\n\t\t\n\t\t\tJoyce CHIOU | \n\t\t
\n\t\t\n\t\t\tGeneral and Artistic Director of National Taichung Theater | \n\t\t
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\n\t\t\n\t\t\t\n\t\t\t With a thorough background in both music and theater, Joyce CHIOU has impressive track record on arts production, curation, and international affairs. \n\n\t\t\tBeing the Executive Director (2006~2018) of Taiwan Philharmonic, the National Symphony Orchestra, she had successfully established its acclaimed international reputation by taking the orchestra on tour in Europe and the USA for a dozen times. Since June 2018, Chiou commenced her tenure at National Taichung Theater (NTT) as General and Artistic Director. Under her leadership, NTT becomes a culture hub of both local communities and international outreaches, building NTT an unneglectable artistic force in Asian performing arts circle. \n\n\t\t\t \n\t\t\t | \n\t\t
\n\t\t\n\t\t\tJoe SIDEK | \n\t\t
\n\t\t\n\t\t\tChairman of Federation for Asian Cultural Promotion (FACP) | \n\t\t
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\n\t\t\n\t\t\t\n\t\t\t Best known as director of the George Town Festival (GTF) 2010-2018, Joe SIDEK has established himself as one of Malaysia’s strong advocates for the arts. GTF is an annual month-long festival that turns the town into a brilliant canvas for local and international performances, visual arts, culture and community-infused activities. \n\n\t\t\tBefore taking up the position of festival director, Joe SIDEK played major roles in various forms of art expression, including running his family-owned textile chemical factory. With his industrialist background, entrepreneurial nature and his visionary passion for the arts, it is no surprise that 8 years after his appointment as Festival Director of GTF in 2010, the festival has grown incrementally ever since. \n\n\t\t\tAdditionally, Joe directed the Rainforest Fringe Festival Kuching (2017-2019), which he founded four years ago. He has also helmed the Butterworth Fringe Festival for 3 years (2015-2017) and earlier in 2014, he brought Tropfest, the world’s largest short film festival to Southeast Asia and showcased the inaugural Tropfest South East Asia in Penang. Latest festival under his wing was the Putrajaya LIFT Festival in Dec 2019. \n\n\t\t\tHe also sits on the Industry Advisory Panel of CENDANA (Cultural Economy Development Agency), which was initiated in June 2017. \n\n\t\t\t \n\t\t\t | \n\t\t
\n\t\t\n\t\t\tVanini BELARMINO | \n\t\t
\n\t\t\n\t\t\tAssistant Director (Programmes), National Gallery Singapore | \n\t\t
\n\t\t\n\t\t\t\n\t\t\t\n\n\t\t\t © Ruthe Zuntz \n\t\t\t | \n\t\t
\n\t\t\n\t\t\t\n\t\t\t Vanini BELARMINO joined the National Gallery Singapore as Assistant Director (Programmes) in November 2016. She was the co-curator of the Gallery Children’s Biennale (2017 and 2019) and Small Big Dreamers (2018), which focused on Singaporean artist LEE Wen, and has worked on special artist commissions for the festival Gallery Light to Night (2018 and 2019) with the likes of David MEDALLA, LEE Mingwei, Pinaree SANPITAK, HO Tzu Nyen, Ayumi PAUL, Sissel TOLAAS and Tal HADAD. Vanini conceived Performing Spaces and spearheads Art + Live, an online programme presenting music, literature, movement, and performance. \n\n\t\t\tPrior to the Gallery, she worked as an independent curator, producer and writer, and developed art initiatives in Asia, Europe and the Middle East. She founded Belarmino&Partners in 2008, where she initiated a series of interdisciplinary collaborations in non-conventional spaces such as parks, cafes, clubs, apartments, kunsthalle and performing arts spaces. From 2011 to 2013, she curated the artistic programmes for ArtScience Museum and was commissioned to curate the inaugural year of ArtScience Late from 2014 to 2015. \n\n\t\t\tShe has authored a chapter for the upcoming Routledge publication Companion to Dance in Asia and the Pacific. She is a recipient of the Asian Cultural Council Fellowship (2009 and 2014). \n\n\t\t\t \n\t\t\t | \n\t\t
\n\t\t\n\t\t\tJames LIN | \n\t\t
\n\t\t\n\t\t\tDirector General, Dept. of Cultural Creativity and Marketing, National Palace Museum | \n\t\t
