From National Art to Critical Globalism
2013; Routledge; Volume: 27; Issue: 4 Linguagem: Inglês
10.1080/09528822.2013.814444
ISSN1475-5297
Autores Tópico(s)Museums and Cultural Heritage
ResumoAbstract The biennial form was adopted and adapted by the Taipei Fine Arts Museum in order to reform its official art exhibition and in response to the rise of multiculturalism and postmodernism in Taiwan's post-martial law era. This article, through a close analysis of the curatorial strategies of the Taiwan Pavilion at the Venice Biennale from 1995 to 2011, reformulates our understanding of the biennial not merely as an exhibition format showcasing works of art but as a more flexible mechanism that signifies global postmodernism as both a continuation of and a break from the project of modernism that had been previously carried out by museums. The trajectory of the Taiwan Pavilion at the Venice Biennale has shifted from that of an exhibition motivated by a marginalized country's longing for national representation in a global art fair to one that critiques the logic of cultural, political and economic hegemony that dominates the biennale and causes Taiwan's own marginality. Keywords: The Taiwan PavilionTaipei BiennialTaipei Fine Arts MuseumVenice BiennaleOkwui EnwezorLee MingweiGoang-Ming YuanChieh-Jen ChenTe-Cheng LienCharlotte BydlerView correction statement:Corrigendum Notes 1. The three artists were Taiwanese artist Chia-Wei Hsu, Taiwanese-German artist Bernd Behr, and Czech artist Kateřina Šedá. 2. Yin-Hui Wu, ‘Wei ni si tai wan guan wai ji yi shu jia chu xian’, (‘ ’, ‘The Taiwan Pavilion Will Feature Foreign Artists in the Venice Biennale’), China Times, 20 November 2012, http://news.chinatimes.com/reading/110513/112012112000540.html, last accessed 7 July 2013 3. Esther Lu, ‘Zhi yi shu jie peng you de gong kai xin’, (‘’, ‘An Open Letter to Friends in the Arts’), https://www.facebook.com/notes/esther-lu/ /10151319701736031, last accessed 24 April 2013 4. Because of the 2013 Taiwan Pavilion controversy, the Taipei Fine Arts Museum and the Association of the Visual Arts in Taiwan both held symposiums on the issue of the Taiwan Pavilion, on 12 December 2012 and 6–7 February 2013 respectively. The video recordings of the symposiums are published on YouTube at http://youtu.be/zAMmph2NVSc and http://youtu.be/9l7H784fQEU. 5. Okwui Enwezor, ‘Mega-Exhibitions and the Antinomies of a Transnational Global Form’, MJ–Manifesta Journal 2, winter 2003/spring 2004, pp 94–119, p 108 6. See, for example, Caroline A Jones, ‘Biennial Culture: A Longer History’, in Elena Filipovic, Marieke van Hal and Solveig Øvstebø, eds, The Biennial Reader, Hatje Cantz, Osfildern and Bergen Kunsthall, Bergen, 2010, pp 66–87. Rafal Niemojewski, ‘Venice or Havana: A Polemic on the Genesis of the Contemporary Biennial’, in Filipovic, van Hal and Øvstebø, eds, op cit, pp 88–103 7. Ranjit Hoskote, ‘Biennials of Resistance: Reflections on the Seventh Gwangju Biennial’, in ibid, p 310 8. The Taiwan Pavilion is not Taiwan's first attempt at participating in international biennials. This can be dated to 1957 when Taiwan's National Museum of History organized an exhibition of works by Bai-Shui Ma, Ying-Fong Yang and Min-Hsien Hsiao in the form of a national pavilion at the 4th São Paulo Biennial. But it should be pointed out that from 1945 until the late 1980s, modern art in Taiwan was seen – and self-identified – as Chinese modern art. See Chen-Hui Cao, Fa shao de shuang nian zhan: Zheng zhi/mei xue/ji zhi de dai yuan ( , Biennale Fever: The Alternative Voice of Politics, Aesthetics and Institutes), Taipei Fine Arts Museum, Taipei, Taiwan, 2011. 