Situated in the westward path of what is known as Typhoon Alley, the coastlines of Taiwan are frequently plagued by hard-hitting hazards. While devastation has been left in the wake of the storm each time, the island has always managed to readjust and bounce back with vigour as changing winds has become embedded within its memory. Yet, to address a collective consciousness remains contested, unavoidably tied to the disruptions following cultural assimilation throughout history. As the island transitioned towards democratisation and global engagement, art became a way to restructure a cultural genealogy, functioning as a dual-wielded narrative that both sought to adapt to the flood of external influences, as well as define an artistic language that looked towards the essence of what it meant to be Taiwanese.
Emerging from reclusion in demand of comprehensive restructuring upon entering a globalised art circuit, structures to support the new paradigm for contemporary art steadily took shape, while experimental movements pushed the boundaries of their newfound freedom through wildly progressive expressions, that raged against lingering oppression and looked towards a decolonised and queer future. The maintenance of liberty to consistently push societal boundaries has positioned Taiwan as a leading democracy in the region, exemplified in 2019 when it became the first in Asia to legalise same-sex marriage. The hybrid identity of Taiwan is its unique quality, but it is the same complexity that also poses a string of challenges for the largely unrecognised nation-state and its meeting with the international art scene. The identity has remained a centripetal force that pulls artistic examination towards it, time and time again, and with each roundabout, the voices muffled by the storm grow louder. In the midst of the eye, a generation of trailblazing artists navigates the art scene that mirrors the dynamics and multifariousness of an island nation in flux, superseding cultural barriers, carving out interstice, and maintaining the continuous progression of identity.
Typhoon is a product of comprehensive research and forged friendships by Tofu Collective – compiled in collaboration with dmp editions and an esteemed board of advisors – airing an eclectic capture of the streams that flow, intersect, and diverge within the many layers of Taiwanese art circles, through diverse portrayals of both promising younger artists and heavyweight practitioners. From inside and outside perspectives, we move through the sheer depth and variety of identities, fluctuating between an abundance of dichotomies, between local and global, natural and artificial, body and mind, past and future. Planned as a double-release dubbed ME–WE, Typhoon is conceptualized as two parts of a whole negotiating between the layers of collective and personal identity in order to uncover some of the complexities and distinct voices of contemporary Taiwan. The ME issue explores artistic endeavors rooted in introspection shaped by personal narratives, whereas the WE issue widens the lens and encourages reflection upon a grander scheme of shared memory, cumulative experience and societal progress.
Volume 1: WE
Featured artists: Sid and Geri, Elug Art Corner, Lea Shu Cheang, Dondon Hounwn, Ping-Yi Chen, Dorairolg, Yu Ning Kuo, Yun-Pei Hsiung, Ya Wen Li, Luo Jr-shin, Kai-en Chen, Jung Woo Yea, Homing Hsieh, Su Hui-Yu, Chia Yu Hsieh, Zito Tseng, Kenneth Lin Ting Yu, Hou I Ting, Jamie Chieh Ming Chun of The Bridgehole Project, Zhang Xu Zhan, Tsai Ming-Jiun, Stephanie H Shih, Lee Tzu Tung
Volume 2: ME
Featured artists: Chen Nienying, Manbo Key, Pin Chun Kuo, Yu Cheng-Ta, Yuen Hsieh, Betty Apple, Su Misu, Wen Gum Gum, Chang Nienwei, Chang Yu Hsuan, Kuang I Ku, Shih Yung Chun, Ciwas Tahos
Specifications -168 + 168 pages. 22×28×4 cm.
Please note: each cover is unique and will be shipped out randomly.
