{"id":13841,"date":"2024-08-06T11:43:07","date_gmt":"2024-08-06T03:43:07","guid":{"rendered":"https:\/\/arthistory.ntnu.edu.tw\/?page_id=13841"},"modified":"2025-12-18T14:32:38","modified_gmt":"2025-12-18T06:32:38","slug":"curriculum-vitae-hsiehpeichun","status":"publish","type":"page","link":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/curriculum-vitae-hsiehpeichun\/","title":{"rendered":"CURRICULUM VITAE \u7c21\u6b77\u8868 \u200b\u200bHSIEH PEI CHUN\u8b1d\u4f69\u541b"},"content":{"rendered":"\t\t
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CURRICULUM VITAE \u7c21\u6b77\u8868 \n\u200b<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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HSIEH PEI CHUN \u8b1d\u4f69\u541b<\/span>
phsieh1@ntnu.edu.tw<\/a><\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Current Position <\/span><\/span>\u73fe\u8077<\/span><\/span>
<\/span><\/strong>Non-tenured Assistant Professor, Graduate Institute of Art History,National Taiwan Normal University
\u570b\u7acb\u81fa\u7063\u5e2b\u7bc4\u5927\u5b78\u85dd\u8853\u53f2\u7814\u7a76\u6240\u5c08\u6848\u52a9\u7406\u6559\u6388<\/p>

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Work Address \u5de5\u4f5c\u5730\u5740<\/span> <\/strong><\/span>
Graduate Institute of Art History, National Taiwan Normal University
\u570b\u7acb\u53f0\u7063\u5e2b\u7bc4\u5927\u5b78\u85dd\u8853\u53f2\u7814\u7a76\u6240
162, He-ping East Road, Section 1, Taipei 10610, Taiwan 10610
\u53f0\u5317\u5e02\u5927\u5b89\u5340\u548c\u5e73\u6771\u8def\u4e00\u6bb5162\u865f<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Education \u5b78\u6b77
<\/span><\/strong><\/span>2015.09~2023.05
2013
2008<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Ph.D.\u00a0 Art History, SUNY-Binghamton, NY, U.S.A.
MA Art History, National Normal University of Taiwan, Taipei, Taiwan.
BA History, National Normal University of Taiwan, Taipei, Taiwan.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Specialization \u5c08\u9577<\/span><\/span><\/strong>
Modern and Contemporary Ar \u73fe\u7576\u4ee3\u85dd\u8853
Sound Studies \u8072\u97f3\u7814\u7a76
Media and Technology theory \u5a92\u4ecb\u8207\u79d1\u6280\u7406\u8ad6
Sensory studies \u611f\u5b98\u7814\u7a76
Feminist Art \u5973\u6027\u85dd\u8853
Curatorial studies \u7b56\u5c55\u5b78
Critical Theory \u6279\u5224\u7406\u8ad6<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Work Experience \u7d93\u6b77<\/strong><\/span><\/p>

2023.01.~2023.05.<\/p><\/td>

Adjunct Lecturer, Department of Art History, Binghamton University<\/p><\/td><\/tr>

2018~ Present<\/p><\/td>

Columnist, Voice of Photography, Taipei, Taiwan<\/p><\/td><\/tr>

2017~2018<\/p><\/td>

Program Commissioner, North American Taiwanese Studies Association (NATSA), UT Austin, USA
Organized \u201c\u201cRelational Taiwan: Asian Art and Its Resistance from Post-war to Present,\u201d with participants including independent Reiko Tomii, Japanese scholar, Soyoung Yoon, Program Director of Visual Studies at The New School, and Chia-wei Hsu, Taiwanese filmmaker and video artist.<\/p><\/td><\/tr>

2016~2019<\/p><\/td>

Contributor, Artist Magazine, Taipei, Taiwan.<\/p><\/td><\/tr>

2015.04~2015.08.<\/p><\/td>

In-house Publicist, Taipei Fine Art Museum, Taipei, Taiwan.<\/p><\/td><\/tr>

2013~2015<\/p><\/td>

Research Assistant, The Archives of Institution of Taiwan History,<\/p>

Academia Sinica, Taipei, Taiwan.<\/p><\/td><\/tr><\/tbody><\/table>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Memberships \u6703\u54e1
<\/strong><\/span>College Art Association of America.
Association for Asian Studies in Asia.
Society of Cinema and Media Studies<\/span>
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Publications \u51fa\u7248<\/span>
Peer-Reviewed Publications \u540c\u5115\u5be9\u95b1\u51fa\u7248<\/strong><\/span><\/p>\n\n\n\n\n\n\n
\n

2025<\/p>\n<\/td>\n

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“The Operational Screen: Artisitc Intervention in the Mechanism of Obfuscation in Postwar Taiwan.” ARTS REVIEW No. 48 (2025), pp.147-184.<\/p>\n<\/td>\n<\/tr>\n

