2022台灣當代一年展 by avat-art

TAIWAN ANNUAl台灣當代一年展

ANNUAl台灣當代一年展

Preface理事長序by Executive執行團隊Index索引Invited藝術機構／團體邀請Focal一年聚焦Foster一年培力About關於台灣當代一年展ChairmanTAIWANANNUALANNUALANNUALInstitutionandGroupTeam 180164130034014008006 CONTENTS

CONTENTS 錄

時代之眼：台灣當代一年展的社會結盟與差異定位跨越千禧年臺灣當代藝術家們倡議華山保留運動之際，2002理事長社團法人台灣視覺藝術協會態與機構，引介差異，構築藝術新思維足資繁花盛開的多元地景一年展」抱持藝術機制批判的思考，從更邊陲之境，引入陌生、非主流的藝術樣演的機會與平台。為藝術社群擴大、匯集適切社會資源而努力的同時，「台灣當代會起家，不僅只是建構「另一個」藝術展演的機會與平台，而是「這一個」藝術展在尋找臺灣社會藝術發展的縫隙，開發臺灣社會藝術足資發展的定位空間，從展關係長期積累中形成的」，「台灣當代一年展」隨臺灣社會轉變發展，20以藝術史學者巴克森德爾（Michael實整合的基調，「台灣當代一年展」期盼突破視覺藝術展覽在網路世界扁平的體驗上展覽為主場，實體空間裝置則是評審團入圍、社群交流的群聚所在。2022新冠肺炎疫情全球爆發，2021並和「雙年展」、「白晝之夜」等巨型活動聯名，加入城市集體行銷機制一年展」，以藝術平權、多樣開放及國際交流為訴求，倡議當代藝術自由展現，節慶活動多樣化開展，2016伴隨著臺灣藝術生態的長足發展，國際畫廊、藝術博覽會、飯店型藝博會、藝術的發展實驗，是機制批判，是包容被排除的，也可能是等待、孵化下一波新興藝術型態空間再利用的酒廠中展出發表的另類（alternative）機會；另類，在當時是前衛術家博覽會」，在美術館、畫廊空間之外，為藝術家們爭取在華山藝文特區閒置年視盟創辦「台灣藝。年視盟將「台灣藝術家博覽會」再定位為「台灣當代。年「台灣當代一年展」數位轉型虛實整合，以虛擬線年虛。Baxandall）時代之眼的觀念「繪畫是在社會年來一直。序言 6

Chairman of Association of the Visual Arts in Taiwan

Preface 7

After the millennium, as Taiwanese artists launched a social movement to preserve the Huashan Art and Cultural Park (now Huashan 1914 Creative Park), the Association of the Visual Arts in Taiwan (AVAT) also launched the Artist Fair Taiwan in 2002, with the objective to provide artists an alternative opportunity to exhibit their works in the revitalized and repurposed winery space at the Huashan Art and Cultural Park. At the time, the term "alternative" denoted the avant-garde and the experimental, the critique of the mechanism, as well as the inclusion of the excluded. It also beckoned at waiting for and nurturing of new developments for the next emerging forms of art

Employing the notion proposed by art historian Michael Baxandall in his The Period Eye, who states that "painting is the deposit of a social relationship," the Taiwan Annual has tailgated the changes in the Taiwan society, and has searched for seams of artistic development therein to formulate a position and build the space for adequate growth of art in the Taiwan society. Starting as an art fair, the Taiwan Annual does not just create "another" but "the" opportunity and platform for the exhibition of art. As the Taiwan Annual strives to expand the art community and converge suitable social resources, it also upholds the critical thinking like an art institution, and introduces unfamiliar, non-mainstream art creations and organizations from the marginal space to highlight differences and construct new artistic thinking for a richly flourishing landscape of diversity

To cope with the global outbreak of the COVID-19 pandemic, the Taiwan Annual underwent a digital transformation and integrated the real and the virtual to primarily focus on the virtual online exhibition in 2021, while presenting physical installations of the finalists of the Jury Prize, forming a site of communal exchange. In 2022, the Taiwan Annual continues the keynote of integrating the real and the virtual, and looks forward to breaking through the flat experience of online visual art exhibitions in the world of the Internet

The Period Eye: Social Alliance and Differentiated Positioning of the Taiwan Annual

Accompanying the rapid development of Taiwanese art ecology, international galleries, art fairs, hotel-based art fairs, and art festivals increased in a diverse manner. In 2016, AVAT repositioned the Artist Fair Taiwan as the Taiwan Annual, which has upheld art equality, diversity and openness, as well as international exchange as its appeals to advocate the free exhibition of contemporary art. In the meantime, the Taiwan Annual has also co-branded with mega-scale art events, such as art biennials and the Nuite Blanche, to join the mechanism of collectively marketing the city

「台灣當代一年展 TAIWAN 的發展可能Normal新常態未來」，積極面對人文藝術在開端，誠摯地邀請各位共同打開心胸、迎接更多跨界與科技合作的「New一。今年「2022多元變化的可能性、以及包容的精神，一直是當代藝術之所以迷人的原因之多綠能、環保之倡議與實踐種議題討論，當代藝術界也積極參與其中，包含展覽的作法等等，都產生了更環境與人類文明發展的關係，不論是生活或是各個產業，也多所重新省視與各代當中，與病毒、與科技帶來的生活改變，共存共融世界趨勢也變得較為積極，從原本的緊急因應，轉為多加思考如何於後疫情時若將前兩年（2019～2020）看作衝擊的過渡期，如今進入「後疫情時代」，科技與人類生活的連結，各方面都變得更深、更廣展，不論是食衣住行，或是創作與展覽的舉辦方式，整體世界趨勢顯現了網路過去三年，疫情不分國界、跨領域、跨產業地影響了全人類的生活方式與發往的表現可能，也為觀眾帶來更多全時性觀展機會整合、數位轉型」，作為承先啟後的契機，努力為策展人與藝術家開創不同以展」，去年2002外，另一種開放的當代藝術展覽平台，展現台灣當代藝術界的多元可能性。權、多樣開放及國際交流，致力於提供一般以畫廊為單位的藝術博覽會機制之ANNUAL」（簡稱一年展）多年來聚焦於藝術平年以「台灣藝術家博覽會」為名創立，2016年更名為「台灣當代一年2021年二十週年紀念，配合新冠疫情全球爆發的世界局勢「虛實。。;除了科技，對於生態與。台灣當代一年展TAIWANANNUAL」做為下一個二十年的21世紀新一波數位衝擊下，更多。

關於台灣當代一年展 8

TAIWAN ANNUAL, was founded in 2002 under the name of "Taiwan Artists Fair", renamed "TAIWAN ANNUAL'' in 2016, and celebrated its 20th anniversary last year, has focused on art equality, diversity and international exchanges, and is committed to creating different art presentation possibilities for the curators, artists and audiences. Last year, as a symbolization link between the past and the future, we integrated the real and the virtual art world via digital transformation including the first virtual TAIWAN ANNUAL exhibition, the first official exhibition website, and lots of streamed forums and activities.

In the past three years, the COVID-19 has affected the way of life and development of all human beings regardless of national borders, fields and industries. Whether it is food, clothing, housing and transportation, or the way in which creations and exhibitions are held, the overall world trend has shown that network technology and its connection with human life has become deeper and wider in all aspects.

About TAIWAN ANNUAL 9

If the first two years (2019~2020) are regarded as a transition period of the impact, now that we have entered the "post-epidemic era", the world trend has become more positive, instead of merely emergency response, nowadays we are thinking more about how to coexist with the viruses and rapid technology evolution; apart from technology issues, the relationship between ecology and the environment and the development of human civilization, whether in life or in various industries, has also been re-examined and discussed. Contemporary art industry has also actively participated in it via the artwork and the practices of exhibitions, which have brought about more green energy and environmental protection initiatives and practices.

The possibility of diversity, and the spirit of inclusiveness, has always been one of the reasons why contemporary art is fascinating. As 2022 TAIWAN ANNUAL is the beginning of the next 20 years of itself, We sincerely invite everyone to open the heart, embracing the "New Normal " future which has more interdisciplinary and technological cooperation, and actively create more art possibilities with us.

Foster 一年

ANNUAL一年培力

「主題策展區」歷經五屆，共邀請 22 位策展人籌辦 10 檔主題策展、12 今年之培力顧問為莊偉慈，入選之計畫為梁予瀞「愛在上線時，失連即失戀」。藝術的潛能。豐富實務經驗，扶植青年策展人在不同場域的實踐可能，並延續世代之間資源的流動與發掘各方問，經由面試審核、定期會議等共同討論並執行本年度「一年培力」展出之計畫。藉由策展人過往展區」轉型為「一年培力」展區，公開徵求策展好手的創意提案，並邀請策展人擔任獲選提案之顧當代一年展」歷年累積的充沛藝術能量，並傳承專業實務經驗予各方人才，2020檔影展策展，為延續「台灣年特將「主題策CuratorialProjectshasbeenheldfor5yearswith10curatorial projects and 12 film festivals overseen by 22 curators. Built on the previous experiences and the artistic vitality of the TAIWAN ANNUAL, as well as to pass on professional and practical experiences to varied talents, in 2020 the Curatorial Projects is transformed into the Foster ANNUAL, which has announced open calls for creative curatorial proposals. The Foster ANNUAL invites the curator(s) as mentor(s) to conduct interviews and regular meetings, and collectively execute the selected proposal this year. Through the experienced curatorial practices of the curator(s), the Foster ANNUAL aims to facilitate young curators' practices in various context, extend the resources transmission between generations, and explore manifold artistic potentialities. The mentor and the selected proposal of 2022 Foster ANNUAL are CHUANG Wei-Tzu and LIANG Yu-Jing's Outofservice,outoflove 關於一年培力About Foster ANNUAL

《藝術家》雜誌「藝點觀察」、「當代藝術現象」單元專欄作者，C-LAB Artist操／演現場」（「展演現場」策展人）、「勒法利計畫」、「背陽——情慾伏流及其隱現」等。關注領域為藝術觀念及其展演技術的變貌，以及藝術史中的性別議題。近年策劃之展覽：「Re:Play樂文化評論。其後綜合新聞訓練與對藝術的評析專業，投入藝文新聞報導與藝術評論領域。主要曾在網路媒體尚未普及前從事新聞工作，於《台灣日報》、《中國時報》（娛樂周報）撰寫樂評與音策展人Magazine"ArtObservation","ContemporaryArtPhenomenon"columnistC-LABcuratorCHUANGWei-Tzuhadworkedinjournalismbeforethepopularityofonlinemedia,andwrotemusicreviewsandmusicculturereviewsforTaiwanDailyandChinaTimes(EntertainmentWeekly).Afterwards,CHUANGWei-Tzuintegratedthespecialtyofjournalismandartcriticism,devotingthemtotheartnewsreportandartcriticism.CHUANGWei-Tzuismainlyconcernedaboutthevarietyofartisticconceptsandtherelatedpresentationtechniques,aswellasgenderissuesinarthistory.Recentlycurations:"Re:Play(curatorof"DisplayonLive")","Project:TheFolly",and"(DE)PHALLOCENTRISM",etc.照片來源片子國際有限公司呂國瑋 Photo courtesy of ONE WORK INTERNATIONAL LIMIT CORPORATION LU Guo-Wei Foster一年培力顧問介紹ANNUALMentor莊偉慈 CHUANG Wei-Tzu

愛在上線時，失連即失戀 Out of service, out of love 藝術家 ARTISTS 阮柏遠 JUAN Po-Yuan 倪灝 NI Hao 楊傑懷 YANG Jie-Huai 「愛在上線時，失連即失戀」藉著這些網路新興愛情現象而生，邀請對於該莫名的「單相思」狀態。實也更滑稽地取決於網路連線與否當中，若對象未接上線，即陷入了一種媒介，直接跟科技產物本身談愛。在這些現象之下，關係的基礎似乎更務在房間連上網路也能在遊戲世界中戀愛、結婚；或是更乾脆地不透過這些以先看照片再決定要不要認識，以完全的個人品味進行初步篩選；只要窩科技產物上滋長，各種更理想、更利己的發展過程也得以實現：約會前可當親密關係的流動從實體面對面轉移到社交軟體、線上遊戲、人工智能等人們建立愛情的途徑。互動就好嗎？諸如此類的疑問接二連三出現，並將這些想像明顯地套用在想像：人真的有必要與人互動嗎？若持續發展下去，我們可以直接跟科技透過科技讓這些繁瑣的過程更加不費吹灰之力，抑或是延伸提出更多大膽共生關係，比起人與人之間的實體情感聯繫，更能引起關注的似乎是如何互動，在動動手指就能產生聯繫的狀態之下，人與科技幾乎成為一體般的無法分割後才後知後覺，除了對個人產生效應，也大肆改變了人類之間的人類以吸收新知的心態看待科技對生活的介入，使得這些影響總在與生活議題進行創作的阮柏遠、倪灝、楊傑懷參與，透過各面向凝聚這些若斷線則不成立的情感流動，除了發現有趣之處，也經由這些作品進而思考為何網路如此輕易地成為了新世代的情感建立途徑？而科技在接下來又能將情感互動推向怎樣的想像與境界？

梁予瀞，2002 策展人Arts,Arts2002,LIANG字、寫一些字。讀臺北藝術大學美術學系，喜歡看一些年出生於甜甜的台南，就Yu-Jing,borninsweetTainaninstudiedattheDepartmentofFineofTaipeiNationalUniversityoftheandlikestoreadandwrite.CURATOR 梁予瀞 LIANG Yu-Jing 15

"Out of service, out of love" invites JUAN Po-Yuan, NI Hao and YANG Jie-Huai to create works about these phenomena to participate in this project. These artists provide some interesting aspects of modern-day affective connections through their works, and emerge questions like: Why has the Internet so easily become a way of establishing relationships for the new generation? Furthermore, what else can technology do to transmit or receive emotion?

relationships shift from face-to-face to social software, online games, artificial intelligence and other technological products, a more ideal and more self-interested process appears. You can look at the profile pictures of others before deciding whether to meet or not. You can fall in love and get married in the game world; or even just fall in love with the technology product itself. Under these phenomena, the basis of the relationship seems to be more pragmatic and funny, because it depends on whether the Internet is connected or not. In other words, if your loved one doesn't go online, it becomes a "one-sided love"

We treat the influence of technology in life with the mentality of acquiring new things. As a result, the impacts of technology are always realized after they are inseparable from our life. It not only has an impact on individuals, but also profoundly reshape our social experience. It seems that rather than the physical connection between people, we care more about how to make these processes more effortless through technology, or to extend more bold questions: Is it really necessary for people to interact with people in person? If technology continues to develop, then can we just interact with it? Questions like these pop up one after another, and these imaginations are applied to the way people build

Whenrelationships.intimate

阮柏遠

PaoScienceMuseumRecentbehindpresentingcontemporaryengines,creationprocess,An藝術節」，米蘭，義大利。2021年分別獲得當代雕塑麗寶創作獎、北藝當代創作獎首獎。近期展覽包括：2022年「沈默中變態——阮柏遠個展」，關渡美術館，臺北，臺灣；「米蘭機造電影反思後網路時代背後的元設定。歷史、美感、技術，創造出新的、屬於當代的視覺經驗、技術思考以及雕塑、影像等觀看方式，藉此當中美學、新形式的視覺經驗等要素作為創作的重要發源，融合機造影片、遊戲引擎、3D軟體中的作為研究對象，將成長在網際網路、新型態的入口瀏覽器與線上社群、遊戲等架構的後網路時代，及藝術家、遊戲玩家與網路成癮者，以數位考古作為創作脈絡的核心概念，長期以數位遊戲、網路空間artist,gamerandInternetaddict,takesdigitalarchaeologyasthecoreconceptofhiscreativeandhasbeenfocusingondigitalgamesandonlinespacesforalongtime.Po-Yuan'ssourcescombinetheonlinegames,onlinecommunities,machine-madevideos,game3Dsoftware,history,memory,aestheticsandtechnicalcharacteristicstocreateanew,visualexperience,technicalthinking,sculpture,videoandotherwaysofviewing,newperspectivesandwaysofthinkingtoreflectonandquestionthemeta-set-upthispost-Internetera.exhibitionsinclude:2022"PervertinSilence",JUANPo-Yuansoloexhibition,KuanduofFineArts,Taipei,Taiwan;"MilanMachinimaFestival",NationalMuseumofMarineandTechnology,Milan.In2021,hewonthefirstprizeofContemporarySculptureLihPrizeandTNUAContemporaryArtPrizerespectively

JUAN, Po-Yuan

那只是一個虛擬的吻 It was just a virtual kiss 將發生在線上遊戲魔獸世界（World of originalsensations,betweenThemedia.beyondtactilitykissortheme,"It何以其他形式、媒介延伸，超越原生肉體，產生全新的精神、情感連結與愛情。增實境動畫，嫁接出數位化的身體感知與實際肉身之間的直接接觸，穿越多重身體知覺，思考身體如與羈絆，超越原生身體的物理限制與缺陷，導向數位媒體中的身體感。透過遊戲世界的機造電影與擴替身（avatar）彼此接觸、擁抱、親吻，穿越螢幕、角色以視覺產生身體觸覺與精神連結，建構感情在數位世界建構自身的虛擬身體或身體如何以數位形式延伸，以遊戲作為媒介，透過不同奇幻種族的Warcraft）中的愛情故事作為主題，闡述線上遊戲的玩家如何wasjustavirtualkiss"employsalovestorythattakesplacein"WorldofWarcraft"asitsnarratinghowplayersinonlinegamesconstructtheirvirtualbodiesinthedigitalworld,howbodiesareextendedinadigitalformthatusegameasthemediumtocontact,embrace,eachotherinavatarsofdifferentfantasticspecies.Overthescreenandcharacters,physicalandspiritualbondsarecreatedvisually,whileconstructingrelationshipsandtiesphysicalrestraintsanddefectsoftheoriginalbodiestoinduceabodilysenseindigitalMachinimainthegamerealmandARanimationsaregraftedintothedirectcontactthedigitalizedbodilysensationandthephysicalbody.Throughmultiplebodilyitpondersoverhowbodiesareextendedviaotherformsandmediumsbeyondthecounterpartstogiverisetoastarving,novelspirits,emotionalbonds,andlove. 16

倪灝 NI, Hao 1989 年出生於臺灣新竹，現工作生活於新竹和紐約。《結構研究V》。「Siege」，T293，羅馬；「伏擊」，台北市立美術館，臺北。也近期個展包括學等方面的探索。治隱喻或私人記憶，也以此展開在權力結構、消費主義、暴力美通過雕塑，影像等多種媒介疏離日常熟悉的物件激發其背後的政加哥藝術學院學院畢業、2014年羅德島設計學院碩士畢業。2011年芝2019年「光癮熾愛」，GalleryVacancy，上海；曾群展於UCCA尤倫斯當代藝術中心、波士頓藝術中心、新貝德福德美術館及皇后美術館等。2020年入圍第八屆華宇青年獎。2018年於第十二屆光州雙年展Pavilion計劃「今天將發生」展出BorninHsinchu,Taiwanin1989,nowlivesandworksinHsinchuandNewYork.HereceivedaBFAfromtheSchooloftheArtInstituteofChicagoin2011andanMFAfromtheRhodeIslandSchoolofDesignin2014.NIHaoinvestigatespowerstructure,consumerism,andviolenceaestheticsinhispracticebyutilizingvariousmediumssuchassculptureandvideo.NI'spracticeconstantlyprovokespoliticalmetaphororpersonalmemoriesbehindseeminglyfamiliarobjects.Recentsoloexhibitionsinclude:2019"TrustMe,LoveMe",GalleryVacancy,Shanghai;2019"Siege",T293,Rome;2019"Ambush",TaipeiFineArtsMuseum,Taipei.NI'sworkshavebeenfeaturedingroupexhibitionsatUCCACenterforContemporaryArt,Beijing;MOCATaipei,Taipei;RocklandCenterfortheArts,WestNyack;BostonCenterfortheArts,Boston;TaipeiFineArtsMuseum,Taipei;NewBedfordArtMuseum,NewBedford;andtheQueensMuseum,Queens.NiHaowasashortlistedcandidateattheEighthHuayuYouthAwardin2020.HisStructureStudyVwasexhibitedinAujourd'huiauralieuattheGwangjuBiennalePavilionProject,2018.WorksbytheartistareincludedinthecollectionsofVMACinHongKong,MMCA(NationalMuseumofModernandContemporaryArt)inSeoul,SouthKoreaandCollezioneTaurisanoinNaples,Italy. 海戀 Thalassophilia 作為臺灣直男的 Tinder 態有關，而且是一種進化和政治的選擇。在世界上生物的整個進經過調查和研究，我意識到，讓人們返回大海的決定不僅是和生片，以試圖了解這現象的原因。我因為對這種現象感到有興趣，所以開始截圖和收集這些個人照來越多的女性使用潛水和浮潛照片作為自己向陌生人推銷的方式。用戶，我開始注意到在過去的兩年中，越 themadeprofilestouchscreenseascapes.individuallydivingdigitalexploredIntoenvironmentalFinally,re-embracemanyconquest.becomeFordwellingoncetheantoUpontheseFascinatedtheirmorenotice料構成的兩個旅程：一個是向海洋前進，另一個是向陸地前進。所有潛水者和浮潛者的原始的也可探索數位攤位的互動平板電腦信息亭，像使用的位，探索陸地和海洋的雙重性和對立性。我長時間收集的數百張在這個計畫裡，觀眾通過兩個大型照片拼貼和一個互動的數位攤而言，再次回到大海也許是最合理的。時代生存。最後，考慮到當前的地緣政治和環境危機，對於人類中，許多曾經封閉海岸的國家不得不重新融入海洋，以在全球化為食，征服海洋和從中取利。在殖民主義時代和走向現代的競賽已進化回海洋生物。在過去的幾千年中，人類已經習慣了以海洋化過程中，由於各種環境原因，許多曾經從海洋進化而來的動物Tinder潛水和浮潛照片將被剪貼組成大型海景圖。此外，觀眾Tinder般滑動Tinder個人資料，以揭示由研究材AsaheterosexualmaleTinderuserinTaiwan,Istartedtothatwithinthispasttwoyears,therearemoreandwomenusingscubadivingandsnorkelingphotosonprofilesasawaytointroducethemselvestostrangers.withthisphenomenon,Istartedtoscreenshotprofilephotosinanattempttounderstandwhy.investigation,Irealizedthatthedecisionsforpeoplereturntotheseaisnotonlyanecologicalone,butalsoevolutionaryandadeeplypoliticalchoice.Throughoutevolutionprocessoflivingorganisms,manyanimalsevolvedfromtheseahaddevolutionedbackintosea-creaturesduetovariousenvironmentalreasons.thepastthousandsofyears,humanbeingshavealsoaccustomedtotheseaandoceanforfood,profit,andDuringtheageofcolonialismandracetomodernity,countriesthathadonceclosedofftheirshoreshadtotheoceantosurviveintheageofglobalization.consideringthecurrentstatesofgeopoliticsandcrisis,itisperhapsonlyreasonableforhumansheadbackintotheseaagain.thisproject,thedualityandoppositionofthelandandseaisintwolarge-scalephotocollagesandaninteractivebooth.HundredsofTinderprofilephotosofpeopleandsnorkelingthatIhavecollectedthroughtimearecutoutandcomposedintovariouslarge-scaleInaddition,audiencesarewelcometoaccessthetabletkioskstoswipethroughtheoriginalTinderofallthediversandsnorkelerstorevealtwojourneysupofresearchmaterials:onethatprogressestowardsocean,andtheotheronetowardstheland. 18

楊傑懷

YANG, Jie-Huai

1992

Exhibition".InElectronicaWenRecentbetweenpeople'sHeNationalBorn2018年獲得「南瀛獎」優選與「全國美術展」入選北／福爾摩沙花園：島嶼壯遊」，奧地利林茲電子藝術節臺灣展區。近期展覽包括：2021年「我沒有愛人的能力——楊傑懷個展」，其玟畫廊，臺北，臺灣；2021年「臺試圖在人類情感與編碼的世界之間無法對準的空隙中，建構既荒謬又浪漫的情境。擅長透過錄像、攝影與裝置等形式進行創作，作品關注影像媒介在人們的精神生活中所扮演的角色，年出生於臺灣臺中，現生活、工作於臺北。畢業於國立臺北藝術大學新媒體藝術學系碩士班。inTaichung,currentlylivesandworksinTaipei,Taiwan.GraduatedfromtheTaipeiUniversityoftheArtswithamaster'sdegreeintheDepartmentofNewMediaArt.usesvideo,photographyandinstallationtocommentontheroleofmediathatplaysinmentality,andtryingtoconstructscenethatarebothabsurdandromantic,inthegaphumanemotionsandthecodedworld.exhibitionsinclude:2021"I'mnotcapableoflove-YangJie-HuaiSoloExhibition",Chi-Gallery,Taipei,Taiwan;2021"GardenTaipei/Formosa:TaiwanGrandTour",attheArs2018,hewonthe"NanyingAward,ExcellenceAwards"andwasselectedforthe"NationalArt

如何向一支手機解釋愛情 How to explain love to an iPhone itwhethergoassistantinspiredbothThe要帶傘，偶爾還會講笑話和繞口令。好像很有智慧，所以應該也了解愛的意義吧。裡，如影隨形的親密對象。它幫助我們打電話給某人、提醒代辦事項、播放音樂、告訴我們出門要不因此，談一場沒有道理的戀愛吧！對象是世界，由強烈情緒引發豐富幻想的世界。愛情的語言是人類意識中最難透過理性掌握的事實，它既無道理，但卻也最理所當然，愛情自成一個iPhone手機的語音助理程式Siri，這是我們每天放在口袋languageofloveisthemostdifficultmatterforourconsciousnesstocomprehendforit'sunreasonable,yetatthesametime,verynatural.Loveisitsownworld,withfantasiesbyabundantemotions.Suchaunreasonablelove!ThesubjectistheiPhonevoiceprogrammeSiri,theintimateoneweputinourpockets,followinguswhereverweeverysingleday.Ithelpsusmakecalls,playsmusic,remindsusofourto-dos,informsustobringanumbrellaandoccasionallytellsjokesandtonguetwisters.It'ssointelligent,shouldaswellunderstandthemeaningoflove. 20

