Yuan Goang-Ming was born in 1965 in Taipei, Taiwan. He graduated from the National Institute of the Arts (now Taipei National  University of the Arts) in 1989 with an undergraduate degree in art and then studied in Germany from 1993 to 1997, where he  received a master’s degree in media art from the Academy of Design in Karlsruhe. He is now a professor at the Department of New  Media Art in the Taipei National University of Arts. As one of the most active and internationally acclaimed Taiwanese media artists,  Yuan began making video art in 1984 and is also considered a video art vanguard in Taiwan. Combining symbolic metaphors  with imaging technologies, Yuan often uses his work to create digital visual illusions conveying various intricate psychological and  mental perceptions and conditions that people go through in today’s visual society. The refined visual style he has developed is  often poetic and philosophical. Yuan is a frequent contributor to major international exhibitions, including the Aichi Triennale (2019),  the 1st Bangkok Art Biennale (2018), Biennale de Lyon (2015), Fukuoka Triennale (2014), Asia Pacific Triennial of Contemporary Art  in Australia (2012), Singapore Biennale (2008), Liverpool Biennial (2004), Auckland Triennial in New Zealand (2004), the 50th Venice  Biennale – Taiwan Pavilion (2003), Seoul International Media Art Biennale (2002), and the exhibition, 01.01: Art in Technological  Times, presented at the San Francisco Museum of Modern Art (2001), ICC Biennial, Japan (1997), and Taipei Biennial (2002, 1998,  and 1996).

Born in 1969 in Taipei, Yao Jui-Chung graduated from the Taipei National University of the Arts. He represented Taiwan at the Venice  Biennale (1997) and took part in the International Triennale of Contemporary Art Yokohama (2005), APT6 (2009), Shanghai Biennial  (2012), Shenzhen Sculpture Biennale (2014), Venice Architecture Biennale (2014), Media City Seoul Biennale (2014), Asia Triennial  Manchester (2014), Asia Biennale (2015), Sydney Biennale (2016) and Shanghai biennial(2018). Yao won the Multitude Art Prize on  2013 and 2014 ABF Art Prize. The themes of his works are varied, but most importantly they examine the absurdity of the human  condition. He also published Installation Art in Taiwan 1991~2001, The New Wave of Contemporary Taiwan Photography, Roam The  Ruins of Taiwan, Performance Art in Taiwan 1978~2004, Ruined Islands, Yao Jui-chung, Beyond Humanity, Nebulous light, Biennial Hop, Mirage (One to Seven), Some thing blue, Incarnation, Hell Plus, Photo-diluge (One to Three).

Wu Tien-Chang was born in 1956 and grew up in Keelung, Taiwan. He graduated from the Department of Fine Arts of Chinese  Culture University in 1980. He began to gain recognition in the art world in the 80s with his innovative homeland imageries and  paintings. With artworks that dealt with political and historical subject matters, Wu became known as an art vanguard during the  post-martial law era in Taiwan. He then began working with photography and mixed media in the 90s and started to create photo  series showcasing Taiwanese culture through the use of his own unique “Taike” (local Taiwanese) aesthetic style. At the turn of the  millennium, Wu began making art using the then advancing computer photography editing tools and composite technology.  Integrating physical design and with demands for precision, he used the technique of staged photography and produced many  much-talked about images that were shocking and powerful. Since 2010, he has once again challenged himself by working with  motion graphics, with techniques such as one-take shooting, skip frames, and high-speed filming applied. With the integration  of interactive designs and mechanisms, the artworks evoke an uncanny atmosphere and open up an innovative new path that  combines motion graphics with theater.

Born in Pingtung, Taiwan in 1965, Wu Cheng-Chang graduated from the Savannah College of Art and Design in 2000. He is  currently teaching at the Department of Visual Communication Design, Ling-Tung University in Taichung, Taiwan. He worked as a  photojournalist and photographer at Business Weekly, Taiwan Daily News, Brother Pro-Baseball Magazine and Formosa Plastics  Group. He has won many awards including 2014 Observer’s Award and Excellent Work Award in New Media of Kaohsiung Awards,  2012 Grand Prize of Creative Award of Visual Art, 2011 Grand Award of China Lishui International Photography Cultural Festival, 2010  Grand Prize of The Power of Self an image competition (Artists Wanted, New York) and 2009 the Honorable Mention Award of Taipei  Arts Awards, etc. 

He has been invited to exhibit his works at the 2018 London Design Biennale, University Art Museum at Tokyo University of the  Arts, Gwangju Museum of Art in Korea, 2012 Singapore International Photography Festival, 2012 Hong Kong International Art  Fair, 2011 FOTOSEPTIEMBRE USA-SAFOTO International Photography Festival, 2011 China Lishui International Photography  Cultural Festival, 2010 2nd Dali International Photography Exhibition, 2010 3rd Novosibirsk International Festival of Contemporary  Photography and 2010 Taiwan Biennial, etc. His works have been collected by the National Taiwan Museum of Fine Arts, the Taipei  Fine Arts Museum, the Kaohsiung Museum of Fine Arts, the National Museum of Photography and Images, the Art Bank Taiwan, the  Cultural Affairs Bureau, Pingtung, Taiwan, and the Cultural Affairs Bureau, Taichung, Taiwan.

