[{"data":1,"prerenderedAt":8034},["ShallowReactive",2],{"content":3},{"settings":4,"home":18,"tickets":89,"themes":211,"strands":536,"news_cats":565,"venues":581,"artists":1423,"works":2242,"events":6319,"news":7438,"shops":7439,"generated":8033},{"title":5,"theme":10,"date_start":14,"date_end":15,"social":16,"email":17,"phone":17,"newsletter_url":17},{"zh":6,"en":7,"ja":8,"ko":9},"第一屆臺南藝術雙年展","1st Tainan Art Biennale","第1回台南アートビエンナーレ","제1회 타이난 아트 비엔날레",{"zh":11,"en":12,"ja":13,"ko":13},"迴圈．超展開","Unfolding","Unfolding（迴圈．超展開）","2026-10-31","2027-03-01",[],"",{"stats":19,"intro":24,"concept_title":26,"concept_text":31,"pillars":36,"quote":46,"quote_source":51,"long":56,"promo_550":61,"promo_250":65,"map_image":70,"map_caption":85,"about":87},{"curators":20,"artists":21,"countries":22,"venues":23},"7","81","12","32",{"zh":25,"en":17,"ja":17,"ko":17},"七位策展人自臺南的城市結構、歷史記憶、信仰文化、多元社群與當代實踐切入",{"zh":27,"en":28,"ja":29,"ko":30},"進入圓環般的迷惑","Entering the Perplexing Circle","円環のような戸惑いへ","로터리에 들어선 듯한 미혹",{"zh":32,"en":33,"ja":34,"ko":35},"當今日我們提到「臺南」是什麼、可以成為什麼的時候，主要敘述的人會是誰？回顧臺灣殖民時期與獨裁專制時代的歷史，城市願景的造夢者、城市故事的主述者、城市建設的執行者又是誰？當我們看到臺南的古蹟、廟宇信仰，告訴我們故事的敘事者，跟我們互相之間的關係又是什麼狀態？\n\n「迴圈．超展開」如同動漫的必殺技台詞，以「湯德章紀念公園」作為策展發想的原點，開展出如圓環七條放射狀路徑奔向各處的子題，但其中仍有著圓心般的問題意識：「當我們再次觀看歷史時，如何思考到主述者沒有說出的部分？如何在殖民者、戒嚴獨裁者為主述者的敘事外，自己成為主述者並產出吾輩歷史觀點的敘事可能性？甚而面對複雜的當代環境變遷，該如何敘述自己的世代？」","When we speak today of what “Tainan” is, or what it might become, who gets to tell its story? Looking back through the history of Taiwan’s colonial and authoritarian eras, one may wonder who were the dreamers of the city’s future, the narrators of its stories, and the agents who shaped its development? And when we encounter Tainan’s historic sites and temple traditions, what is our relationship to those who have narrated their stories for us?\n\nLike an ultimate-move catchphrase from anime, “Unfolding Circuits” takes Tang Te-chang Memorial Park as its curatorial point of departure, branching into thematic strands like seven radial paths extending from a circle in different directions. Yet at their center lies a common question: When we look at history anew, how might we consider what its narrators have left unsaid? Beyond narratives told by colonizers and authoritarian rulers under martial law, how might we become narrators ourselves, creating possibilities for telling history from our own perspective? And, amid the complex transformations of the contemporary world, how do we tell the story of our own generation?","今日、「台南」とは何か、また何になり得るのかを語るのは誰なのだろうか。台湾の植民地時期と独裁体制下の歴史を振り返るとき、都市の未来像を描き、物語を語り、都市をつくってきたのは誰だったのか。そして、台南の史跡や寺廟、そこに息づく信仰を語る語り手と私たちは、いかなる関係にあるのだろうか。\n\n必殺技のセリフのような「Unfolding Circuits」というテーマは、「湯徳章記念公園」をキュレーションの起点に、円環から放射状に広がる7つのサブテーマを展開する。その中心にあるのは、ひとつの問いだ。「歴史を見つめ直すとき、語られなかったものをどう捉えるのか。植民地支配者や独裁者に代わり、自らが語り手となり、私たち自身の歴史を語ることはできるのか。そして、変化し続ける現代において、自分たちの世代をどう語るのか。」","오늘날 우리가 ‘타이난’이란 무엇인지, 무엇이 될 수 있는지를 이야기할 때, 그 이야기를 주로 서술하는 자는 누구일까? 대만의 식민 통치 시기와 독재 시대를 돌이켜 보면 도시의 비전을 꿈꾼 자, 도시의 이야기를 서술한 자, 도시 건설을 실행한 자는 누구였을까? 우리가 타이난의 역사적 건축물과 사원, 그곳의 신앙을 바라볼 때, 우리에게 이야기를 들려주는 서술자와 우리 사이의 관계는 어떤 상태일까?\n\n‘순환·확장’은 마치 애니메이션의 필살기 대사와도 같이, ‘탕더장 기념공원’을 큐레이팅의 출발점으로 삼아 로터리의 일곱 갈래 방사형 경로가 각지로 뻗어나가듯 일곱 개의 소주제를 펼쳐낸다. 그러나 그 안에는 원의 중심과도 같은 하나의 문제의식이 자리한다. “우리가 역사를 다시 바라볼 때, 주된 서술자가 말하지 않은 부분을 어떻게 헤아릴 것인가? 식민자와 계엄 독재자가 주된 서술자가 되어 온 서사 바깥에서, 우리 스스로 주된 서술자가 되어 우리의 역사적 관점을 담은 서사의 가능성을 어떻게 만들어낼 것인가? 나아가 복잡하게 변화하는 동시대의 환경에 직면하여, 우리는 우리의 세대를 어떻게 서술할 것인가?”",[37,40,43],{"title":38,"text":39},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"title":41,"text":42},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"title":44,"text":45},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":47,"en":48,"ja":49,"ko":50},"我接受了土人參的身分，也打算以土人參的姿態活下去，可是將我視為明珠的青山小姐，是希望我裝扮成真正的人參嗎？","“I’ve accepted my status as wild ginseng and have every plan to continue living my life as such. But Aoyama-san sees me as a pearl—and, if I’m understanding correctly, hopes that I can dress up as a more realistic ginseng.”","私は土人參であることを受け入れています。そして土人參の姿で生きていくつもりです。でも、私のことを玉だと思ってくださる青山さんは、私に本物の薬用人参の格好をしてほしいのでしょうか？","저는 토인삼이라는 신분을 받아들였답니다. 그리고 토인삼의 모습으로 살아갈 거예요. 하지만 저를 구슬로 보는 아오야마 씨는 제가 진짜 인삼인 척 꾸미기를 바라시는 건가요?",{"zh":52,"en":53,"ja":54,"ko":55},"楊双子，《臺灣漫遊錄》","Taiwan Travelogue, by Yang Shuang-zi (Translated by Lin King)","楊双子『台湾漫遊鉄道のふたり』","양솽쯔, 『1938 타이완 여행기』",{"zh":57,"en":58,"ja":59,"ko":60},"## 進入圓環般的迷惑\n\n當今日我們提到「臺南」是什麼、可以成為什麼的時候，主要敘述的人會是誰？回顧歷史，清國時期的邊陲、日治時期的殖民統治、中華民國政府來臺後的戒嚴時代，城市願景的造夢者、城市故事的主述者、城市建設的執行者又是誰？而當我們看到臺南的古蹟、廟宇信仰，告訴我們故事的敘事者，跟我們互相之間的關係又是什麼狀態？\n\n1911年於臺灣日治時期公告的臺南市區改正計畫，日人借鏡西方放射狀式都市設計徹底改變臺南，以五座大型公園圓環展示其政治性及權威性、治安局勢的交通整合與控管來協助殖民時期的城市治理。其中位於市中心、最大的公園圓環「大正圓環（現為「湯德章紀念公園」）」，不僅是擁有七條放射狀要道的交通中樞，還有視覺匯集之處的臺南州廳（現為「國立臺灣文學館」），周圍設置臺南警察署（現為「臺南市美術館」），成為重要的都市軸線，奠定了臺南的城市架構。\n\n然而這就是真正的臺南嗎？這道都市歷史的軸線，在政權交迭後，也成為了一條令人迷惑的軸線。\n\n## 但就這麼喊出了必殺技\n\n「迴圈．超展開：2026年第一屆臺南藝術雙年展」以上述五座大型公園圓環中的核心焦點「湯德章紀念公園」作為策展發想的原點，順著本館過往關注的議題脈絡，由七位臺灣策展人（四位獨立策展人、三位館內策展人），提出七個子題；儘管子題像是圓環七條放射狀路徑奔向各處，但卻有隱而未宣的高度默契、如圓心般的問題意識：「當我們再次觀看歷史時，如何思考到主述者沒有說出的部分？如何在殖民者、戒嚴獨裁者為主述者的敘事外，自己成為主述者並產出吾輩歷史觀點的敘事可能性？甚而面對複雜的當代環境變遷，該如何敘述自己的世代？」\n\n由楊双子創作的臺灣文學小說《臺灣漫遊錄》，書寫出許多臺灣本島食物受到日本內地食物的影響而「變多元」，以及臺灣的觀光景點、廟宇因日本政府建設而「變好」。在吃食觀光之間，楊双子筆下的兩位主角—青山千鶴子與王千鶴—之間的互動，描繪出微妙難察的不對等權力關係，在小說中逐步揭示掌權者眼光的單方面敘述容易讓我們走進其留下的印象陷阱。\n\n「迴圈．超展開」如同動漫的必殺技台詞，開展出七個子題：「被消逝的迴圈」、「環．境迴圈」、「歷史迴圈」、「集結迴圈」、「再生迴圈」、「風景迴圈」、「移動迴圈」， 各個子題在本館空間內與館外核心展區之間彼此交織與纏繞，沒有固定的順序，希望讓觀眾彷彿從圓環大道轉入臺南獨特的窄巷深弄探索，又在某個轉彎處回到大馬路上的身體經驗，以及透過作品與作品之間的關聯，建構出自己的臺南故事。","## Entering the Perplexing Circle\n\nWhen we speak today of what “Tainan” is, or what it might become, who is it that tells the story? Looking back through history, one may wonder who were the dreamers of the city’s future, the narrators of its stories, and the agents who shaped its built environment—from its status as a frontier outpost under the Qing, through Japanese colonial rule, to the era of martial law following the relocation of the Republic of China government to Taiwan? And when we encounter Tainan’s historic sites and temple traditions, what is the relationship between us and those who have narrated their stories to us?\n\nIn 1911, during Japanese colonial rule, the Tainan Urban Improvement Plan was announced. Drawing on Western radial urban design, the Japanese fundamentally reshaped Tainan. Five large park roundabouts embodied political authority while integrating and regulating traffic and public security, serving the governance of the city under colonial rule. At the heart of the city stood the largest of these, the Taishō Roundabout (now Tang Te-chang Memorial Park). With seven radial avenues converging upon it, it was not only a major transportation hub but also a focal point of the city’s visual axis, leading toward the Tainan Prefectural Government Building (now the National Museum of Taiwan Literature). Together with the nearby Tainan Police Station (now the Tainan Art Museum), it formed a crucial urban axis that laid the foundation for Tainan’s modern cityscape. Yet, is this truly Tainan? This urban-historical axis, reshaped through successive changes of political power, has also become an axis of perplexity.\n\n## But We Just Called Out the Ultimate Move\n\n“Unfolding Circuits: 1st Tainan Art Biennale 2026” takes Tang Te-chang Memorial Park—the focal point of the five major park roundabouts—as its curatorial point of departure. Following the threads of inquiry that have long informed the museum’s work, seven Taiwanese curators—four independent curators and three from the museum—have developed seven thematic strands. Like the seven radial roads extending from the said roundabout, the themes lead in different directions, yet share an unspoken affinity and a common question at their core: When we look at history anew, how might we consider what its narrators have left unsaid? Beyond narratives told by colonizers and martial-law dictators, how might we become narrators ourselves, creating possibilities for telling history from our own perspective? And, amid the complex transformations of the contemporary world, how do we tell the story of our own generation?\n\nYang Shuang-tzu’s novel Taiwan Travelogue describes how local Taiwanese foods became “more diverse” under the influence of Japanese cuisine, and how Taiwan’s tourist sites and temples were “improved” through construction undertaken by the Japanese government. Between food and tourism, the interactions between the novel’s two protagonists—Aoyama Chizuru and Wang Chien-ho—reveal a subtle and often imperceptible imbalance of power. The novel gradually exposes how a one-sided narrative shaped by those in power can draw us into the trap of the impressions they leave behind.\n\n“Unfolding Circuits,” like an ultimate-move catchphrase from anime, branches into seven themes: “Vanished Circuit,” “Environment Circuit,” “Historical Circuit,” “Collective Circuit,” “Regenerative Circuit,” “Landscape Circuit,” and “Mobility Circuit.” Interweaving and entangling in the museum and in its core exhibition areas beyond, the themes follow no fixed order. Visitors are invited to experience Tainan as if turning from its broad circular avenues into its distinctive narrow lanes and hidden alleys, only to emerge again onto the main road at the next turn. Through the connections between one work and another, each visitor can piece together a Tainan story of their own.","## 円環のような戸惑いへ\n\n今日、「台南」とは何か、また何にありうるのかを語る際、その物語を主に語ってきたのは誰なのか。歴史を振り返ると、清王朝の辺境、日本統治時代の植民地支配、中華民国政府の台湾移転後に続いた戒厳令下の時代――都市の未来像を描く者、都市の物語を語る者、都市建設を担う者とは、いったい誰だったのか。一方、台南の史跡や寺廟、そこに息づく信仰について語るとき、その物語の語り手と私たちは、いかなる関係にあるのだろうか。\n\n1911年（明治44年）、日本統治時代に発表された「台南市区改正計画」において、日本人は西洋の放射状都市を参照し、台南を根本から再構築した。5つの大規模な公園ロータリーを設けることで、その政治性と権威性を示すとともに、交通の整備と管理を通じて、植民地時代の都市統治を支えた。その中でも、市中心部に位置する最大の公園ロータリー「大正ロータリー（現・湯徳章記念公園）」は、7本の放射状の主要道路が集まる交通の中枢であるだけでなく、その視線の先には台南州庁（現・国立台湾文学館）が位置し、周囲には台南警察署（現・台南市美術館）が置かれていた。こうして大正ロータリーは重要な都市軸線を形成し、台南の都市構造の基盤を築いた。しかし、これが果たして本当の台南なのだろうか。政権の交代を経て、この都市史の軸線は、我々を惑わせるものともなった。\n\n## そして、こうして必殺技を放つ\n\n「アンフォールディング・サーキット：2026年第1回台南芸術ビエンナーレ」は、前述した5つの公園ロータリーの焦点である「湯徳章記念公園」をキュレーションの着想の原点とし、当館がこれまで注目してきたテーマの文脈を踏まえ、台湾の7人のキュレーター（独立キュレーター4名、館内キュレーター3名）が7つのサブテーマを提示する。サブテーマは、円環から放射状に伸びる7本の道のように、それぞれ異なる方向へと広がっていく。一方で、その中心には、あえて明示されることのない強い共通性、円心のような問題意識がある。「歴史を改めて見つめ直すとき、語り手が語らなかった部分をどのように捉えるべきか。植民地の支配者や戒厳令下の独裁者が語り手となる物語とは別に、自らが語り手となり、私たち自身の歴史観に基づく物語を紡ぎ出す可能性を、いかに切り拓くのか。さらには、この複雑に変化する現代の環境に向き合いながら、自分たちの世代をいかに語り継いでいけばよいのだろうか。」\n\n楊双子による台湾文学小説『台湾漫遊録』（邦題：『台湾漫遊鉄道のふたり』）は、台湾本島の食文化が日本内地の食文化の影響を受けて「多様化」したこと、また台湾の観光地や寺廟が日本政府による整備によって「良くなった」ことを描いている。食と観光を巡る物語のなかで、楊双子が描く二人の主人公――青山千鶴子と王千鶴――の関わりからは、微妙で捉えどころのない不平等な権力関係がが浮かび上がる。そして、物語のなかで徐々に明らかになる権力を握る者の視点による一面的な物語は、我々をその者が残した印象の罠へと容易に引き込んでしまう。\n\n「回路の超展開」は、アニメの必殺技のセリフのように、7つのサブテーマを展開する。「消去された回路」、「環・境の回路」、「歴史の回路」、「集結の回路」、「再生の回路」、「風景の回路」 、「移動の回路」など。それぞれのサブテーマは、館内の空間と館外の展示エリアとの間で互いに絡み合い、決まった順序を持たない。観客には、ロータリーをめぐる大通りから狭い路地裏へと入り込み、ある曲がり角で再び大通りへと戻ってくるという身体的な経験を通して、作品と作品との関係から、それぞれの台南の物語を紡いでいただきたい。","## 로터리에 들어선 듯한 미혹\n\n오늘날 우리가 ‘타이난’이란 무엇인지, 또 무엇이 될 수 있는지를 이야기할 때, 그 이야기를 주로 서술하는 자는 누구일까? 역사를 돌아보면 청나라 통치 시기의 변방에서 일본 통치 시기의 식민 지배를 거쳐, 중국국민당 정부가 대만에 들어온 이후의 계엄 시대에 이르기까지, 도시의 비전을 꿈꾼 자, 도시의 이야기를 주로 서술한 자, 도시 건설을 실행한 자는 누구였을까? 그리고 우리가 타이난의 역사적 건축물과 사원, 그곳에 깃든 신앙을 바라볼 때, 우리에게 이야기를 들려주는 서술자와 우리 사이의 관계는 어떤 상태에 놓여 있을까?\n\n1911년 대만이 일본의 식민 통치를 받던 시기에 공고된 타이난 시가지 개정 계획은 서양의 방사형 도시 설계를 참고하여 타이난의 도시 구조를 근본적으로 변화시켰다. 다섯 개의 대형 공원 로터리를 통해 정치적 성격과 권위를 드러내고, 치안과 교통의 통합 및 통제를 통해 식민지 시기의 도시 통치를 뒷받침했다. 그중 도심에 위치한 가장 큰 공원 로터리인 ‘다이쇼 로터리 (현 탕더장 기념공원)’는 일곱 개의 방사형 도로가 모이는 교통의 중심지였을 뿐 아니라, 시선이 집중되는 지점에 타이난 주청 (현 국립 대만 문학관)이 자리하고 주변에는 타이난 경찰서 (현 타이난 시립 미술관)가 설치되면서 중요한 도시 축선을 형성했다. 이는 오늘날 타이난의 도시 구조를 이루는 중요한 토대가 되었다. 그러나 이것이 진정한 타이난일까? 이 도시 역사의 축선은 정권이 교체된 이후에도 여전히 우리를 미혹하는 하나의 축선으로 남아 있다.\n\n## 하지만 그렇게 필살기를 외쳐버렸다\n\n‘순환·확장: 2026 제1회 타이난 예술 비엔날레’는 앞서 언급한 다섯 개의 대형 공원 로터리 가운데 핵심적인 초점이라 할 수 있는 ‘탕더장 기념공원’을 기획의 출발점으로 삼았다. 그리고 미술관이 그동안 주목해 온 의제의 흐름을 따라, 대만의 큐레이터 일곱 명(독립 큐레이터 네 명, 미술관 소속 큐레이터 세 명)이 일곱 개의 소주제를 제시한다. 각 소주제는 마치 로터리에서 뻗어나가는 일곱 갈래의 방사형 경로처럼 서로 다른 곳을 향하지만, 그 안에는 드러나지 않은 높은 수준의 공통된 문제의식이 존재한다. 그것은 원의 중심과도 같은 질문이다. “우리가 역사를 다시 바라볼 때, 주된 서술자가 말하지 않은 부분까지 어떻게 생각할 것인가? 식민자와 계엄 독재자가 주된 서술자가 되어 온 서사 바깥에서, 우리 스스로 주된 서술자가 되어 우리의 역사적 관점을 담은 서사의 가능성을 어떻게 만들어낼 것인가? 나아가 복잡하게 변화하는 동시대의 환경에 직면하여, 우리는 우리의 세대를 어떻게 서술할 것인가?”\n\n양솽쯔가 쓴 대만 문학소설 『1938 타이완 여행기』는 대만의 음식이 일본 본토 음식의 영향을 받아 ‘더욱 다양해지고’, 대만의 관광지와 사원이 일본 정부의 건설과 정비를 통해 ‘더욱 좋아졌다’고 여겨지는 모습을 그려낸다. 그러나 음식과 관광을 둘러싼 두 주인공, 아오야마 치즈코와 왕첸허의 관계를 따라가다 보면 쉽게 알아차리기 어려운 불평등한 권력관계가 드러난다. 소설은 권력을 가진 자의 시선에서 비롯된 일방적인 서술이 하나의 인상을 만들어내고, 우리가 그 인상을 사실처럼 받아들이게 만드는 함정에 빠질 수 있음을 점차 보여준다.\n\n‘순환·확장’은 마치 애니메이션의 필살기 대사와도 같은 이름으로, 일곱 개의 소주제를 펼쳐낸다. ‘사라진 순환’, ‘환·경 순환’, ‘역사 순환’, ‘집결 순환’, ‘재생 순환’, ‘풍경 순환’, ‘이동 순환’. 각 소주제는 본관 내부 공간과 관외의 핵심 전시 구역 사이에서 서로 교차하고 얽혀 있다. 정해진 관람 순서는 없다. 관객이 마치 로터리의 대로에서 타이난 특유의 좁은 골목과 깊은 뒷골목으로 들어가 탐색하다가, 어느 순간 모퉁이를 돌아 다시 큰길로 나오는 듯한 신체적 경험을 하기를 바란다. 그리고 작품과 작품 사이의 관계를 따라가며 각자의 이야기를 연결하고, 자신만의 타이난 이야기를 구성하기를 기대한다.",{"zh":62,"en":63,"ja":17,"ko":64},"## 進入圓環般的迷惑\n\n當今日我們提到「臺南」是什麼、可以成為什麼的時候，主要敘述的人會是誰？回顧臺灣被邊陲治理、殖民時期與獨裁專制時代的歷史，城市願景的造夢者、城市故事的主述者、城市建設的執行者又是誰？當我們看到臺南的古蹟、廟宇信仰，告訴我們故事的敘事者，跟我們互相之間的關係又是什麼狀態？\n\n## 但就這麼喊出了必殺技\n\n「迴圈．超展開」如同動漫的必殺技台詞，以「湯德章紀念公園」作為策展發想的原點開展出七個子題：「被消逝的迴圈」、「環．境迴圈」、「歷史迴圈」、「集結迴圈」、「再生迴圈」、「風景迴圈」、「移動迴圈」，儘管像是圓環七條放射狀路徑奔向各處，但卻有著圓心般的問題意識：「當我們再次觀看歷史時，如何思考到主述者沒有說出的部分？如何在殖民者、戒嚴獨裁者為主述者的敘事外，自己成為主述者並產出吾輩歷史觀點的敘事可能性？甚而面對複雜的當代環境變遷，該如何敘述自己的世代？」\n\n各子題在本館空間與館外核心展區間彼此交織與纏繞，沒有固定順序，希望讓觀眾彷彿從圓環大道轉入臺南獨特的窄巷深弄探索，又在某個轉彎處回到大馬路上的身體經驗，透過作品與作品之間的關聯，建構出自己的臺南故事。","## Entering the Perplexing Circle\n\nWhen we speak today of what “Tainan” is, or what it might become, who gets to tell its story? Looking back through Taiwan’s history—from its governance as a frontier region, through the colonial period, to the era of authoritarian rule—one may wonder who were the dreamers of the city’s future, the narrators of its stories, and the agents who shaped its development? And when we encounter Tainan’s historic sites and temple traditions, what is our relationship to those who have narrated their stories for us?\n\n## But We Just Called Out the Ultimate Move\n\n“Unfolding Circuits,” like an ultimate-move catchphrase from anime, takes Tang Te-chang Memorial Park as its curatorial point of departure and branches into seven thematic strands: “Vanished Circuit,” “Environment Circuit,” “Historical Circuit,” “Collective Circuit,” “Regenerative Circuit,” “Landscape Circuit,” and “Mobility Circuit.” Like seven radial paths extending from a circle into different directions, the themes share a common point of inquiry at their center: When we look at history anew, how might we consider what its narrators have left unsaid? Beyond narratives told by colonizers and authoritarian rulers, how might we become narrators ourselves and create possibilities for telling history from our own perspective? And, amid the complex transformations of the contemporary world, how do we tell the story of our own generation?\n\nThe seven themes intertwine and overlap throughout the museum and its core exhibition areas beyond. There is no fixed order. Visitors are invited to experience Tainan as if turning from its circular avenues into its distinctive narrow lanes and hidden alleys, only to emerge again onto the main road at another turn. Through the connections between one work and another, each visitor can piece together a Tainan story of their own.","## 로터리에 들어선 듯한 미혹\n\n오늘날 우리가 ‘타이난’이란 무엇인지, 무엇이 될 수 있는지를 이야기할 때, 그 이야기를 주로 서술하는 자는 누구일까? 대만이 변방으로 통치되던 시기와 식민 통치기, 그리고 독재의 시대를 돌아보면 도시의 비전을 꿈꾼 자, 도시의 이야기를 서술한 자, 도시 건설을 실행한 자는 누구였을까? 우리가 타이난의 역사적 건축물과 사원, 그곳의 신앙을 바라볼 때, 우리에게 이야기를 들려주는 서술자와 우리 사이의 관계는 어떤 상태일까?\n\n## 하지만 그렇게 필살기를 외쳐버렸다\n\n‘순환·확장’은 마치 애니메이션의 필살기 대사와도 같이, ‘탕더장 기념공원’을 큐레이팅의 출발점으로 삼아 일곱 개의 소주제를 펼쳐낸다. ‘사라진 순환’, ‘환·경 순환’, ‘역사 순환’, ‘집결 순환’, ‘재생 순환’, ‘풍경 순환’, ‘이동 순환’. 로터리에서 뻗어나가는 일곱 갈래의 방사형 경로처럼 각기 다른 방향으로 나아가지만, 그 중심에는 하나의 공통된 문제의식이 놓여 있다. “우리가 역사를 다시 바라볼 때, 주된 서술자가 말하지 않은 부분을 어떻게 헤아릴 것인가? 식민자와 계엄 독재자가 주된 서술자가 되어 온 서사 바깥에서, 우리 스스로 주된 서술자가 되어 우리의 역사적 관점을 담은 서사의 가능성을 어떻게 만들어낼 것인가? 나아가 복잡하게 변화하는 동시대의 환경에 직면하여, 우리는 우리의 세대를 어떻게 서술할 것인가?”\n\n각 소주제는 본관 공간과 관외 핵심 전시 구역 사이에서 서로 교차하고 얽혀 있다. 정해진 순서 없이, 관객이 로터리의 대로에서 타이난 특유의 좁은 골목과 깊은 뒷골목으로 들어갔다가 어느 모퉁이에서 다시 큰길로 돌아오는 듯한 신체적 경험을 하기를 바란다. 그리고 작품과 작품 사이의 관계를 따라가며 자신만의 타이난 이야기를 구성하기를 기대한다.",{"zh":66,"en":67,"ja":68,"ko":69},"當今日我們提到「臺南」是什麼、可以成為什麼的時候，主要敘述的人會是誰？「迴圈．超展開」如同動漫的必殺技台詞，以「湯德章紀念公園」作為策展發想的原點，開展出圓環七條放射狀路徑奔向各處的子題，但其中仍有著圓心般的問題意識：「當我們再次觀看歷史時，如何思考殖民者、獨裁者作為主述者沒有說出的部分？自己成為主述者並產出吾輩歷史觀點的可能性？甚而面對複雜的當代環境變遷，該如何敘述自己的世代？」","When we speak today of what “Tainan” is, or what it might become, who gets to tell its story? Like an ultimate-move catchphrase from anime, “Unfolding Circuits” takes Tang Te-chang Memorial Park as its curatorial point of departure, branching into themes like seven radial paths extending from a circle in different directions, yet united by a question at their center: When we look at history anew, how might we consider what colonizers and authoritarian rulers as narrators have left unsaid? Is it possible for us to become narrators ourselves and tell history from our own perspective? And, amid the complex changes of the contemporary world, how do we tell the story of our own generation?","今日、「台南」とは何か、また何になり得るのかを語るのは誰なのだろうか。\n\n必殺技のセリフのような「Unfolding Circuits」というテーマは、「湯徳章記念公園」をキュレーションの起点に、円環から放射状に広がる7つのサブテーマを展開する。その中心にあるのは、「歴史を見つめ直すとき、語られなかったものをどう捉えるのか」という問いだ。植民地支配者や独裁者に代わり、自らが語り手となり、私たち自身の歴史を語る可能性とは何か。そして、変化し続ける現代において、自分たちの世代をどう語るのか。","오늘날 우리가 ‘타이난’이란 무엇인지, 무엇이 될 수 있는지를 이야기할 때, 그 이야기를 주로 서술하는 자는 누구일까? ‘순환·확장’은 마치 애니메이션의 필살기 대사와도 같이, ‘탕더장 기념공원’을 큐레이팅의 출발점으로 삼아 로터리에서 뻗어나가는 일곱 갈래의 방사형 경로처럼 일곱 개의 소주제를 펼쳐낸다. 그러나 그 중심에는 하나의 질문이 놓여 있다. “우리가 역사를 다시 바라볼 때, 식민자와 독재자가 주된 서술자로서 말하지 않은 부분을 어떻게 헤아릴 것인가? 우리 스스로 주된 서술자가 되어 우리의 역사적 관점을 드러낼 가능성은 어떻게 열릴 것인가? 나아가 복잡하게 변화하는 동시대의 환경 속에서, 우리는 우리의 세대를 어떻게 서술할 것인가?”",{"id":71,"url":72,"w":73,"h":74,"alt":75,"sizes":76},605,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhb-map1911-src.jpg",942,1186,"臺南市區改正計畫圖（1911）",{"medium":77,"large":81},{"url":78,"w":79,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhb-map1911-src-238x300.jpg",238,300,{"url":82,"w":83,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhb-map1911-src-813x1024.jpg",813,1024,{"zh":86,"en":17,"ja":17,"ko":17},"臺南市區改正計畫圖（1911），中央研究院人社中心 GIS 專題中心（2020），「臺灣百年歷史地圖」。圓環與放射狀道路是「迴圈」策展概念的城市原型。",{"zh":88,"en":17,"ja":17,"ko":17},"由臺南市美術館主辦，以臺南的城市紋理為方法，邀集策展人與國內外藝術家。第一屆以「迴圈．超展開」為題，串聯 32 處展館與周邊街區。",{"platform_url":90,"on_sale_date":91,"early_bird_end":17,"on_sale_note":92,"types":95},"https:\u002F\u002Fibontw.com\u002FTainanArtBiennale","2026-10-14",{"zh":93,"en":94,"ja":17,"ko":17},"線上售票 2026\u002F10\u002F14 起，現場售票 2026\u002F10\u002F31 起，皆至 2027\u002F03\u002F01。","Online sales run from 14 October 2026 and on-site sales from 31 October 2026, both through 1 March 2027.",[96,108,119,137,149,161,173,187,197],{"name":97,"price":100,"includes":101},{"zh":98,"en":99,"ja":17,"ko":17},"一日票","One-Day Pass",200,{"zh":102,"en":104,"ja":106,"ko":107},[103],"臺南市美術館、臺南國家美術館籌備處、孔廟文化園區當日進出",[105],"Admission to Tainan Art Museum, the Preparatory Office of the National Museum of Modern Art Tainan and the Confucius Temple Cultural Park on one day",[],[],{"name":109,"price":80,"includes":112},{"zh":110,"en":111,"ja":17,"ko":17},"雙日票","Two-Day Pass",{"zh":113,"en":115,"ja":117,"ko":118},[114],"任選兩日進出臺南市美術館、臺南國家美術館籌備處、孔廟文化園區",[116],"Admission on any two days to Tainan Art Museum, the Preparatory Office of the National Museum of Modern Art Tainan and the Confucius Temple Cultural Park",[],[],{"name":120,"price":123,"includes":124},{"zh":121,"en":122,"ja":17,"ko":17},"藝術護照","Art Passport",2000,{"zh":125,"en":130,"ja":135,"ko":136},[126,127,128,129],"藝術護照 1 本","臺南藝術雙年展玻璃幣 1 枚","普濟燈會燈籠 1 個","巷仔Niau NFC 1 只",[131,132,133,134],"One Art Passport","One Tainan Art Biennale glass coin","One Puji Lantern Festival lantern","One Xiangzai Niau NFC item",[],[],{"name":138,"price":141,"includes":142},{"zh":139,"en":140,"ja":17,"ko":17},"一日票套組","One-Day Pass Bundle",400,{"zh":143,"en":145,"ja":147,"ko":148},[98,144],"語音導覽及手冊",[99,146],"Audio guide and handbook",[],[],{"name":150,"price":153,"includes":154},{"zh":151,"en":152,"ja":17,"ko":17},"雙日票組","Two-Day Pass + Glass Coin",350,{"zh":155,"en":157,"ja":159,"ko":160},[110,156],"春池玻璃幣 1 枚",[111,158],"One Spring Pool glass coin",[],[],{"name":162,"price":165,"includes":166},{"zh":163,"en":164,"ja":17,"ko":17},"雙日票套組","Two-Day Pass Bundle",550,{"zh":167,"en":169,"ja":171,"ko":172},[110,144,168],"玻璃幣",[111,146,170],"Glass coin",[],[],{"name":174,"price":177,"includes":178},{"zh":175,"en":176,"ja":17,"ko":17},"一日票全餐","One-Day Pass Complete Package",1899,{"zh":179,"en":182,"ja":185,"ko":186},[98,144,180,181],"展覽專書","預計 2027 年 1 月開始販售",[99,146,183,184],"Exhibition catalogue","On sale from January 2027",[],[],{"name":188,"price":191,"includes":192},{"zh":189,"en":190,"ja":17,"ko":17},"雙日票全餐","Two-Day Pass Complete Package",1935,{"zh":193,"en":194,"ja":195,"ko":196},[110,144,180,168,181],[111,146,183,170,184],[],[],{"name":198,"price":201,"includes":202},{"zh":199,"en":200,"ja":17,"ko":17},"企業團票","Corporate Group Tickets",150,{"zh":203,"en":206,"ja":209,"ko":210},[204,205],"每張 150 元（75 折）","最少購入 20 張",[207,208],"NT$150 per ticket (25% off)","Minimum purchase of 20 tickets",[],[],[212,268,314,358,403,447,492],{"id":213,"slug":214,"no":215,"name":216,"subtitle":221,"description":226,"curator":231,"co_curators":246,"color":247,"image":248},2,"vanished",1,{"zh":217,"en":218,"ja":219,"ko":220},"被消逝的迴圈","Vanished Circuit","消去された回路","사라진 순환",{"zh":222,"en":223,"ja":224,"ko":225},"被消逝的臺灣美術設計","The Vanished Art Design of Taiwan","消去された台湾の美術デザイン","사라진 대만 미술 디자인",{"zh":227,"en":228,"ja":229,"ko":230},"回顧1895至1960年代近代臺灣美術發展，前輩藝術們以「美術為體、設計為用」並進實踐；同時，日本內地知名藝術家也曾參與臺灣相關海報、明信片、書籍裝幀與插圖等設計；另外，日治時期許多未曾到過臺灣的日本藝術家，也以臺灣為題材進行設計。藉此子題回應「美術設計」在臺灣美術史中被忽視的現況，期望補足其缺失並重建相關論述。","As modern art evolved in Taiwan from 1895 through the 1960s, earlier generations of artists pursued a dual practice: art as substance, design as application. Meanwhile, renowned artists from Japan also contributed designs for posters, postcards, book covers, illustrations, and other forms of visual culture related to Taiwan. During the Japanese colonial period, artists who had never even visited Taiwan likewise created works inspired by the island. This theme responds to the neglect of art design in the history of Taiwanese art, seeking to fill this gap and reconstruct its historical discourse.","1895年から1960年代にかけての近代台湾美術の発展を振り返ると、先達の芸術家たちは「美術を体とし、デザインを用とする」という理念のもと、美術とデザインを並行して実践してきた。また、日本内地の知名度の高い芸術家たちも、台湾に関連するポスター、絵葉書、書籍の装幀、挿絵などのデザインに携わっていた。さらに、日本統治時代には、一度も台湾を訪れることのなかった日本人芸術家たちも、台湾を題材としてさまざまなデザインを手がけていた。本テーマでは、台湾美術史において「美術デザイン」が見過ごされてきた現状に応答し、その欠落を補完するとともに、関連する言説の再構築を試みる。","1895년부터 1960년대에 이르는 근대 대만 미술의 발전을 돌아보면, 선배 예술가들은 ‘미술을 본체로, 디자인을 활용으로’ 삼아 두 영역을 함께 실천해 왔다. 동시에 일본 본토의 저명한 예술가들 역시 대만과 관련된 포스터, 엽서, 서적 장정과 삽화 등의 디자인에 참여했다. 또한 일본 통치 시기에는 대만을 직접 방문한 적이 없는 많은 일본 예술가들이 대만을 소재로 다양한 디자인 작업을 진행했다. 이 소주제는 대만 미술사에서 ‘미술 디자인’이 소외되어 온 현실에 주목하고, 그동안 비어 있던 부분을 보완하는 동시에 관련 담론을 새롭게 구성하고자 한다.",{"name":232,"bio":237,"image":239},{"zh":233,"en":234,"ja":235,"ko":236},"林磐聳","Apex Lin, Pang-soong","林磐聳（リン・パンソン）","린판쑹",{"zh":238,"en":17,"ja":17,"ko":17},"2007 年第 11 屆國家文藝獎得主，長年從事設計實踐、設計史研究與設計教育。",{"id":240,"url":241,"w":242,"h":242,"alt":233,"sizes":243},566,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc1-lin-2026.jpg",640,{"medium":244},{"url":245,"w":80,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc1-lin-2026-300x300.jpg","姚村雄・李新富","#7B6BF0",{"id":249,"url":250,"w":251,"h":252,"alt":17,"sizes":253},69,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-01-vanished.jpg",2560,710,{"medium":254,"large":257,"1536x1536":260,"2048x2048":264},{"url":255,"w":80,"h":256},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-01-vanished-300x83.jpg",83,{"url":258,"w":84,"h":259},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-01-vanished-1024x284.jpg",284,{"url":261,"w":262,"h":263},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-01-vanished-1536x426.jpg",1536,426,{"url":265,"w":266,"h":267},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-01-vanished-2048x568.jpg",2048,568,{"id":269,"slug":270,"no":213,"name":271,"subtitle":276,"description":281,"curator":286,"co_curators":17,"color":301,"image":302},3,"environment",{"zh":272,"en":273,"ja":274,"ko":275},"環．境迴圈","Environment Circuit","環・境の回路","환·경 순환",{"zh":277,"en":278,"ja":279,"ko":280},"探索伏流在環．境結界裡、形塑城市生活軌跡的神話與神的話","Exploring the Myths and Divine Voices That Shape Urban Life Within the Enclosures of Environment","環・境の結界に潜み、都市の生活の軌跡を形づくる神話と神の言葉を探る","환·경의 결계 속에 잠류하며 도시의 삶의 궤적을 형성하는 신화와 신의 말을 탐색하다",{"zh":282,"en":283,"ja":284,"ko":285},"若從城市的形式來看，臺南其實就是一個由「環（消失的城牆╱有機街道巷弄迴路╱圓環）」與「境（住居週圍╱街廓╱祭祀圈）」所組構而成的空間領域。外地旅人往往要在「迷路」過程中才終於闖進╱介入所謂的「裏臺南」，而得以沉浸在臺南的眞實生活圈裡的況味。而這個性格也讓臺南（核心區╱歷史城區）注定╱被預備成適合行走、散步、隨機停留與駐足的場域。","Viewed through the form of the city, Tainan is in fact a spatial realm composed of circuits—the vanished city walls, organic networks of streets and lanes, and roundabouts—and enclosures, that is, the spaces around homes, urban blocks, and circles of religious practice. For visitors from elsewhere, it is often only by getting lost can they stumble into, or intrude upon, what might be called “inner Tainan” and immerse themselves in the texture of its everyday life. This character has made Tainan’s historic core a place seemingly destined for walking, wandering, spontaneous pauses, and lingering.","都市の形態という観点から見れば、台南は実のところ、「環（消え去った城壁／有機的な街路や路地のループ／ロータリー）」と「境（住居の周囲／町並み／祭祀圏）」によって構成された空間である。外から訪れる旅人は、「迷う」という過程を経て初めて、いわゆる「裏台南」に踏み込み、そこに介入することになる。そして台南のありのままの生活圏に身を浸し、土地の味わいを感じることができる。こうした個性によって、台南（中心部／歴史エリア）を、歩くこと、散策すること、気ままに立ち止まるのに適した場として、あらかじめ備えられているのかもしれない。","도시의 형태라는 관점에서 바라보면 타이난은 사실 ‘환(環)’과 ‘경(境)’이 결합하여 구성된 공간적 영역이다. 여기서 ‘환’은 사라진 성벽, 유기적으로 이어지는 거리와 골목의 순환로, 로터리를 의미하고, ‘경’은 주거 주변, 가구(街區), 제사권을 의미한다. 외지에서 온 여행자는 종종 ‘길을 잃는’ 과정을 거쳐야 비로소 이른바 ‘이면의 타이난’에 들어서고 그곳에서 타이난의 진정한 생활권이 지닌 정취에 몰입할 수 있다. 이러한 성격 때문에 타이난의 중심 지역, 특히 역사 지구는 걷고, 산책하고, 우연히 머물고, 잠시 발걸음을 멈추기에 적합한 공간으로 형성되어 왔다.",{"name":287,"bio":292,"image":294},{"zh":288,"en":289,"ja":290,"ko":291},"謝宗哲","Sotetsu Sha","謝宗哲（シェー・ジョンジェー）","셰쭝저",{"zh":293,"en":17,"ja":17,"ko":17},"日本東京大學建築學博士，以建築文化轉譯及詮釋為志業。2024–25 年擔任「臺南國際建築三年展」策展人。",{"id":295,"url":296,"w":297,"h":297,"alt":17,"sizes":298},599,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc2-sha-2026.jpg",600,{"medium":299},{"url":300,"w":80,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc2-sha-2026-300x300.jpg","#2EBE6B",{"id":303,"url":304,"w":251,"h":252,"alt":17,"sizes":305},71,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-02-environment.jpg",{"medium":306,"large":308,"1536x1536":310,"2048x2048":312},{"url":307,"w":80,"h":256},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-02-environment-300x83.jpg",{"url":309,"w":84,"h":259},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-02-environment-1024x284.jpg",{"url":311,"w":262,"h":263},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-02-environment-1536x426.jpg",{"url":313,"w":266,"h":267},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-02-environment-2048x568.jpg",{"id":315,"slug":316,"no":269,"name":317,"subtitle":322,"description":327,"curator":332,"co_curators":17,"color":345,"image":346},4,"historical",{"zh":318,"en":319,"ja":320,"ko":321},"歷史迴圈","Historical Circuit","歴史の回路","역사 순환",{"zh":323,"en":324,"ja":325,"ko":326},"藝術重現，連結歷史與當代","Artistic Re-enactment: Connecting History and the Contemporary","芸術による再演――歴史と現代をつなぐ","예술적 재현, 역사와 동시대를 잇다",{"zh":328,"en":329,"ja":330,"ko":331},"以日治初期的噍吧哖事件為主軸，透過環境劇場、物件裝置、聲響藝術、書籍出版、教育工作坊的形式，以藝術的角度進行「重現」（re-enactment）連結歷史與當代，促進藝術與歷史教育並引發對未來的反思。並從山野、城市到海洋，思考邊緣主體的能動性，並且進一步探索「弱治理」與當代生活與生命政治之間的關係。","Centered on the Tapani Incident of the early Japanese colonial period, this project uses environmental theater, object installations, sound art, publications, and educational workshops to explore “re-enactment” as a means of connecting history with the present, bringing art and historical education into dialogue while prompting reflection on the future. From mountains and countryside to cities and the sea, it also considers the agency of marginalized subjects and further explores the relationship between “weak governance,” contemporary life, and biopolitics.","日本統治時代初期の「タパニー事件」を軸に、環境演劇、インスタレーション、サウンドアート、書籍出版、ワークショップといった形式を通して、芸術の視点から「再演」（re-enactment）を試みる。それによって歴史と現代をつなぎ、芸術と歴史教育の新たな接点を生み出すとともに、未来について考える契機を創出する。また、山野から都市、そして海洋へと視点を広げながら、周縁に置かれた主体の能動性について考察し、「弱い統治」と現代の生活、そして生命政治との関係をさらに探究する。","일본 식민 통치 초기의 타파니 사건을 중심축으로 삼아 환경 연극, 오브제 설치, 사운드 아트, 출판, 교육 워크숍 등의 형식을 통해 예술적 관점에서 ‘재현(re-enactment)’을 시도하고 역사와 동시대를 연결한다. 이를 통해 예술과 역사 교육을 촉진하고 미래에 대한 성찰을 이끌어낸다. 또한 산과 들, 도시에서 바다에 이르기까지 주변부에 위치한 주체들의 능동성을 생각하고, 나아가 ‘약한 통치’와 동시대의 삶, 생명정치 사이의 관계를 탐구한다.",{"name":333,"bio":338,"image":340},{"zh":334,"en":335,"ja":336,"ko":337},"高俊宏","Kao Jun-honn","高俊宏（ガオ・ジュンホン）","가오쥔훙",{"zh":339,"en":17,"ja":17,"ko":17},"國立高雄師範大學跨領域藝術研究所副教授兼所長，長期關注歷史、空間、生命政治、東亞及原民等議題。",{"id":297,"url":341,"w":297,"h":297,"alt":17,"sizes":342},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc3-kao-2026.jpg",{"medium":343},{"url":344,"w":80,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc3-kao-2026-300x300.jpg","#D920A8",{"id":347,"url":348,"w":251,"h":252,"alt":17,"sizes":349},73,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-03-historical.jpg",{"medium":350,"large":352,"1536x1536":354,"2048x2048":356},{"url":351,"w":80,"h":256},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-03-historical-300x83.jpg",{"url":353,"w":84,"h":259},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-03-historical-1024x284.jpg",{"url":355,"w":262,"h":263},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-03-historical-1536x426.jpg",{"url":357,"w":266,"h":267},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-03-historical-2048x568.jpg",{"id":359,"slug":360,"no":315,"name":361,"subtitle":366,"description":371,"curator":376,"co_curators":17,"color":390,"image":391},5,"collective",{"zh":362,"en":363,"ja":364,"ko":365},"集結迴圈","Collective Circuit","集結の回路","집결 순환",{"zh":367,"en":368,"ja":369,"ko":370},"人與場域的遭逢、匯聚與散場","Encounters, Gatherings, and Departures","人と場の遭遇、集結、そして散開","사람과 장소의 조우, 모임과 흩어짐",{"zh":372,"en":373,"ja":374,"ko":375},"本子題從「集結」的概念出發，此集結包含了思想的集結、個體至群體的集結、聚落的集結、虛構的集結、精神性的集結，這些集結不受限於邊界，沒有固定中心，沒有時間的先後順序，沒有距離的遠近，而是彼此穿透、交疊，亦可能僅是轉瞬即逝的交會。有聚則有散，在散場後，留下的則是沉積的記憶與痕跡，這個散場不是終點，而是另一組關係軌跡再次交會的起點。","This theme begins with the idea of “gathering”: the gathering of ideas, of individuals into groups, of communities, of imagined worlds, and of spirits. These gatherings transcend boundaries. They have no fixed center, no prescribed temporal sequence, and no measure of distance. Instead, they penetrate and overlap with one another, sometimes amounting to no more than a fleeting encounter. Where there is gathering, there is dispersal. What remains after the gathering breaks apart are accumulated memories and traces. Rather than an end, departure marks the point where another set of relational paths begins to intersect.","本サブテーマは、「集結」という概念を起点とする。ここでいう集結には、思想の集結、個人から集団へと至る集結、集落の集結、架空による集結、精神的な集結などが含まれる。これらの集結は、境界に制限されることなく、固定された中心を持たず、時間的な前後関係や距離の遠近にも左右されない。それぞれが互いに浸透し、重なり合い、ときには一瞬のうちに消え去るような邂逅にすぎない場合もある。集結があれば、やがて散開も生じる。散開の後に残されるのは、積み重なった記憶と痕跡である。しかし、ここでいう散開は終点ではない。それは、別の関係の軌跡が再び交差するための、新たな出発点となる。","이 소주제는 ‘집결’이라는 개념에서 출발한다. 여기서 집결은 사상의 집결, 개인에서 집단으로의 집결, 마을의 집결, 허구적 집결, 정신적 집결을 포함한다. 이러한 집결은 경계에 얽매이지 않고, 고정된 중심도 없으며, 시간적 선후도 없고, 거리의 멀고 가까움에도 구애받지 않는다. 서로를 관통하고 겹쳐지며, 때로는 순식간에 스쳐 지나가는 만남에 불과할 수도 있다. 모임이 있으면 흩어짐이 있다. 흩어진 뒤에 남는 것은 퇴적된 기억과 흔적이다. 이 흩어짐은 종점이 아니라, 또 다른 관계의 궤적이 다시 교차하는 출발점이다.",{"name":377,"bio":382,"image":384},{"zh":378,"en":379,"ja":380,"ko":381},"楊佳璇","Yang Chia-hsuan","楊佳璇（ヤン・ジャーシェン）","양자쉬안",{"zh":383,"en":17,"ja":17,"ko":17},"獨立策展人，長期關注藝術空間與團體發展史、藝術與場域的對話關係。曾經營臺南獨立藝術空間「齁空間」。",{"id":385,"url":386,"w":297,"h":297,"alt":17,"sizes":387},601,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc4-yang-2026.jpg",{"medium":388},{"url":389,"w":80,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc4-yang-2026-300x300.jpg","#EE8A1F",{"id":392,"url":393,"w":251,"h":252,"alt":17,"sizes":394},75,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-04-collective.jpg",{"medium":395,"large":397,"1536x1536":399,"2048x2048":401},{"url":396,"w":80,"h":256},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-04-collective-300x83.jpg",{"url":398,"w":84,"h":259},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-04-collective-1024x284.jpg",{"url":400,"w":262,"h":263},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-04-collective-1536x426.jpg",{"url":402,"w":266,"h":267},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-04-collective-2048x568.jpg",{"id":404,"slug":405,"no":359,"name":406,"subtitle":411,"description":416,"curator":420,"co_curators":17,"color":434,"image":435},6,"regenerative",{"zh":407,"en":408,"ja":409,"ko":410},"再生迴圈","Regenerative Circuit","再生の回路","재생 순환",{"zh":412,"en":413,"ja":414,"ko":415},"古老城市的永恆輪迴","The Eternal Reincarnation of an Ancient City","古都の永遠なる輪廻の神話","오래된 도시의 영원한 윤회",{"zh":417,"en":418,"ja":17,"ko":419},"圓環、美術館的前世與今生，其姿態不斷轉世與再生新的意義。無論是建築空間或城市系統，似乎都進入了一種近似於物質循環的狀態。當物質的生命週期不再被理解為具有明確起點與終點，而是進入一種持續循環的過程——製造、使用、回收、再製造與再使用，彷彿與生命的輪迴形成某種隱喩式的連結。當人的意志介入物質循環的過程時，其所連結的個人生命經驗、族群歷史記憶，乃至於環境變遷，使原本看似單一的循環，逐漸形成一種既古老又嶄新的狀態。","Both the roundabout and the museum have their respective past and present lives, continually being reborn in new forms and meanings. Whether in architectural space or urban systems, they seem to enter a state akin to the circulation of matter. When the life cycle of a material is no longer understood as having a definite beginning or end, but as undergoing a continuous process—production, use, recovery, remanufacture, and reuse—it seems to form a metaphorical connection with the cycle of life itself. As human intentions intervene in this material cycle, personal experiences, collective historical memories, and environmental change become intertwined, transforming what appears to be a simple cycle into something at once ancient and new.","로터리와 미술관의 전생과 현생, 그 모습은 끊임없이 환생하며 새로운 의미로 재생된다. 건축 공간이든 도시 시스템이든 모두 물질의 순환과 유사한 상태에 들어선 듯하다. 물질의 생애주기가 더 이상 명확한 시작과 끝을 지닌 것으로 이해되지 않고, 제조·사용·수거·재제조·재사용이 이어지는 지속적인 순환 과정으로 들어설 때, 이는 생명의 윤회와 어떤 은유적인 연결을 이루는 듯하다. 인간의 의지가 물질 순환의 과정에 개입할 때, 그 과정은 개인의 삶의 경험과 집단의 역사적 기억, 나아가 환경의 변화와 연결된다. 그리고 본래 단일해 보였던 순환은 점차 오래되면서도 새로운 상태로 변화해 간다.",{"name":421,"bio":426,"image":428},{"zh":422,"en":423,"ja":424,"ko":425},"柯春如","Ko Chun-ju","柯春如（カー・チュンジュウ）","커춘루",{"zh":427,"en":17,"ja":17,"ko":17},"臺南市美術館展覽企劃部代理主任，近期關注當代藝術與工藝及族群之間的流動關係。",{"id":429,"url":430,"w":297,"h":297,"alt":17,"sizes":431},602,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc5-ko-2026.jpg",{"medium":432},{"url":433,"w":80,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc5-ko-2026-300x300.jpg","#12B5C9",{"id":436,"url":437,"w":251,"h":252,"alt":17,"sizes":438},77,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-05-regenerative.jpg",{"medium":439,"large":441,"1536x1536":443,"2048x2048":445},{"url":440,"w":80,"h":256},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-05-regenerative-300x83.jpg",{"url":442,"w":84,"h":259},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-05-regenerative-1024x284.jpg",{"url":444,"w":262,"h":263},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-05-regenerative-1536x426.jpg",{"url":446,"w":266,"h":267},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-05-regenerative-2048x568.jpg",{"id":448,"slug":449,"no":404,"name":450,"subtitle":455,"description":460,"curator":465,"co_curators":17,"color":479,"image":480},7,"landscape",{"zh":451,"en":452,"ja":453,"ko":454},"風景迴圈","Landscape Circuit","風景の回路","풍경 순환",{"zh":456,"en":457,"ja":458,"ko":459},"形塑在地文化景致","Shaping the Local Cultural Landscape","地域の文化的景観を形づくる","지역의 문화적 경관을 형성하다",{"zh":461,"en":462,"ja":463,"ko":464},"本子題聚焦於信仰藝術與民間工藝的當代轉譯，以及風景中的身體感知，探討藝術家如何轉化神祇符號與廟宇工藝，並在參與信仰與公共空間的實踐中，呈現風景作為人為建構的場域，進而開啟對身體、材質與內在觀照的關注。展出作品回應臺南的文化特質與圓環地景，展現循環、移動與感知的多重意涵。","This theme focuses on the contemporary reinterpretation of religious art and folk crafts, as well as the bodily perception of landscape. It explores how artists transform images of deities and temple crafts, and how, through participation in religious practices and public spaces, they reveal landscape as a site shaped by human intervention—inspiring fresh attention to the body, materiality, and inner reflection. The works respond to Tainan’s cultural character and its roundabout landscapes, revealing the multiple meanings of circulation, movement, and perception.","本テーマでは、信仰に根ざした芸術や民間工芸の現代的な再解釈、および風景のなかで生じる身体的知覚に焦点を当てる。芸術家たちが神々の象徴や寺廟工芸をいかに変換し、信仰や公共空間への参与を通して、風景を人為的に構築される場として提示しているのかを探究する。そこから、身体、素材、そして内的な省察への関心を開いていく。展示作品は、台南の文化的特質やロータリーという都市景観に応答し、循環、移動、知覚という多層的な意味合いを表現している。","이 소주제는 신앙 예술과 민간 공예의 동시대적 재해석, 그리고 풍경 속에서 이루어지는 신체적 지각에 주목한다. 예술가들이 신앙의 도상과 사원 공예를 어떻게 변환하는지, 그리고 신앙과 공공 공간에 참여하는 실천을 통해 풍경을 인간이 구축한 공간으로 어떻게 드러내는지를 탐구한다. 이를 통해 신체와 물질성, 내면의 관조에 대한 관심을 새롭게 열어간다. 