Focal 一年

聚焦

ANNUAL一年

承續 2021 創作者未來的發展機會。參與此計畫的作品評選出評審團獎一名予以下一年度福利社進行「一年一會」面對面交流活動，共同討論思考藝術的各個面向；並且提供縱向發展機會：對於藝評、學者、媒體、機構單位、收藏、跨域合作等，提供橫向交流機會：與評審團獎入圍者一同觀眾現場對話的可能性，同時邀請藝術產業發展相關專業人士組成評審團，含藝術家、策展人、心概念，將於虛擬展場呈現，藝術家得以運用更為多元的形式、場地展現創作內涵，增進作品與一年展「虛實整合、數位轉型」能量，「一年聚焦」展區採不分類、不限制作品類型為核FreeSArtSpace展覽機會，促進藝術2022TAIWANANNUALcontinuesthetransformationenergy of 2021, without categorizing genres of artworks, artists can employ forms and spaces more diversely to address their creativity and generate communication between the artworks as well as the audiences. Concurrently, by converging the professionals from art industries as a jury, including the artists, curators, art critics, scholars, press, art institutions, collectors, technicians, and interdisciplinary collaboration. To facilitate the artists' future development, the nominees of the Jury Prize will have the ANNUAL Convo with the professionals to discuss their concerned art issues face-to face, and the laureate of the Jury Prize will be provided with a solo exhibition schedule in the FreeS Art Space in the coming year. 關於一年聚焦About

Focal ANNUAL

陳柏谷 CHEN Bo-Gu Founder,阿橋社文化事業有限公司負責人PontD'Art

Co-Founder, OurSong TW 吳達坤 WU

Aristic華麗邏輯有限公司藝術總監Director,LuxuryLogi.co 吳柏蒼 WU

LIN

TaiwanContemporary臺灣當代文化實驗場當代藝術實驗平台總監ArtPlatformDirector,ContemporaryCultureLab 胡忻儀

林志峰 Chih-Feng Kun-Ying Po-Chang 共同創辦人 Dar-Kuen HU Hsin-Yi

Director,均勻製作總監Goldilocks Production

張君懿 CHANG Chun-Yi 藝術家 / 獨立策展人 Artist / Curator CHANG Ching-Wen Art中華民國藝評人協會理事長Critic,PresidentofAICA Taiwan

Focal一年聚焦評審名單ANNUALJury

CreativePrincipal一點點創意事業有限公司總設計師Designer,OneDotDotEnterpriseCo.,Ltd. 林昆穎 LIN

張晴文

(以下名單照姓氏筆畫排列)

賴純純 LAI Jun-Jun Chairperson,台灣女性藝術協會理事長TaiwanWomen's Art Association

OurSong TW

六樓鐵皮（張恆銘） 6FTP (CHANG Heng-Ming) 意棲碧山 The mind rests in the mountains 2021 / 複合媒材 Mixed Media / 67 x 89 201820192021202120222018「奇跡之地」個展，移動畫廊，麗晶精品B2藝廊，臺北，臺灣2019「一直兜在」個展，移動畫廊，北投久號，臺北，臺灣2021「童時神話」個展，金車文藝中心，台北南京館，臺北，臺灣2021「出雲入海2022「ARTtransition...objectsreferenceisWith小物的微觀參照，如同須彌山世界…將小物件幻化為大世界，進一步在現實的轉化中過渡…隨著作品的發展，創作的內容，漸將過去的自我想像拉回對現實事物的關注與描繪…從對身邊cmthedevelopmentoftheworksandthecontentofcreation,thepastself-imaginationgraduallydrawnbacktotheattentionanddescriptionofrealthings...Fromthemicro-tothesmallthingsaroundme,itisliketheworldofMicroscopic...Thesmallaretransformedintothebigworld,andfurtherintheRealitytransitionsinFUTURE藝術未來」聯展，君悅飯店，臺北，臺灣金色秘境」個展，糊塗里畫廊，臺北，臺灣"ARTFUTURE",GrandHyattTaipei,Taipei,Taiwan"GoldenWorld-6FTPExperimentalExhibition",DotardVillageGallery,Taipei,Taiwan"TheMythofChildhood-ChangHengMingSoloExhibition",KingCarCultural&ArtCenter,Taipei,Taiwan"TayingPreaent-6FTPExperimentalExhibition",A+Creations,ninenine,Taipei,Taiwan"Alandfullofwonder-6FTPExperimentalExhibition",A+Creations,RegentGalleria,Taipei,Taiwan 26

王心妍 WANG f(In_fant)=XHsin-Yen 2021 / 3D建模、三頻道錄像3D Models, Three Channel Video / 202020212021202220222020「地美館登陸行動」，北藝大地下美術館，臺北，臺灣2021「快樂崇拜」，永富五號，臺北，臺灣2021「醒過來吧尖叫雞」，臺北藝術大學南北畫廊，臺北，臺灣2022「交換Exchange」，永富五號，臺北，臺灣2022「迴藝」，A8藝文中心，臺北，臺灣contemporarymanufacturedthebringIn"human"unnecessarythereproduction,otherIn下一個維度？了動搖？而在這樣演算法帶領的進程下，人類不斷擴張的造物主精神是否會將生命的層次帶向樣的世代，「生物」、「人類」與「科技」之間的關係是否變得撲逤迷離？「真實」的本質是否發生覺下對於生命的創造模式，「製造」這件事情成為了一種不須建構在實質物的存在方式，而在這於創造、再現以及模擬的一切慾望，這些大量製造且能夠重複利用的演算法空殼形塑了當代視在講求人力、物力極度精簡化的當代，3D建模等模擬技術橫跨維度與時間，創造一切人類有關10'00"thecontemporaryerathatpeoplesparenoefforttolowerthecost,3Dmodelingandtechnologiesspanningdimensionsandtimecaterthehumandesiresforcreation,andsimulation.Thismass-producedandreusablealgorithmicshellshapelifestyletoday;andthus‘Manufacturing'itselfhasbecomeawayofexistencethatistobeconstructedinsubstance.Hastherelationshipbetween"creatures,"and"technology"becameconfused?Hastheessenceof"truth"beenshaken?theprocessofsuchanalgorithm,willtheever-expandingcreatorspiritofmankindtheleveloflifetothenextdimension?Iuse3Dmodelingtechnologytosimulatemanufacturingprocessofvirtuallifebodiesandtocomparewiththeplasticdollsinthe1970s,toexplorethedeformationoflifeanddeathbroughtaboutbytechnology."RuggedMemories",A8ArtCenter,Taipei,Taiwan"Exchange"GroupExhibition,YongfuNo.5,Taipei,Taiwan"PleaseWakeUpRobberChicken",GalleryNanbei,TaipeiNationalUniversityOfArts,Taipei,Taiwan"IdealWorship",YongfuNo.5,Taipei,Taiwan"LandingPlanOfUndergroundGallery",UndergroundGallery,TaipeiNationalUniversityOfArts,Taipei,Taiwan 28

台灣製造

20222017「年度精選」，設計博物館，蘇黎世，瑞士2018「年度平台」，朗根塔爾美術館，朗根塔爾，瑞士2020「改變之風」，Milieu替代空間，伯恩，瑞士2021「地球引用和的鴨子」，mal:mal2022「臺北一藝」，西華飯店東之畫廊，臺北，臺灣替代空間，伯恩，瑞士"OneArtTaipei",TheSherwoodTaipeiEastGallery,Taipei, Taiwan

2021 "Fake Quotes and Sitting Ducks", Mal:Mal Project Space, Bern, Switzerland

王雅慕

WANG Ya-Mu

2018 "Plattform18", Kunsthaus Langenthal, Langenthal , Switzerland

2017 "Highlights 2017", Museum für Gestaltung, Zurich, Switzerland

Made in Taiwan

2022 / 口罩、卡紙、手工木框 Face mask, Cardboard, Plank Frame / 18.8 x 10.5 x 2.6 workorganizations.creativehadunderstandingwithmasksintroducingHaving罩作為工業現成物的物質性，嘗試摸索台灣的主體。（持續發展)仍有許多需要爭取。本系列作品以卡紙大面積留白，聚焦口罩Made作品所揭示的感傷情調，轉換成自我肯定的主體。即便如此，這個主體的國際地位仍然曖昧，本身決定性的改變並形塑台灣人的自我理解與認知，跳脫「亞細亞的孤兒」、「雨夜花」等前輩力捐贈友邦，提出Taiwan由於政府對疫情應變得宜，台灣在相對短的時間內從最初的口罩荒過渡到自足，更進一步有能cmCanHelp的口號。姑且不論台灣對全球疫情的實質效應，這個口號inTaiwan的字樣，透過口learnedfromtheoutbreakofSARSin2002,TaiwanGovernmentactedswiftlyinprecautionarymeasuressincethefirstcaseofCovid-19wasreported.Facewerenotonlysufficientfordomesticusebutcouldalsobedonatedinternationally,theslogan"TaiwanCanHelp"—atransformativemomentinwhichtheself-oftheTaiwanesepeoplehasbeenfundamentallychanged.Before,itbeen"theOrphanofAsia"or"RainyNightFlower"fortoolong,assuggestedbythepredecessors,andthiscountryisstill"ChineseTaipei"inmostinternationalThisseriesisamaterialstudyprobingTaiwan'ssubjectivity.(Thebodyofcontinuestogrow.)

2020 "Winds of Change", Milieu Project Space, Bern, Switzerland

2018 "Wonder photography Day", SCCP Taipei, Taipei, Taiwan

末生學

2022 / 複合媒材 Composite Media / 53 x 56 barelyglamour,Butexactly?withoutDuring漫的現實，只是恰巧環繞著我們，消逝在漫夜裡漸弱的光。但很不幸地，我們僅是卑劣的維持人的樣子，怯弱的活著……，關於那些華麗的、甜美的、浪存在著，究竟誰是誰的影子？街道上沒人打破寂靜的夜晚，影子依舊無聲無息的監視著我，如此赤裸裸，是誰如同罪人般的cmthenightwhosesilenceisnottobebroken,ashadowblatantlysurveilsmeasusualaword.Oh,whoisthesinnertobewatchedhere?Andwhichofusistheshadowunfortunately,wemerelyassumeahumanappearanceinagrovelingway.Thesweetness,andromanceofreality;theyjustallperishedinthedyinglightthatsurvivesthelongnight.

填充物不明的皮囊

MOSŃXUE

Human Appearance

2018202020212018「台北國際攝影藝術交流日」，松山文創中心，臺北，臺灣2018「台灣當代一年展」，花博爭艷館，臺北，臺灣2018「高雄攝影節」，高雄駁二特區，高雄，臺灣2020「他／她的光譜」，空總實驗基地，臺北，臺灣2021「台灣當代一年展」，線上展出，臺北，臺灣"TAIWANANNUAL",Online,Taipei,Taiwan"SexualOrientation",C-LAB,Taipei,Taiwan"YoungPhotoKaohsiung",ThePier-2ArtCenter,Kaohsiung, Taiwan

2018 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

石孟鑫

Taipei, Taiwan

Dancing Pole

《Dancing pole》是將在大型活動裡會出現的氣舞人與電線桿的結合。我將《Dancing artistrealisticevennormalroad"Dancing於一般大眾，相對脫離當中，更顯滑稽。以此呼應藝術創作著在社會裡的位子，或許無法提供現實的貢獻，但是相較是沒有功能性的，它無想像正常的電線桿，支撐電線，運輸電力，在整排筆直、正常的電線桿置在田邊小路旁一整排『正常』的電線桿當中，使其隨風擺動，作為一個會隨機擺動的電線桿，pole》安體制的存在，藝術創作者提供一種不同觀看世界的方式。pole"isacombinationofInflateddancerandtelegraphpole.Iputitonacountrywithawholerowoftelephonepoles,Dancingpolehasnofunction,itdoesnotliketelephonepoles,supportingwires,transportingelectricity.Inthiscontrast,it'smorefunny.Inordertoechothepositionofartistinsociety,itmaynotprovidecontributions,butcomparedwithordinarypeople,relativelyoutofthesystem,provideadifferentwayofviewingtheworld.

20212020「富岡鐵道藝術節」，伯公岡公園，桃園，臺灣2020「19:00」，谷公館，臺北，臺灣2020「高雄獎」高雄市立美術館，高雄，臺灣2021「各其所物」，VT非常廟藝文空間，臺北，臺灣2021「殘山剩水—我們的城市失敗了嗎？」忠泰美術館，臺北，臺灣"BrokenLandscapes:HaveOurCitiesFailed?",JUTArtMuseum,

2021 / 錄像 Video / 依場地而定

2021 "An uncanny assortment of miscellaneous objects", VT artsalon, Taipei, Taiwan

2020 "Kaohsiung Award", Kaohsiung Museum of Art, Kaohsiung, Taiwan

2020 "Fugang railway art festival", Fugang Railway Station, Taoyuan, Taiwan

SHIH Meng-Hsin

2020 "19:00" Michael Ku Gallery, Taipei, Taiwan

朱凌萱 CHU Ling-Hsuan 202120212021202220222021「清醒計畫-東海大學美術系106級畢業展」，凡亞藝術空間展覽館，臺中，臺灣2021「朱凌萱個展」，東海43號創藝實習中心，臺中，臺灣2021「藝術新聲-藝術學系優秀畢業生聯展」，大墩文化中心，臺中，臺灣2022「無集合聯展」，群島藝術園區，臺中，臺灣2022「赤山之行-國立彰化師範大學美術學系x東海大學美術系跨校聯展」，東海43號創藝實習中心」，臺中，臺灣"ChiShanzhixing-NCUExTHUgroupexhibition",Tung-HaiNo.43artspace,Taichung,Taiwan"Disjointsets-groupexhibition",IslandsArtPark,Taichung,Taiwan"YoungVoices-groupexhibition",Dadunculturalcentre,Taichung,Taiwan"ChuLingHsuansoloexhibition",Tung-HaiNo.43artspace,Taichung,Taiwan"Qingxinggroupexhibition",Funyearartgallery,Taichung,Taiwan 花了十年攻破了地下城，難道是白忙一場？

All Monotype, Paper / 33 x 48 understandtheIacquireconstantlymediaPeople來說是一個可以了解這個世界的理想通道。我取用幼兒的直覺性書寫，包含重複的線條或用力的墨漬，是情緒與抽象語境的再現。那對我有方法解讀這些訊號。像遮蓋物或草稿，卻無處不在。我們面臨的是不斷地被翻修的世界。這樣的環境迫使我們需要身處都市的現代人而言，路邊送廣告單的人、網路的即時新聞乃至社群軟體的網路用語，他們cmwhogivingoutflyers,instantnewsontheinternetandinternetslangsonthesocialarelikedraftsorcoveringforthemodernpeoplewholiveinthecity.Theworldofrebuildingarewhatwecurrentlyfacing.Thiskindofenvironmentforcesustotheabilitytodecodethesemessages.utilizetheintuitionalwritingofthechild.Repetitivelinesandpowerfulinkstainsarerepresentationoftheemotionsandabstractsymbols.Thisisanidealwayformetotheworld.

for nothing 2022 / 壓克力單刷凹版畫、紙本

Gravitational-Chandelier

2019 / 石膏、無酸樹脂、不鏽鋼 Gypsum, Acrylic Gel, Stainless Steel / 42 x 35 x 60 cm andusingInskinleavingandgypsumI'meachTheIn知，在過程中因應它的特性調整與配合，保留流動中可能產生的驚喜。並且，流動的物理屬性中自帶變形的特性，當在使用材料時，我很享受流動中帶有的隨機與未能夠依靠眼前的這層外皮猜測它的前身。透進每個縫隙、接著完整的包覆整個形狀。最終，原本的形狀消失，剩下一個模糊的輪廓，只我對於液態與固態兩者在作用時的關係很感興趣，當石膏處於液態時，它浸濕原本的材料、滲石膏最有意思的地方在於，它是從固態到液態再到固態。而每個狀態都有其獨特的物理特性。在這一系列作品中，我用石膏漿包覆各種不同的形狀，大多是以植物為主。thisseriesofworks,Iusegypsumgrouttocoatvariousshapes,mostlyplants.mostinterestingthingaboutgypsumisthatitgoesfromsolidtoliquidtosolid.Andstatehasitsownuniquephysicalproperties.interestedintherelationshipbetweentheliquidandthesolidastheywork.Whentheisintheliquidstate,itsoaksuptheoriginalmaterial,penetrateseverycrevice,thencompletelycoatstheentireshape.Intheend,theoriginalshapedisappeared,avagueoutline,andonecouldonlyguessitspredecessorbyrelyingonthelayerofinfrontofhim.addition,thephysicalpropertiesofflowhaveitsowndeformationcharacteristics.Whenmaterials,Ienjoytherandomnessandunknownintheflow.Intheprocess,Iadjustcooperatewithitscharacteristicstoretainthesurprisesthatmayoccurintheflow.

何宇森 HE Yu-Sen 201920202019「遊心鬱語-洪民裕x何宇森雙個展」，心牛藝空間，臺南，臺灣2019「10片遺憾與8珠雪」，中央美術學院六號樓四樓展廳，北京，中國2020「童貞狀態-何宇森、蘇莘媞雙個展」，藝非凡美術館，臺南，臺灣"pureinnocence",MezzoArt,Tainan,Taiwan"Tenregretsandeightbeadssnow",4thFloorExhibitionHall,Building 6, Central Academy of Fine Arts, Beijing, China

2019 "Adrift in Melancholy", Outguess Gallery, Tainan, Taiwan 引力 - 吊燈

Spatula & Rose

2015 "Waits, pretend to be majestic", A8 café, Taipei, Taiwan

Sense vs. Sensibility, Bread vs. Love ~ People live in a world full of conflict. The conflict itself is not a problem, and the value of such contradiction that exists is not relative but can coexist. It depends on how people coexist with him.

余永明 Sha x 2 2022「國際線上藝廊」(長期)，線上展出，TRiCERA ART 20222014「台灣藝術家博覽會」，世貿(視盟)，臺北，臺灣2015「假裝威嚴的等待」，A82020「汪星人／喵星人」，赫尼恩咖啡，桃園，臺灣2021「台灣當代一年展」，線上展出，臺北，臺灣café，臺北，臺灣"INT'LONLINEGALLERY",TRiCERAART,online, Japan

理智與感性，麵包與愛情 ~人們一直生活在一個充滿矛盾的世界，矛盾本身並沒有問題並且有它存在的價值 ! 矛盾也並不是相對的而是可以並存的...端看人們如何學習與它共存......

2021 "TAIWAN ANNUAL", Online, Taipei, Taiwan

2014 "2014 13th Artist Fair Taiwan", World Trader Center (AVAT), Taipei, Taiwan

鍋鏟與玫瑰

2022 / 壓克力 Acrylic on Canvas / 80 x 61 cm

2020 "Dogs/Cats person", Hernion coffee, Taoyuan, Taiwan

WU Hsin-Ho 20212020「台灣當代一年展」，花博爭艷館，臺北，臺灣2020「亞洲當代藝術風貌展」，國立教育資料館，臺北，臺灣2021「墨，汎流行(pandemic)2021「湧動墨潮-2021「國際彩墨節慶藝術大展」，台中文創中心，臺中，臺灣2021國際當代藝術創作」，高雄市文化中心，高雄，臺灣時代의表象」，釜山美術館，釜山，韓國"InternationalColorInkFestivalArtExhibition",TaichungChinese Creative Center, Taichung, Taiwan

2020 "Asian Contemporary Art Exhibition", National Education Archive, Taipei, Taiwan

2021 "Surging Ink Tide - 2021 International Contemporary Art Creation", Kaohsiung Cultural Center, Kaohsiung, Taiwan

古墓春宮殿堂

2020 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

Tomb Spring

2022 / 綜合媒材 Mixed Media / sculpture,theeveryoneoftexts,privatelostmodernstrangeness,Tomb壓克力、版畫、陶瓷、數位影像、綜合媒材、裝置藝術、行動表演藝術等。禁忌的話題，每個人都可以是共享者或參與者，同時以多媒材形式表現進行藝術創作，水墨、術收藏、藝術作品、展演、錄影、網路等，以互動交流的開放空間，去探討人類的本質心靈，靈異情境。半靈、半肉。屍體、私體。半神、半鬼。半人、半獸。古墓春宮殿堂所有文字、藝頹廢，古墓春宮：屬於浪漫激情的香豔，具有撼動力的恐怖怪誕，神秘刺激的迷離異境，古老東方的20坪大空間邂遘解構下的後現代語境－狂亂、無厘頭、性現象迷失，是群魔亂舞，是天體狂歡，是Spring:Theromanticandromanticredandbeautiful,withshockinghorrorandmysteriousconfusion,decadenceoftheancientEast,encounteringthepost-contextunderthedeconstructionanddeconstruction-frenzied,nonsensical,insexualphenomena,itisadanceofdemons,Halfspirit,halfflesh.Humancorpses,bodies.Half-god,half-ghost.Half-beast,half-beast.Tombsandancienttombsartcollections,spaceperformances,videos,theInternet,etc.withtheopennesscommunication,toexploretheartisticnatureofhumanbeings,thetopicofescape,canbeaparticipantinsharingorfilmcircles,exhibitions,artisticcreationinformofmultimediamaterials,ink,acrylic,printmaking,ceramics,three-dimensionaldigitalvideo,mixedmedia,installationart,actionartink,performanceart,etc.

吳心荷

2021 "Ink, Pandemic Era 의 Appearance", Busan Museum of Art, Busan, Korea

Constitution

WU Yu-Hsuan City, Taiwan

2021 "International Academic Seminar: The Poeticity and Ambit in Sculpture", NTUA Kalos Gallery, New Taipei City, Taiwan

2022 / 複合媒材 Mixed Media / andextraordinarysupportingorThecooperatepreventwillscoopsceiling.The使人對桌上發生的行為產生疑問並思考行為意涵的本質。而是關懷扶持與互相照應。藝術家將這段日常的經驗以一種非日常且極端化的方式進行，試圖餐桌的存在必定圍繞著一段關係，不論是家庭或是親友，在桌上發生的行為也不只單單是進食，同時不讓餐桌翻覆，則必須互相扶持與配合，試圖維持餐桌的正常運行。舀湯甚至夾菜，便會影響到餐桌的重心因此產生偏移甚至傾倒，此時餐桌上的人為了在用餐的藝術家將日常家用的餐桌桌腳去除，並從天花板垂吊下來，在餐桌上用餐的人只要拿起碗筷、尺寸依場地而定artistremovesthelegsofthedailyhouseholddiningtableandhangsitfromtheAslongasthepersoneatingatthediningtablepicksupthebowlsandchopsticks,thesouporevenpicksupthevegetables,thecenterofgravityofthediningtablebeaffectedandthecenterofgravitywillbeshiftedoreventoppled.Inordertothetablefromoverturningwhileeating,thepeopleatthetablemustsupportandwitheachothertotrytomaintainthenormaloperationofthetable.existenceofthediningtablemustrevolvearoundarelationship,whetheritisfamilyrelativesandfriends,thebehaviorthatoccursatthetableisnotjusteating,butcaring,andcaringforeachother.Theartistconductsthiseverydayexperienceinanandextremeway,tryingtomakepeoplequestionthebehavioronthetablethinkabouttheessenceofthebehavior.

吳宇軒

2020 "Annual Exhibition", NTUA Kalos Gallery, New Taipei City, Taiwan

構成

2020 "The 11th International Shoebox Sculpture Exhibition", NTUA Kalos Gallery, New Taipei City, Taiwan

20212020「雕塑年度展」，臺灣藝術大學真善美藝廊，新北，臺灣2020「第十一屆國際袖珍雕塑展」，臺灣藝術大學真善美藝廊，新北，臺灣2021「雕刻の五．七．五2021「直播皮辣椒」，雕塑系實驗展場，新北，臺灣—亞洲國際藝術大學交流展in台灣」，臺灣藝術大學真善美藝廊，新北，臺灣"ChiLive",DepartmentofsculptureExperimentspace,NewTaipei

重影

2020 "Hop! Hop! Liu-Yi Ting & Wu-Yi Jhen Group Exhibition", Art Alley Café, Taipei, Taiwan

Double shadow

2022 "Pretty Good", Underground Experimental Field, Taipei, Taiwan

2021 "Communicate, Navigate, Decelerate", Air Force San-Chong Village 1, House 30-1, New Taipei, Taiwan

吳奕蓁 WU Yi-Jhen 20202022「漂亮的很好2021「通訊、導航、減速」，空軍三重一村，新北，臺灣2020「Hop!2020「台北國際當代一年展」，地下美術館，臺北，臺灣Hop!劉繶婷吳奕蓁聯展」，藝風巷，臺北，臺灣PrettyGood」，地下美術館，臺北，臺灣"TaipeiInternationalContemporaryArtAnnual",Underground Experimental Field, Taipei, Taiwan

2022 / 3D列印 (PLA) 3D print(PLA) / coexistencetheThethemmoreusingsoftware,The位雕塑物立體與平面特質共存的奇異感。最終以具平面視覺效果的空間裝置呈現之，讓觀者產生難以辨認物體維度的狀態，以此回應數面中的窗戶與它的影子反推回立體的狀態，並3D列印出來。與白轉為的凹與凸（照片中深色的區域會變得相對凹陷；淺色的區域則較為凸起），將壓縮於平以窗戶及影子形成方體造型為對象物並拍攝，透過建模軟體，試圖以平面的邏輯將照片中的黑依場地而定windowanditsshadowformedasasquare,andIphotographedit.ThroughmodelingItriedtotransformtheblackandwhiteinthephotointoconcaveandconvexbythelogicofaplane(thedarkareasinthephotobecomeconcave;thelightareasareconvex),andmadethewindowanditsshadowintheplanetoa3Dstateandprintoutin3D.finalspatialinstallationispresentedwitha2Dvisualeffect,makingitdifficultforviewertorecognizethedimensionsoftheobject,thusrespondingtothestrangeof3Dand2Dcharacteristicsofthedigitalsculpture.

