Daily+― The Second Greater Taipei Biennial of Contemporary Art

Yi-Chin LO Taiwan/b.1967
LO is an important contemporary novelist in Taiwan and has been awarded numerous prizes, including Dream of the Red Chamber Award: World's Distinguished Novel in Chinese, Grand Award of United Daily News, Taiwan Literature Award, Literature Award of China Times, Short Story Award, Literature Award of United Daily News: Best Young Writer, and Taipei Literature Award and so on. Versatile author of several epic and short novels, he is viewed as one of the best contemporary writers in terms
of quality and quantity.

Chun-Yi CHANG Taiwan/b.1975
Artist/Curator. The recent creation focuses on how to represent the forever lost objects between "game/event" so as to bring out the persistent eternity in this ever changing world. Ph. D in Arts and Sciences of Art, Université Paris 1 Panthéon-Sorbonne and master in plastic expression, École Regionale des Beaux-Arts de Rouen. Awarded scholarships from Gerda Henkel Stiftung (Germany) and la Fondation Prospective et Innovation (France), CHANG conducted a postdoctoral research at the School of World Studies (FMSH) under the tutelage of the French thinker François Jullien.

2018│paper book, e-book, audio-book, mixed media ―wood, LED, acrylics, galvanized steel, computer, touch screen, iPod touch, earphone, dimension variable

Wall Climber is particularly written by the novelist Yi-
Chin LO for the Daily+ ― 2018 Greater Taipei Biennial
of Contemporary Art. The novel focuses on the spaces
of the exhibition sites composed of old houses, mixing with the writing on what had happened here.

As the first invited work of the biennial, the novel
serves as a reference of inspiration for the invited
artists. Curateur-artist Chun-Yi CHANG attempts
to transform the novel based on the exhibition sites
into different forms of demonstration and reading,
including "Reading Capsule" as paper book reading
area in Our Museum, "Daily+ Satellite Station" (e-book
and audiobook) as micro-casework on tour among
the joint art organisms, and "Guide of Wall Climbing"
as scat tered inscriptions engraved with spatial
significance describing the sites to which the text can
be returned anew.

Julien PRÉVIEUX France/b.1974
Awarded with Prize of Marcel Duchamp in 2014, the artist was invited to the 10th Istanbul Biennial Istanbul and Lyon Biennial in 2015. His works touche various fields of medias and culture industry, through which the artist interrogates and reflects, with witty and critical consciousness, all sorts of strategies and phenomena in the world.

Letters of Non-motivation
2000-2007│ A4 prints : job offer, Julien Prévieux's letter, response
During the execution of project, the artist/author
assumes different roles in response to classified ads.
The artist writes letters of non-motivation for turning
down the job in question, in order to reveal the inherent absurdity of the entire recruitment system.

What Shall We Do Next? (Sequence #2)
2014│（HD video, sound）｜16'47"
The artist uses as dance scores all kinds of diagrams
of patented gestures of smartphone such as "slideto-
open". Six dancers perform such choreographic
abstraction so as to liberate the patented gestures from
the practical functions.

For Lana
2014│silkscreen on wood ｜60×40 cm for each panel
By the artificial language Yerkish invented for great
apes' language learning, the female ape Lana is able
to communicate with people for food. The artist has
acquired the Yerkish and created the installation for a
series of visual surrealistic poems.

Félicie d'ESTIENNE d'ORVES France/b.1979
The work of Félicie d'ESTIENNE d'ORVES combines light, sculpture and new technologies. Her research focuses on vision, its processes and conditioning. Her immersive installations use a phenomenological approach to reality, they underscore the perception of time as a continuum. Since 2014, the artist's researches have focused on space in relation to astrophysics and on the study of the natural light cycles.

Light Standard
2016│acier, led, electronic, programmation｜113 × 4 × 2.5 cm

The Light Standard series reintroduces the idea of
cosmic time linked to natural cycles as a reference
system. The variable amplitude of each light standard
follows in real-time the distance between us and
each planet of the solar system. On the length of one
meter, the light of this benchmark reproduces this
duration which evolves over the year, while following
the true position of the planets, as given by the NASA
predictions. The constant oscillations of each light
standard seem to free themselves from a fragmented
metric time scale, changing instant thinking into longterm perception.

Bernd OPPL Austria/b.1980
His works focus on the form, surface and architectural design of spaces that aim to retreat into invisibility, as they transport their inhabitants somewhere else. The
dioramas he built create a space between reality and imagination and provoked a simulation of daily situation that confuses our perceptions by ever-changing perspective.

