Amy Cheng

Amy Cheng is the co-founder of non-profit institute Cube Project Space,  an independent art space devoted to the research, production and presentation of contemporary art in Taipei. Her curatorial practice centers on the historical and geopolitical relations between Asia and the rest of the world in the contemporary scene. With the aim of delving into local culture and establishing long-term relationships with artists and cultural practitioners, she explores the possibility of ‘expanded curating’. She uses curatorial methods to promote the research of sonic culture in Taiwan, and regards Cube Project Space as a platform on which to extend this endeavor to multiple formats such as exhibition, publication, archiving, and  radio. Exhibitions curated by Amy Cheng include: ‘Liquid Love’ (International Exhibition 2020, Taipei, Part 1 of the Future Memoirs Trilogy), ‘The Ouroboros’ (2019, Taipei, Luxembourg), ‘Towards Mysterious Realities’ (2016-2018 Taipei, Kuala Lumpur, Seoul), ‘Lives’ (Fifth Anniversary Exhibition of Chung Tai Art Museum, co-curated with Cai Hongxian, 2022, Taipei), ‘Tell Me a Story – Locality and Narrative’ (co-curated with Xie Fengrong, 2016, 2018, Shanghai, Turin), ‘Phantom of Civilization’ (co-curated with Kevin Muhlen, 2015, Luxembourg), ‘Shamans and Dissent’ (2013, Hong Kong, Artist Dispatch Project Exhibition), the third Taiwan nternational Video Art Exhibition ‘Melancholy in Progress’ (co-curated with Guo Zhaolan, 2012, Taipei), ‘Re-envisioning Society’ (2011-13, Taipei), ‘The Heard and the Unheard: Soundscape Taiwan’ (Taiwan Pavilion at Venice Biennale, 2011, Venice), ‘Altered States’ (2006, Taipei) and the 2004 Taipei International Biennale ‘Do You Believe in Reality?’ (co-curated with Barbara Vanderlinden), .

In 2015, she was on the jury of the Hugo Boss Award for Emerging Asian Artists. In 2017 she was on the jury of the 57th Venice Biennale, and in 2018 she was on the nominating committee of the Spanish Han Nefkens Foundation Video Art Award.

2023 The Future of Artistic Practice, and ‘Future’ Artistic Practice