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2024<\/p>\n<\/td>\n

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\u201cAural Resilience: Sonic Labour in Chen Ting-jung\u2019s You Are the Only One I Care About (Whisper).\u201d Third Text<\/em>, 37 (4), pp. 509-524.<\/p>\n<\/td>\n<\/tr>\n

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2021<\/p>\n<\/td>\n

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\u201cOn the Cinematic Banality of Sci-fi in Martine Stig\u2019s Cauchy Horizons,\u201d Journal of TFAM<\/em> 42 (December, 2021).<\/p>\n<\/td>\n<\/tr>\n

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2018<\/p>\n<\/td>\n

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\u201cA Nomad in Nowhereland: Hsieh Teching\u2019s One Year Performance (Outdoor Piece), 1981-1992,\u201d Journal of TFAM<\/em> 35<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Editorial Work \u7de8\u8f2f
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2021<\/p><\/td>

Guest Editor, \u201cCommon Task: Critical Terms for Digital Visual Regime,\u201d Voices of Photography, Summer, 2021. https:\/\/vopmagazine.com\/kw\/<\/p><\/td><\/tr><\/tbody><\/table>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Books and Exhibition Catalogue (and chapters) \u66f8\u7c4d\u8207\u5c55\u89bd\u5716\u9304(\u53ca\u7ae0\u7bc0)
<\/strong><\/span><\/p>

2023<\/p><\/td>

\u201cDigital Archive,\u201d in Contemporary Texts: Archive, edited by Lee Li-Chun and Chang Fang-Wei, Taipei:Taipei Fine Art Museum, 2023.<\/p><\/td><\/tr>

2023<\/p><\/td>

Foam: Listening in the Form of Zine<\/em>, Taichung: Live Art Foundation, 2023.<\/p><\/td><\/tr><\/tbody><\/table>

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Selected Publication and Reviews \u51fa\u7248\u8207\u8a55\u8ad6\u7bc0\u9078<\/span>
<\/strong><\/p>

2021<\/p><\/td>

\u201cExpanded Cinema, Closed World: Medianatures in Wu Chi-yu\u2019s Solo Exhibition Altas of the Closed Worlds,\u201d Digiarts, August, 2021.<\/p><\/td><\/tr>

2021<\/p><\/td>

\u201cHuman is the Night: Digital Art and Bare Life,\u201d Digiarts, March, 2021<\/em><\/p><\/td><\/tr>

2020<\/p><\/td>

\u201cThe Great Disavowal: A Counter History of Image,\u201d Voices of Photography (VOP)<\/em> 29 (November 2020).<\/p><\/td><\/tr>

2019<\/p><\/td>

\u201cMake Space for the New Mistakes: The Reopening MoMA\u201d Artouch<\/em> December, 2019.<\/p><\/td><\/tr>

2019<\/p><\/td>

\u201cWhat is Perceived is Already Destroyed: Found Footage and the Premonition of War in Christian Marclay\u2019s 48 War Movies.\u201d Voices of Photography<\/em> (VOP) 26 (July 2019).<\/p><\/td><\/tr>

2019<\/p><\/td>

\u201cOne Place after Another: An Interview with Yukie Kamiya, Chief Curator at Japan Society Gallery,\u201d Artist Magazine Special Issue on the Global Curators<\/em> 526 (March 2019).<\/p><\/td><\/tr>

2019<\/p><\/td>

\u201cFreedom is Around the Corner: An Interview with Lawrence Kumpf, Creative Director at Blank Forms,\u201d Artist Magazine Special Issue on the Global Curators <\/em>526 (March 2019).<\/p><\/td><\/tr>

2019<\/p><\/td>

Theories of the Young-Girl: Martha Rosler\u2019s Irrespective at the Jewish Museum, New York,\u201d Artist Magazine <\/em>525 (February 2019).<\/p><\/td><\/tr>

2019<\/p><\/td>

\u201cA Memo for the Artists of the Next Generation: Bruce Nauman\u2019s Disappearing Acts at MoMA and PS1\u201d Artouch, https:\/\/artouch.com\/view\/content-678.html (accessed March 27th, 2019.)<\/p><\/td><\/tr>

2018<\/p><\/td>

\u201cFrom Participatory Art to Eco-humanism: An Interview with Mali Wu, Curator of Taipei Biennale: Post-Nature, 2018,\u201d Performing Art Review: Special Issue on Participatory Art<\/em> 308 (August 2018).<\/p><\/td><\/tr>

2018<\/p><\/td>

\u201cAfter Finitude: Art after the Age of Internet:1989 to Today at ICA, Boston,\u201d Artist Magazine <\/em>517 (June 2018).<\/p><\/td><\/tr>

2018\u00a0<\/p><\/td>

\u201cAn Interview with Christophe Cherix, Robert Lehman Foundation Chief Curator of Drawing and Prints,\u201d Artist Magazine Special Issue on the Art of Drawing<\/em> 516 (May 2018).<\/p><\/td><\/tr>

