CURATORS

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張懿文

CHANG, I-Wen

I-Wen Chang is an Assistant Professor at Taipei National University of the Arts. She received her PhD in Culture and Performance at the University of California, Los Angeles (UCLA). Her areas of specialization include salsa dance, Taiwanese theatrical dance, digital performance, interdisciplinary and intercultural performance. She serves as a board member of "International Association of Theatre Critics (Taiwan)"; and "Taiwan Dance Research Society.” I-Wen is the co-author of the book Pina Bausch: Dancing for the World (Taipei: National Performing Arts Center, 2007), and a performance critic for the Artist Magazine (Taipei) and Performing Arts Review Magazine (Taipei) since 2007. Her academic articles are published at Journal for the History of the Body, Inter-Asia Cultural Studies, Arts Review, Taiwan Dance Research Journal.

鄭美雅

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.

何東洪

HO, Tunghung

Ph.D. in Sociology at Lancaster University, UK. Co-owner of live house “Underworld” in Taipei (1996-2013).Currently teaching at Department of Psychology, Fu Jen Catholic University.

高千惠

KAO, Chien-Hui

An educator, art critic, guest curator, author and traveler. Committee of Advisory Board, Asia Art Archive, Honk Kong.Her main researches include modern art history, theory of art criticism, contemporary Asia art, curatorial practice. She was a visiting scholar at Montclair State University of New Jersey, guest associate professor in the graduate school at Tunhai University, University fellow of Hong Kong Baptist University, associate professor of the graduate Institute of Interdisciplinary Art at National Normal at Kaohsiung University, visiting professor of Graduate Program of Sculpture Department at the National Taiwan University of Art, and visiting professor of the Doctoral Program in Art Creation and Theory at Tainan National University of the Arts.She was curator for the Taiwan Pavilion of 49th Venice Biennale. As an author, her major books included The Production Line of Contemporary Art─Cases of Creative Practice and Social Engagement, Unsilent Words─Text and Its Productive Context of Art Criticism, Beyond Interpretation─Society of Art Criticism and the Modern Avant-garde Movement, Third Wing─Art Concept and Its Dicontents, Transpassing─Special Sutdies on Contemporary Asia Art in 2010s, Biennale Fever─The Alternative Voice of Politics, Aesthetics and Institutes, After Origin: Topic on Contemporary Chinese Art in New Age, A Journey to Contemporary Art and The Constellation of Art and Culture in the Early 90’s.

蘇俞安

SU, Yu-An

Born 1977 in Taipei, Taiwan, lives in Taipei.

陳泓易

CHEN, Hung-Yi

Currently serves as associate professor in Doctoral Programme in Art Creation and Theory, Tainan National University of the Arts.Major curations:Co-curator, Art as Environment─A Cultural Action on Tropic of Cancer (2006-2007)Director of research and curator, Post Ecolonialism Project (2015-2018) (research project of National Culture and Arts Foundation)Fire in Heart─The World of Temouku, the Temouku of the World (2015)Project Route 17 (2009-)Major concerns of curation:Environment, Ecologies, culture studies, contemporary arts, contemporary craft art.Domain of research:Culture studies, imagery aesthetic, contemporary art theories, sociology of art.

陳湘汶

CHEN, Hsiang-Wen

An independent curator and freelance writer. Chen previously worked as a journalist and editor for art magazines and is currently the Artistic Director of Digital Art Center, Taipei. Her exhibitions focus in particular on the interrelated dynamics among the displayed artworks; also, with a keen eye for spatial ambience, Chen specializes in constructing exhibition narratives that provide readable and relatable contexts. In recent years, she has participated in numerous curatorial projects, including Life in-betweens: Mongolia and Central Asia, A Contemporary Art Perspective (2022, Taiwan), 16th Digital Art Festival Taipei - Borderless Shelter (2021, Taiwan), Traveling Backwards to the stories we left behind (2021, Taiwan), A Rhythm of Tree Forming the Forest (2021, Taiwan), 15th Digital Art Festival Taipei-01_LOVE (2020, Taiwan), Letter．Callus．Post-War (2019, Indonesia; Taiwan), Expanded Experimental Animation Festival IV (2019, Taiwan), Is/In-Land: Mongolian-Taiwanese Contemporary Art Exchange Project (2018, Taiwan; Mongolia), and Hybrid and Metamorphosis - Yang Mao-Lin’s Mythology (2018, Taiwan).

