2020台灣當代一年展 by avat-art

Contents

148

理事長序

藝術機構

Preface by Chairman

Invited Institution and Group

關於台灣當代一年展

172

台北好日麗日麗藝術計畫

About TAIWAN ANNUAL

190

一年培力

Taipei City Sun x Site Public Art Project

索引

Foster ANNUAL

Index

196

一年聚焦

執行團隊

Focal ANNUAL

團體邀請

Executive Team

Contents

2020, a restless year. Due to the impact of COVID-19 pandemic, art industry, like many other industries, has fallen into an obstructed ravine. Nature always cycles regularly between permanence and impermanence. While the environment is beyond our control, creators should take the opportunity to collect themselves, reflect, and build strength. It is believed that “A fierce wind does not last the whole morning, a sudden rainstorm does not last the whole day.” The Post-Pandemic era is the time for art workers to retransform and regrow stronger. TAIWAN ANNUAL previously Artist Fair Taiwan marched towards the 19th year with the efforts of members throughout different generations. Over the years, it has experienced the influences from different fields, and its scale and content have been continuously expanded and extended. As one of the few noncommercial-oriented exhibition platforms in Taiwan, every big or small change is a challenge, and also a necessary process of growth. Currently, the turmoil and disturbance of the international situation, and the issues of cultural tradition, local value, a new aspect of value revealed by the integration and transformation of foreign culture and trend of thought are not only essential nutrients for the creation of art workers but also important references for the work of AVAT. This year, “Art Equality” and “Art Project Proposals” sections transformed and merged into “Focal ANNUAL” section. Nine experts from various art fields were invited to participate in “ANNUAL Convo” to have face-to-face talks. Besides continuing the spirit of equality, diversity, co-prosperity in art, it allows creators to bloom the magnificent brilliance of their works freely in the context of cross-media and cross-field dialogues and exchanges. Furthermore, the “Curatorial Projects” which had been held for five years, was also transformed into “Foster ANNUAL” section combining the concept of curating and fostering. Guided and supported by curators with rich practical experience, the emerging curators curated the thematic exhibitions for TAIWAN ANNUAL this year. It is expected to bring abundant artistic potential to Taiwan’s curatorial environment.

理事長序

Don’t change for change. Lie low, and bounce back again!

Chairman of Association of the Visual Arts in Taiwan

改變

WU Shang-Yung

Preface by Chairman

Change

2020

關於台灣當代一年展

2002

2010

2016 TAIWAN ANNUAL 20

About TAIWAN ANNUAL

Artist Fair Taiwan referred to as AVAT Art Fair is organized by Association of the Visual Arts in Taiwan AVAT , since its establishment in 2002, it has constantly challenged itself, tried different exhibition contents and forms every year. It stepped out of Taipei in 2010 for the first time. In the following year, AVAT Art Fair was brought to Kaohsiung, Taichung, and Tainan city successively as a touring exhibition. In an attempt to present different aspects in different types of venues, it was held in cross-field spaces such as a cultural creative park, historic block, and mall, expected to open up new possibilities of starting dialogues between art workers and audiences. In 2016, in order to get closer to the development of contemporary art, to echo with the often-used name of international art expos such as “Biennial” and “Triennial”, it was renamed “TAIWAN ANNUAL”. Since then, it has not only broken through the restrictions of its geographical location and space but also built a deeper connection with visual art ecology. TAIWAN ANNUAL is marching to its 20th year. It is anticipated to enter a brand-new era through “change”, become an exchange platform among art workers, art institutions and the nonart community. The classic sections “Art Equality” and “Art Project Proposals” were merged into “Focal ANNUAL” section, which will no longer limit and categorize the types of work and the way they are displayed, providing an exhibition platform for the more and more diverse contemporary art creation forms. In addition to exhibit artwork, the extended event “ANNUAL Convo” invited nine experts from various art fields to have face-to-face talks with the participants and share the affection and passion for creation. On the other hand, “Curatorial Projects” section which had brought refreshing exhibition experience every year was transformed into “Foster ANNUAL” section. Through the concept of curatorial training, it openly solicited for creative proposals from talent curators and provided supports for these emerging curators for possibilities of practicing in different fields. In the meantime, “Invited Institution and Group” section was planned to invite institutions and art groups that have been deeply engaged in Taiwan to participate. “Taipei City Sun x Site Public Art Project” section proposed a new possibility for public art forms, used art as a medium to rethink the rhythm and lifestyle of urban daily life, whereas “Art Promotion” continued the spirit of art promotion, held various activities and talks to bring art to daily lives, pulling the distance between the art and non-art community closer.

About TAIWAN ANNUAL

The Advisers of 2020

一年培力顧問名單 22

12 2020

The winner of the 1st Foster ANNUAL is LAI Pei-Chun, with her curatorial project ‘How Do You Define White?’.

葉佳蓉 Zoe YEH

2020

Curatorial Projects has been held for 5 years with 10 curatorial projects and 12 film festivals overseen by 22 curators. To build on the previous experiences and the artistic vitality of the TAIWAN ANNUAL, as well as to pass on professional and practical experiences to varied talents, in 2020 the Curatorial Projects is transformed into the Foster ANNUAL, which has announced open calls for creative curatorial proposals. Furthermore, the Foster ANNUAL has invited the curators Zoe YEH and Fong-Ray HSU as advisers. They will conduct interviews and regular meetings, and collectively execute the program of this year’s Foster ANNUAL. Through the experienced curatorial practices of the two curators, the Foster ANNUAL aims to facilitate young curators’ practices in various context, extend the flowing of resources between generations, and explore manifold artistic potentialities.

Foster ANNUAL

許峰瑞 Fong-Ray HSU DisOrder / Exhibition / inOrder TKG+

Zoe YEH is a curator currently working at the Hong-gah Museum, who was chosen for her curatorial project ‘Living in an Outof-Place’ by the ˝Curator’s Incubator Program Museums˝, National Culture and Arts Foundation. She also planned the promotion of the educational ˝Beitou Local Postures Collecting Project˝, and curated several exhibitions such as ˝Commissioned: I-Hsuen Chen Solo Exhibition˝, ˝The History of the concave and the convex-LIU Yu Solo Exhibition˝, and ˝Romantic Geography-A field research and exhibition practice on distribution of urban space˝. YEH has been devoted to focusing on transitions and distributions of power in urban spaces, and to generating localization in art. Through artistic and curatorial practices, YEH guides audiences to think collectively about the value of local characteristics.

Fong-Ray HSU was selected by the ˝Curator's Incubator Program Hong-Gah Museum˝, National Culture and Arts Foundation for his curatorial project ˝DisOrder / Exhibition / in Order˝; he worked as a curator at the TKG+ Projects and Tina Keng Gallery. HSU has curated several exhibitions, including ˝Sanyu’s Hidden Blossoms: Through the Eyes of a Dandy˝, ˝Offline Browser—2018 Taiwan International Video Art Exhibition˝, ˝Times of Unauthorized Occupancy-A Restated History of Treasure Hill˝, ˝Everyday Hypothesis˝. HSU excels at deconstructing the absurdity of institutional structure. Through critical curatorial practices, he further examines the relationships of cultural production in contemporary societies.

Foster ANNUAL

你說的

你說的白是什麼白 How Do You Define White? Curator Artists

LAI Pei-Chun LIN Ming-Yen

TUNG Yu-Ting

TSAI Ping-Ju

計畫

This exhibition explores the backstage work for the installation of an exhibition. The work of installing an exhibition involves meeting the demands of curators, artists, and performers, while wrestling against venue and budget restrictions and applying meticulous diligence and critical judgement to present artistic creations to the audience in a neat and genuine manner. The contributions of exhibition installers are often invisible, as are their pursuit of perfection. In contrast to artistic creation, exhibition installation is evaluated by the opposite criteria—while creations often have a high profile, the strength of exhibition installation lies in its invisibility.

白

This exhibition invites three professional exhibition installers who are active members of the art community. While taking on the roles of performer, curator, and / or artist, they display the "props" they feel strongly about during their career as exhibition installers: TSAI Ping-Ju's Paint, TUNG Yu-Ting's Electric Wires, and LIN Ming-Yen's Spirit Level. In this exhibition, props serve a greater purpose than functionality as they transcend to become creative materials and sources of inspiration. One common issue we dealt with during the brainstorming process: how to use these props to reflect the labor involved in the installation of an exhibition? The exhibition hall is a heterogeneous space for creators to perform and collaborate. We expect this exhibition hall to induce feelings of unfamiliarity and discomfort in people, as such an anxious, unbearable feeling comes from a dependence on the classic exhibition white box. To exhibition installers, dealing with the influences of spatial heterogeneity on the displays of an exhibition is a challenge they face on a daily basis. This is a perspective of the theme of “white”: the sense of tidiness that people take for granted is the result of exhibition installers’ efforts. In contrast with most fruits of labor, the more successful the exhibition installation, the less visible.

是

什麼

Many artworks illustrate labor by recording repeated movements or the passage of time during labor work. Instead of adopting such an approach, this exhibition chooses the most traditional method of demonstrating the end products. This approach serves to reflect exhibition installers’ labor experiences because the success of exhibition installation depends on the final display. The intermediate labor process is not the emphasis and the final outcome can be cruel since the success of an exhibition is often apparent to other exhibition installers in the industry. Working in exhibition installation also affects the installers’ way of viewing exhibitions. Even when they are not working, they would subconsciously pay attention to installation details in the exhibition hall rather than looking at the creations.

Curator LAI Pei Chun LAI has focused on exhibition executive and exhibition guidance systems. She believes that the unique ability of art is to change the ways and paths in which the world is understood and perceived, and to turn knowledge into experience. She has introduced outstanding Taiwanese artists in international exchange exhibitions in Yokohama, Japan and Busan, South Korea. 14

How can the labor involved in exhibition installation be displayed? The artists coincidentally responded by presenting “flawed” exhibition installations: TSAI painted a color block on the wall as a depiction of the uneven colors on a wall after a long hanging painting is removed from it. As a result, TSAI created a sharp contrast with the exhibition hall’s clean and flawless standards. TUNG connected the power supply to electrical appliances by using wires in a wasteful way; he also allowed exposed wires to climb across the walls. LIN concatenated wooden spirit levels—the liquid bubble and calibrations on the level are in the right place but in a skewed configuration overall. Interestingly, these “imperfect” products in exhibition installation still reflect these professional installers’ exceptional skills. Through the mechanism of art, every-day failures in exhibition installation are perceived in a different way and the unique labor status in this industry is demonstrated by challenging how the final products are evaluated. Foster ANNUAL

白

ow Do You Define White

How Do You Define White?

展覽

林明彥

LIN Ming-Yen

Developed an interest in exhibition installation after working on a series of exhibitions with Met Li-Chih Wang and Chin-Cheng Huang in Hualien at the cultural park. Previously worked at Luminance Art Space, where he developed concepts about curating exhibitions after working on a few projects with Shih-Kai Liu and Tsui-Hwa Chen. Served as a director at Haiton Art Center and had some curating experiences because of Hai-Ru Tsai. A former artist assistant, collaborative curator, art administrator, art center director, collector, art seller, and art project manager. Uncertain about any opportunities to continue this work.

一種平衡 LEVEL

Exhibition installation is not only about placing creations in the right places according to instruction. Feelings and emotions also need to be placed in corresponding positions. During the process, a continuous exchange of opinions, communications, and questions allow installers to approach imaginations derived from original intentions as well as reliably complete assigned tasks. Finding the balance is relatively difficult because many items in the space such as walls, ceilings, track lights, and other objects cannot be changed. These items are stubborn, persistent, and unwilling to compromise. Exhibition installers may repeatedly alternate screw positions on a wall and adjust the level of creations until they finally reach a balanced state both psychologically and realistically.

LIN Ming-Yen 16

Foster ANNUAL

董育廷

1985

A space creator born in Kaohsiung, Taiwan in 1985 who works and lives in Taipei.

TUNG Yu-Ting

Trained and grew up in an artistic environment as a child, familiar with controlling media and forms. Began thinking about 3D spaces during college enrollment in the Department of Sculpture at National Taiwan University of Art’s Fine Art College. Developed different kinds of cross-disciplinary collaborations after being exposed to theater and stage design. Experienced many co-creations before thinking about converting visual art experiences into a different vocabulary. Perceives space as a 3D application and experiment of imagination in trying to combine visual art and performing art to form a wider range of possibilities.

秩序 Order

Route, aesthetics, daily life, order, rationality Since the invention of electricity, wires have become a necessity in civilization, but the exposure of wires in a space is often deemed messy and unorganized. Therefore, we are used to minimizing the presence of wires by all means to achieve a sense of visual order. During exhibition installation, a curator’s main goal is to display artworks in an optimized space, in addition to technical aspects of the exhibition. Specifically, much of the attention is paid to concealing anything that is not part of the artworks. Organizing and hiding wires require deliberation, decision-making, and execution every time an exhibition is to be installed. The series of installation artworks attempt to make wires the main subject, creating an extraordinary visual language in a seemingly common space.

TUNG Yu-Ting 18

Foster ANNUAL

蔡秉儒

TSAI Ping-Ju

1993

Born in Tainan in 1993, TSAI Ping-Ju is a student of M.F.A Program, Department of Art and Design, National Taipei University of Education. From majoring in metal sculpture during college to now specializing in Art Theory and Critique, the turn implies his expectation to have more flexibility and openness in different forms of creation and multiple art practices. TSAI currently focuses on the subject of identity. He tries to pay close attention to various narratives of individuals’ lives under the single correctness of certain value, in order to dig tortuous paths alongside the Avenue of Ideology.

線索 The Lines

Venue installation is always nerve-racking and under a strict deadline. When setting up an exhibition, many subtle details, such as the alignment of objects, cable organization for neatness, lighting uniformity, and flatness of the walls, should be considered. Even trivial differences-down to one or two cm-can affect the display of artworks in an exhibition. Sometimes when I polish the walls and smoothen the protruding paste fillers or adhesive residues, layers of old paint from walls gradually reveal. The blotchy textured walls always remind me of pastel smudges in paintings. Brush marks left on walls from paint touchups, slight differences between old and new colors, and unevenness of wall surfaces caused by paint application all carry messages from the past disclosed by constructions, and these traces denote the labor and dedication of multiple art creators who have displayed their works on these walls.

TSAI Ping-Ju 20

Foster ANNUAL

PSYCH

一紅

Five Photos of Joy 2020 /

Photography / 8 x 11 (in) each

Five Photos of Joy.

HONG

2019

國境之北 North of the Border 2020 /

Mixed Media /

Dimensions Variable

"Art Residency in Xiluo-The shape of Xiluo", Xiluo Cultural Museum, Yunlin, Taiwan

2019

The work is another part of the project "Diverse perspectives of Taiwan island" after "The shape of Xiluo", tried to give viewers a brand new vision of how to perceive tangibles and intangibles from Nature, also to preserve exclusive fragment of time.

Focal ANNUAL

︵六張樓恆鐵銘皮︶

尤昱翔

6FTP CHANG Hung-Ming

榮譽色票 Honor Matching System 2019 /

Acrylic on Canvas / 91 x 145 cm

YOU Yu-Shiang Arranging color block, representing the sign that similar badge. The badge is a sign symbolizes some war, event, or honor, but the badge cannot reproduce these things. Just like painting to represent badge is a futile behavior, the color block is still a color block, and it cannot be a badge. I Try to refer to the victory of war and the emptiness of personal honor in such creation, but may be the confrontation and manipulation of power and politics.

"Staying Present-6FTP Solo Exhibition", A+ Creations, Taipei, Taiwan

Moon Mother~ Ah ah~ Ah ah ah~ Mixed Media / 68 x 84 cm

"Gazing at The Military", 435 Art Zone, New Taipei, Taiwan

2018

2020 /

B2 " A L a n d F u l l o f Wo n d e r - 6 F T P S o l o Exhibition", A+ Creations, Taipei, Taiwan

"EMFA Exhibition the Department of Fine Arts", Taipei National University of the Arts, Taipei, Taiwan

2018

2017

B2 "Shelter-6FTP Solo Exhibition", A+ Creations, Taipei, Taiwan

2015

2013

2014

"Flying into the Art", CKS Memorial Hall, Taipei, Taiwan

"The War Memorial Exhibition", Taipei International Convention Center, Taipei, Taiwan

"Variation-Chang Heng-Ming to 6FTP Solo Exhibition", Yonghe Arts and Education Foundation, New Taipei, Taiwan

In the solo exhibition "Staying Present", by observing the daily life of small things (potted plants) around, a series of works is derived. The microcosm is here, and the small things seem to have his own cosmic system, just like the universe in which we live may also be a larger system The dust. This work extends the previous exhibition and strengthens the focus on other things, taking the toys of a child as a microscopic object, and idolizing the image of the toys to create a series of childhood deities. These toys are used as gods in childhood The existence of the cult worships, and also guards the people who have children in their hearts.

435

2019

月娘啊∼ 啊啊∼啊啊啊∼

Party Of Art "Party Of Art", Chinese Armed Forces Cultural Activity Center, Taipei, Taiwan

"Channel of Variation Planet" Chang HengMi n g So l o E x h i b i t i o n , A H E R TAG E , Taoyuan, Taiwan

Focal ANNUAL

王公澤

王明月

心中孤島 Heart's Solitude Island 2018 /

Oil, Acrylic Color / 112 x 145 cm

WANG Gon-Jer

Ming WANG "Heart's Solitude Island" depicts subjects' deep thought and fantasy in the vast nature and universe, as well as the feeling of loneliness and emptiness. The heads in the picture allude to wandering anxiety and drifting mood. They seem like celestial bodies, such as moon, sun, or star floating among one another in the immenseness. They also invoke wandering souls seeking resting home.

2018

2019

"The Invisible Rhythm", ARTDOOR, Taipei, Taiwan

2018

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

"Spiritual Mystery", IsFound Art Space, Kaohsiung, Taiwan

"The Rhythm of Space and Time", Industrial Technology Research Institute, Arts and Cultural Space, Hsinchu, Taiwan

A Segment of Invisible Vision 20 - 5 2020 /

1998

2017

大象視界 20 - 5

"Elusive Tranquility", SinPinPier-Absolutely Art Space, Kaohsiung, Taiwan

Charcoal on Paper / 109.1 x 54.5 cm 2016

"Los Angeles County Art Museum Show", Los Angeles County Art Museum, Los Angeles, USA

1998

"The Vibrating Universe & Divine Light" Wang Gon-Jer & Tai Chia-Jwu Duo-Solo, Artnutri Gallery, Miaoli, Taiwan

"Laguna Beach Art Museum Group Show", Laguna Beach Art Museum, Laguna Beach, USA

2015

Through the perception of the external world and inner emotions, this self-consciousness is integrated into the work.

Laguna Beach

"Returning to Scenery-Fusion of Nature and Spiri", Dadun Cultural Centre, Taichung, Taiwan

Focal ANNUAL

王玫玲

王柏為

WANG Mei-Ling

WANG Po-Wei

防塵衣內 Inside The Protective Suit 2019 /

Oil on Canvas / 80 × 65 cm

We are thrown into a totally artificial inner space, suffocated to death.

