Making Worlds: An Imagineering Project

2022 / 11 / 05 Sat.

2023 / 01 / 29 Sun.

10:00 - 18:00

  • Curator

    Wang Han-Fang

  • Artists

    Joyce Ho
    Kosta Tonev
    Ericka Beckman
    Chang Yun-Han
    Chang Wen-Hsuan
    Lindsay Seers


every destination becomes every place, and every place becomes every destination
monadic consumer
celebration of the production turned into production of the celebration
facets of circulation

In 1955, Walt Disney founded the world’s very first modern theme park Disneyland. A theme park, by definition, is an amusement park where space design, foot traffic flow, mise-en-scènes, audiovisual experiences, characters, and activities all revolve around one, or several, themes or stories. This stylized scenery is the result of a transdisciplinary spatial narrative that serves a particular purpose: conjuring an immersive fantastic environment for each visitor, where, much like a parallel universe, all connections between this land of fantasy and the real world dissolve, and relationships are reconfigured.

The template of theme parks has grown to include myriad versions that cross over to different industries and increasingly expand, riding the waves of globalized replicate culture, ubiquitous digital immersive experience, and the growth of entertainment labor force. Often a highly commercialized and monitored space, a theme park tends to self-replicate and enjoys universal popularity. It comes with theme restaurants, hotels, or shopping malls. It also comes in the form of a historic site or a museum. The careful crafting of a theme park’s atmosphere involves scripted events, visitor experience management, and visitor behavior analysis.

These scripts manifest the ability to decontextualize and recontextualize under different themes, jumping on the bandwagon of post–20th-century narrative, where the focus shifts from temporality to spatiality. Through undertakings from spontaneous arrangement, dislocation, mélange, to reorganization of scenes, these scripts draw inspiration from different cities, spaces, histories, and cultures, enacted with labor in the form of entertainment and performance. These said scripts serve purposes of nostalgia, recreation, ideological campaign, consumerism, or politics, meticulously calibrated to set the designated foot traffic flow, tailor visitor experience, and create anticipated effects, followed by franchise deals executed in other parts of the world, ultimately contributing to the Disneyfication of society. Connections between a themed environment and its locale are not requisite, when a universal adaptability allows the themed environment to blend in any metropolis, simultaneously diluting a city’s function as a place for social interaction. In order to control the atmosphere and foot traffic flow in a themed environment, a security system is often required, with which the management is able to regulate the activities and behaviors of visitors, as well as to prevent visitors from interacting with the external environment. A themed environment adopts gamification strategies, offering rewards to visitors who accomplish tasks. Rewards such as points, achievement badges, and rankings on leaderboards enhance visitors’ participation and value consensus. Nothing and everything exists in a themed environment, where all kinds of pleasant situations provide intense stimulus overload, while in the process of visual symbolization and simplification we confuse make-believe problems and truths in a theme park with real ones of urban life.

Perhaps we can say that a themed environment allows visitors to collectively enter another world of thought constructed by others, allowing us to live various fairytales. Akin less to infrastructure construction than ideology construction, this themed environment substitutes the dreadful and troublesome public domain with the highly regulated, pleasurable domain. This group exhibition pictures the participating artists as imagineers who take on creative engineering projects. The aim is to reveal the system and mechanisms behind engineering, but for the purpose of imagination. Chang Wen-Hsuan reflects on the political operations behind nonverbal narrative techniques, while Lindsay Seers evades linearity by creating elliptical narratives, each riven into an ocean of fortuitous events that interrelate. Kosta Tonev explores the commodification and degeographization of people, events, goods, time, and place in the system, while Ericka Beckman through game mechanics uncovers the system in which society functions and looks for potential breaches. The operations of a theme park, however, still echo the psychological needs and desires of humanity. Chang Yun-Han probes humanity’s eternal longings and dreams for a neverland, while Joyce Ho treads the fine line between the mundane and the human desire for the fantastic, offering a glimpse into the nuanced sensations of the body and mind. Upon entering, the viewer is invited to experience this wonderland and its ceaseless wonders.



