Interweaving simulacra of information urbanscape into ordinary ready-made objects in daily life, "Frame Unite" (Fumiko Kobayashi) inserts anatomical figures of human bodies and photo images of buildings into books, archives of paper and ink with words and icons in which metallic tools are violently conjugated. The disruption of body image gives the impression that the human mode, which is swinging between information and material, is displayed like a sculptured group or samples.

Producing architectural models based upon questionnaires on the ideal home for the audience, "Home Projects" (Chieng-Hao Wang) constructs high-rise apartment buildings in which images of products extracted from the mass media, such as magazines and advertisements, are copied and pasted and have accumulated such that the high-rise wobbles and its collapse appears imminent. The marketing system by big data ceaselessly recording multiple consumer desires provides currency and drives the processes of excessive production and disposition in information capitalism.

When looked down on from the high-rise apartment buildings, an embodiment of information capitalism, people appear with a multifunctional chair of "CHAIR MAN" (Cooking at the Frontline), expanding their demonstration in pop and humorous taste: pick up discarded daily commodities, take physical training, cook with plants on the street, and provide exciting symposiums. The moment for the struggle over the right of existence against economic development under globalization resides within a creation realized at minimal cost.

Escaping from the urban space in which forces of protest and control jostle, "Floating Hotel" (Jyun-Yang Wen), temporary shelters (including single and family types) are found at street corners or in parking lots, in vacant spaces or abandoned houses, and along riversides. For hiding from the demonstration or an evacuation from a fluid labor market, transient refugees with hammocks and coverlets emerge from everywhere and provide unexpected encounters.

Exploiting and providing living space, a violent aspect of city development, are carefully recorded in a workshop with children of "A reflection from the ‘tree bank': A project for invoking a localized identity" (Chai-Ruon Hsu). By overlapping people who have forfeited their right to exist in the trees who are forcibly transplanted for construction of a dome or new primary school, the workshop requestions a way of life for human beings in a rapidly transforming urban space.

In "A diary for 12 days – A project plan of ‘SUN SELF HOTEL'"(Jun Kitazawa), inhabitant volunteers of the Nanjichang apartment complex in Taipei offer a one-night accommodation for an art event and welcome guests to their empty rooms as "hotel-keepers." The guests become "strangers" and encounter local people through the "hotel-keepers." Rising from the Ino apartment complex, the collaborative project with the local inhabitants weaves a new narrative-history through dialogues about the sun and life in the hotel.

If the two maps of Taipei and Tokyo were connected, as the video works of "Give / Take / Leave (Taipei-Tokyo)" (Satoshi Nishizawa) projects, an anachronistic but also near-futuristic urbanscape would be seen. The Chinese or Taiwanese voice in the video of Taipei is translated into Japanese subtitles, and the Japanese voice in the video of Tokyo into Chinese, deviating from the original scenario. This absurd narrative-history goes beyond linguistic explanation and characters, gestures, voices, and things; each begins to move automatically.

Amid the augmenting threat of globalization and the changing power balance in East Asia, the crossing of the urbanscapes of Tokyo and Taipei in this exhibition presents a sketch of the interrelations to come. The representative spaces of the metro police of these small states, Japan and Taiwan, find, with the disruption of an established relationship between the body and space, a presage of the world born from the resonance of these words and images or a galleria into a new narrative-history.

In a room of a house in a city of a state inside a world, when searched on a display, images extend and diffuse with multiplications of a frame/window and penetrate beyond the surface of pixel into the other room of the other housing in the other city of the other states inside the other world. A chiasm of human being-urbanspace in a coupling, cut out in "Frame Unit," might be transferred into a set scene of the happiness people dream of, which would be assembled, piled, transported and discarded as in "Home Projects."

People expelled from the babel of illusion and simulacra run away like groups of young spiders in all directions from the city. The refrains of the speaking choir gain through the social networking their voice against the government. "Listen to the people!," "Freedom is for us!" and "Chairman," an instruction manual for street life, is distributed to people on the street: good news for the precariat today. Does "Floating Hotel" for the anarchist today jingle again with a dream of the revolution forgotten?

A few months before the exhibition, demonstrations against nuclear power around the Diet Building (Tokyo) and for the anti-agreement on trade in services in the Legislative Yuan (Taipei) occurred. Out framed, surrounded by an atmosphere of babel and crisis in the distance, the characters in "Give / Take / Leave (Taipei-Tokyo)" buy their favorite clothes, absorbed in video games, and speak to each other in a white room. The everyday politics of the young generation in the urbanscapes of Tokyo and Taipei each repeat in different ways.

Looking to the art scene in the first half of 2014, new trials of creations about this stage of information capitalism can be found. Chaos*Lounge melts the original by its ceaseless updating of the image, and SHIBUHOUSE enjoys the collective life in its share-house. Ichiro Endo liaises hope all over Japan, and Kyohei Sakaguchi declares by himself the independence of his state. Ishu Han overlaps his life memory on the sea route between Japan and China, and Yoshinori Niwa vividly pictures the aesthetic mode of exchanging post communism.

Or the exhibition, Asia Anarchy Alliance (curator: Dar-Kuen Wu [Taiwan]), might be a blueprint of the new order in the Asian Pacific region, comprising the superpowers, China and America, and the surrounding countries, Japan and Taiwan. The housing space produced in the negotiations with children, small narratives-histories seen in "A reflection from the ‘tree bank': A project for invoking a localized identity" foreshadows the sprouting of art mediated ecology.

The ordinary national life of mass production in the late twentieth century dissipates as it is crushed in the wave of information capitalism, and people are disappearing in multitudes like bubbles floating on the waves. Looking toward a time of high death rates around 10 years ahead, the grand history of politics is being transformed into small individual narrative-histories: "A diary for 12 days – A project plan of ‘SUN SELF HOTEL.'" A bridging between the Ino apartment complex in a Tokyo suburb and the Nanjichang apartment complex in Taipei city will be a melodic etude with its multicultural perspective on the coming immigration society.

Tokyo and Taipei, a less than four-hour air trip, and a half century history of encounters, become associative cities in East Asia. Everyday spaces are dissociated or deterritorialized in the cyberspace expanding with information capitalism and forgotten, cut, connected, and constructed or reterritorialized in other ways. How will the two small island states floating in the East China Sea as associates face up to Mainland China? The geography imagined by the artists portrays, through the narratives of the things and the words, individual life disrupted in the fluidizing information capital and the process of history without end toward the beginning of new times.