The post-pandemic age has brought revolutionary concepts to many sectors: objectiveness, efficiency, and distance; some accelerate the widening of the generational gap between the 21st century and the 20th century, while also changing the trust model: numbers trump relations, earnings trump human emotions. In the art industry, international travel restrictions have severely affected the industry chain of galleries, as gallery owners cannot visit artists in their studios, nor can they participate in international expos. As the qualitative interactions with artists and collectors in the past transition into brief communications online, the display and appreciation of artworks have also changed from physical perceptions to online experiences—the mysterious side of the art industry will be constantly objectified. However, online platforms have not truly expanded the customer base of the art market, yet they have become the most important factor to the transformation of the industry due to their competing with physical exhibitions. The affected aspects are listed below:
1. Brand, price, and earning become the criteria of market objectification
2. Personal image of artists becomes pivotal in the market
3. International values and Asian values mingle and compete
4. The crisis of regionalized art appreciation

Facebook Link：https://www.facebook.com/TNUA.KdMoFA

Huang Yaji, owner of Each Modern. Born in Taipei in 1976, Huang went to study contemporary arts and photography in the U.S. and Japan after graduating from Department of Sociology, National Taiwan University. Huang has worked in curating, critiquing, translation, and gallery, and served as lecturer at art institutions including Xue Xue Institute, Fubon Art Foundation, and Light Society (Beijing). He was in charge of Aura Gallery Taipei from 2014 to 2017, and founded Each Modern in 2018, focusing on repositioning the value of artists—discovering Asian artists with great potentials and encouraging key young artists to turn to art history; Huang mainly deals with works of Chinese post-war and contemporary arts and Japanese master photographers.
Panelists
Amy Cheng is an independent curator and currently lives and works in Taipei, Taiwan. She is one of the co-founders of TheCube Project Space, a non-profiting organization, and serves as the director. Amy Cheng’s curatorial practices mostly focus on the relations, history, and geo-politics, of Asia, where she lives, and the world. Over the years, she has promoted the research on “Taiwan’s modern sound culture” at TheCube. In addition to inviting professionals in related domains to jointly plan and curate exhibitions and shows, and organizing public talks and performances, Amy has also expanded the scope of cooperation to include publication, online database, and online radio. The “Praxis School” project she launched at TheCube in 2016 has now entered the fifth year. The exhibitions she curated include: Liquid Love International Group Exhibition (2020, Taipei), Sound Meridians (cocurated with Jeph Lo, 2020-2021, Taipei), The Ouroboros Joint Screening (2019, Taipei, Luxembourg), and Towards Mysterious Realities (2016-2018, Taipei, Kuala Lumpur, Seoul).
Panelist
Yao Jui-Chung was born in 1969. Lives and works in Taipei. Graduated from The Taipei National University of the Arts with a degree in Art Theory. His works has been widely exhibited in numerous international exhibitions. In 1997, he represented Taiwan at the Venice Biennale. After that, he took part in the International Triennale of Contemporary Art Yokohama (2005), APT6 (2009), Taipei biennial (2010), Shanghai Biennale(2012), Beijing Photo Biennale(2013), Shenzhen Sculpture Biennale, Venice Architecture Biennale, Media City Seoul Biennale, Asia Triennial Manchester (2014), Asia Biennale(2015), Sydney Biennale(2016) and Shanghai Biennale(2018). Yao is the winner of The Multitude Art Prize(Hong Kong) in 2013 and 2014 Asia pacific Art Prize(Singapore). 2018 is the winner of Taishin Arts Award(Taiwan). We can also find him widely involved in the fields of theatre and films.