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<h3>Education</h3>
<div>Ph.D. in Art History, Paris-Sorbonne University (Paris IV), France</div>
<div>D.E.A. in Art History, Paris-Sorbonne University (Paris IV), France</div>
<div>M.F.A., Graduate Institute of Fine Arts, National Taiwan Normal University</div>
<div>B.F.A., Department of Fine Arts, National Taiwan Normal University</div>


<h3>Professional Experience (Summary)</h3>
<p>Liu Chun-Lan previously served as Director of Taoyuan Museum of Fine Arts (2018–2022), Director of Yo-Chang Art Museum, National Taiwan University of Arts (2015–2017), and Chair of the Department of Fine Arts and Director of the Graduate Institute of Arts Education at National Changhua University of Education (2011–2012). She has led multiple research projects, received National Science Council grants (2003, 2005–2011), conducted short-term research in France (2005), and was awarded a Canadian Studies Grant by the Canadian Trade Office in Taipei (2005). Liu is an active editor, author, translator, and reviewer for various academic publications. She frequently serves as a juror for exhibitions and funding programs at public and private art institutions, as well as a speaker and lecturer for thematic forums and lecture series.</p>
<p>Beyond academic research, education, and outreach, Liu has curated numerous major national and international art exhibitions. Notable examples include the Asian Contemporary Sculpture Exhibition (2024, Juming Museum), Marc Chagall Retrospective (2011, National Palace Museum), FORMOSA Sculpture Biennial (2013, 2015, 2017), Kaohsiung International Steel Sculpture Festival (2014, 2016), Taoyuan Land Art Festival (2019), and Taoyuan International Driftwood Art Festival (2017), among others.</p>


<h3>Selected Curatorial Projects</h3>
<table>
    <tbody>
        <tr>
            <td>2024</td>
            <td>
                <div><i>Mapping the Coastline — 2024 Formosa North Coast Art Season</i> (co-curated with You, Wei), organized by the North Coast & Guanyinshan National Scenic Area Administration, Sep 28–Oct 20, 2024.</div>
                <div><i>Objects in Focus: Asian Contemporary Sculpture Exhibition</i> (co-curated with CHOI Tae Man), Juming Museum, Sep 13, 2024–Jan 12, 2025.</div>
                <div><i>Here and Elsewhere: Eight Modes of Temporal-Spatial Transition — Taiwanese Contemporary Sculpture Exhibition</i> (in preparation), Paris, France.</div>
            </td>
        </tr>
        <tr>
            <td>2022</td>
            <td>
                <div><i>Heavenly Inquiries: Dong Cheng-Lian × Chang Yung-Ta</i>, Tainan: Chiayi Art, Aug 20–Oct 2, 2022.</div>
            </td>
        </tr>
        <tr>
            <td>2020</td>
            <td>
                <div><i>Beyond the Window: Taoyuan Museum of Fine Arts & Centraal Museum Utrecht Joint Exhibition</i> (co-curated with Bart Rutten), Taoyuan.</div>
            </td>
        </tr>
        <tr>
            <td>2019</td>
            <td>
                <div><i>New Landscapes: 2019 Taoyuan Land Art Festival</i>, Taoyuan.</div>
            </td>
        </tr>
        <tr>
            <td>2017</td>
            <td>
                <div><i>M-Space — 2017 FORMOSA Sculpture Biennial</i> (Chief Curator and Chief Editor of Exhibition Catalogue, published 2019), Pier-2 Art Center, Kaohsiung.</div>
                <div><i>A Garden Within a Garden — 2017 Taoyuan International Driftwood Art Festival</i>, Fenghe Park, Taoyuan.</div>
            </td>
        </tr>
        <tr>
            <td>2016</td>
            <td>
                <div><i>Steel Play — 2016 Kaohsiung International Steel Sculpture Festival</i>, Pier-2 Art Center, Kaohsiung.</div>
