Category: Installation

Xonron b. 2002 (France)

2026

Sculptural installation 

Threads, yarn, and paper

Dimensions variable

Artist bio:

Xonron is a self-taught French artist whose work explores language, transmission, and storytelling through illustration and crochet, linking human societies while challenging rigid ideas of nations and borders. Nourished by community relationships and the influence of numerous fiber artists, she continues to cultivate her art practice while pursuing her master’s degree in Taiwan.

Xonron 是一位法國自學藝術家，其創作透過插畫與鉤針編織，探索語言、傳承與敘事，在連結人類社會的同時，也挑戰了關於國家與邊界的僵化觀念。在社群關係的滋養以及眾多纖維藝術家的影響下，她一邊在台灣攻讀碩士學位，一邊持續深耕她的藝術實踐。

Artwork description:

Treeansmission is an interactive installation that explores the transmission of knowledge and craftsmanship across generations. Simulating the branching growth of a tree, it highlights the irreplaceable human touch behind traditional crafts. Through participatory elements, workshop participants hang names of craft workers and ultimately transform the work into a living archive that honors labor, memory, and community. 

本作品是一件探索知識與工藝跨世代傳承的互動式裝置。作品模擬樹木分支生長的形態，突顯了傳統工藝背後那無可取代的人手觸感。透過參與式元素，工作坊的參與者將手工藝者的名字懸掛其上，最終將這件作品轉化為一個向勞動、記憶與社群致敬的活體檔案。

Mauk Evertse b. 1995 (Netherlands)

2026

Participatory calligraphy installation

Mixed media

Dimensions variable

Artist bio:

Mauk Evertse is a new artist and researcher based between Taipei and Amsterdam. Driven by a core interest in how people experience art, he creates works deeply informed by his fascination with traditional Chinese painting and ecocritical art that resists the nature-culture binary. He has a background in Chinese Studies and is now completing his master’s degree at Taipei National University of the Arts. 

Mauk Evertse 是一位穿梭於台北與阿姆術特丹之間的新銳藝術家與研究者。在「人們如何體驗藝術」這一核心興趣的驅動下，他的創作深受其對中國傳統繪畫的著迷，以及抵抗自然與文化二元對立的生態批判藝術（ecocritical art）所啟發。他擁有漢學背景，目前正在國立臺北藝術大學完成他的碩士學位。

Artwork description:

The Universal Gate (普門) is a participatory calligraphy installation that invites viewers to co-author a collective transcription of verses from the 25th chapter of the Lotus Sutra, titled “The Universal Gate.” Visitors handwrite one of the sutra’s 104 strophes and hang it on a designated wall, layering their script over previous contributions. The work emerges through the accumulation, each shaped by a distinct personal context. Mirroring the multiplicity and boundless compassion of the Bodhisattva Guanyin, the installation resists singular authorship. Individual traces remain even as they are covered, becoming part of a continuously evolving whole.

本作品是一件參與式書法裝置，邀請觀者共同抄寫《妙法蓮華經》第二十五品〈觀世音菩薩普門品〉的經文。觀者親手書寫經文中的104個偈頌之一，並將其懸掛在指定的牆面上，讓自己的字跡與前人的心跡層疊交織。作品隨著這些複數文本的累積而逐漸浮現，而每份文本皆由獨特的個人脈絡所形塑。本裝置呼應了觀世音菩薩的多樣顯化與無量慈悲，抵抗了單一作者權（singular authorship）的定義。各別的痕跡即便被後者覆蓋卻依舊存在，共同成為一個持續演進的有機整體。

Adrian Pacres b. 2000 (Philippines)

2026

Sculpture

Used wooden chair, clay

Dimensions variable

Artist bio: 

Adrian Pacres is a Filipino visual artist and researcher. His work explores the intersections of body, memory, and identity through installations, portraiture, and fieldwork, engaging with concepts of displacement and temporality. Grounded in research and community immersions, he is currently pursuing his master’s degree at Taipei National University of the Arts.

Adrian Pacres 是一位菲律賓視覺藝術家與研究者。他的創作透過裝置、肖像畫與田野調查，探索身體、記憶與認同的交界，並與流離（displacement）和暫時性（temporality）等概念展開對話。他的實踐紮根於研究與社群沉浸，目前正於國立臺北藝術大學攻讀碩士學位。

Artwork description: 

Someone Sat Here Before You presents a used chair carrying layered meanings and traces of presence, cradling a pillow sculpture formed through sitting while the material is still soft. The work reflects on memory embedded through touch and transformation, allowing the chair to function as a witness to lived encounters and accumulated histories.

