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The Night Mist at the Harbo
2022
BY
CHEN Fei-hao
The Night Mist at the Harbo
2022
single channel video
11’03‘’
The Night Mist at the Harbo
2022
single channel video
11’03‘’
The Night Mist at the Harbo
2022
single channel video
11’03‘’
The Night Mist at the Harbo
2022
single channel video
11’03‘’
The Night Mist at the Harbo
2022
single channel video
11’03‘’
The Night Mist at the Harbo
2022
single channel video
11’03‘’
The Night Mist at the Harbo
2022
01 / 10

The Night Mist at the Harbor is based on two same-sex crimes of passion taking place respectively in Japanese-rule Kaohsiung and contemporary Kaohsiung. However, instead of centering on the interpretations of the two criminal cases, the artist simply uses existing narratives and plots in this type of journalism as the backbone of the project, and adds various symbols and signs that represent the “duality” characteristic of Taiwanese history to reconstruct a fresh video narrative. Incorporated into this work, the Taiwanese ballad “The Night Mist at the Harbor” is precisely a cultural product that harbors such implication. After WWII, Japanese songs were banned by the authority. Some musicians therefore wrote Taiwanese lyrics for existing Japanese popular songs so that people could continue to sing these songs. Consequently, Japanese songs with both new Taiwanese and original Japanese lyrics emerged in Taiwan and have been passed down through such form of existence that is both familiar yet strange at the same time.

Moreover, same-sex crimes of passion form an intriguing topic in the history of Taiwan. Whereas records of homosexual relationships are little to none in the official history, there have been many biased historical reports of these cases that render homosexual relationship a spectacle. Through this work, the artist argues that such “duality” serves as a metaphor for the characteristics of Taiwanese culture. The cultural context of Taiwan since the past has always been overshadowed by foreign regimes, which is a permanent part of the Taiwanese history that cannot be excluded or erased as Taiwan tries to cohere its subjectivity now. The artist hopes to embody this situation and create an amalgamated historical symbol which indicates “I am the other.”

ARTISTS
15 artworks / 45 exhibition
Photographic Art , Installation Art , Video Art
Chen Fei-hao, born in 1985, is clever at writing and resorting to conceptual photography and moving images to interpret various issues associated with history and culture as well as social changes, and he also combines images with such media as in ...
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KEYWORDS
CHEN Fei-hao, 2016, Video Art
CHEN Fei-hao, 2018, Video Art
CHEN Fei-hao, 2017, Video Art
CHEN Fei-hao, 2014-2015, Photographic Art
CHEN Fei-hao, 2012-2014, Photographic Art , Installation Art
CHEN Fei-hao, 2019, Video Art
CHEN Fei-hao, 2019, Video Art
CHEN Fei-hao, 2017, Video Art
CHEN Fei-hao, 2022, Video Art
CHEN Fei-hao, 2019, Video Art
CHEN Fei-hao, 2014, Photographic Art
CHEN Fei-hao, 2017, Video Art
CHEN Fei-hao, 2019, Video Art
CHEN Fei-hao, 2016, Photographic Art , Video Art