In 2011, MoNTUE was founded in the centennial National Taipei University of Education in Taiwan. It has always followed the principle of “Museum Continued” in its operations. Continuous public participations generate values in museums and sustain their lives.

As a new form of museum, MoNTUE attempts to shape its functions and significance organically, and to become a space to generate knowledge and innovative values to the public.

As a lab that inspires imagination and creativity, MoNTUE converges visual art, performing art, moving images, sound, and technology.

History and culture in the university engages with avant-garde perspectives in contemporary art into innovative energy in art. It continues to renovate and reinvent the museum, and evolve formats in artistic and cultural exhibitions.

MoNTUE, Museum of National Taipei University of Education

Impulse of Life

The Establishment of the Taiwan Cultural Association

Portrait of Lin Hsien-tang

The Establishment of the Taiwan Cultural Association（II）

Photo of Taiwanese Students at Tokyo Fine Arts School c. 1927

Tân Si̍t-kî｜CHEN Chih-chi

Grapes 1

Antique

Self-portrait

Wedding photo of Tân Si̍t-kî (Chen Chih-chi)

Portrait of Wife

“Born in Taiwan” by N̂ g Thôo-tsuí (Huang Tushui) published in The Orient

N̂g Thóo-tsuí｜HUANG Tu-shui

Kam-lōo-tsuí

《Kng》NFT

Tân Tîng-Pho｜CHEN Cheng-po

Lâu Kím-tông ∣ LIU Chin-tang

Self-portrait (1)

The Creation of Landscape

Chen-Jen Temple

Linglang Mountain Hall

Photo of Tân Tîng-pho (Chen Cheng-po) and Tiunn Lí Tikhô (Chang Lee Te-ho)

Notice of the inauguration ceremony of the headquarters of the Taiwanese People’s Party

Photo of a touring speech group of the Taiwanese People’s Party in front of the party’s headquarters

Lucid Water

Countryside

Rooftops of Paris

Taipei Train Station

Back Street

Plantain

Park Entrance

Takinogawa Scenery (2)

Tainan Sacrificial Rites Martial Temple

Report of the relocation of two lectures

The Forbidden City

Solitude

Spring in Musashino

The Public and the Modern

Photo of a tea session held by the Bū-hong It-sin-huē (Wufeng Yi-hsin Association)

Social activity sponsored by the Bū-hong Itsin-huē (Wufeng Yi-hsin Association)

Main members of the Bū-hong It-sin-huē (Wufeng Yihsin Association)

Portrait of Yang Shui-hsin

French Woman Wearing a Red Hat

Reclining Nude

Nude Woman

The Tshiah-tó / Sekitō Group (Chidao Group)

Declaration on the Founding of the Chidao Group

Chen Chi-Chih and his wife’s letter to his teacher

Girl in the Red Dress

Taking Photos

A Night in the South

A Noodle Stand at Night

Embroidering the Skirt

The New Women in the Period of the Taiwan Cultural Association

Fabric Market

Interior Still Life (B)

Portrait

Coreopsis Blossoms

Self-Awakening Modernity

My Family

On Proletarian Painting

The Poet / The Literary Giant, Lu Hsun

Art Picture Collection of Tân Tîng-pho (Chen Chengpo)

Study of Millet's Sketch

Coal Mine Pit

A Crowd

Photo commemorating the establishment of the Tâi-pak (Taipei) Youth Study Group

Market Entrance

At Dusk

Figure Sketches

The First Wave of the Modern Theater Movement in Taiwan

The Taiwan Minpao Culture and Art Section and Theater

The Flourish of Cultural Plays

Mission Statements of the Bîn-hong Theater Troupe and the Bîn-hong Society for Theater Research

Sheet music of “Paddy Field of June” and  “Train Through the Tunnel”

The Resurrected Rose by Hou Yao

Tiunn Uî-hiân (Chang Wei-hsien) Photo Album

The First Translated Script by Taiwanese: The Insect Play by N̂g Thian-hái

The 1943 Performance Iam-ke (The Capon)

Written record of Lîm Thuân-tshiu (Lin Tuan-chiu)’s debut play "The Tribe Deep in the Mountain"

Stage photos of Iam-ke (The Capon) performed by the Hiō-sing Society for Theater Research

Stage photo of theatrical plays performed by Hiō-sing Society for Theater Research

Photos of theater troupes during the age of the Taiwan Cultural Association

The Battle Position of the New Literature

Photo of Luā Hô (Lai Ho)

Manuscript of “We Have to State Clearly at the Beginning”

The New Literature in the Period of Enlightenment

Boring Memories

Literature and Socio-political Incidents

The Censored Poem "The Elegy"

The Split-Path for Advancing

Ilha Formosa Created through Arts and Culture Movements

From Island-wide to Border-crossing Connection

The United Alliance in the Literary and Art Worlds

We the Enlightened Youths

In October of 1921, Huang Tu-shui was selected for Japan’s Teiten [Imperial Art Exhibition] with his work Water of Immorality. This work portrays a young, confident woman emerging from a clamshell, as though from darkness into the world. Her resolute yet reassuring stance symbolizes the imminent arrival of Taiwan’s cultural renaissance. On the 17th of that October, the Taiwan Cultural Association was established. In publishing his essay "Clinical Notes: A Patient Named Taiwan," charter member Chiang Weishui diagnosed Taiwan as suffering from “intellectual malnutrition,” for which the requisite treatment was a cultural movement, and the very organization to promote cultural movement was the Taiwan Cultural Association.

