牛俊強 NIU JUN QIANG
牛俊強畢業於國立台北藝術大學科技藝術研究所。從事當代藝術創作與教學。目前工作於台北，為實 踐大學與國立臺北藝術大學大學助理教授。
其作品以「視覺作為一種存在的形式」出發，延伸至時空向度中，不可見的關係連結、個人至群體的 生命意識，以不同形式的創作做細膩而宏觀的提問。他擅長運用錄像影像與展場空間做互補敘事，另 外也擅長平面複合媒材與立體裝置。
曾參與鹿特丹國際影展金虎獎短片競賽、英國Osmosis錄像藝術節、美國Pixilerations新媒體藝術 展、紐約cutlog藝術節、西班牙Aguilar影展、法國Tours亞洲影展、法國ARTchSO錄像藝術節、 日本東京Interdisciplinary藝術節、韓國光州ACC Asian Arts Space Network Show、兩岸四地 藝術交流計劃、台北金馬影展、台北美術獎、台灣國際錄像藝術展、台北電影節等國內外藝術節和影 展展出。作品亦在柏林、伊斯坦堡、特拉維夫、俄羅斯、墨西哥、首爾、北京、深圳等國際重要城市 發表。曾獲頒第35屆金穗獎最佳實驗片，及第十七屆台新藝術獎入圍。
Web: natniu.net/
Mail: nat.niu@gmail.com
2006-2009 國立臺北藝術大學科技藝術研究所，主修媒體藝術
2000-2005 實踐大學室內空間設計學系
獲獎
第8屆倫敦國際影展最佳外語紀錄片導演提名，2021
第8屆倫敦國際影展最佳外語紀錄片提名，2021
第7屆ARFF柏林電影節最佳實驗電影，2021
第53屆美國休士頓國際影展最佳實驗電影銅獎，2020
第42屆金穗獎最佳實驗片入圍，2020
第17屆台新藝術獎入圍，2019
第35屆金穗獎最佳實驗片，2013
台北美術獎，入選，台北市立美術館，2009
台北美術獎，優選，台北市立美術館，2008
駐村
曼徹斯特華人藝術中心，曼徹斯特，英國，2021
池上美術館駐村，台灣好基金會，台東，台灣，2019 西帖國際藝術村，巴黎，法國， 2017
18街國際藝術村，洛杉磯，美國，2011
出版
《抵達盡頭時，我們將聚集在洞穴處 》，臺北市立美術館發行，2012
放映
第7屆視覺藝術影展，洛杉磯，美國，2020
第53屆美國休士頓國際影展最佳實驗電影銅獎，休士頓，美國，2020
第42屆金穗獎最佳實驗片，台北，台灣，2020
第35屆金穗獎影展最佳實驗片，台北，台灣，2013
金馬影展台灣製造單元，台北，台灣，2012
西班牙Aguilar影展亞洲單元，Aguilar，西班牙，2011
法國Tours亞洲電影節，Tours，法國，2010
第十屆台北電影節，台北中山堂，台北，台灣, 2008
第八屆台北電影節，台北中山堂，台北，台灣，2006
南方影展「南方特賞」，台南藝術大學，台南，台灣，2006
鹿特丹國際影展短片競賽，鹿特丹，荷蘭，2006
學歷
個展
彰顯 — 2022牛俊強個展，瑪德蓮畫廊，台北，台灣，2022
TKG +，台北，台灣，2018
2018牛俊強個展，TKG +，台北，台灣，2018
双生子，Cipa Gallery，北京，中國，2016
2015牛俊強個展，谷公館畫廊，台北，台灣，2015
2014牛俊強個展，么八二畫廊，台南，台灣，2014
一句，誠品信義店Art Studio，台北，台灣，2013
2018牛俊強個展，
10 Minutes Left-2012，國立台灣美術館，台中，台灣，2012 cover，台北市立美術館，台北，台灣，2012
即使她們從未相見，Chi-Wen Gallery，台北，台灣，2012
不能和你一起，鳳甲美術館，台北，台灣，2010
當我和你老去，南海藝廊，台北，台灣，2009
聯展 2022
OVNi尼斯錄像藝術節2022，尼斯WindsoR旅館，尼斯，法國
島嶼酒吧 Island Bar- Ratava，台北藝術節，台北表演藝術中心，台北，台灣
8 Recipes - 藝術料理展， Stage 咖啡維度所，雍和藝術中心，台北，台灣 寄情與召喚-池上藝術村駐村藝術家聯展，池上穀倉藝術館，台東，台灣
2021
物·自·造·_creN/Ature，TKG+Projects，台北，台灣
2020
臺灣國際錄像藝術展：阿尼瑪，空總臺灣當代文化實驗場，台北，台灣 新白堊紀，台北國際藝術村，台北，台灣 給火星人類學家，新北市藝文中心，台北，台灣 島嶼酒吧-海底的港口，TPAM 表演藝術節，橫濱，日本
台北當代博覽會，南港展覽館，台北，台灣
2019
西岸博覽會，上海，中國
世界的光–臺灣當代藝術展，駐教廷大使館，羅馬，義大利
2018
DATA MANIA 俄國國際錄像藝術節，俄羅斯，俄國
2017
漫遊記事，Galerie Frédéric Moisan，巴黎，法國
EXiS 錄像實驗藝術祭，首爾，南韓
Osmosis 錄像藝術節， Backlit畫廊， Fabrica 畫廊， Phoenix Leicester ， Exeter Phoenix , CCA Glasgow，英國
空氣煞車，駁二特區，高雄
伏流 · 書寫，台北市立美術館，台北，台灣
2016
深圳藝術博覽會，廣州，中國
2016 Asian Arts Space Network Show，亞洲藝術中心，光州，韓國 Interdisciplinary Art Festival Tokyo，東京，日本
邂逅那道光-2016寶藏巖燈節，寶藏巖，台北，台灣
舞弄珍藏-台北市立美術館典藏展，台北，台灣
2015
台北藝術博覽會，台北世貿中心，台北，台灣
移動之身 - 台灣與土耳其當代藝術交流計畫，伊斯坦堡，土耳其 迴光線 - 影像的裂隙，耿畫廊，台北，台灣
2014
光譜稜線，關渡美術館，台北，台灣
他者．距離-兩岸當地藝術交流展，湖北美術館，高雄市立美術館，中國， 台灣
2013
新作輯-牛俊強、羅智信創作計劃，鳳甲美術館，台北，台灣 夏之旅，GlogauAIR，柏林，德國
cutlog NY Art Fair-Urban Illusions，紐約，美國 真真：當代超常經驗，臺北市立美術館，台北，台灣
2012
台北藝術博覽會，台北世貿中心，台北，台灣 四不像─兩岸四地藝術交流計畫，台北市立美術館，澳門南灣舊法院大樓， 深圳何香凝美術館， 香港奥沙藝術中心
曖昧的存在-台德以三國藝術交流計劃，台北 / 台灣，柏林 / 德國，臺拉維
夫 / 以色列
2011
Beyond the Frame，Chi-Wen Gallery，台北，台灣
VAFA2011國際錄像藝術節，東方基金會，澳門
有感 Perceive，台北當代藝術中心，台北，台灣
Pixilerations [v.8]-新媒體藝術展，羅德島，美國
後態度-台灣年輕藝術家聯展，EX Teresa Arte Actual，墨西哥
2011 ARTchSO錄像藝術節，Rennes，法國
2010
PHOTO TAIPEI 2010 第二屆台北攝影與數位影像藝術博覽會，王朝大飯店，台北，
台灣
EX!T2010 台灣國際實驗媒體藝術展，台北當代藝術中心，台北，台灣 食托邦—第二屆國際錄像藝術展，鳳甲美術館，台北，台灣
2009
2009台北美術獎，台北市立美術館，台北，台灣
臺灣╳以色列青年藝術家交流展Ⅱ，關渡美術館，台北，台灣
2008
2008台北美術獎，台北市立美術館，台北，台灣
小民市景－台灣新興數位藝術展，台灣國立美術館，台中，台灣
韓國亞洲學生及年輕藝術家藝術節，首爾火車站舊大樓，首爾，韓國
第二屆北京夏日數位娛樂節， 751動力廣場，北京，中國
邊境．近鏡-臺灣╳以色列青年藝術家交流展，華山文化園區，台北，台灣 居無定所—第一屆國際錄像藝術展，鳳甲美術館，台北，台灣
2007
OPEN SPACE，卡賽爾藝術學院，卡賽爾，德國
第二屆台北數位藝術節，西門町紅樓，台北，台灣
2006
第一屆台北數位藝術節，台北中山堂，台北，台灣
典藏
2018牛俊強個展、長生、Self Portrait、彰顯,No Show Museum ，數位典藏
無題-10，攝影，平滑藝術紙輸出，個人收藏，香港，2021
邊界 II，攝影，平滑藝術紙輸出，國立台灣美術館，台灣，2020
邊界 I，攝影，平滑藝術紙輸出，國立台灣美術館，台灣，2020
無題 VI (2018)，攝影，平滑藝術紙輸出，國立台灣美術館，台灣，2020
無題─雙生子，複合媒材，個人收藏，台北，台灣，2020
內關，複合媒材，國立台灣美術館，台灣，2020
無題(2016)，攝影，雍和藝術教育基金會，台灣，2018
這裡的陽光很不一樣，霓虹燈管裝置，雍和藝術教育基金會，台灣，2016
無題 IV，個人收藏，香港，2015
預感，個人收藏，香港，2015
當我和你老去，個人收藏，紐約，美國，2014
2013，證明 I ，Artist Pension Trust (APT)，香港
2013，10 Minutes Left，Artist Pension Trust (APT)，香港
2012，即使她們從未相見，個人收藏，台北，台灣
NIU JUN QIANG
Niu Jun Qiang was born in 1983. He graduated with MFA in New Media Art from Taipei National University of the Arts. His artworks mainly focus on the video, film and mixed media installations. He is also the assistance professor of Communication of design in Shih Chien University.