2019

ISLANDS "Islands", Bopiliao Historic Block, Taipei, Taiwan

2018 "30cm Feeling So Good", Venue, Taipei, Taiwan

2018 "Home", Teaching & Research Building of NTUA, New Taipei, Taiwan

2020

雪花紛飛 Snowflakes Mixed Media / 200 x 180 cm

2019

2019 /

"Flowery Age" Cultural Gallery, Taipei Songshan Airport, Taiwan

2018 2017

2009

Under the Christmas tree, lighting up a dream, Wishing a night filled with love and warmth, The snow falling from the sky like the angles crying out for me, With the heart is as determined as the lasting diamond, Flashing lights inside the crystal ball continuously, Until the bell ring for next winter, hoping with you by my side.

Chase the loud CC Gallery "Chase the Loud", CC Gallery, New Taipei, Taiwan 2018 "Flowery Age", King Car Education Foundation Chengde Hall, Taipei, Taiwan

241 "Mo-Qing-Huan-Yang", Hsinchu241, Hsinchu, Taiwan Abreaction

Atelier

"Abreaction", Art Gallery, Academy of Art University, San Francisco, America

Focal ANNUAL

王若庭

末生學

WANG Jo-Ting

我 Myself 2020 /

Composite Media / 53 x 65 cm

MOSNXUE The digital image is booming. Under the impact of the digital tide, a large number of creators are produced, and a large number of commentators. The author hopes that through "reproach", he hopes to bring more people to understand works that are not the same, rather than "Myself".

Semi -

"His / Her Name", Taiwan Contemporary Culture Lab, Taipei, Taiwan

Photography, Print / 150 x 150 cm

2020

2017

2020 /

Onfoto Studio "Text and Photography", Onfoto Studio, Taipei, Taiwan

2020

2019

The 很當代的作品

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2018

Pexels

"Wonder Foto Day", Songshan Cultural and Creative Park, Taipei, Taiwan

Deadpan

"Kaohsiung Photo", Pier-2 Art Center, Kaohsiung, Taiwan

2018

The

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2016

SemiIntangibility and abstraction has no doubt become a popular form of visual expression and language in to-day's contemporary art world. From a CC0-license website 'Pixels', I began collecting images based on two rules: deadpan-style photog-raphy and the absence of context. As CC0 materials circulate freely online, these images may never be seen in a gallery setting. These images aren't just cheap, but free. Because of this, I have made a work of art for those those contributors, as they have equally contributed to my work free of any monetary ex-change. While context is lost as a single image, assemblage brings it back. This work could only be read as the totality of this assemblage, rather than the context of one single image.

"Free Art Fair", Huashan Creative Park, Taipei, Taiwan

Focal ANNUAL

甘逸豪 KAN Yi-Hao

Mixed Media /

CHIANG Yen-Te

Martial arts portrait.

Yang Jia Qiang 2020 /

Oil painting / 182 x 60.5 cm

2019

Arpit Garden 2019 /

楊家槍

2019

阿皮特花園

江彥德

"Free Art Fair", Songshan Cultural and Creative Park, Taipei, Taiwan

Dimensions Variable

Taiwan

Japan

2018

2019

Giant PIGture Show Collaboration Show

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2017

"Giant PIGture Show:Taiwan x Japan Collaboration Show", Wrong Gallery, Taipei, Taiwan

2018 2015

2017

The model in the photo imitates the Narcissus of Greek mythology, presents the artist's inner self-protection, and believes that only learning self love can understand self desire. Although love fails, it’s not to be the shadow of spirit.

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

"Everything starts with failure", Garden City Bookstore, Taipei, Taiwan

"Wonder Foto Day", Huashan Creative Park, Taipei, Taiwan

2016

Pop Up

2.0

"Pop Up 2.0", Space 8, Taipei, Taiwan 36

Focal ANNUAL

啟 "In the morning", Taipei Tech Arts and Cultural Center, Taipei, Taiwan

江翊民

江馨慈

無盡的夜 Endless Night 2018 /

nk, Paper, Silk / 21 x 15 cm, 20.8 x 15 cm

CHIANG I-Ming JIANG Sin-Cih

Which become daily behind the creative content? The work looks back at painting process and outside the layout picture. Media, behavior and time are part of creation as they hold more "unintentional" mood. I took the paper that was used to wipe extra ink on writing brush when I was creating. The strokes, the ink, the paper and the silk annotate their own artistic language, and be the work itself to tell that work hard accumulation day to day in the past.

2020 "Let life be beautiful like summer flowers JIANG Sin-Cih Creation Solo Exhibition in Art Residence”, When Nong Vil-lage, Yilan, Taiwan

2019 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

The Coming Future Watercolor, Acrylic / 56 x 75 cm

"Transparent Note", Zone Art, Taoyuan, Taiwan

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2017

2020 /

2018

2017

未來未．來

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2016 "Between Edges of Lines-JIANG Sin-Cih Solo Exhibition", Jinbiantang, Hsinchu, Taiwan

Something will happen in the serenity. 38

Focal ANNUAL

余永明

吳心荷

隔離 Isolation 2020 /

Integrated Media / 180 x 180 x 150 cm

2020 500

WU Hsin-Ho

Sha x 2

Isolation The new coronavirus from China is the largest quarantine in human history in 2020, causing the diagnosis of 5 million people worldwide and the death of more than 300,000 people in just three months, and the virus continues to spread. People are closing their doors at home, the number of diagnosed deaths is increasing, the pain of losing loved ones is a sight, the economy is disintegrating, and social order is disintegrating! The catastrophe of humanity has not stopped ... Is it possible to live alone in the face of the threat of death?

2019 "Image puzzle", Taoyuan Zhongli Culture Museum, Taoyuan, Taiwan

2018 "Woman, Flower", Taiwan Chinese Creative Center, Taichung, Taiwan

2018

"Collection", Jilin Art Gallery, Taipei, Taiwan

2016 "God Bless Taiwan", National Education Archive, Taipei, Taiwan

2016

2020

自由的味道 Freedom Smells Acrylic on Canvas / 160 x 130 x 5 cm

2015

2018 /

The Dog / Cat persons Hernion coffee "The Dog/Cat persons", Hernion Coffee, Taoyuan, Taiwan A8 café "Waits, pretend to be majestic", A8 café, Taipei, Taiwan

It smells sweet, so cool spring breeze, like to out with my families! 40

Focal ANNUAL

"Fantasy Fish", Taiwan Chinese Creative Center, Taichung, Taiwan

吳尚洋 WU Shang-Yang

繫（五）

WU Shang-Yung

Interweaving with distance.

Attach（5） 2019 /

Acrylic on Canvas / 60 x 60 cm

Xanadu Project II : Deliver a Letter

"Score: Moving from Art as Method toward ALIA as Method", Kuandu Museum of Fine Arts, Taipei

Dimensions Variable

"Then We Swing" WU Shang-Yung Solo Exhibition, Ink Asia, Hong Kong Convention and Exhibition Centre, Hong Kong

2018

2019

2016 / Single-Channel Video and Image Installation / 09'10''

2019

2020

仙渡莊計畫 II ：送信

吳尚邕

"Overgrow" Bilateral Art Exchange Exhibition, Xiangshan Art Space, Hangzhou

"Private", Merz Space, Stuttgart

2014

2019

"The Tilted Sea" WU Shang-Yung Solo Exhibition, VT Artsalon, Taipei, Taiwan

2018

"Interweaving with Distance" WU ShangYung Solo Exhibition, Dynasty Art Gallery, Taipei, Taiwan

"Lifetime Warranty - The Romance of Home Appliances", Taipei Digital Art Center, Taipei

2016

When we start to watch the films, the TV where the green paper is pasted on looks like that it is emitting the green light on the TV screen, which means the image watching. In the process of moving the TV itself by the creator, whether the rest after labor or the visual conflict produced from the back ground of the Guan-du Grand Bridge, both of them give us a gradual understanding that the TV doesn’t have the power, the green light and the folds with a sudden comprehension that it is merely a TV. The big TV under the small one is playing the real green light, but it is different from the image in our life experience. We will still see far away the big CRT TV itself. Therefore, in a certain situation, in this work, the image and the TV are continuously discussing “the dialectical relationship between the materials and the non materials” with each other.

"Young Artist Recommended Exhibitions" 20th Shanghai Art Fair, Shanghai World Expo Exhibition & Convention Center, Shanghai

Focal ANNUAL

吳欣怡

吳秉祈

美麗人生雜誌 Beauty Life Magazine 2020 /

Revolving magazine rack, Magazines / 50 x 50 x 170 cm

WU Bing-Chi

W.H.Y. Apple

Someday we will know whether the shadow of the past is a gift from God, or the result of personal behavior; we will know whether the coarse particles that seem to be noise so far can build a beautiful life. —Bing-Chi Wu Not Sigh, but Rest Most of the general magazines show bright and outstanding people and things, opening our longing for a better life; pick the most suitable, best photos, and the most exciting, positive stories. "Beauty Life" magazine is a collection of the author's previous photographic and archival materials. The content of those are not enough to be praised, nor can they create joys for viewers; although they cannot be the best of all, they are actually real and with the past, present, and the future are connected.

A Square in Burano

"Narcissus" - Solo Exhibition, King Car Cultural & Art Center - Chengde Hall, Taipei, Taiwan

"ART TAIPEI", Taipei, World Trade Center Exhibition Hall 1, Taipei, Taiwan

Oil on Canvas / 91x 60 cm

2019

2019 /

2019

布拉諾．廣場

"Together Alone", Piaopiao Gallery, Taipei, Taiwan

2014

ionism Boutique

2019

The rain washed out the dirt and brightened the colorful houses. The colors were quiet, unlike what I have heard.

"Young Art Kaohsiung", The Pier-2 Art Center - Dayong Area P2 Warehouse, Kaohsiung, Taiwan

"Wondercity Taipei", Ionism Boutique, Taipei, Taiwan

2013

" LUSI " - D u o E x h i b i t i o n , O - B a n k Headquarters Gallery, Taipei, Taiwan

2018

"Light Stays", Piaopiao Gallery, Taipei, Taiwan

2012

"Hualien Art Awards", Hualien County Cultural Affairs Bureau - Fine Arts Museum, Hualien, Taiwan

2015

"Living, Drawing, and Wandering Free", Taipeier Cafe, Taipei, Taiwan

URS21 "On Site, Visual", URS21 Chung Shan Creative Hub, Taipei, Taiwan

Focal ANNUAL

吳冠瑩

吳瑋庭

WU Guan-Ying

這是一張（）的地毯－草皮樣式 This is a turf - style carpet from 2018 / Video, File, Large Image Output, Mixed Media /

Dimensions Variable

WU Wei-Ting

Re-examine the dust / particles and grass that are attached to the surface of the turf and ignored in daily life.The actor also plays the role of translator to reconstruct sentences with cluttered information.Boundary changes emphasize the complex state of existence and humanity.The procedures burdened by the grassland cortex have never been changed, eliminated, updated and replanted.The main message among the couriers and receivers questioned the boundary of noise generated after assembly and disassembly under the non-absolute rational model.

2020 "This is a turf-style carpet from " Solo Exhibition, Zone Art, Taoyuan, Taiwan

2019 "Sisyphus's Two World", Nine Single Art Practice Space, New Taipei, Taiwan

Acrylic Paint , Canvas / 145.5 x 112 cm

"Give me an explanation", Zhongli Art Museum, Taoyuan, Taiwan

"Through_Attach_Stay_" Solo Exhibition, Hsinchu 241 ARY Space, Hsinchu, Taiwan

2019

2017

"Azure", Yihui Art Museume, Changhua, Taiwan

"Contemporary Art Salon-Autumn 2019", Taipei Collection Trading Center, Taipei, Taiwan

2018

Vomiting is a daily life for me. Vomiting is also a relief for me. It also implies that I feel sick about the grown-up world. There are many dark elements that I cannot see. This kind of disgusting but still retains the naive color. 46

241

2019

2020 /

2018

嘔心

107 "National Art Exhibition, ROC", National Taiwan Museum of Fine Arts, Taichung, Taiwan

Focal ANNUAL

吳瓊華

呂迦諾

WU C. Christian

意識的各種狀態 States of Consciousness 2020 / 45.5 x 38 cm x 2

14 x 14 x 14 cm

Acrylic, Glitter, Canvas, Stone Powder Clay /

LU Chia-Nuoh

I have been thinking in my creation, what will "consciousness" look like? Through the works, I express the process of "consciousness" from infinite to limited. I embodied my inner feelings with the idea of abstract painting. When I created, I did not expect the final shape of the work. I just let the subconscious mind shape, let the emotions color, and finish when the emotions are over. However, shape, color, and line are unconscious, and after the repeated intervention of personal symbols, they become a kind of conscious existence. However, "consciousness" is originally intangible. When it is presented in the form of paintings and sculptures, it will emerge from the state not restricted by time and space and become a material state. The shape it presents is meaningless, but it can be Imagination in any sense.

Feminine Series–Nowhere to Run 2020 /

2020

2019

女性系列－無處可逃

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

Mixed Media / 120 × 150 × 150 cm

"ONE ART Taipei", Taipei Xihua Hotel, Taipei, Taiwan

2019

"Architects of Magical World", Yuan Ru Gallery, Taipei, Taiwan

2019

" C ro s s i n g F l o we r y Me t ro p o l i s -Wu C . Christian Taiwan Betel Nut Beauty series of creative exhibitions", LAN-GUE-FANG Art Gallery, Taichung, Taiwan

"Time Travel and Dialogue Exercises", LI MeiShu Memorial Hall, Taipei, Taiwan

2016 2018

"Prof. Ph.D. Christian Wu Taiwan Betel Nut Beauties Exhibition", Motomachi Art Gallery, Kobe, Japan

"Game of will" LU Chia-Nuoh Solo Exhibition, SLY Art Space, Taipei, Taiwan

2016

2015

Women's corset vest was extremely popular in the 1970's fashions in Taiwan. The artist made use of ready-made objects to create the art work for the purpose to convey the constraints between physical and spiritual and between tangible and intangible aspects. The tangible refers to the female body (youthful body) bondage, while the intangible refers to the traditional imprisonment codes of ethics imposed on women.

59 RIVOLI/855

"Kaleidoscope world" LU Chia-Nuoh Solo Exhibition, KING CAR Culture and Education Foundation, Taipei, Taiwan

"Wu C. Christian-Taiwan Betel Nut Beauty Art Exhibition", 59 RIVOLI/855 Art Gallery, Paris/Kaohsiung, France/Taiwan

2015

1F "WU C. Christian Blossom Everywhere Invitation Exhibition", Kaohsiung Women's Centre 1F Forum Area, Kaohsiung, Taiwan

ONE ART Taipei

Focal ANNUAL

李中明

李建威

一生所願 A Wish of Lifetime 2020 / Photography, Mixed Media / 2D : 70.85 x 120.22 cm, 3D : 6 x 6 x 6 cm

LEE Chine-Wei

JuJu LEE

7 7

"Wish" expresses the relationship between different moments, trying to prove the concept of sublimation breakthrough; relics are made of photos, expressing sublimation and breakthrough.

Nüshu 2018 /

2020

2019

女書．情書

"2nd Taipei Illustration Fair", Songshan Cultural and Creative Park, Taipei, Taiwan

Plaster, Mix Media / 100 x 100 cm

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2019

Artist of The Month Dark Yellow Dot "Artist of The Month", Dark Yellow Dot, London, UK

2017

"Onfoto Studio", Venue, Taipei, Taiwan

Kwaihinian Opening Exhibition Kwaihinian "Kwaihinian Opening Exhibition", Kwaihinian, HK, HK

2016

"Incite Pao Galleries", Hong Kong Arts Centre, HK, HK

2014

Nüshu, literally "women's writing" in Chinese and a syllabic script handed down since 150 years ago, records the intimacy can only be read between girls. The love words have been converted into pieces of concrete let-ters, muttering and repeating those affections and longing, only in the hoping to preserve the feelings. Yet no matter how strong the love used to be, it cannot survive through time. It fades as the colors, eventually and unavoidably, as time goes by, into those pathetic white filled with emptiness. The slabs symbolize the power-less indictments of the fading love.

ONFOTO

How we live in the world

"How we live in the world", RMIT & Y-Square, Joint Exhibition, HK, Melbourne

Focal ANNUAL

李思慧

李顯寧

LEE Si-Hui

LEE Hsien-Ning

向無冕王致敬 Saluting to the Reporter Heroes 2019 /

Oil on Canvas / 46 x 38 cm

Based on symbolism and poetic aesthetics, the artist created artwork with dots, lines, planes, colors and symbols to display the subtle and metaphoric emotions that have become the quality and content for creating art.

2019

21 "EXHIBITION 2019 THE SHAMONTS", National Dr. Sun Yat-sen Memorial Hall. (Yat-sea Gallery), Taipei, Taiwan

2019

2019 "MOONLIGHT-LEE Hsien-Ning's solo exhibition 2019", National Taiwan Arts Education Center, Taipei, Taiwan

"Tomoe Pumpkin" - Homage to Yayoi Kusama 2012 /

2018

2019

巴紋南瓜

"EXHIBITION 2018 THE SHAMONTS”, National Dr. Sun Yat-sen Memorial Hall. (Deming Gallery), Taipei, Taiwan

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

Acrylic Painting on Canvas / 180 x 180 cm

Greatmore

2017

2015

Thupelo 30

"Thupelo 30th Anniversary Exhibition", Greatmore Art Center, Cape Town, SA

"Spark of Life", Yu-Hsiu Art Space, Hsinchu, Taiwan

2013

"Memory and Marking -Chinese Culture University Teachers and Students Joint Exhibition", Hwa Kang Museum, Taipei, Taiwan

"Frame of Mind-Between the Illusion and Reality", Modern Art Gallery, Taichung, Taiwan

2012

"Tomoe Pumpkin-Homage To Yayoi Kusama" is an artwork that I imitate one of print works by Yayoi Kusama. Instead of her famous dots, I use a traditional Japanese symbol "Tomoe" to present the imitation. The form of "Tomoe" is a spiral symbol that appears around the Asian area, especially in Japan. Traditional pictorial images make me feel its specific cultural heritage and aesthetic meanings. It is purposed to use the formation of the traditional pattern entering the western painting expression way of abstraction and at the same time to homage to Yayoi Kusama.

"Aspirations Within Sentiments", Hwa Kang Museum, Taipei, Taiwan

2016

2013

Tomoe

"Into One", Accton Art Foundation, Hsinchu, Taiwan

Focal ANNUAL

阮柏遠

周佳箴

JUAN Po-Yuan

桃園意識流 Taoyuan stream of consciousness 2020 /

Photography / 120 x 25 cm

CHOU Chia-Chen In our life surrounding; there have many things changed continuously along with the time. However, people always just remember the results after change, and forget; even ignore the process or the original appearances. Therefore, I decide to record the historical changes through the photography. Besides, making these source materials to stand side by side for forming a time of corridor. Moreover, the mapping of the street is the buildings' original appearances. Such a inverted images to reflect the real id. Thereby, wandering to go along the street, as if we can understand sur-rounded but our life and the changes from the different spaces.

