Sheng-Wen Lo
www.shengwenlo.com
Sheng-Wen Lo was born in 1987, Taiwan, currently based in the Netherlands. He is interested in contemporary human-animal relationships, and attempts to spark off debates. He uses still/moving images, sound, video games and various medium. He received his MA in Photography from Kunstakademie St.Joost in the Netherlands, and MSc in Computer Science from the Computer Music Lab at National Taiwan University. Having also been working as a scientist, scientific values and methodologies are crucial to his works.
Sheng is the creative director of Lightbox, a public photo library and a center for contemporary photography at Taipei. During his residency in Europe, he seeks to strengthen the mutual understandings between Taiwanese and the international contemporary photography scene through talks, discussions, writings, and collaborations.
His recent works are shown in EYE Filmmuseum and Fotofestival Naarden in The Netherlands, ICP Museum in New York, FORMAT Photo Festival in UK, Belfast Photo Festival in Northern Ireland, OrganVida Photo Festival in Croatia, and LianZhou Foto Festival in China. He is the winner of portfolio reviews at FORMAT Photo Festival (2017), OrganVida Photo Festival (2016), and Young Art Taipei (2015).
Supervisors: Mariska van den Berg
Sheng-Wen Lo was born in 1987, Taiwan, currently based in the Netherlands. He is interested in contemporary human-animal relationships, and attempts to spark off debates. He uses still/moving images, sound, video games and various medium. He received his MA in Photography from Kunstakademie St.Joost in the Netherlands, and MSc in Computer Science from the Computer Music Lab at National Taiwan University. Having also been working as a scientist, scientific values and methodologies are crucial to his works.
Sheng is the creative director of Lightbox, a public photo library and a center for contemporary photography at Taipei. During his residency in Europe, he seeks to strengthen the mutual understandings between Taiwanese and the international contemporary photography scene through talks, discussions, writings, and collaborations.
His recent works are shown in EYE Filmmuseum and Fotofestival Naarden in The Netherlands, ICP Museum in New York, FORMAT Photo Festival in UK, Belfast Photo Festival in Northern Ireland, OrganVida Photo Festival in Croatia, and LianZhou Foto Festival in China. He is the winner of portfolio reviews at FORMAT Photo Festival (2017), OrganVida Photo Festival (2016), and Young Art Taipei (2015).
Supervisors: Mariska van den Berg
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The study established a frame of reference comprising four current modes of engagements between art and science: science as “tools”, as “subjects”, as “reasons for and ground of collaborations”, and science as “art”. This research emphasises the part, “science as art”, and suggests that some scientific works have artistic qualities, and have the potential to be received and debated in the art discourse. Through engaging with art, scientific research has the possibility to be scrutinised by a set of heterogeneous thinkers, providing fresh and perhaps critical reflections.
Two of the author’s latest work on human-animal relationships, White Bear (2014-) and MELK (2016-) are presented, analysed and positioned within the scope of the established frame of reference. The author believes that art has the potential to introduce a fresh perspective on the subject matter, and spark off longterm debates without being didactic. A more detailed argument is given on how Jacque Rancière’s notion of Dissensus is inline with the works’ strategies and process.
The study also presents a practical working method for projects that involve multidisciplinary collaborations, with the help of social media groups.
current phase, I look into what is beneath the
surfaces of a Campina milk carton — I consider
cartons 3D ‘selfies’ of the dairy industry.
and role of ‘art’ today. It touches
upon the tradition of ‘art as
knowledge’ and the idea of ‘knowledge
as art’.
The study established a frame of reference comprising four current modes of engagements between art and science: science as “tools”, as “subjects”, as “reasons for and ground of collaborations”, and science as “art”. This research emphasises the part, “science as art”, and suggests that some scientific works have artistic qualities, and have the potential to be received and debated in the art discourse. Through engaging with art, scientific research has the possibility to be scrutinised by a set of heterogeneous thinkers, providing fresh and perhaps critical reflections.
Two of the author’s latest work on human-animal relationships, White Bear (2014-) and MELK (2016-) are presented, analysed and positioned within the scope of the established frame of reference. The author believes that art has the potential to introduce a fresh perspective on the subject matter, and spark off longterm debates without being didactic. A more detailed argument is given on how Jacque Rancière’s notion of Dissensus is inline with the works’ strategies and process.
The study also presents a practical working method for projects that involve multidisciplinary collaborations, with the help of social media groups.
current phase, I look into what is beneath the
surfaces of a Campina milk carton — I consider
cartons 3D ‘selfies’ of the dairy industry.
and role of ‘art’ today. It touches
upon the tradition of ‘art as
knowledge’ and the idea of ‘knowledge
as art’.