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Curated by Wei Yu, the solo exhibition Li Yuan-Chia at Winsing Art Place re-examines the Winsing Arts Foundation’s extensive collection of the artist’s works. On view are pieces from the 1950s to the 1990s, spanning four creative phases in Li’s career in Taipei, Bologna, London, and Cumbria. The exhibition features a wide range of media, including calligraphy, painting, low reliefs, interactive works, hangings, hand tinted photographs, and archival materials. It seeks to reveal the notion of the “point” in Li’s practice—minimalist, mysterious, and rich in haptic suggestion—alongside the spiritually infused cosmological schema that underpins it.

This exhibition, co-curated by the Winsing Arts Foundation and Hiroshi Sugimoto Studio, features four series: “Past Presence,” “Theaters and Opera House,” “Seascapes,” and “Polarized Colours.” In “Past Presence,” Sugimoto captures iconic sculptures and paintings from Western art history, intentionally rendering the images blurred and out of focus. The existing details dissolve into a hazy impression, leaving only contours and gestures discernible, evoking a sense of familiarity mingled with distant ambiguity. Through this approach, Sugimoto prompts viewers to reflect upon whether images are precise representations of memory or merely an essence evoked by the passage of time.

Five blind Mexican tetras swim at ease among the artificial caves in an aquarium, coexisting harmoniously as enduring inhabitants of Winsing Art Place since its founding in 2019. Five years have passed and the sculpted rocks in the tank have gone from bare to being covered in red algae, so the fish no longer need additional feeding. This work has transformed into a self-sustaining ecosystem capable of maintaining its own balance after synchronizing with Taiwan’s natural day-night rhythmicity. Would the fish evolve under these different circadian rhythms? By posing this question, French artist Pierre Huyghe investigates the dynamic relationship between organisms and their environments, inviting us to reflect on our own ways of life.

Compared to large architectural designs that are rigorous, time-consuming, and with many conditions, the creation of temporary spaces offers greater freedom and flexibility, providing architects with a stage for experimental and artistic designs. Since the summer of 2000, the Serpentine Pavilion in Kensington Gardens, London, has become an annual focal point in the global architectural community. This event invites renowned architects from around the world, who have yet to realize a physical building in the UK, to create spatial designs without a budget limit, presenting their unique design. Similar projects include the Young Architects Program (YAP, 1999–2019) at MoMA PS1 in New York and the X-site project (2014–) at the Taipei Fine Arts Museum (TFAM), inspired by YAP. These projects allow architects to explore more diverse possibilities and attract widespread public attention. With the exhibitions of the Serpentine Pavilion and the X-site project in 2024, the Wensing Arts Foundation organizes a book exhibition titled "Pavilions" to present publications and books by architects from previous years. Through these publications, the exhibition discusses the mutual influence of architecture and art. During the exhibition, winners of the X-site project from 2016 and 2024 are invited to share their experiences, so the audience are able to continue the dialogue through both print and in-person conversations on different occasions.

Gabriel Orozco, a Mexican artist, focuses his creative endeavors on the nuances of everyday life and the events that unfold within it. His extensive travels across different countries have endowed him with a rich tapestry of cultural experiences, serving as vital wellsprings of inspiration and exploration. These encounters with diverse cultures are integral to shaping his artistic vision. Orozco's oeuvre reflects a deep engagement with materials, ranging from the traditional craftsmanship of Mexico to the visual culture of Japan and the stone carving techniques of Indonesia. Orozco has articulated his adeptness at reimagining familiar objects in innovative ways. He employs a variety of everyday mediums to explore the relationships between individuals and the ready-made objects and spaces that surround them. Moreover, the motif of the circle recurs prominently throughout his artistic output. Rooted in the artist's childhood memories, this motif draws influence from diverse sources such as Indian art, Buddhism, and the natural world. Whether manifested in sculpture, installation, painting, or photography, Orozco's creations dissolve the boundaries between art and everyday life, providing viewers with a platform to reconsider their perceptions of reality.

This exhibition features the Ballad of Sexual Dependency series of photographs, in which Cookie Laughing, NYC chronicles the intimate friendship between Godin and his best friend, Cookie Muller. Godin once described her: “I used to think that as long as I shot enough, I wouldn't lose anyone. In my thirteen years of knowing Koch, I took hundreds of pictures for her, and I put this series together so that she would stay with me, but in fact, it made me know how much I had lost.” , from their acquaintance in 1976 until Mullen's death from AIDS in 1989, Godin continued to document the time spent with Muller, making visible the deep relationship between the two; Cupid with His Wings on Fire, Le Louvre is Godin's Scopophilia series beginning in 2010, where she shoots sculptures and paintings exhibited at Louvre Palace, or These images are juxtaposed with her own photography, depicting the connection between desire, body and sex from the past to the present; the exhibition also includes In 2022, Godin participated for the first time in his video work Sirens at the Venice Biennale, which communicates the senses and states of the body and mind through the metaphor of the Greek mythological character Celine, in homage to the black model Danyel Luna. Photography is Godin's medium of proving everything she's been through. Her work about turbulent and fascinating times, her family, her past, also reveals Godin's desire to preserve the meaning of people's lives, giving her the beauty and power she sees in it.

On the same land, different types of creators always form a dense network, influencing and stimulating each other, shaping their unique cultural expressions. This is especially true in Taiwan, as well as in Mexico. Architecture and art share commonalities in essence, yet each has its own professional domain. Serving as a junction between the two and through its collection of books and artworks, the Winsing Arts Foundation engages in a dialogue with the other side of the globe. The treasured publications collected on the second floor of the bookstore is made into an exhibition "Architecture of Mexico," exploring various facets of Mexican architecture, complementing two solo exhibitions by Mexican artists Abraham Cruzvillegas(1968-) and Gabriel Orozco (1962-) displayed in the workshop on the first floor. This exhibition invites readers on a temporal and spatial journey to the distant lands of Central America, witnessing a duet dance of architecture and art.

This exhibition at the Winsing Art Place showcases a series of sculptural installations and paintings by Cruzvillegas. The sculptures, which are reconstituted and stacked from a collection of ready-made objects, reflect the artist's self-constructed concepts accumulated from his upbringing, and the seemingly unfinished state of the works echoes the history and footprint of Mexico's development. The mesh-like Blind self portrait series is a documentary record of Cruzvillegas' life; underneath the colorful paints are the build-up of his life, and the artist has made these objects independent of his own experience, highlighting their individual existence, their independence and freedom. Cruzvillegas' research into paintings is embodied in the Otras rutas series and the mural "Primantropofilia 5," which draw extensive connections to art history, politics and history, using his artworks as a model and the mop as a tool to create a space for the whole body to probe into the critical nature of art language. Cruzvillegas' work involves flux, incompleteness and unpredictability - in other words, the character of his creations is at the same time associated with chance, variability and hope.

In May 2023, Paolo Portoghesi (1931-2023), the Italian architect and historian who served as the chief curator of the first Venice Architecture Biennale (1980), passed away, coinciding with the opening of the 18th Venice Architecture Biennale, "The Laboratory of the Future." The Winsing Art Place has gathered official manuals of the Architecture Biennale, special editions from various national pavilions, and architecture-related publications centered around this lagoon city to host the exhibition "Venice and Architecture Biennale," paying tribute to this cross-century event. Through books, this exhibition leads readers to explore the origin of the Venice Architecture Biennale and its critical role from Postmodernism to the current architectural wave, while also attempting to trace the context of architectural exhibitions and revisit Taiwan's position during the event since its participation in 2000.

The exhibition at Winsing Art Place features an array of Horn’s most significant sculptures and photographs, including several cast-glass works. Horn first began to produce these sculptures in the mid-1990s and they quickly became foundational to her wider practice. To create these works, molten glass is annealed in large moulds over the course of several months. The result, which can be seen in the current series of works, are sculptures that exhibit a dynamic range of hues and luminosity, appearing at once solid and fluid. This is particularly evident in ‘Untitled (‘At night her head, heavy with unappeased cravings, sat on her shoulders, like a coconut with its mat of monkeylike hair growing freakishly inside the shell..’)’, which draws its title from a novel by Robert Musil. Another piece, ‘Black Yes’, one of her black cast-glass sculptures, is a counterpoint to some of the more colorful works. Like much of Horn’s oeuvre, the glass sculptures probe the ever-evolving nature of identity and the experience of transience through the transformation of nature and form.

Situated next to the Shilin Night Market, the Taipei Performing Arts Center (TPAC) was completed and inaugurated in August 2022. It marks the first project in Taiwan by the Office for Metropolitan Architecture (OMA). OMA chose to collaborate with a local Taiwanese architectural publication, releasing the 16th issue of the "a+tec" quarterly magazine in March 2023, which became the world's first book dedicated to this project. The Bookstore of Wensin Art Place curates a collection that includes a series of classic works about OMA and its founder, Rem Koolhaas (1944-). In contrast to traditional architectural exhibitions, this book presentation celebrates the birth of the Taipei Performing Arts Center and delves deeply into the analysis of this groundbreaking building, which the public has nicknamed "Century Egg & Tofu."

The piece on display, AS YOU GO, consists of three videos, “Ravel, Ravel,” “Take Over” and “If and only if.” “Ravel, Ravel” is composed through a re-arranged performance by Sala, a new interpretation of Maurice Ravel's Left Hand Concerto for Piano and Orchestra, which resonates in the space between the two performances due to the time gap between them; “Take Over,” revolving around the politically and historically entangled Marseillaise and The Internationale, played by a pianist and a player piano, deals with their musical lineage and the ever evolving political symbolism; “If and only if” is a reinterpretation of the composer Igor Stravinsky's Elegy, in which a crawling snail and a fiddler interact in a delicately balanced relationship that makes the musical arrangement tangible. "AS YOU GO" is not only an interweaving of three video pieces, it is a projection installation as well as a unique and gigantic kinetic sculpture.

"Instability” is a recurring theme in Baghramian's sculptures, with many seemingly thin and slender bracing structures that are close to collapsing, overhanging, tilting and yet dominating the objects in the exhibition space. The unstable gestures, both in appearance and in nature, are represented in the pieces on display in this exhibition. “Maintainers”, a multi-media composition, is presented in an interdependent manner in the exhibition room, with its distinctive raw aluminum casts, colored wax forms and lacquer painted braces propping up and balancing each other in an interdependent relationship, stabilized by the intervention of external forces, and with a wax surface reminiscent of the body. Another piece on show is “Misfits F”, a recent creation inspired by the assembly toys designed for children. The seemingly perfect fit of the structure actually fails to meet the viewer's expectations, resulting in feelings of frustration and disappointment, creating a psychological imbalance; at the same time, the eccentric expression of the girl's portrait alludes to the refusal to play by the rules and the unpredictability.

Hatoum was born in 1952 to a Palestinian family in Beirut. During a visit to London in 1975, The Lebanese Civil War broke out, preventing her from returning and resulting in her living and working for the most part in the UK from that period onwards. Experiencing the cultural shock of a new, foreign country, Hatoum began to feel out of place, and was compelled to re-examine her position as an "outsider".

Between the 1960s and 1970s, Southern California was filled with aerospace and engineering companies, many of which were involved in the first American lunar project, and it was arguably the height of industrial technology after the Second World War. During this period, a special partnership was formed between a group of artists and engineers. As a result of this technological boom, artists have acquired new industrial materials and production techniques, using special materials to create works that expand the possibilities of human perception of objects and space, thus giving rise to the famous Light and Space movement on the West Coast of the United States. The sun, cars, surf, beaches and other elements of the West Coast have facilitated the transformation of lived experiences into physical works by artists in the Light and Space movement, such as Robert Irwin, Dan Flavin, Larry Bell and James Turrell. These artists' use of advanced materials and their focus on audience perception and participation have inspired many of today's artists. The Winsing Arts Foundation exhibits the works of Ann Veronica Janssens, whose pieces are also heavily influenced by the Light and Space movement.

"Painting". Prehistoric rock art, oil paintings, watercolors and ink paintings are commonly known as paintings. The works in these modes are often painted on flat media using various paints. Miriam Cahn, the artist introduced by Winsing Art Place before, is a graphic painter who examines the relationship between the human body and the world. Suki Seokyeong Kang, a Korean artist, breaks away from the established patterns of painting and expands the concept of painting to weaving, sculpture, installation, video, choreography and even an exhibition space. Kang said, "All the works look like installation. I love to say it's a painting. Making a painting it's more to be how to think, how to make, and how to pour your voice inside of the space which is painting. So, I wanted to find out how can be layering the materials together inside of the space as set of paintings." Kang specializes in research-oriented creation. By exploring the relationship between space and one's social status, Kang attempts to create a visual language which is based on Korean traditional painting with abstract, organic and geometric features.

Miriam Cahn, a lifelong fighter for gender equality, was born in 1949 in Basel, Switzerland, to a Jewish immigrant family with a father who was a dealer in art and antiques and a mother who was a music-loving homemaker. Cahn grew up in an artistic family. From her wall murals in the 1970s to her ongoing series of oil paintings, Cahn embarked on an artistic career in 1976 that saw her translate emotion into the language of painting, her aggressive brushwork and intense colors conveying the artist’s uncompromising response to the social reality around her. On display in this exhibition are black-and-white paintings from the early stages of creation, the Atomic Bombs series, the House series, the Refugee issue and, most notably, the Body and Portrait series.

On the occasion of Winsing Art Place's anniversary, the Winsing Arts Foundation engaged Assistant Professor Jr-Gang Chi from Shih Chien University and his Jr. Gang Architectural Lab to participate in the selection for the bookstore, as well as the annual book exhibition. The exhibition features 300 books that illustrate the modern architectural waves still resonating worldwide, along with several significant out-of-print publications. During the lockdowns due to the pandemic, readers are able to embark on journeys beyond borders and barriers.

Being one of the pioneers of relational aesthetics, French artist Philippe Parreno prefers to "curate exhibitions rather than focus on single objects," and he is interested in the exchange of dialogues, ideas, objects, images, situations, and the collectivity of human existence. As a result, Parreno constructs the exhibition as a scripted space through film, performance, light and sound in different ways, creating bizarre scenes and alternative realities. Like an independent organism, his exhibition explores the boundaries of time and space, the possibilities of existence, and gives the viewer the opportunity to dialogue with oneself, or with space.

Spiders, creatures that have existed on Earth for at least 120 million years, communicate with each other and their prey by spinning intricate webs and feeling the smallest vibrations. Tomás suggests that spider silk may be the key to a new understanding of the future for human beings. This exhibition features Tomás' iconic giant installation, which simulates a spider's web, inviting the viewer to connect with space and each other through touching and feeling vibrations. The exhibits also include works on future architecture and aerodynamics to present Tomás’ perspective on environmental sustainability issues.

From the collection of the Winsing Arts Foundation, the bookstore selected books related to the two thinkers, staging the "Housing the Friendship" exhibition. The three salons extending from the exhibition were hosted by architecture scholar Shu-Chang Kung, Nicholas Boyarsky, and renowned architectural photographer Hélène Binet. They have restored the profound creative and educational philosophies of Hejduk and Boyarsky through perspectives of literature, personal historical events, and spatial imagery, depicting their deep love for architecture and their continuous inspiration.

Kwade was born in Poland in 1979. She moved to West Germany with her family later and graduated from the Berlin University of the Arts in 2005. Currently, she lives and works in Berlin. Her most famous work is the large-scale sculpture named "WeltenLinie", which was shown in 57th Venice Biennale 2017. Two-way mirrors and pairs of objects intentionally placed were used to compose the installation. When visitors walk through its steel structure, the objects in it will jump out from the framework of reality and move to the framework of the work while being observed in different angles of view, which may be a revolution to the way visitors adopt for reading and understanding the objects contained in the work. In 2019, Kwade's works have also been exhibited at the Roof Garden of the Metropolitan Museum of Art and in Setouchi Triennale 2019. They are now collected by some renowned art museums, including Centre Pompidou, Los Angeles County Museum of Art and Boros Collection / Bunker Berlin.

The artist won the first prize at the 2012 Hugo Boss Award and entered the Venice Biennale on behalf of Denmark in 2015. His works and various art projects are also exhibited in the Solomon R. Guggenheim Museum in New York City, the Pompidou Centre in France, the Kunstmuseum Basel in Switzerland, M+ in Hong Kong, the Berlin Biennale and the Singapore Biennale, among other large art galleries and exhibitions. He explores the inheritance and construction of cultural conflicts, trauma and values, and addresses issues of history, politics, faith and identity in a poetic way.

The Winsing Art Place exhibits Yang's main works created since 2014, her first solo exhibition in Taiwan, showcasing her pieces including Hardware Store Collage, Lacquer Paintings, The Intermediation and Sol LeWitt Upside Down. Hardware Store Collage is an important turning point in the artist's life. When Yang arrived in Germany in 1994, she only spoke basic German. The product catalogue of hardware stores became an important vocabulary source. It also describes her non-verbal communication and language barriers. Lacquer Paintings has been created since 1994. On the theme of time, she used common plant specimens, such as tobacco leaves and decorative plants, and let varnish slowly dry to capture the dirt, dust, raindrops and insects existing in the original materials as the time traces of specific events.

Desire, a work of art by Doug Aitken, features how mirrors segment image of people and their surroundings. Each individual image carries new perspectives, and each individual segment reflects the relations between people and space, intertwining narratives of dialogues between the viewer and the space around them. This giant mirror sculpture acts like a medium. Through its projection, the viewer not only sees the external form of an object, but also the desire deep inside themselves. Aitken stereoscopically translates narratives into a structural form. Viewing his work from different angles is like a three-dimensional reading of space and oneself. The viewer is allowed to thoroughly experience the influence brought by this space. When one enters this art hall of pure white color, due to the special design of the space, it simultaneously induced some change on one's movements. The interaction between people and their surroundings or between one and others is affected by the atmosphere, forming an entirely new social system.

