捐款支持 Donate

展覽論述 Statement

火炬／拳頭。病毒雖無法再傳遞，卻仍有別的東西在流動。
深藏於體內的，不僅是無解的病毒，更有記憶、悲歡，以及那股始終不肯退場的抵抗。這群人繼承的，並非感染本身，而是它所留下的重量；所欲傳遞的，也不是曾經進入血液的東西，而是那些徹底改寫生命的經驗。這股意志延燒的速率或許不及病毒，卻往往抵達得更深刻。它是一道學會說話的傷口、一種感染的藝物、一場無可救藥的浪漫。

——臺灣感染誌 x 臺灣當代文化實驗場：無救藥聯盟 Incurable Alliance

人類免疫缺乏病毒（Human Immunodeficiency Virus，HIV，愛滋病毒）在全球擴散逾四十年，其傳播軌跡不僅見證了流行病學的發展，也交織出一段段由感染者經驗、社會話語權、污名意識與邊緣化政策構成的歷史網絡。如今，多數國家已將愛滋病毒帶原者納入公共衛生系統追蹤管理，穩定藥物治療成為可行常態，「測不到等於不具傳染力（Undetectable equals Untransmittable, U=U）」成為一句安慰人心的科學與運動口號。它走進許多人的生活，將病毒由「不可見」轉化為「不可傳」，為研究開啟新方向的同時，也為病者帶來希望。學者與病者共同昂首邁向一個充滿光明的未來藍圖，而穩定服藥、達到病毒量測不到的狀態，也成為確診後最核心的醫囑與責任。

感染者不再需要時時思量死亡與傳染他人的風險後果，然而與此同時，卻似乎走入了另一種沉默的開端。當病毒因高濃度抗病毒藥物而無法透過血液傳播，懼異的視線與社會投射卻仍擁有穿透一切的能力，那些來自他者的凝視與價值意識仍會滲入身體，在公衛機制保護傘下，記憶與恐懼依舊需要出口。

在這樣的時代節點上，「無救藥聯盟」的展開並非關於解藥，而是試圖處理那些無處安放的意志與經驗。儘管抗反轉錄病毒藥物與科學知識的普及已使病毒管理在全球邁向穩定，亞太地區的感染者與酷兒群體卻仍深陷於法律、宗教、文化與階級交織的懲罰性結構中。同志關係未被普遍承認、感染者被揭露／懲罰、藥物可及性與公衛資源高度不均，使相關愛滋相關藝文運動與經驗敘事長期處於孤島狀態。在這樣一個跨國移動加劇、社群串連片斷的時代，亞太地區愛滋藝術聯盟的出現，是一次試圖突破區域沉默與孤立感的回應。

本展由社團法人臺灣感染誌協會與臺灣當代文化實驗場共同主辦，以「無救藥聯盟 Incurable Alliance」為題，期盼藉由聯合展覽的發布，激化跨國藝術運動者間的聯盟與合作。邀集來自臺灣、香港、馬來西亞、南韓、菲律賓與澳洲共十組愛滋陽性藝術家，以 C-LAB 為基地，聯合再現亞太藝術居民所見之愛滋病毒感染語境。藝術家們跨越書寫、繪畫、聲響、錄像、表演、裝置與社群實踐等形式，帶原著病毒，也攜帶著各自所處國族的語言、宗教、文化、經濟與法律規範差異；作品呈現個體如何以藝術生產為載體，轉譯身體與身份之間的拔河，也如何在無法言說的歷史斷層中，重構自我、連結他人。

這是一場冒險性的協作——在彼此雷同的默契中靠近，在相異的傷口中找尋共鳴，共組一處當代愛滋經驗的視覺現場，為跨境行動與藝術實踐的可能性，拋出提案，也留下見證。

Carrying a Torch in Our Fist. Though the virus can no longer spread, there is still something on the move.
What lies deep within the body is not only an incurable virus, but also memories, joys, sorrows, and a resistance that refuses to die. Those living with HIV no longer spread the infection itself, but continue to bear the weight it has left behind. What they seek to pass around are those experiences that have completely rewritten so many lives. While the strength of their collective will may not be enough to cure the virus, it has reached a much deeper place. Like artifacts of infection or an incurable romance, the scars left on their psyches continue on and have learned to speak.
——Taiwan HIVStory and Taiwan Contemporary Culture Lab: Incurable Alliance

The Human Immunodeficiency Virus (HIV) has been spreading globally for over forty years. Its transmission trajectory has not only coincided with the development of epidemiology but also woven a historical network composed of the experiences of those infected, a social discourse, a stigma, and marginalizing policies. Today, most countries have integrated HIV carriers into public health systems for tracking and management, and stable and workable drug therapies have become the norm. The slogan Undetectable equals Untransmittable (U=U) —as scientific as it is comforting—is often used by advocates and has become part of many lives, as the virus has transformed from undetectable to untransmittable. New research directions have opened and brought hope to those affected. Medical professionals and patients walk together toward a brighter future, as they strive for undetectable viral loads through stable adherence to medication protocols after diagnosis.

