Taoyuan Art x Technology Festival:Wonder of Art and Technology

Taoyuan Art x Technology Festival:Wonder of Art and Technology

Venue: Taoyuan Arts Center

The 3rd Taoyuan Art x Technology Festival adopts the theme of “Wonder of Art and Technology" this year to explore the infinite possibilities and diverse development of contemporary art in the world of technology. The Festival hopes to guide the public’s imagination of art and technology through the wonders of technological media. When the collective wisdom of humanity is transformed into big data that isa already a necessity today, the seemingly cold technology has somehow become “human" because of art. Together, let’s discover how technology artists transcend perception and imagination dictated by technological media to reveal artistic wonders.

The exhibition is divided into four sections, which are “Wonder-Machine," “Wonder-Digital," “Wonder-lifeworld," and “Wonder-Performance." With an incredible range of media, including mechanical installation, interactive installation, sound, light, virtual reality and video documentation, the exhibition leads the audience into the new horizon of wonders informed by machines and technologies where virtuality and reality are integrated as an immersive whole to evoke our deepest inner desire for wonders.

Curators:Chen Yun-Ju, Lin Yu-Jie

The four exhibition areas

Hybrid, cyborg and artificial intelligence have shaken and re-defined human life, morality, ethics, aesthetics and relations. Ideologies of artists are embodied through programs that operate machines while recording behaviors of participants, which generate new data to propel machines, forming absurd and grotesque Wonder-Machines. In the state of man-machine integration, are we operating the machines, or are the machines controlling us instead?

Artists:Chiang Chen-Wei, Hsu Yi-Chen, Wang Liang, Grinder-Man

​Digital technology is now common and part of our daily life. Wonder-Digital refers to the era of total digital integration in human society, life, art and media. Wonder-Digital is made possible by digital native and has bridged and existed between virtuality and reality. It is no longer news that augmented reality reflects the digital virtuality in the real world. We are immersed in the sound, light, transparent scenes and immersive age of Wonder-Digital, which also foregrounds artists’ attempt to construct another dimension in search of authentic physical senses. However, what is authentic? At this moment, the definition has become blurry and fluid.

Artists: Takahiro Matsuo, Luo Xuanjiu, Lin Jiun-Shian, Tseng Yu-Chuan+Tseng Kung-Ta+Huang Yi-Ching

What happens when technology becomes autonomous and out of control? How can we control technology if we really can? We live in the era of Internet of Things when all things are always connected, and sensory systems are ubiquitous. Mobile phones, tables, mirrors, chairs and many other things have become “conscious” and “mind-reading.” In this section, we shall see how artists and designers construct and unfold the rhapsody of the future life and connect physical objects with virtual data through information capturing and communication technologies for a wide range of control, detection, and identification, satisfying our curiosity about a future world of imagination.

Artists:Ckfablab, Huang Chih-Chieh+Li Wuan-Chin, Lin Chih-An, Tseng Wei-Hao

​The artists will engage the audience as part of their performances, converting performances into situation-based and immersive spatial installations while changing the role of the audience from simply being viewers into participants of their open texts. By releasing their dominance, the artists enable the audience to provide more organic responses and feedback, using interactive, participatory and immersive performance space to create Wonder-Performance and installation experience informed by fresh five senses. These interactive installations are performance stages, which are challenging and re-defining the audience’s conception of artworks.

