Introduction Preface Curators Works Artists Discourses Information

Taiwan Digital Art Pulse Stream Plan: The First Phase 「Body、Gender、Technology」Digital Art Exhibition

Through compilation of historical data and literature research, the goal of the “Taiwan Digital Art Pulse Stream Plan” is to establish a formal history of Taiwanese digital art’s development. The first phase of the plan is an exhibition named and themed, “Body, Gender, Technology.” Amongst the vast amount of research conducted, this is the first of many themes selected, forming the exhibition’s framework, while based on historical perspectives and lineage. This exhibition uses Loh Li-Chen’s compilation of the history of new media art as its foundation to reveal a timeline of the “Taiwan’s digital art history.” Viewers are invited to experience the development of Taiwan’s digital art scene throughout its history via a timeline in the form of a digitally interactive installation, “Pulse-Taiwan’s Digital Art River.” Spanning two generations of creative works, eleven artworks based on the theme, “Body, Gender, Technology,” by fourteen artists are the centerpieces of this exhibition. The artists express their state of mind and body within a digital realm, as well as examine their awareness about the concept of personal existence.

The artists use their works to express their distrust about the world and its reliance on digital technologies. Lin Pey Chwen’s “The Portrait of Eve Clone” (2010) is a reflection on humanity’s overzealous pursuit to develop technology. In this series, Eve becomes a hybrid of “human and pupae” or “human and beast,” but, restrained in “specimen” frames. Her beauty is unchanged, yet there is a hidden sense of temptation lurking from within. Yeh Chin-Juz’s “myAvatar = myChunkClose” (2007) uses a computer game interface to prompt the audience to design their own avatar. Using fun and ironic interactive methods, this work showcases virtual lifeforms that are gorgeous, yet hollow. Also, this work challenges the meaning behind identity and the self in a virtual era. Through 3D animations, Kuo Hui-Chan’s “Bubble Man” (2006-2010) discusses the anxieties that result from being subjected to the overwhelming information of this digital era. In the animation, the characters are continuously chasing and being chased, forming an infinitely looping world. Tseng Yu-Chuan, Shen Sheng-Po, Huang Yi-Ching, and Chen Wei-Ting’s “Where are you?” (2010) invites the audience to search for a person over the Internet and returns a muddled portrait image. Huang Chien-Hua’s “Nameless” (2008, installation version) is a proposition for the interaction between the human body in a world full of information and its surroundings within spatial constructs. The constantly morphing body and ever-reconstructed surroundings eventually resonate and form a holistic state.

Artists project their state of self-awareness onto their works. In Yu Chung-I’s “Lost my Focus-whisper” (2009), the artist uses her own body to present the body’s perceptions through continuous doubt of its condition. It is a reflection on the anxiety and disorientation felt by modern people as a result of dealing with multiple window screens of digital interfaces. In “Self-Portrait No.2(RED)” (2007), Huang Po-Chih uses digital animation technologies to disassemble his own body. The bloody and fleshy images are shocking and chilling at the same time, making it a visual experience that will take viewers’ breaths away. Loh Li-Chen’s “Variation of sweet home” (2009) conveys the emotional attitude towards “home.” It is a sigh over life’s memories. The artist transforms accounts recorded in her diary into a script and projects them in a mosaic fashion onto a screen to elicit nostalgic yet solitude feelings from viewers. Within the work, “Two or One (2005-2007),” Tsai Hai-Ru discusses the differences between genders, and the meanings behind their respective roles. In a state of one splitting into two, the two embark on separate journeys, yet rely on each other. Liu Shin-Fen’s “The blood of Christ” (2008) and “Mullerian’s Tree” (2010) uses her body as the main theme. It discusses recurring themes within topics such as reproduction, survival, and faith. Chang Hwei-Lan's “Micro Desires” constructs a private space for the body and soul. Using segments of overlapping images, illusions are formed, which, when engaged, form dubious interactions between itself and viewers.

Digital tools have produced a digital revolution, which has led to the creation of a new world built from bits. This has changed the entire economic model for this information dependent society. It also lets human thought become a type of systematic thinking based off the “bit.” Digital technology has not only became the main art creation tool, but, more importantly, it has also affected the entire development context of society, culture, and life, as well as the way artists think and art’s creative themes. This exhibition uses digital art as the topic, not only discussing its utilization as a tool, but also covering human existence in this digital age. By experiencing the world through technology and the construction of reality, the body invokes reflections and echoes of people's existence in this world. In this digital era, artists not only use digital tools to create, but also raise awareness about personal existence through technology. Taiwan Digital Art Pulse Stream Plan: The First Phase “Body, Gender, Technology” digital art exhibition hopes to explore the relationship between art and technology within a historical context, establish Taiwan digital art history, clarify contemporary digital art’s concept and spirit, and understand the nature of digital art creation. Additionally, it seeks to create a new understanding of the context of art history and the relationship between art and technology, adding depth to creations, discussions, and research.

Curatorial Team:

LIN Pey Chwen, LIAO Hsin-Tien, Ming TURNER, CHIU Chih-Yung, LOH Li-Chen, TSENG Yu-Chuan


YU Chung- I, SHEN Sheng-Po, LIN Pey Chwen, KUO Hui-Chan, CHEN Wei-Ting, HUANG Po-Chih, HUANG Chien-Hua, HUANG Yi-Ching, CHANG

Exhibition Information:

Date: 2010/12/17 (Sat.) ~ 2010/01/23(Sun.)

Opening Hours: Tue. to Sun. (Close on Mon.) 10:00~18:00

Location: Digital Art Center, Taipei , (No.180, Fuhua Rd., Shihlin Dist., Taipei 111, Taiwan)


Section I: The Development of Digital Art in Taiwan

  • Date:2010/12/18 (Saturday) 15:00
  • Host: CHEN Kuan-Chun
  • Discussants: CHIU Chih-Yung, CHANG Hwei-Lan, LIN Pey Chwen

Section II: Female, Body, Family

  • Date: 2010/12/26 (Sunday) 15:00
  • Host: CHIANG Tsu-Man
  • Discussants: TSAI Hai-Ru, LOH Li-Chen, TSENG Yu-Chuan