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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.