[{"data":1,"prerenderedAt":10159},["ShallowReactive",2],{"content":3},{"settings":4,"home":18,"tickets":99,"themes":241,"strands":600,"news_cats":740,"venues":765,"artists":1709,"works":2673,"events":7509,"news":9163,"shops":9164,"publications":10044,"audio":10045,"media":10046,"press":10047,"partners":10048,"archives":10153,"legal":10154,"generated":10158},{"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":29,"concept_text":34,"pillars":39,"quote":49,"quote_source":54,"long":59,"promo_550":64,"promo_250":69,"map_image":74,"map_caption":89,"about":94},{"curators":20,"artists":21,"countries":22,"venues":23},"7","81","12","32",{"zh":25,"en":26,"ja":27,"ko":28},"首屆雙年展以「迴圈．超展開」為題，由館內外七位策展人林磐聳、謝宗哲、高俊宏、楊佳璇、柯春如、莊東橋、柯宜芸，提出的七個子題：「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」，串聯 16 處核心展區及 16 處衛星展區，並結合密集的特別計畫、國際論壇、大大小小的走讀、現地展演、工作坊等公眾活動，讓觀眾在參與、交流與散步過程，感受臺南人文層層交織的生命力，體會藝術如何成為理解一座城市的重要方式。","Titled “Unfolding Circuits,” the inaugural Biennale brings together seven curators from within and beyond the museum—Lin Pan-soong, Sotetsu Sha, Kao Jun-honn, Yang Chia-hsuan, Ko Chun-ju, Chuang Tong-chiao, and Ko Yi-yun—who have developed seven thematic strands: “Vanished Circuit,” “Environment Circuit,” “Historical Circuit,” “Gathering Circuit,” “Regenerative Circuit,” “Landscape Circuit,” and “Mobility Circuit.” Together, these strands link 16 core exhibition sites and 16 satellite venues, complemented by a vibrant lineup of special projects, international forums, guided walks, site-specific performances, workshops, and public programs. Through active participation and shared exploration, visitors can experience the vitality woven into Tainan’s cultural fabric and discover how art offers a transformative lens for understanding a city.","初開催となる本ビエンナーレは「ループ・超展開」をテーマに、館内外の7人のキュレーター、林磐聳（リン・パンソン）、謝宗哲（シェー・ジョンジェー）、高俊宏（ガオ・ジュンホン）、楊佳璇（ヤン・ジャーシェン）、柯春如（カー・チュンジュウ）、莊東橋（ジュアン・ドンチャウ）、柯宜芸（カー・イーユン）が提示する7つのサブテーマ「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」を通じて、16か所のコア会場と16か所のサテライト会場を結ぶ。さらに、充実した特別プロジェクト、国際フォーラム、大小さまざまなウォーキングツアー、現地での展示・パフォーマンス、ワークショップなどの公共プログラムを組み合わせ、観客が参加し、交流し、散策するなかで、台南の人文が幾重にも織りなす生命力を感じ、アートがいかにして一つの都市を理解するための重要な方法となるのかを体感できるようにする。","첫 비엔날레는 「순환·확장」을 주제로, 관 내외의 큐레이터 일곱 명, 린판쑹, 셰쭝저, 가오쥔훙, 양자쉬안, 커춘루, 좡둥차오, 커이윈이 제시한 일곱 개의 소주제 「사라진 순환」, 「환·경 순환」, 「역사 순환」, 「집결 순환」, 「재생 순환」, 「풍경 순환」, 「이동 순환」을 통해 16곳의 핵심 전시구역과 16곳의 위성 전시구역을 연결한다. 또한 촘촘하게 구성된 특별 프로젝트, 국제 포럼, 크고 작은 워킹 투어, 현장 전시·공연, 워크숍 등 공공 프로그램을 결합하여, 관객이 참여와 교류, 산책의 과정 속에서 타이난의 인문이 겹겹이 엮어 낸 생명력을 느끼고, 예술이 어떻게 한 도시를 이해하는 중요한 방식이 되는지를 체감하도록 한다.",{"zh":30,"en":31,"ja":32,"ko":33},"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":35,"en":36,"ja":37,"ko":38},"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?”",[40,43,46],{"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},{"title":47,"text":48},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":50,"en":51,"ja":52,"ko":53},"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":55,"en":56,"ja":57,"ko":58},"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":60,"en":61,"ja":62,"ko":63},"## 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":65,"en":66,"ja":67,"ko":68},"## 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.","## 円環のような戸惑いへ\n\n今日、「台南」とは何か、また何になりうるのかを語るとき、その物語を主に語るのは誰なのか。辺境として統治された時代、植民地時代、そして独裁体制の時代という台湾の歴史を振り返ると、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。台南の史跡や寺廟、そこに息づく信仰を目にするとき、私たちに物語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## そして、こうして必殺技を放つ\n\n「ループ・超展開」は、アニメの必殺技のセリフのように、「湯德章紀念公園」をキュレーションの着想の原点として、7つのサブテーマ「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」を展開する。それらはロータリーから放射状に伸びる7本の道のように各方面へと向かうが、その中心には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、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ればよいのか。」\n\n各サブテーマは、館内の空間と館外のコア展示エリアとの間で互いに交差し、絡み合い、決まった順序を持たない。観客がロータリーの大通りから台南特有の狭い路地や奥まった小道へと入り込み、ある曲がり角で再び大通りへと戻ってくるような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構築することを願う。","## 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":70,"en":71,"ja":72,"ko":73},"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":75,"url":76,"w":77,"h":78,"alt":79,"sizes":80},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":81,"large":85},{"url":82,"w":83,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhb-map1911-src-238x300.jpg",238,300,{"url":86,"w":87,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhb-map1911-src-813x1024.jpg",813,1024,{"zh":90,"en":91,"ja":92,"ko":93},"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」","“Tainan Urban Improvement Plan Map (1911),” Center for GIS, RCHSS, Academia Sinica (2020), Taiwan History Map Historical GIS Map Project.","台南市区改正計画図（1911）、中央研究院人社中心 GIS 専題中心（2020）、「台湾百年歴史地図」","타이난 시구 개정 계획도(1911), Center for GIS, RCHSS, Academia Sinica (2020), 「대만 백년 역사지도」",{"zh":95,"en":96,"ja":97,"ko":98},"臺南藝術雙年展，是臺灣第一個城市散步型雙年展，以臺南市美術館為樞紐，循著圓環、放射狀道路、蜘蛛網式巷弄等系統，向外延伸串聯公私立文化館舍、藝文空間、歷史及宗教建築等，將府城人的城市場域與生活經驗，轉化為可漫步、可嬉遊的走讀路徑，在層層疊加的時間紋理中，遇見城市裡無時差的文化樣貌與藝術創意。","The Tainan Art Biennale is Taiwan’s first city-walk biennale. Centered on the Tainan Art Museum, the exhibition extends along the urban grid, following the Tang Te-chang Memorial Park roundabout, radial roads, and hidden alleys, and connecting public venues, art spaces, and historic architecture. By transforming local spaces and lived experiences into a walkable path, the Biennale invites visitors to explore Tainan and discover its layered history and seamless artistic creativity.","臺南アートビエンナーレは、台湾初の都市散策型アートビエンナーレです。臺南市美術館をハブ（拠点）とし、ロータリー（環状交差点）や放射状に伸びる道路、クモの巣のように張り巡らされた路地といった都市システムに沿って展開し、公私立の文化施設、アートスペース、歴史的・宗教的建築物などをシームレスに繋ぎ合わせます。古都・府城（フーチェン）の人々の生活空間や日々の体験を、散策や遊覧を楽しみながら体感できる周遊ルートへと転換。幾重にも重なり合う時間のテクスチャー（紋理）の中で、都市に息づくリアルタイムな文化的表情とアートの創造性に出会うことができます。","타이난 아트 비엔날레는 대만 최초의 도시 산책형 아트 비엔날레입니다. 타이난시미술관을 중심 거점(허브)으로 삼아 로터리(회전교차로), 방사형 도로, 거미줄처럼 펼쳐진 골목길 등의 도시 시스템을 따라 외부로 확장하며 공사립 문화시설, 문화예술 공간, 역사적·종교적 건축물 등을 유기적으로 연결합니다. 푸청(府城) 주민들의 도시 공간과 삶의 경험을 여유롭게 거닐며 탐방할 수 있는 경로로 전환하여, 겹겹이 중첩된 시간의 결 속에서 도시의 시차 없는 문화적 모습과 예술적 창의성을 마주하게 합니다.",{"platform_url":100,"on_sale_date":101,"early_bird_end":17,"on_sale_note":102,"types":107},"https:\u002F\u002Fibontw.com\u002FTainanArtBiennale","2026-10-14",{"zh":103,"en":104,"ja":105,"ko":106},"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.","オンライン販売は2026\u002F10\u002F14から、現地販売は2026\u002F10\u002F31から、いずれも2027\u002F03\u002F01までです。","온라인 판매는 2026\u002F10\u002F14부터, 현장 판매는 2026\u002F10\u002F31부터 시작하며, 모두 2027\u002F03\u002F01까지입니다.",[108,122,135,155,169,183,197,213,225],{"name":109,"price":114,"includes":115},{"zh":110,"en":111,"ja":112,"ko":113},"一日票","One-Day Pass","1日券","1일권",200,{"zh":116,"en":118,"ja":120,"ko":121},[117],"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",[119],"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":123,"price":84,"includes":128},{"zh":124,"en":125,"ja":126,"ko":127},"雙日票","Two-Day Pass","2日券","2일권",{"zh":129,"en":131,"ja":133,"ko":134},[130],"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",[132],"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":136,"price":141,"includes":142},{"zh":137,"en":138,"ja":139,"ko":140},"藝術護照","Art Passport","アートパスポート","아트 패스포트",2000,{"zh":143,"en":148,"ja":153,"ko":154},[144,145,146,147],"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",[149,150,151,152],"One Art Passport","One Tainan Art Biennale glass coin","One Puji Lantern Festival lantern","One Xiangzai Niau NFC item",[],[],{"name":156,"price":161,"includes":162},{"zh":157,"en":158,"ja":159,"ko":160},"一日票套組","One-Day Pass Bundle","1日券セット","1일권 세트",400,{"zh":163,"en":165,"ja":167,"ko":168},[110,164],"語音導覽及手冊",[111,166],"Audio guide and handbook",[],[],{"name":170,"price":175,"includes":176},{"zh":171,"en":172,"ja":173,"ko":174},"雙日票組","Two-Day Pass + Glass Coin","2日券＋ガラスコイン","2일권 + 유리 코인",350,{"zh":177,"en":179,"ja":181,"ko":182},[124,178],"春池玻璃幣 1 枚",[125,180],"One Spring Pool glass coin",[],[],{"name":184,"price":189,"includes":190},{"zh":185,"en":186,"ja":187,"ko":188},"雙日票套組","Two-Day Pass Bundle","2日券セット","2일권 세트",550,{"zh":191,"en":193,"ja":195,"ko":196},[124,164,192],"玻璃幣",[125,166,194],"Glass coin",[],[],{"name":198,"price":203,"includes":204},{"zh":199,"en":200,"ja":201,"ko":202},"一日票全餐","One-Day Pass Complete Package","1日券フルパッケージ","1일권 풀 패키지",1899,{"zh":205,"en":208,"ja":211,"ko":212},[110,164,206,207],"展覽專書","預計 2027 年 1 月開始販售",[111,166,209,210],"Exhibition catalogue","On sale from January 2027",[],[],{"name":214,"price":219,"includes":220},{"zh":215,"en":216,"ja":217,"ko":218},"雙日票全餐","Two-Day Pass Complete Package","2日券フルパッケージ","2일권 풀 패키지",1935,{"zh":221,"en":222,"ja":223,"ko":224},[124,164,206,192,207],[125,166,209,194,210],[],[],{"name":226,"price":231,"includes":232},{"zh":227,"en":228,"ja":229,"ko":230},"企業團票","Corporate Group Tickets","企業団体券","기업 단체권",150,{"zh":233,"en":236,"ja":239,"ko":240},[234,235],"每張 150 元（75 折）","最少購入 20 張",[237,238],"NT$150 per ticket (25% off)","Minimum purchase of 20 tickets",[],[],[242,306,356,404,453,502,551],{"id":243,"slug":244,"no":245,"name":246,"subtitle":251,"description":256,"curator":261,"co_curators":279,"credits":280,"color":285,"image":286},2,"vanished",1,{"zh":247,"en":248,"ja":249,"ko":250},"被消逝的迴圈","Vanished Circuit","消去された回路","사라진 순환",{"zh":252,"en":253,"ja":254,"ko":255},"被消逝的臺灣美術設計","The Vanished Art and Design of Taiwan","消去された台湾の美術デザイン","사라진 대만 미술 디자인",{"zh":257,"en":258,"ja":259,"ko":260},"回顧1895至1960年代近代臺灣美術發展，前輩藝術家們以「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":262,"bio":267,"image":272},{"zh":263,"en":264,"ja":265,"ko":266},"林磐聳","Apex Lin, Pang-soong","林磐聳（リン・パンソン）","린판쑹",{"zh":268,"en":269,"ja":270,"ko":271},"2007年第11屆國家文藝獎得主，2026年中華民國無任所大使，亞洲大學數位媒體設計學系講座教授、國立臺灣師範大學設計學系名譽教授。長年從事設計實踐、設計史研究與設計教育。","Recipient of the 2007 National Award for Arts (11th edition) and appointed Ambassador-at-Large of the Republic of China (Taiwan) in 2026, Pang-Soong Lin is Chair Professor in the Department of Digital Media Design at Asia University and Emeritus Professor in the Department of Design at National Taiwan Normal University. He has long been engaged in design practice, design history research, and design education.","2007年第11回国家文芸賞受賞者。2026年中華民国無任所大使。亜洲大学デジタルメディアデザイン学科講座教授、国立台湾師範大学デザイン学科名誉教授。長年にわたり、デザインの実践、デザイン史研究、デザイン教育に携わっている。","2007년 제11회 국가문예상 수상자이며, 2026년 중화민국 무임소대사다. Asia University 디지털미디어디자인학과 석좌교수, National Taiwan Normal University 디자인학과 명예교수로, 오랫동안 디자인 실천, 디자인사 연구, 디자인 교육에 힘써 왔다.",{"id":273,"url":274,"w":275,"h":275,"alt":263,"sizes":276},566,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc1-lin-2026.jpg",640,{"medium":277},{"url":278,"w":84,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc1-lin-2026-300x300.jpg","姚村雄・李新富",{"zh":281,"en":282,"ja":283,"ko":284},"策展顧問｜廖仁義\n執行單位｜亞洲大學數位媒體設計學系","Advisor | Liao Jen-i\nOrganizer | Department of Digital Media Design, Asia University","キュラトリアル・アドバイザー｜廖仁義\n運営｜亜洲大学デジタルメディアデザイン学科","큐레토리얼 자문｜Liao Jen-i\n운영｜Asia University 디지털미디어디자인학과","#7B6BF0",{"id":287,"url":288,"w":289,"h":290,"alt":17,"sizes":291},69,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-01-vanished.jpg",2560,710,{"medium":292,"large":295,"1536x1536":298,"2048x2048":302},{"url":293,"w":84,"h":294},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-01-vanished-300x83.jpg",83,{"url":296,"w":88,"h":297},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-01-vanished-1024x284.jpg",284,{"url":299,"w":300,"h":301},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-01-vanished-1536x426.jpg",1536,426,{"url":303,"w":304,"h":305},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-01-vanished-2048x568.jpg",2048,568,{"id":307,"slug":308,"no":243,"name":309,"subtitle":314,"description":319,"curator":324,"co_curators":17,"credits":342,"color":343,"image":344},3,"environment",{"zh":310,"en":311,"ja":312,"ko":313},"環．境迴圈","Environment Circuit","環・境の回路","환·경 순환",{"zh":315,"en":316,"ja":317,"ko":318},"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":320,"en":321,"ja":322,"ko":323},"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":325,"bio":330,"image":335},{"zh":326,"en":327,"ja":328,"ko":329},"謝宗哲","Sotetsu Sha","謝宗哲（シェー・ジョンジェー）","셰쭝저",{"zh":331,"en":332,"ja":333,"ko":334},"日本東京大學建築學博士，以建築文化轉譯及詮釋為志業，翻譯大量日本建築相關著作。2025年擔任「臺南國際建築三年展」策展人。","Holds a Ph.D. in Architecture from the University of Tokyo. Dedicated to translating and interpreting architectural culture, he has published numerous Japanese-to-Chinese translations and served as the curator for the Tainan International Architecture Triennial 2025: Re-turning “Home.”","東京大学で建築学の博士号を取得。建築文化の翻訳と解釈をライフワークとし、日本の建築関連の著作を数多く翻訳している。2025年には「台南国際建築トリエンナーレ」のキュレーターを務めた。","일본 도쿄대학에서 건축학 박사 학위를 받았다. 건축 문화의 번역과 해석을 평생의 과업으로 삼아 일본 건축 관련 저서를 다수 번역했다. 2025년 「타이난 국제 건축 트리엔날레」의 큐레이터를 맡았다.",{"id":336,"url":337,"w":338,"h":338,"alt":17,"sizes":339},599,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc2-sha-2026.jpg",600,{"medium":340},{"url":341,"w":84,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc2-sha-2026-300x300.jpg",{"zh":17,"en":17,"ja":17,"ko":17},"#2EBE6B",{"id":345,"url":346,"w":289,"h":290,"alt":17,"sizes":347},71,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-02-environment.jpg",{"medium":348,"large":350,"1536x1536":352,"2048x2048":354},{"url":349,"w":84,"h":294},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-02-environment-300x83.jpg",{"url":351,"w":88,"h":297},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-02-environment-1024x284.jpg",{"url":353,"w":300,"h":301},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-02-environment-1536x426.jpg",{"url":355,"w":304,"h":305},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-02-environment-2048x568.jpg",{"id":357,"slug":358,"no":307,"name":359,"subtitle":364,"description":369,"curator":374,"co_curators":17,"credits":390,"color":391,"image":392},4,"historical",{"zh":360,"en":361,"ja":362,"ko":363},"歷史迴圈","Historical Circuit","歴史の回路","역사 순환",{"zh":365,"en":366,"ja":367,"ko":368},"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":370,"en":371,"ja":372,"ko":373},"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":375,"bio":380,"image":385},{"zh":376,"en":377,"ja":378,"ko":379},"高俊宏","Kao Jun-honn","高俊宏（ガオ・ジュンホン）","가오쥔훙",{"zh":381,"en":382,"ja":383,"ko":384},"現任國立高雄師範大學跨領域藝術研究所副教授兼所長，亦為藝術家與策展人。長期關注歷史、空間、生命政治、東亞及原民等議題。舉辦多次國內外個展、聯展及參與雙年展。","Artist, curator, and Director of the Graduate Institute of Interdisciplinary Art at NKNU. His research and practice focus on history, space, biopolitics, East Asia, and Indigenous culture. He has exhibited in international solo shows, group exhibitions, and biennales.","現在、国立高雄師範大学跨領域芸術研究所准教授兼所長。アーティスト、キュレーターとしても活動する。歴史、空間、生命政治、東アジア、先住民などの問題に長年関心を寄せている。国内外で個展やグループ展を多数開催し、ビエンナーレにも参加している。","현재 National Kaohsiung Normal University 학제간 예술대학원 부교수 겸 원장이며, 예술가이자 큐레이터다. 오랫동안 역사, 공간, 생명정치, 동아시아, 원주민 등의 문제에 주목해 왔다. 국내외에서 여러 차례 개인전과 단체전을 열었으며 비엔날레에도 참여했다.",{"id":338,"url":386,"w":338,"h":338,"alt":17,"sizes":387},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc3-kao-2026.jpg",{"medium":388},{"url":389,"w":84,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc3-kao-2026-300x300.jpg",{"zh":17,"en":17,"ja":17,"ko":17},"#D920A8",{"id":393,"url":394,"w":289,"h":290,"alt":17,"sizes":395},73,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-03-historical.jpg",{"medium":396,"large":398,"1536x1536":400,"2048x2048":402},{"url":397,"w":84,"h":294},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-03-historical-300x83.jpg",{"url":399,"w":88,"h":297},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-03-historical-1024x284.jpg",{"url":401,"w":300,"h":301},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-03-historical-1536x426.jpg",{"url":403,"w":304,"h":305},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-03-historical-2048x568.jpg",{"id":405,"slug":406,"no":357,"name":407,"subtitle":412,"description":417,"curator":422,"co_curators":17,"credits":439,"color":440,"image":441},5,"collective",{"zh":408,"en":409,"ja":410,"ko":411},"集結迴圈","Collective Circuit","集結の回路","집결 순환",{"zh":413,"en":414,"ja":415,"ko":416},"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":418,"en":419,"ja":420,"ko":421},"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":423,"bio":428,"image":433},{"zh":424,"en":425,"ja":426,"ko":427},"楊佳璇","Yang Chia-hsuan","楊佳璇（ヤン・ジャーシェン）","양자쉬안",{"zh":429,"en":430,"ja":431,"ko":432},"獨立策展人，目前專注於藝術書寫研究與策展，長期關注藝術空間與團體發展歷史、藝術與場域的對話關係。曾經營臺南獨立藝術空間「齁空間」，並擔任多項展覽策展人。","As an independent curator, Yang's work focuses on art writing and curating, and she has investigated the history of art collectives and site-responsive art. She previously ran Tainan’s independent “Howl Space” and has curated multiple exhibitions.","インディペンデント・キュレーター。現在はアート・ライティングの研究とキュレーションに取り組み、アートスペースやアーティスト・グループの発展史、芸術と場との対話関係に長く関心を寄せている。台南のインディペンデント・アートスペース「齁空間」を運営し、数多くの展覧会でキュレーターを務めてきた。","독립 큐레이터로, 현재 예술 글쓰기 연구와 큐레이팅에 집중하고 있으며, 예술 공간과 단체의 발전사, 예술과 장소의 대화적 관계에 오랫동안 주목해 왔다. 타이난의 독립 예술 공간 ‘Howl Space’를 운영했으며, 여러 전시의 큐레이터를 맡았다.",{"id":434,"url":435,"w":338,"h":338,"alt":17,"sizes":436},601,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc4-yang-2026.jpg",{"medium":437},{"url":438,"w":84,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc4-yang-2026-300x300.jpg",{"zh":17,"en":17,"ja":17,"ko":17},"#EE8A1F",{"id":442,"url":443,"w":289,"h":290,"alt":17,"sizes":444},75,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-04-collective.jpg",{"medium":445,"large":447,"1536x1536":449,"2048x2048":451},{"url":446,"w":84,"h":294},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-04-collective-300x83.jpg",{"url":448,"w":88,"h":297},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-04-collective-1024x284.jpg",{"url":450,"w":300,"h":301},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-04-collective-1536x426.jpg",{"url":452,"w":304,"h":305},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-04-collective-2048x568.jpg",{"id":454,"slug":455,"no":405,"name":456,"subtitle":461,"description":466,"curator":471,"co_curators":17,"credits":488,"color":489,"image":490},6,"regenerative",{"zh":457,"en":458,"ja":459,"ko":460},"再生迴圈","Regenerative Circuit","再生の回路","재생 순환",{"zh":462,"en":463,"ja":464,"ko":465},"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":467,"en":468,"ja":469,"ko":470},"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.","ロータリーと美術館の前世と今生。その姿は絶えず生まれ変わり、新たな意味を再生していく。建築空間であれ都市システムであれ、いずれも物質の循環に近い状態に入っているかのようである。物質のライフサイクルが、明確な始まりと終わりをもつものとしてではなく、製造、使用、回収、再製造、再使用という持続的な循環のプロセスとして理解されるとき、それは生命の輪廻とある種の隠喩的なつながりを結ぶかのようである。人間の意志が物質循環のプロセスに介入するとき、そこに結びつく個人の生の経験、エスニック・グループの歴史的記憶、さらには環境の変化によって、一見単一に見えた循環は、次第に古くもあり新しくもある状態を形づくっていく。","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":472,"bio":477,"image":482},{"zh":473,"en":474,"ja":475,"ko":476},"柯春如","Ko Chun-ju","柯春如（カー・チュンジュウ）","커춘루",{"zh":478,"en":479,"ja":480,"ko":481},"臺南市美術館展覽企劃部專員，曾參與策劃執行「時間眾像：給每個人的歲月景觀」及「愛洛蒙－人與動物的後心靈樂園」等展覽，2025 年擔任「皮膚と內臟：自己、世界、時間」製作執行。近期關注當代藝術與工藝及族群之間的流動關係。","Curator in the Exhibition Department at the Tainan Art Museum. Ko has jointly curated major exhibitions, including Aging: A Life Montage, Anromones: The Postparadise between Human and Animals, and served as project manager for Skin and Viscera: Self, World, and Time. Her work focuses on diverse community issues, contemporary art, and crafts.","台南市美術館展覧企画部専門員。「時間の群像：すべての人のための歳月の風景」、「アンロモン－人と動物のポスト・スピリチュアルな楽園」などの展覧会の企画・実施に携わり、2025年には「皮膚と内臓：自己、世界、時間」の制作進行を担当した。近年は、現代美術と工芸、そしてエスニック・グループのあいだの流動的な関係に関心を寄せている。","타이난 미술관 전시기획부 전문원으로, 「시간의 군상: 모두를 위한 세월의 풍경」, 「안로몬－인간과 동물의 포스트 영성 낙원」 등의 전시 기획과 실행에 참여했으며, 2025년 「피부와 내장: 자기, 세계, 시간」의 제작 실행을 맡았다. 최근에는 동시대 미술과 공예, 그리고 종족 집단 사이의 유동적 관계에 주목하고 있다.",{"id":483,"url":484,"w":338,"h":338,"alt":17,"sizes":485},602,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc5-ko-2026.jpg",{"medium":486},{"url":487,"w":84,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc5-ko-2026-300x300.jpg",{"zh":17,"en":17,"ja":17,"ko":17},"#12B5C9",{"id":491,"url":492,"w":289,"h":290,"alt":17,"sizes":493},77,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-05-regenerative.jpg",{"medium":494,"large":496,"1536x1536":498,"2048x2048":500},{"url":495,"w":84,"h":294},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-05-regenerative-300x83.jpg",{"url":497,"w":88,"h":297},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-05-regenerative-1024x284.jpg",{"url":499,"w":300,"h":301},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-05-regenerative-1536x426.jpg",{"url":501,"w":304,"h":305},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-05-regenerative-2048x568.jpg",{"id":503,"slug":504,"no":454,"name":505,"subtitle":510,"description":515,"curator":520,"co_curators":17,"credits":537,"color":538,"image":539},7,"landscape",{"zh":506,"en":507,"ja":508,"ko":509},"風景迴圈","Landscape Circuit","風景の回路","풍경 순환",{"zh":511,"en":512,"ja":513,"ko":514},"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":516,"en":517,"ja":518,"ko":519},"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":521,"bio":526,"image":531},{"zh":522,"en":523,"ja":524,"ko":525},"莊東橋","Chuang Tong-chiao","莊東橋（ジュアン・ドンチャウ）","좡둥차오",{"zh":527,"en":528,"ja":529,"ko":530},"臺南市美術館展覽企劃部專員，曾擔任多項展覽策展人，主要關注議題包括「信仰藝術與民間工藝的當代轉譯」與「風景中的身體感知」等。","Curator in the Exhibition Department at the Tainan Art Museum. Having curated numerous exhibitions, his work primarily focuses on the contemporary translation of religious art and folk crafts, as well as bodily perception within landscapes.","台南市美術館展覧企画部専門員。数多くの展覧会でキュレーターを務め、主に「信仰芸術と民間工芸の現代的翻訳」や「風景のなかの身体的知覚」などのテーマに関心を寄せている。","타이난 미술관 전시기획부 전문원으로, 여러 전시의 큐레이터를 맡았다. 주요 관심 주제는 ‘신앙 예술과 민간 공예의 동시대적 번역’, ‘풍경 속 신체 감각’ 등이다.",{"id":532,"url":533,"w":338,"h":338,"alt":17,"sizes":534},603,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc6-chuang-2026.jpg",{"medium":535},{"url":536,"w":84,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc6-chuang-2026-300x300.jpg",{"zh":17,"en":17,"ja":17,"ko":17},"#E8342A",{"id":540,"url":541,"w":289,"h":290,"alt":17,"sizes":542},79,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-06-landscape.jpg",{"medium":543,"large":545,"1536x1536":547,"2048x2048":549},{"url":544,"w":84,"h":294},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-06-landscape-300x83.jpg",{"url":546,"w":88,"h":297},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-06-landscape-1024x284.jpg",{"url":548,"w":300,"h":301},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-06-landscape-1536x426.jpg",{"url":550,"w":304,"h":305},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-06-landscape-2048x568.jpg",{"id":552,"slug":553,"no":503,"name":554,"subtitle":559,"description":564,"curator":569,"co_curators":17,"credits":586,"color":587,"image":588},8,"mobility",{"zh":555,"en":556,"ja":557,"ko":558},"移動迴圈","Mobility Circuit","移動の回路","이동 순환",{"zh":560,"en":561,"ja":562,"ko":563},"城市中的漣漪","Ripples in the City","都市に広がる波紋","도시 속의 물결",{"zh":565,"en":566,"ja":567,"ko":568},"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?","ロータリーが都市を動かす要であるならば、都市全体は一台の巨大なエンジンのようなものであり、「移動」こそがそれを駆動する重要な原動力のひとつである。行き来し、とどまり、ふたたび出発する過程のなかで、それぞれの経路がゆっくりと描かれていく。繰り返し通られてきた道は、もともと分散していた空間を少しずつつなぎ合わせ、都市のリズムを形づくる。それはまるで、幾重にも外へと広がっていく波紋のようである。本サブテーマは「移動」の多面性を出発点とし、変動と不確実性に満ちた現代において、私たちはいったい何を残したいのかを、来場者にさらに考えるよう促す。","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":570,"bio":575,"image":580},{"zh":571,"en":572,"ja":573,"ko":574},"柯宜芸","Ko Yi-yun","柯宜芸（カー・イーユン）","커이윈",{"zh":576,"en":577,"ja":578,"ko":579},"現任臺南市美術館展覽企劃部專員，研究興趣為當代藝術、當代社會等議題；曾參與策劃執行「SUNDAY：臺灣當代移工藝術」（2024）及「嶾嶙的岳光：在敬與畏的稜線間」（2023）等展覽，近期關注當代跨國移動中的藝術創造與跨文化情境。","Curator in the Exhibition Department at Tainan Art Museum. Her research interests encompass contemporary art and societal issues. She has co-curated and executed key exhibitions, including SUNDAY: Contemporary Art on Migrant Workers in Taiwan (2024) and Glory of Mighty Mountains: Ridges between Awe and Respect (2023). Her recent work focuses on artistic creation within global migration and cross-cultural contexts.","現在、台南市美術館展覧企画部専門員。現代美術や現代社会などのテーマを研究している。「SUNDAY：台湾現代移住労働者アート」（2024）、「嶾嶙たる岳光：敬と畏の稜線のあいだで」（2023）などの展覧会の企画・実施に携わった。近年は、現代の国境を越えた移動における芸術の創造と異文化間の状況に関心を寄せている。","현재 타이난 미술관 전시기획부 전문원이며, 동시대 미술과 동시대 사회 등의 주제를 연구한다. 「SUNDAY: 대만 동시대 이주노동자 예술」(2024), 「우뚝 솟은 산의 빛: 공경과 두려움의 능선 사이에서」(2023) 등의 전시 기획과 실행에 참여했으며, 최근에는 동시대 초국적 이동 속 예술 창작과 상호문화적 상황에 주목하고 있다.",{"id":581,"url":582,"w":338,"h":338,"alt":17,"sizes":583},604,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc7-koyi-2026.jpg",{"medium":584},{"url":585,"w":84,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fc7-koyi-2026-300x300.jpg",{"zh":17,"en":17,"ja":17,"ko":17},"#C9A400",{"id":589,"url":590,"w":289,"h":290,"alt":17,"sizes":591},81,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-07-mobility.jpg",{"medium":592,"large":594,"1536x1536":596,"2048x2048":598},{"url":593,"w":84,"h":294},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-07-mobility-300x83.jpg",{"url":595,"w":88,"h":297},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-07-mobility-1024x284.jpg",{"url":597,"w":300,"h":301},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-07-mobility-1536x426.jpg",{"url":599,"w":304,"h":305},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fband-07-mobility-2048x568.jpg",[601,611,624,633,646,655,664,673,682,695,704,713,722,731],{"id":602,"slug":603,"parent":604,"name":605,"description":610},17,"satellite",0,{"zh":606,"en":607,"ja":608,"ko":609},"衛星展區特別計畫","Satellite Venue Special Projects","サテライト会場特別プロジェクト","위성 전시구역 특별 프로젝트",{"zh":17,"en":17,"ja":17,"ko":17},{"id":612,"slug":613,"parent":604,"name":614,"description":619},10,"education",{"zh":615,"en":616,"ja":617,"ko":618},"教育與推廣活動","Educational Programs & Events","教育普及プログラム","교육·보급 프로그램",{"zh":620,"en":621,"ja":622,"ko":623},"國際論壇、城市藝術人文走讀、社群工作坊、公眾徵集計畫","International Forum, City and Art Walking Tours, Community Workshops, Public Open Call Projects","国際フォーラム、まちとアートのウォーキングツアー、コミュニティ・ワークショップ、公募プロジェクト","국제 포럼, 도시 예술 워킹 투어, 커뮤니티 워크숍, 시민 공모 프로젝트",{"id":625,"slug":626,"parent":612,"name":627,"description":632},19,"forum",{"zh":628,"en":629,"ja":630,"ko":631},"國際論壇","International Forum","国際フォーラム","국제 포럼",{"zh":17,"en":17,"ja":17,"ko":17},{"id":634,"slug":635,"parent":612,"name":636,"description":641},12,"walk",{"zh":637,"en":638,"ja":639,"ko":640},"城市藝術走讀導覽","City and Art Walking Tours","まちとアートのウォーキングツアー","도시 예술 워킹 투어",{"zh":642,"en":643,"ja":644,"ko":645},"展覽期間推出 7 條主題路線，以美術串連廟宇、古蹟、街道、公園、市場等豐富生活題材，每一條路線經過精心規劃、探勘，帶您從藝術角度認識府城文化與歷史，用雙腳探索臺南藝術雙年展的精與妙。","During the Biennale, seven themed walking routes connect temples, historic sites, streets, parks, markets, and other facets of everyday life through art. Carefully planned and explored in advance, each route offers a unique perspective on the history and culture of Fucheng. Explore the Tainan Art Biennale on foot and discover its richness and wonder.","会期中、7つのテーマ別ルートをご用意しています。アートを通じて寺廟、史跡、街路、公園、市場など、暮らしにまつわる豊かな題材を結びます。いずれのルートも入念な計画と下見を重ねたもので、アートの視点から府城の文化と歴史をご案内します。自らの足で、台南アートビエンナーレの奥深さと魅力を探ってみてください。","전시 기간 동안 7개의 테마 코스를 운영합니다. 예술을 매개로 사원, 고적, 거리, 공원, 시장 등 풍부한 생활 소재를 연결하며, 모든 코스는 세심한 기획과 사전 답사를 거쳐 마련되었습니다. 예술의 관점에서 푸청의 문화와 역사를 안내해 드립니다. 두 발로 타이난 예술 비엔날레의 정수와 묘미를 직접 탐험해 보십시오.",{"id":647,"slug":648,"parent":612,"name":649,"description":654},20,"workshop",{"zh":650,"en":651,"ja":652,"ko":653},"社群工作坊","Community Workshops","コミュニティ・ワークショップ","커뮤니티 워크숍",{"zh":17,"en":17,"ja":17,"ko":17},{"id":656,"slug":657,"parent":612,"name":658,"description":663},21,"open-call",{"zh":659,"en":660,"ja":661,"ko":662},"公眾徵集計畫","Public Open Call Projects","公募プロジェクト","시민 공모 프로젝트",{"zh":17,"en":17,"ja":17,"ko":17},{"id":665,"slug":666,"parent":612,"name":667,"description":672},27,"tiger",{"zh":668,"en":669,"ja":670,"ko":671},"迴圈．