Discovering Beitou Through the Senses


Hong-Gah Museum Field Trip  


The second field trip within the “Bodies in Beitou” program had professors I-Wen Chang and Hsi-Chuan Liu introduce IMCCI students to the Hong-Gah Museum and its current exhibition: “Beitou Local Flavors Collecting Project”.

The museum occupies the 11th floor of a commercial building in Daye Road and has windows to long extensions of green fields between Taipei and New Taipei City. The view inspires visitors to enjoy a momentary escape from the urban movement and noise of sidewalks and roads downstairs.

The “Beitou Local Flavors Collecting Project” exhibition is a multi-platform initiative that brought together students of different ages from institutions in Beitou as well as experienced artists – all under the supervision of curator Zoe Yeh.

Yeh introduced the exhibition as a multi-year effort in its third edition. Her goal was to develop a wider audience for the museum, starting with a partnership between the museum and educational institutions in Beitou.In an effort to include a more specialized audience after the 2017 exhibition, Yeh invited established artists for the collaboration and the result can be seen in the richness of forms, materials and conceptual developments throughout the gallery rooms.

Chen Hsiang-Jung worked with ceramics and plastic to reference iconic elements of the Beitou Market, Yanzhi experimented with different forms and display of fermented food, Kao Ya-Ting produced four large-scale multicolored paintings inspired on beekeeping, Chen Jen-Pei brought stories of Shi-Pai senior students to life with bright food photographs and the duo Zo Lin and Yi Fen Yi collected leaves and weeds as well as images of fog, smoke and vapor around the neighborhood to produce an ethereal display of tea making, which infused the museum in a light perfume al the way from the entrance.

A documentary following Datun Elementary School students’ efforts in growing radish and their notebooks documenting the process displays a very practical complement to the exhibition, inspiring IMCCI students to explore ideas for the next year’s exhibition theme in not only conceptual fronts but practical projects as well.  

At the end of the exhibition, a projection room with tables, colored pencils and activity leaflets invited visitors to contribute with their own “flavor stories”. A series of drawings produced by visitors of all ages decorated the walls while IMCCI students and professors discussed the main ideas of the exhibition and shared plans for the development of the “Bodies in Beitou” project. Curator Zoe Yeh also shared a few ideas, including her plan to collect gestures and mannerisms of cultural elements typical of Beitou, such the motorbike taxi drivers.

After the visit, students were free to walk and explore the Beitou area for themselves and start collecting their own narratives for the next steps of the project.

– Written by Clarissa Perrone Butelli



Hong-Gah Museum (English content)

Hong-Gah Museum (Facebook page, Chinese content)

Chen Hsiah-Jung


Kao Ya-Ting

Weed Day

Railways, Hot Springs and History in Xinbeitou

Beitou Storyteller Field Trip  

“Bodies in Beitou” is the common thread along a series of activities for IMCCI students throughout the first half of 2019. The theme is the starting point for next year’s (2020) exhibition at the Hong-Gah museum, in a partnership between the museum and Taipei National University of the Arts. To inspire students in their assignments for this collaboration, professors I-Wen Chang and Hsi-Chuan Liu combined efforts in a two-hour open-air class in Xinbeitou area in Taipei.

Well-known for its japanese colonial architecture, Xinbeitou has its history deeply connected to the buildings that sprouted around its green sulphur water hot springs. The remnant buildings and ruins of hot spring hotels that used to cover the region are signs of the scale this business once had: at the peak of its activity, the area offered almost 80 different hotel options for visitors.

Throughout the tour, students were introduced to local landmarks such as the reconstructed railway station, built in 1916 to cater for the increasing number of visitors to the area.

Xinbeitou was famous not only within city limits: at the golden age of taiwanese cinema – in the 1960s and 1970s – more than a hundred films were produced in the area and have the area as their scenery. Part of this history can be seen in the photos and posters along the Beitou Hot Spring Museum.

The Museum was one of the main sights of the visit and it is an interesting symbol of the rise and decline of the hot spring industry in the region. Inspired by the architecture of its Japanese predecessors, the former public bath house was the largest in East Asia when built. It became an entertainment destination during the Japanese rule and saw its decline with the abolition of licensed prostitution in 1979. Almost two decades after that, the building was found by professors and students of the Beitou Elementary School, who organized an effort to revitalize the local cultural asset. Another two decades later, a restored museum was open to public visitation.