許芳慈

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).

邱俊達

CHIU, Yves Chun-Ta

Assistant Professor of Department of Education and Futures Design (DEFD), Tamkang University. 2009 S-An Aesthetics Award “Towards the Poetic Space of Ruin: From The Poetics of Space to Ruin”, 2017 S-An Aesthetics Award “Toward the Fielding Aesthetics: Contemporary Community Art in the Thought of Commons”.Important curatorials in the past three years include 2019 Madou Sugar Industry Art Triennial, Déjà vu: Re-Envisioning Market/Place, arts in jetlag─Floating in the Buffering, Landscape Observation─Seeing Nanjiao from Tsuí-kau-siā, Disorientation Harmony: 2020 ArTrend International Performance Art Festival and Mobile Village─2021 Yun-Chia-Chia-Ying Visual Art Link, 12% Skies─2022 Yun-Chia-Chia-Ying Visual Art Link.

張晴文

CHANG, Ching-Wen

Art critic, and curator. Chang is also a member of AICA (International Association of Art Critics). She is an Associate Professor at Department of Arts and Design, National Tsing Hua University.

李錦明

LEE, Chin-Ming

Associate Professor, Department of Fine Arts, National Kaohsiung Normal University.Master of Fine Art, University of Oklahoma, USA.Doctor of Creative Arts, University of Wollongong, Australia.

許家維

HSU, Chia-Wei

Chia-Wei Hsu, born in Taichung, Taiwan and based in Taipei, Taiwan. Graduate of Le Fresnoy National Studio for Contemporary Arts in France, Chia-Wei Hsu’s work as an artist, filmmaker and curator merges the languages of film and contemporary art and unearths the complex mechanisms behind the production of images. Through his artistic practice, Hsu weaves connections between humans, materials and places that have been overlooked or omitted in conventional historical narratives. Hsu has had solo exhibitions at Museum of National Taipei University of Education (2019; Taiwan), Mori Art Museum (2018; Tokyo, Japan), and Van Abbemuseum (2015; Eindhoven, Netherlands). His works had also been exhibited in other international biennials, museums and film festivals. He is also the curator of 2019 Asian Art Biennial at National Taiwan Museum of Fine Arts (2019; Taichung, Taiwan), Taiwan International Video Art Exhibition at Hong-Gah Museum (2018; Taipei, Taiwan) and THAITAI: A Measure of Understanding at Bangkok Art and Culture Centre (2012; Bangkok, Thailand).

王咏琳

WANG, Yung-Lin

Yung-Lin Wang (b. 1983) is an art critic and curator and the PhD candidate in cinema studies at University of Toronto, who lives and works in Taipei, Taiwan, and Toronto, Canada. Yung-Lin served on the board of directors at Pleasure Dome from 2019 to late 2020. Before that, she worked as a lecturer in Art Theory and Criticism at the National Taiwan University of Arts and as director of Polymer Art Space.She has organized exhibitions for museums, galleries, and art spaces internationally. Recent exhibitions include Weightless at Taipei Fine Arts Museum; For for for forest at Tina Keng Gallery; We’re all Cannon Fodder of this Epoch at Taipei Artist Village; HitchPunk at Unpainted Art Fair in Munich, Germany; Video and the Third Person's Perception at Galleria Heng, Taipei; Mille-Feuille de Camélia at ARKO Art Center in Seoul, Korea; and Forum at Taipei Biennial 2018. She has been awarded the Jury Prize and nominated for Exhibition of the Year multiple times by the Taishin Arts Award.As a writer, she has contributed to publications such as Funscreen / Fa Journal of Taiwan Film Institute (Taiwan), Artco Monthly (Taiwan), Artist (Taiwan), Art Plus (Hong Kong), LEAP (Beijing), Modern Art (Taiwan), Not Today (Taiwan), and “Quotation” (Japan). She is co-author of the books Very Period: 1997-2017 Taiwanese Contemporary Art and VT Artsalon, PHOTO-LOGUES I - PHOTO-LOGUES IV, and We Love Artists: Artists in Residencies around the World.

