If this ain’t Ai, don’t make me Bi. 2026.01.17-04.12 ｜Artists｜ Ciou Zih-yen, Ni Hsiang, Feng Chih-ming, Chien Chih-feng ｜More Information｜https://ntcart.museum/en/exhibition.aspx?kind=today

If this ain’t Ai, don’t make me Bi. 2026.01.17-04.12 ｜Artists｜ Ciou Zih-yen, Ni Hsiang, Feng Chih-ming, Chien Chih-feng ｜More Information｜https://ntcart.museum/en/exhibition.aspx?kind=today

If this ain’t Ai, don’t make me Bi. 2026.01.17-04.12 ｜Artists｜ Ciou Zih-yen, Ni Hsiang, Feng Chih-ming, Chien Chih-feng ｜More Information｜https://ntcart.museum/en/exhibition.aspx?kind=today

If this ain’t Ai, don’t make me Bi. 2026.01.17-04.12 ｜Artists｜ Ciou Zih-yen, Ni Hsiang, Feng Chih-ming, Chien Chih-feng ｜More Information｜https://ntcart.museum/en/exhibition.aspx?kind=today

If this ain’t Ai, don’t make me Bi. 2026.01.17-04.12 ｜Artists｜ Ciou Zih-yen, Ni Hsiang, Feng Chih-ming, Chien Chih-feng ｜More Information｜https://ntcart.museum/en/exhibition.aspx?kind=today

If this ain’t Ai, don’t make me Bi. 2026.01.17-04.12 ｜Artists｜ Ciou Zih-yen, Ni Hsiang, Feng Chih-ming, Chien Chih-feng ｜More Information｜https://ntcart.museum/en/exhibition.aspx?kind=today

If this ain’t Ai, don’t make me Bi. 2026.01.17-04.12 ｜Artists｜ Ciou Zih-yen, Ni Hsiang, Feng Chih-ming, Chien Chih-feng ｜More Information｜https://ntcart.museum/en/exhibition.aspx?kind=today

[The script of this episode] In the final section, Yin Zi-Jie’s Tissue reemerges. The artist traces the origin of tissue paper by visiting artificial forests in Indonesia. In the exhibition space, paper tubes with diameters matching the harvested trees are arranged according to the spacing of such plantations. This setting prompts us to reflect on how a single sheet of paper may represent the loss of an entire forest. Meanwhile, viewers can experience Yannick Dauby’s Upstream Meanders in the same space, which includes several chapters of sound recordings representing sounds gathered along his journey from Xindian to Yingge. The upstream symbolizes retracing the origin. Traveling upstream means reflecting on the past as well as understanding habitats. Through the interplay of sound and installation, this work evokes a sense of shelter. Finally, Hsu Ting’s Particles by the Window series is displayed in a space filled with flowing natural light. She starts in her studio, capturing fleeting dust particles illuminated by sunlight, viewing them as a source of inspiration. At the same time, her studio is like a small ecosystem that sustains her everyday life. These three artists collectively respond to the subtheme, “Satoyama,” by creating metaphors that highlight the strong bond between humanity and nature. Although fear persists, we have always found protection through healing. Architecture, born from the need for safety, also reminds us to understand and address the fear and healing of others. ---------- The Architecture of Fear and Cure 2025.10.04-2026.01.25 ｜Curator｜ROAN Ching-yueh ｜Artists｜YIN Zi-jie, Boonserm PREMTHADA, WU Tseng-jung, WU Yao-tung, MATSUDA Kazuhisa, HUNG Hao-chun, HSU Ting, FU Chang-feng, Divooe ZEIN, FCHY Architect Lab, LIAO Wei-li, Yannick DAUBY, CHEN Donghua, Kay Ngee Tan Architects, LAI Po-wei, KU Shih-yung ｜More Information｜https://ntcart.museum/EN/exhibition/H2508001

