• AI WEIWEI, JENNY HOLZER AND PHIL AKASHI IN 2050. A Brief History of the Future

    posted by Phil Akashi Studio on Thursday, March 15, 2018

     

    The Royal Museums of Fine Arts of Belgium organizes in Taiwan, in collaboration with the National Taiwan Museum of Fine Arts in Taichung a large exhibition entitled '2050. A Brief History of the Future.'


    National Taiwan Museum of Fine Arts, Taichung, Taiwan
    24 March 2018 - 3 June 2018 

     

    Phil Akashi and Jenny Holzer at the National Taiwan Museum of Fine Arts NTMoFA 2018

    Phil Akashi and Jenny Holzer 

      

    This is the third stage of an exhibition that was first set up in Brussels (Royal Museums of Fine Arts of Belgium) and Paris in 2015 (Louvre Museum, in collaboration with Palais de Tokyo), then in Milano in 2016 (Palazzo Grassi). Based on the successful essay by famous French economist and thinker Jacques Attali 'A Brief History of the Future', it gathered works by Hiroshi Sugimoto, Andy Wharol, David LaChapelle, Andreas Gursky, AES+F, Alighiero Boetti, Mona Hatoum, and many others. The aim of the exhibition was to demonstrate how contemporary art deals with critical issues such as economics, ecology, social inequalities, …Can art help us understand today’s world challenges? What will the world look like in 2050 if nothing changes?

     

    The new stage of '2050. A Brief History of the Future' will broaden the scope of the first exhibition, by including Mr. Attali’s theory of the heart cities, that demonstrates how several economical centers shaped the world as we know it, from the middle ages until the 20th century. As the show will take place in Taiwan, it will focus on the exchanges between the East and the West, including artists coming from all over the world such as Ai Weiwei, Phil Akashi, Fung Ming Chip, Jenny Holzer, On Kawara.

     

    2050 is a future point in time that has not yet arrived. Many projections of the future of humankind envision the changes and appearances of our lifeworld in the year 2050. These yet unarrived times and objects are not far from our present and combine the history we have once experienced with humankind's goals and aspirations for an ideal future life, drawing a possible blueprint for the future. The exhibition "2050, A Brief History of the Future" aims to discuss the future world by looking at the development of human material civilization.

     

    The exhibition invites a total of more than fifty participating artists from Taiwan and abroad to adopt an angle of thinking about and probing the future from the point of view of contemporary works of art in exploring many of the social issues in today's world. The works are rich and diverse, and filled with many thought-provoking and inspirational new creations. This is the first international exchange exhibition to be co-organized by the National Taiwan Museum of Fine Arts and the Royal Museums of Fine Arts of Belgium.

     

    The exhibition is curated by Pierre-Yves Desaive, and its name and concept are inspired by A Brief History of the Future, published by French economist Jacques Attali. In A Brief History of the Future, Attali speculates on the future development of human history and describes the future international situation and changes in daily life based on known history and scientific viewpoints. Taking this as the starting point, the curator began to explore important topics such as the over-exploitation of natural resources, over-consumption, social inequality and religious wars in a world changed by the development of technology. He also expanded this curatorial framework to exhibit content in Taiwan, re-examining in greater depth all kinds of economic activity, the history of civilization in the context of technological developments, as well as the allocation of power and composition of ideologies. The exhibition outlines the relationship and dialogue between Taiwan and the exhibition's main theme by showcasing East-West exchange and development during the Tang Dynasty, geopolitical and imperial power in the Age of Exploration, economic and political changes in Asia after the Cold War, as well as the market economy and technological development in the current era of globalization.

     

    The original version of this exhibition was presented separately at the Royal Museums of Fine Arts of Belgium in Brussels, and the Louvre in Paris in 2016. For this exhibition in Taiwan, the curator has stayed true to the original curatorial context, exploring important issues of contemporary overexploitation of natural resources, overconsumption, social inequality and religious wars in a world changed by technological development. The exhibition extends and expands upon the above-mentioned framework to display in Taiwan a deep reexamination of various economic activities from the perspective of historical developments, as well as of the allocation of power, the history of civilizations in the context of technological development, and the composition of ideologies. Then, how humankind is facing a constantly evolving new future is looked at once again, as is the appearance of the world we have shaped.