Born in Yongjing Township, Changhua County in 1952, Wang Yu-Pang graduated from the Provincial Yeong-Jing Industrial  Vocational High School. Visiting the Kucapungane tribe for the first time in 1991, he started his career that spans more than 25  years in documenting the Rukai with image and texts. Staged in 2015, his solo exhibition “Life & Soul, the Way Back Home” was  nominated for the 14th Taishin Art Award. Published collaboratively by the Kaohsiung Museum of Fine Arts and the Lion Art in 2016,  his photographic book Sabau! Haucha — Wang Yu-pang: Image Speaking Rukai was included in the recommended reading by the  41st Golden Tripod Awards. His documentary photography is not only of great significance for the conservation and research of the  cultures of Taiwanese indigenous peoples, but also powerfully expressive and aesthetically pleasing in terms of artistic presentation. 

Born in 1968, Tseng Miin-Shyong began self-learning photography in 1996. He was a victim of the 921 Earthquake that struck Taiwan  in 1999, and by chance, he met art critic Prof. Shaih Lifa and started collaborating with him, which launched his career in portrait  photography. Tseng later completed several portrait photography projects on his own, and one of the series, Face's Talk, includes  portraits of some recent influential figures in various fields in Taiwan and is an important archive of instrumental people in Taiwan’s recent  history.  

Voice Inside and Here There are ongoing projects that consist of non-portrait artworks that he began creating in 2010. Using an  approach he calls “subtly emerging light,” Tseng captures throughout the years the lives of a group of visually impaired children  and their relationships with their families. Moreover, he has also been documenting the lives of everyday people with images  capturing unique Taiwanese cultures. These series take anywhere from a few years to over a decade to create. Tseng is known for  his sensitive observation and cool, serene visual style, and his extensive efforts in documenting the people, lifestyles, and cultures  of Taiwan. He was awarded with the Annual Cultural Award from Dr. Lin Tsung-I Foundation in Taiwan, and was invited by the Three  Shadows Photography Art Centre in China to host a photography educational workshop during the Jimei x Arles International  Photo Festival in 2018.  

Tsai Wen-Hsiang was born in Keelung, Taiwan in 1961 and moved to New York in 1993. He obtained his master’s degree in photography  from the School of Visual Arts in New York in 1996, and is now a contemporary Taiwanese photographer, a visual artist, and an independent  art curator. Most of Tsai’s artworks focus on experimenting with contemporary photography as cross-cultural expressions. His book, The  Defiance Times, was published with support from the Department of Cultural Affairs, Taipei City Government, with an exhibition under  the same title sponsored by the Taiwan Foundation for Democracy. His exhibition and publication entitled “Time Differences in Memory”  also received support from the National Culture and Arts Foundation in Taiwan. Tsai is also the author of TT time & tide and Bōrě Bōluó,  which are two books on graphic design. 

While learning the art of photography in New York from 1995 to 1997, Sheu Jer-Yu began using ultra-high speed film to capture  unfamiliar scenes and settings found at different places at night. These images taken at nighttime with drifting silhouettes of  people floating in the dark have become Sheu’s unique visual style in which visuality and implication are concealed and shown in  ambiguous ways. From 2004 to 2007, in addition to winning a Taipei Art Award and a Kaohsiung Award, Sheu also presented his  first solo exhibition, “Being There” at the Taipei Fine Arts Museum, where he used images to search for a sense of truth and looked  for answers by “Being There.” Sheu currently teaches design at a university, and in addition to creating visual art, he also takes on  integrated design and curatorial projects. 

Born in Tainan, Taiwan in 1968, Shen Chao-Liang obtained his Master’s degree from the Graduate School of the Applied Media  Arts, National Taiwan University of Arts. He worked as a Deputy Chief photographer for the Liberty Times, Taiwan, the artist in  residence at National Central University and currently is the adjunct associate professor at the National Taiwan University of Arts.  Aside from photographic creation, he also works on photography commentary, research, curation, and convener of the Photo  ONE, Taipei.  

His major works include Reflections of Nan-Fang-Ao (2001) to the latter series of YULAN Magnolia Flower (2008), Tsukiji  Fish Market (2010), STAGE (2011), SINGERS & STAGES (2013) and Taiwanese Vaudeville Troupes (2016). Shen won the  Golden Tripod Award for Best Photography (Magazine Category) of R.O.C. (Taiwan) in 2000, 2002 and 2012, the Asia  Award in Sagamihara, Japan (2004), the Dong-gang Photography Award, Korea (2006), the Artists Wanted: Photography  Category Award, NY, USA (2011), the IPA (International Photography Awards) 1st Place in Professional: Book of Documentary,  LA, USA (2012), and the 2015 Wu San-Lien Award, Taiwan, among others. In addition to being published in journals  home and abroad, Shen’s works have been exhibited in museums and art institutions in the United States, Canada,  France, the United Kingdom, Spain, the Netherlands, Denmark, Italy, Peru, Brazil, Guatemala, Argentina, Japan, Korea,  Singapore, Cambodia and PRC China. 