遶境｜百虎計畫","Ritual Procession: Tiger Circuit","ループ・遶境｜百虎計画","순환·순례｜백호 프로젝트",{"zh":17,"en":17,"ja":17,"ko":17},{"id":674,"slug":675,"parent":612,"name":676,"description":681},28,"talk",{"zh":677,"en":678,"ja":679,"ko":680},"講座","Talks","レクチャー","강연",{"zh":17,"en":17,"ja":17,"ko":17},{"id":683,"slug":684,"parent":604,"name":685,"description":690},11,"festival",{"zh":686,"en":687,"ja":688,"ko":689},"慶典與公眾活動","Festivals & Events","フェスティバル・公共イベント","축제 및 공공 행사",{"zh":691,"en":692,"ja":693,"ko":694},"慶典、文學劇場、影像計畫、聲音計劃","Festivals, Literary Theater Events, Film Plan, Sound Plan","フェスティバル、文学劇場、映像プログラム、サウンドプログラム","축제, 문학 극장, 영상 프로그램, 사운드 프로그램",{"id":696,"slug":697,"parent":683,"name":698,"description":703},22,"fest",{"zh":699,"en":700,"ja":701,"ko":702},"慶典","Festivals","フェスティバル","축제",{"zh":17,"en":17,"ja":17,"ko":17},{"id":705,"slug":706,"parent":683,"name":707,"description":712},23,"literary-theater",{"zh":708,"en":709,"ja":710,"ko":711},"文學劇場","Literary Theater Events","文学劇場","문학 극장",{"zh":17,"en":17,"ja":17,"ko":17},{"id":714,"slug":715,"parent":683,"name":716,"description":721},24,"film",{"zh":717,"en":718,"ja":719,"ko":720},"影像計畫","Film Plan","映像プログラム","영상 프로그램",{"zh":17,"en":17,"ja":17,"ko":17},{"id":723,"slug":724,"parent":683,"name":725,"description":730},25,"sound",{"zh":726,"en":727,"ja":728,"ko":729},"聲音計畫","Sound Plan","サウンドプログラム","사운드 프로그램",{"zh":17,"en":17,"ja":17,"ko":17},{"id":732,"slug":733,"parent":683,"name":734,"description":739},26,"others",{"zh":735,"en":736,"ja":737,"ko":738},"其他","Others","その他","기타",{"zh":17,"en":17,"ja":17,"ko":17},[741,749,757],{"id":742,"slug":743,"name":744},13,"announcement",{"zh":745,"en":746,"ja":747,"ko":748},"公告","Announcements","お知らせ","공지",{"id":750,"slug":751,"name":752},14,"tickets",{"zh":753,"en":754,"ja":755,"ko":756},"票務","Tickets","チケット","티켓",{"id":758,"slug":759,"name":760},15,"press",{"zh":761,"en":762,"ja":763,"ko":764},"媒體","Press","プレス","미디어",[766,806,829,855,883,914,941,968,999,1030,1057,1086,1113,1140,1170,1201,1232,1259,1286,1318,1349,1381,1405,1432,1460,1491,1517,1548,1579,1611,1643,1678],{"id":767,"slug":768,"no":245,"type":769,"name":770,"address":775,"hours":778,"closed":783,"intro":788,"show":789,"website":17,"lat":794,"lng":795,"google_maps_url":17,"ticket_required":796,"accessible":797,"restroom":797,"images":798,"photo_credit":804,"themes":805},30,"v01","core",{"zh":771,"en":772,"ja":773,"ko":774},"臺南市美術館","Tainan Art Museum","台南市美術館","타이난 미술관",{"zh":776,"en":777,"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":779,"en":780,"ja":781,"ko":782},"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","火曜〜日曜 10:00–18:00\n土曜は21:00まで開館","화–일요일 10:00–18:00\n토요일 21:00까지 개관",{"zh":784,"en":785,"ja":786,"ko":787},"週一休館（國定例假日若適逢週一，照常開放）","Closed on Mondays (open as usual when a national holiday falls on a Monday)","月曜休館（月曜が国定休日の場合は通常どおり開館）","월요일 휴관(국정 공휴일이 월요일인 경우 정상 개관)",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":790,"en":791,"ja":792,"ko":793},"「迴圈・超展開」第一屆臺南藝術雙年展","Unfolding Circuits: 1st Tainan Art Biennale 2026","「ループ・超展開」第1回台南アートビエンナーレ","「순환·확장」 제1회 타이난 예술 비엔날레",22.991291,120.205573,true,false,[799],{"id":800,"url":801,"w":802,"h":802,"alt":771,"sizes":803},115,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv01.png",172,[],"手冊圖版暫代",[454,357,307,552,405,503],{"id":807,"slug":808,"no":243,"type":769,"name":809,"address":814,"hours":817,"closed":818,"intro":819,"show":820,"website":17,"lat":821,"lng":822,"google_maps_url":17,"ticket_required":796,"accessible":797,"restroom":797,"images":823,"photo_credit":804,"themes":828},31,"v02",{"zh":810,"en":811,"ja":812,"ko":813},"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":815,"en":816,"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":779,"en":780,"ja":781,"ko":782},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":790,"en":791,"ja":792,"ko":793},22.990457,120.201591,[824],{"id":825,"url":826,"w":802,"h":802,"alt":810,"sizes":827},114,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv02.png",[],[243],{"id":830,"slug":831,"no":307,"type":769,"name":832,"address":836,"hours":839,"closed":844,"intro":845,"show":846,"website":17,"lat":847,"lng":848,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":849,"photo_credit":804,"themes":854},39,"v03",{"zh":833,"en":834,"ja":833,"ko":835},"湯德章紀念公園","Tang Te-Chang Memorial Park","탕더장 기념공원",{"zh":837,"en":838,"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":840,"en":841,"ja":842,"ko":843},"全日開放\n藤本壯介〈迴圈／打開的環〉\n工廠預製　2026.10.31–11.20\n現地組裝　2026.11.20–12.4\n開放參觀　2026.12.5–2027.3.1","Open 24 hours\nSou Fujimoto, The Loop\nOff-site Fabrication: 2026.10.31–11.20\nOn-site Assembly: 2026.11.20–12.4\nOpen to the Public: 2026.12.5–2027.3.1","24時間開放\n藤本壮介〈ループ／開かれた環〉\n工場製作　2026.10.31–11.20\n現地組立　2026.11.20–12.4\n一般公開　2026.12.5–2027.3.1","24시간 개방\nSou Fujimoto 〈순환／열린 고리〉\n공장 사전 제작　2026.10.31–11.20\n현장 조립　2026.11.20–12.4\n일반 공개　2026.12.5–2027.3.1",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":790,"en":791,"ja":792,"ko":793},22.992596,120.205058,[850],{"id":851,"url":852,"w":802,"h":802,"alt":833,"sizes":853},106,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv10.png",[],[307],{"id":856,"slug":857,"no":357,"type":769,"name":858,"address":863,"hours":866,"closed":871,"intro":872,"show":873,"website":17,"lat":874,"lng":875,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":876,"photo_credit":804,"themes":882},32,"v04",{"zh":859,"en":860,"ja":861,"ko":862},"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":864,"en":865,"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":867,"en":868,"ja":869,"ko":870},"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：週二至週日 9:00–18:00","National Museum of Taiwan Literature: Tue–Sun 9AM–6PM\nInstitute of Cultural Heritage Preservation Research: Tue–Sun 9AM–6PM","台湾文学館：火曜〜日曜 9:00–18:00\n文化財保存研究センター：火曜〜日曜 9:00–18:00","대만 문학관: 화–일요일 9:00–18:00\n문화재보존연구센터: 화–일요일 9:00–18:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":790,"en":791,"ja":792,"ko":793},22.991801,120.204374,[877],{"id":878,"url":879,"w":802,"h":802,"alt":880,"sizes":881},113,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv03.png","國立臺灣文學館",[],[454,357],{"id":884,"slug":885,"no":405,"type":769,"name":886,"address":891,"hours":894,"closed":899,"intro":904,"show":905,"website":17,"lat":906,"lng":907,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":908,"photo_credit":804,"themes":913},36,"v05",{"zh":887,"en":888,"ja":889,"ko":890},"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":892,"en":893,"ja":17,"ko":17},"臺南市中西區湯德章大道3號","No. 3, Tang Te-Chang Blvd., West Central Dist., Tainan City, Taiwan",{"zh":895,"en":896,"ja":897,"ko":898},"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","火曜〜土曜 8:30–20:30\n日曜 8:30–17:30","화–토요일 8:30–20:30\n일요일 8:30–17:30",{"zh":900,"en":901,"ja":902,"ko":903},"週一、國定假日及每月最後週五（清潔日）休館；週日閉館前 30 分鐘櫃台暫停受理借閱證申請及借還書作業","Closed on Mondays, national holidays, and the last Friday of each month","月曜、国定休日および毎月最終金曜（清掃日）は休館です。日曜は閉館30分前に、カウンターでの利用カードの申請受付および貸出・返却業務を終了します。","월요일, 국정 공휴일 및 매월 마지막 금요일(청소일)은 휴관합니다. 일요일에는 폐관 30분 전부터 안내데스크에서 대출증 발급 신청 및 도서 대출·반납 업무를 중단합니다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":790,"en":791,"ja":792,"ko":793},22.992061,120.203839,[909],{"id":910,"url":911,"w":802,"h":802,"alt":887,"sizes":912},109,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv07.png",[],[405],{"id":915,"slug":916,"no":454,"type":769,"name":917,"address":922,"hours":925,"closed":930,"intro":931,"show":932,"website":17,"lat":933,"lng":934,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":935,"photo_credit":804,"themes":940},33,"v06",{"zh":918,"en":919,"ja":920,"ko":921},"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":923,"en":924,"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":926,"en":927,"ja":928,"ko":929},"週三至週日 9:00–17:00","Wed–Sun 9AM–5PM","水曜〜日曜 9:00–17:00","수–일요일 9:00–17:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":790,"en":791,"ja":792,"ko":793},22.990944,120.203618,[936],{"id":937,"url":938,"w":802,"h":802,"alt":918,"sizes":939},112,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv04.png",[],[405],{"id":942,"slug":943,"no":503,"type":769,"name":944,"address":949,"hours":952,"closed":957,"intro":958,"show":959,"website":17,"lat":960,"lng":961,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":962,"photo_credit":804,"themes":967},37,"v07",{"zh":945,"en":946,"ja":947,"ko":948},"臺南孔廟","Tainan Confucius Temple","孔子廟","타이난 공묘",{"zh":950,"en":951,"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":953,"en":954,"ja":955,"ko":956},"每日 8:30–17:30","Daily 8:30AM–5:30PM","毎日 8:30–17:30","매일 8:30–17:30",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":790,"en":791,"ja":792,"ko":793},22.990305,120.204252,[963],{"id":964,"url":965,"w":802,"h":802,"alt":945,"sizes":966},108,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv08.png",[],[503],{"id":969,"slug":970,"no":552,"type":769,"name":971,"address":976,"hours":979,"closed":984,"intro":989,"show":990,"website":17,"lat":991,"lng":992,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":993,"photo_credit":804,"themes":998},35,"v08",{"zh":972,"en":973,"ja":974,"ko":975},"愛國婦人會館","Japanese Patriotic Women's Association","台南愛国婦人館","타이난 애국 부인관",{"zh":977,"en":978,"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":980,"en":981,"ja":982,"ko":983},"每日 9:00–17:00","Daily 9AM–5PM","毎日 9:00–17:00","매일 9:00–17:00",{"zh":985,"en":986,"ja":987,"ko":988},"除夕休館；依實際場館營運狀況有所調整","Closed on Lunar New Year's Eve. Subject to venue operational conditions.","旧暦の大晦日は休館です。実際の運営状況により変更となる場合があります。","음력 섣달그믐날은 휴관합니다. 실제 운영 상황에 따라 조정될 수 있습니다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":790,"en":791,"ja":792,"ko":793},22.9886,120.204184,[994],{"id":995,"url":996,"w":802,"h":802,"alt":972,"sizes":997},110,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv06.png",[],[357],{"id":1000,"slug":1001,"no":1002,"type":769,"name":1003,"address":1007,"hours":1010,"closed":1015,"intro":1020,"show":1021,"website":17,"lat":1022,"lng":1023,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1024,"photo_credit":804,"themes":1029},34,"v09",9,{"zh":1004,"en":1005,"ja":1004,"ko":1006},"司法博物館","Justice Museum","사법 박물관",{"zh":1008,"en":1009,"ja":17,"ko":17},"臺南市中西區府前路一段307號","No. 307, Sec. 1, Fuqian Rd., West Central Dist., Tainan City, Taiwan",{"zh":1011,"en":1012,"ja":1013,"ko":1014},"週二至週日 9:00–17:00","Tue–Sun 9AM–5PM","火曜〜日曜 9:00–17:00","화–일요일 9:00–17:00",{"zh":1016,"en":1017,"ja":1018,"ko":1019},"每週一、農曆春節、清明節、端午節及中秋節等國定民俗節日休館；若因其他因素暫停開放則另行公告。","Closed on Mondays and public holidays, including Lunar New Year, Tomb-Sweeping Day (Qingming Festival), Dragon Boat Festival, and Mid-Autumn Festival. Additional closures will be announced separately.","毎週月曜、旧正月、清明節、端午節、中秋節などの国定の伝統的祝日は休館です。その他の理由により休館する場合は、別途お知らせします。","매주 월요일과 음력 설, 청명절, 단오절, 중추절 등 국정 명절에는 휴관합니다. 기타 사유로 임시 휴관하는 경우 별도로 공지합니다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":790,"en":791,"ja":792,"ko":793},22.989312,120.201088,[1025],{"id":1026,"url":1027,"w":802,"h":802,"alt":1004,"sizes":1028},111,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv05.png",[],[357],{"id":1031,"slug":1032,"no":612,"type":769,"name":1033,"address":1038,"hours":1041,"closed":1046,"intro":1047,"show":1048,"website":17,"lat":1049,"lng":1050,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1051,"photo_credit":804,"themes":1056},43,"v10",{"zh":1034,"en":1035,"ja":1036,"ko":1037},"臺灣府城隍廟","Taiwan Prefectural City God Temple","台湾府城隍廟","타이완 부성황묘",{"zh":1039,"en":1040,"ja":17,"ko":17},"臺南市中西區青年路133號","No. 133, Qingnian Rd., West Central Dist., Tainan City, Taiwan",{"zh":1042,"en":1043,"ja":1044,"ko":1045},"每日 6:00–21:00","Daily 6AM–9PM","毎日 6:00–21:00","매일 6:00–21:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":790,"en":791,"ja":792,"ko":793},22.992205,120.209109,[1052],{"id":1053,"url":1054,"w":802,"h":802,"alt":1034,"sizes":1055},102,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv14.png",[],[405],{"id":1058,"slug":1059,"no":683,"type":769,"name":1060,"address":1062,"hours":1065,"closed":1070,"intro":1075,"show":1076,"website":17,"lat":1077,"lng":1078,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1079,"photo_credit":804,"themes":1085},40,"v11",{"zh":1061,"en":1061,"ja":1061,"ko":1061},"B.B.ART",{"zh":1063,"en":1064,"ja":17,"ko":17},"臺南市中西區民權路二段48號","No. 48, Sec. 2, Mincyuan Rd., West Central Dist., Tainan City, Taiwan",{"zh":1066,"en":1067,"ja":1068,"ko":1069},"週二至週六 11:30–19:00\n雙年展期間週日開放","Tue–Sat 11:30AM–7PM\nOpen Sundays during the Biennale","火曜〜土曜 11:30–19:00\nビエンナーレ期間中は日曜も開館","화–토요일 11:30–19:00\n비엔날레 기간 중 일요일 개관",{"zh":1071,"en":1072,"ja":1073,"ko":1074},"國定假期不定休，請參考官方帳號公告","Hours may vary on national holidays; please check the official account for updates.","国定休日は不定休です。公式アカウントのお知らせをご確認ください。","국정 공휴일에는 비정기적으로 휴무합니다. 공식 계정의 공지를 참고해 주십시오.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":790,"en":791,"ja":792,"ko":793},22.994478,120.205139,[1080],{"id":1081,"url":1082,"w":802,"h":802,"alt":1083,"sizes":1084},105,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv11.png","B.B. ART",[],[405],{"id":1087,"slug":1088,"no":634,"type":769,"name":1089,"address":1094,"hours":1097,"closed":1102,"intro":1103,"show":1104,"website":17,"lat":1105,"lng":1106,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1107,"photo_credit":804,"themes":1112},41,"v12",{"zh":1090,"en":1091,"ja":1092,"ko":1093},"全美戲院","Chuang Mei Theater","全美戯院","췐메이 극장",{"zh":1095,"en":1096,"ja":17,"ko":17},"臺南市中西區永福路二段187號\n臺南市中西區永福路二段164號","No. 187, Sec. 2, Yongfu Rd., West Central Dist., Tainan City, Taiwan\nNo. 164, Sec. 2, Yongfu Rd., West Central Dist., Tainan City, Taiwan",{"zh":1098,"en":1099,"ja":1100,"ko":1101},"週二至週日 10:00–18:00","Tue–Sun 10AM–6PM","火曜〜日曜 10:00–18:00","화–일요일 10:00–18:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":790,"en":791,"ja":792,"ko":793},22.995207,120.201446,[1108],{"id":1109,"url":1110,"w":802,"h":802,"alt":1090,"sizes":1111},104,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv12.png",[],[405],{"id":1114,"slug":1115,"no":742,"type":769,"name":1116,"address":1121,"hours":1124,"closed":1129,"intro":1130,"show":1131,"website":17,"lat":1132,"lng":1133,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1134,"photo_credit":804,"themes":1139},38,"v13",{"zh":1117,"en":1118,"ja":1119,"ko":1120},"原臺南公園管理所","Former Tainan Park Office","旧台南公園管理所","옛 타이난 공원 관리소",{"zh":1122,"en":1123,"ja":17,"ko":17},"臺南市北區公園南路89號（臺南公園內）","No. 89, Gongyuan S. Rd. (Tainan Park), North Dist., Tainan City, Taiwan",{"zh":1125,"en":1126,"ja":1127,"ko":1128},"週二至週日 10:00–12:00、13:00–17:00","Tue–Sun 10AM–12PM, 1PM–5PM","火曜〜日曜 10:00–12:00、13:00–17:00","화–일요일 10:00–12:00, 13:00–17:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":790,"en":791,"ja":792,"ko":793},23.003161,120.211547,[1135],{"id":1136,"url":1137,"w":802,"h":802,"alt":1117,"sizes":1138},107,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv09.png",[],[405],{"id":1141,"slug":1142,"no":750,"type":769,"name":1143,"address":1147,"hours":1150,"closed":1155,"intro":1156,"show":1157,"website":17,"lat":1162,"lng":1163,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1164,"photo_credit":804,"themes":1169},42,"v14",{"zh":1144,"en":1145,"ja":1144,"ko":1146},"弎畫廊","San Gallery","산 갤러리",{"zh":1148,"en":1149,"ja":17,"ko":17},"臺南市北區公園南路21號","No. 21, Gongyuan S. Rd., North Dist., Tainan City, Taiwan",{"zh":1151,"en":1152,"ja":1153,"ko":1154},"週二至週六 10:00–18:00","Tue–Sat 10AM–6PM","火曜〜土曜 10:00–18:00","화–토요일 10:00–18:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":1158,"en":1159,"ja":1160,"ko":1161},"「迴圈・超展開」第一屆臺南藝術雙年展\n牧田愛 個展 2026\u002F11\u002F07–12\u002F31\n趙南開、張婷雅 聯展 2027\u002F01\u002F09–02\u002F27\n野中美里 個展 2027\u002F03\u002F13–04\u002F24","Unfolding Circuits: 1st Tainan Art Biennale 2026\nAi Makita Solo Exhibition 2026\u002F11\u002F07–12\u002F31\nChao Nan-kai & Chang Ting-ya Joint Exhibition 2027\u002F01\u002F09–02\u002F27\nMisato Nonaka Solo Exhibition 2027\u002F03\u002F13–04\u002F24","「ループ・超展開」第1回台南アートビエンナーレ\n牧田愛 個展 2026\u002F11\u002F07–12\u002F31\n趙南開、張婷雅 二人展 2027\u002F01\u002F09–02\u002F27\n野中美里 個展 2027\u002F03\u002F13–04\u002F24","「순환·확장」 제1회 타이난 예술 비엔날레\nAi Makita 개인전 2026\u002F11\u002F07–12\u002F31\nChao Nan-kai, Chang Ting-ya 2인전 2027\u002F01\u002F09–02\u002F27\nMisato Nonaka 개인전 2027\u002F03\u002F13–04\u002F24",23.000013,120.212066,[1165],{"id":1166,"url":1167,"w":802,"h":802,"alt":1144,"sizes":1168},103,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv13.png",[],[454],{"id":1171,"slug":1172,"no":758,"type":769,"name":1173,"address":1178,"hours":1181,"closed":1186,"intro":1191,"show":1192,"website":17,"lat":1193,"lng":1194,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1195,"photo_credit":804,"themes":1200},45,"v15",{"zh":1174,"en":1175,"ja":1176,"ko":1177},"絕對空間","Absolute Space for the Arts","絶対空間","절대공간",{"zh":1179,"en":1180,"ja":17,"ko":17},"臺南市中西區民生路一段205巷11號","No. 11, Lane 205, Sec. 1, Minsheng Rd., West Central Dist., Tainan City, Taiwan",{"zh":1182,"en":1183,"ja":1184,"ko":1185},"週三至週日 13:00–19:00\n週二採預約制\n本館展期 2026\u002F10\u002F31–12\u002F27","Wed–Sun 1PM–7PM\nTue by appointment\nOn view here Oct 31 – Dec 27, 2026","水曜〜日曜 13:00–19:00\n火曜は予約制\n当館での会期 2026\u002F10\u002F31–12\u002F27","수–일요일 13:00–19:00\n화요일은 예약제\n본 전시장 전시 기간 2026\u002F10\u002F31–12\u002F27",{"zh":1187,"en":1188,"ja":1189,"ko":1190},"週一","Mondays","月曜","월요일",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":790,"en":791,"ja":792,"ko":793},22.993796,120.199478,[1196],{"id":1197,"url":1198,"w":802,"h":802,"alt":1174,"sizes":1199},100,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv16.png",[],[552],{"id":1202,"slug":1203,"no":1204,"type":769,"name":1205,"address":1209,"hours":1212,"closed":1217,"intro":1218,"show":1219,"website":17,"lat":1224,"lng":1225,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1226,"photo_credit":804,"themes":1231},44,"v16",16,{"zh":1206,"en":1207,"ja":1206,"ko":1208},"府都建築館","Fudu KIÀN TIÒK","푸두 건축관",{"zh":1210,"en":1211,"ja":17,"ko":17},"臺南市安平區安北路722巷128號","No. 128, Ln. 722, Anbei Rd., Anping Dist., Tainan City, Taiwan",{"zh":1213,"en":1214,"ja":1215,"ko":1216},"週一至週五 9:00–17:30\n週六、日 13:00–17:00","Mon–Fri 9AM–5:30PM\nSat–Sun 1PM–5PM","月曜〜金曜 9:00–17:30\n土曜・日曜 13:00–17:00","월–금요일 9:00–17:30\n토·일요일 13:00–17:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":1220,"en":1221,"ja":1222,"ko":1223},"「迴圈・超展開」第一屆臺南藝術雙年展\n「看不見的城市」（策展人：翁廷楷）","Unfolding Circuits: 1st Tainan Art Biennale 2026\nInvisible City (Curator: Weng Ting-kai)","「ループ・超展開」第1回台南アートビエンナーレ\n「見えない都市」（キュレーター：翁廷楷）","「순환·확장」 제1회 타이난 예술 비엔날레\n「보이지 않는 도시」(큐레이터: Weng Ting-kai)",22.998804,120.145517,[1227],{"id":1228,"url":1229,"w":802,"h":802,"alt":1206,"sizes":1230},101,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv15.png",[],[307],{"id":1233,"slug":1234,"no":602,"type":603,"name":1235,"address":1240,"hours":1243,"closed":1248,"intro":1249,"show":1250,"website":17,"lat":1251,"lng":1252,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1253,"photo_credit":804,"themes":1258},56,"v17",{"zh":1236,"en":1237,"ja":1238,"ko":1239},"臺南林百貨","HAYASHI Department Store","旧林百貨","구 하야시 백화점",{"zh":1241,"en":1242,"ja":17,"ko":17},"臺南市中西區忠義路二段63號4樓","4F., No. 63, Sec. 2, Zhongyi Rd., West Central Dist., Tainan City, Taiwan",{"zh":1244,"en":1245,"ja":1246,"ko":1247},"每日 11:00–21:00","Daily 11AM–9PM","毎日 11:00–21:00","매일 11:00–21:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":790,"en":791,"ja":792,"ko":793},22.99171,120.202527,[1254],{"id":1255,"url":1256,"w":802,"h":802,"alt":1236,"sizes":1257},89,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv27.png",[],[],{"id":1260,"slug":1261,"no":1262,"type":603,"name":1263,"address":1268,"hours":1271,"closed":1276,"intro":1277,"show":1278,"website":17,"lat":1279,"lng":1023,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1280,"photo_credit":804,"themes":1285},46,"v18",18,{"zh":1264,"en":1265,"ja":1266,"ko":1267},"八吉境道署關帝廳","Guan-Di Temple of Ba-Ji-Jing","八吉境道署関帝廟","바지징 관제묘",{"zh":1269,"en":1270,"ja":17,"ko":17},"臺南市中西區友愛街40巷11號","No. 11, Lane 40, You'ai St., West Central Dist., Tainan City, Taiwan",{"zh":1272,"en":1273,"ja":1274,"ko":1275},"週一至週日 7:00–18:00","Mon–Sun 7AM–6PM","月曜〜日曜 7:00–18:00","월–일요일 7:00–18:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":790,"en":791,"ja":792,"ko":793},22.991429,[1281],{"id":1282,"url":1283,"w":802,"h":802,"alt":1264,"sizes":1284},99,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv17.png",[],[],{"id":1287,"slug":1288,"no":625,"type":603,"name":1289,"address":1294,"hours":1297,"closed":1302,"intro":1307,"show":1308,"website":17,"lat":1309,"lng":1310,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1311,"photo_credit":804,"themes":1317},48,"v19",{"zh":1290,"en":1291,"ja":1292,"ko":1293},"友愛街旅館+大女Style聚落","U.I.J Hotel & Hostel + The Third Act Collection","U.I.J ホテル ＆ ホステ + サードライフコミュニティ","U.I.J 호텔 & 호스텔 + 제3인생촌",{"zh":1295,"en":1296,"ja":17,"ko":17},"友愛街旅館：臺南市中西區友愛街115巷5號\n大女Style聚落：臺南市中西區友愛街117號4樓","U.I.J Hotel & Hostel: No. 5, Lane 115, You'ai St., West Central Dist., Tainan City\nThe Third Act Collection: 4F, No. 117, You'ai St., West Central Dist., Tainan City",{"zh":1298,"en":1299,"ja":1300,"ko":1301},"友愛街旅館：全日開放\n大女Style聚落：週一至週五 10:00–18:00","U.I.J Hotel & Hostel: Open 24 hours\nThe Third Act Collection: Mon–Fri 10AM–6PM","U.I.J ホテル ＆ ホステル：24時間開放\nサードライフコミュニティ：月曜〜金曜 10:00–18:00","U.I.J 호텔 & 호스텔: 24시간 개방\n제3인생촌: 월–금요일 10:00–18:00",{"zh":1303,"en":1304,"ja":1305,"ko":1306},"大女Style聚落：週六、週日及國定假日公休","The Third Act Collection: Closed on Saturdays, Sundays and national holidays","サードライフコミュニティ：土曜、日曜および国定休日は休業","제3인생촌: 토요일, 일요일 및 국정 공휴일 휴무",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":790,"en":791,"ja":792,"ko":793},22.990844,120.199859,[1312],{"id":1313,"url":1314,"w":802,"h":802,"alt":1315,"sizes":1316},97,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv19.png","友愛街旅館",[],[],{"id":1319,"slug":1320,"no":647,"type":603,"name":1321,"address":1326,"hours":1329,"closed":1334,"intro":1335,"show":1336,"website":17,"lat":1341,"lng":1342,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1343,"photo_credit":804,"themes":1348},58,"v20",{"zh":1322,"en":1323,"ja":1324,"ko":1325},"德鴻畫廊","Der-Horng Art Gallery","徳鴻ギャラリー","더홍 갤러리",{"zh":1327,"en":1328,"ja":17,"ko":17},"臺南市中西區中山路1號","No. 1, Zhongshan Rd., West Central Dist., Tainan City, Taiwan",{"zh":1330,"en":1331,"ja":1332,"ko":1333},"週二至週六 11:00–19:00","Tue–Sat 11AM–7PM","火曜〜土曜 11:00–19:00","화–토요일 11:00–19:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":1337,"en":1338,"ja":1339,"ko":1340},"「迴圈・超展開」第一屆臺南藝術雙年展\n「日常與麵包」Yu Sora（2026\u002F11\u002F21–2027\u002F01\u002F19）","Unfolding Circuits: 1st Tainan Art Biennale 2026\nYu Sora (2026\u002F11\u002F21–2027\u002F01\u002F19)","「ループ・超展開」第1回台南アートビエンナーレ\n「日常とパン」Yu Sora（2026\u002F11\u002F21–2027\u002F01\u002F19）","「순환·확장」 제1회 타이난 예술 비엔날레\n「일상과 빵」 유소라(2026\u002F11\u002F21–2027\u002F01\u002F19)",22.99308,120.205341,[1344],{"id":1345,"url":1346,"w":802,"h":802,"alt":1322,"sizes":1347},87,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv29.png",[],[],{"id":1350,"slug":1351,"no":656,"type":603,"name":1352,"address":1357,"hours":1360,"closed":1365,"intro":1366,"show":1367,"website":17,"lat":1372,"lng":1373,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1374,"photo_credit":804,"themes":1380},61,"v21",{"zh":1353,"en":1354,"ja":1355,"ko":1356},"太平境馬雅各紀念教會+公園路8號","Thai Peng Keng Maxwell Memorial Church + No. 8, Gongyuan Road","太平境馬雅各紀念教会 + 公園路8号","타이핑징 마야거 기념교회+ 공원로 8호",{"zh":1358,"en":1359,"ja":17,"ko":17},"臺南市中西區公園路6號、8號","No. 6 & No. 8, Gongyuan Rd., West Central Dist., Tainan City, Taiwan",{"zh":1361,"en":1362,"ja":1363,"ko":1364},"太平境馬雅各紀念教會：\n週二、四、五 8:00–12:00、14:00–18:00\n週三 8:00–12:00、14:00–21:30\n週六 8:00–12:00、14:00–22:00\n週日 8:00–14:30\n公園路8號：週二至週日 12:00–18:00","Thai Peng Keng Maxwell Memorial Church:\nTue, Thu, Fri 8AM–12PM, 2PM–6PM\nWed 8AM–12PM, 2PM–9:30PM\nSat 8AM–12PM, 2PM–10PM\nSun 8AM–2:30PM\nNo. 8, Gongyuan Road: Tue–Sun 12PM–6PM","太平境馬雅各紀念教会：\n火曜・木曜・金曜 8:00–12:00、14:00–18:00\n水曜 8:00–12:00、14:00–21:30\n土曜 8:00–12:00、14:00–22:00\n日曜 8:00–14:30\n公園路8号：火曜〜日曜 12:00–18:00","타이핑징 마야거 기념교회:\n화·목·금요일 8:00–12:00, 14:00–18:00\n수요일 8:00–12:00, 14:00–21:30\n토요일 8:00–12:00, 14:00–22:00\n일요일 8:00–14:30\n공원로 8호: 화–일요일 12:00–18:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":1368,"en":1369,"ja":1370,"ko":1371},"「迴圈・超展開」第一屆臺南藝術雙年展\n「迴圈破局：命運重生軍」王牧音（2026\u002F10\u002F31–11\u002F30）\n「流動的絲路」（2026\u002F10\u002F31–11\u002F30）\n「經典建築的次文化想像」家永實（2026\u002F10\u002F31–11\u002F30）","Unfolding Circuits: 1st Tainan Art Biennale 2026\nBreaking the Circuit: Destiny Rebirth Army, Mu-Yin Wang (2026\u002F10\u002F31–11\u002F30)\nFlowing Silk (2026\u002F10\u002F31–11\u002F30)\nSubcultural Re-imagining of Classic Architecture, Ienaga Jitsu (2026\u002F10\u002F31–11\u002F30)","「ループ・超展開」第1回台南アートビエンナーレ\n「ループ打破：運命再生軍」王牧音（2026\u002F10\u002F31–11\u002F30）\n「流れるシルクロード」（2026\u002F10\u002F31–11\u002F30）\n「名建築のサブカルチャー的想像」家永実（2026\u002F10\u002F31–11\u002F30）","「순환·확장」 제1회 타이난 예술 비엔날레\n「순환 타파: 운명 재생군」 Mu-Yin Wang (2026\u002F10\u002F31–11\u002F30)\n「흐르는 실크로드」(2026\u002F10\u002F31–11\u002F30)\n「고전 건축의 서브컬처적 상상」 Ienaga Jitsu (2026\u002F10\u002F31–11\u002F30)",22.993331,120.205521,[1375],{"id":1376,"url":1377,"w":802,"h":802,"alt":1378,"sizes":1379},84,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv32.png","太平境馬雅各紀念教會",[],[],{"id":1382,"slug":1383,"no":696,"type":603,"name":1384,"address":1389,"hours":1392,"closed":1393,"intro":1394,"show":1395,"website":17,"lat":1396,"lng":1397,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1398,"photo_credit":804,"themes":1404},51,"v22",{"zh":1385,"en":1386,"ja":1387,"ko":1388},"臺灣首廟天壇（天公廟）","Tian Tan (Tian Gong Temple)","台湾首廟天壇(天公廟)","대만 서우먀오 천단(톈궁먀오)",{"zh":1390,"en":1391,"ja":17,"ko":17},"臺南市中西區忠義路二段84巷16號","No. 16, Lane 84, Sec. 2, Zhongyi Rd., West Central Dist., Tainan City, Taiwan",{"zh":1042,"en":1043,"ja":1044,"ko":1045},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":790,"en":791,"ja":792,"ko":793},22.993721,120.204199,[1399],{"id":1400,"url":1401,"w":802,"h":802,"alt":1402,"sizes":1403},94,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv22.png","臺灣首廟天壇",[],[],{"id":1406,"slug":1407,"no":705,"type":603,"name":1408,"address":1413,"hours":1416,"closed":1421,"intro":1422,"show":1423,"website":17,"lat":1424,"lng":1425,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1426,"photo_credit":804,"themes":1431},49,"v23",{"zh":1409,"en":1410,"ja":1411,"ko":1412},"文鼎留聲博物館","Wenting Phonograph Museum","文鼎留聲（蓄音）博物館","원딩 축음 박물관",{"zh":1414,"en":1415,"ja":17,"ko":17},"臺南市中西區民權路二段162號","No. 162, Sec. 2, Minquan Rd., West Central Dist., Tainan City, Taiwan",{"zh":1417,"en":1418,"ja":1419,"ko":1420},"週三至週日 10:00–17:30（須購票入場，出示雙年展票根享 9 折）","Wed–Sun 10AM–5:30PM (Paid admission required; 10% off with ticket stub)","水曜〜日曜 10:00–17:30（入館は有料。ビエンナーレのチケット半券のご提示で10%割引）","수–일요일 10:00–17:30(유료 입장, 비엔날레 입장권 제시 시 10% 할인)",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":790,"en":791,"ja":792,"ko":793},22.995222,120.202647,[1427],{"id":1428,"url":1429,"w":802,"h":802,"alt":1409,"sizes":1430},96,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv20.png",[],[],{"id":1433,"slug":1434,"no":714,"type":603,"name":1435,"address":1440,"hours":1443,"closed":1448,"intro":1449,"show":1450,"website":17,"lat":1451,"lng":1452,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1453,"photo_credit":804,"themes":1459},50,"v24",{"zh":1436,"en":1437,"ja":1438,"ko":1439},"艸祭Book inn","CaoJi Book inn","艸祭ブックイン","카오지 Book inn",{"zh":1441,"en":1442,"ja":17,"ko":17},"臺南市中西區南門路71號","No. 71, Nanmen Rd., West Central Dist., Tainan City, Taiwan",{"zh":1444,"en":1445,"ja":1446,"ko":1447},"週三至週日 12:00–18:00（憑雙年展票券參觀）","Wed–Sun 12PM–6PM (Admission with Biennale ticket)","水曜〜日曜 12:00–18:00（ビエンナーレのチケットでご覧いただけます）","수–일요일 12:00–18:00(비엔날레 티켓으로 관람 가능)",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":790,"en":791,"ja":792,"ko":793},22.989538,120.204786,[1454],{"id":1455,"url":1456,"w":802,"h":802,"alt":1457,"sizes":1458},95,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv21.png","艸祭 Book inn",[],[],{"id":1461,"slug":1462,"no":723,"type":603,"name":1463,"address":1468,"hours":1471,"closed":1476,"intro":1477,"show":1478,"website":17,"lat":1483,"lng":1484,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1485,"photo_credit":804,"themes":1490},60,"v25",{"zh":1464,"en":1465,"ja":1466,"ko":1467},"珍藝術空間","Jan House","珍(ジェン)芸術空間","젠 예술공간",{"zh":1469,"en":1470,"ja":17,"ko":17},"臺南市中西區開山路61號1樓","1F, No. 61, Kaishan Rd., West Central Dist., Tainan City, Taiwan",{"zh":1472,"en":1473,"ja":1474,"ko":1475},"週二至週日 15:00–21:00","Tue–Sun 3PM–9PM","火曜〜日曜 15:00–21:00","화–일요일 15:00–21:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":1479,"en":1480,"ja":1481,"ko":1482},"「迴圈・超展開」第一屆臺南藝術雙年展\n「趨光」（策展：艸非火）","Unfolding Circuits: 1st Tainan Art Biennale 2026\nBorn Through the Breach (Curator: Fake Fire Atelier)","「ループ・超展開」第1回台南アートビエンナーレ\n「趨光」（キュレーション：艸非火）","「순환·확장」 제1회 타이난 예술 비엔날레\n「빛을 향해」(큐레이션: Fake Fire Atelier)",22.990551,120.206639,[1486],{"id":1487,"url":1488,"w":802,"h":802,"alt":1464,"sizes":1489},85,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv31.png",[],[],{"id":1492,"slug":1493,"no":732,"type":603,"name":1494,"address":1498,"hours":1501,"closed":1506,"intro":1507,"show":1508,"website":17,"lat":1509,"lng":1510,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1511,"photo_credit":804,"themes":1516},52,"v26",{"zh":1495,"en":1496,"ja":1495,"ko":1497},"山前世界","Sanzen Sekai","산전세계",{"zh":1499,"en":1500,"ja":17,"ko":17},"臺南市中西區府前路一段139號","No. 139, Sec. 1, Fuqian Rd., West Central Dist., Tainan City, Taiwan",{"zh":1502,"en":1503,"ja":1504,"ko":1505},"週二至週日 12:00–18:00","Tue–Sun 12PM–6PM","火曜〜日曜 12:00–18:00","화–일요일 12:00–18:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":790,"en":791,"ja":792,"ko":793},22.988874,120.208023,[1512],{"id":1513,"url":1514,"w":802,"h":802,"alt":1495,"sizes":1515},93,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv23.png",[],[],{"id":1518,"slug":1519,"no":665,"type":603,"name":1520,"address":1525,"hours":1528,"closed":1533,"intro":1534,"show":1535,"website":17,"lat":1540,"lng":1541,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1542,"photo_credit":804,"themes":1547},57,"v27",{"zh":1521,"en":1522,"ja":1523,"ko":1524},"海馬迴光畫館","Fotoaura Institute of Photography","海馬迴フォトギャラリー","해마체 광 사진 미술관",{"zh":1526,"en":1527,"ja":17,"ko":17},"臺南市中西區成功路83號2樓","2F, No. 83, Chenggong Rd., West Central Dist., Tainan City, Taiwan",{"zh":1529,"en":1530,"ja":1531,"ko":1532},"週三至週日 14:00–20:00","Wed–Sun 2PM–8PM","水曜〜日曜 14:00–20:00","수–일요일 14:00–20:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":1536,"en":1537,"ja":1538,"ko":1539},"「迴圈・超展開」第一屆臺南藝術雙年展\n「街拍記2026—此路不通的施工漫遊」（暫定，策展人：王振愷）","Unfolding Circuits: 1st Tainan Art Biennale 2026\nStreet Chronicles (tentative; Curator: Wang Jhen-kai)","「ループ・超展開」第1回台南アートビエンナーレ\n「街拍記2026—この先通行止めの工事現場漫遊」（仮題、キュレーター：王振愷）","「순환·확장」 제1회 타이난 예술 비엔날레\n「스트리트 포토 기록 2026—통행 불가 공사 현장 산책」(가제, 큐레이터: Wang Jhen-kai)",22.997662,120.208286,[1543],{"id":1544,"url":1545,"w":802,"h":802,"alt":1521,"sizes":1546},88,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv28.png",[],[],{"id":1549,"slug":1550,"no":674,"type":603,"name":1551,"address":1556,"hours":1559,"closed":1564,"intro":1565,"show":1566,"website":17,"lat":1571,"lng":1572,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1573,"photo_credit":804,"themes":1578},47,"v28",{"zh":1552,"en":1553,"ja":1554,"ko":1555},"小轉角","ArtDe Corner","リトル・コーナー","작은 코너",{"zh":1557,"en":1558,"ja":17,"ko":17},"臺南市中西區開山路235巷13號","No. 13, Lane 235, Kaishan Rd., West Central Dist., Tainan City, Taiwan",{"zh":1560,"en":1561,"ja":1562,"ko":1563},"週四至週日 11:00–17:00（室內空間依特定活動開放）","Thu–Sun 11AM–5PM (Indoor