During the creative process, Niu has investigated the incredible relations between materiality and spirituality which in our life consciousness from the individuals to groups. He has worked with different sorts of participants to narrate their past experiences for the creation of a more united, joint experience.
Niu Jun Qiang’s artworks have been featured in the short film competition at the Rotterdam International Film Festival (the Netherlands), Osmosis Audiovisual Media festival (U.K.), Pixilerations Tech Art Exhibition (U.S.A.) , the Aguilar International Short Film Festival (Spain), Tours Asian Film Festival (France), ARTchSO Video Festival in Rennes (France), It Takes Four Sorts: Cross-Strait Four-region Artistic Exchange Project (Taiwan, Mainland China, Hong Kong, and Macau), Taipei Golden Horse Film Festival,Taipei Arts Awards in Taipei…etc. His works also had been showed in Paris, Berlin, Istanbul, Tel Aviv, Mexico, Seoul, Beijing, Shenzhen. He won the 53rd Worldfest-Houston, Remi Award, Experimental Film & Video Art Film, 2020.
Awards
London IFF 2021, Best Foreign Language Documentary, 2021
London IFF 2021, Best Director of a Foreign Language Documentary, 2021
The 7th Around International Film Festival, Best Experimental Film Award, 2021
The 53th Worldfest-Houston, Remi Award, Experimental Film & Video Art Film, 2020
The 42th Golden Harvest Award, the Suspend Experimental Film, 2020
The 17th Taishin Arts Award, 2019
The 35th Golden Harvest Award, the Suspend Experimental Film, 2013
Taipei Arts Award Competition, 2009
Taipei Arts Award Competition, 2008
Art Residency
Centre for Chinese Contemporary Art , Manchester, the U.K., 2021
Chih- Sheng Museum, Taitung county, Taiwan, 2019
Cité Internationale des Arts, Paris, France, 2017
The 18th Art center, Los Angeles, USA, 2011
Published Item
"When we reach the end, we’ll assemble in a cave.”
Publisher: Taipei Fine Arts Museum, 2012
Solo Exhibition
Reveal—2022 Niu Jun Qiang’s Solo Exhibition, Madelien Gallery, Taipei, Taiwan, 2022
2018 Niu Jun Qiang’s Solo Exhibition, TKG+ Gallery, Taipei, Taiwan, 2018
Twins, Cipa Gallery, Beijing, China, 2016
2015 Niu Jun Qiang’s Solo Exhibition, Michael Ku Gallery, Taipei, Taiwan, 2015
2014 Niu Jun Qiang’s Solo Exhibition, 182 Art Space, Tainan, Taiwan, 2014
10 Minutes Left—2012, National Taiwan Museum of fine Arts, Taichung, Taiwan, 2012
cover, Taipei Fine Art Museum, Taipei, Taiwan, 2012
Even they never met, Chi-Wen Gallery, Taipei, Taiwan, 2012
When I’m getting older with you, Nan-Hai Gallery, Taipei, Taiwan, 2009
Group Exhibition
2022
Festival Objectif Vidéo Nice 2022,Hôtel WindsoR,Nice,France
Island Bar – Ratava,Taipei Art Festival,Taipei Performing Arts Center,Taipei,Taiwan
8 Recipes – When Artists Meet the Chef Art & Cuisine Exhibition,Yonghe Art Center,Taipei,Taiwan
Calling Forth Devotion – Art Chishang Artist Residency Exhibition,Taitung,Taiwan
2021
creN/Ature, TKG+Projects, Taipei, Taiwan
2020
Taiwan International Video Art Exhibition-Anima, C-Lab, Taipei, Taiwan
To Martian Anthropologists, New Taipei City Arts Center, Taipei, Taiwan
Island Bar—Port Under The Sea, CAVE, Yokohama, Japan
53th Worldfest-Houston Film Festival, Houston, U.S.A.
7th Annual Fine Arts Film Festival, Los Angeles, U.S.A.
2019
ADAM Artist Lab, Da Dao Chen Theater, Taipei, Taiwan
The Light of the word, Embassy of R.O.C. to the Holy See, Rome, Italy
2018
Data Mania—2018 OSMOSIS Russia , Media Art Centre, Russia
2017
Carnets du flaneur, Galerie Frédéric Moisan, Paris, France
Osmosis Audiovisual Media festival, Backlit Gallery, Fabrica Gallery, Phoenix Leicester , Exeter
Phoenix, CCA Glasgow, the U.K.
EXiS Experimental Film And Video Festival, Seoul, South Korea
RiverRun, Taipei Fine Art Museum, Taipei, Taiwan
2016
ART Shenzhen, Guangzhou, China
Asian Arts Space Network Show, A.C.C., Gwangju, Korea
Interdisciplinary Art Festival Tokyo, Japan
2015
Art Taipei 2015, Taipei World Trade Center, Taipei, Taiwan
Taipei Art District Festival, Liang Gallery, Taipei, Taiwan
Returning Sight—The Fissures of Moving Image, TKG+ Gallery, Taipei, Taiwan
A Body of Mobile Machine, Halka Art Gallery, Istanbul, Turkey
2014
The Other and The Distance—Cross Strait Contemporary Art Exchange, China, Taiwan
2013
Sommerreise, GlogauAIR, Berlin, Germany
True Illusion, Illusion Truth—Contemporary Art Beyond Ordinary Experience, Taipei Fine Art Museum, Taipei, Taiwan
Cutlog NY Art Fair-Urban Illusions, New York, U.S.A.
2012
Taipei Golden Horse Film Festival, Taipei, Taiwan
It Takes Four Spots—Cross Strait Four Region Artistic Exchange Project, Taiwan, Mainland China, Hong Kong and Macau
Ambiguous Being, Video works of artists based in the metropolis of Berlin, Taipei and Tel Aviv. Taiwan, Germany and Israel
2011
VAFA—International Video Art Festival, Orient Foundation, Macau
Beyond the Frame, Chi-Wen Gallery, Taipei, Taiwan
Aguilar International Short Film Festival, Aguilar, Spain
Pixillations [v.8] New Media Fringe Festival, Rhode Island, USA
Post-Actitud: El Arte Contemporáneo de Jóvenes Artistas de Taiwan, Ex Teresa Arte, Mexico. ARTchSO Video Festival, Rennes, France.
2010
EX!T—Experimental Media Art Festival, Taipei Contemporary Art Center, Taiwan
Eattopia—Taiwan International Video Art Exhibition, Hong Gah Museum, Taipei, Taiwan Festival du Cinéma Asiatique de Tours, Tours, France.
2009
Taipei Arts Award Competition, Taipei Fine Art Museum, Taipei, Taiwan Light Position, National Taiwan Museum of fine Arts ,Taichung, Taiwan
Taiwan Israel Young Artists Interchange ExhibitionⅡ,Taipei, Taiwan
2008
Taipei Arts Award Competition, Taipei Fine Art Museum, Taipei , Taiwan
Taiwan International Video Art Exhibition, Hong Gah Museum, Taipei, Taiwan
Asia Students and Young Artists Art Festival, Seoul, South Korea
Borderline Mirrorlike—Taiwan and Israel Artists Interchange Exhibition, Taipei, Taiwan
The 10th Taipei International Film Festival, Taipei, Taiwan
Digital Entertainment Jam, Beijing, China
2007
OPEN SPACE, Kunsthochschule Kassel, Kassel, Germany
2006
Tiger Awards Competition for Short Film, the 35th International Film Festival Rotterdam, Holland
Collection
Untitled-10 (2018), Photograph, Personal collection, Hong Kong, 2021!
