Yuyen Lin-Woywod
Yuyen Lin-Woywod is an artist whose practice primarily revolves around video media and installation works, focusing on themes of personal identity under political structures, queer theory, and cultural exchange. In 2019, her short film was selected for the Berlinale Hochschule Talent in Market Place and several other international film festivals. She was an artist-in-residence at Move Arts Japan (MAJ) in 2018 and worked as a multimedia coordinator for documenta 15 in 2022.
As an artist working primarily in video and new media, Lin-Woywod is deeply interested in exploring the intricate intersections of identity, gender, and diaspora. Through dynamic and immersive media forms, she employs marginalized bodies to navigate the multilayered experiences of a rapidly shifting world.
Her work often takes the form of video installations, interactive pieces, and performances, aiming to blur the boundaries between digital and physical realms. Through these works, she seeks to challenge conventional performance modes and create new narrative structures that center the experiences of marginalized communities.
Drawing from her own experiences, Lin-Woywod explores the diverse histories and cultures embedded within migration, intertwining queer studies with broader questions of race, gender, and power. Whether evoking a sense of place and belonging through soundscapes and immersive environments or utilizing digital technologies to create innovative modes of interactive participation, her work aspires to cultivate a space for dialogue, understanding, and celebration.
RESUME
Curriculum Vitae
2025 PhD Candidate Binational Artistic PhD program, Hochschule für Künste Bremen and Graduate School for Humanities University Groningen
2022 Master Degree of Art in Context, Berlin University of the Arts
2019 Master Degree of Visual art in Art Academy Cassel (class of Bjørn Melhus)
2011 Bachelor Degree of Fine Art , Taipei National University of The Arts
Select of Exhibition
2024 17th Edition SUR SUR SUR Video Club screening, silent green,Berlin and The Living Art Gallery,New York City, and Cine CCC, Chile. (DE/USA/CL)
2023 group exhibition“6+6 Diaspora Dialogues“, Studio 1 Kunst Haus Bethanien (DE)
2022 group exhibition“25 Grad“, Kühlhaus Berlin(DE)
2021 „Are you for Real?“ Virtual Exhibition(DE/online)
2020 Liminal Pavilion in Bangkok Biennial 2020, Sunday studio Montreal(CA/online)
2020 group exhibition Butterbutter Project (online)
2019 Taipei and Mexico City : "Pacific Pirate",in Kuandu Museum of Fine Arts (TW/MX)
2018 Tokyo: “Move Arts Japan Exhibition- Recordsof two Artists’s journeys.”(JP)
2018 Cassel: “Sketch of Sketch” Group exhibition (DE)
2018 Kofu: “What the water tell” Group exhibition(JP)
2017 Athens and Kassel: “what does Listening sound like” Group exhibition (GR/DE)
2016 Cassel: “MASS” Solo exhibition (DE)
Price and participated Festivals
2026 Hessische Kulturstiftung - Reisestipendium, Hessen (DE)
2023 fluctoplasma - Hamburg's Festival for Art, Discourse and Diversity, WestWerk, Hamburg (DE)
2021 38. Cassel: 35.Dokfest Kassel Film-Festival Exhibition „Monitoring“ (DE)
2020 15th Taipei Digital Art Festival: 01_Love Taipei DAC (TW)
2019 Oberhausen:65. International Short Film Festival Oberhausen (DE)
2019 Berlin: 69.Berlinale international Film-Festival Hochschule Talent in Markt Place (DE)
2019 Stuttgart: 30. Stuttgart stuttgarter filmwinter — festival for expanded media (DE)
2018 Cassel: 35.Dokfest Kassel Film-Festival (DE)
Practical Experience
2023 Spandau “ Aufbruch ” Art Residency (DE)
2018 Tokyo: “ Move Art Japan ” Art Residency(JP)
2016 Athen and Cassel: “d14 Sessions- School of Voice” summer school (GR/DE)
Curatorial Experience
2023 group exhibition“6+6 Diaspora Dialogues“, Studio 1 Kunst Haus Bethanien (DE)
2018 Taipei: “We can’t come from nothing.” Taiwan & Europe exchange Exhibition (TW)
2017 Cassel and Athens: “Membrane” Project by documenta 14 (GR/DE)
2015 Cassel: “Nice Life?” Taiwan Germany exchange Exhibition (DE)
Work Experience
2024 Klabauter Theater Hamburg “Toxic Affair” as visual multimedia designer
2023 Klabauter Theater Hamburg Short film Project “Ich bin Kim ”as Film director
2023- Schwules Museum Berlin head of Video department
2023- Artist Magazine Taiwan Regular Contributor
2022 Media Coordinator Production by “documenta 15”
2018 Workshop “Lost in translation” in Kofu, Japan
2017 Internship by “documenta 14” an education department
PORTFOLIO
BI YOU - the writing of time is a pen friendship, an exchange of postcards across continents, a conversation about and through time, an expression of opinion between the artists Yuyen Lin-Woywod and Thea Josepha Konatsu.