     

    Curator
    Pierre-Yves Desaive
     
    Artists
    Ai WEIWEI
    Phil AKASHI
    Ludolf BAKHUIZEN
    Thomas BAYRLE
    Hans OP DE BEECK
    CHANG Hsia-Fei
    CHEN Ching-Yuan
    CHOE U-Ram
    Al FARROW
    FUNG Ming Chip
    Gregory GREEN
    HeHe
    Jenny HOLZER
    HUANG Po-Chih, HSU Yueh-Chen, Archite: COOP, and Fong Cafe
    HUANG Zan-Lun
    Tetsuya ISHIDA
    Andrew JUNGE
    On KAWARA
    Olga KISSELEVA
    Aaron KOBLIN & Takashi KAWASHIMA
    KUO I-Chen
    MOON Kyungwon & JEON Joonho
    Robert LONGO
    LO Yi-Chun
    Gonçalo MABUNDA
    Eva & Franco MATTES
    MEI Dean-E
    Robert MORRIS
    Mark NAPIER
    Roman OPALKA
    Adrian PACI
    Sara RAHBAR
    Gustavo ROMANO
    Andres SERRANO
    Wolfgang STAEHLE
    Stelarc
    Mark TITCHNER
    Gavin TURK
    Charwei TSAI & Tsering Tashi GYALTHANG
    Eric VAN HOVE
    Maarten VANDEN EYNDE
    WANG Chien-Yang
    Benjamin WOLFF
    XU Zhen
    XU Qu
    YANG Mao-Lin
    YANG Yongliang
    C.J. YEH
    YU Cheng-Ta
    YUAN Goang-Ming

     

    The Royal Museums of Fine Arts of Belgium   http://www.fine-arts-museum.be

    The National Taiwan Museum of Fine Arts   http://english.ntmofa.gov.tw/English/ 
    The Louvre Museum   http://www.louvre.fr/en 
    The Palais de Tokyo   http://www.palaisdetokyo.com/ 
    The Palazzo Grassi   http://www.palazzograssi.it/

     

    Royal Museums of Fine Arts of Belgium PHIL AKASHI Moscow

    PHIL AKASHI - Moscow (detail)
    Archival pigment print on Hahnemühle Cotton Rag with Chinese characters: 囍/"Double Happiness", Hong Kong 2015.  77,5*115cm (ED5+1AP)

     

    ai-weiwei tea cube

    AI WEI WEI - Tea cube

     

     

    Ten Thousand cents by Aaron Koblin & Takashi Kawashima

    Aaron Koblin & Takashi Kawashima - Ten Thousand cents 

     

    Huang poh-Chi

    Huang poh-Chi 

     

    National Taiwan Museum of Fine Arts in Taichung

     

     

     

     

    PHIL AKASHI 2050. A Brief History of the Future

    2050. A Brief History of the Future Phil Akashi AI Weiwei Jenny Holzer

@philakashi on Instagram

  • Resistance | Phil Akashi With the sculpture “Resistance”, Phil Akashi uses an analogy to explore and question the themes of political corruption and abuse of power. The sculpture represents the imprint of the Seal of the Mandate of Heaven - the most powerful seal ever carved for Emperor Kangxi, the longest-reigning monarch of China. The seal bears an inscription “Jingtian Qinmin ” which means "Revere heaven and serve the people”. This was symbolic of Kangxi’s legitimacy as it attests to the ancient Chinese philosophy that heaven grants authority to an emperor if he serves his people virtuously. “Jingtian Qinmin ” was one of the guiding principles of the Chinese imperial system. Emperor Kangxi, who ruled Qing dynasty China from 1661 to 1722 and oversaw an extended period of prosperity in the country, is considered one of China's greatest rulers. He is credited with establishing national stability after the turbulence of the preceding centuries. The Kangxi Emperor believed that “Jingtian Qinmin” was a prerequisite for a wise rulership. He once said that “a ruler must revere Heaven and serve the people with his whole spirit and with every fibre of his being, and that the way of being a ruler lies in love for the people”. This imperial seal, used by Emperor Kangxi, has been auctioned at Sotheby’s in Hong Kong in 2016 for $12 million USD. According to Nicolas Chow, Sotheby’s deputy chairman of Asia: “Its value is in the history and symbolism it carries.” #philakashi #sculpture #copper #marble #resistance #imperial #chineseseal #corruption #abuse #power #emperor #kangxi #sothebys

  • Resistance | Phil Akashi With the sculpture “Resistance”, Phil Akashi uses an analogy to explore and question the themes of political corruption and abuse of power. The sculpture represents the imprint of the Seal of the Mandate of Heaven - the most powerful seal ever carved for Emperor Kangxi, the longest-reigning monarch of China. The seal bears an inscription “Jingtian Qinmin ” which means "Revere heaven and serve the people”. This was symbolic of Kangxi’s legitimacy as it attests to the ancient Chinese philosophy that heaven grants authority to an emperor if he serves his people virtuously. “Jingtian Qinmin ” was one of the guiding principles of the Chinese imperial system. Emperor Kangxi, who ruled Qing dynasty China from 1661 to 1722 and oversaw an extended period of prosperity in the country, is considered one of China's greatest rulers. He is credited with establishing national stability after the turbulence of the preceding centuries. The Kangxi Emperor believed that “Jingtian Qinmin” was a prerequisite for a wise rulership. He once said that “a ruler must revere Heaven and serve the people with his whole spirit and with every fibre of his being, and that the way of being a ruler lies in love for the people”. This imperial seal, used by Emperor Kangxi, has been auctioned at Sotheby’s in Hong Kong in 2016 for $12 million USD. According to Nicolas Chow, Sotheby’s deputy chairman of Asia: “Its value is in the history and symbolism it carries.” #philakashi #sculpture #copper #marble #resistance #imperial #chineseseal #corruption #abuse #power #emperor #kangxi #sothebys

