A giant poster labeled "Taiwan Pavilion" is posted at the entrance of the Taiwan Pavilion. Entering from the left, you will see the works of Taiwanese artists scattered in several different exhibition rooms. (Provided by Guomei Pavilion)
[Reporter Ling Meixue/Reporting from Taipei] After two months of back and forth and political controversy over whether to intervene in art, the Gwangju Biennale will finally officially open today (5th), and the Taiwan Pavilion has also found its name and opened its doors. Starting today, let your work speak for itself!
●The gray area of geopolitics recalibrates the critical coordinates facing the world
Please read on...
Due to the delay in setting up the exhibition due to the previous name controversy, Taiwanese artists have been working day and night for more than a week. People from the venue management unit came to the exhibition every day to drive people away. Finally, everything was in place yesterday evening. A giant export poster labeled "Taiwan Pavilion" was also posted at the entrance of the exhibition hall. The National Taiwan Museum of Fine Arts and the artists who are responsible for participating in this exhibition have established a tacit understanding with the Biennale Foundation and the venue ACC, focusing on the exhibition's topics and presentation. They want to tell the world that Taiwan, located in the first island chain, has long been in the gaze of the geopolitical "grey zone", and in the stalled historical torrent, how to recalibrate the critical coordinates for the world and the future.
Zhang Wenxuan's work "The file is too large to be placed in the destination file system". (Provided by Guomei Pavilion)
The theme of the exhibition is "Instance Dungeons: Gray Zone". It was curated by Chen Xiangwen and Lin Xiaoyu and is based on the exhibition "Instance Dungeons and Sights" at the National Museum of Fine Arts. Under the global turmoil of the new Cold War pattern, it further penetrates Taiwan's complex historical and political context and strategic position. The exhibition metaphorizes the concept of "copy" as a space of history and conflict that is constantly replayed and intertwined under the global power game. The exhibited works directly confront Taiwan's political narrative and collective memory. At the same time, in the face of contemporary invisible information warfare and cognitive warfare, the artist also deeply dissects how daily life is quietly controlled by political technology and surveillance mechanisms.
Li Yifan's work 〈important _message.mp4〉. (Provided by Guomei Pavilion)
●8 groups of artists’ works dismantling the cognitive warfare of daily life
Artist Zhang Wenxuan's "File Too Big to Place in the Destination File System" explores the effects of information overload in the digital age and during war. Zheng Xianyu's "Light Trace" transforms the logic of surveillance into a poetic "witness" through a light device driven by artificial intelligence. At the same time, it also confronts its dark side and asks: What does it mean to "be seen"?
Li Yifan's "important_message. mp4" starts from a series of Internet conspiracy theories and explores the state of human life under the development of contemporary Internet technology. Lin Yuliang's "Only a Shadow Remembers" uses "shadow" to symbolize the projection and development process of information, and "map" points to the structure through which information is organized, interpreted, and further guides action. Zheng Tingting's three-channel video work "Audio Description" explores how images are framed and the motivations behind them, the importance of image authenticity, and the contradiction between private life/national identity and career, etc.
"Oral Description" by Zheng Tingting. (Courtesy of the artist)
There is also "Small House A" by Xu Zheyu and Chen Wanyin. The artists visited areas contaminated by nuclear weapons programs near nuclear research institutions, trying to reveal the core of the buried facilities that were originally inaccessible. Ruan Baiyuan's "Looking for the Nose Under Fronta na Maso" takes the underground space in front of the Stalin Monument in Prague's Letná Park as the core, revealing that in the age of algorithms, in the process of constant reconstruction, we see contemporary technology trying to swallow up history.
"Space Warrior" created by Su Huiyu combined video, film and AI imaging techniques. He teamed up with the new generation team XTRUX to use highly difficult technology to transform the image of the Chiang Kai-shek Memorial Hall into a "digital tomb" spaceship generated by 3D and AI. This work has toured art museums in many European countries. This time, a new version was tailor-made in Gwangju. It reproduces the tension and chaos through wide-format projection, and transforms the power of image processing into a political metaphor, mocking mankind's pursuit of productivity.
Ruan Baiyuan's "Under Fronta na maso, Looking for the Nose". (Courtesy of the artist)
☆Don’t miss out on arts and culture news, like and follow the fan page.
☆For more important arts and culture news, please visit the Free Arts and Culture website.
