跳到主要內容區塊
::: YOU AND I DON'T LIVE ON THE SAME PLANET
Taipei Biennial 2020
中文
Taipei Biennial 2020
This multicolored grotto results from toxic chemicals that?the artist poured into an aquarium. He then filmed the process?of chemical solidification in the water and projected the?outcome onto a 180° screen. With this immersive process,?we are observing a landscape while being encapsulated in it. The artist is fascinated by the aesthetics of modernist and?postmodernist buildings. With their gigantic size, their concrete?facades, they reflect a fascination for the aesthetics of “global”?architectures. The artist’s inspiration is drawn from buildings?in Yaunde, Doha, Belgrade, and New Taipei City. The buildings?are not portrayed as static but are imagined as a “flux,” crossed?by roads, connected in a whirlwind of constructions and?infrastructure. Hinged Collisions uses the shapes of medieval European altarpieces,?framed in server racks, which also allude in their configuration?to monitors on the desks of traders. The content of the cut?reliefs represents various data visualizations, such as the spread?of the plague in the Middle Ages or an unstable geologic?crypto-depression in North Ethiopia. The painting River of Little Happiness depicts the society of?abundance in which we indulge. The painting displays a panorama?of people sharing cakes, massage sessions, a myriad of small?goodies, amusement parks, etc. But these scenes are interspersed with dramas of all kinds—attacks, earthquakes, riots—while we?can see in the backdrop fossil fuel and nuclear energy factories at work. Seroussi is a former analyst at the International Criminal Court and worked on the Bogoro case. Leibovici is a poet and artist. Together, they applied new methods from art, poetry and social sciences to the fact-findings process in international justice. They focused on one of the first cases of the ICC, the attack on Bogoro, a small village in Ituri, Democratic Republic of the Congo, by militia men. This installation displays data and spatial information regarding?the Seagram Building—an iconic modernist building in Manhattan?designed by Mies van der Rohe, completed in 1958. The time?from the first moment of extraction of its raw materials up to its present realities is presented through dynamic interactive?visualization techniques that lay bare the immense territorial?reach of just one single building project. Marianne Morild paints self-contained landscapes with?surroundings that are unknown and undescribed. Her work is?informed by various kinds of maps, baroque maps or contemporary?seismic maps used for oil exploration. Entering the installation Cosmic Generator (AP) is similar to?entering a kaleidoscope: the image shifts back and forth from?one point of the globe to another. The film begins in a Chinese?restaurant in Mexicali, a Mexican town near the US border.? Drawing inspiration from the poem “Incendio” by Mexican?poet Sor Juana Ines de la Cruz, the massive tapestries depict?burning landscapes releasing heavy smoke. But what is the?smoke signal about? Using a technique called “steganography”?commonly employed by hackers and activists to hide secret?information, the artist wove the codes of a leaked confidential?list denouncing tax evaders into the meshes of the work.
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PLANET GLOBALIZATION

It was a dream: let’s modernize the planet! We will all live together in one global world.

But suddenly it does not look so ideal. This dream of modernization is undermined by climate change and inequalities and it offers a very narrow sense of what a common world may mean. Hence the questions: What was the drive toward globalization? What could come after globalization?

Participants

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