{"id":902,"date":"2025-04-12T23:14:40","date_gmt":"2025-04-12T15:14:40","guid":{"rendered":"https:\/\/couldbe.tw\/webdemo\/HsiehChun-Te\/?p=902"},"modified":"2025-04-28T09:23:32","modified_gmt":"2025-04-28T01:23:32","slug":"2011-le-festin-de-chunte-raw","status":"publish","type":"post","link":"https:\/\/couldbe.tw\/clients\/HsiehChun-Te\/2011-le-festin-de-chunte-raw\/","title":{"rendered":"2011 VENICE BIENNALE ” Chun-te”"},"content":{"rendered":"

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\n \"Bitches-1987-2010 \n <\/div>\n \n \n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
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Transdisciplinary, \u00a0 Transgenerational, \u00a0Transcultural\u00a0<\/strong><\/h2>\n

\u00a02011 Venice Biennale \u201cFeast of Chun-Te\u201d<\/strong><\/h3> <\/div>\n<\/div>\n
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Documentary: https:\/\/vimeo.com\/342872853<\/a> \u00a0 <\/span>Password: record<\/p>\n

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\n \n \"Artist <\/a>\n \n <\/div>\n \n \n
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\n \n Feast of Chun-Te <\/a>\n <\/h3>\n
\n Artist Hsieh Chun-Te appears in the gallery space following his live performance\u00a0Feast of Chun-Te\u00a0at the Venice Biennale. <\/div>\n \n <\/div>\n \n <\/div>\n <\/div>\n
\n \n
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\n \n \"Director <\/a>\n \n <\/div>\n \n \n
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\n \n Marco Muller <\/a>\n <\/h3>\n
\n \nDirector of Mostra Internazionale d’Arte \nCinematografica <\/div>\n \n <\/div>\n \n <\/div>\n <\/div>\n
\n \n
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\n \n \"European <\/a>\n \n <\/div>\n \n \n
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\n \n Mathieu Carri\u00e8re\u2028 <\/a>\n <\/h3>\n
\n European actor, art collector <\/div>\n \n <\/div>\n \n <\/div>\n <\/div>\n
\n \n
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\n \n \"Creative <\/a>\n \n <\/div>\n \n \n
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\n \n Angela Missoni (L2)\u2028 <\/a>\n <\/h3>\n
\n Creative Director at MISSONI\u00a0 <\/div>\n \n <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n \n
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Selected by international press and institutions as one of the five most outstanding exhibitions of the year<\/b><\/h4> <\/div>\n<\/div>\n\n
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Quote 1: Feast of Chun-Te feels like a ghostly drift from Taipei, navigating between gastronomy, primal ritual,\u00a0and ghostly madness\u2014performed with a theatricality that is as stunning as it is inexplicable.\u201d<\/em>
\u2014\u00a0<\/em>Val\u00e9rie Duponchelle<\/strong>,\u00a0Le Figaro.<\/em>
\u00a0<\/em>
Quote 2: \u201cNoir Feast in Venice: A staggering performance by Taiwan\u2019s great culinary director and photographer, Hsieh Chun-Te\u2014staged twice daily and among the most extraordinary acts in the Biennale\u2019s history.\u201d<\/em>
\u2014\u00a0<\/em>Vincent Noce<\/strong>,\u00a0Lib\u00e9ration<\/em>
.<\/em><\/p> <\/div>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n

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Media Report<\/h2> <\/div>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n
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\n \n \n \n \n \n <\/svg>\n \n \"Valerie <\/span>\n\n \n <\/span>\n <\/a>\n <\/div>\n
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\n Valerie DUPONCHELLE<\/a>\n <\/h3>\n
\n

El\u00e9ments de recherche : LE FESTIN DU CHUN-TE : exposition de Hsieh Chun-TE, du 01\/06 au 10\/10\/11, en parall\u00e8le de la 54\u00e8me Expositior<\/p> <\/div>\n <\/div>\n<\/div>\n\n <\/div>\n

