Zheng Wen Hao Exhibiton
2026.06.06 - 2026.06.28

MAISON ACME
No. 181-1, Sec. 3, Zhongshan N. Rd., Zhongshan Dist.,Taipei City 104, Taiwan

Tue. - Sun. 11:00 - 17:00 Monday Off

Free Entry

Exhibition Concept:

Born in 1994, the Year of the Dog, and under the sign of the Bingwu Horse. My fortune forecast for this year claims I am destined to be "at the peak of my career," yet here I am in reality, still glued to a computer screen in an office cubicle.

People often talk about "grinding a sword for ten years," but all I can think of is Eason Chan’s song Ten Years: "Ten years ago, I didn't know you, you didn't belong to me, we were still the same." The temporal distance and displaced identities implied in this lyric serve as a perfect metaphor for looking back at my own creative journey. Through this dialogue with time, I began to ponder: after surviving my first decade of making art, how do I reposition its starting point? And how can I, through honest confrontation and recalibration, return to the core of creation itself?

Years after graduation, amidst the transition of identities, making a living has become a lever for creative time, forcing me to care about the trivial matter of "surplus." From my past practice of using urban waste as material, to my current routine of squeezing art into the gaps of a nine-to-five job, the question of "how surplus materials fill surplus time" has become a daily commuting riddle. This solo exhibition, coming after a four-year hiatus, feels like the Olympics—a torch ignited once every four years. Creation has never been grand enough to warrant self-immolation; rather, the occurrence of an exhibition is more like a bark—seemingly fierce, but merely a proof to let others know I am still alive.

The "dishes" served in this solo exhibition, Old Dog, attempt to take "deconstructing creative methodology" as its core. It traces the cultivation of my personality and the path through which my problem consciousness was formed. By crossing time, themes, and mediums, it weaves together the objects, experiences, and observations left behind over the past decade. The exhibition maintains a consistent chronological trait, using retrospective organization and maneuvering to explore how I, at a certain point after creative practice, realign my perspective of interacting with the world.

After clocking out, right before I become as tired as a dog, perhaps what I truly care about is what other tricks I can still pull off within this limited lifetime.