Currently, I serve as a curator at the Taiwan Contemporary Culture Lab (C-LAB), working under the Contemporary Art Platform. Prior to joining C-LAB, I was the Editor in Chief of Artist Magazine, one of Taiwan's most prominent art media outlets. During my tenure at the magazine, I frequently traveled to Europe to cover major international art events, such as Documenta and the Venice Biennale. I was also invited to cover exhibitions and art fairs in Japan, Art Basel in Hong Kong, where I gained extensive experience in art journalism. These experiences allowed me to closely observe both the international and Taiwanese art scenes and ecosystems. Additionally, I was often invited to give lectures at academic institutions and private enterprises. In 2021, I received sponsorship from Taiwan’s National Culture and Arts Foundation, allowing me to publish Art Criticism—A Sketch of Taiwan Contemporary Arts 2010-2020, which compiles my critiques from over the years. To this day, I continue to contribute art criticism to the columns of Artist Magazine.
After transitioning to C-LAB, my career shifted from art media to curating contemporary art exhibitions, while also leading the experimental artist cultivation program, the "CREATORS Creation/Research Support Program."
My curatorial practice mainly focuses on the evolution of artistic concepts, exhibition techniques, and gender issues in art history. These themes can be seen in my large-scale exhibition Re: Play (“Display on Live”). Re: Play was a significant and large-scale live art exhibition in Taiwan and the first to introduce works from New York’s Performa Biennial. As the lead curator of Re: Play, I was responsible for establishing the exhibition title, proposing its concept, and writing the main curatorial statement. I also invited Taiwanese artist SU, Hui-Yu, to develop his original work, The White Waters, first performed at Performa, into a mobile three-channel video installation. Additionally, this work collaborated with LIU, I-Ling, a former dancer with the Bill T. Jones/Arnie Zane Company, to choreograph and perform in The White Waters alongside SU. Re: Play also included various art forms and subjects, such as collaborations with Taiwan Sound Lab, which integrated the wave field synthesis (WFS) speaker system to create new sensory experiences. The exhibition addressed diverse themes, including the Hong Kong anti-extradition movement, Korean queer gender performances, identity issues, and the narrative constructions of dictatorships in the Four Asian Tigers.
Over the past five years, my curatorial work has exhibited diverse approaches. Project: The Folly explored the concept of “place” from architectural and human geography perspectives. (De)Phallocentrism delved into the relationship between gender identity and artistic creativity, while The Unrestricted Society reflected on and critiqued the impact of technological advancements on human society. My recent exhibition, Signal Z, focused on the creative potential of young Taiwanese artists and how their work mirrors the current social landscape of Taiwan.