                <div><i>Transfiguration: Liu Po-Chun Solo Exhibition</i>, Taipei: Chiayi Art.</div>
            </td>
        </tr>
        <tr>
            <td>2015</td>
            <td>
                <div><i>How to Measure? 2015 FORMOSA Sculpture Biennial</i> (Chief Curator and Chief Editor), Pier-2 Art Center, Kaohsiung.</div>
                <div><i>Symphonic Aesthetic — A Cross-Media Synesthetic Space</i> (Chief Curator), Yo-Chang Art Museum, NTUA.</div>
            </td>
        </tr>
        <tr>
            <td>2014</td>
            <td>
                <div><i>Endless Steel — 2014 Kaohsiung International Steel Sculpture Festival</i>, Pier-2 Art Center, Kaohsiung.</div>
                <div><i>What Lies Ahead?: Taiwanese Contemporary Sculpture in the Post-Expansion Era, 2014 FORMOSA Sculpture Biennial</i> (Chief Curator and Chief Editor), Pier-2 Art Center, Kaohsiung.</div>
                <div>Assisted in curating <i>Romantic Paris: Marie Laurencin Retrospective</i>, held at Chiang Kai-shek Memorial Hall, National Taiwan Museum of Fine Arts, and organized by United Daily News Group.</div>
            </td>
        </tr>
        <tr>
            <td>2013</td>
            <td>
                <div><i>Paradise, Judgment, Rebirth: Michelangelo — The Renaissance Master Revisited</i>, Advisor, National Museum of History and Very Mainstream Co., Ltd.</div>
            </td>
        </tr>
        <tr>
            <td>2012</td>
            <td>
                <div><i>Western Myths and Legends: Louvre Treasures Exhibition</i>, Advisor, National Palace Museum and Very Mainstream Co., Ltd.</div>
            </td>
        </tr>
        <tr>
            <td>2011</td>
            <td>
                <div><i>Happy Birthday: The Love and Beauty of Chagall</i>, Curator, National Palace Museum and National Taiwan Museum of Fine Arts.</div>
            </td>
        </tr>
        <tr>
            <td>2006</td>
            <td>
                <div><i>Art and Nature</i>, Changhua Art Museum.</div>
            </td>
        </tr>
        <tr>
            <td>2004</td>
            <td>
                <div><i>Geometric Forms in Modern Art</i>, Curator, “Forms” Special Exhibition for National Science Council’s Science Week — Art & Humanities Section, Chiang Kai-shek Memorial Hall, Taipei.</div>
            </td>
        </tr>
    </tbody>
</table>

<h3>Selected Books, Articles, and Related Publications</h3>
<table>
    <tbody>
        <tr>
            <td>2024</td>
            <td>
                <div>“Reflections and Transformations in the Epistemology of Taiwanese 'Contemporary Sculpture',” <i>Shifting Boundaries: Symposium Proceedings on Post-Martial Law Taiwanese Sculpture Studies</i>, Juming Museum & Department of Sculpture, National Taiwan University of Arts, May 2024.</div>
                <div>“The Arena within the Arena: Approaches to 'Sculpture–Spatial Art' by New Generation Artists,” <i>Sculpture Studies</i> (Supplement), no. 31, Juming Museum, May 2024, pp. 51–68.</div>
            </td>
        </tr>
        <tr>
            <td>2023</td>
            <td>
                <div>“‘Human‧Object’ Co-Refinement: An Alternative Historical Narrative in Po-Chun Liu’s Exhibition <i>Archaeology and Contemporary Smelting</i>,” Po-Chun Liu Studio, New Taipei City, Oct. 2023, pp. 32–55.</div>
            </td>
        </tr>
        <tr>
            <td>2022</td>
            <td>
                <div>“Modernity in Dialogic Margins: Re-examining the Geometric Abstract Aesthetics of Li Tsai-chien,” in <i>Strings of Silence: Li Tsai-chien</i>, Soka Culture & Education Foundation, Taipei, Aug. 2022, pp. 42–59.</div>
            </td>
        </tr>
