Toward Heterotopia: Artists’ Books


展覽地點:陽明交通大學 交大校區藝術多寶閣

交通資訊:陽明交通大學 交大校區藝術多寶閣


Ho Tam、Leannej、Marlene Yuen、My Name Is Scot、Tomoyo Ihaya、




Curator: Wen-Shu Wendy Lai, Associate Professor, Institute of Applied Arts NYCU / Researcher of International Center for Cultural Studies NYCU



The “Artist’s Book” is a zone of activity made up of the intersection of various disciplines, fields, and ideas of the contemporary art.
Not only has this unique form of art changed significantly over the course of history, but its meanings and its emphasis have also altered.
In this exhibition, the artists make use of different media, methods and philosophical reasoning to challenge the conventional ideas of the book.

The endeavor to foster Artist’s Books in the Institute of Applied Arts at NYCU is an on-going journey since 2011.
It takes in alterity, embraces experimental methods and thereby subverts the norms and traces new paths.
It is a journey towards artistic heterotopia—a world of heterotopia and utopia.
“The book” thus evinces an air of restlessness while at the same time bursting with unknown possibilities.

The Teaching and Art Praxis of Artist’s Books at NYCU

文 / 賴雯淑 Wen-Shu LAI

國立陽明交通大學 應用藝術研究所 副教授
Associate Professor, Institute of Applied Arts

但不受其中任何一種的限制,它於 20 世紀出現,有豐富多重藝術樣態,同時保有其自身獨特的藝術範疇。

Artists’ book is the 20th-century art form. It is a zone of activity made at the intersection of a number of different disciplines, fields, and ideas—rather than their limits. As one of the paths of art praxis, the artist’s book has many turns along with its historical context. It needs to be understood from the artist’s intentions as well as the work of itself since it has a dialectical relationship with the artist and its readers. We can discuss Artist’s books from several dimensions such as the production, media, binding, and printing of books, or discuss the creative philosophy and distinctive signature of a book artist’s oeuvre from the angle of the artist’s professional training. Some artist’s books are the only existing copies. Instead of being published and produced massively, they are intended to topple the conventional idea, form, and structure of books by introducing heterogeneous concepts and media. The understanding of an “artist’s book” often lies between the artist’s book, the artist and his intentions hidden in the book, and the readers. It covers the conceptual, material, technical, and spiritual aspects of the book. Also, these are closely related to the artist’s own training or intentions. This paper seeks to investigate how artist’s books appear as an approach of artistic praxis in related fields in Taiwan, and what possibilities this approach can offer, with a special focus on two courses—“Artist’s Books” and “Advanced Artist’s Books” offered by the author at the Institute of Applied Arts, NYCU since 2011. This paper proceeds in accordance with the four major topics that underpin the two courses. They are: the expending meaning of the artist’s books, the curriculum thinking and innovative techniques of the artist’s books, the exhibition of the artist’s book, and the analysis of the works of the artist’s books. In sum, this paper elaborates on the praxis of “artist’s books” from the aspects of the meaning of the artist’s books, teaching praxis, exhibition, and work analysis. From above, this paper will clarify what teaching and art praxis paths that the two courses offer, and the insights derived from them.