2017台灣當代一年展 by avat-art

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Venue｜Da Xiang Art Space Website｜www.daxiang.com.tw Address｜No,15 Boguan Rd., North District, Taichung City, Taiwan

羅芙奧2017春拍完美收槌 8.2億台幣再創高峰

羅芙奧2017春季拍賣會，移師新地點－萬豪酒店與新品項－經典車驚艷登場，不僅迎來人潮同時也迎來亮眼成績單。常玉《紅底白菊》以2.8256億元站上常玉前十大紀錄，締造台灣拍賣史上最高油畫成交紀錄；國際專場封面拍品，貢巴斯〈Combas〉《太陽王》創下藝術家全球拍場新高紀錄；經典車為全新品項同時也是進十幾年來台灣首次拍賣；尊釀雲集則首次以夜拍形式進行，成交總額近8千萬，獲得熱烈迴響。

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指導單位 Advisors 主辦單位 Organizers 贊助單位 Sponsors

特別感謝 Special Thanks to 媒體合作 Media Partners 合作單位 Partners

李氏文化財保存修復中心官方臉書 Fanpage

www.facebook.com/tw.annual

視盟官網 AVAT website

www.avat-art.org

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CONTENTS

006

序言

008

關於台灣當代一年展

010

主題策展區

036

影展區

068

台灣當代藝術資料庫

080

藝術平權展區

292

悍圖社

302

創作計畫展區

348

台灣替代 / 另類空間

376

國際非營利機構

392

附錄

Preface About Taiwan Annual Curatorial Projects Video Works Cinema Taiwan Contemporary Art Archive (TCAA) Art Equality

Hantoo Art Group Open Call for Art Projects Taiwan Alternative Art Spaces International Nonprofit Organizations Appendix

理事長序

Words from the Chairman

這個十多年前由視盟發起每年舉辦一次的藝術家博覽會，至今已邁入第十六年。它

This year marks the 16th anniversary of the annual artist expo, first established

並確立以藝術家個人為單位能自主參展的核心精神。那麼同樣由藝術家組織經營的

Different from most large-scale art expos in Taiwan, the organizational committee

不同於國內其他多個大型藝術博覽會，在於它是由藝術家為主體組成的團體所舉辦國內外替代空間團體也成為我們邀展的對象。

這個每年舉辦的藝術家博覽會去年改名為「台灣當代一年展」，期望能以更直接有力的名稱與形式展現它的內涵。或許由於視盟對藝術家平權參展核心概念的堅持，難

by the Association of the Visual Arts in Taiwan (AVAT) more than a decade ago. of this expo is mainly comprised of artists and holds the core value of encouraging independent/individual artists to participate in the exhibition. Naturally, we also invite international and local alternative spaces that are run by artists.

免產生參展藝術家五路八方、眾聲喧嘩、形式紛陳的現象，但這現象所導引出的方

Since last year, the annual artist expo has been renamed to "TAIWAN ANNUAL"

術家打開另一扇能自由創作與展出的「任意門」。希望能讓散落在社會各處無法被目

name and structure. Perhaps due to AVAT's insistence on equal exhibition

向正也是視盟努力在學術菁英式或市場主推式的藝術博覽會固定選秀模式之外為藝擊的角落中，任何缺乏資源、沒有展出機會；甚至來自非藝術脈絡卻立定藝術志向，默默努力創作的藝術工作者都能擁有自主決定展出作品的曝光機會。

另外值得一提的是，隨著視盟倡議建構的「台灣當代藝術家資料庫」初步成形，今年

一年展也順勢實驗性地推出網路線上虛擬策展計劃，在財務拮据的情況下只能小規模地有限製作，但也為今年一年展添增更多元化的新型態展出形式，值得大家拭目以待。

社團法人台灣視覺藝術協會理事長

in hopes of better communicating its values with a more direct and memorable opportunities for all, it may seem that the participating artists are a muddling

mix of different backgrounds, voices, and media. However, this phenomenon

reflects the exact goal that AVAT has strived towards—to establish a venue for unbound, independent creation and exhibition in the midst of rigidly selective

elite-academic-dominated or market-based artist expos. AVAT hopes to provide a choice of exposure and exhibition to any art professionals, whether hidden away

from the spotlight, lacking in resources or opportunity, or even professionals

without an artistic background but who work hard in silence toward artistic aspirations.

On a side note, with the preliminary formation of the Taiwan Contemporary Art

Archive platform under AVAT's proposition and planning, this year's artist expo includes experimental online virtual curatorial projects. Although limited in scope by budget, the feature creates more diverse exhibition possibilities for this year's expo and is well worth your expectations.

Association of the Visual Arts in Taiwan

CHEN, Wen-Hsiang

關於台灣當代一年展

ABOUT TAIWAN ANNUAL

由台灣視覺藝術協會（視盟，AVAT）主辦的「台灣藝術家博覽會 Artist Fair Taiwan」

Since its establishment in 2002, the Association of the Visual Arts in Taiwan (AVAT)

謂「藝術博覽會」做出區隔，在 2016 年特別以國際藝術展經常使用之雙年展、三年

individual artists rather than galleries as seen in most fairs.

（簡稱視盟藝博），自 2002 至 2015 年延續十四屆。為更貼近當代潮流，也希冀與所展作為呼應，更名為「台灣當代一年展 Taiwan Annual」（簡稱一年展）。

一年展是台灣目前眾多藝術大展中歷時甚為悠久的展覽，也是年度藝文界的盛大焦點，延續視盟藝博的「平權」特色，秉持服務藝術家精神，開放展覽平台予個別藝術家，確保每位藝術家的作品皆能在展出平權的前提下，得到應有的展覽機會與尊重，同時也將持續作為策展人、畫廊業者、收藏家發掘新秀藝術家的重要管道。

除了延續「平權」特色，亦設立「創作計畫區」，徵求不拘形式、更無設限的展覽計

畫，為更多元的當代藝術創作型態提供發表平台；擴大「主題策劃展區」及「影展策劃區」規模，鼓勵在地獨立策展實驗精神，讓台灣新興策展人能有更多演練舞台；同時，邀請國內外藝術 / 替代空間參與，並與同樣在此類機構經營上努力的藝術空間分享展位，以期將國際藝術機構截然不同的生機展演內容，介紹給廣大藝術群眾們。

2017 年第二屆台灣當代一年展，更強化資料庫、策展與國際交流，將「台灣當代藝術資料庫」線上策展徵件，於今年一年展展場實體化展出；並辦理「藝術沙龍」- 國際對話，予以台灣及國際藝文空間相互交流的機會。台灣當代一年展在精神上保持初

衷，在內容則上更具有彈性與多元特性，在一般以畫廊為單位的藝術博覽會機制之外，提供藝術家另種開放的展覽平台。

organized ARTIST FAIR has made itself an alternative exhibition platform for ARTIST FAIR is officially renamed as TAIWAN ANNUAL in 2016. The 15th

anniversary welcomes the first edition, homage to the contemporary art trend that

international exhibitions are often titled as "biennale" or "triennial," to distinguish ourselves from other art fairs.

Though the name is new, TAIWAN ANNUAL is one of the oldest major exhibitions in Taiwan, and it is often considered the event of the year. In the future, we will make sure that TAIWAN ANNUAL never contradicts AVAT's belief in "equality." It will

remain a platform for individual artists, providing service to guarantee that every artist should be given a fair opportunity and respect. Meanwhile, it will continue serving curators, gallerists, and collectors by introducing emerging artists.

At ARTIST FAIR's last edition in 2015, we have mapped out an exciting future for TAIWAN ANNUAL: the "Open Call for Art Projects" section welcomed any free-style

exhibition projects to promote a more diverse contemporary art exploration. We

have also increased the scale of "Curatorial Projects" and "Video Works Cinema" to encourage local curators to adopt a more adventurous spirit and to guarantee

a more visible space for emerging Taiwanese curators. By inviting domestic and international alternative art spaces to join us, we have tried to make the art fair an

international event to collaborate with alternative art institutions sharing similar missions and to introduce their different exhibition approaches to the art scene here.

For TAIWAN ANNUAL 2nd of 2017, we continue and further strengthen the Artist Archive, curating, and international exchanges. The "TCAA Online Curatorial

Projects" is included as part of the exhibition this year; we also hold the Art Salon – International Dialogues, events which provide opportunities for exchange between local and international art spaces. Our spirit always remains the same, but the

content now is allowed better flexibility and multiplicity to serve the artists and to cultivate a blossoming generation.

CURATORIAL PROJECTS 主題策展區

藝術服務

Fine Art Services 策展人 CURATOR

李依樺 LEE, I-Hua

李依樺，大學主修文學，紐約大學美術碩士，曾任紐約蔡國強工作室專

藝術家的多職狀態可說是藝文產業中的獨特生態，也許這是因著藝術

"Fine Art Services" refers to the services provided by "chameleon"

論女 / 人的夢想、幻想、身體，以及生命自主性的相關課題。作品曾展

廣，商業模式也並非創作的必要條件或目的，因此不少創作者在為求

handlers. With the ingenuity and professionalism of a creative

案經理，現為台北國際藝術村經理。創作經常結合影像及文字書寫，討出於台北當代藝術館 MOCA Studio、美國紐約 Apexart 藝廊、ISE 文化基

金會、芝加哥 Woman Made 藝廊等地，並於 2009 年波特蘭 Newspace 攝影中心獲獎，於 2010 年擔任台灣誠品 Art Studio 駐店藝術家。著有攝

I-Hua Lee is a curator and visual artist based in Taiwan. She currently

的美學素養應用在藝術專業的產出之服務。

Mirrors, and Copied Fish , Owner Hsiao-Lan Fan and Director Chi-

in Taipei Artist Village and Treasure Hill Artist Village. She was a

由藝術家所組成的「千鳥藝術有限公司」，長期以自身投入展場技術

and created a seemingly convivial space with convoluted and

the founder and chief editor for an independent curatorial journal

行總監陳淇榜在本次的《SOI NANA & 秀水明鏡山寨魚》當代一年展展

Gallery in Taipei. Her recent curatorial projects include: You Are the

Sunshine of my Life – Treasure Hill Light Festival, Taiwan (2017), and

李吉祥 LEE, Chi-Hsiang

李承亮 LI, Cheng-Liang

professional production services of art.

to providing exhibition services through multi-directional methods.

紐約臺灣書院及 456 畫廊「多棲：溫柔的產出二部曲」(2017)。

National Culture and Arts Foundation and exhibited in Garden City

吳思嶔 WU, Sih-Chin

了身兼多職的全能姿態。「多棲藝術家兼具多項專業，在個人創作和

worker, they apply an internalized aesthetic appreciation into the

這裡的「藝術服務」即指向「多棲」職涯中，以身兼佈展專業人員的藝

Conversation was published in 2009, which later was granted by the

陳淇榜 CHEN, Chi-Bang

因為創作者特有的多種才華，在藝文界跨領域的蓬勃發展中，更產生

柔的產出」(2015)、寶藏巖光節「創作像海洋，愛你像光」(2017)、美國

Chuan Art which was launched in 2011. Her first artist book Short

范曉嵐 FAN, Hsiao-Lan

藝術創作及生計的平衡之下自然地發展出了「雙棲」的職涯模式，也

professionals such as artists who also work as professional art

Comprised of a team of artists, Thousand Bird Arts is focused on

project manager at artist Cai Guo-Qiang's studio in New York, and is

千鳥藝術 Thousand Bird Arts

創作的本質而在社會中產生的必然現象。藝術文化所涵蓋的範圍相當

藝文產業裡皆付出許多貢獻。」

影詩集《短對話》(2009)。2010 年與洪湘茹、林艾箴創辦獨立藝文刊物

《船的創作誌》，擔任主編之一。其策展計畫包括：台北國際藝術村「溫

works as the manager of curatorial and artist-in-residence program

藝術家 ARTISTS

Considerate Creations: Chameleons, Taiwan Academy and Gallery 456, New York (2017).

術家所提供的展覽服務，以創作者身份的獨特性及專業訓練，將內化

及美學微調，以多方位與活躍的方式為展覽服務。負責人范曉嵐和執場版，相互為自身的藝術計畫服務，並以兩人合作之姿，製造一處看

似歡樂的場合，於其中呈現藝術、夢想、價值…等轉折及矛盾。李吉祥、李承亮和吳思嶔則通力合作，貢獻各自具備的展場規劃與佈展技術長才，於創作者與佈展專業人員的角色間切換配搭，製造了另一處貌似遠離世界之地，在漠然的現代生活裡，人類對於自然現象、科技

與感性同樣都無法掌握，彷彿漂浮著的單人星系，分辨不清失焦與聚焦的距離。

當「藝術服務」工作者同時具備創作者的身份時，其所提供的展覽服務與產出得以投注藝術家的眼光、咀嚼與詮釋，「多棲」的身份轉換和其中的連結關係也使得以藝術家為中心所發展出的相關工作變得

與創作同樣迷人。而在「多棲」藝術家之於「藝術服務」的關係討論

中，除了專職藝術家與「多棲」在藝術職涯發展中的兩難與辯論權衡之外，這其中也更包括了創作者或非創作者與展覽產出之間的生產關係，以及「多棲」藝術家在「藝術服務」的路上所期望通往之處。

That an artist might hold multiple job-identities may be a unique ecology of the arts and cultural industries, or perhaps a necessary

phenomenon due to the nature of artistic creation within the

context of society. The arts and culture field contains a wide

variety of professions, and a business approach isn't necessary a prerequisite or end-goal of creative work. Thus, many creative

professionals, in pursuit of a balance between artistic endeavors

and making a living, naturally developed an "amphibious" career mode. Furthermore, due to the mastering of a diverse skillset

unique to creative workers, the interdisciplinary development

of the arts and culture industry has produced the versatile professional who works in multiple fields. This "chameleon" artist masters many skills, and contributes significantly in both personal creative work and the arts and cultural industry.

exhibition technicalities and aesthetic fine tuning, and dedicated In this artist expo version of SOI NANA & Beautiful Waters, Clear

Bang Chen collaborated on each other’s exhibition project, paradoxical undertones of art, dreams, values, etc. On the other hand, Chi-Hsiang Lee, Cheng-Liang Li, and Sih-Chin Wu dance

between the role of the creative worker and the experienced art handlers; by joining their exhibition-planning and installation skills, they produce a space seemingly distant from our world— in this indifferent modern world, people are unable to fathom

natural phenomena, technology, or sensibility. They live almost like floating, one-person galaxies, unable to properly differentiate between their out-of-focus or in-focus understanding of the world.

When a "Fine Art Services" professional is simultaneously a

creative worker, he/she offers exhibition and production related

services that are well worth the consideration, contemplation,

and interpretation of artists. The identity-shift of the "chameleon"

artist and the interrelatedness of different identities imbue a certain allure to the services that develop around artists. On the

relationship of an"chameleon" artist with "Fine Art Services," we

must consider the difficulty of reconciling between the full-time

artist and the "chameleon" artist, and weighing the pros and cons. This further includes thinking about the relations of production

between the creator (or non-creator) and the produced exhibition, and also how an "chameleon" artist expects to develop his/her career with relation to "Fine Art Services."

千鳥藝術 Thousand Bird Arts 《SOI NANA》台灣當代一年展展場版

《秀水明鏡 – 山寨魚》台灣當代一年展展場版

這些影片是在曼谷駐村時拍攝的。我們拜訪了隔壁的色情卡啦 OK，

邀請裡面工作的女性辦一場趴踢，並且訪談他們對於隔壁藝術空間的看法，以及關於自己的夢想。分別買下他們一個時段，讓他們接受訪談，並企圖在這個看似歡樂的場合裡製造一種矛盾感，因為簡單來說這是一個透過金錢交換而達成的藝術行動。而展場中出現的燈箱，相比作為一個攝影物件則更像是一種容器狀態，承載了時間之下各種內在變動的心理暗示及敘事轉折的成果。

These videos were shot during our residency in Bangkok, Thailand.

With the help of local residents, we visited some of the women who work in the sex karaoke next door and invited them to participate in the project. We bought a period of their services, and asked them

to accept the "interview" and "a karaoke party only for them". It was an attempt to create a "red light district art happening", or in

simplerterms, an artistic action achieved through the exchange of

money. The entire action confounds the contradictory relationship between aesthetics, money and power.

The light box in the exhibition is more like a container than a

近年執行案例：

2017《第 57 屆威尼斯雙年展台灣館＿謝德慶個展「做時間」》燈光規劃執行暨視聽技術整合 , 普里奇歐尼宮 , 威尼斯 , 義大利

2017《微光闇影》燈光設計執行暨視聽技術整合 , 台北市立美術館 , 台北 , 台灣

2016《2016 台北雙年展＿當下檔案･未來系譜：雙年展新語》視聽技術整合及展期活動支援 , 台北市立美術館 , 台北 , 台灣

2016《負地平線＿第五屆台灣國際錄像藝術展》視聽技術整合 , 鳳甲美術館 , 台北 , 台灣

2015《第 56 屆威尼斯雙年展台灣館＿吳天章個展「別說再見」》視聽技術整合 , 普里奇歐尼宮 , 威尼斯 , 義大利 Exhibition installations:

Time, Palazzo delle Prigioni, Venice, Italy Taiwan

2016 Taipei Biennial 2016——Gestures and Archives of the Present, Genealogies of the Future, Taipei Fine Arts Museum, Taipei, Taiwan

time.

2015 Taiwan Pavilion at the Venice Biennale——Wu Tien-chang: Never

千鳥藝術是一個因應藝術展覽而生的團隊，以展場技術本位解決各項展

范曉嵐

到展覽呈現的完整性。

團隊成員皆來自藝術學院創作背景並長期以自身投入展場技術美學微調，跳脫傳統形式之藝術展覽公司，並期待以更精緻細膩的產出，在當

代藝術多元展出形式需求下，能以更多方位與更活躍的方式為展覽服務。 With extensive experience of exhibition installation, Thousand Birds

Exhibition, Hong-Gah Museum, Taipei, Taiwan

say Goodbye, Palazzo delle Prigioni, Venice, Italy

千鳥藝術有限公司負責人

國立台灣藝術大學美術學系碩士 FAN, Hsiao-Lan

Director, Thousand Bird Arts

MFA, National Taiwan University of Arts

Arts assists with artists, curators, and museums to develop a high end

陳淇榜

Artists owned and operated, Thousand Birds Arts has the detailed

國立台灣藝術大學美術學系碩士

result that satisfies display aesthetics.

knowledge of materials and techniques, and is committed to providing

quality exhibition design and service. The team develops a creative

solution at the forefront of their every decision, and to ensure a professional result is achieved.

陳淇榜ﾉ雙頻道錄像 Video Installation ﾉ依場地而定 Dimensions Variable ﾉ 2011

2017 Faint Light, Dark Shadows, Taipei Fine Arts Museum, Taipei,

2016 Negative Horizon, the 5th Taiwan International Video Art

覽需求。協助藝術家、策展人、美術館或博物館等不同角色功能，以達

《SOI NANA》台灣當代一年展展場版

2017 Taiwan Pavilion at the Venice Biennale——Tehching Hsieh: Doing

photography tool. It contains many kinds of mental suggestions

and narrative transformations happening during a long period of

千鳥藝術有限公司執行總監 CHEN, Chi-Bang

Executive Director, Thousand Bird Arts

MFA, National Taiwan University of Arts

《秀水明鏡 – 山寨魚》台灣當代一年展展場版

范曉嵐ﾉ藝術微噴半透燈箱片、木製調光燈箱 Lightbox ﾉ依場地而定 Dimensions Variable ﾉ 2012

吳思嶔 WU, Sih-Chin

：為什麼我們沒看見（）？：噢 ....，被我們殺光了。

:Why we haven’t seem any ( ) ? :Well...,cause we killed them all.

「烏盧魯／艾爾斯岩」為澳大利亞自然遺產地標之一，坐落於在澳洲大陸中心的紅色巨石，標高 348 公尺，殖民時期前此地為澳洲原住民活動的重要聖地，現為澳洲北領地最著名的觀光景點，

每日有絡繹不絕地遊覽車及大量旅客，並設有原住民文化館。烏盧魯有個非常著名的觀光特色，即岩石表面的顏色在日出與日落之時會因太陽斜射使得巨石顯現一片赤紅，被稱為此地最著名的觀光奇景「血紅烏魯魯 (Bloody Uluru)」。

Uluru/Ayres Rock is the nature heritage, one of landmarks in Australia. The red massive

sandstone monolith located in the center of Australia continent. It stands 348 meters in height

and is considered as a holy land by indigenous people. Now it is the most famous tourist spot

in Northern Territory of Australia, endless tourists and tour buses visit it and the cultural centre every day. One of the most popular views of Uluru is when sunrise and sunset, the slanting rays of sun make Rluru look red. That's why people called it the "Bloody Uluru".

1985 生於台南

2011 畢業於國立台北藝術大學美術創作研究所 2016 「澳大利亞 - 吳思嶔個展」，絕對空間，台南，台灣 2016 「日日湯瑪森」，雙方藝廊，台北，台灣

2015 「何以為度 ? - 福爾摩沙雕塑雙年展」，駁二藝術特區，高雄，台灣 2015 「我們都是時代的砲灰」，台北國際藝術村，台北，台灣 2011 「兩個末日」，國家藝文園區美術館，新竹，台灣 1985 Born in Tainan

2011 Graduated from Taipei National University Of Fine Arts, Graduate institute of Fine Arts 2016 "Australia - Wu, Sih-Chin Solo Exhibition", Absolute Space, Tainan, Taiwan 2016 "Everyday Thomassons", Double Square Gallery, Taipei, Taiwan

2015 "Icommensurable – Formosa Sculpture Biennial", Pier-2 Art Center, Kaohsiung, Taiwan

：為什麼我們沒看見（）？：噢 ....，被我們殺光了

2011 "Two Ends", Art Museum @ The Art Park, Hsinchu, Taiwan

樹脂翻模、油畫布輸出、木材、攝影燈 Mixed Midia ﾉ 180 x 120 x 280 cm ﾉ 2016

2015 "We're All Cannon Fodder of this Epoch", TAV, Taipei, Taiwan

:Why we haven’ t seem any ( ) ? :Well…,cause we killed them all.

李吉祥 LEE, Chi-Hsiang

無人

影像技術的演進，滿足視覺的擬真感，久而久之也養成人的觀看習慣。透過攝影記錄影像，作為

寫實繪畫的輔助，已經是當下相當普遍的方式，而透過鏡頭形成的影像細節或是失焦等效果，也逐漸成為一種對影像擬真感的判別標準。一張畫，似乎藉由模擬與強調影像的特性，可對觀者的眼光進行一種迅速的捕捉。

我以花窗玻璃做為一種模擬的鏡頭，透過花窗玻璃，背景被分散成色塊，象徵一種失焦的再造。

花窗玻璃與背景的疊合呈現猶如失焦與聚焦的不合理重疊，觀者觀看花窗圖形與後方的光景的同時，是失焦眼花或者聚焦而眼中有花 ? 我將這無聲幽微的過程，從鏡頭歸還到觀者的眼中來決定。

The evolution of imaging technology, to satisfaction the visual sense of verisimilitude, the passage of time has also become one of the determine standards. Through photographic

record images as realistic painting of an auxiliary, is the common way to present, and image

detail through the lens out of focus, or the formation of other effects, has become a kind of image a sense of realism practices. A painting, seems to emphasize the characteristic of analog image, can make a quick vision capture to the viewers.

I use the reticulated tracery window pane as an analog camera, though the background out

of focus, presented with superimposed focus unreasonable overlap become a symbol of

reconstruction. I may remain faint silent the authoring process, left to the viewers to decide is it blurry or out of focus? Maybe just eyes grow with flowers.

1983 出生於南投埔里

2006 國立台北藝術大學美術系畢業

2010 國立台北藝術大學美術創作研究所 2017 「三十」，誠品畫廊，台北，台灣

2017 「台北國際當代藝術博覽會 Young Art2017」台北，台灣 2016 「來過」，木木藝術，台南，台灣

2015 「在花之後」，國立虎尾科技大學藝術中心，雲林，台灣 2015 「眼花」，就在藝術空間，台北，台灣 1983 Born in Puli, Taiwan

2006 B.F.A, Taipei National University of the Arts 2010 M.F.A. Program, Department of Fine Arts

2017 "An Ode to Thirty", Eslite Gallery, Taipei, Taiwan 2017 "Young Art Taipei 2017", Taipei, Taiwan

2016 "Have Been Here Before", MuMu Gallery, Tainan, Taiwan

2015 "Behind the Window", National Formosa University Art Center, Yunlin, Taiwan 2015 "GIDDINESS", Project Fulfill Art Space, Taipei, Taiwan

無人

油彩、畫布 Oil on Canvas ﾉ 162 x 112 cm (100P) ﾉ 2014

李承亮 LI, Cheng-Liang

太空艙的一部份 Part of the Capsule

我被大量的生活用品包圍。生活便利，事情變得快速。食物有即食包裝，只要微波加熱。衣服冬天 heat-tech 夏天 cold-tech。住在標準化的水泥方格裡，看電視、上網。交通工具將時間和距離

壓縮扭曲。生活方式十年一巨變，與幾億人一起被動地無感、停滯、不知所措。日復一日的重複或許已將我剝離了所在之地，所處之境，像是生活在漂浮著的單人星系。

當代人對於外界與自身的隔閡感和對科技的無法掌握、無法預測，讓我們失去了對於浪漫感性的臆想能力。包圍在家電世界中，漠然的加速日常，如同離開地球，浮在自己無重力的宇宙。

I was surrounded by a plethora of stuffs. Everything in my daily life became easy, convenient and accelerating. I had instant food ready for microwave. I had temper-tech cloth for winter and summer. I lived in a standard concrete cube, watched TV, and surfed the internet. My time and space were squeezed and twisted by kinds of transportations. My living style had been totally changed in the past ten years. However billions of people, just like me, felt nothing about this

change. It seemed that we were stopped by something and did not know what to do and where to go. I might be stripped from where I belonged by the repeats and repeats of normal lives. My life was like floating in on-person-galaxy.

Persons, like me, in this contemporary world cannot control and predict the developing technology due to the isolation to their surroundings. Then I lose the ability of romantic imagination. I am besieged by the 3C products and the accelerating daily lives. I am like to be floating in the universe without gravity, as if I left the earth.

1986 年出生於基隆

2013 年畢業於國立台北藝術大學新媒體藝術學系碩士班 2017 「路上的萬年站」，東門美術館，台南，台灣 2017 「台南新藝獎」，安平海關，台南，台灣

2016 「看風的狗」，蕭壠國際藝術村，台南，台灣

2016 「2016 台灣美術雙年展 - 一座島嶼的可能性」，國立台灣美術館，台中，台灣

2016 「2016 ASIA ART SPACE NETWORK- Asia Kula, Kula-ring - 從Ａ到 ......」，亞洲文化殿堂，光州，韓國

1986 Born in Keelung

2013 Graduated from Taipei National University of the Arts. Department of media art MFA program. 2017 "The Wannian Station on the Road", Licence Art Gallery, Tainan, Taiwan 2017 "Next Art Tainan", Museutm Of Canal, Tainan, Taiwan

2016 "WIND DOG GUARDIAN", Soulangh Artist Village, Tainan, Taiwan

2016 "2016Taiwan Biennial-The Possibility of an Islarid", Nation Taiwan Museutm of Fine Arts , Taichung, Taiwan

2016 "2016 ASIA ART SPACE NETWORK- Asia Kula, Kula-ring- From A to...] Asia Culture Center, Gwangju, South Korea

太空艙的一部份 Part of the Capsule

鐵、回收家電 Iron, recycling appliances ﾉ 350x200x100CM ﾉ 2017

約會的心態（2014 新年新希望第六場次）

The Mindset of Verabredung 2014 New Year New Hope 6th Round 策展人 WRATOR

邱俊達 Yves Chun-Ta CHIU

2008 年從哲學仿歐式象牙塔逃出，卻滑入當代藝術的廣闊泥沼，2017

年獲國立台南藝術大學藝術創作理論研究所博士。從西方哲藝思想與大

師創作獲得數不盡的天啟靈感，但比較喜歡聽自己的神說話。從事研究基礎創作（Research-based Art），關注藝術如何從偽社會學方法描繪真

實社會形貌，從偽論述方法進行知識生產，以及創作如何與生活真正發生關係。

重要經歷有「2014 新年新希望」（THAV）、「聲語遶境－台灣與北愛爾蘭

交流展」（KMFA）、「蟲洞劇場」（KMFA）、「梅爾汀計畫－一年對話實踐：縫線、鬼故事、逃離」（MOCA, Taipei）、「養生之道」（Howl Space）、《共同史》（RiAP 2016）。

Yves Chun-ta CHIU, he escaped from the ivory tower of philosophy in

the production of knowledge by pseudo-discursive, and how creative practice could relate to life authentically.

劉玗 LIU, Yu

蘇育賢 SU, Yu-Hsien

的種種討論下一註腳，從而在什麼都可以是檔案的氾濫中，不厭其煩地思考何謂「轉檔」（archiving）的問題。換言之，倘若檔案並非僅是某種有待分析、理解、詮釋與生產意義的事物（集體記憶、論述、

文化現象等），而更關乎某種勾引下的轉檔工作，那麼問題毋寧是：人們如何在檔案中約會。

象（Marcel Duchamp）在他「藝術約會」（Rendez-vous d'art）的觀中，將第一個出現的物件（object）轉化為「現成物」（readymade）。杜象將以人為中心的約會活動，轉化為以事物為中心，並通過去脈絡化、去歷史化來「審美化」，而這種由「述行權」（performative）所建立起的「現成物」美學，即是他約會的心態。

His important work experiences include: 2014 New Year New Hope -

無獨有偶，德國哲學家瓦爾特．班雅明亦有一套他約會的美學技

Conversation Between Two Harbours (KMFA), Wormhole Theater

materialism），並由此展開他自身的柏林童年書寫。也因此，他筆

futures of (Contemporary) Ecosystem of (Art) in (THAV); Voices Travel:

徐敏思 HSU, Min-Szu

數十年來的「檔案熱」、「檔案演繹」、「檔案轉向」到「自我檔案化」

念中，設計了一套獨特的約會守則：他隨性決定在一天的某段時間

how to figure out the real society by pseudo-sociology, how to process

倪祥 NI, Xiang

檔案 archive 是通向反歷史式的歷史書寫之途徑，或許我們可以此為

University of the Arts in 2017. He is inspired by western philosophers,

his. Through the idea of Research-based Art, he concerns the way of

李旭彬 LEE, Hsu-Pin

──瓦爾特．班雅明（Walter Benjamin）

事實上，這種以約會為名的檔案實踐，可見於法國藝術家馬塞爾．杜

art theorists and masters' pieces very much, but he'd like to listen to

吳宗龍 WU, Zong-Long

在過去的世代與我們的世代之間，有一種秘密的約會

（Verabredung）。

2008 and then entered the field of contemporary art. He awarded PhD.

at Doctoral Program in Art Creation and Theory from Tainan National

藝術家 ARTISTS

(Document No. E120N23) (KMFA); M. E. L. T. ing Project – One Year Conversation: Thread, Escape, Ghost Story (MOCA, Taipei); The Way of Regime (Howl Space), Commonstory(RiAP 2016).

術。不同於杜象，班雅明的約會心態是建基於歷史唯物論（historical 下的電話機、西洋景和駝背小人遂被改造為一種用以爆破時間連續性以及自傳性記憶這類俗套觀念的配置，從而展現為與不同世代和階級溝通的「說故事」行動。

杜象與班雅明兩種迥異的約會心態，恰恰為「檔案－反歷史－轉檔」的論題舖出一造約會技術的光譜，前者是遊戲、基進與去歷史的，後

者則是嚴肅、掙扎以及歷史辯證的。「約會的心態」延續「2014 新年新希望」「從許願展開的自我田調」的要求，以約會為名，以轉檔為

旨，邀請李旭彬、徐敏思、吳宗龍、劉玗、蘇育賢以及倪祥六位藝術家來共同探討：在當代科技－資本主義社會的加速度與離心力下，我

們如何在一種秘密約會的願望中，展開種種轉檔工作？又如何從各種心態發展出獨特的「出軌」姿態，來為檔案之於相遇、約會、記憶政治與遺忘美學的論題，點燃出超展開的討論？

"Archive" is a method of history writing that leads to anti-history.

Perhaps, under the discussions of recent decades on "the archive fever," "performing archive," "archive turn," and "self-archiving," in such a time where anything can be an archive, we can contemplate tirelessly the meaning of "archiving." In other words, if "archive"

isn't simply something that is yet to be analyzed, understood, interpreted, and constructed meaning out of （such as [collective]

memory, narrative, cultural phenomenon, etc.), but more as something concerned with the act of archiving under a certain form

of allurement, then the question arises: how do people Verabredun in the archive?

In fact, this archiving process in the name of Verabredung can be seen in the concept of "Rendez-vous d'art" by Marcel Duchamp. Here he devised a unique set of rules for Verabredung: he arbitrarily

determined that at certain times of a day, the first object he sees

would be transformed into a readymade. Duchamp converted the human-centered Verabredung into an object-centered action,

and "aestheticize" the object through decontextualizing and dehistoricizing. The "Readymade" aesthetics constructed with this form of performative is the mindset of his Verabredung.

Similarly, German philosopher Walter Benjamin also has his own aesthetics for Verabredung. Different from Duchamp, Benjamin's Verabredung mindset is one founded on historical materialism,

from which he developed his Berlin Childhood writings. And so, under his pen, the telephone, the diorama, and the little

hunchback are transformed into mechanisms that dismantle clichés such as time-continuity and autobiographical memory.

Through such, Benjamin demonstrates an act of "storytelling" that aims to communicate between disparate times and social classes.

Duchamp and Benjamin's vastly different Verabredung mentalities perfectly map out the spectrum of Verabredung techniques for

the subject of "archive – anti-history – archiving." Duchamp's is

playful and radically dehistoricizing, while Benjamin's is serious, harrowing, historical, and dialectical. The Mindset of Verabredung continue the self-fieldwork that began with a wish of 2014 New Year New Hope, in the name of Verabredung, in the purpose of

archiving, we invite six artists, Hsu-ping LEE, Min-szu HSU, Zong-

long WU, Yu LIU, Yu-hsian SU, and Xiang NI, to explore the issue: under the acceleration and centrifugal force of modern techno…there is a secret protocol [Verabredung: also appointment] between the generations of the past and that of our own.

——Walter Benjamin

capitalism society, how does one perform the acts of archiving in the form of secret Verabredung? And how does one develop a

unique, "derailed" skill from the variety of mindsets, to spark an eye-opening discussion on the topics of meeting, Verabredung, politics of memory, and aesthetics of oblivion?

吳宗龍 WU, Zong-Long

月讀展 Lunar Seminar

2014 年台南海馬迴光畫館，在台南當代藝術環境正當萌芽發展的背景下，舉辦了「月讀展」系列講座，替代空間在展覽之外

也能透過活動的策劃培養更多的觀眾，同時也藉此刺激空間彼此的連結，「月讀展」以同一主題三個世代，主題為「社群」、「世界」、「物件」... 等，邀請藝術家前來分享自身創作脈絡，以縱深的方式穿透世代，藉以讓觀眾能看見世代之間感性的位移。

而當時，我是「月讀展」的觀眾，隨後在 2016 年至 2017 年之間，我試著延續「月讀展」的活動特性，並借用原來的名稱，「月讀展 2.0」著眼於橫向的連結，我陸續邀請了六位青年藝術家，到台南海馬迴，分別每兩個月進行了六場講座，且以六個單字

做為主題，「乾」、「生」、「爽」、「澀」、「濕」、「糊」，我試著與這幾位藝術家共同合作、討論，過程中近似於一種交新朋友

的狀態，也因此在與藝術家討論自身面對自幾創作的方法過程中，逼迫出成為現場一次性的事件的狀況，而並非原本設定的

講座，因此各自創作形式之外的集體處境，透過再次創作的手段將個體差異攤開在觀眾面前，我姑且稱它為某一種「翻譯」，而這樣的翻譯是試著透過將個體複雜化來逃離官方敘事的宿命，以及如何掌握自我檔案化的技術與方法，面對儼然教條化的

當代現實，看不見的、容易忽略的也許是關係是如何締結的，結果是否比過程還重要？又或許是結果與過程之間本來就沒有距離。

2014 it's the progressing period of Tainan's contemporary art. Under the specific atmosphere Fotoaura Institute of Photography held the series of forum named "Lunar Seminar" to attract more art audience not only by giving exhibition

but also artistic practices. By doing this we strengthen the bonding of Tainan's alternative art spaces. "Lunar Seminar"was

set to three topics which were community, world and object. Under the same topic, we invited artists from three generations to share their context of their creation. Clarified the transition of sensation and generation.

Untill 2016 through 2017, Wu Zong-Long was assigned to curate the following events later named "Lunar Seminar 2.0". He put emphasis on the peers connection of his generation. He invited six artists of his ages who are under their 30s to

Tainan holding six seminars each were labeled six Chinese characters as their topics. Which are literally means 'Dry','Raw

","Cool","Astringent","Wet", and "Mushy". During the curating process, Wu tried to work with all those artists as they were trying to build friendship. Instead of curating a show he manipulated the seminar into a non-repeatable performance not

the traditional form of giving lectures and talks. Following the trail of each artist's context and considering the scenario group of their works, Wu adapted the means of re-creation to differentiate the individuality from them. It works like an

interpretation of contemporary reality. By sophisticating the differentiality of individual and regain the ability of selfarchiving to avoid being simplified and categorized in this contemporary reality. It's the most obvious thing to neglect the connection of each relationship. Is the outcome valued more than the process? Maybe, there is no difference between a result and process.

2016-2017 「月讀展 2.0」策劃，海馬迴光畫館，台南，台灣 2015 「感知阻抗」聯展，爵士藝廊，台北，台灣

2015 「臨時趕工」聯展，新營文化中心，台南，台灣

2015 「亞洲當代拓荒」聯展，水谷藝術中心，台北，台灣 2014 「荒地」聯展，齁空間，台南，台灣

2016-2017 "Lunar Seminar 2.0", Fotoaura Institute of Photography, Tainan, Taiwan 2015 "Impedance sensing", JAZZ gallery, Taipei, Taiwan 2015 "Rush", Xinying Cultural Center, Tainan, Taiwan

2015 "Contemporary Exploration of Asia", Waley Art, Taipei, Taiwan 2014 "Wast land", Howl Space, Tainan, Taiwan

「月讀展 2.0」活動現場

李旭彬 LEE, Hsu-Pin 石墻村紀遊 Singing from the Grave

石圍墻為苗栗縣公館鄉石墻村的舊稱，為苗栗地區客家族群最晚開墾的地區，周圍六庄人士為了

防備泰雅族由此進入平原，設隘守禦。以石頭、刺竹，構築長約 2 公里、高 7 尺的石墻，屯民沿石圍墻栽種紅棗以強化防禦的功能。

1935 年關刀山大地震，4 月 21 日凌晨 6 時 2 分，台灣發生有史以來最強烈地震，石圍墻位於震度最強地帶，村內房舍全倒 141 間，石墻崩毀現僅存約十多公尺，整個公館鄉災情慘重。

重新回到現在的公館平原，1840 年開鑿的穿龍圳依舊灌溉著這片前山地區，作為當時前山大隘的

石墻村及周圍台六線沿線，在苗栗縣政府的規劃之下，成為黃金小鎮休閒農業區，推廣觀光農業。離開石墻村經由台六線轉往福基臨時收容所，再沿著穿龍圳往北抵達公館公學校，沿路充滿客家

小鎮風情。一隊人來到此行的終點龜山橋，由苗栗端僅存的橋塔往南望去，公館平原一覽無遺。遠方矗立的雙峰山，又稱為苗栗富士山。

這一路是現在的風景，眺望著隱沒在黃昏的苗栗富士山，走踏在層疊著過往歷史的地景，想像成為我們唯一的步伐。

Shiqiang Village is located at Gongguan Township, Miaoli County and it was called Shi-wei-

qiang. It is the last land in Miaoli County reclaimed by Hakka people. Shi-wei-qiang literally

【海馬迴光畫館】負責人

台南藝術大學材質創作與設計系講師彰化師範大學美術系講師

2016 「當下檔案・未來系譜：雙年展新

語」2016 台北雙年展，台北市立美術館，台北，台灣

2011 「出社會：1990 年代之後的台灣批判寫實攝影聯展」，台灣攝影博物

館 / 成大藝術中心 / 桃園中壢藝術館 / 杭州麗水國際攝影節，台灣 / 中國

2011 「災難風景」李旭彬個展，海馬迴光畫館，台南，台灣

2010 財團法人國家文化藝術基金會，「災難風景」創作計畫，台南，台灣

2009 「海馬迴光畫館開幕展－序曲」，海馬迴光畫館，台南，台灣

means stone wall. Hakka people built a stone wall by stone and bamboo to defense against

Dean , Fotoaura Institute of

dates along the wall to enhance its defense functionality.

Lecturer, Tainan National University of

Atayal and Taokas tribes. The stone wall was 2 kilometer long and 2.1 meter high, they plant 6:02, Apr 21, 1935 a major earthquake stroke this village, 141 homes was demolished and the

stone wall was torn to pieces, only 10 something meters left stand. The earthquake was later

named Guan-dao-shan earthquake and it was a record breaking earthquake in Taiwan's history. We return to the Gongguan Plain at 2016, water still running through Chuan-long-chou,

irrigation channels built at 1840, nourishing crops and Hakka people. Recently Miaoli County

government develops agritourism strategy and turned the village and along the surrounding area of high way 6 into "Golden Town Leisure Agricultural Area".

This journey started at Shiqiang Village and driving along highway 6 heading toward Fu-ji temporary shelter. Then we turned north following the Chuan-long-chou arrived at Gongguan elementary school. The scenery really shows its heritage of Hakka culture.

At the end of this journey, we stand by the remains of Gui-Shan bridge, look over the Gongguan Plain and there stands the Miaoli-Fuji Mountain as it was. We literally step on the route of history and layering our imagination onto the untold story.

苗栗富士山

Photography, Tainan, Taiwan The Arts, Tainan, Taiwan

Lecturer, National Changhua University of Education, Changhua, Taiwan

2016 "Gestures and Archives of the

Present, Genealogies of the Future" Taipei Biennial 2016, Taipei fine arts museum, Taipei, Taiwan

2011 "Li-Shuea International Photo Festival", Taiwan/China

詹德坤墓園

2011 "Into Society" Taiwan Photo Museum, Taipei, Taiwan

2010 "Disaster Landscape" Fotoaura

Institute of Photography, Tainan, Taiwan

2009 "Beginning" Fotoaura Institute of Photography, Tainan, Taiwan

揆一樓

倪祥 NI, Xiang

認真的歷史 Facing History Sincerely 當我們用盡全力凝視一個字時，那個字會變得詭異…… 我想，歷史也是一樣的。

When we pay undivided attention to gaze into a word, the word becomes weird. In this way, I believe, history is the same.

地球上最強生物－藝術家。因為人正直，所以就算做卑鄙的事也能可歌可泣。具免死金牌，越險越是強大。綜合上述兩點，加上相信我的同伴們，能掀起一場讓沒參加的人遺憾終生的戰爭。

因為太過幼稚所以 2015 年才算是出社會解鎖，嫩咖的我得到足以成長或就此萎靡的經驗值。目前小嫩豬（Little Young Pig）一直變形成各種不錯樣子但還是希望能好好寫歌就好；自戀的邱秀才在一些名場面展現的風範讓我心疼也想虐爆他。

希望之後大家不要海涵我，真心謝謝。 The strongest life form on earth: The artist. Even despicable things become grand when you are

noble. With forgiveness, great power comes with great risk. Combined with the two points above and friends that believe in me, we can lead a war, a war that inflicts regret to those who have missed out. Because of my childishness, 2015 has been my year of becoming, both in growing and failing

miserably. The Young Little Pig continues to transform unscathed for now, but I hope I can just write songs. CHIU the narcissist continues to show his swagger at various scenes, which makes me feel sorry for him, but I also cannot help but want to hurt him.

I hope no body tries to tolerate me in the future. I say this with sincerest thanks from my heart. 2016「風起潮間帶－大風藝術季 . 藝術浸潤計畫」，澎湖竹灣，台灣

2016「末日再生－台灣澳門交流展」，福利社 /TAV/ 牛房倉庫，台北 / 澳門，台灣 / 中國

2015「養生之道：2015 台南永福路二段冬季街區田野運動會」，齁空間 / 絕對空間，台南，台灣 2014「他者 ‧ 距離－兩岸當代藝術交流展」，高雄市立美術館，高雄，台灣 2009「很快就補償」臺北美術獎，臺北，台灣

2016 "Wind of Life – Penghu Art Festival", Penghu, Taiwan

2016 "Lost in the Möbius - Taiwan・ Macau", FreeS/TAV/ OXwarehouse, Taipei/ Macau, Taiwan/ China

2015 "The Way of Regimen: 2015 Winter Field Exercise at Section 2, Yongfu Road, Tainan", Howl Space/Absolute Space of the Arts, Tainan, Taiwan

2014 "The Other．The Distance – Cross-Strait Contemporary Art Exchange", KMFA, Kaohsiung, Taiwan

2009 "Soon Compensated", Taipei Arts Awards, Taipei, Taiwan

《認真的歷史》作品截圖

徐敏思 HSU, Min-Szu 版本 Versions 版本

一個事件，不同的說法。你看到了什麼？在不斷偏離的過程，我們建構了另一種現實。 Versions

One event, different statements. What do you see? When deviation happens continuously, we construct another reality.

失字的人。

2007 成大台灣文學系

2008 布里斯托大學電影研究

2015 高師大跨領域藝術研究所 2014「體現的詩——人與空間的交感」，個展，江山藝改所，新竹，台灣 2013「打狗食物鏈」書展、講座與地圖，統籌策劃，高雄，台灣

2011《如果它是一個人》，「出神紀」展覽，新濱碼頭，高雄，台灣

2010《宅宅西斯》，「超 s 的啦」團隊，高雄市文化局「那 e 差這嚜多－新南方貳勢力」聯展。 2006《滑鼠》，第十二屆府城文學獎小說組佳作。 Lost in words.

2007 National Cheng Kung University, department of Taiwanese Literature, BA 2008 University of Bristol, Cinema Studies, Diploma

2015 National Kaohsiung Normal University, graduate Institute of Interdisciplinary Art, MA 2014 "Poetic Embodiment- the resonance of body and space", solo exhibition, Jiang Shan Yi Gai Suo, Hsinchu, Taiwan.

2013 "Takao linkage project", Kaohsiung Literary Museum, Kaohsiung, Taiwan.

2011 "If she could speak", "Spacing Out Festival", Sin Pin Pier, Kaohsiung, Taiwan.

2010 "Otaku's Sex world", Super S team, "Why is it so different- new south of second strength", joint exhibition, Kaohsiung Chiang Kai-Shek Cultural Center, Kaohsiung, Taiwan.

2006 "Mouse", merit award of Fucheng Literature Prize, Tainan, Taiwan

劉玗 LIU, Yu 花蝶租來的人生 The Life Rented from STARFLY

[ 花蝶租來的人生 ] 這個計畫的發想，是從我看到一個平凡無奇的瞬間漸而發酵的。有一天我在租書店裡，看見一位年約四十的阿姨租了好幾本言情小說。這個在日常不過的景象卻讓我感覺到某

種慾望流動。對我來說，閱讀言情小說是一種讀者自身的經驗投射，小說裡的劇情補足了讀者空

1985 生於台灣，

目前居住及創作於台北。

2017 創作像海洋愛你像光，台北國際藝術村寶藏巖，台北，台灣

缺的情感經驗。而對於一位年歲已長的家庭主婦來說，這份慾望投射似乎是一種更複雜的情感，

2017 空氣煞車，駁二藝術特區，高雄，

種慾望現實。

2016 停泊在車站的愚人船，關渡美術館，

它已然成為不曾擁有的過往，甚至閱讀這些言情小說的劇情，在她們的日常生活中也已成為了某

我找到一位上述中喜歡看言情小說的婦人，進一步與其交涉，瞭解她的身份、個性、生活。最後，我要以這位婦人為主角，以她的身份及生活背景，以及她渴望成為的對象，來為她撰寫一部言情小說，以「她」為主的背景架構去詮釋出觀者在小說之間，是一個永遠憧憬愛情的小人物，從觀者

的角度出發製造出一個特殊的迴路關係。這本小說的書寫不僅翻轉了閱讀者與慾望投射的文本關係，更突顯了關於閱讀者那期待成為「他者」，得到那份空缺經驗的慾望。我欲創造了一個新的幽

靈替身、一個角色、一個世界，而不是利用扮演來達到慾望的實現，在一切的操作背後我虛造了一個時空與世界去補償實際生活的想像與落差，但事實上卻意外製造出某種殘酷的真實。

這件作品將會在駐店時製作完成，並在誠品書店內進行販售，所以作品本身並不會回到展場之中，而是直接進入市場，觀者在一般性的機會下閱讀到作品，並不是經由進入習慣性的展覽空間。而

最有可能觀看到作品的是我預期中經常看言情小說的觀者，或是為了看藝術品而特意去購買的人，而經常買小說看小說的她們，在小說之間意外中找到那似有若無的自己，一個經常在文本中尋找、

台灣

台北，台灣

2016 Several Ways to Believe，Taiwan academy ，洛杉磯，美國

2016 Mille-Feuille de Camélia，Arko Art Center，首爾，韓國

1985 Born in Taiwan,

Now live and work in Taipei

2017 "You are the Sunshine of my Life",

Taipei Artist Village - Treasure Hill, Taipei, Taiwan

憧憬愛情的他們，最終成為文本中被書寫的對象，甚至是在文本中慾望真的被實現了。

2017 "Aerobraking", The Pier-2 Art

The project was inspired by a normal moment in my daily life. One day, when I went to rent

2016 "The ship of fools mooring at the

books, I saw a middle-aged women renting many romances at once. It's a really normal

situation without anything special, but somehow I could sense the undercurrent of desire in her behavior. I think reading romance is a projection of reader to the books. The plots in the

fiction fulfilled the desire for absent emotional experiences. For a middle-aged housewife, the

projection of desire means more complicated emotions. It has become an experience that never really happened before. Through reading the stories in those romances, she's actually realizing the desire in her daily life.

I found a woman who's exactly the romance reader I've mentioned about. I interviewed her, and understood her identity, personality, life style. In the end, I wrote a romance through her identity, life background, and her desired lover in relationships. I built a structure around HER to explain that every reader of romance is the person who always long for love. Through the

perspective of readers, I created a special connection. The books turned readers into heroin in the story and outstood the fact that readers always want to be "Others", so as to fulfill the desire

of absent experience. The desire has created a ghost substitute, a character, a world, but it's not a role to play. I created a fictional time and space to compensate the differences between real life and imaginations, but it eventually showed the cruel reality accidentally.

The book was finished during my artist residence at Eslite bookstore, and was launched in the

bookshops. So the book didn't return to the exhibition venue, but went directly to the book market. Audiences will read the book in a normal situation, instead of going to an exhibition

to read a book. The possible audiences of the book, is actually the reader of romance, and the

art lovers who read it as an art piece. For the potential readers of romance, they might find themselves in the book. The one who've tried to find love from romance, who longed for the

love in books, eventually became the character in romance, and their desire was finally fulfilled in the book.

Center, Kaohsiung, Taiwan

train station", Kuandu Museum Of Fine Art, Taipei, Taiwan

2016 "Several Ways to Believe", Taiwan academy, Los Angeles, USA

2016 "Mille-Feuille de Camélia", Arko Art Center, Seoul, Korea

蘇育賢 SU, Yu-Hsien 我可以為你畫張畫。畫我懶覺嗎？

Let me draw a picture for you. Of my cock? 我在大學的時候練習過速寫，畢業之後就很少用到了。我很開心可以做這一件作品，至少學過的東西還有用處。

I had the training of sketch when I was still at school. It has been rarely applicable since I started contemporary art. I am glad to do this work because what I've learned is still quite useful.

2017「石膏鑼」，TKG+，台北，台灣

2017 「UCCA x 野蘑鹽溶液：放映系列」，尤倫斯當代藝術中心，北京，中國

2017 「A Disappearing Act: Su Yu-Hsien and Cici Wu」，Triangle，亞洲藝術文獻庫，紐約，美國 2016 「當下檔案・未來系譜」台北雙年展，台北市立美術館，台北，台灣 2016 「告訴我一個故事：地方性與敘事」，上海外灘美術館，上海，中國 2017 "Plaster Gong", TKG+, Taipei, Taiwan

2017 "UCCA x Wild Magic Salt Solution: Screening Series", UCCA, Beijing, China

2017 "A Disappearing Act: Su Yu Hsien and Cici Wu", Asia Art Archive in America, in collaboration with Triangle Arts Association, New York, USA

2016 "Gestures and Archives of the Present, Genealogies of the Future" Taipei Biennial 2016, Taipei fine arts museum, Taipei, Taiwan

2016 "Tell Me a Story: Locality and Narrative", Rockbund Art Museum, Shanghai, China

VIDEO WORKS CINEMA 影展區

國家養成訓練班

Becoming a Nation 策展人 CURATOR

黃香凝 HUANG, Hsiang-Ning

為 tamtamART Taipei 策展團隊之一，現任職於台北當代藝術館。近期

「國家養成訓練班」想探討台灣作為一個國家的地位始終未明，統獨

ISCP，布魯克林，2016；「即將消逝的瞬間 - 關於時間的六種視野」，台

群勢力時展現出的權力慾望，以及人民精神上對於國家一體性的渴

策展計畫有：「羅莎的傷口」，台北當代藝術館，2017；「離散：禁錮」，北當代藝術館，2016；「入侵異托邦」，街大歡囍計畫，台北，2015；「非

虛構電影」，tamtamArt Taipei，2014。關注當代藝術中的政治美學，

探討藝術如何介入政治，並對社會現實提供批判性觀點，著重於後殖民語境下關於歷史、記憶、及人類處境的探討。

Hsiang-Ning Huang (born 1982, Taipei) is a curator and a member of

tamtamART Taipei, and currently works at MoCA Taipei. Her recent curatorial projects include "Rosa's Wound", MoCA Taipei, 2017; "The

Moment that Comes is about to Go", MoCA Taipei, 2016; "Invading

Heterotopia", a two-night projection in a historical area facing the crisis of urban renovation; and "It's not a REAL film", 2014.

紛爭更是隨著政黨輪替及美中立場而為之擺盪。統治者在面對不同族

望，讓國族主義先於國族而生。在統治者的「忠心國民」培訓過程中，

「國家」意識是否能透過不斷地操演中逐漸形成 ? 「國家養成」究竟如何可能？

「國家養成訓練班」的參展藝術家試圖聚焦在呈現「國家未滿」現狀中，統治者如何用語言、文字、教育等的方式召喚愛國主義，將「國家意志」的觸角蔓延壟罩至人民身上，以建構出一個一統的意志共同

體。同時探討這樣的國族主義操演過程如何在未完成建國前就注定失敗，以及權力轉譯過程中的偏移如何創造一種新的抵抗及突圍模式。

in the political realm, providing a critical perspective on social realities.

藝術家雪克作品《我們的組曲》於利吉斷層拍攝高中生軍歌表演，以

human condition in the context of post-colonization.

體在規訓過程中不可遏抑的轉譯落差與自發性的變奏產出；「中華民

Huang's work suggests an alternative view of history, memory, and the

藝術家 ARTISTS

王鼎曄 WANG, Ding-Yeh 何欣怡 HO, Hsin-Yi

余政達 YU, Cheng-Ta 許哲瑜 HSU, Che-Yu

陳萬仁 CHEN, Wan-Jen 雪克 Shake

How exactly is "becoming a nation" possible?

The artists of Becoming a Nation attempt to present, under the

present condition of an "incomplete nation," how the ruling party utilizes methods such as language, words, and education to rouse

patriotism, and how the ruling party superimposes a "national will" onto the people to construct a body of unified will. At the same

Hsiang-Ning Huang's work focuses on the intersection of aesthetics

and politics in contemporary art; in other words, the engagement of art

arises: can a nation-consciousness form through relentless drills?

海陸板塊相互交錯排擠形成的荒蕪地貌作為台灣政治隱喻，呈現主客國頌」這首曲子是台灣人在尚未對歌詞意義有意識地後設分析前，即

被曲調的強烈澎湃而召喚愛國情懷，進而形成對故土及國族想像的集

體潛意識。《中華民國頌》中，余政達邀請外國人唱誦這首歌曲，更顯歌詞意義已然失落、情感失去標的之荒謬性；陳萬仁的《關心千萬人》挪用《美軍士兵在硫磺島豎起國旗》的經典照片，讓這張美軍即

將插上國旗宣示領土主權的片刻，有如紀念碑般被永恆停滯在將成卻

未成的姿態中，陳萬仁並竄改該旗幟成中華民國國旗，讓象徵國族認同與榮耀的旗幟有如被駭客入侵被輕易置換。王鼎曄的《瘋狂電擊 -

中華民國國旗歌》中，被攝者在被間歇性電擊的痙攣狀態下，臉部雖不自主地抽蓄卻仍持續唱誦國旗歌，彷彿喪失感知意識，重複著麻痺、無感的行為；在何欣怡《聯合操演》中，閱兵儀式展演著軍人榮

耀與向心力及國家忠誠的反覆操演，個人主體性在此並不重要，集體

的一致性才是應被彰顯的價值。許哲瑜的《1970 年 11 月 11 日》以現場影像及手繪人物動畫的疊合來試圖重現 1970 年於中山公園塑立

孫中山銅像的新聞事件，詭譎的音效與人物顯示再現與重返過去事件之不可能，但新聞報導卻猶如「真實」的代言者，成為歷史建構的證據來源。

time, they aim to explore how this nationalism-training procedure

is destined to fail before effectively building a nation, and how the imbalance created during the transfer of political power leads to a new form of resistance and escape.

Artist Shake's work Our Suite de Danses is a military parade

performance by high school students filmed at the Lichi Fault, where the barren landscape caused by subduction serves as

a metaphor of the politics of Taiwan. The work presents the insuppressible gap of interpretation and spontaneous deviation that arise between the subject and the object during a disciplining

process. Cheng-Ta Yu's Ode to the Republic of China presents

a fervent, melodious song which, without having consciously unpacked the implications of the lyrics, incites patriotism in the Taiwanese people and constructs a subconscious collective

sentiment of the homeland and mother nation. Here, Yu invites foreigners to sing this song, which further accentuates the absurdity that the lyrics have lost their meaning and the sentiment has lost its aim. Wan-Jen Chen's Concerned About the Millions of

People appropriates the classic photograph U.S. Soldiers Raising the Flag on Iwo Jima and transforms this instant—the soldiers about to raise the American flag to declare land ownership—into a

frozen moment, like a memorial in an eternal state of incompletion. Additionally, Chen swapped the American flag for a Taiwanese flag, giving the impression that an object symbolizing national identity

and pride can be simply "hacked" and switched out. In Ding-Yeh

Wang's Madness Electric Shock–Flag Song , the filmed subject is

continuously tased by intermittent electric shocks, causing his face to twitch involuntarily. Yet he continues to sing the flag anthem, as

if he has lost his senses and is repeating an indifferent, detached

movement. Hsin-Yi Ho's Marching Troops portrays the military

Becoming a Nation aims to explore Taiwan's still-ambiguous

parade, a practice which displays the pride, unity, and loyalty of

or independence fluctuate with the rotation of political parties

unity is the emphasized value. Che-Yu Hsu's November 11th, 1970

identity as a nation, where the dispute between national unification

and the China-United States relations. The ruling party's desire for authority when facing the powers of the diverse ethnic groups, the people's hunger for national unity—both contributed to the

formation of a nationalism before a national identity. In light of the ruling party's "loyalty-citizens-training" procedures, the question

soldiers. Here, the individual has little significance, rather, collective overlays live image and drawn figures in an attempt to reconstruct the news report of the raising of the Sun Yet-Sen statue at the

Zhongshan Park in 1970. The eerie sound effect and human figures

signify the impossibility of re-presenting and returning to a past event. However, news reports often appear as the spokesperson of "truth," and become the basis for history construction.

王鼎曄 WANG, Ding-Yeh 瘋狂電擊 - 中華民國國旗歌

Madness Electric Shock - Flag Song

1'30'' ﾉ 2014

瘋狂是時代的情境與當下的社會集體狀態所產生的極端反應，如此的反應並非是失去理智的。相

反的，瘋狂與理智應是同時存在，並相互需要。瘋狂的狀態存在社會之中，它未必被彰顯，它隱

藏在每一個面孔之後。我們並不拒絕瘋狂的行徑，因為這種狀態發生在每一個人的身上，瘋狂像是一種流行 / 疾病互相傳染，那是屬於這個大時代的錯亂，而這個錯誤 / 瘋狂卻深刻描述著社會的現實，透過瘋狂，鏡射出當下岌岌可危的真相。

Madness is the extreme reaction provoked by the context of times and the collective state of contemporary society. This reaction does not necessarily imply insanity. Rather, madness and

reason co-exist in an interdependent manner. Madness exists in the society. It conceals behind every face and may not necessarily be highlighted. We do not defy madness because no one can

free him/herself from it. Madness resembles a popular fashion or a mutually infectious disease.

It is the derangement of this great era. The derangement profoundly reflects social realities, namely the truth in jeopardy.

1978 年生於台北，2011 年獲得德國德勒斯登高等藝術學院 - 卓越藝術家文憑。擅長使用錄像裝置與繪

畫作品環繞於自身、社會與環境議題。深信透過創作能與外部社會連結或是對抗，並且同時能自我療癒。作品於台灣、美國、以色列、法國、德國等國展出。

He specializes in video installation and painting. The themes of his works primarily focus on issues

concerning his life, society, and the environment. He firmly believes that people will be able to resist

or connect themselves with the external world and meanwhile achieve self-healing through artistic creation. His works have been exhibited in Taiwan, the United States, Israel, France, and Germany.

何欣怡 HO, Hsin-Yi 聯合操演 Marching Troops 13'00" ﾉ 2010

2008 年 9 月 30 日，我的弟弟當兵去了，在他服役滿三個月的時候，我與爸媽去看他的閱兵遊行。這件作品紀錄了我弟弟的成長，以及我在法國的所見所聞，探討軍人與服兵役的意義和內涵，也滿足人們對閱兵操演的好奇心，我將它們一併播放讓觀者進行比較及思考，以同音軌的軍樂與口號，結合了不同形式與對象的操演，塑造一完整的形象。「聯合操演」挑動的是對抗他者的想像，滿足的是國族一體的榮譽感，而我的弟弟與身在其中者，他們的感想又會是什麼？

"Marching Troops" documents my personal experiences in France and Taiwan. I attempted to juxtapose two different kinds of military service of these two countries at the same time. I was inspired by the fact that my little brother had to do his military service in Taiwan. This project

conveys the image of soldiers in different countries and satisfies people's curiosity toward military troops. Besides, since these soldiers are all imbued with nationalism and patriotism,

the project investigates the significance of the military service and deconstructs the meaning of national authority. The project consists of three synchronized videos with a common sound track of a commander's voice-over. It alludes to a carnival ambiance and reinforces the absurdity of the content of the speech. Also, I applied the animated filters of three principal

colors of the national flags of Taiwan and France into the videos to enhance my work with

elements of painting. "Marching Troops" records the growth of my little brother during this period and conserves the memory of the singular experience of his military journey.

1979 年生於台北，現居紐約；於國立台灣師範大學美術學系畢業後隨即赴法深造，2007 年畢業於法國國立巴黎高等藝術學院。曾獲選參加瑞士日內瓦當代美術館館長 Christian Bernard 所主持的創作團隊。其自傳性紀錄影像風格，結合了攝影、文件、錄像裝置，將生活周遭事物所串連起的情感記憶轉化成大

時代、小人物圖譜裡的璀燦生命曲調，而在多重的隱性文本裡，則逐步浮現為對國族、歷史、跨界資本、認同政治的當代意義解構；作品巡迴於歐、美、亞等地展出。

Born in Taipei, educated in Paris, and currently living in New York City, HO Hsin-Yi received her diploma from École Nationale Supérieure des Beaux-Arts de Paris in 2007, and has had exhibitions

internationally in France, the US, Japan, Korea, Malaysia and Taiwan. She also works as a documentary filmmaker.

余政達 YU, Cheng-Ta 中華民國頌 Ode to the Republic of China 3'09" ﾉ 2009-2010

《中華民國頌》對我來說，是一首在集體意識中象徵國家的歌曲，既澎湃又洶湧。會有如此體會其實是因為我有段時間短暫旅居在另一個國家（美國）的土地上。當我試著去細讀這首歌曲的歌詞，赫然發現歌詞堆疊著的是成串的中國歷史符號，完全與現實的台灣處境無關，像是仍存在一種單

純地回想過去，卻無法挽回早已失去的輝煌。我透過教唱外國人的方式，利用他者身體的拼湊來完成這件歌唱作品，進而回應集體記憶的荒謬性與其觸碰國家主體的荒謬感。

For me, the song of Ode to the Republic of China is a political song symbolizing the existence

of the Republic of China (R.O.C.) in people's collective memories in Taiwan. It depicts a country with magnificent landscape and abundant heritage. However, when I scrutinized its lyrics, I

realized the lyrics were piles of symbolizers of China's landscape and history but there was nothing about Taiwan where the R.O.C. government and R.O.C. citizens call home. The song

is basically a song of nostalgia about the glorious past of China that could not be restored. In this work, I taught foreigners how to sing this song and recorded their singing, trying to reflect

the absurdity about the sovereignty of the R.O.C. only based on its past glory in the collective memories among the R.O.C. citizens currently living in Taiwan.

余政達（Yu Cheng-Ta）1983 年生於台灣台南，畢業於國立台北藝術大學美術學院美術系及美術創作碩

士班，目前居住及創作於台北。2008 年參加第六屆台北雙年展並獲台北美術獎首獎，2009 年代表台灣

參加第五十三屆威尼斯雙年展台灣館，同年受邀參與奧地利林茲復刻雙年展。2012 年獲得東京藝術博覽會唯一獎項培根獎殊榮，並參與第五屆澳洲墨爾本媒體藝術雙年展及法國圖魯斯亞洲製造藝術節，

2013 年參與紐約 ART+ 網路雙年展、國立台灣美術館亞洲雙年展以及紐約皇后美術館年度計畫 Queens International。2014 年受邀中國中央美院的雙年展、國立台灣美術館台灣美術雙年展，與紐約年度藝

術盛事「亞洲當代藝術週」重要論壇。余政達近期作品 "Practicing LIVE" (2014) 受邀 2014 年第十屆上海

雙年展及 2015 年第五十六屆柏林國際影展「Forum Expanded」單元。2016 年作品於韓國光州市立美術館及巴黎龐畢度藝術中心展出。

Born in 1983 in Tainan, Taiwan, Yu Cheng-Ta earned both an undergraduate and a master's degree

in fine arts from the Taipei National University of the Arts. He was a recipient of the Taipei Arts Award in 2008 and the Beacon Prize at Art Fair Tokyo in 2012. Yu participated in the 6th Taipei Biennial

and was featured in the Taiwan Pavilion at the 53rd Venice Biennale. In 2009 he participated in the Biennial Cuvée 08 at OK Center for Contemporary Art in Linz, Austria. In 2012 he took part in the 5th International Biennial of Media Art at Experimenta in Melbourne, Australia, and Le Festival Made in

Asia in Toulouse, France. In 2013 Yu held a solo exhibition at the Kaohsiung Museum of Fine Arts, and

took part in the Asian Art Biennial at the National Taiwan Museum of Fine Arts, as well as Queens

International at Queens Museum in New York. In 2014, he held the solo exhibition "Practicing LIVE"at Taipei Fine Arts Museum and participated in the 10th Shanghai Biennial, the 2nd CAFA Biennial in

Beijing, and Asian Art Week at the Asia Society Museum in New York. In 2015 he took part in the 56th

Berlin International Film Festival Forum Expanded. In 2016, he exhibited in Gwangju City Museum of Art, and in Centre Pompidou.

Yu Cheng-Ta currently works and lives in Taipei, Taiwan. www.yuchengta.com

許哲瑜 HSU, Che-Yu 1970 年 11 月 11 日 November 11th, 1970. 8'01'' ﾉ 2012

這是一則台灣 1970 年於中山公園塑立孫中山銅像的老新聞。我到中山公園拍攝場景，以動畫的方式示意出這段新聞。我從未經歷過這個時代，因此對我而言，它僅以鬼魅的方式（不）存在，卻魂牽夢縈的。我在片尾中直接將新聞播報的口白以字幕呈現，但刪除了「國父」字樣。

This is a piece of news about sitting statuary at Zhongshan Park in 1970. That was the period of

martial law. I'm unable to understand the atmosphere at the times before I was born, but today, I feel the illusion. I return to Zhongshan Park, and the fictitious spirit is summoning me. Every image of my work is from Zhongshan Park, and the credit roll subtitles are derived from the old news video. This history is not true for me; I can only sense it as a ghost.

畢業於台南藝術大學造形藝術研究所，現為自由藝術創作者，作品形式多以動畫、錄像、裝置為主。作品關注媒介與記憶之間的關係。對創作者而言，無論是個人私密的或群體記憶，重要的並不只是透過媒介所能回溯的事件歷史，更是記憶如何被建構與被觀看的過程。曾舉辦個展於台北市立美術館、關渡美術館、加拿大 SAT 科技藝術中心、台北數位藝術中心。

Earning his master's degree from the Graduate Institute of Plastic Arts, Tainan National University

of the Arts. Hsu Che-Yu works as a freelance artist who primarily creates animations, videos and installations that feature the relations between media and memories. What matters to the artist is

not simply the history of events traceable through media, but also the construction and visualization of memories, be they private or collective. His previous solo exhibitions had been hosted by Taipei Fine Arts Museum, Kuandu Museum of Fine Arts, Society for Arts and Technology (Montreal, Canada), and Digital Art Center Taipei.

陳萬仁 CHEN, Wan-Jen 關心千萬人 Concerned About the Millions of People 1'07" ﾉ 2011

這是一張由喬•羅森塔爾（Joe Rosenthal）在美日硫磺島戰役之中所拍下的《美軍士兵在硫磺島豎起國旗》的經典歷史照片。眾所皆知的事實是美軍在這場傷亡慘重的戰役裡拿下了勝利，士兵將那象徵自由和正義的旗幟插在山頂上，而此照片也應運而生。我無意要在這重要的歷史事件上做下

註解，而是採用戲謔的方式竄改那明顯的象徵物 ( 國旗 )，讓它的訊息改變，試圖使圖像的意義漂浮。無論那面旗幟來自於哪裡，象徵總是隨著另一次的曝光而來。

This is a classic, historical photograph shot by Joe Rosenthal featuring "U.S. Soldiers Raising the Flag on Iwo Jima." It is well known that the American forces suffered heavy casualties in their

campaign to wrest control of the island from the Japanese. This image was taken when soldiers raised the American flag at the top of a hill. With this photo, my intention is not to interpret the

context of a historical item. Rather, I use whimsical methods to adjust the iconic symbol (flag) to change its message. By doing this, its meaning becomes floating and independent. Regardless of the flag's origins, symbolism is always created after a photo of it is taken.

慣於使用錄像及裝置的方式捕捉生活中重複交替的空白片段，成為陳萬仁的創作核心觀念，其作品時常

運用寫實繪畫般反覆的精細拼縫數位影像，結合多種元素作為其視覺語彙的呈現。面對人類身體在數位技術的環境中經常被符號化、扁平化、去脈絡化的處置，藝術家讓日復流失的時間片段在作品中再現為冷漠、機械重複般的動態物件，並注入日常性的關注與批判，導致影像在現實與想像之間來回擺盪；並且試圖尋找時間片段中的具體重量，藉著營造極為日常的場景空間，收存每個稍縱即逝的時空畫片。

The kernel of Chen's creative practice is to capture the repeatedly alternating blank fragments of his quotidian life with videos and installations. To develop his own visual vocabulary, the artist combines

various elements with digital image collaged as finely and truthfully as realist paintings. Against the

digital environment in which the human body is often codified, flattened, and decontextualized,

Chen represents the elapsing fragments of time in his works as alienated and mechanical dynamic objects, to which he attaches his concerns and critique that make the images oscillate between realities and illusions. He also attempts to identify the significance embedded in these fragments of

time, trying to frame the pictures of ephemeral time and space by creating the scenes of extremely quotidian existence.

雪克 Shake 我們的組曲 Our Suite de Danses 7'36" ﾉ 2016

〈我們的組曲〉是與台北市立復興高中 19 屆戲劇班的共同創作。我在創作過程中帶領同學們討論：哪首歌會想起童年？哪些歌會讓他們想像父母的時代？在學校學過什麼樣的歌？我們利用現今依然存在於台灣校園的軍歌表演作為展演歌曲的敘事形式，因海陸板塊隱沒現象而造成的利吉斷層成為拍攝場景，在這片因台灣島地理位置而有的獨特地景前，重新詮釋屬於他們時代與文化認同的歌曲，以再現台灣文化與教育的構成現貌。

Our Suite de Danses is a project in cooperation with Taipei Municipal Fuxing Senior High School

students. I invited these participant-students to share: Which songs make them recall their childhood? Which songs remind them of their parent's generation? Which songs do they learn in school? We appropriate the military parade (which still could be found in Taiwanese school

activities) as the narrative form to perform the selected songs, and shoot the video at the Jili Badlands which caused by the subduction process. In order to represent the constitution of culture and education in Taiwan, the participant-students try to re-interpret the songs which

express their generation and cultural identity in front of this specific landscape because it displays Taiwan's geographical changes.

在台灣念電影、拍電影，在法國發現電影的擴延性。

雪克以挪用電影製作技術及其語言作為藝術實踐，試圖以裝置、表演、活動等不同形式，進行電影書寫，來再現電影式經驗，探索鼓勵觀者重新詮釋周遭影像與聲音的情境建構。

2011 年自巴黎—賽爾吉國立高等藝術學院畢業後，陸續在泰國、法國等地駐村與展出，依地實驗電影的展演可能性。

In Taiwan, Shake studied and made film. In France, Shake discovered the expansive nature of cinema. Shake's artistic practice appropriates film techniques and other artistic vocabularies, in an attempt to recreate a cinematic experience through such forms as installation, performance

and events, to explore and encourage viewers to reinterpret the scenario constructs to the images

and sounds that surround us. After graduating from l'École Nationale Supérieure d'Arts Paris-Cergy in 2011, Shake has continued to explore the possibilities of experimental film in residencies and exhibitions in Thailand and France.

（不）在場證明

The Alibi at Present

策展人 CURATOR

鴻鴻 Hung Hung

生於台南。詩人，劇場及電影編導，曾獲吳三連文藝獎。著有詩集、散

在追尋想像的共同體時，台灣人往往陷入不由自主的悲劇處境：像

When seeking an imagined community identity, Taiwanese people

導電影《穿牆人》等四部、紀錄片《台北波西米亞》等四部。曾獲南特影

明」，證明自己擁有獨特的文化、完足的主體性、以及多元的記憶，

ourselves in a guilty-until-proven-innocent court, we must tirelessly

文、小說、劇評及劇本多種，並擔任《衛生紙 +》主編（2008-2016）。編展最佳導演獎、芝加哥影展國際影評人獎、金馬獎最佳原著劇本獎。擔任台北詩歌節、圖博文化節、新北市電影節之策展人。現為「黑眼睛文

化」及「黑眼睛跨劇團」藝術總監，並於國立台北藝術大學電影創作系兼任教職。

A prominent poet and director of stage as well as of film, Hung Hung is the author of many volumes of poetry, prose, fictions and a great

number of reviews and theatre critiques. As an award-winning film director, he has written and directed films such as The Love of Three Orange, The Human Comedy, A Garden in the Sky and The Wall-passer.

His documentaries include Bohemian Taipei, The Diary of a Student

Teacher, Time for Dancing, Choirs for Tomorrow' and so on. He has also won the best director at Nantes Film Festival, the International Film Critic Award at the Chicago Film Festival, the Golden Horse

Award Best Original Screenplay Award. Being curator of Taipei Poetry

Festival, Free Tibet Festival, New Taipei City Film Festival, Hung Hung currently serves as the artistic director of Dark Eyes Ltd and Dark Eyes

藝術家 ARTISTS

鄭立明 CHENG, Li-Ming 許家維 HSU, Chia-Wei

廖烜榛 LIAO, Xuan-Zhen 黃奕捷 HUANG, I-Chieh 李佳泓 LEE, Chia-Hung

王又平 WANG, Yu-Ping 劉文琪 LIU, Wen-Chi

馬維元 MA, Wei-Yuan 洪德高 Gao Hong 葉覓覓 YE, Mi-Mi

Performance Lab.

在跟一個有罪推定的法庭抗辯，必須一而再、再而三地提出「在場證

必要時還需要不斷修改，好證明自己在歷史的關鍵時刻，必然在場，而且踩在正確的位置上。然而，這種證明的焦慮，卻只能一再提醒自

己：我們真的不在現場。或者說，我們唯一所在的現場，只能是努力證明自己在場的此時此地。能否將這種看似徒勞的再現與修訂過程，

轉化成拓展認同想像邊界的機會，是許多藝術家早已在做的嘗試，也是本次影像展試圖提出的問題。

雖然邀約的對像來自不同領域──詩人葉覓覓、劉文琪（白黽），劇

場創作者馬維元，電影創作者鄭立明、洪德高，以及視覺藝術創作者

許家維、廖烜榛／黃奕捷／李佳泓／王又平──但不約而同地，他們

的作品／行動都涉及歷史現場與記憶再現的可能與不可能，並暴露出修改的機制與想像的操作。《錢江衍派》透過扮演及扮演的縫隙，

看見政治異議者與「常人」的殊異，並驅使「常人」體驗異議者的人生；《和平島故事》也邀請家中長輩獻聲，卻使用魔幻手法更深切地

are often trapped helplessly in a tragic situation: as if defending put forward an "alibi at present" to prove that we have an unique

culture, an intact national subjectivity, and multiple memories. When necessary, we must also continuously revise our alibi to prove that we were present (beyond a reasonable doubt) at critical

moments in history and at the correct places. However, the anxiety

from having to constantly justify ourselves only further reminds us that we were, in fact, not present. Or we can say the only place

that we were ever present at is the current time and place, where we are tirelessly trying to validate our presence. Can we transform this seemingly futile process into an opportunity to expand our

imagined boundaries of identity? This is an undertaking many artists have already begun to explore, and the question that this video exhibition seeks to discuss.

傳遞歷史之痛；《曾經有風風無須命名，曾經有海海無須界域》通過

Although the invited artists come from different fields-poet Mimi

術媒介之眼捕捉逝者的背影；《卡》藉由扮演儀式啟動自身經驗的反

movie creator Li-Ming Cheng and Gao Hong, visual artist Jia-

以血水洗刷碑記的行為作為一樁船難的祭典；《空一格，戲院》以藝胃；《深度旅遊》則回到更貼近感官反而更陌生的觀測（胃鏡）去質問本體與意識；最後，《他們在那裡而我不在》以詩意的哲思揭露我與

現實世界互補的缺口。他們分別涉及「我在哪裡」、「在那裡的是不是

我」、「我不在的地方是否更（不）真實」的問題。或許「他們在那裡而我不在」的反省，正是證明「我雖不在但我在」的最佳起點。

Ye and Liu Wen-Chi (Bai-Ming), theater creator Wei-Yuan Ma, Wei Hsu, Xuan-Zhen Liao, I-Chieh Huang, Chia-Hung Lee, and Yu-Ping Wang—their works/actions, coincidentally, all concern

the possibility and impossibility of recreating historical scenes and memories, and reveal the mechanisms of revision and the manipulation of imagination. Through acting and the gaps of

acting, Time Splits in the River shows the discrepancy between dissidents and "common people," and urges "common people" to experience the lives of dissidents; The Story of Hoping Island

invites the elders in the family to recount their experiences, and

utilize fantastical presentation to more profoundly communicate the historical wounds; in There were winds without names.

There were oceans without limits, the artist enacts a memorial ceremony for a ship accident by washing an inscription with blood; Phantom Cinema captures the shadows of the deceased through

the eye of artistic media; OK activates the rumination of personal experience through a role-playing ritual; In-Depth Travel returns to an observation-gastroscopy, which appears more alien the

closer it gets to the body, and investigates the body's ontology

and consciousness; lastly, They Are There But I Am Not reveals the

gap of interdependence between a subject and the physical world

through a poetic philosophical reflection. These works investigate the questions: "Where am I?" "Where am I not me?" and "Is where I'm not more real or unreal?" Perhaps the introspection of "They

are there but I am not" is the ideal starting point in trying to prove that "I am present, even though I'm not there."

鄭立明 CHENG, Li-Ming 空一格，戲院 Phantom Cinema 25'02" ﾉ 2016

「第一戲院」是美濃鎮上許多人的共同記憶。戲院熄燈了，痕跡還殘留著，這些逐漸褪去的痕跡，

曾滋養了許多人的夢。如今座椅空了，片格腐朽，春光睏倦了。記憶與想望互相搶位、換座，戲裡戲外顛倒、台前幕後翻轉。終究殘酷無情的不是歲月，是背後的神秘剪刀。

影片最後觸及一個傷口，鍾浩東的故事。過去曾有一段時間人們不願意提起，現在甚至也未曾記得的美濃人故事。它曾是電影裡的禁忌，藉著這個創作，我將它重新搬演，以茲紀念。

Nowadays, cinema has closed one after another. "Premiere Cinema" in Meinong, which opened in 1969 and closed in 1991, had built collective memories for people in town. These faded traces once nourished someone's dreams where fairies still dance, where laughter and tear reechoes.

This film develops in remains of cinema, where past usher walks to and fro holding a flashlight in darkness and ticket agent counted tickets day after day; the past scenes has its romance,

fright, pain, lust and bitterness. The cinema is a miniature of the universe, those who were lived for it and fascinated with it are still lingering in this space, in this dream and doesn't wake up.

The last part of film is story of Chung Hao-tong, the story is a wound that people refused to speak of for a long while, and not many remembered now. It was a taboo for cinema once, and now I perform it through this work in remembrance of his spirit.

