Sunday Sunday
10AM - 6PM
Exhibition
The Museum After
Who's Hiding Here？
Community Art Project
When Tomorrow is Forgotten
The Grooving Jungle - Huang Yi-Chia Solo Exhibition
MoCA Video
EXHIBITIONS & EVENTS
2026 / 07 / 11 Sat.
2026 / 09 / 20 Sun.
10:00 - 18:00
Curator
Christina Szu-Yin Chen
Artist
Shih Meng-Hsin
Wu Wei-Ting
Sera Yu-Wen Chen
Liang Yu-Ning
Wing Po So
Supervisor
Department of Cultural Affairs, Taipei City Government
Organizers
Taipei Culture Foundation
MoCA TAIPEI
Grant Support
Ministry of Culture
Annual Sponsors
THERMOS
Contemporary Art Foundation
Hui-Neng Chi Arts and Culture Foundation
Accommodation Sponsorship
Royal Inn
Media Cooperation
Radio Taiwan International
The experience of leaving home and living elsewhere draws attention to forms of life that cross borders and take root in unfamiliar lands. Often regarded as “the other,” they have long since become part of their environments. As national borders become increasingly rigid and movement more restricted, plants continue to exceed these human-made divisions. They grow in the cracks, take root in unnamed places, and prompt a question: as life remains in constant motion, how do we determine what belongs to a place and what is considered foreign to it?
The migration of plants has long been intertwined with human history. Familiar species such as tea spread through networks of trade and colonization, gradually becoming embedded in everyday life and collective memory. We often understand plants through categories such as “native” and “introduced,” “useful” and “invasive.” Yet these distinctions are far less fixed than they appear. In Braiding Sweetgrass, Robin Wall Kimmerer proposes the idea of “plant nations,” reminding us that plants are living beings with their own rhythms, forms of intelligence, and ways of relating to the world, rather than mere resources for human use.
Extending this perspective, plant growth can be understood as a form of agency. Rather than following predetermined orders, it unfolds through borders, margins, and cracks, continually generating its own pathways. Such a condition evokes the protest movements that have emerged in Asian cities in recent years. Like a form of botanical guerrilla action, these movements take root beyond the boundaries of official planning and control. Refusing complete erasure, they persist and proliferate quietly, extending through the urban fabric much like underground rhizomes.
Weeds Don’t Obey seeks to respond to this contemporary condition. As borders become increasingly fortified, life does not necessarily answer with grand gestures, but through subtle, dispersed, and persistent forms of emergence. Plants have never been obedient. They move across borders, infiltrate landscapes, and unsettle established orders according to their own rhythms. In corners not yet named, they quietly take root and proliferate, writing histories that resist control—histories of weeds, of margins, and of freedom.
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Born in Taiwan, Christina Szu-Yin Chen holds an MA in Arts and Culture from Vrije Universiteit Amsterdam, specializing in contemporary art history. Her research and curatorial practice focus on authorship and participatory art, exploring the fluidity and reconfiguration of artistic production and its boundaries. Chen previously served as Curator and Special Assistant to the CEO at Hu’s Art, where she contributed to numerous public art commissions and large-scale exhibition projects. She also worked at Backer-Founder, managing cultural initiatives and cross-sector resource development projects. Her curatorial projects include Weeds Don’t Obey (2026) and Stealth at the Taitung Art Museum (2025). She continues to publish critical essays and research articles on contemporary art and culture through platforms in Taiwan and abroad.
Shih Meng-Hsin (b. 1995, Taichung, Taiwan) specializes in amplifying everyday perceptions through sculpture, readymades, and spatial installations to articulate his responses. With a keen sensitivity to space, he observes urban environments and seeks out discarded, peripheral objects throughout the city. His goal is to elevate these urban fragments to the central focus of his works in response to the spatial conditions.
The work of Wu Wei-Ting (b. 1996, Yunlin, Taiwan) draws on his reflections on the relaxed state of mind in everyday life, constructing airy environments through “sculpting space” and “site-specific installations.” Using materials such as marble, light, video, and mixed media, he uncovers intriguing yet paradoxical relationships within architectural and spatial structures, highlighting the gravitational pull of “emptiness” between time and matter and revealing often-overlooked perceptions.
Sera Yu-Wen Chen (b. 1991, Hualien, Taiwan) works across video, photography, and new media. Her practice explores urban observation, the environment, and cultural identity, examining the implicit yet evolving relationships among humanity, nature, and society. Using non-linear storytelling and mixed media to create image spaces, she blurs the lines between fiction and reality, reflecting on how “nature” shapes landscapes and identity.
Liang Yu-Ning (b. 1990, Taoyuan, Taiwan) specializes in painting. He skillfully layers acrylic paint and uses airbrush techniques to craft narrative dimensions that bridge reality and the human psyche. By observing plants under artificial lighting, he transforms these images into depictions of change and decay in life. Additionally, through painting, he expresses insights into the departure of loved ones and delves into the lasting effects after death.
Wing Po So (b. 1985, Hong Kong) creates installations, sculptures, and videos using Chinese medicinal materials. Her work explores the hidden relationships and systems within nature. Influenced by her early exposure to traditional Chinese medicine, her perception of nature has never been intact but rather of materials that are cut up, sun-dried, ground, and preserved in cabinets and jars. These bodily memories have shaped her fundamental perception of the world and the foundation of her art.
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