Collection artist Ouyang Chun is most well-known for his idiosyncratic and whimsical paintings. His complex and detailed works are often made up of multiple small, distinct sections, as seen in Cream Cake, Lighthouse, Skyscrapers or Shimmering
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.