2020

入侵事件 Invasion 2019 /

Video Installation /

"Perversion in Silence", Nanpei Gallery, Taipei, Taiwan

Dimensions Variable 2019

33 "Alt text not found", Underground Experimental Field, Taipei, Taiwan

2019 " 's Length, Width and Height", Waley Art, New Taipei, Taiwan

2018

32 "Interested", Underground Experimental Field, Taipei, Taiwan

"Invasion" is based on the event of the online game World of Warcraft-Chinese refugees invaded Taiwan's server as a text. The Chinese server's agency rights dispute and game review failed, causing a large number of Chinese players to migrate to Taiwan's server As a result of the tragedy of delaying and queueing up on the Taiwan version of the server, the gaming experience of the Taiwan server has become extremely poor. Players in different regions are in the same space, and the interaction between the game and the reality is connected. The content of the work includes videos, documents and photos. The video content uses the character model representing Chinese censorship as a symbol. A large number of aggregated character models are unconsciously twitched, and have an impacting and swarmed stream of people. 54

Focal ANNUAL

周芳伃

林玉瑩

CHOU Fang-Yu

心－眼淚之後 Mind - After the Tears 2020 /

Oil on Canvas / 100 x 25 cm

LIN Yu-Ying As the depression became a cycle / a kind of task, the best response is to put it into artworks. Even if the process of doing so was too difficult to describe. I tried to transform such complicated perceptions and emotions into color and lines. When I was even unable to hold the brush, I just looked at the canvas, and modeled my manuscript in mind over and over again. And painted/recorded it when I got the right feeling. I keep the stories in the distance between my arms opened.

2019

Gaze at You

"Go Ying Lin Yu-Ying Solo Exhibition", Jia Cafe Co-Working Space, New Taipei, Taiwan

"TIFF PHOTO GO", Shueijiaoshe, Tainan, Taiwan

Giclee Printing, Photographic Paper / 150 x 150 cm 2018

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

"Taipei Photo Festival", Chiang Kai-shek Memorial Hall, Taipei, Taiwan

2019

2018

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2018

2017

"Shan · Gan", Mist Bookstore, Taipei, Taiwan MA Degree Show

Winchester Gallery

"MA Degree Show", Winchester Gallery, Winchester, United Kingdom

"Taiwan Contemporary Photography Book Fair", Goodunderground, Hualien, Taiwan

This work is based on my hometown, Taipei, and it explores the relationship of my family. Living together for such a long time, my family members have been used to each other. However, the more memories we shared, the more subtle similarities start to show up. Therefore, I began to trace the history, such as old albums and memories, and compare them with the current status of my family. In the light of the compare, I become interested in identifying and trace of time. Meanwhile, I also discover my family members' personalities reflect that every family member has been imitating each other unwittingly for a long time. For instance, we often apply masks when watching the tablet or take a nap with a funny pose. In other words, my family’s body lan-guage, facial expressions, and even habits seem to have effects on one another. With these observations on my family, I try to convert the subtle and ambiguous interrelationship into a family documentary series.

Go Ying

2019

2020 /

TIFF PHOTO GO

2019

凝視著你

Interim Show

Winchester Gallery

" I n t e r i m S ho w " , Wi nchest e r G a l l e r y , Winchester, United Kingdom "TIVAC Taipei Art Photo Expo", Huashan creative park, Taipei, Taiwan

Focal ANNUAL

林幸珍

林芷安

Between black and white 2020 /

Power Machinery, Graphite Powder / 45 x 33 x 76 cm

Between black and white

LIN Hsin-Chen

LIN Chih-An In the "Between Black and White", the creator uses a single black powder as the medium to express the "gray zone" of isolation and replacement. When writing messages with graffiti and the circulation of pen and ink, there is no tumultuous words, only the squeak of the pen tip is squeaked due to friction, accompanied by the waves of emotion and the fluctuation of emotions, touches and feelings, the emotions that cause the desktop to shake like ripples, Circulate endlessly, and start again. When the mist gradually dissipated, the passage of time between black and white condensed into a track of "-".

2020

Echocular "Echocular" LIN Chih-An Solo Exhibition, Shin Len Yuan Art Space, Taipei, Taiwan

2020

CTRL+C C-lab "Ctrl +C", Taiwan Contemporary Culture Lab, Taipei, Taiwan

2020

One art Taipei "One Art Taipei", The Sherwood, Taipei, Taiwan

Out - Of - Control Weather

"International Quilt Festival", George R. Brown Convention Center, Houston TX, USA

2018

"In the Garden", Visions Art Museum, San Diego CA, USA

2019 "International Juried & Judged Quilt & Fiber Arts Festival", Pacific Northwest Quilt & Fiber Arts Museum, La Conner WA, USA

2018

The temperature is getting higher and higher every year. The problem of global warming seems out of control. What a hazardous time we are in. It's hard to imagine that we might become climate refugees.

Parc Expo "Quilt Expo en Beaujolais", Parc Expo, Lyon, France

2018 "Quilt Canada", Vancouver Convention Centre, Vancouver BC, Canada

TAxT "Taoyuan Art x Technology Festival", Taoyuan Exhibition Center, Taoyuan, Taiwan

2019

2013 / Commercial Cottons, Polyester, Lace, Silk, Velvet, A Variety of Textiles / 106 x 81 cm

2019

失控的氣候

Focal ANNUAL

Bluerider Open 2018 By Bluerider Gallery "Bluerider Open", Bluerider Art Gallery, Taipei, Taiwan

林盈君

林淑娟

LIN Ying-Chun

LIN Shu-Chuan

2020 /

Oil on Canvas / 60 x 73 cm

"That's the envy and leisure, and the melancholy sigh." Tang Wang Wei In this Zen flower series, lotus it’s leisure and ease presents the tranquility of life.

2019

The Taste of Love

"Plan X", VT Artsalon, Taipei, Taiwan

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2019

Wood, Voice / 85 x 120 x 35 cm

2019

2020 /

Leisure - Lotus

2019

愛之味

閒逸－夏荷

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2018

" Yu n l i n C o u n t y A r t A s s o c i a t i o n a n d Hu-Guang Art Society, Zuei-Mo group Exhibition", Yunlin Cultural Office, Taoyuan, Taiwan

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2018 "Roam Meet Here" Four-Person Creative Exhibition, Obankef, Taipei, Taiwan

"Quiet-Huguang Art Society IV Exhibition and Yunlin County Art Association", Taipei City Arts Promotion, Douliu, Taiwan

"Yuanshan Play Figure: Dragon Came", Yuanshan MRT Station, Taipei, Taiwan

"Solo Exhibition: Poetic Landscape", Ta-Han Gallery, New Taipei, Taiwan

2010

2011

2018

Audio Book : Reading Habits : The Taste of Love. This is to induce the participants audience within themselves through language and words, with memories and memories about love. The audio file takes a period of nearly 1 minute to make a love-related narration. Through the sentences and words of the narration, the participants audience are caused to organize their own content and screen. The language of speaking dialogue is written in the form of words, and the written words are narrated in the way of speaking. Between the conversion, the understanding and feeling of semantics also have a new interpretation between the conversion. The ideal range will hope to present the exhibits a chair, an exhibition wall in a completely white way to echo the connection between the work and the audience.

暨

2019

暨

100 "Joy Plays The space-NTUA", Lin YuTang House, Taipei, Taiwan

Focal ANNUAL

林愉軒

邱怜禎

LIN Yu-Hsuan

沿路 Along the Road 2020 /

Photography / 500 x 36 cm

CHIU Ling-Chen

This work base on the concept of my daily paths. Photos I shoot were views of the paths I walk between school and the apartment I rent, planning to collect the image though walking distance and accumulate photos, thus to form my living conservation and trace. The paths were about one kilometer long, I took 36 photos(it’s also a a roll of film) to record the process. Continuing to take samples of these paths, these experience and action gradually form and deepen the relationship between me and my living area. The process of collecting though is about the certain area, but also is a intention that I trying to build the sense of reality by action one time though another, perhaps, by the leading of this experience, it will certain me to exactly live in here.

Density 2020 /

2020

2018

密度

"Single Meetup", Huashan Cultural and Creative Park, Taipei, Taiwan

Mixed Media / 100 x 100 cm

2019

2018 "Young Voices", Dadun Cultural Center Dadun Gallery, Taichung, Taiwan

2017

URS127 "Endoscopic Mirror", Freshwater Cultural Park Shell Warehouse, Taipei, Taiwan

"Time and Interface", URS127 Fun Factory Gallery, Taipei, Taiwan

2018

2020

2017

"Backstage Theaters", Taiwan National Art University, 9-Rooms Art Practice Space, New Taipei City, Taiwan

Four in One

2019

2017

There are three units of adhesive, color base, and thickening agent in the paint composition. Each unit is blended in different proportions to change the texture of the work. Combining light or water vapor evaporation to change the shape of the work, and with the powdery quality of the paint It has to be changed so that the instant colors can be re-specified into flowing time. It is not to depict concrete or abstract, but to blend and peel off the layers of colors. Through the layers of peeling, the audience can intuitively feel the purity, reality and the pursuit of texture of the paint under the meticulous arrangement of the creator.

"Four in One", Bookstore Cafe, Taipei, Taiwan

2017

2018 "Back to health – Chiu Ling-Chen solo exhibition", No.16 Chingtian, Taipei, Taiwan Focal ANNUAL

"Boom Fridge Boom, National Taiwan Normal University Department of Fine Arts 107th Graduate Exhibition", Teh-Chun Art Gallery, Taipei, Taiwan

47M 4D "47M 4D", VT Artsalon, Taipei, Taiwan

107

"Freedom–NTNU Art Festival–Installation Art Exhibition", Nation Taiwan Normal University, Taipei, Taiwan

邱琦

金炫辰

KIM Hyun-Jin

CHIOU Chi

詩歌＃20201 Poem #20201 2020 / Mixed Media Teabags, Drawing, Pen, Added Vintage Typewriting, Ink on Canvas / 53 x 33 x 2 cm

The inspiration for this series comes from the Bible Psalms. Come, Press the "Pause" key to enjoy a moment of peace and enjoy the beauty of life.

2019 "International Print Award Carmen Arozena", Espacio Canario de Creacion y Cultura, Madrid, Spain

2019

Enter into "5th Enter into Art 2019", Cultural Center Cologne-Mülheim, Cologne, Germany

2019

蝶蝶不休 Endless Blooming 2020 /

"Taiwan Artists New York United Exhibition", New York Overseas Chinese Cultural and Educational Center, New York, USA

Mixed Media / 150 x 142 cm 2019

"The Singapore 200th Year International Women Artist’s Truth, Goodness & Beauty Art Exhibition", Chinese Cultural Center, Tanjong Pagar, Singapore

2019

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2019

Sunny Art Centre "Taiwan Women Artist London Exhibition", Sunny Art Centre, London, UK

2019

The phalaenopsis orchids on the balcony are flying like clusters of butterflies. It has been more than 400 days since the death of mother-in-law. The flower is pink and lovely, and the posture is extremely graceful. Every day when I go out and go home, I see that they are lined up with arms and warm welcome. What magical energy is hidden in it, so that these flowers can stay young and pretty forever? Is it love? Or nameless positive energy? In order to convey end-less gratitude and joy, the flying orchids are engraved with heart, and then dipped, boiled and painted with natural dajing, hematoxylin and ink tree to present different levels of situations and atmosphere. The combination of four separate and overlapping cotton fabrics is a metaphor for the interlacing of time and space. The hem naturally hangs loose and can be swayed by the wind, allowing the free butterfly to attach to the beloved flower at will.

200

"Taiwan Art Masters Exhibition", Keelung Cultural Center, Keelung, Taiwan

Focal ANNUAL

姜麗華

柯燕茹

失憶週期 Amnesia Cycle 2020 /

Digital Photography / 36 x 66 cm

KE Yan-Ru

2000 2013

CHIANG Li-Hua

2019

For a long time in 2000, "measurement of time" has been the theme I want to express through photographic images, because this is the concept of time invented by humans, only meaningful to humans, and plants and other animals seem not to care about what day There will be no symptom of Monday, and we will not expect the coming of Sunday. The "Amnesia Cycle" series of works are divided into Monday, Tuesday, Wednesday, Thursday, Friday and Saturday through the superposition of self-portraits in June 2013 and April 2019 at the same place. Overlaying dozens of selfies to complete a new look is not only a memory, it has become another kind of amnesia. All the past me, construct a me who does not exist in reality. And this is not precisely the time-changing power of nature.

2017 "Taipei Paris-Memory Axis", Space Two, Taipei, Taiwan

2015

104 "National Art Exhibition, ROC", National Taiwan Museum of Fine Arts, Taichung, Taiwan

2013

鄉

暨

"Hetero-Nostalgia-Chiang Lihua's Personal Photography & Video Exhibition", Gallery International Exhibition at Na-tional Taiwan University of Arts, New Taipei, Taiwan

2020

2012

37 "The 37th Tunghai University of Arts Department Faculty / Student Exhibition", Taichung City Dadun Cultural Center, Taichung, Taiwan

"The Creation of the Void:Exchange Exhibition Between NTUA & Joshibi University of Art and Design", Joshibi Uni-versity of Art and Design Art Museum, Sagamihara, Japan

冬日的逝去與暫存記憶 Lost 2020 /

Ink on paper / 104 x 76 cm

2018

2003

"Nanying Awards", Xinying Cultural Center, Tainan, Taiwan

"Past Day, Past-Photo:Personal Photography Exhibition", Espace 31, Paris (Issy-lesMoulineaux), France

Describe the disappearance of life and memories left in the land in winter. 66

Focal ANNUAL

段沐

TUAN Mu

胡小霓

HU Hsaio-Ni

渡橋 Crossing the Bridge 2019 / Rice Paper, Suihi-Enogu, Mineral Pigments, Ink, Silver Flakes / 42 x 59 cm

Imaginary stories and personal experiences were used as a source of inspiration, together with eastern exquisite light and airy drawing style we are able to collage the image and words. Giving the viewer a different point of view between the reality.

2020 "Uncertain Sculptures", Bopiliao Historic Block, Taipei, Taiwan

2019

台北氣球指南

2019

2018

"Free Art Fair", Songshan Cultural and Creative Park, Taipei, Taiwan

"NTNU Sunlight Art Festival", National Taiwan Normal University, Taipei, Taiwan

"Crystal-Between the lighthouse and the boat: Lu Wei X Tuan Mu", Sandiao Cape Lighthouse, New Taipei, Taiwan

Taipei Balloon's Tour 2020 /

Video, Graphic, Mixed Media / Dimensions Variable

2019 "Dongquan Lighthouse Project", Dongquan Lighthouse Exhibition Room, Matsu Dongju Island, Taiwan

2019

Presentation of the site in Taipei that suitable for balloon to touring, eating, hiding, and survive, and listing the death methods that need special attention for balloon. The shooting scene between real and fiction is omnipresent because of desire.

"The 17th Taoyuan Contemporary Art Award", Arts Facilities Management Center, Taoyuan, Taiwan

Focal ANNUAL

孫知行

SUN Chih-Hsing

徐昭華

HSU Chao-Hua

故事力學 Story of Mechanics 2019 /

Giclée Print / 40 x 30 cm

In black and white with a very DIY visual style, mathematical and rational thinking is inlaid with soft mouse lines.

花佛

2018

2019

"World of Mechanics", FreeS Art Space, Taipei, Taiwan

2018

2019

"Da Dun Fine Arts Exhibition", Da Dun Cultural Center, Taichung, Taiwan

"CTBC Arts Awar", Taipei Artist Village, Taipei, Taiwan

Flower Buddha 2020 /

Oil on Canvas / 60 x 60 x 5 cm x 4

"Nanying Award", Xinying Cultural Center, Tainan, Taiwan

2017

2019 "Sense of Existence", Pierre Gallery, Taichung, Taiwan

"Yilan Arts Award", Yilan Cutural Center, Yilan, Taiwan

2017

2019

"Wang Yuan Lin Arts Award", Kaohsiung Cultural Center, Kaohsiung, Taiwan

"Muttering in Vacuum Box", Art Future Art Fair, Taipei, Taiwan

2017

2019 "Outstanding Fine Art Award", Kuandu Museum of Fine Arts, Taipei, Taiwan

"Huang-Xi Arts Exhibition", Changhua Art Museum, Changhua, Taiwan

Focal ANNUAL

When art is like a Buddha wearing a flower GuoGuo Buddha MingMing Buddha ZhangZhang Buddha YaoYao Buddha

時光林

舞台 The Stage 2020 /

Video Installation / 260 x 125 x 240 cm / 2'08''

袁梅芳

YUAN Mei-Fang

Time LIN In modern times, the stage is a space for performance and competition. It often wanders between reality and nothingness. When people are indulging in the moment of performance or chasing honor and fame, the stage is a real. However when the song ends, the lights go out. It becomes a silent field. The stage is an indispensable moment in life, and it is also a time of drama that makes people love and hate.

2019

七宗罪 "Taiwan-Korea International Exchange Exhibition of Contemporary Art", Ulsan Culture & Arts Center, Ulsan, Korea

"Florence Biennale", Fortezza da Basso, Florence, Italy

Seven Sins 2020 /

Printmaking / 98 x 70 cm

2019

2019 "Art Shopping ", Carrousel du Louvre, Paris, France

2018

"The First Asia-East Six Country International Elite Watercolor Painting and Calligraphy Exhibition", Hualien County Cultural Bureau Art Museum, Hualien, Taiwan

2019

"Timelinart 2010-2017", Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan

2017

"Taiwan-Korea International Exchange Contemporary Concert", Kaohsiung Cultural Center, Kaohsiung, Taiwan

"National Art Exhibition", Taiwan Museum of Fine Art, Taichung, Taiwan

2020

2020 COVID-19 is causing panic in the world, and various messages are constantly testing the dark side of humanity. I paint animals to metaphor the seven human sins such as arrogance, greed, lust, jealousy, gluttony, anger and laziness. The animal in the painting with bat wings is a symbol of human selfish arrogance.

2019

2016

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

"Salon d'Automne", Champs Elysees, Paris, France

2018 "Being and Time" Solo show, Cetacea*Art, Taipei, Taiwan

Focal ANNUAL

高登輝

KAO Deng-Huei

高爾欣

KAO Erh-Hsin

就算只是窩在一起喝飲料，都覺得很甜蜜 Can I offer you something to drink? 2020 / Documentation of plans /

TV, Video, Vending machine, Dimensions Variable

Beverage from a vending machine serves as the trigger to initiate an event. Through the collecting and moving of a beverage object, the labor of body is quietly connected to the exhibition venue and public space. Through annual micro-curating square open institution closed vending body , and so on and so forth, events vending machine in different venues are interwoven to re-comb through the production of art, so as to contemplate how we should more pro-actively establish the subject relationship of institution and non-institution.

塵

2019

17 "The 17th Taoyuan Contemporary Art Award", Taoyuan Arts Center, Taoyuan, Taiwan, First Prize

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

Thes World 2019 /

Mixed Media / 91 x 117 cm

2019

"lamL-hing-kiô", Waley Art, Taipei, Taiwan

"The Taiwan Fine Art Exhibition", Chiang Kai-Shek Memorial Hall, Taipei, Taiwan

2018

粑 "Mipaliw Wetlands Art Festival", Makotaay, Taiwan, Hualien

"Taiwan Emerging Art Awards", The Taichung City Seaport Art Center, Taichung, Taiwan

2013

2018 "Fotan Open Studios", Wah Lok Industrial Centre, China, Hong Kong

At the junction of city and town, the spatial messages are identified, and some of the ambiguous junction, which is neither landscape nor urban landscape, records various spatial fields in the form of paintings.