Born in Shihlin, Pan Hsiao-Hsia started to photograph Orchid Island in 1980. He worked as a photojournalist for the Independence  Morning Post and the Independence Evening Post between 1987 and 1995, during which he photographed social movements  and “Return My Land Movement” launched by Taiwanese indigenous peoples. He also created the photographic series Drunken  Trips through Monga during 1988 and 1990. He served as a photographer for the Taipei 228 Memorial Museum in 1996,  shooting the image records of the 228 victim’s mothers and the Takasago Volunteers. Apart from his photographic works, Pan  also produced several documentaries, including Who Are We Fighting For: the Story of the Takasago Volunteers (2002), and a  trilogy on Taiwanese indigenous peoples—The Last Sign of Pat San: Searching for the Indigenous Facial Tattooing (2004), The  Disappearance of Kucapungane (2009), and The Dream of Going Home (2009). 

His photographic publications include 100 Years of Taiwanese Artists, 1908-2005 (2005), The Photographic Reportage of Orchid  Island, 1980-2005 (2006), Taiwan White Terror: Human Right History (2009), and The Testimonies of 228, 1947-2015 (2015).  Recording the landscapes and cultures of Taiwan, Pan’s photographic career spans 35 years. Confronting the scars of history and the  tragic stories recounted by the victim’s families, he confidently stated that “I document the history and stories of Taiwan with images.”

Mei Dean-E graduated from the Department of Fine Arts at Chinese Culture University in 1977, and was awarded a silver prize  from the Tai-Yang Art Exhibition and Lion Art New Talent Award while he was in college. He received his Master’s of Fine Arts  degree from Pratt Institute in New York in 1985. From 1985 to 1993, Mei stayed in the United States and focused on art issues  related to culture, politics, and identity; he was also devoted in political art exhibitions that concentrated on community awareness.  He returned to Taiwan in 1992 and taught at the Department of Fine Arts at the Taipei National University of the Arts. In addition  to continuing with creating artworks that deal with social and political issues, Mei also regularly publishes papers on the history of  woodblock printing from the early years of Taiwan’s restoration from Japanese colonial rule. Mei published Taiwan Art Criticism  Series – Ho Tieh-Hua in 1999, and was invited by the Museum of Contemporary Art, Taipei to present his 20-year retrospective in  2003. Subsequently, he presented a 30-year retrospective at the Taipei Fine Arts Museum in 2014. Winner of the Wu San-Lien Art  Award in 2017, Mei currently teaches as a professor at the National Taiwan University of Arts.

Liu Chen-Hsiang is an experienced photographer who held his first solo exhibition at the age of 20. He began taking photographs  to document performing arts in 1987, and also took still images for television programs. Liu has held many solo and group  exhibitions in Taiwan and abroad, with his work collected by museums. Several books on his work have been published, including  Taiwan Photography Files, In Between the Moments: Cloud Gate in a Photographer's Memory, and Mouthful of Fish Bone. He  previously worked in the media, followed by opening his own photography studio. Devoted in reportage photography and  performing arts, Liu works extensively with many performing groups in Taiwan. Winner of the 2010 Wu San-Lien Art Awards for  the category of photography, Liu’s photographs were recognized by the jurors with the following remark, “A witness of Taiwan’s  epochal social and cultural shifts and pulses, with moments of beautiful dance movements from the dancers successfully captured.”  Photo books by Liu that have been published include Asking Liu Twenty (1983), Group Portraits of Taiwanese Photographers (1989),  Taiwan Photography Files (2000); In Between the Moments (2009), With or Without Great Budda (2017), and Capturing Cloud  Gate (2017), etc.

Born in Shenyang, Liaoning Province, China in 1945, Liang Cheng-Chu graduated from the National Taiwan Academy of Arts (now  National Taiwan University of Arts) in 1966. He was a freelance writer for English Weekly, Voice of Han Broadcasting Network, China  Times and Economy Daily News. His representative solo exhibitions were staged at the Spring Galley, Taipei (1979), the United  States Information Service, Taipei (1981), and the Jazz Gallery, Taipei (1985). Known for his photography book Taiwan’s Footprint (1981) featuring landscape of all stripes around Taiwan, Liang articulated his profound humanistic concerns through his camera lens.  Apart from his aerial photography book Taiwan from the Sky (1987), he also published Taiwanese Photographers: The Photography  Book by Liang Cheng-Chu (1995), a series dedicated to identifying promising photographers from different generations.

Born in Chunking, China and raised in Taiwan. Daniel Lee moved to the United States after he received his BFA in painting from  College of Chinese Culture. Then he got his MA degree majored in Photography and Film from Philadelphia College of Art and  worked as an Art Director in New York until the late seventies, at which point he changed to photography as a career. Within one  and a half decades, he went through different stages in fashion, people to still life collage. Since 1993, computer technology  allowed him to combine his various drawing, photographic and fine art skills in one medium. 

Daniel Lee's work has been shown internationally in solo exhibitions at the Taipei Fine Arts Museum, Taiwan (2016), National  Taiwan Museum of Fine Arts, Taichung, Taiwan (2016), OCT Contemporary Art Terminal, Shanghai, China (2005), O.K. Harris Works  of Art, New York (1993, 1994, 1997, 1999, 2001, 2005), the East Gallery, Taipei (2005), Nichido Contemporary Art, Tokyo (2004),  CCB Center, Lisbon (1999), the Galerie du Chateau d'Eau, Toulouse (1995), the Fotofo Gallery, Bratislava (1995), both of his 108  Windows and Origin in video installation have been shown in the 2003 Biennale of Venice, to be chosen as the Featured artist by  Ars Electronica 2005, Linz, Austria and dOCUMENTA (13), Kassel, Germany 2012.

