THE GREAT ACCELERATION, TAIPEI BIENNALE, 2014
Welcome to Nicholas Bourriaud's biennale.
Clearly, this was a biennale curated to purport the French philospher's theories on relational aesthetics, the set of artistic practices which take as their theoretical and practical point of departure, the whole of human relations and their social context. According to Bourriaud, the relationship between the living and the inert has become 'the main tension of contemporary culture and artificial intelligence occupies the middle ground as an arbitrator', (Bourriaud, 2014). That arbitrator is the artist.
The biennale was held in one location, Taipei Fine Arts Museum, a grand building that lies somewhere between traditional gallery and industrial space. Spacious light filled public foyers connected more intimate smaller exhibition spaces. The works were interesting, thought provoking, often humorous and accompanied by a deeply conceptual philosophical premise.
My first full 8 hour day at the exhibition seemed to last ten minutes. My second full day seems to last only five. I must have been enjoying myself.