溶

2018 "ART Taichung 2018", Millennium Hotel Taichung, Taichung, Taiwan

2019 "Free Art Fair", Songshan Cultural and Creative Park Warehouse Number two, Taipei, Taiwan

2018 "Up and comers in clouds", Cloud Gallery, Taipei, Taiwan

2022 / 塑膠、畫布 Plastic, Canvas / 45.5 x 38 accelerates,onlymaterialWith快速氾濫至你只能一樣快速的閱讀。子，只能透過觀看、欣賞顏色與造形。將塑膠這個氾濫且快速的物件加速，如同網路訊息一樣，塑膠的快速與加熱的速度碰撞，加速的狀態下，一切的物慾都隨之消失，剩下物件最真實的樣cmtherapidcollisionofplasticwiththespeedofheating,theacceleratedstate,alldesiresdisappear,leavingthemostauthenticappearanceoftheobjectwhichcanbeseen,andappreciatedbycolorandshape.Plastic,aproliferation,andfastobjectlikeanetworkmessage,sofastthatyoucanonlyreadasfastasyoucan.

吳權恩 WU Quan-En 201920212018「ART2018「第四屆『雲想藝』動物樂園」，青雲畫廊，臺北，臺灣2019「台北藝術自由日」，松山文創園區2號倉庫，臺北，臺灣2019「材質的存在-『雕塑的應對與思考』」，心動藝術空間，臺北，臺灣2021「桃源美展」，中壢藝術館，桃園，臺灣Taichung台中藝術博覽會」，日月千禧酒店，臺中，臺灣"TaoyuanFineArtsExhibition",ZhongliArtsHall,Taoyuan,Taiwan"'TheExistenceofMaterials'TheCorrespondenceandThinkingofSculpture", Art influence , Taipei, Taiwan

Dissolve

2021 / 壓克力、畫布 Acrylic, Canvas / 190 x 60 workmethod,Thissignificance.incanvaspaintingpaintingtheimages"The粹，完成作品本身的自主性。本次展出序列性的創作方式，循著工具的特性發展出的一種創作方式，以此達到作品的自我純在繪畫與裝置兩者之間，思考繪畫的邊界與形狀的意義。痕跡。在繪畫的物性中，以畫布本身的物件前後關係進行對於繪畫「完成」的探討，使作品游移過程的載體，將整個過程紀錄其中，每經一次的程序即會留下一次的痕跡，呈現共時性的勞動作品分別以繪畫的幻象與物性進行「前前後後」的重覆思考，在繪畫的幻象中畫布成為記錄勞動cmillusionandnatureofpaintingandtheoverlappingthinkingof"frontandbackarerespectivelycarriedout.Thepaintinginthephantominthepaintingbecomescarrieroftherecordingprocess,andtheexperienceprocessisrecordedinit.Whentheiscompletedinthepainting,theworkofthecanvasitselfissurroundedbytheinthepainting.Whenthepaintinginthepaintingiscompleted,theworkoftheitselfissurroundedbytherelationshipbetweenthepaintingandtheinstallationthepainting,andthepaintingworkandtheshapeofthepaintingarediscussed.time,astep-by-steptool-basedcreativemethod,thedressdevelopsauniquecreativecompletestheworkinaself-directedway,andcompletestheautonomyoftheitself.

2018 "Within my will, A puzzle-Lu Chia Nuoh Solo Exhibition", SLY art space, Taipei, Taiwan

呂迦諾 LU Chia-Nuoh 20212015「剖心─呂迦諾個展」，水谷藝術，臺北，臺灣2016「呂迦諾─抽象繪畫展」，金車文藝中心承德館，臺北，臺灣2018「意志遊戲—呂迦諾個展」，新樂園藝術空間，臺北，臺灣2020「各從其類—呂迦諾個展」，龍山文創基地，臺北，臺灣2021「是又不是—呂迦諾個展」，Pièce藝術空間，臺北，臺灣"Beornottobe-LuChiaNuohSoloExhibition",Pièceartspace, Taipei, Taiwan

2015 "Open Up The Mind—Lu Chia Nuoh Solo Exhibition", Waley Art, Taipei, Taiwan 又三又一

2016 "Lu Chia Nuoh Abstract Painting Exhibition", King Car Cultural and Art Center, Taipei, Taiwan

2020 "According to their kinds -Lu Chia Nuoh Solo Exhibition", Lonashan Cultural & Creative Base, Taipei, Taiwan

Three and one

李沛芸

COVID-19

2021 / 油畫 Oil Painting / 91 x 72 carouselwillbetter?guardianThe己正在被入侵，期望早日康復、期望旋轉木馬能停止運作。統)也被入侵，是否會好起來呢，是未知的答案，畢竟已蔓延肺部，期望精靈能早點意識到自疫情蔓延就像樂園裡的旋轉木馬一樣無限巡迴，在不知道的情況下連身體的守護精靈(免疫系cmspreadoftheepidemicislikeamerry-go-rounditisinfiniteloop.Eventhebody'sfairy(immunesystem)isinvadedwithoutknowingit.Wedon'tknowwillitgetTheanswerisignorant.Afterall,ithasspreadtothelungs.Wehopethefairyrealizeearlythattheyarebeinginvaded.Hopeforaspeedyrecovery,andhopethecouldstopfunctioning.

LEE Pei-Yun

stirring in between the space we're in. It is a circle of life. It travels from the static to the dynamic, and return to the static from the dynamic.

2022 "The Because Game", Underground experimental field, Taipei, Taiwan

2021 "So __? ", Taipei National University of the Arts 2021 MFA Degree Show Underground experimental field, Taipei, Taiwan

2016 "TAGBOAT ART FES 2016 Independent" HULIC HALL&CONFERENCE, Tokyo, Japan

2020 "The Night's Journey", Underground experimental field, Taipei, Taiwan

In Between

李俐燕

2021 / 孔版印刷Porous Printing / 24.7 x 18.2 cm

之間

LEE Li-Yen

There再從動態歸回靜態從靜態到動態之中穿梭一種生命延續的過程流動的元素在擾動我們身處的空間中areflowingelements

2016「青年美術組2020「夜行記」，地下美術館，臺北，臺灣2021「於是____呢?」，地下美術館，臺北，臺灣2021「由於.由隙」，地下美術館，臺北，臺灣START」（地村美術畫展）「젊은작가그룹 START.」（지촌미술부 잠언 그림 2016「TAGBOAT전시회），南山圖書館，首爾，韓國ARTFES2016Independent」 HULIC HALL&CONFERENCE，東京，日本

2016 "젊은작가그룹 START. "（지촌미술부 잠언 그림 전시회）, Namsan Public Library, Seoul South, Korea

Modern Portrait

李進能

20222020「漫步艋舺攝影展」，DOTEL西門店，臺北，臺灣2020「當代攝影與錄像藝術沙龍展」，世貿一館，臺北，臺灣2020「『人people』台日攝影交流聯展台北展」，Fotone19寫真，臺北，臺灣2022「新光三越國際攝影大賽」新光三越北中南巡迴展，臺灣"shinkongmitsukoshiinternationalphotographyexhibitionevents",

2020 " 'people'Taiwan and Japan Photography Exchange Exhibition", Fotone19, Taipei, Taiwan

2022 / 藝術微噴 Giclee / 153 x 117 andbasedThistherecognitioncircles.Community實」與「有圖有真相」的思考脈絡。本創作嘗試使用變臉APP，以本人的自拍照為基底，創造出各種「現代肖像」，挑戰「攝影為真衝擊著人們對「眼見為憑」的信仰。以得到社會認同、增加好友配對率，在後製發達的數位時代裡，隱藏於鏡頭後的人為操縱，正社群與交友軟體是現代人拓展社交圈的全新媒介，人們會選擇放上不真實或刻意加工過的影像，cmanddatingsoftwarearenewmediaformodernpeopletoexpandtheirsocialPeoplewillchoosetoputunrealordeliberatelyprocessedimagestogainsocialandincreasethematchingrateoffriends.Thehumanmanipulationbehindcameraimpactspeople'sbeliefin"seeingisbelieving."creationattemptstouseaface-changingapptocreatevarious"modernportraits"onmyself-portraits,challengingthethinkingcontextof"photographyasreality""picturesandtruths."

2020 "contemporary photo & video salon 2020", Convention Center and Event Space, Taipei, Taiwan

2020 "Yajiang Street DOTEL", Taipei, Taiwan

現代肖像

LEE Chin-Neng Taiwan

2021 / 壓克力彩、油蠟筆、彩色墨水於木板上 Acrylics, Oil Pastel, Colored Inks on Wood / 42.5 x 60.5 pleasantAwomen'sbebeforeThe宜人的沙灣，在一棵古老的玉蘭樹前進行著一種不為人知的儀式。徵女性的溫柔堅毅，一如花屬強韌生長的習性。木蘭之女的身體正在獸化，從黑暗洞穴走向一個木蘭是古老的花樹植物，早春長出葉子前就先開花；可見其一樹繁花的燦爛與神聖高潔。木蘭象cm她正在變成野獸，掠食者。Magnoliatreeisknownforitsbeautifulflowers.Theflowersbloominearlyspringthetreegrowsitsleaves.Theancientsplendorandsacrednessofitsflowerscanseenwhenthetreeisinfullbloom.Accordingtotradition,theMagnoliasymbolizesgentleness,femininity,andperseverance.kneelingfemaleisperforminganunknownritualinfrontofanancientMagnoliatreeinasandycove.Sheistransformingintoabeast,apredator.

1992 "Miniature Sculpture Exhibition", REFLEX–Modern Art Gallery, Amsterdam, Netherlands

2017 "Painting Jade Mountain Competition", E.SUN Commercial Bank, Taipei, Taiwan

1992 "Christian M. Nielsen Sculpture Solo Exhibition", Court Gallery, Copenhagen, Denmark

The Last Ritual (by the Ancient Magnolia)

20211992「Christian1992「袖珍雕塑聯展」，2009「亞洲藝術聯盟聯展-越南」，越南國家美術館，河內，越南2017「玉山銀行-畫家畫玉山玉山銀行」，臺北，臺灣2021「宜蘭美展」，宜蘭縣政府文化局，宜蘭，臺灣REFLEX–現代畫廊，阿姆斯特丹，荷蘭M.Nielsen雕塑創作個展」，CourtGallery，哥本哈根，丹麥"YilanAwardsExhibition",YilanCulturalAffairsBureau–Gallery,Yilan,

杜浩恩

2009 "Asia Art Link - Hanoi Welcome Exhibition", Vietnam National Museum of Fine Arts, Hanoi, Vietnam

末代的木蘭儀式

Christian Moeller Nielsen Taiwan

2022 / 錄像 Video /

你是我眼裏的蘋果

林沛瑤 LIN Pei-Yao 202020212021202220222020「田田」，空軍三重一村夏宅，新北，臺灣2021「反正我是信了」，新浜碼頭藝術空間，高雄，臺灣2021「遇見100%的我自己：林沛瑤個展」，南北畫廊，臺北，臺灣2022「漂亮的很好：國立臺北藝術大學美術學系碩士班109級級展」，地下美術館，臺北，臺灣2022「穿越14公里只為你關門」，獅子林商業大樓，臺北，臺灣"ITraveled14kmJusttoClosetheDoorforYou",LionPlaza,Taipei,Taiwan"PRETTYGOOD:TaipeiNationalUniversityoftheArts2022MFADegreeShow",UndergroundExperimentalFields,Taipei,Taiwan"RunintoMy-cell:LinPei-YaoSoloExhibition",Nan-PeiGallery,Taipei,Taiwan"IBelieveItAnyway",SinPinPier—AbsolutelyArtSpace,Kaohsiung,Taiwan"Tian-Tian",SanchongAirForceMilitaryKindredVillageNo.1,NewTaipei,Taiwan

Hey Apple, Hey ME

By you, I see the division of myself. How do your eyes fuse my images into one?

IHey最後你會發現，所有的2都是1，所有的1也都是2。藉由你，我看見了自己的分裂。你的眼睛是如何合成我的影像的呢？映在你眼中的我是2；在你的眼中，我是1嗎？哈囉，別人。哈囉，自己。03'00others.HeyME.amMEswhilereflectinginyourpairofeyes;Inyoureyes,amIthe one?

Eventually, you'll find out that all 2 are 1, and all 1 is 2.

anotherpresentdetermination,hangopportunitiesaboutWhen有現在式，有過去式，希望有一天樹上掛滿花朵。這是一個遙遠大夢想。的畫面。夢想有真有假，它幻化成真實機會並不大，除非有強大執行力。花朵盛開時，有大有小，做完成夢想，不成功就是自我學習。如果將每個夢想像花，掛在樹上，一起茁壯成長，那是美我小時候就有很多天馬行空想法，年輕的時候並不知道這麼多想法，付出行動之後，有成果叫cmIwasakid,Iusedtohaveavarietyofabstractideas.Atthatage,Ihadnoideatakingactionandmakingdreamscometrue,andIdidn'tknowthatfailuresareforself-learning.Dreamsarelikeflowers.Whatabeautifulpictureitistothemonatreeandgrowwiththem.Dreamscanberealorsurreal.Withoutgreatitisnevereasytomakedreamscometrue.Flowersbloom,bigorsmall,orpast,andIhopetherewillbeatreefullofflowersoneday.Andtherecomesdistantandbigdream. 62

Dream Tree

林幸珍 LIN Hsin-Chen 2019「休士頓國際拼布節」，George R. 20192017「大洋洲拼布大會」，皇家展覽館，墨爾本，澳洲2018「林幸珍纖維藝術個展」，國立臺南生活美學館，臺南，臺灣Brown會議中心，德州，美國"InternationalQuiltFestival",GeorgeR.BrownConventionCenter Houston, TX, USA 2018 "Lin Hsin-Chen's Fiber Art Solo Exhibition", National Tainan Living Art Center, Tainan City, Taiwan 2017 "Australasian Quilt Convention", Royal Exhibition Building, Melbourne, Australia 夢想之樹

2016 / 自染布、市售花布、絲、自染線 Hand-dyed Fabrics, Commercial Cottons, Silk, Hand-dyed Threads / 100 x 100

flowandrealitywithThe其身，每個人都是人體空污場域。不分區域的在空氣中移動，藉此反思空污議題的本位主義，在氣候流動之中，沒有誰可以獨善充滿畫意卻是美麗的悲歌。本作品以虛擬重現實境方式，傳達火力發電下的微塵，無所不在、微塵彌漫的城市與鄉村，繁華和純樸同時披上暗黑的薄紗，在寧靜中呈現類水墨風景，朦朧間cmdust-filledcitiesandvillages,prosperousandsimpleatthesametime,arecoveredadarkveil,presentinganink-likelandscapeoftranquility.Thisworkusesvirtualtoconveythedustunderthermalpowergeneration,movingintheairubiquitouslyregardlessofregion,therebyreflectingontheselfishnessofairpollutionissues.Intheofclimate,noonecanbealone,andeveryoneAllarehumanairpollutionsites.

2016 "Yilan Award", Yilan Cultural Center, Yilan, Taiwan

暗黑 - 天涯共此時

2017 "Taoyuan Fine-Arts Exhibition", Taoyuan Cultural Center, Taoyuan, Taiwan

2018 / 數位攝影 Digital Photography / 120 x 120

2014 "Nanying Award", Xinying Cultural Center, Tainan, Taiwan

Museum, Kaohsiung, Taiwan

2018 "Taoyuan Contemporary Art Award", Taoyuan Arts Center, Taoyuan, Taiwan

20182014「南瀛獎」，臺南文化局，臺南，臺灣2016「宜蘭獎」，宜蘭文化局，宜蘭，臺灣2017「桃園美展」，桃園文化局，桃園，臺灣2018「桃源創作獎」，桃園展演中心，桃園，臺灣2018「高雄獎」，高雄市立美術館，高雄，臺灣"KaohsiungMuseumofFineArts",Kaohsiung

LIN Chen-Hung

林振宏

Dark-End of the place at this same time

林淑娟

LIN and the moon, I wonder if the village is full of snow." (Tang Li Bai's "Beginning of Winter") In this solar term series, the focus of viewing the scenery is taken to see the truth, there is no difference, and it achieves leisure and leisure.

Shu-Chuan 201020112016201720212010「2010『設計創意新紀元』臺澳當代藝術交流展」，銘傳大學，桃園，臺灣2011「詩性造境－林淑娟個展」，大漢藝廊，新北，臺灣2016「台灣當代一年展」，花博爭豔館，臺北，臺灣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，臺灣2021「思-湖光畫會2021聯展暨雲林縣美術協會邀請展」，台北市藝文推廣處，臺北，臺灣"Sofie-HuGuangPaintSociety2021ExhibitionandYunlinCountyArtAssociationInvitationExhibition",TaipeiCityArtsPromotionOffice,Taipei,Taiwan"YunlinCountyArtAssociationandHuGuangPaintSocietyExhibition",ArtCenterforTransWorldUniversity,Yunlin,Taiwan"TAIWANANNUAL",TaipeiExpoParkExpoDome,Taipei,Taiwan"PoeticLandscape－Lin,Shu-ChuanSoloExhibition",Ta-HanGallery,NewTaipei,Taiwan"2010NewEraofDesignandCreationTaiwan．AustraliaContemporaryArtsExchange",MingChuanUniversity,Taoyuan,Taiwan 立冬 Beginning of winter 2008 / 油彩畫布 Oil Painting on Canvas / 78 x 154 cm 「----醉看墨花月白，恍疑雪滿前村。」（唐李白《立冬》）在此節氣系列中，取觀景的專注而見 "----真實，無有分別，達於閒情逸致。Drunklookingatthewhiteink flowers

National Taichung

問卷調查

洪伊又 HUNG Yi-Yu 20202020「第13屆炫光計畫決選暨頒獎典禮」，國家歌劇院，臺中，臺灣"The13thBrightStarProjectFinalSelectionandAwardsCeremony",

Theater, Taichung, Taiwan

2022 / 錄像Video / 《問卷調查》的起源於郭台銘曾經表示參與總統選舉是媽祖托夢，令我想到作品或許可以請媽祖4'20指示，藉由「擲筊」請示神明的過程試圖釐清自己與作品的關係，而後探討著是否能不干涉作品的走向又或者使作品跳脫創作者的思維，以「擲筊」貫穿全片，將請示之動作轉化成為聊天及溝通的媒介，再從中進行問卷分析。Tryingtoclarifytherelationshipbetweenmyselfandtheworkthroughtheprocessofaskingthegodsforinstructions.

Questionnaire

New

胡筱霓 HU Hsaio-Ni 202020212018「師大日光藝文祭」，國立臺灣師範大學，臺北，臺灣2019「《十年有承2020「台灣當代一年展」，花博爭豔館，臺北，臺灣2021「台灣當代一年展」，線上展，臺北，臺灣一事無成》藝庶涉影展」，泥吧，臺北，臺灣"TAIWANANNUAL",Online,Taipei,Taiwan"TAIWANANNUAL",TaipeiExpoParkExopDome,Taipei, Taiwan

A Narrative / 鑰匙、保險箱、錄像裝置 Steel Safe, Video Installation / Dimensions Variable

2019 "Ten years", Ni Bar, Taipei, Taiwan

About A Non-narrative 2022

wantStepshowSteptherekeywords,StepAreMy迎生產自己的觀看。StepStep有附註註解的鑰匙中，可能會有一把可以打開它。Step有任何線索可以通往嗎？我的作品在裡面。1.想像一組可能的關鍵字，無論是關於箱子中作品可能的核心、論述、脈絡、意圖，在所2.選擇或不選擇，想像或不想像，影像皆持續放映與存在。3.若能夠打開箱子，可以想辦法帶走裡面的東西，如果你想要的話。若是沒有打開，也歡workisinthesafe.thereanycluestoseeingit?1.Thinkofasetofpossiblekeywords,outofallthekeysannotatedwithsomewhetheritisthepossiblecore,discourse,context,intentionthatofthework,mightbeoneofthekeyscanopenit.2.Tochooseornottochoose,toimagineornottoimagine,thevideocontinuestoandexist.　　3.Ifthesafeisopen,youcanfindawaytotakethethingthat'sinsideitawayifyouto.Ifthesafeisnotopen,itiswelcometocomeintoyourownwaysofseeing. 70

2018 "NTNU Sunlight Art Festival", National Taiwan Normal University, Taipei, Taiwan 關於一部非敘事影像的新敘事

Keys,

Waiting for Dawn at Islands

2020 "Marking Time", Tent Gallery, Edinburgh, UK

2021 "Rookie's Guide to Artist Residency", Art Park, Taichung, Taiwan

2021

Two-channel Video Installation, Sound /

2021 / 雙頻道錄像裝置、聲音

徐莘 SHYU Hsin 2022「প্রতিধ্বনি // ECHO // 迴響」，Britto 20222020「『時間的印記』個展」，Tent2021「新樂園第二屆媒體「影」像「展」：定向失序」，新樂園藝術空間，臺北，臺灣2021「台灣當代一年展評審團獎入圍特展」，福利社，臺北，臺灣2021「『給新手的駐村指南』群島藝術園區2021第三期駐村藝術家創作發表」，群島藝術園區，臺中，Space，達卡，孟加拉臺灣Gallery，愛丁堡，英國" প্রতিধ্বনি // ECHO //", Britto Space, Dhaka, Bangladesh

2021 "TAIWAN ANNUAL Jury Prize Shortlist", FreeS Art Space, Taipei, Taiwan "Disorientation", Shin Leh Yuan Art Space, Taipei, Taiwan

dependingwonderdarknessaandcompressedHowever,ThreedawnactuallyotherashowsThis並置製造錯覺，錯覺挑戰感官，這是我對於認知與真實的提問。斷輪迴、以及未經加工的時間。聲音。三個元素呈現看似合理自然的夜晚樣貌，事實上卻是三個不一樣的內容：重組壓縮、不閃爍的紅燈映照到室內牆上的影像，是一分鐘的影片不斷循環；然後是照真正時間進程錄下的作品以三個元素組成：一是深夜的窗景，由整夜中許多不同時間點的片段剪接而成；一是窗外灰。若無人類活動作為依據如窗外的聲音、街上路燈定時熄滅等，時間的流逝很難被察覺。在台中駐村時我發現當地黎明天色變換僅僅發生在15分鐘之間，那之前天空是幾乎不變的深3:33'02workconsistsbythreeelements:twovideopiecesandasoundrecording.Onevideothestreetviewfilmedfrommywindow,lookssimplylikelate-nightscenebutinfactcombinationofmultipleclipsfromdifferenttimeofthenightbeingeditedtogether.Thevideoshowstheredflashingtrafficlightprojectedthroughwindowonmywallandisaone-minutevideoloop.Thesoundpieceisrecordedfromlatenightuntilnearlyandistheonlypartplayedbyrealtime.elementsformaseeminglyreasonablelate-nightscene,withoutabnormality.thetruthisthethreeelementsarenotpresentingthesame"night".Oneshowingandrestructuredtime,oneshowingaconstantlyrepeatedsegmentoftime,oneshowingunprocessedtime.Thisworkisachallengetooursensesandbrain,alsoquestiontoourperceptiontowardsreality.BecauseinTaichung,thenightremainssameuntiljustbeforethedawnandcanonlytellbysubtlehumanactivities.Makesmehowtobuildoursenseoftimeifweareinacompletelydarknightlikethiswithoutontheartificialtraces. 72

（在群島）等待黎明

Islands

林宏政 Time LIN 201820192012「針藏美好時光個展」，臺北市立社教館，臺北，臺灣2013「賞宇宙時光個展」，國立中正紀念堂志清廳，臺北，臺灣2014「時光林的油畫世界個展」，國立臺灣藝術教育館，臺北，臺灣2018「看見時光林個展」，國父紀念館翠溪藝廊，臺北，臺灣2019「巴黎藝購博覽會個展」，羅浮宮卡魯塞爾廳，巴黎，法國"ArtShoppingParis",CarrouselduLouvre,Paris,France"TimelinArt2010-2017",NationalDr.SunYat-senMemorial Hall, Taipei, Taiwan

2013 "Admiring Universe Times", Chiang Kai-shek Memorial Hall, Taipei, Taiwan

2012 "A Splendid Time to keep", Taipei Cultural Center, Taipei, Taiwan

20210318

2021 / 油畫 Oil on Canvas / 72.2 x 60.5 importancespreadcombined,likewifethedark,This無法展開雙翼共同邁向未來，欲表達婚姻相處的重要性。體，身體相連猶如皺摺一般，互相牽引難以分開。當陰陽結合，好比蝴蝶飛舞，兩人若無同心，如飲食男女性別雖是相對，成為一對後，角色是互補；夫妻本質上是一體的，兩者像命運共同這世上充滿各種二元力量，如陽與陰、正與邪、明與暗、美與醜、佛與魔、命運與宿命等，例cmworldisfullofvariousdualisticforces,suchasyangandyin,goodandevil,lightandbeautyandugliness,Buddhaanddevil,destinyandfate,etc.Forexample,althoughsexisopposite,afterbecomingapair,therolesarecomplementary.Thehusbandandareessentiallyone;thetwoarelikeacommunityofdestiny,thebodyisconnectedawrinkle,anditisdifficulttoseparatethemfromeachother.Whenyinandyangareitislikeabutterflyflying.Ifthetwoarenotinthesameheart,theycannottheirwingsandmovetowardsthefuturetogether.Theywanttoexpresstheofmarriage.

2014 "The Art World of Timelin", National Taiwan Arts Education Center, Taipei, Taiwan

高婕綾

Thetis Goddess in the rain

雨中女神 - 忒提斯

KAO Jie-Ling

2022 / mp4 / 通過直覺靈感的藝術創作描繪宇宙偉大精深浩瀚的智慧啟發。3'46" 76

2010 "Movies Legend Oil painting exhibition", Wujiaochang 800 (16th exhibition)

2022 / 現成物、回收木框 Found Object, Recycled Frame / 5 x 7 cm TakeRecordingindustrialBeverageAnythingtracesThecellProbablyYou,以回收相框，整理，盛裝輕臉。紀錄當代痕跡，一個個童稚的輕臉。一年可以繞赤道幾圈的易開罐，冰冷華麗的工業產品，隨手飲料罐被隨手丟棄。還有？還有？整個故宮、博物館、美術館、圖書館，等藝術殿堂，就是昔日當代痕跡。可能最突出的是手機、社交軟體、轉來轉去分享的數位影像。族繁不及備載，絕大多數流失湮滅。你妳我他她它從當代活過走來，留下甚麼痕跡？me,he,she,it,wehavelivedfromthecontemporaryera,whattracesareleft?themostprominenttracesarethosedigitalimageswhicharesharedaroundinphonesandsocialmedia,etc.Mostofthemarelostandannihilated.NationalPalaceMuseum,museums,artgalleries,libraries,andotherartpalacesareof"thepastcontemporarytimes".else?cansthatcancircletheequatorafewtimesayear,arecoldandgorgeousproductsoftenbeenthrownawayeasily.thetracesofcontemporarytimes,eachwithachildishlightface.recycledphotoframes,organize,dressupandlightyourface.

