藝術家簡介
黃心健 Hsin-Chien Huang 

新媒體藝術家黃心健是一位跨界的創作者，有著藝術、設計、工程與電子遊戲的背景，一生職志探索最新科技於藝術、文學、設計與舞台表演的可能。他的作品擅長結合互動、表演藝術、動力機械、程式運算、影像裝置等的大型新媒體跨域製作。他也是師大設計系特聘教授，致力跨域整合的STEAM教育與出版。

由台大機械畢業，以優異的成績獲得兩次書卷獎；赴美後在巴沙迪納的藝術中心設計學院主修產品設計，曾以「月影」作品獲選為學校招生的代表作品。之後獲得摩荷里納基（Moholy-Nagy）全額獎學金進入伊利諾理工設計學院完成碩士學位，並與新媒體藝術家蘿瑞．安德森（Laurie Anderson）數次合作，包含Puppet Motel、Here與愛知博覽會展演、沙中房間、登月VR等計畫。他也曾在微軟創始者保羅愛倫的研究公司「區間」（Interval Research）研發互動與音樂的創新應用。之後心健投入了電子娛樂產業的開發，於美國Sega與美國索尼電腦娛樂公司擔任藝術總監，製作電子娛樂的計畫。

黃心健的作品在國際畫廊、美術館與藝術展展出，包括威尼斯影展、坎城影展、SXSW、北美館、國美館、上海雙年展、威尼斯雙年展、紐約MOMA、丹麥Louisiana美術館、奧地利電子藝術節、北京798、韓國仁寺洞藝術中心、康乃爾強森美術館、紐約布萊斯畫廊、德國Transmediale、阿根廷404國際電子藝術節等，他也參與大型委託製作，包括與敦煌研究院合作的「虛擬敦煌」VR體驗，臺北故宮未來博物館、上海世博會臺北館、臺北花卉博覽會夢想館、臺北101公共藝術等，並參與歌手周傑倫、周華健、李宗盛、江蕙、美國達人秀等表演視覺創作。

他曾獲得美國互動媒體「新聲音，新視界」首獎、美國博物館協會繆思獎、總統府頒贈「臺灣之光」、文化部之公共藝術最佳人氣與藝術創作獎、威尼斯影展最佳VR體驗、巴黎NewImages金面具獎、奧地利電子藝術節榮譽獎、洛杉磯電影獎最佳虛擬實境、坎城影展最佳VR敘事、SXSW虛擬影院競賽評審團首獎等殊榮。

黃心健於2016年集結臺灣優秀的影視互動創意人才，成立臺灣虛實展演發展協會， 並於2020年開始與奧地利電子藝術節合作，擔任臺北/福爾摩沙花園的總策展人，在國際上推廣臺灣的新媒體藝術創作。

http://www.hsinchienhuang.com/ 

Biography

Kuiyi Shen is Professor of Asian Art History, Theory, and Criticism, Vice Chair and Director of Ph.D. Program. His teaching and writing has focus on Chinese and Japanese art with an emphasis on modern and contemporary Chinese art and Sino-Japanese art exchanges in the late nineteenth and early twentieth centuries. He received a BA in fine arts from the Shanghai Normal University and an MA and PhD in art history from the Ohio State University. Prior to his 1989 relocation to the United States, Kuiyi Shen served as the director of the art book department at the Shanghai People’s Fine Arts Publishing House. Shen taught at Ohio University, State University of New York at Buffalo, Rice University, and University of Oregon before joining the UCSD faculty.

Shen is the author and co-author of many books and exhibition catalogues on modern and contemporary Chinese art, including A Century in Crisis: Tradition and Modernity in the Art of Twentieth Century China (1998); Between the Thunder and the Rain: Chinese Paintings from the Opium War to the Cultural Revolution (2000); Word and Meaning: Six Contemporary Chinese Artists (2000); Zhou Brothers—Thirty Years of Collaboration (2004); Chinese Painting on the Eve of the Communist Revolution: Chang Shu-chi and his Collection (2006); The Elegant Gathering: The Yeh Family Collection (2006); Reboot: The Third Chengdu Biennale (2007); Chinese Posters (2009); Blooming in the Shadows (2011); Arts of Modern China (2012, winner of the 2013 ICAS Book Prize in Humanities); Why Not Ink (2012), Light before Down (2013), Liangyou: Kaleidoscopic Modernity and the Shanghai Global Metropolis, 1926-1945 (2013), Echo of the Universe: Ink Art of Liu Kuo-sung (2016), Painting Her Way: The Ink Art of Fang Zhaoling (2017), Boundless: Ongoing Chinese Ink Art (2017), and Li Huayi: Landscapes from a Master’s Heart (2018).