The lecture series, drawing from the book I.M. Pei: Complete Works, features Shu-Chang Kung, architect and professor at the NYCU Graduate Institute of Architecture. He will delve into the intellectual trajectory of Pei’s architectural philosophy, exploring how the architect navigated the tensions between power and commerce to uncover possibilities for “publicness,” and how he progressively pursued an exploration of “culturality.” It further guides us in contemplating how Pei used architectural forms to express his own cultural identity and will.

Following the conclusion of the exhibition Living Together: Public Housing Design and the Ideal Modern Life, jointly organized by the Taiwan Museum Foundation and the National Taiwan Museum in 2022, a monograph of the same title was published to preserve and promote the exhibition’s research outcomes. The book expands upon the curatorial discourse and includes several notable cases that were regrettably omitted due to limited exhibition space, aiming to present a more complete result of the curatorial research. The lecture featured authors Meng-Yin Shen and Wei-Chien Hung, along with special guest Yao-Ting Wu, who shared insights on the journey from curating the exhibition to publishing the monograph, highlighted selected residential case studies from the book, and discussed their field research experiences.

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. The lecture invites four speakers—Pei-Yi Lu, Chieh-Hsiang Wu, Pei-Chun Hsieh, and Yu-Ping Kuo—to engage in a discussion. Drawing on exhibitions in 2024 that focus on female artists from diverse perspectives, they will share insights from their personal experiences, research, and creative practices to explore women’s standing in contemporary art.

Hong Kong book designer Hei Shing Chan will share experiences from contemporary book creators through interviews and visits to various studios, publishers, and bookstores in this lecture. By examining their aesthetic perspectives, mature publishing practices, and market strategies, the talk aims to broaden readers’ perceptions of “books,”prompt public reflection on how “the beauty of books” extends to “the beauty of the city,” and spark further discussion.

Hong Kong’s unique landscape of densely packed signage is renowned worldwide. From the 1930s to the 1980s, several prominent calligraphers in Hong Kong—Kin Kung Au, Hsi Hsieh, Shiu Hang Cheuk, and Yat Ming Lai, collectively shaped Hong Kong’s distinctive urban landscape over half a century through their commercial and charitable works. Their creations—including signage for Sun Hung Kai Properties, Eu Yan Sang, Chow Sang Sang Jewellery, Federal Restaurant, and Ho To Tai Noodle Shop—are widely recognized by the public. Westley Wong, author of Ink & The City: Applied Calligraphy Of Hong Kong, and his team spent over four years compiling and researching the works of these four calligraphers, gathering over a thousand precious images, ranging from signage and cards to couplets, and paper-based works. In this lecture, Wong will recount the stories about the journey and how these signs collectively shaped Hong Kong’s urban character.

Artist Ya-Hui Wang excels at capturing a surreal sense of space through her poetic visual works. She also maintained a long-standing practice of journaling and artistic notes, documenting her deep reflections on art and life. Notes is the result of her husband, Hsing-Yi Liu, and close friends, who compiled and edited her works and manuscripts after her passing in 2023. Its pages reveal her creative journey and unique perspectives. This event marks the first sharing session since the book’s publication. Hosted by Yu-Chih Hsiao, it features a discussion with Jun-Qiang Niu, Te-Yu Wang, and Han-Fang Wang. Starting from Notes, the conversation explores the artist’s artistic inspiration.

At the end of 2022, the Winsing Arts Foundation presented artist Anri Sala’s solo exhibition AS YOU GO at Winsing Art Place. Centered on an immersive video experience, the exhibition showcased AS YOU GO in the Foundation’s collection, which comprises three video works, including —Ravel, Ravel, Take Over, and If and only if. The fluidity of music and imagery made, the entire exhibition feel like a large-scale kinetic sculpture, offering visitors an experience akin to a “parade.” Beyond video, Sala also works across various media—such as installations, paintings, prints, and more recently, frescoes—to explore themes of identity, history, memory, and the interrelationship between past, present, and future.

Traditional architectural forms have been interpreted and reinterpreted through diverse lenses by Western missionaries, architects, and later architects influenced by modern nationalism. By exploring these varied perspectives, one can reflect on the construction of traditional culture and its modern dimensions. The Winsing Arts Foundation has invited Associate Professor Ya-Chun Chiang from the Department of Architecture at Chung Yuan Christian University for a special event. Through her latest publication, An Illustrated History of Palace-style Architecture in Taiwan 1949-1975, Chiang focuses on case studies such as the National Museum of History, the Nanhai Academy, the National Palace Museum, and Sun Yat-sen Memorial Hall, examining how these cases shaped narratives around historical origins, inspired historical research and doctrinal traditions, governmental and cultural legitimacy, and the formation of deep-seated national cultural spaces throughout the Chinese cultural revival movement.

For this workshop at the Atelier, the Winsing Arts Foundation specially invited artist Chu-Li Chen. Building on Orozco’s works, participants will create their own collage materials by repeatedly cutting withscissors. Chen is skilled in collage, printmaking, and hand-drawing techniques, creating images full of tactile warmth. This workshop will focus on geometric shapes, encouraging participants to listen to their inner voice and, through personal intuition and preference, explore the relationship and playfulness between “movement” and “stillness.”

“I don’t like going very far from my home with the purpose of making a work of art. I hate the exotic in this sense. I want my art to be close to me, and I want to be close to what surrounds me.” Mexican artist Gabriel Orozco once said that he does not have a permanent, fixed studio. Letting his works face the street, reality, and what is happening in the present is the way he develops his art. Orozco travels frequently, and his nomadic life deeply influences his creations. Whether in ready-mades, photography, painting, sculpture, or installation, his works contain traces of childhood and everyday life. Orozco excels at viewing familiar things in new ways, creating insightful works that explore the relationships between people, objects, and space.

Launched by the Winsing Arts Foundation and curator Chun-Hsiung Wang, four salon lectures will be held in conjunction with the Taipei Fine Arts Museum’s current exhibition Modern Life: Taiwan Architecture 1949-1983. Each salon features a different guest engaging in dialogue with the exhibition’s research and curatorial team. The first lecture’s special guest is Chun-Ming Huang, Chairman of the Alliance for Architecture Modernity. Beyond offering deeper insights into the exhibition from diverse perspectives, the salon lectures also aim to revive the spirit of the “Chimera Salon” initiated by Da-Hong Wang in the 1950s, which brought together literary and artistic figures for gatherings and exchanges at his home, recreating the free and open cross-disciplinary discussions that once flourished within Wang’s residence.

Launched by the Winsing Arts Foundation and curator Chun-Hsiung Wang, four salon lectures will be held in conjunction with the Taipei Fine Arts Museum’s current exhibition Modern Life: Taiwan Architecture 1949-1983. Each salon features a different guest engaging in dialogue with the exhibition’s research and curatorial team. The first lecture’s special guest is Chun-Ming Huang, Chairman of the Alliance for Architecture Modernity. Beyond offering deeper insights into the exhibition from diverse perspectives, the salon lectures also aim to revive the spirit of the “Chimera Salon” initiated by Da-Hong Wang in the 1950s, which brought together literary and artistic figures for gatherings and exchanges at his home, recreating the free and open cross-disciplinary discussions that once flourished within Wang’s residence.

The current book exhibition at Winsing Art Place is themed around the concept of “pavilion.” The inaugural chapter features office one senses (OOS), the winner of the Grand Prize for the 11th X-site Project (2024) hosted by the Taipei Fine Arts Museum, alongside Ting-Tseng Shen, principal architect of Shen Ting-Tseng Architects. Starting with their work “Analogue Forest,” which stood on the museum plaza this summer, the exhibition explores, through curated selections, how pavilions evolve from auxiliary structures into self-contained spaces, spanning the fields of art, installation, and architecture.

Winsing Arts Foundation is proud to host an artist talk on the solo exhibition of the Mexican artist Gabriel Orozco at Winsing Art Place on Saturday, May 11. On the day, Gabriel Orozco was invited to chat online with Jenny Yeh, Executive Director of Winsing Arts Foundation , to discuss the artist's creative experiences and to share the history of the collection.

Launched by the Winsing Arts Foundation and curator Chun-Hsiung Wang, four salon lectures will be held in conjunction with the Taipei Fine Arts Museum’s current exhibition Modern Life: Taiwan Architecture 1949-1983. Each salon features a different guest engaging in dialogue with the exhibition’s research and curatorial team. The first lecture’s special guest is Chun-Ming Huang, Chairman of the Alliance for Architecture Modernity. Beyond offering deeper insights into the exhibition from diverse perspectives, the salon lectures also aim to revive the spirit of the “Chimera Salon” initiated by Da-Hong Wang in the 1950s, which brought together literary and artistic figures for gatherings and exchanges at his home, recreating the free and open cross-disciplinary discussions that once flourished within Wang’s residence.

Launched by the Winsing Arts Foundation and curator Chun-Hsiung Wang, four salon lectures will be held in conjunction with the Taipei Fine Arts Museum’s current exhibition Modern Life: Taiwan Architecture 1949-1983. Each salon features a different guest engaging in dialogue with the exhibition’s research and curatorial team. The first lecture’s special guest is Chun-Ming Huang, Chairman of the Alliance for Architecture Modernity. Beyond offering deeper insights into the exhibition from diverse perspectives, the salon lectures also aim to revive the spirit of the “Chimera Salon” initiated by Da-Hong Wang in the 1950s, which brought together literary and artistic figures for gatherings and exchanges at his home, recreating the free and open cross-disciplinary discussions that once flourished within Wang’s residence.

As one of the most significant architects in the contemporary Chinese architectural community, Yung-Ho Chang is known not only for his regional and critical architectural practice but also for his work as an architectural educator. He has expanded his creative horizons beyond architecture into diverse fields, including installations, stage design, furniture, products, fashion, accessories, and even desserts. The Winsing Arts Foundation is honored to invite him to Winsing Art Place to share his architectural thinking and creative process and to engage in a dialogue with Ching-Yueh Roan and Kwok-On Fung.

The second Yangmingshan Art Festival not only connects with the Tianmu Aqueduct Festival, but also features DH Café, located within the aqueduct drainage basin, participating in dialogue and exchange. The second session of the lecture series specially invited Professor Kuang-Chi Hung to present a perspective on the natural landscape embodied by the special exhibition Uncultivated Lands: Where Power Meets. This perspective engaged with the festival’s theme “Satoyama Satoumi,” guiding the audience to understand how Yangmingshan’s natural forests and wilderness have undergone transformations in their landscape significance under the influence of national development and across different historical periods.

The Yangmingshan Art Festival serves as a platform for social communication, unleashing local energy through artistic interventions. The team views these interventions and communication processes as creative acts, transforming artworks into vessels for social consensus. These works carry the rich resources of Yangmingshan—environmental education, culture, history, and lived memories. This lecture features Hui-Fang Liu, Jie-Teng Lee, Ming-Cheng Chiu, and Chien-Ya Weng, who will discuss the festival as a “social communication” platform and how their perspectives intertwine during the curatorial and creative processes,enabling them to identify shared design vocabularies and integrate environmental themes into artistic creation.

At the conclusion of Nan Goldin’s solo exhibition, the Winsing Arts Foundation will invite Liang-Pin Tsao, Founder of Lightbox, to deliver the final expert lecture of the exhibition period at Winsing Art Place. In this lecture, Tsao will analyze Goldin’s portrait photography from the perspective of photography as a means of obtaining visual power, exploring the collaborative methods in her portraits and the differences between collaborative portraits and traditional portrait photography. The lecture will also focus on the aesthetic forms of Goldin’s work, examining her image narratives in comparison with pictorial photography, straight photography, fashion photography, and conceptual photography, and how her work challenges conventions and subverts the everyday.

The Winsing Arts Foundation is proud to invite MVRDV’s Chief Strategy Officer Jan Knikker and Taiwan Director Hui-Hsin Liao to share the designs realized in Taiwan and how MVRDV has continued to break boundaries with freedom amidst contemporary trends.

Architecture is created by humans, yet the spaces it generates shape people’s lives and movements, even altering an individual’s memories of places and cities. Some structures become a city’s iconic landmarks or integral parts of a nation’s history. This lecture features Hong Kong architecture columnist and architect Simon Hui (Archtraveler), who is visiting Taiwan for the Taipei International Book Exhibition. Drawing on case studies from Hong Kong, Beijing, London, Tokyo, Singapore, and New York, he will explore how architecture transforms human existence.

The Winsing Arts Foundation is honored to invite Wen Liu, a social psychologist who lived in the United States for many years, to discuss the history and development of queer culture in America. She will explore the life of the East Village underground subculture in New York from 1970 to 1980 and examine the queer world through Nan Goldin’s photography. Liu will also share her experiences living in New York, discussing, from both academic and social movement perspectives, the queer culture depicted in Goldin’s work, as well as her focus on gender and marginalized communities behind the vivid colors and striking visuals of her images.

The Winsing Arts Foundation is honored to invite architect and novelist Ching-Yueh Roan, together with artist Wei-Li Yeh, for a dialogue. This lecture, through the professional perspectives of the two speakers, will discuss Goldin’s work in relation to the context and development of contemporary art, as well as the spatial-temporal messages her photography seeks to convey. They will take a broad view of Goldin’s creations and explore how, in a chaotic and unstable time, she used photography to capture the desires in people’s lives. Roan and Yeh will also share with the audience their encounters with Goldin’s works in the 1990s, and the impressions those encounters left.

The Winsing Arts Foundation is honored to invite writer Pulp Chen, who once lived in New York, to give a lecture exploring the connections between Nan Goldin’s works and the culture of the 1970s and 1980s. In an era when the spirit of freedom was thriving, young people were widely dissatisfied with society and began fighting for their rights. This climate gave rise to numerous cultural movements and music scenes, such as The Velvet Underground, Patti Smith, and Sonic Youth—well-known bands whose music was closely tied to the social and political issues of the time. Professor Chen will take the audience back to New York of that era to see, through Goldin’s work, a world that is raw and unvarnished.

Ya-Ting Kao regards the artist book Dream as the symbolic embodiment and creative vocabulary for works in her solo exhibition Dreamer’s Wake. Its agency as a published work extends the narrative across diverse contexts. This sharing session will explore the dialectical relationship between Kao’s creative trajectory and the artist book genre. Book art researcher Yin-Chin Tsai will engage in dialogue by examining themes within Dream—specifically the “Box System,” archival practices, feminine narratives, and fabric materials related to artist books—to connect with the audience and readers, expanding their inner perceptions of the artist’s creative process and its material metaphors through Dream.

Da-Hong Wang spent a decade transposing Oscar Wilde’s classic novel The Picture of Dorian Gray from Victorian London to Taipei in the 1960s and 1970s, rewriting it as Du Lian-Kui for his own era. Through this temporal displacement, Wang not only presents a universal allegory of human nature but also embeds his aesthetic reflections and observations of Taipei within the novel’s narrative. For this lecture series, Winsing Arts Foundation specially invited Chia-Hsien Yang (writer and Associate Professor, Department of Chinese Literature, National Tsing Hua University) to curate the program. Analyzing from a literary perspective, she introduces Du Lian-Kui to contemporary Taiwan and discusses the significance of reading classic works for modern readers. Simultaneously, by examining Wang’s reflections on his era revealed in the work, she guides participants to “approach Da-Hong Wang” from perspectives beyond architecture. The final session featuring a dialogue between Kuo-Wei Chen (Associate Professor, Graduate Institute of Taiwan Literature and Transnational Cultural Studies, National Chung Hsing University) and Hsin-Hui Lin (sci-fi writer). Apart from Du Lian-Kui, the discussion will also focus on Da-Hong Wang’s science fiction novel Phantasmagoria.

On the opening day, we will screen All the Beauty and Bloodshed, a documentary chronicling Goldin’s life, work and the organization P.A.I.N., which she founded in 2017. Through P.A.I.N., Goldin launched a series of public protests against the Sackler family, demanding that the family be removed from major art museums and schools and that they stop accepting their donations. Jenny Yeh, Director of the Winsing Arts Foundation, will also attend the opening on Saturday to share the exhibition and how he feels about Goldin’'s work.

In this exhibition, the Winsing Arts Foundation presents a series of sculptures and paintings by Cruzvillegas. His sculptures, composed and stacked from collected readymades, reflect the concept of Autoconstrucción (self-construction) that he has been developing since 2007. The works, appearing unfinished or improvised, resonate with Mexico’s developmental history and its cultural landscape. Through the process of constructing these works, the artist interprets life and his surroundings, while also metaphorically exploring his identity. Most of the works’ titles depict the artist’s state at the time of creation and his daily activities. At times, they reference specific political or historical events, contemporary happenings during the creation period, or music.

Through their exhibition Space in Time, Hsu-Yuan Kuo and Effie Huang conduct a profound exploration of contemporary Taiwanese urban architectural design methodologies, refocusing on the user experience within architecture. The exhibition showcases their architectural creations spanning 25 years. They find opportunities where none seem possible, awakening from the daily cycle of mundane existence. In urban crevices, they conjure small yet dazzling spatial visions, reviving time’s infinite potential within space and enriching everyday life. The final lecture in the exhibition series, “Architecture Desires Dwelling,” features a special dialogue between Wei-Hsiung Chan (cultural sociologist) and Chun-Hsiung Wang (Head of the Department of Architecture, Shih Chien University). From historical perspectives, contemporary viewpoints, site-specific characteristics, and even observations beyond culture, they will explore the existential meaning of dwelling within architecture together with the audience.