        <tr>
            <td>2019</td>
            <td>
                <div>“M Space: A Realm of Flux and Re-Enchantment,” in <i>M Space – 2017 FORMOSA Sculpture Biennial</i>, Tung Ho Steel Culture Foundation, 2019, pp. 10–31.</div>
            </td>
        </tr>
        <tr>
            <td>2018</td>
            <td>
                <div>“The Truth in Minimalism: Kazuo Tomihara’s Cross-Cultural Practice at Tung Ho Steel,” in <i>Special Relations 5.0: International Artist Residency Project at Tung Ho Steel</i>, Tung Ho Steel Culture Foundation, 2018, pp. 6–23.</div>
                <div>“Sensibility of Seclusion: On Wen-Chih Wang’s Shelter,” in <i>Shelter</i>, Taipei Fine Arts Museum, 2018, pp. 16–33.</div>
            </td>
        </tr>
        <tr>
            <td>2017</td>
            <td>
                <div>“The Playful Aesthetics of Scrap Iron: 2016 Kaohsiung Steel Sculpture Festival,” in <i>Infinite Steel</i>, Kaohsiung Bureau of Cultural Affairs, 2017, pp. 14–45.</div>
                <div>“Fifty Days vs. Fifteen Years: Normality and Exception in Novella’s Residency Practice,” in <i>Special Relations 4.0</i>, Tung Ho Steel Culture Foundation, 2017, pp. 6–23.</div>
            </td>
        </tr>
        <tr>
            <td>2016</td>
            <td>
                <div>“On the Move Again: Nikolay Polissky’s Residency at Tung Ho Steel in Miaoli,” in <i>Special Relations 3.0</i>, Tung Ho Steel Culture Foundation, 2016, pp. 6–21.</div>
                <div>“What Is the Measure? On Scale in a Time of Meaninglessness,” in <i>What Is the Measure? – 2015 FORMOSA Sculpture Biennial</i>, 2016, pp. 12–25.</div>
                <div>“Corporeal Mutations in Po-Chun Liu’s Sculpture: Beginning with Questions of Size,” in <i>Metamorphosis: The Sculpture of Po-Chun Liu, 1997–2015</i>, Taimon Art, Taipei, 2016, pp. 68–101.</div>
                <div>“The Prologue to Special Relations: Artist Residencies at Tung Ho Steel, 2009–2011,” in <i>Special Relations: Prologue</i>, Tung Ho Steel Culture Foundation, 2016, pp. 30–45.</div>
            </td>
        </tr>
        <tr>
            <td>2015</td>
            <td>
                <div>“Infinite Steel: On the 2014 Kaohsiung Steel Sculpture Festival,” in <i>Infinite Steel</i>, Artist Publishing, 2015, pp. 10–31.</div>
                <div>“Beyond What Meets the Eye: Poetic Imaginations in Dong-Hoon Sung’s Residency at Tung Ho Steel,” in <i>Special Relations 2.0</i>, Tung Ho Steel Culture Foundation, May 2015, pp. 8–27.</div>
            </td>
        </tr>
        <tr>
            <td>2014</td>
            <td>
                <div>“Special Relations: Artistic Creation vs. Industrial Production – Phillip King and Po-Chun Liu at Tung Ho Steel,” in <i>Special Relations 1.0</i>, Tung Ho Steel Culture Foundation, Oct. 2014, pp. 8–31.</div>
                <div>“What Lies Ahead?: Taiwanese Contemporary Sculpture in the Post-Expansion Era,” in <i>2013 FORMOSA Sculpture Biennial</i>, Taipei: ARTCO, 2014, pp. 12–27.</div>
                <div>“Phantom of the Metropolis: Marie Laurencin Inside and Outside the Mainstream,” in <i>Belle Époque Paris: Marie Laurencin</i>, United Daily News, Taipei, 2014, pp. 18–29.</div>
                <div>“On the Boundaries of Contemporary Sculpture,” in <i>Boundaries & Diffusion – Alumni Exhibition of the Department of Sculpture, NTUA</i>, 2014 [n.p.].</div>
                <div>“Entering the World: A New Aesthetic in 21st Century Taiwanese Sculpture,” in <i>Transforming Forms: Contemporary Sculpture Since 2000, FORMOSA Sculpture Biennial Symposium Proceedings</i>, 2014, pp. 74–111.</div>
            </td>
        </tr>
        <tr>
            <td>2013</td>
            <td>
