Well known for his large-scale ornamental ventures, Michael Lin – who did the first-ever Sucrière facade for the 2005 Biennale – designs his works primarily as spaces for potential encounters. For this year’s Biennale he is contributing "What a Difference a Day Made", an installation including music, video and performance within a highly specific "time capsule": a hardware store in Shanghai whose entire stock he purchased. Once catalogued and arranged according to colour, shape and use, as in a natural history museum, these formally distinctive objects were placed in wooden boxes, generating a hybrid environment which raises questions to do with memory, roaming, meditation and nostalgia. As he makes his way through the work, the viewer also sees a number of videos showing a juggler – juggling being very popular in China – filmed during the first presentation of the work. "What a Difference a Day Made" reminds us that the modest everyday existence of an obscure shop is also part of our collective memory – and something maybe capable of becoming a work of art in its own right.
With the support of the Council for Cultural Affairs, Taiwan and the Taiwan Cultural Centre, Paris.
From 16 September 2009
We are living in the society of the spectacle. In spite of its alienating effects on our life and social relationships, it’s one of the very fundamental conditions of our existence. We perceive the world and communicate with each other through the spectacle – a system of image production and representation dominated by the logic of market capitalism which tends to “develop” our faculties of perception, imagination and reflection towards a “one dimensional model” formatted by the language of consumerist ideology. This is also the very contemporary condition of our self-identification and social order “guaranteed” by the established power system. As a main typology of artistic and cultural events of our time, biennials of contemporary art are no doubt an ultimate form of expression of such a tendency...
The first three Lyon Biennials - in 1991, 1993 and 1995 – were part of a largely historical perspective, from which problematics, stakes and themes were derived. The first one, called “The love of art”, chose to assess the situation of creation in France. Resolutely going against the trend, this biennial noted that since the so-called “Pompidou exhibition” (Paris 1969), no such far-reaching project had been imagined in France.
The European Biennial Network is a collaborative structure that aims to promote dialogue, interaction and collaboration between contemporary art biennials in Europe.
For more information : www.europeanbiennialnetwork.org
The Biennale of Lyon is a Les Biennales de Lyon event