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is a site-specific sculpture installation created for the entrance of MOCA Taipei.
A giant left hand springs at the upper left side of the entrance; with its index finger pointing towards the sky and the other three clenching the top of the door frame, the hand makes a gesture reminiscent of a Buddhist mudra.
For both artists, the cities of their heart refer to the people and happenings right here right now, all those silent glimpses of cities and gardens of spirit.
Behind the rabbit, some objects are arranged in the shape of a woman or in association with the image of mother, which connect with the broken columns and the vines of life.Kuo and Lu performed a tale of two cities with their exhibitions; these cities of individuals overlap each other, embodying each other’s conflicts and hopes.In the physical architecture of MOCA Taipei, we can at once detect the history that our city weathered and the cities of the artists’ visions., the sculptural head at the center of Room 205, is a mythologized self-portrait of the artist Kuo Wei-kuo.While its countenance is a realistic casting of the artist’s face, the tapered ears recall the features of an elf.
It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way…, Dickens gave shape to that clashing, vibrant era in which he lived.