1985 出生

生長於苗栗三義。主要創作關注歷史與影像之間的辯證問題,擅長運用歷史記憶、大型裝置作為藝術創作的表現形式。創作路徑以台灣地方歷史為對象,並以自身經驗進行對話,目前主要活動於苗栗、雲林、嘉義等地。

台灣藝術大學美術系研究所畢。邱子晏常以其在苗栗客家的成長背景為起點，回望戒嚴時期的歷史記憶，並持續思考如何透過影像敘事來處理對台灣歷史的經驗與理解。 他的作品試圖跨越大歷史和個人生命經驗的框架，並嘗試從 80 年代台灣新電影的影像美學推進，以新歷史主義式的影像語言作為主要的敘事結構，在不斷辯證的過程中回應台灣碎塊化的歷史意識。

以「填補空白」的手法回應個人對於戒嚴歷史的理解與記憶。出生於解嚴前兩年的邱子晏自學生時期便深受台灣新電影的影響。對藝術家來說，80 年代和 90 年代產出的新電影準確地回應了戒嚴時期的歷史情境。脫離了戒嚴枷鎖與審查制度的台灣新電影，有意識地還原過去的歷史場景，並以寫實的手法回訪並詮釋過去的歷史經驗。然而，對於解嚴前後出生的創作者來說，他們雖然對台灣政治和戒嚴歷史有著知識性的理解，卻缺乏戒嚴時期的經歷和感受。這種歷史經驗的斷裂和歷史記憶的空白，驅使藝術家開始思考如何銜接 80 年代台灣新電影的影像美學，並創造能回應自身處境的影像敘事，從而展開了「填補空白」的系列創作。在這系列創作中，藝術家運用大量造假場景與道具，試圖解構、想像和虛構空缺的歷史經驗，以填補空白的方式連結自己與那段歷史的關係。

《車廂》、《曼德拉記憶》、《鐵軌上的男人》。這三件獨立但相互補述的作品，以不同影像語言和敘事結構探問戒嚴時期的歷史記憶，在搭景、實拍、寫實與虛構之間遊移，創造出想像的歷史現場。藝術家運用影像敘事和填補空白的辯證手法，以獨特的視角探索台灣歷史經驗中的空白。不僅透過虛構情節展現了集體記憶的模糊性，同時融合了戒嚴時期的歷史記憶和生命政治，以反映不同個體的經歷和觀點，呈現出對台灣歷史記憶的多重解讀。期望能引起觀眾對台灣歷史更深入的思考，以多元視角重新審視過去，並反思我們與歷史的關係。

b.1985

Born in Sanyi, Miaoli, the artist primarily focuses on the dialectical relationship betweenhistory and imagery in their work. They excel in using historical memory and large-scaleinstallations as forms of artistic expression. Their creative trajectory centers on Taiwan's localhistory, engaging in dialogue through personal experiences. Currently, their activities aremainly based in Miaoli, Yunlin, and Chiayi.

Graduated from the Graduate School of Fine Arts, National Taiwan University of Arts. Ciou often draws inspiration from his upbringing in Miaoli’s Hakka region to reflect on the historical memories of the Martial Law period and consistently contemplates how to use video storytelling to address our experiences and comprehension of Taiwan's history. His works attempt to transcend the framework of grand history and individual life experiences, embarking from the aesthetics of Taiwan's New Wave Cinema during the 1980s, and adopting neo-historical visual narratives to address Taiwan's fragmented historical consciousness.

Refers to the artist's creative approach of "Filling in the Blanks," in response to one’s comprehension and recollection of Martial Law history. Born two years prior to the lifting of Martial Law, Ciou Zih-Yan has been deeply influenced by Taiwan's New Wave Cinema since his days as a student. To the artist, the films produced in the 80s and 90s precisely responded to the historical context of the Martial Law era. Liberated from the constraints of Martial Law and censorship, Taiwanese New Wave films deliberately reconstructed past historical scenes, revisiting and reinterpreting historical experiences through an authentic lens. However, for filmmakers and artists born before and after the era’s cessation, while they possess knowledge of Taiwan's politics and Martial Law history, they lack the firsthand encounters and emotions tied to that period. This rupture in historical experience and void in historical memory compelled the artist to contemplate how to evolve from the aesthetics of Taiwan's New Wave Cinema and create visual narratives that resonate with their own circumstances, resulting in the series titled "Filling in the Blanks".

The Railcar, Mandela Memory, and Man on the Rails. These three works use different cinematic languages and narrative structures to delve into the historical memories of the Martial Law era, oscillating between set scenes, live-action, realism, and fiction to create imagined historical scenarios. Through dialectical narratives and filling in the blanks, the artist explores the gaps in Taiwan's historical experience from a unique perspective. These works not only demonstrate the ambiguity of collective memory through fictionalized scenarios but also interweave the historical reminiscences and life politics of the Martial Law era to reflect different individuals’ experiences and perspectives, presenting varied interpretations of the period’s historical memories. Theexhibition aspires to engender a profound engagement with Taiwan’s history, prompting viewers to reevaluate the past through diverse lenses and reflect on our relationship with history.