[The script of this episode] As you move to the next section, you will encounter two large-scale installations. The first is The Unfinished Distance by Singapore-based architectural firm Kay Ngee Tan Architects. Echoing the subtheme “The Law of Architecture,” this work uses square structures to explore how we perceive and experience the transition of spatial distance, inviting viewers to feel the changes of the work in space. The next work is Thai architect Boonsorn Premthada’s Medicine Chapel. Since ancient times, Thailand has cultivated a rich tradition of herbal healing. The chapel features a semi-enclosed space made with dried pluang leaves, blending medical symbolism with spiritual elements. As visitors enter the installation, they will encounter a dim, tranquil atmosphere filled with a pervasive scent, experiencing how architecture has accompanied humanity from fear to healing. Further ahead is the section “The Shape of Shadow,” curated by Chinese architect Chen Donghua. This section focuses on architectural experiences in tropical climates as a starting point to examine the everyday and public nature of shadow in southern China. The section showcases typical southern living scenes, using shade as a spatial language to explore the distinct meaning of “locality” amid the waves of globalization. ---------- The Architecture of Fear and Cure 2025.10.04-2026.01.25 ｜Curator｜ROAN Ching-yueh ｜Artists｜YIN Zi-jie, Boonserm PREMTHADA, WU Tseng-jung, WU Yao-tung, MATSUDA Kazuhisa, HUNG Hao-chun, HSU Ting, FU Chang-feng, Divooe ZEIN, FCHY Architect Lab, LIAO Wei-li, Yannick DAUBY, CHEN Donghua, Kay Ngee Tan Architects, LAI Po-wei, KU Shih-yung ｜More Information｜https://ntcart.museum/EN/exhibition/H2508001

[The script of this episode] After moving past the “planet” and “air,” the next section on the right wall features works by Wu tseng-jung, an artist who shifted from architecture to painting. This exhibition includes five of his pieces related to architecture, such as his competition entry for the 228 Memorial Monument and a painting of the Taipei City Government. These works showcase his distinctive vision, shifting fluidly between painting and architecture. On the left side of the section are two screening rooms, each showing a documentary: The first, Wu yao-tung’s The Journey—A film about Chen Kuen Lee features the life of the late architect Lee Chen-Kuen, with insights from five architects and scholars. The second, Fu Chang-Feng’s Deep Current – Architecture of Taiwan series examines the transformation of modern architecture in postwar Taiwan. This exhibition showcases the episode featuring architect Lee Chu-Yuan and his role in the evolving architectural landscape of power structure. On display between the two screening rooms is Hung Hao-chun’s Plug-in Paradise. Inspired by the use of plug-ins and add-ons in traditional Taiwanese architecture, this work reflects on how, facing economic and spatial constraints, ordinary people have shaped a uniquely Taiwanese architectural culture.. Entering the work feels like stepping into the story of “The Peach Blossom Spring,” providing a healing experience that transitions from darkness to light. ---------- The Architecture of Fear and Cure 2025.10.04-2026.01.25 ｜Curator｜ROAN Ching-yueh ｜Artists｜YIN Zi-jie, Boonserm PREMTHADA, WU Tseng-jung, WU Yao-tung, MATSUDA Kazuhisa, HUNG Hao-chun, HSU Ting, FU Chang-feng, Divooe ZEIN, FCHY Architect Lab, LIAO Wei-li, Yannick DAUBY, CHEN Donghua, Kay Ngee Tan Architects, LAI Po-wei, KU Shih-yung ｜More Information｜https://ntcart.museum/EN/exhibition/H2508001

[The script of this episode] The following two works explore the subtheme, “The Law of Architecture,” starting with fundamental principles and perspectives on architecture. Next to The Cold Shot, the large-scale metal installation titled Architecture as Air is a work by FCHY Architect Lab, formed by Yang Hsiu-Chuan and Kao Ya-Feng. Inspired by the flow and permeability of air, they examine how invisible elements can be sensed through temperature, convection, and disturbance, and how it might be constructed into a collective presence between what exists and what does not. On the other side of the canopy is architect Matsuda Kazuhisa’s The Planet of Nobody / Collective Unconscious. Inside this semi-translucent sphere, the artist draws inspiration from sand tray therapy, creating an environment that simulates storms and tremors. Visitors are invited to step into the planet to observe the interaction between individuals and groups in unstable conditions, while searching for the possibility of coexistence between self-interest and altruism. ---------- The Architecture of Fear and Cure 2025.10.04-2026.01.25 ｜Curator｜ROAN Ching-yueh ｜Artists｜YIN Zi-jie, Boonserm PREMTHADA, WU Tseng-jung, WU Yao-tung, MATSUDA Kazuhisa, HUNG Hao-chun, HSU Ting, FU Chang-feng, Divooe ZEIN, FCHY Architect Lab, LIAO Wei-li, Yannick DAUBY, CHEN Donghua, Kay Ngee Tan Architects, LAI Po-wei, KU Shih-yung ｜More Information｜https://ntcart.museum/EN/exhibition/H2508001