謝宇婷

HSIEH, Yu-Ting

From literary studies to my training in museum studies, I am particularly interested in how museums and contemporary art construct and break narratives, especially the complex and difficult histories that are relevant to identity and national identity. My master's thesis explored the reproduction and interpretation of Southeast Asian historical trauma in contemporary art exhibitions, combining exhibition analysis and visitors studies. Since then, I have continued to publish articles and research on this topic, considering how museums and other cultural institutions can engage in a dialogue with history in terms of collection and display. I believe that no matter what moment we are living in, we are always in the crack of multiple time and space, where history and the present constantly meet. Whether it is political issues, identity, daily life, or artistic creation, the debate on the past never stops.

陳怡君

CHEN, Yi-Chun

I am Chen Yijun, born in Lukang, Changhua,1969. I started to learn music, calligraphy, and painting in my childhood. After studying in the Department of Fine Arts of Tunghai University, I fell in love with movies. After graduating in 1990, I moved to Taipei for work, participated in social and cultural movements oftenly, and began to make documentaries. After receiving my master’s degree from the Institute of Documentary Art of Tainan National University of the Arts in 2000, I worked at the Image Museum of Hsinchu City, promoting plebeian filmmaking courses, exploring the local image memory. I got married, gave birth to my child, and participated in Nongovernmental Curating Organizations such as the Taiwan Women’s Film Association and the Iron Horse Film Festival, etc, at the same time. In 2015, I moved to Zhongli as the founding curator of Taoyuan Arts Cinema. Later, in 2017, I was invited to Da-Yeh University, as a professor for four years. During the time, I returned to Lukang and worked in the preservation of cultural heritage and historical memories. Now,I am a freelancer.I exhibit my personal care about history and contemporary society issues through a curatorial plan.

高森信男

TAKAMORI, Nobuo

Takamori Nobuo is a Taiwanese independent curator with Japanese descent, he is currently based at Taipei, Taiwan. Takamori works as chief-curator of 2021 Asian Arts Biennial, Phantasmapolis, organized by National Taiwan Museum of Fine Arts, which aims to described the futurism and sci-fi perspective inside Asian contemporary art. He is also the Assistant Professor of Taipei National University of Arts (part-time position). For more than a decade, Takamori’s curatorial work and research project aims to evoke the hidden linkage between Taiwan and Southeast Asia, with practical exchange project for encourage the interaction of contemporary art from both sides.

楊雅翔

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.

龔卓軍

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”.

鍾婕敏

CHUNG, Chieh-Min

With a background in arts management and museum studies, Chieh-Min’s interest lies at the intersection of cultural institutions and public spheres, between art and audience. She is the founder of OFF-SITE, a collective that initiates curatorial research and projects within different landscapes.

王韓芳

WANG, Han-Fang

Han-Fang Wang is an independent curator and art writer. She currently lives and works in Taipei, Taiwan. In 2019, she received a grant as a resident curatorial fellow for the Taiwan Pavilion at Performa 19 in New York. Her recent curatorial projects include: Still Life Sonata: Wang Yahui Solo Exhibition, Taitung Art Museum, Taitung, Taiwan (2021); Mercurial Boundaries: Imagining Future Memory, Museum of National Taipei University of Education, Taipei, Taiwan (2019); and The 6th Taiwan International Video Art Exhibition: Offline Browser (curated by Hsu Chia-Wei and Hsu Fong-Ray), assistant curator, Hong-Gah Museum, Taipei, Taiwan (2018).

