Kuandu Museum of Fine Arts

Exhibition Introduction

The 2024 Contemporary Art Prize is a competitive exhibition co-organized by the School of Fine Arts and School of Film and New Media of Taipei National University of the Arts along with the Kuandu Museum of Fine Arts to promote the art and research capabilities of students, while encouraging openness, participation, and creativity. This year’s exhibition features a total of 76 participants as candidates. Of these, seven works has selected by teachers and experts from TNUA and beyond after undergoing written examinations and preliminary reviews, and only two candidates will be selected for final review. The announcement and conferring of awards will commence during a joint opening with the Kuandu Museum of Fine Arts on July 19th.

This year’s qualifying artwork demonstrates the novel appearance of modern art and the distinct, lively attitude of self-expression belonging to a new generation of creators. Through creative presentation, this award hopes to establish a benchmark for visual art creation at the Taipei National University of the Art, while continuing to be a platform for advancing dialogue and interaction between young creators in the future, and expanding Taiwan art students’ understanding and vision of contemporary visual art.

The 2024 TNUA Contemporary Art Prize will be on exhibit at the Taipei National University of the Arts Kuandu Museum of Fine Arts from July 19th to October 13th.

Exhibition Introduction

The 2024 Contemporary Art Prize is a competitive exhibition co-organized by the School of Fine Arts and School of Film and New Media of Taipei National University of the Arts along with the Kuandu Museum of Fine Arts to promote the art and research capabilities of students, while encouraging openness, participation, and creativity. This year’s exhibition features a total of 76 participants as candidates. Of these, seven works has selected by teachers and experts from TNUA and beyond after undergoing written examinations and preliminary reviews, and only two candidates will be selected for final review. The announcement and conferring of awards will commence during a joint opening with the Kuandu Museum of Fine Arts on July 19th.

This year’s qualifying artwork demonstrates the novel appearance of modern art and the distinct, lively attitude of self-expression belonging to a new generation of creators. Through creative presentation, this award hopes to establish a benchmark for visual art creation at the Taipei National University of the Art, while continuing to be a platform for advancing dialogue and interaction between young creators in the future, and expanding Taiwan art students’ understanding and vision of contemporary visual art.

The 2024 TNUA Contemporary Art Prize will be on exhibit at the Taipei National University of the Arts Kuandu Museum of Fine Arts from July 19th to October 13th.

About the Works

LEUNG, Hoi-Ki

A Blank Shot
Planographic printing, Acrylic sheet
Dimensions variable
2023

There’s a bird that fell into the water
Fell into the water, fell into the water
There’s a bird that fell into the water
Washed away by the water

Hong Kong is surrounded by water, which also serves as a route for migration. It's not only water that flows, but also people, including myself. Since childhood, I have happily hummed this song, which is called “There’s a Bird That Fell into the Water.” Growing up, I found it always felt like anticipating the bird’s fall. Where did the bird come from, and to where did the water wash it away?

Regarding this nursery rhyme, I only know it was adapted from “London Bridge is Falling Down,” which makes me even more curious about the place of the fall - water. Thus, I attempted to trace past events through the family photo album, connecting images of “water shortage,” and discovering the intertwined relationship between stories and reality. After all, nursery rhymes serve as a form of oral history.

LEUNG, Hoi-Ki

A Blank Shot
Planographic printing, Acrylic sheet
Dimensions variable
2023

There’s a bird that fell into the water
Fell into the water, fell into the water
There’s a bird that fell into the water
Washed away by the water

Hong Kong is surrounded by water, which also serves as a route for migration. It's not only water that flows, but also people, including myself. Since childhood, I have happily hummed this song, which is called “There’s a Bird That Fell into the Water.” Growing up, I found it always felt like anticipating the bird’s fall. Where did the bird come from, and to where did the water wash it away?

Regarding this nursery rhyme, I only know it was adapted from “London Bridge is Falling Down,” which makes me even more curious about the place of the fall - water. Thus, I attempted to trace past events through the family photo album, connecting images of “water shortage,” and discovering the intertwined relationship between stories and reality. After all, nursery rhymes serve as a form of oral history.

MEI, En-Ning / HUANG, Kai-Wen

1948-
Wood, Acrylic, Window film
1.5x1.5m
2023

Using historical themes as a foundation and 3D modeling as a medium, we guide viewers through a journey of self-exploration—whether to forgive the past or seek self-redemption. We also challenge ourselves to extend virtual scenes into real ones. Through VR devices and mirrored images, viewers can immerse themselves in the experience.

