{"id":2595,"date":"2017-02-16T17:41:00","date_gmt":"2017-02-16T17:41:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=2595"},"modified":"2022-12-04T17:42:32","modified_gmt":"2022-12-04T17:42:32","slug":"what-and-how-to-forgetreview-of-the-2016-taipei-biennial-gestures-and-archives-of-the-present-genealogies-of-the-future","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/what-and-how-to-forgetreview-of-the-2016-taipei-biennial-gestures-and-archives-of-the-present-genealogies-of-the-future\/","title":{"rendered":"What, and How to Forget?
Review of the 2016 Taipei Biennial \u201cGestures and Archives of the Present, Genealogies of the Future\u201d"},"content":{"rendered":"\n

I.<\/p>\n\n\n\n

As the by-product of international expositions, the biennial\/triennial\/multi-ennial model not only shapes the development of modern and contemporary art history, it is also intimately tied to the course of modernity: through visual presentation to the construction of discourse(s), it writes its own history. As that history is being written, we also know that many invisible others are excluded, constituting one of the key reasons driving the transnational launch of decolonization projects since the rise of post-colonialism. Against this backdrop, archives\u2014inseparable from history and identification\u2014play a crucial role. Since the post-war period, the excavation, interpretation, and classification of archives has thus precipitated waves of \u201ctransitional justice\u201d movements everywhere. As the extensive self-evaluation\u2014both active and passive\u2014that governments are launching from within systems (of the body-politic), transitional justice, or, simply put, overdue justice, aims to investigate perpetrations resulting from the upholding of past regimes in the excavation of historical truths. Due to its international orientation and complex history, not only is Taiwan in the process of decolonization, it is also one of the best sites for examining the relationship between postcolonial theory and international contexts. In a place where almost all cultural activity is dependent upon official subsidies and where public museums are dominated by strong cultural leadership, critical reflections on official cultural systems have become an urgent topic.<\/p>\n\n\n\n

Therefore, this year\u2019s Taipei Biennale, entitled \u201cGestures and Archives of the Present, Genealogies of the Future\u201d, gestures at a long-anticipated and forceful attack on the archival canon. The curator seems to stand by the framework of modernist aesthetics, however; there seems to be no need to mention the emblem of the \u201cfortress of art\u201d (yishu baolei<\/em>) inherent in its site of enactment (for military metaphors that refer to the museum as fortress, please see Boris Groys\u2019 The Politics of Equal Aesthetic Rights<\/em>, or my own essay \u201cThe Ghost of History\u2014On the Usage of Archives in Contemporary Curatorial Morphology\u201d). Furthermore, as I have prefaced, if one were to have any understanding of past Taipei Biennials and the Taiwan Pavilion in Venice, both of which have been overseen by Taipei Fine Arts Museum, one will easily find that a complex political background and awareness of identification both directly shape the varying presentations of these exhibitions. The Taipei Biennial also reflects TFAM\u2019s bureaucratic authority, vacillating between national subjectivity and the capital\u2019s cultural leadership. This background needs first and foremost to be taken into account.<\/p>\n\n\n\n

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\u52b3\u4f26\u65af\u00b7\u963f\u5e03\u00b7\u6c49\u4e39\uff0c\u300a\u6a61\u76ae\u6d82\u5c42\u94a2\u300b\uff0c\u9ad8\u753b\u8d28\u5f55\u50cf\uff0c\u5f69\u8272\u3001\u6709\u58f0\uff0c\u7247\u957f19\u5206\uff0c2016
Lawrence Abu Hamdan, \u201cRubber Coated Steel\u201d, HD video, color, sound\uff0c19 min, 2016<\/p>\n\n\n\n

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<\/a><\/p>\n\n\n\n

\u52b3\u4f26\u65af\u00b7\u963f\u5e03\u00b7\u6c49\u4e39\uff0c\u300a\u6a61\u76ae\u6d82\u5c42\u94a2\u300b\uff0c\u9ad8\u753b\u8d28\u5f55\u50cf\uff0c\u5f69\u8272\u3001\u6709\u58f0\uff0c\u7247\u957f19\u5206\uff0c2016
Lawrence Abu Hamdan, \u201cRubber Coated Steel\u201d, HD video, color, sound\uff0c19 min, 2016<\/p>\n\n\n\n

