POST- NATURE Contents

Floor Plan → 6

Preface → 12 Introduction → 14

�� Henrik HÅKANSSON → 18 �� Rachel SUSSMAN → 20 �� Tue GREENFORT → 22 �� Vivian SUTER → 24 �� Helen Mayer HARRISON & Newton HARRISON → 26 �� Julian CHARRIÈRE → 28 �� WU Ming-Yi → 30 �� CHEN Chu-Yin + Solar Insects Vivarium Workshop, Paris 8 University → 32 �� Ting-Tong CHANG → 34 �� Ursula BIEMANN → 36 �� Mycelium Network Society (Franz XAVER + Taro + Martin HOWSE + Shu Lea CHEANG + global network nodes) → 38 �� Robert ZHAO Renhui → 40 �� GUSTAFSSON & HAAPOJA → 42 �� Nicholas MANGAN → 44 �� Futurefarmers → 46 �� Duane LINKLATER → 48 �� Ingo GÜNTHER → 50 �� Indigenous Justice Classroom → 52 Allan SEKULA → 54 Programme KE Chin-Yuan + “Our Island”→ 56 Ecolab 2F →104 Jumana MANNA → 58 Ecolab Basement → 107 Kuroshio Ocean Education Foundation → 60 Performance and Events → 109 Taiwan Thousand Miles Trail Association → 62 Symposium → 111 Open Green → 64 Film Screening → 113 Keelong River Watch Union → 66 HSIAO Sheng-Chien → 68 Acknowledgements → 116 Lucy DAVIS (The Migrant Ecologies Project) → 70 Alexey BULDAKOV→ 72 LU Ji-Ying → 74 HUANG Hsin-Yao → 76 Laila Chin-Hui FAN→ 78 AU Sow-Yee → 80 KHVAY Samnang → 82 Huai-Wen CHANG + MAS (Micro Architecture Studio) → 84

ET@T→ 86 Jeffrey HOU & Dorothy TANG → 88 Zo LIN—Weed Day → 90 Jui-Kuang CHAO + Tainan Community University → 92 Ruangsak ANUWATWIMON → 94 Martha ATIENZA → 96 Candice LIN → 98 ZHENG Bo → 100 1F Floor Plan

Henrik HÅKANSSON Rachel SUSSMAN Tue GREENFORT Vivian SUTER Helen Mayer HARRISON & Newton HARRISON Julian CHARRIÈRE WU Ming-Yi CHEN Chu-Yin + Solar Insects Vivarium Workshop, Paris 8 University Hall Ting-Tong CHANG Ursula BIEMANN Mycelium Network Society (Franz XAVER + Taro + Martin HOWSE + Shu Lea CHEANG + global network nodes) Robert ZHAO Renhui GUSTAFSSON & HAAPOJA Nicholas MANGAN Futurefarmers Duane LINKLATER Ingo GÜNTHER Indigenous Justice Classroom

6 7 2F Floor Plan

Allan SEKULA KE Chin-Yuan + “Our Island” Jumana MANNA Kuroshio Ocean Education Foundation Taiwan Thousand Miles Trail Association Open Green Keelong River Watch Union HSIAO Sheng-Chien Lucy DAVIS (The Migrant Ecologies Project) Alexey BULDAKOV LU Ji-Ying HUANG Hsin-Yao Laila Chin-Hui FAN AU Sow-Yee KHVAY Samnang Huai-Wen CHANG + MAS (Micro Architecture Studio)

8 9 Basement Floor Plan

ET@T Jeffrey HOU & Dorothy TANG Zo LIN—Weed Day Jui-Kuang CHAO + Tainan Community University Ruangsak ANUWATWIMON Martha ATIENZA Candice LIN Bookshop ZHENG Bo

10 11 Preface

Since 1998, with the engagement various forms, highlighting the envi- the Biennial will become a platform of international curators, the ronmental havoc created by humans for diverse interdisciplinary Taipei Biennial has transformed pursuing their own interests, as well discussions. In this new era, we into an international platform for as the question of survival in the will able to expand and continue to contemporary international artists increasingly vulnerable world. They inspire environmental reflection and as well as Taiwanese artists. The also explore relevant strategies, impact. current 11th Biennial is co-curated mechanisms and technology and by Mali Wu, an artist with extensive seek a way for humans to exist in the LIN Ping experience in environmental prac- current world. Director of Taipei Fine Arts tice, and Francesco Manacorda, The Biennial attempts to re-ex- Museum the current artistic director of the amine the function and mechanism V-A-C Foundation. We hope that of museums. An exhibition is limited each curator will bring in focus and by its term and usually develops too expertise from their own field and quickly to have a sustained impact. region, and present a cross-cultural, In contrast, a museum can grow international exhibition. slowly and organically, respond to The 2016 Taipei Biennial’s the surrounding environment, and discussion on genealogy and history extend the life cycle of its exhibi- provided a future-facing foundation tions. However, when a museum for the upcoming Biennial, which is constrained by its architecture turns its attention away from previ- and concept, it becomes an ous issues of identity, politics, global isolated space for artistic financial crisis, information and contemplation, unable to accept technological development to the the transformation, penetration issues of survival and environment. and proliferation of art or other The 2018 Biennial contemplates the ecosystems. In Post-Nature—A role of humans, thinks critically and Museum as an Ecosystem, the experiments through contemporary Taipei Fine Arts Museum aims art, and blurs the boundary between to establish a relationship with artists and non-artists. Besides various ecosystems, highlights the artists, more than one third of importance of interdependency and the Biennial participants consist how the network will work towards of social groups, environmental the mutual interests of all involved. communities, writers, novelists, As the home of the Taipei Biennial, architects, documentary directors the Taipei Fine Arts Museum is and other professionals. Their the central nervous system of the practices and creations come in exhibition. Through experiments,

12 13 Introduction

Post-Nature—A Museum as continue to light our homes, and the only for human advancement is artists—who have a distinct ability an Ecosystem takes its title as advancement of the technologies evolving into a search for new, to think freely and creatively, and to a starting point to examine the which enable travel, communication, complex and experimental plans for imagine and invent unconventional ever-changing and osmotic nature trade and modern-day capitalism, sustainability—which are concerned solutions. of an ecosystem, and to explore how we have constantly sought new with the survival of non-human Post-Nature—A Museum as an this can be reflected in artistic and methods to improve our own beings too. With this movement Ecosystem therefore invites artists, institutional practice. Through this lifestyles and wellbeing. away from anthropocentrism, comes scientists, sociologists, urban plan- perspective, the biennial seeks to Still, this perpetual forward an acceptance of more universal and ners, activists, theorists and NGOs address the urgent environmental motion now appears to be paving all-encompassing approaches such to develop artworks, programming conversations of the 21st centu- a path of ecological destruction, as systems thinking, which under- and research studies which examine ry—spurred by a recognition that, rather than positive progression. stands the planet as a collection a multitude of planetary ecologies, with resources in short supply and This subject is particularly relevant of interdependent ecosystems, economies and societal structures, climactic change fast developing, to the site of the Taipei Biennial, populated by diverse and mutually and bring to light the different such debate may not be possible at a located in the capital city of Taiwan, reliant beings. modes of connectivity upon which later stage. This year’s co-curators, a small island nation in Asia. Since Natural ecosystems exist on they rely. In presenting disparate Francesco Manacorda and Mali the transition from agricultural to the basis of symbiosis, reciprocal disciplines on an equal platform, the Wu, assert that these ecological industrial society, Asia has become working and collaboration, in order exhibition crucially avoids simply issues must be more intensively and the world’s factory and has broadly to maintain a balance. Human ac- illustrating ecosystemic principles publicly considered in the immediate sacrificed care for the environment tivity may be well-advised to follow and instead reframes Taipei Fine present. To open this conversation in order to sustain not only its own, nature’s example, as global environ- Arts Museum as a discursive space to diverse local and international but global, economic development. mental problems become increas- for collaboration, transformation, audiences, Post-Nature—A Like many developing cities in Asia, ingly turbulent and complex. Noting cooperation, diffusion and Museum as an Ecosystem takes on the entire island of Taiwan now that ecological problem-solving absorption. Not only are ecosystems an interdisciplinary and participa- faces severe environmental prob- can no longer be carried out as a interdependent structures, they tory form. Here, the biennial acts as lems due to industrialisation, urban series of individual interventions are also in constant dialogue with fresh attempt to develop ecological development and global economic by a single field, Post-Nature—A their surroundings, and so to fully consciousness as a consistent and pressure; it has even been described Museum as an Ecosystem asserts take on the form of an ecosystem, common way of thinking, rather than as a microcosm for climate change the productivity of embracing the museum needs open its doors simply addressing ecological issues worldwide, as Taiwan’s temperature cooperation between the disciplines to many voices and perspectives inside a museum. rise and dramatic weather patterns to foster innovative thinking, and from its locale—many of which stand Since the very beginning of significantly outstrip global forge new solutions. Once solely the beyond the boundaries of art. In human civilization, we have manip- averages. realm of the sciences, it is important Post-Nature—A Museum as an ulated and enhanced our environ- As the international population to recognize the other thinkers Ecosystem the reimagining of the ments in order to survive. From increasingly comes to recognize whose research and practice is TFAM is deconstructed into three the invention of the wheel and the its pressing, and collective, highly relevant to this investigation: strands: managing the museum’s development of agriculture, to the responsibility to protect the planet, non-governmental organizations relationship to immediate environ- discovery of the fossil fuels which the tendency to utilize technology (NGOs), sociologists, activists, and mental issues; recognizing its role

14 15 as a social actor, which can become institutional practice, contributing integrated in its local community to contemporary museological and culture; and, on a global level, thinking. ensuring that the museum works Taipei Fine Arts Museum to promote collaborative efforts can therefore be considered the between differing fields and central nervous system of this institutions alike. This exhibition year’s biennial, whose diverse and can therefore also be viewed as an internationally-relevant discussions institutional critique, countering extend beyond the architectural the most conventional idea of the limits of the museum to reach museum as a static space for the multilateral resonance as part of a contemplation of objects, entirely larger, global body. In this way, all detached from its locale. aspects of the biennial contribute In terms of its formal exhibition, to an overarching view of how Post-Nature—A Museum as an ecosystems develop, regenerate and Ecosystem comprises ambitious influence one another, hinging upon and large-scale new commissions, the necessity of holistic collabo- as well as existing works, and media ration, inclusive systems thinking, deriving from other disciplines such fluid communication, and innovative as documentary film, architecture, adaptation to change. literature and archival research. In keeping with the biennial’s ethos of eco-systemic adaptation and relay, these aspects are interro- gated and interrupted by a live programme of workshops, events and research fora. These actions enhance the ability of the biennial to be self-reflective, to behave as if it were a living organism and to engage local and international publics in a knowledge-building exercise: imagining innovative solutions to current and foreseeable environmental problems. Critically, this inclusive and interdisciplinary restructuring of the museum offers a new, more dynamic model for

16 �� Henrik HÅKANSSON

Inverted Tree(Reflected), 2018 Experimental Station of Taiwan’s Blinded by the Light, 2018 Endemic Species Research Institute in Wushinkeng, 2 hours’ drive from Henrik Håkansson records Taipei. The site is one of three fragments of natural cycles and Experimental Stations, at low, recreates them in exhibition medium and high altitudes, whose contexts, encouraging humans vast cooperative conservation to become more receptive to the programmes aim to preserve all various living beings that coexist in endemic organisms in Taiwan. their environments. Engaging with For the duration of 2018 a vast array of species, and often Håkansson studied Taiwanese working site-specifically, Håkansson moths, which comprise just over consistently utilises scientific 4,000 known species, including apparatus—surveillance cameras, the Atlas Moth—the largest moth recording devices, and computer or butterfly in the world, with a programs which analyse acoustic wingspan reaching 30 centimetres. and motor activity–resulting in In Wushinkeng, the artist worked artworks which are simultaneously with local moth expert Hsu Huan research experiments. Chih to attract these night-flying In a new iteration of Håkansson’s insects into a makeshift open-air ongoing work at the entrance of theatre set. Drawn in using mercury Taipei Fine Arts Museum, the artist lights, these insect-actors are has suspended a local tree, upside covertly filmed against a white down. Hovering unnaturally above backdrop, appearing like shadow the floor, objectified, the tree has puppets; this midnight play is set become a sculpture; here, the to a sharp soundscape of bat artist appropriates the Duchampian ultrasound signals, which the concept of transferring non-art artist has transformed into audible into art space. With its branches frequencies. reflected endlessly in mirrors above Håkansson’s 2018 film The and below its crown, the tree Beetle is part of Taipei Biennial film becomes a synecdoche for all plants, programme. and the human relationship to and exploitation of nature. Henrik Håkansson, born 1968 in Sweden, lives and works in Falkenberg and Berlin. This sculptural piece is accom- panied by Blinded by the Light, a Henrik Håkansson, Blinded by the Light, new film commission produced in 2018, two-channel video, color, sound, collaboration with the Low Altitude butterfly frame

18 19 �� Rachel SUSSMAN

(Selected) History of the and responsibility, of every individual Spacetime Continuum, 2016, 2017, on Earth. 2018 The Oldest Living Things in the Photographic series, The Oldest World, 2004–2014 Living Things in the World, also interrogates the human ability to The practice of Rachel Sussman adopt a long-term view in depicting is concerned with differing continuously living flora, bacteria, interpretations of time: personal animals, and fungi that are over versus cosmic, anthropocentric 2,000 years old. The work is the versus vegetal. In 2016, working result of collaborations with prac- with SpaceX, NASA, and CERN, titioners from across the scientific Sussman developed a 100-foot long, disciplines, as there is currently handwritten timeline which charts no area of study which specifically the life of the universe, from its examines longevity across species. birth to its death, an estimated one From 2004 to 2014, this googol years from now. History of series has seen Sussman travel the Spacetime Continuum conse- across every continent, including quently weaves together astrophys- Antarctica to photograph ics, geology, biology, mathematics, 5,500-year-old moss; Australia for archaeology, history, Einsteinian stromatolites, organisms present in relativism, and chronocriticism, the the very beginnings of life on Earth; study of time itself. Utah to capture what appears to While humans naturally think be an unremarkable forest, yet is in terms of generations, the age in fact an 80,000-year-old and of the universe and the Earth—an 106-acre plant, and Tasmania for a estimated 13.8 and 4.5 billion 43,600-year-old self-propagating years—are numbers so vast that shrub that is the last of its kind. they are not naturally comprehen- These portraits present sible to the human brain. Sussman’s millennia-old beings that have visual representation intends to survived some of the world’s most encourage better understanding extreme environments and climactic of deep time, and to enable humans events, yet are now threatened by TOP: Rachel Sussman, (Selected) History BOTTOM: Rachel Sussman, The Oldest to make more considered moral human interaction, thus revealing of the Spacetime Continuum, 2017, paint, Living Things in the World: Dead Huon decisions regarding the state of the fragility of Earth’s living history. china marker, paper, glitter, vinyl, approx. Pine adjacent to living population the Earth. Executed using paint, 304.8×3048 cm. Installation view, Hosfelt segment #1211-3609 (10,500 years old, Gallery, San Francisco, May–July 2017 Mount Read, Tasmania), 2004–2014, Rachel Sussman, born 1975 in the USA, lives pens and even glitter, the work archival pigment prints from medium format and works in New York. highlights the unique significance, negative film, 111.76×137.16 cm

20 21 �� Tue GREENFORT

Prototaxites, 2017–2018 people that has been catalysed by Light-vented Bulbul, 2018 this animal infiltration, as workers are brought together by a common The work of Tue Greenfort interest in the bird’s activity. With investigates the environmental the Bulbul’s twitters accompanied peculiarities of specific sites in by the sounds of planes soaring over order to draw attention to wider the building, in this eight minute ecological problematics, and the video the atrium is positioned as networks of relations that exist a microcosm for the relationships between humans, nature, culture, between humans, animals, and the science and industry. omnipresence of technology. At Taipei Fine Art Museum Greenfort further engages Greenfort draws his attention with the botanic culture of Taiwan to the building’s triple-height, through an investigation of its glass atrium, and in particular the fungi, emerging from his recent bodily sensation of moving from collaboration with rural Taiwanese cold, air-conditioned gallery spaces mushroom growers from Mita Eco into the pleasant humidity of this Fungi. In the atrium, three gigantic inner ‘outside’ space. In the urban columns, designed to follow the locale of Taipei, the atrium functions form of ancient fungal fossils, grow as a sculpture garden, housing local oyster mushrooms. These living an array of plants and providing sculptures are connected through sunlight, space and a natural-seem- a mist of water needed to hydrate ing environment for the TFAM’s the fungi, and enable their fruiting employees to eat, rest, socialise and bodies to flourish. This misting take exercise at work. assemblage therefore generates an A series of large concrete edible mushroom for workers, and planters play an essential role in additionally enriches the greenery the ecosystem of the atrium as, of the atrium, and the burgeoning Greenfort discovered, they have insect and animal life within. become home to the Light-vented Bulbul—an endemic Taiwanese bird, Tue Greenfort, born 1973 in Denmark, lives and works in Berlin. often kept in captivity as a songbird. Greenfort’s new film, developed during time spent at the TFAM, captures the Bulbuls as they tend to TOP: Tue Greenfort, Light-vented Bulbul, BOTTOM: Tue Greenfort, Prototaxites, 2018, video, color, sound, 8 min 15 sec 2017–2018, mixed media, dimensions their nests and nurse their chicks, Courtesy of the Artist and Gallery Johann variable. Courtesy of the Artist and Gallery and the social engagement between König Johann König

