3rd May 2026 - 7th June 2026
ss space space
Acrylic, compressed charcoal, paper pulp,
resin, plaster, epoxy resin, aluminum bars,
and wood panel
103.5cm x 151.5cm x 16cm
3rd May 2026 - 7th June 2026
ss space space
sik-tsân
Paper pulp, resin, plaster, and aluminum
Dimension variable
2026
3rd May 2026 - 7th June 2026
ss space space
bū-sik
Acrylic, compressed charcoal, paper pulp,
resin, rice ears, plaster, epoxy resin, wood panel,
fabric fiber, and pencil on paper
(136cm x 170cm x 2.5cm ) x 3 pieces
3rd May 2026 - 7th June 2026
ss space space
liam liam
Acrylic, compressed charcoal, paper pulp,
resin, plaster, epoxy resin, aluminum bars,
and wood panel
62cm x 119.5cm x 16cm
2026
3rd May 2026 - 7th June 2026
ss space space
Acrylic, compressed charcoal, paper pulp,
resin, plaster, epoxy resin, aluminum bars,
and wood panel
100cm x 163cm x 16cm
2025-2026
Born 1991 | Taipei, Taiwan
Ban-Yuan Chang’s practice examines how everyday perception is produced, mediated, and destabilized within the continuous flow of contemporary information and images. Chang focuses on how daily visual fragments—urban landscapes, social media feeds, circulated photographs, and intimate exchanges—shape our understanding of bodily form and lived experience.
Working across painting, sculptural installation, and text-based works, Chang reorganizes and compresses these visual and emotional elements to evoke the viscosity, delay, and weightlessness that emerge from excessive accumulation of information. Rather than responding directly to technology as a tool, Chang is interested in the subtle transformation of sensibility: how perception becomes fragmented yet remains faintly connected, how experience hovers between immediacy and abstraction.
Chang’s works create perceptual spaces where viewers encounter this suspended condition—an atmosphere in which the body appears both present and displaced, drifting within an environment saturated by images yet searching for new modes of attention.
張般源的創作主要關注人在當代資訊與影像洪流中，日常感知如何在此環境下被形塑與脫鉤。他試圖捕捉日常中的生活影像、景觀、社群平台與情感交流對身體形貌認知與生活感知的塑造，並透過跨媒材將這些元素進行重組與壓縮，呈現資訊過度堆疊下的黏稠、延遲與失重感。張般源的作品並非單純回應技術媒介，而是對人在當代生活中，那種趨近碎片卻又隱隱相連的感性經驗，其浮動與出神的狀態留下開放的感知空間。
2024 Royal College of Art PhD in Arts & Humanities Research (practice-led)
2017 Subsitute military service at New Taipei City Fire Department Ganyuan Squad
2016 Chelsea College of Arts MA Fine Art
2026 態: Alluvium, ss space space, Taipei, Taiwan
2024 圖 t ⤵u volume 03, Yao space, Taichung, Taiwan
2024 圖 t__u volume 02, 182artspace, Tainan, Taiwan
2023 圖 t u, Helios Gallery, Taipei, Taiwan
2019 The Self, Humans and Machines with their Residues, Taipei Fine Art Museum, Taipei, Taiwan
2017 Meditation From the Empire Legacy, Made in Taiwan zone Young Artist Award,Taipei Art Fair , World Trade Centre, Taipei, Taiwan
Group show
2025 Can We All Fit In，Kaohsiung Museum of Fine Art， Kaohsiung，Taiwan
2024 The Gravity of Whisper，182 artspace，Tainan，Taiwan
2024 The Body Boundary of Contemporary Society, Wan Gallery, One Art Taipei, Hotel Metropolitan Premier Taipei, Taipei, Taiwan
2023 Lefties Do it Rights，Sinpin pier Art Space, Kaohsiung,Taiwan
2023 Repetition and Difference: Posthuman．Diverse Species, National Yang Ming Chiao Tung University Art Centre, Hsinchu, Taiwan
2023 HEMLINGBY3, Taipei Artist Village/Carp Gallery, Taipei/Taichung, Taiwan
2022 Roaming in time, Flame Taipei ,Waley Art, Taipei, Taiwan
2022 HEMLINGBY2, Carp Gallery, Taichung, Taiwan
2022 Body's Body, Changhua County Art Museum, Changhua,Taiwan
2022 Multiple Copies - Readable Multiplex Landscape, Tainan Art Museum, Tainan, Taiwan