Infected individuals no longer need to constantly worry about death or the risk of transmitting the virus to others. However, at the same time, it seems they have entered a new silent beginning. Even though the virus is unable to spread due to high-concentration antiretroviral drugs in the bloodstream, fear and societal projections still possess the ability to penetrate everything. Stares and value judgments continue to seep into the body, and even under the protective umbrella of public health mechanisms, memories and fears still need an outlet.
At this pivotal moment, the Incurable Alliance was not formed to battle for a cure, but rather seeks to address those unresolved struggles and experiences that have nowhere to rest. While the widespread use of antiretroviral drugs has brought stability to global virus management, infected individuals and queer communities in the Asia-Pacific region are still deeply affected by punitive structures that have been shaped by law, religion, culture, and class. Same-sex relationships are not widely recognized, infected individuals are often exposed and punished, and there is severe inequity in accessibility to drugs and public health resources. This all has left HIV/AIDS-related art and narrative movements in a state of isolation for a long time. In an era of increased transnational movement and fragmented communities, the emergence of the Incurable Alliance and Asia-Pacific HIV+ Art Showcase represents an attempt to break through the silence and sense of isolation in the Asia-Pacific region.

Titled Incurable Alliance, this exhibition was jointly organized by the HIVstory and the Taiwan Contemporary Culture Lab. With this exhibition, the organizers hope to strengthen alliances and cooperation among transnational art activists. The exhibition brings together ten HIV-positive artists and art groups from Taiwan, Hong Kong, Malaysia, South Korea, the Philippines, and Australia. Based at C-LAB, the artists collaboratively introduce the HIV/AIDS context as it has been experienced by artists across the Asia-Pacific region. Working in the areas of writing, painting, sound, video, performance, installation, and community practices, the artists share the unique language, religious, cultural, economic, and legal differences in their respective countries. Their works reveal how artistic production can be used to navigate the tug-of-war between body and identity, and how they reconstruct themselves and connect with others in the face of unspoken historical ruptures.

This daring collaboration draws us closer through shared understanding and seeks resonance in wounds that differ. Together, the artists construct a visual site of contemporary HIV experiences, and propose new possibilities for transnational activism and artistic practice while bearing witness to their unfolding.

參展藝術家 Artists

點擊照片閱讀簡介 Click for artist bio

作品介紹 Artworks

作品的現身，將從展覽現場開始。開幕後，我們將同步於此呈現。

The artworks will first reveal themselves in the exhibition space. They will be unveiled here after the opening.

地點資訊 Venue

主辦單位

Organizers

執行單位

Operator

支持夥伴

Partnership

此計畫由吉立亞醫藥基金支持。吉立亞醫藥並無策劃及製作任何相關的資訊內容。

贊助單位

Exhibition Sponsors

協力宣傳

Collaborative Promoter

特別感謝 Special Thanks

Doc Eason （榊一生）、林佑運、Yu-Chen Lai、岳鈺斌、羅昱文、吳子勤、泰勒絲先生、林鈺豐、莊偉慈、宋孜吟、林陳慶、陳懿、Sho Akita、萬志軒、陳韋綸、莊英祺、葉庭佑、汪家慶、台灣露德協會、MIA、艾咪沒邏輯、Zora 

Copyright © 2025 社團法人臺灣感染誌協會

立案字號：台團字第1080016406號

勸募字號：衛部救字第1141360255號

Adam UMMAR

亞當・烏瑪爾 (Univorso)

亞當・烏瑪爾，1996年生，自學新銳視覺藝術家，現居於吉隆坡，以多元媒材創作抽象作品。其藝術實踐圍繞情感、心理學、哲學、迷幻文化以及科學主題，並運用傳統及數位化的抽象語彙進行探索。他對意識與潛意識之間的關係抱持濃厚興趣，促使其創作持續與藝術與人文學科展開對話與交織。從解構主義汲取靈感，他透過創作中的解構與重構來理解自我、他人與所處的世界。2020年，亞當獲選為馬來西亞國家美術館「青年藝術創業家」計畫成員，並曾與來自亞洲地區的藝術家共同參與實體與線上展覽。