The Borderline II, Photograph, National Taiwan Museum of Fine Arts, Taiwan, 2020
The Borderline I, Photograph, National Taiwan Museum of Fine Arts, Taiwan, 2020
Untitled VI (2018), Photograph, National Taiwan Museum of Fine Arts, Taiwan, 2020
Untitled-V Twins, Multi-media, personal collection, Taipei, Taiwan, 2020
The Inner Gate, Multi-media, National Taiwan Museum of Fine Arts, Taiwan, 2019
Untitled (2016), Photograph, Yonghe Arts and Education Foundation, Taiwan, 2018
The Sunlight is Different Here, Neon light, Yonghe Arts and Education Foundation, 2016
Untitled IV, Personal collection, Hong Kong, 2015
Foresee, Personal collection, Hong Kong, 2015
When I am getting old with you, Personal collection, New York, USA, 2014
Prove I, Artist Pension Trust (APT), Hong Kong, 2013
10 Minutes Left, Artist Pension Trust (APT), Hong Kong, 2013 Even They Never Met, Personal collection, Taipei, Taiwan, 2012
是安靜的，但不是靜止的。 祂在眼前，祂不在這。
—牛俊強
2018年5月，牛俊強帶著個展平面圖、一份接近完成的 作品企劃來到展場進行再次場勘，當天是上一檔撤展、 畫廊難得淨空，TKG+二樓空間那片先前多次因展覽被封 於活動展牆之後、高度正好可以收納外部行道樹冠與日 光的落地窗又再度打開。牛俊強說：「我還記得那個下 午」，在看到這片窗戶後，他一舉推翻了原先預定的展 場規劃，在隨身的筆記本上寫下：「我想做一個沒有看 見的展，一切都在展覽當中拆掉、作品撤走，觀眾只能 看到留下的牆面，甚至什麼都沒有。」
作品與事件的臨在
追尋（未）曾在的痕跡
談及牛俊強歷年來的作品主軸，策展人馮馨整理了他大 約每三年一次的創作方向：從早期的觀看、凝視，到陰 性、相見，以及2015年個展以來所關注的盲（或恐懼的 感知），而近期牛俊強的作品則嘗試從自身角度往外拉 伸到普世感知的部分，從自己年初的低潮階段反覆內尋 自我狀態與無形信仰的問題。在這次個展的規劃中，他 們將討論聚焦於「神性」，以及策展人欲由此展開的問 題：「藝術的靈光究竟何以感知？」
「每一次的創作，我並非僅從自身揭露故事，而是置 身在創作其中觀察、選擇與消化，自己在這段時間中與 外界的位置。過去三年因恐懼，我開始更開放的接觸和 思考信仰──它應該引導人們向內找到自己的神性與良
知，進而理解影子與光的共存。」牛俊強在展覽自述中 所說的「恐懼」所指的是自身多年的眼疾，而這也是他 從2015年個展開始處理的主題：「盲」。在前次個展 裡，牛俊強曾邀請2014年認識、因視網膜病變導致全盲
的朋友許家峰共同創作《Self Portrait》，而在這次個
展中，他再度邀請家峰（以及其他幾位視障者）參與錄 像作品的內容，藉由與他們討論「神是什麼？」、「神 的外貌？」、「祂臨在的感受？」三個問題，重新思考 「盲」的定義，牛俊強說：「『盲』不是看不見，而是 本來以視覺形式而存在的事物以另一種形式存在，對我 來說神的存在也是如此。」
牛俊強個展 林怡秀 20 18
作品拍攝過程 《2018牛俊強個展》
一如許家峰為此個展所寫的評論〈指引的神聖〉中談
到：「曾有人向我提出為了解決觀賞場地的交通問題， 若在家觀賞口述直播影像不是很方便嗎，我想說的是若 作品的表現非以影像呈現的話，那觀眾應有存在在展 演空間的必要性，那是「身體感經驗（bodily sensory experience）」，展場中的作品的存在並非絶對，然而 一旦作品在展場中出現時它所扣連的也絶非單一的作品 表現，而是牽動了眾多在展場裡的大小條件，包含觀賞 者。」在此次展覽中，觀眾的身體感幾乎是構成「作品」 完成的最重要因素之一，而這個部分從入場之前就開始被 細緻鋪陳。在畫廊面向馬路一側的櫥窗裡陳列著第一件作 品，一幅在展前被陽光曝曬了三個月的褪色神像（曝曬時
在牛俊強的這次的作品裡， 話語與影像的領看即像是 那隻在夜裡舉燭引道之手，展覽中若無這層引導， 無論觀者或瞽者都難以自行感受到作品的全貌， 因為在燭光所至之前，誰也不曉得在座者為何許人，
遮蔽了光環及手的部分，讓它們的顏色被保留），而在步
上二樓展間前，觀眾會先經過三次樓梯轉折，每次轉折的 梯間照明都比前次更暗一階，而梯間牆面上的字句：「是 安靜，但不是靜止的。祂在眼前，祂不在這。」則若有似 無的暗示了接下來觀眾即將遇見的展場狀態。
上樓後，隨著燈光的漸變，觀眾看到的第二件作品，便是 位在二樓暗室裡的二十五分鐘錄像作品。這部錄像內容 主要分為兩個部分，一是幾位視障者分別對著鏡頭闡述著 藝術家所提出三個關於神的問題，另一部分則是牛俊強帶 著家峰在（觀眾所在的）布展前的淨空展場中移動、以身 體位置、手勢與觸覺感受作品即將臨在的口述導覽，以及 藝術家談論創作構思、與策展人討論展場的過程。影片結 束後，觀眾將會在暗室裡走過一道長廊，最後轉入位在落
地窗旁、灑滿日光的展場，影片中所說的數組作品在此僅 以燈光定位、並未實際現身（唯一在現場的是貫穿了三次 「牛俊強個展」的《預感》，以及隨時間改變角度的陽光
（註1））。但這些作品早在方才的影片閱讀中成為曾在 的事件，展場做為對此曾在的追尋，作品經由藝術家的敘 述顯影於觀眾的記憶中。牛俊強形容：「對我來說，最後 的這個展場才是片尾。」那麼，這部影像在此所扮演的角
色又是什麼呢？
豈唯形骸有聾盲哉
在影片中，牛俊強曾向家峰口述一張他在巴黎駐村時， 從瑪黑區一間教堂購得的明信片，上頭印製著西班牙中 世紀教堂的濕壁畫《The Hand of Our God》（約1123 年），
這張明信片也是牛俊強個展中雕塑作品《The Hand of Our God》的靈感來源。
這幅原繪於Sant Clemente de Tahull後殿拱頂基石上的壁畫有別於多數對「上帝的右手」的繪製方式，這 隻沒有身體的右手脫離了上下文的銜接，直接從天花板破口般的白色圓圈裡伸出，影片裡的牛俊強向家峰 如此描述：「它也讓我聯想到一些東方繪畫的感覺，尤其那隻手的姿勢其實很像佛的手，白色像是虛空的狀 態，神從虛空的狀態裡伸出手來援助你、指引你，告訴你方向、祝福你，介入或參與你的人生。」這個影片段 落令我聯想到在《禮記．少儀》中有過這麼一段描述：「其未有燭而後至者，則以在者告，道瞽亦然。」在暗 夜尚未點上燭火的集會中，少年手執燭火於路前等待賓客的到來，如有遲到赴會者，主人應為其引路，指明 在座已至者的位置，即使對待盲人也是一樣。在牛俊強的這次的作品裡，話語與影像的領看即像是那隻在 夜裡舉燭引道之手，展覽中若無這層引導，無論觀者或瞽者都難以自行感受到作品的全貌，因為在燭光所至 之前，誰也不曉得在座者（作品）為何許人，而這個自暗夜中執燭領看的手勢，也像是牛俊強所說的那隻從 虛空之白中伸出來指引方向的手。
《2018牛俊強個展》
畫面中為12世紀西班牙Sant Clemente de Tahull教堂內的壁畫 《The Hand of Our God》此圖也是牛俊強雕塑作品 《The Hand of Our God》的靈感來源。
[1] 採訪過程中，牛俊強聊起他駐村期間前往廊香教堂的空間經驗，這讓我想起自己在2003年冬天到訪廊香的記憶，當時最令我印象深刻的除了教 堂內星點般的窗孔、被無形力量掀起似的屋頂外，從陰暗教堂中走出來，眼睛瞬間感受到雪地裡銀白光線反差的那一刻似乎才是建築師所要提示 的 神的位置。
牛俊強過往許多作品都在處理人眼無法直接看見的東西， 其中的時間與視覺經驗的方向經常往相反的方向前進，藉 此拉伸出發生在觀眾心裡的影像張力。對此，策展人馮馨 談到「我們如何感受藝術裡面的靈光？這與你心裡頭的 空間、與如何感知有關。」牛俊強作品中的詩意常仰賴話 語、文字或某些暗示性的路徑來完成，迷人之處往往在其 描述的過程，雖說這些話語的目標是為了使作品完成，但 並未企圖讓觀眾直接看見所要「完成」的是什麼。這一點
這些作品多半是在語言的推進中展開， 觀眾理解的過程則像是某種顯影， 這樣的顯影最終未必能抵達，但牛俊強作品的迷人之處也在於這種看似趨近卻仍從未抵達的距離。
我們可以在2012年《即使她們從未相見》中明顯讀到：
一個從未見過彼此的人拿著對方的照片向觀眾描述照片 中人的狀態。而這種藉由想像而來的「造型」，在2015
年的《Self Portrait》中則被轉化為全盲視障者對藝術家
外貌的非視覺描述（最終以點字的方式打在一片皮上）。
這些作品多半是在語言的推進中展開，觀眾理解的過程 則像是某種顯影，這樣的顯影最終未必能抵達，但牛俊強
作品的迷人之處也在於這種看似趨近卻仍從未抵達的距 離。
此次牛俊強在展覽中所安排的閱讀方式，提示出另一種 關於影像生產到觀看之間的關係，現場的空間感與影片的 引燭領看影響了觀看者如何構築自我內在敘事的造型，這 些造型隨著影片所給予的記憶、身體和空間的關係甚至與 私人記憶的重疊而來，藝術家在此所做的並非對逝去影像 的招魂引喚，而是對尚未有至者的砌磚疊瓦，敘事者在虛 實交替之際藉由觀眾自身的想像，在話語的引導之中使展 覽所要討論的神性、作品靈光等意義在展場中流動。在採 訪最末，我與牛俊強分享了一段吳明益新書《苦雨之地》
第二篇〈人如何學會語言〉中，自閉症鳥聲學家狄子與從 小因病而重度聽障的雀斑兩人的一段手語對話：「狄子問
雀斑說：『手語有那麼多事無法表達，為什麼？』雀斑回 答：『口語也有很多事沒辦法表達啊。』雀斑停頓了一下 繼續說：『我覺得……語言這個東西，表達不了比自己大 的事。很多事，說不出來，也寫不出來，手語也表現不出 來，但是，每一種又會有另一種沒有的東西。』」
「那麼，這種無法被語言表達的東西，也許就只能靠藝 術去談了。」牛俊強說。
展覽現場，TKG+Projects 《2018牛俊強個展》
-- NIU Jun-Qiang
In May of 2018, NIU Jun-Qiang took a plan of his solo exhibition, an almost complete project, to the exhibition site to survey the space once more. The previous exhibition had already been removed on that particular day, so the gallery was completely empty for once. The floor-to-ceiling windows on the second floor of the TKG+ gallery, which are often sealed off with temporary exhibition walls, but which offer a view of the trees lining the sidewalk and let the sun in, were now unobstructed. NIU Jun-Qiang told me, ‘I still remember that afternoon,’ when, after looking at the windows, he decided to do away with his original plan for the exhibition in one fell swoop, and wrote in his notepad, ‘I want to create an exhibition that isn’t seen, where the gallery-goers see what’s left on the walls after the exhibition has been taken down and the works removed, or don’t even see anything at all.’
