December 2020

formAxioms' META-SPACE concept development.

  Curators    View Update

September 2020

References shared during the second conversation.

  Andreas Schlegel    View Update

October 2020

wav files - mainchamber, chamber_one to seven and main radio spoken

  Bani Haykal    View Update

September 2020

Selected excerpts from curator's fourth conversation with Debbie.

  Debbie Ding    View Update

October 2020

Shared assets and notes

Blender file: note that the shapes are just dummy shapes for positioning, scaling. Same for material and lighting.

Size : 40m x 40m x 80m

Starting position and view: Ideally if we could start in the middle, facing downward at the calm waters,
And the calm water being broken by the water droplets + ripples.

  Ong Kian Peng    View Update


September 2020

Dubplate rerecording audio files.

  Zai Tang    View Update
tamtamART (Taiwan)
SUPER–TRAJECTORY: Media Life / Out of Balance, Exhibition Documentation

About tamtamART

tamtamART offers an experimental contemporary art platform. This art space congregates various artists and creations of different domains and disciplines. At the same time, tamtamART and The ASC (The ART SHELTER AND CINEMA) organise OSMOSIS Audiovisual Media Festival together. Their recent projects are the exhibition "Data Mania" at CCI Fabrika, Moscow, Russia, 2018, the exhibition and screening project "Digital Break: New Perspectives on Taiwanese Moving Image" throughout the UK, 2017. The curatorial team consists of Yun-Ting HUNG, Wei-Ming HO and Wen-Chi WANG.

︎ tamtamart.de

Curator: Wen-Chi Wang

WANG Wen-Chi was born in Taipei. She obtained a BA degree in Motion Picture from National Taiwan University of Arts in 2006. In 2010, she graduated from LCC, University of The Arts London, with a distinction for her master’s degree in Enterprise Management for the Creative Arts, specialising in arts management and art festivals. She currently works as an independent curator of tamtamART/ ASC (The ART SHELTER AND CINEMA).

With interests in moving image, sound and public art, her planning and curatorial experiences include- Taiwan Cinefest London, Kaohsiung Film Festival, “NYLON 25:Where Is Nylon?”, TECLandArt Festival, ART TAIPEI, XueXue Institute and Adopt-A-Zodiac Charity Exhibition Program at Taitung Art Museum, Taiwan Cinema projects for Taiwan Film Institute at various international film festivals, including Berlinale and Festival de Cannes. Her curatorial practice relates to the discovery of social texts referring to identity, social ideologies, and how we rethink neglected historical subjects in the digital age. Her recent curatorial and research projects are Audiovisual Return - Moving Image Forum and Creative Audiovisual Experimentation at C-lab (Taiwan Contemporary Culture Lab), Vertical Cinema programme at ijacking Hannover, Germany, 2018, Data Mania at CCI Fabrika, Moscow, Russia, 2018, “Digital Break: New Perspectives on Taiwanese Moving Image” throughout the UK at five venues, 2017.

Curator: Wei-Ming Ho

Wei-Ming Ho was born in Taipei, Taiwan. He works across the fields of old and new media, experimental video and audiovisual cultures. His works have been presented in cinemas and artistic contexts such as Egyptian Theater in Hollywood, Museo Reina Sofia, HKW- Berlin, Gaîté Lyrique Paris, Museum of Contemporary Art Vojvodina, SCCA, Center for Contemporary Arts Ljubljana, National Museum Poznań, National Taiwan Museum of Fine Arts, and numerous art exhibitions and festivals including Mediations Biennale, 、Nakanojo Biennale, VIDEOAKT Biennial, namaTRE.ba biennial, Gostyńskie Biennale, Ficciones Encuentro Bienal, Taiwan Biennial, Nakanojo Biennale, Ars Electronica, Transmediale-Vorspiel, Rencontres Internationales, CYNETART, Kunstfilmtag Dusseldorf, IKFF-Hamburg, Stuttgart Filmwinter, OSTRALE ´O16, Loop Barcelona, Madatac Madrid , Videoformes, Les Instants Video, Bologna Future Film, Asolo Art Film, VIS-Vienna, ADAF-Athens, FILE-Sao Paulo, Electrofringe- Australia, Currents New Media, Streaming Festival...etc in more than 40 countries.

