2017. 02. 02 - 04. 23
目錄 CONTENTS
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館長序 Preface
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創作論述 Artist statement 顏料與畫筆構成的時光機 | 盧昉 A Time Machine Constructed with Paint and Brush | Lu Fang
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圖錄 Plates 藝術家簡介 Biography
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序 Preface
李足新 Lee Chu-Hsin 毓繡美術館 館長 The Executive Director of Yu-Hsiu Museum of Art
2017 年的開春首展檔期，邀請了四位專注於不同領域的當代寫實新銳藝術家，舉辦各自表述的特展。主要呼 應毓繡美術館長久以來努力的方針之一：「致力於提升臺灣當代寫實藝術的能見度」，且也藉由作品中的手 感溫度，勾動更多國內外的藝文同好們，帶領觀者關懷當代環境及社會樣態。
《是古非今》盧昉於本次個展中，呈現了他從 2009 年回國至今的創作系列。盧昉從小到大歷經了多次遷移， 來回於美國、臺灣、西班牙各國，也因如此，他的作品一直關心著東方與西方的文化差異，同時創作的核心 議題圍繞著古典藝術與當代藝術的交融。2010 年在《出古入今 - 大鼻子異想世界》個展中，盧昉將自己虛 擬成大鼻子的角色遊走於古畫之中，除了創造了一種詼諧感外，更重要的是希望透過當代性的眼光看古畫， 讓觀者產生一種時空的錯覺。2014 年的《玩轉古畫》系列，則是用了挪用的手法，將現今社會中的樣貌與 古畫相容，這樣的作品除了需要有細緻的古典繪畫技法外，更在畫面構成上需要多方巧思，期待觀者在欣賞 展覽中，能暫時遠離塵囂，進入盧昉的異想世界。
For the first exhibition after the Chinese New Year holiday in 2017, Yu-Hsiu Museum of Art has invited four promising contemporary artists of realist art from different fields to hold four respective exhibitions. The attempt corresponds to one of the museum's long-term objectives, which is to "strive for increasing the visibility of Taiwanese contemporary realist art." We also hope that the artistic warmth of the works would capture the attention of international and domestic art lovers and lead our audience to care about the contemporary environment and society.
In Dialogue Between Past and Present , Lu Fang shows his work created after his return in 2009 until the present day. Ever since his childhood, Lu has experienced several changes of environment, having moved to the US and back to Taiwan and went on to study in Spain. Therefore, his work has always centered on the cultural differences between the East and the West with an emphasis on the integration of classical art and contemporary art. He assumed the role of Mr. Big Nose in his solo exhibition of “Mr. Big Nose in Wonderland” in 2010, which not only conveyed a sense of humor but also created an anachronistic feeling for the audience through viewing classic paintings from a contemporary perspective. His recent series, A Play on Classic Painting in 2014 , adopts the approach of appropriation to combine modern social landscape with classic paintings. The creation of such work requires both advanced classic painting skills and much ingenuity in image composition. It is our hope that audience could temporarily escape from the boisterous world and enter the fantastic world created by Lu while viewing his exhibition.
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創作論述
Artist statement
A Time Machine Constructed with Paint and Brush
顏料與畫筆構成的時光機 撰文 / 盧昉
Text / Lu Fang
此次個展集結了我 2009 年從西班牙歸國後到 2016 年期間的創作，東方與西方的文化、古代與當代，一直
On view in this solo exhibition are my works created from 2009 after I returned from Spain to 2016. Eastern and Western
是我創作面的核心議題。幼年隨家人旅居美國多年，中間回臺直到大學畢業後，選擇到西班牙留學生活，之
cultures as well as the ancient and the contemporary have always been the center of my artistic work. Having lived in
後又選擇回到這塊土地居住，生活環境的不斷轉換，像是把我的生命分成好幾段用不同語文寫成的文章。
the US as a child for years, returned to Taiwan for college education, chosen to study in Spain, and eventually settled down in Taiwan again, the constant change of living environment has divided my life into various chapters composed in different languages.