2017

"The Dadun Fine Arts Exhibition", Taichung City Dadun Cultural Center, Taichung, Taiwan

2013

"OPEN & FUN Art Village", OPEN & FUN Art Village, China, Shanghai

"The National 100 Oil Painting Exhibition", Taichung City Seaport Art Center, Taichung, Taiwan

Focal ANNUAL

高錫麟

雜揉進行式的空間狀態－文化花園 3 －文字解構 Mixed Kneading Space State - Cultural Garden 3 - Text Deconstruction 2020 / 240 x 165 cm

Hakka Flower, Rice Paper, Cypress Wood Plaque /

張文菁

CHANG Wen-Ching

KAO Shi-Lin

The process of civilization evolution is very slow and extremely natural. Culture is a mixed way. Words are the carrier of civilization, culture and language. 7 billion people around the world are fluent in using language and words to convey their ideas. Will they think about: the similarities and differences in the civilization and culture of the original state of different languages and words? Text, symbols, and totems painted in acrylic and oil paint cover the text and time carved on the cypress plaque. The oracle bone inscriptions, Hakka flower cloths, and larger area Hakka flower cloths written on rice paper underneath represent the internal, external, and general environment of language and writing. The laid-out colors and accentuate the overall space state of the mandala. This work "Mixed Progressive Space State" is the third installation work under the "Cultural Garden" item of the "Text Deconstruction" series.

2019

2018

冰裂 "Transform Soliloquize - solo exhibition", NTNU gallery, Taipei, Taiwan

"Clear culture" Installation, Taiwan Annual Exhibition, Taipei, Taiwan

2018

2019

Ice Cracks 2019 /

Oil on Canvas / 91 x 116.5 cm

"New Taipei city fine arts exhibition", New Taipei City Art Center, New Taipei, Taiwan

"Cultural Garden 2" Oil Painting, Taiwan Annual Exhibition, Taipei, Taiwan

2018

"National Oil Painting Exhibition", National Dr.Sun yat-sen Memorial Hall, Taipei, Taiwan

"Cultural Garden 1" installation, Taiwan Annual Exhibition, Taipei, Taiwan

The ice is cracking. The women are waking. The coral polyps are dancing.

2018

2018 "Hand in hand splashing ink" solo exhibition, Yilan Cultural Bureau, Yilan, Taiwan

2015

"National Large - sized Oil Paintings Exhibition", Taichung City Seaport Art Center, Taichung, Taiwan

2017

"Fanshi Splashing Ink" Solo Exhibition, Mori Art Gallery, Luo Dong, Taiwan

"Zhumeiyuan Literature and Art award", Cultural Bureau of Kaohsiung Cultural Center, Kaohsiung, Taiwan

Focal ANNUAL

張永楷

夢見在星海下高歌 Dreaming of Singing Under The Sea of Stars 2020 /

Oil on Canvas / 120 x 80 cm

張伯豪

CHANG Po-Hao

CHANG Yung-Kai I like to describe my brush in the world as a galaxy. We are all islands on the galaxy. After all, these islands exist in isolation at sea, which also metaphorizes the loneliness of each of us. In the middle of the night, dreaming back at midnight, after all, it was only a long night, so I had to stand in the starry universe and sing to the sky. Finally, I combined Taiwan's unique island characteristics and combined the picture into my creation.

2020

2019

鄉 "Feng-Ye Township Tour: The scenery of Matsu", Li Qimao Education Museum, New Taipei, Taiwan

2020 "Kaohsiung Award", KMFA, Kaohsiung, Taiwan

2019

2020

WHAAAAAT'S STUDIO OPENING

對做練習－漂流 Practice for Made Each Other - Drifting 2020 /

Mixed Media /

Dimensions Variable

"WHAAAAAT'S STUDIO OPENING", The Place Taipei, Taipei, Taiwan

"Xi Zhu QI LI x China Fashion", Xi Zhu QI Ll Selling Centre, Chonqing, China

2019

2019 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2019

2017

"The Wind Jumps Over the Jinmen and Matsu" Group Exhibition, Student Art Museum of the Ministry of Culture, New Taipei, Taiwan

"FREE ART FAIR", Songshan Cultural and Creative Park, Taipei, Taiwan

"Cong Sheng", Xiangshan Art Club, Hangzhou, China

2019

"InsomniaRosy", Clouds Gallery, Taipei, Taiwan

"The Sea in the Whirlpool the Island in the Illusion" Solo Exhibition, Tien-Yue Art Space, Taipei, Taiwan

Focal ANNUAL

In the past, the training experience of the academy in sculpture began with modeling, and first imitated objects (gypsum statues), followed by portraits, and finally self-images. I think that from the way of imitating objects, observing others, and observing myself, I also affect my current process of establishing portraits. I regard my works as a kind of self-image, to discuss self-identification and pursuit The establishment and destruction of statues in the times.In the open exhibition hall, set up two stages that are like modeling, and describe each other's appearance to each other, and then display the status of the sculpture, which may participate in the indefinite number of the public environment that may be affected. The people passing by, like two boats drifting, sometimes go in and out of sight, but look for shapes that shape certain objects. 79

張犁茵

空氣砲之第 N 槍

張菀玲

Blank Ammunition - Number N Shots 2020 / 150 x 150 x 5 cm

Acrylic on Canvas, Interactive Installation /

92 9mm

CHANG Li-Yin

CHANG Wan-Ling

5.8mm 1990

3000

QXS-92 Semi-automatic pistol is modified from Beretta 92 series and produced by China North Industries Corp. Cartridge 5.8mm for military use, 9mm for police and export. Adopted by People's Liberation Army of China since late 1990s, also been apply on People's Liberation Army Hong Kong Garrison and Macau Garrison. The pistol is able to service approximately 3000 fires, as for the quality, good and the bad are intermingled. It is often denounced by people for it’s frequent occur of cartridge jamming. some even introduce other pistol to replace it.

109

2019

2020

Nonetheless

2019

"Nonetheless National Kaohsiung Normal University 109th Fine Art Graduation Exhibition", Kaohsiung Cultural Center Jhijen 1st, 2nd Hall, Kaohsiung, Taiwan

Garden of the Artisans Y "Garden of the Artisans Festival", Youth Square Y Loft, Chai Wan, Hong Kong Courtyard

來瓶綠油精吧 !!! Trace Back the burgeon on time 2020 /

Installation of Photography /

2014

"ART NEXT EXPO", PMQ Courtyard, Central, Hong Kong

2019

"New Taipei Municipal Hsinchuang Senior High School 19th Art Class Graduation E x h i b i t i o n " , C u l t u ra l H e r i t a g e Pa rk , Xinzhuang Culture and Arts Center, New Taipei, Taiwan

FLAME HK

暨

"FLAME HKL", Ovolo southside, Wong Chuk Hang, Hong Kong

2012

2019

Trevor flick that Turn to the other way Over that feel so comfortable... "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2019

"The 11th Artist Fair", Songshan Cultural and Creative Park, Taipei/ Taichung, Taiwan

"QUICKLY COOKIE ISLAND" Chang WanLing Mobile Video Solo Exhibition, Shin Leh Yuan Art Space, Taipei, Taiwan

Focal ANNUAL

Dimensions Variable

曹育維

TSAU Yu-Wei

連瑞芬

LIEN Jui-Fen

喜悅滿圓現地創作 Ananda Mandala Live 2020 /

Acrylic on canvas /

Dimensions Variable

Painting "Ananda Manadala" live in exhibition hall, sharing the spiritual waves of the Universe's Love.

NIDO Asia-Art is an

2019

2020

2019

Lahan Hotels "Pohang International Art Fair" "Kiirtana on paper", Lahan Hotels "Pohang International Art Fair 2019", Pohang, Korea

無相之象 No.13 "New Taipei City Artists Biennale", New Taipei Arts Center, New Taipei, Taiwan

egg "Kiirtana on paper", NIDO Asia - Art is an egg, Sheung Wan, Hong kong

Beyond the horizon No.13 2020 /

Paper dyeing and Digital Art / 82 x 82 cm

"Invited Solo Exhibition New Taipei Arts and Culture Center", New Taipei, Taiwan

2018

2019

Gallery Fine "In the flow of His Love", Gallery Fine, Seoul, Korea

"Shenzhen Art Fair Shenzhen Exhibition Center", Shenzhen , China 90

2018

2017

"Kiirtana Mandala", Peach Garden, New Taipei, Taiwan

2017

"Dan-Lu Calligraphy Soc iety 90th Anniversary Exhibition", Beijing Taiwan Hall, Beijing, China

Co77ee "Kiirtana Mandala", Co77ee, Taipei, Taiwan

Digital printing on paper is based on the paper fiber changing color in every moment, and then combined with a special photography digital version of the paper output in rice paper, printmaking. The picture presented is like a great world, chaotic beautiful, to convey the abstract beauty, the image of the rhythm.

2018 "The 19th International Exhibition of C a l l i g ra p h y a n d Pa i n t i n g E x c h a n g e exhibition", Tokyo Metropolitan Art Muse-um, Tokyo, Japan

Focal ANNUAL

郭悅暘

GUO Yue-Yang

郭國慶

KUO Kuo-Ching

勇仕 Rakaqaljay 2019 /

Video /

Dimensions Variable

2000

Rakaqaljay Tribal youths born in 2000’s faced changes in the times, changes in social structure, and the impact of contemporary and Paiwan traditional thinking during their growth. How should these youths adjust their inner struggles and break through the twists and turns of reality? Young people are the feet.

貓頭鷹樂園

2020

2020 "Taipei International Contemporary Art Annual", National Taipei University of Arts, Taiwan, Taipei

"Forest Healing Owl : KUO Kuo Ching Solo Exhibition", Show3charity, Taichung, Taiwan

Owl Paradise 2019 /

Taiwan Camphor Wood, Iron / 77 x 60 x 119 cm

2019

2020

"Owl Wood Sculpture Exhibition", Marriott Taipei, Taipei, Taiwan

"Futurist Wave", Pingtung arts Museum, Taiwan, Pingtung

2020 "Assembly of Communities: MIX", MOCA TAIPEI, Taiwan, Taipei

The most memorable little paradise in childhood is swinging. This work also records the creative combination of the creator's favorite owl and childhood happy time.

2019 "Rakavayan", Double Happiness, Taiwan, Pingtung

2019 "Length, Width and Height", WALEY ART, Taiwan, Taipei

Focal ANNUAL

郭雍立

KUO Yung-Li

愛の行者 Walker of Love 2019 /

Camphor Wood, Convex Mirror, Acrylic / 30 x 90 x 95 cm

陳文君

JeanneBlueEyes

Everything that exists in the world has a passing day. Love of Walker passes us to embrace everything with love instantly, let people and things coexist peacefully. The heart-shaped imprint of the body is a symbol of his power to spread love. Convex mirror is to make viewers look at the people around them. As long as we can see everything we can love. The pinch drags the anthropomorphic side of the love walker.

2019 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2016 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2020

鄉 "Aboriginal Picture Books Exhibition", Aboriginal Aesthetics Museum, Taipei, Taiwan

我幫你－ MiYu 的「喙罨」 Can I help you? MiYu' s Mask! 2020 /

Acrylic, Canvas Paper / 17 x 24.5 cm

2019 "Cǎocǎo Shuàishuài Picture Books Exhibition", Sun Yat-Sen Memorial Hall, Taipei, Taiwan

2019 "Painting Books Do Exhibition", Garden City Bookstore, Taipei, Taiwan

2018

"Four Seasons Picture Books Exhibition", Sun Yat-Sen Memorial Hall, Taipei, Taiwan

MiYu

Can I help you? MiYu, a very cute and enthusiastic little mountain piggy describes how Aboriginal people like to help friends! Humor and fun little mountain piggy very much like to help friends but always do the wrong thing. The story will let people have lots of fun!

2017 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan 86

Focal ANNUAL

陳世珍

CHEN Shih-Cheng

我的虛擬實境 My Virtual Reality 2019 / Oil Paint, Acrylic Paint, Japanese Paper, Embossed Cotton Paper / 51.5 x 91.5 cm

陳禾云

CHEN Ho-Yun

Memories, the true yet deceiving virtual reality we create ourselves. The sparkles caught on the reflection through leaves, the lightness that blows in the summer wind, the trekking of water, the dewy softness of moss the fragmented images that compose the patchwork for the quilt called life. The beauty in the minutiae that lies within the touches, within the subconsciousness, it breaks, re-unites, re-arranges, to become my virtual reality.

2020

ART "Artist Support Pledge", Social media, Taipei, Taiwan

2019 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2020

116 "We are still thinking", National Kaohsiung Normal University 116 Art Center, Kaohsiung, Taiwan

擬獸－過境 Quasi-Beast Transit 2020 /

Acrylic Paint / 150 x 50 cm

2020

DNA 116 "Writing DNA Art Exhibition", National Kaohsiung Normal University 116 Art Central, Kaohsiung, Taiwan

In many years of experience in the "sacrifice reform ceremony", the five senses experience and heart inspiration I saw and heard were used as inspiration for writing and painting. I used the magic instrument used in the ceremony, "Fa-so" as the main object to introduce creative motivation as a starting point, with the magic power and symbolic meaning of Faso itself, combined with the intermediary nature of the ritual process, leading the unknown feeling triggered by the physical and mental state at the border of chaos and the suspicion of transcending the inherent be-lief to manage the integrity of the picture.

Focal ANNUAL

陳泓元

CHEN Hong-Yuan

晚上的政論節目 ll Political Show at Night ll 2019 /

Oil Painting, Oil Pastel / 91 x 116.5 cm

陳冠豪

CHEN Guan-Hao

Sometime, political show is a best lullaby.

2020

CD " P i n e a p p l e C i r c l e " , Na t i o n a l C h i a y i University, Minxiong Campus, University hall C, D area, Chiayi, Taiwan

2020

Art Future B2 "Art Future Treasure map", Fubon National Conference Center B2, Taipei, Taiwan

2019 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2019 " A RT Ta i ch u n g " , M i l l e n n i u m H o t el , Taichung, Taiwan

保持社交距離

2019

Keep the Social Distance 2020 /

"Young Voices", Taichung City Dadun Cultural Center, Taichung, Taiwan

Oil Painting, Oil Pastels / 116.5 x 91.0 cm

The relationship between people is very complicated. When people get along, they understand each other through media such as languages, characters, expressions, etc. Only through those media can we understand the object we get along with. In my paintings, I try to bring in some every day but also ridiculous plots to reflect my relationships in each period. These relationships are all things that have really happened to me, no matter they are pleasant or terrible, after all, they are part of my life in an inevitable way. 90

Focal ANNUAL

陳品宏

CHEN Pin-Hung

鬥陣 Fighting 2020 /

Oil on Canvas / 53.0 x 45.5 cm

陳彥齊

CHEN Yen-Chi

The culture of tattoo which developed after the 1990s is the beginning step of street fashion. The appearance of street youth with tattoo is the most representative image of people in the society nowadays which also captured the painter’s attention by its charm.

2019 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2018 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2020

2017

COVID LOVE

P∞

"COVID LOVE - P∞ Laboratory", NCUE Art Gallery, Changhua, Taiwan

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2020

2016

2019

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2015 2018

"Artist Fine Taiwan", Expo Dome, Taipei, Taiwan

JiJi 2020 /

Iron / 12 x 2 x 218 cm

"Opener, NCUE Art Gallery", Changhua, Taiwan

"Clay Heart Clay Lung", NCUE Art Gallery, Changhua, Taiwan

"Give Me an Explanation", NCUE Art Gallery, Changhua, Taiwan

2016 "Anping Pot Special Exhibition", TNFSH Small Hall, Tainan, Taiwan

岌岌

Focal ANNUAL

Transform the welding technique of horizontal removal in the past, by controlling the current, body and the flow direction of the molten pool to make the molten iron pile up. As the stacking time is longer, the height and difficulty also increase. In the process, the degree of physical participation and mental effort are quite large. The force and stacking direction must be readjusted several times in the height to prevent the structure from collapsing. The title of the work " " has a high, rapid, and dangerous meaning in the literal interpretation. In terms of strong words, the Chinese pronunciation of " " is also similar to the current and sparks produced during welding, so it is named.

陳炳臣

CHEN Ping-Chen

陳迦恩

CHEN Chia-En

茁壯 Vigorous 2017 /

Acrylic / 72.5 X 91 cm

Findo is close to feelings Vomiting the primitive life Breath accumulates and grows

微塵無處

2019

"Dust- Chiaen CHEN Solo Exhibition", Artnutri Gallery, Miaoli, Taiwan

2018

"21st International Calligraphy and Painting Exchange Exhibition of Tokyo Capital Art Museum", Tokyo Capital Art Museum, Tokyo, Japan

2018

101 "CHEN Ping-Chen Solo Exhibition", Gallery 101, Taipei, Taiwan

Dust 2019 /

Ceramic / 37 x 37 cm

Ashok Jain Gallery "Tagboat Independent New York Group Exhibition", Ashok Jain Gallery, New York, United States

2017

2016

"Art Formosa", Eslite Hotel Taipei, Taipei, Taiwan

"CHEN Ping-Chen Solo Exhibition", Chinese Art Gallery, San Francisco, USA

2007

2016

"The Soft Heart Mode- CHEN Chia-En Solo Exhibition", ABOSOLUTELY SPP, Kaohsiung, Taiwan

"CHEN Ping-Chen Solo Exhibition", Chinese Culture University-IAC Da Xia Gallery, Taipei, Taiwan

2007

2013

"Art Group Exhibition", License Art Gallery, Tainan, Taiwan

CHEN Ping-Chen Solo Exhibition", Taichung Cultural & Creative Industries Park , Taichung, Taiwan

Focal ANNUAL

Chia-En Chen turns the visual sense into inner observation. Chen primarily uses brush and sponge to spill and hand-painted on her works. She intends to create her art process naturally through unconscious movements and thoughts without prior design and draft. She enjoys exploring the "True Now Moment" an actual moment of the present working process that is naturally and beautifully working itself. With silence and genuinely draw a presence of self-observation and naturally consciousness rhythms. Ignore the time and distance by feeling the self-sense desire and indication. These silence-inners hearing touch influences and creates a more significant outcome and surprises the artist herself. Each paint awakens and reminds the Chia-En's active life and hidden memories. By discovering and well control the Rhythm and Chi, Chen well conducts them with great harmonies and mind traces.

陳益村

Ven CHEN

絢麗 Gorgeous 2020 /

Oil / 65 x 91 cm

傅滿全

FU Man-Quan

Using one small circle to form a picture, life is like the process of losing and sharing bit by bit. Through the process of getting around one by one every day, let life return to the most original calm.

2019 2019 2019 2019 2018

隨機隨想 /

Focal ANNUAL

/ 240 x 165 cm

彭慧容

PENG Fei-Jung

曾慶強

Rexy TSENG

遠眺 Far View 2020 /

Ceramics / 46 x 16.8 x 23 cm

Space is not a simple container, it is a residence of human consciousness. The work relies on space to survive through perceptual imagination. Looking into the world of imagination.

