2018台灣當代一年展 by avat-art

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理事長序 Words from the Chairman 關於台灣當代一年展 About TAIWAN ANNUAL 主題策展區 Curatorial Projects

綠野仙蹤 Fairy Trail of the Green Wilderness

掐出一個奧伯斯佯謬，再者，從一個點到另一個點，不是一條直線，最後把我們攪拌在一起。 Pinch and pick up an Olbers' paradox, then, from one point to another, it isn't a straight line, and in the end, it mixes us all together.

徵件區 Open Call

藝術平權區 Art Equality

創作計畫區 Art Project Proposals

機構邀請 Invited Space and Group

台灣替代空間／藝術團體 Taiwan Alternative Art Space / Art Group 國際當代藝術空間 International Contemporary Art Space

附錄 Appendix

藝術家索引 Artist Index 展區平面圖 Floor Plan

2018 台灣當代一年展執行團隊 2018 TAIWAN ANNUAL Executive Team

理事長序本年度「台灣當代一年展（後簡稱「一年展」）」仍接力過去「台灣藝術家博覽會」一貫精神，秉

持藝術平權概念，提供展位給個體藝術家自主展出機會。何謂藝術平權？是指無論性別、族群、階級、年齡⋯⋯等不同的藝術家都能有平等參與展出的機會；或是指更重要的，藝術家的價值由誰來認定？誰能決定你能參展或不能參展？是藝術評論家、教授、策展人、館長或畫廊老闆？答案都不是，多年來我們一直努力追求實現的是一種回歸以藝術家為主體的概念，沒有評審、沒有篩選，嘗試讓藝術家自我認定自己的藝術價值，並自主決定自己參展之可能性。

今年的「主題策展區」將以兩個主題作呈現，第一個主題——「綠野仙蹤」以靜態影像創作為

主，它與相對於平面繪畫及裝置創作而顯得格外獨立的第二個主題——「掐出一個奧伯斯佯謬，再者，從一個點到另一個點，不是一條直線，最後把我們攪拌在一起。」則因同質媒體效

應自然而然互相牽引，凝聚成一個吸睛耀眼的「新媒體區」，這個巧遇或許將為今年一年展意外增添一股新的視覺面貌，顯現一年展多元實驗性的面向。

此外，結合視盟 2018 年「視覺藝術全青年學校」及「亞洲認識論西移——西亞南亞獨立藝術空

間探查」兩大年度計畫，將部分活動的實踐及發表，整合至台灣當代一年展國際展演平台當中；同時，也接續過往積極串連城市文化，響應今年度的白晝之夜，運用行銷連動產生的動能，共享個別既有觀眾，也吸引、培養更多潛在觀展族群，加增一年展整體豐富度及可看性。

其中，以「視覺藝術全青年學校」作為培育青年藝術家平台，與一年展「創作計畫區」徵件合作，策劃推動優秀青年藝術家甄選，主動媒合、提供藝術家台灣替代空間個展合約，期望能幫助優

秀青年藝術家獲得他們創作生涯中，進入藝術社群、初試啼聲的正式個展經驗。除藝術家培育

之外，亦透過一年展舉辦「工作進修補助計畫」，以全程參與實踐大型展覽執行的方式，擴大一年展服務面向，積極培植青年專業藝術行政人才。

自 2015 年起，視盟為引介更多元、更國際的藝術文化交流，廣邀東南亞、東北亞替代空間、

藝術團體參與交流展出，本年度透過視盟「亞洲認識論西移——西亞南亞獨立藝術空間探查」計畫，邀請到 Back ART Foundation（孟加拉／達卡）、Britto Arts Trust（孟加拉／達卡）、 LASANAA @ NexUs（尼泊爾／拉利特普爾）、NIV ART CENTRE（印度／新德里）、Sazmanab

（伊朗／德黑蘭）、TIFA Working Studios（印度／浦那）及 Va Space（伊朗／伊斯法罕），總計七個西亞南亞地區的藝術空間，前來參加一年展的國際交流展出。這些聽起來既陌生又遙遠的

國度，由於種族文化、人文地理、宗教信仰、生活習慣等差異，他們的當代藝術會呈現怎樣的面貌，令人好奇；而他們又會透過展出、參訪與沙龍對話⋯⋯等活動，與台灣當代藝術／藝術家們碰撞出什麼樣的火花呢？值得大家關注與期待！

社團法人台灣視覺藝術協會理事長

Words from the Chairman 2018 TAIWAN ANNUAL continues the spirit of the previous Artist Fair Taiwan: we maintain the idea of equal artistic access, providing spaces and opportunities for individual artists to exhibit their works. What is equal artistic access about? It is that regardless of

gender, ethnicity, social class, age, and etc., all artists have equal opportunity to be exposed. Or, more importantly, it questions that

who gets to decide the value of artists? Who gets to decide whether one's work can or cannot be included in an exhibition? Should it be art critics, professors, curators, museum directors, or gallery owners? None of the above. For many years, we have continuously

endeavored to return the authority back to artists. As an art exhibition that has no jury nor selection process, we try to encourage artists to determine their own artistic value and possibilities of exhibiting.

This year, we have two curatorial projects: Fairy Trail of the Green Wilderness consists mainly of still image works; the other project,

Pinch and pick up an Olbers' Paradox, then, from one point to another, it isn't a straight line, and in the end, it mixes us all together. ,

on the other hand, seems particularly separated from the other areas of paintings and installations. The similarity in media naturally

entangles and affects each of the two projects, fusing into a brilliant and eye-catching new media section. This chance encounter may add a new visual identity to the Taiwan Annual, revealing its multifaceted and experimental nature.

Additionally, we integrate the practices and presentations of two major programs of the Association of the Visual Arts in Taiwan

(AVAT) this year, the Art School for Youth and Asia Epistemology Westward Drift – Research on Independent Art Spaces in West and

South Asia , into the international exhibition platform of 2018 Taiwan Annual. Meanwhile, as part of the driving force that shapes our city culture, Taiwan Annual actively synergizes with Nuit Blanche Taipei: we share our existing audiences, attract and evoke potential exhibition goers. All these increase 2018 Taiwan Annual's richness and attraction.

The Art School for Youth serves as a platform for discovering young artists. Collaborating with Taiwan Annual's Art Project Proposals

area, we facilitate the selection of talented young artists as well as proactively offer and match opportunities in Taiwanese alternative spaces. As these artists enter the art community, we hope to help them obtain their first formal solo exhibition experience in their

creative career. Besides the cultivation of artists, we also launch the Work and Advanced Study Grant Project alongside Taiwan

Annual, allowing grantees to participate in all stages of realizing a large-scale exhibition. We expand Taiwan Annual's service area and eagerly develop young talent in the field of art administration.

Since 2015, under the goal of bringing in and diversifying international exchanges of art and culture, AVAT has broadly invited art spaces and art groups from Southeast and Northeast Asia to exhibit. This year, through AVAT's Asia Epistemology Westward Drift –

Research on Independent Art Spaces in West and South Asia project, we invite Back ART Foundation (Dhaka, Bangladesh), Britto Arts

Trust (Dhaka, Bangladesh)、LASANAA @ NexUs (Lalitpur, Nepal), NIV ART CENTRE (New Delhi, India), Sazmanab (Tehran, Iran), TIFA

Working Studios (Pune, India), and Va Space (Isfahan, Iran), a total of seven art spaces to attend 2018 Taiwan Annual's international

exhibition. These foreign countries, unfamiliar and distanced for Taiwanese audience, are different from us in ethnicity, culture, human geography, religious beliefs, and life styles. What does contemporary art look like in these places? And what will happen when their artists interact with Taiwanese artists in the exhibition, site-visiting, and salon? We await everyone's attention and participation!

Chairman of Association of the Visual Arts in Taiwan

CHEN Wen-Hsiang

關於台灣當代一年展由「社團法人台灣視覺藝術協會」（簡稱「視盟」）主辦的「台灣藝術家博覽會」（簡稱「視

盟藝博」），自 2002 年創辦起，每年皆不斷自我挑戰、嘗試不同的展出內容與形式。2010

年，視盟首度踏出台北，更於隔年以巡迴展的方式，先後將視盟藝博帶到高雄、台中、台

南等城市，提供台灣藝文觀眾更為親近方便的參與形式；除此之外，也試圖在不同場地展現不同的面貌，陸續於各地文化創意園區、博物館、百貨公司等跨域空間登場，希望藉此讓創作者及觀眾展開新的對話可能。

邁入第十五屆的 2016 年，視盟為能更貼近當代潮流，也希冀與所謂「藝術博覽會」做出區隔，選擇與國際藝術展會經常使用之雙年展、三年展彼此呼應，將「視盟藝博」更名為

「台灣當代一年展 TAIWAN ANNUAL」（簡稱「一年展」），自此，視盟藝博不僅突破地理位置與場域的限制，於展出邏輯上也能與當代產生更深刻的關係。

接續上述展覽形式的轉化與改變，近年的一年展也努力創造與其他藝文活動的鏈結，例如

與中山區藝術造街計畫「中山好融異」、台北國際藝術村的「混種現場」藝術季等大型活動進行串聯，今年更加入由台北市政府主辦的「白晝之夜」，兩場藝術盛會的聯動，絕對是

令大家引頸期盼的合作。同時，展覽也延續視盟重視藝術推廣的精神，舉辦各式國際藝術

沙龍、講座、工作坊等活動，其中不乏親子同樂的內容，盼能拉近與各年齡層民眾的距離。為因應更多元的創作與展出需求，一年展在展覽內容上也不斷推陳出新。2015 年始設立的「創作計畫」徵件，以不拘形式、更無設限的展出樣態為訴求，召集天馬行空的當代藝

術創作，期許能激發更多的想像與碰撞；同樣地，2018 年邁入第三屆的台灣當代一年展，

也將延續這項計畫，且承襲視盟藝博時代以來的「藝術平權」傳統，持續提供藝術家開放的展覽平台，並以這兩個計畫作為徵件展覽的核心。

其他還規劃有「主題策展區」、「台灣替代空間／藝術團體」及「國際當代藝術空間」：今年的「主題策展區」邀請到兩位經歷豐富的策展人，從策展論述到作品呈現，以專業策展視角為觀眾帶來完整的觀展體驗 ; 國內外藝術替代空間展區除了邀請往年深耕的東亞地區機

構參展，今年更結合視盟的「西亞南亞交流計畫」，力邀來自西亞南亞國家的機構／空間，探索台灣在國際交流上相對陌生的疆域，以一年展為契機，搭建彼此觸碰及認識的橋樑。

在台灣藝術活動愈漸繁盛的現在，已走過 17 個年頭的視盟藝博／一年展，本著致力為藝

術家服務的精神，以及廣納多元創作形式的胸襟，是使它歷久彌新的原因。未來視盟也將繼續探索各類型的藝術表現，不忘尋求與所處環境的連結，無論外在環境如何變遷，唯有初衷不變。

About TAIWAN ANNUAL Since its inception in 2002, Artist Fair Taiwan, hosted by the Association of the Visual Arts in Taiwan (AVAT), has challenged itself by presenting various contents in different forms each year. In 2010, AVAT made its first foray out of Taipei, bringing the fair to cities such

as Kaohsiung, Taichung and Tainan in the form of touring exhibition, offering visual art audiences around Taiwan a more convenient manner to enjoy artworks. AVAT also attempted to present a different outlook for each distinct venue, siting among multipurpose

spaces such as cultural parks, museums, and department stores, in order to spark novel conversations between the artists and the audience.

2016 marked the 15th occasion of the event, and in a pursuit to be closer to the contemporary zeitgeist and distinguish itself from the so called "art expositions", AVAT chose to follow the biennial, triennial convention commonly practiced by international art festivals, renaming the event TAIWAN ANNUAL. The rename marked a takeoff for the AVAT event, not just geographically from the confines of the venues, but to establish a higher, deeper logical connection with the contemporary.

In addition to the aforementioned transformation and changes to the form of exhibition, Taiwan Annual in recent years has built up close links to other artistic activities, such as the Zhongshan Hao Rong Yi street art project, and the On Site art festival at Taipei Artist Village. This year, Taiwan Annual will echo with Nuit Blanche Taipei organized by Taipei City Government. The encounter of these

two art feasts is a promising occasion that we all look forward to. In the meantime, the exhibition sticks to AVAT's goal of promoting

art: events such as international salons, lectures and workshops will be hosted, as well as family-friendly programs that allows us to welcome audiences of all ages.

In response to more diverse creative needs, Taiwan Annual has been continuously bringing forth new contents into the exhibition. Starting in 2015, Taiwan Annual launched Art Project Proposals, an open call without any preconceived style or form, seeking

inspiration, imagination and collisions from unrestrained contemporary art creations. The 3rd Taiwan Annual in 2018 will carry on

the tradition of the other open call project, Art Equality, from the previous Artist Fair Taiwan era. Together with Art Project Proposals, these two projects form the core of the exhibition, continue to provide artists with an open exhibition platform.

The rest of the exhibition is divided into three main areas: two Curatorial Projects, Taiwan Alternative Art Space / Art Group and International Contemporary Art Space. For Curatorial Projects, AVAT invited experienced curators to introduce a professional

curatorial perspective to the audience. From curatorial narratives to presentation of works, the audience will have an opportunity to fully experience the curator's singular point of view. As for Taiwan Alternative Art Space and International Contemporary Art Space, besides East-Asian art spaces exposed in past years, 2018 Taiwan Annual collaborates with AVAT's international project to invite

art spaces from West Asia and South Asia. The exploration of a relatively unfamiliar territory for Taiwan's international exchange programs builds up a bridge of understanding and communication for the future.

It has been 17 years since AVAT started the Artist Fair Taiwan / Taiwan Annual. In a flourishing era of Taiwan's art activities, AVAT stays

at its leading position with its aim of providing service to artists and its capability to acknowledge and accept diverse creative forms. In the future, AVAT will keep encouraging the experimentation of all genres of artistic expressions, and maintaining connections with the surrounding environment. Irrespective of how the exterior environment may have changed, the original intention we have made known remains.

CURATORIAL PROJECTS 主題策展區

綠野仙蹤

Fairy Trail of the Green Wilderness

台灣在 16 世紀被葡萄牙水手稱為「Formosa（美麗的小島）」；歷經 5 個世紀的滄海桑田、物換星移，台灣被 21 世紀的新世代人類稱為「鬼島」。

究竟我們身在何處？彷彿是我們被一陣颶風吹走，捲入半空中，落地之後

發現身處奇幻異地：「我有一種感覺，我們已經不在台灣了。」我們嚮往

「彩虹之上的某個地方，藍鳥飛翔」（Somewhere over the rainbow, Blue

birds fly），渴望逃脫絕望的混亂或悲傷、走向嶄新的世界「彩虹的彼端」。

藝術家 ARTISTS

吳政璋 WU Cheng-Chang 施寶駒 Paul SHIH

張哲榕 Sim CHANG

張譯云 CHANG Yi-Yun

曾義欽 Marbury TZENG

韓志翔 HAN Chih-Hsiang 顏鵬峻 YEN Peng-Chun

因此將理想的烏托邦，寄託於幻想，在現實生活裏，我們不斷地生產到處可見的人造動物、山水、神仙與魔怪。

我們製造出各種綠意假象，因為很少看到「綠野」，更多的是環境生態污染使我們怵目驚心；我們製造出各種神仙化身，因為無處覓得「仙蹤」，更多

的是社會怪奇荒誕使我們疏離焦慮。無論是寶島或鬼島、真實或幻象，我

們盡力從這怪力亂神的台灣社會景觀，從這切身感受的「異境」、「異己」狀態，思索存在與價值。

當今許多台灣藝術家對於社會的異象更有興趣，他們喜歡探尋光怪陸離、異質拼貼的台灣社會奇觀。他們大多以反諷與戲耍的奇幻美學，回應台灣

日常生活裡的詭譎荒誕，例如中外融合、貫穿古今、真假混雜的神仙鬼魅、人造山水、魔幻動物，甚至生活在如此社會的人們，容顏也顯得奇異虛幻。「綠野仙蹤」聯展裏，藝術家的觀察與想像，描述的是鏡像世界。鏡中之影

雖不真實也不存在，但鏡子本身是真實存在的物件，並可作為進入另一空間之入口。我們在凝視鏡中影像的當下，發現自我與周圍的真實空間相關聯，因而使鏡外之我的存在顯得非常真實；但因必須透過鏡中之影才能看到這一點，鏡中是個虛擬的影像，因此也顯得不真實。

「綠野仙蹤」聯展裏的台灣社會景觀，可能是來自攝影的機械幻覺？或是攝

影藝術家從夢想與挫敗、絕望與勇氣、雜亂與創意，再現的異質空間？這

創造的幻想空間，使得我們居住的真實空間，顯得不真實；並且，創造另外的真實空間，對應於現實世界雜亂無章的空間。「綠野仙蹤」聯展是關於

虛幻異境的真實體驗，也是關於社會現實的鏡中幻影，這些是物理的也是心理的，同時並存，虛實莫辨。

In the 16th Century, Taiwan was named "Formosa" (beautiful island) by Portuguese sailors. After five centuries of rapid changes, Taiwan is now referred to by the new era as the "Ghost Island."

Where are we? As if we were blown away by a hurricane, swept into midair, and only after landing, there it was this fantastical place: "I have a

feeling we're not in 'Taiwan' anymore." We long for "somewhere over the rainbow, (where) blue birds fly." We long for an escape from despondent

chaos and sadness, where we can take strides into a brand new world

that is "on the other side of the rainbow." We then put our thoughts of idyllic utopia into fantasies, and we produce numerous artificial animals, landscapes, deities, and monsters that can be seen everywhere.

We created all forms of fake greeneries, as rarely any "green wilderness"

can be spot nowadays. What is available around often takes the shape of environmental pollution that brings upon a sight of horror. We have

created every type of holy embodiment as the "fairy trail" is nowhere to be found. What is often encountered is the bizarre absurdity that estranges people and causes anxiety. No matter whether it is the gem

island of Formosa or the Ghost Island, either of reality or illusion, we have tried our very best to ponder on our existence and value, from within

策展人 CURATOR

張美陵

CHANG May-Ling

the disorderly and bestial social landscape in Taiwan, while bearing a burning sense of "otherland-ness" and "otherness".

In today's world, many contemporary Taiwanese artists find an interest

in social anomalies – they prefer to seek out the motley, homogenous and collaged spectacles that belong to the Taiwanese society. They

often make use of a fantastical aesthetics that resides in satirical jabs, to respond to the grotesque absurdity witnessed in the everyday life in

Taiwan. Examples are blending the East and the West, connecting the

past and now, as well as legendary ghostliness that mixes realism with falsehood, manmade landscapes, fictional magic animals, and even

the people who live in such society and whose facial features have thus become strange and unreal.

With the group show of Fairy Trail of the Green Wilderness , what the

artists describes through a mirror reflection are their observations and imaginations. Although the images seen in the mirror are unreal and fictional, the mirror itself, in its full sense, is a real condition in existence. It can serve as an entrance that guides the viewers to another space. In

the moment staring through the looking glass, we realize the correlation

2013「走進糖廍：藝遊社區」，萬華糖廍文化園區，台北，台灣

2012-2013「好融異：中山區藝術造街計劃」，台北，台灣

2010-2012「出社會：1990 年代之後的台灣批判寫實攝影藝術」，高雄市立美術館，高雄，台灣

between ourselves and the surrounding spatial reality. This experience

2011「思想起：台灣攝影的社會敘事」麗

mirror become ever more realistic. The illusionary reflection in the

2011「廣播早操」，海馬迴光畫館，台南，

hence makes the existence of oneself which is on the other side of the mirror however becomes unreal after the process, as it can only be seen through the self-image in the looking glass.

Might the social landscapes in Fairy Trail of the Green Wilderness

be very well stemmed from the mechanical hallucinations created

by photography? Or would it be a heterotopia recreated through

the frustrations, desperations, bravery, chaos, and creativity the

photographic artists have experienced? This illusionary space in turn makes the realistic surrounding we reside in unreal. By so doing, artists

create another authentic space to respond to the disorderly but realistic

水國際攝影文化節，浙江，中國台灣

2013 "Into the Sugar Factory:

Community Art Project", Wanhua

Sugar Factory Cultural Park, Taipei, Taiwan

2012-2013 "Good Fusion: Zhongshan

District Street Art Project", Taipei, Taiwan

situations we live in. The group show Fairy Trail of the Green Wilderness

2010-2012 "Into Society: Critical Realism

about social realism and its reflection in the mirror. These indications are

Since 1900", Kaohsiung Museum of

is about the authentic experience of an illusionary otherland. It is also

both physical and psychological, which simultaneously coexists and are hard to argue against their authenticity or fictitiousness.

in Taiwanese Photographic Arts Fine Arts, Kaohsiung, Taiwan

2011 "Reflections of the Past: Social

Narrative of Taiwan Photography" Lishui International Photography

and Culture Festival, Zhejiang, China

2011 "Broadcasting for Morning

Exercise", Fotoaura Institute of Photography, Tainan, Taiwan

吳政璋 WU Cheng-Chang 台灣「美景」 Vision of Taiwan 2007-2011 / 攝影、無酸性純棉銀鹽紙基紙輸出

Photography, Pigment Print, 100% Cotton Silver Rag Paper / 100 x 150 cm 》系列影像是對身處環境（台灣）表達個人的觀察、體驗及意見。我站立在環境中，《台灣「美景」於「長時間曝光」下，使用瞬間強光對臉部進行多次的曝閃，強光如同一種情緒的釋放，而感光材

料累積光量的特質，「失控」的製造出「過量」的光，造成人臉的「盲目」與「失明」，在看似美麗風景的影像背後，隱藏著荒謬的並置與環境危機。

The series of images expresses personal observations, experiences and opinions of the

environment of Taiwan. I stood inside a space and photographed myself with long exposure by flashing my face with multiple flashes using a handheld flashlight. The intense flashes enable the releasing of emotion, and the property of photosensitive materials that accumulates light and allows "over exposure" to be produced in an "out of control" manner and causes temporary

"blindness" or "lost of sight" in human faces. Behind the seemingly image of a beautiful scenery hides absurd objects and environmental crisis.

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 2016「河流．轉換中的生存之道」，光州美術館，光州，南韓

2014「界：台灣當代藝術展」，康乃爾大學強生美術館，紐約，美國

2014「日本．台灣現代美術的現在與未來」，東京藝術大學美術館，東京，日本 2013「I‧DIE‧WANT －台灣『美景』」個展，台北市立美術館，台北，台灣

2016 "Dance with the Museum Collection: Retrieved, Reimagined, Restated", Taipei Fine Arts Museum, Taipei, Taiwan

2016 "Rivers - The Way of Living in Transition", Gwangju Museum of Art, Gwangju, South Korea

2014 "Boundaries: Contemporary Art from Taiwan", Herbert F. Johnson Museum of Art, Cornell University, New York, USA

2014 "The Present and Future of Japanese and Taiwanese Contemporary Art", The University Art Museum, Tokyo University of the Arts, Tokyo, Japan

2013 "I‧Die‧Want - Vision of Taiwan" Solo Exhibition, Taipei Fine Arts Museum, Taipei, Taiwan

施寶駒 Paul SHIH 流逝 Elapse

2016 / 相紙數位輸出 Digital Print, Photo Paper / 64 x 64 cm x 12 攝影除了能讓真實再現外，也能記錄再現後的消逝。過程中，我們看到也感受到時間、空間的變化從未稍止。

Photography can not only reproduce the real, but also record the disappearance of reproduction, the process we see and feel the time and space has never stopped changing.

2018 「全國美術展」，國立台灣美術館，台中，台灣 2017 「高雄獎」，高雄市立美術館，高雄，台灣 2017 「莫斯科國際攝影獎」，莫斯科，俄羅斯 2016 「東京國際攝影獎」，東京，日本 2011-2014 高雄市攝影家協會理事長

2018 "National Art Exhibition, ROC", National Taiwan Museum of Fine Arts, Taichung, Taiwan 2017 "Kaohsiung Awards", Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan 2017 "Moscow International Foto Awards", Moscow, Russia 2016 "Tokyo International Foto Awards ", Tokyo, Japan

2011-2014 Chairman of the Photographer's Association of Kaohsiung

張哲榕 Sim CHANG 無瑕的愛－檳榔女孩

Flawlesslove - Betel Nut Beauty

2014-2015 / 藝術微噴、相紙輸出 Inkjet Print, Paper Print / 40 x 60 cm

無瑕的愛－勇者鬥惡龍 Flawlesslove - Dragon Quest 2014-2015 / 藝術微噴、相紙輸出 Inkjet Print, Paper Print / 40 x 60 cm #1

資訊的流洪水而至，有時觀察到的不再是眼前，而是刻板的符號，大量地、迅速地佔領了記憶，回過神來，已無法分辨看到的是否是真實。 #2

這世代依賴著顯示器與世界交流，透過它們接收資訊，轉化成想像的樣貌。這片發光體承載的世界騙走了寂寞，成為情感釋放與依賴的空間。這看似完美無瑕的愛，是否就是我們夢寐以求的情

感？對溺於其中的人而言，虛幻又何嘗不是真實 ? 愛上想像，亦可能是比真實更美麗的真實。 #1

Imaginations are much more beautiful than reality. The screen generation connects the world

and converts them into imaginations through the display. Therefore, a display becomes a room

to count on and to release your emotion. #2

Falling in love with virtual reality, makes us desire to project ourselves into one of the characters

inside. Is this the perfect dream we have been longing for? An illusion may be the reality to those

who's addicted to it.

Falling in love with their own imaginations may be a much more beautiful truth than reality.

2018 「發光體行旅」張哲榕個展，關渡美術館，台北，台灣 2017 「Fotofever 攝影博覽會」，羅浮宮，巴黎，法國

2016 「Young Portfolio Acquisitions」，清里寫真美術館，山梨，日本 2015 「Unknown Asia」，大阪中央公會堂，大阪，日本 2015 「高雄獎」，高雄市立美術館，高雄，台灣

2018 "Luminophor's Travel" Sim Chang's Solo Exhibition, Kuandu Museum of Fine Arts, Taipei, Taiwan 2017 "Fotofever", Louvre, Paris, France

2016 "Young Portfolio Acquisitions", Kiyosato Museum of Photographic Arts, Yamanashi, Japan 2015 "Unknown Asia", Osaka City Central Public Hall, Osaka, Japan

2015 "Kaohsiung Awards", Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

張譯云 CHANG Yi-Yun 浮視繪 Coinciding

2014-2018 / 高級相紙 Premium Photo Paper / 20 x 16 cm x 12 《浮視繪》這套作品反應現在生活周圍充斥人造景與難以界定的美學藝術，但拍彩繪並不特別，更是直接 COPY 繪者的創意，所以在創作這系列前就想著彩繪要和環境、生活元素有種完美的結合

呼應，且看似無違感的在同一平面畫面上，這必需有良好的細心觀察力和耐心，利用腳步身段在各畫面下，移動到某個角度，才能成就心目中完美的畫面，簡單卻很不容易。完成的作品畫面看似是一幅似畫非畫，但背後又實際完成了攝影的環境記錄。

The series is to exhibit such complex surrounding our lives. Shooting the paintings is nothing

new and, worst of all, running the danger of copying others' artwork. Thus prior to the shooting,

the photographer needs to consider the relations between the paintings and the surroundings,

and find a way to co-exist them in one frame. It takes good observation on details as well as persistency. It seems easy but difficult to perfect. The result image looks like a painting but actually it's not. Somehow it also accomplished the natural record of photography.

2018 「浮視繪攝影個展」，1839 當代藝廊，台北，台灣

2017 「海峽攝影交流展」，中國廈門美術館，廈門，中國

2016 「銀鹽世代－尋找歲月靈光台灣攝影家原作展」，國立台灣美術館，台中，台灣 2014 「台北建城 130 週年凝眸歲月聯展」，台北市立社會教育館，台北，台灣 2013 「城市的溫度聯展」，爵士藝廊，台中，台灣

2018 "Coinciding" Solo Exhibition, 1839 Gallery, Taipei, Taiwan

2017 "Xiamen Art Center Photography Exhibition", Xiamen Art Center, Xiamen, China

2016 "The Silver Halide Era - Aura of Times", National Taiwan Museum of Fine Arts, Taichung, Taiwan 2014 "The 130-year Historical Photos of Taipei City" Group Exhibition, Taipei Cultural Center, Taipei, Taiwan 2013 "Temperature of the Cities" Group Exhibition, Jazz Gallery, Taichung, Taiwan

曾義欽 Marbury TZENG 快拍街上遇見的陌生人 Taiwan Snap Portrait 2016-2018 / 高級相紙 Premium Photo Paper / 20 x 16 cm x 15

人臉是生命狀態的表徵，而那些溢過我們標準之外的特點，是在述說著怎樣的存在狀態？《快拍街

上遇見的陌生人》賦予我們一種直接逼視的機會，讓我們不僅直視，甚至無法逃離那一張張臉孔所傳達的訊息。

完全不認識被攝者，短短交談取得同意後，用最短的時間拍下肖像照片。透過這種直接逼視（捨棄

地點跟人的背景資訊），有機會迫使我們反思，這些帶有異質特點或是平凡的臉孔，究竟在述說什

麼？我們在觀看時內心所感受到的無論是歸類、驚訝、訕笑、同情……，是否表示，我們對面孔其實存在著某種預設期望。

我們都習慣在最短時間內，依著少數自以為正確的訊息，標定一張面孔與我們之間的相對關係與距離。

People's faces are the symbols of lives. What do those characteristics beyond the standard tell? The series is a way to look directly, not only look, but even receive messages from the faces.

After asking for permission, I took a photograph without knowledge of subjects in a short time.

By looking directly without any knowledge, we can critically examined what meanings are conveyed by these queer or ordinary faces? No matter how surprised we feel, does it mean that we have stereotypes about the faces?

We all get used to measuring the distance between us and strangers' faces with a very prejudiced view in seconds.

韓志翔 HAN Chih-Hsiang 穿心人 The Empty Man

2017 / 數位攝影 Digital Photography / 41 x 61 cm 曾有招待外國人來台灣觀光的經驗，因而思考台灣有什麼有趣的特色。我發現有些日常生活的景色相當有台灣味，甚至可以說形塑台灣獨特的「美學」。因此我將我的身體挖空，表達這些環境和我們的互動，或帶給我們的影響。

Through foreigners guiding tour, I began to think about the interesting features of Taiwan. I found some daily scenery very representative that even forms the unique esthetics of Taiwan.

Therefore, I dug a hole through my body to express the interaction or some influences between the environment and Taiwanese.

2018 「Wonder Foto Day」，松山文化創意園區，台北，台灣

2017 「韓志翔個展－攝影演」，桃園市立圖書館龜山分館，桃園，台灣

2017 「TIVAC 優選展」2017 台北藝術攝影博覽會，華山文化園區，台北，台灣 2017 「宜蘭獎」，宜蘭縣立文化局，宜蘭，台灣 2016 「大墩美展」，大墩文化中心，台中，台灣 2018 "Wonder Foto Day", Songshan Cultural and Creative Park, Taipei, Taiwan

2017 "HAN Chih-Hsiang Solo Exhibition - Photography Evolution", Guishan Branch Taoyuan Public Library, Taoyuan, Taiwan

2017 "TIVAC Photography Award" 2017 Taipei Art Photo, Huashan 1914 Creative Park, Taipei, Taiwan 2017 "Yilan Awards", Yilan Cultural Affairs Bureau, Yilan, Taiwan

2016 "Da Dun Fine Arts Exhibition of Taichung City", Dadun Cultural Center, Taichung, Taiwan

顏鵬峻 YEN Peng-Chun 城市異態風景－侏儸紀世界 Society Landscape - Jurassic World 2014-2017 / 相紙、數位輸出 Photo Paper, Digital Print / 40 x 60 cm

在台灣，有許多地方瀰漫著難以理解的怪誕，很多公共場域存在著不合邏輯的景象，這系列作品由探討台灣荒誕景觀的角度切入，對台灣公共景觀美學提出質疑。台灣許多空間都有大型的恐龍造型裝置或是

恐龍壁畫，恐龍似乎是一種公共美學的共同語言，在城市裡或遊客景點中，與現實難以融合的現象反而變成了一種超現實的城市風景。

In Taiwan, many places are full of mysteries and fantasies, especially scenic spots, some are illogical

or unnatural. There are some large dinosaur statues in Taiwan, whether in cities or scenic spots, it is very awkward and difficult for those statues to merge with the surroundings. Based on all of this,

this series of works began, and it has gradually became an ultra realistic element. This is the special scenery of Taiwan.

2017 「高雄獎」，高雄市立美術館，高雄，台灣

2016 「桃源創作獎」，桃園展演中心，桃園，台灣

2015 「索尼世界攝影大賽」，薩默賽府，倫敦，英國 2015 「全國美術展」，國立台灣美術館，台中，台灣

2014 「魔幻時刻影像」個展，八樓當代藝術空間，台北，台灣 2017 "Kaohsiung Awards", Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

2016 "Taoyuan Contemporary Art Award", Taoyuan Arts Center, Taoyuan, Taiwan

2015 "Sony World Photography Awards Exhibition", Somerset House, London, UK

2015 "National Art Exhibition, ROC", National Taiwan Museum of Fine Arts, Taichung, Taiwan 2014 "Magic Hour" Solo Exhibition, Floor 8 Contemporary Art Space, Taipei, Taiwan

掐出一個奧伯斯佯謬，再者，從一個點到另一個點，不是一條直線，最後把我們攪拌在一起。

Pinch and pick up an Olbers' paradox, then, from one point to another, it isn't a straight line, and in the end, it mixes us all together.

你必須耐心看完這篇抽象的論述，才可能從其中找出關聯，或者，你沒有打算看完它，卻也依然會存在於這個宇宙之中。畢竟，從物理的時間軸線上，從這一點到那一點在感知上是有先後順序的；然而，在抽象的時間維度概念上卻不然，每個人、每件事的運動之持續性是打破其物理時間、空

間之狀態。在混沌理論之蝴蝶效應中，我們知道在這個空間中，所有的人、事、物是相互影響與牽連的，倘若加入時間概念，那就必須跨越愛因斯坦－羅森橋。

當我們試圖打破這一切時空順序，過去的歷史、當下的我們、開創的未來

就會交錯在一起，那些記憶與認知會經過不同主體而產生千變萬化的展現，這些屬於我們的個人意識與經驗會儲存在這個宇宙的某個角落，然後我們再把部分記憶拿出，提供個人與他者交流之用，時空的發展與人的關係就

是立基於這些經驗與意識之上。在這裏提供了一個可能，當我們閱讀了藝術家所呈現的影像，作品的內容就是藝術家從自我宇宙中所摘取出來的，然後你就會進入愛因斯坦－羅森橋。這些影像雖然存放在不同的頻道中，但卻又互相有關聯並相互聯結，這些視覺感知成為你的記憶，在你的記憶宇宙中交織著。

影像的可能性——來自影像媒體自身可能就是一種愛因斯坦－羅森橋，我們感受、感知，並且穿越，我們所經歷的這一切，極有可能是我們所想像

藝術家 ARTISTS

吳梓安 WU Tzu-An 杜珮詩 TU Pei-Shih

林仕杰 LIN Shih-Chieh

張徐展 ZHANG Xu-Zhan 許哲瑜 HSU Che-Yu

黃尹姿 HUANG Yin-Tzu 蘇匯宇 SU Hui-Yu

出來的。然後，我們依舊只相信，我們所相信的。那些存在於時空中的存在，是因為我們的相信而存在。（全劇終）

With patience, you have to finish reading this abstract narrative, so that

you can seek out the connections in between, or, if you have no intention to finish this narrative, this narrative will still be in the universe. After all,

from the annex of time in a physical sense, cognitively speaking, there

is a sequential relationship to go from one point to another. But when

展覽計畫主持人 PROJECT DIRECTOR

王鼎曄

WANG Ding-Yeh

approaching the dimension of time from an abstract sense, it can be quite the opposite - the sustainability of momentum for each person and every event transcends the conditions of physical time and space. Based

on the butterfly effect discussed in the Chaos Theory, we know every person, event, and thing are interconnected and has a mutual influence

on one another in this space. If further factoring in the concept of time, we then need to add on the theory of Einstein - Rosen bridge.

When we try to break through the temporal and spatial sequence of it all, history in the past, us in the present tense and the future to be

explored, will end up intertwining together. Through various subjects, this will result in our memory and cognition to transform into a

plentitude of abundance. What belongs to the individual consciousness and experience will be stored in some corner of the universe. We then extract parts of the memory for the individual to communicate and

exchange with another person. The development of time and space, as well as its relationship with human beings, are constructed on this basis of experience and consciousness. Here we present a possibility:

When we read the images portrayed by the artists, what we see in the

2017「勇為」，非常廟藝文空間，台北，台灣

2017「漂丿个」，openspace bae，釜山，南韓

2017「穿越峽之路」，冉阿莫畫廊，檳城，馬來西亞

content of the artworks are extrapolated from the artists' individual

2017「嗜暴者」，國立台灣藝術大學有章

Rosen bridge. Despite the images are stored in different channels, they

2016「甭緊張」，Lamama Gallery，紐

universe, and through this reading, the viewer enters into an Einstein are interconnected via a mutual correlations. These visual perceptions will hence become a part of your memory, and start to interact and intertwine with your universe of memories.

The possibilities of images - come from the medium that the images

藝術博物館，新北，台灣約，美國

2017 "Confronting Memories",

VT Artsalon, Taipei, Taiwan

are based on, which might already be an Einstein - Rosen bridge in

2017 "Phiau-phiet ê", openspace bae,

have experienced, might very well arise from our own imaginations.

2017 "Crossing The Straits", Run Amok

in existence in time and space only exist, because we believe in their

2017 "Violence Lover", Yo-Chang Art

itself. We feel, perceive, and pass through - all of the things that we

From here, we still believe only in what we believed in. Those presences existence. (The End)

Busan, South Korea

Gallery, Penang, Malaysia

Museum, NTUA, New Taipei, Taiwan

2016 "No Cause For Alarm", Lamama Gallery, New York, USA

吳梓安 WU Tzu-An We Can't Grow Up Together

2010、2013 / 16 釐米轉數位影像 16mm Transfer to Digital Video / 3'33" 本片由兒時記憶出發，將象徵物、表演與開放空間轉化為時間與情緒的標記。使用象徵與蒙太奇方法，呈現內心風景與外在世界的交錯。

重寫記憶是保存情感的方式，本片以情緒莫名的波瀾為主軸，重疊內在的時間、外在的時間與影像的時間，將記憶變造為抽象的詭態，一種有點 campy 的、模稜兩可的、又哭又笑的矛盾情感。

儘管在遠方的當下無從感知，在記憶中經過的事物都可能成為時間的標記，某個乍看不重要的記

憶也可能在另外一個時間點重述時，成為自我改變的標記。因為等待的途中丟失和獲得的東西不一樣，所以我們不能一起長大。

Freaks also grow up from little as well. But the things we had lost in time differ. That's the

reason why we can't grow up together. The film was shot in 16mm, based on a childhood (false) memory, transformed with fantasies and symbolic objects, and performed in a public

environment. The elements in the film are both the markers of emotion and time, with

montage, the outside world and inner scenery came across to each other. Some events seem

to be not important at the moment might became a crucial milestone in a personal sense. Through retelling and rewriting the memory, the pointless emotions turns to the flowing memory, and being able to preserved.

2018「天體觀測」吳梓安個展，台北國際藝術村百里廳，台北，台灣 2017「EXiS」實驗電影節，善宰藝術中心，首爾，南韓

2016「Diaspora & Visual Arts」，上海紐約大學美術館，上海，中國 2016「鹿特丹國際影展」，鹿特丹，荷蘭

2015「巴黎差異與實驗影展」，巴黎，法國 2018 "Celestial Observation" WU Tzu-An Solo Exhibition, Taipei Artist Village, Taipei, Taiwan 2017 "EXiS" Experimental Film and Video Festival, Sonje Art Center, Seoul, South Korea 2016 "Diaspora & Visual Arts", NYU Shanghai Art Gallery, Shanghai, China 2016 "International Film Festival Rotterdam", Rotterdam, Netherlands

2015 "17ème Festival des Cinémas Différents et Expérimentaux de Paris", Paris, France

杜珮詩 TU Pei-Shih 玉山迷蹤之五（從米歇爾．傅柯到我們的美好未來）

The Adventures in Mount Yu V (From Michel Foucault to Our Glorious Future) 2011 / 高畫質定格動畫單頻道錄像 HD Single Channel Animated Video / 7'00"

本作品透過拼剪各種史料、網路資訊、經典名著中的知識圖像與歷史文本影像以隱喻知識與權力

的關係，從影片開頭坐在草皮上思考的米歇爾．傅柯，到出現一群台灣早期頒布的國立編譯館教科書插畫中，純真且青春洋溢的男孩女孩在森林中冒險為止，敘事皆朝著過去認知中的理性歷史

脈絡發展，然而最後，天真的少男少女突如其來遇見一部軍旅車（藝術家黃榮燦的版畫《恐怖的檢查》中的軍旅車），在槍戰中犧牲，過往被排除在主流知識價值之外的事件便成了影片中的高潮。

In the video, I piece together classical images and footages gathered from historical and

online sources to create a personal, fictional narrative - Taiwan's colonial era. Through this

collage narrative, I attempt to convey a message: history is an illusion created through an amalgamation of knowledge fragments. Additionally, the content is also a metaphor for the

relationship between knowledge and power. The video begins with Foucault sitting on the grass and pondering deep thoughts. Then, innocent looking boys and girls commonly featured in textbooks issued by Taiwan's National Institute for compilation and translations appear in

the clip, venturing together through a forest. The narrative alludes to the context of historical development through previously held ideas and perceptions. In the end, the boys and girls encounter a military transport vehicle (the military vehicle from the print work, The Terrible

Inspection , by artist Huang Jung-Tsan), and are killed in the crossfire of a gun battle. The

removal of this past incident from mainstream publications and knowledge forms the climax of this video.

2018「數據控」莫斯科國際錄像藝術節，文化產業藝術中心，莫斯科，俄羅斯 2018「逃逸 2018：見證」，聯合建築社區博物館，馬尼拉，菲律賓 2018「遇見台灣當代藝術」，雙橡園，華盛頓，美國

2017「如果你可以抓住我－動態影像」，新樂園藝術空間，台北，台灣 2017「鐵箱中的凝視－貨櫃錄像特展」，高雄藝術博覽會，高雄，台灣 2018 "Data Mania" International Video Art Festival, CCI Fabrika, Moscow, Russia

2018 "Escape 2018: SAKSI", First United Building Community Museum, Manila, Philippines 2018 "Meet Taiwan Contemporary Art", The Twin Oaks Estate, Washington, USA

2017 "Catch Me If You Can - Motion Pictures", Shin Len Yuan Art Space, Taipei, Taiwan 2017 "Stare in Iron Boxes - Video Section", Art Kaohsiung, Kaohsiung, Taiwan

林仕杰 LIN Shih-Chieh 解體概要 A Short History of Decay 2014 / 錄像 Video / 5'46" 音樂設計：楊邵安本片影像取樣自七零年代美軍政治宣導短片《Assignment Taiwan》，我們所見的是美軍所呈現的

台灣二戰後歷史。歷史是一種詮釋，如果打亂了企圖詮釋歷史的敘事線，只留下去掉上下文後的視覺符號，是否能將影像還之於影像？如果破壞了企圖承載意義的視覺符號，使數位載體的痕跡現形，是否能讓我們反思，歷史其實也只是一道咒語？

History is an interpretation made up of linear signs and symbols. By decontextualizing the signs, images are liberated from this cause-and-effect illusion. To fight against the illusion, let there be

glitches. This video is sampled from Assignment Taiwan , a propaganda film made by the U.S.

Army in the 70s, introducing the colonized history and the establishment of the US military in Taiwan after World War II.

2018「數據控」莫斯科國際錄像藝術節，文化產業藝術中心，莫斯科，俄羅斯

2017「漫遊記事」台法駐村藝術家聯展，Galerie Frédéric Moisan，巴黎，法國 2017「雅加達國際紀錄實驗片影展」，歌德學院，雅加達，印尼

2016「Mono No Aware」台灣實驗新電影單元，王牌酒店，紐約，美國 2015「金穗獎」，光點華山電影館，台北，台灣

2018 "Data Mania" International Video Art Festival, CCI FABRIKA, Moscow, Russia 2017 "Carnets du flâneur", Galerie Frédéric Moisan, Paris, France

2017 "Arkipel - Jakarta International Documentary & Experimental Film Festival", Goethe Institute, Jakarta, Indonesia

2016 "Mono No Aware" MONO X: Children on the edge of itchy-tectonics - Taiwanese New Experimental Films, Ace Hotel, New York, USA

2015 "Golden Harvest Awards", Huashan Spot Theater, Taipei, Taiwan

張徐展 ZHANG Xu-Zhan 陰極射線管的神秘儀式 Ritual of Cathode Ray Tube 2013 / 五頻道錄像動畫裝置 Digital Print, 5-Channel Video Installation / 5'00"

作品在影像中將電視介面傳遞電子光學顯像傳至肉眼的時間視為一種輪迴儀式，影像內的螢幕（介面）被視為一種穿透介面空間的媒體樂譜、藉由「慾望」穿透介面，還原媒體報導的現場，在慾望與病態當下，受媒體介入輿論生成的亂象奇觀，高漲亂鳴的社會景像。一場充滿詭異憤慨、荒誕輿論的迷亂神情。

作品的總時間，被視為一個節目開始與結束的循環，作品以多個角度繪製影像的多重敘事軸線，5 頻道同步撥放，形塑類似 Live、SNG 媒體報導時在線性時間上寓意時而相同、時而相異弔詭的「時間現場」。

My animation is to express his views on contemporary Taiwanese media. The implied symbols

in work are embedded in a torn-open CRT (Cathode Ray Tube) screen. Media are actually an absurd and bizarre gathering. The symbols implied in my artwork include the tongue as a

metaphor for speech and the desire to control, and the conductor swinging numerous arms

represents the manipulation of the media. Hey, mock the incredible influence the media has over contemporary society and the way it stirs the emotions of the public.

This experimental animation work draws the image with multiple angles, and the video is split

into five different viewpoints. The images are projected with same angles and distances into the space to connect the images in the space. It creates a sense of Live or SNG (media news

gathering) style of reporting with multiple "live times" to interpret the simultaneous narratives in the image.

2018「亞洲計畫：你不知道的故事」，國立現代美術館，首爾，南韓 2018「巴塞爾藝術博覽會」，香港國際會議中心，香港

2018「定製真實：數位藝術之魅」，國立台灣美術館，台中，台灣 2018「薩格勒布國際動畫影展」，薩格勒布，克羅地亞 2017「復活 II：幽靈的面容」，剩餘空間，武漢，中國

2018 "Asia Project: How Little You Know About", National Museum of Modern and Contemporary Art, Seoul, South Korea

2018 "Art Basel", Hong Kong Convention and Exhibition Centre, Hong Kong

2018 "Customized Reality: the Lure and Enchantment of Digital Art", National Taiwan Museum of Fine Arts, Taichung, Taiwan

2018 "The Zagreb World Festival of Animated Films", Zagreb, Croatia

2017 "Resurrection II: The Face of Phantom", Surplus Space, Wuhan, China

許哲瑜 HSU Che-Yu 歎煙花與三味線 Sighing Flowers and Shamisen 2012 / 八頻道錄像 8-Channel Video Loop

我從一本民國 68 年 4 月 15 日初版，林東辰所撰寫的書籍《台灣舊事譚》中挑選零散的段落字句，

於書中所紀錄的地點，拍攝製作了八個小短片。這本書經作者二手或三手的資料，描述著日本治台時期所發生的事件，那是我還沒出生的時代，我想像著他們的幻影。

Phrases are picked out from Taiwan Jiu Shi Tan (Taiwan Old Tales ) by Lin Dong-Chen first

published on 15th April, 1979, and films are shot in the location mentioned in the book. In this

book, the author depicts Taiwan during the times of Japanese occupation from second hand

information. I have never been through those periods, hence for me they only exist / non-exist in an elusive and ghostly form, but always on my mind.

