涂維政 TU Wei-Cheng
Profile／CV
Born in Kaohsiung, Taiwan in 1969, 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 a lecturer at the Taipei National University of the Arts in Taiwan.
He has exhibited internationally, including at 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.
Profile／CV
Born in Kaohsiung, Taiwan in 1969, 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 a lecturer at the Taipei National University of the Arts in Taiwan.
He has exhibited internationally, including at 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.