2019

2020

68 "Awakened on Sandbar", 68 Contemporary Art Space, Yilan, Taiwan

Against Composition 2,04 Gallery, Art-Center Pushkinskaya-10

2020

"Solo Exhibition: Against Composition", 2,04 Gallery, Art-Center Pushkinskaya-10, Saint Petersburg, Russia

One Art Taipei

2019

"Solo Exhibition: Ren Ren", OPPOSITE + Grace Collection Gallery, Shanghai, China

90x200

2018

"Shenzhen International Art Fair", Magnificent Art & Creative, Shenzhen, China

2019 / Cloth, Metal, Wood, Bodily Fluids, Electronics / 90 x 200 x 60 cm

OPPOSITE

2019

"One Art Taipei", Magnificent Art & Creative, Taipei, Taiwan

90x200

2019

"Solo Exhibition: Qing Qing Qing", Hong's Foundation, Taipei, Taiwan

2018

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

"Solo Exhibition: Qing Qing", Organhaus, Chongqing, China

2018

Object.new

2018

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

"90x200" is an installation that dramatizes the emotions of frustration, anxiety, and delirium through mechanical movements. The work is inspired by the artist's own experience of being bedridden because of a serious infection in Paris.

"Solo Exhibition: Object.new", Yiri Arts, Taichung, Taiwan

Focal ANNUAL

黃于洋

HUANG Yu-Yang

黃千倫

HUANG Chien-Lun

生活痕跡 The Trace of Life 2020 /

China, Steel / 150 x 180 x 20 cm

Life keeps repeating, within the repeat it contains kinds of daily life, in the process of repeat and daily life, my body will always come back to the base point that was left with fatigue, helpless. Nevertheless, I have to be conscious to face another step of my daily life. The work freeze and contain the present and will of the base point though the process of firing.

2020

2019

47M4D "47M4D", VT Artsalon, Taipei, Taiwan

2730 VINTAGE "E.P.B. Series - The Lost Planet", 2730 Vintage, Taipei, Taiwan

The Carpet

2020

2018 / Cotton, Xuan Paper, Acrylic Paint, Ready-Mades / 280 x 150 cm

"The Moon And The Star", Hei-Bai-Tam, Pingtung, Taiwan

2019

"side", Bamboo Curtain Studio, Taipei, Taiwan

2019

"The Land Of Treasures", Black and White Gallery, Taichung, Taiwan T-FASHION

2019

100

日之毯

"The Memories From My Incredible Child Time" T-fashion, Taipei, Taiwan

Focal ANNUAL

I recreate images and events with special meanings from my childhood, cultural background and beliefs. Through the knitting techniques and different symbols in her works, viewers get to imagine collective experiences and belief cultures of the time. Symbols and images bearing my memories are reassembled to make new meanings, and in the process, as an artist, I feel the healing power.

101

黃孟雯

HUANG Meng-Wen

黃柏翰

HUANG Po-Han

月光下的情死 Suicide for Love in the Moonlight 2020 /

純白

2019

VideoBardo Peras de olmo - Ars Continua

Digital Photography / 100 x 67 cm

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2019 /

Photographic Paper / 30 x 20 cm

2019

"Artist Fair Taiwan", Expo Dome, Taipei, Taiwan

2014

"Taiwan International Queer Film Festival", SKCINEMAS, Taipei / Kaohsiung, Taiwan

2018

/ Yoo Seung Jun

"Artist Fair Taiwan", Shin Kong Mitsukoshi Department Store, Taipei, Taiwan

"Different, Same - Orlando Huang & Jung Yoo Seung Double Solo Exhibition", Spaceppong, Gwangju, Korea

2018

"The Purest White" represents the frustration of life and memory. During my less than 10 years of photography career, I might have shot the skies the most, as I used to think that looking up to the skies is a relieving and relaxing activity. I would take photos of the sky whenever I have a camera in my hand. While looking at the clouds floating above me, I will think about both past incidents and future possibilities. I imagine that I can throw all the worries to the sky, and the clouds will take them away. Maybe I have already projected too much worries to the sky so that I cannot get rid of them as easily as it should be. Thus, the sky seems to lose its function and has been polluted by my negative thoughts. These images no longer portray a clear image of the sky. Instead, there are multiple forms of white stains on the images. Though the sky still looks as it used to be, in my imagination, the sky is obscured, covered and tainted.

"Echo from HERstory-Solo Exhibition of Orlando Huang", Waley Art, Taipei, Taiwan

2017

FASE Cultural Recoleta

The Purest White

2015

"VideoBardo International Videopoetry Festival", Peras de Olmo - Ars Continua, Buenos Aires, Argentina

Centro

"FASE – Enc uentro de Arte , c ienc iay tecnología – Videopoetry hechaen Taiwan made in Argentina", Centro Cultural Recoleta, Buenos Aires, Argentina

102

Focal ANNUAL

103

黃郁婷

HUANG Yu-Ting

凝視 Gazing 2020 /

Oil Paint / 97 x 145.5 cm

黃郁瑋

HUANG Yu-Wei

People and animals have similarities and differences. Although the two stare at each other, their silence is destined to maintain an eternal distance from people. I chose to take the pet birds at home as the theme and try to depict the delicate relationship between humans and animals by portrait painting.

2018

FluxxProjects "The Unknown Doc ument No.1", FluxxProjects, Taipei, Taiwan

2018

洄瀾 "Joint Exhibition of Li Jianzhong's Multiple Creation Techniques Competition", Lee Gallery, Taipei, Taiwan

Xuanlan 2018 /

Acrylic Paint, Paintbrush / 116 x 91 cm

2018 "The 8th One Plan Two Exhibition", One Zero Two Gallery, Tainan, Taiwan

2018 "Taipei International Art Fair", World Trade Center I, Taipei, Taiwan

2018

venue "One Project Group Exhibition", venue, Taipei, Taiwan

2017

Mountain view is the theme of creation, and the vocabulary of creation is composed of the combination of rhythm and repetitive creative elements. In the process of creation, all people draw their pens with intuition, and use rational and sensuous lines to cover the canvas layer by layer, showing irregular geometric colors and silhouettes of mountains combined with color blocks. Make the overall painting form establish a dialogue between online and line stacking and graphic and spatial communication. This application of this technique is reflected in the scene of Huadong Coast.

"Taipei International Art Fair", World Trade Center I, Taipei, Taiwan

104

Focal ANNUAL

105

黃重堯

HUANG Tsung-Yao

黃淑蓮

WONG Shu-Lian

透明人：從科技到現實 Transparent Man : From Digital to Reality 2019 /

Video / 0'15''

The work "Transparent Man: From digital to reality" is question the boundary between digital and real life through to human vision. In examining the digital grey and white modular squares that I perceive to be a transparent pattern, I wondered if it would keep the perception of transparency in real life if applied physically upon people. It is this human perception between digital and real life that I want to discuss.

2020

2019

"Gui Lan Pa Hwei Spring Up With Batanes", Bywood, Kaohsiung, Taiwan

2019

"Beyond Perspective" The 54th Department of Fine Arts Graduation Exhibition, PCCU, Songshan Cultural and Creative Park, Taipei, Taiwan

Show : One Granary Square "Show: one Granary Square", London, UK

游喚著 Having the Body Being the Body 2019 /

Video / 06'28''

2018

Luscious Relics

Palazzo Velli Expo

"Portrait Photography", PCCU Gu-Nian Gallery, Taipei, Taiwan

"Luscious Relics", Palazzo Velli Expo, Roma, Italy

2017

The Crypt Gallery

"Book as Prelude", PCCU Gu-Nian Gallery, Taipei, Taiwan

2017

"Symposion: The Coming Community", The Crypt Gallery, London, UK

2017

"PCCU The 55th Department of Fine Arts Exhibition", Taipei City Arts Promotion Office, Taipei, Taiwan

"Synonymous And Antonym. Synonyme.", SinPinkPier, Kasohsiung, Taiwan

106

Focal ANNUAL

Discussion of "having" and "being" are frequent use to debate in the topic of body. People tend to value and realized the importance of the two after it's gone. Perseverance in the delicate details makes people has a crazy illusion and fantasize an object until they gradually disappear. In order to creates unlimited possibilities and fluidity in the process of development it's often accompany with a fearless mind and attitude. Thus, "having the body being the body." The body able to convey the needs without or within itself to simultaneously receive and send message to the outside world.

107

黃莉莉

黃意倫

為所欲為 Do as Free Minded 2020 /

Mixed Media /

Dimensions Variable

HUANG I-Lun

No. 4 Art work Not a wave can be sketched There is no wave to stop Ebb and flow. Vaguely. There is no moment to return No one can ever hang around No reason Not all Only ... not read back #ocean #I am a fish

Lily HUANG

2017 "Flora Stitch Art Showng", Huludun Culture Center, Taichung, Taiwan

2020

2016 "Viewing Stories Thinking Craft", The Presidential Office Gallery, Taipei, Taiwan

Virtual

"The Way We Live Now", Virtual Gallery on Mozilla Hubs, W. Lafayette, US

2020

2016 " Si l k Ro a d ~ T h r e a d T h o u g h t ~ S h o w " , Songshan Cultural and Creative Park, Taipei, Taiwan

The Way We Live Now Gallery on Mozilla Hubs

Self - Portrait : Four Virtues 2019 /

Digital Photography / 70 x 70 cm

The Self-Portrait University of North Carolina "The Self-Portrait", University of North Carolina, Wilmington, US

2014

2019

TIFF Photo Go "TIFF Photo Go", Heritage preservation in Tainan, Tainan, Taiwan

"Forever Friendship", Sendai Mediatheque, Sendai, Japan

自拍像：四德

In this work, I associate the fact that female menstruation has been severely twisted into a horrible illness by patriarchy society with the prejudice that has been firmly inscribed on women, encouraging the viewer to have a new dialogue about women.

2019

Portraiture: Through the Lens Black Box Gallery "Portraiture: Through the Lens", Black Box Gallery, Portland, US Wonder Foto Day

2019

108

"Wonder Foto Day", Songshan Cultural and Creative Park, Taipei, Taiwan

Focal ANNUAL

109

楊美鵝

YANG Mei-O

楊景堯

聚 Gathering 2015 /

Oil on Canvas / 140 x 40 cm

YANG Chin-Yao

Collecting material from feeling atmosphere and conception in daily life surroundings, and spiritual touching of the seeing and mood amid travelling, to be the plot and framework of painting.

2018

The Sketch of Anti - Extradition Bill Protests 2019 /

Sketch / 80 x 55 cm

"Mandala of Link Art", Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

2017

"Solo Exhibition", Taipei Cultural Center, Taipei, Taiwan

"Young Art Kaohsiung", The Pier-2 Art Center, Kaohsiung, Taiwan

2017

2015 "Solo Exhibition", Meng Jiao Workshop, Taipei, Taiwan

110

"Solo Exhibition", National Sun Yat-Sen Memorial Hall, Taipei, Taiwan

2007

2018 "Art Expo Taiwan", Taipei World Trade Center, Taipei, Taiwan

反送中素描

2017

2012

2018 "Solo Exhibition", National Sun Yat-Sen Memorial Hall, Taipei, Taiwan

House Art "No Conversation Contemporary Link Painting", House Art, Taoyuan, Taiwan

"Form, Flow and Meaning-The Concerto of Life", Du Hsiao Yueh Restaurant, Taipei, Taiwan

Focal ANNUAL

I just want to make some records for the repatriation. When I see the situation in Hong Kong, anyone will be angry. Time will pass, but I can't forget. So I simply sketched with a pencil, depicting how I felt. Want to use an opportunity to exhibit, don't forget anger. My strength is just too small to be too small, but I don’t mind, I believe at least a little voice is good.

111

楊肇傅

溫怡芳

繁殖共同體 Reproductive Community 2017 /

Ink, Acrylic, Cotton, Rice Paper / 117 x 91 cm

YANG Chao-Fu This creation is based on ink media, combined with acrylic pigments, and expresses the visual vocabulary of "reproduction community" through collage and composite media. Create from the perspective of aesthetics, and use contemporary creative media and creative concepts to show in the creation. In terms of the visual expression of creation, it attempts to use the organic form formed by ink painting and the copy effect of collage to interpret the visual image of the breeding community. This creation uses exhibitions as one of the motivations for creators to engage in creation, and through exhibitions and exchanges to share the results of the work, to promote the continuous improvement of creators and improve the quality of creation, and ultimately can contribute creative energy to teaching and research.

2020

ANBD 2020 Seogwipo Arts Center "ANBD 2020 Jeju Island Special Exhibition", Seogwipo Arts Center, Jeju Island, Korea

2020

2016

2018 2018 "Asia Network Beyon Design Korea", Dream Gallery at Dream Forest Art Center, Seoul, Korea

Cherish 2020 /

Oil & Fabric on Canvas / 77 x 92 cm

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

I cherish my Italian Ground Baby "KoKo". "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2015

"Asia Network Beyon Design Malaysia", Center for Postgraduate Studies First City University, Kuala Lumpur, Malaysia

112

Dome, Taipei, Taiwan

2017

"Art Public Welfare Action GO-2019 Member Exhibition of Kaohsiung Modern Painting Soc iety", Kaohsiung Cultural Center, Kaohsiung, Taiwan

"TAIWAN ANNUAL", Taipei Expo Park Expo

2018

2019

GO-2019

珍愛

2019

116 "Art Association Exhibition-Kaohsiung City Art Association Spring Exhibition", 116 Art Gallery of National Kaohsiung Normal University, Kaohsiung, Taiwan

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

"Taiwan Artist Fair", Expo Dome, Taipei, Taiwan Focal ANNUAL

113

WEN I-Fang

董勤

詹玉美

下雨天 2019 /

Woodcut / 90 x 60 cm

JAN Yu-Mei

TUNG Chin

2019

" T he 34 t h Ne w Ye a r P r i n t s o f R .O .C . Exhibition", National Taiwan Museum of Fine Arts, Taichung, Taiwan

2011

嘴安（口罩） "3rd Solo Exhibitions", Laborer Education Literature and Fine Arts Center, Taipei, Taiwan

Mask 2020 /

Oil on Canvas / 117 x 91 cm

2007

Art League Art League "Group Exhibition", Art League Gallery, Columbia, U.S.A

2005 "Taiwan Artist Invitational Exhibition", MOMAS, Saitama, Japan

2005 "International Tour Exhibition of FrenchSalon", Taiwan Artists Association, Taichung / Taoyuan / Nantou, Taiwan

2005

114

"Tour Exhibition of AVAT", Taipei, Taiwan

Focal ANNUAL

COVID-19 There is no medicine to cure. The best epidemic prevention is to wear a mask. wash hands frequently not in contact with viruses intrusion. In case of infection. The medical team will be very hard. Not only to take care of patients. You have to pay for the equipment first. Protect yourself form leaks. Taiwan has no confirmed number of people for many days. Epidemic prevention was quite successful. The world is obvious. Thanks to the medical team for their hard work. Take care of infected compatriots. Plus the close cooperation of the whole people. Make people deeply moved. Hereby express my gratitude. 115

詹涵逸

I'm from 2017 /

熊妤

HD Video / 11'45'

HSIUNG Yu

2017

CHAN Han-Yi

2017, when I went to Japan for graduate studying, I was forced to explore the issue of boundary, nationality, and identity of Taiwanese. I began to reflect on many kinds of political issues in daily life.

誰能幫助誰？

2020

2019

BETWEEN Galerie 16 "BETWEEN-AIDA CHAN HAN-YI Solo Exhibition", Galerie 16, Kyoto, Japan

"London Oxford International Art Fair", Oxford Town Hall, Oxford, London

2020 /

Oil Painting, Linen, Acrylic, Brush / 116.5 x 80 x 15 cm

2020

2019

"ART CAPITAL Paris France", The Grand Palais, Paris, France

2019

"Please step back behind the yellow line", Kyoto City University University Art, Kyoto, Japan

"Paris-carrousel du Louvre ART SHOPPING", Musée du Louvre, Paris, France

2019

Ozora

2018

ONE ART TAIPEI 2019 "ONE ART TAIPEI 2019", SHERWOOD EXCLUSIVE, Taipei, Taiwan

Gallery@KCUA

2018

"The 29th International Students Exhibition", Gallery@KCUA, Kyoto, Japan

2017

2019

"The 1st Ozora Exhibit", Osaka International Airport, Osaka, Japan

"Amazing Mountain" HSIUNG Yu Solo Exhibition, Eslite Bookstore, Taipei, Taiwan

Gallery@KCUA

"The 28th International Students Exhibition", Gallery@KCUA, Kyoto, Japan 116

Who Can Help?

Focal ANNUAL

who can help?

Invisible virus is like "contemporary art movement", it is still "going". In the trapped earth, life is under great threat, and life is filled with contradictions and chaos. Who can help who? Isn't the true meaning of "contemporary art" just to express the universal value of human society today? who can help? Must be an unprecedented contemporary movement. Invisible virus is like "contemporary art movement", it is still "going". Who can help who? Isn't the true meaning of "contemporary art" expressing the universal value of human society today? Hsiung Yu

117

赫維藍

Havilland

︵趙趙韋新梅︶

喚醒靈魂之光一 Wake Up with Spiritual Light I 2019 /

Acrylic, Mixed Media / 100 x 72.7 cm

CHAO Wei CHAO Shin-Mei

Wake up your spiritual light. Explore your inner peace and true self. Always keep the faith of love. You will bring peace and comfort to the world regardless of disturbing events.

2019 "Taipei Illustration Fair", Songshan Cultural and Creative Park, Taipei, Taiwan

2017 " P r i n t m a k i n g wo rk s ho p Ach i e ve me n t Exhibition", International Printmaking Center. College of Arts, National Taiwan Normal University, Taipei, Taiwan

2016

一國兩制

2020

"Oil painting, Chinese traditional flowers and birds painting Class achievements exhibition", National Dr.Sun Yat-sen Memorial Hall, Taipei, Taiwan

"The Grand Exhibition New Taipei City Artist", Beauty Forever Living Art Center, New Taipei, Taiwan

One Country, Two Systems 2020 /

Mixed Media / 60.5 x 50 cm

2018 "New Taipei Biennale", Beauty Forever Living Art Center, New Taipei, Taiwan

2017 "The Contrast of Visual Art Works" Solo Exhibition, Hwa Kang Museum, Taipei, Taiwan

2017

The eastern traditional philosophy of "Yi" is applied to my modern art expression style. The Book of Yi assumes that the creation and evolution of all matters in the universe result from the consequences of interaction, collision, and reunification of all kinds of contrast concepts, such as heaven and earth, live and death, major and minor, to be or not to be, et cetera.

"The Post-cubism Annual Exhibition", Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan

2016 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan 118

Focal ANNUAL

119

劉泓廷

劉亭蘭

大起義 Big Rise 2020 /

Oil Paint / 112 x 162 cm

LIU Ting-Lan

LIU Hong-Ting From the birth of life to the existence of light, the understanding of the world corresponds with the manifestation of light. But what is the essence of light? When it comes to the essence of life, we tend to center ourselves as the starting point to deduce the meaning of existence, contemplating scientifically and spiritually. However, in response to the essence of light, he influenced the world in a form of illusory existence. Excessive dazzling and holiness caused people to feel frightened, inferior, and even give up the exploration of the essence, turning to create something absurd and unreal, a perfect image. Therefore, the understanding of light, life, and of understanding, are a kind of ideal mistake, a cognitive blindness. Everything will return to the empirical logic of sense and instinct.

