Impossible means “not yet possible,” a description of a condition and a hope for better things, persons, and worlds to come. Just like dreams arising from trauma and bodies and spirits migrating across different realms, the project is a work of memory and conversation.
Ever since the opening of the Taiwan exhibition at the 46th Venice Biennale at the Palazzo delle Prigioni on April 21, 1995, Taiwan has organized 13 iterations of engaged and inspiring presence.
The exhibition moves across two sections: archival display and public events. The archival display and public events are meant to be viewed as interacting platforms, speaking to each other and prompted by each other’s materials. They are not separate curatorial initiatives but assemblies that address memory (archive) and presence (event), both sustaining a faith in the future.
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Impossible means “not yet possible,” a description of a condition and a hope for better things, persons, and worlds to come. Just like dreams arising from trauma and bodies and spirits migrating across different realms, the project is a work of memory and conversation.
Ever since the opening of the Taiwan exhibition at the 46th Venice Biennale at the Palazzo delle Prigioni on April 21, 1995, Taiwan has organized 13 iterations of engaged and inspiring presence. In a changing planet and marked by a more patient rhythm, the effort in 2022 takes a pause as it brings together selected pieces from previous Taiwan exhibitions at the Venice Biennale. This collection reflects on the presentation of vital Taiwanese cultural contexts and perspectives through a wide range of contemporary art that sharply and decisively responds to current issues addressed by the international communities.
The exhibition moves across two sections: archival display and public events. The archival display and public events are meant to be viewed as interacting platforms, speaking to each other and prompted by each other’s materials. They are not separate curatorial initiatives but assemblies that address memory (archive) and presence (event), both sustaining a faith in the future. The archive becomes an aesthetic event, and the event becomes a deliberative archive. The event is a lively seminar of performative gestures (from talks to artistic interventions) and the archive comprises enigmatic objects (from artworks to performances). The themes of the public events are generated by the various anxieties surrounding the world today as well as the artistic insights into them gained from the artistic and curatorial labor of the earlier exhibitions of Taiwan at the Venice Biennale. Both the archive and the discursive exchange revolve around the following questions and interests: “What Makes a Pavilion? What does a Pavilion Make?,” “Time, Body, Technology,” “Ecologies of History,” and “Freedom of Others/Other Freedoms.”