II.<\/p>\n\n\n\n

Yet, what should a biennial look like? Nobody can answer this, because a biennale should not look like anything to begin with. In my view, the Taipei Biennial has always anxiously sought the so-called \u201cinternational\u201d, or vice versa; the organizers seem to think it appropriate to draw on the latest trends from international biennials in order to catch up with mainstream discourses in Western countries. As a result, \u201cAnimism\u201d in 2012, \u201cAnthropocene and Acceleration\u201d in 2014, and \u201cArchive Performing\u201d in 2016 all attempted to introduce or respond to topics deemed important at the present moment. From this point of view, TFAM has played the role of the museum well as an educational hub that promotes connections with the local. In 2016, the curator Corinne Diserens brought many important artists from Europe, including ideological trends and movements since the emergence of avant-garde art, such as the Situationist International and the Communist International, encompassing the historical span of a century. Perhaps due to actual working conditions and a lack of familiarity with the culture of Taiwan and nearby East Asian countries, she did not touch too much upon \u201cincorrect\u201d events, if at all; most of her samples focus instead on constructing an imagination of Taiwan through a network of connections centered on authority. From an etymological standpoint, granted its numerous definitions, and the extensive research required for its Chinese translation, \u201carchive\u201d more or less means \u201cthe documentation of specific events\u201d and is tied to modes of administrative control for which the keywords are \u201cpublic records\u201d and \u201cbeginning\u201d. Thus, so-called incorrect events often satirically alter the original meaning of the archive (the real appearance of its \u201cpublicness\u201d and \u201cbeginning\u201d): the public would be covered up, the documentation tampered with, and the origin either effaced or fictionalized\u2014which is why we need transitional justice. As such, the archive not only reflects but on some level also determines the specific image of history. More importantly, due to the fact that the archive often affects regional politics, it is limited to the region. Looking broadly at this biennial though documents and archives, history seems to have vanished into thin air amid the imaginary connections forged between the international and the local. Hence the foreign curator, deeply restricted by language barriers, is unfortunate\u2014but it\u2019s not her fault. Though on several occasions Diserens has admitted her lack of knowledge about Taiwan, she firmly believes that the works she chose, which unfold around current international situations, and artists\u2019 relationships with modernism (she thinks  we have never escaped from modernity), as well as the accumulated legacies refracted by modernism, could all constitute the universal foundation for current discourse.<\/p>\n\n\n\n

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\u9648\u754c\u4ec1\uff0c\u300a\u98ce\u5165\u677e\u300b\uff0c\u5355\u9891\u9053\u5f55\u50cf\uff0c\u84dd\u5149\u5149\u76d8\u3001\u9ed1\u767d\u3001\u6709\u58f0\uff0c\u7247\u957f23\u520617\u79d2\uff0c2015
Chen Chieh-jen, \u201cWind Songs\u201d, single channel video installation, blue-ray disc, b\/w, sound in selected portions, 23 min 17 sec, 2015<\/figcaption><\/figure>\n\n\n\n
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\u6d2a\u5b50\u5065\uff0c\u300a\u5c3c\u91c7\u8f6c\u4e16\u4e3a\u4e00\u4f4d\u4e2d\u56fd\u5973\u6027\u4e0e\u4ed6\u4eec\u5171\u4eab\u7684\u751f\u547d\u300b\uff0c\u591a\u5a92\u4f53\u8868\u6f14\u827a\u672f\uff08\u5f71\u50cf\u64b7\u56fe\uff09\uff0c2016
James T. Hong, \u201cNietzsche Reincarnated as a Chinese Woman and Their Shared Lives\u201d, multimedia, still image, 2016<\/figcaption><\/figure>\n\n\n\n

