Taipei Biennial: Taipei Fine Arts Museum
What is it that sets an art biennial apart from other official events. To some, a biennial is a matter of a simple working equation. "e-flux announcement + (budget x floorspace ÷ number of artists)". To many others, the distinctive feature lies in the investigatory options, in the possibility of creating a situation that is more ambivalent and tentative than others. With the latter premise in mind, the Taipei Biennial 2010 will be restructuring the traditional format along the following lines.
- At TB 2010, artists will be involved in a wider process. They'll contribute through new work, but also in capacities beyond the strictly artistic - including the co-curatorial. Even the below points may be redefined over coming months.
- TB 2010 will partially build on ideas and projects from previous Taipei Biennials. Artists are invited to critically revisit older contributions. A discussion not only lateral in context but also vertical in exhibition history.
- The exhibition will amount to a variable arrangement including commissioned work, work-in-progress and discursive infrastructure.
- An ambitious events program will offer a more composite timeline. Possibilities for sustainable ideas beyond closing day are also being developed, so that the show might have an afterlife.
- In order to engage with infrastructure and art production within the city, independent spaces in Taipei have been invited to articulate various levels of collaboration.
- Harking back to experiments in the early zeros, critical companions are invited to offer consistent feedback as "Sputniks", also amounting to interventions during the event.
An exhibition theme is missing here, save for the question of the conditions of production that biennials reflect and consolidate. If there are aesthetic and political matters that set biennials apart, is there a way to use the format more precisely, more effectively, for everyone involved? After all, the aspirations of a typical biennial are usually more easily achieved through other devices. Even when it comes to urban promotion, professional advancement or activist demands, the track record is quite disappointing. This leads to a situation where not even the instrumentalization is a happy one. Never mind the art.
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Shi Jin-Hua1964-2024Contemporary Art Alchemy, Part I The Cost of Concept, 2008Pencil on paper and document88 x 110 cm (drawing area),
42 x 29.7 cm (“Thirty Thousands Only” document),
42 x 29.7 cm (“Ninety Thousands Only” document),
42 x 29.7 cm (“The Cost of Concept” document).Edition of 6 plus 2 artist's proofs(Edition record) -
Shi Jin-Hua1964-2024Contemporary Art Alchemy, Part II - Art Income, 2010Coin on canvas, Digital photograph on porcelain plate, single-channel video (color, with audio), and document66 x 86 cm (“Fifty Cents”),
45 x 105 cm (“Fifty Cents” document),
42 x 38 cm (Breadcrumb images on porcelain plate),
7′ 01″ (video),
42 x 29.7 cm (Document).Edition of 6 plus 2 AP(Edition record) -
Shi Jin-Hua1964-2024Contemporary Art Alchemy, Part III - Cover Project, 2010Magazine and document8 magazines,
42 x 29.7 cm (Document)Edition of 6 plus 2 artist's proofs(Edition record) -
Shi Jin-Hua1964-2024Contemporary Art Alchemy, Part IV - Taipei Biennial Exhibition Space for Auction, 2010Digital photographs and document55 x 189.8 cm,
42 x 29.7 cm -
Shi Jin-Hua1964-2024X Bodhi Trees, 2010-2021Trees, basalt, canvas, cement paint, digital photograph, pencil on paper, documentation42 x 29.7 cm (Artist Statement),
166.5 x 235 x 4 cm x 2 pcs (Counting Canvas) ,
130 x 52 cm x 12 pcs (Documentation)
35 x 23.5 x 3.8 cm x 30pcs (Wooden board),
97 x 23 x 14 cm x 2 pcs (shovels) ,
15.5 x 10.5 cm x 250 pcs (Prayers) ,
10.2 x 15.2 cm x 25 pcs (Process images) ,
27.9 x 21 cm x 12 pcs (six letters),
14 x 17.25 cm (bankbook of the replant events)
42 x 29.7 cm x 3 pcs (Tree Planting List of the replant events).