Da-Hong Wang spent a decade transposing Oscar Wilde’s classic novel The Picture of Dorian Gray from Victorian London to Taipei in the 1960s and 1970s, rewriting it as Du Lian-Kui for his own era. Through this temporal displacement, Wang not only presents a universal allegory of human nature but also embeds his aesthetic reflections and observations of Taipei within the novel’s narrative. For this lecture series, Winsing Arts Foundation specially invited Chia-Hsien Yang (writer and Associate Professor, Department of Chinese Literature, National Tsing Hua University) to curate the program. Analyzing from a literary perspective, she introduces Du Lian-Kui to contemporary Taiwan and discusses the significance of reading classic works for modern readers. Simultaneously, by examining Wang’s reflections on his era revealed in the work, she guides participants to “approach Da-Hong Wang” from perspectives beyond architecture. The fourth lecture features Ying-Fen Chen (Assistant Professor, Department of Architecture, National Taipei University of Technology) and Po-Ching Chen (novelist), who will discuss the portrayal of Taipei’s East and West Districts in the novel Du Lian-Kui. The discussion then extends to the imagery of the East and West Districts in Edward Yang’s films, Terrorizers and Taipei Story, and in Taiwanese gay literature (echoing Dorian Gray, the beautiful youth).

Through their exhibition Space in Time, Hsu-Yuan Kuo and Effie Huang conduct a profound exploration of contemporary Taiwanese urban architectural design methodologies, refocusing on the user experience within architecture. The exhibition showcases their architectural creations spanning 25 years. They find opportunities where none seem possible, awakening from the daily cycle of mundane existence. In urban crevices, they conjure small yet dazzling spatial visions, reviving time’s infinite potential within space and enriching everyday life. The fifth lecture in the exhibition series, “How to Be Modern? What Is Architecture?”, features a special dialogue between two of our frequent speakers: Ching-Yueh Roan (architect and novelist) and Tseng-Yung Wang (architecture critic). The lecture examines the relationship between the architecture of Hsu-Yuan Kuo and Effie Huang and modern urban life. It begins with an overview of global modernity’s development and then gradually explores its transformation toward localization.

“The People vs. The World of Tomorrow” lecture series is extended from a late-night reading session for selected books at Winsing Art Place. Launched by the Winsing Arts Foundation, Hui-Fang Liu, Assistant Professor from the Department of Urban Development at the University of Taipei, invited experts in architecture to submit, share, and talk about their favorite theoretical works in the fields of landscape, cities, architecture, and more. Unlike previous discussions of pure architecture, we look at cities, buildings, and public spaces from a more diverse perspective, discussing concepts such as “urbanism,” “commonality,” “publicness,” and “future cities” in the books. The final session will feature Liu presenting an introduction to The Future of Public Space and Commonalities: Production of Behaviors, with architect Shu-Hsien Chou joining as a special guest speaker.

Architecture is about the spatial experience of the subject within time. It is through the movement through space that people truly connect with architecture; movement is the body in time, and time imbues space with life. The exhibition “Space in Time” at Kuandu Museum of Fine Arts showcases the architectural creations of Hsu-Yuan Kuo and Effie Huang, who passionately pursued the concept of “space in time” over a span of twenty-five years. Through four thematic exhibition zones, the architects awaken from the daily cycle of mundane existence, creating small yet dazzling spatial visions within urban crevices. This revives the infinite possibilities of space within time. Building upon the exhibition's narrative, the lecture invites both architects and architectural professionals to explore the potential of architecture and exhibition.

“The People vs. The World of Tomorrow” lecture series is extended from a late-night reading session for selected books at Winsing Art Place. Launched by the Winsing Arts Foundation, Hui-Fang Liu, Assistant Professor from the Department of Urban Development at the University of Taipei, invited experts in architecture to submit, share, and talk about their favorite theoretical works in the fields of landscape, cities, architecture, and more. Unlike previous discussions of pure architecture, we look at cities, buildings, and public spaces from a more diverse perspective, discussing concepts such as “urbanism,” “commonality,” “publicness,” and “future cities” in the books. The third session will feature an introduction to Public Space in Urban Asia by Professor Hsin-Ko Yu, with Professor Jeffery Hou from the Department of Landscape Architecture at the University of Washington serving as a special guest speaker.

Winsing Arts Foundation will host the opening event for Mexican artist Abraham Cruzvillegas at Winsing Art Place next Sunday, August 13, at 3 p.m. This exhibition presents a series of sculptural installations and paintings by Cruzvillegas, whose creations work involves change, incompleteness, and unpredictability. The characteristics of this his work are also related to chance, variability, and hope. On the opening day, Jenny Yeh, executive Ddirector of Winsing Arts Foundation, and Rudy Tseng, an experienced art collector, will share their collection opportunities and how their impressions ofy feel about the works, and. We look forward to seeing you at the exhibitionshow together.

“The People vs. The World of Tomorrow” lecture series is extended from a late-night reading session for selected books at Winsing Art Place. Launched by the Winsing Arts Foundation, Hui-Fang Liu, Assistant Professor from the Department of Urban Development at the University of Taipei, invited experts in architecture to submit, share, and talk about their favorite theoretical works in the fields of landscape, cities, architecture, and more. Unlike previous discussions of pure architecture, we look at cities, buildings, and public spaces from a more diverse perspective, discussing concepts such as “urbanism,” “commonality,” “publicness,” and “future cities” in the books. The second session will feature an introduction to How Buildings Learn: What Happens After They’re Built by Professor You-Cheng Luo.

“The People vs. The World of Tomorrow” lecture series is extended from a late-night reading session for selected books at Winsing Art Place. Launched by the Winsing Arts Foundation, Hui-Fang Liu, Assistant Professor from the Department of Urban Development at the University of Taipei, invited experts in architecture to submit, share, and talk about their favorite theoretical works in the fields of landscape, cities, architecture, and more. Unlike previous discussions of pure architecture, we look at cities, buildings, and public spaces from a more diverse perspective, discussing concepts such as “urbanism,” “commonality,” “publicness,” and “future cities” in the books. The first session will feature an introduction to Wild and the City. Landscape Architecture for Lush Urbanism by Professor Meng-Tsung Su.

Da-Hong Wang spent a decade transposing Oscar Wilde’s classic novel The Picture of Dorian Gray from Victorian London to Taipei in the 1960s and 1970s, rewriting it as Du Lian-Kui for his own era. Through this temporal displacement, Wang not only presents a universal allegory of human nature but also embeds his aesthetic reflections and observations of Taipei within the novel’s narrative. For this lecture series, Winsing Arts Foundation specially invited Chia-Hsien Yang (writer and Associate Professor, Department of Chinese Literature, National Tsing Hua University) to curate the program. Analyzing from a literary perspective, she introduces Du Lian-Kui to contemporary Taiwan and discusses the significance of reading classic works for modern readers. Simultaneously, by examining Wang’s reflections on his era revealed in the work, she guides participants to “approach Da-Hong Wang” from perspectives beyond architecture. The third lecture will feature Shih-Long Lo (Associate Professor, Department of Chinese Literature, National Tsing Hua University) and Shou-Wen Chen (Associate Professor, Department of Chinese Literature, National Chengchi University), who will discuss exoticism and cultural translation in the novel Du Lian-Kui.

In the solo exhibition of Roni Horn, curated by the Winsing Arts Foundation, a series of important sculptures and photographs are presented at Winsing Art Place, including glass and columnar sculptures from the foundation’s collection. Since 1975, Horn has made regular visits to Iceland, where her experiences with the island’s nature and daily life have become one of the sources of inspiration for her work. Through her art, Horn explores the fluid, water-like nature of identity and uses visual elements, language-based documentation, and duality to guide viewers into a poetic dialogue with the works.

This lecture aims to comprehensively analyze the relationship between American artist Roni Horn's artists' books and her creative context, exploring how the artist employs the material conditions and formative forms of books to orchestrate a series of post-minimalist perceptual engagements: Themes such as weather, literature, poetry, humanity, and nature are embedded within the textual writings and visual arrangements of the pages. Through the intimate act of turning pages and the linguistic qualities of reading, the audience/reader is invited into the artist's personal emotional landscape and psychological dimensions.

Wei-Jie Huang and Submontane Band will perform the opening show of their new album tour, Mu Ma, at DH Café. Crafted over five years, Mu Ma confronts the shadows and depicts people’s journeys inward and back to themselves. It guides listeners into the darkness of night, gently sharing their inner thoughts and stories and quietly awaiting the faint light that may fall. The performance will begin at dusk, inviting attendees to experience the shifting sky within the bookstore’s glass-enclosed space and to be immersed in the music.

Da-Hong Wang spent a decade transposing Oscar Wilde’s classic novel The Picture of Dorian Gray from Victorian London to Taipei in the 1960s and 1970s, rewriting it as Du Lian-Kui for his own era. Through this temporal displacement, Wang not only presents a universal allegory of human nature but also embeds his aesthetic reflections and observations of Taipei within the novel’s narrative. For this lecture series, Winsing Arts Foundation specially invited Chia-Hsien Yang (writer and Associate Professor, Department of Chinese Literature, National Tsing Hua University) to curate the program. Analyzing from a literary perspective, she introduces Du Lian-Kui to contemporary Taiwan and discusses the significance of reading classic works for modern readers. Simultaneously, by examining Wang’s reflections on his era revealed in the work, she guides participants to “approach Da-Hong Wang” from perspectives beyond architecture. Following the opening session, the second lecture features poet Wai-Tong Liu and novelist Bo-Yen Chen, who will share their insights. Drawing on their writing experiences and reflections after reading Du Lian-Kui, they will discuss how they use words to convey their observations of Taipei’s streets and cityscape.

The Winsing Arts Foundation is proud to host the opening of the Roni Horn exhibition by American artist Roni Horn next Saturday, April 15. This exhibition, which is Horn's first solo exhibition in Taiwan, will feature important representative works, and famous glass sculptures from Winsing Arts collection will also be on public display. On the opening day, the artist himself spoke with Jenny Yeh, Executive Director of the Winsing Arts Foundation, to share the selection and presentation of the works at the Winsing Art Place, and looked forward to learning more about Horn's work and poetry through the discussion.

Launched in 2009, the exhibition project Tectonic Becoming has been held biennially in different cities across Taiwan. Through exhibitions and forums, it has fostered dialogue within the fields of architectural design and construction while promoting architectural culture and art to the public. Now in its eighth edition, the exhibition explores the theme “Tectonic．Narratives,” curated jointly by Tseng-Yung Wang and Yao-Ting Wu. Continuing the spirit of past editions, it treats architecture as a “text,” guiding viewers to interpret the consciousness and intentions architects embed in their works through a narrative lens. The Winsing Arts Foundation has specially invited both curators to share their insights at DH Café.

文心藝術基金會在此次的專家導覽，邀請到藝術工作者葉杏柔，以安利．沙拉的作品《AS YOU GO》為出發，從聲音的議題切入，梳理作品與音樂背後的文化及歷史意義，並分享亞洲及台灣的錄像藝術家，又是如何透過影像、音樂作為故事的媒介？

For this talk, the Foundation invited Amy Cheng, founder of TheCube Project Space, to delve into Anri Sala’s work AS YOU GO, currently on view at Winsing Art Place. Amy examined Sala’s past and recent works, exploring how the artist guides viewers into layered realms of reality and possibility. Replacing language with music, Sala’s videos emphasize embodied, immersive experience. The event concluded with a guided walk through of the exhibition, inviting the audience to feel the fluid interplay of time and space.

Da-Hong Wang spent a decade transposing Oscar Wilde’s classic novel The Picture of Dorian Gray from Victorian London to Taipei in the 1960s and 1970s, rewriting it as Du Lian-Kui for his own era. Through this temporal displacement, Wang not only presents a universal allegory of human nature but also embeds his aesthetic reflections and observations of Taipei within the novel’s narrative. For this lecture series, Winsing Arts Foundation specially invited Chia-Hsien Yang (writer and Associate Professor, Department of Chinese Literature, National Tsing Hua University) to curate the program. Analyzing from a literary perspective, she introduces Du Lian-Kui to contemporary Taiwan and discusses the significance of reading classic works for modern readers. Simultaneously, by examining Wang’s reflections on his era revealed in the work, she guides participants to “approach Da-Hong Wang” from perspectives beyond architecture. The series opens with a dialogue between Chia-Hsien Yang (writer and Associate Professor, Department of Chinese Literature, National Tsing Hua University) and Wei-Hsiung Chan (cultural sociologist).

In 2006, the National Taiwan Museum launched the project “Post-WWII Classic Architectural Design Drawings of Taiwan,” collecting architectural drawings and documentation from 56 architects and institutions from the 1950s to the 1990s. For years, architectural scholars have advocated for collecting these architectural materials and establishing a national-level architecture museum urgently. In 2012, with support from the Ministry of Culture, the National Taiwan Museum and the Taiwan Museum Foundation jointly launched the “Project for Promoting Taiwan Architectural History and Knowledge,” laying the groundwork for establishing a Taiwan Architecture Museum. Against this backdrop, as architecture and museology intersect, the museum sector requires fresh perspectives to embrace this new member, while the architectural community must expand its new horizons by entering this new domain. Particularly, buildings deemed valuable today are preserved and sustained through designation as tangible cultural assets. Under this operational logic, do we still need an architecture museum? What should its mission and tasks be to highlight architecture’s value within museology? How should architectural knowledge be interpreted or translated? These are unavoidable questions in preparing for an architecture museum. We hope that through visits to European institutions and exhibitions, we can collectively exchange insights into the current state and potential of architectural exhibitions and institutions in Taiwan.

The Foundation will host an opening event for artist Anri Sala. Sala will speak online at the event with Jenny Yeh, Executive Director of Winsing Arts Foundation, and Amy Cheng, the co-founder of TheCube Project Space. This exhibition, AS YOU GO, suggests a dynamic concept, based on the flow of music and images, giving the audience a feeling of participation in it, like a “parade”. This exhibition, AS YOU GO, contains three recordings of Ravel, Ravel, Take Over and If and Only If. It is not only an interweaving of three works, it is a projection device, but also a unique and huge dynamic sculpture.

The lecture series centers on in-depth discussions of individual artists whose works explore spatiality through artists’ books, spanning pioneers from the 1960s and 1970s to contemporary artists who continue to practice through publishing. Through hands-on examination and content analysis of artists’ books—considered both a medium and media—the lecture series will analyze how their physical structure and generative logic function as mutually complementing elements or nodes within creative projects. In essence, the lecture series asks: Why do artists make books? How do their concepts flow through these works, making them, as theorist/curator Lucy Lippard posited, the optimal materials for reaching the public? This session focuses on Dutch book designer Irma Boom (1960–).

For this Sunday’s workshop, the Winsing Arts Foundation is collaborating with SAALab to host “Weekend Afternoon: Life Drawing Session at Winsing Art Place.” Performer Chi Jan Farn will present a movement piece in the exhibition space inspired by Yvonne Rainer’s choreographic language, treating the body as part of the artwork and triggering rippling interactions with the surrounding sculptures. Unlike conventional life drawing classes, there is no timer or fixed structure—drawing becomes a form of co-creation with the performer. Participants are invited to observe and sketch, capturing the interplay among the sculptures, the performer, and the space.

Winsing Arts Foundation is collaborating with SAALab to host “Weekend Afternoon: Life Drawing Session at Winsing Art Place.” Performer Chi Jan Farn will present a movement piece in the exhibition space inspired by Yvonne Rainer’s choreographic language, treating the body as part of the artwork and triggering rippling interactions with the surrounding sculptures. Unlike conventional life drawing classes, there is no timer or fixed structure—drawing becomes a form of co-creation with the performer. Participants are invited to observe and sketch, capturing the interplay among the sculptures, the performer, and the space.

The lecture series centers on in-depth discussions of individual artists whose works explore spatiality through artists’ books, spanning pioneers from the 1960s and 1970s to contemporary artists who continue to practice through publishing. Through hands-on examination and content analysis of artists’ books—considered both a medium and media—the lecture series will analyze how their physical structure and generative logic function as mutually complementing elements or nodes within creative projects. In essence, the lecture series asks: Why do artists make books? How do their concepts flow through these works, making them, as theorist/curator Lucy Lippard posited, the optimal materials for reaching the public? This session focuses on American artist Ed Ruscha (1937–).

Mona Hatoum became widely recognized in the mid-1980s for her early video and performance works, in which she used her body as a medium to address issues involving surveillance and social control. During Taipei Dangdai, Winsing Art Place will present a screening of Hatoum’s Roadworks, her performance, staged on the streets of Brixton in South London in 1985.

In collaboration with STEAMLab, this workshop, titled “Color Shadow Puppetry — A Workshop of Light and Shadow for Children,” draws inspiration from the beloved children’s book Little Blue and Little Yellow, guiding children into a vibrant world of color. Blue mixed with yellow becomes green, and white paint makes colors lighter—what other magical transformations will happen in these color—mixing experiments? Following the adventures of Little Blue and Little Yellow, participants will engage in hands-on experiments of color mixing, color theory, and shadow play, gaining a deeper understanding of Ann Veronica Janssens’ artistic practice and the fascinating interplay between light and color.

This time, the Foundation specially invites Escher Tsai, Director of Dimension Plus, to guide audiences through Janssens’' fog installation. Tsai will analyze the evolution of immersive and tech-based art practices, examining how the artist’s work detaches us from ordinary reality and transforms perception. The lecture will also explore the Light and Space movement that emerged after World War II, delving into how key artists of the period reinterpreted space and new materials, and how their legacy resonates with Janssens’ artistic practice.

The lecture series centers on in-depth discussions of individual artists whose works explore spatiality through artists’ books, spanning pioneers from the 1960s and 1970s to contemporary artists who continue to practice through publishing. Through hands-on examination and content analysis of artists’ books—considered both a medium and media—the lecture series will analyze how their physical structure and generative logic function as mutually complementing elements or nodes within creative projects. In essence, the lecture series asks: Why do artists make books? How do their concepts flow through these works, making them, as theorist/curator Lucy Lippard posited, the optimal materials for reaching the public? The first session focuses on American artist Sol LeWitt (1928 - 2007).