2018「相遇國際錄像藝術節」，巴黎電影影像中心，巴黎，法國 2018「相遇國際錄像藝術節」，世界文化中心，柏林，德國

2018「西班牙動態影像藝術節」，馬德里屠宰場藝術中心，馬德里，西班牙 2018「鹿特丹國際影展」，鹿特丹，荷蘭

2017「EXiS」實驗電影節，善宰藝術中心，首爾，南韓

2016「時間測試：國際錄像藝術研究展」，中央美術學院美術館，北京，中國 2018 "Rencontres Internationales", Forum des Images, Paris, France

2018 "Rencontres Internationales", Haus der Kulturen der Welt, Berlin, Germany 2018 "Spain Moving Images Festival", Matadero Madrid, Madrid, Spain

2018 "International Film Festival Rotterdam", Rotterdam, Netherlands

2017 "EXiS" Experimental Film and Video Festival, Sonje Art Center, Seoul, South Korea

2016 "Time Test: International Video Art Research Exhibition", CAFA Art Museum, Beijing, China

黃尹姿 HUANG Yin-Tzu 失語 APHASIA

2014 / 高畫質錄像 HD Video / 11' 27" 本錄像裝置乃為一個當代台灣人對自身歷史的觀察與覺醒。台灣擁有一個重複性極高的歷史樣態，面對政權的更迭，人民必須不斷學習「新語言」而得以謀生。

在此多頻錄像裝置中，創作者創造並扮演了四個來自台灣歷史各階段，以竹苗地帶說著不同語言

的女性。她們說著自己的故事，並在影片最後角色彼此互動，展現台灣多元民族融合的現象。藉由她們各自的獨白，創作者想抒發台灣人民現有對於文化認同與政治認同的分歧與混亂。

As a Taiwanese, this piece, is consisted of video portraits of Taiwanese women from four different historic periods of the last 130 years. The artist made this in order to bring focus on the cultural identity crisis and the continuous aphasia of people in Taiwan.

This video portrays four Taiwanese women who speak different languages: a mixed Hakka

and plains aborigine housewife in the 1880s; a student living under Japanese rule in the 1940s, a young widow who lives in the military dependents' village in the 1960s and a modern independent woman who has moved to Taipei from a small town in the 1980s. They all speak but suffer from aphasia, the inability to talk with the language they used for their whole lives,

due to the fact that Taiwan has had to constantly adapt to multiple colonizers, always shifting it's cultural identity.

2018「Fest Yin」，里約現代藝術博物館，里約熱內盧，巴西

2016「Ubiquitous Humanity」NHK 日本新媒體藝術展，The Annex，香港 2016「第三屆中國女性影展」，中國傳媒大學，上海，中國 2015「台灣國際女性影展」，新光影城，台北，台灣

2015「The Moment」，皇后區植物園展演廳，紐約，美國 2018 "Fest Yin", Museu de Arte Moderna, Rio de Janeiro, Brazil

2016 "Ubiquitous Humanity" Japan Media Arts Festival Special Exhibition, The Annex, Hong Kong 2016 "The 3rd China Women Film Festival", Communication University of China, Shanghai, China 2015 "The 22nd Women Make Waves Film Festival", Shin Kong Cinemas, Taipei, Taiwan 2015 "The Moment", Queens Botanical Garden, New York, USA

蘇匯宇 SU Hui-Yu 屁眼•淫書•速克達 The Walker 2017 / 單頻道錄像 Single Channel Video / 17'20"

藝術家拆解了台灣渥克劇團早年的三齣劇碼《速克達瑪麗》（1993）、《屁眼來的人》（1996）與《四大淫書》（2000）中的劇情片段，採擷其中的角色設定，最後在雜物堆滿的舊公寓場景中進行他的

歷史想像。創作過程師法渥克的劇場方法，徵集各領域素人與專業演員一同擔綱現場即興演出，並透過跳躍拼接的多線敘事，以及錄像裝置的形式，詮釋這三齣劇所指涉的速度、青春、反叛、身體愉悅與倫理底線。在藝術家眼中，這些意象形塑了台灣 1990 年代另類文化的模樣，並幽微地連繫著當代現實。

As one of the most active "little theatre" groups during 1990s, Taiwan Walker had been engrossing for its vernacular spirit-based theatrical aesthetics since its founding in 1992,

and it was 5 years after the declaration of martial law. Su Hui-Yu had watched the theatre's

performances on an irregular basis since his college days. The theatre's DIY ethos beyond institutionalization and marketization as well as its ability in interfering in the highbrow art

with popular cultures have substantially influenced Su's artistic practices. In The Walker , Su ingeniously deconstructed three of the theatre's plays, namely Mary Scooter (1993), Asshole

Man (1996), and Our Top Horny Novels (2000). He extracted the character designs from these plays, emulated the theatre's theatrical method, and asked amateur actors to improvise on site.

Based on a multi-character narrative structure, this work re-interprets the velocity, prime-time, rebellion, physical pleasure and ethical minefield referred to in these three plays, recalling the artistic utopia ever pictured by the theatre; to wit, a polysemous, hybridized art world whose components range from the sublime to the ridiculous.

2018「造夢者」，誠品畫廊，台北，台灣

2018「Move on Asia」，Alternative Space Loop，首爾，南韓 2018「第 41 屆挪威短片電影節」，奧斯陸，挪威

2018「第 8 屆布加勒斯特國際實驗電影節」，布加勒斯特，羅馬尼亞 2018「鹿特丹國際影展」，鹿特丹，荷蘭

2018 "Dream Maker", Eslite Gallery, Taipei, Taiwan

2018 "Move on Asia", Alternative Space Loop, Seoul, South Korea 2018 "41st The Norwegian Short Film Festival", Oslo, Norway

2018 "Bucharest International Experimental Film Festival", Bucharest, Romania 2018 "International Film Festival Rotterdam", Rotterdam, Netherlands

ART EQUALITY 藝術平權區

丁澔 DING Hao

如果貓會做夢的話 If the Cat Will Dream 2018 / 壓克力、油漆筆 Acrylic, Paint Pens / 116.5 x 91 cm

最初創作源自於城市的霓虹，它表現著迷幻、具有指向、搶奪目光等作用，而你我遊走在這文明

2017「台灣當代一年展」，花博爭豔館，

彩的貓，就像這城市也賦予了人另一種姿態，使人能夠成為這虛幻世界的一個理所當然之存在。

2017「百人之舟 Vessel」，松山文創園區

之物下，就如同一隻隻自由且孤傲的貓一樣，彼此不斷錯過、交疊、孤獨。而我們化身為不同色如果說活在這樣充滿著迷幻的世界，那是不是我們也能夠完成現實中，那些不可能又或是那些違反道德倫理的事情？如果說這樣的世界是一場夢，那麼這個夢的色彩亦會是如此地五光十色嗎？

Originally created from the city's neon, it expresses psychedelic, pointing, grabbing eyes, and so

台北，台灣

四號倉庫，台北，台灣

2016「台式不羈」，Woolloomooloo，台北，台灣

on, and you and I walk under this civilization, just like cats that are free, aloof, and lonely. And

2016「共感 Synesthesia」，九單藝術實

gesture that enables one to take for granted the existence of this illusionary world. If we live in

2015「有機 Organic」，真善美藝廊，新

we are transformed into cats of different colors, just as the city has also given people another such a psychedelic world, wouldn't it be possible for us to complete things that are not possible or that are in violation of morality and ethics in reality? If such a world is a dream, will the color of this dream be so brilliant?

踐空間，新北，台灣北，台灣

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2017 "Vessel", Songshan Cultural and Creative Park, Taipei, Taiwan

2016 "Desktop Uninhibited",

Woolloomooloo, Taipei, Taiwan

2016 "Synesthesia", NTUA 9 Singles

Arts Practice Space, New Taipei, Taiwan

2015 "Organic", Three Perfections Gallery, New Taipei, Taiwan

六樓鐵皮（張恆銘）6FTP (CHANG Hung-Ming)

召喚 Summon

2017 / 水性顏料、金箔、牛皮紙表於木板 Watercolor, Gold Foil, Kraft Paper on Board / 130 x 83 cm 召喚指的是將內在意念全部召喚回來的概念；中間上方為主要的意念，將人與獸結合創造一種神性的概念，每個形體也是眾多意念之一，畫面外更有許多看不到的意念等待被召喚。

"Summoning" refers to the concept of summoning the inner ideas back; the upper middle part

expresses the main idea, which combines the human and the beast to create a divine concept.

Each form is also one of many ideas. There are many invisible things outside the picture. Thoughts wait to be summoned.

2017「World Art Dubai」，杜拜世貿中心，杜拜，阿拉伯聯合大公國

2017「彼岸」六樓鐵皮個展，唐豐藝術中心／藝聚空間，台北，台灣

2016「福爾摩沙 101 國際藝術博覽會」，寒舍艾麗酒店，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，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，新北，台灣

2017 "World Art Dubai", Dubai World Trade Centre, Dubai, UAE

2017 "Faramita" 6FTP Solo Exhibition,

Tang Feng Gallery / Meet Art Space, Taipei, Taiwan

2016 "Formosa 101 Art Fair", Humble House, Taipei, Taiwan

2015 "Variation" CHANG Heng-Ming to

6FTP Solo Exhibition, Yonghe Arts and Education Foundation, New Taipei, Taiwan

2015 "Together, We Build a Factory", Yonghe Arts and Education

Foundation, New Taipei, Taiwan

王公澤 WANG Gon-Jer

宇宙的切片 16 - 12 A Segment of the Universe 16 - 12 2016 / 炭筆、馬糞紙 Charcoal on Cardboard / 76 x 104 cm

通過直觀探測宇宙的脈動，表達難以捉摸、無形活潑的宇宙能量，與對宇宙活力深深的敬畏。 To express, through intuitive observation of the cosmic pulsation, the elusive, invisible yet active cosmic energy and the inconceivable awe towards the universe.

2018「心靈秘境」，御書房生活藝術空間，高雄，台灣

2017「時空律動」，工研院中興院區福委會藝文空間／ 51 館／咖啡館，新竹，台灣

2016「宇宙躍動／畫說靈光」王公澤、戴佳茹雙個展，養心空間，苗栗，台灣

2016「幽微的荒蕪」王公澤、王達人雙個展，House+Cafe，桃園，台灣

2015「重返風景－自然與精神的交融」，大墩藝廊，台中，台灣

2018 "Spiritual Psyche", IsFound Art Space, Kaohsiung, Taiwan

2017 "Rhythm of Time and Space",

Industrial Technology Research

Institute Headquarters – Welfare Committee Art Center / Hall 51 / Café, Hsinchu, Taiwan

2016 "The Cosmic Beats / Depiction of Aura" WANG Gon-Jer & TAI ChiaJwu Joint Exhibition, Artnutri Gallery, Miaoli, Taiwan

2016 "Sublime Elusive Desolateness"

WANG Gon-Jer & WANG Da-Rein Joint Exhibition, House+Café, Taoyuan, Taiwan

2015 "Return to Scenery - The Blend of

Nature and Spirit", Dadun Gallery, Taichung, Taiwan

王文德 WANG Wen-Te

空無 Sunyata

2010 / 玻璃纖維強化塑膠 FRP / 20 x 16 x 43 cm 你將找不到任何東西。空無是美麗的。

2016「雙生相」福爾摩沙國際藝術博覽

整個天空都是你的。

2013「心象、物象－與材料共舞」，國父

空無意味著自由、無限。

You will not find anything. Nothing is beautiful.

Nothing means freedom and infinity. The entire sky is yours.

會，寒舍艾麗酒店，台北，台灣紀念館，台北，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

2006「原慾．空相」雕塑個展，彰化縣文化局，彰化，台灣

2016 "Art Formosa ", Humble House, Taipei, Taiwan

2013 "The Beauty of the Material,

Dance with Material" Sculpture

Exhibition, Sun Yat-sen Memorial Hall, Taipei, Taiwan

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

Technology - Library, Yunlin, Taiwan

2008 "Taiwan"s Vitality Sculpture

Exhibition", Sun Yat-sen Memorial Hall, Taipei, Taiwan

2006 "Primal Desire Emptiness" Sculpture Solo Exhibition,

Changhua County Cultural Affairs Bureau, Changhua, Taiwan

王立心 WANG Li-Hsin

成熟的逝去 Mature and Lose

2017 / 蠟筆、壓克力 Crayon, Acrylic / 45.5 x 53 cm x 2 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，

2016「成熟的逝去 II」繪畫個展，美麗永

的某部分，微妙而真切，需要細細體會。

2015「墨跡進化」繪畫個展，桃園展演中

就逝去了很多東西；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」 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 part of the "lost", subtle but real, which needs to be felt attentively.

安生活館，新北，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

2011「寶藏巖駐村個展－曬衣計劃」，寶藏巖國際藝術村，台北，台灣

2010「小孩」繪畫個展，板橋 435 藝文特區，新北，台灣

2016 "Mature and Lose - II" Solo Painting Exhibition, Yong'an Arts Center, New Taipei, Taiwan

2015 "Ink Evolution" Solo Painting

Exhibition, Taoyuan Arts Center, Taoyuan, Taiwan

2013 "Mature and Lose - I" Solo Painting Exhibition, MEME Space, Taipei, Taiwan

2011 "Drying Clothes Project" Solo

Exhibition, Treasure Hill Artist Village, Taipei, Taiwan

2010 "Child" Solo Painting Exhibition,

Banqiao 435 Art Zone, New Taipei, Taiwan

王詩雲 WANG Shih-Yun

曦漩 Rhythm of Morning Rain 2017 / 攝影 Photography / 120 x 120 cm

晨光乍現，平靜的水面反射著漸漸微亮的天光，甦醒的水面逐漸展現漸層的光影。徐徐微風撫面，撥弄起水面層層漣漪，水面的波動忽遠忽近。

此時一陣烏雲飄過，沿著屋簷落下的水滴稀稀落落，熙攘地劃破片刻的寧靜。 Day light suddenly appears. The calm surface of the water reflects the twilight glow of the sky.

The reviving surface of the water begins to emerge gradient shadow. A soft wind breezes over and creates layers of ripple. The fluctuation of the water is near or far.

A dark cloud unexpectedly passes over the sky. Raindrops drip from the roof and bustlingly lacerates the silence of the moment.

2013「台灣藝術家博覽會」，花博流行館，台北，台灣

2003「錯身的嘆息」王詩雲攝影個展，

新光三越法雅客攝影藝廊，台北，台灣

2001 創立「三境攝影企劃事務所」，台中，台灣

1996 美商康泰納仕集團 GQ 國際中文版資深攝影主編，台北

1968 出生於台中

2013 "Artist Fair Taiwan", Taipei Expo Park - EcoARK, Taipei, Taiwan

2003 "The Sign of Passing By", Shinkong Mitsukoshi - Fnac Photo Gallery, Taipei, Taiwan

2001 Established His Photography Agency, Taichung, Taiwan

1996 Senior Photography Editor for

GQ Taiwan - Condé Nast Taiwan, Taipei

1968 Born in Taichung

包德納 Bernard BORDENAVE

遊魂 Wandering Soul

2018 / 壓克力、木板 Acrylic on Plywood / 53 x 70 cm 以精簡韻律的造型，組合圖像符碼，並運用正負空間概念，我欲創造虛實象外之境，來表現藝術

2018「神明計畫」，亞億藝術空間，台北，

色並反覆琢磨，直至平滑溫潤，呈現出沉著、靜謐樸素、東方詩意的氣質。融合東方之意境與西

2017「游離面相」，亞典藝術空間，台北，

的內在精神。在色彩上，我著重質感、肌理，與顏色相互間的諧調性。以柔和的灰色調，多層上方之幾何抽象，欲遵從老子之「順天地，法自然」。

In my works, I use simple rhythmic formation, a combination of images and symbols. I often use the positive and negative space concept to create transcendental stance beyond concrete

台灣台灣

2017「包德納創作個展」，名冠藝術館－藝聚空間，台北，台灣

and abstract to express the inner spirit of arts. I emphasize quality, texture and the harmony

2016「包德納浮雕畫個展」，亞典藝術空

the surfaces look smooth and warm to present a calm and serene composition. Combining

2015「漫遊」，煦利品酒藝廊，台北，台灣

between the colors, using soft grey tint, making multi-layers of colors, repeating sanding until oriental aesthetics and occidental abstraction, I try to follow the way of Lao-Tzu: "To follow heaven and earth, to abide by the mother nature."

間，台北，台灣

2018 "OMGs", AHM Gallery, Taipei, Taiwan

2017 "Visages in Limbo", Artland

Bookstore Gallery, Taipei, Taiwan

2017 "Bernard BORDENAVE Solo

Exhibition", Sunny Art Museum – Meet Art Space, Taipei, Taiwan

2016 "Relief Paintings", Artland

Bookstore Gallery, Taipei, Taiwan

2015 "Wandering", Cellier Wine Gallery, Taipei, Taiwan

卡佑民 Kayoumin

神明計畫之 " 神訊 " OMGs "Faster Than Fast" 2017 / 多媒體、畫布 Multimedia on Canvas / 85 x 66 cm 訊息傳來散去如光速，不敢想像。

2018「神明計畫」多媒體個人展，亞億藝

自己就懂了；那麼為什麼神還有顯著的存在？

2017「高雄藝術博覽會」，城市商旅，高

到了高科技年代，基本上一般的問題都被偉大的科技研究過、破解過，人類不用那麼依靠神了， Information comes and goes as fast as the speed of light.

Now science explains nearly everything while Gods are still everywhere.

術空間，台北，台灣雄，台灣

2017「台灣當代一年展」，花博爭豔館，台北，台灣

2017「福爾摩沙國際藝術博覽會」，松山文創園區，台北，台灣

2017「台中藝術博覽會」，台中日月千禧酒店，台中，台灣

2018 "OMGs" Multimedia Solo Expo, AHM Gallery, Taipei, Taiwan

2017 "Art Kaohsiung", City Suites, Kaohsiung, Taiwan

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2017 "Art Formosa", Songshan Cultural and Creative Park, Taipei, Taiwan

2017 "Art Taichung", Millennium Hotels and Resorts, Taichung, Taiwan

甘逸豪 KAN Yi-Hao

重生 #2 Rebirth #2

2016 / 攝影 Photography / 33.5 x 43 cm 甘逸豪的作品詮釋人類與大地之間的關係。提醒人類應回到過去尊重自然的態度，當我們赤裸裸

2017「高雄漾藝術博覽會」，駁二藝術特

出一道道痕跡，模擬先人在自然環境中開疆闢土的艱辛。

2017「台北國際攝影藝術交流展」，華山

地敞開心胸面對自然，便是給予自己新的開始。照片中人物身上混合著顏料、泥土及汗水，呈現艱辛必定會留下傷痕，但每個人都因受傷歷練而成長。先人便是從自然界中給予的訓練因留下的

傷痕而學習到如何增長智慧增強能力，在賴以生存的大地更能面對自我的成長，進而建立起深厚的社會關係。

The photographic works of artist Kan Yi-Hao interpret the relationship between mankind and the land. When we bare all and open our hearts to face the nature, it gives us a new beginning. The bodies of the people in the picture are mixed with pigments, dirt, and sweat, displaying

many traces, which symbolize that each person grows because of having been hurt. This also

reflects that because of his congenital inconvenience, he is even more persistent in establishing a deep relationship with the society.

區，高雄，台灣

文創園區，台北，台灣

2016「台灣當代一年展」，花博爭艷館，台北，台灣

2016「靈光乍現 2.0」，8 樓藝術空間，台北，台灣

2015「交陪境」，花博爭艷館，台北，台灣 2017 "Young Art Kaohsiung", The Pier-2 Art Center, Kaohsiung, Taiwan

2017 "Wonder Foto Day", Huashan 1914 Creative Park, Taipei, Taiwan

2016 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2016 "Pop Up 2.0", Floor 8 |

Contemporary Art Space, Taipei, Taiwan

2015 "Territorial Friendship", Taipei

Expo Park - EXPO Dome, Taipei, Taiwan

江彥德 CHIANG Yen-Te

單鞭．雲手 Single Whip ． Cloud Hand 2018 / 油彩、畫布 Oil on Canvas / 62 x 107 cm

作品利用傳統太極拳武術動作，表現人體姿態協調美感。 The work uses the traditional Taijiquan martial arts movement, manifesting the human body posture coordination with an esthetic sense.

2017「台灣當代一年展」，花博爭艷館，台北，台灣

2015「晨啟」，北科大藝文中心，台北，台灣

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2015 "In the Morning", Arts & Culture

Center Taipei Tech, Taipei, Taiwan

何瑞卿 HO Jui-Ching

花漾態系 Take the Graphic Configuration System 2014 / 彩色鉛筆 Colored Pencil / 122 x 60 cm

以自然的物起物落、緣生緣滅中，興起一種對生命情懷安頓的觀照，自然就已經不是自然哲學中的自然，它帶有更多如一般生命般有限的色彩。

In a natural property of property located in edge of the edge of the fight, the rise of a settled life feelings about the natural had not naturally the natural philosophy with more such as general life-like limited colors.

2007「台灣ㄟ查某人」何瑞卿創作展，北市社教館，台北，台灣

2005「兩河流域」，積禪 50 藝術空間，高雄，台灣

2004「台灣當代藝形創作展」，港區藝術中心，台中，台灣

2003「動 ‧ 洞」儀式叢林裝置個展，大墩文化中心－動力空間，台中，台灣

1984「當代抽象畫展」，台北市立美術館，台北，台灣

2007 "Taiwan Woman" HO Jui-Ching Creative Work, Taipei Cultural Center, Taipei, Taiwan

2005 "The Mesopotamian Basin", G. Zen 50 Art Center, Kaohsiung, Taiwan

2004 "Taiwan Contemporary Arts Creative Work", Seaport Art Center, Taichung, Taiwan

2003 "The Hole" Jungle Device

Exhibition Ceremony, Dadun

Cultural Center, Taichung, Taiwan

1984 "Contemporary Abstract Painting Exhibition", Taipei Fine Arts Museum, Taipei, Taiwan

余育佳 YU Yi-Jia

缺乏橘色 Lack of Orange

2012 / 玻璃纖維強化塑膠 FRP / 50 x 50 x 90 cm 表象上，自己缺乏的調味。

自己知道，事實上，卻跟沒有是一樣的。

2016「台灣當代一年展」，花博爭豔館，台北，台灣

2014「藝術家博覽會」，新光三越，台北，台灣

2013「藝術家博覽會」，花博流行館／

紙場 1918 ／台南文創園區，台北，台灣

2016 "TAIWAN ANNUAL", Taipei Expo

Park – EXPO Dome, Taipei, Taiwan

2014 "Artist Fair Taiwan", Shinkong Mitsukoshi, Taipei, Taiwan

2013 "Artist Fair Taiwan", Taipei EXPO Park – EcoARK / The Paper Mill /

Tainan Cultural and Creative Park, Taipei, Taiwan

吳心荷 WU Hsin-Her

珍藏 Collection

2018 / 綜合媒材 Mixed Media / 150 x 150 x 10 cm 收藏自己喜歡的東西是人類特有的嗜好，被收藏保存下的珍品更是無奇不有！我愛海，海底的世

2017「囚」台灣當代一年展，花博爭豔

海洋生態的珍惜，不要過度的環境汙染造成海洋生物棲息地的破壞，讓美麗永遠存在。擁有一件

2015「蝴蝶舞」國際彩墨蝴蝶藝術大展，

界是一大寶庫，孕育著無數珍貴奇美的生物，都是我珍藏珍愛的藝術品！本件作品是喚醒人類對珍品就足以讓人雀躍，何況是諾大的海洋？！

Collecting your favorite things is a unique hobby for humans. I love the sea, and the world under

the sea is a treasure trove, that has bred countless precious and beautiful creatures. They are

館，台北，台灣

台中市立文化中心，台中，台灣

2015「『幹報』再現」中韓水墨聯展，台中市立文化中心，台中，台灣

my treasured treasures! This work is to arouse humanity's cherish of marine ecology. Do not

2012「遇見維納斯」台灣藝術家博覽會，

beauty always exist. Having a treasure is enough to make people excited. Not to mention the

2012「穿著牡丹肚兜的男人」台灣成人博

excessively pollute the environment and cause the destruction of marine habitats, and let big ocean!

松山文創園區，台北，台灣

覽會，世貿二館，台北，台灣

2017 "Prisoner" TAIWAN ANNUAL, Taipei Expo Park - EXPO Dome, Taipei, Taiwan

2015 "Butterfly Dance" International

Art Exhibition Butterfly Color Ink, Taichung City Cultural Center, Taichung, Taiwan

2015 "Dry Newspaper Reproduction" South Korea Ink Exhibition,

Taichung City Cultural Center, Taichung, Taiwan

2012 "Met Venus" Artist Fair Taiwan,

Songshan Cultural and Creative Park, Taipei, Taiwan

2012 "Man Wearing Peony Apron"

Taiwan Adult Expo, TWTC Hall 2, Taipei, Taiwan

吳佳容 WU Chia-Rong

Neverland, Ever

2017 / 油彩、金線、畫布 Gold Wire and Oil on Canvas / 15.5 x 22.5 cm x 3, 22 x 27 cm x 2 我的創作基礎是建立在「觀看的方式」、「語言結構」與「概念認知」三個部分上。並於此基礎去提出疑問，讓觀者與我一同思考，取代直接的定義或敘述。

現代論述講求語言的「精準」，就因人類努力建構自己的知識以及敘述體系，而成為有用的虛構，使其成為人類可以理解，有助於人類去掌控這個世界。但這世界上真的有所謂的絕對值嗎？

2018「致奧爾弗斯的十四行詩」創作個

展，台北市立大學 Space 1，台北，台灣

2017「Neverland, Ever」個展，迴空間，台北，台灣

My creative foundation is based on the "viewing method", "language structure" and "concept

2017「台灣當代一年展」，花博爭豔館，

direct definitions or narratives.

2015「作者街角」第八屆索卡好漾青年藝

recognition". And on this basis, I ask questions and ask the audience to think with me instead of The modern discourse emphasizes the "precision" of language. It becomes a useful fiction

because of human efforts to construct its own knowledge and narrative system, making it understandable and helpful to humans to control the world. But is there really a so-called absolute value in the world?

台北，台灣

術家徵件聯展，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 -Space 1，台北，台灣

2018 "To Alfred's Sonnet" Solo

Exhibition, University of Taipei -

Department of Visual Arts - Space 1, Taipei, Taiwan

2017 "Neverland, Ever" Solo Exhibition, Space Round, Taipei, Taiwan

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2015 "Artists on the Corner" Soka So

Young 11th Exhibition of Young Artists, Soka Art Center, Tainan, Taiwan

2015 "Stranger" Solo Exhibition,

University of Taipei - Department of Visual Arts - Space 1, Taipei, Taiwan

吳秉祈 WU Bing-Chi

喝酒不開車 Drunk Drivers

2017 / 數位拼貼、藝術微噴於白金純棉相紙 Digital Collage, Inkjet Print on Paper / 29.7 x 42 cm 新聞播放怵目驚心的內容已成常態，類似的事件、頻頻突發的戲劇性終結一再上演，是引發者的習慣招致的果。

Even though the intimidating news and drunk driving accidents are broadcast frequently, similar events still dramatically happened again and again. This is due to the habits of induced people.

2018「高雄漾藝術博覽會」，駁二藝術特區大勇區 P2 倉庫，高雄，台灣

2018「花蓮美術獎」，花蓮縣文化局美術館，花蓮，台灣

2017「Spring Salon」，Candid Arts Trust，倫敦，英國

2016「Future Late - Open call: What is

the Future of Art?」，泰德現代美術館渦輪大廳，倫敦，英國

2015「視覺混種」，URS21 中山創意基地，台北，台灣

2018 "Young Art Kaohsiung", The Pier2 Art Center - Dayong Area P2

Warehouse, Kaohsiung, Taiwan

2018 "Hualien Art Awards", Hualien

County Cultural Affairs Bureau Fine Arts Museum, Hualien, Taiwan

2017 "Spring Salon", Candid Arts Trust, London, UK

2016 "Future Late - Open call: What is

the Future of Art?" , Tate Modern Turbine Hall, London, UK

2015 "On Site, Visual", URS21 Chung Shan Creative Hub, Taipei, Taiwan

吳柏賢 WU Bo-Sian

疏離系列 ─ 遊樂 Alienation - On the Loose 2017 / 油彩、畫布 Oil on Canvas / 72.5 x 91 cm, 53 x 65 cm, 53 x 45.5 cm

表達日常生活事件的抽離，好像在一個平行世界進行我們一直會在做的事，因為對於現實的疏離，我們以忙碌及享樂試圖逃離與麻痺。

過程中不斷想像一個永恆的世界，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，它在想像裡缺席。但想念、嚮往的情感卻越加濃郁。

Expressing the detachment of events in daily life seems to be a parallel world in which we have been doing, because of the alienation of reality, we try to flee and paralyze with busyness and pleasure.

In the process, imagining an eternal world. After time has been reorganized, the subject of the imagination has been distorted, and it has never even existed in imagination. It is absent in the imagination. However, the emotions that are missed and yearned are more intense.

2017「台灣當代一年展」，花博爭豔館，台北，台灣

2017「第二屆至榮創作獎」評審獎，台北市立大學 Space 1，台北，台灣

2017「獨立藝術博覽會／台北」，松山文創園區，台北，台灣

2017「懸浮邊界」聯展，Ho-Yo 空間，台南，台灣

2016「第 15 屆全國百號油畫大展」

入選，港區藝術中心，台中，台灣

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2017 "The 2nd Zhi Rong Award" Review Award, University of Taipei -

Department of Visual Arts Space 1, Taipei, Taiwan

2017 "Independent Taipei", Songshan

Cultural and Creative Park, Taipei, Taiwan

2017 "Diaspora" Group Exhibition, HoYo Space, Tainan, Taiwan

2016 "National Large-sized Oil Paintings Exhibition 2016", Seaport Art Center, Taichung, Taiwan

呂迦諾 LU Chia-Nuoh

意志遊戲 Will Game

2018 / 壓克力、亮粉、畫布 Acrylic and Glitters on Canvas / 53 x 41 cm x 2, 41 x 52 cm 呂迦諾將熱抽象技法與冷抽象技法結合，試圖以繪畫表述「意志」在心靈活動中變化的狀態，使內在思維具體化，傳達心靈深處的崇高感，呈現內在似是而非的空間透視。

作品將抽象繪畫技法加入裝飾性，使抽象成為某種具有型態以及空間的繪畫模式，時而熱抽象裝

飾冷抽象，時而冷抽象裝飾熱抽象，並在可控制的冷抽象與不可控制的熱抽象之間找尋平衡，成為某種以裝飾性為主要元素的抽象繪畫風格。

2017「藝術對畫」呂迦諾創作展，藝聚空間，台北，台灣

2016「呂迦諾抽象繪畫展」，金車文藝中心承德館，台北，台灣

2016「台中藝術博覽會」，台中日月千禧酒店，台中，台灣

Lu Chia-Nuoh combines hot abstraction techniques with cold abstraction techniques to express

2015「剖心」呂迦諾個展，水谷藝術，台

and conveys a sense of sublimity deep inside the hearts, presenting a specious from the inner-

2013「之間」呂迦諾個展，台北市立聯合

the state of change of "will" in spiritual activities in his paintings, which embodies inner thinking space perspective.

Lu adds decorative nature alone with abstract painting techniques into his paintings, which makes abstraction a painting method with types and space. While hot abstraction decorates

cold abstraction or sometimes in vise versa, it is seeking balance between controllable cold

abstraction and non-controlled hot abstraction in these paintings. And the decorative elements also become the main element in this abstraction painting style.

北，台灣

醫院草山職能工作坊，台北，台灣

2017 "Dialogue with Art" LU Chia-Nuoh Solo Exhibition, Meet Art Space, Taipei, Taiwan

2016 "LU Chia-Nuoh Abstract Art

Exhibition", King Car Culture & Art Center, Taipei, Taiwan

2016 "Art Taichung", Millennium Hotels and Resorts, Taichung, Taiwan

2015 "Cut Heart"LU Chia-Nuoh Solo Exhibition, Waley Art, Taipei, Taiwan

2013 "Between" LU Chia-Nuoh Solo

Exhibition, Taipei City Hospital -

Grass Mountain Workshop, Taipei, Taiwan

李思慧 LEE Si-Hui

神使 Nara Deer

2018 / 日本信樂土、顏料 Terracotta / 23.5 x 11 x 8 cm 《神使》這件作品是對大學時代的系列創作《五體不滿足》的回顧，當時是用塑膠娃娃等現成物件

2013「生命之閃光」，新竹教育大學毓繡

與創新的作品，它的造型上顯露出鹿角與娃娃的身形，是一種對於遠古時代鹿被視為是神的使者

2013「虛實畫境」，現代畫廊，台中，台灣

做成一系列的複合媒材立體物件。《神使》是我嘗試使用不同媒材－陶土將娃娃系列作品進行延伸的想像創作。

Nara Deer is a review of the works Unsatisfied created in college. In my college days I used

藝術空間，新竹，台灣

2012「有美麗就有神聖」，壢新藝術生活館，桃園，台灣

ready-made plastic dolls to develop a series of art works Unsatisfied . Nara Deer is a new work

2012「為一」，智邦藝術基金會－智邦藝

form of antlers and doll figure and also expresses the imaginations of ancient time when deer is

2011「後青春」，國立台灣美術館／關渡

that I am experimenting with clay to model and innovate the subject of dolls. It presents the regarded as a messenger of gods.

術館，新竹，台灣

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 Arts

Foundation, Hsinchu, Taiwan

2011 "Post-Adolescence", National Taiwan Museum of Fine Arts / Kuandu Museum of Fine Arts, Taichung / Taipei, Taiwan

李梅 LEE May

春蟄 The Spring Thriller 2017 / 壓克力 Acrylic / 68 x 120 cm

混用中國水墨畫筆法，抽象寫意線條與色塊，表現蕭瑟山川大地中的萬物蟄伏，形體各異，生長有時，造化有因⋯⋯等待春雷，各展其華，共振生命能量！

By using the combination of Chinese ink painting strokes and abstract color patches to express all creatures hidden in the bleak solemn nature, with different shapes of its own time and

different destiny. Waiting to be wakened up by spring thriller to reveal their talents and emerge their life energy... .

2017「台灣當代一年展」，花博爭艷館，台北，台灣

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」，花博爭艷館，台北，台灣

2015「第三十九屆全國油畫展」，國父紀念館中山國家畫廊，台北，台灣

2014「第六十一屆中部美術展」，大墩文化中心，台中，台灣

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2016 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2015 "Artist Fair Taiwan", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2015 "The 39th Taiwan Oil Painting

Contest", Sun Yat-sen Memorial Hall, Taipei, Taiwan

2014 "61th Exhibition by Central Taiwan Fine Arts Association", Dadun

Cultural Center, Taichung, Taiwan

辛佩津 HSIN Pei-Chin

貓頭鷹 Owl

2018 / 油彩、畫布 Oil on Canvas / 53 x 65 cm, 45 x 38 cm 想把奇幻境界帶進畫布裡，塑造一個神秘又充滿魅力的環境，讓觀者進入畫中世界，與它產生共

2017「台灣當代一年展」，花博爭艷館，

實與虛擬之間，觀者藉由貓頭鷹的眼睛進入更深層的世界，望向隱含在繪畫中，如法國哲學家列

2017「凝視感」，兆豐農場笠畫廊，花蓮，

鳴與交流。這樣的感性，如同每隻「貓頭鷹」透過我的畫同時展現在觀者前。一切似乎在夢中，真

維納斯（Emmanuel Lévinas）所說的他者（Ilya），這個「他者」從一種不明確的氛圍所籠罩的境域裡透露出來，它指向觀者內心無可形容的狀態，以及觀者所感受到的一切精神性指涉的感覺。

I would like to bring the fantasy realm into the painting, to create a mysterious and charming

台北，台灣台灣

2016「野生」，黑潮海洋文教基金會，花蓮，台灣

environment, to make the viewer enter the world of the painting, and to attract resonate and

2015「他方／不只是甜」，松園別館，花

through my paintings. Everything seems to be in a dream, the world that is beyond imagination

2012「樹梅坑溪環境藝術行動展覽」，竹

exchange with painting. This sensibility is like every ''Owl'' displayed in front of the audience

is between real and virtual. It makes audience go into the deeper world by the owl's eyes and

look into the ''the Other (ilya)'' hiding in the painting, as French philosopher Emmanuel Lévinas

said. ''The Other'' may be a realm shrouded from uncertain atmosphere; it may also be an indescribable state of the audience's mind, or the feeling that the audience feels of all spiritual projection.

蓮，台灣

圍社區／樹梅坑溪周邊／竹圍工作室，新北，台灣

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2017 "A Sense of Gaze", Gallery of Chao Feng Harvest Ranch, Hualien, Taiwan

2016 "Wild", Kuroshio Ocean Education Foundation, 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, New Taipei, Taiwan

周明翰 CHOU Ming-Han

玫瑰 Rose

2018 / 膠彩 Nihonga / 66 x 58 cm 利用礦物顏料的豐富色彩與金色的底色，呈現出蝴蝶與花的關係。 Using the rich colors of the mineral pigments and the golden background, it shows the relationship between butterflies and flowers.

2016「掱」周明翰水墨創作個展，樹樂集，台北，台灣

2016「台南藝術博覽會」，台南大億麗緻酒店，台南，台灣

2016「台北國際當代藝術博覽會」，喜來登大飯店，台北，台灣

2016「ALL HITS ！兩岸有藝事！」全民藝

聯展，廈門景然文化傳媒有限公司－雅昌廈門藝術中心，廈門，中國

2015「台灣藝術家博覽會」，花博爭豔館，台北，台灣

2016 "CHOU Ming-Han Exhibition",

Treellage Life Cafe, Taipei, Taiwan

2016 "Art Tainan", Tayih Landis Tainan, Tainan, Taiwan

2016 "Young Art Taipei", Sheraton

Grand Taipei Hotel, Taipei, Taiwan

2016 "ALL HITS! Artist Fair Both Sides

of the Straits", Artron Art Center of Xiamen, Xiamen, China

2015 "Artist Fair Taiwan", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

周芳伃 CHOU Fang-Yu

像個人 Be A Person

2018 / 藝術微噴、無酸相紙 Inkjet Print, Acid Free Paper / 80 x 54 cm x 2 資本主義的影響之下，人與人之間早已習慣用「認為的」、「覺得的」，或「應該的」，把自身的

2017「台北藝術攝影博覽會」，華山文創

因受到許多「建議」而變得綁手綁腳。例如，常常不曉得要怎麼打扮，甚至會懷疑品味跟主流大

2017「極限。邊界。探索攝影的無限可

刻板印象在人、事、物上貼標籤。我們無法避免這種輿論，雖然表面上看來都是獨立個體，卻眾不同，懷疑之餘，更讓人不禁思考，美肯定有個標準，在主流脈絡下才正確，因而讓人不由自主地去追求。

Under the influence of capitalism, most people have long been accustomed to labeling

people, events or things with stereotypes, and making irresponsible comments. We cannot

園區，台北，台灣

能」攝影展，駁二藝術特區，高雄，台灣

2017「台北國際攝影藝術交流會」，華山文創園區，台北，台灣

avoid this social situation. It seems that we are all independent individuals, yet in reality, we

2016「台北國際攝影節」，國立台北科技

how to dress up, we don't believe in our personal taste simply because it is different from

2016「台北國際攝影藝術交流會」，松山

are often fettered by these "recommendations" or "comments". For example, we are not sure the mainstream. Moreover, people cannot help but think: "There must be certain criteria for beauty." It turns out that people get obsessed with meeting the single best criteria that is politically correct and appropriate today.

大學，台北，台灣

文創園區，台北，台灣

2017 "Taipei Art Photo", Huashan 1914 Creative Park, Taipei, Taiwan

2017 "Beyond Limits" 2016 IPA Best Show x Formosa's Photo Elite,

The Pier-2 Art Center, Kaohsiung, Taiwan

2017 "Wonder Foto Day", Huashan 1914 Creative Park, Taipei, Taiwan

2016 "Taipei International Photo", National Taipei University of Technology, Taipei, Taiwan

2016 "Wonder Foto Day", Songshan

Cultural and Creative Park, Taipei, Taiwan

林正盛 LIN Zheng-Sheng

淨行 Clear Living

2018 / 油彩、畫布、複合媒材 Oil and Mixed Media on Canvas / Φ103 cm 人謂「觀其畫，知其人」。看著自己的作品猶如看著鏡子中的自己般，可從作品中感受到作者充滿獨特見解與意念。我藉由粗獷的媒材但細膩的創作手法，讓觀者能不自覺的被這般磅礡的情感震懾而駐足。結合多種媒材來展現其層層細膩的情感變化，更深刻感受這些相異卻又融匯在一起的材料所產生的新語言。於是乎，完成的佛像似淹埋於渾厚的油彩泥淖中，隱然浮現的佛像如法身安住。 Someone said "See the works could know about the author." When I see my art works, I seem to see myself in a mirror. You could feel full of unique insights

and ideas from the works. I always use the rough media and subtle strokes to make a deep contrast that lets viewer be unconsciously stopped by the majestic emotion. Combining multiple media to show the layers of delicate emotional changes and to deeply feel the new

language created by merging these dissimilar materials. As a result, the complete Buddha

statue seems to be overwhelmed in the thick oil color like the looming Buddha statue lives relieved.

2017 半島藝術季公益寫生活動「椰林畫

我家鄉－天水共一色風景寫生」，墾丁 H 會館，屏東，台灣

2017「藝術安住」，彰化縣立美術館，彰化，台灣

2017「藝術安住」林正盛個展，國立高雄海洋科技大學，高雄，台灣

2017「高雄藝術博覽會」，城市商旅 227

房－積禪 50 藝術空間，高雄，台灣

2017 「構圖．藝囈錄」藝術聖家一族聯

展，國立高雄師範大學 116 藝術中心，高雄，台灣

2017 "Peninsula Art Public Welfare

Scenery Sketching Activity", H Resort, Pingtung, Taiwan

2017 "Art Relieved Lived", Changhua

County Art Museum, Changhua, Taiwan

2017 "Art Relieved Lived" Solo

Exhibition, National Kaohsiung Marine University, Kaohsiung, Taiwan

2017 "Art Kaohsiung", CitySuites - G. Zen 50 Art Gallery, Kaohsiung, Taiwan

2017 "Go to 116 - Composition, Art

Dream" Group Exhibition, National Kaohsiung Normal University 116 Art Center, Kaohsiung, Taiwan

林侑瑩 LIN You-Ying

平安長大 Safe Growth

2017 / LED（廣告燈、燈條、樹藤燈…等）、木、壓克力、綜合媒材 LED Light, Wood, Acrylic,

Mixed Media / 122 x 108 x 21 cm

《平安長大》這件作品，起初是因表姊生下第一個寶寶為靈感來源，且製作時即將過農曆新年，因此我用了身穿喜氣紅衣的「聖誕老人」歡送禮物，來表達將祝福及快樂送給大家，也把這溫暖的光彩帶給觀者和辛苦生下新生命的媽媽們！

媒材上運用了色彩夢幻、質地透光的塑膠布，以較簡易的形狀直接性地表達，提升親和感。 The main inspiration came from the first baby my cousin gave birth to. I made this work before Chinese New Year. The Santa wearing red clothes stands for jubilation. Bringing gift is

like bringing happiness and blessings, and I want to present it to everyone especially to hard-

working mothers. I chose dreamy colors and translucent plastic cloth as main mediums, and used simple shapes to create an intimate experience.

2018《廢廢猴的日常》LINE 貼圖上架， LINE Creators Market，日本

2018 高雄燈會「全國創意花燈競賽」佳作，愛河燈會，高雄，台灣

2017「105 學年度社區暨校園親子寫生比

賽」社會組第一名，青山國民小學，高雄，台灣

2016 藝術家李銘盛 LEE Ming-Sheng 創

作計畫展邀請「人生旅程的起點→ 探訪自己的出生地」，駁二藝術特區大義倉庫 C8-1 未藝術空間，高雄，台灣

2016「台灣當代一年展」，花博爭艷館，台北，台灣

2018 LINE Sticker "Lazy Monkeys Daily", LINE Creators Market, Japan

2018 The Excellent Work of "National Creative Lantern Competition",

Kaohsiung Lantern Festival in Love River, Kaohsiung, Taiwan

2017 "2016 Community & Campus Parent - Child Sketching

Competition" The First Place in

Social Group, Kaohsiung City Cing Shan Primart School, Kaohsiung, Taiwan

2016 LEE Ming-Sheng Artist Creative

Project Invitation "The Beginning of Life Journey - Research Your

Birthplace", The Pier-2 Art Center Warehouse C8-1 WinWinArt, Kaohsiung, Taiwan

2016 "TAIWAN ANNUAL", Taipei Expo

Park – EXPO Dome, Taipei, Taiwan

林幸珍 LIN Hsin-Chen

我的法國印象 I －普羅旺斯罌粟 My French Impressions I - Poppies in Provence

2014 / 市售棉布、毛線、亮片、珠子、Yoyo Cotton Cloths, Woolen Yarn, Glitter, Beads, Yoyo / 150 x 150 cm

2018「拼布節」，國家展覽中心，伯明罕，

春天的時候拜訪普羅旺斯，路邊迎接我的全是罌粟花，雖然花很小，但數量多，把道路兩旁都染

2018「加拿大拼布展」，溫哥華會展中

成紅色，它們像小精靈，但在我眼裡看來卻像巨人，所以這件作品尺寸有點大，我把心中的巨人花朵佈滿整件作品，放大的罌粟花讓人感覺特別豔麗。

I visited Provence in spring. Poppies along the roadsides were welcoming. Although the flowers

英國

心，溫哥華，加拿大

2018「國際拼布節」，唐納德．E．斯蒂芬斯會議中心，芝加哥，美國

were small, there were a large amount of them. The roads were dyed red. The poppies were like

2018「薄酒萊拼布博覽會」，索恩河畔自

large poppies look particularly gorgeous.

2017「國際拼布節」，喬治．R. 布朗會議

little elves, but they were giants in my eyes. I enlarged the poppies on this big piece of work. The

由城展覽中心，隆河省，法國中心，休士頓，美國

2018 "The Festival of Quilts", National

Exhibition Center, Birmingham, UK

2018 "Quilt Canada", Vancouver

Convention Centre, Vancouver, Canada

2018 "International Quilt Festival",

Donald E. Stephens Convention Center, Chicago, USA

2018 "Quilt Expo en Beaujolais", Parc Expo, Villefranche sur Saône, Rhône, France

2017 "International Quilt Festival", George R. Brown Convention Center, Houston, USA

林盈君 LIN Ying-Chun

停止．開始 STOP．START 2018 / 錄像 Video / 3'00"

日常裡的行動很多時候都是具重複性的，一次又再一次，透過身體反覆執行。這件作品我培養自己如常的進行一次又一次的行動，用儀式性的方式觀照自我的生命歷程。

Activities in our daily routine are often embedded with repetitive feature. The work

STOP˙START represents my life process via deliberately implementing actions again and again in a ritual manner.

2017「滲透」，永富 5 號，新北，台灣

2017「滲透」，剝皮寮歷史街區，台北，台灣

2016「仙度莊計畫」，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－台北藝術自由

日」，華山文創園區，台北，台灣

2017 "Penetrate", Yonfu 5, New Taipei, Taiwan

2017 "Penetrate", Bopiliao Historical Block, Taipei, Taiwan

2016 "Xanadu Project 2", Shipyard, New Taipei, Taiwan

2016 "Daily of Portrait", Unique Art, Taipei, Taiwan

2015 "Naughty Education Fest - Free Art

Fair", Huashan 1914 Creative Park, Taipei, Taiwan

林容 LIN Jung

羊 Sheep

2016 / 油性粉彩、油彩、畫布 Oil Pastel and Oil on Canvas / 96 x 120 cm 他不再相信任何人，於是離開了人群，到了一片有綿羊的草原。為了能融入羊群，把自己裝扮成羊。與綿羊們在一起就不會覺得寂寞了，綿羊們也接納了長著人臉的羊。

He escapes from people for he can no longer trust anyone. One day, he realizeds that he has already adapted himself to a flock of sheep. Amazingly, sheep treats him as if he is a sheep. He deeply believes in it, therefore, no more fear of people and he lives happily ever after.