                <div>“Beyond Nature: The Human Form and Structure in Michelangelo’s Sculpture,” <i>Sculpture Studies</i>, no. 9, Juming Museum, Mar. 2013, pp. 1–43.</div>
                <div>“Emerging from the Stone: Michelangelo’s Sculptural Views and Practices,” <i>Historical Relics</i>, vol. 23, no. 2 (n.235), National Museum of History, Taipei, Feb. 2013, pp. 46–55.</div>
                <div>“A Century of Taiwanese Sculpture: Toward Pluralistic Openness,” in <i>Taiwanese Creative Icons vol. 8: Sculptors</i>, Tung Ho Steel & Daguan Visual Consultants, 2013, pp. 7–10.</div>
                <div>“Steel, Site, and Creativity: 2012 Kaohsiung Public Steel Art Residency,” in <i>2012 Kaohsiung International Steel Sculpture Festival</i>, 2013, pp. 20–27.</div>
                <div>“Transgressions in Sculpture: Michelangelo’s Sculptural Standpoint,” in <i>Paradise, Judgment, Rebirth: Michelangelo – Renaissance Master Revisited</i>, National Museum of History, 2013, pp. 33–43.</div>
            </td>
        </tr>
        <tr>
            <td>2012</td>
            <td>
                <div>“The Three-Dimensional Materiality of Sculpture: Revisiting the Conceptual Art of Erwin Wurm,” in <i>Sculptural Paradigms in Transition, NTUA Sculpture Department International Symposium Proceedings</i>, pp. 33–46.</div>
                <div>“Different Times, Different ‘Classics’: Greek Myths and Heroic Tales through History,” <i>ARTCO Investment</i>, Feb. 2012, pp. 86–89.</div>
            </td>
        </tr>
        <tr>
            <td>2011</td>
            <td>
                <div>“Interview with American Contemporary Art Duo Anthony Aziz and Sammy Cucher,” <i>Artist Magazine</i>, Oct. 2011, pp. 290–297.</div>
                <div>“Infinite Picasso: A Dialogue of Primitivism, Classicism, and Modernity,” <i>ARTCO Investment</i>, no. 44, Jun. 2011, pp. 94–98.</div>
                <div><i>Happy Birthday – The Love and Beauty of Chagall</i>, Taipei: National Palace Museum, National Taiwan Museum of Fine Arts, United Daily News, Feb. 2011. [Sections: pp. 37–47; 60–81; 84–87; 92–115; 118–153; 158–161.]</div>
            </td>
        </tr>
        <tr>
            <td>2010</td>
            <td>
                <div><i>Paul Gauguin: Forever the Otherland</i>, Taipei Fine Arts Museum, Nov. 2010. [Chief text author for exhibit captions: pp. 140–201; 202–205; 208–247; 252–269; etc.]</div>
                <div>“Van Gogh’s Distant ‘Mentors’,” <i>Historical Relics</i>, vol. 20, no. 3 (n.200), NMH, Mar. 2010, pp. 18–31.</div>
            </td>
        </tr>
        <tr>
            <td>2009</td>
            <td>
                <div>“Bernard Rancillac’s Transgressive Realism,” <i>Art Criticism</i>, Taipei National University of the Arts, no. 19, Dec. 2009, pp. 1–23.</div>
                <div>“Visages of an Era: Bernard Rancillac’s Portraiture, 1966–1980,” <i>Journal of Modern Art</i>, Taipei Fine Arts Museum, no. 18, Oct. 2009, pp. 11–50.</div>
                <div>“Embodied Imagination of Nation and Fate: Magdalena Abakanowicz’s Human Figures,” <i>Sculpture Studies</i>, no. 3, Juming Museum, Sep. 2009, pp. 37–73.</div>
            </td>
        </tr>
        <tr>
            <td>2008</td>
            <td>
                <div>“Anti-Portraits in Christian Boltanski’s Works,” in <i>Discourse and Thought, Proceedings of the 4th Art Conference</i>, National Kaohsiung Normal University, Oct. 2008, pp. 2.1–2.22.</div>
            </td>
        </tr>
        <tr>
            <td>2007</td>
            <td>
                <div>“Trauma, Memory, and History in Christian Boltanski’s Works,” <i>Journal of Modern Art</i>, no. 14, TFAM, Dec. 2007, pp. 93–106.</div>