spaces open for selected events only)","木曜〜日曜 11:00–17:00（屋内スペースは特定のイベント時のみ開放）","목–일요일 11:00–17:00(실내 공간은 특정 행사 시에만 개방)",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":1567,"en":1568,"ja":1569,"ko":1570},"「迴圈・超展開」第一屆臺南藝術雙年展\n日常風景採集計畫－微型櫥窗展","Unfolding Circuits: 1st Tainan Art Biennale 2026\nRound & Around: Everyday Landscape Collection Project","「ループ・超展開」第1回台南アートビエンナーレ\n日常風景採集プロジェクト－ミニウィンドウ展","「순환·확장」 제1회 타이난 예술 비엔날레\n일상 풍경 채집 프로젝트－미니 쇼윈도 전시",22.986609,120.210116,[1574],{"id":1575,"url":1576,"w":802,"h":802,"alt":1552,"sizes":1577},98,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv18.png",[],[],{"id":1580,"slug":1581,"no":1582,"type":603,"name":1583,"address":1588,"hours":1591,"closed":1596,"intro":1597,"show":1598,"website":17,"lat":1603,"lng":1604,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1605,"photo_credit":804,"themes":1610},54,"v29",29,{"zh":1584,"en":1585,"ja":1586,"ko":1587},"甘樂阿舍美術館","Asir Art Museum","甘楽阿舎美術館","감락 아시르 미술관",{"zh":1589,"en":1590,"ja":17,"ko":17},"臺南市北區北忠街139號","No. 139, Beizhong St., North Dist., Tainan City, Taiwan",{"zh":1592,"en":1593,"ja":1594,"ko":1595},"週三至週六 12:00–17:00","Wed–Sat 12PM–5PM","水曜〜土曜 12:00–17:00","수–토요일 12:00–17:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":1599,"en":1600,"ja":1601,"ko":1602},"「迴圈・超展開」第一屆臺南藝術雙年展\n一期一會：表千家茶人器物展\n能量風景－曾英棟個展","Unfolding Circuits: 1st Tainan Art Biennale 2026\nIchigo Ichie: Exhibition of Tea Utensils by Omotesenke Practitioners\nLandscape of Energy: Tseng Ying-Tung Solo Exhibition","「ループ・超展開」第1回台南アートビエンナーレ\n一期一会：表千家茶人の器物展\nエネルギーの風景－曾英棟個展","「순환·확장」 제1회 타이난 예술 비엔날레\n일기일회: 오모테센케 다인 기물전\n에너지의 풍경－Tseng Ying-tung 개인전",22.999621,120.208485,[1606],{"id":1607,"url":1608,"w":802,"h":802,"alt":1584,"sizes":1609},91,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv25.png",[],[],{"id":1612,"slug":1613,"no":767,"type":603,"name":1614,"address":1619,"hours":1622,"closed":1627,"intro":1628,"show":1629,"website":17,"lat":1634,"lng":1635,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1636,"photo_credit":804,"themes":1642},59,"v30",{"zh":1615,"en":1616,"ja":1617,"ko":1618},"暮拉多元藝術空間","The Moolah Multi-Art Space","暮拉多元芸術空間","무라 다원화 예술공간",{"zh":1620,"en":1621,"ja":17,"ko":17},"臺南市中西區國華街三段15號","No. 15, Sec. 3, Guohua St., West Central Dist., Tainan City, Taiwan",{"zh":1623,"en":1624,"ja":1625,"ko":1626},"每日 10:30–19:00","Daily 10:30AM–7PM","毎日 10:30–19:00","매일 10:30–19:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":1630,"en":1631,"ja":1632,"ko":1633},"「迴圈・超展開」第一屆臺南藝術雙年展\n踅｜PURSUIT（彼得·巴蘭）\n浮日","Unfolding Circuits: 1st Tainan Art Biennale 2026\nSe̍h | PURSUIT (Peter Baran)\nThe Everyday, Afloat","「ループ・超展開」第1回台南アートビエンナーレ\n踅｜PURSUIT（Peter Baran）\n浮かぶ日常","「순환·확장」 제1회 타이난 예술 비엔날레\nSe̍h｜PURSUIT (Peter Baran)\n떠다니는 일상",22.993781,120.197534,[1637],{"id":1638,"url":1639,"w":802,"h":802,"alt":1640,"sizes":1641},86,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv30.png","蔦拉多元藝術空間",[],[],{"id":1644,"slug":1645,"no":807,"type":603,"name":1646,"address":1651,"hours":1654,"closed":1659,"intro":1664,"show":1665,"website":17,"lat":1670,"lng":1671,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1672,"photo_credit":804,"themes":1677},55,"v31",{"zh":1647,"en":1648,"ja":1649,"ko":1650},"臺南市竹溪禪寺","Zhu-Xi Temple","台南市竹溪禅寺","타이난시 주시묘",{"zh":1652,"en":1653,"ja":17,"ko":17},"臺南市南區體育路87號","No. 87, Tiyu Rd., South Dist., Tainan City, Taiwan",{"zh":1655,"en":1656,"ja":1657,"ko":1658},"週二至週日 9:00–16:00","Tue–Sun 9AM–4PM","火曜〜日曜 9:00–16:00","화–일요일 9:00–16:00",{"zh":1660,"en":1661,"ja":1662,"ko":1663},"2026\u002F11\u002F14–11\u002F20 不開放","Closed Nov 14–20, 2026","2026\u002F11\u002F14–11\u002F20は休館","2026\u002F11\u002F14–11\u002F20 휴관",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":1666,"en":1667,"ja":1668,"ko":1669},"「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)","「ループ・超展開」第1回台南アートビエンナーレ\n世紀を越える竹溪禅寺仏教文物展（キュレーター：傅朝卿）","「순환·확장」 제1회 타이난 예술 비엔날레\n세기를 넘는 주시묘 불교 문물전(큐레이터: Fu Chao-ching)",22.977327,120.209295,[1673],{"id":1674,"url":1675,"w":802,"h":802,"alt":1647,"sizes":1676},90,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv26.png",[],[],{"id":1679,"slug":1680,"no":856,"type":603,"name":1681,"address":1686,"hours":1689,"closed":1694,"intro":1695,"show":1696,"website":17,"lat":1701,"lng":1702,"google_maps_url":17,"ticket_required":797,"accessible":797,"restroom":797,"images":1703,"photo_credit":804,"themes":1708},53,"v32",{"zh":1682,"en":1683,"ja":1684,"ko":1685},"原型一號宅","as house","原型一号宅","프로토타입 1호집",{"zh":1687,"en":1688,"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":1690,"en":1691,"ja":1692,"ko":1693},"週五至週日 13:00–18:00","Fri–Sun 1PM–6PM","金曜〜日曜 13:00–18:00","금–일요일 13:00–18:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":1697,"en":1698,"ja":1699,"ko":1700},"「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)","「ループ・超展開」第1回台南アートビエンナーレ\n原型1号宅 建築ループ（キュレーター：謝宗哲、陳冠帆）","「순환·확장」 제1회 타이난 예술 비엔날레\n프로토타입 1호집 건축 순환(큐레이터: 셰쭝저, Chen Kuan-fan)",22.959952,120.230641,[1704],{"id":1705,"url":1706,"w":802,"h":802,"alt":1682,"sizes":1707},92,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F09\u002Fv24.png",[],[],[1710,1725,1738,1750,1763,1776,1785,1798,1811,1825,1838,1851,1860,1869,1878,1887,1895,1904,1913,1922,1931,1940,1949,1958,1971,1985,1998,2013,2027,2040,2053,2066,2079,2092,2105,2118,2131,2144,2158,2171,2184,2197,2210,2224,2237,2251,2264,2277,2290,2303,2316,2330,2343,2356,2370,2383,2396,2409,2422,2435,2448,2461,2474,2487,2501,2514,2528,2542,2555,2568,2581,2595,2608,2621,2634,2647,2660],{"id":1711,"slug":1712,"no":1713,"is_group":797,"name":1714,"bio":1717,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1724},117,"wu-shu-yuan","EC-02",{"zh":1715,"en":1716,"ja":1715,"ko":17},"吳書原","Wu Shu-yuan",{"zh":1718,"en":1719,"ja":1720,"ko":1721},"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.","1974年台南生まれ。英国AAスクール修士。ランドスケープ建築家・アーティストであり、太研規劃設計顧問有限公司の創設者である。「ランドスケープ・アーバニズム」に触発され、台湾の原生植物によって島の野生を生み出すことに力を注ぎ、自然に広がり有機的に成長する荒野の美学を実践している。代表作に台中フローラ世界博覧会、陽明山米軍クラブなどがあり、IFLA、ロンドン・デザイン・アワードなどの国際的な賞を受賞している。","1974년 타이난에서 태어나 영국 AA 건축학교에서 석사 학위를 받았다. 조경 건축 예술가이자 Motif Planning & Design Consultants의 설립자다. ‘랜드스케이프 어바니즘’에서 영감을 받아 대만 자생 식물로 섬의 야생을 조성하는 데 힘쓰며, 자연스럽게 퍼져 나가고 유기적으로 자라나는 황야의 미학을 실천한다. 대표작으로 타이중 세계 꽃 박람회, 양밍산 미군 클럽 등이 있으며, IFLA, 런던 디자인 어워드 등 국제적인 상을 받았다.","臺灣 Taiwan",null,[307],{"id":1726,"slug":1727,"no":1728,"is_group":797,"name":1729,"bio":1732,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1737},652,"wang-chieh","TC-03",{"zh":1730,"en":1731,"ja":1730,"ko":17},"王傑","Wang Chieh",{"zh":1733,"en":1734,"ja":1735,"ko":1736},"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.","スペイン・バルセロナ大学で絵画制作の博士号を取得。現在、台北芸術大学劇場デザイン学科兼任助理教授。水彩と西洋カリグラフィーを得意とする。初期には独自の水彩スタイルで基隆の都市風景を描き、のちに制作の足跡を台湾各地、そして世界各地へと広げた。また、《旅人誌》、《好吃》、《時報周刊》など数多くの刊行物でイラストとエッセイのコラムを担当してきた。","스페인 바르셀로나 대학교에서 회화 창작으로 미술 박사 학위를 받았으며, 현재 Taipei National University of the Arts 무대디자인학과 겸임 조교수로 재직하고 있다. 수채화와 서양 캘리그래피에 능하다. 초기에는 독특한 수채화 스타일로 지룽의 도시 풍경을 그렸으며, 이후 창작의 발자취를 대만 각지와 세계 곳곳으로 넓혀 왔다. 또한 《뤼런즈》, 《하오츠》, 《스바오저우칸》 등 여러 간행물에서 그림과 글로 구성된 칼럼을 연재했다.",[],{"id":612,"slug":1739,"no":1740,"is_group":797,"name":1741,"bio":1744,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1749},"anli-genu","EC-04",{"zh":1742,"en":1743,"ja":17,"ko":17},"安力．給怒","Anli Genu",{"zh":1745,"en":1746,"ja":1747,"ko":1748},"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.","1958年、新竹・尖石郷のタイヤル族梅花集落に生まれる。漢名は賴安淋。中国文化大学美術学科、ニューヨークのスクール・オブ・ビジュアルアーツを卒業。正統な美術教育を受けたアーティストと牧師という二つの立場を併せ持ち、現代美術の語彙と先住民の知識体系を精神性の表現のなかで融合させることに取り組んでいる。国立台湾美術館の諮問委員を務め、台湾先住民芸術の発展に深い影響を与えてきた。","1958년 신주 젠스향의 타이얄족 메이화 마을에서 태어났으며, 중국어 이름은 Lai An-lin이다. Chinese Culture University 미술학과와 뉴욕 스쿨 오브 비주얼 아츠를 졸업했다. 체계적인 미술 교육을 받은 예술가이자 목사라는 두 정체성을 아우르며, 동시대 미술의 어휘와 원주민 지식 체계를 영적인 표현 속에 융합하는 데 힘쓴다. National Taiwan Museum of Fine Arts 자문위원을 맡았으며, 대만 원주민 예술의 발전에 깊은 영향을 미쳤다.",[307],{"id":683,"slug":1751,"no":1752,"is_group":797,"name":1753,"bio":1756,"country":1761,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1762},"mei-chee-seong","EC-05",{"zh":1754,"en":1755,"ja":1754,"ko":17},"梅志雄","Mei Chee-seong",{"zh":1757,"en":1758,"ja":1759,"ko":1760},"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.","マレーシアの建築家。aLM建築事務所代表、ペナンの芸術文化拠点COEXの共同創設者。20年以上にわたる建築設計の経験を持ち、コミュニティづくり、空間の改修、文化的な場の再生に長年取り組むとともに、建築を体験のプランニングへと拡張してきた。廃墟となった産業空間を芸術文化の創造拠点へと転換する取り組みを主導してCOEXをペナンの重要な文化拠点に育て上げ、マレーシアと台湾の国境を越えた芸術文化交流を積極的に推進している。","말레이시아 건축가로, aLM Architects 대표이자 페낭의 예술문화 거점 COEX의 공동 설립자다. 20년 이상의 건축 설계 경력을 바탕으로 커뮤니티 조성, 공간 개조, 문화 공간 재생에 오랫동안 힘써 왔으며, 건축을 체험 기획으로까지 확장해 왔다. 버려진 산업 공간을 예술문화 창작 공간으로 전환하는 작업을 주도하여 COEX를 페낭의 중요한 문화 거점으로 만들었으며, 말레이시아와 대만 간의 국제 예술문화 교류를 적극적으로 추진하고 있다.","馬來西亞 Malaysia",[307],{"id":1764,"slug":1765,"no":1766,"is_group":797,"name":1767,"bio":1770,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1775},161,"liao-xuan-zhen","HC-01a",{"zh":1768,"en":1769,"ja":1768,"ko":17},"廖烜榛","Liao Xuan-zhen",{"zh":1771,"en":1772,"ja":1773,"ko":1774},"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.","廖烜榛（1993、高雄）と黃奕捷（1992、台南）は2015年より共同で制作を行っている。その実践は映像、インスタレーション、公共空間への介入、コミュニティ志向のプロジェクトにわたり、社会的抵抗、歴史的記憶、世代間の対話に関心を寄せる。主な作品に〈銭江衍派〉、〈紙建築〉、〈燕子洞〉、〈民主聖殿〉などがある。横浜トリエンナーレ、マルセイユ国際映画祭、イフラヴァ国際ドキュメンタリー映画祭に参加し、桃源創作賞大賞を受賞したほか、台新芸術賞に2度ノミネートされた。","Liao Xuan-zhen(1993, 가오슝)과 Huang I-chieh(1992, 타이난)는 2015년부터 함께 작업해 왔다. 무빙 이미지, 설치, 공공 개입, 커뮤니티 기반 프로젝트를 아우르며 사회적 저항, 역사적 기억, 세대 간 대화에 주목한다. 주요 작품으로 〈첸장옌파이〉, 〈종이 건축〉, 〈제비 동굴〉, 〈민주 성전〉 등이 있다. 요코하마 트리엔날레, 마르세유 국제영화제, 이흘라바 국제다큐멘터리영화제에 참여했으며, 타오위안 창작상 대상을 수상하고 타이신 예술상 후보에 두 차례 올랐다.",[357],{"id":1777,"slug":1778,"no":1779,"is_group":797,"name":1780,"bio":1783,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1784},162,"huang-i-chieh","HC-01b",{"zh":1781,"en":1782,"ja":1781,"ko":17},"黃奕捷","Huang I-chieh",{"zh":1771,"en":1772,"ja":1773,"ko":1774},[357],{"id":1786,"slug":1787,"no":1788,"is_group":797,"name":1789,"bio":1792,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1797},163,"kuo-yu-ping","HC-02",{"zh":1790,"en":1791,"ja":1790,"ko":17},"郭俞平","Kuo Yu-ping",{"zh":1793,"en":1794,"ja":1795,"ko":1796},"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.","郭俞平の制作は、絵画、映像、インスタレーション、パフォーマンス、執筆にまたがる。近年の作品では、国境を越えて移動する女性のアイデンティティ、そして歴史のなかで見過ごされてきた女性的な声に焦点を当てている。","Kuo Yu-ping의 작업은 회화, 영상, 설치, 퍼포먼스, 글쓰기를 넘나든다. 최근 작품에서는 초국적 이동 속 여성의 정체성, 그리고 역사 속에서 간과되어 온 여성적 목소리에 주목하고 있다.",[357],{"id":1799,"slug":1800,"no":1801,"is_group":797,"name":1802,"bio":1805,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1810},164,"yang-yu-ti","HC-03",{"zh":1803,"en":1804,"ja":1803,"ko":17},"楊淯緹","Yang Yu-ti",{"zh":1806,"en":1807,"ja":1808,"ko":1809},"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.","幼児向けアートのファシリテーター、アーティスト。プロジェクト型の制作、執筆、映像、視覚芸術、アクション・パフォーマンスにわたって活動する。海と陸が交錯する空間、海上ゾミア（Maritime Zomia）、日常における心理的境界に関心を寄せ、自らの視点から社会をとらえ直し、詩的な記述と複数の物語によって現実に応答する。国家文化芸術基金会の文学創作助成を受けた。","유아 예술 퍼실리테이터이자 예술가로, 프로젝트형 작업, 글쓰기, 영상, 시각예술, 행위 퍼포먼스를 아우른다. 바다와 육지가 교차하는 공간, 해상 조미아(Maritime Zomia), 일상의 심리적 경계에 주목하며, 자신의 시선으로 사회를 다시 바라보고 시적인 서술과 다중의 서사로 현실에 응답한다. National Culture and Arts Foundation의 문학 창작 지원금을 받았다.",[357],{"id":1812,"slug":1813,"no":1814,"is_group":797,"name":1815,"bio":1818,"country":1823,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1824},165,"fang-wei-wen","GC-01",{"zh":1816,"en":1817,"ja":1816,"ko":17},"方偉文","Fang Wei-wen",{"zh":1819,"en":1820,"ja":1821,"ko":1822},"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.","1970年ブルネイ生まれ。1988年に台湾へ移住し、東海大学美術学科を卒業、国立台南芸術大学造形芸術研究所を修了。現在は台南在住。絵画とインスタレーションを手がけ、象徴的な風景によって祖国への郷愁を描くとともに、空間と言説を通して自己のアイデンティティと文化的アイデンティティを探究している。2000年には米国ロサンゼルスの18th Street Arts Centerでレジデンスに参加した。","1970년 브루나이에서 태어나 1988년 대만으로 이주했다. Tunghai University 미술학과와 Tainan National University of the Arts 조형예술대학원을 졸업했으며, 현재 타이난에 거주한다. 회화와 설치를 아우르며, 상징적인 풍경으로 고국에 대한 향수를 그려 내고 공간과 언설을 통해 자기 정체성과 문화적 정체성을 탐구한다. 2000년 미국 로스앤젤레스의 18th Street Arts Center에서 레지던시에 참여했다.","汶萊 Brunei",[405],{"id":1826,"slug":1827,"no":1828,"is_group":797,"name":1829,"bio":1832,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1837},166,"chen-yi-che","GC-02",{"zh":1830,"en":1831,"ja":1830,"ko":17},"陳毅哲","Chen Yi-che",{"zh":1833,"en":1834,"ja":1835,"ko":1836},"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.","2018年、国立台北芸術大学美術創作研究所を修了。淡水でアートプロジェクト《十八巷五号》を立ち上げ、キュレーションや民間団体との協働を通してコミュニティ実践を広げてきた。台湾各地の芸術文化シーンにおける集まりと離散に長く関心を寄せ、近年は陳孝齊とともに《異空間実践刊行物》を共同で発行し、各地の異質な空間とアーティストたちの生の実践を映像と文章で記録し続けている。現在は台北・三重の「天台工作室」を拠点に生活し、制作している。","2018년 Taipei National University of the Arts 미술창작대학원을 졸업했다. 단수이에서 예술 프로젝트 《18골목 5호》를 시작했으며, 큐레이팅과 민간 단체와의 협업을 통해 커뮤니티 실천을 넓혀 왔다. 대만 각지 예술문화 현장의 모임과 흩어짐에 오랫동안 주목해 왔으며, 최근에는 Chen Hsiao-chi와 함께 《이공간 실천 간행물》을 공동 발행하며 각지의 이질적 공간과 예술가들의 삶의 실천을 영상과 글로 꾸준히 기록하고 있다. 현재 타이베이 싼충의 「Rooftop (Tiantai) Studio」에서 생활하며 작업한다.",[405],{"id":1839,"slug":1840,"no":1841,"is_group":796,"name":1842,"bio":1845,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1850},167,"prototype-art","GC-09",{"zh":1843,"en":1844,"ja":1843,"ko":17},"原型藝術","Prototype Art",{"zh":1846,"en":1847,"ja":1848,"ko":1849},"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.","原型藝術は1998年に設立され、2005年まで運営された、台南における重要な非営利のオルタナティブ・アートスペースである。李昆霖、王邦榮、林文章、謝宏明、葉啟鋒、陳美澍によって共同で創設された。当初は青年路に置かれ、若手アーティストに制作、交流、展示のためのプラットフォームを提供した。その後、呉園（2000–2002）、大徳街（2002–2005）の時期を経て、台南における実験的芸術の発展の重要な拠点となった。","Prototype Art는 1998년에 설립되어 2005년까지 운영된 타이난의 중요한 비영리 대안 예술 공간으로, Lee Kuen-lin, Wong Bang-rong, Lin Wen-chang, Hsieh Hung-ming, Yeh Chi-feng, Chen Mei-shu가 공동으로 설립했다. 처음에는 칭녠루에 자리하여 젊은 예술가들에게 창작, 교류, 전시의 플랫폼을 제공했으며, 이후 우위안(2000–2002)과 다더제(2002–2005) 시기를 거치며 타이난 실험 예술 발전의 중요한 거점이 되었다.",[405],{"id":1852,"slug":1853,"no":1854,"is_group":797,"name":1855,"bio":1858,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1859},168,"wong-bang-rong","GC-10",{"zh":1856,"en":1857,"ja":1856,"ko":17},"王邦榮","Wong Bang-rong",{"zh":17,"en":17,"ja":17,"ko":17},[405],{"id":1861,"slug":1862,"no":1863,"is_group":797,"name":1864,"bio":1867,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1868},169,"wu-meng-chang","GC-10-03",{"zh":1865,"en":1866,"ja":1865,"ko":17},"吳孟璋","Wu Meng-chang",{"zh":17,"en":17,"ja":17,"ko":17},[405],{"id":1870,"slug":1871,"no":1872,"is_group":797,"name":1873,"bio":1876,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1877},170,"lin-hong-wen","GC-10-04",{"zh":1874,"en":1875,"ja":1874,"ko":17},"林鴻文","Lin Hong-wen",{"zh":17,"en":17,"ja":17,"ko":17},[405],{"id":1879,"slug":1880,"no":1881,"is_group":797,"name":1882,"bio":1885,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1886},171,"tang-tang-fa","GC-10-05",{"zh":1883,"en":1884,"ja":1883,"ko":17},"唐唐發","Tang Tang-fa",{"zh":17,"en":17,"ja":17,"ko":17},[405],{"id":802,"slug":1888,"no":1889,"is_group":797,"name":1890,"bio":1893,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1894},"tsui-kuang-yu","GC-10-06",{"zh":1891,"en":1892,"ja":1891,"ko":17},"崔廣宇","Tsui Kuang-yu",{"zh":17,"en":17,"ja":17,"ko":17},[405],{"id":1896,"slug":1897,"no":1898,"is_group":797,"name":1899,"bio":1902,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1903},173,"chang-hwei-lan","GC-10-07",{"zh":1900,"en":1901,"ja":1900,"ko":17},"張惠蘭","Chang Hwei-lan",{"zh":17,"en":17,"ja":17,"ko":17},[405],{"id":1905,"slug":1906,"no":1907,"is_group":797,"name":1908,"bio":1911,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1912},174,"hsu-tzu-kuey","GC-10-08",{"zh":1909,"en":1910,"ja":1909,"ko":17},"許自貴","Hsu Tzu-kuey",{"zh":17,"en":17,"ja":17,"ko":17},[405],{"id":1914,"slug":1915,"no":1916,"is_group":797,"name":1917,"bio":1920,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1921},175,"tseng-ying-tung","GC-10-09",{"zh":1918,"en":1919,"ja":1918,"ko":17},"曾英棟","Tseng Ying-tung",{"zh":17,"en":17,"ja":17,"ko":17},[405],{"id":1923,"slug":1924,"no":1925,"is_group":797,"name":1926,"bio":1929,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1930},176,"chen-chun-ming","GC-10-10",{"zh":1927,"en":1928,"ja":1927,"ko":17},"陳俊明","Chen Chun-ming",{"zh":17,"en":17,"ja":17,"ko":17},[405],{"id":1932,"slug":1933,"no":1934,"is_group":797,"name":1935,"bio":1938,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1939},177,"huang-fang-chi","GC-10-11",{"zh":1936,"en":1937,"ja":1936,"ko":17},"黃芳琪","Huang Fang-chi",{"zh":17,"en":17,"ja":17,"ko":17},[405],{"id":1941,"slug":1942,"no":1943,"is_group":797,"name":1944,"bio":1947,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1948},178,"pan-ta-chien","GC-10-12",{"zh":1945,"en":1946,"ja":1945,"ko":17},"潘大謙","Pan Ta-chien",{"zh":17,"en":17,"ja":17,"ko":17},[405],{"id":1950,"slug":1951,"no":1952,"is_group":797,"name":1953,"bio":1956,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1957},179,"lu-ming-te","GC-10-13",{"zh":1954,"en":1955,"ja":1954,"ko":17},"盧明德","Lu Ming-te",{"zh":17,"en":17,"ja":17,"ko":17},[405],{"id":1959,"slug":1960,"no":1961,"is_group":797,"name":1962,"bio":1965,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1970},180,"rahic-talif","RC-01",{"zh":1963,"en":1964,"ja":17,"ko":17},"拉黑子．達立夫","Rahic Talif",{"zh":1966,"en":1967,"ja":1968,"ko":1969},"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.","拉黑子・達立夫（Rahic Talif）は1962年、花蓮・豊浜の港口集落（Makota'ay）に生まれた。その制作は、アミ族の家族の記憶と生の経験に根ざしている。古物、流木、海洋ごみといった生活のなかの素材をしばしば用い、拾い集め、つくり変えることを通して、土地、海洋、そして環境の変化に応答する。「台風行動計画」、「五十歩の空間」からカジノキのシリーズに至るまで、行為、ドキュメント、インスタレーションによって、民族の文化、自然環境、制作のあいだの関係を探究し続けている。","Rahic Talif는 1962년 화롄 펑빈의 강커우 마을(Makota'ay)에서 태어났으며, 그의 작업은 아미족 가족의 기억과 삶의 경험에 뿌리를 두고 있다. 헌 물건, 유목, 해양 폐기물 등 생활 속 재료를 자주 사용하며, 줍고 다시 만드는 과정을 통해 땅과 바다, 환경의 변화에 응답한다. 「태풍 행동 프로젝트」, 「오십 걸음의 공간」에서 꾸지나무 연작에 이르기까지 행위, 기록, 설치를 통해 민족 문화, 자연환경, 창작 사이의 관계를 꾸준히 탐구하고 있다.",[454],{"id":1972,"slug":1973,"no":1974,"is_group":797,"name":1975,"bio":1978,"country":1983,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1984},181,"emma-buswell","RC-02",{"zh":1976,"en":1977,"ja":17,"ko":17},"艾瑪・巴斯韋爾","Emma Buswell",{"zh":1979,"en":1980,"ja":1981,"ko":1982},"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.","Emma Buswellは1991年オーストラリア生まれのアーティスト、アートワーカーであり、場所、アイデンティティ、コミュニティ、文化の政治に関心を寄せる。家族から受け継いだ編み物や手仕事の技術をもとに、オーラル・ヒストリー、地域の伝説、日常の印刷物を組み合わせ、編み物、ビーズ細工、かぎ針編みなどの手工芸を用いて、国家、階級、ジェンダー、労働の問題を探究するとともに、キッチュと文化的表象のあいだの境界を曖昧にする。","Emma Buswell은 1991년 호주에서 태어난 예술가이자 예술 노동자로, 장소, 정체성, 공동체, 문화 정치에 주목한다. 가족에게서 이어받은 뜨개질과 수공예 기술을 바탕으로 구술사, 지역 전설, 일상의 인쇄물을 결합하고, 뜨개질, 비즈 공예, 코바늘 뜨기 등의 공예 기법을 활용하여 국가, 계급, 젠더, 노동의 문제를 탐구하며 키치와 문화적 재현 사이의 경계를 흐린다.","澳洲 Australia",[454],{"id":1986,"slug":1987,"no":1988,"is_group":797,"name":1989,"bio":1992,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":1997},182,"aluaiy-kaumakan","RC-03",{"zh":1990,"en":1991,"ja":1990,"ko":17},"武玉玲","Aluaiy Kaumakan",{"zh":1993,"en":1994,"ja":1995,"ko":1996},"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.","1971年、屏東・三地門の大社集落に、パイワン族の頭目の家系に生まれる。幼い頃から伝統的な織物と装身具の技術を身につけ、八八水害の後はソフト・スカルプチャーとインスタレーションへと移行した。「纏繞」の技法によって糸、布、自然素材を組み合わせ、集落の女性たちと共同で制作しながら、民族の記憶と文化的な癒やしを織り上げていく。Pulima芸術賞大賞を受賞し、数多くの国際的なビエンナーレに参加している。","1971년 핑둥 싼디먼 다서 마을의 파이완족 족장 가문에서 태어났다. 어려서부터 전통 직조와 장신구 공예를 익혔으며, 태풍 모라꼿 피해 이후 소프트 조각과 설치로 작업의 방향을 전환했다. ‘휘감기’ 기법으로 실, 천, 자연 재료를 결합하고 마을 여성들과 함께 작업하며 민족의 기억과 문화적 치유를 엮어 낸다. Pulima 예술상 대상을 수상했으며, 다수의 국제 비엔날레에 참여했다.",[454],{"id":1999,"slug":2000,"no":2001,"is_group":797,"name":2002,"bio":2006,"country":2011,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2012},183,"sasaki-rui","RC-04",{"zh":2003,"en":2004,"ja":2005,"ko":17},"佐佐木類","Sasaki Rui","佐々木類",{"zh":2007,"en":2008,"ja":2009,"ko":2010},"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.","1984年高知県生まれ。武蔵野美術大学を卒業し、ロードアイランド・スクール・オブ・デザインでガラスの修士号を取得。自然や日常からインスピレーションを得て、ガラスのなかに植物や生活の痕跡を封じ込め、存在、記憶、ノスタルジーを探究する。植物は過去と現在をつなぐ媒体となり、個人の記憶と鑑賞者の経験を交差させ、時空を超えた感情の共鳴を生み出す。","1984년 일본 고치현에서 태어났다. 무사시노미술대학을 졸업하고 로드아일랜드 디자인 스쿨에서 유리 예술 석사 학위를 받았다. 자연과 일상에서 영감을 얻어 유리 속에 식물과 생활의 흔적을 봉인하며 존재, 기억, 노스탤지어를 탐구한다. 식물은 과거와 현재를 잇는 매개체가 되어 개인의 기억과 관람자의 경험이 만나게 하고, 시공간을 넘어서는 정서적 공명을 보여 준다.","日本 Japan",[454],{"id":2014,"slug":2015,"no":2016,"is_group":797,"name":2017,"bio":2021,"country":2011,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2026},184,"kobayashi-mariko","RC-05",{"zh":2018,"en":2019,"ja":2020,"ko":17},"小林萬里子","Kobayashi Mariko","小林万里子",{"zh":2022,"en":2023,"ja":2024,"ko":2025},"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.","1987年大阪生まれ。2012年、多摩美術大学大学院でデザインの修士号を取得。織り、染め、刺繍、絵画を融合させ、あらゆるものが共生する生命の世界を構築する。生命の循環や、人と動植物との関係に長く関心を寄せ、田園詩的な視覚言語によって生命の美しさを描き出すとともに、現代社会における人間と自然、動物とのあいだの不均衡な関係について省察する。","1987년 오사카에서 태어나 2012년 다마미술대학에서 디자인학 석사 학위를 받았다. 직조, 염색, 자수, 회화를 융합하여 만물이 공생하는 생명의 세계를 구축한다. 생명의 순환, 그리고 인간과 동식물의 관계에 오랫동안 주목해 왔으며, 전원적 시정이 풍부한 시각 언어로 생명의 아름다움을 드러내는 동시에 현대 사회에서 인간과 자연, 동물 사이의 불평등한 관계를 성찰한다.",[454],{"id":2028,"slug":2029,"no":2030,"is_group":797,"name":2031,"bio":2034,"country":1983,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2039},185,"wanapati-yunupingu","RC-06",{"zh":2032,"en":2033,"ja":17,"ko":17},"瓦納帕蒂．尤努平古","Wanapati Yunupiŋu",{"zh":2035,"en":2036,"ja":2037,"ko":2038},"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.","1989年生まれ。オーストラリアのグマッチ（Gumatj）氏族に属するヨルング（Yolŋu）のアーティストである。彼が暮らす遠隔地の集落には電力の供給も商店もなく、人々は儀礼と季節の循環に従って生活している。幼い頃から法、儀礼、芸術の伝統に親しみ、初期には樹皮画、ディジュリドゥ、中空の木柱による制作を行った。2019年からは廃棄された道路標識や金属に氏族の聖なる火の文様を刻み、祖先の物語、土地の文化、工業素材を融合させながら、ヨルングの現代美術の語彙を切り拓いている。","1989년에 태어났으며, 호주 구마치(Gumatj) 씨족에 속한 욜릉우(Yolŋu) 예술가다. 그가 사는 외딴 마을에는 전력망도 상점도 없으며, 주민들은 의례와 계절의 순환에 따라 살아간다. 어려서부터 율법, 의례, 예술의 전통 속에서 자랐으며, 초기에는 나무껍질 그림, 디저리두, 속이 빈 나무 기둥으로 작업했다. 2019년부터는 버려진 도로 표지판과 금속에 씨족의 성스러운 불 문양을 새기며, 조상의 서사와 땅의 문화, 산업 소재를 융합하여 욜릉우 동시대 미술의 어휘를 개척하고 있다.",[454],{"id":2041,"slug":2042,"no":2043,"is_group":797,"name":2044,"bio":2047,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2052},186,"yang-ming-dye","RC-07",{"zh":2045,"en":2046,"ja":2045,"ko":17},"楊明迭","Yang Ming-dye",{"zh":2048,"en":2049,"ja":2050,"ko":2051},"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.","1955年台南・佳里生まれ。国立芸術専科学校美術科を卒業し、「十青版画会」の主要メンバーである。初期には台湾の地域文化と民俗に関心を寄せ、その後渡米して彫刻を専攻した。帰国後はメディアを横断する実験に取り組み、版画を紙、ガラス、金属、空間インスタレーションと組み合わせ、平面を立体空間へと拡張させた。近年は冷光素材と印刷技術を探究し、版画の視覚的可能性を広げ続けている。","1955년 타이난 자리에서 태어났다. National Academy of Arts 미술과를 졸업했으며, ‘Ten Young Printmakers Association’의 주요 회원이다. 초기에는 대만의 지역 문화와 민속에 주목했고, 이후 미국으로 건너가 조각을 전공했다. 귀국 후 매체를 넘나드는 실험을 전개하며 판화를 종이, 유리, 금속, 공간 설치와 결합하여 평면을 입체 공간으로 확장했다. 최근에는 냉광 소재와 인쇄 기술을 탐구하며 판화의 시각적 가능성을 꾸준히 넓혀 가고 있다.",[454],{"id":2054,"slug":2055,"no":2056,"is_group":797,"name":2057,"bio":2060,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2065},187,"hsu-wu-yung","LC-01",{"zh":2058,"en":2059,"ja":2058,"ko":17},"許武勇","Hsu Wu-yung",{"zh":2061,"en":2062,"ja":2063,"ko":2064},"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.”","1920年台南生まれ、2016年没。東京帝国大学医学部を卒業し、医業のかたわら芸術制作に取り組み続けた。作品はキュビスムやシュルレアリスムなどの形式的語彙を融合させ、旅の風景をめぐる想像と台湾の地域文化の特色を取り入れることで、ロマンティックで幻想性に富んだ情趣を表現し、独自の「羅曼主義」の芸術様式を次第に確立していった。","1920년 타이난에서 태어나 2016년 세상을 떠났다. 도쿄제국대학 의학부를 졸업했으며, 의사로 활동하는 한편 예술 창작을 꾸준히 이어 갔다. 작품은 입체파와 초현실주의 등의 형식 언어를 융합하고, 여행 풍경에 대한 상상과 대만 지역 문화의 특색을 담아 낭만적이고 환상적인 정취를 드러내며, 독자적인 ‘로망주의’ 예술 양식을 점차 확립했다.",[503],{"id":2067,"slug":2068,"no":2069,"is_group":797,"name":2070,"bio":2073,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2078},188,"kuo-po-chuan","LC-02",{"zh":2071,"en":2072,"ja":2071,"ko":17},"郭柏川","Kuo Po-chuan",{"zh":2074,"en":2075,"ja":2076,"ko":2077},"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.","1901年台南生まれ、1974年没。台南美術研究会の創立会長であり、生前は台南市美術館の設立を積極的に提唱した。油彩と宣紙を融合させた制作技法によって、台湾の亜熱帯・熱帯の強烈な光と透明感を表現した。","1901년 타이난에서 태어나 1974년 세상을 떠났다. Tainan Art Research Association의 창립 회장이며, 생전에 타이난 미술관 설립을 적극적으로 주창했다. 유화와 선지를 융합한 창작 기법으로 대만의 아열대와 열대의 강렬한 빛과 투명성을 표현했다.",[503],{"id":2080,"slug":2081,"no":2082,"is_group":797,"name":2083,"bio":2086,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2091},189,"jang-bing-tang","LC-03",{"zh":2084,"en":2085,"ja":2084,"ko":17},"張炳堂","Jang Bing-tang",{"zh":2087,"en":2088,"ja":2089,"ko":2090},"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.","1928年台南生まれ、2013年没。作品にはフォーヴィスム的な色彩の気配が漂うが、そこには台南の燃えるような陽光の気配と、寺廟の要素に由来する独特の色使いがある。台南運河、寺廟、主要な文化的建築物などの風景を主題として制作した。","1928년 타이난에서 태어나 2013년 세상을 떠났다. 작품에는 야수파적 색채의 기운이 깃들어 있지만, 그 안에는 타이난의 뜨거운 햇살의 기운과 사원 요소에서 비롯된 독특한 색채가 담겨 있다. 타이난 운하, 사원, 주요 문화 건축물 등의 풍경을 주제로 작업했다.",[503],{"id":2093,"slug":2094,"no":2095,"is_group":797,"name":2096,"bio":2099,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2104},190,"kuo-bor-jou","LC-04",{"zh":2097,"en":2098,"ja":2097,"ko":17},"郭博州","Kuo Bor-jou",{"zh":2100,"en":2101,"ja":2102,"ko":2103},"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.","1960年台南生まれ。多様な形式で制作を行う。抽象作品の形式には東洋の筆墨の素養が秘められ、コラージュ作品では文化的記号を翻訳して現実の生活と融合させることで、文化が幾重にも重なり合う豊かな美を生み出している。","1960년 타이난에서 태어났으며, 다양한 형식으로 작업한다. 추상 작품의 형식에는 동양 필묵의 깊은 바탕이 스며 있고, 콜라주 작업은 문화적 기호를 번역하여 현실의 삶과 융합함으로써 풍부한 문화적 중첩의 아름다움을 만들어 낸다.",[503],{"id":2106,"slug":2107,"no":2108,"is_group":797,"name":2109,"bio":2112,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2117},191,"lee-jo-mei","LC-05",{"zh":2110,"en":2111,"ja":2110,"ko":17},"李若玫","Lee Jo-mei",{"zh":2113,"en":2114,"ja":2115,"ko":2116},"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.","1985年台北生まれ。平面のドローイングと立体の彫刻を中心に制作する。日常の経験や細部への凝視のなかから、感覚に触れる記憶の風景を見出すことを得意とする。2015年以降は自然の探究と素材の研究へと向かい、植物とその微細な形態を観察し、間近から見つめるミクロな視点によって植物の時間に対する知覚を開いていく。作品は繊細で独特な詩情をたたえている。","1985년 타이베이에서 태어났으며, 평면 드로잉과 입체 조각을 중심으로 작업한다. 일상의 경험과 세부를 응시하는 가운데 감각을 일깨우는 기억의 풍경을 찾아내는 데 능하다. 2015년부터 자연 탐구와 재료 연구로 방향을 전환하여, 식물과 그 미세한 형태를 관찰하고 가까이에서 들여다보는 미시적 시선을 통해 식물의 시간에 대한 감각을 열어 간다. 작품은 섬세하고 독특한 시정을 드러낸다.",[503],{"id":2119,"slug":2120,"no":2121,"is_group":797,"name":2122,"bio":2125,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2130},192,"chen-yen-yi","LC-06a",{"zh":2123,"en":2124,"ja":2123,"ko":17},"陳妍伊","Chen Yen-yi",{"zh":2126,"en":2127,"ja":2128,"ko":2129},"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.","陳妍伊（1977- ）、高雄生まれ。台南「絶対空間」の共同発起人の一人。近年は、妊娠した身体や子どもの成長がもたらす生の経験に関心を寄せている。蜜蝋と電子部品を素材とし、ミツバチと協働して制作することで、急激な環境の変化のなかで生命をつなぐ可能性を見出そうとする強靭さを表現している。","Chen Yen-yi(1977- )는 가오슝에서 태어났으며, 타이난 ‘절대공간’의 공동 설립자 중 한 명이다. 최근에는 임신한 몸과 아이의 성장이 가져다주는 삶의 경험에 주목하고 있다. 밀랍과 전자 부품을 재료로 꿀벌과 협업하며, 급변하는 환경 속에서 생명을 이어 갈 가능성을 절실히 찾고자 하는 강인함을 표현한다.",[503],{"id":2132,"slug":2133,"no":2134,"is_group":797,"name":2135,"bio":2138,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2143},193,"huang-yi-min","LC-06b",{"zh":2136,"en":2137,"ja":2136,"ko":17},"黃逸民","Huang Yi-Min",{"zh":2139,"en":2140,"ja":2141,"ko":2142},"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.","黃逸民（1976-）、台中生まれ。現在、台南「絶対空間」の代表を務める。その表現は、内面における自己の葛藤と外部の戦争、そして地域の信仰とともに育った経験を含んでいる。おもちゃの模型や台南の地域の寺廟建築から着想を得て、廃材の発泡スチロール、木片、空気で膨らませる帆布を用い、重いものを軽やかに扱うような、軽快でユーモアのある作品世界を生み出している。","Huang Yi-Min(1976-)은 타이중에서 태어났으며, 현재 타이난 ‘절대공간’의 대표다. 내면의 자기 갈등과 외부의 전쟁, 지역 신앙 속에서 성장한 경험을 작업으로 표현한다. 장난감 모형과 타이난 지역 사원 건축에서 영감을 얻어, 재활용 스티로폼, 나무 블록, 공기 주입식 캔버스를 활용하여 무거운 것을 가볍게 다루는 경쾌하고 유머러스한 작품 세계를 보여 준다.",[503],{"id":2145,"slug":2146,"no":2147,"is_group":797,"name":2148,"bio":2151,"country":2156,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2157},194,"tsherin-sherpa","LC-07",{"zh":2149,"en":2150,"ja":17,"ko":17},"才仁．夏爾帕","Tsherin Sherpa",{"zh":2152,"en":2153,"ja":2154,"ko":2155},"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.","1968年ネパール生まれ。台湾に留学した後、米国に移住した。タンカ絵画の訓練を受けた経歴を持ち、チベット仏教の図像をポップアートの語彙によって変換し、独自の現代美術の特色を打ち出している。近年の彫刻作品では、ネパールの伝統的な職人と協働して鍍金銅彫刻の技法を用い、伝統工芸を新たな芸術言語へと転換している。","1968년 네팔에서 태어나 대만에서 유학한 뒤 미국으로 이주했다. 탕카 회화 수련을 바탕으로 티베트 불교의 도상을 팝아트의 어휘로 변환하여 독자적인 동시대 미술의 특색을 보여 준다. 최근의 조각 작품에서는 네팔 전통 장인들과 협업하여 도금 청동 조각 기법을 활용해 전통 공예를 새로운 예술 언어로 전환하고 있다.","尼泊爾 Nepal",[503],{"id":2159,"slug":2160,"no":2161,"is_group":797,"name":2162,"bio":2165,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2170},195,"jam-wu","LC-08",{"zh":2163,"en":2164,"ja":2163,"ko":17},"吳耿禎","Jam Wu",{"zh":2166,"en":2167,"ja":2168,"ko":2169},"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.","1979年台南生まれ。長年にわたり切り紙を制作の媒体とし、窓花、祭礼、寺廟、多様な文化を融合させながら、現代の切り紙を台湾の新たな文化的語彙として「逆植え」することを試みている。帰郷後は「剪紙合作社」を推進し、地域の女性たちを招いて共同制作を行っている。近年はオーストロネシア文化と先住民の織物の伝統をさらに深く探究し、切り紙がいかに土地に根を下ろし、台湾自身の文化のかたちを形づくりうるかを考え続けている。","1979년 타이난에서 태어났다. 오랫동안 페이퍼 커팅을 작업 매체로 삼아 창문 장식, 명절, 사원, 다양한 문화를 융합하며, 동시대 페이퍼 커팅을 대만의 새로운 문화 어휘로 ‘역으로 심는’ 것을 시도해 왔다. 고향으로 돌아온 뒤에는 ‘페이퍼 커팅 협동조합’을 추진하며 지역 여성들과 함께 작업했다. 최근에는 오스트로네시아 문화와 원주민 직조 전통을 더욱 깊이 탐구하며, 페이퍼 커팅이 어떻게 땅에 뿌리내리고 대만 고유의 문화적 모습을 형성할 수 있는지를 꾸준히 모색하고 있다.",[503],{"id":2172,"slug":2173,"no":2174,"is_group":797,"name":2175,"bio":2178,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2183},196,"yang-chi-chuan","LC-09",{"zh":2176,"en":2177,"ja":2176,"ko":17},"楊季涓","Yang Chi-chuan",{"zh":2179,"en":2180,"ja":2181,"ko":2182},"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.","1985年台北生まれ。彫刻と空間インスタレーションによって、生活、家族、政治、都市環境、文化の肌理を探究する。自作のオブジェに大胆な余白を組み合わせることが多く、空間に点在するオブジェは、詩の短いフレーズや改行、イメージの飛躍のように鑑賞者をその間へと導き、軽快な物語のリズムのなかで、静謐でありながら余韻に富んだ鑑賞体験をもたらす。","1985년 타이베이에서 태어났으며, 조각과 공간 설치를 통해 삶, 가족, 정치, 도시 환경, 문화의 결을 탐구한다. 직접 만든 오브제에 넉넉한 여백을 곁들이는 경우가 많으며, 공간 곳곳에 흩어진 오브제들은 시의 짧은 구절, 행갈이, 이미지의 도약처럼 관객을 그 사이로 이끈다. 관객은 경쾌한 서사의 리듬 속에서 차분하면서도 여운이 깊은 관람 경험을 하게 된다.",[503],{"id":2185,"slug":2186,"no":2187,"is_group":797,"name":2188,"bio":2191,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2196},197,"chiu-kuo-chun","LC-10",{"zh":2189,"en":2190,"ja":2189,"ko":17},"邱國峻","Chiu Kuo-chun",{"zh":2192,"en":2193,"ja":2194,"ko":2195},"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.","1968年台北生まれ、現在は台南在住。近年は台湾の民間信仰を制作の主題とし、寺廟の伝統的な刺繍から着想を得て、「両面刺繍」の技法を用いたシリーズを展開している。また、台南の産業の変遷にも関心を寄せ、廃墟のイメージと神仙の刺繍を組み合わせることで、現代社会の急速な変化と価値の崩壊のもとで、信仰や心のよりどころが次第に失われていく状況を問いかける。","1968년 타이베이에서 태어나 현재 타이난에 정착해 살고 있다. 최근에는 대만의 민속 신앙을 작업의 주제로 삼아 사원의 전통 자수에서 착안하여 ‘양면 자수’ 기법으로 연작을 전개하고 있다. 또한 타이난 산업의 변천에도 주목하여 폐허의 이미지와 신선 자수를 결합함으로써, 동시대 사회의 급격한 변화와 가치의 붕괴 속에서 신앙과 정신적 의지처가 점차 사라져 가는 상황을 묻는다.",[503],{"id":2198,"slug":2199,"no":2200,"is_group":797,"name":2201,"bio":2204,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2209},198,"chang-wei-yuan","LC-11",{"zh":2202,"en":2203,"ja":2202,"ko":17},"張維元","Chang Wei-yuan",{"zh":2205,"en":2206,"ja":2207,"ko":2208},"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.","1987年台北生まれ。