“Chimera Reading Salon．New Urban Perspectives” continues the spirit of The Chimera Group, a transdisciplinary arts society founded in the 1950s by Wang Da-Hong, who often invited artists for cultural gatherings at his home. This event began with “architecture” and gradually expanded to performing arts, art, literature, photography, and review, recreating the free and open transdisciplinary communication at Wang’s home. With “city” at its core, the first series invites Professor Chih-Hung Wang from the Graduate Institute of Building and Planning at National Taiwan University, and a special guest to explore new perspectives on urban space and culture through six of his translated books on the subject. The final lecture, “Cities and Cuisine,” will be based on the book Foodies: Democracy and Distinction in the Gourmet Foodscape, which will lead participants to an in-depth discussion through an introductory reading by Wang and a sharing by special guest Jing-Yi Chen.

“Chimera Reading Salon．New Urban Perspectives” continues the spirit of The Chimera Group, a transdisciplinary arts society founded in the 1950s by Wang Da-Hong, who often invited artists for cultural gatherings at his home. This event began with “architecture” and gradually expanded to performing arts, art, literature, photography, and review, recreating the free and open transdisciplinary communication at Wang’s home. With “city” at its core, the first series invites Professor Chih-Hung Wang from the Graduate Institute of Building and Planning at National Taiwan University, and a special guest, to explore new perspectives on urban space and culture through six of his translated books on the subject. The fifth lecture, "Cities and Nature," will be based on the book Cities and Nature, which will lead participants to an in-depth discussion through an introductory reading by Wang and a sharing by special guest Professor Wan-Yu Shih.

The fourth book launch event for Fieldoffice: Incomplete Works, 1994- was held at DH Café. Hosted by Hsuan-Jen Ma, the discussion featured Chun-Hsiung Wang, Shen-Yuan Huang, and Wei-Hsiung Chan, who explored Fieldoffice Architects and its unique, outstanding works. This group of architects chose to settle long-term in Yilan for both living and working, embodying dual roles as residents and professionals. Over two decades, they have cultivated an expansive network of public architecture—from small footpaths to grand bridges—offering richer imaginative possibilities for future spatial opportunities. Beginning with a single architect, Shen-Yuan Huang, Fieldoffice Architects has evolved into a collective of over a hundred partners across generations, persistently exploring the connections between Taiwan's land and its people through architecture and seeking the essence of authentic living.

“Chimera Reading Salon．New Urban Perspectives” continues the spirit of The Chimera Group, a transdisciplinary arts society founded in the 1950s by Wang Da-Hong, who often invited artists for cultural gatherings at his home. This event began with “architecture” and gradually expanded to performing arts, art, literature, photography, and review, recreating the free and open transdisciplinary communication at Wang’s home. With “city” at its core, the first series invites Professor Chih-Hung Wang from the Graduate Institute of Building and Planning at National Taiwan University, and a special guest, to explore new perspectives on urban space and culture through six of his translated books on the subject. The fourth lecture, "Cities and Verticality," will be based on the book Vertical: The City from Satellites to Bunkers, which will lead participants to an in-depth discussion through an introductory reading by Wang and a sharing by special guest Dr. Yu-Ting Kao.

Curated and organized by the Winsing Arts Foundation, the program invites families to embark on a journey through the world of contemporary art. In the upcoming workshop, we will explore the book Square See Triangle, where children will follow the adventures of Chami the cat, using soft yarn, fabrics, and colorful materials to create their own unique musical scores. Through playful interaction with structure, color, texture, and sound, participants will gain a deeper understanding of Suki’s works.

“Chimera Reading Salon．New Urban Perspectives” continues the spirit of The Chimera Group, a transdisciplinary arts society founded in the 1950s by Wang Da-Hong, who often invited artists for cultural gatherings at his home. This event began with “architecture” and gradually expanded to performing arts, art, literature, photography, and review, recreating the free and open transdisciplinary communication at Wang’s home. With “city” at its core, the first series invites Professor Chih-Hung Wang from the Graduate Institute of Building and Planning at National Taiwan University, and a special guest to explore new perspectives on urban space and culture through six of his translated books on the subject. The third lecture, “Cities and Culture,” will be based on the book Naked City: The Life and Death of a Pure Urban Place, which will lead participants to an in-depth discussion through an introductory reading by Wang and a sharing by special guest Professor Pao-Ning Yin .

“Chimera Reading Salon．New Urban Perspectives” continues the spirit of The Chimera Group, a transdisciplinary arts society founded in the 1950s by Wang Da-Hong, who often invited artists for cultural gatherings at his home. This event began with “architecture” and gradually expanded to performing arts, art, literature, photography, and review, recreating the free and open transdisciplinary communication at Wang’s home. With “city” at its core, the first series invites Professor Chih-Hung Wang from the Graduate Institute of Building and Planning at National Taiwan University, and a special guest to explore new perspectives on urban space and culture through six of his translated books on the subject. The second lecture, “Cities and Mobility,” will be based on the book Mobility, which will lead participants to an in-depth discussion through an introductory reading by Wang and a sharing by special guest Szu-Chun Lin.

For this occasion, the Foundation has invited Guo Jau-Lan, Adjunct Professor in the MFA Program at Taipei National University of the Arts, to offer insights into Suki’s practice through the broader lens of discussions on choreography and musical notation in contemporary art. Through this expert-led tour, participants are encouraged to consider how the artist reinterprets elements of traditional Korean musical scores through contemporary media, and how her works engage viewers, and the surrounding space.

“Chimera Reading Salon．New Urban Perspectives” continues the spirit of The Chimera Group, a transdisciplinary arts society founded in the 1950s by Wang Da-Hong, who often invited artists for cultural gatherings at his home. This event began with “architecture” and gradually expanded to performing arts, art, literature, photography, and review, recreating the free and open transdisciplinary communication at Wang’s home. With “city” at its core, the first series invites Professor Chih-Hung Wang from the Graduate Institute of Building and Planning at National Taiwan University, and a special guest to explore new perspectives on urban space and culture through six of his translated books on the subject. The first lecture, “Cities and Design,” will be based on the book Cities and Design, which will lead participants to an in-depth discussion through an introductory reading by Wang and a sharing by special guest Chi-Rong Sun.

Ying-Chun Hsieh, who has long dedicated himself to the research, development, and construction of ecological farmhouses, adheres to the principles of “community-assisted house-building” and “sustainable architecture.” By integrating scientific methods, he deeply incorporates social, cultural, and economic conditions through locally sourced materials, low-cost, appropriate technologies, and the establishment of open structural systems. This enables community residents and farmers to participate in the construction of modern, environmentally friendly homes. Building upon this foundation, he further explores modern dwellings, “architecture without architects,” and the reconstruction of “three-dimensional cities built autonomously by citizens.” Hsieh’s emergence and actions not only prompt us to rethink the social significance of architecture but also reflect on whether architecture can save the world.

Ying-Chun Hsieh, who has long dedicated himself to the research, development, and construction of ecological farmhouses, adheres to the principles of “community-assisted house-building” and “sustainable architecture.” By integrating scientific methods, he deeply incorporates social, cultural, and economic conditions through locally sourced materials, low-cost, appropriate technologies, and the establishment of open structural systems. This enables community residents and farmers to participate in the construction of modern, environmentally friendly homes. Building upon this foundation, he further explores modern dwellings, “architecture without architects,” and the reconstruction of “three-dimensional cities built autonomously by citizens.” Hsieh’s emergence and actions not only prompt us to rethink the social significance of architecture but also reflect on whether architecture can save the world.

Ying-Chun Hsieh, who has long dedicated himself to the research, development, and construction of ecological farmhouses, adheres to the principles of “community-assisted house-building” and “sustainable architecture.” By integrating scientific methods, he deeply incorporates social, cultural, and economic conditions through locally sourced materials, low-cost, appropriate technologies, and the establishment of open structural systems. This enables community residents and farmers to participate in the construction of modern, environmentally friendly homes. Building upon this foundation, he further explores modern dwellings, “architecture without architects,” and the reconstruction of “three-dimensional cities built autonomously by citizens.” Hsieh’s emergence and actions not only prompt us to rethink the social significance of architecture but also reflect on whether architecture can save the world.

The “Winsing Art Place Book Selections 2019-2020” marks the second exhibition series since Winsing Art Place Bookstore launched its book collection project, featuring nearly 300 books curated from a year’s worth of new acquisitions. Spanning from the 1950s to the present, the exhibition invites visitors to explore the conceptual origins of captivating contemporary architectural spaces. On Sunday afternoon, March 7th, the bookstore will host the Winsing Art Place Book Selections 2019-2020 series event—“Architecture Salon. (IV): Two Talks on Pezo von Ellrichshausen.” The curatorial team has specially invited Professor Hao-Hsiu Chiu from the Department of Architecture at Tunghai University and Principal Architect/Partner Jim T. C. Wei from office aaa to discuss the unique perspectives and design works of the Chilean architectural duo Pezo von Ellrichshausen, spanning architecture and contemporary art.

On the afternoon of March 6, the Foundation will host the opening event for Cahn’s solo exhibition. Everyone is invited to join us! The Foundation’s founder, Jenny Yeh, and art collector Rudy Tseng will lead the audience into Cahn’s creative world and explain how she transforms her emotions into the language of painting through intense color and brushstrokes, conveying her responses to her social surroundings.

Ying-Chun Hsieh, who has long dedicated himself to the research, development, and construction of ecological farmhouses, adheres to the principles of “community-assisted house-building” and “sustainable architecture.” By integrating scientific methods, he deeply incorporates social, cultural, and economic conditions through locally sourced materials, low-cost, appropriate technologies, and the establishment of open structural systems. This enables community residents and farmers to participate in the construction of modern, environmentally friendly homes. Building upon this foundation, he further explores modern dwellings, “architecture without architects,” and the reconstruction of “three-dimensional cities built autonomously by citizens.” Hsieh’s emergence and actions not only prompt us to rethink the social significance of architecture but also reflect on whether architecture can save the world.

The “Winsing Art Place Book Selections 2019-2020” marks the second exhibition series since Winsing Art Place Bookstore launched its book collection project, featuring nearly 300 books curated from a year’s worth of new acquisitions. Spanning from the 1950s to the present, the exhibition invites visitors to explore the conceptual origins of captivating contemporary architectural spaces. On Saturday afternoon, February 20th, the bookstore will host the Winsing Art Place Book Selections 2019-2020 series event—“Architecture Salon. (III): Two Talks on Kazuo Shinohara.” The curatorial team has specially invited Japanese architect Hideki Hirahara, Principal Architect of H2R architects, and Professor Po-Yu Chao from Studio Tngtetshiu to discuss the creative trajectory of Japanese architect Kazuo Shinohara and his profound architectural philosophy.

To further explore the creative trajectories and key works of the “Double P” duo—Philippe Parreno and Pierre Huyghe—the Winsing Arts Foundation has invited Feng-Rong Hsieh, senior manager at ALIEN Art Centre and former project coordinator for Parreno’s 2017 solo exhibition Synchronicity at Rockbund Art Museum in Shanghai, and Muchi Shaw, Associate Director Asia at the German-based gallery Esther Schipper, which represents both Parreno and Huyghe. This conversation invites participants to reflect on the journey from Winsing Art Place to the Taipei Biennial, considering the relational dynamics between people, space, objects, and one another through expert insights, audience interactions, and the dialogue between artworks and their environments.

The “Winsing Art Place Book Selections 2019-2020” marks the second exhibition series since Winsing Art Place Bookstore launched its book collection project, featuring nearly 300 books curated from a year’s worth of new acquisitions. Spanning from the 1950s to the present, the exhibition invites visitors to explore the conceptual origins of captivating contemporary architectural spaces. On Saturday afternoon, January 23rd, the bookstore will host the Winsing Art Place Book Selections 2019-2020 series event—“Architecture Salon (II): Two Talks on Valerio Olgiati.” The curatorial team has specially invited young architectural creators: Hao-Chung Cheng, principal architect of Tokyo-based Atelier Chenghaochung, and Cheng-Hsuan Wu, principal architect and partner at office aaa. Together, they will discuss the architectural spaces created by Swiss architect Valerio Olgiati and the stories behind his architectural philosophy.

To further explore the creative trajectories and key works of the “Double P” duo—Philippe Parreno and Pierre Huyghe—the Winsing Arts Foundation has invited Feng-Rong Hsieh, senior manager at ALIEN Art Centre and former project coordinator for Parreno’s 2017 solo exhibition Synchronicity at Rockbund Art Museum in Shanghai, and Muchi Shaw, Associate Director Asia at the German-based gallery Esther Schipper, which represents both Parreno and Huyghe. This conversation invites participants to reflect on the journey from Winsing Art Place to the Taipei Biennial, considering the relational dynamics between people, space, objects, and one another through expert insights, audience interactions, and the dialogue between artworks and their environments.

Winsing Art Place Book Selections 2019-2020 marks the second exhibition of the series since the bookstore launched its collection initiative. It features nearly 300 carefully curated titles from a year of new acquisitions, including architects’monographs that sell out immediately upon publication, first editions of seminal architectural treatises, and firsthand accounts of architecture and art that have reshaped eras. Spanning the 1950s to the present, the exhibition invites visitors to trace the conceptual origins of captivating contemporary architectural spaces. This exhibition will foster creative reading through salon discussions and reconnect design thinking with imaginative possibilities through speakers’ book-centered dialogues. The opening salon will feature eight speakers from the architecture and art worlds, each bringing a selected book to share the stories and visions it evokes.

The giant spider web structure on display here invites the viewer to sense the frequency of the galaxy cluster PSZ2 G099.86+58.45 (z = 0.616) as observed from Earth through the vibrations of touch, reimagining vibrations as messages sent into the universe. Through this exhibition, the Foundation specially invites choreographer Yeu-Kwn Wang and dancer Yin-Ying Lee to create a collaborative work that activates the work through touch and communicates deeply with you through vibration and oscillation, co-creating a new chapter of the story.

Hélène Binet, a renowned architectural photographer, has been commissioned to capture the signature works of many prominent architects, including Peter Zumthor, Daniel Libeskind, and Zaha Hadid, among others. She has also held a solo exhibition at the Power Station of Art in Shanghai. In this lecture, Binet will recount how her early career was shaped by Alvin Boyarsky’s introduction to photographing John Hejduk’s architecture and Dimitri Pikionis’s work, Path, in Greece. Through her lens, she will explore: How did these photographic experiences profoundly shape her artistic career? How did the emotional impact of those moments become the burning creative spark that continues to drive her pursuit to this day?

The giant spider web structure on display here invites the viewer to sense the frequency of the galaxy cluster PSZ2 G099.86+58.45 (z = 0.616) as observed from Earth through the vibrations of touch, reimagining vibrations as messages sent into the universe. Through this exhibition, the Foundation specially invites choreographer Yeu-Kwn Wang and dancer Yin-Ying Lee to create a collaborative work that activates the work through touch and communicates deeply with you through vibration and oscillation, co-creating a new chapter of the story.

“Drawing Ambience(s)” features special guests Professor Cheng-De Tseng and Professor Nicholas Boyarsky—son of Alvin Boyarsky, former Director of the AA School of Architecture and featured in the exhibition Housing the Friendship. Together, they will revisit this creative journey and explore its contemporary resonance.

Winsing Art Place and PTS collaborated to organize “Inside the Arts—Premiere and Talk: HSIEH Ying-Chun，Tribal Architecture for the People,” a screening and discussion of the documentary film. In addition to the screening, the film’s protagonist, Ying-Chun Hsieh, and key figures involved in the film production were invited to speak and interact with the audience.

Imagination and desire, concealed within rituals, history, and daily life, appear intangible yet manifest through words and architecture. From Italo Calvino’s Invisible Cities to architect John Hejduk’s Mask of Medusa, how do they maintain lightness and concealment? It is by avoiding Medusa’s gaze, preventing petrification through sight, that the myriad details of reality and the fragments of memory within the heart can wander between licentiousness and wisdom, between pleasure and sacrifice. Through layers of reflective narrative, they find another place. On July 26, the Winsing Arts Foundation invited Shu-Chang Kung to discuss “On Lightness—Calvino and Hejduk’s Medusa” at Winsing Art Place. He shared stories about Hejduk’s architecture and engaged in a conversation with Jr-Gang Chi, curator of the exhibition Housing the Friendship, as well as young architectural creators Nien-Ying Lin, Yi-Jun Chen, Yuan-Fu Chiu.

On June 7, Winsing Art Place will host the second expert tour of the exhibition by curator/artcritic Emerson Wang. By exploring the context of art history, culture, and a passionate love for Alicja Kwade, the expert tour offers insights into Kwade’s background as an artist and the creation of her work.

On May 24, Winsing Art Place invited artist Sung-Chih Chen, who also specializes in mixed-media spatial tallation, to lead the audience in observing the work from space and in guiding viewers to rediscover it from an artist’s perspective.

Co-organized by the Wang Dahong Architectural Conservation Society and Winsing Arts Foundation, the “Lecture Series on the Bauhaus Centenary and the 1st Memorial Anniversary of Mr. Da-Hong Wang’s Death,” includes the sub-themes “May｜Rustic & Poetic— Architecture in Postwar Taiwan,””June｜Taiwan’s Architecture and Bauhaus,” and “July｜The Chimera Group and the Bauhaus.” It runs concurrently with the National Dr. Sun Yat-sen Memorial Hall's exhibition, titled Compromise & Dream: Architectural Literature of National Dr. Sun Yat-sen Memorial Hall and the Anniversary Display of Mr. Wang Da-hong’s Death. This session is “Theme 3: The Chimera Group and the Bauhaus—The Bauhaus in Post-War America + Remembering the Chimera Group.”

Co-organized by the Wang Dahong Architectural Conservation Society and Winsing Arts Foundation, the “Lecture Series on the Bauhaus Centenary and the 1st Memorial Anniversary of Mr. Da-Hong Wang’s Death,” includes the sub-themes “May｜Rustic & Poetic— Architecture in Postwar Taiwan,” ”June｜Taiwan’s Architecture and Bauhaus,” and “July｜The Chimera Group and the Bauhaus.” It runs concurrently with the National Dr. Sun Yat-sen Memorial Hall's exhibition, titled Compromise & Dream: Architectural Literature of National Dr. Sun Yat-sen Memorial Hall and the Anniversary Display of Mr. Wang Da-hong’s Death. This session is “Theme 3: The Chimera Group and the Bauhaus— Bernau bei Berlin 1932-33.”

