BLOCK PARTY, This block party is set in the “street” . The “street” connects public road and the national museum that are both public but also have different characteristics on original regulations and rules. We were inspired by Legislative Yuan occupation of the Sunflower Movement and came upon with this idea. That’ s why we direct questions “Who owns public institutions?” and “What is public” . This “street” itself is also public that perform as alternative public sphere but also has a private side as an artwork. As same as several block parties that have been happened on streets all over the world, this party is also happened inside public sphere, and this is a public event opened for general. Originally, streets are the freest place in any other places. Also to be deciding the characteristics of this brand new public space, the party’ s theme will be the questions “what is new public?” and “what is freedom?” Participants of this party will be objects to be looked at by the museum visitors who would have seats on the chairs around the street inside the museum. Regardless they are performer or audience, they will be “the actors of the street” . This event will have double structures that there will be audience who look at the party from outside the street and join the party itself, however anybody can join the party, it could be happen that the museum visitors become party participants and actors of the street. In this case, they will allow to enter the street from the entrance where is located at the contact point of the public street and the “street” . During the party, the entrance of the street is only that point. Entering from any other place will be forbidden, so we will put partitions to prevent from entering the work all around the street. By doing this, we define that everything happens on the street and everyone on the street as “art work” , and the space outside the street defined as the space to observe the work. By classifying strictly those two, this party will be independent from rules and regulations of the museum as art piece. Even it is inside the museum, the street’ s original regulation will be applied. So people who join the party have to sign the agreement to follow the rules. Conversely, the museum’ s regulation has to be followed by all outside the street and so as the public street’ s rules. This makes the differences between public street, the museum and “street” further clear.
BLOCK PARTY, This block party is set in the “street” . The “street” connects public road and the national museum that are both public but also have different characteristics on original regulations and rules. We were inspired by Legislative Yuan occupation of the Sunflower Movement and came upon with this idea. That’ s why we direct questions “Who owns public institutions?” and “What is public” . This “street” itself is also public that perform as alternative public sphere but also has a private side as an artwork. As same as several block parties that have been happened on streets all over the world, this party is also happened inside public sphere, and this is a public event opened for general. Originally, streets are the freest place in any other places. Also to be deciding the characteristics of this brand new public space, the party’ s theme will be the questions “what is new public?” and “what is freedom?” Participants of this party will be objects to be looked at by the museum visitors who would have seats on the chairs around the street inside the museum. Regardless they are performer or audience, they will be “the actors of the street” . This event will have double structures that there will be audience who look at the party from outside the street and join the party itself, however anybody can join the party, it could be happen that the museum visitors become party participants and actors of the street. In this case, they will allow to enter the street from the entrance where is located at the contact point of the public street and the “street” . During the party, the entrance of the street is only that point. Entering from any other place will be forbidden, so we will put partitions to prevent from entering the work all around the street. By doing this, we define that everything happens on the street and everyone on the street as “art work” , and the space outside the street defined as the space to observe the work. By classifying strictly those two, this party will be independent from rules and regulations of the museum as art piece. Even it is inside the museum, the street’ s original regulation will be applied. So people who join the party have to sign the agreement to follow the rules. Conversely, the museum’ s regulation has to be followed by all outside the street and so as the public street’ s rules. This makes the differences between public street, the museum and “street” further clear.
道(Street) (2017-2018)

A street that connects the inside of the museum with the outdoor garden and the public street was created under this project as part of the “Asian Art Biennale 2017” held at the National Taiwan Museum of Fine Arts. All protests were staged on the street, with people walking from meeting points to whatever destination they aim for, such as the National Diet. The work was partly inspired by the story that students of the Sunflower Student Movement were able to occupy the Legislative Yuan because the front door was not locked. This street could be seen to be connecting to the inside of the museum to the Legislative Yuan too. The project also questions how public of a space a national museum really is, and aims to maximize the public potential and public sensibility of the National Museum through this experiment. The project puts forward many questions: To whom do the Legislative Yuan and the National Museum belong to? Who gets to decide what one does or can do inside those spaces? How should the fairness of such judgment be reviewed? Chim↑Pom decided to negotiate with the museum to make original regulations for this street, which is neither a public road nor a national museum, but an alternative public space. On the other hand, the title of this work is written in kanji character because it is inspired by Taoism, which is considered to be at the core of Taiwanese culture, and also because it connects to the Japanese judo and calligraphy customs to use michi [streets] as a metaphor for life.

Statement

We created a street that connects the inside of the museum with the outside garden and public street. It is made of asphalt concrete and is thickly layered for the cross section to stand out. All protests are staged on streets, with people walking on streets from meeting points to whatever destination they aim for, such as the National Diet. Since all streets are connected, we can say that this street connects the inside of the museum to the Legislative Yuan. This project also questions how public of a space the National Taiwan Museum of Fine Arts really is. For example, public streets are free for anyone to use 24 hours a day with usage rules built upon the law, the public's common sense, and mutual trust. Inspired by the Sunflower Movement that used the public space of the Legislative Yuan as its stage, we aim to bring out the maximum potential and public sensibility of the National Museum through this experiment, opening it up to the public in a true sense. To whom do the Legislative Yuan and the National Museum belong to, and who gets to decide what one does or can do inside those spaces? How should the fairness of such judgment be reviewed? This project may contain many questions. So we have decided to negotiate with the museum and make new regulations just for this street, which is neither a public road nor a national museum but an alternative public space. Why open? The participants of the Sunflower Movement entered the Legislative Yuan upon realizing that the door was somehow open. People who view that the street is also connected to the museum entrance will ask the same question and with that, begin pondering about many things. What is the public, what is the street, what is art? Even in that sense, it seems fitting to have the gateway to the Biennale be an entrance that is in fact connected to the public street and the paved street. The title is in kanji character because it is inspired by Taoism, which may be considered at the core of Taiwanese culture, and also because it connects to the Japanese judo and calligraphy customs to use streets as metaphors for life. It is also Chim↑Pom's response to this Biennale under the theme of Asia.