2019

蝶戀花－ 2 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

Butterfly Longing for Flower - 2 2016 /

Watercolor / 79 x 55 cm

2019 "Liu Ting Lan Tsai-Mo Art Exhibition in Beijing", Xihua Business Hotel, Beijing, China

2018 "Flowery World - International Color-ink Art Exhibition", Huludun Cultural Center, Taichung, Taiwan

The artist wants to convey a life evolutionary process, which must go through hardships, tribulations, and then maturity, by using the anthropomorphic dancing butterfly. The leisurely, lightly life, and the blossoming flower are echo of each other.

2017 "Liu Ting Lan", Fangliao Township, Pingtung, Taiwan

2016 "Liu Ting Lan", Motomachi Art Gallery, Kōbe, Japan 120

Focal ANNUAL

121

劉桂萍

歐筱君

青 AO 2020 /

Mixed Media / 126.5 x 90 cm

OU Hsiao-Chun

Asuka LIU

In that world, everything transformed will become transparent. Soul too. through the rampage of the epidemic, trudging in our own existence, the ravine of society and intervening heterotopia, what is left for now? Realists once criticized surrealism as a false illusion that would lead time and space to disordered. However from my perspective, human body is a kind of nutshell itself while yet the consciousness is free, which could be arbitrarily transform. As for plane painting, the space of itself is between being and not being. A super-flat technique, semirepresentational notation, the ambiguous blue that represent ocean, make us transparent.

2017

2019 "Contemporary Art Salon Spring 2019", Taipei Auction Center, Taipei, Taiwan

"Artists Participating in Art Fairs", Millennium Hotel Taichung, Taichung, Taiwan

Sweet Explosion of a Moment! 2020 /

Acrylic / 90 x 90 cm

2016

2019

"New Taiwan Mural Team", National Taichung Theater, Taichung, Taiwan

"Mixture Of Fresh", Xinyi Eslite 6F, Taipei, Taiwan

2015

2019

2019 "Struggling Pressure", Bambino, Yilan, Taiwan

"Beer with Coffee Double Solo Exhibitions", National Hsinchu Museum Living Arts Center, Hsinchu, Taiwan

2014

2018

16 "Mǎnzuǐ dōu shì tǔ" Pottery Exhibition, No.16 Chingtian, Taipei, Taiwan

"International Artist Grand Prize Competition", Taipei World Trade Center Hall 1, Taipei, Taiwan

With the delicate character peculiar to female painters, the unspeakable mood in life is projected into the paintings. The work, "Sweet Explosion of a Moment" attempts to create a dynamic atmosphere of light and shadow, romantic lyricism, which actually expresses the artist's inner silence of the turbulent soul and fluctuating mood in life.

2013

2018

16 "Guòmǐn xìng sùchéng bān" Lacquerware Exhibition, No.16 Chingtian, Taipei, Taiwan

122

一瞬間的甜蜜爆炸啊！

"No from, No distance-Emotion Double Solo Exhibitions", Chiang Kai-shek Memorial Hall, Taipei, Taiwan

Focal ANNUAL

123

潘仲鈞

PAN Chung-Chun

蔡玉葉

古典元素魂系列－風 Classical Elements Soul Series - Wind 2019 /

Mixed Media / 30 x 40 x 30 cm

TSAI Yu-Yeh

The breath is blown it works like a soul like to get back to life.

2019 "Young Voices", Taichung City Dadun Cultural Center, Taichung, Taiwan

2019

希望 "Light and Color", GLORIOUS JEWEL ART CENTER, Shanghai / Taipei, China / Taiwan

寄託

Hope / Sustenance 2019 /

Acrylic Painting / 65 x 53 cm

2018 "Cai Yuey Solo Exhibition", Taipei Artsand Culture Promotion Office, Taipei, Taiwan

2017 "Fantasy of Taiwan Art", TSMC Art Gallery, Taichung / Hsinchu, Taiwan

2016

Using gold / coffee as the main color system, through the application of the depth of the paint to outline the body, the contrast between light and dark, metaphorically the infinite hope brought by the new lite, and the spiritual self-expectation for the future!

"Soaring Wings Soaing" Cai Yuye Solo Exhibition, Changhua Art Museum, Changhua, Taiwan

2014 "Dream Life" Cai Yuye Solo Exhibition, Taichung Port Art Center, Taichung, Taiwan

124

Focal ANNUAL

125

蔡佩澐

TSAI Pei-Yun

蔡欣蓉

都市的人類存在 Urban Human Existence 2019 /

Film / 150 x 150 cm

TSAI Hsin-Jung

To exist is to suffer, I made this series to express human's existence in the world, they seem to be existing, do they? It's so ambiguous. Did they really exist once after they die? This is my confusion of being a human, and feeling existing.

這裡是與第五維度連接的天空大門，歡迎來到時光隧道。

2019

2017

The Essence of Monochrome Ferencvárosi Művelődési Központ

"Tsai Hsin Jung Solo Exhibition-Anchoring in 100% purity of happiness", Dan-Ju Art, Tainan, Taiwan

"The Essence of Monochrome", Ferencvárosi Művelődési Központ, Budapest, Hungary

Here is the sky gate connected to the Fifth Dimension. Welcome to the time tunnel.

2019

2020 /

Acrylic Paint / 106 x 90 cm

"Tsai Hsin Jung Solo Exhibition - Pray for blessing in the journey", VITA CAFÉ, Tainan, Taiwan

2019 "Citizen ART SHANGHAI 2019", Shanghai Hengshan Road No.12 Luxury Collection Hotel, Shanghai, China

2019 "Spring 2019 Contemporary Art Salon", Auction Center Taipei, Taipei, Taiwan

2017 "Tsai Hsin Jung Solo Exhibition - Sweet Information", Cheer For Blueprint Cultural, Tainan, Taiwan

126

Focal ANNUAL

The main creative direction of painting is to explore the self-awareness, subconsciousness and soul.Through painting, complete the process of self-exploration. After getting close to the soul, I began to think about where people go. Death is not the end of life as we think it is, but a separation from the body into a high-dimensional space. Various religions and occultisms explain the diverse appearance of the road after death. From the time of death to death, the soul will slowly leave the body and let go of the bad to the Elysium or the socalled fifth dimension. This process of getting rid of the flesh is called perseverance. Death is not terrible, but how to let the soul leave in peace without pain? which is a homework that the living must first understand. This series presents the post-death journey adventures with virtual characters on the Internet, trying to explore serious issues of life and death in a relaxed and fun atmosphere. 127

蔡詠宇

蔡瑛瑾

紅色滲透－紅血球太多啦 Penetration by the China - Too Many Red Blood Cells 2020 /

Video, Performance Art / 19'33''

TSAI Yin-Jin

TSAI Yung-Yu

If COVID-19 is over, will your lifestyle and sense of national identity change? Or after a while, it will return to the bad appearance before Wuhan pneumonia started?

2019

望君早歸 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

Awaiting Your Return 2019 /

Mixed Media /

Dimensions Variable

2017 "Gorgeous Transfiguration After Make Up", Bureau of Cultural Affairs Kaohsiung City Government - Chih Mei Gallery, Kaohsiung, Taiwan

2015

2019

"Resonance of Heteroglossia" Kaohsiung on the Modern Art Association, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

"A Thicket of Flowers" Kaohsiung Women Joint Exhibition, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

2001

2016

11 "Yuan Ze University - Art and Designmilitary dependents' village - Site-specific Creation", Matsu New Village Cultural and Creative Park, Taoyuan, Taiwan

2005

"Yuan Ze University - Art and Design 9th Graduation Exhibition - Vulnerability Intensify", Songshan Cultural and Creative Park, Taipei, Taiwan

128

My dear, I don't know when you will come back and look forward to the day when you will return from the sea.

"Kaohsiung Art in Post-Strict Age", Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

Focal ANNUAL

129

蔡蓓詩

TSAI Bey-Shy

蔣硯淇

女人的悄悄話 Women's Chat 2020 /

Acrylic / 91 × 72.5 cm

CHIANG Yen-Chi

Do women love to start quite topics in scenes with good atmosphere and beautiful lighting? You stunned and she loved to say that there is no shortage of gossip sharing in this world. Women are willing to share with oth-ers. In this way, they get inner satisfaction. Gossip brought into the topic discussion usually brings more securi-ty.

2018 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2017 "Art Taichung", Millennium Hotels and Resorts, Taichung, Taiwan

2015 "BEER WITH COFFEE", National Hsinchu Living Arts Center, Hsinchu, Taiwan

2014 " A r t B a n k P u rch a se P l a n " , A r t B a n k , Taichung, Taiwan

2013

2018

FluxxProjects

"No Form, No Distance-Emotion", Chiang KaiShek Memorial Hall, Taipei, Taiwan

"The Unknown Doc ument No.1", FluxxProjects, Taipei, Taiwan

機窗系列－層 The Series of Aircraft Window - Layers 2020 /

Oil Painting , Epoxy Resins / 116.5 x 91 cm

We are constantly exploring the unknown, and try to understand the unknown through analysis, imagination, experiment and other methods, and to transform it into the known. When I was on the plane, I was foaming at a high altitude which was a position different from daily life. I tried to see the world in a unique way through the window. As I looked out of the window every time, more and more unknowns were displayed in front of my very eyes, and they gradually made me understand more about the world that we're living in. 130

Focal ANNUAL

131

鄭仲良

CHENG Chung-Liang

鄭森雨

母星 The Homeworld 2020 /

Acrylic on Paper / 54.6 x 78.8 cm

Sen Yu

Every adventure has its origin.

2019

萬物皆有靈－赤炎、蒼雲、仁麟、玄冥 "Restricted Space Solo Exhibition", Artland Bookstore, Taipei, Taiwan

Animism - Vermilion Bird, Azure Dragon, Qilin, Black Tortoise 2020 /

Timber, Cement Paint, Acrylic Paint / 179 x 100.5 cm

2018 "The 4th Free Art Fair", Songshan Cultural and Creative Park, Taipei, Taiwan

2016 "Playday in Zhuwei: Making an Eco-Friendly Hub", Bamboo Curtain Studio, New Taipei, Taiwan

2016

Even on an abandoned piece of wood, it may carry the spirituality of life from the universe. However, within our visions, we are only able to see just the very parts of it. The actual souls exist as a whole in this world beyond any boundary.

"Sounds of Nature Solo Exhibition", Liang Liang, Tainan, Taiwan

2016 "ON SITE ART FEST-On Site, Visual", EXPO Dome, Taipei, Taiwan 132

Focal ANNUAL

133

盧芛

錢畇竹

埋葬粉紅色系列－妳的衣紋 "I Buried the Pink Series" - The Pattern on My Grandma's Dress 2020 /

Suihi-Enogu, Mineral Pigments, Ink, Fabric / 36 x 18.5 cm

CHIEN Yun-Chu

LU Wei

In I buried the pink series , the burying behaviour represents people showing sympathy to female characters and hoping that they could look beyond themselves despite of the stereotype in sex. Since 2018 this series has continued to grow, Wei uses Chinese ink painting as the media for her major creations; through the usage of ink she illustrated the natural phenomenon through micro-observation and discusses how nature can be portrayed and preserved in different forms. The artworks also included references from literature and mythology, depicting an insight to life that was gained through observing nature.

"Y.E.S. TAIWAN VIII: 2020 Young Emerging Stars of Taiwan", AKI Gallery, Taipei, Taiwan

"Young Art Kaohsiung", Pier-2 Art Center, Kaohsiung, Taiwan

2019

2019 "Crystal: Between the Lighthouse and the Boat", Sandiao Cape Lighthouse, New Taipei City, Taiwan

FLAME HK "FLAME HK Video Art Fair", OVOLO Southside, Hong Kong, China

2019

2018

2017

2019

Full HD

Full HD Video, TV, Fan Heater, Beach Umbrella, Deck Chair, Nightstand, Reel Extension Cord / Dimensions Variable

4D Low-Tech 4D

Found objects

15 " Ta o y u a n C o n t e m p o r a r y A r t Aw a r d Exhibition", Taoyuan Arts Center, Taoyuan, Taiwan

Sunbath Project is using low tech and found objects to mimic the Augmented Reality or 4D theatre, in order to explore the technology, reality, imagery, body and space.

2016

2019

"Wild girls", Shan-Yue Book House, Taipei, Taiwan

2016 /

"Sights/ Sites- Emerge Artist, A Duo Show by Yun-Chu CHIEN & Yi-Ting HSU", SLY Art Space, Taipei, Taiwan

" T h e ' F l a n e u r ' P r o je c t : G a p Ye a r fo r International Art Networks", Taipei National University of the Arts,Taipei, Taiwan Soul Wave

Sunbath Project

"The Project for Artist-in-Residence from Maritime and Port Bureau", Dongquan Lighthouse, Matsu, Taiwan

134

日光浴計劃

2019

2020

YES TAIWAN VIII

"Utopia Toolbox-Micro Utopias Urban interventions in the city", Taipei Artist Village, Taipei, Taiwan

Focal ANNUAL

135

龍美君

LUNG Mei-Chun

戴佳茹

靈魂深處 Deep in the Soul 2020 /

Lacquer, Tin Powder, Oil Painting / 90 x 56 x 4.5 cm

Carol TAI

The work is created with lacquer art combined with painting media, and uses the female body as a self-symbol to depict the mood changes at low tide.

2020

18 "18th Hsinchu City Art Exhibition", Hsinchu City Art Gallery, Hsinchu, Taiwan

2019 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2016

2019

"In Light I Draw", Artnutri Gallery, Miaoli, Taiwan

"17th Hsinchu City Art Exhibition", Hsinchu City Art Gallery, Hsinchu, Taiwan

靈光 18 - 1 Divine Light 18 - 1 2018 /

Charcoal Powder / 76 x 52 cm

2018

"Fuzhou International Lacquer Art Biennial", Historical and Cultural Block, Zhuzi Lane, Fuzhou, China

2018 "Hsinchu Art Exhibition", Hsinchu County Art Museum, Hsinchu, Taiwan

136

Divine Light invokes a realm where the object and the self are forgotten, gazing inwards while simultaneously looking upwards, a realm that appears in a flash. It is a spiritual realm where the soul experiences, during absolute stillness, the workings of the Holy Spirit and being touched by such experience. Such experience is thus expressed via a narrative of visual aesthetics, attempting at conveying an interior sentiment and connection between individuals and God, a holy ambience that shifts the eyesight off focus yet continuously appeals to people an undisrupted inner sweetness that keeps on fermenting, and a pure experience of soulfulness and beauty immersion, with an ultimate concern for delivering the spiritual content of an "another world" and "another voice" -life's awakening and quest for eternity.

Focal ANNUAL

137

戴嫻真

DAI Shian-Jen

謝宇喬

木花瓶上的花 Flowers on Wooden Vase 2020 /

Oil on Painting / 46 x 38 cm

HSIEH Yu-Ciao

The flowers are there quietly as I am here gently.

2019

2018

這是一個美好的資訊化時代 "Floating on the back to the northwest", North and South Gallery, Taipei, Taiwan

"ART easy", Songshan Cultural and Creative Park No 1. Warehouse, Taipei, Taiwan

Living in the Beautiful Information Age 2020 /

Video, Installation / 240 x 270 x 200 cm

2018

2018 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

"Walk the turtle", North and South Gallery, Taipei, Taiwan

2010 "Revolution ART 2010",Taipei World Trade Center Hall 2, Taipei, Taiwan

Audiences are bombarded with an ongoing flow of messages that are repetitive and hard to test authenticity in this information age. In a three-channel video, viewers are presented with scene images that are a collage of fragmented web-based materials and selfshot pictures, added with ridiculously funny voice-overs and a set of ambiguous signifier and signified. This is done by breaking down established cognitive symbols, and then creating new content with a deliberate arrangement of repetitive elements. The news ticker displayed in the left of the screen tells us: “The show is about to start,” mocking the audience’s waiting in a way that the line between fakeness and authenticity is blurred, while implying a conflict between the much awaited show and fragmented images. When it comes to the information on the wall, it presents an array of condensed video messages made up of eye-catching “keywords.” People seem to have gained media freedom and autonomy, yet they often live in a superficial state where meaningless messages are flooding in their “flattening” life, day in and day out.

138

Focal ANNUAL

139

謝佩庭

That People 系列

謝岱融

That People Series 2019 /

Giclee Prints / 100 x 40 cm x 2

HSIEH Tai-Jung

Google Earth google GPS

HSIEH Pei-Ting

The characters in the picture are all the images captured by the artist through the screenshots as a means of photography while walking on the street view of Google Earth. These people who were captured in large numbers from the Google database more or less reflect a certain life scene of the times. Under the developed satellite monitoring and GPS positioning system, people seem to be objectified, and they are positioned at the coordinates of the past and present, for people to browse; they are frozen together with the scenery to be read, and been referable. In the presence of powerful technology, the existence of people captured through the camera's machine eye is completely different from the traditional portrait photography gazing solemnly at a person. This is a series of works. The artist collects enthusiasm through ethnography, picks and aggregates them, and tries to bring out different ways of viewing the data landscape.

2020

2018 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

Ram piece "Ram piece bellwether", National Taichung Theater, Taichung, Taiwan

真實的虛浮 True Vanity 2020 /

Oil Painting /

2018

1914 "Single Friendship", Huashan 1914 Creative Park, Taipei, Taiwan

2017 "Endoscopy", Former British Merchant Warehouse, Taipei, Taiwan

2017

My view of real society is that people are really existing (body of flesh and blood), smell, hearing, taste tactile senses reflect the real world. And (Void, Greed, Desire, Rights, etc.) is for the Vague Society, because modern people develop social information and accept the amount of complex information leads to the problem that thoughts may distort values and self-mystery, leading to the generation of self-doubt.

Four In One "Four In One", Bookstore Coffee, Taipei, Taiwan

2016 "Absent Photography Exhibition", Grand View Gallery, Taipei, Taiwan

140

Focal ANNUAL

141

謝福源

SIE Fu-Yuan

鍾謦瑄

透明人間 Transparent 2020 /

Silk / 70 x 70 cm

CHUNG Ching-Hsuan

Talking about how to become transparent of a story.

2020 "Memorial Exhibition of Li Chi-Mao's Ink Figure Painting", National Sun Yat-sen Memorial Hall, Taipei, Taiwan

2019 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2018

夢幻奇花－ ( 二 ) "Spiritual adventure", Shin Leh Yuan Art Space, Taipei, Taiwan

"Contemporary Ink Painting Calligraphy and Carving Seal", DaGuan Gallery, New Taipei, Taiwan

Fantasy Flower - 2 2019 /

Oil Painting / 53 x 45 cm

2018

2018 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2016

The 42nd ARTEX TAIPEI 2016 Maitrix Phoenix "The 42nd ARTEX TAIPEI 2016", Maitrix Phoenix, Taipei, Taiwan

The energy source of life is endless exists in the universe. The inner soul creates life consciousness creates everything shows infinite changes and infinite possibilities.