Curator: Yun-Ting Hung

Hung Yun-Ting, born 1981, works and lives in Kaohsiung, Taiwan. She received her degree MFA in 2016 after completing postgraduate studies at National Taiwan University of Arts, followed by the Meisterstudium at Kunsthochschule für Bildenden Künste in Dresden, supervised by Prof. Eberhard Bosslet. Currently she works as an associate professor at the Department of Fine Arts at Chang Jung Christian University in Tainan. In both art-making and curatorial practice, she has recently focused on current social and cultural characteristics such as speed, mobility and non-place in daily life.

Among her extensive international exhibition experiences, some of the most notable include”2019 Nakanojo Biennale” in Nakanojo, Japan; “f(r)iction in between” at Spinnerei Werkschauhalle Leipzig ; “Digital OSMOSIS PL 2017” at R+ Gallery and 13 Muz Gallery in Szczcine, Poland ; “Do/ Through/ Measure”at Crane Gallery, Kaohsiung, Taiwan ; “Fast and Furious”at Halle am Wasser, Berlin, Germany and International exhibition of Contemporary Art Ostrale 09 Dresden. Hung has served as an artistic director and curator of tamtamART Art Association Berlin since 2011. In the same year, she was also awarded with Goldrausch Künstlerinnenprojekt Fellowship. She intends to build up new thoughts and concepts and with cultivating an authentic and unique culture in mind, she is dedicated to open conversations with audiences in Berlin, Taipei and Kaohsiung as well as with artists and curators internationally, actualizing curatorial projects such as “Book like object” ; “Typosphäre” ; “(CON)TEMPORARY Space-Time” and “Data Mania” exhibition at CCI Fabrika in Moscow, Russia in 2018. She currently is the main convener of OSMOSIS Audiovisual Media Festival in Taipei and the artistic director of tamtamART TAIWAN Art Association in Kaohsiung.

Artist Statement

SUPER–TRAJECTORY: Media Life / Out of Balance, Exhibition Documentation
3 min 08 sec

"Between the first and last decades of the 20th century lay a gulf greater than the wildest imagination could have conceived. It was the gulf between gunpowder and nuclear bomb, between messages tapped in Morse code and global television from the sky…"

— Arthur C. Clarke, The Lost Worlds of 2001, 1971.

With the onset of technological development of social media and networks, transmission nodes enable human connections in contemporary life to be freed from geographical restrictions and boundaries, becoming more immediate and fluid. Meanwhile, people's lives are gradually shifting from the analogue to the digital world in virtuality. Such a development points to what Arthur C. Clark refers to as the “gulf” in The Lost Worlds of 2001. Similarly, in the last decades of the 20th century, we witnessed leaps of trajectories of art methodologies: from found objects and images, to media manipulations and specificities, to conceptual transgressions in the art world, until today in the digital age.

SUPER-TRAJECTORY is an international and cross-regional platform for contemporary and experimental media art and discourses on technology in art. In this exchange-exhibition, the artists’ works are presented in a myriad of media and techniques in different forms of technological and methodological processes and presentations. Art creators explore various media and technologies through their own observations of the urban changes they face and present them in their creations in different forms and methods, as a reflection of this generation. The subject matter revealed both expositions and nuances of the urbanisation and urbanism of contemporary life – and to ask the question: What are the humanistic values and principles between today’s post-digital phenomena and the banal realities?

