Curatorial Statement



詩人畫家威廉·布萊克(William Blake, 1757-1827)筆下一位從天堂返來的旅人米爾頓(Milton)[2]在他不朽的旅程中途經地球,發現日升、殘月與星辰蒼穹環繞其左右,大地的本質便是無邊無際的平面。沿著時序進展,以及科技作為世界觀視之重要媒介,地圓說已然成為科學真理,支配著我們對世界的認知,儘管如此,世界在人文與藝術領域中,仍秉續著歷史巡禮各種殊有的形象展現其身,無論是創世紀描繪其空虛混沌[3]、接著在話語中顯影、希臘諸神的鬥爭場、柏拉圖的理型國度(Republic)、蓋婭假說(Gaia Hypothesis[4])下的有機體,抑或是爆炸後的碎片彼此碰撞後繞行於寰宇,不同的世界圖像鋪陳平行的世界觀,世界是多義的,同時以宇宙、地球、大地等多位一體的型態存在,世界既是情境也是方位;是物理也或許是南柯一夢;指涉時間也呈展空間,那麼,在這些看似對立的命題(proposition)中,何為真實?


第三屆大臺北當代藝術雙年展,立基於「真實世界」(Authentic World),向世界各領域專家、藝術家、詩人、產業機制、機構、研究單位發出邀請,各司其職的他們從民俗、歷史、宗教、自然、科學、科技、文學、藝術、視覺文化等領域給予不同的視域(horizon),共同聚焦於本原式的真實世界對話,這些面向世界的視域在觸及真實之際偶然地融合、相依、互斥或並存,然而,某種本質性的真實可能被遮隱著,大臺北當代藝術雙年展將揭開屏蔽之幕,照亮那些視域未及之處,顯露出世界的「本原」(arche)。每一件展出作品與合作成果閃耀著每個場域的勞動狀態、合規訓的過程性與實踐思緒等種種日常,這些日常便作為藝術對話與創造的材料,其中,或許去規訓、創造性將逐漸提呈,亦或許各場域所呈現的創作,將有著某種神話般的和整體思維的藝術性。而各領域的力行隨著時間流逝在現實中留下殘影,逐漸凝結於藝術場域中,層層凝固的殘影隱然若現,暗示著藝術世界的真實。如同科學世界中諸多的公式與定論,看似獨立運算,卻彼此交織構成人類賴以為存的物理世界。然而,我們仍要探問的是,如何意識真實?





「世界引遊人」有著來自人類學與文學的學養領域,其生活足跡橫跨法國到歐洲,縱躍美國加州到最北的阿拉斯加,作為「世界引遊人」他們透過不同媒介的書寫和再現帶領我們一起進行一段旅程,起點可能是詩人愛倫·坡(Edgar Allan Poe, 1809-1849)的《烏》(The Raven[6]),可能是愛斯基摩人的近北極圈人類學田調,探索的內容既真實亦令人驚嘆不已。








AUTH­­ENTIC WORLD Curatorial Statement

[1] 原文為 : « Thus is the earth one infinite plane… » 

[2] William Blake, Milton:A Poem, 1804, CreateSpace Independent Publishing Platform(2015)

[3] Genesis 1:2 « The earth was without form, and void…»

[4] James E. Lovelock, "Gaia as seen through the atmosphere", Atmospheric Environment, Volume 6, Issue 8, 1972, p. 579-580.

[5] 沙力浪,《用頭帶背起一座座山:嚮導揹工與巡山員的故事》,健行文化出版社,2019

[6] Edgar Allan Poe, The Raven, 1845, CreateSpace Independent Publishing Platform(2013)

[7] Ludwig Wittgenstein, Philosophical Investigations, 2001, Basil Blackwell Publishing, 1953 First  published, p. 193.


"Thus is the earth one infinite plane.”


When Milton[1], a fictional traveler created by poet and painter William Blake (1757-1827), passed by the earth on his immortal journey from heaven, he found himself surrounded by the sun, the moon and stars, and realized that the essenceof the earth is an infinite plane. Even if the earth as a sphere has become a scientific truth and dominates our perception of the world, in the fields of art and culture there remain unique historical tours that picture it differently. In Genesis, the world was depicted as formless and void. Then the word developed the world. The battlefields of Greek gods, the Republic of Plato, the organism of Gaia Hypothesis[2] or the fragmented Big Bang debris colliding with each other while touring the universe. Regardless, each world image elaborates a parallel worldview. The world is polysemic, meanwhile, existing in the form of the universe, the earth, and the land. It can be imagined but also being the azimuth. It exists physically while being completely made up, only in our heads. It is about time while being about space. So what is true, among these seemly contradictory propositions?


