
SAALab
Chi Jan Farn, Dancer/Performer
Winsing Art Place (1/F. 6, Lane 10, Lane 180, Section 6, Minquan East Road, Neihu District, Taipei City)
$800 (incl. materials, one bottle of drink and bookstore entrance fee)
Unrestricted
Iranian-born artist Nairy Baghramian works with a wide range of materials, often creating metal structural forms that support or lean on one another, subtly referencing bodily postures. Her early exposure to American dancer-choreographer Yvonne Rainer greatly influenced the development of her artistic language. Many of Baghramian’s sculptures feature seemingly fragile or slender support structures, with "instability" as a recurring theme throughout her practice.
For this Sunday’s workshop, the Winsing Arts Foundation is collaborating with SAALab to host “Weekend Afternoon: Life Drawing Session at Winsing Art Place.” Performer Chi Jan Farn will present a movement piece in the exhibition space inspired by Yvonne Rainer’s choreographic language, treating the body as part of the artwork and triggering rippling interactions with the surrounding sculptures. Unlike conventional life drawing classes, there is no timer or fixed structure—drawing becomes a form of co-creation with the performer. Participants are invited to observe and sketch, capturing the interplay among the sculptures, the performer, and the space.
Following the enthusiastic response to the first dance and figure drawing session, the Winsing Arts Foundation once again collaborated with SAALab this past Sunday, inviting professional dancer Chi Jan Farn from Legend Lin Dance Theatre to lead a second immersive workshop at Winsing Art Place.
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Artist Nairy Baghramian drew early inspiration from American dancer-choreographer Yvonne Rainer, whose dance movements and bodily postures deeply informed her sculptural practice. In this session, Chi created a series of choreographed responses to both Baghramian’s sculptures and Rainer’s iconic choreographic language.
The workshop began with Maintainers, a sculpture composed of utterly different materials interlocked in a delicate balance—much like a body. Through dragging motions, shifting limbs, and even the subtlest tremors of fingertips, the dancer gradually became one with the sculpture. Transitioning to Misfits, her hands and feet echoed the small sculptural elements placed on the floor, while her facial expressions engaged in an imaginary dialogue with a little girl figure in the piece. Every gesture sparked a dynamic interplay with the work. Unlike traditional figure drawing classes, this session required no prior drawing experience. Each mark and stroke became a collaborative act— among the sculptures, the performer, and the observer.
