[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-135650-en":3,"doc-seo-135650-105":30,"detail-sidebar-cat-0-en-105":91},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":27,"seo_description":14,"update_tm":28,"read_time":29},135650,962084926284,"Aria Callaghan","https://ap-avatar.wpscdn.com/davatar_29158cc5080c5b710cf443261637dec0",2,"Literature","Yang Mao-Lin Guidebook - MADE IN TAIWAN - Art as Strategy","Guidebook content on Yang Mao-Lin explains how art functions as provocation, confirmation of existence, and a tool for securing the right to speak. It traces his evolution from the turbulent 1980s, where his critical paintings challenged political and social authority, to the post-martial-law 1990s shift toward historical and cultural retrospection. The text highlights his appropriation of the trademark symbol “MADE IN TAIWAN,” expanding into icon systems and hybrid comic-influenced forms, including three-dimensional work. It also introduces major series themes across Politics, History, and Culture.","Art is my strategy for subversion; my means of confirming my existence; my tool for securing my right to speak.  \n—Yang Mao-Lin  \n01  \nMADE IN TAIWAN  \nYang Mao-Lin (1953–) rose in the art world during Taiwan’s turbulent 1980s. In his early work, he broke through taboos and challenged political and social authority, thus revealing an intense critical attitude. Brimming with tension, his exciting painting style and sensational visual imagery subtly echoed social and political transitions as Taiwan abandoned martial law in the 1980s. In the post-martial law period of the 1990s, as globalization gradually took shape and ties between internationalism and nativism grew more complex, Yang’s work shifted from political activism to historical and cultural retrospection. He appropriated the phrase “MADE IN TAIWAN” and used it as a title to broadly explore the expressive and critical potential of art forms and ideas from the perspectives of Taiwanese politics, history and culture.  \n“MADE IN TAIWAN” has been Taiwan’s international trademark and symbol ofunique qualities for many years. Yang Mao-Lin appropriated this symbol tomake a statement about Taiwan’s position and cultural identity, and to construct a system of icons that highlight subjectivity in Taiwanese art. In around 2000, he broadened his artistic vision by making three-dimensional artwork while continuing to explore topics related to Taiwanese culture. Also at this time, he started commenting on connections between local and imported culture byusinga style adopted from comics and concepts of cultural hybridity. Essentially, he accomplished this with unexpected juxtapositions, and these unique and visually rich compositions mitigate the strong/weak power relations that arise when cultures collide, thus making the intention behind “MADE IN TAIWAN” all the more evident.  \nBad Taste Avant-Garde Reaction  \n3–1 MADE IN TAIWAN [Culture]: Culture, Intercourse, Tayouan 1–1 Mythology Series (1984–1986)  \nHistory—Inviting the Immortals I (1996–1998)  \n1–2 Graphic Hero (1986), Behavior of Game Playing  \n3–2 MADE IN TAIWAN [Culture]: Baby, You’re Amazing—Inviting the (1987–1989)  \nImmortals II (2000–2002)  \n1–3 MADE IN TAIWAN [Politics]: Limbs-Trunk Sign  \nThe Immortals Section (1989–1990), Slogan Section (1990)  \n1–4 MADE IN TAIWAN [Politics]: N Ways of  \n4–1 MADE IN TAIWAN [Culture]: Ceremonies Before Understanding a Carrot (1991), The Phantom of  \nRewarding—Inviting the Immortals III (2002– a Deer (1991)  \n2003)  \n4–2 The Pure Land of Maha (2003–2006) 目錄  \n4–3 Canonized Karma of Maha with Mandalas  \n(2005–2007)  \n4–4 A Story about Affection (2007–2009)  \nMADE IN TAIWAN  02  \n Looking Back at the Making of My Art  \n  Yang Mao-Lin  05  \n1 Avant-Garde Reaction  07  \n  2 National Epic  13  \n  3 Bad Taste  19  \n4 The Immortals  23  \n5 Wonderland  31  \nBiography  37  \nNational Epic Exhibitions  42  \n2–1 MADE IN TAIWAN [History]: Yun Mountain Memorandum  \n(1991)  \nWonderland  \n2–2 MADE IN TAIWAN [History]: Lily Memorandum (1993)  \n5–1 Canonization of the Gods—The Wonderland in Saha World of  \nMaha (2006–2009) 2–3 MADE IN TAIWAN [History]: Zeelandia Memorandum  \n(1992–1993)  \n5–2 Kill Alice (2009–2011)  \n2–4 MADE IN TAIWAN [History]: Tayouan Memorandum  \n5–3 The Quest for Mandala (2012–Present) (1994–1999)  \n03 04  \n4-44-3  \n4-24-1  \n5-2 3-13-2  \n2-4  \n5-3  \n5-1  \n2-3  \n1-1 2-1  \n1-4  \n1-2 1-3  \n2-2  \nLooking Back at the Making of My Art  \nYang Mao-Lin  \nI grew up in the period when Taiwan was undergoing its transition from an agricultural to industrial society. The country started to develop, adopted capitalism, and was in the throes ofa democracy fueled liberation from white terror that has continued to today. I was born after the colonial period, but have keenly felt its effects from the life histories of my relatives, including their struggles against power and losses.  \nI have a cynical personality due to the environment in which I grew up. This led to my using art as a strategy for subv","cbCaioGRuyBcOKRx","https://ap.wps.com/l/cbCaioGRuyBcOKRx","pdf",4252326,1,24,"English","en",105,"# Looking Back at the Making of My Art\n## 1 Avant-Garde Reaction\n## 2 National Epic\n## 3 Bad Taste\n## 4 The Immortals\n## 5 Wonderland\n## Biography\n## National Epic Exhibitions","[{\"question\":\"How does Yang Mao-Lin describe the purpose of making art?\",\"answer\":\"He uses art as a strategy for subversion, a way to confirm his existence, and a tool to secure his right to speak.\"},{\"question\":\"What role does the “MADE IN TAIWAN” symbol play in his work?\",\"answer\":\"He appropriates it to express Taiwan’s position and cultural identity, building an icon system that highlights subjectivity in Taiwanese art.\"},{\"question\":\"How did his artistic focus change after martial law ended?\",\"answer\":\"After martial law ended, his work shifted from political activism toward historical and cultural retrospection, developing the MADE IN TAIWAN series with Political, History, and Culture sub-themes.\"}]","Yang Mao-Lin Guidebook - 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