高錫麟 GAO Xi-Lin 2018「牽手—生態 20182004「新竹師大實驗國小公共藝術」徵選第二名2008「中華民國視覺藝術協會監事」2009「光影非光影」油畫展，北京798聖邦德畫廊（第15次個展）2010「光影傳奇」油畫展，上海五角場800號（第16次個展）水墨潑墨畫展」，宜蘭縣政府文化局（第18次個展）"holdinghands-ecologicalinkspillInkPaintingExhibition",Ilan County Cultural Affairs Bureau (18th exhibition)

2008 "Association of the Visual Arts in Taiwan Supervisor"

輕臉 2 隨手痕跡

2009 "movies" non-light oil painting exhibition", Beijing 798 Saint bond gallery (15th exhibition)

Shanghai

2004 "Normal University in Hsinchu Lab of small public art", to the second option name

Light Face 2 Easy Traces 2022-04-01

張子恩 CHANG Tzu-En 202020212019「噓」，師大附中地塹，臺北，臺灣2020「持者偏誤」，師大附中地塹，臺北，臺灣2021「0-1」，實踐大學敏初廳，臺北，臺灣"0-1",SCCDExhibitionHall,Taipei,Taiwan"Holderbias",HSNUExhibitionHall,Taipei, Taiwan 2019 "Hush", HSNU Exhibition Hall, Taipei, Taiwan 學習成為一棵樹 Learn to be a tree 2022 / 複合媒材 Composite Media / IassameisInandatWhentheThe我好相信———只要靜止不動就會成為一棵樹了。和葉脈，老人是人與樹的交接處。非常嚮往的，同時，在對身體的觀察裡發現很多與樹的共通點，像是皮膚和樹皮，血管、神經在對樹的觀察裡，隨風搖擺的樹葉都在畫圈，好像裡面有另一時間維度，那個慢的時間感是我靜止的。轉軸線垂直的陀螺，穿越空間進入深處，看著彼此的形象，「一」開始向左右擴散，旁人看你是非常平靜簡單的時候，才會很仔細地往內看，當你成為「一」的時候，沒有任何偏移，像高速旋道通為一，萬物齊一。以目視目，以耳聽爾，以心復心。萬物是其所是。05'00''wayisone,andallthingsareone.Toseewiththeeyes,tohearwiththeears,torestoreheartwiththemind.Allthingsarewhattheyare.youbecome"one",thereisnodeviation,likeagyroscopewithaverticalaxisrotatinghighspeed,youtravelthroughspaceintothedepthsandlookateachother'simages,"one"beginstospreadtotheleftandright.theobservationoftrees,theleavesswayingwiththewindaredrawingcircles,asifthereanotherdimensionoftimeinside,thatslowsenseoftimeiswhatIlongfor,andatthetime,intheobservationofthebody,Ifoundmanycommonpointswithtrees,suchskinandbark,bloodvessels,nervesandleafveins,theintersectionofhumanandtrees.believethatifyoustaystill,youwillbecomeatree. 80

張伯豪

對做練習：保濕

20202020「2020高雄獎」，高雄市立美術館，高雄，臺灣2020「退潮」，邊境黑白切，新竹，臺灣2020「剛隨著你剝離」，山屋口口，臺北，臺灣"STEEL_CEMENT_GLASS",SHANWUKOUKOU, Taipei, Taiwan

CHANG Po-Hao

2020 "2020 Kaosiung Award", Kaosiung Museum of Fine Arts, Kaosiung, Taiwan

Practice For Modeling Each Other : Moisten

2022 / FRP、不銹鋼、木料、水霧馬達、養生膠帶 FRP, Stainless Steel, Wooden Material, Sprinklers, Cloth-Masker / 240 x 240 x 210 thatThroughmaterial,shiftedphysicalwaterprocess,IseemIn可被觀看的展演，而最後成為一種帶有劇場性的雕塑演示。係，再去演繹身體、同性情慾、身份等議題，也透過錯置過程中的想像讓工作室狀態成為公共些雕塑動作的同時，雕塑家的身分轉而接近一種導演的視角去調度安排身體、材質、物件的關是身體的擠壓、打磨、翻模、噴水保濕等，與日常的身體經驗產生擴張後的連結，再去重塑這試圖把雕塑的動作當作雕塑主體，拆解這過程中的行為，被獨立出來的雕塑動作(sculpting):像意識到在雕塑的當下，我(雕塑家)與對象(雕塑)似乎建立了可被演繹關係。cmthemoment,realizingthatIamsculpting,I(thesculptor)andtheobject(thesculpture)toestablishaninterpretablerelationship.trytotreatsculptingmovementasthesculpturalsubject,dismantlethebehaviorsintheandseparateoutthesculpting:suchasbodyextrusion,polishing,moldturning,sprayingandmoisturizing,etc.,tocreateanexpandedconnectionwiththedailyexperience.Whenreshapingthesculptingmovement,thesculptor'spositionistoadirector'spointofviewtoadjustandarrangetherelationshipbetweenbody,andobject,therebyinterpretingissuesofbody,same-sexdesire,andidentity.theimaginationofthedislocationprocess,thestudiobecomesapublicexhibitioncanbewatched,andfinallybecomesakindoftheatricalsculpturedemonstration.

2020 "Low Tide", FRONTIER, Hsinchu, Taiwan

張家寧 ZHANG Jia-Ning 2022「潮'限定 - 國際當代潮流藝術展」，亞米藝術，臺中，臺灣 2021「Our 20222021「動物」，Binance2021「臺灣銀行藝術祭2021「NFT世界大師賽」，臺北新藝術博覽會，臺北，臺灣Expo_起厝計劃」，杜拜世博，杜拜，阿拉伯聯合大公國-繪畫季」，台灣銀行，臺北，臺灣NFT，Binance，Binance"Freestyle-ArtworkshortlistedforContemporaryArtPop-Up Show", YAMI ART SPACE, Taichung, Taiwan

The broad sun adds to the gleam Spent a sunny moment below

Young and beautiful red burning in the reflection under the water Complete every noble life, breathing glowing

2021 "Bank of Taiwan Art Festival-Painting Season", Bank of Taiwan, Taipei, Taiwan

2021 / Cinema 4D/ 60 x 85 cm LetDays完成每一個尊貴的生命，呼吸煥發在那水面下倒影中燃燒著青春美麗的紅色從每一公升的養分中尋求治癒的力量在下面度過了陽光明媚的時刻廣闊的太陽增加那閃閃粼光讓我同樣的下沉與向外的地球平齊記憶中波動的日子thatfluctuateinmemorymysamesinkbelevelwiththeoutward earth

2021 "Animals", Binance NFT, Binance, Binance

RTX-3060-9

2021 "NFT World Masters", Art Revolution Taipei, Taipei, Taiwan

Seek healing power in every liter of nutrients

2021 "Our Expo Starting house plan", Dubai Expo, Dubai, United Arab Emirates

2008 "Second Vision" , National Taiwan Museum of Fine Arts, Taichung, Taiwan

2017 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

CHANG San-Hsueh

2022 / 油畫、畫布Oil Painting on Canvas / 91 × 72.5

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

張善學

Study for plants I

This灣特殊的地理也承載不同的人文、歷史，各種文化的融合也跟島嶼的脈絡習習相關。度是冰河時期動植物生存的邊界，台灣收容了熱帶到寒帶多樣的生物，造就豐富的生態，而台都在這個窗台上留下並生長，我稱之為「避風島」。台灣也是一個動植物的避風島，北緯23.5日常。在都市中的一個陽台鐵窗上塞滿了這些植物，就像庇護所一樣，這些植物不論來自哪裡近年來我陸續收集了上百棵蕨類，台灣原生和國外進口都有，每天澆水觀察他們已經成為我的cmseriesisstudyforplantsthatIcollected.

2018「2018 20182008「『第二種視野』聯展」，國立臺灣美術館，臺中，臺灣2015「高雄漾藝術博覽會聯展」，駁二藝術特區，高雄，臺灣2016「生活/場景-張善學個展」，靜慮藝術，臺北，臺灣2017「台灣當代一年展」，花博爭豔館，臺北，臺灣高雄獎」，高雄市立美術館，高雄，臺灣"KaohsiungAwards2018",KaohsiungMuseumofFine Arts, Kaohsiung, Taiwan

2016 "Living / Scene, Chang San-Hsueh Solo Exhibition", Jinglu Art, Taipei, Taiwan

植物習作 1

張菀玲 CHANG Wan-Ling 20212019「Garden2020「噹噹噹歡樂送」新樂園藝術空間第14期成員聯展，新樂園藝術空間，臺北，臺灣2020「台灣當代一年展」，花博爭艷館，臺北，臺灣2021「台灣當代一年展」，線上展出，臺北，臺灣2021「線上正發生」2021張菀玲行動錄像展，新樂園藝術空間，臺北，臺灣oftheArtisans藝術節2019」，青年廣場Y旅舍，柴灣，香港"ON-LINEPOP-UP",2021ChangWan-LingMobileVideoSoloExhibition,Shin Leh Yuanh

Art Space, Taipei, Taiwan

2020 "2020 Happy Delivery", the 14th member exhibition of Shin Leh Yuanh Art Space, Shin Leh Yuanh Art Space, Taipei, Taiwan

IDOL TALK

2022 / 攝影裝置 Photograph Installation / 100 x 133.33 cm

2019 "Garden of the Artisans Festival 2019", Youth Square Y Loft, Chai Wan, Hong Kong

也是那麼美好的一天

Yeah………………….SomethingSomethingAs是的………………………….無拘束的那些事繼續流轉的那些事也是那麼美好的一天abeautifuldaycontinuesfreely 88

2021 "TAIWAN ANNUAL", Online, Taipei, Taiwan

2020 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

因為您，成就更好的我

You make me a better person

Fun Market, Keelung, Taiwan

2019 "In the flow of His Love", Gallery Fine, Seoul, Korea

2022 / 縮時攝影 Time-lapse Video / dedicatedwasbettertheofSince20成就更好的我」。這部短短的現場繪畫創作紀錄縮時攝影錄製於2022的時候，連在廚房裡做菜、散步、搭公車、開車、繪畫等等都是；因而深深感受到「因為您，自從學習正統瑜珈靜坐之後，個人身心靈常處於一種甜美的「天人合一」狀態，不只是安靜坐著03'17/2/22（二）2:22pm~:22~22:22共計8小時，謹此獻給這個世界。learningorthodoxyogameditation,mybodyandmindarealwaysinasweetstate"unitybetweenmanandnature,"notonlywhensittingquietlybutalsocookinginkitchen,walking,takingabus,driving,painting,etc.;Therefore,"Youmakemeaperson"Idodeeplyfeel.Thistime-lapserecordingofon-sitepaintingcreationrecordedon2022/2/22(Tuesday)2:22pm~20:22~22:22for8hours,whichistothisworld.

202120222019「在祂愛的波流裡」，Gallery2019「紙上靈性頌舞」，Lahan2020「喜悅滿圓」，楊逵文學紀念館，臺南，臺灣2021「宇宙之愛」，國立海洋科技博物館樂市集，基隆，臺灣2022「因為您，成就更好的我」，私藝術空間，臺北，臺灣Hotels，浦項，韓國Fine，首爾，韓國"Youmakemeabetterperson",UniqueArt,Taipei,Taiwan"CosmicLove",NationalMuseumofOceanScienceandTechnology

曹育維

CAO Yu-Wei

2020 "Ánanda Mandala", Yang Kui Literature Memorial Museum, Tainan, Taiwan

2019 "Kiirtana on paper", Lahan Hotels, Pohang, Korea

許逸芸 HSU I-Yun 20222022「情緒加速器」市長官邸沙龍，臺北，臺灣"MoodBooster"MansionHouseSalon,Taipei, Taiwan 玄牝 Genpin²² 2022 / 數位噴墨 Giclee Prints / 60 x 60 「穀神不死，是謂玄牝。玄牝之門，是謂天地根。」cm 「玄」乃幽遠之意，「牝」為雌獸、陰性能量的代稱，老子視之為「道」，這個陰性能量即是老子《道德經．六章》核心思想——對「守柔貴慈」、「柔弱勝剛強」的反覆提倡。本作品試圖將此東方哲思與酷兒性作結合，以作為性少數、非二元性別與女性戀者的視角，探討陰性情慾，女體與陰性不再作為單方面被物化、凝視、慾望的存有，而是擁有主體性、能動性與創造力的「性的實踐者」。Genpinmeans"feminineenergy"in"TaoTeChing"byLaozi5000yearsago.It'sanoldphilosophythatdiscussthepowerofbeingtenderandhumble.ThisworklikestoconnectGenpin(thefeminineenergy)withqueertheory.AsaLGBTQ+,agenderandgynephilia,theeroticismtomecouldpresent/empoweroursubjectivity,agencyandcreativity.Rejecttobeone-sidegazed,longedforandobjectifiedifwedon'twantit. 92

Through the creation of ink and wash on the canvas, the flow and congealing of water are always present in form and color, and the mystery is also in it

2021 "Taiwan-Japan-Korea International Exchange Exhibition", Chuncheon National Museum, Chuncheon, South Korea

2019 "Invited Solo Exhibition", New Taipei Arts and Culture Center, New Taipei, Taiwan

連瑞芬

2021 / 布面水墨 Ink on Canvas / 90 x 90

Top of Mount Tarzan

New Taipei, Taiwan

2021 "Cross-Strait Calligraphy and Painting Creation and Exchange Exhibition", Zhang Rongfa Foundation, Taipei, Taiwan

岱宗攬月

2020 "New Oriental Modern Painting and Calligraphy Exhibition", Keelung Art Center, Keelung, Taiwan

LIEN Jui-Fen 20222019「北岸有天光邀請個展」，新北板橋藝文中心，新北，臺灣2020「新東方現代書畫家聯展」，基隆文化中心，基隆，臺灣2021「台日韓國際交流展」，國立春川博物館，春川市，南韓2021「江山如此多嬌-兩岸共繪」，張榮發基金會，臺北，臺灣2022「新北美術家邀請展」，新北板橋藝文中心，新北，臺灣"NewTaipeiCityArtistsBiennale",NewTaipeiArtsCenter,

Imagination藉由布面基底的水墨創作，水的流動與凝止，存乎時並顯於形色，玄妙亦在其中。奇想泰山之頂，觀時境人事更迭，萬變有不變，至理在其中。cmatthetopofMountTai,watchingthechangingsituationofpeople and affairs, all changes are constant, the truth is in it.

2018 "The Beauty of Taiwan Travelin Exhibition", Ethnographic Museum, Zagreb, Croatia Zagreb, Croatia

Wild Awareness Series II

2018 "The Beauty of Taiwan USA-Travelir Exhibition", Hawaii State Build, Hawaii, American

野性覺知系列 II

郭佳蓁

2018 "24th Art Mirai Intrnaitional Art Exhibition", National Art Center, Tokyo, Japan

2019 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

KUO Chia-Chen 20212018「台灣之美巡迴展」，克羅埃西亞國家民俗博物館，薩格勒布，克羅埃西亞2018「台灣之美美國巡迴展」，夏威夷州政府大樓，夏威夷，美國2018「國際公募藝術未來展」，日本國立新美術館，東京，日本2019「台灣當代一年展」，花博爭艷館，臺北，臺灣2021「法國蒙娜麗莎國際藝術沙龍展」，蒙娜麗莎美術館，巴黎，法國"2021GalleryMonaLisaInternationalSalonD",GalleryMonaLisa,Paris, France

022 / 紙張拼貼 Paper College / 80 x 55 thatbywantCollection自我的生活哲理。呈現主體與背景的畫面構成。本作品以黑貓的形象呈現出動物不受束縛、坦率而不造作、忠於收集各式風格的繪畫作品、動物、植物的圖像，選擇所需要的部分後再剪裁下來，以黏貼方式cmofpaintingsinvariousstyles,imagesofanimalsandplants,selectthepartyouandcutitout.Thecompositionofthemainbodyandthebackgroundispresentedpasting.Theworkusestheimageofablackcattopresentthelifephilosophyofanimalsareunfettered,frankandunpretentious,andloyaltothemselves.

Art,

Taiwan 五斤聖殤像第二號 5 Kilo Pieta #02 2020 / 塑膠袋、塑膠收納架、壓克力板、木材 Plastic bag, Storage Rack, Arcrylic, Wood

Yen

陳文祥 CHEN Wen-Hsiang 201620222001「歡樂迷宮」，臺北當代藝術館，臺北，臺灣2004「剩空間」，新樂園藝術空間，臺北，臺灣2012「感性生產：當知識變成態度」，關渡美術館，臺北，臺灣2016「類似過於喧囂的孤獨」，北師美術館，臺北，臺灣2022「小中見大」，臺北市立美術館，臺北，臺灣"SmallIsBeautiful",TaipeiFineArtMuseum,Taipei,Taiwan"SimilarityofBeingTooNoisy",MuseumofNationalTaipei University of Education, Taipei, Taiwan

Taiwan

2004 "Saint Something", Le Art Space, Taipei, "Labyrinth of Pleasure", of Contemporary Taipei, / 60.5 x 39.5 x 8.5 「聖像」系列是以台灣特有的紅色條紋塑膠袋現成物為媒介，經過摺、拉、扯、壓出造形成為作cm品。觀者近看時常會以為只是一個被壓扁的塑膠袋，但當後退幾步看時，人們心目中典型的聖像就偶然浮現。觀者的感受從一個塑膠袋的"知覺"轉換成為一個觀音像的"感覺"，這樣的過程多少帶給人有如宗教顯靈般的經驗，一不留神「聖像」就會稍縱即逝。而塑膠袋物件本身也從一個令人討厭的垃圾變成藝術品，此作品垃圾、藝術並存，兩者彷彿道成肉身化為一體。Theviewer'sfeelingsaretransformedfromthe"perception"ofaplasticbagtothe"feeling"ofanicon.Thisprocessbringspeopletosomeextentanexperiencelikeareligiousmanifestation,andthe"icon"willbefleetingifoneisnotcareful.Andtheplasticbagobjectitselfhasalsochangedfromanastypieceofgarbagetoaworkofart.Inthiswork,garbageandartcoexist,asifthetwowereincarnatedintoonebody.

Taiwan 2001

Museum

2012 "Production of Senses: Knowledge becomes Attitude", Kuandu Museum of Fine Arts, Taipei,

When

Shin

Beautiful New World 2022 / 油畫 Oil Painting / 117 x 91 thegamespace.times,Forchildren,symbolizesIn制思想、破壞秩序成為新世界的霸主。觸昇華到虛擬空間，但這看似美好的遊戲世界是否存在未知的隱患悄悄的滲透我們的基因，控成長的孩子來說從遊戲的過程就是去探索認知事物，隨著時代變化兒童玩的對象物也從實體接被世界同化的心靈狀態，而就像小孩一樣對於這個美好又虛幻的世界充滿新鮮與好奇，對於在畫面中小孩身上穿的是一件鹿的造型的衣服在這個遊戲空間，這個小孩的造型象徵著我們還未cmthepicture,thechildwearsadeer-shapeddressinthisgamespace.Thischild'sshapethementalstatethatwehavenotbeenassimilatedbytheworld,andjustliketheyarefulloffreshnessandcuriosityaboutthisbeautifulandillusoryworld.growingup,theprocessofthegameistoexplorecognitivethings.WiththechangesoftheobjectsplayedbychildrenarealsosublimatedfromphysicalcontacttovirtualHowever,whetherthereareunknownhiddendangersinthisseeminglybeautifulworldquietlypenetrateourgenes,controllingideas,destroyingorderandbecomingoverlordofthenewworld.

CHEN Yi-An

陳怡安

100

美麗新世界

陳芝宇 Adele CHEN 回憶在拍攝的時候已經空白 Memories were gone while ﬁlming 2022 / 底片、塑膠套 135 Negative Film, Film Sheet / 59.4 x 42 20162016201720212015「台灣藝術家博覽會」，花博舞蝶館，臺北，臺灣2016「第十一屆Tagboat獎展」，Richmond娛樂平台，臺北，臺灣2016「夏日獨立藝術展」，2017「第八屆驚喜公益藝術展」，EARTH2021「假日拍賣」，臺北美國學校，臺北，臺灣disappearingthisAimagesonperiodlostHowever,whichPhotography消逝於偶發之中，產生了時間性消失但載體被留下的結果。一件好的攝影作品本身被期待的是一種時間性所帶來的成果，但是透過這樣的手法，卻讓時間回憶在拍攝的時候就消失已經成立。一捲底片拍攝可能並非短期間會拍完，大多時候創作者本人並不記得裡面到底拍了什麼，因此然而，以嚴重過期底片來做實驗，有時就會發生，回憶在拍攝的瞬間已經消失的事件。再加上之後。攝影，是一種保存記憶的方式。我們期待底片的成像，能夠讓我們保留這件記憶到期待的許久cmisawayofpreservingmemories.Welookforwardtotheimageweproduced,willallowustoretainthismemoryforalongertimethanweexpect.experimentingwithlong-expiredfilmsometimesletsusrecalleventsthatwereatthemomentofshooting.Fillinguparolloffilmmaynotbecompletedinashortoftime.Mostofthetime,thecreatorthemselvesdonotrememberwhatwasshotit,thememoryoftheshotatthetimedisappears,andisonlyrekindledwhenthefinallycometolight.goodphotographicworkisexpectedtobetheresultoftemporality.Butthroughtechnique,timeisallowedtodisappearbychance,resultinginthetemporalitywhilethecarrierremains.K44藝廊，雅典，希臘Holmeside咖啡館，桑德蘭，英國"HolidayAuction",TaipeiAmericanSchool,Taipei,Taiwan"Surprise8th",EarthK44Athens,Greece"SoloArtsAummeropeningevent",Holmesidecoffee,Sunderland,UK"11thTagboatAwardExhibition",Richmond,Taipei,Taiwan2015"ArtistFairTaiwan",TaipeiExpoParkExpoHall,Taipei,Taiwan 102

陳冠瑋、何晉倫 CHEN Kuan-Wei、HO Chin-Lun 陌生刻痕 Unfamiliar Traces 2022 / 舞蹈、電腦、投影機 Kinect, Processing, AE, Dance, Computer, Projector / 2021202220222021「舞蹈影像展『在門之後』」，線上，全球2022「放視大賞『虛實計畫』」，高雄展覽館，高雄，臺灣2022「堤頂之星2.0『陌生美』」，王道銀行總部藝廊，臺北，臺灣city."defamiliarization",theInternetIn這讓我想到了「陌生化」一詞，因此我透過對於城市的感受，以陌生及肢體來詮釋它。步調，卻鮮少停下腳步來感受我們身處的城市，因此我們對於身處的城市感到既陌生又熟悉，在現代，人們因為網際網路及快速交通的問世導致生活步調逐漸加速，我們已習慣快速的生活02'09''moderntimes,people'spaceoflifeisgraduallyacceleratingduetotheadventoftheandfasttransportation.Weareusedtothefastpaceoflife,butrarelystoptofeelcitywearein,sowefeelbothUnfamiliarandfamiliar,thisremindsmeofthewordsoIinterpretitwithstrangenessandlimbsthroughthefeelingofthe"StarsofTiding2.0"UnfamiliarBeauty"",GalleryofOBankCo.,Ltd.,Taipei,Taiwan"VisionGetWild"IllusionRealityProject"",KaohsiungExhibitionCenter,Kaohsiung,Taiwan"BehindtheDoor"DanceVideoExhibition",online 104

陳柏源 CHEN Po-Yuan 颱風屏風 Typhoon Screens 2022 / 有聲錄像、空間裝置 Video with Sound, Installation / 201920202021202120212019「台北國際藝術博覽會」，世貿一館，臺北，臺灣2020「精神通道」，大新美術館，廣州，中國2021「高雄獎」，高雄市立美術館，高雄，臺灣2021「新貌獎」，港區藝術中心，臺中，臺灣2021「台灣當代水墨跨體制發展現象專題展」，洪根深美術館，澎湖，臺灣ancients'toiscombinationWith狀態。藉此以擴大化的屏風或羅漢床的空間位置去進行類似包覆性的沉浸感跟古人臥遊（臥躺）的沉秘藉由類似氣象局的颱風模擬動態圖，利用繪畫與影像的結合塑造出富流動性的山水動態意象，05'00thetyphoonsimulationdynamicmapsimilartotheMeteorologicalBureau,theofpaintingandvideoisusedtocreateadynamicimageoflandscapethatrichinfluidity,soastotheenlargedscreenorthespatialpositionoftheLuohanbedcarryoutasimilarwrappingimmersionvirtualreality.ThesecretstateoftheChinesesleeping(recumbent)state."TaiwanContemporaryInkCross-systemPhenomenonExhibition",HungKenShenArtMuseum,Penghu,Taiwan"TaiwanEmergingArtAward",CityPortArtCenter,Taichung,Taiwan"KaohsiungAward",KaohsiungArtMuseum,Kaohsiung,Taiwan"SpiritualPassage",DaXinArtMusuem,Guangzhou,China"TaipeiArtExpo",TPEWorldTradeCenterHall1,Taipei,Taiwan 106