主に岩彩（膠彩）を制作の媒体とする。近年は民間の伝統劇、信仰文化、刺繍、切り紙から着想を得て、東洋の画材がもつ集散、虚実の空間概念と精神性を融合させている。画面ではしばしば白黒の輪郭線によって人物を際立たせ、絢爛で豊かな色彩とリズムのなかに、民間文化のイメージに富んだ鮮烈な視覚スタイルを形づくっている。","1987년 타이베이에서 태어났으며, 주로 암채(교채)를 작업 매체로 사용한다. 최근에는 민간 전통극, 신앙 문화, 자수, 페이퍼 커팅에서 영감을 받아 동양 매체의 모임과 흩어짐, 허와 실의 공간 개념과 정신성을 융합하고 있다. 화면에서는 흑백 윤곽선으로 인물을 부각하는 경우가 많으며, 다채롭고 풍성한 색채와 리듬 속에서 민간 문화의 이미지가 풍부한 선명한 시각 양식을 형성한다.",[503],{"id":2211,"slug":2212,"no":2213,"is_group":797,"name":2214,"bio":2217,"country":2222,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2223},199,"sharbendu-de","LC-12",{"zh":2215,"en":2216,"ja":17,"ko":17},"夏本度．德","Sharbendu De",{"zh":2218,"en":2219,"ja":2220,"ko":2221},"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.","1978年インド生まれ。英国ウェストミンスター大学でフォトジャーナリズムの修士号を取得。アーティスト、作家、研究者という複数の顔を持ち、長年にわたり「人の帰属意識」に関心を寄せてきた。成長の過程で友人たちが次々と故郷を離れていくのを目の当たりにし、自らも英国に留学したのち、長く故郷を離れて働き、暮らしてきた。こうした経験から、故郷について、そして都市、政策、環境の変化が人と土地とのつながりにいかに影響を及ぼすのかについて、改めて考えるようになった。","1978년 인도에서 태어나 영국 웨스트민스터 대학교에서 포토저널리즘 석사 학위를 받았다. 예술가, 작가, 학자의 정체성을 함께 지니며, 오랫동안 ‘인간의 소속감’에 주목해 왔다. 성장 과정에서 친구들이 하나둘 고향을 떠나는 모습을 지켜보았고, 자신도 영국으로 유학을 떠난 뒤 오랫동안 고향 밖에서 일하며 살았다. 이러한 경험은 그로 하여금 고향에 대해, 그리고 도시와 정책, 환경 변화가 사람과 땅의 연결에 어떤 영향을 미치는지를 다시 생각하게 했다.","印度 India",[503],{"id":114,"slug":2225,"no":2226,"is_group":796,"name":2227,"bio":2231,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2236},"tainan-community-university","LC-13",{"zh":2228,"en":2229,"ja":2230,"ko":17},"臺南社區大學","Tainan Community University","台南コミュニティ大学",{"zh":2232,"en":2233,"ja":2234,"ko":2235},"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.","2001年設立。社団法人台南市社区大学研究発展学会が設置する学術団体であり、人文・芸術、言語・文化、生命・健康など六つの学習プログラムを通して、市民の生涯学習を推進している。今回のビエンナーレでは、理事長の張駿業が創作プロジェクトを構想・発起し、社区大学の講座「油彩・心の印象」による集団的な実践を通して、都市生活と芸術の公共性をめぐる問題に応答する。","2001년에 설립되었으며, Tainan Community University Research and Development Association이 설립 등록한 학술 단체다. 인문 예술, 언어 문화, 생명 건강 등 6대 학습 과정을 통해 시민의 평생 학습을 추진한다. 이번 비엔날레에서는 이사장 Chang Chun-yeh가 창작 프로젝트를 구상하고 발의했으며, 커뮤니티 대학의 「유화, 마음의 인상」 강좌의 집단적 실천을 통해 도시 생활과 예술의 공공성에 관한 문제에 응답한다.",[503],{"id":2238,"slug":2239,"no":2240,"is_group":797,"name":2241,"bio":2244,"country":2249,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2250},201,"peter-baran","LC-14",{"zh":2242,"en":2243,"ja":17,"ko":17},"彼得．巴蘭","Peter Baran",{"zh":2245,"en":2246,"ja":2247,"ko":2248},"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.","1993年スロバキア生まれ。セメントを主な素材として彫刻とインスタレーションを制作する。作家にとってコンクリートは単なる芸術の媒体ではなく、より重要なのはそれが担う意味である。世界で最も広く使われ、近代性を深く規定してきた人工素材として、コンクリートは私たちの景観、都市、建築、インフラ、そして日常生活を形づくり、建設し、変容し、成長しようとする人間の欲望を体現している。","1993년 슬로바키아에서 태어났으며, 시멘트를 주재료로 조각과 설치 작업을 한다. 작가에게 콘크리트는 단순한 예술 매체가 아니며, 더 중요한 것은 그것이 담고 있는 의미다. 전 세계에서 가장 널리 사용되고 근대성을 깊이 규정해 온 인공 재료로서 콘크리트는 우리의 경관, 도시, 건축, 기반 시설, 일상생활을 형성해 왔으며, 짓고 변화하고 성장하려는 인간의 욕망을 구현한다.","斯洛伐克 Slovakia",[503],{"id":2252,"slug":2253,"no":2254,"is_group":797,"name":2255,"bio":2258,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2263},202,"tuan-mami","MC-01",{"zh":2256,"en":2257,"ja":17,"ko":17},"阮英俊","Tuan Mami",{"zh":2259,"en":2260,"ja":2261,"ko":2262},"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.","1981年ベトナム・ハノイ生まれ。ハノイ美術大学を卒業し、現在もハノイを拠点とする。サイトスペシフィック・インスタレーション、映像、パフォーマンス、コンセプチュアル・アートにわたって制作し、社会的なリサーチを通して日常生活、移民、環境の問題に目を向け、詩的な手法で文化的記憶とコミュニティの経験を表現する。アート・オーガナイズにも積極的に取り組み、現在は実験的アートスペースÁ Spaceの共同創設者兼アーティスティック・ディレクターを務める。","1981년 베트남 하노이에서 태어나 하노이 미술대학을 졸업했으며, 현재 하노이에 거주한다. 장소 특정적 설치, 영상, 퍼포먼스, 개념 미술을 넘나들며, 사회적 리서치를 통해 일상생활, 이주, 환경 문제에 주목하고 시적인 방식으로 문화적 기억과 공동체의 경험을 드러낸다. 예술 조직 활동에도 적극적으로 참여하고 있으며, 현재 실험 예술 공간 Á Space의 공동 설립자이자 예술감독이다.",[552],{"id":2265,"slug":2266,"no":2267,"is_group":797,"name":2268,"bio":2271,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2276},203,"sugihara-nobuyuki","MC-02a",{"zh":2269,"en":2270,"ja":2269,"ko":17},"杉原信幸","Sugihara Nobuyuki",{"zh":2272,"en":2273,"ja":2274,"ko":2275},"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.","杉原信幸は1980年、長野県大町市生まれ。東京藝術大学大学院油画専攻修士課程修了。自然環境と原初の文化を出発点とし、滞在型のリサーチを通して、石、木、土、草、縄などの自然素材を用いた大規模なインスタレーションやコミュニティとの共同制作を行う。台湾、東南アジア、カナダで先住民族の文化の研究を長年続け、2010年からは「信濃の国 原始感覚美術祭」を企画・運営している。","Sugihara Nobuyuki는 1980년 일본 나가노현 오마치시에서 태어났으며, 도쿄예술대학에서 유화 석사 과정을 마쳤다. 자연환경과 원초적 문화에서 출발하여, 현지 체류 리서치를 통해 돌, 나무, 흙, 풀, 새끼줄 등의 천연 재료로 대규모 설치 작업과 공동체 협업 작업을 진행한다. 대만, 동남아시아, 캐나다에서 오랫동안 원주민 문화를 연구해 왔으며, 2010년부터 ‘시나노노쿠니 원시감각 미술제’를 기획·운영하고 있다.",[552],{"id":2278,"slug":2279,"no":2280,"is_group":797,"name":2281,"bio":2284,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2289},204,"nakamura-ayaka","MC-02b",{"zh":2282,"en":2283,"ja":2282,"ko":17},"中村綾花","Nakamura Ayaka",{"zh":2285,"en":2286,"ja":2287,"ko":2288},"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.","中村綾花は1982年、沖縄県生まれ。信州大学農学部を卒業。イチゴ栽培に従事した後、アート制作へと転じ、独自のオリジナル帽子作品を主な実践としている。2019年から「信濃の国 原始感覚美術祭」のコーディネーターを、2026年からはNPO法人「原始感覚舎」の副理事長を務める。","Nakamura Ayaka는 1982년 일본 오키나와현에서 태어나 신슈대학 농학부를 졸업했다. 딸기 재배에 종사하다가 예술 창작으로 전향했으며, 독창적인 모자 작품을 주요 실천으로 삼고 있다. 2019년부터 ‘시나노노쿠니 원시감각 미술제’의 코디네이터를, 2026년부터 비영리 단체 ‘Primitive Sense Company’의 부이사장을 맡고 있다.",[552],{"id":2291,"slug":2292,"no":2293,"is_group":797,"name":2294,"bio":2297,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2302},221,"tok-yu-xiang","MC-04",{"zh":2295,"en":2296,"ja":2295,"ko":17},"卓俞翔","Tok Yu-xiang",{"zh":2298,"en":2299,"ja":2300,"ko":2301},"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.","1983年シンガポール生まれ、台南在住。シンガポールのラサール芸術大学を卒業し、国立台南芸術大学応用芸術研究所を修了。長年にわたり陶磁を主な媒体とし、インスタレーション、彫刻、素材の実験へと領域を広げながら、物質の背後にある文化的・社会的な意味に目を向けている。各国でのレジデンスや展覧会に参加し、陶磁の実践から、商業、原料、新自由主義などの問題へと考察を広げている。","1983년 싱가포르에서 태어나 현재 타이난에 거주한다. 싱가포르 라살 예술대학과 Tainan National University of the Arts 응용예술대학원을 졸업했다. 오랫동안 도자를 주요 매체로 삼아 설치, 조각, 재료 실험으로 작업을 확장해 왔으며, 물질 이면의 문화적·사회적 의미에 주목한다. 여러 나라에서 레지던시와 전시에 참여했으며, 도자 실천에서 출발하여 상업, 원료, 신자유주의 등의 문제를 탐구한다.",[552],{"id":2304,"slug":2305,"no":2306,"is_group":797,"name":2307,"bio":2310,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2315},205,"marcos-kueh","MC-05",{"zh":2308,"en":2309,"ja":2308,"ko":17},"郭晟邦","Marcos Kueh",{"zh":2311,"en":2312,"ja":2313,"ko":2314},"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.","1995年マレーシア・サラワク生まれ、オランダ・ハーグ在住。ハーグ王立美術アカデミーを卒業。テキスタイルを主な媒体とし、ボルネオの伝統的な織物と自身の成長の経験を出発点に、植民地の歴史、アイデンティティ、文化的表象を探究する。近年はディアスポラ、労働、テキスタイル生産に焦点を当て、ヨーロッパの産業の現場で働く移民としての自身の経験と結びつけて制作を展開している。","1995년 말레이시아 사라왁에서 태어나 현재 네덜란드 헤이그에 거주하며, 헤이그 왕립예술학교를 졸업했다. 직물을 주요 매체로 삼아 보르네오의 전통 직조와 성장 경험에서 출발하여 식민 역사, 정체성, 문화적 재현을 탐구한다. 최근에는 디아스포라, 노동, 직물 생산에 초점을 맞추며, 유럽의 산업 현장에서 일한 자신의 이주 경험을 결합하여 작업을 전개하고 있다.",[552],{"id":2317,"slug":2318,"no":2319,"is_group":797,"name":2320,"bio":2324,"country":2011,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2329},116,"sou-fujimoto","EC-01",{"zh":2321,"en":2322,"ja":2323,"ko":17},"藤本壯介","Sou Fujimoto","藤本壮介",{"zh":2325,"en":2326,"ja":2327,"ko":2328},"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.”","1971年北海道生まれ。1994年東京大学工学部建築学科卒業。開かれた、透明感のある美学で知られる。2013年に英国のサーペンタイン・ギャラリー・パビリオン（Serpentine Pavilion）を設計し、国際的な評価を確立した。2025年には大阪・関西万博の会場デザインプロデューサーを務め、全長2kmを超える巨大な木造の「大屋根リング」（Grand Ring）によって各国のパビリオンをつなぎ、多様なものが一つに合流するという理念を形にした。","1971년 일본 홋카이도에서 태어나 1994년 도쿄대학 공학부 건축학과를 졸업했으며, 개방적이고 투명한 미학으로 잘 알려져 있다. 2013년 영국 서펜타인 갤러리 파빌리온(Serpentine Pavilion)을 설계하며 국제적 위상을 확립했다. 2025년에는 오사카·간사이 엑스포의 회장 디자인 프로듀서를 맡아, 2km 넘게 이어지는 거대한 목조 구조물 ‘대지붕 링’(Grand Ring)으로 각국 전시관을 연결하며 다양성이 하나로 모이는 이념을 구현했다.",[307],{"id":2331,"slug":2332,"no":2333,"is_group":797,"name":2334,"bio":2337,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2342},206,"liang-jen-hung","RC-08",{"zh":2335,"en":2336,"ja":2335,"ko":17},"梁任宏","Liang Jen-hung",{"zh":2338,"en":2339,"ja":2340,"ko":2341},"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.","1957年台南・安定生まれ。台南芸術学院造形芸術研究所を修了。ミクストメディア、鋼鉄の溶接、環境インスタレーションにわたって制作する。長年にわたり高雄と台南を行き来してきた生活の経験が、制作の糧となっている。そのキネティック・スカルプチャーは、工業、宗教、自然、生命の要素を融合させ、機械の動きと鑑賞者とのインタラクションを通して、社会的な感情や生命の問題を探究し、機械と人間性のあいだに対話を築く。","1957년 타이난 안딩에서 태어나 Tainan National University of the Arts 조형예술대학원을 졸업했으며, 복합 매체, 철강 용접, 환경 설치를 아우르는 작업을 한다. 오랫동안 가오슝과 타이난을 오가며 생활한 경험이 작업의 자양분이 되었다. 그의 키네틱 조각은 산업, 종교, 자연, 생명의 요소를 융합하고, 기계의 움직임과 관객과의 상호작용을 통해 사회적 정서와 삶의 문제를 탐구하며, 기계와 인간성 사이에 대화를 구축한다.",[454],{"id":2344,"slug":2345,"no":2346,"is_group":796,"name":2347,"bio":2350,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2355},207,"small-things-news","GC-03",{"zh":2348,"en":2349,"ja":2348,"ko":17},"小事報團隊","Small Things News",{"zh":2351,"en":2352,"ja":2353,"ko":2354},"「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.","「小事報」は2019年に設立され、これまでに小学生を対象とした流域編集キャンプを6回開催してきた。現地踏査と紙の新聞の編集を方法として、曽文渓流域の地域の知と文化的風景をつないでいる。「NaNaNews—七条通新聞社」は台南府城に焦点を当て、7人のコアメンバーで構成され、取材、編集、映像によって地域の物語を記録し続けている。","「Small Things News」는 2019년에 설립되어 지금까지 여섯 차례의 초등학생 유역 편집 캠프를 개최했으며, 현장 답사와 종이 신문 편집을 방법으로 삼아 쩡원강 유역의 지역 지식과 문화 풍경을 연결해 왔다. 「NaNaNews—7번가 신문사」는 타이난 구도심에 초점을 맞추며, 일곱 명의 핵심 멤버로 구성되어 취재, 편집, 영상으로 지역의 이야기를 꾸준히 기록하고 있다.",[405],{"id":2357,"slug":2358,"no":2359,"is_group":796,"name":2360,"bio":2364,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2369},208,"the-third-act-collection","GC-06",{"zh":2361,"en":2362,"ja":2363,"ko":17},"大女Style聚落","The Third Act Collection","サードライフコミュニティ",{"zh":2365,"en":2366,"ja":2367,"ko":2368},"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.","メンバー：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、南芸大材質創作・デザイン学科繊維専攻、サードライフコミュニティ\n\n「サードライフコミュニティ」は「多加思所」の創設者・李秀蘭が立ち上げた、50歳以上の女性のためのシェアスペースであり、第三の人生を実践するためのプラットフォームである。国立台南芸術大学応用芸術研究所は素材と工芸を核としており、今回は教員と学生がコミュニティと協働し、ファイバーアート、女性のエンパワーメント、コミュニティでの共同制作を組み合わせ、地域の生活経験を出発点として、女性、文化の継承、社会参加といった問題に応答する。","멤버: 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, TNNUA 재질창작디자인학과 섬유 전공, 제3인생촌\n\n‘제3인생촌’은 ‘Do+T’의 설립자 Li Hsiu-lan이 시작한, 50세 이상 여성을 위한 공유 공간이자 제3의 인생을 실천하는 플랫폼이다. Tainan National University of the Arts 응용예술대학원은 재료 공예를 핵심으로 하며, 이번에는 교수진과 학생들이 제3인생촌과 협업하여 섬유 창작, 여성 역량 강화, 공동체 공동 창작을 결합하고, 지역의 생활 경험에서 출발해 여성, 문화 전승, 사회 참여 등의 문제에 응답한다.",[405],{"id":2371,"slug":2372,"no":2373,"is_group":796,"name":2374,"bio":2377,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2382},209,"geng-pin-landscape-design","LC-15",{"zh":2375,"en":2376,"ja":2375,"ko":17},"耕品景觀設計","Geng Pin Landscape Design",{"zh":2378,"en":2379,"ja":2380,"ko":2381},"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.","耕品景観有限公司は2020年に台南で創立され、ランドスケープの設計と施工を専門とする。創造性と実務を結びつけ、美しさと個性を兼ね備えた空間をつくり出している。懐かしさやレトロな要素から着想を得ることを得意とし、既存の素材がもつ独自の価値を引き出して、古いものに新たな命を吹き込む。若く活気あるチームが職人精神を貫き、一つひとつのランドスケープを心を込めてつくり上げている。","Geng Pin Landscape Design은 2020년 타이난에서 설립되어 조경 설계와 시공에 주력하며, 창의성과 실무를 결합하여 아름다움과 개성을 겸비한 공간을 만든다. 향수를 자아내는 복고적 요소에서 영감을 얻는 데 능하며, 기존 재료가 지닌 고유한 가치를 살려 오래된 물건에 새로운 생명을 불어넣는다. 젊고 활기찬 팀은 장인 정신을 바탕으로 모든 조경 공간을 정성껏 만들어 간다.",[503],{"id":2384,"slug":2385,"no":2386,"is_group":797,"name":2387,"bio":2390,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2395},210,"hao-wen-sin","HC-05a",{"zh":2388,"en":2389,"ja":2388,"ko":17},"郝渂心","Hao Wen-sin",{"zh":2391,"en":2392,"ja":2393,"ko":2394},"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.","郝渂心は国立台北芸術大学美術学科を卒業し、現在は国立高雄師範大学跨領域芸術研究所に在籍している。流動的な生のあり方や、コミュニティと組織のあいだのネットワーク関係に関心を寄せる。","Hao Wen-sin은 Taipei National University of the Arts 미술학과를 졸업하고 현재 National Kaohsiung Normal University 학제간 예술대학원에 재학 중이다. 유동적인 삶의 양태와 공동체 및 조직 간의 네트워크 관계에 주목한다.",[357],{"id":2397,"slug":2398,"no":2399,"is_group":797,"name":2400,"bio":2403,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2408},211,"cai-ya-zhu","HC-05b",{"zh":2401,"en":2402,"ja":2401,"ko":17},"蔡蕥竹","Cai Ya-zhu",{"zh":2404,"en":2405,"ja":2406,"ko":2407},"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.","蔡蕥竹は高雄出身。国立台南芸術大学芸術史学科を卒業し、現在は国立高雄師範大学跨領域芸術研究所に在籍している。現在の関心は、台湾のアート界における新たな制作のかたち、すなわちリサーチ型の制作にある。","Cai Ya-zhu는 가오슝 출신으로, Tainan National University of the Arts 예술사학과를 졸업하고 현재 National Kaohsiung Normal University 학제간 예술대학원에 재학 중이다. 현재 대만 미술계의 새로운 창작 방식인 리서치 기반 창작에 주목하고 있다.",[357],{"id":2410,"slug":2411,"no":2412,"is_group":796,"name":2413,"bio":2416,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2421},212,"ncku-echo","HC-05c",{"zh":2414,"en":2415,"ja":2414,"ko":17},"迴聲社造","NCKU ECHO",{"zh":2417,"en":2418,"ja":2419,"ko":2420},"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.","迴聲社造は、国立成功大学の学生たちが2021年から三寮湾と蘆竹溝で定期的なフィールド調査を行い、地域の知と記憶を小学生向けのキャンプ、地域の刊行物、アクション型の展示へと変換してきた団体である。2025年には風水害を機に北門のほかの集落にも深く入り込み、住民と力を合わせて保存と修復に取り組みながら、地域の物語を語り伝えている。","NCKU ECHO는 National Cheng Kung University 학생들이 2021년부터 싼랴오완과 루주거우에서 정기적인 현장 조사를 진행하며 지역의 지식과 기억을 초등학생 캠프, 지역 간행물, 행동 전시로 전환해 온 그룹이다. 2025년에는 태풍 피해를 계기로 베이먼의 다른 마을로 깊이 들어가 주민들과 함께 보존과 복원에 힘쓰며 마을의 이야기를 전하고 있다.",[357],{"id":2423,"slug":2424,"no":2425,"is_group":797,"name":2426,"bio":2429,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2434},121,"wu-yu-han","HC-04a",{"zh":2427,"en":2428,"ja":2427,"ko":17},"吳語涵","Wu Yu-han",{"zh":2430,"en":2431,"ja":2432,"ko":2433},"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.","吳語涵は1993年台湾生まれ。国立高雄師範大学美術学科修士課程を修了し、現在は同大学跨領域芸術研究所に在籍している。生の経験と家族の歴史を出発点に、流域、地域の記憶、エスニック・グループの歴史に関心を寄せる。2024年に福安坑渓のウォーキング・リサーチに参加して以来、家族史とフィールド調査に取り組み、母方の客家の祖先の家にまつわる歴史を辿るとともに、台湾のパゼッヘ族に関わる問題へと探究を広げている。","Wu Yu-han은 1993년 대만에서 태어나 National Kaohsiung Normal University 미술학과 석사과정을 졸업했으며, 현재 같은 대학 학제간 예술대학원에 재학 중이다. 삶의 경험과 가족사에서 출발하여 유역, 지역의 기억, 종족의 역사에 주목한다. 2024년 푸안컹강 걷기 답사에 참여한 이후 가족사와 현장 연구를 시작했으며, 외가 하카 조상 가옥의 역사를 추적하고 대만 파제족 원주민과 관련된 문제로 탐구를 확장하고 있다.",[357],{"id":2436,"slug":2437,"no":2438,"is_group":797,"name":2439,"bio":2442,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2447},122,"shen-kung-hung","HC-04b",{"zh":2440,"en":2441,"ja":2440,"ko":17},"沈肱泓","Shen Kung-hung",{"zh":2443,"en":2444,"ja":2445,"ko":2446},"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.","沈肱泓は台湾の美術班制度のなかで育ち、国立台北芸術大学美術学科彫刻専攻を卒業した。現在は国立高雄師範大学跨領域芸術研究所に在籍し、中等教育課程も履修している。現在の制作の核心は美術制度における政治的介入の要因に置かれており、作品中心・展覧会中心の芸術実践のあり方から自らを解き放つことを目指している。","Shen Kung-hung은 대만의 미술반 제도 속에서 교육을 받았으며, Taipei National University of the Arts 미술학과 조소 전공을 졸업했다. 현재 National Kaohsiung Normal University 학제간 예술대학원에 재학하며 중등교육 과정을 이수하고 있다. 현재 작업의 핵심은 미술 제도 속 정치적 개입 요인에 맞춰져 있으며, 작품 중심·전시 중심의 예술 실천 방식에서 벗어나고자 한다.",[357],{"id":2449,"slug":2450,"no":2451,"is_group":797,"name":2452,"bio":2455,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2460},213,"working-hard-kuo-po-yu-she-wen-ying","GC-05",{"zh":2453,"en":2454,"ja":2453,"ko":17},"太認真（郭柏俞、佘文瑛）","Working Hard (Kuo Po-yu, She Wen-ying)",{"zh":2456,"en":2457,"ja":2458,"ko":2459},"「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.","「太認真」は郭柏俞と佘文瑛によって2015年に結成され、台湾・台南を拠点に生活し、制作している。フィールド・リサーチ、サウンド、空間インスタレーションを組み合わせた制作において、彼らは芸術を、地域の移民コミュニティとの対話と学びを築くための方法としている。日常生活の経験に由来する多様な素材を試み、さまざまな産業や工法と協働しながら、没入的でサイトスペシフィックな体験をもたらす空間インスタレーションを生み出している。","「Working Hard」는 Kuo Po-yu와 She Wen-ying이 2015년에 결성한 그룹으로, 현재 대만 타이난에서 거주하며 작업한다. 현장 연구, 사운드, 공간 설치를 결합한 작업에서 이들은 예술을 지역 이주민 공동체와 대화하고 함께 배우는 방법으로 삼는다. 일상의 경험에서 비롯된 다양한 재료를 시도하고 여러 산업 및 공법과 협업하여 몰입적이고 장소 특정적인 경험을 선사하는 공간 설치 작품을 만들어 낸다.",[405],{"id":2462,"slug":2463,"no":2464,"is_group":797,"name":2465,"bio":2468,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2473},214,"tsai-wei-jen","TC-07",{"zh":2466,"en":2467,"ja":2466,"ko":17},"蔡濰任","Tsai Wei-jen",{"zh":2469,"en":2470,"ja":2471,"ko":2472},"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.","台南在住。民俗信仰と日常生活から制作のインスピレーションを得ている。台湾の遶境、焚香、祭礼といった儀礼文化に関心を寄せる。誇張され変形した身体、緻密な文様、神々のイメージを通して、民間信仰の視覚言語を流用・再構築し、聖と俗、虚実と現実を織り交ぜることを得意とする。その制作は文化的記憶の再コード化ともいえるものであり、伝統を現代の言語へと翻訳し、地域文化における霊性とアイデンティティを探る。","타이난에 거주하며, 민속 신앙과 일상생활에서 작업의 영감을 얻는다. 대만의 순례, 분향, 축제 등 의례 문화에 주목한다. 과장되게 변형된 신체, 정교하고 화려한 문양, 신의 이미지를 통해 민간 신앙의 시각 언어를 차용하고 재구성하며, 성과 속, 허실과 현실을 교차시키는 데 능하다. 그의 작업은 문화적 기억을 새롭게 코드화하는 일과 같으며, 전통을 동시대의 언어로 번역하여 지역 문화 속 영성과 정체성을 탐색한다.",[],{"id":2475,"slug":2476,"no":2477,"is_group":796,"name":2478,"bio":2481,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2486},215,"new-phase-art-space","GC-11",{"zh":2479,"en":2480,"ja":2479,"ko":17},"新生態藝術環境","New Phase Art Space",{"zh":2482,"en":2483,"ja":2484,"ko":2485},"「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.","「新生態藝術環境」は1992年、杜昭賢によって台南に創設された。ギャラリー、劇場、書店、カフェ、講座などの多様な空間を併せ持ち、現代美術と実験的な創作を推進した。1996年に民権路へ移転し、1999年に運営を終了した。その後も杜昭賢は都市のアートに携わり続け、海安路のアートストリート事業に参加したほか、加力画廊とB.B.ARTを相次いで創設した。","「New Phase Art Space」는 1992년 Jamie Tu가 타이난에 설립한 공간으로, 갤러리, 극장, 서점, 카페, 강연 공간 등 다양한 공간을 아우르며 동시대 미술과 실험적 창작을 추진했다. 1996년 민취안루로 이전했으며, 1999년 운영을 마쳤다. 이후 Jamie Tu는 도시 예술에 계속 힘을 쏟으며 하이안루 예술 거리 조성 사업에 참여했고, Inart Space와 B.B.ART를 차례로 설립했다.",[405],{"id":2488,"slug":2489,"no":2490,"is_group":797,"name":2491,"bio":2494,"country":2499,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2500},216,"karolina-bregula","GC-04",{"zh":2492,"en":2493,"ja":17,"ko":17},"咖容琳娜．布瑞秋拉","Karolina Breguła",{"zh":2495,"en":2496,"ja":2497,"ko":2498},"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.","Karolina Bregułaはビジュアル・アーティスト、映画作家、教育者である。人類学と社会学の視点から芸術、建築、都市空間を探究し、物語、記憶、フィクション、想像といったテーマに焦点を当てる。しばしば参加者とともに物語を構築し、芸術と社会的・政治的現実との交差を探る。作品はロンドン現代美術センター、ニューヨークのユダヤ博物館、東京都写真美術館、ワルシャワのザヘンタ国立美術館などの機関で展示され、ヴェネチア・ビエンナーレ、シンガポール・ビエンナーレ、ヨーテボリ・ビエンナーレなどの主要な国際展にも参加している。ドイツ銀行財団Views賞、Samsung Art Master、グディニャ映画祭Golden Clawなどを受賞。現在はポーランドのシュチェチンに暮らし、10年以上にわたり台南と緊密なつながりを保っている。","Karolina Breguła는 시각 예술가, 영화 제작자, 교육자로, 인류학과 사회학의 관점에서 예술, 건축, 도시 공간을 탐구하며 서사, 기억, 허구, 상상 등의 주제에 초점을 맞춘다. 참여자들과 함께 서사를 구축하는 경우가 많으며, 예술이 사회적·정치적 현실과 만나는 지점을 탐색한다. 작품은 런던 현대미술센터, 뉴욕 유대인 박물관, 도쿄도 사진미술관, 바르샤바 자헹타 국립미술관 등의 기관에서 전시되었으며, 베네치아 비엔날레, 싱가포르 비엔날레, 예테보리 비엔날레 등 주요 국제 전시에 참여했다. 도이체방크 재단 Views 상, Samsung Art Master, 그디니아 영화제 Golden Claw 등을 수상했다. 현재 폴란드 슈체친에 거주하며, 10년 넘게 타이난과 긴밀한 관계를 이어 오고 있다.","波蘭 Poland",[405],{"id":2502,"slug":2503,"no":2504,"is_group":797,"name":2505,"bio":2508,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2513},217,"huang-zhi-yuan","TC-05",{"zh":2506,"en":2507,"ja":2506,"ko":17},"黃雉原","Huang Zhi-yuan",{"zh":2509,"en":2510,"ja":2511,"ko":2512},"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.","蓬莱斎工作室代表。2018年に人類学の研究から伝統建築の彩色画へと活動の場を広げ、潘岳雄に師事し、門神や寺廟の壁面の絵画を専門とする。2020年に工作室を設立し、伝統彩色画の制作と修復に取り組んでいる。西螺福興宮、佳里吉和堂などの新築廟の彩色に携わったほか、哈瑪星代天宮、白河大仙寺などの修復を主導した。フィールドワークの視点と伝統技術を結びつけ、民俗信仰と文化財の保存に関心を寄せている。","Honglaizai (Penglai) Studio의 대표다. 2018년 인류학 연구에서 전통 건축 채색화로 활동 영역을 넓혔으며, Pan Yueh-hsiung에게 사사하여 수문신과 사원 벽면 그림을 전문으로 한다. 2020년 공방을 설립하여 전통 채색화 창작과 복원에 힘쓰고 있으며, 시뤄 푸싱궁, 자리 지허탕 등 신축 사원의 채색 작업에 참여하고 하마싱 다이톈궁, 바이허 다셴쓰 등의 복원을 주도했다. 현장 연구의 시각과 전통 기예를 결합하여 민속 신앙과 문화유산 보존에 주목한다.",[],{"id":2515,"slug":2516,"no":2517,"is_group":797,"name":2518,"bio":2521,"country":2526,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2527},218,"joshua-sofaer","GC-07",{"zh":2519,"en":2520,"ja":17,"ko":17},"約書亞．沙發兒","Joshua Sofaer",{"zh":2522,"en":2523,"ja":2524,"ko":2525},"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.","英国のアーティスト。長年にわたり、公共参加と地域研究を通して、人と人、人と場所とのつながりを探究している。物語、対話、集団的な行動によって、特定の場の記憶と想像に応答することを得意とし、その制作はパフォーマンス、演劇、インスタレーション、パブリックアートにわたる。","영국 예술가로, 오랫동안 공공 참여와 지역 연구를 통해 사람과 사람, 사람과 장소의 연결을 탐구해 왔다. 이야기, 대화, 집단 행동으로 특정 장소의 기억과 상상에 응답하는 데 능하며, 퍼포먼스, 연극, 설치, 공공 미술을 넘나드는 작업을 한다.","英國 England",[405],{"id":2529,"slug":2530,"no":2531,"is_group":797,"name":2532,"bio":2535,"country":2540,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2541},219,"jane-ingram-allen","GC-08",{"zh":2533,"en":2534,"ja":17,"ko":17},"艾婕音","Jane Ingram Allen",{"zh":2536,"en":2537,"ja":2538,"ko":2539},"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.","米国の環境インスタレーションおよび手漉き紙のアーティスト。持続可能な暮らしと環境問題に長く関心を寄せ、植物繊維や地域の素材を用いた制作を得意とする。コミュニティの参加を募り、共同制作を通して人、土地、環境のあいだの深いつながりを探究している。作品は米国、台湾、日本、ネパール、ブラジルなどで展示されている。","미국의 환경 설치 및 수제 종이 예술가로, 지속 가능한 삶과 환경 문제에 오랫동안 주목해 왔다. 식물 섬유와 현지 재료를 활용한 작업에 능하며, 공동체의 참여를 이끌어 공동 창작을 통해 사람, 땅, 환경 사이의 깊은 연결을 탐구한다. 작품은 미국, 대만, 일본, 네팔, 브라질 등지에서 전시되었다.","美國 America",[405],{"id":2543,"slug":2544,"no":2545,"is_group":797,"name":2546,"bio":2549,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2554},220,"rachmad-afandi","MC-03",{"zh":2547,"en":2548,"ja":17,"ko":17},"拉赫瑪德・阿凡迪","Rachmad Afandi",{"zh":2550,"en":2551,"ja":2552,"ko":2553},"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.","1994年インドネシア・ジョグジャカルタ生まれ。インドネシア芸術大学ジョグジャカルタ校を卒業し、現在もジョグジャカルタを拠点とする。絵画、版画、インスタレーション、映像、パフォーマンスにわたって制作し、歴史、民間伝承、神話からインスピレーションを得ている。ポストコロニアルの文脈、そして芸術、イスラームの伝統、歴史の交差に関心を寄せ、政治、社会、宗教が個人と集団の視点をいかに形づくるのかを探究するとともに、地元のアート・コミュニティにも積極的に関わっている。","1994년 인도네시아 족자카르타에서 태어나 족자카르타 인도네시아 예술대학을 졸업했으며, 현재 족자카르타에 거주한다. 회화, 판화, 설치, 영상, 퍼포먼스를 아우르며 역사, 민간 전설, 신화에서 영감을 얻는다. 탈식민적 맥락, 그리고 예술과 이슬람 전통, 역사의 교차에 주목하며, 정치, 사회, 종교가 개인과 집단의 시각을 어떻게 형성하는지 탐구하고, 현지 예술 공동체에도 적극적으로 참여하고 있다.",[552],{"id":2556,"slug":2557,"no":2558,"is_group":797,"name":2559,"bio":2562,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2567},118,"fang-wei","EC-03",{"zh":2560,"en":2561,"ja":2560,"ko":17},"方瑋","Fang Wei",{"zh":2563,"en":2564,"ja":2565,"ko":2566},"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.","1978年台南生まれ。台湾の中堅世代の建築家であり、都市山葵／方瑋建築師事務所の創設者である。長年にわたり台南と台湾南部に根ざして活動し、その設計実践は建築、芸術、環境への思考を融合させ、人、自然、都市環境のつながりに目を向けている。代表作に〈層の家〉、ゴールデンピン・デザイン賞を受賞した「台南長屋」などがある。","1978년 타이난에서 태어났으며, 대만의 중견 세대 건축가이자 Urban Wasabi \u002F Fang Wei Architects의 설립자다. 오랫동안 타이난과 대만 남부 지역에 뿌리를 두고 활동해 왔으며, 그의 설계 실천은 건축, 예술, 환경에 대한 사유를 융합하여 사람, 자연, 도시 환경의 연결에 주목한다. 대표작으로 〈층의 집〉과 골든 핀 디자인 어워드를 수상한 「타이난 롱하우스」 등이 있다.",[307],{"id":2569,"slug":2570,"no":2571,"is_group":797,"name":2572,"bio":2575,"country":1722,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2580},119,"chien-hsueh-yi","EC-06",{"zh":2573,"en":2574,"ja":2573,"ko":17},"簡學義","Chien Hsueh-yi",{"zh":2576,"en":2577,"ja":2578,"ko":2579},"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.","1954年屏東生まれ。東海大学建築学科を卒業し、竹間聯合建築師事務所を創設した。1986年から建築の創作に取り組み、作品は公共建築や文化施設に及び、素材、空間、人文環境の関係を長年にわたり探究している。代表作に鶯歌陶磁博物館、国立台湾歴史博物館などがあり、台湾建築賞大賞を3度受賞したほか、第24回国家文芸賞を受賞した。","1954년 핑둥에서 태어나 Tunghai University 건축학과를 졸업했으며, Chien Space Architects & Associates의 설립자다. 1986년부터 건축 작업에 매진해 왔으며, 공공 건축과 문화 시설을 아우르는 작품을 통해 재료, 공간, 인문 환경의 관계를 오랫동안 탐구해 왔다. 대표작으로 Yingge Ceramics Museum, National Museum of Taiwan History 등이 있으며, 대만 건축상 대상을 세 차례 수상하고 제24회 국가문예상을 받았다.",[307],{"id":2582,"slug":2583,"no":2584,"is_group":797,"name":2585,"bio":2588,"country":2593,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2594},120,"bonnie-tchien-hwen-ying","EC-07",{"zh":2586,"en":2587,"ja":2586,"ko":17},"簡琿瑛","Bonnie TCHIEN Hwen-ying",{"zh":2589,"en":2590,"ja":2591,"ko":2592},"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.","1950年台湾生まれ、現在はフランス在住。長年ヨーロッパで芸術活動を行い、台湾とフランスという二つの文化の経験を融合させながら、太極、武術、古典舞踊、京劇を現代の語彙によって再解釈している。作品は舞踊、演劇、衣装、身体パフォーマンスを組み合わせ、独特の造形と不安定な姿勢を通して、陰陽の均衡、そして身体、文化、ジェンダーのあいだの関係を探究する。","1950년 대만에서 태어나 현재 프랑스에 정착해 살고 있다. 오랫동안 유럽에서 예술 활동을 해 왔으며, 대만과 프랑스의 이중 문화 경험을 융합하여 동시대의 어휘로 태극, 무술, 고전 무용, 경극을 새롭게 해석한다. 작품은 무용, 연극, 의상, 신체 퍼포먼스를 결합하고, 독특한 조형과 불안정한 자세를 통해 음양의 균형, 그리고 신체와 문화, 젠더 사이의 관계를 탐구한다.","臺灣／法國 Taiwan \u002F France",[307],{"id":2596,"slug":2597,"no":2598,"is_group":797,"name":2599,"bio":2602,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2607},222,"hsieh-mei-ling","TC-06",{"zh":2600,"en":2601,"ja":2600,"ko":17},"謝美鈴","Hsieh Mei-ling",{"zh":2603,"en":2604,"ja":2605,"ko":2606},"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.","応用美術学科を卒業。台南・佳里の創意工作室から活動を始めた。切り紙を制作の媒体とすることを得意とし、地域の歴史や文化と結びつけて、ランタン、インスタレーション、子どものための音楽劇へと展開している。長年にわたり芸術教育と共同制作に取り組み、日本やイタリアのミラノ・デザインウィークで展示・上演を行った。著書に《創意101》、《祝福—おじいちゃんおばあちゃんは切り紙が大好き》などがあり、切り紙によって地域の文化と生活をつなぎ続けている。","응용미술학과를 졸업했으며, 타이난 자리의 창작 스튜디오에서 활동을 시작했다. 페이퍼 커팅을 작업 매체로 삼는 데 능하며, 지역의 역사와 문화를 결합하여 등불 장식, 설치 미술, 어린이 음악극으로 풀어낸다. 오랫동안 예술 교육과 공동 창작에 힘써 왔으며, 일본과 이탈리아 밀라노 디자인 위크에서 전시와 공연을 선보였다. 저서로 《창의 101》, 《축복—할아버지 할머니는 페이퍼 커팅을 좋아해》 등이 있으며, 페이퍼 커팅으로 지역 문화와 삶을 꾸준히 연결하고 있다.",[],{"id":2609,"slug":2610,"no":2611,"is_group":797,"name":2612,"bio":2615,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2620},223,"chen-li-fan","TC-02",{"zh":2613,"en":2614,"ja":2613,"ko":17},"陳立凡","Chen Li-fan",{"zh":2616,"en":2617,"ja":2618,"ko":2619},"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.","吟遊文創設計工作室代表。東海大学で工業デザインの修士号を取得。絨花、纏花、蓪草などの伝統工芸を専門とし、植物観察、フィールド調査、サステナブルな素材を組み合わせて、工芸の現代的な翻訳を探究している。作品は台湾グリーンクラフト認証、A+文化資産賞を受け、レッド・ドット・デザイン・ミュージアムに収蔵されている。また、展覧会、レジデンス、教育を通して、伝統工芸の領域横断的な実践を推進し続けている。","Yinyou Cultural and Creative Design Studio의 대표이며, Tunghai University에서 산업디자인 석사 학위를 받았다. 벨벳 꽃, 실감기 꽃, 통초지 등의 전통 공예를 전문으로 하며, 식물 관찰, 현장 조사, 지속 가능한 재료를 결합하여 공예의 동시대적 번역을 탐구한다. 작품은 대만 그린 크래프트 인증과 A+ 문화자산상을 받았으며 레드닷 디자인 뮤지엄에 소장되었다. 또한 전시, 레지던시, 교육을 통해 전통 공예의 융합적 실천을 꾸준히 추진하고 있다.",[],{"id":2622,"slug":2623,"no":2624,"is_group":797,"name":2625,"bio":2628,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2633},224,"chen-ying-ru","TC-01",{"zh":2626,"en":2627,"ja":2626,"ko":17},"陳盈如","Chen Ying-ru",{"zh":2629,"en":2630,"ja":2631,"ko":2632},"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.","1983年台湾生まれ。国立台湾芸術大学書画芸術学科修士。現在は専業のアーティストとして活動している。作品はパリ、クアラルンプール、愛知、北京、上海、香港などで展示され、複数の美術機関に収蔵されている。台湾の民俗と伝統文化を核に、日常の経験と想像を織り込み、ユーモラスな造形と鮮やかな色彩によって伝統的な要素を変換し、独自の個性をもつ現代的な視覚言語を形づくっている。","1983년 대만에서 태어나 National Taiwan University of Arts 서화예술학과에서 석사 학위를 받았으며, 현재 전업 예술가로 활동한다. 작품은 파리, 쿠알라룸푸르, 아이치, 베이징, 상하이, 홍콩 등지에서 전시되었으며, 여러 미술 기관에 소장되었다. 대만의 민속과 전통문화를 핵심으로 일상의 경험과 상상을 녹여 내고, 유머러스한 조형과 선명한 색채로 전통 요소를 변환하여 독자적인 개성을 지닌 동시대 시각 언어를 형성한다.",[],{"id":2635,"slug":2636,"no":2637,"is_group":797,"name":2638,"bio":2641,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2646},225,"li-yu-shen","TC-04",{"zh":2639,"en":2640,"ja":2639,"ko":17},"李育昇","Li Yu-shen",{"zh":2642,"en":2643,"ja":2644,"ko":2645},"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.","2003年より演劇関連のビジュアル、美術、衣装デザインに携わる。2017年以降は、台湾島の神々に現代の新たな姿を与えることに専念している。現在は「拚場芸術撞撃」の共同芸術監督を務め、領域を横断しながら、台湾の民間信仰の再近代化と文化的な移行期正義に関わる創作に取り組んでいる。","2003년부터 연극 관련 시각, 미술, 의상 디자인에 참여해 왔다. 2017년 이후에는 대만 섬의 신들에게 동시대의 새로운 모습을 빚어 주는 일에 전념하고 있다. 현재 「Piànn-tiûnn Art Impact」의 공동 예술감독으로, 영역을 넘나들며 대만 민간 신앙의 재현대화와 문화적 전환기 정의에 관한 작업에 집중하고 있다.",[],{"id":2648,"slug":2649,"no":2650,"is_group":797,"name":2651,"bio":2654,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2659},226,"hsu-ping-den","HC-X12",{"zh":2652,"en":2653,"ja":2652,"ko":17},"許丙丁","Hsu Ping-den",{"zh":2655,"en":2656,"ja":2657,"ko":2658},"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.","許丙丁（1899－1977）は台南に生まれた作家、詩人、文化人であり、その創作は伝統的な詩文、大衆文学、歌謡にまたがる。台湾語と庶民の視点から台南の風土、民俗、地域の暮らしを描くことを得意とし、作品はユーモアと風刺を兼ね備えている。代表作に長編小説《小封神》や歌詞〈菅芒花〉などがあり、戦前から戦後にかけての台南における重要な文芸人である。","Hsu Ping-den(1899－1977)은 타이난에서 태어난 작가, 시인, 문화인으로, 전통 시문, 대중 문학, 가요를 넘나드는 작품 활동을 했다. 대만어와 서민의 시선으로 타이난의 풍토, 민속, 지역의 삶을 그리는 데 능했으며, 작품은 유머와 풍자를 겸비했다. 대표작으로 장편소설 《소봉신》과 노래 가사 〈억새꽃〉 등이 있으며, 전전부터 전후에 이르기까지 타이난의 중요한 문예 인물이다.",[357],{"id":2661,"slug":2662,"no":2663,"is_group":797,"name":2664,"bio":2667,"country":17,"birth_year":1723,"website":17,"instagram":17,"portrait":1723,"portrait_credit":17,"themes":2672},227,"lin-po-liang","HC-X13",{"zh":2665,"en":2666,"ja":2665,"ko":17},"林柏樑","Lin Po-liang",{"zh":2668,"en":2669,"ja":2670,"ko":2671},"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.","林柏樑（1952–）は高雄・左営生まれの台湾の写真家である。長年にわたり写真によって台湾の社会、文化、文学者たちを記録してきた。1998年からは作家の群像を撮影するプロジェクト「文学の容顔」を開始し、葉石濤をはじめとする重要な作家たちを撮影した。その作品はドキュメンタリー性と人間への眼差しを兼ね備え、作家たちの生の姿と時代の記憶を映像にとどめ、台湾文学の貴重な視覚アーカイブを残している。","Lin Po-liang(1952–)은 가오슝 쭤잉에서 태어난 대만 사진가다. 오랫동안 사진으로 대만의 사회, 문화, 문학 인물을 기록해 왔으며, 1998년부터 작가 군상을 촬영하는 사진 프로젝트 「문학의 얼굴」을 시작하여 Yeh Shih-tao 등 주요 작가들을 촬영했다. 그의 작품은 기록성과 인문적 관심을 겸비하며, 작가들의 삶의 모습과 시대의 기억을 이미지로 보존하여 대만 문학의 귀중한 시각 아카이브를 남겼다.",[357],[2674,2706,2752,2766,2804,2818,2854,2868,2945,2959,3032,3046,3074,3102,3156,3201,3259,3276,3303,3322,3344,3370,3392,3439,3470,3497,3514,3555,3589,3621,3655,3690,3724,3753,3788,3825,3858,3892,3927,3959,3981,4003,4025,4047,4069,4091,4113,4200,4223,4266,4293,4320,4350,4375,4389,4444,4487,4515,4546,4590,4635,4665,4705,4749,4803,4822,4850,4877,4899,4921,4948,4990,5012,5030,5052,5074,5099,5125,5189,5256,5274,5292,5311,5335,5357,5380,5394,5408,5422,5440,5458,5472,5486,5504,5549,5574,5593,5651,5704,5732,5808,5892,5936,5974,6000,6026,6056,6164,6189,6219,6245,6273,6341,6367,6393,6420,6443,6469,6495,6521,6541,6579,6665,6742,6767,6784,6801,6818,6835,6857,6875,6904,6925,6947,6989,7003,7025,7046,7063,7081,7098,7115,7132,7149,7166,7183,7200,7238,7276,7328,7374,7411,7448,7486],{"id":2675,"slug":2676,"no":2677,"title":2678,"artists":2683,"venue":1492,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":2685,"dimensions":17,"is_new":797,"description":2690,"notes":2695,"credit":2696,"series":2701,"names":2703,"incomplete":796,"images":2704,"image_credit":17,"themes":2705},653,"wang-chieh-tiger-1","26-TC-03-01",{"zh":2679,"en":2680,"ja":2681,"ko":2682},"資料整理中","Details to come","情報準備中","정보 준비 중",[1726],"2026",{"zh":2686,"en":2687,"ja":2688,"ko":2689},"水彩或木刻版畫，80×110公分","80 × 110 cm","水彩または木版画、80×110 cm","수채화 또는 목판화, 80×110 cm",{"zh":2691,"en":2692,"ja":2693,"ko":2694},"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.","本シリーズは水彩と木版画を媒体とし、作家が台南市街の宮廟を実際に訪ね歩いて得た観察と見聞に基づき、個人の美的経験を織り込んでいる。東西の芸術様式を交錯させ、虎爺の無邪気な姿態と民間信仰の意味を保ちながら、現代的な美意識をもつ平面の造形へと転換する。作家は伝統的な図像と現代的な形式を組み替えることで、古い宗教芸術に新たな視覚言語を吹き込み、現代美術における虎爺像の多様な翻訳を示すとともに、絶えず流動し再生していく地域信仰の文化的生命力を表している。","이 연작은 수채화와 목판화를 매체로 하며, 작가가 타이난 시내의 사원을 직접 찾아다니며 얻은 관찰과 견문에서 비롯되어 개인의 미적 경험을 녹여 냈다. 동서양의 예술 양식을 교차시켜, 호랑이 신의 천진한 자태와 민간신앙의 의미를 간직하면서도 동시대적 미감을 지닌 평면 조형으로 전환한다. 작가는 전통 도상과 현대적 형식을 새롭게 재구성함으로써 오래된 종교 예술에 새로운 시각 언어를 불어넣고, 동시대 미술 속 호랑이 신 형상의 다양한 번역을 보여 주는 한편, 끊임없이 흐르고 재생되는 지역 신앙의 문화적 생명력을 드러낸다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},"藝術家自藏","Courtesy of the artist","作家蔵","작가 소장",{"zh":2702,"en":669,"ja":670,"ko":671},"迴圈．繞境｜百虎計畫",{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":2707,"slug":2708,"no":2709,"title":2710,"artists":2715,"venue":767,"location_note":2716,"location_note_zh":2717,"lat":1723,"lng":1723,"year":2684,"medium":2718,"dimensions":17,"is_new":797,"description":2723,"notes":2728,"credit":2729,"series":2730,"names":2731,"incomplete":797,"images":2732,"image_credit":17,"themes":2751},128,"forest-of-the-wilds","01-EC-02",{"zh":2711,"en":2712,"ja":2713,"ko":2714},"野原之森","Forest of the Wild","野原の森","들판의 숲",[1711],"1F Courtyard Garden","1樓中庭花園",{"zh":2719,"en":2720,"ja":2721,"ko":2722},"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","台湾在来種、台湾固有種、台湾帰化種","대만 자생종, 대만 고유종, 대만 귀화종",{"zh":2724,"en":2725,"ja":2726,"ko":2727},"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.","台南特有の気候と自然の紋理のもとで、植物は生と死、変容、そして進化を重ねていく。