Alright. Let’s enter from the back door, move the piano into the bathroom on the second floor, and play For Elise or A Virgin’s Prayer.
A housebreaking thief rarely visits the bathroom.
A research I read on BBC Chinese.com suggests that a professional thief or a hardened thief often considers the bedroom, the study, and the living room as “the areas of high value” and rarely visits the bathroom.
I do not consider illness as illness. I’d rather see illness as a skillful thief.
How do I call this skillful thief? Let’s just call it “him”.
Back to the story I mentioned earlier. The story took the research from University of Portsmouth for example, in which a comparative analysis was conducted on the methods employed by the hardened thieves and by the non-hardened thieves in a model burglary. During the test, all the hardened thieves came in the room through the back door, whereas the rookies came through the front door. All the thieves did a sweep of the house in a systematical manner. Half of them went straight to the bedroom upstairs before returning to downstairs, and not a single one went into the bathroom.
Perhaps that could explain why he always stayed in the restroom?
Yes, he seemed steal everything from him, but some things could never be taken away. Perhaps he hid all these in the restroom. For instance, he cut the green stems and green leaves from Smallflower Beggarticks with a sickle every day, feeding the fish that never existed. By the way, the green leaves of Smallflower Beggarticks are in fact exceptionally delicious, but it’s another thing. Another example is playing piano, but I’m not sure the music he played is For Elise or A Virgin’s Prayer. I often got them confused.
So, accordingly, the safest place would be the bathroom on the second floor, right?
Perhaps.
Alright. Let’s enter from the back door, move the piano into the bathroom on the second floor, and play For Elise or A Virgin’s Prayer.
On the day after the typhoon, the sun was shining bright. We entered from the back door, trying to move the piano to the second floor – into the bathroom on the second floor.
Ah! It couldn’t be moved a bit!
What now?
Forget it. Leave it to the thief.
Besides, what he played wasn’t For Elise or A Virgin’s Prayer at all. It has already been stolen perhaps.
A research I read on BBC Chinese.com suggests that a professional thief or a hardened thief often considers the bedroom, the study, and the living room as “the areas of high value” and rarely visits the bathroom.
I do not consider illness as illness. I’d rather see illness as a skillful thief.
How do I call this skillful thief? Let’s just call it “him”.
Back to the story I mentioned earlier. The story took the research from University of Portsmouth for example, in which a comparative analysis was conducted on the methods employed by the hardened thieves and by the non-hardened thieves in a model burglary. During the test, all the hardened thieves came in the room through the back door, whereas the rookies came through the front door. All the thieves did a sweep of the house in a systematical manner. Half of them went straight to the bedroom upstairs before returning to downstairs, and not a single one went into the bathroom.
Perhaps that could explain why he always stayed in the restroom?
Yes, he seemed steal everything from him, but some things could never be taken away. Perhaps he hid all these in the restroom. For instance, he cut the green stems and green leaves from Smallflower Beggarticks with a sickle every day, feeding the fish that never existed. By the way, the green leaves of Smallflower Beggarticks are in fact exceptionally delicious, but it’s another thing. Another example is playing piano, but I’m not sure the music he played is For Elise or A Virgin’s Prayer. I often got them confused.
So, accordingly, the safest place would be the bathroom on the second floor, right?
Perhaps.
Alright. Let’s enter from the back door, move the piano into the bathroom on the second floor, and play For Elise or A Virgin’s Prayer.
On the day after the typhoon, the sun was shining bright. We entered from the back door, trying to move the piano to the second floor – into the bathroom on the second floor.
Ah! It couldn’t be moved a bit!
What now?
Forget it. Leave it to the thief.
Besides, what he played wasn’t For Elise or A Virgin’s Prayer at all. It has already been stolen perhaps.
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Biography
Po-Chih Huang’s diverse artistic practice revolves around the circumstances and history of his family which enable him to involve in issues like agriculture, manufacturing, production, consumption, etc. Since 2013, exhibitions of his continuous art project Five Hundred Lemon Trees have been transformed to a crowd funding platform allowing the appropriation of artistic resources for developing an agricultural brand, activating fallow farmland, and growing lemon trees for lemon liquor. On the other hand, the project has connected his family members, local farmers and consumers to make a new social relationship possible. In the same year, he published his first collection of essays Blue Skin—All About My Mother《藍色皮膚：老媽的故事》, the story about his mother. In a way, such a brief account of personal history can somehow reflect Taiwan's agriculture economic reform and social change over the past fifty years, which is essentially, a micro-level of observing his own family history and society as a whole in Taiwan.
Education
2005 B.Ed. in Department of Fine Arts and Crafts Education, National Taichung University of Education, Taiwan.
2011 M.F.A. in Department of New Media Art School of Film and New Media, Taipei National University of the Arts, Taiwan.
Selected Solo Exhibitions
2016 500 Lemon Trees: An Organic Archive, Taipei Fine Arts Museum, Taipei, Taiwan.
2016 500 Lemon Trees: Patient Number 7, ITPARK, Taipei, Taiwan.
Selected Group Exhibitions
2018
Herbal Urbanism: Beitou 3- Urban Herbalism and the Cartography of Deities, Hong-gah Museum, Taipei, Taiwan.