Curator & Artists

Wang Han-Fang
Joyce Ho
Kosta Tonev
Ericka Beckman
Chang Yun-Han
Chang Wen-Hsuan
Lindsay Seers

Han-Fang Wang is an independent curator and art worker. In 2019, she received a grant as a resident curatorial fellow for the Taiwan Pavilion at Performa 19 in New York, and in 2022, she collaborated with En-Man Chang and Ting Tsou in the project of Floating System for Snails: Project Invasion in documenta fifteen. Her recent curatorial projects include: Still Life Sonata: Wang Yahui Solo Exhibition, Taitung Art Museum, Taitung, Taiwan (2021); Mercurial Boundaries: Imagining Future Memory, Museum of National Taipei University of Education, Taipei, Taiwan (2019); and the 6th Taiwan International Video Art Exhibition: Offline Browser (curated by Hsu Chia-Wei and Hsu Fong-Ray), assistant curator, Hong-Gah Museum, Taipei, Taiwan (2018).

Intrigued by the facade of contemporary life, Wang ponders the changing states of human experiences, and conducts relevant research that tests her hypotheses regarding the direction in which humanity moves. She is profoundly concerned about the ways technology, civilization, and knowledge redefine humanity and its relationship with the world. At the same time, she contemplates how technology, as a form of social infrastructure, plays a role in the individual’s perceptual experience, the construction of their subjectivity, as well as life as a collective and as a society in the future.

Joyce Ho (b.1983, Taiwan) received her M.A. in studio arts from the University of Iowa. She is an interdisciplinary artist, focusing specifically on moving image, installation, and performance. With an illusion rich in light and shadow, the artistic conception aims to integrate the deconstructed movements and fragmented slices of daily routines. As such, the artist endeavors, whether in painting, installation or video, to convey an intimate, yet alienated tensions between human beings and reality. The singularly intensive creation simultaneously captivates and confronts viewers, which almost renders a quotidian moment into a piece of landscape or a ritual.

Kosta Tonev (b. 1980, Bulgaria) is a visual artist based in Vienna, Austria. He received a BA degree from the National Academy of Art in Sofia and an MA degree from the Academy of Fine Arts in Vienna. In the years that followed, his work expanded beyond his initial training as a painter to include performative and text-based approaches, employing the media of photography, video, installation and sound. His interests in language and storytelling are closely linked to the field of artistic research. He constructs narratives involving references to music, film, intellectual discourse, and popular culture. Drawing on his own experiences or an alter ego he has invented, he often addresses issues around history and politics in a humorous and playful way. In the process, the artist renders a complex archaeology of the present, told in the first person.

Ericka Beckman (b. 1951, New York) is considered a key figure of the Pictures Generation, whose work investigates how individuals shape their self-image based on outside influencers during an age of mass media. The moving image works and installations created by her use of color, sound, and movement to examine cultural signs and subjectivity, particularly with regard to labor, leisure and gender. Since the mid-1970s, Beckman has forged a signature visual language in film, video, installation, and photography. Her creations are playfully satirical and critical at the same time, and by incorporating various structural elements and the logics of games and fairytales, she has established unconventional structures and rules, while also profoundly exploring issues on topics such as others and identity, as well as power and control.

Chang Yun Han’s (b.1985, Taiwan) art practice focuses on the subtle invisibilities in everyday life. Through her observation in different cities or societies, she explores those common but differentiated experiences between individuals and collectives that were waiting to be named. Her creation tries to examine how these differentiations are constructed, and she rephrases those stories through different mediums and methods. She believes that art lives in reality, and through imagination human beings could create potential breaches to broaden perception.

The artistic practice of Chang Wen-Hsuan (b.1991, Taiwan) questions the narrative structure of institutionalised history with re-readings, re-writing, and suggestions of fictional alternatives. To expose the power tensions embedded in historical narratives is a way of managing the relationships and dynamics between individual stories and the writing of history. Through versatile platforms including installations, videos, and lectures, she often navigates skewed documentations and first-person accounts to trigger reflections on how the understanding of history affects the purport of the present and thrust of the future. In 2018, she launched the project Writing FACTory.

Lindsay Seers works in London and lives on the Isle of Sheppey. She is best known for her performances, video installations and the hundreds of images she has produced using her own body as a camera. Her works explore complex ideas and situations through elliptical narratives that are shaped by an evolving set of connections and coincidences that the act of making evokes. Concerned with the nature of consciousness, Seers’ research is influenced profoundly by the philosopher Henri Bergson and the neuroscientists Chris Frith and Anil Seth. Seers is diagnosed with autism and neurodiverse. This reflects in her art works which shows an excess of multiplicity and complexity.


Entangled4(Theatre IV)
The Ventriloquist
Dolls (I)
Dolls (II)
The Equipment Show
Frame UP
Switch Center



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