We know that artistic expression in numerous historical periods has had not only an aesthetic or decorative meaning, but also diplomatic representation or the affirmation of power. The works were donated to confirm a political alliance between countries; the artists were loaned by various princes or popes for reasons of state; the buildings and churches challenged the city skyline with their size and competed in height and magnificence with neighboring cities. In the end, Taiwan, a neglected island of contemporary history, without representation at the UN, always in fear of interference and coups by its cumbersome and disturbing neighbor (read the People’s Republic of China), has found in art not only a path to spiritual elevation, but also a path to affirmation and visibility on a global level.
Thomas Demand, “Folders”, 2017, C-Print/Diasec, 125 x 195 cm © Thomas Demand, VG Bild-Kunst, Bonn. Image courtesy of the Artist and Taipei Fine Arts Museum
First of all, Taiwan’s heroic and decades-long participation in the Venice Biennale must be underlined (Palazzo delle Prigioni is the historic location of its pavilion), secondly we are obliged to remember the commendable activity of the TFAM which knows how to balance the testimonies of its local history with those of international caliber or to put it better, referable to Western culture. In this regard the program for 2025 is very full of ideas and curiosities.
Thomas Demand, “Labor / Laboratory”, 2000, C-Print/Diasec, 180 x 268 cm © Thomas Demand, VG Bild-Kunst, Bonn. Image courtesy of the Artist and Taipei Fine Arts Museum
The highlights, for 2025, of the Taipei Fine Arts Museum, include a memorial exhibition of Ni Chiang-Huai (1894-1943), two major exhibitions of world-renowned artists, six solo exhibitions by Taiwanese artists from various generations, one exhibition of contemporary images, and The 14th Taipei Biennial. The first international event is the exhibition dedicated to Thomas Demand, a German artist born in Munich in 1964, that will be settled from 2025.01.18 to 2025.05.11 (1F gallery 1A & 1B). Demand is renowned for his large-scale photographs. To create his works, this artist draws inspiration from news images or films that depict notable historical or social events, then he begins by meticulously recreating these scenes with paper, ensuring realistic proportions, before capturing them through careful camera angles and composition. Once the photographs are taken, he destroys all the models, retaining only the photographs to challenge perceptions of truth. His choice of paper as a medium highlights its role in conveying images and memories and its fragile nature, reflecting everyday life and the weight of history.
Olafur Eliasson, “Beauty”, 1993, spotlight, water, nozzles, wood, hose, pump. Dimensions variable. Installation view: “Olafur Eliasson: Your curious journey”, SAM at Tanjong Pagar Distripark, Singapore, 2024. Photo: Joseph Nair, Memphis West Pictures | Singapore Art Museum. Courtesy of the Artist; neugerriemschneider, Berlin; Tanya Bonakdar Gallery, New York / Los Angeles. © 1993 Olafur Eliasson
The exhibition “Thomas Demand: The Stutter of History” will showcase nearly seventy works from his four major series, enabling audiences to gain an in-depth understanding of Demand’s exploration of the relationship between photographic images and reality, along with his examination of cultural inertia and epistemic paradoxes within contemporary society.
Olafur Eliasson, “Beauty”, 1993, spotlight, water, nozzles, wood, hose, pump. Dimensions variable. Installation view: “Olafur Eliasson: Your curious journey”, SAM at Tanjong Pagar Distripark, Singapore, 2024. Photo: Joseph Nair, Memphis West Pictures | Singapore Art Museum. Courtesy of the Artist; neugerriemschneider, Berlin; Tanya Bonakdar Gallery, New York / Los Angeles. © 1993 Olafur Eliasson
The second relevant appointment is with Olafur Eliasson that will present his Southeastern Asian touring exhibition titled “Olafur Eliasson: Your curious journey,” focused on his artistic practices from the past 30 years, including installations, paintings, sculptures, photographs, and videos (2025.06.21 – 2025.09.21, 1F Gallery 1A & 1B). Presenting a wide array of artworks that employ natural elements, light, color and movement, the exhibition will invite visitors to explore perception and the cultural conditions that shape it. A sort of multiple interaction, carrying with it a mixture of intentions, interpretations, and contexts. When the audience bring their own associations to the artworks, it further expands their meaning. Several artworks are, in fact, entirely dependent on the viewer’s visual, cognitive, or physical engagement and come to life through stimulating the body and senses. “Your curious journey” will encourage the audience to reconceive the intangible elements that make up existence, re-examining their perception of themselves, the museum, and the world.
Jun T. Lai, “Homage to Richard Lin”, 1984-2013, acrylic and sand on wood, 243 x 234 x 184 cm. Artist collection. Installation view: “Women Adventurers: Five Eras of Taiwanese Art, 1930-1983” (2013), Taipei Fine Arts Museum. Image courtesy of Taipei Fine Arts Museum
Furthermore, TFAM will propose six solo exhibitions featuring Taiwanese artists across generations: Jun T. Lai (2025.03.01 – 2025.05.25, 2F Gallery 2A & 2B + Sculpture Atrium 102); Steph Huang (2025.03.29 – 2025.06.22, Basement Gallery E); and Lee Tzu-Tung, Ko Liang-Chih, Hsu Jui-Chien, Peng Hung-Chih (2025.08.09 – 2025.11.02, 3F Gallery 3A & 3B).
Steph Huang, “Out of Order”, 2023, mild steel, tin, printed mild steel, paper, 64 x 192.5 x17 cm. Image courtesy of the Artist, Public Gallery, London, and Taipei Fine Arts Museum
Finally, at the end of the year (2025.11.01 – 2026.03.29, Basement, 1F & 2F Galleries), will be the time of The 14th Taipei Biennial, that will be curated by Sam Bardaouil and Till Fellrath, directors of Hamburger Bahnhof – National Gallery of Contemporary Art. With expertise spanning art history, theatre, economics, and politics, Bardaouil and Fellrath are recognized for exploring the tight bond between art exhibitions and their urban settings, as well as the potential for local history and international dialogue, creating meaningful connections with local communities through innovative public programs, and under their curatorial platform “Art Reoriented,” they have collaborated with over 70 museums worldwide. This biennial will delve into the complex layers of Taiwanese history, building on a foundation of exhibitions, performances, site-specific projects, and forums, with the aim to illuminate the profound links between personal memories and collective consciousness, ultimately reshaping our relationship with the world through ideas shaped by sensibility.
Bruno Sain
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