王咏琳

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.

Her current research specializes in Taiwanese gallery-based films focusing on the island nation’s contingent identity in the post-Cold War and its post-colonial condition. She investigates the filmic, aesthetic and architectural turn of cinema’s migration into the museum space, using the symbolic otherness of cinema to explore the inextricable stress on Taiwan’s shifting identity and nationhood after its democratization and the reflection on its traumatized past.

• 2018

  Aesthetic Presentation of a Microscopic World, How to See Science and Art through Biology's Microscopic Lens, and Studies and Extensions of Urban Ecology, Taipei Biennial 2018 Forum, moderated by ET@T, Ecolab Basement, Taipei Fine Arts Museum, Taipei, Taiwan

• 2017

  Mille-Feuille de Camélia, ARKO Art Center, Seoul, Korea

• 2016

  Video and the Third Person’s Perception, Galleria Heng, Taipei, Taiwan

• 2016

  HitchPunk, Unpainted Art Fair, Munich, Germany

• 2015

  We're all Cannon Fodder of this Epoch, Taipei Artist Village, Taipei, Taiwan

• 2014

  For for for forest, Tina Keng Gallery, Taipei, Taiwan

• 2014

  A Poignant Dance in the Mass Media History: Su Hui-Yu’s Solo Exhibition, a.m. space, Hong Kong, China

• 2013

  Weightless, “Intersecting Vectors─Experimental Projects from the TFAM Collection,” TFAM 30th Anniversary, Taipei Fine Arts Museum, Taipei, Taiwan

• 2013

  Mental-logue/Monster-logue, Soka Art, Taipei, Taiwan

• 2012

  Life is a metaphor, you are the metaphor, Artist Fair, Taipei, Taiwan

• 2019-

  PhD Candidate, Cinema Studies at University of Toronto, Canada

• 2008-2011

  Master of Art, National Taipei University of Education, Taiwan

• 2002-2006

  BA of French Literature, Tamkang University, Taiwan

• 2019-2021

  Board of Directors, Pleasure Dome, Toronto, Canada

• 2015-2018

  Board of Directors, Taiwan Art Space Alliance, Taiwan

• 2016-2017

  Director, Polymer Art Space, Taiwan

• 2015-2018

  Lecturer, Department of Fine Arts, National Taiwan University of Arts, Taiwan

• 2012-

  Independent Curator

• 2011-2012

  Curator, Kaohsiung Museum of Fine Arts, Taiwan

• 2009-

  Art Critic

• Books

• 2012

  We Love Artists: Artists in Residencies around the World, Co-Author, ed. by Someone’s Garden, Tokyo: BNN

• 2018-2023

  PHOTO-LOGUES I - PHOTO-LOGUES IV, 108 Taiwanese photographers, Co-Author, Taipei: Garden City

• Articles (selected)

• 2020/11

  “Mirror Images, Revealing Self: Shifting Perspectives on Body and Identification,” Pleasure Dome, Canada

• 2020/7

  “Retro as Resistance: Towards Forgetting And Commemorating,” in 18 Street Arts Center 2019-2020, ed. by Sue Bell Yank (Santa Monica: 18 Street Arts Center)

• 2019/1

  “Retro as Resistance: Towards Forgetting And Commemorating,” in 18 Street Arts Center 2019-2020, ed. by Sue Bell Yank (Santa Monica: 18 Street Arts Center)

• 2018/10

  “Gentle but Violent—Works of Isuma Collective,” Fountain Magazine

• 2018/1

  “Recounted Myths or Critical Texts: Artist's Life Adapted in Film Language,” Artco Monthly 304

• 2018/1

  “Rambling Through The Wilderness: Taiwan Contemporary Photography,” Fountain Magazine

• 2017

  “From Petri dish to space relay station linking other planets: Development of art groups in Taiwan from 1995-2005,” in Very Period: 1997-2017 Taiwanese Contemporary Art and VT Artsalon, ed. by Wu Chiah-Hsuan (Taipei: Garden City)

• 2017/1

  “Born Free and Equal: Canadian Avant-Garde Group The General Idea,” Fountain Magazine

• 2017/1

  “Presenting The Unpresentable Through the Concern for Art History,” Edouard Malingue Gallery, Hong Kong

• 2016/8

  “A Romanticised and Fantasized Ideology: Wu Shih-Chin’s Art,” Artist 495

• 2016/3

  “The Absence of Inter-generational Way of Looking—Taipei Fine Art Award 2016,” Modern Art 180

• 2015/12

  “ZERO ON SEA─Reviewing Zero Movement in TodaysArt Den Haag,” Artco Monthly

• 2015/9

  “When Artists No Longer Need to Fulfill System of Art’s Entrusted Mission: From Conceptual-Oriented Art to Technology/Aesthetic Autonomy of Art and Science,” Artco Monthly 276

• 2014/10

  “On Becoming a Dataologist─CCCB's ‘Big Bang Data’ and its Cultural Implications,” Artco Monthly 266

• 2014/6

  “Altering Nativism: The Reconstructed Connection Between Politics and Sound in Taiwan History,” LEAP, Beijing

• 2014/6

  “Female Artist Figures Shaped by The Film Fur,” Art Accrediting 56

• 2014/4

  “Chou Yu-Cheng and His Work Series ‘Working History’,” Artist 467

• 2012/10

  “How Cinema Interacts with Art of Today? The Intermediation, Transformation and Appropriation Between Film and Visual Art,” Artist 449

• 2017

  “Overseas Arts Travel” Grant, National Culture and Arts Foundation, Taiwan

• 2016

  Video and the Third Person’s Perception, Taishin Arts Award’s nomination for Exhibition of The Year, Taishin Bank Foundation for Arts and Culture, Taiwan

• 2015

  Selected for “International Curatorial Network of Visual Art─Taiwanese Curator Exchange in Korea” program, National Culture and Arts Foundation, Taiwan

• 2015

  International Research Grant, Taiwan Public Television Service Foundation, Taiwan

• 2014

  We’re all Cannon Fodder of this Epoch, Taishin Arts Award’s nomination for Exhibition of The Year, Taishin Bank Foundation for Arts and Culture, Taiwan

• 2011

  “Modalities of Sounds─Relative Perceptions of Chang Yung-Ta” is selected for “Digital Art Criticism Awards,” 6th Digital Art Festival, Taipei Digital Art Center, Taipei, Taiwan