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2013 - 2018,

I expand my art practice to research these questions...




What is my culture?
Who are the audiences?
Who creates art?
In which language we speak?
Art as modernization and colonization
Representativeness and eligibility of an artist 
Taiwan in the international art map
Art after World War II
What can an artist do?
Useful art?
Art institutions?
What can art do?


螢幕快照 2018-09-14 上午5.14.47(2)_edited.png

#GhostKeepers #迎靈者

5 channel installation, social media

♔ 2019.11 exhibit at <Relocating Divinity>, Waley Art Gallery, nominated in Taishin Art Award.

♔ 2018 exhibited at < The Impossibility of Form >, Cuchifritos Gallery.

♔ Lectured at Parson, Pratt <#GhostKeepers> Class PowerPoint

It has been more than 70 years since the World War II ended, however, there are so many stories in different regions that are being buried and being forgotten as the time goes by. Current media and history writers may no longer keep records of the oppressed nor the oppressors.


#GhostKeeper invites you to be the contributor of this project: a social media ritual to make the unknowns alive. We invite you to profile a person in your memory that is rarely known to majority. They may be a person who had passed away or someone never been able to live their life fulfilled due to national political violence. Between 9/14-10/14, we will create 5 Facebook avatars, that will make these unknown ghosts live again for 30 days at Cuchifritos Gallery.


Audiences will have to add these avatars as Facebook friends in order to interact and see the posts of their afterlives, the avatar will check-in, share infos and chat with the audience..etc. In the last day of the exhibition, these avatars will no longer live online, the account will be terminated and their posts will be printed out on physical papers, occupying an existence in our daily life. In the meantime, ghostkeepers will also burn one set of the papers to inform the project to other ghosts that are not being able to accompany us with their stories online.


#GhostKeepers meant to construct a collaborative fictional history from personal perspectives, revealing why we are summoning these history today, and our spiritual affinity when facing predominal ties.

Writing the Time Lag
Writing the Time Lag

Writing the Time Lag 時差書寫

Experimental documentary, est. 110 mins

♔  2019 exhibit at <Sensefield>, Bopiliao, Taipei.

♔  2019 exhibit at <Why Did You Come to Taiwan>, MOCA, Taipei.

♔  2018 screened at Cepo' Art Center and Gene Siskel Theater.

♔  2019 won Experimental Film fund from Taiwan National Culture and Arts Foundation.

Lee Tzu Tung’s artworks focus on the politics of art, and how art and artists could serve or be transformed in politics. The film is a conclusion of her three-year political experience in both Taiwan and America. The director taking herself as an object in the experiment, joined Taiwan’s legislation procedures, election campaigns, organized indigenous movements, gender movements, and a bilingual press. Under the cover of a political activist, she tries to observe the reason for the political fever and furthered her reflection on modernization and its effect on people’s life.

This ethnographical yet experimental documentary will cover the topics including the transformation of Taiwan’s national identification,  how cross-cultural marriage works in modernity, how indigenous queer fit in their tradition, and reflect on how internationalization in contemporary art effects local creators.

**The film is completed by an all-female film crew, and all the 50mm shots are directed or operated by the interviewees.



Translation 翻譯

20 mins performance with a self-written artist book

♔ Artist book <Translation 翻譯> is in Joan Flasch Artist Book Collection

♔ Performed at Flux Factory, Cepo' Art CenterETAT Art Forum, and serval conferences.

The culture itself is an object for the gaze of euro-centric autonomy, or the globalized art and academic system. <Translation> discusses how epistemological and political injustice affects individuals, how the American dream starts in the artist's mind and clashes with her nationalism nostalgia. The performance leading two audiences to recite an artist's self-written bilingual book together, as it consists of personal but incoherent elements between two languages.


Occupy the Movement
Occupy the Movement

Occupy the Movement 佔領運動

Art research through organizing political events

Lee Tzu Tung investigates and reveals what have happened in real politics from an artist's perspective, that she could see how art could serve and be transformed under such context. Therefore, Lee Tzu Tung works in Taiwan DDP, PPP parties, activists NGOs, New Bloom magazine etc... as an artist undercover in politics.


Compose a Occupation, Politics of Art
Compose a Occupation
Politics of Art

Compose a Occupation 重組與佔領

Performance and Sound Installation

♔ Performed at Tom Robbinson Gallery


Occupy Sinocentrism, Occupy the Democracy
Occupy the Sinocentrism
Occupy the Democracy

Occupy the Democracy 佔領民主

Performance and Video Installations


Tibet World
Tibet World

Tibet World 

Participatory Video and Class

♔  The class has been readopted and taught in NGO Gardens of Hope in New York (2018) with Chinese Immigrants, and NGO WaWa Forest (2020) with urban indigenous people. 

Thousands of Tibetan refugees fled to Dharmsala, India, in order to get their freedom to speak, believe and educate. They are mostly in wish to return home one day, in order to save their family from PRC government’s oppression.

Lee Tzu Tung taught them how to make video with cellphone and apps, by these simple and easily-accessible tools, the project expands its meaning from a artist's documentary, to a collaborative project for each one of the person to speak for themselves.

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