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<p>Highest Education｜Ph.D., Humanities and Cultural Studies at Birkbeck, University of London (former London Consortium)<br>Email｜weiyu@ntua.edu.tw<br>Contact Number｜+886-2-2272-2181 ext.2141<br>Research Specialties｜Contemporary Art / Curating / Art Criticism / Postwar Taiwanese Art History</p>
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<h3>Education</h3>
<table>
    <tbody>
        <tr>
            <td>2020</td>
            <td>
                <div>Ph.D., Humanities and Cultural Studies at Birkbeck, University of London (former London Consortium)</div>
            </td>
        </tr>
        <tr>
            <td>2003</td>
            <td>
                <div>M.A., Art History and Art Criticism, Tainan National College of the Arts</div>
            </td>
        </tr>
    </tbody>
</table>

<h3>Professional Experience</h3>
<table>
    <tbody>
        <tr>
            <td>2023–</td>
            <td>
                <div>Assistant Professor, Department of Sculpture, National Taiwan University of Arts</div>
            </td>
        </tr>
        <tr>
            <td>2020–2023</td>
            <td>
                <div>Curator, Taiwan Contemporary Culture Lab (C-LAB)</div>
                <div>Adjunct Assistant Professor, School of Fine Arts, Taipei National University of the Arts</div>
            </td>
        </tr>
        <tr>
            <td>2019–2020</td>
            <td>
                <div>Head of Research, Taiwan Contemporary Culture Lab (C-LAB)</div>
            </td>
        </tr>
        <tr>
            <td>2018–2019</td>
            <td>
                <div>Researcher, Taiwan Contemporary Culture Lab (C-LAB)</div>
            </td>
        </tr>
        <tr>
            <td>2006–2007</td>
            <td>
                <div>Editor-in-Chief, ARTCO Magazine</div>
            </td>
        </tr>
        <tr>
            <td>2005–2006</td>
            <td>
                <div>Editor, ARTCO Magazine</div>
            </td>
        </tr>
    </tbody>
</table>

<h3>Curatorial Projects (Selected)</h3>
<table>
    <tbody>
        <tr>
            <td>2024</td>
            <td>
                <div>“Tsong Pu: Folding Landscapes”, Sky Gallery at Luodong Cultural Working House</div>
                <div>“Walking the Shoreline: 2024 Formosa North Coast Art Festival”, North Coast & Guanyinshan National Scenic Area (Co-curator)</div>
            </td>
        </tr>
        <tr>
            <td>2023</td>
            <td>
                <div>“Memory Palace in Ruins”, Taiwan Contemporary Culture Lab (C-LAB)</div>
                <div>“C-LAB Forum: A Future Slowly Cancelled”, Taiwan Contemporary Culture Lab (C-LAB)</div>
            </td>
        </tr>
        <tr>
            <td>2022</td>
            <td>
                <div>“Minimal Input – Algorithmic Art Gathering”, Taiwan Contemporary Culture Lab (C-LAB)</div>
            </td>
        </tr>
        <tr>
            <td>2021</td>
            <td>
                <div>“Liu Shih-Tung: Cut Out and Mix”, Kaohsiung Museum of Fine Arts (KMFA)</div>
                <div>“Signals: CREATORS 2020–21”, Taiwan Contemporary Culture Lab (C-LAB)</div>
            </td>
        </tr>
        <tr>
            <td>2020</td>
            <td>
                <div>“2020 Taiwan International Video Art Exhibition – ANIMA”, Hong-gah Museum, Taiwan Contemporary Culture Lab (C-LAB) (Co-curator)</div>
                <div>“Yao Jui-Chung - Republic of Cynic (R.O.C.)”, Taiwan Contemporary Culture Lab (C-LAB)</div>
            </td>
        </tr>
        <tr>
            <td>2019</td>
            <td>
                <div>“City Flip-Flop: Stained”, Taiwan Contemporary Culture Lab (C-LAB) (Co-curator)</div>
            </td>
        </tr>
        <tr>
            <td>2018</td>
            <td>
                <div>“The Alternative Guide of Time”, Taiwan Contemporary Culture Lab (C-LAB) (Co-curator)</div>
            </td>
        </tr>
        <tr>
            <td>2017</td>
            <td>
                <div>“Broken Spectre”, Taipei Fine Arts Museum (TFAM) (Co-curator); shortlisted for the 16th Taishin Arts Award.</div>
            </td>
        </tr>
        <tr>
            <td>2015</td>
            <td>
                <div>“Su Hui-Yu: A Man After Midnight”, Double Square; shortlisted for the 15th Taishin Arts Awards.</div>
                <div>“The Taiwanese Underground: Dino, Wang Fu-Jui, Lin Chi-Wei” in Counterflows Festival, CCA Glasgow</div>
                <div>“Shoot the Pianist: The Noise Scene in Taipei 1990–1995”, Peltz Gallery, Café OTO</div>
            </td>
        </tr>
    </tbody>
</table>

<h3>Conference Presentations</h3>
<table>
    <tbody>
        <tr>
            <td>2022</td>
            <td>
                <div>“Broken Corporeality: The Subversive Arts and Its Representations Around the Lifting of Martial Law in Taiwan“ (破敗身體性：臺灣解嚴前後的破壞藝文及其再現), presented in Horizontal Art History: Perspectives from Taiwan, National Taiwan Museum of Fine Arts, Taichung (presented in Chinese)</div>
            </td>
        </tr>
        <tr>
            <td>2017</td>
            <td>
                <div>“David Medalla, Li Yuan-chia and Rasheed Araeen’s Conceptualist projects from the mid-1960s to the mid-1970s”, presented in Conceptualism – Intersectional Readings, International Framings: Black Artists And Modernism In Europe After 1968, Van Abbemuseum (VAM), Eindhoven</div>
            </td>
        </tr>
        <tr>
            <td>2015</td>
            <td>
                <div>“Transgressive Body</div>
            </td>
        </tr>
    </tbody>
</table>

