„Aufzeichnungen“ und Aufzeichnen
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2023-          A Place Out there,
                   An Out-there Place

2021-          Apfelatlas
2017-2020: AVe Maria
                   (NOVEL/ ARTIST BOOK)
2017-2018: Our Gaze
2016: book semiotics
2016: Heinzelmenschen
2014: A Traveler's Guide to 
          (NOVEL/ ARTIST BOOK)

2013-2015: flip!
2010-2012: zusammenhang
2009-2010: silent years
2008: Materialpoesie
2007: flaschenpost
2007: abwesend, anwesend

Zeichnungen/ drawings/ 圖畫
Kalligrafie/ calligraphy/ 書法

book design/ 書籍設計

Our Gaze (Taipei Fine Arts Museum), 2018/林冠瑜攝

Our Gaze: How Reading Changes in the Contemporary Context

Paper has been the vehicle for literature for centuries; we have grown accustomed to the physicality of paper in the experience of absorbing content. Digital media has changed the way we interface with data; one can contemplate the various sensorial experiences gained or lost through this new way of engaging with reading. The interpretation of the contents in a book is greatly affected by the mode of its dissemination and how it is situated and presented. Reading has become an interactive process through rich digital media, and new possibilities are extended in format options. This is also changing the way we write/create as well. The experience of reading is no longer constrained to just words and pictures; videos and non-linear approaches to narrative is also readily accessible for authors in integrate into their process.

Furthermore, the digital media shapes our reading gesture. We are developing a public self-image whilst reading which has been considered as a private activity. We become aware of our image in public because of the gaze of others. The monitoring technologies make the physically absent gaze/observation possible. How the gaze of others influences our reading comprehension is a contemporary subject.

For a exhibition I invite all participants to reconsider reading, and reflect on the evolution of content communication through book formats and to consider the possible relations between human beings and “books”. All the presented book objects are offered to be read tactilely without gloves. It is a creative time to envision new medias, and imagine or even question various conceptual mediums of presentation in narratives.

The following points are germinating possibilities:
1. Consider the fundamentals of reading as an action/verb: Reading is visual, auditory, tactile entity. Which synesthetic experiences of reading could be unfolded and exposed when we have a book with an unconventional format?

2. Documenting as working process to decide the presentation form: the recording tools could serve as research platforms to “read” various works and offer a neutral exploratory space for curating a project.

3. Reading as an interactive performance: The audience can be involved in the “book” exhibition. Reading can activate performances, to become part of an exhibition or live event.

In the realization a reading installation will be the place where we collectively reflect on our gaze and reading experiences. These interactions, experiments and performances could inform new possibilities for further new creative directions in analyzing how or why we engage with literature and may present new book formats.