- Duration of residencies：2016.09.30-12.11
- Location：Kuandu Museum of Fine Arts, Taipei National University of the Arts (1 Hsueh-Yuan Road. Peitou. Taipei 112, Taiwan)
+886-2896-1000 ext 2432
[ Taiwan ]
LU MING-TE + LAI YING-YING
[ Taiwan ]
ZHANG-XU ZHAN + GONG JOW-JIUN
[ Australia ]
RAMESH MARIO NITHIYENDRAN + GLENN BARKLEY
[ China ]
ZHANG PEI-LI + LU MING-JUN
[ Indonesia ]
TROMARAMA + ASIKIN HASAN
[ Japan ]
TSUBAKI NOBORU + KENICHIRO MOGI
[ Korea ]
AHN KYU-CHUL + LEE DAE-HYUNG
[ Malaysia ]
SAMSUDIN WAHAB + NUR HANIM MOHAMED KHAIRUDDIN
[ Singapore ]
LIM TZAY-CHUEN + LEE WENG-CHOY
[ Vietnam ]
NGUYEN PHUONG LINH + NGUYEN NHU HUY
Treating “slaying monsters” as its main theme, the 2016 Kuandu Biennale cordially invited ten pairs of artists and curators from Taiwan, China, South Korea, Indonesia, Australia, Japan, Malaysia, Vietnam and Singapore to accomplish the great achievement of the Biennale with concerted efforts. They will collectively create a new myth of Asian contemporary civilization by ways of conflict, creation, transformation, breakout, adventure, and so forth.
The term “slaying monsters” in the world of video games refers to attacking and annihilating vicious monsters therein. Players can accumulate points, reach higher levels and break through barricades only by “slaying monsters.” On top of that, players gain a sense of achievement primarily from breaking through barricades and reaching higher levels when playing video games. However, “slaying monsters” is not only the kernel of video games but also the very source of pleasure and entertainment for players. It is also now an idiomatic phrase referring to surviving hardships in real work environments, which is why it has become a turn of expression drifting amid real-life and virtual experiences. To put it another way, “slaying monsters” implies not only the materialization of games but also the gamification of realities.
In this sense, we may wonder whether the mode and corporeality of “slaying monsters” in video games have unobtrusively and imperceptibly influenced and changed our real lives in terms of social structure and ideology. Since the arts serve as a highly entertaining means of narration, we may also wonder whether artists intervene in the social, political, historical, and cultural contexts by virtue of the mode and sensation of “slaying monsters.” What would the monsters be if artists are requested to slay them?
Do the artists fail to live up to our extravagant claims of slaying monsters when they staunchly display heroism in the scheme of modernization? What on earth should we be prepared to slay? Is it art history, neo-liberalism, the colonial perspective of history, or the hierarchical system of contemporary art? Or, the unconquerable institutional difficulty and ideological monsters are actually what we make of them. How could we “slay monsters” if heroes and monsters are in fact the two sides of the same contemporary civilization?
The Kuandu Biennale is about to celebrate its tenth anniversary. Revolving around the axis of “curating,” the Kuandu Beinnale was inaugurated with the theme “Have a Dream” in 2008, via “Plus” (2010), “Artist in Wonderland” (2012), “Recognition System” (2014) to “Slaying Monsters” this year. Following the innovative collaboration pattern of ten pairs of artists and curators, we have established the sui generis subjectivity and seized the power of discourse for the Kuandu Museum of Fine Arts. The “Asian Contemporary Art Forum” is scheduled to be held on 30 September as an accompaniment to the 2016 Kuandu Biennale. The Forum will serve as a congenial platform for the dialogue and exchange among Asian artists, curators, critics, art communities as well as art buffs. We expect this gala event to build up momentum for Asian contemporary art, manifesting the creative energy and academic aspiration as the genuine spirits of university museums.