9. The Taiten (an abbreviation of Taiwan bijutsu tenrankai or Taiwan Fine Arts Exhibition) was held ten times from 1927 to 1936. It was interrupted by the outbreak of the Second Sino-Japanese War in 1937. In 1938 it was revived as the Futen (abbreviated from Taiwan Sōtokufu bijutsu tenrankai or Taiwan Government-General Art Exhibition), which was held six times until 1943. See Chong-Ray Hsiao, ed, Ling guang zai xian: tai wan mei zhan ba shi nian ( , Recurrence of the Aura: A Retrospective on the 80 Years Taiwan Arts Exhibitions), National Taiwan Museum of Fine Arts, Taichung, Taiwan, 2009; Taiwan Soka Association, Ri zhi shi qi tai wan guan ban mei zhan (1927–1943) tu lu yu lun wen ji, ( [1927–1943] , The Official Fine Arts Exhibition in Taiwan [1927–1943] During the Japanese Occupation), Qin xuan wen jiao ji jin hui, Taipei, Taiwan, 2010; Chuan-Ying Yen, ‘Regulated Space and the Pursuit of Knowledge: Modern Art in Colonial Taiwan’, in Jeanette Tsai and June Chu, eds, Contemporary Taiwanese Art in the Era of Contention, Taipei Fine Arts Museum Taipei, Taiwan, 2004, pp 10–41. 10. Jason C Kuo, Art and Cultural Politics in Postwar Taiwan, CDL Press, Bethesda, Maryland, 2000, distributed by University of Washington Press, pp 32–83. See also Chiao-Pi Lin, ‘Reflections on the Government-Organised Fine Arts Exhibitions of the 1950s’, in Acquisition Department of Taipei Fine Arts Museum, Xun zhao qian wei de yin zi: 1946–1969 nian ( 1946–1969, The Search for the Avant-Garde 1946–1969), Taipei Fine Arts Museum, Taipei, Taiwan, 2010, pp 21–30. 11. Carol Duncan, ‘Art Museums and the Ritual of Citizenship’, in Ivan Karp and Steven Lavine, eds, Exhibiting Cultures: The Poetics and Politics of Museum Display, Smithsonian Institution Press, Washington, DC, 1991, pp 88–103 12. Rui-Ren Shih, ‘Cong er mu dao xin ling de yi shu yin du: tai bei shi li mei shu guan shuang nian jing sai zhan zhi hui gu yu qian zhan’ (‘ ’, ‘From Leading the Ears and Eyes to Leading the Hearts in Art: A Retrospective and Prospective Appraisal of the Biannual Competition-Based Exhibition at the Taipei Fine Arts Museum’), in Taibei xian dai mei shu shi nian, ( , Art Forum 50: One Decade of Modern Art Development in Taipei), exhibition catalogue, Taipei Fine Arts Museum, Taipei, Taiwan, 1993, p 41 13. Man-Hua Chen, ‘Xiang xiang de tai wan dang dai yi shu – cong bei mai guan “xin zhan wang zhan” dao “tai bei shuang nian zhan” de kao cha’ (‘ ’, ‘The Imaginary Taiwan Contemporary Art: A Journey from TFAM's “Contemporary Art Trends” to “Taipei Biennial”’), Journal of National Taiwan Museum of Art 89, July 2012, pp 58–75 14. Munlee Lin, ‘Director's Preface’, in Taipei Fine Art Museum, Yu wang chang yu: 1998 Taibei shuang nian zhan ( : 1998 , 1998 Taipei Biennial: Site of Desire), exhibition catalogue, Taipei Fine Arts Museum, Taipei, Taiwan, 1998, p 11 15. Pei-I Lu, ‘Shei zai xiang xiang jian gou “tai wan te xing”? – wei ni si shuang nian zhan tai wan guan zhan lan ce lue tan tao’ (‘ ’, ‘Who