Adam Ummar (b.1996) is an emerging self-taught visual artist based in Kuala Lumpur creating abstract works in various media. His artworks that revolve around themes of emotions, psychology, philosophy, psychedelic culture, and science are explored through traditional and digital abstraction. His interests in design, the social sciences, and the humanities inform his creative practice. With a keen interest in consciousness and the unconscious his work can be understood to be in constant dialogue with the arts and humanities. Taking cues from deconstructivism, he visually deconstructs and reconstructs the world around him to understand himself, others, and his environment. In 2020, he was selected as one of the National Art Gallery Malaysia’s Young Art Entrepreneur. He has participated in exhibitions at galleries and virtual exhibitions with artists from across the Asian region.

Andrew CHAN

編織的貓

編織的貓，現居澳洲 Naarm／墨爾本，為來自馬來西亞的跨領域藝術家，擁有超過十五年平面設計專業經歷。自2019年起，編織成為其主要的藝術創作媒介，並藉此挑戰僅將編織視為傳統工藝的刻板印象，回應其在歷史上的性別偏見。他的作品結合移工、酷兒與有色人種等多重邊緣經驗，構築交織的群體敘事。2022年於 Blak Dot Gallery 舉辦首次展覽「Rebuilding Queerness」，與五位 BIPOC（黑人、原住民族群，以及其他有色人種）藝術家合作，透過纖維與行為藝術訴說酷兒旅程。2023年，他參與於澳洲布里斯本舉辦的國際展覽「HIV Science as Art」，並展出作品《Caught Between States》，靈感來自一項關於流離失所酷兒移民的科學研究。他亦曾於澳洲設計中心與4A亞洲當代藝術中心展出，並以可穿戴式的HIV藝術作品獲頒2022年Living Positive Victoria社群發展獎。

Andrew Chan is a multidisciplinary artist originally from Malaysia and currently based in Naarm/Melbourne. He has been a graphic designer for more than 15 years. His artistic journey began in 2019 when he discovered knitting, which quickly became his primary medium. Through his work, he strives to challenge the traditional perception of knitting as mere craft, addressing its historical gender bias. His work often weaves together the intersectional stories of migrants, queer people, and people of colour, providing a platform for stories from the marginalised community. He had his first exhibition at Blak Dot Gallery called Rebuilding Queerness (2022), where he collaborated with five Naarm BIPOC artists to tell their queer journey through fibre and performance. He is also part of an international group exhibition called HIV Science as Art 2023 in Brisbane, where his artwork Caught Between States was inspired by a scientist’s study on forcibly displaced queer migrants and their migration struggles. He has also exhibited at the Australian Design Centre and 4A Centre for Contemporary Asian Art. He is the recipient of Living Positive Victoria’s Community Development Award 2022 for his work in HIV advocacy through wearable art.

Franki.C

法蘭奇

1988年生於香港，現居台灣。創作橫跨劇場、影像、文字與裝置藝術，關注當代行動者、離散社群及邊緣群體在社會壓迫下的掙扎與生存，探問我們如何在希望幻滅後繼續前行。曾於澳洲、香港及台灣的非政府組織從事勞工、性工作者及人權議題相關工作，創作深受社會運動與個人經驗影響。劇作《寄：》以香港流亡者與在囚者為題，獲 2023 年第二十五屆台北文學獎舞台劇本組評審獎。近期創作包括 臺南藝術節 隔離島劇團《來買一本書—獨立書店的紀錄劇場》（2024） 及 短片《愛滋獨白》（2018）。此外，亦以發起人與統籌身份參與 《午夜男喃——香港男性性工作者口述歷史》（2022，午夜藍出版）。

Franki.C (b. 1988, Hong Kong) is a Taiwan-based playwright and interdisciplinary artist whose work amplifies the voices of activists, exiles, and marginalized communities navigating oppression. Through their narratives, they examine how people continue to survive in the wake of lost hope. With a background in advocacy for labor rights, sex workers’ rights, and human rights across Australia, Hong Kong, and Taiwan, Cheung’s practice is deeply shaped by lived experience and social movements. Their play Postmarked:, which explores the lives of Hong Kong political exiles and incarcerated individuals, received the Jury Prize at the 25th Taipei Literature Award (2023). Recent works include Turning the Page: A Documentary Theater on Independent Bookstores (2024, Tainan Arts Festival, Isoleighbourland Theatre) and the short film AIDS Monologues (2018). Beyond their creative work, Cheung also initiated and curated Midnight Blue – Oral History of Male Sex Workers in Hong Kong (2022, Midnight Blue).