Doug Aitken is an American contemporary artist, known for installation art, photography, sculpture, and performance. He explores a variety of media, from film to installation to architecture, defying genre definition. In 2017, Doug Aitken became the first recipient of the Frontier Art Prize, a new contemporary art award designed to encourage artists to create bold works and challenge the boundaries of knowledge and experience, thereby prompting people to reimagine the humanity of the future.

Co-organized by the Wang Dahong Architectural Conservation Society and Winsing Arts Foundation, the “Lecture Series on the Bauhaus Centenary and the 1st Memorial Anniversary of Mr. Da-Hong Wang’s Death,” includes the sub-themes “May｜Rustic & Poetic— Architecture in Postwar Taiwan,” ” June｜Taiwan’s Architecture and Bauhaus,” and “July｜The Chimera Group and the Bauhaus.” It runs concurrently with the National Dr. Sun Yat-sen Memorial Hall's exhibition, titled Compromise & Dream: Architectural Literature of National Dr. Sun Yat-sen Memorial Hall and the Anniversary Display of Mr. Wang Da-hong’s Death. This session is “Theme 3: The Chimera Group and the Bauhaus— Dessau 1925-32 with the Deutscher Werkbund”.

Co-organized by the Wang Dahong Architectural Conservation Society and Winsing Arts Foundation, the “Lecture Series on the Bauhaus Centenary and the 1st Memorial Anniversary of Mr. Da-Hong Wang’s Death,” includes the sub-themes “May｜Rustic & Poetic— Architecture in Postwar Taiwan,” ”June｜Taiwan’s Architecture and Bauhaus,” and “July｜The Chimera Group and the Bauhaus.” It runs concurrently with the National Dr. Sun Yat-sen Memorial Hall's exhibition, titled Compromise & Dream: Architectural Literature of National Dr. Sun Yat-sen Memorial Hall and the Anniversary Display of Mr. Wang Da-hong’s Death. This session is “Theme 3: The Chimera Group and the Bauhaus—Weimar 1919-25 with the Deutscher Werkbund."

Co-organized by the Wang Dahong Architectural Conservation Society and Winsing Arts Foundation, the “Lecture Series on the Bauhaus Centenary and the 1st Memorial Anniversary of Mr. Da-Hong Wang’s Death,” includes the sub-themes “May｜Rustic & Poetic— Architecture in Postwar Taiwan,” ”June｜Taiwan’s Architecture and Bauhaus,” and “July｜The Chimera Group and the Bauhaus.” It runs concurrently with the National Dr. Sun Yat-sen Memorial Hall's exhibition, titled Compromise & Dream: Architectural Literature of National Dr. Sun Yat-sen Memorial Hall and the Anniversary Display of Mr. Wang Da-hong’s Death. This session is “Theme 2: Taiwan’s Architecture and Bauhaus— Chao-Kang Chang: Way of Chinese Architecture and Bauhaus."

Co-organized by the Wang Dahong Architectural Conservation Society and Winsing Arts Foundation, the “Lecture Series on the Bauhaus Centenary and the 1st Memorial Anniversary of Mr. Da-Hong Wang’s Death,” includes the sub-themes “May｜Rustic & Poetic— Architecture in Postwar Taiwan,” ”June｜Taiwan’s Architecture and Bauhaus,” and “July｜The Chimera Group and the Bauhaus.” It runs concurrently with the National Dr. Sun Yat-sen Memorial Hall's exhibition, titled Compromise & Dream: Architectural Literature of National Dr. Sun Yat-sen Memorial Hall and the Anniversary Display of Mr. Wang Da-hong’s Death. This session is “Theme 2: Taiwan’s Architecture and Bauhaus— Chi-Kuan Chen: “The Naked Eye, the Object Eye, and the Mind’s Eye” in Spatial Practice.”

Co-organized by the Wang Dahong Architectural Conservation Society and Winsing Arts Foundation, the “Lecture Series on the Bauhaus Centenary and the 1st Memorial Anniversary of Mr. Da-Hong Wang’s Death,” includes the sub-themes “May｜Rustic & Poetic— Architecture in Postwar Taiwan,” ”June｜Taiwan’s Architecture and Bauhaus,” and “July｜The Chimera Group and the Bauhaus.” It runs concurrently with the National Dr. Sun Yat-sen Memorial Hall's exhibition, titled Compromise & Dream: Architectural Literature of National Dr. Sun Yat-sen Memorial Hall and the Anniversary Display of Mr. Wang Da-hong’s Death. This session is “Theme 2: Taiwan’s Architecture and Bauhaus— Seeking Tradition in Mies’s Austerity of Minimalism."

Co-organized by the Wang Dahong Architectural Conservation Society and Winsing Arts Foundation, the “Lecture Series on the Bauhaus Centenary and the 1st Memorial Anniversary of Mr. Da-Hong Wang’s Death,” includes the sub-themes “May｜Rustic & Poetic— Architecture in Postwar Taiwan,” ”June｜Taiwan’s Architecture and Bauhaus,” and “July｜The Chimera Group and the Bauhaus.” It runs concurrently with the National Dr. Sun Yat-sen Memorial Hall's exhibition, titled Compromise & Dream: Architectural Literature of National Dr. Sun Yat-sen Memorial Hall and the Anniversary Display of Mr. Wang Da-hong’s Death. This session is “Theme 2: Taiwan’s Architecture and Bauhaus— Early Architectural Development in Post-War Taiwan – From U.S. Aid to the Big Hat Roofs."

Co-organized by the Wang Dahong Architectural Conservation Society and Winsing Arts Foundation, the “Lecture Series on the Bauhaus Centenary and the 1st Memorial Anniversary of Mr. Da-Hong Wang’s Death,” includes the sub-themes “May｜Rustic & Poetic— Architecture in Postwar Taiwan,” ”June｜Taiwan’s Architecture and Bauhaus,” and “July｜The Chimera Group and the Bauhaus.” It runs concurrently with the National Dr. Sun Yat-sen Memorial Hall's exhibition, titled Compromise & Dream: Architectural Literature of National Dr. Sun Yat-sen Memorial Hall and the Anniversary Display of Mr. Wang Da-hong’s Death. This session is “Theme 1: Rustic & Poetic—Architecture in Postwar Taiwan: Chinese Modern Architecture."

Co-organized by the Wang Dahong Architectural Conservation Society and Winsing Arts Foundation, the “Lecture Series on the Bauhaus Centenary and the 1st Memorial Anniversary of Mr. Da-Hong Wang’s Death,” includes the sub-themes “May｜Rustic & Poetic— Architecture in Postwar Taiwan,” ”June｜Taiwan’s Architecture and Bauhaus,” and “July｜The Chimera Group and the Bauhaus.” It runs concurrently with the National Dr. Sun Yat-sen Memorial Hall's exhibition, titled Compromise & Dream: Architectural Literature of National Dr. Sun Yat-sen Memorial Hall and the Anniversary Display of Mr. Wang Da-hong’s Death. This session is “Theme 1: Rustic & Poetic—Architecture in Postwar Taiwan: Brutalist Architecture in Taiwan."

Co-organized by the Wang Dahong Architectural Conservation Society and Winsing Arts Foundation, the “Lecture Series on the Bauhaus Centenary and the 1st Memorial Anniversary of Mr. Da-Hong Wang’s Death,” includes the sub-themes “May｜Rustic & Poetic— Architecture in Postwar Taiwan,” ”June｜Taiwan’s Architecture and Bauhaus,” and “July｜The Chimera Group and the Bauhaus.” It runs concurrently with the National Dr. Sun Yat-sen Memorial Hall's exhibition, titled Compromise & Dream: Architectural Literature of National Dr. Sun Yat-sen Memorial Hall and the Anniversary Display of Mr. Wang Da-hong’s Death. This session is “Theme 1: Rustic & Poetic—Architecture in Postwar Taiwan: Christian Churches and Modern Architecture in Taiwan."

Co-organized by the Wang Dahong Architectural Conservation Society and Winsing Arts Foundation, the “Lecture Series on the Bauhaus Centenary and the 1st Memorial Anniversary of Mr. Da-Hong Wang’s Death,” includes the sub-themes “May｜Rustic & Poetic— Architecture in Postwar Taiwan,” ”June｜Taiwan’s Architecture and Bauhaus,” and “July｜The Chimera Group and the Bauhaus.” It runs concurrently with the National Dr. Sun Yat-sen Memorial Hall's exhibition, titled Compromise & Dream: Architectural Literature of National Dr. Sun Yat-sen Memorial Hall and the Anniversary Display of Mr. Wang Da-hong’s Death. This session is “Theme 1: Rustic & Poetic—Architecture in Postwar Taiwan: Modern Architecture in Taiwan after WWII."

Hiroshi Sugimoto currently lives and works between New York and Tokyo. His retrospective exhibitions have been presented at prominent institutions worldwide, including the Hayward Gallery in London, the Ullens Center for Contemporary Art in Beijing, and the Museum of Contemporary Art Australia. He has also held solo exhibitions at leading international museums such as the Metropolitan Museum of Art, MoMA, the Guggenheim Museum, Palais de Tokyo, and the Centre Pompidou—all of which house his works in their collections. Sugimoto’s artistic achievements have been recognized with numerous prestigious awards, including the Royal Photographic Society’s Centenary Medal, the Isamu Noguchi Award, Japan’s Medal with Purple Ribbon, the Praemium Imperiale, the Hasselblad Award, and the Mainichi Art Prize.

Born in 1962 in Paris, France, Pierre Huyghe creates art that spans diverse media, including film, site-specific works, sculpture, and situations. His works are conceived as speculative fiction and often present themselves as continuity between a wide range of intelligent forms, biological, technological, tangible inert matter that learn, modify and evolve. Huyghe has held solo exhibitions at major international art institutions, such as the Punta della Dogana in Venice, the Serpentine Gallery in London, the Metropolitan Museum of Art in New York, the Los Angeles County Museum of Art, the Centre Pompidou in Paris, and Tate Modern in London. He is the recipient of numerous awards and accolades, including the Hugo Boss Prize in 2002 and the Nasher Prize for sculptures in 2017.

The artist won the first prize at the 2012 Hugo Boss Award and entered the Venice Biennale on behalf of Denmark in 2015. His works and various art projects are also exhibited in the Solomon R. Guggenheim Museum in New York City, the Pompidou Centre in France, the Kunstmuseum Basel in Switzerland, M+ in Hong Kong, the Berlin Biennale and the Singapore Biennale, among other large art galleries and exhibitions. He explores the inheritance and construction of cultural conflicts, trauma and values, and addresses issues of history, politics, faith and identity in a poetic way.

Doug Aitken is renowned for his innovative art installations, which employ a wide range of artistic approaches to lead us into a world where time, space, and memory are fluid concepts. In Aitken’s artistic practice, he continuously investigates 21st-century cities and the globalized communication of contemporary life, developing and exploring new understandings of imagery and narrative. Through large-scale billboards, site-specific environments, sound works, photography, sculpture, and immersive video installations, Aitken examines the dislocation of images in time and space, as well as the vulnerability of the individual within the context of large-scale industrial and environmental change.

Nan Goldin has had solo exhibitions at the Stedelijk Museum Amsterdam, the Art Institute of Chicago, Tate Modern in London, and the Museum of Modern Art in New York City. Her work has been featured in major retrospective exhibitions at the Whitney Museum of American Art in New York City in 1996, and the Centre Pompidou in 2001, as well as in major biennials such as the Berlinale, the São Paulo Art Biennial, and the Venice Biennale. Goldin has received numerous awards such as the ArtReview Power 100, Time Magazine's 100 Most Influential People, the Käthe Kollwitz Prize, the Hasselblad Award, the French Order of Arts and Letters, and the Teddy Award at the Berlinale. In 2022, the biographical documentary film “All the Beauty and the Bloodshed”, directed by Laura Poitras, chronicles Goldin's life and work and follows her activist group P.A.I.N. in their fight against the Sackler family, demonstrating the power of art to make a difference in the world.

Ann Veronica Janssens' pieces have been exhibited at the prestigious galleries such as the Musée de l'Orangerie, Paris; South London Gallery; Centre Pompidou Metz; Nasher Sculpture Center, US; Louisiana Museum of Modern Art; Kunsthalle Bern, Switzerland; Neue Nationale Gallery, Berlin; and De Pont Museum in the Netherlands as well as in the Manifesta Biennial in St. Petersburg; the Biennale of Sydney, the Istanbul Biennial and the Sao Paulo Art Biennial. She represented Belgium at the 48th Venice Biennale in 1999 and her works of art have been housed by several internationally renowned galleries.

Hatoum was born in 1952 to a Palestinian family in Beirut. During a visit to London in 1975, The Lebanese Civil War broke out, preventing her from returning and resulting in her living and working for the most part in the UK from that period onwards. Experiencing the cultural shock of a new, foreign country, Hatoum began to feel out of place, and was compelled to re-examine her position as an "outsider". Hatoum's works often draw on her personal experience, while alluding to broader issues of rootlessness, alienation and social unrest. Hatoum's artworks are currently housed in several internationally renowned institutions and have been on display at many major museums and galleries including the Museum of Modern Art, New York; the Hiroshima City Museum of Contemporary Art; the Joan Miró Foundation, and the Ullens Center for Contemporary Art, Beijing. In 2015, her solo exhibition at the Centre Pompidou toured to Tate Modern, London and the Kiasma Museum of Contemporary Art, Helsinki. Her works have also been showcased at Documenta Kassel, the Moscow Biennale of Contemporary Art, the Istanbul Biennial, the Biennale of Sydney, and the Venice Biennale.

Nairy Baghramian was born in Isfahan, Iran, in 1971 and is a member of the Armenian minority. In 1984, she moved with her family to Berlin, Germany, due to political and social circumstances. She once said, "I knew exactly what it means to live in a culture or in a society that culture is almost not existence, my desire was wherever whenever I can be confronted related to art I will take that opportunity." Her upbringing and fluidity of identity is also reflected in her work. For her, sculpture is intimately linked to time, architectural site, body, gender and social context. It is not just an individual entity, but encompasses the experience of the body that is inevitably constrained by its surroundings, a work that speaks of precariousness, aided by external forces to achieve a state of equilibrium, and a metaphor for a relationship of dependence with society.

Miriam Cahn, a lifelong fighter for gender equality, was born in 1949 in Basel, Switzerland, to a Jewish immigrant family with a father who was a dealer in art and antiques and a mother who was a music-loving homemaker. Cahn grew up in an artistic family. From her wall murals in the 1970s to her ongoing series of oil paintings, Cahn embarked on an artistic career in 1976 that saw her translate emotion into the language of painting, her aggressive brushwork and intense colors conveying the artist’s uncompromising response to the social reality around her. Cahn's works are on view in art museums and galleries around the world, including the Centre Pompidou in Paris, the Museo Nacional Centro de Arte Reina Sofía in Spain, the Museum of Modern Art in Warsaw, the Haus der Kunst in Munich and the Sifang Art Museum in Nanjing, among others. Not only did she represent Switzerland at the Venice Biennale in 1984, but her solo exhibition, at the documenta 14 in 2017, have established her reputation as an important figure in contemporary art history.

Born in Tirana, Albania, in 1974, Anri Sala began to make experimental videos during his studies. His work has been collected by many prestigious art institutions and has won numerous awards, including the Hugo Boss Prize nomination in 2002. Sala has had solo exhibitions at major institutions such as the Bourse de Commerce-Pinault Collection, Serpentine Galleries, Centre Pompidou, Centro Botín and Mudam Luxembourg, and has participated in several international film festivals and major biennials such as the Venice Biennale, the São Paulo Biennale, the Berlin Biennale, the Gwangju Biennale, and the Kassel Documenta.

Cruzvillegas has recently held solo exhibitions at the Les Tanneries Contemporary Art Center, France; the Bass Museum of Art, Miami Beach; the Aspen Art Museum; and the Kunsthaus Zürich; and in 2015, commissioned by Tate Modern, London, he showcased "Empty Lot" at the inaugural Hyundai Commission. His artworks have been on display at many major art establishments, including the Musée d'Art Moderne de Paris, the National Museum of 21st Century Art in Rome, the Los Angeles County Museum of Art and the Jewish Museum in New York; he has participated in the Venice Biennale, the São Paulo Biennale, the Kassel Documenta, the Biennale of Sydney, the Sharjah Biennial, the Gwangju Biennale and the Havana Biennial. Cruzvillegas' pieces have been housed by many prestigious art institutions, including the Museum of Modern Art, New York; M+, Hong Kong; Tate Modern, London; the Walker Art Center, etc. He was awarded the 5th South Korean Yanghyun Prize in 2012. He currently lives and works in Paris, France.

Horn's works have been exhibited at an array of institutions, including the Beyeler Foundation, the Museum of Contemporary Art, Los Angeles, the Kunstmuseum Basel, the Dia Center for the Arts, the Pompidou Centre, and the Art Institute of Chicago. Recent exhibitions include ‘Félix González-Torres / Roni Horn’ at the Bourse de Commerce-Pinault Collection, ‘Roni Horn: When You See Your Reflection in Water, Do You Recognize the Water in You?’ at the Pola Museum of Art, and ‘Roni Horn — You are the Weather (Books, Drawings, Photographs)’ at the Kunsthaus Göttingen. In 2009, Tate Modern and the Whitney Museum of American Art hosted ‘Roni Horn aka Roni Horn’, a major retrospective, which later traveled to the Collection Lambert in Avignon. Her work has appeared at the Whitney Biennial, Documenta, the Venice Biennale, and the Biennale of Sydney. She was the recipient of the Joan Miró Prize in 2013 and has received awards from the New York Sculpture Center and the National Endowment for the Arts. Horn currently lives and works in New York.

