A young city by European standards, Karlsruhe in southwestern Germany exudes both a historic elegance and vibrant modernity. Established in 1715, the municipality is a major cultural center where neoclassical architecture sits comfortably alongside avant-garde public art. Earlier this year, in celebration of the 300th anniversary of Karlsruhe’s founding, Taiwan presented a gift to the city that reflects this fascinating dichotomy.
On Aug. 21, the token of friendship, a 3-meter-high, 3-ton sculpture by Taiwanese artist Kang Mu-xiang (康木祥), was unveiled at the plaza of the Center for Art and Media Karlsruhe. The new artwork, made of discarded elevator cables from the Taipei 101 skyscraper, is a depiction of a ruyi—a traditional S-shaped ornamental object that is a symbol of good fortune and prosperity in Chinese culture. The sculpture features soft, effortless lines that contrast sharply with the cold, impersonal nature of the steel, exhibiting a balanced beauty that lies somewhere between the graceful refinement of the old world and the sharp precision of the new.
Sculptor Kang Mu-xiang tackles the daunting task of transforming heavy-duty steel cables into an artwork. (Photo courtesy of Kang Mu Xiang Museum)
Several high-ranking officials and political dignitaries from the two countries attended the unveiling including German parliamentarian Axel Fischer, Karlsruhe Mayor Frank Mentrup and Taipei’s representative to Germany Chen Hwa-yue (陳華玉), as well as the artist himself. Mentrup accepted the gift on behalf of the city, expressing gratitude to Taiwan and pledging to increase bilateral exchanges.
Fashioned from discarded materials, Kang’s work is intended to highlight the importance of sustainable development. “There is a strong emphasis on renewable resources and environmental protection among the German people, so this work is a perfect fit with the spirit of our nation,” says Roland Wein, former executive director of the German Trade Office Taipei.
“The elevator cables used in my work, Taiwan Ruyi, are closely bound together, expressing a message of unity,” the artist noted at the ceremony. Kang was also invited to give a demonstration of his chainsaw woodcarving skills while in Karlsruhe, and his captivating performance attracted hundreds of spectators.
The idea of offering a gift to Karlsruhe was raised by Republic of China Vice Minister of Foreign Affairs Vanessa Shih (史亞平), who learned that the city was preparing to celebrate its 300th anniversary while visiting Germany last year. “We wanted to take this opportunity to consolidate the friendship between our two countries and promote Taiwan’s soft power. But performances and other similar activities are ephemeral,” Shih says. “So we thought, ‘How can we leave the city with a lasting memory?’”
The idea quickly came to her of offering an artwork representative of Taiwan’s culture. “I called Master Kang and asked for his assistance,” the vice minister explains. The sculptor instantly agreed to Shih’s request and moreover to donate his work.
The gift of the massive steel sculpture was made possible by Taipei 101’s provision of used cables, sponsorship from Hiwin Technologies Corp., which is headquartered in central Taiwan’s Taichung City and has a branch office in Germany, and free shipping provided by Taipei-based Evergreen Marine Corp. Kang says he is grateful for the help and participation of the government and private enterprises, and considers collaborative projects such as this an effective form of cultural diplomacy.
Kang’s work Taiwan Ruyi is on display at the plaza of the Center for Art and Media Karlsruhe in the southwestern German city. (Photo courtesy of Kang Mu Xiang Museum)
It took the artist about six months to complete the daunting task of creating the steel sculpture. “I first had to clean the used cables with chemicals before molding them into the shape I desired. I suffered burns, eye injuries and muscle strains and I was exposed to high levels of dioxins as a result of working with a welder for long periods,” he says. “Nevertheless, it was worthwhile as I was giving up a portion of my short life in exchange for a piece of eternal art, a bequest to future generations.”
Taiwan Ruyi is the second artwork that Kang has created using discarded elevator cables from Taipei 101. The first, Infinite Life, a representation of a fetus in the early stages of development, has been on display in front of the skyscraper since September 2013. Measuring 3.66 meters high, the work frequently draws the attention of passers-by, and adds charm to the urban streetscape.
Taipei 101, which stands 508 meters tall, boasts one of the world’s fastest elevator systems. The cables that hoist the elevators are extremely strong by design. Still, they need to be replaced every few years due to wear and tear.