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\n \n \n \n \n \n <\/svg>\n \n \"Zoom <\/span>\n\n \n <\/span>\n <\/span>\n \n <\/span>\n <\/a>\n <\/div>\n
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\n Zoom sur une oeuvre (2\/5) | 7 iuin 2011<\/a>\n <\/h3>\n
\n

Par Vincent Noce, envoy\u00e9 sp\u00e9cial \u00e0 Venise
Le grand cuisinier et photographe ta\u00efwanais, Hsieh Chun-Te, r\u00e9alise deux fois par jour une des performances les plus \u00e9tonnantes qu’ait jamais produites la Biennale.<\/p> <\/div>\n <\/div>\n<\/div>\n\n <\/div>\n <\/div>\n <\/div>\n

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\u00a0<\/p>\n

\u201cZoom on a Work\u201d \u2013\u00a0Lib\u00e9ration<\/em>\u00a0(France)<\/strong><\/h2>\n
Published June 6\u201310, 2011 | Venice Biennale Special Feature <\/strong>
By Vincent Noce, Special Correspondent in Venice
A five-part critical series highlighting the most powerful and thought-provoking works at the Venice Biennale.<\/strong><\/h6>\n
\u00a0<\/strong><\/h6>\n
Zoom on a Work (1\/5) | June 6, 2011<\/b><\/h5>\n

The Cinematic Inspiration of Painter Jonathan Wateridge
<\/b>By Vincent Noce, Special Correspondent in Venice<\/i><\/p>\n

At Palazzo Grassi in Venice, the London-based artist, originally from Zambia, presents his large-format paintings inspired by the collapse of a California highway in 1928.

<\/p>\n

Zoom on a Work (<\/b>2\/5<\/b><\/span>) | June 7, 2011<\/b><\/h5>\n

Noir Feast in Venice<\/span>\u00a0
<\/span>By Vincent Noce, Special Correspondent in Venice<\/p>\n

The great Taiwanese chef and photographer, Hsieh Chun-Te<\/strong><\/span>, performs twice a day one of the most astonishing\u00a0live actions ever witnessed in the history of the Venice Biennale.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Zoom on a Work (3\/5) | June 8, 2011<\/b><\/h5>\n

Does Death Hover Over Venice?
<\/span>By Vincent Noce, Special Correspondent in Venice<\/i><\/p>\n

The German Pavilion has been entrusted to Christoph Schlingensief, a politically engaged artist who passed\u00a0away last year at the age of 49. The pavilion went on to win the Golden Lion for Best National Participation.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Zoom on a Work (4\/5) | June 9, 2011<\/b><\/h5>\n

Venice: A Place of Peace and Resistance \u00a0
<\/span><\/span>By Vincent Noce, Special Correspondent in Venice<\/p>\n

Israeli artist Sigalit Landau takes over the Israeli Pavilion at the Venice Biennale. A socially engaged artist,\u00a0<\/span>she envisions building a salt bridge over the Dead Sea to symbolically connect Israel and Palestine.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Zoom on a Work (5\/5) | June 10, 2011<\/b><\/h5>\n

Venice on Screen
<\/span>By Vincent Noce, Special Correspondent in Venice<\/p>\n

American artist Christian Marclay, recipient of the Golden Lion, presents a 24-hour film composed of edited\u00a0clips from countless movies\u2014each excerpt synchronized to the actual time of day.<\/span><\/p>\n



<\/p>\n

\n
\u00a0<\/h5>\n

\u00a0<\/p>\n

Zoom on a Work (2\/5) | June 7, 2011<\/b><\/span><\/h5>\n

Noir Feast in Venice
<\/b><\/span>By Vincent Noce, Special Correspondent in Venice<\/i><\/p>\n