陳省聿 CHEN Hsin-Yu 北固礁 Beigu Islet 2022 / 高畫質數位影像 HD Video / 13'40" Dimensions 202120212021202120212021「幽居病：夢、做夢中、被夢見」，溫尼伯電影資料館，溫尼伯，加拿大2021「煉金術電影與動態影像展」，霍伊克，蘇格蘭邊境，英國2021「non-syntax2021「動態美學」，密德薩斯大學，倫敦，英國2021「駐村藝術家聯展」，AUTOMATsubjectivity.itselfsubjectenvisionInSobraonacrossinThecapturesthenorthernmostbordersqftand"Beigu中，觀看主體和政治主體產生了交會，主體定錨自身的同時也被外部凝視及地形標記所定錨。發生的蘇布倫號北固礁船難連結。我假想一雙向的凝視，在疆界和燈塔作為測定位置的視覺系統北固礁和東引島上的台灣最北燈塔東湧燈塔，兩地因二十世紀初英國為拓展殖民經濟勢力，而處，礁石捉摸不定的可見性，指向了政治主體由想像的國家邊界所劃定的狀態。此錄像作品並置礁位在馬祖西引島外海，是一塊隨著潮汐有泰半時間被海水淹沒的礁石，也是台灣實管領土極北三頻道錄像《北固礁》透過國家邊界、區域歷史和建構主體的雙向凝視探討主體性的概念。北固VariableIslet"exploresthenotionofsubjectivitythroughnationalborders,regionalhistory,thereciprocalgazethatconstructsasubject.TheeponymousBeiguIslet,roughly300andsubmergedunderwaterhalfofthetime,isasearockthatmarksthenorthernmostofTaiwan.ThevideojuxtaposesBeiguIsletwithTungYungLighthouse,thelighthouse,onDongyingIsland,Matsu,Taiwan.Theelusivevisibilityofsearockbecomesametaphorfortheever-imaginarystateofnationalbordersthatthepoliticalsubject.twoplaceswerehistoricallyconnectedthroughtheBritishSSSobraon'sshipwreck1901.Inthelate19thandearly20thcentury,theBritishhadconstructedlighthousesthecoastofChinaandtheoffshoreislandstoexpandcolonialeconomiccontrol.ThestruckBeiguIsletandsank,whichledtotheconstructionofTungYungLighthouse.thevideo,bordersandlighthousebothalludetoavisualsystemthatnavigates.Iatwo-waygazethroughwhichtheviewingandpoliticalsubjectintersect.Theisdependentonafixedyetfleetingtopographicalmarkertolocateitself,anchoringandbeinganchored,pointingtotheambivalentstateofTaiwaneseterritoryandCollectiveGallery，費城，美國實驗影像展」，Calm&PunkGallery，東京，日本"ArtistinResidenceGroupExhibition",AUTOMATCollectiveGallery,Philadelphia,USA"Kinesthesia",MiddlesexUniversity,London,UK"Non-syntaxExperimentalImageFestival",Calm&PunkGallery,Tokyo,Japan"AlchemyFilmandMovingImageFestival",AlchemyFilmandMovingImageFestival,Hawick,ScottishBorders,UK"CabinFever:Dream,Dreaming,Dreamt",WinnipegCinematheque,Winnipeg,Canada 108

陳美珍 CHEN Mei-Chen 翻 Flip 2022 / 油畫Oil on Canvas / 91 x 72.4 201820192019202120212018「法國秋季沙龍學會」，香榭大道，巴黎，法國2019「千年之曜，陳美珍回顧個展」，水色藝術工坊，臺南，臺灣2019「日本東京都國際書畫交流展」，上野東京都美術館，東京，日本2021「台灣當代一年展」，花博爭豔館，臺北，臺灣2021「台灣美術展」，中正紀念堂，臺北，臺灣wholecomeheaven.aworkAllenthusiasmMei-Chen終生摯愛。也奠定一生揮灑之志，感謝上天賜我的才華，在藝術王國流露淬鍊的真諦。妙。甲子歲月，延續小時後創作的心願，而決定尋夢，築夢踏實。繪畫是美珍生命的初戀，是游動著。生活藝術寫意如詩如畫，創作之際養就美學臨界之薰陶，彷彿遊走色彩天絲創造之奧合體,呈現自我幻化中靜謚，全是藝術結合豐沛情愫，簡潔流暢的筆觸，華麗明朗的色彩流體永不放棄的步伐，造就創作的熱情引燃生命精隨。每一幅作品，深深投入安撫身心靈。和作品cmnevergivesupandkeepwalkingonthepaceofcreation,creationignitestheoflife.Ideeplycontributemyselfintowork,andcomfortmybodyandmind.theartworkcombinedwithabundantfeelings,Iimaginemyselfbeingasapartofmyfloatinginfantasticallycolorwithsimpleandsmoothstrokesinthesilence.Lifeisfantasticepic.WhenIampaintingintheatmosphere,asifwalkingtowardthecolorfulInmy60s,mydreamsofchildhoodkeepcontinuing,Idecidedtomakemydreamtrue.Paintingisthefirstloveofmylife,Isetupmygoalenjoyingpaintinginmylife,thankGodforthegift,letmeenjoythetruthoflifeintheartkingdom."TaiwanArtExhibition",ChiangKai-shekMemorialHall,Taipei,Taiwan"TAIWANANNUAL",TaipeiExpoParkExpoDome,Taipei,Taiwan"TokyoMetropolitanGovernmentInternationalCalligraphyandPaintingExchangeExhibition",TokyoMetropolitanArtMuseum,Tokyo,Japan"MillenniumObscurity",MizuiroWorkshop,Tainan,Taiwan"FrenchAutumnSalon",ChampsElysees,Paris,France 110

陳羿叡 CHEN Yi-Jui 銀川 Silver Dust 2021 / 油彩、畫布、木板 Oil, Canvas, Board / 60 x 60 201820192021202120212018「光之軌跡」，白石畫廊，臺北，臺灣2019「黑馬實驗：轉譯墨爾本」，Blender2021「鏡映—陳羿叡創作個展」，二空間，臺北，臺灣2021「一筆壓壓一筆壓」，人文遠雄展覽館，新北，臺灣2021「藝創—寶島澳妙展」，澳門國父紀念館，澳門，中國ametal,photograph,liketheattemptofthatmobileWhen琢磨過的礦石，或分解成土壤、消散為霧氣，以此捏塑一個我以為的世界。亮面照片，有時則像一面鏡子。隨著顏色的變化，想像它是帶有珠光的金屬、拋光後的木料、影像。以這種方式製作出來的影像，會像是在畫作表面鍍了一層透明的薄膜，或像沖洗出來的的手工作業的迷戀。試圖以顏料疊層、乾燥後研磨的方式，創造出一種擁有無法再現的瑕疵的且成為日常生活中不大需要思索的動作時；反而深化了我對以時間堆砌且挾帶了更多不確定性當一個按鍵能夠完成將眼前的複雜事物以手機相機，或其他擁有相同功能的機備紀錄下來，並cmabuttoncancompletetherecordingofthecomplexthingsinfrontofyouwithaphonecameraorotherdeviceswiththesamefunction,anditbecomesanactiondoesnotneedtobethoughtaboutindailylife;instead,itdeepensmyperceptiontime-stackedandcarriedaway.Moreindeterminatehandworkfascination.Anwasmadetocreateanimagewithunreproducibleimperfectionsbylayeringpigments,dryingthemandgrindingthem.Theimagesproducedinthiswaywilllookatransparentfilmcoatedonthesurfaceofthepainting,orlikeawashed-outglossyorsometimeslikeamirror.Asthecolorchanges,imagineitaspearlescentpolishedwood,honedore,ordisintegrateintosoilanddissipateintomisttoshapeworldIthinkitis.StudiosGallery，墨爾本，澳洲"YiChuang–TaiwanandMacaoExchangeExhibition",CasaMemorativaSunYatSen,Macao,China"YibiYaya:StrokeOverStroke",FargloryExhibitionHall,NewTaipei,Taiwan"SpecularImage–ASoloExhibitionbyChenYi-Jui",SpaceTwo,Taipei,Taiwan"DarkHorseExperiment:TranslatedMelbourne",BlenderStudiosGallery,Melbourne,Australia"LightTrail",WhitestoneGallery,Taipei,Taiwan 112

陳瑞錦 CHEN Jui-Chgim 夜行夢境 nocturnal dream 2021 / 複合媒材、壓克力 Wood Board, Acrylic / 124 x 201620162018201920212016「宜蘭獎」，宜蘭藝文中心，宜蘭，臺灣2016「哨所包裹畫計畫」、「海上花」、「聽潮」，桃園地景藝術節，桃園，臺灣2018「問津-『島嶼流觴』」，基隆港口藝術雙年展，基隆和平島，臺灣2019「全國美術展」，國立台灣美術館，臺中，臺灣2021「宜蘭獎」，宜蘭文化中心，宜蘭，臺灣endlessTheoutbehindwhite,The一種自由！觀看的視角來自鳥瞰，橢圓形的沙灘，像是奔跑在無終點的目標，但做為一隻無主的狗這也是消耗白日所承受的存在壓力，潮間帶後滯留著一灘死水，如同星光反射眼瞳中流不出的眼淚。漆黑的夜晚岌岌如行，黑的星空柔弱的反射出最為耀眼的星白，漫無目的在沙灘中飛奔，只為97cmdarknightisprecarious,andtheblackstarryskysoftlyreflectsthemostdazzlingstardashingaimlesslyinthebeach,justtoconsumetheexistencepressureoftheday,theintertidalzone,thereisapoolofstagnantwater,likethetearsthatcannotflowofthepupilsofstarlightreflection.viewingangleisfromabird's-eyeview,theoval-shapedbeachislikerunningonangoal,butasadogwithoutanowner,thisisalsoakindoffreedom!"YilanAwards",YilanArtsandCultureCenter,Yilan,Taiwan"NationalArtExhibition",NationalTaiwanMuseumofFineArts,Taichung,Taiwan"AsktheWay",KeelungHarborBiennale,Keelung,Taiwan"ThePlantoPackaSentinel",TaoyuanLandArtFestival,Taoyuan,Taiwan"YilanAwards",YilanArtsandCultureCenter,Yilan,Taiwan 114

陳歡 CHEN Huan 圓滿人生 Life is Complete 2021 / 油畫 Oil Painting / 120 x 120 201720182018201920192020202120222017「中、日、韓藝術文化祭油畫」金獎2018「lCA首爾LA2018「群賢畢至海峽兩岸聯展」金奬2019「百大名人邀請展」小金人獎，波隆那，義大利2019「國立東京都美術館國際大展」金獎，東京，日本2020「秋季沙龍入選」，法國2021「春季沙龍入選」，法國2022「雙年展入選」，佛羅倫斯，義大利fulfillingofworldZhongpomegranate,ofIronically,右下方則是一樣唐朝婦女（唐三彩）拿著長鏟很開心地挖著元寶，呈現出她圓滿人生的境界。為主題，意象鮮明搶眼，由左上角缺口跳出避邪財神鐘馗大方地撒著元寶，成就世人愛財慾望，反諷當代社會對於名利的追求而忽略人文素養及人性價值的關懷，此當代藝術作品以一顆石榴cmthepursuitoffameandfortuneincontemporarysocietyignorestheconcernhumanisticqualityandhumanvalue.Thiscontemporaryartworkisbasedonawithaclearandeye-catchingimage.Fromthegapintheupperleftcorner,Kui,thegodofwardingoffevilandwealth,generouslysprinklesingots,makingthelovewealth,andthelowerrightistheTangDynastywoman(tri-colorglazedpotterytheTangdynasty)holdingalongshovelhappilydiggingingots,showingtherealmofherlife.MERGallery國際大展」現代油畫金獎，首爾，韓國"Biennaleselected",Florence,Italy"SpringSalonSelected",France"FallSalonSelected",France"NationalTokyoMetropolitanMuseumofArtInternationalExhibition",GoldAward,Tokyo,Japan"Top100CelebritiesInvitationalExhibitionGoldenManAward",Bologna,Italy"QunXianBitotheCross-StraitJointExhibition",GoldAward,Taipei,Taiwan"lCASeoulLAMERGalleryInternationalExhibitionModernOilPainting",GoldAward,Seoul,SouthKorea"Chinese,JapaneseandKoreanArtandCultureFestivalOilPainting",GoldAward 116

黃元煜 HUANG Yuan-Yu 形偽 Fake 2021 / 數位攝影 Digital Photography / 140 x 140 201720172019201920212017「TIFA獲獎者展覽」，CA畫廊，東京，日本2017「Fotofever」羅浮宮，巴黎，法國2019「日常切分音-2018南瀛獎得主特展」，臺南文化局，臺南，臺灣2019「屏東獎」屏東文化局，屏東，臺灣2021「藝情時代-桃園美術家邀請展」，桃園文化局，桃園，臺灣remnants,andthetakesincurledThe相互呼應，形體的偽造與被偽造，是現實環境諷刺的反思。墨的行雲流水視覺，看似詩一般畫意卻是戲鬧的謊言，是虛像取代了真相，殘荷、垃圾、書畫體，是控訴時間的摧殘，本作品取殘荷枯枝的曲折線條與垃圾不規則的形體，併貼擬態呈現水殘荷枯枝是盛夏遺棄的美麗，蜷曲垃圾是人類丟棄的價值，殊途同歸於冰冷水池，曲折不堪形cmdeadlotusanddeadbranchesarethebeautyabandonedinmidsummer,andthegarbageisthevalueofhumanbeingsdiscarded.Theyendupintheicycoldpooldifferentways.Thetortuousshapeisacomplaintofthedestructionoftime.Thisworkthetortuouslinesofthedeadlotusanddeadbranchesandtheirregularshapeofgarbage.Healsopastesamimeticvisionofflowinginkandwash.Itseemslikeapoeticpictorialimage,butitisaplayfullie.Itisthevirtualimagethatreplacesthetruth.Thegarbage,calligraphyandpaintingechoeachother."TheArtEraTaoyuanArtistsinvitationalExhibition",TaoyuanCulturalCenter,Taoyuan,Taiwan"PingtungAward",PingyungCultralCenter,Pingtung,Taiwan"SyncopationofDailyLife",XinyingCultralCenter,Tainan,Taiwan"Fotofever",Louvre,Paris,France"TIFAWinnersExhibition",CAGallery,Tokyo,Japan 118

黃品瑄 HUANG Pin-Hsuan 202020212022202220222020「英國牛津藝博會」，電子屏幕展，英國牛津藝博會，牛津，英國2021「台灣當代一年展」，線上展出，臺北，臺灣2022「藝·茶·趣」，空間藝術生活節，BaganHood蔬食餐酒館，臺北，臺灣2022「蓋玻片」，白兔美術社，臺南，臺灣2022「時光」，五零年代咖啡，高雄，臺灣"Time",pony800909COFFEE,Kaohsiung,Taiwan"Coverslips",ShiroiUsagiMDessertshop,Tainan,Taiwan"CITYWALKART+TEAEXHIBITION",BaganHood,Taipei,Taiwan"TAIWANANNUAL",Online,Taipei,Taiwan"OxfordArtFair",Electronicscreenexhibition,OxfordArtFair,Oxford, UK 花樣年華 Young Years 2021 / 炭筆 Charcoal / 75.1 x 52.1 generator,changingCalmonlybeself-limits,ForwasteInrationalizinglove,Looking像發電機一般，發光、發熱成就自我。沉靜自己的靈魂，讓自己的狀態平穩平順，才能適應萬變的時空，找到源我那股能量的力量，前程。面對情債，不是一時片刻能解脫；但革新自己的思維，看透迷思，只有自己才能做到。對於過往，錯過的愛情；並沒有任何意義，只會讓人裹足不前，畫地自限，放棄了自己大好的汲汲營營到頭來，皆是一場空；何不放下無畏的雜念與執著，虛度一切時光何苦?煩惱絲一般，剪不斷、理還亂。回頭看，最美好的時光糾結在愛情的愛恨情仇中，不管是，愛過、恨過、還是認愛；有如三千cmback,thebesttimeisentangledintheloveandhateoflove,whetheritishate,orconfession;likethreethousandtroublesomesilks,cuttingcontinuously,andmessing.theend,thecampisempty;whynotletgooffearlessdistractionsandattachments,andalltimeandwhybother?thepast,missedlove;thereisnomeaning,itwillonlymakepeoplestagnate,drawandgiveuptheirowngreatfuture.Inthefaceoflovedebt,itisnotpossibletorelievedforamoment;buttoinnovateone'sownthinkingandseethroughthemyths,onecandoityourself.yoursoulandletyourstatebestableandsmooth,inordertoadapttotheever-timeandspace,findthepoweroftheenergyofthesourceofme,likeaglowingandheatingtoachieveself. 120

201920212014「藝菌膠囊」，美齡藝廊，臺北，臺灣2017「解構—再生」，地下美術館，臺北，臺灣2017「台灣當代一年展」，花博爭豔館，臺北，臺灣2019「晶片之外—這個世界會好嗎」，鴻霖藝術空間，臺北，臺灣2021「台灣當代一年展」，線上展出，臺北，臺灣"TAIWANANNUAL",Online,Taipei,Taiwan"OutoftheChips–WillItbeaBetterWorld?",MasterArtSpace,

2017 "Deconstruction-Regeneration", TNUA Underground Art Space, Taipei, Taiwan

隱無

2017 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

Absence

HUANG Mei-Chen Taipei, Taiwan

2014 "Capsules of Art", Mei-Ling Gallery, Taipei, Taiwan

黃美珍

2022 / 油彩、畫布 Oil on Canvas / 53 × 45.5 × 3 world.betweenThe創作主體與外部世界的關聯，不斷在身體與場域之間循環，終而關注自身與世界的關係。cmrelationshipbetweenthecreativesubjectandtheexternalworldconstantlycirculatesthebodyandthefield,andultimatelypaysattentiontoitsrelationshipwiththe

122

二○二○年初，病毒改變了全世界，封鎖靜心下的絲絲縷縷改變了我，改變了親愛的周邊的人事物 ...

AtIn明白COVID-19教會我們的事盼望世界的重新運行在絕望的最深處一針一線梳理心緒在焦慮中....造成人心極大的恐慌，生老病死，悲歡離合theblockademeditationthebeginningof2020,the

風生水起

2016 "Silk Road~Thread Thought~Show", Song-Shan Cultrure and Creactive Park, Taipei, Taiwan

HUANG Li-Ly 20212016「絲路~思路~秀繡台灣」，松菸文創園區，臺北，臺灣2016「看故事-思維工藝」，總統府藝廊2017「絲情花意2020「台灣當代一年展」，花博爭豔館，臺北，臺灣2021「是誰切洋蔥」，新光三越全台巡迴展，高雄，臺灣～秀繡看」，臺中葫蘆墩文化中心，臺中，臺灣展覽，臺北，臺灣"WhoLoveyouLoveyou",ShinKongMitsukoshi,Kaohsiung, Taiwan

2020 "TAIWAN ANNUAL", Taipei Expo Park Expo Dome, Taipei, Taiwan

2017 "Flora Stitch Art", Huludun Culture Center, Taichung, Taiwan

NEW ERA POST-COVID19

2021 / 絲線等複合媒材 Silk Thread, Multi-Material / 66 x 106 cm

virus changed the world, changed me, and changed the people and things around my dear...

Birth, old age, sickness and death, joys and sorrows causing great panic, in Sortinganxiety....outyour mind in the depths of despair Looking forward to the restart of the world Understand what COVID-19 has taught us

124

黃莉莉

2016 "Viewing Stories Thinking Craft", The Presidential Office Gallery, Taipei, Taiwan

黃紫瑜 HUANG Tzu-Yu 金屬宣言成就一個極限與純粹的 1050 鋁雕塑 Metal_Achieve a minimalism and absolutism 1050 aluminum monument 2021 / 金屬，1050鋁 Metal, 1050 aluminum / 20212021「臺藝大雕塑系年度展」，國立臺灣藝術大學，新北，臺灣exploreonopenonlyobjectpuritypurification–anasclassificationofThe思材質分類形成的原因及其建構過程，探索以雕塑與其材質政治作為雕塑創作的可能性。是相對的純，而金屬是否只是想像中的物質，同時開啟對金屬這項材料、物質的本質思考，反鋁元素金屬作為純血金屬的推崇對象，與極限主義和絕對主義的純粹性進行對話,純粹是否只種來自於煉金術與科學神話的執念，如同對於種族、血源、政治與國家認同的純性追求。並以及其建構過程，並以雕塑與其材質政治作為雕塑創作的可能性。探索人類文明對於提純-這一創作起於對金屬材質的研究，是對金屬這項材料、物質的本質思考，反思材質分類形成的原因依場地而定creationstartsfromthestudyofmetalmaterials,whichistothinkabouttheessencemetalasamaterialandsubstance,reflectonthereasonsfortheformationofmaterialanditsconstructionprocess,andtakesculptureanditsmaterialpoliticsthepossibilityofsculpturecreation.Explorehumancivilization'sobsessionwithobsessionwithalchemicalandscientificmythology,likethequestforofrace,blood,politics,andnationalidentity.Andaluminumelementmetalastheofpurebloodmetal,andthepurityoflimitismandabsolutismtodialogue,pureisrelativepurity,andwhethermetalisonlyanimaginarysubstance,atthesametimethemetalasamaterial,theessenceofthematerial,theessenceofthinking,reflectthereasonsfortheformationofmaterialclassificationanditsconstructionprocess,thepossibilityofsculptureanditsmaterialpoliticsassculpturecreation."NationalTaiwanUniversityofArtsSculptureDepartmentannualSculptureExhibition",NationalTaiwanUniversityofArts,NewTaipei,Taiwan 126

The主體孤獨地存在，熟悉的疏離感，沉重的肢體扭曲變形，身體無法掙脫看不見的枷鎖！80cmsubjectexistsalone,withafamiliarsenseofalienation,theheavylimbsare twisted and deformed, and the body cannot break free from the invisible shackles! County, Kinmen, Taiwan 2021 "New Art from Heart", Zhongli Library, Taoyuan, Taiwan

20222021「心藝求新-黃新庭油畫個展」，中壢圖書館，桃園，臺灣2022「特藝功能-黃新庭油畫個展」，金門文化局，金門，臺灣"FunctionofDifferentArt",CulturalAffairsBureauofKinmen

128

無地自容

HUANG Hsin-Ting

黃新庭

No place to hide 2022 / 油彩 Oil on canvas / 100 ×

黃德馨 HUANG Der-Shing 成為你的光 Lighting 2021 / 壓克力顏料、畫布 Acrylic on canvas / 30 x 30 cm 201720172018201920202017「國際台北藝術博覽會黎畫廊壹計畫首部曲」，世貿一館，臺北，臺灣2017「創作個展『我是誰』」，綻堂文化，臺北，臺灣2018「創作個展『必然存在的出口』」，臺北市立大學，臺北，臺灣2019「上海城市藝術博覽會」，衡山路十二號酒店，上海2020「創作個展『夢』」，國立政治大學，臺北，臺灣Let成為一道被需要的光mebeyourlight"TaipeiArtNouveauExtraStory",Taipei,Taiwan"CITIZENARTSHANGHAI",Shanghai,China"SoloExhibition"TheInevitableExit",Taipei,Taiwan"SoloExhibition"WhoAmI",Taipei,Taiwan"thefirstpartofLeeGallery's",OneProjectInternationalTaipeiArt Fair, Taipei, Taiwan 130

楊芝涵 YANG Chih-Han Place 14 2022 / 油彩、壓克力、畫布 oil paint, arcylic, canvas / 152 x 102 2019202020202019「在沒有迷洛桃樂絲的日子裡我們仍拿著阿里阿德涅斷線的風箏在崩跑」，南北畫廊，臺北，臺灣2020「境.物2020「台北國際當代一年展」，國立臺北藝術大學，臺北，台灣canshadesobrushstrokeThespacepaintings,imagesfromeverydayunstableMyfragmentarybetweenhumanMy附的空間是短暫停留的空間。是一個中斷和錯位的過渡空間。作品名稱都是以地方加上編號來命名，因為我認為地方是人依對空間的處理存在於同一個作品中，看作品時，進入畫面，卻又被擾亂和阻斷，畫裡的空間像段——類似於日常事物的輪廓。這些碎屑是從室內、建築物、城市中拆解和重組的。我讓兩種和浮動、散焦的團塊主題。視覺語言在具象和抽象之間徘徊，充滿了有形和無形的不穩定片我的作品在構建一種反常的空間、動態的日常生活和人類活動的殘像。描繪了不穩定、碎片化cmpaintingsconstruct'perverse'spaces,afterimagesofthedynamiceverydaylifeandactivities.Employingmetaphoricalandmetamorphicimageryactivatesthespacetheviewerandthesurfaceofthepainting.Idepictuncertainty,instability,theandfloatingsubject.visuallanguagehoversbetweenfigurationandabstractionandispopulatedwithfragmentswhicharetangibleandintangible-similartothesilhouettesofthings.Iconstructassemblagesofdetritus,deconstructedandreconstructedinteriors,buildings,andurbanarchitecture,re-purposingandre-identifyingtheandtheirmeaningsfromthefragmentsofrealitythatweredisassembled.InmyIthinkabouthowweperceivespacewithinitandattempttohandlepictorialdifferentlyandcreatetheillusionofspatialdepth.wriggleclumpsIpaintarerubbedoutwithfuzzyeffectsthroughtheforceofaandthepaint'sdensityandtransparency.Whattheyalwayslooklike,butnotmuch.Thesofthandlingofpaint,Iuseabstraction,andtheemploymentoflightandsuggestsalandscapeorobjectsthatareout-of-focusorephemeral.Eachelementmove,stir,dissolve,tocomeandgowiththeotherelements.三人聯展」，藝風巷，臺北，臺灣"2020TaipeiInternationalContemporaryArtAnnual",TaipeiNationalUniversityoftheArts,Taipei,Taiwan"still-object",BoundaryArtalley,Taipei,Taiwan"WearestillrunningandcatchingthebrokenkitelineofAriadnewithoutMinotaur.",NorthSouthGallery,Taipei,Taiwan 132

楊景堯 YANG Chin-Yao 文字女孩 Text Girl 2022 / 膠彩，水墨，毛筆書寫 Eastern Gouache, ink paintings, calligraphy / 50 x 73 2020202120212020「防疫主題藝術線上展」，高雄市立美術館線上展，高雄，臺灣2021「三芝歐漾亞特公民參與－山海計畫」，芝蘭活動中心，三芝，臺灣2021「追．趕．跑．跳．碰-我們這一家」，新樂園藝術空間，臺北，臺灣writeIntheThepracticeWriting此篇我用擅長的篆書字體，並採用了設計性強的方式來書寫，讓文字更能組成圖像文字符號的開展，讓我有新的創作領域.我很喜歡改變文字，比如：組合字等文字一直是我創作的形式，書寫在以往也是我日常的修行詩意空間與嚴謹的筆法結構之間探尋內在的詩性經驗；進行一種神祕的心靈旅行。將自然中蘊藏的生機律動經由情感的沉澱、主客觀深刻的遇合進入視覺的轉化。在看似抒情的cmhasalwaysbeentheformofmycreation,andwritinghasalwaysbeenmydailydevelopmentoftextsymbolsallowsmetohaveanewcreativefield.Iliketochangetext,suchas:combinationcharacters,etc.thisarticle,IusedthesealscriptfontIamgoodat,andIusedastrongdesignmethodtoit,sothatthetextcanbemorecomposedofimages."Chase.rush.run.Jump.bump－Ourfamily",SLYartspace,Taipei,Taiwan"OLD-YOUNGARTIST",ZhilanParkOceanViewingPlatform,Sanzhi,Taiwan"Anti-epidemicthemeartonlineexhibition",KaohsiungMuseum,Kaohsiung,Taiwan 134

