Skip To Content

Current Exhibition

Font size:

Treasure of Golden Mountains Exhibition of Shuijinjiou Geoheritage 2019/03/08-2019/10/27

Date :Now Until 10/27 Venue : Jinshui Special Exhibition Hall, Gold Refining Building

The epithermal deposits of Jinguashi, Jiufen and Wudan Mountain contain the richest mineral resources in Taiwan. In acknowledging these natural treasures, the Gold Museum organizes the program, aiming to bring the broad audience of Taiwan face-to-face to the history of Taiwanese gold and copper mining industry, and the island’s rich natural resources. The show, apart from an overview of the geological structure of the Shuijinjiou area, also showcases the unique and precious mineral resources of the region. The program also includes topics of scientific studies and the relationship between goldmining and humanistic development, and how the correlation was the foundational “root” for the past development of this mountainous mining town.

The Fourth Age of Man - Contemporary Art in Jinguashi 2018/11/09~2019/03/03

In Metamorphoses, the renowned Roman poet Ovid divided the humanity into four successive ages: Golden, Silver, Bronze and Iron. In the Golden Age, people lived in harmony with the nature, and the earth provided food in abundance. But during the Iron Age, men learn to demarcate nations with boundaries; they become warlike and master the skills of mining to dig out the riches of the earth. The Four Age of Man – Contemporary Art in Jinghasi invites five contemporary artist to explore mining development and its social impacts on communities. Through their interpretations of people, landscape, material culture and the physical remains of industrial mining heritage, the exhibition presents the Iron Age from a refreshing perspective that is soul-searchingly candid. Among the featured works in this exhibition, “Mineral Crafts” by Hsu Chia-wei combines old photographs, drone footage, and the online game Minecraft. By intersecting images from gameplay with those of industrial heritage, it reflects the real historical memory in the simulated construction. Liu Yu’s “Nameless” focuses on personal histories and even fictionalized personal oral history that are sidelined in the official history. When the abandoned site in the mountains can no longer be identified, the names of the interviewees can serve no more purpose. Chen I-chun’s “Under Surveillance” explores the making of the war machine and associated human rights issues based on the stories of Allied POW placed in the Jinguashi POW camp by the Japanese military during World War II. “Golden Cock” by Liao Chien-chung is a drum-type continuous mining machine with golden sheen. Although the machine had never been seen in Jinguashi, it is a necessary tool of modern mining operations. Its powerful function paired with the appearance of a gold rooster creates an incongruous mixture with a hint of bizarre harmony. In Wu Chuan-lun’s “Coast Mining”, plastics, foams, and other corrosion-resistant petrochemical materials are amalgamated with oyster shells and sea sand to become almost mineral-like. It distinctly demonstrates that the line between artificial and natural materials is now as blurry as the divide between humankind and nature.