전시 작품들은 타이난의 문화적 특성과 로터리의 도시 경관에 응답하며, 순환과 이동, 지각이 만들어내는 다양한 의미를 보여준다.",{"name":466,"bio":471,"image":473},{"zh":467,"en":468,"ja":469,"ko":470},"莊東橋","Chuang Tong-chiao","莊東橋（ジュアン・ドンチャウ）","좡둥차오",{"zh":472,"en":17,"ja":17,"ko":17},"臺南市美術館展覽企劃部專員，關注「信仰藝術與民間工藝的當代轉譯」與「風景中的身體感知」等議題。",{"id":474,"url":475,"w":297,"h":297,"alt":17,"sizes":476},603,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc6-chuang-2026.jpg",{"medium":477},{"url":478,"w":80,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc6-chuang-2026-300x300.jpg","#E8342A",{"id":481,"url":482,"w":251,"h":252,"alt":17,"sizes":483},79,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-06-landscape.jpg",{"medium":484,"large":486,"1536x1536":488,"2048x2048":490},{"url":485,"w":80,"h":256},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-06-landscape-300x83.jpg",{"url":487,"w":84,"h":259},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-06-landscape-1024x284.jpg",{"url":489,"w":262,"h":263},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-06-landscape-1536x426.jpg",{"url":491,"w":266,"h":267},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-06-landscape-2048x568.jpg",{"id":493,"slug":494,"no":448,"name":495,"subtitle":500,"description":505,"curator":509,"co_curators":17,"color":523,"image":524},8,"mobility",{"zh":496,"en":497,"ja":498,"ko":499},"移動迴圈","Mobility Circuit","移動の回路","이동 순환",{"zh":501,"en":502,"ja":503,"ko":504},"城市中的漣漪","Ripples in the City","都市に広がる波紋","도시 속의 물결",{"zh":506,"en":507,"ja":17,"ko":508},"如果說圓環是帶動城市運轉的樞紐，整座城市就像一臺巨大引擎，而「移動」正是推動它的重要動能之一。在往返、停留與再次出發的過程中，慢慢劃出各自的路徑。這些反覆被經過的道路，讓原本分散的空間逐漸串連起來，形成城市的節奏，如同一圈圈向外擴散的漣漪。本子題從「移動」的多面性出發，邀請觀眾進一步思考，在充滿變動與不確定的當代，我們究竟希望留下什麼？","If the roundabout is a hub that sets the city in motion, the city itself is a vast engine, with “movement” as one of its vital sources of energy. Through cycles of departure and return, lingering, and setting out again, each of us gradually traces our own paths. These repeatedly travelled routes slowly connect spaces that were once dispersed, forming the rhythm of the city like ripples spreading outward in concentric circles. Beginning with the many facets of “movement,” this project invites us to consider the following: in a contemporary world filled with change and uncertainty, what is it that we truly wish to leave behind?","로터리가 도시의 움직임을 이끄는 중추라면, 도시 전체는 하나의 거대한 엔진과 같으며 ‘이동’은 그것을 움직이는 중요한 동력 가운데 하나다. 오가고, 머물고, 다시 출발하는 과정 속에서 우리는 각자의 경로를 천천히 그려나간다. 반복해서 지나온 길들은 본래 흩어져 있던 공간을 점차 연결하고 도시의 리듬을 만들어낸다. 마치 한 겹 한 겹 바깥으로 퍼져나가는 물결처럼. 이 소주제는 ‘이동’이 가진 다양한 의미에서 출발한다. 그리고 변동과 불확실성으로 가득한 동시대에 우리가 과연 무엇을 남기고자 하는지 관객에게 질문을 던진다.",{"name":510,"bio":515,"image":517},{"zh":511,"en":512,"ja":513,"ko":514},"柯宜芸","Ko Yi-yun","柯宜芸（カー・イーユン）","커이윈",{"zh":516,"en":17,"ja":17,"ko":17},"臺南市美術館展覽企劃部專員，近期關注當代跨國移動中的藝術創造與跨文化情境。",{"id":518,"url":519,"w":297,"h":297,"alt":17,"sizes":520},604,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc7-koyi-2026.jpg",{"medium":521},{"url":522,"w":80,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc7-koyi-2026-300x300.jpg","#C9A400",{"id":525,"url":526,"w":251,"h":252,"alt":17,"sizes":527},81,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-07-mobility.jpg",{"medium":528,"large":530,"1536x1536":532,"2048x2048":534},{"url":529,"w":80,"h":256},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-07-mobility-300x83.jpg",{"url":531,"w":84,"h":259},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-07-mobility-1024x284.jpg",{"url":533,"w":262,"h":263},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-07-mobility-1536x426.jpg",{"url":535,"w":266,"h":267},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-07-mobility-2048x568.jpg",[537,544,551,558],{"id":538,"slug":539,"name":540,"description":542},9,"launch",{"zh":541,"en":17,"ja":17,"ko":17},"迴圈啟動計畫",{"zh":543,"en":17,"ja":17,"ko":17},"開展前先行啟動的駐地、社群共創與街區串聯計畫。",{"id":545,"slug":546,"name":547,"description":549},10,"education",{"zh":548,"en":17,"ja":17,"ko":17},"教育推廣活動",{"zh":550,"en":17,"ja":17,"ko":17},"策展人導覽、藝術家工作坊、校園合作與親子課程。",{"id":552,"slug":553,"name":554,"description":556},11,"festival",{"zh":555,"en":17,"ja":17,"ko":17},"慶典與公眾活動",{"zh":557,"en":17,"ja":17,"ko":17},"結合府城節慶脈絡的遶行、夜間演出與藝術市集。",{"id":559,"slug":560,"name":561,"description":563},12,"walk",{"zh":562,"en":17,"ja":17,"ko":17},"城市走讀地圖",{"zh":564,"en":17,"ja":17,"ko":17},"以圓環為起點的步行路線，串連 32 處展館與周邊場景。",[566,571,576],{"id":567,"slug":568,"name":569},13,"announcement",{"zh":570,"en":17,"ja":17,"ko":17},"公告",{"id":572,"slug":573,"name":574},14,"tickets",{"zh":575,"en":17,"ja":17,"ko":17},"票務",{"id":577,"slug":578,"name":579},15,"press",{"zh":580,"en":17,"ja":17,"ko":17},"媒體",[582,614,637,661,687,712,737,762,789,815,840,865,890,915,941,968,995,1022,1048,1077,1105,1134,1159,1183,1208,1236,1261,1287,1315,1343,1371,1398],{"id":583,"slug":584,"no":215,"type":585,"name":586,"address":591,"hours":594,"closed":597,"intro":598,"show":599,"website":17,"lat":602,"lng":603,"google_maps_url":17,"ticket_required":604,"accessible":605,"restroom":605,"images":606,"photo_credit":612,"themes":613},30,"v01","core",{"zh":587,"en":588,"ja":589,"ko":590},"臺南市美術館","Tainan Art Museum","台南市美術館","타이난 시립 미술관",{"zh":592,"en":593,"ja":17,"ko":17},"臺南市中西區南門路37號","No. 37, Nanmen Rd., West Central Dist., Tainan City, Taiwan",{"zh":595,"en":596,"ja":17,"ko":17},"週二至週日 10:00–18:00\n週六開館至 21:00","Tue–Fri, Sun 10AM–6PM\nSat 10AM–9PM",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":600,"en":601,"ja":17,"ko":17},"「迴圈・超展開」第一屆臺南藝術雙年展","Unfolding Circuits: 1st Tainan Art Biennale 2026",22.991291,120.205573,true,false,[607],{"id":608,"url":609,"w":610,"h":610,"alt":587,"sizes":611},115,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv01.png",172,[],"手冊圖版暫代",[404,315,269,493,359,448],{"id":615,"slug":616,"no":213,"type":585,"name":617,"address":622,"hours":625,"closed":626,"intro":627,"show":628,"website":17,"lat":629,"lng":630,"google_maps_url":17,"ticket_required":604,"accessible":605,"restroom":605,"images":631,"photo_credit":612,"themes":636},31,"v02",{"zh":618,"en":619,"ja":620,"ko":621},"臺南國家美術館籌備處","Preparatory Office of the National Museum of Modern Art, Tainan","臺南国家美術館準備処","타이난 국립 미술관 지원부",{"zh":623,"en":624,"ja":17,"ko":17},"臺南市中西區忠義路二段1號","No. 1, Sec. 2, Zhongyi Rd., West Central Dist., Tainan City, Taiwan",{"zh":595,"en":596,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":600,"en":601,"ja":17,"ko":17},22.990457,120.201591,[632],{"id":633,"url":634,"w":610,"h":610,"alt":618,"sizes":635},114,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv02.png",[],[213],{"id":638,"slug":639,"no":269,"type":585,"name":640,"address":644,"hours":647,"closed":650,"intro":651,"show":652,"website":17,"lat":653,"lng":654,"google_maps_url":17,"ticket_required":605,"accessible":605,"restroom":605,"images":655,"photo_credit":612,"themes":660},39,"v03",{"zh":641,"en":642,"ja":641,"ko":643},"湯德章紀念公園","Tang Te-Chang Memorial Park","탕더장 기념공원",{"zh":645,"en":646,"ja":17,"ko":17},"臺南市中西區民生路1號","No. 1, Sec. 1, Minsheng Rd., West Central Dist., Tainan City, Taiwan",{"zh":648,"en":649,"ja":17,"ko":17},"全日開放\n藤本壯介〈迴圈／打開的環〉預計 2026.12.5 開放","Open 24 hours\nSou Fujimoto’s work: scheduled to open on December 5, 2026",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":600,"en":601,"ja":17,"ko":17},22.992596,120.205058,[656],{"id":657,"url":658,"w":610,"h":610,"alt":641,"sizes":659},106,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv10.png",[],[269],{"id":662,"slug":663,"no":315,"type":585,"name":664,"address":669,"hours":672,"closed":675,"intro":676,"show":677,"website":17,"lat":678,"lng":679,"google_maps_url":17,"ticket_required":605,"accessible":605,"restroom":605,"images":680,"photo_credit":612,"themes":686},32,"v04",{"zh":665,"en":666,"ja":667,"ko":668},"國立臺灣文學館+文化部文化資產局文化資產保存研究中心","National Museum of Taiwan Literature + Institute of Cultural Heritage Preservation Research, Bureau of Cultural Heritage, Ministry of Culture","台湾文学館+文化部文化財局文化財保存研究センター","대만 문학관+문화부 문화재국 문화재보존연구센터",{"zh":670,"en":671,"ja":17,"ko":17},"國立臺灣文學館：臺南市中西區湯德章大道1號\n文化資產保存研究中心：臺南市中西區中正路1-1號","National Museum of Taiwan Literature: No. 1, Zhongzheng Rd. (Tang Te-chang Blvd.), West Central Dist., Tainan City\nCultural Heritage Conservation Center: No. 1-1, Zhongzheng Rd., West Central Dist., Tainan City",{"zh":673,"en":674,"ja":17,"ko":17},"國立臺灣文學館：週二至週日 9:00–18:00\n文化資產保存研究中心：週一至週五 8:30–17:30","National Museum of Taiwan Literature: Tue–Sun 9AM–6PM\nInstitute of Cultural Heritage Preservation Research: Mon–Fri 8:30AM–5:30PM",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":600,"en":601,"ja":17,"ko":17},22.991801,120.204374,[681],{"id":682,"url":683,"w":610,"h":610,"alt":684,"sizes":685},113,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv03.png","國立臺灣文學館",[],[404,315],{"id":688,"slug":689,"no":359,"type":585,"name":690,"address":695,"hours":698,"closed":701,"intro":702,"show":703,"website":17,"lat":704,"lng":705,"google_maps_url":17,"ticket_required":605,"accessible":605,"restroom":605,"images":706,"photo_credit":612,"themes":711},36,"v05",{"zh":691,"en":692,"ja":693,"ko":694},"臺南市中西區圖書館","West Central District Library, Tainan City","中西区図書館","타이난시 중서구 도서관",{"zh":696,"en":697,"ja":17,"ko":17},"臺南市中西區中正路3號","No. 3, Zhongzheng Rd., West Central Dist., Tainan City, Taiwan",{"zh":699,"en":700,"ja":17,"ko":17},"週二至週六 8:30–20:30\n週日 8:30–17:30","Tue–Sat 8:30AM–8:30PM\nSun 8:30AM–5:30PM",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":600,"en":601,"ja":17,"ko":17},22.992061,120.203839,[707],{"id":708,"url":709,"w":610,"h":610,"alt":691,"sizes":710},109,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv07.png",[],[359],{"id":713,"slug":714,"no":404,"type":585,"name":715,"address":720,"hours":723,"closed":726,"intro":727,"show":728,"website":17,"lat":729,"lng":730,"google_maps_url":17,"ticket_required":605,"accessible":605,"restroom":605,"images":731,"photo_credit":612,"themes":736},33,"v06",{"zh":716,"en":717,"ja":718,"ko":719},"葉石濤文學紀念館","Yeh, Shyr-Tau Literary Memorial Museum","葉石涛文学紀念館","예스타오 문학 기념관",{"zh":721,"en":722,"ja":17,"ko":17},"臺南市中西區友愛街8-3號","No. 8-3, You'ai St., West Central Dist., Tainan City, Taiwan",{"zh":724,"en":725,"ja":17,"ko":17},"週三至週日 10:00–18:00","Wed–Sun 10AM–6PM",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":600,"en":601,"ja":17,"ko":17},22.990944,120.203618,[732],{"id":733,"url":734,"w":610,"h":610,"alt":716,"sizes":735},112,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv04.png",[],[359],{"id":738,"slug":739,"no":448,"type":585,"name":740,"address":745,"hours":748,"closed":751,"intro":752,"show":753,"website":17,"lat":754,"lng":755,"google_maps_url":17,"ticket_required":605,"accessible":605,"restroom":605,"images":756,"photo_credit":612,"themes":761},37,"v07",{"zh":741,"en":742,"ja":743,"ko":744},"臺南孔廟","Tainan Confucius Temple","孔子廟","타이난 공묘",{"zh":746,"en":747,"ja":17,"ko":17},"臺南市中西區南門路2號","No. 2, Nanmen Rd., West Central Dist., Tainan City, Taiwan",{"zh":749,"en":750,"ja":17,"ko":17},"每日 8:30–17:30","Daily 8:30AM–5:30PM",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":600,"en":601,"ja":17,"ko":17},22.990305,120.204252,[757],{"id":758,"url":759,"w":610,"h":610,"alt":741,"sizes":760},108,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv08.png",[],[448],{"id":763,"slug":764,"no":493,"type":585,"name":765,"address":770,"hours":773,"closed":776,"intro":779,"show":780,"website":17,"lat":781,"lng":782,"google_maps_url":17,"ticket_required":605,"accessible":605,"restroom":605,"images":783,"photo_credit":612,"themes":788},35,"v08",{"zh":766,"en":767,"ja":768,"ko":769},"愛國婦人會館","Japanese Patriotic Women's Association","台南愛国婦人館","타이난 애국 부인관",{"zh":771,"en":772,"ja":17,"ko":17},"臺南市中西區府前路一段195號","No. 195, Sec. 1, Fuqian Rd., West Central Dist., Tainan City, Taiwan",{"zh":774,"en":775,"ja":17,"ko":17},"每日 9:00–17:00","Daily 9AM–5PM",{"zh":777,"en":778,"ja":17,"ko":17},"除夕休館；依實際場館營運狀況有所調整","Closed on Lunar New Year's Eve. 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7AM–5PM",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":1388,"en":1389,"ja":17,"ko":17},"「迴圈・超展開」第一屆臺南藝術雙年展\n跨世紀竹溪禪寺佛教文物展（策展人：傅朝卿）","Unfolding Circuits: 1st Tainan Art Biennale 2026\nAcross the Centuries: Buddhist Cultural Artifacts Exhibition of Zhuxi Zen Temple (Curator: Fu Chao-ching)",22.977327,120.209295,[1393],{"id":1394,"url":1395,"w":610,"h":610,"alt":1375,"sizes":1396},90,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv26.png",[],[],{"id":1399,"slug":1400,"no":662,"type":999,"name":1401,"address":1406,"hours":1409,"closed":1410,"intro":1411,"show":1412,"website":17,"lat":1415,"lng":1416,"google_maps_url":17,"ticket_required":605,"accessible":605,"restroom":605,"images":1417,"photo_credit":612,"themes":1422},53,"v32",{"zh":1402,"en":1403,"ja":1404,"ko":1405},"原型一號宅","as house","原型一号宅","프로토타입 1호집",{"zh":1407,"en":1408,"ja":17,"ko":17},"臺南市東區長東街145巷18號","No. 18, Lane 145, Changdong St., East Dist., Tainan City, Taiwan",{"zh":877,"en":878,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":1413,"en":1414,"ja":17,"ko":17},"「迴圈・超展開」第一屆臺南藝術雙年展\n原型1號宅建築迴圈（策展人：謝宗哲、陳冠帆）","Unfolding Circuits: 1st Tainan Art Biennale 2026\nAS House Structure Circularity (Curators: Sotetsu Sha, Chen Kuan-fan)",22.959952,120.230641,[1418],{"id":1419,"url":1420,"w":610,"h":610,"alt":1402,"sizes":1421},92,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv24.png",[],[],[1424,1436,1447,1457,1467,1478,1487,1498,1509,1520,1531,1542,1551,1560,1569,1578,1586,1595,1604,1613,1622,1631,1640,1649,1660,1671,1682,1693,1704,1715,1726,1737,1748,1759,1770,1781,1792,1803,1814,1825,1836,1847,1858,1869,1879,1890,1901,1912,1923,1934,1945,1956,1967,1978,1989,2000,2011,2022,2033,2044,2055,2066,2077,2088,2099,2110,2121,2132,2143,2154,2165,2176,2187,2198,2209,2220,2231],{"id":1425,"slug":1426,"no":1427,"is_group":605,"name":1428,"bio":1431,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1435},117,"wu-shu-yuan","EC-02",{"zh":1429,"en":1430,"ja":17,"ko":17},"吳書原","Wu Shu-yuan",{"zh":1432,"en":1433,"ja":17,"ko":17},"1974年生於臺南，英國AA建築聯盟學院碩士，景觀建築藝術家、太研規劃設計顧問有限公司創辦人。受「景觀都市主義」啟發，致力以臺灣原生植物營造島嶼之野，實踐自然蔓延、有機生長的荒野美學。代表作包括臺中花博、陽明山美軍俱樂部等，曾獲IFLA、倫敦設計獎等國際獎項。","Born in Tainan in 1974, Wu Shu-yuan holds a Master of Urbanism and Landscape Architecture from the AA School of Architecture in the UK. A landscape architect and artist, he is the founder and design director of Motif Planning & Design Consultants. Inspired by the principles of “Landscape Urbanism,” Wu is dedicated to creating an "island wilderness" through the use of Taiwan’s native plants, and is exploring a wilderness aesthetic characterized by natural processes and organic growth. His major works include the Taichung World Flora Exposition and the Yangmingshan American Military Club. His work has received international recognition, including awards from the International Federation of Landscape Architects (IFLA) and the London Design Awards.",null,[269],{"id":1437,"slug":1438,"no":1439,"is_group":605,"name":1440,"bio":1443,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1446},652,"wang-chieh","TC-03",{"zh":1441,"en":1442,"ja":17,"ko":17},"王傑","Wang Chieh",{"zh":1444,"en":1445,"ja":17,"ko":17},"西班牙巴塞隆納大學美術繪畫創作博士，現任臺北藝術大學劇場設計系兼任助理教授，擅長水彩與西洋書法。早期以獨特水彩風格描繪基隆城市風景，後將創作足跡拓展至臺灣及世界各地，並曾任《旅人誌》、《好吃》、《時報周刊》等許多刊物圖文專欄作者。","Wang Chieh holds a Ph.D. in Fine Arts from the University of Barcelona and currently teaches at Taipei National University of the Arts. Specializing in watercolors and Western calligraphy, he first gained recognition for his distinctive depictions of Keelung before expanding his artistic forays across Taiwan and the world. He has also contributed illustrated columns to various magazines.",[],{"id":545,"slug":1448,"no":1449,"is_group":605,"name":1450,"bio":1453,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1456},"anli-genu","EC-04",{"zh":1451,"en":1452,"ja":17,"ko":17},"安力．給怒","Anli Genu",{"zh":1454,"en":1455,"ja":17,"ko":17},"1958出生於新竹尖石鄉泰雅族梅花部落，漢名賴安淋，畢業於文化大學美術系、紐約視覺藝術學院。融合完整學院訓練的藝術家與牧師身分於一身，致力融合當代藝術語彙與住民知識體系於精神性的表現。擔任國立臺灣美術館諮詢委員，對臺灣原住民藝術的發展有深遠的影響。","Born in 1958 in Meihua Village of the Atayal indigenous people in Jianshi Township, Hsinchu, Taiwan, Anli Genu, who also goes by his Chinese name Lai An-lin, graduated from the Department of Fine Arts at Chinese Culture University and the School of Visual Arts in New York. As both a formally trained artist and pastor, he integrates contemporary artistic vocabularies with Indigenous knowledge systems through spiritual expression. He has served as a consultant to the National Taiwan Museum of Fine Arts and has made a significant contribution to the development of Indigenous art in Taiwan.",[269],{"id":552,"slug":1458,"no":1459,"is_group":605,"name":1460,"bio":1463,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1466},"mei-chee-seong","EC-05",{"zh":1461,"en":1462,"ja":17,"ko":17},"梅志雄","Mei Chee-seong",{"zh":1464,"en":1465,"ja":17,"ko":17},"馬來西亞建築師，aLM建築事務所負責人暨檳城藝文聚落COEX共同創辦人。擁有逾20年建築設計經驗，長期投入社區營造、空間改造與文化場域再生，並將建築延伸至體驗策劃。主導廢棄工業空間轉型為藝文創意場域，使COEX成為檳城重要文化據點，並積極推動馬來西亞與臺灣跨國藝文交流。","A Malaysian architect, Mei Chee-seong is the manager of aLM Architects and co-founder of COEX, an arts and cultural hub in Penang. With more than 20 years of experience in architectural design, he has long been engaged in community development, adaptive reuse, and the revitalization of cultural spaces, and has extended his architectural practice into experience design and curation. He has spearheaded the transformation of abandoned industrial spaces into creative and cultural venues, established COEX as an important cultural hub in Penang, and actively fostered cross-border cultural and artistic exchange between Malaysia and Taiwan.",[269],{"id":1468,"slug":1469,"no":1470,"is_group":605,"name":1471,"bio":1474,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1477},161,"liao-xuan-zhen","HC-01a",{"zh":1472,"en":1473,"ja":17,"ko":17},"廖烜榛","Liao Xuan-zhen",{"zh":1475,"en":1476,"ja":17,"ko":17},"廖烜榛（1993，高雄）與黃奕捷（1992，臺南）自2015年起合作，創作涵蓋動態影像、裝置、公共干預及社群導向計畫，關注社會抵抗、歷史記憶與世代對話。作品包括〈錢江衍派〉、〈紙建築〉、〈燕子洞〉、〈民主聖殿〉等。曾參與橫濱三年展、馬賽國際影展及伊赫拉瓦國際紀錄片影展，並獲桃源創作獎首獎，兩度入圍臺新藝術獎。","Liao Xuan-zhen (b. 1993, Kaohsiung) and Huang I-chieh (b. 1992, Tainan) have collaborated since 2015. Their practice encompasses moving images, installations, public interventions, and community-oriented projects, and focuses on social resistance, historical memory, and intergenerational dialogue. Their works include Qianjiang Yanpai, Paper Architecture, Swallow Cave, and Temple of Democracy. They have participated in the Yokohama Triennale, the FIDMarseille International Film Festival, and the Ji.hlava International Documentary Film Festival. They received First Prize of the Taoyuan Creation Award and have been finalists twice in the Taishin Arts Award.",[315],{"id":1479,"slug":1480,"no":1481,"is_group":605,"name":1482,"bio":1485,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1486},162,"huang-i-chieh","HC-01b",{"zh":1483,"en":1484,"ja":17,"ko":17},"黃奕捷","Huang I-chieh",{"zh":1475,"en":1476,"ja":17,"ko":17},[315],{"id":1488,"slug":1489,"no":1490,"is_group":605,"name":1491,"bio":1494,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1497},163,"kuo-yu-ping","HC-02",{"zh":1492,"en":1493,"ja":17,"ko":17},"郭俞平","Kuo Yu-ping",{"zh":1495,"en":1496,"ja":17,"ko":17},"郭俞平的創作橫跨繪畫、錄像、裝置、行為與書寫。近年作品關注女性跨國移動中的身分認同，以及歷史中被忽略的陰性聲音。","Kuo Yu-ping’s art spans painting, video, installation, performance, and writing. In recent years, her work has focused on the identities of women navigating transnational mobility, as well as overlooked female voices in history.",[315],{"id":1499,"slug":1500,"no":1501,"is_group":605,"name":1502,"bio":1505,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1508},164,"yang-yu-ti","HC-03",{"zh":1503,"en":1504,"ja":17,"ko":17},"楊淯緹","Yang Yu-ti",{"zh":1506,"en":1507,"ja":17,"ko":17},"幼兒藝術引導者、藝術創作者，創作涵蓋計畫型創作、書寫、錄像、視覺藝術與行動展演。關注海洋與陸地交織的空間、海上贊米亞（Maritime Zomia）及日常心理邊界，從自身視角重新觀看社會，以詩性描述與多重敘事回應現實。曾獲國家文化藝術基金會文學創作補助。","An early childhood art facilitator and artist, Yang Yu-ti's creative efforts span project-based works, writing, video, visual art, and performance art. Her practice explores spaces where the sea and land intersect, the concept of Maritime Zomia, and the psychological boundaries of everyday life. Reconsidering society from her own perspective, she responds to reality through poetic description and multiple narratives. She has received a literary creation grant from the National Culture and Arts Foundation.",[315],{"id":1510,"slug":1511,"no":1512,"is_group":605,"name":1513,"bio":1516,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1519},165,"fang-wei-wen","GC-01",{"zh":1514,"en":1515,"ja":17,"ko":17},"方偉文","Fang Wei-wen",{"zh":1517,"en":1518,"ja":17,"ko":17},"1970年生於汶萊，1988年移居臺灣，畢業於東海大學美術系及國立臺南藝術大學造形藝術研究所，現居臺南。創作涵蓋繪畫與裝置，常以象徵性風景描繪家國鄉愁，並透過空間與言說探討自我身分及文化認同。2000年曾赴美國洛杉磯第十八街藝術中心駐村。","Born in Brunei in 1970, Fang Wei-wen moved to Taiwan in 1988. He graduated from the Department of Fine Arts at Tunghai University and the Graduate Institute of Plastic Arts at Tainan National University of the Arts, and is currently living in Tainan. His work encompasses painting and installation, and he often using symbolic landscapes to evoke a sense of nostalgic longing for home, while exploring self-identity and cultural identity through spatial and discursive approaches. In 2000, he participated in a residency at the 18th Street Arts Center in Los Angeles, USA.",[359],{"id":1521,"slug":1522,"no":1523,"is_group":605,"name":1524,"bio":1527,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1530},166,"chen-yi-che","GC-02",{"zh":1525,"en":1526,"ja":17,"ko":17},"陳毅哲","Chen Yi-che",{"zh":1528,"en":1529,"ja":17,"ko":17},"2018年畢業於國立臺北藝術大學美術創作研究所，曾於淡水發起藝術計畫《十八巷五號》，透過策展與民間團體合作拓展社群實踐。長期關注臺灣各地藝文場景的聚眾與離散，近年與陳孝齊共同發行《異空間實踐刊物》，持續以影像、文字記錄各地異質空間及藝術家的生命實踐，目前生活與工作於臺北三重「天臺工作室」。","Graduating from the Graduate Institute of Fine Arts at Taipei National University of the Arts in 2018, Chen Yi-che initiated the art project No. 5, Lane 18 project in Tamsui, expanding his community-based practice through curatorial projects and collaborations with grassroots organizations. His work has long focused on the gathering and dispersal of artistic and cultural scenes across Taiwan. In recent years, he has co-published the alternative art publication The Praxis of Hetero-Space with Chen Hsiao-chi, continuously documenting heterogeneous spaces and artists’ lived practices across different places through images and writing. He currently lives and works at Rooftop (Tiantai) Studio in Sanchong.",[359],{"id":1532,"slug":1533,"no":1534,"is_group":604,"name":1535,"bio":1538,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1541},167,"prototype-art","GC-09",{"zh":1536,"en":1537,"ja":17,"ko":17},"原型藝術","Prototype Art",{"zh":1539,"en":1540,"ja":17,"ko":17},"原型藝術成立於1998年，營運至2005年，是臺南重要的非營利替代藝術空間，由李昆霖、王邦榮、林文章、謝宏明、葉啟鋒與陳美澍共同創立。最初設於青年路，提供年輕藝術家創作、交流與展覽平台，後歷經吳園（2000–2002）及大德街（2002–2005）時期，成為臺南實驗藝術發展的重要據點。","Founded in 1998 and active until 2005, Prototype Art was an important non-profit alternative art space in Tainan, and was jointly founded by Lee Kuen-lin, Wong Bang-rong, Lin Wen-chang, Hsieh Hung-ming, Yeh Chi-feng, and Chen Mei-shu. Initially located on Qingnian Road, the space provided a platform for young artists to create, exchange ideas, and exhibit their work. It subsequently operated at Wu Garden (2000-2002) and Dade Street (2002-2005), becoming an important site for the development of experimental art in Tainan.",[359],{"id":1543,"slug":1544,"no":1545,"is_group":605,"name":1546,"bio":1549,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1550},168,"wong-bang-rong","GC-10",{"zh":1547,"en":1548,"ja":17,"ko":17},"王邦榮","Wong Bang-rong",{"zh":17,"en":17,"ja":17,"ko":17},[359],{"id":1552,"slug":1553,"no":1554,"is_group":605,"name":1555,"bio":1558,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1559},169,"wu-meng-chang","GC-10-03",{"zh":1556,"en":1557,"ja":17,"ko":17},"吳孟璋","Wu Meng-chang",{"zh":17,"en":17,"ja":17,"ko":17},[359],{"id":1561,"slug":1562,"no":1563,"is_group":605,"name":1564,"bio":1567,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1568},170,"lin-hong-wen","GC-10-04",{"zh":1565,"en":1566,"ja":17,"ko":17},"林鴻文","Lin Hong-wen",{"zh":17,"en":17,"ja":17,"ko":17},[359],{"id":1570,"slug":1571,"no":1572,"is_group":605,"name":1573,"bio":1576,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1577},171,"tang-tang-fa","GC-10-05",{"zh":1574,"en":1575,"ja":17,"ko":17},"唐唐發","Tang Tang-fa",{"zh":17,"en":17,"ja":17,"ko":17},[359],{"id":610,"slug":1579,"no":1580,"is_group":605,"name":1581,"bio":1584,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1585},"tsui-kuang-yu","GC-10-06",{"zh":1582,"en":1583,"ja":17,"ko":17},"崔廣宇","Tsui Kuang-yu",{"zh":17,"en":17,"ja":17,"ko":17},[359],{"id":1587,"slug":1588,"no":1589,"is_group":605,"name":1590,"bio":1593,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1594},173,"chang-hwei-lan","GC-10-07",{"zh":1591,"en":1592,"ja":17,"ko":17},"張惠蘭","Chang Hwei-lan",{"zh":17,"en":17,"ja":17,"ko":17},[359],{"id":1596,"slug":1597,"no":1598,"is_group":605,"name":1599,"bio":1602,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1603},174,"hsu-tzu-kuey","GC-10-08",{"zh":1600,"en":1601,"ja":17,"ko":17},"許自貴","Hsu Tzu-kuey",{"zh":17,"en":17,"ja":17,"ko":17},[359],{"id":1605,"slug":1606,"no":1607,"is_group":605,"name":1608,"bio":1611,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1612},175,"tseng-ying-tung","GC-10-09",{"zh":1609,"en":1610,"ja":17,"ko":17},"曾英棟","Tseng Ying-tung",{"zh":17,"en":17,"ja":17,"ko":17},[359],{"id":1614,"slug":1615,"no":1616,"is_group":605,"name":1617,"bio":1620,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1621},176,"chen-chun-ming","GC-10-10",{"zh":1618,"en":1619,"ja":17,"ko":17},"陳俊明","Chen Chun-ming",{"zh":17,"en":17,"ja":17,"ko":17},[359],{"id":1623,"slug":1624,"no":1625,"is_group":605,"name":1626,"bio":1629,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1630},177,"huang-fang-chi","GC-10-11",{"zh":1627,"en":1628,"ja":17,"ko":17},"黃芳琪","Huang Fang-chi",{"zh":17,"en":17,"ja":17,"ko":17},[359],{"id":1632,"slug":1633,"no":1634,"is_group":605,"name":1635,"bio":1638,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1639},178,"pan-ta-chien","GC-10-12",{"zh":1636,"en":1637,"ja":17,"ko":17},"潘大謙","Pan Ta-chien",{"zh":17,"en":17,"ja":17,"ko":17},[359],{"id":1641,"slug":1642,"no":1643,"is_group":605,"name":1644,"bio":1647,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1648},179,"lu-ming-te","GC-10-13",{"zh":1645,"en":1646,"ja":17,"ko":17},"盧明德","Lu Ming-te",{"zh":17,"en":17,"ja":17,"ko":17},[359],{"id":1650,"slug":1651,"no":1652,"is_group":605,"name":1653,"bio":1656,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1659},180,"rahic-talif","RC-01",{"zh":1654,"en":1655,"ja":17,"ko":17},"拉黑子．達立夫","Rahic Talif",{"zh":1657,"en":1658,"ja":17,"ko":17},"拉黑子・達立夫（Rahic Talif），1962年出生於花蓮豐濱港口部落（Makota'ay），創作根植於阿美族家族記憶與生命經驗。常運用舊物、漂流木及海洋廢棄物等生活媒材，透過撿拾與再造回應土地、海洋及環境變遷。自「颱風行動計畫」、「五十步的空間」至構樹系列，持續以行動、文件與裝置探索族群文化、自然環境與創作之間的關係。","Rahic Talif was born in 1962 in Makota’ay, a Pangcah (Amis) community in Fengbin, Hualien. His artistic practice is rooted in family memories and lived experiences of the Pangcah people. He frequently works with found objects, driftwood, and marine debris, transforming and recontextualizing these everyday materials through processes of collecting and reuse, while reflecting on the land, the ocean, and environmental change. From the Typhoon Action Project and Space of Fifty Steps to his Broussonetia papyrifera series, Talif has continued to explore the relationships among Indigenous culture, the natural environment, and art through actions, documentation, and installations.",[404],{"id":1661,"slug":1662,"no":1663,"is_group":605,"name":1664,"bio":1667,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1670},181,"emma-buswell","RC-02",{"zh":1665,"en":1666,"ja":17,"ko":17},"艾瑪・巴斯韋爾","Emma Buswell",{"zh":1668,"en":1669,"ja":17,"ko":17},"艾瑪．巴斯威爾（Emma Buswell），1991年生於澳洲，為藝術家暨藝術工作者，關注地方、身分認同、社群與文化政治。創作承襲家族編織及手工技藝，結合口述歷史、地方傳說與日常印刷品，運用編織、串珠、鉤織等工藝，探討國族、階級、性別與勞動議題，並模糊媚俗與文化表述之間的界線。","Born in Australia in 1991, Emma Buswell is an artist and arts worker whose art explores place, identity, community, and cultural politics. Drawing on her family’s traditions of weaving and craft, she incorporates oral histories, local legends, and everyday ephemera into her practice. Through weaving, beadwork, crochet, and other craft-based techniques, she examines issues of nationhood, class, gender, and labor, while blurring the boundaries between kitsch and cultural representation.",[404],{"id":1672,"slug":1673,"no":1674,"is_group":605,"name":1675,"bio":1678,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1681},182,"aluaiy-kaumakan","RC-03",{"zh":1676,"en":1677,"ja":17,"ko":17},"武玉玲","Aluaiy Kaumakan",{"zh":1679,"en":1680,"ja":17,"ko":17},"1971年生於屏東三地門大社部落排灣族頭目家族。自幼習得傳統編織與首飾工藝，八八風災後轉向軟雕塑與裝置，以「纏繞」技法結合線材、布料及自然媒材，並與部落婦女共作，編織族群記憶與文化療癒。曾獲Pulima藝術獎首獎，並參與多項國際雙年展。","Aluaiy Kaumakan was born in 1971 into a noble Paiwan family in Davalan (Tavaran) in Sandimen, Pingtung, and learned traditional weaving and jewelry-making techniques from an early age. Following Typhoon Morakot in 2009, her practice shifted toward soft sculpture and installations. Employing the technique of Lemikalik (twining), she combines threads, textiles, and natural materials, often working collaboratively with women from her community to weave together collective memories and cultural healing. She was awarded the First Prize in the Visual Arts category of the Pulima Art Award and has participated in numerous international biennials and triennials.",[404],{"id":1683,"slug":1684,"no":1685,"is_group":605,"name":1686,"bio":1689,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1692},183,"sasaki-rui","RC-04",{"zh":1687,"en":1688,"ja":17,"ko":17},"佐々木類","Sasaki Rui",{"zh":1690,"en":1691,"ja":17,"ko":17},"1984年生於日本高知縣，畢業於武藏野美術大學，並取得羅德島設計學院玻璃藝術碩士。創作從自然與日常汲取靈感，以玻璃封存植物及生活痕跡，探索存在、記憶與懷舊。植物成為連結過去與當下的載體，使個人記憶與觀者經驗交會，呈現跨越時空的情感共鳴。","Sasaki Rui was born in Kochi, Japan, in 1984. She graduated from Musashino Art University and received an MFA in Glass from the Rhode Island School of Design. Drawing inspiration from nature and her everyday surroundings, Sasaki uses glass to preserve plants and traces of lived experience, while exploring the themes of existence, memory, and nostalgia. Plants serve as vessels connecting the past and the present, bringing personal memories into dialogue with viewers’ own experiences and evoking emotional resonances that transcend time and place.",[404],{"id":1694,"slug":1695,"no":1696,"is_group":605,"name":1697,"bio":1700,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1703},184,"kobayashi-mariko","RC-05",{"zh":1698,"en":1699,"ja":17,"ko":17},"小林萬里子","Kobayashi Mariko",{"zh":1701,"en":1702,"ja":17,"ko":17},"1987年生於大阪，2012年取得多摩美術大學設計學碩士。擅長融合織布、染色、刺繡與繪畫，構築萬物共生的生命世界。創作長期關注生命循環及人與動植物的關係，以富含田園詩意的視覺語彙呈現生命之美，同時反思現代社會中人類與自然、動物之間的不對等關係。","Mariko Kobayashi was born in Osaka in 1987 and received an MFA in Design from Tama Art University in 2012. She skillfully combines weaving, dyeing, embroidery, and painting to construct visions of a world in which all living beings coexist in harmony. Her practice has long focused on cycles of life and the relationships between humans, plants, and animals. Employing a pastoral and poetic visual language, she celebrates the beauty of life while reflecting on the unequal relationships between humans and nature and animals in contemporary society.",[404],{"id":1705,"slug":1706,"no":1707,"is_group":605,"name":1708,"bio":1711,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1714},185,"wanapati-yunupingu","RC-06",{"zh":1709,"en":1710,"ja":17,"ko":17},"瓦納帕蒂．尤努平古","Wanapati Yunupiŋu",{"zh":1712,"en":1713,"ja":17,"ko":17},"1989年出生，為澳洲古瑪吉氏族（Gumatj）的尤努族（Yolŋu）藝術家。其偏遠聚落沒有市電與商店，居民依循儀式及季節循環生活。自幼浸潤於律法、儀式與藝術傳統，早期以樹皮畫、迪吉里杜管及空心木柱創作；2019年起於廢棄路牌與金屬上蝕刻氏族聖火圖紋，融合祖先敘事、土地文化與工業材質，開拓尤努族當代藝術語彙。","Wanapati Yunupiŋu was born in 1989 and is a Yolŋu artist of the Gumatj clan. He lives in Biranybirany, a remote homeland in North East Arnhem Land, where there is no power or shops, and community life follows ceremonial and seasonal cycles. Immersed from childhood in Yolŋu law, ceremony, and artistic traditions, he initially worked with bark painting, didjeridu, and hollow logs. Since 2019, he has etched sacred Gumatj clan designs of gurtha (fire) onto discarded road signs and metal, and thus bringing together ancestral narratives, land and culture, and industrial materials to expand the vocabulary of contemporary Yolŋu art.",[404],{"id":1716,"slug":1717,"no":1718,"is_group":605,"name":1719,"bio":1722,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1725},186,"yang-ming-dye","RC-07",{"zh":1720,"en":1721,"ja":17,"ko":17},"楊明迭","Yang Ming-dye",{"zh":1723,"en":1724,"ja":17,"ko":17},"1955年生於臺南佳里，畢業於國立藝專美術科，為「十青版畫會」重要成員。早期關注臺灣在地文化與民俗，後赴美主修雕塑，歸國後展開跨媒材實驗，將版畫結合紙材、玻璃、金屬與空間裝置，使平面延伸至立體空間。近年探索冷光材質與印刷技術，持續拓展版畫的視覺可能。","Yang Ming-dye was born in Jiali, Tainan, in 1955. He graduated from the Department of Fine Arts at the National Academy of Arts and was a key member of the Ten Young Printmakers Association. His early practice focused on local Taiwanese culture and folk traditions. He later traveled to the United States to study sculpture, and after returning to Taiwan, began experimenting across media, incorporating printmaking with paper, glass, metal, and spatial installation as means of extending two-dimensional prints into three-dimensional space. In recent years, he has explored electroluminescent materials and printing technologies as he continues to expand the visual possibilities of printmaking.",[404],{"id":1727,"slug":1728,"no":1729,"is_group":605,"name":1730,"bio":1733,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1736},187,"hsu-wu-yung","LC-01",{"zh":1731,"en":1732,"ja":17,"ko":17},"許武勇","Hsu Wu-yung",{"zh":1734,"en":1735,"ja":17,"ko":17},"1920年生於臺南，2016年辭世。畢業於東京帝國大學醫學部，行醫之餘持續投入藝術創作。作品融合立體派、超現實主義等形式語彙，並融入旅行風景的想像與臺灣在地文化特色，展現浪漫而富幻想性的情懷，逐步奠定其獨特的「羅曼主義」藝術風格。","Born in Tainan in 1920 and died in 2016, Hsu Wu-yung graduated from the Faculty of Medicine at Tokyo Imperial University. While practicing medicine, he remained actively engaged in art. Hsu's work incorporated the visual vocabularies of Cubism and Surrealism, which were combined with imagined landscapes drawn from his travels and elements of Taiwan’s local culture. Characterized by a romantic and imaginative sensibility, his work gradually developed into a distinctive artistic style that he termed “Romanticism.”",[448],{"id":1738,"slug":1739,"no":1740,"is_group":605,"name":1741,"bio":1744,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1747},188,"kuo-po-chuan","LC-02",{"zh":1742,"en":1743,"ja":17,"ko":17},"郭柏川","Kuo Po-chuan",{"zh":1745,"en":1746,"ja":17,"ko":17},"1901生於臺南，1974辭世。臺南美術研究會創會會長、生前積極倡議成立臺南市美術。其油畫與宣紙融合的創作技巧，表現出臺灣亞熱帶與熱帶強烈的光線與透明性。","Born in Tainan in 1901 and died in 1974, Kuo Po-chuan was a pioneering figure in the development of modern art in Tainan. He served as the founding president of the Tainan Art Research Association and was actively involved in fostering the city’s artistic development. After studying Western painting at the Tokyo School of Fine Arts, Kuo developed a distinctive technique of applying oil paint to rice paper, combining the translucency and fluidity of the medium with a highly expressive use of color and brushwork. His paintings are particularly noted for their ability to capture the intense light and distinctive atmosphere of southern Taiwan.",[448],{"id":1749,"slug":1750,"no":1751,"is_group":605,"name":1752,"bio":1755,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1758},189,"jang-bing-tang","LC-03",{"zh":1753,"en":1754,"ja":17,"ko":17},"張炳堂","Jang Bing-tang",{"zh":1756,"en":1757,"ja":17,"ko":17},"1928生於臺南，2013辭世。作品有野獸派用色的氣息，但創作卻有著臺南熱烈的陽光氣息與廟宇元素獨特的用色。創作圍繞在臺南運河、廟宇、主要文化建築物等風景主題。","Born in Tainan in 1928 and died in 2013, Jang Bing-tang’s work is characterized by the vibrant colors associated with Fauvism, while also reflecting the intense sunlight of Tainan and the distinctive colors used in local temples. His art frequently focused on landscapes featuring the Tainan Canal, temples, and major cultural landmarks.",[448],{"id":1760,"slug":1761,"no":1762,"is_group":605,"name":1763,"bio":1766,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1769},190,"kuo-bor-jou","LC-04",{"zh":1764,"en":1765,"ja":17,"ko":17},"郭博州","Kuo Bor-jou",{"zh":1767,"en":1768,"ja":17,"ko":17},"1960生於臺南，創作形式多元，其抽象創作的形式隱含了東方的筆墨底蘊，拼貼創作轉譯文化符號並融合現實生活，產生豐富的文化交疊之美。","Born in Tainan in 1960, Kuo Bor-jou's work spans a diverse range of media and forms. His abstract works draw subtly on the traditions of Eastern ink painting, while his collages reinterpret cultural symbols through their integration with elements of everyday life, creating a rich and gorgeous interplay of cultural layers.",[448],{"id":1771,"slug":1772,"no":1773,"is_group":605,"name":1774,"bio":1777,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1780},191,"lee-jo-mei","LC-05",{"zh":1775,"en":1776,"ja":17,"ko":17},"李若玫","Lee Jo-mei",{"zh":1778,"en":1779,"ja":17,"ko":17},"1985年生於臺北，創作以平面素描與立體雕塑為主。擅於從日常經驗與細節凝視中尋找觸動感知的記憶風景。2015年起轉向自然探索與材料研究，透過觀察植物及其細微形態，透過近身微觀開啟對植物時間的感知，作品呈現細膩而獨特的詩性。","Born in Taipei in 1985, Lee Jo-mei works primarily in drawing and sculpture. She is adept at finding evocative landscapes of memory within everyday experiences and performing close observation of subtle details. Since 2015, she has turned her attention to the exploration of nature and material research. Through close observation of plants and their delicate forms, she explores an intimate, microscopic perception of botanical time. Her works convey a subtle and distinctive sense of poetry.",[448],{"id":1782,"slug":1783,"no":1784,"is_group":605,"name":1785,"bio":1788,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1791},192,"chen-yen-yi","LC-06a",{"zh":1786,"en":1787,"ja":17,"ko":17},"陳妍伊","Chen Yen-yi",{"zh":1789,"en":1790,"ja":17,"ko":17},"陳妍伊（1977- ），生於高雄，臺南「絕對空間」共同發起人之一。