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Subzoology: 2020 Taiwan Biennial

Datum

2020-10-17 ~ 2021-02-28

Místo konání

國立臺灣美術館｜102 ~ 202展覽室

Adresa

臺灣40359臺中市五權西路一段2號 No. 2, Sec. 1, Wu-Chuan W. Rd., Taichung 40359 TAIWAN, R. O. C.

國立臺灣美術館自2008年開辦「台灣美術雙年展」，迄今已邁入第七屆，為與具國際特性的台北雙年展做出定位區隔，台雙展一直聚焦於臺灣當代藝術之梳理，以本土的、在地的觀點反思及回應全球化情境下的當代藝術語境。在策展機制上，從最初主題式展覽，爾後發展成普查臺灣當代藝術生態的展覽型態，2016年又再度回到主題策展，並藉由與館外策展人合作的雙策展人制，以突破國家展演機制的框架，發展出一種更靈活、廣闊的展演型態與論述視野。本屆台雙展更進一步邀請藝術家姚瑞中擔任策展人，期望藉由其在創作、策展、評論、著述等多面向豐沛的藝術動能，長期關注臺灣當代藝術的前沿發展，以及結合場所與歷史反思的創作型態，將策展作為一種創作行為或方法，與參展藝術家展開更密切的對話關係，為本次台雙展開拓出新的藝術經驗與策展模式。在後疫情時代，本屆台雙展以「禽獸不如」(Subzoology)這個看似挑釁性的命題，去關注與回應科學、藝術與哲學界對於人與動物之間關係的國際性議題。策展人藉由佛學「六道輪迴」之「畜生道」為切入點，反思人作為一種動物其身上的動物性，並藉以探究「人類動物」與「非人類動物」的差異，以回應長期以來有關人與動物之間二分與相似關係的議題討論；同時，面對當今動物與人之間病毒的傳播與變異已溢出原先物種的樣態，甚至達到人畜共生或人獸同源的現實情境，人類再度深刻體認到自身作為地球上的一個物種，如何與其他物種共存的危機與可能性。當觀眾遊走在猶如動物園的展覽空間時，當可藉由藝術家所構築各式各樣的物種生態，反思人類對自然生物的長期宰制，以不同角度呼應並延展近年來全球雙年展聚焦於「人類世」的生態環境議題。本次台雙展共邀請49位(組)具臺灣經驗的藝術家參與展出，規模擴大突破以往，以視覺藝術、聲音藝術、現場行為等多樣化的展演形式，以及新世代藝術家的創作主題，開啟觀眾對當代藝術與社會議題的多重想像與討論。此外，展演場域亦由本館延伸至臺中近郊—臺中市海洋生態館、大安媽祖文化園區，更首度在台雙展中與中部地區之外空間合作推出「衛星展」(臺北非常廟藝文空間)、「平行展」(臺北水谷藝術、新北酸屋、臺南節點藝術空間、高雄河南8號)，以國美館為核心，串連全臺各地藝術行動與實踐，試圖以新的策展型態，讓藝術走出美術館，大幅延展台雙展的跨域視角，以落實臺灣在地藝術的發展。 Launched in 2008 by the National Taiwan Museum of Fine Arts, the Taiwan Biennial will convene for the seventh time this year. In contrast to the international edict of the Taipei Biennial, the Taiwan Biennial focuses on investigating contemporary art in Taiwan in reflection and response to the global contemporary art context through local and indigenous perspectives. The curatorial mechanism has developed from the inaugural thematic exhibition, to an exhibition format which surveyed the ecology and diversity of Taiwan's contemporary art. The Biennial revisited establishing a curatorial theme in 2016, where a collaboration between in-house and guest curators broke through existing frameworks of national exhibition to develop more exuberant, liberating, and agile exhibition formats and narrative vistas. This year, the Taiwan Biennial has made a further stride to experiment with a different artistic experience and exhibition method by inviting guest curator, artist YAO Jui-chung. We anticipate that he will engage in a more intimate dialogue with participating artists through his curatorial practice that is both a creative endeavor as well as methodology, which is informed by his abundant and multifaceted artistic dynamism: in the areas of creativity, curatorship, critique, and authorship; by his commitment to advancing the development of contemporary art in Taiwan; and through his artistic practices that combine contemplations of location and history. In the post-pandemic era, the ostensibly provocative theme of “SubZoology” for the 2020 Taiwan Biennial is a concerned response to international issues that explore the relationship between humans and animals through science, art and philosophy. The curator uses the Buddhist theological concepts of the Animal Realm from the Six Realms of Existence, as a point of entry to reflect on bestial qualities of humans as a subcategory of the animal kingdom. Differences between “human animals” and “non-human animals” are explored as a response to discussions on long-established dichotomies and commonalities that exist between humans and beasts. At the same time, in light of this post-pandemic era when symbiosis and homology between humans and animals are reality, and when viruses spill over their original host organisms for mutual transmission between humans and beasts -- as one of the Earth's species, human beings have become profoundly aware of the crises and possibilities for coexistence with other organisms. As the audience moves through the zoo-like exhibition space, they have opportunity to reflect on human dominion over other lifeforms through the variety of organisms and ecologies constructed by artists as a response to and as an extension of ecological and environmental issues of the Anthropocene – a topic of focus in recent biennial exhibitions around the world. Some 49 artists and collectives with Taiwan experience have been invited to participate and exhibit at the 7th Taiwan Biennial. Through their creative themes, these emerging new-generation artists invite the audience to further imagine and discuss contemporary art and social issues through diverse exhibition formats including visual art, sound art, and live performance, on a scale that far exceeds past biennials. In addition, the exhibition arena will extend from the Museum itself to the Taichung Museum of Marine Ecology and the Daan Matsu Cultural Park on the outskirts of Taichung. And, for the first time, the biennial will collaborate with external spaces beyond the central Taiwan area in “satellite events” (VT Artsalon in Taipei) as well as “collateral events” (Waley Art in Taipei, Acid House in New Taipei City, Zit-Dim Art Space in Tainan, and Henan 8 in Kaohsiung). With the NTMOFA as a core, this new curatorial format seeks to link local artistic actions and practices from across Taiwan. Artistic creativity is taken out of the museum context to broaden the interdisciplinary domain and perspectives of the Taiwan Biennial to proactively dev