Shen's articles have been published in The Making and Remaking of China’s “Red Classics”: Politics, Aesthetics, and Mass Culture (HKU Press, 2017), No Room for Form (China Wenlian Press, 2017), The Role of Japan in Modern Chinese Art (UC Press, 2013), Cai Guo-Qiang: The Sky Ladder (Prestel, 2012), Chinese Art in an Age of Revolution (Yale University Press, 2011), ARTiculations—Undefining Chinese Contemporary Art (Princeton University Press, 2010), Tracing the Past, Drawing the Future—Master Ink Painters in Twentieth-Century China (Cantor Center For Visual Arts, Stanford University, 2010), Writing Modern Chinese Art—Historiographic Explorations (Seattle Art Museum/University of Washington Press, 2009), Mahjong—Art, Film, and Change in China (Berkeley Art Museum, 2008), Art and China’s Revolution (Asia Society/Yale University Publishers, 2008), At the Crossroads of Empires: Middlemen, Social Networks and State-building in Republican Shanghai (Stanford University Press, 2008), Turmoil, Representation and Trends: Modern Chinese Painting, 1796 – 1949 (Kaohsiung Museum of Fine Arts, 2008), Visual Culture in Shanghai, 1850-1930 (New Academia Publishing, 2007), History of Art and History of Ideas (Nanjing Normal University Press, 2007), Cubsime: l’autre rive – Résonances en Asie (Paris: Foundation de Japan, 2007), Schudy (Jiangsu Education Publishing House, 2006), Shanshui in Twentieth Century Chinese Art (Shanghai Calligraphy and Painting Publishing House, 2006), Cubism in Asia: Unbounded Dialogues (Tokyo: The Japan Foundation, 2006), Shanghai Modern (Museum Villa Stuck, 2004), Popular China (Rowman & Littlefield, 2002), Illustrating Asia: Comic and Picture Books, Humor and Fan Magazines (University of Hawaii Press, 2001), Studies on Shanghai School Painting (Shanghai 2001), A Prospect to the Twenty-First Century Visual Arts (Taipei, 1999), Chinese Painting and the Twentieth Century: Creativity in the Aftermath of Tradition (Hangzhou 1997), as well as journals including Modern Chinese Literature and Culture, Twentieth-Century China, Inks: Cartoon and Comic Art Studies, Art China (China), Art (China), Orientations (Hong Kong), The Study of Chinese Painting (China), Rongbaozhai (China), Duoyun (China), Yishu—Journal of Contemporary Chinese Art (Canada), Tsing Hua Journal of Chinese Studies (Taiwan), Artists (Taiwan), Studies on Chinese History (Korea), Modern Art Studies (Korea).

Shen has also worked as a curator and curatorial consultant for projects including Literature in Line (Ohio State University, 1997), A Century in Crisis, the modern portion of China, 5000 Years (Guggenheim Museum SoHo and Guggenheim Museum Bilbao, 1998), Word and Meaning (SUNY Buffalo and Ohio University, 2000-2001), Chongqing Chilis (Ohio University, Wellesley College, Ohio State University, and Miami University, 2003-2004), and Landscapes (Shanghai Gallery of Art, 2004), Chinese Painting on the Eve of the Communist Revolution

(Cantor Center for Visual Arts, Stanford University, 2006), Reboot—The Third Chengdu Biennale (Chengdu Modern Art Museum, 2007), Memories of the Past—Contemporary Chinese Ink Painting (Transylvania University, 2010), Blooming in the Shadows (China Institute Gallery, New York, 2011), Beyond Representation—Li Huayi’s Ink Art (Beijing Gallery of Art, 2011), Why Not Ink (Today’s Museum, 2012), Light before Dawn--Unofficial Art in China, 1974-1985 (Asia Society Hong Kong Center, 2013), Illusion/Image-Contemporary Chinese Ink Painting Series 1 (HIV Art Center, 798 Art District, Beijing, 2013), Back Mountain—Ink Art of Wang Tiande (Suzhou Museum, China, 2014), Mind Traveling—Art of Lu Chuntao (Chinese Cultural Foundation of San Francisco, 2015), Dancing with Rope—Ink Art of Ross Lewis (Today Art Museum, Beijing, 2015), Echo of Universe—Ink Art of Liu Kuo-Sung (China Art Museum, Shanghai, 2016), Brushwork/Exploration—Ink Art of Pan Gongkai (China Art Museum, Shanghai, 2016), No Room for Form—Contemporary Paintings from Four American Artists (Shandong Art Museum, China, 2017),  Boundless: Ongoing Chinese Ink Art (Art Museum, Sichuan Fine Arts Institute, 2017), Art of Fang Zhaoling (Asia Society Hong Kong Center, 2017), Times: New Works of Li Tingting (Liu Haisu Museum, Shanghai, 2018).