                <div>“Portraits of the Masses: Boltanski’s Inventory Series,” <i>Research and Innovation</i>, no. 4, National Changhua University of Education, Nov. 2007.</div>
                <div><i>The Birth of an Artist</i> (co-authored with Mei-Hsiang Huang), National Taiwan Arts Education Center, Oct. 2007.</div>
            </td>
        </tr>
        <tr>
            <td>2006</td>
            <td>
                <div><i>Visual Art Appreciation</i> (co-authored with Chiu-Chin Chen, Chang-Te Lin, Kuang-Nan Huang, Ching-Yueh Hsu, Ching-Feng Chang, and Mei-Jung Lee), Taipei: Hwatai Publishing, 2006.</div>
            </td>
        </tr>
        <tr>
            <td>2005</td>
            <td>
                <div>“A Study of David Hockney’s Portraits,” <i>Journal of the College of Liberal Arts</i>, National Changhua University of Education, no. 4, Dec. 2005, pp. 244–280.</div>
                <div>“Bernard Rancillac’s Paintings on China’s Cultural Revolution,” in <i>2005 Cross-Strait University Presidents and Technology Conference Proceedings</i>, National Yunlin University of Science and Technology, Nov. 2005, pp. 453–456.</div>
            </td>
        </tr>
        <tr>
            <td>2004</td>
            <td>
                <div>“The Monetary Disputes between Jacques-Louis David and Napoleon Bonaparte,” <i>Journal of the College of Liberal Arts, NCUE</i>, no. 3, Nov. 2004, pp. 215–250.</div>
            </td>
        </tr>
        <tr>
            <td>2003</td>
            <td>
                <div>“Dominique-Vivant Denon and the Dream of Creating the Most Beautiful and Largest Museum Ever,” <i>Taiwan Art</i>, Jan. 2003, pp. 90–104.</div>
            </td>
        </tr>
        <tr>
            <td>2002</td>
            <td>
                <div>“Facing History: Valerio Adami’s French Revolution Series,” <i>Journal of the College of Liberal Arts, NCUE</i>, Nov. 2002, pp. 257–282.</div>
            </td>
        </tr>
        <tr>
            <td>2001</td>
            <td>
                <div>“The Tableaux historiques de la Révolution française by Werkihrer Stecher: A Thematic Analysis,” in <i>Bildgedächtnis eines zelthistorischen Ereignisses</i>, Göttingen: Vandenhoeck & Ruprecht, Germany, 2001, pp. 259–280.</div>
            </td>
        </tr>
    </tbody>
</table>

<h3>Academic Editor</h3>
<table>
    <tbody>
        <tr>
            <td>2024</td>
            <td>
                <div><i>Shifting Territories</i> (forthcoming), Proceedings of the Symposium on Post-Martial Law Taiwanese Sculpture, Juming Museum.</div>
                <div><i>Exhibition Writing‧Phenomenon Observation I</i>, Editor-in-Chief, Sculpture Studies Supplement, Juming Museum, 2024.</div>
            </td>
        </tr>
        <tr>
            <td>2023</td>
            <td>
                <div><i>Archaeology and Contemporary Smelting—2022 Solo Exhibition of Po-Chun Liu</i>, Editor-in-Chief, New Taipei City: Po-Chun Liu Studio, 2023.</div>
            </td>
        </tr>
        <tr>
            <td>2018</td>
            <td>
                <div><i>Extraordinary Relationship 5.0: Tung Ho Steel International Artist-in-Residence Program Album</i>, Editor-in-Chief, Taipei: Tung Ho Steel Art Foundation, 2018.</div>
            </td>
        </tr>
        <tr>
            <td>2017</td>
            <td>
                <div><i>Extraordinary Relationship 4.0: Tung Ho Steel International Artist-in-Residence Program Album</i>, Editor-in-Chief, Taipei: Tung Ho Steel Art Foundation, 2017.</div>
            </td>
        </tr>
        <tr>
            <td>2016</td>
            <td>
                <div><i>Diamond Transformation: Po-Chun Liu’s Sculpture, 1997–2015</i>, Editor-in-Chief, Taipei: Yiri International Publishing, 2016.</div>
