Museum of Contemporary Art, Taipei

Lin Cheng-Wei (b. 1991, Taipei, Taiwan) is a curator with a focus on science and contemporary art. After graduating from the Department of Life Sciences at National Taiwan University, he earned an MA in Art Museum and Gallery Studies from the University of Leicester in the UK and is currently pursuing a Ph.D. at the Institute of Applied Arts at National Yang Ming Chiao Tung University. He is an active participant in the curatorial collective “Selves-Educating” and a core member of the scientific art group “Coevolution Research Assembly.” Lin’s current practice primarily involves curating exhibitions and planning events, for which he co-creates and collaborates with artists and scientists on various projects. Through his curatorial practice, he aims to capture how diverse life forms exist and survive while seeking commonalities among their differences.

Since 2018, Lin has served as a curator at the National Chengchi University (NCCU) Art and Culture Center, where he has organized solo exhibitions for various artists, including Tsai Yu-Ting, Tao Ya-Lun, Wei Hsin-Yen, and Chen Che-Wei, as well as group exhibitions such as Time Vehicle: 30th Anniversary of NCCU Art and Culture Center Photography Exhibition and 9 Songs: Collection Exhibition for the Four-Year Sound Documentary Project. In 2020, he joined the interdisciplinary curatorial team at the National Taiwan Science Education Center, where he participated in curating permanent exhibitions, From Me to We: Human Body and Semiconductor: Pavilion of the Future. In 2021, he was selected for the “Curators Incubator Program @ Museums” launched by the National Culture and Arts Foundation. His recent independent curatorial projects include Co-becoming(s) (Museum of National Taipei University of Education, 2023) and Umwelt: The Embodied World(s) (Museum of Contemporary Art, Taipei, 2025).

Jeff Tseng obtained an MA in Ecology and Evolution from the Department of Life Science at the National Taiwan Normal University. His research interests lie in animal vision and evolution. He is currently a teacher and the Executive Director of the Reptile Conservation Association of Taiwan. With over a decade of writing experience, Tseng has authored numerous popular science articles for PanSci and Science Monthly. He has also collaborated with various publishers as a reviewer of popular science books and created exhibition texts for multiple museums. Moreover, he contributed to the review and editing of the Mandarin version of An Immense World: How Animal Senses Reveal the Hidden Realms Around Us, which received the Wu Ta-You Popular Science Book Award. In his pursuit of knowledge, Tseng has realized that the more he discovers, the less he understands. His goal is to emphasize the insignificance of the human race by expressing the vastness of nature and the sensory experiences of other species that resemble parallel worlds.

With background in physics, industrial design, and graphic design, Mark Wang graduated from Social Design Department of the Design Academy Eindhoven in 2020. Currently Wang is a part-time teacher at an experimental school, a microbiology researcher, and an artist. His work often focuses on the biopolitics of contemporary animals and interspecies relationships, exploring how non-human animals reflect human emotional needs. He enjoys interdisciplinary collaboration and primarily expresses his artistic vision through narrative fiction and essay films.

His work has been selected for the Taoyuan Art Exhibition and the National Kaohsiung Center for the Arts - Weiwuying Selection Project, 2023 Ideathon WeWe Futures: 2040 Diversity & Inclusion Special Award, and 2020 Dutch Design 100. Exhibition experiences include 2020-2023 Dutch Design Week; 2022 Rollo Taiwan-Israel Online Art Collaboration and Exchange Project, 2023 Solo Exhibition at Waley Art; 2023 WeWe Futures at Taiwan Design Museum; 2023 Dis-placed Landscapes: International Video Art Festival “Now & After” in Russia; 2024 Hypomnesic Memory; and 2024 RAW Moves—RawGround “Balance: Movement of Consciousness” performance project in Singapore, etc.

Lo Sheng-Wen (b. 1987, Kaohsiung, Taiwan) is currently based in the Netherlands. He holds an MA in Photography from AKV | St. Joost and an MSc in Computer Science from National Taiwan University. He is an alumnus at the Rijksakademie (2019-2021) in Amsterdam and is currently the “ARTISt-in-residence” of ARTIS Zoo in Amsterdam (2025-2026).

His work explores the relationship between non-humans and contemporary society through video installations, photography, and games. Recently, he has created participatory situations that prompt audiences to reflect on anthropocentric views through direct experience. For example, the escape room F/EEL (2020) explores the artificial barriers affecting European eel migration, in collaboration with the Embassy of the North Sea. The treasure hunt Watch Out (2023), presented at the Les Rencontres d’Arles, tackled the unresolved roadkill agenda in the wetlands of southern France. In 2024, he hosted the “Not Illegal Fishing Competition” at Manifesta 15 in Barcelona, encouraging residents to reconnect with the polluted Llobregat River and address paradoxical legislation on invasive species.