出生於彰化，世新電影科畢。曾任職傳播公司，金馬獎執委會、國家電影資料館。之後從事文學以及劇本創作。1996 年開始投入電影製作，陸續發表紀錄片與實驗影像的創作。系列作品〈鑿空〉(2007)、〈傷

城〉(2008)、〈等待 ‧ 真愛〉(2010) 深入探討城市中的時間與空間。最近作品：〈跳房子〉(2012) 以舞蹈表達反核意識。〈尋找木柵女〉(2013) 及〈MATA- 影像之初〉(2016) 以 19 世紀攝影家 John Thomson 照片與照片中所拍攝之福爾摩沙原住民影像之主題，進行觀看與主體之探索。〈空一格，戲院〉(2016) 拍攝以美濃廢棄的第一戲院結合舞蹈的實驗作品。

Born in Chang-Hua, Taiwan, graduated from Shih-Hsin University , had worked for media, The Golden Horse Executive Committee, Chinese Taipei Film Archive, and have been a film critic and writer. The sireal works Through (2007), Sorrow of City (2008) and Waiting for True Love exploring the

depth of time and space of the city. The latest works are documentary The astrolabe of text (2010) about the traditional Chinese printing industry in Taiwan, and ita thao (2010) about the catastrophic

earthquake occurred in Taiwan on 21 September 1999 (commonly known in Taiwan as the 921 earthquake). Looking For Siraya (2013) and MATA - the island's gaze (2016) are based on photographs and images of Formosa aboriginal taken by 19th century photographer John Thomson; to watch and

to explore the subject of ourselves. Phantom Cinema (2016) is an experimental film mix with dance, shooting in abandoned "First Cinema" in Meinong.

許家維 HSU, Chia-Wei 和平島故事 The Story of Hoping Island 12'40" ﾉ 2008

基隆和平島的造船廠，日據時代期間是日本國境內最南端的軍事造船廠，主要支持日本的南進政

策。日本政府撤退後，造船廠在台灣的經濟起飛中又佔有關鍵位置，它高度壓縮了從二次大戰至今的時空。藝術家邀請曾受日本教育的祖母以日文描述當時的情況，並創造虛構生物「泥琥」來做為影像內唯一串起敘事的元素。透過這個微小的生物「泥琥」來回應一個大時代；透過一個虛幻的

敘事來回應政治論述。也貫串歷史、記憶與夢境，或者說，歷史某種程度就如同記憶與夢境一般。 "The Story of Hoping Island" was shot in a shipyard on Hoping Island in Keelung. During the

Japanese occupation of Taiwan, it was the Japanese government's southernmost shipyard, and as such, it supported Imperial Japanese, southward expansion. After the retrocession of

Taiwan, the shipyard played a key role in Taiwan's economic takeoff. This shipyard represents a highly compressed, symbolic timeframe, from WWII to now. Artist invited his grandmother to describe the situation in Japanese (She had received Japanese education). Through the process

of narratives, this place seems remote and deserted caused of no people appeared in the video.

(Actually, there are usually numerous of workers) In this work, artist regarded this shipyard as a memory crystal to develop the narratives. Through the complexity of place and memory, this place becomes an effective instrument to reproduce memory.

1983 出生於台中，現生活與工作於台北

2010 畢業於台灣藝術大學造形藝術研究所

許家維對於亞洲冷戰時期被遺忘的歷史有著濃厚的研究興趣，作品發展出對於探究現實與幻象、歷史與

當下間的敏銳知性，並透過建立鏡頭以外的事件，連結正規歷史描述所未及的人與地方的關係。曾在 2015 年於荷蘭凡•阿比美術館舉辦個展；作品也在 2013 年的威尼斯雙年展台灣館展出，同年也入圍了 HUGO BOSS 亞洲藝術大獎。另外也在許多的美術館及國際影展展出。2017 年以《回莫村》獲台新藝術獎年度大獎。

1983 Born in Taichung, Taiwan, live and work in Taipei, Taiwan.

2010 Graduated from Graduate School of Plastic Art, National Taiwan University of Arts.

Hsu is interested in the forgotten histories of the Cold War in Asia. His works develop a keen sensitivity

that weaves together reality and illusion, history and the present by building a circuit of events in the hors-champ of people and places off the screen of history.

In 2015, he had a solo exhibition at the Van Abbemuseum in the Netherlands. In 2013, he was invited to present his works in La Biennale di Venezia for the Taiwan Pavilion. In the same year, he was a

finalist for the Hugo Boss Asia Art Award. His artworks had been presented in many exhibitions in

museums, biennials and film festivals, such as Jeu De Paume, The 39th International Film Festival Rotterdam, 2012 Liverpool Biennial, 2012 Taipei Biennial, 2016 Taipei Biennial, The 8th Taiwan

International Documentary Film Festival, and Rencontres Internationales Paris/Berlin/Madrid, and screened at the Centre Pompidou in Paris, Haus der Kulturen der Welt in Berlin, and Reina Sofia National Museum in Madrid.

廖烜榛 / 黃奕捷 / 李佳泓 / 王又平

LIAO, Xuan-Zhen / HUANG, I-Chieh / LEE, Chia-Hung / WANG, Yu-Ping

錢江衍派 Time Splits in the River 89' ﾉ 2016

四名年輕人邀請了他們的父母共同拍一部電影，劇本是一段戒嚴時期的故事，父母們則要演出 80 年代的異議份子。然而，故事內容卻都是父母們不曾有過的經驗，他們更在拍攝的過程中，漸漸地進入了自己的回憶 ...

Four youngsters invite their parents to co-create a movie with them about the martial law

period, with the parents portraying dissidents in the 1980s. Although the story consists of experiences that the parents have never had before, throughout the filming process, they slowly fall into the past and are entangled by their own memories…

廖烜榛、黃奕捷、李佳泓、王又平，四人為大學同儕，2015 年畢業於台北藝術大學美術系，現活動於

台北。2013 年起，四人便數度合作創作計畫，嘗試在藝術生產的實作中發展與「異見」對話的工作方法。作品以行為表演、錄像、計畫型創作為主，包含：「澄橙」、「錢江衍派」、「中國城大戲院」等。

Liao Xuan-Zhen, Huang I-Chieh, Lee Chia-Hung, Wang Yu-Ping, the four members are all graduated from the school of fine arts at Taipei National University of the Arts, based in Taipei, Taiwan.

They initiate several artistic projects, attempting to develop in and from these projects a more communicative creativity. The work consists of performance art, film, and project, including: Graveside, Time Splits in the River, Chinatown Theater, etc.

劉文琪 LIU, Wen-Chi 曾經有風風無須命名，曾經有海海無須界域

There were winds without names. There were oceans without limits.

5'7" ﾉ 2015

在漁獲上岸的港口現場，創作者搬著一個長型石膏方體置於整個港中央，接著拿著桶子與毛巾，在場域裡走動以毛巾蒐集漁獲的血水直到整個桶子裝滿為止。之後拿著桶裝的血水，走到原本放

置石膏前方，將血水敷在石膏板上，隨著血滲入白色石膏，事先陰刻著東港港口 16 年每年的鮪漁獲量慢慢浮現出來。

紀念廣大興二十八號事件 At a fishery haul harbor, the artist moved a rectangular plaster cube into the center of the harbor. She then took the bucket and towel, and walked around in the area to collect the fish

blood with the towel until the whole bucket is filled up. After that she hold the bucket of blood

and walk to the front of the original spot where the plaster was, and apply the blood onto the

plaster board. As the blood penetrate into the white plaster, the figure for the amount of tuna haul each year at the Donggang harbor for the past 16 years slowly become visible.

1993 年出生，主以書寫結合行為表演，近期也與樂團實驗唸唱。之所以創作，是覺得可以理解自己對世界的種種困惑，所以就繼續寫下去、表演下去，未來也這樣持續一直下去了。

Born in 1993, I write poems, sometimes combined with performance art. Recently, I also played

experiment singing with band. Art is the way I recognize this world. That is the reason I keep writing, keep performing, and keep going on the road of art.

馬維元 MA, Wei-Yuan 深度旅遊 In-Depth Travel 4' ﾉ 2011

以故事當事人模仿導遊口吻錄製四則簡短的場景介紹，並於網路擷取內視鏡影像搭配而成為其故事空間。

In-Depth Travel is a video project made in 2011. The project unfolds an audio scenic

introduction of artist's four fragmental memories combining endoscopy footages on the screen to present a tourism view of a person's private past.

北藝大新媒體藝術學系碩士

2017 作品《同在》，台北市立美術館「社交場」，台北

2016 馬維元個展《三馬達電動床》，牯嶺街小劇場二樓藝文空間，台北 2016 馬維元單人表演《錦堂》，牯嶺街小劇場二樓藝文空間，台北

2015 水墨作品《果販書》，臥龍二九偽個展系列「馬老闆個展」，台北

2013 互動作品《奔月》，國美館數位方舟聯展「3.28 級嗡嗡」，國美館，台中 M.F.A., Department of New Media Art, Taipei National University of The Arts, Taipei. 2017 "Together, Arena", TFAM, Taipei.

2016 "Hospital Bed", Ma Wei-Yuan's Solo exhibition, Guling Street Avant-garde Theatre,Taipei. 2016 "Jin-Tang", Ma Wei-Yuan's Solo show, Guling Street Avant-Garde Theatre, Taipei. 2015 "The Fruit Sales Book", Boss Ma's Solo Exhibition, Urban W Lab29, Taipei. 2013 "The Moon", Level 3.28, NTMoFA, Taichung.

洪德高 Gao Hong 卡 OK

4'04" ﾉ 2017 世界首映 World Premiere 在一部電影的拍攝過程中，從個人意志延伸到他者（導演→演員），再從他人的行動返回到自身（演員→導演）。

During the process of making a film, an order from a director send to the actor, then it comes back to reveal the director's own experience.

國立台北藝術大學電影創作學系在學，主修表演、剪輯。

Study in TNUA, department of filmmaking.Major in film acting, film editing.

葉覓覓 YE, Mi-Mi 他們在那裡而我不在 They Are There But I Am Not 6'55" ﾉ 2009

手錶在那裡時間不在時間在那裡人不在人在那裡雞不在

鸚鵡在那裡神明不在關於時間的黑白影像詩篇，討論的是人類與日常事物的存在狀態，什麼在？什麼不在？什麼可見？什麼不可見？影像是輕盈的，穿插的細語是音符的，耳與耳的間隙則無比遼闊。

We experience a lot of poems as a record of real life. Through the specific Taiwanese backdrop, the poetry film illustrates a series of moments to approach the concept of time, which is not as

concrete as we are taught. As a poet, the filmmaker presents her ideas on the nature of reality, existence, what is there and what is not there.

葉覓覓，東華大學創作與英語文學研究所、芝加哥藝術學院電影創作藝術碩士。以詩錄影，以影入詩。夢見的總是比看見的還多。每天都重新歸零，像一隻逆流產卵的女鬼或鮭魚。作品曾獲聯合文學小說新

人獎、國語日報兒童文學牧笛獎、義大利羅馬影像詩影展最佳影片等。著有詩集《漆黑》、《越車越遠》與《順順逆逆》。

Ye Mimi is a Taiwanese poet and filmmaker. A graduate of the MFA Creative Writing Department at

Dong Hwa University and the MFA Film Department at School of the Art Institute of Chicago, she is

the author of three volumes of poetry and has internationally exhibited several of her poetry films. Through collaging her words and images, she improvises a new landscape trying to erase the border between poetry and image making. Most recently, a bilingual chapbook of her poems was published by Anomalous Press under the title His Days Go by the Way Her Years.

TAIWAN CONTEMPORARY ART ARCHIVE (TCAA) 台灣當代藝術資料庫

「一個資料庫的無限可能性，在於它能觸及到最多人！」—全球知名策展人 Han Ulrich Obrist 國際知名策展人 Han Ulrich Obrist 形容策展人是「在全球場域進行狩獵者」，過去策展人經由身

台灣當代藝術資料庫

tcaaarchive.org

"A database provides all kinds of possibilities because it is accessible to the largest population." – the world-famous curator Han Ulrich Obrist.

體不斷移動尋找研究下一次策展的靈感和材料，現今數位資訊時代則可以透過雲端資料庫進行全

World known art curator Han Ulrich Obrist describes curators as hunters in the fields all over

Contemporary Art Archive, TCAA，以下簡稱智庫），以一個雲端平台成為台灣當代藝術的脈絡梳

materials, nowadays they can hunt through cloud database accessible from all over the world.

球跨域的獵奇。以符合資訊時代發展脈動與回應藝術環境需求的「台灣當代藝術資料庫」（Taiwan

the world. In the past, art curators had to travel extensively for their pursuits of ideas and

理與自我展現的最佳工具與載體，由社團法人台灣視覺藝術協會（The Association of the Visual

Art in Taiwan，AVAT）自 2013 年 7 月籌畫建置，2014 年 2 月 19 日正式上線啟動，2016 年 7 月全新網站改版至今，所規劃的項目和蒐錄資料已逐漸涵蓋台灣當代藝術類型發展，並定位為免費提供公眾使用的線上整合型平台，進行雲端國際連結，向國際藝壇即時且具體地呈現台灣藝術的

當代性發展，有助於學術研究發展和策展實務。資料庫為一個長期且持續性的建置計畫，目前您所見的僅是階段性成果，將持續新增和擴充資料庫的蒐錄對象和內容，不論您是學術研究或是策展需求，都能擁有最為完整與即時更新的資訊。資料庫以普遍認知的藝術類別作為資料搜尋的索

引，包含行為藝術、錄像藝術、新媒體藝術、裝置藝術、攝影藝術、繪畫和雕塑，甚至策展人與

藝評家，再透過關鍵字串聯和勾勒出藝術家、作品、展覽、事件等所論述的議題。資料庫系統性蒐錄 1980 年代之後台灣當代藝術環境發展，每個類別的蒐集項目包含藝術家、重要事件、展覽和團體機構等；資料內容包含藝術家簡介、展演經歷、創作 / 策展理念、作品資料、相關評論等；

資料類型包含文字、圖片、影音檔案或手稿文件等，進行數位化與系統化的整理。我們的建置團

隊集結了視覺藝術圈中專業且熱情的策展人、藝術家、藝評家、學者和研究生，視每年不同的任務目標，有機地組成和新增成員，以半義務性質共同創建這個服務性的資料平台。

2016 年，我們開始積極邁向國際推廣與串連的步伐，舉辦「2016 第一屆藝術資料庫國際研討會」，邀請歐美、東南亞及台灣，政府與民間、巨型與獨立藝術資料庫策展人、實踐者、研究者對話、思辨，借鑑當前國際資料庫、大數據研究的新趨勢及新觀念。

今年，「台灣當代藝術資料庫」為推動對雲端藝術資料庫的應用，鼓勵對當代藝術策展具獨特想像的策展人，透過對藝術資料庫檔案的重新思考與運用，進一步從線上展覽的平台上生成新的策展可能性，我們藉由「台灣當代藝術資料庫 2017 線上策展徵件計畫」對外徵求全新策展提案，期望

經由線上平台的介面形式，促進策展人與新媒體技術人員或網站工程人員之交流與合作，拓展藝術對話與交流。

Taiwan Contemporary Art Archive

tcaaarchive.org

In response to the trend of art and the needs of art creators, The Association of the Visual Art 台灣當代藝術資料庫 2017 線上策展時間：2017 年 9 月 ~ 12 月 31 日詳情請上 tcaaarchive.org 查詢

in Taiwan (AVAT) established a cloud database Taiwan Contemporary Art Archive (TCAA). The preparation of TCAA began in July 2013, launched in Feb 19, 2014, and in July, 2016, brand new

website update. TCAA is a free online platform for the public with sections covering the growing

genres of Taiwan's contemporary art. It is an integral database connecting local artists to the international art society as well as the academic world. From researchers to curators, any user

of TCAA will be informed with the development of Taiwan's contemporary art. The Archive is a lasting long-term project, it kicked off when the objectives of the early phase has achieved

and will continue to expand its content. Users are provided with the most comprehensive and updated materials for their academic or curatorial work. The Index of the database is in

accordance with the commonly accepted art categories. They are: Performance Art, Video Art,

New Media Art, Installation Art, Photographic Art, Painting Art, Sculptural Art, and Curators/ Art Critics. The keywords of each section help outline and connect artists, their works and exhibitions, art events, art discourse among other issues. The information gathered here dates back to the 1980s, documenting the recent development and the conditions of contemporary

Taiwanese art. Each section contains the biographies of artists, their artistic/curatorial concepts and major art activities, such as significant exhibitions. Introduction of artist groups, criticism

of individual artworks as well as art exhibitions are also included. The format of the information are digitalized texts, images, video, documents or manuscripts. The crew of TACC consists of

volunteered curators, artists, art critics, researchers and students from graduate schools. Each

year the members reteam according to the new missions in order to construct a platform that can best serve its users.

2016, We began our endeavor towards international promotion and networking, and held the

2016 First Art Archive International Research Conference. The speakers of '2016 International Art Archive Symposium' are archivists, curators, researchers and artists from Europe, Us, and Asia. They are delegates of institutions as well as individuals from independent programs.

This year, the Taiwan Contemporary Art Archive (TCAA), in an effort to advocate the usage of

a cloud archive of artists, encouraged curators with unique visions for curating contemporary art to utilize the online platform, and expand the methods and possibilities of curation through

the rethinking and implementation of the artist archive. With the 2017 Taiwan Contemporary Art Archive Online Curatorial Project Call for Proposals, we sought novel curatorial proposals;

we hope to facilitate collaborations and networking between curators, new media technicians,

and web engineers through an online interface, and simultaneously expand the dialogue and exchange of art.

TCAA 2017 Online Curatorial Practice Date: September-December, 2017 More info: tcaaarchive.org

2017 TCAA 線上策展

2017 TCAA ONLINE CURATORIAL PRATICE

無何有鄉

Nowhere we meet 策展人 CURATOR

蔡秉儒 TSAI, Ping-Ju

1993 年生於台南。目前就讀國立台北教育大學藝術與造形設計學系碩士

為基礎，透過創作狀態重新探看個體乃至文化的存在姿態，李奎壁的

An ambiguous history joined with an uncertain subjectivity causes

同意識。藝術家在外婆逝世後返家處理相關事務，無意發現從前外婆

while a disjointed bond leads to a feeling of distance. Chen Yi-

班，藝術理論與評論組。大學主修金屬雕塑，研究所則轉向理論，期許

《永利一號培育計畫》則是轉為內向的移置，在回返的過程中勘求認

同議題，試圖在單一正確價值中，參照個體多元生命敘事，於二元分壘

以鮮豔花布裁縫的衣服，由此出發尋找花布上無名花卉，同時回溯與

自己有著更流動的創作管道與更多重的藝術實踐。當前關注島嶼上的認的意識型態大道旁，闢掘一條條曲折小徑。

Born in Tainan in 1993, Tsai Ping-Ju is a student of M.F.A Program,

Department of Art and Design, National Taipei University of Education.

From majoring in metal sculpture during college to now specializing in Art Theory and Critique, the turn implies his expectation to have more

flexibility and openness in different forms of creation and multiple art practices. Tsai currently focuses on the subject of identity. He tries to pay close attention to various narratives of individuals' lives under the single correctness of certain value, in order to dig tortuous paths alongside the Avenue of Ideology.

舊日家族息息相關的產業史——關於布莊與紡織，以及城市區域的興

衰，而在農業改良場的實驗室分析與育種玩家的協助下，最後重新培育出花布上的花卉。

此次展名來自莊子在《逍遙遊》中以「無何有之鄉」所諭示的烏托邦，

一座含有遼闊原野的虛無寂寥之土。然而我則偏好字義上所指稱的深

邃之處，不僅關乎了一種理想境地的投射，亦反映了各件作品中所指

向的狀態——無論外向或內裡；意指一切的投射最終仍是引往了原鄉之處，無不是我們正所處的位置；儘管曖昧不明是此刻此地最為確切描述的所指。而離開與回返，則在焦慮、疏離等各式交錯矛盾的情緒

中，不斷重新再想像與尋找身分歸屬。至此我則想起了在與藝術家聊天時的一段話：有時當我們處在關係裡面時，那個感覺是很輕的，唯有將自身抽離環境以後，對於關係的感受，才會越來越明顯。

During a couple conversations with friends, a common sense of

anxiety about finding a direction after school was revealed. This 在幾次與友人的談話中，皆不免共同在言詞間透露了對於離開校園後

尋求方向的焦慮感，這是個涵納各種複雜意識的巨大問題，也涉及了個別較為私人的情感拉扯與對未來規劃的路向。如果順著每段對話間藝術家 ARTISTS

李奎壁 LI, Kuei-Pi

吳思嶔 WU, Sih-Chin

陳以軒 CHEN, I-Hsuen

語調的梳理，種種而論的焦慮似乎皆隱約歸因於「離開」這件事，而離開意謂了移動，往前行進的同時，「過去」也在後方漫漫的延展開來。

對照自己幾年的離家經驗，也許總在離開熟悉的環境以後，才能開始反覆思索地方之於我的連結，「和解」也在此刻有了發生的可能。而這

個「地方」不僅指稱一個地理上的位置，亦意謂了一種養成環境，甚至

是當時所對照的心境與生命狀態。倘若站得遠一點觀看，視野一併將後方也納入，「我們往哪裡去」這樣命題的題旨也就逐漸清晰起來。

本次展覽便是希望藉由藝術家各自在「離開」與「返回」的過程中，重

探其間的各種可能。而他們的作品皆不免能看出關注著某種關係狀態：試圖在人與其置身環境間描繪出某種移置經驗，並對於該經驗各自作出了應答，以回應屬於個人某段時期的生命體驗。而這些經驗若放置到更為寬廣的社會敘事中，則無可避免的映照了某種政治向度，

is a broad issue that encompasses many complicated thoughts,

which also concerns the more private emotional conflicts of each individual and their respective orientations for future plans. If we

follow the pattern of each conversation, it would appear that these various anxieties all result from the matter of ''leaving.'' ''Leaving''

signifies ''moving,'' and as one moves forward, the ''past'' begins to stretch endlessly behind. Further comparing with my many

years of experience with leaving home, perhaps it's possible to

begin thinking about the tie between a ''place'' and me only after leaving the familiar environment, and only then is ''reunion''

possible. This ''place'' isn't merely a geographical location, but also a context of becoming, or even the mental state and condition

of life at a particular timeframe. If we take a further step back, we can incorporate the past into our observation as well; the purpose

of the question: ''where will we go from here? '' then gradually becomes clear.

甚至對於文化主體的焦慮，其來源正是島嶼那傷痕累累且面貌模糊不

This exhibition thus aims to re-investigate, through artists,

模糊的歷史續接難以明確指認的主體狀態，以致感受在移接環境時

form of relation: attempting to describe certain experiences

清的過去。

顯得微弱不明，而錯位的接合則導致疏離的產生。陳以軒的《遍尋無處》來自於紐約求學時體會到的文化相異，而這樣的感受尤在短暫回

台的假期中特別強烈，遂以此扞格的感受為基礎，逐步以身行旅途並

效仿美國公路攝影，沿路在台灣的城鄉間拍攝位處景觀「縫隙」的場景，回應自身在異域文化相衝中難以消解的疏離感；吳思嶔的作品《伊利薩山》與《untitled》，則透過個人旅行經驗，由旅者的身份描繪眼

中的當地樣貌，同時亦參照了對於故土的想像與經驗，彷彿日記體的

感性口吻，敘述屬於自我生命的一段記事；前二者以外向的移置經驗

the possibilities and implications of the process of ''leaving''

and ''returning.'' Their works reveal a focus on a particular

of displacement between a person and his/her surrounding environment. By responding to their respective experiences, they converse with the events that belong to particular periods of their

lives. When one places these experiences in the broader context

of the societal discourse, they inevitably garner a certain political dimension, or a general anxiety towards the cultural subjectivity.

These originate precisely from the colonial history of Taiwan and the various interpretation thereof.

one's senses to weaken when situated in a displaced-environment, Hsuen's ''Nowhere in Taiwan'' begins with his perception of a

difference in culture when he studied abroad in New York. This feeling is especially prominent when he returns home to Taiwan on

short holidays. Using this conflicting sensation as the basis, Chen personally traveled to Taiwanese towns and cities, and through

recording the ''cracks'' of the Taiwanese landscape continuity in the style of American highway photography, he responds to the

irreconcilable feeling of distance when confronted with a culture

of a different place. In Wu Shi-Chin's ''Mt. Eliza'' and ''Untitled'', the artist describes foreign scenes through his perspective as a traveler

and simultaneously references his imagination and experience of his homeland. Taking a sentimental tone, almost akin to that of a

personal diary, Wu narrates a series of events that belong to his life. The previous two artists take experiences of outward displacement as the basis of their re-investigation, through the artistic process,

of the individual and culture's form of existence. On the contrary,

Li Kuei-Pi's ''Yong-Li No.1 Breeding Program'' explores an inward displacement. He investigates the sense of identity through the ''returning'' process: when the artist returned home to take care

of things after his grandmother had passed, he came across

some of her clothes made from colorful floral fabric. From this, he embarked on a journey in search of the nameless flowers on the

fabric; simultaneously, he retraced the industrial history closely

intertwined with the past of the family, such as fabric shops, the textiles craft, and the rise and fall of the surrounding regions. By working in a lab at an Agricultural Research and Extension Station

and garnering help from plant-breeding hobbyists, Lee revived the breed of flowers on his grandmother's clothes.

The title of this exhibition is inspired by the utopia named ''WuHe-You-Zhi-Xiang'' in Zhuangzi, Free and Easy Wandering, which is depicted as a place with an endless extension of empty, desolate

plains. However, I prefer the literal, yet profound meaning of the

Chinese words '' Wu-He-You-Zhi-Xiang'', which not only implies a connection with an ideal realm, but also reflects the state that

each of the works here point to, regardless of their focus on inward

or outward displacement. The artists' reflections with differing meanings ultimately converge on the ''homeland,'' precisely where

we are located right now, even if ambiguousness is the most fitting definition of the here and now. On the other hand, ''leaving'' and

''returning,'' under the feelings of anxiety, distance, and various

conflicting emotions, become ceaseless acts of re-imagination and searches for belonging. Here, I'm reminded of the words from

a chat with an artist: ''Sometimes, when we are in the midst of a relation, it is almost unnoticeable. Only when one withdraws from the surrounding environment do our feelings towards this relation become clearer and stronger.''

李奎壁 LI, Kuei-Pi

永利 1 號培育計畫 Yong-Li No.1 Breeding Program

1991 年出生於台南，作品關注於當代社

透過這個培育計畫討論當地產業發展與尋找自我認同的歷史。

式，最新的嗜好是收集民俗偏方與不同年

這個計畫發展自台南的能盛興國際藝術村的駐村期間，我試圖培育出一張碎花布裡的花卉，並且這張花布來自於我還是個孩子時在台南生活所穿的手工衣服，我的祖母為我製造了這件衣服，祖母是一名裁縫，擁有一間裁縫工作室與布料店合併的店鋪，店鋪位置恰好在蕾絲工廠與食品工廠

之間。有趣的是，這兩間工廠的過去恰恰與能盛興這棟建築還沒變成國際藝術村之前，還被稱為

「源發紡織廠」的產業歷史息息相關。

於是我以能盛興國際藝術村所在街區的紡織產業歷史為主軸，尋找一些花卉圖案的布料，後來我

發現這個街區在過去曾經大量生產過一種廉價的碎花棉布，在日本的紡織機械尚未進入台灣之前，

這些由紡織廠老闆自行設計，模仿國外花布圖案的棉布被廣泛地應用在生活用品之中，如，斗笠。這些使用廉價碎花布的生活用品經過漫長的時間，在已經擁有優良布料印製技術的今日依然保持了使用碎花布的傳統。

祖母為我製作的衣服所使用的碎花布可能不是過去紡織廠老闆親手繪製的廉價花棉布，但極有可

能是某間紡織廠模仿花卉圖案的變體，在這個計畫之中，我請農業改良場的花卉實驗室協助，分析了這張花布上可能的花卉品種，並且請一名花卉育種的玩家協助培育出花布上的花卉。

This project came to shape during the Arts-in-Residence in Neng Sheng Xing factory (Tainan),

where I attempted to cultivate flowers that show the pattern of a Taiwanese traditional calico

fabric and hoped to probe into local history of its industry development and self-identity seeking.

The printed cloth featured in this project was obtained from my grandmother's hand-made clothes for me in my childhood at Tainan. She was used to be a tailor and owned a shop

combining a tailor working space with a cloth house. Her shop was in between a lace factory and a food processing factory; it's quite interesting for me to found the fact that these two factories happened to be deeply involved into the developing history of Neng Sheng Xing

factory when it was still called "Yuan Fa textile factory" before transforming into an international art space nowadays.

會中的生產型態，並且透過挪動與改造現有的生產關係做為藝術計畫主要的運作方份不同地區的黃頁。

2016「Re：」，荒原藝術，新北市，台灣 2016「公共科診間」，能盛興國際藝術村，台南，台灣

2016「再見蔣先生」，關係工作室計畫發表，朱銘美術館，台北，台灣

2015「如果有一間書店」，關係工作室計畫發表，伊聖詩私房書櫃，台北，台灣

2015「我們哪時才有第一部國產車」，關係工作室計畫發表，十八巷五號藝術空間，台北，台灣

Born in Tainan, 1991. Li, Kuei-Pi earned her MFA from the Department of Fine Arts, Taipei National University of the Arts. Her work is mainly focused on

the production pattern in the modern society, whose operating patterns in

artistic programs are mostly through

shifting or reforming existing production relationship. Her latest hobby is

collecting folk remedies and yellow

pages in different years and districts. 2016 "Re： ", Wasteland Art Space, Taiwan

These facts motivated me to take the textile industry history around the Neng Sheng Xing's

2016 "Division of the Commons", Neng

calico fabric among the street here. I found that a kind of low-priced flower-patterned cotton

2016 "Good bye Mr.Jang", Jumg

Japanese textile equipment was imported into Taiwan, the local textile factory owners had

2015 "If a Bookstore Could Be..", Escents

neighborhood as the project's axis, and therefore, I decided to find some flower-patterned

calico fabric was used to be mass-produced in this neighborhood. Even before advanced attempted to refer to existing foreign calico fabric to make their own design, and these Taiwan-

made calico fabric have been widely used in daily commodities, such as: bamboo hat, for instance. After all these long years of textile technology development, Taiwan still conserves the flower-patterned calico fabric as one of the textile industry's traditional item.

The pattern of the calico fabric my grandmother had used for making my clothes was probably

not the factory owners' hand-designed one mentioned above; however, it might be another

Sheng Xing Factory, Taiwan Museum, Taiwan

Bookcase, Taiwan

2015 "When Can We Have the Ability to Produce our Very First

Domertic Car on Our Own ？ ", NO.5,Ln.18,Art Space, Taiwan

variant manufactured by other local factories. After the field research on the streets, I have asked for the assistance of the Floriculture Research Office of the Agricultural Research and

Extension Station; the staff analyzed the flower pattern on the calico fabric and inferred a

possible breed of the flower. And finally, with another flower breeding amateur's assistance, the cultivation of the flower out of the calico fabric was achieved eventually.

永利 1 號培育計畫 Yong-Li No.1 Breeding Program

花卉、影像、文件、現成物 Mixed Media ﾉ依空間而定 Dimensions Variable ﾉ 2016

吳思嶔 WU, Sih-Chin

Untitled 這兩張照片分別來自台灣與澳洲的山景，緣起於某次行駛在澳洲昆士蘭某處的山路，除了道路之外的景致皆是樹木、蕨類與溪谷，林相與台灣中海拔山區非常相似。而行駛在這樣蜿蜒不絕的山路中我產生了一個時空錯覺，心想待會我過了這個山頭，一直沿著路走就會到宜蘭了。人類在世界各處建立自己的族群、屬地、國家，因此在世界上每個地方都有了國界，所以這些山河有了名字，土地有了分界。但這些都只是地理上的座標不同罷了，它們都同屬於地表的一部分，只是我們將它們區分開來了。

Two photos are separately mountain, from Taiwan and Australia. Once when I drove along the mountain road somewhere in the Queensland, Australia. I saw nothing but trees, ferns and creeks, which is similar to the mountain landscape at medium elevation in Taiwan. Driving on the winding road I suddenly had a space and time illusion, that I'd drive to Yi-lan after this mountain. Human beings build up their

own communities, territories, and nations on this world, thus create the boundaries. Mountains and rivers are named, lands are separated, but all these are nothing but geographic locations, they're all part of earth's surface. It's just that we differentiate them.

伊利薩山 Mt. Eliza

伊利薩山位於澳洲塔斯馬尼亞西南國家公園境內，我曾在 2013 年 1 月攀登此山。影片中我在 Google Earth 的 3D 建模世界中重新走了一次當時的攀登路線，與日記、對話並置，將這些不同層面的記錄方式疊合成另一個空缺的經驗。

Mt. Eliza is in the Westsouth national park of Tasmania, Australia. I climbed the mountain in January, 2013. In the video I repeat the route I

climbed that time with 3D model of google earth. I display it with diaries and dialogues, and pile up an absent experience through different types of records.

Untitled

影像輸出 Inkjet Print ﾉ依空間而定 Dimensions Variable ﾉ 2016

1985 生於台南。畢業於國立臺北藝術大學美術創作研究所。藝術家於 2013 年赴澳洲生活一年半，在截然不同的生活經驗與文化差異影響了吳思嶔的創作路徑，近期作品開始轉向描繪人、動物與自然之間的詮釋方法與當下處境，從重製死亡動物的肉體，想像牠們曾經歷的遭遇，將身體塑造成一種靜止物件的存在，再透過藝術家個人生命經驗轉化之，試圖創作出新的藝術形式語彙與其自身所關注道路方向。 2016 「澳大利亞 - 吳思嶔個展」，絕對空間 - 台南，台灣 2016 「日日湯瑪森」，雙方藝廊 – 台北，台灣

2015 「何以為度 ? - 福爾摩沙雕塑雙年展」，駁二藝術特區 – 高雄，台灣 2015 「我們都是時代的砲灰」，台北國際藝術村 – 台北，台灣 2011 「兩個末日」，國家藝文園區美術館 – 新竹，台灣

Born in Tainan, 1985, Wu Sih-Chin earned his MFA from the Department of Fine Arts, Taipei National University of the Arts. The artist had stayed in Australia for one and half a year since 2013. The distinct life experiences and cultural shock he got there profoundly affected his creative approach.

The focus of his recent artworks has been shifted on interpreting the living conditions of human beings and animals as well as their relations to the nature. He has embarked on re-creating the bodies of dead animals, thereby imagining the throes they had been in and transforming the bodies into the presence of still objects by reference to his personal life experiences. In this sense, the artist expects to develop trail-blazing vocabulary of art and to re-orientate himself in terms of his creative approach.

2016 "Australia - Wu, Sih-Chin Solo Exhibition" , Absolute Space , Tainan, Taiwan 2016 "Everyday Thomassons" , Double Square Gallery, Taipei, Taiwan

2015 "Icommensurable – Formosa Sculpture Biennial" , Pier-2 Art Center, Kaohsiung, Taiwan 2015 "We’re All Cannon Fodder of this Epoch" , TAV, Taipei, Taiwan 2011 "Two Ends" , Art Museum @ The Art Park, Hsinchu, Taiwan

伊利薩山 Mt.Eliza

單頻道錄像 Single Channels Video ﾉ 10' 12'' ﾉ 2016

陳以軒 CHEN, I-Hsuen

遍尋無處 Nowhere in Taiwan

2010 年，陳以軒出國了，在紐約正式成為異鄉人。一年後回來探親時卻發現已無所適從、四處孤立，經歷了反向的文化衝擊。於是像公路電影中的主角般，為了尋找自我而上路拍照，仿製美國公路攝影的傳統，進行台灣版的、個人式的公路攝影之旅。在路上不斷看到景物更替，從城市到鄉鎮，逐漸失去時間與空間感，遺世獨立於過去和未來的歷史脈絡；主體意識愈發清晰

存在，但認同與歸屬感卻四處漂流。行旅的當下，他漸漸開始紀錄各種在中間的「無處」場景，一些既不是風景也不是城市景觀的曖昧交界，有的未都市化，有的更像是被遺棄。記錄的同時，也不自覺反身鏡像記錄了各種孤立疏離的自身狀態。

I-Hsuen Chen went abroad in 2010 and became a foreigner in New York City. During a brief visit back home after one year

overseas, he found himself rootless and isolated: a reverse culture shock so to speak. Attempting to locate his disappearing

self, Chen began an image voyage that brought him to the roads of Taiwan. As if a lead character to a classic road movie, Chen adapted the tradition of American road photography and drove on to his own, personal journey.

Things and scenes passed and replaced each other on the road, from cities to towns to countrysides. Time and space

seemed to loose their significance, becoming independent from the context of past and future. The sense of individual subjectivity solidified, while the sense of identity and belonging evanesced and dissipated. Chen began to document the

"nowhere" in his journey-the undefined, obscured spaces in the midst of scenic sites and cityscapes; some were hardly urbanized, and others appeared to be abandoned. The series of documentation allowed the artist to reflect on the various forms of self-isolation that he found himself in.

畢業於輔仁大學廣告傳播學系，後於紐約普瑞特藝術學院獲得攝影碩士，以臺北和紐約兩個城市作爲創作基地，影像為主要創作媒材。2014 年 2 月於關渡美術館舉行《你是懂了嘛（Nessun Dorma）》個展，其中主要的錄像作品中陳以軒為義大利歌劇詠嘆調〈公主徹夜未眠〉配上音譯中文字幕，成為無意義中帶有意義的戲謔獨白，呈現臺上臺下盲目因襲的崇拜。其作品《遍尋無處（Nowhere in

Taiwan）》系列尋找自我與土地的認同，於 2012 年起在紐約展出，後被收爲休士頓美術館（Museum of Fine Arts, Houston）的永久館藏。

2016 「當下檔案・未來系譜：雙年展新語」臺北雙年展，臺北市立美術館，台北，台灣 2016 「靜物研究 II：島民」，海馬迴光畫館，台北，台灣

2015 「我出國了，然後我回來了」，臺北市立美術館，台北，台灣 2014 「靜物研究」，竹圍工作室，台北，台灣 2014 「你是懂了嘛」關渡美術館，台北，台灣 A young up rising Taiwanese artist who graduated from Fu Jen Catholic University, Department of Advertising & Public Relations,

and received his MFA in Photography from Pratt Institute. February 2014, He had another solo exhibition Nessun Dorma in Kuandu Museum of Fine Arts, where he sang the famous aria, "Nessun Dorma,"and replace each phonetic of the song with Chinese

character, presented in a way that feels like subtitle, but meaningless. He create this sarcastic statement on how the audience blindly worship something due to its fame not of its significance.

His photography "Nowhere in Taiwan" series, a journey of self-exploration and self-identification, is collected by the Museum of Fine Arts, Houston, as the permanent collection after the New York exhibition.

2016 ''Gestures and archives of the present, genealogies of the future: A new lexicon for the biennial'', Taipei Fine Arts Museum, Taipei

2016 ''Still Life Analysis II : The Island'', Fotoaura, Tainan

2015 ''I Went Abroad, and then I Went Back'', Taipei Fine Arts Museum, Taipei 2014 ''Still Life Analysis'', Bamboo Curtain Studio, Taipei

2014 ''Nessun Dorma'', Kuandu Museum of Fine Arts, Taipei

遍尋無處 Nowhere in Taiwan

攝影裝置 Archival Inkjet Print ﾉ依空間而定 Dimensions Variable ﾉ 2011

ART EQUALITY 藝術平權展區

丁澔 DING, Hao

六樓鐵皮（張恆銘）6FTP（CHANG, Hung-Ming）

木作師傅 Woodworking Master

Blue Soul Story

2017 ﾉ壓克力顏料、油漆筆、畫布 Acrylic Paint, Paint Pen, Canvas ﾉ 145.5 x 112 cm 藍色就好像靈魂的顏色，它深邃時就好像人落入深海中一樣，而它清澈時，我們就如脫離軀殼一樣，獲得了自由。我將自己的身體與繪畫結合在一起，想在平面之中達到新的可能與視覺效果。

The blue is like the color of the soul, when it is deep, it is as if it is falling into the deep sea, and

when it is clear, we are free from the shell. I combine my body with painting and want to achieve new possibilities and visual effects in the plane.

2017 ﾉ水性顏料、牛皮紙裱於木板 Watercolor, Kraft Paper in Board ﾉ 150 x 150 cm 2017「百人之舟 vessel」，松菸四號倉

木作師傅，不是指創作者自己，而是指創作者學習木作的對象，有業餘的木作師傅也有網路教學，

2017「World Art Dubai」，杜拜世貿中

2016「臺式不羈」，Woolloomooloo，台

許多多想法，並將其融入自身的創作中，呈現不同的視覺體驗。

2017「彼岸」六樓鐵皮個展，唐豐藝術中

庫，台北，台灣北，台灣

2016「共感 synesthesia」，九單藝術實踐空間，台北，台灣

2015「敞開心扉－攝影聯展」，臺灣藝術大學學生藝廊，台北，台灣

2015「有機 organic」，真善美藝廊，台北，台灣

2017 "Vessel", Pine smoke on the 4th

想表達這個世代因網路學習技能的方便性；學習木作只是為了做內框，但雖然學習的過程產生許 Woodworking master, not referring to the creator of their own, but refers to the creator of learning the object of wood, there are amateur wood master also have network teaching, would

like to express this generation of learning skills for the convenience of the network; learning

wood just to do. But the process of learning to produce many ideas, and its integration into their own creation, showing a different visual experience.

心，杜拜，阿拉伯聯合大公國心／藝聚空間，台北，台灣

2016「2016 福爾摩沙 101 國際藝術博覽會」，寒舍艾麗，台北，台灣

2015「異變」張恆銘至六樓鐵皮個展，雍和藝術教育基金會 , 汐止 , 台灣

2015「我們一起打造了一座『被工業擁抱

的』工廠」，雍和藝術教育基金會，汐止，台灣

warehouse, Taipei, Taiwan

2017 "World Art Dubai", Dubai World

practice space, Taipei, Taiwan

2017 "Faramita – 6FTP Solo Exhibition",

2016 "Synesthesia", Nine single art 2016 "Desktop uninhibited",

Woolloomooloo, Taipei, Taiwan

2015 "Organic", True goodness Gallery, Taipei, Taiwan

2015 "Open heart - photography

exhibition", National Taiwan

University of Arts students Gallery, Taipei, Taiwan

Trade Centre, Dubai, UAE

Tang Feng Gallery/ Meet Art Space, Taipei, Taiwan

2016 "2016 Formosa 101 Art Fair",

Humble House Taipei, Taipei, Taiwan

2015 "Variation – Chang Heng-Ming to

6FTP Solo Exhibition" , Yonghe Arts and Education Foundation, Xizhi, Taiwan

2015 "Together, We build a "Factory", Yonghe Arts and Education Foundation, Xizhi, Taiwan

尹子潔 YIN, Zi-Jie

方志偉 FANG, Chih-Wei

龐畢度明信片 Pompidou's Miss

猿戲圖 The Small Apes

2017 ﾉ文件 Document ﾉ 21 x 29 cm

2017 ﾉ絹本設色 Ink on Silk ﾉ 40 x 33 cm

2016 年，我在法國龐畢度藝術中心買了這張明信片，當我再次看明信片時，發生了一趟時空穿梭

2017「我考慮看看要不要進去」，2013

此作是 2017 年第一件實驗作品，希望透過單純的墨色表現動物皮毛的層次。用仿古手法表現兩隻

2016「Asia Contemporary Art Show」，

品，在不可思議的時空經驗同時，發現原來是明信片上的微小錯誤；我相信龐畢度的藝術指標性

2017「激情的方式」，南書房北畫廊，台

家生活寫照的轉化。

2016「申猿」方志偉個展，Dream

之旅，我以為人可以倒著活（1978-1935），馬勒維奇在生前就做了這件〈Croix〔noire〕,1915〉作

而導致了短暫的時空錯亂，對於自己面對資訊的態度，而做了這件作品，我用紅筆寫下龐畢度的地址，將錯誤之處圈起，匿名（沒留寄件人）的將這張明信片寄回龐畢度藝術中心。

2016, I bought a postcard at Centre Georges-Pompidou, I feel like having a time travel when I

see this postcard again, and I thought people could living backwards (1978-1935). Kazimir S. Malevich had made〈Croix〔noire〕,1915〉when living, so in the same time I'm having this time

disorder illusion, I found out it's just a tiny mistake on postcard. The trust to Centre GeorgesPompidou as an iconic art organization cause this temporary hallucination, so I rethink my

attitude face to information and make this work. I wrote down the address of Centre GeorgesPompidou with a red pen and circled the wrong information, then send this anonymous postcard back to Centre Georges-Pompidou.

藝術空間，高雄，台灣南，台灣

2017「激情的方式」，想貳藝文空間，桃園，台灣

小猿猴的姿態，創作想法源至於宋人畫家易元吉。畫中的小猿是畫家以兩個女兒為模特兒，是畫畫上的滯點是利用鐵粉造成的特效陸續系列作品，也用此法做不同的創新與實驗，畫者以古為本今為輔，以家為核心的創作方式延續。

港麗酒店，香港，香港

Theatre 52，新竹，台灣

2015「心猿」方志偉首展，Arts Yard Cafe，台北，台灣

2016「景框出走」，321 藝術聚落 31 號，

This is the first experimental work in 2017, hoping to show the level of animal fur through

2015「Asia Contemporary Art Show」，

2016「後植民計畫 Post Ecolonialism

Song artist Yi Yuanji. The little ape in the painting is a painter with two daughters as a model, a

2015「第十四屆台灣藝術家博覧會」，花

台南，台灣

Project」，台北當代藝術館，台北，台灣

2017 "Inside The White cube, Maybe",

2013 Art Space, Kaohsiung, Taiwan

2017 "The Method of Passion", Xiang Er, Taoyuan, Taiwan

2017 "The Method of Passion", North Gallery(R2), Tainan, Taiwan

2016 "Frame Attack", Lane 321 Art Village, Tainan, Taiwan

2016 "Post Ecolonialism Project ",

Museum of Contemporary Art, Taipei, Taiwan

pure ink. With antique techniques to show the attitude of two small apes, creative ideas as the translator of the painter's life.

Painting on the stagnation is the use of iron powder caused by the series of special effects works, but also use this method to do a different innovation and experiment, the artist to home as the core of the creative way to continue.

港麗酒店，香港，香港博爭豔館，台北，台灣

2016 "Asia Contemporary Art Show",

Conrad Hong Kong Hotel, Hong Kong, Hong Kong

2016 "Fang Chih-Wei Solo Exhibition", Dream Theatre 52, Shin Chu, Taiwan

2015 "Fang Chih-Wei First Solo

Exhibition", Arts Yard Café, Taipei, Taiwan

2015 "Asia Contemporary Art Show", Conrad Hong Kong Hotel,

Hong Kong, Hong Kong

2015 "Taiwan Artist Exhibition", Taipei expo park, Taipei, Taiwan

王公澤 WANG, Gon-Jer

王文德 WANG, Wen-Te

時空律動 17-2 Rhythm of Time and Space 17-2

不二 The Only Way

2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 115.5 x 115.5 cm

透過直覺與自發性的筆觸揭示某種時空狀態下的抽象意識，透過一段時日在畫面上反覆塗抹建構空間，所堆砌的塗層間彷彿開啟了一個不斷在理性與感性之間來回建構與解構的本質世界。正象

與負象空間反覆推敲，徒手色塊與尺規直線律動與游移，使畫面時而朦朧深邃時而透明清澈，畫面中微妙的色調變化，都蘊藏著畫者描繪這世界的生命體會與心靈沉思。在混沌中推展出一條既抒情又理性的道路。

Under the abstract consciousness, through the intuition and spontaneous strokes to reveal a certain sense of time and space, on the screen repeatedly applied to construct a rational and

emotional nature of the world. Free hand and ruler operation with subtle colors, showing the artist's life experience and spiritual meditation.

2016 ﾉ銅 Bronze ﾉ 23 x 20 x 60 cm 2017「時空律動」王公澤個展，工研院

（中興院區）51 館大廳 / 藝文走廊 / 咖啡館，新竹，台灣

2016「宇宙躍動」王公澤個展，養心空間，苗栗，台灣

2016「幽微的荒蕪」王公澤 / 王達人雙個

展，1910 House Cafe，中壢，台灣

2015「重返風景」王公澤個展，臺中市大墩藝廊，台中，台灣

2014「重返風景」王公澤個展，新北市文化中心，新北市，台灣

2017 "Time and Space Rhythm" Wang Gon-Jer Solo Exhibition, ITRI 51 Hall/ Art Hall Corridor/ Coffee

我的創作並非只為創造一個優美的外在形式，希望運用現代不銹鋼材質特性把對佛的精神部份與造形做更深入的結合，詮釋出一個多層次內涵可被不斷觀看反思及想像的精神體。

My creation is not just to create a beautiful external form, hoping to use the characteristics of

modern stainless steel to the spirit of the Buddha part of the shape and shape to do more indepth combination of interpretation of a multi-level connotation can be constantly watching the reflection and imagination.

2016「材料之美－與材料共舞雕塑聯展」，羅丹藝境，台北，台灣

2016「雙生相」福爾摩沙國際藝術博覽會，寒舍艾麗酒店，台北，台灣

2012「原慾 ‧ 空相」雕塑個展，彰化縣文化局，彰化，台灣

2012 王文德雕塑個展，雲林科技大學圖書館，雲林，台灣

2008 台灣生命力雕塑大展，國父紀念館，台北，台灣

2016 "The beauty of the material

Dance with material ", Sculpture Exhibition Rodin Art Space, Taipei, Taiwan

Shop, Hsinchu, Taiwan

2016 "2016 FORMOSA ART SHOW",

Jer solo exhibition, ARTNUTRI

2012 "Primal Desire-Emptiness

2016 "The Universe Moves" Wang GonGallery, Miaoli, Taiwan

2016 "Subtle Barren" Wang Gon-Jer/

Wang Da-Ren exhibitions, 1910 House Cafe, Chungli, Taiwan

2015 " Return to The Landscape " Wang

Gon-Jer Solo Exhibition, Taichung City Doudong Gallery, Taichung, Taiwan

2014 "Return to The Landscape" Wang Gon-Jer Solo Exhibition, New

Taipei City Cultural Center, New Taipei, Taiwan

Humble House, Taipei, Taiwan Sculpture Solo Exhibition",

Changhua County Cultural Affairs Bureau , Changhua, Taiwan

2012 "Wen-Te Wang Sculpture Solo Exhibition", National Yunlin University of Science and

Technology Library, Yunlin, Taiwan

2008 "Taiwan's Vitality Sculpture

Exhibition", National Dr.Sun Yat-

sen Memorial Hall , Taipei, Taiwan

王永衢 WANG, Yung-Chiu

王立心 WANG, Li-Hsin

歲星珠宫 Jupiter's Pearls

一本小書 A Little Book

2017 ﾉ乳膠漆 Enamel ﾉ 100 x 80 x 5 cm

2017 ﾉ蠟筆、壓克力顏料 Crayon, Acrylic ﾉ 75 x 105 cm

時間的元素具有龐大的壓倒性和破壞性質量，因此人類在時間的潮汐裡，對於過往痕跡的消逝，

2016「點線面」，順天藝術中心，台中，

孩童成長到成人的每個階段，都是在將某個最純真的自我，捨棄。一點一點的當人還未覺察，就

2016「成熟的逝去 II」繪畫個展 , 美麗永

挑戰並改變觀賞者對時間既定的概念，和潛意識裡對時間流逝的無助感，同時透過無色白與龜裂，

2015「臺北藝術自由日」，華山藝術園

某部分，微妙而真切，需要細細體會。

2015「墨跡進化」繪畫個展 , 桃園藝文中

容易引起心中的恐懼。面對人類心理的恐懼共鳴，我希望透過融合機率、文化表徵和人類干預，

反思歷史刻痕裡的時、空間特質，讓「刺點」激發觀賞者潛意識的無限想像，並藉由藝術創作裡「存在刻痕」與時間的和諧性，將時間的負元素轉化為歷史潮汐中的原動力。

Inspired by my fascination in stargazing and the idea of an expanding universe, I am interested

台灣

區，台北，台灣

2015「Making MRCS」，自由人藝術公寓，台中，台灣

逝去了很多東西；所謂的成熟，或許是一種最高明的偽裝。作品人物想表現的便是這個「逝去」的

They have abandoned part of themselves, including the most innocent one. Little by little, we've

lost a lot of things without noticing. What is called mature, perhaps is the wisest camouflage. I wanted to show the part of the "lost", subtle but real, it needs to be felt attentively.

安生活館 , 新北市 , 台灣心 , 桃園 , 台灣

2013「成熟的逝去 I」繪畫個展 , 覓空間 , 台北 , 台灣

in the exploration of the overwhelming and destructive quality of time and the human

2003「Mapping Fixes」，Richard Hugo

erasure of human existence by the tidal wave of passing time. It is through the merging of

2001「Mas I Mus」，Priceless Works

2010「小孩」繪畫個展 , 板橋 435 藝文特

2016 "Dot Line Plain", 201 Gallery,

2016 "Mature and Lose - II" painting solo

experience of it, as well as giving form to the shared fear of oblivion in confronting the relentless

chance, cultural symbols, and human intervention I hope to challenge and change the viewer's experience of a preconditioned notion of time and the subconscious fear of it.

House Gallery，西雅圖，美國 Gallery，西雅圖，美國

Taichung, Taiwan

2015 "Taipei Art Freedom Day", Huashan 1914 Creative Park, Taipei, Taiwan

2015 "Making MRC",Freedom Man Gallery, Taichung, Taiwan

2003 "Mapping Fixes", Richard Hugo House, Seattle, USA

2001 "Mas I Mus", Priceless Works Gallery, Seattle, USA

2011「曬衣計劃」─寶藏巖駐村個展 , 寶藏巖藝術村 , 台北 , 台灣區 , 新北市 , 台灣

exhibition, Yong'an Arts Center, New Taipei City, Taiwan

2015 "Ink Evolution" painting solo exhibition, Arts Facilities

Management Center, Taoyuan, Taiwan

2013 "Mature and Lose - I" painting solo exhibition, Hong's Foundation MEME Space, Taipei, Taiwan

2011 "Drying Clothes Project" solo

exhibition, Treasure Hill Artist Village, Taipei, Taiwan

2010 "Child" painting Solo Exhibition, 435 International Artist Village, New Taipei City, Taiwan

王玫玲 WANG, Mei-Ling

王冠雅 WANG, Kuan-Ya

囍 Marriage

狗屁 Dat Ass

2017 ﾉ複合媒材 Mixed Media ﾉ 100 x 100 cm 婚姻，是從女人化為人婦，結束單身的一個儀式，在這天每位女孩都想成為那最美麗的新娘，但在華麗的儀式背後，有著由古至今給予新人們在人生的轉運站的祝福與期盼。

Marriage is a ceremony to end single life, turning a girl into a woman. On the wedding day, every girl dreams to be the most beautiful bride; however, behind the ornate ceremony exist the

wishes and expectations since the ancient times given to the married couple for their new stage in life.

2017 ﾉ墨、紙本 Ink, Paper ﾉ 90 x 90 cm 2016「花樣年華」台南涴莎作藝菁我徵件

我的創作研究以「狗」作為主要題材，本身家裡是動物醫院，生活中會常常接觸到狗，因此希望藉

2017「第十屆亞洲當代藝術展」，香港港

2015「本我 - 自我 - 超我」，ARTCO DE

種特徵就是身體長、腳短。誇張強化特徵可以增加畫面上的趣味，此件主要也只呈現臘腸狗的屁

2017「日本無極限當代藝術展會」，美麗

計畫，醉美空間，台南，台灣

CAFÉ 台北典藏咖啡館「府中店」，台北，台灣

2014「本我 - 自我 - 超我」，台北文水藝文中心，台北，台灣

2009「Calm」，舊金山夜騎士咖啡館，舊金山，美國

2009「Abreaction」，舊金山藝術大學 Atelier 畫廊，舊金山，美國

2016 "Flowery Age", AGLOW SPACE, Tainan, Taiwan

2015 "Id-Ego-Superego", ARTCO DE

CAFE, Art&Collection Inspiration

Zone, Fuchu shop , Taipei , Taiwan

2014 "Id-Ego-Superego", Wenshui Arts

and Cultural Center, Taipei, Taiwan

2009 "Calm", Urban Knight Café,

Academy of Art University, San Francisco, US

2009 "Abreaction", Art Gallery, Academy

of Art University, San Francisco, US

由創作牠們來表現自己從小到大的生活感觸，與自我的藝術表現。選臘腸狗來表現，因為牠的品股，強化短腿的特徵，拉長的身體幾乎省略。在此想要表達人生曲折、蕩漾，亦想道出許多事情人們只看見頭尾，卻看不到背後辛苦的汗水與淚水和用心。

Kuan-Ya Wang's artwork was themed with "Dogs". Kuan-Ya's father inspired her very much as

a veterinary. Her life is surrounded by animals, especially dogs. Therefore, she displayed her life experiences with dogs through this piece of artwork. There are many dogs in the world. KuanYa chose dachshunds as her theme of this series of artwork. Dachshunds' features are their

long bodies and short legs. Those features not only made the artwork more interesting but also

revealed her philosophy of life. There are three parts in this series of Kuan-Ya's artworks. On the

two sides of the art, you could see Kuan-Ya emphasizes on the head and tail of a dachshund instead of its long body. That's because she'd like to describe the phenomenon that many

people choose to see only the beginning and ending of everything. However, they don't see the process of how hard they worked and how much they put every effort to finish it.

麗酒店，香港，中國

信花園酒店，台北，台灣

2016「白衣蒼狗」王冠雅個展，陽明大學藝文中心，台北，台灣

2015「風韻南瀛 ‧ 府城夢迴」風野藝術

協會聯展，新莊文化中心，新北，台灣

2014「非白」台藝大 103 級畢業聯展，國軍英雄館藝文中心，台北，台灣

2017 "Asia Contemporary Art Show

2017", Conrad Hong Kong Hotel, Hong Kong, China

2017 "Infinity Japan Contemporary

Art Show 2017", Miramar Garden Hotel, Taipei, Taiwan

2016 "Doooooooooog", Solo Exhibition, Center for Arts & Humanities,

National Yang Ming University, Taipei, Taiwan

2015 "Tainan", Feng-Yeher Arts

Association Exhibition, Xinzhuang Cultural Arts Center, New Taipei City, Taiwan

2014 "Not Just White", Graduation

Exhibition, Armed Forces Cultural Center, Taipei, Taiwan

王建民 WANG, Jam-Min

王琋 WANG, Hsi

千手觀音 Avalokitesvara

茶卜 The Divine of Tea

2016 ﾉ蠟筆 Oil Pastels ﾉ 120 x 90 cm

2016 ﾉ宣紙、墨 Paper, Ink ﾉ 35 x 138 cm

個人堅持以蠟筆作為藝術的創作形式，用簡單的媒材 ( 蠟筆 )，追求各種藝術表現，同時，不斷創

2017「齊思藝響公益聯名展」，田子坊藝

一種自然與人的平衡，不斷在我們日常生活中顯現。訊息的傳遞與釋出；接收與感知，一切是否

2016「兩岸漢字書法藝術交流展」，中國

上的成就，在藝術圈打響名號，因此獲得「台灣蠟筆王」的稱號，被藝術界奉為台灣蠟筆藝術第一

2016「蠟筆王個展」，北大青鳥時尚產業

閱讀的一種狀態，也許一件公認的經典之作，不論書籍或畫作，我們看到、收到的知識訊息真否

2016「藝曲同貢」世界宗教博物館建館 15

新繪畫技巧與轉變畫風，用獨樹一格的繪畫風格，獲得外界的肯定與好評，也因為其在蠟筆藝術人。

Individuals adhere to the crayon as the artistic creation, with a simple crayon, the pursuit of more artistic expression, innovative painting techniques and changes in style, with a unique

術中心，上海，中國園，嘉興，中國

2016「蠟筆王個展」，日月潭涵碧樓品藝廊，南投，台灣

style of painting, get everyone's recognition and praise, but also because of its In the art of

2016「文化授權交易會」，富豪會展公寓

the first person in Taiwan crayon art.

2013「蠟光 ‧ 豔彩 ‧ 新藝境」個展，郵

crayons, in the art of the name, so won the "Taiwan Crayonist Wang " title, by the art world as

酒店，上海，中國

政博物館，台北，台灣

2017 "Public joint exhibition", Tian

Zifang Art Center, Shanghai, China

2016 "Crayonist Wang solo exhibition",

Beida Jade Bird Fashion Industrial Park, Jiaxing, China

2016 "Crayonist Wang solo exhibition",

The Lalu Sun Moon Lake, Nantou, Taiwan

2016 "Cultural Licensing Fair", Regal

Plaza Hotel & Residence, Shanghai, China

2013 "Crayonist Wang solo exhibition", Post Museum, Taipei, Taiwan

被主觀教育所定義？當文字沒有了形象依據時，閱讀更純粹，觀者直覺浮現最深層的自我獨白。為最初傳遞的版本呢？是遺失部分的殘斷片羽，還是後人杜撰的二次面貌？我們該全然接受並奉為圭臬嗎？將探討一個眼見所及；何為真實的文化定義狀態。

A balance of nature and man, and constantly appear in our daily life. The transmission and the

西安師範大學，中國

周年館慶特邀展，台灣

2016「第 1 屆新竹國際地景藝術獎」，鄧雨賢音樂文化公園，台灣

release of the message; the acceptance and the perception, whether everything is defined by

2015「第 13 屆桃源創作獎」，桃園市立

viewer intuition emerges the deepest self. A state of reading, perhaps a recognized classic,

2015「第 2 屆愛自由當代書藝獎」，國立

the subjective education; when the text is not based on the image, the reading is purer, the regardless of books or paintings, if we see that the received knowledge of the message is not

the original version or the lost part of the other vision. Should we be accepted and regarded as a standard? We will explore an eye contact one and the real cultural definition of the state.

展演中心，台灣

台北教育大學南海藝廊，台灣

2016 "The Artistic Exchange of Chinese

Calligraphy between Taiwan and

China", Shaanxi Normal University, China

2016 "The dialogue of art and song15th Anniversary Exhibition

was created- Museum of World Religions", Taiwan

2016 "The 1th Hsinchu International Land Art Festival- Deng Yuxian Music Culture Park", Taiwan

2015 "The 13th Taoyuan Contemporary Art Award", Taoyuan City

Exhibition Center, Taiwan

2015 "2nd Love for Freedom Calligraphy Art Festival", Nanhai Gallery, Taiwan

王愛 WANG, Ai

王鼎曄 WANG, Ding-Yeh

雙手 Hands

X Head-X

2017 ﾉ攝影、印刷 Photo, Print ﾉ 150 x 150 cm 「黑夜給了我黑色的眼睛，我卻用它尋找光明」—顧城《一代人》那能是數字上的未知、白紙黑字上的紅色錯誤

於我卻是關於身體與記憶的輾壓，我尋找著能解讀你的唇語試著說成一個逼近自己能愛的故事：為了 X The dark night gave me black eyes, but I use them to seek the light. ------"A Generation" Gu Cheng

It could be an unknown number; crimson blunder within black and white, for me it concerns the pressure towards body and memory, I seek out various means to read your lips,

try reciting it as I altered the story I could merely adore: for X.

2016 ﾉ壓克力彩、鉛、油彩、畫布、墨水 Acrylic, Lead, Oil, Canvas, Ink ﾉ 135 x 191 cm 2016「聯展」，視丘攝影藝術學院，台北，台灣

2016 "Group Exhibition", FOTOSOFT

Institute of Photography, Taipei, Taiwan

記憶是閃光，是模糊的片段，是點、是面、是切片，是拼貼、是選擇、是決定、是拿捏，是我們的過去、現在及未來。

Memories are blinking lights; They are hazy snatches; They are points, planes, and slices; They are collages, choices, decisions, deliberations, As well as our past, present, and future.

2017「勇為」王鼎曄個展，非常廟藝文空間，台北，台灣

2015「人造抽筋」，竹師藝術空間，新竹教育大學，新竹，台灣

2015「TAIWAN VIDEA」，Eleonora Duse 劇院，阿索洛市，義大利，台灣

2015「大景」，絕對空間，台南，台灣 2015「DA+C digital art & Culture

festival」，檳城美術館，檳城，馬來西亞

2017 "Confronting Memoties", VT artsalon, Taipei

2015 "Artificial Cramp, nhcueartspace", National Hsinchu univercity of education, Hsinchu

2015 "TAIWAN VIDEA", Eleonora Duse theatre, Asolo, Italy

2015 "The Great Scenery", Absolute

Space for the Arts, Tainan, Taiwan

2015 "DA+C digital art & Culture festival", Penang state museum, Paneng, Malaysia

王韻羚 WANG, Yun-Ling

卡佑民 Kayoumin

桃花源 Paradise on Earth

爽薰醇熟 Sake

2017 ﾉ柔版 Flexography ﾉ 129 x 98 cm

近年來我們所生存的環境不斷地在劇烈變化，科技進步的便利不敵環境驟變所帶來的焦慮，人類

對於生態的侵蝕同時也反噬著自我本身。我將此作命名為「桃花源」，象徵世外桃源與豐衣足食的

理想世界，與黑暗的現實世界形成鮮明的對照。我在作品裡的山林河岸中，體現我對自然的謳歌與美好想像；在奇石丘壑間，悼念生態的珍奇與無價，但我們真實的生存環境更迭之快速，使一切嚮往都將稍縱即逝，人類終將只能在自己製造的垃圾中載浮載沉、隨波逐流。

Drastic changes are taking in our living environment. No matter the technological advancement, we are anxious about the future. And nature fights back as we exploits it. I named my artwork

Paradise on Earth to suggest an Utopia of abundance, which stands in stark contrast to the dark reality we face. I want to dedicate an ode to nature through the mountains, forests and

river presented in this artwork. I also want to lament over the wounds of our precious environs

through the strange rocks and steep valleys in this "paradise". Ephemeral is our world; it is full of fleeting things. Eventually, we will be so miserable as to be going up and down with the currents of garbage we created on our own.

2017 ﾉ攝影、複合媒材 Photography, Mixed Media ﾉ 140 x 60 cm, 65 x 66 x 65 cm 2016「中華民國第 17 屆國際版畫雙年

展」，國立台灣美術館，台中，台灣

2016「第四屆 Makapah 美術獎」，國父紀念館，台北，台灣

2016「藝術新聲」，大墩文化中心，台中，台灣

2016 "17th International Biennial Print Exhibit:2016 R.O.C.", National Taiwan Museum of Fine Arts, Taichung, Taiwan

2016 "4th Makapah Art Exhibition",

National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan

2016 "The Young Voice", Dadun Cultural Center, Taichung, Taiwan

負片效果讓我看到人、事、物的另外一面，也常開玩笑說好像是看到靈界。「不僅止於負片」的意

2017「不僅止於負片」卡佑民個人特展，

瞬間的光線。抓到絕佳效果有時是碰巧，有時需要精心編排。

2016「高雄藝術博覽會」，高雄城市商

思是，從顛倒顏色與光線的視角看出去，得到漂亮又有深度的景象，關鍵要找到角度以及掌握好 Negative photography open my eyes to another side of everything - human, nature and society. I often joke about seeing "the other world" in my negative photos. "Not Totally Negative"

creates an altered perspective by reversing colors and lights. The result is surprisingly gorgeous and profound, if to capture the moment from the right angle. I get it sometimes by chance, other times through careful arrangement.

法國文化協會，台北，台灣旅，高雄，台灣

2016「台北藝術攝影展」，華山文創園區，台北，台灣

2016「台灣當代一年展」，圓山花博，台北，台灣

2016「負 - 圓」卡佑民個人特展，煦利品酒藝廊，台北，台灣

2017 "Not Totally Negative - Kayoumin

Solo Exhibition", Alliance française de Taïwan , Taipei, Taiwan

2016 "Art Kaohsiung", City Suites -

Kaohsiung, Kaohsiung, Taiwan

2016 "Taipei Art Photo Show", Huashan

1914 Creative Park, Taipei, Taiwan

2016 "1st Taiwan Annul", Taipei Expo Park, Taipei, Taiwan

2016 "Negative - Round - Kayoumin Solo Exhibition", Cellier Wine Gallery, Taipei, Taiwan

白如伶 PAI, Ju-Ling

朱為白 CHU, Wei-Bor

花神 Flora

憶 Memory Recall

2017 ﾉ畫紙、簽字筆、水彩、彩色鉛筆 Paper, Marker, Watercolor, Watercolor-Pancials ﾉ 52.1 x 37.5 cm

花神 -- 仿慕夏風格佛洛拉羅馬神話中司花朵、青春與歡樂的女神。在羅馬神話中，佛洛拉是西風之神仄費羅斯的情人，後者給了她掌管花朵和青春永駐的權利。紀念她的節日是每年的 4 月 28 日

至 5 月 3 日。在古羅馬時代，該節日的儀式非常盛大，包括舉行競技活動 , 目前佛羅倫斯仍有舉

辦花神節。在古典時代的藝術作品中，佛洛拉的形象通常是一個與鮮花相伴的少女。佛洛拉在希臘神話中的對應者是克洛里斯（春天與花朵的女神）。

1990 ﾉ棉 Cotton ﾉ 61 x 119.5 cm 2016「夏天的…」博思畫班第三屆師生聯

以西方的抽象繪畫形式，探索中國傳統人文精神之思想價值與個人內在情感。朱為白的創作深受

2014「春耕逸境」朱為白個展，大象藝術

2015「第十四屆藝術家博覽會」，花博爭

於祖孫三代的裁縫世家，他擅長運用刀剪，以利刃取代畫筆，將棉布、麻布、紙張等媒材切割、

2012「黑與白」朱為白版畫系列回顧展，

展，中山捷運藝文廊，台北，台灣豔館，台北，台灣

2014「帝圖藝術 Online2014 平面作品擂台賽」，網路畫廊

In Roman mythology, Flora (Latin: Flōra) was a Sabine-derived goddess of flowersand of the

2013 藍天畫廊第一屆甄選入選藝術家之

otherwise a relatively minor figure in Roman mythology, being one among several fertility

2013「桃源美展」，中壢藝術館，桃園，

season of spring – a symbol for nature and flowers (especially the may-flower). While she was goddesses, her association with the spring gave her particular importance at the coming of springtime, as did her role as goddess of youth. Her Greek counterpart was Chloris.

一，網路畫廊台灣

2016 "Summer...", The Gallery of The

Taipei Metro Zhongshan Station, Taipei, Taiwan

2015 "14th Artist Fair Taiwan", EXPO Dome, Taipei, Taiwan

2014 Otto Online Gallery, Online 2013 Blue Sky Gallery, Online

2013 "2013 The 30th Taoyuan Fine Arts Exhibition", Zhongli Arts Hall, Taoyuan, Taiwan

老子、莊子的道家思想影響，使其作品呈現極簡、質樸的風格，形成獨樹一幟的藝術語彙。出身堆疊、拼貼，一道道的刀痕解構、穿透純淨的單色布料與紙材，使畫面產生層次分明的空間深度，讓作品超越繪畫的平面性的限制。作品不僅表現一種視覺的形象，更展現出藝術家對於空間的思索，對生命的體悟與智慧。

空間館，台中，台灣

月臨畫廊，台中，台灣

2012「造空者」朱為白個展，

關渡美術館，台北，台灣

Chu was devoted to the pursuit of modern artistic expressions. In 1958, he joined Don

2012「藝化人生」朱為白回顧展，靜宜大

attempted to make use of the form of abstract paintings in the west to explore the traditional

2010「禪境空間」朱為白大師藝術新貌創

Fang Group and became a member of the post-war modern art practitioners in Taiwan. He Chinese humanism as well as personal inner feelings. The philosophy of Laozi and Zhuangzi has a profound influence on Chu's creation, which is known for its being minimalistic and rustic.

Such simplicity in painting becomes his unique artistic style. As the third generation of a tailor

family, Chu is adept at using scissors rather than brushes to create his artwork through cutting and collaging materials such as cotton, linen and paper. Each cut deconstructs and penetrates

through the pure monochromatic fabric or paper, which creates depth in space through layers

of materials and goes beyond the two dimensional limitation of paintings. Chu's work not

only displays visual images, but also demonstrates his speculation upon space as well as his appreciation and wisdom toward life.

學藝術中心，台中，台灣

作展，學學文創展坊，台北，台灣

2014 "Tilling a Spring Paradise – Chu

Wei-Bor Solo Exhibition", Da Xiang Art Space, Taichung, Taiwan

2012 "Black and White – Print

Exhibition", Moon Gallery, Taichung, Taiwan

2012 "Sunyata – Chu Wei-Bor Solo

Exhibition", Kuandu Museum of Fine Art, Taipei, Taiwan

2012 "Yi Hua Jen Sheng – A Retrospective of Chu Wei-Bor", Providence

University Art Center, Taichung, Taiwan

2010 "Zen Environment˙Space",

XueXue Gallery, Taipei, Taiwan

朱詠安 CHU, Yung-An

100

無題 Untitled

2017 ﾉ畫布、壓克力 Canvas, Acrylic ﾉ 91 x 72.5 cm

生活裡一些不被察覺的角落，強韌的植物在夾縫中生長著，看似荒蕪雜亂，卻各自長成意想不到

2016「留下來的人」，生活在他方，台北，

遺失，或是被迫遺忘，懸而未決，然後安靜等待。

2016「Environment Ask the Way」

In everyday life, at some of the upmost unnoticeable corners, growth and decay may occur

at the same time. Nature finds its own way and transforms into disorganized but unexpected appearances. Nature, as a metaphor of our past memories, untold stories, and concealed

emotions, are often neglected, ignored or forgotten. They are sealed and put deep down in our hearts; await in silence, and fade as time goes by.

101

肖像－佛 Portrait-Buddha

2016 ﾉ壓克力顏料 Acrylics ﾉ 72.5 x 60.5 cm 的模樣。以植物比喻人留存在心底的記憶、難以明說的情緒與故事，被擱置，被拋棄，可能偶然

江威儒 CHIANG, Wei-Ju

台灣

聯展，Gallery Won & Gallery Sagakhyung，首爾，韓國

2016「無聲的喧囂」林岱璇、朱詠安雙個展，火腿藝廊，高雄，台灣

2015「風景人形」創作展，典藏創意空間府中展區，新北市，台灣

2014「台北藝術自由日」參展，華山 1914 文化創意產業園區，台北，台灣

2016 "Those Who Stay", Elsewhere Cafe, Taipei, Taiwan

2016 "Environment Ask the Way", Gallery Won & Gallery Sagakhyung, Seoul, Korea

繪製一個佛頭，運用高透明度的顏料，留下有動態感的筆觸與自動性滴流，透過佛的形象與繪畫的表現手法來呈現時代的虛幻與焦慮感。

Through the Buddha and painting techniques to show the era of fantasy and anxiety.

2016 「體感風景」- 么山計畫，陶華灼美術小館，新北，台灣

2014 上海藝術博覽會青年藝術家推介

展，上海世贸商城，上海，中國

2014「藝術新聲」，台灣九校十系美術系畢業生推薦展，大墩文化中心，台中，台灣

2013「北緯 25 度 13 分 373 秒東經 121

度 47 分 1917 秒」，國立台北藝術

大學第 27 屆美術系系展，國立台北藝術大學地下美術館，台北，台灣

2013「13 月 melancholy」，四人個展串連計畫，國立台北藝術大學美術系館，台北，台灣

2016 "Somatosensory landscape", THZ Gallery, New Taipei, Taiwan

2016 "Too Loud a Solitude", HAM

2014 "Shanghai Art Fair", Shanghai Mart,

2015 "Drifting Imagery", Artco Inspiration

2014 "Young Voices", Dadun cultural

Gallery, Kaosiung, Taiwan

Zone FZ15, New Taipei City, Taiwan

2014 "Taiepi Free Art Fair", Huashan

1914 Creative Park, Taipei, Taiwan

Shanghai, China

Center, Taichung, Taiwan

2013 N25° 13 ' 373 " , E121° 47 ' 1917 " , Taipei National University of the Arts. underground Art Museum, Taipei, Taiwan

2013 "Melancholy", Taipei National University of the Arts, Taipei, Taiwan

江彥德 CHIANG, Yen-Te

102

歇步．攔掃 Taichi Sword

Painting people motion, showing balance and artistry.

103

日常－不可見物 Daily Life-Invisible Substance

2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 106 x 72 cm 描繪人物動作姿態，表現畫面的平衡與內涵。

江翊民 CHIANG, I-Ming 2017 ﾉ岩繪具 Iwa Enogu ﾉ 80 x 65 cm

2015「晨啟」，台北科技大學－藝文中心，台北，台灣

2015 "In the morning", Taipei Tech, Taipei, Taiwan

在大自然和歷史的洪流面前，人們永遠是渺小的。我們總認為災難突如其來，但其實四周早已出

2016「偉大的情人」，西溪創意產業園，

慷慨激昂的戲，接著，又允許相同的劇本反覆編寫著，我們正是那樣，陪著走向無法預料的終點。

2015「江翊民創作展」，真善美藝廊，新

現各種警告，只是，那樣的細微末節，我們當真了嗎？健忘的人們不斷地發揮本性，演出一場場

How frail our human beings are when confronted with nature. We are always of opinion that catastrophes come unexpectedly. But as a matter of fact, there had been already warnings

around. Do we really care about trifling matters? The forgetful men take advantage of their

杭州，中國北市，台灣

2014「不安定因素」七人當代水墨聯展，朝代畫廊，台北，台灣

nature constantly because they make mistakes time and again, and they did not learn from

2014「與古為新」海峽兩岸青年書畫展，

unpredictable for us to avoid mistakes.

2012「心隱」三人展，板橋畫廊，東京，

past mistakes so as to fall into the same old trap again. This just the way we are. Our life is

福州畫院，福建，中國日本

2017 "Capital Lover", West Brook

Creative Industry Park, Hangzhiu, China

2015 "Chiang I-Ming Solo Exhibition", Kalos Gallery, New Taipei City, Taiwan

2014 "Unstable Factor: A Group

Exhibition of 7 Contemporary Ink Artists", Dynasty Gallery, Taipei, Taiwan

2014 "Endowing Tradition Idea into A Modern Effect" Mainland China and Taiwan Department of

Painting and Calligraphy Arts Exhibition, Fuzhou Fine Arts

Academy, Fujian Province, China

2012 "Sin in", Exhibition, Itabashi Gallery , Tokyo, Japen

江馨慈 CHIANG, Hsin-Tzu

104

指尖的太陽 Fingertip's Sun

切的追尋顯得現實又虛幻，曖昧且不明。為了存在，追尋是強烈的，只是安靜，不能言說。

I realize the absent, transparent, and silent status of my existence while exploring whether

"space" is vacant or occupied. The weak presence makes every pursuit real, illusory, and blurred; while the pursuit is strong but quiet, with no depiction of existence.

105

城隍廟香爐 City God Temple, Tainan

2017 ﾉ絹本水墨、線 Silk, Ink, Thread ﾉ 150 x 60 cm 我從探討空間的虛實中，認知到自身的缺席、透明，但存在，且無語的狀態。薄弱的存在，讓一

艾丹 Arroyo, Daniel 2015 ﾉ油畫、木板 Oil on Wood ﾉ 60 x 60 cm

2016「國際交流展 A3 計畫」，MUSE 雪

小町 Gallery C 多目的室 2，上越，日本

2016「國際交流展 A3 計畫」，國立新竹

教育大學竹師藝術空間，新竹，台灣

2015「藝術家博覽會 Artist Fair」，台北圓山爭豔館，台北，台灣

2015「邊邊之間」江馨慈個展，金變堂藝術空間，新竹，台灣

2015「藝術新聲十校聯展」，台中大墩文化中心，台中，台灣

2016 "International Exchange Exhibition 2016 A3 Project", Gallery C

multipurpose room 2, MUSE Yukikomach, Joetsu, Japan

2016 "International Exchange Exhibition

2016 A3 Project", NHCUE Art Space, National Hsinchu University of Education, Hsinchu, Taiwan

2015 "Artist Fair", Expo Dome, Taipei, Taiwan

2015 "Between the Edge of Lines", Jin Bain Tang Art Space, Hsinchu, Taiwan

2015 "The Young Voice", Taichung City

Dadun Cultural Center, Taichung, Taiwan

這幅畫是在台灣歷史最悠久之一的廟宇內取景的。日正當中的陽光照射著庭院，香爐中煙霧裊裊，

2017「TIFA 大兵的故事」動畫繪製，國家音

時成為美麗的雕塑。這幅畫屬於「文化地景」，充滿崇高純潔之氣，讓初訪東方文化的我眼睛為之

2017「台灣百景藝術廳」計畫，金車宜蘭員

我被廟宇中平和的氣氛給深深吸引。廟中處處可見神聖莊嚴的雕刻裝飾，尤其是鑲金的香爐，頓一亮，同時也抱著崇敬之意。我刻意省略周邊的其他建築物，也讓現代的裝飾物隱藏起來，就為了營造時光暫留的錯覺。

The inner courtyard is located in one of the oldest and most authentic temples in Taiwan. I was fascinated by the peaceful atmosphere of this small courtyard lighted by the sun, with the incense floating in the air. The harmony of the color of the decoration, and especially for this magnificent golden censer which becomes a kind of sculpture. In order to have the timeless

sensation, I keep the courtyard isolated from other buildings and reduce the contemporary details to the minimum.

樂廳，台北，台灣

山台灣百景藝術廳，宜蘭，台灣

2015「尋跡台灣」個展，金車藝文空間，台北，台灣

2014「近乎神」個展，齁空間，台南，台灣 2014「第六屆 YOUNG ART TAIPEI」，晶華酒店，台北，台灣

2017 "TIFA The Soldier's Tale", Animation

Design, National Concert Hall, Taipei, Taiwan

2017 "One Hundred Landscapes of

Taiwan", King Car Cultural and Art Center, Yilan, Taiwan

2015 "Tracing Taiwan Solo Exhibition", King Car Cultural and Art Center, Taipei, Taiwan

2014 "Nearly Gods Solo Exhibition", Howl Space, Tainan, Taiwan

2014 "Young Art Taipei", Regent Hotel, Taipei, Taiwan

何孟娟 HO, Isa

106

魏斯貝斯 Westbeth - George Barrow, Junko Barrow

何瑤如 HO, Yao-Ru

107

乘著歌聲的翅膀 Ride the Wings of the Song

2014 ﾉ C-Print、水晶錶ﾉ 120 x 95 x 4.7 cm

2017 ﾉ陶土、金箔、白金箔、木頭 Clay, Gold Foil, White Gold Foil, Wood ﾉ 49.2 x 89.2 x 12.5 cm

紐約魏斯貝絲藝術公寓是目前全世界最大的藝術聚落之一，這棟百年歷史的古蹟地標，於 1870 年

2017「影像光點 . 生活圈」，台中軟體園

假如幸福像一隻白鳥，

2017「沈靜時光」何瑤如陶藝個展，翫澤

對紐約文化藝術樣貌的多元性留下相當的影響力。透過「魏斯貝絲」系列作品，何孟娟嘗試從不同

2016「快拍慢想：編導式攝影的社會光

請你緩緩地靠近我吧！

2016「國際茶博會名家邀請展」，峨眉山

建立，住有超過 400 多位，來自世界各地，使用不同媒材創作的各類型藝術家，這棟公寓的存在

角度切入每位藝術家獨特的生命故事，一群藝術家在資本主義主流的曼哈頓中一個個私密的空間，陳述著全世界最繁榮精華的城市地段，卻跳脫框架生活的各種可能性，以自己的方式居住、生活並影響著這個城市。

The Westbeth Artists Housing in New York is one of the largest artist communities in the world.