Artist: Tsan-Cheng Wu

Tsan-Cheng WU focuses on sound and video creation. The Taiwanese artist graduated from the Graduate Institute of Plastic Arts at Tainan National University of the Arts. For the last ten years, he has contemplated sound and experimented sound and experimented with its possibilities. Tsan-Cheng started the Taiwan Sound Map Project in 2011, and intends to finish it by 2021. His works have been exhibited in key galleries and museums, including the Nation Taiwan Museum of Fine Arts in Taichung, National Museum of Modern and Contemporary Art in Goyang and Palacio de Cibeles in Madrid.

The city is scanned from the ground up, and both inside the frame and beyond, life moves in the midst of the city’s ordinary routines, where urban legends are performed or adapted.

Artist: Chih-Ming Fan

ChihMing FAN is a Taiwanese artist and designer who works in audio-visual projects and video installations. His video works extend from realistic images to virtual image creation. Chih-Ming has exhibited in PLATINE, Temps D’Images, (CON)TEMPORARY OSMOSIS--Audiovisual Media festival 2015 and Hors Pistes Tokyo.He was awarded the first prize in Sound Art at the 5th Digital Art Festival in Taipei and second prize in the Immortal Quest International New Media Art Competition.

ChihMing FAN creates virtual and imaginary post-war-like scenes through a game engine system which presents an abandoned territory after warface. Seen as an urban island forgotten by people, it appears barren , uninhabited and isolated. Through virtual imagery, In the Fog--The Abandoned City projects the pervasiveness of digital culture in contemporary society, and examines the volatility and violence inherent in systems.

Artist: Lien-Cheng Wang

Wang is a new media artist, open source education collaborator and audiovisual performer, residing in Taipei, Taiwan. His artistic and research involve interactive devices and real-time sound performance. He uses open source to create installation art and audio-visual real-time performance. The works are committed to seamless combination of images and sounds created by computer algorithms as well as human perception with the universe and nature. He often utilizes a volume of installed approach to achieve a unique physical perception. Now he is currently appointed as lecturer in the new media department of Taipei National University of the Arts.

This is a sound interactive artwork. My intention is to visualise received sound to encourage the audience to decipher the sounds they make and to create further impacts. With this artwork, the louder the sounds are the bigger the object will be. And the object being constructed includes green trees, withered trees, houses, skyscrapers, money, garbage. This is an approach I am opting to spark discussions on the relationship between sound, body, and global environmental awareness.

Artist: Hsien-Yu Cheng

Cheng is an artist & software developer based in Taipei now. Most of Cheng's works are electronic installations, software, experimental bioelectronics devices. His works are concerned with the relationship between human behavior, emotion, software and machine. He tries to bring out the meaning of life through his works that are filled with his own observation and feelings toward society & environment in a humorous way.

Sandbox is a piece of work originating from Injector, the artist’s ongoing project, aiming to bestow machines with imaginative minds. How do people use their imaginations to draw those artworks by only texts in their mind? In the exhibition room deliberately left blank, this work uses SMS messages to introduce a couple of absent artworks, and thereby encourages the viewers to imagine them. All the mentioned artworks involve something which people believe its actual existence but find no way to prove. This work thus reflects the fact that some things have been always there long before we discover and utilise them, yet they do not exist before we can imagine and define them.

Artist: Ya-Wen Fu

Fu has her Meisterschüler and Diploma in Media Arts from the Academy of Fine Arts Leipzig Germany. She is a media artist and has some curatorial experiences. The central point of her work states the relationship of body and space. This relationship is grasped by Ya-Wen not only through the description of a subject and its surroundings, but by a differentiated conception and critical analysis of the subject in space. She poses questions about the space in which you feel and act, the space in which the self that perceives exists and likewise where this self begins in its surroundings.

This Project will construct an interactive installation that uses a combination of my body, objects, and videos. The installation can be understood as a metaphor for the technique of archery. It consists of a ring which holds an elastic material and this is tensioned with springs. The arrow-object is transported through space. The principle of the tension and arch-tensioning is the relationship between the body and the installation. It is not at all important whether I hit the goal or not, but the action itself, which takes place between my body and the installation. With the tension between installation, space, and body can be understood as a symbolic violence process, I ask the question of what the visitor has seen and experienced? Is that what you see, the fiction or reality? Or a fiction of reality?

