CHENG, Meiya

Cheng focuses on the exchange mechanism of labor and value, and the crucial issues in art production. She is attuned to the potential of creating open structures in institutions as a model and mechanism for effecting changes within the system. Such interests drove her to participate in the founding and operation of Taipei Contemporary Art Center (2010-2020), an experimental art association and independent art space. From 2010, Cheng has made teamwork an operating principle for an alternative art practice that examines institutional conditions within democratic structures. As the chair of the association (2012-2014), she initiated several projects in the form of exhibitions, workshops, forums, residencies, and publications, with the contribution of active Asian art workers, which were presented in Taipei, New York, and Southeast Asia.    As an independent curator, Cheng considers curating to be the collaboration and exchange of knowledge between art peers sharing common concerns, and a process of assembling an art community for all participants. Most of her previous curatorial projects are collaborations, such as Trading Futures (co-curated with Pauline Yao, Taipei Contemporary Art Center), 6th Queens International (co-curated with Hitomi Iwasaki, Queens Museum, NYC), and The Great Ephemeral (co-curated with New Museum team, New Museum, NYC). Her research on Southeast Asian art was presented in the exhibition Public Spirits (Centre for Contemporary Art Ujazdówski Castle, Warsaw).Cheng’s articles have been published in art magazines such as ARTCO and ART INVESTMENT. She is the editor/co-editor of her curated exhibition and project catalogs and readers, and was invited by Barbara Steiner to be the editor of “Does Europe Matter?” as part of the project Europe (to the power of) n.    


HSU, Fang-Tze

Hsu Fang-Tze is a lecturer at the Department of Communications and New Media, National University of Singapore (NUS). She is also a coordinator of the M.A. in Arts and Cultural Entrepreneurship.She holds a Ph.D. in Cultural Studies from NUS. Her dissertation research was supported by the President’s Graduate Fellowship and the FASS Promising Graduate Scholar Award. Her research interests include the formation of visual modernity, Cold War aesthetics, memory, philosophies of technology, and the embodiment of artistic praxis in everyday life.Apart from her academic work, she has also been a curator, and has worked with many artists and institutions in the last decade. From 2010 to 2012, she served as the digital manager for Asia Art Archive. She was appointed a curator for the National Taiwan Museum of Fine Arts from 2012 to 2013. Her most recent exhibitions including Art Histories of a Forever War: Modernism between Space and Home (2021-2022, Taipei Fine Arts Museum, Taiwan), Fistful of Colours: Moments of Chinese Cosmopolitanism (2021-2022, NUS Museum, Singapore), and Wishful Images: When Microhistories Take Form (2020, NUS Museum, Singapore). In 2019, she presented Gendered Bodies in Southeast Asia in collaboration with Tessa Maria Guazon at the Metropolitan Museum of Manila.She is also an experienced editor and translator. Her editorial and translation work include the Chinese translation of SouthEastAsia: Spaces of the Curatorial (edited by Ute Meta Bauer and Brigitte Oetker, 2021). She also co-edited Voices of Photography, Issue 28: The Okinawa Issue (2020) with Machida Megumi. Her writings can be found in the Journal of the Malaysian Branch of the Royal Asiatic Society, Art Critique of Taiwan (ACT), and LEAP (China).


YANG, Ya-Hsiang

Graduated from the Graduate Institute of Trans-disciplinary Arts, Taipei National University of the Arts (major in Cultural Production and Curation) and Graduate Institute of Philosophy, National Central University. Likes to watch crime movies, thrillers and horror movies, especially B-movies. Once watched 4 zombie films non-stop in one day, but the friend who watched together never went to the film festival with her. In the past two years, she has been addicted to the balcony platycerium plant. She likes to listen to independent music while tying and raising them, to gain inner peace and tranquility.She is currently the project manager of Pixelight, responsible for interactive technology programs and exhibitions for museums and private enterprises. She also serves as a film producer for L.J Video Studio, and collaborates with different bands and video workers on Music Videos. The former participated projects, including Yunlin County Government Douliu Lijian Environment Interactive Classroom, National Taiwan Literature Museum “Digital Game Development and Collection 3D Scanning and Modeling Project (3)” “Digital Game Development and Collection 3D Scanning and Modeling Project (4)”, Tainan City Zuojhen Fossil Park “Fossil and Elephant Pavilion”, “Rhino Exploration Pavilion” exhibition, Taishin Bank “Future VR Shopping Home Pavilion”, etc. Recent projects have been related to making literary games. She used to be the curator of GroupG, the Facebook editor of Beyond The Rainbow (Marriage equality Program), and the curator of Waley Art. As a curator, she was responsible for community art projects, international residency projects (Nepal, Malaysia, Thailand, Singapore, South Korea), art curation and space exhibitions, trying to practice art projects to provide a diverse face and different views of history society of the record.