The ideological trend of national self-determination and civil rights movements during Taisho democracy after the First World War made an impact on the Taiwanese youth in Tokyo and inspired them to reflect on the experiences of discrimination in the colonies and to organize rallies. While Lin Hsien-tang spearheaded Petition Movement for the Establishment of a Taiwanese Parliament and hatched the Tai Oan Chheng Lian [Taiwan Youth] magazine with Tsai Hui-ru in Tokyo; Chiang Wei-shui and others formed the Taiwan Cultural Association on island. These were the momentous beginnings that paved the way for public intellectual enrichment, emancipation of minds, and artistic and cultural enlightenment.

A variety of political movements burgeoned as the cultural movement took root. The splintering of the Taiwan Cultural Association in 1927 gave rise to the formation of a number of organizations, each occupying their position on the spectrum and all working together toward Taiwan’s future. Meanwhile, influenced by global ideological trends, the cultural movement advocated by the Cultural Association germinated in new artistic concepts in paintings, sculptures, novels, plays and films of a new era. Artists persisted in seeking out the relationship between art and society, and the spirit of resistance through art and culture exemplified by the Cultural Association continued until after the Second World War.

In tribute to the centenary of the Taiwan Cultural Association in 2021, the Museum of National Taipei University of Education (MoNTUE) casts the gaze toward the contexts of that era. Firmly anchored in an era that saw the emergence of the first generation of Taiwanese artists, this exhibition attempts to traverse the aesthetic styles of the works and the personal journeys of the artists as it explores the specificities of that era and the ways in which artists gathered strength from within. Their audacious pursuit of art contributed to constructing Taiwan’s cultural countenance.

Supported by the Ministry of Culture and Fu Lu Culture Foundation, MoNTUE, with Lin Mun-lee as its exhibition producer, has invited scholars with extensive and expert knowledge in history, literature, drama, art, indigenous culture, women’s studies, and law to form an interdisciplinary research team, whose members include Chou Wan-yao, Liu Liu Shu Chin, Shih Wan-shun, Chiang Po-shin, Chen Huei-hsien, Chen Yun-yuan, and Wu Chun-ying. The research team looks at the temporal-spatial background of a century ago through movements and developments in Taiwanese society. By juxtaposing artworks and historical documents that mutually complement, this exhibition portrays the society in which the Cultural Association and its relevant figures existed from the 1920s to the 1940s, reflects on the progressive actions and spirit of the Taiwan Cultural Association, while revisiting the enlightenment and self-awakening of Taiwanese culture as it unfolded a century ago.

The four exhibition sections of “Impulse of Life,” “The Creation of Landscape,” “The Public and the Modern,” and “Self-Awakening Modernity” serve as points of departure that guide the viewers to explore from the inside outward, and to contemplate ways in which these artists began from self-observation to burst forth and chronicle society through their works, depicting the integration and resistance between the individual
and society. Meanwhile, the “Contemporary Revisits” segment has been developed in collaboration with the Our Theatre troupe and the directorial team of Lin Chunni and Huang Pang-Chuan. In their commissioned works, the Our Theatre troupe have reinterpreted the cultural plays of that era, while Lin and Huang have produced Kam Lōo Tsuí, a documentary inspired by and named after Water of Immorality, and an interactive video installation that brings the era to life. While showcasing the history of Taiwan through diverse approaches, this exhibition also attempts to incorporate contemporary artistic perspectives in its reaching back to the past.

Official Website

Lumière : The Enlightenment and Self-Awakening of Taiwanese Culture

Original title『プロレタリア繪画論』
On Proletarian Painting
1930
17.5 × 12.8 cm
Collection of Taiwan Visual Art Archive

The Public and the Proletarian Art

Placed on the table of Chen Cheng-po’s My Family is a book titled On Proletarian Painting. The book was published in 1930 by Tokyo Tenninsha and its content includes the two main branches of international and Japanese Proletarian Art: one traces back to the bungei sensen (literary front) and extends to the Proletarian Culture Association, which developed into the NAPF (Nippona Artista Proleta Federacio/Nippon Artist Proletarian Federation), while the other is Bourgeois Art, which originated from Nika Association and developed into Action, Sanka, and Zokei. The two categories merge as Proletarian Art Alliance (known as PP) in 1929. The book includes various images depicting the public masses, such as Otsuki Genji’s Farewell (1929). Chen’s art picture collection also includes artworks of the public. Viewers can compare Chen’s A Crowd with the composition of the new wood prints in China at the time, as well as Figure Sketch (which is displayed for the first time in this exhibition) to see Chen’s attention in Proletarian Art. (Chiang Po-shin)