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Afterlife Ver.2.0, 2013, recycling electronic components, plexiglass, micro-controller, 8bit IC, plastics, tube-light, wood, steel, LCD monitor, 67.5 × 30 × 30 cm, stand 80 – 120 cm. Private Collection.

CHENG Hsien-Yu

The Second Genre: The Sub-history of Wildlife Trade

“Life in the real world←Installation→Life in the virtual world”

“Imagine life at its simplest, regardless of size, shape, proportion, ...”

Lives in the real world are collected and converted into the virtual world of gaming. The main characters have the same number of lives as the lives captured by the installation, which acts as an agency connecting the real and virtual worlds. The total number of insect lives terminated by the installation shows up on the display, which is then converted into the game as the number of lives of the insect characters. When visitors play the game and lose lives, the number of lives displayed on the installation decreases accordingly.


Majored in Stage Design and Lighting Design at the Department of Theatrical Design and Technology, TNUA, and earned M.F.A. degree at Academe Minerva, Frank Mohr Institute, Hanze University of Applied Sciences Groningen in the Netherlands. Cheng is currently an artist and software developer. Selected to Dutch Young Talent in 2011, and won First Prize at the Taipei Digital Art Awards in 2013, First Prize of New Media Art at the Kaohsiung Awards in 2017, and Tung Chung Art Award in 2019. Held several solo exhibitions mainly in Taiwan, Asia, and Europe. Recently participated in Guangzhou Triennial, Hong-Gah Video Biennial, and group exhibitions in the Netherlands, Slovenia, Norway, Italy, and France.