Born in Changhua, Taiwan in 1957, Jonathan Kao studied photography at the Nihon University College of Art in Japan, and received his  master and doctoral degrees in art from the Kyushu Sangyo University in Japan, majoring in photography art. Kao was under the tutelage  of Sawamoto Reiko, Ueda Shoji, and Narahara Ikko. Since 1989, Kao has presented over 20 solo exhibitions in both Taiwan and overseas,  with his artworks collected by the Taiwan Art Bank under the Ministry of Culture, National Taiwan Museum of Fine Arts, Taipei Fine Arts  Museum, New Taipei City Cultural Affairs Bureau, Changhua County Cultural Affairs Bureau, Museum of Kyushu Sangyo University,  Long Chinsan Photography Art Museum, Ming Chuan University Arts Center, and other public and private institutions. Kao has taught at  Tamkang University, Shih Hsin University, Chung Yuan Christian University, and National Chengchi University, and he is currently teaching as  a professor and serving as department head at the Department of Commercial Design of Ming Chuan University. Kao has also published  several books, including The Palette of Light, Viewpoint, The Use of Photo Montage on Image Creation, Heliography-Private Scenery,  and Heliography-Private Scenery II.

Born in Taipei, Taiwan in 1958, Kao Chung-Li graduated from the National Taiwan Academy of Arts (now National Taiwan University of  Arts) in 1979. Ranging from photography and family video to experimental film, Kao’s oeuvre has been one of a kind and subversive.  His human figure series created since 1985 is powerfully expressive in terms of the tactile quality of skin and muscle, the physique  and essence of human figure, the aesthetics of chiaroscuro, the objectified human body (along with its strength and energy), and the  causal relationship between life and death it implies. The artist’s anxious praise, love and hatred of naked body as well as his question  about seeking after faith, values and happiness of individuals and families thus find expression in this mesmerizing series. He staged  his first solo exhibition of photography at the AIT’s American Cultural Center in 1983, and joined several major exhibitions such as  “Subversion and Poetry: Contemporary Chinese Art,” Lisbon, Portugal (2003), “The Era of Contention: Contemporary Taiwanese Visual  Culture,” Herbert F. Johnson Museum of Art, Cornell University, New York (2004), “The 2nd Auckland Triennial: Public/Private,” Auckland  Art Gallery, New Zealand (2004), “Variation Xanadu,” Museum of Contemporary Art , Taipei (2005), “The Specter of Freedom,” Taiwan  Pavilion, the Palazzo delle Prigioni, the 51st Venice Biennale (2005), “Animated Stories,” Caixa Forum, Barcelona (2006), and “A Moving  Memory,” Institute of Modern History, Academia Sinica, Taipei (2006).

Hung Cheng-Jen was born in 1960 in Fongbitou in Siaogang and is known for being a true amateur artist with his blue collar  background. His passion for photography as well as for local Siaogang culture has brought him to plenty of photography  communities. The pure, distant and quiet tones that come from his indifference to fame and fortune have become an exclusive  signature in his artwork. Hung’s inspirations mainly come from the Hongmaogong Village Resettlement, from which he explores  the villagers’ anxiety toward the change and the future. He combines photographs and sculpture to generate a series of social  changes and rhythms to echo the villlagers’ uncertainty. His work portrays the contradictions and bafflements of the people who  are suffering from political mistakes, natural disasters and social injustices and how this resettlement erased and abandoned the  history of the village. Also revealed in his artwork is the mourning of villagers as everything is gone and nothing is left behind.  A lot of memories have been forgotten, but Hung will continue using his camera and photographs to document the stories of  Hongmaogong villagers.

Born in 1955, Huang Ming-Chuan firstly majored in lithographic printmaking at the Art Students League of New York and  later fine arts and photography at the Art Center College of Design in Los Angles, the United States. In 1985, he published A  Brief Introduction to the History of Taiwanese Photography, the first article in Taiwan discussing the development of Taiwanese  photography in the Qing dynasty and the Japanese colonial period. Between 1989 and 1999, Huang produced three  independent feature films, including The Man from Island West, Bodo and Flat Tire. The first won the Excellent Cinematography  Award of the Hawaii International Film Festival and the Silver Screen Award of the Singapore International Film Festival in 1990,  and the third earned him the Jury Award of the Golden Horse Festival in 1998. The Pusan International Film Festival and the Hong  Kong Independent Film Festival also included these three feature films in their respective thematic programs. 

Huang’s most renowned television art documentary series Avant-Garde Liberation on 14 iconic Taiwanese artists of the 1990s  won the Visual Arts Prize of the 1st Taishin Arts Award. From 2013 to 2017, he shuttled between the United States and Taiwan to  produce the documentary film titled Face the Earth, which recorded the process of a New York-based Taiwanese performance  artist producing a work with strong environmental awareness. This documentary film was awarded the Best Documentary of the  2018 Southampton International Film Festival in England. In 2014 at his hometown Chiayi, Taiwan, Huang incubated the Chiayi  International Art Doc Film Festival, which was the first of its kind in Taiwan as well as in Asia and has entered its sixth year today.

