想像 DEATH 的 AND LIFE OF 死而復生 FICTION MODERN MONSTERS / DEATH AND LIFE OF FICTION TAIPEI BIENNIAL 2012 Exhibition Maps 8 Foreword 17 Wei-Gong Liou Preface 19 Hai-Ming Huang Introduction 21 Anselm Franke 01 Hannah Hurtzig 26 02 Anton Vidokle 30 Hu Fang 03 Pak Sheung Chuen 32 04 Willem Oorebeek 34 05 Yu-Cheng Chou 36 06 Simon Fujiwara 38 07 Yervant Gianikian 40 Angela Ricci Lucchi 08 Maryam Jafri 42 09 John Akomfrah 44 10 Rajkamal Kahlon 46 Taipei Fine Arts Museum｜181, Zhong Shan N. Road, Sec. 3, Taipei Other venue: The Paper Mill｜31, Fude Road, Shihlin Dist., Taipei 11 Joven Mansit 48 12 Harun Farocki 50 30 Wei-Li Yeh 92 13 Kao Chung-Li 52 31 Peter Friedl 94 14 Fernando Bryce 54 32 Roee Rosen 96 15 Liu Ding 56 33 Jimmie Durham 98 16 Joachim Koester 58 34 Andrea Geyer 100 17 Jompet Kuswidananto 60 35 The Otolith Group 102 18 The Museum 62 36 Omer Fast 104 of the Monster 37 Luis Jacob 106 That Is History 38 The Museum of Rhythm 108 19 Elisa Strinna 68 39 Marysia Lewandowska 112 20 Adam Avikainen 70 Neil Cummings 21 Angela Melitopoulos 72 40 Eric Baudelaire 114 Maurizio Lazzarato 41 Chia-En Jao 116 22 Andreas Siekmann 74 42 Boris Ondreička 118 23 Rosemarie Trockel 76 43 Virlani Hallberg 120 24 Ashish Avikunthak 78 44 The Museum of Gourd 122 25 The Museum 80 45 Jason Dodge 126 of Crossings 46 Sun Xun 128 26 Danh Vo 84 47 Chang Chao-Tang 130 27 Hsu Chia-Wei 86 48 Teng Chao-Ming 132 28 Yin-Ju Chen 88 49 The Museum of 134 29 Pratchaya Phinthong 90 Ante-Memorials 50 Chen Chieh-Jen 138 51 The Museum of 140 the Infrastructural Unconsciousness 52 Wei-Li Yeh 144 53 Jakrawal Nilthamrong 146 54 Maria Thereza Alves 148 2 Years Project 150 Programme 152 Acknowledgments 154 8 First Floor 01 Hannah Hurtzig 02 Anton Vidokle, Hu Fang 03 Pak Sheung Chuen 13 10 18 15 8 9 04 Willem Oorebeek 20 18 17 16 14 12 11 05 Yu-Cheng Chou 19 06 7 Simon Fujiwara 21 4 5 07 Yervant Gianikian Angela Ricci Lucchi 21 6 7 8 3 08 Maryam Jafri 09 John Akomfrah 10 Rajkamal Kahlon 22 3 3 11 Joven Mansit 12 Harun Farocki 3 13 Kao Chung-Li 14 Fernando Bryce 2 15 Liu Ding 16 Joachim Koester 17 Jompet Kuswidananto 1 18 The Museum of the Monster That Is History 19 Elisa Strinna 20 Adam Avikainen 21 Angela Melitopoulos Maurizio Lazzarato 22 Andreas Siekmann 10 Second Floor 23 Rosemarie Trockel 24 Ashish Avikunthak 25 The Museum of Crossings 26 Danh Vo 27 Hsu Chia-Wei 28 Yin-Ju Chen 13 29 Pratchaya Phinthong 30 30 Wei-Li Yeh 27 31 Peter Friedl 32 Roee Rosen 26 33 25 29 31 32 Jimmie Durham 25 28 10 34 Andrea Geyer 25 33 35 The Otolith Group 24 34 35 23 12 Third Floor 36 Omer Fast 37 Luis Jacob 38 The Museum of Rhythm 45 39 Marysia Lewandowska 40 32 Neil Cummings 40 35 44 42 39 Eric Baudelaire 41 41 Chia-En Jao 42 Boris Ondreička 46 43 43 Virlani Hallberg 38 47 44 The Museum of Gourd 36 45 Jason Dodge 28 49 37 38 38 46 Sun Xun 47 Chang Chao-Tang 23 48 Teng Chao-Ming 38 49 The Museum of Ante-Memorials 48 14 Paper Mill 50 Chen Chieh-Jen 51 The Museum of the Infrastructural 53 Unconsciousness 52 Wei-Li Yeh 53 Jakrawal Nilthamrong 52 Off-site 52 54 Maria Thereza Alves 52 51 51 50 17 FOREWORD The Taipei Biennial is a major event community the finest creative of international cultural exchange prototypes and references at the held biannually and supported by the moment, stimulating development Taipei city government. Maturing and across all sides of the cultural expanding since its inaugural edition realm. This edition of the Taipei in 1998, the Biennial has become Biennial, the eighth, opens on a vital cultural dynamo and asset for Education Day in Taiwan, indirectly Taipei, if not all of Taiwan. At home signifying the essence of the 2012 and around the world, the exhibition Biennial—that a biennial exhibition has taken on special significance, woven from numerous stories, and we look forward to each edition documents, writings, videos and every two years with great anticipa- other media requires the audience’s tion and interest. active participation and feedback. Numerous new works featured I would like to express my at the Biennial in recent years have sincerest appreciation to our cura- been produced on site in Taiwan, torial team, led by guest curator many of which reverberate with the Anselm Franke, and the contribu- socioeconomic zeitgeist both inter- tions and efforts of the more than nationally and locally—marking the 80 participating artists. Further exhibition with the traits of interna- gratitude also goes out to all the tionalization, localization, and close- institutions and partners that have ness to social reality. The biannual supported the Biennial over the event not only provides the local years. We are especially apprecia- community insight into signature tive of the ongoing support