Withdrawal: Our Collective Existence is inspired by an opportunity for retrospection—a curatorial project centered on Taiwanese contemporary art collectives that emerged after 2000. However, since most contemporary art collectives generally operate for relatively brief periods, there are often disparities between the curatorial concept and the exhibition content. While the influence of these collectives remains, their moments of prominence in art history are usually short-lived. This ephemeral nature, therefore, inspires the metaphor “withdrawal” in the curatorial concept.

Although the term “withdrawal” might invite negative connotations at first glance, it actually implies that the collective is a temporary mode of existence. Unlike an art world focused on individual images, “withdrawal” allows us to step back from these personal displays. No matter how impressive an artist’s achievements are, they still must fit into the broader collective context. Furthermore, “withdrawal” acts as a clear reminder that an artist’s individual success often overshadows the visibility of the collective.

Regarding Nikaido by Lai Chih-Sheng, the initial interest arose from the image of suspended feet on the ceiling and a tea table that brings people together.

Lai: This project responds to Room 201 and the entrance hall, alternately foregrounding and recessing the curatorial framework and Lai’s own practice, while tracing back to the aesthetic sensibilities of the Nation Oxygen era, centering on the anticipation of chance encounters and new forms of play.

— Courtesy of MoCA Taipei