Originally published in\u00a0Lib\u00e9ration<\/i> (France)
<\/strong><\/p>\n

\u00a0<\/p>\n

The great Taiwanese chef and photographer Hsieh Chun-Te performs, twice a day, one of the most astonishing\u00a0<\/span>acts ever produced in the history of the Venice Biennale.<\/p>\n

If you’re visiting Venice in the coming months, take time to see the Palazzo Fortuny\u2014named after a Catalan\u00a0<\/span>painter and decorator who left this little palazzo to the city. It is now a small museum, preserving not only his<\/span>\u00a0paintings but also the breathless accumulation of curtains, Oriental tapestries, and ceramics that once adorned<\/span>\u00a0the artist\u2019s home and workshop. For the past six years, during each Biennale, Belgian antiques dealer Axel<\/span>\u00a0Vervoordt has turned the space into his personal cabinet of curiosities\u2014a blend of personal passion and<\/span>\u00a0professional endeavor. Over time, the objects shift, the works rotate. This year, the exhibition circles around a<\/span>\u00a0kind of emptiness.<\/span><\/p>\n

There\u2019s always something charmingly chaotic in his displays, offering moments of true beauty\u2014even if one\u00a0<\/span>might feel the formula is beginning to tire. The real current of madness, however, sweeps in from the side of<\/span>\u00a0the San Stae church, where a Taiwanese artist has taken up residence. The Museum of Contemporary Art in<\/span>\u00a0Taipei has given carte blanche to Hsieh Chun-Te\u2014a culinary director and photographer of rare vision\u2014who<\/span>\u00a0now stages, twice daily, one of the Biennale\u2019s most staggering performances, despite its long tradition of<\/span>\u00a0excess. Dominique Pa\u00efni, the French cinema historian who co-curated the project, remains visibly shaken. The<\/span>\u00a0artist even planted rice seedlings on site.<\/span><\/p>\n

The Concept of the Concept<\/b><\/p>\n

At the center of the installation, the artist serves a meal prepared on site\u2014this is food as art. Thin slivers of\u00a0<\/span>bottarga under translucent slices of radish. A sphere of black sticky rice, subtly infused with chicken broth. We<\/span>\u00a0are clearly within \u201cthe concept of the concept.\u201d<\/span><\/p>\n

An 80-year-old shaman chants and recites her life. The daughter and granddaughter of shamans, she recalls\u00a0<\/span>being abducted as a child by a neighboring village to be sacrificed. Her community came to save her. The ritual<\/span>\u00a0was to culminate in her decapitation. On the ground, a young naked woman emerges slowly from a sheet<\/span>\u00a0soaked in blood.<\/span><\/p>\n

Surrounding the performance are dark black-and-white photographs taken over a fifteen-year span in a suburb\u00a0<\/span>of Taipei undergoing intense urbanization. These images braid together the elements of the narrative: food,<\/span>\u00a0sacrifice, blood, sex, and death. Some photomontages, drawing on the sadomasochistic fantasies of Japanese<\/span>\u00a0eroticism, are hard to bear.<\/span><\/p>\n

Dominique Pa\u00efni sees in Hsieh\u2014an artist he describes as \u201cextraordinarily cultivated\u201d\u2014references that extend\u00a0<\/span>beyond Japan to include Goya\u2019s black prints and the dark fascinations of Georges Bataille, particularly his<\/span>\u00a0unsettling obsession with unbearable images of female martyrdom in Chinese history.<\/span><\/p>\n

One does not walk away from this untouched.<\/p> <\/div>\n<\/div>\n\n

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2011 Venice Biennale \u00a0\u201cThe Banquet of Hsieh\u201d<\/b><\/h3> <\/div>\n<\/div>\n\n
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Curator
Dominique Pa\u00efni
<\/b>(Critic, Professor at the Coll\u00e8ge de France, Former Director of the Cin\u00e9math\u00e8que Fran\u00e7aise, Former Deputy Director of the Centre Pompidou)<\/p> <\/div>\n<\/div>\n\n

