Taiwan is not a utopia, or a dystopia. It's not a place. Diplomatically it has no space. Politically it does not exist. We can't even agree on its name.
Even so, its presence will be felt at the 52nd Venice Biennale in Italy next month, when six artists from the "nation without nationality" will be exhibiting their works.
The theme of the entry is Atopia and refers not only to the political position that Taiwan finds itself in, but also a 21st-century condition that applies to us all.
PHOTO: COURTESY OF ARTISTS
"Atopia refers to the situation of post-colonialism we are in. There has not been much time to become a country. Many other places are like this, nations without nationality," curator Hongjohn Lin (林宏璋) said yesterday at a press conference introducing Taiwan's Venice Biennale entry.
"Atopia" features work from the auteur Tsai Ming-liang (蔡明亮), photographer Lee Kuo-min (李國民), video director Tang Huang-chen (湯皇珍), bricoleur Huang Shih-chieh (黃世傑) and comic-book artist VIVA.
The range of artists chosen makes it a colorful as well as a challenging show that peers into the abyss to explore the concept of Taiwanese-ness.
PHOTO: COURTESY OF ARTISTS
Lin has borrowed the term atopia from the German sociologist Helmut Willke, who defines it as a non-place, or society without borders.
Globalization, multinational companies and the Internet are creating a world in which international markets, non-governmental organizations and multi-culturalism erase the relevance of nationhood.
Lin has adapted the term for his own purpose and localized it. The artist, academic and drummer said that Taiwan was an "atopian state par excellence."
PHOTO: COURTESY OF ARTISTS
It is not recognized as a state by most countries because of pressure from China, which claims it as its own. Even so, it has its own government and is a powerful economy.
Taiwan's identity is so amorphous it's name keeps changing, Lin said. When it competes in the Olympics it is called Chinese-Taipei. Officially it is the Republic of China, but this technically refers to the state formed in 1912 by Sun Yat-sen (孫逸仙), the "father of modern China."
Putting politics, sociology and names aside, Atopia captures the flavor of Taiwanese contemporary art in all its diversity.
Tsai Ming-liang's film installation Is It a Dream? is said to be "like a sculpture in time" and is set in a fading cinema in Malaysia, which refers to the golden age of flim and its current malaise. There is also a theme of displacement, which ties in with atopia.
Lee Kuo-min is a photographer who has documented disappearing lives, such as Treasure Hill and the Losheng Leprosarium, by taking pictures of people's living accommodation. They are intensely personal but also represent a contemporary reality.
Tang Huang-chen has explored the theme of personal memory in her video; while Huang Shih-chieh's bright technological inventions propose a vision of the future that is both humorous and slightly unsettling.
The comic artist VIVA explores the idea of copying other countries' culture and making it one's own. A series of cartoons (with translations by former Taipei Times reporter David Frazier) are memorable for their glocalized messages.
The Venice Biennale was first held in 1895 and is one of the world's major contemporary art exhibitions.
"Atopia" opens in the Taiwan Pavilion, at the Palazzo delle Prigioni in San Marco, Venice, Italy, from June 10 to Nov. 21. See www.labiennale.org.
June 2 to June 8 Taiwan’s woodcutters believe that if they see even one speck of red in their cooked rice, no matter how small, an accident is going to happen. Peng Chin-tian (彭錦田) swears that this has proven to be true at every stop during his decades-long career in the logging industry. Along with mining, timber harvesting was once considered the most dangerous profession in Taiwan. Not only were mishaps common during all stages of processing, it was difficult to transport the injured to get medical treatment. Many died during the arduous journey. Peng recounts some of his accidents in
“Why does Taiwan identity decline?”a group of researchers lead by University of Nevada political scientist Austin Wang (王宏恩) asked in a recent paper. After all, it is not difficult to explain the rise in Taiwanese identity after the early 1990s. But no model predicted its decline during the 2016-2018 period, they say. After testing various alternative explanations, Wang et al argue that the fall-off in Taiwanese identity during that period is related to voter hedging based on the performance of the Democratic Progressive Party (DPP). Since the DPP is perceived as the guardian of Taiwan identity, when it performs well,
A short walk beneath the dense Amazon canopy, the forest abruptly opens up. Fallen logs are rotting, the trees grow sparser and the temperature rises in places sunlight hits the ground. This is what 24 years of severe drought looks like in the world’s largest rainforest. But this patch of degraded forest, about the size of a soccer field, is a scientific experiment. Launched in 2000 by Brazilian and British scientists, Esecaflor — short for “Forest Drought Study Project” in Portuguese — set out to simulate a future in which the changing climate could deplete the Amazon of rainfall. It is
The Taiwan People’s Party (TPP) on May 18 held a rally in Taichung to mark the anniversary of President William Lai’s (賴清德) inauguration on May 20. The title of the rally could be loosely translated to “May 18 recall fraudulent goods” (518退貨ㄌㄨㄚˋ!). Unlike in English, where the terms are the same, “recall” (退貨) in this context refers to product recalls due to damaged, defective or fraudulent merchandise, not the political recalls (罷免) currently dominating the headlines. I attended the rally to determine if the impression was correct that the TPP under party Chairman Huang Kuo-Chang (黃國昌) had little of a