楊駿偉 YANG Chun-Wei 流動 Change 2021 / 複合媒材 composite media / 80 x 60 20212021「種子藝境」，臺中市大墩文化中心，臺中，臺灣inEverything自然的感恩與珍惜，即使在虛擬世界的時代，人們最能得到放鬆的方式依舊是接觸自然。生活在這世界，也要學會隨著周遭環境而轉變成長。作品以獨有的樹皮拼貼方式製作，是對大這是一個變動的世界，時間在走，萬物在變，河水的流動不停歇，自然的環境在改變，而我們cmwillchangeintheworld,andsoshouldwe.Growingupandfollowingchangestheenvironment."seedfeeling",TaichungCityDadunCulturalCenter,Taichung,Taiwan 136

董籬 TUNG Li 憶夢若境 Dreaming in Memory of Nowhere 2020 / 壓克力、畫布 Acrylic on Canvas / 70 x 70 201820192019202220222018「灩灩」，藝遇藝術中心，臺北，臺灣2019「Linescape」，柏林廢墟，臺北，臺灣2019「你眼中的我」，台北國際藝術村，臺北，臺灣2022「May2022「Dreamscape」，FerrykeeptheWhensenseInII維持著可能性。們得到安全感的同時也失去了可能性。或許我們應該保留一個地方，維持著不確定性，也同時去。但是在創造的過程中，這種不確定性反而讓人著迷。當一切未知都變成確定事實之後，我在現實生活中，這種不確定性可能會讓人感到不安。我們似乎已經習慣了依賴安全感才能活下可以分辨兩者的不同時，我所相信的是事實嗎？我要如何才能確定呢？我在記憶中做過一個夢，或者我在夢中有一個記憶，我真的分得出兩者的不同嗎？當我認為我cmhadadreaminmymemory,orIhadamemoryinadream.CanItellthedifference?WhenthinkIcantellthedifference,amIbelievingit?HowcanIbesure?reallife,thisuncertaintycanbeunsettling.Weseemtohavegottenusedtorelyingonaofsecuritytosurvive.Butintheprocessofcreation,thisuncertaintyisfascinating.alltheunknownshavebecomedefinitefacts,wegainasenseofsecurityandlosepossibility.Perhapsweshouldreserveaplacewhereuncertaintyismaintainedandopportunitiessimultaneously.BuildingGallery，溫哥華，加拿大WeMeetAgain」，台加文化協會，溫哥華，加拿大"DreamscapeFerry",BuildingGallery,Vancouver,Canada"MayWeMeetAgain",TaiwaneseCanadianCulturalSocietyGallery,Vancouver,Canada"MeinYourEyes",TAV,Taipei,Taiwan"Linescape",Tacheles,Taipei,Taiwan"Glittering",YIYUArtsCenter,Taipei,Taiwan 138

熊妤 HSIUNG Yu

新風格樂園

Un Modern Nouveau 2021 / 壓克力 Acrylic on canvas / 217.5 x 100 202120222022202220222021「Venice2022「The2022「Paris2022「London2022「物種根源-熊妤創作個展」，新北市藝文中心，新北，臺灣struggle,There撼動，療癒的力量。熊妤這裡聚集了很多吉祥生物，繽紛的色彩，細膩的情感，無奈與掙扎，生命的故事，超越語言的cmaremanyauspiciouscreatures,colorfulcolors,delicateemotions,helplessnessandstoriesoflife,shakingbeyondwords,andhealingpower.HSIUNGYUInternationalCreativeCompetition」，線上，倫敦，英國InternationalContemporaryArtFair」，ParisExpo，巴黎，法國bodylanguageInternationalArtExhibitionVenice」，VeniceGrandCanalPalazzoBembo，威尼斯，義大利internationalartfair14th」，TheRoomContemporaryArtspace，威尼斯，義大利"Ontheoriginofspecies!-HsiungYusoloexhibition]",NewTaipeiCityArtsCenter,Taipei,Taiwan"LondonInternationalCreativeCompetition",Online,London,U.K"ParisInternationalContemporaryArtFair",ParisExpo,Paris,France"ThebodylanguageInternationalArtExhibitionVenice",VeniceGrandCanalPalazzoBembo,Venice,Italy"Veniceinternationalartfair14th",TheRoomContemporaryArtspace,Venice,Italy 140

蔡瑛瑾 TSAI Yin-Jin 天長地久 Forever 1995 / 電視天線、壓克力、塑鋼土 TV antenna, Acrylic, Epoxy Putty / 120 x 120 200120052015201720212001「美術高雄後解嚴時代」，高雄市立美術館，高雄，臺灣2005「一叢花」高雄女性聯展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，臺灣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，臺灣2021「台灣當代一年展」，線上展，臺北，臺灣J.Taiwan.This評審是石瑞仁老師，非常關心創作者，佈展時就到現場叮嚀且帶他的學生來参觀，非常感動！本件為申請臺北美國文化中心個展（約1996年）作品，藏家為臺北地區醫療人員葉小姐，當時cmpieceisanapplicationforthesoloexhibition(circa1996)oftheAmericanInstituteinThecollectorisMissYe,ahealthprofessionalinTaipei.ThejudgeatthattimewasJ.Shih,whowasveryconcernedabouttheartists,verytouched/高雄市立美術館聯展，高雄市立美術館，高雄，臺灣"TAIWANANNUAL",Online,Taipei,Taiwan"GorgeousTransfigurationAfterMakeUp",BureauofCulturalAffairsKaohsiungCityGovernment-ChihMeiGallery,Kaohsiung,Taiwan"ResonanceofHeteroglossia"KaohsiungontheModernArtAssociation,KaohsiungMuseumofFineArts,Kaohsiung,Taiwan"AThicketofFlowers"KaohsiungWomenJointExhibition,KaohsiungMuseumofFineArts,Kaohsiung,Taiwan"ArtinKaohsiung-AfterTheLiftingofMartialLaw",KaohsiungMuseumofFineArts,Kaohsiung,Taiwan 142

鄭雅璇 CHENG Ya-Hsuan 無 Hold 2020 / 行為藝術 Performance art / 202120212022202220222021「『視見呼吸The2021「台灣當代一年展評審團獎入圍特展」，福利社，臺北，臺灣2022「Living2022「聲音考古：清水眷村文化園區」，清水眷村文化園區43號展覽空間，臺中，臺灣2022「Whatthinksappearances.This貌示人。展演為作者意識之表述，觀者識見而思，交融瀰漫出本我詮釋。呼吸實為平凡，在吐故納新之本源外，此作將控制、維持、支持、拖延、撤退….幻化出百樣態05'40''artworkwillcontrol,maintain,support,delayandretreat...ItturnsintoavarietyofTheartworkistheexpressionoftheauthor'sconsciousness,andthevieweraboutit,andtheintegrationpermeatesmyinterpretation.DiesLast」，MahalArtSpace，丹吉爾，摩洛哥Being」，Piece，臺北，臺灣VisibleBreath』鄭雅璇個展」，OntheRoad影像空間，高雄，臺灣"WhatDiesLast",MahalArtSpace,Tangier,Morocco"SoundSearch:Artchingshui",QingshuiMilitaryCommunityCulturePark,Taichung,Taiwan"LivingBeing",PieceArtSpace,Taipei,Taiwan"TAIWANANNUALJuryPrizeShortlist",FreeSArtSpace,Taipei,Taiwan"TheVisibleBreath-CHENGYa-HsuanSoloexhibition",OntheRoadimagespace,Kaohsiung,Taiwan 144

Exhibition", HOSS Taipei,

Cultural Foundation Art Space,

Taiwan 146

盧姝妤 LU Shu-Yu 自由 Freedom 2020 / 廣告顏料 Advertising on paper / 39.3 x 81.6 The歷史的軌跡來自於絕望的流動，不斷尋找不斷失去，只要身為人，永遠沒有自由。cmtrajectoryofhistorycomesfromtheflowofdespair,constantlysearching and losing, as long as you are human, you will never be 20192019「那些日常風景：生活x想像插畫聯展」，典美藝文空間，臺北，臺灣free."ThoseEverydayLandscapes:LifexImaginationIllustrationGroup

LOU Kuok-Chong

影像遺緒

Leftovers of Memories

2021 / 三頻道錄像 Multi-Channel Video / andgapstheseconnect,putconstantlyreflectingalwaysThe不明，而非一個確切的答案。像變得更加靠近，間隙中的噪聲等待轉化為影像。我們總是在未完成和誤解中進發，尋找下落懷疑這些圖像是否真的存在。正是因為缺失的片段才驅動了回憶本身。每個下一次回憶中，影回憶，不時在腦海中回放，它會擁有時間……這些圖像偶爾會丟失，當它們無法連接時，我會就像一面破碎的鏡子，同時映照出四面八方。我嘗試以錄像的形式重建這些片段，通過不斷的過去溺水的記憶不時閃現，那些記憶碎片總是處於支離破碎的狀態，試圖重新嵌入我的生命，22'02drowningmemoriesofminealwaysflashed,andthosefragmentsofmemorywereinastateoffragmentation,tryingtore-embeddedinmylife,likeabrokenmirror,inalldirectionsatthesametime.Itrytoreconstructtheseimages,throughrecallandplayingbackinmyheadfromtimetotime.Thoseimageswillbeinatimelineeventually…Someimagesarelostoccasionally,andwhentheycan'tIwouldstarttowonderifthememoriesarereal.Thememoryitselfisdrivenbymissingimages.Onthenextrecall,theimageswillgetcloser,andthenoiseinthewaitstobetransformedintoimages.Wealwaysstartwhereweareleftunfinishedmisunderstood,lookingforamissingpieceratherthanadefiniteanswer.

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盧國聰

蕭玉琴 HSIAO Yu-Chin 美色波光 Beauty wave 2022 / 油畫 Oil Painting / 92 x 72 202220222022「飛越太平洋」，台南自在藝術館，臺南，臺灣2022「南陽美術協會會員聯展」，台南市文化中心，臺南，臺灣savingstimulation,silence.INatureArt出意象，感受生命的美好記錄保存走過的軌跡，讓無盡友善循環中繼續延續美麗的印記！寂靜、思念、在千絲萬縷裡洋溢著形色詩意幽微的美感，創造心靈觸動的一瞬間，用寫實勾勒人驚艷，讓我內心激盪出創作的靈感～藉由繪畫保存每段人生的記憶片刻，繽紛的回憶、幻夢、藝術來自生活感受，旅行帶給視覺上的震撼與心靈的昇華，大自然蘊含著萬物各種風情美得讓cmcomesfromtheexperienceoflife.Travelbringsvisualimpactandspiritualsublimation.containsallkindsofcreaturesareamazinglybeautiful,whichgivesmeinspiration.savethememoryofeachmomentthroughpainting,wonderfulmemories,dreams,Itisfilledwithallsortsofpoeticandsubtlebeauty,creatingamomentofspiritualsketchingtheimagewithrealism,feelingthebeautifulrecordsoflife,andthetrack.Letthebeautifulimprintcontinuesintheendlesscycleoffriendliness!"NanYanFineArtsAssociationgroupexhibition",TainanMunicipalCulturalCenter,Tainan,Taiwan"FlyoverthePacific",TainanZizaiArtmuseum,Tainan,Taiwan 150

賴久紅 LAI Chiu-Hung 另類藝術家 Alternative Artist 2022 / 油畫 Oil on Canvas / 53 x 你知道誰是藝術家？告訴你，我就是，我是另類藝術家。41cm 201720182019201920202017「台灣當代一年展」，花博爭豔館，臺北，臺灣2018「台灣之美」，舊金山灣區圖書館，洛杉磯文教中心，舊金山，洛杉磯，美國2019「台灣之美」，克羅埃西亞民族博物館，斯洛維尼亞國家城堡博物館，薩格勒布，克羅埃西亞，2019「台灣藝術博覽會」，台北世貿一館，臺北，臺灣2020「第十七屆顯宗畫會聯展」，法務部，臺北，臺灣Byyoubite,thecanvas.Do對了，你有沒有看到一珍珠在閃爍，好像在讚美我的作品。奇怪不奇怪？…那麼你會問我到底用什麼？告訴你，我用嘴。我只要在荷葉上一面啃，一面吃就可以了。只是我不用筆，不用顏料，甚至不用畫布。有一點不好意思，葉梗實在太硬了，咬不動只好放棄，就變成這種模樣了，似花非花，你説youknowwhotheartistis?It'sme,analternativeartist.Idon'tuseapen,paint,evenSo,youaskmewhatexactlydoIuse?TellyouthatIusemymouth.Ijustnibbleonlotusleafandeatit.It'sjust...I'malittleembarrassed,theleafstalksaretoohardtosoIhavetogiveup,anditbecomeslikethis,lookslikeaflowerbutnotaflower,dothinkit'sstrange?theway,haveyoueverseenapearlflickeringasiftocomplimentmywork.斯洛維尼亞"The17thXianzongPaintingGroupExhibition",LegalDepartment,Taipei,Taiwan"TaiwanArtFair"TaipeiWorldTradeCenterHall1,Taipei,Taiwan"TheBeautyofTaiwan"CroatianEthnographicMuseum,SlovenianNationalCastleMuseum,Zagreb,Croatia,Slovenia"TheBeautyofTaiwan",SanFranciscoBayAreaLibrary,LosAngelesCulturalandEducationalCenter,SanFrancisco,LosAngeles,America"TAIWANANNUAL",TaipeiExpoParkExpoDome,Taipei,Taiwan 152

戴嫻真 DAI Sian-Jhen 邀請朋友喝下午茶的兔子 Rabbit inviting friends for afternoon tea 2022 / 油畫 Oil on Painting / 65 x 53 201020182018202020212010「改革藝術季」，台北世貿（二館），臺北，臺灣2018「台灣當代一年展」，花博爭豔館，臺北，臺灣2018「台灣輕鬆藝術博覽會」，松山文創園區一號倉庫，臺北，臺灣2020「台灣當代一年展」，花博爭豔館，臺北，臺灣2021「台灣當代一年展」，線上展出，臺北，臺灣withplantsnotteaOrganising心情等待貴賓們的來臨！來，那害羞的羅西知道了或許就會藉口要回老家澆花，盛裝的兔兔帶著點雀躍又有一點煩惱的一個禮拜前兔兔終於寄出了下午茶會的邀請卡，當然最傷腦筋的還是受邀者名單，如果狐狸也cmtheinvitationlistiscertainlythemoststrugglingpart.Aweekago,afternooninvitationshavefinallybeensentoutbybunny.DuetotheshynessofRosie,hemaybeattendingtheeventandwouldbefindingexcusestoreturnhomeforwateringifheknowsthefoxisgoingtocome.Bunnyisthenwell-dressedtowelcomeguests,excitementbutalittleconcernwhilewaiting."TAIWANANNUAL",Online,Taipei,Taiwan"TAIWANANNUAL",TaipeiExpoParkExpoDome,Taipei,Taiwan"ARTeasy",SongshanCulturalandCreativeParkNo1.Warehouse,Taipei,Taiwan"TAIWANANNUAL",TaipeiExpoParkExpoDome,Taipei,Taiwan"RevolutionART2010",Taipeiworldtradecenterhall2,Taipei,Taiwan 154

謝佩庭 HSIEH Pei-Ting 科技幽靈 Ghost of Google 2021 / 錄像裝置 Video Installation / 34'59 作品中的影像皆是在Google 201720182019202020212017「王陳靜文繪畫創作獎」，國立臺灣藝術大學國際展覽廳，臺北，臺灣2018「單身聯誼」，華山1914文創園區，臺北，臺灣2019「後台劇場」，九單藝術實踐空間，臺北，臺灣2020「伏流計畫」，藝術家居、書店，臺北，臺灣2021「末日常」，板橋放送所，臺北，臺灣contemporarytowhogivenofisstareathatThe經緯中—它們能否視為一種映現當代人生存處境的「肖像」？的功能；這些失卻其所標註身分的佚名者，卻又被鑿鑿定位於衛星系統與網際網絡聯手校準的像示現。模糊的人之面孔，為Google為回應隱私規約而賦予AI智能系統自動偵查、抹除人臉無意凝視任何人，僅僅是途經、紀錄下一切，而這無意識的觀點往往以破碎、缺殘、錯位等影區一一蒐集，並去背聚焦、凝聚為主觀的觀看方式。在GoogleEarth實景地圖上作螢幕截取，於全球所有被Google所覆蓋的地Earth的實景瀏覽中，攝影機並imagesintheworksareallscreenshotsfromGoogleStreetView,collectedinallareasbeingmonitoredbyGoogleEarthintheworld,andthenfocusedandcondensedintosubjectivewayofviewing.InthecaseofGoogleStreetView,acameradoesnotintendtoatanyone,butjustpassesandrecordseverything;andthisunconsciouspointofviewoftendisplayedinimagessuchasbroken,mutilated,anddislocated.TheblurredfacespeopleareGoogle'sresponsetotheprivacypolicy.TheAIintelligentsystemhasbeenthefunctionofautomaticallydetectinganderasingfaces.TheseanonymouspeoplehavelosttheiridentitieshavebeenpinpointedbysatellitesystemsandtheInternetjointlycalibrate.Maytheyberegardedasa"portrait"reflectingthelivingconditionsofpeople?"LifebeforetheDoomsday",BanqiaoBroadcastingStation,Taipei,Taiwan"LowCurrentProject",ArtisticDwelling&BookstoreCoffee,Taipei,Taiwan"BackstageTheater",9-RoomsArtPracticeSpace,Taipei,Taiwan"SingleFriendship",Huashan1914CreativePark,Taipei,Taiwan"WangJingwenPaintingCreationAward",InternationalExhibitionHallOfNTUA,Taipei,Taiwan 156

謝佳瑜 HSIEH Chia-Yu 露露藝品社 LULUGOODS 2022 / 複合媒材 Mixed Media / Dimensions 2019,20192020202120222019「只是想辦場展覽」三人聯展，小路上藝文空間，臺北，臺灣2019「翕相hip-siong」攝影社流動攝影書展，Lightbox攝影圖書室，臺北，臺灣2020「台北國際當代一年展」，國立臺北藝術大學美術系學士班畢業展，國立臺北藝術大學地下美術2021「Artificial-白色大地、露露藝品」，沈庭華×謝佳瑜聯展，寶藏巖國際藝術村，臺北，臺灣2022「漂亮的很好」，國立臺北藝術大學美術系碩士班109級級展，國立台北藝術大學地下美術館，專業團隊才能保持卓越品質，送禮自用首選——露露藝品。燒製，上色，所有步驟都不馬虎，這些商品除了在國內熱銷，甚至外銷國外，為國爭光！唯有公司歷年精選玩偶，每一隻動物都是透過精心培育，獨一無二，從造型設計到模具生產，成形，到量產，行銷，銷售，所有事項一手包辦，經過無數年仍然是藝品界龍頭。本次展覽整理了本露露藝品是一間全方位的藝品公司，主要販售陶瓷玩偶，節慶禮品，居家風水擺飾等，從開發Variable臺北，臺灣館，臺北，臺灣"PRETTYGOOD:TaipeiNationalUniversityoftheArts2022MFADegreeShow",TNUAUndergroundExperimentalField,Taipei,Taiwan"Artificial-TheWhiteandLuluGoods,Ting-HuaShenandChia-YuHsiehjointexhibition",TreasureHillArtistVillage,Taipei,Taiwan"TaipeiInternationalContemporaryArtAnnual",TNUAUndergroundExperimentalField,Taipei,Taiwan"TNUAphotoclubHip-Siongjointexhibition",LightboxPhotoLibraryTaipei,Taiwan"Paintingjointexhibition",TodearArtSpeace,Taipei,Taiwan 158

Invited Institution 藝術團體

機構／

團體邀請

Institution and Group

「藝術機構／團體」展區籌辦以來，邀請國內外逾65個機構及團體，每年皆為一年展帶來豐碩且新穎的藝術體驗，展現各國與各城市文化的藝術能量，提供一個多元、跨國際的藝術交流空間。在經過這兩年疫情的肆虐，藝術機構與團體紛紛開啟跨域連結的思維，在變化中尋求創意的無限可能，體現視覺藝術發展的能動性。本次特別展出四組國外藝術機構／團體的推薦代表與台灣藝術工作者的共創展覽計畫，參與者身分包含藝術家、策展人、機構研究員等不同專業領域，組成臨時藝術團隊，思考在疫情或其他不穩定的條件之下，如何以藝術回應變異的生活狀態，以一年展為樞紐，搭建彼此交流的橋樑，形塑出穩固的「國際夥伴關係網絡」，確實締造臺灣與國際間的連結。

2022 TAIWAN ANNUAL continues the transformation energy of 2021, without categorizing genres of artworks, artists can employ forms and spaces more diversely to address their creativity and generate communication between the artworks as well as the audiences. Concurrently, by converging the professionals from art industries as a jury, including the artists, curators, art critics, scholars, press, art institutions, collectors, technicians, and interdisciplinary collaboration. To facilitate the artists' future development, the nominees of the Jury Prize will have the ANNUAL Convo with the professionals to discuss their concerned art issues face-to face, and the laureate of the Jury Prize will be provided with a solo exhibition schedule in the FreeS Art Space in the coming year.

● 众藝術駐村計畫：「被襲奪的記憶」 Raped Memories 翁榛羚 WENG 「被襲奪的記憶」來源自地理學中「河川襲奪」，透過文獻資料Jhen-Ling的調查，襲奪高位河的低位河稱為「襲奪河」，被襲奪的高位河上游稱為「改向河」，剩餘失去源水的高位河河段則稱為「斷頭河」。此次展覽透過下埔仔溪下游及菜堂排水區域的踏查，以河川襲奪及土地歷史變遷的過程，探討在地居民對於此兩河域情感記憶之外，同時以第三人稱視角去觀看家族史，曾在這片土地所經歷的歷史事件，當自我跳脫時，記憶，是否還存有溫度？

"Raped Memories" comes from "River Capture" in geography. Through the investigation of documents, the lower rivers that seized high-level rivers are called "Capturing Rivers", and the upper reaches of the high-level rivers that have been seized are called "Diverted Rivers". "Capturing River", and the remaining high-level river section that has lost its source water is called "Beheaded River". Through the investigation of the lower reaches of Xiapuzai River and the drainage area of Caitang, this exhibition explores the process of river conquest and historical changes of land to explore the emotional memory of local residents in these two river areas, and at the same time from a third-person perspective. Watching the family history, the historical events experienced in this land, when the self-escapes, does the memory still have temperature?

164

"Zone Art" is located in the arts & culture district of Taoyuan City. 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.

众藝術

ZONE ART

众藝術（Zone 總成成為桃園的藝文研究實驗室。品中皆以實驗藝術、具有觀念或結合地方實驗與研究，綜合以上體、錄像、裝置、行為等以視覺藝術為基礎的實驗藝術。展覽作經過兩年的緊密籌劃，終於在此空間的成立將是桃市桃園區第一間支持當代藝術發展的平台。多藝術創作者與文化工作者進駐桃園，而成立此空間。工業大縣，升格後的桃園市，放眼桃園的藝文前景，企圖引領更Art）位於臺灣桃園市藝文特區，桃園長期以來是2017年8月成立。展出平面、立

→ 家變

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翁榛羚 WENG escapes,Watching否還存有溫度？以第三人稱視角去觀看家族史，曾在這片土地所經歷的歷史事件，當自我跳脫時，記憶，是Jhen-Lingthefamilyhistory,thehistoricaleventsexperiencedinthisland,whentheself-doesthememorystillhavetemperature?

KUO Hui-Chan's "Fish Canning Factory" locates in a factory that has not caught fish for several days, the mimic behavior attempts to reflect the interaction between people and the environment and the impact of the environment on people.

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CHANG May-Ling's "Is there anything in your family that can be exhibited in the art museum? series-Taitung Xinhua Project" reflects the past of the Xinhua tribe and the changes in today's life and culture.

去攝影 go/de-photography ● 對向間隙穿越 Opposite gap crossing KUO郭慧禪｜張美陵｜魏歆曄｜黃迦Hui-Chan￨CHANGMay-Ling￨WEI Xin-Yeh￨HUANG 覺察可能產生之碰撞，並維持行動範圍的過程。這些作品就像是朝向某地的移動，在創造的概念空間裡，持續地用彩色筆述說生命的故事，尋找與被攝影者間平等的關係。有紙的畫〉以半年的時間與孩子們進行遊戲式的合作，邀請他們角落，試圖提供另一個的角度來觀看這個造夢工廠。黃迦的〈沒景〉拍攝的場景來自臺灣的製片片廠，從幕後場景裡許多不同的了新化部落的過去與當今生活文化的變化。魏歆曄的〈幕後場有什麼東西可以拿到美術館展覽」系列—台東新化計畫〉，反映人與環境的交互關係以及環境對人的影響。張美陵的〈「你們家郭慧禪的〈魚罐廠〉在數日沒有漁獲的工廠，擬態行為試圖反映Chia

「去攝影」致力於攝影藝術的教育與研究，以及攝影藝術創作人才的培育。主要工作計畫：教育、策劃、演講、座談、策展、導覽、揪團參觀國內外的展覽。為攝影藝術創作者與學生提供學習、互動交流、創作發表的機會。2010年至今，已經舉辦超過200多場的公益活動。

go/de-photography is dedicated to education and research, as well as the cultivation of creative talents of photographic art. For photography artists and students providing opportunities for learning and creating artwork. Since 2010, more than 200 charity events have been held.

WEI Xin-Yeh's "Behind the Scenes" are taken from Taiwanese studios, trying to provide another perspective on this dream factory from many different corners of the behind-the-scenes' HUANGscenes. Chia's "Painting Without Paper" has been a playful collaboration with children for half a year, inviting them to use colored pens to tell their story of life and find an equal relationship with the photographed. These works are like moving towards a certain place, in the conceptual space created, constantly aware of possible collisions and maintaining the range of action.

