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The Subconscious Restaurant at Taichung Art Museum

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The Subconscious Restaurant is a publication and event series by White Fungus. The fifth edition was produced on the occasion of the opening of Taichung Art Museum and is part of a collaborative project connected to the museum’s inaugural exhibition, A Call of All Beings: See you tomorrow, same time, same place (December 13, 2025–April 12, 2026).

White Fungus will hold a Subconscious Restaurant art event at the museum’s open-air rooftop Culture Forest on Saturday, March 7, from 3–7pm. The event will feature sound performances by Wang Fujui, Yenting Hsu, Nick Tsai; a live performance by Tokyo performance artist HANASAKI Kaya; and a DJ set by Lim Giong drawing on field recordings from his personal archive. White Fungus will also present a DJ set of music created through deep immersion with nature and its processes.

《潛意識餐廳》是白木耳（White Fungus）雜誌策劃的出版與藝術活動系列。第五號刊物適逢臺中美術館開幕之際出刊，並作為與美術館開幕展覽「萬物的邀約」（2025 年 12 月 13 日至 2026 年 4 月 12 日）相關合作計畫的一部分。

白木耳將於 3 月 7 日（週六）下午 3 點至 7 點，在臺中市立美術館戶外屋頂空間「文化森林」舉辦《潛意識餐廳》藝術活動。活動內容包括王福瑞、許雁婷、蔡瑋德的聲響演出；東京行為藝術家花崎草的現場表演；更有，林強以其個人田野錄音收藏為靈感發想的DJ演出。白木耳亦將呈現一組 DJ 音樂選輯，作品源於對自然及其運作過程的深度沉浸與感知。

The event is free to the public.

Wang Fujui performing at The Subconscious Restaurant 02, Zajia Lab, Beijing, 2014. Photo by Solomon Mortimer.

王福瑞

王福瑞為台灣早期重要前衛的數位藝術以及聲音藝術家和策展人，他帶領台灣聲音藝術進入了新的領域與發展，1993年以先鋒之姿成立台灣第一個實驗音樂廠牌和出版刊物「NOISE」，2000年加入台灣媒體藝術發展中少數以互動為主的創作實驗團體「在地實驗Etat」，並推動國際「異響BIAS」聲音藝術展與「台北數位藝術節」聲音藝術類別。他曾工作於台北數位藝術中心以及北藝大藝術與科技中心，並策劃多場相關展覽與活動，包含「超響」聲音藝術節、「台北數位藝術節」。2011年王福瑞與盧藝成立「響相工作室」，至今持續致力推動海內外聲音藝術相關展覽、表演以及工作坊，兩人致力嘗試以創新實驗性的聲音作為主要核心概念，執行聲音藝術相關創作與其推廣計畫。

王福瑞目前為北藝大新媒系主任，他的創作廣為展出於國內外美術館與藝術節。近期展覽有2025年於國美館x龐畢度中心「無序樂章：聲音藝術之旅」
、新北市美術館的「關係場域：90年代新北文化地景」、關渡光藝術節《幻響 Illusonic》和CLAB聲響藝術節表演。

WANG FUJUI

Wan Fujui is one of the pioneers of Taiwanese noise music and sound art. He emerged in the 1990s during the explosion of Taiwanese experimental music that followed the lifting of martial law. In 1993, he founded NOISE, Taiwan’s first zine and record label dedicated to experimental music. His work spans ecstatic extreme noise and sublime sound-and-light installations.

In 2000, Wang joined the digital art collective Etat, launching the BIAS International Sound Art Exhibition and the Sound Art Prize for the Digital Art Awards Taipei. He has curated numerous exhibitions and events, including the HyperSound Festival and the Taipei Digital Art Festival. In 2011, Wang and Lu Yi co-founded Soundwatch Studio, which continues to promote sound art in Taiwan and internationally.

Wang is currently the Chair of the New Media Art Department at TNUA. His works have been widely exhibited in museums and art festivals in Taiwan and around the world. Recent exhibitions include Of Anarchy in Music (a collaboration between the National Taiwan Museum of Fine Arts and Centre Pompidou, 2025), Relational Field: The Cultural Landscape of New Taipei in the 1990s (New Taipei City Art Museum, 2025), and Illusonic (Kuan Du Light Art Festival, 2025).

