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| At Zhongshan Park in Shanghai |
Many of us [Hongkongers] support and understand the students who remain in Admiralty, Causeway Bay and Mong Kok. So far, we haven't felt a taboo on talking about it on campus. But the conversations are usually only among the Hong Kong students. . . .3. Gwynn Guilford looks at the pragmatic and symbolic implications of Hongkongers' Cantonese language setting them apart:
Some [mainland Chinese students] are curious and come to ask what's happening in Hong Kong when they see the pictures we spread through WeChat. But they just view the movement as useless political and social unrest. They say 'take care', but that's it. Few want to know anything more about why so many young Hong Kong people have taken to the streets.
In short, when a Mandarin-reader looks at the Cantonese words for “Umbrella Movement,” she sees a fairly innocuous and somewhat nonsensical phrase. When a Cantonese-reader looks at them, the same set of characters are a play on words meaning both “Chater Road Movement” and, literally, “Umbrella Fight Movement”—or, more abstractly, “Umbrella Fight-Against-CY Leung Movement.”4. Jamie Kenny considers how the dynamics of the protests in Hong Kong may differ from those elsewhere in terms of the "enchantment" factor:
The protesters’ vulnerability has in fact been re-engineered as a force multiplier. On an average day, attendance does not exceed a few hundred, with crowds swelling in the evening, after part-time supporters are done with work or school. But numbers grow at moments of crisis and at any time the camp is believed to be under threat from the authorities. The effect is to make the camp untouchable, at least for now.He also asks "How did people so young get to be so good at protest?". For his answer, which does not mention manipulative “external forces”, and more about the various dynamics at work in the protests, see here.
When the demonstrations erupted in late September, many people — particularly leaders in Beijing — expected power brokers like [Asia's richest man, Li Ka-shing,] to come out firmly and forcefully against the sit-ins and call for a quick return to the status quo. After all, the territory's business elite has enjoyed a cozy and profitable relationship with government officials since the former British colony reverted to Chinese rule 17 years ago, reaping massive windfalls as closer ties with the mainland set the city's property market on fire and supercharged other sectors of the economy.See here for more about how Hong Kong's tycoons have largely kept silent about the protests and how they may not be united in their hopes.
But that calculation may have underestimated the tycoons' support for Hong Kong's more Westernized traditions, and their distaste for its government leader, Chief Executive Leung Chun-ying.
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| At the Songshan Cultural and Creative Park |
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| Praying at the Xiahai City God Temple |
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| Inside the Yonglian Temple |
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| Looking out at the Luzhou Temple Commercial District from Yonglian Temple |
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| Nanhai Road at 5pm |
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| Xinyi Road at 5am |
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| One of many places for a soy milk fix |
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| Free tea and traditional music |
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| Xinzhuang Night Market on Xinzhuang Temple Street |
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| One of Taipei's many alleys |
“The Great Acceleration: Art in the Anthropocene,” curated by Nicolas Bourriaud, casts human subjects as both increasingly ghostly, stressing limitations and finitudes, as well more aligned with the organic, strange, and sensory. In other words: both more dead and more alive. These qualities have been thrown into relief by the ascendance of the machinic technologies and algorithmic logics that have come to condition much of our activity and attention. Expanding on these issues, the biennial, held solely at the Taipei Fine Arts Museum, features 52 artists and collectives, finely installed. As one might expect from Bourriaud, known for coining terms and corralling practices such as “relational aesthetics,” “postproduction,” and “altermodernism,” artistic approaches, rather than particular geographies, histories, or politics, connected the works in the exhibition.And as described by exhibition curator Nicolas Bourriaud:
Human activity has been transforming the planet for millennia. All the ecosystems now bear the mark of human presence, but the scale and speed of change in the last 60 years, called by scientists The Great Acceleration, also led them to name anthropocene this new geological epoch — an era marked by the strong impact of human activities upon the atmospherical and geological evolution of planet earth.
Taipei Biennial 2014 uses this image in order to examine how contemporary art adresses this new contract between human beings, animals, vegetals, machines, products and objects. How does today’s art define and represent our space-time ? The exhibition will highlight the way artists focus on links, chainings, connections and mutations : how they envision planet earth as a huge network, where new states of matter and new forms of relations appear…
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| Formasa Decelerator — Opavivará! (Brazil) |
Opavivará! is an art collective from Rio de Janeiro, which develops actions in public places of the city, galleries and cultural institutions, proposing inversions in the use of urban space, through the creation of relational devices that provide collective experiences.
Specially conceived for the Taipei Biennale 2014, Formosa Decelarator is also contaminated by local Brazilian traditions, rituals and tea ceremonies. . . .