Imagines and Constructs “Taiwanese Characteristics”? – A Study on Taiwan Art Exhibition Strategy at the Venice Biennial’), Journal of Taipei Fine Arts Museum 4, 2001, pp 125–151 16. Jia-Xian Wang, ‘Quan qiu hua yu wen hua xiao fei – yi tai bei shuang nian zhan wei li’, (‘ ’, ‘Globalization and Postcolonial Cultural Consumption – A Case Study of the Taipei Biennial’), MA thesis, Institute of Aesthetics and Arts Management, Nanhua University, Chiayi, Taiwan, 2004 17. Huei-Hua Cheng, ‘Wo men ru he mian dui xian shi?’ (‘’, ‘How Do We Face Reality?’), Artco 146, November 2004, p 67 18. Chin-Tao Wu, ‘Biennials without Borders?’, New Left Review 57, May/June 2009, p 115 19. Chien-Hung Huang, ‘Que xi ru he bian cheng wen ti? tai bei, guang zhou yu heng bin de wei zhi zhi zheng’ (‘ ’, ‘How Has Absence Become A Problem? The Competition of the Site among Taipei, Gwangju, and Yokohama’), Artco 196, January 2009, pp 81–83 20. Shu-Ling Chen and Hui-Ju Hu, ‘Venice Biennale: Reflections on the Taiwan Pavilion, 1995–2007’, in Shu-Ling Chen, ed, Taiwan Pavilion at the Venice Biennale, A Retrospective, 1995–2007, Taipei Fine Arts Museum, Taipei, Taiwan, 2010, pp 10–41 21. Wolfgang Becker, ‘Art in Taiwan Today’, in Wolfgang Becker and Francoise Chatel et al, eds, ArtTaiwan: Biennale di Venezia, 1995, Taipei Fine Arts Museum, Taipei, Taiwan, 1995, p 11 23. Ibid, p 7 22. Ching-Fu Lu, ‘Tendencies Toward Local Consciousness, Individualism and Edification in Taiwanese Art’, in Taiwan Taiwan: Facing Faces, exhibition catalogue, Taipei Fine Arts Museum, Taipei, Taiwan, 1997, pp 7–13 24. Chien-Hui Kao, ‘Living Cell: Soul Factory of Mankind’, in Taiwan Pavilion Living Cell: Plateau of Humankind, exhibition catalogue, Taipei Fine Arts Museum, Taipei, Taiwan, 2001, p 14 25. Ibid, p 14 26. Chen and Hu, ‘Venice Biennale’, op cit, p 29 27. Chia-Chi Wang, ‘The Spectre of Freedom’, in The Spectre of Freedom (Taiwan Pavilion at the 51st Venice Biennale), exhibition catalogue, Taipei Fine Arts Museum, Taipei, Taiwan, 2005, p 15 28. Timothy Mitchell has theorized the ‘exhibitionary order’ in Mitchell, ‘Orientalism and the Exhibitionary Order’ (1989), in Donald Preziosi, ed, The Art of Art History: A Critical Anthology, Oxford University Press, Oxford, 2009, pp 409–423. 29. Charlotte Bydler, The Global ArtWorld Inc.: On the Globalization of Contemporary Art, doctoral thesis, University of Uppsala, Uppsala, Sweden, 2004 30. Felix Schoeber, ‘Re-Writing Art in Taiwan: Secularism, Universalism, Globalization, or Modernity and the Aesthetic Object’, in Fang-Long Shih, Stuart Thompson, and Paul-François Tremlett, eds, Re-writing Culture in Taiwan, New York, Routledge, 2008 31. Okwui Enwezor, op cit, p 118 32. Lawrence Alloway, The Venice Biennale, 1895–1968: From Salon to Goldfish Bowl, Faber, London, 1969; Shearer West, ‘National Desires and Regional Realities in the Venice Biennale, 1895–1914’, Art History, vol 18, no 3, September 1995, pp 404–434; Maria Stone, ‘Challenging Cultural Categories: The Transformation of the Venice Biennale Under Fascism’, Journal of Modern Italian Studies, vol 4, no 2, summer 1999, pp 184–208; Enzo Di Martino, The History of the Venice Biennale 1895–2005: Visual Arts, Architecture, Cinema, Dance, Music, Theatre, Papiro Arte, Venice, 2005
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