Artist: Chao-Hao Liao

Most of his creating contexts start from the objects and utility equipment around the living environment. He observes and remakes the objects with different materials, and re-interpret the meaning. The factory ready-made products have no uniqueness, causing the workers to not put emotion in them. Only if people who dedicate emotion to the objects interact, and then produce life/ physical experience, will the objects have their own history.

The work Sheets Fences deals with the surface condition of the material changed by time. The whole surface of the work is made up of layers of acrylic paint and cement paint to make the iron strip peeling and rusting. It is like reading the history of this wall, but in fact it is only the changes of pigment and texture, brush strokes.

Artist: Chih-Hung Chen

Chih-Hung Chen as Assoc.-Prof. Dr. in the Department of Urban Planning, National Cheng Kung University. His research interests include urban morphology and urban design, and focuses on the sustainable urban form in the low-elevation mountain area, islands, port cities, industrial settlement and military landscapes. In September 2014, he explored the inevitability of condolence in urban space. He devotes to clarify the context of urban development, and responds to local demand to existing planning systems to fill the gap between planning and reality.

Urban development, which is highly related to activities, is a natural and random process. However, these have been considered products of urban planning since the 1970s. At the same time, spatial information started being converted constantly in coding systems set up by planners. And all the structures have been stacked again and again with the frame of the codes, including urban planning, land use control, examination operations, building bulk ratio bonus, building capacity transfer, etc. Decoding?We may realise that there is a gap between unpredictability and complexity, the plan and the current situation.

Artist: David Rodríguez Gimeno

He has worked on the structures that condition perception, thought and memory since 1997. He has developed projects where mobile sculpture, photography, video, film, dance, music and robotic works all work at the same level, complementing the same concept from different points of view.

Some of his series: mobile structures that contain concrete trajectories of access to space moved by his body; panoramic reconstructions of space, in photography and video; expanded cinema where the film installation with the projectors and the film is what builds the narrative; videos with moving screens that copy the look of the eye, turning this movement into the fundamental content. The design and construction of structures and machines whose operations are metaphors of mental processes has been an axis of his work. The like as part of the content to be brought to the surface.

Historical pendulum ß (2005-2109) is a project that belongs to the series with containers of trajectory, sculptures that condition access to space in relation to structures that condition perception, and the path of thought and memory.

Structure β is 3.1m in diameter but built with paper; it shares the symmetric of stainless steel α that was built in 2004. It runs on a 10*3.5m path from one end to the other without leaving, forming a metaphor of a pendular structure but without the use of external support points. The paperwork β copies, thanks to an automated system of counterweights, the movement made in the performance video by the artist, as if it were a mirror.

It is a machine that is trying to copy the memory of an action performed by the artist.Paper is an object in the space of the model, of the process; it is an object made with simple materials that we could use as a tool to understand and to think.

Artist: Nao Nishihara

Nao Nishihara is an active practitioner of sound activities, sound art, performance and instruments production. His interests and motivations are developing to the body and objects because they are necessary to make sound. The development extends his activity area across art and music interdisciplinary. In 2011 he obtained a master’s degree in Intermedia Art from Tokyo University of the Arts.

After working on sound based works for years, I’ve noticed myself obeying to sound always, meaning that I hear and follow what a sound says to me . For example, it may say to me “louder please!”, “use heavier mallet!” or “slowly!!”. In this way, sounds always talk to me in order to realise a work together. Woods and metals also talk to me.

This machine appears not working in a way that fits the standards of our efficient society. But is it already a gifted result of the amount of communication and it also suggests us to reconsider if we are efficient, what is efficiency, and what is work.


Meeting with curators Vicky Hung, Lois Wang, Weiming Ho (Taiwan collective – tamtamART). Initial understanding of project and curatorial directions, proposed artist(s).

View meeting recording
Access passcode: #D6H*Twk

  tamtamArt    October 2020