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2023 | South Link Arts Festival, Taimali, Taitung
2021 | Palafang–New Perspectives of Hualien’s Landscape, Hualien Stone Sculpture Museum, Hualien
2020 | The Beginning of Life/Art: Cloth Weaves Our Times, Aomori Contemporary Art Centre, Japan
2020 | Moving & Migration, Kaohsiung Museum of Fine Arts; National Museum of Prehistory in Taitung; Gyeonggi
Museum of Modern Art, Seoul
2019 | Yirramboi, Meat Market, Melbourne
2017 | Hiding in the Island, MoCA Taipei
2016 | The Possibility of an Island, National Taiwan Museum of Fine Arts, Taichung


2022 | Dungku Asang, Ruixin Mine, Hualien


2016 | Public Art Award for Best Creativity for Woven Path
2016 | 3rd Pulima Art Award – First Prize
2014 | 2nd Pulima Art Award – First Prize 

Artistic Concept

Name of artworks : Milk and Tear〉 〈Trails People of Cepo’〉

Media : recycled rebar, 6mm round bar, fibers/Single-channel video

Year : 2022-2023  


Milk and Tear Trails

A trail of milk or tears shines on the ground with gorgeous curves and a sense of anxiety, at times exhausted, at times wild. I enjoy nestling against and rocking with this river, which, like a kind of milk, nourishes the people, vegetation, barking deer, and wild boars here; it is also comparable to a tear trail containing countless stories of pain. As the sun blazes overhead and I dance with the river, I can’t bear to leave its coolness. Standing next to a mountain bamboo forest in winter, I peek at the new lines it has drawn on the ground. I enjoy the nestling and rocking, and in fact, that’s all I can do.


People of Cepo’ 

The mud in Cepo’ was once rocks at the 19-km mark along the Ruisui Forestry Road. I have imagined how to weave a river. The direction in which the Xiuguluan River flows to the ocean is similar to the direction I took in coming to Makotaay: from the 19-km mark through Ihownang toward Ruisui, and then toward the Coastal Mountain Range to Kiwit. In Cepo’, I crossed the Changhong Bridge and slowly drifted toward the ocean. Weaving and being a nomad are my religion. Whether in the mining area of Dungku Asang or in the mud of Cepo’, whenever I’ve got the loom between my legs, an invisible power fills me.



2022 | Taiwan Art Biennial, National Taiwan Museum of Fine Arts, Taichung
2022 | Theater in the Mountains Project – Awakening from a Dream of a Forest Walk (performance), Tomong Tribe, Hualien
2020| Awakening from a Dream of a Forest Walk: Hagay Dreaming (LKL First Draft), C-LAB Library, Taipei
2019-2020 | PHPAH ART FESTIVAL – Mtukuy: Be a Sower, Tomong Tribe, Hualien
2019 | Unfolding Acts: New Art from Taipei and Perth, Perth Institute of Contemporary Arts
2018 | Dispossessions: Performative Encounter(s) of Taiwanese Indigenous Contemporary Art, Goldsmiths, University of


2018 | Taipei Fine Art Award
2016 | 3rd Pulima Art Award – Merit Award
2014 | 2nd Pulima Art Award – First Prize
2012 | 1st Pulima Art Award – Jury Award

Artistic Concept

Name of artworks : BBRBAR-2.0

Media :  concept, packing straps, video

Year : 2018 installation/ 2023 concept


A migration over land and water, the charcoal of burnt wood, following a stream, pulsating with the mountains. Which group of people has drifted from the timelessness of nature to this extremely rapidly duplicating and changing space, like an illusory shadow? We only hear remnants of voices, small and shattered. We see no process of movement. It has the appearance of an island nearly covered over by the sea, the sounds muted. As a hill covered with ash, its lines are made manifest. The only thought is impressed into the pot, a symbol of a clan’s proliferation. Before fading out, a once beautiful pattern glimmers. Has it lost its color, or was there in fact never any color there? Which is in ruin, and which is perfectly complete?



2023 | Matsu Biennial, Magang Beach, Matsu
2023 | Taipei Lantern Festival, Songshan Cultural and Creative Park, Taipei
2022 | Mattauw Earth Triennial, Dalongtian Ecological Culture Park, Tainan
2021 | Palafang–New Perspectives of Hualien’s Landscape, Hualien Stone Sculpture Museum, Hualien
2019 | Kaohsiung International Container Art Festival, Kaohsiung Museum of Fine Arts
2019 | Romantic Route 3 Art Festival – Dawo Land Art Festival, Dawo Natural Ecological Zone, Miaoli
2018 | Pulima Art Festival, MoCA Taipei
2016 | 12th Festival of the Pacific Arts, Guam


2023 | Muse Design Award – Platinum Award in Lighting Design – Architectural Lighting category
2018 | 10th Sites en Ligne Symposium International – First Prize for wood sculpture

Artistic Concept

Name of artworks : Between You and Me

Media : wood

Year : 2023  


Get to know the ocean with your body. To leave is to move toward the ocean. Drifting is the final course. The unknown and the terminal destination in life can never be understood. What is the true end? The ocean accepts all with its boundless capacity for inclusion, and heals all. May we meet in the sea, just as does every earthly drop of water. The sea is the last resting place for all things. It is so ordinary and ruled by regularity. On this vast expanse of blue, whose edge is too far off to see, perhaps we can find another drifting oasis.