Artists:JUBYCHIU+PSquare, Hu Chin-Hsiang+Tsai Bing-Hua, Chiang Chun-Yi+Wang Kuok-Pan+Zhan Jia-Hua, Penelope Cain, Marianne Jacquet




本次展覽透過四大展區:「奇觀機械」、「奇觀數位」、「奇觀生活」、「奇觀表演」。 以機械裝置、互動裝置、聲響、燈光、虛擬實境、影像文件紀錄等作品,引領大眾進入機械與科技、虛擬與真實沉浸融合的奇觀視域,召喚深藏在心中的奇觀慾望。





奇觀數位 Wonder-Digital​
現今,數位科技已經很普遍,並成為一種日常。奇觀數位是數位完全融合浸入社會與生活、藝術與媒體的時代,奇觀數位的人們以數位原生(Digital Native)的方式誕生,早已穿梭與生存在虛實之間,而擴增實境將數位虛擬映射到現實世界已不再新奇,且我們正身處在這個聲、光、景全面透明且沉浸的奇觀數位世代,這也凸顯藝術家試圖建構另一個空間維度尋找真實的身體感知,然而,何為真實?此刻變得模糊且流動著。


奇觀生活 Wonder-Lifeworld
當科技變得自主,脫離了控制?如果能控制,那又怎麼控制?我們生活在萬物皆可連網與無所不在的感應器系統的物聯網(Internet of Things)時代,這個時代,手機、桌子、鏡子、椅子等物品變得「有意識」且善解人意。看藝術家與設計師們如何建構與展開對於未來生活的狂想,如何透過資料擷取以及通訊能力,連結實體物件與虛擬數據,進行各類控制、偵測與識別,引領觀眾滿足對於未來世界想像的好奇心。


奇觀表演 Wonder-Performance

參展藝術家:JUBYCHIU x PSquare媒體實驗室、胡縉祥 x 蔡秉樺、Marianne Jacquet、江俊毅x黃國斌x詹嘉華、Penelope Cain


Chimera-group exhibition of Taiwanese new and digital media art

Chimera-group exhibition of Taiwanese new and digital media art

Date: 2019/10/4-2019/10/27
Place: off-spaces of DOX, Center for Contemporary Art in Prague, Czech Republic

Chimera: Contemporary human transformed in a “chimera”; a hybrid of body, technology and virtuality

Artists: Chenwei Chiang, Chi-Ping Chin, Kung-ta Tseng, Scottie Chih-Chieh Huang, Tien-Chun Chang, Yu-Chuan Tseng, Yun-Ju Chen

Curator Jan Van Woensel & Yu-Chuan Tseng

Statement by Jan Van Woensel

“Chimera” is a group exhibition of Taiwanese new and digital media art put together by Yu-Chuan Tseng, artist, curator and Associate Professor at Shih Hsin University based in Taipei; and Jan Van Woensel, curator at Ladislav Sutnar Faculty of Design and Art at University of West Bohemia based in Pilsen. The exhibition is organized in two off-spaces of DOX, Center for Contemporary Art in Prague.

“Chimera” originates from the understanding that over the past decades humans evolved into a hybrid of body and machine. Man is codependent of technology. The smart device that we became one with is both the key that opens endless passageways into virtual space and the vessel that we use to ride the waves of cyber-reality. Irrevocably, our voluntarily mass-movement to the virtual space caused a situation of alienation. In a state of unconsciousness, modern man abandoned nature and replaced it with an open-sourced virtual mirage that serves as an ever-accessible substitute. But this agnostic parallel plain is only an unsatisfactory stimulus and it only feeds human’s increased dependence on digital tools. It provokes a double removal that is recognized in how personal alienation takes place in an increasingly alienating digitalized world.

“Chimera”is a melancholic and poetically-charged exhibition in which the loneliness of nature in the hypertechnological demiurgic era takes a central position.

Are we Chimeras? by Yu-Chuan Tseng

Do we genuinely exist? Are we, who exist through electronic signals, really our true selves?

This is the question I keep asking myself. Through message transmission, links are established between the virtual and real worlds. We rely on the virtual life to complete the dream to surpass all geographical boundaries and physical limitations.

The way of digital life, we create our existence by simply click to follow the direction of networking service. We activate an avatar and step into the virtual realm at any given time. Through the sharing and feedback on texts, images, and videos, this virtual database becomes a vast “backup system” for the memories of countless individuals. The virtual self even replaces the real self, to become the principle entity existing within this virtual world and carry out an immortal life on screen.