本作品呈現了一把承載著層疊意義與存在痕跡的二手椅子，其上悉心抱持著一個在材質尚且柔軟時、透過坐壓塑形而成的枕頭雕塑。作品反思了透過觸碰與轉化而嵌入的記憶，讓椅子得以作為親身遭遇與累積歷史的見證者。

John Kim b. 1975 x Lucía Amieva-Wang  (USA)

2026

Participatory installation 

Joss paper with printed photography, smoke, and embers

Dimensions variable

Artists’ bio: 

John Kim is a professor of Media and Cultural Studies, a theorist, and a new media practitioner based in Minnesota. His interactive art, video games, software, and sculptures explore intersections of environmental representation and data spatialization. He has published widely, including his 2016 book Rupture of the Virtual, and exhibited globally and currently teaches at Macalester College.

John Kim 是一位定居於明尼蘇達州的媒體與文化研究教授、理論家以及新媒體實踐者。他的互動藝術、電子遊戲、軟體與雕塑創作，致力於探索環境再現與數據空間化（data spatialization）的交界。他擁有豐富的著作發表，包括2016年出版的《虛擬的破裂》（Rupture of the Virtual），作品於全球廣泛展出，目前任教於瑪卡萊斯特學院（Macalester College）。

Lucía Amieva-Wang is a Mexican-Taiwanese-American artist from California, pursuing her master’s degree at Taipei National University of the Arts, after studying Media and Cultural Studies and Biology at Macalester College. Her hyphenated identity tells her story as an artist that two things can be true at once, engaging layered truths and transformation as people and places change.

Lucía Amieva-Wang 是一位來自加州的墨西哥-台灣-美國三籍（Mexican-Taiwanese-American）藝術家，在瑪卡萊斯特學院（Macalester College）修讀媒體與文化研究以及生物學後，目前於國立臺北藝術大學攻讀碩士學位。她那具連字號的複合族裔認同（hyphenated identity），訴說著她作為藝術家的故事：兩個看似衝突的真實可以同時並存；隨著人與地方的變遷，她持續觸碰著那些層疊的真實與轉化。

Artwork description: 

Ancestral Futuring for an Entangled Time is a participatory installation that reimagines the burning of joss paper for future ancestors. Printed with prose written by John Kim and photography by Lucía Amieva-Wang, visitors select, read, and burn a piece at the Guanyin temple when entering or exiting the exhibition. In contrast to the destructive and colonial desire to dominate the present, ancestral futuring gives the gift of time, for it entangles the past, present, and future in the everyday. 

本作品是一件參與式裝置，重新想像了為「未來的祖先」焚燒紙錢的儀式。紙錢上印有 John Kim 撰寫的散文與 Lucía Amieva-Wang 拍攝的攝影作品，觀者在進出展場時，可在觀音廟前選擇、閱讀並焚燒一張紙錢。相較於試圖主宰當下的毀滅性殖民欲望，「祖輩未來學」給予了一份時間的禮物，因為它將過去、現在與未來緊緊糾纏於日常之中。

Johan Amatsakio (UK)

2026

Interactive installation 

Video Game

Dimensions variable

Artist bio: 

Johan Amatsakio is a British and Dutch-Surinamese-Javanese writer, performer, game developer, and drag artist. Performing as their masked, extraterrestrial alter ego, Bard The Beholder, their interdisciplinary storytelling explores queerness, fantasy, and colonial legacy through expressive methods such as eco-conscious costuming, interactive live performance, and utilizing horror to explore their lived experience as a fantastical entity. Currently in Taiwan, they are pursuing a master’s degree spanning research on Javanese contract labor in Suriname to the politics of identity in Leigh Bowery’s work.

Johan Amatsakio 是一位英國及荷屬蘇利南-爪哇裔（Dutch-Surinamese-Javanese）的作家、表演者、遊戲開發者與變裝藝術家。他們化身為蒙面外星化身（Bard The Beholder）進行表演，其跨領域的敘事透過具備環保意識的服裝設計、互動式現場表演，以及利用恐怖美學來探索自身作為幻想生物的生命經驗，進而解構酷兒、奇幻與殖民遺產等議題。他們目前在台灣攻讀碩士學位，其研究範疇橫跨蘇利南的爪哇契約勞工，到雷·鮑威里（Leigh Bowery）作品中的認同政治。

Artwork description: 

Saminah is a drag-and-drop game that explores tensions between public and personal archives through intertwined fiction and non-fiction narratives. The player assumes the role of an assistant archivist tasked with uploading records about a Javanese contract laborer who migrated from Java to Suriname in the early 20th century, part of a broader labor movement following the abolition of slavery in 1863. Through its visual language, narrative voice, and system design, the game critically interrogates archival practice.