Yenting Hsu and Selijuk Rustum performing at the Circuit Control Festival, Dresden, 2025.

許雁婷

以聲音為主要創作媒材，關注聲音蘊涵的文化脈絡與紋理，作品常映照聲音與環境、個人/ 集體記憶或內在情緒的關係。交織田野錄音、電子和物件聲響，其探索擺盪於錄音聲音的紀錄及虛構、敘事及想像特質間；亦時常混融其他媒材及藝術領域創作，形式涵蓋裝置、表演、聲音紀錄片、電子原音音樂等。

作品曾於臺北國際藝術村、臺北市立美術館、新北市立美術館、臺東美術館、鳳甲美術館、成龍濕地國際環境藝術節、臺北國際紀錄片影展、日惹紀錄片影展、日本富山玻璃藝術博物館、伯斯當代藝術中心PICA、法國Arte Radio、失聲祭、混種現場、澳洲液態建築(Liquid Architecture)、Asian Meeting Festival、臺灣聲響實驗室、臺北數位藝術中心等展演。

YENTING HSU

Yenting Hsu is a sound artist based in Taipei. Using sound as her primary medium, she investigates the cultural context and texture of sonic environments. Her works often explore the relationships between sounds, environment, and individual or collective memories and emotions. Interweaving field recordings with electronic sounds and objects, Hsu experiments with documentary and fiction, narrative and imaginary elements of recorded sounds. Her practice spans multiple mediums and disciplines, taking the forms of installations, performances, audio documentaries, and electroacoustic music.

Hsu’s work has been presented internationally at institutions and festivals such as Perth Institute of Contemporary Arts and Liquid Architecture (Australia), Arte Radio (France), Toyama Glass Art Museum (Japan), and Festival Film Dokumenter (Indonesia). In Taiwan, her work has been featured at Taipei Artist Village, Taipei Fine Arts Museum, Hong-gah Museum, New Taipei City Art Museum, Taitung Art Museum, Cheng Long Wetlands International Environmental Art Project, the Taipei International Documentary Festival, Lacking Sound Festival, On-Site Festival, Taiwan Sound Lab, and Digital Art Center Taipei, among others.

Photo of Lim Giong by How Chan.

林強

音樂工作者，主要製作電影和紀錄片配樂，也曾參與短片、廣告、舞蹈、燈光裝置藝術、VR等配樂，嘗試與各領域的藝術家交流合作，近期探索抽象電子聲響與實驗及環境音樂創作，虛實幻影，戲夢人生，應作如是觀。

LIM GIONG

Lim Giong is a composer best known for his music scores for fiction films and documentaries. He has also composed music for shorts, commercials, dance performances, light installations, and VR projects. Lim has collaborated with artists across various disciplines. He is currently exploring abstract electronic tones as well as experimental and ambient music—sailing between reality and imagination, existence and dreams, and reflecting on how we observe life.

HANASAKI Kaya performing at Taipei Fine Arts Museum, 2015. Photo by Ema Chang.

花崎草

出生於東京。2012年取得東京藝術大學美術研究科先端藝術表現專攻碩士學位。以行為藝術為主軸、從事跨媒體活動、包括計畫、工作坊、裝置及影像作品等。主要個展包括《新單位》(2025年、東京)及《我的家園、我們的寶藏》(2016年、台北)。聯展包括《Flowers for Urban Maladies》(2022年、東京)及《Exposing the Bushes》(2020年、東京)。計畫包括《東亞交流計畫》(2016年、台中)。

HANASAKI KAYA

HANASAKI Kaya is a Tokyo-based artist who works primarily with performance art and engages in cross-media activities, including workshops, installations, video works, and collaborative projects. Her solo exhibitions include New Units at Plateau Gallery (Tokyo, 2025) and My Home, Our Treasure at Treasure Hill Artist Village (Taipei, 2016). Group exhibitions include Flowers for Urban Maladies at Sono Aida (Tokyo, 2022) and Exposing the Bushes at Tokyo Arts and Space (Tokyo, 2020). Projects include the East Asian Exchange Project (Taichung, 2016).

