Death. and Life of 死而復生 - PDF

想像 Death 的 and Life of 死而復生 Fiction Modern Monsters / Death and Life of Fiction Taipei Biennial 2012 Taipei Fine Arts Museum 181, Zhong Shan N. Road, Sec. 3, Taipei Other venue The Paper Mill 31, Fude

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想像 Death 的 and Life of 死而復生 Fiction Modern Monsters / Death and Life of Fiction Taipei Biennial 2012 Taipei Fine Arts Museum 181, Zhong Shan N. Road, Sec. 3, Taipei Other venue The Paper Mill 31, Fude Road, Shihlin Dist., Taipei Exhibition Maps 8 Foreword 17 Wei-Gong Liou Preface 19 Hai-Ming Huang Introduction 21 Anselm Franke 01 Hannah Hurtzig Anton Vidokle 30 Hu Fang 03 Pak Sheung Chuen Willem Oorebeek Yu-Cheng Chou Simon Fujiwara Yervant Gianikian 40 Angela Ricci Lucchi 08 Maryam Jafri John Akomfrah Rajkamal Kahlon Joven Mansit 48 12 Harun Farocki Kao Chung-Li Fernando Bryce Liu Ding Joachim Koester Jompet Kuswidananto The Museum 62 of the Monster That Is History 19 Elisa Strinna Adam Avikainen Angela Melitopoulos 72 Maurizio Lazzarato 22 Andreas Siekmann Rosemarie Trockel Ashish Avikunthak The Museum 80 of Crossings 26 Danh Vo Hsu Chia-Wei Yin-Ju Chen Pratchaya Phinthong Wei-Li Yeh Peter Friedl Roee Rosen Jimmie Durham Andrea Geyer The Otolith Group Omer Fast Luis Jacob The Museum of Rhythm Marysia Lewandowska 112 Neil Cummings 40 Eric Baudelaire Chia-En Jao Boris Ondreička Virlani Hallberg The Museum of Gourd Jason Dodge Sun Xun Chang Chao-Tang Teng Chao-Ming The Museum of 134 Ante-Memorials 50 Chen Chieh-Jen The Museum of 140 the Infrastructural Unconsciousness 52 Wei-Li Yeh Jakrawal Nilthamrong Maria Thereza Alves Years Project 150 Programme 152 Acknowledgments 154 8 First Floor 01 Hannah Hurtzig 02 Anton Vidokle, Hu Fang 03 Pak Sheung Chuen 04 Willem Oorebeek 05 Yu-Cheng Chou 06 Simon Fujiwara 07 Yervant Gianikian Angela Ricci Lucchi 08 Maryam Jafri 09 John Akomfrah 10 Rajkamal Kahlon 11 Joven Mansit 12 Harun Farocki 13 Kao Chung-Li 14 Fernando Bryce 15 Liu Ding 16 Joachim Koester 17 Jompet Kuswidananto 18 The Museum of the Monster That Is History 19 Elisa Strinna 20 Adam Avikainen 21 Angela Melitopoulos Maurizio Lazzarato 22 Andreas Siekmann 10 Second Floor 23 Rosemarie Trockel 24 Ashish Avikunthak 25 The Museum of Crossings 26 Danh Vo 27 Hsu Chia-Wei 28 Yin-Ju Chen 29 Pratchaya Phinthong 30 Wei-Li Yeh 31 Peter Friedl 32 Roee Rosen 33 Jimmie Durham 34 Andrea Geyer 35 The Otolith Group 12 Third Floor 36 Omer Fast 37 Luis Jacob 38 The Museum of Rhythm 39 Marysia Lewandowska Neil Cummings 40 Eric Baudelaire 41 Chia-En Jao 42 Boris Ondreička 43 Virlani Hallberg 44 The Museum of Gourd 45 Jason Dodge 46 Sun Xun 47 Chang Chao-Tang 48 Teng Chao-Ming 49 The Museum of Ante-Memorials 14 Paper Mill 50 Chen Chieh-Jen 51 The Museum of the Infrastructural Unconsciousness 52 Wei-Li Yeh 53 Jakrawal Nilthamrong Off-site 54 Maria Thereza Alves Foreword 17 The Taipei Biennial is a major event of international cultural exchange held biannually and supported by the Taipei city government. Maturing and expanding since its inaugural edition in 1998, the Biennial has become a vital cultural dynamo and asset for Taipei, if not all of Taiwan. At home and around the world, the exhibition has taken on special significance, and we look forward to each edition every two years with great anticipation and interest. Numerous new works featured at the Biennial in recent years have been produced on site in Taiwan, many of which reverberate with the socioeconomic zeitgeist both internationally and locally marking the exhibition with the traits of internationalization, localization, and closeness to social reality. The biannual event not only provides the local community insight into signature development in contemporary art, but also offers audiences a multifaceted viewing experience, while further acting as a vital platform of cultural dialogue between Taiwan and the international community. The expansion of this platform over the years will serve as a reference base for future key historical accounts. Over its nearly 20-year history, the exhibition has not only endured as Taiwan s flagship contemporary art forum, but has had a huge impact on the creation and development of Taiwanese contemporary art. Each edition of the Taipei Biennial gives creative people across the cultural community the finest creative prototypes and references at the moment, stimulating development across all sides of the cultural realm. This edition of the Taipei Biennial, the eighth, opens on Education Day in Taiwan, indirectly signifying the essence of the 2012 Biennial that a biennial exhibition woven from numerous stories, documents, writings, videos and other media requires the audience s active participation and feedback. I would like to express my sincerest appreciation to our curatorial team, led by guest curator Anselm Franke, and the contributions and efforts of the more than 80 participating artists. Further gratitude also goes out to all the institutions and partners that have supported the Biennial over the years. We are especially appreciative