近年關注懷孕的身體、孩子的成長帶來的生命經驗，其使用蜂蠟與電子零件為媒材，與蜜蜂合作共工，表現出亟欲在環境驟變下找出延續生命可能性的韌性特質。","Chen Yen-yi, born in Kaohsiung in 1977, is one of the co-founders of Absolute Space in Tainan. In recent years, her practice has focused on the pregnant body and the experience of witnessing a child’s growth. Co-creating with bees through the use of beeswax and electronic components, Chen explores resilience and the desire to find possibilities for sustaining life amid rapidly changing environments.",[448],{"id":1793,"slug":1794,"no":1795,"is_group":605,"name":1796,"bio":1799,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1802},193,"huang-yi-min","LC-06b",{"zh":1797,"en":1798,"ja":17,"ko":17},"黃逸民","Huang Yi-Min",{"zh":1800,"en":1801,"ja":17,"ko":17},"黃逸民（1976-），生於臺中，現為臺南「絕對空間」負責人。創作表現包含內心的自我衝突與外在的戰爭、地方信仰的成長經驗，以玩具模型、臺南地方廟宇建築為靈感，透過回收保麗龍、木塊、充氣帆布，呈現舉重若輕與明快幽默的作品氣質。","Huang Yi-min, born in Taichung in 1976, is currently the manager of Absolute Space in Tainan. Huang's work encompasses both inner conflicts and external wars, as well as the experience of growing up with local religious beliefs. Drawing inspiration from toy models and the architecture of Tainan’s local temples, he has used recycled styrofoam, wooden blocks, and inflatable canvas to create works featuring a playful and humorous sensibility.",[448],{"id":1804,"slug":1805,"no":1806,"is_group":605,"name":1807,"bio":1810,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1813},194,"tsherin-sherpa","LC-07",{"zh":1808,"en":1809,"ja":17,"ko":17},"才仁．夏爾帕","Tsherin Sherpa",{"zh":1811,"en":1812,"ja":17,"ko":17},"1968出生於尼泊爾，曾留學臺灣，後移居美國。具有唐卡繪畫訓練背景，其創作轉化藏傳佛教的圖像，使用普普藝術語彙表現，獨具當代藝術特色。近幾年的雕塑作品與尼泊爾傳統匠師合作，使用鎏金銅雕工藝技法，將傳統工藝轉化為新的藝術語言。","Born in Nepal in 1968, Tsherin Sherpa studied in Taiwan before moving to the United States. Trained in thangka painting, he transforms imagery from Tibetan Buddhism through the visual language of Pop Art, developing a distinctive contemporary artistic practice. In recent years, his sculptural works have been created in collaboration with traditional Nepalese artisans, and use the technique of gilded bronze sculpture to transform traditional craftsmanship into a new artistic language.",[448],{"id":1815,"slug":1816,"no":1817,"is_group":605,"name":1818,"bio":1821,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1824},195,"jam-wu","LC-08",{"zh":1819,"en":1820,"ja":17,"ko":17},"吳耿禎","Jam Wu",{"zh":1822,"en":1823,"ja":17,"ko":17},"1979年生於臺南，長年以剪紙為創作媒材，融合窗花、節慶、廟宇與多元文化，企圖使當代剪紙「逆種植」為臺灣新文化語彙。返鄉後推動「剪紙合作社」，邀請地方婦女共同創作。近年更深入探索南島文化與原住民編織傳統，持續思考剪紙如何扎根土地，形塑屬於臺灣自身的文化樣貌。","Born in Tainan in 1979, the artist has long worked with paper cutting, integrating window patterns, festivals, temple culture, and diverse traditions. After returning to Tainan, the artist founded the “Paper-Cutting Cooperative,” and engaged local women in collaborative creation. Her recent work explores Austronesian cultures and Indigenous weaving traditions, while pondering how paper cutting can take root and serve as a cultural form distinctive to Taiwan.",[448],{"id":1826,"slug":1827,"no":1828,"is_group":605,"name":1829,"bio":1832,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1835},196,"yang-chi-chuan","LC-09",{"zh":1830,"en":1831,"ja":17,"ko":17},"楊季涓","Yang Chi-chuan",{"zh":1833,"en":1834,"ja":17,"ko":17},"1985年生於臺北，擅長以雕塑與空間裝置探討生活、家庭、政治、都市環境及文化肌理。創作常以自製物件搭配大量留白，物件散置空間，如詩的短句、換行與意象跳接，引導觀眾穿梭其中，在明快的敘事節奏中，感受冷靜而富有餘韻的觀看經驗。","Born in Taipei in 1985, Yang Chi-chuan explores everyday life, family, politics, urban environments, and cultural textures through sculpture and spatial installations. Her practice often combines self-made objects with generous expanses of empty space. Scattered throughout the exhibition space like snippets of poetry, line breaks, and shifts in imagery, these objects invite viewers to move through the work, and in the brisk narrative rhythm, experience a restrained yet resonant mode of looking.",[448],{"id":1837,"slug":1838,"no":1839,"is_group":605,"name":1840,"bio":1843,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1846},197,"chiu-kuo-chun","LC-10",{"zh":1841,"en":1842,"ja":17,"ko":17},"邱國峻","Chiu Kuo-chun",{"zh":1844,"en":1845,"ja":17,"ko":17},"1968年生於臺北，現定居臺南。近年以臺灣民俗信仰為創作主題，從廟宇傳統刺繡發想，運用「雙面繡」技法發展系列作品。亦關注臺南產業變遷，將廢墟影像結合神仙刺繡，探問當代社會快速變動與價值崩解之下，信仰及精神寄託逐漸消逝的處境。","Born in Taipei in 1968, Chiu Kuo-chun is currently based in Tainan. In recent years, his work has focused on Taiwanese folk beliefs and religious traditions. Drawing inspiration from traditional temple embroidery, he has developed a series of works using a double-sided embroidery technique. He is also interested in the transformation of Tainan’s industries, and combines images of abandoned buildings with embroidered deities to explore the gradual disappearance of faith amid rapid social change and the erosion of established values.",[448],{"id":1848,"slug":1849,"no":1850,"is_group":605,"name":1851,"bio":1854,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1857},198,"chang-wei-yuan","LC-11",{"zh":1852,"en":1853,"ja":17,"ko":17},"張維元","Chang Wei-yuan",{"zh":1855,"en":1856,"ja":17,"ko":17},"1987年生於臺北，多以岩彩（膠彩）為創作媒材。近年受民間戲曲、信仰文化、刺繡與剪紙啟發，融合東方媒材聚散、虛實的空間概念與精神性。畫面常以黑白輪廓線凸顯人物，在斑斕豐富的色彩與節奏中，形塑鮮明而富民間文化意象的視覺風格。","Born in Taipei in 1987, Chang Wei-yuan primarily works with rock painting (mineral pigment acrylic painting). In recent years, he has drawn inspiration from traditional folk opera, religious beliefs, embroidery, and paper cutting, and has integrated concepts of spatial gathering and dispersal, presence and absence, and spirituality derived from Eastern artistic traditions. His compositions often emphasize figures with black-and-white contours, while vivid colors and rhythmic patterns create a distinctive visual style rich in imagery drawn from folk culture.",[448],{"id":1859,"slug":1860,"no":1861,"is_group":605,"name":1862,"bio":1865,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1868},199,"sharbendu-de","LC-12",{"zh":1863,"en":1864,"ja":17,"ko":17},"夏本度．德","Sharbendu De",{"zh":1866,"en":1867,"ja":17,"ko":17},"1978年生於印度，取得英國西敏大學攝影新聞碩士學位，兼具藝術家、作家與學者身分，長期關注「人的歸屬感」。成長過程中，他目睹友人陸續離鄉，自己亦曾赴英求學並長年在外工作生活。這些經驗促使他重新思考家鄉，以及城市、政策與環境變遷如何影響人與土地的連結。","Born in India in 1978, Sharbendu De holds a Master’s degree in Photojournalism from the University of Westminster in the United Kingdom. Working as an artist, writer, and scholar, he has long explored the question of human belonging. Growing up, he witnessed friends gradually leave their hometowns, and he himself went abroad to study in the United Kingdom before spending many years living and working away from home. These experiences prompted him to reconsider the meaning of homeland and how urbanization, policies, and environmental change shape people’s connections with the land.",[448],{"id":100,"slug":1870,"no":1871,"is_group":604,"name":1872,"bio":1875,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1878},"tainan-community-university","LC-13",{"zh":1873,"en":1874,"ja":17,"ko":17},"臺南社區大學","Tainan Community University",{"zh":1876,"en":1877,"ja":17,"ko":17},"成立於2001年，為社團法人臺南市社區大學研究發展學會立案之學術團體，透過人文藝術、語言文化、生命健康等六大學程，推動市民終身學習。本次雙年展由理事長張駿業發想並發起創作計畫，以社大「油彩心印象」課程的集體實踐，回應城市生活與藝術公共性的議題。","Established in 2001, Tainan Community University is an educational organization registered under the Tainan Community University Research and Development Association. Through six major learning programs encompassing the humanities and arts, language and culture, life and health, and other fields, it promotes lifelong learning among citizens. For this biennial, Director Chang Chun-yeh conceived and initiated a collaborative art project based on the collective practice of the university’s Oil Painting: Impressions from the Heart course, and responding to questions of urban life and the public dimension of art.",[448],{"id":1880,"slug":1881,"no":1882,"is_group":605,"name":1883,"bio":1886,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1889},201,"peter-baran","LC-14",{"zh":1884,"en":1885,"ja":17,"ko":17},"彼得．巴蘭","Peter Baran",{"zh":1887,"en":1888,"ja":17,"ko":17},"1993年生於斯洛伐克，以水泥為主要材料創作雕塑與裝置。對藝術家而言，混凝土不只是藝術媒材，更重要的是它所承載的意涵：作為全球使用最廣泛、並深刻定義現代性的人工材料，混凝土形塑了我們的地景、城市、建築、基礎建設與日常生活，也體現了人類建造、轉化與成長的欲望。","Peter Baran (b. 1993, Slovakia) creates sculptures and installations primarily using concrete, a material he considers fundamental to the era in which we live. Rather than treating concrete simply as an artistic medium, he works with it for the meanings it carries: as the world’s most widely used man-made material and one that has come to define modernity, concrete has profoundly shaped our landscapes, cities, architecture, infrastructure, and everyday lives, embodying the human desire to build, transform, and grow.",[448],{"id":1891,"slug":1892,"no":1893,"is_group":605,"name":1894,"bio":1897,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1900},202,"tuan-mami","MC-01",{"zh":1895,"en":1896,"ja":17,"ko":17},"阮英俊","Tuan Mami",{"zh":1898,"en":1899,"ja":17,"ko":17},"1981年生於越南河內，畢業於河內美術大學，現居河內。創作橫跨現地裝置、錄像、表演及觀念藝術，透過社會調研關注日常生活、移民與環境議題，以詩意手法呈現文化記憶與社群經驗。亦積極投入藝術組織，現為實驗藝術空間Á Space聯合創辦人暨藝術總監。","Born in Hanoi, Vietnam, in 1981, Tuan Mami graduated from the Vietnam University of Fine Arts and is currently based in Hanoi. His practice encompasses site-specific installation, video, performance, and conceptual art. Through social research, he explores issues related to everyday life, migration, and the environment, employing poetic approaches to reflect on cultural memory and community experiences. He is also actively involved in art organizations and is currently the co-founder and artistic director of Á Space, an experimental art space in Hanoi.",[493],{"id":1902,"slug":1903,"no":1904,"is_group":605,"name":1905,"bio":1908,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1911},203,"sugihara-nobuyuki","MC-02a",{"zh":1906,"en":1907,"ja":17,"ko":17},"杉原信幸","Sugihara Nobuyuki",{"zh":1909,"en":1910,"ja":17,"ko":17},"杉原信幸（Sugihara Nobuyuki）1980年生於日本長野縣大町市，畢業於東京藝術大學油畫碩士。創作從自然環境與原初文化出發，透過駐地研究，運用石、木、土、草、繩等天然素材進行大型裝置與社群共創。長期於臺灣、東南亞及加拿大進行原住民族文化研究，並自2010年起策辦「信濃國原始感覺藝術節」。","Born in Omachi, Nagano Prefecture, Japan, in 1980, Sugihara Nobuyuki holds an MFA in Oil Painting from Tokyo University of the Arts. His practice draws on natural environments and ancestral cultures, using site-based research to create large-scale installations and collaborative works with communities from natural materials such as stone, wood, earth, grass, and rope. He has conducted long-term research into Indigenous cultures in Taiwan, Southeast Asia, and Canada, and has organized the Shinano Province Primitive Sense Art Festival since 2010.\n\nInspired by the relationship between the old banyan tree in the museum garden and the museum space, Sugihara Nobuyuki and Nakamura Ayaka incorporate ropes made from oyster shells, a material associated with oyster farming in Tainan, to evoke the image of trees reaching toward the light. The work extends the artists’ research into Siraya culture during their residency in Tainan, responding to memories of the Siraya and the former “Taikang Inland Sea.” Interweaving the old banyan tree, Indigenous culture, and maritime imagery, the work reveals the historical traces and vitality of the land across time and space.",[493],{"id":1913,"slug":1914,"no":1915,"is_group":605,"name":1916,"bio":1919,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1922},204,"nakamura-ayaka","MC-02b",{"zh":1917,"en":1918,"ja":17,"ko":17},"中村綾花","Nakamura Ayaka",{"zh":1920,"en":1921,"ja":17,"ko":17},"中村綾花（Nakamura Ayaka），1982年生於日本沖繩縣，畢業於信州大學農學系。曾從事草莓栽培，後轉向藝術創作，以獨特的原創帽飾為主要實踐。2019年起擔任「信濃國原始感覺藝術節」協調人，2026年起擔任非營利組織「原始感覚舎」副理事長。","Born in Okinawa Prefecture, Japan, in 1982, Nakamura Ayaka graduated from the Faculty of Agriculture at Shinshu University. After working in strawberry cultivation, she turned to artistic practice, focusing primarily on her distinctive handmade hats. Since 2019, she has served as a coordinator for the Shinano Province Primitive Sense Art Festival, and since 2026, she has served as Vice Chairperson of the nonprofit organization Primitive Sense Company.",[493],{"id":1924,"slug":1925,"no":1926,"is_group":605,"name":1927,"bio":1930,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1933},221,"tok-yu-xiang","MC-04",{"zh":1928,"en":1929,"ja":17,"ko":17},"卓俞翔","Tok Yu-xiang",{"zh":1931,"en":1932,"ja":17,"ko":17},"1983年生於新加坡，現居臺南，畢業於新加坡拉薩爾藝術學院及國立臺南藝術大學應用藝術研究所。長期以陶瓷為主要媒材，延伸至裝置、雕塑與材料實驗，關注物質背後的文化與社會意涵。曾赴多國駐村及展覽，並從陶瓷實踐延伸探討商業、原料與新自由主義等議題。","Born in Singapore in 1983 and currently based in Tainan, Tok Yu-xiang graduated from LASALLE College of the Arts in Singapore and the Graduate Institute of Applied Arts at Tainan National University of the Arts. He has worked primarily with ceramics for many years, and has extended his artistic scope into installation, sculpture, and experimental work with materials. His work explores the cultural and social meanings embedded within materials, and addresses issues connected with commerce, raw materials, and neoliberalism. He has participated in residencies and exhibitions in various countries.",[493],{"id":1935,"slug":1936,"no":1937,"is_group":605,"name":1938,"bio":1941,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1944},205,"marcos-kueh","MC-05",{"zh":1939,"en":1940,"ja":17,"ko":17},"郭晟邦","Marcos Kueh",{"zh":1942,"en":1943,"ja":17,"ko":17},"1995年生於馬來西亞砂拉越，現居荷蘭海牙，畢業於海牙皇家藝術學院。以紡織為主要媒材，從婆羅洲傳統織造與成長經驗出發，探討殖民歷史、身分認同與文化再現。近年聚焦離散、勞動與紡織生產，並結合自身在歐洲產業工作的移民經驗展開創作。","Born in Sarawak, Malaysia, in 1995 and currently based in The Hague, Netherlands, Marcos Kueh graduated from the Royal Academy of Art, The Hague. Working primarily with textiles, he draws on traditional weaving practices in Borneo and his own experiences of growing up to explore colonial histories, identity, and cultural representation. In recent years, his art has focused on diaspora, labor, and textile production, incorporating his experiences as a migrant working in Europe’s industrial sector.",[493],{"id":1946,"slug":1947,"no":1948,"is_group":605,"name":1949,"bio":1952,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1955},116,"sou-fujimoto","EC-01",{"zh":1950,"en":1951,"ja":17,"ko":17},"藤本壯介","Sou Fujimoto",{"zh":1953,"en":1954,"ja":17,"ko":17},"1971年出生於日本北海道，1994年畢業於東京大學工學部建築學科，以開放、通透的美學聞名。2013年設計英國蛇形畫廊展亭(Serpentine Pavilion)，奠定其國際地位。2025年擔任大阪・關西萬博設計總監，以綿延逾2公里的巨型木構「大屋根」（Grand Ring）串聯各國展館，形構多元匯流的理念。","Born in Hokkaido, Japan, in 1971, Sou Fujimoto graduated from the Department of Architecture at the University of Tokyo in 1994. Known for his open and transparent approach to architecture, Fujimoto explores the boundaries between nature and the built environment. In 2013, he designed the Serpentine Gallery Pavilion in London, which established his international reputation. In 2025, he served as the Expo Site Design Producer for Expo 2025 Osaka, Kansai, in which role he conceived the approximately two-kilometre-long timber “Grand Ring” that connects the pavilions and embodies the concept of “Unity in Diversity.”",[269],{"id":1957,"slug":1958,"no":1959,"is_group":605,"name":1960,"bio":1963,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1966},206,"liang-jen-hung","RC-08",{"zh":1961,"en":1962,"ja":17,"ko":17},"梁任宏","Liang Jen-hung",{"zh":1964,"en":1965,"ja":17,"ko":17},"1957年生於臺南安定，畢業於臺南藝術學院造形藝術研究所，創作涵蓋複合媒材、鋼鐵焊接與環境裝置。長年往返高雄與臺南的生活經驗成為創作養分。其動態雕塑融合工業、宗教、自然與生命元素，透過機械運動及觀者互動，探討社會情感與生命議題，在機械與人性之間建立對話。","Liang Jen-hung was born in Anding, Tainan, in 1957, and graduated from the Graduate Institute of Plastic Arts at Tainan National University of the Arts. Liang's art encompasses mixed media, welded steel sculpture, and environmental installation. His long-term experience of commuting between Kaohsiung and Tainan has served as an important source of inspiration for his work, which consists of kinetic sculptures incorporating elements of industry, religion, nature, and life. Through mechanical movement and audience interaction, Liang explores social emotions and questions of life, and hopes to establish a dialogue between machinery and humanity.",[404],{"id":1968,"slug":1969,"no":1970,"is_group":604,"name":1971,"bio":1974,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1977},207,"small-things-news","GC-03",{"zh":1972,"en":1973,"ja":17,"ko":17},"小事報團隊","Small Things News",{"zh":1975,"en":1976,"ja":17,"ko":17},"「小事報」成立於2019年，已舉辦六屆小學流域編輯工作營，以實地踏查與實體報紙編輯為方法，串連曾文溪流域的地方知識與文化風景。「NaNaNews—七條通新聞社」聚焦臺南府城，由七位核心成員組成，持續以採訪、編輯與影像記錄地方故事。","Founded in 2019, Small Things News has held six sessions of its watershed editorial workshop, using field research and print newspaper-making to connect local knowledge and cultural landscapes along the Zengwen River. For “NaNaNews: The 7-Avenue Newsroom,” the team focuses on Tainan’s historic city center. The project brings together seven core members: Hung Shu-ching, Gong Yih-jau, Syu Ciao-xin, Chen Fang-hsien, Lin Yin, Lin Tian-bai, and Tseng Sheng-hsian.",[359],{"id":1979,"slug":1980,"no":1981,"is_group":604,"name":1982,"bio":1985,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1988},208,"the-third-act-collection","GC-06",{"zh":1983,"en":1984,"ja":17,"ko":17},"大女Style聚落","The Third Act Collection",{"zh":1986,"en":1987,"ja":17,"ko":17},"成員：吳佩珊、陳翊羽、陳思睿、官郁珊、杜昀庭、吳竺恩、李珉柔、陳晨、丁柔勻、馮靖評、陳玫瑄、柯榆柔、廖宥蓁、蕭芷澄、簡雪麗、游旻寧、林柏泰、陳綵絹、南藝大材質創作與設計系纖維組、大女Style聚落\n\n「大女Style聚落」由「多加思所」創辦人李秀蘭發起，是為50歲以上女性打造的共享空間與第三人生實踐平台。國立臺南藝術大學應用藝術研究所以材料工藝為核心，此次師生與聚落協作，結合纖維創作、女性培力與社群共創，從地方生活經驗出發，回應女性、文化傳承與社會參與等議題。","Members: Wu Pei-shan, Chen Yiyu, Chen Si-ray, Guan Yu-shan, Tu Yun-ting, Wu Chu-en, Lee Min-jou, Chen Chen, Ding Rou-yun, Feng Chin-pin, Chen Mei-hsuan, Ko Yu-rou, Liao You-chen, Siu Tsz-ching, Chien Shirly, Yu Min-ning, Lin Po-tai, Chen Cai-juan, Fiber Division, Department of Material Arts and Design, TNNUA, The Third Act Collection\n\nThe Third Act Collection was initiated by Li Hsiu-lan, founder of Do+T, as a shared space and platform for women aged 50 and above to explore a "Third Act" of life. Centered on material craft, the Graduate Institute of Applied Arts at Tainan National University of the Arts collaborates with the community through fiber art, women’s empowerment, and community-based co-creation. Drawing on local life experiences, the project responds to women's issues, cultural transmission, and social participation.",[359],{"id":1990,"slug":1991,"no":1992,"is_group":604,"name":1993,"bio":1996,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":1999},209,"geng-pin-landscape-design","LC-15",{"zh":1994,"en":1995,"ja":17,"ko":17},"耕品景觀設計","Geng Pin Landscape Design",{"zh":1997,"en":1998,"ja":17,"ko":17},"耕品景觀有限公司於2020年創立於臺南，專注於景觀設計與施作，結合創意與實務，打造兼具美感與特色的空間。擅長以懷舊、復古元素為創作靈感，發揮現有材料的獨特價值，賦予舊物全新生命。團隊年輕而充滿活力，秉持職人精神，用心打造每一處景觀。","Founded in Tainan in 2020, Geng Pin Landscape Design specializes in landscape design and construction. Seamlessly blending creativity with practice, the firm creates aesthetic, character-rich spaces. With a design philosophy inspired by nostalgic and vintage elements, Geng Pin harnesses the distinctive qualities of existing materials to breathe new life into aging objects. Driven by a young, vibrant team with a commitment to craftsmanship, every landscape is thoughtfully tailored with precision and passion.",[448],{"id":2001,"slug":2002,"no":2003,"is_group":605,"name":2004,"bio":2007,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2010},210,"hao-wen-sin","HC-05a",{"zh":2005,"en":2006,"ja":17,"ko":17},"郝渂心","Hao Wen-sin",{"zh":2008,"en":2009,"ja":17,"ko":17},"郝渂心，畢業於國立臺北藝術大學美術系，現就讀國立高雄師範大學跨領域藝術研究所，關注流動的生命樣態與社群、組織之間的網絡關係。","Hao Wen-sin graduated from the Department of Fine Arts at Taipei National University of the Arts and is currently pursuing a degree in the Graduate Institute of Transdisciplinary Arts at National Kaohsiung Normal University. Her practice explores fluid forms of life and the network relationships between communities and organizations.",[315],{"id":2012,"slug":2013,"no":2014,"is_group":605,"name":2015,"bio":2018,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2021},211,"cai-ya-zhu","HC-05b",{"zh":2016,"en":2017,"ja":17,"ko":17},"蔡蕥竹","Cai Ya-zhu",{"zh":2019,"en":2020,"ja":17,"ko":17},"蔡蕥竹，高雄人，畢業於國立南藝大藝術史學系，現就讀國立高雄師範大學跨領域藝術研究所。目前關注臺灣藝術圈新型態創作模式：研究型創作。","Cai Ya-zhu, from Kaohsiung, graduated from the Department of Art History at Tainan National University of the Arts and is currently pursuing a degree in the Graduate Institute of Transdisciplinary Arts at National Kaohsiung Normal University. Her current research focuses on an emerging mode of artistic creation in Taiwan’s art scene: research-based art.",[315],{"id":2023,"slug":2024,"no":2025,"is_group":604,"name":2026,"bio":2029,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2032},212,"ncku-echo","HC-05c",{"zh":2027,"en":2028,"ja":17,"ko":17},"迴聲社造","NCKU ECHO",{"zh":2030,"en":2031,"ja":17,"ko":17},"迴聲社造，國立成功大學學生自2021年開始於三寮灣與蘆竹溝進行定期田野調査，將在地知識與記憶轉化為國小營隊、地方刊物與行動展覽，2025年藉風災深入北門其他社區，和居民齊力保存、修復，說出社區的故事。","NCKU ECHO is a community-based initiative formed by students at National Cheng Kung University. Since 2021, the group has conducted regular field research in Sanyou Bay and Luzhugou, transforming local knowledge and memories into elementary school workshops, local publications, and action-based exhibitions. Following the impact of typhoons in 2025, the group expanded its fieldwork to other communities in Beimen, working alongside residents to preserve and restore local sites while listening to community stories.",[315],{"id":2034,"slug":2035,"no":2036,"is_group":605,"name":2037,"bio":2040,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2043},121,"wu-yu-han","HC-04a",{"zh":2038,"en":2039,"ja":17,"ko":17},"吳語涵","Wu Yu-han",{"zh":2041,"en":2042,"ja":17,"ko":17},"吳語涵，1993年出生於臺灣，畢業於國立高雄師範大學美術學系碩士班，現就讀該校跨領域藝術研究所。創作從生命經驗與家族史出發，關注流域、地方記憶與族群歷史。自2024年參與福安坑溪走讀後，展開家族史與田野研究，追溯母系客家祖厝的歷史故事，並延伸探討臺灣巴宰原住民相關議題。","Born in Taiwan in 1993, Wu Yu-han graduated from the MFA Program in the Department of Fine Arts at National Kaohsiung Normal University and is currently pursuing a degree from the university's Graduate Institute of Transdisciplinary Arts. Her practice is inspired by lived experience and family history, and focuses on river basins, local memory, and ethnic histories. Since participating in field-based walking research along the Fu'an Keng River in 2024, she has embarked on an ongoing investigation into her family history and local fieldwork, tracing stories connected to her maternal Hakka ancestral home and extending her research to issues concerning Taiwan's Pazeh indigenous people.",[315],{"id":2045,"slug":2046,"no":2047,"is_group":605,"name":2048,"bio":2051,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2054},122,"shen-kung-hung","HC-04b",{"zh":2049,"en":2050,"ja":17,"ko":17},"沈肱泓","Shen Kung-hung",{"zh":2052,"en":2053,"ja":17,"ko":17},"沈肱泓，臺灣美術班體制養成，畢業於國立臺北藝術大學美術學系雕塑組，現就讀於國立高雄師範大學跨領域藝術研究所並修讀中等教育學程。目前創作核心聚焦於美術體制中的政治干預因素，並期望自身跳脫作品式以及展覽式的藝術實踐方式。","Shen Kung-hung was trained through Taiwan’s art education system and graduated from the Sculpture Division of the Department of Fine Arts at Taipei National University of the Arts. He is currently pursuing a degree at the Graduate Institute of Transdisciplinary Arts at National Kaohsiung Normal University, where he is also studying in the Secondary Education Program. His practice focuses on political forces and interventions within the institutional art system, while seeking to move beyond object-based and exhibition-oriented modes of artistic practice.",[315],{"id":2056,"slug":2057,"no":2058,"is_group":605,"name":2059,"bio":2062,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2065},213,"working-hard-kuo-po-yu-she-wen-ying","GC-05",{"zh":2060,"en":2061,"ja":17,"ko":17},"太認真（郭柏俞、佘文瑛）","Working Hard (Kuo Po-yu, She Wen-ying)",{"zh":2063,"en":2064,"ja":17,"ko":17},"「太認真」由郭柏俞與佘文瑛於 2015 年成立，現居與創作於臺灣臺南。在結合田野研究、聲音與空間裝置的創作中，他們將藝術作為與當地移民社群建立對話與學習的方法；嘗試各種來自日常生活經驗的多樣性材料，並與不同的產業與工法合作，創造出具有沉浸式與現地性體驗的空間裝置作品。","Working Hard is an artistic duo formed by Kuo Po-yu and She Wen-ying in 2015, currently based in Tainan, Taiwan. Driven by field research, sound, and spatial installation, their practice uses art-making as a mode of dialogue and collective learning with local immigrant communities. Through exploring diverse cultural terrains, they experiment with materials drawn from daily life and collaborate with artisans, small industries, and fabrication processes to create immersive, site-responsive installations.",[359],{"id":2067,"slug":2068,"no":2069,"is_group":605,"name":2070,"bio":2073,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2076},214,"tsai-wei-jen","TC-07",{"zh":2071,"en":2072,"ja":17,"ko":17},"蔡濰任","Tsai Wei-jen",{"zh":2074,"en":2075,"ja":17,"ko":17},"現居臺南，創作靈感源自民俗信仰與日常生活。藝術家關注臺灣遶境、焚香與節慶等儀式文化。擅長透過誇張變形的身體、繁複紋飾與神祇意象，挪用並重構民間信仰的視覺語彙，交織神聖與世俗、虛實與現實。創作如同對文化記憶的重新編碼，將傳統轉譯為當代語言，探尋地方文化中的靈性與身分認同。","Based in Tainan, Tsai Wei-jen draws inspiration from Taiwanese folk beliefs and everyday life, particularly religious processions, incense rituals, and traditional festivals. Through distorted bodies, intricate patterns, and divine imagery, he reconfigures the visual language of folk religion, translating tradition into a contemporary vocabulary that explores spirituality, cultural memory, and local identity.",[],{"id":2078,"slug":2079,"no":2080,"is_group":604,"name":2081,"bio":2084,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2087},215,"new-phase-art-space","GC-11",{"zh":2082,"en":2083,"ja":17,"ko":17},"新生態藝術環境","New Phase Art Space",{"zh":2085,"en":2086,"ja":17,"ko":17},"「新生態藝術環境」由杜昭賢於1992年創立於臺南，結合畫廊、劇場、書坊、咖啡廳與講座等多元空間，推動當代藝術與實驗性創作。1996年遷至民權路，1999年結束營運。其後杜昭賢持續投入城市藝術，參與海安路藝術造街，並陸續創立加力畫廊與B.B. ART。","Founded by Jamie Tu in Tainan in 1992, New Phase Art Space brought together a gallery, theater, bookstore, café, lecture space, and other cultural facilities, and promoted contemporary and experimental art. Originally located on Yongfu Road, the space relocated to Minquan Road in 1996 and ceased operation in 1999. Tu subsequently continued her engagement with urban art, participating in the Haian Road Art Street initiative and later founding Inart Space and B.B.ART.",[359],{"id":2089,"slug":2090,"no":2091,"is_group":605,"name":2092,"bio":2095,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2098},216,"karolina-bregula","GC-04",{"zh":2093,"en":2094,"ja":17,"ko":17},"咖容琳娜．布瑞秋拉","Karolina Breguła",{"zh":2096,"en":2097,"ja":17,"ko":17},"咖容琳娜．布瑞秋拉為視覺藝術家、電影創作者及教育工作者，其創作透過人類學與社會學的視角，探討藝術、建築與城市空間，並聚焦於敘事、記憶、虛構與想像等主題。她經常與參與者共同建構敘事，探索藝術與社會及政治現實的交會。作品曾於倫敦當代藝術中心、紐約猶太博物館、東京都寫真美術館及華沙扎切塔國家美術館等機構展出，並參與威尼斯雙年展、新加坡雙年展及哥德堡雙年展等重要國際展覽。曾獲德意志銀行基金會Views 獎、Samsung Art Master 及格地尼亞電影節Golden Claw 等獎項。現居波蘭什切青，與臺南維持逾十年的緊密連結。","Karolina Breguła is a visual artist, filmmaker and educator. Her work explores art, architecture, and urban spaces through anthropological and sociological perspectives, with a particular interest in storytelling, memory, fiction, and imagination. She creates narratives collaboratively with participants and examines the ways art intersects with social and political realities. Her works have been exhibited internationally, including at the CCA in London, the Jewish Museum in New York, the Tokyo Photographic Art Museum, and Zachęta National Gallery of Art in Warsaw, as well as at major international events such as the Venice Biennale, the Singapore Biennale, and the Gothenburg Biennale. Her work has also received numerous awards, including the Views Deutsche Bank Foundation Award, Samsung Art Master, and the Golden Claw at the Gdynia Film Festival. Breguła lives in Szczecin, Poland, and has maintained close ties with Tainan for more than a decade.",[359],{"id":2100,"slug":2101,"no":2102,"is_group":605,"name":2103,"bio":2106,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2109},217,"huang-zhi-yuan","TC-05",{"zh":2104,"en":2105,"ja":17,"ko":17},"黃雉原","Huang Zhi-yuan",{"zh":2107,"en":2108,"ja":17,"ko":17},"蓬萊齋工作室負責人，2018年由人類學研究跨足傳統建築彩繪，師承潘岳雄，專精門神與寺廟壁堵繪製。2020年成立工作室，投入傳統彩繪創作與修復，曾參與西螺福興宮、佳里吉和堂等新廟彩繪，並主持哈瑪星代天宮、白河大仙寺等修復，以田野視角結合傳統技藝，關注民俗信仰與文化資產保存。","Huang Zhi-yuan is the founder of Honglaizai (Penglai) Studio. Trained in anthropology and traditional architectural painting under Pan Yueh-hsiung, he specializes in door-god and temple murals. Since establishing his studio in 2020, he has worked on temple painting and restoration projects across Taiwan, with a focus on integrating ethnographic perspectives with traditional craftsmanship and a commitment to preserving folk beliefs and cultural heritage.",[],{"id":2111,"slug":2112,"no":2113,"is_group":605,"name":2114,"bio":2117,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2120},218,"joshua-sofaer","GC-07",{"zh":2115,"en":2116,"ja":17,"ko":17},"約書亞．沙發兒","Joshua Sofaer",{"zh":2118,"en":2119,"ja":17,"ko":17},"英國藝術家，長期透過公共參與及地方研究，探索人與人、人與場所的連結。擅於以故事、對話及集體行動回應特定場域的記憶與想像，創作橫跨表演、劇場、裝置與公共藝術。","The British artist Joshua Sofaer has conducted a long-term exploration of the connections between people, and between people and places, through long-term public engagement and place-based research. His work often draws on storytelling, dialogue, and collective action to respond to memories and imagination concerning  specific sites, and encompasses performance, theatre, installation, and public art.",[359],{"id":2122,"slug":2123,"no":2124,"is_group":605,"name":2125,"bio":2128,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2131},219,"jane-ingram-allen","GC-08",{"zh":2126,"en":2127,"ja":17,"ko":17},"艾婕音","Jane Ingram Allen",{"zh":2129,"en":2130,"ja":17,"ko":17},"美國環境裝置與手工紙藝術家，長期關注永續生活與環境議題，擅於運用植物纖維與在地材料創作，並邀請社群共同參與，透過共創探索人、土地與環境之間的深刻連結。作品曾於美國、臺灣、日本、尼泊爾及巴西等地展出。","American environmental installation and handmade paper artist Jane Ingram Allen has long explored sustainable living and environmental issues. She works primarily with plant fibers and locally sourced materials, and invites communities to participate in collaborative processes that explore the profound connections among people, land, and the environment. Her work has been exhibited in the United States, Taiwan, Japan, Nepal, Brazil, and elsewhere.",[359],{"id":2133,"slug":2134,"no":2135,"is_group":605,"name":2136,"bio":2139,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2142},220,"rachmad-afandi","MC-03",{"zh":2137,"en":2138,"ja":17,"ko":17},"拉赫瑪德・阿凡迪","Rachmad Afandi",{"zh":2140,"en":2141,"ja":17,"ko":17},"1994年生於印尼日惹，畢業於日惹印尼藝術學院，現居日惹。創作涵蓋繪畫、版畫、裝置、影像與表演，從歷史、民間傳說及神話汲取靈感，關注後殖民語境，以及藝術、伊斯蘭傳統與歷史的交會，探討政治、社會與宗教如何形塑個人及群體視角，並積極參與當地藝術社群。","Born in Yogyakarta, Indonesia, in 1994, Rachmad Afandi graduated from the Indonesian Institute of the Arts Yogyakarta and is currently based in Yogyakarta. His practice encompasses painting, printmaking, installation, video, and performance. Drawing inspiration from history, folklore, and mythology, he explores postcolonial contexts and the intersections of art, Islamic traditions, and history. His work examines how political, social, and religious forces shape individual and collective perspectives, and he actively engages with the local artistic community.",[493],{"id":2144,"slug":2145,"no":2146,"is_group":605,"name":2147,"bio":2150,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2153},118,"fang-wei","EC-03",{"zh":2148,"en":2149,"ja":17,"ko":17},"方瑋","Fang Wei",{"zh":2151,"en":2152,"ja":17,"ko":17},"1978年生於臺南，為臺灣中生代建築師，⁠都市山葵／方瑋建築師事務所創辦人。長期深耕臺南與臺灣南部地區，其設計實踐融合建築、藝術與環境思考，關注人、自然與都市環境的連結，代表作品如〈層之家〉與榮獲金點設計獎的「臺南長屋」等。","Born in Tainan in 1978, Fang Wei is a Taiwanese architect and the founder of Urban Wasabi \u002F Fang Wei Architects. With a long-standing practice rooted in Tainan and southern Taiwan, his work integrates architecture, art, and environmental thinking, exploring the connections between people, nature, and the urban environment. His representative projects include House F and Tainan Long House, which received a Golden Pin Design Award.",[269],{"id":2155,"slug":2156,"no":2157,"is_group":605,"name":2158,"bio":2161,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2164},119,"chien-hsueh-yi","EC-06",{"zh":2159,"en":2160,"ja":17,"ko":17},"簡學義","Chien Hsueh-yi",{"zh":2162,"en":2163,"ja":17,"ko":17},"1954年出生於屏東，畢業於東海大學建築系，為竹間聯合建築師事務所創辦人。1986年起投入建築創作，作品涵蓋公共建築與文化場館，長期探索材料、空間與人文環境的關係。代表作包括鶯歌陶瓷博物館、國立臺灣歷史博物館等，曾三度獲臺灣建築獎首獎及第24屆國家文藝獎。","Born in Pingtung in 1954, Chien Hsueh-yi graduated from the Department of Architecture at Tunghai University and is the founder of Chien Space Architects & Associates. Since beginning of his architectural practice in 1986, he has worked extensively on public architecture and cultural venues, with a sustained interest in the relationships between materials, space, and the human environment. His major works include the Yingge Ceramics Museum and the National Museum of Taiwan History. He has received the Taiwan Architecture Award Grand Prize three times and was a recipient of the 24th National Award for Arts.",[269],{"id":2166,"slug":2167,"no":2168,"is_group":605,"name":2169,"bio":2172,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2175},120,"bonnie-tchien-hwen-ying","EC-07",{"zh":2170,"en":2171,"ja":17,"ko":17},"簡琿瑛","Bonnie TCHIEN Hwen-ying",{"zh":2173,"en":2174,"ja":17,"ko":17},"1950年出生於臺灣，現定居法國。長期於歐洲從事藝術創作，融合臺法雙重文化經驗，以當代語彙重新詮釋太極、武術、古典舞蹈與京劇。作品結合舞蹈、戲劇、服飾及身體表演，透過特殊造型與不穩定姿態，探索陰陽平衡，以及身體、文化與性別之間的關係。","Born in Taiwan in 1950 and currently based in France, TCHIEN  has pursued her artistic practice in Europe for many years, drawing on her bicultural Taiwanese and French experiences to reinterpret Taiji, martial arts, classical dance, and Peking opera using contemporary artistic vocabularies. Her work combines dance, theatre, costume, and bodily performance, and uses distinctive forms and unstable postures to explore the balance of yin and yang, as well as the relationship between the body, culture, and gender.",[269],{"id":2177,"slug":2178,"no":2179,"is_group":605,"name":2180,"bio":2183,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2186},222,"hsieh-mei-ling","TC-06",{"zh":2181,"en":2182,"ja":17,"ko":17},"謝美鈴","Hsieh Mei-ling",{"zh":2184,"en":2185,"ja":17,"ko":17},"應用美術系畢業，發跡於臺南佳里創意工作室，擅長以剪紙為創作媒材，結合地方文史，轉化為燈彩、裝置藝術與兒童音樂劇場。長期投入藝術教育與共創，曾赴日本及義大利米蘭設計週展演，著有《創意101》、《祝福—阿公阿嬤愛剪紙》等書，持續以剪紙連結地方文化與生活。","Hsieh Mei-ling is a Tainan-based artist specializing in paper cutting. Drawing on local history and culture, she uses this traditional craft to make lanterns, installations, and children’s musical theater items. Dedicated to art education and collaborative creation, she has presented works in Japan and at Milan Design Week, and uses paper cutting to link cultural heritage with contemporary life.",[],{"id":2188,"slug":2189,"no":2190,"is_group":605,"name":2191,"bio":2194,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2197},223,"chen-li-fan","TC-02",{"zh":2192,"en":2193,"ja":17,"ko":17},"陳立凡","Chen Li-fan",{"zh":2195,"en":2196,"ja":17,"ko":17},"吟遊文創設計工作室負責人，東海大學工業設計碩士。專精絨花、纏花與蓪草等傳統工藝，結合植物觀察、田野調查與永續材料，探索工藝的當代轉譯。作品曾獲臺灣綠工藝認證、A+文化資產獎及紅點設計博物館典藏，並持續透過展覽、駐村與教學推動傳統工藝的跨域實踐。","Chen Li-fan, founder of Yinyou Cultural and Creative Design Studio, holds an MA in Industrial Design from Tunghai University. Specializing in traditional crafts including velvet flowers, silk-wrapped flowers, and pith paper, she has explored their contemporary interpretations through her reliance on botanical observation and sustainable materials. Her work has received Taiwan Green Craft certification and the A+ Cultural Heritage Award, and has entered the Red Dot Design Museum collection.",[],{"id":2199,"slug":2200,"no":2201,"is_group":605,"name":2202,"bio":2205,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2208},224,"chen-ying-ru","TC-01",{"zh":2203,"en":2204,"ja":17,"ko":17},"陳盈如","Chen Ying-ru",{"zh":2206,"en":2207,"ja":17,"ko":17},"1983年出生於臺灣，國立臺灣藝術大學書畫藝術學系碩士，現為專職藝術創作者。作品曾於巴黎、吉隆坡、愛知、北京、上海及香港等地展出，並獲多所美術機構典藏。創作以臺灣民俗與傳統文化為核心，融入日常經驗與想像，以幽默造型、鮮明色彩轉化傳統元素，形塑獨具個人特色的當代視覺語彙。","Born in Taiwan in 1983, Chen Ying-ru holds an MFA in Calligraphy and Painting Arts from National Taiwan University of Arts. Her works have been exhibited internationally and are held in various institutional collections. Rooted in Taiwanese folk traditions, her work incorporates everyday experience and imagination, reinterpreting traditional motifs through playful forms and vibrant colors to create a distinctive contemporary visual language.",[],{"id":2210,"slug":2211,"no":2212,"is_group":605,"name":2213,"bio":2216,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2219},225,"li-yu-shen","TC-04",{"zh":2214,"en":2215,"ja":17,"ko":17},"李育昇","Li Yu-shen",{"zh":2217,"en":2218,"ja":17,"ko":17},"2003年開始參與劇場相關視覺與美術服裝設計；2017年後專職為臺島諸神形塑當代新容，現為「拚場藝術撞擊」聯合藝術總監，跨領域專注於臺灣⺠間信仰再現代化與文化轉型正義相關創作。","Since 2003, Lee Yu-sheng has worked in visual, art, and costume design for theater. Beginning in 2017, he has focused on creating contemporary representations of Taiwanese deities. As co-artistic director of Piànn-tiûnn Art Impact, his interdisciplinary work has explored the modernization of Taiwanese folk beliefs and the issue of cultural transitional justice.",[],{"id":2221,"slug":2222,"no":2223,"is_group":605,"name":2224,"bio":2227,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2230},226,"hsu-ping-den","HC-X12",{"zh":2225,"en":2226,"ja":17,"ko":17},"許丙丁","Hsu Ping-den",{"zh":2228,"en":2229,"ja":17,"ko":17},"許丙丁（1899－1977），生於臺南，為作家、詩人及文化工作者，創作橫跨傳統詩文、通俗文學與歌謠。