郭昭蘭

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).

Jau Lan GUO’s recent research interest focuses on performative turn in the museum and transhistorical display as expanded field of art historiography. Guo’s recent curatorial project On the Passage of a Few Persons through a Brief Moment in Time, co-curated with Michael Lin and Lee Ambrozy (安靜) explores the possibilities of exhibition-making as art historiography.

SCORE (2020) sets out to rationalize the process of collaborative exchange between ALIA members in curatorial practice, thereby highlighting self-awareness of the administrative structures which are the very locus of higher education in art and opening up spaces beyond existing limitations.

Curated by Guo in collaboration with Li-Wen Nian and Tsan-Cheng Wu, Polyphonic Mosaic (2006) explored the plasticity of sound objects as well as the immediacy, performativity and translation driven by the intervention of sound practice in a vision-oriented art museum. Nostalgia for Future (2009) presented the temporal metaphor, image and effect of machine aesthetics on memory in the field of contemporary art. Somnambulism: Phantasmagoric Fugue (2010) sampled a group of video art practice in Asia, seeking to highlight the intertext of images and bodies in this region. TCA Project (New York, 2011) employed performative curating to examine the ecology-form asymmetry in regional and global arts. A collaborative project by Guo and Amy Cheng, Melancholy in Progress (2012, the 3rd Taiwan International Video Biennial) discussed conflicts and problems arising from the progression of modernity in the world’s various regions. Amnesia and Malevich’s Pharmacy (2016) framed seven sets of questions on public collection, art history, and modernity, serving as an aide-mémoire for those haven’t been collected yet. Revolving around the idea of “score,” Harsh Landscape: Sonic Cartography (2016) treated sound culture’s imaging approach as an alternative method for drawing maps of the future. Within the creative context dominated by visual arts, Sound Matters (2018) inquired into how the sound element assumed as belated takes a latecomer posture to simultaneously advance the problématiques in modern art’s reflexive discourse and contemporary transdisciplinary thinking. Apart from these curatorial projects, Guo also translated Boris Groys’ Art Power from English to Chinese (Artist Publishing, 2015).

• 2021

  On the Passage of a Few Persons through a Brief Moment in Time, co-curating with Michael Lin and Lee Ambrozy (安靜), MoNTUE, Taipei, Taiwan

• 2021

  The Womb & The Diamond - CHARWEI TSAI Solo Exhibition, Live Forever Foundation, Vital Space and Art Corner Taichung Theater, Taichung, Taiwan

• 2020

  Curating on the Move: International Curatorial Workshop | Taipei Biennial 2020 x Critical Zones/ZKM, Shared Campus, TNUA and TFAM, Taipei, Taiwan

• 2020

  SCORE: Moving from “Art as Method” toward “ALIA as Method”, Asian League of Institutes of the Arts (ALIA), Kuandu Museum of Fine Arts, Taipei National University of the Arts, Taipei, Taiwan

• 2019

  Rotating Exploded View Diagram of Historiography, Galerie Nichido, Taipei, Taiwan

• 2018

  Witness, Listener, and the Involved on the Move, CAT, Taipei National University of the Arts. Taipei, Taiwan

• 2018 

  Critical Thinking and Creative Communication, IMCCI, TNUA, Taipei, Taiwan

• 2018

  Sound Matters, lecture series, Spring Foundation, MoNTUE, Taipei, Taiwan

• 2016 

  Amnesia and Malevich’s Pharmacy, Taipei Fine Arts Museum, Taipei, Taiwan

• 2016

  Taiwan-Korea Curatorial Exchange Project, first stage, National Culture and Arts Foundation

• 2016

  Harsh Landscape: Sonic Cartography, Hong Kong Arts Centre, Hong Kong, China

• 2015

  Habitation and Elsewhere: Image as Instrument, Au Sow-Yee’s solo exhibition, Lostgens’ Contemporary Art Space, Kuala Lumpur, Malaysia

• 2015

  aVanT GaRde oN sPeEd, Samson Young’s solo exhibition, Tina-Keng Gallery, Taipei, Taiwan

