Lu Xinjian’s painting City DNA Beijing (2010) re-imagines the variegated urban landscape of China’s capital, Beijing, as a mass of simple white lines and shapes atop a bright red, flat background.
In Peng Hung-Chih’s two-metre-tall stainless-steel sculpture, Farfur the Martyr (2008), jets of water spurt out from the eyes, nipples, armpits, torso, knees and heels of a human body topped with a Mickey Mouse head. The slick figure is posed to
The White Rabbit Collection holds four of Tang Nannan’s artworks: Billennium Waves (2015, video, 4’3’’), The Sea in the Sea 60, 61 (both 2015, ink on paper, 124 x 246 cm) and Phonixalis Bird of Wonder (2013, colour video, 5’11’’). Billennium Waves,
The White Rabbit Collection holds two of Zhao Yanbin’s paintings: Tomorrow We Have Class as Usual (2014) and A Huge Toilet (2016). Both paintings are based on Zhao’s childhood memories of studying in small-town, rural areas, and both are influenced
Peng Hung-Chih’s (b.1969) eight-metre sculpture of a twisted cruise ship, The Deluge – Noah’s Ark, was slowly assembled over four months during the 2014 Taipei Biennial, in full-view of exhibitions visitors. To create the work, thirty 3D printers
In 2018, performance artist He Yunchang donated a bundle of chopped wood to the Judith Neilson/White Rabbit Collection Archive, considering this to be the most appropriate documentation of his artistic practice. He Yunchang began chopping firewood
In 2018, Wang Jianwei donated an f-clamp to the White Rabbit Collection Archive, explaining that this object was a tool that he had used in the process of creating the work Dirty Substance 1, held in the White Rabbit Collection.