Biennale of Sydney

Aluaiy Kaumakan

Aluaiy Kaumakan, Flies and Shifts in between Time, 2021, wool, cotton, silk on cloths by inking, dimensions variable. Installation view for Resurgence and Solidarity: Indigenous Taiwanese Women's Art exhibition curated by Biung Ismahasan at Taiwan Indigenous Peoples Cultural Park. Supported by Council of Indigenous Peoples, Taiwan Indigenous Peoples Cultural Development Center. Courtesy the artist. Photograph: Sho Chun-Lun Chen. Copyright © Sho Chun-Lun Chun.
Aluaiy Kaumakan, Tribal Landscape, 2018, recycled fabric, cotton, organic, woven cloths, painting, strapping and elastic cord, dimensions variable. Installation view at Resurgence and Solidarity: Indigenous Taiwanese Women's Art curated by Biung Ismahasan at Taiwan Indigenous Peoples Cultural Park. Supported by Council of Indigenous Peoples, Taiwan Indigenous Peoples Cultural Development Center. Courtesy the artist. Photograph: Sho Chun-Lun Chen. Copyright © Sho Chun-Lun Chun.
Aluaiy Kaumakan, The Axis of Life, 2018, Recycled fabric, cotton, organic cotton, 500 x 120 x 100 cm. Installation view at Taipei Biennial (2020), Taipei. Courtesy the artist. Photograph: Sho Chun-Lun Chen. Copyright © Sho Chun-Lun Chun.

Aluaiy Kaumakan

Born 1971 in Pingtung County, Taiwan
Lives in Sandimen Township, Pingtung County
Paiwan Nation, Paridrayan Community, Taiwan Indigenous Peoples


Interdisciplinary textile sculptor and installation artist Aluaiy Kaumakan belongs to a leading noble family of the Paiwan Nation from the Paridrayan Community of Pingtung County in southern Taiwan. She creates sculptures with wool, cotton, copper, silk, and glass beads, weaving organic or vegetal forms. Aluaiy Kaumakan uses ‘Lemikalik’, a Paiwan artistic technique that consists of weaving in concentric circles – intertwining life memories of tribal nobility to form a place for an Indigenous Taiwanese uprising and its legacy in art, ecology and cultural politics. Her practice is inspired by her Paiwan culture and tradition and by her role as an Indigenous woman responding to current issues. In 2009, her village was hit by the particularly violent Typhoon Morakot, forcing the inhabitants to relocate to the Rinari community. Looking for ways to connect members of her displaced community through a creative process, which reactivates and transforms a set of traditions, her work in customary culture becomes a statement about developing ways to dwell in a disturbed environment.