Museum of Contemporary Art, Taipei

Chu Feng-Yi holds a DPhil (PhD) from Asian and Middle Eastern Studies at the University of Oxford. He previously served as the convenor of the Taiwan Studies Program at St Antony’s College, Oxford, and as a Postdoctoral Research Fellow at the Institute of Sociology, Academia Sinica. In recent years, he has worked as an independent curator and art critic, with a focus on mysticism, posthuman theory, and art–technology practices. His curatorial projects include Relocating Divinity: Being an Atheistic Theist (2019); Cross-Dimensional Transmission: Synchronic Encounters between Art, Technology, and Mysticism at Kaohsiung Main Public Library (2020); Zoo of Inverted Forms: The Ultimate Other for Imagining Humanity (Collateral Event of 2020 Taiwan Biennial); and Dear Block Chen (2021). His writings have appeared in Artco Monthly & Investment, ARTouch, The Reporter, No Man’s Land, and SCREEN, among other platforms. He is also the producer and host of the podcast Cross-Dimension Broadcast.

Born in 2001 in Taipei, Taiwan, Hung Jui-Chien’s current focus is on exploring various formats, including sculpture and spatial installation. Through introspection and awareness of the inner spiritual world, he searches for universal symbols in archetypal imagery to construct penetrative and poetic metaphors, seeking to understand and reveal the origins of spiritual life. A bridge of empathy is created between the artist and his audience, one that transcends the five senses and is almost synesthetic.

Born in the United Kingdom, raised in Hong Kong, and currently pursuing studies in Taiwan, their practice is deeply informed by a life of cross-regional displacement and the unique “marginal perspective” it affords. Her creative journey begins at the intersection of rational logic and spiritual perception. By reinterpreting everyday rituals, they seek to uncover the subtle relationships existing between the seen and the unseen. To them, creation is a process of continuous exploration within a spiritual field that lies beyond the known—an attempt to transcend the binary of truth and fiction, inviting the viewer to collectively experience the multifaceted realities hidden within the present moment.

Currently pursuing a master’s degree in the Department of Fine Arts at Taipei National University of the Arts, Huang Yu-Chen’s art practice concentrates on the format of video installation. Recently, he’s been examining how, within traditional beliefs, humans serve as an interface for receiving and conveying divine messages, and how these messages are translated. Drawing on his own temple-related experiences, he reflects on how this perspective, centered on inner experiences and inner worlds, intertwines with the visually dominated ways we see the world.

Huang Tzu-Yu is currently pursuing a master’s degree in sculpture at the School of Fine Arts, Taipei National University of the Arts. Her practice spans sculpture, video installation, and digital media, with a focus on exploring the collusion between “matter” and “ideology.” By deconstructing media such as metal, stone, and digital imagery, Huang’s work questions how “purity” is constructed in mythology, science, and politics, while exposing its profound connections to systemic violence and the collective unconscious.

Born in 2000 in Taipei, Lien Po-Hung’s work focuses on occultism’s representation and function in the digital age, examining how technology and objects form a system that impacts humans’ existential conditions. By juxtaposing history, mysticism, and technology, an intermediary zone that spans both the emotional and rational dimensions is constructed, thereby exploring the multifaceted paths into humanity’s perceptual worlds.

Lien’s recent solo exhibitions include Video Sandbox II-VI: Cornucopia (ALIEN Art Centre, 2025); Suspension of the Calamity (Hyperwave—Zhongshan Institute of Techno-Art, 2025); and Constellation of Perception (Waley Art, 2025). He has also been nominated for the 24th Taishin Arts Award and has received awards from the Da Dun Fine Arts Exhibition of Taichung City and the Keelung Fine Arts Exhibition. In recent years, he has exhibited at Palazzo Bembo in Venice, Bilbao, Spain, the Nanyang Academy of Fine Arts in Singapore, Our Museum, and New Taipei Gallery.

Huang Pei-Chi’s practice centers on visual experiences, perceptual dislocations, and life’s unstable moments. Through subtle disruptions of time and visual encounters, she captures moments of hesitation in everyday life. When flipping through a book quickly, the ink on the pages can sometimes catch the light, making it appear shimmery. Just like an image can suddenly capture your attention and draw you deep into its composition. Everyday scenery is like the pages of a book being flipped rapidly, turbulent and glimmering, and inadvertently, it can open a gateway to a different space-time. The scenes captured may not necessarily be spectacular, yet they evoke a fitting sense of strangeness that raises questions about one’s position within the spatial system. It is as if one were an out-of-place passerby, excluded from a scene’s inherent logic.

Huang’s recent major exhibitions include Cake City (BACK_Y, 2025); A Good-for-Nothing Haunted by Things (Fotoaura Institute of Photography, Tainan, 2023), for which she was nominated for the 21st Taishin Arts Award. Her solo exhibition, I am trying to sing something useless., was presented in 2023 at the Gallery 456 of the Chinese American Arts Council (CAAC) in New York and the Czong Institute for Contemporary Art Museum (CICA) in Korea. Her artwork, A Good-For-Nothing Haunted by Things, was shortlisted for the Kaohsiung Awards in 2021.