Nick Tsai in his Taichung studio, 2025.

蔡瑋德

蔡瑋德為一位聲音藝術家。創作以ambient、experimental 電子樂為主。喜歡去尋找不同聲響質地的極小值，與聲響之間所傳達的訊息，並將每個單位賦予生長機制，讓它在時間軸上長出一連串有機的聲響場景。於2021年展開Plant Sonification創作計畫，以植物為核心動機，將植物的姿態與質地、以及對有機與自然的想像加以延伸，來開展出生成式音樂、植物聲光裝置等等。

NICK TSAI

Nick Tsai is a sound artist based in Taichung, Taiwan. He creates a wide range of atmospheres, from pure ambient textures to experimental soundscapes, primarily using modular synthesizers. His work explores the emotion and organism of sound. In 2021, he began the Plant Sonification project, using plants as his primary inspiration. By examining the posture and texture of plants and expanding on concepts of the organic and natural, Tsai has developed generative music, plant sound-and-light installations, and other experimental creations.

賴士超

賴士超，喜愛廣泛的藝術文化，及各種跨領域合作，無專精研究領域，依個人生活喜好多向延展；聲音創作大多以環境素材、吉他與合成器效果作為主要工具，內容時而關注社會政治，時而內化自我心靈層面，觀想生命宇宙，包含建構及毀壞，無有─有無；個人工作涵蓋繁雜，既是專業展覽技術人員，也作為藝文空間營運管理者，偶爾又作為塗鴉創作者；對於藝文環境有些美好想像，時常戮力於實驗展演場景的策劃與執行。

LAI SHI-CHAO

Lai Shi-Chao is a musician and sound artist with wide-ranging interests in art, culture, and interdisciplinary collaboration. Rather than focusing on a single area of research, he instead allows his practice to expand in multiple directions according to his personal interests. Lai employs environmental recordings, guitar, and synthesizer effects in creating his sound works, engaging with social and political issues or on other occasions introspectively exploring the self, contemplating life and the universe, including acts of construction and destruction, existence and non-existence. His professional work is equally diverse: Lai works as an exhibition technician, manages arts and cultural spaces, and occasionally creates graffiti.

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White Fungus #18 Out Now

White Fungus has just released its 18th print issue. The new edition features an 80-page interview with Eileen Myles, a deep dive into Hilma af Klint and the occult roots of modern art, and a photo essay by Yao Jui-Chung on animatronic displays of hell from temples in Taiwan and Singapore, accompanied by a text on the Chinese conception of hell.

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Emotional Antennae

Brian Eno and Beatie Wolfe have released twin albums Lateral and Luminal on Verve Records. To mark the occasion, the duo partnered with KCRW on Feeling of the Day, a new series of radio spots exploring words for emotions with no equivalent in English. The first segment introduces “ailyak,” a Bulgarian word for the art of going slow and enjoying the process. Between studio sessions, Wolfe and Eno answered questions from White Fungus editor Ron Hanson about their evolving collaboration.

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DINO，回授沒有盡頭這一杯止於至善

廖銘和（Dino）是台灣噪音音樂領域的先驅之一，該領域於1990年代戒嚴結束後興起。他拒絕使用合成器、取樣器和其他數位工具，而是通過簡單的類比設備生成的回授創作電子音樂。Dino熱愛傳統茶道，是一位篆刻家，同時也是古琴演奏者。2022年1月，Dino因食道癌併發症在台北去世。他不僅以藝術造詣被人銘記，也因其隱居的生活方式和獨特的神秘氣質而廣受懷念。顏峻回顧了他的生命與創作。

Dino(廖銘和)於2011年在台北泰順街的Mo!Relax Cafe (攝影／Christopher Adams)

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HH—Walking on the Wire

HH was an audio-visual duo formed by Taiwanese sound artists Yao Chung-Han and Yeh Ting-Hao in 2013. The duo was active in the Taiwanese experimental art and music scene until Yeh’s untimely passing in 2024. HH mined the gray area where noise, electronic dance music, and visual imagery meet, and interact. Jeph Lo wrote about the HH for the third issue of White Fungus’ sister publication The Subconscious Restaurant in late 2014. You can now read the article online.