Today, details such as different-sized and shaped pools for men and women, the aeclectic mixture of romanesque columns, stained glass windows, japanese tatami mats and other architectural elements offer visitors more than a narrative – they allow for learning with the senses. Switching shoes for soft slippers at the entrance and sitting in the tiled baths and on the open tatami floors are only a few of the experiences that invite students to use more senses than hearing and vision in their learning, and it is a great first step into understanding the idea of “Bodies in Beitou”.

– Written by Clarissa Perrone Butelli



Hot Spring Museum Taipei (English content)

Beitou Storyteller Guided Tours

Voices of the Heart – Rediscovery of Beitou Hot Springs Museum

Beitou Hot Spring Museum 20th Anniversary (English content)

Brand Extensions and Corporate Museums (2-day workshop) – Alberto Campagnolo

003 brand extensions alberto poster - horizontal-01「品牌延伸和企業博物館」2天的工作坊,Alberto透過講座和小組作業協助學生創造一個思考的路線圖,以動態有效的方式開展品牌傳播。該工作坊幫助學生研究如何運用和重新創造,為藝術領域創造品牌,包括企業機構博物館,創建品牌的真實故事。
A two-day workshop on “Brand Extension and Corporate Museum”, Alberto helps students create a roadmap for thinking through lectures and group assignments to develop brand communication in a dynamic and effective manner. The workshop helps students study how to use and re-create, create brands for the art world, including corporate institutional museums, and create true stories of brands.

Alberto Workshop IMG (4)

“Brand Extension and Corporate Museum” International Brand Marketing Workshop

In a two-day workshop, Alberto helps students create a roadmap for thinking through lectures and group assignments to develop brand communication in a dynamic and effective way. The workshop helps students study how to use and recreate and create brands for the art world. Package the corporate agency museum to create a true story of the brand.


Alberto Workshop IMG (8)

11/15上午理論課內容 (lecture on 5 Nov morning session)



“營銷只針對大公司”,大品牌,這是一項持續的投資。“營銷是可選的但品牌是必須的”,要建立標誌性產品是不容易的。Alberto舉例Armani,可口可樂,Harley Davidson,雀巢公司, Nike,Gucci等,當營銷正在進入市場,品牌既回歸公司,四大支柱:產品,通訊,服務,分銷,而四條“腿”必須完全對齊。

11/5下午工作坊 (workshop on 5 Nov afternoon session)


第一部分- 3-5張幻燈片- 關於口頭交流,每一部分都有一個與品牌相關的形容詞(定義品牌)和圖像說明品牌的四大支柱(產品,溝通,分銷,服務)。

第二部分3-5幻燈片- 關於顏色,紋理質感等,以視覺為主,而非語言交流。

第三部分- 1張幻燈片- 講故事(最終演示,品牌的支柱)

Alberto Workshop IMG (9)

11/16上午理論課內容 (lecture on 6 Nov morning session)


企業博物館的三個驅動因素–翻譯/背叛/背叛。對於企業博物館來說,需要有“傳統”,以便有足夠的材料用於展覽內容脈絡。將業務“轉譯”為藝術維度詮釋。“背叛”是讓你迷失在博物館中的作品尺寸,是抽象的,如織物的質地,駕駛摩托車的感覺。例如在佛羅倫斯的Roberto Capucci博物館只展示衣服、紡織品和鏡子。

11/16下午工作坊  (workshop on 6 Nov afternoon session)




Art & Science Interactions in Society/Art & Ethics – Lecture and Workshop – Lucas Evers

lucas-web version

Art & Ethics – workshop proposal, Taipei National University of Arts
Lucas Evers, Waag – Technology & Society

There is a still growing interest of artists to work with living materials, with living organisms, with living systems. These works are 1) always performative by nature of the living and acting component and 2) always hold the responsibility of taking care of the living element. That responsibility brings about moral and ethical elements within the artwork, in cases closely related to the ethical elements that are evaluated by ethics expert panels in scientific research. The juxtaposition of the art-ethical practice and the scientific-ethical practice is what the project Trust Me, I’m an Artist is based on: the artwork is presented as if it were a scientific research proposal and evaluated by an ethics expert panel in the presence of an audience, revealing the ethical dilemma’s and complexities of art working with life and revealing the working of responsibility structures within scientific and societal institutions and the individuals involved.