區，台中，台灣

譜」，高雄市立美術館，高雄，台灣

2016「Fotofever Paris 2016」，羅浮宮，巴黎，法國

Over 400 artists from all over the world have gathered here in a historical landmark built in

2016「夜視基隆港」，基隆文化中心，基

influential force in shaping the diversity of arts and culture for what is now the backbone of

2016「日常風景 - 台灣當代攝影的風景敘

1870, working in various disciplines with all form of mediums. This apartment has become an New York. In the"Westbeth" series, Ho tries from different viewpoints to capture the unique life episodes of each artist in residence, to illustrate how a group of artists tells the tale of an alternative way of living in their most intimate space on the island of Manhattan that is

dominated by capitalism. She attempts to showcase the inexhaustible possibilities of escaping the imposed social construct, with the individualized lifestyle the artists adopt and thus shape the city.

隆，台灣

事」，藝術銀行，台中，台灣

2017 "Highlight Your Life", Taichung

Software Park, Taichung, Taiwan

2016 "Snap Taking & Slow Thinking

- Social Spectrum in the Age of

Staged Photography", Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

2016 "Fotofever Paris 2016", The Louvre, Paris, France

2016 "Nightview Keelung – Discover the city at second sight", Keelung City Cultural Affairs Bureau, Keelung, Taiwan

2016 "Daily Scenery – Narrative

of Landscape in Taiwanese

Contemporary Photography",

Taiwan Art Bank, Taichung, Taiwan

純潔而美麗，

你是我唯一的幻想，

別讓矜持使花蕊在寂寞中凋萎，如果你體諒那忍戀的苦心，望你御風而來。讓風朗誦，沉靜也好，微笑也好，

帶給我溫暖，

不要讓我將僅剩的年華，做無邊的等待。

想像愛是隨興創作，青春的苦澀已過去，

畫廊，台北市，台灣

市國際茶博會展館，四川，中國

2006「心靈物語」何瑤如陶藝個展，新北市立鶯歌陶瓷博物館，新北市，台灣

1991 「第 47 屆義大利國際陶藝雙年

展」，法恩札國際陶藝雙年展展館， Faenza，義大利

1990「第 12 屆法國國際陶藝雙年展」，瓦樂利市國際陶藝雙年展展館， Vallauris，法國

讓我們將所有日子，

2017 "Quiet time" Solo Exhibition,

好讓美麗的故事，

2016 "International Tea Expo Masters

都擲在最美好的所在，永遠沒有結束。

Wang's Art, Taipei, Taiwan

Invitation Exhibition", Emeishan International Tea Expo Pavilion, Sichuan, China

2006 "A Spiritual Tale" Solo Exhibition, Yingge Ceramics Museum, New Taipei, Taiwan

1991 "The 47th International Ceramic Art Competition", Faenza

International Pottery Biennale, Faenza, Italy

1990 "The 12th International Biennial of Ceramics Arts", Vallauris

International Ceramics Biennale, Vallauris, France

吳乃慧 WU, Nai-Hui

108

島：密室逃脫 Island: Cube Escape

本來懊惱的她卻意識到這些「污漬」，成為了掀開現實及幻象的線索。

在這一系列的作品來自我的國內旅遊記憶。對於這些風景，我的感受是十分劇場性的，總覺得真

正進入的不是地方的本身，而是對該地的想像或幻想，如同劇場中的角色，僅存於舞台與燈光相會的時間裡。因此所有的作品都貼有反光紙片，紙片與顏料材質感的差異，造就了畫面中遊走的

「通道」，如同薩賓娜的「污漬」般，提供觀者一絲線索。

2016 ﾉ數位微噴 Digital Microjet ﾉ 139 x 91 cm 2017「國立台灣師範大學＆同德女子大學藝術交流展」，同德藝廊，首爾，韓國

2016「命運轉輪」個展，德群藝廊 D 廳，台北，台灣

2016「通道－回響」個展，帕莎蒂娜烘焙坊文化店，高雄，台灣

My inspiration originate from Sabina, a role of Milan Kundera's famous novel, the Unbearable

2016「高雄漾藝術博覽會」，駁二藝術特

feel upset at first. Then, she finds out that these stains tips for finding the truths and illusions.

2016「第 14 屆桃源創作獎」，桃園展演

Lightness of Being. Sabina leave stains on her paintings accidentally at a time. It makes Sabina The materials of this series are from my domestic travel memories. In my feeling, those

sceneries what I had seen in the travels are very like a theater. It always make me think that I am not in the real world but in the imaginations or fantasies of those travel places. The situation

is similar to a drama role who is just able to exist at the time, during the stage meet the light.

As this reason, all of my works is pasted on reflective papers. The different qualities between the papers and pigments make a screen-wandering "passageway" which is just like "Sabina's stains" offers viewers a little clue.

109

天祈 Pray to Tian

2017 ﾉ壓克力、紙、畫布 Acrylic, Paper on Canvas ﾉ 150 x 60.5 cm 提供我有關此系列作品想法的是昆德拉名著中的角色薩賓娜。一次，她意外地於畫作上滴落顏料，

吳丹陽 WU, Dan-Yang

區蓬萊 B3B4 倉庫，高雄，台灣中心，桃園，台灣

2017 "NTNU & DDWU Art Exchange

Exhibition", Dongduk Art Gallery, Seoul, Korea

2016 "Ming-yun-zhuan-lun", Teh-Chun Art Gallery, Taipei, Taiwan

2016 "Retentissement", Pasadena Bakery, Kaohsiung, Taiwan

2016 "Young Art Kaohsiung", The Pier-2 Art Center, Kaohsiung, Taiwan

2016 "The 14th Taoyuan Creation

Award", Taoyuan Arts Center, Taoyuan, Taiwan

人往往在意識到自己的渺小時，總會向天祈求平安。因此本系列作品以雲為主視覺，變化出不同

2017「廈門美術館第三屆海峽攝影藝術

擊，交予觀者由心感受。

2016「美國紐約 AIPU 攝影藝術展」，法

抽象形體，來隱喻大自然的崩壞及人類對淨土的祈望。不同形式的自然意象與內在意識的激盪衝

People are often aware of their insignificance, always to pray for peace. This series of works has developed the key vision using the images of clouds with varied abstract shapes, to conceal

nature's collapse and human's prayers for an unpolluted environment. These different images of nature and the agitation of inner consciousness will remain to be felt by the viewer's heart.

展」，廈門美術館，廈門，中國拉盛市政廳，紐約，美國

2016「台北國際攝影節」，台北市藝文推廣處，台北，台灣

2016「平遙國際攝影大展」，平遙古城，山西，中國

2016「台灣當代一年展」，花博爭艷館，台北，台灣

2017 "3th Photography Art Exhibition", Xiamen Art Museum, Xiamen, China

2016 "American International

Photographer Union", Flushing Town Hall, New York, America

2016 "TAIPEI INTERNATIONAL

PHOTOGRAPHY FESTIVAL", H

Taipei City Arts Promotion Office, Taipei, Taiwan

2016 "Pingyao International

Photography Festival", Pingyao Gallery, Shanxi, China

2016 "Taiwan Annual", Taipei Expo Dome, Taipei, Taiwan

吳心荷 Wu, Hsin-Her

110

囚 Prisoners

吳日勤 WU, Jih-Chin

111

思緒 Thinking

2017 ﾉ複合媒材 Mixed Media ﾉ 95 x 150 cm

2015 ﾉ油畫、畫布 Oil on Canvas ﾉ 90 x 116 cm

「每一個人都用自己的思想築成一個囚籠，把自己囚禁起來，卻又拼命想爭脫這個囚籠！」那個被

2015「大人」視盟藝術家博覽會，台北花

台灣書寫——主體認同與書寫指涉。此系列作品的內容上是：以台灣為體的當下影像書寫；形式

2016「底蘊」，原顏藝術空間，台中，台

受的痛。果真是他自己造成的嗎？那麼又是誰迫使他把自己囚禁起來的？（悼失去生命的年輕鬥

2015「蝴蝶舞」國際彩墨蝴蝶藝術大展，

經由人類直覺之手，儘可能用一次性筆觸，所表達繪寫而成的影像書寫。而「書寫」是畫筆當下一

2015「台灣書寫－主體認同與書寫指

囚禁的思想，被囚禁的肉體，被囚禁的靈魂，生存生命的價值被扭曲，人格被踐踏，那種無法承士、咒喪心病狂的魔鬼）

"Everyone builds up a cage in his own mind, capturing himself, but desperately trying to get rid

of the cage!" The thought of being imprisoned, the flesh of being imprisoned, the soul of being

博爭豔館，台北，台灣

台中文化中心，台中，台灣

2015「『幹報』再現」，中韓水墨聯展，台中文化中心，台中，台灣

上是：以各式媒材所形成的當下影像書寫。所謂「當下影像書寫」，是在那千萬分之一秒的剎那間，次性書寫的線條或，用具象或曖昧的造型符號，表達作者當下內心直覺潛意識之造型指涉的意思。 Contemporary Calligraphic Painting: Cultural Influences provides a discussion of the aesthetics of Western and Eastern contemporary calligraphic painting through research on relevant artists

灣

涉」，醉美畫廊，台南，台灣

2015「綠色隧道奇幻異想」，台南文化創意園區，台南，台灣

imprisoned, the value of life twisted, personality trampled, the kind of unbearable pain. Is it

2012「遇見維納斯」視盟藝術家博覽會，

curse fist crazy devil)

2012「穿著牡丹肚兜的男人」成人博覽

2015「線條在畫布上跳舞」，白月光畫

2015 "Adults", depending on the Artists

2016 "Inner Secret of Painting", UYart

really his own? So who is forcing him to keep himself up? (Mourning the life of the young fighter,

台北松山文創園區，台北，台灣會，台北世貿二館，台北，台灣

Union Fair, Taipei Flower Expo

and theory, my creative practice in the studio and my professional practice in society.

2015「Artoll 藝術組織」，Artoll 歐洲藝術組織，伯格罕，德國廊，台北，台灣

Gallery, Taichung, Taiwan

blooming Museum, Taipei, Taiwan

2015 "Calligraphy of Taiwan", Aglow

Art Exhibition butterfly color

2015 "Green Mangrove Tunnel", Tainan

2015 "Butterfly Dance", International ink, Taichung Cultural Center, Taichung, Taiwan

2015 "Dry newspaper reproduction", South Korea Ink Exhibition, Taichung Cultural Center, Taichung, Taiwan

2012 "Met Venus", depending on the

Artists Union Fair, Taipei Songshan Cultural, Taipei, Taiwan

2012 "Man wearing apron peony", Maid

Adult Expo 2012 Exhibition, Taipei TWTC Hall 2, Taipei, Taiwan

Space Gallery, Tainan, Taiwan

Cultural & Creative Park, Tainan, Taiwan

2015 "Kondensat - Solo Expo by

Chin Wu", ArToll Kunstlabor, Bergerham, Germany

2015 "Line Dancing on Canvas",

Moonlight Art, Taipei, Taiwan

吳佳容 WU, Chia-Rong

112

斜視系列 Strabismus

《斜視系列》包含兩件作品，分為森林系及文青風。森林系及文青風是時下年輕人從一開始的用品或打扮所延伸而來的生活態度，都是單方面的觀看。森林系的女孩，對於身邊發生的事物，以一

個高高在上的態度俯視一切，對於一切事物保持一段距離，好像都和自身不相干。文青風的年輕人喜歡對於時事從自己一廂情願的角度切入，有種為了特別而特別的矯揉造作，但是只聚焦在事物的表面，常置身於時事當中，但仍不夠全面周全。

Strabismus Series contains two pieces of work, The Mori Girl and Hipster. The Mori Girl and Hipster are the life attitude derived from the supplies and clothing of young people nowadays,

which both look at things from a single perspective. The mori girl, who always overlooks things around her on her high horse, keeps everything at a distance just like they have nothing to do with her. Hipster, who always judges things by his own view point and somehow expresses the

sensitivity of artificial, focuses on the surface of things. He places himself in the midst of things to think, but still not in a comprehensive way.

113

吾境二號 Projection #2

2016 ﾉ油彩、水泥、油漆、畫布 Oil Color, Cement, and Paint on Canvas ﾉ 55 x 125 cm, 30 x 100 cm

吳秉祈 WU, Bing-Chi 2017 ﾉ絹印、紙 Screen Print on Paper, Edition of 8 ﾉ 60 x 53.5 cm

2015「池上車站公共藝術設置企劃案」，羅傑藝術文化有限公司代表團隊，羅傑藝術文化有限公司，台北，台灣

2015「索卡好樣」第八屆青年藝術徵件入選聯展─作者街角，台南索卡藝術中心，台南，台灣

2015「陌生。人」創作個展，台北市立大學視覺藝術學系第一展示中心，台北，台灣

2014 巷子內工作坊「嘔油」油畫聯展，巷子內工作坊，台北，台灣

2013 兒藝節舞台劇「姨婆的時光寶盒」舞

台 mapping 製作團隊，台北城市舞台，台北，台灣

2015 "Chih Shang railway station Public

Art", Roger Art and Culture Co., Ltd, Taipei, Taiwan

2015 "SOKA SO YOUNG Artist on the

Corner Exhibition", SOKA Tainan, Tainan, Taiwan

2015 "Stranger" Solo exhibition,

University of Taipei Department of Visual Arts Exhibition Center One, Taipei, Taiwan

2014 "Oil!" Oil painting exhibition, Twatutia, Taipei, Taiwan

2013 "Production team of 'Aunt's Time

capsule' Theater Stage mapping", Taipei City stage, Taipei, Taiwan

我喜歡觀察及拍攝身邊包括自然及人造的萬事萬物，尤其是樹和紅綠燈。當它們映入眼簾，引發

2016「台灣當代一年展」，花博公園爭艷

不再是客觀的存在；人類會把自己心理的內容和感受投射於客觀世界中，而大腦裡反應的將是自

2016「Future Late」、「Open Call: What

的是一連串複雜的感知體驗，並且與自身的心理現象交互作用。我相信審美對象對觀察者而言將

己的內在特質。這些觀察對象總是獨立且寧靜地存在；我用攝影留住它們當下的樣貌與狀態，加工處理後的成品更是記錄自己沉澱後的內心。

As far as I am concerned, when people view objects, the perceptual experiences are complex,

which also interact with their personalities, along with the psychological effects. For the

館，台北，台灣

is the Future of Art?」，泰德現代藝術館渦輪大廳，倫敦，英國

2015「視覺混種」，URS21 中山創意基地，台北，台灣

observers, the objects will no longer be objective. People often subconsciously put their own

2014「九零」，松山文創園區，台北，台

in the minds will not be neutral, yet which will be subjective and reveal their own intrinsic

2013「方舟」，草山行館 92 文藝中心，

psychological content as well as feeling into the objective world. It means that the reactions characteristics. I like to observe, and take photos of the surroundings including the nature and the human-made things, especially of the trees and the traffic lights. Personally, the objects with features of independence and serenity are attractive. I use photographs to record the

appearances and states of the objects. Then, process the imagery to show my sensations at the time of observation, and retain the thoughts and feelings through creating.

灣

台北，台灣

2016 "Taiwan Annual", Taipei Expo Park Expo Dome, Taipei, Taiwan

2016 "Future Late,Open call: What is the Future of Art?", Turbine Hall, Tate

Modern, London, United Kingdom

2015 "On Site, Visual", URS21 Chung

Shan Creative Hub, Taipei, Taiwan

2014 "90", Songshan Cultural and

Creative Park, Taipei, Taiwan

2013 "The Ark", Grass Mountain Chateau, Taipei, Taiwan

吳柏賢 WU, Bo-Sian

114

缺席 Absence

吳筱瑩 WU, Hsiao-Ying

115

過於喧囂的孤獨 Vol.1 Too Loud a Solitude Vol.1

2017 ﾉ油彩、粉彩、畫布 Oil and Pastel on Canvas ﾉ 72.5 × 91 cm x 2

2017 ﾉ壓克力彩 Acrylic on Canvas ﾉ 145 x 90.5 cm

為處理暫居造成的城市疏離，我們依據自己血緣或身分認同尋根。過程中不斷想像，那些地方也

2017「第二屆至榮創作獎」評審獎，台北

創作是長遠深刻的旅程，每天都在自我辯證、懷疑、挑戰中渡過，懷抱著愉悅與傷感持續這趟旅行。

2016「20x20」新觸角藝術群二十年展，

它在想像裡缺席。但想念、嚮往的情感卻越加濃郁。

2016「第十五屆全國百號油畫大展」入

透露出創作的心情與意念，如書寫般思考，時而大膽時而謹慎，選定一個畫面之後停格，希冀觀

2016「大邱藝博會」，大邱 EXCO，大邱，

許曾經停留或不曾到達過。經過時間不斷重組，想像的主體失真，甚至從來不真的存在想像裡，

In order to deal with the temporary alienation caused by the city, we search for our roots through bloodline oridentity. During the process we constantly imagine, those places that we might have stayed or never went. After time to reorganize, imagination becomes distorted, or

never even really existed in the imagination, it is absent in the imagination. But the feeling of missing, longing become more and more rich.

市立大學展示中心一，台北，台灣選，台中市政府文化局，台中，台灣

2016「屏東美展」優選，屏東縣政府文化處，屏東，台灣

2015「Oil 嘔油」油畫創作聯展，迪化街，台北，台灣

2015「過於喧嘩的寂靜」個展，台北市立大學展示中心一，台北，台灣

2017 "2nd Zhì Róng Creative Award",

University of Taipei Department of Visual Arts, Taipei, Taiwan

層層疊疊的色塊線條與暈染，適合記錄這樣的藝術對話。在各種媒材與技術的使用中，隱隱約約者也能感受其中的諸多小細節與故事性，進而連結自身的想像。

Creating Art is a long and profound journey. We need to be both self-dialectical and doubtful,

what's more, to have the courage to face all challenges. This is actually a pleasant and

嘉義鐵道藝術村，嘉義，台灣南韓

2016「台南藝博會」，大億麗緻酒店，台南，台灣

sentimental journey to all creators. I record my art diary via layering colors, lines, and blooming.

2016「與石頭對話」吳筱瑩創作個展，嘉

and what I've been thinking during painting. Painting is sometimes like writing, it asks you to be

2015「鑽牛角尖」吳筱瑩創作個展，自由

Through the process of using several of mediums and techniques, it reveals how I create art not only brave and bold, but sometimes very cautious too. The process ends when the image finally achieves the right point. Hopefully viewers will feel the details and read the stories in the painting, in order to connect with their own imagination.

義鐵道藝術村，嘉義，台灣人藝術公寓，台中，嘉義

2016 "20x20 - Twentieth anniversary of

New Antenna Art Group", Art site of Chiayi Railway Warehouse, Chiayi, Taiwan

2016 "The 15th National 100 Oil Painting

2016 "Daegu Arts Fair", EXCO Centre,

Taichung City Government,

2016 "Art Tainan 2016", Tayih Landis

Exhibition", Cultural Affairs Bureau, Taichung, Taiwan

2016 "Pingtung Art Exhibition Preferred

prize", Cultural Affairs Department of Pingtung County Government, Pingtung, Taiwan

2015 "Oil painting exhibition", Dihua Street, Taipei, Taiwan

2015 "Too noisy silence", University of

Taipei Department of Visual Arts, Taipei, Taiwan

Daegu, South Korea

Hotel Tainan, Tainan , Taiwan

2016 "Conversation with a Stone - HsiaoYing Wu Solo exhibition", Art site of Chiayi Railway Warehouse, Chiayi, Taiwan

2015 "Obsessive Works -Hsiao-Ying Wu Solo exhibition", Freeman Arts

Apartments, Taichung, Taiwan

吳嘉容 WU, Jia-Rong

116

圓舞曲 II Waltz II

呂迦諾 LU, Chia-Nuoh

117

萬花筒中的實像 (III) Kaleidoscope's Real Image

2015 ﾉ油彩、畫布 Oil on Canvas ﾉ 91 x 91 x 5 cm

2016 ﾉ壓克力 Acrylic ﾉ 100 x 80 cm

此幅作品利用圓的構圖，加入了幾對舞者，也刻意將舞者畫小，像是在雲端跳舞一般，因為圓的

2017「Dance With Me 與我共舞吳嘉容個

本系列以萬花筒中的各種成像變化做為內在心靈的一種比喻，認為人的內心就像萬花筒般的存在，

2017「藝術對畫」呂迦諾創作展，藝聚空

來呈現，帶給觀者舒服自在輕盈在雲端的感覺。

2015 「漆畫藝術－漢字的延演繹與多元

動的幾何造型、裝飾性的色彩為發想，結合熱抽象繪畫以及冷抽象繪畫技法製作，再由抽象造型

2016「呂迦諾─抽象繪畫展」，金車文藝

關係所以沒有限定是怎麼擺放，也就像是比賽場上，舞者以圓的舞程線來走位，色調以淡淡筆觸 This painting uses a circle composition and adds a few dancer couples. Besides, the dancers are painted smaller intendedly as if they were dancing on the cloud. Dancers are dancing with the"line of dance" in a circle. The light color and brushwork show the audience a comfortable image just like angles in the sky.

展」，草泥 Café，台北，台灣

的靈通形式」，松山文創園區（松菸），台北，台灣

2014 「海峽兩岸後立體畫派畫作聯展藝術」，基地獨立印象藝術空間，重慶市，中國

2013 「迷你框框情」，神暢畫廊，杭州，大陸

2011「幹嘛幹嘛 John 吳嘉容個展」，中正公民會館，台北，台灣

2017 "Dance With Me" Solo

Exhibition,Weedon Mud Café, Taipei, Taiwan

2015 "Correspondence", Songshan

Cultural and Creative Park, Taipei, Taiwan

2014 "After Cubism", Art forrum, Chongqing, China

2013 "Mini Frame Emotions", Shenchang ARTS, Hangzhou, China

2011 "What's Up John" Solo Exhibition, Taipei Public Hall, Taipei, Taiwan

是將內在精神系統投射於畫布的直覺創作。我將此繪畫的形式稱為「裝飾性抽象」，由萬花筒中變中進行裝飾性的描繪，當中裝飾性的結構則是以抽象造型做為依附的主體進行描繪，試圖將抽象造型以具象的型態呈現，它是將「抽象具象化」的過程與狀態。

The theme of these series paintings is trying to use kaleidoscope's varieties as a metaphor to

間，台北，台灣

中心承德館，台北，台灣

2016「台中藝術博覽會」，台中日月千禧酒店，台中，台灣

describe inner spirit, human's inner heart is just like a kaleidoscope which can be a creative

2015「剖心」呂迦諾個展，水谷藝術，台

abstraction, the idea comes from varieties of changeable geometric figure and colors, joined by

2013「之間」呂迦諾個展，台北市立聯合

intuition reflects inner spirit on the canvas. I consider this form of painting as decorated

the so called "hot and cold abstraction" painting skills to proceed decorated paintings, and the

decorated framework is derived from the attached main part of the abstracted form. The goal

is trying to display the abstracted form into specification, it's a process and state of specify the abstraction things.

北，台灣

醫院草山職能工作坊，台北，台灣

2017 "LU CHIA NUOH Individual

exhibition-dialogue with art", Meet Art Space, Taipei, Taiwan

2016 "LU CHIA NUOH abstract art

exhibition", KingCar Art, Taipei, Taiwan

2016 "ART Taichung, Millennium Hotel Taichung", Taichung, Taiwan

2015 "LU CHIA NUOH Individual

exhibition-cut heart", Waley Art, Taipei, Taiwan

2013 "LU CHIA NUOH Individual

exhibition-between", Taipei city

hospital-grass Mountain functional workshop, Taipei, Taiwan

李宛真 LEE, Wan-Chen

118

凝望之外 Beyond Staring

2014 ﾉ複合媒材 Mixed Media ﾉ 150 x 150 x 130 cm

當靜謐無語感到疲憊時，總需要個安放情緒的地方，可能是片綻藍的海、是一抹輕鬆的綠。每個

2016「創作計畫－生之印痕」台灣當代一

就這樣對語。

2016「兩岸有藝事！」全民藝術聯展，艾

Without saying a word something can light up the dark. That moment were beyond language.

119

遙指著彼岸 Pointing the Other Side

2017 ﾉ膠彩 Japanese Painting ﾉ 45 x 50 cm 瞬間都是無法再現的景況，對於所想，好似靜靜看望著，就能抵達。凝望之外，悄然無聲，我們

李明學 LEE, Ming-Hsueh

年展，圓山爭豔館，台北，台灣

格斯頓當代藝術中心，廈門，大陸

2016「1/2 強迫症」台藝大書畫藝術學系 105 級畢業展覽，中正紀念堂，台北，台灣

2016「墨尚味甘」四人水墨創作聯展，國

立台灣藝術大學真善美藝廊，台北，台灣

2015「花繁映發」膠彩畫的學院時代，台中市港區藝術中心，台中，台灣

2016 "2016 Taiwan Annual - It's all

written down in your lifelines", EXPO Dome, Taipei, Taiwan

2016 "Arts sides have something!

National Art Exhibition", Aguston

Contemporary Art Center, Xiamen, China

2016 "OCD station Arts in Painting and Calligraphy Department of Fine

Arts Graduation Exhibition 105", Chiang Kai-shek Memorial Hall

Chiang Kai-shek Memorial Hall, Taipei, Taipei, Taiwan

2016 "Fragrant ink-Four ink Creation Exhibition", National Taiwan

University of Arts Gallery, Taipei, Taiwan

2015, "College Times gum tempera", Taichung Harbor Art Center, Taichung, Taiwan

藉由將有角度的風扇葉片置換為平面，製造出一個即便高速旋轉，卻難以產生風的電扇。意圖顛覆日常視覺影像與身體感受的連結。

By replacing the angled fan blades with a plane, it is designed to construct a fan driven by high-

speed rotation, but difficult to blow any wind. It is meant to overthrow the connection between daily visual images and physical feelings.

2016「藍色的聲音」，絕對空間，台南，台灣

2016「河流－轉換中的生存之道」，亞洲當

代藝術連線，光州雙年展展館，光州，韓國

2016「2016 台北雙年展」，台北市立美術館，台北，台灣

2015「食物箴言：思想與食物」，台北市立美術館，台北，台灣

2014「誓逝」，北師美術館，台北，台灣 2016 "The Voice of Blue", Absolute Space, Tainan, Taiwan

2016 "RIVER - The Way of Living in

Transition Asia Contemporary Art

Links, Gwangju Biennial Gallery 1", Gwangju, Korea

2016 "2016 Taipei Biennial", Taipei Fine Arts Museum, Taipei, Taiwan

2015 "The Testimony of Food: Ideas and Food", Taipei Fine Arts Museum, Taipei, Taiwan

2014 "Eternal Fading Words", MoNTUE, Taipei, Taiwan

李俊逸 LEE, Chun-Yi

120

心牆 Heart Wall

Humans live in the established space, built by the walls, behind their own stories.

121

白蛇 White Serpent

2016 ﾉ綜合材料、紙本 Mixed Media on Paper ﾉ 90 x 90 cm 人類活在既定的空間，所築起的高牆，背後都有屬於自己的故事。

李思慧 LEE, Si-Hui 2017 ﾉ複合媒材 Mixed Media ﾉ 100 x 100 cm

2016「創意樂園 - 公共藝術種子戶外

展」，松山文創園區，台北，台灣

2015「台灣青年水墨創作大展 - 勝安藝術獎」，國父紀念館，台北，台灣

2015「兩岸書畫交流展」，天津，中國

2014「第五屆台津兩地中小學師生書畫聯展」，青年藝文沙龍，台北，台灣

2016 "Creative Paradise - Public Art Seed Outdoor Exhibition", Songshan Cultural Park, Taipei, Taiwan

2015 "Taiwan Youth Ink Painting

Exhibition - Shengan Art Award", National Dr. Sun, Yat - sen

Memorial Hall, Taipei, Taiwan

2015 "Cross - Strait Painting and

Calligraphy Exchange Exhibition", Tianjin, China

2014 "The Fifth Session of the Beijing and Tianjin Primary and

Secondary School Teachers and

Students Painting and Calligraphy Exhibition", Young Art Salon, Taipei, Taiwan

白蛇這件作品表達色彩、光與肌理紋路，探索幾何抽象繪畫的表現性與可能性。 I explores the expressiveness and possibility to create abstract geometrical paintings by means of textures, colors and hues.

2013「生命之閃光」，新竹教育大學毓繡藝術空間，新竹，台灣

2013「虛實畫境」，現代畫廊，台中，台灣

2012「有美麗就有神聖」，壢新藝術生活館，桃園，台灣

2012「為一」，智邦藝術基金會智邦藝術館，新竹，台灣

2011「後青春」，國立台灣美術館／關渡美術館，台中／台北，台灣

2013 "Spark of Life", Yu-Hsiu Art Space, Hsinchu, Taiwan

2013 "Frame of Mind - Between the

Illusion and Reality", Modern Art Gallery, Taichung, Taiwan

2012 "Divine Beauty", Li Shin Gallery, Taoyuan, Taiwan

2012 "Into One", Accton Art Foundation, Hsinchu, Taiwan

2011 "Post-Adolescence", National Taiwan Museum of Fine Art /

Kuandu Museum of Fine Arts, Taichung/Taipei, Taiwan

李梅 LEE, May

122

達摩與飛天的時空旅行

藉大地行僧與飛天神人之形象，自傳統平面黑白山水糾結線條裡，淬鍊融合再生出穿越時空的五彩結晶……江山依舊在，古月照今塵，以當代抽象體現東方哲學意境！

Through depicting the symbolic Damo and Apsaras flying across boundless space-time, the black-white tangled lines of mountain-water in traditional Chinese arts have been extracted and

regenerated to form colorful crystalline elements in a diverse world, a new world being shined

by the ancient moon... Oriental philosophical prospects are explored and expressed by using contemporary techniques.

123

印記 Impression

2016 ﾉ複合媒材 Mixed Media ﾉ 100 x 80 cm

The Time - Space Travel of Dharma and Flying Apsaras 2017 ﾉ油畫 Oil on Canvas ﾉ 117 x 72 cm

李雲陞 LEE, Yun-Sheng

2016「台灣當代一年展」，台北圓山花博爭艷館，台北，台灣

2015「第十四屆台灣藝術家博覽會」，台北圓山花博爭艷館，台北，台灣

2015「第三十九屆全國油畫展」，國立國父紀念館中山國家畫廊，台北，台灣

2014「第十三屆台灣藝術家博覽會」，新光三越信義新天地，台北，台灣

2014「第六十一屆台灣省中部美展」，台中市大墩文化中心，台中，台灣

2016 "Taiwan Annual", TAIPEI EXPO

PARK EXPO DOME, Taipei, Taiwan

2015 "The 14th Artist Fair Taiwan",

TAIPEI EXPO PARK EXPO DOME, Taipei, Taiwan

2015 "The 39th Taiwan Oil Painting

Contest", National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan

2014 "The 13th Artist Fair Taiwan", Shin Kong Mitsukoshi Xinyi New Life Square, Taipei, Taiwan

2014 "The 61th Arts Exhibition of Taiwan Central", Taichung City Dadun

Cultural Center, Taichung, Taiwan

摒棄對山川湖景及宇宙蒼穹鉅細靡遺的瑣碎描寫 ; 透過線條及色彩與畫布深層的對話重新建構美感。

Give up trying to descript lake ,sky and cosmic sky. To re-construct the beauty through lines and color by talking with canvas.

2014「台灣藝術家博覽會」，新光三越，台北，台灣

2013「台灣藝術家博覽會」，花博爭艷館，台北，台灣

2011「北台灣八縣市藝術家聯展」，苗栗縣文化中心，苗栗，台灣

2009「苗栗縣文化產業藝術協會」，苗栗縣文化中心，苗栗，台灣

2014 "Artist Fair Taiwan", Shin Kong Mitsukoshi, Taipei, Taiwan

2013 "Artist Fair Taiwan", EXPO Dome, Taipei, Taiwan

2011 "North Taiwan 8 county Artist

Group Exhibition", Culture and

Tourism Bureau, Miaoli, Taiwan

2009 "Culture Industry and Art

Association", Culture and Tourism Bureau, Miaoli, Taiwan

李翡文 LI, Fei-Wen

124

宇宙小孩 Children of Universe

2016 ﾉ油彩、畫布 Oil on Canvas ﾉ 72.5 x 53 cm

靈魂不死，我們在一個個的星球重新旅行，無論年歲多長都像是從宇宙星塵中剛誕生的小孩。畫

2016「彼得潘去哪兒？」，藝術銀行，台

的小宇宙在寧靜中展開。

2014「台北國際當代藝術博覽會」，晶華

The soul remains eternal, as we travel again and again from one planet to another. No matter how old we get we always seem to be the newborns in the universe. The picture consists of a

galaxy and nebula in low saturation, forming a face, creating this atmosphere of a mysterious, slow-flowing time. The delicate style and color bring the active small universe to life silently.

125

牽牛花女孩 Morning Glory Girl

2015 ﾉ壓克力、畫布 Acrylic on Canvas ﾉ 145.5 x 112 cm 面由低彩度的銀河與星雲組成臉譜，營造神秘、緩慢流逝的時間氛圍，細膩的筆調和色彩讓奔放

沈慶源 SHEN, Ching-Yuan

中，台灣

酒店，台北，台灣

2014「The Island 」 , 一票票藝術空間，台北，台灣

2011「大阪藝術博覽會」，大阪格蘭比亞飯店，大阪，日本

2011「Y.E.S Taiwan Ⅲ (Young Emerging

Stars,Taiwan Ⅲ ) 」，也趣藝廊，台北，台灣

2016 "Explore the life", ArtBank,

Taichung, Taiwan, ArtBank, Taichung, Taiwan

2014 "Young Art Taipei", Regent Taipei,

對畫家來說，如何讓作品的主題與背景能夠美妙的融合，永遠是一件極具挑戰的事…… 置身在蜿蜒滿地的牽牛花叢，體態豐盈的少女，在勤勉工作後的歇息片刻，露出沉靜，略帶羞澀的神情……向大家訴說著生命的美好與短暫……

To an artist, it is always a delightful challenge to create a subtle blend of the object itself and the background.

Strolling through the morning glory field after a hard day's work, a robust young girl is taking a

break with a peaceful glow on her face, telling us all to live in the moment and indulge in life's temporal pleasures.

2014「台灣藝術家博覽會」，新光三越，台北，台灣

2012「藝術家博覽會」，台中文創園區，台中，台灣

2007「人體畫展」，國父紀念館，台北，台灣

2005「只是開端」，一票人票化空間，台北，台灣

2003「畫裏有話」，國立成功大學中文系藝文中心，台南，台灣

2014 "Artist Fair Taiwan", SHIN KONG

MITSUKOSHI A8, Taipei, Taiwan

2012 "11th Artist Fair Taiwan", Taichung

Cultural & Creative lndustries Park, Taichung, Taiwan

Taipei, Taiwan

2007 "The Human Body", Sun Yat-Sen

Taipei, Taiwan

2005 "Just Beginning", PaiPai art gallery,

Osaka, Japan

2003 "Some words in the paint",

2014 The Island", PaioPaio Gallery, 2011 Art Osaka", Hotel Granvia Osaka, 2011 "Y.E.S Taiwan Ⅲ (Young Emerging Stars, Taiwan Ⅲ ) ", AKI Gallery, Taipei, Taiwan

Memorial Hall, Taipei, Taiwan Taipei, Taiwan

Department of Chinese, National Cheng Kung University, Tainan, Taiwan

辛佩津 HSIN, Pei-Chin

126

樹與貓頭鷹 Tree and Owl

周佩穎 CHOU, Patrice

127

妖孕 Enchantress

2016 ﾉ油彩、全麻畫布 Oil on Canvas ﾉ 62 x 73 cm

2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 120 x 94 cm

夜晚中，神秘的氣息，貓頭鷹在樹上，這棵樹以奇幻無比的顏色和姿態展現，畫面遠方房舍稍稍

2017「凝視感」，兆豐農場笠畫廊，花蓮，

手、筆、顏料、創作當下的音樂、酒精、心情，甚至腦中的諸多思緒都是元素。隨著時間，這些

2016「禮物」，煦利品酒藝廊，台北，台

乎在夢中，真實與虛擬之間，想像之外的世界，讓觀者藉由貓頭鷹的眼睛進入更深層的世界、面

2016「野生」, 黑潮海洋文教基金會，花

所謂的不存在，是在所有元素交集後美好的相遇。誰引導誰，什麼因造成什麼果，我們生活中的

2015「台灣藝術家博覽會」，花博公園爭

透露些微光，此時似乎有什麼事物呼喚了貓頭鷹，牠轉頭看前方，也看進觀者的眼睛裡。一切似對繪畫中的「他者」，「他者」可能是一個不確定氛圍所籠罩的境域，也可能是觀者內心無可形容的狀態，抑或是觀者所感受到的一切精神性投射的感覺。

Owl is in the tree in the night with mysterious atmosphere. The tree shows with fantastic colors

台灣

蓮，台灣

2016「遠方＆甜世界」，花蓮高農圖書館，花蓮，台灣

and posture. The distant building in the picture is slightly shiny. There seems to be something

2015「他方／不只是甜」, 松園別館，花

viewer's eyes. Everything seems to be in a dream, the world that beyond imagine is between

2012「樹梅坑溪環境藝術行動展覽」，竹

calling the owl this moment, and then he turns around and looks forward, also looks into the real and virtual. It makes audience go into the deeper world by the owl's eyes and face the "the

Other" in the painting. "the Other" maybe a realm shrouded uncertain atmosphere, it may also be an indescribable state of the audience's heart, or the audience feels the feeling of all spiritual projection.

蓮，台灣

圍社區／樹梅坑溪周邊／竹圍工作室，台北，台灣

2017 "A Sense of Gaze", Gallery of Chao Feng Harvest Ranch, Hualien, Taiwan

2016 "Wild", Kuroshio Ocean Education Foundation, Hualien, Taiwan

2016 "At a distance & Sweet World", Library of National Hualien Vocational High School of

Agriculture, Hualien, Taiwan

2015 "Elsewhere / Not only sweet", Pine Garden, Hualien, Taiwan

2012 "Art as Environment - A Cultural Action at the Plum Tree

Creek", Bamboo Community / Surrounding of the Plum Tree

Creek / Bamboo Curtain Studio, Taipei, Taiwan

元素朝著某個不見得存在的目標前進。冥冥中，眼前的畫布越來越具象，也越來越讓人看清，原來，諸多元素，當下的存在或許不重要，卻巧妙地在某個時間點產生意義。生命中每個人時時刻刻都接觸著有形無形的元素，當某一刻交集驟然產生意義的時候，或許那只是一陣微風吹過，都會讓我們想起某個深刻的存在。

Hands, brushes, colors, music, alcohol, mood, mind... are all elements in a creation of a

灣

艷館，台北，台灣

2015「派翠絲の夢遊少女心」，寶格利家 VIP 展示中心，台北，台灣

painting. In time, these elements move towards a direction the creator doesn't seem very sure

2016 "The Present", Cellier Wine Gallery,

all the elements are destined to a miraculous encountering.

2015 "Artist Fair Taiwan", Taipei Expo

of. Interestingly, when the image becomes more and more vivid, it comes to a realization that

In the real life, many elements are often neglected at the time being until they become meaningful. Imaging the chances of two people being together, in love, and eventually conceiving a baby...one missing element would have changed the entire meant-to-be.

Taipei, Taiwan

Park, Taipei, Taiwan

2015 "Dream Walking w/ Patrice Girl",

CASABELLA VIP Showroom, Taipei, Taiwan

周怡賢 CHOU, Yi-Hsien

128

合成物Ⅱ Physical Ⅱ

物，誠如現今社會、文化資訊包覆著美好外在，實則內部空泛的意象。

Gorgeous sugar coating is like a plastic product, the integration of food color and flavor, is flashy and no nutritional value of the product, like today's social culture is covered with a good external, in fact, the internal is empty.

129

花樣年華 In the Mood for Love

2017 ﾉ油彩 Oil Painting ﾉ 17.5 x 14 cm x 2 形似塑膠製品般絢麗多彩的糖衣，在食用色素與香精催化下，無非是華而不實且無營養價值的產

周楷倫 CHOU, Kai-Lun 2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 91.0 x 72.5 cm

2016「上海城市藝術博覽會」，上海衡山路十二號豪華精選酒店，上海，中國

2014「微 ‧ 頻」聯展，新北市立圖書館新店分館，新北市，台灣

2013「一粒煩」聯展，板橋 435 藝文特區，台北，台灣

2013「依恃於微光之間」聯展，竹圍工作室，台北，台灣

2011「只因當時太憂鬱」個展，南海藝廊，台北，台灣

2016 "CITIZEN ART SHANGHAI 2016", Twelve at Hengshan A Luxury

Collection Hotel, Shanghai, China

2014 "Minute frequency", New Taipei City Library, Taipei, Taiwan

2013 "I li fan", 435 ART-ZONE, Taipei, Taiwan

2013 "Attached to the low light",

Bamboo Curtain Studio, Taipei, Taiwan

2011 "Only because it was too

melancholy", Nanhai Gallery, Taipei, Taiwan

親近自己工作室外的花草們，借用了電影《花樣年華》的名稱，以平凡日常繪寫心中感受關於愛的事情。

Close to the flowers and plants which my outside studio, borrowed the name of the film "Mood for Love", drawing about feeling love by ordinary everyday.

2016「台灣當代一年展」，花博爭艷館，台北，台灣

2016 "Taiwan Annual", TAIPEI EXPO PARK, Taipei, Taiwan

林子由 LIN, Zi-You

130

202 室 Room 202

2016 ﾉ複合媒材 Mixed Media ﾉ 120 x 100 cm

202 室是我的租屋處，在這件作品我揀選在我每日的生活中會出現在我視線裡我所在意的物件，

2017「如果明天還有」，白沙藝術中心，

一的有生命物體「兔子」的形象，可作為某種自身狀態的投射，以及在規矩生活之中的衝突與焦慮

2016「菜瓜匏仔」，白沙藝術中心，彰化，

的摹寫。

Room 202 is my rental residence. In this work, I selected the objects which appear in my sight

彰化，台灣台灣

當我們注視一件物品，藉由視覺能夠感知到它的存在，但如果是一個抽象的感覺，或是一個特質，我們如何能夠知道它的存在呢？

我們目光所見為真？或者是另有詮釋？所見的是否只是事物的表像，是直覺招喚出的經驗所映照出的形象？

in my daily life and the pet rabbit I keep to assemble into a space and constitute a drawing. The

2017 "If there is tomorrow", Bai Sha Art

當今社會習慣用各種符號與數字來認知事物，如同我們知道一個人的身高體重、收入多少，長像

rabbit, can be seen as a shadowing of my condition, or the description about my conflict and

2016 "The loofah and white gourd", Bai

的概念組成，這些無法量化的部分才是人之所以為人的關鍵。

boundary line of the space were omitted in this work. The only living thing, the image of the pet anxiety in this regular life.

131

孔方兄－ 01 Head - 01

2017 ﾉ壓克力 Acrylic ﾉ 100 x 65 cm x 2 以及我飼養的寵物兔，組合成一個空間並構成畫面，畫面裡省略了空間或角落的邊線，而裡面唯

林仁信 LIN, Ren-Hsin

Gallery, Changhua, Taiwan

Sha Art Gallery, Changhua, Taiwan

如何……，這些訊息的切片讓人誤以為真的「認識」這個人，事實上一個人的真實性更多是由抽象

When we look at an item, by visual perception of its existence, but if it is an abstract feeling, or a trait, how do we know its presence?

What do we see? Is it another interpretation? Is it only the image of things that is seen, is the image of intuition that reflects the experience?

Today, we are used to use a symbols and numbers to understand things, as we know someone's

height and weight, how much income, how long... these information slices people mistakenly think that "know" this person, in fact, a person's authenticity More is composed of abstract concepts, these can not be quantified part of the reason why we are the human beings.

2016「版圖擴張」2016 桃園國際版畫展，桃園藝文中心，桃園，台灣

2016「大河傳承」十青版畫會 42 周年大展，歷史博物館，台北，台灣

2016「可見與不可見」林仁信創作個展，Ｍ畫廊，台北，台灣

2015「凹凸有致，印痕歲月」台灣 50 現代版畫展，築空間，台北，台灣

2014「十青版畫會 2014 台日版畫交流

展」，佐喜真美術館，沖繩，日本

2016 "Expanding the Scope of

Printmaking: 2016 Taoyuan

International Exhibition", Taoyuan Arts Center, Taoyuan, Taiwan

2016 "Legacy of the Great River: The

42nd Anniversary of Evergreen

Graphic Art Association", National

Museum of History, Taipei, Taiwan

2016 "Visible and 1nvisible - Lin Ren-hsin Solo Exhibition 2016", M Gallery, Taipei, Taiwan

2015 "TAIWAN 50 Contemporary Print

Exhibition", ARKI Gallery, Taipei, Taiwan

2014 "Evergreen Graphic Art Association Taiwan - Japan International Print Exhibition", Sakima Art Museum, Okinawa , Japan

林本良 LIN, Pen-Liang

132

該多出門 Ought to Go Out More

I seldom go out recently, because of my poor health. Now that I am feeling better, I think that I should go out more.

133

〈放風系列Ⅱ〉〈 Release Series II〉

2017 ﾉ紙基亮白含鋇相紙 Hahnemuhle Fine Art Baryta ﾉ 81.28 x 60.96 cm 最近因為健康的關係，比較少出門。現在感覺比較好了，應該多出門了。

林佳瑩 LIN, Chia-Ying 2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 91 x 72.5 cm

2015「好好的散步」，法雅客信義 A9 店，

藉由養雞場為了讓雞隻身強體健半野放的方式，讓滿山遍野的雞像在運動，逃脫了雞籠的限制，

2017「藝術新聲」畢業生推薦展，大墩文

2015「台北藝術攝影博覽會」，華山 1914

盲目，早已喪失了獨立思考的能力，當下還覺得自己獲得自由。

2017「第九屆台北國際當代藝術博覽會

台北，台灣

文化創意產業園區，台北，台灣

2013「台北藝術攝影博覽會」，花博爭豔館，台北，台灣

2012「律動蔬果」，爵士攝影藝廊，台中，台灣

2011「全景逛台北」，爵士攝影藝廊，台中，台灣

2015 "A Nice Walk", Fayaque, Taipei, Taiwan

2015 "Taipei Art Photo Show", Huashan Culture Park, Taipei, Taiwan

2013 "Taipei Art Photo Show", Expo

但活動範圍還是被限制著。看似暫時跳脫了某些限制，實際上已經被制約的腦袋與心靈也一樣的

The chicken farm, in order to let chickens become strong and healthy, developed a half free range raising process, so that the chickens roam in mountains and rivers in the movement

without the restrictions on the cage. Yet the scope of freedom is still limited. It seems like a

temporary escape from restrictions, but the constrained mind and soul are the still blind, and has already lost the ability to think independently, thinking for a moment that they have gained freedom.

化中心，台中，台灣

Young Art Taipei 」，晴山藝術中心，台北，台灣

2017「空白預告」師大雙年展，德群畫廊，台北，台灣

2017「第 32 屆版印年畫吉年好運到－雞年年畫特展」，國立台灣美術館，台中，台灣

2016「台灣當代一年展」，圓山花博爭艷館，台北，台灣

2017 "2017 Young Voices", Taichung City Dadun Cultural Center, Taichung, Taiwan

park, Taipei, Taiwan

2017 "2017 Young Art Taipei", Imavision

Jazzimage Gallery, Taichung,

2017 "2017 Blank Trailer", Teh Chun

2012 "Rhythms in Fruits & Vegetables", Taiwan

2011 "Strolling Taipei in Panorama", Jazzimage Gallery, Taichung, Taiwan

Gallery, Taipei, Taiwan Gallery, Taipei, Taiwan

2017 "The 32nd Annual Exhibition of New Year Prints", ROC Good

Fortune for the Year of the Rooster, National Taiwan Museum of Fine Art, Taichung, Taiwan

2016 "2016 Taiwan Annual", Taipei Expo Park, Taipei, Taiwan

林奕軒 LIN, Yi-Hsuan

134

林政融 LIN, Jhang-Rong

太湖石置於水溝蓋 The Great Lake Rocko on Ditch Plate

恍惚 Trance

一顆太湖石被放置在水溝蓋上。

無狀之狀，無物之象，是謂恍惚。

The great lake rocko on ditch plate.

Is that the shape of the shape, no matter of the elephant, is that trance.

2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 116 x 80 cm

135

2017 ﾉ天然樹漆 Tree Lacquer ﾉ 80 x 80 cm 2017「雪嗑必否愉均可」中國文化大學第

51 屆畢業展，郵政博物館，台北，台灣

2016「華岡藝展」，華岡博物館，台北，台灣

2016「中華漆畫學會年度大展」，華岡博物館，台北，台灣

2017 "Shake before you drink - The 51st Graduation Exhibition of National

Culture University", Post Museum, Taipei, Taiwan

2016 "Hua Gang Art Exhibition", Hwa Kang Museum, Taipei, Taiwan

2016 "Chinese Lacquer Painting Society Annual Exhibition", Hwa Kang Museum, Taipei, Taiwan

林星 LIN, Sing

136

《窗前》- 廣華新邨 16

花瓣凋零，這已是第四年的景色。最初這舊家搬來的蘆薈是為了母女敷面而種植，默默地過了兩年後的某天，女兒發現蘆薈正準備著開花，於是興致勃勃地告訴母親，而母親也興致勃勃的問「蘆

薈開花是好兆頭嗎？」。至從開花後的那年，母女再也沒用蘆薈敷面了，母親說「大家都說沒看過蘆薈開花，它現在在我們家開花了，一定是個好兆頭，要好好對待它。」，就這樣蘆薈有了不一樣的角色。這是《窗前》系列中的 “廣華新邨 16”，聽澳門人說著住澳門的故事。我是聽故事的，看故事的，也是說故事的。

The petals have withered. The scenery has repeated for four years. The aloe was first moved

from the old house to make facial masks for the mother and daughter. Some day after two years, the daughter found that the aloe was about to bloom, so she told her mother excitedly. The mother was also excited and asked, "is it a sign of good luck?" The year after the aloe

has bloomed, the mother and daughter didn't use it to make any aloe masks. The mother said, "everyone told me that they have never seen aloe flowers, but now it's blooming in our home. That must be a good sign. We should treat it right."Thus, the aloe played a different

role from then on. This is one in the series of 'In front of Window' called '16 Edifício Kwong Wa',

where I listen to stories about Macau from people in Macau. I am a listener, reader, and also a storyteller.

137

記住的留下來 Saved

2016-2017 ﾉ紙本輸出 Paper Print ﾉ 33 x 51 cm

"In Front of Window" - 16 Edifício Kwong Wa 2017 ﾉ C print ﾉ 75 x 150 cm

林盈君 LIN, Ying-Chun

2016「未來請柬」移工與全球境遇－陳永

賢藝術團隊《移工藝術計畫》，人文遠雄博物館，汐科，台灣

2015「蓬萊仙島」，空場，台北，台灣

2015「肌顫」，789 養雞場，桃園，台灣

2014「宜蘭美展」，宜蘭文化中心，宜蘭，台灣

2014「說話不斷句手冊」，NePo Gallery，台北，台灣

2016 "The Future Invitation" Migrant Workers and Their Status of

Globalization - Chen Yung-Hsien and his crew members "Migrant Workers Art Project", Farglory Museums, Saike, Taiwan

2015 "Penglai xiandao", Polymer, Taipei, Taiwan

2015 "Muscle Sharking", 798 Art Space, Taoyuan, Taiwan

2014 "Yilan Art Exhibition", I-Lan Culture Center, Yilan, Taiwan

2014 "Speaking without pause guide", NePo Gallery, Taipei, Taiwan

將某天經驗的情感記憶提取摘錄下來，以可被讀取的方式展現自己某個時期的生命歷程。在當日的報紙或日曆上塗鴉。報紙刊登的內容與我本身經驗摘錄的內容，有時相關有時疏遠。

Save someday experience of emotion, transfer it to visual be ready of life's journey in myself. The paper content sometimes are close but distantly with my life experience.

2017「滲透」，永富 5 號，新北，台灣 2017「滲透」，剝皮寮，台北，台灣

2016「仙渡莊計畫 II—想像的地理中心」，造船廠，新北，台灣

2016「日常寫真」，私藝術，台北，台灣 2015「不太乖教育節」，華山，台北，台灣

2017 "Penetrate", Yonfu5, New Taipei City,

Taiwan

2017 "Penetrate", The Bopiliao Historical Block, Taipei, Taiwan

2016 "Xanadu Project-A Place Without

Boundaries", Shipyard, New Taipei City, Taiwan

2016 "Daily of Portrait", Unique Art, Taipei, Taiwan

2015 "Naughty Education Fest", Huashan, Taipei, Taiwan

林書柔 LIN, Shu-Jou

138

缺角 Missing Angle

林祖帆 LIN, Tsu-Fan

139

途 Way

2017 ﾉ複合媒材 Mixed Media ﾉ 72.5 x 91 cm

2016 ﾉ複合媒材 Mixed Media ﾉ 100 x 80 cm

缺了一角，卻長出了你的味道，以為這樣可以離你更近些，但我知道，這只是我的價值，不斷被

2014「林書柔綜合果汁小品展」，高雄，

環繞一圈，

2016「大邱藝術博覽會」，大邱展覽中

麗的景裡帶著缺角，躲避吞噬。

2013「女孩。牽小馬。散步」，台南，台

不管多努力想征服它的美麗，

2016「私房話」-EDA 學生藝術商店，真

瓜分的可悲，掙脫一次的討伐，不代表逃得了下一次的刀，每天過著魚的生活，戰戰兢兢，在美 Missing a corner, but grow your taste, that this can be closer to you but I know, this is just my

value, constantly being carved up sadly, break out of the crusade, does not mean to escape the

next knife, live a fish life every day, trembling, in the beautiful scenery with a missing angle, to avoid swallowing.

台灣灣

2014 "Lin, Shu-Jou comprehensive

fruit juice exhibition" , Kaohsiung, Taiwan

2013 "Girl. Pull pony. Walk" , Tainan, Taiwan

我的視角看到的只是某個片段，還是無法看清，

原來我始終躺在它的懷裡。身處在山林之中，隨著腳步前進，而視角看到的卻是景色的某一段不完整切面，在環繞山林的過程，每走一步路看到的景色是截然不同，當我很努力的想把每一處美景都盡收眼底時，卻發現無論我走多遠，視角還是無法很完整的把所有面向一次看清，因為我正處在其中。

Looking around, I only see part of it from my perspective. No matter how hard I try to conquer its beauty, I still cannot see thoroughly. It is because I always lie in its arms.

心，大邱，韓國

書軒，台北，台灣

2015「前往下一站 . 內在風景」，自由人藝術公寓，台中，台灣

2015「高雄藝術博覽會」，駁二藝文特區，高雄，台灣

2013「觸視感」，藝托邦藝文空間，台南，台灣

Surrounded by mountains and I keep moving with my steps. However, only a fragment of

2016 "Daegu Art Fair", EXCO, Daegu,

scenery is very different. When I try hard to see all at one glance, I find out no matter how far I

2016 "I Have Something to Tell You"

scenery can I see from my perspective. In the process of walking around the mountains, every go, I still cannot see the whole picture. It is because I am in it.

Korea

- EDA, The Jen Library, Taipei, Taiwan

2015 "Next Stop: The View from

The lnside", Freedom Men Art

Apartments, Taichung, Taiwan

2015 "Art Kaohsiung", The Pier-2 Art Center, Kaohsiung, Taiwan

2013 "A Sense of Touch", Artopia Art Space, Tainan, Taiwan

林淑娟 LIN, Shu-Chuan

140

靜謐 Quiet

呈現心中的真誠清淨平等覺。

Three Kingdoms Wei Ji Kang "Qin Fu" says: "Startled Su to quiet, dense slightly idle." In this

series of Zen flowers, take the peace of peace and tranquility, showing the heart of the sincere and clean feeling.

141

對質 Confrontation

2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 50 x 60.5 cm 三國・魏・嵇康《琴賦》：「竦肅肅以靜謐，密微微其清閒。」在此禪花系列中，取荷花的安寧平靜，

林綺暄 LIN, Chi-Hsuan 2016 ﾉ油彩、畫布 Oil on Canvas ﾉ 95 x 110 x 8 cm

2017「凝」湖光畫會 2017 聯展暨雲林縣

美術協會邀請展，台北市藝文推廣處，台北，台灣

2016「台灣當代一年展」，花博爭豔館，台北，台灣

2016「雲林縣美術協會湖光畫會結盟姐妹會聯展」，雲林縣文化處展覽館，雲林，台灣

2011「詩性造境」林淑娟個展，大漢藝廊，新北，台灣

2010「設計創意新紀元」台澳當代藝術交流展，銘傳大學，桃園，台灣

2017 "Gaze - Hu Guang Paint Society 2017 Exhibition And Yunlin

County Art Association Invitation Exhibition", Taipei City Arts

Promotion Office, Taipei, Taiwan

2016 "Taiwan Annual", Taipei Expo Park Expo Dome, Taipei, Taiwan

2016 "Yunlin County Art Association

And Hu Guang Paint Society Sister

Alliance Exhibition", Yunlin Cultural Office, Yunlin, Taiwan

2011 "Poetic Landscape - Lin, Shu-Chuan Solo Exhibition", Ta-Han Gallery, New Taipei City, Taiwan

2010 "New Era of Design And Creation

– Taiwan Australia Contemporary Arts Exchange", Ming Chuan

University, Taoyuan, Taiwan

幻覺，一種更深刻的感情，沒有意願去分清誰才是影子。九月艷陽下的熱度，都在氣化，最終消失在極地的兩端。

Illusion, a significantly deep emotion, with no intent to discriminate which one is the shadow. Under the scorching September sun, all is evaporated, eventually vanishing on the opposite poles.

2016「引爆藝術力」，世貿三館，台北，台灣

2016「那人• 那風•那海」三人聯展，金寶隆藝廊，台北，台灣

2002「繁花•人間•羽翳」三人聯展，師大德群畫廊，台北，台灣

2001「遊移•可見•不可見」個展，華山文化創意產業園區，台北，台灣

2000「愈研愈烈」研究生聯展，台北市立大學藝術館展示中心，台北，台灣

2016 "The Tipping Point － Art Is

Powerful", Taipei World Trade

Center Exhibition Hall 3, Taipei, Taiwan

2016 "The Man• The Wind• The Sea － Trio Exhibition", King Boutique Art Gallery, Taipei, Taiwan

2002 "Blooming．Living．Misting － Trio Exhibition", Gallery of

Department of Fine Arts, National

Taiwan Normal University, Taipei, Taiwan

2001 "Transition Between the Visible and the Invisible － A Solo Exhibition", Huashan 1914 Creative Park, Taipei, Taiwan

2000 "Researched", Intensified －

Exhibition of Graduated Students, Gallery of Department of Visual

Arts, University of Taipei, Taipei, Taiwan

林穎滋 LIN, Ying-Tzu

142

洄瀾印象－港口部落之大港口 Hualien Impression - Laeno

邱杰森 CHIU, Chieh-Sen

143

地牛 Underground Bull

2016 ﾉ壓克力顏料、漁網、穀殼 Acrylic Paints, Fishing Net, Chaff ﾉ 60 x 45 cm

2014 ﾉ EPSON 藝術微噴、頂級藝術紙 EPSON UFSAP ﾉ 90.5 x 90.5 cm

記錄我在花蓮生活一段時間的所見所聞：那是一個靠海的部落，走路五分鐘即到出海口，我們住

2016「春風化雨薪傳」趙小寶師生聯展，

著重於「人文地理學」上藝術如何詮釋「地方」，由踏查、田調保存歷史性的一面，研究它的形象

2017「新生北路三段 82 號」，福利社，

和金色光輝。漁網在陽光照射下閃閃發亮。當地阿美族人過著自給自足的生活，除了種菜，種田，

2016「海洋那麼好」者播藝術中心藝術家

樣貌所造成的地方崩解，以台灣為研究本體進行創作，探究藝術如何看待「地方崩解」。

2017「如畫之詩」，新富町文化市場，台

的地方聽得見海潮聲。靠海的地方有稻田，及蜿蜒小溪，也有草原，湛藍的海有時海會呈現綠色

自己輾米，也吃自家捕的魚。畫面上的是當地居民使用過已破舊的家用漁網，記錄一雙勞動的手，滄桑的眼，和一顆父親疼愛小孩的心。

Record my life in Hualien: It is a beautiful Amis tribe located in the mouth of Xiuguluan river, walking five minutes can reach the sea, where we longstay can hear the tide sound. There are

新竹生活美學館，新竹，台灣

聯展，者播藝術中心，花蓮縣，台灣

2016「漫步淡水」，淡水小白宮，新北市，台灣

rice fields, meandering streams, grasslands, sometimes, blue sea will show green and golden

2015「淡水風情」，新北市立圖書館淡水

This creation is record rice and fishing culture from here, a old fishing nets, chaff, a pair of labor

2014「生命的旅程」林穎滋個展，枕石畫

shining, and the fishing nets shining under the sun. Most of the Amis live a life of self-sufficiency. hand, vicissitudes of the eye, and a fathers love for his child.

分館，新北市，台灣室，新竹，台灣

2016 "Group Exhibition with Jaw Shao-

Bao", National Hsinchu Living Arts

並重新塑造在地理學上與人的交感關係，體現人在「存在感」上的認知差異。全球化影響下的都會

Chiu focuses his practice on "ultural geography" and how art can render a "place." Through field studies, he researches the image of a place and sustains its historical identity; he reconstructs

the relationship between people and geography and reflects on the difference between people's understanding of "existence" in space. Furthermore, he analyzes how the metropolis

台北，台灣北，台灣

2016「詩意的緊急狀態」第 29 屆馬賽國

際錄像節，Friche Belle de Mai，馬賽，法國

developed under globalization has caused a disintegration of "place"; setting Taiwan as a place

2016「看不見的斯納克」，當代藝術文化

"place."

2016「台南新藝獎」，佳佳西市場旅店，

of research and artistic creation, Chiu explores how art interacts with the disintegration of

中心，蒙彼利埃，法國台南，台灣

2017 "No.82, Sec.3", Xinsheng N. Rd. ,

FreeS Art Space, Taipei, Taiwan

Center, Hsinchu, Taiwan

2017 "Ut pictura poesis", U-mkt , Taipei,

Hualien, Taiwan

2016 "29th Festival Les Instants Vidéo",

2016 "Riyar – Fangcal", Cepo Art Center, 2016 "Sidewalks of Tamsui" Tamsui

Customs Officer's Residence, New Taipei City, Taiwan

2015 "Tamsui Atmosphere", Tamsui New

Taipei City Library, New Taipei City, Taiwan

2014 "LIN Ying-Tzu Solo Exhibition",

ZSart Studio, Hsinchu, Taiwan

Taiwan

Friche Belle de Mai, Marseille, France

2016 "Snark Invisible", La panaceé (Contemporary Art Center), Montpellier, France

2016 "Next Art Tainan", Jia-Jia west market hotel, Tainan, Taiwan

邱姵紜 CHIU, Pei-Yun

144

白老虎 White Tiger

2017 ﾉ複合媒材 Mixed Media ﾉ 136 x 96 cm

《不愛會死》這個系列總共有 12 張作品，主題是全世界瀕臨絕種的貓科動物肖像。

2017「Melody in animal」，麥田，台北，

的。

2017「拙著」，花博游移美術館，台北，

而黑色厚塗背景則代表死亡及人類的冷漠，將一步步將這些生命推向滅絕。

願更多人能夠關注動物保護及環境保護的議題，否則這一系列就成為遺照了。 "Love or Die" This series has a total of 12 works, the theme is the world's endangered cats portrait.

Portrait of the idea comes from the identity card, like a symbol of an important identity, as in my mind, every life in the world is important.

While the black thick painted background represents death and human indifference, will step by step to push these lives to extinction.

More people are concerned about animal protection and environmental protection issues, otherwise this series has become a negative photo.

145

龍鳳和鳴 Dragon and Phoenix Chorus in the Sky

2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 60 x 60 cm 肖像的發想來自於身分證，像是一個重要身分的象徵，如同在我心中，世界上每個生命都是重要

邱琦 CHIOU, Chi

台灣台灣

2016「真實櫥窗－ The Gift」，Legacy，台北，台灣

2017 "Melody in animal", Wheatland, Taipei, Taiwan

2017 "Clumsy", Taipei, Taipei, Taiwan

2016 "The Gift", Legacy, Taipei, Taiwan

龍鳳和鳴天際，天地陰陽合和，宇宙萬物應運而生。和樂起，柔乎其內，順乎其外；春花爭豔夏有微風，秋收冬藏萬事亨通。

Dragon and phoenix chorus in the sky, they bring harmony between heaven and earth.

Everything of the universe came into being. Harmony of music surrounds the body, placate internal organs and smooth transfer external world. Flowers blooming in the Spring. The breeze slowly blew through the summer. Abundant harvest in the Autumn which brings rich and peace in the Winter. Everything is going prosperous always and forever.

2017「任意門」藝術殿堂任我遊個展，國立台灣藝術教育館，台北，台灣

2017「藝氣風發」中華藝風書畫會聯展，國立國父紀念館博愛藝廊，台北，台灣

2016「台灣當代一年展」，台北圓山花博爭豔館，台北，台灣

2016「藝薈香江」中華藝風書畫會聯展，香港大會堂展覽館，香港，中國

2016「兩岸藝術網聯展」，吉林藝廊，台北，台灣

2017 "The Freedom Door", National

Taiwan Arts Education Center, Taipei, Taiwan

2017 "Brilliant Artistic Atmosphere"

Chinese painting and calligraphy association Exhibition, National Dr.Sun Yat-sen Memorial Hall, Taipei, Taiwan

2016 "Taiwan Annual" AVAT Exhibition, Taipei Yunsan Zanyuan Hall, Taipei, Taiwan

2016 "Prosper Art in Hong Kong"

Chinese painting and calligraphy

association Exhibition, Hong Kong City Hall, Hong Kong, China

2016 "Bilateral Art Web", Jilin Art Gallery, Taipei, Taiwan

邱語樺 CHIU, Yu-Hua

146

金炫辰 KIM, Hyun-Jin

147

期待 -s#1 Expectation-s#1

What Kind of Rebel are You? 2016 ﾉ壓克力顏料 Acrylic ﾉ 80 x 100 cm

2017 ﾉ木刻版畫油印於紙上 Woodcut, Oil Ink on Paper ﾉ 30.5 x 27 cm

每個人從出生到死亡，背負各種角色框架，男人就該有男人的樣子，女人就該有女人的樣子，近

2017「至榮藝術獎作品展」，市立大學，

人是因為期待而有了生命力，在人生旅程中因為有期待而有盼望，對自己、對親人、對未來種下

2017「第 6 屆觀瀾國際版畫雙年展」，中

裡不具有負面意涵，而是一種不服從傳統框架的態度。傳統上口紅應該是擦塗平整的，但我使用

2013「台少盟公益海報聯展」，中山公民

潤你心靈深處的種子，使它發芽成長、歡喜綻放。

2016「金炫辰版畫展」，ART ZONE 神樂

年來國際性別意識抬頭，我們都不可忽視，這些角色的定義已沒有標準答案，「rebel 叛逆」在這不擦塗平整口紅的人物呈現「叛逆」，諷喻所謂「彩妝就該有彩妝的樣子」，即便以社會認知來說不慎雅觀，但它就是一種真實存在的形式，並擁有存在的權利。

Everyone from birth to death, carrying a variety of role frame, men should have a man's appearance, women should have a woman's appearance, in recent years, the rise of international gender awareness, we cannot ignore the definition of these roles have no

standard answer, Rebel rebellion "does not have a negative meaning here, but a disobedience

to the traditional framework of the attitude. Traditionally lipstick should be smooth, but I use a non-flattened lipstick character to show "rebellious", allegory so-called "make-up on the makeup look", even if the social awareness of careless, but it is A form of real existence, and the right to exist.

台北，台灣

會館，台北，台灣

2011「設計龍創作聯展」，世新大學，台北，台灣

2017 "Zhi-Rong Contest of Art

Exhibition", University of Taipei, Taipei, Taiwan

2013 "Taiwan Alliance for Advencement

of Yourth Rights and Welfare Group Exhibition of Charity Posters",

Community Center of Zhongshan, Taipei, Taiwan

2011 "Group Exhibition of Graphic

Design", Shih Hsin University, Taipei, Taiwan

盼望與夢的種子，期待它發芽成長，結出果實，當你忠實於現在的每一瞬間，真誠的雨露便會滋 People live because of expectations, and because of expectations people have hopes for

themselves, their families and the future. When you are true to yourself every single minute of your life, the honesty that is hidden deep inside of you will eventually be discovered.

國版畫博物館，深圳，中國岡畫廊，京都，日本

2016「第 13 屆 GIELNIAK 國際版畫展」，Dział Sztuki 美術館， Karkonoskiego，波蘭

2016「紙上創作」台日韓美術交流展，台南新營文化中心，台南，台灣

2015「瀟湘國際版畫名家邀請展」，美崙美術館，長沙，中國

2017 "6th Guanlan International Print Biennial", China Printmaking Museum, Shenzhen, China

2016 "HYUN - JIN KIM Solo Exhibition", ART ZONE KAGURAOKA Gallery, Kyoto, Japan

2016 "13th GIELNIAK GRAPHIC ARTS COMPETITION", Dział Sztuki

Museum, Karkonoskiego, Poland

2016 "Art Work Created on Paper: Taiwan, Japan and Korea

exchange exhibition of fine arts",

Xinying - Culture, Tainan, Taiwan

2015 "The Xiaoxiang Exhibition of

International Printmaking", Meilun Museum of Art, Changsha, China

姜麗華 CHIANG, Li-Hua

148

無調性光流 Atonal Light Flow

紀又仁 CHI, Yu-Jen 事情的正面跟反面 The Front and Back of Things

2017 ﾉ攝影燈箱 Photographic Light Box ﾉ 50 x 60 cm

2017 ﾉ陶瓷 Ceramics ﾉ 65 x 54 x 15 cm

摒棄正常的曝光值，藉由相機本身預設的數值，從 1 秒起，經 1.3 秒…至 30 秒，共 16 個不同的

2017「台北 ‧ 巴黎：記憶軸」攝影個展，

我用日常生活中撿拾而來的東西作為模具，包括塑膠盒、餐具、保麗龍塊。然後將陶板按壓在上面，

跡。就常識而言，這是一種自然界正常狀態的現象，但如果沒有透過相機記錄，單憑人類的肉眼

2015「104 年全國美術展」，國立台灣美

喻雖然很多事情都有正反兩面，光鮮亮麗的一面未必是事情的全貌，只是我們怎麼去看而已。

時間長。在夜間拍攝有移動性的光源，例如汽車、機車等，造成畫面留下「光」移動的速度感與軌

是看不到這些光的軌跡，所以將此現象稱之為無調性光流。另有四張曝光值皆在 30 秒以上，原是可以清晰看到黑夜裡的暗角，故意改以負片呈現，表達時間無所不在。

Abandon the normal exposure value, by the camera itself default value, from 1 second, after

1.3 seconds... to 30 seconds, a total of 16 different long time. In the night to shoot a mobile light

source, such as cars, locomotives, etc., resulting in the screen to leave the "light" movement speed and track. In common sense, this is a natural state of the phenomenon, but if not recorded through the camera the human eye alone can't see the trajectory of these light, so

this phenomenon is called Atonal Light Flow. Another four exposure values are more than

30 seconds, the original can clearly see the night in the dark corners, deliberately changed to negative film, expression time is everywhere.

149

二空間，台北，台灣術館，台中，台灣

2013「異鄉愁─姜麗華攝影暨錄影個

展」，台灣藝術大學國際展覽廳，新北市，台灣

2012「淨空：台灣藝術大學 ‧ 女子美術大學交流展」，日本女子美術大學美術館，神奈川，日本

2003「追憶影像：數位攝影個展」，

三十一號空間，伊西．萊．穆利歐，法國

2017 "Taipei Paris - Memory Axis"

Personal Photography Exhibition, Spacetwo, Taipei, Taiwan

2015 "2015 National Art Exhibition,

ROC", National Taiwan Museum of Fine Arts, Taichung, Taiwan

2013 "Hetero - Nostalgia ─ Chiang

Lihua's Personal Photography & Video Exhibition", Gallery

International Exhibition at National Taiwan University of Arts, New Taipei, Taiwan.

2012 "The Creation of the Void :

Exchange Exhibition Between

NTUA & Joshibi University fo Art and Design", Joshibi University of Art and Design Art Museum, Sagamihara, Japan

2003 "Past Day, Past - Photo : Personal

Photography Exhibition" , Gallery

"Espace 31", Issy - les - Moulineaux, France.

形成兩面不同造型的作品，其中一面塗上鮮艷的釉藥，另一面則是原本陶土的顏色。這個作品暗 I use found objects as mould. One side is applied with glaze and the other remains the original

texture of clay. This work implies that everything has two faces, but sometimes we only see the bright side of thing and forget the other side.

2016 Final Selected Exhibition "The 5th World Emerging Ceramic Artists Competition", International Ceramic Magazine Editors

Association Symposium ICMEA 2016 (CN), Fuping Pottery Art Village, Fuping, China

2016 Group show in Taiwan Annual "The 15th Edition of Artist Fair Taiwan", Taipei Expo Park, Taipei, Taiwan

2016 Group exhibition "The Human

Condition" with Martin and Wen-

Hsi Harman (UK ), madL Art Space, Taipei, Taiwan

2016 Final Selected Exhibition in

"The 11th Tagboat Gallery Art Competition" (JP ), Richman Touch Culture Space, Taipei, Taiwan

2015 Group Exhibition in "Territorial

Friendship" in The 14th Edition

of Artist Fair Taiwan, Taipei Expo Park, Taipei, Taiwan

紀向 CHI, Xiang

150

紫夢山 Purple Dream Mountain 的創作卻也是作者，湧湧不斷的思想本質。

The creation of digital art creation, but also in the creator of self-ideas, any of the creation of aesthetics, not from the creator of the idea of continuous creation but also the author, the constant ideological nature of Chung.

151

（生活是）持續進行的創作 Life / Work in Progress

2016 ﾉ數位輸出、畫布 Digital Output, Canvas AP ﾉ 35 x 130 cm 數位藝術創作的創造，卻也本於創作者自我意念，任何一創作的美學，不離創作者的思想，不斷

苗之珊 MIAO, Chih-Shan 2011-2017 ﾉ噴墨輸出 Inkjet Output ﾉ 150 x 25 cm

2017「台灣『意念藝術』的先驅者」，台

在拍攝單身者《臥室計畫》後，我意外地成為他們的家庭攝影師。一人臥室的展開式。本來屬於系

2016「台灣當代一年展」，台北圓山花博

2016「數位藝術超現實創作展」，彰化美

的過程，但不進亦無路可退吧。所以我們在日常累積中活著，在活著中改變，在改變中前行。生

2015「台灣藝術家博覽會」，台北圓山花

南文化中心，台南，台灣學館，彰化，台灣

2016「大道 v.s 大象」紀向個展，彰化美術館，彰化，台灣

2015「內在圖象」，中國信託銀行，台中，台灣

2015「大象漾」，中央研究院，台北，台灣

列作的其一作品，開始有了獨立生命。人生的際遇實在難說，與時俱進是人們生活大抵不可違逆活如是，（這項）創作亦如是。

This series is developed independently from The Bedroom Project which focuses on personal space of single people. One of my sitter, Tom Hsu, got married a year after I took his portrait in

爭豔館，台北，台灣

博爭豔館，台北，台灣

2014「高雄獎」，高雄市立美術館，高雄，台灣

his room. Changes in life always take place, and you never know. A single then, a family now.

2014「年全國美術展」，國立台灣美術

progress of course, and life is a work in progress as well.

2012「臥室計畫」個展，八樓當代藝術空

I started this long-term project to photograph them, and pay my visit yearly. It is a work in

館，台中，台灣間，台北，台灣

2017 Taiwan "Idea Art" Pioneers, Tainan

2016 "2016 Taiwan Annual", Taipei Expo

2016 "The Surreal Aesthetics Art",

2015 "2015 Artist Fair Taiwan", Taipei

Cultural Center, Tainan, Taiwan National Changhua Living Arts Center, Changhua, Taiwan

2016 "The Big Truths Paintings", The

County Art Museum, Changhua, Taiwan

2015 "The Inner Image", CTBC, Taichung, Taiwan

2015 "The Big Waves", Art Space of Life Science Librart Academia Sinica, Taipei, Taiwan

Park Expo Dome, Taipei, Taiwan Expo Park Expo Dome, Taipei, Taiwan

2014 "2014 Kaohsiung Awards",

Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

2014 "2014 National Art Exhibition",

National Taiwan Museum of Fine Arts, Taichung, Taiwan

2012 "The Bedroom Project", Floor 8

Contemporary Art Space, Taipei, Taiwan

范巧鈴 FAN, Chiao-Ling

152

在森林裡 Through the Forest

2013 ﾉ數位輸出 Digital Output ﾉ 80 x 53 cm

關切環境、生態與人之間的交互作用與鏈結；對人、人、人之體現與體驗，以物件隱喻人／生命體，

2017「YOUNG ART TAIPEI」，台北喜來

互產生的化學及物理交變關係作用。以類生物遺跡隱喻各項事件開展的景況；以其地質感展現各

2017「台灣文創與藝術博覽會」，台中大

「心內風景」的景況，以心理覺知，探究視覺之觸覺感，揭櫫歷程似的感遇，鎔冶時間紋理、空間肌理，期作品達到視 = 心 = 觸，身心體感皆歷其境的每一個瞬間。

Concerned the interactive and connection between environment, ecology and human beings;

登，台北，台灣

里科技園區，台中，台灣

2016「楊桃派」銳藝術家助長計畫，阿波羅畫廊，台北，台灣

aimed at the "surroundings" composed by individual, oneself and others, all the others which

2016「台中藝術博覽會」，台中日月千

and spatial exploring transformed the sense of touch beyond visual. Conveyed the "inner

2015「構圖 ‧ 台灣」創作聯展，阿波羅

generated chemical and physical inter-trans effects among any two of them. Geographically

landscape" by remains/traces of living-creatures, explore the sense of touch by visual sense way through psycho phenomenon. Reveal whole the journey as molding the traces of time and texture of space, leading the art works as the level of seen = mind sense = feel of touch.

153

如此的靠近 So Close to

2015 ﾉ壓克力、畫布 Acrylic on, Canvas ﾉ 34 x 34 cm 現階段的生命狀態。著眼人與人、自身與他者，他者與其它所形成的「週遭」，其二者與多者間相

范晏暖 FAN, Yen-Nuan

禧，台中，台灣

畫廊／國立台南生活美學館第三展覽室，台北／台南，台灣

2017 "YOUNG ART TAIPEI", Sheraton

Grand Hotel Taipei, Taipei, Taiwan

2017 "Art & Creative EXPO", Dali Art, Taichung, Taiwan

2016 "Young & Top", Young Artists

Project, Apollo Art Gallery, Taipei, Taiwan

2016 "Art Taichung", Millennium Hotel, Taichung, Taiwan

2015 "GO TO TAIWAN", Apollo Art

Gallery/Tainan Exhibition Center, Taipei/Tainan, Taiwan

記憶是一種時間經過的凝固化（Consolidated），當記憶的形式是成為一種選擇 , 甚至重新建構的歷程，或認知的解釋時，在主觀意識之下主導想像，使之變形成為圖像檔，而藝術正在發生…

Memory is a time through the solidification (Consolidated), when the form of memory is to become a choice, or even reconstruction of the process, or cognitive interpretation, under the subjective consciousness of the dominant imagination, so that deformation into an image file, and Art is happening...

2017「清水光照」范晏暖裝置藝術展，清水水眷村文化園區，台中，台灣

2016「詩的風景」范晏暖書法個展，台灣燈會 2016，桃園青埔，台灣

2015「記憶與光照」范晏暖個展，新樂園藝術空間，台北，台灣

2014「視象凝結與圖像再造的對話」，藝境畫廊，台北，台灣

2013「Memory Mode」范晏暖個展，新樂園藝術空間，台北，台灣

2017 "Shine in the Shimizu – Fan,

Yen-Nuan Installation Art Solo

Exhibition", Shimizu Dependents Village Culture Park, Taichung, Taiwan

2016 "Landscape of Poetry – Fan, Yen-

Nuan Calligraphy Solo Exhibition

of Taiwan Lantern Festival 2016", Qingpu, Taoyuan, Taiwan

2015 "Memory and Shine – Fan, Yen-

Nuan Solo Exhibition", Shin Leh Yuan Art Space, Taipei, Taiwan

2014 "Dialogue Between Video

Condensation and Image

Reconstruction", ARTDOOR Gallery, Taipei, Taiwan

2013 "Memory Mode – Fan, Yen-Nuan

Solo Exhibition", Shin Leh Yuan Art Space, Taipei, Taiwan

凌渝英 LING, Yu-In

154

水蓮花開 Water Lily

徐昭華 HSU, Chao-Hua

155

藍色小方舟 Blue Little ARK

2008 ﾉ碎布 Leftover Scrap of Cloths ﾉ 55 x 75 cm

2016 ﾉ油彩、畫布 Oil on Canvas ﾉ 149 x 116 x 4 cm

萬物間任何形式的媒材都可由作者主觀自由意識，創造出各種形態的藝術作品，供人欣賞。不限

2017「凌渝英畫人生個人展」，宏達電總

藍色方舟是作者在以捷運為主題，一系列反映現代人擁擠又疏離的社會紀實創作中，一幅跳脫現

2016「台灣當代一年展」，花博公園爭艷

欣賞，有人接受，就是藝術。

2016「凌渝英布畫創作邀請展」，研華基

環保的憂慮，喚醒共存方舟的意識。稟持的創作理念，是以細膩寫實描繪，反應貼近的生活觀察，

2016「徐昭華創作個展」，國立台灣圖書

於平面、立體、抽象、具象，甚至於三、四度空間，超現實表現主義等等，不一而足，只要有人

個人 1980 年偶然間以手邊碎布，當作油彩運用，創造出一系列類似油畫般的作品，展出以來，甚獲好評。

這件水蓮花開，作者就是將各種不同色系布料，當作新媒材方式巧妙運作，製成新的藝術境界作品，令人耳目一新！

Among all mediums can be in any form by the author subjective sense of freedom to create works of art in various forms. It is not specific to 2D, 3D, abstract, figurative, or even three or

four-dimensional space, surreal expressionism and so forth, as long as people enjoy and accept it. It is art.