The 3rd edition of the Greater Taipei Biennial of Contemporary Art presents « Authentic World » as an invitation to experts, artists, poets, industries, institutions, and research departments worldwide. Those who operate within the fields of folklore, history, religion, nature, science, technology, literature, art, visual culture, etc. furnish diverse horizons to thedialogue on the original authentic world. These world-oriented perspectives fortuitously merge, attach, mutually exclusive, or coexist when approaching reality. However, a certain essentiality may still be hidden. The Greater Taipei Biennial of Contemporary Art will remove the shield to illuminate what is not yet in sight, and to reveal the arche of the world. The exhibited works and collaborations shine a light on the labors, disciplined processes, and practical thoughts of each field's everyday life. These daily routines serve as materials for the artistic agenda. Perhaps, among all, out-of discipline and creativity will be shaped gradually. The practices will carry out certain mythical and overall artistry through their varying fields. Each leaves a shadow behind in reality as time flows and gradually condenses in the art. While the layers of solidified afterimages emerge, the reality of the art world is unfolded. Similarly many scientific formulas and conclusions seem to be calculated independently but are intertwined to form the physical world that humans rely on. However, we are still wondering how to be authentic?


Time-traveler Milton continues his marvelous journey. In Blake's narrative, Milton soars across heaven and earth in a vortex. A tour guide of the world compresses progress, shows the panorama of the world, sings the global gospels in a melody connecting the world from end to end. Through the curatorial context, it brings the resounding musical notes from the valley. In Bunun Poet Salizan Takisvilainan's Carrying Mountains with Headbands[3], the "sanadan[4]" from the deep mountains - high-level experts in mountaineering[5], equipped with tinaqis[6] and patakan[7] which carried tribal history, hummed tribal tunes as they set foot in their ancestral motherland. By the wisdom of nature, collapsed ancient footpaths wouldn't stop the guides progress nor the rhythmic echo in the mountains.

"The Tour Guide of the World" is adept at anthropology and literature and their footprints cross from France to the rest ofEurope, and from California to northernmost Alaska. As "The Tour Guide of the World", through writing and representation in different media, they lead us on a journey. Perhaps it begins at The Raven[8] by poet Edgar Allan Poe(1809-1849), or it may be the anthropological exploration of near-arctic Eskimoes. Each is equally authentic and astonishing.


The tour guide of the world has broadened the scope of the horizon. Groups of astronomers observing distant galaxies, simulating the operational mode of the universe, and investigating a space-time tunnel built by radiance and energy (heat, magnetism, gravity, etc.), for instance. Interdisciplinary collaboration allows the transmission of physical, truthful images of exotic outer space (such as black holes) to become present in our perception. Possibly, the tour guide possesses different tasks and missions to build up paths out of curiosity about the arche of the world's corporality. They yearn for exploring in the authentic world. Following their paces, we will experience the prototype where the world is genuine yetheterogeneous.

Probing the arche of the world fabricates the agent of the biennial: Not only the quotidian, but even "normality" will serve as subject for artistic dialogue. Coupled with afterimages in reality, these draw the outline of an unreachable world. Then the world is as authentic as it is shown. The tour guide of the world roams between NTUA Art Village and 9 Art Space. In tandem, an Artistic Dwelling Project is sprinkled into the biennial. Six invited artists propose the concept of the daily world that coexists with the biennial through a building that bore witness to local history. Blending the narrative context of the region and the artists' own scenarios, the invited artists construct an everyday landscape through diverse time and space in an artistic scenography. The audience will be immersed in an authentic life setting through their perception of the exhibited surroundings.

The definition of work is a dynamic act. What the eyes see is merely a certain "aspect-seeing[9]" of the "Authentic World". The Greater Taipei Biennial of Contemporary Art brings together a sphere for presenting and interpreting thevarious faces of authenticity, simulacrum authenticity, fictional authenticity, dialectical authenticity, and reproduction authenticity. Therefore, the actual knowledge systems can be surmounted through our fusion of different horizons. Step by step, all the "aspects" will be fulfilled to put in perspective of the arche world. Set beneath the banner of humanism, we comprehend what real means while being in an ever-moving era. 

[1]William Blake, Milton: A Poem, 1804, CreateSpace Independent Publishing Platform(2015)

[2]James E. Lovelock, "Gaia as seen through the atmosphere", Atmospheric Environment, Volume 6, Issue 8, 1972, p. 579-580.

[3]Salizan Takisvilainan, Carrying Mountains with Headbands: The Story of Guide Porters and Mountain Rangers, Chien Hsing Publishing Co., Ltd, 2019

[4]The High-level experts in mountaineering in Bunun language.

[5]They are hired to instruct or lead individuals or small groups who require this advanced expertise.

[6]The Headbands in Bunun language.

[7]The mountain backpack in Bunun language.

[8]Edgar Allan Poe, The Raven, 1845, CreateSpace Independent Publishing Platform(2013)

9. Ludwig Wittgenstein, Philosophical Investigations, 2001, Basil Blackwell Publishing, 1953 First published, p. 193.


2020 大臺北當代藝術雙年展
Greater Taipei Biennial of Contemporary Art 2020

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