                <div><i>Extraordinary Relationship 3.0: Tung Ho Steel International Artist-in-Residence Program Album</i>, Editor-in-Chief, Taipei: Tung Ho Steel Art Foundation, 2016.</div>
                <div><i>Prologue to “Extraordinary Relationship”: Artist-in-Residence Project by National Culture and Arts Foundation and Tung Ho Steel</i>, Editor-in-Chief, Taipei: Tung Ho Steel Art Foundation, 2016.</div>
            </td>
        </tr>
        <tr>
            <td>2015</td>
            <td>
                <div><i>Extraordinary Relationship 2.0: Tung Ho Steel International Artist-in-Residence Program Album</i>, Editor-in-Chief, Taipei: Tung Ho Steel Art Foundation, 2015.</div>
            </td>
        </tr>
        <tr>
            <td>2014</td>
            <td>
                <div><i>Extraordinary Relationship 1.0: Tung Ho Steel International Artist-in-Residence Program Album</i>, Editor-in-Chief, Taipei: Tung Ho Steel Art Foundation, 2014.</div>
            </td>
        </tr>
        <tr>
            <td>2012</td>
            <td>
                <div><i>Western Mythology and Legends—Masterpieces from the Louvre</i>, Chief Editor: Chun-Lan Liu, Taipei: National Palace Museum & Cite Shows, 2012.</div>
            </td>
        </tr>
        <tr>
            <td>2011</td>
            <td>
                <div><i>Picasso: Master of the Century</i>, Translation Review and Editing, Taipei: National Museum of History & United Daily News Group, 2011.</div>
            </td>
        </tr>
    </tbody>
</table>

<h3>Technical Reports, Translations, Interviews, and Others (Selected)</h3>
<table>
    <tbody>
        <tr>
            <td>2024</td>
            <td>
                <div>“Continuing the Journey — Cheng-Liang Lee Solo Exhibition <i>The Next Stop of Eternal Station</i>” (forthcoming), March 2024.</div>
            </td>
        </tr>
        <tr>
            <td>2023</td>
            <td>
                <div>“Epistemological Speculations and the Shifting History of Taiwanese Art” (talk abstract), Curating as a Method of Art History: Discourse and Practice, Symposium, National Taiwan Museum of Fine Arts, Huafan University, and Taiwan Art History Research Association, Nov. 2023, pp. 18–19.</div>
            </td>
        </tr>
        <tr>
            <td>2017</td>
            <td>
                <div>“Multidirectional Experimentation in Freedom and Play: Interview with Artist Juanjo Novella,” <i>Extraordinary Relationship 4.0</i>, Taipei: Tung Ho Steel Art Foundation, 2017, pp. 54–65.</div>
                <div>“Beyond Modernity: Interview with Artist Ching-Chih Kuo” (co-interviewed with Po-Chun Liu and Yuan-Ta Hsu), <i>Extraordinary Relationship 4.0</i>, 2017, pp. 36–53.</div>
            </td>
        </tr>
        <tr>
            <td>2016</td>
            <td>
                <div>“East vs. West, Nature vs. Industry: Interviews with Artists of the 3rd Residency,” <i>Extraordinary Relationship 3.0</i>, 2016, pp. 36–61.</div>
            </td>
        </tr>
        <tr>
            <td>2015</td>
            <td>
                <div>“Already Begun, Newly Discovered, and Still Continuing: Interviews with Artists-in-Residence,” <i>Extraordinary Relationship 2.0</i>, 2015/5, pp. 40–53.</div>
            </td>
        </tr>
        <tr>
            <td>2014</td>
            <td>
                <div>“Sculpture Should Be a Physical Object: Interview with Phillip King,” <i>Extraordinary Relationship 1.0</i>, Oct. 2014, pp. 32–47.</div>
                <div>“The Way of Steel Sculpture: Interview with Po-Chun Liu,” <i>Extraordinary Relationship 1.0</i>, 2014, pp. 48–65.</div>