In 1980, I used some leftover scraps of cloth and wood planks to create an art work. Since then, I have developed a series of creation with my unique skills. I have won good reputation out of my over 30 international and domestic exhibitions.

The author is a variety of different colors fabric, as a new way of the new media clever operation, made a new art realm of works, it is refreshing.

部藝廊，台北，台灣

金會公益廊，台北，台灣

2016「中華藝風畫會藝薈香江聯展」，香港海港大樓，香港，中國

2013「凌渝英布畫創作邀請展」，教育部藝術走廊，台北，台灣

2012「凌渝英布畫創作邀請展」，經濟部藝文中心，台北，台灣

2017 "Sophia Lin's Cloth Pictures Solo

Exhibition", HTC Headquarters - 1F Lobby, Taipei, Taiwan

2016 "Sophia Lin's Cloth Pictures

Creative Exhibition", Advantech Foundation Building (Public Gallery), Taipei, Taiwan

2016 "China Artists Joint Exhibition", Harbour Building, Hong Kong, China

2013 "Sophia Lin's Cloth Pictures

Creative Exhibition", Ministry of Education (Art Gallery), Taipei, Taiwan

2012 "Sophia Lin's Cloth Pictures

Creative Exhibition", Ministry of Economic (Affairs Arts Center), Taipei, Taiwan

實的想像之作。希望透過一群坐在捷運藍椅的天真孩童，串連動物、海洋的元素，對照少子化及表達最直接的自我情感。

The Blue Little ARK is full of imagination and away from reality. It is one of a series of works

based on MRT as the theme, compared to the crowded and alienated modern society. Through

館，台北市，台灣館，新北市，台灣

2014「年宜蘭美展」，宜蘭縣文化中心，宜蘭市，台灣

a group of sunny children sitting in the MRT blue chai, concerned about "fewer children" and

2011「年宜蘭美展」，宜蘭縣文化中心，

concept of coexistence ark. The inner creative ideas, with a meticulous reality description, close

2011「年全國美術展」，國立台灣美術

"environmental" issues with animals and marine elements, the artist hope to wake up the to everyday life, express the most direct self-emotion.

宜蘭市，台灣

舘，台中市，台灣

2016 "2016 TAIWAN ANNUAL", Flower Expo Park, Taipei, Taiwan

2016 "Y2016 Chao - Hua Hsu solo

exhibition", National Taiwan

Library, New Taipei City, Taiwan

2014 "Y103 Yilan Art Exhibition", Yilan cultural Center, Yilan, Taiwan

2011 "Y100 Yilan Art Exhibition", Yilan cultural Center, Yilan, Taiwan

2011 "Y100 National Exhibition",

National Taiwan Musuem of Fine Arts, Taichung, Taiwan

時光林 TIME-LIN

156

時光的臉 Time Faces

2016 ﾉ樹脂 Cast ﾉ 45 x 15 x 75 cm

畫了六年，希望超越自己習慣思考和創作方式，第七年時，將擅長、習慣的拋開，嘗試用直覺畫，

2017「佛羅倫斯雙年展」，福爾泰扎達巴

的無目的性，是透過顏色與造型的顛覆，展開表現的新可能！畫畫是完全的感性，現在，我畫很

2015-2016「法國秋季沙龍展」，香榭里

自由，也不去想完成的樣子，從開始到完成，享受不斷有驚喜，這就是樂趣 ! 回看自己，現在有一種「眾裡尋他千百度，驀然回首，那人卻在燈火闌珊處。」的況味！

Painted for six years, hoping to go beyond my own habits of thinking and creative way, the

索，佛羅倫斯，義大利舍大道，巴黎，法國

2014「時光林油畫世界個展」，國立台灣藝術教育館，台北，台灣

seventh year try to use intuitive painting, not subject to color and line restrictions, under every

2013「賞宇宙時光個展」，國立中正紀念

of new possibility! Painting is a complete sensibility, now my drawing is free, do not want to

2013「國際公募 ART 未來展」，國立新美

thought between colors and lines. The painting is through the color and shape, to perform predict the look, from the beginning to the completion of the enjoyment of the surprise, it is

fun! Look back at yourself, now there is a "Suddenly look back, the man was in the dim light" situation!

157

我要飛上青天 I Want Fly to the Sky

2016-2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 52 x 44 x 4.5 cm x 7 不受顏色和線條限制，下每一筆思考顏色與顏色、顏色與線條、線條與線條的關係。新美好繪畫

翁振予 WENG, Zhen-Yu

堂，台北，台灣

術館，東京，日本

曾經我有一個夢想妄想能夠一飛衝天，畢竟不是天生長有翅膀，無法在天上停留許久，終究會落回地面變回凡人。

I has a dream that I can fly to the sky, but I am not growing wings, cannot stay in the sky for a long time, I will falling become human.

2015「We are here 435 藝術家工作室聯展」，435 藝文特區，台北，台灣

2015「14 屆台灣藝術家博覽會」，花博爭豔館，台北，台灣

2014「藝術自由日」，華山文創園區，台北，台灣

2014「關點個展」，435 藝文特區，台北，台灣

2015 "We are here, 435 Art Zone", Taipei, Taiwan

2017 "Florence Biennale", Fortezza da

2015 "14th Artist Fair Taiwan", Taipei

2015-2016 "Société du Salon

2014 "Taipei Free Art Fair", Huashan

Basso, Florence, Italy

d'Automne", Champs Elysees, Paris, France

2014 "Timelin Art World Solo Exhibition", National Taiwan Arts Education Center, Taipei, Taiwan

2013 "Admiring the Universe Times

Solo Exhibition", Chiang Kai - shek Memorial Hall, Taipei, Taiwan

2013 "Art Mirai International Art

Exhibition", The National Art Center, Tokyo, Japan

Expo Park, Taipei, Taiwan

Creative Park, Taipei, Taiwan

2014 "Care - solo Exhibiton, 435 Art Zone", Taipei, Taiwan

袁慧莉 YUAN, Hui-Li

158

孤山水 No. 42 Discrete Islands No. 42 將自由與控制這兩種矛盾並存。

塊狀山石的結構隱含了三種隱喻。如同金山海上的孤立島礁和台灣島的地理現狀，也是台灣在世界舞台的政治現實，更是我平日獨居的狀態。所以我為這系列取名為孤山水。

I wanted to both preserve the free rendering effects of raw xuan paper while also retaining control over the edges of the clumped boulders that highlight the fibrous materiality of the paper.

I aspired to a coexistence of both freedom and control.

159

義大利麵式冥想 Pray to Pasta

2017 ﾉ宣紙拼貼、彩墨 Color and Ink on Collaged Chinese Handmade Paper ﾉ 120 x 49.7 cm 我既想保留生宣自由渲染的效果，又想控制塊狀山石的邊緣，凸顯出紙張纖維的物質性，我希望

馬君輔 MA, Chun-Fu 2016 ﾉ丙烯、畫布 Acrylic on Canvas ﾉ 40 x 40 cm

2017「潤與燥：墨的兩種呼吸方式」袁慧莉個展，耿畫廊，台北，台灣

2016「沈默風景」—藝術視界的人文觀

想，高雄市立美術館，高雄，台灣

2015「傳統重置」，中央美術學院，北京，中國

2014「複數世界」袁慧莉 2014 個展，耿

後代崇拜「薩滿」象徵著「知識、療癒、力量」。手持神器身披動物毛皮如鷹、虎、熊擅長巫覡之術的司祭。藉由穿著動物的靈力與神鬼及祖先溝通，並相信一種萬物有靈天地合一的宇宙觀。對比延伸到商

周出土銅器（禮器），大量出現的「饕餮神獸」（Gluttonous）紋飾。如祖先泛靈如影隨形。是子孫還是小祖宗？如嬰孩抓週古禮，頭戴虎帽腳踏虎鞋身穿五毒兜；和製漢語「可愛」也許才是今日之信仰。計畫是透過消費與飼育調教完成與祖宗偉大的神鬼儀式。

2017「後代崇拜 Offspring worship」馬君

輔個展，好思當代藝術中心，台北，台灣

2014「天花亂綴 DayDream」馬君輔個展，索卡藝術中心，台南，台灣

2011「百花繚亂 SamPlexity」馬君輔個展，索卡藝術中心，台北，台灣

畫廊，台北，台灣

Ma's paintings focused on the topic about a series of a model by his child for the purpose to

2009「兒童之國 Kodomo Manufacture」，

墨」，高雄市立美術館，高雄，台

"offspring worship". Ma's issues discussed in the family and socio-cultural changes may be

2008「Elixir」馬君輔紐約個展，onishi

2014「典藏．對話—演繹台灣當代水灣

2017 "Moist and Burnt: As Ink Breathes", Tina Keng Gallery, Taipei, Taiwan

explain the cultural phenomenon that the traditional "ancestral worship" is now becoming

serious, but his distinct style is rather warm and humorous. The child he pictured was always

innocent and happy, playing a character repeatedly in a kind of little ancestors with iconic

totem. This works reflected parent's overprotection and expectation, on the other hand, implied the new family's system and frame was brought about in these days.

台北數位藝術中心個展，台北，台灣

gallery，紐約，美國

2017 "Offspring worship" solo exhibit,

Hao Haus Gallery, Taipei, Taiwan

2016 "Reading the Landscape Stories

2014 "DayDream" solo exhibit, Soka Art

of Fine Arts, Kaohsiung, Taiwan

2011 "SamPlexity" solo exhibit, Soka Art

Academy of Fine Arts", Beijing,

2009 "Kodomo Manufacture" solo

from Artists", Kaohsiung Museum

2015 "Reset Tradition China, Central China

2014 "Plural Landscape", Tina Keng Gallery, Taipei, Taiwan

2014 "Collection and Dialogue - Taiwan's Contemporary Ink Painting",

Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

Center, Tainan, Taiwan Center, Taipei, Taiwan

exhibit, Digital Art Center Taipei, Taipei, Taiwan

2008 "Elixir" solo exhibit, Onishi Gallery,

New York, Onishi gallery, New York, U.S.A

高爾欣 KAO, Erh-Hsin

160

奧祕 Secret

Inscription on Animal Bones and Tortoise Shells

以大自然作為靈感，透過多層次的技巧，在顏料流動的過程中相互作用，經過時間的等待留下痕

2017「台灣美術展」，中正紀念堂，台北，

通過心靈圖像尋獲內在的喜悅之源。

2016「台灣美術展」，國父紀念堂，台北，

My works take nature as inspiration, through a multi-layered technique, the interaction between flowing pigments, and the waiting for time to leave traces. My artworks reduce the

painting language and form, create new fields, explore the mysterious space of the heart, invite you enter to your inner world, and find the source of inner joy through the mind image.

161

文字花園－甲骨文 The Writing Garden -

2017 ﾉ壓克力 Acrylic ﾉ 91 x 72.5 cm 跡。我的作品減少繪畫語言與形式，創造新的領域，探索心的神秘空間，邀請您進入您的內心世界，

高錫麟 KAO, Shi-Lin 2017 ﾉ油畫顏料、混紡畫布 Oil Paints, Blended Canvas ﾉ 100 x 80 cm

台灣

在 21 世紀當下，人類都是在祖先文化、文字傳承，與現代文明影響下生活。

台灣

研究古文字，是發揚古文化，從而創造新文化，發揚文化事業。

2015「台灣國展」，台灣藝術研究院，高雄，台灣

2013「第十八屆大墩美展」，台中市大墩文化中心，台中，台灣

2013「第十一屆全國百號油畫大展」，台中市港區藝術中心，台中，台灣

2017 "The Taiwan Fine Art Exhibition

2017", Chiang Kai - shek Memorial Hall, Taipei , Taiwan

2016 "The Taiwan Fine Art Exhibition

2016", National Father Memorial Hall, Taipei, Taiwan

2015 "The Taiwan National Exhibition", Taiwan Research Institute of Arts, Kaohsiung, Taiwan

2013 "The Da Dun Fine Arts Exhibition", Taichung City Dadun Cultural Center, Taichung, Taiwan

2013 "The National 100 oil painting

Exhibition", Taichung City Seaport Art Center, Taichung, Taiwan

中國文化文字最輝煌的一頁，殷商甲骨文在世界文字史，有獨具特色與獨佔領域。以甲骨文線條之美、結構之妙，創作視覺藝術平面繪畫。

將中國文化、文字，用輕鬆一點的方式，以彩色顏料書寫、繪畫出來，形成花團錦簇，衝擊視覺經驗認知，而稱中國文字花園。

In the 21st century immediately, the humanity all is in the ancestor culture, the writing inheritance, lives with the modern civilization influence under.

A Chinese culture writing most magnificent page, the Shang Dynasty inscription on animal

bones and tortoise shells in the world writing history, has is characteristic with monopolizes the domain.

2015「潑墨－凡石」（第 17 次個展），森之藝廊，宜蘭，台灣

2010「光影傳奇」油畫展，五角場 800 號藝術區，上海，中國

2009「光影非光影」油畫展，798 聖邦德畫廊，北京，中國

2008「視盟監事」，視盟，台北，台灣

2004「公共藝術徵選」第二名，新竹師大實驗國小，新竹，台灣

2015 "lnk Stone Where", Sen Gallery, Yilan, Taiwan

The research ancient writing, carries forward the ancient civilization, thus creates the new

2010 "Legend of light", 5Jiao Chang800,

Wonder beauty, structure by inscription on animal bones and tortoise shells line, creation vision

2009 "Non-light Light", Seng Bangde,

culture, carries forward the cultural establishment. art plane drawing.

The Chinese culture, the writing, with the relaxed way, by colored pigment writing, the drawing will come out, form the gathering of beautifully dressed people, the impact vision experience cognition, but will call China the writing garden.

Shanghai, China Beijing, China

2008 " Supervisors", AVAT, Taipei, Taiwan

2004 "Public Art" Second, National

Hsinchu University of Education

Experimental Elementary School, Hsinchu, Taiwan

康華行 KANG, Hwa-Sing

162

紅與黃的交織 Red and Yellow Intertwined

Red and yellow intertwined with each other, like fusion, like a separate, just like the coexistence between people.

163

仙境自體畫像 Self Portrait as Thing in Niceland

2017 ﾉ數位輸出 Digital Print ﾉ 45 x 66 cm

紅與黃互相交織著，似融合，似單獨，就像人與人之間的相處。

張友鷦 Jankowski, Jorinde 2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 120 x 100 cm

2016「台灣當代一年展」，台北花博公園爭艷館，台北，台灣

2015「台灣藝術家博覽會」，台北花博公園爭艷館，台北，台灣

2014「台灣藝術家博覽會」，新光三越 A9 館，台北，台灣

2016 "Taiwan Annual", Taipei Expo ParkExpo Dome, Taipei, Taiwan

2015 "Artist Fair Taiwan", Taipei Expo

Park-Expo Dome, Taipei, Taiwan

2014 "Artist Fair Taiwan", Shin Kong Mitsukoshi 9A, Taipei, Taiwan

對於天堂，愛，自由，空間，呼吸，探索，生命，和死亡的模擬與想像。 Visualisation of reveries on paradise, love, freedom, space, air, explorations, life, and death.

2017「台灣生命力」＆「日昇月息海波

浪」，台灣燈會農村再生燈區，雲林，台灣

2015「無定所： Vagrant」張友鷦創作個展，阿特狄克瑞藝術服務聯盟，台北，台灣

2014「Outer Place」，冰島藝術家聯盟，雷克雅維克，冰島

2013「新點子樂展『奇幻音畫』裝置及表

演藝術」，中正文化中心實驗劇場 , 台北，台灣

2012「方向」張友鷦個展，藝研齋，台北，台灣

2017 "Taiwanese Vitality" & "Sunshine and Moonrise over the Sea",

Taiwan Lantern Festival - Rural Regeneration Section, Yunlin, Taiwan

2015 "Vagrant - Jorinde Jankowski

Solo Exhibition", A.D.S.C., Taipei, Taiwan

2014 "Outer Place", The Icelandic Artist Association, Reykjavik, Iceland

2013 "Music with Innovative Expressions: iOFloat with Jorinde Jankowski", Taipei National Theatre, Taipei, Taiwan

2012 "Orientations - Jorinde Jankowski Solo Exhibition", The Art Den, Taipei, Taiwan

張文菁 CHANG, Wen-Ching

164

寧願當怪物 Be a Monster 願當怪物，也要不當寵物。

Be a monster, only a monster, just for fun.

165

漩渦雙生 Double Swirls

2017 ﾉ油彩、壓克力、畫布 Oil, Acrylic on Canvas ﾉ 91.0 x 72.5 cm 不是美人魚，不是變色龍，也不是梅杜莎，只是在生活中保留一點扮演怪物的惡趣味。也就是寧

張永楷 CHANG, Yung-Kai 2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 31.5 x 82 cm x 2

2016「輕鬆藝術博覽會」，華山，台北，

引用德國古典哲學家康德所提出之力學崇高觀點，我引用在大氣漩渦以及宇宙天體之中的黑洞，

2017「浪靜天涯」，邦比諾義式冰淇淋，

2016「台灣當代一年展」，花博爭豔館，

恐懼，但由於我能在安全的地方觀賞這樣的恐懼，因此我對於這樣的恐懼感產生了敬畏，甚至是

2016「南都藝行高展雄風」，李奇茂教育

台灣

台北，台灣

2015「台灣藝術家博覽會」，花博爭豔館，台北，台灣

2016 "ART Eazy", Huashan, Taipei, Taiwan

2016 "TAIWAN ANNUAL", Taipei EXPO Park, Taipei, Taiwan

2015 "ARTIST FAIR TAIWAN", Taipei EXPO Park, Taipei, Taiwan

來體現我對於自然現象所發生的巨大毀滅物體的崇高感。我能在其中感受到毀滅威力所帶給我的崇拜，所以我將我的想法以油畫的方式加以呈現。

German philosopher Immanuel Kant has said the "Mechanics lofty" I used this point to

expressing the damage things in nature which can let me feel the Mechanics lofty. I can feeling

the black hole take me in to the Mechanics lofty, because I am standing on the safety place to watching it. So I used oil painting to express that feeling.

宜蘭，台灣

美術館，新北，台灣

2016「風野鄉根之旅」聯展，松山文創園區，台北，台灣

2016「今日半價」八人聯展，白舍藝術空間，台北，台灣

2016「午之初」三人聯展，洛克青年空間，重慶，中國

2017 "The Peaceful Ocean And The

Peaceful Sky", Bambino Italian Ice Cream Store, Yilan, Taiwan

2016 "Feng - Yeher Anniversary Art

Exhibition", Chi - Mao Li Gallery Of

Art Education, New Taipei, Taiwan

2016 "Feng - Yeher Anniversary Art

Exhibition", Song Shan Culture

And Creative Park, Taipei, Taiwan

2016 "50% of Today", White House Gallery, Taipei, Taiwan

2016 "Frist" Support to young artists program, Rock Youth Place, ChungQhing, China

張羽岑 CHANG, Yu-Tsen

166

房間 1 Room1

2017 ﾉ油畫、壓克力、畫布 Oil, Acrylic on Canvas ﾉ 70.2 x 157 cm

身體經驗是如何影響思想的運轉，猶如網狀的複雜介面，延伸到思想實踐的彼岸。不論是文化與

2017「台日繪畫合同展」，佐藤美術館，

影響著不同階段的生命個體。

2016「綜合時代百貨」，竹師藝術空間，

符碼，像是畫面中的衣服上的花紋與紅色筆劃組成的葉子，揭示自己生命實踐中相異的感受。畫面中人物形象的姿態闡述生活中充斥著諸多五味雜陳的感受，那些累積的複雜情緒，透過繪製不完整的身軀與個人私密空間，展示自身的情感流動。

如伯格森所闡述的綿延一詞「綿延」，是經由個人意志的選擇，將記憶留下或是忘記，而不斷的影響生命選擇的路徑。所以將葉子與碎花的圖案圍繞在人物周圍，說明葉子與碎花依附在這些情感裡。

How does physical experience affect the functioning of thought, as if it were a complex interface

167

夜露 - 2 Landscape of the Light - 2

2017 ﾉ膠彩 Japanese Painting ﾉ 91 x 72.5 x 2 cm 自身的成長經驗所累積的生活方式與價值觀，專注在身體運作的主題上，說明記憶與個人經驗都

張哲軒 CHANG, Tse-Hsuan

東京，日本新竹，台灣

2016「花華」，青田十六，台北，台灣

夜，揭示了情感的軌跡，成為了記憶。見與不見，在自我的對話中，逐漸顯影。 At night, the track of emotion had been reveal, and we called it "Memory". In self - talk, see and can't see will more and more clearly.

2016「台灣當代一年展」，花博爭艷館，台北，台灣

2015「mini cheese on sale ─ mini

cheese 迷你趨勢」，鹽埕黑白切，高雄，台灣

2016「我們都在這裡鬼混」，竹師藝術空

2015「沒有種」，中文大學許氏文化館，

2016「 A3 計劃交流展」，竹師藝術空間，

2013「時空敘事」，南北畫廊，台北，台

間，新竹，台灣新竹，台灣

沙田，香港灣

2013「2013 美術創作卓越獎」，關渡美術館，台北，台灣

of mesh, extending to the other side of thought practice.

2017 "Painting joint exhibition", sato

Whether it is culture and its own growth experience accumulated by the way of life and values,

2016 "Fooling around", chu chi art place,

2016 "TAIWAN ANNUAL", TAIPEI EXPO

2016 "Hauhau", qingtian 16, Taipei,

2015 mini cheese on sale, Blackblank

own life practice different feelings. The image of the characters in the image of the posture of

2016 "A3 plan art exchange", chu chi art

2015 MEI YOU ETHNICITY, The Chinese

incomplete body and personal privacy space, to show their emotional flow.

2016 "Integrated department store", chu

focus on the theme of physical operation, indicating that memory and personal experience are affecting the different stages of life individuals.

Code, like the screen on the clothes on the pattern and red strokes of the leaves, revealing their life is full of a lot of feelings, the accumulation of complex emotions, through the drawing of The word "stretch", as illustrated by Bergson, is the path of choice of life that will leave or forget the memory of the will. So the leaves and floral patterns around the characters around, indicating that leaves and flies attached to these emotions.

museum, Tokyo, Japan Hsinchu, Taiwan Taiwan

place, Hsinchu, Taiwan

chi art place, Hsinchu, Taiwan

PARK, Taipei, Taiwan

Gallery, Kaohsiung, Taiwan

University of Hong Kong - Hui Gallery, Sha Tin, Hong Kong

2013 Spatiotemporal narrative, Nan Pei Gallery, Taipei, Taiwan

2013 2013 Outstanding Art Prize,

Kuandu Museum of Fine Arts, Taipei, Taiwan

張哲榕 CHANG, Sim 發光體行旅―天安門 / 發光體行旅―艋舺清水巖 Luminophore's Travel – Tiananmen / Luminophore's Travel – Manka Qingshan Temple

168

2016 ﾉ水墨畫 Ink Painting ﾉ 76 x 136 cm 2018 「發光體行旅—張哲榕個展」，關

總是夢到，考試考卷寫不完，很難聯想出答案，焦慮地思考，

2016 「YOUNG PORTFOLIO

努力甦醒後，卻產生無所適從的疏離感，一直存在於我的內心。

創作多年，有著不被這個社會所需的無奈，

渡美術館，台北，台灣

ACQUISITIONS」，清里寫真美術館，山梨縣，日本

2015 「高雄獎」，高雄市立美術館，高雄，台灣

電影「摩登時代」中的巨大機械，

2015 「後蘿莉時代—張哲榕影像創作

平日繭居，在資訊流中隔著一層膜去觀看這世界，

2013 「張哲榕『萌』個展」，台灣國際視

人是裡面的小螺絲釘，我卻找不到其中那屬於我的一席之地。電影「後窗」般，隔著玻璃去觀察，那不屬於我的世界。 In my dreams, I can never finish the tests. I contemplate anxiously, finding it difficult to come up

with answers. In my tireless attempt to squeeze one out, I suddenly realize that I am in a dream. After I finally wake up, there is a perpetual sense of alienation—a sense that I have lost my way.

In all the years that I have made art, I have been helpless in knowing that the society does not need me. In the movie Modern Times, humans are tiny screws within the giant machine. But in real life, I somehow fail to find my place.

I am used to cocooning at home, observing the world in the flow of information behind a

screen—as in the movie Rear Window, where Jeff watches through glass windows a world that does not belong to him.

I started to travel from one city to another. In these cities, the traces of time are enchanting, and the bustling voices of people is a vibrant sight to see. But I am an observer after all, like a touch-

screen device—as you slide your finger across, you move from this scene to the next. It seems

that everything is in plain sight, but after you release the shutter, you realize you don't own a thing. It could be me in these pictures, or anybody.

The subjects continue to illuminate—it represents a fleeing second as well as eternity.

169

大熊貓 Panda

2016 ﾉ藝術微噴輸出 Inkjet Print ﾉ 125 x 83cm x 2

不斷想擠出答案的當下，才驚覺自己在夢境之中。

張淑德 CHANG, Shu-Te

展」，朝代畫廊，台北，台灣覺藝術中心，台北，台灣

2018 "Luminophore's Travel", Sim

Chang Solo Exhibition, Kuandu

Museum of Fine Art, Taipei, Taiwan

2016 "YOUNG PORTFOLIO

ACQUISITIONS", Kiyosato Museum of Photographic Arts, Yamanashi Prefecture, Japan

2015 "Kaohsiung Awards, Kaohsiung

Museum of Fine Arts, Kaohsiung, Taiwan

2015 "Post-Lolita Generation", Solo

Exhibition, Dynasty Gallery, Taipei, Taiwan

2013 "Flat Flower"Solo Exhibition, TIVAC, Taipei, Taiwan

圓夢，有諸多意義： 1. 圓台海兩岸永久和平的夢：團團、圓圓、圓仔已成台灣人新寵。熊貓已經完成兩岸友好關係的使者，功勞真的不是等閒，兩岸永久和平的夢，圓了。

2. 圓圓、圓仔是超級名星，在台灣大家都愛。決定用「圓」這個字當展覽名稱的第一個字，於是「圓夢）太貼切了。

3. 舉世聞名的盼盼巴斯，她盡全力記錄，希望將她的幾項絕活呈現。大熊貓，金線蓮都是我傳統

文化的國寶，也描述金線蓮提供盼盼巴斯食用場景，至今半年未發現副作用，期待在大家的愛心哺育之下，有助她恢復健康，延年益壽。 Dream, there are many meanings: 1. Round the sea on both sides of the permanent peace dream: round and round, round, round

has become the new darling of Taiwanese. Panda has completed the friendly relationship between the two sides of the messenger, the credit really is not easy, the cross-strait permanent peace dream, round the.

2. Round, round the super star, in Taiwan we all love. Decided to use "round" the word when the exhibition name of the first word, so "dream" too appropriate.

3. World-famous Pan Pan Bath, she made every effort to record, hoping to show her a few unique skills. Giant panda, thread lotus are my national treasures of traditional culture, but also describes the line of thread to provide hope Pan food consumption scene, so far six months did

not find side effects, look forward to the love of everyone under the feeding, help her to restore health, longevity.

2017「凝」湖光畫會 2017 聯展暨雲林縣

美術協會邀請展，台北市藝文推廣處，台北，台灣

2016「台灣當代一年展」，花博爭豔館，台北，台灣

2016「雲林縣美術協會湖光畫會結盟姐妹會聯展」，雲林縣文化處展覽館，雲林，台灣

2011「詩性造境」林淑娟個展，大漢藝廊，新北，台灣

2010「設計創意新紀元」台澳當代藝術交流展，銘傳大學，桃園，台灣

2017 "Gaze - Hu Guang Paint Society 2017 Exhibition And Yunlin

County Art Association Invitation Exhibition", Taipei City Arts

Promotion Office, Taipei, Taiwan

2016 "Taiwan Annual", Taipei Expo Park Expo Dome, Taipei, Taiwan

2016 "Yunlin County Art Association

And Hu Guang Paint Society Sister

Alliance Exhibition", Yunlin Cultural Office, Yunlin, Taiwan

2011 "Poetic Landscape - Lin, Shu-Chuan Solo Exhibition", Ta-Han Gallery, New Taipei, Taiwan

2010 "New Era of Design and Creation

– Taiwan Australia Contemporary Arts Exchange", Ming Chuan

University, Taoyuan, Taiwan

張善學 CHANG, San-Hsueh

170

白色床單 The White Sheet

無題 Untitled

2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 145.5 x 112 x 5 cm

2017 ﾉ油畫 Oil on Canvas ﾉ 137.5 x 113.5 cm

這件作品是「生活／場景」系列的延伸—日常的觀察和生活的經驗累積，從不經意卻又經常接觸的

2016「生活 / 場景」張善學個展，靜慮藝

覺經驗。隨著山脈起伏，體會到自然無形的力量在推動不斷變化的地表。棉被的皺摺似乎也成為

2016「Indescribable Figure II」，靜慮藝

物件－床，每天起床後反覆觀察床上每個隨機或有意無意形成的狀態，再投射到對自然景色的視

一種微觀的山景，在短暫的一個睡眠時間模擬自然的變化，床的功能與山林的休養生息互相對照，在身體的慣性中回歸到與自然的連結。

This work is an extension of the "Living / Scene" series, the daily observation and life experience

術，台北，台灣

2015「無以名狀－台灣新生代具象繪畫試探」，靜慮藝術，台北，台灣

accumulated, from the inadvertent but often contact with the object - bed, every day after

2015「高雄漾藝術博覽會」，駁二藝術特

unintentionally, then further projected to the visual experience of the natural landscape.

2012「超新星 Super Novart」聯展，自由

waking up to repeatedly observe every state of the bed formed randomly intentionally or

Through the ups and downs of the mountain, we experience the invisible power of nature

to force the surface changing. The creases of the quilt seem to have become a microscopic mountain view, in a short sleeping time to simulate the change of nature. The function of the bed echoes with the rest of forest recuperation, and in the inertia of body returns to the connection with nature.

張弼凱 JHANG, Bi-Kai

區，高雄，台灣

人藝術公寓，台中，台灣

2016 "Living/Scene-Chang San Hsueh Solo Exhibition", Jing Lu Art, Taipei, Taiwan

2016 "Indescribable Figure II", Jing Lu Art, Taipei, Taiwan

2015 "Indescribable Figure", Jing Lu Art, Taipei, Taiwan

2015 "Young Art Kaohsiung", The Pier-2 Art Center, Kaohsiung, Taiwan

2012 "Super Novart", Freedom Men Art Apartments, Taichung, Taiwan

一些當下的情緒。 Some of the current mood.

171

張智惠 CHANG, Chih-Hui

172

位元在流動編號 7 Flowing Bit No.101

張筱榕 CHANG, Hsiao-Jung 淺眠 / Bulimia Light Sleep / Bulimia

2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 116.5 × 91 cm

2017 ﾉ單頻道錄像 Video ﾉ 2'29"/8'47"

位元（bit），資訊傳遞的最小單位，亦是指二進位中的一位。二進位制中通常使用兩個不同的符號

2017「Mini 小畫聯展」，原顏藝術，台

從這個由靜態照片所構成的錄像中，我從中嘗試探討動態剪接與靜態影像的互動關係，用影像節

從無創造有。數字的起源是世上能最好展示和說明這種力量的事物，以「一」和「零」或者說「無」

2016「台灣當代一年展」，花博爭艷館，

積」的慾望產生好奇，發展出了這個錄像作品。人們對於訊息的囤積、物質、甚至壓力的囤積，就

表示：0（代表零）和 1（代表一）來表示。一切數都可以用 0 和 1 創造出來，象徵全能的造物主的形式呈現，既樸素又簡單精煉。

Bit, the smallest unit of information transmission, also refers to a binary. The binary system

usually uses two different symbols: 0 (for zero) and 1 (for one). All the numbers can be created

with 0 and 1, symbolizing the Almighty Creator from zero creation. The origin of the figures is the best thing in the world to show and explain this power, presenting in the form of "one" and "zero" or "nothing", both simple and streamline.

173

中，台灣

台北，台灣

2015「魚咖哩的盛宴－我的探險我的

畫」，優席夫原民美學藝廊，台北，台灣

奏營造出「淺眠」這種抽象感受。也因此項作品，我除了對影音的節奏產生興趣，也對於人們「囤好像暴食症似的強迫自己快速吸收。此種過度使人身心失衡、噁心、甚至癱瘓，卻也使人有著隱約的滿足。這種作噁卻細微的滿足感，究竟是為什麼？ Light Sleep

2015「魚咖哩的盛宴－我的探險我的

Sleep used to be a comfortable process for me. But for a period of time, Ibecame frequently

2015「魚咖哩的盛宴－我的探險我的

rest. Quite on the contrary, it made meoscillate between wakefulness and unconsciousness, a

畫」，手指藝廊，台中，台灣

畫」，國際印度文化節，夢想藝術村，台北，台灣

2017 "Group Expo of Small Paintings",

troubled by insomnia. During that period, sleep lost itselfintended gift of providing me enough

process too vague totell, like a dream that transcends reality. I tried to use the bubbling noise ofelectric pot and some elements to introduce the audience to the status of lightsleep. Bulimia

UYart, Taipei, Taiwan

The video is centered on bulimia nervosa with an aim to reflect how people ofthe 21st century

of Taipei Expo Park, Taipei, Taiwan

and overwhelming knowledge from thesociety. In order to achieve the visual effects I want,

2016 "Taiwan Annual 2016", EXPO Hall 2015 "Fish Thali Banquet – Taipei",

Yosifu Art Gallery, Taipei, Taiwan

2015 "Fish Thali Banquet – Taichung", Finger Art, Taichung, Taiwan

2015 "Fish Thali Banquet – Indian Art Festival", Dream Community, Taipei, Taiwan

suffer from repression and anxiety as they are forced todevour influx of text/digital messages I employ specificmaterials such as videos of computer crashing and the abundant use of chilioil—a substance that causes tremendous burden to human's health with itsvisual tension of color red and yellow—to create the haunting and accumulation of anxiety.

2017「雪嗑畢否愉均可」，文化大學美術

系第 51 屆畢業展，郵政博物館，台北，台灣

2016「文明併識感」，南海藝廊，台北，台灣

2013「東海大學美術系系展」，大墩文化中心，台中，台灣

2017 "Shake before you drink", Postal Museum, Taipei, Taiwan

2016 "Insight", Nanhai Gallery, Taipei, Taiwan

2013 "Tunghai University exhibition",

Dadun Cultural Center, Taichung, Taiwan

張韻明 CHANG, Yun-Ming

174

土地吶喊 Treasure

曹育維 TSAU, Yu-Wei

175

1: √ 1~11

2017 ﾉ複合媒材、畫布 Mixed Media on Canvas ﾉ 91 x 116.5 cm

2017 ﾉ數位輸出 Digital Print ﾉ 150 x 150 cm

作品融入道家冥想的邏輯思維，由無象中過濾大自然的不確定性抽象，恣意地創造出質樸天真的

2017「生命之痕」個展，Art Expo New

1: √ 1，是正方形；

2013「獻給世界的祝福」，工業技術研究

發現！

2017「心象 . 無相」個展，犇藝術，台北，

1: √ 3，是比黃金比例更美一點的白金比例；

2013「輪圓具足」，18FUN 藝文空間，台

浪漫圖像，處處透露著古老神話和現代哲思的關鍵性，在理性思維中展現莊嚴、浪漫以致喜愉的在成熟人生歷練下蘊含獨特成熟技法，發現來自刻意營造的偶然，透過層層的堆積、刮、擦、洗、磨、創造出無法複製的偶然趣味和獨立性，從水墨走向油彩到複合媒材，從具象到抽象，以致無象的符號表現，潛意識中他其實是在追求藝術創作自由的完全釋放！

On the other, Chang Yun Ming is applying his life experience, profoundly knowledge and

spiritual beauty to his art. He places it significant of the combination between texture and lines, as well as expressing his art freely and infinity. One of the most important elements of Chang's art is symbol, which is also like the cell of life for his art. He has found the rhythm and emotion through his innovative sighs.

York，紐約，美國台灣

2016「生命之痕」個展，國父紀念館，台北，台灣

2015「型靈之間」個展，大墩畫廊，台中，台灣

2014「心眼」個展，水畫廊，台北，台灣 2017 "Traces of Life", Art Expo New York, New York, USA

2017 "Imagination of Spirit x Devoid of Marks", Born Art Gallery, Taipei,

1: √ 2，是怎麼對摺都相似的完美矩形； 1: √ 4，其實就是 1 比 2 啊……

1: √ 1~11，就是連續 11 個美麗比例的矩形。 1: √ 1, is a square;

院，新竹，台灣中，台灣

2013「我的麥田圈曼陀羅」，Dahlia Gallery，新加坡，新加坡

1: √ 2, is a perfect rectangle which can be folded as Similar Shapes;

2012「私藝術史」，私藝術空間，台北，

1: √ 4, is 1:2 in fact......

2011「非書展」，57 藝術工作室，台南，

1: √ 3, is the Platinum Ratio, better than the Gold Ratio;

1: √ 1 ~ 11, are 11 consecutive beautiful proportions of the rectangles.

台灣台灣

2013 "Blessing for this World", Industrial Technology Research Institute, Hsinchu, Taiwan

Taiwan

2013 "Mandala", 18FUN Arts Center,

Yan-Sen Memorial Hall, Taipei,

2013 "My Crop Circles Mandala", Dahlia

2016 "Traces of Life", National Dr. Sun Taiwan

2015 "Between Figures and Spirits",

Taichung City Cultural Center, Taichung, Taiwan

2014 "Variation and resonance", Art Sui Gallery, Taipei, Taiwan

Taichung, Taiwan

Gallery, Singapore, Singapore

2012 "My History of Art", Mon Espace D'Art, Taipei, Taiwan

2011 "It's Not a Book Exhibition", 57 Art Studios, Tainan, Taiwan

梁寶卿 LIANG, Pao-Ching

176

玉山～台灣之美 Jade Mountain, the Beauty of Taiwan

許力允 HSU, Li-Yun

177

指頭的情慾 Passion of Fingers

2012 ﾉ油彩、畫布 Oil on Canvas ﾉ 91 x 72.5 cm

2017 ﾉ陶 Ceramics ﾉ 140 x 40 x 135 cm

「山光悅鳥心．花語悟人情」是詩人表達對玉山的頌讚！每當早晨的陽光緩緩升起，又適逢玉山杜

2014「藝術家博覽會聯展」，新光三越信

性的聯想，不一定只有主觀的性器磨合，即便是最簡單的牽手到兩人夜晚的歡愉都是經由手指間

2016「品」，台北圖書館三民分館，台北，

山主峰，美不勝收。

2011「藝術家博覽會聯展」，台北剝皮寮

讓身體的感知更開放和敏感，是性與性相連的催化劑。

2015「我思故我在」，台灣藝術大學大漢

鵑綻放期，繽紛的花朵開滿山野將玉山點綴如花園一般綺麗，更襯托著氣勢磅礡、雄偉壯麗的玉 While the morning sun slowly rises from the horizon together with the Jade Mountain Azalea

flower blooming period, colorful flowers embellish the whole mountain landscape just like a majestic garden. Jade Mountain has a breathtaking aura of its glorious magnificent mountain top.

義天地，台北，台灣

歷史街區 / 高雄駁二藝術特區，台北、高雄，台灣

2009「梁寳卿油畫創作個展」，萬芳畫廊藝術空間，台北，台灣

2004「人物畫創作展」，國父紀念館，台北，台灣

2003「梁寳卿油畫寫生個展」，台北市立社教館，台北，台灣

2014 "Artist Fair", the Shin Kong

Mitsukoshi, Taipei, Taiwan

2011 "Artist Fair", Bopilao Historic Block/ The Pier-2 Art Center, Taipei/ Kaoshung, Taiwan

2009 "Oil Painting Exhibition", Wan Fang Arts Museum, Taipei, Taiwan

2004 "Portrait Cartoon Exhibition",

National Dr Sun Yat - sen Memorial Hall, Taipei, Taiwan

2003 "Portrait Cartoon Exhibition",

Convention Center of Taoyuan Department of Cultural Affairs, Taipei, Taiwan

的碰觸開始，手指能夠傳達的言語有時比說話來的更為性感，汗水就如同是肌膚親吻恩愛的證據， The association of sex, not only think about the male and female reproductive organs, but also

fingers. From holding hand to sex at night, sometimes the language of fingers is more sexy than

speaking. Sweat is just like the evidence of the body kissing. Fingers play an important part between sex.

台灣

藝廊，板橋，台灣

2014「新一代設計展」，台北世貿，台北，台灣

2014「師生美展」，復興商工，永和，台灣

2013「圖書館與我」，國立台灣圖書館，永和，台灣

2016 "Craft & design joint exhibition", Taipei library-sanmin, Taipei, Taiwan

2015 "Cogito. ergo sum. ceramic joint exhibition", national Taiwan

University of Art Da Han gallery, New Taipei city, Taiwan

2014 "The young designers exhibition ( YODEX ) ", TWTC Hall, Taipei city, Taipei, Taiwan

2014 "Teachers & Students joint

exhibition", Fu-Hsin Trade & Arts School, New Taipei city, Taiwan

2013 "Library and me", library space

design exhibition, National Taiwan library, New Taipei city, Taiwan

許村旭 HSU, Tsun-Hsu

178

媒體失身－本報記者 The Collapsing Value of Media 千禧年後電視、報紙媒體在新聞報導中，夾帶廣告置入行銷模式漸露端倪，也就是後來媒體同業謔稱的「業配文」。媒體向有「第四權」之稱，但在波濤洶湧的網路新媒體、購物等平台蓬勃興起之際，傳統媒體的主要收入財源「廣告」也隨之被大量稀釋。於是自以為聰明的媒體大亨們開始利

用旗下各跑線記者，將新聞當廣告賣；甚而在指示記者當作打擊異己的寫手工具時，一律掛上「本

報記者」，規避文責。日復日的侵蝕之下，也把半世紀以來藉由一則則鏗鏘有力、摘奸發伏，素有公信力的新聞報導所建立的金字招牌就給賤踏掉了。新世紀起「媒體失身」自此沉淪。

After the millennium, the phenomenon of Placement Marketing on the press among televisions and newspapers has gradually revealed, which afterwards is sarcastically called as the

"sponsored posts" by the media. The journalism used to be regarded as the "Fourth Estate". The rise of internet, new media, online shopping platforms and etc. has been spread out, whereas the main income of "advertisement" in the traditional media has vastly diluted. Therefore it

turned out that the journalists from different specialized coverages are manipulated by the self-complacent media monoliths, by the means of embedding news with sponsored contents. Furthermore, the media intend to feed sponsorship by shattering their core value and crediting

themselves anonymously as "reported by our correspondent" instead of their real individual

names, for the purpose of obscuring the accountability. By the time of day - after-day erosion, the press which was well established in authenticity, justice, and public credibility from nearly half a century, has been demolished. Since this new media era, the notion of media adherence has been eroded from now on.

179

觀音山 Guanyin Mountain

2016 ﾉ油彩、畫布 Oil on Canvas ﾉ 45.5 x 38 cm

Reported by Our Correspondent

2017 ﾉ紙基相紙輸出 Digital Printing ﾉ 125 x 46cm

許芳娟 HSU, Fang-Chuan

2016「派對上空攝影集」，創作出版，台北，台灣

2014「派對走掉」攝影集，創作出版，台北，台灣

2014「文本本事」多媒體聯展，中山創意基地，台北，台灣

2013「特物農莊」個展，沐樂咖啡，台北，台灣

1999「藝術真說＿生活真說」台、日藝術家交流展，花園新城，新店，台灣

2016 "The Empty Island – 1994-2014", Publication, Taipei, Taiwan

2014 "The Party is Over 1984-2004", Publication, Taipei, Taiwan

2014 "Retro: ConText" Group Exhibition,

URS21 - Chung Shan Creative Hub, Taipei, Taiwan

2013 "SPY Farm" Solo Show, ML Cafe, Taipei, Taiwan

1999 "The Truth About Art and Life" Taiwanese- Japanese Artists

Exchange Exhibition, Hua Yuan

Xin Chen, Xindian Dist, New Taipei City, Taiwan

無意中搬到淡水而愛上了此地的人文風情，希望多記錄淡水的美。 I have fell in love with the humanistic scenery of Tamsui, hoping to portray the beauty.

2016「林顯宗師生油畫展」，國父紀念館，台北，台灣

2016「速寫台北聯展」，台北，台灣 2016「咖樂線上聯展」，台北，台灣 2016 "Painter LIN", HSIEN-TSUNG and his students - joint exhibition, Taipei, Taiwan

2016 "Sketching in Taipei - joint

exhibition", Taipei, Taiwan

2016 "Sketch Taipei - joint exhibition", Taipei, Taiwan

許葳 HSU, Wei

180

母體情感 The Emotional of Maternal

2017 ﾉ宣紙、洛神花液、玻璃鋼、壓克力版 Xuan Paper, Roselle Juice, Fiberglass, Acrylic Board

人類都來自與母體融合的環境，是一種安全與溫暖的象徵，而成長過程中必經的第一步就是「分

2016「述說」，435 藝文特區，台北，台

長以後，面對各種情感的循環流動中，包括愛情上的愛戀、依賴、心碎、掙扎到反抗與重生，遊

2016 "State", 435 Art Zone, Taipei,

走在渴望於母體中被保護或是獨立走出，終來自於觀者的自我意識與選擇。

Human being all come from the environment where combined with maternal, it is the symbol of

safety and comfort. The first step that people must to encounter during the process of growing up is "separation" to separate the body from maternal. Although it's ironic but it also has practical meaning that "separation" is the only way for growing up. After growing up, human

being always face different kinds of emotional circulations which include fall - in-love, joyful, heartbreak, struggle, rebellion and rebirth. Human being would be wandering the desire of

staying in the maternal and the independence of leaving, but it all comes from the decision and self - awareness of the human being.

181

日常之線－線 Line of Daily Experience

2016 ﾉ噴墨輸出 Digital Output ﾉ 42 × 59.4 cm

離」—與母體的分離。諷刺卻又實際的意味著「分離」是對於人類獨立成長的唯一途徑。當人們成

許璧翎 HSU, Pi-Ling

灣

Taiwan

ﾉ 88 x 88 X 7 cm

「日常之線」是一個自我理解、日常的過來經驗。線的編織一層層從上至下的疊加，讓紙線有的是垂直於你的視覺，有的則側視的視覺，通過這種組合，我刻意從中感受那種虛實關係。它們之間

形成了一種存在的空間，而其中給我們的理解是不同的。我的這種呈現，實際在某種程度上是對

「線」的重新認識、理解以及思考。

"Line of Daily Experience" is a self-understanding, everyday experience. Line of the weaving layer of a layer from top to bottom of the superposition, so that some of the paper line is

2017「廈門藝術博覽會」，廈門國際會議展覽中心，廈門，中國

2016「台灣當代一年展」，台北美術館園區花博爭艷館，台北，台灣

2016「台灣彩墨風尚西班牙展」，

Fransisco N22 藝廊，巴塞隆納，西班牙

perpendicular to your vision, and some are side view of the visual, through this combination,

2016「第 21 屆廣州國際藝術博覽會」，

between them, and which gives us the understanding is different, my presentation, in fact, to

2015「日常之線」許璧翎作品展，東海大

deliberately feel the kind of relationship between the actual situation. They formed a space some extent, is a re-understanding and re-thinking of the "line."

廣州琶洲廣交會 C 館，廣州，中國學藝術中心，台中，台灣

2017 " International Collection

Investment Expo", Xiamen

International Convention and

Exhibition Center, Xiamen, China

2016 "Taiwan Contemporary Art

Exhibition", Taipei Museum of Fine Arts, Taipei, Taiwan

2016 " Taiwan Color Ink Painting Fashion Exhibition Spain", Francisco N22 Gallery, Barcelona, Spain

2016 "The 21st Guangzhou International Art Fair", Guangzhou Pazhou

Guanzauhue Hall C, Canton, China

2015 "Line of Daily Experience, HSU, PiLing Works Exhibition", Tung Hai University Art Center, Taichung, Taiwan

連瑞芬 LIEN, Jui-Fen

182

水練山石－書畫組合 Water Force and Traces 理的探索與新詮。

此作運用布面基底表現水力的「柔」與「韌」，時光行跡的「虛」與「實」，意在傳達水元素造化天地的能力，也以個人醞釀的水石形色，來演繹時光山川、人文意境。

紙本書法及布面水墨的創作皆具備時間記錄及獨一無二的特質，在兩者各自的媒材基礎和線性取向之中，我企圖彰顯水元素多元豐沛的創造性，也尋索一種融古出新的藝術形式。

Water-based thinking is the foundation of oriental art, so I use of the Cotton material base to show the "soft" and "tough" of the water, and to convey the ability of the water element to create the Nature landscape.

I also create a stream of rocks to become my new interpretation of the ink-painting symbol individual.

In addition, I use Chinese calligraphy to write Laozi's Philosophy about the water. For the two kinds of water-based media art to find a new form of combination.

183

小島系列 Island Series

2017 ﾉ紙本書法、布面水墨 Calligraphy on Paper, Ink Painting on Canvas ﾉ 138 x 90 cm 水性是東方藝術的底蘊，融攝民族文化的思維。個人從事書畫創作多年，便以此進行著媒材、哲

郭佩奇 KUO, Pei-Chi 2017 ﾉ木板、壓克力顏料 Wood, Acrylic ﾉ 50 x 100 cm

2017「水練山石」連瑞芬現代水墨邀請

五件台灣形狀的繪畫作品呈現一種台灣人從國內對外國的想像，再到異鄉對家鄉的掛念，用五種

2017「Art No Wall Project」，坤敬大學

2016「新北市美術家雙年展」，新北藝文

發現最好的還是原本家鄉的風景，伴隨著思念之情，提出對彼方生活的想像。

2016 台南新藝獎「遊戲 X 秘密」郭佩奇創

展，新北市議會，新北，台灣中心，新北，台灣

2016「新藝術博覽會」，台北世貿三館，台北，台灣

2016「曹容暨澹廬傳承弟子書法展」，廈門美術館，廈門，中國

2014「台灣藝術銀行特別展」，台北駐日經濟文化代表處，東京，日本

2017 "Modern Ink Painting Invitational Exhibition", New Taipei city

Council, New Taipei, Taiwan

2016 "New Taipei Biennale", New Taipei City Arts Center, New Taipei, Taiwan

2016 "Art Revolution Taipei Art Fair",

Taipei World Trade Center, Taipei, Taiwan

2016 "Dan-Lu Disciples Calligraphy

Exhibition", Xiamen Art Museum, Xiamen, China

2014 "Silent Time - Taiwan's Art

Bank collection exhibition",

Taipei Economic and Cultural

Representative Office in Tokyo, Tokyo, Japan

圖樣式的風景伴隨繪畫寧靜的感受，表達淺意識的狀態，從嚮往國外生活之情到實地走訪國外後， Five shape of Taiwan paintings are present the imagination from domestic to foreign countries,

and the missing from foreign land to hometown. Used five images of the landscape with the quiet feeling paint to express the status of subconscious. From look forward to overseas life

and after to go, to find the best is the landscape of hometown. With the missing feel to say the imagination of other person involved world.

美術系，坤敬市，泰國

作個展，321 巷藝術聚落聚作聯合工作室，台南，台灣

2015「2015 台北藝術自由日」，華山 1949，台北，台灣

2015「104 全國美展」，台灣國立美術館，台中，台灣

2015「五感交集」，駁二藝術中心當代館，高雄，台灣

2017 "Art No Wall Project", Khon Kaen

University department of fine arts, Khon Kaen, Thailand

2016 "2016 Next Art Tainan Award 'Game X Secret' with Solo exhibition", Together workshop, Tainan, Taiwan

2015 "2015 Taipei Free Art Fire",

Huashan 1949 - Creative Park, Taipei, Taiwan

2015 "2015 National Art Exhibition",

National Taiwan Museum of Fine Arts, Taichung, Taiwan

2015 "Five Senses Meet Together", The Pier - 2 Art center, Kaohsiung, Taiwan

郭宜華 GUO, Yi-Hua

184

奇幻聖誕 Christmas Wonder

郭淑莉 KUO, Shu-Li

185

愛的告別式 No.2 The Farewell of Love No.2

2015 ﾉ電腦繪圖 Digital Painting ﾉ 80 x 80 cm

2012 ﾉ油彩、畫布 Oil on Canvas ﾉ 100 x 91.5 cm

在一個人的夜晚裡，女孩總是在睡不著的時候看書，期待孤寂漫長的黑夜能趕快過去，但是今晚

2016「亞洲插畫年度大賞」，台中文創園

愛情的淬鍊與死亡的安息如十字架般的生命信仰，

2015「存在 ‧ 幽微」個展，國立國父紀

麼事…樹屋裡發出微亮溫暖的光芒，進去之後，是不是就能到幸福的地方？

2016「初音未來 Miku Expo」，華山文創

所有的對立終究融合於一片神性的光芒中—。

2015「當代藝術－涵玥 ‧ 台北」藝術聯

似乎有點不太一樣…原本只喜歡躲在暖壺裡發懶的小精靈難得探出頭來，看看外面到底發生了什 The tree house shine out with great brilliancy. After entering this, could I go to the happiness place?

區，台中，台灣

園區，台北，台灣

2015「亞洲插畫祭」，華山創意園區，台北，台灣

2014「台灣藝術家博覽會」，台北信義新天地，台北，台灣

2016 "Asia Illustration Collections 2016", Taichung Cultural & Creative

Industries, Taichung, Taiwan

2016 "Hatsune Miku Expo 2016 in

Taiwan", Huashan 1914 Creative Park, Taipei, Taiwan

2015 "Asia Illustration Collections 2015", Huashan 1914 Creative Park, Taipei, Taiwan

2014 "Artist Fair Taiwan", Taipei Xinyi Place, Taipei, Taiwan

當五彩繽紛的慾望漩渦於空間中凝聚靜止；

The trial of love and the peace of death like the life believe of cross.

When the swirl of colorful desires cohering together and becoming still in space, all the confrontations finally merge into a divine light…

念館，台北，台灣

展，聯上涵玥，台北，台灣

2014「兀自體」陳文祥、郭淑莉二人展， In Live 生活空間，台北，台灣

2014「墜落的力量」女性藝術家聯展，女藝會，台北，台灣

2014「永遠的依靠。生命的歷程」女性藝術家聯展，女藝會，台北，台灣

2015 "Kuo, Shu- Li Solo Exhibition", Sun Yat- Sen Memorial Hall, Taipei, Taiwan

2015 "Contemporary Art in

HanYue‧Taipei" Group Artist

Exhibition, Lian Shang HanYue, Taipei, Taiwan

2014 "Self- Obsessed Body" Exhibition, In- Live Space, Taipei, Taiwan

2014 "The Power of Degeneration"

Female Artist Exhibition, WAA Womanhouse, Taipei, Taiwan

2014 "The Course of Life" Female Artist Exhibition, WAA- Womanhouse, Taipei, Taiwan

陳文君 CHEN, Wen-Chun

186

愛上浮水畫 Love Ebru

料與畫紙之間互動，創作出每一幅獨一無二、令人驚豔的作品！

From the beginning of 16th Century. Ebru, Marbling Art through warte, marbling paint, on paper. It looks like the cloud of Marbling Art. Everyone can create unique and beautiful painting!

187

物質層面：一塊田

2017 ﾉ浮水畫 Marbling Paint ﾉ 29.7 x 22 cm x 3 源自 16 世紀初時的土耳其浮水畫，在水上作畫，讓畫作呈現雲朵般大理石紋的藝術，透過水、顏

陳文祥 CHEN, Wen-Hsiang Material Aspects : A Square of Farmer's Land

2016「愛上浮水畫」Amy & Jeanne 雙個

展，找地方坐藝文空間，台北，台灣

2016「為你繪本書」，國父紀念館，台北，台灣

2016 "Love Ebru : Amy & Jeanne Double Solo Exhibitions", Have A Seat, Taipei, Taiwan

2016 "Painting A Book For You", National Dr. Sun Yat - Sen Memorial Hall, Taipei, Taiwan

2017 ﾉ木材、塑膠浪板、排風扇 Wood, Plastic Wave Board, Venting Fan ﾉ 100 x 100 x 20 cm 物質反映需求，需求暗藏欲望。物質如何為何被建構？物質現象勾勒現實生活與真實生命的狀態。當經濟效益膨脹，田地不再理所當然地被耕作，取而代之是物質層面的欲求與計算。

Materials reflect demands and demands hidden desires. How and why materials are configured? Material phenomena outline the reality and the vital conditions of life. When the

economic value become expansive, farmer's land is no longer planted for granted. Instead, it turns to desire and calculation of material aspects.

2017「究神錄」，國立台灣美術館藝術銀行，台中，台灣

2016-2017「類似過於喧囂的孤獨」新樂

園 20 年紀念展，北師美術館，台北，台灣

2016「台灣當代一年展」，花博公園爭艷館，台北，台灣

2016「漫舞」，於深海之上，淡水海關碼頭博物館 B 棟，新北市，台灣

2012「感性生產：當知識變成態度」，關渡美術館，台北，台灣

2017 "In Search of Gods", Art Bank of

National Taiwan Museum of Fine Arts, Taichung, Taiwan

2016-17 "Like Too Loud A Solitude",

Fine Arts Museum of NTUE, Taipei, Taiwan

2016 "2016 Taiwan annual", Taipei Expo

Park, Tsung - Yuan Building, Taipei, Taiwan

2016 "Dancing Above The Deep Sea", Tamsui Historical Museum, B building, New Taipei, Taiwan

2012 "Production of Senses : When

Knowledge becomes Attitude", Kuandu Museum of Fine Arts, Taipei, Taiwan

陳正勳 CHEN, Cheng-Hsun

188

始 Beginning

宇宙的繼起、自然的生滅，是我從事藝術創作以來最喜歡探究的課題。土是我生活中堅持的一種

2014「重回新展望」，台北市立美術館，

宙的結構，詮釋生命的意義，回歸本位、追求和諧。

2007「亞細亞陶藝三角洲－韓國、台灣、

Since I started working in ceramics the themes that have interested me the most have been those of the continuity of the cosmos and birth and death in nature. Clay is a stabilizing

influence in life, it allows one to remain steadfast day to day, it clears the mind of worldly thoughts and helps one calm the mind, achieving a degree of clarity. And allows one to explore

the structure of the universe and the divine meaning of life, to return to the original self, and seek harmony.

189

良禽擇木而棲－台北府城北門 A Fine Fowl Perches Only on A Fine Tree - Taipei North Gate

2015 ﾉ陶土 Clay ﾉ 63 x 17 x 31 cm 方式，藉著每天的堅持，洗滌心中的塵念，讓自己的思緒沉澱下來，達到明清澄澈，進而探究宇

陳妍伊 CHEN, Yen-Yi 2016 ﾉ影像輸出、水彩繪畫 Inkjet Printing, Watercolor Paint ﾉ 112 x 140 cm

台北，台灣

古有云：良禽擇木而棲。是什麼原因讓這群「監視鳥」選擇了都市中統一規格生產的工業良木駐足？

日本」，岐阜縣現代陶藝美術館，

被看的角色在這種狀態下似乎被混淆了，形成一種交錯弔詭的微妙關係。「監視鳥」就似乎披著正

岐阜，日本

1996「土的詮釋－台灣陶藝展」，美國陶

藝教育年會，羅徹斯特（紐約），美國

1994「第五屆國際袖珍雕塑展」，夏威夷大學藝術館，檀香山，美國

1992「一九九二現代陶藝國際邀請展」，國立歷史博物館，台北，台灣

2014 "Revisiting New Horizons", Taipei

Fine Arts Museum, Taipei, Taiwan

2007 "Asian Ceramic Delta Korea,

Taiwan, Japan", Museum of

Modern Ceramic Art, Gifu, Gifu, Japan

1996 "Six Interpretations of Clay -

Handmade in Taiwan", NCECA, Rochester (N.Y.), U.S.A.

1994 "The 5th International Shoebox Sculpture Exhibition", the

University of Hawaii Art Gallery, Honolulu, U.S.A.

1992 "The 1992 International Invitational Exhibition of Contemporary

Ceramic Art", National Museum of History, Taipei, Taiwan

我看著牠，想在牠身上尋找／想像自然的痕跡，而牠也看著我，想在我身上尋找些什麼呢？看與

義使者的華麗外衣，被賦予保衛市民生活的大任，以其銳利及碩大無比的眼睛，肆無忌憚地注視着腳底下人們的一舉一動，在這全民共監的時代，「監視鳥」儼然成為都市叢林的守護者，新的城市之王—奇異之鳥！

As the proverb goes, a fine fowl perches only on a fine tree. For what reasons do these "CCTV

2017「創作像海洋愛你像光」台北寶藏巖光節聯展，寶藏巖國際藝術村，台北，台灣

2016「良禽擇木而棲」陳妍伊個展（台南新藝獎／遊戲秘密），新光三越小西門微藝廊，台南，台灣

2015「過境」陳妍伊＆康雅筑雙個展，台北國際藝術村，台北，台灣

birds" choose to perch on the industrially standardized woods in cities? I looked at it, hoping to

2015「藝術與城市－橫濱與台北」聯展，

find on me? The seeing and seen roles are obscured in this condition, forming a paradoxically

2014「COUNTRY OF ORIGIN」陳妍伊

search / imagine its trace of the nature. It looked back at me as well, and what was it trying to subtle relationship. It seemed that "CCTV birds" were wearing Herald of Justice's gleaming

trappings, and were given the responsibility to defend the lives of the public with their sharp, big eyes, brazenly staring at people's every move. In this co - surveillance era, the "CCTV birds" obviously becomes the watcher of the city jungle, the new king of the city - a bizarre bird.

BankART 1929，橫濱，日本

個展，Whitireia Asia NZ，威靈頓 Porirua，紐西蘭

2017 "You are the Sunshine of my

Life"2017 Treasure Hill Light

Festival, Treasure Hill, Taipei, Taiwan

2016 "A Fine Fowl Perches Only on a Fine Tree" (NEXT ART TAINAN), Ximen Micro Gallery, Tainan, Taiwan

2015 "In Transit"Duo Exhibition of Yen - yi Chen & Ya - chu Kang, Taipei

Artist Village - Barry Room, Taipei, Taiwan

2015 "Art and City in Yokohama and

Taipei", BankART 1929, Yokohama, Japan

2014 "COUNTRY OF ORIGIN", Whitireia Asia NZ, Porirua, New Zealand

陳長志 CHEN, Chang-Chih

190

［相對透視］地景採集計畫－境界鹿

陳長志創造「相對透視」的攝影語彙，將相對論的時空關係轉化成影像，應用於社會人文領域，藉

由長年執行地景採集計劃，剖面城市與地貌景觀，讓我們重新思維所處的環境與時空。這頭鹿角上繪有「境界」漢字記號的梅花鹿，矗立於台南新營的火車站月台，遙望著對岸月台變化瞬即的光

景。三百多年前，這裡可還是梅花鹿的生活場域，當年國際貿易促使血肉之軀快速地轉化成皮草的形式存在於世。現在，除了幾個復育場仍有子嗣殘喘，牠們以記載以標本以雕塑存在。

Chang - Chih Chen creates a photographic language called "Relative Perspective." He transforms the time-space relationship in relativity into images and applies it in socio-humanity areas. Through a long-term landscape collection project, the scenes in city and countryside are cut in pieces. This project encourages people to rethink about the environment, time, and

space they live at the moment. This Formosan sika deer, with 'Jing-Jie' in Chinese written on one deer horn, stands on the platform of the train station in Sinying, Tainan and gazes at the

ever-changing scene on the opposite platform. More than three hundred years ago, this was

the realm of the Formosan sika deers. The international trades rapidly converted the blood and

flesh into the form of fur. Now, besides the offspring in a few repopulation fields, they exist as literature, samples, and statues.

Note: "Jing–Jie" could mean boundary, limits, realm, or a state of mind.

191

刺青的雙手 Tattoo Hands

2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 53 x 46 cm

Relative Perspective - Jing-Jie Deer

2015 ﾉ藝術微噴 Giclee ﾉ 60 x 90 cm

陳品宏 CHEN, Pin-Hung

2015 賴翠霜舞創劇場「Blackout—記憶出軌」劇場影像設計，Tanzhaus NRW

& 國家實驗劇場，杜賽道夫＆台北，

90 年代後崛起的刺青／身體穿環文化，成為街頭時尚列車的起始站，街頭穿環少女的樣貌，最能表現當代社會百姓的浮世形象，也是作者極欲紀錄的樣貌。

德國，台灣

The culture of tattoo / body piercing which developed after the 1990s is the beginning step of

置展，La Caja Blanca & Centro

people in the society nowadays which also captured the painter's attention by its charm.

2012「在／身體之外」劇場攝影暨裝

Cultural Villa de Nerja，馬拉加＆內爾哈，西班牙

2011「法國 PX3 國際攝影大賽」專業組銅牌獎，Prix de la Photographie，巴黎，法國

2011「中華民國百年全國美展」攝影類金牌獎，國立台灣美術館，台中，台灣

2006「實況透視」聲響與裝置個展，南海藝廊，台北，台灣

2015 Projection Designer in Theatre

for "Blackout - yromeMdniweR"

&"Blackout II" with Lais Creative

Dance Theater, Tanzhaus NRW & National Experimental Theater, Taipei, Düsseldorf & Taipei, Germany & Taiwan

2012 "In / Outside the body" Exhibition of Dance Photography and

Installation Art, La Caja Blanca

& Centro Cultural Villa de Nerja, Malaga&Nerja, Spain

2011 "PX3 International Photography

Competition" Professional Bronze Prize, Prix de la Photographie, Paris, France

2011 "R.O.C. National Art Exhibition"

Photography Gold Prize, National Taiwan Museum of Fine Arts, Taichung, Taiwan

2006 "Real Time for Perspective" Sound Art and Installation Art Exhibition, Nan Hai Gallery, Taipei, Taiwan

street fashion. The appearance of street girl with piercing is the most representative image of

2015「台灣當代一年展」，花博爭豔館，台灣，台灣

2014「台灣藝術家博覽會」，花博爭豔館，台北，台灣

2015 "Taiwan Annual 1st", Expo Dome, Taipei, Taiwan

2014 "Artist Fine Taiwan", Expo Dome, Taipei, Taiwan

陳奕如 CHEN, Yi-Ju

192

繭 2 Cocoon 2

2016 ﾉ油彩、畫布裱板 Oil on Canvas Mounted on Board ﾉ 93 x 68 cm

「繭」系列來自於獨居生活的封閉狀態，自異於社會框架之外的感受，使用膠膜作為繭體的構成材

2017「藝術新聲」畢業生推薦展，台中市

荒野時，是否仍然難以解放、永遠處於無法融接的位置？

2017「失效之前」北藝大新媒體藝術學系

The series, Cocoon, is inspired by the unreceptive state often found on the solitaries, the feelings they might have when they acknowledge themselves as the outsiders of a society. Using plastic

wrap to frame the cocoon, this piece attempts to probe the individual's isolation in the social space and the relationship of seeing and being seen. When an individual is self-secluding him/

herself from the community, would he/ she in the position that can never be reached by others, therefore could hardly become free?

193

相對應 Corresponding

2015-2016 ﾉ攝影 Photograph ﾉ 41 x 61 cm x 5 料，作品試圖探討個人身在社會空間中的疏離感與被觀看的主客關係，當人自外於社會、離群於

陳柏源 CHEN, Po-Yuan

大墩文化中心，台中，台灣

第四屆系展，台北藝術大學地下美術館，台北，台灣

2016「台北藝術自由日」，華山 1914 文化園區，台北，台灣

2016「仙渡莊計畫 II—想像的地理中

心」，大舟造船廠，台北，台灣

2016「島嶼中的島嶼」台師大水墨組校外

展，台灣師範大學德群藝廊，台北，台灣

2017 "Young Voices - 11 Universities'

Exhibition", Taichung City Dadun

Cultural Center, Taichung, Taiwan

2017 "Before Invalid - TNUA Dept. of

New Media Art The 4th Annual

Exhibition TNUA", Underground Gallery, Taipei, Taiwan

2016 "Taipei Free Art Fair", Huashan

1914 Creative Park, Taipei, Taiwan

2016 "Xanadu Project II - A Place

Without Boundaries", Tachou

Yachts Factory, Taipei, Taiwan

2016 "Ultra XI - Graduation Exhibition in

Department of Fine Arts at NTNU", NTNU/eh-chun Art gallery, Taipei, Taiwan

畫面顏料的取得是經過本人十件其他寫實作品題材所調過的顏色，每一組顏色都有相對應的其他作品中物體的固有色，而依照這隨機的調色因素去組合成的抽象作品。

The oil pigments that I used in this artwork are from the left out pigments of ten other realist

paintings. Every set of colors is corresponding to the subjects of ten other picture frames to build up this abstract moment.

2017「台北新藝術博覽會」，世貿三館，台北，台灣

2016「王陳靜文繪畫創作獎聯展」，台灣藝術大學國際展覽廳，新北，台灣

2016「向往自然 - 觀自在」，435 藝文特區，新北，台灣

2015「夢幻藝品展」，有章博物館，新北，台灣

2013「UNESCO 國際青年藝術祭」，曼谷巨型購物中心，曼谷，泰國

2017 "Art Revolution Taipei", TWTC Third Hall, Taipei, Taiwan

2016 "The Anita Wong Art Prize Exhibit",

NTUA Int. Exhibit Hall, New Taipei, Taiwan

2016 "Contemplating at Ease", 435 Art Zone, New Taipei, Taiwan

2015 "Art and Craft Joint Exhibit", NTUA Museum, New Taipei, Taiwan

2013 "Int. Youth Culture Art Festival

UNESCO", Mega Bangna, Bangkok, Thailand

陳炳臣 CHEN, Bing-Chen

194

兩相情誼 Friendship

在台灣的千山萬水中領悟，關於這個世界的美，不是缺乏而是「發現」，進而探索於視覺藝術與表

演藝術的領域，包含繪畫創作、電影的美術設計、舞台劇導演、及廣告演出等，同時辦理各式藝文活動，與大家一同分享與發現。多重角色交織出對生命的尊重與珍惜，使他與大自然的邂逅，幻化成時而氣勢宏大、時而細膩感動的創作。

Full - time art creation, he studied architecture in college. Loving nature made him put in after

the 921 earthquake Orchid planting native repopulation. Comprehend the landscape in Taiwan, about the beauty of the world, but not a lack of "discovery", and then explore the visual arts

2017「陳炳臣創作個展」，經濟部台中軟

2017「第 16 屆中日國際書畫交流展」，

永不放棄的步伐，造就創作的熱情引燃生命精隨。每一幅作品，深深投入安撫身心靈。和作品合

2016「陳炳臣創作個展」，中國畫廊，舊

著。生活藝術寫意如詩如畫，創作之際養就美學臨界之薰陶，彷彿遊走色彩天絲創造之奧妙。甲

2017「陳美珍油畫巡迴展」，豆谷藝術空

也奠定一生揮灑之志，感謝上天賜我的才華，在藝術王國流露淬鍊的真諦。

2017「海峽兩岸文藝書畫展」，台北市議

中，台灣

金山，美國

2016「陳炳臣創作個展」，中國文化大學視覺藝術中心－大夏藝廊，台北，台灣

2015「陳炳臣創作個展」，宜蘭酒廠紅露

discover the world together. Different roles allow him to respect life and cherish life. His

2013「陳炳臣創作個展」，台中文化創意

encounter with nature, turned into the magnificent, and sometimes delicate moving creation.

2016 ﾉ油彩、畫布 Oil on Canvas ﾉ 90 x 60 cm

體園區－台灣文創藝術博覽會，台

and the performing arts, including painting, film art design, theater director, and advertising performances, organizing various cultural and artistic activities, to share with everyone and

195

凝視你的前方 / 懸浮的芬芳系列 Staring at Your Future / The Atmosphere of Great Scent

2016 ﾉ壓克力 Acrylic ﾉ 91 x 72.5 cm 專職美術創作，學建築而踏進廣告圈。熱愛大自然使他在 921 地震後投入原生蘭藝的栽種復育，

陳美珍 CHEN, Mei-Chen

藝廊，宜蘭，台灣

產業園區，台中，台灣

2017 "Chen, Bing - chen Solo Exhibition", Taichung Software Park - Art &

Creative EXPO TAIWAN, Taichung, Taiwan

2016 "Chen, Bing - chen Solo Exhibition", CHINESE ART GALLERY, San Francisco, United States

體，呈現自我幻化中靜謐，全是藝術結合豐沛情愫，簡潔流暢的筆觸，華麗明朗的色彩流體遊動子歲月，延續小時後創作的心願，而決定尋夢，築夢踏實。繪畫是美珍生命的初戀，是終生摯愛。 Mei Jean never gives up and keep walking on the pace of creation, creation ignites the

日本上里市東京都美術館，東京，日本

間，台南，台灣

會，台北市，台灣

enthusiasm of life. I deeply contribute myself into every work, and comfort my body and mind.

2017「新台國際美術交流展」，新聞藝術

floating in fantastically bright color with simple and smooth strokes in the silence. Life is a

2016「千華之初」陳美珍油彩創作展，加

All the art work combined with abundant feelings, I imagine myself being as a part of my work fantastic epic. When I am painting and immersing in the atmosphere, as if walking toward the

colorful heaven. In my 60s, my dreams of childhood keep continuing, I decided to follow up my

gut, making my dream come true. Painting is the first love of my life, my entire life. I set up my

goal enjoying painting in my whole life, thank God for the gift, let me enjoy looking for the truth of life in the art kingdom.

部雅殿，新加坡，新加坡

頭鬃藝術空間，台南市，台灣

2017 "The 6th Chinese & Japan

Calligraphy and Painting Exchange Exhibition", Kamisato - machi,

Tokyo Metropolitan Art Museum, Japan

2017 "Mei Jean Chen Oil painting

exhibition", Dual Good art space, Tainan city, Taiwan

2016 "Chen, Bing - chen Solo Exhibition",

2017 "The Calligraphy and Painting

Chinese Culture University - Image

Taipei city council, Taipei city,

School of Continuing Education and Art center, Taipei, Taiwan

2015 "Chen, Bing - chen Solo Exhibition", Yilan winery red dew Art Gallery, Yilan, Taiwan

2013 "Chen, Bing - chen Solo Exhibition", Taichung Cultural & Creative

Industries Park, Taichung, Taiwan

exhibition of Chinese Culture", Taiwan

2017 "Singapore & Taiwan Renowned Artist Art Exchange Exhibition", MICA Building, Singapore city, Singapore

2016 "the beginning of thousand

days˙Mei Jean Chen", CTZ art space, Tainan city, Taiwan

陳美華 CHEN, Mei-Hua

196

山景－ 1 Mountain Scene - 1

2005 ﾉ油彩、畫布 Oil on Canvas ﾉ 80 x 80 cm

尋求並定義我對柴燒美感的追求，是多年來不變的創作基調。當土透過火的焠煉與相思木灰的揮

2016「台灣人文園林陶展」，新竹市文化

的衝擊衍生出樸拙的自然彩畫，加以中介的材料如鐵、不鏽鋼、原木、瓷片鑲嵌，新舊元素的對

2015「花想」，泰郁美學堂，嘉義，台灣

談呈現柴燒的包容與生命力。

作品以簡潔有力的形體與俐落的線條相呼應，鋪陳出大自然質樸、壯碩的美景。 For many years the main theme behind my work has been an exploration and an attempt to

define my own search for the aesthetic of wood firing. In the kiln the flames transform the clay,

sending wood ash flying in the air in a flurry, only to land on the surface of the pieces, at times

thick and fast, at time more gently, creating natural effect, the result of the uneven distribution

of the ash as it descends onto the surfaces of the pieces in the kiln, and the way the flame marks are etched onto the surface; other materials are so introduced into the kiln, iron, steel,

fresh wood, shards, creating a dialogue between the old and the new and expressing the all encompassing nature and vitality of the wood firing technique.

Simple and powerful shape is consistent with neat lines of the word, delivering the nature rustic and magnificent landscape.

197

痕跡 Marks

2017 ﾉ陶、不鏽鋼 Clay, Steel ﾉ 32 x 27 x 77 cm

灑，互相激盪爐火純青的自然落灰，或粗獷或溫潤、渾厚的質感千變萬化。不同的落灰量與火路

陳香伶 CHEN, Hsiang-Ling

局，新竹，台灣

2014「福州海峽創意設計展」，福州海峽創意產業園區，福州，中國

2007「亞洲陶藝三角州交流展」，現代美

裹覆女性身體的斑斕彩衣，隱含舊威權體制思想與傳統封建禮教加諸在女性身上的不公平對待。 The gorgeously colored garments wrapped around the woman's body signify the unfair

treatment received by women under old - fashioned authoritarian thinking and traditional feudal ethical education.

2012「陳香伶油畫展」，台南市立台南文化中心，台南，台灣

2010「陳香伶油畫展」，台北國立中正紀念堂，台北，台灣

2010「陳香伶油畫展」，台中市立文化中心，台中，台灣

術館，歧阜縣，日本

2006「陳香伶油畫展」，台南格爾畫廊，

克米，匈牙利

2006「陳香伶油畫展」，台北國立國父紀

2005「船」，國際陶藝工作營畫廊，克其

2016 "Taiwan Humanities and Culture Garden of Ceramics Exhibition",

Cultural Affairs Bureau, Hsinchu City, Hsinchu, Taiwan

2015 "Flowering", TAIYU Beaux Art, Chiayi, Taiwan

2014 "Fuzhou Cross - Strait Creative

Design Exhibition", Fuzhou Cross - Strait Creative Industrial Carde, Fuzhou, China

2007 "Asia Ceramic Delta Exhibition",

Museum of Modern Ceramic Art, Gifu, Japan

2005 "The Ship", Kecskemet Art Center, Kecskemet, Hungary

台南，台灣

念館，台北，台灣

2012 "Exhibition of the Oil Paintings

of Chen", Hsiang - Ling, Tainan

Municipal Cultural Center, Tainan, Taiwan

2010 "Exhibition of the Oil Paintings

of Chen", Hsiang - Ling, National Chiang Kai - shek Memorial Hall, Taipei, Taiwan

2010 "Exhibition of the Oil Paintings of Chen", Hsiang - Ling, Taichung Municipal Cultural Center, Taichung, Taiwan

2008 "Exhibition of the Oil Paintings of

Chen", Hsiang - Ling, Gale Gallery, Taipei, Taiwan

2006 "Exhibition of the Oil Paintings of

Chen", Hsiang - Ling, National Dr.

Sun Yat - sen Memorial Hall, Taipei, Taiwan

陳峻儀 CHEN, Chun-Yi

198

淡水街道系列－中正路、清水街 Sound of Tamsui Street 這次創作的主題是淡水的重要街道，中正路、英專路、真理街、清水街，還有重建街，這是其中

的二幅作品。中正路雖說是老街，但建物的特色大多被新式招牌給擋住了，想像它原本的風貌是走在路上最常想的事。淡水每年的環境藝術嘉年華在這裡舉辦，把路變成樂園，人文，是這裡最

重要的資產。清水街是淡水的傳統市場，洞穴式的雨遮內掛滿有趣的手繪招牌，還隱約看得見古老建築本尊。大清早的，小孩還在睡夢中，爸媽就把菜都買好了！這是這個老市場偉大的地方，簡單生活的真實樣貌。

The theme of this creation is the important streets of Tamsui. Zhongzheng Rd., it is an ancient

street, but the characteristics of the building are mostly covered by new billboards, and imagine its original style is walking on the road most often think of things. Tamsui annual environmental

arts festival held here, the road become paradise, humanities, is the most important asset here. Qingshui St. is the traditional market of Tamsui, cave - style rain cover hung with interesting hand-painted signs, also vaguely see the ancient building. Early in the morning, the children still

sleep, parents have bought all you need already. This is the great of this old market, the real life of simple life.

199

稜鏡 Plastic Prism

2015 ﾉ陶瓷、中密度纖維板、壓克力 Porcelain, MDF, Plexi glass ﾉ 40 x 10 x 10 cm x 6

Zhongzheng Rd. and Qingshui St.

2016 ﾉ壓克力顏料、烏克麗麗 Acrylic Paints, Mahogany Ukulele ﾉ 60 x 45 cm x 2

陳庭榕 CHEN, Ting-Jung

2016「快樂出海口」福容邀展，福容飯

「稜鏡」是一件由紅、綠、藍三色平衡瓶組成的作品。作品以陶瓷對雜耍平衡瓶的翻模再製作為寓

2016「麻花捲 & 魏天健漫步淡水聯展」，

與場域。她在生活的變形文本錯落中找尋平衡，由運動闡釋著創作。言語、影像、聲響、行為、物。

店，新北市，台灣

淡水小白宮，新北市，台灣

2015「台灣藝術家博覽會」，花博爭艷館，台北，台灣

2015「藝文青軌－淡水的廢棄物」，滬尾砲台，新北市，台灣

2014「藝結水岸－聽見淡水」，滬尾砲台，新北市，台灣

2016 "Happy Sea", Fullon hotel, New Taipei City, Taiwan

2016 "Dream Twist Art Studio" Group Exhibition, Tamsui Customs

Officer's Residence, New Taipei City, Taiwan

2015 "Art Taipei", Taipei EXPO park, Taipei, Taiwan

2015 "Art activity - castoff Rebirth", Hobe Fort, New Taipei City, Taiwan

2014 "Art beside water - Listen

DANSHUI", Hobe Fort, New Taipei City, Taiwan

言，探討著身體與空間的運動關係，以及遊戲者的獨一韻律詮釋。陳庭榕的作品連結身體，時間

2017「Double Facade 與他者相遇的多種方式」黃金町，黃金町區域管理中心，橫濱，日本

她以文化符號演示者與其生衍，作為創作的角力：從現象的脈絡褶皺裡外，探討解構身份的形塑

2017「我對你的思想，在潮濕的氣候

出入體系中，尋找社會音景。

2016「陳庭榕 & Christian Ingemann 雙

感發與呈相。她以被虛實話語和空間詩意串連結構的不同媒介，與觀者遊戲互動：在行進混動的 Ting - Jung Chen born 1985 in Taipei, Taiwan. Based in Vienna, Hamburg and Taipei. Ting - Jung

Chen's works interconnect between body, time and place. Through today's phenomena study,

中」，MOM 藝術空間，漢堡，德國個展」，D 空間，維也納博物館區，維也納，奧地利

she discusses the tension between the subjectivity and the objects. Habitus, insignia, gestures,

2015「台北美術獎」，台北市立美術館，

poetic arrangements within temporal related spaces, she demonstrates in her aesthetic practice

2015「Hiscox 藝術獎」，漢堡美術館，漢

rhetoric. Objects, images, sounds, or textuality and materiality. By performing these elements in a critical approach to "transformative identity" and its makeshift dwelling. Through the dialectic

working process, which usually involves the public, she draws an atlas into the overlapping culture mingling. "Plastic Prism" is an installation piece, which contents 3 juggling clubs in the colors red, green and blue. The artist uses the porcelain juggling clubs as a metaphor, aiming to

discuss the relation between body and space; and the unique rhythm created by the potential player / performer / interpreter.