If the Taipei Biennial orients itself far beyond Taiwan itself and focuses on east Asia and southeast Asia, then perhaps the majority of the works in the exhibition that follow the trajectory of Western art (paying homage to grand masters) are sufficient for us to rearrange the genealogy of archives, documents, and relevant ideologies in the course of modern and contemporary art history (though this still constitutes modernism). Yet the more challenging question remains: how to understand Asia\u2019s post-colonial condition? On the one hand, the curator\u2019s nationality does not explain much. But if we were to show the construction of the archive and the organization of genealogies, the barrier between language, culture, and regions should be brought to light. On the other hand, in terms of her curatorial gesture, it is clear that Diserens prefers non-topical exhibitions (in fact, topical modes of exhibiting have been making a come-back in international biennials of recent years\u2014this is another topic worth discussing). Instead of providing a clear framework and definition, she turned to performance, film, and interactive symposiums to mold the field of vision. She has also incorporated locally initiated research proposals\u2014such as Tainan China Town, a research plan led by Yi-Hsin Lai and others, Soundscape Taiwan, a project developed for many years by Hueihua Cheng and Lo Jeph, as well as field research conducted by Gong Jow-Jiun on folklore in photography\u2014as a way to breach archives outside her field of vision. Though she does not resist the bureaucratic gags put in place by collaborating with institutions, believing that almost nothing in contemporary life could escape this category, perhaps it would be better to think about the possibilities found within the system. But in terms of the exhibition itself, it surprisingly fails to touch upon controversial archives about the national and the local, or abandon the perspective of a politics of aesthetics. Instead, she focuses on \u201cartistic\u201d gestures (in her words), anti-modern projects that question, deconstruct, and divert the \u201cparadigm\u201d. But in this fashion, even the fiercely powerful works of Chen Chieh-Jen have somehow lost their force.<\/p>\n\n\n\n

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\u6734\u8d5e\u666f\uff0c\u300a\u516c\u6c11\u68ee\u6797\u300b\uff0c\u4e09\u9891\u9053\u5f55\u50cf\uff0c\u9ed1\u767d\u3001\u6709\u58f0\uff0c\u7247\u957f27\u5206\u949f\uff0c2016\uff08Art Sonje Center\u4e0e2016\u53f0\u5317\u53cc\u5e74\u5c55\u63d0\u4f9b\uff09
Park Chan-Kyong, \u201cCitizen\u2019s Forest\u201d, three-channel video, b+w, directional sound, 27 min, 2016 (Courtesy of Art Sonje Center and the Taipei Biennial 2016)<\/figcaption><\/figure>\n\n\n\n

III.<\/p>\n\n\n\n

Although due to various limitations, the curator was not able to pay too much attention to works that deal with Taiwan\u2019s cultural-historical circumstance, Diserens did draw a constructive imaginary route for the \u201carchive\u201d\u2014this is worth further discussion. This constructiveness can be seen in the subheading given by Diserens: \u201cPerforming the architecture\u201d, which attempts to create more room for imagination within the symbolic structure of culture and power in order to transfer two-dimensional (if not crumbling) file cabinets and documents piled in the deployment of time to the three-dimensional structure of everyday living space. In If There\u2019s Been A Way to Build It, There\u2019ll Be A Way to Destroy It<\/em>, the renowned literary critic Ian Hunt makes a metaphorical bridge between archive and architecture, using London\u2019s urban renewal as an example (and the accompanying evaporation of cultural landscapes) in order to connect with the artist Paul Buck\u2019s autobiographical publications in the search for spatial allegories that we depend so much upon in the process of \u201cself-archiving\u201d. A Public Intimacy (A Life Through Scrapbook)<\/em>, Paul Buck\u2019s classic work, tries to present his autobiography and life retrospective to readers through the method of montage\u2014an unedited and uncompleted creative plan\u2014so that the reader could see how \u201cprocess\u201d reveals the author\u2019s personal life. All this is as important as the identity of the author\/artist, for whom the plans constitute the \u201cresult\u201d\u2014in terms of the particularities of the autobiographical form (the \u201cauthentic\u201d). Just like the process of gentrification in urban metropolises, \u201cbeautiful results\u201d always conceal and destroy precious processes (namely, the traces of history). And if the construction of archives also requires \u201ccorrectness\u201d, just as autobiographical forms habitually do (for this reason, archives could not be separated from photographic techniques for a long time), then all the landscapes we find in daily life can only be dazzling appearances\u2014all beautiful houses and public construction.<\/p>\n\n\n\n