HH, Synth-Infection, photo by Etang Chen

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Footsteps Into the Future

Morton Subotnick is a name synonymous with the evolution of electronic music. In 1963, he began collaborating with inventor Don Buchla in San Francisco to develop what is widely regarded as the world’s first analog synthesizer. His groundbreaking 1967 album, Silver Apples of the Moon, was the first music commissioned specifically for the LP format. In 2020, at the height of the COVID-19 pandemic, Subotnick appeared on Paul Holdengräber’s podcast, The Quarantine Tapes, to reflect on his life, work, and how he was navigating the challenges of the time. The conversation is now available to read online.

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The Mysterious Mr. Ashley

Robert Ashley is widely considered one of the great American composers of the post-Cage generation. Ashley created radical new forms of opera, incorporating electronic music and pioneering the use of opera in television. His multimedia projects expanded upon the form in surprising, often perplexing ways. Kurt Gottschalk spoke to Ashley in 2013 for a major feature in the 13th issue of White Fungus. At the time, Ashley was working on his opera Quicksand, which he completed before his passing in March 2014. The article can now be read online.

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Antique bird-like chatter

Bruce Russell writes about the history of New Zealand DIY electronic music, which he argues sprang from a strategy of “mis-competence”. That is a deliberate misuse of instruments and audio equipment to achieve a sound beyond the machinations of the music industry. Misuse, Russell says, is the defining feature of New Zealand sound work. This article was originally commissioned in 2012 by White Fungus for the first issue of its sister publication The Subconscious Restaurant.

Douglas Lilburn recording sounds in a barn, Wiltshire, England - Photograph taken by Peter Russell Crowe

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Amor Fati

Roger Boyce explores through lucid, evocative prose the photographic still lifes of New Zealand artist Fiona Pardington. Casting an eye back across the history of painting, Boyce addresses the rich pathos of Pardington’s photography and its visually arresting forms. He describes in them an audacious “through a glass darkly” veneration of things and their inviolable circumstance, an amor fati.

"Still Life with Iris, Skull and Magnolia", 2013, courtesy of the artist and Starkwhite, New Zealand.

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Territorial Pissing

Yao Jui-Chung is one of Taiwan’s most prolific and esteemed contemporary artists. In 2020, White Fungus editor Ron Hanson interviewed Yao for a major profile on the occasion of the artist’s mid-career retrospective, Republic of Cynic, at C-LAB in Taipei. The feature was to be published in a new online Japanese art magazine commissioned by a Tokyo art collector. After the project was aborted due to a clash over the publication’s title, this profile sat dormant in our archives for almost four years. It has now been published for the first time.

Yao Jui-Chung, "Republic of Cynic: 1989" (2020) (still). Courtesy the artist.

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The Reinvention of Justice Yeldham

Sydney noise musician Lucas Abela, AKA Justice Yeldham, is one of the avant-garde's most electrifying performers. Playing music by orally manipulating mic'd-up shards of glass, he employs a range of unusual vocal and rhythmic techniques. His performances can be extreme, even bloody, but are also notable for the rich diversity of sounds he achieves through this rudimentary instrument. White Fungus editor Ron Hanson spoke to Abela about his unique musical trajectory and how a pandemic-enforced break from the stage altered his approach.

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Batlove Redux

In the wake of the Covid pandemic, bats have once again been unfairly maligned. As the go-to scapegoat of choice for many, some even called for the mammals’ eradication. In Batlove Redux, Tessa Laird, author of the book Bat, part of Reaktion’s much-loved Animal series, mounts an impassioned defense of these marvelous creatures. Laird celebrates bats, recalling art and literature inspired by the mammals, while raising the alarm over their plight amidst a warming planet. She recalls her own heartbreaking experiences volunteering to rescue flying-foxes during forest fires at Yarra Bend Park in Australia.

A spectacled flying-fox (pteropus conspicillatus) feeding on blue quandong fruit (elaeocarpus Grandis) in australia. Copyright Merlin Tuttle’s bat conservation.