台北，台灣堡，德國

2017 "Koganecho Bazaar 2017 -

Double Facade: Multiple ways to

encounter the Other", Koganecho Area Management Center, Yokohama, Japan

2017 "My Thoughts on You, in a humid Climate", MOM ART SPACE, Hamburg, Germany

2016 "Ting-Jung Chen & Christian

Ingemann", Room D in Museum Quartier, Vienna, Austria

2015 "Taipei Arts Awards", Taipei Fine Arts Museum, Taipei, Taiwan

2015 "Hiscox Art Prize", Hamburg

Kunsthaus, Hamburg, Germany

陳浚豪 CHEN, Chun-Hao

200

臨摹宋燕文貴烟嵐水殿圖局部 Imitating the Landscape of Yan, Wen-Gui of Song Dynasty 2016 ﾉ蚊釘、木板、畫布 Mosquito Nails on Wood Canvas ﾉ 150 x 150 cm

使用裝潢用不鏽鋼蚊釘、釘槍，以疏密「釘法」臨摹古人水墨的「皴法」、「筆法」以及「筆勢」，讓

蚊釘突出畫面約 1 公分，以點接連成線，再構成面、墨跡，以接近西方點描派的方式來臨摹東方繪畫作品。最後，透過光線對蚊釘所造成的陰影形成山水畫中的水墨暈染，形構出山巒雲氣與氤醞。

In order to imitating the master's ink painting with my special tool, nail gun and mosquito

stainless nail, I have to follow the master's brush and all the trace left on the original piece in very detail and carefully. That means I am using the Western concept to represent the Oriental ink painting. The last phase will be using the light to make the shadow to create the atmosphere of ShanSui.

陳惠儒 CHEN, Hui-Ju

201

春喜 / 陽光與生命 / 收穫 / 晨曦 The Joy of Spring /

Sunshine and Life / Harvest / Morning

2017「天圓地方非人間」陳浚豪個展，耿

2016 ﾉ油彩、畫布 Oil on Canvas ﾉ 70 x 90 cm, 82 x 70 cm, 70 x 60 cm, 75 x 63 cm

畫廊，台北，台灣

以畫刀為繪畫的主要工具，畫出各式各樣的風貌；將畫刀的功能盡其可能的發揮淋漓盡致：可以

灣

圖：陽光與生命）、更可以展現出特別的筆觸（如圖：春喜），細細品味，細細咀嚼，美，無所不在～

2017「水墨曼陀羅」，高美館，高雄，台 2016「近墨者」，双方畫廊，台北，台灣 2014「還我河山」陳浚豪個展，耿畫廊，台北，台灣

2012「台灣當代、玩古喻今」，北美館，台北，台灣

2017 "Chen Chun-Hao Solo Exhibition", Tina Keng Gallery, Taipei, Taiwan

2017 "Mandala of Ink Art", Kaohsiung

Museum of Fine Arts, Kaohsiung, Taiwan

2016 "Ink Gene", Double Square Gallery, Taipei, Taiwan

2014 "Chen Chun-Hao Solo Exhibition Reclaiming the Lost Territories",

Tina Keng Gallery, Taipei, Taiwan

2012 "Contemporary Appropriations

of the Past", Taipei Art Museum, Taipei, Taiwan

是豪邁灑脫（如圖：收穫）、可以是清新動人（如圖：晨曦）、也可以呈現畫筆所能表現的細緻（如

To draw the knife as the main tool for painting, draw all kinds of style ; The function of the knife as much as possible to play the most vividly : Can be heroic free and easy ( as the picture shows

: Harvest ) , Can be fresh and moving ( as the picture shows : Morning ) , Can also show the brush can show the meticulous ( as the picture shows : Sunshine and life ) , But also can show a

special brush strokes ( as the picture shows : The joy of spring ) , Slowly savoring, Slowly chew, beautiful, Everywhere ~

2017「五月潮（marée de mai）」聯展，黃步青 80 藝術空間，台南，台灣

2017「春之頌」陳惠儒個展，蔚龍藝術，台南，台灣

2016「黃步青．陳惠儒雙人聯展」，黃步青 80 藝術空間，台南，台灣

2016「黃步青．李錦繡．陳惠儒聯展」，黃步青 80 藝術空間，台南，台灣

2017 "May tide (marée de mai) 2017

exhibition", Hwang Buh - Ching 80 art space, Tainan, Taiwan

2017 "Chen Hui - Ju Solo exhibition

of spring", Weilong Art, Tainan, Taiwan

2016 "Hwang Buh - Ching．Chen Hui - Ju Double exhibition", Hwang Buh -

Ching 80 art space, Tainan, Taiwan

2016 "Hwang, Buh - Ching．Li, Jin - Xiu． Chen, Hui-Ju Exhibition", Hwang, Buh - Ching 80 art space, Tainan, Taiwan

陳瑋勛 CHEN, Wei-Shiun

202

填海造陸 Building

陳瑞錦 CHEN, Jui-Ching 滯留 Grounded

2016 ﾉ油彩、畫布 Oil on Canvas ﾉ 130 x 97.5 cm

2016 ﾉ薯榔液、魚鉛、現成物 Dye Yam, Fishery Plumb, Ready - Made ﾉ 98 x 60 x 25 cm

台灣人以寺廟為信仰中心，各種文化與生活百態也在寺廟中匯聚，人們透過信仰、交流、言語等

2016「酸鹼中和－六人聯展」，台南大學

對於記憶的描述，來自於圖像化還有其感官的記憶。對於某種味道的記憶探詢中，傳統漁具保養

濃厚的鏽蝕，從無至有層層堆疊需一筆一畫慢慢地思考顏色、佈局畫面，使其逐漸的發亮亙古。

2016「台南大學視覺藝術與設計學系系

用過程，試想應用在繪畫藝術上。廢棄漁具經由潮水反覆的衝擊，最終滯留沙灘，留下美麗的邂

慢慢建構起文化的組織與價值觀，正有如創作中茫茫大海樹立起的古廟，度過了時間與日月生起

Temple is a faith center of Taiwanese, there can see many kinds life style with person who comes. They build culture and values from communicative with each other. Just like the temple stands in the ocean, from year to year, got a lot of bronze rust. They're multilevel and need thoughtful to paint it, and let it ancient.

203

第一藝廊，台南，台灣

展」，台南文化中心，台南，台灣

2015「台南大學視覺藝術與設計學系系

展」，台南文化中心，台南，台灣

2016 "Acid and alkali - Six people

exhibition", National University of Tainan, Tainan, Taiwan

2016 "NUTN deportment of visual art and design exhibition", Tainan

Cultural Center, Tainan, Taiwan

2015 "NUTN deportment of visual art and design exhibition", Tainan

Cultural Center, Tainan, Taiwan

的特殊天然染劑——薯榔，對這酸酸帶有青草味，色澤赭紅色的染劑記憶深刻。復刻父執輩的使逅。

According to the description, iconic and sensory memories, the natural dye to preserve the

traditional fishing gears - dye yam, has a smell of sour and grass. My memories were deeply engraved by this burnt sienna color. I tried to trace back the original way to extract the color of dye yam and use the color to paint.

2017「質變的記憶鏈」陳瑞錦創作個展，新北市淡水古蹟博物館海關碼頭 C 棟，台北，台灣

2016「宜蘭獎」，羅東文化工場天空藝廊聯展，羅東，台灣

2016「宜蘭獎」，宜蘭藝文中心聯展，宜蘭，台灣

2016「桃園地景藝術節《哨所包裹畫計

畫》《海上花》《聽潮》」，桃園永安漁港－廢棄哨所，桃園，台灣

2015「藝術家博覽會」，台北花博爭豔館聯展，台北，台灣

2017 "Memory chain of qualitative change", New North City

Freshwater Monuments Museum Cafe Terminal C, Taipei, Taiwan

2016 "2016 Yilan Awards", Luodong

Cultural Working House, Luo Dong, Taiwan

2016 "2016 Yilan Awards", Yilan Museum of Art, Yilan, Taiwan

2016 "Taoyuan Land Art Festival -

Wrapped Outpost", Yongan fishing port, Taoyuan, Taiwan

2015 "Artist Fair", Taipei Flower Bo

Zhengyan Pavilion, Taipei, Taiwan

陳萬仁 CHEN, Wan-Jen

204

無名英雄 Strive Like A Hero

那水花濺起的厚薄，無關於重量，而是轉身就過的巧勁。 This is a lookbook of the everyday, but also a catalogue of life. The swimmer's strike back is not

2017 ﾉ壓克力顏料 Acrylic on Canvas ﾉ 72 x 60.5 cm 2017「旋轉世界的靜止點」，双方藝廊，台北，台灣

2017「極限風景」，心動藝術空間，台北，台灣

only an inspirational fable, but also an empirical study of anthropology. The magnitude of the

2016「假動作 10——純藝術」，非常廟藝

nimble twist of the body.

2016「双視」，双方藝廊，台北，台灣

splashes is not determined by bodyweight, but rather the swift maneuver of advancing with a

205

謎樣特洛伊 Mysterious Troy

2017 ﾉ單頻道錄像 / 彩色 / 無聲 Single Channel Video, Color, Mute ﾉ無限循環 Loop 是日常圖譜，也是人生型錄，泳者的逆襲不只是則勵志寓言，還是人類學的實證考察。

陳慧蕙 CHEN, Huei-Huey

文空間，台北，台灣

2016「日日湯馬森」，双方藝廊，台北，台灣

2017 "The Still Point of The Turning

World", Double Square Gallery, Taipei, Taiwan

2017 "Limitless Landscapes", ART INFLUENCE, Taipei, Taiwan

2016 "FEIGNING MOVEMENT 10 ——ART ONLY", VT Artsalon, Taipei, Taiwan

2016 "Double Vision", Double Square Gallery, Taipei, Taiwan

2016 "Everyday Thomassons", Double Square Gallery, Taipei, Taiwan

特洛伊木馬的傳奇故事眾說紛紜，謎樣的特洛伊城、神秘的古文明和歷史，造就令人驚艷的土耳其。

The legend of the Trojan horse is widespread for centries. The mysterious ancient civilization and history of Troy create and accomplish what makes stunning Turkey today.

2017「藝彩」，高雄市文化中心至美軒，高雄，台灣

2016「藝意非凡」，高雄市立社會教育館展示廳，高雄，台灣

2016「港都藝術協會春季聯展」，高雄市文化中心至上館，高雄，台灣

2015「微笑繪的藝想世界」，金園飯店，高雄，台灣

2014「陳慧蕙藝術創作個展」，台南奇美奇恩藝廊，台南，台灣

2017 "Unique Color of Art", Kaohsiung

Culture Center, Kaohsiung, Taiwan

2016 "Extraordinary Art", Kaohsiung

Municipal Social Education Center, Kaohsiung, Taiwan

2016 "Spring Exhibition of Kaohsiung

Harbor Art Association", Kaohsiung Culture Center, Kaohsiung, Taiwan

2015 "Smiley Huey's Art World", Garden Plaza Hotel, Kaohsiung, Taiwan

2014 "Huei - Huey Chen's Creative Art

Solo Exhibition", Tainan Chi - Mei Chi - Ann Gallery, Tainan, Taiwan

陳學嬪 CHEN, Hsueh-Ping

206

戀 Lover

我決定不再難過，原以為自己可以釋懷，但，愈是如此，便愈難忘懷！

畫中以銀粉設色，暗喻「阿肥」已經幻化成精靈，畫面之中佈滿的百合花，意謂著將思念化為香氣與祝福伴隨著過往的眷戀，縈繞在心愛的牠。圖底大膽的使用橙紅，營造出暖意與眷戀之情 This work is inspired by the cat "A-Fat".

207

執著．信念．歡樂 Dedication, Belief, Joyful

2007 ﾉ水墨 Ink ﾉ 75 x 75 cm 我飼養貓近二十年了，圖中的貓陪伴著我十餘年，許多作品都是以牠為題材。「阿肥」走後兩年，

陳錦清 CHEN, Ching-Chin 2017 ﾉ無酸數位輸出 Acid-free Digital Output ﾉ 93.9 x 79.2 cm

2016「收錄華人畫事專刊」，安徽，安徽，中國

2016「雲山，忘我」，中研院，台北，台灣

人執著信念，雖有膚體上的痛苦，心靈上卻是歡樂無比。 People perseverance and faith, despite painful skin on the body, but the soul is in joy.

2016「台灣當代一年展」，台北花博公園爭艷館，台北，台灣

2016「一個安靜的角落」個展，貳月，台北，台灣

2013「莫忘初衷」，九鼎畫廊，台北，台

2015「台灣藝術家博覽會」，台北花博公

2013「三生石」，玄奘大學藝術中心，新

2014「台灣藝術家博覽會」，新光三越

2012「心靈花園」，佛光緣美術館，台北，

2014「旅。緣」個展，串藝術，台北，台

2016 "Includes the Chinese people to

2016 "TAIWAN ANNUAL", TAIPEI EXPO

灣

竹，台灣台灣

draw the matter memoir", Anhui,

園爭艷館，台北，台灣 A9 館，台北，台灣灣

PARK-EXPO Dome, Taipei, Taiwan

Anhui, China

2016 "A quiet corner Solo Exhibitions",

courtyard, Grinds the courtyard,

2015 "ARTIST FAIR TAIWAN", TAIPEI

2016 "Yunshan absorbed", Grinds the Taipei, Taiwan

2013 "Not forgets the original intention", Nine tripods decorated corridor, Taipei, Taiwan

2013 "Predestined relationship", Xuan

Zang university art center, Hsinchu, Taiwan

2012 "Mind garden", Buddha light

reason art museum, Taipei, Taiwan

February, Taipei, Taiwan

EXPO PARK-EXPO Dome, Taipei, Taiwan

2014 "ARTIST FAIR TAIWAN", Shin Kong Mitsukoshi 9A, Taipei, Taiwan

2014 "Trip Solo Exhibitions", Together Arts, Taipei, Taiwan

陳歡 CHEN, Ellison

208

純真年代 Pure Age

麥凱程 MAK, Hoiching

209

，之間的距離 Distance Between ","

2016 ﾉ油彩、金箔、複合媒材 Mixed Media ﾉ 142 x 72 cm

2016 ﾉ油彩、壓克力、炭筆、炭 Oil, Acrylic, Charcoal ﾉ 200 x 80 x 5 cm

這二十幾年來從事藝術創作，體會到要有超脫思想與淡泊之心，才能擁有好之樂之的心境，而更

2017「陳歡油畫個展」，中正紀念堂，台

逗號，是表示語句的短暫停頓的標點。表示句子內部的一般性停頓。當句子比較長，意思還沒有

2016「無有」ー文化美術五十屆畢業展，

風光，「俯仰終宇宙，不樂復何如」，自由揮灑。「游於藝」是我人生價值寫照，「游於心」在昇華翱

2016「陳歡油畫個展」，天鵝湖城堡博物

平等的、不平等的、單向的、雙向的。逗號間的曖昩，是完結又相連的予盾距離。

2014「中國文化大學美術系第 52 回系

能在創作中得到無窮的樂趣。我繪畫風格介於具象與抽象、虛實之間的寫意表現，悠遊各地山川翔的心態下，與萬物進行心靈上的交會與溝通。

Chen Huan's landscape oil paintings fall midway between the concrete and the abstract, using a

semi-spontaneous painting technique to present on the canvas an effect that combines aspects

of the splatter technique with free brushwork. Chen's in-depth exploration of mental landscapes

北，台灣

館，Skurup 市，瑞典

2016「中國關注藝術家作品國際展」，

Pasadena 藝術中心，洛杉磯，美國

speaks directly to modern people's desire for an inner world of peace and tranquility. When one

2016「香港藝術博覽會油畫個展」，香

are encapsulated within the landscape depicted, making it very easy for the viewer to "enter"

2011「華台加文化中心油畫展」，溫哥華

is admiring Chen's work, it almost seems as though time no longer exists; both space and time these broad, imposing vistas, and equally easy for them to float away from the virtual world created by the painting.

港，中國

文化中心，溫哥華，加拿大

2017 "Solo exhibition", The CKS

Memorial Hall, Taipei, Taiwan

2016 "Solo exhibition", Svaneholms Slotts Museum, Skurup City, Sweden

2016 "All About Artists 2016 China",

Art Exposition Tour, Art Center of Pasadena, LA, The USA

2016 "Asia Contemporary Art Show", Hong Kong, China

2011 "Solo Exhibition", the Culture

Center of Vancouver, Vancouver, Canada

說完，就會用逗號作停頓。物件與物件之間的距離就如逗號間的兩面，暗示著不同關係之間連繋。 "Comma" is a punctuation of a brief pause of a statement. Express a general pause inside the sentence. When the sentence is long, meaning has not finished, it will use a comma to pause.

The distance between the object and the object is like the two sides of the comma, suggesting

that the relationship between the different relationships. Equal, unequal, unidirectional, two way. Comma between the warm, is the end of the connection to the shield distance.

松山菸廠 3 號倉庫，台北，台灣

展」，中國文化大學，台北，台灣

2012「香港兆基創意書院第六屆畢業

展」，香港兆基創意書院文化藝術中心，香港，中國

2011「『字花』造字作品聯展」第二回巡迴展覽，香港兆基創意書院，香港，中國

2016 "Exist Non - Existence", Songshan Cultural and Creative Park NO.3 Warehouse, Taipei, Taiwan

2014 "The 52th exhibition of Department of Fine Arts, Chinese Culture University", Chinese Culture University, Taipei, Taiwan

2012 "The 6 th Graduation Show of

HKICC Lee Shau Kee School of

Creativity", HKSC Creative Center, Hong Kong, China

2011 "word making" - The second exhibition tour of Fleurs des

Lettres, HKICC Lee Shau Kee

School of Creativity, Hong Kong, China

彭慧容 PENG, Hui-Jung

210

有風吹過的房子 A House That the Wind Roared Pass 出「家」應有的寧靜、安穩與舒適感覺。

I want to show is that my viewer can imagine a pillar like a comb. An artwork can let the wind

and the air roared pass. Furthermore, to create "home" should be quiet, stable and comfortable feeling.

211

當你變成了蝶以後 When You Transform into A Butterfly

2015 ﾉ陶 Ceramics Sculpture ﾉ 38 x 15.5 x 27 cm

我想呈現的是讓觀者可以想像是一個像梳子的廊柱，能夠讓風和空氣呼嘯而過的作品。而且營造

曾冠雄 TSENG, Guan-Shiung 2017 ﾉ油畫 Oil Painting ﾉ 91 x 72.5 cm

2015「渡境」彭慧容繪畫雕塑展，文化大學推廣部大夏藝廊，台北，台灣

2015「台灣藝術家博覽會聯展」，花博爭艷館，台北，台灣

2013「台灣藝術家博覽會聯展」，士林紙廠，台北，台灣

2012「風中的記憶」彭慧容紙上作品展，文化大學推廣部大夏藝廊，台北，台灣

2009「陶藝五人聯展」，一票人空間，台北，台灣

2015 "Cross the Coast" Peng Hui - Jung's Painting and Sculpture Exhibition, School of Continuing Education,

Chinese Culture University, Taipei, Taiwan

2015 "Artist Fair Taiwan", EXPO Dome, Taipei, Taiwan

2013 "Artist Fair Taiwan", Shihlin Paper Company, Taipei, Taiwan

2012 "The Memory of Wind" Peng Hui -

Jung's Art Works on Paper, School of Continuing Education, Chinese

Culture University, Taipei, Taiwan

2009 "Joint Exhibition of Ceramic Art", PaioPaio, Taipei, Taiwan

「在璀璨的時刻，就要面對生命的終點」。褪色的蝴蝶同時代表著絕望與希望之間的曖昧，就如同嬰兒的新生與臨終闔眼的片面，然而生命的過程，只在於是否真實存在過。

"Facing the end of life, while dazzling in appearance." Butterflies with fainted wings also has the

meaning of the blurred line between desperation and hope, as the scenes when a baby is born and an old man closing his eyes for the one last time. However, the process of life, is just the matter of ever truly existed.

2017「台北國際當代藝術博覽會」，喜來登飯店，台北，台灣

2016「台中藝術博覽會」，日月千禧酒店，台中，台灣

2016「福爾摩沙國際藝術博覽會」，寒舍艾麗酒店，台北，台灣

2016「新潮賞」，淡江大學，台北，台灣 2016「台北國際當代藝術博覽會」，喜來登飯店，台北，台灣

2017 "YOUNG ART TAIPEI", Sheraton Hotel, Taipei, Taiwan

2016 "ART Taichung", Millennium Hotels and Resorts, Taichung, Taiwan

2016 "Formosa Art Show", Humble House Taipei, Taipei, Taiwan

2016 "YOUNG ART AWARD", Tamkang University, Taipei, Taiwan

2016 "YOUNG ART TAIPEI", Sheraton Hotel, Taipei, Taiwan

曾凱智 TSENG, Cliff

212

生命太初 No.52 The Beginning of Life No. 52

2017 ﾉ紙、膠水 Paper, Glue ﾉ 32 x 35 cm

天地之間宇宙萬物的生成，從非常微小的粒子在充滿和諧的能量場域中不斷聚散、離合。他們擁

2017「Independent Taipei 藝術展」，松

含了所有有形無形的生命型態，山、海、空氣、雲、動物和植物，以大地為孕床，用千姿百態的

2016「Happy Season」藝術特展，

獨特姿態在生命的長流中不斷地循環，默默散發出的能量，靜謐中洋溢著青春蓬勃的生命力。

The growth of all things in the universe is a process of continuous separation and joining from a

minute granule in an area full of the energy of harmony. Their life is sometimes clear, sometimes blurred, growing or fading, forming or transforming into emptiness They include all tangible and intangible life forms, mountains, seas, air, cloud plants and animals, that, in numerous

unique forms, circulate in the long river of life, nurtured by the earth, quietly emitting energy and silently oozing vitality.

213

心之湖 Lake of the Heart

2017 ﾉ壓克力、炭精筆、紙板 Acrylic Charcoal on Paperboard ﾉ 105 x 37 cm 有生命，時而清晰，時而模糊；正在生長或是正在消逝；正在成形，或幻化成為無形虛空。這包

曾詠振 TSENG, Yung-Cheng

山文創園區１號倉庫，台北，台灣 Galerie Berlin Baku，柏林，德國

2016「ART IN MIND」藝術家聯展，The

「墓中人的名字只合用水來書寫。」－約翰．濟慈。 "Here lies One Whose Name was writ in Water." - John．Keats

2017「氤氳尋藝」，澄藝術，新北市，台灣

2017「澄懷蔚嚮」，揚曦藝文空間，台北市，台灣

Brick Lane Gallery，倫敦，英國

2017 "Searching for Art", Cheng Art

術館開幕展，耘非凡美術館，台南，

2017 "Assemble", Yang I Art, Taipei City,

2016「當代台灣．抽象精選展」耘非凡美台灣

2015「永生命太初」曾凱智創作展，國立中正紀念堂，台北，台灣

2017 "Independent Taipei Art Fair",

Songshan Cultural and Creative Park, Taipei, Taiwan

2016 "Happy Season" Group Exhibition, Galerie Berlin Baku, Berlin, Germany

2016 "ART IN MIND" Group Exhibition,

The Brick Lane Gallery, London, UK

2016 "Contemporary Taiwan: An

Exhibition of Abstract Art Classics", RContemporary Taiwan: An

Exhibition of Abstract Art Classic

Remarkable Cultivation Art Gallery, Tainan, Taiwan

2015 "Life beginning - Tseng Kai - Chih Painting Exhibition", National

Chiang Kai - shek Memorial Hall, Taipei, Taiwan

Gallery, New Taipei City, Taiwan Taiwan

棲態 Habitat

214

棲態 Habitat

彼此產生聯結及對話。

Loaded with Emotion Through different postures of body language Have conversations with One Another.

215

網 2017 Net 2017

2017 ﾉ複合媒材 Mixed Media ﾉ 150 x 150 x 150 cm 由數個以人體或器物形態棲息的組件，透過個別的姿態所呈現的內在情感及置放的相對關係來讓

温怡芳 WEN, I-Fang 2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 62 x 72 cm

2017「台北獨立藝術博覽會」，松山文創園區，台北，台灣

2016 聯展，台北微光藝術空間，台北，台灣

成長就是不斷地掙脫束縛，破網而出。 Growth is continuing to break free and broken net out.

2016「台灣當代一年展」，花博爭艷館，台北，台灣

2015「台灣藝術家博覽會」，新光三越展覽館，台北，台灣

2015「蓉顏」個展，拉布咖啡館，台北，

2013「台灣藝術家博覽會」，台北紙場

2017 "Independent Taipei", Songshan

2012「秋季花席藝展」，海衛現代藝術博

台灣

Cultural and Creative Park, Taipei, Taiwan

2016 "Joint Exhibition", Taipei.

miroitement d'art, Taipei, Taiwan

2015 "Solo Exhibition", Läbu Café, Taipei, Taiwan

1918 ＆台南文化創意產業園區，台北＆台南 , 台灣

物館，聖塔克拉拉市，加州，美國

2011「夏艷」温怡芳個展，桑尼維爾藝廊，桑尼維爾市，加州，美國

2016 "1st Taiwan Annual", Taipei Expo Fine Art Park, Taipei, Taiwan

2015 "14th Taiwan Artist Fair", SKM Art Gallery, Taipei, Taiwan

2013 "12th Taiwan Artist Fair", The

Paper Mill 1918 & The B16, Taipei & Tainan, Taiwan

2012 "Fall Floral Chair" Group Show, The Triton Museum of Art, Santa Clara, CA, USA

2011 "Summer Beauties"I - Fang Wen's

Solo Art Exhibition, The Sunnyvale Art Gallery, Sunnyvale, CA, USA

游本寬 YU, Ben

216

飛龍遛狗 The Dragon Walking his Dogs

面對小社區戶外舞台斑駁的牆面、敞開（緊閉）的小門、青白紅框線內的飛龍圖等熟悉的生活符號，拍攝者無不直覺的和光線、空間、顯眼的綠色造形一一對話，形構一件充滿故事性的照片，吸引觀者進入。

然而，當絕大部分的照像急於建構一個可以進入的世界，《飛龍遛狗》卻低吟著不想進入；或得小心踏入的觀看經驗——如果你能發現畫面中不期而遇的刺點，堆堆的狗屎！

Photography, who is not anxious to construct a world that allows spectators to wonder or document fond memories?

Looking at this small community's outdoor stage, one can see several identifiable elements

such as: an aged wall, an open and closed door, and a picture of a dragon within a blue, white

and red frame. Most photographers' will instinctively notice the lighting, space, the obvious green shape, and fashion a dialogue or a story to attract the viewer to engage with the image.

However, as the vast majority of photographers are anxious to build a world for viewers to

enter, "The Dragon Walking His Dogs" subtly produces an experience which one does not want

to enter, or at the very least, with caution; that is, if one can see "the visual thorns" or piles of dog feces hidden within the picture.

217

雀躍的短跑選手 Thrilled Sprinter

2016 ﾉ數位彩色輸出 Digital Color Print ﾉ 140 x 93 cm

照像，誰不急於建構一個可以進入或值得記憶的世界？

游嘉豪 YOU, Jia-Hau 2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 116.5 x 91 cm

2016「師輩秀」台北國際攝影節，台北市

想要研究當代世界中的不可理喻 , 就像是參與一場習以為常、規則卻完全不同的體育競賽，有如

2009「The Cainozoic Asian」，Brick

2016「快拍慢想：編導式攝影的社會光

而這也是我想要呈現出來的，時常令人感到絕望與頹廢的時代氛圍。

2009「Catch My Drift」，Bargehouse

藝文推廣處，台北，台灣

譜」，高雄市立美術館，高雄，台灣

2016「綿綿若存：新進典藏展」，台北市立美術館，台北，台灣

2015「台北藝術攝影博覽會」，華山藝文特區，台北，台灣

2014「台北藝術攝影博覽會」，華山藝文特區，台北，台灣

2016 "Snap Taking & Slow Thinking

- Social Spectrum in the Age of

Staged Photography", Kachsiung Museum of Fine Arts, Kaohsiung, Taiwan

2016 "Taipei International Photography Exhibition", Taipei City Arts

Promotion Office, Taipei, Taiwan

2016 "Boundless Visions: New

Acquisitions from the Permanent Collection", Taipei Fine Art Museum, Taipei, Taiwan

2015 "Taipei Art Photography Expo",

Huashan Arts and Culture Zone, Taipei, Taiwan

2014 "Taipei Art Photography Expo",

Huashan Arts and Culture Zone, Taipei, Taiwan

在似曾相識的平行宇宙中表現得荒腔走板也沒人會來給你指引。最糟的是，其實這就是真實世界， Attempting to understand the irregularities of the modern world is akin to participating in a seemingly ordinary sports competition where normal rules somehow don't apply or fumbling terribly in a familiar yet strange parallel universe without any guidance. Worst of all, this, as I intend to present, is state of reality, a bleak era of constant frustration.

Lane 畫廊，倫敦，英國 OXO 畫廊，倫敦，英國

2007「游金個展」，台北藝術大學南北畫廊，台北，台灣

2006「Closer」，替代空間自強 284，台北，台灣

2005「Inside Outside」，台北藝術大學南北畫廊，台北，台灣

2009 "The Cainozoic Asian", Brick Lane Gallery, London, UK

2009 "Catch My Drift", Bargehouse OXO Gallery, London, UK

2007 "Eu Gene", Nan Bei Gallery, Taipei, Taiwan

2006 "Closer", Alternative space ZiQiang 284, Taipei, Taiwan

2005 "Inside Outside", Nan Bei Gallery, Taipei, Taiwan

湯瓊生 TANG, Chiung-Sheng

218

且行且珍惜 #2 Cherish#2 感謝分享韻道自然這洞見的人們。

Enjoy the interesting processes of recycle and remix again, it is all about "Love the Earth, save a tree". Thanks for those who share the insight of nature rhythm.

219

PATC － 05

2017 ﾉ複合媒材 Mixed Media ﾉ 60.5 x 90 cm 重新享受循環再造和再混合的有趣過程，這一切都和「愛護地球，救一棵樹」有關。

黃立穎 HUANG, Li-Ying 2017 ﾉ壓克力、畫布 Acrylic on Canvas ﾉ 91 x 72.5 cm

2016「朗誦／文件」，北美館，台北，台

在平面二度空間中，運用強烈的光源使畫面達到不是自然狀態下的光影變化，並將背景單一平面

2016「藝術自由日」，華山文創園區，台

2000「雨匯／語彙」，國立台灣圖書館，

英文當中的字母，寄生具有一種侵占、佔領的一種示意，而寄生植物藉由這樣的侵占佔領綻放出

2016「X 宇宙的尺度」，空場，台北，台

灣

台北，台灣

2000「台北國際藝術博覽會」，世貿中心，台北，台灣

1996「台北市立美術館雙年展」，北美館，台北，台灣

1990「黑火星系列」，帝門藝術中心，台北，台灣

2016 "Declaration/Documentation

Taipei Biennial 1996-2014", TFAM, Taipei, Taiwan

2000 "Converge/Vocabulary", National Taiwan Library, Taipei, Taiwan

化，製造出一個獨立的空間維度，使其達到一種戲劇舞台奇幻效果，作品「PATC」取自於寄生的其生命的強韌力量，這樣的表現具有生命感以及戲劇感，因此作品運用這樣強烈的光源來強化出對象物的生命感以及其戲劇感。

Using strong light to enhance the contrast of the description in the second dimension; make

北，台灣灣

2015「彩虹、旅人、布白」，九單藝術實踐空間，台北，台灣

a space looks like stage effect with monochrome. The name of this work "PATC" is from

2015「質變．量變」，南海藝廊，台北，

amazing vitality. The work wants to praise the amazing vitality by using the strong light and the

2014「即興學院」，台北美術館，台北，

"Parasitic", means a kind of encroachment and occupation. A plant living as a parasite has independent space.

台灣台灣

2016 "Taipei Free Art Fair", Huashan1914 - Creative Park, Taipei, Taiwan

2016 "X The scale of the Universe",

Polymer, Nine Single Space, Taipei, Taiwan

2000 "Art Taipei", World Trade Center,

2015 "Rainbow, Traveler, White cloth",

1996 "Taipei Fine Art Museum Biannual

2015 "Mass & Volume", Nanhai Gallery,

1990 "Mars Black", Art Dimension,

2014 "Aesthetic jam", Taipei Fine Art

Taipei, Taiwan

Exhibition", TFAM, Taipei, Taiwan Taipei, Taiwan

Nine Single Space, Taipei, Taiwan Taipei, Taiwan

Museum, Taipei, Taiwan

黃孟雯 Orlando Huang

220

絲襪與粗紙 Stockings and the Rough Paper 我的身體將與那個不屬於我的年代對話。

Followed by "once upon a time", this work is from my grandma's oral herstory. Menstruation, stocking and rough paper, I will have a conversation with the era doesn't belong to me.

221

方舟計劃－雲端母艦 The Ark Project - Icloud Ship

2017 ﾉ攝影與文件 Photography and Document ﾉ 45 x 30 x 5 cm

延續「從前從前……」這個計畫，這是從阿嬤的一段口述史而來。月經、絲襪、與粗紙。我將透過

黃建樺 HUANG, Chien-Hua 2012 ﾉ攝像操控－數位攝影、超亮麗相紙、無酸鋁版裱褙 Photo Manipulation - Digital

2017「Garari Nehiora」台韓交流，Space One，首爾，韓國

2016「台灣藝術家博覽會」，花博爭豔館，台北市，台灣

2016「仙渡莊計畫Ⅱ：想像的地理中心」，八里造船廠，新北市，台灣

2015「台北藝術自由日」，華山藝文特區，台北市，台灣

2015「再見歷史」聯展，政大化南新村，台北市，台灣

2017 "Garari Nehiora", Space One, Seoul, South Korea

2016 "15th Artist Fair Taiwan 2016",

Expo Park Expo Dome, Taipei City, Taiwan

2016 "Xanadu Project Ⅱ－ A Place Without Boundaries", Bali

Shipyard, New Taipei City, Taiwan

2015 "Free Art Fair", Huashan, Taipei City, Taiwan

2015 "Good Bye History", National

Chengchi University, Taipei City, Taiwan

Photography, Premium Glossy Photo Paper, Acid - free Paper and Aluminum Plate ﾉ 108 x 100 cm 藝術家黃建樺擅長以攝影結合電腦技術，創造出幻想性的場景，並且反映現代的數位生活。作品

〈方舟計劃－雲端母艦〉，將相機鏡頭、路燈、飛機等工業產品，與蝴蝶、瓢蟲、草莓及樹木結合

2016「Fotofever–Photography Art

Fair」，Carrousel du Louvre，巴黎，法國

在一起，創造出一個科技與自然共存的島嶼；在這個島嶼中能看到熱氣球、風車、紙飛機等娛樂

2016「連州國際攝影年展」，二鞋廠，廣

一群在沙灘上的人們正望向海上的遊樂城市。黃建樺藉由影像技術剪貼而成的世界，反映了人們

2016「編碼者」黃建樺個展，加力畫廊，

器材，是藝術家透過數位科技的優勢，將多個在現實中無法結合的元素組合起來。在畫面下方，對新生活的嚮往。

州，中國

台南，台灣

HUANG, Chien - Hua creates imaginary settings by combining photographs using digital

2016「時代的位移」，高雄市立美術館，

combined camera lenses, street lamps, aircrafts, and industrial products with butterflies,

2015「夢．棲地」，國立台灣美術館，台

techniques in order to reflect the modern digital lifestyle. The Ark Project - Icloud Ship has ladybugs, strawberries, and trees, generating an island where technology and nature coexist.

The form of this island has also incorporated hot air balloons, windmills, paper airplanes, and other entertainment materials. The artist has capitalized on the use of digital technology to combine different items that would otherwise never come together in real life. At the

bottom of the canvas, we could see a group of people on the beach looking towards the City

of Entertainment floating on the sea. HUANG, Chien - Hua employed photo-editing as well as cut - and - paste techniques to create a floating amusement park, reflecting the people's expectations of a new lifestyle.

高雄，台灣中，台灣

2016 "FOTOFEVER - Photography Art

Fair", Carrousel du Louvre, Paris, France

2016 "Lianzhou Foto Fastival", Shoe Factory, Guangzhou, China

2016 "Transcoder - Huang Chien - Hua Solo Exhibition", INART Space, Tainan, Taiwan

2016 "Transition of Times", Kaohsiung

Museum of Fine Arts, Kaohsiung, Taiwan

2015 "Dreams - Habitations", National Taiwan Museum of Fine Arts, Taichung, Taiwan

黃政耀 HUANG, Cheng-Yao

222

生滅系列－ 01 Birth and Destruction - 01

2014-2015 ﾉ晶片金屬銅箔片帶 Chip Regeneration Metal Copper Foil Tape of Chip ﾉ

作者畢業於國立台灣藝術大學美術學系，學生時代以精細寫實繪畫見長，但長期以來所關注的是

2017「博藝畫廊新銳藝術家聯展」，博藝

型的靈感，其思想原點來自於台灣民間信仰的宮廟（台灣傳統民間信仰場所）文化，一般民間宫廟

2016「韓國大邱藝術博覽會」，EXCO 展

若在斑剝的牆上發現有相似神佛圖像的痕跡，通常會被當作是神蹟顯現而被供奉膜拜；創作者就是透過這樣”神諭啟示＂的民間思想，創作出一系列有關妖魔仙佛的畫作。

The artist graduated from the Graduate Program at the National Taiwan University of Arts, and excelled with highly realistic and detailed painting. However, he has always been concerned with the bridge of communication between what is inside and the exterior. From the early

series of work like Puzzle Border and the Mountains and Seas, to the more recent work Birth and Destruction series, you might find that abstract paintings were used as inspirations to

obtain representative models. The origin of this concept was based on the idea that in temples

dedicated to parts of the local Taiwanese faiths. If there were markings on the mottled walls that looks like images of the deity worshipped, these markings are often considered to be a signs of miracle and are often worshipped. Through this belief of divine revelation and inspirations, the artist created a series of painting concerning gods and buddhas, devils and demons.

223

擬像－喬安娜一號 Simulacra - Joanna No. 1

2016 ﾉ壓克力彩、水墨、木板 Acrylic, Ink, Board ﾉ 110 x 80 x 6 cm 內在與表相之間的溝通橋樑，從早期的《迷境》系列到《山海》系列，透過抽象繪畫去得到具象造

黃美珍 HUANG, Mei-Chen 150 x 60 x 60 cm

畫廊，台北，台灣

以晶片上的－「金屬銅箔片帶」為創作新媒材，做為發現材料的人，演繹感性認識的擴充並擴散到

覽中心，大邱，韓國

主體與外部世界的關聯，不斷在身體與場域之間循環，甚至在尋常的空間與真實的介面間建立潛

2016「Independent 藝術博覽會」，

Independent 藝術博覽會，東京，日本

2015「TAGBOAT AWARD in Tokyo 飯店藝博會」，Tokyo 飯店藝博會，東京，日本

2015「Park Hotel Tokyo 藝術博覽會」， Park Hotel Tokyo 藝術博覽會，東京，日本

2016 "BO ART", BO ART GALLERY, Taiwan

2016 "Daegu Art Fair, EXCO Exhibition Center", Daegu, Korea

2016 "Independent Art Fair",

Independent Art Fair, Tokyo, Japan

2015 "TAGBOAT AWARD in Tokyo",

TAGBOAT AWARD in Tokyo, Tokyo, Japan

2015 "Park Hotel Tokyo Art Fair", Park Hotel Tokyo, Tokyo, Japan

互相滲透。對媒材間美學的政治批判，對隱含的全球化、訊息和消費文化媒材本質的省思。創作意識連接的網絡。

To the chip - "metal copper foil tape" for the creation of new media, as the discovery of materials, interpretation of the expansion of emotional understanding and spread to mutual

penetration. The creation of the main body and the external world of the association, constantly

circulated between the body and the field, even in the ordinary space and the real interface between the establishment of subconscious connection between the network.

2017「解構－再生」，地下美術館，台北市，台灣

2014「藝菌膠囊」，美齡藝廊，台北市，台灣

2017 "Deconstruction- Regeneration", TNUA Underground Art Space, Taipei, Taiwan

2014 "Capsules of Art", Mei - Ling Gallery, Taipei, Taiwan

黃淑薰 HUANG, Shu-Hsun

224

門 The Grand Door

With the concept or connotation of the door, the painting paraphrase the time change. Inside and outside of the door and makes people fall into the nostagia and anticipation.

225

花神魔法莉莉 Flora Magic Lily

2015 ﾉ複合媒材 Mixed Media ﾉ 120 x 90 cm 以門為概念，透過門裏門外，銓釋歲月的變化，道盡多少的回憶與期盼。

黃莉莉 HUANG, Lily 2017 ﾉ刺繡複合媒材 Stitch Multi Material ﾉ 60 x 38 cm x 16 cm

2015「荷風萬象創作觀」個展，台藝大大觀藝廊，新北，台灣

2002「自在」個展，國立台灣藝術教育館，台北，台灣

2000「水墨風情」個展，萬芳藝術空間，台北，台灣

看一朵花開要很久很久的時間〜生命〜環保〜生生不息〜永續〜顛覆你對刺繡的刻板印象。馬諦

斯：「當我對繪畫疲倦了，便做雕塑。這是為了改變一下方式。不過我做雕塑是一個畫家的手法。」 It's a long long time if you keep watch a flower blooming... Life ~ Environment Pro ~ Evergreen... Upsidedown, inside out your image about just STITCH ART~

2017「絲情花意〜秀繡看」，葫蘆墩文化中心，台中，台灣

2014「藝術公寓」秀繡內湖社區互動藝術計劃，內湖社區，台北，台灣

2013「秀繡台灣」黃莉莉現代刺繡藝術展，苗北藝文中心，竹南，台灣

1999「水墨情懷」個展，新店文化中心，

2010「秀繡左鎮」左鎮駐村計劃，菜寮化

1991「黃淑薰繪畫展」，華視藝術中心，

2008「絲路〜思路〜秀繡看」北市駐市藝

新北，台灣台北，台灣

2015 "Creative Lotus Personal

Exhibition", Daguan Gallery, NTUA, New Taipei City, Taiwan

2002 "Carefree Personal", National

Taiwan Arts Education Center, Taipei, Taiwan

2000 "Atmosphere Ink Painting Personal Exhibition", Wan Fang Arts Space, Taipei, Taiwan

1999 "Emotional Ink Painting Personal Exhibition", Xindian Cultural

Center, New Taipei City, Taiwan

1991 "Huang, Shu-Hsun Painting

Exhibition", CTS Arts Center, Taipei, Taiwan

石館，左鎮，台灣

術家，草山國際藝術村，台北，台灣

2017 "Flora ~ Lily Huang Stitch Art

Exhibition", Taichung City Huludun Culture Center, Taichung, Taiwan

2014 "Art resident apartment ~ Stich Art Action in NeiHu", NeiHu, Taipei, Taiwan

2013 "Stitch Show Taiwan ~ Northern Miaoli Art Center Taiwan",

Northern Miaoli Art Center Taiwan, Chu - Nan, Taiwan

2010 "Stitch show - Resident Artist at

Tsai Liao Fossil Museum of Tainan County", Tsai Liao Fossil Museum, Tainan, Taiwan

2008 "Show Stitch ~ AIR Grass

Mountain", AIR Grass Mountain, Taipei, Taiwan

黃勝有 HUANG, Sheng-Yu

226

自身狀態的詮釋 Interpret for My Own State 自身狀態。似感性：選擇以享樂之主觀意識逃避責任與壓力，但缺乏擔當。似理性：選擇面對現實，卻因設限而承認失敗，選擇或放棄更高的追尋，又因受限而時感悲傷。而第三種為宗教性，此時

的我唯有信靠上帝倚靠信仰飛躍，用信心去克服不可能的任務。用信仰決定自身的高度。不以收成，反以播種評價我的每一天。我有壓力，但藉著信心我會克服。

Inspired by Philosopher Kierkegaard, I realize that neither sensitive factor nor rational factor can interpret my own state when I met full pressures. A sensitive personality: try to avoid facing

2017 ﾉ不鏽鋼、壓克力片 Stainless Steel, Acrylic Sheet ﾉ 60 x 60 x 3 cm 2017「ART TAICHUNG 台中藝術博覽

會」，台中日月千禧酒店，台中，台灣

2017「雅逸寫實新銳展」，雅逸藝術中

them by faith.

館，台南，台灣

2016「搭空橋－台南╳洛杉磯對飛計

文中心，花蓮，台灣

2015「台南—洛杉磯對飛計畫《台南／準

2016「轉圈圈」創作聯展，東華大學藝術

by faith, not to harvest, but seed to evaluate me every day. I met pressures, but I will overcome

國際藝術村，台北，台灣

2016「山寨」黃逸民個展，海馬迴光畫

講堂，花蓮，台灣

2016「共存」黃勝有創作個展，花東時代

unbearable difficulties, will be stopped to pursue higher life and feel sorrow owing to be self to the religious field, try to overcome all the obstacles by faith and, determining my altitude

Window guards sketch.

2017「創作像海洋，愛你像光」，寶藏巖

2016「起駕回鑾 - 主體現形」聯展，絕對

2016「藝術學院優秀作品展」，藝托邦藝

limited. There is the 3rd religious choice, at this stage, I will rely on God by striding myself across

窗花素描。

心，台北，台灣

responsibility and stress by amplifying self - consciousness and choosing the way of life as a

hedonist. A rational personality: try to face the real world, but easy to admit failure when met

227

窗花 Window Guards

2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 116.5 x 91.0 cm

藉由哲學家齊克果的啟發，我體會到在充滿壓力的狀態下，藉感性或理性的層面都無法詮釋我的

黃逸民 HUANG, Yi-Min

中心，花蓮，台灣

2017 "2017 Art Fair in Taichung,

Millennium Hotels and Resorts",

空間，台南，台灣

畫」，蕭壟文化園區，台南，台灣

時起飛》」，Harris 畫廊，洛杉磯，美國

2017 "You are the Sunshine of my life", Treasure Hill, Tainan, Taiwan

Taichung, Taiwan

2016 "Shan Jai", Fotoaura Gallery,

- Edge Artist Exhibition", Julia

2016 "Evoke: The Revealed Taiwanese

2017 "Julia Gallery's Realistic Cutting Gallery, Taipei, Taiwan

2016 "Co - Exist" Marco Huang Creative

Exhibition, New Power Party at HT, HuaLien, Taiwan

2016 "Art Academic Outstanding

Student Exhibition", Artopia Art Space, HuaLien, Taiwan

2016 "Turning Circle" Art Exhibition,

Dong Hua University Art Center, HuaLien, Taiwan

Tainan, Taiwan

Subjectivity", Absolute Space for the Arts Gallery, Tainan, Taiwan

2016 "Round -trip Ticket Tainan-LA III: Aerobridge", Soulangh Cultural Park, Tainan, Taiwan

2015 "Round -trip Ticket Tainan-LA:

Tainan / On time", Harris Gallery, LA., USA

黃漢庭 HUANG, Han-Ting

228

躺臥的攝影師陳漫 Chen Man Lay in Bed

2017 ﾉ陶瓷浮雕 Ceramic Relief ﾉ 43 x 27 cm

中國知名當代女攝影師陳漫，不僅以獨特個人視覺作品風靡時尚圈，私下也喜愛藝術創作。除了

2015「頭髮」YAT 個展，IDS GALLERY，

所畏懼，是永遠迷人的特質，這也是我有興趣以她為題的重要關鍵。而此幅作品，可能是世界上

2015「黃漢庭：生活、巨星、愛」，忠孝

第一幅以她為題的裸女創作。

China contemporary female photographer Chen Man not only charms the fashion world by her

unique personal visual works, but also loving creating art personally. Besides shooting people,

she is willing to take turn to be shot. She is avant - garde. As an artist, being true to herself and being afraid of nothing are forever charming qualities. This is the key reason she is my focus. And this piece of work possibly is the first nude painting of her.

229

蝶舞 Dancing Butterfly

2016 ﾉ油彩、畫布 Oil on Canvas ﾉ 53 x 33 cm

拍人，她也經常願意嘗試轉換身份被鏡頭拍攝，作風十分前衛。作為一名藝術家，忠於自我，無

黃福隆 HUANG, Fu-Lung

台北，台灣

復興南側藝文走廊，台北，台灣

2014「台灣藝術家博覽會」，新光三越信義新天地 A9，台北，台灣

2010「看什麼？」畫展，可可人文設計咖啡，台北，台灣

2015 "Hair: YAT SOLO EXHIBITIO, IDS GALLERY", Taipei, Taiwan

2015 "YAT: Life, Star, Love", Zhongxiao Fuxing Station, Taipei, Taiwan

2014 "Artist Fair Taiwan", Shin Kong

Mitsukoshi's Taipei Hsinyi Place A9, Taipei, Taiwan

2010 "What do you see?", Akuma CACA, Taipei, Taiwan

鳶尾花開的季節，盛開的花朵引來飛舞的蝴蝶。 Iris blooming season, blooming flowers lead to flying butterflies.

2014「陶然自得」，宜蘭，台灣 2012「陶意盎然」，宜蘭，台灣 2014 "Feel at ease (ceramic relief)", Yilan, Taiwan

2012 "Pottery (ceramic relief)", Yilan, Taiwan

黃懷緣 HUANG, Huai-Yuan

230

邊界 Border Line

有如超現實幻境般的處處存在。

The metropolis is a natural, artificial, and organic congregation interwoven by new and old things and objects. The blur borderlines of objects and things are like from different time and spaces. They are like surreal rifts, and everywhere.

231

朱利安 Julian

2017 ﾉ底片 Film ﾉ 60 x 90 cm 都會是一種自然、人為、新舊事物交織並存的有機聚合體系，模糊的事物邊界與弔詭的時空錯置

黃麗君 HUANG, Li-Chun 2017 ﾉ丙烯酸畫 Acrylic on canvas ﾉ 116.5 x 80 cm

2016「X 宇宙的尺度」，空場，台北市，台灣

2016「台灣當代一年展」，圓山花博爭艷館，台北市，台灣

2016 "X : The scale of the universe",

Polymer Art Space, Taipei, Taiwan

2016 "Taiwan Annual", Taipei EXPO Dome, Taipei, Taiwan

我會。相信。一切。都好。 Maybe we're sinners, but lovin ain't no crime. I'll get you through the border, I'll drive us through the night, you know I'll keep your secret, I've locked it up inside, as long as we are moving, I know it 'll be alright.

2016「第四屆王陳靜文繪畫創作獎展」，有章藝術博物館／國立台灣藝術大學，新北市，台灣

2016 "4th Anita Wong Foundation Art Exhibition", Yo - Chang Art

Museum / National Taiwan

University of Arts, New Taipei, Taiwan

楊世賢 YANG, Shi-xian

232

玄思之境 The Mystery of the Environment

With the simplest way, looking for the most original life moved.

233

線性實驗之五 Experiment on Lines IV

2017 ﾉ壓克力彩 Acrylic Color ﾉ 40 x 53 cm

用最單純的方式，尋找生命最原初的感動。

楊淯麟 YANG, Yu-Lin 2017 ﾉ針筆、紙 Ink on Paper ﾉ 79 x 53.8 cm

2017「高雄獎夢幻隊與四道戰帖」，高雄美術館，高雄，台灣

2016「台灣 x 藝術群」新意象首展，南投虎山藝術館，南投，台灣

2016「內在風景」楊世賢個展，大城小事

一連串的線條嘗試。以「線」表達我對大自然萬物的情感。 A series of experiment on lines. My attempt to express emotions of the nature of all things by "Lines".

2017「共生」，龍山寺板橋文化廣場，台北，台灣

2016「向往自然－觀自在」，板橋 435 藝文特區，台北，台灣

咖啡館，高雄，台灣

2017 "Symbiotic", Lungshan Temple

會堂，台南，台灣

2016 "Contemplating at ease", 435 art

2016「台灣 x 藝術群聯展」，台南吳園公 2016 第三屆「愛自由當代書藝」聯展，新竹鐵道藝術村，新竹，台灣

2017 "Kaohsiung dream team and

four battle posts", Kaohsiung Art Museum, Kaohsiung, Taiwan

2016 "Taiwan x Art Group - New Image

First Exhibition", Nantou Hushan Art Museum, Nantou, Taiwan

2016 "Inner Landscape"Yang Shixian Solo Exhibition, Big City Cafe, Kaohsiung, Taiwan

2016 "Taiwan x Art Group Exhibition",

Tainan Wuyuan Association Hall, Tainan, Taiwan

2016 "The third 'love free contemporary calligraphy' exhibition", Hsinchu Railway Art Village, Hsinchu, Taiwan

Plazza, Taipei, Taiwan zone, Taipei, Taiwan

楊景堯 YANG, Chin-Yao

234

風水 • 居 Feng Shui．City

2017 ﾉ陶瓷 Ceramic ﾉ 150 x 60 x 45 cm

風水與山水畫同時出現於東晉時代，文人士大夫寄情山水畫時也能窺見風水與山水畫之間的隱約

2015「高雄藝術博覽會 Art Kaohsiung」，

呈現出風水的想像景觀，凸顯當代對風水、居住的異類想像。

2015「第五屆台北新藝術博覽會」，世貿

Chinese landscape painting and Feng shui theory focus on the relationship of people and

235

，宿命，Fatalism

2017 ﾉ藝術微噴 Art Micro Spray ﾉ 100 x 65 cm 關係。當風水學處於現代建築，因文化傳承，仍然時而影響居住的選擇．將都市建築異化為山水，

楊琬琦 YANG, Wan-Chi

城市商旅，高雄，台灣三館，台北，台灣

菇，共生的過程中於人類停留溫度的器皿作為落腳處，得以感受溫暖。 Mushrooms choose the place where human beings stay.

2017「日常」，大漢藝廊，板橋，台灣

2015「桃園市美術協會 2015 會員作品聯展」，桃園市政府文化局，桃園，台灣

2014「第四屆台北新藝術博覽會」，世貿

2015「我思故我在」，大漢藝廊，板橋，

Using fine flyers with modern building kneads into the shape of rocks and mountains, this

2010「喃語 ‧ 慈悲的字跡」，新樂園藝

2012「創世紀」，中壢藝術館，中壢，台

Representing Feng shui theory in Chinese landscape painting still exists in urban society,

2010「台灣報到」台灣美術雙年展，國立

natural, both exist the same philosophy.

process transforms the images of urban landscape into traditional Chinese landscape painting. Chinese traditional culture just incessantly changes its language.

三館，台北，台灣

術空間，台北，台灣

台灣美術館，台中，台灣

2015 "ART KAOHSIUNG", city suites, Kaohsiung, Taiwan

2015 "Art Revolution Taipei, A.R.T. 2015", Taipei World Trade Center, Taipei, Taiwan

2014 "Art Revolution Taipei, A.R.T. 2014", Taipei World Trade Center, Taipei, Taiwan

2010 "Writing from life whispering and

pain-taking happiness", Shin Leh Yuan Art Space, Taipei, Taiwan

2010 "Taiwan Biennial", Nation Taiwan Museum of Fine Arts, Taichung, Taiwan

台灣灣

2017 "Daily", Da Han gallery, Banqiao, Taiwan

2015 "Taoyuan City Fine Arts Society

Joint Exhibition 2015", Department of Cultural Affairs, Taoyuan, Taiwan

2015 "Cogito", ergo sum, ceramic

Joint Exhibition, Da Han gallery, Banqiao, Taiwan

2012 "Genesis", Graduate Exhibition, Chungli Art Museum, Chungli, Taiwan

溫馨 WEN, Shin

236

一一 Half

人內心隱密或被壓抑的身體慾望，並觸發參與者思索過去不曾有過的性別化身體與身體性別化的自我實驗／踐。究竟，當性別「二」元被拆解為看似平行的「一一」之際，人們真的就此開拓新的可能性，還是在性別模組的框架中，重蹈覆轍？

"Half" deliberately exchanges gender signifiers to break gender norms that the society imposes

2012 ﾉ油彩、畫布 Oil on Canvas ﾉ 41 x 31 cm 2017「身不由己」，福利社，台北，台灣 2016「擺渡／擺盪」，荒原藝術，台北，台灣

2015「陷落當下的恐慌」，自由人藝術公寓，台中，台灣

on our body. In so doing, it touches upon everyone's inner desire, and triggers participants'

2015「你雙眼闔上我滅亡」，國美館－數

gender "polarity" (「二」) is disassembled into two "parallels" (「一一」), can we really open up

2014「維度—第十屆桃源創作獎」，桃園

thinking on the self-experiment with gendered bodies or bodily genders. When the seemingly new ways of configuring genders and challenging body images?

237

默語 Silence

2015 ﾉ數位輸出 Digital Print ﾉ 65 x 65 cm 在《一一》中刻意置換性別表徵，企圖打破這個社會強加在生理軀殼的慣性性別樣貌，以探觸每個

葉方 YEH, Fang

位方舟，台中，台灣機場，桃園，台灣

2017 "involuntarily", FreeS Art Space, Taipei, Taiwan

2016 "Ferry / Swinging", Wasteland Art Space, Taipei, Taiwan

2015 "Wherein Panic Befallen", Freedom Men Art Apartments, Taichung, Taiwan

2015 "Your Closed Eyes My Extinction", National Taiwan Museum of Fine Arts, DigiArk, Taichung, Taiwan

2014 "Dimension - The 12th Taoyuan Contemporary Arts Award",

Taoyuan Airport, Taoyuan, Taiwan

立咫尺一方讀天涯世事

2017「日本東京藝博」，HIKARIE HALL，

思維是我的清風與明月

2016「航空程式」，台北當代藝術館，台

我思我在我意我穿越在時間不斷的移動中

云妘藝術與思惟並肩成為世間的過客 ─ 葉方 Every human heart is in and itself a universe of the individual, rely on the universe.

東京，日本北，台灣

2014「紐約亞洲藝術展」，紐約市之大學美術館，紐約，美國

We usually analyze the aura of an artistic creation based on its cultural background,

2013「非山非水」，今日美術館，北京，

However,

2012「上海浮世行旅圖」，上海多倫現代

focusing either on the East or the West. the moment we merge with the world, all the ideas and effects on the planet,

though they may be as different as heaven and earth or the East and West. - YEH FANG

中國

美術館，上海，中國

2017 "Tokyo International Art Fair", HIKARIE HALL, Tokyo, Japan

2016 "Visio of The Void", Museum of

Contemporary, Taipei, Taiwan

2014 "QCC ART GALLERY", The city

university of New York, New York, America

2013 "Solo exhibition", Today art museum, Beijing, China

2012 "The Travels of Life Solo

Exhibition", Shanghai Duolun

Museum of Modern Art, Shanghai, China

葛昌惠 GE, Chang-Huei

238

食鼠 Eat Rats

生活。當時在工廠區附近的龍南村，幾位村民宰食了生物變異的肥大老鼠，紛紛暴斃死亡。這轟動社會的「食鼠」事件，引起全國人民的恐慌。幾位村民宰食了生物變異的肥大老鼠，紛紛暴斃死亡。一名記者深入村子，訪問了當地居民與檢疫研究人員，想要探查事情的真相。

It is year 2070. The global environment is damaged beyond repair. The food production is in

crisis. The fact that Dragon South villagers eat rats hits the frontline and panics the society. A news reporter goes deep into the village to interview the locals and the disease control officers, in the hope of revealing the truth insight.

239

隱生宙 2016 - 7 Cryptozoic Zon 2016 - 7

2016 ﾉ錄像 Video ﾉ 13'39" 2070 年，當時地球環境惡劣，食物缺乏，在政府政府高壓的獨裁統治之下，人民過著落後貧窮的

董心如 TUNG, Hsin-Ru 2016 ﾉ綜合媒材、畫布 Mixed Media on Canvas ﾉ 147 x 135 cm

2017「萬無引力」英國 FACT 科技藝術交流展，國立台灣美術館，台中，台灣

2016「幻境生態」駐館藝術家個展，台北市藝文推廣處，台北 , 台灣

2016「血電廠」台灣當代一年展入選，花博爭豔館，台北，台灣

2015 德國紅點設計 Red Dot Award

winner －得獎作品展，紅點設計博物館，台北，台灣

2013「丟棄」文化部第一屆藝術新秀錄像裝置展，臥龍 29，台北，台灣

2017 "No Such Thing as Gravity",

National Taiwan Museum of Fine Arts, Taichung, Taiwan

2016 "Ecological Dream Land", Taipei

City Arts Promotion Office, Taipei, Taiwan

2016 Taiwan Annual "Blood Station", Taipei Expo Park Expo Dome, Taipei, Taiwan

2015 "Red Dot Award: Communication

Design - Winners' Selection", Red

Dot Design Museum Taipei, Taipei, Taiwan

2013 "Ministry of Culture - My First

Show", Wollongong 29, Taipei, Taiwan

「隱生宙 Cryptozoic eon」系列聚焦於生命與時空的探索。隱生宙的有機生命經歷一次次的破壞、

2016「線索－台灣當代抽象藝術展」，双

觸鬚、書寫符號的筆觸、流動的大地，悸動的螢光由記憶的深海中浮現－顫抖、觸探、纏繞未知

2013「熵」董心如個展，VT 非常廟藝文

重建、爆炸、凝聚、毀滅與重生之後漸趨穩定，創作回到遠古渾沌不明的原始狀態，那些似生物的場域。理性的凝固、感性的流動與噴發。

"The Cryptozoic eon" series focuses on the exploration of life and space. The life of the creatures

of the creatures is gradually destabilized after the destruction, reconstruction, explosion,

方藝廊，台北，台灣空間，台北，台灣

2012「非形之形－台灣抽象藝術」，台北市立美術館，台北，台灣

cohesion, destruction and rebirth, and the creation returns to the original state of chaos, which

2011「縫隙中的幽微」董心如個展，藝術

emerges from the deep sea of memory - trembling, touching, winding the unknown field.

2009「雙凝－台灣女性藝術的鏡觀視

is like a biological tentacle, a written brush, a flowing earth, the throbbing of the fluorescence Rational solidification, emotional flow and eruption.

空間，台北，台灣

角」，國立台灣美術館，台中，台灣

2016 "Lineage - Taiwan Contemporary Abstract Art Exhibition", Double Square Gallery, Taipei, Taiwan

2013 "Entropy: Tung Hsin Ru Solo

Exhibition", VT Art Salon, Taipei, Taiwan

2012 "Formless Form: Taiwanese

Abstract Art", Taipei Fine Arts Museum, Taipei, Taiwan

2011 "The Glimmer from The Chink:

Tung Hsin Ru Solo Exhibition",

Project Fulfill Art Space, Taipei, Taiwan

2009 "Duel Regard - The views from Taiwanese Women's Arts",

National Taiwan Museum of Fine Arts, Taichung, Taiwan

詹玉美 JAN, Yumei

240

誠品信義店 Eslite - Xinyi Store in Taipei

2015 ﾉ凹版、美柔汀 Mezzotinto ﾉ 90 x 60 cm

人人走到 101 接著就會轉到誠品信義店。它不僅有豐富的食、衣，更有人們需要的精神食糧。古

2011「精采百年個展」，台北市勞教中心

實腦袋，足求知慾。

2006-2011「台灣藝術家法國沙龍協會跨

Everyone who comes to Taipei 101 will then go to Eslite - Xinyi store. It is not only rich in food

& clothing, but also provides the food for the spirit. It had ancient and modern literature and art books. Its interior design is well known in the world. It is treasure trove of knowledge. Let everyone find information and enrich their minds. It's a good place to satisfy the thirst for knowledge.

241

第三空間 Third Space

2016 ﾉ油畫 Oil on Canvas ﾉ 100 x 81 cm

今中外的文學、藝術等書籍。內部空間設計聞名於國際。它是知識的寶庫。讓人人找資料應用充

詹欣珮 CHAN, Hsin-Pei

藝文中心，台北，台灣國際巡迴展」，全球

在身內與身外的空間，追求一種社會與心靈之間的平衡。 In the body and outside the space, the pursuit of a social and spiritual balance between.

2017「發生的事」版畫雙校聯展，高雄師範藝術學院藝術中心，高雄，台灣

2017「夜晚都知道」，啡時光咖啡，高雄，台灣

2005-2011「視覺藝術聯盟巡迴展」, 台

2016「內心相印」，荒山日安畫廊，高雄，

2005-2007「美國密蘇里州哥倫比亞市 Art

2016「格式化」，新浜碼頭藝術空間，高

北、高雄、台南 , 台灣

League 藝廊聯展」，密蘇里州，美國

2005「日本埼玉縣台灣藝術家邀請展」，埼玉縣近代美術館，埼玉縣，日本

2011 "3rd Solo Exhibitions", Laborer education literature and fine,

台灣

雄，台灣

2016「囼肉場」，嘉義鐵道藝術村，嘉義，台灣

2017 "Things to happen", National

Kaohsiung Normal University 116 Art Center, Kaohsiung, Taiwan

Taipei, Taiwan

2017 "Every night knows", Kafe Time,

Exhibitions of French - Salon

2016 "heart of India", Sundiaz Gallery,

2006-2011 "International Tour

Taiwan Artists Association", Global

2005-2011 "Tour Exhibitions of AVAT",

Taipei, Kaohsiung, Tainan, Taiwan

2005-2007 "Invited to the Art League

gallery in Columbia", Missouri, USA

2005 "Invited to the modern Museum of Saitama", Saitama, Japan

Kaohsiung, Taiwan Kaohsiung, Taiwan

2016 "formatted", Introduction of Sin Pin Pier - Absolutely Art Space, Kaohsiung

2016 "Parts dismantling", Art Site of

Chiayi Railway Warehouse, Chiayi, Taiwan

詹惠美 CHAN, Huei-Mei

242

宇宙洪荒－砂卡礑印象

砂卡礑溪流路中，清澈的溪水、美麗的岩石褶皺及青翠茂密的森林、俊秀的峽谷，景觀生態非常之美；湛藍湍急的溪水與溪石，激盪出清亮的樂章；褶皺在山壁及溪石上形成一幅幅抽象畫，讓觀者在欣賞之餘，也有無盡的想像空間。

憑藉著自然的景觀，親身的體驗，將之幻化成創作，意象的完整表達。

2012-2017 ﾉ藝術微噴 Art Micro Spray ﾉ 127 x 88 x 3 cm 2015「激盪、迴旋」詹惠美墨彩創作研

究，國立台灣藝術大學真善美藝廊，新北，台灣

2013「墨舞山水、彩繪人生」詹惠美彩墨

創作展，宜蘭酒廠紅露藝廊，宜蘭，台灣

The flow of Sandcard River is a clear stream, filled with beautiful rock folds, verdant forest,

2012「行雲流水」詹惠美彩墨創作展，宜

movement on the mountain wall and the rocks in the river and form a picture of abstract

2010「山水有情」詹惠美彩墨創作展，國

fair view canyon landscape. The beautiful blue turbulent stream and rocks surge wonderful painting. By the viewer to enjoy it, there are endless imagination in their mind.

By virtue of the natural landscape and personal experience, turned it into a painting. Complete expression of intention.

243

共生 Symbiotic

The Prehistoric Universe - Sandcard River Impression 2016 ﾉ宣紙 Xuan Paper ﾉ 46 x 75 cm

廖云翔 LIAO, Yun-Hsiang

蘭縣政府文化局，宜蘭，台灣

立中正紀念堂管理處，台北，台灣

2008「詹惠美水墨創作展」，台北松山機場，台北，台灣

2015 "Stirring Roundabout" Chan,

Huei - Mei Creation of Ink Color,

The Sound of Music Gallery, New

這一系列的主題圍繞在叢林間漫步的過程，拍攝地點是以台灣林業試驗所、陽明山、自然生態公園為目標以都市人的身份探訪這片熟悉又陌生的環境，透過文獻的閱讀，填補對大自然的認識。

漫步在綠色連綿的景緻中具多元物種漂流的共生關係，而都會植物園塑造出理想、潔淨、缺乏地理特徵的現代伊甸園。

然而指出圖片並非集中於植物學和分類學，通過純粹的觀看刺激觀察以便對於經驗的沉思，觀賞同時反思現代化混雜生活經驗，可產生甚麼樣的烏托邦和進步思想。

The theme of the series Symbiotic revolves around strolls in the jungle. The photographs are

taken in Taiwan Forestry Research Institute, Yangming Mountain, and natural ecological parks. As an urbanite, the photographer tries to broaden his knowledge and awareness of the nature through research studies and visits to the familiar, yet unfamiliar ecological environment.

The nature presents the symbiotic relationship of a variety of species drifting in the green

landscape. The metropolitan botanical garden, by contrast, creates a modern Eden which is ideal, clean, yet lack of geographical features.

Taipei, Taiwan

The photographs are not simply about botany and taxonomy. They reflect how the

Mei ink painting exhibition, Red

modernity and mixed life experience can contribute to achieving Utopia or forming progressive

2013 "Dance Ink Landscape" Chan, HueiDew Gallery, Yilan, Taiwan

2012 "Fill The gap" Chan, Huei - Mei

Creation of Ink Color, Yilan County Cultural Affairs Bureau, Yilan, Taiwan

2010 "Landscape Sentient" Chan,

Huei-Mei creation of ink color,

Chiang Kai - Chek Memorial Hall Management Office, Taipei, Taiwan

2008 "Chan, Huei - Mei Ink Painting

Exhibition", Songshan Airport Art Gallery, Taipei, Taiwan

photographer meditates on the experience through pure observation and reflection on how the ideas.

2013「空間，有空的空。」創作聯展，海馬迴光畫館，台南，台灣

2012「 TIVAC（台灣國際視覺藝術中心）攝影藝術新人獎」，作品聯展，台

灣國際視覺藝術中心，台北，台灣 2013 "Art Space Collaboration Party",

Fotoaura institute of photography, Tainan, Taiwan

2012 "TIVAC PHOTOGRAPHY AWARD", Taiwan International Visual Arts Center, Taipei, Taiwan

廖漢倫 LIAU, Han-Luen

244

潛意識呢喃－夢醒時

在夢中，有時很難分辨其真實；醒的時候，卻又如同在夢境一樣，只有在入夢與醒來之間，才會感覺到類似真實的存在，這種感覺既矛盾又曖昧，很難用言語形容，有時是身體沉重緩緩墜落，四肢彼此交融難以掙脫，有時像破繭而出，彷彿渾沌從身體流去，慢慢感覺到清明，這兩種矛盾的感受在內心不斷消長，想用一個狀態來比擬的話，很接近「夢醒時」。

When one is in a dream, it is not easy to separate it from reality, but when one is awake, it

sometimes feels like a dream. The ambiguous existence of reality, or something similar, can only

2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 121 x 102.5 x 9 cm 2015「一〇四年全國美展」，國立台灣美

任何夢想必須不放棄的挖穿才能開採才出珍貴的結果，以開採概念表現繪畫層層相應的視覺動線，

2017「桃園市美術家邀請展」受邀展出，

2015「台中市第二十屆大墩美展」，台中

找人生的意義所需面臨的重重關卡，必須不斷地發掘自己、廣納吸收資訊、提升心智層面的感知

2016「台中市文化局第 21 屆大墩美展入

術館，台中市，台灣

市文化中心大墩藝廊，台中市，台灣

2009「第五十七屆中部美展」，台中市文化中心大墩藝廊，台中市，台灣

be perceived in the liminal state between one's dream and consciousness. The contradictory

2009「第七十二屆台陽美展」，國父紀念

dragging down by its own heaviness, and the four limbs are trapped and suffocated by each

2008「第七十一屆台陽美展」，國父紀念

obscurity is beyond any literary expression. Sometimes, you feel your body sinking slowly,

other. Sometimes, you feel like you are set free as if all the filth thing were flowing out from your body, and again you are refreshed and crystal - clear. The conflicting emotions alternate in one's mind. If there is one word to describe it, " liminality " might be the closet choice.

245

感念 Gratitude

Subconscious Whispers - Waking from a Dream 2015 ﾉ玻璃纖維、天然漆、貝殼 FRP, Lacquer, Conch ﾉ 30 x 36 x 95 cm

熊妤 HSIUNG, Yu

館中山國家畫廊，台北市，台灣館中山國家畫廊，台北市，台灣

2015 "One hundred years of national

art exhibition", National Taiwan Museum of Fine Arts, Taichung, Taiwan

2015 "The 20nd Da Dun Fine Arts

Exhibition of Taichung City",

Taichung City Dadun Cultural Center, Taichung, Taiwan

2009 "The 57th Central Region Art

Exhibition", Taichung City Dadun

Cultural Center, Taichung, Taiwan

2009 "The 72th Taiyang Art Exhibition",

National Dr. Sun Yat - sen Memorial Hall, Taipai, Taiwan

2008 "The 72th Taiyang Art Exhibition",

National Dr. Sun Yat - sen Memorial Hall, Taipai, Taiwan

傳達當代新的藝作形式。透過油畫的多元技巧與媒材特性變化，繪出迴異獨特的肌理圖騰表達尋與美感能力，同時心存感激才能找到蘊藏在礦脈中的珍貴價值。

Any dream must not give up the digging in order to exploit only the precious results to mining

the concept of painting the layers of the corresponding visual line, to convey the new form of contemporary art. Through the oil painting of the multi-skill and changes in the characteristics

桃園文化局，桃園，台灣

選／展覽」，大墩文化中心，桃園，台灣

2016「上海城市藝術博覽會」，上海豪華精選酒店，上海，中國

of the media, painted back to the unique texture of the expression of looking for the meaning of

2016「美麗界境」個展，高雄文化中心，

enhance the mental level of perception and aesthetic ability, while grateful to find hidden in the

2015「法國巴黎秋季沙龍入選／巴黎展

life need to face the heavy level, we must continue to explore their own, absorb the information, mine in the precious value.

高雄，台灣

覽」，巴黎大皇宮，巴黎，法國

2017 "Taoyuan Artist Invitational

Exhibition", Department of Cultural Affairs, Taoyuan, Taiwan

2016 "21th The Da Dun Fine Arts

Exhibition", Taichung City Dadun

Cultural Center, Taichung, Taiwan

2016 "Art citizen art Shanghai", Twelve at Hengshan A Luxury Collection Hotel, Shanghai, China

2016 "Bureau of Cultural Affairs

Kaohsiung City Government"

Hsiung, Yu solo Exhibition, Chih-

Chen Gallery-3, Kaohsiung, Taiwan

2015 "Le Salon D'Automne Paris France

Exhibition", Champs Elysees Grand Palais France, Paris, France

趙韋（趙新梅） CHAO, Wei （CHAO, Shin-Mei）

246

方圓 Square and Round

Everything exist in the universe but is in the contrast and conflict and then again in integration.

247

日日夜夜系列－春逗聯作

2016 ﾉ壓克力、塑膠圓圈、石棉網 Mixed Media ﾉ 100 x 80 cm 天地之間一切事物皆會產生對立、衝突、繼而統一。

劉家琪 LIU, Chia-Chi Series of Day after Day - Play in the Spring

2017 個展，華岡博物館，台北，台灣

2015「中國文化大學師生聯展」，華岡博物館，台北，台灣

2014「大觀藝術研究會聯展」，淡水藝文中心，台北，台灣

2013「中華藝風畫會聯展」，國父紀念館，台北，台灣

2006 個展，社教館，台北，台灣 2017 "The Contrast of Visual Art Works" Solo Exhibition,HWA Kang Museum,Taipei,Taiwan

2015 "Chinese Culture University of

Teachers and Students Exhibition", HWA Kang Museum, Taipei, Taiwan

2014 "Grand Art Research Association

Group Exhibition", Art and Culture

2017 ﾉ壓克力、油彩、畫布 Acrylic, Oil on Canvas ﾉ 80.1 x 124 cm

日日夜夜系列聯作是關於一個很長的夢境，夢境中在白日與黑夜之間反覆，夢中出現的動物們在不同的場景中互動，這些出現在畫面的角色與場景來源於我在現實之中翻閱或所見的印象，這些印象在於這個系列裡被重新組合並呈現出一幕幕像故事一般的情景。

The series of day after day are about a long dream. The dream repeats between the day and

night. Those animals in different scenes come form the image that I have seen in the reality. Those impressions are combined and transferred like a story in this series.

2016「Visual Dialogues XI Charity Art

Event」，TAF 空總創新基地 Red Room，台北，台灣

2016「True Beauty - Art Exhibition」， Galerie Huit Gallery，香港

2015「Free Art Fair 台北藝術自由日」，

華山 1914 文化創意園區東倉庫，台北，台灣

2015「混種現場藝術祭－視覺混種徵件

展」，URS21 中山創意基地，台北國際藝術村，台北，台灣

2015「New Life」Art Exhibition，Galerie Huit gallery，香港

2016 "Visual Dialogues XI Charity Art

Event", TAF Red Room, Taipei, Taiwan

Center Danshui, Taipei, Taiwan

2016 "True Beauty - Art Exhibition",

Association", National Sun Yat-Sen

2015 "Taipei Free Art Fair", Huashan

2013 "2013 Chinese Art Wind Art

Memorial Hall, Taipei, Taiwan

2006 "Sprit Revealing" Solo

Exhibition,Taipei Culture Center,Taipei,Taiwan

Galerie Huit Gallery, Hong Kong 1914 Creative Park, Taipei, Taiwan

2015 "On Site Art Fest － Visual Open

Call", URS21 Chung Shan Creative Hub, Taipei Artist Village, Taipei, Taiwan

2015 "New Life" Art Exhibition, Galerie Huit Gallery, Hong Kong

歐陽葳璨 OU YANG, Wei-Tsan

248

微雨單影 Lonesome Figure in the Rainy Night

孤單真的不是與生俱來的，而是在你愛上一個人的那一刻開始⋯⋯。 In the bleak cold wind, along with slight drizzle, the street lamp freeze in the rainy air…… Solitude is not innate, but since the very moment when you love someone……

249

被偷走的夢之站在糕點上的小男孩

2016 ﾉ油彩、畫布 Oil on Canvas ﾉ 41 x 53 cm

蕭瑟的寒風，伴著微微的細雨，淋過雨的夜燈在空氣中凍結⋯⋯。

歐筱君 OU, Hsiao-Chun The Stolen Dream - Boy Standing on the Cake

2016「中華民國後立體派畫會會員大

2016 ﾉ油彩、畫布 Oil on Canvas ﾉ 116.5 x 80 cm

展」，國父紀念館，台北，台灣

在人類文明進程上，想像力扮演驅動世界一切可能的角色，然而孩童時期的夢想是最強大而浩瀚

堂，台北，台灣

們的想像，似乎有著一百個遠大的夢想，作品「被偷走的夢〜站在糕點上的小男孩」，一台挖土機

2015「提香畫室周年聯展」，中正紀念 2014「I AM NIKON 攝影挑戰限時上傳比賽」，第一名

2014「台灣藝術家博覽會」，台北信義新光三越，台北，台灣

2014「中華民國後立體派畫會會員大

展」，重慶市藝術基地獨立印象藝術空間聯展，重慶，中國

2016 "Cubismealt Altematif Group

Exhibition", National Dr. Sun Yat-

sen Memorial Hall, Taipei, Taiwan

2015 "Tiziano Art Studio Tenth

Anniversary Group Exhibition",

National Chiang Kai-shek Memorial

的，每每當和孩子們分享這個世界每一件必須被關心的事物，孩子對於世界所表達的愛是超乎我對於人類產生擁有愛恨情仇的能力，挖出孩子的好奇心，也挖走世界氧氣的能力，每一個夢都藏著一份期待，然而我們偷走了這個夢啊！

2016「國家歌劇院開幕蓋白屋駐地創作藝術家」，台中歌劇院，台中，台灣

2015「啤酒 & 咖啡」雙個展，新竹生活美學館，新竹，台灣

2014 藝術銀行作品購入計畫，藝術銀行，台中，台灣

The love the kids show to the world is exceeding what we can imagine. This painting is entitled

2014 台北新藝術博覽會「國際藝術家評選

world. It also digs out kids' , curiosity as well as scrapping out the oxygen level of the world. Each

2013「無形無距，情感」雙個展，中正紀

"The Stolen Dream - Boy standing on the Cake". The digger enables people to love or hate the dream is hidden with an expectation. However, this dream was stolen by us.

賽」入選，世貿三館，台北，台灣念堂，台北，台灣

2016 "National Taichung Theater

opening scene creation artist", National Taichung Theater, Taichung, Taiwan

2015 "Beer with coffee Exhibition", National Hsinchu Living Arts Center, Hsinchu, Taiwan

Hall, Taipei, Taiwan

2014 "Art bank purchase plan", Art bank,

Time Challenge Competition", First

2014 "International Artist Grand Prize

2014 "I AM NIKON Photography Limited Place

2014 "Artist Fair Taiwan", Shinkong

Mitsukoshi, Xinyi District, Taipei, Taiwan

2014 "Cubismealt Altematif Group

Exhibition", Chongqing 501 Art

Space - Independent & Image Art Space, Chongqing, China

Taichung, Taiwan

Competition", World Trade Center, Taipei, Taiwan

2013 "No form. no distance - Emotion", Chiang Kai - shek Memorial Hall, Taipei, Taiwan

潘唯安 PAN, Wei-An

250

癒 Healing

2017 ﾉ壓克力彩、油彩、畫布 Acrylic and Oil on Canvas ﾉ 130 x 97 cm

品嚐甜食的瞬間，透過寫實的手法，不同單一色系的表現，展現出人物的外在性格，欲彰顯的氣質、

2017「插畫展」，國立台南大學第三藝

餡），各有不同，卻同有令人矚目之魅力。食與人密不可分，我選擇運用甜食來暗喻女性的潛在特

2016「感覺攝影展」，國立台南大學第一

質，展現出畫中人物的個性與當下心情，更激發出女子潛在的特質與內心深處的想望與壓力。

The monochromatic artworks created through the pen - strokes of a realism artist meticulously captures the contrasting qualities and attributes of the women on the canvases. Our lives

are inseparable from food, Therefore, I chose to express their intrinsic qualities through the desserts; the desserts symbolizes the characters - each with unique appearances and attributes, but all breathtaking nonetheless.