陳韋綸

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.

程少鴻

CHENG, Shao-Hung

Cheng Shao-Hung working as a design project manager and independent curator. His project received iF GOLD Award 2021 and Good Design GOLD Award 2020. Past exhibitions include Why did you come to Taiwan? (Taipei, 2019), Osiris and Ganesha (Mexico, 2017), Fiction in Social Reality (Taipei, 2016), WISE SPHERE (Malaysia, 2016), published Prophets in 2014, a book interviewed 8 influential artists in Taiwan.

鄒婷

TSOU, Ting

Ting Tsou is a curator, researcher and free-lance writer who lives and works in Berlin and Taipei. She is currently a doctoral candidate at the Academy of Fine Arts in Leipzig, Germany. In recent years, her art criticism and exhibition review articles have appeared in such periodicals as ARTouch.com, Artist, CLABO, No Man’s Land and other media. Her research interests lie in the cultures of the curatorial and exhibition history, with a focus on transdisciplinarity, contemporaneity, archive studies, canonization and historiography.Her recent curatorial and research activities include the National Culture and Arts Foundation funded exhibition “Housing Things” (Yo-Chang Art Museum, New Taipei City, Taiwan, Curator’s Incubator Program, 2021) and participation in “The Whole Life: An Archive Project” (Haus der Kulturen der Welt in Berlin, 2018-2022).

齊簡

CHI, Chien

CHI Chien, born in Taipei, Taiwan in 1974, graduated from the Graduate School of Plastic Arts, National Taiwan University of Arts. CHI Chien's creation concerns include the materials to be processed, the field in which the works themselves exist, and how “we” participate and how to experience the operation of an artistic mechanism. CHI Chien believes that creation is a process by which creators become viewers, and “doing” is only for “seeing.” To watch, “seeing” itself is the center of duality. Whether it is painting or overall spatial installation, he wants to reveal the complex limitations of “seeing” itself in detail.

方彥翔

FANG, Yen-Hsiang

FANG Yen Hsiang was born 1981 in Taipei City, currently lives and works in Kaohsiung City, Taiwan. He is a curator, critic, writer, artist and researcher, now, he works as the assistant curator of Kaohsiung Museum of Fine Arts.FANG participated in organizing artist-initiated space “Open-Contemporary Art Center” (OCAC) (from 2002) and “Pingpong Artspace” (from 2011), and launched the young art critics’ assembly “GAZE e-journal” (2011). He was the curator of Taipei Contemporary Art Center (2015-2017)His selected curatorial practices include: Pingpong Artspace ‬“Post Office” ‭(co-curator, ‬2012‭)‬, Hong-Gah Museum “A Climate Fictionalism” (2015), Taipei Contemporary Art Center “Portrait Portrait” ‭(co-curator, ‬2016), Kuandu Museum of Fine Arts / Display - Association for Research and Collective Practice, Prague “So Far, So Right: A Study of Reforms and Transitions” (2017/2019), Kaohsiung Museum of Fine Arts “South as a Place of Gathering” (co-curator, 2019), “From Object to Cosmos” (2021), “Pan-Austro-Nesian Arts Festival” (curatorial team, 2021), and, Jogja National Museum “Taiwan Pavilion in the 16th Biennale Jogja” (executive curator, 2021).

王俊傑

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.

吳尚霖

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).