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An Interview with Wang Fujui

In the realms of Taiwanese noise, sound, and media art, no figure is more influential than Wang Fujui. As an artist, publisher, curator, and organizer, Wang’s contribution to establishing these fields in Taiwan has been indispensable. In 2014, Alistair Noble interviewed Wang about his artistic trajectory. The interview was first published in the 14th print issue of White Fungus but is now available here.

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The Pleasure Principle: Part One

Do animals create and enjoy music on a similar level to humans? Or are their magnificent displays of sound merely functional? Tobias Fischer, co-editor of the book Animal Music, lays out the arguments for and against, drawing upon a trove of research and creative works by artists and scientists alike.

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Modern Marco Polos

In 1959, Wallis Islander Aloï Pilioko met Russian French artist Nicolaï Michoutouchkine in what is now Vanuatu. The encounter proved pivotal as Michoutouchkine encouraged Piliko to become an artist, and he would go on to become one of the most famous Pacific artists of his generation. The pair became inseparable and began a remarkable decades-long adventure of traveling, collecting, exhibiting, and making Oceanic art all over the world. Peter Brunt wrote about the unique artistic collaboration for White Fungus.

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The Metamorphosis of Taipei Popcorn

In the space of only a few years, Taipei Popcorn, the creation of New Zealander Nick van Halderen, has emerged as one of Taiwan’s most iconic drag queens. Whether performing at underground clubs, doing photo shoots for Vogue, or starring in art films, Popcorn has become an omnipresent and pivotal figure in the island’s vibrant queer culture. Yet surprisingly, prior to relocating to Taiwan, Van Halderen had never ventured into the world of drag. White Fungus editor Ron Hanson spoke with Popcorn about their unusual journey and gained a window into their personal transformation and Taiwan’s surging queer scene.

Popcorn and Wu Ke-Xi in the film Future Shock, directed by Su Hui-Yu.

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Becoming the Masters

Avant-garde jazz group The Art Ensemble of Chicago has been breaking boundaries for more than five decades. Kurt Gottschalk takes a deep dive into the group's history and its continuing evolution in the present. "A revolutionary who’s unwilling to change won’t likely be revolutionary for long," Gottschalk writes. Read an extended excerpt from the author's feature which runs over 30 pages in the new 17th issue of White Fungus.

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Alienation as Art Form

Social Dissonance is a handbook published by the artist, performer and theorist Mattin which contextualizes his composition "Social Dissonance'', performed at documenta 14 in 2017. The score dispenses with conventional musical instruments and instead instructs the performer to make the audience their instrument. Music cataloger Colin Morgan reviews Social Dissonance and considers how he would catalogue Mattin's disruptive medium.

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Hell Is the Main Attraction

In this series of wide-angle polaroids, Yao Jui-Chung photographs Madou Temple's animatronic religious display and other similar depictions of hell from throughout Taiwan and Singapore.

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Violent Mirage

Betty Apple is a musician and performance artist based in Taipei. Apple engages in what she terms "live art", intensely physical performances that deconstruct tightly composed constructions of corporeal and aural space. Advancing concepts of the feminine, Apple reworks the leftover rickety architecture of Taiwan's former military state while exploring new postcolonial subjectivities in its present reality, democracy saturated in hypercapitalism. Kyra Kordoski wrote about Apple's work for White Fungus.

Betty Apple (鄭宜蘋) performing at Sublate, presented by Liquid Architecture and White Fungus, at Korner, Taipei, 2017. Photo Etang Chen (陳藝堂).

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Wang Fujui and the Fascination of Mysterious Sounds

Wang Fujui is one of the pioneers of Taiwanese noise music and sound art. Wang emerged in the 1990s during the explosion of Taiwanese experimental music following the lifting of martial law. In 1993, he founded NOISE, Taiwan's first zine and record label dedicated to experimental music. Wang's own work ranges from ecstatic extreme noise to sublime sound and light installations. Alistair Noble wrote about Wang's unique body of work for White Fungus.

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The Pleasure Principle: Part Two

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So why should we want a paradigm of Asian art anyway?

David Frazier charts the growth of inter-Asian dialogue and networks in the art world amidst the fissures of globalization and a still-dominant Western paradigm for viewing art.