擅長以臺語及庶民視角書寫臺南風土、民俗與地方生活，作品兼具幽默與諷刺。代表作包括長篇小說《小封神》及歌詞〈菅芒花〉等，是戰前至戰後臺南重要的文藝人物。","Hsu Ping-den (1899-1977), born in Tainan, was a writer, poet, and cultural figure whose work spanned classical poetry and prose, popular literature, and folk songs. Writing in Taiwanese from the perspective of ordinary people, he was particularly known for his depictions of Tainan’s local customs, traditions, and everyday life, and his writing was often infused with humor and satire. His best-known works include the novel The Little Investiture of the Gods (Xiao Fengshen) and the lyrics to “Kang-máng Flower.” He was an important literary and cultural figure in Tainan during the prewar and postwar periods.",[315],{"id":2232,"slug":2233,"no":2234,"is_group":605,"name":2235,"bio":2238,"country":17,"birth_year":1434,"website":17,"instagram":17,"portrait":1434,"portrait_credit":17,"themes":2241},227,"lin-po-liang","HC-X13",{"zh":2236,"en":2237,"ja":17,"ko":17},"林柏樑","Lin Po-liang",{"zh":2239,"en":2240,"ja":17,"ko":17},"林柏樑（1952–），出生於高雄左營，臺灣攝影家。長期以攝影記錄臺灣社會、文化與文學人物，1998年起展開「文學的容顏」作家群像攝影計畫，拍攝葉石濤等重要作家。其作品兼具紀實性與人文關懷，以影像保存作家生命姿態與時代記憶，留下珍貴的臺灣文學視覺檔案。","Lin Po-liang (b. 1952), born in Zuoying, Kaohsiung, is a Taiwanese photographer who has used photography to document Taiwan’s society, culture, and literary figures over the course of several decades. Beginning in 1998, he embarked on the photographic project Countenances of Literature: Portraits of Literary Giants of Taiwan, which portrayed such prominent writers as Yeh Shih-tao. Lin's work combines documentary photography with a deep sense of humanistic concern, preserving the writers’ lived presence and the memories of their time, while serving as a valuable visual archive of Taiwanese literary history.",[315],[2243,2270,2309,2323,2354,2368,2402,2416,2486,2500,2565,2579,2600,2621,2668,2707,2759,2774,2795,2812,2830,2850,2868,2907,2929,2954,2970,3005,3033,3060,3088,3116,3143,3167,3195,3224,3251,3278,3306,3329,3347,3365,3383,3401,3419,3437,3455,3535,3554,3590,3610,3630,3653,3672,3686,3738,3773,3795,3818,3856,3895,3916,3949,3986,4035,4052,4073,4093,4111,4129,4150,4186,4204,4220,4238,4256,4275,4295,4356,4417,4433,4449,4466,4484,4502,4521,4535,4549,4563,4579,4595,4609,4623,4639,4675,4695,4712,4763,4809,4830,4899,4984,5005,5024,5044,5064,5086,5152,5172,5193,5213,5235,5297,5316,5336,5357,5376,5396,5416,5435,5450,5482,5547,5616,5645,5664,5680,5696,5712,5728,5746,5762,5783,5801,5819,5855,5869,5887,5905,5921,5937,5953,5969,5985,6001,6017,6033,6049,6081,6114,6161,6199,6232,6266,6300],{"id":2244,"slug":2245,"no":2246,"title":2247,"artists":2252,"venue":1237,"location_note":17,"lat":1434,"lng":1434,"year":2253,"medium":2254,"dimensions":17,"is_new":605,"description":2257,"notes":2260,"credit":2261,"series":2264,"names":2267,"incomplete":604,"images":2268,"image_credit":17,"themes":2269},653,"wang-chieh-tiger-1","26-TC-03-01",{"zh":2248,"en":2249,"ja":2250,"ko":2251},"資料整理中","Details to come","情報準備中","정보 준비 중",[1437],"2026",{"zh":2255,"en":2256,"ja":17,"ko":17},"水彩或木刻版畫，80×110公分","80 × 110 cm",{"zh":2258,"en":2259,"ja":17,"ko":17},"該系列以水彩與木刻版畫為媒材，源自藝術家實地走訪臺南市區宮廟的觀察與見聞，並融入個人美學經驗。創作交織東西方藝術風格，在保留虎爺童趣姿態與民間信仰意涵的同時，轉化為具當代美感的平面造型。藝術家透過傳統圖像與現代形式的重新組構，為古老宗教藝術注入新的視覺語彙，呈現虎爺形象在當代藝術中的多元轉譯，也展現地方信仰持續流動與再生的文化生命力。","Using watercolor and woodblock prints, this series draws on the artist’s personal aesthetic experience and on-site observations throughout Tainan. Blending Eastern and Western influences, the works focus on Lord Tiger’s playful character and folk symbolism, while transforming traditional imagery into contemporary visual forms. By reconfiguring traditional images and modern sensibility, the artist offers new interpretations of Lord Tiger, which reveal the evolving vitality of local beliefs and their continued renewal in contemporary life.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},"藝術家自藏","Courtesy of the artist",{"zh":2265,"en":2266,"ja":17,"ko":17},"迴圈．繞境｜百虎計畫","Ritual Procession: Tiger Circuit",{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":2271,"slug":2272,"no":2273,"title":2274,"artists":2277,"venue":583,"location_note":2278,"lat":1434,"lng":1434,"year":2253,"medium":2279,"dimensions":17,"is_new":605,"description":2282,"notes":2285,"credit":2286,"series":2287,"names":2288,"incomplete":605,"images":2289,"image_credit":17,"themes":2308},128,"forest-of-the-wilds","01-EC-02",{"zh":2275,"en":2276,"ja":17,"ko":17},"野原之森","Forest of the Wild",[1425],"1F Courtyard Garden",{"zh":2280,"en":2281,"ja":17,"ko":17},"臺灣原生種、臺灣特有種、臺灣馴化種","Native Species of Taiwan \u002F Endemic Species of Taiwan \u002F Naturalized Species in Taiwan",{"zh":2283,"en":2284,"ja":17,"ko":17},"在臺南獨有的氣候與自然紋理下，植物的生與死、蛻變及演化。 雨水、光影與風息穿過老榕葉隙間灑落，在此緩緩停泊， 亞熱帶島嶼植栽蓬勃生長，如海輕搖，如浪層疊。本作的具體策略在於避開榕樹樹根，以原有植栽範圍，強化複層植物，並新增小型原生喬木，造就出共生之園的野原之森。","Inspired by Tainan’s distinctive climate and natural patterns, this work explores the cycles of plant life and death, transformation, and evolution. We experience rain, light, shadow, and the movement of air through the leaves of old banyan trees, while subtropical island vegetation flourishes—swaying like the sea and overlapping like breaking waves. The project seeks to avoid disturbing the existing banyan tree roots, retain the original planting areas, and strengthen the multilayered vegetative structure with additional small native trees. Through these interventions, “Forest of the Wilds,” evokes a living landscape in which diverse forms of life coexist in harmony.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[2290],{"id":2291,"url":2292,"w":2293,"h":2294,"alt":2295,"sizes":2296},129,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-02-1.jpg",2375,1566,"野原之森 Forest of the Wilds",{"medium":2297,"large":2299,"1536x1536":2302,"2048x2048":2305},{"url":2298,"w":80,"h":1848},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-02-1-300x198.jpg",{"url":2300,"w":84,"h":2301},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-02-1-1024x675.jpg",675,{"url":2303,"w":262,"h":2304},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-02-1-1536x1013.jpg",1013,{"url":2306,"w":266,"h":2307},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-02-1-2048x1350.jpg",1350,[269],{"id":2310,"slug":2311,"no":2312,"title":2313,"artists":2314,"venue":1237,"location_note":17,"lat":1434,"lng":1434,"year":2253,"medium":2315,"dimensions":17,"is_new":605,"description":2316,"notes":2317,"credit":2318,"series":2319,"names":2320,"incomplete":604,"images":2321,"image_credit":17,"themes":2322},654,"wang-chieh-tiger-2","26-TC-03-02",{"zh":2248,"en":2249,"ja":2250,"ko":2251},[1437],{"zh":2255,"en":2256,"ja":17,"ko":17},{"zh":2258,"en":2259,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":2265,"en":2266,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":2324,"slug":2325,"no":2326,"title":2327,"artists":2330,"venue":583,"location_note":2331,"lat":1434,"lng":1434,"year":2332,"medium":2333,"dimensions":17,"is_new":605,"description":2336,"notes":2339,"credit":2340,"series":2341,"names":2342,"incomplete":605,"images":2343,"image_credit":17,"themes":2353},132,"ancestral-spirits-no-5","01-EC-04-01",{"zh":2328,"en":2329,"ja":17,"ko":17},"祖靈NO.5","Ancestral Spirits NO.5",[545],"2F Gallery H","1996",{"zh":2334,"en":2335,"ja":17,"ko":17},"油畫，122×182公分","Oil Painting, 122×182 cm",{"zh":2337,"en":2338,"ja":17,"ko":17},"《祖靈系列》並不是描繪祖靈本身，而是對祖靈文化在當代信仰中的重新思考。希望透過符號化的人物群像、鮮明的色彩與貝殼化的五官，表達祖靈所承載的族群歷史、祖訓（Gaga）與文化記憶。對藝術家而言，祖靈不是崇拜的對象，而是族人共同的精神象徵。期待讓泰雅文化與基督信仰展開對話，在創造、生命更新與文化認同之間，找到新的詮釋與延續。","The Ancestral Spirits Series does not depict the ancestral spirits themselves, but instead reconsiders ancestral culture within the context of contemporary faith. Through stylized groups of figures, vivid colors, and shell-like facial features, this series calls attention to the collective histories, ancestral teachings (Gaga), and cultural memories borne by the ancestors. For the artist, the ancestral spirits are not objects of worship, but rather shared spiritual symbols of the community. The series seeks to bring Atayal culture into dialogue with Christian faith, while exploring new ways of interpreting and carrying these traditions forward through creation, renewal of life, and cultural identity.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[2344],{"id":2345,"url":2346,"w":2347,"h":2348,"alt":2349,"sizes":2350},133,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-01-1.jpg",957,630,"祖靈 NO.5 Ancestral Spirits NO.5",{"medium":2351},{"url":2352,"w":80,"h":1837},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-01-1-300x197.jpg",[269],{"id":2355,"slug":2356,"no":2357,"title":2358,"artists":2359,"venue":1237,"location_note":17,"lat":1434,"lng":1434,"year":2253,"medium":2360,"dimensions":17,"is_new":605,"description":2361,"notes":2362,"credit":2363,"series":2364,"names":2365,"incomplete":604,"images":2366,"image_credit":17,"themes":2367},655,"wang-chieh-tiger-3","26-TC-03-03",{"zh":2248,"en":2249,"ja":2250,"ko":2251},[1437],{"zh":2255,"en":2256,"ja":17,"ko":17},{"zh":2258,"en":2259,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":2265,"en":2266,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":2369,"slug":2370,"no":2371,"title":2372,"artists":2375,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":2332,"medium":2376,"dimensions":17,"is_new":605,"description":2377,"notes":2378,"credit":2379,"series":2380,"names":2381,"incomplete":605,"images":2382,"image_credit":17,"themes":2401},148,"ancestral-spirits-no-1","01-EC-04-02",{"zh":2373,"en":2374,"ja":17,"ko":17},"祖靈NO.1","Ancestral 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By connecting everyday sounds with historical memory, it explores the latent potential for collective action embedded within civil society.",{"zh":2594,"en":17,"ja":17,"ko":17},"工作人員名單",{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[315],{"id":2601,"slug":2602,"no":2603,"title":2604,"artists":2607,"venue":583,"location_note":2608,"lat":1434,"lng":1434,"year":2253,"medium":2609,"dimensions":17,"is_new":605,"description":2612,"notes":2615,"credit":2616,"series":2617,"names":2618,"incomplete":605,"images":2619,"image_credit":17,"themes":2620},239,"the-book-of-sand","01-HC-02",{"zh":2605,"en":2606,"ja":17,"ko":17},"《沙之書》","The Book of Sand",[1488],"2F Gallery E",{"zh":2610,"en":2611,"ja":17,"ko":17},"藝術家書（數位印刷、燙金、布裝書背、裸背線裝）、空間裝置，尺寸依場地而定","Artist's book (Digital printing, foil stamping, cloth-bound spine, exposed coptic stitch binding), Spatial installation., Dimensions variable",{"zh":2613,"en":2614,"ja":17,"ko":17},"《沙之書》以1915年西來庵事件及其相關人物與地方歷史為起點，交織史料、地方踏查與虛構書寫。小說沿著歷史留下的縫隙，重新想像未被記錄的生命與感知，甚至延伸至人之外，使沙子、器物、植物也成為觀看與記憶的主體。夢境與神諭滲入現實，數個「排演」章節則將歷史轉化為舞台，使人物、事件與象徵在反覆搬演中重新組合；不同敘事層次彼此穿透，人與非人、史實與虛構的界線逐漸鬆動。","The Book of Sand takes the 1915 Xilai’an (Tapani incident) and its associated figures and local history as its point of departure, interweaving historical records, field research, and fictional writing. Following the gaps left in history, the novel reimagines undocumented lives and experiences, extending its perspective beyond the human to allow sand, objects, and plants to become subjects of observation and memory. Dreams and oracles seep into reality, while several “rehearsal” chapters transform history into a stage, recombining figures, events, and symbols through repeated enactments. As different narrative layers permeate one another, the boundaries between human and nonhuman, fact and fiction, gradually dissolve.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[315],{"id":2622,"slug":2623,"no":2624,"title":2625,"artists":2628,"venue":583,"location_note":2629,"lat":1434,"lng":1434,"year":2253,"medium":2630,"dimensions":17,"is_new":605,"description":2633,"notes":2636,"credit":2637,"series":2638,"names":2639,"incomplete":605,"images":2640,"image_credit":17,"themes":2667},240,"elsewhere-holds-what-isn-t-here","01-HC-03",{"zh":2626,"en":2627,"ja":17,"ko":17},"這沒有，那裡有","Elsewhere Holds What Isn't Here",[1499],"2F right-side corridor and public space adjacent to Gallery B",{"zh":2631,"en":2632,"ja":17,"ko":17},"錄像、鹽盤、現成物、物件，尺寸依場地而定","Video, salt pans, readymade objects, Dimensions variable",{"zh":2634,"en":2635,"ja":17,"ko":17},"本作聚焦清代臺灣西部沿海因特殊地形造成船隻擱淺，進而衍生的竊船傳聞。作品從外來航行者與沿海居民間的協商、搶奪、竊取與交換出發，探討官府面對竊船事件的曖昧態度，以及竊賊與居民身分的模糊界線。透過混合影像與參與式遊戲，將海岸視為流動的邊陲空間，重新思考搶奪與交換、秩序與遊戲之間的界線，以及居民、海潮與疆域交織而成的多重關係。","The work focuses on rumors of boat stealing that emerged along the western coast of Taiwan during the Qing dynasty, where the distinctive coastal terrain frequently caused vessels to run aground. Beginning with negotiations, acts of seizure, theft, and interchange between foreign voyagers and coastal residents, the work examines the ambiguous attitudes of local authorities toward incidents of boat stealing, as well as the blurred boundaries between the identities of thieves and residents. Through moving images and a participatory game, the work approaches the coast as a fluid frontier space, reconsidering the boundaries between seizure and exchange, order and play, and the multiple relationships formed among residents, tides, and territorial boundaries.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[2641,2657],{"id":2642,"url":2643,"w":2386,"h":2644,"alt":2645,"sizes":2646},241,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-hc-03-1.jpg",1800,"這沒有，那裡有 Elsewhere Holds What Isn't Here",{"medium":2647,"large":2649,"1536x1536":2652,"2048x2048":2655},{"url":2648,"w":80,"h":2210},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-hc-03-1-300x225.jpg",{"url":2650,"w":84,"h":2651},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-hc-03-1-1024x768.jpg",768,{"url":2653,"w":262,"h":2654},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-hc-03-1-1536x1152.jpg",1152,{"url":2656,"w":266,"h":262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-hc-03-1-2048x1536.jpg",{"id":2658,"url":2659,"w":2660,"h":2661,"alt":2645,"sizes":2662},242,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-hc-03-2.jpg",1108,1477,{"medium":2663,"large":2665},{"url":2664,"w":2210,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-hc-03-2-225x300.jpg",{"url":2666,"w":2651,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-hc-03-2-768x1024.jpg",[315],{"id":2669,"slug":2670,"no":2671,"title":2672,"artists":2675,"venue":583,"location_note":2676,"lat":1434,"lng":1434,"year":2677,"medium":2678,"dimensions":17,"is_new":605,"description":2681,"notes":2684,"credit":2685,"series":2686,"names":2687,"incomplete":605,"images":2688,"image_credit":17,"themes":2706},243,"para-site","01-GC-01",{"zh":2673,"en":2674,"ja":17,"ko":17},"寄生寓","Para. Site",[1510],"2F Gallery F","原作2001年（2026年重製）",{"zh":2679,"en":2680,"ja":17,"ko":17},"複合媒材，尺寸依場地而定","Mixed media, Dimensions variable",{"zh":2682,"en":2683,"ja":17,"ko":17},"本作為方偉文繼1998年「喃喃」個展後，於2001年發表的系列創作，亦奠定其日後創作的重要概念。作品首次展於臺南吳園原型藝術地下室，聚焦自我身分及其在不同時空中的異質經驗。以撿拾的廢棄材料嫁接不同材質，形塑斷裂、穿透與破碎的身體感受，並以「寄生」為隱喻，探討語言、意識、記憶與身分的流動關係。","Created in 2001 following his 1998 solo exhibition Murmuring, this series marked an important turning point in Fang Wei-wen’s artistic practice. First exhibited in the basement of Prototype Art in Wu Garden, Tainan, the work focuses on self-identity and heterogeneous experiences across different times and spaces. By grafting discarded materials with diverse substances, Fang constructs a fragmented and penetrable sense of the body. Using “parasitism” as a metaphor, the work explores the fluid relationships among language, consciousness, memory, and identity.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[2689],{"id":2690,"url":2691,"w":2386,"h":2692,"alt":2693,"sizes":2694},244,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-01-1.jpg",1652,"寄生寓 Para. Site",{"medium":2695,"large":2697,"1536x1536":2700,"2048x2048":2703},{"url":2696,"w":80,"h":1968},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-01-1-300x207.jpg",{"url":2698,"w":84,"h":2699},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-01-1-1024x705.jpg",705,{"url":2701,"w":262,"h":2702},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-01-1-1536x1057.jpg",1057,{"url":2704,"w":266,"h":2705},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-01-1-2048x1410.jpg",1410,[359],{"id":2708,"slug":2709,"no":2710,"title":2711,"artists":2714,"venue":583,"location_note":2508,"lat":1434,"lng":1434,"year":2253,"medium":2715,"dimensions":17,"is_new":605,"description":2718,"notes":2721,"credit":2722,"series":2723,"names":2724,"incomplete":605,"images":2725,"image_credit":17,"themes":2758},245,"one-hundred-meetings-before-the-collective","01-GC-02-01",{"zh":2712,"en":2713,"ja":17,"ko":17},"集結之前的一百種相遇","One Hundred Meetings Before the Collective",[1521],{"zh":2716,"en":2717,"ja":17,"ko":17},"透貼，尺寸依場地而定","Transparent adhesive material, Dimensions variable",{"zh":2719,"en":2720,"ja":17,"ko":17},"本作品源自陳毅哲對「天臺工作室」十週年的階段性檔案梳理。從早期的「十八巷五號」（2014-2016）到如今的「天臺工作室」（2016至今），其實踐也由最初乘載青年藝術家想像的替代空間，轉型成一個結合工作室、私人聚會與非正式檔案空間的場域。陳毅哲所維繫的「天臺」更像是體制外的友誼空間，無目的聚會像在等待某種集結。這些年來，他持續探訪、關心既存或消逝的異質與斜槓特質的藝文社群，也投入到藝術研究、展覽協作之中，總扮演著關鍵且邊緣的角色，這種融入生活的合作關係，讓許多藝文工作者暱稱他為「土地公」。此作品推進之際，恰逢「十八巷五號」面臨拆除，他以十年的時光，向消逝的物理空間致敬，亦是回望曾經的相遇，脆弱卻也難忘的友誼關係。","This work emerges from Chen Yi-che’s reflection on the “Ten Years of Tiantai.” From No. 5, Lane 18 project (2014-2016) to Rooftop Studio (2016-present), he has continually connected heterogeneous artistic and cultural communities, cultivating a domain that brings together work, gathering, and informal archives. Through his efforts to sustain spaces of friendship outside institutional structures, he has received the affectionate nickname of “Tudigong,” after the Earth God. As this work developed, the actual building at No. 5, Lane 18 project faced demolition. Marking a decade of time, Chen pays tribute to a disappearing physical space, while looking back on past encounters and fragile yet unforgettable friendships.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[2726,2743],{"id":2727,"url":2728,"w":2386,"h":2729,"alt":2730,"sizes":2731},457,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-02-01-1.jpg",1629,"集結之前的一百種相遇 One Hundred Meetings Before the Collective",{"medium":2732,"large":2734,"1536x1536":2737,"2048x2048":2740},{"url":2733,"w":80,"h":1913},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-02-01-1-300x204.jpg",{"url":2735,"w":84,"h":2736},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-02-01-1-1024x695.jpg",695,{"url":2738,"w":262,"h":2739},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-02-01-1-1536x1043.jpg",1043,{"url":2741,"w":266,"h":2742},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-02-01-1-2048x1390.jpg",1390,{"id":2744,"url":2745,"w":2386,"h":2746,"alt":2730,"sizes":2747},458,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-02-01-2.jpg",1597,{"medium":2748,"large":2750,"1536x1536":2752,"2048x2048":2755},{"url":2749,"w":80,"h":100},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-02-01-2-300x200.jpg",{"url":2751,"w":84,"h":2394},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-02-01-2-1024x681.jpg",{"url":2753,"w":262,"h":2754},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-02-01-2-1536x1022.jpg",1022,{"url":2756,"w":266,"h":2757},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-02-01-2-2048x1363.jpg",1363,[359],{"id":2525,"slug":2760,"no":2761,"title":2762,"artists":2765,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":2253,"medium":2766,"dimensions":17,"is_new":605,"description":2767,"notes":2768,"credit":2769,"series":2770,"names":2771,"incomplete":605,"images":2772,"image_credit":17,"themes":2773},"taiwan-alternative-space-research-project","01-GC-02-02",{"zh":2763,"en":2764,"ja":17,"ko":17},"臺灣藝術空間訪查計畫","Taiwan Alternative Space Research Project",[1521],{"zh":2716,"en":2717,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[359],{"id":2775,"slug":2776,"no":2777,"title":2778,"artists":2781,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":2782,"medium":2783,"dimensions":17,"is_new":605,"description":2786,"notes":2787,"credit":2790,"series":2791,"names":2792,"incomplete":605,"images":2793,"image_credit":17,"themes":2794},247,"no-5-lane18-project","01-GC-02-03",{"zh":2779,"en":2780,"ja":17,"ko":17},"十八巷五號","No.5,Lane18 project",[1521],"2014",{"zh":2784,"en":2785,"ja":17,"ko":17},"紙，42×60公分","Paper, 42×60 cm",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2788,"en":2789,"ja":17,"ko":17},"繪圖者：孫知行、簡捷、陳毅哲","Illustrator: Sun Chih Hsing, Chien chieh, Chen Yi Che",{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[359],{"id":2796,"slug":2797,"no":2798,"title":2799,"artists":2802,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":2803,"medium":2804,"dimensions":17,"is_new":605,"description":2805,"notes":2806,"credit":2807,"series":2808,"names":2809,"incomplete":605,"images":2810,"image_credit":17,"themes":2811},248,"taiwan-alternative-space-map","01-GC-02-04",{"zh":2800,"en":2801,"ja":17,"ko":17},"臺灣藝術空間地圖","Taiwan Alternative Space Map",[1521],"2022",{"zh":2784,"en":2785,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[359],{"id":2813,"slug":2814,"no":2815,"title":2816,"artists":2819,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":2253,"medium":2820,"dimensions":17,"is_new":605,"description":2823,"notes":2824,"credit":2825,"series":2826,"names":2827,"incomplete":605,"images":2828,"image_credit":17,"themes":2829},249,"earth-god-tudigong-blessing-circle","01-GC-02-05",{"zh":2817,"en":2818,"ja":17,"ko":17},"土地公庇佑圈","Earth God (Tudigong) Blessing Circle",[1521],{"zh":2821,"en":2822,"ja":17,"ko":17},"水性網版印刷油墨，尺寸依場地而定","Water-based screen printing ink, Dimensions variable",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[359],{"id":2831,"slug":2832,"no":2833,"title":2834,"artists":2837,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":2253,"medium":2838,"dimensions":17,"is_new":605,"description":2841,"notes":2842,"credit":2845,"series":2846,"names":2847,"incomplete":605,"images":2848,"image_credit":17,"themes":2849},250,"a-decade-in-the-tree-hollow","01-GC-02-06",{"zh":2835,"en":2836,"ja":17,"ko":17},"十年樹洞","A Decade in the Tree Hollow",[1521],{"zh":2839,"en":2840,"ja":17,"ko":17},"錄像，尺寸依場地而定","Video, Dimensions variable",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2843,"en":2844,"ja":17,"ko":17},"影像提供：簡捷、陳奕志、陳奕丞、陳毅哲、陳孝齊、林哲宇、李奕芃、劉先齊、蔣帛諺等人","Image courtesy: Chien chieh, Chen izhii, Chen Yi Cheng, Chen Yi Che, Chen Siao Chi, Lin Che Yu, Lee Yi peng, Liu Hsien Chi, Chiang Po Yen, et al.",{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[359],{"id":2851,"slug":2852,"no":2853,"title":2854,"artists":2857,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":2253,"medium":2858,"dimensions":17,"is_new":605,"description":2861,"notes":2862,"credit":2863,"series":2864,"names":2865,"incomplete":605,"images":2866,"image_credit":17,"themes":2867},251,"traces-of-a-rooftop-party","01-GC-02-07",{"zh":2855,"en":2856,"ja":17,"ko":17},"天臺派對痕跡","Traces of a Rooftop Party",[1521],{"zh":2859,"en":2860,"ja":17,"ko":17},"木頭、金屬、玻璃等，尺寸依場地而定","Wood, metal, glass, etc., Dimensions variable",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[359],{"id":2869,"slug":2870,"no":2871,"title":2872,"artists":2875,"venue":583,"location_note":2508,"lat":1434,"lng":1434,"year":2876,"medium":2877,"dimensions":17,"is_new":605,"description":2880,"notes":2883,"credit":2884,"series":2887,"names":2888,"incomplete":605,"images":2889,"image_credit":17,"themes":2906},252,"penetration-and-connection-prototype-art","01-GC-09",{"zh":2873,"en":2874,"ja":17,"ko":17},"穿透與連結：原型藝術文件","Penetration and Connection: Prototype Art",[1532],"1998-2005",{"zh":2878,"en":2879,"ja":17,"ko":17},"文件、物件、木作，尺寸依場地而定","Documents, objects, and woodwork, Dimensions variable",{"zh":2881,"en":2882,"ja":17,"ko":17},"本展區延伸原型藝術2004年參與「Co4臺灣前衛文件展」之「行進中的狀態——穿透與連結」，透過年表、物件與檔案文件，重現當年藝術家群聚、交流與創作的工作室狀態。以「微微流域」象徵微小而流動的藝術風景，呈現未經修飾、尚未定形的創作現場，並將此「未明」視為藝術生成的原型，展現藝術工作者彼此連結、意志交會與集體意識形成的開放平臺。\n\n特別感謝：國立臺南藝術大學 藝術史與文化資產學系許遠達助理教授、古力藝術謝宏明、陳美澍","This exhibition section revisits States in Progress—Penetration and Connection, presented by Prototype Art as part of the Co4 Taiwan Avant-Garde Documents Exhibition in 2004. Through timelines, objects, and archival materials, it reconstructs the studio-like environment in which artists gathered, exchanged ideas, and developed their creative ideas. The notion of a “Micro-Watershed” evokes a small yet fluid artistic landscape, presenting an art environment that remained unrefined and yet to take a definitive form. This state of indeterminacy is regarded as a prototype of artistic emergence—a space open to connections, encounters of purpose, and the formation of collective consciousness.\n\nSpecial thanks to: Assistant Professor Hsu Yuan-ta, Department of Art History and Cultural Heritage, Tainan National University of the Arts; Hsieh Hung-ming and Chen Mei-shu, Good Life Art.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2885,"en":2886,"ja":17,"ko":17},"原型藝術提供","Courtesy of Prototype Art",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[2890],{"id":2891,"url":2892,"w":2386,"h":2893,"alt":2894,"sizes":2895},253,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-09-1.jpg",1697,"穿透與連結：原型藝術文件 Penetration and Connection: Prototype Art",{"medium":2896,"large":2898,"1536x1536":2901,"2048x2048":2903},{"url":2897,"w":80,"h":2023},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-09-1-300x212.jpg",{"url":2899,"w":84,"h":2900},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-09-1-1024x724.jpg",724,{"url":2902,"w":262,"h":2448},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-09-1-1536x1086.jpg",{"url":2904,"w":266,"h":2905},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-09-1-2048x1448.jpg",1448,[359],{"id":2908,"slug":2909,"no":2910,"title":2911,"artists":2914,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":2915,"medium":2916,"dimensions":17,"is_new":605,"description":2919,"notes":2921,"credit":2922,"series":2923,"names":2926,"incomplete":605,"images":2927,"image_credit":17,"themes":2928},584,"strands","01-GC-10-01-03",{"zh":2912,"en":2913,"ja":17,"ko":17},"串串","Strands",[1510],"2003",{"zh":2917,"en":2918,"ja":17,"ko":17},"影像合成輸出，61.5×88.5公分","Composite image print, 61.5×88.5 cm",{"zh":2920,"en":17,"ja":17,"ko":17},"記原型「城市寓言」——阿文的輕度妄想症\n\n想像無數並存和重疊在同一場域中的世界的世界的世界。\n\n也許看到的是同樣的東西，至少當我們向其他人形容如何從到某個點到達另一\n\n個點時，間接的應証了同一城市的人是在同一可見的城市之中。\n\n一個城市像不斷拆散和重組的個人符碼，只在重造和命名意願中，城市和市民才能彼此從屬。\n\n浮在大水溝上的雙塔，\n\n懸浮在半空中的粉紅色蘑菇，\n\n由老舊建築物川出之白色串串形，\n\n在妄想當中，在城市的碎片，碎裂了一個城市。",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":2924,"en":2925,"ja":17,"ko":17},"文件展：城市寓言","Documentation: City Parable",{"zh":17,"en":17,"ja":17,"ko":17},[],[359],{"id":2930,"slug":2931,"no":2932,"title":2933,"artists":2936,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":2915,"medium":2937,"dimensions":17,"is_new":605,"description":2938,"notes":2939,"credit":2940,"series":2941,"names":2942,"incomplete":605,"images":2943,"image_credit":17,"themes":2953},254,"two-towers","01-GC-10-01",{"zh":2934,"en":2935,"ja":17,"ko":17},"雙塔","Two 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image print, 26.2×152.5 cm",{"zh":2982,"en":17,"ja":17,"ko":17},"當建築的入口與出口都消失了，人無目的的在城市遊走。此端與彼端頓失連結，每個封閉的空間像獨立的樂園般矗立在和風吹撫的城市中，兩手一攤，一種無可言喻且？？的心情。",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":2924,"en":2925,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[2988],{"id":2989,"url":2990,"w":251,"h":2991,"alt":2992,"sizes":2993},460,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-02-1-scaled.jpg",450,"無題 Untitled",{"medium":2994,"large":2996,"1536x1536":2998,"2048x2048":3001},{"url":2995,"w":80,"h":1399},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-02-1-300x53.jpg",{"url":2997,"w":84,"h":1650},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-02-1-1024x180.jpg",{"url":2999,"w":262,"h":3000},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-02-1-1536x270.jpg",270,{"url":3002,"w":266,"h":3003},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-02-1-2048x360.jpg",360,[359],{"id":3006,"slug":3007,"no":3008,"title":3009,"artists":3012,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":2915,"medium":3013,"dimensions":17,"is_new":605,"description":3016,"notes":3018,"credit":3019,"series":3020,"names":3021,"incomplete":605,"images":3022,"image_credit":17,"themes":3032},256,"chenggong-opened-the-river-anping-fantasia","01-GC-10-03",{"zh":3010,"en":3011,"ja":17,"ko":17},"成功開河「安平狂想曲」","Chenggong Opened the River \"Anping Fantasia\"",[1552],{"zh":3014,"en":3015,"ja":17,"ko":17},"影像合成輸出，89.4×65公分","Composite image print, 89.4×65 cm",{"zh":3017,"en":17,"ja":17,"ko":17},"某日我老漁翁划船，尋著一隻蝶，且夢且走地來到運河，突然身後流水湍急，開出另一條通路，四周景致從高樓大廈變成熱鬧繁華的臺南古城，正搞不清楚身在何處，瞧見對岸姑娘手一揮：「這兒是安平啊！鄭老爺想邀您喝一杯。」",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":2924,"en":2925,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[3023],{"id":3024,"url":3025,"w":3026,"h":3027,"alt":3028,"sizes":3029},461,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-03-1.jpg",472,645,"成功開河「安平狂想曲」 Chenggong Opened the River \"Anping Fantasia\"",{"medium":3030},{"url":3031,"w":2133,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-03-1-220x300.jpg",[359],{"id":3034,"slug":3035,"no":3036,"title":3037,"artists":3039,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":2915,"medium":3040,"dimensions":17,"is_new":605,"description":3043,"notes":3045,"credit":3046,"series":3047,"names":3048,"incomplete":605,"images":3049,"image_credit":17,"themes":3059},257,"about-toward-two-face-s","01-GC-10-04",{"zh":3038,"en":3038,"ja":17,"ko":17},"About Toward Two Face's",[1561],{"zh":3041,"en":3042,"ja":17,"ko":17},"影像合成輸出，81.3×108.3公分","Composite image print, 81.3×108.3 cm",{"zh":3044,"en":17,"ja":17,"ko":17},"籠蓋所有事物，兩極化是一種方法，\n\n在能力上開展所謂的極化尺度，\n\n可以是一種便宜的解釋，\n\n或是\n\n釋放被溺陷而就將自斃後的可能。\n\n祇是一絲暗夜的微光，\n\n是一似乎的假想天地間的反除異像。\n\n是一種意向，\n\n隨風而動，\n\n游移在自然與非自然間的\n\n木麻黃針束葉脈裡。\n\n於是\n\n關懷是已被一種冷眼轉化，\n\n化成千絮與萬緞，\n\n沒能落實於際遇，\n\n而是遷顯於\n\n反向的無垠。 2003.7竹兮",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":2924,"en":2925,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[3050],{"id":3051,"url":3052,"w":3053,"h":3054,"alt":3055,"sizes":3056},462,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-04-1.jpg",809,608,"About Toward Two Face's About Toward Two Face's",{"medium":3057},{"url":3058,"w":80,"h":2210},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-04-1-300x225.jpg",[359],{"id":3061,"slug":3062,"no":3063,"title":3064,"artists":3067,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":2915,"medium":3068,"dimensions":17,"is_new":605,"description":3071,"notes":3073,"credit":3074,"series":3075,"names":3076,"incomplete":605,"images":3077,"image_credit":17,"themes":3087},258,"oh-zhu-xi","01-GC-10-05",{"zh":3065,"en":3066,"ja":17,"ko":17},"竹兮","Oh! 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Shortcuts",{"medium":3113},{"url":3114,"w":80,"h":2023},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-06-1-300x212.jpg",[359],{"id":3117,"slug":3118,"no":3119,"title":3120,"artists":3123,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":2915,"medium":3124,"dimensions":17,"is_new":605,"description":3127,"notes":3129,"credit":3130,"series":3131,"names":3132,"incomplete":605,"images":3133,"image_credit":17,"themes":3142},260,"a-city-wishing-to-swim","01-GC-10-07",{"zh":3121,"en":3122,"ja":17,"ko":17},"想游泳的城市","A City Wishing to Swim",[1587],{"zh":3125,"en":3126,"ja":17,"ko":17},"影像合成輸出，81.7×123.4公分","Composite image print, 81.7×123.4 cm",{"zh":3128,"en":17,"ja":17,"ko":17},"古老的房舍想在現代建築裏游泳\n\n在新舊時代交替裏\n\n大魚吃小魚 小魚吃蝦\n\n如同沉船靜謐的落在古都記憶底層",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":2924,"en":2925,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[3134],{"id":3135,"url":3136,"w":3137,"h":71,"alt":3138,"sizes":3139},465,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-07-1.jpg",914,"想游泳的城市 A City Wishing to 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Elephant",{"medium":3303},{"url":3304,"w":80,"h":1891},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-13-1-300x202.jpg",[359],{"id":3307,"slug":3308,"no":3309,"title":3310,"artists":3313,"venue":583,"location_note":3314,"lat":1434,"lng":1434,"year":2803,"medium":3315,"dimensions":17,"is_new":605,"description":3318,"notes":3321,"credit":3324,"series":3325,"names":3326,"incomplete":605,"images":3327,"image_credit":17,"themes":3328},267,"puna-umbilical-cord-return-to-the-origin","01-RC-01-01",{"zh":3311,"en":3312,"ja":17,"ko":17},"Puna生命的源頭","Puna\u002FUmbilical cord, Return to the origin",[1650],"2F Gallery I",{"zh":3316,"en":3317,"ja":17,"ko":17},"海廢塑膠、銅釘、無甲醛碳化合板／唯一版次，123×245×12公分","Formaldehyde-free plywood, wood, copper nails, marine debris (plastic)\n\u002F Unique Work, 123×245×12 cm",{"zh":3319,"en":3320,"ja":17,"ko":17},"誤植(已更新_倚_20260903)\n\n「Puna」在阿美族語中意為「肚臍」，為拉黑子《五十步空間》系列作品之一。藝術家以撿拾的海廢塑膠為主要媒材，回應當代海洋環境困境及人與海洋的共生關係。作品中央漩渦如臍帶般連結生命源頭，將海洋視為孕育萬物的母體；流動的海則象徵生命從誕生、漂流到回返原點的循環，呈現生生不息的宇宙秩序。","“Puna,” which means “navel” in Amis, is one of the works in Rahic Talif’s Space of Fifty Steps series. The artist primarily uses marine plastic waste as a medium to respond to contemporary marine environmental challenges and the symbiotic relationship between humans and the ocean. The vortex at the center of the work evokes an umbilical cord connecting life to its source, and positions the ocean as a maternal body that nurtures all forms of life. The flowing ocean symbolizes the cyclical journey of life—from birth and drifting to a return to its origin—evoking a self-renewing cosmic order.",{"zh":3322,"en":3323,"ja":17,"ko":17},"註：Puna 為阿美族語「肚臍」之意","* “Puna” means “navel” in the \nTaiwanese Amis language.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[404],{"id":3330,"slug":3331,"no":3332,"title":3333,"artists":3336,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":2803,"medium":3337,"dimensions":17,"is_new":605,"description":3340,"notes":3341,"credit":3342,"series":3343,"names":3344,"incomplete":605,"images":3345,"image_credit":17,"themes":3346},268,"the-place-to-go-home","01-RC-01-02",{"zh":3334,"en":3335,"ja":17,"ko":17},"Pinokayan回家的地方","The Place to Go Home",[1650],{"zh":3338,"en":3339,"ja":17,"ko":17},"海廢塑膠、銅釘、無甲醛碳化合板／唯一版次，123×245×15公分","Formaldehyde-free plywood, wood, copper nails, marine debris (plastic)\n\u002F Unique Work, 123×245×15 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fish.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[404],{"id":3000,"slug":3366,"no":3367,"title":3368,"artists":3371,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":3372,"medium":3373,"dimensions":17,"is_new":605,"description":3376,"notes":3377,"credit":3378,"series":3379,"names":3380,"incomplete":605,"images":3381,"image_credit":17,"themes":3382},"standing-on-the-reef-and-watching-fishii","01-RC-01-04",{"zh":3369,"en":3370,"ja":17,"ko":17},"Tomireng i ongcoy a futing \n島上魚人Ⅱ","Standing on the Reef and Watching FishⅡ",[1650],"2021",{"zh":3374,"en":3375,"ja":17,"ko":17},"海廢（鐵、塑膠）、尼龍魚線／僅此一件，165×41×36公分","Marine debris (iron, plastic),\nnylon fishing line\n\u002F Unique sculptures, 165×41×36 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cm",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[404],{"id":3420,"slug":3421,"no":3422,"title":3423,"artists":3426,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":3372,"medium":3427,"dimensions":17,"is_new":605,"description":3430,"notes":3431,"credit":3432,"series":3433,"names":3434,"incomplete":605,"images":3435,"image_credit":17,"themes":3436},273,"standing-on-the-reef-and-watching-fishv","01-RC-01-07",{"zh":3424,"en":3425,"ja":17,"ko":17},"Tomireng i ongcoy a futing \n島上魚人Ⅴ","Standing on the Reef and Watching FishⅤ",[1650],{"zh":3428,"en":3429,"ja":17,"ko":17},"海廢（鐵、塑膠）、尼龍魚線／僅此一件，200×56×62公分","Marine debris (iron, plastic),\nnylon fishing line\n\u002F Unique sculptures, 200×56×62 cm",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[404],{"id":3438,"slug":3439,"no":3440,"title":3441,"artists":3444,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":3372,"medium":3445,"dimensions":17,"is_new":605,"description":3448,"notes":3449,"credit":3450,"series":3451,"names":3452,"incomplete":605,"images":3453,"image_credit":17,"themes":3454},274,"standing-on-the-reef-and-watching-fishvi","01-RC-01-08",{"zh":3442,"en":3443,"ja":17,"ko":17},"Tomireng i ongcoy a futing \n島上魚人Ⅵ","Standing on the Reef and Watching FishⅥ",[1650],{"zh":3446,"en":3447,"ja":17,"ko":17},"海廢（鐵、塑膠）、尼龍魚線／僅此一件，200×62×53公分","Marine debris (iron, plastic),\nnylon fishing line\n\u002F Unique sculptures, 200×62×53 cm",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[404],{"id":3456,"slug":3457,"no":3458,"title":3459,"artists":3462,"venue":583,"location_note":3463,"lat":1434,"lng":1434,"year":3372,"medium":3464,"dimensions":17,"is_new":605,"description":3467,"notes":3470,"credit":3471,"series":3472,"names":3473,"incomplete":605,"images":3474,"image_credit":17,"themes":3534},275,"after-arachne","01-RC-02-01",{"zh":3460,"en":3461,"ja":17,"ko":17},"阿拉克妮之後（源自希臘神話）","After Arachne",[1661],"1F Guide Room",{"zh":3465,"en":3466,"ja":17,"ko":17},"手工編織服飾，尺寸依場地而定","Hand-knitted garments, Dimensions variable",{"zh":3468,"en":3469,"ja":17,"ko":17},"本作以12件編織創作對應2020年的十二個月份，構成藝術家的個人年度紀事。