GONG, Jow-Jiun

Born 1966 in Chayi, Taiwan. In 1998, Gong graduated from the Department of Philosophy of the National Taiwan University with his dissertation “Dialectics between Body and Imagination: Nietzsche, Husserl, Merleau Ponty”. After teaching positions at several universities in Taiwan, in 2007, he was appointed associate professor and director of the Doctoral Program in Art Creation and Theory at the Tainan National University of the Arts. From 2009, he also organized the quarterly art magazine Art Critique of Taiwan (ACT), as chief editor and chairman and established it as a public journal. Two years later, in 2011, ACT won the Best Publication Prize of National Publication Award.Gong is also acclaimed as Chinese translator of writings by Gaston Bachelard, Maurice Merlau-Ponty and Carl Gustav Jung into Chinese. Besides his research, Gong is engaging with curatorial activities. In 2013, he curated the exhibition “Are We Working too Much?” at the Eslite Gallery, Taipei. Related to the exhibition, he published two books: Are We Working too Much? I: Workbook, Are We Working too Much? II: Field Narratives. In that same year, he was appointed dean of the College of Visual Arts of the Tainan National University of the Arts. In 2017,he curated the exhibition “Kau-Puê, Mutual Companionship in Near Future: 2017 Soulangh International Contemporary Art Festival” that wins the 16th Taishin Arts Award. In 2018, he curated the exhibition “2018 Taiwan Biennial─Wild Rhizome”. In 2019, he curated the exhibition “YAO-CHI CITY: Taiwanese Paranormal Literature and Contemporary Art”.In 2021, he curated the exhibition “TAKAO TAIKE SOUTHERN HUE JUINSHYAN LEE”, & “2022 Mattauw Earth triennial Tseng-wen River─A River with A Thousand Name”.


CHEN, Wei-Lun

Born in Daya, Taichung, in 1991, Chen Wei-Lun holds an M.F.A. from the Department of New Media Art, Taipei National University of the Arts. During his M.F.A. study, Chen made a shift from individual creation to art history studies and curatorial practices with a long-term emphasis on image theories, media, and popular culture. Recently, he endeavors to treat Taiwan as the base for video art studies, depicting trajectories of video art development in the dynamic relationship of global and local with a reference to the contexts of politics, media, and culture in Taiwan in the 1980s. Chen partook in “Curators’ Intensive Taipei 19: International Conference and Workshops” co-organized by the National Culture and Arts Foundation (NCAF) and the Taipei Fine Arts Museum (2019) and the Open Curatorial School “The Seven Relations in Exhibition-Making and Beyond” organized by Taipei Contemporary Art Center (2015). His critiques and essays can be seen on ARTalks.Chen’s curatorial works include “Repeat, Reverse and Rubbing” (2019, Taipei City Arts Promotion Office), “Division of Reality - 2017 Outstanding Art Prize Exhibition” (2017, Kuandu Museum of Fine Arts), “Media Archeology: Indescribable Mark of Life” (co-curated with Lin Yu-Hsuan, 2017, Yo-Chang Art Museum), and “Xanadu Project II: A Place Without Boundaries” (co-curated with Tsang Pak-Ho and Xiao Kai-Wen, 2016, Kuandu & Bali). Also, Chen was funded by NCAF’s “Curator’s Incubator Program @ Museums” in 2020 with “Just what is it that makes today’s image so different, so appealing?”, which is exhibited at Hong-gah Museum in May 2021.