2010 年舉辦了個人在臺灣的首次個展《出古入今─大鼻子異想世界》，剛從歐洲古城回來不到兩年的我， 為了適應環境過程中的衝突感，因此選擇了當時蔚為潮流的卡漫形式，將自我影像以一種詼諧、突兀甚至不 和諧的方式侵入古典大師的作品中，開始了這幾年持續與古代作品的對話。
My first solo exhibition in Taiwan, Lu Fang Solo Exhibition—Mr. Big Nose in Wonderland , was held in 2010. Having just returned from an ancient European city for less than two years, in order to assimilate the conflicts resulting from my attempt to adapt to the new environment, I chose the cartoon and comic style that was popular at the time to place the image of myself in classical masterpieces in a humorous, obtrusive, or even discordant manner, and started this dialogue
在圖像上我運用著名的古畫作品，賦予它們一種新的觀念和角度，而成為我個人的創作語彙，從杜象 1919
with the past for several years.
年在蒙娜麗莎複製畫加上的「兩撇鬍子」，這樣的挪用（appropriate）形式一直是當代藝術中引人注目也受 爭議的手段。利用挪用對象所承載的歷史信息與普羅大眾視覺經驗，對經典作品重新詮釋，同時也生成新的 藝術。
In terms of image, I employed famous classic paintings and transformed them with a fresh concept and perspective to formulate my artistic language. Since Duchamp added a moustache on a Mona Lisa replica, such an approach of "appropriation" has garnered much attention as well as controversy in contemporary art. It allows artists to appropriate the historic messages conveyed by the subject of appropriation and the public's visual experience to re-interpret classics
在現今數位影像發達的年代，快速且廉價的畫面充斥，一支手機從打開拍攝模式到壓下快門，短短幾秒鐘，
while giving birth to a new type of art.
就可以達到過去畫家所花上數天、數月才能做出的逼真影像，甚至不滿意還可以隨時刪除重來，連修改都不 必要，所以單從記錄影像的功能性來看，傳統繪畫這樣的古老影像技術，相較之下顯得效率低落。然而，我
As digital imaging technology is advancing everyday, the world is filled with fast and inexpensive images. From turning on the photo application to clicking on a single button, people can produce realistic images in just a few seconds,
所關注及嚮往的是在作品中，扮演一位演員，藉由過去在歐洲學院裡學習的繪畫、古代材料學等技術，一筆
which painters in the past would need days or months to create. We can even delete and retake the images if they
一畫的去跟隨大師在畫布上走過的每一步，同時揣摩並呈現原畫中沒有的人事物，在虛構的時空中擦出何等
are not satisfactory without being bothered to modify them. Therefore, in terms of the function to document images,
火花。唯有如此我才能稱職的扮演那些百年前的古代大師，同時又上演活在當代的自己，我借用古代大師們
ancient techniques like traditional painting would seem much less efficient in comparison. However, what I care about
的眼睛在臺灣這塊的土地上做一名觀察者，捕捉其中的影像元素。
and long for is to play a role in my work. Through employing painting techniques and knowledge of ancient material science acquired in school in Europe, I have traced every step that the old masters took on canvas, one brushstroke after another. Meanwhile, I try to fathom and represent the characters, things and objects that are not in the original
文藝復興、巴洛克、東方與西方的距離、空間的距離、文化的距離，究竟可以跟身在臺灣的藝術創造者，產
paintings and see what chemistry I can create in the fictional time and space. Only by doing so, I can play the centuries-
生什麼樣的連結？是我在這幾年創作系列的核心問題，透過畫筆，將直線式的歷史扭轉成一個曲線，讓當代
old masters appropriately while being myself in the contemporary era. I have borrowed the eyes of these old masters to
與古代在一個交合點上碰撞、激盪出更多可能性。這次展覽的名稱在兩行兩列字形的排列下，可以讀成「古
be an observer in Taiwan and captured the images therein.
是今非」、「是古非今」又或是「是非古今」，試圖提供觀眾一種難以分辨的時空矛盾及趣味。
How can an artist in Taiwan relate to the Renaissance, Baroque, and the distance between the East and the West as well as the spatial and cultural differences? This has been a core question that underlies my work in recent years. With my paint brush, I have curved the linear history and enabled a collision between the contemporary and the ancient to create more possibility. The Chinese exhibition title is arranged into two columns and two rows, and can be read in multiple ways, offering audience a sense of fun informed with the confusion of telling the exact time and space.
