(In)visible: The Spiritual World of Taiwan Through Contemporary Art

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  • November 20, 2015 – April 3, 2016.
  • CURATOR: Dr. Fuyubi Nakamura, MOA Curator, Asia
  • Against a backdrop of skyscrapers and mountains, ghosts and spirits haunt the island of Taiwan. Deities reside in a variety of shrines and temples or forms of natural phenomena across the island. Known for its democracy, contemporary Taiwan embraces different, often hybrid, beliefs expressed and practiced in myriad fashion. Taiwan’s urban and rural life cycles are filled with rituals and ceremonies of various faiths ranging from Buddhism, Daoism and Confucianism to Christianity, Chinese folk religions and animistic beliefs of Taiwan’s Aboriginal peoples. While religion affects, challenges and intermingles with the secular world, myths, legends and fairytales add other layers to the spiritual world of Taiwan. Taiwan is home to sixteen officially recognized Aboriginal groups of Austronesian peoples and Han Chinese of various backgrounds as well as other long-term settlers and recent immigrants. Throughout its history, outside forces—Chinese, Portuguese, Dutch, Spanish, and Japanese—have taken a turn to ‘discover’, settle in or occupy Taiwan. They introduced or forced different religions or brought myths and legends to the island with them. As with other East Asian countries, it is common to blend different religious practices in Taiwan. The spiritual world is very much part of life and has also been the source for creative inspiration in Taiwan. (In)visible: The Spiritual World of Taiwan Through Contemporary Art explores how traditional and religious beliefs and modern values are integrated in this vibrant country. The exhibition features works by seven contemporary Taiwanese artists, who express and visualize religious beliefs, myths and the spiritual world with modern sensitivities

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(In)visible: The Spiritual World of Taiwan Through Contemporary Art

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Museum of Anthropology Annual Report 2015-2016

The report outlines the museum's activities and finances for the previous fiscal year, including listing staff, attendance figures, acquisitions, exhibitions, educational activities, public programming, events, loans, research projects, and publications of the museum and its staff. It includes descriptions of collaborations with the global partners including the National Museum of Papua New Guinea, cultural preservation and conservation work in local communities and institutions, and digitization projects at the Audrey and Harry Hawthorn Library and Archives and the Oral History and Language Lab, among other initiatives.