吳瑪悧 WU Mali

畢業於德國杜塞道夫藝術學院，1985年回台後受環境的啟發，重新思考藝術家的社會角色，對社會性參與的藝術產生興趣。1990年代開始從性別角度發展裝置性作品，探索歷史，關注藝術在公領域可以發揮的作用。她的【寶島物語】系列作品，包括〈新莊女人的故事〉(1997)、〈墓誌銘〉(1997)、〈寶島賓館〉(1998)等呈現這方面的嚐試。2000年始，她展開新形態的公共藝術計劃，2000-2004與台北市婦女新知協會玩布工作坊合作， 進行〈從你的皮膚甦醒〉，以翻轉女紅概念，透過布與織縫探討女性的生命歷程。近年作品則關注全球化衝擊下的城市環境及發展問題，包括2006〈人在江湖--淡水河溯河行動〉、2008〈台北明天還是一個湖〉、2012〈還我河山--基隆河上基隆河下〉。2010-1012與竹圍工作室共同合作的〈樹梅坑溪環境藝術行動〉，透過一條被忽略的小溪，重新探問生態城市以及都市發展的問題，於2013年獲得第11屆台新藝術獎。2016年獲頒國家文藝獎。

After graduating from the National Art Academy in Dusseldorf, Germany, Wu returned to Taiwan in 1985 to a new environment, a transition that inspired her to reconsider the artist’s role in society. She developed an interest in socially engaged practice and started making installations exploring historical narratives from a gendered perspective. Her work Treasure Island (1998) represents this approach, others of her installation works respectively are Stories of Women from Hsing-Chung (1997), Epitaph (1997), Formosa Club (1998) and Birds Slide over the Sky (1998).

 She has also produced community-based projects, such as Awaken in Your Skin (2000-2004). More recently, Wu’s work has taken an eco-feminist turn in response to the impact of globalization, focusing on the urban environment and development issues. By the River, on the River, of the River (2006) invited the public to trace four rivers surround Taipei; Taipei Tomorrow as a Lake Again (2008) addressed the survival strategies of a city facing global warming; and Art as Environment—A Cultural Action on Plum Tree Creek (2010-2012) explored the possibilities of creating an eco-village. In 2013 the Plum Tree Creek project won the Taishin Visual Arts Award. In 2016, Ms. Wu won the 19^th National Awards of Arts, Taiwan.