Taipei Art Awards 2025
Witnessing Taiwan’s Contemporary Art and the Creative Pulse of a New Generation
➤ Hsieh Jung-Wei | Orbit, 2025, sunlight, UV-curable resin, reflective elastic fabric, rubber balls, LED track lighting, high-density foam, high-density polystyrene, epoxy resin, stone-textured paint, ink on paper, dimensions variable
Grand Prize: Orbit
Inviting Viewers to Engage with Celestial Trajectories and Reflect on Humanity’s Place in the Cosmos
Orbit takes its point of departure from the historic 1919 solar eclipse, when Sir Arthur Eddington observed the bending of starlight, providing evidence for Einstein’s theory of general relativity. The installation is precisely calibrated to the sun’s path and angle, treating the exhibition space as a receptive and reflective field for light. It invites viewers into an experimental, open-ended encounter. By observing the shifting light, one can locate oneself and sense their place within the vast, unknowable movements of the universe.
➤ Taipei Art Awards 2025
Selected Works Employ Installation, Video, Painting, and Live Performance
Deconstructing the Everyday and Revealing Distinct Perspectives
Before Paint explores the impact of digital messages on human thought. Through constantly shifting partial perspectives while walking outdoors, bodily movement is activated, and fleeting, not-yet-formed ideas are sketched as they arise. The process becomes a path toward abstract perception and self-understanding.
➤ Wang Guan-Jhen | Bed by Road, 2024, oil on canvas, 163×112 cm
《母親凝視過你》 為一件現場展演作品（Live Exhibition）。作為以表演藝術為創作出發的團隊，明日和合製作所透過與觀者互動呈現作品張力。在成長的過程中，我們帶著母親的凝視越走越遠，而有一天當我們回望，是否也能在那樣的凝視中，看見她老去的生命？
Through the Mother’s Eyes is a live exhibition piece. Rooted in performing arts, the team presents the tension of the work through interaction with the audience. In growing up, we walk ever farther under the mother’s gaze—but one day, when we look back, can we also perceive her aging life through that same gaze?
➤ Co-Coism (Hung Chien-Han, Chang Kang-Hua) | Through the Mother’s Eyes, 2025, live exhibition, dimensions variable
童話總是承諾奇蹟與拯救，而 《這裡沒有神仙教母》 則以教母的缺席為核心，揭示聲音如何在制度與技術中被操控，暴露潛藏的權力結構，並達到支配與馴化的目的。使觀者能在發聲與沉默、主體與客體切換中，感受權力運作的現場。
There Is No Fairy Godmother Here centers on the absence of the fairy godmother, revealing how voices are manipulated within systems and technologies and exposing underlying structures of power. The work allows viewers to experience power in action, shifting between voice and silence, subjectivity and objectivity.
➤ Chen Yen-Chi | There Is No Fairy Godmother Here, 2025, echo doll, single-channel video, ultrasonic directional speaker, monitor speaker, PLA, audio recording, paper, LED light, acrylic, dimensions variable
These videos document Hsieh Chi-Hsun’s creative process. Instead of highlighting specific events, they depict continuous snippets of experimentation, adjustment, and exploration in everyday life. The artist intends for the work to convey that creation is not a linear, ongoing process, but rather a state of being in progress, or “on the way.”
➤ Hsieh Chi-Hsun | On My Way, 2025, water, engineered wood, iron, video, motor, dimensions variable
The Atlas of Queer Anatomy aims to construct an ambiguous and fluid anatomical system that challenges medical patriarchy and heteronormativity. The first step is the publication of a fictional textbook, Atlas of Queer Anatomy, which juxtaposes and critiques the long-standing Atlas of Human Anatomy, drawn by white male scholar Frank H. Netter and used worldwide since the mid-20th century, by highlighting its lack of gender and racial diversity.
➤ Ku Kuang-Yi | Atlas of Queer Anatomy, 2025, book, website, digital prints on textile, 3D-printed models, latex, textile, video installation, dimensions variable
Diverse Approaches to Material, Perception, and Identity
Sun Pei-Mao draws inspiration from visual forms he deeply loves. Absorbing elements from contemporary visual effects and expressing them primarily through painting, he shapes his understanding and recognition of “beauty.” Su Jui-Hao focuses on the cracks and leftover corners of existence, exploring “cleaning” as a symbolic mechanism of classification and judgment in contemporary society. Shiu Jui-Tsz’s The Territory of Self series stems from experiences working part-time in a restaurant kitchen while studying abroad. It examines how transitional migrants establish personal boundaries through the interplay between their bodies and the surrounding material environment. Chen Kuang-Jui’s Divide the Mountain Mass explores how time shapes materiality and leaves traces through change. Using metal sheets as a substrate, the work reveals colors and textures through oxidation and corrosion, creating a dynamic tension between human intervention and natural processes.
➤ Sun Pei-Mao | The Direction of Civilization, 2025, oil on canvas, 116.5×91 cm
「2025 臺北美術獎」於 12 月 12 日（五）於北美館舉行頒獎典禮，10 組作品於 308 件徵件中脫穎而出。評審團主席黃建宏表示：「今年的投稿作品，在創作者養成、創作方法、媒材等都呈現出相當的多樣性。獎項的評審機制僅作為藝術生態的一個對話環節，獲獎結果能夠成為交流與思考的動力，這才是藝術之福。」
The 2025 Taipei Art Awards ceremony was held on Friday, December 12, at the Taipei Fine Arts Museum. Ten works were selected from a total of 308 submissions.
Jury Chair Huang Chien-Hung remarked, “This year’s submissions show remarkable diversity in the artists’ development, creative approaches, and choice of media. The Awards’ judging process serves as a forum for dialogue within the art ecosystem. The results of the competition can spark exchange and reflection, and that is the true blessing of art.”
➤ Su Jui-Hao | Twilight Ecosphere, 2025, industrial remnants, wooden pallets, LCD screens, electronic boards, sound installations, video, performance, dimensions variable
➤ Shiu Jui-Tsz | Snake?, 2025, stainless steel, FRP, dimensions variable