The Liminality Between Artwork and Event
Discussing the main themes running through NIU Jun-Qiang’s previous work, curator FENG Hsin suggests that his work takes on a new direction roughly once every three years: from observation and gaze to the negative, seeing one another and the blindness (or perception of terror) of his 2015 solo exhibition. His more recent work has attempted to pull away from his own perspective, to a broader, more universal perspective, starting out from his own low ebb at the start of the year, his repeated soul-searching and his questions as to the intangibility of faith. In the planning of this solo exhibition, the discussion centers on 'divinity', and the question the curator wants to expand upon is, 'How can one perceive the aura of an artwork?'
Critic II
Searching for the Traces of What (Never) Once Was
Written by Lin Yi-Hsiu
‘Quiet, but not still. He is before me but not here.’
NIU Jun-Qiang Solo Exhibition 2018 Excerpted from National Culture and Arts Foundation Online Magazine Special Issue
'Every time I create, I don't just reveal my own story, I put myself in the place of the work, observing, choosing and digesting my position in respect to the outer world during this time. Three years went by in which, due to fear, I started to be more open to getting in touch with and examining faith. Faith is really what leads people to search for the divinity inside themselves and their inner conscience, to understand how light and shadow can coexist.' The 'fear' that NIU Jun-Qiang talks of in his own introduction to the exhibition, refers to an eye condition he's had for several years, and it's also a topic he started dealing with in 2015: 'blindness'. In his last solo exhibition, NIU Jun-Qiang invited a friend of his with a visual impairment, Hsu Chia-Feng, whom he met in 2014 and who has gone completely blind due to a retinal disease, to collaborate with him on 'Self Portrait', and this time around, he's invited Chia-Feng once more (and several other people with visual impairments) to take part in a video installation. In this exhibition he reexamines the definition of 'blindness' through their discussion of three questions, 'What is god?', 'What does god look like?' and 'What does it feel like when god is present?'. NIU Jun-Qiang has stated ‘Blindness isn't being unable to see, but rather that things which originally existed visually, take on another form of existence, and that, for me is just like the existence of god.'
Just as HSU Chia-Feng discusses in his commentary on the solo exhibition, 'A Guiding Divinity', 'Someone once proposed resolving the logistical problem of getting me to the gallery saying that I could just stay at home and a narration could be fed to me in a live broadcast. And wouldn't that be convenient? My view is that if the artwork is not a video itself, then the viewers necessarily need to be in the gallery space to appreciate it, as only then is there a bodily sensory experience. The existence of the artwork at the site of the exhibition is not absolute, however, as, as soon as the artwork appears at the exhibition site, it no longer just relates to the representation of a single artwork, but affects many of the greater and lesser details of the space, including the visitors to the gallery.’ For this exhibition, the sensation of the bodies of the visitors is one of the most important aspects in completing the artwork, and the meticulous groundwork for this starts before they even enter the gallery.
In the display window at the side of the gallery looking on to the street is the first artwork, a portrait of a god that has been faded in the sun for three months before the exhibition (while it was exposed to the sun the halo and the hand were covered up, to preserve their colour), and on the steps up to the second floor gallery, the visitors pass through three small landings, with each flight lighted more poorly than the previous, and the writing on the walls, 'Quiet, but not still. He is before me, but not here.’ barely perceptible, hinting at what they’ll come upon in the gallery itself.
After arriving upstairs, along with the gradual change in lighting, the visitors see a second artwork, a 25-minute-long video installation in a darkened room. The recording is divided into two main parts. The first part depicts several people with visual impairments expounding on the questions posed to them by the artist about god, while the second part depicts NIU Jun-Qiang taking ChiaFeng around the cleared exhibition space (where the gallery-goers are currently) before the exhibition had been set up, to take in a narrative guide of where the works will soon be, using physical position, gesture and the medium of touch. He discusses with the artist the ideas behind the exhibition and the sequence of the exhibition space with the curator. After the video, the visitors proceed through a corridor in the darkened room, at the end of which they will turn into the exhibition space beside the floor-to-ceiling windows which is flooded by light. The array of works mentioned in the film are only indicated with lights, not physically making an appearance (the only work that makes an appearance is Foresee, which has run through each of Niu's three solo exhibitions, and the sunlight which changes over time (Note 1)). But the works have already become previously existing works in the narration of the video we've just seen, so the exhibition site serves as a pursuit of these once existing works. Through the artist's narration these works have developed in the gallery-goers memories. NIU Jun-Qiang describes it as follows, 'For me, the exhibition site at the end is the real ending to the film.' So what is the role of the video installation here?
The main room is beside the screening room, viewers will see the empty exhibition space after they finished the video.
But is it only the bodily senses of which deafness and blindness can be predicated?
In the video, NIU Jun-Qiang at one point describes to Chia-Feng a postcard that he bought in a church in Le Marais, while artist-in-residence in Paris. The postcard features a print of a fresco from a Spanish church from the Middle Ages (around 1123) called 'The Hand of Our God' and which was the inspiration for NIU Jun-Qiang's sculpture in the solo exhibition, 'The Hand of Our God'. This fresco, which was originally created above the keystone of the triumphal arch of the main apse, can be differentiated from many other images of the right hand of God, in that this disembodied right hand, divorced from its context, reaches out directly from a white circle, which appears almost like a hole in the ceiling. In the film NIU Jun-Qiang describes it to Chia-Feng as follows: 'It made me think of the Eastern artistic tradition, especially in terms of how the gesture of the hand resembles that of the Buddha. The white evokes emptiness and from that empty state, God can reach out a hand to help you, lead you, to tell you the way, to bless you, to intervene in or adopt a role in your life.' This part of the film made me think of the following line from Shao Yi in the Liji, 'If one came late and yet arrived before the torches were lighted, it was announced to him that the guests were all there, and who they were. The same things were intimated to a blind musician by the one who bid him.' On a night gathering at which they haven't yet lit the torches, a young man holds a torch in front of the road, to await the arrival of guests. If any guests arrive late, the host should guide them on the road, showing the seats of those who have already arrived, exactly what one would do with a blind person. In this piece by NIU Jun-Qiang, speech and imagery serve as that torch-bearing hand, guiding the way in the night. Without this form of guidance, both the gallery-goers and the blind would find it hard to reach a comprehensive grasp of the piece, as, before the arrival of the torchlight, nobody knows who the guests already seated (the artworks) are, and the gesture of directing people's attention with torchlight from the dark night is similar to to the hand reaching out of mid-air to give directions.
An image of the fresco inside the 12th Century Spanish church Sant Clemente de Tahull, 'The Hand of Our God', which also serves as the inspiration for Niu Jun-Qiang's sculpture 'The Hand of Our God'. "NIU Jun-Qiang Solo Exhibition 2018 ", video, 25’07” (video still).
In many of his previous works, NIU Jun-Qiang has worked on things that the human eye can't see directly, and in which the direction of time and visual experience is often put in reverse, creating a tension in the minds of those looking on. The curator, Feng Hsin, touches on this, asking, 'How do we get a sense for the aura of an artwork? And how does this relate to your mind's eye and how you perceive it.' The poetic quality of Niu Jun-Qiang's work is often realized through the spoken word, textual description and other subtle methods, and the fascinating part of this is that it’s often in the telling, and although I said these spoken words are aimed at realizing the work more completely, they're not explicitly directing the visitors as to what is trying to be realized. We can see this clearly from his 2012 solo show 'Even They Never Met': A person holds the photo of someone they have never met and describes the situation of the person in the photo. And this style, which harvests the imagination, in his 2015 solo show 'Self Portrait' shifted to people with serious visual impairments describing the artist's appearance using non visual cues (in the end this was printed in braille). The majority of these works unfold through language, and the process by which the gallery-goers come to an understanding is like the process of developing negatives, and this kind of development isn't always realized, but the fascinating thing about Niu Jun-Qiang's work is in the distance to the expected trajectory which remains out of reach.
In the way the exhibition has been set up to be read, there is yet another link made between the production of images and the act of viewing, the sense of the exhibition space and the torch extended by the video affects the style in which the internal narrative of the self is constructed. These styles come from the overlapping of the memory provided by the video, the relation of one's body to the space, and even one's own memory. The artist here is not evoking the spirit of an image that has already disappeared, but rather laying the foundations for what has not yet taken shape. The narrator is getting gallery-goers to project their imagination in the liminal space between reality and fiction, led by spoken word, to discuss the flow of meaning of divinity and the aura of the artwork that the exhibition is discussing.
"Even They Never Met ", video, 30’00”, 2012.