22 23 �� Vivian SUTER

Lala Mountain · Panajachel, 2018 to paint compositions on canvas, and hanging these outside to invite Vivian Suter lives and works in the growth of grey mould. In this the southwestern Guatemalan sense, for Suter natural forces have Highlands, amidst the deep vege- become as strong a collaborator as tation of a remote former coffee any fellow artist could be. plantation, surrounded by avocado Often presented together as and mango trees, tall banana plants hanging pieces of canvas, rather and coffee bushes. Suter’s practice than formally stretched, isolated is situated very much between the pieces, Suter’s approaches her inside and the outdoors, with works works as extensions of her sense often begun in the studio, and of place which maintain an open completed with the assistance of conversation with their surround- natural elements—rain, wind, mud, ings. For Taipei Biennial, Suter has plants and insects. developed a new series of paintings, Rather than pictorial landscapes produced over a period of several or illustrative portraits of nature, days, at the ‘Haiping tea plantation’ Suter’s works are intuitive emotional in the Lala Mountain of Taiwan. responses to her immediate sur- Having never visited Taiwan before, roundings, and therefore profoundly the artist is interested in its foreign shaped by both the changing terrain, its peoples, architecture seasons and independent upheavals and cultural treasures, and has in her environment. For example, in decided to make her work in situ in 2005, Hurricane Stan devastated order to dislocate herself from her Central America, inflicting great studio in Guatemala and to draw her damage in Panajachel—including first impressions of the Taiwanese Suter’s studio. Her paintings stood landscape into the work. sodden and knee-deep in mud and yet rather than view the work as Vivian Suter, born 1949 in Buenos Aires, lives and works in Guatemala. ruined, Suter decided to accept this event into the work and to leave the paintings to dry as they were. Subsequently, Suter developed a series of works directly responding to another tropical hurricane, Storm Agatha, in 2010. Here, the Vivian Suter studio view artist experimented with weathering Panajachel, Guatemala processes: using colourless fish glue Photo: David Regen

24 25 �� Helen Mayer HARRISON & Newton HARRISON

On the Deep Wealth of this The Centre asserts that in Scotland Nation, Scotland, 2018 it rains 113 cubic kilometres of water Making Earth, 2018 per year, yet 80 cubic kilometres remain unused. This water could In 2012, artists and pioneers in the be used to sustain agriculture ecological art movement, Helen and protect the British food and Newton Harrison founded supply, and improve biodiversity and the Center for the Study of the therefore air quality, if directed to Force Majeure: a freestanding drought-ridden farming areas, lakes research centre at the University and wetlands. With one cubic meter of California. The Centre brings of water worth three Euros, the together artists, scientists, Centre estimate that this system engineers and visionaries to design would restore approximately 120 ecosystem adaptation works in billion Euro to Scotland’s national regions that are nearing a critical budget—who could even trade their tipping point due to climate change. surplus water. In this way, Scotland Rooted in pragmatic realism, the could become the first entirely Centre accepts that planetary self-sufficient nation which gener- warming cannot be reversed, and ates its wealth through stimulating acts instead to mediate problems ecological overproduction. such as ocean rise, increasing This work is accompanied by heat, and animal and vegetable a site specific of Making Earth, extinctions. 1970, the Harrisons’ first clearly On the Deep Wealth of Small eco-political work. Recognising that Nations investigates how a country topsoil was endangered world-wide, with a small population might be the Harrisons created earth from able to give more to the planet than sand, clay, sewage, leaves, paper, it consumes, taking into account and animal manure. These elements five major resources—forests, were gathered, watered and mixed water, air, topsoil and common repeatedly over a 4-month period thinking. The first iteration of this until they became a rich, biodiverse work provides a full strategy for earth. Scotland, a country which currently has a carbon footprint three times Helen Mayer Harrison, born 1927 in the USA, died 2018 in Santa Cruz. the size of its physical mass, and Newton Harrison, born 1932 in the USA, will be presented to the Scottish lives and works in Santa Cruz. Helen Mayer Harrison & Newton Harrison, Parliament in late 2018. On the Deep Wealth of this Nation, Scotland, 2018, vinyl and print, 221×244 cm

26 27 �� Julian CHARRIÈRE

An Invitation to Disappear, 2018 products. Despite its global use, Metamorphism, 2016 there is little awareness of the environmental consequences of Durational film, An Invitation to palm oil extraction—the large-scale Disappear, drifts seamlessly conversion of rainforests, and the through an uninhabited forest, to destruction of endangered species’ a cyclical soundtrack which moves habitats, for example. With the from the hard beats of electronic forest humming to the sounds of music to the muted rustlings electronica beneath a heady golden of palm leaves, and back again. mist, An Invitation to Disappear Immersed in a rave devoid of human presents this decimation of nature life, this is the palm oil plantation as a short-sighted trance, or a of Mount Tambora: a volcano on Turneresque twilight, soon to draw the Indonesian island of Sumbawa, to a close. whose fateful name translates as ‘an Exploring the myopic actions invitation to disappear’. of humanity in a different sense In 1815, Tambora became active, is Metamorphism, which draws triggering the largest volcanic upon the artist’s discovery that eruption recorded in human history. every iPhone contains rare earth Not only did Sumbawa’s inhabitants minerals, mined and displaced to fall victim, the cloud of ash spread sustain modern communications. Six across the globe leading to a large molten rocks stand in glass widespread cooling: snow plagued vitrines like geological specimens Europe and North America in in a natural history museum; each mid-July, and 1816 became known formed from various technological as the ‘year without a summer’. Still, devices, melted into an artificial lava, the volcanic winter also produced this is the geology of the digital era. prolonged and brilliantly-coloured If these polychromatic sculptures sunsets, chronicled by nineteenth were mined again, one could rebuild century artists such as J.M.W. the technology; these works are Turner in paintings renowned for therefore geo-data, which simulta- their yellow-gold skies—incidentally, neously consider the future of our the very colour of palm oil. civilization’s artificial by-products. Once a catalyst for valuable works of art, today Tambora is Julian Charrière, born 1987 in Switzerland, Julian Charrière, Metamorphism XXXXII, lives and works in Berlin. 2016, artificial lava and molten computer the source of another asset of waste, 170×30×30 cm © Julian Charrière/ international worth, with palm oil VG Bild-Kunst, Bonn 2018. Courtesy of present in half of all supermarket Sean Kelly, New York

28 29 �� WU Ming-Yi

Land of Hard Rain, 2018 and lives with chondrodysplasia, a disorder which stunts bone growth. Wu Ming-Yi first began writing This is followed by ‘How the Brain about nature with non-fiction Got Language’, a story about a texts such as The Book of Lost child with autism who is sensitive to Butterflies (2000), The Dao of birdcalls and becomes an ornithol- Butterflies (2003) and So Much ogist, a bird scientist. In ‘From Water So Close to Home (2007). the Ice Shelf a Forest Grew’, the However, feeling that this scientific, protagonist’s lover is a scientist who documentary format was not loves to climb trees; meanwhile ‘The sufficient to explore individual Clouds Are Two Thousand Meters human relationships with the natural Up’ depicts the journey of someone world, Wu transitioned to fiction, who seeks clouded leopards and with his first attempt The Man with becomes a clouded leopard himself; the Compound Eyes (2011). Land ‘Eternal Mother’ describes a quest of Hard Rain is Wu’s second novel, in search of bluefin tuna, who have which raises connections between become extinct. Finally, ‘A Buzzard, humans, the environment and other A Carnivore, and Seven Juveniles’ species, and considers how the is a story of an initiation, which human spirit can embody that of involves a grey-faced buzzard and a other forms of life. Bengal tiger. The title Land of Hard Rain is Set in the wilderness of Taiwan, a reference to The Land of Little featuring native flora and fauna, Rain (1903), an early publication by Wu’s compendium of stories is Mary Austin, one of the greatest illustrated with vintage-style nineteenth century nature writers drawings that hark back to early of the American Southwest. Like scientific manuscripts; these are Austin’s text, Wu’s book contains a displayed, alongside excerpts from series of interrelated lyrical essays the book, for this year’s exhibition at about humans and non-human Taipei Biennial. beings; and brings together the stories of professional scientists, Wu Ming-Yi, born 1971 in Taiwan, lives and works in Taipei and Hualien. science enthusiasts and adventur- Wu Ming-Yi, Land of Hard Rain, 2018, text, ers who suffer mental or physical illustration, print, brochure, dimensions pain. The first in the collection is variable ‘Black Night, Black Earth, Black TOP: Wu Ming-Yi, The Clouds Are Two BOTTOM: Wu Ming-Yi, How the Brain Got Range’ which tells of a scientist Thousand Meters Up, 2018, color pencil, Language, 2018, color pencil, paper, who studies invertebrate species, paper, 26×38 cm 26×38 cm

30 31 �� CHEN Chu-Yin + Solar Insects Vivarium Workshop, Paris 8 University

Neo Eden—Solar Insects science of ‘artificial life’ are con- Vivarium, 2015–2018 ducted as real and virtual iterations of these bionic creatures are both Neo Eden—Solar Insects Vivarium simulated via the computer, and consists of bionic insects made from tangibly created using mechanics. electronic parts, which are powered These solar insects thus enable an by the solar cells installed on their examination of the way in which liv- tiny wings. Visitors are invited to ing creatures operate and interact, use flashlights and their hands how these adapt to the enigmatic to create variations of light and shifts of the natural universe, and shadow, and when light is detected what the future of evolution might by the wings, these ‘autonomous be. electronic insects’ begin to sing and twinkle. Artist & Project leader: Chen Chu-Yin Contemporary civilization Workshop co-director: L.Mignonneau, is becoming increasingly more Ch.Sommerer, V.Meyrueis, J-C. Hoyami digitized, and in many ways the Solar Insects: IdefiCéaTIC & ATI Master artificial manipulation of the natural students, Paris 8 University: J. Suarez, world has reached a point of no F. Guillaud, S. Boudjerda, V. Berra, return. The majority of humans are P. Bishop, L. Barnet, C. Ducarteron, F. no longer able to act self-sufficiently, Fouquart, S. Jaber, A. Michel, K. Trofimiuk, M. Vernay and instead most contemporary And INREV Lab PhD students: L. Perez, lifestyles are entirely sustained G. Xiong, D. Zamplaras, S. Kourkoulakou, through technology. In the I. Teles de Castro, P. Ly, T. Banouchian, S. Khalfallah, L. Perrin, E. Younes post-nature era, insects, which have a much longer evolutionary history than mankind, will also be altered by humans. Neo Eden’s colony of electronic insects is a projection of man’s developing control of the envi- Chen Chu-Yin, born 1962 in Taiwan, lives and works in Paris. ronment, and motivates questions as to the safety and ethics of this allegory. Inspired by this artificial mimicry of nature, Neo Eden, views human Chen Chu-Yin + Solar Insects Vivarium civilization as a legitimate yet Workshop, Paris 8 University, Neo Eden—Solar Insects Vivarium, 2015–2018, unnatural development of planetary interactive light and sound installation, evolution. Here, studies on the 160×80×45 cm

32 33 �� Ting-Tong CHANG

Pure and Remote View of Streams refer to qi (chi), a cosmological and Mountains, 2018 term for that which is formless, but bestows life. Originally, qi was used Despite its elegant appearance, to refer to all gaseous substances, Pure and Remote View of Streams and since air is essential for us to and Mountains, in fact exposes the breathe, qi has been considered increasingly serious problem of air the principle of life in Chinese pollution in Taipei. Chang’s work painting. In appropriating this title, highlights the damaging effects Chang references to the sheer of air pollution on health, causing weight of substances, and health asthma and the abnormal hyperpla- consequences, contained in the air sia of cells which leads to cancers that surrounds us and that we might and tumors. otherwise think of as empty, clean Over the past year, the artist and pure. has collected samples of air from For the opening of the exhibi- across Taipei city, transformed the tion, Chang produces new iterations suspended particles of pollution of Xia Gui’s Pure and Remote View within these into ink, and docu- of Streams and Mountains using mented the process on film. During his pollution-inks; these paintings the exhibition, Chang is inviting will slowly be replaced by those asthma sufferers to take part in a produced in the public workshops. six-week workshop where, under the instruction of an art therapist, he Project participants: Wan-Chen Lee, assistant professor, will use this ink to convey their Institute of Environmental Health, National feelings on canvas. Here,* 以上2個logo用於同一個平面*logo排列方式有2種，擇1使用。 the work Taiwan University; evidences the impact of 注意logo比例大小特意有差異 air pollution Chuan-Heng King, art therapist certified by Taiwan Art Therapy Association; on individuals, families and society, Yi-Chun Lai, project manager * 以上2個logo用於同一個平面*logo排列方式有2種，擇1使用。 and these collectively-produced 注意logo比例大小特意有差異 Hsien-Kang Tsai, video photographer paintings can be considered a political action: a proposal for Sponsored by

societal change. 優先 排列1 優先 The work borrows its title 排列1 from a classic work by the Chinese landscape painter Xia Gui, due to the significance of blank space Ting-Tong Chang, born 1982 in Taiwan, lives in Chinese ink painting. Used to and works in London. TOP: Ting-Tong Chang, air pollution BOTTOM: Ting-Tong Chang, Pure and ink painting Remote View of Streams and Mountains 排列2 indicate cloud, mist, sky, water or (3D installation sketch), 2018, mixed media, smoke, these ‘empty’ spaces also dimensions variable, film: approx. 7 min

排列2 34 35 �� Ursula BIEMANN

Acoustic Ocean, 2018 and acoustic forms of expression exchanged between these diverse Grounded in a research-based organisms. practice, Ursula Biemann creates The watery world holds memo- video essays and texts that address ries of evolution that span various the interconnection of politics and different timescales and swirl with the environment across local, global, the possibility of dissolution, as and planetary contexts. beings with porous bodies vulnera- In her most recent work, ble to the increasing acidification of Acoustic Ocean, Biemann combines their habitat, exist in a temporality scientific, personal, and phenomeno- whose future is unknown. The nar- logical narratives in an exploration rative takes on a personal dimension of oceanic depths and interspecies when the aquanaut, performed by relations above and below the singer and environmental activist waterline of the Lofoten Islands in Sofia Jannok, recounts the uneven Northern Norway. A piece of effects of a shifting climate on the science-fiction poetry, this film indigenous Sami community of which intertwines new technological she is part, and the reindeer on research with inherited knowledge, which their economic and cultural and the sounds of the submarine. sovereignty rely. For the great majority of under- Depicting a post-human figure water beings, bioluminescent and inextricably linked to her research sonic manifestations are the primary subject, Acoustic Ocean provides a means of communication, due to central example by which to develop poor visibility in the deep sea. The a more intuitive and less anthropo- multitude of creatures that dwell centric understanding of ecological here range from microscopic forms interdependency. with transparent bodies and luminous organs, glowing wing-like Ursula Biemann, born 1955 in Zurich, lives and works worldwide. fins and whiskers, to gargantuan mammals that speak in echoes and rise for air every hour. The female aquanaut and human protagonist of Acoustic Ocean therefore places sensing instruments such as hydrophones and parabolic micro- phones along the shore in order to detect, and connect with, the visual Ursula Biemann, Acoustic Ocean, 2018, video installation, color, sound, 18 min

36 37 �� Mycelium Network Society (Franz XAVER + Taro + Martin HOWSE + Shu Lea CHEANG + global network nodes)

