Preface
Since 1998, with the engagement of international curators, the Taipei Biennial has transformed into an international platform for contemporary international artists as well as Taiwanese artists. The current 11th Biennial is co-curated by Mali Wu, an artist with extensive experience in environmental practice, and Francesco Manacorda, the current artistic director of V-A-C Foundation. This year, curators and practitioners based in Taiwan as well as overseas have brought in focus and expertise from their own fields and regions to present a cross-cultural, international exhibition.
The 2016 Taipei Biennial's discussion on genealogy and history provided a future-facing foundation for the 2018 Biennial, which turns its attention away from previous issues of identity, politics, global financial crisis, information and technological development, to the topics of survival and the environment. The 2018 Biennial contemplates the role of humans, thinks critically and experiments through contemporary art, and blurs the boundary between artists and non-artists. Besides artists, more than one third of the Biennial participants consist of social groups, environmental communities, writers, novelists, architects, documentary directors and other professionals. Their practices and creations come in various forms, highlighting the environmental havoc that has been created by humans pursuing their own interests, as well as the question of survival in our increasingly vulnerable world. These practitioners also explore relevant strategies and technologies which could provide new and different ways for humans to exist in the current world.
Further to this, the Biennial attempts to re-examine the function and mechanism of museums. Exhibitions tend to be limited by their length and develop too quickly to have a sustained impact; in contrast, a museum can grow slowly and organically, respond to the surrounding environment, and extend the life cycle of its exhibitions through programming and outward action. However, when a museum is constrained by its architecture and conceptual framework, it can become an isolated space for contemplation, unable to adapt to and integrate the transformation, penetration and proliferation of art and other ecosystems. In Post-Nature—A Museum as an Ecosystem, the Taipei Fine Arts Museum aims to establish a relationship with various social and environmental ecosystems, to highlight the importance of interdependency and to develop a network which supports the mutual interests of all involved. As the home of the Taipei Biennial, the Taipei Fine Arts Museum is the central nervous system of the exhibition which, through the experimental use of its spaces, will become a platform for interdisciplinary discussion. This approach sees the Museum enter a new era, in which it intends to expand and inspire environmental reflection and change.
The 11th Biennial also marks the first time that the curators of the following Biennial were announced at the close of the current. The discussion and development of a topic need time as well as continuation, therefore we would be pleased to see this year's curators exchange views and reach consensus with those of the forthcoming 2020 Biennial. In linking the two Biennials as such, the Museum aims to fulfil its self-expectation and responsibility to act as platform for diverse and innovative dialogue.
Director of Taipei Fine Arts Museum Lin Ping

Content

Preface／LIN Ping, Director of Taipei Fine Arts Museum

"Post-Nature" as a Social Space for Resetting／Mali WU
The Unlikely Overlap between Ecosystems and Museums／Francesco MANACORDA
The New Wicked Universality／Bruno LATOUR
For a Philosophy of the Wilderness／Levi R. BRYANT
From Arisan to Satoyama: A Global Environmental History／Kuang-Chi HUNG
The "Post" of "Post-Nature" and after "Post-Nature"／Iris Tsung-huei HUANG
The Sound of Silence: My Perspective on Nature Writing／WU Ming-Yi
Doing Multi-Species Ethnography in the Age of Post-Nature／Yen-ling TSAI
The Reality and Imagination of a Post-Natural Ecosystem: Looking at the Taipei Biennial from the Perspective of Sense and Sensibility／Shin-Cheng YEH

Floor plans
　Henrik Håkansson
　Rachel Sussman
　Tue Greenfort
　Vivian Suter
　Helen Mayer Harrison & Newton Harrison
　Julian Charrière
　Wu Ming-Yi
　Chen Chu-Yin + Solar Insects Vivarium Workshop, Paris 8 University
　Ting-Tong Chang
　Ursula Biemann
　Mycelium Network Society (Franz Xaver + taro + Martin Howse + Shu Lea Cheang +global network nodes)
　Robert Zhao Renhui
　Gustafsson & Haapoja
　Nicholas Mangan
　Futurefarmers
　Duane Linklater
　Ingo Günther
　Indigenous Justice Classroom
　Allan Sekula
　Ke Chin-Yuan + “Our Island”
　Jumana Manna
　Kuroshio Ocean Education Foundation
　Taiwan Thousand Miles Trail Association
　Open Green
　Keelong River Watch Union
　Hsiao Sheng-Chien
　Lucy Davis (The Migrant Ecologies Project)
　Alexey Buldakov
　Lu Ji-Ying
　Huang Hsin-Yao
　Laila Chin-Hui Fan
　Au Sow-Yee
　Khvay Samnang
　Huai-Wen Chang + MAS (Micro Architecture Studio)
　ET@T
　Jerey Hou & Dorothy Tang
　Zo Lin–Weed Day
　Jui-Kuang Chao + Tainan Community University
　Ruangsak Anuwatwimon
　Martha Atienza
　Candice Lin
　Zheng Bo

Film Screenings
List of Works
Acknowledgements