Produced in the context of Aesthetic Jam, the satellite project of the 9th Taipei Biennial taking as departing point the notion of "Experimental Aesthetics", "A turning that keeps going" combines a spatial recognition of Taipei and an approach to experimental aesthetics as a perpetual negotiation and adaptation between display and interaction, how emergent arguments and strategies are in a perpetual motion where ideas and forms connect, disconnect, gain meaning and lose meaning. I decided to take the idea of motion quite literally by looking at the transformational relations with objects in our everyday landscape (and specifically to Taipei) to the spread of Barber Poles (used to identify both barber shops and hair saloons, and sometimes brothels).
The presence in Taipei of the Barber Pole might be seen as a double dislocation. The first, from Euro-American context (perhaps coming in vogue through Japanese colonization, and in such sense, remaining as a postcolonial device). The second, the autonomy of the contemporary esthetic element from its original symbolic history (the pole as 16th century distinction of two professional categories from the Barber-Surgeon’s Company guild: the surgeon (red and white pole) and the barber (blue and white pole).
The pole stands as just another visual element in the noisy visual landscape of advertisements; a colorful shimmering light effect; a dislocation that would talk to the always transitional quality of such devices.