Huang Chien-Hua received his BFA in 2003 from National Taiwan University of Arts, Department of Sculpture, and MFA in 2006  from Graduate Institute of Plastic Arts at Tainan National University of the Arts. During the time in Tainan, his work shifted towards  image making. Huang conveys his view on time and space with contemporary digital photography. In 2017, he received his Ph.D.  from the Tainan National University of the Arts, Department of Art Creation and Theory, continuing his investigation on the identity  of human existence in an image driven age. In regard to contemporaneity, Huang Chien-Hua commented: “We are drifting in a  paradoxical world. We find pleasure in it, but we lost our ability to discern.” He has extensively observed the liminoid phenomena  through signage, word play, and representation in the media era; with experiences existing in a digital age and shifting  perspectives, Huang relates to the world’s wisdom in the most intimate and direct way, and tells a disorderly yet delightful parable  of human nature.

Born in Taichung, Hsieh Chun-Te began painting in 1966, with his artworks awarded on numerous occasions. He moved to Taipei  in 1967 and began working with photography and experimental film. Immersed in an era of debate between homeland literature  and modern literature, Hsieh continued with his visual journey and began working at several media outlets in 1978, where he also  took staged photographs for films and worked as a project planner. The experience enriched the way he approached his own  visual design and film creation. Hsieh presented his solo exhibition, “Homeland” in 1988, and worked on and completed the film  scripts for Flood, Taipei and Bloody Mary between the years of 1996 to 2001. In 2003, he completed a collection of poems, entitled  The Cave. His solo exhibition “Non-Zone Moving” in 2002 integrated his art with digital technology and received tremendous  feedbacks internationally. His “Le Festin de Chun-Te” was presented during the 2011 Venice Biennale, and he published Slight  Touch and held a solo exhibition at Kaohsiung Museum of Fine Arts in 2013. TEN KA, the first episode of Hsieh Chun-Te’s  mesmerizing art series The Parallel Universe, was presented at the Museum of National Taipei University of Education in 2018. It is a  transdisciplinary work that incorporates multiple creative fields such as large-scale digital staged photography, poetry, performance,  installation, and cuisine culture. This work not only perpetuates the artist’s consistent thinking of the meaning of life, but also  sets out on a more spirit-oriented inner journey with a multidimensional cosmic view. Hsieh is still actively creating photography  art today, with his art collected by the Kaohsiung Museum of Fine Arts, Taipei Fine Arts Museum, and National Taiwan Museum  of Fine Arts. 

Hou Tsung-Hui was born in 1960 in Kaohsiung, Taiwan, and he worked as a photojournalist for Independent Morning Post and  Taiwan News. He held his first solo exhibition in 1995 at a photography gallery in Taipei, followed by “Spring in September,” a  group exhibition at the Festival International d'Art Toulouse, France in 2000; “921 Earthquake Rebuilding Exhibition” in 2000  and 2001; “Taipei Biennial” in 2002 at the Taipei Fine Arts Museum; a solo exhibition in 2004 at the Tainan National University  of the Arts; “Variation Xanadu,” a group exhibition at the Museum of Contemporary Art, Taipei in 2005; “Images of the Eastern  Coastline,” a group exhibition at the Hualien Cultural and Creative Industries Park in 2008; and “Laborers,” another solo exhibition  at the Kaohsiung City Labor Affairs Bureau in 2009. Hou has also published his photography works in Aspect & Vision – Taiwan  Photographers – Hou Tsung-Hui and Humanity From the Heart – Reportage Photography on Community Building. Hou’s artworks  are collected by the National Taiwan Museum of Fine Art, Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts, and  Bibliothèque Nationale de France. 

Born and work in Taiwan. Isa Ho received her Master’s degree of Fine Arts from Taipei National University of the Arts. She  concentrates on contemporary photography and creates simulated reality. Through these methods that she works to address her  social concerns. She was awarded 2018 Arte Laguna Prize Special Prize, 2013 ISE Cultural Foundation Award, 2012 and 2015 Asian  Cultural Council grant, 2011 Kaohsiung Art Award. Her works have been collected by the National Taiwan Museum of Fine Arts,  Kaohsiung Museum of Fine Arts, Kuandu Museum of Fine Arts, Hong-Gah Museum, Gwangju Museum of Art in Korea and White  Rabbit Gallery in Sydney, Australia. She was the resident artist at International Studio and Curatorial Program (ISCP) in New York in  2013 and 2015, and at Cité International des Arts in Paris from 2009 to 2010. Ebenböckhaus in Munich and Shalini Ganendra Fine  Art, Malaysia in 2014. Ho has exhibited in museums, biennales and galleries around the world, including: 

Double Square Gallery (2017, Taipei, Taiwan), The Pioneers of Taiwanese Artist,1971-1980 in National Taiwan  Museum of Fine Arts (2014, Taichung), Instituto Cultural de Mexico (2011, Texas, USA), Taiwan Biennial, National  Taiwan Museum of Fine Arts (2010, Taichung), Kaohsiung Museum of Fine Arts (2010, Taiwan), Sakshi Gallery  (2009, Mumbai, India), Kuandu Biennale 2008, Kuandu museum of fine arts (2008, Taipei, Taiwan), PINGYAO  international photography festival (2008, China) and also France, Germany, Spain, Italy, Czech, India, Korea,  China, Malaysia, Japan, the United States, etc. 