Born in Algeria, Philippe Parreno studied at the Ecole des Beaux-Arts in Grenoble and at the Institute des hautes études en arts plastiques at the Palais de Tokyo, Paris, and now he lives and works in Paris. His pieces have been collected and exhibited at the Centre Pompidou in Paris, the 21st Century Museum of Contemporary Art in Kanazawa, the Museum of Modern Art in New York, the Musée d'Art Moderne de Paris, the San Francisco Museum of Modern Art, the Solomon R. Guggenheim Museum in New York, Tate Modern, and Serpentine Gallery in London.

Born in Argentina in 1973, he now lives and works in Berlin, Germany. He earned a Master's degree in architecture. In 2001, he went to Germany to study art and in 2009 he joined NASA's International Space Research Program. These interdisciplinary experiences combine creation with aesthetics, architecture, science, and environmental causes in a new balance that no longer separates art and science. Tomás also believes that we should learn and pay attention to the principles of ecology as a system of cohabitation of different cultures and regions, and understand the necessity of the principle of cooperation in the universe in which we live, in order to seek answers for the future survival of the human species.

Born in 1971, South Korean artist Haegue Yang now lives and works in Berlin and Seoul. Yang is adept at using industrial objects such as shutters, heaters and industrial electric fans to create large-scale composite installations. She also adopts traditional straw weaving crafts to connect historical, literary and political issues, creating rich and abstract stories.

Born in 1962 in Jalapa, Mexico, Orozco hails from an artistic lineage that profoundly shaped his upbringing. After completing studies at the Circulo de Bellas Artes in Madrid, Spain, in 1987, he embarked on a nomadic lifestyle, which greatly impacted his artistic practice. Orozco once presided over the Taller de los Viernes (Friday Workshop) from 1987 to 1992, which served as a central hub for artists to discuss art and creativity. He held his first solo exhibition in 1983 and has since showcased his works in prestigious venues such as the Museum of Contemporary Art in Los Angeles, the Serpentine Galleries in London, the Palacio de Bellas Artes in Mexico City, and the Solomon R. Guggenheim Museum in New York. From 2009 to 2011, Orozco was the focal point of major retrospective exhibitions held at prominent institutions such as the Museum of Modern Art in New York, the Kunstmuseum Basel in Basel, the Centre Pompidou in Paris, and the Tate Modern in London. His contributions to the art world have been recognized with numerous awards, and he has been a frequent participant in prestigious international exhibitions such as the Venice Biennale and Documenta in Kassel.

Born in Seoul, Korea in 1977, Kang studied the course of oriental painting at Ewha Womans University, and she graduated from the Painting Department of Royal College of Art in London in 2012. Kang's works have been collected by the Los Angeles County Museum of Art, the Contemporary Art Museum of Luxembourg, the Walker Art Center, and the Leeum, Samsung Museum of Art, and they have been exhibited at the Contemporary Art Museum of Luxembourg, the Institute of Contemporary Art in Philadelphia, the Museum of Contemporary Art Chicago, and the Buk Seoul Museum of Art. She participated in the Venice Biennale, Gwangju Biennale, and Liverpool Biennial. Kang is currently teaching in the Department of Korean Painting at Ewha Womans University.

Kwade was born in Poland in 1979. She moved to West Germany with her family later and graduated from the Berlin University of the Arts in 2005. Currently, she lives and works in Berlin. Her most famous work is the large-scale sculpture named "WeltenLinie", which was shown in 57th Venice Biennale 2017. Two-way mirrors and pairs of objects intentionally placed were used to compose the installation. When visitors walk through its steel structure, the objects in it will jump out from the framework of reality and move to the framework of the work while being observed in different angles of view, which may be a revolution to the way visitors adopt for reading and understanding the objects contained in the work. In 2019, Kwade's works have also been exhibited at the Roof Garden of the Metropolitan Museum of Art and in Setouchi Triennale 2019. They are now collected by some renowned art museums, including Centre Pompidou, Los Angeles County Museum of Art and Boros Collection / Bunker Berlin.

Courtesy of the artist and Galerie Chantal Crousel, Marian Goodman Gallery, Hauser & Wirth, Esther Schipper, Taro Nasu and Anna Lena Films. Photo credit © Pierre Huyghe

Courtesy of the artist; Galerie Chantal Crousel. © PIerre Huyghe. © ANPIS FOTO

Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo © Jiayun Deng

Courtesy of the artist and Marian Goodman Gallery. Photo © Gerardo Landa

Courtesy of the artist and White Cube. Photo © Gerardo Landa & Eduardo Lopez - GLR Estudio

Photo © Gabriel Orozco and White Cube (Gerardo Landa Rojano)

© Mona Hatoum. Photo @White Cube (Theo Christelis)

Photo © Nick Ash

Image courtesy of the artist and kurimanzutto, Mexico City / New York. Photo by Gerardo Landa Rojano, 2020.

Photo ©Hiroshi Sugimoto, Courtesy of Lission Gallery

Courtesy the artist and Esther Schipper, Berlin. Photo © Andrea Rossetti

Photo by Sangtae Kim, courtesy of the artist and Commonwealth and Council, Los Angeles

Courtesy of the artist and Kukje Gallery

© Mona Hatoum. Photo @White Cube (Theo Christelis)

© Mona Hatoum. Photo @White Cube (Theo Christelis)

Photo © Cathy Carver

Exhibition view at Winsing Art Place / Courtesy Winsing Arts Foundation Photo © ANPIS FOTO

Courtesy of the artist

Courtesy of the artist and Marian Goodman Gallery

Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo © Florian Kleinefenn

Roni Horn, Courtesy the artist and Hauser & Wirth

Courtesy Winsing Arts Foundation. Photo © ANPIS FOTO

Photo credit: Hiroshi Tanigawa+Takashi Uemura

Courtesy the artist and Esther Schipper, Berlin. Photo © Andrea Rossetti

Vistas de instalación de Jardín con palomas al vuelo, Estancia FEMSA – Casa Luis Barragán, 10 denoviembre, 2018 – 13 de enero, 2019.

Photo: Chunho An. Image provided by Kukje Gallery

Photo by Sangtae Kim, courtesy of the artist and Commonwealth and Council, Los Angeles

Photo by Sangtae Kim, courtesy of the artist and Commonwealth and Council, Los Angeles

Courtesy of the artist and Kukje Gallery

Photo by Sangtae Kim, courtesy of the artist and Commonwealth and Council, Los Angeles

Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo : Sebastiano Pellion di Persano

Courtesy of the artist and kurimanzutto, Mexico City / New York. Photo © Gerardo Landa Rojano

Courtesy of the artist and Marian Goodman Gallery. Photo © Cathy Carver

Courtesy the artist and Esther Schipper, Berlin. Photo © Andrea Rossetti

Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo : Florian Kleinefenn

Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo : Florian Kleinefenn

Courtesy of the artist and Marian Goodman Gallery. Photo © Alex Yudzon

Courtesy Winsing Arts Foundation. Photo © OS Studio

Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo : Florian Kleinefenn

Photo © Doug Aitken, courtesy 303 Gallery, New York; Victoria Miro Gallery, London; Galerie Presenhuber, Zürich; Regen Projects, Los Angeles

Photo ©Hiroshi Sugimoto, Courtesy of Lission Gallery

Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo : James Ewing

Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo : Anders Sune Berg

Photo: Sebastiano Persano di Pellion. Image provided by Kukje Gallery

Photo by Sangtae Kim, courtesy of the artist and Commonwealth and Council, Los Angeles

Photo by Sangtae Kim, courtesy of the artist and Commonwealth and Council, Los Angeles

Nan Goldin Studio courtesy the artist and Gagosian

Courtesy of the artist and Marian Goodman Gallery

Courtesy the artist and Esther Schipper, Berlin. Photo © Andrea Rossetti

Courtesy of the artist and Marian Goodman Gallery. Photo © Alex Yudzon

Courtesy Winsing Arts Foundation Photo © ANPIS FOTO

Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo : Sebastiano Pellion di Persano

Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo : Sebastiano Pellion di Persano

Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo : Sebastiano Pellion di Persano

Image courtesy of the artist and kurimanzutto, Mexico City. Photo by Alessandro Wang.

Photo © Florian Kleinefenn

Courtesy of the artist and kurimanzutto, Mexico City / New York. Photo © Gerardo Landa Rojano

Courtesy of the artist and kurimanzutto, Mexico City / New York. Photo © Gerardo Landa Rojano

Courtesy of the artist and kurimanzutto, Mexico City / New York. Photo © Gerardo Landa Rojano

Courtesy the artist and Esther Schipper, Berlin. © VG Bild-Kunst, Bonn, 2021. Photo © Andrea Rossetti

Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo : Florian Kleinefenn

Roni Horn, Courtesy the artist and Hauser & Wirth

Nan Goldin Studio courtesy the artist and Gagosian

Courtesy of the artist and Galerie Chantal Crousel, Paris

Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo © Jiayun Deng

Photo by Sangtae Kim, courtesy of the artist and Commonwealth and Council, Los Angeles

Courtesy of the artist and Galerie Chantal Crousel, Paris. @Sebastiano Pellion di Persano

Roni Horn, Courtesy the artist and Hauser & Wirth

Courtesy of the artist and Marian Goodman Gallery. Photo © Cathy Carver

Courtesy of the artist and Marian Goodman Gallery. Photo © John Berens

Courtesy of the artist and Marian Goodman Gallery. Photo © Cathy Carver

Courtesy of the artist and Marian Goodman Gallery. Photo © John Berens

Courtesy Winsing Arts Foundation Photo © ANPIS FOTO

Courtesy of the artist and Marian Goodman Gallery

Courtesy of the artist and Marian Goodman Gallery

This publication, in addition to providing a complete introduction to the works of the solo exhibition Liminal, also includes a conversation between Huyghe and curator Anne Stenne, along with writings by philosophers, artists, and researchers, as well as an index of Huyghe’s works from 1993 to the present. The exhibition opened with the eponymous work Liminal, the result of artificial intelligence simulating human forms, traversing between the real and the surreal worlds. Likewise, the mask piece, Idiom, currently on view at Winsing Art Place, is worn by performers who wander through the galleries of Punta della Dogana, sensing specific features and transforming the information into an unknown language. Camata, based on the intervention of machine learning, is an image that self-edits as a form of self-presentation, with subtle changes occurring with each viewing. This work is also exhibited in the solo exhibition at Winsing Art Place, in a version reimagined by the artist to fit the space.

This publication, Orozco Garden, was released five years after the garden project, providing a complete record of the garden’s design process. The front and back covers are printed in intaglio on two different tones of recycled paper, echoing the York stones used in the space. At the end of the book, a planting plan and index are included, detailing the locations and characteristics of the vegetation with illustrations.

This book offers an in-depth exploration of AS YOU GO, which is also featured in the exhibition at Winsing Art Place. The work is composed of music and moving image, bringing together several of Sala’s most important recent video works, including Ravel Ravel, Take Over, and If and Only If. Specifically conceived for the Castello di Rivoli, the installation employs complex mechanisms and technologies to project the videos onto the museum’s distinctive walls. The entire exhibition unfolds like a “parade,” with flowing images and multiple narratives that, over time and through the extension of space, seek to provide viewers with an immersive experience of heightened emotion and synesthetic impact.

At the beginning of 2020, Ann Veronica Janssens held her first large-scale solo exhibition in the Nordic region, Hot Pink Turquoise, at the Louisiana Museum of Modern Art in Denmark. From works of the 1990s to more recent pieces, the exhibition spanned nearly 30 years of the artist’s creative career and also featured new works made for this exhibition.

Black Mat Oriole marked Suki Seokyeong Kang’s first exhibition in the United States, presented at the Institute of Contemporary Art (ICA) at the University of Pennsylvania in Philadelphia. The exhibition brought together painting, sculpture, installation, and video, drawing inspiration from the traditional Korean musical notation “Jeongganbo” and court dance “Chunaengmu”(“Dance of the Spring Oriole”). Kang transformed the exhibition space into the grid structure of “Jeongganbo.” At the exhibition’s opening, she collaborated with a Korean choreographer to stage a performance, using the extension of the body to interact with the works. Through the performers’ movements, the piece explored contexts of power, cultural customs, and artistic lineages.

This book not only provides an in-depth analysis of the solo exhibition at the Serpentine Gallery but also includes important works created after 2010, covering nearly a decade. Among them is Untilled, presented by Huyghe at Documenta in Kassel in 2012, which focuses on the dynamic developments between humans and non-humans under the element of time. This work features a head sculpture covered by a swarm of bees, plants, insects, and a dog with a pink leg. These elements are not fixed or unchanging within the work, but instead evolve, grow, and influence one another over time, presenting a constantly transforming, vibrant state.

Kazuo Shinohara: 3 Houses analyzes three of the most representative residential works of Shinohara: House in White, 1966, House in Uehara, 1976, and House in Yokohama, 1984, by redrawing floor plans in the same proportion as the original design, never published design manuscripts and valuable photographic records left at the time of construction, along with Discussions and interviews reveal the positioning of these three homes in Shinohara's architectural career and provide a new perspective on their unique design approach. The book was declared out of print shortly after its publication in 2019, proving its value.

Louis Kahn and Venice: The Project for the Palazzo dei Congressi and the Biennale Building, was published in conjunction with an exhibition of the same name held in 2018 at the Mendrisio Institute of Architecture (USI), a collection of architecture from the University of Pennsylvania in Philadelphia Archive, Quilini Stamparia Foundation, Venice ( A never-before-released archive of architectural drawings, manuscripts, and documents from organizations such as the Fondazione Querini Stampalia and the Canadian Centre for Architecture (CCA), leads readers to explore the traces of this lagoon-like city from 1968 to 72, combining Venice's deep architectural tradition with its hopes for the future. Take a new look at the city with a lot of thought.

OFFICE Kersten Geers David Van Severen Vol. 1, 2 & 3 is a three-volume monograph series chronologically documenting 15 years of architectural practice by OFFICE KGDVS, the Brussels-based firm co-founded by Kersten Geers (1975-) and David Van Severen (1978-). This series is by far the most comprehensive compilation of their work to date, encompassing architectural models, drawings, and architectural photography and discourse produced by collaborators such as renowned architectural photographer Bas Princen and curator Giovanna Borasi.

Pezo Von Ellrichshausen: Exterior for Chilean-Argentine architect couple Mauricio Pezo (1973-) and Sofia von Ellrichshausen, 1976-, shared studio at Galerie Solo, Paris in 2017 Painting Exhibition Catalogue. “Exterior” is a series of paintings depicting local areas of a building space in an oil larger than the size of the body, evoking a spatial memory that seems to be familiar but incomplete, and even extends the imagination to the space outside the painting.

In 2017, Philippe Parreno transformed the Turbine Hall with the exhibition Anywhen, creating an immersive experience that responded to the architectural space and challenged the audience’s perception of time and space. The exhibition revolved around six key themes—“Time,” “Bioreactor,” “Space,” “Sound,” “Cinema,” and “Floating Fish”—engaging in a ripple of interactions. The “Bioreactor” was placed in a room adjacent to the Turbine Hall. A weather station on the museum’s roof transmitted outdoor data, such as wind speed, temperature, and light, to the bioreactor. Each variation in the data affected the fermentation of the yeast inside the bioreactor, and a computer program used these fermentation changes to control activities occurring in the exhibition space. These included the rhythm of lights in the work Marquee, images projected on screens, sounds echoing through the space, and the floating fish suspended in the air.

The Difficult Whole: A Reference Book on the Work of Robert Venturi, John Rauch and Denise Scott Brown by Kersten Geers (1975-), Jelena Pančevac, 1984-, and Andrea Sandrigo Zanderig, 1974-) Three young architects have organized and gathered together 28 architectural works designed by 1991 Pulitzer Prize winner, American architect Robert Van Jolly (1925-2018) and his architectural firm partners. The book contains an introduction to works written by three architects, contemporary photographs Architectural images redrawn like records and redrawn by students participating in research programs juxtapose Van Jouly's architectural theory and decades of design practice in a variety of ways.

The 2008 work Answer Me used the acoustic qualities of a domed building constructed by the U.S. National Security Agency in West Berlin during the Cold War to stage the breakdown of a romantic relationship. A woman repeatedly says, “Answer me,” yet fails to move the man playing drums, suggesting an impossible dialogue while also expressing the deterioration of hostility in the relationship, and the rupture of space and time. The video work Long Sorrow depicts an African American jazz saxophonist improvising outside the window of a high-rise building on the outskirts of Berlin. As the tension in the music builds, the scene concludes with an image of a plane seemingly about to crash into the building, a metaphor for the state of society. For this exhibition, Sala also specially arranged for the saxophonist to perform live in the gallery, intertwining and dislocating time and space between the performance and the work.

Since 2000, Tate Modern’s Turbine Hall has exhibited many large-scale contemporary art installations and works. Since2015, the museum has collaborated with Hyundai Motor and unveiled the first Hyundai Commission. Abraham Cruzvillegas was the first Hyundai Commission artist to create on-site in the Turbine Hall.

Since the late 1990s, Valerio Olgiati has been regarded as one of Switzerland's most independent and outstanding representative architects. His works include the School Building Paspels, 1998, Das Gelbe Haus, 1999, the Visiting Center Swiss National Park, 2008, and proposals to participate in the National Palace Museum Taiwan, 2004. Collected publications about Ogiati include 14 Student Projects with Valerio Olgiati 1998-2000, limited edition books such as Valerio Olgiati: One Percent Drawings (Valerio Olgiati PLAN 1:100), a limited edition of 500 copies.

Published by the Museum of Modern Art in Warsaw, the book Miriam Cahn: I As Human explores Miriam Cahn’s work from multiple perspectives, including those of art historians, critics, and philosophers, while also focusing on the 2019 traveling solo exhibition Miriam Cahn: I As Human held at the Museum of Modern Art in Warsaw.