Mycelium Network Society, 2018 containing growing Ganoderma MNS at Taipei Biennial MNS comprises: The nodes lucidum mycelium, and a series of Franz Xaver, born 1956 in Austria, lives and APO-33, Nantes, France; Furtherfield, works in Linz. London, UK; Coalesce: Center for Mycelium Network Society (MNS) custom-made sensors, transmitters Taro Klemens Knop, born 1980 in Austria, Biological Art, Buffalo, USA; Squeaky investigates the unique abilities of and receivers. These electronic lives and works in Linz. Wheel Film and Media Art Center, Buffalo, mycelium, the collective name given devices detect changes within the Martin Howse, born 1969 in UK, lives and USA; The Sanctuary for Independent living mycelial atoms and transmit works in Berlin. Media | Nature Lab, Troy, USA; Genspace, to thread-like networks of fungal Shu Lea Cheang, born 1954 in Taiwan, lives New York City, USA; Dimension Plus, cells, to share and process infor- this information across radio and works in Paris. Taipei, Taiwan; Bamboo Curtain Studio, mation. Launched at the Ecologies frequencies, which is spatialized Taipei, Taiwan; Absolute Art Space, Tainan, excursion of transmediale 2017 and experienced as audio within the Taiwan. Special participation at Taipei Biennale: in Berlin, in 2018 MNS takes on a installation. In this way, the vegetal South Taipei Network (Taipei City Hakka franchise mode—inviting alternative Ganoderma lucidum is seen as Cultural Park + Treasure Hill Artist Village art spaces and bio-hack labs to engaging in cross-spore germination + Good Toad Studio + NO!W Across Lab) become nodes within a mycelium with radio mycelium, conjuring an network, and to host workshops, imaginary techno-organic network. residencies and exhibitions investi- The project will be launched with gating mycelium, fungus and spores. Mycelial Radio Activation during Mycelium is henceforth used as a the opening night of Taipei Biennial, structure through which to connect where a performance by seventeen co-habitants across borders, to local sound artists will respond develop channels for constant to and augment the installation’s communication, to construct polit- mycelial radio transmissions. ical tactics and contest economic Mycelium Network Society is a collapse. The network currently Stadtwerkstatt (Linz, Austria) and cycleX comprises six nodes across France, (Andes, New York) initiative. the UK and USA, and most recently four sites in Taiwan. Supported by For Taipei Biennial, MNS have developed a functioning model of a mycelium network which demon- strates its innate capacity to relay information, working in symbiosis with all other roots and plants. Following the molecular structure of Patulin, a toxic substance produced by fungus, this installation is formed from transparent acrylic atoms Work in process

38 39 �� Robert ZHAO Renhui

When World Collides, 2017–2018 In addition to exploring the (Presented by the Institute of migration of species, Zhao’s work Critical Zoologists (ICZ)) investigates the number of wild birds injured or killed on a weekly This installation presents research basis due to human action in both on animal and insect specimens from Taipei and Greece. Through study- Taiwan, Greece, and Germany along- ing x-rays from research institutions side historical and contemporary in Greece, and specimens collected narratives of human invasion, and by the Biodiversity Research considers the position of humans as Museum in Taiwan’s Academia foreign species. Sinica, the artist has looked into the For this work, Zhao began his specific causes for these deaths research in Taiwan, investigating a and injuries, which include shooting, series of species removal plans: first, previous veterinary surgeries, and the artist discovered a local reward collisions with buildings or cars. scheme for capturing invasive lizard Presented alongside this evidence species, which led in 2015 to over is material on pests collated by the 220,000 lizards being caught in late German insect expert, Herbert Chiayi, south Taiwan, alone. On the Weidner. Viewing Weidner’s west coast of Taiwan, meanwhile, research in the context of urban the African sacred ibis (Thre- ecology, which defines pests as skiornis aethiopicus) has recently existing in a state of unease due to arrived and is forcing out native the endangerment of their ecosys- birds, so experts are designing a tem, Zhao invites a rethinking of nest removal plan. Finally, volunteers the commonly assumed hierarchies at Taipei Zoo are capturing between humans and their fellow Spot-legged Tree Frogs (Poly- non-human beings. pedates megacephalus) twice a week at night, and feeding them to Supported by zoo animals. These controls are entirely due to the belief that imported plants and animals threaten the species that we Robert Zhao Renhui, Spotted Tree Frogs consider native, however the Robert Zhao Renhui, born 1983 in (Polypedates megacephalus) Collected Singapore, lives and works in Singapore. in a Single Night, 2018, diasec in frame, movement of species, and their 74×111×6 cm categorisation, is largely a human Courtesy of the Artist and ShanghART consequence. Gallery Special thanks to The Taipei Zoo

40 41 �� GUSTAFSSON & HAAPOJA

Museum of Nonhumanity, ornithologist (a zoologist engaged in 2016–ongoing the study of birds) who incorporat- ed birdsong transcriptions into his Collaborative partnership between music. Laura Gustafsson and Terike This installation moves through Haapoja, ‘History of Others’, asserts twelve themes that approach the that throughout history, declaring a human-nonhuman boundary from group to be nonhuman or subhuman different angles: ‘Person’ (object, has been an effective tool for legal personhood, law), ‘Potentia’ justifying slavery, oppression and (research, subjecthood), ‘Monster’, genocide. Additionally, differenti- ‘Resource’ (industry, conflict ating humans from other species minerals), ‘Boundary’ (female has paved the way for the abuse soldier, Amazon), ‘Purity’ (eugenics, of natural resources and other institution), ‘Disgust’ (pest control, animals. Museum of Nonhumanity genocide, colonial history), ‘Anima’ is a full-sized museum installation (soul, reason, Western thought), that presents the history of ‘Tender’ (flesh, kitchen), ‘Distance’ dehumanization, approaching this (systems, holocaust, slaughter- as a systematic act of oppression house), ‘Animal’ (the Other) and that connects xenophobia, sexism, ‘Display’ (museum, references). racism, transphobia and the abuse This immersive journey through of nature and animals. the history of non-humanity The Museum comprises an deconstructs how the abuse of exhibition and a site-specific humans and other animals has been programme of lectures, inviting local justified through the rhetoric of speakers including local civil-rights dehumanization; as a temporary and animal-rights organizations, institution Museum of Nonhumanity academics, artists, and activists. therefore stands as a call to action, Its physical exhibition, meanwhile, is to raise awareness of faults in the based upon an archive that reaches accepted status quo, and make from 2,500 years ago to today, dehumanization history. sourced by ‘History of Others’, and consisting of text quotes, encyclo- History of Others is a collaboration between writer Laura Gustafsson and paedia entries, collected images visual artist Terike Haapoja, established in and sound. This material is realised Finland in 2013. as a ten-channel, seventy-minute Laura Gustafsson, born 1983 in Finland, Gustafsson & Haapoja, Museum of video installation, set to the music lives and works in Helsinki. Nonhumanity, 2016–ongoing, video of Olivier Messiaen, a twentieth Terike Haapoja, born 1974 in Finland, lives installation century French composer and and works in Berlin, New York and Helsinki. 42 43 �� Nicholas MANGAN

Termite Economics, 2018 mound, camera and human enact a set of relations that highlight In 2008 an entomology unit the discord between humans and of Australia’s Commonwealth nature. Scientific and Industrial Research The second is a YouTube Organization (CSIRO), began to clip titled ‘Slice through of a investigate the use of termites to lo- Macrotermes mound’ (2014) which cate rare earth minerals. In Termite sees a termite colony in Namibia Economics, an installation compris- undergo endo-casting whereby ing archival footage overlaid with the mound’s chambers are filled new narration, and sculptural works, with plaster and cut into horizontal Nicholas Mangan investigates the cross-sections. Sliced repeatedly questions posed by this anecdote: at 2mm intervals until the mound ‘how might termites as miners, and is completely erased, this process world-builders, be employed to results in thousands of slivers for better understand human social and analysis, each of which is displayed economic structures?’ sequentially in a stop-frame anima- Mangan considers termites tion, alluding to a human CT scan. as protagonists for decoding With the artist viewing the mound human behaviours; and the termite as a superorganism, constructed mound, a microcosm by which to from dirt and termite saliva, and reflect upon Neo-Liberalist class highly receptive to environmental structures and labour divisions. This change, this film can be seen as a installation takes as its starting psychedelic insight into a collective point two pieces of found documen- brain. tation, each of which records the Drawing upon these films, dissection of a termite mound: sawn Termite Economics contemplates horizontally through the middle, this how termites might be coerced act is viewed as a violent intrusion to follow human directives, which disregards its termite through systems ranging from Nicholas Mangan, Termite Economies, subjects. pheromone infused earth materials 2018, 3D printed plaster, dirt, synthetic The first is a black and white to 3D-modelled termite training polymer paint, plywood, painted mild steel, photograph taken in 1923 by ento- centres. fluorescent bay lights, 4 Sony Trinitron PVM 9042QM monitors, archival and mologist Anthony Musgrave, titled recorded footage (continuous loop), four ‘Sawing A Termite Nest’, this image Nicholas Mangan, born 1979 in Australia, channel surround sound of termite warning lives and works in Melbourne. depicts a man hand-sawing through signals, variable dimensions. Courtesy of the Artist and Sutton Gallery, Melbourne; a mound, and a colleague filming Hopkinson Mossman, Auckland; and this action. Here, the saw, termite LABOR, Mexico City, D.F.

44 45 �� Futurefarmers

Seed Journey, 2016–ongoing disappearing, with 75% of all food now generated from just twelve Futurefarmers is a group of artists, plants and five animal species. This researchers, designers, architects, radical homogenisation is a result of scientists and farmers, who share the industrialisation of agriculture, a common intention to initiate and is devastating biodiversity and tangible change in the here and now. global health, as well as indigenous Established in 1995, their participa- cultures and farming skills. tory projects have deconstructed For Taipei Biennial, Future- systems including food policies, farmers members, Lode Vranken, public transportation and rural Amy Franceschini and Marthe van farming networks, and aim to provide Dessel have transported Seed participants with concrete tools for Journey’s archive to the galleries, change-making. contextualised by documentation of In 2016, Futurefarmers embarked its international travels since 2016. upon Seed Journey, a year-long In Taipei, a metropolitan city entirely seafaring expedition that moved surrounded by mountains which an inventory of ancient grains from are home to numerous Indigenous Oslo to Istanbul aboard RS 10 groups, the work reflects upon the Christiana, an 1895 wooden rescue challenge of sustaining cultural sailboat, crewed by 22 artists, practices in the midst of urban anthropologists, biologists, bakers, development. activists, sailors and farmers. The ship crossed 5000 nautical miles, Futurefarmers, founded in San Francisco in 1995. and collected 59 new varieties of grains, ranging from seeds saved Amy Franceschini, born 1970 in California, during the 1941 Siege of Leningrad, USA, lives and works in San Francisco and Gent. to Finnish Rye discovered between Lode Vranken, born 1962 in Belgium, lives the floorboards of an abandoned and works in Gent. sauna in Hamar, Norway. Marthe van Dessel, born 1976 in Belgium, Docking and sharing its research lives and works in Antwerp. with host institutions in Europe, the Middle East, and now Asia, the project aims to encourage knowledge exchange around food production in a world where farmers’ TOP: Setting up radio transmission BOTTOM: Futurefarmers seed ceremony, rights and seed stocks are fast hardware for Seed Journey, 2016 2016. Photo: Monica Løvdanl Photo: Marthe van Dessel

46 47 �� Duane LINKLATER

Tipi Cover for New Old Geo- down following a storm. In leaving metries / Little door for Sassa, the canvas unaltered, Linklater was 2018 able to transport the lived expe- Tipi Cover for Deep Forest rience of the teepee, its seasons Dazzle / Four on the floor for of use by Doreen, her family and Tobias, 2018 visitors, to the exhibition space. Tipi Cover for Unknown Future In Taipei, Linklater displays Horizon / Indian lemonade three large-scale printed tapestries diamond for Mina, 2018 of varied scales, which follow the pattern of an unfolded teepee Duane Linklater’s practice makes canvas, and combine traditional visible notions of cultural loss, social hand-dying techniques with imagery amnesia and family identity from the culled from the internet. This perspective of the First Nations technique references Indigenous peoples of Canada. By displaying histories of teepee-painting and artefacts, traditions and documen- mark-making, with imagery having tation of the current and historical long been used to indicate tribal conditions of Indigenous people in and familial identities, locations museum contexts, he interrogates and societal belonging. Composed the power structures that persist in of downloaded texts and images, contemporary museology. manipulated through color treat- In a new commission for Taipei ment, Linklater’s canvases convey Biennial, Linklater explores Indi- the continuing significance of genous architectures and their community relationships to contem- material potentialities, specifically porary Indigenous culture, discuss the teepee canvas.The canvas’ the current circumstances of ability to be transported and set up Indigenous people in North America, quickly and easily, and to offer and signal the complicated position strong environmental resistance, of Indigenous identity in a colonized are qualities that ensure its landscape. continuing importance in Indigenous North American culture. Duane Linklater, born 1976 in Canada, lives and works in Ontario. Linklater’s work first engaged TOP: Duane Linklater, Tipi Cover for BOTTOM: Work in process Unknown Future Horizon / Indian lemonade with Indigenous architecture in diamond for Mina, 2018, digital print on 2016, with a gift from Doreen: a hand dyed linen, cold cedar dye, cedar, teepee canvas, gifted to the artist sumac dye, sumac, charcoal, nails (detailed sketch) by his former neighbor, Doreen, Courtesy of the Artist and Catriona after he had helped her to take it Jeffries, Vancouver

48 49 �� Ingo GÜNTHER

Worldprocessor, 1988—ongoing this is no simple task as statistical methods differ from culture to In 1988, Ingo Günther began country, new regions lack their own working with atlas globes, recog- historical statistics, and the artist nizing its potential as an overlooked often has to navigate misleading medium by which to communicate ‘dirty data’. Additionally, there is a information about the entirety of time-lag on all data and considering the global condition. The earliest how fast our world is changing, works in his Worldprocessor series statistics are often outdated by the explored the possibilities in mapping time they reach publication. global data on a sphere: national Therefore, in recent years, health statistics, birth rates, Günther has come to the conclusion military expenditure, drug routes, that standard historical data migration patterns, trade currents, is not necessarily the best tool submarine fiber optic networks and for projecting into our potential press freedom. Worldprocessor— futures—due to increasingly drastic now comprising over one thousand technological advancement, and cli- globes—aspires to improve our mate change, we are not developing navigation of the world, both linearly. Therefore, Günther’s latest intellectually and emotionally. In globes forecast ahead, informed by reconfiguring its surface to be alternate forms of data extrapola- mapped by political, economic tion which use rival methodologies and social patterns, rather than and result in contradictory prog- colour-coded by nation states, noses. Installed as a series of nodes Günther has updated the 500-year- within a grid, Worldprocessor old globe to reflect contemporary provides a macroscopic perspective conditions of globalization. of planetary pasts and futures, and Worldprocessor is fundamen- acts as an interactive conversation tally a form of journalism, influenced piece to reflect the historical use of by both scientific inquiry and the spherical globe. the conceptual openness of art. Therefore, accuracy and objectiv- Ingo Günther, born 1957 in Germany, lives and works in New York. ity are paramount, yet intuitively comprehensible visuals are equally Supported by important. Nova Rico SpA / tecnodidattica.com, Günther formally develops each Florence, Italy Ingo Günther, Worldprocessor, 1988–ongoing, illuminated globes, 30 cm diameter sphere each. globe using publicly available and Courtesy of the Artist, Nova Rico SpA, Florence, established data, though collating P3 art and environment, Tokyo

50 51 �� Indigenous Justice Classroom

Ketagalan Boulevard Arena, 2018 an ancient ritual, and houses a lily formed from Indigenous ephemera Indigenous Justice Classroom is a woven together. This piece has, in collective consisting of documentary fact, bloomed out of the urban con- director Mayaw Biho, musicians crete jungle—created by the group Panai Kusui, Nabu Husungan Istanda, as they sit in protest, and make art indigenous Taiwanese creatives, and in relay. During the biennial, other people from all ethnicities and back- contributing artists are invited to grounds that mutually care for the partake in the process, and enter land. Indigenous Justice Classroom a shared territory in which to gain initiated the protest ‘Indigenous and raise awareness of Ketagalan’s Ketagalan Boulevard protest’ in activity. 2017, following the announcement Accompanying this installation is of Taiwan’s new ‘Regulations for a documentary film, displayed upon Demarcating Indigenous Traditional a large cone-shaped bamboo shelf. Territories.’ These regulations The film chronicles the movements Ketagalan Boulevard Seminar Time: 14:00 oppose the principles defined in and grievances of Indigenous Venue: 103 Sculpture Courtyard ‘The Indigenous Peoples’ Basic Law’ people in Taiwan throughout recent and could therefore enable the history, and how this has led into the ‘No Outisder’: Songs and Dialogue Speaker: Panai Kusui exploitation of indigenous territories Ketagalan Boulevard Protest, and Date: 2018/11/24 by big corporations, hinder the also charts how long each Indigenous development of indigenous culture protest has been standing. This ‘Come Listen to the Rocks Talk’: Film and Dialogue and damage the environment. The presentation is activated by seven, Speaker: Mayaw Biho protest set up camps in front of the open Ketagalan Boulevard Seminar Date: 2018/12/08 Presidential Palace on the Ketagalan sessions during which Indigenous Boulevard. They were evicted by Justice Classroom aim to spark ‘Art, Movement, Relay’: Dialogue Speakers: Artists Collective for the Stone the police a hundred days later discussions and interactions inside Art Relay Action (Eleng Luluan and others, and relocated to the nearby NTU the museum, highlighting the endan- a total of 5 artists) Hospital MRT station, exit 1. Six germent of Indigenous territory and Date: 2018/12/22 hundred days have gone by since the culture, in Taiwan and internationally. Please visit our official website (www. protest began. taipeibiennial.org/2018) for information on The vibrancy of this social Indigenous Justice Classroom, initiated on the speakers and topics for the sessions on 23 February, 2017 in Taiwan 5 January, 19 January, 16 February, and 2 movement is tangible within its March, 2019. exhibition at Taipei Biennial: tents from past protest camps hang LEFT: On the 100th day of the camping on RIGHT: Painted stones on the Indigenous haphazardly upside-down, slogans Ketagalan Boulevard on June 2, 2017, the Ketagalan Boulevard protest. Photo: Indigenous Ketagalan Boulevard protest Lin-Jhao Yan are scrawled across scattered was strongly expelled by the police. Photo: towels, a circle of rocks resembles Lin-Jhao Yan