Shen has been the Managing Editor of Brill’s book series Modern Asian Art and Visual Culture  since 2010. He served as a juror for The Seventh Yishu Award for Critical Writing on Contemporary Chinese Art (2017), Member of the Exhibition Advisory Committee, Experimental Art from China, Guggenheim Museum, New York (2018), and Jury Member of The Fourth International Awards for Art Criticism (IAAC), London/Shanghai, 2018.

Shen teaches a broad range of courses and topics from surveys on the arts of China, twentieth-century Chinese art, the arts of Japan, Asian art, to thematic lectures and seminars on Chinese landscape painting of Song and Yuan, Chinese literati and court painting, tradition and modernity in twentieth-century China, contemporary Chinese art and mass culture, Japanese Buddhist art and architecture, Japanese painting and Ukiyo-e prints, and the arts of modern Japan.

https://visarts.ucsd.edu/people/faculty/kuiyi-shen.html

著名作曲家梁雷，現任美國加州大學聖地牙哥分校校長獎傑出教授。他曾獲羅馬獎、古根漢獎、謝爾蓋·庫薩維茨基音樂基金獎，以及美國藝術文學院頒發的利伯爾松獎。梁雷的薩克斯風與交響樂團作品《瀟湘》獲2015年普立茲作曲獎最終提名。2021年，他的交響樂團作品《千山萬水》獲得國際作曲最高獎－葛文美爾大獎。拿索斯等唱片公司發行梁雷的十五張作品專輯。他編了十本著作，發表中英文文章五十餘篇。他的上百部作品由朔特音樂公司出版。2023年，他在加州大學高通研究所創立 Lei Lab 實驗室，繼續展開與海洋學家、地質學家、軟體工程師的合作。

www.lei-liang.com

Heralded as "one of the most exciting voices in New Music" by The Wire magazine, Lei Liang is a Chinese-born American composer whose works have been described as "hauntingly beautiful and sonically colorful" by the New York Times, and as "far, far out of the ordinary, brilliantly original and inarguably gorgeous" by the Washington Post.

The winner of the 2011 Rome Prize, Lei Liang is the recipient of a Guggenheim Fellowship, an Aaron Copland Award, a Koussevitzky Foundation Commission, a Creative Capital Award, and the Goddard Lieberson Fellowship from the American Academy of Arts and Letters. His concerto for saxophone and orchestra, Xiaoxiang, was named a finalist for the Pulitzer Prize in Music in 2015. His orchestral work, A Thousand Mountains, A Million Streams, won the prestigious 2021 Grawemeyer Award for Music Composition.

Lei Liang was commissioned by the New York Philharmonic and Alan Gilbert for the inaugural concert of the CONTACT! new music series. Other commissions and performances come from the Fromm Music Foundation, Meet the Composer, Chamber Music America, MAP Fund, the National Endowment for the Arts, the Boston Modern Orchestra Project, the Taipei Chinese Orchestra, the Scharoun Ensemble of the Berlin Philharmonic, the Arditti Quartet, the Shanghai Quartet, the San Francisco Contemporary Music Players, the New York New Music Ensemble, and pipa virtuoso Wu Man. Lei Liang's fifteen portrait discs are released on Naxos, New World, Mode, Albany, Encounter, BMOP/sound and Bridge Records. As a scholar and conservationist of cultural traditions, he edited and co-edited ten books and editions, and published more than fifty articles.

From 2013-2016, Lei Liang served as Composer-in-Residence at the California Institute for Telecommunications and Information Technology where his multimedia works preserve and reimagine cultural heritage through combining scientific research and advanced technology. In 2018, Liang returned to the Institute as its inaugural Research Artist-in-Residence. In 2023, the Institute launched "Lei Lab" where he continues to collaborate with engineers, geologists, oceanographers and software developers, to explore what he calls "the unique potential for learning offered by creative listening."

Lei Liang's recent works address issues of sex trafficking across the US-Mexican border (Cuatro Corridos), America's complex relationship with gun and violence (Inheritance), and environmental awareness through the sonification of coral reefs.

Lei Liang studied composition with Sir Harrison Birtwistle, Robert Cogan, Chaya Czernowin and Mario Davidovsky, and received degrees from the New England Conservatory of Music (B.M. and M.M.) and Harvard University (Ph.D.). A Young Global Leader of the World Economic Forum, he held fellowships from the Harvard Society of Fellows and the Paul & Daisy Soros Fellowships. Lei Liang serves as the Chancellor's Distinguished Professor of Music at the University of California, San Diego. His catalogue of more than a hundred compositions is published exclusively by Schott Music.