The "Dear Taiwan, Outdoor Exhibition," co-curated by Elanor for the 2025 Taiwan International Photography Festival, highlights dialogue, collaboration, and everyday life. Through artistic interpretations, three artists explore collective memory and democracy, engaging with communities and organizations.
In 2024, Elanor and I-Ying curated an innovative exhibition addressing tech-facilitated gender-based violence. Featuring an immersive installation by Cheng Ting-Ting, visitors experience dual narratives of victim and perpetrator through audio-visual cues. The exhibition garnered acclaim, becoming part of Taiwan's top cultural events and was featured at RightsCon 2025.
榮宅，人們夢迴魔都說的就是這番場景。這房子忒美，但是能讓 Prada基金會跟上海市政府租了十年使用權，卻先花六年在整修不開放，絕對不僅止外表的美而已......
信仰低迷的年代，英國的教堂為了維持營運盡其所能開拓副業，舉凡出借演唱會場地、出售咖啡和酒水⋯⋯
2018年，當歐洲難民問題邁入第10年時，大家說到爛做到爛連艾未未都來插一腳的時候，舉辦一個難民藝術相關的展覽有什麼意義？
「我不會責怪自己的變態，因為我是被構成的。」—— 李傑
在倫敦，藝術展覽不只是在大型美術館，可能是千禧橋上乾掉的口香糖、或者公園、隧道與滑板場，甚至是兩百多年的老燈塔。
為何台灣有這麼多互動展覽？為何作品如此容易被破壞？目前遭到破壞後的後續補救是什麼？此外，也因為層出不窮的破壞，造成何種惡性循環？
Elanor Wang 