[The script of this episode] Stepping into the next section, you will be greeted by Yin Zi-jie’s Tissue. Using common tissue paper, she has created canopy-like installations. This series of works is scattered throughout the gallery, seamlessly blending with Yannick Dauby’s sound creations, collectively exploring the connection between life, nature, and industry chains through a rich, multi-sensory experience. Walking past the canopy, you’ll see Liao Wei-Li’s* The Tender Span Between Time and Space—A Room of Mother's* on the rear wall. This series of pen sketches documents the artist’s visits to his ninety-six-year-old mother. Dozens of drawings capture his mother’s changes in everyday life and psychological states at different moments and from various angles, weaving a visual record of time’s passage. To the artist, his mother becomes the symbol of home—a sanctuary for body and mind—echoing the exhibition’s subtheme “Calling.” Looking diagonally ahead on the wall, you will find Divooe Zein’s collection of objects gathered over the years from indigenous villages in Taiwan. These include hunting tools, ritual objects, ceremonial artifacts, and musical instruments. Each object not only originates from survival needs but also embodies a shared reverence for heaven and earth. His work, The Cold Shot, invites us to consider whether modern society still recognizes and continues the spiritual significance of such objects or if we only see them as material objects to admire. ---------- The Architecture of Fear and Cure 2025.10.04-2026.01.25 ｜Curator｜ROAN Ching-yueh ｜Artists｜YIN Zi-jie, Boonserm PREMTHADA, WU Tseng-jung, WU Yao-tung, MATSUDA Kazuhisa, HUNG Hao-chun, HSU Ting, FU Chang-feng, Divooe ZEIN, FCHY Architect Lab, LIAO Wei-li, Yannick DAUBY, CHEN Donghua, Kay Ngee Tan Architects, LAI Po-wei, KU Shih-yung ｜More Information｜https://ntcart.museum/EN/exhibition/H2508001

[The script of this episode] The exhibition begins with the “Ceremony” section. As you step into the gallery, the first thing that catches your attention is Lai Po-wei’s Parasitic Temples—an installation of hanging beadwork shaped like a temple roof. Lai has long explored these small temples in urban areas. Through field research, he carefully documents and categorizes them. The photos and materials on the walls present the result of his dedicated work over the years. The accompanying book on display provides a diverse and thorough examination of Taiwan’s micro religious spaces. As you continue through the gallery, you might notice the sounds of drums from across the gallery. This work, Ku Shih-Yung’s* Echo*, features eight large stone images on the wall, each covered with a layer of stone powder and attached to drumsticks on pedals. You are invited to remove your headphones and step onto the pedals, feeling the drumstick’s impact on the canvas, which causes the stone powder to fall like dust. Meanwhile, the drumsticks also trigger sounds inspired by nature, such as birds singing, insects chirping, streams flowing, or thunder roaring. These sounds echo through the space like in a valley, revealing nature’s energy and evoking a sense of awe toward unknown forces. ---------- The Architecture of Fear and Cure 2025.10.04-2026.01.25 ｜Curator｜ROAN Ching-yueh ｜Artists｜YIN Zi-jie, Boonserm PREMTHADA, WU Tseng-jung, WU Yao-tung, MATSUDA Kazuhisa, HUNG Hao-chun, HSU Ting, FU Chang-feng, Divooe ZEIN, FCHY Architect Lab, LIAO Wei-li, Yannick DAUBY, CHEN Donghua, Kay Ngee Tan Architects, LAI Po-wei, KU Shih-yung ｜More Information｜https://ntcart.museum/EN/exhibition/H2508001

[The script of this episode] Welcome to the exhibition “The Architecture of Fear and Cure." This audio guide will lead you along the exhibition route to explore the exhibition space and the artworks. The origin of architecture stems from our need for shelter. Like other living beings, humans depend on architecture to protect themselves from natural disasters, diseases, and threats. However, when fear and healing come together, it can create feelings of chaos and unease, as well as a desire for order and stability. These feelings are, in fact, fundamental aspects of life. In modern society, this pursuit is often overlooked in architecture and cities. Instead, they often fall into what philosopher Georges Bataille described as a dilemma: the expansion of the self, the ultimate void, the scorn of the others, the thunderous shout, the gaze into the past ill-fated grandeur. This exhibition begins with this problematic and invites everyone to reflect together. This exhibition is organized into four subthemes: “Ceremony,” “The Law of Architecture,” “Calling,” and “Satoyama.” With voices, visuals, and installations created by 16 architects and artists, let’s embark together on a journey of exploring the complex relationship between architecture and life. ---------- The Architecture of Fear and Cure 2025.10.04-2026.01.25 ｜Curator｜ROAN Ching-yueh ｜Artists｜YIN Zi-jie, Boonserm PREMTHADA, WU Tseng-jung, WU Yao-tung, MATSUDA Kazuhisa, HUNG Hao-chun, HSU Ting, FU Chang-feng, Divooe ZEIN, FCHY Architect Lab, LIAO Wei-li, Yannick DAUBY, CHEN Donghua, Kay Ngee Tan Architects, LAI Po-wei, KU Shih-yung ｜More Information｜https://ntcart.museum/EN/exhibition/H2508001