of the ongoing support of the cabinet-level Ministry of Culture (formerly the Council for Cultural Affairs) as well as the continued policy support and trust of successive city government administrations, without which we could not keep the biennials going. This abiding policy support in particular indicates a cultural approach to national administration and a global perspective. Finally, best wishes for another successful Taipei Biennial. Wei-Gong Liou Commissioner Taipei City Department of Cultural Affairs Preface 19 The planning and presentation of the Taipei Biennial 2012 coincides with a time of tumultuous change in our world, as an unprecedented onslaught of natural and manmade disasters hit with great force. Drastic swings in weather due to climate change, rapidly melting poles, European debt and global economic crises, and skyrocketing unemployment are accompanied by earthquakes, tsunamis, typhoons and flooding, while those areas not inundated with water can ignite into wildfires under the blazing sun. The earth and the people that inhabit her today, to borrow a Chinese phrase, are besieged under deep water and scorching fire. And yet, like cats with nine lives, biennial exhibitions are going strong all around the globe. Not only have they seemingly remained strong in quantity, a number of second-tier cities are even eagerly preparing biennials of their own. And so it seems that the biennial continues to act as an important voice raising a city s profile, and participants in various capacities imagine and anticipate biennials in myriad ways. As the worldwide biennial phenomenon and its contexts exert a strong impact on the development of contemporary art, what can a biennial contribute amidst the deep waters and scorching fires around the world? Recent editions of the Taipei Biennial have endeavored to respond to this question. The Taipei Biennial 2012 is curated by Anselm Franke, who enlisted the participation of more than 40 artists and collectives. Somewhat another 40 artists are featured in the mini museums Franke proposed, around one-third of whom conceived new commissions for the exhibition. The largest edition to date, the exhibition spans the Taipei Fine Art Museum s first three floors, extending down to The Paper Mill in nearby Shilin. This biennial seeks to reflect various issues and processes over the course of modern history from Asian perspectives, exploring our truly global historical experiences with the open-mindedness of contemporary art, and investigating questions as true universal historical experience. All major exhibitions and events are the product of collective energy and wisdom. Taipei Biennial is shaped by the action and will of many people from all backgrounds and positions, without whom it could never take place. With this in mind, I would like to firstly thank all of the artists for their great efforts and contributions. Special gratitude goes to all the institutions and organizations that supported the exhibition, including the Institute for Foreign Cultural Relations (ifa) and Mondriaan Fonds in Amsterdam, the International Artists Studio Program in Stockholm, the Goethe-Institut Taipei, and the British Council Taiwan. Additional 20 21 thanks are due to the Taipei city government and Ministry of Culture for the ongoing support that enables the Taipei Biennial to claim a unique position in the Asian and global contemporary art realms. In closing, I would like to thank Anselm Franke for his multi-layered curation, complex in process and significance. We hope that the exhibition will provide local viewers and artists a unique exhibition in-the-moment experience. If we can note another record of sorts, Anselm Franke displayed intense interest in local culture while working on the exhibition, and the huge amount of time and energy he invested gives the Biennial an additional dimension. Such an investment demands feedback and effort from viewers to truly bring out its effectiveness. Hai-Ming Huang Director Taipei Fine Arts Museum DEATH AND LIFE OF FICTION OR THE MODERN TAOWU The ancient Chinese monster Taowu has been described as a vicious creature that is always making the best of its own life, due to its ability to see both future and past. In his book The Monster That is History, David Der-Wei Wang describes how somewhere in the course of Chinese history, writers and historians began to identify the monster Taowu with history itself, since it could thwart and undermine human intentions. Taowu thus represented the human failure to master history and occupied the blind spot of the respective historical rationales. But Wang suggests that in fact modern Chinese history lends itself to a reading through the Taowu. The Chinese experience of the twentieth century, then, can be characterized as a raging Taowu an experience not merely of hitherto unheard of evils and suffering, but an experience of undermined human intentions, seeding not reason and liberation, but waves of repression and countless inhuman and irrational terrors committed in the name of