In Mongolia, people don’t ask how long a journey will take—they ask how far it is.
The paths here are seldom fixed: they appear, fade, and diverge with the season, the weather, and the will of those who travel them. This way of moving reveals a striking contrast between the time of the city and the time of the steppe. In the city, we measure distance by minutes; on the steppe, time unfolds with the landscape itself.
Хязгааргүй Харгуй (Infinite Roads) brings together eight Taiwanese artists and two Mongolian artists in a dialogue about direction, movement, and the uncertainty of routes ahead. Each work captures a fragment of time, reshaping how we perceive both temporality and bodily experience, and prompting us to rethink what a “road” means.
For those of us coming from Taiwan’s dense urban grid, the mutable trails of the Mongolian steppe felt at once disorienting and liberating. They made us ask: How do we navigate a world where boundaries are porous, where routes are provisional, and where the ground beneath us is shifting?
In an era of accelerating technology and mounting environmental strain, the road forward is not a single, straight line. It is a weaving of many trails—uncertain, fragile, yet filled with memory, aspiration, and risk. The more accessible a place becomes, the more vulnerable it may be to pollution and waste.
This exhibition does not offer a destination, but an invitation: to walk along multiple paths, and to inhabit the layered time where wilderness and city converge.
Curator’s Bio
Taiwanese artist CHIU Chieh-Sen focuses on cultural geography and the reconstruction of places. His practice weaves together archival research, fieldwork, and perceptual engagement to explore how space is shaped by memory, geopolitics, and identity. Since curating the 8th Ulaanbaatar International Media Art Festival in 2023, Chiu has developed a deep personal connection with Mongolia, returning annually to engage in cultural dialogue.
Tammy Yu-Ting Hsieh is a curator, editor, and researcher based in Taiwan. She has previously held positions in the Venice Biennale Taiwan Pavilion, Hong-Gah Museum, National Taiwan Museum of Fine Arts, and Kaohsiung Museum of Fine Arts. Previous curatorial projects include Technostalgia: Peripheral Memory (Ulaanbaatar Biennale, Ulaanbaatar, 2025), Between Waves and Soils (Kaohsiung Museum of Fine Arts, Taiwan, 2024–2025), A Nonexistent Museum (BOOKAND., Macau, 2023), and When Islands Dream (Museum of Contemporary Art Taipei, Taiwan, 2021–2022). Her recent research and curatorial practice trace the ecopolitics and extractive geographies of Asia and the Global South, attending to how landscapes are shaped—and scarred—by imperial legacies and uneven development.
In this project, she focuses on how Mongolian grasslands and nomadic cultures respond to the pressures of national borders and capitalist systems, and how desertification, climate change, and human-land relations in Mongolia are transformed by artists into perceptible narratives.
Margot Guillemot was born in Cork (Ireland), grew up in France, and now lives and works in Taoyuan, Taiwan. She is currently a PhD candidate in Contemporary Visual Culture at the National Taiwan University of Arts and holds an MFA from the Ecole des Beaux-Arts in Montpellier, France (2016). Margot’s works often question the concepts of “presence” and “representation” in the field of digital images, and examine how we define “seeing” and “going” in contemporary life. By navigating the contradictions between perception and cognition, reality and virtuality, space and time, she maps out places that blur the boundaries between the familiar and the unknown.
Her visit to Mongolia extends her exploration of how movement and scale shape visual experience—allowing her to re-engage with the act of seeing and being in vast, slow, and unfamiliar landscapes.
Artists Bio
Wen-Jen Deng is a Taiwanese artist specialising in fibre materials. She graduated from L’École Nationale Supérieure des Beaux-Arts (ENSB-A) in Paris, France. Her work spans various forms, including oil painting combined with embroidery, oil on floral fabrics, and soft sculptures dyed with natural pigments. Inspired by her lineage from the Pingpu tribe, her recent works explore themes of Taiwanese history, indigenous culture, and ethnic integration. She also draws from her passion for mountain climbing and exploration, weaving these life journeys into her tapestries and cartographic creations.
During this project, Deng focuses on how Mongolian fibre arts reflect the nomadic relationship with land, and explores how trade routes, migration, and weaving across the steppe and desert form a moving map of cultural memory.
Yi-Ting Wang is a Taiwanese artist whose practice centres on the rhythmic interplay between time, space, matter, and energy. Through sculpture and spatial compositions, she reveals the ambiguous boundaries between nature and artificiality, reality and imagination. Her ongoing Coastline Project reconstructs the visible and invisible landscapes of Taiwan’s coastline, including the 2023 exhibition Sea Rhythm at the Museum of Contemporary Art Taipei and participation in the group show Entangled Assembly in Mexico. In 2024, she received a grant from Taiwan’s Ministry of Culture and was featured in the Emerging Artists section of Art Taipei. Her earlier work, Disembodied Posture, was shortlisted for the 2019 Taipei Art Awards.
With poetic sensibility and acute perception, Wang continues to shape fluid, rhythm-infused mental landscapes. During the field trip to Mongolia, she focused on how Mongolians adapt to the natural landscape and how they perceive time and climate through movement and migration.
Juan Seais an artist, lecturer, and host of the podcast Silent Notes. He has published several photography books, including Happiness in a Courtyard, Double Happiness in a Courtyard, Walking the Bridge, Keelung Loop, and the independently released Kyoto Elevator. Over the years, he has held more than 40 solo and group exhibitions in Taiwan and abroad, including presentations at Each Modern Taipei, the Taiwan Biennial, Hsinchu Art Museum, Jimei x Arles Photo Festival, Kaohsiung Photo Festival, Art Solo, and One Art Taipei.