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國立臺灣美術館 National Taiwan Museum of Fine Arts

國立臺灣美術館於民國77年（1988年）開館，民國93年7月整建後重新開館。本館以視覺藝術為主導，典藏並研究臺灣現代與當代美術發展特色；除提供各項展覽、長期與國外美術館交流、積極參與國際性重要展覽，並致力於多樣性的主題規劃特展與藝術教育推廣活動，提供民眾多元化欣賞藝術的環境。本館佔地面積約有102‚000平方公尺（含園區雕塑公園），館舍空間為地下一層、地上三層，總樓地板面積37‚953平方公尺，其中館內展覽面積15‚601平方公尺。展覽空間包含展覽室、美術街、資訊轉運站、數位藝術方舟－數位創意資源中心等。在展覽空間的使用上，一、二樓為特展區，三樓為臺灣美術典藏常設展，戶外廣場則陳列雕塑精品。本館建築強調開闊性與親和性，除展覽室外，並增設兒童繪本區、兒童遊戲室、影音藝術廳、教師資源室，以及各項學習、休閒空間，面積共5‚319平方公尺（1,609坪）。二十多年來已辦理近千檔展覽及數千場相關活動。 The National Taiwan Museum of Fine Arts (NTMoFA) was founded in 1988. It was temporarily closed for rebuilding in 1999 due to widespread devastation caused by the September 21st earthquake that year, and reopened in July 2004 with a brand new look. The NTMoFA is dedicated to the education and promotion of visual arts. It places great emphasis on collecting works by Taiwanese artists and exploring unique characteristics of modern and contemporary Taiwanese arts. Its aims are: to organize the most diverse range of themed visual art exhibitions, to foster long-term art exchanges with overseas institutions, to actively participate in major international events, to promote art education, and to provide the public with a pleasing and multi-faceted environment for viewing art. The outdoor courtyard of the Museum comprises a total area of 102,000 square meters (inclusive of the Public Outdoor Sculpture Park), making the NTMoFA one of the largest art museum in Asia. The NTMoFA main building has three floors and a basement, with a total land area of 37,953 square meters covering an exhibition space of 15,601 square meters. The exhibition area consists of Galleries, the Gallery Street, E-Transit and Digital Arts Creativity and Resource Center. The first and second floors are devoted to themed exhibitions, the third floor holds a permanent exhibition of the Museum's collection, and the outdoor courtyard is showcases exquisite sculptural works. The newly-renovated museum building provides an open and friendly educational environment. The newly added Picture Book Area, the Family Room, the Media Art Center, the Teacher's Resource Center and other educational and recreational areas cover a total of 5,319 square meters. During the twenty years since its establishment, the NTMoFA has held close to 900 exhibitions and thousands of related events.