吳瑪悧

WU, Mali

Professor of Graduate Institute of Transdisciplinary Art, National Kaohsiung Normal University, Taiwan.Graduated from National Art Academy Düsseldorf, Germany, Wu developed an interest in socially engaged art practice. Her work Awaken in Your Skin (2000-2004) cooperated with the ‘Playing Cloth Workshop’ (玩布工作坊), Taipei Awakening Association, using the concept of subversive stitching to explore women’s life.More recently, Wu’s work has taken an eco-feminist turn in response to the impact of globalization, focusing on the urban environment and development issues. By the River, on the River, of the River (2006) invited the public to trace four rivers surround Taipei; Taipei Tomorrow as a Lake Again (2008) addressed the survival strategies of a city facing global warming; and Art as Environment: A Cultural Action on Plum Tree Creek (2010-2012) explored the possibilities of creating a sustainable village. In 2013 the Plum Tree Creek project won the Taishin Visual Arts Award. Wu is also a recipient of National Award for Arts in 2016. She has co-curated the 11th Taipei Biennial ‘Post-Nature: Museum as an Eco-System’ in 2018.

呂岱如

LU, Esther

Esther Lu was the director of Taipei Contemporary Art Center from 2015 to 2107, and the curator of This is not a Taiwan Pavilion — collateral event in the 55th Venice Biennale in 2013. She has curated a number of international exhibitions and workshops in Asia and Europe. Her recent curatorial practice involves creating co-learning and innovative mediation strategies for professional workshops and audience experience.

李韻儀

LEE, Yun-Yi

In graduate school Yunyi’s main research was in the field of Taiwanese Indigenous contemporary art development. In 2001, she moved to Taitung to collect information for her thesis. Yunyi has been devoting her passion to document, observe and expound on the development of visual arts on the east coast of Taiwan for over a decade. As an independent curator, she tries to create a platform for a variety of artists to showcase their work. The Other Woman Art Gallery focuses on sharing the compassion and free spirit of women. In 2005, in cooperation with the East Coast National Scenic Area Administration, the gallery moved to the “Moonlight Inn” on top of beautiful Dulan mountain. Since then, she has continued to work with local as well as outside artists, presenting a unique art form that speaks to the east coast atmosphere.

周郁齡

CHOU, Yu-Ling

Chou Yu-Ling is a writer, researcher and curator, based in Taiwan. Graduated from Birkbeck College (The London Consortium), University of London in Humanities and Cultural Studies with Ph.D. Her area of research includes visual culture, moving images’ curation, exhibition-making of art history (especially focusing on Taiwan’s art history exhibitions after the late 80s) and curatorial methodology. She was the assistant curator in resident, Chinese Art Centre and was assistant curator of Asia Triennial Manchester: Harmonious Society (2014). In 2015 Chou joined the National Taiwan Museum of Fine Arts as a curator, where she curated Hardcore Rally with Hantoo Art Group (2017) and Wild Rhizome: 2018 Taiwan Biennial (with Gong Jow-Jiun). Amongst other projects, Chou is also the curator of The Man with the Film Projector – Kao Chung-li’s solo exhibition (2015, Peltz Gallery, Birkbeck, London) and curated Every Film is an Enigma: Moving Images in the Black Box and the White Cube (2017, Soulangh Cultural Park, Tainan) with The Other Cinema Collective where she is one of the members. She was also a jury member for the Han Nefkens Foundation — Buk SeMA Korean Video Art Production Award 2019. She was a curator in residence for the 2021 International Studio & Curatorial Program in Brooklyn, New York.

柯念璞

KO, Alice Nien-Pu

Alice, Nien-pu Ko has worked as a curator on contemporary art, film, video, sound and interdisciplinary projects. At Kaohsiung Museum of Fine Arts, where she has curated and co- curated local and international projects included Pan Austro-Nesian (2021), Tony Oursler: Black Box (2021), SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now (2019), Tomb of the Soul, Temple, Machine, and Self (2018) and a wide range of public programs.Previously, she worked with major art institutions and museums, selected exhibitions including Flags, Transnational – Migrants and Outlaw Territories (Tokyo Wonder Site, 2016), Beyond the Borderline – Exiles from the Native Land (2015), Reverse Niche – Dialogue and Rebuilding at the City’s Edge (2013).

