LIN Wei-Lung

1985  Born in Taipei, Taiwan.
2008   National Taiwan University of Arts, B.F.A., Taipei, Taiwan
2011~   Taipei University of the Arts, M.F.A., Taipei, Taiwan ( in progress)
2012~   Establish Lane 216, East, Studio of Art Films as Director and Producer

AWARD
2015 
Kaohsiung Awards, Merit Award of New Media Kaohsiung Museum of Fine Arts
2013 
Outstanding Art Price
Fine Arts Department of Taipei National University of the Arts, Taipei, Taiwan

GROUP EXHIBITION
2015 
Kaohsiung Awards Kaohsiung Museum of Fine Arts
2014 
Generation of Complex National Taiwan University of Arts, Banqiao, Taiwan 
Why We Draw? Kyoto University of Art and Design, Kyoto, Japan / Taipei National University of the Arts, Taipei, Taiwan
For For For Forest TKG+, Taipei, Taiwan
The Origin of Relations: Complacency of the Local
Kuandu Museum of Fine Arts, Taipei, Taiwan
2013 
YOGO Taipei National University of the Arts, Taipei, Taiwan
2012 
Back To My Summer Vacation Art & Rock Festival IV
Nankang Bottle Factory, Taipei, Taiwan
2011 
Not So Familiar Taipei National University of the Arts, Taipei, Taiwan
2008 
VIDEO 97 National Taiwan University of Arts, Banqiao, Taiwan
Schloomp Salt Peanuts Cafe, Taipei, Taiwan
INTERFACE Taipei Cultural Center, Taipei, Taiwan
2007 
Paris Taipei Aller-Retour Taipei Artist Village, Taipei, Taiwan
Container Transit National Taiwan University of Arts, Banqiao, Taiwan
Cortex Differance Painting Intermediary of Contemporary
National Taiwan University of Arts, Banqiao, Taiwan
In Vector Vector Substitution Space, Banqiao, Taiwan
2006 
Russian Spy Anal-Sex Huashan Art-District, Taipei, Taiwan
Moving Huashan Art-District, Taipei, Taiwan
Traveler Lungshan Plaza, Banqiao, Taiwan


CURATOR
2006 
Situating Body National Taiwan University of Arts, Banqiao, Taiwan

GROUP PERFORMANCE
2014 
Plan of Performance by Taiwan and Hiroshima Japan
Cafe & Bar Kiseki/ Polymer, Taipei, Taiwan
IN-FAF#2 Festival Performance Instant 42, Luzhou, Taiwan
2013 
the Garden for Alice Songshan Cultural and Creative Park, Taipei, Taiwan
One Night Band Instant 42, Luzhou, Taiwan
2011 
Watching a Landscape Treasure Hill Artist Village, Taipei, Taiwan

PARTICIPATED PROJECTS
2014 
Beyond Pressure Public Art Festival People’s Park, Yangon, Myanmar
2013 
6th International Performance Art In Busan Busan Nature Artist Association, Korea


We have always attempted to connect each other by spotting the culture differences in our living

environment. To achieve this, we rely on the direct living experience besides tracing the origin of regional

history and culture. In the end, all of the living experience on every journey I took has become the most

valuable assets.

I have just completed my three mouths stay plus one exhibition in Chengdu, China when I wrote this. The

excitement of this stay is about the differences between Taiwan, my home country and China, two which

share similar cultural background but also have tremendous disparity in size and aspect.

Compare to Taiwan, Chengdu seems like a place where a lot of common problems are projected into a much

larger container and then the problems grow rapidly until it swallows everyone who lives in the territory. This

is my finding at the moment about the couscous of body localization.

This can be a suited time to bring up the conversation about the “confusing context of asian body”. In a time

when globalization has gone off course, the tectonic shift of economy is causing each nation to have different

confused reactions to the situation. It effects our lives and our body when each of us is adjusting to the

change the world.

I believe when it comes to the work of our body, the inspiration should always be coming from the marks of

everyday lives on our body and these marks should reflects our own habit and fetish. As for the exchange of

the point of view of our body, it should start with ourselves and the environment , not from the concepts id

arts.

Apart from generating physical art works, I care more about the routine movements around the daily lives

and their impacts to the body and furthermore, the society.


Lin Wei-lung’s work and thinking originates in the body, and his early works included a series of works

documenting the body. Recent works have been based on a process located between body and material.

Performances are often long-term, returning repeatedly to a work to accumulate actions. Extended

performances make it possible to record into the body’s memory and use the body as an angle for viewing

the world.

In addition to his own artistic practice, since 2012 Ling has worked in art documentation, using the camera’s

lens to allow the dissemination of artistic messages, acts, and exhibitions. Whether through artistic works,

documentary collaborations, or travel, Ling seeks to further examine and imagine the viewpoints and

physical understandings of those living in Asia.

Recently he has received and Asian Cultural Council grant and undertaken a residency at A Thousand

Plateau’s Art Space in Sichuan, China.



我們企圖在不同的⽣生活環境中區辨⼈人⽂文質地的異同,以建⽴立彼此的交流可能,除了對區域歷史及傳

統⼈人⽂文的溯源,更有賴於直接的⽣生活投⼊入、直擊,對我來說,這是每⼀一次出國駐留、展覽或⼯工作最

可貴的收穫。寫下這些⽂文字的此時此刻,我正將結束於成都的三個⽉月駐留,此次駐留的刺激在於我

⾯面臨與台灣相近的⽂文化背景,卻極⼤大差異的格局與尺度,這裏彷彿將許多(對台灣⽽而⾔言)不陌⽣生的

問題投⼊入⼀一個更巨⼤大的容器,任其迅速膨脹,推擠包覆著空間裡的每⼀一個個體,這是我關於在地⾝身

體意識的階段性⼼心得。

⽽而這也可能是適合此次在歐洲提出對話的「亞洲⾝身體困惑語境」。在全球化失速的今天,世界各⼤大

政經體推擠造成各國不同的困頓反應,除了影響⽣生活,更在各主體⾃自我機制調適的同時,深層地影

響著我們的⾝身體感。我堅信關於⾝身體作品的想望,都應來⾃自於⽇日常⽣生活,不經意地對每個⼈人的⾝身體

刻下難以抹滅的軌跡,讓你我有著⾃自⼰己的習慣、喜好、癖好等...,⽽而關於⾝身體觀的交流應該以⼈人與

⽣生活環境的介⼊入為起點,⽽而⾮非藝術觀念的⽚片⾯面交換,藝術⾏行為除了作品的產出之外,我更在意圍繞

⽇日常中許多細微、枯燥的尋常動作,對於⾝身體的影響,甚⾄至整體社會⾏行為的衝擊。