Monday, June 11, 2007
Wax My Back In Bangkok
Venice Biennale ... A proposal notes
Appearance then send me something to publish!
Here the intervention of the exhibition
Anna
Atopy : Following is the press release ...
Atopy
The Taipei Fine Arts Museum of Taiwan is pleased to present, from 10 June to 21 November 2007, the Palace of Prisons in Venice, the exhibition Atopy, edited by Lin Hongjohn. Atopy is a "non" which, in political and economic dynamism of globalization, no longer has borders. Abolition of borders, and fusion of cultures, virtual space shaped by technology, transnational production and consumption ... Today, no identity, by itself, can represent a spatial configuration contemporary. Not more than an expression of will and desire
pure, our bodies bear the signs of individual life governed by forces of the new empire, a condition that makes possible the true ubiquitous individualism through recreation and rewriting of self-empowering identity. But it also means
atopy that a place can not be located, or simply be "not a place."
The inability to make representations legitimate atopy was a de facto without de jure, a place with no name can be taken only as an exception, the context in which stories anachronistic and remote sites all assume the status of atopy.
One could, for example, assert that Taiwan is a nation is not national, or a nation without nationality, but not a post-nation or a pre-nation-in short, is an atopic status par excellence. His name is mentioned in international
confusingly inconsistent and endlessly reinvented: Taiwan (ROC), China (Taiwan), China (Taipei) Taipei-China, Taipei, Chinese Taipei, and so on.
Within these brackets and bars, these aliases, un'atopia acts "on behalf of other names," claiming its identity through
différance, not the difference. His true identity is always-already been limited by repeated stopping appositions revealed the secret of atopy. The state of uncertainty created by the designation of a name put in a new perspective on the subject than the general way he responded to the network of inter-coded by the political realities the impossibility to open
. With repetitions that create identity in the name of others, atopy retroactively alludes to his state of inexpressible ghost, a perverse situation symbolically.
Atopy highlights the fact that the transfer of such "non-representability" belongs to the cultural and political context of Taiwan. Through a creative intervention exile self-generated, a gesture aimed at para-sites of the space, the exhibition presents the events of Taiwan in its map
of globalization: a community is reflected by reflecting the Taiwanese soil as cultural, social and politician who takes a magical reversal of the game psychogeography.
Tsai Ming-Liang
is one of the most important contemporary Taiwanese, although I was born and raised in Malaysia , is always expressed from the perspective of local culture in Taiwan. The exhibition of the Taipei Fine Arts Museum of Taiwan for the 52. International Art Exhibition Venice Biennale presents his installation inspired by the movie "
Is It a Dream?
"set in an abandoned room in Malaysia, which is reminiscent of the golden age dell'industriacinematografica - Seventy years - and its current decline, suggesting also a nostalgic return to the homeland where Tsai he grew up. Tsai's work is like a sculpture in time, that slowly unfolds her story. metaphors emphasize the absence of a father figure in his work, the status of the National disjunctive and family, economic status in time and space to be heard
What Time Is It There?
: love imagery, haunting of the protagonist, who gradually reveals a psychotic condition in deterritorialized competition between Taipei and Paris. In the works of Tsai, the its staff attitude - a distant nostalgia - to reflect the local culture is strangely mysterious, and this, in turn, acts as an allegory of a non-place. Exegesis reported the local culture - the political figure (a great man), unrequited love, incest - is uncertain spaces represented by a sauna or a misty river muddy, metaphors of being lost in a place with no name.
The documentary photography of
Kuo Min Lee
incisively portrays the relationship between community residents, their environment and their history and, in addition to documenting, testifies to the personal involvement of social activism against ' elimination of certain districts from the government. Lee's works are therefore documentaries, but also reflect its active participation in city life and its social movements. These communities - Treasure Hill, the community of the Air Force No. 1 of Sanchong, the new village of Wenho Banciao and, more recently, the leper Losheng - have all disappeared or are about to be destroyed. Lee's photographs tell the story of the residents, their belongings and their spaces,
the same time demonstrating the existence of disturbance and changes in the urban environment. In addition, documenting these communities and at the same time, witnessing the gradual disappearance of their collective power as they become victims of relentless urbanization, Lee also commented on the deterioration of political spaces, things and objects.
The work of Huang-Chen Tang part from the description of a famous Taiwanese board to board, in a video, in an almost obsessive: bring back a lost image in real places such as France, Korea and Taiwan. His video - just like any tourist photos - want to be a personal recollection and re-drawing from visual culture. Using half of
impossible to achieve unattainable goals - make a still image with moving images, to transform individual actions in a collective effort and moved the shop to other places -
the work is self-contradictory.
Tang is a modern Kua Fu (a giant in Chinese mythology that Chasing the sun), who plays the role dell'intraducibilitĂ investigating the relationship
culture / material / action. Dell'inattuabilitĂ precisely because of its means, the artist is able to instill in his works an endlessly fascinating area which borders the area of \u200b\u200bambiguity that exists between individual action and collective memory.
Shih Chieh Huang
bricoleur is a household that turns out in an organic symbiotic using mass-produced low-tech to explore consumer culture and the human condition and, through his spontaneous and chaotic assemblages, inventions not utilitarian objects made of recycled, reveals the cultural habitus of the room, but also their psychological state staff. His works do not present a perfect simulation technology, but offering a state
alien technology and short-circuited the reality. The work of Huang stress atopic status of technology and humanity: a hysterical condition that describes how the technology of the future is imagined by sending an exemplary sense of anxiety about the future.
VIVA's work could be described as the product reinterpretation of the Japanese subculture of doujinshi (manga or anime designed and distributed by his fans), yet, mimicking another culture, he created an intermediate space for the room: the past is preserved and translated into contemporary culture and a new
vice versa. Unlike most contemporary artists, and subjects of the reasons that exploit sub-cultures as a source of inspiration, the VIVA is a subculture living situation of the culture and society. VIVA's work presented to atopy, Overclocker's Hell, described as the main theme of technophilia the local culture, a reality on the agenda in Taiwan.
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