Born in Busan, Korea, Ho Ching-Tai is an alumnus of the Department of Philosophy of National Chengchi University. He worked  as a photojournalist for the CommonWealth Magazine, China Times Weekly, Minsheng Daily News, Independence Morning, and  Evening Posts, China Times News Weekly, Commercial Times, and as director of photography for Playboy Chinese Edition, editor in-chief of photography for Smart Monthly, director of photography for UBN Weekly, and deputy editor of Mingpao Weekly. Ho is  currently responsible for the operations at Ho Chuang Image Studio.  

Ho specializes in observed portraits. The three series by him, Occupational Injury Victims, Shadowed Life, and The File of White  Terror, all use images to speak, shout, and denounce on behalf of underprivileged, marginalized people in Taiwan. The selected  subject matters, presentation approaches, efforts devoted into the artworks all originate from the photographer’s profound  concern and recognition for people.

Han Yun-Ching creates works in response to her emotions linking past memories, psychic distress, and even ineffable feelings  of the trauma. Her works feature a strong narrative that triggers a direct and straightforward response from the audience. She  specialized in Alternative Photographic Processes of 19th century, including cyanotypes, salted paper prints, Van Dyke Brown,  tintypes, Gum Bichromate, etc. She believes it is the marrying of an image with the certain process that makes a photograph  distinctive, timeless, and speaks its own volume. She aims to share the beauty of each process to anyone.

Born in 1980, Tainan, Taiwan, Chuang Jung-Che received his M.A. from Tainan National University of the Arts and M.F.A. from  National Taiwan University of Arts. His artworks has been repeatedly funded by National Culture and Arts Foundation, and meanwhile  exhibited in Taiwan and Beijing, China. Creating injuries on human skin, shaping patterns as if making tattoos with tool of tattooing,  the subjects of Life Drawing are the flowers and words that Chinese scholars would write and draw in their works. In order to create  Chinese-literati-painting-like visionary effect, these skin-carved injuries has to be made to consider the texture of the injuries in  different period of time. It is when all the injuries came to an ideal condition, cost about 2 to 3 months, the artist then pick the right  time in the right place to photograph the injuries. Using flesh as paper and blood as ink, this series intends to make contradictions in  the original cultural meaning; furthermore, to represent the culture in a unique embodied yet modern concept of aesthetic.

Chou Ching-Hui was born in Taiwan in 1965. After graduating from the Shih Hsin School of Journalism and upon completing  his military duties, he then began working in the media industry and later started working on photography featured projects,  including Out of the Shadows, Vanishing Breed – Workers Chronicle, Wild Aspirations – The Yellow Sheep River Project, and Animal  Farm. His earlier photography work consisted mainly of reportage photography, with documentarial and poetic visual language  used to convey his personal views and thoughts on the subjects presented. Animal Farm is a staged photography project  consisting of exquisitely refined images of richly saturated colors. The images project a surrealistic ambiance, with the artist’s  unique photography language presented. Some of the awards that Chou has received include the Taipei Photography Festival  Special Mention Award for the reportage category; the Golden Tripod Award; and the SOPA Awards – Excellence in Feature  Photography. Chou has also exhibited in many different places, including Berlin, Frankfurt, Florence, Tokyo, Hong Kong, Beijing,  Singapore, Shanghai, Israel, Canada, and Switzerland. He has also been invited to exhibit in many major international photography  exhibitions, including “Guangzhou Photo Biennial,” “Hong Kong Photo Festival: Four Dimensions – Contemporary Photography  from Mainland China, Hong Kong, Taiwan & Macau,” the 2014 Taipei Biennial,” and “Unfamiliar Asia – The Second Beijing Photo  Biennale.” He has also published a limited edition photo collection book with images he has captured, which has received the iF  Design Award and the Red Dot Design Award in Germany, which proves his meticulousness and the high standards he holds for  the work that he produces. 

Chiu Kuo-Chun holds a master’s degree in fine art photography from the State University of New York. He has focused extensively on  the interrelationship between visual development and culture, with his studies and art predominately concentrated on the application  and integration of interdisciplinary media, which he uses to explore issues related to Taiwanese society and culture. An example of such  endeavor includes his attempt to combine photography with traditional embroidery often used in Taiwanese temple festivities, with the  format and the narratives continuously transformed by the artist and exhibited frequently in many places, including at photography festivals  in Taipei, Taiwan; Pingyao and Dali, China; expositions in London and Italy, and also solo exhibitions in Japan and Korea, which have all  generated much attention. 

Born in Keelung, Taiwan in 1958, Chien Yun-Ping graduated from the Department of Oriental Languages of Tamkang University  and studied for two years at the Graduate School of Art at the Nihon University College of Art. He worked as a photographer for  Taiwan Panorama, a magazine published by the Government Information Office in Taiwan, and also as chief editor of photography  for Earth Geographic Monthly. He transitioned from working as a photographer and began his entrepreneurial endeavor by  establishing the Sunnygate Corp. in 1992. Chien re-launched Sunnygate Phototimes in 1998 and began to organize and study the  history of photography in Taiwan. With photography works by iconic photographers digitalized and metadata established, efforts  are dedicated in information gathering and studying, preserving, exhibiting, and publishing Taiwanese photography.  