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圖錄 Plates
出古入今 2009 年底盧昉從沒有當代藝術存在的西班牙賽維亞古城區回到臺灣，重新面對熟悉卻也很陌生的社會，當 時臺灣藝術界流行著台客元素與卡漫風潮，村上隆與奈良美智的作品，很顯然與前幾年西班牙學院古物修復 室中那些三、四百年的基督教木雕、油畫成為強烈的對比。古今衝擊之下，他開始重新思考自己的本質，試 圖透過古典技法來創造一種另類的卡漫風格，與臺灣的藝術界對話與接軌，因此，從盧昉自畫像演變而來的 「大鼻子」便出現了。
Time Traveler In 2009, Lu Fang returned to Taiwan from the ancient Spanish town of Seville, where contemporary art did not exist, and found himself faced again with a familiar yet strange society. At that time, "tai-ke" (Taiwanese redneck) elements as well as cartoon and comic style were popular in the Taiwanese art scene. It goes without saying that the works of Takashi Murakami or Yoshitomo Nara would form a strong contrast to the three-centuries or fourcenturies old Christian wooden sculptures in an antique restoration lab in a Spanish college. The impact of the contemporary and the ancient art made him contemplate on the self and attempt to create an alternative comic style with classical techniques, which enabled him to connect with the Taiwanese art circle. Hence, the character, Mr. Big Nose, which was derived from Lu's self-portrait appeared.
大鼻子與他搶來的新娘 Mr. Big Nose and His Captured Wife 油彩畫布 Oil On Canvas | 82.2 x 60 cm | 2010
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大鼻子與聖母 Virgin and Mr. Big Nose 油彩畫布 Oil On Canvas | 64 x 81 cm | 2013
戴紅帽的大鼻子 Mr. Big Nose on a Turban 油彩畫布 Oil On Canvas | 34 x 27 cm | 2012
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有著大鼻子的少婦 Woman with Big Nose 油彩畫布 Oil On Canvas | 48 x 33 cm | 2013
大鼻子 18 禁之畫中畫 Mr. Big Nose Portrays Nude in a Painting within a Painting 油彩畫布 Oil On Canvas | 53 x 46 cm | 2013
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伊默思的晚餐大鼻子也在場 Mr. Big Nose at Supper at Emamaus 油彩畫布 Oil On Canvas | 195 x 140 cm | 2010
被割下頭的大鼻子 Salome Receives the Head of Mr. Big Nose 油彩畫布 Oil On Canvas | 91.5 x 107 cm | 2010
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玩轉古畫
A Play on Classic Paintings
玩轉古畫是 2011 年開始的新創作系列，在個展《出古入今─大鼻子異想世界》後，當時從國外回臺也已過了兩
A Play on Classic Paintings is a new series began in 2011. After Lu Fang Solo Exhibition—Mr. Big Nose in Wonderland ,
年之久，盧昉重新慢慢的融入臺灣這個環境，大鼻子入古畫的衝突感，也漸漸從作品中消失。後續創作主軸大多
Lu has been slowly blending into the environment after returning to Taiwan for about two years, and the sense
以不破壞挪用之古畫氛圍，進行大幅度調整原有作品元素的實驗。如同一位舞臺劇導演，穿越時空揉合東西方場
of conflict created by Mr. Big Nose's appearance in classic paintings has gradually faded away. The subsequent
景、及不同人物角色等。但這齣劇中，導演與演員只完成了一半的劇情詮釋，另一半將由觀眾自行解讀與想像。
series mainly focused on appropriating but not spoiling the atmosphere of the classic paintings while conducting experiments of substantially adjusting elements in the original works. Like a stage director, he traversed different
例如這系列中的主角之一，著名的尼德蘭畫家布魯哲爾，他以繪本式的畫風脫離了宗教與權威，選擇描繪五百年 前的農村景緻，同時也勾動了盧昉想與這些古典畫家進行跨界合作的靈感，藉此交融呈現他眼中的臺灣庶民生 活，從都市政策、社會底層的生活乃至婚禮風俗民情等，都是他所欲描寫的現代人情風景。他透過像是罩紗般的 古典繪畫形式，暗喻地描述且諷刺這個社會，同時於畫面中刻意安排了多種趣味性及真實樣貌，用以呈現他的臺 灣當代環境堪輿。
historic periods and combined Eastern and Western settings as well as characters. Nevertheless, in this drama, the director and the characters only have completed half of the narratives whereas the audience would need to complete the other half through their interpretation and imagination. A fine example in the series would be the renowned Netherlandish painter, Bruegel, whose illustration style broke free from religion and authority and portrayed the rural landscape existed five centuries ago. His works have also inspired Lu Fang to collaborate with the old masters, and by doing so, to integrate and represent the life of common Taiwanese people that he has seen. The modern landscape he attempted to delineate ranged from urban policies, life of lower social class, wedding custom and practice, etc. Through the form of classic painting that functioned like
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台北大違建 Illegal Tower in Taipei
a veil, he implicitly depicted and satirized this society. Meanwhile, he deliberately incorporated both funny and real
油彩畫布 Oil On Canvas | 150 x 400 cm | 2014
scenes in the paintings to portray his observation of the contemporary environment in Taiwan.
