Hakka Affairs Commission, Taipei City Government

TFAM Net.Open Project

Located on the south side of the Taipei Fine Arts Museum (hereinafter referred to as the "TFAM") on Zhongshan North Road, Taipei Fine Arts Museum Expansion, officially began construction in 2022 and is expected to open in the end of 2028. As an extension and expansion of the Taipei Fine Arts Museum, Taipei Fine Arts Museum Expansion is not only given the role of accommodating more audiences and pluralizing its functions in terms of “hardware” (building and equipment); it is also tasked with imagining and practicing the possibilities of future art development in terms of “software” (art and culture) content. Therefore, in response to the museum's original position as a permanent exhibition site and research center for modern art history in Taiwan, the new museum will explore contemporary art, new media or technological art, live art, and interdisciplinary cooperation in depth, and will actively develop a more diverse audience and community.

In order to realize the new page of the TFAM's future, and to respond to the application of new technologies in art creation or institutional systems in the digital age, we hope to establish the "TFAM Net.Open '' platform as a hub for the convergence and co-creation between art creators, computer engineers, scientists, arts administrators, and production teams. Curators and artists are invited to push the boundaries of virtual mediums and online spaces beyond physical exhibitions. The platform also integrates online and offline activities to provide audiences with more diversified channels to get closer to the core of the artists' creations. Through the art projects on the platform, we hope to unite the community that focus on the development of cutting-edge technology and art, and hope that through the process of co-production and cooperation, we can foster the innovation of the museum in the aspects of knowledge, practice, technology, and system.

Program Commoning

In the same period, TFAM presents the offline program "Commoning" in room E located on the basement floor of the museum, inviting local curators/artists/communities concerned with cutting-edge technology and art to co-create a series of thematic activities. Based on the premise of public participation, the four sub-projects discuss the shared future of art creators/groups, the public, and the museum, and outline the imagination of tomorrow's art and culture ecosystem together.

Commoning 1 （2024.4.20–5.19）#Rikey Tenn + Wu Chi-Yu

Sea of Islands: Networked Art Communities in Our Time

In the face of the drastic changes in the global art ecology after the pandemic, the first project invites Rikey Tenn and Wu Chi-Yu, who co-create Sea of Islands: Networked Art Communities in Our Time. Starting from the oceanic genealogy formed by islands, and based on the technology of the sensible which belongs to the five "non-fungible" islands, the project reflects on the agency of technological media in art community practice, and then internalizes the metaphor of "islands" into the redistribution of regional networks. Each of the five consecutive weeks of the program will feature a collaboration between a curator and an artist who will invite the wider public into the core of art creation and with it ponder how the integration of online and offline worlds can influence both artists’ thought processes when creating artworks as well as the presentational methods of arts.

Commoning2（2024.6.1–6.23) #Volume DAO

Kairos

With the rapid change of new technologies, web3 has thrown a series of unanswered questions at us, such as how should we think about the relationship between art and forward-looking technologies? Volume DAO, a well-known crypto art group in Taiwan, has launched the "Kairos" project, which utilizes the incorruptible trait of blockchain to allow blockchain technology to leave a "proof of presence" for the public to participate in art and cultural activities, and through a series of activities to decipher what crypto technology is, how to use crypto technology to conceal public identity and disclose the footprint of the art at the same time, as well as how to increase interaction and identification of the art organizations and their publics in the art ecosystem in the future.

Commoning 3（2024.7.13–8.11) Digital Art Center Taiwan

VR Library

In recent years, the XR field has been booming. Whether it is the rapid development of headset display technology and other equipment, or the diversification of immersive fields, the distinctive cross-disciplinary nature and the potential for both art and business have made creators in the fields of visual arts, performance arts, video and animation, games, and design attracted to the field. Digital Art Center Taiwan proposes the "VR Library", which on the one hand will invite the works of young creators from home and abroad, highlighting the topic of unique and diverse forms of experience such as VR and XR, and on the other hand, experiment with the viewing mechanism of the VR Library through the opportunity of the works to face the public, and at the same time, building the research capacity for the construction of the future VR Library.

Commoning 4 （2024.6.1-11.30）#Emily Hsiang-Yun Huang

www.counterarchive.commons

www.counterarchive.commons is a project whose name refers to a non-existent URL that transforms .com, which represents commercial companies, into .commons. Positioned at the intersections between open source culture, live/performance art, and internet/net art, the project explores how the concept of archive in the digital age can develop a methodology of commoning when it comes to the negotiation of the powers of "remembering" and "forgetting". Under the themes of fragile archive, corporeal archive, and AI archive respectively, we will discuss postcolonial sound art and internet archives in Latin America, non-western and open archives of cyberfeminism, and, finally, an expanded definition of archive as dataset, dealing with AI-generated misinformation, disinformation and data poisoning, where we will reflect on and imagine the future of machine unlearning and open-source art practices.