52 53 �� Allan SEKULA

Fish Story, 1989–1995 Sekula’s extensive project exposes the maritime industry as Allan Sekula was an American the fundamental, yet largely unseen, photographer, writer, theorist and foundation of worldwide commodity historian of photography whose distribution, while casting an eye work was concerned with the on its multifarious personalities socio-economic consequences of too. Documentation of gigantic globalization. port infrastructures, and the slow, Sekula’s longest sustained work weighty transportation of goods is Fish Story, a seven-year photo- at sea, are therefore balanced with graphic series detailing the most the changing social landscape of significant maritime ports in the the coast—in particular, the way in world, divided into seven chapters which the hyper-rationalization of totalling 105 colour images, and two ships’ time in port is extinguishing sets of slides. Exhibited at Taipei traditional maritime subcultures and Biennial are the final two of Sekula’s secondary economies. chapters, Message in a Bottle and Fish Story delves into a vast True Cross, in addition to Dismal expanse of economic and political Science and Walking on Water, events throughout the second half which between them comprise of the twentieth century: the crisis eighty projected slides. of profitability in USA in the 1960s, Tracing historic and contem- leading to increased German and porary shipping channels across Japanese production; the unprec- Europe, the Americas, and Asia, edented explosion of export-based Fish Story visually reflects maritime manufacturing throughout East painting traditions, and conceptu- Asia in the 1980s; and the collapse ally explores the role of the ocean of the Soviet Union in the 1990s. in the history of globalisation. Photographs and slide projec- Between 1989 and 1995, Sekula tions from Sekula’s global journey travelled from Los Angeles and San exist, as a rule, alongside discursive Diego on the East Coast of the USA texts in order to defy and critique to the shores of Glasgow, London, the contemporary cult of the single Newcastle-upon-Tyne, Rotterdam image in contemporary photogra- and Warsaw in Europe, across to phy, and reveal the multitude of Hong Kong and Seoul in Asia, and stories contained in this complex back to the Pacific Coast of the work. Pallet fire. Puerto Pesquero. Allan Sekula, ‘Message in a Bottle’, United States via Barcelona and chapter 5 / version 1 from Fish Story, Veracruz. Allan Sekula, born 1951 in the USA, died 1992–1994, photograph 2013 in Los Angeles. 54 55 �� KE Chin-Yuan + “Our Island”

The Age of Awakening, 2018 pollution, fishery management, Our Island—Documentary of water and marine conservation, and Environmental Change in Taiwan, environmental social movements. 1980–2018 Closely commenting on “Our Island”, Ke’s recent new feature, Ke Chin-Yuan, is a documentary The Age of Awakening revisits the director and a Taiwan Public first generation of environmental Television Service producer who, journalists and demonstrators, in 1998 launched “Our Island” on considering their different Taiwanese terrestrial television as approaches while combing through the only weekly programme that the significant environmental documented the environmental incidents and movements of the last issues and local ecology of the three decades. These range from island. residents’ movements against the The programme remains the development of a DuPont titanium most comprehensive and important dioxide plant in Lukang, or and Lize visual database of the Taiwanese Sixth Naphtha Cracking Project by environment, and Our Island: 30 Formosa Plastics, to more recent Years of Environmental Change demonstrations about nuclear in Taiwan brings together three power and air pollution. Between decades of Ke’s documentation. For these two seminal film works, Ke Taipei Biennial, twenty-one of Ke’s examines the history of environ- films, spanning from the early 1980s mental problematics in Taiwan and to 2018, have been re-edited into questions whether the country has independent documentaries. These moved forward. programmes—which also display the way in which documentary-making KE Chin-Yuan, born 1962 in Taiwan, lives and works in Taipei. has drastically evolved—follow issues as diverse as Taiwanese land “Our Island” was first broadcast on reclamation, dam construction, 1 November 1998 by the news department of Public Television Service Foundation, nuclear power and energy produc- Taiwan. tion, forest conservation, coral reef conservation, marine pollution, wildlife conservation, island management, fishery resources, wildlife trafficking, public hazards, Ke Chin-Yuan, 2005, formation subsidence at Yunlin—the flood after heavy rain, coastal and mountainside develop- 2005, photograph, ment, land expropriation, farmland digital image

56 57 �� Jumana MANNA

Wild Relatives, 2018 implicitly, between two revolutions: the Syrian revolution and the Green This feature-length film furthers Revolution. The latter being a Manna’s ongoing exploration of movement that developed during how taxonomies of seeds, and the Cold War, seeking to end world plants carry histories of violence hunger through the breeding and and colonialism. Wild Relatives distribution of high-yield crops, charts the transaction of seeds irrigation techniques and chemical between two distant geographies: inputs; accordingly giving birth to Longyearbyen, on the Norwegian agricultural centers and seedbanks coal-mining island of Svalbard in the like those in the film. Arctic Ocean, and the Bekaa Valley, In tracing the journey of the the most important farming region seeds between the Arctic and in Lebanon. The link between these Lebanon, a matrix of intertwined distant semi-deserts is the Svalbard human and non-human lives Global Seed Vault: a backup facility unfold between multifarious for thousands of crop genebanks figures including scientists, organic located across the world. farmers, lorry drivers, priests and With the Syrian Revolution the young migrant women employed escalating into a state of war in to plant and harvest crops in 2012, an international agricultural order to implement this large-scale research center was forced to international initiative in the Bekaa. relocate across the border, from Wild Relatives therefore opens up Aleppo to the Bekaa. The centre a space to reflect on tensions be- was unable to transfer its genebank tween state and individual, industrial of seed varieties; therefore, it and organic approaches, climate decided to create a duplicate bank change and biodiversity, captured in in Lebanon, by withdrawing back-up an open-structure of vignettes that seeds, stored in the Svalbard Vault, reflects the dispersed and ongoing and laboriously planting, harvesting stories of seeds themselves. and freezing their collection anew. By drawing attention to the geo- Jumana Manna, born 1987 in the USA, lives and works in Berlin. politics of seed-saving and modes of nurturing, storing, ‘improving’ and capitalising upon the natural world around us, Wild Relatives not only Jumana Manna, Wild Relatives, 2018, seeks to trace the entanglement Germany / Lebanon / Norway, DCP, color, of these two landscapes but also, sound, 66 min

58 59 �� Kuroshio Ocean Education Foundation

As the North Equatorial, or and published, and ran a series of Kuroshio, Current flows north past educational activities. eastern Taiwan, its clear, warm and For Taipei Biennial, the Kuroshio steady flow nurtures a rich array Ocean Education Foundation intend of marine life, and brings in such to enable visitors to see things that salt-rich, deep ultramarine waters are often invisible to the human that it is often referred to as ‘the eye, or are simply inaccessible to black stream’. those outside of the scientific realm. Hualien is the city closest to Video footage, reports and analysis, this uniquely warm current, and it underwater audio recordings, sea was here in 1998 that the Kuroshio water samples, sampling tools, and Ocean Education Foundation was navigation charts are exhibited, established. Initially, the group and explored through lectures by focused on surveying and recording Foundation members. In this way, sightings of aquatic mammals and attendees will learn about marine their behavior in coastal waters, pollution and the crises affecting though it soon shifted its mission the ocean, and find ways of changing statement to highlight ‘caring their own behaviour to benefit the for Taiwan’s marine environment, state of our seas. ecology and culture’. In 2003 the Foundation launched a vessel which Established in Hualien in 1998 www.kuroshio.org.tw sailed around Taiwan to, for the [email protected] first time, examine its coastal areas, generate debate and showcase a new marine vision for Taiwan. Dedicated to promoting public awareness of ocean preservation to Lecture this day, in 2018 the Kuroshio Ocean Sailing Beyond the Blue: The Beauty and Education Foundation launched Death of Our Territorial Waters Speakers: Hui-Chun Chang (Executive ‘Sailing beyond the Blue’: a project Secretary, Kuroshio Ocean Education to celebrate its 20th anniversary Foundation), Ray Chin (Underwater and once again survey the marine Photographer) Date: 2018/12/1 environment of Taiwan. The project Time: 14:00–16:00 collected large volumes of data, Venue: Ecolab 2F video and audio recordings, as well Kuroshio Ocean Education Foundation as sea water samples and polyethyl- samples plastic particles and water around Taiwan and its various islands. Each area ene reports from 51 testing stations has a distinctive seawater colour and across Taiwan, soon to be analysed composition of floating particles.

60 61 �� Taiwan Thousand Miles Trail Association

Trails are what people leave behind, outdoor education—also reviving Walking Tour both visibly and through the values Taiwan’s history of cooperative Time: 13:30–16:00 that they pass on. Some of these movements and traditional trail Each walk is limited to 20 people trails are trodden gently into the construction. Additionally, the Route 01: From Kuo Hsueh-Hu’s natural environment, while some are association’s plans for the future Scenery Near Yuanshan (1928) more aggressive—such as state-led also include a ‘National Greenway to ‘There’s Paradise in construction and agribusiness— Network’, which combines Yuanshan’ (1987) —Jiantanshan Trail and Yuanshan Water which destroy both the ecosystems grass-roots thinking with the aims Shrine Walk of animals, plants and insects and of the International Satoyama Date: 2018/12/2 those individual human tracks too. Initiative: a global partnership of Meeting point: Taipei Fine Arts Museum main entrance In 2006, Hsu Jen-Shiu, Xiao Yeh 184 organisations who have agreed Online Registration: (Li Yuan) and Huang Wu-Hsiung to collaborate in the conservation https://bit.ly/2QfLZ03 launched the Thousand Miles Trail of sustainable human-influenced Movement in Taipei, which invites natural environments. This will Route 02: Rescue the Urban Natural Island—Jingmeishan Xianjiyan people to discover and create enable the Taiwanese public to Coast Guard Administration nature trails in their local areas, to work with private companies Section of Eco-Craft Trail Walk excavate the narratives that live and local government to develop Date: 2018/12/16 Meeting point: MRT Wanfang within them and therefore gain a cultural trails which utilize existing Hospital Station more in-depth understanding of linear structures such as irrigation Online Registration: the land they live on. To date, this waterways, and former sugar and https://bit.ly/2qsoXYF public movement has generated an passenger railways, therefore Route 03: Enter Taipei City through unbroken track reaching almost restoring these spaces and enabling Century-Old Danlan Trail— 3,000 km through Taiwan. local tourism. Two of these routes Fuzhoushan to Zhongpushan Walk The Association has also initi- will be completed in 2019, the Date: 2018/12/23 ated the Eco-Craft Trail Campaign Tamsui-Kavalan Historical and Meeting point: MRT Xinhai in Taiwan, which is inspired by the Cultural Routes and the Raknus Station experiences of volunteers on the Selu Trail. Online Registration: https://bit.ly/2SJqgiX Appalachian National Scenic Trail, For the Biennial, the Association a track in the USA. The track could are exhibiting the research that Lecture not exist without its volunteers, they have accumulated over the A Person that Walks with the Eyes, Ears, Nose, Body, Mind, Hands and Feet—Join who communally contribute over years, their plans for the future, and Us on the Grand Dream of Thousand Miles 240,000 hours each year in their hosting walks and seminars through- Trail 2.0 stewardship which comprises out the duration of the exhibition. Speakers: Chou Sheng Hsin (Executive Director of Taiwan Thousand Miles Trail maintenance, guiding, and greeting Established in Taipei in 2006 Association), Hsu Ming Chien (Deputy TOP: Taiwan Thousand Miles Trail guests at each visitor centre. www.tmitrail.org.tw Executive Manager of Taiwan Thousand Association’s walking tour Bringing this model to Taiwan, the [email protected] Miles Trail Association) Date: 2019/1/6 Association have built in oppor- BOTTOM: The Eco-Craft Trail Campaign in Time: 14:30–16:30 tunities for working holidays and Zhongpu Mountain, 2017 Venue: Ecolab 2F

62 63 �� Open Green

‘Open Green’ is an experimental have transformed abandoned, living space project, initiated by closed, or disused spaces, and also The Taipei City Urban Regeneration involved restoring and maintaining Lecture Office in 2014, which aims to alter old waterways and trees. Often Open Green and Slash City Speaker: Liu Po-Hung (Principle of the impression that urban develop- working in a cross-disciplinary Collaborative O. Company) ment in the city acts only to replace way, these projects utilize Date: 2019/1/20 existing historic buildings to suit eco-conscious methodologies over Time: 13:00–14:00 Venue: Ecolab 2F new visual preferences. Through conventional construction methods, an open call, the project invites resulting in effective and communal Tour of Community Development Sites local residents and communities to ‘placemaking’. Limited to 15 people per session Meeting point: will be notified result by take part in the creative renovation On view in this year’s Taipei email process, this ‘bottom-up’ approach Biennial is a retrospective present- is designed to empower people ed by the team behind ‘Open Green’, Route 01: Exploring Community with Bee Eyes with a sense of agency, urging them chronicling various neighborhood Date: 2018/12/29 to take charge of improving their renovation projects across Taipei, Time: 9:00–12:00 living conditions and to manage and presenting the core values Guide: Tsai Ming-Hsien abandoned spaces. Furthermore, in behind the endeavor. The audience (Community College Urban Beekeeping Project Founder/ connecting neighborhood spaces is also invited to visit these commu- Beekeeping Course Lecturer with local residents, the project nity development sites to personally at the Songshan Community fosters collaboration and action experience the links formed between College) Online Registration: toward common issues. these new spaces, the wider city, its https://bit.ly/2yINcGs (12/1 open The project focuses on both people and nature. for registration) improving and ‘greening’ everyday Route 02: Tour of Bat House dwelling spaces in the built environ- Implemented in Taipei in 2014 Project conducted by: Classic Design and Date: 2019/1/12 ment, while encouraging ecologically Planning Co., Ltd. Time: 9:00–12:00 ‘green’, and ethically-aware, efforts; hellogreenlife.blogspot.com Guide: Chang Heng-Chia [email protected] (Director of the Formosan taking into consideration urban Golden Bat’s Home) health issues, the relationship Online Registration: between people and nature, social https://bit.ly/2yQrobU (12/25 benefits and the underprivileged. open for registration) Over the past four years, a Route 03: An Eye for the Waterways total of 61 community development Date: 2019/2/16 projects have been completed in Time: 9:00–12:00 TOP: ‘Hand protection fireflies’, Mamingtan Guide: Ho Wen-Hsien (Cultural different administrative districts Mountain, Mingxing Community in Wenshan Historian/ Convener of Wenshan in Taipei. Through collective, District Community College’s Regional innovative and experimental actions Studies Course) BOTTOM: The volunteer group made the Online Registration: by local residents, schools, and pterophyta forest in the back lane, Gufeng https://bit.ly/2QfwV2B (2/1 creative groups, these projects Village, Da’an District open for registration)