of the development in contemporary art, cabinet-level Ministry of Culture but also offers audiences a multifac- (formerly the Council for Cultural eted viewing experience, while Affairs) as well as the continued further acting as a vital platform of policy support and trust of succes- cultural dialogue between Taiwan sive city government administra- and the international community. The tions, without which we could expansion of this platform over the not keep the biennials going. This years will serve as a reference base abiding policy support in particular for future key historical accounts. indicates a cultural approach to Over its nearly 20-year history, national administration and a global the exhibition has not only endured perspective. Finally, best wishes for as Taiwan’s flagship contemporary another successful Taipei Biennial. art forum, but has had a huge impact on the creation and development of Wei-Gong Liou Taiwanese contemporary art. Each Commissioner edition of the Taipei Biennial gives Taipei City Department creative people across the cultural of Cultural Affairs 19 PREFACE The planning and presentation of The Taipei Biennial 2012 is the Taipei Biennial 2012 coincides curated by Anselm Franke, who with a time of tumultuous change enlisted the participation of more in our world, as an unprecedented than 40 artists and collectives. onslaught of natural and man- Somewhat another 40 artists are made disasters hit with great force. featured in the “mini museums” Drastic swings in weather due to Franke proposed, around one-third climate change, rapidly melting of whom conceived new commis- poles, European debt and global sions for the exhibition. The largest economic crises, and skyrocketing edition to date, the exhibition spans unemployment are accompanied the Taipei Fine Art Museum’s first by earthquakes, tsunamis, typhoons three floors, extending down to and flooding, while those areas not The Paper Mill in nearby Shilin. inundated with water can ignite into This biennial seeks to reflect vari- wildfires under the blazing sun. ous issues and processes over The earth and the people that inhab- the course of modern history from it her today, to borrow a Chinese Asian perspectives, exploring our phrase, are besieged under deep truly global historical experiences water and scorching fire. with the open-mindedness of And yet, like cats with nine contemporary art, and investigat- lives, biennial exhibitions are going ing questions as true universal strong all around the globe. Not historical experience. only have they seemingly remained All major exhibitions and strong in quantity, a number of events are the product of collective second-tier cities are even eagerly energy and wisdom. Taipei Biennial preparing biennials of their own. is shaped by the action and will of And so it seems that the biennial many people from all backgrounds continues to act as an important and positions, without whom it “voice” raising a city’s profile, and could never take place. With this in participants in various capacities mind, I would like to firstly thank all imagine and anticipate biennials of the artists for their great efforts in myriad ways. As the worldwide and contributions. Special grati- biennial phenomenon and its tude goes to all the institutions and contexts exert a strong impact on organizations that supported the the development of contemporary exhibition, including the Institute art, what can a biennial contribute for Foreign Cultural Relations (ifa) amidst the deep waters and and Mondriaan Fonds in Amster- scorching fires around the world? dam, the International Artists Recent editions of the Taipei Bien- Studio Program in Stockholm, the nial have endeavored to respond Goethe-Institut Taipei, and the Brit- to this question. ish Council Taiwan. Additional 20 21 thanks are due to the Taipei city an additional dimension. Such an DEATH AND LIFE government and Ministry of Culture investment demands feedback and for the ongoing support that effort from viewers to truly bring out OF FICTION OR THE enables the Taipei Biennial to claim its effectiveness. a unique position in the Asian and MODERN TAOWU global contemporary art realms. Hai-Ming Huang In closing, I would like to thank Director The ancient Chinese monster Taowu beyond the realm of litera- Anselm Franke for his multi-layered Taipei Fine Arts Museum Taowu has been described ture and historiography and curation, complex in process and as a vicious creature that is always also tests the proposition beyond significance. We hope that the making the best of its own life, the limits of the Chinese experi- exhibition will provide local viewers due to its ability to see both future ence.