從澳洲野火、COVID-19疫情、政治言論與假訊息，到「黑人的命也是命」運動及美國總統大選，記錄全球局勢與地方政治的劇烈變動；亦納入祖父因癌症辭世及其鍾愛編織拖鞋的私人記憶。藝術家以編織回應時代，將公共事件、政治批判與生命經驗交織，回望充滿不安、失落與變動的2020年。","The work comprises twelve woven pieces corresponding to the twelve months of 2020, and form a personal chronicle of the artist’s year. From the Australian bushfires, the COVID-19 pandemic, political rhetoric and misinformation, to the Black Lives Matter movement and the U.S. presidential election, the series documents dramatic shifts in global affairs and local politics. It also incorporates personal memories, including the artist’s grandfather’s death from cancer and his fondness for knit slippers. Through weaving, the artist responds to the events of her time, interweaving public affairs, political critique, and personal experience to reflect on a year marked by uncertainty, loss, and profound change.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[3475,3490,3506,3518],{"id":3476,"url":3477,"w":2386,"h":3478,"alt":3479,"sizes":3480},276,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-1.jpg",1200,"阿拉克妮之後（源自希臘神話） After Arachne",{"medium":3481,"large":3483,"1536x1536":3486,"2048x2048":3488},{"url":3482,"w":80,"h":201},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-1-300x150.jpg",{"url":3484,"w":84,"h":3485},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-1-1024x512.jpg",512,{"url":3487,"w":262,"h":2651},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-1-1536x768.jpg",{"url":3489,"w":266,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-1-2048x1024.jpg",{"id":3491,"url":3492,"w":2386,"h":3493,"alt":3479,"sizes":3494},277,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-2.jpg",1609,{"medium":3495,"large":3497,"1536x1536":3500,"2048x2048":3503},{"url":3496,"w":80,"h":1880},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-2-300x201.jpg",{"url":3498,"w":84,"h":3499},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-2-1024x687.jpg",687,{"url":3501,"w":262,"h":3502},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-2-1536x1030.jpg",1030,{"url":3504,"w":266,"h":3505},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-2-2048x1373.jpg",1373,{"id":3507,"url":3508,"w":2386,"h":3493,"alt":3479,"sizes":3509},278,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-3.jpg",{"medium":3510,"large":3512,"1536x1536":3514,"2048x2048":3516},{"url":3511,"w":80,"h":1880},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-3-300x201.jpg",{"url":3513,"w":84,"h":3499},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-3-1024x687.jpg",{"url":3515,"w":262,"h":3502},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-3-1536x1030.jpg",{"url":3517,"w":266,"h":3505},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-3-2048x1373.jpg",{"id":3519,"url":3520,"w":2386,"h":3521,"alt":3479,"sizes":3522},279,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-4.jpg",1672,{"medium":3523,"large":3525,"1536x1536":3528,"2048x2048":3531},{"url":3524,"w":80,"h":1990},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-4-300x209.jpg",{"url":3526,"w":84,"h":3527},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-4-1024x713.jpg",713,{"url":3529,"w":262,"h":3530},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-4-1536x1070.jpg",1070,{"url":3532,"w":266,"h":3533},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-4-2048x1427.jpg",1427,[404],{"id":3536,"slug":3537,"no":3538,"title":3539,"artists":3542,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":3543,"medium":3544,"dimensions":17,"is_new":605,"description":3547,"notes":3548,"credit":3549,"series":3550,"names":3551,"incomplete":605,"images":3552,"image_credit":17,"themes":3553},280,"gods-of-old-and-late-stage-capitalism","01-RC-02-02",{"zh":3540,"en":3541,"ja":17,"ko":17},"諸神與晚期資本主義","Gods of Old and Late Stage Capitalism",[1661],"2025",{"zh":3545,"en":3546,"ja":17,"ko":17},"織毯專用毛線，380×300公分","Tapestry and rug wool, 380×300 cm",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[404],{"id":3555,"slug":3556,"no":3557,"title":3558,"artists":3561,"venue":583,"location_note":3562,"lat":1434,"lng":1434,"year":3563,"medium":3564,"dimensions":17,"is_new":605,"description":3567,"notes":3570,"credit":3571,"series":3572,"names":3573,"incomplete":605,"images":3574,"image_credit":17,"themes":3589},281,"sprouting","01-RC-03",{"zh":3559,"en":3560,"ja":17,"ko":17},"發芽","Sprouting",[1672],"2F Gallery B","2024",{"zh":3565,"en":3566,"ja":17,"ko":17},"亞麻毛線、棉繩、彈性繩、布料、琉璃珠、白鐵、鋁線、銅線，270x420公分","Linen yarn, cotton cord, elastic cord, fabric, glass beads, stainless steel, aluminum wire and copper wire, 270x420 cm",{"zh":3568,"en":3569,"ja":17,"ko":17},"以纏繞、編織的線材構築如種子萌生、根系蔓延的生命形態，延續武玉玲對八八風災後部落遷徙經驗的思考。從土地、自然與生存環境出發，回應族人在離開原鄉、面對新生活後的文化與身分轉變。層層交織的線材承載排灣族女性的工藝記憶，也象徵生命在創傷與遷徙之後重新扎根、萌芽，持續生長的韌性與力量。","Using twined and woven threads to construct organic forms reminiscent of germinating seeds and spreading roots, this work continues Aluaiy Kaumakan’s reflection on the experience of community displacement following Typhoon Morakot. Grounded in the land, nature, and the conditions of survival, it responds to the cultural and identity transformations experienced by Indigenous people as they leave their ancestral homeland and adapt to new ways of life. The layers of interwoven threads embody the craft traditions and memories of Paiwan women, while symbolizing the resilience and strength of life as it takes root anew, germinates, and continues to grow in the aftermath of trauma and displacement.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[3575],{"id":3026,"url":3576,"w":2386,"h":2307,"alt":3577,"sizes":3578},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-03-1.jpg","發芽 Sprouting",{"medium":3579,"large":3581,"1536x1536":3584,"2048x2048":3587},{"url":3580,"w":80,"h":1552},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-03-1-300x169.jpg",{"url":3582,"w":84,"h":3583},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-03-1-1024x576.jpg",576,{"url":3585,"w":262,"h":3586},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-03-1-1536x864.jpg",864,{"url":3588,"w":266,"h":2654},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-03-1-2048x1152.jpg",[404],{"id":3591,"slug":3592,"no":3593,"title":3594,"artists":3597,"venue":583,"location_note":3314,"lat":1434,"lng":1434,"year":2253,"medium":3598,"dimensions":17,"is_new":605,"description":3601,"notes":3604,"credit":3605,"series":3606,"names":3607,"incomplete":605,"images":3608,"image_credit":17,"themes":3609},282,"unseen-reminiscences","01-RC-04",{"zh":3595,"en":3596,"ja":17,"ko":17},"未見的追憶","Unseen Reminiscences",[1683],{"zh":3599,"en":3600,"ja":17,"ko":17},"玻璃、植物、燈光及複合媒材，尺寸依場地而定","Glass, plants, light, and mixed media, Dimensions variable",{"zh":3602,"en":3603,"ja":17,"ko":17},"本作以臺南在地植物與廢棄窗戶玻璃為媒材，藝術家走訪巷弄、公園等日常空間，採集盆栽及承載殖民歷史的植物，追溯土地記憶。植物夾於玻璃間經高溫燒製後化為灰燼，水分、空氣與礦物質則留下氣泡、裂紋與色彩變化。植物的消逝反而凸顯其存在，將臺南此刻的氣候、水土與生態轉化為可見且長存的城市記憶。\n\n特別感謝：本作承蒙春池玻璃SPRINGPOOL GLASS、楊明迭工作室及生產力建設集團慷慨支持，得以實現，為2026臺南藝術雙年展委託製作計畫。","This work uses locally sourced plants from Tainan and discarded window glass as its primary materials. The artist visited alleys, parks, and other everyday spaces to collect potted plants and species linked with the city’s colonial history, while tracing memories embedded in the land. Pressed between layers of glass and fired at high temperatures, the plants are reduced to ash, while moisture, air, and minerals leave behind bubbles, cracks, and variations in color. The disappearance of the plants paradoxically accentuates their presence, and the work thus transforms Tainan’s climate, soil, water, and ecology at a particular moment into a visible and enduring form of urban memory.\n\nSpecial Thanks: This work was made possible through the generous support of SPRINGPOOL GLASS, Yang Ming-Tieh Studio, PRODUCTIVITY ARCHITECT CO., LTD. and was commissioned as part of the 2026 Tainan Art Biennial.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[404],{"id":3611,"slug":3612,"no":3613,"title":3614,"artists":3617,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":3618,"medium":3619,"dimensions":17,"is_new":605,"description":3622,"notes":3624,"credit":3625,"series":3626,"names":3627,"incomplete":605,"images":3628,"image_credit":17,"themes":3629},283,"ancient-mountain","01-RC-05",{"zh":3615,"en":3616,"ja":17,"ko":17},"往昔之山","Ancient Mountain",[1694],"2012",{"zh":3620,"en":3621,"ja":17,"ko":17},"棉、麻、氈、羊毛、絲綢、染料、日本紙，300x640公分","Cotton, hemp, felt, wool, silk, dye, Japanese paper, 300x640 cm",{"zh":3623,"en":17,"ja":17,"ko":17},"(小林万里子 此件作品展在南美館)\n\n本作反思環境與人為因素改變山林後，生命、記憶與自然敬畏如何消逝或延續。藝術家以回收布料、二手羊毛、紙張等承載歷史的材料，透過織造、防染、刺繡、繪畫與拼貼，轉化為新的形式。在物質循環與再生之中，作品追問何者得以傳承、何者終將遺失，並指出材料雖能重生，消逝的山林與其承載的生命記憶卻無法真正復返。",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[404],{"id":259,"slug":3631,"no":3632,"title":3633,"artists":3636,"venue":583,"location_note":2508,"lat":1434,"lng":1434,"year":3637,"medium":3638,"dimensions":17,"is_new":605,"description":3641,"notes":3644,"credit":3646,"series":3649,"names":3650,"incomplete":605,"images":3651,"image_credit":17,"themes":3652},"wan-kurra-bandicoots","01-RC-06-01",{"zh":3634,"en":3635,"ja":17,"ko":17},"袋狸（古瑪吉族神話中的動物之一）","Wan'kurra (Bandicoots)",[1705],"2023",{"zh":3639,"en":3640,"ja":17,"ko":17},"拾得與蝕刻鋁材，75x75公分","Found and etched aluminium, 75x75 cm",{"zh":3642,"en":3643,"ja":17,"ko":17},"作品中的菱形圖紋象徵古瑪吉氏族的神聖之「火」，紅、白、黑、黃分別代表火焰、煙灰、木炭與塵土，亦對應族人的皮膚、脂肪、骨骼與血液。傳說火由祖靈巴魯（Bäru）帶至馬達爾帕氏族領地，並化為鹹水鱷魚，隨後向北延燒至古瑪吉領地。祖先鱷魚、鵪鶉、袋狸、蜘蛛、鳳頭鸚鵡、紅袋鼠、叢林雞與儒艮等，皆在傳統歌謠中述說與神聖之火相遇的祖先故事。\n\n特別感謝：本作承蒙Buku-Larrnggay Mulka Centre及Tolarno Galleries慷慨支持，得以實現。","The diamond motifs in his works represent gurtha, the sacred fire of the Gumatj clan. The colors red, white, black, and yellow signify flame, smoke and ash, charcoal, and earth, while also corresponding to the skin, fat, bone, and blood of the human body. According to ancestral narratives, fire was brought by Bäru, the ancestral crocodile, to Madarrpa Country, where it transformed into a saltwater crocodile before spreading northward into Gumatj Country. In traditional songs, ancestral beings—including the crocodile, quail, bandicoot, spider, cockatoo, red kangaroo, scrubfowl, and dugong—recount their encounters with the sacred fire and the ancestral events associated with it.\n\nSpecial Thanks: This work was made possible through the generous support of Buku-Larrŋgay Mulka Centre and Tolarno Galleries.",{"zh":3645,"en":17,"ja":17,"ko":17},"另需付一個影片QRcode",{"zh":3647,"en":3648,"ja":17,"ko":17},"藝術家及Buku-Larrnggay Mulka 藝術中心共同收藏","Courtesy of the artist and Buku-Larrnggay Mulka Centre",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[404],{"id":3654,"slug":3655,"no":3656,"title":3657,"artists":3660,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":3563,"medium":3661,"dimensions":17,"is_new":605,"description":3664,"notes":3666,"credit":3667,"series":3668,"names":3669,"incomplete":605,"images":3670,"image_credit":17,"themes":3671},285,"gumatj-fire-gurtha-1","01-RC-06-02",{"zh":3658,"en":3659,"ja":17,"ko":17},"古瑪吉族之火","Gumatj fire Gurtha",[1705],{"zh":3662,"en":3663,"ja":17,"ko":17},"拾得與蝕刻鋁材，120×120公分","Found and etched aluminium, 120×120 cm",{"zh":3665,"en":17,"ja":17,"ko":17},"請倚佩編輯大大潤稿, 感謝 !(已潤稿_倚20260903)\n\n作品中的菱形圖紋象徵古瑪吉（Gumatj）氏族的神聖之「火」（Gurtha），紅、白、黑、黃分別代表火焰、煙灰、木炭與塵土，亦對應族人的皮膚、脂肪、骨骼與血液。傳說火由祖靈巴魯（Bäru）帶至馬達爾帕氏族領地，並化為鹹水鱷魚，隨後向北延燒至古瑪吉領地。祖先鱷魚、鵪鶉、袋狸、蜘蛛、鳳頭鸚鵡、紅袋鼠、叢林雞與儒艮等，皆在傳統歌謠中述說與神聖之火相遇的祖先故事。\n\n特別感謝：本作承蒙Buku-Larrnggay Mulka Centre及Tolarno Galleries慷慨支持，得以實現。",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":3647,"en":3648,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[404],{"id":3673,"slug":3674,"no":3675,"title":3676,"artists":3677,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":3563,"medium":3678,"dimensions":17,"is_new":605,"description":3679,"notes":3680,"credit":3681,"series":3682,"names":3683,"incomplete":605,"images":3684,"image_credit":17,"themes":3685},286,"gumatj-fire-gurtha-2","01-RC-06-03",{"zh":3658,"en":3659,"ja":17,"ko":17},[1705],{"zh":3662,"en":3663,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":3647,"en":3648,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[404],{"id":3687,"slug":3688,"no":3689,"title":3690,"artists":3693,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":3637,"medium":3694,"dimensions":17,"is_new":605,"description":3697,"notes":3698,"credit":3699,"series":3700,"names":3701,"incomplete":605,"images":3702,"image_credit":17,"themes":3737},287,"gurtha","01-RC-06-04",{"zh":3691,"en":3692,"ja":17,"ko":17},"Gurtha（火）","Gurtha",[1705],{"zh":3695,"en":3696,"ja":17,"ko":17},"拾得與蝕刻鋁材，75×75公分","Found and etched aluminium, 75×75 cm",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":3647,"en":3648,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[3703,3720],{"id":3704,"url":3705,"w":2386,"h":3706,"alt":3707,"sizes":3708},288,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-06-04-1.jpg",1450,"Gurtha（火） Gurtha",{"medium":3709,"large":3711,"1536x1536":3714,"2048x2048":3717},{"url":3710,"w":80,"h":1661},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-06-04-1-300x181.jpg",{"url":3712,"w":84,"h":3713},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-06-04-1-1024x619.jpg",619,{"url":3715,"w":262,"h":3716},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-06-04-1-1536x928.jpg",928,{"url":3718,"w":266,"h":3719},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-06-04-1-2048x1237.jpg",1237,{"id":3721,"url":3722,"w":2386,"h":3723,"alt":3707,"sizes":3724},289,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-06-04-2.jpg",2322,{"medium":3725,"large":3728,"1536x1536":3731,"2048x2048":3734},{"url":3726,"w":80,"h":3727},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-06-04-2-300x290.jpg",290,{"url":3729,"w":84,"h":3730},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-06-04-2-1024x991.jpg",991,{"url":3732,"w":262,"h":3733},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-06-04-2-1536x1486.jpg",1486,{"url":3735,"w":266,"h":3736},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-06-04-2-2048x1981.jpg",1981,[404],{"id":3727,"slug":3739,"no":3740,"title":3741,"artists":3744,"venue":583,"location_note":3314,"lat":1434,"lng":1434,"year":3372,"medium":3745,"dimensions":17,"is_new":605,"description":3748,"notes":3751,"credit":3752,"series":3755,"names":3756,"incomplete":605,"images":3757,"image_credit":17,"themes":3772},"imaginary-secrets","01-RC-07",{"zh":3742,"en":3743,"ja":17,"ko":17},"想像中的秘密","Imaginary Secrets",[1716],{"zh":3746,"en":3747,"ja":17,"ko":17},"玻璃、冷光、導電油墨、鐵線，250x250x280公分","Glass, Electroluminescence, conductive ink, and iron wire, 250x250x280 cm",{"zh":3749,"en":3750,"ja":17,"ko":17},"〈想像中的秘密〉延續楊明迭《水衣》與《草衣 see》系列對自然質樸感受的探索。運用絹印版畫，結合紙漿、玻璃、導電油墨與冷光半導體等媒材，創作十片懸吊的圓滑形體，使版畫由平面延伸至三維空間。作品宛如漂流海面的葉片，呈現輕盈流動的詩意，在自然意象與科技媒材之間，融合東方美學與西方技法，拓展版畫的視覺與空間經驗。","Imaginary Secrets continues Yang Ming-dye’s exploration of the simple, elemental qualities of nature developed through his Water Garment and Grass Garment series. Using screen printing in combination with pulp, glass, conductive ink, and electroluminescent semiconductors, the artist has created ten suspended, rounded forms, which extend printmaking from a two-dimensional surface into three-dimensional space. Resembling leaves drifting across the surface of the sea, this work evokes a sense of lightness and fluid, poetic movement. By bringing together natural imagery and technological materials, it integrates Eastern aesthetics with Western techniques, expanding the visual possibilities of printmaking.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":3753,"en":3754,"ja":17,"ko":17},"臺南市美術館典藏","Collection of Tainan Art Museum",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[3758],{"id":3759,"url":3760,"w":2386,"h":3761,"alt":3762,"sizes":3763},291,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-07-1.jpg",1600,"想像中的秘密 Imaginary Secrets",{"medium":3764,"large":3766,"1536x1536":3768,"2048x2048":3770},{"url":3765,"w":80,"h":100},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-07-1-300x200.jpg",{"url":3767,"w":84,"h":2442},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-07-1-1024x683.jpg",{"url":3769,"w":262,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-07-1-1536x1024.jpg",{"url":3771,"w":266,"h":2436},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-07-1-2048x1365.jpg",[404],{"id":3774,"slug":3775,"no":3776,"title":3777,"artists":3780,"venue":583,"location_note":3781,"lat":1434,"lng":1434,"year":3782,"medium":3783,"dimensions":17,"is_new":605,"description":3786,"notes":3789,"credit":3790,"series":3791,"names":3792,"incomplete":605,"images":3793,"image_credit":17,"themes":3794},292,"tang-te-chang-memorial-park-min-sheng-green-park","01-LC-01",{"zh":3778,"en":3779,"ja":17,"ko":17},"台南市湯德章紀念公園（民生綠園）","Tang Te-chang Memorial Park (Min Sheng Green Park)",[1727],"2F Exhibition Gallery G","2008",{"zh":3784,"en":3785,"ja":17,"ko":17},"油彩、畫布，72.8×91.3公分","Oil painting on canvas, 72.8×91.3 cm",{"zh":3787,"en":3788,"ja":17,"ko":17},"作品右側為邱火松製作的湯德章律師胸像，左側遠景可見孫文立像，中景呈現當時仍設有水池的湯德章紀念公園及人物，背景則為日治時期臺南州廳、今臺灣文學館。藝術家刻意聚焦胸像並模糊左側景物，更將基座碑文改為「民主義士　殺身成仁　湯德章律師」，藉此肯定其堅守正義、追求臺灣民主的精神，同時批判殖民統治與威權體制下的不公與壓迫。","On the right side of the painting is a bust of lawyer Tang Te-chang, created by Chiu Huo-sung. In the distant left background is a standing statue of Sun Yat-sen, while the middle distance depicts Tang Te-chang Memorial Park, which at the time still featured a pond, along with several figures. The background shows the Tainan Prefecture Government Office during the Japanese colonial period, which is now the National Museum of Taiwan Literature. The artist deliberately emphasizes the bust while blurring the scenery on the left. He also altered the inscription on the pedestal to read, “Democratic Martyr, Died for Righteousness, Lawyer Tang Te-chang,” thereby affirming Tang’s commitment to justice and his pursuit of democracy in Taiwan, while simultaneously critiquing the injustice and oppression under colonial and authoritarian regimes.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":3753,"en":3754,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":3796,"slug":3797,"no":3798,"title":3799,"artists":3802,"venue":583,"location_note":3781,"lat":1434,"lng":1434,"year":3803,"medium":3804,"dimensions":17,"is_new":605,"description":3807,"notes":3810,"credit":3811,"series":3814,"names":3815,"incomplete":605,"images":3816,"image_credit":17,"themes":3817},293,"bao-mei-restaurant","01-LC-02",{"zh":3800,"en":3801,"ja":17,"ko":17},"寶美樓","Bao Mei Restaurant",[1738],"1949",{"zh":3805,"en":3806,"ja":17,"ko":17},"油彩、宣紙，41.4×32公分","Oil painting on rice paper, 41.4×32 cm",{"zh":3808,"en":3809,"ja":17,"ko":17},"寶美樓為1970年代府城著名酒樓與臺灣料理餐廳，位於今西門圓環一帶，是當時文人雅士聚會的重要場所，不少畫家亦常以酒樓仕女為模特兒進行創作。郭柏川透過畫筆描繪寶美樓及西門圓環周遭景致，不僅記錄城市昔日的空間樣貌，也保存藝文交流與飲食生活的時代記憶，呈現臺南獨特而鮮明的文化風景。","The Bao Mei Restaurant was a renowned banquet establishment and Taiwanese restaurant in Tainan from its early years through the 1970s. Located at what is now the Ximen Roundabout, it was a popular gathering place for writers, artists, and other cultural figures. Many artists also frequently hired the women working at such restaurants as models in their paintings. Kuo Po-chuan’s work not only preserves the landscape around the Ximen Roundabout, but also captures the distinctive cultural flavor of Tainan.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":3812,"en":3813,"ja":17,"ko":17},"私人收藏","Private Collection",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":3819,"slug":3820,"no":3821,"title":3822,"artists":3825,"venue":583,"location_note":3781,"lat":1434,"lng":1434,"year":3826,"medium":3827,"dimensions":17,"is_new":605,"description":3830,"notes":3833,"credit":3834,"series":3835,"names":3836,"incomplete":605,"images":3837,"image_credit":17,"themes":3855},294,"min-sheng-green-park","01-LC-03",{"zh":3823,"en":3824,"ja":17,"ko":17},"民生綠園","Min Sheng Green Park",[1749],"1984",{"zh":3828,"en":3829,"ja":17,"ko":17},"油彩、畫布，45.4×52.8公分","Oil painting on canvas, 45.4×52.8 cm",{"zh":3831,"en":3832,"ja":17,"ko":17},"作品創作於1984年，當時圓環仍稱「民生綠園」。畫面左側遠景為模糊的孫文立像，右側則以綠樹、人影與花盆基座構成，呈現濃厚綠意與風動感。創作時臺灣尚處戒嚴時期，藝術家雖未明確表達政治意圖，但畫中放置花盆的基座，今日已成為湯德章紀念胸像所在，其跨越不同時代政治象徵的空間變遷，格外耐人尋味。","Created in 1984, this work depicts a time when what is now the roundabout was still known as “Min Sheng Green Park.” A blurry statue of Sun Yat-sen appears in the distant left background, while the right side features luxuriant trees, human figures, and the pedestal of a flower planter, which together create a strong sense of greenery and movement in the wind. At the time, Taiwan was still under martial law. Although the artist did not explicitly articulate a political intention, the pedestal depicted in the painting, originally used for a flower planter, is now the site of the bust commemorating lawyer Tang Te-chang. The painting's political symbols spanning different historical periods lends the work a particularly evocative quality.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":3753,"en":3754,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[3838],{"id":3839,"url":3840,"w":2386,"h":3841,"alt":3842,"sizes":3843},473,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-03-1.jpg",2058,"民生綠園 Min Sheng Green Park",{"medium":3844,"large":3846,"1536x1536":3849,"2048x2048":3852},{"url":3845,"w":80,"h":3034},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-03-1-300x257.jpg",{"url":3847,"w":84,"h":3848},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-03-1-1024x878.jpg",878,{"url":3850,"w":262,"h":3851},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-03-1-1536x1317.jpg",1317,{"url":3853,"w":266,"h":3854},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-03-1-2048x1756.jpg",1756,[448],{"id":3857,"slug":3858,"no":3859,"title":3860,"artists":3863,"venue":583,"location_note":3864,"lat":1434,"lng":1434,"year":2332,"medium":3865,"dimensions":17,"is_new":605,"description":3868,"notes":3871,"credit":3872,"series":3873,"names":3874,"incomplete":605,"images":3875,"image_credit":17,"themes":3894},295,"taking-part-in-mettiment","01-LC-04",{"zh":3861,"en":3862,"ja":17,"ko":17},"逗熱鬧","Taking Part in Mettiment",[1760],"2F Exhibition Gallery H",{"zh":3866,"en":3867,"ja":17,"ko":17},"壓克力、油彩、畫布，214×442公分","Acrylic, oil painting on canvas, 214×442 cm",{"zh":3869,"en":3870,"ja":17,"ko":17},"郭博州於1992至1997年間專注創作「臺灣櫥窗系列」，藉由民俗文化深入探討臺灣百年歷史。其中〈逗熱鬧〉被藝術家視為系列中最重要且具總結性的作品，運用早期臺灣常見的民俗圖像與歷史場景，呈現社會由古典走向現代、後現代的文化變遷，藉此反芻臺灣歷史特質，喚起跨越不同時代的複雜經驗與既陌生又熟悉的集體記憶。","From 1992 to 1997, Kuo focused on his Taiwan Windows series, which explored Taiwan’s history over the past century through the lens of folk culture. Taking Part in Mettiment (Dou Re-nao) is regarded by the artist as the most significant and definitive work in this series. Drawing on folk imagery and historical scenes commonly seen in early Taiwan, the work portrays the cultural transformation of society from the classical to the modern and postmodern. Through this process of revisiting the characteristics of Taiwan’s history, Kuo evokes complex experiences spanning different eras, as well as collective memories that are at once unfamiliar and yet familiar.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":3753,"en":3754,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[3876],{"id":3877,"url":3878,"w":2386,"h":3879,"alt":3880,"sizes":3881},296,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-04-1.jpg",1242,"逗熱鬧 Taking Part in Mettiment",{"medium":3882,"large":3885,"1536x1536":3888,"2048x2048":3891},{"url":3883,"w":80,"h":3884},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-04-1-300x155.jpg",155,{"url":3886,"w":84,"h":3887},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-04-1-1024x530.jpg",530,{"url":3889,"w":262,"h":3890},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-04-1-1536x795.jpg",795,{"url":3892,"w":266,"h":3893},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-04-1-2048x1060.jpg",1060,[448],{"id":3896,"slug":3897,"no":3898,"title":3899,"artists":3902,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":2803,"medium":3903,"dimensions":17,"is_new":605,"description":3906,"notes":3908,"credit":3911,"series":3912,"names":3913,"incomplete":605,"images":3914,"image_credit":17,"themes":3915},297,"a-leaf-shelter","01-LC-05-01",{"zh":3900,"en":3901,"ja":17,"ko":17},"植物時間","A Leaf Shelter",[1771],{"zh":3904,"en":3905,"ja":17,"ko":17},"水彩紙、植物染、鐵，154x210x50公分","Watercolor paper, plant dyes, metal, 154x210x50 cm",{"zh":3907,"en":17,"ja":17,"ko":17},"本作創作於藝術家駐地關渡自然公園期間，以臺灣低海拔陰溼環境常見的姑婆芋為主要形象。姑婆芋在早期塑膠袋尚未普及的年代，亦曾廣泛作為市場包材。李若玫將水彩紙經多種植物熱染後塑形，製成仿若皮革質地的葉片，與深灰色鐵板背景形成質感對比。作品從植物形態、材料與地方生活記憶出發，引領觀者進入植物緩慢生長、變化與消逝的靜謐時間，感受自然細微而綿延的生命節奏。",{"zh":3909,"en":3910,"ja":17,"ko":17},"本作品原型為2022年關渡國際自然藝術季駐地創作","The prototype of this work was created during the 2022 Guandu International Nature Art Festival residency",{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":3917,"slug":3918,"no":3919,"title":3920,"artists":3923,"venue":583,"location_note":3781,"lat":1434,"lng":1434,"year":2803,"medium":3924,"dimensions":17,"is_new":605,"description":3927,"notes":3930,"credit":3931,"series":3932,"names":3933,"incomplete":605,"images":3934,"image_credit":17,"themes":3948},298,"time-coconut-in-the-living-room","01-LC-05-02",{"zh":3921,"en":3922,"ja":17,"ko":17},"客廳裡的葉蔭","Time Coconut in the Living Room",[1771],{"zh":3925,"en":3926,"ja":17,"ko":17},"水彩、紙、鉛筆、腰果漆，155x266x4公分","Watercolor on paper, pencil, cashew lacquer, 155x266x4 cm",{"zh":3928,"en":3929,"ja":17,"ko":17},"父執輩的鐵工廠是藝術家的成長記憶，老家客廳裡的可可椰子盆栽則被藝術家視為對逝去親屬的懷想。〈客廳裡的葉蔭〉這件作品以大面積摺紙建構出兩種形象的結合：垂直水平的鐵板材料，以及微觀椰葉的盎生線條。藝術家以鉛筆素描在紙上堆疊出金屬般的質地，厚重如家族的生命經驗，又輕盈如成為植物的時間狀態。","The metalworking factory run by the artist’s father’s generation forms part of her childhood memories, while a potted coconut palm in the family living room brings to mind relatives who have passed away. Time Coconut in the Living Room combines two forms through large-scale folded paper: the vertical and horizontal geometry of sheet metal and the lively lines of coconut leaves. Pencil drawings lend the work a metallic texture—weighty with family experience, yet as light as time embodied in plant life.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[3935],{"id":3936,"url":3937,"w":2386,"h":2386,"alt":3938,"sizes":3939},299,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-05-02-1.jpg","客廳裡的葉蔭 Time Coconut in the Living Room",{"medium":3940,"large":3942,"1536x1536":3944,"2048x2048":3946},{"url":3941,"w":80,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-05-02-1-300x300.jpg",{"url":3943,"w":84,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-05-02-1-1024x1024.jpg",{"url":3945,"w":262,"h":262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-05-02-1-1536x1536.jpg",{"url":3947,"w":266,"h":266},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-05-02-1-2048x2048.jpg",[448],{"id":80,"slug":3950,"no":3951,"title":3952,"artists":3955,"venue":583,"location_note":3956,"lat":1434,"lng":1434,"year":3957,"medium":3958,"dimensions":17,"is_new":605,"description":3961,"notes":3964,"credit":3965,"series":3966,"names":3967,"incomplete":605,"images":3968,"image_credit":17,"themes":3985},"lying-slowly-in-the-rapid-world","01-LC-06",{"zh":3953,"en":3954,"ja":17,"ko":17},"快世界．慢飛翔","Lying Slowly In the Rapid World",[1782,1793],"2F Exhibition Gallery C","2017",{"zh":3959,"en":3960,"ja":17,"ko":17},"馬達、動力裝置、皮革、透鏡、投影機、金屬，尺寸依場地而定","Motor, mechanical device, leather, lens, projector, metal, Dimensions variable",{"zh":3962,"en":3963,"ja":17,"ko":17},"本作以結合懷孕女性身體與海盜船造形的搖籃為核心，在空間中緩慢擺盪，背景播放繞行臺南東門圓環與湯德章紀念公園的影像。作品源於藝術家陳妍伊與黃逸民迎接新生命時的感受，面對外在世界的焦慮、匆促與快速變遷，以搖籃象徵生命初始的純粹與安穩。快速流動的城市影像與緩慢擺盪形成對照，寄託對孩子的叮嚀與祝福，期盼在快速世界中仍能感受生命的溫柔，從容飛翔。","At the center of this work is a cradle that combines the form of a pregnant woman’s body with that of a pirate ship, and the cradle slowly rocks within the exhibition space. In the background, a video captures the area around Tainan’s East Gate Roundabout and Tang Te-chang Memorial Park. This work emerged from Chen Yen-yi and Huang Yi-min’s experience of preparing to welcome a new life. Confronted with the anxiety and rapid changes of the world around them, the artists use the cradle as a symbol of the purity and stability of life at its beginning. The contrast between the rapidly moving urban imagery and the cradle’s slow, gentle rocking conveys their hopes and blessings for the child: That even in a fast-moving world, one might continue to experience the tenderness of life and find the freedom to soar.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[3969],{"id":3970,"url":3971,"w":2386,"h":3972,"alt":3973,"sizes":3974},474,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-06-1.jpg",1601,"快世界．慢飛翔 Lying Slowly In the Rapid World",{"medium":3975,"large":3977,"1536x1536":3979,"2048x2048":3982},{"url":3976,"w":80,"h":100},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-06-1-300x200.jpg",{"url":3978,"w":84,"h":2442},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-06-1-1024x683.jpg",{"url":3980,"w":262,"h":3981},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-06-1-1536x1025.jpg",1025,{"url":3983,"w":266,"h":3984},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-06-1-2048x1366.jpg",1366,[448],{"id":3987,"slug":3988,"no":3989,"title":3990,"artists":3993,"venue":583,"location_note":3864,"lat":1434,"lng":1434,"year":3543,"medium":3994,"dimensions":17,"is_new":605,"description":3997,"notes":4000,"credit":4001,"series":4002,"names":4003,"incomplete":605,"images":4004,"image_credit":17,"themes":4034},301,"the-skywalker-dakini-1","01-LC-07-01",{"zh":3991,"en":3992,"ja":17,"ko":17},"空行母","The Skywalker-Dakini",[1804],{"zh":3995,"en":3996,"ja":17,"ko":17},"金箔、壓克力、墨水、玻璃纖維，90x40x35公分","Gold leaf, acrylic and ink on fiberglass, 90x40x35 cm",{"zh":3998,"en":3999,"ja":17,"ko":17},"「空行母」象徵藏傳佛教證悟的本覺空性與智慧，也是唐卡經典主題。才仁・夏爾帕拆解傳統唐卡的裝飾結構，以自由流動的色彩筆觸，將護法神像的符號與圖案轉化為抽象形態，重新思考尼泊爾與喜馬拉雅文化如何被觀看與理解，並回應身分認同與離散經驗。本次展出繪畫與雕塑作品，其中雕塑與尼泊爾傳統匠師協作，將逐漸式微的在地工藝融入當代創作，使傳統技術在新的藝術語境中再次被看見、延續與傳承。","The Skywalker-Dakini symbolizes the primordial emptiness and wisdom of enlightenment in Tibetan Buddhism, which is also a recurring subject in thangka painting. Tsherin Sherpa deconstructs the ornate structures of traditional thangka painting, using freely flowing strokes of color to transform the symbols and patterns associated with protective deities into abstract forms. Through this process, he reconsiders how Nepalese and Himalayan cultures are viewed and understood, while reflecting on questions of identity and diasporic experience. This exhibition presents both his paintings and sculptures. Created in collaboration with traditional Nepalese artisans, his sculptures incorporate local craft traditions that are gradually disappearing, bringing them into contemporary artistic practice and enabling these traditional techniques to be seen, sustained, and passed on within a new artistic context.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[4005,4022],{"id":4006,"url":4007,"w":4008,"h":2386,"alt":4009,"sizes":4010},302,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-07-01-1.jpg",2006,"空行母 The Skywalker-Dakini",{"medium":4011,"large":4013,"1536x1536":4016,"2048x2048":4019},{"url":4012,"w":2851,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-07-01-1-251x300.jpg",{"url":4014,"w":4015,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-07-01-1-856x1024.jpg",856,{"url":4017,"w":4018,"h":262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-07-01-1-1284x1536.jpg",1284,{"url":4020,"w":4021,"h":266},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-07-01-1-1712x2048.jpg",1712,{"id":4023,"url":4024,"w":2307,"h":2386,"alt":4009,"sizes":4025},303,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-07-01-2.jpg",{"medium":4026,"large":4028,"1536x1536":4030,"2048x2048":4032},{"url":4027,"w":1552,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-07-01-2-169x300.jpg",{"url":4029,"w":3583,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-07-01-2-576x1024.jpg",{"url":4031,"w":3586,"h":262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-07-01-2-864x1536.jpg",{"url":4033,"w":2654,"h":266},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-07-01-2-1152x2048.jpg",[448],{"id":4036,"slug":4037,"no":4038,"title":4039,"artists":4040,"venue":583,"location_note":3864,"lat":1434,"lng":1434,"year":3543,"medium":4041,"dimensions":17,"is_new":605,"description":4044,"notes":4045,"credit":4046,"series":4048,"names":4049,"incomplete":605,"images":4050,"image_credit":17,"themes":4051},304,"the-skywalker-dakini-2","01-LC-07-02",{"zh":3991,"en":3992,"ja":17,"ko":17},[1804],{"zh":4042,"en":4043,"ja":17,"ko":17},"白金箔、壓克力、墨水、畫布，91x76公分","White gold leaf, acrylic and ink on canvas, 91x76 cm",{"zh":3998,"en":3999,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":3812,"en":4047,"ja":17,"ko":17},"Private collection",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":4053,"slug":4054,"no":4055,"title":4056,"artists":4059,"venue":583,"location_note":4060,"lat":1434,"lng":1434,"year":2253,"medium":4061,"dimensions":17,"is_new":605,"description":4064,"notes":4067,"credit":4068,"series":4069,"names":4070,"incomplete":605,"images":4071,"image_credit":17,"themes":4072},305,"in-torrents-we-settle-as-a-tree","01-LC-08-01",{"zh":4057,"en":4058,"ja":17,"ko":17},"我們在此洪流中站成一棵樹","In Torrents, We Settle as a Tree",[1815],"2F Exhibition Gallery elevator lobby glass window",{"zh":4062,"en":4063,"ja":17,"ko":17},"紙、綜合顏料，尺寸依場地而定","Paper, mixed pigments, Dimensions variable",{"zh":4065,"en":4066,"ja":17,"ko":17},"本作為本展委託的現地創作，為了回應館內既有的落地格狀毛玻璃窗，運用繪畫與水墨的筆觸、流染，融入剪紙與紙張編織技法，以呈現人與土地的原生風景、地方記憶及面向未來的姿態。作品源自其童年居住臺南鹽水溪畔的記憶：古厝、番石榴樹、魚塭波光與熟果氣味，共同交織成充滿生命力的地方風景。正如吳耿禎自述：「我們在洪流中站立，並非穩固，因為尚未被沖散，樹的形狀，是一種暫時的抵抗。」","Commissioned specifically for this exhibition, this site-specific work responds to the existing floor-to-ceiling grid-patterned frosted-glass windows in the museum. Incorporating painterly and ink-and-wash elements, flowing and bleeding effects, paper cutting, and paper-weaving techniques, the work evokes an indigenous landscape of humans and the land, local memories, and an orientation toward the future. It draws upon the artist’s childhood memories of living along the Yanshui River in Tainan: traditional houses, guava trees, the shimmering surfaces of fish ponds, and the fragrance of ripe fruit interweave to form a vibrant landscape of place. As Wu describes it: “We stand fast in the flood, not because we are firmly rooted, but because we have not yet been swept away. The shape of a tree is a form of temporary resistance.”",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":4074,"slug":4075,"no":4076,"title":4077,"artists":4080,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":4081,"medium":4082,"dimensions":17,"is_new":605,"description":4085,"notes":4087,"credit":4088,"series":4089,"names":4090,"incomplete":605,"images":4091,"image_credit":17,"themes":4092},306,"cut-outs-fabric-weaving-01","01-LC-08-02",{"zh":4078,"en":4079,"ja":17,"ko":17},"篝火—布編織—01","Cut-Outs Fabric Weaving — 01",[1815],"2020",{"zh":4083,"en":4084,"ja":17,"ko":17},"布、紙、棉線、壓克力顏料，364x120公分","Fiber, paper, embroidery, acrylic, 364x120 cm",{"zh":4086,"en":17,"ja":17,"ko":17},"篝火通常是在野外空曠處用木柴搭建燃燒的火堆，藝術家擷取篝火用於取暖、烹食等凝聚與儀式傳承的意象，使用剪紙形塑出人的側臉、正身、側腳，以及生物與物件扁平化符號，如同古埃及描繪人形的方式，再融入研究南島文化編織思維後，營造出自然與文明起始樣貌的圖象。本次展出的三件「篝火」系列作品，在展場中扮演了承先啟後的關鍵連結，讓周圍的關注民間信仰主題與探討原住民文化消逝與歸屬感的作品，在觀眾觀看時有了一個思緒的落腳處可供停歇與靜思。",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":4094,"slug":4095,"no":4096,"title":4097,"artists":4100,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":4081,"medium":4101,"dimensions":17,"is_new":605,"description":4104,"notes":4105,"credit":4106,"series":4107,"names":4108,"incomplete":605,"images":4109,"image_credit":17,"themes":4110},307,"cut-outs-fabric-weaving-02","01-LC-08-03",{"zh":4098,"en":4099,"ja":17,"ko":17},"篝火—布編織—02","Cut-Outs Fabric Weaving — 02",[1815],{"zh":4102,"en":4103,"ja":17,"ko":17},"布、紙、棉線、壓克力顏料，346x110公分","Fiber, paper, embroidery, acrylic, 346x110 cm",{"zh":4086,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":4112,"slug":4113,"no":4114,"title":4115,"artists":4118,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":4081,"medium":4119,"dimensions":17,"is_new":605,"description":4122,"notes":4123,"credit":4124,"series":4125,"names":4126,"incomplete":605,"images":4127,"image_credit":17,"themes":4128},308,"cut-outs-fabric-weaving-03","01-LC-08-04",{"zh":4116,"en":4117,"ja":17,"ko":17},"篝火—布編織—03","Cut-Outs Fabric Weaving — 03",[1815],{"zh":4120,"en":4121,"ja":17,"ko":17},"布、紙、棉線、壓克力顏料，358x111公分","Fiber, paper, embroidery, acrylic, 358x111 cm",{"zh":4086,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":4130,"slug":4131,"no":4132,"title":4133,"artists":4136,"venue":583,"location_note":4137,"lat":1434,"lng":1434,"year":2253,"medium":4138,"dimensions":17,"is_new":605,"description":4141,"notes":4144,"credit":4145,"series":4146,"names":4147,"incomplete":605,"images":4148,"image_credit":17,"themes":4149},309,"fountain","01-LC-09",{"zh":4134,"en":4135,"ja":17,"ko":17},"噴水池","Fountain",[1826],"2F Exhibition Gallery D",{"zh":4139,"en":4140,"ja":17,"ko":17},"陶瓷、複合媒材，尺寸依場地而定","Ceramics, mixed media, Dimensions variable",{"zh":4142,"en":4143,"ja":17,"ko":17},"本作為本展委託的現地創作。