Apichatpong Weerasethakul + Chai Siris, “Sunshower”, 2017. Mixed media. Installation view: SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now, The National Art Center, Tokyo / Mori Art Museum, 2017. Photo: Kioku Keizo. Photo courtesy: Mori Art Museum, Tokyo

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Subverting the Voice of God

Nicholas Thoburn's "Anti-Book" is a 'book' that interrogates the book-form. In his critique of this beloved commodity, Thoburn challenges our understanding of books as transcendent moral and aesthetic objects unsullied by commerce. Rather, he says, books are pulsing with capitalist relations. Thoburn proposes instead a "communism of textual matter". White Fungus editor Ron Hanson has been corresponding with Thoburn and, in the first of a series of articles based on this communication, introduces Thoburn's concept of the anti-book and its historical precedents.

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To Sleep, Perchance to Hear

Kurt Gottschalk attended a New York performance of Max Richter's SLEEP, in which audience members are invited to stay overnight at a concert, slowing down to share a collective, somatic experience of music. Gottschalk reported on the experience for White Fungus. Speaking to other composers on the topic, and revisiting historic works, he extended his inquiry to consider at length this different process of listening.

Max Richter and the American Contemporary Music Ensemble (ACME) performing Sleep at Spring Studios, New York, 2018. Photos Mike Terry.

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Flatness vs Matsutake

Kyra Kordoski revisits the pantheon-building art theory of Clement Greenberg and its connection to modernity through the prism of the matsutake mushroom.

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Floating Vision

Sam Wallman is an award-winning Melbourne comics artist who utilizes journalism and the expanded canvas of the web to detail the lives of his subjects while delivering a penetrating social message. Drawing on his co-pursuits as a trade unionist and political activist, Wallman explores topics ranging from the history of trade unionism, meth use among gay, bi, and queer men, to the arbitrariness of human detention. Tim Bollinger interviewed Wallman and wrote an overview of his work for White Fungus.

Sam Wallman, "So Below: A Comic About Land" (comic excerpt), supported by Nomad Projects

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Strange Days on Lake Rotomahana

New Zealand's Pink and White Terraces were dubbed the "8th wonder of the world." But in 1886, they were lost forever in a single night of violent volcanic destruction. Tim Bollinger wrote about the Terraces and their storied history for White Fungus.

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Reawakening the Killing-Tone

Lin Chi-Wei is a key member of the pioneering generation of Taiwanese noise/sound artists that emerged in the 1990s. Lin has made landmark contributions as a writer, performer, artist, and member of Z.S.L.O (Zero Sound Liberation Organization). In Lin’s Tape Work, the artist sits in the center of the audience and unfurls a tape of ribbon or paper upon which characters are hand-printed or embroidered. Passed hand to hand through the crowd, each audience member/participant vocalizes the succession of phonetic symbols. The result is the creation of a multi-headed human tape machine. In the Taiwanese-language version of the work, Lin reactivates the “killing tone” or (Rù tone 入聲) from the medieval Chinese seven-tone system.

Lin Chi-Wei, "Tape Music", simplified Chinese version, 2012, photo by Damien Owen Trainor

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The Pig and Its Friend

Kalisolaite ‘Uhila is a Tongan performance artist based in New Zealand. In his 2011 work "Pigs in the Yard", 'Uhila challenged western notions and treatment of the pig. In traditional Tongan culture, the pig is sacred. 'Uhila's performance afforded pigs this reverence while challenging audiences to reappraise their relationship to these sentient creatures.

Kalisolaite ‘Uhila, “Pigs in the Yard”, 2011, documentation of performance, Aotea Square Performance Arcade, Auckland

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Uncanny Processes

Fast-advancing AI technologies are throwing our notions of authorship and creativity again into flux. In creating their seventh album, Blossoms, the electronic music duo Emptyset created a machine-learning system to interpret their back catalog and recordings of improvisations. The musicians sought to identify results beyond mimicry and which constituted unique sonic expressions in and of themselves. What emerged was a bizarre, alien logic. Tobias Fischer interviewed the duo about the process.

