林宏璋 HONG-JOHN LIN
研究專長為跨領域藝術、美學政治、當代藝術思想等面向。藝評寫作散見國內外期刊雜誌，並發表相關論文，參與Art as a Thinking Process、Artistic Research、Experimental Aesthetic、Altering Archive: The Politics of Memory in Sinophone Cinemas and Image Culture之英文寫作；編著《2010台北雙年展文獻》、《2010台北雙年展》、《臺北雙年展演講劇場》等書；為《藝術力》及《人造地獄》寫中文版序；著有《策展詩學》、《界線內外：跨領域藝術在台灣》、《書寫於在地之上》、《策展主體：當代展演》。
Born in Taiwan
Hongjohn Lin is an artist, writer and curator. Graduated from New York University in Arts and Humanities with Ph.D., he has participated in exhibitions including Taipei Biennial(2004), the Manchester Asian Triennial 2008, the Rotterdam Film Festival 2008, and the 2012 Taipei Biennial, Guangzhou Triennial(2015) , and China Asia Biennial(2014) . Lin was curator of the Taiwan Pavilion Atopia, Venice Biennial 2007, co-curator of 2010 Taipei Biennial (with Tirdad Zolghadr), and numerous curatorial projects such as Taizhong’s The Good Place (2002) and Live Ammo(2012) . Lin is serving as Professor at the Taipei National University of the Arts. For the past 10 years, he has been working on project based on George Psalmanazar, A fake Taiwanese in the early Enlightenment.
He is interested in transdisciplinary arts, politics of aesthetics, and curating. His writings can be found in Artco magazine, Yishu magazine, international journals, and publications of Art as a Thinking Process(2010), Artistic Research(2012), Experimental Aesthetic(2014), Altering Archive: The Politics of Memory in Sinophone Cinemas and Image Culture(2017). He wrote the Introductions for Chinese edition of Art Power (Boris Groys) and Artificial Hells(Clair Bishop) . His books in Chinese include Poetics of Curating (2018), Beyond the Boundary: Inter disciplinary Arts in Taiwan, Writings on Locality, Curating Subjects: Practices of Contemporary Exhibitions.