Chien founded Insight‧Taiwan in 2013 and initiated a project to develop an image databank for artworks by veteran  photographers. The project team received support from the National Culture and Arts Foundation’s “Arts and Culture Social  Innovation Empowerment Program.” Currently, Insight‧Taiwan continues to organize and archive important photography works  by photographers from different periods throughout the history of Taiwan. n order to improve and recreate photography’s value,  efforts are placed in extending from the foundation built from Sunnygate Photo Gallery’s extensive history, with interdisciplinary  collaborations conducted with various museums, galleries, cultural centers, and other art organizations. Major photography  exhibitions have been organized and presented at the Taipei Fine Arts Museum and the National Taiwan Museum of Fine Arts, with  positive recognition generated. Sunnygate Phototimes disbanded in 2017. Chien has since been teaching at the Department of  Cultural Vocation Development of National Taipei University of Technology as a part-time associate professor, and he is dedicated  in teaching and creating art using classical photographic processes. 

Chi Po-Lin became a professional photographer in 1988, and he was dedicated in the area of aerial photography. He began  serving as a civil worker in 1990 and was also responsible for documenting various major constructions taking place in Taiwan. Chi  did documentary aerial photography for about 25 years, with over 2,500 hours of flight time for helicopter aerial photography. He  took over 300,000 aerial photographs and published over 30 aerial photography monographs. The aerial images captured by him  have become valuable records of Taiwan’s topographical features and ecology.  

After the severe aftermath caused by Typhoon Morakot in eastern and southern Taiwan in 2009, Chi decided to devote in  making documentary film about Taiwan, leaving his government job along with his pension. It took five years of planning, aerial  shooting, and post-production before the completion of Asia’s first aerial photography documentary film, Beyond Beauty: Taiwan  from Above. The film was released in theaters in 2013 and became the highest grossing documentary in Taiwan. It won Best  Documentary at the 50th Golden Horse Awards and also sparked discussions on environmental issues in Taiwan between the  government, society at large, and the media and also generated international attention and feedback. 

On June 10th, 2017, Chi and his assistant Chen Kuan-Chi died in a helicopter crash while shooting Beyond Beauty: Taiwan from  Above 2 in Hualien, Taiwan.

Born in Tainan, Taiwan in 1980, Chen Wan-Ling is enrolled in the Doctoral Program in Art Creation and Theory, Tainan National  University of the Art. Apart from being selected by the Taipei Artist Village as an artist-in-residence at the BankART1929, Yokohama,  Japan, she also partook in the residency program sponsored by Taiwan’s Ministry of Culture at the Cité Internationale des Arts Paris. Before she won the first prize of the 5th Taoyuan Contemporary Art Award in 2007, her works were nominated for the Taipei  Art Awards and the 4th Taoyuan Contemporary Art Award in 2006. Her representative solo exhibitions include “Little Macrocosm,”  Yokohama, Japan (2009), “A Little Factory of Life,” Der-Horng Art Gallery, Tainan, Taiwan (2010), “Chen, Wan-Ling Solo Exhibition,”  Cité International des Arts-Paris, Paris, France (2012), and “Micro Nature,” Fotoaura Institute of Photography, Tainan, Taiwan (2014);  primary joint exhibitions include “Beyond 20 Degree Celsius: Exhibition of ‘Room-temperature Luminescence’ from Taiwanese  Contemporary Imaging Art,” National Taiwan Museum of Fine Arts (2008), “Four Dimensions: Contemporary Photography from  China, Hong Kong, Taiwan & Macau,” Hong Kong Photo Festival (2010), “Stories Developing: 10 Contemporary Photographers of  Taiwan,” Kaohsiung Museum of Fine Arts (2011), “Patrimoine connection: Les paysages des autres,” La Rotonde Place Stalingrad,  Paris, France (2012), and “Art and City in Yokohama and Taipei,” Yokohama, Japan (2015). Her works have been collected by the  National Taiwan Museum of Fine Arts, BankART 1929, and White Rabbit Gallery in Australia. 

Chen Shun-Chu was born in 1963 in Penghu, Taiwan. He graduated in 1986 from Chinese Culture University with a bachelor’s degree  in Western painting. Since the 90s, Chen had been working from an autobiographical perspective, which he had derived into a  subjective language that uses photography to engage in visual contemplation. He often worked with mixed media and in the format  of installation, creating artworks that interact with specific spaces and landscapes.  

Chen received a Taipei Art Award in 1995 and was the winner of the Li Chung-Shen Foundation Visual Art Award in 2009. His  artworks are collected by the National Taiwan Museum of Fine Arts, Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts,  Fukuoka Asian Art Museum, Deutsche Bank Hong Kong, and the White Rabbit Gallery in Australia. Chen is widely regarded as a  vanguard of photography art in Taiwan and an iconic contemporary visual artist.  

Chen had been presenting his art at IT Park gallery in Taipei regularly for many years, and had also presented 28 major solo  exhibitions at the National Taiwan Museum of Fine Arts, Taipei Fine Arts Museum, Museum of Contemporary Art – Taipei, Kuandu  Museum of Fine Arts, and other places in Taiwan and also overseas in Paris, France; Fukuoka, Japan; and Hong Kong, China.  Having taken part in over 150 group exhibitions, he had been invited to participate in many international biennials, triennales, and  had also contributed to over 50 exhibitions at art institutions in various major cities.