2016「無有」文化美術五十屆畢業展，松山文創園區三號倉庫，台北，台灣

2016 "PCCU FINE ART DEPARTMENT

BA GRAD SHOW 2016", Songshan Cultural and Creative Park

Warehouse No.3, Taipei, Taiwan

林晏竹 LIN Yen-Ju

美麗莊園－來自海洋的家徽

Mansion of the Beautiful - Kamon from the Sea 2017 / 多媒體裝置 Multimedia Installation / 60 x 46 x 11 cm

台灣 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：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

2018「人造空間 334」，435 藝文特區，新北，台灣

2017「常常在家」林晏竹個展，福利社，台北，台灣

2017「台灣當代一年展」，花博爭艷館，台北，台灣

在認同上有錯亂之感，難以從中看見自我，也不禁提問該如何處理與他者的關係？

2015「枕流漱石」林晏竹個展，竹圍工作

《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

2013-2015「Schizophrenia Taiwan

映在消費與殖民結構的影響下，建築上的符碼在被凝視下成為影像；它有如美好的幻影——投射出大眾的審美與慾望，卻也造成了在認同上的種種錯亂。

Designs of collective housing community in Taiwan after the 1990's often used architectural codes from elsewhere as decorative elements. Interestingly, these codes would sometimes forget their definitions and transformed into their own unique forms.

Residential community could always reflect a variety of ideas and desires on belonging of the

室，新北，台灣

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／德勒斯登／巴黎／倫敦／馬賽，奧地利／德國／法國／英國／法國

community dwellers. Thoughts and feelings of the residential community were always projected

2018 "Artificial Space 334", Banqiao 435

reflects the consumer's desire to be in elsewhere, and eventually become the Others. However,

2017 "Long Stay" LIN Yen-Ju Solo

into forms. The utilization of these codes was related to the idea of house as a consumer item. It the misappropriated or re-created architectural codes that "look alike" elsewhere cause 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.

Art Zone, New Taipei, Taiwan

Exhibition, FreeS Art Space, Taipei, Taiwan

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2015 "Stream may be... Pillow, Stone can Rinse..." LIN Yen-Ju Solo Exhibition, Bamboo Curtain Studio, New Taipei, Taiwan

2013-2015 "Schizophrenia Taiwan 2.0", Ars Electronica / Transmediale

/ Maison des Metallos / Ambika P3 / Instants Vedio Festival /

Hellerau, Linz / Berlin / Dresden /

Paris / London / Marseille, Austria / Germany / France / England / France

林書柔 LIN Shu-Jou

煙霧祭典 Smoke Festival 2018 / 壓克力 Acrylic / 91 x 72.5 cm 您帶走我了，呼吸停止了。接著，我似乎看見不一樣的世界，我聽見煙霧蔓延背後的笑聲，帶了點浪漫與自由，展開的一場宴請，彷彿祭典。

我的朋友們呀！也都來了。只是被烤得微焦的樣子有點好笑，但聽說這樣的味道很美麗，我們的價值似乎在疼痛的灼熱後，如煙，一節一節地冉冉而升。啊！只有我在哭泣，您們都在竊喜。 You took me away and my breathing stopped. Then I seemed to see a different world. I heard the laughter behind the smog, brought romance and freedom, and began a feast like a ritual.

My friends! They have all come. It was just a bit funny to be baked, but I heard that the taste was so beautiful that our value seemed to rise after a painful glow like smoke, a section of the earth. Ah! Only I'm crying. You are smitten.

2014「林書柔綜合果汁小品展」，高雄，台灣

2013「女孩。牽小馬。散步」，台南，台灣 2014 "LIN Shu-Jou Comprehensive

Fruit Juice Exhibition", Kaohsiung, Taiwan

2013 "Girl. Pull Pony. Walk", Tainan, Taiwan

林祖帆 LIN Tsu-Fan

移動它方 Mobile Others

2018 / 攝影、數位輸出 Photography, Digital Output / 33.3 x 59.2 cm 我們處於在變動的狀態裡，這變動的狀態包含了時間及空間。 We are in a state of change. The state of this change includes time and space.

2018「超越亞洲」，五大洲博物館，慕尼黑，德國

2016「大邱藝術博覽會」，大邱展覽中心，大邱，南韓

2016「私房畫： I have something to

tell you - EDA 學生藝術商店」，真書軒，台北，台灣

2015「高雄藝術博覽會」，駁二藝術特區，高雄，台灣

2015「前往下一站 . 內在風景」，自由人藝術公寓，台中，台灣

2018 "Beyond Asia", Museum Fünf

Kontinente, Munich, Germany

2016 "Daegu Art Fair", EXCO, Daegu, South Korea

2016 "2016 EVERYDAY ART: I have

something to tell you", The Jen Library, Taipei, Taiwan

2015 "Art Kaohsiung", The Pier-2 Art Center, Kaohsiung, Taiwan

2015 "The Stop: The View from The Inside", Freedom Men Art

Apartments, Taichung, Taiwan

林淑娟 LIN Shu-Chuan

靜慮（瓷玫瑰） Samadhi (Porcelain Rose) 2017 / 油彩、畫布 Oil on Canvas / 43 x 58 cm

《幽夢影》：「人須求可入詩，物須求可入畫。」在此禪花系列中，取觀花的專注而見真實，無有分別，達於三摩地。

"People may need to seek in poetry, a painting material may be seeking." - You Meng Ying In this series of Zen flowers, take it unaware of separateness to Samadhi.

2017「神領意造」雲林縣美術協會暨湖光畫會會員創作聯展，環球科技大學藝術中心，雲林，台灣

2017「凝」湖光畫會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

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 "Yunlin County Art Association and Hu Guang Painting Society Joint

Exhibition", TransWorld University Art Center, Yunlin, Taiwan

2017 "Gaze" Hu Guang Painting Society and Yunlin County Art Association Invitation Joint Exhibition, Taipei

City Arts Promotion Office, Taipei, Taiwan

2016 "TAIWAN ANNUAL", Taipei Expo

Park – EXPO Dome, Taipei, Taiwan

2011 "Poetic Landscape" LIN Shu-Chuan Solo Exhibition, Cathy Art Gallery, New Taipei, Taiwan

2010 "New Era of Design and Creation"

Taiwan & Australia Contemporary Arts Exchange, Ming Chuan

University, Taoyuan, Taiwan

林綺暄 LIN Chi-Hsuan

禁區 Forbidden Zone

2017 / 壓克力、油彩、畫布 Acrylic and Oil on Canvas / 65 × 50 cm 垂首，不是為了臣服。說好的翅膀，掉落在禁區。說好的動詞，顯露在名詞。 Bending head, is not a gesture of submission. The promised wings, were dropped at the forbidden zone. The promised action, was lost in words.

2017「中國美術協會聯展」，中正紀念堂－第一展廳，台北，台灣

2017「台灣當代一年展」，花博爭艷館，台北，台灣

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

2001「遊移．可見．不可見」個展，華山文創園區，台北，台灣

2017 "Art Association of Republic of

China Group Exhibition", Chiang Kai-shek Memorial Hall - First

Display Room, Taipei, Taiwan

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2016 "The Tipping Point - Art Is

Powerful", TWTC Hall 3, Taipei, Taiwan

2016 "The Man‧The Wind‧The Sea"

Trio Exhibition, King Boutique Art Gallery, Taipei, Taiwan

2001 "Transition Between the Visible

and the Invisible" Solo Exhibition, Huashan 1914 Creative Park, Taipei, Taiwan

邱語樺 CHIU Yu-Hua

宇宙論 Theory of Universe

2017 / 壓克力、粉彩、畫布 Acrylic and Pastel on Canvas / 117 x 117 cm 《易經》中，太極所延伸出的六十四卦，說明世間人事、真理及宇宙自然萬象。作者以太極的形象

2017「宇宙論」公益創作個展，找地方

私密的真理與想像。

2017「記憶台北」影像藝術展，台北市鄉

為發想，創作了屬於自己生命歷程的「卦象」，每一幅抽象圖形的背後，都是屬於自己人生宇宙中

In the Book of Changes , the sixty-four hexagrams extended by Tai Chi illustrate human affairs,

truth, and the natural phenomena of the universe. The author thinks of the image of Tai Chi and

creates the "image" of her own life. Behind each abstract figure, she belongs to the secret truth and imagination of her life's universe.

坐，台北，台灣

土教育中心，台北，台灣

2017「台灣當代一年展」，花博爭豔館，台北，台灣

2017「至榮藝術獎作品展」，台北市立大學 Space 1，台北，台灣

2013「台少盟公益海報聯展」，中山公民會館，台北，台灣

2017 "Theory of Universe", Have a Seat, Taipei, Taiwan

2017 "Memory of Taipei" Photography Exhibition, Heritage & Culture

Education Center of Taipei, Taipei, Taiwan

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2017 "Zhi-Rong Contest of Art

Exhibition", University of Taipei -

Department of Visual Arts - Space 1, Taipei, Taiwan

2013 "Taiwan Alliance for Advancement

of Youth Rights and Welfare Group Exhibition of Charity Posters",

Zhongshan Public Assembly Hall, Taipei, Taiwan

金炫辰 KIM Hyun-Jin

在路途上 #16 On the Road #16

2017 / 木刻版畫、油彩印於紙上 Woodcut, Oil Ink on Paper / 26 x 22.8 cm 藝術創作對我來說，是一種尋找真我的旅程，透過創作我能探索心靈，也能在進一步了解自我的過程當中找到生命的熱情。

Art making is my journey taken on to discover true self. It helps me to explore inner spirit, and to find the passion for life by the learning of myself.

2018「第 14 屆 GIELNIAK 國際版畫展」， Karkonoskie 美術館，耶萊尼亞古拉，波蘭

2017「伊瑟爾約瑟夫國際版畫雙年展」，普洛耶什蒂美術館，普洛耶什蒂，羅馬尼亞

2017「濟州藝術博覽會」，濟州市民會館，濟州，南韓

2017「台灣當代一年展」，花博爭豔館，台北，台灣

2017「Carmen Arozena 國際版畫展」，

塞哥維亞博物館，馬德里，西班牙

2018 "14th Gielniak Graphic Arts Competition", Muzeum

Karkonoskie, Jelenia Góra, Poland

2017 "12th The losif lser International

Contemporary Engraving Biennial

Exhibition", Art Museum of Ploiesti City, Ploiesti, Romania

2017 "JEJU International Art Fair", Jeju Civic Center, Jeju, South Korea

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2017 "International Print Award Carmen Arozena 2017", Museum Real Casa de la Moneda in Madrid, Madrid, Spain

姜麗華 CHIANG Li-Hua

重複與差異 I －大漢溪

Repetition and Difference I - Dahan River

2018 / 攝影 Photography / 54.5 x 160.5 cm

拍攝台鐵與高鐵的火車經過大漢溪橋墩的瞬間，8 張照片的曝光時間按照相機自身設定的秒數 30

秒，記錄往返樹林與板橋之間的夜間火車，因長時間曝光所凝固移動中的車軌，雖然每一張照片都是一樣的曝光秒數，但是每個瞬間影像都是差異的，形成一種「重複與差異」。攝影者藉此映照

「重複與差異」的日常，並特別以負像隱喻「重複與差異」不可見的時間性。

Shot when the trains and high-speed train pass through the pier of the Dahan River, the exposure time of the eight photos was set by the camera itself for 30 seconds. The trajectory

of the train at night between Shulin and Banqiao were recorded during long exposure. Although each photo has the same exposure time, but each instant image is different, forming

a "repetition and difference". The photographer uses this to reflect the daily of "repetition

and difference", and she particularly uses negative as a metaphor for invisible timeliness of "repetition and difference".

2017「台北．巴黎：記憶軸」攝影個展，二空間，台北，台灣

2015「104 年全國美術展」，國立台灣美術館，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，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，相模原，神奈川，日本

2003「追憶影像：數位攝影個展」，

三十一號空間，伊西雷穆利歐，法國

2017 "Taipei Paris - Memory Axis"

Personal Photography Exhibition, SPACE TWO, Taipei, Taiwan

2015 "National Art Exhibition, ROC",

National Taiwan Museum of Fine Arts, Taichung, Taiwan

2013 "Hetero-Nostalgia" CHIANG Li-Hua Personal Photography & Video

Exhibition, International Hall, Art Museum, New Taipei, Taiwan

2012 "The Creation of the Void:

Exchange Exhibition Between

NTUA & Joshibi University of Art and Design", Joshibi University

of Art and Design - Art Museum,

Sagamihara, Shinagawa, Japan

2003 "Past Day, Past-Photo" Personal Photography Exhibition, Gallery Espace 31, Issy-les-Moulineaux, France

紀又仁 CHI Yu Jen

嗨，我是一隻黑鯨魚，你看不到我。

Hi, I am a black whale. You can't see me.

2017 / 陶瓷 Ceramics / 30 x 30 x 5 cm

嗨，我是一隻黑鯨魚，你看不見我，但是我在海面上留了一圈又一圈的氣泡。 Is it a video? I will invite the visitors to write down some words for his beloved person, and then

he could put it into any pot as he prefers. I will live broadcast the messages. However, they might be turned into negative views, or be broadcasted as what they are. It depends where the messages are left: "good pot" or "bad pot". Through this work, the artist intends to experiment that, the reality and the uncertainty of messages and images coexist.

2018 "Fire on the Wind" Celadon

Research Report Exhibition,

National Taiwan University Library, Taipei, Taiwan

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 "TAIWAN ANNUAL", Taipei Expo

Park – EXPO Dome, 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

苗之珊 MIAO Chih-Shan

Portal

2018 / 噴墨輸出 Inkjet Output / 150 x 30 cm 這是一趟旅途中的旅途。目的地未明，座標開放。本系列取材挪威國家廣播電視台「慢電視」節目

2017「閱讀計畫」個展，書店藝廊，新北，

景色、向前奔去的視角，列車行進的機械聲、人聲與報站語音，最無戲劇效果的卻最具備催眠魔

2016 / 2017「台灣當代一年展」，花博爭

《卑爾根鐵道的分分秒秒》，記錄卑爾根至奧斯陸全長七小時餘的火車之旅。影片中不斷向前開展

力，讓人意識飛到九霄雲外。這也是一趟旅途中的穿越。我記下沿途景色，就在螢幕平面景致變換的間隙中，時空恍惚，想像有了不同維度，從視差裡逃逸而去。

Portal is a series inspired by Bergensbanen of NRK, a slow TV program aired in Norway in

2009. I browsed an online channel of train videos by accident while surfing the internet, and surprisingly found the clips of Bergensbanen , which were fascinating and mesmerizing. By

the changing landscapes on the flickering screen, the sense of space and time was dissolved

and getting indefinite. This allowed me to have an alternative dimension of imagination. I took screenshots of this seven-hour train ride and made them to be my own virtual journey, though anaglyphically. Therefore, this project is a journey within a journey. The destination is

unspecified. The coordinates are set to be open. It is a portal, which makes an escape from the ordinary reality.

台灣

豔館，台北，台灣

2015「台灣藝術家博覽會」，花博爭豔館，台北，台灣

2014「2014 高雄獎」，高雄市立美術館，高雄，台灣

2017 "The Reading Project", Shudian Bookstore Gallery, New Taipei, Taiwan

2016 / 2017 "TAIWAN ANNUAL", Taipei Expo Park - EXPO Dome, Taipei, Taiwan

2015 "Artist Fair Taiwan", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2014 "2014 Kaohsiung Awards",

Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

徐昭華 HSU Chao-Hua

下一站 Next Stop

2016 / 油彩、畫布 Oil on Canvas / 129 x 103.5 cm 在這密閉的空間裏，人們急迫地挨著身體，防衞著，握緊手中的吊環，層層摒住呼吸，杜絶任何曖昧氣息。一如往常，彷彿如此靠近，卻又如此疏離。

《下一站》敍述的正是都會人依賴的大眾捷運，以光影為媒材，透過車窗玻璃的折射，讓熟悉平凡

的場景有了迷離浪漫的張力，虛實幻化中，演繹你我難以反擊卻無法漠視，那種緊密又疏離的關係。 In this confined space, people are nervously protecting their bodies. They hold the hand ring and breathe in layers. As usual, it seems very close, but it is so alienated.

The Next Stop describes the MRT that the city's people rely on. Using light and shadow as a

medium, the creator paints a familiar and common scene of ambiguous and romantic tensions

through the refraction of the window glass, to counterattack the close and distant relations we cannot ignore.

2017「106年竹梅源文藝獎」優選，高雄市文化中心，高雄，台灣

2017「106年磺溪美展」入選，彰化縣立美術館，彰化，台灣

2017「106年宜蘭美展」優選，宜蘭縣文化中心，宜蘭，台灣

2017「台灣當代一年展」，花博爭艷館，台北，台灣

2016「徐昭華創作個展」，國立台灣圖書館，新北，台灣

2017 "106 Zhu Mei Yuan Literary Award", Kaohsiung Cultural Center, Kaohsiung, Taiwan

2017 "106 Suixi Art Exhibition",

Changhua County Art Museum, Changhua, Taiwan

2017 "106 Yilan Art Exhibition", Yilan Cultural Center, Yilan, Taiwan

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2016 "HSU Chao-Hua Solo Exhibition", National Taiwan Library, New Taipei, Taiwan

荊偉民 CHING Wei-Min

垂直模式 Perpendicular Mode

2017 / 數位輸出、壓克力 Digital Print, Acrylic / 60 x 20 cm x 5 此「垂直模式」系列作品，為作者旅行之影像紀錄，使用全景攝影手法，反轉相機使其呈現環形之

全景影像。在單一影像作品中，創作者前後方的景色濃縮於畫面中的兩端，形成上下顛倒的有趣畫面。

The "Perpendicular Mode" series of works is a documentary for the author's travel, using

panoramic photography techniques, and reversing the camera to make the image form a circle.

In the single work, the scenery of the front and back of the creator concentrates on both ends of the screen and forms an upside-down, intriguing picture.

2017 評審榮譽獎 −IPA 國際攝影獎

2017「掠影」攝影作品交流展，台北市藝文推廣處第二展覽廳，台北，台灣

2017「浮光」攝影作品交流展，台北市藝文推廣處第三展覽廳，台北，台灣

2017「得心印手」，台師大國際版畫中心，台北，台灣

2015「一三不整」，拎咖啡，台北，台灣 2017 Honorable Mention - IPA award 2017 "Glimpse", Taipei City Arts

Promotion Office 2nd Exhibition Hall, Taipei, Taiwan

2017 "Floating Light", Taipei City Arts

Promotion Office 3rd Exhibition Hall, Taipei, Taiwan

2017 "Good in Printmaking", National Taiwan Normal University -

International Printmaking Center, Taipei, Taiwan

2017 "Just Not Right", Lincafe, Taipei, Taiwan

袁梅芳 YUAN Mei-Fang

藏身 Shelter

2018 / 油彩、畫布 Oil on Canvas / 80 x 100 cm 我在畫布寫了一首詩，再用繽紛的顏料將詩掩埋，而你看到的是一幅用詩寫的畫，畫裏有我藏身的輪廓線，捲綑著畫裡載浮載沉的我。

I wrote a poem on the canvas and buried it with colorful paint. What you see is a picture that I was hidden in the poem.

2018「繪畫筆記－袁梅芳個展」，板橋 435 藝文特區，新北，台灣

2018「青春派樂地」，新北市政府一樓大廳，新北，台灣

2018「5+5+1>600」，台北藝術大學南北畫廊，台北，台灣

2018「風華再現－兩岸名家邀請展」，國父紀念館，台北，台灣

2017「藝視界」，桃園市政府文化局藝廊，桃園，台灣

2018 "Notes on Painting - YUAN Mei

Fang Solo Exhibition", Banqiao 435 Art Zone, New Taipei, Taiwan

2018 "Let's Party", New Taipei City

Government – 1st Floor Lobby, New Taipei, Taiwan

2018 "5+5+1>600", Taipei University of the Arts, Taipei, Taiwan

2018 "Cross-strait Famous Calligraphy and Painting Artists Exhibition",

Sun Yat-sen Memorial Hall, Taipei, Taiwan

2017 "We Art World", Taoyuan City Government - Department of

Cultural Affairs Gallery, Taoyuan, Taiwan

高爾欣 KAO Erh-Hsin

盛夏後的光年 Light Year After Summer 2018 / 複合媒材 Mixed Media / 91 x 116.5 cm 世界上任何風景都會留下你的回憶。 Leave any memories in any landscape in the world.

2017「台灣當代一年展」，花博爭艷館，台北，台灣

2017「台灣藝術博覽會」，世貿一館，台北，台灣

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」，大墩文化中心，台中，台灣

2013「第十一屆全國百號油畫大展」，港區藝術中心，台中，台灣

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2017 "Artist Fair Taiwan", TWTC Hall 1, Taipei, Taiwan

2015 "Taiwan National Exhibition", Taiwan National Exhibition

Committee for Arts, Kaohsiung, Taiwan

2013 "Da Dun Fine Arts Exhibition",

Dadun Cultural Center, Taichung, Taiwan

2013 "National Large-sized Oil Paintings Exhibition 2013", Seaport Art Center, Taichung, Taiwan

高錫麟 KAO Shi-Lin

文字解構－甲骨文 2017-02

The Text of the Framework - Oracle 2017-02

2017 / 油彩、混紡布 Oil, Blending Cloth / 100.5 x 80 cm

世界 200 多個國家中，使用中國文字的人口近三分之一。

書法一定是黑白？

書法一定是排列整齊？

賦予書法活潑色彩、生動造型，顛覆傳統書法視覺印象。

2018「牽手－生態」水墨潑墨畫展，宜蘭縣政府文化局，宜蘭，台灣

2015「潑墨凡石」，森之藝廊，宜蘭，台灣 2010「光影傳奇」油畫展，上海五角場 800 號，上海，中國

通過中國文字解構狀態，以油畫的畫布、顏料、色彩、技法、線性語言等特質，簡約鋪陳甲骨文

2009「光影非光影」油畫展 , 北京 798 聖

文字傳達文化，視覺藝術傳達文字美學。

2004「公共藝術徵選」第二名，新竹師大

書寫空間的組合與變化，象徵性呈現昔日甲骨文的空間與時間之文字美學。

In more than 200 countries, there is almost one-third population using Chinese character.

Does calligraphy must be black and white?

Does calligraphy must be orderly arranged?

The work gives calligraphy lively color and vivid styling. It reverses the visual impression of traditional calligraphy.

Through the nature of canvas, paint, colors, techniques and linear characteristic, this work

simply presents combination and transformation of Oracle, at the same time symbolically displays the temporal and spatial aesthetics of Oracle. Text conveys culture. Visual arts conveys the aesthetics of text.

邦德畫廊，北京，中國實驗國小，新竹，台灣

2018 "Holding Hands - Ecological"

Splashed Ink, Ilan County Cultural Affairs Bureau, Ilan, Taiwan

2015 "Immigration Ink Stone", Forest Gallery, Ilan, Taiwan

2010 "Movies Legend" Oil Painting

Exhibition, Shanghai Wujiaochang 800, Shanghai, China

2009 "Movies Non-light" Oil Painting

Exhibition, Beijing 798 Saint Bond Gallery, Beijing, China

2004 "Public Art Competition" Second

Place, The Affiliated Experimental Elementary School of National

Hsinchu University of Education, Hsinchu, Taiwan

康郁達 KANG Yu-Ta

指責 Criticism

2018 / 複合媒材 Mixed Media / 65 x 53 cm 數位影像蓬勃發展，在數位浪潮衝擊之下，產生大量的創作者，更有大量的評論者。作者期望透過「指責」，最終期望帶來更多人理解不同樣貌的作品，而非僅僅只是「指責」。

作者透過隱喻攝影手法，嘲諷非理性的心視感評論經驗，在虛擬的網路世界中、道德的框架裡，

某些人隱身創作、某些人隱身公審著這些創作，先撇除這些公審者未知的背景或領域，或許不符合某些期望或是自我意識，只要輕鬆一指按下檢舉的選項，即可消滅創作者的心血與創作靈魂。

The digital image is booming. Under the impact of the digital tide, a large number of creators are produced, as well as a large number of commentators. The author hopes that through "reproach", he can bring more people to understand works that are not the same, rather than "criticising".

2018「台北國際攝影藝術交流展」，松山文創園區，台北，台灣

2017「文化部文資局台中文創園區成果

展－技藝聯展」，台中文創園區國際展演廳，台中，台灣

2016「台北藝術自由日」，華山文創園區，台北，台灣

2018 "Wonder Foto Day", Songshan

Cultural and Creative Park, Taipei, Taiwan

2017 "Bureau of Cultural Heritag TCCIP

Art Creation Exhibition", Taichung

Cultural & Creative Industries Park, Taichung, Taiwan

2016 "Free Art Fair", Huashan 1914 Creative Park, Taipei, Taiwan

康華行 KANG Hwa-Sing

紅 • 藍 • 金 Red Blue Golden 2017 / 數位輸出 Digital Print / 67.5 x 99 cm

糾結與擠壓的循環，有時燦爛，有時混沌，靜靜的過去，靜靜的過去。 Tangled and squeezed cycle, sometimes brilliant, sometimes chaotic, quietly past, quietly past.

2017「台灣當代一年展」，花博爭艷館，台北，台灣

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」，花博爭艷館，台北，台灣

2014「台灣藝術家博覽會」，新光三越 A9 館，台北，台灣

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2016 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2015 "Artist Fair Taiwan", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2014 "Artist Fair Taiwan", Shinkong Mitsukoshi A9, Taipei, Taiwan

張智惠 CHANG Chih-Hui

遊樂園 Amusement Park

2018 / 油彩、鋁線、霓虹燈管、畫布 Oil, Aluminum Wire, Neon, Canvas / 91 x 116.5 cm 位元是資訊最小單位，由 0 與 1 組成，象徵無創造有。作品畫面是由圓（或是點）（0）與線條（1）構成，霓虹燈管影子的線條反映在畫面上是畫面的一部份，椅子是由鋁線來處理繪畫的線條，也是畫面的一部份。

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 artwork consists of a

circle (or point) (0) and a line (1). The line of the shadow of the neon tube is reflected on the

screen which is a part of the picture. The chair is formed by a line that processes the painting by aluminum wire and is also a part of the picture.

2018「國立台灣藝術大學美術學系師生美展」，台藝大美術系藝廊，台北，台灣

2017「台灣當代一年展」，花博爭豔館，台北，台灣

2017「Mini 小畫聯展」，原顏藝術，台中，台灣

2016「台灣當代一年展」，花博爭艷館，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

2018 "Art Expo of Teacher and Student of NTUA", National Taiwan

University of Arts - Gallery of

Department of Fine Arts, Taipei, Taiwan

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2017 "Group Expo of Small Paintings", UYart, Taichung, Taiwan

2016 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei , Taiwan

2015 "Fish Thali Banquet - Taipei",

Yosifu Art Gallery, Taipei, Taiwan

張雅惠 ZHANG Ya-Hui

土也 To be continued...

2018 / 自然產物 Natural Product / 150 x 150 cm 獻給緊握這片土地不肯放手的人－他們對這塊土地的關懷、敬畏、熱忱，胼手胝足，努力奉獻，

2017「藍圖實驗展」，土庫庄役場，雲林，

可見的在地自然產物作為藝術場域裡的作品，串聯出對土地的情懷。

2016「土地尬郎」，他里霧生活美學館，

永遠不離不棄。藉由親手搜集自然產物的過程，以裝置的方式，透過非主流的另類思考，以隨處

Dedicated to those who cling to this land and refuse to let go - their care, reverence, enthusiasm, efforts dedication and never leave or be abandoned. Through the process of collecting natural products, by means of art, through the non-mainstream alternative thinking, the ubiquitous

natural products in the land are used as works of art, showing the connection of feelings towards the land.

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

2014「東山物產與想像」，蕭壠國際藝術村，台南，台灣

2013「跨國界時尚設計聯展」，釜山設計中心，釜山，南韓

2017 "Blueprint", Tuku Township Office, Yunlin, Taiwan

2016 "Land and Person", Taliwu Living Art Center, Yunlin, Taiwan

2015 "Soulangh Artists Exhibition",

Soulangh Cultural Park, Tainan, Taiwan

2014 "The Imaginations of Agricultural

Products in Dongshan", Soulangh Artist Village, Tainan, Taiwan

2013 "Cross Border Fashion Design

Exhibition", Busan Design Center, Busan, South Korea

莊于璇 CHUANG Yu-Hsuan

拋棄式畫廊 Disposable Gallery 2018 / 聚氯乙烯 PVC / 29.7 x 42 cm

《Disposable Gallery》系列的泡殼設計，思考包裝殼大量生產的模式，如同大量進行文本複製，

2018「共同體的明確意識」，水谷藝術，

任何物件都可能被詮釋，其創造的表象已經徹底地取代原有的意義。透過這些被掏空內部的包裝

2016「就決定是你了！」聯展，寶藏巖國

卻僅複製了文本的「表面」，其內部的原始意義消失無蹤，或根本不存在。通過這樣的形式對應於

空殼，藉此製造出意識上的量產，及表象的均值性，移除了放置於框內的資訊，喪失了內容的意義，將整體品質均一化。由於觀者的視覺經驗被迫取消，內部的圖畫內容不復存在，原始框件該有的質地也完全被抽離，已經剩下透明泡殼的塑膠質感，如同一個廉價的大型產品包裝殼。面對透明虛無的框，之於平面繪畫要賞析的內容又會是什麼？觀者甚至可以任意投射想法與意義。

A lot of discards caused by massive consumption will eventually lead to endless emptiness.

台北，台灣

際藝術村，台北，台灣

2016「懼光的動物」，國立交通大學藝文中心，新竹，台灣

2016「台灣當代一年展」，花博爭艷館，台北，台灣

2015「台北藝術自由日」，華山文創園區，台北，台灣

2018 "Clear Consciousness of the

Community", Waley Art, Taipei, Taiwan

2016 "Walking Grass Go To Treasure

Hill", Treasure Hill Artist Village, Taipei, Taiwan

2016 "Photophobic Animal", National

Chiao Tung University Arts Center, Hsinchu, Taiwan

2016 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2015 "Free Art Fair", Huashan 1914 Creative Park, Taipei, Taiwan

莊仟廷 CHUANG Chien-Ting 佛系青年 Buddhist Youth 2018 / 水彩 Watercolor / 100 x 60 cm x 2

佛系青年，是當代青年在面對無力改變的大環境下，以「不爭不搶、看淡一切」的態度，所作出的自我調侃。看似豁達，其實是對「佛系」一詞的誤用——真正的佛系，不是消極避世，而是積極的

處世心態。然而，這種在意義上的錯置而又漫不在乎的誤用，似乎卻又回過頭來吻合「佛系青年」虛無飄渺的處世觀。作品試圖補捉住這個世代的虛無感，以支離破碎的形象與漠然處之的神態，讓觀者在與他們對看的同時，也能感受到他們的虛無與無力。

Historically, Buddhists have been known for their positive view of the world. In late 90', the term

Buddhist Youth was born. One might mistakenly assume that it's derivative of Buddhism or that it shares some similarities, it does not. People who identify themselves as Buddhist youth

yearn to be free of strong feelings. They avoid conflict and have a passive attitude of "no desires, no needs, and no expectations". It's their way of self-ridiculing our world, a world they feel powerless to make any change.

I try to capture the helplessness of the Buddhist Youths through the use of fragmented figures

and their indifferent demeanor, hoping that the viewers can sense their powerlessness and emptiness when looking into their eyes.

莊臥龍 CHUANG Wo-Long

24° N No. 42

2018 / 油彩、畫布 Oil on Canvas / 30 x 30 cm 流動是生活的映照。 The drift is the reflection of life.

2017「北緯 24 度的內在視野」，東海岸文教基金會，花蓮，台灣

2016「新台灣壁畫隊台中國家歌劇院開幕限定版」，國家歌劇院前廣場，台中，台灣

2016「覓境之徑」，么八二空間，台南，台灣

2015「光蘊之境」，襲園美術館，桃園，台灣

2014「謎走的軌跡」，得麗寶藝廊－打開盒子藝術博覽，台中，台灣

2016 "Inner Perspective of 24° N" Solo

Exhibition, Eastcoast Culture and Education Foundation, Hualien, Taiwan

2015 "Theater for All" Group Exhibition, National Taichung Theater, Taichung, Taiwan

2015 "Solo Exhibition", 182 Artspace, Tainan, Taiwan

2014 "Solo Exhibition", A.Heritage, Taoyuan, Taiwan

2014 "Solo Exhibition", Open Box Art Stage, Taichung, Taiwan

許家榕 HSU Jia-Rong

不是明日 This Isn't Tomorrow 2016 / 藝術輸出 Digital Print / 50 x 37 cm x 3

女孩從城市回到故鄉，面對另外一個生活世界，大環境的變遷，只能接受它，並正常生活著。 When a girl returns to her hometown from the city and faces environmental changes, she can only accept and lives a normal life.

2017「不是明日」許家榕個展，酪梨影像藝術空間，台北，台灣

2016「台北國際攝影藝術交流展」，華山文創園區，台北，台灣

2014「浪漫的地理」藝術家田野調查暨展覽計畫，Arts 千田代 3331 ／耿畫廊，東京／台北，日本／台灣

2010「許家榕個展」，乒乓藝術展演空間，台北，台灣

2009「台灣 X 以色列青年藝術家交流

展」，關渡美術館，台北，台灣

2017 "This Isn't Tomorrow" HSU JiaRong Solo Show, Guacamole Space,Taipei, Taiwan

2016 "Wonder Photo Day", Huashan

1914 Creative Park, Taipei, Taiwan

2014 "Romantic Geography" A Field

Research and Exhibition Practice on Distribution of Urban Space, Arts Chiyoda 3331 Tokyo /

TKG+Projects, Tokyo / Taipei, Japan / Taiwan

2010 "HSU Jia-Rong Solo Show", Ping Pong ART, Taipei, Taiwan

2009 "Taiwan - Israel Young Artists

Interchanging Exhibition", Kuandu Museum of Fine Arts, Taipei, Taiwan

許璧翎 HSU Pi-Ling

築 Construct

2018 / 宣紙、特殊紙材 Xuan Paper, Special Paper / 90 x 90 x 6 cm 《築》系列作品，看似是以平面繪畫的形式呈現給觀者，但表達却與繪畫無關。其實，該作品的呈

現是通過手工性的手段製作完成，是一種具有裝置性的作品表達。或者說這件作品是通過手工的

方式，搭建而成的一種構築般的表達。《築》的動機是搭建起一個個互連的巢穴，這個表達不僅僅

是築成一個個帶有神祕感、如同迷宮般巢的空間，或隱或現，又互相關連；重要的是，我想表達對每一個空間的觸感，給予認知上的確認。《築》最終搭建的不是一個一個感官上的空間，而是內心世界折射出來對未知世界的探尋。

Artworks from the Construct series, on the surface, look like I tried to convey my message

through 2-D paintings, but what I truly want to express has nothing to do with paintings. Rather, they are created manually, and serve a purpose similar to installation art. Or, you may say that this artwork has a constructive expression which is achieved by being constructed manually.

The motive for Construct is to build nests that are interconnected. This expression not only

creates a mysterious & labyrinth-like space full of nests that are partially hidden & partially revealing, but are also interconnecting. The most important thing about my message is to give cognitive confirmation to the spatial sense for each space. What Construct ultimately creates is not spaces that can be perceived by us, but our internal exploration into the unknown world.

2018「第三屆中國當代女子畫會全國邀請展」，上上國際美術館，北京，中國

2017「台灣彩墨藝術飛翔．西班牙甘迪

亞」，西班牙 Coll Alas 展覽中心／ Biblioteca 圖書館，甘迪亞，瓦倫西亞，西班牙

2017「環保藝術節－花舞繽紛環保趣」，台中市政府環境保護局寶之林園區／草悟道，台中，台灣

2017「藝術廈門博覽會」，廈門國際會議展覽中心，廈門，中國

2017「青紅皂白－十一人展」，泰達畫廊，天津，中國

2018 "The Third China Contemporary Women′ s Painting National

Invitation Exhibition", Sunshine International Museum, Beijing, China

2017 "Tsai-Mo Arte de Taiwan•

Vuela a Gandia Espana", Sala

D′ exposicions Coll Alas / Claustre i Primera planta de la Biblioteca

Central de Gandia, Gandia, Spain

2017 "Environmental Protection Art Festival", Taichung City

Government - Environmental

Protection Bureau / Calligraphy Greenway, Taichung, Taiwan

2017 "Art Amoy Art Fair 2017", Xiamen International Convention and

Exhibition Center, Xiamen, China

2017 "Indiscriminate ", TEDA Gallery, Tianjin, China

連瑞芬 LIEN Jui-Fen

無相之象 No.3 Beyond the Horizon No.3 2017 / 紙染數位藝術 Paper Dyeing and Digital Art / Φ 80 x 4 cm

《無相之象》系列先在紙本上進行形色創作，將墨與彩結合紙本纖維融入時間變化，創作獨一無二

2018「第十九回國際書畫交流展」，東京

創作意念乃彰顯水元素之「無可限性」，猶如大化天地、混沌奇麗，具抽象之美、之象、之律動。

2018「新北市美術家雙年展」，新北藝文

的構圖，再以特殊光造攝影技法製作成數位版材輸出。此既不單純是繪畫，也不等同攝影或版畫。 Digital printing on paper is based on the paper fiber changing color in every moment, and

then combined with a special photography digital version of the paper output in rice paper, printmaking. The picture presented is like a great world, chaotic beautiful, to convey the abstract beauty, the image of the rhythm.

都美術館，東京，日本中心，新北，台灣

2017「滬台藝術交流展」，朵雲軒新館，上海，中國

2017「水練山石」現代水墨邀請展，新北市議會，新北，台灣

2016「台北新藝術博覽會」，世貿三館，台北，台灣

2018 "The 19th International Exhibition of Calligraphy and Painting

Exchange", Tokyo Metropolitan Art Museum, Tokyo, Japan

2018 "New Taipei Biennale", New Taipei City Arts Center, New Taipei, Taiwan

2017 "Shanghai-Taiwan Art Exchange Exhibition", Shanghai Duo Yun Xuan, Shanghai, China

2017 "Modern Ink Painting Invitational Exhibition", New Taipei City

Council, New Taipei, Taiwan

2016 "Art Revolution Taipei", TWTC Hall 3, Taipei, Taiwan

郭佩雯 KUO Pei-Wen

一種盲目 Study Hard

2017 / 半光面膠基相紙 Premium Semi-gloss Photo Paper / 112 x 70 cm 想描述從小到大讀了那麼多書但其實是種盲目

而始終是枉然

We study hard in our education system. But I feel it is a "blind" study.

Finally, in vain.

2018「台北國際攝影藝術交流展」，松山文創園區，台北，台灣

2018 "Wonder Foto Day", Songshan

Cultural and Creative Park, Taipei, Taiwan

陳文慧 CHEN Wen-Hui

天堂鳥 Heaven Bird 2018 / 膠彩 Nihonga / 117 x 51 cm

大自然中植物的純粹美是最天然的美，利用膠彩特殊的原料特性作出層次，將記憶中天堂鳥的貴族氣息表現於畫紙中。

The pure beauty of plants in nature is the most natural beauty. Using the special raw material

characteristics of glue color to make layers, so that the aristocratic atmosphere of the memory of the bird of paradise is shown in the drawing paper.

2018「境花水月」，綻堂蒔光，台北，台灣

2018「台南藝術博覽會」，大億麗緻酒店，台南，台灣

2017「台灣藝術博覽會」，市貿三館，台北，台灣

2016「書法讚．是～」戶外藝術走廊展，台灣藝術教育館，台北，台灣

2016「ALL HITS！兩岸有藝事！」全民藝聯展，廈門景然文化傳媒有限公司－雅昌廈門藝術中心，廈門，中國

2018 "Flower Moon", Gallery Life Seeding, Taipei, Taiwan

2018 "Art Tainan", Tayih Landis Tainan, Tainan, Taiwan

2017 "Art Expo Taiwan", TWTC 3, Taipei, Taiwan

2016 "Calligraphy, Praise, Yes ~"

Outdoor Art Exhibition, National Taiwan Arts Education Center, Taipei, Taiwan

2016 "ALL HITS! Artist Fair Both Sides

of the Straits", Artron Art Center of Xiamen, Xiamen, China

陳泓元 CHEN Hong-Yuan

100

幻牙 Phantom Wisdom Tooth 2018 / 油畫 Oil on Canvas / 91 x 116.5 cm

智齒，象徵一個人智慧的來臨，但久而久之後便要面對被拔除的命運，而這拔除傷痕的痛，就猶

2018「暗巷開會」，發路藝術空間，嘉義，

成熟的一環也說不定。

2018「異鄉人」，嘉義大學大學館，嘉義，

如一種劇毒的生物不斷地糾纏著，不過也拔除了我多年來的恐懼與不安。或許是讓我們更加成長、 Wisdom tooth symbolizes the coming of a man's wisdom, but eventually, it has to face the

fate of being pulled off. The pain from the scares of teeth extraction like a highly toxic creature constantly entangle in my body. However, it also removed my fears and unease over the years. Perhaps, it also makes me become grown-up and mature in certain aspect.

台灣台灣

2017「通宵達旦的今日與明日」，嘉義大學大學館，嘉義，台灣

2018 "Dark Alley Meeting", Follow Art Space, Chi

2018 "Out Lander", National Chiayi

University - University Hall, Chiayi, Taiwan

2017 "Day and Night", National Chiayi

University - University Hall, Chiayi, Taiwan

陳品宏 CHEN Pin-Hung

101

梅杜莎 Medusa

2017 / 油畫、畫布 Oil on Canvas / 63.5 x 55.5 cm 90 年代後崛起的刺青文化，成為街頭時尚列車的起始站，街頭刺青少年的樣貌，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。

The culture of tattoo which developed after the 1990s is the beginning step of street fashion. The appearance of street youth with tattoo is the most representative image of people in the society nowadays which also captured the painter's attention by its charm.

2017「獨立藝術博覽會／台北」，松山文創園區，台北，台灣

2015-2017「台灣當代一年展」，花博爭豔館，台北，台灣

2014「台灣藝術家博覽會」，花博爭豔館，台北，台灣

2017 "Independent Taipei", Songshan

Cultural and Creative Park, Taipei, Taiwan

2015-2017 "TAIWAN ANNUAL", Taipei Expo Park - EXPO Dome, Taipei, Taiwan

2014 "Artist Fair Taiwan", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

陳奎延 CHEN Kuei-Yen

102

自我的冥想 The Contemplation of Self 2018 / 壓克力、畫布 Acrylic on Canvas / 110.5 x 110.5 cm 自我的肉體為了這世間而用，我是誰 ? Who am I, when my body is used for the world?

2015「2015 台北國際當代藝術博覽會新潮賞獲選」，喜來登飯店，台北，台灣

2014「亞洲當代藝術展」，香港港麗酒店，香港

2014「大阪藝術博覽會」，大阪格蘭比亞大酒店，大阪，日本

2011「2011 台灣美術新貌展－平面創作

系列獲選」，港區藝術中心，台中，台灣

2011「第九屆桃源創作獎獲選」，桃園縣政府文化局，桃園，台灣

2015 "2015 Young Art Award - Finalist

Award", Sheraton Grande Taipei Hotel, Taipei, Taiwan

2014 "Asia Contemporary Art Show", Conrad Hong Kong, Hong Kong

2014 "Art Osaka 2014", Hotel Granvia Osaka, Osaka, Japan

2011 "2011 Exhibition of the Newly

Emerging Artist in Taiwan - 2D

Creation Series - Entry Award", Seaport Art Center, Taichung, Taiwan

2011 "The 9th Annual Taoyuan Creation Award - Entry Award", Taoyuan County Cultural Affairs Bureau, Taoyuan County, Taiwan

陳柏源 CHEN Po-Yuan

103

關於雲 About Clouds

2018 / 油彩、畫布 Oil on Canvas / 50 x 120 cm 關於雲的觀看模式，藉由科技不斷地發展，人們已經可以從地面、雲中、高空與太空去觀看雲的

2017「台灣當代一年展」，花博爭豔館，

上之經歷。

2017「台北新藝術博覽會」，世貿三館，

各種角度。本作設定在一個接近高空平視的視角，去闡述雲的質地與美感，為一次創作者於高空 A person is able to view clouds in different depicting methods and perspectives due to

technologies today. This work is set in a slightly aerial perspective that the artist has been through and depicts the beauty and texture of clouds.

台北，台灣台北，台灣

2017「靜繫十年」，國父紀念館，台北，台灣

2016「璞玉發光」巡迴展，中正紀念堂，台北，台灣

2013「UNESCO 國際青年藝術祭」，

Mega Bangna 購物商城，曼谷，泰國

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2017 "Art Revolution Taipei", TWTC Hall 3, Taipei, Taiwan

2017 "Anita Wong Ten Years of

Remembrance Group Exhibit",

Sun Yat-sen Memorial Hall, Taipei, Taiwan

2016 "ArtLight" Touring Exhibition,

Chiang Kai-shek Memorial Hall, Taipei, Taiwan

2013 "Int. Youth Culture Art Festival

UNESCO", Mega Bangna, Bangkok, Thailand

陳炳臣 CHEN Ping-Chen

104

合歡松霧 Pine and Fog on Hehuan Mountain 2015 / 壓克力 Acrylic / 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，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 creator, he studied architecture in college. After the 921 earthquake, loving nature made him put in Orchid planting native repopulation. He comprehends the landscape in Taiwan, about the beauty of the world, but not a lack of "discovery", and then explores the

2017 台灣文創藝術博覽會「陳炳臣創作個

展」，經濟部台中軟體園區，台中，台灣

2016「陳炳臣創作個展」，中國畫廊，舊金山，加州，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

visual arts and the performing arts, including painting, film art design, theater director, and

2015「陳炳臣創作個展」，宜蘭酒廠紅露

everyone and discover the world together. Different roles allow him to respect life and cherish

2013「陳炳臣創作個展」，台中文化創意

advertising performances, organizing various cultural and artistic activities, to share with life. His encounter with nature, turned into the magnificent, and sometimes delicate moving creation.

藝廊，宜蘭，台灣

產業園區，台中，台灣

2017 "A&C Expo Taiwan - CHEN Ping

Chen Solo Exhibition", Taichung

Software Park, Taichung, Taiwan

2016 "CHEN Ping Chen Solo Exhibition", Chinese Art Gallery, San Francisco, California, USA

2016 "CHEN Ping Chen Solo Exhibition",

Chinese Culture University – IAC Da Xia Gallery, Taipei, Taiwan

2015 "CHEN Ping Chen Solo Exhibition", Yilan Winery Red Dew Art Gallery, Yilan, Taiwan

2013 "CHEN Ping Chen Solo Exhibition", Taichung Cultural & Creative

Industries Park, Taichung, Taiwan

陳美珍 CHEN Mei-Chen

105

夜語 Whisper in the Night

2018 / 油彩、畫布 Oil on Canvas / 72.5 x 91 cm 永不放棄的步伐造就繪畫熱情，引燃了生命精髓！

2018「台南市藝術家協會聯展」，台南市

生活藝術寫意如詩如畫，創作之際養就美學臨界之薰陶。

2018「第 19 屆中日國際書畫交流展」，

深深投入安撫身、心、靈。與作品之合體，呈現自我幻化靜謐，是它融和豐沛了情愫。繪畫是美珍生命之初戀，是終生摯愛。透過作畫，一點一滴還原美珍；

透過作畫，一點一滴看到美珍！

Mei-Chen never gives up and keeps working on the pace of creation, which ignites the

enthusiasm of life.

I deeply contribute myself into work, and comfort my body and mind. All the artworks are combined with abundant feelings. I imagine myself being as a part of my work floating in fantastically color with simple and smooth strokes in the silence. Life is a fantastic epic. When I am painting in the atmosphere, as if walking toward the colorful heaven.

In my 60s, my dreams of childhood keep continuing, I decided to make my dream come true.

Painting is the first love of my life, I set up my goal enjoying painting in my whole life, thank God for the gift, let me enjoy the truth in the art kingdom.