楊季涓繞行湯德章紀念公園並研究其歷史，以日治時期設置、現已停用的噴水池為發想原點，回應水聲消逝而歷史記憶仍持續流動的意象。同時，她以遊客視角感受臺南圓環四通八達、如迷宮般的特殊城市經驗。作品將風景記憶、交通號誌與圓環符號轉化為陶燒造形，串珠成懸吊幕簾；觀眾可穿越、繞行作品，在遠觀整體與近看圖樣之間，體驗城市空間、歷史記憶與身體感知的交錯。","Commissioned specifically for this exhibition, this site-specific work originated from Yang’s exploration of Tang Te-chang Memorial Park and research into its history. The artist takes as her point of departure the fountain installed during the Japanese colonial period, which is no longer in use, reflecting on an image of flowing historical memories that remain long after the sound of water has disappeared. At the same time, she approaches Tainan’s roundabouts from the perspective of a visitor, responding to the city’s distinctive experience of movement through a network of interconnected roads that can feel almost labyrinthine. Memories of the landscape, traffic signs, and the symbolic forms of roundabouts are transformed into fired-clay forms and strung together to create a suspended curtain. Visitors can walk through and around the work, experiencing the interplay between urban space, historical memory, and bodily perception as they shift between viewing the work as a whole from a distance and observing its individual patterns up close.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":4151,"slug":4152,"no":4153,"title":4154,"artists":4157,"venue":583,"location_note":3864,"lat":1434,"lng":1434,"year":3957,"medium":4158,"dimensions":17,"is_new":605,"description":4161,"notes":4164,"credit":4165,"series":4166,"names":4167,"incomplete":605,"images":4168,"image_credit":17,"themes":4185},310,"circle01-02","01-LC-10-01",{"zh":4155,"en":4156,"ja":17,"ko":17},"繞","circle01,02",[1837],{"zh":4159,"en":4160,"ja":17,"ko":17},"攝影影像、neoprene布、雙面刺繡、LED燈、不鏽鋼條，直徑200公分","Photographic images, neoprene fabric, double-sided embroidery, LED lights, stainless steel rods, Ø200 cm",{"zh":4162,"en":4163,"ja":17,"ko":17},"「神遊仙境」系列由邱國峻與刺繡師林玉泉合作，融合傳統刺繡與當代攝影。本作取材廟會繞境影像，透過雙面繡使作品正反面呈現不同視覺感受。系列作品亦取材曾承載集體記憶、後因產業與環境變遷而荒廢的悟智樂園及新化廢墟，將廢墟影像與神像符號交織，以「神遊」想像空間昔日繁華與未來可能，在消逝的場所記憶中重新思考信仰、時代變遷與地方生命。","The Fairyland of People series is a collaboration between Chiu Kuo-chun and embroidery artist Lin Yu-chuan, and combines traditional embroidery with contemporary photography. This work draws on images of temple processions and uses double-sided embroidery to create distinct visual experiences on the front and back of the work. Other works in the series feature images of Wuzhi Amusement Park and ruins in Xinhua—places that once held collective memories but were later abandoned amid industrial and environmental changes. By interweaving images of ruins with the iconography of deities, the series imagines these spaces through the notion of a “spiritual journey,” evoking their former prosperity and possible futures while reconsidering faith, historical transformation, and the vitality of place.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[4169],{"id":4170,"url":4171,"w":2386,"h":4172,"alt":4173,"sizes":4174},311,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-10-01-1.jpg",1435,"繞 circle01,02",{"medium":4175,"large":4177,"1536x1536":4180,"2048x2048":4182},{"url":4176,"w":80,"h":1641},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-10-01-1-300x179.jpg",{"url":4178,"w":84,"h":4179},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-10-01-1-1024x612.jpg",612,{"url":4181,"w":262,"h":2947},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-10-01-1-1536x918.jpg",{"url":4183,"w":266,"h":4184},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-10-01-1-2048x1225.jpg",1225,[448],{"id":4187,"slug":4188,"no":4189,"title":4190,"artists":4193,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":4081,"medium":4194,"dimensions":17,"is_new":605,"description":4197,"notes":4198,"credit":4199,"series":4200,"names":4201,"incomplete":605,"images":4202,"image_credit":17,"themes":4203},312,"fairyland-of-people-adventures-in-wonderland-abandoned-amusement-park-01","01-LC-10-02",{"zh":4191,"en":4192,"ja":17,"ko":17},"「神遊仙境」：〈仙境夢遊之悟智樂園01 〉","Fairyland of People: Adventures in Wonderland- Abandoned amusement Park 01",[1837],{"zh":4195,"en":4196,"ja":17,"ko":17},"攝影影像、絹布輸出、刺繡，50×85×0.5公分","Photographic images, silk fabric printing, embroidery, 50×85×0.5 cm",{"zh":4162,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":4205,"slug":4206,"no":4207,"title":4208,"artists":4211,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":4081,"medium":4212,"dimensions":17,"is_new":605,"description":4213,"notes":4214,"credit":4215,"series":4216,"names":4217,"incomplete":605,"images":4218,"image_credit":17,"themes":4219},313,"fairyland-of-people-adventures-in-wonderland-abandoned-amusement-park-02","01-LC-10-03",{"zh":4209,"en":4210,"ja":17,"ko":17},"「神遊仙境」：〈 仙境夢遊之悟智樂園02〉","Fairyland of People: Adventures in Wonderland- Abandoned amusement Park 02",[1837],{"zh":4195,"en":4196,"ja":17,"ko":17},{"zh":4162,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":4221,"slug":4222,"no":4223,"title":4224,"artists":4227,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":4081,"medium":4228,"dimensions":17,"is_new":605,"description":4231,"notes":4232,"credit":4233,"series":4234,"names":4235,"incomplete":605,"images":4236,"image_credit":17,"themes":4237},314,"fairyland-of-people-adventures-in-wonderland-abandoned-hotel-03","01-LC-10-04",{"zh":4225,"en":4226,"ja":17,"ko":17},"「神遊仙境」：〈仙境夢遊之新化廢墟03〉","Fairyland of People:\nAdventures in Wonderland-Abandoned hotel 03",[1837],{"zh":4229,"en":4230,"ja":17,"ko":17},"攝影影像、絹布輸出、刺繡，43x60x0.5公分","Photographic images, silk fabric printing, embroidery, 43x60x0.5 cm",{"zh":4162,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":4239,"slug":4240,"no":4241,"title":4242,"artists":4245,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":2803,"medium":4246,"dimensions":17,"is_new":605,"description":4249,"notes":4250,"credit":4251,"series":4252,"names":4253,"incomplete":605,"images":4254,"image_credit":17,"themes":4255},315,"fairyland-of-people-land-of-regeneration-jing-01","01-LC-10-05",{"zh":4243,"en":4244,"ja":17,"ko":17},"「神遊仙境」：〈重生之境—淨01〉","Fairyland of People: Land of Regeneration- Jing 01",[1837],{"zh":4247,"en":4248,"ja":17,"ko":17},"攝影影像、絹布輸出、刺繡，57x82x0.5公分","Photographic images, silk fabric printing, embroidery, 57x82x0.5 cm",{"zh":4162,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":4257,"slug":4258,"no":4259,"title":4260,"artists":4263,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":3543,"medium":4264,"dimensions":17,"is_new":605,"description":4267,"notes":4269,"credit":4270,"series":4271,"names":4272,"incomplete":605,"images":4273,"image_credit":17,"themes":4274},316,"blessings-for-the-whole-community-wind-in-the-pines","01-LC-11-01",{"zh":4261,"en":4262,"ja":17,"ko":17},"合境平安—風入松","Blessings for the Whole Community — “Wind in the Pines”",[1848],{"zh":4265,"en":4266,"ja":17,"ko":17},"岩彩 、 紙本，45.5×52.9公分","Mineral pigment on paper, 45.5×52.9 cm",{"zh":4268,"en":17,"ja":17,"ko":17},"〈合境平安 I〉、〈合境平安—風入松〉與〈媽祖遶境—富貴平安圖〉取材自民間祭儀及北管曲牌。「合境平安」寄寓境內平安順遂，「遶境」則指神明巡視其管轄地域；「風入松」為廟會常聞的北管曲牌。作品融合剪紙般的輪廓與刺繡式線條，以大量曲線、波浪及對角構圖，捕捉遶境人群的身體感、群體移動與聲音律動，並運用民間信仰常見色彩與金色，營造熱鬧、富貴而充滿節慶氣息的視覺氛圍。",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":3812,"en":4047,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":4276,"slug":4277,"no":4278,"title":4279,"artists":4282,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":3543,"medium":4283,"dimensions":17,"is_new":605,"description":4286,"notes":4287,"credit":4288,"series":4291,"names":4292,"incomplete":605,"images":4293,"image_credit":17,"themes":4294},317,"procession-of-mazu-prosperity-and-peace","01-LC-11-02",{"zh":4280,"en":4281,"ja":17,"ko":17},"媽祖遶境—富貴平安圖","Procession of Mazu: Prosperity and Peace",[1848],{"zh":4284,"en":4285,"ja":17,"ko":17},"岩彩 、 紙本，162×130公分","Mineral pigment on paper, 162×130 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traditional folk rituals and Beiguan musical repertoires. “Peace and Blessings for the Whole Community" expresses wishes for peace and prosperity throughout the community, while "Procession of Mazu" refers to the deity’s ritual tour of the territory under her protection. "Wind in the Pines” is a Beiguan musical piece frequently performed during temple festivals. The works combine paper-cut-like contours with embroidery-like lines, and use abundant curves, waves, and diagonal compositions to capture the physical presence of the procession, the movement of the crowd, and the rhythms of sound. Colors commonly associated with folk religious traditions, together with gold, create a lively, auspicious, and festive visual atmosphere.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":3812,"en":4047,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[4313,4327,4339],{"id":4314,"url":4315,"w":123,"h":4316,"alt":4317,"sizes":4318},319,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-1.jpg",1708,"合境平安 I Peace and Blessings for the Whole Community",{"medium":4319,"large":4321,"1536x1536":4324},{"url":4320,"w":80,"h":3006},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-1-300x256.jpg",{"url":4322,"w":84,"h":4323},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-1-1024x874.jpg",874,{"url":4325,"w":262,"h":4326},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-1-1536x1312.jpg",1312,{"id":4328,"url":4329,"w":2386,"h":3478,"alt":4317,"sizes":4330},320,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-2.jpg",{"medium":4331,"large":4333,"1536x1536":4335,"2048x2048":4337},{"url":4332,"w":80,"h":201},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-2-300x150.jpg",{"url":4334,"w":84,"h":3485},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-2-1024x512.jpg",{"url":4336,"w":262,"h":2651},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-2-1536x768.jpg",{"url":4338,"w":266,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-2-2048x1024.jpg",{"id":4340,"url":4341,"w":4342,"h":2386,"alt":4317,"sizes":4343},321,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-3.jpg",1925,{"medium":4344,"large":4346,"1536x1536":4349,"2048x2048":4352},{"url":4345,"w":2642,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-3-241x300.jpg",{"url":4347,"w":4348,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-3-821x1024.jpg",821,{"url":4350,"w":4351,"h":262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-3-1232x1536.jpg",1232,{"url":4353,"w":4354,"h":266},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-3-1643x2048.jpg",1643,[448],{"id":4357,"slug":4358,"no":4359,"title":4360,"artists":4363,"venue":583,"location_note":3864,"lat":1434,"lng":1434,"year":4364,"medium":4365,"dimensions":17,"is_new":605,"description":4368,"notes":4371,"credit":4372,"series":4373,"names":4374,"incomplete":605,"images":4375,"image_credit":17,"themes":4416},322,"untitled-imagined-homeland-1","01-LC-12-01",{"zh":4361,"en":4362,"ja":17,"ko":17},"無題，想像的家園","Untitled, Imagined Homeland",[1859],"2018",{"zh":4366,"en":4367,"ja":17,"ko":17},"數位攝影、藝術微噴，61×91.4公分","Digital photograph, giclée, 61×91.4 cm",{"zh":4369,"en":4370,"ja":17,"ko":17},"「想像的家園」系列源自藝術家2013至2019年間對中印邊界傈僳族的長期關注，以擺拍、光影及重複曝光，交織現實與精神世界。金色光線、鴨子與水反覆出現，象徵人、動物與自然，並以如家庭相冊般的影像建構想像的歸屬之所。作品從邊界治理、都市化、信仰與現代文明衝突等處境，探問全球化下的歸屬感。本次展出聚焦兩件以「光」為核心的作品，邀請觀眾先由光的感知進入其神秘而富情感的影像世界。","The Imagined Homeland series grew out of the artist’s long-term engagement with the Lisu people living along the China–India border between 2013 and 2019. Through staged photography, light and shadow, and multiple exposures, De interweaves the real and the spiritual. Golden light, ducks, and water recur throughout the series as symbols of human beings, animals, and nature, while images resembling family albums construct an imagined place of belonging. Addressing border governance, urbanization, conflicts between belief and modern civilization, and related conditions, the series explores the sense of belonging in an increasingly globalized world. This exhibition focuses on two works revolving around “light,” inviting viewers to enter the artist’s mysterious and emotionally charged photographic world first through the sensory experience of light.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[4376,4392,4404],{"id":4377,"url":4378,"w":4379,"h":2386,"alt":4380,"sizes":4381},323,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-1.jpg",2057,"無題，想像的家園 Untitled, Imagined Homeland",{"medium":4382,"large":4384,"1536x1536":4386,"2048x2048":4389},{"url":4383,"w":3034,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-1-257x300.jpg",{"url":4385,"w":3848,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-1-878x1024.jpg",{"url":4387,"w":4388,"h":262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-1-1316x1536.jpg",1316,{"url":4390,"w":4391,"h":266},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-1-1755x2048.jpg",1755,{"id":4393,"url":4394,"w":2386,"h":3972,"alt":4380,"sizes":4395},324,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-2.jpg",{"medium":4396,"large":4398,"1536x1536":4400,"2048x2048":4402},{"url":4397,"w":80,"h":100},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-2-300x200.jpg",{"url":4399,"w":84,"h":2442},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-2-1024x683.jpg",{"url":4401,"w":262,"h":3981},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-2-1536x1025.jpg",{"url":4403,"w":266,"h":3984},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-2-2048x1366.jpg",{"id":4405,"url":4406,"w":2386,"h":3972,"alt":4380,"sizes":4407},325,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-3.jpg",{"medium":4408,"large":4410,"1536x1536":4412,"2048x2048":4414},{"url":4409,"w":80,"h":100},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-3-300x200.jpg",{"url":4411,"w":84,"h":2442},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-3-1024x683.jpg",{"url":4413,"w":262,"h":3981},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-3-1536x1025.jpg",{"url":4415,"w":266,"h":3984},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-3-2048x1366.jpg",[448],{"id":4418,"slug":4419,"no":4420,"title":4421,"artists":4424,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":4364,"medium":4425,"dimensions":17,"is_new":605,"description":4426,"notes":4427,"credit":4428,"series":4429,"names":4430,"incomplete":605,"images":4431,"image_credit":17,"themes":4432},326,"lisangi-and-dulusu-yobin-wait-indefinitely-in-the-forests-of-namdapha-with-their-son-imagined-homeland","01-LC-12-02",{"zh":4422,"en":4423,"ja":17,"ko":17},"利桑吉、杜魯蘇·約賓與他們的兒子，在楠達法的森林裡無盡等待，想像的家園","Lisangi and Dulusu Yobin wait indefinitely in the forests of Namdapha with their Son, Imagined Homeland",[1859],{"zh":4366,"en":4367,"ja":17,"ko":17},{"zh":4369,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":4434,"slug":4435,"no":4436,"title":4437,"artists":4440,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":4364,"medium":4441,"dimensions":17,"is_new":605,"description":4442,"notes":4443,"credit":4444,"series":4445,"names":4446,"incomplete":605,"images":4447,"image_credit":17,"themes":4448},327,"children-explore-the-mythical-forest-imagined-homeland","01-LC-12-03",{"zh":4438,"en":4439,"ja":17,"ko":17},"兒童探索神話森林，想像的家園","Children Explore the Mythical Forest, Imagined Homeland",[1859],{"zh":4366,"en":4367,"ja":17,"ko":17},{"zh":4369,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":4450,"slug":4451,"no":4452,"title":4453,"artists":4454,"venue":583,"location_note":3864,"lat":1434,"lng":1434,"year":4455,"medium":4456,"dimensions":17,"is_new":605,"description":4459,"notes":4460,"credit":4461,"series":4462,"names":4463,"incomplete":605,"images":4464,"image_credit":17,"themes":4465},328,"untitled-imagined-homeland-2","01-LC-12-04",{"zh":4361,"en":4362,"ja":17,"ko":17},[1859],"2019",{"zh":4457,"en":4458,"ja":17,"ko":17},"數位攝影、藝術微噴，106.7×91.4公分","Digital photograph, giclée, 106.7×91.4 cm",{"zh":4369,"en":4370,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":4467,"slug":4468,"no":4469,"title":4470,"artists":4473,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":4364,"medium":4474,"dimensions":17,"is_new":605,"description":4477,"notes":4478,"credit":4479,"series":4480,"names":4481,"incomplete":605,"images":4482,"image_credit":17,"themes":4483},329,"ngwalidew-and-the-portal-imagined-homeland","01-LC-12-05",{"zh":4471,"en":4472,"ja":17,"ko":17},"恩瓦利德與傳送門，想像的家園","Ngwalidew and the Portal, Imagined Homeland",[1859],{"zh":4475,"en":4476,"ja":17,"ko":17},"數位攝影、藝術微噴，91.4×137.2公分","Digital photograph, giclée, 91.4×137.2 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photograph, giclée, 61×52.3 cm",{"zh":4369,"en":4370,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":4580,"slug":4581,"no":4582,"title":4583,"artists":4586,"venue":583,"location_note":17,"lat":1434,"lng":1434,"year":4455,"medium":4587,"dimensions":17,"is_new":605,"description":4588,"notes":4589,"credit":4590,"series":4591,"names":4592,"incomplete":605,"images":4593,"image_credit":17,"themes":4594},336,"untitled-iv-imagined-homeland","01-LC-12-12",{"zh":4584,"en":4585,"ja":17,"ko":17},"無題-IV，想像的家園","Untitled-IV, Imagined 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Last Call, Imagined Homeland",[1859],{"zh":4457,"en":4458,"ja":17,"ko":17},{"zh":4369,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":4640,"slug":4641,"no":4642,"title":4643,"artists":4646,"venue":583,"location_note":4647,"lat":1434,"lng":1434,"year":2253,"medium":4648,"dimensions":17,"is_new":605,"description":4651,"notes":4654,"credit":4655,"series":4658,"names":4659,"incomplete":605,"images":4660,"image_credit":17,"themes":4674},340,"mpression-gaze-around-tainan-spinning-circles-plein-air-action","01-LC-13",{"zh":4644,"en":4645,"ja":17,"ko":17},"印象／凝視：環臺南動圈寫生行動","MPRESSION \u002F GAZE：Around Tainan – Spinning Circles Plein Air Action",[100],"1F Central Corridor Nanmen Rd. side",{"zh":4649,"en":4650,"ja":17,"ko":17},"複合媒材，200×200×60公分","Mixed media, 200×200×60 cm",{"zh":4652,"en":4653,"ja":17,"ko":17},"由張駿業理事長帶領學員走出教室，進入臺南圓環共同寫生，透過重新觀看熟悉卻易被忽略的公共空間，讓個人觀察與感知藉由藝術進入公共領域，形塑城市共同記憶。作品以慢速轉動的輪狀裝置，呈現如逐格動畫般的寫生圖像，並以電子相框播放創作紀錄，使靜止風景轉化為流動的城市印象，呼應圓環持續運轉的節奏，象徵臺南歷史與當下、記憶與現實交錯共存的城市狀態。","Led by Director Chang Chun-yeh, participants stepped outside the classroom to paint together on location around Tainan’s roundabouts. By looking anew at familiar yet often overlooked public spaces, the project brings individual observation and perception into the public realm through art. The work uses a slowly rotating wheel-like installation to present the participants’ plein-air paintings in a frame-by-frame animation-like sequence, while an electronic photo frame displays documentation of the creative process. In this way, static landscapes are transformed into a flowing impression of the city, echoing the continuous rhythm of the roundabout and symbolizing Tainan as a city where history and the present, memory and reality, intersect and coexist.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":4656,"en":4657,"ja":17,"ko":17},"臺南社區大學提供","Courtesy of the Tainan Community University",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[4661],{"id":4662,"url":4663,"w":2893,"h":2386,"alt":4664,"sizes":4665},341,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-13-1.jpg","印象／凝視：環臺南動圈寫生行動 MPRESSION \u002F GAZE：Around Tainan – Spinning Circles Plein Air Action",{"medium":4666,"large":4668,"1536x1536":4670,"2048x2048":4672},{"url":4667,"w":2023,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-13-1-212x300.jpg",{"url":4669,"w":2900,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-13-1-724x1024.jpg",{"url":4671,"w":2448,"h":262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-13-1-1086x1536.jpg",{"url":4673,"w":2905,"h":266},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-13-1-1448x2048.jpg",[448],{"id":4676,"slug":4677,"no":4678,"title":4679,"artists":4681,"venue":583,"location_note":4682,"lat":1434,"lng":1434,"year":3543,"medium":4683,"dimensions":17,"is_new":605,"description":4686,"notes":4689,"credit":4690,"series":4691,"names":4692,"incomplete":605,"images":4693,"image_credit":17,"themes":4694},342,"concrete-reflections-tainan-city","01-LC-14-01",{"zh":4680,"en":4680,"ja":17,"ko":17},"CONCRETE REFLECTIONS \u002F TAINAN CITY",[1880],"2F Exhibition Gallery B exterior corridor",{"zh":4684,"en":4685,"ja":17,"ko":17},"客製化混凝土混合物，版次1\u002F7，15×10.5×5.5公分","Custom concrete mixture, Ed.1\u002F7, 15×10.5×5.5 cm",{"zh":4687,"en":4688,"ja":17,"ko":17},"水泥是全球廣泛使用、深刻形塑現代生活的人造材料。彼得．巴蘭不僅將其視為創作媒材，更關注其中蘊含的人類建造、改造與成長欲望。作品藉由水泥的重量、質地與空間感，重新思考城市、建築、地景與日常生活如何被建構，並引導觀者反思人與環境持續變動的關係。","Concrete is a widely used man-made material that has profoundly shaped modern life. Rather than treating it merely as an artistic medium, Baran also explores the human desires to build, transform, and grow unleashed by concrete. Through its weight, texture, and spatial presence, his work considers how cities, architecture, landscapes, and everyday life are constructed, inviting viewers to reconsider the changing relationship between humanity and the environment.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":4696,"slug":4697,"no":4698,"title":4699,"artists":4701,"venue":583,"location_note":4682,"lat":1434,"lng":1434,"year":3543,"medium":4702,"dimensions":17,"is_new":605,"description":4705,"notes":4706,"credit":4707,"series":4708,"names":4709,"incomplete":605,"images":4710,"image_credit":17,"themes":4711},343,"concrete-reflections-tainan-an-artwork-by-artist-peter-baran","01-LC-14-02",{"zh":4700,"en":4700,"ja":17,"ko":17},"CONCRETE REFLECTIONS: TAINAN - an artwork by artist Peter Baran",[1880],{"zh":4703,"en":4704,"ja":17,"ko":17},"作品創作記錄影片，11 分 55 秒","Documentary video of the artwork, 11 min 55 sec cm",{"zh":4687,"en":4688,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":4713,"slug":4714,"no":4715,"title":4716,"artists":4719,"venue":583,"location_note":4720,"lat":1434,"lng":1434,"year":2253,"medium":4721,"dimensions":17,"is_new":605,"description":4724,"notes":4727,"credit":4728,"series":4729,"names":4730,"incomplete":605,"images":4731,"image_credit":4761,"themes":4762},344,"echoes-of-the-invisible-collective","01-MC-01",{"zh":4717,"en":4718,"ja":17,"ko":17},"無形共同體的迴響","Echoes of the Invisible Collective",[1891],"2F Art Terrace",{"zh":4722,"en":4723,"ja":17,"ko":17},"透過在臺南的研究發展出的行為裝置：聲音—水池互動裝置（含多種越南植物、訪談、故事述說、環境錄音及植物互動振動），尺寸依場地而定","A performative installation developed through research in Tainan; sound-water pond interactive installation (including a variety of Vietnamese plants, interviews, storytelling, environmental recordings, and plant-interactive vibration), Dimensions variable",{"zh":4725,"en":4726,"ja":17,"ko":17},"本作是一座水池造型的互動裝置，也是供人聚集交流的社群平台。阮英俊走訪臺南越南移民家庭，蒐集其自家鄉帶來的植物與種子，使承載原鄉記憶的植株在異地生長，並透過聲音裝置與座椅邀請觀眾停留交流。作品延續「越南移民花園」計畫，以植物隨人遷徙的軌跡，串聯個人故事、文化記憶與種子交換，重新觀看人類移動史，並揭示遷徙背後隱而未見的政治、權力與社會階序。","This work takes the form of an interactive installation incorporating sound and water and also serves as a social platform for gathering and exchange. Tuan Mami visited Vietnamese immigrant families across Tainan and collected plants and seeds they had brought from their homelands, allowing plants that carry memories of home to take root and grow in a new place. Through the sound installation and seating, the work invites visitors to stay, listen, and exchange with one another. The work continues the ongoing project The Vietnamese Immigrating Garden, an ongoing trans-geographic, trans-political, and interdisciplinary project. By tracing introduced plants that have moved alongside people, it connects personal stories, cultural memories, and the exchange of seeds to re-examine human migration history. Through these traces, the work seeks to uncover the often-unseen structural hierarchies embedded in politics, power, and social relations surrounding migration.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[4732,4749],{"id":4733,"url":4734,"w":2386,"h":4735,"alt":4736,"sizes":4737},475,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-01-1.jpg",1353,"無形共同體的迴響：越南移民花園 Echoes of the Invisible Collective",{"medium":4738,"large":4740,"1536x1536":4743,"2048x2048":4746},{"url":4739,"w":80,"h":1552},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-01-1-300x169.jpg",{"url":4741,"w":84,"h":4742},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-01-1-1024x577.jpg",577,{"url":4744,"w":262,"h":4745},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-01-1-1536x866.jpg",866,{"url":4747,"w":266,"h":4748},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-01-1-2048x1155.jpg",1155,{"id":4750,"url":4751,"w":2386,"h":3761,"alt":4736,"sizes":4752},476,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-01-2.jpg",{"medium":4753,"large":4755,"1536x1536":4757,"2048x2048":4759},{"url":4754,"w":80,"h":100},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-01-2-300x200.jpg",{"url":4756,"w":84,"h":2442},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-01-2-1024x683.jpg",{"url":4758,"w":262,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-01-2-1536x1024.jpg",{"url":4760,"w":266,"h":2436},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-01-2-2048x1365.jpg","圖片：2022 Documenta 15；2026 C-LAB 提供，攝影 卓杜信 XhinMania",[493],{"id":4764,"slug":4765,"no":4766,"title":4767,"artists":4770,"venue":583,"location_note":4771,"lat":1434,"lng":1434,"year":2253,"medium":4772,"dimensions":17,"is_new":605,"description":4775,"notes":4778,"credit":4779,"series":4780,"names":4781,"incomplete":605,"images":4782,"image_credit":17,"themes":4808},345,"the-old-banyan-of-the-sea-the-siraya-tree-1","01-MC-02",{"zh":4768,"en":4769,"ja":17,"ko":17},"海之老榕樹，西拉雅之樹","The Old Banyan of the Sea, the Siraya Tree",[1902,1913],"Reading Forest in front of the 1F Central Corridor and 2F Exhibition Gallery G",{"zh":4773,"en":4774,"ja":17,"ko":17},"蚵殼繩、竹材、鐵網，尺寸依場地而定","Oyster shell cord, bamboo, wire mesh, Dimensions variable",{"zh":4776,"en":4777,"ja":17,"ko":17},"本館花園中，樹齡逾八十年的老榕樹自日治時期臺南警察署興建至今，見證場域的歷史變遷。杉原信幸與中村綾花受老榕樹與美術館空間關係啟發，結合臺南蚵仔養殖的蚵殼繩，形塑向光伸展的樹木與船隻意象。作品延續藝術家於臺南駐村期間對西拉雅文化的研究，回應西拉雅夜祭與昔日「臺江內海」的海洋記憶，並結合西拉雅歌謠與即興表演，交織老榕樹、族群文化與海洋意象，呈現土地跨越時空的歷史與生命脈動。","In the museum garden stands a banyan tree more than eighty years old, and it has borne witness to the transformation of the site since the construction of the Tainan Police Station during the Japanese colonial period. Inspired by the relationship between the old banyan tree and the museum space, Sugihara Nobuyuki and Nakamura Ayaka incorporate ropes made using oyster shells, a material associated with oyster farming in Tainan, to evoke the forms of boats and trees reaching toward the light. The work extends the artists’ research into Siraya culture during their residency in Tainan, and recalls the maritime memories of the indigenous Siraya Night Ceremony and the Taikang Inland Sea that once existed in southern Taiwan. Incorporating Siraya songs and improvised performances, the work interweaves the old banyan tree, indigenous cultural heritage, and maritime imagery, while reveal the historical continuity and vitality of the land across time and space.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[4783,4796],{"id":4784,"url":4785,"w":3761,"h":2386,"alt":4786,"sizes":4787},346,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-02-01-1.jpg","海之老榕樹，西拉雅之樹 The Old Banyan of the Sea, the Siraya Tree",{"medium":4788,"large":4790,"1536x1536":4792,"2048x2048":4794},{"url":4789,"w":100,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-02-01-1-200x300.jpg",{"url":4791,"w":2442,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-02-01-1-683x1024.jpg",{"url":4793,"w":84,"h":262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-02-01-1-1024x1536.jpg",{"url":4795,"w":2436,"h":266},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-02-01-1-1365x2048.jpg",{"id":4797,"url":4798,"w":3761,"h":2386,"alt":4786,"sizes":4799},347,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-02-01-2.jpg",{"medium":4800,"large":4802,"1536x1536":4804,"2048x2048":4806},{"url":4801,"w":100,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-02-01-2-200x300.jpg",{"url":4803,"w":2442,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-02-01-2-683x1024.jpg",{"url":4805,"w":84,"h":262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-02-01-2-1024x1536.jpg",{"url":4807,"w":2436,"h":266},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-02-01-2-1365x2048.jpg",[493],{"id":4810,"slug":4811,"no":4812,"title":4813,"artists":4816,"venue":583,"location_note":4817,"lat":1434,"lng":1434,"year":3543,"medium":4818,"dimensions":17,"is_new":605,"description":4821,"notes":4824,"credit":4825,"series":4826,"names":4827,"incomplete":605,"images":4828,"image_credit":17,"themes":4829},422,"not-quite-gone-not-quite-finished-tainan-art-museum","01-MC-04",{"zh":4814,"en":4815,"ja":17,"ko":17},"未全然消逝，未全然完成","Not Quite Gone, Not Quite Finished",[1924],"1F Central Corridor Revival Coffee Roasters Terrazzo floor",{"zh":4819,"en":4820,"ja":17,"ko":17},"造形陶瓷藝術廢料，尺寸依場地而定","Variable ceramics art waste, Dimensions variable",{"zh":4822,"en":4823,"ja":17,"ko":17},"卓俞翔的創作介於廢棄與更新之間，透過材料「取樣」，蒐集破裂、受損的陶瓷、棄置作品與耗材，重新加工組構為新的物件。作品關注材料被丟棄後延續的生命，以及藝術價值如何在保留與淘汰間被界定，並保存創作的時間與歷史。本展所有作品將統合成一個名字《未全然消逝，未全然完成》，以創作殘餘為基礎，透過取樣、層疊與再利用，探索恆久與脆弱、作者性與匿名性、毀壞與再生的張力，思考遺留之物再次生成的可能。","Tok Yu-xiang’s art attempts to span the gap between abandonment and renewal. Through a process of “sampling” materials, he collects broken and damaged ceramics, discarded works, and used materials, and then reworks and recombines them into new objects. His work reflects on the continued life of materials after they have been discarded, while retaining traces of the time and history embedded in their making. All of his works at this exhibition have been brought together under the title Not Quite Gone, Not Quite Finished. This project explores, through sampling, layering, and reuse, the tensions between permanence and fragility, authorship and anonymity, destruction and regeneration, while pondering the possibility that what remains may be brought into new forms of existence.\n\nNote: Selected works from Not Quite Gone, Not Quite Finished, exhibited at Absolute Space, are on view through December 27, 2026.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[493],{"id":4831,"slug":4832,"no":4833,"title":4834,"artists":4837,"venue":583,"location_note":4838,"lat":1434,"lng":1434,"year":2253,"medium":4839,"dimensions":17,"is_new":605,"description":4842,"notes":4845,"credit":4846,"series":4847,"names":4848,"incomplete":605,"images":4849,"image_credit":17,"themes":4898},349,"spirit-of-labour-zhi-nu","01-MC-05",{"zh":4835,"en":4836,"ja":17,"ko":17},"勞動的精神：織女","Spirit of Labour: Zhi Nu",[1935],"1F Central Corridor You'ai St. side",{"zh":4840,"en":4841,"ja":17,"ko":17},"工業編織、12股線、馬海毛、紙、嫘縈、聚酯纖維，1000x350公分","Industrial weaving, 12 threads, mohair, paper, viscose, polyester, Dimensions variable",{"zh":4843,"en":4844,"ja":17,"ko":17},"本系列靈感源自工業革命時期的工會旗幟與會員證書，其圖像與口號承載工人的情感、支持與希望。〈勞動的精神：織女〉為系列迄今最大作品，曾展於香港舊棉紡廠，向女性紡織工人的堅韌與貢獻致敬。郭晟邦以編織工藝結合文獻照片與祝福語句，呈現跨世代女工之間的情誼、關懷與集體力量，也使長期被歷史忽略的女性勞動重新被看見。本次為作品首度於臺灣展出，並與臺南紡織產業的歷史變遷展開對話。","This series draws inspiration from trade union banners and membership certificates from the Industrial Revolution, whose imagery and slogans conveyed workers’ emotions, solidarity, and hopes. Spirit of Labour: Zhi Nu is the largest work in the series to date and was previously exhibited in a former cotton mill in Hong Kong, where it paid tribute to the resilience and contributions of women textile workers. Here Kueh has combined weaving techniques with archival photographs and benedictions to evoke the bonds, care, and collective strength among women workers across generations, bringing renewed visibility to women’s labor. This is the work’s first showing in Taiwan and establishes a dialogue with the historical transformations of Tainan’s textile industry.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[4850,4862,4874,4886],{"id":153,"url":4851,"w":2386,"h":3761,"alt":4852,"sizes":4853},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-1.jpg","勞動的精神：織女 Spirit of Labour: Zhi Nu",{"medium":4854,"large":4856,"1536x1536":4858,"2048x2048":4860},{"url":4855,"w":80,"h":100},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-1-300x200.jpg",{"url":4857,"w":84,"h":2442},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-1-1024x683.jpg",{"url":4859,"w":262,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-1-1536x1024.jpg",{"url":4861,"w":266,"h":2436},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-1-2048x1365.jpg",{"id":4863,"url":4864,"w":2386,"h":3761,"alt":4852,"sizes":4865},351,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-2.jpg",{"medium":4866,"large":4868,"1536x1536":4870,"2048x2048":4872},{"url":4867,"w":80,"h":100},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-2-300x200.jpg",{"url":4869,"w":84,"h":2442},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-2-1024x683.jpg",{"url":4871,"w":262,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-2-1536x1024.jpg",{"url":4873,"w":266,"h":2436},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-2-2048x1365.jpg",{"id":4875,"url":4876,"w":2386,"h":3761,"alt":4852,"sizes":4877},352,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-3.jpg",{"medium":4878,"large":4880,"1536x1536":4882,"2048x2048":4884},{"url":4879,"w":80,"h":100},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-3-300x200.jpg",{"url":4881,"w":84,"h":2442},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-3-1024x683.jpg",{"url":4883,"w":262,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-3-1536x1024.jpg",{"url":4885,"w":266,"h":2436},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-3-2048x1365.jpg",{"id":4887,"url":4888,"w":2386,"h":3761,"alt":4852,"sizes":4889},353,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-4.jpg",{"medium":4890,"large":4892,"1536x1536":4894,"2048x2048":4896},{"url":4891,"w":80,"h":100},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-4-300x200.jpg",{"url":4893,"w":84,"h":2442},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-4-1024x683.jpg",{"url":4895,"w":262,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-4-1536x1024.jpg",{"url":4897,"w":266,"h":2436},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-4-2048x1365.jpg",[493],{"id":4900,"slug":4901,"no":4902,"title":4903,"artists":4906,"venue":638,"location_note":17,"lat":1434,"lng":1434,"year":2253,"medium":4907,"dimensions":17,"is_new":605,"description":4910,"notes":4913,"credit":4916,"series":4919,"names":4920,"incomplete":605,"images":4921,"image_credit":17,"themes":4983},123,"the-loop","03-EC-01",{"zh":4904,"en":4905,"ja":17,"ko":17},"迴圈 \u002F 打開的環","The Loop",[1946],{"zh":4908,"en":4909,"ja":17,"ko":17},"木材，外圈直徑 35.6m、內圈直徑22.6m、圈寬 6.3m、外圈高度 4.4m、內圈高度 2.8m","Wood, Ø35.6 m (outer diameter) × Ø22.6 m (inner diameter); ring width 6.3 m; height 4.4 m (outer) \u002F 2.8 m (inner)",{"zh":4911,"en":4912,"ja":17,"ko":17},"〈迴圈／打開的環〉是一處兼具實體與心靈意義的聚會空間，以「凝聚」與「親密」回應雙年展「迴圈．超展開」主題及場地的城市意義。環狀木構如公眾擁抱，匯聚並連結人群，在城市中心營造親近自然的感受。作為展場核心動線，人們可穿行、停留其下，在明確功能與模糊邊界之間，形成串聯歷史古蹟與當代藝術的過渡廊道，展開共享而親密的集體敘事。","The Loop is a meeting place that brings people together through “Gathering” and “Closeness,” responding to the Biennale theme of “Unfolding Circuits.” Its sweeping wooden ring embraces the public space and evokes sense of closeness to nature in the heart of the city. Serving as the exhibition’s primary path of movement, it invites visitors to walk beneath or linger, forming an in-between corridor that connects the historic site with contemporary art.",{"zh":4914,"en":4915,"ja":17,"ko":17},"預計將於 2026.12.5 開放","Scheduled to Open on December 5, 2026",{"zh":4917,"en":4918,"ja":17,"ko":17},"現地製作","Creat on site by the artist",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[4922,4937,4954,4970],{"id":4923,"url":4924,"w":4925,"h":4926,"alt":4905,"sizes":4927},124,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-1.jpg",2269,1291,{"medium":4928,"large":4930,"1536x1536":4932,"2048x2048":4934},{"url":4929,"w":80,"h":1570},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-1-300x171.jpg",{"url":4931,"w":84,"h":2955},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-1-1024x583.jpg",{"url":4933,"w":262,"h":4323},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-1-1536x874.jpg",{"url":4935,"w":266,"h":4936},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-1-2048x1165.jpg",1165,{"id":4938,"url":4939,"w":4940,"h":4941,"alt":4905,"sizes":4942},125,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-2.jpg",2283,1306,{"medium":4943,"large":4945,"1536x1536":4948,"2048x2048":4951},{"url":4944,"w":80,"h":610},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-2-300x172.jpg",{"url":4946,"w":84,"h":4947},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-2-1024x586.jpg",586,{"url":4949,"w":262,"h":4950},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-2-1536x879.jpg",879,{"url":4952,"w":266,"h":4953},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-2-2048x1172.jpg",1172,{"id":4955,"url":4956,"w":4957,"h":4018,"alt":4905,"sizes":4958},126,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-3.jpg",2275,{"medium":4959,"large":4961,"1536x1536":4964,"2048x2048":4967},{"url":4960,"w":80,"h":1552},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-3-300x169.jpg",{"url":4962,"w":84,"h":4963},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-3-1024x578.jpg",578,{"url":4965,"w":262,"h":4966},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-3-1536x867.jpg",867,{"url":4968,"w":266,"h":4969},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-3-2048x1156.jpg",1156,{"id":4971,"url":4972,"w":4940,"h":4973,"alt":4905,"sizes":4974},127,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-4.jpg",1307,{"medium":4975,"large":4977,"1536x1536":4979,"2048x2048":4981},{"url":4976,"w":80,"h":610},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-4-300x172.jpg",{"url":4978,"w":84,"h":4947},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-4-1024x586.jpg",{"url":4980,"w":262,"h":4950},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-4-1536x879.jpg",{"url":4982,"w":266,"h":4953},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-4-2048x1172.jpg",[269],{"id":4985,"slug":4986,"no":4987,"title":4988,"artists":4991,"venue":662,"location_note":4992,"lat":1434,"lng":1434,"year":3637,"medium":4993,"dimensions":17,"is_new":605,"description":4996,"notes":4999,"credit":5000,"series":5001,"names":5002,"incomplete":605,"images":5003,"image_credit":17,"themes":5004},354,"transformation-14al1030-1034","04-RC-08",{"zh":4989,"en":4990,"ja":17,"ko":17},"轉進論 14AL1030 1034","Transformation\n14AL1030 1034",[1957],"Cultural Heritage Preservation Research Center, Bureau of Cultural Heritage, Ministry of Culture",{"zh":4994,"en":4995,"ja":17,"ko":17},"不鏽鋼、銅、培林，187x140x189公分","Stainless steel, bronze, and ball bearing, 187x140x189 cm",{"zh":4997,"en":4998,"ja":17,"ko":17},"《轉進論》系列回應梁任宏對「動」與「不可預測」生命狀態的思考。