Date｜01.31-05.03.2026
Veune｜MOCA Taipei
Curator | Jian Tzu-Chieh
Curator Assistant | Liu Tzu-Yi
(Text / MOCA Taipei)
This exhibition, titled Withdrawal: Our Collective Existence, is inspired by an opportunity for retrospection—a curatorial project centered on Taiwanese contemporary art collectives that emerged after 2000. However, since most contemporary art collectives generally operate for relatively brief periods, there are often disparities between the curatorial concept and the exhibition content. While the influence of these collectives remains, their moments of prominence in art history are usually short-lived. This ephemeral nature, therefore, inspires the metaphor “withdrawal” in the curatorial concept.
Although the term “withdrawal” might invite negative connotations at first glance, it actually implies that the collective is a temporary mode of existence. Unlike an art world focused on individual images, “withdrawal” allows us to step back from these personal displays. No matter how impressive an artist’s achievements are, they still must fit into the broader collective context. Furthermore, “withdrawal” acts as a clear reminder that an artist’s individual success often overshadows the visibility of the collective.
Conversely, “being an outsider” often serves as a catalyst for many emerging young artists, prompting them to form collectives within the art community before establishing their own career paths. Thus, the “withdrawal” of individualism within the art community can inspire the formation of a collective and, later, as members gain acceptance in the art system, transform that collective into a reflection of the former outsiders—a transitional phase that can temporarily be overlooked amidst the ongoing interplay of discourse and power.
While many noteworthy exceptions exist, the feeling of being an outsider goes beyond the art world. Contemporary society encourages connections for everyone, yet these bonds often include secretive spaces where individuals are absent or excluded. As a result, we frequently feel disconnected from reality and adopt a cool, detached attitude while enjoying the gaps only a select few understand. In these moments, withdrawal creates the possibility of a sudden collapse at any time.
Withdrawal: Our Collective Existence aims to introduce Taiwanese contemporary art collectives to a broader audience. However, it is vital to clarify that these collectives serve only as a contextual backdrop for selecting the artists and works. The inclusion of specific works and artists in the exhibition is not intended to represent the collectives directly. Furthermore, the exhibition cannot encompass all Taiwanese art collectives. Instead, we can only highlight certain works through the theme of “withdrawal,” emphasizing those that stand out naturally and allow for viewing from an alternative perspective—one that reveals withdrawal as a form of collective life coexisting with the works.
About Tu Wei-Cheng's work Trace Fossil – Giant Skinner No.1 |
Giant Skinner No. 1 was excavated in 2019 at the Yicun Site in Taipei City. It measures approximately five meters in length. Compared with the proportions of a normal human skeleton, its eye sockets are extraordinarily large, and its hands and feet are slightly oversized. Embedded into the left-hand fingers, left knee, left pelvis, left shoulder blade, and the occipital bone are strange mechanical devices with unknown function. When unearthed, it was found locked in combat with the giant beast “Shaluker,” both seemingly perished at the same moment—a truly astonishing spectacle.