立文化中心，台南，台灣

東京都美術館，東京，日本

2018「台灣美術展」，中正紀念堂，台北，台灣

2017「陳美珍油畫創作巡迴展」，豆谷藝術空間，台南，台灣

2017「新台國際美術交流展」，新聞藝術部雅殿，新加坡

2018 "Tainan City Artists Association

Members' Joint Exhibition", Tainan Cultural Center, Tainan, Taiwan

2018 "The 19th Chinese & Japan

Calligraphy and Painting Exchange Exhibition", Tokyo Metropolitan Art Museum, Tokyo, Japan

2018 "Taiwan Art Exhibition", Chiang Kai-shek Memorial Hall, Taipei, Taiwan

2017 "CHEN Mei-Chen Oil Painting

Exhibition", Dual Good Art Space, Tainan, Taiwan

2017 "Singapore & Taiwan Renowned Artist Art Exchange Exhibition", MICA Building, Singapore

陳香伶 CHEN Hsiang-Ling 淨

2005 / 油彩、亞麻布 Oil on Caves / 100 x 80 cm

106

陳錦清 CHEN Ching-Chin

107

市場中的溫度 Temperature in the Market 2017 / 無酸數位輸出 Acid-free Digital Output / 93.2 x 120 cm

市場中人的互動是很溫暖的，販賣者熱情的展示，購買者盡情的挑選，老店家與老客人形成一種很愉快的溫度，靜待客人上門前，獨自的寂靜，也只是暫時的。

People's interaction in the market is very warm: the enthusiastic display of the seller, the

buyer's choice, the old shops and the old guests form a very pleasant temperature, waiting for the guests before the door. The silence alone is only temporary.

2017「台灣當代一年展」，花博爭艷館，台北，台灣

2016「台灣當代一年展」，花博爭艷館，台北，台灣

2016「一個安靜的角落」個展，貳月咖啡，台北，台灣

2015「台灣藝術家博覽會」，花博爭艷館，台北，台灣

2014「台灣藝術家博覽會」，新光三越 A9 館，台北，台灣

2014「旅。緣」個展，串藝術，台北，台灣

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2016 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2016 "A Quiet Corner" Solo Exhibitions, February, Taipei, Taiwan

2015 "Artist Fair Taiwan", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2014 "Artist Fair Taiwan", Shinkong Mitsukoshi A9, Taipei, Taiwan

2014 "Trip" Solo Exhibitions, Together Arts, Taipei, Taiwan

彭慧容 PENG Hui-Jung

108

家屋 Home

2004 / 陶 Clay / 44 x 26 x 64 cm 作品中藉著房屋和廊柱的意象，以溫暖的磚紅陶土雕塑產生的家屋的形狀。它屬於夢境與記憶的想像，營造家應有的寧靜、安穩和舒適感。

Through the image of houses and pillars in the works, the warm brick terracotta sculpture

creates the shape of the house. It belongs to the imagination of dreams and memories, creating a sense of tranquility, security and comfort that a home should have.

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」，花博爭艷館，台北，台灣

2013「台灣藝術家博覽會」，花博流行館／紙廠 1918，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", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2013 "Artist Fair Taiwan", Taipei Expo Park – EcoARK / The Paper Mill, 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", PiaoPiao, Taipei, Taiwan

曾凱智 Cliff TSENG

109

生命太初 No.57 The Beginning of Life No.57

2017 / 壓克力、炭精筆、畫布 Acrylic and Charcoal on Canvas / 53 x 45.5 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「獨立藝術博覽會／台北」，松山文

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，

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.

創園區，台北，台灣

Galerie Berlin Baku，柏林，德國

2016「Art in Mind」藝術家聯展，The

Brick Lane Gallery，倫敦，英國

2016「當代台灣．抽象精選展」耘非凡美

術館開幕展，耘非凡美術館，台南，台灣

2015「永生命太初」曾凱智創作展，中正紀念堂，台北，台灣

2017 "Independent Taipei", 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",

Remarkable Cultivation Art Gallery, Tainan, Taiwan

2015 "Life beginning" TSENG Kai-Chih Painting Exhibition, Chiang Kai-

shek Memorial Hall, Taipei, Taiwan

温怡芳 WEN I-Fang

110

寧靜 Tranquility

2016 / 油彩、畫布 Oil on Canvas / 70 x 40 cm 走過繁花繽紛的人生旅程，一直追尋著心中那份寧靜。 Going through a colorful life journey, having been pursuing the tranquility of the heart.

2017「台灣當代一年展」，花博爭豔館，台北，台灣

2015「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」，紙場／台南文創園區，台北／台南，台灣

2012「秋季花席藝展」，崔頓藝術博物館，聖塔克拉拉，加州，美國

2011 温怡芳「夏艷」個展，桑尼維爾藝廊，桑尼維爾，加州，美國

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2015 "Artist Fair Taiwan", Shinkong Mitsukoshi, Taipei, Taiwan

2013 "Artist Fair Taiwan", The Paper Mill / Tainan Cultural & Creative Park, Tainan, Taiwan

2012 "Fall Floral Chair Group Show",

Triton Museum of Art, Santa Clara, California, USA

2011 WEN I-Fang's "Summer Beauties" Solo Exhibition, Sunnyvale Art

Gallery, Sunnyvale, California, USA

湯瓊生 TANG C.S. Joan

111

天天 Everyday

2017 / 複合媒材 Mixed Media / 20 x 20 cm, 40 x 40 cm 實踐精簡法則，體會減「少」的愉悅。 Practicing the streamline method, experiencing the joy of "less".

2016「朗誦／文件：台北雙年展 1996-

2014」，台北市立美術館，台北，台灣

2000「雨匯／語彙」，國立台灣圖書館，台北，台灣

2000「台北國際藝術博覽會」，世貿三館，台北，台灣

1996「台北雙年展」，台北市立美術館，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", Taipei Fine Arts Museum, Taipei, Taiwan

2000 "Converge / Vocabulary", National Taiwan Library, Taipei, Taiwan

2000 "Art Taipei", TWTC Hall 3, Taipei, Taiwan

1996 "Taipei Biennial", Taipei Fine Arts Museum, Taipei, Taiwan

1990 "Mars Black", Dimension Art Center, Taipei, Taiwan

黃千倫 HUANG Chien-Lun

112

YOUR GARDEN：桂花樹與三色堇 YOUR GARDEN: Osmanthus Tree and Pansy 2017 / 墨、雙宣 Ink, Double Xuan Paper / 81 x 59 cm, 45 x 35 cm

《Your Garden》此系列的靈思是源自於我母親如繁星綻放的花圃；作品畫面中隨著前後景交疊的

細線與粗線，產生跳動的視覺節奏，也像是生命中那些往前走或是後退的風景與成長記憶，它們層層疊疊般，錯落在我創作過程中的意識裡。

My work series named Your Garden is dedicated to the memory of my mother's garden which is always in full bloom, using different line weights to present the dynamic quality. Still and

fragile is how the soft lines located in the back make us feel. The main lines in the flower in the foreground are direct and bold yet still balanced within the composition. These two different

lines are just also like my consciousness in the progress of creating arts, even more like the scenes of my lifetime and all the memories from my childhood.

2018「島日芳綻」黃千倫創作個展，崇藝術空間，台南，台灣

2017「水墨曼陀羅」，高雄市立美術館，高雄，台灣

2017「尋愛者號 : 自我蛻變之詩」黃千倫創作個展，Galerie F&F，台北，台灣

2016「JMA Artist Residency」黃千倫駐村成果創作展，全羅北道立美術館藝術家駐村中心，全州，南韓

2016「水墨意象」台日美水墨交流展，天理文化中心，紐約，美國

2018 "The Island in Full Bloom", CHON Art Space, Tainan, Taiwan

2017 "INK MANDALA", Kaohsiung

Museum of Fine Arts, Kaohsiung, Taiwan

2017 "Love Seeker: A Poem of

Metamorphosis", GALERIE F&F, Taipei, Taiwan

2016 "JMA Artists Residency"

Achievement Exhibition by HUANG Chien-Lun, Jeonbuk Museum of

Art Jma Artists Residency, Jeonju, South Korea

2016 "Ink Imagists: An Exhibition of Art from Taiwan, Japan and U.S.",

Tenri Cultural Institute, New York, USA

黃品瑄 HUANG Pin-Hsuan

113

緣份 Fate

2018 / 壓克力 Acrylic / Φ 89.5 cm 緣份有時真的很難理解，在某個階段遇到該遇到的人、該遇到的事情，有時真的很難抉擇。面臨

2014「台灣藝術家博覽會」，新光三越，

不會對未來有所幫助，只會讓未來越來越糟，還不如把握當下，努力創造每一分每一秒的前景，

2014「瞇瞇眼 vs 蓋波片」個展，豆皮咖

選擇，總是以最果決的方式對待問題，並沒有透徹思考全面性的問題。回想過往、遺憾從前，並未來富足美景指日可待。

Sometimes fate is really difficult to understand. At some stage, the people encountered and the things encountered are encountered. Sometimes it is really difficult to choose and face choices.

The problem is always treated in the most decisive manner. There is no thorough thinking

about comprehensive issues. Instead of thinking about the past and regretting the past, it will not help the future, it will only make the future worse. It is better to grasp the present and work hard to create the prospect of every minute and every second. The richness of the future is just around the corner.

台北，台灣

啡，高雄，台灣

2013「台灣藝術家博覽會」，花博流行館／紙場／台南文創園區，台北／台南，台灣

2012「台灣藝術家博覽會」，台中文創園區／松山文創園區，台中／台北，台灣

2011「遇見細胞」個展，國立陽明大學，台北，台灣

2014 "Artist Fair Taiwan", Shinkong Mitsukoshi, Taipei, Taiwan

2014 "Squint vs Cover Glass" Solo Exhibition, Dogpig Art Cafe, Kaohsiung, Taiwan

2013 "Artist Fair Taiwan", Taipei Expo Park - EXPO Dome / The Paper

Mill / Tainan Cultural and Creative Park, Taipei / Tainan, Taiwan

2012 "Artist Fair Taiwan", Taichung

Cultural and Creative Industries Park / Songshan Cultural and

Creative Park, Taichung / Taipei, Taiwan

2011 "Investigation of Cells", National Yang-Ming University, Taipei, Taiwan

黃偉茜 HUANG Wei-Chien

114

貓咪骨灰罈 Cats Urn

2016 / 陶瓷 Ceramics / 25 x 25 x 25 cm 2016 年，我養的其中兩隻貓咪死了。火化後的骨頭，小小的，輕輕的，碎碎的。所以做了這個以貓頭骨為形體基礎的骨灰罈，為了紀念牠們。願牠們在天堂，安好。

Two of my cats died in 2016. I made this urn to commemorate them.

2017「徐行」個展，鶯歌陶瓷博物館，新北，台灣

2017「不可一世的孤獨」個展，金車藝文空間，台北，台灣

2017「京畿道陶瓷雙年展」主題展，

Yeoju World Ceramic Livingware Gallery，利川，南韓

2017「Pray - Cherishing Life」，EKWC

荷蘭陶瓷研究中心，奧斯特韋克，荷蘭

2014「亞洲四國陶藝交流展」，金海陶瓷藝術中心，金海，南韓

2017 "Strolling Slowly" Solo Exhibition, Yingge Ceramics Museum, New Taipei, Taiwan

2017 "Unparalleled Isolation" Solo

Exhibition, King Car Art Center, Taipei, Taiwan

2017 "Gyeonggi International Ceramic Biennale", Yeoju World Ceramic

Livingware Gallery, Icheon, South Korea

2017 "Pray - Cherishing Life", EKWC, Oisterwijk, Holland

2014 "Contemporary Ceramic Art in

Asia", Clayarch Gimhae Museum, Gimhae, South Korea

黃莉莉 Lily HUANG

115

有餘 Fishing Where

2018 / 複合媒材 Mixed Media / 46 x 78 x 10 cm 當傳統工藝遇見當代藝術

2017「絲情花意～秀繡看」，葫蘆墩文化

一種自我與社會人文環境自然的省思

2014「藝術公寓～秀繡內湖」社區互動藝

再生環保自然

天馬行空無限可能

When traditional handcraft meets the contemporary art.

Recycle, Nature, Protection.

Thinking of self and the society of the nature environment.

Incredible possibility.

中心，台中，台灣

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，苗栗，台灣

2010「秀繡左鎮」駐村計劃，菜寮化石館，台南，台灣

2008「絲路～思路～秀繡看」駐村計畫，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"

Interactive Community Art Project, Neihu Community, Taipei, Taiwan

2013 "Stitch Show Taiwan", Northern

Miaoli Art Center, Miaoli, Taiwan

2010 "Stitch Show" Artist Residency,

Tsai-liao Fossil Museum, Tainan, Taiwan

2008 "Stitch Show" Artist Residency, Grass Mountain Artist Village, Taipei, Taiwan

黃勝有 HUANG Sheng-Yu

116

非絕對狀態（4） Non-Absolute Status No. 4 2017 / 油彩、畫布 Oil on Canvas / 116.5 x 91 cm

透過觀看，畫面的內容得以被填充，畫外的意義得以被發現。本創作以寫實技法如實再現，相片

2018「雅逸寫實新銳展」，雅逸藝術中

抽象，使觀者的視覺觀感游移於二者間的矛盾感受，依此呈現一種不可同為寫實，也不可同為抽

2017「花東原創生活節」，花蓮文創園

中抽象的顏料形象，將具象概念覆蓋於抽象概念之上，強調畫作本質雖為寫實，但在視覺上卻是象的雙重概念，該一抵觸領會，我以《非絕對狀態》稱之。

By visible looking, the painting contents have been filled, and the painting external meanings

have been discovered in the meantime. This painting is created under the realistic skill, using

心，台北，台灣區，花蓮，台灣

2017「台灣當代一年展」，花博爭豔館，台北，台灣

the abstract paint image on the photo, which presents the concrete concept over the abstract

2017「台中藝術博覽會」，台中日月千禧

movement. Naming this painting Non-Absolute Status to express the dual visual expressions

2017「雅逸寫實新銳展」，雅逸藝術中

image, giving viewers a contradictory perception between realistic and abstract sensational provided by the artist.

酒店，台中，台灣心，台北，台灣

2018 "Julia Gallery's Realistic CuttingEdge Artist Exhibition", Julia Gallery, Taipei, Taiwan

2017 "Original Living Art Festival", Hualien Cultural Creative

Industries Park, Hualien, Taiwan

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei , Taiwan

2017 "Art Taichung", Millennium Hotels and Resorts, Taichung, Taiwan

2017 "Julia Gallery's Realistic CuttingEdge Artist Exhibition", Julia Gallery, Taipei, Taiwan

黃雅萍 HUANG Ya-Ping

117

和平共存的片段 03 Fragments of Peaceful Coexistence 03 2017 / 油彩、畫布 Oil on Canvas / 45 x 65 cm

《和平共存的片段》是對於拉扯與協調的狀態的想像與詮釋，表現各個段落的樣貌，它的結構，如何存在。

縫紉線作為此計畫的一個核心元素，其具有微弱、不易察覺的特質。作為一種物體間的連結，線段在其中穿梭的行為本身即代表著一種關係的本質與建立；依照個人有意識、無意識地路徑選擇

來完成整個過程，就像人與人之間關係的發展，符合我對生活間各種關係的感受：隱隱約約、不顯見，卻依然牽一髮動全身。

Fragments of Peaceful Coexistence is a project about pulling, dragging and harmonizing.

Harmonizing means to achieve a structure to make the existence exist; I attempt to present imagination and interpretation to such situation.

As the essential element in this project, the sewing thread has the characteristic of dimness,

and it is not easily noticed. As a connection between objects, how the sewing thread weaves

among stuff represents the nature of relation; the process of weaving among consciously or unconsciously is similar to the development of human relationship: dimly visible, indistinct, but a small change affects everything.

2018 「宜蘭獎」，宜蘭縣政府文化局，宜蘭，台灣

2018「全國美術展」，國立台灣美術館，台中，台灣

2016「再生藝術特展」，435 藝文特區，新北，台灣

2015「台北藝術自由日」，華山文創園區，台北，台灣

2015「混種現場－視覺混種」，URS21 中山創意基地，台北，台灣

2018 "2018 Yilan Awards", Yilan County Cultural Affairs Bureau, Yilan, Taiwan

2018 "National Art Exhibition, ROC",

National Taiwan Museum of Fine Arts, Taichung, Taiwan

2016 "Recycling Art Exhibition", Banqiao 435 Art Zone, New Taipei, Taiwan

2015 "Free Art Fair", Huashan 1914 Creative Park, Taipei, Taiwan

2015 "On Site Visual", URS21 Chung

Shan Creative Hub, Taipei, Taiwan

黃福隆 HUANG Fu-Lung

118

芙蓉雙雁 Hibiscus & Goose 2018 / 陶瓷浮雕 Ceramic Relief / 80 cm x 24 cm

藝術生活化、生活藝術化。以淺浮雕的方式，在瓷板上 1-2 mm 的厚度表現芙蓉、雁鴨、蘆葦的 3D 雕刻。

Artistic life, art of life. In a shallow relief way, in the porcelain plate 1-2 mm thickness of the performance of 3D sculpture.

2016「陶瓷浮雕展」，宜蘭高商，宜蘭，台灣

2014「陶然自得」，宜蘭縣文化中心，宜蘭，台灣

2012「陶意盎然」，宜蘭縣文化中心，宜蘭，台灣

2016 "Ceramic Relief", I-lan Commercial Vocational senior High School, Yilan, Taiwan

2014 "Feel at Ease" Ceramic Relief

Exhibition, Yilan County Cultural Center, Yilan, Taiwan

2012 "Pottery" Ceramic Relief Exhibition, Yilan County Cultural Center, Yilan, Taiwan

黃麗君 HUANG Li-Chun

119

沒有帶 No Money

2017 / 壓克力、油性粉彩、畫布 Acrylic and Oil Pastel on Canvas / 116.5 x 91 cm 在壓迫中掙扎的存續與反抗。衝動、狂怒的宣洩嘶喊，暴力與冷靜的衝突與消弭，如野獸般非生即死的直覺性辯證。

The persistence and the resistance struggling under the oppression. Furious, impulsive

catharsis; conflict and dispelling between the violence and calm, such as discusses on the instinct of death.

2018「感知時延」，宜蘭縣立文化中心，宜蘭，台灣

2017「第一屆台灣漫畫節」，松山文創園區三號倉庫，台北，台灣

2017「台灣當代一年展」，花博爭豔館，台北，台灣

2016「第四屆王陳靜文繪畫創作獎展」，國立台灣藝術大學有章藝術博物館，新北，台灣

2018 "Perception Durée", Yilan County Cultural Center, Yilan, Taiwan

2017 "The 1st Taiwan Comic Festival", Songshan Cultural and Creative

Park Warehouse 3, Taipei, Taiwan

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2016 "4th Anita Wong Foundation Art Exhibition", National Taiwan

University of Arts - Yo-Chang Art Museum, New Taipei, Taiwan

楊貴珠 Ylohps (YANG Gui-Zhu)

120

生命流轉 Live Moves on

2018 / 瓷版畫 Porcelain Painting / 87 x 87 cm 天地分裂，生命流轉

希望存在

創作是人面對形式的熱情與自我的無止境探索企圖 Hope exists.

Creation is a human face in the form of passion and endless search for self, poetic attempt to show personal style.

2017「Ylohps 楊貴珠第六感空靈創作畫個展」，忠孝復興藝文廊，台北，台灣

2017「中華世紀書畫協會聯展」，國軍文藝活動中心，台北，台灣

2017「雲林美術協會暨湖光畫會會員聯

展」，台北市藝文推廣處，台北，台灣

2017「第六感空靈」創作畫個展，AP 咖啡，台北，台灣

2016「台灣當代一年展」，花博爭豔館，台北，台灣

2017 "The Sixth Sense" Ylohps YANG

Gui-Zhu Solo Exhibition, Zhongxiao Fuxing Art Gallery, Taipei, Taiwan

2017 "China Century Painting and

Calligraphy Association Joint

Exhibition", Armed Forces Cultural Center, Taipei, Taiwan

2017 "Yunlin Art Association and

Huguang Painting Association",

Taipei City Arts Promotion Office, Taipei, Taiwan

2017 "The Sixth Sense" Painting

Exhibition", Artista Perfetto, Taipei, Taiwan

2016 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

葉方 YEH Fang

121

天外天 Realm Above the Sky

2018 / 油彩、畫布、瓷土 Oil on Canvas, China Clay / 72 x 60 cm 立咫尺一方讀天涯世事，我思我意我穿越，在時間不斷的移動中，云云藝術與思維並肩，成為世間的過客。

Sat in my corner, I read about the rest of the world. I think, I will, I transcend; Art and thoughts are two transient visitors in the passage of time.

2016「行空程式」，台北當代藝術館，台北，台灣

2015「自然的滋養－至人的饗宴」，ACIT 威尼斯三年展，威尼斯，義大利

2014「亞展」，紐約市立大學美術館，紐約，美國

2013「非山非水」，今日美術館，北京，中國

2012「浮世旅行個展」，上海多倫現代美術館，上海，中國

2016 "Vision of the void", Museum of

Contemporary Art, Taipei, Taiwan

2015 "Natura Nutrix - Homo Vorax", ACIT Venice Triennale, Venice, Italy

2014 "Asia Exhibition", Queensborough Community College Art Gallery, New York, USA

2013 "Among the Mountain Views and

Serene Water", Today Art Museum, Beijing, China

2012 "The Travels of Life", Shanghai

Duolun Museum of Modern Art, Shanghai, China

董籬 TUNG Li

122

觸手山水。覆山抱石

Tentacled Landscape: The Choked Mountains

2016 / 壓克力 Acrylic / 72.5 x 91 cm

怪獸是我們心中對抗現實的神秘力量，不能只存在於科幻世界中，也不會只被投射在此時此刻的周邊時空裡。這股力量也要到其他的世界裡看一看。

Monsters are mystical powers against reality in our hearts. They cannot exist only in the sci-fi world, but also cannot be projected only in the surrounding space and time at this moment. This force will also have to look at other worlds.

2018「方．禪」，台加文化協會，溫哥華，加拿大

2017「五月畫會聯展」，長流美術館／藝遇美術館，台北，台灣

2016 / 2014「水墨速寫個展」，弘藝社區藝文中心，溫哥華，加拿大

2014「異始．慾言」，URS21 中山創意基地，台北，台灣

2014「文本．本事」，URS21 中山創意基地，台北，台灣

2018 "Zen in the Square", Taiwanese Canadian Cultural Society, Vancouver, Canada

2017 "The Fifth Moon Group Joint

Exhibition", Chan Liu Art Museum Taipei Hall / YIYU Arts Center, Taipei, Taiwan

2016 / 2014 "TUNG Li Ink Sketch

Solo Exhibition", Roundhouse Community Arts & Recreation Centre, Vancouver, Canada

2014 "The Kinky Beginning of the Fable", URS21 Chung Shan Creative Hub, Taipei, Taiwan

2014 "Retro: Context", URS21 Chung

Shan Creative Hub, Taipei, Taiwan

詹玉美 JAN Yu-Mei

123

綠能方舟 Green Energy Ark

2016 / 油彩、畫布 Oil on Canvas / 91 x 116.5 cm 登上了方舟，告別了地球。難忘那美麗的山川綠地、藍天白雲，以及四季的變化、大地的瑰麗。

2005-2017「台灣當代一年展」／「藝術家

依溫馨感人，難忘的回憶多麼美妙，再見了美麗的地方。因為空氣的污染、地球的暖化，人類生

2006-2017「台灣藝術家法國沙龍學會跨

人們的生活環境、努力的成果、科學藝術創作的靈感，創造出不同的作品。人與人的相處相助相存不下去，我們必須另找一個乾淨的星球繼續活下去。

Goodbye beautiful planet Earth, there are beautiful green landscape, blue sky and white clouds, changes in the four seasons magnificent colors. Beautiful living environment, people work hard to create works of science and art. People help each other and feel warm and moving. Because of the earth's pollution and the global warming, we must find another planet of clean air.

博覽會」，台北，台灣國際巡迴展」，全球

2011「精彩百年」個展，台北市勞教藝文中心，台北，台灣

2003「Next」第二次個展，台北市勞教藝文中心，台北，台灣

2001「摸索與創作」第一次個展，台北市勞教藝文中心，台北，台灣

2005-2017 "TAIWAN ANNUAL" / "Artist Fair Taiwan", Taipei, Taiwan

2006-2017 "Taiwan Artists Association - International Tour Exhibition of French Salon", Global

2011 "3rd Solo Exhibition", Laborer Education Art Center, Taipei, Taiwan

2003 "Next" 2nd Solo Exhibition,

Laborer Education Art Center, Taipei, Taiwan

2001 "1st Solo Exhibition", Laborer Education Art Center, Taipei, Taiwan

詹惠美 CHAN Huei-Mei

124

春遊－白楊步道印象

Spring Tour - Impressions of Baiyang Trail

2016 / 京和紙 Cotton Paper / 47 x 60 cm

中部橫貫公路白楊步道沿路擁有清澈的溪水、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；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。

Along the middle of the Baiyang Hiking Trail, there are clear streams, beautiful rock folds,

verdant forests and beautiful valleys. The landscape ecology is very beautiful. With the natural scenery and personal experience, it is turned into creation and the complete expression of the imagery.

2015「激盪、迴旋」詹惠美彩墨創作研究，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

2012「行雲流水」詹惠美彩墨創作展，宜蘭縣政府文化局，宜蘭，台灣

2010「山水有情」詹惠美彩墨創作展，中正紀念堂，台北，台灣

2008「詹惠美水墨創作展」，松山機場，台北，台灣

2015 "Stirring Roundabout" CHAN HueiMei Creation of Colored Ink, Three Perfections Gallery, New Taipei, Taiwan

2013 "Dance Ink Landscape" CHAN

Huei-Mei Ink Painting Exhibition,

Yilan Winery Red Dew Art Gallery, Yilan, Taiwan

2012 "Fill the Gap" CHAN Huei-Mei

Creation of Colored Ink, Yilan

County Cultural Affairs Bureau, Yilan, Taiwan

2010 "Landscape Sentient" CHAN Huei-

Mei Creation of Colored Ink, Chiang Kai-shek Memorial Hall, Taipei, Taiwan

2008 "CHAN Huei-Mei Ink Painting

Exhibition", Songshan Airport Art Gallery, Taipei, Taiwan

鄒秉軒 CHOU Ping-Hsuan

125

Black Mouse

2017 / 數位構成 Digital Composition / 59.4 x 42 cm x 2 我的創作是取自於自身。台北是我的家鄉，從小到大生長在這地方，與我有濃厚的情感，於是場

2018「Sketch and Life」聯展，Wow

角落中存在著成功的信念。

2016「爛草莓的異想世界」，華梵大學，

景選用台北作為故事場景的主軸。霸凌是我從小遇到的遭遇，也是這社會重要的議題。在心中的因此在作品中，男主角可成為英雄。AI 人工智慧和外星人的存在是現在社會很關注的議題，而對

於 AI 人工智慧的發展是產生恐懼的，如今的 AI 人工智慧不斷地開發，甚至注入「自主性」與「創造性」，這是否對於人類產生威脅性？

兩件參展作品主題分別為《控制》、《知》。《控制》象徵一群科學家研發許多 AI 機器人控制世界；

《知》則是象徵人類已經滅亡，外星人來到地球發現只剩男主角存在地球上，救起男主角後，並與他溝通。

My creation is based on my background of growth. In my works, the actor can become a hero.

The society watches the issue of the artificial intelligence and the existence of aliens with deepening concern, since they are worried about its development. Nowadays scientists are

constantly developing artificial intelligence and they even add the ability of "autonomy" and "creativity". I wonder if this is a threat to human?

These two works are Control and Perception . Control symbolizes a group of scientists who have developed many AI robots to control the world; Perception symbolizes that mankind has already died, the aliens came to the earth and found that only the male protagonist exists on the earth. They saved the male protagonist and communicated with him.

Bravo & Funky Rap，台北，台灣新北，台灣

2015「華梵大學校慶聯展」，華梵大學，新北，台灣

2015「華梵大學美術系系展」，華梵大學，新北，台灣

2012「第 59 屆中部美展」，大墩文化中心，台中，台灣

2018 "Sketch and Life" Group Exhibition, Wow Bravo & Funky Rap, Taipei, Taiwan

2016 "The Imagine World of Rotten

Strawberry", Huafan University, New Taipei, Taiwan

2015 "25th Anniversary of Huafan

University Group Exhibition",

Huafan University, New Taipei, Taiwan

2015 "Department of Fine Arts Exhibition of Huafan University", Huafan

University, New Taipei, Taiwan

2012 "59th Exhibition by Central Taiwan Fine Arts Association", Dadun

Cultural Center, Taichung, Taiwan

廖以歆 LIAO I-Chin

126

夢神／美索不達米亞 Morpheus / Mesopotamia 2017 / 油彩、油畫棒、畫布 Oil and Oil Stick on Canvas / 102 x 135 cm

作品通過抽象表現的手法詮釋孕育古文明的大地和氣味；在世界以先的混亂、矛盾、生命力之形成，一種未知的感性與理性相互牽引。以精神、夢境、意識層面來思考時空的向度，並藉由大自然的形象、詩歌、哲學來討論生命、感知的更迭。作品的抽象性試圖讓觀者有自由想像的空間。

This abstract painting conveys the condition of ancient civilization, and smell. It's including the phenomenon of chaos, conflict and vitality. This is all about the space between sense and

2017「沿線」，一諾藝術，新竹，台灣 2017「Tribeca Art Night」，Cloud Gallery，紐約，美國

2017「Exploring Abstracts」，沃威克藝術中心，沃威克，羅德島，美國

sensibility. Moreover, this piece not only expresses the relationship of time and space through

2016「In Between」Solo Exhibition，

philosophy. Leaving the space of imagination allows viewers to freely interpret the artwork and

2016「Arcadia」Solo Exhibition，拜因特

spirit, dream and consciousness, but also discusses the perception of life via nature, poems and opens a new possibility of thinking.

Mite-Ugro，光州，南韓

酒莊，洛斯加圖斯，加州，美國

2017 "Linear Narrative", Inno Art, Hsinchu, Taiwan

2017 "Tribeca Art Night", Cloud Gallery, New York, USA

2017 "Exploring Abstracts", Warwick Center for the Arts, Warwick, Rhode Island, USA

2016 "In Between" Solo Exhibition, MiteUgro, Gwangju, South Korea

2016 "Arcadia" Solo Exhibition, Byington Vineyard & Winery, Los Gatos, California, USA

廖堉安 LIAO Yu-An

127

悶騷演習 Internally Passionate Practice 2017 / 壓克力、畫布 Acrylic on Canvas / 80 x 80 cm

這是一隻悶騷的角色，將頭深藏在紙袋中，卻有著被拔毛雞隻的身軀形狀，看似害羞，其實內心卻是澎湃洶湧的情緒，有著許多 OS 的小故事。

This is a character of a sultry show. Hiding his head deep in a paper bag, he has the shape of a plucked bird. It looks shy. In fact, his heart is turbulent and has many OS stories.

2016「踱步者之歌」，移動畫廊，台北，台灣

2015「小疙瘩」，布查國際當代藝術空間，台北，台灣

2013「智慧失能」，亞洲藝術中心，台北，台灣

2011「蹩腳症候群」，台北市立美術館，台北，台灣

2008「不溫柔的愛撫」，亞洲藝術中心，台北，台灣

2016 "The Song of Pacer", A+ Creations Art Gallery, Taipei, Taiwan

2015 "A Little Knot", Butchart

International Contemporary Art Space, Taipei, Taiwan

2013 "Intellectual Numbness" LIAO Yu-

An Solo Exhibition, Asia Art Center Taipei II, Taipei, Taiwan

2011 "Lame Syndrome", Taipei Fine Arts Museum, Taipei, Taiwan

2008 "Fondle Without Tenderness", Asia Art Center, Taipei, Taiwan

熊妤 HSIUNG Yu

128

覺醒 Awakening

2017 / 油彩、畫布 Oil on Canvas / 140 x 115 cm 從身心的束縛、人生經歷的投射、尋求藝術文化的自覺到精神的覺醒，了解藝術與人生互為表裡的無限姿態。運用多元與多層次相疊的技法，用脈胳式細緻的筆觸畫出無法複製的抽象人生。

From the physical and mental constraints to the projection of life experience, to seeking the consciousness of art and culture, and to the spirit of the awakening of art and life, finally to

understand each other in the infinite gesture. Using multi-method and multi-level stack of techniques with the pulse of fine strokes to draw unduplicated abstract life.

2018「山光水色」熊妤創作個展，桃園展演中心，桃園，台灣

2018「尋找山響」熊妤創作個展，新北市藝文中心，新北，台灣

2017「桃園市美術家邀請展」，桃園文化局，桃園，台灣

2016「台中市文化局第 21 屆大墩美展入選展覽」，大墩藝廊，台中，台灣

2015「法國巴黎秋季沙龍入選／巴黎展覽」，巴黎大皇宮，巴黎，法國

2018 "HSIUNG Yu Solo Exhibition",

Taoyuan Arts Center, Taoyuan, Taiwan

2018 "HSIUNG Yu Solo Exhibition", New Taipei City Art Center, New Taipei, Taiwan

2017 "Taoyuan Artist Invitational

Exhibition", Department of cultural Affairs, Taoyuan, Taiwan

2016 "21st Dadun Fine Arts Exhibition", Taichung City Dadun Cultural Center, Taichung, 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)

129

相對關係 Relative Relationship 2018 / 複合媒材 Mixed Media / 53 x 72.5 cm

天地之間一切事物皆會產生對立、衝突、繼而統一。 Everything exists in the universe but is in the contrast and in conflict and in then again in integration.

2018「新北市美術家雙年展」，美麗永安生活館，新北，台灣

2017「視覺性創作相對性」個展，華岡博物館，台北，台灣

2017「中華民國後立體派年度大展」，國父紀念館，台北，台灣

2016「台灣當代一年展」，花博爭豔館，台北，台灣

2015「中國文化大學師生聯展」，華岡博物館，台北，台灣

2018 "New Taipei Biennale", Beauty Forever Living Art Center, New Taipei, Taiwan

2017 "The Contrast of Visual Art Works" Solo Exhibition, Hwa Kang Museum, Taipei, Taiwan

2017 "The Post-cubism Annual

Exhibition", Sun Yat-sen Memorial Hall, Taipei, Taiwan

2016 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2015 "Chinese Culture University

Teachers and Students Joint

Exhibition", Hwa Kang Museum, Taipei, Taiwan

歐筱君 OU Hsiao-Chun

130

執著的依戀 Persistent Attachment 2016 / 油彩、畫布 Oil on Canvas / 130 × 89 cm

創作如同我的心靈吸塵器，療癒著自我複雜的心境，特別喜愛一種光影朦朧與浪漫抒情氛圍，以

2017「台中藝術博覽會」，台中日月千禧

花卉佈局透露存在寂靜中騷動之靈魂，以層疊迷濛的創作筆法詮釋屬於自我、複雜又純真的心境。

2016 國家歌劇院開幕「白屋」駐地創作

花卉為媒介，企圖表達東方女性婉約的力量。作品以淡雅色系傳達筆者寧靜的心流，然而流動的 The natural scenery can heal the mixed emotion of the self. By creating a moon fascination

and a romantic and lyrical atmosphere, it attempted to show the tenacity of traditional eastern culture, and to disclose the power of women. I chose elegant colors to make the overall

atmosphere of the painting turn to quiet. The layout of the petals added a bit of movement to

the picture, expressing the inner soul in the silence and the fluctuating emotions, transforming

the rich emotions into a creation that is as peaceful and as perseverant as possible. Let the flowers and scenery present an atmosphere of ambiguity, exude an elegant and refined style, and interpret the truest self.

酒店，台中，台灣

藝術家，台中歌劇院，台中，台灣

2014「藝術銀行作品購入計畫」入選，藝術銀行，台中，台灣

2014「台北新藝術博覽會－國際藝術家

評選賽」入選，世貿三館，台北，台灣

2013「無形無距，情感」雙個展，中正紀念堂，台北，台灣

2017 "Art Taichung", Millennium Hotels and Resorts, Taichung, Taiwan

2016 National Taichung Theater Opening Scene Creation Artist, National Taichung Theater, Taichung, Taiwan

2014 "Art Bank Purchase Plan", Art Bank, Taichung, Taiwan

2014 "Revolution Art Taipei-

International Artist Grand Prize

Competition", TWTC Hall 3, Taipei, Taiwan

2013 "No Form. No Distance – Emotion", Chiang Kai-shek Memorial Hall, Taipei, Taiwan

蔡永明 TSAI Yung-Ming

131

工作室 Studio

2016 / 油彩、畫布 Oil on Canvas / 100 x 100 cm 個性內向的特質，讓我安於孤獨寂蘊，這埸域是我創意發想的園地，喜愛思想、幻想性的情境，

2016「蔡永明繪畫個展」，國父紀念館，

畫探討的面向，著重於形、色、結構與觀念的表達，簡約明確的塊面與缐條，彰顕畫面強度。無

2016「喧囂與寂蘊」蔡永明繪畫個展，桃

如入襌似的冥想觀想著，有時取材於質樸的生活中，也常有著深沉的生命悸動。感性與理性是繪飾的色塊有著質樸的莊嚴與空間意涵，缐是耿直與意志力的呈現，更是情感的傳遞，企圖在理性的形色中加入感性的繪畫元素，形塑明確，純淨、清新的風格。

My introverted personality puts me at ease amidst silence and solitude. This is where

my ideas are conceived, a realm where I embrace thinking and imagination. I would

台北，台灣

園市文化局，桃園，台灣

2015「藝術是生活的饗宴」蔡永明繪畫

個展，高雄市立文化中心，高雄，台灣

enter a Zen-like state to meditate and visualize. Sometimes I draw ideas from the simple

2014「感性與理性的對話」蔡永明繪畫個

Sentimentality and rationality are facets explored through any painting, with emphases on

2014「感性與理性的對話」蔡永明繪畫個

life; there are also times when I feel the depth of life.

expressions of forms, colors, structures, and ideas. Simple yet defined color blocks and lines

empower the picture. Unelaborated color blocks possess the solemness of simplicity and implications of space. Lines are representations of honesty and will, even more so as the transferring of sentiments, attempting to add sentimental illustration elements upon the form and color of rationality, shaping a style that is definitive, pure and refreshing.

展，彰化縣立美術館，彰化，台灣展，台中市屯區藝文中心，台中，台灣

2016 "TSAI Yung-Ming Solo Exhibition",

Sun Yat-sen Memorial Hall, Taipei, Taiwan

2016 "Bustle and Silence" TSAI Yung-

Ming Solo Exhibition, Department of Cultural Affairs, Taoyuan, Taiwan

2015 "TSAI Yung Ming's Painting

Exhibition", Kaohsiung Cultural Center, Kaohsiung, Taiwan

2014 "Emotional and Rational Dialogue" TSAI Yung - Ming's Painting

Exhibition, Changhua County Art Museum, Changhua, Taiwan

2014 "Emotional and Rational Dialogue" TSAI Yung - Ming's Painting

Exhibition, Taichung City Tun District Art Center, Taichung, Taiwan

蔡玉葉 TSAI Yu-Yeh (Breya TSAI)

132

力量 Power

2014 / 壓克力 Acrylic / 135 x 110 cm 1946 出生於台灣台南，現代畫畫家，作品以抽象畫為主，透過色彩鮮明對比拋棄舊思維、開宗立

2016「展翅高飛」蔡玉葉個展，彰化藝術

作品畫冊二集，舉辦個展十六次，參與聯展／博覽會十餘次，作品廣為收藏家收藏，近年於中國

2014「夢幻人生」蔡玉葉個展，港區藝術

派、創新技法，將世人內心渴望追求的心靈層面呈現於作品上，達到撫慰人心之效果，出版個人大陸舉辦個展、成立工作室、受到邀請，還計劃前往美國紐約親身感受西方文化的洗滌，期望在不同環境下有新的心靈感受表現於創作中。

Breya TSAI, a modern painter, was born in 1947 in Tainan, Taiwan. Her works are mainly

館，彰化，台灣

中心，台中，台灣

2014「心相抽象」蔡玉葉個展，國立彰化生活美學館，彰化，台灣

abstract painting, using contrasting colors to waive the old traditions, and to open a new faction

2013「我的夢幻人生」蔡玉葉個展，台北

and, to solace the world. she has two albums of her personal artworks, held 16 solo exhibitions,

2010「心相抽象」蔡玉葉個展，台南市文

by her innovative techniques. She is trying, by her works, to present people's deep inside desire

and participated in the exhibition / exposition more than 10 times. Her artworks are widely collected in recent years. she was invited to have solo exhibitions in mainland China and, set up a studio there. Was invited and scheduling to visit New York City to experience the difference of western culture, hope that in different circumstances she can have a new feeling of mind in the creation.

市社教館，台北，台灣化中心，台南，台灣

2016 "Wing Fly" TSAI Yu-Yeh Solo

Exhibition, Changhua Arts Hall, Changhua, Taiwan

2014 "Dream Life" TSAI Yu-Yeh Solo

Exhibition", Seaport Art Center, Taichung, Taiwan

2014 "Heart-Phase Abstraction" TSAI

Yu-Yeh Solo Exhibition, National Changhua Living Arts Center, Changhua, Taiwan

2013 "My Dream Life" TSAI Yu-Yeh Solo

Exhibition, Taipei Cultural Center, Taipei, Taiwan

2010 "Heart-Phase Abstraction" TSAI

Yu-Yeh Solo Exhibition, Tainan City Cultural Center, Tainan, Taiwan

蔡定憲 TSAI Ting-Hsien

133

古厝門神 Door Gods

2018 / 油彩、畫布 Oil on Canvas / 116.5 x 91 cm 中國唐代典故，形成後世寺廟；民家門口彩繪的圖像，具有鎮宅、保護之神，也象徵吉祥平安的意涵。

Originated in the Tang Dynasty, door paintings gradually became popular in temples and

homes. The Door Gods are guardians of homes and are believed to offer protection. They also symbolize auspiciousness and safety.

2016「歲月印記」，梅嶺美術館，嘉義，台灣

2016「歲月印記」，歸仁文化中心，台南，台灣

2015「府城南瀛風貌」，新營文化中心，台南，台灣

2015「羊藝繽紛」，麻豆文化館，台南，台灣

2014「藝起來藝術生活化」，民治市政中心，台南，台灣

2016 "Mark of the Year", Mei-Ling Fine Arts Museum, Chiayi, Taiwan

2016 "Mark of the Year", Guiren Cultural Center, Tainan, Taiwan

2015 "Fucheng Nanfang Style", Xinying Cultural Center, Tainan, Taiwan

2015 "Sheep Art Fun", Madou District Cultural Hall, Tainan, Taiwan

2014 "Art and Art Life", Tainan City Government - Bureau of Civil Affairs, Tainan, Taiwan

蔡欣蓉 TSAI Shin-Rung

134

山與雲煙系列 Mountain and Clouds Series 2018 / 壓克力 Acrylic / 15.5 x 22.5 cm x 2, 22.5 x 27 cm x 3, 27 x 35 cm

以個人旅行經歷為主題，作品中寄託了濃厚的自我情感將旅途中的風景再現，以鮮明的色彩與厚

2017 蔡欣蓉個展「甜蜜的信息」，趣活藍

景觀構圖，這些風景其中的物事雖平凡不已，但從強烈的肌理與鮮明的色彩中通往心中對生活的

2017「台北新藝術博覽會—國際藝術家大

重的肌理傳達對場景的深度凝視，並在強烈刻劃的肌理中直擊個人情感的深處，透過自身所見的熱情，像是那些旅途中再平凡不過的山間小路，也能成為所有情感的巨大連結。在這種經驗與情感相依的視覺中，期望帶著巨大的情感力量與世界相遇。

Taking the personal travel experience as a theme, the work contained a strong sense of self

晒圖，台南，台灣

獎賽」，世貿三館，台北，台灣

2016 蔡欣蓉個展「繁華似夢」，富朗飯店，台南，台灣

to reproduce the landscape in the journey. The deep gaze of the scene is conveyed with vivid

2015 蔡欣蓉．蔡秉儒聯展「夢與雲煙」，

of personal emotions. Through the landscape composition seem by self, these objects in the

2014 蔡欣蓉油畫個展「無限∞美」，克朗

colors and thick textures. Using the strongly-sculpted texture directly pointed out the depth landscape are ordinary, but the strong texture and vivid colors can be the path heading to the heart's enthusiasm of life such as those ordinary roads in the journey can also become the great link of emotions. In this vision of experience and affection, it is expected to meet the world with great emotional power.

丹橘人文藝術空間，台南，台灣德美術館，高雄，台灣

2017 "Sweet Information" TSAI ShinRung Solo Exhibition, Blueprint

Cultural & Creative Park - Cheer For, Tainan, Taiwan

2017 "Art Revolution Taipei -

International Artist Grand Prize

Competition", TWTC Hall 3, Taipei, Taiwan

2016 "Blooming 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

Museum of Art, Kaohsiung, Taiwan

蔡思佳 TSAI Szu-Chia

135

報喜圖及龍 Reporting the Good News and Dragon

2018 / 天然漆、木板、夏布、碎貝、紙漿、水泥 Natural Paint, Wood, Grass Cloth, Shell, Pulp, Cement / 62 x 62 x 10 cm, 48 x 59 x 10 cm

「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，讓前人的智慧藉作品呈現而得以延續。

Art in life, and living 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.

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，花蓮，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」，高雄市立美術館，高雄，台灣

蔡蓓詩 TSAI Bey-Shy

136

突破禁錮趴趴趴 Breakthroughs - PAH PAH PAH 2018 / 壓克力 Acrylic / 116.5 x 80 cm

美好的幻夢一敲就碎嗎？就像這成片綻放的熱帶植物，在最該燦爛的季節裡毫無保留地讓自己恣

2017「台中藝術博覽會」，台中日月千禧

禁錮如影隨形像個無法擺脫的死鬼，該用力一敲破繭蛻變或是在溫室做隻無聲的籠中鳥呢？

2015「來吧！啤酒配咖啡」，新竹生活美

意揮灑，充滿自信地展示自己的青春與才華。不管我們眼下的世界看起來多麼平和歡樂，諾大的 Does the beautiful dream break? It is like a tropical plant that blossoms in the most splendid

season, allowing you to behave unrestrainedly and confidently as well as showing your youth and talent.

Regardless of the fact that the world under our eyes seems to be calm and happy, the enormous

confinement looks like a dragging unliving soul attached to you. Should we transform to break the changes or to make a silent cage bird in the greenhouse?

酒店，台中，台灣

學館，新竹，台灣

2014 獲「新北市美展」油畫類組入選

2014「藝術銀行作品購入計畫入選」，藝術銀行，台中，台灣

2013「無形無距．情感」，中正紀念堂，台北，台灣

2017 "Art Taichung ", Millennium Hotels and Resorts, Taichung, Taiwn

2015 "BEER WITH COFFEE ", National Hsinchu Living Arts Center, Hsinchu, Taiwan

2014 Selected to "The Art Exhibition

of New Taipei City - Oil Painting Category"

2014 "Art Bank Purchase Plan ", Art Bank, Taichung, Taiwan

2013 "No Form, No Distance - Emotion", Chiang Kai-shek Memorial Hall, Taipei, Taiwan

戴佳茹 Carol TAI

137

靈光 Divine Light

2015 / 油畫 Oil on Canvas / 77.5 x 91 cm 《靈光》是物我兩忘、向內凝視並向上仰望而乍現的意境。它是心靈在靜穆中經驗聖靈的運作和感

2016「畫說靈光」，養心空間，苗栗，

卻又不住向人召喚的靈光氛圍、一種不忍中斷而持續發酵的內在甘甜、一種純粹的靈性與審美的

2008「自然中的靈光」，國立國父紀念

動，而以視覺藝術的言說方式，試圖表達個人與上帝之間內在聯合的感情、一種令視覺無法對焦經驗，其終極關懷在於傳達「另一個世界」與「另一種聲音」的精神意涵——生命對永恆觀念的醒悟與追尋。

Divine Light invokes a realm where the object and the self are forgotten, gazing inwards while

台灣

館，台北，台灣

2005「靈光」，Stanbeth House Gallery，奧克蘭，紐西蘭

simultaneously looking upwards, a realm that appears in a flash. It is a spiritual realm where the

2002「靈光」，新濱碼頭藝術空間，高雄，

by such experience. Such experience is thus expressed via a narrative of visual aesthetics,

2001「靈光」，台北市立美術館，台北，

soul experiences, during absolute stillness, the workings of the Holy Spirit and being touched attempting at conveying an interior sentiment and connection between individuals and God, a holy ambience that shifts the eyesight off focus yet continuously appeals to people an undisrupted inner sweetness that keeps on fermenting, and a pure experience of soulfulness

and beauty immersion, with an ultimate concern for delivering the spiritual content of an "another world" and "another voice" - life's awakening and quest for eternity.