In a digital environment, humankind undergoes a mental evolution. The digital interface becomes a petri dish of our collective body. We have already become chimeras that integrate organic and inorganic materials as it fuses with digital mind, feeling and spirit. We have evolved to become hybrid bodies that have the ability to breed via digital information. Further we try to make the biological species to become a hybrid life form to fulfill the imagination and demands of human.

“Chimeras” as a metaphor symbolizes the existence in the digital age. The living creatures have evolved to become a race of cyborgs – hybrids. The physical and spiritual immersion have merged with digital genomes in a digital environment



策展人:Jan Van Woensel & 曾鈺涓

“Chimera” 「嵌合體」Jan Van Woensel

「嵌合體」由現為台北市世新大學副教授兼策展人曾鈺涓,與位於比爾森(Pilsen)的西波西米亞大學(University of West Bohemia)Ladislav Sutnar設計與藝術學院策展人Jan Van Woensel共同策劃,邀請台灣新媒體藝術創作者展出。展覽將會在布拉格DOX, Center for Contemporary Art兩個展覽空間展出。

嵌合體的概念來自於人類進化成人機合體的混種生物概念。人類與科技的關係越來越緊密,我們成為智慧裝置的融為一體,是打開無盡通道進入虛擬空間的鑰匙,又是我們用來駕馭網絡虛擬真實浪潮的船隻。我們自願地進行大規模遷移至虛擬空間並導致了疏離的狀態。 在無意識的狀態下,現代人放棄了自然,而用開源代碼的虛擬虛擬海市蜃樓代替了自然,虛擬海市蜃樓可作為一種隨時可造訪的真實替代品。 但是,這種不可知的平行場域只是無法令人滿意的刺激,它只能滿足人們對數位工具日益增長的依賴性。 引發了雙重清除,這種雙重清除在被日益增加的疏遠感中發生。


Chimera – Fakulta designu a umění Ladislava Sutnara

Chimera-group exhibition of Taiwanese new and digital media art

【Czech】Chimera: Contemporary human transformed in a “chimera"; a hybrid of body, technology and virtuality



展期:2019/09/27 ~ 2019/09/29




結合舞台裝置、多媒體、音樂音效、戲劇舞蹈等,營造出一個如復古18 bit風格的遊戲現場,呈現出新手母親要經歷的重重關卡,包含新生兒資訊洪流、餵食指南、尿布攻略、尿布疹警報、屁屁難關、漲奶警報、拍嗝比賽、夢境漫遊和媽的噓跳舞機等段落。






Dancecology 舞蹈生態系創意團隊



展期:2019/06/28 – 2019/06/30





合奏1. 舞蹈X影像



合奏2. 裝置X舞蹈



合奏3. 音樂X舞蹈





6/28、29 (五、六)19:30

6/29、30 (六、日)14:30

ARTalks [特約評論人] 貧窮男 空軍三重一村24號眷舍的《孤單合奏》



Mom‧Baby: Creating ways to love and be loved

Mom‧Baby: Creating ways to love and be loved

Date:2019/03/01 – 2019/05/12
Venue: Taoyuan Museum of Fine Arts

After the “Germinate, Connect, Extend-2019 Taoyuan Female Art Exhibition curated by Professor Chang Hwei-Lan", Taoyuan Museum of Fine Arts invited Professor Chang to expand on the theme of maternal body and the germination of life from another perspective. The exhibition “Mom‧Baby: Creating ways to love and be loved" was held in Taoyuan Children’s Art Center.


展期:2019/03/01 – 2019/05/12






Mom‧Baby: Creating ways to love and be loved


A Land of Happiness-Treasure Hill Light Festival

A Land of Happiness-Treasure Hill Light Festival

Date: 2019/03/30 – 2019/05/05
Venue: Treasure Hill Light Festival

From March 30 to May 5, the 2019 Treasure Hill Light Festival is featuring the work of Taiwan and overseas artists whose creations use the medium of light.

