''How can I tell you who I am?''

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Wu Tien Chang

Tien Chang Wu. Born in 1956 Taipei, Taiwan. Wu Tien Chang graduated from Chinese Culture University in 1980. He was one of the founding members of the "Taipei Painting Association." The style of his art has changed from irony to black humor. In the late 1980s, Wu’s "Trauma Syndrom” reflected the social issues of concern. In 1990s, Wu employed image into his creation. Besides of photography, he also pays special attention to the frame and material used. He often used artificial flower, sequins, velvet, cord and leather, imitating the "Salon photography" which was popular in Taiwan in the 1950s. These techniques and materials present the main theme of the works of this period, "Pretense. " Wu participated in the Venice Biennale and that of Fukuoka Asian Art Museum in Japan.

Yao Jui-Chung

Yao, Jui-chung was born in 1969 in Taipei. He graduated from The National Institute of The Arts (Taipei National University of the Arts) with a degree in Art Theory, in 1994. He currently serves as an associate professor at the Taipei National University of the Arts and the Department of Fine Arts of the National Taiwan Normal University. His work has been collected by Taiwanese museums, including the Taipei Fine Arts Museum, the Kaohsiung Museum of Fine Arts, the National Taiwan Museum of Fine Arts, as well as international collections, such as the Queensland Art Gallery (Australia), the Herbert F. Johnson Museum of Art (USA), The Bibliothèque national de France. He has represented Taiwan in the Venice Biennale (1997), the Yokohama Triennale (2005), the Asia Pacific Triennial of Contemporary Art (2009), and YES TAIWAN: 2010 Taiwan Biennial (2010). Most recently, his works have been on view in the solo exhibitions Honeymoon at MOT Arts, Taipei, Taiwan (2011); Dreamy at Goedhuis Contemporary, London, United Kingdom (2010), and Honeymoon, Hanart TZ Gallery, Hong Kong, China (2010); as well as in group shows, including Dual Senses and Dynamic Views-Contemporary Art Exhibition across the Taiwan Strait of 2011 at the National Art Museum of China, Beijing, China (2011) and Gazing the coastlines at the Local Contemporary Art Space at Xiamen, China (2011).

Chen Ching-­Yuan

Chen Ching-­Yuan was born in Tainan, Taiwan, in 1984, graduate from the Fine Arts program of the Taipei National University of the Arts. Chen was awarded the “Outstanding Art Prize” from the Taipei National University of the Arts (2009) and the “Kaohsiung First Art Prize” from the Kaohsiung Museum of Fine Arts (2009). Notable exhibitions include: the LiQUiD STATE at VT Artsalon in Taipei, Taiwan (2009) and STATE OF_Chen Ching-­‐Yuan’s Solo Exhibition at the Taishin Bank Foundation for Arts and Culture in Taipei, Taiwan (2010). the work of Chen, articularly in regards to self-­‐knowledge and the imagining of the body. Through his installations, videos, paintings, and drawings, he moves the oppressed and restrained body through various forms, personalities, and perspectives in an effort to extract himself from his work. When one is emptied of reality and history, no matter the sense of fearlessness or failure, the result is helplessness when coping with the weight of history. This sense of history is transformed, by the digital age’s speed and large amounts of information, into a vast imaginative space.

Yu Cheng-­Ta

Yu Cheng-­Ta was born in Tainan, Taiwan, in 1983. He received his BFA from the Taipei National University of the Arts in 2006 and continued to pursue his MFA there. In 2008, Yu has participated in The sixth Taipei Biennial and received the First Place of Taipei Arts Award. In 2009, his work was presented in Taiwan Pavilion at the 53rd Venice Biennale, later in Biennial Cuvée 08 at OK center for Contemporary Art. Yu’s works are held in the 2008 collection of “Ventriloquists: Introduction” and “She is My Aunt”, at the National Taiwan Museum of Fine Arts in Taichung, Taiwan. The artist is based in Taipei.

Yu Cheng-­Ta belongs to a generation not old enough to witness the severe battle to challenge and to reshape the idea of identity while the Martial Law was lifted in 1987. Nonetheless, he lives in a multi-­‐cultural society where the coexistence of different ethnic groups becomes the main issue while talking about “identity.” The particular focus of his artistic practice, therefore, lies on his artistic imagination to depict a state removed from historical developments. Such a state thus creates a highly limpid and profound dialogue with the social realities regarding history. In his works, commentators are often characterized as a “self-­‐fracturing political intimation.” To achieve a kind of mise-­‐en-­‐l'abîme effect, Yu Cheng-­‐Ta creates fissures that generate disparate meanings, with an attempt to address the imagined relationship between the narrating Subject and the narrated Other. The subtle fissures existing within cultures, languages or identities in fact make clear the differences among the individuals. More important, he does not attempt to emphasize the cultural conflicts and contradictions. Instead, he desires to employ humor as a means to make connections and or to produce accidents. By doing so, the artist enlarges the possibility for a new form of politics and a new dialogue of foreign relations.

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