WANG, Jun-Jieh

In 1996, Jun-Jieh Wang graduated from the HdK Art Academy in Berlin, completing a master class (supervised by Valie Export and Heinz Emigholz). In 1984, he started working with video, and became one of the pioneers of new media art in Taiwan. Wang is currently director of the Taipei Fine Arts Museum and professor at the Department of New Media Art of the Taipei National University of the Arts.Jun-Jieh Wang received the Hsiung-Shih New Artists Award in 1984 in Taiwan. In 1995, Wang received the Berlin Television Tower Award for his video installation Little Mutton Dumpling for the Thirteenth Day. In a review, Der Tagesspiegel wrote: “The Taiwanese new media artist Jun-Jieh Wang wishes ... to expose the madness of advertising through irony, exaggerations and improbabilities.... The commercial clip aesthetics demonstrates Far Eastern precision.” In 2000, Jun-Jieh Wang was selected by the prestigious Japanese art magazine Bijutsu Techo as one of “100 notable artists.” In 2002, Wang was commissioned by the Fukuoka Asian Art Museum to create the public video installation Twin Cities. In the same year, he was the subject of a 30-minute NHK documentary “Asian Who’s Who”, which was aired on NHK’s global channel. In 2009, he received the one million NTD Taishin Arts Award in the visual art category for his video installation David’s Paradise.Jun-Jieh Wang has been active on the international contemporary art arena from an early stage. Invitations to major international exhibitions came from, among others, the American Film Institute Video Festival, the Gwangju Biennale, the Venice Biennale, the Johannesburg Biennale, “Cities on the Move” at the Vienna Secession, Taipei Biennial, the First Fukuoka Asian Art Triennale, Asia-Pacific Triennial of Contemporary Art, West Bund Biennial Shanghai, Ars Electronica Linz, Transmediale Berlin, Dogo Onsen Art and European Media Art Festival etc.


WU, Shang-Lin

Shang-Lin Wu, is an independent curator, visual artist and freelancer editor, lives and works currently in Taipei. After graduated from National Taiwan University of Arts (BFA) in 2000, National School of Fine Art, Dijon (DNSEP) in 2007. In the recent years, Wu has traveled and worked as an artist-in-residence in Korea (Gyeonggi Creative Center), Taiwan (Taipei Artist Villages) and Japan (Arcus Project), Thailand (Silpakorn University). The main message he would like to deliver through his work accomplished during this period, is to discuss various problems caused by the constant expansion of modern cities. By exchanging personal prospective with his interlocutors, he presents different aspects of the method each individual chooses to deal with the current situation.Recent exhibitions include “Wandering Seeds: Moving and Migration – Stories from a Place to Other”, National Museum of Prehistory, Taipei Botanical Garden, Kaohsiung Museum of Fine Art, and Gyeonggi Museum of Modern Art, 2018-2019 (curatorial project); “Rivers – The Way of Living in Transition / Asia Contemporary Art Links”, Pier-2 Art Center, Kaohsiung & Gwangju Biennale Gallery 1, Korea, 2015-2016 (curatorial project); “Twilight, The Prospects of Asian Industry, Korea, Japan, Taiwan Collaborative Art Project”, Howl Space, Fotoaura Institute of Photography, and Absolute Space, 2013 (curatorial project); “Inner-landscape / Damyang”, Art Center Daedam, Jeollanam-do, Korea, 2014 (Solo); “Inner-landscape”, O New Wall space Seoul, Korea, 2013 (Solo); “Graduation Photos – Difference is Different”, MoCA Taipei, 2012 (Solo); “Taipei Photo Festival”, Zhong Zhen Art Gallery, 2018 (Group); “Original Festival”, Songshan Cultural and Creative Park, Taipei, 2016; “Faux Amis – Une vidéothèque éphémère”, Jeu de Paume National Gallery (Concorde), Paris, France, 2010 (Group); “Rear Windows”, for MoCA Taipei, Taiwan, 2010 (Group).