Mise-en-scène
2018│mixed media, dimension variable

The black rooms are in fact mises-en-scène that the
artist stages out of completely empty spaces: miniature
versions of generic spaces. Often in monochrome, the
smooth surfaces of these tiny models further strips
away the messy details of these places and focuses on
the moments of transition as a grey zone of experience
in which uncer taint y prevails. F ive pieces are
regrouped, including 'Screening Room', 'In the Shine of
the Cosmic Microwave Background', 'I Look around the
Internet', 'Keep It All Inside' and 'Black Mirror'.

Dorian GAUDIN USA/b.1986
His installations often include masterfully engineered machines that lack any explicit purpose, yet move spontaneously, animated from within. These autonomous and unpredictable works of art allow us to question the nature of objects and whether we can engage with machines as active users or are in fact passive viewers.

Lucie's Dream
2018│aluminum, mechanical parts, motor, bed｜190 × 90 × 100 cm

A single bed on wheels is cut into two pieces. The two
parts are connected to each other with a mechanical
device allowing them to move apart and back together.
In doing so, the bed moves on and off in circles as if it
was wandering around or looking for an exit.

Charles CARCOPINO France/b.1975
Independent curator and videographer, the artist was the founder and director of the Studio at the "Maison des Arts et de la Culture in Créteil" from 2000 to 2015. He creates visuals and interactive scenography installations and is also curator for the international Exit Festival held at the Maison des Arts de Créteil and the VIA festival.

Personal Computer Music
2008│mixed media｜（Charles CARCOPNO and François-Eudes CHANFRAULT）

François-Eudes Chanfrault's Personal Computer Music
is an extreme sensorial experience that stages the
confrontation found in the last moments of life. The
music starts with a single sound object and becomes
gradually more complex and rich; the sound's waveform is here subjected to the reductions and distortions acquired by the application of an entire palette of digital processes so as to create the ultimate immersive experience, as the listener literally enters the music.

Jeff DESOM Luxembourg/b.1984
Awarded 2012 prix Ars Electronia, Jeff DESOM is a writer, film director and visual effects artist. Combining live-action, found footage and digital effects, his work has been selected and awarded at a number of festivals around the world.

Rear Window Loop
2010│ video installation ｜2400 × 600 px

Meticulously assembled by Jeff DESOM, using just
After-Effect and Photoshop, the video condenses
Hitchcock's masterwork into twenty minutes, with the
iconic window panorama being neatly tailored and
augmented with various photographic effects so as to
achieve verisimilitude with the original and to recreate
the environmental changes that propel the narrative
along.

Emmanuelle LAINÉ France/b.1973

Benjamin VALENZA France/b.1980

Often assimilated in the surroundings, Emmanuelle LAINE's work is based on the specificity of each exhibition context as well as visual language of daily object in attempt to emphasize the unexpected moment of the object formation. Benjamin VALENZA is one of the founding members of 1m3 situated in Lausanne as well asexecutive producer for Labor Zero Labor. He is also professor of sculpture at EBABX
Bordeaux.

Ready to Try the Artists' Habits?
2018│ color video, sound stereo

A woman presents a narrative combined the individual
accounts (fragments of interviews) by lip-synching with
the original narrators in different vocal ranges. This
commanding woman is an allegory of this art institution, even of all art institutions. She's a mutating fictional body, a female body becoming something that defies definition. An allegory, and an unstable one.

Olivier PASQUET France/b.1974
Olivier PASQUET is a sound, visual artist and music producer. Besides music and installations, he is also involved in performance pieces such as dance, theatre,
opera. All has consequently a strong relation with architecture, architectural design and specific sites. Beyond a close interest for duality between art and science, he endeavors links throughout scientific and artistic researches.

Proxima B
2016│video with sound｜15 min. loop

Proxima b is a generative endless audio video. The
artist considers it as a purely visual score based on a
huge amount contrapuntal layers interacting between
one another. Sound grains and pixels are the smallest
possible units and some genetic algorithmic system
generates the music and visuals all together. The piece
plays in iteration, but they are not loops and are never
exactly the same version every time.