• 2015

  Habitation and Elsewhere: Image as Instrument, Au Sow-Yee’s solo exhibition, Guling Street Avant-garde Theatre, Taipei, Taiwan

• 2014

  Between Islands, Lanzarote, Spain, University of Madeira, Portugal (2015/4/16), 3rd International Film and Regional Seminar, Quito Centre of Contemporary Art, Ecuador (2015/4/29), TEA Art Space in Tenerife, Spain (2015/5/16), Tech Space in Grand Canaria, Spain (2015/5/28)

• 2012

  Melancholy in Progress, co-curated with Amy Cheng, Hong-gah Museum, Taipei, Taiwan

• 2012

  How Can I Tell You Who I Am?, Galería Adora Calvo, Salamanca, Spain

• 2011

  Paradise: Under Re-construction, ISCP (International Studio and Curatorial Program), New York, USA

• 2011

  Taiwanese Contemporary Art: TCA Project, ISCP (International Studio and Curatorial Program), New York, USA

• 2010

  Somnambulism: Phantasmagoric Fugue, Tina Keng Gallery, Taipei, Taiwan

• 2009

  Nostalgia for Future, A-7958 Gallery, Taichung, Taiwan

• 2008

  The Exercise of 0 and 1: Hsieh Sulien’s Concept Art of Ink Painting, e-2000 Tea House, Taipei, Taiwan

• 2008

  Atypical: Floating over Stereotype, Art Center in Soochow University, Taipei, Taiwan

• 2006

  CO6 Taiwan Avant-Garde Documenta III: Polyphonic Mosaic, in collaboration with Li-Wen Nian and Tsan-Cheng Wu, National Taiwan Museum of Fine Arts, Gallery D3, Taichung, Taiwan

• 2006

  Ph.D. in History of Western Art, Department of Fine Arts, National Taiwan Normal University

• 2021/5

  “Reciprocity in Activation and Inertia,” in Taiwan topic 2021 - The Gravity of Art amid the Pandemic, curated by Chun-Mei Chuang (張君玫), Critical Asia Archives, ATN

• 2021/1

  “This is (Not) Photography: An Assignment Given by Peng Ruei-Lin,” in Hold the Mirror up to His Gaze, the Early History of Photography in Taiwan (1869-1949), exhibition catalogue, pp.93-100, edited and curated by Hongjohn Lin, National Center of Photography and Images, Taichung: National Taiwan Museum of Fine Arts

• 2021/1

  “Pathways and Challenges: Art History in the Context of Global Contemporary Art,” Curatography, ISSUE 4: Curatorial Consciousness in the Times of Post-Nationalism

• 2019/10/14

  “The Future Is Now: 13 Fables/Prophecies for the Future,” Multiplex in City Flip-Flop, pp.22-25, curated by Wu Dar-Kuen, Taiwan Contemporary Culture Lab, Taipei, Taiwan

• 2019

  “Queering Sound - Sound Matters,” Artist, No.530, July 2019, pp.126-127

• 2017

  “An Image of an Image: Kao Chung-Li’s Iconoclast and Revival Project Based on Photography,” Voices of Photography, Issue 22: The Kao Chung-Li Issue, November 2017, pp.76-84

• 2017

  “On Archive and Visibilities,” in Subjectivity and Archive Fever, curated by Taisung Chen, Art &__, Taishin Bank Foundation for Arts and Culture

• 2016 

  “Reversing Arcadia: A Way to Measure the World,” New Paradise, Michael Lin’s solo exhibition, pp.118-123, Eslite Gallery

• 2015

  “The Grand Illusion: Regarding the Situation of Art in Suspension, a Contemporary Allegory - On Jun-Jieh Wang’s Indifference Sélavy,” Project Rrose: Indifference Sélavy, Jun-Jieh Wang’s solo exhibition, exhibition catalogue, pp.32-36, MoCA Taipei

• 2015

  “The Balance and Negotiation of Power: Values and Awareness of the Issue in Art Power,” Artist, No.476, January 2015, pp.208-209

• 2015

  “Performing Art Power in Art,” ARTCO, No.270, March 2015, pp.90-91

• 2015

  “Beyond Mediascape: Surveillance, Remote Sensing, Digital Control, and the Films of Harun Farocki,” Artitude, February 2015, pp.41-47

