two women in black hat and sunglasses, as well as holding microphones.

Paeonia Drive
Su Yu-Hsin and Angela Goh

Paeonia Drive is an interdisciplinary and ongoing project by Angela Goh and Su Yu-Hsin, bringing together performance, video installation, and dance. Speculating ways of living and moving in the age of digital anxiety, techno-culture, and image production, the artists explore the metaphor of gardens with historical, infrastructural, and symbolic aspects to embody the performance.

Life with contemporary digital machines produces everyday encounters of doubling, splitting, and reverberating as new aspects of our bodily experiences. In a garden where organisations of bodies, nature, and power meet and integrate with one another:
Who is watching the threshold of this garden?
We cannot hide outside of view when the outside is already on the inside.
Reality is disappearing and reappearing in confusing ways.

Between blurred borders of nature, artificiality, beauty and horror, the artists occupy and produce relations of differentiation and integration between the corporeal and the informatic, allowing converging and diverging series of machine-body events to begin to map themselves out.

This collaboration between Sydney-based dancer and choreographer Angela Goh and Taiwanese artist and filmmaker Su Yu-Hsin speaks at scales alternately intimate, social, and planetary, zooming in and out on the hazy horizon of the future.

Read Artist Statement

Paeonia Drive’s central point of reference is “The Garden”. Historically, gardens have always been constructed and created with points of view and perspectives in mind—traditional Chinese gardens are made to be viewed from within, to simulate being in nature; traditional Japanese gardens are made to be viewed from the house looking out, acting as an interface between the domestic and natural worlds; French Baroque gardens are constructed around a centralised axis of symmetry across flattened planes to draw perspective outwards towards the horizon, giving the impression of size, wealth, power, and territory. Gardens have their own infrastructures—walls, hedges, pathways, stepping stones—which direct and funnel the bodies that encounter them. Movement becomes inscribed and landscaped. These infrastructures also describe a central function of the garden – to enclose outside space, to mark boundaries, to create territories.

“Gardener’s Vision” is a term describing how the gardener kills weeds not because of what they are but because of what the garden ought to be. This mirrors the problematics we see in machine driven algorithms that operate without empathy, and replicate preexisting biases.

In Paeonia Drive, “the garden” is a metaphor for the organisation and control of nature, bodies, and power, explored through forces of colonialism, automation, and surveillance. Paeonia Drive utilises these historical, infrastructural, and symbolic aspects of “the garden” as research nodes to explore contemporary technocultural anxieties, and as methods of image production. The body is doubled, mirrored, split, and simulation is used as a strategy to make the body expansive, as a way to resist and disrupt the very forces that try to control and territorialise it.

Read Artist Statement

Paeonia Drive’s central point of reference is “The Garden”. Historically, gardens have always been constructed and created with points of view and perspectives in mind—traditional Chinese gardens are made to be viewed from within, to simulate being in nature; traditional Japanese gardens are made to be viewed from the house looking out, acting as an interface between the domestic and natural worlds; French Baroque gardens are constructed around a centralised axis of symmetry across flattened planes to draw perspective outwards towards the horizon, giving the impression of size, wealth, power, and territory. Gardens have their own infrastructures—walls, hedges, pathways, stepping stones—which direct and funnel the bodies that encounter them. Movement becomes inscribed and landscaped. These infrastructures also describe a central function of the garden – to enclose outside space, to mark boundaries, to create territories.

“Gardener’s Vision” is a term describing how the gardener kills weeds not because of what they are but because of what the garden ought to be. This mirrors the problematics we see in machine driven algorithms that operate without empathy, and replicate preexisting biases.

In Paeonia Drive, “the garden” is a metaphor for the organisation and control of nature, bodies, and power, explored through forces of colonialism, automation, and surveillance. Paeonia Drive utilises these historical, infrastructural, and symbolic aspects of “the garden” as research nodes to explore contemporary technocultural anxieties, and as methods of image production. The body is doubled, mirrored, split, and simulation is used as a strategy to make the body expansive, as a way to resist and disrupt the very forces that try to control and territorialise it.

Paeonia Drive

    • SAT 03 September, 14:30 – 15:30 GMT+8
    • SAT 03 September, 16:30 – 17:30 GMT+8
    • SUN 04 September, 16:30 – 17:30 GMT+8
  • 60 mins
    • Taipei Performing Arts Center, No. 1, Jiantan Road, Shilin District, Taipei City 111081, Taiwan, R.O.C
  • NT$600

Paeonia Drive is an interdisciplinary and ongoing project by Angela Goh and Su Yu-Hsin, bringing together performance, video installation, and dance. Speculating ways of living and moving in the age of digital anxiety, techno-culture, and image production, the artists explore the metaphor of gardens with historical, infrastructural, and symbolic aspects to embody the performance.