→ Taitung台東新化計畫。魚罐廠02「你們家有什麼東西可以拿到美術館展覽」系列—XinhuaProject.FishCanningFactory02 張美陵、郭慧禪 CHANG May-Ling, KUO 〈魚罐廠〉在數日沒有漁獲的魚工廠，擬態行為試圖反映人與環境的〈台東新化計畫〉反映了新化部落的過去與當今生活文化的變化。Hui-Chan交互關係以及環境對人的影響。"TheTaitungXinhuaProject"reflectsthepastandpresentlifeandculturechangesoftheXinhuatribe."FishCanningFactory"isaboutafishfactorywithoutcatchforseveraldays,themimicbehaviortriestoreflecttheinteractionbetweenpeopleandtheenvironmentandtheimpactoftheenvironmentonpeople. → 幕後場景 Behind the Scenes 魏歆曄 WEI Xin-Yeh 「完美生活」的概念，真慕的理想生活，而這個渴望的東西、讓人們羨廣告透過影像提供人們種「完美生活」的概念。視劇之中，總是帶著一裡製作出來的廣告、電這裡是臺灣片廠，在這的能在我所身處的物質世界裡實現嗎？身為這座造夢工廠裡的工人之一，我抓取著幕後場景裡不同的角落，試圖提供不一樣的角度來觀看這個造夢工廠。

→

黃迦 HUANG diverseandancollaborationpens.inandtheslumEuropeThe點去探問究竟何謂真實。係，並試圖透過雙聯畫所展現出的，人與人之間多元而奇異的觀藉由結合攝影和繪畫的共創形式，我尋找鏡頭前後平等的權力關孩子們進行遊戲式的合作，邀請他們用彩色筆述說生命的故事。窟中，以撿拾廢鐵和乞討為生。在〈沒有紙的畫〉計畫中，我與法國馬賽北部，工業城邊緣Haribo這群來自羅馬尼亞的羅姆人，為生存在歐洲四處遷徙，如今暫居Chia糖果工廠旁佔地築起的貧民groupofRomafromRomania,whotraveledaroundinordertosurvive,arenowtemporarilylivinginabuiltnexttotheHaribocandyfactoryontheedgeofindustrialcity,Marseilles,France.Theypickupscrapironbeggingforaliving.Inthisproject,IinvitedthechildrenthevillagetosharetheirownlifestorieswithcoloredThroughthediptychswhichwereproducedduringourmixedofphotographyandpainting,Isearchforequalpowerrelationbeforeandaftertheuseofthecamera,trytoreflectonwhatisrealthroughthecrossinglinesofviewpoints. 167

All the photographs were taken in Taiwan, where the production teams produce mass-oriented motion pictures, advertisements, and TV series. For me, most of these advertisements contained the idea of "perfect life." However, can I fulfill the concept of the "ideal life" in the material world on earth? As one of the workers, a still photographer, in this dream-making-factory, I try to show people a different side of the scenes. 沒有紙的畫 Drawing Without Paper

星空間 Hsin'Space 「星空間」成立於 2016 年，由新媒體藝術家鄧雯馨（aka 海星星）發起。 2018 andsupportingvisualexhibitiontermLab"andTheheldcollaborativeworkshops,aWen"Hsin'Space"力於扶持藝術家創作展演、藝術發展與藝術教育推廣。紀錄、展場規劃、活動企劃、活動執行、視覺執行與製作等，致家工作室」。服務範圍為藝術家短期創作空間租借、活動攝錄影空間分為「藝術家進駐區」、「實驗研究室（Wuli工作坊、實驗演出、影像播映，結合各領域創作者的合作模式。年轉為實體空間營運。不定期舉辦座談、創作Lab）」、「藝術wasfoundedin2016bynewmediaartistTengHsin(akaHsinHsin).In2018,itwasconvertedintophysicalspaceoperation.Thereareseminars,creativeexperimentalperformances,videoscreeningsandprojectswithmulti-disciplinarycreativemindshereirregularly.spaceisdividedinto"ArtistResidencyArea","Wuli"ArtistStudio".Thescopeofservicesincludesshort-creationspacerentalforartists,eventvideorecording,planning,eventplanning,eventexecution,execution,andproductionetc.Wearecommittedtoartists'creation,performance,artdevelopmentarteducationpromotion. ● 世界又平又熱又擠 Flat, Hot and Crowded LIN林子荃｜周明誼｜陳毅哲｜奈奈祐介Tzu-Chuan,CHOUMing-Yi,CHEN Yi-Che, Animated RenewWhy下，對世界議題給出質疑、回應或者迎合？透過創作關注地球上所面臨的各種危機，在所關注的不同面向數據，而爆發式的市場造成自然的迫害、企業的扁平化。藝術家然、三是摩爾定律。摩爾定律造成科技飛快發展，影響了市場大世界有三大力量以前所未見的方式影響世界，一是市場、二是自全球化讓世界變成平的，美國著名的評論家弗里德曼提出，當今SomeonetheWorldNeedsaGreenRevolution:andHowWeCanOurGlobalFuture. 168

→ 傷感動物 Sentimental Animal 周明誼 CHOU Ming-YI 2010 thirdoverloadanychanceIn眼藥水給同樣辛苦的心靈之眼舒緩一下。方面的健康隱憂。在疲勞的雙目感到刺痛的同時，也需要留一滴即時的資訊讓大腦無法停歇，過量的轟炸帶給這個世代身心靈全年代進入平板化的世代，可隨時隨地上網的智慧型裝置用touch-screengeneration,thesmartdevicegivespeoplethetogetinstantandmassiveinformationanytimeandplace.Butourbrainsarebombardedwithinformationatthesametime.Wecanonlyapplyeyedropstooureye,relaxingourmindfromtoomuchpressure. → 沒，我甚麼也沒看見 No, I see nothing. 奈奈祐介 Animated codes.perceptualsynchronicThe風格，創造壓縮現實的另一種幻想存在。鍵字搜尋到來自各地的風景修改為漫畫中的背景，並藉典型日系過讀者的知覺封閉，串聯了文本與圖像符碼的整體性。由網路關漫畫的空間好比電影的時間，歷時與共時同時壓縮於平面中，透Someonespaceofcomicsislikethetimeofamovie,diachronicandcompressedintoaplaneatthesametime,reader'sclosureconnectingtheintegrityoftextandimageThelandscapesfromallovertheworldaresearched

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→ 壓縮時光 The Compressed Time 林子荃 LIN andwhite.compressedThrough平的視窗重新呈現我們所看見的事物。的抽象形體。就如同越漸輕薄的屏幕，透射著強烈的光，經由扁經過光的照射，壓縮了生活周邊的實體物，成為了扁平的黑與白Tzu-Chuanthesunlight,thephysicalobjectsaroundlifeareandbecomeflatabstractformsofblackandLikethethinningscreen,theintenseLEDlighttransmitsre-presentswhatweseethroughtheflatwindow.

from the Internet and modified into the background of the comics and borrowed from the typical Japanese style to create another illusory existence of compressed reality.

The core idea of Yao is very simple, it will become a "Zuo" that offers creators a place to showcase their works and supports their beliefs.

"Yao" means kiln in Mandarin, it generally implies an oven for processing a substance by burning, firing, or drying. We take the meaning of firing as a process of brewing and creating. Hoping the artist and visitors can come to experience in Yao and leave as the brand-new version of themselves. "Zuò" in Mandarin means base, the basic foundation of the artifact. We hope this space can serve as the creator's foundation to support them.

「窯」表示燒製瓦器的地方，本義：燒磚瓦陶瓷器的灶，我們取其燒製含義，在此處作為醞釀和創造的過程，希望創作者以及觀眾在經歷此地的淬煉後能以嶄新的姿態離開。「座」在詞語解釋上有「托底」之意，為器物的基礎部分，我們希望能成為創作者的基底，成為支撐的那一方。窄巷內，黃色外觀，公寓門前還有著像鳥居的建築標的。窯座位於一棟1962年完工的步登公寓，三層六戶半，窯座這戶原已荒廢五年，目前替代空間執行中，聚落集散中，祭典籌備中。想要辦有趣的展覽，讓台中較為弱勢的藝術環境也能百花齊放，利用台中圈子較為小眾的氣質轉化成為一個讓藝術家不受限的搖籃。想法很簡單，就是當一個底座，給創作者展示自己的意念、支撐他們的信仰。

● 往昔之地 Erstwhile Land 林耕舞

Yao alternative space is sitting in an old yellow apartment that was built in 1962, in a tiny ally with a torii (a traditional Japanese gate). As of now, Yao functions as an alternative space and a settlement that hopes to gather creators and is in the process of creating an art festival.

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窯座 Yao Alternative Space

Kengwu 者之間」的失敗藝術家，來與我們在一年後，一同回看他當時的年前，2022飄移在那個國界？是否和自己失落的夢，和解了？他還好嗎？他現在從事著什麼職業？居住在那個城市？又或著，我們再也沒有聽聞過藝術家的動態，沒有真正成為藝術家的他，在「以島為家—失敗藝術家回顧巡展」順利落幕的將近一年後，Yerlikaya年9月，在「台灣當代一年展」的線上展間，我們邀請了一2021年曾在窯座，實體舉辦了環島回顧巡展，第二章「兩 Continent?occupationTheofRetrospectiveNearly邁向下一步。悠遊於他對於往昔的反思、感慨、懺悔、迂迴，亦或者是笑看的窯座想邀請觀眾們一起踏入虛擬的展場空間，沒有溫度的展場，你是否依舊無鄉？這段線上、北、中、南環島旅程。塵埃終究會落定，但此時此刻ayearaftertheclosureof"HomeLandIsLand-TouroftheFailureArtist",wehaveneverheardtheartist'slatestupdate.manwhohasnotreallybecomeanartist,howishe?Whatishecurrentin?Inwhichcity?OrdriftinginwhichHashereconciledwithhislostdream?

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Earn his Bachelor of Fine Arts from Chelsea College at University of the Arts London. Kengwu begins with his body as media itself, exploring societal expectation and the contradictory image it creates. Identity and labour division are central themes. Using video, ready-made objects, and text –his work operates as both experimental and expansive. Intro: Mending

→ 第二章：兩者之間 Chapter 2: Between the Two 林耕舞 Kengwu Yerlikaya

→ 序曲：修補一份無濟於事

→ 林耕舞 Kengwu Yerlikaya

分工、角色形象及角色期待。同，質問著制式社會框架下所形成角色不同身份，透過探尋自身矛盾的身份認媒材，沈浸／扮演著社會所給予他的他將自身的肉體、時間、經歷作為創作同時是一名演員、作家、視覺藝術家。倫敦藝術大學的雀兒喜學院藝術學士，

The dust will eventually settle, but do you maybe still not know where home is? This time, Yao would like to invite the audience to step into the virtual exhibition space together. In this desolate exhibition space, wandering freely in artist's reflections, emotions, repentance, detours or even that smilingly new step.

In September 2022, in the online exhibition room of TAIWAN ANNUAL, we invited Kengwu Yerlikaya who a year ago, in October 2021, held a retrospective tour at Yao Alternative Space.

「再見」我們離想像的共同體越來越遠，一步一步的倒退，再次相見時，隔著一段距離，凝著視彼此，所有的話，在即將說出口的那一刻，化成了沈默。"Farewell"Wewerefartherandfartherawayfromtheimaginedsymbiosis,stepbystepbackwards.Whilewemetagain,westaredateachotherfromadistance.Allthewordsbecamesilentatthemomentwewereabouttoopenthemouth.

Chapter 2: "Between the Two" The namely failure artist, to come and look back with us on his journey around the island of Taiwan.

the Irreversible 林耕舞 Kengwu We長了一點才明白，家是你找到與和解自己的唯一線索。年幼一點的時候，急著逃離家。Yerlikayawereeagertorunawayfromhomewhenwewere younger. Only after we somehow aged a little bit did we realize that home is the only clue for us to find and reconcile ourselves.

"The Digital Arts Center, Taipei (DAC)" was established in 2009 and operated by the Digital Arts Foundation, an organization commissioned by the Department of Cultural Affairs, Taipei City Government. The main goal of the Taipei Digital Arts Center is to promote and experiment with the research and development of digital art.

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臺北數位藝術中心 Digital Arts Center, Taipei 臺北數位藝術中心（DAC）成立於 2009 術重要的國際交流窗口。研究與創作資源，以多元型態推動數位藝術發展，為臺灣數位藝藝術節，規劃DAC以促進優秀數位藝術計畫的實現與展呈。連結。營運，以其豐富的藝術資源與實務經驗推廣展演活動、加強在地2018實驗作為宗旨。委託「數位藝術基金會」開始營運，成立之初以數位藝術的研發年，由台北市政府文化局年起，由「社團法人台灣視覺藝術協會」（簡稱視盟）承接DAC提供藝術家工作和展示空間、媒合技術專業人才，以推廣數位藝術為目標，每年舉辦六檔展演活動與臺北數位20場以上之論壇與工作坊，致力於開拓數位藝術

Currently, the "DAC" is focusing on the promotion of digital arts, conducting six exhibitions annually, the Taipei Digital Art Festival, and hosting more than 20 forums and workshops; dedicated to developing researches and creative resources in digital arts, promoting the development of digital art with diversity, and helping Taiwan to become an essential portal for digital art on the international stage.

Since 2018, the Association of the "Visual Arts in Taiwan (AVAT)" undertook the operation of "DAC" and started promoting digital exhibitions and the strengthening of connections with the locals utilizing its rich resources and practical experience in art. The "DAC" provided the artists with a platform for them to work, exhibit, and collaborate with experts in various professional fields to promote the realization and exhibition of excellent digital art projects.

● The2022第十七屆臺北數位藝術節－「真相碎片」17thDigitalArtFestivalTaipei2022-"Fakeit Real" 展期 Date：2022.09.30-10.10 地點 andworksExchange&partnersandworksdisciplinaryYunartistsend".tomanufacturingalgorithmictheitThe步放映的「台韓錄像交流展」。跨機構連結創作能量。今年更有臺北數位藝術中心亦與韓國出，並透過主題徵件、「越域自造」青年創作計畫匯聚臺灣青年客座策展人黃祥昀策劃，邀請具豐富參展經歷的國內外藝術家展引領觀眾反思那些可見與不可見的「後端」真相為何。主題展由據／演算法資訊控制、假新聞傳播與製造扣合「後真相」主題，2022第十七屆臺北數位藝術節「真相碎片」以網絡資本主義、數DigitalNationalVenue：國立臺灣科學教育館、臺北數位藝術中心TaiwanScienceEducationCenter&ArtCenter,TaipeiARKO藝術中心DAFT及A&T雙藝術節，推出線上線下／臺北首爾同17thDigitalArtsFestivalTaipei(DAFT)2022titled"FakeReal"iscuratedinthethemeof"post-truth".Byrevealingphenomenonrelatedtonetworkcapitalism,data/informationcontrol,fakenewsdisseminationandintheartworks,theaudiencewillhavechancereflectonthevisibleandinvisibletruthbehindthe"back-ThethemeexhibitioninwhichTaiwanandinternationalarebothinvitedisplannedbyguestcuratorHsiang-Huang.Inadditional,Taiwanyoungartistsandinter-collaboratorsareencouragedtopresenttheirthroughopencalls.Thisyear,DigitalArtCenterTaipeiARKOArtCenterfromKoreaalsoworkasinternationalinconnectingtwoartfestivals,DAFTandA&T(ArtTechFestival).Bylaunchingthe"Taiwan-KoreaVideoProgram",KoreanandTaiwanartists'videoartarescreenedonlineandofflinesimultaneouslyinTaipeiSeoul. 173

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With the experimental spirit of contemporary art performances, she deeply into the education of cultivates art to builds a bridge between life and art. In 2019, she co-founded the Baguashan Power Art Festival with her local partners in Changhua.

instant 42 藝術空間 instant 42 art space 「instant 42（Art Residency/Studio/Gallery）」成立於 2013 年，為藝術家葉育君與法國藝術家 Alexis Maille 共同創辦，是一個結合居住空間、創作空間、展演空間的複合式空間。 42 是原本蘆洲空間的原地址，靈感來自於道格拉斯孷亞當斯的小說《銀河便車指南》， 42 是「生希望建立藝術家們如同兄弟姊妹的情誼，將藝術打進一般市井小民的生活圈。自從命、宇宙以及任何事情的終極答案」。 2017 年搬到故鄉彰化。以當代藝術展演的實驗精神、深耕藝術教育，並搭起生活與藝術的橋樑。 2019 年與彰化 "instant在地夥伴，共同創立卦山力藝術祭。42",foundedin2013.Founded by artist Ye Yujun and French artist Alexis Maille. It is a compound space that combines living space, creative space, and exhibition space. 42 is the street address. In "The Hitchhiker's Guide To The Galaxy", Douglas Adams cites this number as "the answer to life, the universe and everything." She is committed to creating a family-like friendship among artists and bringing art into the lives of ordinary people.

● Baguashan卦山力藝術祭回顧展PowerArtFestival Retrospective Exhibition 2022 2022故事，尋找代表彰化的20222021一個彰化夢的前進築夢之旅。2020地故事，以卦山呼應土地之力，以藝術召喚行動精神。術祭為號召，邀請民眾參與、關心自己的生活場域，共同發掘土2019鄧雯馨、李蕢至、Karla吳政樺、莊柏彥、林玉雯、施岱伶、黃彥超、楊詠宜、詹凱晞、林依萱、吳柏賢、姜鴻逸、黃筱雅、林達祐、陳育萱、林建呈、2019-2022莊柏彥、謝玉琦、林玉雯、張語彤、吳樂培、陳亭宇、盧育萱。策展團隊：instant42、盜火劇團、宋錫安、林達佑、帶領藝術家：盜火劇團、葉育君、王秀茹、余嘉榮、Kracht、BauerDorian繁不及備載年開始，由instant42葉育君與彰化青年共同發起。以藝年，以「未來冒險王」為題，一同創造對未來的奇異幻想，年，用七種方式「前進幸福」，邀請大家體驗與創造幸福。年，卦山力藝術祭將以卦山力前傳為命名，從20組家族DNA，轉變成裝置藝術與攝影展，並於年11月12日於彰化展出。 → 2021 卦山力藝術祭於慶安宮 → 2021 英雄的旅程城市漫遊計畫 →盜火劇團〈西元二〇七〇〉 175

Denys Metelin (online)

參展藝術家

Marta Trotsiuk (curator)

Gallery 101 烏克蘭 Ukraine

● Frontier of the

Gallery 101 創立於 2017 年，創辦人 Marta Trotsiuk servicesinPromotingGallerynecessaryalgorithmsIt舉辦展覽、漫步藝術計畫、慈善藝術拍賣會、出版書籍、錄製蘭當代藝術，並且促進發展烏克蘭的藝術市場。目前作為一線上藝廊計畫，除規劃快閃活動，也個國家和100家藝術空間後，在家鄉烏克蘭利沃夫開設自己的藝術空間「Gallery界各地藝廊的營運方式及商業模式，獲得開設藝術空間所需的知識並累積經驗，最終目標是探訪為藝廊負責人與策展人，她以此計畫探索世101」。至今她已拜訪了3369個城市，探索了96個藝術空間。Gallery101計畫的成立宗旨為致力推廣、普及烏克Podcast等。startedin2017whenMartaTrotsiuk,nowagalleristandartcurator,decidedtoexploreandbusinessmodelsofartgalleriesallaroundtheworld.TheaimwastogainallknowledgeandexperienceandopenherownartspaceinnativecityLviv,Ukraine.101after100visits.Nowsheexplored96artspacesin33countriesand69cities.Ukrainianartabroad,popularizingcontemporaryartanddevelopingtheartmarketUkraine.NowGallery101isanonlinegallerywithpop-upexhibitions,artevents,consultingandseriesofarteducationalpublicationsandpodcasts.

Memory 176

Myroslava Bachkur (offline)

Anna-Zoriana Savka (offline)

Veronika Cherednychenko (offline)

Taras Haida (online)

● 回憶邊境 Frontier of the Memory

somehowUkrainianscalememoriesculturalusfromTheattentionmanythethroughtectonictimeexperienceandOn經驗與感悟。家層面，作為正在經歷戰爭的烏克蘭人，分享個人乃至於全國性之藝術作品，更創造形塑未來的回憶，試圖將自身經驗延伸至整體國潛力，並從文化經驗中找出看待事物的新視角。本次展覽不僅創造透過停留在一個與我國不同且遙遠的國家經歷下，能豐富自身藝術試圖以自身的回憶作為素材，投射當下的體驗。們被遭受戰爭火海波及，經過不斷地反思過去和未來的許多面向，過地理版圖的擴張與轉移，在衝突中創造出新的規則與秩序。當人品自個人經驗出發，在創造當代文明及歷史的過程中，探討人類透在這次藝術交流計劃中，主要創作靈感來自回憶及其不同面向。作theartexchangeprogram,weworkwiththetopicofmemoryitsdifferentaspects.Ourartresearchtouchesourpersonalasindividualswhoarelivingandcreatinginacertainofthehistoryofourcivilization.Ontheedgeofshiftingplatesofhumanevolutionandcreationofprinciplesconflicts.Weourselvesweredraggedintotheepicenterofprocess,intowar.Livingthroughit,weanalyzeandreconsideraspectsofourpastandfuture,tryingtopayspecialtothepresent,doingthiswithatoolofourmemory.experienceofstayinginsuchadistantanddifferentcountryourhomeland,enrichesourartisticpotentialandencouragestolookfornewperspectivesonthingsthroughtheprismofexperience.Herewecreatenotonlyourartworksbutalsowhichnowinfluencethefuture.Potentiallywecanourexperiencetothelevelofthenation,asanexampletobeinawartime,livingthroughitandpassthepersonalbutnationwideknowledgetoothers. 177

本計畫從台灣當代藝術資料庫（Taiwan Contemporary Art Archive , TCAA）研究員李奎壁與亞洲藝術文獻庫─印度（Asia Art Archive in India, AAA in I）研究員 Samira presentedinThisreferthebetweenBeginningprojectArchiveStarting討論會的形式展示成果。本計畫自建置與蒐集上所面對的問題，從中尋找雙方未來可供彼此參考、共同工作的路徑。整理過去臺灣與南亞間的交流經驗開始，一探雙方在當代藝術發展上的差異性，與藝術檔案的的討論出發，試圖從2022年6月開始，在「台灣當代一年展」中展示部份討論過程，預計在明年初以線上fromthediscussionbetweenLIKuei-Pi,researcherofTaiwanContemporaryArt(TCAA),andSamiraBose,researcherofAsiaArtArchiveinIndia(AAAinI),thisattemptstosortouttherelationshipbetweenTaiwanandSouthAsiainthepast.withtheexchangeofexperience,tworesearchersexploredthedifferencesthetwosidesinthedevelopmentofcontemporaryart,andtheproblemsfacedinestablishmentandcollectionofartarchives,andtriedtofindawayforthetwosidestotoeachotherandworktogetherinthefuture.projectstartedfromJune2022,andpartsofthediscussionprocesswillbeshowcasedthe2022TAIWANANNUAL.Theresultofthisco-researchprojectisexpectedtobeintheformofanonlinediscussionatthebeginningof2023.

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李奎壁 LI Kuei-Pi｜Samira Bose (researcher from AAA in I)

印度 India ×臺灣 Taiwan

Asia Art Archive in India (AAA in I) × 李奎壁

印度亞洲藝術檔案館（AAA in I）成立於 2013 partinbeforetheprocess,experience,LI陷阱當中，成為一名演員，與被展示的對象。來自於勞動現場的物件，透過仿造、再製與重新編撰，讓觀眾在作品展示現場落入精心策畫的介入勞動的過程，轉變商品原所屬的內涵，提出她對於今日物質世界的批判觀點。她善於運用生於臺南現居於臺北，作品關注於跨國移動與勞動經驗，透過改造勞動過程中所產生的物件與contributeandwhichprogrammes.byforAsia辦研討會、展覽和座談，以進一步豐富館藏，為當代藝術的新興研究和藝術項目作出貢獻。展示於新德里的藝術空間，並自2016開發研究項目和組織相關計畫等方式，協助研究該地區當代藝術場域。AAA年，旨在建立資源，透過數位化藝術家和學術檔案、inI將其研究系列論叢年起開放民眾參觀。AAAinI與個人、組織和機構合作，舉ArtArchiveinIndia(AAAinI)wasestablishedin2013withthegoalofbuildingresourcesresearchontheregion'sdynamiccontemporaryartscene.Itaccomplishesthismissiondigitizingartistandscholarlyarchives,developingresearchprojects,andorganizingAAAinI'sResearchCollectioncanbeaccessedfromitsspaceinNewDelhi,hasbeenopentothepublicsince2016.AAAinIpartnerswithindividuals,organizations,institutionsonworkshops,exhibitions,andtalkstofurtheractivatethecollectionandtonewresearchandartisticprojectsinthefield.Kuei-Pi,borninTainanandlivinginTaipei,focusesontransnationalmobilityandlaborinwhichsheconvertsobjectscreatedfromlaborandintervenesinthelabortransformingthemeaningoftheproductstoconveyhercriticalviewpointsaboutmodernmaterialworld.LIspecializesinutilizingobjectsfromthesiteoflaborworkemployingmeansofimitation,reproductionandremakingtoentraptheaudienceherelaboratelyconceivedworks,inwhichtheaudiencebecomeperformersaswellasoftheexhibitedworks. 李奎壁 LI Kuei-Pi Taiwan 臺灣

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2022麗莎｜興高采烈的亡命之徒｜2022 2022閃電｜ 180

In her Daughter series, artist KUO Yu-Ping depicts the epic imaginary possibility of non-binary-gender perspectives through a small sizes of frames, but with a grand narrative attempt. These colorful but ambiguous and subtle images are like parts of our life today. While suppressing a certain feeling, she still tries to express a life experience that crosses thematic boundaries in another more obscure language, a language belonging to another gender theme.