台灣台灣

2016 "In Light I Draw", Artnutri Gallery, Miaoli, Taiwan

2008 "Divine Natural", Sun Yat-sen

Memorial Hall, Taipei, Taiwan

2005 "Divine Light", Stanbeth House

Gallery, Auckland, New Zealand

2002 "Divine Light", Sin Pin Pier -

Absolutely Art Space, Kaohsiung, Taiwan

2001 "Divine Light", Taipei Fine Arts Museum, Taipei, Taiwan

戴漢賓 TAI Han-Pin 人微言輕－覆蓋 Lightweight - Coverage 2017 / 油彩、畫布 Oil on Canvas / 72.5 x 50 cm

模糊不清的透視線，影射在這沒有不可變改規矩體制下，畫面物件和背景不具有過渡階段性！很

多人事物也正慢慢改變，而其中說詞卻因不同環境下被解讀成不同意涵，特別在職場上有著變通和遵循規定的相互衝突！而這其中界線不斷被模糊掉。

The indistinct perspective line shows that in this system, there is no transitional nature

between the picture objects and the background. The inclusion of more people is slowly changing, and the words are interpreted under different circumstances. Into disagreement,

there is a conflict between compliance and compliance in the workplace, and the boundaries are constantly blurred.

138

戴嫻真 DAI Shian-Jen

139

玫瑰 Rose

2016 / 油彩、畫布 Oil on Canvas / 60 x 45 cm 簡單、輕快、美好

－生活就該如此！ Easy, fast, Lovely - Life is like this.

2010「改革藝術祭」，世貿三館，台北，台灣

2010 "Revolution Art", TWTC Hall 3, Taipei, Taiwan

謝佑承 HSIEH Yu-Cheng

140

明室 Bright Room

2018 / 壓克力顏料、LED Acrylic, LED / 60 x 60 cm 一個明亮的房間、幾個顏色的區塊，一些亮著的燈。 A bright room, several color blocks, some bright lights.

2018「台南新藝獎」，B.B.ART，台南，台灣

2017「台北白晝之夜」，耕莘堂外側，台北，台灣

2017「空氣煞車」，駁二藝術特區，高雄，台灣

2016「全國美術展」，國立台灣美術館，台中，台灣

2016「指物」新媒體藝術創作卓越獎，關渡美術館，台北，台灣

2017 "Next Art Tainan", B.B.ART, Tainan, Taiwan

2017 "Nuit Blanche", Tien Educational Center, Taipei, Taiwan

2017 "AEROBRAKING", The Pier-2 Art Center, Kaohsiung, Taiwan

2016 "National Art Exhibition, ROC",

National Taiwan Museum of Fine Arts, Taichung, Taiwan

2016 "Indexing" Outstanding Art Prize Exhibition, Kuandu Museum of Fine Arts, Taipei, Taiwan

謝岱融 HSIEH Tai-Jung

141

大包勃士系列之三＆五 Big Penis Professor Series 3 & 5 2017 / 複合媒材 Mixed Media / 65 x 55.5 cm, 116.5 x 91 cm

將新的思維運用傳統宗教來體現，透過傳統的宗教讓觀者思考當代社會與處境，當代社會主要討

2018「恣藝徜徉」聯展，嘉義鐵道藝術

藝術家是否一定需要對觀者負責？傳統的觀念是否有所依據，或只是盲目遵從？此系列目的為引

2017「台灣當代一年展」，花博爭豔館，

論對未來當代社會的思索，以及突破對傳統文化思想的規範甚至是推翻，舉例如道德觀的推翻，導觀者，換個角度思考，試著幫助觀者將傳統、道德觀暫時摒棄，讓觀者能夠接受被大眾所無法理解的觀念，並做探討與重新定義。

Using the traditional religion is not only to reflect the new thinking, but also let viewers ponder the contemporary society and situation. The main discussion of the contemporary society is

the thinking of the contemporary society and challenge even as overthrow the specification of traditional culture thinking. For example, the overthrow of moral principle, the artists must

need to be responsible for viewers, or not? The traditional notion is based on something or complies with something blindly. The purpose of this series which not only leads viewers to

think differently, tries to help viewers discard tradition and moral principle temporarily, but also

let viewers accept the beyond understanding notions and do the exploration and reassignment.

村，嘉義，台灣台北，台灣

2017「擁抱」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，台灣

2018 "Wander", Art Site of Chiayi Railway Warehouse, Chiayi, Taiwan

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2017 "Embrace", JDbecca Art, Taipei, Taiwan

2016 "Purely", Special & Perfect Dental Clinic, Chiayi, Taiwan

謝愷宸 HSIEH Kai-Chen

142

實現一個夢想需要多少命

How Much Life Is Needed to Achieve a Dream

2013 / 油彩、畫布 Oil on Canvas / 91 x 72.5 cm

畫面以一隻作夢的貓，扭曲、懸浮且毫無時空關係地存在於畫布。說明夢想相對於現實的不真切存在，又與貓有九條命做聯想，展現心中對夢想的難與渴望。

The picture is a dreaming cat, which is twisted, suspended, and has nothing to do with the canvas, explaining that dreams do not really exist in relation to reality. And nine cats are associated with the life of the cat to show their difficulties and longing for their dreams.

2018「瘋國際原創藝術博覽會」，世貿三館，台北，台灣

2016「台灣藝術博覽會」，世貿三館，台北，台灣

2016「五域境界」五人聯展，郭木生文教基金會，台北，台灣

2016「漾」謝愷宸粉彩油畫個展，中壢圖書館，桃園，台灣

2007「舒適的夢見一個島」謝愷宸西畫個展，中壢藝術館，桃園，台灣

2018 "Fun International Art Fair", TWTC Hall 3, Taipei, Taiwan

2016 "Art Expo Taiwan", TWTC Hall 3, Taipei, Taiwan

2016 "5 Artists Joint Exhibition

of Painting", Kuo Mu Sheng

Foundation, Taipei, Taiwan

2016 "HSIEH Kai-Chen Oil Pastel

Painting Solo Exhibition", Zhongli Library, Taoyuan, Taiwan

2007 "An Island Dream of Comfort" HSIEH Kai-Chen Painting

Exhibition, Zhongli Arts Hall, Taoyuan, Taiwan

鍾謦瑄 CHUNG Ching-Hsuan

143

未知的世界（三） Unknown World (3) 2016 / 油彩、畫布 Oil on Canvas / 60 x 120 cm

藝術創造，一趟心靈的冒險旅程，正如繪畫就像是連結內在的一道門通往另一個世界，透過藝術

2018「心靈的冒險」鍾謦瑄油畫展，新樂

界的豐富、愉悦。一種毫無限制的可能性，超越自我感官、自我意識，並且探索發現存在的多樣性、

2016「The 42nd ARTEX TAIPEI Excellent

家的手開啟豐富潛能，透過藝術家對創作及對繪畫的知識、技巧內涵等等⋯⋯解放並接觸內在世潛意識、內我，無形的意念轉化成具體的實相，轉化成為畫面，它的表象就如同畫布上的畫面、

色彩、肌理，這是一種抽象的概念，一種情感的表達，一種直覺性的感受，它是意識之外的畫面。

藝術家永遠感受到未清楚的問題或挑戰，並尋找一個創造性的解決，而那是一個永無休止的冒險。繪畫有它們自己的生命力，獨立於藝術家之外而存在，而且它們是一陣自發、自由、衝動的爆發產生的結果。

Art creation, a journey of spiritual adventure, just as painting is like connecting a door to

another world, opening the potential through the hands of the artist, the artist's knowledge of the painting, the technical connotation and etc. Touch the richness and joy of the inner

world. There is no limit to the possibility of surpassing the senses, self-consciousness, and exploration to discover that the existence of diversity, sub consciousness, inner self. Intangible ideas is translated into concrete reality and transformed into pictures.

Its appearance is like a canvas. Picture, color, texture. This is an abstract concept, an expression of emotion, an intuitive feeling; it is a picture beyond consciousness. Artists will

always face unclear problems or challenges, and seek a creative solution. It is an endless adventure. Paintings have their own vitality, existing independently of the artist. They are a spontaneous and free result of an outbreak of impulse.

園藝術空間，台北，台灣

Prize」，Maitrix Phoenix，台北，台灣

2009「台灣藝術家博覽會」，京華城，台北，台灣

2008「台灣藝術家博覽會」，信義公民會館，台北，台灣

2008「國立新竹生活美學館聯展」，新竹社教館，新竹，台灣

2018 "Spiritual Adventure", SLY Art Space, Taipei, Taiwan

2016 "The 42nd ARTEX TAIPEI Excellent Prize", Maitrix Phoenix, Taipei, Taiwan

2009 "Artist Fair Taiwan", Core Pacific City, Taipei, Taiwan

2008 "Artist Fair Taiwan", Xinyi Public Assembly Hall, Taipei, Taiwan

2008 "National Hsinchu Living Arts

Center Joint Exhibition", National Hsinchu Living Arts Center, Hsinchu, Taiwan

簡福鋛 CHIEN Fu-Chuan

144

山水對話 Landscape Conversation 2017 / 綜合媒材 Mixed Media / 100 x 80 cm

以刀代筆在畫布平面上切割、撕裂、翻轉、凸出凹陷、起伏變化表現，探討空間延續與內外想像空間在形式下的意境展現。

Using a knife instead of a pen to cut in the canvas, tear and flip the fluctuating surface. Exploring the space, continuation and the imagination space inside and outside.

1999「世紀末的陣痛」簡福鋛個展，高雄市立美術館，高雄，台灣

1998「簡福鋛 1996-1998 個展」，台北市立社教館，台北，台灣

1996「大浩劫」個展，國立台灣美術館，台中，台灣

1992「簡福鋛個展」，台北市立美術館，台北，台灣

1990「簡福鋛個展」，國立台灣美術館，台中，台灣

1999 "Labor Pains for A New Century"

CHIEN Fu-Chuan Solo Exhibition, Kaohsiung Museum of Fine Arts, Kaohsiug, Taiwan

1998 "CHIEN Fu-Chuan Solo Exhibition", Taipei Cultural Center, Taipei, Taiwan

1996 "CHIEN Fu-Chuan Solo Exhibition", National Taiwan Museum of Fine Arts, Taichung, Taiwan

1992 "CHIEN Fu-Chuan Solo Exhibition", Taipei Fine Arts Museum, Taipei, Taiwan

1990 "CHIEN Fu-Chuan Solo Exhibition", National Taiwan Museum of Fine Arts, Taichung, Taiwan

蘇厚文 SU Hou-Wen

145

自拍迷航 Lost in Selfie

2018 / 數位輸出紙本、木頭 Digital Print, Wood / 150 x 150 cm 從小到大總是被長輩說我愛搞怪，連打個噴嚏的轟天巨響可能也被誤會。現在則是從生活中的不

2017「抽象城市攝影聯展」，亞億藝術空

由每一次拍攝，彷彿重新看見許多不同面貌及無限可能的想像。現在的手機與相機相當便利，這

2017「台北國際當代藝術博覽會－專家面

經意裡自拍，發現不一樣的自己：「原來我也可以這樣啊！」進而吸引我嘗試更多自拍的想法。藉樣的自拍無法確認更瞭解自己，找不出一個真正的理由，倒是領悟到一件事：「當我拍的越多，才驚覺認識自己越少。」

The reason why I like self-portrait project is still a mystery but makes me recalls that my family

always calls me a whimsical man. Sometimes I would be conscious of myself through reflection

間，台北，台灣

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」，華山文創園區，台北，台灣

of different environment unwittingly and think, "what else do I look like?" And this is the trigger

2016「台灣當代一年展」，花博爭艷館，

I realize that the more self-portrait photos I take, the less myself I know.

2015「全國美術展」，國立台灣美術館，

for me to try self-portrait photos that could let me know a variety of myself anew. Nevertheless,

台北，台灣台中，台灣

2017 "Abstract City Photography

Exhibition", AHM Gallery, Taipei, Taiwan

2017 "Young Art Taipei - Portfolio

Review", Taipei Artist Village, Taipei, Taiwan

2017 "Wonder Foto Day", Huashan 1914 Creative Park, Taipei, Taiwan

2016 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2015 "National Art Exhibition, ROC",

National Taiwan Museum of Fine Arts, Taichung, Taiwan

ART PROJECT PROPOSALS 創作計畫區

微型策展 Curatorial Practice

對社會有貢獻之積極的作為

Contributing to the Society with Positive Works 藝術家 ARTISTS

林弈軒 LIN Yi-Hsuan

林恩崙 AARON HORSE 孫知行 SUN Chih-Hsing

翁翊軒 WENG Yi-Hsuan 盧冠宏 LU Guan-Hong

148

這群「阿宅」的創作實踐之中，並非絕對地要回應既存的敘事模組（比如天

下雜誌的成功者專訪或是 PTT 的酸民文化），比較像是在這個議題快速且大量被消費的時代裡奪路，閃躲那些「已經有所答案的問題」，逃離那些牢牢嵌於體制之內、被理性教育（迷思）所宰制的社會，以重啟思考那些被人們視為易於掌握的「日常」與「社會」。從展出作品可辨識阿宅生命裡的公共性經驗，而這個經驗的呈現帶有一點魯的味道（loser），但又不全然是成功和失敗二元分類，雖然我們說他是魯，但更精確地說他是魯裡的宅。

其中一個宅男形容自己：希望不需要出門，能用創作換點食物跟模型（順便對世界發點小牢騷），就能生存的怯懦宅。對於「阿宅」來說，跨出家門

當然是困難的，但對於一個（用盡全身力氣才能）跨出家門的宅男來說，能夠召喚他出門的理由必然在於他已有足夠的勇氣與態度把「宅的日常」轉換

成某種重新想像的議題，用盡宅的「美學」，讓僵硬無力的日常重新擁有某種魔法的可能。

The art practices of this group of "geeks" are absolutely not responding to the existing mode of narrations (such as the interviews of the winners in the Common Wealth Magazine or the Troll Culture on PTT), they are

much more like finding a way in this era-an era where topics are being consumed quickly and massively, to escape from those "being answered already", to escape from those societies which firmly embedded inside institutions and controlled by rational education (a myth), to reactivate

the contemplation of "daily life" and "society" which are deemed to be

under control. The viewers can recognize the public experience of geeks in the artworks, and the presentations of those experiences arouse a

feeling of "loser", but they are not directly a dichotomy of "success" and

"failure", although we call him "loser", he is a "geek" inside the category of "loser".

One of the geeks described himself: "I hope that I don't need to go out of my home, and I can exchange for some food and models with my

artworks (and at the same time, make a little complaint to the world),

so that I can live cowardly and geeky. To a "geek", it is difficult to step

out of his home, but to a "geek" who has stepped out of his home successfully (with all his energy), the reason why he can be summoned

from his home must be that he is brave enough and his attitude is ready to transform the "daily life of geek" into a topic of reimagination, to

develop the "aesthetic of geek" to the fullest extent, to let the stiff and weak daily life regain some magic.

林弈軒 LIN Yi-Hsuan

149

蟻塚 Ant Nest

2018 / 油彩、畫布 Oil on Canvas / 90 x 90 cm 從小在我居住的環境附近，便能看到許多的高樓在興建，這些樓蓋得又高又漂亮，應該是豪宅吧，但是長大後發現裡面都沒有住人，然後旁邊繼續興建新的樓。蟻窩（蟻塚）就不同了，裡面有許多

的白蟻進進出出，白蟻很脆弱而且怕熱，為了保持蟻塚的濕度，牠們挖掘隧道，取地下水來潤濕巢穴；為了維持蟻塚的常溫，牠們架起高聳的通風管，利用空氣對流來克服這個難題，內部各個巢穴都有其功用，比起豪宅，蟻窩更像一個功能完善的帝國。在悶熱的某一天，我從台北車站搭著電扶梯至捷運地下街，冰涼的空調襲面而來，我突然意識到我們活在一個巨大的人工蟻窩裡。

When I was a child, I could see so many buildings. These buildings were so tall, so high, and so beautiful. I think these buildings are mansions, but without people living inside. Ant nest is

different. In the nest, many ants go in and out. Ants are fragile and afraid of heat, they dig tunnel

to keep the nest wet, and build ventilation duct to keep nest in a normal temperature. I think ant nests are better than mansions. One day, I went to MRT Taipei Main Station, I felt so cool because of the air condition, I thought I was living in a huge nest for humans.

2018「憯流」聯展，未藝術，高雄，台灣

2018「無國界，探險，物語」，新興藝術，高雄，台灣

2017「新浜貳拾 x 南屢游擊」聯展，新浜碼頭藝術空間，高雄，台灣

2016「台灣當代一年展」，花博爭艷館，台北，台灣

2015「以身體盛裝」聯展，小路上藝文空間，台北，台灣

2018 "Undercurrent", WINWIN ART, Kaohsiung, Taiwan

2018 "No Border, Exploration, Story", XinXin Art Space, Kaohsiung, Taiwan

2017 "Sin Pin TWENTY x Southern

Guerilla", Sin Pin Pier - Absolutely Art Space, Kaohsiung, Taiwan

2016 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2015 "Body Dressed", Dear Deer, Taipei, Taiwan

林恩崙 AARON HORSE

150

Playground-3

2017 / 版畫（凹版）Intaglio Printing / 38.5 x 44 x 3.5 cm 《Playground》為一系列對於公共空間中不鏽鋼物件與其環境的描繪，藉由 2D 與 3D 向量軟體的

2016「片片日常」，伊日藝術－台中空

與較感性的肌理。在虛擬空間臨摹實體的物件且在基底中從新描繪其環境，重組原本空間經驗下

2016「No One Here」，岩筆模，台北，

並用提取物件與街道輪廓，以雷射切割的方式製版印製，凹版所印製的結果並存著數位感的構圖的單一印象。

Playground is a series of portraits about objects made of stainless steel in public space and the environment around them. I captured objects and outlines of street view by means of 2D and

間，台中，台灣台灣

2016「一卡丘皮箱」，荒原藝術，新北，台灣

3D vector graphic software, made plates with use of laser cutting, and printed them in intaglio

2015「VT Show Show」，非常廟藝文空

texture at one time. I copied the actual objects in virtual space and redraw the environment

2015「拉斐爾與水晶小島」，789 養雞場，

method afterwards. The result of intaglio prints consists of digital composition and emotional based on it. A single impression of space experience thus recomposed. aaronhorse.com

間，台北，台灣桃園，台灣

2016 "A Piece of Daily", YIRI ARTS

Taichung Space, Taichung, Taiwan

2016 "No One Here", MBmore, Taipei, Taiwan

2016 " 一卡丘皮箱 ", Wasteland Art Space, New Taipei, Taiwan

2015 "VT Show Show", VT Artsalon, Taipei, Taiwan

2015 "Raffaello in Crystal Island", 789

Chicken Farm, Taoyuan, Taiwan

孫知行 SUN Chih-Hsing

151

蟲的故事 Story About Bugs 2017 / 紙 Paper / 89.1 x 168 cm

以多格並置，類似漫畫的方式，表達被大他者觀看的潛在氛圍。 The story is between comics and animations, about a young guy whose life is horrible.

2017「靈遊團計畫」，關渡平原，台北，台灣

2016「荒山劇場」，院子劇場，高雄，台灣

2015「沒有種」北藝香港中大交流展，中文大學許氏藝術館，香港

2015「美術創作卓越獎」，關渡美術館，台北，台灣

2014「藝術新聲」九校十系畢業生推薦展，大墩藝廊，台中，台灣

2017 "Ghost Tour", Kuandu Plain, Taipei, Taiwan

2016 "Theatre of Wilderness", Yard Theatre, Kaohsiung, Taiwan

2015 "Mei You Ethnicity", The Chinese University of Hong Kong - Hui Gallery, Hong Kong

2015 "Outstanding Art Prize of School of

Fine Arts", Kuandu Museum of Fine Arts, Taipei, Taiwan

2014 "Young Voices 2014", Da Dun Gallery, Taichung, Taiwan

翁翊軒 WENG Yi-Hsuan

152

《研究什麼是壞掉的照片》系列

Studying Destroyed Photos series 2015 / 壓克力、相紙 Acrylic, Photo Paper / 150 x 150 cm

翁翊軒以行為藝術呈現《研究什麼是壞掉的照片》系列作品，這標題，本身就是對普羅大眾價值觀及觀看動作的諷喻說詞，透過藝術行動來詮釋這個題目的核心精神，使用顏料直接塗抹於各種生

活周遭景物，試圖探討人對日常生活事物慣性的觀看模式。翁翊軒也嘗試提問 : 在充斥大量圖像、快速訊息的時代，觀者是否能透過此作反思自身關注影像時的篩選標準；也就是停下步伐、觀察周遭熟悉的環境，進而分析自身的「影像截取價值觀」。

WENG I-Hsuan represents Studying Destroyed Photos series through action art. The title itself is

a sarcastic expression about values of the masses and the act of viewing. The artist interprets the core spirit of the topic through artistic action. By applying paint directly onto various objects and

scenes of our surroundings, he attempts to explore man's habitual pattern of viewing things in ordinary life. He also tries to question whether if through the work, the viewer would reflect on his/her selection criteria regarding images in an age of abundant images and rapid information. This means making a stop and observing the familiar surroundings before further analyzing one's "values about the capture of images".

2015「台北美術獎」，台北市立美術館，台北，台灣

2015「全球華人藝術網台灣藝術新銳」，全球華人藝術網，台中，台灣

2015「詩的空間」聯展，101 藝廊，台北，台灣

2015「藝術新聲」十校畢業生推薦展，大墩藝廊，台中，台灣

2015 "Taipei Art Awards" Judges' Award, Taipei Fine Arts Museum, Taipei, Taiwan

2015 "Taiwanese Emerging Artists

Selected", www.artlib.net.tw, Taichung, Taiwan

2015 "The Poetic Space", Gallery 101, Taipei, Taiwan

2015 "Young Voice", Da Dun Gallery, Taichung, Taiwan

盧冠宏 LU Guan-Hong

153

電子眼 Monitor

2017 / 油畫 Oil on Canvas / 170 x 90 cm 這是一個監視器的畫面，我試圖用繪畫的方式描繪一個定格的、沒有個性的影像。 It's a screenshot from CCTV, I try to depict a freeze frame via painting, which tells nothing but a blur vision.

2017「未來未來的地方」，關渡平原，台北，台灣

2017「美術館 2.0」，彰化縣立美術館，彰化，台灣

2017 "To No Future Place", Guandu Plain, Taipei, Taiwan

2017 "Museum 2.0", Changhua County Art Museum, Changhua, Taiwan

微型策展 Curatorial Practice

食食食食食時間

FEEEDING ON TIME 策展人 CURATOR

林郁晉 LIN Yu-Chin 藝術家 ARTISTS

林郁晉 LIN Yu-Chin

翁寅再 WENG Yin-Zai

張喬翔 CHANG Chiao-Hsiang 蔡宇恩 TSAI Yu-En 蔡傑 TSAI Jie

154

時間朝向未來無限延伸，正處於時間線當下的我們，試圖去拼湊、覆蓋和交疊過去的記憶。像是「貪吃蛇」的概念，時間線如蛇身般不斷成長、不斷地延伸，每長大一格都更走向未來。

過去、現在，和未來，在時間線底下延展開，藝術家各自透過對時間線的理解，反覆地對話、決定、辯證和反思，再加以詮釋。

Future is unlimited as time goes on. We are trying to visualize our past memories by piecing them together. The concept of the act resembles

the game "Snake", because timeline has similar image to the Snake game: perpetual extension and growth. By every move, we're getting closer and closer to the future.

Past, present and future are stretching out like a line beneath us, and by different attempts made by the artists, such as dialectical thinking, reflections and conversations, they reinterpret timeline through their point of view.

林郁晉 LIN Yu-Chin

155

遮起來！遮起來！遮起來！ Cover Your Faces! 2017 / 攝影 Photography / 100 x 70 cm 遮起來！遮起來！遮起來！現代社會中，保衛自己的隱私被視為理所當然。人們對於隱私權越來越重視，回顧人類文明的初始，時序變換至今，現代人們對於透露自身訊息不但不再感到自然，甚至會感到懼怕。於是我決定用攝影作為媒材，加以「暴力」手法，抓取在公共場域裡人們捍衛隱私的反射動作，表現現代社會文明的特徵。編輯：L L J

協助攝影：闕楷銘 Kevin CHUEH、詹珈瑋 ZHANG Jia-Wei

2018「顏面攝影」，榖年藝廊，台北，台灣 2017「風格讀冊」，榖年藝廊，台北，台灣 2017「GRAFT」夜鷺死苦一年展，濕地，台北，台灣

2016「遇境共和」，櫞椛文庫，台北，台灣 2016「遇境共和」，80S Studio，台北，台灣

In the modern society, the importance of privacy protection is an absolute certainty. There

2018 "Inter-facial", Gunian Gallery,

uncomfortable and terrified when their private information was revealed.

2017 "Book as Prelude", Gunian Gallery,

has been growing concerns over privacy protection; therefore, modern people will feel In this work, I take photography as a tool to capture images of people in a "violent way", to capture images of people reflexively defending their own privacy in public. The act represents a characteristic of modern society.

Taipei, Taiwan Taipei, Taiwan

2017 "GRAFT" Yelusihku 1st Annual

Exhibition, Venue, Taipei, Taiwan

2016 "Encounter Gonghe", Yuanhua, Taipei, Taiwan

2016 "Encounter Gonghe", 80S studio, Taipei, Taiwan

翁寅再 WENG Yin-Zai

156

擁有的所有的 HAVE. All. OWN 2018 / 攝影 Photography / 33.16 x 44.77 cm 曾經擁有的，在擁有的曾經中消逝。 Once were my youth vanished in the past.

2018「顏面攝影」，穀年藝廊，台北，台灣 2017「風格讀冊」，穀年藝廊，台北，台灣 2018 "Inter-facial", Gunian Gallery, Taipei, Taiwan

2017 "Book as Prelude", Gunian Gallery, Taipei, Taiwan

張喬翔 CHANG Chiao-Hsiang

157

它 IT

2018 / 攝影 Photography / 30 x 30 cm 它是我朋友，似乎在我小時候就認識它了。可能是真實的吧，每天我想它時他啊就會出現，但隨著年紀越來越大，面對課業壓力種種的事，

我已經慢慢忘記跟它相處了。它的臉我沒辦法拼湊起來，所以也有可能不是真實的吧。我也真是的，到了現在我怎麼也想不起他的長相，對他的印象只剩模糊與殘影。 It's my friend, and I have known him since my childhood. Probably.

Maybe it does exist cause whenever I think of it, it appears; however, I generally forget how I used to get along with it because of the pressure that comes from my schoolwork.

I can't piece its face together. Therefore, it might not have existed. How can I not remember its face?

What is left is only a vague and incomplete image.

2018「顏面攝影」，穀年藝廊，台北，台灣 2017「風格讀冊」，穀年藝廊，台北，台灣 2017「GRAFT」夜鷺死苦一年展，濕地，台北，台灣

2018 "Inter-facial", Gunian Gallery, Taipei, Taiwan

2017 "Book as Prelude", Gunian Gallery, Taipei, Taiwan

2017 "GRAFT" Yelusihku 1st Annual

Exhibition, Venue, Taipei, Taiwan

蔡宇恩 TSAI Yu-En

158

藝術召喚陣 Art Magic Circle

2018 / 複合媒材、相紙 Mixed Media, Photographic Paper/ 150 x 150 cm, 60 x 85 cm 「藝陣」一行為試圖以精神性的魔法陣儀式，作為召喚藝術的基座。自古以來，人們使用各種宗教儀式召喚神鬼降臨現身，祈禱獲得金錢、美貌、智慧與保佑平安，

在面對未知的力量下人們燒香唸經、燒紙錢、禱告獻祭。隨著美學藝術的逐漸發展，從起源時期的榮耀天神、讚揚歌頌上帝，演變到當代對於真善美的不斷追求探索，藝術的本質彷彿從未脫離過某種不可言喻的神秘力量，一種令人渴望的未知力量。設想，既然歷史上人們嘗試以自身想像的形式去召喚力量，那是否我們可以嘗試以相同的模式去召喚藝術。

"Art circle" the behavior tries to be a base to call art by some spirituality magic circle ceremony. Since ancient times, people has been trying to call spirit to show up by different ways of religious ceremony, praying to get money, beauty, smart and peace. People would light incense, chant sutra, burn joss sticks, pray, and sacrifice when they are facing that unknown power.

Along with the development of aesthetics and art, from the origin period art be use to glory god

and praise god, become to contemporary keep pursue and probe truth, goodness and beauty. As if the essence of art is never without some mysterious unknown power which is ineffable, the unknown power which make people desirous.

Imagine that, as people in history can call powers by some ways they think, maybe we can also try the same method to call art.

2018「56 屆文化大學美術系展」，台北市藝文推廣處，台北，台灣

2017「泥韻系列」個展，華岡博物館，台北，台灣

2017「澀穢」影像個展，謬思藝廊，台北，台灣

2017「大阪關西街道攝影個展」，穀年藝廊，台北，台灣

2017「GRAFT」夜鷺死苦一年展，濕地，台北，台灣

2018 "56th PCCU Fine Art Exhibition",

Taipei City Arts Promotion Office, Taipei, Taiwan

2017 "Cement Charm Mud" Solo

Exhibition, Hwa Kang Museum, Taipei, Taiwan

2017 "Remains" Solo Exhibition, Muse Gallery, Taipei, Taiwan

2017 "Osaka & Kansai Street Snap" Solo Exhibition, Gunian Gallery, Taipei, Taiwan

2017 "GRAFT" Yelusihku 1st Annual

Exhibition, Venue, Taipei, Taiwan

蔡傑 TSAI Jei

159

灰色擎陽，漫天飛蠅

Up to the gray sun , flies were full of sky.

2018 / 現成物、複合媒材 Ready-Made, Mixed Media / 42 x 160 x 130 cm, 82 x 135 x 200 cm 太陽是大的，有溫度的，暖地出奇的冷，不是那種— 預期從心的底緩緩上升的暖；而是那樣的熱—— 身子雖然熱了但冷汗從背脊下部顫慄地順勢往上漫溢而出：

The sun is large which temperature is so warm that getting cold surprisingly , not the kind of

warming that is expected to rise slowly from the bottom of the heart; but the heat—the body is hot but the sweat from the lower part of the spine flows up and down:

2017「GRAFT」夜鷺死苦一年展，濕地，台北，台灣

2017「無念，無響個展」，穀年畫廊，台中，台灣

2017「台北藝術攝影博覽會」，華山文創園區，台北，台灣

2017 "GRAFT" Yelusihku 1st Annual

Exhibition, Venue, Taipei, Taiwan

2017 "No Concern, No Echo", Gunian Gallery, Taipei, Taiwan

2017 "Taipei Art Photo", Huashan 1914 Creative Park, Taipei, Taiwan

六樓鐵皮（張恆銘）6FTP(CHANG Hung-Ming)

160

六樓鐵皮 6FTP

2018 / 複合媒材 Mixed Media / 300 x 300 cm 以塗鴉的方式表現創作者當下的意志。 Express the creator's current will in a graffiti way.

2017「World Art Dubai」，杜拜世貿中心，杜拜，阿拉伯聯合大公國

2017「彼岸」六樓鐵皮個展，唐豐藝術中心／藝聚空間，台北，台灣

2016「福爾摩沙 101 國際藝術博覽會」，寒舍艾麗酒店，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，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，新北，台灣

2017 "World Art Dubai", Dubai World Trade Centre, Dubai, UAE

2017 "Faramita" 6FTP Solo Exhibition,

Tang Feng Gallery / Meet Art Space, Taipei, Taiwan

2016 "Formosa 101 Art Fair", Humble House, Taipei, Taiwan

2015 "Variation" CHANG Heng-Ming to

6FTP Solo Exhibition, Yonghe Arts and Education Foundation, New Taipei, Taiwan

2015 "Together, We Build a Factory", Yonghe Arts and Education

Foundation, New Taipei, Taiwan

王明月 Ming WANG

161

母親的童年，一雙鞋子的記憶

Mother's Childhood, Memory of a Pair of Shoes

2018 / 油彩、壓克力、複合材料、畫布 Oil Paint, Acrylic, Mixed Media, Canvas / 91 x 116 cm, 80 x 65 cm

2018「虛靜不定」個展，新浜碼頭藝術空

我的畫試圖呈現人在大自然、天地間的冥想，也描繪生命本身的豐盛與空無。我認為一幅好的作

1998「聯展」，洛杉磯郡立美術館，洛杉

品可訴說故事、激發情感、勾起幻想與記憶，是在有限空間裡達到放棄束縛的極限。藝術創作是

視覺的自由想像，及內在漫無邊際的解放，藉色彩、線條把下意識及眼前的意像繪出來。是偶然自發的表現，亦有緩慢錘煉的促成。

間，高雄，台灣磯，美國

1998「聯展」，拉古納美術館，拉古納海灘，美國

My paintings attempt to express human's deep thoughts amongst the nature and the universe,

1980「個展」，霍博肯火車餐廳，霍博肯，

invoke emotions & memories. It is the result of having ultimate freedom after giving up all

1978「聯展」，耕莘文教院，台北，台灣

and to depict life's richness and nothingness. I think a piece of good art work can tell stories,

unnecessary baggage. With free visual imagination and one's liberated inner spirit, by way of colors and lines an art piece is born. It could be out of sub-consciousness and expressed as if by accident or attained through careful laboring & construction.

美國

2018 "Elusive Tranquility" Solo

Exhibition, Sin Pin Pier - Absolutely Art Space, Kaohsiung, Taiwan

1998 "Group Exhibition", Los Angeles County Museum of Art, Los Angeles, USA

1998 "Group Exhibition", Laguna Art Museum, Laguna Beach, USA

1980 "Solo Exhibition", Hoboken Train Restaurant, Hoboken, USA

1978 "Group Exhibition", Tien

Educational Center, Taipei, Taiwan

王俊翔 WANG Jun-Xiang

162

觀測器試做一 The Telescope

2018 / 木材、紙、壓克力、自然光 Lumber, Paper, Acrylic, Natural Light / 480 x 480 x 200 cm 不討論微觀與巨觀的時空問題，只建立幾項絕對性的假設。將其組合，創造一個現實。 The telescope is not connected with a large scale and a small scale.

2017「台灣當代一年展」，花博爭豔館，台北，台灣

2016「台灣當代一年展」，花博爭豔館，台北，台灣

2015「藝術家博覽會」，花博爭豔館，台北，台灣

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2016 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2015 "Artist Fair Taiwan", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

王耀俊 WANG Yaw-Jun

163

悲傷的柴堆 A Sad Woodpile 2018 / 複合媒材 Mixed Media / 40 x 150 x 120 cm

此作品指涉個人心裡對於後林業時代的憧憬、煩悶與牢騷。在我的生活體驗中，樹的種植與維護、

2017「好地方是老時光」，新樂園藝術空

我來說，種植與撿拾似乎成了某種精神上的思念與感受。巨大的樹因風在樹林中傾倒枯死，枝條

2014「Habitat」，國立雲林科技大學藝

枝條的修剪與利用是一直持續的習慣。我也經常以此生活方式的記錄來拓展藝術創作的可能。對斷折並散落四處，在落葉滿地的角落形成了一處特別的生活景致。此作品將意圖呈現一種視覺上

的悲傷感。作為無法消解的情緒糾結，樹的死寂在人的介入之後而產生能量的改變。透過肢解、鋸切、堆疊、著色、塗鴉和裝置，一棵樹於是逐漸成了一堆薪柴。

間，台北，台灣

術中心，雲林，台灣

2013「此時此刻」，青田十六－師大當代人文藝術空間，台北，台灣

This work refers to the individual's emotion for the post-forestry era of jealousy, boredom and

2006「台北國際藝術博覽會」，華山文創

utilization of branches are a constant habit. I often apply this lifestyle recording to expand the

2005「2005 年日本國際博覽會記念展」，

complaints. In my life experience, the cultivation and maintenance of trees, the pruning and possibilities of artistic creation. For me, planting and picking seem to have become a kind of

spiritual thoughts and feelings. The huge tree was dumped and dead in the woods because of the wind. The branches were broken and scattered, forming a special view of life in the

corners of the leaves. The intention of this work will present a visual quality of sadness. As the entanglements of mood which cannot be dispelled, the death of the tree produces energy

changes after human intervention. Through dismemberment, sawing, stacking, coloring, graffiti and installation, a tree has gradually become a pile of firewood.

園區，台北，台灣

愛知縣美術館，名古屋，日本

2017 "A Good Place Can Evoke the Old Days", Shin Leh Yuan Art Space, Taipei, Taiwan

2014 "Habitat", Yun Tech - Art Center, Yunlin, Taiwan

2013 "At This Moment", No. 16 Chingtian NTNU Contemporary Humanities and Arts Space, Taipei, Taiwan

2006 "Art Taipei 2006: Asia Life - New

Figure, New Art", Huashan 1914 Creative Park, Taipei, Taiwan

2005 "Asian Potential: Art Nursed by

Sea and Islands", Aichi Prefectural Museum of Art, Nagoya, Japan

甘逸豪 KAN Yi-Hao

164

紙老虎 Paper Tiger

2018 / 複合媒材 Mixed Media / 200 x 250 x 250 cm 與生俱來的閱讀障礙，在創作者成長過程中產生無可名狀的恐懼與壓力。就如「看報紙」這種日常

2017「高雄漾藝術博覽會」，駁二藝術特

輯地組織排列，並且解讀為有意義的內容。成長過程中，無所不在的文字訊息，彷彿是一隻無形

2017「台北國際攝影藝術交流展」，華山

行為，對他來說卻是十分困難，因為閱讀障礙使他無法將報紙上的文字資訊在大腦中有系統有邏

的怪獸不斷在他身後追逐、壓迫，這種生存的恐懼感啟發了他創作此件作品的靈感。本次展出的作品取名為《紙老虎》，是以舊報紙為媒材的一組雕塑作品。其創作思想奠基於創作者的自身成長經驗，意圖將文字訊息所造成的內在壓迫與恐懼感具像化，並進一步期盼在創作過程中再度經歷內在的演化，終能找到走出生命牢籠的路徑。

Born with the problem of Dyslexia, also called reading disorder, the artist Kan Yi-Hao has great fears of reading due to this problem. He has lived under the stress of it since a long time. Even the simplest thing in daily life like reading newspaper is difficult for him, for he is not able to receive and interpret the information on the newspaper in a logical reasonable way.

In the eyes of the artist, the omnipresent textual information represents a monster running after him threating his life and peaceful mind. The emotion of fears has inspired him to create the sculptures of Paper Tiger . Using old papers to create the sculptures, Kan Yi-Hao tries to

represent fears and stresses in a concrete form. Through the process of creation, he hopes to experience his own inner evolution and to find the way walking out from the cage of life.

區，高雄，台灣

文創園區，台北，台灣

2016「台灣當代一年展」，花博爭艷館，台北，台灣

2016「靈光乍現 2.0」，8 樓藝術空間，台北，台灣

2015「交陪境」，花博爭艷館，台北，台灣

2017 "Young Art Kaohsiung", The Pier-2 Art Center, Kaohsiung, Taiwan

2017 "Wonder Foto Day", Huashan 1914 Creative Park, Taipei, Taiwan

2016 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2016 "Pop Up 2.0", Floor 8 |

Contemporary Art Space, Taipei, Taiwan

2015 "Territorial Friendship", Taipei

Expo Park - EXPO Dome, Taipei, Taiwan

江彥賢 CHIANG Yen-Hsien

165

市場（二） Ten Thousand (2)

2018 / 畫框、錢幣 Picture Frame, Coins / 98 - 108 x 64 - 74 cm 在資本經濟的社會結構之下，商業藝術的發展越演越烈，更隨著現代市場的需求不斷持續擴大；

2018「台北藝術自由日」，松山文創園

生的藝術品，無論是製造方或是買賣方，是否容易將此「產物」應有的內在精神性著重於外在價

2017「隱退的理性」，好地下藝術空間，

相對的，藝術家也藉由個人美學製造產物，經市場運作應得以生存（持續）。但由這市場機制而值（或本意就係屬外在價值）？若答案是肯定的，那麼最終創造藝術之結果則成為市場流通中的

「有形證券」，此藝術之價值又能得以做為長久的滿足嗎？

Under the social structure of the capital economy, the development of commercial art has become more and more intense, and as the needs of the modern market continue to

expand, relatively, artists also survive through market operations through the products of personal aesthetics (continue), but the art created by this market mechanism, whether it is the manufacturer or the buyer or seller, is likely to focus on the external value not the inherent

spirituality of the "product" (Or the intention just is that). If the answer is affirmative, the ultimate goal of creating art works will turn into securities in market liquidity. Can the value of this art be a long-term satisfaction?

區，台北，台灣花蓮，台灣

2017「東華角落藝術節」，國立東華大學，花蓮，台灣

2017「實驗當下 Experiment /

Present」，好地下藝術空間，花蓮，台灣

2017「Symposium」開放工作室，國立東華大學育成中心，花蓮，台灣

2018 "Free Art Fair", Songshan Cultural and Creative Park, Taipei, Taiwan

2017 "Retreat of Reason", Good

Underground Art Studio, Hualien, Taiwan

2017 "Dong Hwa Corner Art Festival", National Dong Hwa University, Hualien, Taiwan

2017 "Experiment / Present", Good

Underground Art Studio, Hualien, Taiwan

2017 "Symposium" Open Studio,

National Dong Hwa University

Industial Innovation - Incubation Center, Hualien, Taiwan

吳心荷 WU Hsin-Her

166

我的異想世界－拼圖意象

My Fantasy World - Jigsaw Imagery

2018 / 複合媒材 Mixed Media / 300 x 1200 cm

本件作品是由參觀者和藝術家共同創作的體驗和實踐中完成，藝術家將具有象徵意義的圖像和符碼，如：鳥、蛇、骷髏、時鐘、眼、魚、唇、槍、問號、花、靶心、錢……約 28 件圖像先繪製完成，由參觀者在創作區塊中自選拼組，以激發創意思考表現「我的異想世界」，每個人都有自己幻

想的世界，包括藝術家本人在內，任憑翱翔於天、地、人、海與夢的世界，去探索原始的慾望和潛意識的狂想，也許真正的自我就在此發現！

2017「囚」台灣當代一年展，花博爭豔館，台北，台灣

2015「蝴蝶舞」國際彩墨蝴蝶藝術大展，台中市立文化中心，台中，台灣

2015「『幹報』再現」中韓水墨聯展，台中市立文化中心，台中，台灣

This work is completed by the experience and practice created by visitors and artists. The artist

2012「遇見維納斯」台灣藝術家博覽會，

gun, question mark, flower, bull's eye, money... about 28 images were drawn first, and the

2012「穿著牡丹肚兜的男人」台灣成人博

will have symbolic images and symbols such as: bird, snake, human skull, clock, eye, fish, lip,

visitors selected themselves in the creative block to inspire creative thinking to express "my fantasy world". Everyone has their own fantasy world, including artists. Personally, I would like to explore the world of heaven, earth, people, sea, and dreams to explore primitive desires and subconscious imaginings. Perhaps the true self is found here!

松山文創園區，台北，台灣

覽會，世貿二館，台北，台灣

2017 "Prisoner" TAIWAN ANNUAL, Taipei Expo Park - EXPO Dome, Taipei, Taiwan

2015 "Butterfly Dance" International

Art Exhibition Butterfly Color Ink, Taichung City Cultural Center, Taichung, Taiwan

2015 "Dry Newspaper Reproduction" South Korea Ink Exhibition,

Taichung City Cultural Center, Taichung, Taiwan

2012 "Met Venus" Artist Fair Taiwan,

Songshan Cultural and Creative Park, Taipei, Taiwan

2012 "Man Wearing Peony Apron"

Taiwan Adult Expo, TWTC Hall 2, Taipei, Taiwan

吳秉祈 WU Bing-Chi

167

好事？ Good Intentions?

2017 / 數位拼貼、紙 Digital Collage, Paper / 72 x 42.4 x 2.4 cm x 6 生活中有一種情況就是良好的意圖、行為不一定會產生正向的影響。我企圖以行善的一體兩面為

2018「高雄漾藝術博覽會」，駁二藝術特

一捐一」品牌策略以及保健食品的濫用，表達同一事件導出的狀態會因切入的角度不同而有所影

2018「花蓮美術獎」，花蓮縣文化局美術

出發點，輕鬆鮮明的方式討論近年關懷難民的議題、放生動物之爭議、成績至上的教育環境、「買響。目的不是批評那些秉持正能量卻帶來負面衝擊的意圖或行為，而是希望提醒觀眾在「善意」的行為上多一層思考；做好事不該只是一味孤行，止於良善行為的表面而不加思辨。

It is my feeling that when people have enough ability, they will want to help others to work

smoothly or live better. It is their good intentions. However, sometimes, helpers have good

intentions but they don't bring about positive results. The consequences will be different from the imagination or even be the opposite. In this project, I tried to discuss the issues of quality

of assistance, environmental issue, results driven education, bad brand strategy, and abuse of dietary supplements. I am not criticizing those helpers' good intentions or behaviors. I just want to show my observation of society by pieces, as well as inspiring my audience to consider

"good intentions" more. Are they really good? Or it is another kind of violence, or selfishness, or foolishness? From my perspective, people should not habitually and obstinately do good things without thinking.

區大勇區 P2 倉庫，高雄，台灣館，花蓮，台灣

2017「Spring Salon」，Candid Arts Trust，倫敦，英國

2016「Future Late - Open Call: What is

the Future of Art?」，泰德現代美術館渦輪大廳，倫敦，英國

2015「視覺混種」，URS21 中山創意基地，台北，台灣

2018 "Young Art Kaohsiung", The Pier2 Art Center - Dayong Area P2

Warehouse, Kaohsiung, Taiwan

2018 "Hualien Art Awards", Hualien

County Cultural Affairs Bureau -

Fine Arts Museum, Hualien, Taiwan

2017 "Spring Salon", Candid Arts Trust, London, UK

2016 "Future Late - Open Call: What is

the Future of Art? ", Tate Modern Turbine Hall, London, UK

2015 "On Site, Visual", URS21 Chung

Shan Creative Hub, Taipei, Taiwan

李悟 LEE Wu

168

慣性漠視 The Disregard of Inertia

2018 / 攝影、裝置、現成物 Camera, Installation, Ready-made / 600 x 600 cm 「慣性漠視」是隨時都會出現在當代生活中的「行為」。此「行為」可能因為人們長期的「視覺疲

2016「第二屆大阪新世代藝術博覽會」，

公德、甚至道德上所產生負面、錯誤的「行為」。如不遵守交通號誌、在已滿的停車格裡挪動他人

2015「澳門新藝潮國際藝術家獎」，威尼

乏」，或是人們「自我認知的偏差」所引起的「便宜行事」。而會出現的「慣性漠視」都是在私德、機車、公共場所大聲喧嘩交談，甚至執法者漠視法條規範而無所作為等等……。

"The Disregard of Inertia" is the "behavior" that appears in contemporary life at any time. This

"behavior" may be caused by people's "visual fatigue" for a long time or "cheap actions" caused

HERBIS HALL，大阪，日本

斯人金光會展 D 館，澳門，中國

2012「第二屆台北國際短片電影節」， Web，台北，台灣

by people's "self-recognition bias". The "inertia disregard" that arises is a negative, erroneous

2011「第十屆城市遊牧影展」，華山文創

moving others' locomotives in filled grids, talking loudly in public places, and even law

2010「第六屆法國口袋影展」，巴黎影像

"behavior" in private morality, morality, and even morality. Such as not obeying traffic signals, enforcement people ignoring the rules and regulations and doing nothing... .

