Ma Yi-Hang reflects upon his experience of encountering “fake villages” during military service. Ma writes of the weird and astonishing places in life—such as indigenous spaces, local sculptures and attractions, pedestrian refuge islands in the city, and affective spaces in hit pop songs—and transforms an outward observation into an inward spiritual search.
The Potemkin Village creates and simulates in a continuous momentum the astonishment towards Taiwan’s complex cultural scene. Through the lens of a fake village, these scenes are surveyed, introduced, and framed.