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\u5b89\u6d01\u62c9\uff0e\u8d39\u745e\u62c9\uff0c\u300a\u503e\u5411\u9057\u5fd8\u300b\uff0c\u591a\u5a92\u4f53\u5f71\u50cf\u88c5\u7f6e\uff0c\u96d5\u5851\uff1a\u5bc6\u96c6\u677f\uff0c\u677e\u6728\u6761\u3001\u94c1\uff0c\u6db2\u6676\u663e\u793a\u5668\uff1b460\u00d7565\u00d7415\u516c\u5206\uff0c\u4e03\u5e45\u7167\u7247\uff1a\u55b7\u58a8\u8f93\u51fa\uff1b70\u00d7100\u516c\u5206\uff0c\u5f55\u50cf\uff1a16\uff1a9\uff0c\u5f69\u8272\uff0c\u6709\u58f0\uff1b15\u5206\u949f\u5faa\u73af\u64ad\u653e\uff0c\u7247\u957f19\u520615\u79d2\uff0c2015
\u00c2ngela Ferreira, \u201cA Tendency to Forget\u201d, multi-media installation, sculpture (MDF, pine beams, iron), LCD; 460\u00d7565\u00d7415cm, 7 photos: inkjet print; 70\u00d7100cm, video:16:9, color, sound, 19 min 15 sec loop, 2015<\/figcaption><\/figure>\n\n\n\n
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\u5b89\u6d01\u62c9\uff0e\u8d39\u745e\u62c9\uff0c\u300a\u503e\u5411\u9057\u5fd8\u300b\uff0c\u591a\u5a92\u4f53\u5f71\u50cf\u88c5\u7f6e\uff0c\u96d5\u5851\uff1a\u5bc6\u96c6\u677f\uff0c\u677e\u6728\u6761\u3001\u94c1\uff0c\u6db2\u6676\u663e\u793a\u5668\uff1b460\u00d7565\u00d7415\u516c\u5206\uff0c\u4e03\u5e45\u7167\u7247\uff1a\u55b7\u58a8\u8f93\u51fa\uff1b70\u00d7100\u516c\u5206\uff0c\u5f55\u50cf\uff1a16\uff1a9\uff0c\u5f69\u8272\uff0c\u6709\u58f0\uff1b15\u5206\u949f\u5faa\u73af\u64ad\u653e\uff0c\u7247\u957f19\u520615\u79d2\uff0c2015
\u00c2ngela Ferreira, \u201cA Tendency to Forget\u201d, multi-media installation, sculpture (MDF, pine beams, iron), LCD; 460\u00d7565\u00d7415cm, 7 photos: inkjet print; 70\u00d7100cm, video:16:9, color, sound, 19 min 15 sec loop, 2015<\/figcaption><\/figure>\n\n\n\n

In the debate over construction and demolition, what is sacrificed is argued for in the name of people\u2019s memories which, just as in the process in which national archives are established: \u201cto construct (archives), is to make people forget.\u201d Ian proceeds to quote \u201cmemory palaces\u201d, as a way to explore the relationship between systems of memory and architecture. Memory Palaces are architectural metaphors denoting the visualization of memory systems, in which all the memory (archive) placed in each room could be easily found and played back during each recollection of memory. However, the above-all premise is that there be a place dedicated to \u201cbeing located\u201d. In terms of etymology, the word \u201clocate\u201d originates from \u201clocus\u201d, which connotes trajectory, site, and control; having definitions in mathematical trajectory and segmentation, trajectory is also profoundly linked to topology, later used in the discussion of spatial positioning on a cultural and mental level. Interestingly, just like all the architecture and streets we are accustomed to seeing every day, it is often difficult to be aware of this constant process of \u201cbeing located\u201d: as every space for \u201cbeing located\u201d is continuously destroyed, we can only recognize rapidly changing \u201cresults\u201d. This is the way in which modernity makes us forget, in making us accept the reality of life that it institutes (see Paul Connerton\u2019s How Modernity Forgets<\/em>). The reason Peter Friedl, one of the artists in the exhibition, restages notorious or ill-fated architectural works in the history of modernity and names it \u201cRehousing\u201d is to extract them as micro-archives (at the same time as spectacles) from the original threads in which they were entangled so that they can be understood in an unfamiliar context. Furthermore, Angela Ferreira\u2019s work \u201cA Tendency to Forget\u201d could also be read in this discursive rubric. In presenting classic examples from the archival documents of the famed anthropology couple Jorge and Margot Dias, the micro-laboratory created by the artwork attempts to overturn the colonialist angle hidden within, revealing the complex relations between knowledge and power within anthropology in the construction of modernity. These architectural spaces herein are no longer sufficient in enveloping people and thus making them hard to detect; conversely, in ensuring a line of vision that allows one to see comprehensively and at close range (try to imagine the posture of viewers who bend down and crane their neck), it overturns paradigms of modernity.<\/p>\n\n\n\n