Claude CLOSKY France/b.1963
Laureate of the Prize of Marcel Duchamp in 2005, and one of the leading figures of contemporary art in France over the past twenty years. Based on a keen observation of the media and social communication, his works resort to different art forms, such as painting, internet, sculpture, photograph, video, collage and writing, in attempt
to exhaust the major models of representation

Notification
2018│ video and sound installation, processing program, 7 pads, 30 usb power cables for smartphones and pads, color wallpaper pasted on the room
walls ｜ 280 × 1332 × 1122 cm

The artist's new work for the biennial. The messy
exhibition site consists of seven tablets and a number
of staggered charging cables inside a wallpaper decor,
some of which are vertically dropped from the ceiling
for the spectateurs to charge their smartphones. Each
tablet is equipped with a newly designed program, a
platform that will interact with the spectators.

Ho-Jang LIU Taiwan/b.1972
His photographic works and projects concern more than image making or technology quality. His peculiar artistic practice often reflects the social context and
politics behind the surface―may it be an object, a place, or a community, his works shed light on their individualities and differences. By appropriating the relation between the visible and the invisible, he provides an authentic narrative to the social functions and sensibility of art to transform the values of human network into forces that sustain art in its becoming.

DaGuan Villa - Flash Fiction
2018│mixed media

The work creates a spatial shift in time. From the
interaction of realities reflecting in the memories of
objects and in time, the artist responses with his own
private micro-world to the public macro-world. The space installation DaGuan Villa contains four pieces of sculpture realised between 1993 et 1994, including 'Rolling Cloud', 'Bronze', 'Symbol of Purity' and 'Falling Cloud'. At the same time, Flash Fiction is a form of compensation for the artist's absence from the local, and will be transformed in letters to the neighbors on the site.

Pierre-Laurent CASSIÈRE France/ b.1982
Various fields such as media archaeology, architecture, physics, musicology or physiology influence his work, which focuses primarily on perceptive experiences
related to motion. His audio-visual systems often deal with the limits of the senses.The artist uses fragile and informal elements to create situations of attention to live events, which explore the poetical and contemplative potential of randomness and indeterminacy.


Dislocation
2017│ sound installation―computer, program, ultrasonic speakers

Moment
2018│kinetic installation ― fan, light, subwoofer, computer, electronics

The two works exhibit dynamic phenomena playing with invisibility. When Dislocation refers to sculptural gestures of minimalism, the setup with the desk in Moment brings to mind a representation of passing time in still life. The introduction of doubts in the viewer's perception of simple everyday elements aims to blur the boundaries between physicality and memory, between reality and imagination.

Nicolas TOURTE France/b.1977
The abundant structure of Nicolas TOURTE's work functions as a catalyst that invites the viewers to a poetic world, never completely detached from reality. The visual oxymorons of his work enchant us and make us capsize while questioning our fragile human condition.


I Don't Know
2018│ furniture, plastic veil, aerosol paint
With an airy, transparent matt plastic veil, the work
combines real object and effect of projection and invites viewers to move between reality and fiction.

Song and Detachment
2018│projection, sound, dimension variable
The moving particles of light are projected inside the
exhibition site and bouncing on the objects according to the logic of the structure.

Tidal Wave
2018│wood, sound, dimension variable
The curved planks of the ground are similar to waves,
and at each interstice and opening a sound referring to
water can be heard.

Chih-Sheng LAI Taiwan/b.1971
The artist presents his early work in disused structures around the periphery of Taipei, which often involved seemingly futile labor, combined with reference to the
transformation of site or the reign of absolutism. Extending the tradition of selfreflexivity seen in conceptual art, his recent work responds to the contemporary art world's reliance on display systems of self-reference in an exploration of minute perceptions.

Drifting Sandbar
2018│mixed media, dimension variable
The artist drills near the ends of the hollow wiring
ducts, deeply hidden and abandoned long ago in the
floor slab, and leads them out with steel cables, as if the
invisible cables in the house are stretched out. These
interwoven cables will support a platform similar to the
floor slightly suspended, just like an old house creating
a drifting sandbar between pulling and shaking.

A Tree Planted on the Wall
2018│ installation, dimension variable
"I planted a tree on the wall.
During the observation period, I found that the plants
around here knew quite well how to get along with the
houses. Thanks to them, the houses became almost
part of nature. So, I want to plant a tree on the wall,
under the sunshine in some afternoon. If, one day, it
grows big enough to break the wall, then we will have
the opportunity to reconsider how the space could be
further configured."

Wan-Shuen TSAI Taiwan/b.1978
Her creation is shared among mixed-media, installation, drawing, video and poetry. In parallel of her personal projects, she has been collaborating with the sound artist Yannick Dauby, whose joint works are showcased in Europe and Taiwan, in form of residency, exhibition, publication, video or small performance.