Vilanova Artigas was written by the architect's daughter, historian Rosa Artigas, and published in 2015. Originally published in Portuguese, the collection has a rarer English version and is now out of print. The book lists 43 extant works by the important Brazilian modernist architect Atigas, including representative works such as the “Santa Paula Yacht Club”, which depicts the silhouette of steel structural contacts on the cover, and varies by individual houses, apartments, schools, commercial spaces, urban plans, etc. Architectural uses, arranged in chronological order, with building drawings, hand drawings, and photographic records left from different eras.

Log 31: New Ancients is an independent journal on architecture and contemporary cities, founded in 2003 by renowned architectural critic and editor Cynthia Davidson (1952-). It is an independent journal on architecture and the contemporary city. It publishes three issues a year, focusing on commentary in the form of text, with the intention of opposing visual media. SEDUCTION WHILE FOCUSING ON THE RELEVANT CORE THINKING OF BUILDING PRODUCTION. The 31st physical book of the collection, published in the spring and summer of 2014, now out of print and very rare, offers the possibility of exploring contemporary contexts as “history,” with particular emphasis on the combination of traditional antecedents with new techniques, and interesting writing by architects, artists and critics. Lead readers to rethink the dialogue between architecture and history.

Drawing Papers 114: Lebbeus Woods, Architect was published in conjunction with a 2014 touring exhibition of the same name at The Drawing Center in New York. American architect Levius Wootz (1940-2012) is widely recognized not only in architectural design, but also in film, design and art. This exhibition explores the political, formal and cultural issues in its spatial thinking through more than 100 architectural drawings, sketches, and models spanning 35 years.。

Junya Ishigami: Hoe kleine? How Vast? How Architecture Grows is a 25.6 x 36 cm large exhibition catalogue with Japanese architect Ishikamai Junya (1974-), published in the Arc en rêve centre d'architecture, France, from 2013 to 14, including Restaurant with distant views), “Residence by the Pool” (Pond) and House) Light, dreamy architectural concepts such as the exhibition site are combined with text from the model photographs of the exhibition site to present ideas of space full of fairy-tale colors and logical constrictions.

Aires Mateus: Casa em Melides, published in 2014, features the Casa em Melides, individually designed by the important architect of contemporary Portugal, Aires Mateus (1963-) and completed in 2013. The book conveys a simple and complete view of the hilltop dwelling and its dialogue with the terrain and the sea view through pure architectural line drawings and infectious black-and-white photography. Released as a limited edition of 1,000 copies, it is No. 910 in the collection and of great collection value.

Haus-Rucker-Co: Architectural Utopia Reloaded was published as part of an exhibition of the same name held between 2014 and 2015 at Berlin's important contemporary art centre — the Haus am Waldsee, Archive and interview review Haus, a pioneering design group based in Vienna -Rucker-Co (HRC) has a decade-long history of creating in response to concerns about environmental pollution and disasters in the 1970s. HRC presented its famous series of works including interactive masks “Mind-Expander” and “pneumatic air-structures” to Thomas Saraceno (Tomi) Contemporary artists such as Saraceno) have made a huge impact.

The City in the City - Berlin: A Green Archipelago is arguably the most mysterious and compelling of the many architectural proclamations of the late 20th century called “the city”, documented in 1977 by Angus, a professor of architecture at Cornell University in the United States. O.M. Ungers, 1926-2007) Led by Rem Koolhaas, 1944 ~) An inside team, in the manner of a summer school camp, proposed an emergency design plan for the city of West Berlin, which was in serious decline due to the Cold War. His work was originally compiled into a German-language booklet, which was restudied and reorganized in 2013. In addition to the earlier manuscripts and documents collected from the Declaration, it also contains many notes and illustrations that were never disclosed at the time.

Dogma: 11 Projects documented the Dogma Studio, led by Pier Vittorio Aureli, 1973~ and Martino Tattara, 1976~, at the London Architectural Union in 2013 An exhibition of the same name, organized by the College (AA), includes 11 works that have been dedicated to creating works by the studio combining architectural painting and text since 2002 Major projects such as “Ramones” were included in the 2011 competition proposals for the Taichung Railway Park, including major projects such as “Ramones”.

San Rocco 6: Collaborations, a subsidiary architecture magazine, San Rocco, was founded during the 2010 Venice Architecture Biennale, originally set to run for five years. It was expected to publish three issues of a magazine with different themes each year, targeting various types of architectural works, drawings, or The ideas represented by the painting were submitted to the competition, including Kersten Geers, Pier Vittorio O'Reilly. Famous architects, critics, and theorists such as Vittorio Aureli and Irénée Scalbert have all published articles in the magazine. The 6th issue is themed “Collaboration”, which describes the characteristics of architecture as a collective knowledge that combines the power of people, and is woven into the field of lateral cooperation and dialogue across the ages. It has also been chosen as “the most beautiful house in the world”, which is widely loved by many creators. The “Casa Malaparte” stands out as a cover symbol.

The Ballad of Sexual Dependency is a series that evolved from a slideshow format. It is also politically engaged, addressing issues of gender politics and violence. Picnic on the Esplanade, Boston (1973) is a photograph of friends Goldin met in Boston having a picnic. This work is regarded as a declaration of Goldin’s future achievements, serving as a prelude to The Ballad of Sexual Dependency.

Wang Shu: Imagining the House reveals the design process of Pritzker Architecture Prize laureate Wang Shu (1963–), a Chinese architect, through his hand-drawn architectural sketches. The publication features full-scale reproductions of Wang’s original manuscripts documenting the paper-based design phases for six significant architectural projects, including Xiangshan Campus, China Academy of Art (2004-2007) and Ningbo History Museum (2003-2008), along with photographic records from construction sites that serve as references for the architect’s atmospheric studies.

2G No.58/59 Kazuo Shinohara: Houses covers 23 residential buildings designed by Japanese architect Kazuo Shinohara (1925-2006) from the 1960s to the 1980s, in addition to complete architectural drawings, articles written by former employees and colleagues In addition, this edition of 2G, published in 2011, contains photos of life scenes from the past that are rare in Shinobara's collection of works, as well as from the past as an architect. Calm, precise architectural photography released under tight control reveals an unmistakable atmosphere and vitality.

Parliament Entrance Chur - Auditorium Weber Plantahof Landquart comprises two booklets documenting two works by Valerio Olgiati: one is his first building designed in Graubünden (Grisons), the new entrance to the Chur Parliament, which received the Bronze Hare Award for “Best Swiss Architecture 2010.” The other is the Weber Auditorium at the Plantahof, an agricultural vocational school in Landquart. Its supporting structure presented challenges for both the architect and civil engineers. The thread-bound booklet, featuring a special coating and gold foil stamping, was published in German, Italian, and Romansh as part of the series from Graubünden’s Department of Architecture. Since the late 1990s, Olgiati has been regarded as one of Switzerland's most independent and distinguished architects. His works include the School Building Paspels (1998), the Das Gelbe Haus (1999), the Visiting Center Swiss National Park (2008), and his proposal for the competition of the Southern Branch of the National Palace Museum Taiwan (2004). The Winsing Art Place’s collection of publications on Olgiati features out-of-print titles, including 14 Student Projects with Valerio Olgiati 1998-2000 and the Valerio Olgiati PLAN 1:100, which was published in only 500 copies.

2G No.54 João Vilanova Artigas is an extremely rare edition of the important Spanish architecture magazine “2G” series, presenting the architectural creations of Brazilian architect João Villanova Artigas (1915-1985) of various functions and dimensions, including residential Home, station and campus design, etc. A paper by renowned architectural critic and historian Kenneth Frampton (1930-) describes the profound influence that Attigas and his participation in the foundational saulism (also known as The School of São Paulo) had on modernist architecture in South America.

In 1993, Gabriel Orozco presented his first solo exhibition at New York’s MoMA, Projects 41: Gabriel Orozco. Among the works shown was Home Run, realized in collaboration with local residents who were asked to place oranges on their windowsills for the duration of the exhibition. This way, the work extended beyond the museum walls —viewers could continue to encounter it even after leaving the galleries—breaking down the boundaries of the “space of viewing.” The exhibition as a whole reflected Orozco’s enduring interest in immediacy, objects, and their relationship to the surrounding environment. Sixteen years later, in 2009, Orozco returned to MoMA with a major retrospective, featuring sculptures, installations, photographs, paintings, and drawings from the 1990s to more recent years. The exhibition subsequently traveled to Kunstmuseum Basel, the Centre Pompidou in Paris, and Tate Modern in London.

Through the Canvas: Architecture Inside Dutch Paintings documents a residential design workshop led by Flores & Prats Arquitectes, a prominent contemporary Spanish architectural practice, with students from the University of New South Wales (UNSW) School of Architecture. The book analyzes the spatial compositions in works by 17th-century Dutch painter Pieter de Hooch (1629–1684), and connects these spatial compositions —defined by parallel walls and wall openings—to the architectural works of 20th-century Dutch architects, such as Gerrit Rietveld and Aldo van Eyck. First published in 2008, this volume remains out of print and is a highly sought-after collector’s item.

Since the late 1990s, Valerio Olgiati has been regarded as one of Switzerland's most independent and outstanding representative architects. His works include the School Building Paspels, 1998, Das Gelbe Haus, 1999, the Visiting Center Swiss National Park, 2008, and proposals to participate in the National Palace Museum Taiwan, 2004. Collected publications about Ogiati include 14 Student Projects with Valerio Olgiati 1998-2000, limited edition books such as Valerio Olgiati: One Percent Drawings (Valerio Olgiati PLAN 1:100), a limited edition of 500 copies.

Cedric Price: The Square Book is a 2003 reissue of Cedric Price: Works II. The book is the second edition of the AA Architecture School's Works series, originally published in June 1984 for an exhibition organised by the British architect, Sir Alvin Boyarsky, who was invited by Alvin Boyarsky, president of the London Architectural Association (AA), in June 1984. The book includes significant works from the firm's inception in 1960, including conceptual and construction projects such as The Fun Palace, Potteries Thinkbelt, and Zoo Aviary in London, as well as other little-known projects and works. Currently, both 1984 and 2003 versions are out of print.

The exhibition space of Architecture was designed by Sugimoto himself. The photographswere presented in black and white, measured almost two meters high, and mounted on sculptural partitions. Viewers needed to move around the space to create a quiet viewing experience, almost like in a catacomb. This time, Sugimoto’s solo exhibition at Winsing Art Place also showcases the Past Existence series. Like the Architecture series, it presents a hazy sense of loss of focus, continuing Sugimoto’s focus on “existence” and “time.”

Herzog & de Meuron: Natural History, paired with the exhibition themed “Archaeology of the Mind” and presented at the Canadian Centre for Architecture (CCA) from 2002 to 2003, focuses on architectural creation and its accumulated design archives under the leadership of Jacques Herzog (1950-) and Pierre de Meuron (1950-). Using a research method similar to “archaeology from the future,” these materials are compared, analyzed, and summed up with art collections from different eras and cultures, thereby revealing the mysterious moment when architecture transforms matter into spatial meaning.

The Charged Void: Architecture/Urbanism is the first comprehensive, authoritative work detailing the legendary careers of British architectural partners Alison and Peter Smithson, co-founders of Team X. It comprises two volumes published in 2001 and 2005: Architecture and Urbanism. The first volume, personally curated by the architects, encompasses over 125 significant spatial works from their 50-year design career. These include the Golden Lane (1952), the Sheffield University (1953), and The Economist Building (1959-1964). The second volume focuses on their involvement in urban architecture and public space planning projects worldwide, showcasing their meticulous observations and insights into large-scale urban movements.

Architectural designs created by students are works produced during practice. Nevertheless, in addition to reflecting the rigorous learning process of the craft, these works also witness teachers and students pursuing meaningful development in architectural subjects together. 14 Student Projects with Valerio Olgiati: 1998-2000 features paper proposals from 14 students whom Valerio Olgiati mentored when he was a visiting professor at the Federal Institute of Technology (ETH) in Zurich between 1998 and 2000. It highlights Ogiati’s unique teaching philosophy, and the students mentioned in the book include several outstanding architects of the next generation.

Kazuo Shinohara, the last collection of works authored by Japanese architect Shinohara (1925-2006) before the death of Japanese architect Shinohara (1925-2006), includes 55 pieces of architecture from private residences to museums, including multiple pages of 1:1 repetition, including a 1:1 scale, from private residences to museums. Architectural hand-drawings show their rarely exposed thought tracks. The four “styles” defined by Shinobara in the book serve as a categorical basis for his architectural career explorations of traditional Japanese architecture, complex modern cities, and mechanical and geometric spaces, and reveal the arguments between his inner thoughts and the external environment through architectural drawings and post-completion photographic records, Conflict and reconciliation.

The Manhattan Transcripts are a series of theoretical drawings created between 1976 and 1981 by the Swiss/French architect and educator Bernard Tschumi, 1944. Through architectural drawings, it transcribes imagined events that take place in a real New York location, exploring three overlapping, conversational, and contradictory levels of architectural space, human movement, and events that form the basis of Notation as a creative method. The collection is part of the 1994 special architectural exhibition “Beginning/Bernard Tschumi: Architecture and Event” at the New York Museum of Modern Art (MoMA), accompanied by a revised edition of the collection at the Architectural Union Academy (AA) in London. An excerpt of the keynote lecture, accompanied by a colored graphic version.

In conjunction with the 2020 exhibition Housing the Friendship, Winsing Art Place Bookstore presents a collection of publications by Czech-American architect and educator John Hejduk (1929-2000), including the trilogy series Mask of Medusa (1985), Bovisa (1987), and Berlin Night (1993), among other rare and out-of-print books.

Condemned Building: An Architect's Pre-Text is a collection of conceptual architecture published in 1993 by the American architect Douglas Darden (1951-1996), which presents 10 unbuilt theoretical projects incorporating psychodramatic drama Texts, architectural drawings and model photographs create a rhetorical fabled architecture, including” Works such as “Museum of Impostors”, “Clinic for Sleep Disorders”, etc.

The Osaka Follies, published by the London Architectural Union Academy (AA) in conjunction with the 1991 exhibition, reviews The International Garden and Greenery Exposition, organized by Japanese architect Arata Isozaki, 1931-, the year before (1990), which was invited to the conference. Several architects from the Architectural Alliance College System were invited to design the on-site exhibition Courtyard. The book presents architectural drawings, models, and still photographs from teams including Architekturbüro Bolles-Wilson, Zaha Hadid, Gigantes and Zenghelis.

The Artless Word: Mies van der Rohe on the Building Art, author and architectural theorist Fritz Neumeyer, 1946-, has taught at the Technical University of Berlin, Princeton University, and others through his work on Smith To examine the manuscripts, notes and collections that have been left behind to try to recreate their spiritual world and creative vision, Understand the key information behind the creative thinking behind building. The book impressed many reviewers of Miss' work. The original German edition was published in 1986 and the collection was published in 1991 by the Massachusetts Institute of Technology (MIT), which is now out of print and a difficult book, but the simplified Chinese version is still in circulation.

Western Objects Eastern Fields: Recent Projects by the Architekturbüro Bolles Wilson was published in 1989 as a solo exhibition organized by the Architekturbüro Bolles Wilson, London Architectural Union College (AA), covering architectural drawings, modeling, A wealth of materials such as type and spatial photography, exhibited at Peter Wilson ( Led by Peter L. Wilson, 1950- and Julia Bolles, 1948-, they covered architectural practices and proposals across Europe and the East West of Japan, and recorded an introduction written by Japanese architect Toyo Ito, 1941. The book is also the 12th installment in the Building Alliance College's Mega series.

In conjunction with the 2020 exhibition Housing the Friendship, Winsing Art Place Bookstore presents a collection of publications by Czech-American architect and educator John Hejduk (1929-2000), including the trilogy series Mask of Medusa (1985), Bovisa (1987), and Berlin Night (1993), among other rare and out-of-print books. Vladivostok is one of the three volumes in the aforementioned trilogy.

In conjunction with the 2020 exhibition Housing the Friendship, Winsing Art Place Bookstore presents a collection of publications by Czech-American architect and educator John Hejduk (1929-2000), including the trilogy series Mask of Medusa (1985), Bovisa (1987), and Berlin Night (1993), among other rare and out-of-print books. The Riga Project is the catalog of an exhibition held by Hejduk from November 20 to December 22, 1987, at the Rosenwald-Wolf Gallery and its hallway at the University of the Arts, Philadelphia. It includes Hejduk’s design manuscripts and documents the construction process of two special structures.

Housing the Airship is a 1989 book by the London Building Alliance College (AA) that provides an overview of the location and construction process of the European Ship Shelter, and was given to the Cooper Union of New York before the death of the then AA President Alvin Boyarsky, 1928-1990 John Hejduk, Dean of the School of Architecture (1929-2000), was the last relic in the tradition of books that had been giving each other for many years. Roughly half a century after the ships went down in the late 1930s, the book leads readers to revisit the history of the ship fleet and describe in detail the extremely creative spaces and structures built to fulfill the enormous functions of aircraft docking, takeoff, landing, and more.

Folio is an important and representative series of publications by the Architectural Association School of Architecture (AA) in the 1980s, such as the first series, Chamber Works: Architectural Meditations on Themes from Heraclitus, published in 1983. Not only does it record the first solo exhibition of the Polish-American architect Daniel Libeskind (1946-) in a major gallery, but it also shows how his extremely abstract drawings impinge on the architectural circle’s conception of spatial mapping. The Folio series prioritizes the next generation of creators, such as Ribeskin and Zaha Hadid (1950-2016), and an attitude of drawing experimentation that continues throughout the series and accompanies the exhibition. Each series is a limited edition, packed in black paper boxes and printed on pages using a special 32 cm-wide material. The drawings are kept like independent paintings in a loose form, along with reading and introductory text manuals. This book, Blaubox, is the thirteenth volume, created by Coop Himmelb(l)au.

In conjunction with the 2020 exhibition Housing the Friendship, Winsing Art Place Bookstore presents a collection of publications by Czech-American architect and educator John Hejduk (1929-2000), including the trilogy series Mask of Medusa (1985), Bovisa (1987), Berlin Night (1993), and Riga (1988), among other rare and out-of-print books.