Life with contemporary digital machines produces everyday encounters of doubling, splitting, and reverberating as new aspects of our bodily experiences. In a garden where organizations of bodies, nature, and power meet and integrate with one another:
Who is watching the threshold of this garden?
We cannot hide outside of view when the outside is already on the inside.
Reality is disappearing and reappearing in confusing ways.

Between blurred borders of nature, artificiality, beauty and horror, the artists occupy and produce relations of differentiation and integration between the corporeal and the informatic, allowing converging and diverging series of machine-body events to begin to map themselves out.

This collaboration between Sydney-based dancer and choreographer Angela Goh and Taiwanese artist and filmmaker Su Yu-Hsin speaks at scales alternately intimate, social, and planetary, zooming in and out on the hazy horizon of the future.

Credits
  • Lead artist, video, installation, performer - Su Yu-Hsin
    Lead artist, choreographer, performer - Angela Goh
  • Paeonia Drive is commissioned by Campbelltown Arts Centre and Taipei Performing Arts Center as part of BLEED 2020 and ADAM.

    The newly-staged presentation of Paeonia Drive is developed and supported by Taipei Performing Arts Center as part of BLEED 2022 and Taipei Arts Festival.
  • Paeonia Drive is supported by the NSW Government through Create NSW.

    BLEED (Biennial Live Event in the Everyday Digital) was conceived by Campbelltown City Council through Campbelltown Arts Centre, and City of Melbourne through Arts House. BLEED 2022 is produced and presented by Campbelltown City Council through Campbelltown Arts Centre, City of Melbourne through Arts House, the Taipei Performing Arts Centre, and Museum of Contemporary Art, Taipei.
    BLEED 2022 has been assisted by the Taiwan Ministry of Culture (Sydney Office).

Paeonia Drive

    • MON 19 – SUN 25 September
  • Paeonia Drive can be explored on desktop or laptop devices, using Firefox or Google Chrome.

Following on from the presentation and ongoing research of the Paeonia Drive website during BLEED 2020, the artists continue to investigate and perform their digital garden through a 2.0 version of the website for BLEED 2022.

Paeonia Drive’s central point of reference is “The Garden”. Gardens have their own infrastructures—walls, hedges, pathways, stepping stones—which direct and funnel the bodies that encounter them. Movement becomes inscribed and landscaped. These infrastructures also describe a central function of the garden – to enclose outside space, mark boundaries, and create territories.

“Gardener’s Vision” is a term describing how the gardener kills weeds not because of what they are but because of what the garden ought to be. This mirrors the problematics we see in machine-driven algorithms that operate without empathy and replicate preexisting biases.

In Paeonia Drive, “the garden” is a metaphor for the organisation and control of nature, bodies, and power, explored through forces of colonialism, automation, and surveillance. Paeonia Drive utilises these historical, infrastructural, and symbolic aspects of “the garden” as research nodes to explore contemporary technocultural anxieties, and as methods of image production.

Credits
  • Lead artist, video, installation, performer - Su Yu-Hsin
    Lead artist, choreographer, performer - Angela Goh
  • Paeonia Drive is commissioned by Campbelltown Arts Centre and Taipei Performing Arts Center as part of BLEED 2020 and ADAM.

    The newly-staged presentation of Paeonia Drive is developed and supported by Taipei Performing Arts Center as part of BLEED 2022 and Taipei Arts Festival.
  • Paeonia Drive is supported by the NSW Government through Create NSW.

    BLEED (Biennial Live Event in the Everyday Digital) was conceived by Campbelltown City Council through Campbelltown Arts Centre, and City of Melbourne through Arts House. BLEED 2022 is produced and presented by Campbelltown City Council through Campbelltown Arts Centre, City of Melbourne through Arts House, the Taipei Performing Arts Centre, and Museum of Contemporary Art, Taipei.
    BLEED 2022 has been assisted by the Taiwan Ministry of Culture (Sydney Office).
Acknowledgement of Country
Arts House, Campbelltown Arts Centre, Taipei Performing Arts Center, and Museum of Contemporary Art Taipei acknowledge the Traditional Owners of the lands we work on, the Wurundjeri Woi Wurrung, Dharawal, and Ketagalan peoples. We extend our respects to their Elders past, present and future while respecting the vast Traditional Owners Nations our digital platforms reach. We extend this acknowledgment to Aboriginal, Torres Strait Islander, and Austronesian artists, audiences and communities, and First Nations peoples globally.
墨爾本藝術之家、坎貝爾敦藝術中心、臺北表演藝術中心及台北當代藝術館向我們土地上的第一民族暨傳統所有人致上敬意,包括烏倫杰里族(Wurundjeri Woi Wurrung)、塔爾瓦斯族(Dharawal)、凱達格蘭族(Ketagalan)及其眾支系。因著BLEED數位介面所將廣泛觸及的各種傳統民族與土地, 我們尊榮各地過去、現在及未來的祖先與耆老。我們更將這份對台灣與澳洲原住民族、托雷斯海峽群島民族及南島民族的藝術家、觀眾與社群的致意延展至全球各傳統領地與第一民族。