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夜生活圖 Nightlife 油彩畫布 Oil On Canvas | 118 x 164 cm | 2013
灑錢圖 Rain of Cash 油彩畫布 Oil On Canvas | 150 x 195 cm | 2012
古今人車爭道 Ancients & Moderns Fighting for the Road 油彩畫布 Oil On Canvas | 118 x 160.5 cm | 2013
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東西廟會大對決 Temple War Between East and West 油彩畫布 Oil On Canvas | 114 x 164 cm | 2013
辦桌圖 Roadside Banquet 油彩畫布 Oil On Canvas | 114 x 162 cm | 2012
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美術史記事 II: 1660 年於台夫特教堂 Art History Note II: Treft Church in 1660 油彩畫布 Oil On Canvas | 92 x 112 cm | 2016
被亂停機車的台夫特街景 Street in Deft with Parked Scooters 油彩畫布 Oil On Canvas | 54.5 x 44 cm | 2013
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文化的侵略 Cultural Aggression 油彩畫布 Oil On Canvas | 400 x 120 cm | 2016
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西門廣場 2009 至 2014 年間，盧昉在西門町工作室駐村、生活了五個年頭。西門町一直是個老舊文化與新世代潮流彼 此撞擊與共存的有趣地方，從記憶中的中華商場，夾雜著不同省份的外省口音與各地家鄉味，不算寬敞的西 門町徒步區周邊始終反映著當下年輕人的流行品味。這幾十年來，西門町不斷的在改變著，商品廣告、店家 招牌及電影上檔下檔不斷的更替，一棟建築物牆面的外貌可能幾天間就變了風格，這對於 2009 年前還在西 班牙古城留學、生活的他來說是很不同的體驗。
2014 年夏天在工作室搬離前，作為一個長期關注西方古典元素與臺灣本土文化鏈結的創作者，便想記錄曾 經深刻見證過的西門町，將它幻化成為一個永恆被保留下來的畫面。因此，盧昉便延續創作脈絡中的古畫元 素，將十八世紀畫裡高貴的腓特烈大帝，拉到西門廣場上成為一名為過客演奏的街頭藝人，而古畫中常見的 華麗金箔材質與現代繽紛招牌廣告既衝突卻也協調的共存在畫面上，凸顯西門町的繁華與多元性。他同時希 望這件作品除了讓當下的訪客欣賞外，更希望打造一個能夠與未來西門町的過客們產生生命經驗鏈結的時空 橋樑。
Time Traveler From 2009 to 2014, Lu Fang did an artist residency at a studio in Ximending and lived there for five years. The area of Ximending is an intriguing place where old culture and trends of new generations collide and coexist— one could hear and find various accents and foods from different Chinese provinces in the old Chunghwa Mall that only existed in one's memory now; and the area near the slightly crowded pedestrian zone of Ximending always reflects the up-to-date fashion taste of young people. Throughout the past decades, Ximending has kept changing. Product commercials, store signs, and all the movies in theaters continue to change; the exterior of a building might be completely different within days. For Lu Fang, who had been studying and living in an ancient city in Spain prior to the year of 2009, it was a tremendously different experience.
Before he moved out of the studio in the summer of 2014, as an artist who has been concerned with connecting western classical elements and Taiwanese local culture, Lu Fang wanted to document Ximending, which he had personally experienced in a profound way, and transformed it into images that could be kept forever. Therefore, the artist extended the artistic approach of adopting classic paintings, and transformed the noble Frederick the Great from an eighteenth-century painting into a street performer playing for passersby on Ximending. The glamorous material of gold foil commonly seen in classic paintings is juxtaposed with modern, splendid commercial signs and advertisements in a conflicting yet harmonious way in the image, foregrounding the prosperity and diversity of Ximending. He also hopes that, in addition to be viewed and admired by present
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travelers, the painting could form a space-time bridge that connects the life experience of present and future
西門廣場 Westgate Plaza
visitors in Ximending.
