“Existence” is not exclusively composed of mutually discrete individuals, but is more like a relational whole in which myriads of things interconnect, interact, and give birth to one another. “Entanglements: The Rhythm of Being” takes as its point of departure the geological concept of the “Critical Zone” and the quantum physical concept of “entanglement” to reflect on the continually evolving relationships among humans, animals, land, microorganisms, technology, and the environment.
This book accompanies the 2026 Taipei Fine Arts Museum exhibition of the same title. Featuring 11 contemporary artists and artist groups, it explores the interconnected and symbiotic relationships among nature, technology, and practical action through three dimensions: “The World Collectively Interpreted by Humans and Non-humans”, “Augmenting Humanity’s Senses and Time/Space Perception”, and becoming “Symbiotic Agents”. It includes complete documentation of the artworks, exhibition views, an exhibition floor plan, artist biographies, and artwork texts, as well as the curatorial essay by Sharleen Yu and a commissioned essay by Lee Li-Chun, extending the experience of viewing and reflecting on the exhibition
beyond the gallery.
In terms of its binding and design, the book uses an open-sewn paperback binding to preserve the visual integrity of works spanning across facing pages. Special foldout pages are incorporated throughout, ranging from two- and three-panel folds to an N-fold extending up to 83.7 cm, allowing large-scale works and continuous imagery to unfold across the page. The expansion and folding back of these pages also translate the arrangements and relationships of viewing established within the exhibition space. Selected pages feature perforations and elements of hands-on making, transforming readers from viewers into participants.YAMASHIRO Chikako’s Mud Man includes a perforated poetry foldout that readers can tear out and keep, while TSAI Pou-Ching’s Song of the Russet Sparrow includes a flipbook that readers can assemble by hand according to the instructions, transforming static images into a lively sequence of motion.
Turning pages, unfolding, tearing, and making together form a mode of reading that extends the experience of the exhibition. This is not merely a visual record of the exhibition, but a publication that continues to unfold through the medium of the book. Even after the exhibition closes, the works are reactivated through the unfolding of the pages, the continuation of moving images, and the reader’s hands-on engagement. In this way, “Entanglements” extends beyond the theme of the exhibition to become a physical experience of
reading, inviting readers to perceive anew the ways in which humans and all things are interconnected, interdependent, and continually becoming.
