Notes & Thoughts

“Bagasse Missiles” a part of “Before the Storm – Taiwan on the Frontier of Past and Future” at Ludwig Museum “Bagasse Missiles” assembled from bagasse and agricultural remnants, probe the power dynamics and global flows that underpin tropical cash crops. Using bagasse to craft various traditional farming tools, the artist assembles them into several modeled missiles that commonly sold by the United States to Taiwan. In doing so, the piece examines the historical evolution of the sugarcane industry, from agricultural commodity to daily necessity, and ultimately to a source of military fuel such as ethanol and butanol. The installation also responds...

Previous Next “Bagasse Missile“, “Lat Pulldown Machine“ and “Ethanol Distillery“ are a part of “The Limit is the Turbulent Skies” at MoNTUE Museum LO Yi-Chu n’s installation trilogy traces the evolving roles of sugarcane as it moves through diverse historical and political contexts, including agriculture, colonial expan­sion, military industry, mass production, and contempo­rary body politics. This tropical crop has been continu­ously redefined. It began as a vital source of sustenance, later became a strategic fuel, and now stands as a metaphor for embodied desire and systems of control. Through sculptural assemblage...

“Colonel Reading Letters” is presented at “Frieze Seoul 2025” by Mind Set Art Center.  “Colonel Reading Letters” is a piece of artwork composed of air-dried banana peels. This work reimagines Gabriel García Márquez’s novel No One Writes to the Colonel. In the story, the colonel dresses in his best attire every Friday, waiting for a letter that never arrives. Lo rewrites this absence through her composition: the colonel finally receives the letter and is seen reading it intently. This tender reinterpretation offers resolution to a futile wait, reflecting the power of art to re-create history and literature. Lo Yi-Chun engages with cultural...

Previous Next “Big Vases and the Exotic Landscapes” is represented in “SUNDAY: Contemporary Art on Migrant Workers in Taiwan” at Tainan Art Museum It is interesting to note that since ancient times, vases have carried images of exotic landscapes. However, for migrants who work and live away from home, landscapes are not only regional customs and sceneries, but also project their aspirations for their home towns or future lives. It could be said that the landscapes that migrants see are not fixed perspectives, but have different variations and meanings as they move along their own trajectories. Lo Yi Chun (1985-) has been concerned with the living...