油彩畫布 Oil On Canvas | 180 x 280 cm | 2014
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藝術家簡介 Biography
盧 昉 Lu Fang
盧昉於 1977 年出生於高雄， 幼年隨家人旅居美國多年。他從小就展現對寫實繪畫的天份及熱情，自臺灣藝 術大學美術系畢業後，即到西班牙薩拉曼卡大學攻讀美術碩士，並接著到賽維亞大學研讀繪畫與藝術修復博 士班。「東方與西方」以及「古典與當代」一直是盧昉創作上的靈感泉源。盧昉長年生活於東方與西方，基 於對於文藝復興時期繪畫的喜愛，回台後便燃起把古畫及當代生活融入一起的想法，展開一系列古今與東西 間的對話。 Born in 1977 in Taiwan, at the age of 4, Lu Fang travelled with his family to live in the US for 7 years before returning to Taiwan. Lu Fang has demonstrated his great talent and dedication in painting since he was little. After receiving the art degree from National Taiwan University of Arts, Lu Fang pursued his master degree in Fine Art at the University of Salamanca in Spain, and spent another year in the doctoral program in Painting and Conservation at the University of Seville, Spain. Lu Fang had his first solo exhibition in Ablemarle Gallery in London in Year 2008, before his return to Taiwan. Lu Fang’s creations have been inspired by the dialogues between “the East and the West”, and “the classic and the contemporary”.
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學歷
Education 國立臺灣藝術大學 美術系畢業
2000
Bachelor of Fine arts of National Taiwan University of Arts, Taiwan
2007
西班牙薩拉曼卡大學美術系碩士
2007
Master of Fine arts of University of Salamanca, Spain
2008
西班牙賽維雅大學美術系 繪畫與藝術修復博士班 肄業
2008
PhD. Study course in Department of Painting and Conservation, University of Seville, Spain
現任
國立臺灣藝術大學美術學系 兼任講師
2000
國防醫學院 通識教育中心 兼任講師
個覽 2014
「出古入今 II：玩轉古畫」，MOT ARTS，臺北，臺灣
2010
「出古入今：大鼻子的異想世界」，MOT ARTS 臺北，臺灣
2008
盧昉個展，Albemarle Gallery ，倫敦，英國
Adjunct instructor teacher in National Taiwan University of Arts & National Defense Medical Center
Solo Exhibition 2014
Solo Exhibition, MOT Arts, Taipei, Taiwan
2010
Solo Exhibition, MOT Arts, Taipei, Taiwan
2008
Solo Exhibition, Ablemarle Gallery, London, UK
Group Exhibition 2016
聯覽 2016
“Image out of Images”, Cloud Gallery, Taipei, Tawan Art Fair Tokyo, Tokyo, Japan
「象外之象─臺灣當代寫實藝術家聯展」，青雲畫廊，臺北，臺灣
“AAM Find Myself Part II”, AAM Museum, Taichung, Taiwan
東京藝術博覽會，東京，日本
2015
Art Taipei 2015, Taipei World Trade Center I, Taipei, Taiwan
「第三屆精銳藝術節：找我─ Part II」，臺中，臺灣
2014
Art Taipei 2014, Taipei World Trade Center I, Taipei, Taiwan
臺北藝術博覽會，臺北，臺灣
2013
Art Taipei 2013, Taipei World Trade Center I, Taipei, Taiwan
2014
臺北藝術博覽會，臺北，臺灣
2012
Art Taipei 2012, Taipei World Trade Center I, Taipei, Taiwan
2013
臺北藝術博覽會，臺北，臺灣
2011
Young Art Taipei, Sunworld Dynasty Hotel, Taipei, Taiwan
2012
臺北藝術博覽會，臺北，臺灣
2010
Art Taipei 2010, Taipei World Trade Center I, Taipei, Taiwan
2011
Young Art Taipei 臺北國際當代藝術博覽會，臺北，臺灣
2015
2010
臺北藝術博覽會 臺北，臺灣