雨水、光と影、そして風の息吹が古いガジュマルの葉の隙間を通り抜けて降り注ぎ、ここにゆっくりと留まる。亜熱帯の島の植栽は生い茂り、海のように静かに揺れ、波のように幾重にも重なる。本作の具体的な戦略は、ガジュマルの根を避けつつ、既存の植栽範囲において多層的な植生を強化し、さらに小型の在来高木を新たに加えることで、共生の庭としての〈野原の森〉を創出することにある。","타이난 특유의 기후와 자연의 결 속에서 식물은 삶과 죽음, 탈바꿈과 진화를 거듭한다. 빗물과 빛과 그림자, 바람의 숨결이 오래된 반얀나무 잎 사이로 스며들어 이곳에 천천히 머문다. 아열대 섬의 식물들은 무성하게 자라나 바다처럼 잔잔히 흔들리고 파도처럼 겹겹이 포개진다. 이 작품의 구체적인 전략은 반얀나무 뿌리를 피해 기존 식재 범위 안에서 다층 식생을 강화하고, 소형 자생 교목을 새로 더해 공생의 정원인 〈들판의 숲〉을 만들어내는 데 있다.",{"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},[2733],{"id":2734,"url":2735,"w":2736,"h":2737,"alt":2738,"sizes":2739},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":2740,"large":2742,"1536x1536":2745,"2048x2048":2748},{"url":2741,"w":84,"h":2198},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-02-1-300x198.jpg",{"url":2743,"w":88,"h":2744},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-02-1-1024x675.jpg",675,{"url":2746,"w":300,"h":2747},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-02-1-1536x1013.jpg",1013,{"url":2749,"w":304,"h":2750},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-02-1-2048x1350.jpg",1350,[307],{"id":2753,"slug":2754,"no":2755,"title":2756,"artists":2757,"venue":1492,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":2758,"dimensions":17,"is_new":797,"description":2759,"notes":2760,"credit":2761,"series":2762,"names":2763,"incomplete":796,"images":2764,"image_credit":17,"themes":2765},654,"wang-chieh-tiger-2","26-TC-03-02",{"zh":2679,"en":2680,"ja":2681,"ko":2682},[1726],{"zh":2686,"en":2687,"ja":2688,"ko":2689},{"zh":2691,"en":2692,"ja":2693,"ko":2694},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":2767,"slug":2768,"no":2769,"title":2770,"artists":2775,"venue":767,"location_note":2776,"location_note_zh":2777,"lat":1723,"lng":1723,"year":2778,"medium":2779,"dimensions":17,"is_new":797,"description":2784,"notes":2789,"credit":2790,"series":2791,"names":2792,"incomplete":797,"images":2793,"image_credit":17,"themes":2803},132,"ancestral-spirits-no-5","01-EC-04-01",{"zh":2771,"en":2772,"ja":2773,"ko":2774},"祖靈NO.5","Ancestral Spirits NO.5","祖霊NO.5","조령 NO.5",[612],"2F Gallery H","2樓展覽室H","1996",{"zh":2780,"en":2781,"ja":2782,"ko":2783},"油畫，122×182公分","Oil Painting, 122×182 cm","油彩、122×182 cm","유화, 122×182 cm",{"zh":2785,"en":2786,"ja":2787,"ko":2788},"《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.","《祖霊シリーズ》は祖霊そのものを描くのではなく、現代の信仰における祖霊文化を捉え直す試みである。記号化された人物群像、鮮やかな色彩、貝殻のように造形された顔立ちを通して、祖霊が担う民族の歴史、祖訓（Gaga）、そして文化的記憶を表現しようとする。作家にとって祖霊は崇拝の対象ではなく、部族の人々が共有する精神的な象徴である。タイヤル文化とキリスト教信仰との対話を開き、創造、生命の更新、文化的アイデンティティのあいだに、新たな解釈と継承を見出すことを目指す。","《조령 시리즈》는 조령 그 자체를 묘사하는 것이 아니라, 동시대 신앙 속에서 조령 문화를 새롭게 성찰하는 작업이다. 기호화된 인물 군상과 선명한 색채, 조개껍데기처럼 형상화된 이목구비를 통해 조령이 품고 있는 부족의 역사와 조상의 가르침(Gaga), 문화적 기억을 표현하고자 한다. 작가에게 조령은 숭배의 대상이 아니라 부족민 공동의 정신적 상징이다. 타이얄 문화와 기독교 신앙 사이에 대화를 열어, 창조와 생명의 갱신, 문화적 정체성 사이에서 새로운 해석과 계승의 길을 찾고자 한다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[2794],{"id":2795,"url":2796,"w":2797,"h":2798,"alt":2799,"sizes":2800},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":2801},{"url":2802,"w":84,"h":2185},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-01-1-300x197.jpg",[307],{"id":2805,"slug":2806,"no":2807,"title":2808,"artists":2809,"venue":1492,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":2810,"dimensions":17,"is_new":797,"description":2811,"notes":2812,"credit":2813,"series":2814,"names":2815,"incomplete":796,"images":2816,"image_credit":17,"themes":2817},655,"wang-chieh-tiger-3","26-TC-03-03",{"zh":2679,"en":2680,"ja":2681,"ko":2682},[1726],{"zh":2686,"en":2687,"ja":2688,"ko":2689},{"zh":2691,"en":2692,"ja":2693,"ko":2694},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":2819,"slug":2820,"no":2821,"title":2822,"artists":2827,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2778,"medium":2828,"dimensions":17,"is_new":797,"description":2829,"notes":2830,"credit":2831,"series":2832,"names":2833,"incomplete":797,"images":2834,"image_credit":17,"themes":2853},148,"ancestral-spirits-no-1","01-EC-04-02",{"zh":2823,"en":2824,"ja":2825,"ko":2826},"祖靈NO.1","Ancestral Spirits NO.1","祖霊NO.1","조령 NO.1",[612],{"zh":2780,"en":2781,"ja":2782,"ko":2783},{"zh":2785,"en":2786,"ja":2787,"ko":2788},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[2835],{"id":2836,"url":2837,"w":2838,"h":2839,"alt":2840,"sizes":2841},149,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-02-1.jpg",2400,1596,"祖靈 NO.1 Ancestral Spirits NO.1",{"medium":2842,"large":2844,"1536x1536":2847,"2048x2048":2850},{"url":2843,"w":84,"h":114},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-02-1-300x200.jpg",{"url":2845,"w":88,"h":2846},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-02-1-1024x681.jpg",681,{"url":2848,"w":300,"h":2849},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-02-1-1536x1021.jpg",1021,{"url":2851,"w":304,"h":2852},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-02-1-2048x1362.jpg",1362,[307],{"id":2855,"slug":2856,"no":2857,"title":2858,"artists":2859,"venue":1492,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":2860,"dimensions":17,"is_new":797,"description":2861,"notes":2862,"credit":2863,"series":2864,"names":2865,"incomplete":796,"images":2866,"image_credit":17,"themes":2867},656,"wang-chieh-tiger-4","26-TC-03-04",{"zh":2679,"en":2680,"ja":2681,"ko":2682},[1726],{"zh":2686,"en":2687,"ja":2688,"ko":2689},{"zh":2691,"en":2692,"ja":2693,"ko":2694},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":231,"slug":2869,"no":2870,"title":2871,"artists":2876,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":2877,"dimensions":17,"is_new":797,"description":2882,"notes":2887,"credit":2888,"series":2889,"names":2890,"incomplete":797,"images":2891,"image_credit":17,"themes":2944},"lin-zhong-can-ying","01-EC-04-03",{"zh":2872,"en":2873,"ja":2874,"ko":2875},"林中殘影","Afterimage in the Forest","林中の残影","숲속의 잔영",[612],{"zh":2878,"en":2879,"ja":2880,"ko":2881},"油畫，122×520公分","Oil Painting, 122×520 cm","油彩、122×520 cm","유화, 122×520 cm",{"zh":2883,"en":2884,"ja":2885,"ko":2886},"作品以原住民族部落逐漸消逝為隱喻，以森林作為視覺場域，描繪一段逐漸被遮蔽、消音的部落記憶。隱約浮現於林木之後的圖騰符號，源自對部落記憶與集體生活的抽象轉化，並以殘缺、半透明與層層覆蓋的樣貌呈現，如同逐漸褪色的壁畫，亦如受到壓抑而難以辨識的語言。圖騰不再作為鮮明的文化標誌，而是退隱於景物深處，成為唯有透過凝視與靠近，才能重新辨識的文化殘影。","Taking the gradual disappearance of Indigenous tribal communities as a metaphor, this work uses the forest as a visual field to depict tribal memories that are slowly being obscured and silenced. The totemic symbols that faintly emerge from behind the trees derive from an abstract transformation of tribal memory and communal life. Rendered as fragmentary, semi-transparent, and layered, they resemble fading murals, or a suppressed language that has become difficult to decipher. No longer serving as vivid cultural markers, the totems recede into the depths of the landscape, becoming cultural afterimages that can be recognized again only by gazing intently and drawing near.","本作は、原住民族の集落が次第に消えゆくことを隠喩とし、森を視覚的な場として、少しずつ覆い隠され、声を奪われていく集落の記憶を描く。木々の背後にかすかに浮かび上がるトーテムの記号は、集落の記憶と共同生活を抽象的に変換したものであり、欠け、半透明となり、幾重にも覆われた姿で表される。それは色褪せていく壁画のようでもあり、抑圧されて判読しがたくなった言語のようでもある。トーテムはもはや鮮明な文化的標識ではなく、風景の奥深くへと退き、凝視し、近づくことによってのみ再び見分けられる文化の残影となる。","이 작품은 원주민 부락이 점차 사라져 가는 현실을 은유로 삼아, 숲을 시각적 장으로 하여 서서히 가려지고 침묵당하는 부락의 기억을 그린다. 나무들 뒤로 희미하게 떠오르는 토템 기호는 부락의 기억과 공동체 생활을 추상적으로 변환한 것으로, 이지러지고 반투명하며 겹겹이 덮인 모습으로 드러난다. 그것은 점점 바래 가는 벽화 같기도 하고, 억압되어 알아보기 어려워진 언어 같기도 하다. 토템은 더 이상 선명한 문화적 표지가 아니라 풍경 깊숙이 물러나, 응시하고 다가갈 때에야 비로소 다시 알아볼 수 있는 문화의 잔영이 된다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[2892,2904,2918,2931],{"id":2893,"url":2894,"w":304,"h":2895,"alt":2872,"sizes":2896},151,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-03-1.jpg",1365,{"medium":2897,"large":2899,"1536x1536":2902},{"url":2898,"w":84,"h":114},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-03-1-300x200.jpg",{"url":2900,"w":88,"h":2901},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-03-1-1024x683.jpg",683,{"url":2903,"w":300,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-03-1-1536x1024.jpg",{"id":2905,"url":2906,"w":2907,"h":304,"alt":2872,"sizes":2908},152,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-03-2.jpg",1086,{"medium":2909,"large":2912,"1536x1536":2915},{"url":2910,"w":2911,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-03-2-159x300.jpg",159,{"url":2913,"w":2914,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-03-2-543x1024.jpg",543,{"url":2916,"w":2917,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-03-2-815x1536.jpg",815,{"id":2919,"url":2920,"w":2921,"h":304,"alt":2872,"sizes":2922},153,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-03-3.jpg",1119,{"medium":2923,"large":2925,"1536x1536":2928},{"url":2924,"w":1799,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-03-3-164x300.jpg",{"url":2926,"w":2927,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-03-3-560x1024.jpg",560,{"url":2929,"w":2930,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-03-3-839x1536.jpg",839,{"id":2932,"url":2933,"w":2934,"h":304,"alt":2872,"sizes":2935},154,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-03-4.jpg",1098,{"medium":2936,"large":2938,"1536x1536":2941},{"url":2937,"w":1764,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-03-4-161x300.jpg",{"url":2939,"w":2940,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-03-4-549x1024.jpg",549,{"url":2942,"w":2943,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-04-03-4-824x1536.jpg",824,[307],{"id":2946,"slug":2947,"no":2948,"title":2949,"artists":2950,"venue":1492,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":2951,"dimensions":17,"is_new":797,"description":2952,"notes":2953,"credit":2954,"series":2955,"names":2956,"incomplete":796,"images":2957,"image_credit":17,"themes":2958},657,"wang-chieh-tiger-5","26-TC-03-05",{"zh":2679,"en":2680,"ja":2681,"ko":2682},[1726],{"zh":2686,"en":2687,"ja":2688,"ko":2689},{"zh":2691,"en":2692,"ja":2693,"ko":2694},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":2960,"slug":2961,"no":2962,"title":2963,"artists":2967,"venue":767,"location_note":2968,"location_note_zh":2969,"lat":1723,"lng":1723,"year":2684,"medium":2970,"dimensions":17,"is_new":797,"description":2975,"notes":2980,"credit":2981,"series":2986,"names":2987,"incomplete":797,"images":2988,"image_credit":17,"themes":3031},134,"time-space-spiral","01-EC-05",{"zh":2964,"en":2965,"ja":2964,"ko":2966},"時。空。廻。旋","Time \u002F Space \u002F Spiral","시. 공. 회. 선",[683],"2F Gallery G","2樓展覽室G",{"zh":2971,"en":2972,"ja":2973,"ko":2974},"水彩、素描，120x420公分","Watercolor, Sketch, 120x420 cm","水彩、素描、120x420 cm","수채, 소묘, 120x420 cm",{"zh":2976,"en":2977,"ja":2978,"ko":2979},"城市從來不是單一時間所形成的結果，它更像是一座不斷被覆蓋、修正、替換與遺忘的巨大容器。空間、制度、記憶、權力與事件在不同年代彼此交疊，形成一種複雜而難以切割的時空層理。我們今天 所看見的城市樣貌其實是無數歷史殘片長期堆疊後的暫時狀態。","A city is never formed in a single moment. It is instead an enormous vessel of accumulated time, and is constantly overwritten, revised, erased, and remembered. Layers of space, governance, memory, power, and human events intersect across generations, creating a dense temporal and spatial stratigraphy that cannot be disentangled. The city we encounter today is thus a transient, ever-evolving long-term assemblage of historical traces that continue to shape one another.","都市とは、決して単一の時間によって形成された結果ではない。それはむしろ、絶えず覆われ、修正され、置き換えられ、忘れ去られていく巨大な容器のようなものである。空間、制度、記憶、権力、そして出来事が異なる時代において互いに重なり合い、複雑で切り分けがたい時空の層理を形づくる。今日私たちが目にしている都市の姿は、実のところ、無数の歴史の断片が長い時間をかけて積み重なった末の、暫定的な状態にすぎない。","도시는 결코 단일한 시간이 만들어낸 결과가 아니다. 오히려 끊임없이 덮이고, 수정되고, 대체되고, 잊히는 거대한 용기에 가깝다. 공간과 제도, 기억과 권력, 사건이 서로 다른 시대에 걸쳐 겹쳐지며 복잡하고 쉽게 갈라낼 수 없는 시공간의 층리를 이룬다. 오늘날 우리가 보는 도시의 모습은 사실 무수한 역사의 파편이 오랜 시간 쌓인 끝에 놓인 일시적인 상태일 뿐이다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2982,"en":2983,"ja":2984,"ko":2985},"臺南市美術館委託製作","Commissioned by Tainan Art Museum","台南市美術館委嘱制作","타이난 미술관 커미션",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[2989,3003,3019],{"id":2990,"url":2991,"w":289,"h":2992,"alt":2993,"sizes":2994},135,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-05-1-scaled.jpg",246,"時。空。廻。旋 Time \u002F Space \u002F Spiral",{"medium":2995,"large":2997,"1536x1536":2999,"2048x2048":3001},{"url":2996,"w":84,"h":1582},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-05-1-300x29.jpg",{"url":2998,"w":88,"h":1575},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-05-1-1024x98.jpg",{"url":3000,"w":300,"h":2819},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-05-1-1536x148.jpg",{"url":3002,"w":304,"h":2185},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-05-1-2048x197.jpg",{"id":3004,"url":3005,"w":2838,"h":3006,"alt":2993,"sizes":3007},136,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-05-2.jpg",1520,{"medium":3008,"large":3010,"1536x1536":3013,"2048x2048":3016},{"url":3009,"w":84,"h":2093},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-05-2-300x190.jpg",{"url":3011,"w":88,"h":3012},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-05-2-1024x649.jpg",649,{"url":3014,"w":300,"h":3015},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-05-2-1536x973.jpg",973,{"url":3017,"w":304,"h":3018},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-05-2-2048x1297.jpg",1297,{"id":3020,"url":3021,"w":2838,"h":3006,"alt":2993,"sizes":3022},137,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-05-3.jpg",{"medium":3023,"large":3025,"1536x1536":3027,"2048x2048":3029},{"url":3024,"w":84,"h":2093},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-05-3-300x190.jpg",{"url":3026,"w":88,"h":3012},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-05-3-1024x649.jpg",{"url":3028,"w":300,"h":3015},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-05-3-1536x973.jpg",{"url":3030,"w":304,"h":3018},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-ec-05-3-2048x1297.jpg",[307],{"id":3033,"slug":3034,"no":3035,"title":3036,"artists":3037,"venue":1492,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":3038,"dimensions":17,"is_new":797,"description":3039,"notes":3040,"credit":3041,"series":3042,"names":3043,"incomplete":796,"images":3044,"image_credit":17,"themes":3045},658,"wang-chieh-tiger-6","26-TC-03-06",{"zh":2679,"en":2680,"ja":2681,"ko":2682},[1726],{"zh":2686,"en":2687,"ja":2688,"ko":2689},{"zh":2691,"en":2692,"ja":2693,"ko":2694},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":83,"slug":3047,"no":3048,"title":3049,"artists":3054,"venue":767,"location_note":3055,"location_note_zh":3056,"lat":1723,"lng":1723,"year":2684,"medium":3057,"dimensions":17,"is_new":797,"description":3062,"notes":3067,"credit":3069,"series":3070,"names":3071,"incomplete":797,"images":3072,"image_credit":17,"themes":3073},"memory-reflections","01-HC-01",{"zh":3050,"en":3051,"ja":3052,"ko":3053},"記憶反射","Memory Reflections","記憶の反射","기억 반사",[1764,1777],"1F Public Space","1樓公共空間",{"zh":3058,"en":3059,"ja":3060,"ko":3061},"多頻道聲音裝置，尺寸依場地而定","Multichannel sound installation, Dimensions variable","マルチチャンネル・サウンドインスタレーション、サイズ可変","다채널 사운드 설치, 가변 크기",{"zh":3063,"en":3064,"ja":3065,"ko":3066},"〈記憶反射〉是一件特定場域聲音裝置，將源自宋江陣的鑼鼓聲投向美術館對外窗，透過玻璃與建築反射，使聲響在展間迴盪。宋江陣曾兼具地方組織、武術訓練與聚落防衛功能，並見於噍吧哖抗日事件及後勁反五輕運動。作品將今日臺南熟悉的民間音景帶入承載殖民治理歷史的美術館，連結日常聲響與歷史記憶，探索潛藏於民間社會的集體行動能量。","Memory Reflections is a site-specific audio installation that projects the sound of a Songjiang array's gongs and drums toward the museum’s exterior windows. Reflected by the glass and the architecture, the sounds reverberate throughout the exhibition space. Historically, Songjiang battle arrays served multiple functions as local community organizations, martial arts training, and forms of settlement defense, and have also more recently been mobilized in the Tapani Incident and the Anti-5th Naphtha Cracker Movement in Houjin. The work brings a familiar vernacular soundscape of contemporary Tainan into an art museum that bears the historical marks of colonial governance. By connecting everyday sounds with historical memory, it explores the latent potential for collective action embedded within civil society.","〈記憶の反射〉は、宋江陣に由来する銅鑼と太鼓の音を美術館の外窓に向けて放ち、ガラスと建築による反射によって展示室内に響き渡らせるサイトスペシフィックなサウンド・インスタレーションである。宋江陣はかつて、地域組織、武術訓練、集落防衛の機能を兼ね備え、タパニー抗日事件や後勁の反五軽運動にも登場した。本作は、今日の台南で親しまれている民間の音風景を、植民地統治の歴史を宿す美術館へと持ち込み、日常の音と歴史の記憶を結びつけながら、民間社会に潜む集団的行動のエネルギーを探る。","〈기억 반사〉는 송강진에서 비롯된 징과 북 소리를 미술관의 바깥 창을 향해 투사하고, 유리와 건축물에 반사된 소리가 전시실 안에 울려 퍼지게 하는 장소 특정적 사운드 설치 작품이다. 송강진은 한때 지역 조직, 무술 훈련, 마을 방어의 기능을 함께 지녔으며, 타파니 항일 사건과 허우진의 제5 나프타 분해 공장 반대 운동에도 등장했다. 이 작품은 오늘날 타이난에서 친숙한 민간의 사운드스케이프를 식민 통치의 역사를 품은 미술관 안으로 끌어들여 일상의 소리와 역사적 기억을 연결하고, 민간 사회에 잠재된 집단 행동의 에너지를 탐색한다.",{"zh":3068,"en":17,"ja":17,"ko":17},"工作人員名單",{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[357],{"id":3075,"slug":3076,"no":3077,"title":3078,"artists":3083,"venue":767,"location_note":3084,"location_note_zh":3085,"lat":1723,"lng":1723,"year":2684,"medium":3086,"dimensions":17,"is_new":797,"description":3091,"notes":3096,"credit":3097,"series":3098,"names":3099,"incomplete":797,"images":3100,"image_credit":17,"themes":3101},239,"the-book-of-sand","01-HC-02",{"zh":3079,"en":3080,"ja":3081,"ko":3082},"《沙之書》","The Book of Sand","《砂の本》","《모래의 책》",[1786],"2F Gallery E","2樓展覽室E",{"zh":3087,"en":3088,"ja":3089,"ko":3090},"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","アーティストブック（デジタル印刷、箔押し、背クロス装、コデックス装）、空間インスタレーション、サイズ可変","아티스트 북(디지털 인쇄, 박 가공, 천 책등 장정, 누드 사철 제본), 공간 설치, 가변 크기",{"zh":3092,"en":3093,"ja":3094,"ko":3095},"《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.","《砂の本》は、1915年の西来庵事件とそれに関わる人物、そして地域の歴史を出発点とし、史料、フィールド調査、フィクションの執筆を織り交ぜる。小説は歴史が残した隙間をたどりながら、記録されなかった生命と感覚を想像し直し、さらには人間の外へと視野を広げ、砂や器物、植物までもが見ること、記憶することの主体となる。夢や神託が現実に染み込み、いくつかの「リハーサル」の章では歴史が舞台へと変換され、人物、出来事、象徴が繰り返し演じられるなかで組み替えられていく。異なる語りの層が互いに浸透し合い、人間と非人間、史実と虚構の境界は次第に揺らいでいく。","《모래의 책》은 1915년 시라이안 사건과 관련 인물, 지역의 역사를 출발점으로 삼아 사료와 현지 답사, 허구적 글쓰기를 엮어낸다. 소설은 역사가 남긴 틈새를 따라 기록되지 않은 삶과 감각을 새롭게 상상하고, 나아가 인간 너머로까지 확장되어 모래와 기물, 식물 또한 바라보고 기억하는 주체가 되게 한다. 꿈과 신탁이 현실에 스며들고, 몇 개의 ‘리허설’ 장은 역사를 무대로 전환하여 인물과 사건, 상징이 반복되는 상연 속에서 새롭게 조합되도록 한다. 서로 다른 서사의 층위가 서로를 관통하면서 인간과 비인간, 사실과 허구의 경계가 점차 느슨해진다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[357],{"id":3103,"slug":3104,"no":3105,"title":3106,"artists":3111,"venue":767,"location_note":3112,"location_note_zh":3113,"lat":1723,"lng":1723,"year":2684,"medium":3114,"dimensions":17,"is_new":797,"description":3119,"notes":3124,"credit":3125,"series":3126,"names":3127,"incomplete":797,"images":3128,"image_credit":17,"themes":3155},240,"elsewhere-holds-what-isn-t-here","01-HC-03",{"zh":3107,"en":3108,"ja":3109,"ko":3110},"這沒有，那裡有","Elsewhere Holds What Isn't Here","ここにはない、あそこにはある","여기엔 없고, 저기엔 있다",[1799],"2F right-side corridor and public space adjacent to Gallery B","2樓展覽室B右側廊道與公共空間",{"zh":3115,"en":3116,"ja":3117,"ko":3118},"錄像、鹽盤、現成物、物件，尺寸依場地而定","Video, salt pans, readymade objects, Dimensions variable","映像、塩盤、レディメイド、オブジェ、サイズ可変","영상, 소금판, 레디메이드, 오브제, 가변 크기",{"zh":3120,"en":3121,"ja":3122,"ko":3123},"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.","本作は、清代の台湾西部沿岸において、特殊な地形のために船が座礁し、そこから生まれた船泥棒の噂に焦点を当てる。外来の航海者と沿岸住民とのあいだで行われた交渉、略奪、窃取、交換を出発点に、船の窃盗事件に対する官府の曖昧な態度や、盗賊と住民という身分の境界の曖昧さを考察する。混合映像と参加型ゲームを通して、海岸を流動的な辺境空間としてとらえ、略奪と交換、秩序と遊びのあいだの境界、そして住民、潮、領域が織りなす多層的な関係を捉え直す。","이 작품은 청나라 시기 대만 서부 연안에서 특수한 지형 탓에 배가 좌초되면서 생겨난 배 도둑질에 관한 소문에 주목한다. 외부에서 온 항해자와 연안 주민 사이의 협상, 약탈, 절도, 교환에서 출발하여, 배 절도 사건을 대하는 관부의 모호한 태도와 도둑과 주민이라는 신분 사이의 흐릿한 경계를 탐구한다. 혼합 영상과 참여형 게임을 통해 해안을 유동적인 변경 공간으로 바라보고, 약탈과 교환, 질서와 놀이 사이의 경계, 그리고 주민과 조수, 영역이 얽혀 이루는 다층적인 관계를 다시 생각한다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[3129,3145],{"id":3130,"url":3131,"w":2838,"h":3132,"alt":3133,"sizes":3134},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":3135,"large":3137,"1536x1536":3140,"2048x2048":3143},{"url":3136,"w":84,"h":2635},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-hc-03-1-300x225.jpg",{"url":3138,"w":88,"h":3139},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-hc-03-1-1024x768.jpg",768,{"url":3141,"w":300,"h":3142},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-hc-03-1-1536x1152.jpg",1152,{"url":3144,"w":304,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-hc-03-1-2048x1536.jpg",{"id":3146,"url":3147,"w":3148,"h":3149,"alt":3133,"sizes":3150},242,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-hc-03-2.jpg",1108,1477,{"medium":3151,"large":3153},{"url":3152,"w":2635,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-hc-03-2-225x300.jpg",{"url":3154,"w":3139,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-hc-03-2-768x1024.jpg",[357],{"id":3157,"slug":3158,"no":3159,"title":3160,"artists":3164,"venue":767,"location_note":3165,"location_note_zh":3166,"lat":1723,"lng":1723,"year":3167,"medium":3168,"dimensions":17,"is_new":797,"description":3173,"notes":3178,"credit":3179,"series":3180,"names":3181,"incomplete":797,"images":3182,"image_credit":17,"themes":3200},243,"para-site","01-GC-01",{"zh":3161,"en":3162,"ja":3161,"ko":3163},"寄生寓","Para. Site","기생의 거처",[1812],"2F Gallery F","2樓展覽室F","原作2001年（2026年重製）",{"zh":3169,"en":3170,"ja":3171,"ko":3172},"複合媒材，尺寸依場地而定","Mixed media, Dimensions variable","ミクストメディア、サイズ可変","혼합 매체, 가변 크기",{"zh":3174,"en":3175,"ja":3176,"ko":3177},"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.","本作は、方偉文が1998年の個展「喃喃」に続いて2001年に発表したシリーズであり、その後の創作の重要な概念を確立した作品でもある。台南・呉園にあった原型芸術の地下室で初めて展示され、自己のアイデンティティと、異なる時空におけるその異質な経験に焦点を当てる。拾い集めた廃材にさまざまな素材を接ぎ合わせ、断裂し、貫かれ、砕けた身体の感覚を形づくるとともに、「寄生」を隠喩として、言語、意識、記憶、アイデンティティの流動的な関係を探究する。","이 작품은 Fang Wei-wen이 1998년 개인전 「중얼거림」에 이어 2001년에 발표한 연작으로, 이후 작업의 중요한 개념을 정립한 작품이기도 하다. 타이난 우위안의 Prototype Art 지하실에서 처음 전시되었으며, 자아 정체성과 서로 다른 시공간 속에서 겪는 이질적 경험에 초점을 맞춘다. 주워 모은 폐자재에 다양한 재료를 접붙여 단절되고 관통되며 부서진 신체 감각을 빚어내고, ‘기생’을 은유로 삼아 언어와 의식, 기억과 정체성의 유동적 관계를 탐구한다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[3183],{"id":3184,"url":3185,"w":2838,"h":3186,"alt":3187,"sizes":3188},244,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-01-1.jpg",1652,"寄生寓 Para. Site",{"medium":3189,"large":3191,"1536x1536":3194,"2048x2048":3197},{"url":3190,"w":84,"h":2344},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-01-1-300x207.jpg",{"url":3192,"w":88,"h":3193},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-01-1-1024x705.jpg",705,{"url":3195,"w":300,"h":3196},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-01-1-1536x1057.jpg",1057,{"url":3198,"w":304,"h":3199},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-01-1-2048x1410.jpg",1410,[405],{"id":3202,"slug":3203,"no":3204,"title":3205,"artists":3210,"venue":767,"location_note":2968,"location_note_zh":2969,"lat":1723,"lng":1723,"year":2684,"medium":3211,"dimensions":17,"is_new":797,"description":3216,"notes":3221,"credit":3222,"series":3223,"names":3224,"incomplete":797,"images":3225,"image_credit":17,"themes":3258},245,"one-hundred-meetings-before-the-collective","01-GC-02-01",{"zh":3206,"en":3207,"ja":3208,"ko":3209},"集結之前的一百種相遇","One Hundred Meetings Before the Collective","集結の前の百通りの出会い","집결 이전의 백 가지 만남",[1826],{"zh":3212,"en":3213,"ja":3214,"ko":3215},"透貼，尺寸依場地而定","Transparent adhesive material, Dimensions variable","透明粘着シート、サイズ可変","투명 접착 시트, 가변 크기",{"zh":3217,"en":3218,"ja":3219,"ko":3220},"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.","本作は、陳毅哲が「天台工作室」の10周年に際して行った、段階的なアーカイブ整理に由来する。初期の「十八巷五号」（2014-2016）から現在の「天台工作室」（2016-現在）に至るまで、その実践は、当初若手アーティストの想像を受け止めるオルタナティブ・スペースから、スタジオ、私的な集い、非公式なアーカイブ空間を兼ね備えた場へと変化してきた。陳毅哲が維持してきた「天台」は、むしろ制度の外にある友情の空間であり、目的のない集まりは、何らかの集結を待っているかのようである。この数年間、彼は現存する、あるいは消えていった、異質で多面的な性格をもつ芸術文化コミュニティを訪ね、気にかけ続けるとともに、芸術研究や展覧会の協働にも携わり、常に重要でありながら周縁的な役割を担ってきた。生活に溶け込んだこうした協働関係から、多くの芸術文化関係者は彼を「土地公」という愛称で呼ぶ。本作の制作が進められていた折、ちょうど「十八巷五号」が取り壊しに直面していた。彼は十年の歳月をもって、消えゆく物理的空間に敬意を表するとともに、かつての出会いと、脆くも忘れがたい友情を振り返る。","이 작품은 Chen Yi-che가 ‘옥상 작업실’ 10주년을 맞아 진행한 단계적 아카이브 정리에서 비롯되었다. 초기의 ‘18항 5호’(2014-2016)에서 현재의 ‘옥상 작업실’(2016-현재)에 이르기까지, 그의 실천은 처음에는 청년 예술가들의 상상을 담아내는 대안 공간이었다가 작업실과 사적인 모임, 비공식 아카이브 공간이 결합된 장으로 변모해 왔다. Chen Yi-che가 지켜 온 ‘옥상’은 오히려 제도 밖의 우정의 공간에 가까우며, 목적 없는 모임은 마치 어떤 집결을 기다리는 듯하다. 지난 몇 년간 그는 현존하거나 사라진, 이질적이고 다재다능한 성격의 예술 공동체들을 꾸준히 찾아가 살피는 한편, 예술 연구와 전시 협업에도 참여하며 늘 핵심적이면서도 주변적인 역할을 맡아 왔다. 삶에 녹아든 이러한 협력 관계로 인해 많은 예술인들은 그를 ‘토지공’이라는 애칭으로 부른다. 이 작품이 진행되던 무렵 마침 ‘18항 5호’가 철거를 앞두게 되었고, 그는 10년의 시간으로 사라져 가는 물리적 공간에 경의를 표하는 동시에, 지난날의 만남과 연약하지만 잊을 수 없는 우정을 되돌아본다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[3226,3243],{"id":3227,"url":3228,"w":2838,"h":3229,"alt":3230,"sizes":3231},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":3232,"large":3234,"1536x1536":3237,"2048x2048":3240},{"url":3233,"w":84,"h":2278},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-02-01-1-300x204.jpg",{"url":3235,"w":88,"h":3236},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-02-01-1-1024x695.jpg",695,{"url":3238,"w":300,"h":3239},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-02-01-1-1536x1043.jpg",1043,{"url":3241,"w":304,"h":3242},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-02-01-1-2048x1390.jpg",1390,{"id":3244,"url":3245,"w":2838,"h":3246,"alt":3230,"sizes":3247},458,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-02-01-2.jpg",1597,{"medium":3248,"large":3250,"1536x1536":3252,"2048x2048":3255},{"url":3249,"w":84,"h":114},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-02-01-2-300x200.jpg",{"url":3251,"w":88,"h":2846},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-02-01-2-1024x681.jpg",{"url":3253,"w":300,"h":3254},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-02-01-2-1536x1022.jpg",1022,{"url":3256,"w":304,"h":3257},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-02-01-2-2048x1363.jpg",1363,[405],{"id":2992,"slug":3260,"no":3261,"title":3262,"artists":3267,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":3268,"dimensions":17,"is_new":797,"description":3269,"notes":3270,"credit":3271,"series":3272,"names":3273,"incomplete":797,"images":3274,"image_credit":17,"themes":3275},"taiwan-alternative-space-research-project","01-GC-02-02",{"zh":3263,"en":3264,"ja":3265,"ko":3266},"臺灣藝術空間訪查計畫","Taiwan Alternative Space Research Project","台湾アートスペース訪問調査プロジェクト","대만 예술공간 탐방 조사 프로젝트",[1826],{"zh":3212,"en":3213,"ja":3214,"ko":3215},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[405],{"id":3277,"slug":3278,"no":3279,"title":3280,"artists":3285,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":3286,"medium":3287,"dimensions":17,"is_new":797,"description":3292,"notes":3293,"credit":3298,"series":3299,"names":3300,"incomplete":797,"images":3301,"image_credit":17,"themes":3302},247,"no-5-lane18-project","01-GC-02-03",{"zh":3281,"en":3282,"ja":3283,"ko":3284},"十八巷五號","No.5,Lane18 project","十八巷五号","18항 5호",[1826],"2014",{"zh":3288,"en":3289,"ja":3290,"ko":3291},"紙，42×60公分","Paper, 42×60 cm","紙、42×60 cm","종이, 42×60 cm",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":3294,"en":3295,"ja":3296,"ko":3297},"繪圖者：孫知行、簡捷、陳毅哲","Illustrator: Sun Chih Hsing, Chien chieh, Chen Yi Che","作画：孫知行、簡捷、陳毅哲","그림: Sun Chih-hsing, Chien Chieh, Chen Yi-che",{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[405],{"id":3304,"slug":3305,"no":3306,"title":3307,"artists":3312,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":3313,"medium":3314,"dimensions":17,"is_new":797,"description":3315,"notes":3316,"credit":3317,"series":3318,"names":3319,"incomplete":797,"images":3320,"image_credit":17,"themes":3321},248,"taiwan-alternative-space-map","01-GC-02-04",{"zh":3308,"en":3309,"ja":3310,"ko":3311},"臺灣藝術空間地圖","Taiwan Alternative Space Map","台湾アートスペース・マップ","대만 예술공간 지도",[1826],"2022",{"zh":3288,"en":3289,"ja":3290,"ko":3291},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[405],{"id":3323,"slug":3324,"no":3325,"title":3326,"artists":3331,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":3332,"dimensions":17,"is_new":797,"description":3337,"notes":3338,"credit":3339,"series":3340,"names":3341,"incomplete":797,"images":3342,"image_credit":17,"themes":3343},249,"earth-god-tudigong-blessing-circle","01-GC-02-05",{"zh":3327,"en":3328,"ja":3329,"ko":3330},"土地公庇佑圈","Earth God (Tudigong) Blessing Circle","土地公の加護圏","토지공의 가호권",[1826],{"zh":3333,"en":3334,"ja":3335,"ko":3336},"水性網版印刷油墨，尺寸依場地而定","Water-based screen printing ink, Dimensions variable","水性スクリーン印刷インク、サイズ可変","수성 스크린 인쇄 잉크, 가변 크기",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[405],{"id":3345,"slug":3346,"no":3347,"title":3348,"artists":3353,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":3354,"dimensions":17,"is_new":797,"description":3359,"notes":3360,"credit":3365,"series":3366,"names":3367,"incomplete":797,"images":3368,"image_credit":17,"themes":3369},250,"a-decade-in-the-tree-hollow","01-GC-02-06",{"zh":3349,"en":3350,"ja":3351,"ko":3352},"十年樹洞","A Decade in the Tree Hollow","十年の樹洞","10년의 나무 구멍",[1826],{"zh":3355,"en":3356,"ja":3357,"ko":3358},"錄像，尺寸依場地而定","Video, Dimensions variable","映像、サイズ可変","영상, 가변 크기",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":3361,"en":3362,"ja":3363,"ko":3364},"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.","映像提供：簡捷、陳奕志、陳奕丞、陳毅哲、陳孝齊、林哲宇、李奕芃、劉先齊、蔣帛諺ほか","영상 제공: 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 외",{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[405],{"id":3371,"slug":3372,"no":3373,"title":3374,"artists":3379,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":3380,"dimensions":17,"is_new":797,"description":3385,"notes":3386,"credit":3387,"series":3388,"names":3389,"incomplete":797,"images":3390,"image_credit":17,"themes":3391},251,"traces-of-a-rooftop-party","01-GC-02-07",{"zh":3375,"en":3376,"ja":3377,"ko":3378},"天臺派對痕跡","Traces of a Rooftop Party","天台パーティーの痕跡","옥상 파티의 흔적",[1826],{"zh":3381,"en":3382,"ja":3383,"ko":3384},"木頭、金屬、玻璃等，尺寸依場地而定","Wood, metal, glass, etc., Dimensions variable","木、金属、ガラスほか、サイズ可変","나무, 금속, 유리 등, 가변 크기",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[405],{"id":3393,"slug":3394,"no":3395,"title":3396,"artists":3401,"venue":767,"location_note":2968,"location_note_zh":2969,"lat":1723,"lng":1723,"year":3402,"medium":3403,"dimensions":17,"is_new":797,"description":3408,"notes":3413,"credit":3414,"series":3419,"names":3420,"incomplete":797,"images":3421,"image_credit":17,"themes":3438},252,"penetration-and-connection-prototype-art","01-GC-09",{"zh":3397,"en":3398,"ja":3399,"ko":3400},"穿透與連結：原型藝術文件","Penetration and Connection: Prototype Art","貫通と連結：原型芸術ドキュメント","관통과 연결: Prototype Art 도큐먼트",[1839],"1998-2005",{"zh":3404,"en":3405,"ja":3406,"ko":3407},"文件、物件、木作，尺寸依場地而定","Documents, objects, and woodwork, Dimensions variable","資料、オブジェ、木工、サイズ可変","문서, 오브제, 목공, 가변 크기",{"zh":3409,"en":3410,"ja":3411,"ko":3412},"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.","本展示エリアは、原型芸術が2004年に参加した「Co4台湾前衛文件展」での「進行中の状態——貫通と連結」を発展させたものである。