2021 Enclave, Asparagus Studio, Taipei, Taiwan
2019 RCA The School of Arts and Humanities Work in Progress Show, Royal College of Art, London, United Kingdom
2018 Human Condition, Kuo Mu Sheng Foundation,Taipei,Taiwan
2016 Future Island START ART FAIR Project, Saatchi Gallery,London, United Kingdom
2016 Chelsea Summer Show, Chelsea College of Arts, London, United Kingdom
Huang, Ting-Ju, 2024, ‘ 墜落的鴿子踏上X征途 《張般源個展 圖 Volume02》 ‘, Taishin Artalks (online)
Chang, Ban-Yuan, 'Enclave', in 'Multiple Copies - Readable Multiplex Landscape', ed. by Pei-Hsin Chiang (Tainan, Tainan Art Museum, 2022）ISBN: 978-986-5487-80-5
Chang, Ban-Yuan, 'The Self, Humans and Machines with Their Residues: A brief discussion on our position in today's world and theses three inseparable and entangled bounds' (Taipei, Taipei Fine Art Museum, 2019)。ISBN: 978-986-5412-21-0
隨意聊聊, 隨藝聊聊 EP17 | 靠X唷！你以為你在數位手術台上喔！快加入我們迷霧版圖中寫生的行列吧！｜來賓: 藝術家 張般源 [Podcast] 25th April 2024
觀弱音, EP126 『倫敦藝術沒有地圖』 藝術家張般源 [Podcast] 14th September 2023
Artistes Manifestes, Adélie Le Guen, Chang, Ban-Yuan, 'Entretien avec Ban-Yuan Chang : « Humanism in posthuman subject »'[online] 27th March 2020
Tainan Art Museum, Following Artist #Chang Ban-yuan to Explore the Exhibition |Multiple Copies - Readable Multiplex Landscape [online video]
2025 Regular Art Grants, Department of Cultural Affairs,Taipei City Government
2023 Regular Art Grants, Department of Cultural Affairs,Taipei City Government
2022 Regular Art Grants, National Culture and Arts Foundation
2022Regular Art Grants, Department of Cultural Affairs, Taipei City Government
2018 Selected Artist, Taipei Fine Arts Museum (TFAM) Solo Exhibition Program, Taipei, Taiwan
2017 Made in Taiwan (MIT) Young Artist Discovery, Ministry of Culture, Taiwan (Exhibited at Art Taipei 2017)
Last Updated 24.10.31
t__u
t__u (2024) is the second chapter of 圖 t u trilogy that began with the eponymous solo exhibition in 2023. Through Chang’s practice, the project constructs a speculative, science-fiction universe to examine the formation of the self and the body within today’s digital landscape.
Etymologically, "t u" transcends the mere visuality of an "image" or "figure." Instead, it functions as a phonetic and conceptual vector—"to the universe"—suggesting a kinetic exploration of overlapping, unknown spaces. By dissecting the "coloniality" between the narratives of technological imagery and the physical body, t__u imagines a non-narrative realm. This is a world of "untitled futures," where infinite layers of information collide like a territorial war of storytelling, eventually neutralizing into a state of "non-narrative sensibility"—a collective archive of déjà vu.
The world-building (worlding) of t__u interrogates the entanglement of identity production, body image, and the "objecthood" of technological media. It shifts the perspective from the human to the "object," contemplating the essence of life in the information age. This universe is manifested through a multi-disciplinary approach involving painting, fiction, field guides, sculpture, and installation.
In this second installment, Chang emploies various "dispositions" and "improvisations" as methodology: 1. Co-authorship, collaborating with ChatGPT to fill the narrative interstices of the original novella；2. Mimicry, Producing "sketches" that simulate digitally calculated imagery from the fictional world；3. Cataloging & Landscaping, through documenting the processes of scenic presentation and constructing simulated topographies based on these elements.