Cover art by Clayton Welham from Emptyset LP Bossoms, 2019

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Wasteland Utopia

Noise music in Taiwan emerged in the 1990s, a tumultuous period of social upheaval following the lifting of 38 years of martial law. In the frenzied atmosphere of street clashes and political demonstrations, artists explored previously taboo subjects and experimented with radical forms. It was in this context that Taiwan's noise movement was born. Jeph Lo witnessed the evolution and reflects on that messy but protean time. His article is accompanied by photographs of political demonstrations of the period by Leon Tsai and Tsai Ming-Te.

Street scenes in front of the Legislative Yuan and surrounding area during the 520 Farmers Protest (520農民運動),Taipei, 1988. Photos Leon Tsai (蔡文祥).

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Of the Other Places

Sumitomo Fumihiko writes about the video works of Okinawan artist Chikako Yamashiro. Sumitomo writes that the artist deals with local political issues and a history of sexual violence by enveloping them into poetic meditations on nature and the instability of human desire.

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Making the Stones Sing

Paul Celan is often called the greatest of postwar European poets. Barry Schwabsky looks back on Celan's life and work following the 100th anniversary of the poet's birth, and the 50th of his death.

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you're subverting things

The Brazil-based artist duo Bárbara Wagner and Benjamin de Burca produce films blurring the lines between fiction and documentary. Collaborating with their performers—often figures on the margins—the duo creates works that raise notions of visibility, self-representation, and the subversion of dominant cultural forms. Marcella Faustini spoke to the artists and wrote about their work.

Bárbara Wagner_Benjamin de Burca_2017_Estás Vendo Coisas

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Once Upon a Time

Roger Boyce interviews Pavel Pepperstein for White Fungus. The enigmatic Russian painter of hallucinatory landscapes is also known as a writer, critic, art theorist, fashion designer, and rapper.

Pavel Pepperstein, ”Three old men talking and the Broken suprema”, 2015.

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The Divisive Moment

Henri Cartier-Bresson's photographs of the last days of the Chinese Civil War were exhibited at Taipei Fine Arts Museum in late 2020. The exhibition was scheduled to be held in Beijing in 2021 but was canceled due to COVID-19. David Frazier writes about the exhibition and its complicated surrounding context.

“Celebrations for the 9th anniversary of the People’s Republic”, Beijing, 1 October 1958

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Down, down, under and below?

Joseph del Pesco presents photographer Curran Hatleberg with a series of questions to which the artist responds with images.

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Translating the Personal

Kurt Gottschalk speaks to Charmaine Lee about her ever-expanding musical practice.

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A Kind of Circuity

Nicola Trezzi interviewed Slavs and Tatars about topics ranging from pickles to the collective's embrace of antithetical thought.

Slavs and Tatars, "A Monobrow Manifesto", 2011. Screen print on balloons, installation view at the Sharjah Biennale, 2011. Courtesy of The Third Line, Dubai. Photo: Elizabeth Rappaport.

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Spin into Being

Kyra Kordoski speaks to performance artist Melati Suryodarmo and dives into her deep corpus of durational works.

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Ghosts, Radio Waves, Spiritualism and Contextualism in the Art of Aki Onda

Kurt Gottschalk talks to Aki Onda about channelling the spirit of Nam June Paik.

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Listening to Tagaloa

Leafa Wilson writes about Paula Schaafhausen's installation series Ebbing Tagaloa, featuring Tagaloa (Polynesian God of the Ocean) figures molded from coconut oil and sand.

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Double Knowledge

In one of her last major interviews, Carolee Schneemann spoke to White Fungus editor Ron Hanson and looked back on her life, stretching back to her early childhood drawings and adolescent adventures in Mexico.

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The Pleasure Principle: Part Three

A varied tit (Sittiparus varius), a perching bird of the tit family common to Northeast Asia. Image licensed under CC0 1.0.

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Activating Autonomy

Taipei-based artist Anchi Lin (Ciwas Tahos) creates work dealing with the impact of colonization on the First Nations Atayal people of Taiwan while exploring the possibilities within her Indigenous culture for activating a queer space. In Lin's recent artworks, she seeks to recreate the spirit of Temahahoi, a place, according to Atayal oral stories, where a self-governed community of women resided independent of men.

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