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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