For the Art & Ethics workshop on November 5 at Taipei National University of Arts, participants to selected an artwork that they felt contains moral / ethical components to be briefly presented within the workshop participants group, where after the ethical components were discussed. A possible curatorial context and framework wherein a selection of the artworks will be exhibited was proposed by participant groups.

The workshop was based on the DIY version of Trust Me, I’m an Artist.





Visiting the Northerners of the South

花東之行-web version

Interaction with arts through an indigenous community

  • TNUA and IMCC graduate students travel to Eastern Taiwan to explore the unlimited features of contemporary art


Through the outdoor installations in the public space, the common feature of the three events as they are, an increasing interest from both the governmental and private institutions in developing art and culture projects in the marginalized regions has been noticed, especially how these projects may benefit the communities in terms of prosperity, tourisms, and infrastructure, while their subtle influence on economy, education, traditional culture, ecology, population, and tribal arts is also emphasized, allowing the society to employ artistic activities to look for future possibilities.
Curator’s statement (.doc download)

Art is something you can find everywhere. It can be really close to you, but sometimes it can take you far away to explore what an indigenous community wants to tell you about their way of living. Graduate students of TNUA’s International Master of the Arts Program in Cultural and Creative Industries (IMCCI) and Fine Arts departments had the opportunity to travel to the east coast of Taiwan to appreciate the imaginative perspective of the locals to reflect their present by addressing relevant issues to their daily life. This exciting journey allowed the big group of 38 people to visit the major art festivals held in the coastal areas throughout Hualien and Taitung this year, including MIPALIW Land Art, Taiwan East Coast Land Art and The Hidden South Exhibition.


With a very busy itinerary ahead, the group guided by the professors Manray Hsu, Ya-Tin Lin, I-Wen Chang and the director of the Office of the International Affairs Jau-Lan Guo, started the trip in Hualien, which is a breathtaking place because of its natural beauty and peaceful atmosphere. It is also an indigenous land where most of the ethnic groups in Taiwan converge: Amis, Atayal, Bunun, Truku and Kebala. In addition, these tribes are well-preserved and cohabitate in a quiet harmonious environment.

One of the members of the Amis tribe, Su-Min Su, gave the group the warmest welcoming during the first stop in a former elementary school called Jiqi to visit the exhibition Under-current. The selection of artworks in this exhibition responds to the curative work of three local artists, but also includes pieces from foreign artist.  Even tough Hualien is far away from Taipei,  , the curators have been leading a remarkable work to interact with international artists and bring them to their communities.

The name of the exhibition takes a stand against the stereotype of “laziness”, a generalized prejudice about aboriginal people. Su-Min Su, who is also one of the curators involved in this log-term art project, disagrees with this idea; she truly believes that “you will really know that we are hard-working people once you come to stay with us and connect with us”.

Collecting art is not less hard than creating it. “We have a lot of challenges since we have to negotiate with the government to get funds to encourage this creative production, with special emphasis in local culture. However, we also want to develop a more inclusive work by integrating artists that come from abroad. Foreign artists are invited to live with us for a while aiming to ‘holistically’ understand our customs and living conditions where they will find that both work-life balance and environmental care are a must for us”, explained Su.

In fact, some of the pieces were elaborated with waste material or garbage recollected from the sea. The feminine symbolism in some other pieces was also prevalent. «KITA» an artwork made by an Indonesian artist, Arya Pandjalu, is the creation of three huge female sculptures modelled with marine waste. The artist wanted to pay tribute to the women of the Arashisaki tribe who adhere to traditional agricultural techniques and work hard to care for their families. This piece also brought an important issue to the Amis tribe: to reassure environmental care.