• 2014

  “Reimagining Space: How the World is Sketched, Notes on Four Exhibitions in 2013,” Artist, January 2014, pp.184-189

• 2014

  “Mirage: Regarding Spatial Archaeology of the Future,” Delta Zhi, No.30, February 2014, pp.44-45

• 2014

  “Traversing the hinterland between sounding and volumetric composition,” Recognition System - 2014 KUANDU BIENNALE picture album, pp.15-17, Kuandu Museum of Fine Arts

• 2014

  “Within Sound Above Curatorship: Axes and Position of Sound Art and Its Curating,” special topic planner, ARTCO, No.264, September 2014, pp.90-103

• 2014

  “Invisible Body, Unstable File: Remnants on the Ruin Island,” ARTCO, No. 263, August 2014, pp.84-85

• 2013

  “Regarding Field Report on Researching Scientific Visual Image,” Taiwan Digital Art and Information Center, October 2013

• 2013

  “The Dignity of Memory: Man and Object,” Art Collection + Design, No.75, p.110

• 2013

  “Art Movement of Mirage: Revealing Phantom of Modernity,” in Mirage III: Disused Public Property in Taiwan, edited by Yao Jui-Chung + Lost Society Document, pp.65-68, Taipei: Garden City

• 2013

  “Who is Afraid of the West: On the Production Line,” ARTCO, February 2013

• 2013

  “The Sound of Samson Young,” Art Plus, July 2013, pp.44-47, Hong Kong

• 2012

  “Rethinking the Meaning of Modernity and Progress,” Guo Jau-Lan and Amy Cheng, Artist, No. 451, December 2012, pp.240-245

• 2012

  “Hsieh TehChing: Body in Confrotation,” Art Plus, April 2012, pp.38-39

• 2012

  “Body in Situation,” Modern Art, April 2012, pp.48-53

• 2011

  “Return to the Lure of Chaos: on MOCA reactive platform,” exhibition catalogue, December 2011, MoCA Taipei

• 2011

  “Interviewing Hong Kong Sound Artist Samson Young,” Taiwan Digital Art and Information Center, October 2011

• 2011

  “After Inceptions,” Kill Alice: Final Battle, Yang Mao-Lin exhibition catalogue, Tina Keng Gallery, September 2011, pp.20-23

• 2011

  “Committing Flesh, No Return: Lacking Sound Festival 44,” Artist, No.432, May 2011, pp.284-286

• 2011

  “Moderate and Closeted Opposition: Rauschenberg’s Authorship in His Early 1950s Works,” Journal of Taipei Fine Arts Museum, No.21, May 2011, pp.9-46

• 2009

  “Back to the Paradise at Post-Icon Movement,” Tung Hsing Lu’s Sculptures I, pp.1-2, Miaoli: Jin-Zhi Gallery

• 2006

  “The Explorer of Art and Technology: Robert Rauschenberg,” Journal of Taipei Fine Arts Museum, No.12, November 2006, pp.11-37

• 2004

  “On Robert Rauschenberg’s Combine Painting,” Journal of Taipei Fine Arts Museum, No.7, May 2004, pp.27-78

• 2003

  “In the name of Realism, Expecting the Future,” ARTCO, No.131, August 2003, pp.134-137

• 2003

  “Primitive Art Go into Museum of Contemporary Art: On Tu, Wei-Cheng’s The Beauty and Mystery of Bu Num Civilization Revealed,” Pots, Sec. 4, No.280, October 10, 2003

• 2002/2

  “On Contemporary Icon of John the Baptist,” Artist, No.321, February 2002, pp.482-487

• 2002

  “Female-no-ism,” ARTCO, No.112, January 2002, pp.167-168

• 2019/10/28

  Rotating Exploded View Diagram of Historiography, nominee of the 18th Taishin Arts Award

• 2016 

  Amnesia and Malevich’s Pharmacy, nominee of the 16th Taishin Arts Award

• 2011/4

  Residential Program at ISCP, New York, supported by Ministry of Culture, Taiwan