humanity, rationality, or a social order that must be installed or defended against all threats. The Taipei Biennial 2012 takes Wang s suggestion as its starting point. At the same time, it takes the Taowu beyond the realm of literature and historiography and also tests the proposition beyond the limits of the Chinese experience. It explores whether Taowu is a possible common experience of all modernity, and it uses the monster as a figure through which we encounter contemporary artists engagement with modern history. The modern Taowu we imagine here sits not merely on the prescribed road of history, but also at the meridian point of dialectics the point where opposites meet, originate, conflate. Like all monsters, it is a dialectical figure, a symptomatic mirror of actual relations. Just as it guarded the empire s frontiers or imperial tombs in ancient times, it now inhabits the borders of political and social control, the horizons of aspiration, the lines of division, and the distinctions that structure social life and the order of knowledge. Situated in the middle between dividing lines, the Taowu is a constant reminder that both sides of a division mutually constitute each other that all relations, even the most asymmetrical, stem from such a meridian point of reciprocity. Its monstrosity is the very form through which it reminds us of what we have in common with what we exclude. 22 23 If there was a particular experience of modernity represented by the modern Taowu, it is the experience of structural violence and the double binds that tie victims to perpetrators, slaves to masters, the minor to the major. The Taowu also represents the experience of being entrapped by an anonymous, faceless system and the experience of terroras-rationality, as in disciplinary or educational violence (this will teach them a lesson...). But above all, the Taowu stands for the monstrous modern story of power, whose vicious character, intelligences, and stupidities the monster epitomizes; for it is the dynamics (and so-called pragmatics) of power the mastery over people as well as nature that have notoriously thwarted the modern schemes of progress, emancipation, and liberation. This biennial dedicates itself to the death and life of fiction. Modernity has unleashed fiction on a grand scale as colonial projection, commodity driven economy, and desire. It has ghettoized fiction in institutions and disciplines (such as art ), but out there in the really-real world it has waged a holy war on fiction, a holy war on beliefs, superstitions, and whatever is suspected of non-compatibility with rationality and the reality principle, in the attempt to replace these things once and for all with modernity s knowledge, its hard facts. Historically, this effort has been a powerful, monstrous fiction itself. When killed in the name of facts, fiction grows bigger; it is usually the first attacker who falls prey to the new monstrosity thus created, the power of which stems from the fact that it no longer knows that it is fictional. Yet what we call fiction is not merely manifest in those imaginary creations of monsters. It is in the stories we tell and the images we use to interact and make sense of our environments, of which only a very small part are fictional in the conventional sense that is, false or made up. Rather, fiction or the imaginary nests at the center of a reality. It is through fiction-as-figuration that cognition and recognition becomes possible. Fiction determines what we can think and do in the world, and above all, our horizon of possibility. Fiction is the glue that holds things together, the womb from which images and the imaginary are born, and the medium of which our relationships are made. There is hence nothing outside fiction, no other or beyond; there are only different qualities, different grammars. We call these differences in qualities culture. When cultures die, this glue no longer holds the real world and the real relationships together. In a similar way, this exhibition attempts to import monsters from the limits or frontiers back into the center, back home, into the core of normality and to normalize them, bring them close to us in order to enhance the awareness of the fact that it is we ourselves who produce and reproduce the very divisions from which the monster is born, so that we can stop falling prey to the Taowu at the border, which is the mechanism of monster-making: imposing our own evil as an objectified symptom onto others. The death and life of fiction appears in this exhibition, just like the Taowu, in ever-changing identities. Sometimes it appears in the experience of colonial and political terror, as plain death that lurks behind powerful fictional projections. Fictions die in the resulting destruction of cultures, but they live on as fragments animating the broken links they live on as ghosts, or in the imagery of trauma, or in rituals of commemoration. The life of fiction is hence not identical with striving illusions, and the death of fiction not identical with the final