At the end of the interview, I shared a line from the second story in Wu Ming-Yi's new book The Land of Little Rain, 'How the Brain Got Language', in which Dizi, an expert on birdsong who has autism, and Freckle, who has been hard of hearing since childhood due to illness, speak in sign language, 'Dizi asks Freckle, 'Why is there so much that sign language is unable to express?' and Freckle replies, 'Spoken language is also unable to express a lot.' Freckle pauses for a moment before continuing, 'I think... language is unable to express things that are bigger than itself. Lots of things, can't be spoken of, and can't be written of, nor can they be signed, but each form of expression has something that the others lack.''
Note 1: In the process of the interview, NIU Jun-Qiang discussed the sensation he had when visiting Notre Dame du Haut during his period as artist-in-residence, which got me thinking about my own experience visiting the church in the winter of 2003. What left an impression on me at the time, was not just the star-like twinkle from the clerestory windows, or the roof that looks it’s been lifted up by some invisible force, but rather that when you emerge from the dark interior of the church, the contrast the eyes immediately feel from the bright light of the snow covered ground seems to be where the architect is pointing to as the place where god can be found.
‘So, that which can’t be expressed with language, can only be discussed through art.’ says NIU Jun-Qiang.
2018牛俊強個展
NIU Jun Qiang Solo Exhibition 2018
Video and audio installation, light Full HD 1920*1080 25’00”
2018
是安靜，但不是靜止的。祂在眼前，祂不在這。
這次展覽《2018 牛俊強個展》延續《2015 牛俊強個展》與《2014 牛俊強個展》，不另起展名，純然
地回到時間的軸線，展名不是一個主題的集合，而是更聚焦與反映了創作者的生命狀態。在展覽中我延續 2015年對「盲」的詮釋，加入討論藝術中的無形共感和信仰中的抽象經驗相似之處，對視覺作為一種存 在的形式的辯證。
這個展覽可以分為兩個部分：第一個部分藝術家從東西方宗教中對神的型貌、信仰的形式，提出三個問題： 分別討論了「神是什麼？」、「神的外貌？」、「祂臨在的感受」，我創作了一系列作品，來回應這三個問題。 第二部分在展覽的現場，我與策展人實驗了一個新的展覽方式。觀眾在展覽現場看不到實際作品，是空的 展場。展場中播放一件紀錄影像，我以口述影像的方式，引領一位視障者(許家峰)，在空無一物的展場， 告知作品的位置、形貌、概念和製作過程。觀眾藉著這個影像，去感受作品的存在。展場不是展示作品之 處，而是承載幽靈的「作品」自身。展場成為影像的結局，虛體空間（影像內的空間）與實體空間被巧妙 的串接起來。
這部錄像一開始的畫面便從我與策展人馮馨以TKG+ Projects等比大小的展場模型模擬展出狀況開始， 接著鏡頭切換至我帶著許家峰，實際走訪全空的展覽空間，兩人邊遊走在空間內邊講述即將於TKG+ Projects展出的三組作品《The Hand of God》、《褪色的神像》、《無題》，我以極為細節的方式描 述作品的樣貌、尺寸，觀眾除了透過影像中的口述之外，影片中也出現許多關於作品發展中，或是已完成 的樣貌，錄像的尾聲則是與藝術家與策展人針對整體空間的討論，以及展場佈展、封窗工程、打燈的過程， 當觀眾看完影像，走進展場，看到未被封起的窗戶，窗外灑進來的陽光、空無一物的展場，和牆上若有似 無的燈光，就會有認知上的落差，而這落差就是我希望觀眾可以思考神性、不可見與藝術的存在的交會。
在18世紀中葉的巴黎，迪德羅（Diderot）領導著一整群的學者撰寫《百科全書》這部集體鉅著，將盲人 當作「不同的他者」，將屬於盲人與明眼人的宇宙秩序和邏輯相對照，闡述世界被註解的多元性。此次展 覽牛俊強將盲比擬為視覺外的經驗，也就是身體感經驗（bodily sensory experience）。觀眾在空間移 動，是完成的最重要因素，這樣身體感與宗教中的儀式是一樣的，這種儀式經驗就是神性經驗（非視覺）。
The NIU Jun-Qiang Solo Exhibition 2018 is a continuation of my previous exhibitions in 2014 and 2015. Deliberately not giving the exhibition a title, I return to the idea of temporality. The exhibition title does not dwell on a certain subject, but focuses on my state of being. In this 2018 exhibition, I expand my ongoing exploration of blindness since 2015 into a discourse on vision as a way of existence, by probing the similarities between the sense of empathy in art and religious experience in faith.
The exhibition is divided into two parts. In the first part, I investigate how God is envisioned, as well as the forms of faith in Eastern and Western religions by posing three questions in a series of work: What is God? How does God look? How does God’s presence make one feel?
The second part involves an experiment conceived by me and curator where the exhibition view is empty, with no sight of the work. A video on view shows I leading a visually impaired man Jia-Feng Hsu in the empty exhibition space, describing to Hsu the details, position, concept, and production process of each work, perceived by the viewer solely through the video. No longer a venue to display the work, the exhibition space morphs into the work itself carrying the specter of the work. The ending scene of the video shows the muted exhibition space, blurring the boundary between the virtual space on screen and the physical space in reality.
Video link: https://vimeo.com/328594840
NIU Jun Qiang Solo Exhibition 2018
Upper: The scene of "NIU Jun Qiang Solo Exhibition 2018"
Lower: The video still of <NIU Jun Qiang Solo Exhibition 2018>
上圖：展示情形，TKG+
《2018牛俊強個展》
Gallery，2018，下圖：影像內容
《2018牛俊強個展》
The video stills of "NIU Jun Qiang Solo Exhibition 2018". NIU Jun Qiang Solo Exhibition 2018
影像內容
《2018牛俊強個展》
The video stills of "NIU Jun Qiang Solo Exhibition 2018". NIU Jun Qiang Solo Exhibition 2018 影像內容
影像內容 《2018牛俊強個展》
The video stills of "NIU Jun Qiang Solo Exhibition 2018". NIU Jun Qiang Solo Exhibition 2018
The video stills of "NIU Jun Qiang Solo Exhibition 2018".
NIU Jun Qiang Solo Exhibition 2018 影像內容 《2018牛俊強個展》
The scenes of "NIU Jun Qiang Solo Exhibition 2018"
《2018牛俊強個展》
NIU Jun Qiang Solo Exhibition 2018 展覽現場，TKG+ Gallery，2018
《2018牛俊強個展》
The scenes of "NIU Jun Qiang Solo Exhibition 2018" NIU Jun Qiang Solo Exhibition 2018 展覽現場，TKG+ Gallery，2018
展覽現場，TKG+
《2018牛俊強個展》
The scenes of "NIU Jun Qiang Solo Exhibition 2018" NIU Jun Qiang Solo Exhibition 2018
Gallery，2018
展示情形，TKG+ Gallery，2018
《2018牛俊強個展》
The scenes of "NIU Jun Qiang Solo Exhibition 2018" NIU Jun Qiang Solo Exhibition 2018
Foresee
Foresee I
Copper, Candle, Mirror Sculpture(Installation), 150*160*50
2014
Foresee II
Copper, Candle, Mirror Sculpture(Installation)
2018
懸吊在空間中的天秤一端是鏡子，另一端則是正在燃燒的蠟燭，透過燭火的燃燒，蠟燭的重量隨時間遞減，天秤逐 漸趨於平衡，但當鏡子與蠟燭終於能達成平衡，並能從鏡子照映出蠟燭時，蠟燭卻已燒盡。
從2014年個展開始，《預感》這件作品就一直存在，它討論光的物質性重量，時間與消滅，同時筆者也 希望作品能與展覽時間變化：展覽時間本身就為一個作品，這個概念是從2012年於北美館的個展就存在 了。這次依舊以它來作為開場，但筆者重新製作為大型裝置版本。
如同藝評簡子傑曾寫道的：「燭火不僅推移了時間，也改變了平衡桿兩端的高度關係，但這些變化其實緩 慢到了不可見的程度，我們只能認識到這種能量轉換過程將造成的變化，而蠟燭將完成它注定消逝的命運， 然而，畫廊本身卻很明亮，明亮得足以讓燭光顯得幽微，只有當蠟燭與鏡子等高時，它才將遭遇自己的影 像，《預感》起動了某種帶有距離的移情作用，燭火是作為 隱喻 的光。」
蠟燭預計燃燒了40天，共約360個小時。
這件作品同時出現在「2014牛俊強個展」、「2015牛俊強個展」「2018牛俊強個展」，作為貫串這三 次個展的作品，《預感》本身設定的原理與其隱涉的意涵，隨著每次個展所映照的創作者生命狀態，而有 了更開放的討論予以觀者想像。
Suspended midair, one side of the scale is a small makeup mirror, the other a burning candle. As it continues burning, the candle slowly lightens, allowing the scale to reach a state of balance over time. But the candle has long burned out when its reflection finally materializes in the mirror.
Previously on view at the artist’s 2014, 2015 and 2018 solo exhibitions, the work strings together the three exhibitions, as its principle and connotations evolve and expand in the course of time.
“The candle flames not only embody the passage of time, but change the imbalance between two sides of the scale. These changes, so imperceptibly slow, allow us only to witness energy conversion in its concomitant effects, while the candle is destined to burn out and die. Flickering in the luminous gallery, the candle does not materialize in the mirror until both reach the same height. Foresee II, charged with a distant sense of empathy, sees the tenuous flames of the candle become rays of metaphorical light,” art critic Jian Tzu-Chieh once wrote.