\n
\n \"Alfred \n \n
\n
\n Alfred Pacquement (R)\nDirector of Mus\u00e9e national d’art moderne, Centre Georges Pompidou\nDominique Pa\u00efni(L)\n <\/div>\n \n <\/div>\n \n <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
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Gallery<\/h4> <\/div>\n<\/div>\n <\/div>\n <\/div>\n \n
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\n
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\n \"Portrait-1987-2010<\/a> <\/dt>\n <\/dl>\n
\n
\n \"Wondering-Artists-1987-2010<\/a> <\/dt>\n <\/dl>\n
\n
\n \"Street<\/a> <\/dt>\n <\/dl>\n
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\n \"AMeat-Stall-1987-2010<\/a> <\/dt>\n <\/dl>\n
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\n \"Moonlight<\/a> <\/dt>\n <\/dl>\n
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\n \"Flight<\/a> <\/dt>\n <\/dl>\n
\n
\n \"Ceremony<\/a> <\/dt>\n <\/dl>\n
\n
\n \"The<\/a> <\/dt>\n <\/dl>\n
\n
\n \"The<\/a> <\/dt>\n <\/dl>\n
\n
\n \"The<\/a> <\/dt>\n <\/dl>\n
\n
\n \"Flight<\/a> <\/dt>\n <\/dl>\n
\n
\n \"Priest-1987-2010<\/a> <\/dt>\n <\/dl>\n
\n
\n \"Homecoming-Day-1987-2010<\/a> <\/dt>\n <\/dl>\n
\n
\n \"Bitches-1987-2010<\/a> <\/dt>\n <\/dl>\n
\n
\n \"The<\/a> <\/dt>\n <\/dl>\n
\n
\n \"16-RAW-Butterfly<\/a> <\/dt>\n <\/dl>\n
\n
\n \"Riverbank<\/a> <\/dt>\n <\/dl>\n
\n
\n \"He<\/a> <\/dt>\n <\/dl>\n
\n
\n \"Family<\/a> <\/dt>\n <\/dl>\n
\n
\n \"Minor1987-2010<\/a> <\/dt>\n <\/dl>\n
\n
\n \"Ferry<\/a> <\/dt>\n <\/dl>\n <\/div>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":2455,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[46],"tags":[48],"class_list":["post-902","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibition","tag-date-2011","has-post-title","has-post-date","has-post-category","has-post-tag","has-post-comment","has-post-author",""],"builder_content":"\"Bitches-1987-2010\n\"ex-2\"\n\"ex-3\"\n

<\/p>

Transdisciplinary, \u00a0 Transgenerational, \u00a0Transcultural\u00a0<\/strong><\/h2>

\u00a02011 Venice Biennale \u201cFeast of Chun-Te\u201d<\/strong><\/h3>\n

<\/p>

Documentary: https:\/\/vimeo.com\/342872853<\/a> \u00a0 Password: record<\/p>

<\/p>\n \"Artist <\/a>

Feast of Chun-Te <\/a> <\/h3> Artist Hsieh Chun-Te appears in the gallery space following his live performance\u00a0Feast of Chun-Te\u00a0at the Venice Biennale.\n \"Director <\/a>

Marco Muller <\/a> <\/h3> Director of Mostra Internazionale d'Arte Cinematografica\n \"European <\/a>

Mathieu Carri\u00e8re\u2028 <\/a> <\/h3> European actor, art collector\n \"Creative <\/a>

Angela Missoni (L2)\u2028 <\/a> <\/h3> Creative Director at MISSONI\u00a0\n

Selected by international press and institutions as one of the five most outstanding exhibitions of the year<\/b><\/h4>\n