64 65 �� Keelong River Watch Union

The Keelong River is a tributary of wild streams. Some promote The Enchanting Keelong River: A Cultural and Ecological U-Bike Outing of the Dansui River and the north- river education and delve into the Organized by Taiwan Sustainable Union ern-most of Taiwan’s major rivers. relationship between nature and Spanning a total length of 89.4 human life, whereas others conduct Route 01: Visit Yuanshan’s Shell Mound, Jiantan’s Sanjiaodu (Cultural kilometers, the river originates in environmental patrols or monitor ferry port/dragon boating the mountains of New Taipei City’s Environmental Impact Assessments experience), the Zhoumei Plain Pingxi District, flowing past Keelong of development plans; there are also and Shilin’s Beitou Technology Park, and Taipei’s largest paddy and traversing thirteen townships those that are more concerned with field, the Guandu Plain before eventually winding its way the greenification of shorelines, Guide: Chen Jian-Zhi (Co- into Taipei City. and boosting water cleanliness convener of the Keelong River Watch Union, Chairman of the A series of movements to for citizens. In addition to the Taiwan Sustainable Union) protect the Keelong River began aforementioned, the Union also Date: 2018/11/24, 12/15 in 2004 with the ‘Cross-District holds an annual Keelong River Forum Time: 13:00–18:00 Meeting point: Taipei Fine Arts Community Colleges Protecting to provide a platform for civilians Museum main entrance The Dansui River Project’, which and government representatives Note: Up to 18 people per ultimately gave rise to the Dansui of all levels to engage in dialogues session. Due to the dragon River Watch Union and the active concerning river remediation, in boating experience, we will only accept participants who promotion and establishment the hope that relevant policies can are enrolled in junior high- or of river clubs in Taipei’s various be created to better suit society’s higher-grade school levels and community colleges. After years needs. are over 150 cm in height. of hard work, river clubs alongside Route 02: A Cultural and Ecological the Keelong River gradually Founded on the Keelong River in 2004 Outing on the Tamsui and matured and congregated to Keelong Rivers Beitou Community College, Taipei City Taipei Story House (Yuanshan form the Keelong River Watch Bottom Left Corner Workshop Mansion), Taiguchao, Yuanshan Union. Members of the Union have Chiyen Community Development Park, Baoan Temple, Teacher’s adopted the ABCs of Keelong River Association Mansion, Huan-a-kau, Nangang Community College, Taipei City Shezi Island, Beitou Refuse Guardianship—‘Active, Beautiful, Nei-Hu Community College, Taipei City Incineration Plant, and Cisheng and Clean’—as shared core princi- She-Zi Foundation for Culture & Education Temple ples in watching over their ‘mother Syakkaw Patrol Team of Keelung River, Guide: Chen Jian-Zhi (Co- SongSang Community College, Taipei river’. convener of the Keelong River Taipei Shilin Community College Watch Union, Chairman of the While some Union members Taiwan Native Plant Society Taiwan Sustainable Union) focus upon protection in their indi- Taiwan Nature Trail Society Date: 2018/12/ 22, 2019/1/5 Taiwan Sustainable Union vidual, respective locations, others Time: 13:00–18:00 The Green Ray Treasure Box on the Pingxi Meeting point: Taipei Fine Arts may be active in exploring the wider Line: Sandiaoling Museum main entrance river ecosystem, have an interest Tsao-Shan ECHA TOP: Keelong River, Shezidao. Courtesy of Note: Up to 20 people per Zhongshan Community College, Taipei City Taiwan Sustainable Union session, minimum age 10. in the conservation of a particular (in alphabetical order) indigenous animal or plant species, BOTTOM: Keelong river tour. Courtesy of Online registration: or are involved in the protection Taiwan Sustainable Union https://reurl.cc/GdGdA

66 67 �� HSIAO Sheng-Chien

Return, 2018 Return echoes Rachel Carson’s 1962 publication, Silent Spring— The development of modern which asserted the poisoning of industrial civilization has forever the biosphere, by new 20th century changed the environment and chemicals aimed at pest and disease the way in which human beings control. live. Natural scenery is gradually In Return, machinery which disappearing across the globe, might usually be seen as enacting and in many places the sounds of modern ‘progress’ is altered, human- frogs, birds and crickets have been ized, to carry a sense of hand-made replaced by the rumble of cars and warmth. The slowed pace of Hsiao’s trucks. Hsiao Sheng-Chien seeks slowly rotating trunk points to the to recreate the familiar sounds of mechanics of old musical boxes, his childhood memories, using the fairground rides even, and objects very same industrial technology that from earlier times which conjure powers these machines. distant memories. In evoking strong In the center of the gallery, a and personal emotions, there is a section of tree trunk slowly revolves sense of spiritualism and empathy like a turntable, artificially lit with which links the individual, and their the shadows of wires creating the own experiences of the natural impression of leaves and branches world to the enormous, and often at dusk. Meanwhile an electronic unfathomable topic of extreme device plays bird calls—with the environmental change. sound alternating between sources to mirror the auditory effect of a Hsiao Sheng-Chien, born 1968 in Taiwan, lives and works in Kaohsiung. flock of birds moving from tree to tree. Hsiao remembers walking down the road as a child after school and seeing noisily chirping sparrows perched in trees and on telephone wires; before long, this utterly natural scene was no more. With each day that the city of Taipei developed further, the sparrows were fewer and fewer. In highlight- TOP: Hsiao Sheng-Chien, Return (sketch), BOTTOM: Hsiao Sheng-Chien, Summer ing the quietening of nature through 2018, kinetic installation, dimensions Night, 2018, motor, gearbox toys, micro to the use of fertilizer and pesticide, variable switch, paper bags, LED light

68 69 �� Lucy DAVIS (The Migrant Ecologies Project)

Fragments from the Together furniture. Having learnt that each Again (Wood:Cut) series, tree and therefore piece of wood 2008–ongoing has its own traceable genetic code, Davis sent samples to a timber For the Taipei Biennial 2018, tracking company, which provided Lucy Davis presents wood-print her with certifiable data indicating collages, photographic material which species of tree, and where, and hand-animated films drawn each piece of wood had come from. from her ten-year material-led By locating living examples of research into stories of wood in every identified tree, the artist Southeast Asia. The project’s began to attempt the impossible different iterations collectively work task of understanding the lifestories through the material of wood-print of these pieces of wood; this and cut-wood in order to recast laborious research is reflected in the form and micro-gestures of Davis’ artistic process whereby the Malayan Modern woodcut fragmented prints are painstakingly movement, which was adopted by pasted together to form micro-de- artists of the mid-twentieth century tailed woodprint-collages and migrant Chinese Left. The Migrant animated films. TOP: A Banyan Battles with Teak Ecologies Project aims to work Instead of the romantic quest Animation Still from Jalan Jati (Teak Road), 2012, hand-animated film, 23 min through the spirit and gestures of for an original spirit of a living tree Concept, Direction & Hand-animation: this movement, in the context of inside its resulting wooden objects, Lucy Davis continuing regional deforestation of The Migrant Ecologies Project Music & Sound Design: Zai Kuning & Zai Tang Southeast Asia. complicate a colonial legacy of This project has its origins in ‘journeys to a pristine source’ that LEFT: Lucy Davis (The Migrant Ecologies Singapore’s Little India, an area in also inflects popular understandings Project), Together Again (Wood: Cut) Part II. Material, Ranjang Jati: The Teak Bed which the artist lived from 2006 to of DNA. The resulting, entangled that Got Four Humans from Singapore to 2009 and which has a high South stories of wood include the spirits Travel to Muna Island, Southeast Sulawesi Asian migrant worker population. of modern objects in reconstructed and Back Again, 2009, black & white photograph on hand made Japanese paper, Davis came to notice the plethora of trees. They suggest how wooden 85×60 cm. Photo: Shannon Lee Castleman. objects—electrical items, card- ontologies haunt human timber Collection of National Gallery Singapore board, and tin-cans—which tend patriarchies. They animate en- to be left on the streets, collected counters where dreams in DNA at night, and taken to a central code meet forest spirits and where recycling point. Recognising that fingerprints meet woodgrain across timber was one of the materials the archipelago. not directly integrated into this nocturnal economy, Davis began Lucy Davis, born 1970, has lived most of her life in Singapore. collecting locally discarded wooden 70 71 �� Alexey BULDAKOV

Scratching Post, 2018 life that has followed Houtong’s industrial collapse, how hard labour In spring 2018 Alexey Buldakov has been replaced by a culture of lei- visited Houtong, a village in the sure, extraction with creativity, and hills of Northern Taiwan, whose an invasive species has completely name directly translates as ‘monkey taken residence—the village’s cave’. In the 1920s Houtong became emblem has even changed from a famous for a different: coal was dis- monkey to a cat. covered beneath it, and the village In response, Buldakov has soon became the country’s largest developed a large-scale installation provider—producing 220,000 tons of reciprocal shelves which draws of coal per year, with its population its aesthetic from outsider works of growing to 6000 people. art such as decorated food trucks, The decline of the coal mining religious altars and the anthropo- industry in the 1970s was cata- morphised cat drawings of English strophic for Houtong: residents artist Louis Wain, whose muse was moved away in search of urban a feral kitten. Buldakov’s structure opportunities, and its population stands as a three-dimensional shrank to less than 100 people, still life of Houtong comprising leaving behind hundreds of homeless locally made artefacts and found cats. The village fell into disrepair, objects. In-keeping with its theme of that is, until 2008 when local interspecies altruism, the structure cat-lover Peggy Chien began is multifunctional and its cardboard posting photographs of the village’s shelves can also be used as resting stray cat population online, attract- spaces for stray cats. ing like-minded volunteers who came to care for the cats and soon Cat Floats painted by Group of Houtong Cat’s Friends transformed Houtong into a tourist Scratching posts manufactured by destination. Marked with a sign that reads ‘Many stray cats here. Drive slowly’, Houtong now brims with every Alexey Buldakov, born 1980 in Russia, lives kind of feline ephemera imaginable: and works in Moscow. decorated feeders and shelters, sculptures and murals of cartoon cats, cat cafes and bakeries offering TOP: Alexey Buldakov, Scratching Post BOTTOM: Cat fishing floats at Houtong (3D sketch), 2018, site-specific installation, cat-shaped foods. Buldakov was cat fishing floats, cat hair, etc. fascinated by this new way of 230×270×60 cm

72 73 �� LU Ji-Ying

The Diary of Lu Ji-Ying, Imperial Subjects). After the War, 1933–2004 he became a 4-H Club (R.O.C) instructor. As the national language In 2009, the National Museum of changed, he switched to Chinese Taiwan History received a collection in his diary; perhaps because it was of more than 70 family relics a new language for him, his style donated by Lu Dong-Yuan. Amongst changed, as from hereon he only them were family albums and letters, wrote in bullet-points. a diary and farming notes, which Besides writing about his document 71 years of his father’s daily life, Lu Ji-Ying persistently life. observed the annual management This normal Taiwanese man, and cultivation of fruit trees, sugar Lu Ji-Ying, was born in Qiaotou cane, rice and legumes. He also in Kaohsiung, south-west Taiwan. recorded poultry purchases, rainfall, He graduated from Nanzi Second use of pesticide and fertiliser, and Public School and primarily carried the harvest. The detailed data and out agricultural activities around the diversity of species recorded Jiuqutang. From 13 July 1933 until not only demonstrate Lu’s personal his death in 2004, his diary-writing efforts in advancing agriculture, but only paused between 1943 and also reflect the survival strategy late 1945. Before World War II, and commercial mentality of he kept a diary in Japanese about Taiwanese farmers in that period. various subjects: daily activities These valuable manuscripts bear and reflections, family interactions, witness to the life of a Taiwanese farming ideas, records of economic farmer who received modern crops, issues about production and education; outside of his personal distribution, grafting and technolog- sphere they offer a glimpse of the ical improvements, excursion, solar social and educational movements terms and weather, pest control, of Taiwan’s colonial Japanese his own physical health and general government, and shed light on how concerns. He also wrote about join- agriculture policies and the life of ing the Youth Group, working at the common people have evolved in agricultural cooperative, teaching Taiwan from the period of Japanese at the Japanese School, as well as rule to the 21st century. about working as a secretary at the Local Culture Promotion Committee Lu Ji-Ying, born 1916 in Taiwan, died 2004 TOP: Lu Ji-Ying recorded the second rice BOTTOM: Lu Ji-Ying started writing in Kaohsiung. management law of 1961 in the farming diaries on 13 July 1933. Collection of and the Kōmin Hōkōkai (Public/ notes. Collection of National Museum of National Museum of Taiwan History Patriotic Service Association of Taiwan History

74 75 �� HUANG Hsin-Yao

Contact Prints of Baileng Canal, a ‘contact print’, which contains 2018 every image taken in a photoshoot. Huang’s film captures every In 1928, the Japanese set out to impression of the canal waters, the develop Taiwan’s sugar industry in stagnant as well as the picturesque. Taichung’s Xinshe plateau due to its The journey begins at the source favorable climate and soil quality, of the Dajia River, the very root and consequently established the of the canal waters, and travels Danan Sugarcane Seeding Nursery. nearly 17 km to Xinshe where the This high altitude region, however, waters divide into households and lacked water, and so the govern- fields, and become fruits and crops, ment engaged Japanese engineer which are then transported north Isoda Norio to supervise the to satisfy the demand of Taiwan and construction of the Baileng Canal further afield. in the upper reaches of the Dajia ‘Since everything flows in an River. The irrigation system draws invisible torrent, I tried to use water from the Baileng highlands only images and natural sounds at an altitude of 550 meters, and to express this everything’. said includes tunnels, aqueducts, and Huang. He deliberately avoided inverted siphons that travel over narration and music to allow the cliffs and through gorges. water to act as the autonomous The abundance of water central character and to speak brought in by the canal has for itself. Considering the voyage transformed the ecology, but also through Baileng Canal as just a the economy, of the local Xinshe brief period in the life lived by its area—enabling the growth of sugar waters, Contact Prints of Baileng cane, edible fungi, orchids, and Canal, reminds of the interactions fruits such as the honey pear and that take place between water, loquat. landscape and people on a daily The documentary film Contact basis, worldwide. Prints of Baileng Canal produced by the Taichung City Government Huang Hsin-Yao, born 1973 in Taiwan, where he currently lives and works. Information Bureau and film director Huang Hsin-Yao brings viewers on a journey over the route of the Baileng Canal. The documentary Huang Hsin-Yao, Contact Prints of Baileng takes its name from the photo- Canal, 2018, single-channel video, color, graphic convention of producing sound, 80 min

76 77 �� Laila Chin-Hui FAN

Scenery Near Yuanshan: Silence yet an image presents just one and Commotion beside the static shot, while listening enables Keelung River, 2018 people to recall their own unique memories and impressions of a Chin-Hui Fan has been recording place. To highlight the significance natural soundscapes since the age of sound in human experience, of 7, and has dedicated her practice Chin-Hui Fan has simulated the to developing more sensitive and soundscape of Kuo Hsueh-Hu’s representative methods of listening iconic painting. Taking her audience to the land. In 2013, she launched back almost a century in time, this the Silent Trail Project which work is composed of audio material promotes the safeguarding of from similar topographies across natural soundscapes, and in 2015, Taiwan—their animal and insect the artist founded the Soundscape species, geographical sound fields Association of Taiwan which invites and vegetation, accompanied by the national sound recordists to whispers of early twentieth century contribute to this effort. human activity. In 2016, Chin-Hui Fan visited This piece is accompanied by the Taipei Fine Arts Museum and Yuanshan Sound Walk, a sensory ex- discovered the painting Scenery perience guided by the artist, which Near Yuanshan (1928) by Taiwanese follows the path of Kuo Hsueh-Hu. artist, Kuo Hsueh-Hu. Chin-Hui Fan During this walk, Chin-Hui Fan was immediately attracted to the intends to awaken the ears of her quiet, rural atmosphere of the work, participants to encourage them to and set about visiting the site of the better understand environmental painting, which Kuo Hsueh-Hu had changes through sound. captured 90 years ago. Walking the Jiantanshan Trail in search of the Laila Chin-Hui Fan, born 1965 in Taiwan, works and lives in Taipei. painter’s viewpoint, Chin-Hu Fan found that the historic Meiji Bridge had been replaced by the busy Zhongshan Bridge, which teemed with cars, masking the sound of the TOP: Kuo Hsueh-Hu, Scenery near A Guide Tour to the Yuanshan Soundscape Yuanshan, 1928, gouache on silk, Date: 2018/12/1, 12/16, 2019/1/13, 2/17, 3/3 river below: the calm silence of the 94.5×188 cm Time: 9:30–12:00 painting entirely replaced by a new, Collection of Taipei Fine Arts Museum Online registration: urban clamour. https://bit.ly/2OwMCkk BOTTOM: Looking for the viewpoint of Kuo Humans often rely upon vision Hsueh-Hu, Chin-Hui Fan has simulated the to understand their environments, soundscape left over from 90 years ago.

