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If there is a place I haven't been to 未曾來過 2020

Mixed-media Installation installed across MOCA Taipei

Dimensions variable

If there is a place I haven’t been to is a multifaceted installation emerging from Yu-Chen Wang’s personal archives and materials collected from artist residencies and field research over the past decade. With a particular focus on exploring the artist’s relationship with these places and associated individuals, the documentations are recontextualized and integrated with fictional and autobiographical narratives. Her assemblage envisions landscapes of the future synthesized and remodeled from the archives and memory — where ecosystems and technosystem are inextricably intertwined.

To map the landscapes, Wang exploits drawing, text, sculpture, light, audio, and moving image to evoke a sequence of site-specific situations and spatial interventions. Surrounding sounds interspersing with multilayered imageries disseminate through MOCA Taipei, leading visitors through the space with internal monologues, absorbing mark-making, elusive light and the play of shadows as well as reverberating beats and sporadic projections. The audiences are invited to explore “interior landscapes” at their own pace; their movement journeying through the gallery will not only shape the individual experience, but also contribute to the completion of this installation.

Sound design: Capitol K

With thanks to Kuang-Chi Hung (Assistant Professor, Department of Geography, National Taiwan University)
The work is supported by RC Culture and Arts Foundation and National Culture and Arts Foundation.


14 Nov 2020 - 24 Jan 2021

MOCA Taipei

Curator: Amy Cheng of TheCube Project Space
Artist: Hassan Khan (Egypt), dj sniff (Takuro Mizuta Lippit)(Japen), Hito Steyerl (Germany), Hao Ni (Taiwan), Yu-Chen Wang (Taiwan/UK), Chi-Yu Wu (Taiwan), and Chung-Han Yao (Taiwan).

The group exhibition Liquid Love invites seven artists from Taiwan and the international world. The exhibition seeks to explore how networks, algorithms, big data, and massive messages profoundly affect modern people’s life in today’s telecommunication society dominated by the flow of financial capital and advanced technologies.

The title of this exhibition is derived from the book by Polish sociologist Zygmunt Bauman, in which he analyzed the nature of telecommunication in network society, using “liquidity” as the concept to describe the post-industrial modern world, the evolutionary new interpersonal relationship, as well as the new relationship between humanity and the world.

In the “liquid modern world”, people relish the merits and sense of speed brought by technological development. However, due to the concomitant expansion and boundary-blurring of the real and the virtual, people also needs to continuously adapt to the new situational volatility both physically and mentally.

In the age when the relationships between individuals and groups are flowing, liquefied, ephemeral and unstable, this exhibition treats the artistic creation an as an alternative way for communication between individuals by encouraging ruminations on this liquid world, envisaging the future with which we are about to confront.


Introduction to the exhibition artists and works:

Egyptian artist Hassan Khan’s work The Infinite Hip-Hop Song is an algorithmic product. Once the computer boots up, it produces an endless, non-repetitive stream of hip-hop songs. The artist derives the vocals from the pre-recorded tracks by many hip-hop singers. This automatic composing system bears more than a passing resemblance to an autopoietic “organism.”

In his work Drinking from the Spring of Liquid Love, Japanese musician/artist dj sniff (Takuro Mizuta Lippit) collected songs with the title “Liquid Love” from a large volume of online information. The length of the “collected data” amounts to about half a day. The artist remixes these songs into a “new work,” and then plays it via the reconnection of a set of repurposed sound objects like turntable, cassette player, spring, and amplifier. After layers of deconstruction and reconstruction, the source material becomes unintelligible to the visitors as “sound signals” and a new song engraved onto vinyl.

German artist Hito Steyerl’s work Liquidity Inccan be interpreted as a survival strategy for individuals in face of the unstable and uncertain future (e.g., financial and market fluctuations or economic recession) in the liquid world. Bearing the signature of Steyerl’s message-based image, the protagonist in this work is a financial analyst who has been unemployed since the global financial crisis and implied to embody Bruce Lee’s philosophy of life: “Be water.” Steyerl also created an “immersive” environment for the visitors, as if they were temporarily sitting on the seats “amidst waves” to experience this work.

Chung-Han Yao’s work Feel the Space seeks to investigate the parallel evolution of the real world and the cyberspace. The artist recorded several outdoor DJ performances in Taipei, and these recordings are played back in the exhibition venue between the same hours of a day as those of the real events. Nonetheless, the visitors can only hear the ambient sound in the exhibition venue. They must go on the Internet via their smartphones to attend the “scene of performances” if they want to listen to the music played by the artist. Their visual and auditory senses thus simultaneously overlap each other and become displaced in the real world and the cyberspace. Ergo, the visitors shuttle between two disparate worlds by means of changes in the way of listening.

Hao Ni’s work Structure Study VI is a six-channel video work. The artist firstly edited the video footages of events such as disasters, conflicts, factory machines, explosions, and running animals he collected from YouTube into three parts. Then he invited three drummers to imitate the situations that the images indicate. The artist edited these video footages in a way as if he were “composing music,” producing a symphony of impassioned, fierce images and sounds with a subtle touch of order. This work allows the visitors to feel the powerful impact of massive images in the cyberspace.