The Treasure Hill Artist Village (THAV) has held a large-scale exhibition in early spring since 2012, said Catherine Lee (李曉雯), Artistic Director of Taipei Artist Village (TAV) on Treasure Hill.

At first, artists used the medium of contemporary art for the Lantern Festival. From 2017, the organizers started to focus on the medium of light and named the event “Light Festival.”

“A Land of Happiness” (野景) is the theme of this year’s Light Festival, curated by Lee I-hua (李依樺). She hopes that the festival could explore people’s expectations for future happiness through artistic creations, cultural activities, audience participation, and cooperation between local residents and students.

Fourteen artist groups participated in this year’s event. Students from Shih Chien University, Taipei National University of the Arts, and National Taiwan University worked together for the first time. Hsiao Sheng-chien (蕭聖健), Li Cheng-liang (李承亮), and Hsu Tang-wei (許唐瑋) are Taiwan’s outstanding artists who have won Taipei Art Awards and Taishin Arts Awards. The organizers also invited well-known artists from Japan and Spain to take part in the festival.


展期:2019/03/30 – 2019/05/05





☆ 藝術家/人嶼、李承亮、衍椼、莊知恆、許唐瑋、郭奕臣 、陳韻如 、蕭聖健 、奧爾加.蒂亞戈 、瀧健太郎、磯崎道佳、「輕量級」-跨校工作營、 萬福國小、微景設計

★ 藝術總監/李曉雯

★ 策展人/李依樺

★ 展期/2019.3.30(五)-5.5(日)

Treasure Hill Light Festival explores everyone’s desire for happiness


Silent group Picture 噤聲的群像

Silent group Picture​​

Please stand in front of the mechanical lamp. It will observe and track your face, as well as interact with you. It will follow you whenever you move to the right or left, taking pictures of your face, and then generating images of various people in the picture. Who are they? Victims, authorities, perpetrators, unrelated people……

If you were to live in this silent age, which side would you have stood on?

2019, Interactive mechanism, Depend on the space





Unjust Deadline — Postwar Journalists

Unjust Deadline — Postwar Journalists

Venue: Jing-Mei White Terror Memorial Park

From April 3 through Dec. 15, the Jing-Mei White Terror Memorial Park will play host to the National Human Rights Museum’s special exhibition in honor of Freedom of Speech Day 2019: “Unjust Deadline—Postwar Journalists." The New Taipei City exhibition will also be accompanied by film screenings and seminars.

“Unjust Deadline" covers the political persecution of the news media from the February 28 Incident of 1947 through the White Terror period, using the experiences of the journalists who suffered to look at the measures of oppression and restraint the authorities employed during the period of authoritarian rule and reflect on the value of a truly free media as the guardian of freedom of speech and cornerstone of human rights.

The exhibition features Huang Chih-cheng’s (黃至正) “Editor’s Desk Imprisoned at Garrison Command" installation and Chen Yun-ju’s (陳韻如) “Silenced Group Portrait" interactive installation. These, combined with reconstructed interrogation room scenes; “patriotic" anti-communist radio propaganda from the authoritarian era; and anti-Communist, anti-Soviet slogans all around, visitors will get a visceral sense of the oppressive, unfree air of a time when voices were silenced and the threat of surveillance was constant.

Deputy Minister of Culture Celest Hsiao-ching Ting (丁曉菁) commented that journalism is the cornerstone of a democratic polity and that the role of the Fourth Estate is essential. The structures and challenges of journalism under authoritarian rule were very different from those of the Internet age, and the oppression they faced was far beyond anything seen today. They fought for journalistic values, and their commitment is an inspiration to us all, she added.

