stendhal Syndrome, always rushing to people and scenes that moved her without hesitation, willing to throw herself into the fire for them. With no gray areas between love and hate, her works are always passionate, pure, and unrestrained. Year after year, her painting changes with her thinking, concepts, and life experiences. Now, the passionate style of her thirties is difficult to replicate in her fifties. She has begun to adjust herself at her own pace, adapting the attitude that suits her best in approaching everything.
Abstract or figurative styles have no meaning for her anymore; she just wants to paint what she wants to in each moment. Inspired by Dwelling in the Fuchun Mountains, which HUANG Gong-wang (1269-1354) began at the age of 80 and took three years to complete, and feeling the "slow beauty" of life, she found that what she needed was a relaxed and comfortable state of mind to achieve her desired vision. Viewing painting as a lifelong career, she hopes to portray the myriad peaks and valleys of life after middle age in oils. She believes that all concrete and abstract landscapes originate from the imagination, because she understands that humans can only cover so much ground on their feet, while the mind is capable of reaching the universe and stars.
Having filled her "all" with 30 years of creative pursuit in painting, painting is like a seed in the wind to her, freely floating, taking root and sprouting when it falls on the right soil. And once it has sprouted, it should be well watered and fertilized. This is her current creative concept —"everything in the pursuit of ephemera."
Her Dynamic Dwelling - HSU Su-Chen (1966-2013)
Dynamic Dwelling - Taiwan, Vietnam, and Australia (2006-09) is a work the late artist created focusing on the daily lives of migrant women on the margins. It chronicles elements such as language, color, cooking, temple festivals, planting, and migration, encompassing the "feminiza-tion" of migration sagas from three different regions.
This work was first exhibited in 2009 at the Shin Leh Yuan Art Space in Taoyuan, and was included in the Jam: Cultural Congestions in Contemporary Asian Art exhibition at the South Hill Park Arts Centre in the United Kingdom. In 2014, it was featured in the HSU Su-Chen Memorial Exhibition at the Kaohsiung Museum of Fine Arts, and in 2015 it was part of the Voyage to the South - Contemporary Images from the Museum Collection.[7] Although nine years have quietly passed since that time, the issues of women and the immigrant world it touches upon remain hot topics of discussion. She proposed the notion of the "feminization" of migration, which is an important development in the modern history of Asian migration. Over a three-year period she documented the stories of female immigrants - primarily from Vietnam - in three different locations.
This "dynamic dwelling" reflects on the life experiences of "sense of place" and "sense of belonging." Starting in Melbourne with French bread and pungent mint, she presented post-1975 Vietnamese immigrants and their agricultural communities. Since the 1990s in Taiwan, Vietnamese female laborers and "foreign brides" in transnational marriages also participated in language learning and daily life, reflecting the social power relations between migrants and locals. Focusing on their experiences in migrant life and work, she reflected the various complex political, commercial, investment, and cultural influences between the country of emigration and the new country of immigration. Observing her Dynamic Dwelling in 2024, it still holds relevance for low-to middle-tier migrant women facing the static and dynamic aspects of their original families, marital spaces, and labor environments.
Her Masked Potatoes - WU Yun-Feng
Housework, painting, embroidery, swimming, and teaching constitute her daily activities. "Daily life," for her, encompasses everything she thinks, does, and feels about people, things, and events, which also serves as a system of willpower. These regular activities allow her to temporarily escape worldly constraints, transforming energy through working with her hands and solidifying the realm between reality and imagination in visual images.
With Masked Women Cooking as the theme, she presented works related to "potatoes," "sunny-side up eggs," and "masked women" from 2020 to 2024. To her, not only are potatoes affordable and high quality, but also a media for preserving memories. For instance, scenes of her grandfather picking up potatoes by the railroad tracks at the Hung Hom Pier in Hong Kong, and her grandmother's signature dish of stewed chicken wings with potatoes. Even after moving to Taiwan, potato dishes continue to be a common sight on her dining table. Untouched potatoes quietly sprouting, stubbornly toxic, also became her objects of observation. Both potatoes and eggs are staple foods in her household, affordable and versatile. Sunny-side up eggs with soy sauce were the perfect dish for her in her younger, more difficult economic days. The process of frying eggs also provides sensory stimulation through visual, auditory, olfactory, and tactile sensations. And during the most trying period of the pandemic, it once again became an excellent food option in her daily life. The work Daily Sunny-Side Up Egg consists of 32 computer-embroidered eggs, presented in the form of spatial installations.
The masked woman originates from the black-and-white Cantonese-language film from Hong Kong, "Black Rose". By day, she is a gentle and modest ordinary woman, but by night she transforms into a "vigilante" assassin. This multifaceted character is a cherished childhood memory for her, and a metaphor for personal formation. She can come and go as she wishes, exert energy, and create new roles for herself across time and space.
Unboxing—May the Force be with You
Date: 2024.05.27~ 07.27
Site: Beyond Gallery
Curator: Kao Chien-Hui
Artists: Ava HSUEH, Juin SHIEH, CHEN Hui-Chiao, LIU Shih-Fen, HUANG Hsiao-Yen, HSU Su-Chen, WU Yun-Feng
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[1] Ovidius Naso, Mary M. Innes (ed.), The Metamorphoses of Ovid. Penguin Books Ltd, 1971, pp. 232-238.
[2] Ruth Kassinger, A Garden of Marvels: How We Discovered that Flowers Have Sex, Leaves Eat Air, and Other Secrets of Plants, William Morrow, 2014
[3] Karol K. Weaver, Medical Revolutionaries: The Enslaved Healers of Eighteenth-Century Saint, University of Illinois Press, 2006
[4] Londa Schiebing, Plants and Empire-Colonial Bioprospecting in the Atlantic World, Harvard University Press, 2007
[5] Londa Schiebing, Secret Cures of Slaves: People, Plants, and Medicine in the Eighteenth-Century Atlantic World, Stanford University Press, 2017
[6] Theodor W. Adorno, Aesthetic Theory (Volume 88) (Theory and History of Literature), Robert Hullot-Kentor (Editor), University Of Minnesota Press, 1998
[7] The Voyage to the South - Contemporary Images from the Museum Collection exhibition of 2015 focused on the history of Kaohsiung in images, starting with John Thomson's Takou Harbour (1871) and concluding with Hsu Su Chen's Dynamic Dwelling - Taiwan, Vietnam, and Australia (2006-09), tracing the lives and scenes of people in the lower rungs of society. |
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