2009

2009 "Artists Expo Taipei", Core Pacific City, Taipei, Taiwan

142

Focal ANNUAL

143

簡辰芯

CHIEN Chen-Hsin

簡詩芸

分離後殘留 Residual After Separation 2020 /

Ceramics /

Dimensions Variable

CHIEN Shih-Yun

I was separated by external forces, that can be easily separated and decomposed but also connected, tyring to get away with it but still get bogged down, it's seems like getting destruction getting disappearing and leaving, in fact, actually want to stay and get the lam at last, like the remains of this.

理髮廳的神諭 Oracle of a Barber Shop 2020 /

Inkjet Print / 150 x 150 cm

I made a series of photographs of the male customers and the barbers in the "Beautiful Man Barber Shop" near my home. Through taking photographs of seemingly daily service such as shampooing, cutting hair, shaving and so on, I turned the customers' experience into the center. I want to present their thoughts of society and reality in a divine way related to Taiwan's circumstances. 144

Focal ANNUAL

145

顏柯夫

無懼 XII

蘇厚文

Fearless XII 2019 /

Oil Painting / 162 x 120cm

SU Hou-Wen

YAN Ke-fu Mountains are also a symbol of virtue; they are solemn, steadfast, and solid. You get the misconception that it's so far yet so close, thus creating a invincible aura of the mountains and the insignificance of oneself. Water, on the other hand, is a symbol of human nature. Landscape painting (literal translation from Chinese: "mountain and water painting") is a reflection of Yan's state of mind, or rather, a self-portrait. His works show forth a distinct and strong personal style, always searching for the context of a painting with an abstract approach, and realizing his unique philosophy of life. This is also the direction where Yan insists on exploring-through the richness of western oil painting fused with the spirit and aura of Chinese traditional painting, finding the artistic vocabulary that pertains to Yan Kefu between heritage and innovation.

2018

2019

百誤語

"TAIWAN ANNUAL", Taipei Expo Park Expo

Dome, Taipei, Taiwan

2017

2019

8 "Rock'N Time ∞", Rémy Martin, Cognac, France

PVC / 60 x 60 x 60 cm

2016

2018

2017

2019

"TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

1914 "Wonder Foto Day", Huashan 1914 Creative Park, Taipei, Taiwan

2018

"Breaking the Stereotype of Photography", Taipei City Arts Promotion Office, Taipei, Taiwan

2015 "Photography Category of National Art Exhibition, ROC", National Taiwan Museum of Fine Arts, Taichung, Taiwan

146

2019 /

"Abstract City Photography Exhibition", AHM Gallery, Taipei, Taiwan

8 "Rock'N Time ∞", AHM Gallery, Taipei, Taiwan

"Layers Timeless", AHM Gallery, Taipei, Taiwan

Message

Focal ANNUAL

The work, MESSAGE, comes from the combination of two different concepts, one is the convenience of information dissemination through the Internet, and the other is A Gathering of 100 Weird Tales from Japan. There is a similarity between the two: continuous narration sometimes makes the message seem paradox. However, we don’t often consider whether the message is true or not but believe the content or object. This subject makes me feel interesting. Consequently, I firstly combined the texts from A Gathering of 100 Weird Tales language with my photos and mix them randomly. Second, I adapted the text to match the photos. The action of rolling the dice is as easy as reading the messages on the mobile phone, but these visual messages have actually been arranged already. 147

The exhibition area “Invited Institution and Group” has now entered its sixth year. The area was originally named “Taiwan Alternative Space and Group”. However, noticing the transformation heterogeneity of the institutional exhibitors in 2019, that art “institution” fairly aids the agency and development of visual arts more than exhibiting artworks merely in white-cube “space”. It has therefore been renamed the “Invited Institution and Group”. For instance, the Native Resident Association conducts field studies of indigenous culture in Linkou as well as documenting community and folk culture; the Indigenous Peoples Cultural Foundation is also devoted to preserving and promoting indigenous culture and art. Over the years, 30 institutions and groups have participated in the exhibition, including Shin Leh Yuan Art Space, Sin Pin Pier—Absolutely Art Space, and ZONE ART take part in this year as always. Also, young institutions have joined such as Bansu House form Zhoying (Kaoshiung) and South Sour Water Performance and Visual Art Festival Mediations Biennale Poznan organized by Waley Art. These institutions keep on bringing the TAIWAN ANNUAL fruitful and fresh art experiences every year.

2015 2019

150

Invited Institution and Group

151

被忽略的日常 The Missing Usual

藝術

PENG Si-Qi

Zone Art

WU Wei-Ting

Zone Art

CHEN Jing-Ying

Zone Art

2017

8 2017-2019

Zone Art is located in the arts & culture district of Taoyuan City. Historically, Taoyuan has been an important industrial county. After the promotion of Taoyuan County into a special municipality, with a vision of its future cultural development, Zone Art was founded in an effort to encourage more arts, culture, and creative professionals to work in Taoyuan. This art space will become the first platform in the Taoyuan City area that supports contemporary art; its focus includes exhibition, performances, cultural creation, and workshops. Managed by a team of local young art professionals and French artists, Zone Art consist of a two-level space. The first floor is dedicated to exhibitions and performances, an office area, and a bar, while the second offers a meeting room and a ceramic studio. The interior is minimal in style and brightly lit, imparting the ideal atmosphere for exhibitions. After two years of intensive planning, Zone Art is set to open on August, 2017. It will exhibit experimental visual arts, sculpture, video works, installations, and performances; exhibited works will embody concepts that combine local experimentation and artistic research. Integrating the above mentioned endeavors, Zone Art will function as Taoyuan City’s arts and culture research lab. In 2017-2019, Zone Art plans to hold professional exchanges with local and international artists and publish work through artistic experimentation, creation, and research; we hope to promote a continuous dialogue between cultural development and artistic creation. In addition to exhibitions within the art space, Zone Art has long followed the cultural, natural, and historical aspects of Taoyuan, such as the Chun Ri Mountain (Tiger Mountain), farm ponds, Tao Forest Railway, military dependents’ village, and the new immigrants. With an understanding of Taoyuan’s cultural context, Zone Art will coordinate artists and cultural-creative-workers to conduct art activism and planning, and create the possibility of dialogue with the older parts of Taoyuan and its community members.

Zone Art 152

潮濕的縫

書籤圖書室

A Moist Lining

Bookmarks In The Library

PENG Si-Qi

CHEN Jing-Ying

I collected speed hump data from urban, suburban and mountainous areas. Sound of recording objects passing through speed hump. Through the slowness and rush of the audio, I think that humans use a way of drawing on the ground markings. Under the scope of measurement and standardization, the actual application of images is shaped by the application of paving engineering to the environment and human beings in society. Dialogue and connection with the environment through object intervention. The resulting traction part makes the object think about the material when it passes through in a temporal ''instant''. Pull the dialogue relationship. The deceleration zone of the road marking is a depiction of lines that increase friction on the pavement in a civilized society. From the speed, direction and weight of the object relative to the measurement, spacing and thickness of the marking. The area that is shaped through the shape belongs to somewhere. In daily life, the area is our closest surroundings.

循跡 This work is an exploration of the intimate realm, encompassing early Taiwanese home décor, reproducing and depicting curtains, bedspreads, tiles and more! The juxtaposition of these memory objects is a regurgitation of familiar media from the past, sanctifying the traces of daily life.

Traction WU Wei-Ting

When the artist rifled through the school library, she found that many bookmarks hidden in the books, and she suddenly wanted to organize and display these personal things. She compares herself to a librarian, flips through thousands of books, prints pages with bookmarks, and distributes them into twenty-nine booklets scattered on the wall separating the inner and outer areas, breaking away from the way books were placed, presented in a more lively form, and the audience can also flip through each page of interesting bookmarks, including newspaper corners, leaves, menus, invoices, etc.

Invited Institution and Group

153

Native 社團法人新北市愛鄉協會

林口子弟戲 Linkou Traditional Opera Festival

Native Resident Association

NGO

“Create ecological cities, strengthen community capabilities” is the vision of Native Resident Association NRA , who is addressed local issues that arose with the growth of cities. Based in Linkou Community University, NRA responds to local underlying needs in areas of changing community, culture, land, landscape, and production through curriculum development. Outwardly, NRA serves as an idea-centered NGO platform; in response to Linkou’s public issues. NRA can combine the talent and resource of the school administrative system and collaboratively offer solutions and creative visions.

In contemporary curatorial practices, i n te rd i s c i p l i n a r i t y i s a l re a d y a ve r y common mainstream practice. Using local cultural history and the abundance of literature produced through the fieldwork of past researchers as text, this exhibition investigates local unofficial histories and regional contexts to draw up a series of possibilities in artistic expression. Through artworks, the exhibition creates a strong grip on its land and the possibility of continuing and recreating Taiwanese culture; what the search of the supernatural is looking for is ultimately the link between people and a re-imagination of older cultures.

人間迷走系列 Human fascination series Shark 2019 / Canson Rag Photographique / 57 x 38 cm

Resident 154

Invited Institution and Group

155

可愛動物協會 Association of Kawaii Animals

Fotoaura Institute of Photography

2009

TSAI Pou-Ching WU Zong-Long

2015

Fotoaura Institute of Photography founded in Tainan in 2009, we delicate ourselves to education and promotion of contemporary visual art. Niche on photographic art and introduce contemporary visual art to general public. Uses professional curatorial practices and artistic activities to care about art and culture and further deepen the connection and context between local culture, art and aesthetics. In the meantime, we also hope to create a new dialogue to interpret art, creating a space allowing artists to exchange and communicate. Furthermore, through forms of exhibitions, seminars and performances, to present outstanding contemporary art works and artistic activities.

CHEN Yi-Ru HUANG Tzu-Ting

HUANG Ting-Yu

2017

“Sensum” is an innovative approach to biotaxonomy proposed by Dr. TSAI Pou-Ching in 2017, classifying organisms that are capable of “triggering feelings”. Any individual entity or virtual scenario generated from human society that embodies such properties would be the authorized sources for classification; accordingly, individual perception would continue acting as the refined analytical standard to expand synesthetic experiences, and to seek unity in diversity. “Association of Kawaii Animals” is a research institute comprising experts from various fields, of which research direction focuses on biological entities regarded as “Kawaiious”. Up to now, the preliminary research results has been classified into Class Hirsutae, Class Oculis, Class Magnis, Class Stultum, and Class Nervous. All in all, the association anticipates that biodiversity in Kawaii Animals will be increased rapidly through various promotional events, thus leading to a rich variety of Kawaiious communities. We sincerely invite you to join us to put effort into maintaining biodiversity.

Fotoaura

海馬迴光畫館

For experimenting working methods of triggering feelings, we use the biological imagination and experience to change daily viewing and re-measure the real world. The Kawaii animal collection workshop in October 2019 pushed the research area of biotypes to the range of artificial objects and practical objects. The participant made their collection to the specimen, and named these Kawaii animals with Binomial Nomenclature according to species characteristics.

除塵刷 N.N. Pulveris Penicillo Huang, 2019 Association of Kawaii Animals 2019 /

清潔手套

Institute of 156

Invited Institution and Group

Specimen Photo / 40 x 50 cm

S. Suspendisse Caestus Ho, 2019 Association of Kawaii Animals 2019 / 157

Specimen Photo / 40 x 50 cm

Fishsnipers 『？』

LIN Chun-Yung HO Chia-Cheng

CHEN Yen-Ming WANG Guo-Ren

Fishsnipers

深海時間

塑膠海翁

Time in the deep sea

Plastic whale

WANG Guo-Ren 2020 / Installation, Mixed Media / 430 x 330 cm

“The Island, The Islanders and The Ocean” has long been the focus of Fishsnipers, an artists group that draws their inspiration from exploring not only Taiwan and its neighboring isles but the islanders, their culture and history. The artists observe through all kinds of scopes such as their own gender, life experiences, cultural and environmental perspectives, and sometimes their international educational background.

LIN Chun-Yung 2020 / Recycled Canvas, Iron Frame, Bamboo, Plastic Bags, Paint, Bluetooth Speaker / 680 cm x 340 cm

魚

殃

Loss and misfortune HO Chia-Cheng

It's the artist's fantasy time in the deep sea.

2018 /

LED Mixed Media / 430 x 175 cm

The idea of “Plastic whale” is the issues about environment and whales, LIN is trying to link with reality by his huge installation art. He wants people can feel the environment changes, dying animals and people by walk into the artworks.

Fishsnipers

158

Invited Institution and Group

159

If we don't care about our world, the future will become...?

森嵐工作方圖

先生

女士

C&G

Mr. / Ms. Margot GUILLEMOT

C&G ART GROUP

Margot Guillemot

孫先生、阿瑟先生、林小姐 Mr. Sun, Mr. Arthur, Miss Lin Margot GUILLEMOT 2019 /

C&G art group consists of artists Chieh-sen Chiu Taiwanese, born 1986, Taoyuan, Taiwan and Margot Guillemot French, born 1993, Cork, Ireland Though personal and collective works, it is an art creative team focused on merg-ing digital imaging technology with the pattern of cultural development. Employing digital technology as the core basis of their artistic process, the team explores ways in which technology enters our daily lives, and applies this in-formation into their process. How does one digitally reconstruct the possibilities of the urban landscape from intan-gible memories?

Stainless Steel, Acrylic / Mr. Sun 168 x 40 x 59 cm Mr. Arthur 179 x 58 x 50 cm Miss Lin 163 x 64 x 57 cm

Margot Guillemot holds a MFA degree from the Beaux-arts of Montpellier in France. She dedicates herself to explor-ing the art-ness of contemporary digital technology, through which she reflects on the idea of “reality”. By examining the fluidity of time, she uncovers the nature and condition of human life; it is the irrefutable time, the deepest layer of self, or a blurring of the“self” and “subject,” collectively formed into an argument on “being.” From the paradoxi-cal relationship between perception and cognition, reality and virtual, space and time, Margot questions the idea of “reality” – is “reality” necessarily “real?

C&G 160

Invited Institution and Group

ART GROUP 161

Sin Pin Pier

新浜碼頭藝術空間

北美穿堂

Go through the TFAM

Sin Pin Pier—Absolutely Art Space

LEE Pei-Yu

smoker gathering

瑜個展 The 2020 Taiwan Annual is unfolded at the Taipei EXPO Park, originally Chungshan Soccer Stadium. It is located in between Yuanshan Metro Station and Taipei Fine Arts Museum. I didn’t even realize the park was a football field before I was socialised in a smoker gathering within a lecture. However, the stairway sort of reminds me when people were taken away their power by public governance. It was such a sign of the times. My memory is completely void in Taipei EXPO Park. I can’t associate it either with Chungshan Soccer Stadium or the flora exposition itself. It’s more like a pathway between Taipei Fine Arts Museum and Yuanshan Metro Station. The way guides me to learn fine arts which could also take you from Taipei Bus Station to Yuanshan Metro Station. As a southern fellow, the hallway provides a gate that allowed me to pursue what’s the fine art bubble recently concerns about. I could tell you the EXPO Park is the place that I know but never grasp with besides the weekend farmers market out there.

2020.5.23-6.14

I choose Still-life sketch to revival those items has been sold in the traditional market where I used to buy groceries. Somehow, it’s a tribute to those marketplaces which has been slowly waned in the public scene. I renovated these scenes from collecting history footages to my studio and constructed them by revamping public memories in my neighbourhood. Regardless, this is what I meant to do when I come back to my root and collaborate with Sin Pin Pier and National Sun Yat-sen Univ.

Bansu house Bansu

162

Invited Institution and Group

163

︾

於鹽埕建國市場社區計畫

德意志的樂器口白

︽勝雄慣常︾

︽萬事屋︾ Randoma

Absolutely

The Bansu House was established by LEE Pei-Yu and KUEH Peh-G n which provided an alternative art studio for Kaohsiung City. You could find the connection within it while visiting there despite the space is managed by several organisations and local artists. The lifestyle of KUEH is pretty unsettled. Still, it’s a heartland to build up the scenery in his mind from assembling friends in the Bansu House. Peh-G n usually prefers to draw with a larger measurement of canvas and bring back the lousy live music scene in his artwork.

Magic Hour

The Sin Pin Pier—Absolutely Art Space has been open and active for 23 years. Over the years we have kept increasing public participation and promoting the creation of Contemporary Art, exhibitions and discussions. Extending arts education and appreciation as well as cultivating professionals in the field of Arts administration and management are our priorities. In the spirit of SPP as public property, we advance civic literacy and actively boost the cross-border citizen forum in the fields of art, culture and society, for building a southern vigorous, active and activating cross-border art space.

︽美國李時珮間

2019

KUEH Peh-G n

新樂園藝術空間

野草花園 Weeds Garden Curator

TIEN Ming-Chang

Assistant Curator

Artists TIEN Ming-Chang CHEN Ven LIN Yu-Lian CHEN Ting-Yu YANG Chin-Yao CHEN Jui-Hung WANG Yaw-Jun HUANG Yu-Pin CHANG Wan-Ling YU Chung-I KUO Hui-Chan

Shin Leh Yuan Art Space

Shin Leh Yuan 1994

1995

CHEN Ven

LIN Zhe-Zhi

SLY Art Introduction Shin Leh Yuan (which means New Paradise) Art Space is an artist's collective-operative gallery. Established in 1995, it's now on the seventeenth year. Members' change takes place every two years. In this way, we try to input new experience and experiment to both the creation of artwork and the operation of the art space. The core idea of running this space is to make it as a container, to infuse or to diffuse, to let things happen flowingly and flexibly. We hold exhibitions every month, along with artist slide shows and various art talks.

'Weeds Garden' takes unfamiliar plants everywhere as the object of 'words' to explore how the original meanings of the weeds in the field of plants are defined. Are weeds just a specific cultivar of plants in the wild? Through mechanically and bodily searching for different textures of the weeds spreading in rural, urban and undeveloped natural are-as, when it is dialectical that the weeds are the objects of 'word', are weeds part of the natural systems? Is the reason why the weeds are weeds lies in the omission choices of 'words'? Who can answer what the weeds are?

Our Concept: SLY Art is a special art space whose goal is to explore contemporary art and its relations with different communities. as a member of this space, we care about the humanistic values of art, with a sincere heart, an interdisciplinary vision and an academic, artistic approach. History: SLY Art Space was established in 1995 by some of the members from another group "apartment no. 2". They gathered totally 20 artists and started showing their works using the space formerly belonged to "apartment no. 2" which was by then dismissed. Since then, the location and membership of this collective co-operative gallery run by artists themselves have been through several shifting. One of the special features of SLY Art space is its organization. Every two years, the membership will have a reshuffle. Some old members will resign and give vacancy to allow new faces in. Members have to share the payment of rent, utilities and one office assistant, as well as develop new ideas of how to run the space better. Projects in The Nearer Future: Now we have moved to chung-shan north road, sec. 2., not far from several artistic spots such as taipei fine art museum, museum of contemporary art, and spot-taipei film house. In this new site, we have held many interesting exhibitions, art talks and slide shows. In the future, we plan to expand our reach by going out and hold group exhibitions in other cities. Some of the projects are under intensive discussion among members.