許峰瑞

HSU, Fong-Ray

HSU Fong-Ray’s artistic approach as a curator challenges the take-for-granted notion of any institutional operations and he is capable of identifying and deconstructing the absurdity of such structures. His works focus on examining cultural production relations and extending it into the compassionate caring and understanding of contemporary human conditions and the world. He was the board member of the Taipei Contemporary Art Center, curator of TKG+, manager of Tina Keng Gallery and is currently the director of the art group Guerrilla Station. His articles and critiques has been published in magazines including Artco, Artist, and Artouch.

郭昭蘭

GUO, Jau-Lan

Jau-Lan Guo is an associate professor of modern and contemporary art, theories of art history, and curatorial practice at the Taipei National University of the Arts. Her doctoral dissertation specifically addressed the question as to how American art criticism formulated an anti-modernist version of post-modern art theory by interpreting Robert Rauschenberg and Neo-Dada in the 1960s. Guo, with Vincent Liu translated Boris Groys’ Art Power from English to Chinese (Artist Publishing, 2015).

黃文浩

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 – DAC.tw, which is dedicated to exploring and experimenting with creative thinking in the technological society.

黃姍姍

HUANG, Shan-Shan

Huang Shan Shan is the Director of Jut Art Museum, which is affiliated with JUT Foundation for Arts and Architecture in Taipei, Taiwan. Jut Art Museum is also a member of Chinese Association of Museums in Taiwan.Huang was born in Taipei, Taiwan in 1979. After completing a BFA from Department of Fine Arts in the National Taiwan Normal University, she obtained her Master's degree in Culture Resource Studies and completed all credits of the corresponding PhD program at the Graduate School of Humanities and Sociology, University of Tokyo, Japan.During her postgraduate studies, she accumulated experiences as an independent curator and published various articles in professional art and cultural publications. Shan Shan once worked for the YOKOHAMA 2005: International Triennale of Contemporary Art, did an internship in Mori Art Museum in Japan and served as a Research Fellow at the Graduate School of Arts Management and Cultural Policy in the National Taiwan University of Arts. In 2010, she joined JUT Group and oversaw the process of initial planning, founding and construction of Jut Art Museum while she worked in the JUT Foundation. Since the opening of Jut Art Museum in 2016, she has been in charge of coordinating the Museum’s operation and management, and curating part of its exhibitions. Her field of expertise encompasses museology, curatorship, and art administration.

楊堯珺

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.

葉佳蓉

YEH, Zoe Chia-Jung

Zoe Yeh works and lives in Taipei, she is the director and curator of Hong-Gah Museum. Hong-Gah Museum has long been known for being hospitable to experimental projects and emerging artists. Zoe joined the museum as the in-house curator in 2016 and started to promote Hong-Gah Museum to local community by inviting artists to design workshops exclusively for Beitou locals, and creating artworks based on the field research of Beitou. Her recent curatorial practices include Sound Talks: Local Soundscape Collecting Project (2021), Beitou Local Postures Collecting Project (2020). And Emerging artists’ solo exhibition including Selamat, the messenger over the sea. Lin Yi-Chi Solo Exhibition (2020), Commissioned. I-Hsuen Chen Solo Exhibition (2019) and The History of the concave and the convex. Liu Yu Solo Exhibition (2018).

蔡佩桂

TSAI, Pei-Kuei

Pei-Kuei Tsai is Associate Professor and the current director of Graduate Institute of Transdisciplinary Art, National Kaohsiung Normal University; PhD in History of Art, the Courtauld Institute of Art, University of London.

蔡家榛

TSAI, Jia-Zhen

Born in 1979 and currently living and working in Taipei, Jia Zhen Tsai holds a teaching position and has chosen the path of independent curator to develop her curation.With an opportunity to collaborate with Israel, Tsai initiated research on identity and geopolitics, with a focus on video art as the carrier of its exhibition series.In recent years, apart from geopolitical issues, Tsai also contemplates situational narrative and representation of exhibitions and works.