HUANG, Wen-Hao

Wen-Hao Huang was born in 1959, in Changhua city, Taiwan, and graduated with a Bachelor’s degree in botany from Chinese Culture University.Since 1983, he has been working continuously on the creation of the art of the times and has been selected in various nation-wide modern art exhibitions as well as presented in multiple solo exhibitions. In the year of 1988, Huang together with Pu Tsong, Ching-Tung Liu, and Hui-Chiao Chen established the art space “IT Park.” In 1995, Huang founded “ET@T,” and served in the position of art director.In 2000, he co-founded ET@T media Lab with Shih-Yong Gu, Tsi-Fu Chang, and Fujui Wang to extend artistic exploration and technical development of interactive installations, after which they presented new media art projects such as [T]Art and Yellow Submarines. Over the years, Huang has served the following positions: Executive Director of the Association of Culture Environment Reform Taiwan, Director of SOCA, project coordinator of the curatorial team of “NAVIGATOR - Digital Art in the Making” in 2004, curator of “b!as: International Sound Art Exhibition” in 2005. In 2006, he was commissioned to organized “Digital Art Festival, Taipei” and the preparatory office of the center. In 2008, Huang took up the position of Chairman of Digital Art Foundation, and a year later he began to serve as the Director of the Digital Art Center, Taipei and initiated “ET@T Lab Theater” to produce and nurture digital art performance.During his eight-year tenure at the Digital Art Center, Taipei, he had incubated three technology-oriented cultural and creative collectives. In 2012, Huang teamed up with emerging artist Chung-Kun Wang and Wei-Yuan Lin, the then technical director of the Digital Art Center, Taipei, and together they established a new media art collective “noiseKitchen” which has focused on interactive technology. In 2014, Huang, Po-Ting Lee, and Ting-Yi Chuang founded “Solid Memory” which provides the service mainly based on the research around various 3D scanning technologies, precise duplication, and imaging of high velocity moving objects. In the same year, he initiated “Telling Tent,” a mobile performance space fusing technology, art, and culture, which has provided the children living in rural area with 4D experience incorporating the senses of taste, sight, touch, smell, and sound in an immersive panoramic theater. Currently, Huang is running the affiliated space of Digital Art Foundation –, which is dedicated to exploring and experimenting with creative thinking in the technological society.


YANG, Yao-Chun

She is currently an independent curator, and her main research areas are Trends and Thoughts in Contemporary Art, Visual Culture and Criticism, and strategy of operation and management to Alternative space. After graduating with her master’s degree, she was involved in the administration of several important Visual Art exhibitions in Taiwan, such as the 2004 Kaohsiung International Container Arts Festival, Intertidal Zone Art Monitoring Station-Annual Project for 2005, Art as Environment-A Cultural Action on Tropic of Cancer 2008, and 2010 Kaohsiung International Steel & Iron Sculpture Festival.Between 2010 and 2019 she was an adjunct lecturer in the Department of Fine Arts at National Kaohsiung Normal University. In the meantime, she was also an art manager at Sin Pin Pier-Absolutely Art Space and specialized in promoting the operational planning and management of art spaces as well as art education promotion with innovative thinking and integration of resources. Also, she kept trying to proceed with the Cross-over collaboration and connection through the “Interdisciplinarity”. Besides, she also conducted curatorial research within and outside the organization. In 2012 she received a grant from the Curator’s Incubator Program @ Hong-Gah Museum of National Culture and Art Foundation for “Safe Zone for Artists”. Then she entered the doctoral program of the Department of Fine Arts at National Taiwan Normal University in 2014, worked in the Education and Public Services Department at Kaohsiung Museum of Fine Arts in 2018 and became the head of the Director’s Office the following year.



Amy Cheng is a curator and writer based in Taipei. In 2010, she co-founded TheCube Project Space, which serves as an independent art space devoted to the research, production and presentation of contemporary art in Taipei. With the aim of delving into local culture and establishing long-term relationships with artists and cultural practitioners, Cheng explores the possibility of “expanding curating”. Since 2009, she has carried out several research projects, including sound cultures in Taiwan and Critical Political Art and Curatorial Practice Research, for which she contributed to and edited the publication Art and Society: Introducing Seven Contemporary Artists. In 2016, she initiated cultural study program outside the establishment, the Praxis School lecture series.The exhibitions curated by Amy Cheng include: The Heard and the Unheard: Soundscape Taiwan, Taiwan Pavilion at the 54th International Art Exhibition—La Biennale di Venezia (2011), the exhibition series Re-envisioning Society (2011-2013, Taipei), Towards Mysterious Realities (2016-2018, Taipei, Kuala Lumpur and Seoul) and The Ouroboros Screening program (2019, Taipei, Luxembourg). She also co-curated these exhibitions such as ALTERing NATIVism—Sound Cultures in Post-War Taiwan (2014, Taipei, Kaohsiung), Tell Me a Story: Locality and Narrative (2016, 2018, Shanghai, Torino) and The Trilogy of Future Memories—Talking drums Radio, Sound Meridians and Liquid Love (2019-2021).Cheng has been appointed the jury member of the 57th International Art Exhibition of La Biennale di Venezia (2017) and of the Hugo Boss Asia Art Award (2015).