In celebration of International Museum Day on May 18th, the National Museum of Taiwan Literature hosts a series of activities during its annual “Let’s Explore Literature on International Museum Day” event. From “A Map of Hsu Ping-ting’s Small Gods” to “Literary Walking Tours of Yeh Shih-Tao’s Works,” as well as other exploration-oriented events, the museum has invited all since 2011 to “walk and read” through Fucheng and unravel the city’s memories. Each event is later published into its own commemorative book.
For 2014, the Museum collaborated with the The Five Rivers Development Association of Tainan to coordinate the walking tour “Passing through the Five Channels Port.” A number of sites within the Five Channels Port area, each rich in history, were chosen and paired with classical poems. Experts guided participants along a historical tour, traversing between the past and present of this unique place. Introductions to every site on the tour were compiled into the book, Passing through the Five Channels Port: Fucheng Literary Walking Tour Map 4 (《穿越五條港：府城文學踏查地圖4》), which was published in the same year.
The Five Channels Port was originally formed by the Taijiang Inner Sea as it silted up and created a branch of streams. Roughly speaking, the area is bound to the west of Xinmei Street and Ximen Road, to the south of Chenggong Street, and to the north of Zhongzheng Road. It later became Fucheng’s commercial port area. Going from south to north are the Anhai Port, Nanhe Port, Beishi Port (also known as the Nanshi Port), Fotou Port, and Xingangqian Port. The Museum selected the Five Channels Port area for its Fucheng literary walking tour was due in part to its significance as the city’s center of transport for foreign trade. Even more so, it was because of the plethora of shops, stalls, and warehouses, boasting everyday goods such as rice, sugar, and tea from both Taiwan and abroad. The area was also home to lumber-related industries. Though the harbor’s unique character has since disappeared following urban planning during the Japanese rule of Taiwan, it remains as Tainan’s most bustling area. The abundant folk culture and distinctive port landscapes of the Five Channels Port area have inspired many writers. The eateries and tea houses served as gathering places for the literati. Excerpts of the poems selected for the tour were taken from the Anthology of Taiwanese Poetry Volumes 1-30 and A Selection of Classical Taiwan Poetry Volume 1: Regions and Cities. West Tainan and the Five Channels Port were the subjects of a great deal of written works between the Qing Dynasty and the Japanese rule of Taiwan. They broadly covered four main aspects: local historical vestiges, trade and economy, families and clans, and scenes from everyday life. To complement each site, a total of 14 poems were selected. Each one is clear, easy to understand, and captures the former glory days of the Five Channels Port area. All are invited to partake in this historical and
literary pilgrimage to explore the settings of each and every poem.
This book is a compilation of written works selected from the Anthology of Taiwanese Poetry Volumes 1-30 and A Selection of Classical Taiwan Poetry Volume 1: Regions and Cities. Overall, they cover four main aspects: local historical vestiges, trade and economy, families and clans, and everyday life. To complement each site, 14 poems were selected. The poems are clear, easy to understand, and captures the former glory days of the Five Channels Port area. All are invited to partake in this historical and literary pilgrimage to explore the settings of each poem. If you wish to purchase this book, please visit the National Museum of Taiwan Literature’s website and select the “Where to Buy”tab under“Publications”: https://en.nmtl.gov.tw/content_112.html
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Daily+― The Second Greater Taipei Biennial of Contemporary Art
Baptised as Daily+, the 2nd Greater Taipei Biennial of Contemporary Art unites 35 artists from France, USA, Austria, Luxembourg, Japan and Taiwan. Engaged firstly in the biennial, the Taiwanese novelist Yi-Chin LO writes along the exhibition venues, Nine Single Rooms Art Space and Northern Campus, and transforms the spaces full of winding alleys as interwoven reminiscences into Wall Climber, which mixes residual images of daily life with segmented work on what had happened here. The novel is the first invited work that lifts the curtain of the biennial. Taking the novel and exhibition spaces as reference of inspiration, the invited artists develop as a card game their projects in multiple direction, and the developing projects later become as well a reference to each other, through which the invisible relationship of linkage is thus gradually drawn out. Therefore, the novel based on the exhibition sites and the artworks referring to the novel ― both create intertextually between artwork, text and site a sort of multi-level dialogue from which is generated a significance network of inter-reference, similar to a parchment-like invisible text, full of layers of overlapping and accumulated traces. Derived from the daily life, the Daily+ is neither translation nor representation of the daily; it is not a clean break from the daily routine either. Rather, it signifies that in the different slices of reality stands a subject of art creation who, by means of various art practices, deconstructs and reconstructs the daily in order to return to it anew. Out of the very returning can a subject reveal the originality of the daily. In other words, keeping a distance from the daily life, a subject is thus able to discover in the relationship of dependency some points of reference, of substantiality and of transcendence, and to further transform the daily into infinitive resources for creation. As a folding mark cut slightly on the inner of the daily, the daily+ diverges the dimension of the daily to the unknown, to a place seemingly close yet out of reach, and endows the daily with a future never expected. Thus, we hope to unfold a multi-dialogue between art and daily life, and at the meantime, through a series of forums and workshops, to reveal progressively the "daily of artist", and finally to invite spectators to stroll in a wrinkled space of imagination and thought so as to observe each layer of daily life, diverted, metamorphosed, or transformed. The more the daily becomes the daily+, the more the daily+ becomes the daily.