蔡明君

TSAI, Ming-Jiun

Ming-Jiun Tsai was born in Kaohsiung, Taiwan in 1981; Nantou is her hometown, and now she lives and works in Taichung. She loves mountains and the ocean, but is also curious about many phenomena in human society. She focuses on the practice and research of contemporary curating and is an assistant professor in the Department of Fine Arts, Tunghai University and the Project Investigator of Keywords of Taiwan Contemporary Art Archive (TCAA).

鄭慧華

CHENG, Amy

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).

賴依欣

LAI, Yi-Hsin Nicole

Lai Yi-Hsin holds a bachelor’s degree in Media Arts from Royal Holloway, University of London, and a master’s degree and a PhD from the Art and Visual Culture MA at University of Westminster. In 2011, she founded “Art Square Taiwan” studio. She has been committed to the curation of contemporary art, visual culture study, promotion of art education and writing of art and culture performances for years, and frequently collaborates and interacts with other art and culture institutions and curatorial organizations at home and abroad. In 2018, she founded the “Project School” platform program to invite creators of various categories to participate in the program. Series of action workshops were run to inspire participants’ interest in art and creation, stimulate imagination and creativity, hoping to develop more thinking and actions which have cultural influences. At present, she works as Director of Chiayi Art Museum, and she is committed to enhancing the professionalism, publicity, and diversity of the Museum and advocating for international and local art exchanges.

賴駿杰

LAI, Chun-Chieh

Studied Fine Arts (BA), Art Criticism (MA) and received an MFA degree in Curating (2014-16) from Goldsmiths, University of London. I had a few years of experience as an independent curator as well as a freelance writer, and worked in an NGO art organisation and art museum. I have curated exhibitions across not-for-profit art centres and commercial galleries in China and Taiwan, such as the Taipei Contemporary Art Center, Aki Gallery (Taipei), Hong-gha Museum (Taipei), TKG+ Projects (Taipei), National Taiwan Museum of Fine Arts (Taichung), MAB Gallery (Shanghai) and ModeA Contemporary Art Space (Xiamen). I have had more than fifty articles and essays published in major art magazines, including Artco (Taipei), Art World (Shanghai) and Art.Zip (London), and now as member of AICA (International Association of Art Critics, UNESCO). I spent a year in Paris before going to London. My research interests cover issues such as word-image relations, moving images and curatorial studies. Recent curatorial proposals that I am working on are seeking to revise the previously ignored action modes in everyday life, namely “listening / speaking / reading / writing”, intending to reform a scheme for actioners to co-exist with the world. Radical Forms of Writing, as the first episodic exhibition, has been presented at Hong-gah Museum in 2017, which was nominated by the Taishin Arts Award.

簡永彬

CHIEN, Yun-Ping

Born in Keelung in 1958, he graduated from the Oriental Language and Literature Department of Tamkang University. He used to be the full-time photography editor of sinorama magazine of the Information Bureau and the photography editor of The Earth Geographic Monthly. In 1998, he founded the “Sunnygate Phototimes” to successively collect, research, and digitally collect the works of representative photographers in the development of Taiwan’s photography, and establish a metadata database for preservation, exhibition and publication. In 2013, he created his own “Insight．Taiwan” database brand, and was selected as the subsidy team of the National Culture and Arts Foundation “Arts Up Project” with the “Predecessor Photographers’ Image Asset Database Development Project”. Sorting out Taiwan’s photography culture up to now. In order to deepen and recreate the value of photography cultural assets, and to continue the foundation established by the former “Sunnygate Photo Gallery”, it has successively planned important photography exhibitions at the Taipei Fine Arts Museum and National Taiwan Museum of Fine Arts, which have been highly recognized. In 2017, he was hired as an associate professor in the Department of Cultural Vocation Development of National Taipei University of Technology today, and dedicated to the teaching and creation of alternative photography processes of classic techniques.

