Jang-Chi is a theatre/performance maker and visual artist based in Tokyo. In 2009, he founded the artist collective OLTA. In recent years, his cross-disciplinary practice—including installation, video, games, and theatre—has developed through humorous and provocative approaches that navigate the systems of visual and performing arts, while drawing on sociological and folkloric fieldwork. His work focuses on themes such as the relationship between cities and industry in the context of modernization, and the complexities of history and society that cannot be uniformly understood across different races and genders. Recent projects by OLTA include The Japanese Ideology (commissioned by YPAM, 2023–), Living Conditions (Toyota Municipal Museum of Art, 2024), and a new work to be premiered at Aichi Triennale 2025. He is a Fellow I of The Saison Foundation.

Director, Visual Artist and Photographer.
Working in theater production, performance, graphic art. Since 2009, he has created and published performances under the name of 風格涉/社(FONG KO SHE). At the same time, he has been invited to cooperate, co-create, and consult as a personal director. The fields of his cooperation work are diversified, including contemporary theater, performing arts, visual arts, sound and audiovisual arts, etc. His works focus on the cognitive texts and magical performances/narratives of the experience scene, as well as their relationship with people and the interaction of the performance. He actively tries creative approaches in various fields mostly through collective improvisation. He draws materials from life situations and daily life, focusing on the ambiguity and its synesthesia, and using theater art as a medium and creative method. Recently he has more performing arts regarding language produced by art and contemporary techniques, as well as the contemporary Taiwanese identity perception and mixed culture/reality.

Actor, dramaturg and educator. Born in 1991, Angeles City, Philippines. Ness works across theater, film, and advocacy-based projects. She earned an MA in Global Arts: Arts Studies and Curatorial Practices from the Tokyo University of the Arts through the MEXT Scholarship Grant. Her research work focuses on performance autoethnography and international art collaborations. She is a member of Salikhain Kolektib, an interdisciplinary collective integrating art, research, and community engagement. In 2022, the collective participated in documenta fifteen (Kassel) as part of Gudskul Collective Studies. Since 2023, she has been touring with Japanese contemporary theater company chelfitsch, performing in Toshiki Okada’s The Window of Spaceship ‘In Between’ (Tokyo, Kyoto, Wuzhen, Brussels, Seoul, Paris). Her dramaturgical work includes Philippine Educational Theater Association (PETA) and Kyoto-based theater company BRDG’s collaboration, Sari-Sali: Portal Cafe (Manila, 2024). Notable film performances include leading roles in Raya Martin’s How to Disappear Completely (MoMA 2017, Locarno 2013) and Now Showing (Cannes Directors’ Fortnight 2008).

Born in Taipei in 1980 to Taiwanese parents, Yu-Ju Wen moved to Japan at a young age and grew up in Tokyo. She made her literary debut in 2009 with The Good Luck Song, which won an Honorable Mention at the 33rd Subaru Literary Prize. In 2013, she participated in Port B’s theater project Tokyo Heterotopia, writing a story about the lives of Asians in Tokyo. In 2016, she received the Japan Essayist Club Award for Born in Taiwan, Raised in Japanese (published in Taiwan as I Live in Japanese). In 2019, she received a Commissioner’s Award from the Agency for Cultural Affairs for her contribution to multicultural coexistence through literature. In 2020, she won the Oda Sakunosuke Prize for The Chirping of ló·-bah-pn̄g. Her novels include The House of Laifu, Airport Time, Forever Young, Banquet, Cherish the past and more. Other notable works include Setting Off from ‘National Language’ and In a Country That Is Not Mine, among many others.