Mahila Zine × 郭俞平 × 蔡秉儒印度 India ×臺灣 Taiwan 郭俞平 KUO Yu-Ping｜Mahila Zine 本次展覽為「國際 FreeS isTaiwaneseThis雖不及炫目，但仍熠熠生輝的意念。說，甚至延續與聆聽，展現更為細緻的生命差異，保有了小眾們個群體的敘述得以在主流體系之外，持續被書寫、記述，亦或言能，在美學實踐中橋接了性別身分與社會話語的複數詰問，讓各也因此，我們在兩位創作者的作品中得以看見一種嘗試言說的動界的生命經驗。晦的語言——屬於另一種性別主體的語言，述說著一種跨主題邊活樣貌的一部分，在抑制某種感受的同時，卻仍試圖以另一種隱這些色彩豔麗卻顯得曖昧而幽微的圖像，正如同構成我們今日生宏大敘事般的企圖，描繪了史詩般非單一性別視角的想像可能，藝術家郭俞平在構間，展現另一種抵抗的姿態。書寫，指向壓抑卻又難以名狀的欲望——在直視那些根源性的陷社會背後，父權體系所擴展出的結構性暴力，透過女性創作者的的圖像裡，隱約透露著某種蒼白的創傷，這些創傷正是來自當地在閱讀這些刊載的多樣作品時，總不難發現一張張個人風格鮮明寫自身或個人觀察而來的大小故事。別歧視、家庭壓力等。而各期小誌透過徵稿，邀集各地藝術家書中所面臨的問題，與其背後對應的傳統價值體系，諸如貧困、性年女子等。Mahila年展期間共同展出。Mahila創辦之小誌「mahila」與臺灣藝術家郭俞平進行創作對話，並於一之一，由印度女性藝術家團體「發酵點子（Vichar社–亞洲當代藝術進行式」之四項子計畫KAchaar）」所在印地語中，可譯為女人、女士或成試圖在印度社會框架中，探討女性在南亞社會Daughter系列繪畫中，透過小幅尺寸，卻又寓以exhibitionshowcasesacreativedialoguebetweenartist,KUOYu-Ping,andthemagazine"Mahila'',whichpublishedbythefemaleartisticgroup"VicharKAchaar".

We can see a dynamic of trying to speak in the works of the two creators, bridging the plural interrogation of gender identity and social discourse in aesthetic practice, so that the narratives of various groups can continue to be written outside the mainstream system. They continue to be written, described, or spoken, and even listened to, retaining the ideas of the minority who are not as dazzling, but still shining in their own unique ways.

In Hindi, Mahila can be translated as woman, lady, or adult woman, etc., and in the Indian social framework, the word Mahila has a specific socially constructed meaning, and its core meaning is roughly the same—that is, human female. This journal attempts to collect different voices from women, female artists, and all women-related ideas, and invite graphic and text creators from all over the world to write their own life experience stories through the submission mechanism. In the published works, the images with strong personal style vaguely reveal some kind of pale trauma, and these traumas come from the structural violence extended by the patriarchal system behind the local society. The writing of the book through the idea of female points directly at the repressed but indescribable desires—in the process of looking directly at the root of the trap, showing another gesture of resistance.

alongsidecorrectnesstooncreationtoinmajoringArtTSAI二元分壘的意識型態大道旁，闢掘一條條曲折小徑。認同議題，試圖在單一正確價值中，參照個體多元生命敘事，於有著更流動的創作管道與更多重的藝術實踐。當前關注島嶼上的論與評論組。大學主修金屬雕塑，研究所則轉向理論，期許自己目前就讀國立臺北教育大學藝術與造形設計學系碩士班，藝術理narrative.Ping-JuisastudentofM.F.AProgram,DepartmentofandDesign,NationalTaipeiUniversityofEducation.FrominmetalsculptureduringcollegetonowspecializingArtTheoryandCritique,theturnimplieshisexpectationhavemoreflexibilityandopennessindifferentformsofandmultipleartpractices.TSAIcurrentlyfocusesthesubjectofidentity.Hetriestopaycloseattentionvariousnarrativesofindividuals'livesunderthesingleofcertainvalue,inordertodigtortuouspathstheAvenueofIdeology.郭俞平 KUO Yu-Ping Taiwan 臺灣蔡秉儒 TSAI Ping-Ju Taiwan 臺灣 181

Mahila Zine 創辦人為 Manmeet Sandhu 和 Shrabani Dasgupta，於 2018 年 8 月創刊出版。這是一本女性導向雜誌，每年出版三次。 Mahila Zine 在地的修正，尋思出一種主體的敘事。撐繁花般的隱喻為其創作特質，試圖把「存有」的概念推往現實與自身處境等問題，以「缺」顯化既定的歷史難題，以創傷與缺憾支驗與大歷史之間一種缺憾或匱乏的關係，如個人記憶與冷戰以及品多以繪畫、錄像、裝置與行為等複合形式，表達自身的生命經1986reputedartShrabaniherurbanManmeetwithamongsttowomen-orientedShrabaniMahila計師，目前任教於一知名設計機構。Shrabani藝術。Manmeet女性藝術家和／或與女性性別相關的個人。集結不同的想法、敘事或綜合性作品，多數來自女性、為居住在德里的藝術家，作品關注聚落、城市干預和連續她目前正在德里大學攻讀美術博士學位。現居德里，是一位熱愛連續藝術和版畫的藝術家暨平面設ZinewasconceptualizedbyManmeetSandhuandDasgupta;thefirstissuecameoutinAugust2018.ItisaZinepublishedthriceayear.TheZineattemptsbeacollectionofdifferentvoices,narratives,montagesfromwomen,womenartistsand/orindividualswhoassociatethefemalegender.isaDelhibasedartistwhoseinterestliesinassemblages,interventionsandsequentialart.SheispresentlypursuingPhDinFineArtsfromtheUniversityofDelhi.isanartistandgraphicdesignerwholovessequentialandprintmaking.BasedinDelhi,shepresentlyteachesinadesigninstitution.年生於臺灣南投，臺北藝術大學藝術跨領域研究所畢業。作

KUO Yu-Ping was born in 1986 in Nantou, Taiwan, and she received her master's degree in trans-disciplinary arts from Taipei National University of Arts. KUO's art practice includes a diverse range of genres, including painting, video, installation, and performance. She uses art to express the missing elements or insufficiencies between her own experiences in life and what is considered Big History, including issues involving her personal memories, the Cold War, and the circumstances she encounters. Using the notion of "missing or lacking" to bring forth already determined historical predicaments, KUO uses trauma and disappointments to support a medley of metaphors, which has become a notable feature in her artworks. She seeks to push or correct "existing" concepts, in order for them to be more aligned with reality and the local mentality. Through her endeavors, she searches for a subjective

林羿綺 LIN Yi-Chi｜Ibi countries.artwork,begins.interviewdrasticallyTaiwan,responses100becomeofTaiwan戰爭前/後的提問，開啟兩國間更多的交流討論。做的事是什麼？兩位藝術家共同創作出名為局勢更加升溫，於是臺灣藝術家林羿綺以此為發想，訪問在戰火之下的日常需求與祈願。反視臺灣，與中國間的政治拉扯從未間斷，2022100戰火摧殘的首都，和平成為最遙不可及的微小願望，葉門藝術家臺灣與葉門，地理位置上遙遠的兩端，卻同樣籠罩在不安定的政治環境中。沙那為葉門最飽受IbrahimIbiIbrahim於2020年訪問位葉門公民，詢問他們戰爭結束後最想做的事是什麼？這些回應讓我們得以窺見葉門人民年8月緊張的100位臺灣民眾，在戰爭開始前最想SanaaTaipei沙那臺北的錄像作品，藉由對於面臨andYemen,twogeographicallydistantspots,arebothovercastwithacloudpoliticalunrest.InSanaa,theYemenicapitalmostdestroyedbythewar,peacehasthemostunreachablewish.In2020,YemeniartistIbiIbrahiminterviewedYemenicitizensaboutthethingtheywanttodothemostafterthewarends.TheirprovideusaglimpseonYemenipeople'severydayneedsandhopesinwartime.bycontrast,hasbeeninaconstantpoliticalrivalrywithChina.AstheconflictintensifiedinAugust2022,TaiwaneseartistLINYi-Chiispromptedtoalso100TaiwanesecitizensaboutwhattheywanttodothemostbeforethewarByaskingthepost-war/pre-warquestions,thetwoartistsco-createthevideo"SanaaTaipei",toinspiremorediscussionandexchangebetweenthetwo × 林羿綺

● Sanaa Taipei 沙那臺北

葉門 Yemen ×臺灣 Taiwan Full-HD 雙頻道錄像裝置，13 分 30 秒 Full-HD two-channel video installation, 13 min 30 sec 182

Romooz Foundation

Ibi Ibrahim 是一位視覺藝術家、作家、電影製作人和音樂家。 LIN Yi-Chi Taiwan 臺灣

Romooz theanddiasporainstallation.takeinNationalreceivedBorn於國族、歷史和群眾記憶間的再生產。重新編導出個體生命敘事的復魅樣態，以召喚邊緣敘事，進行關田野踏查進行記憶與夢境的採集，將動態影像轉化成降靈媒介，像裝置為主。創作聚焦於亞洲地緣政治中的族群離散經驗，透過受過當代藝術與電影製作訓練，主要創作以錄像、實驗電影和影1986resolution,Thedevelopmentpublicliteratureartists,andandindependent,Located為化解衝突的手段，建設和平並促進學習和社會發展。為葉門的多元化及民主社會發展作出貢獻。Romooz動、會議、電影節、藝術家講座和公共節目等活動，Romooz家作品及音樂製作，並開設培訓課程、駐村計畫、研討會、文學活和發展葉門藝術和文化。通過各類國內及國際展覽，展出葉門藝術基金會位於首都沙那，為一獨立非營利基金會，致力促進旨在期盼藝術能作inthecityofSana'a,RomoozFoundationisannon-profitfoundationdedicatedtothepromotiondevelopmentofYemeniArtandCulture.ThroughlocalinternationalexhibitionsfeaturingtheworkofYemenimusicproduction,training,residencies,workshops,events,conferences,filmfestivals,artiststalks,andprogramming,thefoundationaimstocontributetotheofapluralistic,democraticsocietyinYemen.organizationaimstopromoteartasameansforconflictpeace-building,learningandsocialdevelopment.年生，畢業於臺北藝術大學美術所碩士，現居於臺灣臺北；in1986,LINYi-ChinowlivesandworksinTaipei.LINherMaster'sdegreeinFineArtsfromtheTaipeiUniversityoftheArts.Witheducationalbackgroundsbothcontemporaryartandfilmproduction,herworkstheformofvideoart,experimentalcinema,andvideoInrecentyears,LIN'spracticecentersontheexperienceswithinAsiangeopolitics.Memoriesdreamsarecollectedthroughfieldinvestigation,anddynamicimagesaretransformedintohermediumof

travelconversationsexploresplacedinstitutedAstraditionHishiswithHisIbi續戰爭影響的個人），進行持續的採訪和對話來探索這些問題。為了尋找答案，通過與當地居民對話（經歷旅行禁令影響和本國持的旅行禁令，他的個人創作也不斷進化，並對家的概念提出質疑。統問題，包括他的家鄉葉門。人經歷和生活階段。的作品經常受到周遭環境啟發，他的作品發展反映過去十年的個他他早期的工作涉及整個中東的性、性別和傳隨著葉門內戰爆發和川普政府頒布Ibrahimisavisualartist,writer,filmmakerandmusician.workisofteninspiredbyhisimmediatesurroundings,anartisticpracticethathassteadilyevolvedtoreflectpersonalexperiencesandlifestagesoverthepastdecade.earlyworktouchesuponissuesofsexuality,genderandacrosstheMiddleEast,includinginhisnativeYemen.thewareruptedinYemenandtheTrumpadministrationthetravelban,Ibrahim'spracticeevolvedandthenotionofhomeintoquestion.Inhiswork,Ibrahimthosequestionsthroughongoinginterviewsandwithindividualsexperiencingtheeffectsofthebanandtheongoingwarintheirhomeland.林羿綺

Ibi Ibrahim

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necromancy. Individual life narratives are re-interpreted and re-enacted into a re-enchantment scenario, which she employs to summon the marginal voices and re-produce bonds among nationalities, histories, and collective memories.

黃崧菀 HUANG Sung-Wan｜Jupiter Pradhan from Space A 臺灣藝術家黃崧菀與尼泊爾藝術組織 Space A 藝術家 Jupiter Pradham supplementarytasteplaces,andanotherthatcreatingexperienceContinuing滋味。作一道未曾嘗過的甜蜜食物，在這搜索和替代性材料以及補充描述的過程中，已開始品嚐其中菜餚彰顯了節令、氣候、文化與人對食物的慾望。在異地找尋食材和替代性材料，去想像和製A延續個人近年以跨文化經驗為基礎，展開對形狀的觀察和研究，此次與尼泊爾藝術組織物，在這搜索和替代性材料以及補充描述的過程中，已開始品嚐其中滋味。文化與人對食物的慾望。在異地找尋食材和替代性材料，去想像和製作一道未曾嘗過的甜蜜食述著兩地彼此未見未聞過的食材，形構在對方國家生活的情景，一道菜餚彰顯了節令、氣候、合作，從飲食著手，描Space合作，從飲食著手，描述著兩地彼此未見未聞過的食材，形構在對方國家生活的情景，一道thetheirpersonalobservationandresearchonshapesbasedoncross-culturalinrecentyears,thistime,HUANGSung-WanandJupiterPradhanstartedtheirprocessfromthedailycuisinesofbothcountries,describingtheingredientsthetwoplaceshaveneverseenorheardofeachother,anddepictedthelifeofoneinthecountryofanotherworld.Adishreflectstheseasons,climate,culturehumandesireforfood.Lookingforingredientsandalternativematerialsindifferenttoimagineandmakeasweetfoodthathasneverbeentasted,theyhavebeguntotheessenceofthecuisinesduringtheprocessofsearchingalternativematerialsanddescriptions.

尼泊爾 Nepal ×臺灣

Taiwan 184

Space A × 黃崧菀

HUANG黃崧菀 Sung-Wan Taiwan 臺灣

185

Space A 成立於 2008 experienceananArtistbeenmediumsastoSpaceevents,contemporarycommunication.discussions,establishingandideas.practiceDesigner,withSpace駐村體驗。術駐村項目，提供藝術家跨越時空、重溫歷史以及享受自然美景的駐留項目」（KIAR），該計畫現已成為尼泊爾最重要且最具規模的藝2019立各種當代藝術媒介，如表演、裝置、視頻和許多實驗媒介。Space計畫等項目，為跨領域的當代藝術實踐做出貢獻。協作和互動交流的平台。其目標是建立一個穩定的批判性分析、反思、公開討論、信息交流、立運作的非政府組織，也是非營利、非政治性的藝術家倡議組織，術創作。這種獨特的多樣性催生了許多傑出的發想。Space內設計師、珠寶設計師、音樂家和作家，以推廣尼泊爾的跨領域藝，為一跨領域藝術機構，集結視覺藝術家、室A是獨設立研究、討論活動、展覽、教育和駐村A是尼泊爾藝術界的先驅組織，協助在尼泊爾當代藝術中建自年以來，SpaceA一直在規劃駐村計畫「加德滿都國際藝術家A,forinterdisciplinaryartpractice,wasformedin2008theinvolvementofVisualArtist,InteriorDesigner,JewelryMusician,andwritertopromoteinterdisciplinaryartinNepal.ThisuniquediversityleadstolotsofmagnificentItisanon-governmentalautonomous,non-political,no-profitableArtistInitiativeorganizationwiththegoalofastableplatformforcriticalanalysis,reflections,openinformationexchange,collaborationandinteractiveItaimsatcontributingtointerdisciplinaryartpracticesbysettingupresearch,discursiveexhibitions,educationalandresidencyprograms.Aisoneoftheleadingartistinitiativesthatcontributedestablishingvariouscontemporarymediumsofartsuchperformance,installation,video,andmanyexperimentalinNepalicontemporaryart.Since2019,SpaceAhasorganizingresidencyprograms,"KathmanduInternationalinResidency(KIAR)",whichhasnowbeenestablishedasimportantandlargestartresidencyprogramofNepal.KIARisopportunitytotravelbackintimeandrelivehistoryaswellasnaturalbeauty. "Taiwanand"Inother.soandpeopleaudienceandoccurred,recentonBorn考於福利社（2021），並參與《開我的車》（2022）、《壹零年代繪畫臆想，讓圖像與物件互相閱讀和啟發。近年發表個展《視之所繫》可以辨認的物件與人，並透過展呈技術引導觀眾在空間中遊走與方式重新詮釋，構成模稜兩可的畫面，讓觀者去臆想畫面中依稀所、歷史場景或旅行所帶來的感受與部分影像，以拼貼、繪畫的作品關注在人與世界之間流動的關係，近年創作將事件發生的場I：眼技、手藝與觸知宇宙》（2021）等展覽。inChanghua,basedinTaipei,Sung-Wan'sartworksfocustheflowingrelationshipbetweenpeopleandtheworld.Inyears,shehasreinterpretedtheplaceswhereeventshistoricalscenesorthefeelingsbroughtbytravelsomeimagesintheformofcollagesandpaintings.Theimaginesthevaguelyrecognizableobjectsandinthepicture,andguidestheaudiencetowanderimagineinthespacethroughtheexhibitiontechnology,thattheimagesandobjectscanreadandinspireeachInrecentyears,shehascuratedhersoloexhibition,SightoftheConnection(2021)",attheFreeSArtSpace,participatedinexhibitionssuchas"DriveMyCar(2022)",ContemporaryPaintingin2010s(2021)".

Index 索

Index引

Artist藝術家索引Index

Instant 42 174

曹育維 CAO Yu-Wei 90 許逸芸 HSU I-Yun 92 連瑞芬 LIEN Jui-Fen 94 郭佳蓁 KUO Chia-Chen 96 郭俞平 KUO Yu-Ping 180 陳文祥 CHEN Wen-Hsiang 98 陳怡安 CHEN Yi-An 100 陳芝宇 Adele CHEN 102 陳冠瑋＋何晉倫 104 CHEN Kuan-Wei、HO Chin-Lun 陳柏源 CHEN Po-Yuan 106 陳省聿 CHEN Hsin-Yu 108 陳美珍 CHEN Mei-Chen 110 陳羿叡 CHEN Yi-Jui 112 陳瑞錦 CHEN Jui-Chgim 114 陳歡 CHEN Huan 116 莊偉慈 CHUANG Wei-Tzu 13 黃元煜 HUANG Yuan-Yu 118 黃品瑄 WANG Gon-Jer 120 黃美珍 HUANG Mei-Chen 122 黃莉莉 HUANG Li-Ly 124 黃崧菀 HUANG Sung-Wan 184 黃紫瑜 HUANG Tzu-Yu 126 黃新庭 HUANG Hsin-Ting 128 黃德馨 HUANG Der-Shing 130 楊芝涵 YANG Chih-Han 132 楊傑懷 YANG Jie-Huai 20 楊景堯 YANG Chi-Yao 134 楊駿偉 YANG Chun-Wei 136 董籬 TUNG Li 138 熊妤 HSIUNG Yu 140 臺北數位藝術中心 172

林幸珍 LIN Hsin-Chen 62

林羿綺 LIN Yi-Chi 182 林振宏 LIN Chen-Hung 64 林淑娟 LIN Shu-Chuan 66 星空間 Hsin'Space 168

梁予瀞 LIANG Yu-Jing 15

朱凌萱 CHU Ling-Hsuan 36

王心妍 WANG Hsin-Yen 28

李俐燕 LEE Li-Yen 54

余永明 Sha x 2 40

何宇森 HE Yu-Sen 38

六樓鐵皮（張恆銘）6FTP (CHANG Hung-Ming) 26

Mahila 180

吳宇軒 WU Yu-Hsuan 44

吳心荷 WU Hsin-Ho 42

吳奕蓁 WU Yi-Jhen 46

李奎壁 LI Kuei-Pi 178

高錫麟 KAO Shi-Lin 78

Digital Art Center, Taipei 窯座 Yao alternative space 170 蔡秉儒 TSAI Ping-Ju 180 蔡瑛瑾 TSAI Yin-Jin 142 鄭雅璇 CHENG Ya-Hsuan 144 盧姝妤 LU Shu-Yu 146 盧國聰 LOU Kuok-Chong 148 蕭玉琴 HSIAO Yu-Chin 150 賴久紅 LAI Chiu-Hung 152 戴嫻真 DAI Sian-Jhen 154 謝佩庭 HSIEH Pei-Ting 156 謝佳瑜 HSIEH Chia-Yu 158

徐莘 SHYU Hsin 72

去攝影 go/de-photography 166

Gallery 101 176

胡筱霓 HU Hsaio-Ni 70

時光林 Time Lin 74

張子恩 CHANG Tzu-En 80

張伯豪 CHANG Po-Hao 82 張家寧 ZHANG Jia-Ning 84

杜浩恩 Christian Moeller Nielsen 58 阮柏遠 JUAN Po-Yuan 16

林沛瑤 LIN Pei-Yao 60

末生學（康郁達） MOSŃXUE 32

張菀玲 CHANG Wan-Ling 88

Space A 184

众藝術 Zone Art 164

AAA in India 178

高婕綾 KAO Jie-Ling 76

倪灝 NI Hao 18

吳權恩 WU Quan-En 48

張善學 CHANG San-Hsueh 86

Romooz 182

李沛芸 LEE Pei-Yun 52

李進能 LEE Chin-Neng 56

王雅慕 WANG Ya-Mu 30

石孟鑫 SHIH Meng-Hsin 34

洪伊又 HUNG Yi-Yu 68

呂迦諾 LU Chia-Nuoh 50

●理事長 Chairperson 蘇瑤華 SU Yao-Hua

●網站設計 Website Design

●0gram零克有限公司

●燈光設計 Lighting Design 何仲昌 HE Zhong-Chang

2022

TAIWAN ANNUAL Executive Team

虛擬大廳設計 Virtual Lobby Design 郭政賢 GUO Zheng-Xian、李易玲 LI Yi-Ling

●機構合作 Institution and Group Collaboration 展務執行 Exhibition Executive 范宇晴 FAN Yu-Ching、徐梅軒 HSU Mei-Hsuan

●佈展合作 Installation Services 謝其軒 XIE Qi-Xuan、陳為榛 CHEN Wei-Zhen、吳瑋庭 WU Wei-Ting

媒體宣傳 Press and Social Media 鄭琬儒 ZHENG Wan-Ru、吳宜臻 WU Yi-Jen、王渝賢 WANG Yu-Sian 異業合作 Cross-field Cooperation 鄭琬儒 ZHENG Wan-Ru

●公關行銷 PR and Marketing

●一年聚焦 Focal ANNUAL 展務執行 Exhibition Executive 鄭琬儒 ZHENG Wan-Ru、王宥云 WANG You-Yun 評審聯繫 Jury contact 鄭琬儒 ZHENG Wan-Ru 展間規劃 Exhibition Plan 王宥云 WANG You-Yun 前期協助 Early Processing 王渝賢 WANG Yu-Sian

2022台灣當代一年展執行團隊

陳彥如 CHEN Yan-Ru、魏妏如 WEI Wen-Ru

●視覺統籌 Graphic Design

●活動推廣Promotion 執行鄭琬儒ExecutiveZHENG Wan-Ru、范宇晴 FAN Yu-Ching、王宥云 WANG You-Yun、徐梅軒 HSU Mei-Hsuan 實習生事務 Intern Coordinator 王宥云 WANG You-Yun

●一年培力 Foster ANNUAL 展務執行 Exhibition Executive 鄭琬儒 ZHENG Wan-Ru

●專案統籌 Project Director 鄭琬儒 ZHENG Wan-Ru

●視盟第十三屆秘書處 AVAT 13th Secretariat

實習生 Intern 林韋伶 LIN Wei-Ling、吳宇璇 WU Yu-Hsuan、陳羿含 CHEN Yi-Han、塗謹謙 TU Chin-Chien、傅曦儀 FU Si-Yi

●視盟第十三屆理監事 AVAT 13th Board Members

理事長 Chairperson 蘇瑤華 SU Yao-Hua 副理事長 Vice Chairperson 吳垠慧 WU Yin-Hui、郭奕臣 KUO I-Chen 常務理事 Executive Director 陳擎耀 CHEN Ching-Yao、賴香伶 LAI Hsiang-Lin 理事王鼎曄DirectorWANG Ding-Yeh、吳尚邕 WU Shang-Yung、李明學 LEE Ming-Hsueh、林裕軒 LIN Yu-Hsuan、胡欣妤 HU Shin-Yu、常陵 CHANG Ling、邱杰森 CHIU Jie-Sen、張暉明 CHANG Huei-Ming、黃志偉 Huang Chih-Wei、黃琬玲 HUANG Wan-Ling 常務監事 Executive Supervisor 楊茂林 YANG Mao-Lin 監事何孟娟SupervisorHOMeng-Juan、陸先銘 LU Hsien-Ming、張美陵 CHANG May-Ling、蘇匯宇 SU Hui-Yu

秘書長 Secretary-General 范宇晴 FAN Yu-Ching 專案經理 Project Manager 鄭琬儒 ZHENG Wan-Ru 展覽經理 FreeS Art Space Manager 王宥云 WANG You-Yun 助理梁予瀞AssistantLIANGYu-Jing、吳宜臻 WU Yi-Jen

主編Chief Editor

執行編輯Executive Editor

王宥云WANG You-Yun 吳宜臻WU Yi-Jen

鄭琬儒ZHENG Wan-Ru 范宇晴FAN Yu-Ching

發行人Publisher

蘇瑤華SU Yao-Hua

黃亮融HUANG Liang-Jung 鄭琬儒ZHENG Wan-Ru 徐梅軒HSU Mei-Hsuan

設計Design 陳彥如CHEN Yan-Ru 魏妏如WEI Wen-Ru

出版單位Published by Association社團法人台灣視覺藝術協會oftheVisualArts in Taiwan

翻譯Translator

1.美術ISBN195面；17──，臺北市：社團法人台灣視覺藝術協會，2022.09台灣當代一年展．2022／王宥云，吳宜臻主編．──初版．x22公分978-986-943-366-2(PDF)2.視覺藝術3.作品集電話 Tel 02-2585-7600 傳真 Fax 02-2585-7679 信箱 E-mail twannual@gmail.com 地址 Address B1,104035臺北市中山區新生北路三段82號B1No.82,Sec,3,XinshengN.Rd.,Zhongshan Dist., Taipei City 104, Taiwan 捐款帳戶 Donate Account 元大銀行社團法人台灣視覺藝術協會圓山分行(806)00108-2673232-13