These acts of "Disposition" and "Mimicry" serve as a critique of our image-centric era, specifically regarding the concept of "Landscaping"—the realization of objects of longing. The exhibition questions how fragmented digital experiences penetrate the body: does this collision foster a world of non-narrative sensibility? How do we position and perceive ourselves within this friction?
In this context, "Landscaping" encompasses several pillars: extraction, objecthood, the body, re-anthropomorphic translation, and the non-Human human. Eschewing a top-down "God’s eye view," Chang instead acts as an explorer navigating a "fog of war," documenting the construction of a world seen through the eyes of objects. t__u explores the "colonial" impact of information on the body, ultimately seeking the potential of the "non-'H'uman"—an imaginative crack between humanity and data where a new, non-narrative sensibility resides.
《圖 t__u》為 2023 年個展《圖 t u》的系列延續。以三部曲成現。「圖 t u」為一種透過藝術實踐來建立科幻想像的架空世界,並思考自我主體與身體在今日的數位世界中的的形塑關係。「圖 t u」在字面上除了對於視覺圖像的理解以外,它在此則作為一種對經驗生產與自我形塑在資訊時代下的反思概念與方法。它在英文的層面並非為 image 或 figure 諸如此類的具有明確的指涉性。它反而是可作為某種抽象的動態指向「to the universe、to 的發音」,一種對朝向未知予以之相互交疊的空間進行探索。「圖 t u」是透過思考科技影像中的敘述性與其政治性 ( 詮釋的配置 ) 和身體之間的「殖性」(coloniality) 關係來想像出一個非敘述的未知世界 : 那是一個敘述無限的疊加,像一場敘述的領土爭奪戰般不斷地將敘事往對象物身上轟炸而形成的一種非敘述 (non-narratives) 感性世界-一個未命名的未來 (Untitled future);或是說,一種對似曾相似的念想的集合世界。它是一種對自我在當今數位世界中的形塑想像 (worlding)。
「圖 t u」的世界觀形塑探詢了關於身分生產、體形意象 (body image) 與科技影像之間的「物性」纏繞狀態,關於它們彼此的敘述性在影像先行的時代中的配置關係。確切來說,是一種透過想像影像生產經驗與身分的角度來思考其中的「物視角」的可能。一種試圖透過藝術實踐來進行人視角與物視角的轉移,並從此背景中再次思考生命在此資訊時代中的本質問題。「圖 t u」的世界發展由繪畫、小說,、圖鑑、雕塑、裝置等相互建構而成。在第二部曲中,透過了幾種具有配置性的方法 ,或是說一種土法炮製,來進行實踐 : 與ChatGTP ( 說算是一種相互附著吧 ) 共同對首部曲中的小說進行敘事夾縫中的填補、對小說世界觀的數位演算圖象進行擬仿 (「素描」)、對景觀呈現的方法進行流程的造冊以及對這些元素進行擬仿的造景。
這些「配置」與「擬仿」是對當今影像先行的時代進行有關「造景」的概念 ( 對念想之物進行實現 ) 思考與實踐,也對影像與資訊對我們自身的體形意象進行的「造景」提出有關主體配置關係上的提問。 那些如同碎片般的影像經驗交雜與穿透於你我的身體中,在那樣的碎裂過程中與身體的相互碰撞是否醞釀著一種非敘述感性的可能世界 ? 對今日的我們如何在此中擺放與感受自身 ? 在此,「造景」涵括了幾項重要的關鍵詞 : 抽離 (extract)、物性 (objecthood)、身體、再擬人化的轉譯、非人之人 (non-Human human)。「造景」的概念並非以上帝視角來談論「殖」在體形意象與影像資訊經驗中的敘述狀態。相反地,它是以一種如同在有限的「迷霧」版圖 ( 在創作方法上是關於書寫與作品配置的部分 )中進行探勘,並紀錄此世界觀的建構樣貌,關於物的視界 / 世界想像,並作為更進一步對於「殖」的概念在體形意象與影像資訊經驗上對「人」(human) 所潛藏的非「大寫之人」(non-‘H’uman) 化的可能,一種介於人與影像資訊之間所產生的夾縫想像 ,即非敘述感性。