LO, Sandy Hsiu-Chih


latest update:2021-12-31

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.

Curating topography is the core concept of Sandy Hsiu-chih Lo’s curatorial practice in recent years. In response to the different individual’s place imagination, she explores the places where everyone can live and find a sense of belonging.

Therefore, curating topography not only pays attention to individual differences, but also a new community discourse. It does not seek the integrity of the place that is still lost, but pursues a new place focusing on the cultural imagination of the invisible subjects/unclassifiable multitude. The key is to regard the place as an open art field, a platform for communication and exchange, and a public space that condenses the imagination of the community, a “critical, liberatory, land emancipatory” concept of time and space, and is also a heterotopia between reality and imagination, calling for the production of the relative and relational space, and both dialectically operating in the actual living space and acting on the abstract immaterial cultural space. In this way, curatorial topography provides a specific place as a context, based on the real situation as a reference, relying on the “Ethical axis of symbiosis with the Others”, the “Political spectrum of the interdependence of the marginalized” and the “aesthetic glimmer of artistic topography”, to project a metaphorical and futuristic place that is constantly redeployed at any time.

  • 2021-2022

    Jakarta Biennale, Ring Project#1“Metaphors about Islands”, Jakarta, Indonesia; Taipei, Taiwan; Luala Lumpur, Malaysia

  • 2015-2021

    “Topography of Mirror Cities”, Taipei, Taiwan; Dhaka, Bangladesh; Bangkok, Thailand; Jakarta, Indonesia; Phnom Penh, Cambodia; Kuala Lumpur, Malaysia

  • 2020

    2020 Green Island Human Rights Art Festival “If on the Margin, Draw a Coordinate”, Green Island, Taiwan

  • 2019

    2019 Green Island Human Rights Art Festival “Visiting No.15 Liumagou: Memory, Place and Narrative”, Green Island, Taiwan

  • 2018

    2018 Kuandu Biennale “Seven Questions to Asia”, Taipei, Taiwan

  • 2014

    “A Revelation from Ponso no Tao”, Orchid Island, Taitung, Taiwan

  • 2014

    “Taitung Ruin Academy”, Taitung, Taiwan

  • 2012-2013

    “Zhongshan Park Project”, co-curator, the related project of 9th Shanghai Biennale, Shanghai etc., China; Taipei etc., Taiwan

  • 2007

    Festival of Contemporary Art Varna“Poetic Borderline”, Taiwan Section, Varna, Bulgaria

  • 2006

    “Exorcising Exoticism”, project funded by National Culture and Arts Foundation “Production Grants to Independent Curation in Visual Arts”, Shin Kong Mitsukoshi Sinyi New Life Square, Taipei, Taiwan

  • 2005-2006

    “Border-crossing, A Tale of Two Cities”, Taipei, Taiwan, and Shanghai, China

  • 2005

    “Pop Pill”, “Shanghai Cool: Creative Reproduction”, Taiwan Section, Shanghai Duolun Museum of Modern Art, Shanghai, China

  • 2005

    Utopia of Togetherness : The 2nd Taipei Public Art Festival Public Art of Dihua Sewage Treatment Plant, “Street Theatre”, co-curator, Taipei, Taiwan

  • 2005

    “Border-crossing: the Shadow Dance of Cities”, Yixiang Gallery, Tainan National University of the Arts, Tainan, Taiwan

  • 2014-

    Ph.D Candidate, Architecture Program, Department of Civil Engineering, Tamkang University

  • 1995-1999

    Graduate Institute of Art History, National Taiwan Univestity

  • 2001-

    Independent curator

  • 2003

    Taiwan Contemporary Art Series: Culture / Colonialism, Taipei: Council for Cultural Affairs, Executive Yuan

  • 2003

    Shaping Culture Arts & Entertainment Management (edited by Ruth Rentschler), as translator, Taipei: Five Senses

  • 1999

    Taiwan Art Critic Series: Wang Bai-yuan, Taipei: Artist Publishing

  • 1995

    Surrealism and Women (edited by Mary Ann Caws, Rudolf E. Kuenzli and Gwen Raaberg, the MIT Press, 1991), as translator, Taipei: Yuan-Liou

  • 2021

    One of the grantee of the Production Grants to Independent Curators, National Culture and Arts Foundation

  • 2015

    One of the grantee of the Production Grants to Independent Curators, National Culture and Arts Foundation

  • 2012

    One of the grantee of Asian Cultural Council

  • 2009

    “Di Hwa Sewage Treatment Plant Art Installation: A New Cosmopolitan World” (2005), co-curator, awarded as the best curating work and outstanding project by Council for Cultural Affairs, Taipei

  • 2005

    One of the grantee of the Production Grants to Independent Curation in Visual Arts, National Culture and Arts Foundation