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Zoo of Inverted Forms:
The Ultimate Other for
Imagining Humanity 

Collateral Event of 2020 Taiwan Biennial 2020 台灣美術雙年展平行展

2020.10/24 — 11/29
Waley Art, Taipei, Taiwan
Curator|Feng-yi CHU, Tsai-Hsuan PENG

LIN Pei-Ying, WU Sih-Chin, YAO Jui-Lan, TOU Yun-Fei, CHANG Teng-Yuan, Amuse (LIN Chien-Yo,
LIN Wei-Yo, SU Jia-Xian), Marina FONMENKO

Curator's Note: "Horse" is the animal most often used to introduce Plato's "Theory of Forms." According to the philosopher, there is an eternal and perfect horse in the world of forms; however, the horse in the sensual world is only recognized and understood by people as "horse" because it has inherited the form and quality of horse. Plato did not explain how forms were produced; before the East Asian people saw a giraffe, or before the Europeans discovered platypus, where did their understanding of the forms of these two species come from? Perhaps the actual situation was the opposite: mankind does not identify and understand animals through an existing metaphysical knowledge system (such as forms); on the contrary, what we have always been doing is to construct our knowledge (or even morality) systems by using animals as the medium of imagination.

        Based on this topic, "Zoo of Inverted Forms: The Ultimate Other for Imagining Humanity" showcases works related to the theme of animals by six contemporary artists from Taiwan and Russia: Amuse, Pei-Ying LIN, Shih-Chin WU, Teng-Yuan CHANG, Yun-Fei TOU and Marina Fomenko. The purpose of the exhibition is not about displaying the different ways the artists "interpret" animals, but to explore the artists' presentations of how mankind construct or reflect our specific systems of knowledge, religion, ethics, and aesthetics, through animals. In the age of Anthropocene, this exhibition seeks to inspire us to recognize the essential role that animals play in our lives, even in the absence of a comprehensive and thorough knowledge system about them. While we must acknowledge the limitations of our understanding of the natural world, we must also appreciate that animals have always been an indispensable reference for our survival, as well as for our imagination and definition of "human," our ideas of myth and religion, and our systems of ethics and morality.

Feng-Yi CHU


Amuse, Post-Biology Laboratory, 2012, FRP and metals, dimensions variable.

Pei-Ying LIN, Kaleidoscope of the Universes, 2015–2016, videos, mixed media installation, dimensions variable.

Yun-Fei TOU, Memento Mori, 2011, inject print, 152 x 112 cm.

Teng-Yuan CHANG, Quarantine, New World, and Hello, 2020, acrylic on wood box, dimensions variable.

Marina FOMENKO, Morning Milking, 2018, single-channel video, 5 min 37 sec.

Sih-Chin WU, Muntjac Imitation, 2019, single-channel video, 11 min 53 sec.

Jui-Lan YAO, Cleanliness is Next to Godliness, 2020, single-channel video, 10 min 40 sec.

Reports & reviews:
形骸異變 -「禽獸不如」衛星展平行展〉,胡鐘尹。國立台灣美術館網站「國美E讀誌」第38期。


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