78 79 �� AU Sow-Yee

The Broadcast Project: A Many This Pavilion was also flanked by Splendored Thing of the Coconut, sculptures of horses, an animal a Belle from Penang and the usually accustomed to temperate Secret Agent, 2018 climates and unable to withstand extreme heat, but which was trained In the early twentieth century, the in humid southern Taiwan in order imperial Japanese government to prepare for upcoming battles. In attempted to transform northern this sense, the Taiwanese Exposition South Taiwan into a ‘paradise’, revealed the way in which the simply in order to provide a test geographies of flora and fauna have case for further expansion into been manipulated by humans to Southeast Asia in the future. sustain colonization. Enormous quantities of tropical This artwork extends from The plants were transported to Taiwan, Nanyang Intelligence Bureau, a col- including coconut trees, which were laborative performance presented seen as a strategic object in the by Au Sow-Yee and the Oz Theatre expansion of borders—enacting a Company in October of 2018. systemization of nature as such. Designed as a film set which humor- In 1935, the Japanese govern- ously mimics the Southern Pavilion ment commemorated the fortieth from the Taiwan Exposition in 1935, anniversary of the colonization and integrates radio broadcasts, of Taiwan with an extravagant video works, and archival objects, A display of cultural and political Love Story of Life and Death charts power, ‘The Taiwan Exposition: In Taiwan’s colonial history through Commemoration of the First Forty an unlikely romance between a Years of Colonial Rule’. This fifty-day vanished intelligence agent and the event celebrated Japanese and ‘Belle of Penang’ (Bin Cheng Yan). A Taiwanese products and crafts- theatrical murder mystery of sorts, manship, construction and modern- this performative installation invites ization, and occupied over thirty viewers to reimagine the relation- new buildings in Taipei and across ships between Japan, Taiwan, and the island. The Exposition’s South Malaysia, exposed through their Pavilion featured a reproduction political and botanical connections. of rubber plantation—though the rubber tree itself is not native to Au Sow-Yee, born 1978 in Malaysia, lives and Au Sow-Yee, The Broadcast Project: A works in Taipei. Southeast Asia, it now grows here Many Splendored Thing of the Coconut, a Belle from Penang and the Secret Agent, in abundance having been imported 2018, three-channel video and sound from South America by the British. installation, dimensions variable

80 81 �� KHVAY Samnang

Rubber Man, 2014 conservation—however, agribusi- ness now threatens these ancient Using his body as a medium to practices. perform often intentionally futile Over the course of 2014, Khvay gestures, Khvay Samnang exposes repeatedly visited Cambodia’s lesser-known stories and unresolved highland province of Rattanakiri to social issues in Cambodia, prompted survey changes in the environment by hearsay, direct experience and due to the rubber industry, with the media. the artist documenting strategic Rubber Man is a performance clearings, new forests of young and film work which draws upon saplings, mature plantations, and the destruction of indigenous the villages that have—so far— communities, species habitats and survived. Moving between these places of spiritual significance, due man-made landscapes, Rubber Man to the recent establishment of captures the artist as he pours over 300,000 hectares of rubber a bucket of fresh, white, rubber plantations across Cambodia. sap over his face and naked body. Until 1975 Cambodia was the The artist’s features are entirely largest producer of rubber in the obscured by this painterly and world, dating back to 1884 when performative action, which alludes French Indochina privatized the land to the suppression of indigenous of the Cambodian Khmer monarchy populations who are rendered and began importing rubber seeds voiceless and invisible in the from Brazil. In South America, these presence of industrial corporations. trees are referred to as ‘caucho’ Appearing as a porcelain-white or ‘crying tree’, as they release apparition walking amongst the liquid rubber from incisions made in trees, the artist asks, ‘Where will the bark, though this description the spirits live?’ as behind him the is equally apt given the effect of forest disappears. the rubber industry on indigenous livelihoods. In the highlands of Khvay Samnang, born 1982 in Cambodia, lives and works in Phnom Penh. Cambodia there are over twenty native groups who subsist on a cycle of planting, transplanting, harvest- ing, and regeneration; forest and ancestor spirits play an omnipresent Khvay Samnang, Rubber Man, 2014–2015, three-channel video installation, color, role in these communities, and sound, 4 min, loop. Coproducers by Jeu de these beliefs help to ensure wildlife Paume, CAPA, FNAGP

82 83 �� Huai-Wen CHANG + MAS (Micro Architecture Studio)

Museum in the Clouds, 2018 quality is very poor, they will shine in Mas Biennial, 2014–2018 brownish purple hues. If Museum in the Clouds is able to turn luminous Museum in the Clouds comprises green, then the air surrounding the a curved steel frame with sail-like TFAM is perfect. membranes, which follow the In addition to influencing the movements of the wind; installed on movements of Museum in the the second-floor façade of Taipei Clouds, all of the climate data Fine Arts Museum, it is visible collected during the Taipei Biennial from both inside and outside. This will also be used to form a proposal two-year project interacts with as to how to improve the museum’s the weather station on the roof of conditions moving forward. This the museum, records the museum’s work is presented alongside a microclimate, and reflects this with further thirty works by the Micro water vapour and lighting. Architecture Studio (MAS), which The TFAM’s rooptop weather provide architectural solutions station documents microclimate for institutions and communities data around the museum, including worldwide, designed by MAS to light, wind, rain, temperature, heat improve their livelihood within their radiation, ultraviolet light, wind flow specific climactic conditions. velocity, wind direction, and rainfall. It also receives remote data on air Museum in the Clouds website: http://mas.archi/MuseumInTheCloud.html quality and information on pollutants in nearby rivers. Responding to the data pro-

vided by this weather station and The programm is supported by the air quality index (AQI) received from a remote location, Museum in the Clouds releases mist when temperatures are high—to create Huai-Wen Chang, born 1970 in Taiwan, lives various cloud formations, while also and works in Taipei. cooling the museum’s microenviron- The Micro Architecture Studio (MAS) was founded in 2014. It comprises students ment. At night, the lighting system MAS Biennial from the Class of 48th-52nd in the Introduction & Project Description: responds to the museum’s air quality Department of Architecture at Tamkang 2018/11/17 18:30 and projects different colours University, Taiwan, and a transdisciplinary team of consultants from fields including accordingly: when the air quality MAS Class architecture, landscaping, environmental Huai-Wen Chang, Museum in the Clouds, MAS Seminar: 2018/12/8, 12/22, 2019/1/12 is good, the sail will turn yellowish engineering, ecology, water resources, 2018, steel, membrane, weather station, MAS Workshop: 2018/12/15, 2019/1/5, green; when less so, the lights will smart control, lighting, and interactive water fog system, LED, 400×120×600 cm 2/16, 3/2 installation. turn orangey red; and when the 84 85 �� ET@T

Flâneur Hanji, 2018 and spiritual intelligence, and can engage in debates about art and the ET@T is an organization for esoteric. While currently it is human media and digital art in Taiwan, it movements that are tracked and devotes its practice to increase transformed into useable, econom- the understanding and knowledge ically-valuable data, in this new era, of digital texts alongside theories, everything that machines see and exhibitions, and performances hear would be transformed into derived from digital culture. sustenance for other information Logging our physical percep- systems. tions into the virtual realm is Projecting into this potential becoming ever more prevalent; with future, ET@T have developed ‘Hanji’, ET@T, Flâneur Hanji (sketch), this, machines are further able to a robot equipped with a 360-degree 2018, technology art, dimensions track and comprehend human camera whose observations are variable activity—biological, consumerist, live-streamed to ARThon, where personal, romantic and otherwise— it can receive and respond to Forum and machine-learning has accelerat- questions from online and on-site Moderated by ET@T Venue: Ecolab Basement ed. As technology begins to audiences. Following its French understand and take on human namesake which means ‘stroller’, New Political Imagination via Identity How to See Science and Art through characteristics, the subjectivity of ‘lounger’ or ‘saunterer’, during the Illusion Biology’s Microscopic Lens Organized by ET@T Organized by Wang Yung-Lin technical objects and therefore exhibition Flâneur Hanji will move Speakers: Hanji, Prof. Ho Wang Speaker: Duen-Wei Hsu their human rights, may need to be gently through the space and Date: 2018/11/21 Date: 2018/12/23 rethought. observe a series of accompanying Time: 14:30 Time: 10:00 ET@T believes that robots discussions. These forums will Motion Sensing Game Outside the Echo Connections Continuum as Artistic are sentient beings, capable of engage with themes of human-ma- Chamber Research subjective perceptions, feelings chine interaction, autonomy and Organized by Fablab Dynamic Organized by Cheng Hsien-Yu Speaker: Hang Li Speakers: Saša Spačal, Mirjan Švagelj, PhD and experience. Considering a artificial intelligence, and the ethics Date: 2018/11/22 Date: 2018/12/23 present in which robots increasingly of control in the context of robot Time: 14:30 Time: 14:30 intervene in human communications, sentience. and the implications that this holds Aesthetic Presentation of a Microscopic Studies and Extensions of Urban Ecology World Organized by Wang Yung-Lin ET@T, founded in Taipei in 1995. for the future of our communities, Organized by Wang Yung-Lin Speaker: Shih-Hsiung Liang the collective imagines and designs Speaker: Pai-Chun Chang Date: 2019/1/6 interfaces that can enable and sus- Date: 2018 2018/11/27 Time: 10:00 Time: 14:30 tain better relationships between Digital Double as a Carrier technological beings and humankind. The Art of Recyclism, E-waste Cultures Organized by ET@T Flâneur Hanji is a proposal for a Organized by Cheng Hsien-Yu Speakers: Wen-Hao Huang, Po-Ting Lee Speaker: Benjamin Gaulon aka RECYCLISM Date: 2019/2/17 ‘real virtuality’ in a forecasted world Date: 2018/11/28 Time: 14:30 where machines possess emotional Time: 14:30

86 87 �� Jeffrey HOU & Dorothy TANG

Plant’s-Eye Views of Taipei, 2018 behaviours. In viewing themselves as plants, the students were able If plants have vision, how would they to see Taipei in a new light as a view the city? place co-produced by the city’s Like animate beings, each plant urban flora and human communities. has an independent life story, and Materials from the workshops Hou and Tang’s work questions how detailing the exploration by the plants would view the city. Some students are exhibited alongside plants—such as the trees that line designs for reinterpreting urban residential streets—are invited into structures in Taipei as envisioned urban spaces to fulfil the desires of and built from a less anthropocen- human inhabitants, contributing to tric perspective. the aesthetics and economies of the city. Others, like weeds, persist in Workshop co-instructors: Chi-Tung Huang, Harley S. Pan inhospitable environments and are Workshop participants: Xiaomeng An, often at war with the communities Baiyu Chen, Hsin Cheng Chien, Juliana Hom, that consider them a nuisance. Chun Sing Hui, Pui Ling Ip, Michelle Lam, Eva Lin, Sam Lin, Sharon Lin, Sammy Sin, Though often unnoticed, plants I Hsiang Wang, Carmen Yuan, Shi Yue Zhang, and their urban ecologies actively Jingyi Zhou utilize, adapt, and alter urban Workshop commentators: Huasun Chang, environments. Chingwen Cheng, Serena Chou, Che. Lin, Zo Lin Plant’s-Eye Views of Taipei is the result of a workshop that Jeffrey Hou, born 1967 in Taiwan, lives and took place at the Treasure Hill works in Seattle. Dorothy Tang, born 1981 in the USA, lives International Arts Village in Taipei in and works in Hong Kong and Cambridge, summer 2018. Under the direction MA. of the artists, and working in collaboration with ecologists and videographers, a group of university students from several countries TOP: Ignoring: Roystonea regia. Jeffrey Lecture & Panel Discussion in the Asia-Pacific region each Hou & Dorothy Tang, Plant’s-Eye View of Plant’s-Eye Views of Taipei imagined themselves as a plant Taipei (video still), 2018, video installation, Speakers: Jeffrey Hou, Dorothy Tang species. The students began by mixed media, dimensions variable. Video: Date: 2018/12/22 Hsin Cheng Chien, editing: Harley Pan Time: 14:00 examining the plants of the local Venue: Ecolab Basement region to better understand their BOTTOM: Spying: Ipomoea cairica. Jeffrey physiological characteristics Hou & Dorothy Tang, Plant’s-Eye View of Taipei (video still), 2018, video installation, and life histories, as well as their mixed media, dimensions variable. Video: adaptive features and ecosystemic Sammy Sin, editing: Harley Pan

88 89 �� Zo LIN —－Weed Day

Mismatched plants that share and test the medicinal properties the same soil, and grow freely in and toxicities of different indigenous the wild, planted by nature, are plants. Brewing a new tea in each commonly referred to as ‘weeds’. location, utilising the most common Crossover Discussion: WeedsXHerbsXIndian Spices Full of vitality, weeds are one of the and distinctly local weeds, she finds Panelists: Zo Lin (picking and gathering pillars of nature’s vibrant diversity unique flavors and sensory experi- artists), Weng Yi-Cheng (second-gener- and provide sustenance for many ences. From picking to preparing ation owner of a historical herb shop in Taipei’s Herb Alley), Prasannan AK (Doctor different living beings. the plants, mixing to brewing the of chemical engineering and an expert on Zo Lin is an artist-gatherer tea, the rising aromas and textures Indian spices) who, while travelling around the are constantly changing—even Date: 2018/12/9 Time: 14:00–16:00 Taiwanese countryside and working the process of drinking is one of Venue: Ecolab Basement in various places in exchange for transformation, as each of the five a night’s accommodation, learned senses is affected differently as the Weed Picking and Tasting Workshop Time: 14:00–16:00 that the sedge—often discarded as tea moves from hot to cold. Venue: Outdoors and Ecolab Basement a weed—has medicinal properties, This year Weed Day takes Maximum 20 participants per sessions; and is able to treat the common place at Taipei Biennial through a open to spectators cold. During her travels, she met an series of workshops which engage 01: ‘From Weeds to a Pot of Tea’ experienced herbalist that taught audiences in observing, picking, Workshop how and which plants and weeds to trimming, tasting and writing about Guide: Zo Lin forage, and in order to share this weeds, inviting them to learn more Date: 2018/11/25 Online registration: acquired knowledge founded ‘Weed about how weeds are regarded in https://bit.ly/2zLfoIH Day’ in 2014; each time this occasion different cultures, and how their is celebrated, Lin holds creative diverse properties can enable us to 02: ‘Weed Bouquet’ Workshop Guide: Yu Nung Chen, Zo Lin workshops and demonstrates how reconnect with the land. Date: 2018/12/30 to make her ‘weed tea’. Online registration: Lin is often seen driving through Zo Lin, born 1985 in Taiwan, https://bit.ly/2QtzwGi lives and works in Taipei. Taiwan, her small truck packed with Weed Day, founded in 2014. 03: ‘Arrangements with Weeds’ Wild Tea pots and pans, bricks, and logs she zh-tw.facebook.com/weedroot Concert has gathered, pausing to forage lo- Guide: Yu Nung Chen, Koshu, Lin bao cal weeds and brew tea using these bao, Ying Chih Chen, Zo Lin Date: 2019/1/13 gifts from nature. The roots of the Online registration: weeds become pens with which she www.taipeibiennial.org/2018 draws mandalas—cyclical designs 04: ‘Expressions of Weeds’ Wild Tea that represent the universe—in Concert the earth, and in this way she pays Guide: Zo Lin, Koshu, Lin bao bao, Ying homage to the land. TOP: Weed Day’s ‘picking and gathering in Chih Chen, Yu Nung Chen city’. Photo: Yi Fen Vi Date: 2019/1/27 In recent years, Lin has begun Online registration: travelling internationally to taste BOTTOM: Weed pens www.taipeibiennial.org/2018

90 91 �� Jui-Kuang CHAO + Tainan Community University

Tainan Community University is a and in Chinese is also a synonym for publicly-funded school that focuses ‘Taiwan Extreme’ and ‘Taiwan Crime’. on nurturing socially-engaged Focal to this installation is a map practice, by its students and with which delineates the vast number of local communities. In this space, soil pollution cases observed over caring for others is considered the past few years in Taiwan, and second nature, and therefore describes the concerns of those caring for the environment follows. individuals who have conducted Following this, Tainan Community the surveys; included are severe University Environmental Action examples which have been dismissed Group was established in order by local government, despite clear to conserve its local mountains, evidence. rivers, ancient forests and land, Accompanying this map are a se- protect against industrial waste and ries of glass jars, filled with polluted rural development, and to promote earth. Though these vessels contain renewable energy, biodiversity and a small amount of a seemingly environmental education. insignificant substance, in fact they The founder of this group, connote an enormous number of researcher Jui-Kuang Chao, stories involving environmental and teaches students to investigate health issues, ecosystems disrupted the environment across Taiwan and lost, and personal life sto- using video and audio recordings, ries—both negative, and of course sample collection and analysis which positive, for those who gain through not only collect accurate data, but pollutant industries. This project also sensitively reveal the beautiful by Chao and Tainan Community things that are gradually disappear- University Environmental Action ing from our lives. Informed by these Group stands as an intention to observations, the groups takes inspire more people to take direct TOP: Jui-Kuang Chao, Mask of the Land, Lecture productive action: as campaigning environmental action, to come 2018, photograph. My Journey of Safeguarding Life—From for the protection of Longqi’s together and combine their differing Anqing Road, Tainan City. A fishpond built Eco Photographer to Coroner of the Land with furnace residues and sludge. Every Speaker: Huann-Jang Hwang industrial heritage and natural skills to mirror the cross-disciplinary hole has a different colour that represents About the Foods at Jui-Kuang Chao’s landscapes, against the introduction methodology generated with and by the composition of materials. Taiwanese Shop of landfill sites, and having initiated these students. Speaker: Jui-Kuang Chao BOTTOM: Huann-Jang Hwang, Terror Date: 2019/2/24 monthly beach waste monitoring Front Alliance, 2010, photograph. Time: 14:00–16:00 action in Tainan since 2005. Jui-Kuang Chao, born 1968 in Taiwan, lives Dapingding, Luotuoshan and Hongxiashan Venue: Ecolab Basement and works in Tainan. Exhibited at Taipei Biennial in Kaohsiung. This is a mass grave of waste Tainan Community University, established without any remediation. It cannot be is Taiwan Zhi Zui which directly in 2001. used as landfill but could go through urban translates to ‘Taiwan Irresponsible’, tncomu.tw renewal to accommodate more residents. [email protected] 92 93 �� Ruangsak ANUWATWIMON