The format of letter writing today contains a feeling of melancholy and slowness. Due to the covid pandemic and the shift of almost all communication into virtual realities, the two artists discover a new fascination for analog forms of exchange in their project - weary of Zoom, Skype and any messengers. Postcards, letters and packages carry a lot of different information: a person's handwriting, the selected paper, creases and stains, a smell, the envelope, size and chosen format, the postage stamp and different time durations of the journey. Letters also carry norms such as weight, format, letterhead, and price.
BI YOU focuses on the theme of time: time difference (時差) - the missing time, times of the day, perceptions of time, memories - past time, the time a message takes in a letter, simultaneity of times. It is a dialogue, a public expression, a literary form between different cultural identities across continents. How can we appropriate the letter format and give it a new meaning? What information is lost through virtual communication and how can we exploit it in the analog? How can we as communities of the diaspora rediscover the letter format and use it for our own struggles?
(BIYOU, 2023, photo: Nai-Yun Yang)
This video work is deal with the concept of my whole project and is divided into two parts, the interview part and the monologue part. The first sections will deal with the elements of "food" and „memories" included in the monologue, explaining the use of these elements and what they represent in this project. The interview section will then introduce and discuss the context and history of the queer movement (Taiwan Pride) in Taiwan. Likewise, it will address the current state of the queer movement in Taiwan and the problems they face there. In this video addresses the importance of food culture for immigrants and various stories of immigrants from Taiwan. This chapter will also address the ethos of Taiwanese society as a whole, the notion of morality, and the family background of Taiwanese queer immigrants. The resulting psychological dilemmas that Taiwanese queers living in Germany have to deal with will also be addressed.
(Intervention am Esstisch - Taiwanische Queer in Deutschland, 2023, photo: Zsófia Puszt)
The video is create by “found footages” , they are superimposed, cut out, and collaged in order to put up the thickness of the surrounded media messages that are stacked and accumulated. Different living experiences are to be shown through the different collages of the found footages. Every person has dissimilar backgrounds and experiences, often they will receive different medias as well; all those tiny details can become hints and provide the materials for a person’s self reflection.
The final result of one thing often seems similar, but the process and starting point are not necessarily the same. Under the different time and backgrounds, the same person's thoughts will also change. Can we think from different angles and contexts with a neutral vision that breaks the polymer, beyond the concept of "A and !A”, and let "neutral" Not only stays in the category of semiotics, but becomes a method that can be practiced in life.
(Diary of elucidation - Vote, 2021, photo: Yuyen Lin-Woywod)
A narrator tells us about the beginning of the internet with a slight accent, but otherwise standard German. The story then shifts to descriptions of how the “state” wasn’t happy with their attitude. We see an actor as a stand-in playing multiple people who apologize for their behavior. They also reflect on the procedure of reading the apology itself and how their reading of a text will be broadcasted on television.
A singer who waved the Taiwanese (Republic of China) flag in music video, for example, was forced by the Chinese government to apologize for it. In fear of financial repercussions from their label, the entertainers usually oblige to this kind of visual censorship.
This situation creates interesting definitions of “audience” on a platform like the internet. When the performer apologizes to “the public”, they actually apologize to “the state”, who is not an entity in and of itself, but a collectively constructed idea. Although “the state” is made by “the public” it seems to be more autonomous and more powerful than its subjects.
(The Leviathane, 2019, photo: Film Still)
Found footage material shows quick and unstructured sequences of images. Some are coded “cultural” such as an indigenous choir in Taiwan, some are educational lessons about Taiwan’s history and children’s language learning ability. Simultaneously, a google language box pops up and begins to translate a story about the loss of a language over one generation to the next. We also see hands flipping through vocabulary cards and hands spelling out sentences in sign language.
A woman with bilingual background meets a mysterious person of undefined gender and background. From her perspective, the video is a way to escape her monotone life and get back in touch with the person she desires.Lastly, the mysterious person is a symbol for a “new consciousness” that has the potential to open up the protagonist’s horizon.
The whole video is using different written and oral languages that accumulate into a confusing and overwhelming experience.
(Stilluntitled - Way of listening, 2018, photo: Zang Liang)