預感
〈2018牛俊強個展〉展覽現場，TKG+Projects 《預感I》
The scene of "NIU Jun Qiang Solo Exhibition 2018", TKG+Projects Foresee I
Foresee I
Upper: The details of "Foresee"
Lower: The details of "Foresee"
《預感I》 上圖：細部圖，下圖：細部圖
The details of "Foresee I" Foresee I 作品細節 《預感I》
Upper: The First day of "NIU Jun Qiang Solo Exhibition 2015" , Oct. 10, 2015.
Lower: The last day of the exhibition.
Foresee I 上圖：〈2015牛俊強個展〉展覽第一天，下圖：展覽最後一天
《預感I》
The details of "Foresee I" Foresee I 作品細節 《預感I》
The scene of "NIU Jun Qiang Solo Exhibition 2018", TKG+Projects Foresee II
〈2018牛俊強個展〉展覽現場，TKG+Projects 《 預感II 》
The details of "Foresee II" Foresee II
作品細節 《 預感II 》
The details of "Foresee II" Foresee II 作品細節
《
》
預感II
Foresee II
Upper: The First day of "NIU Jun Qiang Solo Exhibition 2018".
Lower: The last day of the exhibition.
上圖：〈2018牛俊強個展〉展覽第一天，下圖：展覽最後一天 《預感II》
〈新白堊紀〉展覽現場，台北國際藝術村 《 預感II 》
The scene of "New Normal", Taipei Artist Village. Foresee II
The scene of "NIU Jun Qiang Solo Exhibition 2018". Foresee II <2018牛俊強個展>展覽現場
《 預感II 》
《 預感II 》
The scene of "NIU Jun Qiang Solo Exhibition 2018". Foresee II <2018牛俊強個展>展覽現場
〈2018牛俊強個展〉展覽現場，TKG+Projects 《
》
The scene of "NIU Jun Qiang Solo Exhibition 2018", TKG+Projects Foresee II
預感II
彰顯
Reveal
Three-channel video, 4-channel stereo mix
Full HD 1920*1080 20’00”
2020
延續《2018牛俊強個展》的概念，2020的《彰顯》討論內在意識影像與外部影像 的對應，這個創作概念來自生活中的共感經驗和信仰中的神性經驗，辯證「視覺如何 作為一種存在的形式」。
《彰顯》作品請一位催眠師，對著燭火，口述塔可夫斯基1983年《 鄉愁 》這部電影 的片尾。在燭火光線閃爍同時，觀者聽著催眠內容，在腦海的成像，這樣的成像與原 有的電影畫面會有怎樣的差距？觀者構築出的影像，又是一個怎樣的畫面呢？口述者 的描述時的呼吸，讓蠟燭閃滅，讓整個影像有種溫潤與神秘的肉體感。
「彰顯」一詞在聖經中，有顯現、表明未知神聖力量的意思。這件作品也再次討論 「光」之於視覺的意義：我們因著光得以看見、影像的本質是光、而燭火閃動與電影 本身的影像互相照應。
Reveal discusses the correspondence between the images of internal consciousness and external images. Such correspondence is derived from religious experiences and exploration of collective subconsciousness. I discourse on vision as a way of existence. I consider it is not a representation of mystic experience, but more of tur ning off the light originally lit in a room and opening the window – for the light outside to shine through.
I transform existing of things in the visual form into another form of existence. In my solo exhibition in 2018, I constructed an exhibition that never happened via documentary films and descriptive videos. As visitors were situated on scene of the empty exhibition, it felt like they were experiencing everything in the images. This “afterimage-like” experience allowed visitors to complement the feelings of non-physical dimension on their own.
“Reveal” departs from Andrei Tarkovsky’s film clips ( Nostalgia, 1983) , inviting a hypnotist to narrate this work to the candle fire. Amidst the flickering light of the candle fire, what gaps will emerge between the images in the viewers’ minds and original images in the film?
“Reveal” in the Bible suggests manifestation and presentation of an unknown divine power. This work also discusses the meaning of "light" in vision again: the light brings visibility, the essence of image is light, and the flashing of candlelight corresponds to the image of the film itself.
Video link: https://vimeo.com/504729947/55a4143b56
Upper: The movie still of "Nostalghia, 1983"
Lower: The correspond video still of <Reveal>. Reveal
〈 鄉愁
《彰顯》
上圖：
〉(1983)之電影片段 下圖： 《彰顯》與上圖對應之影像截圖
The movie stills of "Nostalghia, 1983". Reveal 〈 鄉愁 〉(1983)之電影片段 《彰顯》
Reveal 〈 鄉愁 〉(1983)之電影片段 《彰顯》
The movie stills of "Nostalghia, 1983".
《彰顯》 展覽情形，空總台灣當代文化實驗場，2018
The scene of "The 7th Taiwan International Video Art Exhibition – ANIMA". Reveal
《彰顯》
展覽情形，空總台灣當代文化實驗場，2018
The scenes of "The 7th Taiwan International Video Art Exhibition – ANIMA". Reveal
《彰顯》 影像截圖
The Video stills of "Reveal". Reveal
《彰顯》 展覽情形，空總台灣當代文化實驗場，2018
The scene of "The 7th Taiwan International Video Art Exhibition – ANIMA". Reveal
無題
Untitled
Digital print, photograph 60x40cm (no fram) 80.5*60.6*4cm (with frme)
2018
《無題》是2018年新的系列。也是我繼《長生》、《這裡的陽光很不一樣》之後的抽象作品。
這些抽象的曲線與形體是筆者以紙張做出的雕塑，並於每日下午的工作室窗戶旁拍攝。 下午陽光的色溫將紙張暈染出一層溫和與純淨的色澤，像是初生嬰兒的肌膚。筆者看著
這些美麗的形體，內心有種純然的感受。他們就像神性的居所–安靜、愉悅、直覺的與 神秘的所在。
這個描圖紙它有不同的厚薄，透光性也不同。陽光經由這個不同的透光性顯現出不同濃 淡的陰影。筆者把它摺成不同形狀之後，產生不同的曲線，很像是個山坡的形狀，或是 手肘的形狀，也很像翅膀的感覺。
那整個畫面質感很像嬰兒的肌膚。筆者就在陽光下面拍攝這一系列的作品，這一系列作 品對筆者來說它就是一種很純粹很直接的美感。對我來說這個純粹直接的美感它其實就 是像神的感覺一樣。
On that particular morning, I happened to have several sheets of tracing paper on it. I held up these sheets of tracing paper and looked at the sun through them. At that instant, I felt a divine beauty, like the hazy feeling you get when the sun shines directly down on your closed eyelids.
The tracing paper was of different thicknesses and so the permeability to light varied. As the sunlight passed through the different thicknesses of tracing paper, the shadows produced were by turns darker or lighter.The entire thing looked almost like the skin of an infant.
So I filmed a series of works there under the sun, and this series of works had a pureness and directness to it. This aesthetic felt to me almost like it was God.
Untitled
Upper : The scenes of work
Lower : The scenes of "New Normal",Taipei Artist Viilage
上圖：展覽情形
下圖：展覽情形，新白堊紀，台北國際藝術村
《 無題 》
》
The process of work production. Untitled 作品製作過程
《 無題
Untitled III
Photograph, digital print, 2018
攝影，平滑藝術紙 ，2018
《
》
無題III
Untitled I
Upper : <Untitled I>
Lower : The scenes of "NIU Jun Qiang Solo Exhibition 2020"
上圖：《無題I》 下圖：展覽情形，牛俊強個展2020 《 無題 I》
Untitled III
Photograph, digital print, 2018
攝影，平滑藝術紙 ，2018
《
》
無題III
Upper : <Untitled IV>, <Untitled X>
Untitled IV, Untitled X 上圖：《無題IV》, 《無題X》 下圖：展覽情形，牛俊強個展2020
Lower : The scenes of "NIU Jun Qiang Solo Exhibition 2020"
《 無題
IV》、《無題 X》
Untitled III
Photograph, digital print, 2018
攝影，平滑藝術紙 ，2018
《
》
無題III
Untitled XIII
《 無題XIII 》
The scenes of "creN/Ature", TKG+ Projects.
〈物·自·造_creN/Ature〉展覽現場
Untitled
XIII
《 無題XIII 》
攝影，平滑藝術紙 ，2018
Photograph, digital print, 80.5*60.6*4cm.
The scenes of "creN/Ature", TKG+ Projects. Untitled 〈物·自·造_creN/Ature〉展覽現場
《 無題 》
Untitled VII
《 無題VII 》
攝影，平滑藝術紙 ，2018
Photograph, digital print, 80.5*60.6*4cm.
Untitled XIII
The scene of "NIU JUN QIANG solo exhibition 2020", Madeleine Gallery. Untitled 展覽現場，"牛俊強個展2020"，瑪德蓮藝廊 《 無題 》
Self Portrait
Photograph, UltraSmooth Fine Art Paper, 1 piece 50*37cm, 2 pieces
他是一位全盲的男子，在一個全白的空間中，刷著白漆。
他不知道他自己身處一個白色的空間，也不知道他手上漆的顏色， 他只不斷在重複覆蓋的動作。
我以這樣的畫面，說明我自己為一個視覺創作者，身處於當代的處境。
A completely blind man, in a completely white space, painting with white paint.
2016 Sculpture, Leather 170*155cm
2016
我在台灣盲人重建院當了一年多的志工。這段時間內，我接觸十二位全 盲的視障者，有些是先天失明，另一些是後天。
在一段時間的接觸和相處後，我問他們：你覺得我長什麼樣子?
