「窯」表示燒製瓦器的地方，本義燒磚瓦陶瓷器的灶，我們取其燒製含義，在此處作為醞釀和創造的過程，希望創作者以及觀眾在經歷此地的淬煉後能以嶄新的姿態離開。「座」在詞語解釋上有「托底」之意，為器物的基礎部分，我們希望能成為創作者的基底，成為支撐的那一方。
窄巷內，黃色外觀，公寓門前還有著像鳥居的建築標的窯座位於一棟1962年完工的步登公寓，三層六戶半，窯座這戶原已荒廢五年，目前替代空間執行 中，聚落集散中，祭典籌備中。想要辦有趣的展覽，讓台中較為弱勢的藝術環境也能百花齊放，利用台中圈子較為小眾的氣質轉化成為一個讓藝術家不受限的搖籃。
想法很簡單，就是當一個底座，給創作者展示自己的意念、支撐他們的信仰。
“Yao” means kiln in Mandarin, it generally implies an oven for processing a substance by burning, firing, or drying. We take the meaning of firing as a process of brewing and creat- ing. Hoping the artist and visitors can come to experience in Yao and leave as the brand new version of themselves. “Zuò” in Mandarin means base, the basic foundation of the ar- tifact. We hope this space can serve as the creator’s foundation to support them.
Yao alternative space is sitting in an old yellow apartment that was built in 1962, in a tiny ally with a torii(a traditional Japanese gate). As of now, Yao functions as an alternative space and a settlement that hopes to gather creators, and is in the process of creating an art festival.
The core idea of Yao is very simple, it will become a “Zuo” that offers creators a place to showcase their works and supports their beliefs.
1989年出生於台灣南投。作品以行為藝術、參與式計畫及其他的歷時性創作為主，探討語言結構、符號體系及其他溝通模式，關注翻譯與詮釋、溝通與中介、認識論、感官經驗與認知基模等議題，並試圖討論當代數位社群如何透過不同的符號體系來系統化對於世界的認知，以及社會如何被此間複雜的交互作用限制、形塑甚至控制，社會語言學、人類學、數據科學及機器學習等研究取徑因而常被運用於作品的相關討論。近幾年來的創作多運用數位工具及開放式框架，邀請群眾參與，進而紀錄集體卻也同時具有個體性的意義產製過程。
Born in Nantou, Taiwan, 1989. Lives and works in Taipei. Naifei is an emerging visual artist whose works include performance, web projects, and other process-based practices. Centering around topics such as languages, empirical experiences, and cognitive models, her practice aims to investigate issues critical to our contemporary (digital) society with the use of image, sociolinguistic tools, and technology (data science and machine learning). An interpersonal approach is often employed under an open-ended framework that invites participation, whereas verbal/written, audio or sometimes visual documentation of the process is one of the main forms to be shown in exhibitions with purposefully minimal aesthetic treatments.