Vystavovatel

姚瑞中 Curator：YAO Jui-Chung

1969年生於臺灣臺北，現生活與工作於臺灣臺北。1994年畢業於國立臺北藝術大學美術系，專長為攝影、錄像、裝置及繪畫，早期以幽默手法對冷戰期間威權統治進行顛覆，關注場所、歷史、國族認同、台灣主體性等問題。自1990年起長期投入臺灣廢墟拍攝，2010年再從廢墟轉向「公有閒置空間」踏查計畫，揭露全臺各地在全球化潮流中因各種意識形態黑洞應運而生的奇觀化社會，引起社會高度關注並間接促進政府改革。近來挪用及改寫中國美術史經典畫作，將其轉化為私自傳敘事，以「偽山水」策略對正統性進行篡位。曾代表臺灣參加1997年威尼斯雙年展、2005年橫濱三年展、2009年亞太三年展、2012年上海雙年展、2013年北京攝影雙年展、2014年深圳國際雕塑雙年展、威尼斯建築雙年展、首爾國際媒體藝術雙年展、英國曼徹斯特亞洲藝術三年展、2015年亞洲雙年展、2016年雪梨雙年展、2019年巴西庫里提巴雙年展、俄羅斯克拉斯諾亞爾斯克雙年展、2020年臺北雙年展等。著述甚豐，其中《臺灣裝置藝術1991-2001》（2002）、《臺灣當代攝影新潮流Since 1999》（2003）、《臺灣行為藝術檔案1978-2004》（2005）、《海市蜃樓Ⅰ、Ⅱ、Ⅲ、Ⅳ、V、Ⅵ、Ⅶ-臺灣公共閒置設施》（2010、2011、2013、2014、2016、2018、2019）等持續對臺灣當代藝術發展進行歷史梳理與議題開展。策展經歷包括：「末世漫遊」（1997，三芝非常廟）、「幻影天堂：臺灣當代攝影新潮流」（2002，臺北大趨勢畫廊）、「酷斃了」（2002，高雄新濱碼頭空間）、「非常不廟之漫畫一代」（2002，臺南原型藝術）、「金剛不壞—臺灣當代行為藝術錄像展」（2003，高雄豆皮藝文空間）、「出神入畫—華人攝影新視界」（2004，臺北當代藝術館）、「臺灣行為藝術檔案展」（2005，臺北鈷嶺街小劇場）、「好自在：行為錄像接力展」（2005，臺北當代藝術館）、「臺北藝術博覽會：超時空連結—臺灣當代藝術空間與藝術村網路」（2005，臺北世貿二館）等。近年重要個展：「從迷走到見證：姚瑞中前蚊子館影像紀事展」，（2014，威尼斯建築雙年展）、「腦殘遊記」（2015，耿畫廊）、「山水幻境」（2015，倫敦葛豪士當代畫廊）、「巨神連線」（2016-17，TKG+）、「犬儒共和國」（2020，空總C-LAB）等。 Born in Taipei, Taiwan in 1969, YAO Jui-Chung lives and works in his hometown currently. He graduated from the Department of Fine Arts, Taipei National University of the Arts, and specializes in photography, video, installation and painting. His early works featured a humorous approach that subverts the authoritarian regime during the Cold War, and revolved around the issues concerning place, history, national identity, and Taiwan’s subjectivity. He has invested long-term effort in taking pictures of ruins around Taiwan since 1990. In 2010, he embarked upon the survey project on disused public property in Taiwan, which not only unmasked the society of the spectacle arising from the assorted ideological black holes on this island under globalization, but also heightened the social awareness of this problem and accelerated the governmental policy reform in this regard. Recently, the artist has appropriated Chinese artistic masterpieces and recreated them in his own way as his autobiographical narratives, seeking to usurp the orthodoxy with his strategy of “pseudo-landscapes.” He has partaken on behalf of Taiwan in many prestigious events, including Venice Biennale (1997), Yokohama Triennale (2005), Asia Pacific Triennial of Contemporary Art (2009), Shanghai Biennale (2012), Beijing Photo Biennial (2013), Shenzhen Sculpture Biennale (2014), Venice Biennale of Architecture (2014), Seoul International Media Art Biennale (2014), Asia Triennial Manchester. (2014), Asian Art Biennial (2015), Biennale of Sydney (2016), Curitiba Biennial (2019), Krasnoyarsk Biennial (2019), and Taipei Biennial (2020). Yao is also a prolific author, foremost Installation Art in Taiwan, 1991-2001 (2002), The New Wave of Contemporary Photography in Taiwan since 1999 (2003), Performance Art in Taiwan, 1978-2004 (2005), and Mirage: Disused Public Property in Taiwan I, II, III, IV, V, VI, VII (2010, 2011, 2013, 2014, 2016, 2018, 2019) that collate the history of and address the issues about Taiwanese contemporary art. His curatorial works include Doomsday Roaming (VT Artsalon, Sanchi, 1997), The Realm of Illusion: The New Wave of Contemporary Photography in Taiwan (Main Trend Gallery, Taipei, 2002), Be Cool (SinPinPier - Absolutely Art Space, Kaohsiung, 2002), Abnormal Comics (Prototype Art Space, Tainan, 2002), Super King Kong: Taiwan Contemporary Performance Video Arts (Dogpig Art Café, Kaohsiung, 2003), Spellbound Aura: The New Vision of Chinese Photography (MoCA, Taipei, 2004), Performance Art in Taiwan (Guling Street Avant-garde Theatre, Taipei, 2005), Carefree: Performance Art Relay (MoCA, Taipei, 2005), and Hyperspace Connections: The Networks of Taiwan Contemporary Art Spaces and Artist Villages (Art Taipei, Taipei Nangang Exhibition Center, Hall 2, 2005). His recent noteworthy solo exhibitions include The Space that Remains: Yao Rui-Chung Ruins Series (Venice Biennale of Architecture, 2014), Brain Dead Travelogue (Tina Keng Gallery, 2015), Golden Land (Goedhuis Contemporary, London, 2015), Incarnation (TKG+, 2016-17), and Republic of Cynic (C-LAB, 2020).

Umělec

林鉅 LIN Ju、吳其育 WU Chi-Yu、紀凱淵 CHI Kai-Yuan、張徐展 ZHANG XU zhan、陳建泯 TAN Kian-Ming、Meuko! Meuko! & NAXS Corp. 涅所開發、Meuko! Meuko! & NAXS Corp.

第一品獻祭與救贖 The First Genre: Sacrifice and Salvation

Umělec

許家維 HSU Chia-Wei、盧昱瑞 LU Yu-Jui、朱駿騰 CHU ChunTeng、羅晟文 LO Sheng-Wen、張欣 Sheryl CHEUNG、李亦凡 LI Yi-Fan、羅智信 LUO Jr-Shin、莊培鑫 CHUANG Pei-Xin、鄭先喻 CHENG Hsien-Yu

第二品生物經貿潛史 The Second Genre: The Sub-history of Wildlife Trade

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