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\u8bb8\u5bb6\u7ef4\uff0c\u300a\u795e\u7075\u7684\u4e66\u5199\u300b\uff0c\u53cc\u9891\u9053\u5f55\u50cf\u88c5\u7f6e\uff0c\u7247\u957f9\u520645\u79d2\uff0c\u5236\u7247\u4eba\uff1aLe Fresnoy\uff0c\u8054\u5408\u5236\u7247\u4eba\uff1a\u5c0a\u5f69\u827a\u672f\u4e2d\u5fc3\u201d\uff0c2016
Chia-Wei Hsu, \u201cSpirit-Writing\u201d, two-channel video installation, 9 min 45 sec, Produced by Le Fresnoy, Co-producer: Liang Gallery, 2016<\/figcaption><\/figure>\n\n\n\n

IV.<\/p>\n\n\n\n

If the above two works highlighted the fate of archival construction and modernist architecture in mental space, \u201cCollectivism\u201d, the large-scale installation placed in the outdoor atrium on the first floor (by the artist duo Eric Chen and Rain Wu) reshaped the landscape of contemporary life in the embodied organic imagination. In contrasting the unbridled growth of botanical gardens with shields that signify the governing of nations, the work strengthened the satirical metaphor between \u201cbodily defence and nurture\u201d, responding at the same time to the previously mentioned viewpoint\u2014\u201carchitecture is made for forgetting\u201d. Therefore, the curator created numerous \u201ctemporary rooms\u201d in the museum, placing these disruptive rooms within bureaucratic hierarchies (of architecture), hoping to provide audiences with the opportunity for radical thought, more so expecting to \u201cunravel the structure of power\u201d. Perhaps idealized, to me Corinne has overestimated Taiwanese audiences\u2019 imagination of the world, mostly coming from historical and cultural conditions of different regions as well as the complex development of modern art history, forcing the viewer to become lost in a torrent of information. Paradoxically, this kind of imaginary flow is precisely what is needed at present so as to dismantle the unshakeable archives that result from the construction of modernity. Though tiny flaws do not negate the merit of the whole, the curator has deliberate created an empty exhibition narrative, complemented with almost all-encompassing archival samples, as though this biennial was the \u201csearch results\u201d of having typed in \u201cdocument\/archive\/history\u201d in the browser. Perhaps it failed to show hidden genealogical cartographies (that is, if genealogy is indeed what the exhibition had in mind), and risks floating superficially on the surface. Lastly, I would like to ask: what about archives of the future? How is it to be performed? Looking around at contemporary informational life, highly developed algorithms and their product, big data, largely determine how we document the present as well as ways of looking at the world. The most conspicuous examples aside, businesses and entrepreneurs are able to figure out most people\u2019s needs through big data analysis, insidiously inserting ads along every commercial route, thus generating \u201cadditional\u201d needs, ultimately depositing the populace in a preprogrammed future. However, it is a pity that discussion of this new domain remains curiously missing from this year\u2019s Taipei Biennial, which, aside from immersing visitors in a strong sense of nostalgia, reduced its power in shaking the foundations of aesthetic paradigms.<\/p>\n\n\n\n