古羅文君

Miru Xiumuyi (Kulo Wenchun)

Born in 1973 at Tainan city, with Atayal lineage from Mekarang Village in Jianshi Township, Hsinchu. Received her master’s degree in Interdisciplinary Art, Institute of National Kaohsiung Normal University. She is a producer, director, and manager of Scarecrow Contemporary Dance Company (SCDC), artistic director of Atayal Art and Dance Company, as well as an interdisciplinary contemporary artist and independent curator.Miru as SCDC producer, Produced SCDC “Step In” Site-Specific Dance Performance series piece at historic site, galleries, art space, cafe shop, ruins, tree house, hotel rooms, and the Museum of Contemporary Art Taipei etc. (2009-2017). In 2019, Miru published the dance book entitled “Step in．Site-Specific Dance Performance of Scarecrow Contemporary Dance Company.”Miru was an Artist-in-Residence of Soulangh Artist Village (2014) and The Fifth Pulima Arts Festival one of curatorial members (2020-2021). And from 2015, based on the concept and elements of contemporary dance she curated interdisciplinary contemporary art project exhibitions at Kuandu Museum of Fine Arts, TNUA (National Culture and Arts Foundation's “ Curator's Incubator Program at Museums”); Kaohsiung Museum of Fine Arts (Forum for Creativity in Art); Stock 20 Art Gallery, Taichung; Tainan Cultural Center, B1F Gallery and Outdoor plaza; and exhibition at the hotel: The Place Tainan 6798 Gallery.

羅秀芝

LO, Sandy Hsiu-Chih

Sandy Hsiu-chih Lo is an independent curator whose main research areas include urban studies, philosophical construction of space, gender politics, the marginalized, and situated knowledge. Her current program focuses on curating as a method of social practice, spatial practice, and critical thinking. Curating topography, a curatorial practice method that she has actively used in recent years, uses relative and relational spatial concepts to bring to light different cultural concepts such as myths, legends, history, memories, morals, ethics, desires and rights, etc. embedded in the pluralistic dialectic concept of place in order to strengthen political and ethical transformation through the contrast, confrontation, overlap, and juxtaposition in the becoming of place.

那高．卜沌

Nakaw Putun

Nakaw Putun, from the Pangcah tribe and village of Makotaay in Taiwan, is a director of the indigenous art platform Wata, member of the Ministry of Culture’s Southeast Asia Advisory Committee, board director at the National Performing Arts Center, and a PhD student in the Doctoral Program in Art Creation and Theory at Tainan National University of the Arts. Since 2014, she has been curating in various realms, especially indigenous art. Recent projects include: What Are You Doing? (2014), Modern You? - Connection and Crossover of a New Generation of Indigenous Art (2015), Art pakongko (2015-2016), Taiwan East Coast Land Arts Festival (co- planning, 2016), Original Appearance (2016), Original Living Art Festival (2017), Pulima Art Festival (2018), “Ketagalan Boulevard Arena” at the Taipei Biennial (co-curator, 2018), Pulima x YIRRAMBOI Festival (2019), Romantic Route 3 - Dawo Tunnel Drain Land Art Festival (2019), “Wave Sounds and Voices” at the Kaohsiung International Container Art Festival (2019), To See or Not to Sea (2020), New Perspectives of Hualien Landscape (2021). In 2020, she returned to her home village to co-found the Makotaay Artist Village.

孫以臻

SUN, Yi-Cheng

SUN Yi-Cheng was born in 1990, lives and works in Taipei, Taiwan. She graduated from Graduate Institute of Trans-disciplinary Arts, Taipei National University of the Arts and the Department of Life Science of National Taiwan University. She works as an independent curator and community contributor currently.Sun started her curatorial practice since 2014 and is the co-organizer of Archipiélago Community which is derived from the former TW BioArt community. For Sun, she takes curatorial practices as alternative approaches to methods of producing knowledge and sees community-building as the fundamental task to cooperate with others.