“We thought up a number of possibilities for reusing the cables, but none of them were feasible. We then contacted several artists to see if they might be interested in utilizing them, but they all shook their heads after taking a look at those heavy cables,” explains Christina Song (宋文琪), chairwoman of Taipei Financial Center Corp., which owns Taipei 101. Later, one of Song’s friends introduced her to Kang.
Elevator cables are made from numerous steel wires wound tightly together. They are exceptionally difficult to bend, let alone shape into sculptures. “Everyone thought I was crazy, but I just wanted to do it. If I weren’t a little bit crazy, how could I be an artist?” Kang says. “The cables carried 6.6 million visitors during their six years of operation, so there seemed to be millions of lives wound up in them. That thought really intrigued me.” The artist worked day and night for about 18 months to complete Infinite Life.
The artist demonstrates his chainsaw woodcarving skills during his visit to Karlsruhe in August. (Photo courtesy of Kang Mu Xiang Museum)
Born in 1961 in northern Taiwan’s Miaoli County, Kang began studying woodcarving at the age of 13. He spent much of the early part of his sculpting career creating human figures such as religious deities. During the 1970s and 1980s, Taiwan’s economy experienced rapid growth and wooden sculptures became widely popular. “At that time, a skilled woodcarver capable of producing works based on customers’ specifications could make good money,” the artist says. “However, I felt dissatisfied as I wanted to focus on creation rather than production.”
The woodcarving industry fell into decline in the late 1990s as cheap imports from mainland China began flooding the local market. This propelled many craftsmen to explore innovative styles and subjects in order to gain a competitive edge. Kang was a pioneer in this regard, and had already established an international reputation for his woodcarving artworks by the turn of the century. Yet despite his success, the sculptor found himself struggling for inspiration. That is, until he was given an unusual opportunity to take his art in a new direction.
In 2002, following the impacts of several typhoons, huge amounts of driftwood accumulated on the beaches of Guishan Island, or Turtle Island, 10 kilometers off the coast of northeastern Taiwan’s Yilan County. Rather than simply collecting and discarding the wood, the Northeast and Yilan Coast National Scenic Area Administration decided to invite an artist to use the materials. Kang was selected for the task and soon thereafter moved to the island, which is home to just a small number of Coast Guard personnel.
With a land area of 2.8 square kilometers, the islet was named for the turtle-like shape of its outline. Guishan first became inhabited in the 1850s. The island’s civilian residents were relocated in 1977, and it was not until 2000 that it was reopened to the public as an ecotourism destination.
Kang’s 3.66-meter-high steel sculpture Infinite Life, a representation of a fetus in the early stages of development, is on display in front of the Taipei 101 skyscraper. (Photo courtesy of Kang Mu Xiang Museum)
“I was able to observe nature very closely while living on Guishan,” the artist recalls. “Gazing into the sky, watching the stars at night and listening to the roar of the ocean every day gave me an appreciation of how short and insignificant life is compared to the magnificence and eternity of nature.”
Kang’s experiences during his yearlong isolation on Guishan motivated him to create his Life series of sculptures. The pieces, which have become his most representative works, depict images relating to birth and the origins of life, such as a mother embracing her newborn. “As a result of contemplating the beauty of nature, I was inspired to use art to explore the meaning, purpose and value of life and the underlying interconnectedness between all living things,” he says.
In addition to wood and elevator cables, Kang has produced sculptures using bronze and stainless steel. His work has been featured in exhibitions at home and abroad, including at events in Fiji, Indonesia, Japan, mainland China, Panama and Singapore.
The artist says he finds great joy in taking discarded items and natural debris and transforming them into meaningful objects. “We must cherish all forms of resources if we hope to achieve sustainable development and harmony with nature. That’s the message I’m eager to convey through my art,” he notes.
Kang says he was delighted to see that the citizens and dignitaries in Karlsruhe understood and appreciated the concepts behind his sculpture. “I hope the work can become a landmark in the German city and also help boost the image of Taiwan,” he says. “This art project is just the beginning. It’s my dream that one day my creations of this kind can be installed on all the continents to help connect the different regions of the world and shorten the distances between people.”
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A version of this article originally appeared in Taiwan Panorama.
Write to Kelly Her at kher@mofa.gov.tw
The works in Kang’s Life series address themes such as the origins of life and the bond between mother and child. (Photo courtesy of Kang Mu Xiang Museum)
Mother and Child
Wood, 2008
80 x 60 x 48 cm (Photo courtesy of Kang Mu Xiang Museum)