《Saminah》是一款拖放式（drag-and-drop）遊戲，透過虛構與非虛構交織的敘事，探索公共檔案與個人檔案之間的張力。玩家在遊戲中扮演助理檔案員，任務是上傳一名在20世紀初從爪哇移民到蘇利南的爪哇契約勞工的紀錄——這是1863年廢除奴隸制後更廣泛的勞工運動的一部分。該遊戲透過其視覺語言、敘事觀點與系統設計，對檔案實踐進行了批判性的詰問。

Jimena Riso b. 1991 (Paraguay)

2026

Interactive light and sound installation

Arduino-based system with weight sensor, multichannel audio, and suspended ready-made objects.

Dimensions variable

Artist bio:

Jimena Riso is a multidisciplinary designer working across exhibition design, visual communication, and spatial practices. Her current artistic exploration focuses on creating sensory and interactive experiences that invite reflection on themes such as gender and related social issues. She is currently based in Taiwan, where she is pursuing a master’s degree.

Jimena Riso 是一位跨領域設計師，工作實踐橫跨展覽設計、視覺傳播與空間實踐。她目前的藝術探索聚焦於創造感官與互動體驗，引導大眾對性別及相關社會議題展開反思。她目前定居台灣攻讀碩士學位。

Artwork description:

Carga de Cuidado translates invisible caregiving labor, predominantly performed by women and girls, into a sensory experience. Activated by visitors, the installation itself remains inaccessible behind a curtain, emphasizing a separation between those who do the labor and those who benefit from it. Through the act of lifting and holding hanging weights, participants’ physical effort is transformed into light and sound, inviting reflection on inequality within care systems.

本作品將主要由女性和女孩承擔的「隱形照護勞動」（invisible caregiving labor）轉化為一種感官體驗。此裝置由觀者啟動，但裝置本身卻被隔絕在簾幕後方無法觸及，藉此強調「承擔勞動者」與「享有利益者」之間的隔離。透過提起並拉住懸掛砝碼的動作，參與者身體付出的勞動被轉化為光與聲音，引導大眾反思照顧體制內的不平等。

Sally Chen b. 2000 (USA)

2022

Digital print on paper, mounted on foam board

6 panels, each 10  × 24 in 

Artist bio: 

Sally Chen is a queer, second-generation Chinese American children’s book illustrator, muralist, and poet born and based in New York City. Their work explores the quiet intimacies of daily life through expressive methods such as free-flowing lines, glowing silhouettes, and portraiture. They have exhibited at the Brooklyn Children’s Museum, worked with Sing for Hope and platforms such as NPR and QueerAF.

Sally Chen 是一位酷兒、華裔美籍第二代童書插畫家、壁畫家與詩人，出生並定居於紐約市。他們的創作透過流暢的線條、發光的剪影與肖像畫等具表現力的方法，探索日常生活中靜謐的親密感。其作品曾展出於布魯克林兒童博物館（Brooklyn Children’s Museum），並曾與 Sing for Hope 以及美國國家公共廣播電台（NPR）、QueerAF 等平台合作。

Artwork description:

One Day, The Sun Won’t Be Wounded is a series of digitally illustrated, hand-lettered poems that intertwine Chinese history, classical opera, mythology, folktales, and ancestral heritage to explore the artist’s queerness and transness. Originally developed as a BFA thesis, the project centers on Guanyin, examining their gender-expansive manifestations across centuries as a historical mirror for the artist’s own identity. 

本作品是一系列數位插畫與手寫體詩歌，交織了中國歷史、古典戲曲、神話、民間故事與祖輩傳承，以此探索創作者自身的酷兒與跨性別（transness）認同。該計畫最初發展自藝術學士（BFA）的畢業論文，作品以觀音為核心，檢視了數個世紀以來觀音具備性別擴張性（gender-expansive）的顯化形象，以此作為映照藝術家自身認同的歷史之鏡。

Yeyint Naing b. 1998 (Myanmar)

2025

Two-channel synchronized HD video installation with sound, dimensions variable 

07:20 min

Language: English

Artist bio:

Yeyint Naing is a research-based visual artist from Myanmar. His moving images, photography, and mixed-media installations explore diaspora and queer displacement through interweaving personal memory and political reflection on how displaced individuals reconstruct their identities across cultural boundaries. He has exhibited and curated across Asia, including at the ASEAN Queer Cultural Festival and Museum Siam. 