Tuwak.Tuyaw Chen Shu Yen


2023 | The Hidden Light, Taiwan Lantern Festival Indigenous Theme, Taipei
2022 | Planting Dreams From the Island View, Zhuangwei Living Arts Festival Wandering Dune, Yilan
2022 | NTCAM On the Move — Sensing Nature. New Taipei City Art Museum, New Taipei City
2021 | Lookout on the Slope, South Link Art Festival, Taitung
2021 | Being the Tribe – Rowoted Indigenous Contemporary Art in Flux, Luodong Cultural Working House, Yilan
2018 | Abode of Light. National Taitung Living Art Center, Taitung
2018 | ECO- Sublime, Biennial International Paper Fibre Art. National Taiwan Craft Research and Development Center,
2017 | Spirits from the Land, ational Tsing Hua University Arts and Culture Center, Hsinchu
2016 | Island Wind, Natural Breathing. Sin Pin Pier, Kaohsiung


2020 | Planning, Designing, Executing for Hualien County Participated Sister City Area in Taiwan Lantern Festival . Houli
Horse Ranch and Forest Exposition, Taichung.


2021 | Land Art: PateRongan-Settling Down, 7th Public Art Awards  

Artistic Concept

Name of artworks : Ocean of Island Boats

Media : mixed media

Year : 2023  


Artists Tuwak Tuyaw and Chen Shu-yen (Taiwan) use multiple materials like bark and fiber to create designs resembling boats, fruit, and seeds, suspended outdoors in the exhibition space. These designs symbolize fluidity, navigation, and dissemination, echoing the “Out of Taiwan Hypothesis” about Austronesian origins, and corresponding with the history of Austronesian migration. Taiwan has always been a vibrant island, rich in diverse qualities in geography, species, and culture. Facing the Pacific Ocean, we are not alone on this island in the sea; we exist in a web of interrelations, each thread imbuing our unique characteristics and vitality.



2023 | Ku inlrangan- colors 60 degree Solo Exhibition, Taiwan Indigenous Culture Park, Pingtung
2022 | Our Lima art- Preliminary Research Document Exhibition, 1n1 creative art space, Pintung
2021 | Distances between Us and the Future: An Exhibition of Taiwanese Indigenous Contemporary Art, Taiwan Indigenous
Peoples Cultural Park, Pingtung
2019 | Milay Solo Exhibition, Ketagalan Culture Center, Taipei
2019 | Ngahi’ Routes: When depths become experiment. Taoyuan City Indigenous Culture Center, Taoyuan
2018 | Milay Patterns World Solo Exhibition. Hotel Royal Chihpen, Taitung
2017 | Milay Patterns World Solo Exhibition. National Taitung Living Arts Center, Taitung


2011 | 2nd Indigenous Business Gold Award-Innovation and Research Gold Award

Artistic concept

Name of artworks : 〈Dalan(Road)〉 〈Swim〉 〈Converge〉 〈Whirl〉

Media : huge hemp rope, knitting device/canvas, acrylic paint

Year : 2023


Drawing inspiration from her cultural context and point of origin, this installation and painting features intertwined, woven hemp-colored materials that are suspended from above and cascade down to scatter across the floor, connecting mounds of earth scattered on the surface. This visual metaphor establishes connections between islands, symbolizing both the source of water and waterfalls and the millennia-long historical and existential ties of the Austronesian people. Complementing the suspended artwork, murals adorn the adjacent walls—interlocking gazes of ancestors and our encounters with our islands and seas.



2023 | The Tongue of the Cloth – Soft and Weak Like Water, 14th Gwangju Biennale, Gwangju Biennale Exhibition Hall, Korea
2022 | The Tongue of the Cloth – Drifts of Sentiments and Objects, Love and Death of Sentient Beings: Taiwan Biennial,
National Taiwan Museum of Fine Arts, Taichung
2022 | Cocoon/Butterfly, First Wave: Contemporary Australian and Taiwanese Indigenous Fashion Exhibition, National
Museum of Prehistory, Tainan
2022 | Origin and Creation – The Study and Innovation Exhibition of Atayal Traditional Weaving, Museum of Fiber Art,
Taichung, Taoyuan
2022 | The Way Into The River, River Flows, City Vibes – Taoyuan Land Art Festival, Daxi Riverside Park, Taoyuan
2021 | Practice: Measuring the Distance from Reality to the Future, The Distance between Us and the Future – Taiwan
Indigenous Contemporary Art, Taiwan Indigenous Peoples Culture Park, Pingtung
2021 | The Tongue of the Cloth, Asia Pacific Triennial of Contemporary Art x Between Earth and Sky: Indigenous
Contemporary Art from Taiwan, Queensland Gallery of Modern Art, Australia
2021 | Connection, Ring Project:Metaphors about islands, National Museum of Indonesia, Indonesia
2020 | Restart & Bloom – The Revitalization Journey of Traditional Indigenous Weaving Crafts in Taiwan, Museum of Fiber Art,
2019 | Trap of Linear Time, Kaohsiung International Container Arts Festival, Kaohsiung Museum of Fine Arts, Kaohsiung


2021 | 1st Taiwanese Cultural Collaboration Medal by the Ministry of Culture – Visual Art, Performance Art, Traditional Art
2020 | Island Four Seasons, 7th Taiwan Public Art – Environmental Integration Award
2016 | Significant Traditional Performing Arts and Crafts Inheritance Conserver designated by the Ministry of Culture
2007 | Wings of Dreams, first Public Art Excellence Award of the Ministry of Culture

Artistic Concept

Name of artworks :“Sea・Rise” “River・Flow”

Media :mixed media

Year : 2023


The artwork of Yuma Taru, titled Sea·Rise and River·Flow reflects recent studies and observations on issues shared by Austronesian communities, particularly the material culture of mollusks found in marine and river environments, investigating their intricate narratives that interlace with the Austronesian peoples. The artist’s ambitious 50-year creative plan, centered on weaving and chanting, reveals an acute sensitivity to natural transformations and a profound veneration for mountain and marine ecosystems, the very cradles of life.