  • Resistance | Phil Akashi With the sculpture “Resistance”, Phil Akashi uses an analogy to explore and question the themes of political corruption and abuse of power. The sculpture represents the imprint of the Seal of the Mandate of Heaven - the most powerful seal ever carved for Emperor Kangxi, the longest-reigning monarch of China. The seal bears an inscription “Jingtian Qinmin ” which means "Revere heaven and serve the people”. This was symbolic of Kangxi’s legitimacy as it attests to the ancient Chinese philosophy that heaven grants authority to an emperor if he serves his people virtuously. “Jingtian Qinmin ” was one of the guiding principles of the Chinese imperial system. Emperor Kangxi, who ruled Qing dynasty China from 1661 to 1722 and oversaw an extended period of prosperity in the country, is considered one of China's greatest rulers. He is credited with establishing national stability after the turbulence of the preceding centuries. The Kangxi Emperor believed that “Jingtian Qinmin” was a prerequisite for a wise rulership. He once said that “a ruler must revere Heaven and serve the people with his whole spirit and with every fibre of his being, and that the way of being a ruler lies in love for the people”. This imperial seal, used by Emperor Kangxi, has been auctioned at Sotheby’s in Hong Kong in 2016 for $12 million USD. According to Nicolas Chow, Sotheby’s deputy chairman of Asia: “Its value is in the history and symbolism it carries.” #philakashi #sculpture #copper #marble #resistance #imperial #chineseseal #corruption #abuse #power #emperor #kangxi #sothebys

  • Resistance | Phil Akashi With the sculpture “Resistance”, Phil Akashi uses an analogy to explore and question the themes of political corruption and abuse of power. The sculpture represents the imprint of the Seal of the Mandate of Heaven - the most powerful seal ever carved for Emperor Kangxi, the longest-reigning monarch of China. The seal bears an inscription “Jingtian Qinmin ” which means "Revere heaven and serve the people”. This was symbolic of Kangxi’s legitimacy as it attests to the ancient Chinese philosophy that heaven grants authority to an emperor if he serves his people virtuously. “Jingtian Qinmin ” was one of the guiding principles of the Chinese imperial system. Emperor Kangxi, who ruled Qing dynasty China from 1661 to 1722 and oversaw an extended period of prosperity in the country, is considered one of China's greatest rulers. He is credited with establishing national stability after the turbulence of the preceding centuries. The Kangxi Emperor believed that “Jingtian Qinmin” was a prerequisite for a wise rulership. He once said that “a ruler must revere Heaven and serve the people with his whole spirit and with every fibre of his being, and that the way of being a ruler lies in love for the people”. This imperial seal, used by Emperor Kangxi, has been auctioned at Sotheby’s in Hong Kong in 2016 for $12 million USD. According to Nicolas Chow, Sotheby’s deputy chairman of Asia: “Its value is in the history and symbolism it carries.” #philakashi #sculpture #copper #marble #resistance #imperial #chineseseal #corruption #abuse #power #emperor #kangxi #sothebys

  • Resistance | Phil Akashi With the sculpture “Resistance”, Phil Akashi uses an analogy to explore and question the themes of political corruption and abuse of power. The sculpture represents the imprint of the Seal of the Mandate of Heaven - the most powerful seal ever carved for Emperor Kangxi, the longest-reigning monarch of China. The seal bears an inscription “Jingtian Qinmin ” which means "Revere heaven and serve the people”. This was symbolic of Kangxi’s legitimacy as it attests to the ancient Chinese philosophy that heaven grants authority to an emperor if he serves his people virtuously. “Jingtian Qinmin ” was one of the guiding principles of the Chinese imperial system. Emperor Kangxi, who ruled Qing dynasty China from 1661 to 1722 and oversaw an extended period of prosperity in the country, is considered one of China's greatest rulers. He is credited with establishing national stability after the turbulence of the preceding centuries. The Kangxi Emperor believed that “Jingtian Qinmin” was a prerequisite for a wise rulership. He once said that “a ruler must revere Heaven and serve the people with his whole spirit and with every fibre of his being, and that the way of being a ruler lies in love for the people”. This imperial seal, used by Emperor Kangxi, has been auctioned at Sotheby’s in Hong Kong in 2016 for $12 million USD. According to Nicolas Chow, Sotheby’s deputy chairman of Asia: “Its value is in the history and symbolism it carries.” #philakashi #sculpture #copper #marble #resistance #imperial #chineseseal #corruption #abuse #power #emperor #kangxi #sothebys