Yeyint Naing 是一位來自緬甸、專注於研究導向創作的視覺藝術家。他的動態影像、攝影與複合媒材裝置，透過交織個人記憶與政治反思，探索離散（diaspora）與酷兒流離（queer displacement）議題，並關注流離失所的個體如何跨越文化邊界重構自身認同。他的作品曾於亞洲多地展出並參與策展，包括東協酷兒文化節（ASEAN Queer Cultural Festival）與暹羅博物館（Museum Siam）。

Artwork description: 

Out of the Blue is a visual meditation on the experiences of Burmese migrants following the military coup. Using synchronized split-screens, the video weaves interviews with young immigrants alongside the artist’s own footage of diaspora experience. Imbued with longing, uncertainty, and resilience, each fragment captures the ache of missing home while reflecting a complex sense of connection and disconnection to the place left behind.

本作品是一部針對緬甸軍事政變後移居者經驗的視覺冥想。影片採用同步雙螢幕呈現，將年輕移民的訪談與藝術家自身記錄的離散經驗影像交織在一起。每個片段都充滿了渴望、不確定性與韌性，既捕捉了思鄉的隱痛，也反映了對那片離別土地所產生的複雜連結與斷裂感。

Moly (茉莉花) b. 2002 (France)

2026

Life-sized participatory installation 

Mixed media 

283 cm x 300 cm x 290 cm 

Artist bio: 

Moly (茉莉花), studied anthropology with a particular focus on ethnomusicology in France. Her overall practice explores anti-elitism through community-based methods, posing the question of how alternative worlds can be imagined outside established cultural orders. She is currently based in Taiwan pursuing her master’s degree, with research focused on collective practices and how these could be used for people’s emancipation. 

Moly（茉莉花） 曾於法國研習人類學，並特別聚焦於民族音樂學（ethnomusicology）。她的整體實踐透過以社群為導向的方法來探索「反精英主義」，並提出疑問：在既有的文化秩序之外，我們要如何想像另類世界的可能？她目前定居台灣攻讀碩士學位，研究方向聚焦於集體實踐，以及這些實踐如何能轉化為推動群體解放（emancipation）的契機。

Artwork description: 

This Is Not My Bedroom Anymore is a participatory installation that reimagines an intimate bedroom space as a site for collective art-making. It invites visitors to re-project their own recollection of a bedroom into the space, breaking traditional gallery rules by altering and transforming the space. Shaped by themes of childhood, trauma, and self-exploration, each interaction captures the vulnerability of personal memory while reflecting a broader discussion on the shifting boundaries of art.

本作品是一件參與式裝置，將私密的臥室空間重新想像為一個集體藝術創作的場域。它邀請觀者將自己對臥室的記憶重新投射到這個空間中，透過改動與轉化空間，打破了傳統美術館的觀展規則。在童年、創傷與自我探索等主題的形塑下，每一次的互動都捕捉了個人記憶的脆弱性，同時也反映了關於藝術邊界轉移的更廣泛討論。

Jett Ilagan b. 1991 (Philippines) 

2026

Installation

LED, metal wires, paper, sand, sound (loop)

Dimensions variable

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Artist book

Tracing paper, PET Film, matte and gloss stock

20 cm x 10.5 cm

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Artist bio: 

Jett Ilagan is an interdisciplinary artist and cultural worker from Laguna, Philippines. His works and performances explore cultural soundscapes through immersion-based methods such as psychogeography, sound walks, and community engagement, prompting reflection on human-environment relations. He has exhibited internationally and is currently based in Taipei pursuing his master’s degree at Taipei National University of the Arts.

Jett Ilagan 是一位來自菲律賓拉古納省（Laguna）的跨領域藝術家與文化工作者。他的作品與表演透過在地扎根的沉浸式方法——如心理地理學（psychogeography）、聲音漫步（sound walks）與社群參與——來探索文化聲景，引導大眾反思人與環境之間的關係。他的作品曾於國際多地展出，目前定居台北，於國立臺北藝術大學攻讀碩士學位。

Artwork description: 

re:form 「革新與形變」 is a multi-layered art project combining exhibition and community engagement through sound and light installation, graphic notation, and sound drawing workshop. Centered on urban listening, it reveals micro-narratives of how soundscapes shape personal and collective relationships to the city, as lampshades pulse in rhythms embodying its tempo while imagining possible futures.

re:form 「革新與形變」 是一個多層次的藝術計畫，透過聲光裝置、圖像記譜（graphic notation）以及聲音繪畫工作坊，將展覽與社群參與緊密結合。本計畫以「都市聆聽」為核心，揭示了聲景如何形塑個人與集體對城市的關係等微觀敘事（micro-narratives）；在此同時，展場中的燈罩將隨著體現城市步調的節奏而起伏跳動，勾勒並想像著未來的種種可能。