Plant and Waste
2018│type, objets, texts, dimension variable

Through the materiality of type made of lead alloy and
the unique sign system of Chinese characters forged
on the lead block, the artist tries to construct a spatial
perception in miniature. The site of old dormitories
is interwoven of scents of gathering and distraction,
discard and governance. The tiny lead type from
discours of different dimensions of interpretation is
embedded on the surfaces of the building and further
forms a floating network of significance with, or
sometimes beyond, all sorts of the materials in the site.

Stéphane THIDET France/b.1974
The artist likes to use natural elements to create his sculptures and installations and focuses particularly on the relation of art and space so as to bring to the spectators an alternative artistic visual art where stories and poetic reality dwell.

There is No Darkness
2018│mixed media

Inspired by the past creation Solitaire, the new piece
is an installation on site for the biennial. The floor
of a room is full of water. The liquid is covered by
duckweed, like a skin on the surface. A light bulb is
partly submerged in the water, and the movement of
it is drawing an infinite circle on the surface. The work
is about time, about light, about darkness and about a
never-ending drawing.

Man-Nung CHOU Taiwan/b.1976
Author, playwright and director/actress. Her plays were performed in Festival d'Avignon OFF twice and has since been invited to perform in Europe for many times.
Man-Nung CHOU concerns herself with the issues of body, aesthetic and politics in the fields of theatre, image and technological art. In recent years, she has worked in the field of interdisciplinary , with dance, visual arts and technological arts.

Fever 103°
2018│mixed media, dimension variable

Taken from the poetic work of Sylvia PLATH, Fever
103° is a dramatic piece that, through nonlinear
language and musical monologue, explores the essence of creation, life, love and death. The artist
revisits the play and transforms the words into an
installation of visual space.

Youki HIRAKAWA Japan/b.1983
As a video artist, his works present the time dwells in places and matter through the method inspired by Archaeology, Geology and Alchemy. Most of his works are also based on a research about early moving image medias and its mechanical apparatus, thus his artistic approach is similar to Media Archaeology

Vanished Tree
2015│ double-channel video installation, silent ｜10 min. loop

Vanished Tree consists of two facing images: the
ordinary tree stump and the sky seen from there.
The space among trees and the sky seen from there,
indicates that there used to be a tree. Tracing the past
phenomena and reconstructing the things left over, he
calls the work "sculpture of absence", which presents
the imaginary tree existing in our mind.

Baptised as Daily+, the 2nd Greater Taipei Biennial of Contemporary Art unites 35 artists from France, USA, Austria, Luxembourg, Japan and Taiwan. Engaged firstly in the biennial, the Taiwanese novelist Yi-Chin LO writes along the exhibition venues, Nine Single Rooms Art Space and Northern Campus, and transforms the spaces full of winding alleys as interwoven reminiscences into Wall Climber, which mixes residual images of daily life with segmented work on what had happened here. The novel is the first invited work that lifts the curtain of the biennial. Taking the novel and exhibition spaces as reference of inspiration, the invited artists develop as a card game their projects in multiple direction, and the developing projects later become as well a reference to each other, through which the invisible relationship of linkage is thus gradually drawn out. Therefore, the novel based on the exhibition sites and the artworks referring to the novel ― both create intertextually between artwork, text and site a sort of multi-level dialogue from which is generated a significance network of inter-reference, similar to a parchment-like invisible text, full of layers of overlapping and accumulated traces.

Derived from the daily life, the Daily+ is neither translation nor representation of the daily; it is not a clean break from the daily routine either. Rather, it signifies that in the different slices of reality stands a subject of art creation who, by means of various art practices, deconstructs and reconstructs the daily in order to return to it anew. Out of the very returning can a subject reveal the originality of the daily. In other words, keeping a distance from the daily life, a subject is thus able to discover in the relationship of dependency some points of reference, of substantiality and of transcendence, and to further transform the daily into infinitive resources for creation. As a folding mark cut slightly on the inner of the daily, the daily+ diverges the dimension of the daily to the unknown, to a place seemingly close yet out of reach, and endows the daily with a future never expected. Thus, we hope to unfold a multi-dialogue between art and daily life, and at the meantime, through a series of forums and workshops, to reveal progressively the "daily of artist", and finally to invite spectators to stroll in a wrinkled space of imagination and thought so as to observe each layer of daily life, diverted, metamorphosed, or transformed. The more the daily becomes the daily+, the more the daily+ becomes the daily.