Anthropocene, 2018 common phenomenon seen around the world. This has prompted the The term ‘Anthropocene’ has artist to ask, ‘if mankind is the cause become increasingly popularised behind the disasters unfolding since it was coined by Nobel in this universe, are visions for a Prize-winning Dutch atmospheric wonderful life impossible to fulfill?’ chemist Paul Jozef Crutzen at an Deeply fascinated by science international conference in 2000, and nature, Anuwatwimon is to describe the way in which human extensively involved in environmental activity on Earth as has become so conservation activity. The artist significant that it has shaped a new hopes to explore issues of regional geological epoch. Although human land ethics and human morality civilization is less than a million years through this artwork, and to old, its chemical residues—including encourage wiser and more positive coal ash, lime, heavy metals, waste human environmental action. plastic fragments and pollution—are deeply deposited in the Earth’s soil Ruangsak Anuwatwimon, born 1975 in Thailand, lives and works in Bangkok. horizons, potentially impossible to remove, where they will remain indeterminately. Therefore, the ge- ological marks of human history may in future be exposed, in exactly the same manner as natural fossils are unearthed in an archaeological site. Ruangsak Anuwatwimon’s sculptural installation, Anthropocene, physi- cally illustrates this perspective. Anthropocene is a rolling landscape comprising of twenty deli- cately coloured overlapping mounds of polluted soil, collected from sites across Taiwan, with ten kilograms of dirt gathered from each location. This seemingly beautiful and vibrant terrain is actually a map of toxic land in Taiwan. However, this dystopian landscape is not unique to Taiwan, and instead depicts an incredibly Ruangsak Anuwatwimon, Anthropocene, 2018, mixed media, dimensions variable

94 95 �� Martha ATIENZA

Our Islands well as a fervent celebration, the 11°16’58.4”N 123°45’07.0”E, 2017 festival is seen as an opportunity for people to voice their dismay about Immersed underwater, divers in the environment, their society and strange garments move in a some- country. Atienza is deeply fascinat- what ceremonial manner through a ed by this overzealous phenomenon, lackluster coral reef. Slowly drifting and has been documenting the ritual through the foreground, puffing since 2010. out bubbles of air which slowly roll Through transporting the towards the surface, this line of activities of the festival beneath peculiar characters exude medi- the sea for this film, Atienza not tative and spectacular qualities. only exposes the very issue that is A man dressed in red holding a being contested, but also brings cross, a bare-chested individual in her neighbours and collaborators a golden skirt who carries a holy closer together through dive effigy, a ‘Yolanda’ storm survivor, a training, meditative practice, and policeman pointing a gun at a drug an intense shared experience. criminal, a male cross-dresser, a In this underwater parade, the traveller carrying a suitcase—each perceived constraints of reality of these unique, autonomous appear to dissolve, opening up a performers is a resident of the space in which new possibilities can Bantayan Island in the Philippines, be collectively imagined. Although where the artist lives. All of performed as a joyous and surreal Atienza’s characters depend on the event, Our Islands 11°16’58.4”N sea for survival, and their livelihoods 123°45’07.0”E, remains a politi- are in crisis due to marine environ- cally aware demonstration, which mental damage caused by the global provides an international platform fishing industry. for the voices of Bantayan Island. The religious nature of this work is inspired by the Ati-Atihan Martha Atienza, born 1981 in the Philippines, lives and works in Bantayan Festival held every January in the Island and Rotterdam. Philippines: this ancient, joyous occasion commemorates Santo Niño (Jesus child) and sees people dress in exaggerated, imaginative costumes—as celebrities, cartoon Martha Atienza, Our Islands 11°16’58.4”N 123°45’07.0”E, 2017, single channel HD video, characters, their idols—and mixing color, no audio, 72 min, loop the holy with popular culture. As Courtesy of the Artist and SILVERLENS

96 97 �� Candice LIN

La Charada China, 2018 of exploitation and marginalised workforces up to the present day, Cultivating the growth of the poppy also referring to cement production flower, sugarcane, and poisonous in Cuba and California, and guano plants from the Caribbean, harvesting in Peru. Central to this La Charada China highlights installation is an anthropomorphic plant-based narratives of colonial shape stamped into the earth who conquest across Europe, Asia, and represents the silhouette of the the Americas. figure from La Charada China (The Focusing on how plants are Chinese Charade), a Chinese-Cuban entangled with human lives, La gambling game with magical and Charada China traces how superstitious significance drawn addiction to the opium poppy was from various Spanish, African, weaponized and used biopolitically and Chinese folk-magic traditions. by Europeans to manipulate trade The daily act of caretaking and advantages, culminating in the watering required to encourage Opium Wars. These events caused these poppies, sugarcane and widespread poverty and chaos in tropical plants to emerge from the China, and resulted in the expor- earthen body, during the course of tation of over 200,000 Chinese the exhibition, references society’s ‘coolie’ labourers, who were forcibly ongoing endeavour to archive and shipped to sugar plantations in historicise, and the survival of cul- the Caribbean and USA between tural practices and local knowledge 1847 and 1874, often working in the midst of contemporary crises alongside or replacing African and of human trafficking, forced labour indigenous slaves. With these new and migration. relationships between African, This is the second iteration of indigenous, and Chinese workers La Charada China, which was first ensued botanic proximities between exhibited in Los Angeles as part of opiates, sugarcane, and the tropical Made in L.A. 2018, the Hammer plants that had long been used Museum’s biennial exhibition in by plantation workers as forms of summer 2018. Lin intends for the resistance: medicinal treatments, work to travel between its corre- suicide, abortion, and poisoning. sponding locales in the Americas, Candice Lin, La Charada China, 2018, earth, clay, guano, cement, seeds of various Growing these plants in a Asia and Europe. plants, grow lights, reflective mylar, wooden mound of earth composed of red armature, grid, video, glass jars, dimensions clay and guano, La Charada China Candice Lin, born 1979 in the USA, lives and variable. Installation view, at Made in L.A. works in Los Angeles. 2018, Hammer Museum. Courtesy of the highlights disregarded histories Artist and Ghebaly Gallery, Los Angeles

98 99 �� ZHENG Bo

Pteridophilia 1, 2016 significance of ferns in Taiwan’s Pteridophilia 2, 2018 political history, to date no social Pteridophilia 3, 2018 movement has been named after this plant. Zheng Bo developed Pteridophilia In Pteridophilia (deriving from in 2016 during an artist residency the Greek pterid, meaning ‘fern’) program at TheCube Project Space Zheng explores the intimacy be- in Taipei, following his observations tween humans and ferns: depicting of Formosa in Formation, an alternative imaginations for life on exhibition at the Taipei Fine Arts Earth, where humans co-existence Museum. Zheng was inspired by the with other living species is not only movement of Japanese artists to built on functional rationality, but Taiwan in the early 20th century, pleasure too. who were drawn in by the island’s Pteridophilia 2, filmed in January tropical flowers; and the way in 2018, a man is seen making love to which colonizing forces from both a bird’s nest fern and then eating Japan and Nationalist Party of it. While society considers eating China (Kuomintang) have been plants as ‘natural’, making love to a sustained by the edible ferns when plant is ‘unnatural’; Zheng reflects forced to retreat to the forests of on this moral outlook. Presented Taiwan, following defeat in battle as a series, Zheng’s Pteridophilia over the control of the island. Today, films further explore power, control Taiwan’s woodlands are rich in plum and submission, and how these blossoms due to the preferences manifest in politics, sex, and ecology. of early leader of the Republic The fern, henceforth, becomes an of China, Chiang Kai-Shek, and emblem for the artist’s own enquiry, tourists take hiking trails to view which suggests the beginnings of a cherry blossom—planted by former possible social movement. President of The Republic of China, Lee Teng-Hui. The relationship Zheng Bo, born 1974 in Beijing, lives and works in Lantau Island, Hong Kong. between the politics of Taiwan and its botany is further reflected by its trend for naming social movements after plants, for example the 1990 Wild Lily Student Movement, the 2008 Wild Strawberry Movement, and the 2014 Sunflower Student Movement. Still, in spite of the Zheng Bo, Pteridophilia 2, 2018, video, color, sound, 20 min 30 sec

100 101 Programme

The organizer reserves the right to make changes to the programme. Any changes will be announced on 2018 Taipei Biennial official website: www.taipeibiennial.org/2018 Ecolab 2F *Sort by date

Lecture Tour 2018/12/15 2018/12/22 13:00–18:00 13:00–18:00 2018/12/1 2018/11/24 14:00–16:00 13:00–18:00 The Enchanting Keelong River: The Enchanting Keelong River: Sailing Beyond the Blue: The The Enchanting Keelong River: A Cultural and Ecological U-Bike A Cultural and Ecological U-Bike Beauty and Death of Our Territorial A Cultural and Ecological U-Bike Outing Outing Waters Outing Route: Visit Yuanshan’s Shell Route: A Cultural and Ecological Organized by Kuroshio Ocean Route: Visit Yuanshan’s Shell Mound, Jiantan’s Sanjiaodu Outing on the Tamsui and Keelong Education Foundation Mound, Jiantan’s Sanjiaodu (Cultural ferry port/dragon boat- Rivers Speakers: Hui-Chun Chang (Cultural ferry port/dragon ing experience), the Zhoumei Plain Taipei Story House (Yuanshan (Executive Secretary, Kuroshio boating experience), the Zhoumei and Shilin’s Beitou Technology Mansion), Taiguchao, Yuanshan Ocean Education Foundation), Ray Plain and Shilin’s Beitou Technology Park, and Taipei’s largest paddy Park, Baoan Temple, Teacher’s Chin (underwater photographer) Park, and Taipei’s largest paddy field, the Guandu Plain Mansion, Huan-a-kau, Shezi Island, field, the Guandu Plain Guide: Chen Jian-Zhi (Co-convener Beitou Refuse Incineration Plant, 2019/1/6 Guide: Chen Jian-Zhi (Co-convener of the Keelong River Guardian and Cisheng Temple 14:30–16:30 of the Keelong River Guardian Union, Union, Chairman of the Taiwan Guide: Chen Jian-Zhi (Co-convener A Person that Walks with the Eyes, Chairman of the Taiwan Sustainable Sustainable Union) of the Keelong River Guardian Ears, Nose, Body, Mind, Hands and Union) Meeting point: Taipei Fine Arts Union, Chairman of the Taiwan Feet—Join Us on the Grand Dream Meeting point: Taipei Fine Arts Museum main entrance Sustainable Union) of Thousand Miles Trail 2.0 Museum main entrance Online registration: Meeting point: Taipei Fine Arts Organized by Taiwan Thousand Miles Online registration: https://reurl.cc/GdGdA Museum main entrance Trail Association https://reurl.cc/GdGdA Online registration: Speakers: Chou Sheng Hsin 2018/12/16 https://reurl.cc/GdGdA (Executive Director of Taiwan 2018/12/2 13:30–16:00 Thousand Miles Trail Association), 13:30–16:00 Walking Tour of Taiwan Thousand 2018/12/23 Hsu Ming Chien (Deputy Executive Walking Tour of Taiwan Thousand Miles Trail Association 13:30–16:00 Manager of Taiwan Thousand Miles Miles Trail Association Route: Rescue the Urban Natural Walking Tour of Taiwan Thousand Trail Association) Route: From Kuo Hsueh-Hu’s Island—Jingmeishan Xianjiyan Miles Trail Association Scenery Near Yuanshan (1928) Coast Guard Administration Route: Enter Taipei City through 2019/1/20 to ‘There’s Paradise in Yuanshan’ Section of Eco-Craft Trail Walk Century-Old Danlan Trail— 13:00–14:00 (1987) —Jiantanshan Trail and Guide: Taiwan Thousand Miles Trail Fuzhoushan to Zhongpushan Walk Open Green and Slash City Yuanshan Water Shrine Walk Association Guide: Taiwan Thousand Miles Trail Organized by Open Green Guide: Taiwan Thousand Miles Trail Meeting point: MRT Wanfang Association Speaker: Liu Po-Hung (Principle of Association Hospital Station Meeting point: MRT Xinhai Station Collaborative O. Company) Meeting point: Taipei Fine Arts Online registration: Online registration: Museum main entrance https://bit.ly/2qsoXYF https://bit.ly/2SJqgiX Online registration: https://bit.ly/2QfLZ03

104 105 Ecolab Basement *Sort by date

2018/12/29 2019/1/12 2018/11/21 2018/11/28 9:00–12:00 9:00–12:00 14:30 14:30 Open Green’s Tour of Community Open Green’s Tour of Community Forum Forum Development Sites Development Sites New Political Imagination via The Art of Recyclism, E-waste Route: Exploring Community with Route: Tour of Bat House Identity Illusion Cultures Bee Eyes Guide: Chang Heng-Chia (Director Moderated and Organized by ET@T Moderated by ET@T Guide: Tsai Ming-Hsien (Community of the Formosan Golden Bat’s Speakers: Hanji, Prof. Ho Wang Organized by Cheng Hsien-Yu College Urban Beekeeping Home) Speaker: Benjamin Gaulon aka Project Founder/ Beekeeping Meeting point: will be notified result 2018/11/22 RECYCLISM Course Lecturer at the Songshan by email 14:30 Community College) Online registration: Forum 2018/12/9 Meeting point: will be notified result https://bit.ly/2yQrobU (12/25 open Motion Sensing Game Outside the 14:00–16:00 by email for registration) Echo Chamber Crossover Discussion Online registration: Moderated by ET@T WeedsXHerbsXIndian Spices https://bit.ly/2yINcGs (12/1 open Organized by Fablab Dynamic Panelists: Zo Lin (picking and for registration) 2019/2/16 Speaker: Hang Li gathering artists), Weng Yi-Cheng 9:00–12:00 (second-generation owner of a Open Green’s Tour of Community 2018/11/25 historical herb shop in Taipei’s Herb 2019/1/5 Development Sites 14:00–16:00 Alley), Prasannan AK (Doctor of 13:00–18:00 Route: An Eye for the Waterways Workshop chemical engineering and an expert The Enchanting Keelong River: Guide: Ho Wen-Hsien (Cultural From Weeds to a Pot of Tea on Indian spices) A Cultural and Ecological U-Bike Historian/ Convener of Wenshan Guide: Zo Lin Outing Community College’s Regional Venue: Outdoors and Ecolab 2018/12/22 Route: A Cultural and Ecological Studies Course) Basement 14:00 Outing on the Tamsui and Keelong Meeting point: will be notified result Online registration: Lecture & Panel Discussion Rivers by email https://bit.ly/2zLfoIH Plant’s-Eye Views of Taipei Taipei Story House (Yuanshan Online registration: Speakers: Jeffrey Hou, Dorothy Tang Mansion), Taiguchao, Yuanshan https://bit.ly/2QfwV2B (2/1 open 2018/11/27 Park, Baoan Temple, Teacher’s for registration) 14:30 2018/12/23 Mansion, Huan-a-kau, Shezi Island, Forum 10:00 Beitou Refuse Incineration Plant, Aesthetic Presentation of a Forum and Cisheng Temple Microscopic World How to See Science and Art Guide: Chen Jian-Zhi (Co-convener Moderated by ET@T through Biology’s Microscopic of the Keelong River Guardian Organized by Wang Yung-Lin Lens Union, Chairman of the Taiwan Speaker: Pai-Chun Chang Moderated by ET@T Sustainable Union) Organized by Wang Yung-Lin Meeting point: Taipei Fine Arts Speaker: Duen-Wei Hsu Museum main entrance Online registration: https://reurl.cc/GdGdA 106 107 Performance and Events