Contemporary art comes in a variety of forms and sizes. Sculptures made of different types of wood, fiber, metal and rocks showed the unlimited imagination of the local people to express the energy, intuition and forces that shape their identity into their creative work. Su-Min Su expressed that “a creative process is not only about art, but it is also about art in terms of life”.

Fu Hsing Tribe: no smoke, no alcohol, no drugs


After having a great introduction to the efforts of the curators to mobilize creativity towards their remote communities and develop a sustainable project to promote their culture, the crew from TNUA visited an aboriginal village: Fu Hsing Tribe. Besides siting at the table to relish a delicious lunch of meat, fish and vegetables with the members of the village, the professors and students also enjoyed a series of stretching exercises projected in front of a television and led by the grandpas and grandmas –‘agong-ama’– of the small town. This routine that helped the group to digest of their succulent meal is a practice that elders repeat at least once a week to keep them healthy and vigorous.

In the Fu Hsing tribe, only four out of the 28 people living there are from young generation. This location as others in Hualien has been suffering a negative population growth over the past years due to the continuous emigration of younger generations to other places in search of a better work or study opportunities. This is also called aging society with less kids. “Most of the guys have gone and do not want to come back. Old people’s life is not attractive to them. We are a community free of stress and free of toxic habits such as smoke, alcohol and betel nuts… We are committed to have a slow-paced life, focus on what really matters: care of nature and our health”, appointed Hui-Fei Chang, the leader of the village who also gave a talk about the lifestyle they share with their neighbors. Xiao-hua is one of the young women who has returned to her community. Nonetheless Hui-Fei is aware that one day, when she decides to start her own family, she could also leave.

Outdoor installations


In the afternoon the group continued its thoughtful exploration of contemporary art by making a stop in some outdoor installations. The crew not only had the chance to feel the quietness of the place and enjoy the awesome scenic view of the ocean, but also appreciate the artworks displayed along the coast.

Nowadays people in the fine arts play with materials in more innovative ways, but there is always a difference or uniqueness in the attitude of the artists to use these materials in relation to their work spaces. It would therefore not be too exaggerated to say that practitioners of the fine arts must overcome the limitations of the materials and spaces to get to engage with their audience. In Hualien, artists do not need to face this type of problem. On the contrary, they are aware of the spacious ground they have around them to create abstract art and encourage sculptors to enlarge their imagination.

Own daily life inspiration


By observing their own daily life, artists have been able to produce a few wonderful pieces that are expressions of an organic design in response to environmental care and reflect through aesthetic and functional standards their interests and concerns. Among the long list of artworks there was one titled “Wine partner” created by Sumi Dongi, who has been engaged with tribal literature and history research for many years. Her work consisted in the creation of a roofless cabin with only a table settled in the middle of it, two small chairs and two cups for the potential drinkers. Through this installation she wanted to bring to the fore a gender issue; she symbolizes intimacy and connectivity, especially between women, with the wine as a medium to support each other.

“In the past, social hierarchy based on a range age determined the ability of aboriginal women to make decisions, but the situation has fortunately changed. The liberty to sit in the middle of the countryside to breath fresh air, to smash the tiredness of the heart, to share a drink and have a talk with a friend about the changes in the way they are perceiving or even leading their lives is other of the themes exposed in this artwork”, commented Su-Su.

Other of the pieces called “Talo’an”, which is a real shelter made of wood for those in the community who want to take a rest after an extensive day of labor, showed awareness of the care of the forests, as some of the materials utilized for its creation are extinct. In general, through this selection of artworks visitors can see how concerned the population of Hualien is to preserve their natural resources and keep a healthy living style.

Some installations are simply attractive to tourists that get off from their cars to take pictures of them or selfies.

As soon as the sun dipped beneath the horizon, the group that went from one place to another one in a tourist bus –‘youlanche’– made its way to a different strategic point for the art exhibition. The group arrived at a historical whirlpool, a big port estuary pavilion that serves as a location to expose other installations that give the visitors a wider idea of the connection achieved between foreign artists and locals. Some of their artworks feature the cultural context as a medium to contact with nature and local customs.  Later, the group visited an exhibition of illustrations called “I am Amis” at the Cepo’ Art Center. This collection brought together the drawings of children, each with a naïve and unique point of view that described different kinds of feelings and perceptions about their aboriginal identity. Some in the group were amused by the pictures because kids always find a funny way to treat transcendental topics such as loneliness, affliction, sickness and death.