Introduction [The script of this episode] During its preparatory phase, the New Taipei City Art Museum began to trace the history of experimental art in the 1990s, a chapter often described as “the greatest carnival of the late 20th century,” through publications, forums, and other initiatives. Relational Field emerges from this research-driven approach, focusing on the artistic practices at the Taipei County Cultural Center between 1992 and 1997, combining interviews and archival documentation with works by artists who were active in the 1990s and continue to make art today. Together, these elements re-map the artistic networks of that era, networks shaped by interdisciplinary collaboration and international exchange, and illuminate the avant-garde spirit that fueled them. Beginning in 1992, the Taipei County Cultural Center drew public attention to local issues, such as environmental ecology and folk belief, through its exhibition themes and the reform of the Taipei County Art Exhibition. During this time, noise art also began to flourish, seeking to disrupt the social order. Critics have since dubbed this period the “wild 90s.” If 1980s art helped open a window on democracy and diversity in public space, then 1990s art sought to break free from systemic constraints by initiating a new dialogue with the environment, sound, and folk traditions, ultimately building a new cultural landscape rooted in local sensibilities. This research exhibition offers a lens into the environmental trauma caused by river pollution, while highlighting the humanitarian concern intrinsic in artistic practice. From river basins to mountain ranges, Relational Field charts* Taiwan’s journey toward a form of self-naming th*rough an interdisciplinary approach, spanning archaeology, geology, geography, anthropology, and curating, as we reflect on the land that has nurtured us. ---------- Relational Field: The Cultural Landscape of New Taipei in the 1990s 2025.08.16-12.21 ｜Curator｜ WANG Pin-hua ｜Artists｜ WANG Fujui, WU Mali, LIN Chi-wei, YAO Jui-Chung, KAO Jun-honn, HUANG Ming-chuan, LIU Chen-hsiang ｜Oral Archive Providers｜ Sisy CHEN, CHIEN Ming-hui ｜More Information｜https://ntcart.museum/EN/exhibition/H2507001

The Reform of the Taipei County Art Exhibition and the Environmental Art Festival [The script of this episode] The timeline in front of you shows how, beginning in the 1990s, the Taipei County Cultural Center reformed its art exhibition system to emphasize environmentally reflective themes. These reforms encouraged artists to engage with social issues and environmental concerns, opening up broader, freer directions for artistic practice at the time. Within the timeline section, you’ll find a map of the Tamsui River basin, including the Keelung River, Dahan River, and Xindian River. This map originally appeared in the 1993 exhibition catalogue View on the Tamsui River in 50 Years, curated by Chang Chao-tang and Liu Chen-hsiang. The exhibition featured photography related to the Tamsui River, and the map was printed across a full spread in the catalogue, marking the locations where the photographs were taken. It visually captured the cultural landscapes of the Tamsui River across different historical periods. Looking back today, this river basin map has come to symbolize the 1990s concept of a watershed-based cultural landscape. Next, take a look at the brochures for the Taipei County Art Exhibition displayed in the case. These are from 1993 to 1997, and you’ll notice that each year brought subtle changes. The most significant turning point came in 1994, when the exhibition adopted the approach of responsible art critic. That year, the organizers eliminated the traditional classification by medium and the multi-judge evaluation system, replacing them with two categories: an open call and a special call. Art critics Lien Te-cheng and Ni Tsai-chin were invited to serve as jurors for each category, with Ni also curating the special call, which focused on environmental art. This reform sparked heated debate at the time. In response, a group of young artists even organized an alternative Exhibition of Artworks Rejected by the Taipei County Art Exhibition, calling on all rejected applicants to join the exhibition as a form of protest, questioning the legitimacy and fairness of the newly reformed system. ---------- Relational Field: The Cultural Landscape of New Taipei in the 1990s 2025.08.16-12.21 ｜Curator｜ WANG Pin-hua ｜Artists｜ WANG Fujui, WU Mali, LIN Chi-wei, YAO Jui-Chung, KAO Jun-honn, HUANG Ming-chuan, LIU Chen-hsiang ｜Oral Archive Providers｜ Sisy CHEN, CHIEN Ming-hui ｜More Information｜https://ntcart.museum/EN/exhibition/H2507001