2018<\/p><\/td>

\u201cArt and Its Right to Death: Song for Sabotage \u2014 New Museum Triennial, 2018,\u201d Artist Magazine<\/em> 515 (April 2018).<\/p><\/td><\/tr>

2017<\/p><\/td>

\u201cContemporary Art in 36\u00b0C : Take me (I\u2019m yours) at Jewish Museum,\u201d Artist Magazine 500 (January 2017).<\/p><\/td><\/tr><\/tbody><\/table>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\tTranslation \u7ffb\u8b6f\n<\/strong><\/span>\n\n\n\n\n\n\n
2022<\/td>\n\u201cAn Ideal Screen? Moholy-Nagy and the Necessities of Fl\u00e4che\/Leinwand\/ Schirm.\u201d Noam M. Elcott. Voices of Photography<\/em>, 33 December 2022.<\/td>\n<\/tr>\n
2021<\/td>\n\u201cThe Cinematic Imaginary and the Photographic Fact: Media as Models for 20th Century Art,\u201d Noam M. Elcott, Digiarts<\/em>\u53f0\u7063\u6578\u4f4d\u85dd\u8853 Special Issue on Image, no. 11 (Feburary 2021).<\/td>\n<\/tr>\n
2020<\/td>\n\u201cPhantasmagoria Dispositif: An Assembly of Bodies and Images in Real Time and Space.\u201dNoam M. Elcott, Digiarts <\/em>\u53f0\u7063\u6578\u4f4d\u85dd\u8853 30 Oct. 2020.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Curatorial Practice \u7b56\u5c55
<\/strong><\/span><\/p>

2024<\/p><\/td>

Curator, Geopoetics: Changing Natures of the Threatened Worlds<\/em>, National Museum of Fine Art, December 2, 2023 – March 13, 2024 (Co-curated with Patrick Flores and Kim Seong-Youn)<\/p><\/td><\/tr>

2022<\/p><\/td>

Curator, FOAMS: Auralization<\/em>, Live forever Foundation (\u9678\u5e9c\u2f63\u6d3b\u6559\u80b2\u7f8e\u5b78\u57fa\u2fa6\u6703) , July 30 – October 31, 2022. Curator. (Nominated for the 21st Taishin Art Award)<\/p><\/td><\/tr><\/tbody><\/table>

\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Project\u8a08\u756b
<\/strong><\/span><\/p>

2020~2022<\/p><\/td>

\u201cScience Fiction: Art and the Bare Life in the Age of Digital.\u201d Sponsored by National Culture and Art Foundation, Taiwan\uff08\u570b\u85dd\u6703\uff09<\/p><\/td><\/tr>

2019~2021<\/p><\/td>

\u201cVisual Culture in Contemporary Asia\u201d collaborated with Lee Wei-I, the chief editor of Voices of Photography. Sponsored by National Culture and Art Foundation, Taiwan\uff08\u570b\u85dd\u6703\uff09<\/p><\/td><\/tr><\/tbody><\/table>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Fellowships, Grants and Awards \u734e\u52a9\u5b78\u91d1\u8207\u7372\u734e
<\/strong><\/span><\/p>

2022.08.~2022.12.<\/p><\/td>

Institute for Advanced Studies in the Humanities Fellow.<\/p><\/td><\/tr>

2021~2022<\/p><\/td>

Barbara Abou-El-Haj Research Grant<\/p><\/td><\/tr>

2020~2022<\/p><\/td>

Minister of Education Fellowship<\/p><\/td><\/tr>

2020~2021<\/p><\/td>

Binghamton University Dissertation Year Assistantship<\/p><\/td><\/tr>

2019~2020<\/p><\/td>

Helena Rubinstein Critical Studies Fellow of Independent Study Program at the Whitney Museum of American Art<\/p><\/td><\/tr>

2017~2019<\/p><\/td>

Binghamton University Teaching Assistant Fellowship<\/p><\/td><\/tr>

2015~2017<\/p><\/td>

Graduate Study Fulbright Grant<\/p><\/td><\/tr><\/tbody><\/table>

\u00a0<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

CURRICULUM VITAE \u7c21\u6b77\u8868 \u200b HSIEH PEI CHUN \u8b1d\u4f69\u541bphsieh1@ntnu.e […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ocean_post_layout":"","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"","ocean_second_sidebar":"","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"","ocean_custom_header_template":"","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"","ocean_menu_typo_font_family":"","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"default","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"","footnotes":""},"class_list":["post-13841","page","type-page","status-publish","hentry","entry"],"_links":{"self":[{"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/pages\/13841","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/comments?post=13841"}],"version-history":[{"count":32,"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/pages\/13841\/revisions"}],"predecessor-version":[{"id":15878,"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/pages\/13841\/revisions\/15878"}],"wp:attachment":[{"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/media?parent=13841"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}