Artist website: juansea.com
During this field trip to Mongolia, Juan is particularly curious about how small objects or subtle traces of life in a vast landscape quietly convey local memories—sometimes with humour, sometimes in contradiction. He is also interested in how the spatial scale in Mongolia affects people’s rhythms of life and modes of seeing. He hopes to explore scenes that are ordinary for locals but may seem absurd, yet intriguing, to outsiders.
Tsai Kuen-Lin, born in 1979 in Tainan, Taiwan, is an interdisciplinary artist whose practice transforms the depth and intricacy of sound into visual forms. His work redefines how we perceive sound and constructs new connections between form and meaning. Through this process, Tsai reflects on the complex relationship between contemporary humanity and the natural environment, responding to pressing global issues through art. His work has been exhibited internationally, including at IA&A at Hillyer (Washington D.C.), National Art Museum of China, Mori Art Museum (Tokyo),and Taipei Fine Arts Museum. He has participated in artist-in-residence programs across Australia, the U.S., Japan, Norway, Thailand, and Taiwan.
Lin Yu-Chengexplores the identity of urban space through sculptural installations. Before 2010, his practice centred on the archaeological excavation of discarded metal mechanisms within architectural sites, emphasizing the physical presence of buildings and the existence of corners. Since 2011, his work has shifted toward reconstructing domestic and industrial materials, breaking habitual modes of seeing to convey abstract concepts and emotional tension. From 2021 onward, he has developed a new creative approach centred on “box construction,” where on-site rehearsals—ranging from scaffolding to the selection of objects—reveal a self-programmed modularity in constant formation. In this field trip, Lin focuses on how grassland and desert modes of life in Mongolia are shaped by and respond to extreme ecological conditions, and how those conditions influence local culture.
Li-Ting Jian was born in 1983 in Taichung, Taiwan, and currently lives in Xi’an, China. He is active in contemporary art curation, criticism, and creation. He previously served as Director of the Exhibition Department at Chengdu Guang Hui Art Museum, and has taught at Xi’an Eurasia University, Taipei National University of the Arts, and National Taiwan University of the Arts. His research focuses on avant-garde art’s challenge to artistic boundaries, as well as the accompanying systems of documentation and exhibition. In this field trip, Jian is interested in how nomadic living operates—its material demands, technical setups, and the broader question of how modernisation (industrialisation) intersects with or disrupts the poetic simplicity of a pastoral life.
CHI Chien, born in 1974 in Taipei, Taiwan, graduated from the Graduate Institute of Plastic Arts at the National Taiwan University of Arts. Since 2017, he has served as a part-time lecturer at NTUA and is currently pursuing a PhD in Contemporary Visual Culture at the same university. His practice spans painting, video, and immersive spatial installations. In recent years, his work has focused on the cognitive limits of human perception when facing the infinite and the eternal—treating the boundaries of humanism as an aesthetic subject. His work also explores how the viewer becomes embedded in the operational context of the exhibition mechanism. During this field trip to Mongolia, Chien reflects on how nomadic culture shapes ethical relationships between humans and the earth, forming a distinct cosmology.
Ariuntugs Tserenpil (b. 1977, Ulaanbaatar) is a Mongolian contemporary artist whose practice spans video, mixed media, photography, and painting. He received his BFA from the Culture and Fine Art Institute of Mongolia. Ariuntugs has presented widely in Mongolia and abroad. Recent highlights include his solo exhibition Unnameable Manufacture at Red Ger Gallery, Ulaanbaatar (2023), and participation in major platforms such as After Hope at the Asian Art Museum, San Francisco (2020), the 9th Shanghai Biennale (2012), and Documenta 14 in Kassel and Athens (2017).
Exploring the intersections of nomadic heritage, urban transformation, and environmental fragility, Ariuntugs uses collage, video, and hybrid material assemblages to address questions of belief, consumption, and humanity’s relationship with nature. His practice reflects on Mongolia’s transition between tradition and urban modernity, asking how cultural memory and ecological awareness might shape more sustainable futures.
Biligt Enkhtaivan (b. 1988, Ulaanbaatar) is a Mongolian artist with a long-standing passion for printmaking. Since childhood, she has been drawn to the simplicity and precision of pen and paper, a connection that naturally evolved into a deep dedication to graphic arts and printmaking. Over the years, she has developed a distinctive artistic language that blends traditional printmaking with mixed media and unconventional materials.
A profound source of inspiration in her practice is the Mongolian worldview, particularly the reverence for the Eternal Blue Sky and the nomadic way of life rooted in harmony with nature. Through this lens, her works explore the bond between humans and the natural world, the passage of time and existence, and the interplay between inner and outer realities.
She studied printmaking at the Academy of Fine Arts of Mongolia and architecture at the Central Academy of Fine Arts in Beijing, China. Her works have been exhibited widely in Mongolia and abroad, including the Ulaanbaatar Biennale (2025, Mongolia) and the International Women’s Art Festival (2024, South Korea).
This exhibition is part of the “Undefined Boundaries and Nomadic Spirit: Taiwan Mongolia Contemporary Art Exchange Project” in collaboration with Mongol Art Gallery, supported by T-Content Plan of the Ministry of Culture, Taiwan and Taipei Trade and Economic Representative Office in Ulaanbaatar.