年表、オブジェ、アーカイブ資料を通して、当時アーティストたちが集い、交流し、制作していたスタジオの状態を再現する。「微微流域」によって微小で流動的な芸術の風景を象徴し、手を加えられていない、いまだ形の定まらない創作の現場を提示するとともに、この「未明」を芸術が生まれる原型とみなし、芸術に携わる者たちが互いにつながり、意志が交わり、集合的な意識が形成されていく開かれたプラットフォームを示す。\n\nスペシャルサンクス：国立台南芸術大学芸術史・文化資産学科 許遠達助理教授、古力芸術 謝宏明、陳美澍","이 전시 구역은 Prototype Art가 2004년 「Co4 대만 아방가르드 도큐먼트전」에 참여해 선보인 「진행 중인 상태——관통과 연결」을 확장한 것으로, 연표와 오브제, 아카이브 자료를 통해 당시 예술가들이 모여 교류하고 창작하던 작업실의 상태를 재현한다. ‘미세 유역’으로 작고도 유동적인 예술 풍경을 상징하며 다듬어지지 않은 채 아직 형태를 갖추지 않은 창작 현장을 보여주고, 이 ‘불명확함’을 예술이 생성되는 원형으로 여기며, 예술 종사자들이 서로 연결되고 의지가 교차하며 집단의식이 형성되는 열린 플랫폼을 펼쳐 보인다.\n\n특별 감사: 국립 타이난 예술대학교 미술사·문화유산학과 Hsu Yuan-ta 조교수, Good Life Art의 Hsieh Hung-ming, Chen Mei-shu",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":3415,"en":3416,"ja":3417,"ko":3418},"原型藝術提供","Courtesy of Prototype Art","原型芸術提供","Prototype Art 제공",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[3422],{"id":3423,"url":3424,"w":2838,"h":3425,"alt":3426,"sizes":3427},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":3428,"large":3430,"1536x1536":3433,"2048x2048":3435},{"url":3429,"w":84,"h":2410},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-09-1-300x212.jpg",{"url":3431,"w":88,"h":3432},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-09-1-1024x724.jpg",724,{"url":3434,"w":300,"h":2907},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-09-1-1536x1086.jpg",{"url":3436,"w":304,"h":3437},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-09-1-2048x1448.jpg",1448,[405],{"id":3440,"slug":3441,"no":3442,"title":3443,"artists":3448,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":3449,"medium":3450,"dimensions":17,"is_new":797,"description":3455,"notes":3460,"credit":3461,"series":3462,"names":3467,"incomplete":797,"images":3468,"image_credit":17,"themes":3469},584,"strands","01-GC-10-01-03",{"zh":3444,"en":3445,"ja":3446,"ko":3447},"串串","Strands","連なり","줄줄이",[1812],"2003",{"zh":3451,"en":3452,"ja":3453,"ko":3454},"影像合成輸出，61.5×88.5公分","Composite image print, 61.5×88.5 cm","合成画像プリント、61.5×88.5 cm","합성 이미지 프린트, 61.5×88.5 cm",{"zh":3456,"en":3457,"ja":3458,"ko":3459},"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。","Notes on Prototype Art’s City Parable—A-wen’s Mild Paranoia\n\nImagine countless worlds of worlds of worlds coexisting and overlapping in the same field.\n\nPerhaps what we see is the same thing; at least, when we describe to others how to get from one point\n\nto another, it indirectly confirms that the people of one city are within the same visible city.\n\nA city is like a personal code that is constantly taken apart and reassembled; only in the will to remake and to name can the city and its citizens belong to each other.\n\nTwo towers floating above the great drainage canal,\n\npink mushrooms suspended in midair,\n\nwhite strands piercing out of old buildings,\n\nin paranoia, in the fragments of the city, a city is shattered.","原型「都市の寓話」記——阿文の軽度妄想症\n\n同じ場の中に並存し、重なり合う、無数の世界の世界の世界を想像する。\n\n見ているのは同じものなのかもしれない。少なくとも、ある地点から\n\n別の地点へどう行くかを他人に説明するとき、同じ都市の人々が同じ可視の都市の中にいることが間接的に証される。\n\n都市とは、絶えず解体され、組み直される個人的な符号のようなものであり、作り直し、名づけようとする意志の中でのみ、都市と市民は互いに帰属しあうことができる。\n\n大きな水路の上に浮かぶ双塔、\n\n宙に浮かぶピンク色のキノコ、\n\n古い建物から突き出た白い連なりのかたち、\n\n妄想の中で、都市の断片の中で、ひとつの都市が砕け散る。","Prototype Art의 「도시 우화」를 기록하며——A-wen의 경미한 망상증\n\n같은 장 안에 공존하며 겹쳐지는 무수한 세계의 세계의 세계를 상상한다.\n\n어쩌면 우리가 보는 것은 같은 것인지도 모른다. 적어도 다른 사람에게 어느 한 지점에서\n\n다른 지점으로 가는 길을 설명할 때, 같은 도시의 사람들이 같은 가시적 도시 안에 있음이 간접적으로 증명된다.\n\n도시는 끊임없이 해체되고 재조합되는 개인의 부호와 같아서, 다시 만들고 이름 붙이려는 의지 속에서만 도시와 시민은 서로에게 속할 수 있다.\n\n큰 수로 위에 떠 있는 쌍탑,\n\n허공에 매달린 분홍색 버섯,\n\n낡은 건물을 뚫고 나온 하얀 줄줄이 형상,\n\n망상 속에서, 도시의 파편 속에서, 하나의 도시가 산산이 부서진다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":3463,"en":3464,"ja":3465,"ko":3466},"文件展：城市寓言","Documentation: City Parable","ドキュメント展：都市の寓話","도큐먼트전: 도시 우화",{"zh":17,"en":17,"ja":17,"ko":17},[],[405],{"id":3471,"slug":3472,"no":3473,"title":3474,"artists":3479,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":3449,"medium":3480,"dimensions":17,"is_new":797,"description":3481,"notes":3482,"credit":3483,"series":3484,"names":3485,"incomplete":797,"images":3486,"image_credit":17,"themes":3496},254,"two-towers","01-GC-10-01",{"zh":3475,"en":3476,"ja":3477,"ko":3478},"雙塔","Two Towers","双塔","쌍탑",[1812],{"zh":3451,"en":3452,"ja":3453,"ko":3454},{"zh":3456,"en":3457,"ja":3458,"ko":3459},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":3463,"en":3464,"ja":3465,"ko":3466},{"zh":17,"en":17,"ja":17,"ko":17},[3487],{"id":3488,"url":3489,"w":3490,"h":3491,"alt":3492,"sizes":3493},459,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-01-1.jpg",918,637,"雙塔 Two Towers",{"medium":3494},{"url":3495,"w":84,"h":2357},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-01-1-300x208.jpg",[405],{"id":3498,"slug":3499,"no":3500,"title":3501,"artists":3505,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":3449,"medium":3506,"dimensions":17,"is_new":797,"description":3507,"notes":3508,"credit":3509,"series":3510,"names":3511,"incomplete":797,"images":3512,"image_credit":17,"themes":3513},583,"clouds","01-GC-10-01-02",{"zh":3502,"en":3503,"ja":3502,"ko":3504},"雲雲","Clouds","구름구름",[1812],{"zh":3451,"en":3452,"ja":3453,"ko":3454},{"zh":3456,"en":3457,"ja":3458,"ko":3459},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":3463,"en":3464,"ja":3465,"ko":3466},{"zh":17,"en":17,"ja":17,"ko":17},[],[405],{"id":3515,"slug":3516,"no":3517,"title":3518,"artists":3522,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":3449,"medium":3523,"dimensions":17,"is_new":797,"description":3528,"notes":3533,"credit":3534,"series":3535,"names":3536,"incomplete":797,"images":3537,"image_credit":17,"themes":3554},255,"untitled-1","01-GC-10-02",{"zh":3519,"en":3520,"ja":3519,"ko":3521},"無題","Untitled","무제",[1852],{"zh":3524,"en":3525,"ja":3526,"ko":3527},"影像合成輸出，26.2×152.4公分","Composite image print, 26.2×152.5 cm","合成画像プリント、26.2×152.4 cm","합성 이미지 프린트, 26.2×152.4 cm",{"zh":3529,"en":3530,"ja":3531,"ko":3532},"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。","When the entrances and exits of buildings have all disappeared, people wander aimlessly through the city. This end and that end suddenly lose their connection, and each enclosed space stands like a self-contained paradise in a city caressed by a gentle breeze. Throwing up one’s hands—an indescribable and ?? feeling.","建築の入口も出口も消えてしまったとき、人は目的もなく都市をさまよう。こちら側とあちら側は突如としてつながりを失い、閉ざされた空間の一つひとつが、そよ風の吹く都市の中に独立した楽園のようにそびえ立つ。両手を広げてお手上げ、言葉にしがたく、そして？？な心持ち。","건축물의 입구와 출구가 모두 사라지자, 사람들은 목적 없이 도시를 떠돈다. 이쪽 끝과 저쪽 끝은 갑자기 연결을 잃고, 닫힌 공간 하나하나가 산들바람이 어루만지는 도시 속에 독립된 낙원처럼 우뚝 서 있다. 두 손을 펼쳐 보이는, 이루 말할 수 없고 ??한 심정.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":3463,"en":3464,"ja":3465,"ko":3466},{"zh":17,"en":17,"ja":17,"ko":17},[3538],{"id":3539,"url":3540,"w":289,"h":3541,"alt":3542,"sizes":3543},460,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-02-1-scaled.jpg",450,"無題 Untitled",{"medium":3544,"large":3546,"1536x1536":3548,"2048x2048":3551},{"url":3545,"w":84,"h":1679},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-02-1-300x53.jpg",{"url":3547,"w":88,"h":1959},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-02-1-1024x180.jpg",{"url":3549,"w":300,"h":3550},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-02-1-1536x270.jpg",270,{"url":3552,"w":304,"h":3553},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-02-1-2048x360.jpg",360,[405],{"id":3556,"slug":3557,"no":3558,"title":3559,"artists":3563,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":3449,"medium":3564,"dimensions":17,"is_new":797,"description":3569,"notes":3574,"credit":3575,"series":3576,"names":3577,"incomplete":797,"images":3578,"image_credit":17,"themes":3588},256,"chenggong-opened-the-river-anping-fantasia","01-GC-10-03",{"zh":3560,"en":3561,"ja":3560,"ko":3562},"成功開河「安平狂想曲」","Chenggong Opened the River \"Anping Fantasia\"","성공, 물길을 열다 「안핑 광상곡」",[1861],{"zh":3565,"en":3566,"ja":3567,"ko":3568},"影像合成輸出，89.4×65公分","Composite image print, 89.4×65 cm","合成画像プリント、89.4×65 cm","합성 이미지 프린트, 89.4×65 cm",{"zh":3570,"en":3571,"ja":3572,"ko":3573},"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。」","One day, I, an old fisherman, was rowing my boat, following a butterfly, half dreaming and half drifting, until I came to the canal. Suddenly the water behind me began to rush, opening up another passage, and the scenery around me changed from high-rise buildings into the bustling, prosperous old city of Tainan. Just as I was wondering where I was, a young woman on the opposite bank waved her hand: “This is Anping! Lord Zheng would like to invite you for a drink.”","ある日、年老いた漁師である私は舟を漕ぎ、一匹の蝶を追いながら、夢うつつのまま運河へとたどり着いた。突然、背後の流れが激しくなり、もう一本の水路が開けた。あたりの景色は高層ビル群から、にぎやかに栄える台南の古都へと変わっていた。いったいどこにいるのかと戸惑っていると、対岸の娘が手を振った。「ここは安平ですよ！鄭の旦那さまが一杯いかがとお招きです。」","어느 날 늙은 어부인 나는 배를 저으며 나비 한 마리를 쫓아 꿈인 듯 생시인 듯 운하에 이르렀다. 갑자기 등 뒤의 물살이 거세지더니 또 하나의 물길이 열렸고, 주변 풍경은 고층 빌딩에서 번화하고 떠들썩한 타이난 옛 도시로 바뀌었다. 여기가 어디인지 어리둥절해하던 참에, 건너편 강가의 아가씨가 손을 흔들었다. “여기는 안핑이에요! 정 나리께서 한잔하자고 청하십니다.”",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":3463,"en":3464,"ja":3465,"ko":3466},{"zh":17,"en":17,"ja":17,"ko":17},[3579],{"id":3580,"url":3581,"w":3582,"h":3583,"alt":3584,"sizes":3585},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":3586},{"url":3587,"w":2543,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-03-1-220x300.jpg",[405],{"id":3590,"slug":3591,"no":3592,"title":3593,"artists":3595,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":3449,"medium":3596,"dimensions":17,"is_new":797,"description":3601,"notes":3606,"credit":3607,"series":3608,"names":3609,"incomplete":797,"images":3610,"image_credit":17,"themes":3620},257,"about-toward-two-face-s","01-GC-10-04",{"zh":3594,"en":3594,"ja":3594,"ko":3594},"About Toward Two Face's",[1870],{"zh":3597,"en":3598,"ja":3599,"ko":3600},"影像合成輸出，81.3×108.3公分","Composite image print, 81.3×108.3 cm","合成画像プリント、81.3×108.3 cm","합성 이미지 프린트, 81.3×108.3 cm",{"zh":3602,"en":3603,"ja":3604,"ko":3605},"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","Covering all things, polarization is a method,\n\nunfolding a so-called scale of polarity in terms of capacity,\n\nit can be a cheap explanation,\n\nor\n\nthe release of possibilities after being drowned and about to perish by one’s own hand.\n\nMerely a faint glimmer in the dark night,\n\nan inverted erasure of strange images within a seemingly imagined heaven and earth.\n\nIt is an intention,\n\nmoving with the wind,\n\ndrifting between the natural and the unnatural\n\nin the needle-clustered leaf veins of the casuarina.\n\nAnd so\n\ncare has already been transformed by a cold gaze,\n\nturned into a thousand wisps and ten thousand satins,\n\nnot grounded in encounters,\n\nbut instead shifting into view\n\nin the boundlessness of the opposite direction. 2003.7 Zhu Xi","すべての事物を覆い包む、両極化はひとつの方法であり、\n\n能力において、いわゆる極化の尺度を展開し、\n\nそれは安易な解釈でもありうるし、\n\nあるいは\n\n溺れ沈み、自ら果てようとした後の可能性を解き放つことでもある。\n\nただ一筋の、闇夜のかすかな光にすぎず、\n\nどこか仮想めいた天地のあいだの、反転して消し去られた異像である。\n\nそれはひとつの意向であり、\n\n風に従って動き、\n\n自然と非自然のあいだを漂う\n\nモクマオウの針束の葉脈のなかに。\n\nそして\n\n慈しみはすでに冷ややかなまなざしによって変えられ、\n\n千の綿毛と万の緞子と化し、\n\nめぐり合わせに根づくことなく、\n\nむしろ移ろい現れる、\n\n逆向きの果てしなさのなかに。 2003.7竹兮","모든 사물을 뒤덮는, 양극화는 하나의 방법이며,\n\n능력의 차원에서 이른바 극화의 척도를 펼치고,\n\n그것은 값싼 해석일 수도 있고,\n\n혹은\n\n물에 빠져 스스로 숨을 거두려던 뒤의 가능성을 풀어놓는 것일 수도 있다.\n\n다만 어두운 밤의 한 줄기 희미한 빛일 뿐,\n\n어쩐지 가상인 듯한 천지 사이에서 거꾸로 지워진 기이한 형상이다.\n\n그것은 하나의 의향이며,\n\n바람을 따라 움직이고,\n\n자연과 비자연 사이를 떠도는\n\n목마황의 바늘 다발 잎맥 속에 있다.\n\n그리하여\n\n보살핌은 이미 차가운 시선에 의해 바뀌어\n\n천 가닥 솜털과 만 필의 비단이 되었고,\n\n만남 속에 뿌리내리지 못한 채\n\n오히려 옮겨 가 드러난다\n\n반대 방향의 끝없음 속으로. 2003.7 Zhu Xi",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":3463,"en":3464,"ja":3465,"ko":3466},{"zh":17,"en":17,"ja":17,"ko":17},[3611],{"id":3612,"url":3613,"w":3614,"h":3615,"alt":3616,"sizes":3617},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":3618},{"url":3619,"w":84,"h":2635},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-04-1-300x225.jpg",[405],{"id":3622,"slug":3623,"no":3624,"title":3625,"artists":3629,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":3449,"medium":3630,"dimensions":17,"is_new":797,"description":3635,"notes":3640,"credit":3641,"series":3642,"names":3643,"incomplete":797,"images":3644,"image_credit":17,"themes":3654},258,"oh-zhu-xi","01-GC-10-05",{"zh":3626,"en":3627,"ja":3626,"ko":3628},"竹兮","Oh! Zhu Xi","오! 주시",[1879],{"zh":3631,"en":3632,"ja":3633,"ko":3634},"影像合成輸出，87.1×124.4公分","Composite image print, 87.1×124.4 cm","合成画像プリント、87.1×124.4 cm","합성 이미지 프린트, 87.1×124.4 cm",{"zh":3636,"en":3637,"ja":3638,"ko":3639},"偶爾想像樂透中頭彩；\n\n幻想功成名就及權力、金錢于一身；\n\n偶爾靜靜獨處；偶爾單純可愛.......... ；\n\n偶爾在紅塑下看天。","Sometimes imagining winning the lottery jackpot;\n\nfantasizing about success and fame, with power and money all in one’s hands;\n\nsometimes quietly alone; sometimes simply adorable.......... ;\n\nsometimes watching the sky beneath red plastic.","ときには宝くじの一等当選を想像し；\n\n成功と名声、権力と金をその身に集めることを夢想し；\n\nときには静かにひとりで過ごし；ときには無邪気で愛らしく.......... ；\n\nときには赤いビニールの下で空を見上げる。","가끔은 복권 1등 당첨을 상상하고;\n\n성공과 명예, 권력과 돈을 한 몸에 거머쥐는 꿈을 꾸고;\n\n가끔은 조용히 홀로 있고; 가끔은 순수하고 귀엽게.......... ;\n\n가끔은 붉은 비닐 아래에서 하늘을 본다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":3463,"en":3464,"ja":3465,"ko":3466},{"zh":17,"en":17,"ja":17,"ko":17},[3645],{"id":3646,"url":3647,"w":3648,"h":3649,"alt":3650,"sizes":3651},463,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-05-1.jpg",917,641,"竹兮 Oh! Zhu Xi",{"medium":3652},{"url":3653,"w":84,"h":2384},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-05-1-300x210.jpg",[405],{"id":3656,"slug":3657,"no":3658,"title":3659,"artists":3664,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":3449,"medium":3665,"dimensions":17,"is_new":797,"description":3670,"notes":3675,"credit":3676,"series":3677,"names":3678,"incomplete":797,"images":3679,"image_credit":17,"themes":3689},259,"shortcuts","01-GC-10-06",{"zh":3660,"en":3661,"ja":3662,"ko":3663},"捷徑","Shortcuts","近道","지름길",[802],{"zh":3666,"en":3667,"ja":3668,"ko":3669},"3D建模與影像合成輸出，105×148.5公分","3D Modeling and Composite image print, 105×148.5 cm","3Dモデリングおよび合成画像プリント、105×148.5 cm","3D 모델링 및 합성 이미지 프린트, 105×148.5 cm",{"zh":3671,"en":3672,"ja":3673,"ko":3674},"這件模擬圖反映了我對於存在於生活圈脈絡中，關於「捷徑」的投射與想像，在此我僅將其落實為某種公設建物的虛擬，\n\n並作為連結現存聚落結構與想像氛圍間一個概念性的建議。","This simulation reflects my projections and imaginings of “shortcuts” as they exist within the context of everyday living spaces. Here, I have merely realized it as a virtual rendering of a kind of public facility,\n\nand offer it as a conceptual proposal linking existing settlement structures with an imagined atmosphere.","このシミュレーション図は、生活圏の文脈の中に存在する「近道」についての、私の投影と想像を反映したものである。ここではそれを、ある種の公共施設の仮想として具体化したにすぎず、\n\n現存する集落の構造と想像上の雰囲気とをつなぐ、ひとつの概念的な提案とするものである。","이 시뮬레이션 이미지는 생활권의 맥락 속에 존재하는 ‘지름길’에 대한 나의 투영과 상상을 반영한다. 여기서 나는 이를 일종의 공공시설물의 가상으로 구현했을 뿐이며,\n\n현존하는 마을 구조와 상상의 분위기를 잇는 하나의 개념적 제안으로 삼는다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":3463,"en":3464,"ja":3465,"ko":3466},{"zh":17,"en":17,"ja":17,"ko":17},[3680],{"id":3681,"url":3682,"w":3683,"h":3684,"alt":3685,"sizes":3686},464,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-06-1.jpg",919,650,"捷徑 Shortcuts",{"medium":3687},{"url":3688,"w":84,"h":2410},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-06-1-300x212.jpg",[405],{"id":3691,"slug":3692,"no":3693,"title":3694,"artists":3699,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":3449,"medium":3700,"dimensions":17,"is_new":797,"description":3705,"notes":3710,"credit":3711,"series":3712,"names":3713,"incomplete":797,"images":3714,"image_credit":17,"themes":3723},260,"a-city-wishing-to-swim","01-GC-10-07",{"zh":3695,"en":3696,"ja":3697,"ko":3698},"想游泳的城市","A City Wishing to Swim","泳ぎたい都市","헤엄치고 싶은 도시",[1896],{"zh":3701,"en":3702,"ja":3703,"ko":3704},"影像合成輸出，81.7×123.4公分","Composite image print, 81.7×123.4 cm","合成画像プリント、81.7×123.4 cm","합성 이미지 프린트, 81.7×123.4 cm",{"zh":3706,"en":3707,"ja":3708,"ko":3709},"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","Old houses want to swim among modern buildings\n\nAmid the turnover of old and new eras\n\nBig fish eat little fish, little fish eat shrimp\n\nLike a sunken ship settling quietly at the bottom of the ancient capital’s memory","古い家屋は近代建築の中で泳ぎたがっている\n\n新旧の時代が入れ替わる中で\n\n大きな魚は小さな魚を食べ　小さな魚はエビを食べる\n\n沈没船のように　古都の記憶の底へ静かに沈んでいく","오래된 집들은 현대 건축 속에서 헤엄치고 싶어 한다\n\n새 시대와 옛 시대가 교차하는 가운데\n\n큰 물고기는 작은 물고기를 먹고 작은 물고기는 새우를 먹는다\n\n가라앉은 배처럼 옛 도읍의 기억 밑바닥에 고요히 내려앉는다",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":3463,"en":3464,"ja":3465,"ko":3466},{"zh":17,"en":17,"ja":17,"ko":17},[3715],{"id":3716,"url":3717,"w":3718,"h":75,"alt":3719,"sizes":3720},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 Swim",{"medium":3721},{"url":3722,"w":84,"h":2211},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-07-1-300x199.jpg",[405],{"id":3725,"slug":3726,"no":3727,"title":3728,"artists":3729,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":3449,"medium":3730,"dimensions":17,"is_new":797,"description":3735,"notes":3740,"credit":3741,"series":3742,"names":3743,"incomplete":797,"images":3744,"image_credit":17,"themes":3752},261,"untitled-2","01-GC-10-08",{"zh":3519,"en":3520,"ja":3519,"ko":3521},[1905],{"zh":3731,"en":3732,"ja":3733,"ko":3734},"影像合成輸出，84.2×124.5公分","Composite image print, 84.2×124.5 cm","合成画像プリント、84.2×124.5 cm","합성 이미지 프린트, 84.2×124.5 cm",{"zh":3736,"en":3737,"ja":3738,"ko":3739},"一個城市景觀構成的主要物就是建築，有特色的建築物往往可以形成有特色的城市，該棟建築物本來就有特色，又處在民生綠園，但白色並不能顯現出來，所以試以紅色改變，如此建築物變得突顯，而且也很明白點出消防隊的色彩。","Architecture is the main element that makes up a cityscape, and distinctive buildings can often give rise to a distinctive city. This building was already distinctive and stands at Min Sheng Green Park, yet in white it fails to stand out. I therefore tried changing it to red, which makes the building prominent and also clearly evokes the color of a fire station.","都市景観を構成する主要な要素は建築であり、特色ある建築物はしばしば特色ある都市を形づくる。この建物はもともと特色があり、しかも民生緑園に位置しているが、白色ではそれが際立たない。そこで赤色に変えることを試みた。そうすることで建物は際立ち、さらに消防隊の色彩であることもはっきりと示される。","도시 경관을 이루는 주요 요소는 건축이며, 특색 있는 건축물은 종종 특색 있는 도시를 만들어낸다. 이 건물은 본래 특색을 지녔고 민성 녹원에 자리하고 있지만, 흰색으로는 그 특색이 드러나지 않는다. 그래서 붉은색으로 바꾸어 보았다. 그러자 건물이 두드러질 뿐 아니라 소방대의 색채 또한 분명하게 드러난다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":3463,"en":3464,"ja":3465,"ko":3466},{"zh":17,"en":17,"ja":17,"ko":17},[3745],{"id":3746,"url":3747,"w":3718,"h":3748,"alt":3542,"sizes":3749},466,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-08-1.jpg",618,{"medium":3750},{"url":3751,"w":84,"h":2265},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-08-1-300x203.jpg",[405],{"id":3754,"slug":3755,"no":3756,"title":3757,"artists":3762,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":3449,"medium":3763,"dimensions":17,"is_new":797,"description":3768,"notes":3773,"credit":3774,"series":3775,"names":3776,"incomplete":797,"images":3777,"image_credit":17,"themes":3787},262,"the-town-of-the-king","01-GC-10-09",{"zh":3758,"en":3759,"ja":3760,"ko":3761},"王者之城","The Town of the King","王者の都","왕의 도시",[1914],{"zh":3764,"en":3765,"ja":3766,"ko":3767},"影像合成輸出，111.8×161.6公分","Composite image print, 111.8×161.6 cm","合成画像プリント、111.8×161.6 cm","합성 이미지 프린트, 111.8×161.6 cm",{"zh":3769,"en":3770,"ja":3771,"ko":3772},"府城為昔日臺灣第一城，亦是臺灣之王城。火車站是進出臺南的首要地點，亦是臺南入口的第一個意象。現況之站前園環，景觀植栽雕像…..雜亂無章，失去了昔日府城的風采。此案改善計劃，希望不只是發現王城，而是真正建構出「王者之城」。","Fucheng was once Taiwan’s foremost city, as well as Taiwan’s royal city. The railway station is the primary point of entry to and exit from Tainan, and the first image of the city’s gateway. At present, the roundabout in front of the station, with its landscaping, plantings, and statues….., is cluttered and disorderly, having lost the splendor of old Fucheng. This improvement plan hopes not merely to discover the royal city, but to truly construct “The Town of the King.”","府城はかつて台湾第一の都市であり、台湾の王城でもあった。駅は台南を出入りする最も重要な地点であり、台南の入口としての最初のイメージでもある。現在の駅前ロータリーは、景観植栽や彫像…..が雑然としており、かつての府城の風格を失っている。本改善計画は、王城を発見するだけでなく、真の「王者の都」を構築することを目指す。","부성은 옛날 대만 제일의 도시이자 대만의 왕성이었다. 기차역은 타이난을 드나드는 가장 중요한 지점이며, 타이난의 입구로서 처음 마주하는 이미지이기도 하다. 현재 역 앞 로터리는 조경 식재와 조각상…..이 무질서하게 뒤섞여 옛 부성의 풍모를 잃어버렸다. 이 개선 계획은 왕성을 발견하는 데 그치지 않고 진정한 「왕의 도시」를 구축하고자 한다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":3463,"en":3464,"ja":3465,"ko":3466},{"zh":17,"en":17,"ja":17,"ko":17},[3778],{"id":3779,"url":3780,"w":3781,"h":3782,"alt":3783,"sizes":3784},467,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-09-1.jpg",922,662,"王者之城 The Town of the King",{"medium":3785},{"url":3786,"w":84,"h":2475},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-09-1-300x215.jpg",[405],{"id":3789,"slug":3790,"no":3791,"title":3792,"artists":3796,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":3449,"medium":3797,"dimensions":17,"is_new":797,"description":3802,"notes":3807,"credit":3808,"series":3813,"names":3814,"incomplete":797,"images":3815,"image_credit":17,"themes":3824},263,"cannon","01-GC-10-10",{"zh":3793,"en":3794,"ja":3793,"ko":3795},"大砲","Cannon","대포",[1923],{"zh":3798,"en":3799,"ja":3800,"ko":3801},"影像合成輸出，85.7×123.1公分","Composite image print, 85.7×123.1 cm","合成画像プリント、85.7×123.1 cm","합성 이미지 프린트, 85.7×123.1 cm",{"zh":3803,"en":3804,"ja":3805,"ko":3806},"大砲 大砲我愛你\n\n安平古堡的大砲原是防禦來自海上的入侵\n\n現今已無用武之地\n\n而成為一歷史遺跡\n\n此影像裝置呈現的是一歡愉的水上樂園\n\n作品以游泳圈將來自海上的威脅\n\n消失的海岸與水\n\n消失的敵人\n\n置換成輕鬆快樂的意象\n\n以反諷詼諧的態度面對基地的歷史意涵","Cannon, cannon, I love you\n\nThe cannons of Anping Old Fort were originally meant to defend against invasions from the sea\n\nNow they have no use\n\nand have become a historical relic\n\nThis image installation presents a joyful water park\n\nUsing swim rings, the work replaces the threat from the sea,\n\nthe vanished coastline and water,\n\nthe vanished enemy,\n\nwith light and joyful imagery\n\nfacing the historical significance of the site with irony and humor","大砲　大砲　大好きだよ\n\n安平古堡の大砲は、もともと海からの侵入を防ぐためのものだった\n\n今ではもはや出番はなく\n\nひとつの歴史遺跡となった\n\nこの映像インスタレーションが示すのは、楽しげなウォーターパークである\n\n作品は浮き輪によって、海からの脅威を\n\n消えた海岸と水を\n\n消えた敵を\n\n軽やかで楽しいイメージへと置き換え\n\n皮肉とユーモアをもって、敷地の歴史的意味に向き合う","대포 대포 사랑해\n\n안핑 고성의 대포는 본래 바다로부터의 침입을 막기 위한 것이었다\n\n이제는 더 이상 쓸모가 없어\n\n하나의 역사 유적이 되었다\n\n이 영상 설치는 즐거운 워터파크를 보여준다\n\n작품은 튜브를 이용해 바다로부터의 위협을\n\n사라진 해안과 물을\n\n사라진 적을\n\n가볍고 즐거운 이미지로 치환하고\n\n반어적이고 해학적인 태도로 장소의 역사적 의미를 마주한다",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":3809,"en":3810,"ja":3811,"ko":3812},"家屬收藏","Collection of the artist's family","作家家族蔵","작가 가족 소장",{"zh":3463,"en":3464,"ja":3465,"ko":3466},{"zh":17,"en":17,"ja":17,"ko":17},[3816],{"id":3817,"url":3818,"w":3819,"h":3491,"alt":3820,"sizes":3821},468,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-10-1.jpg",915,"大砲 Cannon",{"medium":3822},{"url":3823,"w":84,"h":2371},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-10-1-300x209.jpg",[405],{"id":3826,"slug":3827,"no":3828,"title":3829,"artists":3833,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":3449,"medium":3834,"dimensions":17,"is_new":797,"description":3839,"notes":3844,"credit":3845,"series":3846,"names":3847,"incomplete":797,"images":3848,"image_credit":17,"themes":3857},264,"flowing","01-GC-10-11",{"zh":3830,"en":3831,"ja":3830,"ko":3832},"流動","Flowing","흐름",[1932],{"zh":3835,"en":3836,"ja":3837,"ko":3838},"影像合成輸出，41.1×61.4公分","Composite image print, 41.1×61.4 cm","合成画像プリント、41.1×61.4 cm","합성 이미지 프린트, 41.1×61.4 cm",{"zh":3840,"en":3841,"ja":3842,"ko":3843},"流動.....繼續流動\n\n靜止也流動了...\n\n流動的卻也靜止了‧動不動\n\n不在眼裡‧不在心裡\n\n從現在到未來‧只是一個過客‧\n\n不論時光如何流動‧變了幾次面貌\n\n依然‧游走在不確定的時光中\n\n日子‧還是這樣‧還在那裡的不是永恆","Flowing.....still flowing\n\nEven stillness has begun to flow...\n\nYet what flows has also come to rest‧moving and not moving\n\nNot in sight‧not in mind\n\nFrom now into the future‧merely a passerby‧\n\nNo matter how time flows‧how many times its face has changed\n\nStill‧wandering through uncertain time\n\nThe days‧remain the same‧what is still there is not eternity","流れる.....流れ続ける\n\n静止もまた流れ出した...\n\n流れるものもまた静止した‧動くでも動かぬでもなく\n\n目にも留めず‧心にも留めず\n\n今から未来へ‧ただの旅人にすぎない‧\n\n時がどう流れようとも‧幾度姿を変えようとも\n\nなおも‧不確かな時のなかをさまよう\n\n日々は‧相変わらずで‧まだそこにあるのは永遠ではない","흐른다.....계속 흐른다\n\n멈춤도 흘러가 버렸다...\n\n흐르던 것도 멈춰 버렸다‧움직이는 듯 움직이지 않는\n\n눈에도 없고‧마음에도 없다\n\n지금부터 미래까지‧그저 한 사람의 나그네일 뿐‧\n\n세월이 어떻게 흐르든‧몇 번이나 모습이 바뀌든\n\n여전히‧불확실한 시간 속을 떠돈다\n\n나날은‧여전히 이러하고‧아직 그곳에 있는 것은 영원이 아니다",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":3463,"en":3464,"ja":3465,"ko":3466},{"zh":17,"en":17,"ja":17,"ko":17},[3849],{"id":3850,"url":3851,"w":3718,"h":3852,"alt":3853,"sizes":3854},469,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-11-1.jpg",611,"流動 Flowing",{"medium":3855},{"url":3856,"w":84,"h":2238},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-11-1-300x201.jpg",[405],{"id":3859,"slug":3860,"no":3861,"title":3862,"artists":3867,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":3449,"medium":3868,"dimensions":17,"is_new":797,"description":3873,"notes":3878,"credit":3879,"series":3880,"names":3881,"incomplete":797,"images":3882,"image_credit":17,"themes":3891},265,"noah-s-boat","01-GC-10-12",{"zh":3863,"en":3864,"ja":3865,"ko":3866},"諾亞方舟","Noah's boat","ノアの方舟","노아의 방주",[1941],{"zh":3869,"en":3870,"ja":3871,"ko":3872},"影像合成輸出，35.5×54.6公分","Composite image print, 35.5×54.6 cm","合成画像プリント、35.5×54.6 cm","합성 이미지 프린트, 35.5×54.6 cm",{"zh":3874,"en":3875,"ja":3876,"ko":3877},"生命是一個流動體，世界無止息的轉變，\n\n人們的慾望膨脹，意識漸漸模糊，\n\n我們訝異地發現，自己對世界有如此的心靈設限。\n\n如果有神，祂是否會選擇新的洪水，\n\n甚麼樣的人和物種將被留下，繼續創造新的世界，\n\n正如從前「諾亞方舟」，在上帝毀滅人類之前，選擇留下的是敬主之義人。\n\n人，脫離了神，成為自己與神的背叛者，\n\n灌注了血肉卻抽離了靈魂，\n\n人鼓著賁張的血脈和世界對峙，但終將面對的卻流浪的理性。\n\n動盪的世局、莫測的自然、飄搖的人心，\n\n在末世的恍惚中，朝著鎮暴部隊大步邁去。","Life is a fluid body; the world changes without cease,\n\nhuman desires swell, and consciousness gradually blurs,\n\nand we are surprised to discover how our minds have set such limits on the world.\n\nIf there is a God, will He choose a new flood,\n\nand what kinds of people and species will be left to go on creating a new world,\n\njust as with Noah’s Ark long ago, when, before God destroyed humankind, those He chose to spare were the righteous who revered the Lord.\n\nHumans, having broken away from God, have become traitors to both themselves and God,\n\ninfused with flesh and blood yet drained of soul,\n\nwith swelling veins they stand off against the world, yet what they must ultimately face is a wandering reason.\n\nA turbulent world, unpredictable nature, wavering human hearts,\n\nin the daze of the end times, they stride toward the riot police.","生命はひとつの流動体であり、世界は絶え間なく変化し、\n\n人々の欲望は膨らみ、意識は次第にぼやけていく、\n\n私たちは驚きとともに、自分が世界に対してこれほど心の制限を設けていたことに気づく。\n\nもし神がいるなら、神は新たな洪水を選ぶのだろうか、\n\nどのような人と種が残され、新たな世界を創り続けるのだろうか、\n\nかつての「ノアの方舟」のように、神が人類を滅ぼす前に残すことを選んだのは、主を敬う義人であった。\n\n人は神から離れ、自らと神とを裏切る者となり、\n\n血肉を注がれながらも魂を抜き取られた、\n\n人は脈打つ血をたぎらせて世界と対峙するが、最後に向き合うのはさすらう理性である。\n\n揺れ動く世界情勢、測りがたい自然、漂う人の心、\n\n終末のまどろみの中で、機動隊に向かって大股で歩み出していく。","생명은 하나의 유동체이고, 세계는 쉼 없이 변하며,\n\n사람들의 욕망은 부풀고 의식은 점점 흐려진다,\n\n우리는 스스로가 세계에 대해 이토록 마음의 한계를 그어 왔음을 놀라며 깨닫는다.\n\n만약 신이 있다면, 그분은 새로운 홍수를 택할 것인가,\n\n어떤 사람과 어떤 종이 남겨져 새로운 세계를 계속 창조할 것인가,\n\n옛날 ‘노아의 방주’처럼, 하나님이 인류를 멸하기 전 남기기로 택한 이들은 주를 경외하는 의인이었다.\n\n인간은 신에게서 벗어나 자신과 신 모두를 배반하는 자가 되었고,\n\n피와 살은 채워졌으나 영혼은 빠져나갔다,\n\n인간은 솟구치는 핏줄을 부풀리며 세계와 맞서지만, 끝내 마주하게 될 것은 떠도는 이성이다.\n\n요동치는 세상, 헤아릴 수 없는 자연, 흔들리는 인심,\n\n종말의 몽롱함 속에서 진압 부대를 향해 성큼성큼 걸어간다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":3463,"en":3464,"ja":3465,"ko":3466},{"zh":17,"en":17,"ja":17,"ko":17},[3883],{"id":3884,"url":3885,"w":3490,"h":3886,"alt":3887,"sizes":3888},470,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-12-1.jpg",639,"諾亞方舟 Noah's boat",{"medium":3889},{"url":3890,"w":84,"h":2371},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-12-1-300x209.jpg",[405],{"id":3893,"slug":3894,"no":3895,"title":3896,"artists":3901,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":3449,"medium":3902,"dimensions":17,"is_new":797,"description":3907,"notes":3912,"credit":3913,"series":3914,"names":3915,"incomplete":797,"images":3916,"image_credit":17,"themes":3926},266,"legend-of-the-realm-of-elephant","01-GC-10-13",{"zh":3897,"en":3898,"ja":3899,"ko":3900},"象域傳奇","Legend of the Realm of Elephant","象域伝奇","코끼리 영역의 전설",[1950],{"zh":3903,"en":3904,"ja":3905,"ko":3906},"影像合成輸出，56.5×84.5公分","Composite image print, 56.5×84.5 cm","合成画像プリント、56.5×84.5 cm","합성 이미지 프린트, 56.5×84.5 cm",{"zh":3908,"en":3909,"ja":3910,"ko":3911},"「象域傳奇」是象群的時空境遇，敘述來自遠方的古老象群，結隊來到嚮往已久的臺南海邊億載金城；\n\n只因傳聞此地人們純樸好客，喜歡海鮮，個個海量。\n\n象群有組織，但不像部隊；象有紅黃灰之分，但決無階級高低之別。象域是一種科技傳奇、時空預言。","Legend of the Realm of Elephant is the spatiotemporal encounter of a herd of elephants. It tells of an ancient herd from afar that travels in formation to Eternal Golden Castle on the Tainan coast, a place they have long yearned to visit;\n\nall because rumor has it that the people here are simple and hospitable, love seafood, and can every one of them hold their liquor.