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
圖 t u Trilogy engages in speculative fantasy worlds, a fragmented outline of an objectified infobesity world with the malfunction of digesting on it, as a reflection on the characteristics of identity and body image in contemporary image and identity production; human as fragment of information.
This objectified infobesity world, or a “non-narrative-like pronoun world, contemplates the political relationships between the narratives and the "coloniality" of the body in today’s technological images. It envisions a world where narratives endlessly overlay, bombarding the narrative onto object bodies like a territorial battle, resulting in a non-narrative sensory world—an untitled future or a collection of fragmented information resembling a déjà-vu-like status. It relates to body landscapes, identity politics, digital capitalism, and the power configurations of technology on self-modeling; however, it is not a prophecy of a dystopia future nor a political manifesto but taking it as a collection of fragmented information mirroring today’s hyperreal suspension of body image.
Compared to the first and second volumes, where the first evokes a laboratory-like atmosphere and the second presents a scene reminiscent of a staged landscape, both using an analogue approach akin to walking through the fog of war, the third volume employs various "props" and "depictions of operations" to sketch the "fragmented outlines" of this worldview. It is as if traces of some emerging subject are growing from the "mist" of the previous two volumes.
The world process of the "圖 t u Trilogy " is constructed through various mediums such as painting, novels, field guides, sculpture, and installations. There are various configurative methods, or a kind of makeshift approach, are employed to practice this speculative fantasy world. Questions about the subject's configuration relationship with images and information in modeling our body images are raised. This includes filling the narratives of this world through collaborating with ChatGPT as “co-author”, the “drawing” from 3D modeling digitally simulating/render images, and the production of a fictional scenery manufacture handbook or operation handbooks; forming a detached, suspended and weightless world from a collective of “props”.
《圖 t u三部曲》為臆測性的幻想世界的輪廓呈現，一個如資訊肥胖般的物化世界，並對今日信息的消化機能失調進行回應與思考，以反映當代形象與身份生產中身體形象與認同的特徵；即人作為一種訊息的殘片。
透過呈現這個物化的資訊肥胖世界，或所謂的「非敘事式代名詞世界」，思考了當代技術圖像 (數位混雜、交疊與創造)中的「殖性」(coloniality)與身體之間的政治關係。它描繪了一個敘事不斷堆疊於萬物之身的世界，像領土爭奪般將敘事強加於物化的身體，最終產生一個無敘事感官世界—一個無名未來，或既視感般的碎片化信息集合。它 (此世界)牽絆著身體景觀、身份政治、數位資本主義以及技術在自我塑造中的權力配置；然而，這既不是反烏托邦的未來預言，也不是一份政治宣言，而是作為一個碎片化訊息的集合，映射當今體形意象 (body image)的超現實懸浮狀態 (hyperreal suspension)。
相較於前兩部曲，首部曲呈現某種實驗室氛圍與第二部曲呈現某種造景的場景投射皆以類似行走於戰爭迷霧中的類比手法來呈現，第三部曲則以各種「道具」與「操作的描繪」類比呈現來勾勒這個世界觀的「碎片輪廓」。而這猶如從先前兩部曲的「迷霧」中長出什麼主體的「痕跡」。
《圖 t u》三部曲的世界過程透過多種媒介建構，包括繪畫、小說、圖鑑、虛構指南、雕塑與裝置。採用了各種配置方法，或一種類比臨時性的拼湊方法，來實踐這個臆測的幻想世界。這些涉及到我在思考體形意象的模造與生產時的疑惑，關於主體與圖像及信息之間的配置關係。這包括透過與ChatGPT協作三部曲的小說作為「共同作者」來填補這個世界的敘事，利用3D建模進行數位模擬/渲染圖像的「繪製」，並製作一本虛構的風景製造手冊或操作手冊；從這些「道具」的集合中形成一個脫離、懸浮且失重的世界。