Gian CRUZ

蔡吉安

蔡吉安，1987年生於菲律賓馬尼拉，跨領域菲律賓藝術家，身兼研究者、藝評人、藝術史學者與文化專案協作者，創作實踐深植於攝影，並結合其機構工作經驗與藝術理論、批評專業背景。2019至2020年間，他成為西班牙MACBA獨立研究課程創立以來首位東南亞學員，也是該計畫17年來首位具亞洲血統的學生。他的創作關注當代文化中影像的流動性與其所牽動的多重論述，並延伸至表演、翻譯、歷史、建築、生態、電影與 HIV／AIDS 行動主義等領域。多年來，他曾與韓國國立現代美術館、巴黎國立網球場現代美術館、巴黎Picto 基金會、巴黎時尚博物館、首爾市立攝影美術館、威尼斯雙年展、日本國際交流基金會、德國世界文化之家、庫里奇巴雙年展、多倫多密西沙加大學 Blackwood藝廊、阿姆斯特丹Pride Photo Award、紐約 VISUAL AIDS、雪梨4A亞洲當代藝術中心、西班牙國際攝影暨視覺藝術節、SGAE基金會、馬德里亞洲之家等機構合作展出。

Gian Cruz (b. 1987, Manila, Philippines), is an emerging multidisciplinary Filipino artist/researcher/art critic/art historian/community manager/cultural projects coordinator whose artistic practice is heavily rooted in photography integrated with his institutional work and background in art theory and criticism. For the 2019-2020 cycle, he became the first Southeast Asian participant in completing the Independent Studies Programme at MACBA. Furthermore, he is the first student of Asian heritage in its 17-year history. Cruz’s work is central to the volatility of the image in contemporary culture and the multiple discourses that come along with it. His practice extends to performance, translation, history, architecture, ecology, cinema, HIV/AIDS activism and several other fields and contexts that engage with his current preoccupations as an artist. Over the years he has worked closely with the National Museum of Modern & Contemporary Art, Korea, Jeu de Paume, Paris, Picto Foundation (Paris), Palais Galliera, Musée de la Mode de la Ville de Paris, The Museum of Photography, Seoul, La Biennale di Venezia, the Japan Foundation, Haus der Kulturen der Welt, Bienal de Curitiba, Blackwood Gallery (University of Toronto Mississauga), Pride Photo Award (Amsterdam), Visual AIDS (New York), 4A Centre for Contemporary Art, Sydney, PHotoESPAÑA, Fundación SGAE and Casa Asia, Madrid.

HIVStory

感染誌

感染誌成立於2016年，起始於網路，逐步發展為一個由感染者發起、關注愛滋書寫與創作的團體與非營利機構。透過紀錄、敘事與策劃展演，持續嘗試建立不同於主流的疾病對話方式，讓感染者與其親友的生命經驗得以被看見，感染誌關注的不只是疾病本身，更將研究與發聲的觸手延伸至公共衛生、法律、人權與身分政治之間的交織關係，並透過與創作者的合作與社群參與，探索創作作為療癒與賦權的可能。

HIVStory was founded in 2016 as an online initiative and has since evolved into a nonprofit organization and creative collective formed by people living with HIV. Through documentation, storytelling, and curatorial projects, the group continuously explores alternative ways of engaging with illness—beyond mainstream narratives—to make visible the lived experiences of people living with HIV and their loved ones. HIVStory addresses HIV not merely as a medical condition, but as an intersectional site where research, advocacy, public health, law, human rights, and identity politics converge. Through collaborations with artists, creative collaborators, and active community participation, it explores how creative practice can serve as a process of healing, empowerment, and resistance.