Young Art Taipei, Sunworld Dynasty Hotel, Taipei, Taiwan 2009
“Otaku”, Aki Gallery, Taipei, Taiwan
Young Art Taipei 臺北國際當代藝術博覽會，臺北，臺灣 「藝術七門町特調聯展」，MOT ARTS，臺北，臺灣 2009
「藝術七門町特調聯展」，MOT ARTS，臺北，臺灣
Young Art Taipei, Sunworld Dynasty Hotel, Taipei, Taiwan
“Y.E.S., Taiwan - Young Emerging Stars”, Aki Gallery, Taipei, Taiwan 2008
Concurso de Pintura Figurativa Group Exhibition in Foundation of Fran Daurel, Barcelona, Spain
2006
Concurso de Pintura Figurativa Group Exhibition in CCCB, Barcelona, Spain
Young Art Taipei 臺北國際當代藝術博覽會，臺北，臺灣
Concurso de Pintura Figurativa Group Exhibition in Tyssen-Bornemisza Museum, Madrid, Spain
「宅的異想世界」聯展，也趣藝廊，臺北，臺灣
2005
Art Exhibition in University of Barcelona, Spain
「Y.E.S Taiwan」聯展，也趣藝廊，臺北，臺灣
2002
Group Exhibition in Hong Gah Museum, Taipei, Taiwan
2008
Fran Daurel 藝術基金會聯展，巴塞隆納，西班牙
2001
“The joy of growth”, Taipei Fine Arts Museum, Taipei, Taiwan
2006
「具象繪畫大賽聯展」，巴塞隆納 CCCB 當代美術館，巴塞隆納，西班牙
Traveling Exhibition of Classical Oil Painting Techniques, Chunghua, Taiwan
「具象繪畫大賽聯展」，馬德里 Tyssen-Bornemisza 美術館，巴塞隆納，西班牙 2005
「巴塞隆納大學美術系創作聯展」，巴塞隆納，西班牙
2002
「臺灣當代藝術全集Ⅱ : LIS 偷偷愛上你」聯展，鳳甲美術館，臺北，臺灣
2001
「成長的喜悅」聯展，臺北市立美術館，臺北，臺灣 「理性與感性古典油畫技法巡迴展」，彰化，臺灣
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是古 非今 ─ 盧昉個展 Dialogue Between Past and Present Lu Fang Solo Exhibition 2017. 02. 02 - 04. 23 展覽執行 發行人
葉毓繡
毓繡美術館
總編輯
李足新
創辦人
葉毓繡
執行編輯
黃 翔
館長
李足新
美術編輯
林志遠
執行長
黃 翔
翻譯
黃亮融
副館長
林志遠
出版單位
財團法人毓繡文化基金會 / 毓繡美術館
展覽策劃
黃 翔
地址 | 542 南投縣草屯鎮平林里健行路 150 巷 26 號
展覽專員
李杰勳
電話 | 049-2572999
教育推廣
陳雨農、黃尹珊
傳真 | 049-2572020
公關行銷
胡文翠
網址 | www.yu-hsiu.org
美術設計
林志遠
印刷
興臺彩色印刷股份有限公司
行政業務
丁慧玲、蔣鴻濱
定價
150 元
文創推廣
洪淑惠、葉宇眉
初版一刷
2017 年 2 月
版權所有 ‧ 翻印必究 作品版權所有│藝術家 文章版權所有│作者
Working Team of the Exhibition Publisher: Yeh Yu-Hsiu
Yu-Hsiu Museum of Art
Chief Editor: Lee Chu-Hsin
Founder: Yeh Yu-Hsiu
Executive Editor: Huang Hsiang
Executive Director: Lee Chu-Hsin
Designer: Lin Jaakan
CEO: Huang Hsiang
Translator: Huang Liang-Rong
Deputy Director: Lin Jaakan
Publisher: Yu-Hsiu Cultural Foundation / Yu-Hsiu Museum of Art
Exhibition Organizer: Huang Hsiang
Address | No.26, Ln. 150, Jianxing Rd., Caotun Township, Nantou County 542, Taiwan
Exhibition Specialist: Lee Chieh-Hsun Communication & Education: Chen Yu-Nong, Huang Yin-Shan
Telephone | +886-49-2572999
PR and Markeing: Hu Wen-Tsui
Fax | +886-49-2572020
Designer: Lin Jaakan
Website | www.yu-hsiu.org
Administrators: Ding Huei-Ling, Jiang Hong-Bin
Printed by Hsing Tai Color Printing Co., Ltd. Price: NTD 150
First Published in February 2017
All Rights Reserved by the Artist and Yu-Hsiu Museum of Art
Cultural and Creative Marketing: Hong Shu-Hui, Yeh Yu-Mei