Bovisa is a district in the city of Milan, where Black Doc designed an angel's “sanctuary” with various elaborate facilities, such as crosses, stone throwers, buildings full of spikes, and more. Simple drawings with a white background and black lines create an eerie atmosphere, magical and charming in strokes. Believing in the power of architecture to influence the spiritual world, John Hardack uses painting to convey the deep connection between architecture and human spiritual pursuits to advance the creative frontier of architecture.

Louis I. Kahn: Complete Work 1935-1974 began with a catalogue of architectural exhibitions held at the Federal Polytechnic Institute in Zurich in 1969 by the Estonian-American architect Louis Kahn (1901-1974). The first edition of the book was officially published in 1977 and a second edition was added a decade later. The collection was republished in 1994. Printed second edition. The book selects 1,700 architectural drawings from Kang's collection of approximately 24,000 paintings in Philadelphia. It creates a chronological list of architectural lives and works that strives to fully represent the multiple meanings of his work, from manuscript to construction.

The Collapse of Time And Other Constructions, chronicled in the autumn of 1986 at Bedford Square, London's Union College of Architecture, along with the exhibition “The Harder”, was co-built by the school student, a temporary memorial building designed by Black Duck — The Collapse of Time The process is also the second edition of the AA Architecture Institute's “Text” series of publications. The collection was presented to the bookstore by Nicholas Boyarsky, son of former AA Dean Alvin Boyarsky, who led the exhibition “Friendship of Architecture and Books” in 2020, with a commemorative title.

Victims, along with publications from the 1986 London Union Institute of Architecture (AA) exhibition, included John Hejduk's artwork at the 1984 German International Architecture Exhibition (IBA), redesigning plans to redesign King Albert, who served as a security base for the World War II era for the World War II era. In the Prinz-Albert-Palais, Black Duck has planted 67 “character” buildings that combine gardens and transport to transform them into a narrative space that plays out over time. The book is aimed at the AA School of Architecture for “crossing the gap between physical and conceptual architecture.” The first series of publications in the Concept Text series.

Folio is an important and representative series of publications by the Architectural Association School of Architecture (AA) in the 1980s, such as the first series, Chamber Works: Architectural Meditations on Themes from Heraclitus, published in 1983. Not only does it record the first solo exhibition of the Polish-American architect Daniel Libeskind (1946-) in a major gallery, but it also shows how his extremely abstract drawings impinge on the architectural circle’s conception of spatial mapping. The Folio series prioritizes the next generation of creators, such as Ribeskin and Zaha Hadid (1950-2016), and an attitude of drawing experimentation that continues throughout the series and accompanies the exhibition. Each series is a limited edition, packed in black paper boxes and printed on pages using a special 32 cm-wide material. The drawings are kept like independent paintings in a loose form, along with reading and introductory text manuals. This book, La Case Vide – La Villette, is the eighth volume, created by Bernard Tschumi.

Folio is an important and representative series of publications by the Architectural Association School of Architecture (AA) in the 1980s, such as the first series, Chamber Works: Architectural Meditations on Themes from Heraclitus, published in 1983. Not only does it record the first solo exhibition of the Polish-American architect Daniel Libeskind (1946-) in a major gallery, but it also shows how his extremely abstract drawings impinge on the architectural circle’s conception of spatial mapping. The Folio series prioritizes the next generation of creators, such as Ribeskin and Zaha Hadid (1950-2016), and an attitude of drawing experimentation that continues throughout the series and accompanies the exhibition. Each series is a limited edition, packed in black paper boxes and printed on pages using a special 32 cm-wide material. The drawings are kept like independent paintings in a loose form, along with reading and introductory text manuals. This book, 21 Years-21 Ideas, is the sixth volume, created by Peter Cook.

Folio is an important and representative series of publications by the Architectural Association School of Architecture (AA) in the 1980s, such as the first series, Chamber Works: Architectural Meditations on Themes from Heraclitus, published in 1983. Not only does it record the first solo exhibition of the Polish-American architect Daniel Libeskind (1946-) in a major gallery, but it also shows how his extremely abstract drawings impinge on the architectural circle’s conception of spatial mapping. The Folio series prioritizes the next generation of creators, such as Ribeskin and Zaha Hadid (1950-2016), and an attitude of drawing experimentation that continues throughout the series and accompanies the exhibition. Each series is a limited edition, packed in black paper boxes and printed on pages using a special 32 cm-wide material. The drawings are kept like independent paintings in a loose form, along with reading and introductory text manuals. This book, FIN D'OU T HOU S, is the fifth volume, created by Peter Eisenman.

In conjunction with the 2020 exhibition Housing the Friendship, Winsing Art Place Bookstore presents a collection of publications by Czech-American architect and educator John Hejduk (1929-2000), including the trilogy series Mask of Medusa (1985), Bovisa (1987), and Berlin Night (1993), among other rare and out-of-print books. Mask of Medusa was a collection of works by Hejduk from 1947 to 1983, including a collective house designed for a seminar organized by the University of Venice’s Institute of Architecture (IUAV), to which Hejduk and other architects were invited to contribute their respective designs.

Lebbeus Woods: Origins is a 1985 invitation by the American architect Libius Woods (1940-2012) by Zaha Hadid, who was then Dean of the London Alliance College of Architecture (AA) under Alvin Boyarsky. Publications at the time of the exhibition, in a large format frame of 35.5 x 27.8 cm, become an important exhibition publication series of the 80's Building Alliance College” Series 2 in Mega. The book contains nearly 50 architectural drawings and drafts created by Wootz, and unfolds around his five paper architectural proposals, showing a creative stance that views images on paper as a concept in itself, rather than just architectural illustrations or reproductions of ideas.

Folio is an important and representative series of publications by the Architectural Association School of Architecture (AA) in the 1980s, such as the first series, Chamber Works: Architectural Meditations on Themes from Heraclitus, published in 1983. Not only does it record the first solo exhibition of the Polish-American architect Daniel Libeskind (1946-) in a major gallery, but it also shows how his extremely abstract drawings impinge on the architectural circle’s conception of spatial mapping. The Folio series prioritizes the next generation of creators, such as Ribeskin and Zaha Hadid (1950-2016), and an attitude of drawing experimentation that continues throughout the series and accompanies the exhibition. Each series is a limited edition, packed in black paper boxes and printed on pages using a special 32 cm-wide material. The drawings are kept like independent paintings in a loose form, along with reading and introductory text manuals. This book, Bridgebuildings + The Shipshape, is the fourth volume, created by Peter L. Wilson.

Folio is an important and representative series of publications by the Architectural Association School of Architecture (AA) in the 1980s, such as the first series, Chamber Works: Architectural Meditations on Themes from Heraclitus, published in 1983. Not only does it record the first solo exhibition of the Polish-American architect Daniel Libeskind (1946-) in a major gallery, but it also shows how his extremely abstract drawings impinge on the architectural circle’s conception of spatial mapping. The Folio series prioritizes the next generation of creators, such as Ribeskin and Zaha Hadid (1950-2016), and an attitude of drawing experimentation that continues throughout the series and accompanies the exhibition. Each series is a limited edition, packed in black paper boxes and printed on pages using a special 32 cm-wide material. The drawings are kept like independent paintings in a loose form, along with reading and introductory text manuals. This book, Around the Shadow Line- Beyond Urban Architecture, is the third volume, created by Franco Purini.

In conjunction with the 2020 exhibition Housing the Friendship, Winsing Art Place Bookstore presents a collection of publications by Czech-American architect and educator John Hejduk (1929-2000), including the trilogy series Mask of Medusa (1985), Bovisa (1987), and Berlin Night (1993), among other rare and out-of-print books.John Hejduk: Vier Entwürfe includes four designs by John Hejduk. They are Theater Masque, Berlin Masque,Lancaster/Hanover Masque, and Devil's Bridge.

Folio is an important and representative series of publications by the Architectural Association School of Architecture (AA) in the 1980s, such as the first series, Chamber Works: Architectural Meditations on Themes from Heraclitus, published in 1983. Not only does it record the first solo exhibition of the Polish-American architect Daniel Libeskind (1946-) in a major gallery, but it also shows how his extremely abstract drawings impinge on the architectural circle’s conception of spatial mapping. The Folio series prioritizes the next generation of creators, such as Ribeskin and Zaha Hadid (1950-2016), and an attitude of drawing experimentation that continues throughout the series and accompanies the exhibition. Each series is a limited edition, packed in black paper boxes and printed on pages using a special 32 cm-wide material. The drawings are kept like independent paintings in a loose form, along with reading and introductory text manuals. This book, Planetary Architecture Two, is the second volume, created by Zaha Hadid.

Folio is an important and representative series of publications by the Architectural Association School of Architecture (AA) in the 1980s, such as the first series, Chamber Works: Architectural Meditations on Themes from Heraclitus, published in 1983. Not only does it record the first solo exhibition of the Polish-American architect Daniel Libeskind (1946-) in a major gallery, but it also shows how his extremely abstract drawings impinge on the architectural circle’s conception of spatial mapping. The Folio series prioritizes the next generation of creators, such as Ribeskin and Zaha Hadid (1950-2016), and an attitude of drawing experimentation that continues throughout the series and accompanies the exhibition. Each series is a limited edition, packed in black paper boxes and printed on pages using a special 32 cm-wide material. The drawings are kept like independent paintings in a loose form, along with reading and introductory text manuals.

The Blue Book — My Project 1981 (Il libro azzurro - I miei progetti 1981) was co-published by the 1990 Pulitzer Prize for Architecture, Italian architect Aldo Rossi (1931-1997) in 1983 and the gallery manager who exhibited his paintings — Jamileh Weber, framed in a 16 x 27 cm notebook, divided into two books. The booklet completely replicates 48 drawings from Rossi's book, covering drafts of many important works such as The Venetian Theater, San Cataldo Cemetery, and The Monument to the Resistance in Cuneo; the booklet is surrounded by original drawings. Handwritten text is compiled and translated into German, English, French, etc.

AA Files 1 is a series of on-campus journals published in 1983 by Alvin Boyarsky, the former Dean of the London Building Alliance College (AA), and featuring events such as architectural news, tours, and painting exhibitions around the College. Help us to become an event that gathers and promotes the success of the College and connects important players in the world. Divided into lectures, reviews, and exhibitions, the first issue of the collection also reveals the past “Archives of the Architectural Alliance College” series, as well as the pivotal and contemporaneous significance of the development of the school as a whole.

John Hejduk: 7 Houses records an exhibition organized by the Institute for Architecture and Urban Studies (IAUS) in 1980 for the architect John Hejduk (1929-2000), which included seven residences conceived during his tenure at the University of Texas at Austin (UT-Austin) Architectural Drawings and Explanations. The book is the 12th volume in the Catalogue series of exhibitions published by the School of Architecture and Urban Studies. It contains the architect's life, reference works and personal exhibitions, reviews of works, and award records.

Focusing on Sol LeWitt, an American heavyweight in the fields of conceptual art and minimalism, this collection of publications housed by Winsing Art Place includes a catalogue of the 1972 exhibition Sol LeWitt: Kunsthalle Bern 7. October - 19. November(1972), PhotoGrids (1978), and Sol LeWitt: All Four Part Combinations of Six Geometric Figures (1980). These three valuable publications cover media such as painting, photography, and line drawings. Levitt’s philosophy, “A book itself is a work, not a reproduction of another work,” is fully embodied by these captivating collections.

The 20th issue of Architectural Design Profile 20: Roma Interrotta was published in 1979 as a 3/4-month issue, documenting the architectural exhibition Roma Interrotta, 1978, held in Rome. The exhibition invites 12 architects to redraw and interpret from their own independent perspectives a complete plan of the city of Rome made in 1748 by the Italian architect and cartographer Giovanni Battista Nolli, 1701-1756, and composed of 12 copperplate paintings. James Stirling, 1926-1992, Robert Venturi, 1925-2018, and Colin Rowe (1920-1999) participated in this important space-time dialogue in the history of urban design.

Delirious New York: A Retroactive Manifesto for Manhattan, published in 1978 by the 2000 Pulitzer Prize winner and Dutch architect Rem Koolhaas (1944-), is also a retroactive manifesto on Manhattan's “culture of congestion.” It's a Debatable Historical Study: It's Documented The mutated urban society and the coexistence of the unique architecture it produces illustrates the theories, strategies, and disguises that architects use the grid as a backdrop, to translate their aspirations into reality. An appendix to the book shows a series of design projects by Koujas and his collaborators on the theme of “Manhattan's Second Coming.”

Focusing on Sol LeWitt, an American heavyweight in the fields of conceptual art and minimalism, this collection of publications housed by Winsing Art Place includes a catalogue of the 1972 exhibition Sol LeWitt: Kunsthalle Bern 7. October - 19. November(1972), PhotoGrids (1978), and Sol LeWitt: All Four Part Combinations of Six Geometric Figures (1980). These three valuable publications cover media such as painting, photography, and line drawings. Levitt’s philosophy, “A book itself is a work, not a reproduction of another work,” is fully embodied by these captivating collections.

Architecture: Seven Architects, published in 1977, Houses for Sale in 1980, and Follies: Architecture for the Late-Twentieth Century Landscape, 1983, are respectively the richest in New York. One of the most influential galleries — three exhibitions of paintings by architects held at the Rio Castries Gallery on Broadway. Successive exhibitions include Austrian architect Raimund Abraham (1933-2010) and Argentine-American architect Emilio Ambasz, 1943-2010, Austrian sculptor and architect Walter Pichler (1936-2012), etc., and Arata, which continues to exhibit Manuscripts of architectural drawings by architects and others, Isozaki, 1931~), Paul Rudolf (1918-1997).

OPPOSITIONS 1 AND ITS SERIES OF PUBLICATIONS WERE PUBLISHED BETWEEN 1973 AND 1984, WITH THE NEW YORK-BASED COLLEGE OF ARCHITECTURE AND URBAN STUDIES (IAUS) CONTINUOUSLY PUBLISHING 26 VOLUMES OF ESSAYS AND SPATIAL IMAGINATIONS. The first volume of the collection, Conflict 1, was published in September 1973 and brought together Colin Rowe, professor of architecture at Cornell University, 1920-1999, architect Peter Eisenman, 1932-, and Columbia University professor Kenneth Frampton, 1930- 5 articles written by important architectural scholars and critics covering architectural design Methodology, architectural commentary, architectural history, utopia and symbolism, etc. As a prized first edition of a classic architectural journal, the book has long been out of circulation and is considered one of the most legendary architecture books.

Focusing on Sol LeWitt, an American heavyweight in the fields of conceptual art and minimalism, this collection of publications housed by Winsing Art Place includes a catalogue of the 1972 exhibition Sol LeWitt: Kunsthalle Bern 7. October - 19. November(1972), PhotoGrids (1978), and Sol LeWitt: All Four Part Combinations of Six Geometric Figures (1980). These three valuable publications cover media such as painting, photography, and line drawings. Levitt’s philosophy, “A book itself is a work, not a reproduction of another work,” is fully embodied by these captivating collections.

Los Angeles: The Architecture of Four Ecologies by the British critic and author Reyner Banham (1922-1988) was published in 1971 as a pioneer of architectural research on the theme of a single “city” in the 1970s. The original cover of the book was highly representative. Paintings by David Hockney, a famous artist who moved to Los Angeles: “A Bigger Splash” reveals the freewheeling nature of this changing American West Coast city. By placing the work of local architects in a setting such as mountains, plains, beaches, and highways, Bann demonstrates the complex ecologically complex interaction between architectural space and social culture.

Earth Art, published in 1970 and documented in 1969 at Cornell University's Andrew Dickson White Museum of Art, curated by American artist and independent curator Willoughby Sharp, 1936-2008, shows concepts including Dutch Orchins. Artist Jan Dibbets Nine artists from around the world, such as Robert Morris, 1931-2018 and Robert Smithson, 1938-1973, from the United States, used earth as a medium for creating works by artists from all over the world. Distributed around the campus, these works represent a meeting point between 1960s art and life, transforming into activism.

Mies van der Rohe: Drawings in the Collection of the Museum of Modern Art is a large collection of works with a total page width of 120 cm after opening, selected from the 1969 edition of the New York Museum of Modern Art. Ludwig Mies Archive van der Rohe Archive), which mainly records drawings and drawings of unbuilt plans by German architect Mies (1886-1969), such as the proposal for Berlin's first skyscraper — Friedrichstrasse Office Building, 1921, Concrete Office Building, 1922, etc. Most of the drawings are printed from the originals provided by the architect, classified by painting technique, including pen sketches, charcoal strokes, and collage images, and some of the contents are 1:1 restored to the scale of the actual manuscript.

The New Brutalism: Ethical or Aesthetic? published in 1966 by the British architectural critic and writer Reyner Banham, 1922-1988, as a continuation of his 1955 article The New Brutalism in The Architectural Review. A genre of architecture that developed around the world in the 1960s, it defined the architectural work of Le Corbusier, Ludwig Mies van der Rohe, and Alison and Peter Smithson in the 1940s.

《論壇報大樓競圖：1922年芝加哥論壇報新行政大樓國際競圖》（Tribune Tower Competition: The International Competition for a New Administration Building for the Chicago Tribune MCMXXII）紀錄了1922年由芝加哥論壇報發起的成立75週年新大樓國際競圖，以「全世界最美的辦公樓」為號招，在當時吸引了來自23個國家、超過260組建築師團隊參與競逐，眾多知名建築師包含包浩斯校長華特．葛羅培斯（Walter Gropius）、阿道夫．路斯（Adolf Loos）、伊利爾．沙利南（Eliel Saarinen）等皆參與了這場盛會，競圖當時留下了總計135幅，原始尺寸高162公分、寬88公分的建築透視圖，亦收錄於本書中，成為「摩登時代」（Modern Age）的經典建築切面。