Centered on public housing art initiatives, this lecture explores the local practice of “migratory memory archives,” uncovering diverse ways everyday life can be transformed into living records.
HSIUNG Peng-Chu, Executive Director of the Deo-A Art Education Foundation, will introduce the core concepts behind the project, setting the stage for how art mends community ties and urban memory. Participating artists will then share their hands-on cases: TU Wei-Cheng presents Mobile Museum, a project that collects residents’ relocation objects and casts them into a public cabinet of curiosities, turning personal memories into shared collection. Meanwhile, CHIN Cheng-Te shares Residential History, where participants trace their life trajectories using calligraphy and maps, carving personal narratives into stone monuments.
Join us to discover how art serves as a human-centered mode of archiving, weaving individual migration stories into the rich, overarching fabric of the city.
DATE｜2026/09/19 (Sat.) 14:00-16:00
VENUE｜KONG ZONG CULTURAL BASE D2 Multi-function Space
Speakers｜HSIUNG Peng-Chu,TU Wei-Cheng, CHIN Cheng-Te
Registration｜ACCUPASS
SPEAKERS
｜HSIUNG Peng-Chu
HSIUNG Peng-Chu is the Executive Director of the Dimension Endowment Of Art and an adjunct associate professor in the Department of Anthropology at National Taiwan University. He serves on the Public Art Review Committees of Taipei, New Taipei, Keelung, and Yilan. With long experience in nonprofit cultural management, he has worked in museum planning, curated contemporary art exhibitions, and led major public art and policy projects across Taiwan.
｜TU Wei-Cheng
Born in 1969 in Kaohsiung, Taiwan
Lives and works in Taoyuan, Taiwan
Tu Wei-Cheng holds an MFA from the Graduate Institute of Plastic Arts of the Tainan National University of the Arts (2005). He now works as an artist, as well as an assistant professor at the Taipei National University of the Arts in Taiwan.
He has exhibited internationally, including at the Musée des Arts Asiatiques, Nice, France (2022); Oku-Noto Triennale 2020＋, Suzu, Ishikawa, Japan (2021); the Rijksmuseum, Amsterdam, Netherlands (2019); 1st Thailand Biennale, Krabi, Thailand (2018); V&A Museum, London, U.K. (2017); Singapore Art Museum (2013); Gwangju Biennale, Gwangju, South Korea (2012); Guangzhou Triennial, Guangdong, China (2012); Queens Museum, New York, U.S. (2008); Palazzo delle Arti Napoli, Napoli, Italy (2007); and Shanghai Biennale, Shanghai, China (2006).
Pivoting around the idea of self and system, his work is a hybrid of archeological excavation and contemporary life, where modern technological gadgets are transformed into ancient relics from an imaginary civilization, deeply imbued with an upturned sense of time. Sometimes site-specific, his large-scale installation becomes a manifestation of local folklore and contemporary phenomena, placed in a falsified reality that has crossed paths with the ancient past. The artist contemplates cultural identity, as well as the incongruities and anxieties that ensue, in an effort to reinterpret the Information Age.
｜CHIN Cheng-Te
A long-time volunteer at the Spring Art Class,
CHIN Cheng-Te continues to create postcards using images found in Taiwanese historical artifacts. Selections of these postcards were published as Love Poems for the Island (2006). Island Box by Spring Art Class was also selected as a presidential gift for the 21st and 23rd National Arts Awards.
In terms of artistic creation, CHIN has developed a highly personal and distinctive methodology of geographical fieldwork. He traverses remote mountain trails, engaging in a dialogue with the land, history, and serendipitous words he encounters on his mountain walks through the acts of carving, transporting, and erecting stone tablets.
Recent solo exhibitions include Refrigerated Commodities (2014). Notable group exhibitions include Towards Mysterious Realities (Total Museum of Contemporary Art, Seoul, South Korea, 2018), the 9th Busan Biennale (South Korea, 2018), and the 2020 Taipei Biennale, Immemory (Keelung Museum of Art, 2024), 2025 Green Island Biennial.
▶Organizer｜Ministry of Culture, C-LAB, Dimension Endowment of Art, Asia Art Archive (AAA)
▶ The organizer reserves the right to adjust and change the activities according to the emergency situation.