園區，台北，台灣論壇，巴黎，法國

2016 "The 2nd UNKNOWN ASIA",

HERBIS HALL, Osaka, Japan

2015 "New Art Wave Expo", The

Venetian Macau Resort Hotel Cotai Strip Cotai Arena, Macao, China

2012 "The 2nd Taipei International

Short Film Festival", Web, Taipei, Taiwan

2011 "The 10th Urban Nomad Film

Fest", Huashan 1914 Creative Park, Taipei, Taiwan

2010 "The 6th Pocket Film Festival",

Forum Des Images, Paris, France

李健銘 LEE Chien-Ming

169

「警山」警用品拓印工作坊

"POLICE Landscape" Police Tool Rubbing Workshop 2018 / 拓印 Rubbing / 依場地而定 Dimension Variable

選用熟知的警察物件做拓印，警槍、警用手持機、警徽手銬等作為拓印，在拓印後經由繪畫讓冰冷的警用品變成不同國畫山景，藉此對警察公權力儼然成自然山景般的權力景象做反思。

I chose the tool that police often use to rubbing, gun, police badge, police pager, handcuffs... after we rubbing, then we paint, let the police tool rubbing become the beautiful landscape.

I use this to think about how police authority become a nature landscape, and what police authority influence us in our life.

2018「合法塗鴉區」啟動儀式創作展演，台南市政府文化局，台南，台灣

2017「BLACK X DESIGN 亞洲傑出設計邀請展」，新光三越左營店，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」，衛武營國家藝術文化中心，高雄，台灣

2015「第二屆愛自由當代書藝展」，南海藝廊，台北，台灣

2018 "Legal Graffiti Area" Opening Live

Painting, Tainan City Government Cultural Affairs Bureau, Tainan, Taiwan

2017 "BLACK X DESIGN" Grate Designer

in Asia Design Exhibition, Shinkong Mitsukoshi, Kaohsiung, Taiwan

2017 "Vision Get Wild Exhibition",

Kaohsiung Exhibition Center, Kaohsiung, Taiwan

2016 "Weiwuying Arts Festival", National Kaohsiung Center for the Arts

(Weiwuying), Kaohsiung, Taiwan

2015 "2nd Love for Freedom

Calligraphy", Naihai Gallery, Taipei, Taiwan

李雲陞 LEE Yun-Sheng

170

藍色的心靈圖象 Blue Mental Inspiration 2016 / 油畫、壓克力、畫布 Oil, Acrylic on Canvas / 80 x 116 cm

畫布與自身心靈的内在探討，盤縈不去的思緒留下湛藍的憂鬱對話。 Mental Inspiration on Canvas. Conversation between me, unresolved thoughts and time. To leave a blue melancholy dialogue.

2016「台灣當代一年展」，花博爭艶館，台北，台灣

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」，花博爭艶館，台北，台灣

2011「北台灣八縣市藝術家聯展」，苗栗縣政府文化觀光局，苗栗，台灣

2009「苗栗縣文化産業藝術協會聯

展」，苗栗縣政府文化觀光局，苗栗，台灣

2016 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2014 "Artist Fair Taiwan", Shinkong Mitsukoshi, Taipei, Taiwan

2013 "Artist Fair Taiwan", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2011 "Northern Taiwanese Artists Group

Exhibition", Miaoli County - Culture and Tourism Bureau, Miaoli, Taiwan

2009 "Miaoli County Art and Cultural Association Group Exhibition", Culture and Tourism Bureau Miaoli County, Miaoli, Taiwan

林容 LIN Jung

171

扮成花豹綿羊的人

A Man Who Disguised Himself as a Sheep in Leopard's Skin

2016 / 油性粉彩、油畫、畫布 Oil Pastel and Oil on Canvas / 75 x 94 cm 他因為不再相信任何人，於是把自己扮成綿羊，以羊的外表生活。但他脫離了羊群，一隻羊在野外很容易遇到危險，

於是他將身上畫滿豹紋，偽裝成一隻花豹，嚇阻敵人。現在他是隻扮成花豹綿羊的人。

He makes believe he is a sheep, so he disguised himself as a sheep, a man in sheep's skin. One day, he is lost, just like a wandering sheep.

Can't imagine how dangerous is living alone in wilderness for a sheep.

So he pretended himself as a leopard, then no one dare to hurt him. He disguised himself as a sheep in leopard's skin.

2016「無有」文化美術五十屆畢業展，松山文創園區三號倉庫，台北，台灣

2016 "PCCU FINE ART DEPARTMENT

BA GRAD SHOW 2016", Songshan Cultural and Creative Park

Warehouse No.3, Taipei, Taiwan

林祖帆 LIN Tsu-Fan

172

與樹的約定 Agreement with the Tree 2018 / 複合媒材 Mixed Media / 160 x 120 cm

將不要的廢紙回收貼黏成一綑紙捲，再以碎紙機重新切割，整個過程是讓人們再次檢視及還原大

2018「超越亞洲」，五大洲博物館，慕尼

境的愛護。

2016「大邱藝術博覽會」，大邱展覽中

量砍伐、製造成各類商品的背後對於自然環境的種種破壞，赤裸地呈現給觀者，喚醒大家對於環 The unnecessary waste paper recycling sticks are glued into a bundle of paper rolls, and then

re-cut with a shredder. The whole process is to allow people to review and restore the total

destruction of the natural environment behind a large number of felled and manufactured goods. Naked presents to the viewer, awakening everyone's love for the environment.

黑，德國

心，大邱，南韓

2016「私房畫：I have something to tell

you - EDA 學生藝術商店」，真書軒，台北，台灣

2015「高雄藝術博覽會」，駁二藝術特區，高雄，台灣

2015「前往下一站．內在風景」，自由人藝術公寓，台中，台灣

2018 "Beyond Asia", Museum Fünf

Kontinente, Munich, Germany

2016 "Daegu Art Fair", EXCO, Daegu, South Korea

2016 "2016 EVERYDAY ART: I have

something to tell you", The Jen Library, Taipei, Taiwan

2015 "Art Kaohsiung", The Pier-2 Art Center, Kaohsiung, Taiwan

2015 "The Stop: The View From

the lnside", Freedom Men Art

Apartments, Taichung, Taiwan

林慧姮 LIN Hui-Heng

173

交換信仰 Exchange Belief

2018 / 現地裝置、繪畫 On-Site Installation, Painting / 270 x 240 x 150 cm 交換信仰

透過創作產生＋交換概念：你的信念，你想被留在畫裡的任何東西。

＋交換方式：面對面作畫與聊天。

你相信著什麼，而又是什麼陪著你走到今天的呢？每個人的一生中一定有什麼奉為圭臬的東西吧？不管那是什麼，我稱之為信仰。我很好奇你的信仰是什麼，也許不是什麼了不起的、閃閃發光的信念，也許很憤世嫉俗也不一定，

但那使你有面對世界的勇氣、是上天送你最好的禮物，也是你發現的小秘密；我希望你能把它交給我，讓我替你分享給更多人。

我所能為你做的便是—交換我的信仰：藝術能使人喜悅與豐富生命。 Exchange Belief +The concept: What's your Belief? Things that you want to put in the painting. What is the belief to carry you through to the end?

It must be something that makes you regarded as a model. It is called "belief ". No matter what

that is, I am very curious about your belief. Maybe just a small dream or even cynical. However, that helps you face this world. It's a gift, a secret. I want you to tell me. Let me share it, please.

The only thing I can do for you is to exchange my belief: art makes people happy, and it can enrich our lives.

2018「穿越信仰的詩」，基礎實驗 b.Lab 實空間，台中，台灣

2018「新北市美展」，新北市藝文中心，新北，台灣

2017「未來郵件－少遊島繪社 2017 創作展」，金車文藝中心，台北，台灣

2016「日常寓言」林慧姮的書寫性繪畫藝

境畫廊，澳門 6075 飯店博覽會，澳門，中國

2016「畫語閬中／兩岸青年藝術論壇系列活動之開篇」，四川當代青年畫院

／ AURA 優芮藝界，成都，四川，中國

2018 "Crossing the poem of faith",

b.LAB Basic experiment, Taichung, Taiwan

2018 "New Taipei City Art Exhibition",

New Taipei City Arts and Culture Center, Taipei, Taiwan

2017 "A Letter from Future" Group

Exhibition by Showyourisland

Artists Group, King Car Cultural and Art Center, Taipei, Taiwan

2016 "Daily Fables, Painting Prose" Solo

Exhibition, Art Door Gallery, Macao, China

2016 "Painting in LANG ZHONG", Aura, Chengdu, China

邱語樺 CHIU Yu-Hua

174

時間的重量 The Weight of Time

2018 / 金屬、數位輸出 Metal, Digital Print / 19 x 19 x 33 cm 世界上所有的物質，佔有重量必占有空間，在時間中找尋空間的存在，是藝術家一直在探索的疑

2017「宇宙論」公益創作個展，找地方

在生命中佔有巨大份量，在時間中挖掘這些空間，試圖將這抽象的概念，運用各種素材將其視覺

2017「記憶台北」影像藝術展，台北市鄉

問。每個人在一生中總有幾個無法取代的重要時刻，或是刻骨銘心，或是日常反覆，答案皆一定

化展現開來。藝術家使用了傳統磅秤，將其重量指示板拆除，替換成時鐘，將時鐘上的指針，調向自己生命中的重要時間點，磅秤上則放置著代表內心重要的物品。

All substances in the world occupy space with weight, and finding the existence of space in time

坐，台北，台灣

土教育中心，台北，台灣

2017「台灣當代一年展」，花博爭豔館，台北，台灣

is a question that the artist has been exploring. Every person has several important moments

2017「至榮藝術獎作品展」，台北市立大

concept to express that. The artist used a traditional scale, dismantled its weight indicator

2013「台少盟公益海報聯展」，中山公民

in their life that cannot be replaced, to find out these spaces in time and try to use the abstract

board, replaced it with a clock, and adjusted the pointer on the clock to an important point in her life. Placed on the scales were items that represented important things in her heart.

學 Space 1，台北，台灣會館，台北，台灣

2017 "Theory of Universe", Have a Seat, Taipei, Taiwan

2017 "Memory of Taipei" Photography Exhibition, Heritage & Culture

Education Center of Taipei, Taipei, Taiwan

2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2017 "Zhi-Rong Contest of Art

Exhibition", University of Taipei –

Department of Visual Arts – Space 1, Taipei, Taiwan

2013 "Taiwan Alliance for Advancement of Youth Rights and Welfare Group Exhibition of Charity Posters",

Zhongshan Public Assembly Hall, Taipei, Taiwan

紀又仁 CHI Yu Jen

175

這一切是真實還是虛幻？ Is it a video? Is it a video?

2018 / 現成物裝置：紙、筆、陶瓷器皿 Ready-made Objects installation: Paper, Pen, Ceramics / 120 x 80 x 30 cm

這一切是真實或是虛幻？我將邀請參觀者寫下他最想說的一段文字給最愛的人，然後放在他所選

擇的陶盆中。我將會在裝置現場將收集到文字用直播傳送出去。但是不一定是他寫的，或許我會改寫，或者我會如實直播。端看他放到「好心的陶盆」，或是「壞心的陶盆」，姑且這樣稱呼吧！這個作品希望用直播來傳達訊息和影像的真實和虛幻其實是共存的。

Is it a video? Is it a video? I will invite visitors to write down some words to a beloved person and then put it into any pot as he prefers. I will live broadcast the messages. However, they might

been turned into negative views, or been broadcasted as what they are. It depends where the messages are left: "good pot" or "bad pot". Through this work, the artist intend to experiment that, the reality and the uncertainty of messages and images coexist.

2018 "Fire on the Wind" Celadon

Research Report Exhibition,

National Taiwan University Library, Taipei, Taiwan

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", Taipei Expo Park – EXPO Dome, 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

時光林 Time LIN

176

巫山雲雨時光 Wu Shan Yun Yu - Bed and Beyond 2016 / 錄像裝置 Video Installation / 152 x 203 x 240 cm

巫山雲雨，原指中國的層巒疊嶂、雲騰雨落景觀，後人延伸為兩性纏綿之意。性愛本是人類繁衍

2018「看見時光林」個展，國父紀念館，

命的溫床。此次以床為展演空間，以 3D 動畫加裝置方式，透過豐富幻化的聲光，期能創造東方古

2017「佛羅倫斯雙年展」，福爾泰扎達巴

生命的儀式，也是兩性享受歡娛的時光。再則，人有三分之一時間在床度過，可說是人類造化生

典而隱晦的性愛美學。本作品入選 2017 年佛羅倫斯雙年展，榮獲視頻類第五名，洛倫佐國際大獎。 "Wu Shan Yun Yu" refers to the scenic mountain peaks situated on the Yangtze River in China. This has been interpreted generations later as one of the most intimate encounters between

men and women. I combined with 3D animation, to recreate the beauty and mystery of this ancient encounter of physical passion and spiritual bonding. 2017 Florence Biennale and awarded fifth place for videos and Lorenzo ll Magnifico Art Prize.

台北，台灣

索，佛羅倫斯，義大利

2015-2018「巴黎秋季沙龍／法國藝術家

沙龍／法國獨立沙龍」，香榭里舍大道／大皇宮／大皇宮，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

2013「賞宇宙時光個展」，中正紀念堂，台北，台灣

2018 "Timelin Art 2010 - 2017" Solo

Exhibition, Sun Yat-sen Memorial Hall, Taipei, Taiwan

2017 "Florence Biennale", Fortezza da Basso, Florence, Italy

2015-2018 "Société du Salon d'Automne / Societe Des Artistes / Francais",

Champs Elysees / Grand Palace / Grand Palace, 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

高錫麟 KAO Shi-Lin

177

文字解構－空間與時間

The Text of the Framework - Space and Time

2018 / 墨、宣紙、棉布、畫框、小鉸鍊 Ink, Xuan Paper, Cotton Cloth, Picture Frame, Small Hinge / 160 x 154 x 104 cm x 2

2018「牽手－生態」水墨潑墨畫展，宜蘭

世界 200 多國家中，使用中國文字近三分之一人口。

2015「潑墨凡石」，森之藝廊，宜蘭，台灣

通過中國文字解構狀態，組織空間與時間框架、簡約鋪陳兩塊甲骨文書寫空間，象徵性呈現昔日與當代甲骨文文字使用時空。

文字傳達文化，視覺藝術傳達文字美學。 In more than 200 countries, there is almost one-third population using Chinese character.

This work simply presents combination and transformation of Oracle, at the same time

organizes space and time. Through the Oracle writing symbolically displays the temporal and spatial aesthetics of Oracle.

Text conveys culture. Visual arts convey the aesthetics of text.

縣政府文化局，宜蘭，台灣

2010「光影傳奇」油畫展，上海五角場 800 號，上海，中國

2009「光影非光影」油畫展 , 北京 798 聖邦德畫廊，北京，中國

2004「公共藝術徵選」第二名，新竹師大實驗國小，新竹，台灣

2018 "Holding Hands - Ecological" Splashed Ink Exhibition, Ilan

County Cultural Affairs Bureau, Ilan, Taiwan

2015 "Immigration Ink Stone", Forest Gallery, Ilan, Taiwan

2010 "Movies Legend" Oil Painting

Exhibition, Shanghai Wujiaochang 800, Shanghai, China

2009 "Movies Non-light" Oil Painting

Exhibition, Beijing 798 Saint Bond Gallery, Beijing, China

2004 "Public Art Competition" Second

Place, The Affiliated Experimental Elementary School of National

Hsinchu University of Education, Hsinchu, Taiwan

康郁達 KANG Yu-Ta

178

孤寂立方 Kodoku Cube

2018 / 複合媒材 Mixed Media / 240 x 240 x 240 cm 「用孤獨逃離歧視」的寂寞，作者藉由「暫時擴張自我界限」的方式（Temporarily expanding

2018「台北國際攝影藝術交流展」，松山

所有外在因素，暫時擺脫現實中個人實際能力、財力、外貌、社會角色等種種限制，強調個體的

2017「文化部文資局台中文創園區成果

boundaries of the self, TEBOTS），透過攝影師與同性模特兒的人體攝影創作，在一定時間內解除孤寂感，超越現實自我、體驗其他的可能性。透過作品強調身而為人難掩心中抑鬱，更顯無力與孤寂。這樣的灰暗心情，穿透鏡頭與文字，赤裸揭露了隱於暗處的厭世頹喪。 "Escape from discrimination with loneliness". The artist hopes to warm up the viewer's emotions through different photos, then slowly spread his loneliness and use his solitary concubines to solve the solitude. As a person, knowing that

the world is not very fair, it is still a romantic collision system. In fact, it is difficult to cover up depression and become more powerless and loneliness.

文創園區，台北，台灣

展－技藝聯展」，台中文創園區國際展演廳，台中，台灣

2016「台北藝術自由日」，華山文創園區，台北，台灣

2018 "Wonder Foto Day", Songshan

Cultural and Creative Park, Taipei, Taiwan

2017 "Bureau of Cultural Heritag TCCIP

Art Creation Exhibition", Taichung

Cultural & Creative Industries Park, Taichung, Taiwan

2016 "Free Art Fair", Huashan 1914 Creative Park, Taipei, Taiwan

張友鷦 Jorinde JANKOWSKI

179

人生燈塔 Lighthouse of Life 2018 / 複合媒材 Mixed Media / 130 x 60 x 60 cm 茫茫人海中我們各自探索著自己的方向到底指引的燈塔在何方 ? Each of us is one amongst a sea of crowds, searching for our own path. Where oh where is that lighthouse that will point us in the right direction?

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「奇幻音畫」新點子樂展，國家兩廳院－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 "iOFloat & Jorinde JANKOWSKI", National Theater & Concert Hall - Experimental Theater, Taipei, Taiwan

2012 "Orientations" Jorinde

JANKOWSKI Solo Exhibition, The Art Den, Taipei, Taiwan

張正齡 CHANG Cheng-Ling

180

抖一件曬酥了的衣／櫃子空了

Shake a Piece of Sun-dried Clothing

2018 / 複合媒材 Mixed Media / 依場地而定 Dimensions Variable 女人的各種面相，尋找一個可以自主的場域，在女人的生活圈，在繽紛的人生上演，有如馬戲團一般小丑似地戲謔著，穿梭自如卻也深陷其中，我們都在過度，向著人群走，我不過是提著空籃子 —— 平凡的女人～

人來人往，潮來潮去…我是鏡子裡的觀眾，衣架下的身體是懸著的空殼，遊走在一個喧鬧的世界～

尋找糧食衣裳 , 一個市集又市集，從青春到年老，走了一生，在菜市場，一件一件被摺疊的衣物～從一件新衣裳上找到一份自我認同價值，那個生活日常的小快樂是一種女性集體的精神療癒～

身體裡的慾望是來自食物的性本能，想著自己還能有多少的青春時光？又能為自己扮演什麼樣的女人？

穿著是否改變女人的形象，滿足在一個人來人往的菜市場，那是否是一個隱形的人在行走，販售美感的過程中，老阿婆的大紅燈籠高高掛著一樣的，生命力的流竄著～

The various aspects of a woman's face look for an autonomous field, in the woman's life circle,

in a colorful life, like a circus clown-like joking, shuttle freely but also deep in it, we are all over and toward the crowd Go, I just carry the empty basket - ordinary woman

People come and go, the tide goes... I am the audience in the mirror, the body under the hanger

is the hanging shell, walk in a noisy world~ looking for food clothes, a market and market, from youth to Old age, a lifetime, in the vegetable market, a piece of folded clothing~ to find a

self-identity value from a new piece of clothing, the daily life of that life is a collective spiritual healing of women~

The desire in the body is the sexual instinct from food, thinking about how much youthful time you can have and what kind of woman you can play for yourself.

Whether or not the dress changes the image of a woman and satisfies the food market where

people come and go, whether or not it is an invisible person walking and selling beauty, the old lady's red flag hangs high and the same, vitality flowing ~

2017「直覺行為 x 尋找ㄎㄧㄤ人計畫」，荒原藝術空間，新北，台灣

2011「遊－樂園」／「黃海鳴工地游牧

劇場」／「傳統市場女攤販擺攤藝

術」，南港瓶蓋工廠，台北，台灣

2011「離家」十坪當代攝影展，十坪藝文空間，花蓮，台灣

2005「手舞足蹈」裝置複合媒材個展，大

同新世界無憂國藝術派出所，台北，台灣

1996「台北雙年展」台灣藝術主體性系譜與檔案研究助理編輯，台北市立美術館，台北，台灣

2017 "Intuitive Behavior x Finding Deaf Program", Wasteland Art Space, New Taipei, Taiwan

2011 "Playground / Huang Hai-Ming

Construction Nomadic Theater / Traditional Market", Nangang

Bottle Cap Factory, Taipei, Taiwan

2011 "Depart from Home" Shiping Contemporary Photography

Exhibition, Shiping Art Space, Hualien, Taiwan

2005 "Dancing" Device Solo Exhibition,

The New World of Datong - Utopian Police Office, Taipei, Taiwan

1996 Taipei Biennial "Taiwan Subject

Pedigree and Archives" Research Assistant Editor, Taipei Fine Arts Museum, Taipei, Taiwan

張菀玲 CHANG Wan-Ling

181

也許是…正所謂彈跳中的狀態 VIVID & Ogling 2018 / 攝影裝置 Installation of Photography / 120 x 100 x 160 cm 細微的分子引進了毛細孔，口亥……

該清口痰了 Seems like lithe air overspread the deep silence Yawn...

Times to teasing

2018「衍 | 幻－內外的獨白與對話」新樂

園跨領域藝術節，120 草原自治區，台北，台灣

2017「解放小野獸」張菀玲行動錄像展，新樂園藝術空間，台北，台灣

2017「Jiēlìsài - Catch Me If You Can -

Motion Pictures」，新樂園藝術空間，台北，台灣

2017「偶發的拓樸」新樂園 20 年紀念展，駁二藝術特區大義區 C7-1 倉庫，高雄，台灣

2017「此時」當代影像聚場，台北當代藝術館廣場電視牆，台北，台灣

2018 "Monologue and Dialogue

Between Inner and Outer" 2018 Shin Leh Yuan Interdisciplinary ART Festival, Grassroot, Taipei, Taiwan

2017 "THE FORBIDDEN FOREST WAS IN AN UPROAR, LIKE TOTALLY" 2017 CHANG Wan-Ling Mobile Video

Solo Exhibition, Shin Leh Yuan Art Space, Taipei, Taiwan

2017 "Jiēlìsài - Catch Me If You Can -

Motion Pictures", Shin Leh Yuan Art Space, Taipei, Taiwan

2017 "Topology in Happening", The

Pier - 2 Art Center Dayi Area C7 - 1, Kaohsiung, Taiwan

2017 "The Moment", Museum of

Contemporary Art Plaza LED TV Wall, Taipei, Taiwan

郭佩雯 KUO Pei-Wen

182

曾經 At One Time

2018 / 裝置、數位輸出 Installation, Digital Print / 150 x 150 x 150 cm 記憶久了就變模糊了，然後記得的只是一種氛圍。

模糊的景象，是部分，才能拼湊出一個整體的感覺。

看得到的也許是都是不完整的，看不到的才是真實的。 Time makes memory more blurry.

Our memory separates to fragments.

Only things we can remember is vibe.

We assemble this fragments, and complete memory.

Maybe what we can see is incomplete. The truth is invisible.

2018「台北國際攝影藝術交流展」，松山文創園區，台北，台灣

2018 "Wonder Foto Day", Songshan

Cultural and Creative Park, Taipei, Taiwan

陳婉宜 CHEN Wan-Yi

183

螺旋的樂章 IV The Movement of Spiral IV 2017 / 標籤貼紙 Label Sticker / 100 x 100 cm, 50 x 50 cm, 300 x 300 cm

創作概念以螺旋為主題，作品「是平面也是立體」，以幾何圖形運用心理知覺等元素，搭配螺旋產生具歐普藝術的視覺效果。

螺旋在白色世界飛舞，隨著旋律，產生磁場，誕生了螺旋劇場，或如同松果般的構造物。 "Plane but also three-dimensional" is the main concept of the work. Using geometric elements

and spirals with psycho-perception to produce a visual effect of Optical Art. Spirals flying in the

white world, with the melody, such us magnetic spiral theater and pine cone structure were born.

2017「UNKNOWN ASIA」，HERBIS HALL，大阪，日本

2017「Independent Taipei」，松山文創園區一號倉庫，台北，台灣

2011「2011 ASBDA 亞洲基礎造形聯合學會雲林大會」，雲林科技大學，雲林，台灣

2011「第 61 回 2011 年モダンアート

展」，東京都美術館，東京，日本

2011「平成 22 年度筑波大学博士前期課程芸術専攻修了制作展」，筑波市立美術館，筑波，日本

2017 "UNKNOWN ASIA", HERBIS HALL, Osaka, Japan

2017 "Independent Taipei", Songshan Cultural and Creative Park

Warehouse No.1, Taipei, Taiwan

2011 "2011 ASBDA", YunTech, Yunlin, Taiwan

2011 "2011 Modern Art 61th", Tokyo

Metropolitan Art Museum, Tokyo, Japan

2011 "2011 Master's Program in Art &

Design Exhibition of Graduation

Work", TSUKUBA Museum of Art IBARAKI, Tskuba, Japan

黃千倫 HUANG Chien-Lun

184

ALL GOOD PILLOWS IN ONE BAG

2018 / 壓克力、棉布、棉線、現成物 Acrylic, Cotton Cloth, Cotton Thread, Ready-made / 依場地而定 Dimensions Variable / 170 x 170 x 30 cm

《All Good Pillows In One Bag》是由無數顆畫上山水符號的抱枕，結合成一只巨形布袋的軟塑件創作，它象徵著周遭的真實世界與自我身體的癒合；這些抱枕藉由被收置的動作，與布袋彼此之間所產生的物件關係，像是異質文化的相互包容，也像是藝術家自我身體的探索與個人多元化的感知呈現。

I created a bag and countless handmade pillows that means the reality and myself at the same time, also the space in this contemporary world. There are so many pillows with the landscape-

pattern put into this bag, which symbolizes some different cultures have already been mixed, and been combined to each other. In the other way, like the aesthesia inside my body, which is ready to be explored.

2018「島日芳綻」黃千倫創作個展，崇藝術空間，台南，台灣

2017「水墨曼陀羅」，高雄市立美術館，高雄，台灣

2017「尋愛者號：自我蛻變之詩」黃千倫創作個展，GALERIE F&F，台北，台灣

2016「JMA ARTISTS RESIDENCY」黃千倫駐村成果創作展，全北道立美術館藝術家駐村中心，全州，南韓

2016「水墨意象」台日美水墨交流展，天理文化中心，紐約，美國

2018 "The Island in Full Bloom", CHON Art Space, Taipei, Taiwan

2017 "INK MANDALA", Kaohsiung

Museum of Fine Arts, Kaohsiung, Taiwan

2017 "Love Seeker: A Poem of

Metamorphosis", GALERIE F&F, Taipei, Taiwan

2016 "JMA ARTISTS RESIDENCY"

Achievement Exhibition by HUANG Chien-Lun, Jeonbuk Museum of

Art JMA Artists Residency, Jeonju, South Korea

2016 "Ink Imagists" An Exhibition of Art

from Taiwan, Japan and U.S., Tenri Cultural Institute, New York, USA

黃美珍 HUANG Mei-Chen

185

你打了沒？ BON BON BON

2017 / 金屬銅箔片帶（晶片支撐物）、壓克力、陶土、沙、槍 Mixed Media Installation / 依場地而定 Dimensions Variable

在 2016 年尼斯發生卡車恐怖攻擊行動後不久至法國南部，隨處可見荷槍的軍警人員在巡邏。這不

是日常生活可所見，現在卻隨處可見變成日常情景。這些對立缺乏溝通的事件一再發生憾事，恐懼氛圍進入我們的生活，無從遁形。思考將此身體性記憶，透過互動裝置形式創作，來進行與人互動的關係。

這件作品不應只是當作單一的物件來檢視，觀者在巨大的槍響中，震撼了身體感知的啟動。那麼就不只是一件放在社會關係中被檢視的物件而已，讓觀者同時也進入生產關係之中，那麼這件作品的政治傾向也在社會關係的生產關係中。

Shortly after the truck terror attack took place in Nice in 2016, to the south of France, uniformed

policemen were patrolling. This is not what everyday life can see. Now it is everywhere, it becomes a daily scene. These recurring incidents of lack of communication have caused recurring regrets, and the atmosphere of fear has entered our lives. Thinking about this physical memory, through interactive device creation, to interact with people.

This piece of work should not be viewed as a single object. The viewer in a large gunshot shocked the start of physical perception. Then it is not just an object that has been examined in social relations. It also allows viewers to enter into production relations at the same time. The political tendency of this work is also in the production relations of social relations.

2017「台灣當代一年展」，花博爭豔館，台北，台灣

2017「解構再生」，地下美術館，台北，台灣

2014「藝菌膠囊」，美齡藝廊，台北，台灣 2017 "TAIWAN ANNUAL", Taipei Expo

Park - EXPO Dome, Taipei, Taiwan

2017 "DECONSTRUCTION

REGENERATION", Underground Art Museum, Taipei, Taiwan

2014 "Capsules of Art", Mei Ling Gallery, Taipei, Taiwan

黃莉莉 Lily HUANG

186

我絲故我在 Silk Stitch Behave

2018 / 複合媒材 Mixed Media / 15 x 30 cm ~ 60 x 90 cm 我絲故我在

搖滾吧～放肆你的刺繡印象。再生藝術～

光碟遇見刺繡顛覆你對刺繡的刻板印象

Silk Stitch Behave C'mon ~ Let's Rock you stitch

Reuse Art ~ Disk meets Stitch Embroidery can be Creative..

我絲故我在～

Embroidery can be Modern /

刺繡可以很當代～

Environmental friendly

刺繡可以很文創～刺繡可以很環保～紗網刺繡～

古藝新風華～針線展生命～心情對畫。

Contemporary Embroidery can be Mesh Stitch Art Work

Old craft new glory~ Needle painting murmuring~ Work your own mind stitch conversation... #embroidery #art #Taiwan

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，苗栗，台灣

2010「秀繡左鎮」駐村計劃，菜寮化石館，台南，台灣

2008「絲路～思路～秀繡看」駐村計畫，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"

Interactive Community Art Project, Neihu Community, Taipei, Taiwan

2013 "Stitch Show Taiwan", Northern

Miaoli Art Center, Miaoli, Taiwan

2010 "Stitch Show" Artist Residency,

Tsai-liao Fossil Museum, Tainan, Taiwan

2008 "Stitch Show" Artist Residency, Grass Mountain Artist Village, Taipei, Taiwan

黃毓庭 HYANG Yu-Ting

187

無聊習題 Boring Exercises 2018 / 複合媒材 Mixed Media / 5'00", 150 cm 在理想狀態下（無現實因素干擾），

2018「抱歉讓你見笑了」黃點點個展，藝

使用日常用品（鏡子、手電筒）進行假設。

2017「移山運動之壁球項目」微型展覽，

強調物理現象（如光源反射、陰影等），進行純粹邏輯思考應用的活動。展現點、線、面本身的結構。 In the Ideal conditions.

Emphasize physical phenomena (such as light source reflections, shadows, etc.), Use assumptions on everyday items (mirrors, flashlights). Perform pure logic thinking application activities. Show the structure of points, lines, and surfaces.

聚空間，台北，台灣畫布，台北，台灣

2016「三疊工作室」林庭山松草宛黃點

點聯展，北藝大美術系館，台北，台灣

2016「Randy KiKi BlueButton」聯展，北藝大美術系館，台北，台灣

2018 "Yellow Dot Dot Solo Exhibition", Meet Art Space, Taipei, Taiwan

2017 "The Squash Project of Miyama

Sports", Huaboo, Taipei, Taiwan

2016 "Sam-thiap Studio Exhibition",

Taipei National University of the Arts, Taipei, Taiwan

2016 "Randy KiKi BlueButton

Exhibition", Taipei National

University of the Arts, Taipei, Taiwan

楊登麟 YANG Deng-Lin

188

And I Just Watch You Slip Away III

2016 / 果凍蠟、美工刀刀片 Jelly Wax, Blade of Utility Knife / 依場地而定 Dimensions Variable 刀片在褪色的鋒芒後逐一灑落並在蠟裡凝封與重新綻放。身為人為造景最終的材料，象徵海洋或天空卻不曾真實地刮風雨淋，但果凍蠟著實是那濕潤而不定的狀態，在不同溫度與濕氣裡變化。

想像的時間沉重，風景與外頭推移，逐步向時間流動。難以保留完整，正如刀片間難以永久相依，蠟也將與刀片分離，無法負荷地在你眼前支離破碎。 When those blades become blunt, they fell off the handle into the wax, where they are sealed and revived.

Jelly wax is a material used in the final process of gel candle's making. It is a symbol of sky and

sea, yet without raining and wind blow. However, it actually has a moist and unstable state which changes according to temperature and humidity.

Time of imagination is heavy. The landscape of jelly wax slowly changes as the time flows, just like the environment outside.

It is difficult to keep the wax complete and still, just like blade will always fell off handle. This jelly wax which is supporting itself reluctantly, might separate from the blades and collapse in the end.

2018「Life's, but a walking shadow /

Words, Sites, Blood, Love」，黑白壇，屏東，台灣

2017「Saari Residence - Open Studio」，薩利駐村中心，米奈邁基，芬蘭

2017「ONOMATOPOEIC」，台東美術館，台東，台灣

2016「Flower without Heart / Into the Fray」，東海 43 號，台中，台灣

2015「只剩下愛／只剩下旗子的基座和風

／沒有旗子」，Z 書房，台中，台灣

2018 "Life's, but a walking shadow /

Words, Sites, Blood, Love", Black and White Art Space, Pingtung, Taiwan

2017 "Saari Residence - Open Studio", Saari Residence, Mynämäki, Finland

2017 "ONOMATOPOEIC", Taitung Art Museum, Taitung, Taiwan

2016 "Flower without Heart / Into the

Fray", Tunghai 43, Taitung, Taiwan

2015 "Only Love / Only the Holder the Flag Fits into / No flag", Z Space, Taitung, Taiwan

葉治伸 YAP Chee-Keng

189

嬉戲 Play

2017 / 壓克力、畫布 Acrylic on Canvas / 145 x 72.5 cm 這系列作品專注在觀察物件被光照射後的影子。時間的流竄，風的呼叫，陽光的照耀，無不是在

與物件嬉戲，而形成影子無時無刻變動著的曖昧變化。在日常生活中被不以為意的影子，如此地不具存在感，但是卻也那麼無所不在地存在著。

如同時間的侵蝕，如此無聲無息，直到我們體無完膚。物件、影子、光，相互依賴著，而活著也是一樣吧？與許多的事物鏈接、相互依賴，才能形成現在的我們。

This series focuses on observing the shadow of the object after being illuminated by light. The

flow of time, the call of the wind, the shining of the sun, are all playing with the object, and forming a shadow that changes every moment. The shadow that is not observed in daily life is not so existential, but it exists so ubiquitously.

Like the erosion of time, so silent, until we have die softly. Objects, shadows, and light depend on each other's, and also living. Linked to many things and depend on each other to form the present us.

2016 東海創新人博覽會「我們生活在這裡，我們必須在乎」，東海大學體育館，台中，台灣

2016「記錄時間的人」，A+ 藝術空間，台中，台灣

2016「指認・確認」第 33 屆東海大學美

術系師生美展，大墩藝廊，台中，台灣

2016「再會中港路」第 30 屆東海大學美

術學士班畢業展，台中市屯區藝文中心，台中，台灣

2012「Anonymous 繪畫聯展」，國家銀行美術館，吉隆坡，馬來西亞

2016 Tunghai Innovator Expo "We Live, We Care!", Tunghai University

Sport Stadium, Taichung, Taiwan

2016 "Once" Solo Exhibition, A+ Arts Space, Taichung, Taiwan

2016 "Identify, Confirm" 33th Tunghai University Fine Art Group

Exhibition, Da Dun Gallery, Taichung, Taiwan

2016 "Goodbye Chungkang Road"

30th Tunghai University Fine Art

Graduation Exhibition, Taichung City Tun District Art Center, Taichung, Taiwan

2012 "Anonymous Arts Exhibition", Bank Negara Malaysia Museum and Art Gallery, Kuala Lumpur, Malaysia

廖以歆 LIAO I-Chin

190

夢神 Morpheus

2018 / 壓克力、噴漆、油彩、畫布、展板 Acrylic, Spray and Oil on Canvas and Wall / 50 x 60 cm x 30 夢神喻為記憶、慾望、異變體的概念。作品通過抽象表現的手法詮釋自身經驗，關注社會和諧與亂象的矛盾、精神層面的慾望。以直觀的方式與三維度空間對話，刻意地留下塗抹的痕跡，強調

藝術生產中所涉及的過程。此外，運用畫作與牆面創作結合，猶如自身穿梭於多重時空中，描述心理矛盾情緒的拉扯，形塑感知記憶的符號，並創造一個無處可逃、迷幻的夢境。

Morpheus is the metaphor of memory, appetency and variants. I have chosen to describe

2017「沿線」，一諾藝術，新竹，台灣 2017「Tribeca Art Night」，Cloud Gallery，紐約，美國

2017「Exploring Abstracts」，沃威克藝術中心，沃威克，羅德島，美國

psychological states of social impact and ideology through abstract objects. I work with

2016「In Between」Solo Exhibition，

this three dimensional space. Revealing the paint trace and erasing mark deliberately is my

2016「Arcadia」Solo Exhibition，拜因特

intuitive and sensual marks which are collected from my daily life, and making a dialogue with intention to emphasize the processes involved in artistic production. Moreover, combining the

cohesive paintings and walls seems bring us a sense of space-time interweaving. These various procedures of application and cancellation describe the conflicting emotion and create a psychedelic dream.

Mite-Ugro，光州，南韓

酒莊，洛斯加圖斯，加州，美國

2017 "Linear Narrative", Inno Art, Hsinchu, Taiwan

2017 "Tribeca Art Night", Cloud Gallery, New York, USA

2017 "Exploring Abstracts", Warwick Center for the Arts, Warwick, Rhode Island, USA

2016 "In Between" Solo Exhibition, MiteUgro, Gwangju, South Korea

2016 "Arcadia" Solo Exhibition, Byington Vineyard & Winery, Los Gatos, California, USA

趙克涵 CHAO Ko-Han

191

植物生活 Plant's Life

2018 / 木刻版畫 Woodblock Print / 依場地而定 Dimensions Variable 此系列為 2018 年新創作之作品，以植物作為主題發想，用木刻版畫刻畫擬人的植物在日常生活中

2018「植物日常」趙克涵版畫創作個展，

常中所面對的各樣境遇，兩造的對應則描述了生命處境中身不由己的無奈，似是一抹滑稽。

2015「非常人」雕塑聯展，金車文藝中

遭遇的各種故事以及情緒，其中以幽默的敘事手法所呈現每個荒誕的時刻，正是我們身為人在日 This series is created in 2018, and it is based on plants. Used woodblock to portray the things

what plants sustain in their daily lives. Embodies the helplessness of being a plant in various situations.

鈾咖啡，台北，台灣心，台北，台灣

2013-2014「國際袖珍雕塑展」，國立台灣藝術大學，台北，台灣

2018 "The Daily of Plant" Solo

Exhibition, Uranium Cafe, Taipei, Taiwan

2015 "A Person with Abnormal and

Weird Behavior", King Car Cultural and Art Center, Taipei, Taiwan

2013-2014 "International Shoebox

Sculpture Exhibition", National

Taiwan University of Art, Taipei, Taiwan

劉思伶 LIU Szu-Ling

192

史蒂諾斯 200 Stilnox 200

2018 / 複合媒材 Mixed Media / 85 x 105 cm 「Stilnox」可作為當代社會的一種現象，其為目前安眠藥使用量之最大宗，隨著越來越多人有睡眠

2017「紅坊國際村八年祭創造趴」，紅坊

我藉由擁有藥師與藝術家之雙重身分，以 Stilnox 空盒作為畫布，繪出所觀察到的現象與情緒。

2017「日常幻像」，范特喜綠光計畫，台

障礙問題，失眠也成為現代主要文明病之一。

《史蒂諾斯 200》也藉此喚起對安眠藥的正確認知，我們須做藥物的主人，而非過量濫用。 "Stilnox" could be a phenomenon in contemporary society. It is the largest use of sleeping pills.

國際村，台北，台灣中，台灣

2017「台北當代獨立藝術博覽」，松山文創園區，台北，台灣

As more and more people have sleep disorders, Insomnia has also become one of the major

2017「東京國際藝術博覽會」，澀谷

I have the dual status of a pharmacist and an artist.

2017「打開科技家樂園」，新竹 241 藝術

diseases of modern scoiety.

Use Stilnox empty boxes as canvases to paint the observed phenomena and emotions.

Stilnox 200

It also arouses the awareness of understanding sleeping pills.

We must be the masters of the drug, instead of drug abuse and addiction.

Hikarie，東京，日本空間，新竹，台灣

2017 "Red Room 8th Fest Create Live Painting", Red Room, Taipei, Taiwan

2017 "Visual Illusions", Fantasystory_ Green Ray, Taichung, Taiwan

2017 "Independent Taipei 2017",

Songshan Cultural and Creative Park, Taipei, Taiwan

2017 "Tokyo International Art Fair 2017", Shibuya Hikarie, Tokyo, Japan

2017 "Opening into the Future", 241 Art Gallery, Hsinchu, Taiwan

蔡瑛瑾 TSAI Yin-Jin

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人生舞台… Stage of Life...

2018 / 裝置藝術、複合媒材 Installation, Mixed Media / 依場地而定 Dimensions Variable 人生如舞台……，獨自在自己的「窩」裡翻轉…，人生過程中的角色變換，經歷不同年代的成長故事，一一呈現陶醉在作品裡。

人生的喜怒 xxxxxx 哀樂變換無常……？你（妳）是否感受自己的心靈像多彩多姿的戲劇舞台？點點滴滴在心頭，千言萬語又說不盡的對話裡，希望透過作品裡得到大家的共鳴，不管事情好懷與否，

讓我們為未來一起努力開創自己的人生！不敢希望有多美好，但是盡自己本份去追求自己的夢想！至少我來到人間也要留下蠻多曾經擁有「我的藝術世界」值得大家對我的懷念！

Life is like a stage... it flips in its own nest! During the changing roles, experienced the story of

2017「華麗變身畫素顏」高雄現代畫學

會女性藝術家聯展，高雄市文化中心－至美軒，高雄，台灣

2015「異聲共振」高雄市現代畫學會研究展，高雄市立美術館，高雄，台灣

2005「一叢花」高雄女性聯展／高雄市立美術館聯展，高雄市立美術館，高雄，台灣

growth in different ages. Present them one by one and become enthralled in the works. The

2001「美術高雄後解嚴時代」，高雄市立

heart, in a thousand words and in endless dialogues, I hope to get everyone's resonance through

2001「錢進失落的樂園」個展，新浜碼頭

mood of life is fickle. Do you feel that your heart is like a multi-colored theater stage? In your my works, no matter whether it is good or not. Let's work hard together to create our own life for the future! I dare not want to be beautiful, but do my part to pursue my dreams! At least when

I come to the world, I have to leave behind a lot of people who once owned "My Art World". Everyone misses me!

美術館，高雄，台灣

藝術空間／崑山科技大學，高雄，台灣

2017 "Gorgeous Transfiguration After Make Up", Bureau of Cultural Affairs Kaohsiung City

Government - Chih Mei Gallery, Kaohsiung, Taiwan

2015 "Resonance of Heteroglossia" Kaohsiung on the Modern Art

Association, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan Kaohsiung, Taiwan

2005 "A Thicket of Flowers" Kaohsiung Women Joint Exhibition,

Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

2001 "Kaohsiung Art in Post-Strict Age", Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

2001 "Money Enter Lost Paradise" Sin Pin Pier - Absolutely Art Space /

Kun Shan University, Kaohsiung, Taiwan

鄧安庭 TENG An-Ting

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微光花影 Glimmer, Dot and Flower 2018 / 複合媒材 Mixed Media / 58.5 x 66.5 x 8 cm

將單純的影像藉由舊雜誌、書籍、岩石、殘段的紙片、現成物，以實驗性的直覺手法進行影像的

重組，透過不斷地和影像對話連結，從自身記憶或經驗中反覆凝視，探索影像與材質交織後如詩般獨特的可能性。

I gaze from my own memories repeatedly and explore the unique poetic possibilities

interweaving between image and material, using an intuitive methods to experiment and reconstruct this images, communicating with the image itself. The image compose from

different elements including aged magazine and books, scattered pieces of paper, stones and ready-made.

2018「山間鯤」中國文化大學美術學系第五十二屆畢業展，松山文創園區二號倉庫，台北，台灣

2018 "SHAN JIAN KUN" Chinese Culture University Arts Department 52th

Graduation Exhibition, Songshan Cultural and Creative Park

Warehouse No.2, Taipei, Taiwan

鄭雅璇 CHENG Ya-Hsuan

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侵蝕歷史 A Historical Building Invaded by the System 2017 / 現成物、灰塵、文件、複合媒材 Ready-made, Dust, Documents, Mixed Media / 130 x 90 x 140 cm

這件作品是以 20 號倉庫為歷史建築之公告，搭配文資法做為文件而成的現地創作。以公文仿件搭

配 25B 倉庫之百年灰塵，來詮釋歷史建築體受到損壞而無所作為的制度，等同文資法因受到慣性的盲視而如同虛設，藉由此作品來為 20 號倉庫這歷史建築發聲。

This work is based on the announcement of the No. 20 warehouse as a historical building, and

the creation of a local document created by the combination of the Law of Cultural Assets and Law. Using the official document copy to match the dust in the 25B warehouse for centuries,

to interpret the historical building's damaged and inaction system. This is equivalent to the incompetence of blindness of the cultural and material law and its uselessness. Through this work, it sounds to the historical building No. 20 warehouse.

2017「動，不動」，20 號倉庫藝術特區，台中，台灣

2017「Move 前 Move 後」，20 號倉庫藝術特區，台中，台灣

2017「關注」，20 號倉庫藝術特區，台中，台灣

2017「UNKNOWN ASIA」，HERBIS HALL，大阪，日本

2017 "Change", Art Stock 20, Taichung, Taiwan

2017 "Move, Before & After", Art Stock 20, Taichung, Taiwan

2017 "To Stop or Not to Stop", Art Stock 20, Taichung, Taiwan

2017 "UNKNOWN ASIA", HERBIS HALL, Osaka, Japan

盧均展 LU Chun-Chan

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開運納福聚寶盆 Lucky Fortunate Cornucopia 2017 / 複合媒材 Mixed Media / 72.3 x 99 cm

在藝術學習環境中我注意到「論述」這樣的一個角色及存在，這樣用來精準描述或包覆作品的文

2016「引爆火山工程」，郊山友台，台北，

無法閱讀或變形甚至崩解等等，它也同時顯現了論述在其他場域解讀的現型。因此我選擇了陳敬

2015「在發生之前」徐立軒、盧均展聯展，

字，在除了當代藝術語境中的使用外，能否有其他閱讀的可能，而這種可能是相對有趣的，就算元個展的一篇自述，而後直接交由繪製外銷畫的畫師進行，同樣以繪畫作為形式，再次解構、編碼的過程中，形成一次不同領域及各場域間跳躍、撞擊的可能。

In the art learning environment, I have noticed a role and an existence such as "discussion"

that can be used to precisely describe or cover the text of a work. In addition to the use in the

context of contemporary art, can there be other possibilities for reading? This may be relatively interesting, even if it cannot be read or deformed or even disintegrated, etc., it also shows the appearance of interpretation in other fields. So I chose Chen Jing-Yuan's solo exhibition and

then went directly to the portraitist who painted the exporting picture. In the same way that

the painting was used as a form, the process of deconstruction and coding again formed a possibility of jumping and hitting in different fields and fields.