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\n\t\t\n\t\t\t\n\t\t\t James Quo-Ping LIN is the Director General, Dept. of Cultural Creativity, National Palace Museum (NPM), Taipei, Taiwan. He experienced several positions in the museum such as a senior researcher, chief of the education, exhibition, and information service division, and director of information center. He served the museum society in Taiwan as a member of the Chinese Association of Museums (CAM) and was the acting secretary general and been elected as vice chairman of CAM for many years. He also served the American Alliance of Museums (AAM) as one of the jury chairs of the Museaward for many times. At the NPM, he is mainly responsible for organizing and developing several national programs to introduce advanced technologies into the museum. He also plays an important role in education and out-reaching program, international exchange and cooperation at the NPM and CAM. In last decade, he had been invited to dozens of venues, events, forums, and conferences as key note speaker or panelist to share his experience and insight of adopting technologies into the museum context. \n\n\t\t\t \n\t\t\t | \n\t\t
\n\t\t\n\t\t\tMali WU | \n\t\t
\n\t\t\n\t\t\tProfessor of Graduate Institute of Transdisciplinary Art Department, National Kaohsiung Normal University | \n\t\t
\n\t\t\n\t\t\t\n\t\t\t\n\n\t\t\t © Rich Matheson \n\t\t\t | \n\t\t
\n\t\t\n\t\t\t\n\t\t\t A graduate of Kunstakademie Düsseldorf in Germany, Mali WU currently teaches in the Graduate Institute of Transdisciplinary Art at National Kaohsiung Normal University. Following the avant-garde tradition, WU’s artistic practice and research focus on art and public sphere. She has launched a series of community-based public art projects, including “Playing with Clothes” organized by Awakening Foundation as part of Awake in Your Skin project, which reversed the tradition of women’s needlework and discussed women’s lives through clothes and weaving; Art as Environment: A Cultural Action on the Tropic of Cancer in Jiayi County which promoted equality of cultural participation rights in rural areas; and Art as Environment: A Cultural Action at the Plum Tree Creek, a collaborative project with Bamboo Curtain Studio which re-examined urban ecology and development through an ignored creek. With this project she won the 11th Taishin Visual Art Award in 2013. WU has consistently dealt with ecological issues by adopting art as an approach to bridge culture and nature, demonstrating the potential for contemporary art and the vital personal energy of an artist. She received the 19th National Award of Art, Taiwan in 2016 and co-curated the 11th Taipei Biennial, Post-Nature: Museum as an Eco System. \n\n\t\t\t \n\t\t\t | \n\t\t
\n\t\t\n\t\t\tJeffrey SHAW | \n\t\t
\n\t\t\n\t\t\tYeung Kin Man Chair Professor of Media Art, City University of Hong Kong | \n\t\t
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\n\t\t\n\t\t\t\n\t\t\t Professor Jeffrey SHAW has been a leading figure in new media art since the 1960's. In a prolific body of widely exhibited and critically acclaimed works he has pioneered and set benchmarks for the creative use of digital media technologies in the fields of virtual and augmented reality, immersive visualization environments, digital cultural heritage and interactive narrative. His seminal works include The Legible City (1989), The Golden Calf (1995) and the curation of numerous media art exhibitions such as Future Cinema (2000) and WYSIWYG (2019). \n\n\t\t\tProfessor SHAW is the Endowed Chair Professor of Media Art and Director of the Centre for Applied Computing and Interactive Media at City University of Hong Kong. SHAW was Dean of the CityU School of Creative Media (2009-2016), founding director of the ZKM Institute for Visual Media Karlsruhe, Germany (1991-2002), and co-founding director of the UNSW Australia iCinema Centre (2003-2008). SHAW is currently also Visiting Professor at CAFA Beijing and EPFL Switzerland. \n\n\t\t\tSHAW’s recent awards include: Australian Research Council Federation Fellowship 2003; Oribe Award, Japan 2005; Lifetime Achievement Award, Society of Art and Technology, Canada, 2014; Ars Electronica Golden Nica for Visionary Pioneer of Media Art, Austria, 2015; ACM Siggraph Distinguished Artist Award for Lifetime Achievement in Digital Art, 2020. \n\n\t\t\t \n\t\t\t | \n\t\t
\n\t\t\n\t\t\tOsman KHAWAJA | \n\t\t
\n\t\t\n\t\t\tExecutive Director, Phare Ponleu Selpak, Cambodia | \n\t\t
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\n\t\t\n\t\t\t\n\t\t\t Osman KHAWAJA is the Executive Director of the non-profit arts and circus school, Phare Ponleu Selpak, Battambang, Cambodia and a board member of Phare Performing Social Enterprise. He specializes in NGO management with a focus on education, organizational development and human resources. Having lived and worked in Pakistan, Switzerland, Austria, USA, Singapore, Indonesia and now Cambodia, Osman brings a global perspective to challenges while staying sensitive to local contexts. Phare Ponleu Selpak, provides programming and addresses challenges in close collaboration with the community. Both, Phare school and Phare social enterprise are playing a key role in the rapidly growing arts, culture and creative industries in Cambodia – impacting the future through the art education and opportunities provided to the youth and young artists. \n\n\t\t\t \n\t\t\t | \n\t\t