他們以「非視覺」的經驗描述我的長相後，我再將這些描述我外表的文 字，以點字的方式打在皮上。就像是從皮膚裡長出的疹子，也像不知年 代的古卷地圖。
I invited 12 completely blind men, to describe my facial features after interacting solely through touch with them.
Then I printed these non-visual descriptive passages on leather in Braille.
Upper:The scene of " 2015 NIU Jun Qiang Solo Exhibition".
Down:The process of work production, 2015 Self Portrait
上圖：〈2015牛俊強個展〉展覽現場、<給火星人類學家>
下圖：Self Portrait 製作過程 Self Portrait
Self Portrait 作品細節，2015 Self Portrait（牛皮）
The details of "Self Portrait", 2015
The details of "Self Portrait", 2015 Self Portrait 作品細節 Self Portrait（牛皮）
Self Portrait 作品製作過程，2015 Self Portrait （牛皮）
The process of work production, 2015
The details of "Self Portrait", 2015 Self Portrait 作品細節，2015 Self Portrait（牛皮）
The details of "Self Portrait", 2015 Self Portrait 作品細節 Self Portrait（牛皮）
Photograph, ultra smooth fine art paper, 2015 Self Portrait 攝影，2015 Self Portrait（攝影）
Photograph, ultra smooth fine art paper, 2015 Self Portrait 攝影，2015 Self Portrait（攝影）
Photograph, ultra smooth fine art paper, 2015 Self Portrait 攝影，2015 Self Portrait（攝影）
神像
The Portrait of Divinity
Multi-media
53x43cm (no frame) 70*60*4cm(with frame)
2019
太陽其實是我們最早崇拜的一個對象。它其實就是一團光。所以這個作品裡太陽都把這一 切變成了白色，那筆者覺得這件事情是一件蠻有趣的事情。
筆者從網路搜尋到一般平常人家家中皆可能出現的耶穌像，數位輸出後曝曬於陽光下三個 月，使色彩褪色，唯獨遮蔽了耶穌的右手與左眼，並以老框裝裱。被遮蔽的右手與左眼仍 保持曝曬前的原色，在此表現光抹去其本身（神）的樣貌，從人對神的形體的投射，討論 視覺的侷限性。
這件作品呈現於展場一樓的櫥窗內，作為一個觀眾可能最先看到與最後看到的展示位置， 一方面呼應展覽中欲討論的「神性」，一方面也呼應「光」之於視覺的角色（因光線而看 見事物，但也因光消去色彩）。
I printed out an ordinary image of Jesus Christ he had found online, and left it in the sun for three months, causing a faded effect on the image except the right hand and left eye of Jesus Christ, which had been covered before the exposure to the sun. The print is then mounted in an old frame. The right hand and left eye maintain the same color before the sun exposure. The gesture of Jesus Christ is imbued with religious significance: the two fingers touching together refer to the divine and the human in Christ, while the other three fingers refer to the Trinity — the Father, the Son, and the Holy Spirit.
The work is exhibited in the display window on the first floor of the gallery, a place for viewers to most likely see the work either on their way in or out of the gallery. This position of the work resonates with the concept of divinity, and with the importance of light to human sight for its power to facilitate sight and obscure color.
The scenes of "NIU JUN QIANG Solo Exhibition 2018"."
《褪色的神像》
The Portrait of Divinity 展覽情形，“牛俊強個展 2018”
The Portrait of Divinity 作品細部 《褪色的神像》
The detail of "The Portrait of Divinity".
The scenes of "NIU Jun Qiang Solo Exhibition 2018", TKG+ Projects. The Portrait of Divinity
〈2018牛俊強個展〉展覽現場，TKG+Projects 《褪色的神像》
Nei-Guan (series)
Acrylic, gold leaf, print 50*35cm (no frame)
2019
耶穌受難的形象廣泛出現在宗教改革前的中世紀繪畫中，在這個主題下，耶穌以蒼白的、受苦的形象出現 ，而身上的傷口被描繪非常明顯，甚至誇大，這些傷口其實是種陪伴，讓信徒們知道，他們所信仰的神了 解自己正在受的苦痛。
耶穌的身體可能是在古羅馬時期之後至文藝復興時期被描繪最多的身體。祂既是肉身，也是永恆。 因此傷口成為治癒的記號，這讓我想到中醫的「自癒」療法：針灸。因此我結合中醫經絡系統，分析耶穌 的五個傷口，它們在中醫系統下與人體運行狀態，表達疾病、救贖與療癒之間關係。
這些傷口分別經過心包、肝、膽等經絡，也經過了奇經八脈的陰維脈，以中醫《六經防禦》系統來看，其 對抗之邪氣為「風」，風邪為一種為外在擾動的一種能量，而陰維脈屬於內在情志情緒的穩定系統，這些 傷口的連線對應了身與心對外在世界的干擾的抗衡，與自我安定。 我過去三年藉由討論盲與神性，闡述感知世界中的多元性。疾病在當代社會中已轉化為一種身份，而信仰 則為一種對自然本質的依循或個體動物性的超脫。我想藉由這個創作計畫發展過程讓參與者顯現肉身 與心靈（神性）之間的關係。
The image of The Passion of the Christ was the main theme in the middle century painting. The wounds of Jesus are the symbol to compare with believers’ grief and suffering, and present the fear of death last nowadays. I connect this religion symbol with meridian system in Chinese medicine, and the interaction of these five wound points with physical working. These series present the intersection of disease, treatment and rescue.
The wounds passed through the pericardium, liver and gallbladder meridians, and also passed through the Yin Wei meridian. These connections with wounds and meridians correspond the energy for-self-stability, and the the body and mind how to defensive the six evils.
I reveal the diversity in the world by discussing blindness and divinity in the past three years. The idea of “disease” is the boundary of God, and it also be the concept within eternity of body and consciousness. The connection with diseases and religion is the aim of his next project.
內關
The process of work production Nei-Guan (series) 作品細部 《內關》
作品細部，
The details of "Nei-Guan (series)", Cité Internationale des Arts, Paris, France, 2017 Nei-Guan (series)
西帖國際藝術村，巴黎，法國，
2017
《內關》
The details of "Nei-Guan (series)", Cité Internationale des Arts, Paris, France, 2017 Nei-Guan (series)
作品細部，
西帖國際藝術村，巴黎，法國， 2017 《內關》
The Scenes of "New Normal", 2020, Taipei Artist Village Nei-Guan (series) 展覽情形，新白堊紀，2020，台北國際藝術村 《內關》
The Scenes of "New Normal", 2020, Taipei Artist Village Nei-Guan (series) 展覽情形，新白堊紀，2020，台北國際藝術村 《內關》
The details of < Nei-Guan(Series)> Nei-Guan (series) 作品細節 《內關》
The details of < Nei-Guan(series) > Nei-Guan (series) 作品細節 《內關》
The scene of "New Normal", Taipei Artist Village. Nei-Guan (series)
〈新白堊紀〉展覽現場，台北國際藝術村 《內關》
The Hand of Our God
Brass sculture, Ø:14cm H:10cm 2022
《The Hand of Our Gad》以11世紀西班牙的壁畫「上帝之手」(The Hand of God from Sant Climent de Taüll) 為原型，延伸出的黃銅雕塑。在這幅濕壁畫中，我們看到一隻右手從虛空的圓中伸出 來。神的右手被視神聖的符號，有保護與指引。
畫中三個圓形代表神聖（紫色）、天地（藍色）、愛（紅色）。其中手勢的為祝福手勢，三隻手指與兩隻 手指合攏，三在此代表天主的「三位一體」，包含聖父、聖子、聖靈。在其他聖像畫中，可以看到耶穌也 以此手勢昭示著自己的人神身分中世紀的繪畫中，神無具體形象，只有以一隻手的方式現身。
上帝的手勢可以代表各種意思：干預、批准、祝福、給予、保護。神的長相為我們的投射，祂也因為我們 的視覺經驗不斷轉化中。
“The Hand of God”, or Manus Dei in Latin, also known as Dextera domini, the "right hand of God", is a motif in Jewish and Christian art, especially of the Late Antique and Early Medieval periods, when depiction of Jehovah or God the Father as a full human figure was considered unacceptable.
The hand, sometimes including a portion of an arm, or ending about the wrist, is used to indicate the intervention in or approval of affairs on Earth by God, and sometimes as a subject in itself. It is an artistic metaphor that is generally not intended to indicate that a hand was physically present or seen at any subject depicted. In later Christian works it tends to be replaced by a fully realized figure of God the Father, whose depiction had become acceptable in Western Christianity, although not in Eastern Orthodox or Jewish art. Though the hand of God has traditionally been understood as a symbol for God's intervention or approval of human affairs, it is also possible that the hand of God reflects the anthropomorphic conceptions of the deity that may have persisted in late antiquity.