Jaewon KIM

金載原

視覺藝術家金載原生於1991年，現居於南韓首爾。以錄像、攝影與書寫創作實踐探討酷兒性與HIV／AIDS之於過去、現在與未來的多重交織經驗，其作品質問並追索疾病的力量如何重塑那些不可見的事物與被排除者相遇的意義。金載原的作品曾於首爾、釜山、布里斯本、費城、東京、洛桑與紐約展出，並於美國惠特尼美術館、費城藝術博物館、首爾國際驕傲電影節與釜山國際錄像藝術節等機構放映。近期個展包含於韓國Elephantspace、SPACE Four One Three的呈現發表，並承攬來自紐約VISUAL AIDS及澳洲NAPWHA 「HIV Science as Art」的創作邀請，以及韓國國立當代美術館的高陽藝術進駐計畫。

Jaewon Kim (b. 1991) is a visual artist based in Seoul, South Korea. He primarily utilizes video, photography, and writing to explore the expansive nature of queerness and HIV/AIDS, contextualizing the past, present, and future as multi-layered experiences. His work questions and traces how the force of the illness reshapes the meaning of encounters with the invisible and excluded. His work has been exhibited internationally in Seoul, Busan, Brisbane, Philadelphia, Tokyo, Lausanne, and New York. His videos are screened internationally at the Whitney Museum of American Art (US), Philadelphia Museum of Art (US), Seoul International PRIDE Film Festival (KR), and Busan International Video Art Festival (KR). His recent solo exhibitions include those at Elephantspace (KR) and SPACE Four One Three (KR). He has also received commissions from Visual AIDS (US) and HIV Science as Art, NAPWHA (AUS). He was an artist-in-residence at MMCA Residency Goyang (KR)

支持單位｜Made possible by

Jangwon CHOI

崔璋元

崔璋元，一位在南韓境內探索HIV感染現實的藝術家。出生於南韓，畢業於弘益大學影像動畫學院，自2016年於首爾舉辦首次個展以來，累計參與17場聯展與3檔個展。他的創作多聚焦於自身作為感染者，在向熟識與非熟識的他者公開愛滋陽性血清狀態時，所產生的複雜敘事與互動。致力於真實的再現，他曾直言：「我希望感染者不再需要感謝別人代替自己說故事。」崔璋元經常透過錄像與雕塑裝置，呈現觀者對此經驗的多重反應與對話。此外，自2023年起，他亦於南韓iSHAP愛滋防治中心擔任諮商員，陪伴MSM（男男性行為者）與跨性別社群，這段經驗讓他對南韓LGBTQ+族群在HIV／AIDS議題中所面對的現實與挑戰有了更深刻的體察。透過藝術與行動，崔璋元持續發聲，使與HIV病毒相關的生命經驗得以被社會理解與看見。

Jangwon Choi explores the realities of living with HIV in South Korea through his art. Born in South Korea, he graduated from the Institute of Film, Video, and Animation at Hongik University. Choi launched his career as a visual artist with his debut solo exhibition in Seoul in 2016. Since then, he has participated in 17 group exhibitions and held three solo exhibitions. His work often addresses the complex narratives and interactions that arise when he openly reveals his status as an HIV-positive individual to both familiar and unfamiliar audiences. Utilizing mediums such as video and sculptural installations, Choi focuses on the diverse reactions and dialogues his work sparks among viewers. Choi is passionate about authentic representation, stating, “I hope that people living with HIV never feel the need to thank others for telling their stories on their behalf.” Since 2023, Choi has also been serving as a counselor at the ‘iSHAP’ HIV/AIDS prevention center, where he supports MSM(Men who have Sex with Men) and transgender individuals. This role has given him deeper insights into the perspectives and challenges faced by the LGBTQ+ community in relation to HIV/AIDS in South Korea. Through his art and various activities, Jangwon Choi consistently voices the stories surrounding HIV/AIDS, aiming to foster understanding and awareness in society.

Jerome KUGAN

杰羅姆・庫根

跨領域藝術家、作家與音樂人杰羅姆・庫根，1975年生於馬來西亞亞庇。其創作涵蓋視覺藝術、音樂、書寫、聲音與行動，長期關注身分、性別與性向議題。自吉隆坡文化現場深耕多年後，他於2017年返鄉專注視覺藝術創作，並先後舉辦兩場個展「Red & Gold」（2017）與「HURT｜NEED｜UNDO｜LIVE and RESIST」（2022）。他亦於2023年協同策劃馬來西亞酷兒藝術展「WUJUD/EXIST」，並入選當年於布里斯本舉辦的「HIV Science as Art」計畫展覽，與全球科學家與愛滋陽性藝術家共同發表展覽。庫根同時為性別與性議題藝術節「Seksualiti Merdeka」共同創辦人，並曾擔任酷兒文集《Body 2 Body》共同編輯，持續以多元創作介入馬來西亞在地與跨國的酷兒文化實踐。他的個人創作主要以紙本、布料、木材與回收媒材進行繪畫與書寫，透過身體、文字與抽象符號，探索個人與政治的交織經驗。