\n\t\t\n\t\t\tWANG Lien-cheng | \n\t\t
\n\t\t\n\t\t\t\n\t\t\t Lecturer, Department of New Media Art, Taipei National University of the Arts \n\t\t\t | \n\t\t
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\n\t\t\n\t\t\t\n\t\t\t Lien-cheng WANG is a new media artist, open-source education collaborator, and audiovisual performer, residing in Taipei, Taiwan. His artistic and research involve interactive devices and real-time sound performance. He uses open source to create installation art and audio-visual real-time performance. The works are committed to a seamless combination of images and sounds created by computer algorithm as well as human perception with the universe and nature. He often utilizes a volume of installed approach to achieve a unique physical perception. Now he is currently appointed as lecturer in the Department of New Media Art of Taipei National University of the Arts. His works have been exhibited and performed at Linz Ars Electronica (Austria), New Technological Art Award (Belgium), Les Journées du GRAME (France), MADATAC (Spain), Digital Art Festival Taipei (Taiwan), Taipei Art Awards, etc. \n\n\t\t\t \n\t\t\t | \n\t\t
\n\t\t\n\t\t\tBaboo LIAO | \n\t\t
\n\t\t\n\t\t\tTheater Director | \n\t\t
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\n\t\t\n\t\t\t\n\t\t\t Born in 1978, Baboo holds an MFA in Theatre Directing from the Taipei National University of the Arts. He was artist in residency at National Theater and Concert Hall, Taipei in 2017. He was artist in residency at the Watermill Center hosted by Robert Wilson in 2008, 2014 and 2017. Baboo has been frequently invited to international exchange programs and performances, and as a prolific young director, he continues to maintain high visibility, receiving much attention from various fields. \n\n\t\t\tSince his theatre directing debut in 1997, Baboo has directed some twenty-nine productions, two of which have earned him the awards for Taishin Arts Awards for Annual Top 10 Performing Arts. Recent works include: Chroma: A Derek Jarman Project, Corona Villa (2020), Am Königsweg, Mythology Upon the Table (2019), God Knows (2018), Caged Time, Common Tragedies (2017), How Long is Now? (Taipei Arts Festival), Serenade, One Hundred Years of Solitude (2016). \n\n\t\t\t \n\t\t\t | \n\t\t
\n\t\t\n\t\t\tKENG Yi-wei | \n\t\t
\n\t\t\n\t\t\tDramaturg of National Kaohsiung Center for the Arts (Weiwuying) | \n\t\t
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\n\t\t\n\t\t\t\n\t\t\t The dramaturg of National Kaohsiung Center for the Arts (Weiwuying), visiting assistant professor of theatre arts at Taipei National University of the Arts and National Taiwan University of Arts. He was the Artistic Director of Taipei Arts Festival (2012-17). He was awarded the Freundschaftsmedaille and Chevalier dans l'ordre des Arts et des Lettres. \n\n\t\t\tKENG Yi-Wei has written the books which include “Tips for Story Writing”‚ “Robert Wilson: The Infinite Power of Lights”‚ “The Short History of Modern Mime”. He translates the books from “Letters to Felice, Empty Space”, and “Cambridge Introduction to Theatre Studies”. \n\n\t\t\tRecently, he just curated the exhibition “Between Earth and the Sky: The Spiritual State of Our Times” (2020) in Taipei Fine Arts Museum. \n\n\t\t\t \n\t\t\t | \n\t\t
\n\t\t\n\t\t\tTING Hsiao-ching | \n\t\t
\n\t\t\n\t\t\tBoard Chair of Taiwan Creative Content Agency | \n\t\t
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\n\t\t\n\t\t\t\n\t\t\t TING Hsiao-ching received a B.A. in philosophy from National Taiwan University. She served as reporter, television documentary filmmaker, and worked for Taiwan Public Television Service (PTS) as news department producer and deputy director of the reporter division. From her wide experience in media TING has acquired an acute sensibility for visual image and a profound insight into various social issues. During the eight years serving as programming department manager at PTS, TING oversaw the production of several famous Taiwan dramas, such as Wake Up in 2015. She facilitated the innovation of television programs and has been recognized by several international awards. \n\n\t\t\tDuring the years serving as political deputy minister of culture, TING participated in launching multiple initiative programs for cultural content industries and in legislative enactment of major bills regarding cultural affairs. She engaged in the establishment of Taiwan Contemporary Culture Lab (C-Lab). In May 2019, TING was inaugurated as board chair of TAICCA. She will utilize institutional support to establish a platform for interdisciplinary cooperation, to accelerate the progress of content industries, to plan for global distribution and to build a brand identity for Taiwan’s cultural industries. \n\n\t\t\t \n\t\t\t | \n\t\t