\n\nThe herd is organized, but not like an army; the elephants come in red, yellow, and gray, but there is absolutely no distinction of rank among them. The Realm of Elephant is a technological legend, a prophecy of time and space.","「象域伝奇」は象の群れの時空をめぐる境遇であり、遠方から来た古の象の群れが、長らく憧れていた台南の海辺、億載金城へと隊を組んでやって来る物語である。\n\nこの地の人々は素朴でもてなし好き、海鮮を好み、誰もが酒豪だという噂を聞いたからにすぎない。\n\n象の群れには組織があるが、軍隊のようではない。象には赤・黄・灰の区別があるが、階級の上下の差は決してない。象域とは、ひとつのテクノロジーの伝奇であり、時空の予言である。","「코끼리 영역의 전설」은 코끼리 무리의 시공간적 여정으로, 먼 곳에서 온 오래된 코끼리 무리가 오랫동안 동경해 온 타이난 바닷가의 억재금성으로 무리 지어 찾아오는 이야기를 들려준다.\n\n이곳 사람들이 순박하고 손님 대접을 좋아하며 해산물을 즐기고 하나같이 술이 세다는 소문을 들었기 때문이다.\n\n코끼리 무리는 조직적이지만 군대 같지는 않다. 코끼리는 빨강, 노랑, 회색으로 나뉘지만 계급의 높고 낮음은 결코 없다. 코끼리 영역은 하나의 과학기술 전설이자 시공간의 예언이다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":3463,"en":3464,"ja":3465,"ko":3466},{"zh":17,"en":17,"ja":17,"ko":17},[3917],{"id":3918,"url":3919,"w":3920,"h":3921,"alt":3922,"sizes":3923},471,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-13-1.jpg",995,669,"象域傳奇 Legend of the Realm of Elephant",{"medium":3924},{"url":3925,"w":84,"h":2252},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-gc-10-13-1-300x202.jpg",[405],{"id":3928,"slug":3929,"no":3930,"title":3931,"artists":3936,"venue":767,"location_note":3937,"location_note_zh":3938,"lat":1723,"lng":1723,"year":3313,"medium":3939,"dimensions":17,"is_new":797,"description":3944,"notes":3949,"credit":3954,"series":3955,"names":3956,"incomplete":797,"images":3957,"image_credit":17,"themes":3958},267,"puna-umbilical-cord-return-to-the-origin","01-RC-01-01",{"zh":3932,"en":3933,"ja":3934,"ko":3935},"Puna生命的源頭","Puna\u002FUmbilical cord, Return to the origin","Puna生命の源","Puna 생명의 근원",[1959],"2F Gallery I","2樓展覽室I",{"zh":3940,"en":3941,"ja":3942,"ko":3943},"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","海洋プラスチックごみ、銅釘、ホルムアルデヒドフリー炭化合板／ユニーク・エディション、123×245×12 cm","해양 폐플라스틱, 구리 못, 무포름알데히드 탄화 합판／유일 에디션, 123×245×12 cm",{"zh":3945,"en":3946,"ja":3947,"ko":3948},"「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.","「Puna」はアミ語で「へそ」を意味し、拉黑子の《五十歩の空間》シリーズの一作である。作家は拾い集めた海洋プラスチックごみを主な素材とし、現代の海洋環境が抱える困難と、人と海との共生関係に応答する。作品中央の渦はへその緒のように生命の源とつながり、海を万物を育む母体とみなす。流れる海は、誕生から漂流を経て原点へと還る生命の循環を象徴し、絶えることなく生成し続ける宇宙の秩序を示す。","「Puna」는 아미족어로 「배꼽」을 뜻하며, Rahic Talif의 《오십 걸음의 공간》 연작 가운데 하나다. 작가는 주워 모은 해양 폐플라스틱을 주재료로 삼아 동시대 해양 환경이 처한 위기와 인간과 바다의 공생 관계에 응답한다. 작품 중앙의 소용돌이는 탯줄처럼 생명의 근원과 이어지며, 바다를 만물을 품어 기르는 모체로 바라본다. 흐르는 바다는 탄생에서 표류를 거쳐 원점으로 돌아가는 생명의 순환을 상징하며, 끊임없이 이어지는 우주의 질서를 드러낸다.",{"zh":3950,"en":3951,"ja":3952,"ko":3953},"註：Puna 為阿美族語「肚臍」之意","* “Puna” means “navel” in the \nTaiwanese Amis language.","注：Punaはアミ語で「へそ」を意味する","주: Puna는 아미족어로 「배꼽」이라는 뜻이다",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[454],{"id":3960,"slug":3961,"no":3962,"title":3963,"artists":3968,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":3313,"medium":3969,"dimensions":17,"is_new":797,"description":3974,"notes":3975,"credit":3976,"series":3977,"names":3978,"incomplete":797,"images":3979,"image_credit":17,"themes":3980},268,"the-place-to-go-home","01-RC-01-02",{"zh":3964,"en":3965,"ja":3966,"ko":3967},"Pinokayan回家的地方","The Place to Go Home","Pinokayan帰る場所","Pinokayan 돌아갈 곳",[1959],{"zh":3970,"en":3971,"ja":3972,"ko":3973},"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 cm","海洋プラスチックごみ、銅釘、ホルムアルデヒドフリー炭化合板／ユニーク・エディション、123×245×15 cm","해양 폐플라스틱, 구리 못, 무포름알데히드 탄화 합판／유일 에디션, 123×245×15 cm",{"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},{"zh":17,"en":17,"ja":17,"ko":17},[],[454],{"id":3982,"slug":3983,"no":3984,"title":3985,"artists":3990,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":3313,"medium":3991,"dimensions":17,"is_new":797,"description":3992,"notes":3993,"credit":3998,"series":3999,"names":4000,"incomplete":797,"images":4001,"image_credit":17,"themes":4002},269,"colorful","01-RC-01-03",{"zh":3986,"en":3987,"ja":3988,"ko":3989},"Kaliyliyawan五顏六色","Colorful","Kaliyliyawan色とりどり","Kaliyliyawan 오색찬란",[1959],{"zh":3970,"en":3971,"ja":3972,"ko":3973},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":3994,"en":3995,"ja":3996,"ko":3997},"註：Kaliyliyawan 為阿美族語「泛指魚身上的多彩」之意","* “Kaliyliyawan” is an Amis word referring broadly to the diverse colors found on fish.","注：Kaliyliyawanはアミ語で「魚の体に見られる多彩な色を広く指す」という意味","주: Kaliyliyawan은 아미족어로 「물고기 몸의 다채로운 빛깔을 두루 가리키는」 말이다",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[454],{"id":3550,"slug":4004,"no":4005,"title":4006,"artists":4011,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":4012,"medium":4013,"dimensions":17,"is_new":797,"description":4018,"notes":4019,"credit":4020,"series":4021,"names":4022,"incomplete":797,"images":4023,"image_credit":17,"themes":4024},"standing-on-the-reef-and-watching-fishii","01-RC-01-04",{"zh":4007,"en":4008,"ja":4009,"ko":4010},"Tomireng i ongcoy a futing \n島上魚人Ⅱ","Standing on the Reef and Watching FishⅡ","Tomireng i ongcoy a futing \n島の魚人Ⅱ","Tomireng i ongcoy a futing \n섬 위의 물고기 인간Ⅱ",[1959],"2021",{"zh":4014,"en":4015,"ja":4016,"ko":4017},"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 cm","海洋ごみ（鉄、プラスチック）、ナイロン釣り糸／一点物、165×41×36 cm","해양 폐기물(철, 플라스틱), 나일론 낚싯줄／단 한 점, 165×41×36 cm",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[454],{"id":4026,"slug":4027,"no":4028,"title":4029,"artists":4034,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":4012,"medium":4035,"dimensions":17,"is_new":797,"description":4040,"notes":4041,"credit":4042,"series":4043,"names":4044,"incomplete":797,"images":4045,"image_credit":17,"themes":4046},271,"standing-on-the-reef-and-watching-fishiii","01-RC-01-05",{"zh":4030,"en":4031,"ja":4032,"ko":4033},"Tomireng i ongcoy a futing \n島上魚人Ⅲ","Standing on the Reef and Watching FishⅢ","Tomireng i ongcoy a futing \n島の魚人Ⅲ","Tomireng i ongcoy a futing \n섬 위의 물고기 인간Ⅲ",[1959],{"zh":4036,"en":4037,"ja":4038,"ko":4039},"海廢（鐵、塑膠）、尼龍魚線／僅此一件，186×45×36公分","Marine debris (iron, plastic),\nnylon fishing line\n\u002F Unique sculptures, 186×45×36 cm","海洋ごみ（鉄、プラスチック）、ナイロン釣り糸／一点物、186×45×36 cm","해양 폐기물(철, 플라스틱), 나일론 낚싯줄／단 한 점, 186×45×36 cm",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[454],{"id":4048,"slug":4049,"no":4050,"title":4051,"artists":4056,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":4012,"medium":4057,"dimensions":17,"is_new":797,"description":4062,"notes":4063,"credit":4064,"series":4065,"names":4066,"incomplete":797,"images":4067,"image_credit":17,"themes":4068},272,"standing-on-the-reef-and-watching-fishiv","01-RC-01-06",{"zh":4052,"en":4053,"ja":4054,"ko":4055},"Tomireng i ongcoy a futing \n島上魚人Ⅳ","Standing on the Reef and Watching FishⅣ","Tomireng i ongcoy a futing \n島の魚人Ⅳ","Tomireng i ongcoy a futing \n섬 위의 물고기 인간Ⅳ",[1959],{"zh":4058,"en":4059,"ja":4060,"ko":4061},"海廢（鐵、塑膠）、尼龍魚線／僅此一件，197×55×45公分","Marine debris (iron, plastic),\nnylon fishing line\n\u002F Unique sculptures, 197×55×45 cm","海洋ごみ（鉄、プラスチック）、ナイロン釣り糸／一点物、197×55×45 cm","해양 폐기물(철, 플라스틱), 나일론 낚싯줄／단 한 점, 197×55×45 cm",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[454],{"id":4070,"slug":4071,"no":4072,"title":4073,"artists":4078,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":4012,"medium":4079,"dimensions":17,"is_new":797,"description":4084,"notes":4085,"credit":4086,"series":4087,"names":4088,"incomplete":797,"images":4089,"image_credit":17,"themes":4090},273,"standing-on-the-reef-and-watching-fishv","01-RC-01-07",{"zh":4074,"en":4075,"ja":4076,"ko":4077},"Tomireng i ongcoy a futing \n島上魚人Ⅴ","Standing on the Reef and Watching FishⅤ","Tomireng i ongcoy a futing \n島の魚人Ⅴ","Tomireng i ongcoy a futing \n섬 위의 물고기 인간Ⅴ",[1959],{"zh":4080,"en":4081,"ja":4082,"ko":4083},"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","海洋ごみ（鉄、プラスチック）、ナイロン釣り糸／一点物、200×56×62 cm","해양 폐기물(철, 플라스틱), 나일론 낚싯줄／단 한 점, 200×56×62 cm",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[454],{"id":4092,"slug":4093,"no":4094,"title":4095,"artists":4100,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":4012,"medium":4101,"dimensions":17,"is_new":797,"description":4106,"notes":4107,"credit":4108,"series":4109,"names":4110,"incomplete":797,"images":4111,"image_credit":17,"themes":4112},274,"standing-on-the-reef-and-watching-fishvi","01-RC-01-08",{"zh":4096,"en":4097,"ja":4098,"ko":4099},"Tomireng i ongcoy a futing \n島上魚人Ⅵ","Standing on the Reef and Watching FishⅥ","Tomireng i ongcoy a futing \n島の魚人Ⅵ","Tomireng i ongcoy a futing \n섬 위의 물고기 인간Ⅵ",[1959],{"zh":4102,"en":4103,"ja":4104,"ko":4105},"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","海洋ごみ（鉄、プラスチック）、ナイロン釣り糸／一点物、200×62×53 cm","해양 폐기물(철, 플라스틱), 나일론 낚싯줄／단 한 점, 200×62×53 cm",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[454],{"id":4114,"slug":4115,"no":4116,"title":4117,"artists":4122,"venue":767,"location_note":4123,"location_note_zh":4124,"lat":1723,"lng":1723,"year":4012,"medium":4125,"dimensions":17,"is_new":797,"description":4130,"notes":4135,"credit":4136,"series":4137,"names":4138,"incomplete":797,"images":4139,"image_credit":17,"themes":4199},275,"after-arachne","01-RC-02-01",{"zh":4118,"en":4119,"ja":4120,"ko":4121},"阿拉克妮之後（源自希臘神話）","After Arachne","アラクネのあとで（ギリシャ神話より）","아라크네 이후(그리스 신화에서 유래)",[1972],"1F Guide Room","1樓導覽室",{"zh":4126,"en":4127,"ja":4128,"ko":4129},"手工編織服飾，尺寸依場地而定","Hand-knitted garments, Dimensions variable","手編みの衣服、サイズ可変","손뜨개 의류, 가변 크기",{"zh":4131,"en":4132,"ja":4133,"ko":4134},"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.","本作は12点の編み物作品を2020年の12か月に対応させ、作家個人の一年の記録を構成する。オーストラリアの森林火災、COVID-19のパンデミック、政治的言説と偽情報から、「ブラック・ライヴズ・マター」運動、アメリカ大統領選挙に至るまで、世界情勢と地域政治の激しい変動を記録するとともに、祖父ががんで亡くなったこと、そして祖父が愛用していた編みスリッパにまつわる私的な記憶も取り込む。作家は編むことによって時代に応答し、公共の出来事、政治批判、人生の経験を織り交ぜながら、不安と喪失と変化に満ちた2020年を振り返る。","이 작품은 12점의 뜨개 작업을 2020년의 열두 달에 대응시켜 작가 개인의 한 해 연대기를 구성한다. 호주 산불, COVID-19 팬데믹, 정치적 발언과 허위 정보부터 「흑인의 생명도 소중하다」 운동과 미국 대통령 선거에 이르기까지 세계 정세와 지역 정치의 격렬한 변화를 기록하고, 할아버지가 암으로 세상을 떠난 일과 그가 아끼던 뜨개 슬리퍼에 얽힌 사적인 기억도 담아낸다. 작가는 뜨개질로 시대에 응답하며 공공의 사건과 정치 비판, 삶의 경험을 엮어 불안과 상실, 변화로 가득했던 2020년을 돌아본다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[4140,4155,4171,4183],{"id":4141,"url":4142,"w":2838,"h":4143,"alt":4144,"sizes":4145},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":4146,"large":4148,"1536x1536":4151,"2048x2048":4153},{"url":4147,"w":84,"h":231},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-1-300x150.jpg",{"url":4149,"w":88,"h":4150},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-1-1024x512.jpg",512,{"url":4152,"w":300,"h":3139},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-1-1536x768.jpg",{"url":4154,"w":304,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-1-2048x1024.jpg",{"id":4156,"url":4157,"w":2838,"h":4158,"alt":4144,"sizes":4159},277,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-2.jpg",1609,{"medium":4160,"large":4162,"1536x1536":4165,"2048x2048":4168},{"url":4161,"w":84,"h":2238},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-2-300x201.jpg",{"url":4163,"w":88,"h":4164},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-2-1024x687.jpg",687,{"url":4166,"w":300,"h":4167},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-2-1536x1030.jpg",1030,{"url":4169,"w":304,"h":4170},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-2-2048x1373.jpg",1373,{"id":4172,"url":4173,"w":2838,"h":4158,"alt":4144,"sizes":4174},278,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-3.jpg",{"medium":4175,"large":4177,"1536x1536":4179,"2048x2048":4181},{"url":4176,"w":84,"h":2238},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-3-300x201.jpg",{"url":4178,"w":88,"h":4164},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-3-1024x687.jpg",{"url":4180,"w":300,"h":4167},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-3-1536x1030.jpg",{"url":4182,"w":304,"h":4170},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-3-2048x1373.jpg",{"id":4184,"url":4185,"w":2838,"h":4186,"alt":4144,"sizes":4187},279,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-4.jpg",1672,{"medium":4188,"large":4190,"1536x1536":4193,"2048x2048":4196},{"url":4189,"w":84,"h":2371},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-4-300x209.jpg",{"url":4191,"w":88,"h":4192},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-4-1024x713.jpg",713,{"url":4194,"w":300,"h":4195},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-4-1536x1070.jpg",1070,{"url":4197,"w":304,"h":4198},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-02-01-4-2048x1427.jpg",1427,[454],{"id":4201,"slug":4202,"no":4203,"title":4204,"artists":4209,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":4210,"medium":4211,"dimensions":17,"is_new":797,"description":4216,"notes":4217,"credit":4218,"series":4219,"names":4220,"incomplete":797,"images":4221,"image_credit":17,"themes":4222},280,"gods-of-old-and-late-stage-capitalism","01-RC-02-02",{"zh":4205,"en":4206,"ja":4207,"ko":4208},"諸神與晚期資本主義","Gods of Old and Late Stage Capitalism","神々と後期資本主義","신들과 후기 자본주의",[1972],"2025",{"zh":4212,"en":4213,"ja":4214,"ko":4215},"織毯專用毛線，380×300公分","Tapestry and rug wool, 380×300 cm","タペストリー・ラグ用毛糸、380×300 cm","태피스트리·러그용 털실, 380×300 cm",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[454],{"id":4224,"slug":4225,"no":4226,"title":4227,"artists":4232,"venue":767,"location_note":4233,"location_note_zh":4234,"lat":1723,"lng":1723,"year":4235,"medium":4236,"dimensions":17,"is_new":797,"description":4241,"notes":4246,"credit":4247,"series":4248,"names":4249,"incomplete":797,"images":4250,"image_credit":17,"themes":4265},281,"sprouting","01-RC-03",{"zh":4228,"en":4229,"ja":4230,"ko":4231},"發芽","Sprouting","発芽","발아",[1986],"2F Gallery B","2樓展覽室B","2024",{"zh":4237,"en":4238,"ja":4239,"ko":4240},"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","リネン糸、綿紐、ゴム紐、布、とんぼ玉、ステンレス、アルミ線、銅線、270x420 cm","리넨 실, 면끈, 고무줄, 직물, 유리구슬, 스테인리스 스틸, 알루미늄선, 구리선, 270x420 cm",{"zh":4242,"en":4243,"ja":4244,"ko":4245},"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.","巻きつけ、編み上げた糸によって、種子が芽吹き、根が広がっていくような生命の形態を構築し、八八水害後の集落移転の経験をめぐる武玉玲の思索を継承する。土地、自然、生存環境を出発点として、故郷を離れ新たな生活に向き合った部族の人々が経験する文化とアイデンティティの変容に応答する。幾重にも織り重ねられた糸は、パイワン族の女性たちの工芸の記憶を宿すとともに、トラウマと移住を経てなお再び根を張り、芽吹き、成長し続ける生命のしなやかな強さと力を象徴する。","감고 엮은 실로 씨앗이 움트고 뿌리가 뻗어 나가는 듯한 생명의 형태를 구축하며, 태풍 모라꼿 재해 이후 부락 이주 경험에 대한 Aluaiy Kaumakan의 사유를 이어 간다. 땅과 자연, 생존 환경에서 출발하여, 고향을 떠나 새로운 삶을 마주한 부족민들이 겪은 문화와 정체성의 변화에 응답한다. 겹겹이 엮인 실은 파이완족 여성들의 공예 기억을 담는 동시에, 상처와 이주를 겪은 뒤에도 다시 뿌리내리고 싹을 틔우며 계속 자라나는 생명의 회복력과 힘을 상징한다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[4251],{"id":3582,"url":4252,"w":2838,"h":2750,"alt":4253,"sizes":4254},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-03-1.jpg","發芽 Sprouting",{"medium":4255,"large":4257,"1536x1536":4260,"2048x2048":4263},{"url":4256,"w":84,"h":1861},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-03-1-300x169.jpg",{"url":4258,"w":88,"h":4259},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-03-1-1024x576.jpg",576,{"url":4261,"w":300,"h":4262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-03-1-1536x864.jpg",864,{"url":4264,"w":304,"h":3142},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-03-1-2048x1152.jpg",[454],{"id":4267,"slug":4268,"no":4269,"title":4270,"artists":4275,"venue":767,"location_note":3937,"location_note_zh":4276,"lat":1723,"lng":1723,"year":2684,"medium":4277,"dimensions":17,"is_new":797,"description":4282,"notes":4287,"credit":4288,"series":4289,"names":4290,"incomplete":797,"images":4291,"image_credit":17,"themes":4292},282,"unseen-reminiscences","01-RC-04",{"zh":4271,"en":4272,"ja":4273,"ko":4274},"未見的追憶","Unseen Reminiscences","見えざる追憶","보이지 않는 추억",[1999],"2樓I展間",{"zh":4278,"en":4279,"ja":4280,"ko":4281},"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","ガラス、植物、照明、ミクストメディア、サイズ可変","유리, 식물, 조명 및 혼합 매체, 가변 크기",{"zh":4283,"en":4284,"ja":4285,"ko":4286},"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、楊明迭工作室及生產力建設集團慷慨支持，得以實現。\n臺南市美術館委託製作｜第一屆臺南藝術雙年展","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 Spring Pool Glass, Yang Ming-Tieh Studio, and Productivity Architect Co., Ltd.\nCommissioned by Tainan Art Museum for the 1st Tainan Art Biennale.","本作は台南の在来の植物と廃棄された窓ガラスを素材とする。作家は路地や公園などの日常空間を歩き、鉢植えや植民地の歴史を宿す植物を採集して、土地の記憶をたどる。ガラスに挟まれた植物は高温で焼成されて灰となり、水分、空気、鉱物は気泡、ひび、色の変化として痕跡を残す。植物の消失はかえってその存在を際立たせ、台南の今この時の気候、風土、生態を、目に見えるかたちで長く残る都市の記憶へと転換する。\n\n謝辞：本作は春池玻璃、楊明迭工作室、生産力建設集団の寛大な支援を受けて実現した。\n台南市美術館委嘱制作｜第1回台南アートビエンナーレ","이 작품은 타이난의 토착 식물과 버려진 창문 유리를 재료로 한다. 작가는 골목과 공원 등 일상의 공간을 찾아다니며 화분 식물과 식민의 역사를 간직한 식물을 채집하고, 땅의 기억을 거슬러 올라간다. 유리 사이에 끼워진 식물은 고온에서 소성되어 재가 되고, 수분과 공기, 광물질은 기포와 균열, 색의 변화로 흔적을 남긴다. 식물의 소멸은 오히려 그 존재를 부각하며, 지금 이 순간 타이난의 기후와 풍토, 생태를 눈에 보이고 오래 남는 도시의 기억으로 전환한다.\n\n특별 감사: 이 작품은 Spring Pool Glass, Yang Ming-dye 스튜디오, Productivity Architect Co., Ltd.의 아낌없는 지원으로 실현되었다.\n타이난 미술관 커미션｜제1회 타이난 예술 비엔날레",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[454],{"id":4294,"slug":4295,"no":4296,"title":4297,"artists":4302,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":4303,"medium":4304,"dimensions":17,"is_new":797,"description":4309,"notes":4314,"credit":4315,"series":4316,"names":4317,"incomplete":797,"images":4318,"image_credit":17,"themes":4319},283,"ancient-mountain","01-RC-05",{"zh":4298,"en":4299,"ja":4300,"ko":4301},"往昔之山","Ancient Mountain","往昔の山","지난날의 산",[2014],"2012",{"zh":4305,"en":4306,"ja":4307,"ko":4308},"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","綿、麻、フェルト、羊毛、絹、染料、和紙、300x640 cm","면, 마, 펠트, 양모, 실크, 염료, 일본 종이, 300x640 cm",{"zh":4310,"en":4311,"ja":4312,"ko":4313},"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。","This work reflects on how life, memory, and reverence for nature fade away or endure after environmental and human factors have transformed mountain forests. Using materials that carry history—recycled fabric, secondhand wool, and paper—the artist transforms them into new forms through weaving, resist dyeing, embroidery, painting, and collage. Amid the circulation and regeneration of materials, the work asks what can be passed on and what will ultimately be lost, pointing out that while materials can be reborn, the vanished mountain forests and the memories of life they held can never truly return.","本作は、環境的・人為的要因によって山林が変貌した後、生命、記憶、自然への畏敬がいかに失われ、あるいは受け継がれていくのかを省察する。作家は再生布、中古の羊毛、紙など歴史を宿す素材を、織り、防染、刺繍、絵画、コラージュによって新たなかたちへと転換する。物質の循環と再生のなかで、作品は何が受け継がれ、何が最終的に失われるのかを問い、素材は再生しうるとしても、消えた山林とそこに宿っていた生命の記憶が真に戻ることはないと指し示す。","이 작품은 환경적·인위적 요인으로 산림이 변한 뒤 생명과 기억, 자연에 대한 경외가 어떻게 사라지거나 이어지는지를 성찰한다. 작가는 재활용 직물, 중고 양모, 종이 등 역사를 품은 재료를 직조, 방염 염색, 자수, 회화, 콜라주를 통해 새로운 형태로 전환한다. 물질의 순환과 재생 속에서 작품은 무엇이 전승되고 무엇이 끝내 사라지는지를 묻고, 재료는 다시 태어날 수 있어도 사라진 산림과 그것이 품었던 생명의 기억은 진정으로 되돌아올 수 없음을 지적한다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[454],{"id":297,"slug":4321,"no":4322,"title":4323,"artists":4328,"venue":767,"location_note":2968,"location_note_zh":2969,"lat":1723,"lng":1723,"year":4329,"medium":4330,"dimensions":17,"is_new":797,"description":4335,"notes":4340,"credit":4341,"series":4346,"names":4347,"incomplete":797,"images":4348,"image_credit":17,"themes":4349},"wan-kurra-bandicoots","01-RC-06-01",{"zh":4324,"en":4325,"ja":4326,"ko":4327},"袋狸（古瑪吉族神話中的動物之一）","Wan'kurra (Bandicoots)","バンディクート（グマチ族の神話に登場する動物のひとつ）","반디쿠트(구마치족 신화 속 동물 중 하나)",[2028],"2023",{"zh":4331,"en":4332,"ja":4333,"ko":4334},"拾得與蝕刻鋁材，75x75公分","Found and etched aluminium, 75x75 cm","拾得したアルミニウム、エッチング、75x75 cm","수집한 알루미늄, 에칭, 75x75 cm",{"zh":4336,"en":4337,"ja":4338,"ko":4339},"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-Larrŋgay 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.","作品に見られる菱形の文様は、グマチ氏族の神聖な「火」を象徴する。赤、白、黒、黄はそれぞれ炎、煙と灰、木炭、土を表し、同時に人々の皮膚、脂肪、骨、血にも対応する。伝承によれば、火は祖霊バルー（Bäru）によってマダルパ氏族の土地へともたらされ、イリエワニへと姿を変えた後、北へと燃え広がってグマチの土地に至った。祖先であるワニ、ウズラ、バンディクート、クモ、オウム、アカカンガルー、ツカツクリ、ジュゴンなどは、いずれも伝統的な歌のなかで、神聖な火と出会った祖先の物語を語っている。\n\n謝辞：本作はBuku-Larrŋgay Mulka CentreおよびTolarno Galleriesの寛大な支援を受けて実現した。","작품 속 마름모 문양은 구마치 씨족의 신성한 「불」을 상징한다. 빨강, 하양, 검정, 노랑은 각각 불꽃, 연기와 재, 숯, 흙을 나타내며, 동시에 부족민의 피부, 지방, 뼈, 피에 대응한다. 전설에 따르면 불은 조상신 바루(Bäru)가 마다르파 씨족의 땅으로 가져왔으며, 바다악어로 변한 뒤 북쪽으로 번져 구마치의 땅에 이르렀다. 조상인 악어, 메추라기, 반디쿠트, 거미, 코카투, 붉은캥거루, 무덤새, 듀공 등은 모두 전통 노래 속에서 신성한 불과 마주한 조상의 이야기를 들려준다.\n\n특별 감사: 이 작품은 Buku-Larrŋgay Mulka Centre와 Tolarno Galleries의 아낌없는 지원으로 실현되었다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":4342,"en":4343,"ja":4344,"ko":4345},"藝術家及Buku-Larrŋgay Mulka Centre共同收藏","Courtesy of the artist and Buku-Larrŋgay Mulka Centre","作家およびBuku-Larrŋgay Mulka Centre蔵","작가 및 Buku-Larrŋgay Mulka Centre 공동 소장",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[454],{"id":4351,"slug":4352,"no":4353,"title":4354,"artists":4359,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":4235,"medium":4360,"dimensions":17,"is_new":797,"description":4365,"notes":4369,"credit":4370,"series":4371,"names":4372,"incomplete":797,"images":4373,"image_credit":17,"themes":4374},285,"gumatj-fire-gurtha-1","01-RC-06-02",{"zh":4355,"en":4356,"ja":4357,"ko":4358},"古瑪吉族之火","Gumatj fire Gurtha","グマチ族の火","구마치족의 불",[2028],{"zh":4361,"en":4362,"ja":4363,"ko":4364},"拾得與蝕刻鋁材，120×120公分","Found and etched aluminium, 120×120 cm","拾得したアルミニウム、エッチング、120×120 cm","수집한 알루미늄, 에칭, 120×120 cm",{"zh":4366,"en":4337,"ja":4367,"ko":4368},"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-Larrŋgay Mulka Centre及Tolarno Galleries慷慨支持，得以實現。","作品に見られる菱形の文様は、グマチ（Gumatj）氏族の神聖な「火」（Gurtha）を象徴する。赤、白、黒、黄はそれぞれ炎、煙と灰、木炭、土を表し、同時に人々の皮膚、脂肪、骨、血にも対応する。伝承によれば、火は祖霊バルー（Bäru）によってマダルパ氏族の土地へともたらされ、イリエワニへと姿を変えた後、北へと燃え広がってグマチの土地に至った。祖先であるワニ、ウズラ、バンディクート、クモ、オウム、アカカンガルー、ツカツクリ、ジュゴンなどは、いずれも伝統的な歌のなかで、神聖な火と出会った祖先の物語を語っている。\n\n謝辞：本作はBuku-Larrŋgay Mulka CentreおよびTolarno Galleriesの寛大な支援を受けて実現した。","작품 속 마름모 문양은 구마치(Gumatj) 씨족의 신성한 「불」(Gurtha)을 상징한다. 빨강, 하양, 검정, 노랑은 각각 불꽃, 연기와 재, 숯, 흙을 나타내며, 동시에 부족민의 피부, 지방, 뼈, 피에 대응한다. 전설에 따르면 불은 조상신 바루(Bäru)가 마다르파 씨족의 땅으로 가져왔으며, 바다악어로 변한 뒤 북쪽으로 번져 구마치의 땅에 이르렀다. 조상인 악어, 메추라기, 반디쿠트, 거미, 코카투, 붉은캥거루, 무덤새, 듀공 등은 모두 전통 노래 속에서 신성한 불과 마주한 조상의 이야기를 들려준다.\n\n특별 감사: 이 작품은 Buku-Larrŋgay Mulka Centre와 Tolarno Galleries의 아낌없는 지원으로 실현되었다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":4342,"en":4343,"ja":4344,"ko":4345},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[454],{"id":4376,"slug":4377,"no":4378,"title":4379,"artists":4380,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":4235,"medium":4381,"dimensions":17,"is_new":797,"description":4382,"notes":4383,"credit":4384,"series":4385,"names":4386,"incomplete":797,"images":4387,"image_credit":17,"themes":4388},286,"gumatj-fire-gurtha-2","01-RC-06-03",{"zh":4355,"en":4356,"ja":4357,"ko":4358},[2028],{"zh":4361,"en":4362,"ja":4363,"ko":4364},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":4342,"en":4343,"ja":4344,"ko":4345},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[454],{"id":4390,"slug":4391,"no":4392,"title":4393,"artists":4397,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":4329,"medium":4398,"dimensions":17,"is_new":797,"description":4403,"notes":4404,"credit":4405,"series":4406,"names":4407,"incomplete":797,"images":4408,"image_credit":17,"themes":4443},287,"gurtha","01-RC-06-04",{"zh":4394,"en":4395,"ja":4394,"ko":4396},"Gurtha（火）","Gurtha","Gurtha(불)",[2028],{"zh":4399,"en":4400,"ja":4401,"ko":4402},"拾得與蝕刻鋁材，75×75公分","Found and etched aluminium, 75×75 cm","拾得したアルミニウム、エッチング、75×75 cm","수집한 알루미늄, 에칭, 75×75 cm",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":4342,"en":4343,"ja":4344,"ko":4345},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[4409,4426],{"id":4410,"url":4411,"w":2838,"h":4412,"alt":4413,"sizes":4414},288,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-06-04-1.jpg",1450,"Gurtha（火） Gurtha",{"medium":4415,"large":4417,"1536x1536":4420,"2048x2048":4423},{"url":4416,"w":84,"h":1972},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-06-04-1-300x181.jpg",{"url":4418,"w":88,"h":4419},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-06-04-1-1024x619.jpg",619,{"url":4421,"w":300,"h":4422},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-06-04-1-1536x928.jpg",928,{"url":4424,"w":304,"h":4425},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-06-04-1-2048x1237.jpg",1237,{"id":4427,"url":4428,"w":2838,"h":4429,"alt":4413,"sizes":4430},289,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-06-04-2.jpg",2322,{"medium":4431,"large":4434,"1536x1536":4437,"2048x2048":4440},{"url":4432,"w":84,"h":4433},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-06-04-2-300x290.jpg",290,{"url":4435,"w":88,"h":4436},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-06-04-2-1024x991.jpg",991,{"url":4438,"w":300,"h":4439},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-06-04-2-1536x1486.jpg",1486,{"url":4441,"w":304,"h":4442},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-06-04-2-2048x1981.jpg",1981,[454],{"id":4433,"slug":4445,"no":4446,"title":4447,"artists":4452,"venue":767,"location_note":3937,"location_note_zh":3938,"lat":1723,"lng":1723,"year":4012,"medium":4453,"dimensions":17,"is_new":797,"description":4458,"notes":4463,"credit":4464,"series":4469,"names":4470,"incomplete":797,"images":4471,"image_credit":17,"themes":4486},"imaginary-secrets","01-RC-07",{"zh":4448,"en":4449,"ja":4450,"ko":4451},"想像中的秘密","Imaginary Secrets","想像のなかの秘密","상상 속의 비밀",[2041],{"zh":4454,"en":4455,"ja":4456,"ko":4457},"玻璃、冷光、導電油墨、鐵線，250x250x280公分","Glass, Electroluminescence, conductive ink, and iron wire, 250x250x280 cm","ガラス、エレクトロルミネセンス、導電性インク、鉄線、250x250x280 cm","유리, 전계발광, 전도성 잉크, 철사, 250x250x280 cm",{"zh":4459,"en":4460,"ja":4461,"ko":4462},"〈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.","〈想像のなかの秘密〉は、楊明迭の《水衣》と《草衣 see》シリーズにおける、自然の素朴な感覚への探求を継承する。シルクスクリーン版画を用い、紙パルプ、ガラス、導電性インク、EL半導体などの素材を組み合わせて、吊り下げられた10枚のなめらかな形体を制作し、版画を平面から三次元空間へと拡張する。作品は海面を漂う葉のように、軽やかに流れる詩情を示し、自然のイメージとテクノロジーの素材のあいだで東洋の美学と西洋の技法を融合させ、版画の視覚的・空間的経験を押し広げる。","〈상상 속의 비밀〉은 Yang Ming-dye의 《물옷》과 《풀옷 see》 연작에서 이어져 온 자연의 소박한 감각에 대한 탐구를 이어 간다. 실크스크린 판화에 종이 펄프, 유리, 전도성 잉크, 전계발광 반도체 등의 재료를 결합하여 매달린 열 점의 매끄러운 형체를 제작하고, 판화를 평면에서 3차원 공간으로 확장한다. 작품은 바다 위를 떠도는 잎사귀처럼 가볍고 유려한 시정을 드러내며, 자연의 이미지와 기술 매체 사이에서 동양의 미학과 서양의 기법을 융합해 판화의 시각적·공간적 경험을 넓힌다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":4465,"en":4466,"ja":4467,"ko":4468},"臺南市美術館典藏","Collection of Tainan Art Museum","台南市美術館蔵","타이난 미술관 소장",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[4472],{"id":4473,"url":4474,"w":2838,"h":4475,"alt":4476,"sizes":4477},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":4478,"large":4480,"1536x1536":4482,"2048x2048":4484},{"url":4479,"w":84,"h":114},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-07-1-300x200.jpg",{"url":4481,"w":88,"h":2901},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-07-1-1024x683.jpg",{"url":4483,"w":300,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-07-1-1536x1024.jpg",{"url":4485,"w":304,"h":2895},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-rc-07-1-2048x1365.jpg",[454],{"id":4488,"slug":4489,"no":4490,"title":4491,"artists":4496,"venue":767,"location_note":4497,"location_note_zh":2969,"lat":1723,"lng":1723,"year":4498,"medium":4499,"dimensions":17,"is_new":797,"description":4504,"notes":4509,"credit":4510,"series":4511,"names":4512,"incomplete":797,"images":4513,"image_credit":17,"themes":4514},292,"tang-te-chang-memorial-park-min-sheng-green-park","01-LC-01",{"zh":4492,"en":4493,"ja":4494,"ko":4495},"台南市湯德章紀念公園（民生綠園）","Tang Te-chang Memorial Park (Min Sheng Green Park)","台南市湯德章紀念公園（民生緑園）","타이난시 탕더장 기념공원(민성 녹원)",[2054],"2F Exhibition Gallery G","2008",{"zh":4500,"en":4501,"ja":4502,"ko":4503},"油彩、畫布，72.8×91.3公分","Oil painting on canvas, 72.8×91.3 cm","油彩、キャンバス、72.8×91.3 cm","유채, 캔버스, 72.8×91.3 cm",{"zh":4505,"en":4506,"ja":4507,"ko":4508},"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.","画面右側には邱火松が制作した湯德章弁護士の胸像が描かれ、左側の遠景には孫文の立像が見える。中景には当時まだ池が設けられていた湯德章紀念公園と人々が表され、背景には日本統治時代の台南州庁、すなわち現在の台湾文学館が描かれている。作家は意図的に胸像に焦点を当てて左側の景物をぼかし、さらに台座の碑文を「民主義士　殺身成仁　湯德章律師」に改めることで、正義を貫き台湾の民主を追い求めた湯德章の精神を肯定すると同時に、植民地統治と権威主義体制のもとでの不公正と抑圧を批判している。","화면 오른쪽에는 Chiu Huo-sung이 제작한 탕더장 변호사의 흉상이, 왼쪽 원경에는 쑨원의 입상이 보인다. 중경에는 당시 아직 연못이 있던 탕더장 기념공원과 사람들이 담겨 있고, 배경에는 일본 통치 시기의 타이난 주청, 즉 오늘날의 대만 문학관이 자리한다. 작가는 의도적으로 흉상에 초점을 맞추고 왼쪽의 풍경을 흐릿하게 처리했으며, 받침대의 비문을 ‘민주의사　살신성인　탕더장 변호사’로 바꾸어 정의를 굳게 지키고 대만의 민주주의를 추구한 그의 정신을 기리는 동시에, 식민 통치와 권위주의 체제 아래의 불공정과 억압을 비판한다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":4465,"en":4466,"ja":4467,"ko":4468},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[503],{"id":4516,"slug":4517,"no":4518,"title":4519,"artists":4524,"venue":767,"location_note":4497,"location_note_zh":2969,"lat":1723,"lng":1723,"year":4525,"medium":4526,"dimensions":17,"is_new":797,"description":4531,"notes":4536,"credit":4537,"series":4542,"names":4543,"incomplete":797,"images":4544,"image_credit":17,"themes":4545},293,"bao-mei-restaurant","01-LC-02",{"zh":4520,"en":4521,"ja":4522,"ko":4523},"寶美樓","Bao Mei Restaurant","宝美楼","바오메이러우",[2067],"1949",{"zh":4527,"en":4528,"ja":4529,"ko":4530},"油彩、宣紙，41.4×32公分","Oil painting on rice paper, 41.4×32 cm","油彩、宣紙、41.4×32 cm","유채, 화선지, 41.4×32 cm",{"zh":4532,"en":4533,"ja":4534,"ko":4535},"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.","宝美楼は1970年代の府城で名高い酒楼兼台湾料理店で、現在の西門円環一帯に位置し、当時の文人墨客が集う重要な場であった。少なからぬ画家もまた、酒楼の女性たちをモデルとして制作を行っていた。郭柏川は宝美楼と西門円環周辺の風景を描くことで、都市のかつての空間の姿を記録するだけでなく、芸術文化の交流と食生活をめぐる時代の記憶をも留め、台南ならではの鮮やかな文化的風景を描き出している。","바오메이러우는 1970년대 부성의 이름난 주루이자 대만 요리 식당으로, 오늘날의 시먼 로터리 일대에 자리했으며 당시 문인과 묵객들이 모이는 중요한 장소였다. 