Interesting debate with sophisticated topics


The time was strictly controlled due to the hectic schedule of this two-day trip named “Visiting the Northerners in the East”. At night, the group participated in a heated and fruitful debate and deep discussion. Even though everyone looked tired before the dinner and almost ready to go to sleep after having a long day, professors and students still had energy to take part in an interesting dialogue which included a wide variety of sophisticated topics, with Professor Manray Hsu as a moderator and Professor I-wen Chang as the interpreter for IMCCI students.

For this in-depth educational lecture, we had the presence of Biung Ismahasan who presented a research titled “Ethno-Spaciality as Sovereignty: Articulating ‘Performative Indigeneity’ within Taiwanese Indigenous Curatorial Practice.” Through this seminar, students got to know the work of the member of the Truku tribe and activist Don Don Honwn, who has taken his pieces, focused on an ethno-aesthetic nature of Taiwanese tribal performative art, to an international level.

In Don Don’s opinion, the poetic language used in his performance -characterized by an authentic musicality-, has not been a barrier to expose his indigenous identity abroad. On the contrary, this has been a “powerful strategy” to expand his audience. “Foreigners find wonderful and powerful what is unknown or exotic to them”, declared Don Don when professor Chang asked him whether relying on a language that people from Norway, where he had a performance, do not understand, created any sort of barrier or possible exoticism.

During the seminar, the participants also discussed about the alternative spaces available for indigenous intervention and curatorial activism. Concepts like white cube, global South and identity itself aroused a series of inquiries. Professor Manray Hsu came out with a few of them: Where are we? What has a greater role, indigeneity or contemporary art? What is the spirituality of a piece of art? “How do we define ethno-spaciality?” added Professor Lin Ya-Tin.

In addition, a student from IMCCI asked where was the “starting point” to bring out the topic of tribes and the implications of the differences with other geographic spaces? to which the Professor Hsu responded: Is there even an “ending point” related to this global concern? At the end, both agreed that sometimes even a multitude of channels or bridges do not help to address some issues, particularly those pertinent to cultural loss, and you may see an empty place where you will find conflicts instead of solutions. On the other hand, Su-Min Su stressed the idea of trying to find the “starting point” in common people. “If we do not know how life works in terms of the arts, then we are in front of a weakness”, concluded Su-Min Su.

The Hidden South Exhibition


In the second and last day of the trip, the group spent most of the time touring the exhibition titled The Hidden South. This is the fourth year that the administration office runs this event, which covers the area of Taitung and offers a moonlight ocean concert. During the summer, tourists can enjoy a three-day music festival along the coast with participants from many different countries. But, in this occasion, the reason to go further south was to appreciate other abstract artworks.

The features of more than a dozen pieces were explained by the curator Eva Lin, who pointed out the importance of highlighting a marginalized issue, instead of seeing the success through art. “It is not that convenient to only look for economic values when there are many concerns to accomplish a better understanding between the interests of the government and the demands of the local people”, emphasized Eva Lin.

To give an example, Eva Lin said that “the idea of environmental conservation comes from the indigenous legends, not from science. To the government, it is easy to say that we are a superstitious culture, and even though I respect the energy and legacy of our ancestors, I also find it necessary to believe in the progress of science, because we use technology to expand our creative work”, she said

In a remote place like Taitung, where they are still working on the extension of the South road, technology plays a great role. As beautiful as Hualien is, Taitung has been recruiting the talent of various artists who are interested in appropriating the customs of this part of the island.

Overall, our trip to the east presented a unique opportunity to acquire a better understanding of how to manage and curate art projects that involve aboriginal communities, and it provided a chance to unplug from the rushed pace of city life and immerse ourselves in the lifestyles of the various communities we visited.