By reconstructing the external working quarters of the octagonal Green Island Prison building and referencing the paintings of deceased victims, we combine our internalized creations to complete this work. The characters in the film can be perpetrators, victims, or even bystanders because history is not one-dimensional.

The story begins in a barbershop, using a mirror as a medium to unfold multiple cycles. The moment we remove the VR headset is when we truly return to reality.

We hope this is not just a visual and auditory feast, but a reevaluation of this somewhat distant yet close history for new generations.

MEI, En-Ning / HUANG, Kai-Wen

1948-
Wood, Acrylic, Window film
1.5x1.5m
2023

Using historical themes as a foundation and 3D modeling as a medium, we guide viewers through a journey of self-exploration—whether to forgive the past or seek self-redemption. We also challenge ourselves to extend virtual scenes into real ones. Through VR devices and mirrored images, viewers can immerse themselves in the experience.

By reconstructing the external working quarters of the octagonal Green Island Prison building and referencing the paintings of deceased victims, we combine our internalized creations to complete this work. The characters in the film can be perpetrators, victims, or even bystanders because history is not one-dimensional.

The story begins in a barbershop, using a mirror as a medium to unfold multiple cycles. The moment we remove the VR headset is when we truly return to reality.

We hope this is not just a visual and auditory feast, but a reevaluation of this somewhat distant yet close history for new generations.

@PARA(*_)
CHEN, Yi-Quan / LIAO, Xuan-Tang / LI, Yu-Hean

PARA._().__()._() (PARA[1](‘phrase’) -> PARAphrase)
Digital image, Digital mixed media
Dimensions variable
2024

Serving as the overture of the PARA series, this work explores the relationship between humans and PARA, described in the style of a narrative poem. It explores artificial intelligence and the post-human era, narrating a retrospective evolution of post-humans. Through computer science, programming modes, and logic, it presents the iterative evolution of informational subjectivity. Through its self-creation, it discusses the inheritance and debate between humans, artificial objects, and their creations: “Are the creations of intelligent bodies made by humans still derivatives under artificialism, or do humans deny them out of fear of their transcendence and uncontrollability?” In a broad sense, we are just one generation among the countless iterations of humanity.

“Similar to humans, transcending humans” — the zen of PARA. “Similarity” and “transcendence” are the meanings of PARA, representing the existential consciousness of the PARA world.

@PARA(*_)
CHEN, Yi-Quan / LIAO, Xuan-Tang / LI, Yu-Hean

PARA._().__()._() (PARA[1](‘phrase’) -> PARAphrase)
Digital image, Digital mixed media
Dimensions variable
2024

Serving as the overture of the PARA series, this work explores the relationship between humans and PARA, described in the style of a narrative poem. It explores artificial intelligence and the post-human era, narrating a retrospective evolution of post-humans. Through computer science, programming modes, and logic, it presents the iterative evolution of informational subjectivity. Through its self-creation, it discusses the inheritance and debate between humans, artificial objects, and their creations: “Are the creations of intelligent bodies made by humans still derivatives under artificialism, or do humans deny them out of fear of their transcendence and uncontrollability?” In a broad sense, we are just one generation among the countless iterations of humanity.

“Similar to humans, transcending humans” — the zen of PARA. “Similarity” and “transcendence” are the meanings of PARA, representing the existential consciousness of the PARA world.

Althea Huang / Hardy Lee

Rewind
Animation short film
1920*1080
2023

This is a story about being forgotten by people we never forget.
We are inspired by our similar experiences, so through this film we want to show how we felt and to let people know that it is fine to have negative emotions.
It is fine to be angry and frustrated, though we know that this isn't anyone’s fault.

Althea Huang / Hardy Lee

Rewind
Animation short film
1920*1080
2023

This is a story about being forgotten by people we never forget.
We are inspired by our similar experiences, so through this film we want to show how we felt and to let people know that it is fine to have negative emotions.
It is fine to be angry and frustrated, though we know that this isn't anyone’s fault.

