「運動之後－穆勒咖啡之夜」是一個未來展覽的準備計畫，從碧娜．鮑許的重要舞作出發，討論當代東亞生命中個體與政治之間的關係。亞洲在今天國際上的崛起，並非一種市場的新陸塊浮現，而更是一則嶄新的民主難題與層層疊疊的歷史斷片：新的渾沌態；在這種渾沌態中，亞洲成了歧義性民主的實驗場，亞洲是一種預備性的民主狀態、未知的民主。「運動之後－穆勒咖啡之夜」企圖處理的也就是一種預備行動的狀態，在這個展覽中邀請了臺灣、韓國、日本、泰國、越南的藝術家們，一同開展出東亞生命的複雜度。

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台灣318學運的肇起與效應，不僅僅是個政治新聞或社會新聞事件，也不只是抗爭，而是一個社會氛圍的扭轉，無論是否能夠改變或衝擊一些當下的事件與發展，它的各種狀態與發展，已經造成整個社會與世代潛在的巨大影響。一方面「找出位置」成為連繫個人創造力與社會事件極其重要的時刻，另一方面「打開空間」則是另一種政治性的開啟。

「運動之後－穆勒咖啡之夜」是一個影像與聲音的空間實驗，提供給新的無產者與少數者醞釀其行動可能性的策劃，我們面對的是「行動中的藝術」，因為「不可能性」起而創作或行動的藝術，對「不可能性」與「幻見」的穿越。

這個展覽的主題關注在個體經驗如何與體制結構產生構聯與互動，因此並非以靜態展覽來呈現，而著重在個體如何思考環境、體制、歷史並與之互動。1) 我們以展覽提出一種交叉脈絡而生的空間(穆勒咖啡、美學政治)，2) 在個體－結構的生命政治關係下，通過影片放映開展與活動，深化東亞生命的各種脈絡，3) 讓展覽作為現實行動與美術館空間的一種連結性介面。總地而言，就是思考東亞生命的論述場域的展開。

“POST-movements：Nights of Café Müller” is an exhibition plan which treats Pina Bausch’s dance-theater work “Café Müller” (1978) as the point of departure to address the relationships between individuals and politics in East Asia. The rise of Asia does not take the form of an emerging market, but an unprecedented dilemma over democracy and cascading fragments of history. It is a state of chaos in which Asia becomes a laboratory for ambiguous democracy. In other words, Asia is mired in a state of probationary and therefore uncertain democracy. “POST-movements：Nights of Café Müller” attempts to point out such a probationary state. This exhibition is going to invite artists from Taiwan, South Korea, Japan, Thailand, and Vietnam to collectively unfold the diversity of East Asian life.

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The Sunflower Student Movement’s emergence and consequences represent neither a piece of political or social news, nor simply a wave of public protest, but the turning point of social awareness. Whether the impacts of this movement are immediate or not, the movement per se and its subsequent development have wielded implicit but significant influences upon the society and the whole generation. On the one hand, the appeal for “positioning self” becomes an extremely important link between individual creativity and social events. On the other hand, the appeal for “opening spaces” creates an alternative way for political participation.

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“POST-movements：Nights of Café Müller” is a spatial experiment on image and sound, offering possibilities to new proletarians and minorities who attempt to organize their own movements. We are performing the “art in motion,” the art against “impossibility,” that is, to transcend the limitations of “impossibility” and “illusions.”

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The theme that runs through this exhibition focuses on how individual experiences connect and interact with institutional structures. As a result, this exhibition is not a conventional static one but intends to highlight how individuals reflect on and interact with environments, institutions, and history. The primary goals of this exhibition comprise 1) creating a space (Café Müller, aesthetic politics) from an intertwined context through the exhibition; 2) enriching the contexts of East Asian life by screening videos and organizing events under the individual-structure biopolitics; and 3) making the exhibition a connective interface between real action and museum spaces. In sum, this exhibition encourages reflections on how to create a realm of discourses on East Asian life.