The Hand of Our God
Upper : The process of work production
Lower : The Scenes of "NIU JUN QIANG solo exhibition 2020"
上圖：作品製作過程 下圖：展覽情形，《牛俊強個展2020》
《 The Hand of Our God》
The process of work production The Hand of Our God 作品製作過程 《 The Hand of Our God》
The
The scenes of "NIU JUN QIANG solo exhibition 2020"
《
Hand of Our God 展覽情形，《2022牛俊強個展 - 彰顯》
The Hand of Our God》
The Hand of Our God
The details of <The Hand of Our God>
作品細節 《
The Hand of Our God》
The
The scenes of "NIU JUN QIANG solo exhibition 2020"
Hand of Our God 展覽情形，《2022牛俊強個展 - 彰顯》
《
The Hand of Our God》
The Borderline I
Photograph 86*56cm (no frame), 87*57cm (frame) 2020
《邊界》系列是我2019-2021年間的創作計畫，關注於宗教信仰與疾病之間的關係：信仰基督教的人群 或地區，與信仰佛教和伊斯蘭教的人群或地區流行疾病有所不同。信仰與文化、生活型態相關，也與肉身 有密切的連結。
我將這十年間，基督教人口的整理出「前十大致死的疾z病」：心臟病、癌症、慢性呼吸道疾病、腦血管 疾病.......等症狀，寫在紙上，覆蓋在耶穌雕像上，在陽光下拍攝。若隱若現的文字對比著耶穌的身體， 彰顯出信仰與疾病像是一種對立，關於肉身與意識，永恆與消失。疾病也如神的邊界，而著疾病受難觸及 身心的邊界，神性在那顯現。
My creation plan for 2019-2020 was about the relationship betwe en religious beliefs and diseases. The diseases seem different because it depends on the people or the regions that believe in Christianity or Buddhism. In this series, the faith and disease are like an opposition, which are about the flesh and consciousness; the eternity and disappearance.
I wrote down the symptoms of ten major fatal diseases caused in Christian population (which is based on America) in the past five years and cover it to the statue of Jesus. Dise ase is also like the boundary of God, it is because the boundary we can see so that the divinity can be revealed.
邊界I 邊界II
The Borderline II
Photograph 145*100cm (no frame), 158*110cm (frame) 2020
我過去創作以「視覺作為一種存在的辯證」出發，以神性經驗和心靈意識作為出發。
這件攝影是我於陽光下用透光的紙張覆蓋在耶穌像上。日光的色溫將紙張暈染出一層溫和與純淨的色澤， 宛若初生嬰兒的肌膚，一種神性的感覺。
在這聖像旁邊的陰影，乍看像是一個魔鬼的形象。拍攝完看到影像我有很大的衝擊：這個作品融合了光與 陰影、神聖與恐懼、肉身（短暫）與永恆的對照。尤其在不確定的2020年，有更深刻的意義。 疾病帶來的恐懼猶如神的邊界，而因為碰觸到邊界，神性得以顯現。
In this photo, I covered the statue of Jesus with translucent paper in the sun. The color temperature of daylight smudges the paper into a gentle and pure color, just like the skin of a newborn baby, a feeling of divinity.
The shadow beside this eikon resembles the image of a devil. This image has a great impact on me: this work shows the contrast between light and darkness, sacredness and fear. Especially in the uncertain 2020, there is a deeper meaning to everything that seems to be dualistic, life and death, good and evil, obscurity and manifestation, which blur the boundaries, and they are revealed to us together.
The scenes of "New Normal", Taipei Artist Village.
The Borderline I, The Borderline II
〈新白堊紀〉展覽現場，台北國際藝術村 《邊界I》,《邊界II》
Photograph, 145*100cm, 2020.
《邊界I》
The Borderline I 作品全貌
The details of "The Borderline I". The Borderline I 作品細部 《邊界I》
Photograph, 87*57cm, 2020.
《邊界II》
The Borderline II 作品全貌
The details of "The Borderline II". The Borderline II 作品細部 《邊界II》
The
The Borderline I 〈新白堊紀〉展覽現場，台北國際藝術村
scene of "New Normal", Taipei Artist Village.
《邊界I》
The Borderline II
《邊界II》
The scenes of "New Normal", Taipei Artist Village. 〈新白堊紀〉展覽現場，台北國際藝術村
The scene of "New Normal", Taipei Artist Village.
The Borderline I, The Borderline II 〈新白堊紀〉展覽現場，台北國際藝術村 《邊界I》,《邊界II》
無題（系列）
Untitled I
Photograph, Sensitized paper,64*70CM , 2015
Untitled II
Multi media,147*147cm
2015
Untitled III
Photograph, UltraSmooth Fine Art, Paper,67*67CM
2015
Untitled (Series)
Untitled IV
Multi media, 35.6*50cm
2015
Untitled V-Twins
Multi media. According to the space
2015
Untitled
Photograph. Sensitized paper,61*58CM , 2016
在母親的身體裡，我們原是完整的。但在離開母體後，我們卻一直感受到分裂與不完整。我想是因為事物 外在的形貌，驅使慾望，這樣驅使同時也帶來斷裂的感受。因此我們不斷追求完整，不斷強迫自己能清楚 辨識事物的外貌，來判斷這是否是我們原來的樣子。
人生至此，我體悟到，面對這個斷裂的狀態，並非以完整取代，而是站在那個裂隙前，仔細凝看：看到完 整與斷裂並存，藉此靠近充斥著形貌的渾沌世界中，那個初始。
一對雙生子互相交媾的畫面，讓我想起他們在渾沌母體原是一體，出生的過程，通過狹長的陰道，見到了 外界的光，而後被迫分離。在這個影像裡，一個陽光灑在起居室的地毯上，他們進入彼此的身體，重新結合， 然而這個結合卻是個禁忌。
我以這個影像來陳述，當我面對事物外貌，那個慾望中，完整與斷裂的感受。
In our mothers’ bodies, we start out whole. After we leave our mothers’ bodies, however, we feel a constant sense of splintering and incompleteness. I think that this is because the outer appearance of things drives desire, and at the same time this drive also comes with a feeling of splintering. Therefore, we endlessly strive for completion, forcing ourselves to recognize the appearance of things clearly, in order to judge if it is its original form or not.
In my life up to now, I’ve experienced that, when it comes to this splintered state, it is not replaced by completion, but rather standing in the cracks, gazing carefully, one can see the juxtaposition of both splintering and integrity, and in this way, one can approach the origins, amid the mundane world full of appearances.
The image of a pair of twins copulating with one another, made me think that they were previously one in the primal chaos of their mother’s body. In the process of their birth, passing through the narrow length of the vagina, they caught sight of the light from outside, and were then forced to separate. In this image, the sun shines on the carpet of the living room and they enter each other’s bodies, joining together again, although this rejoining is also a taboo.
I used this image to describe, when faced with the appearance of things, amid that desire, the sense of being whole and being splintered.
Untitled 2016 《無題 2016》
The scenes of exhibition, Tong Gallery, Beijing. 展覽現場，彤畫廊，北京
Photograph,ultra smooth fine art paper, 62*68cm, 2016
Untitled 2016 作品全貌 《 無題 》(2016)
《
The details of the work, 2015 Untitled II, Untitled IV 作品細部
無題 II》,《 無題 IV》
《
The details of the work, 2015 Untitled II, Untitled IV 作品細部
無題
II》,《 無題 IV》
Photograph, ultra smooth fine art paper, 110*110cm, 2015
Untitled III 作品全貌 《 無題 III》
Photograph, ultra smooth fine art paper, 110*110cm, 2015
《 無題
Untitled III 作品全貌
III》
《 無題 V-Twins》
The scene of "NIU Jun Qiang Solo Exhibition 2015". Untitled V-Twins 展覽情形，"牛俊強個展2015"
Art Residency < Cité Internationale des Arts, Paris, France > Untitled V-Twins 西帖國際藝術村駐村，展覽現場
V-Twins》
《 無題
《
The details of < Untitled V-Twins > Untitled V-Twins 作品細節
無題 V-Twins》
The details of < Untitled V-Twins > Untitled V-Twins 作品細節
《
無題 V-Twins》
《
The scene of "NIU Jun Qiang Solo Exhibition 2015". Untitled V-Twins 展覽情形，"牛俊強個展2015"
無題 V-Twins》
The Sunshine Is Different Here 這裏的陽光很不一樣
Premium Glossy Photo, Paper(Photograph), 87*57cm 2015
Neon light (Installation), 220*550*320cm 2016 「這裏的陽光很不一樣」是我過去其中一件影像作品中曾出現的一句字幕。
當我看著這個字幕出現在白色的螢幕前，引發了我諸多的聯想：這「陽光」指的是什 麼？是螢幕的內射出來的光？或是這影像本身拍攝的正是「光」的來源？當今人造與 自然的光線，我們是否可以區別兩者？而說出這句台詞的人，他來自何方？他如何判 別「這裡」與「那裡」的不同？
在此延伸出「光與影像的物質性」、「身份」與「地域」的思考。
The sunshine is different here is a part of the subtitles shown in one of my image artworks. This sentence, along with the blank screen on which it is shown, evoked all kinds of associations for me. To what does the term “sunshine” refer? Does it refer to the light emitted by the screen, or the image per se is the very source of the light? Can we distinguish artificial light from natural one? Where does the person who said the line come from? How does the person tell the difference between “here” and “there?” These questions strongly stimulate the viewers’ profound reflection on the materiality of light and images as well as the meanings of identity and region.
Meet The Light-2016 Treasure Hill Environmental Art Lantern Festival Treasure Hill Artist Village, 21 Feb. -20 Mar.,2016. The Sunshine Is Different Here
這裡的陽光很不一樣
寶藏巖環境藝術燈節，2016
Meet The Light-2016 Treasure Hill Environmental Art Lantern Festival Treasure Hill Artist Village, 21 Feb. -20 Mar.,2016. The Sunshine Is Different Here
這裡的陽光很不一樣
寶藏巖環境藝術燈節，2016
Meet The Light-2016 Treasure Hill Environmental Art Lantern Festival Treasure Hill Artist Village, 21 Feb. -20 Mar.,2016. The Sunshine Is Different Here
這裡的陽光很不一樣
寶藏巖環境藝術燈節，2016
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