Yu-Chen Wang’s multimedia installation If there is a place I haven’t been to follows her consistent surrealist style, offering astute observations to the industrial development and scientific thoughts of all stripes in the contemporary society, and meanwhile interpreting them in a wonderfully imaginative fashion, insofar as to engage in dialogues with memories, histories, as well as different people, events and things. Wang’s painting features an ecological system composed of gorgeous creatures and machines. She ingeniously blends the files, images and sounds she collected into the multiple storylines and perspectives of this work, shaping a concatenation of autobiography-like “temporal landscapes” that engulf visitors.

Chi-Yu Wu’s work The LED Future is a black futurist sci-fi image. The artist created a world in his imagination where the natural source of light (i.e., the Sun) has completely burned out, and we have no choice but to depend on the artificial source of light (i.e., LEDs) for survival. Apart from serving as the source of light and representing images nowadays, the extensively used LEDs have become the primary terminal interface for messages and signals—LEDs replaced God-created light, becoming the fountainhead that shapes memories and consciousness. The artist utilizes such imagination to reflect on the development of human history and civilization.

Organizer: MOCA Taipei, Taipei Culture Foundation
Co-organizer: TheCube Project Space
Exhibition Sponsor: National Culture and Arts Foundation (2018 Production Grants to Independent Curators in Visual Arts), Tung Ho Steel Enterprise Corp., and RC Culture and Arts Foundation

If there's a place I haven't been to, 2020, pencil on paper, 150x270cm (detail)



聲音設計:Capitol K




展期:2020/11/14 -2021/01/24
開幕:2020/11/13(Sat.), 6pm
地點:台北當代藝術館(MOCA Taipei)

總展名為「液態之愛」的展覽於11月14日起在台北當代藝術館展出。本計畫獲得國家文化藝術基金會2018年視覺藝術策展專案(2018 Production Grants to Independent Curators in Visual Arts)贊助,由立方計劃空間總策劃,並由台北當代藝術館與立方計劃空間共同主辦。





菲律賓部份邀請學者達鴦‧雅洛拉(Dayang Yraola)策劃的「塔金亭:聲響實踐的共鳴社群」,以大量、詳細的文件與影音紀錄鋪陳菲律賓1960年代以降的實驗聲響實踐的歷史。展名「塔金亭」(Taginting)為菲律賓他加祿語的「共鳴」之意。

新加坡的區塊則是由音樂家袁志偉策劃的「夢瀾吞唱片快閃店:曹節的電子夢」,其中邀請新加坡藝術家無稽佳績(Ujikaji)再現其創作《夢瀾吞唱片行》(Melantun Records),並於這家快閃唱片行中介紹被遺忘的新加坡電子音樂先鋒曹節的創作。




「液態之愛」展名來自波蘭社會理論家齊格蒙‧包曼(Zygmunt Bauman)的同名著作,包曼分析電訊及網絡社會的內涵與特質,以「液態關係」及「液態現代世界」來闡述當代人與人、人與世界的新關係。




埃及藝術家哈桑‧汗(Hassan Khan)的作品《無窮盡的嘻哈曲》(The Infinite Hip-Hop Song)是一套會自動「創作」嘻哈歌曲的演算法程式,只要「開機」,就源源不斷地自動產生饒舌音樂,且保證永遠不會重覆。其人聲內容,來自哈桑‧汗邀請的多位嘻哈歌手所預錄的唸唱片段。這套自動化的樂曲創作生成系統,像是一個能夠自我生長和延續的「有機生命體」。

日本藝術家 dj sniff (水田拓郎)在作品《啜飲流淌的愛之泉》(Drinking from the Spring of Liquid Love)中,他從網路海量訊息的影音搜羅了大量曲名或歌詞中帶有「liquid love」字眼的歌曲,總長十多小時。他將其混音為「新的創作」。並且,再透過一套拆解、改造過的聲響物件如:唱盤、老式卡帶機、彈簧、擴大器等的重新串連而播放出。經過層層解構與重組,這些聲響已成為難以辦識的神秘「聲訊」。這件作品還包括藝術家與日本女歌手me/my/mo合作的一首與本展同名的歌曲,並委託台南的唱片製作師邱明進先生製成唱片。

德國藝術家希朵‧史戴爾(Hito Steyerl)的《流動性公司》(Liquidity Inc.),或可被詮釋為人們面對著液態世界中的不穩定和不確定的未來感,諸如金融與市場流動性、經濟衰退下,個人求生的倖存之道。搭配著史戴爾特有的訊息式風格影像,本作品中的主人翁是一位在金融海嘯之後失業的金融分析師,他在失業後體現李小龍的哲學,學習「如水一般」的人生態度。史戴爾還為觀眾打造了一個「沉浸式」的環境,觀眾正如暫時棲息於「浪潮中」的觀影座來體驗和觀看。





Yu-Chen Wang If there is a place I haven't been to 2020



14 Nov 2020 - 24 Jan 2021

MOCA Taipei 台北當代藝術館

Curators' talk video

Amy Cheng 鄭慧華

Jeph Lo 羅悅全

Virtual tour

Artist's talk in conversation with independent curator Hung Hai-Ming

液態之愛系列講座 : 藝術家面對面《未曾來過》的內在風景:談藝術家王郁媜的創作,​與談人:黃海鳴

22 Nov 2020

MOCA Taipei 台北當代藝術館

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