<h3>Book Chapters (Selected)</h3>
<table>
    <tbody>
        <tr>
            <td>2024</td>
            <td>
                <div>“The Gallery as Studio: The Trio Hall” (展場即片場：論蘇匯宇《三廳電影》), in The Trio Hall－Su Hui-Yu Solo Exhibition. Taipei: MoCA Taipe, 2024, pp.28–35.*</div>
            </td>
        </tr>
        <tr>
            <td>2023</td>
            <td>
                <div>“Memory Palace in Ruins” (崩塌記憶之宮) (Curatorial Statement), in Memory Palace in Ruins. Taipei: Taiwan Living Arts Foundation, 2023, pp.10–15.*</div>
                <div>“On the Rim of the Taipei Basin, 1993-1995: Trash, Noise, and the Experiment of Local Government Sponsored Art Exhibitions” (台北盆邊1993–1995：垃圾、噪音與地方美展實驗), in Exhibition in Becoming: Taipei County Art Exhibition and Experimental Art, 1992–1997. New Taipei City: Cultural Affaires Department, New Taipei City Department, pp.114–159.* </div>
                <div>“When Bodies Become Information—On the Avatars in The Modern Exorcist” (當身體成為信息：談「現代驅魔師」中的虛擬化身), in The Modern Exorcist, Taipei: Taipei Fine Arts Museum, 2023, pp.36–48.*</div>
            </td>
        </tr>
        <tr>
            <td>2022</td>
            <td>
                <div>“Preface: From Studios to the Community Generating Experiments” (前言：從工作室到一個創造實驗的聚落), in Three Years: CREATORS 2018–2020. Taipei: Taiwan Contemporary Culture Lab (C-LAB), 2022, pp.10–15.*</div>
            </td>
        </tr>
        <tr>
            <td>2021</td>
            <td>
                <div>“Art with Projects, Chapters, and Multiple Interim Presentations — 2021 Taipei Art Awards Observations” (關於藝術裡的計畫、篇章，與不只一次的階段性發表), in Taipei Art Awards 2021. Taipei: Taipei Fine Arts Museum, 2021, pp.12–20.*</div>
                <div>“Liu Shih-Tung: Cut Out and Mix” (影像燴──劉時棟個展) (Curatorial Statement), in Liu Shih-Tung: Cut Out and Mix. Kaohsiung: Kaohsiung Museum of Fine Arts, pp.6–15.*</div>
            </td>
        </tr>
        <tr>
            <td>2020</td>
            <td>
                <div>“Yao Jui-Chung - Republic of Cynic (R.O.C.)” (姚瑞中：犬儒共和國) (Curatorial Statement), in Yao Jui-Chung - Republic of Cynic (R.O.C.), Taipei: Taiwan Contemporary Culture Lab (C-LAB), 2020, pp.6–11.*</div>
            </td>
        </tr>
        <tr>
            <td>2017</td>
            <td>
                <div>“Broken Spectre” (破身影) (Curatorial Statement) in Broken Spectre, in Taipei: Taipei Fine Arts Museum, 2017, pp.18–22.*</div>
            </td>
        </tr>
        <tr>
            <td>2015</td>
            <td>
                <div>“Li Yuan-chia: Art and Artefact” (李元佳：造物), in View-Point: A Retrospective Exhibition of Li Yuan-chia, Taipei: Taipei Fine Arts Museum, 2015, pp.78-113.*</div>
            </td>
        </tr>
    </tbody>
</table>

<h3>Journal Articles (Selected)</h3>
<table>
    <tbody>
        <tr>
            <td>2024</td>
            <td>
                <div>“From Air Plants and Bagasse Missiles to Marked Marble: Observations on Formosa Objects: Asian Contemporary Sculpture” (從空氣鳳梨、蔗渣飛彈，到有記號的大理石──「方物：亞洲當代雕塑展」觀察), The Sculpture Research Semiyearly (Additional Issue “Exhibition Writing And Phenomenon Observing), No.32 (2024.11), pp. 91-106. (in Chinese)</div>
            </td>
        </tr>
        <tr>
            <td>2021</td>
            <td>
                <div>“Factories, Fake News, and Us as Audience: On Ting-Tong Chang’s New Project Soap” (工廠、假新聞與扮演受眾的我們：張碩尹新作《肥皂》計劃現場) , ARTFORUM 藝術論壇, 2021.11.03 (in Chinese)</div>
            </td>
        </tr>
        <tr>
            <td>2020</td>
            <td>
                <div>“When Bad Students Start Editing: Laughter and Rebellion in 1990s Underground Zines” (當壞學生開始編輯──1990年代校園地下刊物的笑聲與反叛), ARTouch, 2020.03.19 (in Chinese)</div>
            </td>
        </tr>
        <tr>
            <td>2019</td>
            <td>
                <div>“Waste, Noise, and Local Art Exhibitions.” Yishu, Vol.18. February 2019, pp.68–91.</div>
            </td>
        </tr>
        <tr>
            <td>2014</td>
            <td>
                <div>“Kao Chung-li: Cinema Lucida,” ArtReview Asia, autumn/winter 2014. pp.68-71.</div>
            </td>
        </tr>
    </tbody>
</table>
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