How Little You Know About Me, National Museum of Modern and Contemporary Art, Seoul, Korea.
2050. A Brief History of the Future, National Taiwan Museum of Fine Arts, Taichung, Taiwan.
2017
Attachment-Detachment: The Fluxes Of Subjects And Objects, Cattle Depot Artists Village, Hong Kong.
Crossing Visions V: Ecology Of Creation, Fukuoka Asia Art Museum, Fukuoka, Japan.
2016
Taipei Biennial 2016: Gestures and Archives of the Present, Genealogies of the Future, Taipei Fine Arts Museum, Taipei, Taiwan.
FOOD – Ecologies of the Everyday: 13th Fellbach Small Sculpture Triennial 2016, Alte Kelter, Fellbach, Germany.Rivers – The Way of Living in Transition / Asia Contemporary Art Links, Gwangju Museum of Art, Gwangju, Korea.
Prudential Eye Awards 2016, ArtScience Museum, Singapore.
2015
Hugo Boss Asia Art, Rockbund Art Museum, Shanghai, China.
Micro–Micro Revolution, Center for Chinese Contemporary Art, Manchester, UK.
The Testimony of Food: Ideas and Food, Taipei Fine Arts Museum, Taipei, Taiwan.
2014
Project Glocal: TRANSI(EN)T MANILA, Teoff Center, Escolta St. Binondo Manila, Manila, Philippine.
Taipei Biennial 2014: The Great Acceleration, Taipei Fine Arts Museum, Taipei, Taiwan.
8th Shenzhen Sculpture Biennale: We have never participated, OCT Contemporary Art Terminal, Shenzhen, China.
2013
2013 Taipei Arts Awards, Taipei Fine Arts Museum, Taipei, Taiwan.
Honor
2006 The 11th Da Dun Fine Arts Exhibition, Digital Art, First Prize .
2008 The Digital Art Awards Taipei 2008-Digital audio-visual, First Prize .
2009 The 8th Taishin Arts Award, Final list.
2011 Arising Artist Award of New Taipei City, First Prize.
2013 Taipei Arts Awards, Grand Prize.
2015 HUGO BOSS ASIA ART Award 2015, Final list.
2016 Prudential Eye Awards, Best emerging artist using installation.
Education
2005 B.Ed. in Department of Fine Arts and Crafts Education, National Taichung University of Education, Taiwan.
2011 M.F.A. in Department of New Media Art School of Film and New Media, Taipei National University of the Arts, Taiwan.
Selected Solo Exhibitions
2016 500 Lemon Trees: An Organic Archive, Taipei Fine Arts Museum, Taipei, Taiwan.
2016 500 Lemon Trees: Patient Number 7, ITPARK, Taipei, Taiwan.
Selected Group Exhibitions
2018
Herbal Urbanism: Beitou 3- Urban Herbalism and the Cartography of Deities, Hong-gah Museum, Taipei, Taiwan.
How Little You Know About Me, National Museum of Modern and Contemporary Art, Seoul, Korea.
2050. A Brief History of the Future, National Taiwan Museum of Fine Arts, Taichung, Taiwan.
2017
Attachment-Detachment: The Fluxes Of Subjects And Objects, Cattle Depot Artists Village, Hong Kong.
Crossing Visions V: Ecology Of Creation, Fukuoka Asia Art Museum, Fukuoka, Japan.
2016
Taipei Biennial 2016: Gestures and Archives of the Present, Genealogies of the Future, Taipei Fine Arts Museum, Taipei, Taiwan.
FOOD – Ecologies of the Everyday: 13th Fellbach Small Sculpture Triennial 2016, Alte Kelter, Fellbach, Germany.Rivers – The Way of Living in Transition / Asia Contemporary Art Links, Gwangju Museum of Art, Gwangju, Korea.
Prudential Eye Awards 2016, ArtScience Museum, Singapore.
2015
Hugo Boss Asia Art, Rockbund Art Museum, Shanghai, China.
Micro–Micro Revolution, Center for Chinese Contemporary Art, Manchester, UK.
The Testimony of Food: Ideas and Food, Taipei Fine Arts Museum, Taipei, Taiwan.
2014
Project Glocal: TRANSI(EN)T MANILA, Teoff Center, Escolta St. Binondo Manila, Manila, Philippine.
Taipei Biennial 2014: The Great Acceleration, Taipei Fine Arts Museum, Taipei, Taiwan.
8th Shenzhen Sculpture Biennale: We have never participated, OCT Contemporary Art Terminal, Shenzhen, China.
2013
2013 Taipei Arts Awards, Taipei Fine Arts Museum, Taipei, Taiwan.
Honor
2006 The 11th Da Dun Fine Arts Exhibition, Digital Art, First Prize .
2008 The Digital Art Awards Taipei 2008-Digital audio-visual, First Prize .
2009 The 8th Taishin Arts Award, Final list.
2011 Arising Artist Award of New Taipei City, First Prize.
2013 Taipei Arts Awards, Grand Prize.
2015 HUGO BOSS ASIA ART Award 2015, Final list.
2016 Prudential Eye Awards, Best emerging artist using installation.