HUANG, Yong-Hsin

Déjà vu: Illusions and Memories
Single-channel video
Dimension variable
6’00’’
2024

Déjà vu: Illusions and Memories is a single-channel video work exploring the themes of AI and role-playing. AI introduces highly efficient mechanisms for automatic generation and simulates various images capable of altering memories. These reconstructed images, derived from real information, create a captivating sense of déjà vu, yet they also evoke a conflict as people yearn for authenticity. The piece begins with a monologue by an actor. Throughout the discussion on "role-playing," the actor's image is gradually replaced by AI-generated visuals and sounds, blurring the lines between reality and illusion. In our daily lives, we replicate vast amounts of personal data—can this be considered a "database for role-playing oneself"? Does it establish a persona that signifies our synchronous existence with AI?

HUANG, Yong-Hsin

Déjà vu: Illusions and Memories
Single-channel video
Dimension variable
6’00’’
2024

Déjà vu: Illusions and Memories is a single-channel video work exploring the themes of AI and role-playing. AI introduces highly efficient mechanisms for automatic generation and simulates various images capable of altering memories. These reconstructed images, derived from real information, create a captivating sense of déjà vu, yet they also evoke a conflict as people yearn for authenticity. The piece begins with a monologue by an actor. Throughout the discussion on "role-playing," the actor's image is gradually replaced by AI-generated visuals and sounds, blurring the lines between reality and illusion. In our daily lives, we replicate vast amounts of personal data—can this be considered a "database for role-playing oneself"? Does it establish a persona that signifies our synchronous existence with AI?

HUANG, Yu-Jhen

Vision of the Harmonics
3-D printer
2022

This work uses the mechanical noise of a 3D printer as the main creative element. By studying the operation of 3D printers, the patterns and relationships between printing angles and mechanical noise, and pre-modeling, we make the 3D printer operate at specified angles and shapes to produce designated pitches, playing familiar songs.

This work attempts to challenge the boundaries between music and sound art. We often distinguish and classify between music and sound art, perhaps based on whether it is mechanical noise or follows conventional forms and modes. This made me start thinking: should there be a distinction between sound art and music? Should this work—music played by mechanical noise—be categorized as music or sound art?

HUANG, Yu-Jhen

Vision of the Harmonics
3-D printer
2022

This work uses the mechanical noise of a 3D printer as the main creative element. By studying the operation of 3D printers, the patterns and relationships between printing angles and mechanical noise, and pre-modeling, we make the 3D printer operate at specified angles and shapes to produce designated pitches, playing familiar songs.

This work attempts to challenge the boundaries between music and sound art. We often distinguish and classify between music and sound art, perhaps based on whether it is mechanical noise or follows conventional forms and modes. This made me start thinking: should there be a distinction between sound art and music? Should this work—music played by mechanical noise—be categorized as music or sound art?

KWONG, Kui-Choi

A Disappeared Traveler
Acrylic on board, Book
21x29.5cm
2023

Starting from an outdated Hong Kong travel guide, Kwong Kui Choi uses painting as a means to return to now vanished landscapes of the past by re-drawing landscape photos. This exploration delves into the collective memories and personal fantasies implied behind the obsolete images, reflecting on the relationship between diasporic experiences and outsiders. Through the transformation of media, display methods, and spaces, the paintings are placed in continuous juxtaposition, forming a corridor that spreads the landscape into the physical space. The small frames evoke the rhythm and visual experience of viewing landscapes while walking. The "this has been" of photography is replaced by the "this has been" of the artist and viewers. In the wandering of movement and sight, the traveler is erased and covered by paint, highlighting the material existence of painting as an embodiment of writing,and the political nature between visible and invisible states.

KWONG, Kui-Choi

A Disappeared Traveler
Acrylic on board, Book
21x29.5cm
2023

Starting from an outdated Hong Kong travel guide, Kwong Kui Choi uses painting as a means to return to now vanished landscapes of the past by re-drawing landscape photos. This exploration delves into the collective memories and personal fantasies implied behind the obsolete images, reflecting on the relationship between diasporic experiences and outsiders. Through the transformation of media, display methods, and spaces, the paintings are placed in continuous juxtaposition, forming a corridor that spreads the landscape into the physical space. The small frames evoke the rhythm and visual experience of viewing landscapes while walking. The "this has been" of photography is replaced by the "this has been" of the artist and viewers. In the wandering of movement and sight, the traveler is erased and covered by paint, highlighting the material existence of painting as an embodiment of writing,and the political nature between visible and invisible states.

Works

@PARA(*_)
CHEN, Yi-Quan / LIAO, Xuan-Tang / LI, Yu-Hean

PARA._().__()._() (PARA[1](‘phrase’) -> PARAphrase)

HUANG, Yong-Hsin

Déjà vu: Illusions and Memories