台灣

八又二分之一空間，台北，台灣

2015「北藝大美術系第貳拾玖屆系展」，地下美術館，台北，台灣

2014「請表態」，地下美術館，台北，台灣

2014「成果發表會」，地下美術館，台北，台灣

2016 "Engineering of Volcano

Detonating", URS 27M, Taipei, Taiwan

2015 "Before Occurrence" LU ChunChan & TSUI Li-Shan Joint

Exhibition, Eight and a Half Space, Taipei, Taiwan

2015 "TNUA Department of Fine Arts

29th Exhibition", Underground Art Museum, Taipei, Taiwan

2014 "Please State", Underground Art Museum, Taipei, Taiwan

2014 "Results Presentation",

Underground Art Museum, Taipei, Taiwan

謝佩庭 HSIEH Pei-Ting

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03:33

2018 / 複合媒材 Mixed Media / 依空間而定 Dimensions Variable 同一個空間的不同介入方式，營造出一個有機的實驗劇場，這裡的每一個人都是臨時演員；卻也

2017「王陳靜文繪畫創作獎」，國立台灣

發性為觀者及作品空間啟發感知及注入想像。

2017「內視鏡」班級展覽，淡水文化園

是彼此的觀眾。所有在這空間裡的真實發生，經由藝術家「間接」的介入詮釋，讓虛實的交錯與偶 Different interventions in the same space create an organic experimental theater where everyone is an extra; it is also an audience for each other. All the real happenings in this space are interpreted by the artist's "indirect" intervention. The viewers and the space are developed awareness and injected imaginations by virtual interleaving and sporadic heuristics.

藝術大學國際展覽廳，新北，台灣區－殼牌倉庫，新北，台灣

2017「Four in One」四人聯展，書店，新北，台灣

2017「共生」班級展覽，艋舺龍山寺版板橋文化廣場－五樓展覽館，新北，台灣

2016「不在場」攝影聯展，大觀藝廊，新北，台灣

2017 "Anita WONG Painting Creation

Award", International Exhibition

Hall of NTUA, New Taipei, Taiwan

2017 "Endoscopy" Class Exhibition, Former British Merchant

Warehouse, New Taipei, Taiwan

2017 "Four in One", Bookstore Coffee, New Taipei, Taiwan

2017 "Symbiotic" Class Exhibition,

Lungshan Temple Plaza 5F, New Taipei, Taiwan

2016 "Absent" Photography Exhibition, DaGuan Gallery, New Taipei, Taiwan

顏柯夫 Kevin YAN

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歲嶽之五 Rock'N Time - 5

2017 / 油彩、畫布 Oil on Canvas / 116 x 273 cm 皴法是古代中國畫描繪山石的筆法總稱，我將其用於這個《歲嶽》系列。把皴法的筆法放大，表現出經過歲月洗禮後的大山大石，有雄渾莊嚴的美感和堅韌生命力。

Stone brush in ancient Chinese painting is the common name for all stone painting technics. In this serie I enlarge the stone brush to show the work of time.

2017「層」油畫創作展，藝聚空間，台北，台灣

2017「高雄藝博會」，城市商旅，高雄，台灣

2017「台中藝博會」，台中日月千禧酒店，台中，台灣

2017「台北福爾摩沙」，誠品行旅，台北，台灣

2017「層」油畫創作展，藏風藝文空間，台南，台灣

2017 "Kevin YAN Solo Expo", Art Meet Space, Taipei, Taiwan

2017 "Art Kaohsiung", City Suites, Kaohsiung, Taiwan

2017 "Art Taichung", Millennium Hotels and Resorts, Taichung, Taiwan

2017 "Formosa Expo", Eslite Hotel, Taipei, Taiwan

2017 "Kevin YAN Solo Expo", Cangfeng Art Space, Tainan, Taiwan

福利社 www

OPEN 福利社 FreeS Ar t Space w w w.frees-ar t-space.com

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TAIWAN ALTERNATIVE ART SPACE ART GROUP

台灣替代空間／藝術團體

替代空間

Alternative Art Space

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打開－當代藝術工作站

Open Contemporary Art Center

打開－當代藝術工作站為一藝術家團體，2001 年成立於板橋，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，推介現代與當代藝術相關之藝術史、形式與機制等內容給參與成員及藝術愛好者。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 年起則正式搬遷至台北市大同區。「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，成員除了以個人身份活躍於當代藝術圈，亦以「打開－當代」作為一個可共同討論、生產、激撞的藝術思考平台，持續發生多樣的藝術實踐及對話。

Open Contemporary Art Center (OCAC) is an artist collective founded in Banqiao, New 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 around 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.

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伊圖阿巴的島 Itu Apa Island 打開－當代藝術工作站自 2001 年創立以來，所要建立的便不僅是關於展覽或倉儲的空間，而是讓更多熱愛藝術文化與熱忱的創作者能夠聚集、談話、勞動、發生新事物或者游擊戰的所在，這或許是為什麼我們總暱稱自己為「工作站」（garage）的原因：雕塑（sculpture）出藝術體系中一處共居、共有的地方。

近年打開－當代藝術工作站透過持續在東南亞地區諸如與泰國、印尼、菲律賓等地交流耕耘，去面對不同文化、信仰、政治甚至藝術生態的差異，嘗試以多種路徑去實驗和理解這個對我們來說日益擴大的空間和場域，透過時間醞釀，讓這個探索的過程能被累積下來。

2017 年的計畫「CO - Temporary#2：伊圖阿巴的島 Itu Apa Island」便是起源於一個簡單的想法：我們能否與印尼的藝術團體 LIFEPATCH 合作，透過將不同背景的創作者聚集在一起，共同想像今日的藝文空間應該是什麼模樣？並且齊力一磚一瓦地去構築與改造，進一步地思索這樣的協作關係，在人與人間逐漸疏離的今日，是否能以更加遊牧的方式將彼此再次連結起來，重塑我們文化的邊界。

Since "Open Contemporary Art Center" first founded in 2001, it aims to do more than just a gallery for ongoing exhibitions, physical storage,

but certainly do strive to create a space that for artists can gather and generate conversations, work together, have new inspiration or fight

as a guerrilla. Such characteristic of this space may be the reason why we gave ourselves a nickname "garage": to sculpture a place where we cohabit and share in the art system.

In recent years, OCAC has continuously cultivated and held exchange programs with Southeast Asia countries, such as Thailand, Indonesia, and the Philippines. While facing different cultures, beliefs, politic and art community, we try to experiment with multiple paths and to understand the ever-expanding art scenes, which allow the processes to be accumulated as time goes by.

The project "CO-Temporary#2: Itu Apa Island" in 2017 started from a simple idea: How can we collaborate with LIFEPATCH and bring artists who shares diverse experiences, backgrounds and cultures to imagine how an art space should be like in nowadays, and work to build and to transform it together? Furthermore, to see whether we are able to reshape the boundaries of our culture in a more nomadic way through this kind of cooperation in the generation of gradual alienation between each other. 參與藝術家 Participated Artists Agus Tri Budiarto, Andreas Siagian, Agung Geger, Adhari Donora, Arifin Wicaksono, Annisa Rizkiana Rahmasari, Amarawati Ayuningtyas, Budi Prakosa, Chen Szu-Han（陳思含）, Chen Chia-Lan（陳佳蘭）, Dholy Husada, Ferial Afiff, Kuo Po-Yu（郭柏俞）, Liu Yu（劉玗）, Lo Shih-Tung（羅仕東）, Nova Rachmad Basuki, Nur Akbar Arofatullah, Paschalis Serty Canny Widarsi, She Wen-Ying（佘文瑛）, Sita Magfira, Wawies Wisnu Wisdantio, Wang Hsiang-Ping（王相評）, Wu Sih-Chin（吳思嶔）.

藝術團體 Art Group

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未來社

Art of Prospection

未來社成立於 2012 年，由一群青年藝術家組織而成，以團體的方式形成一個創作的平台，討論彼此與藝術創作間的關係。成員有王璽安、林

冠名、林賢俊、高雅婷、曾雍甯、黃琬玲、廖震平、謝牧岐八位藝術創作者。歷年展覽有《零度平面》於南海藝廊（台北，2012）、《想像的平台－未來的幻景》於台南索卡藝廊（台南，2013）、《餐桌上的未來－家與藝術家》於關渡美術館（台北，2013）、《水面上開門》於台南索卡藝廊（台南，2014）、《未來極短篇》於福利社（台北，2015）、《未來劇場》於關渡美術館（台北，2018）。

Art of Prospection was founded in 2012 by a group of young artists from Taiwan, establishing a creative platform while discussing their

relationship with art. The eight members of the group include the following artists: Sean Wang, Lin Guan-Ming, Lin Hsien-Chun, Kao YaTing, Tzeng Yong-Ning, Huang Wan-Ling, Liao Zen-Ping, and Hsieh Mu-Chi. Over the years, their exhibitions have included "Zero Plan, Play

Zero", Nanhai Gallery, Taipei, 2012, "A Platform for Imagination - A Vision for the Future", Soka Art, Tainan, 2013, "Futures on the Table Home. Artist. Relationship", Kuandu Museum of Fine Arts, Taipei, 2013, "Opening the Door While Standing on Water", Soka Art, Tainan, 2014, "Future Flash Fiction", FreeS Art Space, Taipei, 2015, and "Future Theatre", Kuandu Museum of Fine Arts, Taipei, 2018.

日中迴旋的白色 The Circling White 王璽安 Sean WANG 2017 / 壓克力、麻布 Acrylic on Linen / 50 x 50 cm

一個地方，像一個地方 A Place, And A Place Like 林冠名 LIN Guan-Ming 2018 / 攝影輸出 Photography Prints / 76 x 114 cm

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雄山搖擺 The Pendulum of Mountain 林賢俊 LIN Hsien-Chun 2018 / 壓克力、畫布 Acrylic on Canvas / 91 x 182 cm

頭骨們 Skulls 高雅婷 KAO Ya-Ting 2015 / 油彩、畫布 Oil on Canvas / 60.5 x 72.5 cm

雙眼 Eye 曾雍甯 TZENG Yong-Ning 2018 / 原子筆、紙 Ballpen on Paper / 46 x 61 cm x 2

無題・迴圈・風景 Untitled, Circle, Landscape 謝牧岐 HSIEH Mu-Chi 2018 / 壓克力、紙本 Acrylic on Paper / 84 x 110 cm

地下鐵 Subway 廖震平 LIAO Zen-Ping 2018 / 油彩、壓克力、麻布 Oil and Acrylic on Linen / 60.7 x 41 cm

松谷庵一 The Songgu Monastery 黃琬玲 HUANG Wan-Ling 2017 / 墨汁、宣紙、壓克力、牛三千膠 Ink, Xuan Paper, Acrylic, Glue / 42 x 42 cm

替代空間

Alternative Art Space

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众藝術

Zone Art

众藝術位於桃園市藝文特區，長期以來作為工業大縣，升格成為直轄市的桃園，放眼其藝文前景，企圖引領更多藝術創作者與文化工作者進駐，而成立此空間。众藝術的成立是桃園市第一間支持當代藝術發展的平台，工作內容有展演、文化自造與陶藝工作坊。由桃園在地年

輕藝術工作者與法國藝術家所組成的團隊，其空間有兩層樓，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、適合明亮調性的展覽。

經過兩年的緊密籌劃，在 2017 年 8 月正式成立，展出以平面、立體、錄像、裝置、行為等視覺藝術為基礎的實驗藝術。展覽作品也結合觀念性或地方實驗與藝術研究，綜合成桃園的藝文研究實驗室。2017

年至 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桃園的春日山（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 is become the first platform in the Taoyuan City area that supports contemporary art. Managed by a team of local young art professionals and French artists. Its focus includes exhibition, performances, cultural creation, and workshops. 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 floor offers a meeting room and a ceramic studio. The interior is minimal in style and brightly lit, imparting the ideal atmosphere for exhibitions.

After two years of intensive planning, Zone Art opened on August, 2017. It exhibits experimental visual arts, sculpture, video works,

installations and performances. Exhibited works embody concepts that combine local experimentation and artistic research. Integrating

the above mentioned endeavors, Zone Art will function as an arts and culture research lab of Taoyuan City. In 2017-2018, Zone Art held professional exchanging 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 the exhibitions within the art space, Zone Art focused on history of the cultural, natural, and historical. Such as Chun Ri Mountain (Tiger Mountain), farm ponds, Tao Forest Railway, military dependents' village, and the new immigrants in Taoyuan. With an

understanding of Taoyuan's cultural context, Zone Art will coordinate artists and cultural-creative-workers to conduct art activism and planning, and create the possibility of dialogue with the older parts of Taoyuan and its community members.

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六杯肌 Six-cups Chick 六杯肌表演團隊由六名表演藝術家成員李文皓、王珩、吳愉璇、朱軒萱、沈佳燕與梁俊文組成，在

《綜藝術》表演創作裡，他們透過語言和身體行為的組合與並置，以模稜兩可的遊戲法則、虛實來

往的荒謬維度，遊走兩造的疆界建構，凸顯語言操演如何製造二元對立、是非兩極化的後真相社會。 Six-cups Chick group is formed by Wen-Hao Li, Heng Wang, Yu-Hsuan Wu, Hsuan-Hsuan Chu, Chia-Yen Shen and Jun-Wen Liang. The performance "Variety Show" propose a game of posttruth by juxtaposing body and language. With the duplicity of game and social phenomenon,

the Six-cups Chick constructs a world polarized and wonderfully ridiculous. A world defined by words and the truth we don't really care. Body Post 「後」（Post）一字竄動於各種名稱、定義，且毫無忌憚的竄於詞頭，後現代、後結構、後媒體或後真相。拆解、消融所有原本令人安心的主體世界。語言是建構人類社會的功臣，《Body Post》取材自後真相（post-truth）概念，語言、社群與媒體壓境身體而開始浮動，以「模稜兩可」的遊戲性挑戰身體的真實性。

Fixated on the head of words, the ''prefixpost'' moves actively through names and definitions, such as post-modern, post-construction, post-

media and post-truth. The subjective world, once safe and sound, is thus deconstructed and broken-down. Language is the foundation for the construction of the human society. Yet, repressed by language, community and the media, the body begins to shudder. Adapted from the concept of post-truth, Body Post challenges the realness of the body through the ''ambiguous'' nature of games.

森嵐工作方圖 C&G Art Group

莫珊嵐（法國）Margot Guillemot (France)、邱杰森（台灣）CHIU Chieh-Sen (Taiwan) 「森嵐工作方圖」由藝術家邱杰森（台灣）、莫珊嵐（法國）所組成，是一個以數位影像科技與人文脈絡進行結合的藝術創作團隊。他們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作，以及如何從無形的記憶中，以數位方式重建都會建築風景的可能性，並以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 Chiu Chieh-Sen (Taiwan) and Margot Guillemot (France). It is an art creative team focused on emerging 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 regionalism of people and landscape, C&G Art Group investigates how the contemporary human coexists and interlays with technology.

Intrage

無題 Untitled

日光之下 Under the Sun

MA Inhee (South Korea)

Zoe HUANG (Taiwan)

ZHENG Zin-Yin (Taiwan)

馬仁熙（南韓）

黃子容（台灣）

鄭茲尹（台灣）

替代空間

Alternative Art Space

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竹圍工作室

Bamboo Curtain Studio

藝術進駐的行動力

藝術進駐的重要性在於： 1. 回應藝術家的需求 2. 回應社會議題

3. 串連、分享、研究的平台 4. 參與、共創與翻轉 5. ______________

「藝術進駐作為支持藝術文化活動的基礎設施，為培育藝術工作者們

持續發揮創造力與想像力而提供資源。」――〈General Summary: Research on Artist-in-residence Programs Overseas〉

藝術進駐計劃提供藝術家在多元場域之中觀察與創作，而藝術村又以其核心價值或關注的問題作為切入點發起計劃，如竹圍工作室 2018 年將

主題定為「遊戲規則」，期望藝術家突破框架並用獨特的角度回應當代的環境議題及社會議題。而藝術進駐的行動力則是結合了這些主題，這些主題所提出的可能性，藉由來自不同文化背景的藝術工作者透過創作進行另類的知識生產，重點並非僅於成果的展現，而是能夠運用創意跳脫眼前的利益與困境，在過程中激發思想的翻轉，並積極回應當下社會需求，在各個領域間彼此連結進而產生的能量。長期下來，這些具體而微的影響逐漸累積，觸發了巨大的改變，駐村計畫的行動力才漸漸被彰顯。 Mobility of Artist-in-residence Program (AIR Program) The importance of artist residency are: 1. A response to artists' needs 2. A response to social issues

3. A platform for connecting, sharing and researching 4. Participation, co-creation, and change 5. ________________

''AIR programs are a fundamental part of the infrastructure that supports all arts and cultural activities. They provide foundations for cultivation of artists' creativity and imagination.'' - General Summary: Research on Artist-in-residence Programs Overseas

Artist residency programs provide artists to observe and create in multi-disciplinary spaces. And when an artist village raises awareness in honor of its core value or concerned issues, such as Bamboo Curtain Studio's ''Rule of Game'', it calls for artists to respond to contemporary

environmental issues and social issues with outside-the-box and unique solutions. The action-prone productivity of artist residency is the combination of proposed themes and possibilities, it relies on artists from different cultural backgrounds to generate alternative knowledge

without putting the stress on productivity but trying to escape the mileage and the predicament lay forth, stimulating thinking during the process and counter societal needs straight-away to invite the energy coming from bridging and connecting with each other. Going forward,

the influences that are touched by these small stimuli accumulated and became a significant change, thus gradually revealing the actions and mobility of artist residency programs.

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「亞洲綠色藝術實驗室聯盟」工作坊（2015）

BCS Artist-in-residence Tour Lecture (2015-2016)

此聯盟由竹圍工作室與歐洲

With the experience of Artist-in-residence (AIR) consultations

Yasmine Orstendorf 合作發

talks based on our research and resources for the young artists

綠色藝術實驗室聯盟創辦人起，邀請來自亞洲國家的藝文

組織工作者分享環境永續的案例，透過一系列的參訪與工作

坊探究藝文組織對環境友善的觀點與實作方法。

受邀的藝文組織分別為 Brack（新加坡）、Youth for a Livable Cebu（菲律賓）、Concerned Artists of the Philippines（菲律賓）、Kontak!（馬

over the years, Bamboo Curtain Studio (BCS) designed a series of

who are willing to carry out art projects in different artist villages / institutions. The talks were categorized into three subjects:

''Fundamental'', ''Practice'' and ''Diversity of Artist Residency'',

introducing all the details and tips for AIR Programs from preparations to implementation. In 2017, BCS published an online

booklet ''AIR FAQ - Fundamental'' in answer to the 10 common questions for artist residency we collected during the tour lecture.

來西亞）、MaD Asia（香港）、Listen to the City（南韓）、ACUS Project

（日本）、Common Room Networks Foundation（印尼）、Bangkok Art and Culture Center（泰國）、BIG Tree Project（泰國）。

''Green Art Lab Alliance Asia (GALA Asia)'' Workshop (2015) GALA Asia was co-hosted by Bamboo Curtain Studio (BCS)

and the founder of GALA Europe, Yasmine Orstendorf. Art organizations around Asia were invited to share the study cases

about environmental sustainability. Through a series of art space visit and workshop, coming up with more potential eco-friendly

methods and view the points to bring out the practices in art spaces / institutions.

The participating organizations included Brack (Singapore),

Youth for a Livable Cebu (Philippines), Concerned Artists of the

「觸發改變的創藝連結－永續意識的養成遊戲」文化領導力工作坊

（2018）

自 2016 年「台柬交流計劃」起，此為第三場由竹圍工作室

主辦之文化領導力人才培育工作坊。文化領導力工作坊的潛力在於跨領域的合作與創新，揉和來自各方的能量、觀點與

技術，共同想像一個更豐富的

社會。此次以「永續」為題，為促進藝文／非藝文工作者間的橫向交流串連，進一步思考藝術所肩負的社會責任，以及如何將我們所重視的價值實踐並傳遞出去。

Philippines (Philippines), Kontak ! (Malaysia), MaD Asia (Hong

''Creative Collaboration as Catalyst for Change - The Nourishing

Common Room Networks Foundation (Indonesia), Bangkok Art

Workshop (2018)

Kong), Listen to the City (South Korea), ARCUS Project (Japan), and Culture Center (Thailand), and BIG Tree Project (Thailand).

Game of Sustainability Awareness'' Cultural Leadership

Since the ''Cambodia-Taiwan Cultural Exchange Program'' in 2016, BCS has held three Cultural Leadership Workshops. The potential

國際藝術駐村巡迴講座（2015-2016）竹圍工作室累積多年國際駐村諮

詢輔導經驗，發現有越來越多年輕朋友想要駐村，因此運用自身藝術進駐研究資源，規劃系列講座，以「基礎篇」、「實用篇」和

「駐村多樣性篇」詳實介紹關於

駐村的各種眉眉角角。2017 年整理駐村的常見問題為「藝術進駐 FAQ 基礎版」線上手冊。

of Cultural Leadership lies in the collaboration and innovation of the interdisciplinary. It incorporates the energy, perspectives and technicalities from various directions, imagining an enriched and

better society. This lecture and workshop through accelerating

the horizontal via the vertical connection with the artists and nonartists, takes a further step in reflecting the responsibly toward the society that art has taken on. Also, in how we are going to fulfill and pass on the important values.

替代空間

Alternative Art Space

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社團法人台北市眷村心文化協會：中心新村

Taipei Heart Village Association: Heart Village

本會由中心新村原眷戶，以及關心眷村文化保存及再發展的專家學者共同發起成立，並推舉前中心新村自治會會長張聿文為理事長。協會基本任務是推動首都台北市北投的中心新村成為眷村文化樂活創藝園區，包含地方文化館、青創與藝術進駐、樂活與社區關懷、國際客棧旅宿與眷村特色餐飲等。

中心新村是眷村文化聚落建築群，是台灣唯一具有溫泉的眷村保存區，早在台灣清治時期，這裡就是德國商人 Ouley 開設的硫黃泉俱樂部所在

地。日本時代總督府將新北投精華地帶土地徵收後，在這裡興建台北衛戍病院北投分院轉地療養所，國民政府來台後，這裡成為國軍精神醫療重鎮。眷村原是軍人眷屬居住的宿舍群，而中心新村與其他眷村不同的特性，就是從溫泉轉地療養發展到軍陣精神醫學，期許未來作為樂活創藝園區。

The association was initiated by the former residents of Heart Village and scholars who concerned about the preservation as well as the redevelopment of the village. The chairman is the former president of the Self-Governing Association, Zhang Yu-Wen. The association promotes Heart Village to become a cultural and creative park which preserves the culture of military dependent villiges. In the park, there is a local culture center, an art studio, LOHAS and community care, international inn travels, and special village dining.

Heart Village is a cultural settlement village and is the only preserved village with hot spring in Taiwan. It could be dated back to the

Qing Dynasty, that it was the site of the sulfur spring club established by the German businessman Ouley. The Japanese Government Hall proceeded land expropriation and established Taipei Garrison Hospital Beitou Branch. Afterwards, when the Chinese Nationalist

Government relocated to Taiwan, it became a major military medical center. A military dependents village is a dormitory group where soldiers and family live. Heart Village is special for its transformation it has gone through historically. It was originally a hot spring club transformed into a military psychiatry. In the future, it will be arranged as a LOHAS Creativity Park.

211

中心新村藝術徵件計畫 HV Open-Call 2018 台北市林泉社區發展協會與台北市眷村心文化協會共同舉辦、文化部補助「文化酵

母：北投中心新村藝術育成實驗室計畫之 2018 Heart Village Open-Call 中心新村創意藝術徵件」。 B 計畫 Plan B 策展人：邱杰森

藝術家：葉佳緯、吳佳容、羅婉云、王尊、茶色、趙宗祥、阮璽北投在戰後大量中國移民與台灣島民之間的生活態樣與其互動，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。 Curator: CHIU Chieh-Sen

本次 2018 台灣當代一年展參展藝術家（左起）茶色、

王尊、趙宗翔、葉佳瑋、吳佳容、羅婉云、阮璽和中心新村工作人員。

Artists: YA Ja-Wei, WU Chia-Rong, LO Wan-Yun, John WANG, Chaes Carr-Braint, Bruce CHAO, JUAN Sea 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 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.

時間的書籤「嗯，我記得是那天下午……」 The Garden of Time "I Remember......" 葉佳緯 YA Ja-Wei 吳佳容 WU Chia-Rong

重起爐灶 Live on Your Nostalgia 羅婉云 LO Wan-Yun

前面的前面 In Front Of 阮璽 JUAN Sea

寮•癒•佔領 Abandon Houses, Healing, Occupy 王尊、茶色、趙宗翔 John WANG, Chase Carr-Braint, Bruce CHAO 特別感謝：

替代空間

Alternative Art Space

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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文空間（VT Artsalon），致力於推介優秀且具代表性的台灣藝術家。在培養在地策展人、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，並以策展、論壇與出版品的形式探索當代藝術的可能。以空間作為藝術

平台，非常廟藝文空間關切的重點為：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 excellent Taiwanese artists whose works

reflect local cultures. In addition to cultivating local curators and art critics, it has been invited to international art fairs, biennials and artist-

in-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 art spaces and the trends of contemporary art to the new thinking on social, technological and political proposals, Taiwan's artistic relationships with Asia and the world, as well as the possibility of resetting the general context of contemporary art.

213

文 / 策展人林裕軒

and itself forms as young artists group through the two research

VT 成員從 1997 年合作至今，

things that would only happen in the past.

橫跨二十餘年，以游擊的組織

projects, and gives the audience a modern way to look back at

方式作出與在地社群、國際的

連結和交流。二十年後的今日，年輕藝術家需要什麼、能做到

什麼？本次試著透過群體作為，以視覺藝術呈現為方法，尋找世代的共同特性。群體的組成，如何有效擴展成為團塊式的生產模式？不被既有限制

綁架（現有學院體制、競賽補

助等），是否就可能從已知的

「成功方法」裡另闢新途，走出替代的路徑。

此次一年展展位一分為二，其一是 VT 對台灣當代藝術團體研究所

作的歷史建構年表，另則是年輕藝術家團體「讓豬仔飛」以自身過往經驗的群體及集體的創作做脈絡梳理，從展覽、計畫到演出的內容

上作出再次回應。這兩個研究計畫，「讓豬仔飛」觀察自己及過去群體的運作，透過交叉比較的方式，以我們的角度回看那些無法發生於現在的事件。

Curatorial Statement by LIN Yu-Hsuan Collaborated since 1997, members of VT Artsalon have been communicating and making connections with local and international communities by its guerrilla quality. What can young artists do nowadays? What do they need in the contemporary

society after the development in arts within the past 20 years? We

would like to find a mutual quality within the generation through

the observation of group actions and the presentation of visual art. Further, to create an effective way to produce arts through

gathered artists. The possibility of finding a new path, which differentiates the known route that leads to success without falling

台灣當代藝術團體年表由非常廟藝文空間發起，沈伯丞作為研

究人員，爬梳近 30 餘年的台灣當代藝術活動，發現歷代的台灣當代藝術現象中，存在著兩個無可忽視的主要推動力量，

「團體」及「空間」。前者透過凝聚當時的

青年藝術家，構成了藝術創作類型及概念上的變革，而後者則藉由定期性的展覽活動，持續地讓當代藝術的新風貌得以呈現於世人眼前。

Taiwan Contemporary Artists' Group Chronology Founded by VT Artsalon, researched by Shen Bo-Cheng. Reviewing the action of Taiwanese contemporary art in the past 30 years,

"group" and "space" are the two prominent factors in promoting it. The former factor gathers young artists, constructs and

changes the style and concept of its time. The later factor is the

key to present the face of contemporary art to the world through constant exhibitions and events.

藝術家群體的自我觀察同 4 年前 318 運動發生的現場一樣，我們藝術家都在向這個時代做

出反應跟努力，像在「讓豬仔飛」的展演裡，都試圖表現一些當下時代和社會的特徵。當我們面對自身的研究方法，是不是也可以像面對創作一樣，用主觀一點的方式重新審視自己的內容。

into the limitation within the institution and existed regulations

Self-observation from a Group of Artists

The booth in 2018 Taiwan Annual is separated into two

different from the protesters by making efforts and responding

are out to be discussed.

sections. The first section presents the historical chronology of

contemporary artists' groups in Taiwan that was organized by VT Artsalon. The second section responses to the exhibition, projects and performances by reviewing its past experiences with group

works from the young artists group, When Pigs Fly. They observes and compares the way both the artists' groups from the past

Looking back at 318 Student Protest in 2014, we artists are not to the modern era. As performances made by When Pigs Fly, all

of them indicate the feature of contemporary era and society. We look closely to the research method as the way we review the content of our creations with a more subjective angle.

藝術團體 Art Group

214

悍圖社

Hantoo Art Group

「悍圖社」自 1998 年成立至今 20 年，舉辦過海內外 32 個大小展覽，由 14 位藝術家組成：楊茂林、吳天章、陸先銘、郭維國、連建興、楊仁明、李民中、唐唐發、賴新龍、鄧文貞、涂維政、朱書賢、常陵、陳擎耀。成員們持續以繪畫、雕塑、影像、裝置及複合媒材進行創作，透過獨特的藝術語言構成時代的豐富織面，反映出台灣當代社會及政治變遷的氛圍，邀請觀者一同感受這群跨世代硬份子的時代記憶與經驗。

Hantoo Art Group was formed in 1998 and has held 32 exhibitions at home and abroad during the past 20 years. Its members includes 14

artists, Yang Mao-Lin, Wu Tien-Chang, Lu Hsien-Ming, Kuo Wei-Kuo, Lee Ming-Chung, Yang Jen-Ming, Lien Chien-Hsing, Lai Hsin-Lung, Tang

Tang-Fa, Tu Wei-Cheng, Deng Wen-Jen, Chu Shu-Hsien, Chang Ling and Chen Ching-Yao. Each artist has shown a rich trace of history in their

artworks. They continue to use diverse mediums for their art such as paintings, sculptures, images, installation, and mixed media. These practices of art not only reflect certain atmospheres created from social and political changes in Taiwan but also present shared memories and experiences amongst these cross-era "hardcore artists".

迎曦 Light of Dawn 陸先銘 LU Hsien-Ming 2011 / 複合媒材 Mixed Media / 97 x 130 cm

多次元重疊 Multiple Dimension Overlap 李民中 LEE Ming-Chung 2018 / 油彩、畫布 Oil on Canvas / 68 x 68 cm x 2

215

未確定的禮盒 Unidentified Gift Box 楊仁明 YANG Jen-Ming 2013 / 壓克力、油彩、麻布 Acrylic and Oil on Linen / 130 x 162 cm

板豆腐 Plate Tofu 唐唐發 TANG Tang-Fa 2018 / 油彩、畫布、木板 Oil on Canvas, Wood / 28.5 x 40 x 10 cm

夫子八段錦 Confucius Performs Baduanjin Qigong 涂維政 TU Wei-Cheng 2017 / 銅 Copper / 單舉手 35 x 35 x 70 cm、手托天 35 x 35 x 70 cm、手攀足 35 x 35 x 33 cm、似射鵰 35 x 49 x 53 cm、背後顛 55 x 35 x 62 cm、攢拳力 35 x 35 x 55 cm、往後瞧 50 x 50 x 65 cm、搖頭尾 50 x 35 x 55 cm

太平島 Taiping Island 鄧文貞 DENG Wen-Jen 2018 / 藍染、刺繡、棉布 Indigo Dyeing, Embroidery on Cotton / 80 x 100 cm

大玄玄社會－三角形 Illusion Society - Triangle 常陵 CHANG Ling 2018 / 複合媒材 Mixed Media 50 x 45 x 45 cm

繁花似錦 2 號 Glory in the Flower No. 2 涂維政 TU Wei-Cheng 2017 / 人造石 Artificial Stone / 62 x 57 x 7 cm

朝鮮灑鹽哥 Salt Bae - Korea 陳擎耀 CHEN Ching-Yao 2018 / 壓克力、畫布 Acrylic on Canvas / 91 x 65 cm

台灣灑鹽哥 Salt Bae - Taiwan 陳擎耀 CHEN Ching-Yao 2018 / 壓克力、畫布 Acrylic on Canvas / 91 x 65 cm

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海桐藝術中心

Haiton Art Center

海桐藝術中心成立於民國 105 年 4 月 8 日，位在一個寧靜的巷弄之間，靠近大龍峒保安宮，常舉辦展覽、藝術活動、藝術論壇和教育課程，除

此之外也歡迎在此享受一杯拿鐵或是啤酒。我們的組成包含裝置藝術家、藝術評論與藝術行政人員。試圖連結藝術與當地居民，同時專精於展覽的執行與規畫。我們不僅僅是一個藝術空間，同時作為一個替代空間，試著梳理地方的脈絡，提供彼此溝通的平台，邀請每一位喜愛關心地區歷史與當代藝術的人加入我們。

Established on 8th, April 2016. Haiton Art Center opened to the public in warm spring. Located on a quiet and small alley, Haiton is nearby Dalongdong Baoan. It held exhibitions, art events, art forums, and Art education classes periodical. Furthermore, you can enjoy a cup of latte or a bottle of beer here. Our members are including artists, art administrators, and curators. Our mission is making the connection between

art and local residents. We also can provide professional assistance for solving problems of the exhibition. Haiton Art Center is an alternative

space, not a white cube. We try to sort out the context of this district and provide a communicational platform in this place. We invite everyone who loves contemporary art and care about the history of Taiwan to join us.

蔡海如個展《漂浮的房間》

Floating Room TSAI Hai-Ru Solo Exhibition

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島國堪魚

Fengshui Fish on The Island 島國有愉魚，愉於堪輿之娛。吉兆也

島國有愚魚，愚於堪虞之餘。吉兆也

There is Fengshui on the island.

There is happy fish enjoying the happiness which is brought by Fengshui on the island, oh how lucky it is... There is silly fish on the island, the silly fish forgets it's worries, oh how happy it is... 策展人：林明彥

Curator: LIN Ming-Yan 展出藝術家：柯翔云 Artist: Bmonk KE

大吉大利萬事如意 Great Fortune and Great Favor. May Everything Go As You Hope. 柯翔云 Bmonk KE 91 x 60.5 cm

花開富貴 Blooming Flowers Bring Us Wealth and Reputation 柯翔云 Bmonk KE 64 x 91 cm

聚寶盆 Treasure Bowl 柯翔云 Bmonk KE 70 x 70 cm

藝術團體 Art Group

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魚刺客

Fishsnipers

海島・海民－魚刺客「海島、海民、海洋」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、求學過程中異國文化的洗禮等，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，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 Issue of Island, Islanders and Ocean has long been the focus of Fishsnipers, an artist group that draws their inspiration from exploring not only Taiwan and its neighboring isles but the islanders, their culture and history. The artists observe through all kinds of scopes such as their own gender, life experiences, cultural and environmental perspectives, and sometimes their international educational background. Their profound interpretations, diverse presentations and even expectations have all been showcased in the series of Fishsnipers' art exhibitions.

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海島・海民－魚刺客－跳島漂浪：藝術駛出帆魚刺客此次展出型態以團隊一貫的集體跳島、針對「海洋議題」而產生的概念呈現。歷經龜山、蘭嶼、巴丹（菲律賓）、火燒島（綠島）以及台灣本島沿岸的踏查與資料採集，深入各個島嶼的環境、文化與歷史沿革考察為發想。展場的作品彷彿海上諸島，藝術家們將各自的一個事件或者故事在展場中發生，因此採用「跳島」、「漂浪」跟「出帆」作為關鍵字，以藝術航行的概念作為團體發表的動態呈現，作為未來「魚刺客－龜蘭巴火」的前哨運動之一。

The Islands and Islanders - Fishsnipers - Island Hopping and Sea Drifting: Heading Out on An Artistic Voyage Across the Islands The group has consistently used the idea or concept of "Island Hopping" in the exhibition themed on "Fishsnipers" to explore oceanic

themes. We find inspiration along the Turtle Island, Orchid Island, Batanes (Philippines), Island of Fire (Green Island) and Taiwan conduct

in-depth exploration of the environment, culture and history of each island to create the exhibits. The exhibits seem to be the sea islands that have their own separate events or stories. Thus, we use "Island Hopping", "Sea Drifting" and "Sailing" as the themes to present the idea of the Artistic Voyage and marks the beginning of the exhibition of "Furious Fishsnipers - Gui-Lan-Pa-Hwei (The first word of Turtle Island, Orchid Island, Batanes, Island of Fire read in Taiwanese)" in the near future.

戰鑑上的絕對物種 The Dominant Species on Battleship 張新丕 CHANG Sin-Pi

2015 / 300 x 60 x 200 cm

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絕對空間

Absolute Space for the Arts

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」意旨相信藝術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。「絕對空間」不僅作為展覽的場所，亦是座持續對現實世界傳送批判思維的衛星。

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，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代藝術工作者溝通、交流的場所。「絕對空間」亦是藝術工作者對外發聲的基地，目前也積極建構展覽藝術家的影音資料平台。

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。

Newton's ''absolute space'' law of motion has long been disproved by Albert Einstein's theory of relativity. However, aesthetically, the concept of an eternal static

value of art and its definite existence is yet to be explored. 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 video archives of the cooperated 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 over our own

traditions while eagerly advance art-promoting activities with the focus on modern art, hoping to make Absolute Space a place with local special features and global perspectives.

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宇宙接觸 Space Contact

TW-01

2015 / 複合媒材 Mixed Media / 尺寸視空間而定 Dimensions Variable

2017 / 複合媒材 Mixed Media / 尺寸視空間而定 Dimensions Variable

陳為榛 CHEN Wei Chen

從台灣街道景觀中，很容易可以發現路邊猖狂的堆積物是如何點綴

在各種廢棄的生活剩餘物質中，我試圖擾動其在社會中被觀看的角

皮與發爛的木塊等等。然而這些物件經由直覺與帶有隨性態度挪置

構。在重組的過程中，對於造型、構圖、色調所需維持的均衡與和

我們的市容。這些元素包含：空心磚、植栽、民生用品、生鏽的鐵的可能性，交互材質混用與堆疊的擺放方式，體現了潛藏於物品自

身的個性與其雕塑性。我撿拾這些元素，重新排列組合與加工，改變物件的使用方式與企圖，意圖拼裝成為靜止的雕塑景觀。

In Taiwan, it is easy to see how furious aggregation decorates

our city in streets, like hollow bricks, plants, groceries, rusty iron sheets and rotten woods and so on. These objects mix and accumulate with the possibility of instinct and casual deployment, reflecting the imbedded disposition and sculpting. I collect these elements, then reorganize and process them by changing its function and purpose, meaning to make them into still sculptures.

度。我將被丟棄的物件（社會系統意義中的垃圾）作為材料，重新組諧，是為此作的「古典性」。而古典的精神在垃圾堆中，捕捉到了物質內存的「審美品味」。

Among those abandoned remnants of living material, I always

try to disturb its aspect taken by others in society. I make those discards (socially regarded as trash) my material and reorganize them. In the process of reorganization, the means of sculpting,

composing, and coloring are the balance and harmony in classics.

The spirit of classics in trash captures ''the taste of appreciation'' in substance.

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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 30 多位成員以會員制共同組成，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。民國 98 年 1 月 10 日，

「高雄市新浜碼頭藝術學會」正式立案改制，由黃文勇擔任第一屆藝術學會理事長，第二、三屆理事長為黃志偉，現任理事長為陳奕彰。

「新浜碼頭藝術空間」成立至今，已在地深耕 21 年，堪稱是高雄市公立美術館外的一個視覺文化重點地標。歷年來秉持著增加公共性參與，以

倡導當代藝術創作、展覽、論述，推廣民眾藝術教育、鑑賞，培育藝術行政與管理等專業人才為要務，並秉持新浜為一社會公共財的精神，實踐公民素養之促進，推動藝術、文化、社會等領域進行跨域之公民論壇，塑造為具有「南方生猛」、「跨域活化」之藝術場域。

The Sin Pin Pier-Absolutely Art Space (Sin Pin Pier) was first formed in August 1997 by more 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 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 director of the society, and Huang Chih-Wei served as the second and third director. The current director is Chen Yi-Chang.

The Sin Pin Pier-Absolutely Art Space has been open and active for 21 years. Over the years they have kept increasing public participation and promoting the creation of Contemporary Art, exhibitions and discussions. Extending arts education and appreciation as well as

cultivating professionals in the field of Arts administration and management are our priorities. In the spirit of Sin Pin Pier as public property, they advance civic literacy and actively boost the cross-border citizen forum in the fields of art, culture and society, for building a southern vigorous, active and activating cross-border art space.

AB 展覽室空間場景《照見》潘正育個展

Pin-Bien 館空間場景《鱟嶼之夢》陳冠穎個展

PAN Cheng-Yu Solo Exhitbition

CHEN Kuan-Ying Solo Exhitbition

AB Exhibition Room SpaceLe Regard Intermédiatisé

Pin-Bien SpaceThe Dream of The Islets

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近幾年都市綠化已經蔚為各縣市施政重要指標的風氣，居住在都市叢林的你我，對於生活環境的提升而言不失為一大福音。居住的都市面貌不斷地轉變，不同城市旅行與短暫居住的經驗中，城市的變遷似乎不斷在進行中。透過自身進行觀察與體認，再經由攝影紀錄與描繪、抽離與轉化城市中街道、建築符號和透過影像繪製軟體進行修圖、變形做為本次創作的題材。

而本次創作主要想要探討創作者的直覺性，影像攝影再製創作的過程就如同是一場閱讀、分析、咀嚼消化後的真實轉述，在抽離只剩下符號般的創造之後，亦或是另一種對真實的闡述呢？最後回歸到作者的初衷，「直覺」或許才是對城市所形塑的風景最真誠的回應。冀望能在符號、文字與影像操作中，更直覺地呈現所欲表達的意念。

創作方式為事先把衣服的版型當成一塊塊的畫布，將每一塊不同大小、形狀的畫布進行繪製，從簡單到複雜，從一個人到數個人的繪製，最後在縫製過程中進行選取與重繪。

The green policy have already imprinted in the platform for years from county to metropolis in Taiwan. It could be a blessed and relief to those whom feel trapped in the concrete jungle.

City have been changed its face through our temporary residents and travelling around experience. We observe and recognize it then photograph these changes as a form of record. The artist painted, detached, and transformed from different symbols of building structure and street corner in his creations via photo editing tool.

We try to discover the intuitive of artist in the project. Recreation of the image capture is a way to paraphrase while we read, analysis, and then excogitate these pictures. When we disconnect the man-made symbols inside of them. Will it be a kind of statement based on the truth

that we see? Ultimately, we still have to keep the faith. "Intuition" could be the best way to frankly answer the scene of urban place. We aim to deliver the message with symbol, text, and visual more intuitive under the operation.

We treated the cutting of clothes as canvas, painted these pieces of cloth in different size and shape from basic to complicated, started from one to several artists. Eventually, we selected and redrew a few pieces of them.

都市叢林

尋找

（中）已經不想再抵抗了（右、左）按圖索驥

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Alternative Art Space

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新樂園藝術空間

Shin Leh Yuan Art Space

新樂園藝術空間從 1994 年籌備，1995 年正式開始營運至今已約 23 個年頭，以藝術家

「Co-op」自主與協力方式共同經營空間營運，並以具實驗性及當代性的藝術為創作精

神，舉辦多次不同創作形式之個展，並每年籌劃策劃型展覽，突破空間限制並擴大藝

術交流，朝向跨領域及跨地域的藝術多元方式，以激盪出台灣當代藝術的各種不同面向。從 2001 年起在現址維繫至今，是台灣極少數可以跨世代運作的長期替代／另類空

間之一，空間及場域形構了 1980 年代末期以來的前衛運動，而新樂園歷來在此參與及展出的成員數量亦為所有替代空間之冠，其重要性足以書寫及發展成台灣當代藝術史的重要一部。

新樂園藝術空間經由 15 至 20 位不等的藝術家組成，一直保持充滿年輕、實驗、前衛氣息的展場，也供給著台灣當代藝術近 20 餘年來對於「新世代藝術」的需求。每兩年

為一期的運作並藉由這樣不確定性的成員流動型態，以及不過度塑造特定藝術品味，並維繫以開放性容器運作的關鍵為動力。同時，代表著空

間對多元藝術創作的包容性，及藝術家個體和空間參與的自主性和獨立性，從藝術家、藝評，甚至與策展人面對面，不僅止於作品介紹、對談與交流，更期待在對話的平台上，開啟未來更多元的合作可能。

在 2018 台灣當代一年展中，由第十三期的藝術家：田名璋、陳益村之共同創作，以「工地秀」為主軸，說明在完美的風景背後施工的過程，展現不常被看見，甚至是辛苦的工人們，共同描繪出藝術家與空間之間的運轉過程。

With preparations beginning in 1994, SLY Art Space has been operating for about 23 years since it officially began operations in 1995. As an

artist's ''co-op'', SLY autonomously and cooperatively manages space operations, utilizing art's experimental and contemporary nature for

creative spirit, holding several solo exhibitions of different creative forms. SLY plans exhibitions to transcend space restrictions and expand artistic exchanges every year, progressing towards a diverse cross-domain and cross-regional artistic approach to drawing out the different

aspects of contemporary art in Taiwan. Since 2001 has been maintained on the currently address, it is one of the few long-term alternative spaces in Taiwan that can operate across generations. Space and field structure Avant-garde Movement since the Late 1980s, The number

of members who have participated and exhibited in SLY has always been the crown of all alternative spaces, and its importance is enough to write and develop into an important part of Taiwan's contemporary art history.

SLY is composed of artists ranging from 15 to 20 artists and has always maintained a full of young, experimental, and edgy atmosphere. It also supplies the needs of Taiwan's contemporary art for ''new generation art'' for more than 20 years. Two-year period, the irregular member mobility arrangement and not overly shaping artwork to a specific taste serve as the key driving force for maintaining the open

container operation of this space. Meanwhile, it also represents the inclusiveness of this space for diverse artistic creations, as well as the high degree of autonomy and independence of individual artists and spatial participation. From artists, art critics, and even face-to-face with

curators, it is not only limited to the introduction of works, dialogues and exchanges, but also expects to open more cooperation possibilities in the future on the platform of dialogue.

The 2018 Taiwan Annual features works from the artist of the 13th, Tien Ming-Chang and Ven Chen, take the "Construction Sites" as the

main axis to illustrate the construction of the perfect scenery. Showing workers who are not often seen, even hard workers, work together to portray the working process between the artist and the space.

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田裡曬畫 On the Ground, Field Painting 陳益村 Ven CHEN 2017 / 棉紙 Cotton Paper

複語 Multi-Dialogue 田名璋 TIEN Ming-Chang 2018 / 攝影 Photography

2017 新樂園大型展覽新樂園 20 年紀念展《偶發的拓樸》

Topology in Happening

Shin Leh Yuan Art Space 20th in Kaohsiung

INTERNATIONAL CONTEMPORARY ART SPACE 國際當代藝術空間

南亞 South Asia

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Back ART Foundation 達卡 Dhaka

孟加拉 Bangladesh

Back ART Foundation 即使面對獨自在達卡發起當代藝術計畫的龐

Despite the challenge to initiate contemporary art projects in

與當代文化，集結多方力量組織活動，擴大達卡的藝術視野。這些

endeavour to link heritage with modern culture, to combine

大挑戰，仍不畏艱難，於 2013 年成立，自此致力於揉合文化遺產活動也是新銳當代藝術家拓展長才的機會，讓以往被傳統藝術機構視為太具野心的實驗性與表演性作品，能藉此機會躍上城市舞台。

Back ART 深信藝術改變世界的力量，透過多元風貌的活動在孟加拉推廣新的藝術語言；活動囊括展覽、工作坊，以及近期的國際表演藝術節「達卡現場藝術雙年展（D'LAB）」。

Back ART Foundation 期許將藝術帶入普羅大眾之中，透過籌備創新性的公共藝術計畫以推廣新興藝術家，激發年輕人的潛力並提供

茁長機會。Back ART 亦在多元領域中建立獨創性的藝術計畫，議題

觸及神話與農村生活型態、都市化、難民與移民、記憶、語言和表演等，使藝術家能結合科學和藝術的各個領域揮灑靈感。 Back ART 年度計畫：

1. D'LAB：兩年一度的表演性活動

2. Native MYTH：農村地區的短期駐村藝術家活動 3. Urban HOURS：著眼都市化的公共藝術計畫 4. ART&SCIENCE：學生工作坊 5. SONGLAAP：表演工作坊

Dhaka alone, Back ART Foundation was formed in 2013 as an diverse forces and to develop activity which would open up

the city's art scene, providing emerging contemporary artists opportunities to expand their practice, and to exhibit their

experimental and performative work deemed too ambitious for conventional institutions.