The idea revolves around a sort of temple of idleness, an invitation to inactivity, a space that worships the non-productive and non-active and that stands as a counter-proposition to our accelerated, superficial and volatile times. It aims to evoke a collective ambience based on sharing and on the relationships that arise through the interaction of the public, a tool to transform the challenge of living together into a vibrant and pulsating exercise of pleasure, congregation and creative idleness.
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| Yucca Invest Trading Plant — Ola Pehrson (Sweden) |
Every plant is in itself a perfectly economical system, with a minimum of waste, with its own resources, something which certainly can’t be said of many companies. A yucca palm tree has been chosen as a representative of a typical plant for a young urban businessman. The plant has been exposed to six months of intensive market education, during which it has been fed with stock market rates encoded into electric currents, combined with an index-related conditioning diet of either rich or meagre rations of water and sunlight. This is an attempt to stimulate a market-adapted habitus, similar to that which years of financial transactions develop in the experienced stock brokers’ nervous system.
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| Zoo — Ching-Hui Chou (Taiwan) |
Zoo is a space full of imagination and conflict. It symbolizes a time of joy (for visitors), yet it also symbolizes a time of confinement and segregation (for animals). It symbolizes the convenience and marvels of modern life (a collection of rare animals from all over the world), and it also suggests a hint of the apocalyptic salvation of Noah’s Ark (protecting species on the verge of extinction). Cages in zoos are used as an allusion to modern people’s lives in cages.
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| Mobile Phone and Stone Tool — Shimabuku (Japan) |
A mobile phone is one of the newest devices of humankind, and a stone tool is the oldest. Actually, they are similar in some aspects. Firstly, the size is similar. When held in a person’s hand, some of them feel very much alike. Stone tools also have “memory” just like mobile phones. You could imagine “calling” or “taking a photo” with a stone tool.
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| Dangerous Computer Virus — Abu-Bakarr Mansaray (Sierra Leone/Netherlands) |
Mansaray’s creations particularly focus on unusual yet sophisticated drawings and machines based on his scientific background. His preparatory drawings, created by pencil, ballpoint pen or crayons, seem to be blueprints, but they can be regarded as the characteristics of his artwork, as evidenced in the works shown at the Taipei Biennial 2014. There is no doubt that the conflicting, warring circumstances of Sierra Leone play an influential role in shaping Mansaray’s creative imagination and futuristic point of view. Even though his works, to some extent, bear witness to the horrors of war, it is still evident that Mansaray attempts to express the power of creation.
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| Decriminalization of Taiwanese Indigenous Hunting Rifles — En-Man Chang (Taiwan) |
The term “decriminalization” refers to a situation where a previously illegal activity or action is designated legal. When legal behavior is suddenly reclassified as illegal, that is called “criminalization.” In a civilized society, how is it that the traditional hunting of indigenous peoples results in them being subject to the legal system of a different culture? In the past, hunters were the pride of the tribe, but they are now labeled criminals by the legal system because the prevailing political-economic system declines to respect cultural diversity.
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| Keep Soothe and Carry On — David Douard (France) |
The installation Keep Soothe and Carry On, made in 2014, is an installation that takes its starting point in its title, which Douard got from the classic English slogan “Keep Calm and Carry On.” Reflecting present-day reality, this installation is represented in the form of a marketing slogan, with the launch of several derived objects (cups, T-shirts, posters…). That is why Douard has retained the R of a trademark, serving as a powerful symbol in the installation.
He decided to use this advertisement as a tranquilizer in society. The rest of the installation serves as elements of a disordered society which the slogan addresses
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| Buk — Harold Ancart (Belgium) |
Buk is a plastic bucket holding a smart phone that plays “The Ultimate Very Best of Elvis” on a loop. The bucket serves as a soundbox for the smart phone as it amplifies the sound of the music released through the speaker of the phone. This anticipative sculpture witnesses a fictional lifestyle improvement for homeless people in the future. No longer subject to cold, for they will all carry electronic warming systems incorporated into their jackets, the homeless people will reunite and party around Buk rather than metallic trash cans set on fire.
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| The Deluge – Noah’s Ark — Hung-Chih Peng (Taiwan) |
Reflecting ferry disasters, floods and other recent ecological crises, Peng’s work The Deluge – Noah’s Ark attempts to show the impotence of human beings in the face of uncontrollable catastrophic challenges. The rapid acceleration in the Anthropocene era causes climate change, environmental pollution, and ecological crises. All the measures to control these problems seem to be in vain. Human beings are unable to return to the unspoiled living environment of the past, and have become victims of their own endeavors. This work serves as a metaphor exposing the collision between Mother Nature and the accelerated development of industrialized civilization.