251

熱風暴 Hot Storm

2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 53 x 91 cm 氛圍、形象皆不相同，畫中人物手持的甜食，分別代表著每一個體，無論外表（外形）丶內在（內

蔡宜儒 TSAI, Yi-Ju

廊，台南，台灣

藝廊，台南，台灣

2015「遊樂區」，國立台南大學第一藝廊，台南，台灣

2017 "Illustration Exhibition 2017",

National Tainan University Art Gallery - 3, Tainan, Taiwan

2016 "The Photography Exhibition Sensation", National Tainan

University Art Gallery - 3, Tainan, Taiwan

2015 "Field, National Tainan University Art Gallery - 3", Tainan, Taiwan

我將溫度具體化，呼應身處在炙熱高溫下的生活處境。 By visualizing the heat, I represent the life under scorching weather.

2016「熱園，土思藝術」，台北，台灣

2015「My Beast ！！！！！！！！」， Daedam 美術館，潭陽郡，韓國

2014「獸醒，MOT」，ARTS，台北，台灣

2010「異象－典藏抽象繪畫展」，國立台灣美術館，台中，台灣

2009「新象－兩岸當代水墨展」，國立台灣美術館，台中，台灣

2016 "FERVOR, TOSEE Art Agency Co.", Ltd, Taipei, Taiwan

2015 "My Beast!!!!!!!!, Daedam Museum", Damyang - gun, Korea

2014 "The Animal Awakes, MOT / ARTS", Taipei, Taiwan

2010 "Beyond Vision - Highlights of Abstract Paintings from the

National Taiwan Museum of Fine

Arts Collection", National Taiwan Museum of Fine Arts, Taichung, Taiwan

2009 "The New Aspect - Exhibition

of Contemporary Cross - Strait

Ink Paintings", National Taiwan Museum of Fine Arts, Taichung, Taiwan

蔡欣蓉 TSAI, Shin-Rung

252

好好睡 Sleep Tight

2014 ﾉ陶 Pottery ﾉ 35 x 30 x 45 cm

花謝花再開，畫現花恆在，觀花的姿態綻放於時間之外，描繪的時間軌跡留筆觸之間，在現實與

2017「台北新藝術博覽會－國際藝術家大

塑成各種情感，在勾勒的過程模擬水墨雙勾的線條，搭配壓克力彩的繽紛流動，做出不一樣的畫

2016「台灣當代一年展」，圓山爭艷館，

韻。創作生命總有一刻圓寂，起心動念使其生生不息。

Flowers bloom and fade, but always bloom on the canvas. Beyond the time flow, observe the posture of blooming flowers. The depiction of the time flow stays in the brushwork.

Between reality and dream, consciousness freely flows, that let color condenses into young years. Dreams are drawn on the canvas by stereoscopic abstract lines. Emotions are shaped

on the canvas by squeezing pigments. During the silhouetting, the line of ink wash painting is simulated by flowing of the riotous acrylic color, which demonstrates the variety rhyme of painting. The variety rhyme flows between parinirvana and birth, showing the endless.

253

送你一座島 Island

2016 ﾉ壓克力顏料、畫布 Acrylic on Canvas ﾉ 91 x 72.5 cm 夢境之間，意識自在流動，色彩芳華凝結，由立體抽象線條來描繪畫中之夢，擠壓顏料在畫面上

蔡秉儒 TSAI, Ping-Ju

獎」，世貿三館，台北，台灣台北，台灣

2016「繁華似夢」蔡欣蓉個展，富朗飯店，台南，台灣

每個人都是自己的一座孤島，漂浪於潛流之上，而周遭總是紛擾。每天每天，我們總得面對生活中那些不斷在變動的微憂，輕巧且細膩，隱匿在事件的微末，於是

非得等到它們在無意識的境地膨脹時，我們才意識到原來無時無刻都是在擴張的，不曾停止、直

至衝突。而想像，最後在與現實的碰撞中碎裂，我們只能拾遺，任憑焦慮，並在拼湊記憶本貌中，不斷縫合，不斷想像。

2016「ESCAPE#2」，小空間，新北板橋，台灣

2016「蒼白的註記」攝影個展，左道，台北，台灣

2015「夢與雲煙」雕塑聯展，丹橘人文空間，台南，台灣

2015「夢與雲煙」蔡欣蓉、蔡秉儒聯展，

我們在拍浪中相遇，任憑蝕刻。但我們將在墜海的地方上岸，而島嶼在斜陽映射下總顯得飄忽不

2015「非常人」雕塑聯展，金車文藝中心

2014「無限∞美」蔡欣蓉油畫個展，克朗

以相互擁有的狀態，沉潛於海。

2015「雲端集銳」台灣藝術大學雕塑系聯

丹橘人文藝術空間，台南，台灣德美術館，高雄，台灣

2017 "Art Revolution Taipei -

International Artist Grand Prize

Competition", Taipei World Trade Center, Hall 3, Taipei, Taiwan

2016 "Taiwan Annual", Taipei Expo Park, Taipei, Taiwan

2016 "Bloming in the sunshine" Tsai

Shin-Rung Solo Exhibition, Hotel Rich, Tainan, Taiwan

2015 "Dust in the Wind" Tsai Shin-Rung & Tsai Ping - Ju Joint Exhibition,

Dan - Ju Art, Tainan, Taiwan

2014 "Infinity ∞ Beauty" Tsai Shin - Rung Oil Painting Exhibition, Crowned

Museam of Art, Kaohsiung, Taiwan

定，散發著藍色的光暈。我們狼狽而不及整理的容貌，在失去日溫前擁住彼此，我願意送你一座島， Everyone is his own island, floating above undercurrent, always surrounded by tumult.

藝術空間，台北，台灣

展，青雲畫廊，台北，台灣

Every single day, we have to encounter the little worries, which are dynamic, ethereal and

2016 "ESCAPE#2", Puchi Space, New

under unconscious condition would we therefore be aware of their constant expansion, which

2016 "ESCAPE"-Photography Solo

subtle. They are hidden under the insignificance of each individual matter. Not until they grow never stops before the real conflict. At last, our imagination would shatter in collision with

reality. All we could do is anxiously pick up the broken pieces, and continuously stitch them up. Reconstructing the memories, we keep imagining.

We meet in the waves and we let ourselves be eroded. Nevertheless, we will go ashore from the

Taipei, Taiwan

Exhibition, MinDemons Cafe, Taipei, Taiwan

2015 "Dust in the wind", Domeorange Space, Tainan, Taiwan

place where we fall. The island looks ambiguous under the sunset. Though we are in a mess, we

2015 "Weird Person", King Car Art

We sink into the sea together.

2015 "Up and Comers in Clouds", Cloud

will embrace each other before losing the warmth of the sun. I would like to send you an island.

Center, Taipei, Taiwan

Gallery, Taipei, Taiwan

蔡思佳 TSAI, Szu-Chia

254

壽字屏風 Wiktionary Screen

藝術生活化，生活藝術化是我從事藝術的終極目標，以一顆「在地之心」來推廣藝術，用古老的技

藝融入生活，由身邊的食、衣、住、行…，隨手可得的物品加以美化或修復…皆可，由作品呈現讓前人的智慧得以延續。

Arts in life, and live in arts, which are my ultimate goal of being an artist. Driven by a "localized heart", I hope that arts can be more widely spread by combining ancient techniques into our

daily life. By beautifying or restoring readily available items from the daily life, the wisdom of an ancestors can pass on.

255

她的（森林） Hers (Forest)

2016 ﾉ天然漆、木材、椰子葉柄、夏布、金箔 Natural Paint, Wood, Coconut Petiole, Grass Cloth, Gold Foil ﾉ 90 x 42 x 115 cm

蔡淑惠 TSAI, Shu-Hui 2015-2017 ﾉ螢光線、羊毛 Fluorescent Thread, Sliver ﾉ

2012「藝術下鄉」，國立台南生活美學館，台南，台灣

2011「漆藝跨域創作研習」，國立台灣工藝研究發展中心，光復，台灣

2008「屏東藝術季進駐社區暨橋墩藝術創作徵選活動」，屏東市文化中心，屏東，台灣

2008「第一屆客家藝文學術研討會客家圖像設計徵選」，大仁科技大學，高雄，台灣

2003「高雄美術家聯展」，高雄市美術館，高雄，台灣

60 x 60 x 60 cm

一個長方體構成的雙三角，由成千上萬條螢光粉紅線舖構而成。數百顆大小圓球圍繞在側，是對

「生命之母」的歌頌，代表了誘惑性與歡愉性。迷幻交錯於其中，形成一個生理的招喚，是「她的」場域。

Formed by a rectangle, a double triangle is created with thousands of thousands of neon

pink threads. This is a homage to The Mother of Life, with hundred spheres of various sizes surrounding it representing desires and ecstasy. A physiological calling is prompted amidst crisscrossing psychedelic elements, forming an arena that is Hers.

2016-2015「高雄國際女性藝術家邀請展

─巴黎巡迴展」，高雄市婦女館 /59 rue de rivoli/ 台東生活美學館，高雄 / 台東 / 巴黎，台灣 / 法國

2014「這青春」蔡淑惠刺繡複合裝置計畫個展，台北當代藝術館，台北，台灣

2000-1999「我是這樣說的—蔡淑惠個

展」，台北巿立美術館，台北，台灣

1998-1997「擴張的藝術：當代藝術家Ⅱ

聯展」，The Alternative Museum，紐約，美國

1995「台北縣第七屆美展—祥雲納福環境藝術計畫」，中興橋與忠孝橋間沙洲地，台北縣，台灣

2016-2015 "Exposition Internationale Kaouhsiung femmes artistiesExposition de Paris Visite",

Kaohsiung City Government

Women's Center/59 rue de rivoli Gallery/ National Taitung Living Art Center, Kaohsiung/Paris/ Taitung,Taiwan/France

2014 "The Youth" TSAI Shu-Hui

Embroidery Installation Project, Museum of Contemporary Art, Taipei, Taiwan

2000-1999 "As I Say - TSAI Shu-Hui

Solo Exhibition", Taipei Fine Arts Museum, Taipei, Taiwan

1998-1997 "Expansion Arts: Artists of Our Time II", The Alternative Museum, New York, U.S.A.

1995 "The 7th Art Exhibition of Taipei

County 1995 - Auspicious Cloud Environmental Art Project", the

sand bank between Jong Shing Bridge and Jong Shiaw Bridge, Taipei, Taiwan

蔡蓓詩 TSAI, Bey-Shy

256

前進或定格 Go Forward or Freeze Frame

蔡譯緯 TSAI, Yi-Wei

257

台北獎 Taipei Award

2017 ﾉ壓克力 Acrylic ﾉ 100 x 72.5 cm

2000 ﾉ撿拾物 Trash ﾉ 115 x 85 cm, 97 x 71 cm

空間是把可任意轉換的鑰匙，開了一扇門後絕妙場景可能是恣意誇張的。看似無相關的物件在同

2015「來吧！啤酒配咖啡」，新竹生活美

拙劣的模仿呈現一種若有似無的戲弄感，因複製的失真所衍生的異質流變，則是凸顯出行動的失

2017「穢土轉生術」，金車文藝中心，台

種介於現實與臆想、具象與抽象之間的日常生活見不到的「超現實境界」。

2014「出口－幻想的彼岸」，月影髮集，

中的那個想像，然而，卻依然掙扎著想翻攪些什麼似的。

2017「模仿秀」，嘉義鐵道藝術村，嘉義，

一時空被定格了。真實與虛幻場景的描寫和任意地誇大、戲謔，並與人物的動作結合，創造出一 Space is key to different settings and locations. It opens a door of a scenery element or setting which can be unreal and exaggerating or overstating. All the objects seem irrelevant

but somehow display in the same space and time. Settings of reality and dreams have been exaggerating at random or mocking gently. Irrational juxtaposition of images of objects,

figurines and actions explore the surrealist state between reality and dream or concrete and abstract form.

學館，新竹市，台灣台北市，台灣

2013「無形無距 ‧ 情感」，中正紀念堂采玉藝廊，台北市，台灣

2008「色彩、穿透、形式」，台北藝術大學地下美術館，台北市，台灣

2015 "BEER WITH COFFEE", National Hsinchu Living Arts Center, Hsinchu, Taiwan

2014 "Exit - On the Other Side of

Fantasy", Moon Salon, Taipei,

敗及徒勞。這些耗盡心力的擬仿與移植，就如同多數人的成長過程一樣，最後並沒有成為自己心 A seeming foolishness is shown under the clumsy imitation. The heterogeneous rheology derived from the distortion of the reproduction highlights the failure of my plans. This

exhaustive imitation and transplantation is like the process of growing up. We may not become what we imagined we'd be eventually, yet we still struggle inside, hoping for something different in life.

北，台灣台灣

2017「身土不二 - 第十屆索卡好樣青年藝術家聯展」，索卡藝術，台南，台灣

2016「當代藝軌」，嘉義市博物館，嘉義，台灣

2016「璞玉發光」，中正紀念堂，台北，台灣

2017 "Art of the Reincarnation of Dirt", King Car Cultural and Artistic Center, Taipei, Taiwan

Taiwan

2017 "Mimic Show", Art Site of Chiayi

Chiang Kai-Shek Memorial Hall,

2017 "Causality Embeddedment - 10th

2013 "No form, no distance - Emotion", Taipei, Taiwan

2008 "Color through the form", Taipei University of the Arts, Taipei, Taiwan

Railway Warehouse, Chiayi, Taiwan Exhibition of Young Artists", Soka Art, Tainan, Taiwan

2016 "Contemporary Art Show", Chiayi

Municipal Museum, Chiayi, Taiwan

2016 "Artlight", Chiang Kai - shek

Memorial Hall, Taipei, Taiwan

鄭佳鳳 CHENG, Chia-Feng

258

我還不知道－夢想／回憶／平靜／希望 I am Not Sure Yet 自我主體無拿定在單一思維的掙扎，這一秒的結論下一秒也許立刻改變。「夢想」我還不知道，夢想，是嗷嗷待哺的雛鳥，還是為了守護，淬煉而成的堡壘。「回憶」我還不知道，回憶，是不斷接

受雨水稀釋的河，還是變質黏膩的泥沙。「平靜」我還不知道，平靜，是極白如雪的大地，還是奮力鑽出的綠意。「希望」我還不知道，希望，是天空中最耀眼的月光，還是籠罩森林的黑色暮靄。

The artist can't accept black and white thinking on many things. It is not an ideology thinking but from the nature. The artworks "I am not sure yet" present the struggle between the black

2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 91 x 116.5 cm 2017「女孩不能停止瘋狂與想像」即時創作個展，菜鳥咖啡展演，台北，台灣

2016「時間的椅子」鄭佳鳳創作個展，an here ！一個空間展演，台北，台灣

2015「第三屆個人風繪本文學獎邀請

展」，樹樂集展演，台北，台灣

or white of hope, dream, memory, and peace. Dream, I am not sure that the dream is like the

2015「繪本沙發」插畫創作聯展，桃園市

under heavy raining or the river full of sticky silt. Peace, I am not sure that the peace is like the

2015「國際迷你版畫邀請展」，台師大藝

nestling or the castle for protecting. Memory, I am not sure that the memory is like the river snowy land or the young shoots covered by snow. Hope, I am not sure that the hope is like the moon light or the black mist in the forest.

259

地球危機 Earth Crisis

2015 ﾉ壓克力 Acrylic on Canvas ﾉ 45.5 x 53 cm x 4

對於事物時常無法擁有非黑即白的看法，總在灰色地帶徘徊逗留。作品「我還不知道」即呈現一個

鄭淑妃 CHENG, Shu-Fei

政府展演中心，桃園，台灣

術學院國際版畫中心，台北，台灣

2017 "Calm but Crazy Girls" Solo

Illustration Exhibition, Greeny Cafe Exhibition Space, Taipei, Taiwan

2016 "The Chair of Time" Solo Exhibition of Painting by Glory Cheng, an

here! Exhibition Space, Taipei, Taiwan

2015 "3rd Invitational Personalization

Picture Book Awards Exhibition",

Treellage Life Cafe, Taipei, Taiwan

2015 "2015 Soul Fun Illustration

Exhibition", Taoyuan Arts Center, Taoyuan, Taiwan

2015 "International Invitational Mini

Prints Exhibition", International Printmaking Center, College of Arts, National Taiwan Normal University, Taipei, Taiwan

在繪畫的當時，以意識為前瞻，帶著我遨翔於當下每一個片刻，自由自在的表現，沒有任何形式的限制，把自己的個性表露無遺，並注入作品中。

At the time of the painting, with consciousness as a forward-looking, with my Xiangxiang in

the present moment, free expression, without any form of restrictions, their own personality revealed, and into the works.

2017「畫的個展」，厝角咖啡，台北，台灣

2016「動情個展」，亞典書店，台北，台灣

2016「臉個展」，吉林藝廊，台北，台灣 2015「流動的情個展」，政治大學電算中心藝廊，台北，台灣

2014「人生的臉個人首展」，台北市市長官邸藝文沙龍，台北，台灣

2017 "Painting Solo Exhibition", House corner coffee, Taipei, Taiwan

2016 "Feeling Solo Exhibition", Asian bookstore, Taipei, Taiwan

2016 "Face Exhibition", Jilin Gallery, Taipei, Taiwan

2015 "Mobile Love Exhibition", Political University Computer Center Gallery, Taipei, Taiwan

2014 "Life in The Face - His First

Exhibition", Taipei Mayor's Official Residence Arts Salon, Taipei, Taiwan

鄭雅璇 CHENG, Ya-Hsuan

260

剖析．光 A Picture

2017 ﾉ木板、油彩、炭筆、鉛筆 Wood, Oil, Charcoal, Pencil ﾉ 33 x 70 cm

解構剖析攝影中裡光圈、快門與感光度三組數值，在平面攝影中這三種數值代表著瞬間凝結的一

2017「動 , 不動」，二十號倉庫，台中，

而是「變化」。

2017「Move 前 Move 後」，二十號倉庫，

Deconstruction analysis of photography in the aperture, shutter and sensitivity of the three

groups of values, in the photography of these three values on behalf of a photography that instantly condenses; but the same value is presented by dynamic photography. We see that is "change" and it is not "condensation".

261

小獵犬號－傳記 HMS Beagle - Biography

2017 ﾉ錄像 Video Art ﾉ 104'00" 張平面攝影作品；但如果同樣的數值透過動態攝影來加以呈現，實際上我們看到的是不是「凝結」

黎育奇 LI, Yu-Chi

台灣

台中，台灣

2017「關注」，二十號倉庫，台中，台灣

繪畫的趣味，來自一種能指與一種所指，僅以「小獵犬號－傳記」向達爾文致敬。 A Painting of Interesting From signifer and signified, Sacrifice to the "HMS Beagle Biography", of Charles Robert Darwin Respect.

2017「台北。巴黎－記憶軸」專案策展，二空間，台北，台灣

2016「收藏／記憶場域」專案策展，二空間，台北，台灣

2015「自成像」創作個展，板橋 435 藝文特區，新北市，台灣

2017 "Change", Stock 20 Art Gallery,

2014「片段藝化」創作個展，新北市蘆洲

2017 "Move, before & after", Stock 20 Art

2013「連續之動勢」創作個展，新北市藝

Taichung City, Taiwan

Gallery, Taichung City, Taiwan

2017 "To Stop or Not To Stop", Stock 20 Art Gallery, Taichung City, Taiwan

藝術中心，新北市，台灣術中心，新北市，台灣

2017 "Taipei．Paris Memory axes",

Project Curatorial exhibition, 2 Space, Taipei, Taiwan

2016 "Collection / Memory Field, Project Curatorial exhibition", 2 Space, Taipei, Taiwan

2015 "SELF - IMAGIMG Li, Yu - Chi Solo

Exhibition", Banqiao 435 Art Zone

provides citizens, New Taipei City, Taiwan

2014 "Fragment ART, Art Creation Solo

exhibition", New Taipei city Luzhou District for the Arts, New Taipei City, Taiwan

2013 "Continuous of Dynamic potential", Art Creation Solo exhibition, New

Taipei city for the Arts, New Taipei City, Taiwan

蕭逸玫 HSIAO, Yi-Mei

262

無續 No Facial Expression

The expression might not be given by itself.

263

櫻木花道 Cherry Blossoms

2015 ﾉ油彩、畫布 Oil on Canvas ﾉ 91 x 72.5 cm 表情有時並非自身所給予的。

蕭耀 HSIAO, York 2016 ﾉ複合媒材 Mixed Media ﾉ 130 x 96 cm

2016「肉身革命」蕭逸玫創作個展，亞索

蕭耀的「好色之圖」，成功詮釋了情慾昇華的體現，打破了台灣藝術傳統的視覺禁錮。不僅以女體

2017「Art Central」，Central Harbour

2016「福爾摩沙國際藝術博覽會」，寒舍

至藝術創作的視覺表現。

2016「台北國際藝術博覽會」，世貿一

畫廊，台北，台灣

艾麗酒店，台北，台灣

2015「台北藝術自由日」，華山 1914 文化創意產業園區，台北，台灣

2015「獨身幻境」蕭逸玫創作個展，防空洞藝廊，台北，台灣

2016 "Revolution for corporeal body solo

exhibition of Hsiao Yi - Mei", Soul of Art gallery, Taipei, Taiwan

2016 "Formosa Art Show", Humble House Taipei, Taipei, Taiwan

2015 "Taipei Fine Art Fair", Huashan1914 creative park, Taipei, Taiwan

2015 "Loner illusion solo exhibition of Hsiao Yi - Mei", dugout gallery, Taipei, Taiwan

表現他的藝術語彙，更使用男性器官符號的特徵，揉合不同性別特色於畫面中，將人性情慾昇華作品櫻木花道以童趣般風格，呈現女性身型豐滿的姿態。畫面色彩鮮活、構圖簡潔流暢，筆觸更顯圓滑輕快，更顯得女體的身形性感而不低俗。

Front，香港，中國館，台北，台灣

2016「上海城市藝術博覽會」，衡山路 12 號，上海，中國

具暗示性的色調、充滿想像的空間和近乎生命圖騰的情色主題、令人莞爾的標題，意向相當明確，

2016「台北攝影藝術博覽會」，華山藝文

與性慾（Eroticism）的描繪，也意指畫家對顏色與造型的蓄意經營。

2016「韓國國際藝術博覽會」，COEX，

但也讓人意識到此「色」非彼「色」，是一語雙關的「色相」，關乎男女，是一種介於性愛（Eros） York Hsiao's "Erotic Painting Series" successfully interpreted the idea of sexual sublimation

and broke the many visual taboos of tradition in Taiwan art society. In addition of using female

特區，台北，台灣首爾，韓國

bodies in his art vocabulary, he also employs symbols of male organ to concoct all the different

2017 "Art Central", Central Harbour

of an art creation.

2016 "Art Taipei", World Trade Center,

sexual elements on his paintings. He raises the human sexual desires to the visual presentation The work "Sakura in the spring" is like illustration, which shows female's plumpy body shape with pink tone, and composition extension makes the paintings smooth and light, sexy but not vulgar.

Front, Hong Kong, China Taipei, Taiwan

2016 "Art CITIZEN ART SHANGHAI",

Twelve at Hengshan, Shang Hai, China

The cut up and regrouped color blocks, suggestive color tones, space full of imagination, and

2016 "Photo Taipei", Huashan 1914

does not simply indicate "color" but a totemic, symbolized human sexual relationship. The

2016 "KIAF", COEX, Seoul, Korea

the sexual theme that is the totem of life make the viewers realize that the Chinese word "color"

arrangement of space in the paintings delivers the idea to directly show the deep emotions

people have towards love and sex, also a description of sexual sublimation in life. These paintings give us an earthy but open, clear but subdued, forgiving but full interpretation on this subject.

Creative Park, Taipei, Taiwan

賴久紅 LAI, Chiu-Hung

264

有趣的夢 An Interesting Dream

賴亭玟 LAI, Ting-Wen

265

心動女孩 Tempting Heart

2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 54 x 42 cm

2011 ﾉ複合媒材 Mixed media ﾉ 30 x 30 x 1.5 cm

朦朧中，我彷彿看到一座連綿的山丘，山下有個被柵欄圈住的園子，從柵欄的門縫中看去，似乎

2016「台灣當代一年展」，台北花博公園

這裡的物件單純是一種看的到、摸的到的實體，或許屬於動態的而且狀態會隨時改變，但架構與

2016「成都城市藝術博覽會」，錦江賓

群番茄又彈又滾的衝出柵門逃離園子。咦？我怎麼也變成圓滾滾的番茄了？哇，救命，救命啊！

2016「顯宗畫會第十五屆聯展」，吉林畫

一個記憶體中的空間結合女性的軀體，記載著創作者內在性複式序列綿延的暫存資料與姿態。

2016「台北國際當代藝術博覽會」，喜來

有東西在動。不久遠方飄來一片扭曲的白雲，逐漸變成一隻怪手向我靠近。哇，快逃啊！我和一 In the hazy, I seem to see rolling hills. There is a garden surrounded by fence in the hill foot. Looking from the door of fence, there seems to be something moving. Soon, twisted white clouds float in from the distance. Gradually, it becomes a strange shape of huge hand and

threaten me. Wow, hurry up to flee! I and a group of tomatoes bounce and roll out through

the gate to escape from the garden. Hey, why did I also become a round tomato? Wow, help, somebody help me!

爭豔館，台北，台灣廊，台北，台灣

2015「台灣藝術家博覽會」，信義區新光三越 A11 棟，台北，台灣

2013「12 屆台灣藝術家博覽會」，台北花博公園流行館士林紙廠，台北，台灣

2004「長風畫會作品展」，國立台灣師範大學理學院圖書分館，台北，台灣

2016 "2016 Taiwan Annual", Taipei Expo

Park, Tsung - Yuan Building, Taipei, Taiwan

2016 "The15th Painting Exhibition by

Hsien - Tsun Artist Studio", Gi Lin gallery, Taipei, Taiwan

2015 "2015 Taiwan Artists Fair", Taipei

Expo Park, Tsung - Yuan Building, Taipei, Taiwan

2013 "12th Taiwan Artists Fair", Taipei Expo Park, Fashion Building,

Shihlin Paper mill, Taipei, Taiwan

2004 "Long Wind Art Group Show",

Science College Library Art Space of National Taiwan Normal University, Taipei, Taiwan

行為不變；可能是一種具體東西，如生物或無生命之物；也可以是一種抽象的概念；物件就變成

The object here simply refers to an entity which you can see and touch. It may stay in motion

or its state may constantly change, but its structure and behavior remain the same. It can be something concrete, like a creature or a lifeless entity. It can also be an abstract concept. The

object thus becomes a space in memory combined with a female body, documenting the extending temporary data and state of the artist's inner complex sequences.

館，成都，中國

登大飯店，台北，台灣

2015「漾藝術博覽會」，駁二藝術特區，高雄，台灣

2012「台北國際當代藝術博覽會」，喜來登飯店，台北，台灣

2012「府城藝術博覽會」，大億麗緻酒店，台南，台灣

2016 "CHENGDU ART FAIR", JinJiang Hotel, Chengdu, China

2016 "YOUNG ART TAIPEI", Sheraton

Grand Taipei Hotel, Taipei, Taiwan

2015 "YOUNG ART KAOHSIUNG", The Pier-2 Art Center, Kaohsiung, Taiwan

2012 "YOUNG ART TAIPEI", Sheraton

Grand Taipei Hotel, Taipei, Taiwan

2012 "ART TAINAN", Tayih Landis Hotel Tainan, Tainan, Taiwan

賴羿廷 LAI, Yi-Ting

266

不似之似 Unlikeness, Likeness

2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 91 x 72.5 cm

中國的意境美學深受禪的影響。「不似之似」為中國畫常用術語，乃指畫家筆下的藝術形象。「似而

2010「初啼」個展，台灣藝術大學美術系

山必怪，變幻神奇懵懂間，不似似之當下拜。」現代齊白石說的「不似之似」，即同石濤說的「不

2010「初啼」個展，新竹市文化局，新竹

似似之」。此創作想法，除用疏、密、聚、散來構圖，同時結合了石濤的「不似似之」想法創作。

The Chinese aesthetics is deeply influence by Zen. "Unlikeness, likeness" is a frequently used

phrase of Chinese painting. It means the artistic image created by a painter. "Likeness is

unlikeness, unlikeness is likeness" first appears in Shen Hao's Theory on Literati's Painting in the Ming Dynasty. In the Qing Dynasty, Shi Tao writes in his poem, "A famous mountain is for visiting rather than for painting. If the painting looks exactly like the mountain, it will be strange. It is because the mountain scenes change all the time. Only when the painting does not look like

it can it be like it". "Unlikeness, likeness" proposed by the modern painter, Qi Baishi, is similar to Shi Tao's concept. This creation idea of the former piece, in addition to using the techniques

of "sparse, dense, thick, and loose", I combine Shi Tao's concept of "unlikeness, likeness" in my creation.

267

水之舞 The Dancing Water

2015 ﾉ宣紙 Xuan Paper ﾉ 107 x 90 cm

不似，不似而似。」初見於明代沈顥《畫麈》，清代石濤題詩亦有：「名山許游未許畫，畫必似之

賴素蘭 LAI, Su-Lan

大樓，台北市，台灣市，台灣

2011「心隨筆意」個展，台灣藝術大學美術系大樓，台北市，台灣

2016「陶藝．水墨．書法的懈逅」賴羿廷創作展，苗栗市國際會議廳，苗栗縣，台灣

2016「墨語禪心」個展，新竹市大遠百 VVIP 室，新竹市，台灣

2010 "First Time personal exhibition",

National Taiwan University of Arts, Taipei, Taiwan

2011 "First Time personal exhibition",

Cultural Affairs Bureau, Hsinchu, Taiwan

2011 "Pen Follows Mind personal

exhibition", National Taiwan

University of Arts, Taipei, Taiwan

2016 "Pottery. Encounter. Calligraphy

Ink", International Forum Center, Miaoli City, Miaoli , Taiwan

2016 "Zen ink language", far eastern department store VVIP room,

Hsinchu City, Hsinchu, Taiwan

當白鷺鷥捕抓到小魚時的那一剎那，是如此的生動曼妙！它所激盪濺出的晶瑩剔透的水珠，彈跳著充滿活力與朝氣的舞姿！

The moment the egret caught the fish is so brilliant. It spilled the sparkling water droplets danced with their dynamic and vibrant posture.

1977「亂針繡教師組優等」，台灣省第六區公私立中學工藝展，台中，台灣

1977 "Chaos needle embroidery Teacher group excellent", Taiwan province, the sixth district public and private secondary school technology exhibition, Taichung, Taiwan

戴漢賓 TAI, Han-Pin 英雄出賣系列－天之渦

Hero Betrayed Series - The Whirlpool of The Sky 2017 ﾉ畫布、油彩 Canvas Oil Color ﾉ 72.5 x 91 cm

本已發展出屬於台灣獨特風格的布袋戲，不斷因應觀眾市場及科技等眾多因素，而不再是所謂的

傳統印象，更因近十幾年來受到更多外來文化影響！不僅只是以戲劇呈現，更有公仔這類周邊商品產生，而公仔模型原本就屬外來文化商品。當在地本土傳統文化存續除須技藝傳承現實上更需有商業去維持！藉由畫面內容本是布袋戲中的一角色，以其周邊公仔模型（日式）樣貌描繪！藉由包裝盒上的透明反光及部分模糊或部分扭曲，嘗試營造其光鮮下仍有著最基本的傳承困境。

Has developed a unique style of Taiwan's glove puppetry, constantly due to the audience

268

謝佩庭 HSIEH, Pei-Ting 《自我》系列 "Self " Series

2017 ﾉ複合媒材 Mixed Media ﾉ 70 x 55 cm x 2

「你我猶如隔鏡視物，所見無非虛幻迷濛」—亞瑟．叔本華，外在世界的認知或許虛幻，而我們對

2017「Four In One」四人聯展，書店咖

的一瞬，這個屬於作者也屬於每個觀者的「自畫像」是流動的、互動的、時存時滅的。每一件作品

2017「內視鏡」台藝大美術系 107 級日間

於內在自我的認識又是如何 ? 有別於傳統的肖像畫，參雜了藝術家情感的手筆將人物凝結在永恆都是自己、也是所有觀者「自我」的映照。然而這並非是最真實的觀眾本身，它經過藝術家的情感

包裝，就如同所有肖像畫也必然含有藝術家的眼光、情感與手筆；另一方面，它也呼應著查爾斯．庫利所提出的「鏡中自我」的概念。這一系列的持續探索就如同對「自我」的無境探尋與「自我」定義的複雜性。

market and technology and many other factors, rather than the so-called traditional impression,

"For now we see through a glass, darkly; but then face to face: now I know in part; but then shall

such peripheral goods produced. The doll model was originally from foreign cultural goods

world may be illusory but what about the understanding of everyone inner self? Different from

more recent ten years by more foreign cultural impact! Not just to show in drama, more dolls when the local traditional culture in addition to the need to be inherited, in fact, the reality of

more business to maintain! With the contents of the screen is a role in the glove puppetry. With its surrounding doll model (Japanese) appearance painted! With the transparent reflection and partial blur or partial twist on the box, try to create its bright still have the most basic inheritance dilemma.

269

I know even as also I am known."- Arthur. Schopenhauer. People 's cognition of the external

the traditional portraits that condense the moment of artist's emotions and pictures, this portrait is not only belong to the artist but also interact with viewer by the moment of seeing in the mirrors. Each of the works is their own also all the viewer's "self" of the mirroring. However, this is not the most authentic audience itself, it is the artist's emotional packaging, as all the

portraits must also contain the artist's sight, emotions and handwriting; on the other hand, it also echoes Charles Horton Cooley's concept of "looking glass self". This series is exporting the complexion and endless self-definition.

啡，台北，台灣

學士班創作展，淡水殼牌文化園區，台北，台灣

2016「共生」台藝大美術系 107 級日間學士班創作展，龍山寺文化廣場，台北，台灣

2016「國立台灣藝術大學美術系系美展」國立台灣藝術大學美術系系館，台北，台灣

2015「國立台灣藝術大學美術系系美展」國立台灣藝術大學美術系系館，台北，台灣

2017 "Four In One", Bookstore Coffee, Taipei, Taiwan

2017 "Endoscopy", Former British

Merchant Warehouse, Taipei, Taiwan

2016 "Symbiotic", Lungshan Plaza, Taipei, Taiwan

2016 "Fine Arts Exhibition of National

Taiwan University of Arts", National Taiwan University of Arts Fine Arts Department, Taipei, Taiwan

2015 "Fine Arts Exhibition of National

Taiwan University of Arts", National Taiwan University of Arts Fine Arts Department, Taipei, Taiwan

謝岱融 HSIEH, Tai-Jung

270

病態系列之二、病態系列之三 Illness 2 / Illness 3 今社會的多樣貌狀態用衝擊與迂迴的方式來進行對話，呈現出看似矛盾卻也是密不可分的關係。

Using abstract to represent the complexity and the diverse sides of human in today's society, I communicate in a way of bringing impact and being ambiguity by using my feelings and the different sides of society to show not only contradictory but also inseparability.

271

翠錦麗人 The Beauty of Bluish Brocade

2017 ﾉ壓克力 Acrylic ﾉ 52.1 x 37.5 cm（4 開）

運用抽象形式來表現複雜的社會型態與當今社會人性的多樣面，用一種自我心理狀態的感受與當

謝東芸 HSIEH, Tung-Yun 2015 ﾉ數位版畫 Digital Painting ﾉ 50 x 70 cm

2017「擁抱」九鼎藝術家聯展，九鼎藝術中心，台北，台灣

2016「純粹」五人聯展，嘉義專佳醫療中心，嘉義市，台灣

2017 "Embrace", Jdbecca art, Taipei,

光焰照鑑芙蓉色，翠緞青髮化紅蓮。受和服腰帶的織錦繡花紋飾，及唐風壁畫圖的靈感啟發，而繪製出的麗人圖。

Bright shine light up the hibiscus countenance, Emerald satin Bluish - green hair transform into red lotus. The work inspired by the kimono belt and Brocade embroidery decoration.

2017「幻獸繪章」個展，酷馬廚房，台北，台灣

2017「妖仙綺羅画」個展，屋下咖啡，新竹，台灣

2015「櫻」，ギャラリーコルソ，東京，日本

Taiwan

2014「台灣藝術家博覽會」，新光三越信

clinic, Chiayi, Taiwan

2014「櫻」，ギャラリーコルソ，東京，

2016 "Purely", Special & perfect dental

義新天地，台北，台灣日本

2017 "Mythological creatures of

Eudemon" Solo Exhibitions, KUMA Corner, Taipei, Taiwan

2017 "Nymphs and Fairies" Solo

Exhibitions, Vug Ha Café, Hsinchu, Taiwan

2015 "SAKURA Exhibition", Gallery CORSO, Tokyo, Japan

2014 "Artist Fair Taiwan", Shin Kong Mitsukoshi Xinyi Place, Taipei, Taiwan

2014 "SAKURA Exhibition", Gallery CORSO, Tokyo, Japan

韓秀蓉 Sharon H.J. Cheng

272

繆思姨媽的大千世界 Auntie Muse's Big Wide World

2016 ﾉ水墨、複合媒材 Ink, Mixed Media ﾉ 95 x 95cm

油彩是我的主要創作媒材，而「氣」的觀念則是我的創作骨架。圓形對我而言不止是平和圓滿的象

2013「尋找那完美的雲彩」，銀提示藝術

活潑的、歡喜的、沈默的、掙扎的等等，都是我內心誠實的寫照，也是我個人在創作中追求平衡、

2013「新年新作」，聖勞倫斯縣藝術委員

和諧的律動。

Oil is my primary medium, while the Chinese philosophy concept of "Chi" is the backbone of my art creation. My recent painting has been based on an idea of "Free Form Construction". It involves covering and rediscovering the landscapes of paint. The shapes and forms of the

circle, to me, not only are symbols of peace and fulfillment but also are full of positive energy.

All the circles in my work show an intimate echo of my autobiographic reflections of personal sentiment and beyond; ultimately, all the energies must be released through them with a free spirit. Thus, my pursuit of my inner peace and balance become my life rhythm.

273

真空狀態之四 Vacuum

2017 ﾉ油彩、壓克力、亞麻畫布 Oil , Acrylic on Linen ﾉ 22.5 x 31 cm

徵，它更是充滿了正面的能量。我的創作反映我個人對生活中的省思與期盼，各樣的圓：平靜的、

簡志剛 CHIEN, Chih-Kang

展覽，紐約，美國會，紐約，美國

2012「浮雲、紙鶴世界」，玻蕾雅笛絲藝廊，紐約，美國

2012「視盟藝術家博覽會」，視盟，台中、台北，台灣

2013 "Finding that Perfect Cloud", Silver

Tips Art Shows, New York, America

2013 "Artists' Studio Tour", St. Lawrence County Arts Council, New York, America

2012 "In the Realm of Clouds and

Origami", Sharon H.J. Cheng

Solo Show, Pleiades Gallery of Contemporary Art, New York, America

2012 "Artist Fair 2012", Association of the Visual Arts in Taiwan, Taichung

and Taipei, Taiwan

被生活所限，被環境束縛，彷彿真空，狀似漂浮，在幽微無盡的空間裡無依，在現實侷促的框架中定形。

We are limited by life, but also by the environment bound, all as if the vacuum, all like floating in the world, in the endless space, no rely on, by the reality of the framework of the shape.

2016「福爾摩沙國際藝術博覽會」，寒舍艾麗，台北，台灣

2015「生訴」簡志剛當代水墨創作展，

ADSC 全球藝術聯盟，台北，台灣

2015「時之面相」簡志剛創作個展，台北市社會教育館，台北，台灣

2014「山 ˙ 海 ˙ 觀」2014 台灣師大與

中央美院創作實踐博士生學術交流展，中央美院美術館，北京，中國

2012「畜．生壓解與消散」簡志剛創作首

個展，國立台灣師範大學德群藝廊，台北，台灣

2016 ''Formosa International Art Fair'', Humble House Taipei, Taipei, Taiwan

2015 ''Surver'' Solo Exhibitions, ADSCart Center, Taipei, Taiwan

2015 ''Time face'' Solo Exhibitions', Taipei Social Education Hall, Taipei, Taiwan

2014 ''China and Taiwan Ink Exchange Exhibition'', China Central

Academy of Fine Arts, Beijing, China

2012 ''Pressure and disappearance''

Solo Exhibitions, National Taiwan

Normal University, Taipei, Taiwan

藍仲軒 LAN, Chung-Hsuan

274

當我逝去時：吳凱文 If I Fall: Kelvin Ng 述的理想死亡，我使他們成為屍體，並創造環境來進行拍攝。我會在這些參與者屍體定位之後，

對環境與姿勢進行更動。這些充滿著主動與被動的死亡影像，就如同真實的死亡般，有著無法預料與無法控制的妥協。影像中的人物是來自香港的吳凱文，他是我在紐約的一位朋友。伴隨著他所喜愛的事物，他選擇在租屋處的客廳死去。

This photograph is from my project: "If I Fall". The project captures people performing their self-described ideal deaths. Subjects are staged as corpses according to how they dream and

2016 ﾉ油彩、畫布 Oil on Canvas ﾉ 116.5 x 91 cm 2017「台北國際攝影藝術交流展」，華山

1914 文化創意產業園區，台北，台灣

2017「AYLO 紐約之選」，大紐約韓國人協會，紐約，美國

2016「沙龍 Mora 2016」，Art Mora 藝廊，紐約，美國

explain their deaths. Composed by both artist and subject, the images are accompanied by

2016「巴比倫：美國 Pierogi 藝廊 The

Kelvin Ng, a friend from Hong Kong I met in New York. He decided to die in his living room with

2016「失眠」，普瑞特藝術學院 Steuben

unpredictable and uncontrollable compromises - just like death. The figure in this image is the things he fascinates.

275

無懼 Fearless

2016 ﾉ數位噴墨 Digital Giclee Printing ﾉ 45.72 x 66.04 cm

此作品來自於「當我逝去時Ｎ」計劃，這個計畫是拍攝關於人們的理想死亡之影像。依據人們所闡

顏柯夫 YAN, Kevin

Boiler 分館」，紐約，美國藝廊，紐約，美國

2017 "Wonder Foto Day", Huashan 1914 Creative Park, Taipei, Taiwan

2017 "AYLO Best of New York", Korean American Association of Greater New York, New York, USA

2016 "Salon Mora 2016", Art Mora Gallery, New York, USA

2016 "Babylone: U.S.A., The Boiler",

Pierogi Gallery, New York, USA

2016 "Insomnia", Pratt Institute Steuben Gallery, New York, USA

中文創作理念：顏柯夫在台灣待了 25 年，用一種自認很淡泊的心境，在油畫布上塗塗抹抹，喃喃

2017「層」油畫創作展，台南藏風藝術空

幾朵雲彩之後，亂了山形也亂了心，只有等到雲開見日才能見到真正的性情。美醜是一種較主觀

2017「層 –1 & 2」顏柯夫油畫創作展，煦

自語…。現在正在學會淡泊，猶如東方的水墨畫一般，遠山所看見的是一幅淡淡然的景致，多了的評述而少有客觀標準。在顏柯夫的觀念中，藝術脫離不了人性，而人性離不開生活，春夏秋冬四時變換不斷的反覆上演，能夠在這亙古不變的時序中，找出偶然的驚喜與創意，才是真藝術。

Kevin lived in Taiwan 25 years. Now his journey has changed from flight to a more considered

間，台南，台灣

利品酒藝廊，台北，台灣

2017「層」油畫創作展，ASUS 華碩電腦企業總部，台北，台灣

walking journey of inner reflection and free thought, on canvas, sometimes with considered

2016「高雄藝術博覽會」，高雄城市商

maturing from youthful intensities, now includes learning to take more carefree approaches,

2016「台灣當代一年展」，台北花博公園

strokes, and sometimes casual smears, all the while with self-questioning. Kevin's life, now like in oriental water colors, observing in distant mountains tranquility and calm, and after

several passing cloud formations, the true mountain's inner shape can appear. Kevin's thinking

is that only after exploring and waiting for the clouds to lift, can talent emerge through genuine

inner thinking. Beauty versus plainness can be a very subjective kind of comparison, and commentary doesn't always come with objective standards. In Kevin's mind, art and human

nature go together, and human nature depends on one's own life, just as the four seasons transform uninterrupted in an ongoing performance. We can see here a thinking that is timeless, where chance surprises and creativity is the true essence of art.

旅，高雄，台灣

爭豔館，台北，台灣

2017 "Kevin Yan Art Exhibition", Tsang Fong, Tainan, Taiwan

2017 "Kevin Yan Art Exhibition 1 & 2",

Cellier Wine Gallery, Taipei, Taiwan

2017 "Kevin Yan Art Exhibition", ASUS, Taipei, Taiwan

2016 "Art Kaohsiung", City Suites –

Kaohsiung, Kaohsiung, Taiwan

2016 "1st Taiwan Annul", Taipei Expo Park, Taipei, Taiwan

魏維德 WEI, Wei-De

276

方舟 Ark

Creation is the imaginary world produced by its own experience and reengineering. There are many changes in the composition of the world in which there are individuals and things in this imaginary world.

277

漂島 Floating Island

2017 ﾉ水彩 Watercolor ﾉ 80 x 78 cm 由自身經歷及再創所建構的世界加以描述內在狀態。

羅盈嘉 LOU, Ying-Jia 2017 ﾉ水墨紙本 Ink on Paper ﾉ 70 x 95 cm

2017「雪嗑必否愉均可」中國文化大學第

51 屆畢業展，郵政博物館，台北，台灣

2017「夜鷺死苦」，濕地 venue，台北，台灣

2017 "Shake before you drink" - The 51st

在不斷移動的生命歷程中，搜尋自身的視覺位置，成為一種暫時性的影像狀態，或者說這些視覺意象可以使觀者在其中佇足、移動、揀選，回應者某種相似的個人視像。

In the long journey of life, in our search for our own visual location, a brief visual status is formed. In other words, these visual imageries provide a platform for viewers to pause, move around, and to select from, as they correlate to some similar personal visual imageries.

2017「真實的餘燼」聯展，朝代藝廊／青雲藝廊，台北，台灣

2017「台灣當代一年展」，台北花博園區，台北，台灣

2017「Art Olympia 2017 2nd international Open Art

Competition」，東京，日本

Graduation Exhibition of National

2007「松園之美」聯展，台灣自來水花蓮

Taipei, Taiwan

2004「藝術新勢力」聯展，台灣藝術大學

Culture University, Post Museum,

2017 "The graft", venue, Taipei, Taiwan

營業處，花蓮，台灣

大漢藝廊，台北，台灣

2017 "True embers", Dynasty Gallery / Cloud gallery, Taipei, Taiwan

2017 "Taiwan Annual", Expo Park, Taipei, Taiwan

2017 "Art Olympia 2017 2nd

international Open Art

Competition", Tokyo, Japan

2007 "The Beauty of Pinegarden",

Hualien Service Center, Taiwan Water Corporation, Hualien, Taiwan

2004 "New power of art", Da - Han

Gallery, NTUA, Taipei, Taiwan

嚴文志 YEN, Wen-Chih

278

黑水洋流 Impression Blackwater

I Can Only Hear Myself Under Water Series 04-07

黑水是泛指入夜後海洋ㄧ片漆黑的情境！在這個入夜當下是各式各樣的美麗海洋浮游生物活躍開

2017「印象海洋 - 海洋生態攝影展」，國

宴會更是有著不為人知的視覺悸動！

2017「潛龍盃海洋微距攝影」，圖蘭奔，

我們稱海洋世界為無重力內太空，在這個海洋星際中隨著海流帶來各地不同的生物，讓各種美麗的浮游生物隨海流而行！生物短暫的交會像是我們所處的世界人與人之間的短暫交會。華麗的一

期一會，在每次入水拍攝的當下我永遠不知會有什樣的生物會飄浮到我的面前。隨著等待的時刻，當它們用不同的形態出現時在我鏡頭前時。美麗的際會就此展開！

海洋佔全球面積 70% 擁有無盡的生命力，我們身在海島國家對海洋生態卻是很陌生，透過鏡頭讓更多人看到海洋的生命力跟無限可能！

Blackwater refers to the dark ocean at night. At the moment of the nightfall is when those beautiful marine planktons start to be active. Our impression of the ocean always remains on

the image of the blue ocean. However, in fact, the dark ocean banquet at night is what brings the surprising visual enjoyment to us!

279

《我在水裡，只聽得見自己的聲音》系列作品 04-07

2017 ﾉ玻璃影像輸出 Glass Image Output ﾉ 90 x 90 cm

始時刻！關於海洋我們收到的訊息，總是停留在一大片藍藍大海的畫面。其實入夜後的暗黑海洋

蘇俊銓 SU, Pinn 2017 ﾉ玻璃纖維、不鏽鋼底座 Fiberglass, Stainless Steel Base ﾉ 50 x 50 x 56 cm

立海洋生物博物館，基隆，台灣

此系列作品共有 7 件雕塑。創作的動機來自於觀看著整片水母群，每每這個當下寧靜地發生時，

峇里島，印尼

游動，彼此之間甚至用一種看似獨立卻又無比合諧的方式交織著。這種難以理解卻又如此合理的

2017「墾丁國家公園海洋攝影」，墾丁海生館，屏東，台灣

就會有一種莫名的感動。因為無論海水的波動為何，牠們都以各自的節奏和方向，自在而安穩地畫面出現時，再怎麼躁動的思緒，彷彿都能夠逐漸安靜下來，進而得到某種救贖的感覺。蘇俊銓覺得這樣的經驗和追求藝術的本質有些類似，也就是能讓觀者帶著各自的生命故事，藉由與作品的互動，而得到某種心靈上的救贖。

2017 "The Beauty of Marine Life",

The series contains 7 sculptures. Pinn was inspired to create the work when he was watching a

2017 "Dragon cup ocean macro shot",

floating at their own pace under water, but when looked at them as a whole, they moved in

NMMST, Keelung, Taiwan

Tulamben, Bali, Indonesia

2017 "Kenting National Park marine

photography", Kenting Aquarium, Pingting, Taiwan

school of jellyfishes, and he felt so touched and calm at that quiet moment. They were slowly harmony. It seemed like at this unspeakable and yet reasonable point, they always gave the artist some peace of mind, and in some way, like how art releases you.

2014「台北國際當代藝術博覽會」，台北晶華酒店，台北，台灣

2014「藝境閃光星聯展」，藝境藝廊，台北，台灣

2013「超新星聯展」，自由人藝術公寓，台中，台灣

2013「不再不在－國際當代藝術聯展」，台北當代藝術館，台北，台灣

2012「台北攝影與數位影像藝術博覽

會」，台北美侖飯店，台北，台灣

2014 "Young Art Taipei Art Expo", Regent Taipei, Taipei, Taiwan

2014 "Young Art Taipei Group

Exhibition", Artdoor Gallery, Taipei, Taiwan

2013 "Super - Novart", Freedom Men Art Apartment, Taipei, Taiwan

2013 "Being Changed - A Group

Exhibition of International

Contemporary Art", MOCA Studio, Taipei, Taiwan

2012 "Photo Taipei Art Expo", Taipei Park Hotel, Taipei, Taiwan

蘇厚文 SU, Hou-Wen

280

去年的未來 Future of Last Year

老闆 Boss

2017 ﾉ數位輸出 Inkjet Print ﾉ 150 x 150 cm

已逝的過去如何成為未來？再現過去除了記憶的回望，能否成為一種新的反芻？當我們挖開塵封的歷史，感受時光的餘溫，我們回望了那些融於過去事件中，模糊的情緒與內心的投射。但是，一旦跳脫原始的時空背景，影像作為證據之外，讓觀看產生新的裂縫，回歸影像的純粹，進而拓

展其能動性，變成一種挑戰。因此，這組作品試圖翻轉舊有感受，拆除時間定位，煽動觀者重新思考影像的其他維度。

If the past becomes a new future, how could it be? Except for looking back, can reappearance turn into new rumination or re-creation? When facing the past things, we could directly feel

remnant of memory's tenderness and review personal inner projection. However, as temporal

2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 91 x 65 cm 2017「台北國際當代藝術博覽會專家面對面」，台北國際藝術村，台北，台灣

2017「台北國際攝影藝術交流展」，台北

華山 1914 文化創意園區，台北，台灣

2016「街頭的日常賦格」，台北美術館園區花博爭艷館，台北，台灣

background changes, trying again to deal with the documentary and making the viewers feel

2015「謬誤之境－轉換」，視丘攝影藝

expand their agency. Consequently, the work attempts to reverse the original condition and

2015「一○四年全國美術展」，國立台灣

it brand-new become a challenge that turns images into different and pure looking and even remove the time factor in order to rethink and kindle more dimensions of the images.

蘇訓圖 SU, Shin-To

廊，台北，台灣

美術館，台中，台灣

2017 "Portfolio Review", Young Art

Taipei, Taipei Artist Village, Taipei, Taiwan

2017 "Wonder Foto Day", Huashan 1914 Creative Park, Taipei, Taiwan

2016 "Street Fugue", EXPO Dome, TAIPEI EXPO PARK, Taipei, Taiwan

2015 "The Mistakened", Gallery of FOTOSOFT Institute of

Photography, Taipei, Taiwan

2015 "Photography Category of National Art Exhibition", National Taiwan Museum of Fine Arts, Taichung, Taiwan

以寫實手法紀錄一個車行老闆。 Use the realistic way to record a car dealer's image in this work.

281

蘇匯宇 SU, Hui-Yu

282

鯨魚集體自殺 Whale Mass Suicide 2014 ﾉ HD 單頻道錄像 HD Single Channel Video ﾉ 4'30"

一個有趣的理論：為什麼鯨魚集體自殺（擱淺）的事件越來越多？因為人類越來越多海岸線無所遁形目擊集體擱淺的事件便越來越頻繁了。

說不定跟現代文明的罪惡無關，說不定一切只是人類觀點的作祟。

2017「午夜場」，Titanik-galleria，圖爾庫，芬蘭

2017「新店男孩星際迷航 – RED」，双方藝廊，台北，台灣

而以「鯨魚集體自殺」為此系列命名，便是為了突顯藝術家重省「人類對自然法則的反抗、恐慌以

2017「不存在的地方」，忠泰美術館，台

是「空無」這樣的概念。自然、死亡、主體如何存在乃至於性，特別是，關於幼童亦有的性經驗，

2016「類似過於喧囂的孤獨」新樂園 20

及預設立場」的這個企圖。在這些作品中，我們彷彿得以重新見習了關於「自己是什麼？」，甚至或稱快感，此刻回返我們的視界，被重新思考。

An interesting theory holds that there is no actual increase in the number beached whales, but just in the number of reports due to a greater number of witnesses along the coasts.

Whale beaching may have something to do with the pernicious effects of modern civilization, or perhaps people are just overreacting.

The name highlights my examination of humanity's revolt against the laws of nature, and

humanity's dread and presumptions about the natural world. Encountering the work in this exhibition, the audience will re-examine the meaning of the self or even nothingness. Nature, death, the existence of subjectivity and even sex (especially childhood sexuality as an experience of pleasure) will be offered to our visual field for reconsideration.

北，台灣

年紀念展，北師美術館，台北，台灣

2016「舞弄珍藏：召喚 / 重想 / 再述的實驗室」，台北市立美術館，台北，台灣

2017 "Wu-Yeh-Chang", Titanik, Turku, Finland

2017 "Xindian Boys Lost in Interstellar Space- RED", Double Square Gallery, Taipei, Taiwan

2017 "A Nonexistence Place", JUT Art Museum, Taipei, Taiwan

2016 "Like Too Loud a Solitude", MoNTUE, Taipei, Taiwan

2016 "Dance with the Museum

Collection - Retrieved, Reimagined, Restated", Taipei Fine Arts Museum, Taipei, Taiwan

283

王璽安 WANG, Sean

284

彩虹 Rainbow

演示了人類對於觀看與測量的可觸與不可及的特質，這件作品在此饒富意味的關係中被表達著。

Numbers are the abstract and figurative concept, also the spectrum is. Painting could show the features about the touchable and untouchable in visual through its framing form. These are this piece of work which is related to.

285

True Blue

2015 ﾉ油彩、壓克力 Oil Color, Acrylic ﾉ 130 x 130 x 5 cm 數字是具體卻又是抽象的概念；彩虹光譜也是具體卻又抽象的存在。繪畫在兩者之間透過框架，

林冠名 LIN, Guan-Ming 2016 ﾉ單頻道錄影 Single Channel Video ﾉ 10'28"

2017「溢界 × 邊線」，大未來林舍畫廊，

拍攝總是帶著一些「差異」的本質，哪怕是再簡單不過的畫面或單純的念頭，而「時間」成了這些

2017「非凡」索卡 25 週年特展，耘非凡

甚或只從眼簾掠過；之前與之後，剩下的無非是千頭萬緒。

台北，台灣

美術館，台南，台灣

2016「想起層層是景緻」，索卡藝術空間，台南，台灣

2015「一片之中是無垠」，就在藝術空間，台北，台灣

2011「Local Realities : From Oneself」，東京設計週 Art 特展，東京，日本

2017 "Borders and Beyond", Lin and Lin Gallery, Taipei, Taiwan

2017 "Extraordinary-25th Anniversary of Soka Art", Remarkable Cultivation Museum (Yun Feifan Art Museum), Tainan, Taiwan

2016 "Thinking & the Scene. WANG Sean Solo Exhibition", Soka Art Center, Tainan, Taiwan

2015 "Innovation & re-creation: Selected works from the NTMoFA young

artist collection", Project fulfil Art Space, Taipei, Taiwan

2011 "Local Realities: From Oneself",

TDW-ART (Tokyo Design Week), Tokyo, Japan

可能「差異」的索引；此時此刻，「影像」是極具抽象的材料，「真實」僅短暫留駐在當下的片刻， Shoot always brings out "different" natures. Even for a relatively simple picture or idea, "time" becomes the index for these possible "differences." At particular moments, "images" are extremely abstract materials. "Reality" only stays for a brief moment, or just passes beyond one's eyes. Before and after, the nothingness of the rest is but a multitude of things.

2016「2016 城市游牧影展：一種當代的凝視」，不只是圖書館，台北，台灣

2015「迴光線─影像的裂隙」，TKG+，台北，台灣

2014「海，無垠」，國立台灣美術館，台中，台灣

2012「STAR」，伊通公園，台北，台灣 2012「時空頓點─台灣錄像藝術展」，

Centro Centro (5Cs)，馬德里，西班牙

2016 "2016 Urban Nomad Film Fest: A

Gaze on the Contemporary", Not Just Library, Taipei, Taiwan

2015 "Returning Sight - The Fissures

of Moving Image", TKG+ , Taipei, Taiwan

2014 "Boundless Sea", National Taiwan Museum of Fine Arts, Taichung, Taiwan

2012 "STAR", IT Park, Taipei, Taiwan

2012 "Pause in Time and Space: Video

Art in Taiwan", Centro Centro (5Cs), Madrid, Spain

林賢俊 LIN, Hsien-Chun

286

隱春花開 Spring Blooming

Spring hides invisible vitality.

287

消失的 Vanishing

2016 ﾉ壓克力顏料、畫布 Acrylic on Canvas ﾉ 91 x 45.5 cm 春天隱藏著看不見的生命力。

高雅婷 KAO, Ya-Ting 2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 72.5 x 91 cm

2017「金剛夢露」林賢俊作品展，大趨勢

高雅婷的作品中，大量的色彩與具體的影像穿插並置，其用鮮豔、甚至螢光的色彩描繪自然的風

2017「穿越峽之路」，冉阿末畫廊，檳城，

2016「劫後風景」聯展，台北日動畫廊，

量的轉化，纖細中隱藏著豐沛的情感。她的創作脈絡圍繞著人與大自然之間既吸引又疏離的關係，

2017「極限風景」，心動藝術空間，台北，

畫廊，台北，台灣台北，台灣

2015「跨境」作品聯展，博藝畫廊，台北，台灣

2014「水面上開門」未來社聯展，台南索卡藝術中心，台南，台灣

2013「餐桌上的未來 - 家與藝術家」，台北藝術大學關渡美術館，台北，台灣

2017 "Drifting like dreams, like morning dews: an understanding of

meaninglessness from diamond

sutra", Main Trend Gallery, Taipei, Taiwan

2016 "Remaining Sceneries Group

Exhibition Taiwan", Galerie Nichido Taipei, Taipei, Taipei, Taiwan

2015 "Cross Exhibition Group

Exhibition", Bo Art Gallery, Taipei, Taipei, Taiwan

2014 "Shaping gate above the water

group Exhibition", Soka Art Center Tainan, Tainan, Taiwan

2013 "Futures on the Table Home and

artists", Kuandu Museum of Fine Arts, Taipei, Taiwan

景，讓觀者進入一種抽離現實的視覺體驗之中，色彩繽紛的畫面是線索的鋪陳，也是內在創作能並隨之衍生不同子題，不同子題交叉像是影像的分鏡，敘述著藝術家對於都市與大自然的觀察。

Significant amounts of colors and specific images are intertwined and placed together in the works of artist Kao Ya - Ting. The vibrant, even fluorescent colors that are used to depict natural

馬來西亞台灣

2016「沒有血肉沒有快感」台灣當代一年展，花博爭艷館，台北，台灣

sceneries, allow the viewer to enter a visual experience that is far from reality. The colorful

2015「未來的極短篇」，福利社，台北，

details. Kao's works center on themes and sub - themes of the relationship of attraction and

2015「彼岸」，福利社，台北，台灣

images are not only clues but also the transformation of inner creativity that is embodied in the alienation between human and nature. The overlaps of different sub-themes are like the various

shots in video images, expressing the artist's observation of the urban and natural environment.

台灣

2017 "Crossing The Straits", Run Amok Gallery, Penang, Malaysia

2017 "Limitless Landscapes", ART INFLUENCE, Taipei, Taiwan

2016 "Taiwan Annual", Taipei Expo Park Expo Dome, Taipei, Taiwan

2015 "Future Flash Fiction", FreeS Art Space, Taipei, Taiwan

2015 "Immersing in", FreeS Art Space, Taipei, Taiwan

曾雍甯 TZENG, Yong-Ning

288

小錦色 05 Colorful

黃琬玲 HUANG, Wan-Ling

289

至人么洞三創作基地 R301, ROOM18 Studio

2016 ﾉ紙、原子筆 Ball Point Pen on Paper ﾉ 57 x 77 cm

2016 ﾉ墨汁、膠、壓克力、紙 Ink, Glue, Arcylic, Xuan Paper ﾉ 142 x 260 cm

向來就相當著迷生命那種不斷循環蔓延重生的感覺，從某種程度來講，這樣的循環就是生命存在

2016「丰紅」，索卡藝術中心，台南，台

《名所繪》系列發想在 2016 年，我開始思考環景構圖透視點的結束之於繪畫「框架」的問題，構圖

2015「遊記」黃琬玲個展，么八二空間，

說明時間的走動性。人在生命中，尋找圓滿也遭遇挫折與斷裂，自然界的生命消長，正提供了借鏡。

2016「蔓延」，非畫廊，台北，台灣

可帶入不同的時間想像。東西方繪畫同樣具備透視的原理，東方採用多點透視，繪者的視角是移

2014「探索 80」，奧美零空間，北京，中

的表徵，也可以說是生命的一種態度。人在經由勞動的過程中，一方驗證生命的存續性，也等於我就是在這種勞動性創作過程裡，充分感受到生命所昭示給我的意義，也讓我體驗到時間移動的痕跡，也希望透過作品讓你感受這份心境。

灣

2015「星幻」，ＶＴ非常廟畫廊，台北，台灣

I have always been quite fascinated by the sensation of the endless cycle of rebirth. To a certain

2014「綻放」，索卡藝術中心，台北，台

process of toiling, one verifies the continuation of life, which is the equivalent to illustrating the

2014「迴旋」，新畫廊，台北，台灣

degree, this cycle is a representation of existence as well as an attitude towards life. In the movement of time. In life, a person suffers setbacks and loss as they search for fulfillment. The

growth and decline of natural life provides a perfect reflection of this balance. It is exactly in this type of laboring creative process that I fully sense my life's meaning, as well as experience the traces left by the movement of time. With that said, I hope that you will be able to sense this mood through my works.

灣

2016 "Blossoming Red", Soka Art center, Tainan, Taiwan

2016 "Ramble", Beyond gallery, Taipei, Taiwan

2015 "Starts", VTartsalon, Taipei, Taiwan 2014 "Bloom", Soka Art Center, Taipei, Taiwan

2014 "Convolution", Nou gallery, Taipei, Taiwan

一個非人眼的透視結構畫面。同時加入了多種的紙材，拼貼、堆疊在畫面上又是不同的空間，也動的，有多個消失點；西方繪畫只有單一消失點，是符合人體眼球的構造生成的透視法則。《名所繪》的透視點是放射狀，沒有結束點，是我此次想討論的繪畫結構性問題。

The "Meisho-e" series began in 2016 as I pondered the relationship between panorama

台南，台灣國

2014「古籍與密檔－院藏圖書文獻珍品展」，故宮博物院，台北，台灣

perspective endpoints and the picture frame, constructing a non-eye perspective structure

2013「貢養人」黃琬玲個展，H.T.

paper, collage, and layered materials.

2007「歡樂：幽默而調皮－新台灣人藝

picture. I also inspired new temporal imaginations by creating an alternative space with various While Eastern and Western painting both make use of perspective, the former may feature

multiple points. The painter's perspective varies and there are several vanishing points. Western painting is limited to a single vanishing point, matching the perspective of the human eye.

"Meisho-e's" perspective is radial and has no endpoint. This is the structural issue I will be discussing.

Gallery，北京，中國

術」，天理畫廊，紐約，美國

2015 "Traveling Notes - Wan - ling, Huang solo exhibition", 182 Artspace, Tainan, Taiwan

2014 "Exploring the 80's, Ogilvy 0 Gallery", Beijing, China

2014 "Rare Books and Secret Archives: Treasures from the National

Palace Museum", National Palace Museum, Taipei, Taiwan

2013 "Sacrifice - Huang" - Wan ling Solo Exhibition, H.T. Gallery, Beijing, China

2007 "Frolic: Humor and Mischief in New Taiwanese Art", Tenri Gallery, New York, USA

廖震平 LIAO, Zen-Ping

290

鶴見川－ 5 Tsurumi River - 5

謝牧岐 HSIEH, Mui-Chi 觀音山的背後 Behind the Mount Guanyin

2016 ﾉ油彩、水性樹脂顏料、麻 Oil and Aqyla on Linen ﾉ 91 x 65.2 cm

2016 ﾉ壓克力顏料、畫布 Acrylic on Canvas ﾉ 40 x 40 cm

我先用相機隨處記錄，再回到工作室中反覆檢視。一旦決定素材之後，斟酌構圖和尺幅，然後就

2017「只在此山中」個展，Tokyo Arts

淡水遠眺觀音山是許多台灣前輩畫家喜愛取景的地點，多位前輩畫家都為曾於此寫生過，這也形

但在比如飯後一邊洗著碗盤的時候，內心也常充滿各式各樣亂哄哄的聲音、念頭和憂慮。有時在

2016「棲息地」個展，科元藝術中心，台

灣的近代美術發展片段。時至今日，山依然屹立著，或許它不再是那畫家所追求的迷人景點，但

像是在抄寫經文一般，老實地依照參考資料開始描繪了。每天的生活可說是平淡無奇。雖說如此，想，關於這些困惑和憂慮，能不能在日常生活中偶遇的景物裡找到回應？如果可以的話，繪畫就是我找尋信仰的方式了。

I first photographed these objects and scenes, and repetitively examined the images in my studio. Once I decided the subjects, I would carefully manage the composition. Like how monks

copied the manuscripts, I started to work on my painting based on the references. My life is quite ordinary, not with too many surprises. Nevertheless, while I wash the dishes after dinner, my mind is still occupied by all kinds of noises, thoughts, and worries. Sometimes, I cannot help but wonder whether I can find something in my daily encounter to respond to the confusion and worries. If the answer is positive, painting finds me a way to search for my faith.

291

Gallery，東京，日本中，台灣

2016「斜迫」，弔詭畫廊，高雄，台灣

2016「Tokyo Wonder Wall 2015」，東京都現代美術館，東京，日本

2015「未來的極短篇」，福利社，台北，台灣

2017 "Somewhere in the mountain",

Tokyo Arts Gallery, Tokyo, Japan

成了很有趣的對照，透過不同的繪畫痕跡，觀音山成為了不同畫家眼中的風景，這座山見證了台它依然可成為連結那片段的開始。

The view of Guanyin Mountain from Tamsui has always been a favorite subject for many landscape painting artists in Taiwan. This historical fact has also formed interesting parallel comparisons among those works alike. Through different traces of paintings from different

artists, the view of Guanyin Mountain has been kept in various ways and thus the Mountain has somehow played an important role in the art history of Taiwan. Until today, the Mountain is still

there as usual; even though, as a subject, it is not that favored as before, Guanyin Mountain still can connect those dots through time and space.

2016「前山」，槩藝術，台北，台灣

2014「山支寫生」，ART STUDIO 誠品信義店，台北，台灣

2013「山」，海馬迴，台南，台灣

2012「山道寫生」，乒乓，台北，台灣

2011「回到年少輕狂時」，非常廟藝文空間，台北，台灣

2016 "Geophilosophical mining", GAIART, Taipei, Taiwan

2014 "Give me a hand", Eslite ART STUDIO, Taipei, Taiwan

2016 "Habitat", Ke-Yuan Gallery,

2013 "Mountain", Fotoaura Institute of

2016 "The oppression of tilted", Crane

2012 "Sketch up the hill road", Ping -

2016 "Tokyo Wonder Wall 2015",

2011 "Back to the junior", VT Art salon,

Taichung, Taiwan

Gallery, Kaohsiung, Taiwan

Museum of Contemporary Art Tokyo, Tokyo, Japan

2015 "Future Flash Fiction", Frees Art Space, Taipei, Taiwan

Photography, Tainan, Taiwan pong space, Taipei, Taiwan Taipei, Taiwan

292

HANTOO ART GROUP 悍圖社展區

293

294

常陵 CHANG, Ling

295

五花肉系列 - 肉山水花山繡球

2017 ﾉ油彩、畫布 Oil on Canvas ﾉ 160 x 130 x 5 cm 延續了對肉的體悟，以有形的自然為「師」，一直到以無形的概念為「本」，這一連串「出離」的程

2017「硬蕊／悍圖」，國立台灣美術館，

納海卻不脫離一捧彌彌生生，在生活裡蒸去腦海裡的圖像，畫面如煙裊裊消散，洗滌蛻去形體見

2017「悍圖 . 逢起」，京都造型術大學，

序也往往是抽象的道徑。從地域山水到東方交融或似或離的哲學思維，從情感到歷史沾染，吞山障，感受著念頭如潮汐一般來去，這樣精神裡的大塊，不只是地理之形，而是我嚐試著回歸到意識升起之前，我心之大塊，形散而神聚 ....

文 / 白適銘

國立台灣師範大學美術系教授 Andrew Shin-Ming Pai

Professor ｜ Department of Fine Arts, National Taiwan Normal University

While I working on "Illusion Society" in 2014, It seems to divide myself into two parts, Another

協，因而產生內省力、精神性相對強大的創作成果；同時，因其來自社會底部，更能反映現實潛在問題，進而成為該時代藝術運動的主要推力。戰後因白色恐怖，畫會受到箝制，進入衰退沉潛時期，直至解嚴之後。成立於九○年代末期的悍圖社，因應追求民主自由的時代氛圍，積極投入

對政治、社會、文化及歷史的批判反思，創造深具民主紀念碑意義的美術成就。透過「剽悍氣質的

凝聚」，彰顯絕對自由的理念，提倡跨越身分界線以及對不同主體性的兼容並蓄，已成為該社團的

核心價值。在十八年披荊斬棘的歷史中，悍圖社不僅無懼風雨，更透過個人或集體的方式主動出

擊，在市場導向及文化認同逐漸失焦的台灣社會中，持續捍衛創社理想，期待此股力量不斷壯大，並為下一個世代台灣美術建構有如啟蒙聖壇般的全新意義。

In the history of Taiwanese modern art reforms, painting holds an extremely important position. Above all, the supervision, criticism, or pertinacity of this rigid system result in the making of

relatively strong creations that are introverted and spiritual in nature. Since these also come from the bottom rungs of society, it can better reflect actual or potential problems, thus

becoming the main driving force for this era's art movement. As there was a clamping down on painting during the White Terror period after the war, we entered a period of recession, which

lasted all the way up to the lifting of martial law. Established in the late nineties, the Hantoo Art Group served as a response to the era's atmosphere of pursuing democracy and freedom. With the members actively engaging in political, cultural, and historical critical reflection, an artistic accomplishment with profound democratic memorial connotations was achieved. The concept of absolute freedom manifested itself through a "cohesion of swift and fierce

temperaments." The promotion of cutting across the boundary of identity and including dissimilar subjects has already become the core value of this cooperative. During this eighteen-

year period of overcoming difficulties, the Hantoo Art Group has not only shown fearlessness during trials and hardships, but also taken the initiative to fight back in a personal or a collective manner. In a Taiwanese society that is market-oriented and gradually losing its cultural identity, they continue to defend community ideals. They expect this growing force to construct a new meaning that is like a holy altar of enlightenment for the sake of the next generation of Taiwanese art.

京都，日本

2015「大玄玄社會」，Gallerie JeanFrancois Cazaux，巴黎，法國

myself has continued the comprehension of "Flesh". The concept of flesh series, at first based

2015「虛與實─ 2015 年當代藝術展」，

is the path to Abstraction.

2013「大玄玄社會－百姓圖」，MOT/

on visible nature, and then became immaterial-oriented. All of the sequences of "renunciation" The universe not only encompasses the great nature but also embrace all the leaving creatures. It steamed out the images in the mind, all of the scenes that has been existing had completely vanish.

When washing away the structures and bodies, watching the sounds and scenes which as quick 在台灣現代美術興革史中，畫會具有極其重要的地位，尤其是對僵化體制的監督、批判或拒絕妥

台中，台灣

as lightning(or tide) instead of chasing the thoughts. I wander discuss that is not the form of nature, but the nature of the mind. I tried to return to the the primitive manifestation before the thoughts showed up.

Maison Bleu Studio，巴黎，法國 ARTS，台北，台灣

2017 "Hardcore Rally with Hantoo Art

Group", National Taiwan Museum of Fine Arts, Taichun, Taiwan

2017 "Hantoo Art Group", Kyoto

University of Art and Design, Kyoto, Japen

2015 "Illusion Society", Gallerie JeanFrancois Cazaux, Paris, France

2015 "Vide et Plein", Maison Bleu Studio, Paris, France

2013 "Illusion Society- Portraits of

Ordinary People", MOT/ ARTS, Taipei, Taiwan

陳擎耀 CHEN, Ching-Yao

陸先銘 LU, Hsien-Ming

296

國家地理頻道 - 獵八仙、登神山 National Geographic-Hunting\Hiking 2014 ﾉ攝影 Photo ﾉ 45 x 60 cm x 2

不知道大家有沒有看 Discovery 探索頻道或國家地理頻道這樣的電視節目，在節目裡大家跟著主

持人上山下海，到非洲草原追逐野獸、到南美叢林探險蠻荒、到南極大陸踏察冰原。可是有沒有發現，這些節目的觀點？是從西方角度的獵奇視角索出發，是歐美主流社會所覺得有趣的、特別的、不曾見到過的事物。

而當今的台灣，連美感訓練也已經受歐美所馴化的我們，當你拿著相機，鏡頭對著傳統事物，諸如廟宇、庭園、村莊、人物時到底帶著是什麼樣的眼光去看它們？

I don't know if you've seen TV programs like the Discovery Channel or the National Geographic.

In those programs, we follow the hosts as they travel to the corners of the world—chasing wild beasts on the African plains, exploring the wilderness in the South American jungles, and

trekking the ice sheets of Antarctica. But are you aware of the perspective taken on by these shows? It is a perspective that stems from the Western hunt for the exotic. They present what the occidental mainstream society finds interesting, unusual, and novel. In Taiwan, where even

碧波

2011 ﾉ綜合媒材 Mixed Media ﾉ 97 x 130 cm 2017「Love Love Show-2」，青森縣立美

陸先銘三十多年來的創作內容，一直鎖定在他生活空間環境中所糾結的文化省思，且未曾改變，

2015「浮城過影」，當代藝術館，台北，

2017「穿越海峽之路」，冉阿末藝術空

裡層某一種堅實特殊的文化造形。

2014「無聲之城」，今日美術館，北京，

術館，青森，日本

間，檳城，馬來西亞

2017「硬蕊 / 悍圖

館」，台中，台灣

國立台灣美術

2016「越境 // 後樂園 - 悍圖社與台灣當代藝術」，京都造形藝術大學智勇館，京都，日本

2016「双視」，双方藝廊，台北，台灣 2017"Love Love Show-2", Aomori

Museum of Art, Aomori, Japan

our aesthetics have been subjugated by the Western influence, what kind of perspective do we

2017"Crossing The Straits", Run Amok

gardens, villages, and people?

2017"Hardcore Rally –with Hantoo Art

really take on when we point a camera towards traditional elements of Taiwan such as temples,

297

希望藉著不同時期的人文觀察、心境變遷、研究角度，所創作的系列作品，依序勾勒出台灣社會

台灣中國

2011「複感 ‧ 動觀」，中國美術館，北京，中國

2008「城市 ‧ 劇場」，大未來畫廊，台北，台灣

2003「台北 ‧ 新 ‧ 人類」，台北市立美術館，台北，台灣

2015 "Society of Spectacular", Museum of Contemporary Art, Taipei, Taiwan

Gallery, Penang, Marysia

2014 "A City of Silenc: Taipei", Today Art

Group", Taiwan Museum of Fine

2011 "Flourishing and Flowing", China

Arts, Taichung, Taiwan

2016"Border Crossing Post –

Museum, Beijing, China

National of Art Museum, Beijing, China

Paradise: Hantoo Art Group and

2008 "City, Theater" Lin ＆ Keng Gallery,

Kyoto University of Art and Design,

2003 "Taipei , New Image, People",

Contemporary Art in Taiwan", Kyoto, Japan

2016"Double Vision", Double Square Gallery, Taipei, Taiwan

Taipei, Taiwan

Taipei Fine Arts Museum, Taipei, Taiwan

楊仁明 YANG, Jen-Ming

298

三願的刀位 ( 二 ) Three Wishes

299

奧茲的桃樂絲菩薩 The OZ Dorothy Bodhisattva

2015 ﾉ壓克力、油彩、畫布 Acrylic, Oil on Canvas ﾉ 78 x 168 cm 用最少的元素表現一種心情、一種想法，試著拉開創作的空間，挑戰自己有別於以往繁複的方式。

楊茂林 YANG, Mao-lin 2016-2017 ﾉ金屬相紙、水晶裱 / UV 直噴、塑鋁板 Metallic Photo Paper, Diasec / UV Inkjet on

2017「想法和說法」楊仁明個展，么八二

Aluminum Composite Panel ﾉ 82 x 82 cm x 3

空間，台南，台灣

在童話《綠野仙蹤》（Wizard of Oz）裡，主角的每一段旅程層出著不可思議的奇幻冒險，以及對於

台中，台灣

裡的桃樂絲跟稻草人、錫人、獅子一起，到奧茲國尋找智慧、仁愛與勇氣的寓言故事，並以密教

2017「硬蕊／悍圖」，國立台灣美術館， 2016「越境 / 後 ‧ 樂園—悍圖社與台灣

美術的現在」，京都造型藝術大學，京都，日本

2013「樹下的果實」楊仁明個展，印象畫廊當代館，台北，台灣

2006「不安定的聯結」楊仁明個展，南海藝廊，台北，台灣

2017 "Thoughts and talks" Yang Jen-

Ming Solo Exhibition, 182artspace, Tainan, Taiwan

2017 "Hardcore Rally with Hantoo Art

Group", National Taiwan Museum of Fine Arts, Taichun, Taiwan

2016 "Hantoo Art Group And the

Contemporary Art in Taiwan",

Kyoto University of Art and Design,

正向善念與勇氣的激勵，內容曲折豐富引人入勝，使得它不只是童話，也是文學。我挪借了故事唐卡的形式，鉅細編列了我腦海中桃樂絲旅程裡所有情節的記憶。

In the fairytale Wizard of Oz, every journey of the main character involves layers of fantastical adventures and inspiration towards courage and positive thoughts. The story is tortuous, rich,

2016「MADE IN TAIWAN：楊茂林回顧

展」，台北市立美術館，台北，台灣

2015「尋找曼荼羅．初回－黯黑的放浪者」個展，耿畫廊，台北，台灣

2011「追殺愛麗絲－最終的戰役」個展，耿畫廊，台北，台灣

and intriguing, which makes it not simply a fairytale, but also a work of literature. I borrowed the

2009「婆娑之廟－苦海嘛 A 噗蓮花」個

depict it in the style of the Buddhist thangka paintings by meticulously organizing every detail

2009「婆娑之廟－台灣製造」個展，第 53

fable of Dorothy, Tin Man, and the Cowardly Lion's search of wisdom in the Kingdom of Oz, and of Dorothy's journey from my memory.

展，台北當代藝術館，台北，台灣屆威尼斯雙年展平行展，聖紀凡尼

和保羅教堂，聖托馬索廳，威尼斯，義大利

2016 "YANG MAO-LIN:A Retrospective", Taipei Fine Arts Museum, Taipei, Taiwan

2015 "The Quest for Mandala．Episode I － Wanderers of the Abyssal

Darkness", Tina Keng Gallery, Taipei, Taiwan

Kyoto, Japen

2011 "Kill Alice － Final Battle", Tina

Ming Solo Exhibition, Impressions

2009 "Temple of Sublime Beauty －

2013 "Fruit under the tree" Yang JenContemporary Space, Taipei, Taiwan

2006 "Unstable Tie" Yang Jen-Ming Solo Exhibition, Nanhai Gallery, Taipei, Taiwan

Keng Gallery, Taipei, Taiwan Hallelujah", Museum of

Contemporary Art, Taipei, Taiwan

2009 "Temple of Sublime Beauty －

Made in Taiwan", Collateral Event of the 53th Venice Biennial, Sala

S. Tommaso, S. Giovanni e Paolo, Venice, Italy

賴新龍 LAI, Hsin-Lung

300

飛 Flying

2016 ﾉ壓克力、畫布 Acrylic on Canvas ﾉ 116.5 x 91 cm 在創作表現形式上，也使用了對稱的抽象色彩與心理，作品的呈現有如仿效昆蟲的複眼觀看，利

2017「絲綢之路國際藝術邀請展」，第一

可能，展現出有如蝴蝶翅膀的繽紛燦爛。

2017「硬蕊／悍圖」悍圖社的歷史與其當

用完形心理學的相互填補，讓看似對稱的組成在粉紅色背景上益顯突出，建構出多重對話層次的

As for the presentation form of my creation, I also use symmetrical abstract colors and psychology. How my works are presented is just like how they are seen by the compound eyes

of insects. With Gestalt psychology for filling up the gap, the formed patterns, which seem to be visually symmetrical, are even more obvious and prominent on the pink background, creating

the possibility of making multi-level dialogs, and presenting a thriving effulgence that looks like the fluttering butterfly wings.