\n\t\t\n\t\t\tChris MILLADO | \n\t\t
\n\t\t\n\t\t\tVice-President and Artistic Director of the Cultural Center of the Philippines | \n\t\t
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\n\t\t\n\t\t\t\n\t\t\t Chris currently oversees the artistic programs of the Cultural Center of the Philippines which include the music, theater, and dance seasons; film screenings, competitions and festivals; literary events and publications; museum and visual arts gallery exhibitions; arts education and outreach events; and its cultural content development and research initiatives. At the start of the lockdown brought about by COVID-19 he managed the shift of the Center’s programs to online platforms. He led the digital transformation of the Center through its digital assets management activities. He also led the management and publication of the 12-volume Encyclopedia of Philippine Art in its print, online and offline versions. He headed the multi-platform Manila Performing Arts Summit which included the Manila International Performing Arts Market, the Conference of the Association of Asia Pacific Performing Arts Center and the Meeting of the Federation for Asian Cultural Promotion. Some of the Festivals he has curated include: the Cinemalaya Philippine Independent Film Festival, the annual Pasinaya CCP Open House Festival, the Festival of Arts and Ideas, International Theater Festival, National Theater Festival, among others. An accomplished stage director and playwright, his works have been produced in Manila, San Francisco, Chicago, Hawaii, and New York. \n\n\t\t\t \n\t\t\t | \n\t\t
\n\t\t\n\t\t\tHUANG Wen-hao | \n\t\t
\n\t\t\n\t\t\tChairperson of Digital Art Foundation | \n\t\t
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\n\t\t\n\t\t\t\n\t\t\t HUANG Wen-Hao was born in Changhua city, Taiwan in 1959, and graduated from Department of Biology, Chinese Culture University. He established a new media art laboratory institution, ET@T in 1995. In 2000, he established ET@T lab with KU Shih-Yung, CHANG Alf, WANG Fujui to develop interactive installation to explore the aesthetic possibility, conduct technical research, and present various new media artwork ever since. From 2006, he was in charge of Taipei Digital Art Festival. In 2008, he served as the Chairperson of the Digital Art Foundation. In 2009, he served as the CEO of Digital Art Center, Taipei, and established ET@T Lab Theater which promoted digital art performance. Since 2012, he has incubated Noise Kitchen (specialized for new media art programming), Solid Memory (specialized for 3D scanning and digital double research), Telling Tent (the theater for children), and published Digital Art Criticism and online media Nomansland. In 2018, he established and operated Taiwan Digital Art Center and VA hub, and focused on exploring creative thinking in technology society. \n\n\t\t\t \n\t\t\t | \n\t\t
\n\t\t\n\t\t\tCHIEN Wen-pin | \n\t\t
\n\t\t\n\t\t\tGeneral and Artistic Director of National Kaohsiung Center for the Arts (Weiwuying) | \n\t\t
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\n\t\t\n\t\t\t\n\t\t\t CHIEN Wen-pin, General and Artistic Director of the National Kaohsiung Center for the Arts (Weiwuying), was born in 1967, graduated from the National Taiwan Academy of Arts and awarded with Master degree at the National University for Music and Performing Arts Vienna. CHIEN joined the Deutsche Oper am Rhein (Dusseldorf/Duisburg, Germany) in 1996 and served as “Kapellmeister” for 22 years. 1998-2004 he was Resident Conductor of the Pacific Music Festival (Sapporo, Japan); 2001-2007 he was Music Director of National Symphony Orchestra (Taiwan Philharmonic), during his tenure the orchestra has achieved several milestones such as creating Subscription series, commissioning Taiwanese composers, introducing an opera series which coroneted with the first production of the complete “Ring des Nibelungen” by Richard Wagner in Chinese speaking areas, upon the orchestra’s 20th anniversary in 2006. 2014-2016 CHIEN was the Artistic Advisor of the National Taiwan Symphony Orchestra. \n\n\t\t\tCHIEN was the winner of the “National Award for Arts” in 2014. \n\n\t\t\t \n\t\t\t | \n\t\t
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