Jerome Kugan (b.1975, Kota Kinabalu, Malaysia) is a multidisciplinary artist, writer, and musician. His practice spans visual art, music, writing, spoken word, and activism, often centered around themes of identity, gender, and sexuality. After years of working in Kuala Lumpur’s cultural scene, he returned to his hometown in 2017 to focus on visual arts. Jerome has held two solo exhibitions—Red & Gold (2017) and HURT|NEED|UNDO|LIVE and RESIST (2022)—and co-curated WUJUD/EXIST (2023), featuring queer Malaysian artists. He was also selected as one of 12 HIV+ artists for HIV Science as Art, presented during the International AIDS Symposium in Brisbane. A co-founder of Seksualiti Merdeka and co-editor of Body 2 Body, he continues to be an active voice in queer and HIV-related cultural work. His visual art incorporates drawing and painting on various surfaces, exploring the body, language, and abstract forms as vehicles for personal and political expression.

Kairon LIU

劉仁凱

藝術家、攝影師及策展人劉仁凱，1992年生於臺灣台北，由世新大學圖傳系畢業。作品關注當代信仰、疾病與污名，與多國人類免疫缺乏病毒（HIV）社群跨域合作，以藝術研創探索軍事隱喻之於普世價值、病毒宿主身心狀態間的擾動與交互作用。劉仁凱的創作時常反映他在日常所發現的信仰觀察，他學習特定物件之於研究主體的意義及符碼，並將其轉化為作品中的敘事符號。劉仁凱的作品曾獲 2014 索尼世界攝影大賽「國家獎」殊榮，作品迄今已於布里斯本、春田、紐約、華盛頓、倫敦、台北、高雄、台南、宜蘭等城市展出。

Kairon Liu (b.1992, Taipei, Taiwan) is an artist, photographer, and curator. His practice focuses on contemporary beliefs, illness, and stigma, often working in collaboration with HIV-positive communities across different countries. Through artistic research and curatorial strategies, Liu explores the militarized language of illness and its entanglement with universal values and the psychosocial conditions of virus hosts. His works often reflect everyday observations of belief, drawing from symbolic objects that he transforms into elements carrying narrative weight to question social perceptions. In 2014, he received the National Award from the Sony World Photography Awards. His works have been exhibited in cities including Brisbane, Springfield, New York, Washington D.C., London, Taipei, Kaohsiung, Tainan, and Yilan.

TSENG Chih Wei

曾智偉

1991年生於臺灣，畢於國立臺北藝術大學戲劇學系。現為表演藝術家，演出及創作領域跨足戲劇、舞蹈及沉浸式體驗。作品關注愛滋意識提升及酷兒文化探索，身體作為展演的媒介，文字開啟詩意的想像，邀請觀眾共創非典型空間中的親密經驗，開啟多元對話的可能性。愛滋創作轉化疾病的各種面向成不同形式的展演，以藝術實踐為感染者發聲，破除愛滋社群與社會大眾之間的疆界。2024年以愛滋創作《Black Plum Blossom》巡迴歐洲，於巴黎、柏林、慕尼黑、蘇黎世、馬斯垂克等城市演出。過去愛滋創作曾發表自傳型獨角戲《巴黎野梅》、參與式藝術計畫《野梅close up》、裝置作品《POZbath》。酷兒創作則曾與變裝皇后妮妃雅合作，結合劇場的批判性與秀場的娛樂性，發表沉浸式劇場作品《Mommy Drag》。

Tseng, Chih Wei (b. 1991, Taiwan) graduated from the Department of Theatre, Taipei National University of the Arts and is active as a performing artist in theatre, dance and immersive works. His practice raises public awareness on HIV/AIDS and explores queer culture. Through the performativity of the body and the poetic imagination of language, he invites audience-members to create intimate experiences with him in unorthodox spaces, and to open up possibilities for conversations among people with a variety of beliefs and ideologies. From 2020 to 2024, Tseng’s works examined multiple aspects related to life with HIV/AIDS through various forms of art projects, including performances, exhibitions, immersive experiences, workshops, lectures, dance videos and documentaries. Cooperating with different HIV/AIDS non-profit organizations, he aims to break the boundary between the HIV/AIDS community and the public. In 2024, he represented Taiwan in the 25th International AIDS Conference in Munich, Germany before touring with his HIV/AIDS works in different European cities.