                <div>“My Residency Experience at Tung Ho Steel” (by Phillip King, trans. Chun-Lan Liu), <i>Extraordinary Relationship 1.0</i>, 2014, pp. 66–69.</div>
                <div><i>Elegant Paris: Marie Laurencin</i>, Translation Review, Taipei: United Daily News, 2014, pp. 18–29.</div>
            </td>
        </tr>
        <tr>
            <td>2013</td>
            <td>
                <div><i>Phillip King and Po-Chun Liu in Dialogue</i> (Residency Project Short Film), Translation, Dec. 2013.</div>
            </td>
        </tr>
        <tr>
            <td>2012</td>
            <td>
                <div>Joan Pomero, trans. Chun-Lan Liu: “Thomas et les autres…,” Artist Statement, <i>Joan Pomero Solo Exhibition</i>, National Changhua University of Education, Baisha Art Center, 2012.</div>
            </td>
        </tr>
        <tr>
            <td>2011</td>
            <td>
                <div><i>The Eternal Elsewhere—Gauguin Pocket Guide</i> (with André Cariou), Taipei: Global Impressions Co., 2010.</div>
            </td>
        </tr>
        <tr>
            <td>2005</td>
            <td>
                <div><i>The Louvre</i>, Alexandre Bonfante-Warren, trans. Chun-Lan Liu, Taipei: Taiwan Mac Educational Co., 2005.</div>
            </td>
        </tr>
        <tr>
            <td>2003</td>
            <td>
                <div>“Painting the Eternal Present,” Pierre Restany, trans. Chun-Lan Liu, in <i>Chen Cheng-Hsiung: A 50-Year Retrospective</i>, Taipei: National Museum of History, May–June 2003, pp. 68–70.</div>
            </td>
        </tr>
        <tr>
            <td>2001</td>
            <td>
                <div><i>Three Centuries of French Painting—From Poussin to Cézanne</i>, trans. by Chun-Lan Liu et al., Taipei: National Palace Museum & Min Sheng Daily News, 2001.</div>
            </td>
        </tr>
        <tr>
            <td>2000</td>
            <td>
                <div>“Design Errors in the Mitterrand Site of the Bibliothèque nationale de France,” Teaching and Research Conference, Vanung University, May 2000.</div>
            </td>
        </tr>
    </tbody>
</table>

<h3>Symposium, Forum, and Panel Planning (Selected)</h3>
<table>
    <tbody>
        <tr>
            <td>2024</td>
            <td>
                <div>Project Director and Forum Organizer, <i>Post-Martial Law Taiwanese Sculpture Studies</i> (2023–2024), Taiwan Contemporary Sculpture Research Center, Juming Museum.</div>
            </td>
        </tr>
        <tr>
            <td>2023</td>
            <td>
                <div>Project Director, <i>Phenomena and Trends—Observations on the Development of Taiwanese Contemporary Sculpture</i> (2023–2024), Taiwan Contemporary Sculpture Research Center, Juming Museum.</div>
            </td>
        </tr>
        <tr>
            <td>2022</td>
            <td>
                <div>Forum Curator, <i>Archaeology and Contemporary Smelting Exhibition Forums</i> (Sep. 24, Oct. 22, Nov. 19, 2022), Shihsanhang Museum of Archaeology & Department of Sculpture, NTUA.</div>
            </td>
        </tr>
        <tr>
            <td>2019</td>
            <td>
                <div>Forum Curator, <i>Re-Experimentation: From the Bauhaus Spirit to the Development and Education of Contemporary Sculpture</i>, 2019 Sculpture Practice Program by Ministry of Education, NTUA, Oct. 3, 2019.</div>
            </td>
        </tr>
        <tr>
            <td>2014</td>
            <td>
                <div>Curator, <i>Rethinking Change: International Conference on Contemporary Sculpture since 2000</i>, Cultural Affairs Bureau of Kaohsiung City & Department of Sculpture, NTUA, 2014.</div>
            </td>
        </tr>
    </tbody>
</table>
<!-- /wp:html -->