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\u9ec4\u7acb\u6167\uff0c\u300a\u5feb\u4e50\u5929\u5802\u300b\uff0c\u5927\u56fe\u8f93\u51fa\uff1a1190 \u00d7250\u516c\u5206\uff0c\u8ba1\u7b97\u673a\u5272\u5b57\uff0c\u7845\u80f6\uff0c\u9694\u70ed\u7eb8\uff0c\u97f3\u4e50\uff1a\u5feb\u4e50\u5929\u5802\uff0c30\u4f4d\u89c2\u4f17\u73b0\u573a\u53c2\u4e0e\uff0c\u5c3a\u5bf8\u89c6\u573a\u5730\u800c\u5b9a\uff0c2016\uff08\u56fe\u7247\u6765\u6e90\uff1a\u8054\u5408\u62a5\u7cfb\u3002\u53f0\u5317\u5e02\u7acb\u52a8\u7269\u56ed\u4e8e1986\/9\/14\u4e3e\u884c\u5927\u642c\u5bb6\u6e38\u884c\uff0c\u5728\u8b66\u8f66\u7684\u524d\u5bfc\u4e0b\uff0c\u516d\u5341\u4e94\u53ea\u52a8\u7269\u5206\u4e58\u5eff\u8f86\u4e13\u8f66\uff0c\u4ece\u5706\u5c71\u52a8\u7269\u56ed\u51fa\u53d1\uff0c\u9a76\u5f80\u7260\u4eec\u7684\u65b0\u5bb6\u6728\u6805\u52a8\u7269\u56ed\uff0c\u5438\u5f15\u4e86\u5eff\u4e07\u4ee5\u4e0a\u70ed\u60c5\u3001\u597d\u5947\u7684\u6c11\u4f17\u5939\u9053\u56f4\u89c2\uff09
Li-Hui Huang, \u201cHappy Paradise\u201d, large format transparency: 1190 \u00d7250 cm,vinyl letters, silicone, mylar window tint film, soundtrack: Happy Paradise, 30 audience participation on site, dimensions variable, 2016<\/figcaption><\/figure>\n\n\n\n
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\u5f7c\u5f97\u00b7\u5f17\u5229\u5fb7\u5c14\uff0c\u300a\u5b89\u7f6e\u300b\uff0c2012\u20132014
Peter Friedl, \u201cRehousing\u201d, 2012\u20132014<\/figcaption><\/figure>\n\n\n\n
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\u53f6\u4f1f\u7acb & \u53f6\u4e16\u5f3a\uff0c\u300a\u94c1\u9524\uff0c\u53f6\u4e16\u5f3a\u6c34\u6e73\u6d1e\u65e7\u5c45\u300b\uff0c\u96f7\u5c04\u611f\u5149\u76f8\u7eb8\u3001\u6c34\u6676\u88f1\uff0c\u6728\u6846\uff0c125 X 155 X 5\u516c\u5206\uff0c2016
Yeh Wei-Li & Yeh Shih-Chiang, \u201cHammer, YSC Shuinandong Residence\u201d, lightjet print, acrylic face mount, reclaimed wood frame, 124x154x5 cm, 2016<\/figcaption><\/figure>\n\n\n\n
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\u5c1a\u8def\u514b\u00b7\u6155\u8fde\uff0c\u300a\u300c\u4e098\u300d\u70df\u6597\u300b\uff0ccibachrome\u76f8\u7eb8\u3001diasec\u88c5\u88f1\uff0c47 \u00d7 36\u516c\u5206\uff0c1999\u20132000
Jean-Luc Moulene, \u201c \u2018The three 8s\u2019 pipe.\u201d, cibachrome print, diasec mounted, 47 \u00d7 36 cm, 1999\u20132000<\/figcaption><\/figure>\n\n\n\n
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\u5b89\u5229\uff0e\u8428\u62c9\uff0c\u300a\u6f2b\u6f2b\u54c0\u4f24\u300b\uff0c\u8d85\u5341\u516d\u5398\u7c73\u5f71\u7247\u8f6c\u5355\u9891\u9053\u5f55\u50cf\uff0c\u7acb\u4f53\u58f0\uff0c\u7247\u957f12\u520657\u79d2\uff0c2005
Anri Sala, \u201cLong Sorrow\u201d, 2005<\/figcaption><\/figure>\n\n\n\n
