In spite of pandemic obstacles, artists forge new paths

Similarly, Chi Po-Hao (紀柏豪), an interdisciplinary artist who explores the intersections of art and technology, is trying to work more with virtual formats like WebVR. Through the ‘Beyond Covid’ grant, Chi has been able to work on interactive, web-based experiments like ‘Virtual Confinement’ or ‘A Fictional Landscape of Togetherness’, whereby Chi and his collaborators attempt to model their experiences into a fictional, virtual landscape.

Currently completing his MS in Art, Culture and Technology at the Massachusetts Institute of Technology, Chi says the pandemic has not only made it challenging for him to produce physical objects, but also maintain his connections with different arts communities. For someone who usually participates in numerous local and overseas exhibitions and festivals, this year is a much quieter one for him: “Taiwan’s art scene has become even more prosperous than usual – there are many activities in the second half of the year,” he says. “[But] I was not that connected to those activities since I am now in Boston.”

“There are many virtual exhibitions, workshops and lectures, but I felt that I still wanted to have in-person interactions, even for participating exhibitions or presenting projects.”

One of his more recent works, Hertzian Playground, was part of the National Theater and Concert Hall’s (NTCH) Next Theater, a micro-programme that sought to showcase the post-pandemic potential of art outside the theater. Though there had been a physical component at NTCH, Hertzian Playground prompted users to interact with their smartphones, engaging with music and sound as they performed gestures with their devices.

However, Chi is uncertain about the project’s future: “It’s more like a prototype than a complete performance now. I might continue working on it, but it depends on the funding.”

While most practitioners recognise funding and institutional support as necessary, many are also wary about overstating the importance of this lifeline. Though Chi is grateful for the support he has received, he thinks it can often lead to negative outcomes in the industry: “Subsidies cause rent-seeking behavior, which is harmful to efficiency,” he says.

For others, like FOCA’s Allen Lin, it is also something that begs further consideration, especially in the context of sustaining an organisation in the long run. Speaking about the creative industries’ rush to move works online, Lin says it is important to see past the initial excitement and consider the possibility of it becoming something that is only done for the sake of funding.


Part of Formosa Circus Arts’ post-pandemic planning involves branching out into publications Image courtesy of FOCA

Having been at the frontlines since FOCA’s inception and seen projects start and finish, members come and go, one of Lin’s instincts has always been to fight for members’ salaries. As someone who had a major hand in elevating circus arts from stunt work and petty backup performances in the entertainment industry to a contemporary art practice in Taiwan, Lin has always looked to the future. He says that growing up, National Fu Hsing Dramatic Arts Academy (now the National Taiwan College of Performing Arts) graduates like him were often faced with the sad reality of retiring at 28, after more than ten years of gruelling training and another handful picking up backbreaking gigs in the entertainment industry; the desire to change this fate was exactly what led him to starting FOCA in the first place.

Now, the pandemic has only made him more acutely aware of the importance of future planning and diversification. “If we have a pandemic or health crisis every two or three years in the future, we need to have a contingency plan,” he says. “These five months have given us a breather, and we’ve used the time to consult with mentors, consultants and even insurance companies on how to better plan members’ futures.”

Aside from upskilling members, FOCA has also ventured into publishing, putting together a magazine that would allow them to disseminate more information about not only their organisation, but also about the field of circus arts. Though the practice has evolved dramatically over the last ten years, partly brought on by FOCA’s very presence, Lin says there is still a gap between it and the more traditional performing arts, such as theater.

He hopes that by acquainting the general public with the practice, through free resources like FOCA’s magazine, the entire ecosystem can be opened up. As he says, “It can’t just be that we’re doing well – this is for everyone in the field.”

Joanna Lee is a Taiwanese-Australian freelance writer, editor and translator based in Taipei