作品各部件以軸心連結、自由轉動，如有機體般持續變化組合；具動物性的造形指涉自然生物，不鏽鋼表面則映照周遭環境。觀者介入驅動作品，亦成為自然能量的一環。柔軟流動的機械運動與冰冷堅硬的金屬形成對比，呈現生命與環境不斷變動的關係，並思考人在不可預測的世界中如何回應自然、與之共處。","The Transformation series reflects Liang Jen-hung’s ruminations on motion and the unpredictable conditions of life. The individual components of this work are connected by pivot points and rotate freely, continuously shifting and recombining like a living organism. The animal-like forms allude to natural organisms, while the stainless-steel surfaces reflect the surrounding environment. As viewers set the work in motion, they become part of the flow of natural energy. The soft, fluid movement of the mechanism contrasts with the cold, rigid qualities of metal, highlighting the constantly changing relationship between life and its environment and inviting reflection on how humans may coexist with nature in an unpredictable world.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":3753,"en":3754,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[404],{"id":5006,"slug":5007,"no":5008,"title":5009,"artists":5012,"venue":688,"location_note":17,"lat":1434,"lng":1434,"year":2253,"medium":5013,"dimensions":17,"is_new":605,"description":5015,"notes":5018,"credit":5019,"series":5020,"names":5021,"incomplete":605,"images":5022,"image_credit":17,"themes":5023},355,"nananews-the-7-avenue-newsroom","05-GC-03",{"zh":5010,"en":5011,"ja":17,"ko":17},"NaNaNews－七條通新聞社","NaNaNews: The 7-Avenue Newsroom",[1968],{"zh":5014,"en":2879,"ja":17,"ko":17},"報紙（A3米漫紙）、木作，尺寸依場地而定",{"zh":5016,"en":5017,"ja":17,"ko":17},"「NaNaNews—七條通新聞社」呼應臺南藝術雙年展以「湯德章圓環」向外放射的「七條通」路徑，從各地「小事」採集彼此連結的臺南故事，出版六刊《七條通通報》。四版內容涵蓋新聞、散文、漫畫、插圖、廣告與區長日誌，並舉辦十場「通通來！寫報！」活動，邀請民眾擔任一日特約編輯，透過共作採集地方記憶，回應臺南的在地編輯史。臨時報社設於中西區圖書館二樓，以編輯臺、影印機、報架等構成現地工作空間，開放參觀與參與。","“NaNaNews: The 7-Avenue Newsroom” reflects the Tainan Art Biennial’s seven-avenue route radiating from Tang Te-Chang Memorial Park. Gathering local “small things,” the project connects stories from across Tainan and publishes six issues of The 7-Avenue Gazette. Ten “Come One, Come All! Write the News!” sessions invite the public to become guest editors for a day, while recalling Tainan’s history of local publishing. Located on the second floor of Tainan West Central District Library, the temporary newsroom functions as a production workspace that is open for public participation .",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[359],{"id":5025,"slug":5026,"no":5027,"title":5028,"artists":5031,"venue":713,"location_note":17,"lat":1434,"lng":1434,"year":2253,"medium":5032,"dimensions":17,"is_new":605,"description":5035,"notes":5038,"credit":5039,"series":5040,"names":5041,"incomplete":605,"images":5042,"image_credit":17,"themes":5043},356,"oh-siubi-mature-women-x-fiber-art-co-creation-project","06-GC-06",{"zh":5029,"en":5030,"ja":17,"ko":17},"黑秀美－大女纖維共創計畫","Oh! Siubi!Mature Women x Fiber Art Co-Creation Project",[1979],{"zh":5033,"en":5034,"ja":17,"ko":17},"拼布、絹印、縫繡，尺寸依場地而定","Patch work,silk screen printing,stitching, Dimensions variable",{"zh":5036,"en":5037,"ja":17,"ko":17},"臺南為纖維紡織重鎮，產業與手藝不僅是女性維持生計的重要依據，也是撫慰心靈的力量。本作由臺南藝術大學應用藝術研究所師生與大女Style聚落合作，轉化自身的故事與葉石濤的文學為布藝創作，發揚迴圈／集結的概念，以大型旗幟遊行串連人與地方，共同發聲。","Tainan is a major center of Taiwan’s textile and fiber industries, and these industries and craft traditions have not only served as important means of livelihood for women, but have also provided a source of emotional and spiritual sustenance. This collaborative project, developed by faculty and students of the Graduate Institute of Applied Arts at Tainan National University of the Arts in collaboration with The Third Act Collection (Danu Style Community), transforms personal stories and the literature of Yeh Shih-tao into textile-based works. Expanding upon the concepts of circulation and gathering, the project brings people and places together through a procession carrying large flags, and creates a collective platform letting women's voices be heard.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[359],{"id":5045,"slug":5046,"no":5047,"title":5048,"artists":5051,"venue":738,"location_note":17,"lat":1434,"lng":1434,"year":2253,"medium":5052,"dimensions":17,"is_new":605,"description":5055,"notes":5058,"credit":5059,"series":5060,"names":5061,"incomplete":605,"images":5062,"image_credit":17,"themes":5063},357,"the-virtual-and-real-in-cyclic-succession","07-LC-15",{"zh":5049,"en":5050,"ja":17,"ko":17},"迴圈演替的虛與實","The Virtual and Real in Cyclic Succession",[1990],{"zh":5053,"en":5054,"ja":17,"ko":17},"竹，300x450x900公分","Bamboo, 300x450x900 cm",{"zh":5056,"en":5057,"ja":17,"ko":17},"「事功無己，終而復始」，意指萬物循環。\n\n作品在結構上，用地面的「方」撐起竹子的「圓」；在空間上，利用竹骨架勾勒出讓風與光穿透的「負空間學堂」；在時間上，不對抗腐朽，而是將竹子的褪色與維修，轉化為與市民共同完成的「迴圈演替」。\n\n於此，第一年是青綠與鮮黃，展現剛強的張力；第二年轉為沉穩的棕褐，盡顯歲月的磨礪；第三年竹紋顯露灰白，歸於極簡的枯寂，在有限年歲下演繹自然的迴圈。消耗性的竹片或麻布網袋將作為每年「學堂工作坊」的一部分，由學員重新編織替換——「維修」本身，即變成了學堂最頻繁、最核心的參展活動。\n\n半圓弧頂天棚上，虛實交雜的空間與光影，係利用棚架網格部分區域加密（如鋪設竹編或麻布袋），部分區域留空而達成。這種有層次的虛實錯落，在台南充沛的陽光下，穿透交叉網格，於地面投射出斑駁、動態的光影矩陣，演繹時間的迴圈。",""Selfless Merit, Endless Cycles" speaks of the eternal cycles of nature. Structurally, the work anchors the organic curvature of bamboo with a grounded square base. Spatially, its bamboo framework defines a "Negated Space School"—an open sanctuary through which light and wind freely pass. Temporally, rather than resisting decay, the piece embraces the bamboo's weathering and maintenance. In its first year, vibrant greens and vivid yellows exert a resilient tension; by the second, rich, grounded browns reveal the marks of time; by the third, the bamboo fades into a soft, silvery grey, arriving at a minimalist quietude. Sacrificial elements—bamboo strips and burlap mesh bags—are rewoven and replaced annually through the "School Workshops." Here, the act of "repair" itself becomes the exhibition's most vital and recurring participatory practice. Beneath the semi-circular canopy, the interplay of presence and absence, light and shadow, is achieved through varying grid densities—some sections are densely woven with bamboo or burlap, others left open. Under Tainan's abundant sunlight, the layering of matter and void projects, a dynamic, dappled matrix of shadows across the ground, manifesting the cycle of time.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[448],{"id":5065,"slug":5066,"no":5067,"title":5068,"artists":5071,"venue":763,"location_note":17,"lat":1434,"lng":1434,"year":2253,"medium":5072,"dimensions":17,"is_new":605,"description":5075,"notes":5078,"credit":5081,"series":5082,"names":5083,"incomplete":605,"images":5084,"image_credit":17,"themes":5085},358,"a-wild-goose-chase-after-shallot","08-HC-05",{"zh":5069,"en":5070,"ja":17,"ko":17},"一個關於紅蔥頭的鳥計畫","A Wild-goose Chase after Shallot",[2001,2012,2023],{"zh":5073,"en":5074,"ja":17,"ko":17},"三系列工作坊、空間裝置（木作、盆栽、社區物件、訪談資料等），尺寸依場地而定","Three workshop series, spatial installation (woodwork, potted plants, community objects, interview materials, etc.), Dimensions variable",{"zh":5076,"en":5077,"ja":17,"ko":17},"由迴聲社造、郝渂心與蔡蕥竹共同策劃，以臺南市北門區三寮灣紅蔥頭田為起點，串聯農業生產、消費、政策、公民參與與鳥類生態，重建人、環境與社會的關係。計畫透過種植、盆栽製作及書寫工作坊展開，並於愛國婦人館呈現長期田野成果。展場木屋則融合丹娜絲風災記憶與村落印象，象徵地方生命、產業、生態與社會交織的關係網絡。","Co-developed by NCKU ECHO, Hao Wen-sin, and Cai Ya-zhu, the project takes a red onion field in Sanliao Bay, Beimen District, Tainan, as its point of departure. It connects agricultural production, consumption, policy, civic participation, and bird ecology as a way of reconfiguring relationships between people, the environment, and society. The project unfolds through planting, pot-making, and writing workshops, with the results of long-term field research presented in the Japanese Patriotic Women's Association building. The wooden house in the exhibition space incorporates memories of Typhoon Danas and village impressions, symbolizing the interconnected network of local life, industry, ecology, and society.",{"zh":5079,"en":5080,"ja":17,"ko":17},"列合辦單位\n合辦單位：農業部林業及自然保育署嘉義分署、蛙趣自然生態顧問有限公司","Co-organizers: Chiayi Branch, Forestry and Nature Conservation Agency, Ministry of Agriculture, Watch Nature Ecological Consultant Co., Ltd.",{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[315],{"id":3884,"slug":5087,"no":5088,"title":5089,"artists":5092,"venue":790,"location_note":5093,"lat":1434,"lng":1434,"year":2253,"medium":5094,"dimensions":17,"is_new":605,"description":5097,"notes":5100,"credit":5102,"series":5103,"names":5104,"incomplete":605,"images":5105,"image_credit":17,"themes":5151},"procession-tapani-urban-theatre","09-HC-04",{"zh":5090,"en":5091,"ja":17,"ko":17},"遊街－噍吧哖事件城市劇場","Procession – Tapani Urban Theatre",[2034,2045],"Third Courtroom",{"zh":5095,"en":5096,"ja":17,"ko":17},"現場演出與複合媒材裝置（單頻道錄像、工作坊影像紀錄、演出道具），尺寸依場地而定","Live performance and mixed media installation (single-channel video, workshop video documentation, performance props), Dimensions variable",{"zh":5098,"en":5099,"ja":17,"ko":17},"本創作以噍吧哖事件為城市劇場的敘事核心，將起義的歷史轉化為一場在城市中展開的行為藝術行動：自西來庵廟宇舊址(青年路121號至123號之間)旁的府城隍廟出發，沿街遊行、招喚亡魂，行經湯德章公園，再循南門路抵達司法博物館，以行走作為歷史的書寫方式。以遊街、吟唱、重複性的怪異迴圈，構成前世與今生不斷疊合的時間結構，使亡靈、身體與城市空間彼此滲透。以迷幻、漫遊、行為表演與即時劇場為形式，拒絕單一線性敘事，而是讓歷史以碎裂、反覆、輪迴的方式浮現。透過身體介入公共空間，本行動不僅重構噍吧哖事件的集體記憶，也將城市轉化為一座活的儀式場域，使被壓抑的歷史在行走中再次發聲。","The work takes the Tapani Incident as the narrative core of an urban theater performance, and transforms the history of the uprising into a performative art activity unfolding through the city. Beginning at the Taiwan Prefectural City God Temple, next to the former site of the Xilai Temple (between No. 121 and 123, Qingnian Road), the procession moves through the streets, calling upon the spirits of the dead, passing through Tang Te-chang Memorial Park, and following Nanmen Road to the Judicial Museum. This art performance takes walking as a means of writing history. Street processions, chanting, and repetitive, uncanny cycles create a temporal structure in which past lives and the present continuously overlap, allowing spirits, bodies, and urban space to permeate one another. Through hallucinatory wandering, performative action, and improvisational theater, the work dispenses with a singular linear narrative, and allows history to emerge through fragmentation, repetition, and recurrence. By intervening in public space through the body, the work not only reconfigures collective memories of the Tapani Incident, but also transforms the city into a living ritual site, where suppressed histories can find their voices once again .",{"zh":5101,"en":17,"ja":17,"ko":17},"特別感謝Special thanks：\n如繩坊、南渡策室、春好芯、春好芯生活工藝、衛武營藝術村WeR、彭春林生活創意工房",{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[5106,5118,5128,5138],{"id":5107,"url":5108,"w":2294,"h":5109,"alt":5110,"sizes":5111},156,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-1.jpg",1044,"遊街－噍吧哖事件城市劇場 Procession – Tapani Urban Theatre",{"medium":5112,"large":5114,"1536x1536":5116},{"url":5113,"w":80,"h":100},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-1-300x200.jpg",{"url":5115,"w":84,"h":2442},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-1-1024x683.jpg",{"url":5117,"w":262,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-1-1536x1024.jpg",{"id":5119,"url":5120,"w":2294,"h":5109,"alt":5110,"sizes":5121},157,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-2.jpg",{"medium":5122,"large":5124,"1536x1536":5126},{"url":5123,"w":80,"h":100},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-2-300x200.jpg",{"url":5125,"w":84,"h":2442},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-2-1024x683.jpg",{"url":5127,"w":262,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-2-1536x1024.jpg",{"id":5129,"url":5130,"w":5109,"h":2294,"alt":5110,"sizes":5131},158,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-3.jpg",{"medium":5132,"large":5134,"1536x1536":5136},{"url":5133,"w":100,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-3-200x300.jpg",{"url":5135,"w":2442,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-3-683x1024.jpg",{"url":5137,"w":84,"h":262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-3-1024x1536.jpg",{"id":2452,"url":5139,"w":5140,"h":5141,"alt":5110,"sizes":5142},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-4.jpg",1706,958,{"medium":5143,"large":5145,"1536x1536":5148},{"url":5144,"w":80,"h":1543},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-4-300x168.jpg",{"url":5146,"w":84,"h":5147},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-4-1024x575.jpg",575,{"url":5149,"w":262,"h":5150},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-4-1536x863.jpg",863,[315],{"id":5153,"slug":5154,"no":5155,"title":5156,"artists":5159,"venue":816,"location_note":17,"lat":1434,"lng":1434,"year":2253,"medium":5160,"dimensions":17,"is_new":605,"description":5163,"notes":5166,"credit":5167,"series":5168,"names":5169,"incomplete":605,"images":5170,"image_credit":17,"themes":5171},363,"floating-memories-lotus-of-devotion","10-GC-05",{"zh":5157,"en":5158,"ja":17,"ko":17},"風荷蓮葉一央池","Floating Memories: Lotus of Devotion",[2056],{"zh":5161,"en":5162,"ja":17,"ko":17},"臺灣民俗信仰祭祀器皿、大紅鴛鴦盆、EVA 高密度泡綿板、金屬、水，尺寸依場地而定","Taiwanese folk belief ritual objects, red mandarin duck plastic tub, ethylene-vinyl acetate (EVA) foam board, metal, water, Dimensions variable",{"zh":5164,"en":5165,"ja":17,"ko":17},"以廟宇祈願供花為靈感，轉化為一座凝聚眾人行動的現地裝置。藝術家將擬真植物隱身於廟宇角落，觸發身體感知的探尋與遊歷。順著植物的指引，觀眾最終將抵達一處現地重現、消失在歷史記憶中的廟宇池景，並親手將「浮水蓮花」置入這片幽靜，以行動在現實與想像的交界，共同形構一幅超越時空的當代儀式地景。","Inspired by the offering of flowers at temples as a gesture of prayer, this work takes the form of a site-specific installation that brings collective action into focus. The artists conceal lifelike plants in the corners of the temple, triggering a bodily exploration and journey of perception. Following the plants’ cues, visitors eventually arrive at a temple pond recreated on site, evoking a scene lost to historical memory. There, they are welcome to place a “floating lotus” into the tranquil waters themselves. Through this shared gesture, a contemporary ritual landscape that transcends time and space takes shape at the threshold between reality and imagination.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[359],{"id":5173,"slug":5174,"no":5175,"title":5176,"artists":5179,"venue":816,"location_note":17,"lat":1434,"lng":1434,"year":2253,"medium":5180,"dimensions":17,"is_new":605,"description":5183,"notes":5185,"credit":5188,"series":5189,"names":5190,"incomplete":605,"images":5191,"image_credit":17,"themes":5192},364,"spirit-soothing-talisman-generals-fan-xie","10-TC-07-12",{"zh":5177,"en":5178,"ja":17,"ko":17},"收驚鎮魂器之范謝你來了","Spirit-Soothing Talisman: \nGenerals Fan & Xie",[2067],{"zh":5181,"en":5182,"ja":17,"ko":17},"複合媒材、機械裝置，140x90x160公分","Interactive mechanical installation, mixed media, 140x90x1161 cm",{"zh":5184,"en":17,"ja":17,"ko":17},"作品設置於臺灣府城隍廟與文鼎留聲博物館之間，以聲音互動裝置串聯信仰、記憶與遊戲經驗。藝術家將投幣式搖搖馬轉化為信仰載體，以虎爺與范、謝將軍為造型，結合機械、燈光、《收驚歌》祝詞、鈴聲及地方環境音，營造介於遊戲與儀式之間的體驗。作品藉由熟悉的搖晃與聲響，重新詮釋民間信仰中安撫、守護與祝福的意涵，並思考傳統儀式如何轉化為當代日常的情感慰藉與地方文化經驗。",{"zh":5186,"en":5187,"ja":17,"ko":17},"歌曲創作：羅士哲、蘇俊穎\n機械工程：杜佳韋","Songwriting： Lô Sū-thiat, Su Jun-ying\nMechanical Engineering：Tu Chia-wei",{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":2265,"en":2266,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":5194,"slug":5195,"no":5196,"title":5197,"artists":5200,"venue":816,"location_note":17,"lat":1434,"lng":1434,"year":2253,"medium":5201,"dimensions":17,"is_new":605,"description":5204,"notes":5205,"credit":5208,"series":5209,"names":5210,"incomplete":605,"images":5211,"image_credit":17,"themes":5212},365,"incense-and-devotion-of-tainan","10-TC-07-13",{"zh":5198,"en":5199,"ja":17,"ko":17},"府城香火","Incense and Devotion of Tainan",[2067],{"zh":5202,"en":5203,"ja":17,"ko":17},"熟石灰、官田烏金(菱殼炭)、海藻糊、木、樹脂、壓克力、麻絨、礦物彩，63×180×10公分","Slaked lime, biochar, algae paste, wood, resin, acrylic,\nhemp fiber, mineral pigments, 63×180×10 cm",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":5206,"en":5207,"ja":17,"ko":17},"灰作：林宏儒、李冠鋐\n木作：黃于峻、陳怡杕\n桌腳：夏宏仁\n材料及結構顧問:：林秋婷、林裕鈞","Masonry: Lin Hung-ju, Li Kuan-hung\nWoodwork: Huang Yu-chun, Chen Yi-ti\nTable Leg Fabrication: Hsia Hung-jen\nMaterial & Structural Consultants: Lin Chiu-ting, Lin Yu-chun",{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":2265,"en":2266,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":5214,"slug":5215,"no":5216,"title":5217,"artists":5219,"venue":841,"location_note":17,"lat":1434,"lng":1434,"year":5220,"medium":5221,"dimensions":17,"is_new":605,"description":5224,"notes":5227,"credit":5228,"series":5231,"names":5232,"incomplete":605,"images":5233,"image_credit":17,"themes":5234},366,"nwe-phase-art-space","11-GC-11",{"zh":2082,"en":5218,"ja":17,"ko":17},"Nwe Phase Art Space",[2078],"1992-1999",{"zh":5222,"en":5223,"ja":17,"ko":17},"文件、物件，尺寸依場地而定","Documents, objects, Dimensions variable",{"zh":5225,"en":5226,"ja":17,"ko":17},"「新生態藝術環境」於1992年6月6日由杜昭賢成立於臺南永福路二段138號。本次展覽以猶如「新生態藝術環境2.0」的形式於「B.B. ART」(2012創立)展出。此展區除了以年表、文件、照片、新生態藝術環境刊物作為展出內容，呈現歷年活動概況之外，並精選代表性展覽與活動系列檔案文件。","The New Phase Art Space was established by Jamie Tu on June 6, 1992, at No. 138, Sec. 2, Yongfu Road, Tainan. For this exhibition, B.B.ART, founded in 2012, serves as a site for a presentation conceived as a kind of “New Phase Art Space 2.0.” Through timelines, archival documents, photographs, and New Phase Art Space publications, this project traces the space’s activities over the years and presents selected archival materials from representative exhibitions and programs.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":5229,"en":5230,"ja":17,"ko":17},"杜昭賢提供","Courtesy of Jamie Tu",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[359],{"id":5236,"slug":5237,"no":5238,"title":5239,"artists":5242,"venue":866,"location_note":17,"lat":1434,"lng":1434,"year":5243,"medium":5244,"dimensions":17,"is_new":605,"description":5247,"notes":5250,"credit":5251,"series":5252,"names":5253,"incomplete":605,"images":5254,"image_credit":17,"themes":5296},367,"square","12-GC-04",{"zh":5240,"en":5241,"ja":17,"ko":17},"廣場","Square",[2089],"2018，2026年重新剪輯",{"zh":5245,"en":5246,"ja":17,"ko":17},"錄像裝置，尺寸依場地而定","Film work\nconsisting of two\nchannels, Dimensions variable",{"zh":5248,"en":5249,"ja":17,"ko":17},"本作描寫一座平靜小鎮，因出現一座神秘古老雕塑而陷入混亂。雕塑曾是見證政治變遷的遺物，反覆唱著「我想問你們一個問題」。居民選擇忽視，歌聲卻從歡樂逐漸轉為憤怒，最終引發集體攻擊。本作與海馬迴光畫館及電影海報畫家顏振發合作，重新剪輯為單頻道影像，設於顏振發舊工作室，並邀請其繪製展覽主視覺，創作過程亦成為作品的一部分。","This film portrays a peaceful small town disrupted by a mysterious relic sculpture that has served as a witness to political change. When it begins singing, “I’d like to ask you a question,” residents choose to ignore it. The song gradually turns from amusement to complaints, misunderstandings, and anger, eventually triggering collective aggression. Created in collaboration with Tainan’s Fotoaura Institute of Photography and poster artist Yan Jhen-fa, the film has been re-edited as a single-channel installation in Yan’s former studio for the Tainan Biennial. A new banner painted by Yan, along with documentation of its creation, have been made part of the work.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[5255,5272,5284],{"id":5256,"url":5257,"w":5258,"h":2386,"alt":5259,"sizes":5260},368,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-1.jpg",1661,"廣場 Square",{"medium":5261,"large":5263,"1536x1536":5266,"2048x2048":5269},{"url":5262,"w":1979,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-1-208x300.jpg",{"url":5264,"w":5265,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-1-709x1024.jpg",709,{"url":5267,"w":5268,"h":262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-1-1063x1536.jpg",1063,{"url":5270,"w":5271,"h":266},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-1-1417x2048.jpg",1417,{"id":5273,"url":5274,"w":5258,"h":2386,"alt":5259,"sizes":5275},369,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-2.jpg",{"medium":5276,"large":5278,"1536x1536":5280,"2048x2048":5282},{"url":5277,"w":1979,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-2-208x300.jpg",{"url":5279,"w":5265,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-2-709x1024.jpg",{"url":5281,"w":5268,"h":262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-2-1063x1536.jpg",{"url":5283,"w":5271,"h":266},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-2-1417x2048.jpg",{"id":5285,"url":5286,"w":5258,"h":2386,"alt":5259,"sizes":5287},370,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-3.jpg",{"medium":5288,"large":5290,"1536x1536":5292,"2048x2048":5294},{"url":5289,"w":1979,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-3-208x300.jpg",{"url":5291,"w":5265,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-3-709x1024.jpg",{"url":5293,"w":5268,"h":262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-3-1063x1536.jpg",{"url":5295,"w":5271,"h":266},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-3-1417x2048.jpg",[359],{"id":5298,"slug":5299,"no":5300,"title":5301,"artists":5304,"venue":866,"location_note":17,"lat":1434,"lng":1434,"year":2253,"medium":5305,"dimensions":17,"is_new":605,"description":5308,"notes":5310,"credit":5311,"series":5312,"names":5313,"incomplete":605,"images":5314,"image_credit":17,"themes":5315},371,"assemblage-gods-3","12-TC-05-03",{"zh":5302,"en":5303,"ja":17,"ko":17},"組裝獸神 3","Assemblage Gods 3",[2100],{"zh":5306,"en":5307,"ja":17,"ko":17},"壓克力、水泥漆、畫布，145x240公分","Acrylic and cement paint on canvas, 145x240 cm",{"zh":5309,"en":17,"ja":17,"ko":17},"港道上的各尊虎爺，在當今的祀奉型態背後，有說不完的流動故事，從中可以觀察到台南發展的政治經濟、權力與人群，與每尊虎爺信仰間的拆解、重組關係。本次繪畫作品以「組裝(assemblage)理論」為討論方式，將府城虎爺信仰視為物質、神力、儀式、人群與動物本能交織而成的「社會物質組裝體」。從自然獸崇拜、兒童守護神與財神，到今日的文創形象，虎爺持續因應不同時代與社會需求轉化，展現高度適應性與流動性。作品藉此揭示傳統信仰如何跨越既有框架，進入當代商業、文創產業與都市生活網絡。",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":2265,"en":2266,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":5317,"slug":5318,"no":5319,"title":5320,"artists":5323,"venue":891,"location_note":17,"lat":1434,"lng":1434,"year":2253,"medium":5324,"dimensions":17,"is_new":605,"description":5327,"notes":5330,"credit":5331,"series":5332,"names":5333,"incomplete":605,"images":5334,"image_credit":17,"themes":5335},372,"the-magic-house-is-waiting-for-a-story-story-open-call","13-GC-07",{"zh":5321,"en":5322,"ja":17,"ko":17},"魔法屋正在等待一個故事｜故事徵集計畫","The Magic House is waiting for a story｜Story Open Call",[2111],{"zh":5325,"en":5326,"ja":17,"ko":17},"尺寸依場地而定","Dimensions variable",{"zh":5328,"en":5329,"ja":17,"ko":17},"《魔法屋正在等待一個故事》是英國藝術家 Joshua Sofaer 發起的參與式藝術計畫，以原臺南公園管理所為想像核心，邀請市民書寫與臺南公園、地方記憶及日常生活相關的故事，也分享由建築所引發的想像。故事連結人與地方、記憶與想像；透過徵集，不同世代與背景的經驗逐漸匯聚，形成公眾共同建構的「魔法屋故事庫」。入選作品將於原臺南公園管理所展出，並轉化為戲劇演出，讓歷史建築成為持續被重新認識與書寫的公共現場。","Centered on the former Tainan Park Office and its surrounding environment, this project brings together memories and imaginings across generations through a process of story collection and exhibition, which created the “Magic House Story Archive.” Members of the public are invited to write stories concerning the park, local memories, and everyday life. Selected stories are then transformed into theatrical performances, creating a dialogue among text, space, and audience, and turning the historic building into a public space for collectively imagining the city’s memories.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[359],{"id":5337,"slug":5338,"no":5339,"title":5340,"artists":5343,"venue":891,"location_note":17,"lat":1434,"lng":1434,"year":5344,"medium":5345,"dimensions":17,"is_new":605,"description":5348,"notes":5351,"credit":5352,"series":5353,"names":5354,"incomplete":605,"images":5355,"image_credit":17,"themes":5356},373,"mountain-leafs","13-GC-08-01",{"zh":5341,"en":5342,"ja":17,"ko":17},"山葉","Mountain Leafs",[2122],"2004",{"zh":5346,"en":5347,"ja":17,"ko":17},"臺灣植物手工紙、線、葉片、草、繩、壓克力顏料、凝膠媒材，195×84公分","Handmade paper from plants of Taiwan, thread, pieces from world's longest leaf, grass, string, acrylic paint and gel, 195×85 cm",{"zh":5349,"en":5350,"ja":17,"ko":17},"re : Cycle｜迴漩\n\n艾婕音（Jane Ingram Allen）從地方採集植物纖維，將自然材料轉化為手工紙，並凝結對場所的觀察、相遇與記憶。她的創作關注材料的循環再生、四時更迭與生命流轉。\n\n本次展覽不僅呈現藝術家艾婕音個人作品，並邀請多位學員走進百年臺南公園，從採集植物、共同製作手工紙，在材料與人的交會之中，新的作品與記憶逐漸生成。\n\n循環並非回到起點，而是在每一次迴返之中，開啟新的可能。","re : Cycle｜Whirling Return\n\nJane Ingram Allen collects plant fibers from local environments and transforms these natural materials into handmade paper, and this process brings together and expresses her observations, encounters, and memories of place. Her work investigates the cycles of material regeneration, the changing seasons, and the flow of life. For this exhibition, alongside Allen’s individual works, a number of participants have been invited into the century-old Tainan Park to collect plants and collaboratively make handmade paper. Through the encounter between materials and people, new works and memories gradually take shape. A cycle does not mean returning to where we began: With every return, new possibilities emerge.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[359],{"id":5358,"slug":5359,"no":5360,"title":5361,"artists":5364,"venue":891,"location_note":17,"lat":1434,"lng":1434,"year":5365,"medium":5366,"dimensions":17,"is_new":605,"description":5369,"notes":5370,"credit":5371,"series":5372,"names":5373,"incomplete":605,"images":5374,"image_credit":17,"themes":5375},374,"in-the-mountains","13-GC-08-02",{"zh":5362,"en":5363,"ja":17,"ko":17},"六龜","In the Mountains",[2122],"2005",{"zh":5367,"en":5368,"ja":17,"ko":17},"植物手工紙、棉線、葉片、花、壓克力顏料、凝膠媒材，植物來源：高雄六龜林業試驗所、扇平森林生態科學園區，190×100公分","Handmade paper with plants from Liou-Guri Forest Research Center, Shan Ping Forest Ecological Garden, Kaohsiung City, cotton string, leaves, flowers, acrylic paint and gel, 190×101 cm",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[359],{"id":5377,"slug":5378,"no":5379,"title":5380,"artists":5383,"venue":916,"location_note":17,"lat":1434,"lng":1434,"year":2253,"medium":5384,"dimensions":17,"is_new":605,"description":5387,"notes":5390,"credit":5391,"series":5392,"names":5393,"incomplete":605,"images":5394,"image_credit":17,"themes":5395},375,"the-voice-of-dawn","14-RC-05",{"zh":5381,"en":5382,"ja":17,"ko":17},"黎明之聲","The Voice of Dawn",[1694],{"zh":5385,"en":5386,"ja":17,"ko":17},"棉、麻、染料、日本紙、臺灣再生紙，尺寸依場地而定","Cotton, linen, dyes, washi and Taiwan recycled paper, Dimensions variable",{"zh":5388,"en":5389,"ja":17,"ko":17},"(小林万里子 此件作品展在弎畫廊)\n\n本作從藝術家停留臺南期間的鳥類觀察出發，探討城市生命與人類記錄自然的痕跡。穿梭於新建築、古老廟宇與日常生活的鳥群，與圖鑑中過往被記錄的鳥類彼此重疊。作品將圖鑑圖文轉印於紙張，結合布料與線材，透過時間與材質的交織，使過往紀錄與當下觀察相遇，思考記憶如何傳遞，並在新的形式中延續生命。","Originating from the artist’s bird observations during her Tainan residency, this work explores urban life and the traces of human attempts to document nature. Birds moving through modern architecture, ancient temples, and daily routines overlap with historical bird catalog records. By transferring traditional field guide texts and illustrations onto paper—and weaving them with fabrics and threads—the piece interlocks time and material, allowing past records to meet present observations while reflecting on how memories are transmitted and sustained in new forms.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[404],{"id":5397,"slug":5398,"no":5399,"title":5400,"artists":5403,"venue":583,"location_note":3781,"lat":1434,"lng":1434,"year":3563,"medium":5404,"dimensions":17,"is_new":605,"description":5407,"notes":5410,"credit":5411,"series":5412,"names":5413,"incomplete":605,"images":5414,"image_credit":17,"themes":5415},376,"manifestasi-kesaksian","01-MC-03",{"zh":5401,"en":5402,"ja":17,"ko":17},"見證的顯現","Manifestasi Kesaksian",[2133],{"zh":5405,"en":5406,"ja":17,"ko":17},"壓克力顏料、木炭、畫布、石頭、單頻道錄像，9分10秒，尺寸依場地而定","Acrylic paint, charcoal on canvas, stones, single-channel video, 09′10″, Dimensions variable",{"zh":5408,"en":5409,"ja":17,"ko":17},"以日惹格達德村（Gedad Village）的宗教人物Mbah KH Abu Darda的故事為起點，探討伊斯蘭神秘主義傳統Thoriqoh Syattariyah中信仰、臣服與德行的思想。1998年村落遭遇嚴重乾旱，Mbah Abu在師承的精神指引下發現天然泉水，成為維繫村落生活的重要資源，並強調共享與共同守護自然的價值。作品由此延伸思考「Wujud」——神聖存在於宇宙與一切生命之中的顯現，進而探討人與自然、信仰與地方知識之間的關係。","Beginning with the story of Mbah KH Abu Darda, a religious figure from Gedad Village in Yogyakarta, the work explores ideas of faith, surrender, and virtue within the Islamic mystical tradition of Thoriqoh Syattariyah. In 1998, the village experienced a severe drought. Guided by the spiritual teachings of his master, Mbah Abu discovered a natural spring that proved essential in sustaining the village community. His story emphasizes the values of sharing and collective stewardship of nature. From this narrative, the work extends into a reflection on Wujud—the manifestation of the sacred within the universe and all forms of life—and further explores the relationships between humans and nature, faith and local knowledge.\n\nNote: Arus Yang Berubah, ingatan yang kabur (Shifting Currents, Sunken Memories), exhibited at Absolute Space for the Arts, will be on view through December 27, 2026.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[493],{"id":5417,"slug":5418,"no":5419,"title":5420,"artists":5423,"venue":942,"location_note":17,"lat":1434,"lng":1434,"year":2253,"medium":5424,"dimensions":17,"is_new":605,"description":5427,"notes":5429,"credit":5430,"series":5431,"names":5432,"incomplete":605,"images":5433,"image_credit":17,"themes":5434},377,"arus-yang-berubah-ingatan-yang-kabur-shifting-currents-sunken-memories","15-MC-03",{"zh":5421,"en":5422,"ja":17,"ko":17},"變動之流・沉潛的記憶","Arus Yang Berubah, ingatan yang kabur (Shifting Currents, sunken memories)",[2133],{"zh":5425,"en":5426,"ja":17,"ko":17},"系列一：斗笠、鈴鐺、打版尺、縫紉尺、發電機、動力裝置、壓克力構件；系列二：打版尺、縫紉尺、紙上繪畫，尺寸依場地而定","Series 1: daouli, bells, pattern rulers, sewing rulers, dynamo, kinetic installation, and acrylic construction; Series 2: pattern rulers, sewing rulers, and drawing on paper, Dimensions variable",{"zh":5428,"en":17,"ja":17,"ko":17},"〈變動的水流，模糊的記憶〉（Arus Yang Berubah, Ingatan yang Kabur \u002F Shifting Currents, Sunken Memories）源於Afandi駐臺南期間對周遭傳統市場、巷弄、廟宇、港口、農業等地的觀察，思考地景變動如何改變人與自然、知識與社會關係。藝術家關注知識如何透過日常勞動、儀式、習慣、口述歷史與世代交流傳遞，並從臺南與爪哇的生活經驗中尋找共鳴。部分作品亦邀請在地居民共同參與，以未完成的狀態於展場中與當地展開交流，讓故事得以延續。",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[493],{"id":5436,"slug":5437,"no":5438,"title":5439,"artists":5440,"venue":942,"location_note":17,"lat":1434,"lng":1434,"year":3543,"medium":5441,"dimensions":17,"is_new":605,"description":5442,"notes":5444,"credit":5445,"series":5446,"names":5447,"incomplete":605,"images":5448,"image_credit":17,"themes":5449},378,"not-quite-gone-not-quite-finished","15-MC-04",{"zh":4814,"en":4815,"ja":17,"ko":17},[1924],{"zh":4819,"en":4820,"ja":17,"ko":17},{"zh":5443,"en":4823,"ja":17,"ko":17},"卓俞翔的創作介於廢棄與更新之間，透過材料「取樣」，蒐集破裂、受損的陶瓷、棄置作品與耗材，重新加工組構為新的物件。作品關注材料被丟棄後延續的生命，以及藝術價值如何在保留與淘汰間被界定，並保存創作的時間與歷史。本展所有作品將統合成一個名字《未全然消逝，未全然完成》，以創作殘餘為基礎，透過取樣、層疊與再利用，探索恆久與脆弱、作者性與匿名性、毀壞與再生的張力，思考遺留之物再次生成的可能。\n\n備註：於絕對空間展出之《未全然消逝，未全然完成》部分作品展期至 2026年12月27日。",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[493],{"id":5451,"slug":5452,"no":5453,"title":5454,"artists":5457,"venue":969,"location_note":17,"lat":1434,"lng":1434,"year":2253,"medium":5458,"dimensions":17,"is_new":605,"description":5461,"notes":5464,"credit":5465,"series":5466,"names":5467,"incomplete":605,"images":5468,"image_credit":17,"themes":5481},130,"deformed-loop","16-EC-03",{"zh":5455,"en":5456,"ja":17,"ko":17},"變形之環","Deformed Loop",[2144],{"zh":5459,"en":5460,"ja":17,"ko":17},"木材，160×160×160公分","Wood, 160×160×160 cm",{"zh":5462,"en":5463,"ja":17,"ko":17},"《變形之環》延續藝術家近年「有機臺南」的創作研究，從「環」持續生成與變形的生命狀態，思考建築、城市與生命相互滲透的關係。作品以可進入的隕石為原型，介於岩石、細胞、天體與微型建築之間，並以木材CNC積層工法層層堆疊，象徵岩石沉積、樹木年輪與城市歷史。觀者步入其中，雕塑由物件轉化為可感知的空間，亦回應臺南街巷、建築與生活記憶交疊生成的有機城市樣貌，重新連結身體、空間、時間與記憶。","Deformed Loop continues the artist’s recent creative foray into “Organic Tainan,” while exploring the life processes of the “loop” as it continually generates and transforms, and reflecting on the ways in which architecture, the city, and living organisms are intermingled. Taking an inhabitable meteorite as its archetype, the work exists somewhere between a rock, a cell, a celestial body, and a micro-architecture. Constructed through the CNC stacking and lamination of timber, its layered structure brings to mind geological sedimentation, the growth rings of trees, and the accumulated history of the city. As visitors enter the work, the sculpture transforms from an object into a sensory space. It also responds to the organic urban fabric of Tainan, where streets and alleys, architecture, and lived memories continuously take shape and overlap. In doing so, the work reconnects the body, space, time, and memory.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2517,"en":2518,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[5469],{"id":5470,"url":5471,"w":5472,"h":5473,"alt":5474,"sizes":5475},131,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-03-1.jpg",1402,1122,"變形之環 Deformed Loop",{"medium":5476,"large":5478},{"url":5477,"w":80,"h":2622},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-03-1-300x240.jpg",{"url":5479,"w":84,"h":5480},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-03-1-1024x819.jpg",819,[269],{"id":5483,"slug":5484,"no":5485,"title":5486,"artists":5489,"venue":969,"location_note":5490,"lat":1434,"lng":1434,"year":2253,"medium":5491,"dimensions":17,"is_new":605,"description":5494,"notes":5497,"credit":5498,"series":5499,"names":5500,"incomplete":605,"images":5501,"image_credit":17,"themes":5546},138,"loop-and-return","16-EC-06",{"zh":5487,"en":5488,"ja":17,"ko":17},"迴與回","Loop and Return",[2155],"Anping Lakeside Waterbird Park",{"zh":5492,"en":5493,"ja":17,"ko":17},"約5公尺木柱60支，直徑1400公分","60 rectangular wooden columns, each 5 meters high, Ø1400 cm",{"zh":5495,"en":5496,"ja":17,"ko":17},"為回應本屆雙年展主題，作品選址於安平區府都建設「白鷺灣—建築文化館」展場旁、塩水溪側綠帶的草坪，以一棵巨大而獨立的木麻黃為中心，運用50支高6公尺的矩形木柱，圍塑出半徑約8公尺的「迴圈」。環形構造形塑出靜謐而內向的空間，使人置身其中與樹對話，並遙應佛陀於菩提樹下悟道的意象。所謂「回」，即是回到本質、回到初心，也回到生命的本來面目。","Responding to the theme of the 1st Tainan Art Biennial, Unfolding Circuits, this work is situated on a grassy area along the Yanshui River, in front of the Fudu “White Egret Bay—Architecture and Culture Hall” in Anping District. Drawing on the artist’s architectural practice and the characteristics of the site, the work creates a spatial installation of two concentric circuits. Sixty rectangular timber columns, each approximately 5 meters high, form inner and outer rings with radii of approximately 5 and 7 meters, creating a circular pathway between them and an enclosed, inward-looking space at the center. A 3-meter-diameter circular pool reflects the sky, trees, clouds, and night sky. Like a mirror, it evokes a dialogue with the Zen notion of one’s true nature—returning to one’s essence, original intention, and fundamental self.