Titled The Great Acceleration, Taipei biennial 2014 refers to the idea of the Anthropocene, our geological era, marked by the effects of human activities on our biosphere, and shows how contemporary art expresses a new contract among human beings, animals, plants, machines, products and objects.
From: September 13, 2014–January 4, 2015
Ticket price: 15 NTD entrance / free on Fridays
Taipei Fine Arts Museum - No.181, Sec. 3, Zhongshan N. Rd., Zhongshan Dist., Taipei City 10461, Taiwan www.tfam.museum
Taiwanese artist Po-Chih Huang’s Production Line – Made in China and Made in Taiwan (2014) comprised a sewing space for finishing women’s denim shirts, which had been in part made at another production line at the 8th Shenzhen Biennale (each was overseen by a female member of the artist’s family), mirroring the industrial offshoring of the clothing industry that has dictated the movements of the artist’s mother throughout her working life.Based on his familiar essay Blue Skin: Mama’s Story, relating the trajectory of his mother’s working life, from farm to factory and back to farm again, and encompassing the evolution of the Taiwanese economy, including the offshoring of the clothing industry.
So I woke up - Surasi Kusolwong, Golden Ghost. (Thai Artist). His performative installations focus on consumerism and deal with the global economy and material values. In his large‐scale installation Golden Ghost, Kusolwong invites visitors to hunt through a huge industrial waste landscape of threads for pieces of art designed and made by himself, real gold necklaces with golden ghost symbols. If visitors are lucky enough to find one, they can take the hidden treasure home. As he once said, "It gives new sense and meaning to the phrase 'missing' or 'disappearing' work of art. It is the absence that makes the work complete at the 'hands' of the audience." Through his participatory and interactive work, Kusolwong integrates the traditional craft of goldsmithing with modern narrative, historical socio‐politics and current economics and ecology. He transforms the exhibition space into a place for experiencing, revoking and reconsidering such issues of human civilization.
Best moment for my classmates - Opavivará, Formosa Decelerator. installation of hammocks linked in an octagonal structure with a tea service at the center, by the Rio de Janeiro collective Opavivará, opens the show. This is a mistake, as this convivial, relational work jarred with the cool, anxious tone of the rest of the works. Opavivará! is an art collective from Rio de Janeiro, which develops actions in public places of the city, galleries and cultural institutions, proposing inversions in the use of urban space, through the creation of relational devices that provide collective experiences. Specially conceived for the Taipei Biennale 2014, Formosa Decelarator is also contaminated by local Brazilian traditions, rituals and tea ceremonies. The piece consists of 16 hammocks, held by an octagonal wood structure, with a table at the center, where a variety of tea herbs will be available for people to make tea. It is a relational device that blends two typically Brazilian indigenous traditions: the popular practice of shamanism through curative herbs, and the hammocks in which indigenous people sleep, which the first Portuguese colonists associated with laziness, as they thought the indigenous people wasted too much time in them. The idea revolves around a sort of temple of idleness, an invitation to inactivity, a space that worships the non-productive and non-active and that stands as a counter-proposition to our accelerated, superficial and volatile times. It aims to evoke a collective ambience based on sharing and on the relationships that arise through the interaction of the public, a tool to transform the challenge of living together into a vibrant and pulsating exercise of pleasure, congregation and creative idleness.
3D Printing - Hung-ChiHung-Chih Peng’s army of 3D printers busily made parts for his sculpture The Deluge – Noah’s Ark (2014)