Originally from New Taipei City, Taiwan, Lo Yu-Chun is currently based in the Netherlands. Due to the explicit manner in which humans approach and determine their interactions with specific species, this aspect reveals a more authentic side of human nature, which has prompted her interest in how cognition shapes human behavior, with a particular focus on studying the relationship between human and non-human species.

Lo’s work often involves in-depth exploration of issues through field and archival research, with video, archival material, and installation being the primary media she employs in her practices.

Wang Yung-An holds a BFA. from the National Taiwan University of Arts and an MS from the Institute of Cognitive Neuroscience at National Central University. Wang focuses her research on touch cognitive mechanisms while expanding her artistic approach through performance and visual language. With an emphasis on deducing inner-material dynamics beneath the skin, Wang has been developing a touch score/script system called “Mind-Skin Code.” This foundation enriches her investigation in biopolitics by reconfiguring body codes, boundaries, and interoceptive strategies of life under the dominance of visual culture, aiming to reweight the spaces between the human and the non-human. Her creative propositions question the haptics of seeing, as well as how skin can act as a thinking organ.

Led by Wang Yung-An, Skin Sensing Species (SSS) is a research-based collective comprising filmmaker Dina Karaman and electrical engineer Jessy Hou. Anchored in “the body’s resistance to the features of the master algorithm,” the collective explores the entanglements of materiality and technology through a tactile lens. Their work proposes new frameworks for reimagining the relationship between humans, the environment, and technological systems, offering alternative perspectives on sensory and cultural reconstruction in the post-globalized era.

Chan Hung-Lu is an interdisciplinary artist and social designer based in the Netherlands. His work delves into the inner landscapes of human imagination, particularly in relation to the unknown. In recent projects, he employs “aliens” as a metaphor for the unknown, examining their fluid interpretations and sociopolitical implications through a fusion of neuroscience and spirituality. Positioned at the intersection of art, science, and spirituality, he specializes in interactive experiences that provoke alternative perspectives and question established frameworks. Seeing his practice as an “imagination catalyst,” he challenges stereotypes and conventions, fostering a broader, more inclusive vision of humanity.

Born in Hsinchu, Taiwan, Yeh Tsai-Wei holds a Master’s degree in Fine Arts from the Taipei National University of the Arts and is currently an artist and part-time lecturer at the university’s School of Fine Arts. The core focus of her art revolves around the scenes and inner projections of personal memories, as she sensitively and delicately manages the emotional elements in the images she creates. Utilizing media such as ink and gouache, she reveals the sentimental ties that are hard to let go of and laments memories through her heartwarming and balanced paintings, while also exposing the paradoxical expectations and doubts about the future. A winner of the Kaohsiung Award’s Ink and Gouache categories (2015, 2017), Yeh’s artworks are collected by the National Taiwan Museum of Fine Arts and Art Bank Taiwan.

Timothy Thomasson (Canada) is a Montréal-based artist whose work explores slowness and duration, while questioning how moving images are produced and consumed in both historical and contemporary contexts. His practice examines the effects of computer-generated imagery and emerging technologies on society, culture, aesthetics, and perception. Thomasson’s work has been exhibited at numerous galleries and festivals internationally.

Representative works by Yao include Cooper, Venus, Value Tec-objects (2021), Cleanliness is Next to Godliness (2020), Circuit Map (2020), and GDR Service (2019). Residencies she has participated in include CREATORS Project, System of Conductors (C-LAB, 2023) and Peripheralized People: Solastalgia between Taiwan and Nepal III (NexUs Culture Nepal, 2019). Major exhibitions she has contributed to include Commoning 1: A Sea of Islands (Taipei Fine Arts Museum, 2024); Taiwan Art Biennial (Waley Art, 2020); Myth of Sanctification: Politics, Body Aesthetics, and Nationalist Dominion (Nepal, 2019); and FLAME Video Art Fair (Hong Kong, 2019). Yao’s writings, critiques, and interviews can be found at Nomansland Nusantara Archive, Nanyang Radio Station, SCREEN (an online media art platform), CLABO (an online journal published by C-LAB), ARTouch, and Guava Anthropology.

Born in 1988, Taipei, Taiwan, Lee Chen-An graduated from National Yang Ming Chiao Tung University Graduate Institute of Architecture. Since 2013, the artist has been using computer programming, digital manufacturing, and interactive agencies as creative media. Through digital technology, he attempts to expand the boundaries of perception, striving to find the intersection of the complex beauty of the virtual environment and the real world.