179 SEC 10 (2+3) pp. 179–194 Intellect Limited 2013 Studies in European Cinema Volume 10 Numbers 2 & 3 © 2013 Intellect Ltd Article. English language. doi: 10.1386/seci.10.2-3.179_1 Erik BordElEau Université libre de Bruxelles Soulful sedentarity: Tsai Ming-liang at home at the museum aBSTracT Tsai Ming-Liang’s most recent cinema has developed in close relationship with museal spaces. His last film, Face (2009), was commissioned and co-produced by the Louvre Museum, which invited Tsai to create the first opus of the ‘The Louvre Invites Filmmakers’ collection, a series of works that are intended to renew our under- standing of one of the world’s greatest art collections. The Taipei Fine Arts Museum has also recently added Tsai Ming-Liang’s ‘It’s a Dream’ (2007), a nostalgic and autobiographical video installation first presented at the 2007 Venice Biennale, to its permanent collection. Finally, his short feature Moonlight on the River (2004) as well as Lee Kang-Sheng’s Remembrance (2009) are part of an unorthodox video installation located at the Xue Xue Institute in Taipei, which includes a branch of the Tsaileelu coffee shop he owns with two of his beloved actors, and a series of 49 chairs gathered from all corners of Taiwan. As Tsai Ming-Liang puts it, ‘gradu- ally my movies find a home, and that is the museum’. In this article, I would like to show just how Tsai’s latest works and their domestic or oikological dimension can be best understood as soulful propositions for transductive experiences through Isabelle Stengers’ concept of sedentary component of practices. kEywordS Tsai Ming-Liang Isabelle Stengers slow cinema existential territory cosmopolitics transductive experience