If you expect architecture biennales to be filled with lots of boring wall texts and models, think again. The Taiwan Pavilion (housed in the prison near the famous Bridge of Sighs) at this year’s Venice Biennale, curated by Roan Ching-yueh (阮慶岳), the assembled installations show that the world of architecture is rapidly changing with people realizing we must tend to our small gardens rather than impose heroic monoliths in city centers. So instead of showing grandiose architectural schemes, Roan gathered a variety of voices that show the strength of small-scale, humanizing architecture in Taiwan.
Upon entering the Taiwan Pavilion, one encounters You Yuan (遊園), a beautiful simulation of a Chinese rock garden whose ground consists of glittery pieces of crushed glass and large stones made from recycled glass. A swing set in the corner transforms this interior prison space into a meditative garden that is entirely created from urban waste.
This installation by Helsinki-based Marco Casagrande who had taught at Tamkang University stirred some local controversy. Newspapers such as the Minsheng Daily had a field day in criticizing the choice of non-Taiwanese (ie. foreigners) to display their work in the coveted main exhibition room while Taiwanese architects were relegated to smaller rooms. It is to Roan’s credit that he recognizes that architecture in Taiwan is not limited to those with Taiwanese blood coursing through their veins. This strategy paid off as hordes of visitors including European TV crews were fascinated by this exhibition.
PHOTO COURTESY OF ROAN CHING-YUEH
Norway-based 3RW Architects showed several videos titled Urban Farmers that included interviews of people in Taiwan and Norway who are trying to eek out a living as farmers in a rapidly industrializing world.
Huang Sheng-yuan’s (黃聲遠) Field Office, a team of architects, work only 15 minutes driving distance from their office in Ilan, preferring to tend to their own backyard. For their participation in Venice, they set up benches that seem to have been plunked down in a rice paddy, so that viewers can contemplate life in a small town agricultural society.
Socially-minded architect Hsieh Ying-chun (謝英俊) lives and works in Nantou, Taiwan and China. His new project called Sustainable Construction links society with the economy and the environment. As he was in China helping farmers build their own homes, he was discussed his ongoing project with visitors via a video link.
In Timescapes, young Tainan-based architect Liu Kuo-Chang (劉國滄) uses suspended hand-made rocks to convey the sense of drifting in the ocean. If you are not able to make it to Venice, the exhibition will come to Taiwan next year.
Unfortunately politics reared its ugly head in this innocuous gathering of architects. When Roan tried to organize a panel discussion between East Asian architects, the Chinese architects said they were unfortunately unable to set foot in the Taiwan Pavilion, so when he proposed to rent out a hotel room with his own money the Taiwanese organizers threatened to pull the plug on his budget, so the discussion took place without the participation of the Chinese architects.
Politics are definitely not on view at Taipei’s Museum of Contemporary Art. Artists Today@MOCA 2006, the current exhibition of three Taiwanese artists provides a chance to see lighthearted whimsical works that please the eye and tickle the fancies.
Chen Hui-Chiao’s (陳慧嶠) Here and Now tactile installation consists of her signature use of a bed, needles and thread to create a dreamy walk-through set. Twin brothers Chang Geng-hwa and Chang Keng-hau’s Screw it! consists of toys, baby heads in bird cages, and interactive animations. The second floor is reserved for Ku Shih-yung (顧世勇), a versatile artist working in a wide range of media creating works that are guaranteed to put a smile on your face.
In late October of 1873 the government of Japan decided against sending a military expedition to Korea to force that nation to open trade relations. Across the government supporters of the expedition resigned immediately. The spectacle of revolt by disaffected samurai began to loom over Japanese politics. In January of 1874 disaffected samurai attacked a senior minister in Tokyo. A month later, a group of pro-Korea expedition and anti-foreign elements from Saga prefecture in Kyushu revolted, driven in part by high food prices stemming from poor harvests. Their leader, according to Edward Drea’s classic Japan’s Imperial Army, was a samurai
The following three paragraphs are just some of what the local Chinese-language press is reporting on breathlessly and following every twist and turn with the eagerness of a soap opera fan. For many English-language readers, it probably comes across as incomprehensibly opaque, so bear with me briefly dear reader: To the surprise of many, former pop singer and Democratic Progressive Party (DPP) ex-lawmaker Yu Tien (余天) of the Taiwan Normal Country Promotion Association (TNCPA) at the last minute dropped out of the running for committee chair of the DPP’s New Taipei City chapter, paving the way for DPP legislator Su
Located down a sideroad in old Wanhua District (萬華區), Waley Art (水谷藝術) has an established reputation for curating some of the more provocative indie art exhibitions in Taipei. And this month is no exception. Beyond the innocuous facade of a shophouse, the full three stories of the gallery space (including the basement) have been taken over by photographs, installation videos and abstract images courtesy of two creatives who hail from the opposite ends of the earth, Taiwan’s Hsu Yi-ting (許懿婷) and Germany’s Benjamin Janzen. “In 2019, I had an art residency in Europe,” Hsu says. “I met Benjamin in the lobby
April 22 to April 28 The true identity of the mastermind behind the Demon Gang (魔鬼黨) was undoubtedly on the minds of countless schoolchildren in late 1958. In the days leading up to the big reveal, more than 10,000 guesses were sent to Ta Hwa Publishing Co (大華文化社) for a chance to win prizes. The smash success of the comic series Great Battle Against the Demon Gang (大戰魔鬼黨) came as a surprise to author Yeh Hung-chia (葉宏甲), who had long given up on his dream after being jailed for 10 months in 1947 over political cartoons. Protagonist