Quote 1: Feast of Chun-Te feels like a ghostly drift from Taipei, navigating between gastronomy, primal ritual,\u00a0and ghostly madness\u2014performed with a theatricality that is as stunning as it is inexplicable.\u201d<\/em>
\u2014\u00a0<\/em>Val\u00e9rie Duponchelle<\/strong>,\u00a0Le Figaro.<\/em>
\u00a0<\/em>
Quote 2: \u201cNoir Feast in Venice: A staggering performance by Taiwan\u2019s great culinary director and photographer, Hsieh Chun-Te\u2014staged twice daily and among the most extraordinary acts in the Biennale\u2019s history.\u201d<\/em>
\u2014\u00a0<\/em>Vincent Noce<\/strong>,\u00a0Lib\u00e9ration<\/em>
.<\/em><\/p>\n

Media Report<\/h2>\n <\/svg> \"Valerie \n <\/a>

Valerie DUPONCHELLE<\/a> <\/h3>

El\u00e9ments de recherche : LE FESTIN DU CHUN-TE : exposition de Hsieh Chun-TE, du 01\/06 au 10\/10\/11, en parall\u00e8le de la 54\u00e8me Expositior<\/p>\n <\/svg> \"Zoom \n <\/a>

Zoom sur une oeuvre (2\/5) | 7 iuin 2011<\/a> <\/h3>

Par Vincent Noce, envoy\u00e9 sp\u00e9cial \u00e0 Venise
Le grand cuisinier et photographe ta\u00efwanais, Hsieh Chun-Te, r\u00e9alise deux fois par jour une des performances les plus \u00e9tonnantes qu'ait jamais produites la Biennale.<\/p>\n

\u00a0<\/p>

\u201cZoom on a Work\u201d \u2013\u00a0Lib\u00e9ration<\/em>\u00a0(France)<\/strong><\/h2>
Published June 6\u201310, 2011 | Venice Biennale Special Feature <\/strong>
By Vincent Noce, Special Correspondent in Venice
A five-part critical series highlighting the most powerful and thought-provoking works at the Venice Biennale.<\/strong><\/h6>
\u00a0<\/strong><\/h6>
Zoom on a Work (1\/5) | June 6, 2011<\/b><\/h5>

The Cinematic Inspiration of Painter Jonathan Wateridge
<\/b>By Vincent Noce, Special Correspondent in Venice<\/i><\/p>

At Palazzo Grassi in Venice, the London-based artist, originally from Zambia, presents his large-format paintings inspired by the collapse of a California highway in 1928.

<\/p>

Zoom on a Work (<\/b>2\/5<\/b>) | June 7, 2011<\/b><\/h5>

Noir Feast in Venice\u00a0
By Vincent Noce, Special Correspondent in Venice<\/p>

The great Taiwanese chef and photographer, Hsieh Chun-Te<\/strong>, performs twice a day one of the most astonishing\u00a0live actions ever witnessed in the history of the Venice Biennale.<\/p>

\u00a0<\/p>

Zoom on a Work (3\/5) | June 8, 2011<\/b><\/h5>

Does Death Hover Over Venice?
By Vincent Noce, Special Correspondent in Venice<\/i><\/p>

The German Pavilion has been entrusted to Christoph Schlingensief, a politically engaged artist who passed\u00a0away last year at the age of 49. The pavilion went on to win the Golden Lion for Best National Participation.<\/p>

\u00a0<\/p>

Zoom on a Work (4\/5) | June 9, 2011<\/b><\/h5>

Venice: A Place of Peace and Resistance \u00a0
By Vincent Noce, Special Correspondent in Venice<\/p>

Israeli artist Sigalit Landau takes over the Israeli Pavilion at the Venice Biennale. A socially engaged artist,\u00a0she envisions building a salt bridge over the Dead Sea to symbolically connect Israel and Palestine.<\/p>

\u00a0<\/p>

Zoom on a Work (5\/5) | June 10, 2011<\/b><\/h5>

Venice on Screen
By Vincent Noce, Special Correspondent in Venice<\/p>

American artist Christian Marclay, recipient of the Golden Lion, presents a 24-hour film composed of edited\u00a0clips from countless movies\u2014each excerpt synchronized to the actual time of day.<\/p>



