The 14th edition of the Taipei Biennial 2025, titled Whispers on the Horizon, brings together 54 artists from 35 cities worldwide. Curated by Sam Bardaouil and Till Fellrath, the exhibition features 33 newly commissioned works and site-specific installations that engage deeply with the museum’s unique architecture and context. The Taipei Biennial 2025 amplifies the voices of young and mid-career artists, with nearly half of the participants born after 1984.

Weighted PAUSE:
Weighted Pause: is a site‑specific, multi‑sensory installation that invites viewers into a shared state of stillness and reflection. It responds to the question “What do we yearn for?” with a call not only for individual grounding, but for a collective pause, a longing for communal slowing down, where rest is not a luxury but a necessity. Anchored in my ongoing investigation into materiality, embodiment, and slowness, the work unfolds through sculptural arrangements that adapt to the space, evoking both the domestic and the sacred. The forms are built through layered acts of deconstruction, repetition, and reconfiguration, echoing the emotional labour of returning to oneself. Ultimately, Weighted Pause: transforms the site into a temporary terrain of pause, a resting space in which viewers are invited to give their weight, their presence, to the act of simply being.

At the same time, it explores the tension between inherited cultural boundaries and the quiet resistance of embodied presence. A series of vertical ropes hang from a horizontal beam, each ending in a dense, knotted mass that anchors the line to the floor. The gesture is simple: the weight of the rope creates the line, and gravity becomes a collaborator, revealing tension, direction, and form. This formal clarity carries its own conceptual weight. The lines refer to invisible, often unspoken rules we carry, boundaries instilled through upbringing, tradition, and domestic instruction. These are not rules inscribed in law or curriculum; they are passed down quietly at home and held within the body. The repetition of form becomes a collective diagram: each line under tension, each knot a marker of resistance or inheritance. Viewers are invited to move around the piece, observe the slight variations between ropes, and feel the accumulated physicality of restraint. In this way, the work becomes a spatial map of learned limits, a field of internalized boundaries made momentarily visible.

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