Chien Ming-hui: A Provider of Oral and Documental Archives [The script of this episode] What prompted the series of reforms at the Taipei County Cultural Center beginning in 1992? One of the key figures was Chien Ming-hui, the project officer from the Museum Division of the Taipei County Cultural Center at the time. Back then, the title “curator” did not yet exist. But Chien was an important driving force behind this avant-garde exhibition program. He introduced a number of innovative changes: reforming the Taipei County Art Exhibition system, appointing art critics as curators, inviting experimental artists outside the mainstream to present their work, and highlighting diverse forms of artistic practice. The complete photo album of the 1995 Taipei County Art Exhibition is on view in the display case, along with press coverage reflecting both praise and criticism. These materials are part of Chien’s carefully assembled archive. He also invited a photographer and a documentarian to capture the exhibition in photography and video. These visual records offer a glimpse into the atmosphere of that time. The video on display stands as evidence of Chien’s commitment to reform. Although his official position was that of a government project officer, Chien Ming-hui had long been an exhibition organizer and a dedicated arts professional. He built horizontal connections across public and private institutions, non-profit organizations, and alternative spaces, working tirelessly to weave together a professional network grounded in Taiwanese contemporary art. ---------- Relational Field: The Cultural Landscape of New Taipei in the 1990s 2025.08.16-12.21 ｜Curator｜ WANG Pin-hua ｜Artists｜ WANG Fujui, WU Mali, LIN Chi-wei, YAO Jui-Chung, KAO Jun-honn, HUANG Ming-chuan, LIU Chen-hsiang ｜Oral Archive Providers｜ Sisy CHEN, CHIEN Ming-hui ｜More Information｜https://ntcart.museum/EN/exhibition/H2507001

Taipei County Art Exhibition (1995, 1997) [The script of this episode] The 1995 Taipei County Art Exhibition continued responsible art critic, with Lin Hsin-yueh curating Resurgence on the Tamsui River. By 1997, Shih Jui-jen had assumed the formal role of curator for the 8th Taipei County Art Exhibition, using the image of the river as a maternal figure to evoke a shared origin of Asian civilizations. His curatorial vision brought together artists from across East Asia for this exhibition in Taipei. The archives in the display case offer a glimpse into past editions of the Taipei County Art Exhibition, featuring materials such as contracts, selection notices, open call agreements, invitations, promotional materials, artist manuscripts, and fieldwork documentation. On full display are the challenges encountered when artworks were planned to be relocated from indoor to outdoor settings. Some artists even created works by organizing events. It is worth noting that the organizers of the 1997 Taipei County Art Exhibition included public sector bodies and private arts organizations, including alternative spaces. The exhibition venues extended across Taipei City and Taipei County. Looking back on the art scene of the 1990s, we see a deep concern with and reflection on environmental issues. The works from that era lay bare the ecological wounds left by river pollution. Today, artists continue to create in response to the land, walking into river basins and mountain forests, as they delve further into the often-invisible social fabric that underpins our contemporary cultural landscape. ---------- Relational Field: The Cultural Landscape of New Taipei in the 1990s 2025.08.16-12.21 ｜Curator｜ WANG Pin-hua ｜Artists｜ WANG Fujui, WU Mali, LIN Chi-wei, YAO Jui-Chung, KAO Jun-honn, HUANG Ming-chuan, LIU Chen-hsiang ｜Oral Archive Providers｜ Sisy CHEN, CHIEN Ming-hui ｜More Information｜https://ntcart.museum/EN/exhibition/H2507001