<\/p>

\u00a0<\/h5>

\u00a0<\/p>

Zoom on a Work (2\/5) | June 7, 2011<\/b><\/h5>

Noir Feast in Venice
<\/b>By Vincent Noce, Special Correspondent in Venice<\/i><\/p>

Originally published in\u00a0Lib\u00e9ration<\/i> (France)
<\/strong><\/p>

\u00a0<\/p>

The great Taiwanese chef and photographer Hsieh Chun-Te performs, twice a day, one of the most astonishing\u00a0acts ever produced in the history of the Venice Biennale.<\/p>

If you're visiting Venice in the coming months, take time to see the Palazzo Fortuny\u2014named after a Catalan\u00a0painter and decorator who left this little palazzo to the city. It is now a small museum, preserving not only his\u00a0paintings but also the breathless accumulation of curtains, Oriental tapestries, and ceramics that once adorned\u00a0the artist\u2019s home and workshop. For the past six years, during each Biennale, Belgian antiques dealer Axel\u00a0Vervoordt has turned the space into his personal cabinet of curiosities\u2014a blend of personal passion and\u00a0professional endeavor. Over time, the objects shift, the works rotate. This year, the exhibition circles around a\u00a0kind of emptiness.<\/p>

There\u2019s always something charmingly chaotic in his displays, offering moments of true beauty\u2014even if one\u00a0might feel the formula is beginning to tire. The real current of madness, however, sweeps in from the side of\u00a0the San Stae church, where a Taiwanese artist has taken up residence. The Museum of Contemporary Art in\u00a0Taipei has given carte blanche to Hsieh Chun-Te\u2014a culinary director and photographer of rare vision\u2014who\u00a0now stages, twice daily, one of the Biennale\u2019s most staggering performances, despite its long tradition of\u00a0excess. Dominique Pa\u00efni, the French cinema historian who co-curated the project, remains visibly shaken. The\u00a0artist even planted rice seedlings on site.<\/p>

The Concept of the Concept<\/b><\/p>

At the center of the installation, the artist serves a meal prepared on site\u2014this is food as art. Thin slivers of\u00a0bottarga under translucent slices of radish. A sphere of black sticky rice, subtly infused with chicken broth. We\u00a0are clearly within \u201cthe concept of the concept.\u201d<\/p>

An 80-year-old shaman chants and recites her life. The daughter and granddaughter of shamans, she recalls\u00a0being abducted as a child by a neighboring village to be sacrificed. Her community came to save her. The ritual\u00a0was to culminate in her decapitation. On the ground, a young naked woman emerges slowly from a sheet\u00a0soaked in blood.<\/p>

Surrounding the performance are dark black-and-white photographs taken over a fifteen-year span in a suburb\u00a0of Taipei undergoing intense urbanization. These images braid together the elements of the narrative: food,\u00a0sacrifice, blood, sex, and death. Some photomontages, drawing on the sadomasochistic fantasies of Japanese\u00a0eroticism, are hard to bear.<\/p>

Dominique Pa\u00efni sees in Hsieh\u2014an artist he describes as \u201cextraordinarily cultivated\u201d\u2014references that extend\u00a0beyond Japan to include Goya\u2019s black prints and the dark fascinations of Georges Bataille, particularly his\u00a0unsettling obsession with unbearable images of female martyrdom in Chinese history.<\/p>

One does not walk away from this untouched.<\/p>\n

2011 Venice Biennale \u00a0\u201cThe Banquet of Hsieh\u201d<\/b><\/h3>\n

Curator
Dominique Pa\u00efni
<\/b>(Critic, Professor at the Coll\u00e8ge de France, Former Director of the Cin\u00e9math\u00e8que Fran\u00e7aise, Former Deputy Director of the Centre Pompidou)<\/p>\n\"Alfred Alfred Pacquement (R) Director of Mus\u00e9e national d'art moderne, Centre Georges Pompidou Dominique Pa\u00efni(L)\n

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