Art Space 164

Invited Institution and Group

165

Something we want to try... CHEN

Bansu House

Bansu

We have a dog called BiBi which lived in the Bansu House.

HE Yu-Chi Lauwei WEI CHEN Yi-Wen

KUEH Peh-G n

Joni Joni

當我們談何郁琦

躁動場景

When it comes to Yu-Chi

The Scenes

Jxin

KUEH Peh-G n

HE Yu-Chi 2015-2018 /

2020 /

Video

Bansu

萬事也生

Canvas, Acrylic / Dimensions Variable

9/13 9/19

You can see the video here: https://pringlecehe.wixsite.com/taiwan/ project

Lauwei WEI Video / 34'00''

2008

There is the video talks about life and climbing.

166

Invited Institution and Group

167

Digital Art Center, Taipei

臺北數位藝術中心 X 安可人生

2018

Digital Art Center, Taipei nk media Magazine

11: 00-19: 00

18: 30

The founder of nk media Magazine. 43

2020

Digital Art Center, Taipei The Association of the Visual Arts in Taiwan AVAT has undertaken the operation of Digital Art Center, Taipei DAC, Taipei since April 2018. The team of AVAT leverages on its deep-rooted artistic resources and experienc-es to contemplate over ways to build up meaningful connections between the center and its local communi-ties, so as to become a greater platform providing pragmatic practices. DAC, Taipei aims to open its physical space, to explore the relationship with its surrounding, and to create new possibilities of the integration be-tween the center and digital art. We look forward to introducing the concept of “Re-”, “Extra-” and “Neo- ” to approach the diverse needs, upgrade quality and to start a brand new chapter of DAC, Taipei.

Visual Fest The head of Creative Ageing Dept. of “ nk media Magazine”.

The head of Creative Ageing Dept. of “ nk media Magazine”.

nk media Magazine nk media Magazine is the first "Platform of Creative Ageing in Taiwan", provides proposals for creative lifestyle, ac-tion plans, global ageing news, and quality picture books recommendation to our targeted ageing audience. nk media Magazine encourages "Living in an excellent way during retirement period," jointly active in the second half of life, Transforming the elderly society, and getting old together! With print, digital and social media, nk me-dia Magazine offers professional age-related courses, event design, and consulting services. nk media Magazine won the 43rd "Golden Tripod Awards" as a recommended outstanding publication. This Autumn (2020), we will hold the very first "GOLD-Creative Aging Festival" in Taiwan.

ankemedia Magazine 168

Invited Institution and Group

” nk media Magazine” held the workshop to gather the people who are interested in creative ageing and agitate the ideas by the group discussion. 169

South Sour Water Performance

酸水南行為影像藝術節 X 波蘭中介雙年展

恐懼製造所

FEAR INDUSTRY

Curator Tomasz Wendland Biennale Pozna PENG Tsai-Hsun South Sour Water Performance and Visual Art Festival Artists Peter Puype Ronald Dagonnier Belgium Poland , Noam Braslavsky

South Sour Water Performance and Visual Art Festival Mediations Biennale Pozna

Director of Mediations Director of

Belgium , Koen Theys Belgium , , Tomasz Wendland Poland , Julia Kurek Israel , Eyal Assulin Israel

2019 Social moods

2012 2020

2021

Julia Kure

Lucha Llibre

50 59

South Sour Water Performance and Visual Art Festival “Sour water” is the matter vomited when one gets sick, which in turn disturbs the harmonious dynamics. South Sour Water Performance and Visual Art Festival tackles the hybridity of contemporary visual culture, resist social, generational, and cultural institutions and utilises performance as a way to experiment with a body awareness. In the first edition art spaces from Nepal, Malaysia, and Japan were invited to collaborate and explore various aspects of body images in experimental film, animation, sound, video, performance, theater, music, etc. The 2019 edition connected four art venues in Wanhua with festivals and biennales in Japan, Poland, and Russia, which marked as important cultural events in Northern Taiwan. Mediations Biennale Pozna Mediations Biennale Pozna is one of the biggest biennales in East Europe. With its exhibitions spreading across main cities in Poland, including Pozna , Kraków, Warsaw and beyond, it has become one of the most important art events in Poland. Mediations Biennale Pozna primarily deals with post-colonialism after the Europe Union as well as post-communist cultural politics, besides attempting to rewrite national identities and historical narratives of the East European countries. Mediations Biennale Pozna has gained its significance through the years, as in 2012 it invited cultural ministers from about 50 countries across Eurasia to jointly open the exhibitions, in 2020 it became a national biennale, and in 2021 it will organise collateral events in the framework of Venice Biennale.

Fear has been and will be one of the most effective tools for controlling people and entire societies.Fear overtakes the facts. By becoming a fact itself, it causes real actions, or lack thereof, that push people to action, or paralyze them physically and mentally. Fear initiates the creation of fake news,fashion for various fears, activates new communities, demand and consumption, various products designed to protect us or protect us against an alleged threat or attack.Fear accompanies all hostilities, often preceded by a campaign to justify its coming in the name of higher values, in self-defense, or as a preventive strike. He then refers to national, identity, racial or religious values, thus arguing the other party's guilt and the need for self-defense. In the current global pandemic situation, the virus crown fear has become a soft tool of manipulation and influencing social moods. After all, you can't finally figure out what is causing the epidemic, the natural source, chance, oversight in the laboratory, or conscious action. Our exhibition defines neither an enemy nor a victim. Draws attention to the phenomenon of fear manipulation in the era of global network communication. The hope that social media will become an instrument of democracy, free access to the truth has blurred, and digital media have become even more powerful, often with impunity of spreading fake news, introducing a sense of fear into the global network, although it is often difficult to determine properly what?

Mediations Peter Puype - It's the final count. Down!

170

Invited Institution and Group

171

1990 LSA, LJMU

CHEN Nien-Ting

CHEN Nien-Ting (b. 1990) is an independent curator and visual artist. She currently pursuing her PhD in Art at the Liverpool School of Art (LJMU). She works across cities in both Asia and the United Kingdom, with her research, practice and projects focusing on developing strategies to bring young artists onto the world stage through the exchange, sharing and combination of resources.

2020 2020

otoaura ning”, F se , ot Scree elting P su H o u n M a e B th / phy “Down h o to g ra P f o te iwan. In st it u ung, Ta / Kaohsi Tainan SPCE t A LT in g Po lt e M th e D ow n OOP, Space L ”, ALT LOOP er p o o l ting Pot iv L el t M h e th ig h tn ig “Down ot”, the o re a . “L elting P So u th K n the M Seo u l, ow D : on . ommissi pool, UK 2020 C tre, Liver t Art Cen Bluecoa the : Down

2020

g Pot Meltin

策展人

Curatorial Statement

Curator Curator Curator Curator 陳念庭

策展論述

is si o n : Comm l 2 0 2 0 lu eco a t A rt o o p er B ig h t L iv t” , th e “L ig h tn e Mel ti n g Po th UK. Down l, oo p Liver Centre,

“Taipei Sun x Site” is urban city public art project original conception from Zhongshan Hao Rong Yi art project which started from 2013, held by AVAT. Hao Rong Yi project provided different perceptions, and returned the right of “Street Narrative” back to the district. Seeing the intervention of art through young artists perceptive who comprehend the moment in this rapid-changing neighborhood. Taipei Sun x Site exhibition is divided into two parts, pre-exhibition and the official exhibition. The project site for investigation will be in Zongshan District, Taipei city, which AVAT, Taipei fine arts museum and some famous art spaces and galleries were located within the area. For the project’s Photography exhibitions and public arts will be presented in the nearby self-laundry shops based on where AVAT is (in the realm of Yuanshan Vil., Qingguang Vil. and Hengan Vil.). Furthermore, the pre-exhibition is held by Taiwan Annual, and presented in Flora Expo Taipei. The project in seen as three segments: Firstly, we will invite Leverage ART Lab to research that why Zongshan District has the highest density of self-laundry shops in Taipei, consider its history of the community, business activities, relationship of the residents. Moreover, analyze living culture and art intervention of the area in depth.

s Depo

Hin Bu

2019

Secondly, we will invite young photographers to record and investigate self-laundry shops of Tokyo, Seoul, Taipei, Bangkok and Singapore, through the photographic perspective to demonstrate the various city views of self-laundry service culture. Photographers’ observation and analysis from each city will be connected in a comprehensive way.

d Unsettle al: The s n Festiv v a l” , H in B u ow et rg ti Fes g Geo “Penan a S h o rt F il m si . D u st - A ang, Malaysia Pen Depot,

2019

176

2020

Lastly, inviting Taiwanese artists to produce art works which are directly inspired by Zongshan self-laundry shops. During the creation period, artists, self-laundry shops and Leverage ART Lab collaborate and communicate which refer to art, history, business, in order to present sufficient public art installation. Artists are invited to take part in the workshops which public can experience participatory art.

an ! Ta i w se FFF it t h i s ? F ry Art Warehou o d u ood yo ora ontemp “Dare ”, Sun-w / C m t a is gr D ro P an ung Gangsh xchange , Kaohsi tional E VT Artsalon / Interna 7 se No. Warehou iwan. Ta Taipei,

Taipei City Sun Site Public Art Project

177

Research Team 槓桿實驗藝術工作室 Leverage ART Lab

The team is leading by Nien-Ting Chen and Chia-Nuan Chen. The lab has three consistent topics, the connection and sharing on art resource, the diverse development of Taiwan contemporary art industry, lastly, the strategies and practices of the international development.

Leverage ART Lab Nien-Ting Chen | convener

Team Member

研究團隊

Leverage ART Lab 團隊名單

Chia-Nuan Chen | chief/ lead researcher

Yu-Cheng Hsieh | artist/ engineering design

Shih-Lin Tseng | architectural space design

Hsin-Fang Lee | different industry cooperation /market analysis

Yu-An Ou | researcher

Leverage ART Lab 178

Leverage ART Lab

Taipei City Sun Site Public Art Project

179

n K

Jinsun PARK

Maze, Gung Guest House (MIA), Seoul, South Korea G O L D S M I T H S O R I E N TA L M -A RT ONLINE, London, Singapore, Seoul, South Korea Nobudam “?”, Art Number 23, London, UK The Photography Now, The Brick Lane Gallery, London, UK Exit, MIA MGW, Seoul, South Korea

Jinsun PARK

J P

I am a collector of ordinary moments. Special moments are easily documented and appreciated but daily life we’re living in is often disregarded. When I came back to Korea after studying in the UK for years, things that are used to be around my life every day for eighteen years became something not ordinary. From that experience of being outside of where I’m from, I started to look at the ordinary events and objects in a raw view so that I can appreciate the ordinariness that consists our life. I collect ordinary objects, litter on the street, moments with friends and family, often having food and walking on the street.

180

Taipei City Sun Site Public Art Project

181

Tammarat KITTIWATANOKUN

2020 “A Way of Seeing : Reading SEA photobook and self-publishing”, PonDing, Taipei, Taiwan

2020 “Speedy Grandma Centennial”, Speedy Grandma, Bangkok, Thailand

2020 “อี๊ดอ๊าด อี๊ดอ๊าด Risograph Project”, Tokyo Hot 2nd floor, Bangkok, Thailand

2019

Tammarat KITTIWATANOKUN “A l m o s t Na t u re ” , c u ra te d by Po ja i Akratanakul, 3rd Floor 469 Phra Sumen Rd. Wat Bowon Niwet, Phra Nakorn, Bangkok, Thailand

2019

“Young Thai Artist Award”, Bangkok Art and Culture Center, Bangkok, Thailand

2019

“หลุ ย Louie!: Attitude Against Failure” curated by Charoen Contemporaries, Cartel Artspace, Bangkok, Thailand

Tammarat KITTIWATANOKUN Tammarat KITTIWATANOKUN

2019

Tammarat KITTIWATANOKUN is a visual artist works mainly with photography and a multi-disciplinary. His work is questioned and playing with the overlap between fiction and non-fiction, also the change in collective and individual memories. Recently, he has received The Grand Prize from Young Thai Artist Award in photography category in 2019. 182

Taipei City Sun Site Public Art Project

183

張卉欣

2019

2016 this

that

2016 SHOUT

CHANG Hui-Hsin

1/4

2015 a flower is not a flower Boven

2014

CHANG Hui-Hsin

Hui-Hsin born in Tainan, currently base in Taipei and Tainan. Street Photography has always been at the centre of my work, which has often appeared more interested in scenes and objects, rather than people. 184

Taipei City Sun Site Public Art Project

185

菅野絢子

2020

2017

2015

2014

Junko KANNO

1986

The photographer, Junko KANNO, was born in Fukushima Prefecture in 1986. His photography series “What is cat?” are serialized in “Nippon Camera” , Japanese Photography Magazine . The subject is based upon the creatures found in Tokyo’s streets during walks. 186

Taipei City Sun Site Public Art Project

187

蘇敬翔

2020 “Sandstorm in an Hourglass”, The Substation, Singapore

2020 “Playing Hide and Seek with Myself ”, Keep in Touch, Seoul, South Korea

2020 “Gallery Light Up”, National Gallery, Singapore

Jaxton SU

2019 “A .vo i d ” , A r t Mu s e u m o f Na n j i n g University of the Arts, Nanjing, China

Jaxton SU 2019

“Larroque Art Festival”, Galerie La Vieille Poste, Larroque, France

1988

Jaxton SU

Jaxton Su (b. 1988) is an independent visual artist. He is also an adjunct lecturer at Nanyang Technological University (NTU). Holding a Master of Fine Art from The Glasgow School of Art, UK and a Bachelor of Fine Arts from NTU, Singapore, Jaxton seeks to coalesce the diverse interrelated experience from his artistic, pedagogical, community-based and curatorial practices, and applying them within meaningful projects that will encourage thoughts, reflection, exchange and discussion. 188

Taipei City Sun Site Public Art Project

189

TUNG Yu-Ting / TUNG Chin /

114

JAN Yu-Mei /

Leverage ART Lab / HSIUNG Yu /

CHENG Chung-Liang / Sen Yu /

117

LU Wei /

Havilland /

CHAO Wei (CHAO Shin-Mei) /

119

LIU Hong-Ting /

Asuka LIU /

134

135

LUNG Mei-Chun /

136

137

DAI Shian-Jen /

120

121

122 123

PAN Chung-Chun /

138

HSIEH Yu-Ciao /

139

HSIEH Pei-Ting /

140

HSIEH Tai-Jung /

141

SIE Fu-Yuan /

OU Hsiao-Chun /

CHIEN Yun-Chu /

Carol TAI /

South Sour Water Performance and Visual Art Festival Mediations Biennale Poznań / 170

142

CHUNG Ching-Hsuan /

124

CHIEN Chen-Hsin /

TSAI Yu-Yeh /

125

CHIEN Shin-Yun /

TSAI Pei-Yun /

126

YAN Ke-Fu /

TSAI Hsin-Jung / TSAI Ping-Ju /

127

Jaxton SU /

194

143

144

145

146

SU Hou-Wen /

132

133

LAI Pei-Chun /

168

118

LIU Ting-Lan /

131

CHIANG Yen-Chi /

178

Digital Art Center, Taipei Ānkěmedia Magazine /

130

TSAI Bey-Shy /

116

CHAN Han-Yi /

台灣當代一年展展區平面圖

129

TSAI Yin-Jin /

115

2020

128

TSAI Yung-Yu /

147

188

Index

195

Intern WANG You-Yun LIN Tsai-Ying

Project Director HONG Yi-Jeng

Focal ANNUAL Exhibition Executive PIEN Tien-Wei TSAI Ping-Ju Invited Institution and Group Exhibition Executive FAN Yu-Ching Taipei City Sun X Site Art Project Curator CHEN Nien-Ting Executive Team Leverage ART Lab Art Promotion HONG Yi-Jeng

Yi Volunteer and Intern Coordinator FAN Yu-Ching

Spatial Design HONG Yi-Jeng Art Director misc studio Misc Lin Website Design Return Digital Tech

196

WU Shu-Yin LIU Fang-Ting

Volunteer YU Chia-Chi FANG Tsai-Hsuan WANG Shi-Chang WANG TzuYun WANG Chih-Hsin WANG De-Chen WU Hsiao-Ju LI Pin-Xuan LEE Chi-Chia JHOU Yi-Syuan CHIU Hsuan-Yi HSIA Chia-Min GAO Yu-Wen CHANG Xin-Wen CHANG Wen-Chi CHANG Po-Ming HSU Hsiang-Wei HSU Chih-Ling CHEN NaiChia CHEN Yu-Cheng CHEN Yu-Hsuan PENG Min-Syuan HUANG Chien HUANG Wei-Jhe HUANG I-Yu CHAN Chih-Chun LIAO Sheng-Hung LIU Yi-Ting OU Jia-Yu TSAI Tsai-Hui DEN Li-Ling LAI Yi-Jun LAI Yan-Ling HAN Yong-Zhu LO Yu-Shan LO Yun-Ting

Foster ANNUAL Exhibition Executive HONG Yi-Jeng FAN Yu-Ching

PR and Marketing Press and Social Media HONG Yi-Jeng JIN Shi-Yi Cross-field Cooperation JIN Shi-Yi HONG Yi-Jeng

WANG Hsin-Yu CHANG Hsin-Yu

FU Yu-Wei

AVAT 12th Board Members Chairman WU Shang-Yung Vice-Chairman HU Shin-Yu SU Yao-Hua Executive Board Member NIU Jun-Qiang CHEN Wen-Hsiang Board Member WANG Ding-Yeh WU Yin-Hui LEE Hsu-Pin LEE Ming-Hsueh LIN Yu-Hsuan CHIU Chieh-Sen CHANG Ling CHANG ChunHUANG Wan-Ling LAI Hsiang-Lin Executive Supervisor HO Meng-Juan Supervisor CHANG May-Ling LU Hsien-Ming YANG Mao-Lin SU Hui-Yu AVAT 12th Secretariat 2020 Secretary-General PIEN Tien-Wei Public Relations Manager JIN Shi-Yi Project Manager HONG Yi-Jeng Executive Secretary TSAI Ping-Ju FU Yu-Wei FreeS Art Space Manager FAN Yu-Ching

Executive Team

197

TAIWAN ANNUAL Executive Team

2020

Chairman WU Shang-Yung

台灣當代一年展執行團隊

2020

台灣當代一年展

Publisher WU Shang-Yung Published by Association of the Visual Arts in Taiwan Chief Editor HONG Yi-Jeng FAN Yu-Ching Executive Editor PIEN Tien-Wei JIN Shi-Yi TSAI Ping-Ju Translator TU Ting-Yu KUO Jaan-Yuan Art Director misc studio Misc Lin Graphic Design misc studio Misc Lin

Allen Shih

Partner CNJ PAPER Printer

Price 500

CIP . 2020 / NTD $500

212

. 2020.09

17 x 22

ISBN 978-986-94336-4-8 1.

902.33

2020

First Published in September, 2020

109012265

Tel 02-2585-7600 Fax 02-2585-7679 E-mail twannual@gmail.com Address 10460 82 B1 B1, No.82, Sec. 3, Xinsheng N. Rd., Zhongshan Dist., Taipei City 104, Taiwan Donate Account (806) 00108-2673232-13

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