Zhongyuan Pudu Religious Arts Festival [The script of this episode] Between 1992 and 1996, the Taipei County Cultural Center organized a special event each year: the Zhongyuan Pudu Religious Arts Festival. More than just an ordinary temple gathering, it was a pioneering celebration that brought together religion, art, and pressing social issues. The planner of the first edition was Sisy Chen, who founded the Girl’s Shrine Folk Culture Studio to organize the event. In the video shown here, she recalls how the traditional rituals were reimagined to strengthen their relevance to modern society for the 1992 edition. Alongside customary pudu rites such as street parades and water lantern ceremonies, the event featured workshops where elementary schoolchildren and minority groups were invited to create their own lanterns and express their artistic visions, bridging ritual with everyday life. Sculpture workshops for county residents, as well as public dance and theater performances, further expanded community participation. The chief executive of the second edition was Ho Tian-tian, with Liu Chen-hsiang serving as the official photographer. This 1993 edition, titled Pudu of the Tamsui River, mourned the river’s lost spirit, polluted and neglected over the years, likened to Taiwan’s largest wandering ghost. Organized by Li Chi’s Folk Art Studio, the third through fifth editions continued with customary pudu rites, alongside film screenings, theater performances, and art exhibitions held in riverside containers. The 1994 edition, themed Modern Hell, evoked the emptiness and chaos of urban life, while the 1995 edition centered on humanitarian concerns, serving as a rallying cry for urgent social issues. The five editions of the Religious Arts Festival, in hindsight, were part of a trailblazing experiment. More than an arts festival, it was a cross-disciplinary collective action. Participants included artists, social activists, local temples, and the public. What remains striking is how the concept of pudu extended beyond the traditional act of relieving and redeeming wandering spirits. It was reimagined as a public action aimed at society and marginalized communities. Ultimately, it became a response to the reality of Taipei County and its migrant population, fostering a more inclusive sense of belonging. ---------- Relational Field: The Cultural Landscape of New Taipei in the 1990s 2025.08.16-12.21 ｜Curator｜ WANG Pin-hua ｜Artists｜ WANG Fujui, WU Mali, LIN Chi-wei, YAO Jui-Chung, KAO Jun-honn, HUANG Ming-chuan, LIU Chen-hsiang ｜Oral Archive Providers｜ Sisy CHEN, CHIEN Ming-hui ｜More Information｜https://ntcart.museum/EN/exhibition/H2507001

Yao Jui-chung Roaming Around the Ruins I – The Civilization Built by Skeleton 1996 Gelatin silver prints 42 x 60 cm / each, 36 in total Collection of New Taipei City Art Museum Roaming Around the Ruins – The Civilization Built by Skeleton & Paradise Lost 1992-2001 Giclée prints 150 x 100 cm / each, 9 in total Single-channel video (color, sound) 15’00” Posters 60 x 85 cm [The script of this episode] The series of works you see here is Roaming Around the Ruins – The Civilization Built by Skeleton by Yao Jui-chung. Begun in 1991, the project spanned 14 years, during which the artist traveled across Taiwan to photograph abandoned spaces and buildings. Most of these ruins were left behind due to industrial relocation, such as the Songshan Cigarette Factory in Taipei, the Sintung Sugar Factory in Dulan, Taitung, or former export processing zones that once flourished but were eventually shut down. The nine pieces on view here were selected by the artist specifically for this exhibition. Taken between the 1990s and 2000s across what is now New Taipei City, the works portray deserted landscapes from the Shuinandong Smelter in Ruifang, a sewage treatment plant in Bali, the UFO Houses in Sanzhi, to Hongludi in Zhonghe and the Zhenzhuling Amusement Park in Linkou. Each site tells a decades-old story that invites reflection. Through the artist’s lens, the ruins are no longer merely derelict buildings, but silent archives that prompt us to consider why these places fell into decay, and what industries once thrived there. Yao began his journey of climbing Taiwan’s 100 Peaks when he started a mountain climbing club in college. This also marked the beginning of his photography series on ruins, in which he documented large, abandoned buildings on the urban fringes and in remote mountain areas. These desolate ruins, like cautionary tales, or relics left behind by the passage of time, transport us beyond temporal and physical limits to historical scenes of social change, industrial decline, and labor migration, all seen through his humanitarian lens. ---------- Relational Field: The Cultural Landscape of New Taipei in the 1990s 2025.08.16-12.21 ｜Curator｜ WANG Pin-hua ｜Artists｜ WANG Fujui, WU Mali, LIN Chi-wei, YAO Jui-Chung, KAO Jun-honn, HUANG Ming-chuan, LIU Chen-hsiang ｜Oral Archive Providers｜ Sisy CHEN, CHIEN Ming-hui ｜More Information｜https://ntcart.museum/EN/exhibition/H2507001