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2517,"en":2518,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[5502,5515,5525,5536],{"id":5503,"url":5504,"w":5505,"h":5506,"alt":5488,"sizes":5507},139,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-06-1.jpg",1698,946,{"medium":5508,"large":5510,"1536x1536":5513},{"url":5509,"w":80,"h":1532},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-06-1-300x167.jpg",{"url":5511,"w":84,"h":5512},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-06-1-1024x570.jpg",570,{"url":5514,"w":262,"h":4015},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-06-1-1536x856.jpg",{"id":5516,"url":5517,"w":5518,"h":2475,"alt":5488,"sizes":5519},140,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-06-2.jpg",1490,{"medium":5520,"large":5522},{"url":5521,"w":80,"h":1924},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-06-2-300x221.jpg",{"url":5523,"w":84,"h":5524},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-06-2-1024x755.jpg",755,{"id":5526,"url":5527,"w":5140,"h":5528,"alt":5488,"sizes":5529},141,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-06-3.jpg",960,{"medium":5530,"large":5532,"1536x1536":5534},{"url":5531,"w":80,"h":1552},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-06-3-300x169.jpg",{"url":5533,"w":84,"h":3583},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-06-3-1024x576.jpg",{"url":5535,"w":262,"h":3586},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-06-3-1536x864.jpg",{"id":5537,"url":5538,"w":5140,"h":5528,"alt":5488,"sizes":5539},142,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-06-4.jpg",{"medium":5540,"large":5542,"1536x1536":5544},{"url":5541,"w":80,"h":1552},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-06-4-300x169.jpg",{"url":5543,"w":84,"h":3583},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-06-4-1024x576.jpg",{"url":5545,"w":262,"h":3586},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-06-4-1536x864.jpg",[269],{"id":5548,"slug":5549,"no":5550,"title":5551,"artists":5554,"venue":969,"location_note":17,"lat":1434,"lng":1434,"year":2253,"medium":5555,"dimensions":17,"is_new":605,"description":5558,"notes":5561,"credit":5562,"series":5565,"names":5566,"incomplete":605,"images":5567,"image_credit":17,"themes":5615},143,"tsuru-awakening-of-water-1","16-EC-07-01",{"zh":5552,"en":5553,"ja":17,"ko":17},"TSURU \u002F 鶴—水之覺醒","TSURUーAwakening of Water",[2166],{"zh":5556,"en":5557,"ja":17,"ko":17},"行動藝術、特定場域表演，尺寸依場地而定","Performance, Site-specific performance, Dimensions variable",{"zh":5559,"en":5560,"ja":17,"ko":17},"《TSURU／鶴—水之覺醒》以水作為持續流動、轉化的關係性媒介，呼應臺南歷史、文化與記憶不斷生成的城市特質。表演融合太極、水、墨、聲音與鏡面，透過身體與物質的交互作用，留下持續變化的痕跡。演出結束後，和服、水晶頌缽、鏡面與墨跡仍隨時間、光線及觀者參與持續轉化。作品並置於木製藝術運輸箱中，將移動與運輸記憶納入創作，使時間成為作品的一部分，呈現未完成且持續生成的生命狀態。","Taking water as a relational medium of continuous flow and transformation, TSURU—Awakening of Water reflects the ever-evolving character of Tainan, shaped by its histories, cultures, and memories. The performance brings together Taiji, water, ink, sound, and mirrored surfaces, leaving traces that continually shift through the interaction between the body and material. After the performance, the kimono, crystal singing bowl, mirrored surfaces, and ink traces continue to transform over time through changes in light and the participation of viewers. The work is presented within a wooden art shipping crate, and incorporates memories of movement and transportation into the artistic process. In this way, time becomes part of the work itself, revealing a state of life that remains unfinished and continuously in the process of becoming.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":5563,"en":5564,"ja":17,"ko":17},"藝術家本人以及現場演出\n臺南市美術館委託製作。","Courtesy of the artist\nCommissioned by Tainan Art Museum.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[5568,5581,5593,5605],{"id":5569,"url":5570,"w":2386,"h":2644,"alt":5571,"sizes":5572},144,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-07-01-1.jpg","TSURU 鶴——水之覺醒 TSURU—Awakening of 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Taiwan’s endemic leopard cat as the sacred embodiment of an Electricity Child, this work is the eleventh piece in the Electricity Divine General series. Its costume draws on the form of the kao, a traditional theatrical martial costume, with five-colored flags representing the five directions arranged across the back. The three-dimensional floral and avian motifs distributed across the costume depict rare and endemic species of Taiwan.\n\nAt the shoulder ornament of the armor is the Taiwan yellow water lily (Nuphar shimadai), signifying: “Though the path is muddy, the flower remains unstained; though circumstances are difficult, the heart remains unchanged.” At the abdomen is the Taiwan grass owl (Tyto longimembris pithecops), signifying: “Stay low, yet fly high.” Other motifs include the Chinese ladies’-tresses (Spiranthes sinensis), Taiwan lily (Lilium formosanum), and peach blossoms, each carrying its own auspicious meaning.\n\nThe work is named “Leopard Cat Child” rather than the more familiar “Leopard Cat Tiger Lord” to evoke the innocence and childlike spirit of a child, while continuing the traditional belief in the Tiger Lord as a guardian of children. By transforming the leopard cat into the image of a child, the work also reminds us that protecting Taiwan’s endangered endemic species means protecting a sustainable future for the next generation.\n\n*The work will undergo the traditional rites of consecration and spirit installation (kaiguang and rùshén) at Puji Temple in Tainan on November 29, 2026 (the 21st day of the tenth lunar month).",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2262,"en":2263,"ja":17,"ko":17},{"zh":2265,"en":2266,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[6068],{"id":6069,"url":6070,"w":6071,"h":6072,"alt":6073,"sizes":6074},414,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F24-tc-04-1.jpg",998,1250,"電氣石虎童「虤虤」 giân giân",{"medium":6075,"large":6077},{"url":6076,"w":2622,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F24-tc-04-1-240x300.jpg",{"url":6078,"w":6079,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F24-tc-04-1-818x1024.jpg",818,[],{"id":6082,"slug":6083,"no":6084,"title":6085,"artists":6087,"venue":662,"location_note":17,"lat":1434,"lng":1434,"year":17,"medium":6088,"dimensions":17,"is_new":605,"description":6089,"notes":6092,"credit":6093,"series":6094,"names":6095,"incomplete":604,"images":6096,"image_credit":17,"themes":6113},415,"hsu-ping-den-work","04-HC-06",{"zh":6086,"en":17,"ja":17,"ko":17},"警察漫畫",[2221],{"zh":17,"en":17,"ja":17,"ko":17},{"zh":6090,"en":6091,"ja":17,"ko":17},"許丙丁日治時期曾任臺南州巡查、刑事課巡查部長，並於《臺灣警察時報》發表大量警察漫畫，以諷刺、寫實與戲謔手法描繪警察日常。本作主角「凹巡查」因十年未檢舉犯罪而遭長官關切，決心認真巡邏，卻誤將電影拍攝中的演員當成傷害現行犯。作品以幽默的誤認情節，調侃警察執勤與官僚體制，也為嚴肅的警察刊物增添庶民趣味。","During the Japanese colonial period, Hsu Ping-den served as a patrol officer and later as chief of the Criminal Investigation Section in Tainan Prefecture. He published numerous police cartoons in the Taiwan Police Times, using satire, realism, and playful humor to depict the everyday experiences of the police. In this work, the protagonist, “Constable Ao,” comes under scrutiny from his superiors after going ten years without reporting a single crime. Determined to take his patrol duties seriously, he mistakenly identifies actors filming a movie as suspects caught in the act of committing assault. Through this humorous case of mistaken identity, the work pokes fun at police work and the bureaucratic system, while bringing a touch of humor to an otherwise serious police publication.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[6097],{"id":6098,"url":6099,"w":2386,"h":6100,"alt":6086,"sizes":6101},416,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x12-1.jpg",1592,{"medium":6102,"large":6104,"1536x1536":6107,"2048x2048":6110},{"url":6103,"w":80,"h":1859},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x12-1-300x199.jpg",{"url":6105,"w":84,"h":6106},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x12-1-1024x679.jpg",679,{"url":6108,"w":262,"h":6109},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x12-1-1536x1019.jpg",1019,{"url":6111,"w":266,"h":6112},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x12-1-2048x1359.jpg",1359,[315],{"id":6115,"slug":6116,"no":6117,"title":6118,"artists":6120,"venue":662,"location_note":17,"lat":1434,"lng":1434,"year":17,"medium":6121,"dimensions":17,"is_new":605,"description":6122,"notes":6125,"credit":6126,"series":6127,"names":6128,"incomplete":604,"images":6129,"image_credit":17,"themes":6160},417,"lin-po-liang-work","04-HC-07",{"zh":6119,"en":17,"ja":17,"ko":17},"葉石濤於書桌前獨照（正面）",[2232],{"zh":17,"en":17,"ja":17,"ko":17},{"zh":6123,"en":6124,"ja":17,"ko":17},"葉石濤晚年身影，由林柏樑於1998年展開「文學的容顏」作家群像攝影計畫時所記錄，足跡遍及台南武廟與高雄左營舊城。武廟竹椅回眸一幕，眼神深沉，隱約透出經歷白色恐怖的滄桑；左營書房內，則見老作家仍伏案寫作的身影。這些影像既是文學家的容顏紀錄，也成為台灣文學史上珍貴的視覺見證。","These photographs capture Yeh Shih-tao (1925-2008) in his later years and were taken by photographer Lin Po-liang in 1998 as part of Countenances of Literature: Portraits of Literary Giants of Taiwan. The project brought Lin to locations including Tainan’s Martial Temple and the Old City of Zuoying, Kaohsiung. In one image, Yeh sits on a bamboo chair at the Martial Temple, turning toward the camera with a deeply contemplative gaze that subtly reveals the scars of his experience during Taiwan’s White Terror. In another, taken in his study in Zuoying, the aging writer remains bent over his desk, absorbed in writing. These photographs are not only portraits of a literary figure, but also valuable visual testimony to the history of Taiwanese literature.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[6130,6146],{"id":6131,"url":6132,"w":2386,"h":6133,"alt":6119,"sizes":6134},418,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x13-1.jpg",2091,{"medium":6135,"large":6137,"1536x1536":6140,"2048x2048":6143},{"url":6136,"w":80,"h":3144},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x13-1-300x261.jpg",{"url":6138,"w":84,"h":6139},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x13-1-1024x892.jpg",892,{"url":6141,"w":262,"h":6142},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x13-1-1536x1338.jpg",1338,{"url":6144,"w":266,"h":6145},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x13-1-2048x1784.jpg",1784,{"id":6147,"url":6148,"w":6149,"h":6150,"alt":6119,"sizes":6151},419,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x13-2.jpg",1832,1613,{"medium":6152,"large":6154,"1536x1536":6157},{"url":6153,"w":80,"h":3225},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x13-2-300x264.jpg",{"url":6155,"w":84,"h":6156},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x13-2-1024x902.jpg",902,{"url":6158,"w":262,"h":6159},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x13-2-1536x1352.jpg",1352,[315],{"id":6162,"slug":6163,"no":6164,"title":6165,"artists":6168,"venue":615,"location_note":6169,"lat":1434,"lng":1434,"year":17,"medium":6170,"dimensions":17,"is_new":605,"description":6171,"notes":6174,"credit":6177,"series":6178,"names":6181,"incomplete":605,"images":6184,"image_credit":6197,"themes":6198},567,"rooted-in-the-land","02-VC-01",{"zh":6166,"en":6167,"ja":17,"ko":17},"立於土地","Rooted in the Land",[],"3F",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":6172,"en":6173,"ja":17,"ko":17},"土地是人民的母親，也是藝術創作的母體，本單元以臺灣島嶼之上具有特色的地景、地貌、地標等地理特徵，作為美術創作與應用設計的主題，成為明確識別臺灣視覺藝術的符碼；其中臺灣第一高峰玉山（新高山）、雪山（次高山）、阿里山，或國境之南鵝鑾鼻，以及具有標誌性的景觀淡水、觀音山、太魯閣等，甚至透過票選「臺灣八景」與各個城市興建的地標建築、港口、風景名勝等，都成為近代臺灣藝術家與設計家筆下呈現「立於土地」的常見題材，藉由這些具有特色的地景圖像，得以形塑臺灣視覺藝術的主體性以及具有識別性的符號。\n\n日治時期在臺藝術家石川欽一郎（Ishikawa Kinichiro，1871-1945）的臺南赤崁樓、木下靜涯（Kinoshita Seigai，1887-1988）的淡水、鄉原古統（Gobara Koto，1887-1965）的太魯閣、鹽月桃甫（Shiotsuki Toho，1886-1954）的鵝鑾鼻，以及臺灣藝術家林玉山（Lin Yu-shan，1907-2004）、郭雪湖（Kuo Hsueh-hu，1908-2012）、楊三郎（Yang San-lang，1907-1995）三人描繪的玉山景象，都是臺灣島嶼之上具有特色地景的典型，這些藝術作品與新高阿里山、國立公園預定地等繪葉書、書刊等相應的應用設計並列展出，相互映照出這塊土地壯闊的山川景象；另外吉田初三郎（Yoshida Hatsusaburo，1884-1955）的《雙絕臺灣八景》以及金子常光（Kaneko Tsunemitsu， 生卒年不詳）為臺灣及其他城市所繪製的鳥瞰圖，加上臺灣不同城市為了推廣觀光宣傳的簡介及鳥瞰圖，則是另類描繪臺灣地景及城市風貌的應用設計，共同建構出屬於臺灣土地獨特的島嶼符碼。","Land is the mother of its people and the ground of artistic creation. This unit takes as its subject the distinctive geographical features of the island of Taiwan — its landscapes, terrain, and landmarks — as they appear in fine art and applied design, forming a set of visual symbols by which Taiwanese art may be clearly identified. Among these, Taiwan's highest peak, Yushan (Mt. Niitaka), along with Xueshan (Tsugitakayama, the second highest peak), Alishan, the southernmost cape of Eluanbi, and iconic scenery such as Tamsui, Guanyinshan, and Taroko Gorge — as well as the \"Eight Views of Taiwan\" selected by public vote, and the landmark buildings, harbors, and scenic sites developed across various cities — all became common subjects through which modern Taiwanese artists and designers gave form to the theme of being \"rooted in the land.\" Through these distinctive landscape images, a visual subjectivity and a set of identifying symbols for Taiwanese art began to take shape.\n\nAmong the Japanese artists active in Taiwan during the colonial period, Ishikawa Kinichiro (1871–1945) painted Chihkan Tower in Tainan; Kinoshita Seigai (1887–1988) depicted Tamsui; Gobara Koto (1887–1965) rendered Taroko Gorge; and Shiotsuki Toho (1886–1954) captured Eluanbi. Taiwanese artists Lin Yu-shan (1907–2004), Kuo Hsueh-Hu (1908–2012), and Yang San-lang (1907–1995) each created depictions of Yushan. These works stand as quintessential representations of Taiwan's distinctive landscapes. Exhibited alongside their corresponding applied designs — including picture postcards and publications featuring Yushan, Alishan, and the sites designated for national parks during the period — the fine art and applied works reflect one another, together evoking the island's sweeping mountain and river scenery. Also on display are Yoshida Hatsusaburo's (1884–1955) Eight Views and Two Unique Sights and the bird's-eye view illustrations of Taiwan and other cities by Kaneko Tsunemitsu (dates unknown), alongside promotional guides and aerial maps produced by various Taiwanese cities for tourism purposes. These works represent an alternative mode of depicting Taiwan's landscapes and urban character, and together construct a distinctive set of visual symbols rooted in the land of Taiwan.",{"zh":6175,"en":6176,"ja":17,"ko":17},"展期：2026.10.31–2027.5.2\n地點：臺南國家美術館籌備處 三樓\n策展人：林磐聳\n協同策展人：姚村雄、李新富\n策展顧問：廖仁義","Dates: 2026.10.31–2027.5.2\nVenue: 3rd Floor, National Museum of Modern Art Tainan (Preparatory Office)\nCurator: Apex Lin, Pang-soong\nCo-curators: Yao Tsun-hsiung, Lee Shin-fu\nAdvisor: Liao Jen-i",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":6179,"en":6180,"ja":17,"ko":17},"被消逝的臺灣美術與設計","The Vanished Art and Design of Taiwan",{"zh":6182,"en":6183,"ja":17,"ko":17},"石川欽一郎\n鹽月桃甫\n吉田初三郎\n郭雪湖\n陳慧坤\n許深洲","Ishikawa Kinichiro\nShiotsuki Toho\nYoshida Hatsusaburo\nKuo Hsueh-hu\nChen Huei-kuun\nHsu Shen-chou",[6185],{"id":267,"url":6186,"w":123,"h":6187,"alt":6188,"sizes":6189},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-01-1.jpg",1282,"1935年木下靜涯繪製，臺灣博覽會協贊會發行《始政四十週年紀念臺灣博覽會繪葉書》「淡水雨後」",{"medium":6190,"large":6192,"1536x1536":6194},{"url":6191,"w":80,"h":1782},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-01-1-300x192.jpg",{"url":6193,"w":84,"h":2403},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-01-1-1024x656.jpg",{"url":6195,"w":262,"h":6196},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-01-1-1536x985.jpg",985,"圖片提供：林磐聳",[213],{"id":6200,"slug":6201,"no":6202,"title":6203,"artists":6206,"venue":615,"location_note":6169,"lat":1434,"lng":1434,"year":17,"medium":6207,"dimensions":17,"is_new":605,"description":6208,"notes":6211,"credit":6212,"series":6213,"names":6214,"incomplete":605,"images":6217,"image_credit":6197,"themes":6231},569,"grounded-in-the-people","02-VC-02",{"zh":6204,"en":6205,"ja":17,"ko":17},"本於人民","Grounded in the People",[],{"zh":17,"en":17,"ja":17,"ko":17},{"zh":6209,"en":6210,"ja":17,"ko":17},"本單元「本於人民」強調臺灣島嶼是以人民為主、生活為本的作品，描繪原住民與漢人族群的建築、器物、穿著服飾、民俗信仰、生活樣貌等，挖掘出臺灣近代畫家所留下以臺灣人民與生活作為創作題材的美術與設計作品，其中又以受到原住民的影響極為深刻的鹽月桃甫最為典型，呈現出臺灣土地與人民對於藝術家從事美術創作與應用設計的深刻影響，也是本次展覽所特別要彰顯的臺灣主體性精神特色；另外也有多位藝術家關注原住民議題的創作，但是卻未被登載於臺灣藝術史頁，成為重建臺灣藝術史的缺塊。\n\n1890年小林永濯（Kobayashi Eitaku，1843-1890）在《永濯漫畫》中的「臺灣人種」版畫，是日本殖民統治之前臺灣原住民的珍貴圖像；鹽月桃甫則是受到原住民的深刻影響，其於美術創作與應用設計留下豐富的史料，即使返國之後作品仍著重臺灣原住民圖像的呈現；顏水龍（Yen Shui-long，1903-1997）所留下大量的原住民圖像與林玉山的〈風浪歸舟〉皆為描繪臺灣原住民的經典作品，梅原龍三郎（Umehara Ryuzaburo，1888-1986）的《霧社》封面設計以及內頁大量採用臺灣民間版畫作為隔頁，則留下有別於藝術家過往鮮明風格的另類應用設計；署名「宜洲」的8張繪葉書與竹村秋峰（Takemura Shuho，1882-1955）的《臺灣趣味》版畫，石川寅治（Ishikawa Toraji，1875-1964）則以版畫記錄原住民與漢人生活及臺灣風土景象，都是臺灣藝術史所需要加以增補的珍貴史料。","This unit, \"Grounded in the People,\" centers on works on the people of Taiwan and the fabric of their daily lives — depicting the architecture, artifacts, dress and adornment, folk beliefs, and everyday customs of both indigenous and Han communities. It unearths fine art and applied design works left by painters active in Taiwan during the modern period that take the people and lives of Taiwan as their subject. Among these, Shiotsuki Toho stands as the most representative figure, profoundly shaped by Taiwan's indigenous peoples, exemplifying the deep influence that the land and people of Taiwan exercised on artists engaged in both fine art and applied design. This spirit of Taiwanese identity is what the exhibition particularly seeks to foreground. Also featured are works by a number of artists who engaged with indigenous subject matter yet never found their place in the pages of Taiwanese art history — works that represent missing chapters in the project of reconstructing that history.\n\nKobayashi Eitaku's (1843–1890) woodblock print Peoples of Taiwan (from Eitaku Manga, 1890) offers a rare visual record of Taiwan's indigenous inhabitants made before Japanese colonial rule. Shiotsuki Toho, deeply influenced by the indigenous peoples he encountered, left behind a wealth of historical material in both his fine art and applied design work; even after returning to Japan, his works continued to center on indigenous Taiwanese imagery. The extensive indigenous portraits left by Yen Shui-long (1903–1997) and Lin Yu-shan's Boat Returning through Wind and Waves are both considered landmark works depicting Taiwan's indigenous peoples. Umehara Ryuzaburo 's (1888–1986) cover design for Wushe and his extensive use of Taiwanese folk woodblock prints as interleaves represent an applied design approach markedly different from his otherwise distinctive artistic style. Also on display are eight picture postcards signed \"Yizhou,\" the woodblock prints of Taiwan Curiosities by Takemura Shuho (1882–1955), and works by Ishikawa Toraji (1875–1964), who used woodblock print to document indigenous and Han daily life and the landscapes and customs of Taiwan. All of these constitute invaluable historical material that Taiwanese art history has yet to fully incorporate.",{"zh":6175,"en":6176,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":6179,"en":6180,"ja":17,"ko":17},{"zh":6215,"en":6216,"ja":17,"ko":17},"小林永濯\n宜洲\n石川寅治\n林玉山","Kobayashi Eitaku\nYizhou\nIshikawa Toraji\nLin Yu-shan",[6218],{"id":5512,"url":6219,"w":6220,"h":123,"alt":6221,"sizes":6222},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-02-1.jpg",1394,"中村地平《太陽の眼》，鹽月桃甫插畫裝幀，1948年",{"medium":6223,"large":6225,"1536x1536":6228},{"url":6224,"w":1990,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-02-1-209x300.jpg",{"url":6226,"w":6227,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-02-1-714x1024.jpg",714,{"url":6229,"w":6230,"h":262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-02-1-1071x1536.jpg",1071,[213],{"id":6233,"slug":6234,"no":6235,"title":6236,"artists":6239,"venue":615,"location_note":6169,"lat":1434,"lng":1434,"year":17,"medium":6240,"dimensions":17,"is_new":605,"description":6241,"notes":6244,"credit":6245,"series":6246,"names":6247,"incomplete":605,"images":6250,"image_credit":6197,"themes":6265},571,"purposed-in-function","02-VC-03",{"zh":6237,"en":6238,"ja":17,"ko":17},"用於功能","Purposed in Function",[],{"zh":17,"en":17,"ja":17,"ko":17},{"zh":6242,"en":6243,"ja":17,"ko":17},"回顧近代百年臺灣的設計發展，最早源自日本殖民統治時期，伴隨政治治理所需要的政令宣導、產業推廣、觀光旅遊等目的，採用「美術為體，設計為用」兼具形式與功能的手法，作為傳遞訊息的目標；最初為了滿足日常生活中具有實用功能的美術設計，常見於海報、書刊、傳單、繪葉書、廣告、包裝等物件。由於美術設計廣泛應用在常民生活中的食、衣、住、行、育、樂等多元領域，處於社會基層的普羅大眾得以從應用設計當中獲得生活美學的涵養與文化精神的薰陶，因此美術設計可謂是「常民生活美術館」。\n\n本單元以日本統治臺灣始政週年紀念所發行的繪葉書，其中1905年和田三造為始政十週年紀念繪製6張繪葉書，成為臺灣繪葉書之濫觴，並且掀起日本知名藝術家參與臺灣應用設計的序幕；伴隨臺灣觀光旅遊及茶葉、糖業的外銷推廣所需要的海報設計，同時出現西洋油畫、日本美人畫、上海月份牌等不同形式風格的海報設計，呈現秉持「用於功能」的目標導向設計手法。 另外塚本閣治（Koji Tsukamoto，1896-1965）設計始政四十年臺灣博覽會海報，與顏水龍為大阪壽毛加牙粉設計的海報，皆屬臺灣美術設計的經典圖像；延續至1962年設立專業社團協會的中國美術設計協會，以及大智浩（Ochi Hiroshi，1908-1974）與郭叔雄（Kuo Shu-hsiung，1934-）所設計的企業識別系統，開啟了臺灣現代專業設計的序曲。","The development of design in Taiwan over the past century traces its origins to the period of Japanese colonial rule, when the approach of \"fine arts as the core, design as the application\" — balancing form with function — was adopted in service of colonial administration: disseminating government directives, promoting industry, and developing tourism. Applied design first emerged to meet the practical needs of daily life, appearing commonly in posters, publications, leaflets, picture postcards, advertisements, and packaging. As artistic design came to permeate the everyday domains of food, clothing, shelter, transportation, education, and recreation, ordinary people gained access to aesthetic cultivation and cultural enrichment through the objects of their daily lives. In this sense, artistic design may be understood as a \"museum of everyday aesthetics for the common people.\"\n\nThis unit takes as its starting point the picture postcards issued to commemorate successive anniversaries of Japanese rule in Taiwan. In 1905, Wada Sanzo produced six picture postcards for the tenth anniversary of colonial rule — the earliest known example of this form in Taiwan, and the work that initiated the involvement of prominent Japanese artists in Taiwanese applied design. Alongside poster designs created to promote tourism and the export of tea and sugar, a diverse range of stylistic approaches emerged, including Western oil painting, Japanese bijinga, and Shanghai yuefenpai aesthetics, all united by a goal-oriented design sensibility in keeping with the principle of \"purposed in function.\" Also featured are Tsukamoto Koji's (1896–1965) poster for the Taiwan Exposition marking the fortieth anniversary of colonial administration, and Yen Shui-long's poster designed for Osaka's Smoca tooth powder — both now regarded as iconic images in the history of Taiwanese artistic design. The unit concludes with the establishment of the Graphic Design Association of the Republic of China in 1962, Taiwan's first professional design organization, and the corporate identity systems designed by Ochi Hiroshi (1908–1974) and Kuo Shu-hsiung (1934–), which together mark the opening movement of modern professional design in Taiwan.",{"zh":6175,"en":6176,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":6179,"en":6180,"ja":17,"ko":17},{"zh":6248,"en":6249,"ja":17,"ko":17},"和田三造\n塚本閤治\n多田北烏\n鄉原古統\n木下靜涯\n鹽月桃甫\n郭雪湖\n高山嵐\n中華民國美術設計協會\n黃華成\n郭承豐\n蘇新田","Wada Sanzo\nTsukamoto Koji\nTada Hokuu\nGobara Koto\nKinoshita Seigai\nShiotsuki Toho\nKuo Hsueh-hu\nGau Shan-lan\nGraphic Design Association of the Republic of China\nHuang Hua-cheng\nKuo Cheng-feng\nSu Hsin-tien",[6251],{"id":6252,"url":6253,"w":6254,"h":123,"alt":6255,"sizes":6256},572,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-03-1.jpg",1302,"1924年石川欽一郎繪製《始政第29回紀念博覽會繪葉書》，以水彩技法描繪臺灣農舍作為前景，背景是臺灣神社",{"medium":6257,"large":6259,"1536x1536":6262},{"url":6258,"w":1815,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-03-1-195x300.jpg",{"url":6260,"w":6261,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-03-1-667x1024.jpg",667,{"url":6263,"w":6264,"h":262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-03-1-1000x1536.jpg",1000,[213],{"id":6267,"slug":6268,"no":6269,"title":6270,"artists":6273,"venue":615,"location_note":6169,"lat":1434,"lng":1434,"year":17,"medium":6274,"dimensions":17,"is_new":605,"description":6275,"notes":6278,"credit":6279,"series":6280,"names":6281,"incomplete":605,"images":6284,"image_credit":6197,"themes":6299},573,"refined-in-form","02-VC-04",{"zh":6271,"en":6272,"ja":17,"ko":17},"美於形式","Refined in Form",[],{"zh":17,"en":17,"ja":17,"ko":17},{"zh":6276,"en":6277,"ja":17,"ko":17},"本單元主要呈現藝術家將藝術創作中具有美感的表現技法、形式風格，轉化為具有功能性的應用設計表現，探討藝術創作與應用設計之間的藝術形式與美感涵養。當年臺灣藝術家秉持「美術為體，設計為用」的精神，他們在從事純粹藝術創作之餘，同時投入應用設計而留下繪葉書、海報、書刊封面與內頁插圖等豐富史料，成為建構臺灣藝術史不可或缺的區塊。由於早期許多美術與設計原作並未存世，但是藉由應用設計的印刷品得以留存至今，透過設計史料的反向回溯，得以挖掘出更加豐富多元的臺灣近代藝術史遺珍。\n\n日治時期石川欽一郎、鹽月桃甫、鄉原古統、木下靜涯推動臺灣美術發展重要的「臺展」（臺灣美術展覽會）、「府展」（臺灣總督府美術展覽會），本次特別將「臺展」、「府展」與日本內地「文展」（文部省美術展覽會）、「帝展」（帝國美術院美術展覽會）圖錄並列展出，從中得以窺見兩地展覽圖錄的相似性，顯現臺灣美術發展受到日本的深刻影響。 另外也挖掘石川寅治、矢崎千代二（Yazaki Chiyoji，1872-1947）、三迫星洲（Misako Seishu，生卒年不詳）、阿藤秀一郎（Ato Shuichiro，1888-1972）等人存世的繪葉書，得以補足臺灣藝術史上被遺忘的缺塊；而石川欽一郎水彩畫作與《臺灣時報》繪製的封面、林玉山〈改良蔗作〉以及《動物分類掛圖》亦可窺見藝術家在繪畫創作與應用設計上的同等用心。","This unit examines how artists translated the presentation techniques, form, and style of their fine art practice — with all the aesthetic sensibility these entail — into functional applied design, exploring the relationship between artistic form and aesthetic refinement as it moves between fine art and applied design. Guided by the principle of \"fine arts as the core, design as the application,\" Taiwanese artists of this period pursued pure artistic creation while simultaneously producing applied design work — leaving behind a wealth of historical material in the form of picture postcards, posters, book covers, and interior illustrations, all of which constitute indispensable building blocks for the reconstruction of Taiwanese art history. As many original works of fine art and design from this early period have not survived, it is through printed applied design that these traces endure. By working backwards from this body of design material, richer and more diverse lost treasures of modern Taiwanese art history are brought to light.\n\nDuring the Japanese colonial period, Ishikawa Kinichiro, Shiotsuki Toho, Gobara Koto, and Kinoshita Seigai played central roles in advancing Taiwanese art through two landmark exhibitions: the Taiwan Fine Arts Exhibition (Taiten) and the Taiwan Governor-General's Fine Arts Exhibition (Futen). This unit places the catalogues of these two exhibitions alongside those of their metropolitan Japanese counterparts — the Ministry of Education Art Exhibition (Bunten) and the Imperial Academy of Arts Exhibition (Teiten) — allowing viewers to observe the striking similarities between the two sets of catalogues and trace the profound influence of Japanese art institutions on the development of art in Taiwan. Also recovered for this exhibition are surviving picture postcards by Ishikawa Toraji, Yazaki Chiyoji (1872–1947), Misako Seishu (dates unknown), and Ato Shuichiro (1888–1972), helping to fill the gaps that remain in Taiwanese art history. Ishikawa Kinichiro's watercolors alongside his cover designs for the Taiwan Times; Lin Yu-shan's Improved Sugarcane Cultivation and his Zoological Classification Charts — all offer a glimpse into the equal care and commitment these artists brought to both their fine art and their applied design work.",{"zh":6175,"en":6176,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":6179,"en":6180,"ja":17,"ko":17},{"zh":6282,"en":6283,"ja":17,"ko":17},"中村不折\n矢崎千代二\n石川寅治\n石川欽一郎\n鹽月桃甫\n竹久夢二","中村不折\nYazaki Chiyoji\nIshikawa Toraji\nIshikawa Kinichiro\nShiotsuki Toho\n竹久夢二",[6285],{"id":6286,"url":6287,"w":6288,"h":123,"alt":6289,"sizes":6290},574,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-04-1.jpg",1449,"《翔風》第8號，鹽月桃甫設計封面，1929年",{"medium":6291,"large":6293,"1536x1536":6296},{"url":6292,"w":2100,"h":80},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-04-1-217x300.jpg",{"url":6294,"w":6295,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-04-1-742x1024.jpg",742,{"url":6297,"w":6298,"h":262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-04-1-1113x1536.jpg",1113,[213],{"id":5147,"slug":6301,"no":6302,"title":6303,"artists":6306,"venue":615,"location_note":6169,"lat":1434,"lng":1434,"year":17,"medium":6307,"dimensions":17,"is_new":605,"description":6308,"notes":6311,"credit":6312,"series":6313,"names":6314,"incomplete":605,"images":6317,"image_credit":17,"themes":6318},"realized-through-culture","02-VC-05",{"zh":6304,"en":6305,"ja":17,"ko":17},"成於文化","Realized through Culture",[],{"zh":17,"en":17,"ja":17,"ko":17},{"zh":6309,"en":6310,"ja":17,"ko":17},"當美術與設計在歷史演變中，透過「立於土地」、「本於人民」、「用於功能」、「美於形式」等各種面向交會之後，便成為一種融入社會群體的共同文化，讓作品呈現屬於臺灣特有的文化價值。「成於文化」單元聚焦於設計如何應用於文學、藝術、音樂、電影、舞蹈、戲劇、建築等文化產物及活動，透過藝術形式與設計手法加以形塑推廣，達成目的性的設計行為。其中臺灣美術設計發展歷程最能彰顯文化價值者，首推書刊出版物的裝幀設計，如《民俗臺灣》，或是西川滿（Nishikawa Mitsuru，1908-1999）與立石鐵臣（Tateishi Tetsuomi，1905-1980）、宮田彌太郎（Miyata Yataro，1906-1968），共同合作出版許多如同藝術品般的限量版書刊，至今皆為彌足珍貴的臺灣文化資產。\n\n本單元展出藤田嗣治（Foujita Tsuguharu，1886-1968）、川島理一郎（Kawashima Riichiro ，1886-1971）等短期來臺所繪製的臺灣景物，西川滿與立石鐵臣、宮田彌太郎合作以臺灣風俗為主題所發行的限量本書刊，形成讓藝術與設計完美結合的文化資產；陳澄波（Chen Cheng-po，1895-1947）在嘉義農校《瑞穗》雜誌封面，以及台陽展第二回海報，皆運用了有趣的青蛙圖像； 廖未林（Liao Wei-lin，1922-2011）、楊英風（Yuyu Yang，1926-1997）、高山嵐（Gau Shan-lan，1934-）等人建構臺灣書刊雜誌的文化脈絡；1960年代龍思良（Lung Sih-Liang，1937-2012）所設計的《文星》與《現代文學》、黃華成（Huang Hua-Cheng，1935-1996）所設計的《劇場》雜誌封面掀起臺灣現代設計新風貌，1964年臺灣省教育廳《中華兒童叢書》則有顏水龍、李再鈐（Lee Tsai-chien，1928-）、馮鍾睿（Fong Chung-ray，1933-2024）、曾謀賢（Tzeng Mou-shian，1936-）、黃昌惠（Huang Chang-huei，1938-2002）、趙國宗（Zhao Guo-zong，1940-）、蘇新田（Su Hsin-tien，1940-）、曹俊彥（Tsao Chun-yen，1941-）等藝術家參與繪製童書繪本，成為奠定臺灣文化發展的重要基石。","As fine art and design evolved through history, converging across the dimensions of \"Rooted in the Land,\" \"Grounded in the People,\" \"Purposed in Function,\" and \"Refined in Form,\" they became a shared culture woven into the fabric of society, giving works a cultural value distinctly Taiwanese. This unit, \"Realized through Culture,\" focuses on how design was applied to cultural products and activities encompassing literature, art, music, film, dance, theatre, and architecture. Through artistic form and design practice, these were shaped and promoted, in service of purposeful, intentional design. Among all the ways in which the development of Taiwanese artistic design has expressed cultural value, none is more telling than the book design of published works: Minzoku Taiwan (Folklore Taiwan), for instance, or the many limited-edition publications produced through the collaboration of Nishikawa Mitsuru (1908–1999), Tateishi Tetsuomi (1905–1980), and Miyata Yataro (1906–1968) — works of such artistry that they remain, to this day, treasured cultural assets of Taiwan.\n\nOn display in this unit are depictions of Taiwanese scenery painted during brief visits by Foujita Tsuguharu (1886–1968) and Kawashima Riichiro (1886–1971), alongside the limited-edition publications on Taiwanese customs produced through the collaboration of Nishikawa Mitsuru, Tateishi Tetsuomi, and Miyata Yataro — works that represent a perfect union of art and design, and enduring cultural assets of Taiwan. Chen Cheng-po (1895–1947) employed a playful frog motif in his cover design for Ruisui, the magazine of the Chiayi Agricultural School, as well as in the poster for the second Tai-Yang Art Exhibition.\n\nLiao Wei-lin (1922–2011), Yuyu Yang (1926–1997), and Gau Shan-lan (1934–) shaped the cultural landscape of Taiwanese book and magazine publishing. In the 1960s, the cover designs by Lung Sih-Liang (1937–2012) for Wen Hsing and Modern Literature magazines, and by Huang Hua-Cheng (1935–1996) for Theater magazine, ushered in a new era of modern design in Taiwan. The 1964 Chinese Children's Book Series, published by the Taiwan Provincial Department of Education, brought together artists including Yen Shui-long, Lee Tsai-chien (1928–), Fong Chung-ray (1933–2024), Tzeng Mou-shian (1936–), Huang Chang-huei (1938–2002), Zhao Guo-zong (1940–), Su Hsin-tien (1940–), and Tsao Chun-yen (1941–) to illustrate children's picture books, laying an important cornerstone in the cultural development of Taiwan.",{"zh":6175,"en":6176,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":6179,"en":6180,"ja":17,"ko":17},{"zh":6315,"en":6316,"ja":17,"ko":17},"立石鐵臣\n西川滿\n宮田彌太郎\n楊英風\n廖未林\n高山嵐\n簡錫圭\n龍思良\n顏水龍\n馮鍾睿\n黃昌惠\n趙國宗\n蘇新田\n簡錫欽","Tateishi Tetsuomi\nNishikawa Mitsuru\nMiyata Yataro\nYuyu Yang\nLiao Wei-lin\nGau Shan-lan\nChien Shi-kuei\nLung Sih-Liang\nYen Shui-long\nFong Chung-ray\nHuang Chang-huei\nZhao Guo-zong\nSu Hsin-tien\nChien Hsi-chin",[],[213],[6320,6337,6356,6370,6386,6399,6413,6425,6435,6451,6465,6474,6484,6493,6502,6518,6530,6546,6558,6570,6583,6600,6612,6623,6639,6654,6665,6681,6692,6705,6721,6731,6741,6757,6770,6785,6798,6808,6817,6828,6842,6854,6865,6875,6888,6899,6915,6924,6939,6950,6963,6980,6991,7001,7018,7036,7048,7061,7071,7082,7092,7101,7115,7125,7135,7144,7157,7167,7177,7189,7202,7212,7224,7236,7248,7263,7275,7287,7301,7318,7329,7344,7355,7372,7383,7394,7404,7414,7427],{"id":6321,"slug":6322,"title":6323,"date":6326,"date_end":17,"time":6327,"venue":790,"location":6328,"description":6331,"registration_required":604,"registration_url":17,"fee":17,"fee_note":6334,"image":1434,"strands":6335,"themes":6336},440,"e-tapani-walk",{"zh":6324,"en":6325,"ja":17,"ko":17},"噍吧哖事件重返歷史現場：走讀工作坊","Tapani Incident Walking Workshop","2026-10-24","13:00–17:00",{"zh":6329,"en":6330,"ja":17,"ko":17},"第三法庭及周邊歷史現場","Courtroom 3 and nearby historic sites",{"zh":6332,"en":6333,"ja":17,"ko":17},"邀請講者介紹噍吧哖事件涉及的法律議題，並帶領走讀臺南監獄、臺南刑務所、湯德章故居及西來庵舊址等歷史場域，結合寫生與書寫。成果有機會於司法博物館展區展出。","A speaker introduces the legal issues of the Tapani Incident, followed by a walk through historic sites with sketching and writing. Selected works may be shown at the Justice Museum venue.",{"zh":17,"en":17,"ja":17,"ko":17},[545],[],{"id":6338,"slug":6339,"title":6340,"date":6343,"date_end":6344,"time":6345,"venue":866,"location":6346,"description":6347,"registration_required":605,"registration_url":17,"fee":6350,"fee_note":6351,"image":1434,"strands":6354,"themes":6355},427,"e-unfinished",{"zh":6341,"en":6342,"ja":17,"ko":17},"日院放映：未完的簿冊","Unfinished – Dance at the Cinema","2026-10-30","2026-11-01","19:30 \u002F 14:30",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":6348,"en":6349,"ja":17,"ko":17},"以全美戲院為演出現場的跨域展演。編舞家羅文瑾與導演黎宇文透過舞蹈、影像、音樂、物件與空間的交錯，帶領觀眾走入奇幻的放映現場。票價 NT$800，憑雙年展票券現場購票享 8 折。\n場次：10\u002F30、10\u002F31 19:30；10\u002F31、11\u002F01 14:30。","An interdisciplinary performance staged at the historic Chuan Mei Theater. Choreographer Lo Wen-jin and director Lai Yu-wen weave dance, moving image, music, objects and space into a fantastical cinematic experience. Tickets NT$800; 20% off on site with a Biennale ticket.\nShows: 30 & 31 Oct 19:30; 31 Oct & 1 Nov 14:30.","paid",{"zh":6352,"en":6353,"ja":17,"ko":17},"NT$800，憑雙年展票券現場購票享 8 折","NT$800; 20% off on site with a Biennale ticket",[552],[],{"id":6357,"slug":6358,"title":6359,"date":6343,"date_end":17,"time":6362,"venue":969,"location":6363,"description":6364,"registration_required":605,"registration_url":17,"fee":17,"fee_note":6367,"image":1434,"strands":6368,"themes":6369},423,"e-opening-fudu",{"zh":6360,"en":6361,"ja":17,"ko":17},"聯合開幕式：白鷺灣展區開幕暨〈TSURU 水的覺醒〉","Grand Opening: Bailuwan Exhibition Area & TSURU—Awakening of Water","16:00–18:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":6365,"en":6366,"ja":17,"ko":17},"白鷺灣展區開幕式，並由旅法藝術家簡琿瑛演出〈TSURU 水的覺醒〉。","Bailuwan Exhibition Area opening ceremony, with a performance by France-based artist Bonnie Tchien Hwen-ying: TSURU—Awakening of Water.",{"zh":17,"en":17,"ja":17,"ko":17},[552],[],{"id":6371,"slug":6372,"title":6373,"date":14,"date_end":17,"time":6376,"venue":638,"location":6377,"description":6380,"registration_required":605,"registration_url":17,"fee":17,"fee_note":6383,"image":1434,"strands":6384,"themes":6385},425,"e-tour",{"zh":6374,"en":6375,"ja":17,"ko":17},"巡禮繞境儀式：策展人與藝術家圓環巡禮","Opening Procession: Curators and Artists Tour the Roundabout","14:00–17:00",{"zh":6378,"en":6379,"ja":17,"ko":17},"自湯德章紀念公園出發，繞境至各合作展區","From Tang Te-Chang Memorial Park to partner venues",{"zh":6381,"en":6382,"ja":17,"ko":17},"臺南藝術雙年展策展人團體與藝術家圓環巡禮，繞境至各合作展區並邀請開幕。最新資訊請見本站活動公告。","Curators and artists of the Biennale tour the roundabout and process to partner venues to invite them to open. Check this site for updates.",{"zh":17,"en":17,"ja":17,"ko":17},[552],[],{"id":6387,"slug":6388,"title":6389,"date":14,"date_end":6391,"time":17,"venue":1434,"location":6392,"description":6394,"registration_required":605,"registration_url":17,"fee":6395,"fee_note":6396,"image":1434,"strands":6397,"themes":6398},606,"web-post-market",{"zh":6390,"en":17,"ja":17,"ko":17},"後市場：流變啟示錄","2026-12-31",{"zh":6393,"en":17,"ja":17,"ko":17},"Thau Ke 頭家（臺南市中西區淺草里海安路二段 30 巷 10 號）",{"zh":17,"en":17,"ja":17,"ko":17},"free",{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":263,"slug":6400,"title":6401,"date":14,"date_end":17,"time":17,"venue":583,"location":6404,"description":6407,"registration_required":605,"registration_url":17,"fee":17,"fee_note":6410,"image":1434,"strands":6411,"themes":6412},"e-popup",{"zh":6402,"en":6403,"ja":17,"ko":17},"快閃演出：杉原信幸 × 中村綾花 × 黃雅農","Pop-up Performance: Nobuyuki Sugihara × Ayaka Nakamura × Huang Ya-nung",{"zh":6405,"en":6406,"ja":17,"ko":17},"中央廊道及 G 展間","Central Corridor and Gallery G",{"zh":6408,"en":6409,"ja":17,"ko":17},"研究西拉雅文化時，我們得知蚵殼在地方傳說中象徵祖先與族群起源，不只是海岸常見的自然材料，更承載著文化記憶。我們將一片片蚵殼串連，如同編織家譜，創作出樹與船的意象，象徵生命、生長與遷徙。實際表演時間及場地依雙年展官方網站公告為主。\n演出時間為當日下午，依官網公告為主。","Through research into Siraya culture, we learned that oyster shells symbolize ancestral origins in local traditions. Connecting the shells one by one like weaving a family tree, we create the imagery of a tree and a boat to evoke life, growth and migration. 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新芽\n\n集合：南沙宮開基包公廟　終點：北廠金勝宮",{"zh":6795,"en":17,"ja":17,"ko":17},[],[],{"id":7384,"slug":7385,"title":7386,"date":7388,"date_end":17,"time":6376,"venue":969,"location":7389,"description":7390,"registration_required":605,"registration_url":17,"fee":6395,"fee_note":7391,"image":1434,"strands":7392,"themes":7393},633,"web-fudu-talk-0220",{"zh":7387,"en":17,"ja":17,"ko":17},"建築創作講座 - 翁廷楷 + 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