Chen Chun-hung (陳俊宏), director of the National Human Rights Museum, said that from the cautionary tales of how journalists once suffered political persecution, one can witness how far freedom of speech and freedom of the press have come in Taiwan, and how hard the journey has been. In this “post-truth" era of social media, where emotion and belief can be more of an influence on public opinion than objective facts, the traditional gatekeeping role of journalism is under attack, and how those in the news business are to respond to this challenge is a serious issue, he stated.

Through this exhibition, one will also see how many journalists gave their lives for their ideals. To commemorate the 30th anniversary of pro-democracy pioneer Cheng Nan-jung’s martyrdom, the museum invites everyone to reflect on what freedom of speech meant to him, in hope that more members of Taiwan society will focus on the core values of freedom of speech and freedom of the press.


展期:2019/04/07 – 2019/12/15




Unjust Deadline – Postwar Journalists


Which one is true? 何為真實?

Which one is true?​​

Reality has become more precious with the advent of artificial intelligence.

We are now living in the era of post-truth and is bombarded by fake news and manipulated by social media. With the advent and popularization of artificial intelligence used for facial recognition, tracking, and prediction, these AI tools can be used to easily swap people’s faces in videos and fabricate people in videos, making it nearly impossible to tell the real from the fake. The saying “Seeing is believing" is probably no longer so reliable.

Which One is true? is an interactive robotic installation that uses the technology of facial recognition and tracking to interact with the audience. The robotic installation follows and tracks the audience and then proceeds to capture images of them and record them. The participants’ faces are then stored in a databank and composited to form images with their faces altered. The images with the altered faces are then projected and displayed at the same time with the actual faces of the participants. The participant’s’ real faces, their composited faces, and the faces of other participants are then projected and displayed inside the exhibition space at random. As the real faces continue to alternate with the fabricated faces and as the artwork continues to document throughout the exhibition, the process of digitalization raises the question of “which one is true?" in this post-truth era.

2019, Interactive mechanism, Depend on the space




《何為真實 ? 》互動機械裝置,透過人臉辨識與追蹤技術與參與者產生互動,機械裝置會跟隨與追蹤觀眾的臉,並且捕捉與拍攝,將所有參與者的臉儲存紀錄到資料庫中進行人臉合成,自動生成換臉影像,並將換臉的影像與真實拍攝參與者的影像,同時投射與展示在空間,參與者將會看見自己真實影像的臉、合成後影像的臉,以及其它參與者的臉,隨機出現在空間中,不斷變化的真假面孔和不斷的紀錄活動,並在這個生成數字化的後真相社會中提出什麼是真實?


數位童樂會 一起同樂.一起娛樂

數位童樂會 Have a good time together 一起同樂.一起娛樂

展期:2018-07-01 ~ 2018-09-02

中國科技大學互動娛樂設計系接受新竹市文化局委託,為新竹市與全國兒童在「新竹241藝術空間」打造【數位童樂會-Having a good time together.一起同樂,一起娛樂!】,即日起到9月2日免費入場。策展人陳韻如老師指出,【數位童樂會】是以「STEAM.Together」與「互動科技」的精神出發,應用大數據、手部感測互動、體感互動、VR(虛擬實境)等技術打造互動裝置,而且有多項互動投影作品、創客Maker文創品、展場實境遊戲與沒課來玩系列工作坊活動,全部由互動娛樂設計系的最新設備一次到位。


新竹市政府特別於7/6日盛大舉行【數位童樂會】開幕活動,新竹市大家長林智堅市長與中國科大規劃與設計學院林珮淳院長特別親臨主持, 與會貴賓包括中國科大規劃與設計學院林珮淳院長、策展人陳韻如助理教授、台北黎畫廊黎耀之總經理,以及佈展藝術家李炳曄、林逸農、高軒然、吳欣怡、劉祖昇、邱琳、林品蕎、林湘榆、曾羽蓉、許仲佑、徐鈺惠等人,皆到場共襄盛舉。

數位童樂會 Have a good time together 一起同樂.一起娛樂