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The Absence of the Specimens
2021
BY
TSAI Pou-Ching
The Absence of the Specimens
2021
video-installation
Dimensions Variable
The Absence of the Specimens
2021
video-installation
Dimensions Variable
The Absence of the Specimens
2021
video-installation
Dimensions Variable
The Absence of the Specimens
2021
video-installation
Dimensions Variable
The Absence of the Specimens
2021
video-installation
Dimensions Variable
The Absence of the Specimens
2021
video-installation
Dimensions Variable
The Absence of the Specimens
2021
video-installation
Dimensions Variable
The Absence of the Specimens
2021
video-installation
Dimensions Variable
01 / 10

Prof. Tseng invited a spirit medium to examine the human bone specimens kept by him in his office ten years ago. Through the communications conducted by the medium, Prof. Tseng was surprised to find out that the human bones were the remains of the victims in the Tapani incident. The human bones went from objects in a museum exhibition to property of the
university before Prof. Tseng eventually managed to return them to their homes. There was not any columbarium in Yujing at the time. So Prof. Tseng rested them in the columbarium in Nanhua (facing Yujing). Ten years later, the artist invited this spirit medium again to communicate with the human bone specimens from the same museum, hoping to re-trace what the deceased had been through and the destined relationships inexplicable by science.

ARTISTS
19 artworks / 30 exhibition
Born in 1986, Taiwan, Chiayi. Live and work in Tainan. Pou Ching mostly work with image and installation, his practice often provokes common ideologies within imagination among desire, gender and social structure issues. Pou Ching cleverly ...
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KEYWORDS
TSAI Pou-Ching, 2022,
TSAI Pou-Ching, 2015,
TSAI Pou-Ching, 2021,
TSAI Pou-Ching, 2017,
TSAI Pou-Ching, 2017,
TSAI Pou-Ching, 2019,
TSAI Pou-Ching, 2011,
TSAI Pou-Ching, 2013,
TSAI Pou-Ching, 2017,
TSAI Pou-Ching, 2019,
TSAI Pou-Ching, 2017,
TSAI Pou-Ching, 2013,
TSAI Pou-Ching, 2014,
TSAI Pou-Ching, 2021,
TSAI Pou-Ching, 2013,