Written by Xiomara Gonzalez Sotelo

Visiting the Northerners of the South (Chinese version)











森川里海藝術季的英文是Mipaliw Land Art,Mipaliw在阿美族語中為互助的意思:有水田的人請沒水田的人幫忙做勞力活,並致贈稻米做為報酬。即便是現在,Mipaliw的精神仍在延續,不過今年除了帶出人與土地之間的互助關係外,更把情境拉到喧囂的當代世界,詢問在考驗重重下,人與自然的連結如何持續穩定走下去。

























第一天的尾聲特別邀請布農族策展人彼勇(Biung Ismahasan)以及太魯閣族展演藝術家東冬侯溫(Dondon Houmwm)進行對談與演講。















《潮間 共生》之「島 群之間」是今年大地藝術節的命題,探討著花東視角如何觀看台灣與無數個坐落於海洋中島嶼的關係。南島語族的分布北至台灣、西至馬達加斯加、南至紐西蘭、東至復活節島,透過海洋,千年來南島語族不斷流動,並創造了獨特的海洋文化。在遷徙過程中,人與海洋建立的親密的連結。















News & Info_知識就是設計的靈感泉源


很多人容易把設計與創作合併在一起理解. 事實上完成一項設計,需要強大的資料作為後盾,以及深厚且廣泛的知識基底.本計畫參與的研究生許生翰就察覺到: 泰國在國際設計界快速崛起的主要原因之一,就是泰國在支持設計的建設基礎上,慷慨提供足夠的知識資源.

這裡我們找到一個很不錯的網站:[設群],裡頭有篇文章,特別介紹泰國創意設計中心設置的 Material ConneXion 曼谷「全方位服務圖書館」,令人欽羨的是:泰國政府不僅提供豐富的材料資訊,同時也提供設計師、品牌和製造業三方共同參與的專案,設計師加入會員後,可以取得材料製造商的聯絡詳細資訊,並且快速開啟實際的合作關係。從產品設計到行銷的整體規劃,設計師的想法不僅可以成為產品,對推動泰國當地設計產業的發展,也有一定的助益。


“設計師的探索實驗天堂:亞洲最大!曼谷材料圖書館 MATERIAL CONNEXION”

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有興趣多了解Material ConneXion,請見: 


****上圖截圖自:Material ConneXion網站的圖片報導

The Collaborative Teaching 『跨國協同教學模式』


本計畫所擬的『跨國協同教學模式』,其學理是來自美國教育學者Shaplin J.T在1960年代所提出的教育模式觀點,由2位以上的師資組成教學團隊,負責同一群學生的學習。這套教學模式的早期的背景,是源自於教師缺乏的教學需求所採取的應變方法,爾後因應知識經濟蓬勃發展的時代需求,單一專業性的知識學習與能力已經不足以應付社會多樣化發展,且大學課程的跨領域課程(interdisciplinary courses)日漸受到重視,因此協同教學後來發展成為跨領域課程使用的方法之一,這是由於為了因應社會多元化的需求,學習者必須具備組織及連結各種學科知識的能力,找出不同觀點與知識的共同性,以此發展出能面對複雜生活世界所需要的多元解決問題能力及宏觀的視野(王素芸,2009)[1]




[1] 王素芸(2009)。協同教學的意義、特質與類型。教育研究與發展期刊(5:2)55-80。


2016年以撰寫有關品牌發展報導的「品牌志」網站,1月份專題「品牌設計:都是MIT,泰國值得我們學習之處?」[2]提及泰國在近年來以服務業與創意設計相關產業為主,發展出令人矚目的成就,除了政府於2003年起斥資200億泰銖推動「Creative Thailand」計畫, 展現發展文化創意的決心之外,在人才培育上支持朱拉隆功大學等知名學府發展創意相關產業科系,並且在當地大型購物中心或是文化公共機構,定期策畫大型展覽提供設計者展現才能的舞台。此外,除了強調創意知識的累積與分享,讓設計進入日常生活之外,政府打造各種平台用此凝聚產業鏈,從「國家文創基金」提供創業補助金,到舉辦大型專業展覽,增加設計師能見度,以及國家進行國際行銷(例如Thai Food),用不容易被取代和模仿的文化創意設計帶動國家經濟發展(品牌志,2016)。


[2] 請見: 品牌設計:都是MIT,泰國值得我們學習之處?

[3] 朱拉隆功大學美術暨應用學院英文全名為: Faculty of Fine and Applied Arts, Chulalongkorn University