
Chieh-Hsiang Wu Professor, Department of Fine Arts, National Changhua University of Education
Pei-Yi Lu Director and Associate Professor, Critical and Curatorial Studies of Contemporary Art, National Taipei University of Education
Pei-Chun Hsieh Non-tenured Assistant Professor, Graduate Institute of Art History, National Taiwan Normal University
Yu-Ping Kuo Artist
Yu-Chih Hsiao Associate Professor, Department of Architecture, Shih Chien University
DH Café (No. 153, Section 3, Zhongshan North Road, Zhongshan District, Taipei City)
$150 (Can be applied toward book purchases made on the same day)
As time progresses, today’s gender frameworks can be seen as fluid boundaries, and the term “woman” has become a concept brimming with ambiguity and agency, endowing contemporary Taiwanese art with diverse forms and reflections. She is embedded in places with specific material histories, evolving alongside them with unique inclinations and concerns. Simultaneously, she serves as various footholds, alternative territories, and contact zones for the liberated potential of human experience—achieved through overcoming prejudice and learning to tolerate differences.
This lecture draws upon exhibitions focusing on female artists from diverse perspectives in 2024, such as the Taipei Fine Arts Museum’s collection exhibition Enclave: An Autobiography, which reinterprets Virginia Woolf’s A Room of One’s Own as its conceptual basis, and the Kaohsiung Museum of Fine Arts’ Ocean in Us: Southern Visions of Women Artists, a title that originates from the documentary literature of Indonesia Etc.: Exploring the Improbable Nation. Four speakers will present related themes:
Pei-Yi Lu – Curating Overlooked Histories Through Enclave and Ocean in Us
Chieh-Hsiang Wu – Blind Spots in Art History as Heroic Biographies: Rising Stars, Prodigies, and Originality
Pei-Chun Hsieh – Critique of Female Biographies/Autobiographies/Autofictions
Yu-Ping Kuo – The Tension Between Fiction and History, Individual and Context: A Discussion of Treasure Chest
Looking back at the end of 2024, both the Taipei Fine Arts Museum and the Kaohsiung Museum of Fine Arts independently held exhibitions featuring female artists. These exhibitions revealed a universal female experience, showcasing how beauty and hardship coexist as two sides of the same coin throughout their creative journeys. This lecture centers on artist Yu-Ping Kuo’s work Treasure Chest created for the Taipei Fine Arts Museum’s exhibition Enclave: An Autobiography. It explores three keywords—“foothold,” “substitute domain,” and “contact zone”— to reinterpret the imagination surrounding the term “woman.”
Treasure Chest serves as a connecting thread, weaving together works by artists including Fang-Chih Li and Chung-Chuan Cheng with the untold stories behind the images. Through the medium of fiction, it brings viewers closer to the state of their creative processes. The narratives within the book are not fabricated but meticulously researched and reconstructed from the life scenes of that era. Employing a genre akin to autofiction, it shapes historical consciousness and perspectives for these women absent from art history, sketching their lives on a foundation that is part fictional, part archival.
Extending the discussion from Treasure Chest, the lecture continues with spatial terminology. “Foothold” reminds us that when writing art history, external elements must correspond with one’s own perspective to generate self-awareness; “substitute domain” signifies that to balance historical narratives, mainstream accounts should make space for diverse voices; “contact zone” is a safe area where differing opinions interact and understand each other. Only when the discourse of art history transforms can gender inequality be overturned.
Once, a group of women endured with formidable vitality and creativity, simultaneously serving as vital cultural assets. It is not too late to recognize them now—history still has room to be completed. This endeavor is not merely about understanding the past, but about shaping future creative paradigms.