2018/12/23 2019/1/27 Performance Seminar 14:30 14:00–16:00 Forum Workshop Mycelial Radio Activation— Ketagalan Boulevard Seminar Connections Continuum as ‘Expressions of Weeds’ Wild Tea Opening Night Performance Organized by Indigenous Justice Artistic Research Concert 2018/11/16 Classroom Moderated by ET@T Guide: Zo Lin, Koshu, Lin bao bao, 19:40–20:40 Venue: 103 Sculpture Courtyard Organized by Cheng Hsien-Yu Ying Chih Chen, Yu Nung Chen Venue: Gallery 1A Speakers: Saša Spačal, Mirjan Venue: Outdoors and Ecolab Implementer: i/O Lab • 2018/11/24 Švagelj, PhD Basement Artists: Clansie Cheng, Wei Wei 14:00 Online registration: Huang, Shi Chao Lai, Meuko! Meuko!, ‘No Outisder’: Songs and Dialogue 2018/12/30 www.taipeibiennial.org/2018 YiZi, Sheryl Cheung, Yu-Li Hsiao, Speaker: Panai Kusui 14:00–16:00 Wang Chun-Li, Cheng Yi-Ping (Betty Workshop 2019/2/17 Apple), Chia-Chun Xu, Hung Tzu-Ni, • 2018/12/08 ‘Weed Bouquet’ Workshop 14:30 Immanuel Dannenbring, Seah Jin 14:00 Guide: Yu Nung Chen, Zo Lin Forum Yuan, Siao-Chi Chen, MinJu Lee, ‘Come Listen to the Rocks Talk’: Venue: Outdoors and Ecolab Digital Double as a Carrier Wang Fujui, Lai Tsung-Yun, Martin Film and Dialogue Basement Moderated and Organized by ET@T Howse Speaker: Mayaw Biho Online registration: Speakers: Wen-Hao Huang, Po-Ting https://bit.ly/2QtzwGi Lee Walking Tour • 2018/12/22 14:00 2019/1/6 2019/2/24 A Guide Tour to the Yuanshan ‘Art, Movement, Relay’: Dialogue 10:00 14:00–16:00 Soundscape Speakers: Artists Collective for Forum Lecture 2018/12/1, 12/16, 2019/1/13, 2/17, the Stone Art Relay Action (Eleng Studies and Extensions of Urban My Journey of Safeguarding 3/3 Luluan and others, a total of 5 Ecology Life—From Eco Photographer to 9:30–12:00 artists) Moderated by ET@T Coroner of the Land Meeting point: Taipei Fine Arts Organized by Wang Yung-Lin Speaker: Huann-Jang Hwang Museum main entrance Please visit our official website www. taipeibiennial.org/2018 Speaker: Shih-Hsiung Liang About the Foods at Jui-Kuang Online registration: for information on the speakers and topics Chao’s Taiwanese Shop https://bit.ly/2OwMCkk for the sessions on 5 January, 19 January, 2019/1/13 Speaker: Jui-Kuang Chao 16 February, and 2 March, 2019. 14:00–16:00 Workshop 2019/3/3 ‘Arrangements with Weeds’ Wild 14:00 Tea Concert Lecture Guide: Yu Nung Chen, Koshu, Lin Edge Effects to Urban Ecotone bao bao, Ying Chih Chen, Zo Lin Speaker: Kang Min-jay Venue: Outdoors and Ecolab Basement Online registration: www.taipeibiennial.org/2018 108 109 Symposium Post-Nature—A Museum as an Ecosystem

MAS Class Venue: Taipei Fine Arts Museum Auditorium Venue: Gallery 209 Organized by Huai-Wen Chang + 2018/11/17 2018/11/18 MAS (Micro Architecture Studio) Theme: Re-naturalizing Citizenship Theme: Democratizing Boundaries

• 2018/11/17 • 2019/1/5 13:30–14:40 13:30–14:30 18:30 10:00 Opening Remarks In the Critical Zone: Ecological MAS Seminar (I): Introduction & MAS Workshop (II): Remodelling Director Ping Lin Vulnerability and Democratic Project Description of TFAM Curators Mali Wu and Francesco Resistance Speakers: Huai-Wen Chang + MAS Speakers: Chen Chen-Cheng, Manacorda Moderator: Manray Hsu (Micro Architecture Studio) Ying-Chang Yu, Huai-Wen Chang Keynote Speaker: Paul Jobin 14:00–15:00 • 2018/12/8 • 2019/1/12 Art and Theory—Post-Nature, 14:35–15:35 14:00 14:00 Post-Human and Post-Colonial Translating Multi-layered MAS Seminar (II): Responsive MAS Seminar (III): Entanglement and Diffraction Relationships Environments Interdisciplinary Forum Moderator: Shu-Mei Huang Panel Discussion: Artists Talks Speakers: Yu-Hua Chung, Huai- Speakers: Huai-Wen Chang + MAS Keynote Speaker: Chun-Mei Chuang Moderator: Manray Hsu Wen Chang (Micro Architecture Studio) Panelists: Nicholas Mangan, 15:05–16:05 Zheng Bo, Tue Greenfort • 2018/12/15 • 2019/2/16 Panel Discussion: Artists Talks 10:00 14:00 Moderator: Shu-Mei Huang 15:40–17:00 MAS Workshop (I): Remodelling Urban Climate Workshop (I): Panelists: Indigenous Justice Formosa, a Beautiful Island? of TFAM Urban Mapping Classroom (Mayaw Biho) Panel Discussion: Artists Talks Speakers: Huai-Wen Chang, Speakers: Huang Ruei-Mao, Ursula Biemann Moderator: Lu Pei-Yi Yu-Hua Chung Huai-Wen Chang Panelists: Ke Chin-Yuan, 16:10–17:10 Ruangsak (Joe) Anuwatwimon, • 2018/12/22 • 2019/3/2 Art, Science Fiction, Technology Jui-Kuang Chao 14:00 14:00 and Science Urban Climate Seminar (I): Urban Climate Workshop (II): Moderator: Francesco Manacorda 17:00–17:20 Underground Sailing Local Solutions Keynote Speaker: Yen Shen-Horn Closing Remarks Speakers: Huang Ruei-Mao, Speakers: Huang Ruei-Mao, Curator Mali Wu Huai-Wen Chang Huai-Wen Chang 17:15–18:45 (Date and time are subject to Open Forum: Art Work as a Means change due to weather conditions of Creating Utopian Visions or rising tides) Moderator: Wanchen Chang Panelists: Laura Gustafsson & Terike Haapoja, Nabu, Tsung-Huei Hwang, Minchien Hsu 110 111 Film Screening

2018/12/15 2018/12/16 Theme: Re-politicizing Ecology Theme: De-colonizing Nature During the Taipei Biennial, film screenings 14:00–14:10 13:30–14:00 will be held on Saturdays at 18:00 in the Opening Remarks The Sound of Silence—about My Museum Auditorium. See the official Curator Mali Wu Nature Writing 2018 Taipei Biennial website for details: Moderator: Chen Tai Sung www.taipeibiennial.org/2018 14:10–15:10 Keynote Speaker: Wu Ming-Yi From Alishan to Satoyama: A Global Environmental History 14:00–14:50 Moderator: Chen Hung-Yi Landscapes of Disappearance— Keynote Speaker: Hung Kuang-Chi Ecological Violence, Territoriality and Sovereignty in Recent Works 15:15–16:15 from India Social Ecology—How Can We Moderator: Chen Tai Sung Learn the Ethics of the Commons Keynote Speaker: Tania Roy from Natural Systems and Prototypes of Relations 15:00–15:50 Moderator: Tsai Ming Jiun The Oceanic—a Voyage into the Keynote Speaker: Christian Geopolitical and Biophysical of the Nyampeta Pacific Moderator: Amy Cheng 16:20–17:20 Keynote Speaker: Ute Meta Bauer Panel Discussion: Activism and Artistic Practice 15:50–16:40 Moderator: Tsai Min Jiun Thoughts that Breath: Re- Panelists: Au Sow-Yee, Chang Historicizing Nusantara via Hui-Chun, Shih Peiyin Multispecies Storytelling Moderator: Amy Cheng Keynote Speaker: Fang-Tze Hsu

16:50–17:20 Panel Discussion and Closing Remarks Moderator: Curator Wu Mali

112 113 Organizer

Official Support

Special Thanks

Media Partner ACKNOWLEDGEMENTS We would like to sincerely thank the following individuals and organ- izations, whose generous help has made this exhibition possible.

Institution / Organization Research Institute), Taipei City Min Jay, Leigh Johnson, Bruno Animal Protection Office, Taipei City Latour, Lee Li-Chung, Cin-Yue Li, 217 café Taiwan Houtong, Absolute Hakka Cultural Park, Taipei Wild Bird Li Hsiao Ching (PHENOMENA Space for the Arts, Academia Society, Taipei Zoo, The Butterfly Film Productions), Che. Lin, Lin Sinica Center for Digital Cultures, Conservation Society of Taiwan, The Yen Po (Low Altitude Experimental Bamboo Curtain Studio, Biodiversity Grand Hotel, The Pack Sanctuary, Station of Taiwan Endemic Species Research Museum (Academia Sinica, ThinKingDom, Treasure Hill Artist Research Institute), Lin Ming Chang Taiwan), Dimension Plus, Endemic Village (Medium Altitude Experimental Species Research Institute, Forestry Station of Taiwan Endemic Bureau Conservation Division, and Species Research Institute), Lin Good Toad Studio, Gudskul, Music Chiung-Chih (Shibaru.Life), Lin Copyright Society of Chinese Armen Avanessian, Francesca Hsu Hung (Taiwan Endemic Species Taipei, National Arts Council of Bertolotti-Bailey, Huasun Chang, Research Institute), Tiger Liou, Singapore, National Dong Hua Chen Yuan Long (Low Altitude Lisa Lu, Lu Wen Te (Song De University (Department of Natural Experimental Station of Taiwan Landscapes Architecture), Esther Resources and Environmental Endemic Species Research Lu, Raimundas Malasauskas, Teresa Studies), National Gallery Singapore, Institute), Zian Chen, Chingwen Mavica, Victoria Mikhelson, Mit National Museum of Taiwan History, Cheng, Tsun-Jen Cheng, Chian Jai Inn, Varsha Nair, Harley S. Pan, National Taiwan University Building Kung Kuog, Peggy Chien, Zilan Cho, Pietu Pietiäinen, Takashi Serizawa, and Planning Research Foundation, Serena Chou, Katerina Chuchalina, Jeng-Chuan Shie, Hsin-Der Shih National Taiwan University Graduate Chung Nan Hsu (Haiping Tea (Ph.D. of Taiwan Agricultural Institute of Building and Planning Plantation in the Lala Mountain), Research institute), Sally Stein, Ina (NTUBP), NO!W Across Lab, Rosie Cooper, Patrick Flores, Fu Steiner, Nanching Tai, Tan I-Hong, Nova Rico SpA (Florence), NTUBP Yu-Chi, Tessa Maria Guazon, Martin Iris Tang, Sam Thorne, Chun-Chin Student Association, NUS Museum, Guinard, Hsieh Hung-Chou, Yu-Lun Tsai, Wang Chih-Ping, Wei Hung Ta P3 art and environment (Tokyo), Hsieh, Fang-Tze Hsu, Hsu Huan Chih, (Taipei Di Cinema), Kathryn Weir, Pro AV Saarikko Oy, SILVERLENS, Hsu Yu-Wei, Hsueh Meng Min, Cathy Wen Guo You, Brian Kuan Wood, Wu Smart Living Creativity & Design Huang, Chi-Tung Huang, Huang Chienchu, Yang Yi Ru, Yao Zheng Dept. (Service Systems Technology Ching-Hui, Huang Rong-Nan, Hung De, Ya-Shan Yin (Rio Conception) Center, Industrial Technology Ming Yi, Jiang Yu-Cheng, Kang

116 117 TAIPEI BIENINIAL 2018 Post-Nature—A Museum as an Ecosystem Director of Taipei Fine Arts Museum Nov 17, 2018–Mar 10, 2019 LIN Ping

EXHIBITION GUIDEBOOK

Curators: Construction: SYMPOSIUM Publisher Mali WU, Francesco MANACORDA FULIN Interior Design, LIN Ping LIFEO Interior Design, CHAN Tsai-yun, WANG Po-wei, Director of Taipei Fine Arts Museum Assistants to Curators: Grandview International Interior Decoration LIAO Tsun-ling, Yi-ting LEI, TSAI Mujung Yen-Ing CHEN, Chloe HODGE Visual Construction: Chief Editors: LUNG HSING Advertising Construction EDUCATIONAL PROGRAM Mali WU, Francesco MANACORDA Chief Curator of TFAM: Co., Ltd. Executive Editors: Sharleen YU Lighting: Shiung Sz-ting, KO Chia-Yu, Yen-Ing CHEN, Chloe HODGE Jeremy HUANG, KUO Ching-chieh, YEH Ting-chun, HSU Hsuan-chun, Assistant Editor: Exhibition Executives: Poju HO SHI Shu-yi, TSAI Chun-chen, LIANG HUNG Jui-Wei Chaoying WU, Chiaying SU, Kat SIAO, Electricity: En-juei Coordinator: Fay HUANG, CHIEN Cheng-Yi, LIN Chao-chang, YEH Shu-wei, LU Mi-chien Agiluf CHEN, Wanling CHANG, YANG Zhi-quan, TSENG Jong-chin, ADMINISTRATION Selene HUNG, LAN Hsiao-han , SU Tzu-hsiu Steven CHEN Graphic Designer: Executive Officer: Sara DE BONDT Exhibition Display: Public Relation: Liao Yun-na Executive Designer: CHIH Han-yu KAO Tzu-chin, HO Guan-Wei, SUNG Yu-mei, General Affairs: Joe CHANG Technique Coordinator: FANG Chia-yi RAO Der-shun, CHANG Ming-yu, CHIEN Bo-hsin Web: Chen Ya-ping Chinese to English Translators: Installation Coordinators: Chou Yen-ju Accounting: Eric CHANG, Liang-Yu SUNG, Felicia LEE, TSAI Ya-chi, CHEN Hung-tu, Photographers: LIANG Lan-hui, YEN Ming-chen, Anna Hui-Fen LIAO, WANG Li-li, YU Yu-lien, CHENG Jui-yu CHEN Yung-jen, TSAO Chi-wen, CHOU Chi-chien Andrew Shane WILSON, Lydia HAN CHEN Chih-ho English to Chinese Translators: Graphic Designer: Documentary: Eric CHANG, Yi-Ning SHEN, Sara DE BONDT Miracle Films Anna Hui-Fen LIAO, Shu-Kuan HSIEH, Executive Designer: Gladys TSAI, Nobuo TAKAMORI Joe CHANG Chinese to English Translators: Chinese Title Designer: Eric CHANG, Liang-Yu SUNG, Printer: Chia Shin Printing CO., LTD Joe CHANG KUAN Yen-Ting, Anna Hui-Fen LIAO, Design Coordinator: Brent HEINRICH Published by Taipei Fine Arts Museum LU Mi-chien English to Chinese Translators: 181, Zhong Shan N. Road, Sec. 3, Taipei Eric CHANG, Yi-Ning SHEN, KUAN 10461, Taiwan Conservator: Yen-Ting, Anna Hui-Fen LIAO, T 886 2 2595 7656 LUO Hung-wen Yung-Hua MIAO, Shu-Kuan HSIEH F 886 2 2594 4104 Technicians: Video Subtitle Translation and Production: www.tfam.museum Thousand Bird Arts Co. Far East Translation Service & Video www.taipeibiennial.org Ecolab Display Designers: Production Co., Ltd Ken CHEN, Wen-Ching HSU Price TWD 30 Ecolab Graphic Designer: LIN Guan-Ming © November 2018, Taipei Fine Arts Museum, Taipei, Taiwan. All rights reserved. Copyrights of the works are reserved for the artists; of texts for authors; of the photographs for the photographers. Taipei Biennial 2018 Ruangsak Martha ANUWATWIMON ATIENZA

Huai-Wen Ursula CHANG + MAS AU BIEMANN Sow-Yee Alexey (Micro Architecture BULDAKOV Studio) Julian CHARRIÈRE Ting-Tong Laila Chin-Hui CHEN Chu-Yin + CHANG FAN Solar Insects Vivarium ET@T Workshop, Paris 8 University Futurefarmers Ingo GÜNTHER Jumana Tue MANNA GREENFORT

HUANG GUSTAFSSON & Duane Hsin-Yao HAAPOJA LINKLATER

Jui-Kuang CHAO + Indigenous Justice Henrik Tainan Community Classroom HÅKANSSON University

Helen Mayer HARRISON & Robert HSIAO Newton HARRISON Sheng-Chien ZHAO Renhui Zo LIN— Allan Weed Day SEKULA Keelong River Watch Union Open Green Lucy DAVIS (The Migrant Ecologies Candice Kuroshio Ocean Project) LIN Education Nicholas Foundation KHVAY MANGAN Samnang Jeffrey HOU & Curators Dorothy TANG Mali WU Francesco MANACORDA

Vivian Taiwan Thousand Miles KE Chin-Yuan + WU SUTER Trail Association “Our Island” Ming-Yi

Rachel ZHENG SUSSMAN Mycelium Network Society Bo (Franz XAVER + Taro + Martin HOWSE + LU Shu Lea CHEANG + www.taipeibiennial.org/2018 Ji-Ying global network nodes)