Chen Chin-Pao went to the Department of Photography of School of Visual Arts in New York in 1996, and earned his degree of  BFA with an award for outstanding Achievement three years later. Chen got MFA degree from School of Fine Arts, Taipei National  University of the Arts in 2013. As a photographer, he has focused on different aspects of photography since the very beginning of  his career. It was a series of documentary portraiture, A Moment of Beauty: Betel Nut Girls, to get him to be noticed. He recently  works on two projects: “Circumgyration” deals with “pseudo memory” by taking fragments of memories from elementary school  students and parents, then have students to stage and to “reenact” the scenes of memory. “Heaven on Earth” is a project of social  landscape to photograph juxtaposed shrines, houses and graves and depict Taiwan as a land shared by gods, humans and  ghosts. His latest ongoing project, “Ordinary Household,” is dedicated to depict contemporary Taiwanese domestic life. Chen was  awarded The Overseas Photographer Award of the 26th Higashikawa Award at 2008, and participated 2018 les rencontres de la  photographie, Arles. He lives and works in New Taipei City, Taiwan. 

Born on Taiwan's outlying island of Penghu, is commended by art critic Kuo Li-Hsin as the most outstanding Taiwanese woman  photographer of her generation, and she is known for her passionate and frank personality. Chang began documenting her  homeland of Penghu with black and white images in 1985, which led to her journey in photography. She worked as a full-time  magazine photo editor in 1990, where she used earnest photographs to engage in dialogues between the inner heart and the  external world. She also began focusing on indigenous groups and learning from nature. Indigenous Atayal Elders with Facial  Tattoos was created during this time. The decade of 1990s was the pinnacle of Chang’s creative career, with photo stories showing  deep humanitarian concern and artistic depth released by her on a monthly basis for six years. Chang was awarded with the  Golden Tripod Awards for three consecutive years for her creative efforts. She also traveled throughout Taiwan, Europe and the  United States during this time, visiting different museums in various countries to take in artistic nourishments, and she also held  solo exhibitions showcasing her photographic works at the National Taiwan Museum of Fine Arts and Taipei Fine Arts Museum. 

Chang left her job and returned home in 1996, where she was dedicated in learning the culture of her homeland, seeking to  acquire art and cultural sustenance from the island setting and the wisdom of the sea. Her first book, Food Love, was published in  2005 and combined creative photojournalism images with everyday culture and art, with the images fused into life and taken to  a higher realm of creative visual art, transcending beyond conventional reportage photography. Food Love made the top selling  book list when it was released and received several literary awards. Chang received the Wu San-Lien Foundation Award in 2013,  and held the critically acclaimed “Food Love” solo exhibition in Magong, Penghu in 2014. Chang’s art is collected by the National  Taiwan Museum of Fine Arts and private collectors.

Born in Taichung, Taiwan in 1961, Chang Chien-Chi graduated from the Department of English Language and Literature, Soochow  University in 1984. He earned his Master’s in education from Indiana University, the United States in 1990. Chang’s engagement  in photography can be traced back to his participation in the photography club of Soochow University. Limited photographic  exercise notwithstanding, the enormous volume of translated publications on photography in the university library opened up  new horizons for him at that time. Photography thus became a means of silent exchange for him to know himself and the world.  Blessed by the free and open campus atmosphere of Indiana University, Chang immersed himself in the world of photography.  When he hesitated to continue his photographic journey, he met his life mentor Eugene Richards who not only helped him  establish his sui generis photographic language but also significantly influenced his career choice. Chang won the first prize of  U.S. Outstanding College Photographers of the Year in 1990. He launched his career as a photojournalist in 1991 and worked  successively for Seattle Times and Baltimore Sun. He was invited to join the Magnum Photos in 1995 and became its full member  in 2001. Based on his personal experiences, his photographic oeuvre has kept a consistent focus on families and cultural ties in  the years he spent in the United States and Austria. These chains, whether tangible or intangible, were constructed from physical  separation, ceaseless fleeing, indescribable estrangement and transient reunion. The only thing he did over the past three  decades was taking photographs. 

“Wherever you go, you’re at the scene.” As a high school student, Chang Chao-Tang picked up his camera and began to shoot,and he has not stopped since. His images reveal transcendence amidst the commonplace, intimacy amidst alienation, humoramidst the absurd. They reflect the photographer’s acute observations and earnest understanding, his substantial concern andempathy. He once said: “Photographers seek less for a vista as for an atmosphere, a state of existence. They could be monumentalsilence and emptiness, or subtle fantasy and expectation, or perhaps an alternative ineluctable form of energy and excitement.”
His career spanning more than 50 years has encompassed photography, television programs, documentary films and dramas.His works not only feel the pulse of his age, but are also far-reaching witnesses to history. He is the recipient of several majorawards, including the Golden Bell (1976), the National Award for Arts (1999) and the National Cultural Award (2011). He hascurated exhibitions and taught courses on photography and film. He has organized, edited and written books on Taiwanesephotographers and photography. With unflagging dedication he has worked to pass on, build up and promote the legacy ofboth still photography and motion pictures, guiding the less experienced, making considerable contributions and casting a longshadow in his field.