現代美術館，雙溪大年，馬來西亞代藍圖，國立台灣美術館，台中，台灣

2016「越境 / 後 ‧ 樂園 - 悍圖社與台灣當代美術」，京都造型藝術大學美術館，京都，日本

2016「亞細亞國際雕刻藝術展」首爾藝術中心，首爾，南韓

2016「藝術空間進化論」，牛房倉庫，澳門，澳門

2017 "Silk Road International Festival International Art Exhibition",

Galeri Seni Moden DAI ICHI, Sungai Petani, Malaysia

2017 "Hardcore Rally with HantooArt

Group", National Taiwan Museun of Art, Taichung, Taiwan

2016 "Border Crossing Pos-

Paradise:Hantoo Art Group and Contemporary Art in Taiwan",

Kyoto University of Art and Design,

Kyoto, Japan

2016 "International Sculpture Festa

2016", Seoul Arts Center, Seoul, South Korea

2016 "Theory of Evolution for Art

Spaces", Ox warehouse, Macau, Macau

301

302

OPEN CALL FOR ART PROJECT 創作計畫展區

303

六樓鐵皮 6FTP

304

彼岸 Faramita

命體，以形式帶動形式的方式不斷延伸的創作。

Turn the form of painting into a graffiti way of production. Work without modifying the previous graffiti. Constant change, constant dialogue with the creator. A self-multiplying process of creation where change brings upon change.

305

雙笑 Achingly Youras / Floor

2017 ﾉ複合媒材、木板 Mixed Media, Board ﾉ 300 x 300 cm 將創作者的繪畫形式以塗鴉的方式限地製作，以不修改的方式塗鴉，不斷流變與過度創作者的生

王永衢 WANG, Yung-Chiu 2016 ﾉ壓克力顏料、乳膠漆 Acrylic Paint, Enamel Paint ﾉ 300 x 300 x 5 cm

2017「World Art Dubai」，杜拜世貿中

時間的元素具有龐大的壓倒性和破壞性質量，因此人類在時間的潮汐裡，對於過往痕跡的消逝，

2017「彼岸 ---- 六樓鐵皮個展」，唐豐藝

挑戰並改變觀賞者對時間既定的概念和潛意識裡對時間流逝的無助感，同時透過無色白與龜裂，

心，杜拜，阿拉伯聯合大公國

術中心 / 藝聚空間，台北，台灣

2016「2016 福爾摩沙 101 國際藝術博覽會」，寒舍艾麗，台北，台灣

2015「異變 - 張恆銘至六樓鐵皮個展」，雍和藝術教育基金會，新北市，台灣

2015「我們一起打造了一座工廠」，雍和藝術教育基金會，新北市，台灣

容易引起心中的恐懼。面對人類心理的恐懼共鳴，我希望透過融合機率、文化表徵和人類干預，反思歷史刻痕裡的時空間特質，讓「刺點」激發觀賞者潛意識的無限想像，並藉由藝術創作裡「存在刻痕」與時間的和諧性，將時間的負元素轉化為歷史潮汐中的原動力

2016「點線面」，201 畫廊，台中，台灣 2015「Making M R C S」，自由人藝術公寓，台中，台灣

2015「台北藝術自由日」，華山藝術園區，台北，台灣

Inspired by my fascination in stargazing and the idea of an expanding universe, I am interested

2003「 Mapping Fixes」，Richard Hugo

experience of it, as well as giving form to the shared fear of oblivion in confronting the relentless

2001「Max I mus」，Priceless Works

in the exploration of the overwhelming and destructive quality of time and the human erasure of human existence by the tidal wave of passing time. It is through the merging of

chance, cultural symbols, and human intervention I hope to challenge and change the viewer's experience of a preconditioned notion of time and the subconscious fear of it.

House Gallery，西雅圖，美國 Gallery，西雅圖，美國

2016 "Point, Line, Plan", 201 Art Gallery, Taichung, Taiwan

2017 "World Art Dubai", Dubai World

2015 "Making M R C S", Freedom Man

2017 "Faramita － 6FTP Solo

2015 "Taipei Art Freedom Day", Huashan

Trade Centre, Dubai, UAE

Exhibition", Tang Feng Gallery/ Meet Art Space, Taipei, Taiwan

2016 "2015 FORMOSO 101 ART FAIR", Humble House Taipei, Taipei, Taiwan

2015 "Variation － Chang Heng-Ming to

6FTP Solo Exhibition", Yonghe Arts and Education Foundation, New Taipei City, Taiwan

2015 "Together, We build a "Factory", Yonghe Arts and Education

Foundation, New Taipei City, Taiwan

Art Gallery, Taichung, Taiwan

1914 Creative Park, Taipei, Taiwan

2003 "Mapping Fixes", Richard Hugo House Gallery, Seattle, U.S.A.

2001 "Max I mus", Priceless Works Gallery, Seattle, U.S.A.

王俊翔 WANG, Jun-Xiang

306

2017 ﾉ複合媒材 Mixed Media ﾉ依空間而定 Dimensions Variable

The Tesseract and the Model of Universe

2017 ﾉ木板、油彩 Plywood, Oil Painting Color ﾉ 360 x 360 x 380 cm

從空間維度出發，對其限制產生好奇，並假設許多未知事物無法感知。積極以邏輯掌握無法意識

2016「台灣當代一年展」，台北花博公園

申論方式。

2015「台灣藝術家博覽會」，台北花博公

The work is about the dimension. Please use the knowledge of personal experience to imagine possibly.

307

留下來的人 Those Who Stay

超立方體宇宙模型

之事物的過程，產生了許多圖像造型，將其表現、依附於四維幾何有關的立方體之上，提供新的

朱詠安 CHU, Yung-An

爭艷館，台北，台灣

園爭艷館，台北，台灣

2016 "Taiwan Annual", Taipei Expo Park Expo Dome, Taipei, Taiwan

2015 "Artist Fair Taiwan", Taipei Expo

Park Expo Dome, Taipei, Taiwan

繪畫作品：想像那些停滯駐留夾在生活縫隙的人，無力掙脫或是甘願留下，日復一日，成為場景的一部分。裝置：書象徵著故事，承載著人心底的思緒與秘密。磚塊像是基石，是生活的重心與歸處。撿拾、拼貼、堆疊、重組，生活場域中的遺留物與創作過程中的剩餘物，破碎的夢想或是徒勞的付出，都存在著柔軟的頑強。

時間經過，一座座的磚石，更像是一種紀念，不忘那些堅守為不足道的信念，持續過著平實日子的人。

Painting: Imagine people who follow their belief, stretch and search for their dreams in his or

her life time. They are willing to state their conviction in everyday practice. As time passes by, they become part of the scenery.

Installation: Books as a metaphor of people's untold story and hidden emotions. Bricks as a cornerstone for life and belonging. Juxtapose different found objects or leftovers in everyday practice, where broken dreams and strong will occur with supple renitency.

2016「留下來的人」，生活在他方，台北，台灣

2016「Environment Ask the Way」聯展，Gallery Won & Gallery Sagakhyung，首爾，韓國

2016「無聲的喧囂」林岱璇、朱詠安雙個展，火腿藝廊，高雄，台灣

2015「風景人形」創作展，典藏創意空間府中展區，新北市，台灣

2014「台北藝術自由日」參展，華山 1914 文化創意產業園區，台北，台灣

2016 "Those Who Stay", Elsewhere Café, Taipei, Taiwan

2016 "Environment Ask the Way",

Gallery Won & Gallery Sagakhyung, Seoul, Korea

2016 "Too Loud a Solitude", HAM Gallery, Kaohsiung, Taiwan

2015 "Drifting Imagery", Artco

Inspiration Zone FZ15, New Taipei City, Taiwan

2014 "Taipei Free Art Fair", Huashan

1914 Creative Park, Taipei, Taiwan

吳迺菲 WU, Naifei

308

我們他們 We and They

MOJI

2016 ﾉ參與式計劃ﾉ 50 張投影片循環播放ﾉ Participatory Project/Projection 人類社會裡，他我之分是維繫社會秩序的重要機制，各種排除、分類、系統化與類型化的運作影

響著生活中各個層面。源自於對此機制的好奇，我在倫敦街頭邀請路人造句，以「我們」、「他們」兩個詞彙各造一個句子寫在筆記本上。筆記本上記錄了每個人獨特的字跡，每個句子或多或少提示了個別參與者的想法，集體的層面來看，所有的句子也探討集體的言語使用及語言架構中隱含的規範。

Starting from the curiosity about how we see differences among people, or how we differentiate

ourselves from others, I approached around fifty passersby randomly at public spaces in London and asked them to write one sentence with "we" and one sentence with "they" for

me. The products were two notebooks filled with diverse characteristic handwritings— "we" sentences and "they" sentences.

309

2017 ﾉ複合媒材裝置 Multimedia Installation ﾉ依空間而定 Dimensions Variable 2017「Glitch—the Aesthetics of

Failure」，Isherwood Gallery，the Old Courts，維根，英國

2016「Postgraduate Summer Show」，倫敦藝術大學切爾西藝術學院，倫敦，英國

2016「MA Fine Art Interim Show」，倫敦藝術大學切爾西藝術學院，倫敦，英國

2016「Liminal States」，The Gallery on the Corner，倫敦，英國

2016「Blind Plural」，Hundred Years Gallery，倫敦，英國

2017 ''Glitch—the Aesthetics of Failure'', Isherwood Gallery, the Old Courts, Wigan, UK

2016 ''Postgraduate Summer Show'',

Chelsea College of Arts, London, UK

2016 ''MA Fine Art Interim Show'',

Chelsea College of Arts, London, UK

2016 ''Liminal States'', The Gallery on the Corner, London, UK

2016 ''Blind Plural'', Hundred Years Gallery, London, UK

透過語音或文字聊天，人工智慧得以習得人類的言語使用，在此同時，它也一併接收了語言所隱含的偏見、意識形態、與種種幽微的社會文化意涵。若使用語言之外的溝通模式，狀況是否會有

所不同呢？人工智慧在當今數位時代的溝通又扮演著什麼樣的角色？透過這個作品，我想建造一個「只能用表情符號聊天的」聊天機器人 MOJI，邀請觀眾來與 MOJI 互動，藉此探討語言的符號特性、言語使用與社會意涵，及其與科技之間的關係。

As artificial intelligence chatbots learn how to articulate human language through chatting, they also acquire sets of connotations, ideologies, biases that are intricately embedded in our

language. How would it be when it comes to a different system of symbols or different modes

of communication? How might it reflect and shape our communication in the digital era? In this project, I plan to create a chatbot MOJI that only understands emojis and only replies with

emojis. Through chatting with the audience, MOJI would learn from people's behaviors (in using emojis) and possibly "evolve" in a way we would never expect.

吳心荷 WU, Hsin-Ho

310

黑心食品事件簿 Black Heart Food Event Book

Day after Day - the Drive of Desire is Damp and Shriveled

近年來食安問題連環爆，不法商人為謀取暴利在食品中添加有毒物質，塑化劑、防腐劑、瘦肉精、

2016「台灣彩墨魚類藝術大展」，台中文

食品安全的重要性，黑色雙性人偶開腸破肚，因為毒、黑、假的食物造成身體腐敗，卻還渾然不

2016「台灣當代一年展」，花博爭艷舘，

知的啃食象徵死亡的骷髏。

In recent years, the issue of food security chain explosion, unscrupulous traders to reap huge

profits add toxic substances in foods, preservatives, plasticizers malachite ... clenbuterol caused

創園區，台中，台灣台北，台灣

2015「國際彩墨蝴蝶藝術大展」，台中文化中心，台中，台灣

by eating diseased with cancer and even death. This works to [Black heart food event book]

2015「藝新創作學會」，桃園客家文化

black fake food poisoning caused by corruption body, still unaware of chewing skull symbol of

2015「中韓水墨大展」，台中文化中心，

name, that highlight the importance of food safety, black dolls bisexual open gut belly, because death.

311

日復一日－欲望的驅使是潮濕且乾癟的

2016 ﾉ複合媒材 Mixed Media ﾉ依空間而定 Dimensions Variable

孔雀綠 ... 造成食用者的病變、罹癌，甚至死亡。本件作品以「黑心食品事件簿」為名，在於突顯

呂易倫 LU, Yi-Lun

館，桃園，台灣台中，台灣

2016 "Taiwan color ink fish art

exhibition", Taichung Cultural Center, Taichung, Taiwan

2016 "View the contemporary annual

exhibition", Flower Expo, Taipei, Taiwan

2015 "International Color Ink Butterfly

Art Exhibition", Taichung Cultural Center, Taichung, Taiwan

2015 "China and South Korea ink

exhibition", Taichung Cultural Center, Taichung, Taiwan

2015 "Artistic Creation Society",

Taoyuan Hakka Cultural Center, Taoyuan, Taiwan

2016 ﾉ無酸噴墨輸出於相紙、無酸鋁框裱褙 Acid - Free Inkjet Printing on Photo Paper, Acid - Free Aluminum Frame Mounted ﾉ 200 x 200 cm

這些幽暗微光下的荒墟影像是自身於位處亞熱帶的左營眷村駐地五年所拍攝的照片，從中透過後

2017「一零六年全國美術展」，國立美術

概念的敘事路線。照片中彰顯了自身在該場域中所關切的事物與狀態究竟為何，棄城日常、不在

2016「失敗作為現實與最終章（？）左營

設的感性觀看邏輯所挑選出來的影像，透過歸納與整理重新建構述說出「長時間、時空縫隙拼貼」影像當中的外來居住者主體、彷彿凝固的時空以及受自然力產生質變的物體，這些關乎常民的時間所給予的積澱與痕跡訴說著每日慣例、常態透過鏡頭終將成為可視的物理狀態或現象。

The images of the ruins of these dark shadows are images taken from the left-wing camps in the subtropical zone of the subtropical area, from which the images selected by the sensory viewing

館，台中，台灣

計劃 2011 － 2016 －呂易倫個展」，臥龍二九，台北，台灣

2016「亞熱帶五年」，幺八二空間，台南，台灣

logic are set up and re-constructed through induction and collation "Long time, time and space

2015「2015 藝術家博覽會」，圓山花博

of their concern in the field, the abandonment of the city, the foreigners who are not in the

2015「台南新藝獎」，大億麗緻酒店，台

gap collage" concept of the narrative line. The photographs highlight the things and the state

image, as if the time of solidification and the objects that are subject to natural forces, which are related to the time given the accumulation and traces of the daily practice, the normal through the lens will eventually become a visual physical state or phenomenon.

爭豔館，台北，台灣南，台灣

2017 "106 National Art Exhibition",

National Taiwan Museum of Fine Arts, Taichung, Taiwan

2016 "Failure as Reality and Last

Chapter - Zuoying Project 2011-

2016 - Lu, Yi-Lun solo exhibition", Woolong29, Taipei, Taiwan

2016 "Five Years of Subtropical Zone", 182 art space, Tainan, Taipei

2015 "2015 Artist Fair Taiwan", Taipei Expo Park Expo Dome, Taipei, Taiwan

2015 "Next Art Tainan Award", Tayih Landis Hotel Tainan, Tainan, Taiwan

呂紹川 LU, Shao-Chuan

312

日與夜 Day and Night

To the daily out of the toilet for the creation of the idea, the different deconstruction of the

existing material and re-construction, reversal or re-interpretation of the things in the daily, extended out of life for the views and reflection.

313

你不愛我了喔 Don't You Love Me No More

2017 ﾉ現成物 Found Object ﾉ依空間而定 Dimensions Variable 從日常的生活經驗出發，並反轉或再詮釋伴隨在日常的事物，引申出對於生活的見解與反思。

李亦凡 LI, Yi-Fan 2016 ﾉ複合媒材 Mixed Media ﾉ 16' 30''

2017「台日繪畫合同展」，佐藤美術館，

《你不愛我了喔》試圖呈現一個死前之人在譫妄狀態狀態下的胡言亂語，並透過軍歌歡唱，試圖觸

2017「里程的地質探勘」，甘樂阿舍美術

2016「沸點藝術節」，青年廣場 Y 旅舍，

斷拉扯之中不小心溢出的關於作品本身破碎且無法成形的想像。

2017「羞恥的修辭」，關渡美術館，台北，

東京，日本香港

2016「新藝力－青年 20」，香港天趣當代藝術館，香港

2015「新藝潮－國際藝術學院新進博覽」，威尼斯人，澳門

2015「微間隙溫度」，嘉義市立博物館，嘉義，台灣

2017 "Paintings from Taiwan and

Japan", The Sato Museum of Art, Tokyo, Japan

2016 "Garden of the Artisans", Youth

Square Y Loft, Hong Kong, Hong

及那些關於愛與愛國與其它愛的二三事。《你不愛我了喔》如果有什麼意涵，也只是作者與媒材不 Don't You Love Me No More summoned a dying soldier to this space with projection mapping and sculptural objects. The soldier's delirious presentation covered wide-ranging topics such as patriotism, love, pharmaceuticals, memory and death in coordination with charades and

館，台南，台灣台灣

2016「箱鬼」，伊日藝術台北空間，台北，台灣

war songs sung from the bottom of his heart. The artist wove all these elements into a narrative

2015「蛋蛋ㄉ哀傷」，福利社，台北，台

narrative mode of stream of consciousness, thereby visualizing the contemporary society which

2013「第八屆台北數位藝術節─超神

object as complex as exuberant. The plot of Don't You Love Me No More unfolded in the

brims with crumbled speculations and overflowing perceptions amidst the fragments of spoken words and the interplay of light and shadow. In addition, even criticism perse needs to be made in such a shattered form.

灣

經」，松山文創園區，台北，台灣

2017 "Next Art Tainan", Asir Art Museum, Tainan, Taiwan

2017 "Rhetoric of Shame", Kuandu Museum of Fine Arts, Taipei, Taiwan

Kong

2016 "Ghost in the Box", YIRI ARTS

Kong Art of Nature Contemporary

2015 "Rest in Pieces", FreesArt space,

2016 "New Art Force Exhibition", Hong Gallery, Hong Kong, Hong Kong

2015 "New Art Wave Expo", THE

VENETIAN MACAO, Macao, Macao

2015 "Micro-interspace Temperature",

Chia - Yi Municipal Museum, Chiayi, Taiwan

Taipei space, Taipei, Taiwan Taipei, Taiwan

2013 "Data-Neurons", Songahan

Cultural and Creative Park, Taipei, Taiwan

李勇志 LEE, Yung-Chih

314

竹科盜版 Science Park Renaissance

2017 ﾉ貼紙、複合媒材 Mixed Media, Sticker ﾉ依空間而定 Dimensions Variable

20' 00''

在夜間盜取新竹科學工業區公司招牌輪廓，並將仿製成洋樓建築匾額置放在無名甚至荒廢的方框中，以一種隱藏性方式的置入，如同動物界的保護色。那是時代變遷下，台灣建築景觀讓人熟悉又有些懷舊的樣式與材料。

當我們對於文化的深度展現在對建築的保存，並改裝成另一種的「文化」。我做的只是將近在咫尺、貢獻著台灣大量出口產值科技廠商們的名字置放上去變成另外一種的「文化」，就算是這樣成為新的招牌也沒有人覺得有甚麼好奇怪的。

It's about Hsinchu old street art project. I rubbed the paper over the signboards of the companies at Hsinchu Science Park and

transferred the print to the inscribed boards I made that had been common on the old, Western-style buildings. Then, I placed the boards inside some old and shabby frames,

carefully embedding them as animal camouflage. With the change of times, such Taiwanese architectural style and materials become familiar as well as nostalgic to all.

The way we value the profundity of culture is preserving architecture and remodeling it to be another "culture". What I did is simply relocating those technology brands that have contributed greatly to Taiwan's economy and turning them into another sort of "culture." No one would find them awkward if they were just treated as new signboards.

315

Stickerman 行為藝術工作坊 Stickerman Contemporary Performance Workshop

2016 ﾉ抿石子、水泥、行為紀錄影片 Close Lightly Pebble, Cement, Performance Documentary ﾉ一個跟新竹老街有關的創作計畫。

李健銘 LEE, Chien-Ming

2016「藝遊為境：遇見新竹新藝象」，新

Sticker man 行為藝術工作坊為藝術家李健銘於 2017 年於「苗春季」首次發表的行為藝術工作

2015「被工業擁抱的藝術工廠」，雍和藝

is…」是一款很經典的街頭塗鴉貼紙，街頭塗鴉藝術家常以此款貼紙來在街頭做自我領域的佔領與

竹市美術館，新竹，台灣術基金會，新北，台灣

2015「好玩漢字」，駁二特區，高雄，台灣

2015「工業盜版」，覓空間，台北，台灣

2014「招牌動作」，FreeS 福利社，台北，台灣

2016 "Meet new Hsinchu art", Hsinchu City Art Gallery, Hsinchu City, Taiwan

2015 "Together. Let Us. Build a Factory", Shehou Art Factory, New Taipei City, Taiwan

2015 "The Delight of Chinese Character", Pier-2 Art Center, Kaohsiung, Taiwan

2015 "Industry Rubbing", MEME Space, Taipei, Taiwan

2014 "Signature Action", Free Art Space, Taipei, Taiwan

坊，藝術家以街頭塗鴉藝術文化中的「貼紙文化」延伸發展出的行為藝術作品，「Hello , my name 宣示自我身份。

以紅色與藍色兩種不同的街頭塗鴉專用貼紙來象徵自我認同定位與社會認同定位，在展演中，藝術家將不斷邀請民眾一起將貼紙貼在自己的身上，在紅色貼紙與藍色貼紙不斷增加的同時，藝術家的造型將開始改變，象徵著自我定位與社會定位間的拉扯後，原本的物體在不斷定位拉扯後將成為另一展新樣貌。

"Sticker man" contemporary performance workshop first presented from support spring festival in 2017. Artist chose the idea from "Sticker" that is one type of graffiti art. "Hello, my

name is…" is a classical sticker from the street art. Graffiti artists use this sticker to show the

world who they are. They write their name on the sticker and put the sticker on the street. In this contemporary performance workshop, we use red color and blue color stickers. Each of these

two stickers stand for personal identity and social identity. When people put stickers on artist's

body, artist's looking will change unlike themselves which stands for the balance between personal identity and social identity.

2017「BLACK × DESIGN ｜亞洲傑出設

計邀請展｜」，高雄新光三越高鐵左營店，高雄，台灣

2017「放視大賞」，高雄展覽館，高雄，台灣

2016「衛武營藝術季」，高雄衛武營藝術文化中心，高雄，台灣

2016「project Love-asion 塗鴉彩繪計

畫」，雍和藝術教育基金會，台北，台灣

2015「第二屆愛自由當代書藝展」，南海藝廊，台北，台灣

2017 "BLACK × DESIGN｜Grate designer in Asia design exhibition｜", SHIN KONG MITSUKOSHI, Kaohsiung, Taiwan

2017 "Vision get wild exhibition",

Kaohsiung exhibition center, Kaohsiung, Taiwan

2016 "WeiWuYing ART FESTIVAL",

WeiWuYing center for the art, Kaohsiung, Taiwan

2016 "Project Love-asion graffiti art

jam", Art Education Foundation, Taipei, Taiwan

2015 "2th Love for Freedom

Calligraphy", Naihai gallery, Taipei, Taiwan

汪冠廷 WANG, Kuan-Ting

316

裝置（S） Installation (S)

林仁信 LIN, Ren-Hsin

317

印。象 EYE

2017 ﾉ鋼鐵、黏土、石膏、拾得物 Steel, Clay, Plaster, Found Objects ﾉ 500 x 100 x 165 cm

2015 ﾉ複合媒材（拓印） Mixed Media (Rubbing) ﾉ 400 x 570 x 325 cm

我經常在地板上裝置作品，以小塊黏土、石膏、拾得物等所組成。但在大型會展中，地板上的小

2013「家族肖像－媽媽」汪冠廷個展，

『印。象』便是探尋著歷史脈絡及區域的情感而發想出來，運用東方拓印的技術，將街區的牆面、

2016「日本台灣版畫交流展」，宇畫廊，

的方式觀看一些迷人的小物件。

2012「讀畫」汪冠廷個展，木子，台南，

人為壓印，企圖將記憶的痕跡轉印下來，再透過空間裝置的呈現，重新思索眼前所見的事物。

2015「蔓衍至彼方」林仁信創作個展，M

物件卻會輕易被忽視踩踏。這就是設計這些高鐵桌的初衷——我要保護我的作品，要人們按照我

我將桌面提高到我眼睛的高度，某些觀眾或許覺得惱怒，因為他們將無法輕易看到桌上的東西。雖然這樣有點無禮而不可愛。

桌上物件尚未決定。它們概會很小，但有自然與手操作的質地細節……某種無法被走馬看花的觀眾所注意的元素。

Briefly speaking, it is a work about how an artist orients his viewers to look at his work in a particular way.

Escape Artist，台北，台灣台灣

2012「家族肖像」汪冠廷創作展，員林美術館，彰化，台灣

2009「Lala」汪冠廷創作展，台東故事館－誠品書店，台東，台灣

2008「天真的希望」，Samuel Dorsky Museum，紐約州紐柏茲，美國

I usually install my work on floor, and they often combine some small pieces of clay, plaster,

2013 "Familt Portraits: Mothers", Escape

on the floor would easily be stepped over by tens of exciting visitors. It is where the idea of

2012 "Read the Paintings", Muzi, Tainan,

found objects and so on. However, in an art fair like Taiwan Annual, these kinds of small objects

these tall steel tables came from - I want to protect my work, and I want people to look at some charming small objects in my way.

And eventually these tables became a very important part of this work. I even raised the height of the tables to my eyesight, which might make people shorter than me upset because they can't easily see the objects on the tables. Though it's kind of rude and unlovely I know……

I haven't decided the objects on the tables yet. They probably very small and have some natural of handmade texture or details……some factors that can't be easily noticed if people just walk by.

Artist, Taipei, Taiwan Taiwan

2012 "Family Portraits",Yuanlin Museum of Art, Changhua, Taiwan

2009 "Lala", Taitung Story Museum, Taitung, Taiwan

2008 "Naive Wishes", Samuel Dorsky

Museum of Art, New York, U.S.A.

地面紋理、門牌號碼、水溝蓋…一一地轉印下來，拓印覆蓋時的紙張猶如一層薄皮，經過印墨的 "Imprint, Impression," inspired by an exploration of traces of history and by an affinity to the

community, employs the Oriental technique of stone rubbing to make imprints of the surfaces

of the walls along the street, the textures of the ground, the address plaques, the manhole

松戶市，日本

畫廊，台北，台灣

2014「台灣。加拿大當代版畫交流展」，國父紀念館中山畫廊，台北，台灣

covers…. During the process of imprinting, the paper covers the object like a thin piece of skin

2014「十青版畫會 2014 台日版畫交流

are then presented in the form of installations to provoke a rethink of the ordinary.

2011「SKY-2011 亞洲版圖展」，關渡美

onto which the artist inks in an attempt to transfer the traces of memory. These inked imprints

展」，佐喜真美術館，沖繩，日本術館，台北，台灣

2016 "Taiwan- Japan International Print Exhibition", Gates Inn Gallery, Tokyo, Japan

2015 "Multiply In the World - Lin Renhsin Solo Exhibition 2015", M Gallery, Taipei, Taiwan

2014 "Printed in Taiwan / In Canada at

the Raymond-Lasnier Exhibition",

National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan

2014 "Evergreen Graphic Art Association Taiwan- Japan International Print Exhibition", Sakima Art Museum, Okinawa, Japan

2011 "SKY-2011 Asia Plate & Print

Exhibition", Kuandu Museum of Fine Art, Taipei, Taiwan

林怡君 LIN, Yi-Chun

318

重新取樣 Resampling of Life

或許是以觀察各式人生的轉折與變奏為方法，重新思考如何接近更為清朗、與本質性迫切的東西，作為檢視與思索表面生活的提醒。

Medium, in a daze, contemplating without expression, accidents, (re)placement; speed changing, stories of life.

By observing the decisive turn and listening to the modulation of life, this work, as a reflection of daily humdrum, aims to rethink and approach the more limpid, fundamental and urgent part of being.

319

日常貴賓犬 Daily Poodle

2017 ﾉ空間複合材料 Mixed Media Installation ﾉ依空間而定 Dimensions Variable 媒介，發呆 > 趨於靜止＞思而不說，意外，安置；變速，人生故事。

林思瑩 LIN, Szu-Ying 2016 ﾉ玻璃纖維 Glass Fiber ﾉ 170 x 50 x 37 cm

2017「沖繩台灣藝術家交流展」，CAMP

全景系列：運用數位全景攝影的功能，捕捉一些日常生活中的小動物，但是數位化和小動物運動的

2016「過去╳未來 - 林思瑩創作個展」，

2017「 SSN 年度藝術進駐」，Sumida

實的。我用雕塑的手法將影像重疊失敗被卡住的動物具象化，讓原本不屬於現實的動物存在於真實

2016「福爾摩沙國際藝術博覽會」，台北

TALGANIE Artistic Farm，沖繩，日本 Studio Network，東京，日本

2016「島嶼詩學—台灣沖繩藝術家交流展」，屏東美術館，屏東，台灣

2015「台北美術獎」，台北市立美術館，

不確定性，時常出現失敗的影像接合，接合失敗的動物就像被卡在影像與影像之間，是不存在於現世界。

被卡住的狀態就像在暗喻我的日常生活，被卡在藝術創作與現實生活中，無法前進也不能回頭，就如同我停滯不前被卡住的二十世代。

台北，台灣

In an age of digital photography, panoramic photography becomes a popular technique for everyone

誌」，倫敦大學金匠學院藝術政治

overlaps the images to create a horizontal viewpoint which is different from ordinary photographs,

2015「邊界紙上策展 Archipelago 雜系所，倫敦，英國

2017 ''Okinawa and Taiwan Artists Exchange Exhibition'', CAMP

TALGANIE Artistic Farm, Okinawa, Japan

2017 ''Art in Residency Project'', Sumida Studio Network, Tokyo, Japan

2016 ''On the Poetic of Islands-Taiwan and Okinawa Artists Exchange

Exhibition", Pingtung Art Museum, Pingtung, Taiwan

2015 ''Taipei Arts Award'', Taipei Fine Arts Museum, Taipei, Taiwan

2015 ''Boundaries, Archipelago

Magazine issue III'', Department of Art and Politics, Goldsmiths, London, UK

to have easy access to. Digitalized panoramic photography stores the images in its memory and extending the frame to 360 degrees.

文化工場天空藝廊，宜蘭，台灣寒舍艾麗酒店，台北，台灣

2015「日常的全景風景 - 林思瑩創作個展｣， madL 藝文空間，台北，台灣

2015「夢‧棲地─館藏青年藝術主題展」，台灣國立美術館，台中，台灣

2014「你就是我我就是你－林思瑩創作個

展」，藝大利藝術中心，台北，台灣

I use the function of panoramic photograph to capture the animals I see in daily life. However, the

2016 "Past × future - Solo Exhibition",

put the images together. The photographs of these animals, bringing them into the real words.

2016 "FORMOSA ART SHOW", Humble

process of digitalization and the uncertainty of animals' movements result in several failed attempt to

The stuck animals in the photos symbolize my daily life, where I'm stuck between art-making and the reality, feeling awkward that I cannot turn to either direction.

Cultural factory, I-lan, Taiwan House Taipei, Taipei, Taiwan

2015 "Everyday panoramic views - Solo

Exhibition", madL art space, Taipei, Taiwan

2015 "Dream Habitations Young Artist Collection Exhibition", National Taiwan Museum of Fine Arts, Taichung, Taiwan

2014 "You are my and I am you-Solo

Exhibition", Art Italian art Center, Taipei, Taiwan

林晏竹 LIN, Yen-Ju

320

美麗莊園 Mansion of the Beautiful 這些符碼有時還會忘卻定義地自行變形，獨樹一格。

居所常常可以呈現地區住民對於歸屬的種種意念與慾望，而它所承載的思緒往往也被投射於形式

上：這些符碼的使用和住宅作為消費物件有關，它反映消費者欲置身他方，甚至最終想要成為他者的那個想望。

然而，住宅上那些被挪用或再創造的「長得像」他方的建築符碼卻使我感到困惑與在認同上有錯亂之感，使難以從中看見自我，也不禁提問該如何處理與他者的關係？

〈美麗莊園〉呈現的便是這些住宅景觀之於自我所產生的內在空間。以裝置與 3D 掃描的方式，反映在消費與殖民結構的影響下，建築上的符碼在凝視下成為影像；它有如美好的幻影 –– 投射出大眾的審美與慾望，卻也造成了自我在認同上的種種錯亂。

Designs of collective housing community in Taiwan after the 1990's often times used

architectural codes from elsewhere as decorative elements. Interestingly, these codes would sometimes forgot their definitions and transformed into its' own unique forms.

Residential community could always reflect a variety of ideas and desire on belonging of the

community dwellers. Thinking and feelings of the residential community were always projected

onto forms. The utilization of these codes were related to the idea of house as a consumer item. It reflects the consumer's desire to be in elsewhere, and eventually become the Others.

However, the misappropriated or re-created architectural codes that "look alike" elsewhere

causes my confusion and displacement of identity. I could hardly see myself from within, and could not help asking how could I handle the relation between me and the Other.

Mansion of the Beautiful presents the inner space produced from the reflection of oneself towards these housing landscapes. Using the forms of installation and 3D scanning,

architectural codes transform into images under the gaze and influences of consumption as well as colonization structure. It is as if a beautiful illusion, projecting aesthetics and desires of the public, but also create displacement of self-identity.

321

陽台城市文明系列 The Civilization of Balcony City Series

2017 ﾉ複合媒體裝置 Mixed Media ﾉ依場地而定 Dimensions Variable 臺灣 1990 年代後的集合式大廈社區在設計上常會使用一些他方的建築符碼作為裝飾；有趣的是，

林書楷 LIN, Shu-Kai 2017 ﾉ複合媒體裝置 Mixed Media ﾉ 150 x 150 cm

2017「常常在家—林晏竹個展」，福利

都會文明是一種發生過人、事、物的痕跡，是被人們所定義出來的普世價值，但是文明對我個人

2016「當代一年展」，台北花博爭艷館，

並從個人的生命經歷與城市的觀察，呈現出自我與環境的存在狀態與心像的投射。更進化的將人

社，台北，台灣台北，台灣

2015「綠色藝術行動：在竹圍Ｘ藝術無

界」，淡水海關碼頭，新北，台灣

2013-2015「Schizophrenia Taiwan

2.0」，林茲電子藝術節／超媒體藝術節／梅達羅藝術之家／ Ambika

P3 ／ Instants Vedio Festival ／赫

勒勞歐洲藝術中心，林茲／柏林／巴黎／倫敦／馬賽／德勒斯登，奧地利／德國／法國／英國／法國／德國

2011「嫩天堂」，非常廟藝文空間，台北，台灣

2017 "Long Stay – Lin, Yen-Ju Solo

Exhibiton", FreeS Art Space, Taipei, Taiwan

2016 "Taiwan Annual", Taipei Expo Park Expo Dome, Taipei, Taiwan

2013 "Schizophrenia Taiwan 2.0",

Ars Electronica / Transmediale /

Maison des metallos / Ambika P3 / Instants Vedio Festival / Hellerau, Linz / Berlin / Paris / London / Marseille / Dresden, Austria /

Germany / France / England / France / Germany

2011 "Nitender", VT Artsalon, Taipei, Taiwan

來說卻多是浪漫思維的感受，因此我用一種文字書寫的方式將之轉化成充滿著更多烏托邦的想像，內在被壓迫不可釋放的那種精神狀態，當代人生活在不斷反覆勞動與壓抑的身體感當中，因此透過前述的狀態，不斷得書寫與製造與天馬行空，有機的製造與擬想出一個新的城市風景與文明。

Urban Culture is the trace of everyone and everything used to exit, a universal value defined by people. To me, however, most of it is a romantic feeling. So I transfer it with more Utopia imagination by writing. With the life course and the observation of the city of my own, I want

2017「山頭風、海口潮：台灣當代藝術的季風、黑潮」，双方藝廊，台北，台灣

2016「一座島嶼的可能性－台灣美術雙年展」，國立台灣美術館，台中，台灣

2016「沉默風景」，高雄市立美術館，高雄，台灣

to present the state of the existence and the projection of mind between the self and the

2014「陽台城市文明語錄」，VT 非常廟

austere, laborious kind of life. So I would like to create a new kind of city view and culture by

2013「當代島嶼與城市意象」，德鴻畫

surroundings. With a mindset of oppression without a way out, people nowadays live an consistently writing, producing, and wild imaging.

藝術空間，台北，台灣廊，台南，台灣

2017 "The Terrain of Taiwan

Contemporary Art", Double Square Gallery, Taipei, Taiwan

2016 "The Possibility of an IsIand-2016

Taiwan Biennial", National Taiwan Museum of Fine Arts, Taichung, Taiwan

2016 "Read the Landscape", Kaohsiung Museum of Fine arts, Kaohsiung, Taiwan

2014 "The Balcony City Series—

Civic Culture and the Island", VT Artsalon, Taipei, Taiwan

2013 "The Gesture of Handwriting-The Mental Image of Contemporary Island and City" , Der-Horng Art Gallery, Tainan, Taiwan

林愛家 LIN, Ai-Chia

322

張愛玲語錄 Quotation of Eileen Chang

The high use of community sites cause our shattered imagination for literature.

323

返響－耳語 Repercussions: Murmuring

2017 ﾉ錄像裝置 Video Installation ﾉ 02' 00''

社群網站的高度使用，形成了我們對於文學的破碎想像。

紀柏豪 CHI, Po-Hao 2017 ﾉ互動聲音裝置 Interactive Sound Installation ﾉ依場地而定 Dimensions Variable

2016「共生」，艋舺龍山寺板橋文化廣

「返響」意指當下事件或行為的反饋，並常是不受歡迎那種。本作品可描述為「創造聯想的場域」，

2014「初經─創作的原點」，國立台灣藝

之間形塑有機的音樂介面。與其說本計劃是為平凡的日常物件創造新的聲音，不如說是透過這樣

場，新北，台灣

術大學真善美藝廊，新北，台灣

2016 "Symbiosis", Meng Jia Long Shan Si Ban Qiao Wen Hua Guang

Chang, New Taipei City, Taiwan

2014 "Menarche, the origin of creation", National Taiwan University of Art, New Taipei City, Taiwan

但並不特指聲學空間，而是所有感知的疊加。視覺與聽覺回饋將串接成敘事輪廓，在具象與抽象的介面，讓現成物於跳脫功能性框架，破壞既有結構並質疑已被規則化的表現形式。所以，我試著去撿拾那些抽象或具象的經驗碎片，去溫柔地擁抱那些不知所謂的拉扯，讓舊有場域得到新的敘事，揭示在遺忘之外的另一種可能。

"Repercussions" means an unintended consequence of an event or action, especially an

unwelcome one. This work can be described as creating fields of associations, not particularly related to space in terms of acoustics, but superimposed by all kind of senses. Audible and visual feedbacks string together into the outline of narratives, shaping the organic musical

interface in between concrete and abstract. Rather than saying this project creates new sounds

for objects in daily life, it is more like using this kind of interface to lead us to find out those everyday scenes that are often ignored. I try to pick up those pieces of real life stories and make

the objects talk with the audiences, to embrace those unknown and figure out the other way rather than forgetting.

2017「FILE 電子語言國際藝術節 - 冒泡宇

宙」，工業聯會文化中心，聖保羅，巴西

2017「第十四屆聲音暨電腦音樂大會 - 時

空浪潮」，阿爾托大學，赫爾辛基，芬蘭

2017「日常返響」校園公共藝術計劃，台灣大學社會科學院，台北，台灣

2017「日常秩序」，居藝廊，台北，台灣 2016「光景計畫」，Laboral 藝術與創意產業中心，希洪，西班牙

2017 FILE SÃO PAULO "bubbling

universes", Fiesp Cultural Center, Sao Paulo, Brazil

2017 14th Sound and Music Computing Conference "Wave in Time and

Space", Aalto University, Helsinki, Finland

2017 "Everyday Trace", National Taiwan University, Taipei, Taiwan

2017 "Routine", G Gallery, Taipei, Taiwan

2016 "Lightscape", LABoral Centro de Arte y Creación Industrial, Gijon, Spain

范哲智 FAN, Tse-Chih

324

重新調整的風景 Readjusted Scenery 一種西方對於亞洲概化的定義，不只透過媒介造成刻板印象，也影響了自身觀看的和學習文化的方式。

如何在這非平衡的環境中尋找平衡，也許在尋找身份並且從中理解非西方的定義可能不只是西方奠定的主導敘述，而是在不斷融合與調整，是一種未完成的狀態。

2017「What is a Point-Thai artist in New York(participant)」，Woodside avenue，紐約，美國

2017「room as canvas- readjusted

scenery」，The Hollows，紐約，美國

作品著重於剪輯對於影像敘事的影響，融合線性與非線性的敘事手法，從自身角度出發，當觀看

2016「All in One, a projected-only loop

The culture identity of Taiwan has always been uncertain, mixture of popular culture and the

2016「Curzon screening, Graduation

被紀錄風景的當下，如何從中找尋定位。

colonial history, the idea of Asian in western point of view has a fixed genre.

The east, cool and exotic, this view influences media, and it also influence the way people in Asia seeing themselves being portrait.

How to find balance in uneven surface, in the search for identity and understand the idea of

non-western's may not only contains western dominance, but a constant readjustment. It is unfinished.

The work relies on the editing and how it influences moving images, mix with linear and nonlinear storytelling, when viewing and documented scenery, how to position one's self.

325

A.I. 自然－山、氣、水 Artificial Intelligence Nature – Mountain, Air, water

2017 ﾉ錄像、螢幕、電視 Video, Screen, TV ﾉ 04' 31"

臺灣當代視覺文化一直環繞一種不確定性，除了殖民歷史也受到了西方的流行文化。東方一直是

洪焌仁 HUNG, Jun-Ren

group show」，Piazza Martiri della Libertà，基亞里，意大利

project」，Curzon，倫敦，英國

2015「蓬萊仙島」，空場，台北，台灣 2017 "What is a Point-Thai artist in New York (participant) ", Woodside avenue, New York,U.S.

2017 "room as canvas- readjusted

scenery", The Hollows, New York, U.S.

2016 "All in One, a projected-only loop group show", Piazza Martiri della Libertà, Chiari, Italy

2016 "Curzon screening, Graduation project", Curzon, London, UK

2015 "Pen-Lei-Xian-Dao", Polymer, Taipei, Taiwan

2017 ﾉ聲音影像裝置、動力裝置、鏡面壓克力、煙霧機 Video Installation, Kinetic Sculpture, Acrylic Mirror, Smoke Machine ﾉ依空間而定 8 '-10 （ ' 循環）Dimensions Variable

隨著科技持續地往極端發展，在大量的人工智能出現，我們也同時開始對人工智慧的自主性跟創

2016「台灣當代一年展 x 視覺混種現場藝

其它人造系統的智慧也普遍被認為是人工智慧相關的研究課題，而且隨著科技的改進，數位介入

2013「後立體派畫展－ 0 號的圓滿性」，

造力開始產生疑慮，而且人工智慧的研究通常只有涉及對人類智慧本身的研究，其它關於動物或自然已是當代生活的一種現象，而當人存在的這個本質與自然的問題互相產生威脅，究竟最後勝出的會是哪一方？

With the development of science and technology going on, a large number of artificial intelligence emerged. We also began to doubt the autonomy and creativity of artificial intelligence (A.I.), and A.I. research is usually only related to human intelligence itself. The

wisdom of animals or other man-made systems is also generally considered to be a research

topic related to A.I., and with the improvement of science and technology, digital stepped in nature environment turns out to be a phenomenon of contemporary life. When the existence of human nature and nature have a threat to each other, which one will be the winner?

術季」，花博爭豔館，台北，台灣

國防部博愛藝廊，台北，台灣

2016 "Taiwan Annual X On Site Art

Festival, Visual", Taipei Expo Park, EXPO Dome, Taipei, Taiwan

2013 "Post-Cubism Consummation of a

0", MND, Fraternity Gallery, Taipei, Taiwan

徐永旭 HSU, Yung-Hsu

326

2015 ﾉ瓷 Porcelain ﾉ 74 x 88 x 73 cm

The Weight of The Soul - The Weighing of Culture and Art

以身體做為創作主體的概念，投注高度的決心與毅力至藝術創作中，強調身體與作品間的對話，

2017「日翟重力 - 徐永旭個展」，月臨畫

結構之中和世界相互流動、作用並與之形構出作品。

2016「S&H 徐永旭個展」，勝樂集團總

HSU, Yung-Hsu confronts the clay by integrating the subject with the body. His artworks are

created on the basis of the interplay between the world and his perception as well as tactile and algetic senses within the clay-based structure. To create the purest and finest ceramic

廊，台中，台灣部，新加坡

2016「微‧次方—徐永旭個展」，台新銀行文化藝術基金會，台北，台灣

artworks, the artist not only adopted complex and painstaking procedures of production, but

2016「微度—徐永旭個展」，加力畫廊，

and reconstruction, he successfully transformed the heavy clay into delicate lines and shapes.

2016「藝術登陸新加坡—2016 徐永旭個

also exercised his superior skill in kilning. Through the constant process of deconstruction His awe-inspiring, extraordinarily ''large'' but ''thin'' ceramic works, along with their charm

of innovation, all resulted from such a refreshing contrast. Following his philosophy of life,

that is, ''transcending life through life, transcending artistic creation through artistic creation, and finally transcending life through artistic creation'', the artist keeps challenging himself, expecting to transcend the confines of life and artistic creation.

327

靈魂的重量－文化藝術的稱量

2015-9

以主體與身體融為一體的方式面對創作材質，藉由身體的知覺、觸覺與痛覺，在現有以土為主的

高錫麟 KAO, Shi-Lin

台南，台灣

展」，濱海灣金沙會議展覽中⼼，新加坡

2017 ''Solar Motion-HSU YUNGHSU

Solo Exhibition'', Moon Gallery, Taichung, Taiwan

2016 ''S&H—Hsu Yunghsu Solo

Exhibition'', Select Group Building,

2017 ﾉ紙 A4 x 2、磅秤、壓克力盒子 Paper, Acrylics ﾉ依空間而定 Dimensions Variable 文化的溫度？藝術的重量？追求文化藝術，付出 30 年以上的光陰，如何稱量？

只有歡喜，沒有怨懟。

只是、只是，真是得蓋棺論定？還是得冺沒在時間長河？過去，就過去了？

我骨骼 DNA 裡文化含金量，如何檢視？我靈魂中藝術濃郁度，如何透析？自己塑造雕像，會不會被砍頭？出版些畫冊，賣不掉、送不掉，出口當廢紙，再生紙漿？

在人生的海洋，我用畢生破浪泅泳；在文化藝術的虛幻裡沒有光環、翅膀，連個救生圈都抓不住。誰審判我？拿出你的度量衡！

Cultural temperature? Artistic weight?

Pursue culture art, pays 30 years above time, how weighing?

Only then likes, does not have the enmity.Only is, only is, really is the final judgment on a person's life can be made only after he is dead and buried? Is it not in time perpetual flow? In the past, passed?

Singapore

In my skeleton DNA did the cultural gold content, how inspect? In my soul artistic richness,

Solo Exhibition'', Taishin Bank

cannot deliver, the exportation works as the scrap paper, the regeneration paper pulp?

2016 ''Miniaturen—Hsu Yunghsu

Foundation for Arts and Culture, Taipei, Taiwan

2016 ''The Miniature Being– Hsu

Yunghsu Solo Exhibition'', Inart Space, Tainan, Taiwan

2016 ''Art Stage Singapore 2016– Hsu

Yunghsu Solo Exhibition'', Marina Bay Sands Expo and Convention Centre, Singapore

how dialysis? Own mold the statue, can behead? A publication picture album, cannot sell out, In the life sea, I use the lifetime to cleave the waves swim; Unreal in does not have the corona, the wing in the cultural art, a life-saving jacket cannot hold continually. Who places on trial me? Puts out your weight and measure!

2015「潑墨－凡石」，森之藝廊，羅東，台灣

2010「光影傳奇」油畫展，五角場 800 號藝術區，上海，中國

2009「光影非光影」油畫展，798 聖邦德畫廊，北京，中國

2008「監事」，視盟，台灣

2004 公共藝術徵選第二名，新竹師大實驗國小，新竹，台灣

2015 "lnk Stone", Where Sen Gallery, London, Taiwan

2010 "Legend of light", 5 Jiao Chang 800, Shanghai, China

2009 "Non-light Light", Seng Bangde, Beijing, China

2008 "Supervisors", AVAT, Taiwan

2004 "Public Art Second", National

Hsinchu University of Education

Experimental Elementary School, Hsinchu, Taiwan

張菀玲 CHANG, Wan-Ling

328

太陽日，適合恣味 Under Level, Upper Sea

這是一個慢步調時空，恣意聊天的之後，似乎飄進了一場未知空間接踵而來的氣味瀰漫空氣… 「Under Level」是在制式之下的淺規則，順應而自娛… How's the pleasure? The sunny day brings "Energy". After talking in a cozy time period. They conform their feelings go to unknown sea. Then the air odor all over… The "under Level" seems like people amuse themselves behind the rule …

329

人與土地 Land and Person

2017 ﾉ攝影裝置 The photography of Installation Art ﾉ 120 x 120 cm 天氣晴朗，是充滿激情的氣氛。

張雅惠 ZHANG, Ya-Hui 2016 ﾉ稻穀、龍眼子殼、玉米梗、竹子葉花、香蕉葉、咖啡粉殼 Rice, Longan Shells, Corn,

2017「槓上開花」張菀玲創作個展，清水眷村文化園區，清水，台灣

2017「此時」，當代藝術館，台北，台灣 2016「語彙」，新樂園藝術空間，台北，台灣

2016「2016 當代一年展」，圓山爭艷館，台北，台灣

2016「新樂園 20 周年展－花蓮場」，好地下藝術空間，花蓮，台灣

2017 "KANG SHANG KAI HUA"

CHANG,WAN-LING solo exhibition, Qing-Shui Art Village, Qing-Shu, Taiwan

Bamboo, Banana, Coffee Shells, Coffee Powder ﾉ 150 x 150 x 100 cm

我常參與農村生活，並了解到當今在台灣的物產，主要使用的作物中有稻穀、龍眼子殼、玉米梗、

2017「藍圖實驗展」，土庫庄役場，雲林，

特色與時序，並對土地有了更近一層的情感和認知，於是我在作品的呈現中，置入了許多農作的

2016「土地尬郎」，他里霧生活美學館，

竹子葉花、香蕉葉、咖啡粉殼等等。透過親自的蒐集的過程，讓我更加了解台灣的農作物的物產一些生活點滴，而開啟整個地方的特色，進一歩傳達啟發人與土地自然之間曾經的親密。

I often participate in rural life, and understand that for the agriculture in Taiwan, the main crops are rice husks, longan, bamboo leaves, bamboo flowers, and banana leaves, coffee powder,

台灣

雲林，台灣

2015「春聚藝術家聯展－土地織錦．共

融」，蕭壠文化園區，台南，台灣

and coffee shells, etc. Through a personal collection process, I understand more about the

2014「東山物產與想像」，蕭壠國際藝術

emotion and cognition of land. So in my works, I include fragments of the life of farm produce

2013「跨國界時尚設計聯展」，釜山設計

characteristics and seasonality of the crops in Taiwan, and also develop a more intimate level of and activate the regional characteristics, while further communicating the once-intimate relationship between people and land.

村，台南，台灣

中心，釜山，韓國

2017 ''Blueprint'', Tuku District Offices, Yunlin, Taiwan

2017 "The Moment", MOCA, Taipei,

2016 ''Land and Person'', Taliwu Living

2016 "Dialogue", Shin Leh Yuan, Taipei,

2015 ''Soulangh Artists Exhibition'',

Taiwan Taiwan

2016 "2016 TAIWAN ANNUAL", Taipei Expo Perk Expo Dome, Taipei, Taiwan

2016 "Shin Leh Yuan 20th Anniversary Exhibition – Hualien", good

underground, Hualien, Taiwan

Art Canter, Yunlin, Taiwan

Soulangh Cultural Park, Taiwan, Taiwan

2014 ''The Imaginations of Agricultural

Products in Dongshan'', Soulangh Artists Village, Taiwan, Taiwan

2013 ''Cross Border Fashion Design

Exhibition'', Busan Design Center, Busan, Korea

曹育維 TSAU, Yu-Wei

330

經書Ⅱ Sutra Writing Ⅱ

以筆沾水，以經行的步履在合宜的地板及鋪地水寫布上書寫經文，並任其隨著時間蒸發消逝：不生不滅，不垢不淨，不增不減。

2006-2017 ﾉ錄像 Video ﾉ依空間而定 Dimensions Variable

2013「輪圓具足」，18FUN 藝文空間，台

2006 年開始發展的「紅色嘴巴」系列作品，被放大的嘴唇重複誦讀語句，具體的身體影像經由語

院，竹東，台灣中，台灣

Sutra Writing = Kinhin + Writing. Writing Sutra with water on the ground and calligraphy practicing cloth in the way of Kinhin,

2012「私藝術史」，私藝術空間，台北，

disappear, are not tainted or pure, do not increase or decrease.

''LIP EXPRESSION''-Red Lip, Our Lips, You Can't Talk with Other People, Red Lip Exercise

2013「獻給世界的祝福」，工業技術研究

2013「我的麥田圈曼陀羅」，Dahlia

let the words wrote just disappeared with the time passed to show: they do not appear or

331

「嘴唇表述」─〈紅色嘴巴〉、〈我們的嘴〉、〈你不能和別人說話〉

2017 ﾉ行動 Performance ﾉ依空間而定 Dimensions Variable 經書＝經行 + 書寫。

郭嘉羚 KUO, Chia-Ling

Gallery，新加坡，新加坡台灣

2011「非書展」，57 藝術工作室，台南，台灣

2013 ''Blessing for this World'', Industrial Technology Research Institute,

言的通道，衍繹了動作的詮釋，構成了影像的弦外之音，在郭嘉羚作品當中被微觀放大的局部身體，同時也碰觸了感知的詮釋。

In "Red Lip" series which created from 2006, KUO usually show large lips along with a repeated sound of reciting a sentence. Through her interpretation of action, a personal interpretation of perception is embodied in the enlarged image of partial body.

2015「彼岸」，福利社，台北，台灣

2014「動作」MOVE 郭嘉羚個展，竹師藝術空間，新竹，台灣

2014「聲語遶境：兩個港口的對話」台灣與北愛爾蘭交流展，高雄市立美術館，高雄，台灣

2010「VISITOR」郭嘉羚個展，MOT ARTS，台北，台灣

2008「第二種視野」，國立台灣美術館，台中，台灣

Zhudong, Taiwan

2015 ''Immersing in'', FreeS Art Space,

Taichung, Taiwan

2014 ''MOVE'' Kuo Chia-Ling Solo

2013 ''Mandala'', 18FUN Arts Center, 2013 ''My Crop Circles Mandala'', Dahlia Gallery, Singapore, Singapore

2012 ''My History of Art'', Mon Espace D'Art, Taipei, Taiwan

2011 ''It's Not a Book Exhibition'', 57 Art Studios, Tainan, Taiwan

Taipei, Taiwan

Exhibition, NHCUE Art Space, Hsinchu, Taiwan

2014 ''Voices Travel: Conversation Between Two Harbours'',

Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

2010 ''VISITOR'' Chia-ling, Kuo Solo Exhibition, MOT ARTS, Taipei Taiwan

2008 ''SECOND VISION'', National

Taiwan Museum of Fine Arts, Taichung, Taiwan

陳建智 CHEN, Chien-Chih

332

微觀地理模型計畫 Microgeographic Model Project 文化脈絡交織混生甚而重新創造出新的文化景觀，這些景觀具有某些相似性，但卻又夾雜某些足以區辨文化圖示，隱含了空間文化的多重性閱讀可能。

〈微觀地理模型計畫〉探討如何在一個有限的區域具現此種脈絡交織的文化景觀，凝縮性地將建築創作中以模型建置來進行操作的表現方式，實際具現於一個獨特場所，讓觀者遊走其間引發身體性地意識與感知何謂地方空間多重性和同時性閱讀。

The modern society is a state underlined with juxtaposition and combination of various cultures, which is even more significant in Taiwan where various folks and communities amalgamate in a small but densely populated land. The threads of these diverse cultures interweave and blend with each other, and fresh new cultural landscapes are then regenerated. These landscapes share some common points, yet contain a possibility for people to distinguish cultural icons and engage in diverse spatial cultures studies.

The objective of "Microgeographic Model Project" is to study how to concretely represent this type of contextual cultural landscape in a limited area by a preciously compendious method-

Building Modeling-to demonstrate the operational methods, and explicitly present this concept

in a unique place, allowing the audience to walk through the space, and trigger their physical conscience to experience what a multiple and synchronous studying of a local area is.

333

Shower

2013-2017 ﾉ木、鐵、照片 Wood, Iron, Photo ﾉ依空間而定 Dimensions Variable

當代社會是一個多元文化並置交混的狀態，特別是地狹人稠並且各種族群混雜居住的臺灣，各種

陳椸涓 CHEN, Yi-Chuan 2008 ﾉ聚酯纖維、針、芳香劑、蕾絲布、木條 Polyester Fiber, Needles, Air Fresher Beads, Iace

2017「移動建築始 _ 三輪車計畫Ⅵ 陳建

智個展」，崑山科技大學藝術中心，台南，台灣

2016「藝術浸潤『生活閱讀．空間共創』

城南文學地景藝術行動創作計畫」，紀州庵文學森林，台北，台灣

2015「綠圈圈當我們童在一起夏日藝術節」，勤美美術館，台中，台灣

2014「台北兒童藝術節「改頭換面」再生藝術裝置展」，剝皮寮歷史街區，台北，台灣

2013「寶藏巖燈節展覽－如畫美景」，寶藏巖國際藝術村，台北，台灣

2017 "Beginning of Mobile ArchitectureTricycle project Ⅵ , Solo

Exhibition",Kun Shan University Art Center , Tainan, Taiwan

2016 "Saturation in Art: Reading and

Living-Space Creation , Landscape Art, Creation of Literature

Landscape of South of the City", Kishu An Forest of Literature , Taipei, Taiwan

2015 "Green Ripples Festival", CMP Block Museum of Arts, Taipei, Taichung

2014 "Makeover-An Installation

Exhibition of Green Arts, Taipei

Children's Arts Festival",Bopiliao Historical Block, Taipei, Taiwan

2013 "Dialogues of Time and Light, Landscape of Spectacle-2013

Treasure Hill Lantern Festival",

Taipei Artist Village － Treasure Hill, Taipei, Taiwan

Fabric, Wood Sticks ﾉ依空間而定 Dimensions Variable

十年前前往美國求學，離開原本熟悉的台灣，不可避免地我開始思考關於時空變化的經驗課題。身份、環境、溝通方式的改變以及生活上的入境隨俗，使我想要去重新詮釋日常生活裡微小的經驗，並經由創作產生出另一種可能。

在異鄉，仰望天空的白雲是我懷念童年及故鄉的美好時刻。台灣，曾是一個多雨的島國，只是今日從天而降的雨水，變得不再如同記憶裡的美好及浪漫，它們成為污染下的產物，酸雨。 Shower，訴說著我的懷舊之情且同時呈現出氣候變遷下的窘境。縫紉針暗藏在三朵看似友善的白

雲中，當銜接雲與針的芳香劑因接觸空氣而揮發消溶時，針即會落下，觀者可經由視覺和嗅覺等感官去感受並想像置身 Shower 之下的多重意涵。

Ten years ago, I left Taiwan to pursue my MFA degree in USA. The new environment triggered

me to think the issue of experience about transform of time - space. The change of identity,

communicating, and the adoption of new life inspire me to re-interpret the very subtle daily experiences and create works.

In the foreign land, looking at the clouds in the sky was the beautiful moment of recalling my

childhood and hometown. Taiwan was a rainy island; however, rain, falling water, a symbol

of romance and a requirement for daily life has changed through modern life. Nowadays, we get acid rain, which is harmful. The three artificial clouds convey the general impressions of

superficial friendliness and peacefulness. But needles as a signal of danger have been hidden

in them and may fall down unexpectedly. Shower represents the idea of nostalgia while commends on the issue of climate change. The senses of vision and smell may direct the viewer to experience and imagine what is under Shower.

2011「內外景觀：當代自畫像與表現」，北卡羅來納大學彭布羅克大學 AD 畫廊，北卡羅萊納州，美國

2010「個展－紀念品 II」，藝術使命劇院，賓漢頓，紐約州，美國

2009「拯救：回收與再生」，富蘭克林馬歇爾學院菲利普斯藝術博物館，蘭開斯特，賓州，美國

2008「冰室裡的全球暖化」，起重機藝術大樓，費城，賓州，美國

2008「美味的免洗地球」，三河藝術畫廊，匹茲堡，賓州，美國

2011 "Inner and Outer Contemporary Landscape Self-Portraiture

Representation", The A. D. Gallery of University of North Caroline at Pembroke, North Carolina, USA

2010 "Solo Show- SOUVENIRS II", The

Art Mission& Theater, Binghamton, NY, USA

2009 "Salvage: Reclaiming Recycling", The Phillips Museum of Art at Franklin& Marshall college, Lancaster, PA, USA

2008 "Global Warming at The Icebox",

Crane Arts Building, Philadelphia, PA, USA

2008 "Deliciously Disposable Earth",

Three Rivers Arts Festival Gallery, Pittsburgh, PA, USA

陳飛豪 CHEN, Fei-Hao

334

多語的複數閱讀－家族史翻譯文件

2016 ﾉ單頻道錄像 Single Channel ﾉ 4' 00"

今日，隨著技術發展，我們所面對的不再是現實，而是影像。日常即是由無數影像所匯聚而成的

2017「破碎的神聖」，台北當代藝術館與

創作，似乎得以不再單純地接收影像，而是直接創造另一種存有狀態。

2016「台北雙年展 - 當下檔案．未來系譜：

平面，在此，存有即是顯影。因此思考觀看與思考影像，也成為了對自身狀態的迫切詢問。透過陳飛豪的《家族史翻譯文件》即是以就地深掘的方式，對單一地點進行垂直的時間透視，並使得歷史層疊之間的怪異紋理顯影、同時也對歷史書寫之方法提出問題 ; 許鈞宜的《訊號微弱》，則是在影像平面中游牧、偶然地遭遇影像，將個人記憶轉化為影像的影像─一股紛雜的訊號流。

無論是國族歷史或者個體經驗，透過垂直與水平的影像書寫，兩人的作品皆試圖迫使觀眾進入某

空總創新基地，台北，台灣

雙年展新語」，台北市立美術館，台北，台灣

2016「Young Art Taipei 台北當代藝術博覽會」，喜來登大飯店，台北，台灣

種片斷、多語的複式閱讀之中，以影像流不斷進行著作者自身對「持攝影機之人」的反思練習。

2016「另一觀點」，好思當代新竹空間，

Nowadays, with the development of technology, which we faced are no longer reality but

2016「登場 2016」，朝代畫廊，台北，

image. Our world is the plane which constituted by countless images. When the being that presents like the development of the image, thinking "Image" or "looking" is the same question about ourselves. Through the works, we able to create another status of being, instead of

image, a complex stream of a signal.

Whether it is the national history or personal experience, by the vertical and horizontal filming,

their works both try to force the audience to get into kind of fragmented reading which within the multiple images. It is also the reflexive practice of "the man with camera".

2016「Tapetum Lucidum─照膜影展」，

陳飛豪的《家族史翻譯文件》即是以就地深掘的方式，對單一地點進行垂直的時間透視，並使得歷史層疊之間的怪異紋理顯影、同時也對歷史書寫之方法提出問題 ; 許鈞宜的《訊號微弱》，則是在影像平面中游牧、偶然遭遇影像，將個人記憶轉化為影像的影像─一股紛雜的訊號流。

無論是國族歷史或者個體經驗，透過垂直與水平的影像書寫，兩人的作品皆試圖迫使觀眾進入某種片斷、多語的複式閱讀之中，以影像流不斷進行著作者自身對「持攝影機之人」的反思練習。

台灣

2016 "Taipei Biennial-Gestures

the numerous experience. Through the camera, all the memory will turn into the image of the

創作，似乎得以不再單純地接收影像，而是直接創造另一種存有狀態。

presents like the development of the image, thinking "Image" or "looking" is the same question

The work 《Family Documents In Translation》 of Chen Fei - Hao, using the method of

And the work of Hsu Chun Yi,《Weak Signal》, It's nomad on the plane of image, encountering

2016「同日而語─書寫實驗計畫 vol.1」，

平面，在此，存有即是顯影。因此思考觀看與思考影像，也成為了對自身狀態的迫切詢問。透過

Nowadays, with the development of technology, which we faced are no longer reality but

receiving the image directly.

of the writing of history, also let the weird pattern between the stratum of history appearing.

今日，隨著技術發展，我們所面對的不再是現實，而是影像。日常即是由無數影像所匯聚而成的

新竹，台灣

2017 "Shattered Sanctity", MOCA TAF

archaeology to makes the perspective of time on the single place. While he asked the question

335

多語的複數閱讀－訊號微弱 Weak Signal

Family Documents in Translation 2016 ﾉ單頻道錄像 Single Channel ﾉ 24' 00''

許鈞宜 HSU, Chun-Yi

Innovation Base, Taipei, Taiwan and archives of the present,

genealogies of the future: A new lexicon for the biennial", Taipei

Fine Art Museum, Taipei, Taiwan

2016 "Young Art Taipei", Sheraton

Grand Taipei Hotel, Taipei, Taiwan

2016 "Alternative Vision", HaoHaus, HsinChu, Hsinchun, Taiwan

2016 "Rising Show 2016", Dynasty Gallery, Taipei, Taiwan

image. Our world is the plane which constituted by countless images. When the being that about ourselves. Through the works, we able to create another status of being, instead of receiving the image directly.

The work 《Family Documents In Translation》 of Chen Fei - Hao, using the method of

archaeology to makes the perspective of time on the single place. While he asked the question

of the writing of history, also let the weird pattern between the stratum of history appearing.

And the work of Hsu Chun Yi,《Weak Signal》, It's nomad on the plane of image, encountering the numerous experience. Through the camera, all the memory will turn into the image of the image, a complex stream of a signal.

Whether it is the national history or personal experience, by the vertical and horizontal filming,

their works both try to force the audience to get into kind of fragmented reading which within the multiple images. It is also the reflexive practice of "the man with camera".

小路上藝文空間，台北，台灣立方計畫空間，台北，台灣

2015「台北詩歌節─多元成詩展覽」，台北詩歌節，台北，台灣

2016 "At The Same Time - Writing

Experiment vol.1", Deerdear Art Space, Taipei, Taiwan

2016 "Tapetum Lucidum Film Festival", The Cube Space, Taipei, Taiwan

2015 "Taipei Poetry Festival", Exhibition of Taipei Poetry Festival, Taipei, Taiwan

陳韻伶 CHEN, Yun-Ling

336

那一夜，我喜歡你 Let Love Pour Tonight 2017 ﾉ複合媒材 Mixed Media ﾉ 30 x 30 cm

異地旅行的愛情，來得突然，我們始終沒有留下一張照片。但我卻只能以照片為此紀念。用攝影的不同定義製造曖昧的故事；用演員的不同面向產生對話。

拍攝和被拍攝，觀看和被觀看；我同時拍攝真實的自己，也扮演成為理想的自己。一次又一次地將回憶重現在鏡頭前，每次的創作都在壓迫心理的舒適圈。

觀景窗賦予框架，我同時享受框外的觀看；鏡框裡扮演與被觀看的彆扭，矛盾的拉扯讓夢境和真實交織的過程成了作品最迷人的養分。

這個作品從來都不只是個攝影，「你」不是你，我也不要你只是你。

As I saw our photos, there's nothing left but only the photos. I met you while traveling, love came suddenly and fantastically.

Taking photo shows that there is going to be a variety of things with some ambiguous stories, unclearly.

Role-play brings different chatting as I am in the play. I acted whom I am and whom I was gonna be.

I take photos and am being taken. I watch and am being watched. Creating constrains my comfort, which provokes to my deep memories.

I am a screen as I watch it as well. Embarrassment becomes Joy out of the stage. It isn't about photos, hence you cannot be images.

黃重堯 HUANG, Tsung-Yao

337

窗 Window 2016「呼吸－實驗劇團期末公演聯合系

展」，淡江大學實驗劇場，台北，

2017 ﾉ木頭、日本紙 Wood, Japanese Kifu Paper ﾉ 50 x 210 x 210 cm 「材質能夠改變物件與空間的個性。」

台灣

根據約翰．伯格書中，藝術觀看的方式，隨著相機的發明有所改變，人們能夠輕易地藉由相片，

北，台灣

中，我打算以人們日常生活中，所能看見的物件——作為主題，並以紙代替玻璃來製作窗，以一

2016「台灣大學藝術季」，台灣大學，台 2015「淡江大學戲劇季」，淡江大學，台北，台灣

2015「大稻埕國際藝術節」，大稻埕，台北，台灣

2014-2015「台北藝術自由日」，華山 1914 文創園區，台北，台灣

2016 "Tamkang University theater

troupe - exhibition of drama",

Experimental Theatre of Tamkang University, Taipei, Taiwan

2016 "National Taiwan University

Festival of Art", National Taiwan University, Taipei, Taiwan

2015 "Tamkang University Festival of drama", Tamkang University, Taipei, Taiwan

2015 "Tua-Tiu-Tiann International

Festivals of Art", Tua-Tiu-Tiann, Taipei, Taiwan

2014-2015 "Taipei Free Art Faire",

Huashan 1914 Creative Park, Taipei, Taiwan

在報章雜誌上看到世界各地的藝術名作，然而作品本身的材質與展覽空間的本質呢？在此次展演

件日常生活常見的物件為主題，在改變其材質後，對人們在日常生活的作用會有何改變 ? 若將其置於一個正式的展覽空間中，其性質又會有什麼樣的變換？這是我在此次展覽中想去探討與實踐的主要目標。

"The personality of object and space can be change by material". According to John Berger "way of seeing" people can easily see the masterpieces from all over

the world in newspapers and magazines by the invention of camera, but how can people know the surface, materials and space they use in the exhibition? In this project I tend to challenge

myself by making daily life object "window" with replace glass by paper. What is the different of a common object in daily life after changing its material? Also how the object changing its

character by placing in the formal exhibition? This two main idea is what I want to challenge audiences in this exhibition.

2016「同異性－台英法聯展」，新浜碼頭藝術空間，高雄，台灣

2016「新台灣壁畫隊－台中國家劇院開

幕」，台中國家劇院前，台中，台灣

2016「坎伯韋爾藝術學生聯展」，坎伯韋爾藝術學院，倫敦，英國

2016 "SYNONYMOUS AND ANTONYM",

SIN PINK PIER, Kaohsiung, Taiwan

2016 "Formosa Wall Painting Group -

National Taichung Theater", White House, Taichung, Taiwan

黃珮琪 HUANG, Pei-Chi

338

觸 Touch

Smearing the canvas makes my spirit achieve a balanced state.

339

絲路～思路～秀繡看

2014 ﾉ批土 Paste Filler ﾉ依空間而定 Dimensions Variable 不斷地重複塗抹使其精神性達到平衡的狀態。

黃莉莉 HUANG, Lily Silk Road~ Thread Thought ~ Show Stitch

2017「在我離開之後」，福利社，台北，台灣

2016「雙重逾越」，竹師二館，新竹，台灣

2016「當代一年展／混種現場」，爭豔館，台北，台灣

2016「被假定知道的主體」，松山文化創意園區，台北，台灣

2015「對話／乳房」，思空間，新竹，台灣

2017 "After I left", Frees Art Space, Taipei, Taiwan

2016 "Ultra Space", NHCUE Art Space, Taipei, Taiwan

2016 "Taiwan Annual/ On Site", Taipei Expo Park, Taipei, Taiwan

2016 "Subject Supposed to Know",

Songshan Cultural Park, Taipei, Taiwan

2015 "Talk / Breas", Thinking Space, Hsinchu, Taiwan

2017 ﾉ不鏽鋼紗網、絲線、布料、回收多媒材 Stainless Steel Mesh, Silk Thread, Fiber, Recycle Multi-Material ﾉ 90 x 120 cm

以當代的觀點為刺繡注入新的風貌，生生不息傳承紀錄當代的生活樣貌。以「行動繡坊」作為藝術執行方針，在各地展演「秀繡看」當代、行為、互動藝術。古藝新風華～針線展生命～心中所思不能盡，進而為詩，變而為畫。作家以文字抒懷，畫家以畫筆寫境，刺繡

是黃莉莉形塑內容。作為敘述的形式也是一種語言，一種創作的語彙。做為藝術創作表達的形式，一針一線在上下起落中，在呼吸之間，注入心血，彩繪內心深深的感動，針線來回穿梭的過程到最後呈現的畫面，都是想表達的內涵。

觀察社會的自然人文事物，認識社會現在進行的事物及過去的歷史文化，體驗走進社區的藝文自

然空間創作，將體驗及感動化為創作。刺繡可以很自在，刺繡可以很相愛，刺繡可以很傳統，刺繡可以很浪漫，刺繡可以很隨興，刺繡可以很悠閒，刺繡可以很藝術，刺繡可以很當代，刺繡可以很幸福，刺繡可以很公益。影像、文學、刺繡、行動、藝術生活化，用愛擁抱。藝術可以是任

何形式，無限可能。本次展出很多以「花」為主題意象的作品：蔓囊荷、荷花、蘭花、鳶尾、牡丹、

2017「絲情花意～秀繡看～」，葫蘆墩文化中心，台中，台灣

2016「總統府藝廊特展（邀請展聯展）」，總統府藝廊，台北，台灣

2015「絲路～思路～秀繡台灣個展」，松菸文創園區，台北，台灣

2014「藝術公寓～秀繡內湖，社區互動藝術計劃」，內湖，台北，台灣

2013「秀繡台灣黃莉莉現代刺繡藝術

展～」，苗北藝文中心，苗栗，台灣

百合…等。以「台灣紅花布」衍生的秀繡台灣作品、以女人為花的創作作品，花旦、雲鬢花顏、花

2017 "Flora Stitch Art Show", Huludun

活的沉潛能量，多采多姿的藝文生活。PLAY 不累～ FUN 輕鬆～藝術好好玩。

2016 "Viewing Stories Thinking Craft",

嫁，絲路～思路～帶您進入現代刺繡藝術的世界，演譯心靈的，慢活的藝術，體驗藝術在現代生

With contemporary thinking to translate traditional handcraft embroidery, stitch work is the way Lily shows her inner mind, to nowadays event. As writer use word, poet write poem, stitch is what my tool for showing. With up and down, the needle, within breath in and out... the move,

motion in between. Embroidery, Stitch can be any style, any situation, any concentrating, any action.

Let's do it together...

Culture Center, Taichung, Taiwan The Presidential Office Gallery, Taipei, Taiwan

2015 "Silk Road~ Thread Thought~

Show", Songshan Cultural and Creative Park, Taipei, Taiwan

2014 "Art resident apartment~ Stich Art Action in NeiHu Taipei Taiwan",

NeiHu Community, Taipei, Taiwan

2013 "Stitch Show Taiwan~", Northern Miaoli Art Center, Miaoli, Taiwan

賈茜茹 CHIA, Chie-Ju

340

2017 ﾉ複合媒材 Mixed Media ﾉ依空間而定 Dimensions Variable 年在馬尼拉開立第一間大型購物商場後，已經變成當地居民跟觀光客的好去處，不但似乎為生活添加了品質，也帶動了觀光產業的發達。

作品即是使用 SM Mall of Asia 裡面的超級市場中的主視覺顏色 - 螢光綠為主軸，這個顏色就像是綠幕一樣，而人手一個螢光綠的購物提袋的情景對我來說，不論是袋子裡面的東西或是購物袋本

2017 ﾉ回收紙、鐵、動力裝置 Mixed Media ﾉ 80 x 80 x 30 cm 2017「SMile」，98B，馬尼拉，菲律賓

2016「大勇街 25 巷，末章。」，福利社，台北，台灣

2016「婦女的午後時光」，齁空間，台南，台灣

身都像是一種為了追求美好生活所出現的幻象。

2016「日日湯馬森」，雙方藝廊，台北，

"SMile" is meant from the" SM Mall of Asia", it is Asia's largest mall, located in the Philippines. SM

2015「何以為度？」 2015 FORMOSA 雕

Group in 1985 opened its first large shopping mall in Manila, has become a good place for local

residents and tourists, not only seems to add quality to life, but also led to the development of the tourism industry.

台灣

塑雙年展，駁二藝術特區，高雄，台灣

The work is the use the color of supermarket bag of SM Mall of Asia - fluorescent green as the

2017 "Screen-SMile", 98B, Manila,

have a green shopping bag after shopping. Whether it is inside the bag, shopping bag itself is

2016 "The last Chapter of Ln. 25, Dayoun

main axis, the color is like a green screen. That is the scene let me pay attention that is everyone like a pursuit of a better life in the illusion.

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落葉歸根 Return to the Root

SMile

「SMile」這個展覽的 SM 是意指位於菲律賓的亞洲最大的商場 SM Mall of Asia。SM 集團於 1985

廖琳俐 LIAO, Lin-Li

Philippines

St.", FreeS Art Space, Taipei, Taiwan

2016 "Tea Time or Art Time", Howl Space, Tainan, Taiwan

2016 "EVERYDAY THOMASSONS", Double Square Gallery, Taipei, Taiwan

2015 "INCOMMENSORABLE" Formosa

Sculpture Biennial 2015, The Pier-2 Art Center, Kaohsiung, Taiwan

我使用從樹製成卻又遭人使用後遺棄的回收紙，將它們浸泡沁涼的水中，有些文字和影像的顏色

2017「展覽一下」，九單藝術實驗空間，

皮的狀態。

2016「21g」，艋岬龍三寺板橋文化廣場，

漸漸褪去，我再將這些文字處理得盡量乾乾淨淨，再置陽光下曬乾，使它們變成為一片片像似樹我覺得任何事回歸最自然、本質的狀態是最有力量的，是什麼就是什麼，樹原本就是樹，樹就是它自己，充滿了它的生命力。樹根從土壤中提取水分和營養，天冷或太乾時，它自會調節生長的腳步，待天氣回暖、季節變換，芽在形成葉子的腋下，準備生產新的側枝。枝不斷擴張、年輪持

新北，台灣新北，台灣

2016「不在場」，有章藝術博物館大觀藝廊，新北，台灣

續累加、樹漸漸增長高度，生生不息、源源不絕，與自然合而為一。我們人原本也就是個「人」，

2016「師生美展」，國立台灣藝術大學美

外的慾望之中，偏偏把自然生長中的樹濫用，它成為人為操刀而成的紙張、眩目的廣告單、某個

2015「微型計畫－藝術家的工具箱」，士

自自在在的生長，卻越來越刻意去製造大量多餘的“價值”——追求名貴華麗的物質和財富。這額知名人物的名貴婚禮和醜聞。人類追求的物質和心理的狀態，其實是很脆弱不堪一擊的。然而，樹終究會漸漸壯大，它也從來不知何謂意義。文明的發展是直線前進，好像一列不回頭的車子；

相反自然卻是一個永恆的循環，因此，我將回頭省視的這一切自然與文明間的關係，經過思考辯證，希冀回到根源保存自然中永恆的循環狀態，予以視覺呈現。 Trees used in papermaking have promoted human civilization. However, we all share same root, our mother earth. The unrestrained use of trees will lead us to rootless.

術學系，新北，台灣

林公民會館，台北，台灣

2017 "Make an Exhibition", Department of Fine Arts, New Taipei City, Taiwan

2016 "21g", Longshan Temple Culture Square, New Taipei City, Taiwan

2016 "Absent", NTUA Art Museum, New Taipei City, Taiwan

2016 "National Taiwan University of Arts - Teachers and Students

Exhibition", Department of Fine Arts, New Taipei City, Taiwan

2015 "Micro plan the artist's toolbox",

Shilin Public Assembly Hall, Taipei, Taiwan

蔡瑛瑾 TSAI, Ying-Jin

342

食不安（系列 –1） Eating Unsafe Food (Series - 1)

2016 ﾉ複合媒材 Mixed Media ﾉ依場地而定 Dimensions Variable

有關食安問題嚴重，少數業者自私自利、為求利潤，非法添加有害健康之添加物。嚴重影響民眾

2017「食不安（系列 -1）」，台北花博爭艷

盼食品廠商，秉持－道德良心，不要害人害己，得不償失。

2001「前進失落原」蔡瑛瑾個展，新濱碼

Concerning about the serious problems of food safety, a few selfish food producers illegally

add harmful health additives in order to earn profit. Seriously affecting people's physical and

mental health. For this issues, I hope to express "eating unsafe food "through my creations, and

hope that no more food security victims, Look forward to food manufacturers, uphold moral conscience. Do not hurt self and others, and do more harm than good.

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他們使你更好更壯 They Make Me Better & Stronger

2017 ﾉ複合媒材 Mixed Media ﾉ 58 x 29 x 22 cm

身心健康，針對此問題，我希望透過我的創作，表達「食不安」，並希望不要再有食安受害者，期

賴映蓉 LAI, Ying-Jung

館，台北，台灣

頭畫廊，高雄，台灣

「嗶，你有新訊息」「在十二時四十五分三十二秒，競爭者 34607 號的數學能力超越了你，你需要再努力六個點數來超越他。」

1999「蔡瑛瑾個展」，婦幼青少年館，高

「當全球的教育環境採行了越趨競爭的文化，而使得中式教育在未來成為世界教育體制的楷模時，

1999「蔡瑛瑾個展」，女書店，台北，台灣

想像中的世界，希望透過思辨設計的方式，讓觀眾能透過機器、印刷品、紀念品以及偽紀錄片去

雄，台灣

1999「股市大瘋狂」蔡瑛瑾個展，奧維克藝術中心，台北，台灣

2017 "Eating unsafe food(series-1)", Taipei Flower Bo Zhengyan Pavilion, Taipei, Taiwan

2001 "Tsai, Ying-Jin Solo exhibition",

Sin pink pier gallery, Kaohsiung, Taiwan

1999 "Tsai, Ying-Jin Solo exhibition",

The Center for Women, Children, Youth of Kaohsiung County, Kaohsiung, Taiwan

1999 "Tsai, Ying-Jin Solo exhibition",

世界會變得怎麼樣？」以一所未來的學校「高藍」的發想作為起點，作者以物件的方式構築出這個感受這個世界，並同時思考它與現今世界連結。 "Beep"

"At 12:45:32 competitor 34607 has exceeded you in mathematic competency. You have to work harder to earn 6 MORE points to succeed."