arrival at a definite reality or truth. But the death of fiction indeed can also mark a realization, or the end of a narrative, an image, or an ideology, and the life of fiction can also mean fiction as a mask which diverts us from actual relations and realities. The life of fiction can refer to dreams and utopian projections or to ways of mediating alterity, but it can also be a life in fiction, in the sense of delusion, madness, and delirium. The death of fiction, on the other hand, can simply refer to the end of a dream, or less simply, to an immobilization as experienced in states of depression: the absence of dialogue, the absence of transformative power, the absence of alterity. It is through this reflection on fiction that we become aware of limits and boundaries and our systemic implication in them: they are not out there, but within our social bodies, within our cognitive and aesthetic apprehension of the world, like dialogic membranes. Fiction in this sense tells us how our borders are guarded and how they can be opened or even dissolved; and the Taipei Biennial suggests that we use both the aesthetics of monstrosity and the economy of fiction as essential for a realism whose subject is the making and un-making of cultural boundaries. The question of modernity today is not primarily a cultural question. It is primarily systemic, machinic, and abstract, and its anonymous power overrides experience, values, morals, culture, and subjectivities. The systemic aspect of modernity is willfully ignorant of culture and human relations, and this is its strength and its anonymous monstrosity. It is technological, but in a wider sense: it embraces the kinds of fixations, inscriptions, calculations, and automatizations that stabilize and make events predictable only in order to create a greater potential for other entities to be displaced, mobilized, and to circulate. Under the conditions of modernity culture is, on the one hand, only the unpredictable outcome of the logic 24 25 of division and hence its destruction; on the other hand, it is the outcome of the forces unleashed by the dialectics of objectifying control and hybrid entanglements. This systemic modernity does not differentiate between humans or commodities or things when it feeds its machines at the frontiers of development. To be on the side of the affixed or the mobilized is left to human concern. In various ongoing waves of external and internal colonizations, the frontiers of this systemic, abstract modernity have long become global. Official ideologies increasingly act like farcical Taowu in that they conflate and subvert opposing positions along the systemic necessities of power, as shown by both the current financial crisis or the regime in the PRC. This globalization also means that there is no more outside (spatial, cultural, critical) to the matrix of this systemic modernity, which embraces what it negates in the contemporary deadlock of the inclusive exclusion. This means that there is no simple resistance nor simple negation possible, since these positions are already prescribed systemically. But the fact that the modern Taowu produces and embraces its opposition and hence distributes its subject positions does not mean that it is immune to the dialectics of power: it is forced to transform as the form of resistance changes. But this resistance always depends on culture as its resource: what it needs are shared, horizons which unite people around a cause. We live in a historical moment where all prevalent understandings of the world within the frame of modernity are in crisis. The crisis concerns narratives, rationales, ideologies. These things no longer provide us with common horizons that mobilize us, since any such aspiration is overshadowed by the fear of unleashing the negative force of the modern Taowu, or is already subverted by it in the form of capitalism s spectacular mimicry. The spirit of modernity was powerful and contagious: in its various incarnations it mobilized people and changed both societies and the world irreversibly. This was a spirit of break-up and departure, a spirit of aspiration against the backdrop of the oppressive forces that first destroyed the memory of the otherwise. But this spirit of common emancipatory aspiration has died in a seemingly endless series of disappointments and monstrous revelations, which today cast their spectral shadow over the horizons of the present, and fuel systemic conformism, self-adaptation and self-modulation. The modern Taowu hence stands before us triumphant, petrifying us; it qualifies as perhaps the only universalist fiction of modernity that has not died. It has become the emblem of a modernity we can neither fully identify with nor leave behind. The lesson of the modern Taowu as we contemplate it today seems to dictate the reduction of all forces of negation and negativity at all costs: its lesson is the (systemic) administration and management of the given which at least is better than yet another w
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