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\u6797\u73c9\u65ed\uff0c\u300a\u5047\u8bbe\u7684\u627f\u8bfa_\u6d1e\u7a74\u2014\u624b\u7684\u91cd\u91cf\u300b\uff0c\u5355\u9891\u9053\u9ad8\u753b\u8d28\u5f55\u50cf\uff0c\u5f69\u8272\u3001\u6709\u58f0\uff0c\u7247\u957f13\u520650\u79d2\uff0c2010\uff08Platform L\u5178\u85cf\uff09
Minouk Lim, \u201cThe Promise of If_Cave-The Weight of Hands\u201d, HD single-channel video, color, sound, 13 min 50 sec, 2010 (Collection of Platform L)<\/figcaption><\/figure>\n\n\n\n
\"\"
\u7eb3\u601d\u7433\uff0e\u5854\u5df4\u5854\u62dc & \u5df4\u8d1d\u514b\uff0e\u827e\u83f2\u65af\u6bd4\uff0c\u300a\u5438\u5165\u300b\uff0c\u6587\u5b57\u7eb8\u672c\u3001\u94dd\u6846\u30013D\u52a8\u753b\uff0c2016
Nasrin Tabatabai & Babak Afrassiabi, \u201cInhale\u201d, texts on paper, aluminum frames, 3D animations dimensions variable, 2016<\/figcaption><\/figure>\n\n\n\n
\"\"
\u66fe\u4f2f\u8c6a & \u9b3c\u8bb2\u5802\uff0c\u300a\u9b3c\u8bb2\u5802\u300b\uff0c\u73b0\u573a\u8868\u6f14\uff0c90\u5206\u949f\uff0c2015\uff08\u5168\u7403\u9996\u6f14\uff0c2016\u5e7411\u670825\u300126\u65e5\uff0c\u7eaa\u5dde\u5eb5\u6587\u5b66\u68ee\u6797\uff09
Po-Hao Tseng & Lecture of Ghost, \u201cLecture of Ghost\u201d, Performance, 90 min, 2015 (World primiere at Kishu An Forest of Literature on 25th and 26th November 2016)<\/figcaption><\/figure>\n\n\n\n
\"\"
\u9ad8\u4fca\u5b8f\uff0c\u300a\u535a\u7231\u300b\uff0c\u5355\u9891\u9053\u5f55\u50cf\u3001\u91cd\u8fd4\u73b0\u573a\u827a\u672f\u884c\u52a8\uff0c\u7247\u957f50\u5206\u949f\uff0c2016
Kao Jun-Honn, \u201cBo-Ai\u201d, single-channel video, art activism\/ returning to the site, 50 min, 2016<\/figcaption><\/figure>\n\n\n\n
\"\"
\u4e9a\u5386\u5c71\u5927\uff0e\u5e2d\u7f57\uff0c\u300a\u4e00\u7bc7\uff3f\u81ea\u4f20\u300b\uff0c16:9\u52a8\u753b\uff0c\u9ed1\u767d\u3001\u65e0\u58f0\uff0c\u7247\u957f9\u520619\u79d2\uff0c\u5faa\u73af\u64ad\u653e\uff0c2016
Alexander Schellow, \u201cA_biography\u201d, animation: 16:9, b\/w, silent, 9 min 19 sec, loop, 2016<\/figcaption><\/figure>\n\n\n\n
\"\"
\u4efb\u5174\u6df3\uff0c\u300a\u5317\u6c49\u5c71 \/ \u5317\u6c49\u6c5f\u300b\uff0c\u53cc\u9891\u9053\u5f55\u50cf\uff0c\u5f69\u8272\u3001\u6709\u58f0\uff0c\u7247\u957f26\u520633\u79d2\uff0c2015\/2016\uff08\u7248\u6743\u4e3a\u827a\u672f\u5bb6\u548c\u53f0\u5317\u53cc\u5e74\u5c55\u6240\u6709\uff09
Im Heung-soon, \u201cBukhansan\/ Bukhangang\u201d, two-channel video, 26 min 33 sec, 2015\/ 2016 (Courtesy of the artist and the Taipei Biennial 2016)<\/figcaption><\/figure>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

I. 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