"As the global education environments adopt a progressively more competitive culture, what

would the world look like if the current Chinese education system is adopted as the best system in the world?" Taking the current education system in East Asia as a starting point, this project built an imaginary future school called "Gaoland". By using speculative design method to create

the machines, publications, souvenirs and mockumentary, which all are the synecdoches of the

current environment, this project aims to present a projection of a dystopian education system to engage the users in consideration of a possible future.

2016「高藍機器創新實驗室—雜學校」，華山 1914 文化創意產業園區，台北，台灣

2016「刺激未來—中央聖馬丁 2016 年度

畢展」，中央聖馬丁藝術設計學院，倫敦，英國

2016「2016 米蘭設計週」，拉蘭布拉特展區，米蘭，義大利

2016「進行式—中央聖馬丁 2016 期中

展」，中央聖馬丁藝術設計學院，倫敦，英國

2014「嘿小姐的容器—雙人特展」，好伴共同工作空間，台中，台灣

2016 "Gaoland Machine Innovation Lab, ZaShare", Huashan 1914 Creative Park, Taipei, Taiwan

2016 "Provocating Future", Central Saint Martins, London, UK

2016 "2016 Milan Design Week", Ventura Lambrate, Milan, Italy

Fem books, Taipei, Taiwan

2016 "2016 Work in Progress", Central

Solo exhibition", Hovik Art Center,

2014 "Miss Hey's Container", Happen

1999 "Crazy Stock Market- Tsai, Ying-Jin Taipei, Taiwan

Saint Martins, London, UK

Co-working Space, Taichung, Taiwan

駱麗真 LOH, Li-Chen

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八荒 All Directions

2017 ﾉ木材、玻璃、壓克力 Wood, Glass, Acrylic ﾉ 79 x 53 x 8.5 cm

依空間而定 Dimensions Variable

八荒即是八方，八方指東、南、西、北、東北、東南、西北、西南八方位。本作品以混音控制器

為中心，在八方之位，延伸出 8 顆單體喇叭，分別由混音器管理，但觀眾可以由推軌自行控制聲音輸出的強度。音源分別摘自各重大新聞訊息，與觀眾讀詩的聲音。

The work "All Directions" is composed of a mixer and speaker units. It is a sound device that

interacts with the audience. All Directions refers to eight directions: the east, south, west, north,

northeast, southeast, northwest, and southwest. This work has a mixer in the center, with 8

speaker units extending outwards. The speakers are controlled by the mixer, but the audience can control the intensity of the speakers through the slider switches. The sound sources come from major news messages as well as poems read by the audience.

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後視鏡裡的世界 Reflection World

2016 ﾉ聲音互動裝置、混音器、台座、單體喇叭 Sound Interaction, Mixer, Speaker Units ﾉ「八荒」為一個聲音裝置與觀眾互動的作品。

戴佑承 TAI, Yu-Cheng

2016「休息區」，水谷藝術空間，台北，台灣

2015「無日照的日常」，社后藝術工廠，雍和藝術教育基金會，新北，台灣

2014「在遠方」，福利社，台北，台灣

2013「幸無在中央」，DAC 台北數位藝術中心，台北，台灣

2009「華麗與變奏」，台北信義公民會館，台北，台灣

2016 ''Rest Area'', Waley Art, Taipei, Taiwan

2015 ''Daily with no Sunshine'', Yonghe Arts Foundation, New Taipei City, Taiwan

2014 ''Far and Near'', Frees Art Space, Taipei, Taiwan

2013 ''Ubiquitous'', Digital Art Center, Taipei, Taipei, Taiwan

2009 ''Resplendent Variations'', Xinyi Public Assembly Hall, Taipei, Taiwan

本作品在談社會的變遷，思考著見建築物與人、土地、時空關聯性，是否隱藏著許多不為人知的

祕密？跳脫以往攝影純平面的相紙媒介，以廣告燈箱為出發點把原始相紙轉成透明膠片，相機經由紅外線改機後的色調來呈現，紅外線相機拍攝的作品具有一種寧靜及雪白的效果；且紅外線本身為不可見光，必須經過特殊處理才能轉化為人眼可見；藉由此媒介不可見的概念將鮮為人知的一面呈現出來。

This work is talking about social changes, thinking about the building and people, land, space-

time relevance, whether hidden many unknown secret? The original photo paper into the transparencies, the camera through the infrared after the machine to change the tone to show, the infrared camera works with a quiet and white effect; and Infrared itself is invisible light, must

be specially treated to be visible into the human eye; by this media is not visible concept will be little-known side out.

2017「雪嗑畢否愉均可」中國文化大學第

51 屆美術系畢業展，郵政博物館，台北，台灣

2017 ''Chinese Culture University Fine

Arts Department 51st Graduation exhibition - Shake before you

drink'', Postal Museum, Taipei, Taiwan

簡福鋛 CHUAN, Fu-Chuan

346

與佛對話 Dialogue with the Buddha 2014 ﾉ水墨、紙 Paper, Ink, Plastic Plate ﾉ 500 x 500 cm

我以中國經文內容採取不同形動方位書寫、將文字重疊於畫面上。再以分開組合處理之探討文字書寫、內容、心理與圖象、多元的整合與昇華、企圖表現東方多元方位思考與意境。

I use the content of the Chinese scriptures, adopt a different process, and write and overlay the

text on the image. Then, I treat the written words, content, psychology, and image separately– a multilayered compilation and transformation and attempt to express the oriental multidirectional style of thinking and mood.

2017「一個都不放過主題展」，高雄市立美術館，高雄，台灣

2016「當代藝術媒材與表現」，高雄市立美術館，高雄，台灣

2016「台灣當代一年展」，圓山爭豔館，台北，台灣

2016「李仲生視覺藝術獎得獎作品展」，成功大學藝術中心，台南，台灣

2014「台灣美術雙年展」，國立台灣美術館，台中，台灣

2017 "One can not let go", Kaohsiung

city Museum, Kaohsiung, Taiwan

2016 "Contemporary Art Media and

Perform", Kaohsiung city Museum, Kaohsiung, Taiwan

2016 "Taiwan Contemporary year",

Taipei city Xiangshan Zhengyan Museum, Taipei, Taiwan

2016 "Li Zhongheng Visual Art Award", Successful University Art center, Tainan, Taiwan

2014 "Taiwan Biennial YES TAIWAN", Taiwan Museum, Taichung, Taiwan

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348

Taiwan Alternative Art Spaces 台灣替代 / 另類空間

349

台灣替代空間區

350

351

Taiwan

打開 - 當代藝術工作站

Open-Contemporary Art Center

此次以立體書 pop-up book 為主軸發想，呈現本單位之歷史、美學進路以及營運方式，以此回應

「打開」以及藝術家合作與實踐優先為概念。

Pop-up book 透過不同的紙藝技巧以及視覺錯覺效果或是機關操作等，以一種開啟、躍然於紙上的

形式，將抽象概念具型化，讓觀者在翻閱之時，能夠有別於純粹平面閱讀的操作與視覺感。Pop-up book 其多元閱讀可能途徑，正有如藝術家自營空間之運作所產生的有機以及實驗與多態性。

打開 - 當代藝術工作站為一藝術家團體，成立於 2001 年板橋，初期透過藝術家工作室、讀書會、講堂、策展、座談會等運作方式，推介現、當代藝術相關之藝術史、形式與機制等內容。

其空間歷經數次搬遷，包含西門城中區、泰國曼谷、台北士林，2016 年起則正式搬遷至北市大同

區。打開 - 當代持續開展與多國藝術家與藝術空間多樣的藝文互動與串連，以「打開 - 當代」作為一個可共同討論、生產、激撞的藝術思考平台，持續生發多樣的藝術實踐及對話。

Open Contemporary Art Center (OCAC) is an artist collective founded in Banqiao, Taipei in

2001. During its beginning years, OCAC launched programs such as artist studios, book clubs, presentations, exhibitions, and lectures to allow members and art lovers to understand and appreciate the different histories, forms, and systems of modern and contemporary art.

OCAC has changed several locations since its birth: Ximen District, Taipei (2010), Bangkok, Thailand (2012), Shilin, Taipei (2013), and Datong District, Taipei (2016). In each period, OCAC also continues to develop relationships with different artists and art spaces in various parts of the world.

With its current members as practicing artists, OCAC is a think-tank and platform for discussion, production, and inspiration. The members are active in the contemporary art scene as

individual practitioners, but also come together as an alliance to push for diverse dialogues and artistic possibilities.

Taking"pop-up book" as a source of inspiration, OCAC presents its histories, aesthetic progress as well as how it operates to correspond with the name-- "OPEN",and the concept that artist collaborate and put practice as their priority.

Through different paper-cutting skill, visual illusion effects and mechanism used in pop-up

books, abstract concept become concrete by its various form on papers and thus create novel reading experiences that is different from common books. A pop-up book has multiple ways of reading, just as an artist-run space that generate an organic, experimental and diversities.

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台北當代藝術中心

Taipei Contemporary Art Center

01 《TCAC 未來式：單元、動詞變化與論述性產製品》以「機構設計」為方法，演示藝術機構從基本功

能需求到其公眾性角色任務之間，台北當代藝術中心同時作為論述行動的生產空間和文化溝通的媒介，其生產動態如何被計劃、前置與描繪。從設計內部系統出發，將設計作為台北當代藝術中心自我檢視的方法；亦對當代藝術工作面臨新的協作情境進行試探，重新思議台北當代藝術中心的公共性。

台北當代藝術中心（TCAC）成立於 2010 年 2 月，是爲一群藝術家、策展人、學者、文化實踐者所

獨立籌設的藝術機構，以協會的組織型態運作。成立宗旨在於提供藝術家、策展人、相關文化實

踐者一個開放平台，一個用以發表、交換、創造與分享的空間，其容納超越一般藝術機構條件、市場機制以及個人主義以外的美學表現。

TCAC 的核心價值任務在於創造批判性的公共領域，經營國際交流，致力於前衛實驗性的藝術發展和教育學習的多樣可能。

Founded in February 2010, Taipei Contemporary Art Center (TCAC) is an independent art space established by Taiwanese artists, curators, critics, writers, scholars and cultural researchers.

TCAC aims to provide an open platform to present, exchange, create and share. As an organization, it embraces aesthetic expressions, which test institutional conditions and values beyond market forces and individualism.

The core value and mission of TCAC is to create critical public sphere, promote international exchange and provide diverse art experiment possibilities and learning programs.

TCAC in the Future Tense: Unit, Conjugation and Discursive Artefacts examines how an

institution can perform the role between its functions and its purpose of being a public platform

through ‘institutional design'. The design concept explores how the Taipei Contemporary Art Center (TCAC) acts as a production house of discourse and as a medium of cultural

communication to create and depict its own production conditions. Through the filter of furniture design, it looks at TCAC's institutional history with various approaches in order to

investigate how TCAC deals with new collaborative circumstances that negotiate its own public nature. 02 2016 年度募款計畫推出 2016 TCAC Edition，邀請九位藝術家：周育正、胡向前、蘇拉西・庫索旺、柳思雅、林明弘、王福瑞、王俊傑、黃漢明、楊嘉輝，協力為此限量特藏版進行創作。這份凝聚

藝術社群的力量也伴隨我們在此徵求更多的支持者，以行動來延續台北當代藝術中心的工作力量，讓藝術因為我們共同的堅持，成為沒有盡頭的轉化與和啓發。

In 2016, we would like to introduce our annual fundraising project and present the 2016 TCAC Edition, which is a cluster of our communal spirits supported by nine artists from Taiwan and

abroad including CHOU Yu-Cheng, Hu Xiangqian, Surasi KUSOLWONG, Marysia LEWANDOSKA,

Michael LIN, WANG Fujui, WANG Jun-Jieh, Ming WONG and Samson YOUNG. With this invitation, we would like to ask for your generous contribution to engage with the circulation of TCAC energy and development, and transform art into our common inspiration. 03 蘇匯宇在 2017 年 TCAC 所主辦的辛沙龍系列裡發表了《人生・享受．閱覽室》，展出他的私人「小

本」圖書館收藏和相關作品，並進行對於時代性的身體、慾望考察，探索身體所面對的政治禁忌意識形態的移轉狀態。

Su Hui-Yu presented his project Life, Pleasure and Reading Room in the 2017 TCAC program

Salon Spice, in which he put his personal book collection of early pornography Xiaoben on

display. This presentation and his event investigated body and desire in different times, exploring the shifting conditions of political ideology for creating taboos and boundaries.

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非常廟藝文空間

VT Artsalon

2006 年成立於台北市的非常廟藝術空間 (VT)，致力推介優秀、具代表性的台灣藝術家，培養在地

策展人、藝術評論人才之餘，自 2010 年起逐步受邀各類型國際博覽會、雙年展及駐村交換計劃。以策展、論壇與出版品的形式，探索當代藝術的可能。以空間做為藝術平台，VT 關切的重點為：

新銳藝術家；獨立空間的創新模式；當代藝術趨勢、社會、科技與政治方案的新思維；台灣與亞洲，台灣與世界的藝術交流以及當代藝術派生脈絡的重置可能。

Founded in 2006, VT Artsalon is an iconic Taipei-based art institution dedicated to promoting Taiwanese artists par excellence whose works reflect local cultures. In addition to cultivating

local curators and art critics, it has been invited to international art fairs, biennials and artistin-residence programs of every stripe since 2010. Besides, it has engaged in exploring the

possibilities of contemporary art by virtue of exhibitions, forums and publications since its initiation. Treating its space as an artistic platform, VT Artsalon is concerned with a riotous

profusion of issues ranging from budding artists, the operational innovation of independent

渺（二）Vague (2)

and political proposals, Taiwan's artistic relationships with Asia and the world, as well as the

2017

吳尚邕 WU, Shang-Yung

art spaces and the trends of contemporary art to the new thinking on social, technological possibility of resetting the general context of contemporary art.

事務的核心 Core of Matters 何彥諺 HO, Yen 2016

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絕對空間

Absolute Space for the Arts

現代工業文明的發展，永遠改變了大家原本的的生活方式和身邊的環境。大自然的景色逐漸消逝

不再，吵雜穿梭的人車雜沓取代了記憶中的鳥叫蟲鳴。為了重現幼時記憶中的情景，我試著在工

業文明的機械產物所製造出的噪音和燈光中去尋找。試圖藉著這個以人工方式營造出的自然美景，來反諷人類為了追求工業與科技文明的發展，而不斷去破壞身邊珍貴的自然環境的盲目行為。

The development of modern industrial civilization has changed our original living style and environment for good. The scenery of nature is fading away. The hustle and bustle of people 牛頓力學第一定律中的「絕對空間」已被愛因斯坦的相對論所推翻，是不存在的空間；但在美學上，藝術是否有恆定不動的價值？是否為必然的存在？

「絕對空間」意旨著相信藝術是有能力真實地改變人類的生活處境，無論是在審美思維、議題碰撞或社會批判，藝術創作的作為是必要且實在的。

作為一非營利的藝術空間，「絕對空間」將空間的功能定位在「展覽、交流、紀錄」三大方向。在展

覽上，空間持續向觀眾推薦穩定創作的藝術家，我們不設限藝術家展出作品的方向，希望給藝術家比商業藝廊之外更寬廣的創作空間。交流的部分，我們將自身視為一媒合平台，媒合藝術家與

觀眾，媒合觀眾與藝術市場，亦希望藉工作坊、座談的舉辦，讓空間成為台南新生藝術工作者溝通、交流的場所。

身處在文化古都之中，在台南美術館尚未成為當代藝術創作者的座標之前，「絕對空間」認為從自

身建構在地的美學是重要的，我們持續在台南推廣藝術活動，以當代藝術為軸心，希冀自身能成為具國際觀的在地藝術空間。

and cars replace birds tweeting and insects humming in memories. To represent the scenery in childhood memories, I try to find them from the noise and light made by machines of

industrial civilization. The natural scenery made by artificial means is to satirize man's blind act

of pursuing industrial and technological advances by destroying precious natural environment around them.

回憶之聲 _ 鳥 NO.2

Sound of Memories_Bird NO.2 蕭聖健ﾉ 2016

以馬達和廢棄的玩具及腳踏車汽車零件等，營造出記憶中林間鳥鳴的意象。

Using a motor, discarded toys and parts of bicycles

to create the image of birds singing in the woods in memories.

Newton's "absolute space" law of motion has long been disproved by Albert Einstein's theory

回憶之聲 _ 蟲鳴 NO.2

existence is yet to be explored.

蕭聖健ﾉ 2016

of relativity. However, aesthetically, the concept of an eternal static value of art and its definite

Following the belief that art can bring change to people's lives and situations, the gallery is

named Absolute Space and so, it advocates for the appreciation of beauty, the politics of discourse & representation and the creative act. The art gallery is therefore an exhibition hall, a house for expression and ultimately an open space for the conversation of art.

As a non-profit art gallery, Absolute Space is set to satisfy the following three functions; exhibition, interaction, and archive. Regarding exhibition, we aim to provide artists with a stage where they can meet their public, free of commercial interests and expressive limitations.

Secondly, on interaction, we view Absolute Space as a meeting platform designed for artists,

audiences, and the art market, where conversation on art are held through workshops, dialogues between artists and speeches. Accordingly, we aim to make Absolute Space a

perfect place for young artists in Tainan to exchange ideas, communicate, and interact with one another. Last but not least, Absolute Space now focuses on the construction of archives of Taiwanese artists, aiming to help make artists' voice heard and stand the passage of time.

Located in Tainan, the cultural capital of Taiwan, Absolute Space pursues to build up local aesthetical appreciation. We consider important to build up activities with the focus on modern

art, hoping to make Absolute Space a place with local special features, global perspectives, and our own traditions while eagerly advance art-promoting activities.

Sound of Memories_ Insects NO.2 以馬達和廢棄的針車抽屜及唱機零件等，營造出記憶中夏夜田野蟲鳴的意象。

Gramophone to create the image of insects humming in summer night field in memories. 群鳥 Birds

蕭聖健ﾉ 2017

以馬達，老針車抽屜和廢棄的玩具零件等，營造出記憶中黃昏時群鳥齊鳴的意象。

Using a motor, a drawer of an abandoned needle sewing machine and parts of toys to create the image of birds singing at dusk in memories.

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空場藝術聚落

Polymer Art Space

進駐空場的藝術工作者們各來自不同領域，橫跨視覺藝術、表演藝術到工藝，除了藝術家，同時

也有策展人、研究者和文字工作者共同參與空間的規劃和營運。成立一年來，除了自辦展覽活動，更與國內外藝文機構團體共同合作舉辦多場國際論壇、工作坊和國際駐村，成功推動台灣藝文界

的在地活絡與國際串聯，也致力讓空間活化與促進、藝文資源分配整合、文化政策等相關議題持續發酵。

空場的展演活動不拘泥於特定形式或領域，有更多元的觀看與理解方式，試圖鬆動當代藝術既有空場前身為紡織工廠，擁有開放和挑高的空間，佔地達六百多坪、並備有貨梯和車道，深具工業風格的城市邊緣地帶，非常適合藝術家進駐創作與發表各類型的展演活動。

2013 年一群藝術創作者將這個空間聯合承租下來，是台北市區少數擁有如此空間條件、且由創作

者自行發起，獨立經營的藝術家聚落。目前空場以創作工作室為主軸，集合一群台灣當代藝術家、

藝術策展、文字、戲劇、音樂、舞蹈等工作者，創造一個自然交流、創作、討論、聚會、合作的平台。 "Polymer Art Space", located in Beitou District, Taipei City, is a platform for artistic communication and cooperation.

Polymer Art Space is funded, operated and managed by a group of artists, filmmakers, musicians and other creative types. Opened to the public in 2013, the factory was originally a

textile factory that had been vacant for years. A dozen or so artists chipped in, invested time and effort to build everything from scratch, transforming a vast, run-down space into an artists'

village composed of 20 studios from 20 to 150 meters square, a nearly 600 square meters exhibition space, a 150 square meters communal kitchen and lounge area as well as a massive rooftop open for all kinds of activities and uses. The majority of the tenants are 30-something young artists and administrative decisions are mostly made by a team of core members.

的框架，以主動積極的集體合作，提供更具有動能的想像與可能。

Polymer is an established artist run space without corporate or governmental sponsorship,

as well as an emphasis on collaboration among people from different fields. Residents at the

artists' village include musicians, theatre performers, newmedia visual and graffiti artists. It's

also a platform for exhibitions, international exchanges and academic discussions. The desire to know and work with each other is the main reason to have a large communal area and regular open studio events. By working on different programs, Polymer encourages visitor participation, too.

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新浜碼頭藝術空間 Sin Pin Pier―Absolutely Art Space

「新浜碼頭藝術空間」於民國 86 年 8 月由三十多位成員以會員制共組「新浜碼頭藝術空間」，其會員大多數為「高雄市現代畫學會」之菁英，因此「新浜碼頭藝術空間」與「高雄市現代畫學會」有著深厚的臍帶關係。有鑒於新浜碼頭多年來在致力於推動南部藝文發展及其累積的藝術能量，以黃文勇為首的新浜執委會提出：應視新浜為一「社會公共財」此概念，並進行永續經營的思考，故由執行委員會共議獨立籌組人民團體。

於民國 98 年 1 月 10 日，重組「高雄市新浜碼頭藝術學會」正式立案改制，由黃文勇擔任第一、二屆藝術學會理事長，第三屆理事長為黃志偉，現任理事長為陳奕彰。

The Sin Pin Pier—Absolutely Art Space (Sin Pin Pier) was first formed in August 1997 by more

氣球鋼系列 #12 GUNDAM#12

than 30 members, who were mostly elite members of the Kaohsiung City Modern Painting

Association. Consequently, the Sin Pin Pier has a close tie with the Kaohsiung City Modern Painting Association. In view of the endeavors of the Sin Pin Pier to promote artistic and cultural activities in Southern Taiwan and the artistic capacities that have been accumulated in this

space over the years, the executive committee of the Sin Pin Pier, which was led by Huang Wen-yung, proposed to redefine the Sin Pin Pier as a public good. To ensure the sustainable

火車 12 Train 12

陳奕彰 CHEN, Yi-Chang

蔡孟閶 TSAI, Meng-Chang

2011

2015

operation of the Sin Pin Pier, the executive committee reached a consensus to establish an independent civil association.

On January 10, 2009, the restructured Kaohsiung City Sin Pin Art Society was officially

registered. Huang Wen-Yung served as the first and second director of the society, and Huang Chih-Wei served as the third director. The current director is Chen Yi-Chang.

表層膜 Skim

黃志偉 HUANG, Chi-Wei 2010

我青春漫步的年代 2

Year of Walking My Youth 2 林建忠 LIN, Chien-Chung 2016 03

寂靜之境 NO.2017-12 Silent Place NO.2017-12

黃文勇 HUANG, Wen-Yung 2017

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新樂園藝術空間

SLY Art Space

新樂園藝術空間以藝術家自主與協力方式共同經營空間營運，從 1995 年正式開始營運至今即將邁

SLY Art Space first began in 1989 as "Apartment # 2" in the basement of No. 31 Long Jiang

間的核心精神為使之成為一可任意注入或擴散之容器，該藝術在這個容器中具有流動和靈活性。

Shan North Road. Unlike the operations of many other art spaces in Taiwan, the unique SLY Art

入第 22 個年頭，本空間在藝術創作以及空間營運上，輸入全新的體驗以及且實驗性的元素。本空

除了每月舉行展覽之外，不定時舉行新樂園藝術家與其它單位共同舉行藝術家座談。同時，新秀及跨領域也是空間營運的兩大主題。

Shin Leh Yuan (which means New Paradise) Art Space is an artist's collective-operative gallery. Established in 1995, it's now on the 22 years . In this way, we try to input new experience and

experiment to both the creation of artwork and the operation of the art space. The core idea of running this space is to make it as a container, to infuse or to diffuse, to let things happen flowingly and flexibly. We hold exhibitions every month, along with artist slide shows and various art talks.

無器官公寓 Apartment Without Organs 文 / 簡佑任 CHIEN, Yu-Jen 新樂園藝術空間由 1989 年成立的「2 號公寓」遷徙至龍江路 31 號大廈的地下室，並於 1995 年以

「新樂園」為名暫居於中山北路的巷弄裡。與台灣多數藝術空間營運方式不同，在這個特殊的空間

「新樂園」就如一具暫時性軀體廣納不同藝術家進駐，宛若「公寓」的租所。在這發展逾 20 週年的過程中，新樂園也進行不同層面的盤整並邁向更具組織性的團體結構，科層的體制化一方面延展空間的日常運作，另一方面也因時局的挑戰與流動性狀態讓自身時有不同的觀點注入。

《無器官公寓》以德勒茲術語中的「無器官身體」(Body without Organs) 與「公寓」本身現代化集

合住宅的空間指涉，指稱新樂園空間本身所蘊含的流變性質與空間聚落的矛盾關係。一方面「公寓」廣納了不同階級文化的居民卻也因為現代性的空間劃分管理的特性，讓公寓本身成為一個替代居民發言的主體聚落。而「無器官身體」也具有反有機論、解科層化的之隱喻。新樂園藝術空間的

空間屬性就如此在兩者之間遊蕩，看似具組織性的集體聚落，卻因內部所屬的藝術家居民而呈現一個未達具體編碼的狀態。

新樂園藝術空間以《無器官公寓》為命題，並將第十二期成員 : 張雅萍、簡佑任、洪永欣、周能安、張菀玲、田名璋等人之創作，共同勾勒新樂園藝術空間的發展面向，在當代一年展的場域中，各個空間無不以空間為主體進行游擊，並透過「空間」嵌入台灣當代藝術的系譜當中，就如同大型的

「寓所」。而各個空間皆有其歧異的屬性，彼此間無不碰撞出無數的花火，滾動，激起，空間運行的另類想像。

Rd. Then, in 1995, after taking on the name of SLY Art Space, it moved to an alley along Chung Space is like a temporary body or rather, an apartment, that accommodates the residency of

various artists. Over the course of more than two decades, SLY Art Space also initiated various levels of consolidation to achieve a more organized structure. On one end, this tiered system

of administration extended upon the daily operations of the space. On another end, due to

the challenges and flowing conditions of the times, different perspectives were also able to be introduced.

Apartment Without Organs combines Gilles Deleuze's concept of a "body without organs"

with the modern residential space of an apartment, alluding to the contradictory relationship

between rheological properties and spatial settlements contained within SLY Art Space itself. On one end, "Apartment" widely accepts residents from various cultures. Yet, due to the

attributes of modern spatial partition management, the apartment itself becomes the main settlement that substitutes the speech of its residents. Body without organs also alludes to an anti-organicistic and anti-bureaucratism approach. The spatial attributes of SLY Art Space are

just like a shifting between these two. A seemingly organized collective settlement which, due to the artists residing within the interior, presents a condition that does not a specific code.

With the proposition of Apartment Without Organs , SLY Art Space presents the works by

members of its twelfth period: Chang Ya-Ping, Chien Yu-Jen, Hong Yonghsin, Chou Nengan,

Chang Wanling, and Tian Mingzhang. Together, they outline the development approach to SLY

Art Space. In the venue of Taiwan Annual, each space conducts guerrilla warfare with the theme of space and within the "space" embedded through Taiwan's contemporary art pedigree, much like a large "apartment." And, each space has its own different attributes. All of them collide

with each other to create countless sparks, rolls, provocations, and alternative imaginations for the operations of space.

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台北市藝術創作者職業工會

Taipei Art Creator Trade Union

2015 年，第四屆理事長，林文藻停止辦理匯演，帶領工會將「勞健保」及「勞動保障政策」及「勞動基準法」，增加團體保險及意外保險及工會網路 E 化。

更將藝術執行細分到更小的類別，推動藝術行政為藝術創作的一部份。 2017 年，邁入第五屆，由理事長林文藻副理事長張文駿，顧問莫嵐蘭，理事會有 : 杜佩詩，葉怡利，陳雪甄，黃大旺，高駿耀，莊凱宇，蔡坤霖；監事會 : 張雅萍，范晏暖，張禮豪；一起推動

藝術創作者們自 2010 年歷經籌組、草創，在許多創作者前輩的努力之下，讓藝術創作者成為政府

所認可的一個職業類別，成立了台北市藝術創作者職業工會，從一開始的 57 位會員到目前將近合法會員共近六百位，工會主要與勞工局申請藝術家為第 505 項職業，以保障藝術家創作之權利，

協助了許多藝術創作從業者加入勞健保，享有政府的照顧與福利。除了職災醫療給付之外，勞工

保險提供照顧被保險人的各項津貼，如生育給付(女性方可申請)、傷病給付、失能給付、老年給付、死亡給付等等；工會讓大家可以有屬於自己的保障。工會讓大家可以有屬於自己的保障，不定期會舉辦活動讓會員彼此間有機會認識、獲得新知、激盪創作靈感，並且也致力於展演空間、視覺創作、表演藝術、企業單位、政府機構各個領域間的合作與互助，為藝術創作者謀取更多的福祉與權益。

Since 2010, art creators have been organizing to form businesses. With the help of many senior creators, 'Art Creator' has become a job officially recognized by the government, accompanied

by the establishment of the Taipei Art Creator Trade Union. Starting with just 57 members, the union has since grown to include nearly two hundred people. It has been helping many

art creators obtain both labor and national health insurance, giving them the chance to enjoy government care and benefits.

Other than occupational accident medical benefits, labor insurance also provides care and

subsidies for the insured, such as maternity (women may apply), injury or sickness benefits,

disability, senior, life insurance and other benefits. The trade union ensures that everyone can safeguard themselves, while occasionally holding networking events for members to share knowledge and exchange creative inspiration. Furthermore, the union is committed to

facilitating cooperation among different areas of the industry, such as exhibition venues, visual creations, performance art, enterprises and government organizations. The hope is for art creators to exercise their rights and claim the government benefits they deserve.

台北市藝術創作者職業工會在第一任理事長湯皇珍與藝術創作者們歷經籌組、草創，在 2011 年 2 月 19 日正式成立「台北市創作者職業工會」，自 2011 年成立，讓藝術創作者成為政府所認可的一

個職業類別，成立宗旨為以爭取藝術家之職業創作環境與權益資源，監督文化政策，促進藝術創

作者互助、激勵與分享。 2012 年，舉行了第一次的募款，嘗試跨越表演、聲音、錄像、舞蹈、空

間、敘述等的總體界線；從社會學、哲學、經濟學的思場為出發，以藝術創作者不應該是「工人」，找出界線放置藝術創作者的位置。

2013 年，第三屆工會理事長莫嵐蘭，以跳脫出一般大家對藝術家認知，認識及了解更不一樣領域

的工作者及工作性質。工會的藝術工作者們從事之創作類型，帶入更多元素例如 : 藝術類電影、藝術類策展、評論。

有關創作者工作保險之「藝術家保險」事宜。維護創作者之智財權、藝術創作團體組織及藝術稅務，建立創作者資源分享、國際聯盟之平台，及文化政策對創作環境自由度維護。修、廢、阻文化政策不利於創作環境之相關法制。

On February 19, 2011, TAIPEI Art Creator Trade Union was officially launched through the organizing efforts of its first chairman, Tang Huangzhen, and a group of artists. Since the

union's inception in 2011, the role of artist has become officially recognized as a profession by the government. The union's mission is to fight for the resources, creative environments, and

rights on behalf of artists, while supervising cultural policy and promoting mutual assistance, inspiration, and sharing amongst artists. In 2012, the first fundraiser was held in an attempt

to transcend the overall boundaries amongst performance, sound, video, dance, space, and narrative. Starting from the perspectives of sociology, philosophy, and economics, while emphasizing the notion that artists are not "workers", the exact position on where to place the role of artist was found.

In 2013, the union's third chairman, Mo Lanlan, offered a unique perspective on artists for

people to understand and recognize them as workers from a different type of field and work nature. The art workers of the union engaged in creative categories of work to introduce even more elements, such as art films, art exhibitions, and commentary.

In 2015, the fourth chairman, Lin WenTsao, halted the organizing of joint performances, and led the union in fighting for Labor Insurance, labor protection policy, and Labor Standards Act,

increasing the level of group insurance, accident insurance, and trade union internet resources. Furthermore, the implementation of art was finely divided into smaller categories, promoting the concept that the administration of art was also a part of artistic creation.

Entering its fifth session in 2017, chairman Lin WenTsao, vice chairman Zhang Wenjun, and consultant Mo Lanlan lead the union along with board members Tu Peishih, Yeh Yili, Chen

Xuezhen, Huang Dawang, Gao Junyao, Zhuang Kaiyu, and Tsai Kunlin, as well as the board of

supervisors consisting of Chang Yaping, Fan Yanhuen, and Zhang Lihao. Together, they are promoting "artist insurance" for art-related workers. Protecting artist rights in intellectual

property, art organizations and tax-related matters, they construct a platform for an international alliance on which artists may share resources, while maintaining an environment

of creative freedom through cultural policy. Finally, they work on amending, abolishing, or blocking policies that are not conducive to the creative environment.

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魚刺客

Fishsnipers

海島・海民－魚刺客

【海島・海民－魚刺客】－耶！歐耶！歐耶耶耶！－藝術的主體退位

「海島、海民、海洋議題」是魚刺客長期所關注的議題，他們由台灣本島沿著海岸線及周邊島嶼探

以「藝術的主體退位」作為主要標題，探討現今藝術展覽現場群眾喜愛與作品合照以示其品味，抑

程中異國文化的洗禮，種種促成生命脈絡不同的運轉方式，將他們所經歷的文化角度、生命經驗，

家的作品，並以魚刺客作品視作裝置背景搭配六零年代至今的老相館資料與物件、道具供參觀者

索，從台灣的居民、土地、文化、歷史記憶脈絡中，從不同個體的生活體驗、性別差異及求學過

甚至是對於環境議題的關注提出獨特的見解後，提出屬於藝術家特有的創作語彙與觀點，透過藝術的創作帶出個別面對海島的詮釋。 Island・ Islanders － Fishsnipers

或到此一遊之紀念與證明。採用編導式攝影的概念，創造出「海濱照相館」的場域呈現魚刺客藝術拍照留念。

照相館的布幕，通常是來自具有時代指標性的圖像背景，例如：日治時代的戰鬥機、日式庭園與富士山、台灣太魯閣燕子口⋯等場景。展場將附上老相館的部分道具供拍照留念。

"The Island, The Islanders and The Ocean" has long been the focus of Fishsnipers, an artists

【Island・ Islanders － Fishsnipers】－ Yay! Oh Yay! Oh Yay Yay Yay! － Artwork as Background

but the islanders, their culture and history. The artists observe through all kinds of scopes

By subverting the status of the artwork as the main subject, this exhibition explores the

sometimes their international educational background. Their profound interpretations, diverse

taste or token of remembrance. It uses the concept of choreographed photography to construct

group that draws their inspiration from exploring not only Taiwan and its neighboring isles such as their own gender, life experiences, cultural and environmental perspectives, and

presentations and even expectations have all been showcased in the series of Fishsnipers' art exhibitions.

preferences of today's audiences, and their love of selfies with the artwork as a statement of a space resembling a seaside photo studio, presenting the Fishsnipers' work as backdrop,

alongside documents, props, and artifacts from old photographic studios ranging from the 1960s to the modern day, for visitors to take selfies with.

The backgrounds screens used at photo studios usually depicted iconic images of the time, such as fighter jets from the Japanese occupation era, Japanese gardens, Mount Fuji, and the

entrance of the Taroko Gorge in Taiwan. The exhibition also provides props from old photo houses for visitors to take pictures with.

港灣 05 Harbour 05

蔡孟閶 TSAI, Meng-Chang 2011-2012

向海 Oceanward

李俊賢 LEE, Jiun-Shyan 2017

〈天人錯位〉中洲 T 型防波堤 "Misplacing" The Riprap

Breakwater of Zhong-Zhou 林純用 LIN, Chung-Yung 2015

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中心新村：社團法人台北市眷村心文化協會

HEART VILLAGE : Taipei Heart Village Association

中心新村是台北市唯一一處全區保存的眷村，而新村的保存運動至今超過 15 年，北市府於今年啟

地方：療癒｜眷村駐村藝術家創作展

的小故事、小物件，住民記憶、區域歷史到北投的故事敘事。藉由藝術參與的方式將眷村文化保

參展藝術家：湯雅雯、許庭甄、羅婉云、魏柏任、梁廷毓、簡于婷

動中心新村保存再發展計畫。累積先前的眷村文本及相關研究報告、口述歷史、文物等，從北投存並展望未來。

中心新村是台北市非常重要歷史聚落群，在集體記憶、空間改造、社會實踐創新、文化再生產、文化資產再造、社區營造的議題上意義非凡，以心村促進公民參與、提升文化素養，成為社會教育與環境、藝文的場所。

Although Military Villages Protection Movement have been triggered for above 15 years, the research in this field has merely few concentrations. We hope to accumulate the information from little stories or archives. Through this artistic creation, we can influence more people to understand Village Culture.

Heart village is the most important cultural heritage in Taipei in some issues, such as collective

memories, space reengineering, social practice, social innovation, cultural reproduction, cultural heritage reconstruction, community construction,...

We are affording to promoting citizen participation, arising civic literacy to provide social education and environmental education.

策展人：邱杰森

展覽日期：2017/10/27 - 2017/12/31

北投在戰後大量中國移民與台灣島民之間的生活樣態與其互動，在多元文化的融合與其平行時空

的精神分裂狀態，一個從戰亂與戰後廢墟中興起的年代，藝術家以社會學角度切入並重新反思與

詮釋在近代台灣社會中，對於國族、民族、疆域、情感、歷史等議題提供更多元的觀點與藝術家自身如何看待眷村這個特殊移民的場域。並同時將具有在具有歷史記憶的聚落中，以「根著性」地方或認同形式緊密結合協作的創作方法。

在 Tim Cresswell 的《安適其位 / 不得其所：地方錯置》中以「邊緣地方」的案例探尋，運用人文地理學內部如何使用地方，重新詮釋地方的想像，「生物區」（Bioregion）從生物角度出發在一定的生存範圍內，形塑地方樣態與人文的寄情狀態。

Place: Healing | Military Dependents' Village Resident Artist Exhibition

全國唯一一個溫泉澡堂眷村。

張聿文提供

Curator: Chieh-sen Chiu

Artists : Tang Ya-Wen, HsuTing-Chen, Lo Wan-Yun, Wei Po-Jen, Ling Ting-Yu, Jane Yu-ting Dates: 10/27/2017 – 12/31/2017

In Beitou, after the war, there was a surge in interaction between the waves of Chinese immigrants and Taiwanese citizens; it was a multicultural fusion paired with a concurrent

discord between cultural spirits; it was a time that rose up from the ruins of war. In this

exhibition, artists employ a sociological standpoint to inspect, reconsider, and interpret the issues of nationality, ethnic groups, territorial boundaries, sentiment, and history of the modern

Taiwanese society; the works provide diverse perspectives and how the artists themselves view

國軍三軍總醫院北投分院內手術照片，眷戶工作實景。唐群提供

the unique immigrant community that is the military dependents' village. Furthermore, in these

communities rich of history and memory, the artists utilize a working process that integrates a sense of "rootedness," or regional way of understanding, with collaboration.

Taking reference from Tim Cresswell's book In Place/Out of Place , the artists investigate "fringe

places" through anthropological-geography and reinterprets the ideas of place, and examine "bioregion," a way of understanding that begins with the perspective of biological beings, and delineate the regional characteristics and sentimental state.

左起中心新村藝術總監兼策展人邱杰森、執行長張中模、北藝大講師兼藝術家涂維政老師與參與展出的藝術家羅婉云、許廷甄、湯雅雯、魏柏任、梁廷毓。

軍用大卡車。李曉軒提供

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众藝術

Zone Art

合作團隊 Cooperative Team 森嵐工作方圖 C&G Art Group 「森嵐工作方圖」由藝術家邱杰森、莫珊嵐 Margot Guillemot 所組成，是一以數位影像科技與人文脈絡進行結合的藝術創作團隊。

以數位科技作為創作的主要依據，探討科技以何種方式介入常民生活並從中提取部分元素進行創众藝術位於桃園市藝文特區，桃園長期以來是工業大縣，升格後的桃園市，放眼桃園的藝文前景，企圖引領更多藝術創作者與文化工作者進駐桃園，而成立此空間。

此空間的成立將是桃市桃園區第一間支持當代藝術發展的平台，空間的工作內容含有展演、文化自造與陶藝工作坊。

結合台灣桃園在地年輕藝術工作者與法國藝術家所組成之團隊，空間共有兩層樓，一樓作為展演、辦公空間與吧台。二樓則是會議室與陶藝工作坊。風格簡約與適合展覽的明亮調性。

經過兩年的緊密籌劃，終於在 2017 年 8 月成立。展出平面、立體、錄像、裝置、行為等以視覺藝

術為基礎的實驗藝術。展覽作品中皆以具有觀念或結合地方實驗與藝術研究，綜合以上總總成為桃園的藝文研究實驗室。

作，以及如何從無形的記憶中，如何以數位方式重建都會建築風景的可能性。並從在地性的人與景作為元素，探討新人類在科技之間交雜層疊的共活性。

C&G Art Group consists of artists Chieh-sen Chiu and Margot Guillemot. It is an art creative team focused on merging digital imaging technology with the pattern of cultural development.

Employing digital technology as the core basis of their artistic process, the team explores ways in which technology enters our daily lives, and applies this information into their process.

How does one digitally reconstruct the possibilities of the urban landscape from intangible memories? Working from the regionality of people and landscape, C&G Art Group investigates how the contemporary human coexists and interlays with technology.

2017-2018 年計畫與國內、外藝術家交流，進行藝術實驗、創作、研究等作品發表，並期許提供

文化發展與藝術創作的持續對話。除了空間內部展覽外，众藝術長期以來關注的桃仔園內的春日

山（虎頭山）、埤塘、桃林鐵道、眷村、新住民等人文自然與歷史，並偕同藝術家與文化創客們進行藝術行動與計畫，開啟與桃園舊城區與社區居民之藝術對話可能。

Zone Art is located in the arts & culture district of Taoyuan City. Historically, Taoyuan has been an important industrial county.

After the promotion of Taoyuan County into a special municipality, with a vision of its future cultural development, Zone Art was founded in an effort to encourage more arts, culture, and creative professionals to work in Taoyuan.

This art space will become the first platform in the Taoyuan City area that supports contemporary art; its focus includes

exhibition, performances, cultural creation, and workshops. Managed by a team of local young art professionals and French artists, Zone Art consist of a two level space. The first floor is dedicated to exhibitions and performances, an office area, and a

bar, while the second offers a meeting room and a ceramic studio. The interior is minimal in style and brightly lit, imparting the

采集

受控中的失控

Play

里奧諾個展（法國）

Controlled

Margot Guillemot Solo Exhibition

Collection

Leonor Scavino Solo Exhibition

（France）

ideal atmosphere for exhibitions.

After two years of intensive planning, Zone Art is set to open on August, 2017. It will exhibit experimental visual arts, sculpture, video works, installations, and performances; exhibited works will embody concepts that combine local experimentation and artistic research. Integrating the above mentioned endeavors, Zone Art will function as Taoyuan City's arts and culture research lab.

In 2017-2018, Zone Art plans to hold professional exchanges with local and international artists and publish work through artistic

experimentation, creation, and research; we hope to promote a continuous dialogue between cultural development and artistic creation. In addition to exhibitions within the art space, Zone Art has long followed the cultural, natural, and historical aspects of Taoyuan, such as the Chun Ri Mountain (Tiger Mountain), farm ponds, Tao Forest Railway, military dependents' village, and

走神

workers to conduct art activism and planning, and create the possibility of dialogue with the older parts of Taoyuan and its

王祺個展（中國）

the new immigrants. With an understanding of Taoyuan's cultural context, Zone Art will coordinate artists and cultural-creativecommunity members.

Absent-mindedness

WANG, Qi Solo Exhibition (China)

An Eruption from Being under 董欣怡個展（臺灣）

TUNG, Hsin-I Solo Exhibition (Taiwan)

莫珊嵐個展（法國） (France)

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竹圍工作室

Bamboo Curtain Studio

01 獨立策展人吳虹霏透過研究和訪談，以十個案例說明創藝連結的過程與現況。這十位藝術家 ( 團體 ) 都曾與竹圍工作室發生關係。他們分享當初的駐村經驗，也梳理出他們目前的創作方向，探討藝術進駐以及參與合作是如何影響其創作生涯，並以自身經驗說明創作中所歷經的轉折與改變，甚至讓參與其中的人們也產生了有形與無形的改變。

竹圍工作室成立於 1995 年。從創意文化出發，以關心社會永續與生態為宗旨，以服務「創藝者」

（Creative Talent）為主要任務，提供各種資源，鼓勵藝術創作展演、研究發展、文化交流等，協助創藝者以藝術行動回饋社會。透過客製化的藝術進駐服務，竹圍工作室成為台灣重要的國際文化藝術交流平台，也是藝術新秀的培育機構。

2010 年起，竹圍工作室開始與不同專業策展人、藝術家、教育者和環境專家透過藝術實踐一同檢視社會議題，例如城市永續利用、環境保育和社區關懷。

2016-2017 年進駐主題為「觸發改變的創意連結」。期以鼓勵創藝者透過『分享』、『連結』與『共創』與其他夥伴串連，激發改變社會的可能性與想像力。

Initiated in 1995, Bamboo Curtain Studio (BCS) has provided creative talents with space

and resources to encourage them in art productions, cultural mobility, R&D, and innovation to create social value in the core of ecological and environmental sustainability. With the

customized artist-in-residency services and consultation, BCS becomes the most essential

institution to conduct cultural and artist exchange programs, and to incubate the new talents in art and cultural fields in Taiwan.

Since 2010 BCS has worked with professional curators, artists, educators and environmentalists to examine social issues such as urban sustainability, environmental preservation and

community engagement via art practices. 2016 - 2017 the theme of the residency program

"Creative Collaboration as a Catalyst for Change" addresses the importance of "Sharing", "Connecting" and "Co-creating" in collaboration with different partners to foster the creative imagination and new possibilities on social issues.

Fei Wu (Hung-Fei Wu), the independent curator, conducted interviews and researches on the 10 selected artists (art groups) to elaborate how creative collaboration brings different approaches

in their creation and productions. These past BCS resident artists shared their stories on how to initiate the new ideas, how to develop the new experiments via artist-in-residency programs, and how to affect their own careers. The diverse experience of art practices and performance

not only help them jump out of comfort zone and make transit on their own works, but also

inspire the participants in the process of art engagement to twist their minds and make changes. 02

觸發改變的創意連結

Creative Collaboration as a Catalyst for Change 策展人：吳虹霏

Curdtor: WU, Hung-Fei 2016

在社子島美學會的引薦下，關渡自然公園的環境教育員和竹圍工作室的藝術家群與可愛的富安國小童軍團相遇，展開一場為期三個月的「社子探險記」。關渡自然公園以長期推行的 Project WET

水資源環境教育課程，結合竹圍工作室的藝術教育專業，帶著孩子們一起從水的角度實際觀察校園周遭，並將所看、所聽聞、所感受的一切，透過藝術手法，以他們的視角與想法，呈現出過去與現代的社子島樣貌。

竹圍工作室將會持續與關渡自然公園共同合作，進入社子島，試圖在小學、中學和成人教育的場域中，實驗一場環境教育和藝術體驗的共創計畫，思考人類與自然環境關係的體感連結。

After the introduction by Shezidao Academy of Aesthetics, the environmental educators from

校園生活秘境社子島探險記

Elementary School and developed a small program together called "Shezi Adventure" within

Our Hometown

Guandu Nature Park and the artists from Bamboo Curtain Studio met the Scout Troop of Fuan 3 months. The Project WET has been conducted by Guandu Nature Park. This is the first time

they collaborated with artists to lead children to observe the water resource in the school campus, and record the surroundings through their eyes, ears and hearts, then to transform these feeling via creative way. It encouraged them to imagine the past and the future of their hometown - Schezi, from their own perspectives.

Guandu Nature Park and Bamboo Curtain Studio will continue to deliver these collaborative

programs in elementary schools, high schools and adult education system. It tends to help the participants find out their own intimate connection with the nature. Through the courses of

environmental education and art experience on the water issue, we hope it creates a impressive experience of environmental esthetics.

Adventure Time in Shezi: Explore 2016

台灣替代空間區

Taiwan

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Sponsering Partner

心動藝術空間

Art Influence

01 「折」如同地勢的起伏 , 而堆疊的線條則記錄了我走過的路徑。這是一件在駐村計畫下完成的作品，因為當地的風景和地勢起伏使我試著找尋能跟地形有所呼應的「折」。印於紙張上的圖像看似分離

不相連 , 須要經過折才能得到完整作品 , 過程中也試著感受觀察折版畫的三種型態 : 攤平 - 折成立體狀 - 折後壓平。

「心動藝術空間」為聚雲集團旗下所屬的展覽空間，集團董事長潘芳中先生基於對藝術的熱愛，先後成立了「心晴美術館」與「心動藝術空間」。「心動藝術空間」創立的初衷在於培養國內有潛力的年輕創作者，為新銳藝術家提供一個自由揮灑的創意空間，因此對於各種藝術風格與媒材抱持開

放的態度。希望經由這個舞台，創作者能盡情地將自己的作品、創作理念展現在觀眾面前，在這個空間裡，藝術不帶有距離感，人人皆可參與。

"ART-Influence" is an exhibition space under the Influence Team. The Chairman, Wellington

Pan, spurred by his love of art, established the art galleries "Wellington Gallery" and "ARTInfluence". The founding mission of "ART-Influence" is to cultivate young artists in Taiwan,

providing a creative space for them to realize their dreams. Therefore, the art space holds an open attitude to all types of art styles and mediums. We hope to promote, appreciate

"Folds" are like the risings and fallings of a terrain while overlapping lines document my past paths. This work was completed during a residency; the local scenery and relief of the

landscape led me to search for "folds" that echo the terrain. The images printed on paper seem to be separated, but after the paper is folded, the complete work takes form. Viewers are

encouraged to feel and observe the three states of the folded etching: flattened – folded into a three-dimensional object – flattened after being folded. 02

2015

的誕生使人造生命得以成為歷史，如果說地球上的生命體被稱為自然的話，那麼這些小羊便象徵著第二自然。

Dolly is human's first successful attempt of animal cloning. Dolly later produced six lambs,

them to the audience. Art aficionados can appreciate and enjoy artworks here in this space. This

the birth of these lambs symbols "Natural 2.0."

is a place where art is tangible and welcome for everyone.

廖心瑜

Dolly 是人類史上第一隻複製動物，人類第一次成功的造物，Dolly 後來生下 6 隻小羊，這些小羊

and collect artworks without the boundaries of time and space. It is our hope to provide this

platform for the artists to fully present themselves, realize their concepts and ideas and expose

摺版畫 n° 2 Folded Etching n° 2 ﾉ

marking an important moment in human history. If life forms on Earth are seen as natural, then 03

蒐集繪畫素材時，發現離開海洋的水母群會在受限制的空間裡不斷移動，有一個圓形的箱，祂們順著那個弧不停轉圈，與時間、外在皆斷裂般地純粹移動，那個狀態十分超脫現實，卻又無限貼近庸碌前進的人生。

Dolly

陳怡如 2017

When looking for painting inspirations, I discovered that groups of jellyfish that have been

removed from the ocean would continue to move within restricted spaces, tracing the curve of the round box in a circular motion. This state of pure movement fractured from time and the external world is at the same time incredibly surreal while resembling a busy and mediocre life.

Jellyfish Ball 陳怡如 2016

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國際藝術機構

藝術到家（有限公司） Art Together (Limited) 香港 Hong Kong

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01 作品原本是希望邀請在港的印度人唱生日歌，以此歌寄予祝福，送給自己及所珍愛的一切。開始創作時，卻遇意想不到的發展。原來，對印度人以言，生日並不單單是一個自己的節日，而是一

個感恩的機會，讓他們感謝神，感恩萬物帶來生命。他們這無私的心是如此美麗，也讓我深受感動。

跟他們相處過一段時間，了解到其想法後，我決定邀請在港印度人以他們喜歡的方式，可以是歌，也可以是話語，以聲音在孟買的一個繁忙車站傳播來自遠方的祝福！「藝術到家」是民間非牟利藝術組織，於 2008 年成立，現為註冊慈善團體。我們致力在香港的戶

外或公共空間策劃藝術活動和展覽，積極地透過流動的方式去接觸不同面向的社羣，於 2009 及

2010 年我們在香港和澳門街頭進行名為《求生術》的藝術裝置巡遊丶 2013 年在牛棚藝術村外牆

舉行膠紙塗鴉計劃、 2014 年的巡遊藝術教育計劃：《尋找海岸線》，而 2015 年的《漫話鵝頸》和 2016 年的《牛角》，都是透過與地區文化歷史脈絡緊扣的藝術創作，鼓勵參與者和觀眾探索更多

的角度去欣賞身邊的人與事。2016 年的《源野生活節》，更是希望透過藝術創作拉近人與自然的距離。另外，我們也舉辦不同的藝術教育活動，和與其他亞洲藝術機構合辦交流計劃，藉以豐富香港自身的藝術語言。

Established in 2008 and currently a charitable organization, "Art Together" is a non-profit art group based in Hong Kong. We mainly work on art projects and exhibitions at outdoor area

or public space in Hong Kong, in an attempt to reach more different communities in a mobile

The concept of my project originally was to invite the Indians in Hong Kong to sing birthday

songs for the others. Unexpected development took place throughout my project though.

Indians whom I have met do not treat birthday as an occasion for individual celebration.

Instead, this day gives them a chance to be thankful to god and to the gift of life. I was deeply

moved by their generosity and learnt a lot about their culture after spending time with them. At the end, I decided to invite the Indians in Hong Kong to send their best wishes in songs or words chosen by them, to be spread out at the busy traffic hub in Bombay. 02

Depot Artist Village for tape art mural in 2013, "In Search of the Coastline" invited artists and art

removed by rapid development.

"Once Upon a Horn" in 2016 both exhibited comic art underneath flyover bridges in Hong Kong.

These art projects aim to encourage participants and visitors to explore different perspectives

to appreciate our surroundings, through connecting the districts' cultural and historical contexts with art creations. Recently,"Art Together" even try to extend such connection with

the nature, by hosting "Sustainable Festival" to celebrate arts and living for sustainability, and

also to try to learn from other Asian neighbors, by developing exchange projects with overseas art organizations.

to Mumbai 's Indians from Hong Kong's Indians

陳佩玲 Peggy CHAN 2016

嘗試感受已被發展主義掩蓋的香港歷史。

This self-portrait was carried along in the first artist parade for "In Search of the Coastline," in

students to conduct parade along the old coastline in 2014, and "Once Upon a Goose" in 2015 and

給在孟買的印度人

Happy Birthday Series: Send Wishes

這個於 2008 製作的自造像，於 2014 年參與了「尋找海岸線」的第一回巡遊，沿著已消失的海岸線，

fashion. For example: "Art for Survival" rolled out mobile art installations onto streets in Hong Kong and Macau in 2009 and 2010, "Tape Go Go" made use of the enclosing walls around Cattle

生日快樂系列：香港的印度人把祝福送

2014, in an attempt to experience the old Hong Kong that has been completely covered and 03 人類的視覺系統具有將外部世界的二維投射重構為三維世界的能力。透過眼睛，景物上下倒置的投射到視網膜上，再由大腦組織，轉化成為我們一向認知的正常世界。本作品是藝術家和觀眾的集體創作，一起用摺紙的方法摺出暗箱，並戴在頭上於草地上遊走，試圖將參加者的大腦和眼睛之間的連繫移除，讓視網膜的原本樣貌呈現予參加者，提供另類的視覺經驗。

The optical system of human beings consists of the ability to translate the 2-D projection image

from the external world to a 3-D visual. In this process, the eyes actually receive upside-down projections initially, while our brains transform this back to normal to help us understand the world.

自造像 - 尋找安全感

Self-Portrait - In Search of the Sense of Security

張嘉莉 Clara CHEUNG 2008

This art piece is a collaborative work with audience. We used origami art to make a camera

obscura for ourselves to ware to walk around, in order to allow us to disconnect our brain and eyes for another visual experience.

今日睇真 D Check It Out Today 張震揚 Martin CHEUNG

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藝術圖書館 ARTOTHÈQUE 日本 Japan

ARTOTHÈQUE 為法文之「藝術圖書館」。本空間目前為京都年青藝術家的作品網路資料庫。我們提供藝術品租借服務給機構、公司，或是個人，並接洽藝術品委託案，也幫助需要的機構或公司協調與指導藝術品的安裝。這個平台非常適

合助您改變家裡佈置，或為特定場合裝潢辦公室，並同時讓您在平常生活也能有享受藝術的時間。

Where Do We Come From? Mika Shinagawa

透過藝術圖書館，您能：．直接支持年輕新興藝術家

．增加對世界級當代藝術之認知，並更親近藝術市場

．為您未來的收藏加深對藝術品的知識與經驗。．向您有興趣的藝術家委託創作

．透過藝術與國際客戶及朋友建立更深切的關係與日本國內生產總值相比，日本市場對藝術品的需求小於全球市場的 1％。在這反常的狀態下，

若我們能增加此需求並幫助藝術系畢業生改善這困境，相信一定會為我們的文化帶來更好的未來。 ARTOTHÈQUE means "Art Library" in French. We currently operate as a web archive for the artworks of young artists based around Kyoto, and

let these artworks for lease to organisations, companies and individuals, as well as accepting commissions for artwork, co-ordination and art direction for installation from organisations and

Streaming Water and Botany Ryo Shinagawa

companies. The system is perfect for changing the layout of homes or for rearranging the office for specific needs, whilst making time for enjoying art within the everyday life. With ARTOTHÈQUE ．directly support young up-and-coming artists.

．become more informed in contemporary art that meets world standards, and be closer to the art market.

．deepen your knowledge and experience, for a future collection. ．make a commission to an artist of interest.

．create deeper relationships through at with international customers and friends. In the abnormal state of Japan where the domestic demands for art is less than 1% of global

market in comparison to the GDP, if we can expand the demands and become a help in this situation of difficulty for graduates in creating artwork, we believe that it will definitely bring a better future to our culture.

Installation view at HOTEL ANTEROOM KYOTO

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柬埔寨聲影資料庫 Bophana Audiovisual Resource Center 柬埔寨 Cambodia

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「一塊錢」短片觀影會透過「一塊錢計畫」，柬埔寨聲影資料庫希望能激勵柬埔寨和國外的年輕電影製作者，運用媒體的力量為社會正義打拼。「一塊錢」電影製作者的任務就是為每天都得辛苦為了一塊錢而奮鬥的人們製作錄製肖像，並為他們提供一個向全球觀眾發聲的媒介。 The Screening of short film series "One Dollar"

Bophana Center collects films and sound materials related to Cambodia and give the public

free digital access to this unique heritage. The center trains young Cambodians in cinema, audiovisual creation and new media, inspiring meaningful productions about their own culture.

柬埔寨聲影資料庫蒐集關於柬埔寨的影像及聲檔，並藉由數位平台免費提供給大眾。此中心為柬埔寨的年輕人提供電影、聲影創作、及新媒體的訓練，激發關於自屬文化且深富意義的作品。

With the One Dollar Project, Bophana hopes to inspire young filmmakers both in Cambodia and abroad to use the power of media for social justice. The mission of One Dollar filmmakers will be to focus their portraits on the daily lives of men and women who fight for every dollar they

make, every day, and provide them an opportunity to share their personal experiences with a global audience.

Choices in Life ﾉ Phally NGOEUM ﾉ 10 min

Home Cemetery ﾉ Phally NGOEUM ﾉ 7 min

The Destiny ﾉ Leakhena ROEUN ﾉ 7 min

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Dia Projects

越南 Vietnam

Dia Projects 是一項當代藝術的實驗，由藝術家理查•史麥特－特倫於 2010 年創建，著重於探討藝術研究和藝術實踐的交點，並作為一個討論的平台。在 2012 年，迪雅工作室開幕於胡志明市第四郡，增建了備有電動工具、材料儲藏區、和陶瓷窯的工作室，擴增了藝術創作的規模。

chairs, pots, bowls, chopsticks, paintbrushes, tubes of paint, handbags, cosmetics, etc. I then placed these cast objects outside, where they remained for months, buried deep in the soil throughout the fall and winter.

在 2015 年，如一個研究與創作必然使得之結果，Dia Projects 發起了展覽空間，作為理查•史麥特－特倫與藝術家陳清何合作之計畫和行動的展示。研究、創作，以及展覽三種空間將協力發行有力、主觀致力、且經詳細策劃的新想法，並透過刊物、展示及對話，進一步鼓動越南新生的創作可能性。

Now, 13 years later, I have decided to revisit the work. Because of the span of time since this

work was created, many of the objects I can no longer recognize. They have become a mystery, even though they used to be familiar to me. This growing disconnection creates a contrast. In

one hand, I keep returning to my memories, trying to recall the details. But on the other hand, I slowly except the fading of my memory.

Dia Projects 為亞洲藝術空間聯網（Asian Arts Space Network）之特許會員。

02 獨立宣言 – 絲繭計劃 Declarations of Independence – Silk Cocoons Project

Dia Projects is a contemporary art experiment established in 2010 by artist Richard StreitmatterTran to examine the intersections of artistic research, the artist's practice, and a conduit for conversations. In 2012, Dia Studio warehouse was opened in District 4 to extend art production capacity in a workshop equipped with power equipment, supply storage and a ceramic kiln.

透過概念上及實際上，綠橙將語言的縫隙撐破，並把每句話分裂至組成它的字，此行為越過造句者的意圖並專注於這些字體的真實意義及影響。如果語言構成我們的思想，她即是用一把大錘將它點開，基進、異議的理念以輕柔、愛國的型式呈現。她將殖民者的語言與自身的語言混合：組

In 2015, Dia Projects launched as the logical conclusion to research and production - an exhibition space for a series of projects and initiatives co-founded with Tran Thanh Ha. The triad of research, production and exhibition spaces will work in concert to deliver what will be strong, subjectively invested curated executions of ideas that will be realized in publications, displays and dialogues further invigorating the nascent creative possibilities within Vietnam.

成越南語和法文、越南語和日文兩種版本的胡志明 1945 獨立宣言，中文、越南語、及越南華語版本的十世紀古詩「南國山河」。透過解構並分割以自由之名煽動戰爭的言語，綠橙使它們沈默並回

Cam Xanh deconstructs language as she physically and conceptually breaks open its gaps. Each sentence is dissected into its component words, whilst the act of doing so looks past

authorial intent to see the true significance and consequences of what is being said. If language

structures our minds, she is using a sledgehammer to kiss them open—radical, dissenting ideas presented with a delicate, patriotic touch. She takes the languages of her colonizers, and mixes it with her own: Vietnamese & French and Vietnamese & Japanese versions of Ho Chi Minh's

所內的許多物品，包括我的電視、沙發、桌子、椅子、鍋子、碗、筷子、畫筆、顏料管、手提包、

1945 declaration; Chinese & Vietnamese & Chinese-Vietnamese for the 10th century poem Nam

化妝品、等。我把這些紙模型置放在戶外數月，好讓它們被冬雪埋沒。

Quốc Sơn Hà (Mountains and Rivers of the Southern Country). By dismembering speeches used to incite war in the name of liberation she restores peace by silencing them. As physical objects

現在十三年過後，我決定重新探討這件作品。因為過了這麼一段時間，很多的物品我已經不認得

items that had a lot of personal value, I had to leave behind. I decide to use Dó paper to cast

various objects from around my apartment. These objects included my television, sofa, table,

plexiglass box ﾉ A1 x 10 cm ﾉ 2015

密分析後解脫了一切謊言及政治宣傳之煽動。

辦法一起帶回去，甚至是富有許多私人情感的物品也得留下。我便決定以手工紙為模材複製我居

to Vietnam. I realized I couldn't bring most of my possessions back to Vietnam with me. Even

Marker on silk cocoons in wooden and

盒子與字即變成牢獄，就像繭的安全卻變成蠶的牢籠。綠橙的作品是種個人自由的煽動，透過細

2004 年，我開始了「家」的創作，那時我住在美國且正準備搬回越南。我發現大部分的家當都沒

In 2004, I started the work "Home". At that time, I lived in the USA and was about to moved back

(Vietnamese/French version)

Cam Xanh ﾉ

那強壯、堅實的存在變成了存在性的反抗。但製作了盒子的同時我們也被鼓勵向盒子外思考。這

01 家 Home

一方面，我不斷地回溯我的記憶，試著回想它們的細節，另一方面，我慢慢地接受了我記憶的淡化。

Vietnam, 1945, Ba Dinh, Hanoi

復和平。作為實體物件，此作品涵納了這脆弱、緊張的的寧靜，緊繃的木框捉住了下墜中的繭。

Dia Projects is a proud charter member of the Asian Arts Space Network.

了，它們變成了一個個謎，儘管我曾經對它們很熟悉。這不斷成長的分離感變成了一種對比：在

Declaration of Independence of

the works embody the fragile tension of this quiet, their taught wooden frames capture the Home

Le Hien Minh ﾉ

Vietnamese Handmade Dó Paper, Dry Powder Pigment ﾉ 2004

cocoons suspended in fall. Their strong, solid presence becomes an existential act of resistance.

Vietnam's First Declaration of

become prisons, just like the safety of the cocoon became a trap for the silkworm. Cam Xanh's

Cam Xanh ﾉ

However, in creating a box we are encouraged to think outside of it; the boxes and words in turn works are instead an incitement to personal freedom, one that has rid itself of deception and propaganda through critical inquisition.

Independence

Marker on silk cocoons in wooden and plexiglass box ﾉ 50 x 10 x 10 cm ﾉ 2015

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Gallery TURNAROUND 日本 Japan

I Have Something to Talk to You

「Gallery TURNAROUND」是位於日本仙台的當代藝術畫廊。自 2010 年起，致力於為藝術家提供

Sasa Shun ﾉ

一處能自由實驗及對抗社會議題的展演空間。

HD16min ﾉ 2016

"Gallery TURNAROUND" is a contemporary art gallery in Sendai JAPAN, since 2010. The gallery

aims at providing exhibition space for artists doing experiments freely to fight social issues as an artist.

Fix, Restoration 2015 -

After The Gold Rush

Fumiaki Aono ﾉ

Acrylic on Canvas Mounted on Board ﾉ

fragments of the alarm clock collected in Arahama Watari after the disaster. Collected item, Plywood, Acrylic, Others. (Mixed Media) ﾉ 200 x 100 x 30 mm ﾉ 2015

Shinpey Ozaki ﾉ

462 x 662 x 40 mm ﾉ 2014

APE TOPE (Kota Nakasato/Kinya Sekimoto) DJ Performance. 30 min

Color of the Opposite Shore

Horobinai ~Never Perish~ , Shinzui-7 ~Quintessence-7~

Acrylic and Gofun on Canvas ﾉ

Marker, Synthetic fiber knitted fabric (Trois), Polyester cotton, Wood panel. ﾉ

Sonoko Sakurai ﾉ

F100 (1,620 x 1,300 x 60 mm) ﾉ 2015

Shin Asakura ﾉ

870 x 700 x 100 mm ﾉ 2017

International

388

國際藝術機構

389

OpenSpace Bae 韓國 Korea

OpenSpace Bae 致力於成為當代藝術的通路，並即時的反映出藝術的迅速變化。透過發展一套嶄

我們的藝術進駐計畫，藉由支持藝術家的想像力及實驗，幫助他們拓展當代藝術的視野。此外，

我的作品由我想面對，但不存在的虛擬情境的真實影像（照片）所引導，從平面（照片）起，製造

新的展覽系統以及迎接當代藝術的新議題，本空間旨在為藝術家提供展出的空間及機會。特別是

我們多元的支援計劃也將製造出新機會，幫助我們尋覓可望的年輕藝術家並鼓勵另類的實驗展覽。基本上，我們想支持著重於藝術實驗或實驗性概念的非營利計劃。OpenSpace Bae 適合想跳脫白

盒子式及制度式框架、並追求真實的藝術自由的藝術家。它將成為一個全國藝術家、策展人、與評論家的交流平台，以及交換實質資訊和創立穩固聯網的媒介。

The goal of Openspace bae is to be a path to contemporary art world, which reflects actively

and promptly the rapid change of art. By developing a new system of exhibition and embracing

new issues of contemporary art, we aim to provide the artists with space and chance to present their art. Especially, our Artist-in-Residence program will help them to draw a new vision of contemporary art by supporting their artistic imagination and experiments. Also, our various support programs will create an opportunity to find promising young artists and to invite

experimental exhibitions in alternative forms. Basically, we would like to support non-profit

projects with an emphasis on artistic experiments or experimental ideas. Openspace Bae is a space for those who wish to break away from white cubes and the institutional framework for

the sake of true freedom of art. It will be a platform of communication for artists, curators and

critics from across the country, where they can exchange substantial information and construct a steady network.

出一處三維空間，再將它導回平面（畫）。

剪貼的圖片以畫圖的方式附加在油畫上，雕塑是虛構的，並透過它的表面的實質性以製造現實。雕塑創造出的場景同時也是繪畫的素材，並也是有意包含在畫內的。

這些物體想製造的情景有證明物品的實體不存在的失落感，也有想立即與失落的物品會面的希望，好比硬幣兩面般的不同。這是一個時間與空間層次被整合為一的地方，並有許多未完成的現實，透過想像來來去去。

飛機跑道 Airstrip

My work is directed by utilizing real images (photographs) of virtual scenes that I would like to

2016

face but do not exist. Starting from a plane (photo), a three-dimensional space is created, and

Suyeon KIM ﾉ

then it is moved back to a plane (painting).

Attachments created by cutting and pasting pictures act like drawing prior to painting. The

sculptures are fictional to reproduce reality, yet another reality with materiality, and the scenes

that are unfolded at the same time are the object of still life - which is intended to be included in my paintings.

The scenes they want to make have both the feeling of loss caused by proving the absence of

objects and the desire for hope that they immediately meet the lost object as if they were both

01 「遷移」和「轉移的負擔」是我長期在意的議題。在台北駐村期間，我再次適應了搬移與定居的狀態。 The topics that I am constantly interested in are 'migration' and 'the burden from this shift'. During the residency period in Taipei, I adapt myself to the situation of moving and settling down once again.

sides of the coin. It is a place where the layers of various time and space are integrated into one place, and there are a myriad of unfinished versions of reality that can come and go from imagination. 03 與在線上遊戲內創造角色相似的手法，我利用普通人的臉部特徵來重組出名人的臉，以此神話普通

人。這些人的原身份被這些有名的臉淡化，同時也讓名人的「作秀」顯得更荒唐。因此，這組合打散了政治與文化的氛圍，更轉化成個人身份及價值的探討。貨物計劃：不知自己為何的物品的等待

Cargo Project, The Wait Among the Things Who Do Not Know What They Are Taeyeon KIM 2015

It is similar to the characters creating in online role playing games. By re-combining my portraitures from ordinary people's facial features, I bestowed them mythology.

—Those

people's original social identities were desalinated by those famous figures. And those figures'

盧武鉉 노무현 Roh moo-hyun

combination. It became a farther inquiring of individual identity and values.

2017

"acting" became more absurd. Thus, the atmosphere of politics and culture was dispelled by this

Zhang WEI

International

國際藝術機構

Run Amok Gallery 冉阿末畫廊

馬來西亞 Malaysia

390

391

近期來，冉阿末從具有實體空間的策展與藝術團隊轉型為一個移動式團隊。本展以彙整檔案的模

式來幫助我們思考過去的計劃、編制新的工作策略、並向其它現存的典範學習。不論有無一個實體空間，冉阿末將繼續探討我們在藝術生態裡能扮演的角色。

Run Amok has recently gone through a transition from being a curatorial and art collective with a physical infrastructure to being a mobile collective. This installation intends to put together

an archive in helping us to reflect on the projects we have produced, formulate new working 冉阿末畫廊位於馬來西亞檳城州喬治市，於 2013 年由符芳俊及已故的特雷弗•漢普森所創立，現

今由廖貴輝、郭靜潔、哈桑•蘇伊勒•伊德里斯，泰特里亞娜•艾哈邁德法茲、和符芳俊所組成的藝術家團隊經營。

此空間的主要目的為創造藝術和文化活動，以此為視覺藝術展覽的基礎型態，並附加輔助的計畫。冉阿末致力於在現存地區藝術空間為求豐富藝術社群的合作關係下，作為一處替代的窗口。

透過一種能與當代地區及平日經驗產生共鳴的語言，冉阿末與地區的藝術及文化工作者協力，一同反應現存的社會政治狀態並修正歷史。

Run Amok (RA) is an art gallery in George Town, Penang, Malaysia. Founded in 2013 by Hoo Fan Chon and the late Trevor Hampson, RA is now run as an art collective by Liew Kwai Fei, Minstrel Kuik, Hasanul Isyraf Idris, Tetriana Ahmed Fauzi and Hoo Fan Chon.

Our main objective is to produce art and cultural events, which underlines the format of visual art

exhibition supported by ancillary programmes. RA seeks to position itself as an alternative outlet within the existing regional art symbiosis in building a diverse art community.

RA collaborates with local/regional art and cultural practitioners to revision the histories by

responding to the current socio-political conditions through a language that is relevant to contemporary locality and everyday experiences.

strategy, and learn from other existing models. With or without a physical infrastructure, we shall explore the roles we can play within the art ecosystem.

APPENDIX 附錄

394

395

執行團隊 Executive Team

實習生 Intern

理事長 Chairman

沈湘芸 SHEN, Siang-Yun、冼杰欣 SIAN, Jie-Sin、林婷毅 LIN, Ting-Yi、邱啟勛 CIOU, Ci-Syun、

陳文祥 CHEN, Wen-Hsiang 總策劃 Executive Director 陳小雜 CHEN, Hsiau-Tsa

專案經理 Project Manager 楊雅筑 YANG, Ya-Chu 計畫顧問 Consultant 胡永芬 HU, Yung-Fen

主題策展區 Curatorial Projects

策展人 Curator ｜李依樺 LEE, I-Hua、邱俊達 Yves Chun-Ta CHIU 展場執行 Installation Executive ｜楊雅筑 YANG, Ya-Chu

石欣平 SHIH, Sin-Ping、李思 LI, Sih、李悅寧 LI, Yue-Ning、李悅寧 LI, Yue-Ning、

施佩汝 SHIH, Pei-Ru、張捷 JHANG, Jie、張捷 JHANG, Jie、陳羿涵 CHEN, Yi-Han、陳苑庭 Amber CHEN、陶廣君 TAO, Guang-Jyun、馮昀婕 FONG, Yun-Jie、

黃心柔 HUANG, Sin-Rou、黃昭友 HUANG, Jhao-You、劉佳玟 LIOU, Jia-Wen、

潘筱璇 PAN, Siao-Syuan、謝佳瑜 SIE, Jia-Yu 志工 Volunteer

王柏為 WANG, Bo-Wei、史千容 SHIH, Cian-Rong、吳介祥 WU, Chieh-Hsiang、呂沂瑾 LYU, Yi-Jin、李鈞如 LI, Jyun-Ru、周郁書 JHOU, Yu-Shu、周楷倫 JHOU, Kai-Lun、林郁庭 LIN, Yu-Ting、林雅青 LIN, Ya-Cing、林鳳璽 LIN, Fong-Si、胡永芬 HU, Yung-Fen、胡朝聖 Sean C.S. Hu、

翁子蔓 WONG, Zih-Man、翁佳貝 WONG, Jia-Bei、許雅晴 SYU,Ya-Cing、郭家程 GUO, Jia-Cheng、陳小琪 CHEN, Siao-Ci、陳玠綸 CHEN, Jie-Lun、曾品諺 ZENG, Pin-Yan、楊佩燕 YANG, Pei-Yan、

楊季純 YANG, Ji-Chun、楊芷妤 YANG, Jhih-Yu、楊曉萱 YANG, Siao-Syuan、劉天皓 LIOU, Tian-Hao、

蔡振寧 CAI, Jhen-Ning、駱麗真 HU, Yung-Fen、謝筱婕 SIE, Siao-Jie、顏妤芯 YAN, Yu-Sin

影展區 Video Works Cinema

策展人 Curator ｜黃香凝 HUANG, Hsiang-Ning、鴻鴻 Hung Hung 展場執行 Installation Executive ｜楊雅筑 YANG, Ya-Chu

投影技術 Screening Specialist ｜王永廷 Herman WANG 台灣當代藝術資料庫 Taiwan Contemporary Art Archive (TCAA) 專案經理 Project Manager ｜金詩怡 JIN, Shi-Yi

視盟第十一屆理監事 AVAT 11th Board Members 理事長 Chairman

陳文祥 CHEN, Wen-Hsiang 副理事長 Vice-Chairmen

策展人 Curator ｜蔡秉儒 TSAI, Ping-Ju

簡子傑 CHIEN,Tzu-Chieh、蘇瑤華 SU, Yao-Hua

藝術平權展區 Art Equality

陳擎耀 CHEN, Ching-Yao、賴香伶 LAI, Hsiang-Lin

展場執行 Installation Executive ｜葉昱伶 Yeh, Yu-Ling 圓創藝術有限公司 Ciriginal Art Ltd.

創作計畫展區 Open Call For Art Projects

展場執行 Installation Executive ｜蔡秉儒 TSAI, Ping-Ju、賴佩君 LAI, Pei-Chun 台灣及國際替代／另類空間區 Taiwan & International Art Space 國際聯繫 International Contact ｜楊雅筑 YANG, Ya-Chu 空間設計 Spatial Design 陳小雜 CHEN, Hsiau-Tsa

視覺設計 Graphic Design

魏妏如 WEI, Wen-Ru、陳彥如 CHEN, Yan-Ru 公關發展 PR Development

陳小雜 CHEN, Hsiau-Tsa、金詩怡 JIN, Shi-Yi 運輸合作 Art Transportation

翔輝運通有限公司 Sunway Express Company Limited 圓創藝術有限公司 Ciriginal Art Ltd.

常務理事 Executive Board Members 理事 Board Members

王鼎曄 WANG, Ding-Yeh、何孟娟 Isa Ho、

吳尚邕 WU, Shang-Yung、張玉音 CHANG, Yu-Yin、

CHANG, Chang, Yu-Han、黃琬玲 HUANG, Wan-Ling、常陵 CHANG-Ling、楊茂林 YANG, Mao-Lin、賴依欣 Nicole Yi-Hsin LAI、蘇匯宇 SU, Hui-Yu 常務監事 Executive Auditor 莊普 TSONG Pu 監事 Auditors

陸先銘 LU, Hsien-Ming、張美陵 CHANG, May-Ling、黃逸民 HUANG, Yi-Min、董心如 TUNG, Shin-Ru

視盟第十一屆祕書處 AVAT 11th Secretariat (2017) 秘書長 Secretary-General 陳小雜 CHEN, Hsiau-Tsa

執行秘書 Executive Secretary

金詩怡 JIN, Shi-Yi、楊雅筑 YANG, Ya-Chu、賴佩君 LAI, Pei-Chun 助理 Assistant

葉昱伶 YEH, Yu-Ling、蔡秉儒 TSAI, Ping-Ju

發行所 Published by

社團法人台灣視覺藝術協會 Association of the Visual Arts in Taiwan

台灣當代一年展專刊• 2017 ／陳小雜主編• ――初版

發行人 Publisher

432 面；17 x 22 公分

陳文祥 CHEN, Wen-Hsiang 主編 Chief Editor

陳小雜 CHEN, Hsiau-Tsa

• ――臺北市：台灣視覺藝術協會，2017.09 ISBN 978-986-94336-1-7( 精裝 ) 1. 美術 2. 視覺藝術 3. 作品集

902.33 106015385

執行編輯 Executive Editor

楊雅筑 YANG, Ya-Chu、金詩怡 JIN, Shi-Yi、賴佩君 LAI, Pei-Chun、蔡秉儒 TSAI, Ping-Ju、葉昱伶 YEH,Yu-Ling 美術設計 Graphic Design

陳彥如 CHEN, Yan-Ru、魏妏如 WEI, Wen-Ru 出版者 Publisher

社團法人台灣視覺藝術協會 Association of the Visual Arts in Taiwan 出版日期 Publishing Date 2017 年 9 月

印刷 Printer

崎威彩藝有限公司 Qiwei Color Arts company 定價 Price

新台幣 500 元社團法人台灣視覺藝術協會

Association of the Visual Arts in Taiwan

10460 臺北市中山區新生北路三段 82 號 B1

B1, No.82, Sec. 3, Xinsheng N. Rd., Zhongshan Dist., Taipei City 104, Taiwan

電話 Tel │ 02-2585-7600

傳真 Fax │ 02-2585-7679

地址 Add │臺北市中山區新生北路三段 82 號 B1 服務信箱 E-mail │ twannual@gmail.com

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合作單位

從藝術家到空間經營者，從本土培養皿到國際交流結點︙︙

非常廟藝文空間︵ VT Artsalon ，簡稱︶從年的藝術家團 VT 1997 體，演變到於 2006 年成立 VT 的藝文空間至今，始終以作為台灣當代藝術的﹁培養皿﹂與﹁交流平台﹂為己志，據此信念挖掘台灣當代藝術創作展演的活力，並且也積極開展與國際間的串聯交流。本書以 VT 發展的歷史作為觀察台灣當代藝術發展歷史的樣本，三篇專文以 VT 團體到空間營運的時程為切入點，觀察 VT 運作方向上的特色、變化及其時代意義。另外，也詳盡網羅了 VT 發起成員的訪談心得，以及歷年重要事件與精選展覽。

VERY

非常時期：台灣當代藝術與非常廟藝文空間

PERIOD

TAIWANESE CONTEMPORARY ART AND V T ART SALON

策劃 / 非常廟藝文空間

出版者 / 田園城市文化事業有限公司

ISBN / 978-986v-93315-9-3176 頁 / 平裝 / 出版日期：2017.9 定價 / 360 元各大通路皆有販售

請洽 VT Artsalon 非常廟藝文空間 E-MAIL：info@vtartsalon.com TEL：02-2597-2525 銀行：台灣銀行（代碼 004，圓山分行）戶名：非常廟股份有限公司帳號：1240-0101-7941

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