Believing in the transformative power of art, the group promotes

new languages for art within Bangladesh by developing a variety

of programmes ranging from exhibitions, workshops, and to the recent international performance art festival, Dhaka Live Art Biennale (D'LAB).

Back ART Foundation envisions bringing art to the public; and it organizes innovative public art projects, where emerging

and young artists are allowed to flourish and develop their full

potential. Back ART creates innovative art project on diverse fields including mythology & rural lifestyle, urbanization, refugee &

migration, memories, and language & performance, where artists incorporate various disciplines of both art and science. Back ART Yearly Projects:

1. Dhaka Live Art Biennale (D'LAB), a bi-annual performance event. 2. Native MYTH, a short term artist-in-residence in rural areas. 3. Urban HOURS, a public art project on urbanization. 4. ART&SCIENCE, workshop for school student. 5. SONGLAAP, performative workshops. Web: www.backart.org

FB: Back ART Foundation

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Back ART Foundation 於 2018 達卡藝術高峰會 At Dhaka Art Summit 2018

Back ART 成員的 3D、雕塑作品及相關計畫 3D and Sculptural Works and Projects of Back ART Members

Back ART 成員的 2D、紙上創作 2D and Artworks on Paper of Back ART Members

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Britto Arts Trust 達卡 Dhaka

孟加拉 Bangladesh

Britto Arts Trust 於 2002 年創立於孟加拉達卡，是一個由藝術家經營、觸及全球的非營利機構。它的常駐空間坐立於達卡的格林路，但密集地在全國不同地點作業，盡力支持及提倡各種新想法。

Britto 是個穩定擴展的文化及藝術空間，培育、推廣孟加拉當代藝術界各類型跨領域實踐者、團體和人際網路，為專業藝術人士舉辦國際性及地方性的論壇，讓他們能以自由的形式會面、討論、實驗及提升技能，以期有更好的發展。

Britto Arts Trust is an artists-run non-profit network founded in 2002 in Dhaka, Bangladesh with a global reach. It is permanently located in

Green Road, Dhaka, but works extensively in different locations across the country. Britto works as a catalyst for supporting and promoting new ideas.

Britto is an expansive and sustainable contemporary art and culture space that seeds and promotes multiple interdisciplinary practitioners, groups and networks for the Bangladesh art scene. It provides an international and local forum for the development of professional art practitioners, through which they can meet, discuss, experiment and upgrade their skills on their own terms.

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Anisuzzaman SOHEL Untitled Drawing 2018 / 水彩、紙 Water Color on Paper / 12 x 16 (inch)

Yasmin Jahan NUPUR Patterns of Tectile Score 2018 / 水彩、紙 Water Color on Paper / 14 x 14 (inch)

Shimul SAHA Couple of Sip 2014 / 鎳金屬 Nickel Metal / 6 x 4 x 2.5 (inch)

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Gallery 2 首爾 Seoul

南韓 South Korea

Gallery 2 成立於 2007 年，持續推出來自韓國及國外藝術家的豐富當代藝術作品，並聚焦於新興年輕本土藝術家，策劃不同節目探索多元創作媒體，以創新計畫吸引世界各地的藝術愛好者。Gallery 2 位於首爾的平倉洞、北漢山的南郊，鄰近區域是首爾當代藝術蓬勃發展的代表性地區之一。

Opened in 2007, Gallery 2 represents an extensive collection of contemporary art by Korean and international artists. With its particular aim to promote the works of young emerging Korean artists, the gallery's program investigates art in varied media, showing an innovative approach to attracting a worldwide art audience. Gallery 2 is placed in Pyungchang-dong, Seoul. On the southern outskirts of Mt. Bukhansan, our neighbor is one of the foremost districts which represents Seoul's thriving contemporary arts scene.

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Atomaus is also closely connected to both a cultural icon from the 1970s and a cartoon that defined childhood for so many.

Like the artists of the Dada movement in their time, Lee refuses to make a fetish of his art, but uses the symbolic character of his Atomaus and its fetishism to unsettle his audience even

more. By leaving the expressions of his characters open to interpretation and presenting them with accessories endowed

with various meanings, Lee invites his spectators to form their own impressions.

Adoptee 展覽空間圖

Installation View of Adoptee

Directed by LEE Haekang

Works by LEE Dongi, LEE Haekang, LEE Eunsae, PARK Juyea, JUNG Ehyun

滿了拼湊性與即時感。

Lee 著重在描繪場景所帶

日本著名卡通角色的輕

出的整體氛圍，而非單獨

鬆重製。然而，如果進

角色或特定主題，她刻意

一步比照 90 年代的時代

地排除畫面背景和特定

背景，深入檢視他初期

角色、使用特寫視角及快

的作品，畫作背後共同

的是，Lee 畫筆底下的

角色 Atomaus（結合米老鼠和原子小金剛的造型），更與 70 年代的文

化經典，以及無數人共

來的素材，有如擷取國外再隨興地貼到畫布上，充

被視為僅是取材美國、

顯而易見。格外有意思

運用從媒體或身邊蒐集而新聞或線上影片的片段，

Lee Dongi 的畫作偶爾會

反抗威權體制的訊息即

Lee Eunsae 過去的作品

而粗糙的筆觸，在在展現 BUBBLES

LEE Dongi

2008 / 壓克力、麻布 Acrylic on Linen / 32 x 41 cm

享的童年記憶有著緊密連結。

如同當時達達主義的藝術家，Lee 拒絕讓自己的作品流於戀物色彩，而是象徵性地使用 Atomaus 這個角色和它所指涉的戀物主義，帶給

人們更大的不安。透過觀者自行詮釋角色表情背後的含意，以及賦予角色多層次意義的配件，讓觀者自由形塑出對其藝術品的印象。

Lee Dongi artworks are occasionally misunderstood to be nothing

but lighthearted reproductions of famous US and Japanese cartoon stars. However, when looking more deeply at his artworks against the background of the 1990s when he first started working

as an artist, there is a clear message calling, let us resist the authoritarian establishment. It is particularly interesting that Lee's

出恣意與迸射的情緒；其藝術證言已跨越現實範

疇，視覺主體似被稀釋消散，細部的環節和零碎的片段則喧賓奪主。

Smoking Donut LEE Eunsae

2016 / 油彩、畫布 Oil on Canvas / 40.9 x 33.3 cm

Lee Eunsae's previous work would deal with images collected from media or around herself. Her paintings, in which the artist

appears to have collected video clips from foreign news or online and then absently pasted them onto canvas, are fragmented and instantaneous.

Lee focused on expressing the impression and atmosphere of the scene, rather than depicting individual characters or representing

subjects. Her decisive exclusion of a character and background, closed-up perspective, quick and rough brushstrokes exhaled exhilaration and explosion of emotions. Her testimony is already out of reality. The visual depth evaporated, while parts and fragmented pieces claimed a victory.

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LASANAA @ NexUs 拉利特普爾 Lalitpur 尼泊爾 Nepal

LASANAA 替代空間是一個因應展演需求轉換形式的概念空間，促進與社區的合作，一同推廣當代藝術。NexUs 為 LASANAA 多數活動舉行的空間。秉持凝聚人心的宗旨，LASANAA 透過交流讓藝術家學習，提供國內外藝術家探索非傳統藝術形式的機會，進而產生獨到且與眾不同的藝術表達。 LASANAA 的核心理念是為社會帶來改變，不論是在社會、文化或政治層面上，都希望能透過藝術和行動主義的結合激發變革。

LASANAA, an alternative art space, is a conceptual space that adapts its forms as needed and stimulates a community to collaborate

and promote contemporary art. NexUs is the physical space where LASANAA events are realized most of the time. LASANAA, with

the credo of bringing people together, allows learning through the exchange. It provides an opportunity for local and international artists to explore art forms beyond the conventional and the traditional, in order to arrive at a unique individual expression. LASANAA's main objective is to bring about changes in society – on social, cultural and political levels, through its artivism (art + activism).

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慶祝社區的力量：表演與跨文化分享

The works of community groups from Shipapokhare and

Performance & Cross-cultural

together, blurring the boundaries between the two groups. In

Celebrating the Community: Sharing

錄像 Video 在尼泊爾，夢想著一個民主和言論自由的平等社會，需要天馬行空的想像力。我們深信在走向平等的路上，藝術是帶來深遠社會變革的催

化劑。LASANAA 鼓勵任何創作類型及媒材，和任何語言的表達方式。

Bungamati, as well as local and international artists, are presented this way, the spirit of the collaboration and community was the

defining aspect of "Rebuilding Recaptured" as all artists, all forms

of expression are blended together. The result is evident in a collaborative record of all the participants and their experiences, taking the form of a hand-printed book.

從詩詞、單口喜劇、唱歌、跳舞、樂器演奏、演講、到盡情嚷嚷，都可以是表演節目。兩週一次的 Open Mic 開放麥克風之夜，讓你

年輕的聲音：尋找身份

能夠擁有專屬於自己的舞台，活動當晚前來登記報名，一起沉浸在

Young Voices:

LASANAA @ NexUs 的多組精采表演。

In Nepal, to dream of an egalitarian society where freedom of

The Search for Identities 錄像 Video

expression and democracy are upheld, you would need a very

2017 年三月，四名分別來自尼泊爾、美國和荷蘭的攝影師和藝術家，

can catalyze deep and lasting social change on this journey. All

爾喬克縣的鄉下舉行，而工作坊的目地是教導當地青少年拍照技巧，

wild imagination would be needed. We strongly believe that art genres, all mediums, all forms of expression in all languages are welcomed and celebrated.

背起單眼相機來到西巴布可里的社區。為期五日的工作坊在辛杜帕

協助他們探索自己的身份，讓他們最終能夠透過拍照及說故事，傳達看待周圍世界的觀點。

Poetry, stand up comedy, singing, dancing, music, speech, rant

十名 10 至 15 歲來自塔芒、紐沃和達利特社區的學生，拿起了相機，

者和國際非營利組織皆拍攝過這些被歸類為賤民的達利特人，以及

and everything else. Your very own fortnightly OPEN MIC, come at LASANAA @ NexUs.

尼泊爾其他的邊緣族群。然而，這個攝影計畫將相機直接放到了達利特及部落孩子的手中，賦予他們一種獨特的責任——用自己的照

Rebuilding Recaptured 手工絲印書

Hand Printed (Silk Screen) Book 社區藝術的執行有兩個形式，皆關係到藝術家是擔任什麼樣的角色：

藝術家可以是輔助者，讓社區成員完成自己發想的理念；藝術家也可以先提供一個概念，再讓社區成員全力投入，實現該創作理念。

來自西巴布可里、布格馬地社區和其他國內外藝術家的作品皆一

同展出，讓社區成員與藝術家之間的創作不再有界線。當多元的表達形式和來自不同背景的藝術家交融，社區的合作精神成了

「Rebuilding Recaptured」活動成功的關鍵。合作成果以一本手印書呈現，記錄下每位參與者貢獻自身經驗的珍貴印記。

There are two perspectives that show how community art can

work best and both depend on where the artist stands. Artists can

become facilitators to enable members of the community they're working with to realize a vision that has been created completely

within that community. Or, they can have a concept, with which a community can become fully involved so as to make that concept actual and real.

透過照片闡述自己和彼此、以及家人和社區的故事。過去，專業記

片說自己故事。

In March 2017, four photographers and artists from Nepal, the United States, and the Netherlands took DSLR cameras to the

community of Sipapokhare. The five-day participatory workshop in rural Sindhupalchowk aimed to develop the photographic

skills of local youths so they can explore their own identity and

ultimately express the way they look at the world around them through photography and storytelling.

The cameras were put into the hands of ten young students, aged 10 to 15, from the Tamang, Newar and Dalit communities. The youngsters were given the opportunity to take photos that

tell stories about themselves, each other, their families and their communities.

In the past, the Dalit and other marginalized communities of Nepal have been photographed by professional journalists and

international NGO's. This photography project put the cameras directly into the hands of the Dalit and Janjati young people and

handed them the responsibility of telling their own stories through their images.

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NIV ART CENTRE 新德里 New Delhi 印度 India

NIV ART CENTRE 位於印度堡壘之城新德里南端外緣，與著名英迪拉甘地國立開放大學

（IGNOU : Indira Gandhi National Open University）相鄰，位處風景茵茵如畫的阿拉瓦利（Aravalli）山群，這樣的地理位置與德里城內的熙來攘往保持肅穆的距離。NIV 如處子般靜靜地坐在古世界充滿魅力的大門口，為那些受創意靈感攫獲的人們，創造無數的奇異相遇。

藝廊和工作室 NIV ART CENTRE 懷抱國家對於文化實踐的視野和願景，特別針對視覺藝術和新媒體藝術加以栽培，旨在增進提升藝術實踐所須的必要基礎。印度及世界各地的藝術實踐，面

臨全球性文化消費帶來的衝擊，正以激烈的速度轉變當中。其源自於前所未有的資訊科

技大爆炸，以及都市化無情擴張的現象。除此之外，藝術越漸為人們所接受、在文化生活中的地位提升、並成為人們潛在的投資對象，也是造成此衝擊的原因。

考量上述諸多面向及其對於藝術實踐的影響，NIV 致力提供更具優質串聯潛力的實踐模

式，提升各領域參與者的信心，使他們能自在地扮演個別的角色，如創作者／製作人、提供者／傳播者、觀眾／消費者等。NIV 為有志在藝術領域耕耘的實踐者提供平台，希望能建立活絡的關係、消弭各種藝術實踐之間本質上的歧異，同時延續藝術工作室歷史傳統的方針。

NIV ART CENTRE is situated in the southern outer edge of the city of forts, New Delhi, neighbouring the prestigious Indira Gandhi National

Open University, short named, IGNOU, at the threshold of lush green and picturesque Aravalli. Keeping a dignified distance from the thickness of the rushing inner city squares of Delhi, NIV maidenly awaits a little far, at the entrance to the old-world charms, and unveils its innumerable wonders, for those creatively possessed. Gallery & Studios NIV is an organization which focuses on facilitating the fundamental necessities of advancement of art practice, particularly plastic arts and

new media arts, with a national cultural vision and outlook on the cultural practice. Art practice in India as well as in the world has been changing in a fast pace, coping with the impact of the present day globalized parameters of cultural consumption, that is being affected by

unprecedented explosion of information technology, relentless expansion of urbanization, apart from the wider acceptance of art and its significance in the cultural life, and more a renewed interest in art products as an area of potential investments.

Considering all these aspects and their impacts in art practice, NIV presents a mode of practice that gives better connectivity and confidence to each of the components to play their roles in the field conveniently as creator / producer - provider / distributor - and audience /

consumer. To establish this vital relationship and to bridge the gap in between these essential components of art practice, NIV ART CENTRE is prepared to provide a platform, for aspiring players in the field, while keeping up the historical traditions of art studio disciplines.

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人類的心靈掌握想像、認知、鑑賞的能力，負責處理感覺和情緒，造成相應的態度和行為，對我而言，藝術也是如此。受微型作品的精巧性啟

發，我利用其特點創造作品的風格和結構，展現心靈最為混亂的狀態。不斷重複的線條和圓，代表「Grah」，也就是星球。如同宇宙永恆變動中，我的心靈迷宮亦如是般地持續作動。

The human mind holds the power of imagination, recognition, and appreciation, and is responsible for processing feelings and emotions,

resulting in attitudes and actions, and for me it's also art. Inspired by the subtlety of miniatures, I utilize and bring into play the style and compositions to show the most chaotic status of mind. The constant repetition of lines and the circular forms that are created represent the "grah", or "planet". Just as the universe on a constant move, I am also moving in a continuous maze of mind.

Grah Rajnish CHHANESH 2017 / 不透明水彩、紙 Gouache on Paper / 28 x 88 (inch)

Grah 2 Rajnish CHHANESH 2017 / 不透明水彩、紙 Gouache on Paper / 28 x 42 (inch)

我的繪畫通常來自那些曾對我的生命造成影響，但尚未能被清晰解讀的抄本、書籍、方言或是一則對話。我的藝術創作代表我的情緒和智慧，

我於作品中刻意加上尖銳彎曲的稜角，夾於手稿（線條）之間，藉以展現內心時常在緊張易感時體認到的紛亂狀態。《Same but Not Same》是平面樣式看似相同，但於細看之後就能察覺其中細膩差異的作品之一。

My paintings are often like transcript, books, dialect or a conversation that has impacted my life but has not been easily legible. My art

represent my emotional intelligence and wisdom. I have deliberately added pinned and sharp corners sandwiched between these scripts (lines) that shows the tumultuous conditions that I come across often when in a very sensitive situation. Same but Not Same is one of those

works of mine where formalistically all the panels may look alike but, there is a very subtle difference if we carefully observe the patterns.

Same but Not Same Rajnish CHHANESH 2017 / 不透明水彩、紙 Gouache on Paper / 28 x 105 (inch)

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openspace bae 釜山 Busan

南韓 South Korea

openspace bae 的目標是成為當代藝術世界的橋樑，即時反映藝術的瞬息萬變，並藉著發展新的展覽模式、廣納新的當代藝術議題，以提供藝術家展演作品的空間和機會。openspace bae 駐村計畫則幫助藝術家開展各種藝術想像及實驗，引導他們描繪出當代藝術的新視野；同時，透過多元的輔佐計畫，增加年輕藝術人才曝光的機會，並藉此邀請另類形式的實驗性展覽。整體而言，openspace bae 支持非營利計劃，並鼓勵提出具實驗性的想法與藝術創作。

位於釜山郊區、坐落於自然之中的 openspace bae 提供一個讓人們脫離傳統「白盒子」展覽空間及框架制度的機會，以進一步追求真正的藝術自由；來自韓國各地的藝術家、策展人及評論家在此交流，分享資訊並建立穩固的人脈網絡。

The goal of openspace bae is to be a bridge to contemporary art world, acting as a platform that responds 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 artists

with space and opportunities to present their art. Above all, our Artist-in-Residence program helps artists develop their imagination and

experimentation, in order to draw a new vision of contemporary art. Also, our various support programs seek talented young artists and invite experimental exhibitions in alternative forms. Basically, we would like to support non-profit projects with an emphasis on artistic experimentations and experimental ideas.

Located in the outskirt of the city and surrounded by nature, openspace bae is a space for those who wish to break away from "white cubes" and institutional framework for the sake of true freedom in art. We are a platform of communication for artists, curators and critics from across the country, where they can exchange substantial information and construct a steady network.

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金順任是一名自然演奏者和視覺藝術家，以主觀方式演繹生命中所邂逅的人和

地點。創作類型包括雕塑、裝置、繪畫、表演、影像紀錄，其中亦不乏限地創作的作品。2002 年至今，已舉辦過 19 次個展，以及約 180 次的聯展，地點遍及亞洲、歐洲、美洲等許多國家與城市。

近期，金順任入選韓國美術館協會主辦的 2017 KAP 韓國藝術家計劃，獲得 2018 年南韓藝術委員會的創作補助。此外，2009 年至 2016 年間也在梨花女子大學教授軟雕塑、造型與空間、繪畫、鑄造等課程。金順任居住於仁川，目前則在台北國際藝術村駐村到 2018 年 10 月 27 日。

Kim Soonim is a nature player and visual artist who interpret people and

scenes that she encounters in her life. Her works varies in forms such as sculpture, installation, painting, performance, video recording, and site-

Moon on Lavoir

cities in Asia, Europe, and America, in 19 solo shows and about 180 group

2017

specific art. Since 2002, she exhibited her works in various countries and exhibitions.

金順任 KIM Soonim

Recently, she has been selected into 2017 Korea Artist Project (KAP) by Korean Art Museums and obtained grant from Arts Council of Korea

at 2018. She has also given lectures of Soft Sculpture, Form & Space, Drawing, and Casting at Ewha Womans University (2009-2016). She lives and works in Incheon, Korea and is currently in Taipei for TAV residence program until Oct 27.

《Spring Spring》呈現出作品與觀者之間的意象關係，並映照出主體和客體間

的共通性，就像是人們相擁時的情景。作品別稱為《水印版畫》，是金相年歷經不同的實驗之後，所誕生出如版畫印製一般的畫作。金相年在朝鮮大學畢

業後，進入中國美術學院（杭州）研讀進修，後回到家鄉光州工作，代表作品為《The Always New Work》。

Spring Spring shows the imagery relation between artworks and audiences,

reflecting a phenomenon of the common case between subjects and objects, which is the common case between us when we hug. The painting,

also titled 水印版画 , is made through similar process of engraving-making, which is created throughout several experiments. Kim Sangyeon graduated from Chosun University and then studied at China Academy Of Art. He currently lives and works in Gwangju, his hometown. His representative work is The Always New Work .

Spring Spring 金相年

KIM Sangyeon

西亞 West Asia

240

Sazmanab 德黑蘭 Tehran 伊朗 Iran

S AZ MANAB DEPART MEN T O F C R EAT IVE T R EAT MEN T S AN D C IR C U LAT IO N S

Sazmanab 自 2008 年創立於伊朗德黑蘭，原是藝術家經營的計畫及進駐空間，現為一個策展平台，除了發起策展計畫，也藉由展覽、活動、

教育計畫、工作坊、講座、出版品，以及邀請藝術家、策展人、研究員進駐，來協助推廣藝術作品。透過建立地方及國際關係、開發多元當代藝術實踐及觀眾類型，致力支持、擴展伊朗及周邊地區對當代藝術和文化探討的知識、鑑賞及實踐能力。

Sazmanab is a curatorial platform which originally started as an artist-run project space and residency programme in Tehran in 2008.

Sazmanab creates curatorial projects and supports artistic work in a wide range of media through exhibitions and events, residencies

for artists, curators and researchers, educational initiatives, workshops, talks, and publications. By establishing local and international relationships, as well as diversifying both the practitioners and audiences of contemporary art, Sazmanab aims to support and expand the knowledge, appreciation and practice of contemporary arts and cultural discourses in Iran and the region.

241

Unsafe Zone / Domestic Production Amin AKBARI 2018 / 複合媒材 Mixed Media / 依場地而定 Dimensions Variable

Untitled Yousha BASHIR 2018 / 壓克力、畫布 Acrylic on Canvas / 159 x 136 cm

While Lord Is Bursting with Joy Hoda KASHIHA 2018 / 油彩、噴漆、壓克力、畫布 Oil, Spray and Acrylic on Canvas / 150 x 130 cm

東南亞 Southeast Asia

242

Tentacles 曼谷 Bangkok 泰國 Thailand

Tentacles 是一個成立於 2014 年的藝術培育計畫，主要透過想前往曼谷的藝術家與研究者們，定期舉辦展覽與駐村計畫，來提供新銳與實驗性

藝術創作者一個平台，協助他們專心創作，同時也能與在地社群交流。本計畫也提供場地舉辦如研討會、藝術家講座、影片放映等活動，以期能進一步促進社會與文化圈內的創意交流與合作。Tentacles 也與許多位於泰國及海外的組織進行合作，以推廣文化交流計畫。

Tentacles is an art initiative founded in 2014. It focus on providing platform for emerging and experimental creative practitioners by hosting regular exhibitions and residency program for artists and researchers looking to spend time in Bangkok, to focus on their practices, as well as engage with local communities. Tentacles also act as a venue for collaboration and exchange of ideas in the wider social and cultural

fields, by organizing events such as seminars, artist talks, film screening. It collaborates with partner organizations in Thailand and overseas, to facilitate cultural exchange programs.

243

目前 Tentacles 的駐村計畫，主要運用我們在

N22 的空間與 Tentacles

介紹他們的作品。此外，策展過程也開放 Tentacles 成員及其他參與者針對藝術創作、佈展與公關層面，交換實用知識與意見。

駐村宿舍（也就是居住

Tentacles host exhibitions that are either organized by our

走一小段路即可抵達

exhibitions are not limited to any particular medium but we

地點），從宿舍僅須 N22。駐村計畫開放藝術家與其他創意工作者

及研究者參與，與曼谷在地社群，特別是 N22

社群，進行實驗、創作、合作、研究與交流。

我們也會向參與駐村計畫者介紹在地藝術的相關人事物，並提供參與者透過發表會、工作室開放或展覽等機會，向當地社群介紹自己。本計畫對實驗性質的創作與研究抱持開放態度，並極力鼓勵所有參與者進行交流與合作。

members or through proposals from artists and curators. Our focused on supporting emerging practitioners and experimental practices. We have had opportunities to work with various artists and curators from Thailand and overseas in making exhibitions.

We not only present the artworks, but also host exchange sessions

for artists and curators to communicate their works to the wider public. Additionally, the process of exhibition making allows the

Tentacles team and other practitioners to exchange ideas and practical knowledge whether in artistic practice, installation or public relation.

Currently, Tentacles Residency Program utilized both our main

每個週末，Tentacles 均

accommodation is located, and only a short walk away from N22.

自由時光之餘，也能習

space in N22 and Tentacles Residency House, which is where the Our residency program is open for artists as well as other creative practitioners / researchers to experiment, produce, collaborate,

research and engage with local creative scene in Bangkok, particularly the N22 community.

Those who participate in our program will be given an introduction to the local art scene and have the opportunity to introduce

themselves to the local scene as well, via public presentation of

their practices, open studio or exhibition. The program is open

to experimental practices and research, while collaboration and exchange are highly encouraged.

為了希望能在放鬆享受

得一技之長的人們，舉

辦一系列的技藝工作坊。這些工作坊歡迎不同背

景的人參與，我們也樂見能藉此喚醒大眾對當

代藝術的意識，並透過舉辦私人工作坊，與專業人士及企業客戶建

立關係，合作對象包括泰國賓士資融、伊索化妝品、馥蕾詩、美體小舖、泰國百時美施貴寶及泰國皇家水泥集團。

Every weekend, Tentacles host a wide variety of art and craft workshops for those looking to spend their free time relaxing

and learning new skills at the same time. These workshops are accessible to a wide variety of people which we see as another

Tentacles 所舉辦的展

覽，均是由我們的成員

舉辦，或由藝術家、策展人透過企畫申請的方

式來執行。展覽並不限於任何特定的媒材，但主要聚焦在新興創作者

與實驗性質的創作上。

我們有幸與許多泰國及海外的藝術家與策展人合作，而在每場展覽

中，不僅展出作品，也舉辦許多交流會，讓藝術家與策展人向大眾

channel in promoting awareness of contemporary art to a wider audience, and building new networks with other creative

professionals as well as businesses through our private workshops

for corporate clients such as Mercedes Benz Leasing Thailand, Aesop, Fresh, The body shop, Bristol - Myers Squibb Pharma (Thailand) and SCG.

南亞 South Asia

TIFA Working Studios 浦那 Pune

244

Working Studios

印度 India

TIFA Working Studios 是一個跨領域的創意與文化平台，從 2015 年成立以來，不僅經營活躍的藝術中心，亦籌辦國際駐村及另類教育計畫。 TIFA Working Studios is a multi-disciplinary platform for creativity and culture. Since establishing itself in 2015, TIFA operates not only an active centre but also hosts international artists residencies and alternative educational programmes.

245

丘智華於 2016 年 Artel 駐村計畫：「空間身份認同」創作之短片

《Hotel Shalimar》。

CHIU Chih-Hua created a short film Hotel Shalimar for Artel 2016 residency: Identity of Space.

駐村藝術家於 2017 年 Artel 駐村計畫：「過去的未來」工作室開放日。 Artel 2017: The Futures of the Past residency artists during Open Studios.

Shraddha Borawake 於 2017 年透過竹圍工作室和 TIFA 合作的駐村計畫進駐台灣，以她稱為「無邊方法個人主義」的實驗性視覺身體語言，探索自身作品中的語義。

Shraddha Borawake explores semantics using a highly experimental visual bodily language that she calls "Cosmic Methodical Individualism" at her residency at BCS x TIFA in Taiwan in 2017.

西亞 West Asia

246

Va Space 伊斯法罕 Isfahan 伊朗 Iran

Va Space and Residency 於 2014 年創立於伊朗伊斯法罕，是由藝術家經營的替代空間。它與主流藝術圈有明確分界，旨在促進地方的藝術及

文化，同時也培育創意思考及合作。透過舉辦進駐計畫、流動性的活動、演講、座談、工作坊及展覽，建構地方居民以及國內外藝術家、思想家、文化工作者之間的橋樑。Va 將不同的人與領域聚集在一起，在城市發展的脈絡下推廣新的探討觀點和跨域的藝術實踐。Va 也參與計畫，有時與他人合作，有時是自己制定及發起的計畫。

＊波斯語的連接詞「va」與英語的「and」同義。它是個能讓無數個其它字、概念、和想法連結起來的字。「va」自己沒有身份，而是透過連接其它事物、建立對話及論述，進而擁有身份。

Va Space and Residency is an independent artist-run space born in the city of Isfahan in 2014. Va is an alternative space, away from the mainstream, to empower the local community of art and culture. Fostering creative thinking and collaborations, Va connects the local

community to local and international artists, thinkers and cultural practitioners through residency programs, 'wandering' events, talks, lectures, workshops and exhibitions. Va brings individuals and disciplines together to promote new discourses and cross artistic practices in the context of the city. Va also participates in projects, sometimes collaborates with others, sometimes defines and initiates its own projects.

* The Persian conjunction "va" is synonymous with "and" in English; it is a word that enables an infinite number of other words, concepts, or thoughts to be joined. By itself, "va" has no identity; it acquires identity by connecting things together, creating dialog and discourse. www.spacevaspace.com

247

「伊瑪目廣場後方社區重建計畫」－無題 "Process of Restoring the Neighborhood behind Naghshe Jahan Square" Project – Untitled Mona AGHABABAEI, Mohammad ARAB, Monireh ASKARI, Farbod KAZEMI, Maryam MOHAMMADI, Mohammad SOLEIMANIM 2017 / 複合媒材裝置 Mixed Media Installation

APPENDIX 附錄

藝術家索引 Artist Index

250

丁澔 DING Hao

046

林容 LIN Jung

072、171

王公澤 WANG Gon-Jer

048

林晏竹 LIN Yen-Ju

073

六樓鐵皮（張恆銘） 6FTP (CHANG Hung-Ming) 王文德 WANG Wen-Te 王立心 WANG Li-Hsin

王明月 Ming WANG 王俊翔 WANG Jun-Xiang 王詩雲 WANG Shih-Yun 王耀俊 WANG Yaw-Jun 包德納 Bernard BORDENAVE

卡佑民 Kayoumin 甘逸豪 KAN Yi-Hao 江彥德 CHIANG Yen-Te 江彥賢 CHIANG Yen-Hsien

何瑞卿 HO Jui-Ching

余育佳 YU Yi-Jia 吳心荷 WU Hsin-Her 吳佳容 WU Chia-Rong 吳秉祈 WU Bing-Chi 吳政璋 WU Cheng-Chang

吳柏賢 WU Bo-Sian

吳梓安 WU Tzu-An 呂迦諾 LU Chia-Nuoh

李思慧 LEE Si-Hui 李悟 LEE Wu 李健銘 LEE Chien-Ming

李梅 LEE May 李雲陞 LEE Yun-Sheng 杜珮詩 TU Pei-Shih

辛佩津 HSIN Pei-Chin 周明翰 CHOU Ming-Han

周芳伃 CHOU Fang-Yu

林仕杰 LIN Shih-Chieh 林正盛 LIN Zheng-Sheng

林侑瑩 LIN You-Ying

林幸珍 LIN Hsin-Chen 林弈軒 LIN Yi-Hsuan 林盈君 LIN Ying-Chun

林郁晉 LIN Yu-Chin

047、160 049 050 161 162 051 163 052 053

054、164 055 165 056 057

058、166 059

060、167 014 061 030 062 063 168 169 064 170 032 065 066 067 034 068 069 070 149 071 155

林恩崙 AARON HORSE 林書柔 LIN Shu-Jou 林祖帆 LIN Tsu-Fan 林淑娟 LIN Shu-Chuan 林綺暄 LIN Chi-Hsuan 林慧姮 LIN Hui-Heng

邱語樺 CHIU Yu-Hua 金炫辰 KIM Hyun-Jin 姜麗華 CHIANG Li-Hua 施寶駒 Paul SHIH

紀又仁 CHI Yu Jen 苗之珊 MIAO Chih-Shan 孫知行 SUN Chih-Hsing

徐昭華 HSU Chao-Hua 時光林 Time LIN

翁寅再 WENG Yin-Zai 翁翊軒 WENG Yi-Hsuan 荊偉民 CHING Wei-Min 袁梅芳 YUAN Mei-Fang

高爾欣 KAO Erh-Hsin 高錫麟 KAO Shi-Lin

康郁達 KANG Yu-Ta 康華行 KANG Hwa-Sing 張友鷦 Jorinde JANKOWSKI 張正齡 CHANG Cheng-Ling

張哲榕 Sim CHANG 張徐展 ZHANG Xu-Zhan 張喬翔 CHANG Chiao-Hsiang 張智惠 CHANG Chih-Hui 張菀玲 CHANG Wan-Ling

張雅惠 ZHANG Ya-Hui 張譯云 CHANG Yi-Yun 莊于璇 CHUANG Yu-Hsuan 莊仟廷 CHUANG Chien-Ting

莊臥龍 ChUANG Wo-Long

許哲瑜 HSU Che-Yu

許家榕 HSU Jia-Rong

150 074

075、172 076 077 173

078、174 079 080 016

081、175 082 151 083 176 156 152 084 085 086

087、177 088、178 089 179 180 018 036 157 090 181 091 020 092 093 094 038 095

251

許璧翎 HSU Pi-Ling

096

熊妤 HSIUNG Yu

128

郭佩雯 KUO Pei-Wen

098、182

趙韋（趙新梅） CHAO Wei (CHAO Shin-Mei)

129

連瑞芬 LIEN Jui-Fen

陳文慧 CHEN Wen-Hui 陳泓元 CHEN Hong-Yuan

陳品宏 CHEN Pin-Hung 陳奎延 CHEN Kuei-Yen

陳柏源 CHEN Po-Yuan 陳炳臣 CHEN Ping-Chen 陳美珍 CHEN Mei-Chen 陳香伶 CHEN Hsiang-Ling

陳婉宜 CHEN Wan-Yi 陳錦清 CHEN Ching-Chin 彭慧容 PENG Hui-Jung

曾凱智 Cliff TSENG 曾義欽 Marbury TZENG

温怡芳 WEN I-Fang 湯瓊生 TANG C.S.Joan 黃千倫 HUANG Chien-Lun 黃尹姿 HUANG Yin-Tzu 黃品瑄 HUANG Pin-Hsuan

黃美珍 HUANG Mei-Chen 黃偉茜 HUANG Wei-Chien

黃莉莉 Lily HUANG 黃勝有 HUANG Sheng-Yu

黃雅萍 HUANG Ya-Ping 黃毓庭 HUANG Yu-Ting 黃福隆 HUANG Fu-Lung 黃麗君 HUANG Li-Chun

楊登麟 YANG Deng-Lin 楊貴珠 Ylohps (YANG Gui-Zhu)

葉方 YEH Fang 葉治伸 YAP Chee-Keng

董籬 TUNG Li

詹玉美 JAN Yu-Mei 詹惠美 CHAN Huei-Mei

鄒秉軒 CHOU Ping-Hsuan

廖以歆 LIAO I-Chin

廖堉安 LIAO Yu-An

097 099 100 101 102 103 104 105 106 183 107 108 109 022 110 111

112、184 040 113 185 114

115、186 116 117 187 118 119 188 120 121 189 122 123 124 125

126、190 127

趙克涵 CHAO Ko-Han

劉思伶 LIU Szu-Ling 歐筱君 OU Hsiao-Chun 蔡永明 TSAI Yung-Ming 蔡玉葉 TSAI Yu-Yeh (Breya TSAI)

蔡宇恩 TSAI Yu-En 蔡定憲 TSAI Ting-Hsien 蔡欣蓉 TSAI Shin-Rung

蔡思佳 TSAI Szu-Chia

蔡傑 TSAI Jei 蔡瑛瑾 TSAI Yin-Jin

蔡蓓詩 TSAI Bey-Shy 鄧安庭 TENG An-Ting 鄭雅璇 CHENG Ya-Hsuan

盧均展 LU Chun-Chan

盧冠宏 LU Guan-Hong 戴佳茹 Carol TAI 戴漢賓 TAI Han-Pin

戴嫻真 DAI Shian-Jen 謝佑承 HSIEH Yu-Cheng

謝佩庭 HSIEH Pei-Ting 謝岱融 HSIEH Tai-Jung 謝愷宸 HSIEH Kai-Chen 鍾謦瑄 CHUNG Ching-Hsuan

韓志翔 HAN Chih-Hsiang 簡福鋛 CHIEN Fu-Chuan

顏柯夫 Kevin YAN 顏鵬峻 YEN Peng-Chun

蘇厚文 SU Hou-Wen 蘇匯宇 SU Hui-Yu

191 192 130 131 132 158 133 134 135 159 193 136 194 195 196 153 137 138 139 140 197 141 142 143 024 144 198 026 145 042

展區平面圖 Floor Plan

252

藝術平權區 Art Equality

創作計畫區

主舞台

Art Project Proposals

台灣替代空間／藝術團體

Main Stage

Taiwan Alternative Art Space / Art Group

22 21 20

16 15

11 03

藝術閱讀生活區 Read Art

主題策展區

Curatorial Projects

主入口

Main Entrance

服務台

Information

18 13

國際當代藝術空間

International Contemporary Art Space

oup

ace

253

01 未來社 Art of Prospection

204

03 Tentacles

242

02 非常廟藝文空間 VT Artsalon 04 openspace bae

05 NIV ART CENTRE

06 TIFA Working Studios 07 Back ART Foundation 08 LASANAA @ NexUs 09 Gallery 2 10 Britto Arts Trust 11 Va Space

12 絕對空間 Absolute Space for the Arts 13 海桐藝術中心 Haiton Art Center 14 魚刺客 Fishsnipers 15 Sazmanab

16 悍圖社 Hantoo Art Group

17 社團法人台北市眷村心文化協會：中心新村 Taipei Heart Village Association: Heart Village 18 众藝術 Zone Art

19 新浜碼頭藝術空間 Sin Pin Pier - Absolutely Art Space 20 新樂園藝術空間 Shin Leh Yuan Art Space

21 打開 - 當代藝術工作站 Open Contemporary Art Center 22 竹圍工作室 Bamboo Curtain Studio

212 238 236 244 228 234 232 230 246 220 216 218 240 214 210 206 222 224 202 208

2018 台灣當代一年展執行團隊 2018 TAIWAN ANNUAL Executive Team

254

理事長 Chairman

台灣替代空間／藝術團體 Taiwan Alternative Art Space / Art Group

孫睦怡 Linda Mu-Yi SUN、劉詠琪 Coco LIU

陳小雜 CHEN Hsiau-Tsa

藝術推廣 Art Promotion

陳文祥 CHEN Wen-Hsiang 總策劃 Executive Director -

專案經理 Project Manager 孫睦怡 Linda Mu-Yi SUN -

主題策展區 Curatorial Projects 策展人 Curator ｜

張美陵 CHANG May-Ling

展覽計畫主持人 Project Director ｜王鼎曄 WANG Ding-Yeh

展務執行 Exhibition Executive ｜

孫睦怡 Linda Mu-Yi SUN、劉詠琪 Coco LIU -

徵件區 Open Call

藝術平權區 Art Equality

展務執行 Exhibition Executive ｜呂家瑜 LYU Chia-Yu

創作計畫區 Art Project Proposals 展務執行 Exhibition Executive ｜

邱韻蓁 Melony Yun-Chen CHIU、

馮維筠 Wendy FONG、蔡秉儒 TSAI Ping-Ju

藝術家 x 空間媒合計畫 Artists x Art Spaces Matchmaking 計畫執行 Project Executive ｜蔡秉儒 TSAI Ping-Ju -

國際當代藝術空間 International Contemporary Art Space 西亞南亞空間國際聯繫

International Affairs of West and South Asia Space ｜楊雅筑 YANG Ya-Chu

展務執行 Exhibition Executive ｜

呂家瑜 LYU Chia-Yu、孫睦怡 Linda Mu-Yi SUN、楊雅筑 YANG Ya-Chu、劉詠琪 Coco LIU

展務執行 Exhibition Executive ｜

教育活動 Educational Program ｜

呂家瑜 LYU Chia-Yu、邱韻蓁 Melony Yun-Chen CHIU、孫睦怡 Linda Mu-Yi SUN、楊芮雯 YANG Jui-Wen、

楊雅筑 YANG Ya-Chu、劉詠琪 Coco LIU、蔡秉儒 TSAI Ping-Ju 志工及實習生事務 Volunteer and Internship Coordinator ｜

林子涵 Zihhan LIN、馮維筠 Wendy FONG、魏金禾 WEI Chin-Ho -

公關行銷 PR and Marketing

媒體宣傳 Press and Social Media ｜

邱韻蓁 Melony Yun-Chen CHIU、孫睦怡 Linda Mu-Yi SUN、張靖瑜 CHANG Ching-Yu、陳舒凡 CHEN Shu-Fan、楊芮雯 YANG Jui-Wen、蔡秉儒 TSAI Ping-Ju 異業合作 Cross-field Cooperation ｜

呂家瑜 LYU Chia-Yu、邱韻蓁 Melony Yun-Chen CHIU、孫睦怡 Linda Mu-Yi SUN、陳小雜 CHEN Hsiau-Tsa、馮維筠 Wendy FONG、楊芮雯 YANG Jui-Wen、劉詠琪 Coco LIU、蔡秉儒 TSAI Ping-Ju -

運輸佈展 Transportation and Installation Services 翔輝運通有限公司 Sunway Express Co., Ltd -

空間設計 Spatial Design 陳小雜 CHEN Hsiau-Tsa -

美術設計 Graphic Design 陳彥如 CHEN Yan-Ru 魏妏如 WEI Wen-Ru -

行政美編 Assistant Art Editor 馮維筠 Wendy FONG -

255

藝術行政人才培育計畫 Arts Administration Project Grant Recipient

視盟第十一屆理監事 AVAT 11th Board Members

陳文祥 CHEN Wen-Hsiang

馮維筠 Wendy FONG、劉詠琪 Coco LIU 實習生 Intern

王秀文 WANG Hsiu-Wen、古詠茹 KU Yung-Ju、朱丹 ZHU Dan、吳姝純 WU Shu-Chun、吳惠雯 WU Huei-Wen、

李佳 LEE Chia、李冠蓁 LEE Kuan-Chen、李昱瑩 LEE Yu-Ying、

杜佳芸 TU Chia-Yun、林亞萱 LIN Ya-Hsuan、林綉珉 LIN Xio-Min、柯懿庭 KO I-Ting、高晨鐘 KAO Chen-Chung、許嘉琦 XU Jia-Qi、馮維筠 Wendy FONG、黃采茵 HUANG Tsai-Yin、

楊甯如 YANG Ning-Ru、葉駿成 YEH Chun-Chen、

廖文琪 LIAO Wen-Chi、劉佳玟 LIU Chia-Wen、劉晏如 LIU Yan-Ru、鄭丹妮 CHENG Tan-Ni、羅靜宜 LO Ching-Yi -

志工 Volunteer

王友璿 WANG Yu-Hsuan、王天鴻 WANG Tian-Hung、

王惠英 WANG Hui-Ying、朱彤茵 CHU Tong-Yin、李欣蓉 Vivian、

李冠蓁 LEE Kuan-Chen、沈畇榕 Elena、周亭伶 CHOU Ting-Ling、周俞呈 CHOU Yu-Cheng、林書鉉 LIN Shu-Syuan、林雅瑩 Lyy、施品安 SHIH Ping-An、翁翊、張宜庭 CHANG Yi-Ting、張信雅 CHANG Hain-Ya、張羿喬 CHANG Yi-Chiao、張鈞婷 Tiffany CHANG、莊佳宜 CHUANG Chia-Yi、郭聿書 KUO Yu-Shu、陳怡均 Remie CHEN、

陳彥婷 CHEN Yen-Ting、陳韋婷 CHEN Wei-Ting、

程心怡 CHENG Hsin-Yi、黃于庭 HWANG Yu-Ting 、黃文慧 Hyena、黃秉安 baibai、楊岑萱 YANG Chen-Hsuan、葉奕秀 YEH Yi-Hsiu、葉庭彣 YEH Tyng Wen、廖瑋柔 LIAO Wei-Rou、劉彥德 LIU Yen-De、蕭采芳 HSIAO Tsai-Fang、

蕭新玉 HSIAO Shin-Yu、簡君珊 CHIEN Chun-Shan、董信宏 Danny

理事長 Chairman

副理事長 Vice-Chairman

簡子傑 CHIEN Tzu-Chieh、蘇瑤華 SU Yao-Hua 常務理事 Executive Board Member

陳擎耀 CHEN Ching-Yao、賴香伶 LAI Hsiang-Lin 理事 Board Member

王鼎曄 WANG Ding-Yeh、何孟娟 Isa HO、

吳尚邕 WU Shang-Yung、張玉音 CHANG Yu-Yin、

張玉漢 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 Auditor

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 (2018) 秘書長 Secretary-General 陳小雜 CHEN Hsiau-Tsa

執行秘書 Executive Secretary

呂家瑜 LYU Chia-Yu、邱韻蓁 Melony Yun-Chen CHIU、孫睦怡 Linda Mu-Yi SUN、張靖瑜 CHANG Ching-Yu、蔡秉儒 TSAI Ping-Ju

出版人 Publisher

陳文祥 CHEN Wen-Hsiang

台灣當代一年展專刊• 2018 ／陳小雜主編• ――初版

出版單位 Published by

280 面；17 x 22 公分

社團法人台灣視覺藝術協會 Association of the Visual Arts in Taiwan 主編 Chief Editor

陳小雜 CHEN Hsiau-Tsa

• ――臺北市：台灣視覺藝術協會，2018.09 ISBN 978-986-94336-2-4（精裝） 1. 美術 2. 視覺藝術 3. 作品集

902.33 107012645

執行編輯 Executive Editor 呂家瑜 LYU Chia-Yu

邱韻蓁 Melony Yun-Chen CHIU 孫睦怡 Linda Mu-Yi SUN 馮維筠 Wendy FONG 楊雅筑 YANG Ya-Chu 劉詠琪 Coco LIU

蔡秉儒 TSAI Ping-Ju 翻譯 Translator

宋凱瑜 Veronika SONG 李于一 Nana Yu-I LEE 李佳 LEE Chia

廖彥棻 Kitsch LIAO

謝欣和 Daniel HSIEH 美術設計 Graphic Design 陳彥如 CHEN Yan-Ru 魏妏如 WEI Wen-Ru

出版日期 Publication Date 2018 年 9 月

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山山有限公司 33 print 定價 Price

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02-2585-7600 傳真 Fax ｜

02-2585-7679

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10460 台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 捐款帳戶 Make a Donation ｜社團法人台灣視覺藝術協會

元大銀行圓山分行（806）00108-2673232-13

DA XIANG Art Space

大象藝術臺灣‧臺中

Open Daily Tue. - Sun. 12:00 - 20:00

Tel / Fax 04 22084288

Address

04 22083188

台中市北區博館路15號

術

指導單位 |

主辦單位 |

策展人 Curator 藝術家 Artist

Kevin Muhlen Marco Godinho / Karolina Markiewicz & Pascal Piron

2018.11.17 - 12.30

立方計劃空間 TheCube Project Space / 非常廟藝文空間 VT Artsalon

主辦贊助

看

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Y A N G

P H O T O G R A H Y

E X H I B I T I O N

看似好山好水, 實質卻是人類文明的殘山剩水。

9/24

Mon.

- 12/02

Thu.

Sun.

楊順發

Opening 9/27 15:00

攝影個展

20 18

issue 079

artplus079-cover.indd 所有頁面

- SEP 2018

issue 079

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26/7/2018 下午2:17