적지 않은 화가들이 주루의 여성들을 모델로 삼아 작품을 제작하기도 했다. Kuo Po-chuan은 바오메이러우와 시먼 로터리 주변의 풍경을 화폭에 담아 도시의 옛 공간 모습을 기록했을 뿐 아니라, 예술 교류와 음식 문화를 둘러싼 시대의 기억을 보존하며 타이난 특유의 선명한 문화 풍경을 보여준다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":4538,"en":4539,"ja":4540,"ko":4541},"私人收藏","Private Collection","個人蔵","개인 소장",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[503],{"id":4547,"slug":4548,"no":4549,"title":4550,"artists":4555,"venue":767,"location_note":4497,"location_note_zh":2969,"lat":1723,"lng":1723,"year":4556,"medium":4557,"dimensions":17,"is_new":797,"description":4562,"notes":4567,"credit":4568,"series":4569,"names":4570,"incomplete":797,"images":4571,"image_credit":17,"themes":4589},294,"min-sheng-green-park","01-LC-03",{"zh":4551,"en":4552,"ja":4553,"ko":4554},"民生綠園","Min Sheng Green Park","民生緑園","민성 녹원",[2080],"1984",{"zh":4558,"en":4559,"ja":4560,"ko":4561},"油彩、畫布，45.4×52.8公分","Oil painting on canvas, 45.4×52.8 cm","油彩、キャンバス、45.4×52.8 cm","유채, 캔버스, 45.4×52.8 cm",{"zh":4563,"en":4564,"ja":4565,"ko":4566},"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.","本作は1984年に制作された。当時、このロータリーはまだ「民生緑園」と呼ばれていた。画面左側の遠景にはぼんやりとした孫文の立像があり、右側は緑の木々、人影、植木鉢の台座によって構成され、濃厚な緑と風のそよぎを感じさせる。制作当時の台湾はまだ戒厳令下にあり、作家は政治的意図を明確に示してはいないものの、画中で植木鉢が置かれている台座は、今日では湯德章の記念胸像が据えられる場所となっている。異なる時代の政治的象徴をまたぐこの空間の変遷は、ひときわ興味深い。","이 작품은 1984년에 제작되었으며, 당시 이 로터리는 아직 ‘민성 녹원’으로 불렸다. 화면 왼쪽 원경에는 흐릿한 쑨원 입상이 있고, 오른쪽은 푸른 나무와 사람의 그림자, 화분 받침대로 구성되어 짙은 녹음과 바람의 움직임을 느끼게 한다. 제작 당시 대만은 아직 계엄 시기였으며, 작가가 정치적 의도를 명확히 드러내지는 않았지만 그림 속 화분이 놓인 받침대는 오늘날 탕더장 기념 흉상이 자리한 곳이 되었다. 서로 다른 시대의 정치적 상징을 가로지르는 이 공간의 변천은 각별히 곱씹어 볼 만하다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":4465,"en":4466,"ja":4467,"ko":4468},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[4572],{"id":4573,"url":4574,"w":2838,"h":4575,"alt":4576,"sizes":4577},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":4578,"large":4580,"1536x1536":4583,"2048x2048":4586},{"url":4579,"w":84,"h":3590},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-03-1-300x257.jpg",{"url":4581,"w":88,"h":4582},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-03-1-1024x878.jpg",878,{"url":4584,"w":300,"h":4585},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-03-1-1536x1317.jpg",1317,{"url":4587,"w":304,"h":4588},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-03-1-2048x1756.jpg",1756,[503],{"id":4591,"slug":4592,"no":4593,"title":4594,"artists":4599,"venue":767,"location_note":4600,"location_note_zh":2777,"lat":1723,"lng":1723,"year":2778,"medium":4601,"dimensions":17,"is_new":797,"description":4606,"notes":4611,"credit":4612,"series":4613,"names":4614,"incomplete":797,"images":4615,"image_credit":17,"themes":4634},295,"taking-part-in-mettiment","01-LC-04",{"zh":4595,"en":4596,"ja":4597,"ko":4598},"逗熱鬧","Taking Part in Mettiment","にぎわいに加わる","흥겨운 자리에 함께하다",[2093],"2F Exhibition Gallery H",{"zh":4602,"en":4603,"ja":4604,"ko":4605},"壓克力、油彩、畫布，214×442公分","Acrylic, oil painting on canvas, 214×442 cm","アクリル、油彩、キャンバス、214×442 cm","아크릴, 유채, 캔버스, 214×442 cm",{"zh":4607,"en":4608,"ja":4609,"ko":4610},"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.","郭博州は1992年から1997年にかけて「台湾ショーウィンドウ・シリーズ」の制作に専念し、民俗文化を通して台湾の百年の歴史を深く探究した。なかでも〈にぎわいに加わる〉は、作家自身がシリーズの中で最も重要かつ集大成的な作品とみなすものである。初期の台湾でよく見られた民俗図像や歴史的場面を用いて、社会が古典から近代、ポストモダンへと向かう文化的変遷を描き出し、台湾の歴史的特質を反芻しながら、異なる時代をまたぐ複雑な経験と、見知らぬようで懐かしい集合的記憶を呼び起こす。","Kuo Bor-jou는 1992년부터 1997년까지 「대만 쇼윈도 시리즈」 제작에 몰두하며 민속 문화를 통해 대만의 백 년 역사를 깊이 탐구했다. 그중 〈흥겨운 자리에 함께하다〉는 작가 스스로 시리즈에서 가장 중요하고 총결산적인 작품으로 여기는 작품으로, 초기 대만에서 흔히 볼 수 있던 민속 도상과 역사적 장면을 활용해 사회가 고전에서 근대, 포스트모던으로 나아가는 문화적 변천을 보여준다. 이를 통해 대만 역사의 특질을 되새기며, 서로 다른 시대를 가로지르는 복잡한 경험과 낯설면서도 익숙한 집단 기억을 불러일으킨다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":4465,"en":4466,"ja":4467,"ko":4468},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[4616],{"id":4617,"url":4618,"w":2838,"h":4619,"alt":4620,"sizes":4621},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":4622,"large":4625,"1536x1536":4628,"2048x2048":4631},{"url":4623,"w":84,"h":4624},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-04-1-300x155.jpg",155,{"url":4626,"w":88,"h":4627},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-04-1-1024x530.jpg",530,{"url":4629,"w":300,"h":4630},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-04-1-1536x795.jpg",795,{"url":4632,"w":304,"h":4633},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-04-1-2048x1060.jpg",1060,[503],{"id":4636,"slug":4637,"no":4638,"title":4639,"artists":4644,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":3313,"medium":4645,"dimensions":17,"is_new":797,"description":4650,"notes":4655,"credit":4660,"series":4661,"names":4662,"incomplete":797,"images":4663,"image_credit":17,"themes":4664},297,"a-leaf-shelter","01-LC-05-01",{"zh":4640,"en":4641,"ja":4642,"ko":4643},"植物時間","A Leaf Shelter","植物の時間","식물의 시간",[2106],{"zh":4646,"en":4647,"ja":4648,"ko":4649},"水彩紙、植物染、鐵，154x210x50公分","Watercolor paper, plant dyes, metal, 154x210x50 cm","水彩紙、植物染料、鉄、154x210x50 cm","수채화지, 식물 염료, 철, 154x210x50 cm",{"zh":4651,"en":4652,"ja":4653,"ko":4654},"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。","Created during the artist’s residency at Guandu Nature Park, this work takes as its central image the giant taro, a plant commonly found in Taiwan’s shady, humid lowlands. In the days before plastic bags became widespread, the giant taro was also widely used for wrapping goods at markets. Lee Jo-mei heat-dyes watercolor paper with a variety of plants and then shapes it into leaves with a leather-like texture, which contrast with the dark gray iron-plate background. Drawing on plant forms, materials, and memories of local life, the work leads viewers into the quiet time in which plants slowly grow, change, and fade away, allowing them to sense the subtle, enduring rhythms of life in nature.","本作は、作家が関渡自然公園に滞在制作していた期間に制作されたもので、台湾の低地の日陰で湿った環境によく見られるクワズイモを主なモチーフとしている。クワズイモは、ビニール袋がまだ普及していなかった時代、市場の包装材としても広く使われていた。李若玫は水彩紙を複数の植物で熱染めした後に成形し、革のような質感をもつ葉をつくり出し、濃灰色の鉄板の背景と質感の対比を生み出している。植物の形態、素材、そして土地の生活の記憶を出発点に、本作は鑑賞者を、植物がゆっくりと成長し、変化し、消えていく静謐な時間へと誘い、自然の繊細で絶え間ない生命のリズムを感じさせる。","이 작품은 작가가 관두 자연공원에서 레지던시를 하던 시기에 제작되었으며, 대만의 저지대 그늘지고 습한 환경에서 흔히 볼 수 있는 알로카시아를 주요 이미지로 삼는다. 알로카시아는 비닐봉지가 보급되기 전 시절, 시장에서 포장재로도 널리 쓰였다. Lee Jo-mei는 수채화지를 여러 식물로 열 염색한 뒤 성형하여 가죽 같은 질감의 잎을 만들고, 짙은 회색 철판 배경과 질감의 대비를 이루게 했다. 작품은 식물의 형태와 재료, 지역의 생활 기억에서 출발하여 관람객을 식물이 천천히 자라고 변하며 사라져 가는 고요한 시간 속으로 이끌고, 자연의 섬세하고 끊임없는 생명의 리듬을 느끼게 한다.",{"zh":4656,"en":4657,"ja":4658,"ko":4659},"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","本作の原型は2022年関渡国際自然芸術祭のレジデンス制作による","이 작품의 원형은 2022년 관두 국제 자연 예술제 레지던시 작품이다",{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[503],{"id":4666,"slug":4667,"no":4668,"title":4669,"artists":4674,"venue":767,"location_note":4497,"location_note_zh":4675,"lat":1723,"lng":1723,"year":3313,"medium":4676,"dimensions":17,"is_new":797,"description":4681,"notes":4686,"credit":4687,"series":4688,"names":4689,"incomplete":797,"images":4690,"image_credit":17,"themes":4704},298,"time-coconut-in-the-living-room","01-LC-05-02",{"zh":4670,"en":4671,"ja":4672,"ko":4673},"客廳裡的葉蔭","Time Coconut in the Living Room","居間の葉陰","거실의 잎 그늘",[2106],"2樓G展間",{"zh":4677,"en":4678,"ja":4679,"ko":4680},"水彩、紙、鉛筆、腰果漆，155x266x4公分","Watercolor on paper, pencil, cashew lacquer, 155x266x4 cm","水彩、紙、鉛筆、カシュー塗料、155x266x4 cm","수채, 종이, 연필, 캐슈 도료, 155x266x4 cm",{"zh":4682,"en":4683,"ja":4684,"ko":4685},"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.","父の世代が営んでいた鉄工所は作家の成長期の記憶であり、実家の居間に置かれたココヤシの鉢植えは、亡くなった親族を偲ぶよすがとして作家に受け止められている。〈居間の葉陰〉は、大きな折り紙によって二つのイメージの結合を構築する。垂直と水平をなす鉄板という素材と、ミクロに見たヤシの葉の生き生きとした線である。作家は鉛筆の素描によって紙の上に金属のような質感を積み重ね、それは家族の人生経験のように重厚でありながら、植物となった時間の状態のように軽やかでもある。","아버지 세대가 운영하던 철공소는 작가의 성장기 기억이며, 고향 집 거실에 놓인 코코야자 화분은 작가에게 세상을 떠난 친척들을 향한 그리움으로 여겨진다. 〈거실의 잎 그늘〉은 대형 종이접기로 두 가지 형상의 결합을 구축한다. 수직과 수평을 이루는 철판이라는 재료, 그리고 미시적으로 바라본 야자 잎의 생기 넘치는 선이다. 작가는 연필 소묘로 종이 위에 금속 같은 질감을 쌓아 올리는데, 그것은 가족의 삶의 경험처럼 묵직하면서도 식물이 된 시간의 상태처럼 가볍다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[4691],{"id":4692,"url":4693,"w":2838,"h":2838,"alt":4694,"sizes":4695},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":4696,"large":4698,"1536x1536":4700,"2048x2048":4702},{"url":4697,"w":84,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-05-02-1-300x300.jpg",{"url":4699,"w":88,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-05-02-1-1024x1024.jpg",{"url":4701,"w":300,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-05-02-1-1536x1536.jpg",{"url":4703,"w":304,"h":304},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-05-02-1-2048x2048.jpg",[503],{"id":84,"slug":4706,"no":4707,"title":4708,"artists":4713,"venue":767,"location_note":4714,"location_note_zh":4715,"lat":1723,"lng":1723,"year":4716,"medium":4717,"dimensions":17,"is_new":797,"description":4722,"notes":4727,"credit":4728,"series":4729,"names":4730,"incomplete":797,"images":4731,"image_credit":17,"themes":4748},"lying-slowly-in-the-rapid-world","01-LC-06",{"zh":4709,"en":4710,"ja":4711,"ko":4712},"快世界．慢飛翔","Lying Slowly In the Rapid World","速い世界・遅い飛翔","빠른 세상·느린 비행",[2119,2132],"2F Exhibition Gallery C","2樓C展間","2017",{"zh":4718,"en":4719,"ja":4720,"ko":4721},"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","モーター、駆動装置、皮革、レンズ、プロジェクター、金属、サイズ可変","모터, 구동 장치, 가죽, 렌즈, 프로젝터, 금속, 가변 크기",{"zh":4723,"en":4724,"ja":4725,"ko":4726},"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.","本作の中心となるのは、妊娠した女性の身体と海賊船の形を組み合わせた揺りかごであり、空間の中でゆっくりと揺れている。背景には、台南の東門円環と湯德章紀念公園を巡る映像が映し出される。作品は、陳妍伊と黃逸民が新たな生命を迎えた際の感覚から生まれた。外の世界の不安、慌ただしさ、急速な変化を前に、揺りかごは生命の始まりの純粋さと安らぎを象徴する。速く流れる都市の映像とゆったりとした揺れとが対比をなし、子どもへの言葉と祝福を託すとともに、速い世界の中にあっても生命のやさしさを感じ、悠然と飛び立てるよう願いを込めている。","이 작품의 중심에는 임신한 여성의 신체와 해적선의 형태를 결합한 요람이 있으며, 요람은 공간 속에서 천천히 흔들린다. 배경에는 타이난의 둥먼 로터리와 탕더장 기념공원을 돌며 촬영한 영상이 흐른다. 작품은 Chen Yen-yi와 Huang Yi-Min이 새 생명을 맞이하며 느낀 감정에서 비롯되었다. 바깥 세계의 불안과 조급함, 급격한 변화 앞에서 요람은 생명의 시작이 지닌 순수함과 평온함을 상징한다. 빠르게 흐르는 도시의 영상과 느린 흔들림이 대비를 이루며, 아이를 향한 당부와 축복을 담아 빠른 세상 속에서도 생명의 다정함을 느끼며 여유롭게 날아오르기를 바란다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[4732],{"id":4733,"url":4734,"w":2838,"h":4735,"alt":4736,"sizes":4737},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":4738,"large":4740,"1536x1536":4742,"2048x2048":4745},{"url":4739,"w":84,"h":114},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-06-1-300x200.jpg",{"url":4741,"w":88,"h":2901},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-06-1-1024x683.jpg",{"url":4743,"w":300,"h":4744},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-06-1-1536x1025.jpg",1025,{"url":4746,"w":304,"h":4747},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-06-1-2048x1366.jpg",1366,[503],{"id":4750,"slug":4751,"no":4752,"title":4753,"artists":4757,"venue":767,"location_note":4600,"location_note_zh":2777,"lat":1723,"lng":1723,"year":4210,"medium":4758,"dimensions":17,"is_new":797,"description":4763,"notes":4768,"credit":4769,"series":4770,"names":4771,"incomplete":797,"images":4772,"image_credit":17,"themes":4802},301,"the-skywalker-dakini-1","01-LC-07-01",{"zh":4754,"en":4755,"ja":4754,"ko":4756},"空行母","The Skywalker-Dakini","공행모",[2145],{"zh":4759,"en":4760,"ja":4761,"ko":4762},"金箔、壓克力、墨水、玻璃纖維，90x40x35公分","Gold leaf, acrylic and ink on fiberglass, 90x40x35 cm","金箔、アクリル、インク、ファイバーグラス、90x40x35 cm","금박, 아크릴, 잉크, 유리섬유, 90x40x35 cm",{"zh":4764,"en":4765,"ja":4766,"ko":4767},"「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.","「空行母」は、チベット仏教における悟りの本覚としての空性と智慧を象徴し、タンカの古典的な主題でもある。Tsherin Sherpaは伝統的なタンカの装飾構造を解体し、自由に流れる色彩の筆致によって、護法神像の記号や図像を抽象的な形態へと変換する。それを通して、ネパールとヒマラヤの文化がいかに見られ、理解されてきたのかを問い直すとともに、アイデンティティとディアスポラの経験に応答する。本展では絵画と彫刻作品を展示する。彫刻はネパールの伝統的な職人との協働によるもので、衰退しつつある地域の工芸を現代の創作に取り入れ、伝統技術が新たな芸術の文脈のなかで再び見出され、継続され、受け継がれていくことを可能にしている。","「공행모」는 티베트 불교에서 깨달음의 본각인 공성과 지혜를 상징하며, 탕카의 고전적인 주제이기도 하다. Tsherin Sherpa는 전통 탕카의 장식 구조를 해체하고 자유롭게 흐르는 색채의 붓질로 호법신상의 기호와 문양을 추상적 형태로 변환함으로써, 네팔과 히말라야 문화가 어떻게 보이고 이해되어 왔는지를 다시 생각하고 정체성과 디아스포라의 경험에 응답한다. 이번 전시에서는 회화와 조각 작품을 선보인다. 그중 조각은 네팔의 전통 장인들과 협업한 것으로, 점차 쇠퇴해 가는 지역 공예를 동시대 창작에 녹여내어 전통 기술이 새로운 예술적 맥락 속에서 다시 조명되고 이어지며 전승되도록 한다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[4773,4790],{"id":4774,"url":4775,"w":4776,"h":2838,"alt":4777,"sizes":4778},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":4779,"large":4781,"1536x1536":4784,"2048x2048":4787},{"url":4780,"w":3371,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-07-01-1-251x300.jpg",{"url":4782,"w":4783,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-07-01-1-856x1024.jpg",856,{"url":4785,"w":4786,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-07-01-1-1284x1536.jpg",1284,{"url":4788,"w":4789,"h":304},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-07-01-1-1712x2048.jpg",1712,{"id":4791,"url":4792,"w":2750,"h":2838,"alt":4777,"sizes":4793},303,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-07-01-2.jpg",{"medium":4794,"large":4796,"1536x1536":4798,"2048x2048":4800},{"url":4795,"w":1861,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-07-01-2-169x300.jpg",{"url":4797,"w":4259,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-07-01-2-576x1024.jpg",{"url":4799,"w":4262,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-07-01-2-864x1536.jpg",{"url":4801,"w":3142,"h":304},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-07-01-2-1152x2048.jpg",[503],{"id":4804,"slug":4805,"no":4806,"title":4807,"artists":4808,"venue":767,"location_note":4600,"location_note_zh":2777,"lat":1723,"lng":1723,"year":4210,"medium":4809,"dimensions":17,"is_new":797,"description":4814,"notes":4815,"credit":4816,"series":4818,"names":4819,"incomplete":797,"images":4820,"image_credit":17,"themes":4821},304,"the-skywalker-dakini-2","01-LC-07-02",{"zh":4754,"en":4755,"ja":4754,"ko":4756},[2145],{"zh":4810,"en":4811,"ja":4812,"ko":4813},"白金箔、壓克力、墨水、畫布，91x76公分","White gold leaf, acrylic and ink on canvas, 91x76 cm","ホワイトゴールド箔、アクリル、インク、キャンバス、91x76 cm","화이트 골드 박, 아크릴, 잉크, 캔버스, 91x76 cm",{"zh":4764,"en":4765,"ja":4766,"ko":4767},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":4538,"en":4817,"ja":4540,"ko":4541},"Private collection",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[503],{"id":4823,"slug":4824,"no":4825,"title":4826,"artists":4831,"venue":767,"location_note":4832,"location_note_zh":4833,"lat":1723,"lng":1723,"year":2684,"medium":4834,"dimensions":17,"is_new":797,"description":4839,"notes":4844,"credit":4845,"series":4846,"names":4847,"incomplete":797,"images":4848,"image_credit":17,"themes":4849},305,"in-torrents-we-settle-as-a-tree","01-LC-08-01",{"zh":4827,"en":4828,"ja":4829,"ko":4830},"我們在此洪流中站成一棵樹","In Torrents, We Settle as a Tree","私たちはこの奔流の中で一本の樹として立つ","우리는 이 격류 속에서 한 그루 나무로 선다",[2159],"2F Exhibition Gallery elevator lobby glass window","2樓電梯前玻璃窗",{"zh":4835,"en":4836,"ja":4837,"ko":4838},"紙、綜合顏料，尺寸依場地而定","Paper, mixed pigments, Dimensions variable","紙、ミクストメディア、サイズ可変","종이, 혼합 안료, 가변 크기",{"zh":4840,"en":4841,"ja":4842,"ko":4843},"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.”","本作は本展の委嘱による現地制作作品である。館内に既存する床までの格子状のすりガラス窓に応答し、絵画と水墨の筆致やにじみを用い、切り絵と紙を編む技法を取り入れて、人と土地の原風景、地域の記憶、そして未来へと向かう姿勢を表現する。作品は、作家が幼少期を過ごした台南・塩水渓のほとりの記憶に由来する。古い家屋、グァバの木、養殖池のきらめき、熟した果実の香りが織り重なり、生命力に満ちた土地の風景を形づくる。吳耿禎自身が語るように、「私たちは奔流の中に立っている。それは揺るぎないからではなく、まだ押し流されていないからだ。樹のかたちは、ひとつの一時的な抵抗である。」","이 작품은 본 전시의 커미션으로 제작된 현장 작업으로, 미술관 내부에 있는 바닥까지 닿는 격자형 불투명 유리창에 응답하여 회화와 수묵의 필치, 번짐을 활용하고 종이 오리기와 종이 엮기 기법을 결합해 사람과 땅의 원풍경, 지역의 기억, 그리고 미래를 향한 자세를 표현한다. 작품은 작가가 어린 시절 살았던 타이난 옌수이강 가의 기억에서 비롯되었다. 옛 가옥, 구아바 나무, 양어장의 반짝이는 물빛, 잘 익은 과일의 향기가 함께 어우러져 생명력 가득한 지역의 풍경을 이룬다. Jam Wu가 스스로 말하듯, “우리는 격류 속에 서 있다. 굳건해서가 아니라 아직 휩쓸려 가지 않았기 때문이다. 나무의 형태는 일종의 일시적인 저항이다.”",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[503],{"id":4851,"slug":4852,"no":4853,"title":4854,"artists":4859,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":4860,"medium":4861,"dimensions":17,"is_new":797,"description":4866,"notes":4871,"credit":4872,"series":4873,"names":4874,"incomplete":797,"images":4875,"image_credit":17,"themes":4876},306,"cut-outs-fabric-weaving-01","01-LC-08-02",{"zh":4855,"en":4856,"ja":4857,"ko":4858},"篝火—布編織—01","Cut-Outs Fabric Weaving — 01","篝火—布編み—01","모닥불—천 엮기—01",[2159],"2020",{"zh":4862,"en":4863,"ja":4864,"ko":4865},"布、紙、棉線、壓克力顏料，364x120公分","Fiber, paper, embroidery, acrylic, 364x120 cm","布、紙、綿糸、アクリル絵具、364x120 cm","천, 종이, 면사, 아크릴 물감, 364x120 cm",{"zh":4867,"en":4868,"ja":4869,"ko":4870},"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。","A bonfire is usually a pile of firewood built and burned in an open space outdoors. The artist draws on the imagery of the bonfire—used for warmth and cooking—as a symbol of gathering and the passing down of rituals. Using paper cutting, he shapes human figures with profile faces, frontal torsos, and profile feet, along with flattened symbols of creatures and objects, much like the way the ancient Egyptians depicted the human form. Incorporating ideas of weaving drawn from his research into Austronesian cultures, he creates images that evoke the primordial state of nature and civilization. The three works from the Bonfire series presented in this exhibition serve as a pivotal link in the exhibition space, bridging what comes before and after. Amid the surrounding works that address folk religion and explore the disappearance of Indigenous cultures and the sense of belonging, they offer viewers a place for their thoughts to rest, pause, and reflect.","篝火とは通常、野外の開けた場所で薪を組んで燃やす火のことである。作家は、暖をとり、煮炊きをするための篝火がもつ、人が集い、儀礼を受け継ぐというイメージを取り出し、切り絵によって横向きの顔、正面を向いた胴体、横向きの足をもつ人の姿や、生き物や物の平面化された記号を形づくる。それは古代エジプトにおける人物の描き方を思わせる。さらにオーストロネシア文化の織りの思考に関する研究を取り入れ、自然と文明の始まりの姿を想起させる図像を生み出している。本展で展示される「篝火」シリーズの3点は、展示空間において前後をつなぐ重要な結節点の役割を担う。周囲に並ぶ、民間信仰をテーマとする作品や、原住民族文化の消失と帰属意識を探る作品を鑑賞するなかで、観客の思考がひととき立ち止まり、静かに思いをめぐらせる拠り所となる。","모닥불은 보통 야외의 탁 트인 곳에서 장작을 쌓아 피우는 불더미이다. 작가는 몸을 녹이고 음식을 익히는 데 쓰이는 모닥불에서 사람들이 모이고 의례가 전승되는 이미지를 끌어내어, 종이 오리기로 옆얼굴과 정면을 향한 몸, 옆으로 향한 발을 지닌 인물, 그리고 생물과 사물의 평면화된 기호를 빚어낸다. 이는 고대 이집트에서 인물을 묘사하던 방식과 같다. 여기에 오스트로네시아 문화의 엮기 사유에 대한 연구를 더해, 자연과 문명이 시작되던 모습을 담은 이미지를 만들어낸다. 이번 전시에 선보이는 「모닥불」 시리즈 세 점은 전시장에서 앞뒤를 잇는 핵심적 연결 고리 역할을 하며, 민간 신앙을 다루는 작품들과 원주민 문화의 소멸과 소속감을 탐구하는 주변 작품들 사이에서 관객이 생각을 내려놓고 머물며 사색할 수 있는 쉼터가 되어 준다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[503],{"id":4878,"slug":4879,"no":4880,"title":4881,"artists":4886,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":4860,"medium":4887,"dimensions":17,"is_new":797,"description":4892,"notes":4893,"credit":4894,"series":4895,"names":4896,"incomplete":797,"images":4897,"image_credit":17,"themes":4898},307,"cut-outs-fabric-weaving-02","01-LC-08-03",{"zh":4882,"en":4883,"ja":4884,"ko":4885},"篝火—布編織—02","Cut-Outs Fabric Weaving — 02","篝火—布編み—02","모닥불—천 엮기—02",[2159],{"zh":4888,"en":4889,"ja":4890,"ko":4891},"布、紙、棉線、壓克力顏料，346x110公分","Fiber, paper, embroidery, acrylic, 346x110 cm","布、紙、綿糸、アクリル絵具、346x110 cm","천, 종이, 면사, 아크릴 물감, 346x110 cm",{"zh":4867,"en":4868,"ja":4869,"ko":4870},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[503],{"id":4900,"slug":4901,"no":4902,"title":4903,"artists":4908,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":4860,"medium":4909,"dimensions":17,"is_new":797,"description":4914,"notes":4915,"credit":4916,"series":4917,"names":4918,"incomplete":797,"images":4919,"image_credit":17,"themes":4920},308,"cut-outs-fabric-weaving-03","01-LC-08-04",{"zh":4904,"en":4905,"ja":4906,"ko":4907},"篝火—布編織—03","Cut-Outs Fabric Weaving — 03","篝火—布編み—03","모닥불—천 엮기—03",[2159],{"zh":4910,"en":4911,"ja":4912,"ko":4913},"布、紙、棉線、壓克力顏料，358x111公分","Fiber, paper, embroidery, acrylic, 358x111 cm","布、紙、綿糸、アクリル絵具、358x111 cm","천, 종이, 면사, 아크릴 물감, 358x111 cm",{"zh":4867,"en":4868,"ja":4869,"ko":4870},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[503],{"id":4922,"slug":4923,"no":4924,"title":4925,"artists":4929,"venue":767,"location_note":4930,"location_note_zh":4931,"lat":1723,"lng":1723,"year":2684,"medium":4932,"dimensions":17,"is_new":797,"description":4937,"notes":4942,"credit":4943,"series":4944,"names":4945,"incomplete":797,"images":4946,"image_credit":17,"themes":4947},309,"fountain","01-LC-09",{"zh":4926,"en":4927,"ja":4926,"ko":4928},"噴水池","Fountain","분수대",[2172],"2F Exhibition Gallery D","2樓展覽室D",{"zh":4933,"en":4934,"ja":4935,"ko":4936},"陶瓷、複合媒材，尺寸依場地而定","Ceramics, mixed media, Dimensions variable","陶磁、ミクストメディア、サイズ可変","도자, 혼합 매체, 가변 크기",{"zh":4938,"en":4939,"ja":4940,"ko":4941},"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.","本作は本展の委嘱による現地制作作品である。楊季涓は湯德章紀念公園を巡り歩いてその歴史を調査し、日本統治時代に設置され、現在は使われていない噴水池を発想の起点として、水音は消えても歴史の記憶は流れ続けるというイメージに応答した。同時に、彼女は旅行者の視点から、四方八方に道が通じ、迷宮のような台南のロータリーという特異な都市体験を感じ取った。作品は風景の記憶、交通標識、ロータリーの記号を陶の造形へと変換し、それらをビーズのようにつないで吊り下げの幕とした。観客は作品をくぐり抜け、その周囲を巡りながら、全体を遠くから眺めることと図柄を間近に見ることのあいだで、都市空間、歴史の記憶、身体感覚が交錯するさまを体験する。","이 작품은 본 전시의 커미션으로 제작된 현장 작업이다. Yang Chi-chuan은 탕더장 기념공원을 돌며 그 역사를 연구했고, 일본 통치 시기에 설치되었으나 지금은 가동을 멈춘 분수대를 발상의 출발점으로 삼아, 물소리는 사라졌지만 역사적 기억은 여전히 흐르고 있다는 이미지에 응답한다. 동시에 그녀는 여행자의 시선으로 사방으로 통하는 미로 같은 타이난 로터리의 독특한 도시 경험을 감각한다. 작품은 풍경의 기억과 교통 표지, 로터리의 기호를 도자 조형으로 변환하고 이를 구슬처럼 꿰어 매달린 발로 만든다. 관객은 작품을 통과하거나 그 주위를 돌면서, 멀리서 전체를 바라보고 가까이서 문양을 들여다보는 사이에 도시 공간과 역사적 기억, 신체적 지각이 교차하는 순간을 경험한다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[503],{"id":4949,"slug":4950,"no":4951,"title":4952,"artists":4957,"venue":767,"location_note":4600,"location_note_zh":2777,"lat":1723,"lng":1723,"year":4716,"medium":4958,"dimensions":17,"is_new":797,"description":4963,"notes":4968,"credit":4969,"series":4970,"names":4971,"incomplete":797,"images":4972,"image_credit":17,"themes":4989},310,"circle01-02","01-LC-10-01",{"zh":4953,"en":4954,"ja":4955,"ko":4956},"繞","circle01,02","巡り","맴돌기",[2185],{"zh":4959,"en":4960,"ja":4961,"ko":4962},"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","写真画像、ネオプレン生地、両面刺繍、LEDライト、ステンレス棒、直径200 cm","사진 이미지, 네오프렌 원단, 양면 자수, LED 조명, 스테인리스 막대, 지름 200 cm",{"zh":4964,"en":4965,"ja":4966,"ko":4967},"「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.","「神遊仙境」シリーズは、邱國峻と刺繍職人の林玉泉との協働によるもので、伝統的な刺繍と現代写真を融合させている。本作は寺廟の祭礼における巡行の映像に取材し、両面刺繍によって作品の表と裏で異なる視覚的印象を生み出す。シリーズ作品はまた、かつて集合的記憶を担いながら、のちに産業と環境の変化によって荒廃した悟智楽園や新化の廃墟にも取材し、廃墟の映像と神像の記号を織り交ぜる。「神遊」によって、それらの空間のかつての賑わいと未来の可能性を想像し、消えゆく場所の記憶のなかで、信仰、時代の変遷、そして土地の生命を捉え直す。","「선경을 노닐다」 시리즈는 Chiu Kuo-chun과 자수 장인 Lin Yu-chuan의 협업으로, 전통 자수와 동시대 사진을 융합한다. 이 작품은 사원 축제의 순행 이미지를 소재로 하며, 양면 자수를 통해 작품의 앞면과 뒷면에서 서로 다른 시각적 감흥을 자아낸다. 연작은 또한 한때 집단 기억을 품었으나 이후 산업과 환경의 변화로 버려진 우즈 놀이공원과 신화구의 폐허를 소재로 삼아, 폐허의 이미지와 신상의 기호를 엮어낸다. ‘정신의 노닒’을 통해 그 공간들의 옛 번영과 미래의 가능성을 상상하며, 사라져 가는 장소의 기억 속에서 신앙과 시대의 변천, 지역의 생명을 다시 생각한다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[4973],{"id":4974,"url":4975,"w":2838,"h":4976,"alt":4977,"sizes":4978},311,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-10-01-1.jpg",1435,"繞 circle01,02",{"medium":4979,"large":4981,"1536x1536":4984,"2048x2048":4986},{"url":4980,"w":84,"h":1950},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-10-01-1-300x179.jpg",{"url":4982,"w":88,"h":4983},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-10-01-1-1024x612.jpg",612,{"url":4985,"w":300,"h":3490},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-10-01-1-1536x918.jpg",{"url":4987,"w":304,"h":4988},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-10-01-1-2048x1225.jpg",1225,[503],{"id":4991,"slug":4992,"no":4993,"title":4994,"artists":4999,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":4860,"medium":5000,"dimensions":17,"is_new":797,"description":5005,"notes":5006,"credit":5007,"series":5008,"names":5009,"incomplete":797,"images":5010,"image_credit":17,"themes":5011},312,"fairyland-of-people-adventures-in-wonderland-abandoned-amusement-park-01","01-LC-10-02",{"zh":4995,"en":4996,"ja":4997,"ko":4998},"「神遊仙境」：〈仙境夢遊之悟智樂園01 〉","Fairyland of People: Adventures in Wonderland- Abandoned amusement Park 01","「神遊仙境」：〈仙境夢遊の悟智楽園01〉","「선경을 노닐다」: 〈선경 몽유: 우즈 놀이공원 01〉",[2185],{"zh":5001,"en":5002,"ja":5003,"ko":5004},"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","写真画像、シルク布プリント、刺繍、50×85×0.5 cm","사진 이미지, 실크 원단 프린트, 자수, 50×85×0.5 cm",{"zh":4964,"en":4965,"ja":4966,"ko":4967},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[503],{"id":5013,"slug":5014,"no":5015,"title":5016,"artists":5021,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":4860,"medium":5022,"dimensions":17,"is_new":797,"description":5023,"notes":5024,"credit":5025,"series":5026,"names":5027,"incomplete":797,"images":5028,"image_credit":17,"themes":5029},313,"fairyland-of-people-adventures-in-wonderland-abandoned-amusement-park-02","01-LC-10-03",{"zh":5017,"en":5018,"ja":5019,"ko":5020},"「神遊仙境」：〈 仙境夢遊之悟智樂園02〉","Fairyland of People: Adventures in Wonderland- Abandoned amusement Park 02","「神遊仙境」：〈仙境夢遊の悟智楽園02〉","「선경을 노닐다」: 〈선경 몽유: 우즈 놀이공원 02〉",[2185],{"zh":5001,"en":5002,"ja":5003,"ko":5004},{"zh":4964,"en":4965,"ja":4966,"ko":4967},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[503],{"id":5031,"slug":5032,"no":5033,"title":5034,"artists":5039,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":4860,"medium":5040,"dimensions":17,"is_new":797,"description":5045,"notes":5046,"credit":5047,"series":5048,"names":5049,"incomplete":797,"images":5050,"image_credit":17,"themes":5051},314,"fairyland-of-people-adventures-in-wonderland-abandoned-hotel-03","01-LC-10-04",{"zh":5035,"en":5036,"ja":5037,"ko":5038},"「神遊仙境」：〈仙境夢遊之新化廢墟03〉","Fairyland of People:\nAdventures in Wonderland-Abandoned hotel 03","「神遊仙境」：〈仙境夢遊の新化廃墟03〉","「선경을 노닐다」: 〈선경 몽유: 신화구 폐허 03〉",[2185],{"zh":5041,"en":5042,"ja":5043,"ko":5044},"攝影影像、絹布輸出、刺繡，43x60x0.5公分","Photographic images, silk fabric printing, embroidery, 43x60x0.5 cm","写真画像、シルク布プリント、刺繍、43x60x0.5 cm","사진 이미지, 실크 원단 프린트, 자수, 43x60x0.5 cm",{"zh":4964,"en":4965,"ja":4966,"ko":4967},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[503],{"id":5053,"slug":5054,"no":5055,"title":5056,"artists":5061,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":3313,"medium":5062,"dimensions":17,"is_new":797,"description":5067,"notes":5068,"credit":5069,"series":5070,"names":5071,"incomplete":797,"images":5072,"image_credit":17,"themes":5073},315,"fairyland-of-people-land-of-regeneration-jing-01","01-LC-10-05",{"zh":5057,"en":5058,"ja":5059,"ko":5060},"「神遊仙境」：〈重生之境—淨01〉","Fairyland of People: Land of Regeneration- Jing 01","「神遊仙境」：〈再生の境—浄01〉","「선경을 노닐다」: 〈재생의 경지—청정 01〉",[2185],{"zh":5063,"en":5064,"ja":5065,"ko":5066},"攝影影像、絹布輸出、刺繡，57x82x0.5公分","Photographic images, silk fabric printing, embroidery, 57x82x0.5 cm","写真画像、シルク布プリント、刺繍、57x82x0.5 cm","사진 이미지, 실크 원단 프린트, 자수, 57x82x0.5 cm",{"zh":4964,"en":4965,"ja":4966,"ko":4967},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[503],{"id":5075,"slug":5076,"no":5077,"title":5078,"artists":5082,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":4210,"medium":5083,"dimensions":17,"is_new":797,"description":5088,"notes":5093,"credit":5094,"series":5095,"names":5096,"incomplete":797,"images":5097,"image_credit":17,"themes":5098},316,"blessings-for-the-whole-community-wind-in-the-pines","01-LC-11-01",{"zh":5079,"en":5080,"ja":5079,"ko":5081},"合境平安—風入松","Blessings for the Whole Community — “Wind in the Pines”","합경평안—풍입송",[2198],{"zh":5084,"en":5085,"ja":5086,"ko":5087},"岩彩 、 紙本，45.5×52.9公分","Mineral pigment on paper, 45.5×52.9 cm","岩絵具、紙本、45.5×52.9 cm","석채, 종이, 45.5×52.9 cm",{"zh":5089,"en":5090,"ja":5091,"ko":5092},"〈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。","Peace and Blessings for the Whole Community, Blessings for the Whole Community — “Wind in the Pines”, and Procession of Mazu: Prosperity and Peace draw on 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.","〈合境平安 I〉、〈合境平安—風入松〉、〈媽祖遶境—富貴平安図〉は、民間の祭儀と北管の曲牌に取材している。「合境平安」は境内の平安と順調を願う言葉であり、「遶境」は神が自らの管轄する地域を巡視することを指す。「風入松」は寺廟の祭礼でよく耳にする北管の曲牌である。作品は切り絵のような輪郭と刺繍のような線を融合させ、多くの曲線、波、対角線の構図によって、遶境に集う群衆の身体感覚、集団の移動、音のリズムを捉え、さらに民間信仰でよく用いられる色彩と金色を用いて、にぎやかで華やか、祝祭の気配に満ちた視覚的な雰囲気をつくり出している。","〈합경평안 I〉, 〈합경평안—풍입송〉, 〈마조 순행—부귀평안도〉는 민간 제의와 베이관 곡조에서 소재를 얻었다. ‘합경평안’은 경내의 평안과 순조로움을 기원하는 말이고, ‘순행’은 신이 관할 지역을 순시하는 것을 가리킨다. ‘풍입송’은 사원 축제에서 자주 들을 수 있는 베이관 곡조이다. 작품은 종이 오리기 같은 윤곽과 자수 같은 선을 결합하고, 수많은 곡선과 물결, 대각선 구도를 통해 순행하는 군중의 신체감과 집단의 움직임, 소리의 율동을 포착한다. 또한 민간 신앙에서 흔히 쓰이는 색채와 금색을 활용해 떠들썩하고 화려하며 축제 기운으로 가득한 시각적 분위기를 자아낸다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":4538,"en":4817,"ja":4540,"ko":4541},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[503],{"id":5100,"slug":5101,"no":5102,"title":5103,"artists":5108,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":4210,"medium":5109,"dimensions":17,"is_new":797,"description":5114,"notes":5115,"credit":5116,"series":5121,"names":5122,"incomplete":797,"images":5123,"image_credit":17,"themes":5124},317,"procession-of-mazu-prosperity-and-peace","01-LC-11-02",{"zh":5104,"en":5105,"ja":5106,"ko":5107},"媽祖遶境—富貴平安圖","Procession of Mazu: Prosperity and Peace","媽祖遶境—富貴平安図","마조 순행—부귀평안도",[2198],{"zh":5110,"en":5111,"ja":5112,"ko":5113},"岩彩 、 紙本，162×130公分","Mineral pigment on paper, 162×130 cm","岩絵具、紙本、162×130 cm","석채, 종이, 162×130 cm",{"zh":5089,"en":5090,"ja":5091,"ko":5092},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":5117,"en":5118,"ja":5119,"ko":5120},"謝雅蓉女士收藏","Courtesy of Hsieh Ya-jung","謝雅蓉氏蔵","Hsieh Ya-jung 소장",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[503],{"id":5126,"slug":5127,"no":5128,"title":5129,"artists":5133,"venue":767,"location_note":4600,"location_note_zh":2777,"lat":1723,"lng":1723,"year":3313,"medium":5134,"dimensions":17,"is_new":797,"description":5139,"notes":5141,"credit":5142,"series":5143,"names":5144,"incomplete":797,"images":5145,"image_credit":17,"themes":5188},318,"peace-and-blessings-for-the-whole-community","01-LC-11-03",{"zh":5130,"en":5131,"ja":5130,"ko":5132},"合境平安 I","Peace and Blessings for the Whole Community","합경평안 I",[2198],{"zh":5135,"en":5136,"ja":5137,"ko":5138},"岩彩 、 紙本，59.5×118.5公分","Mineral pigment on paper, 59.5×118.5 cm","岩絵具、紙本、59.5×118.5 cm","석채, 종이, 59.5×118.5 cm",{"zh":5089,"en":5140,"ja":5091,"ko":5092},"Peace and Blessings for the Whole Community, Blessings for the Whole Community — “Wind in the Pines”, and Procession of Mazu: Prosperity and Peace draw on 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":4538,"en":4817,"ja":4540,"ko":4541},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[5146,5160,5172],{"id":5147,"url":5148,"w":141,"h":5149,"alt":5150,"sizes":5151},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":5152,"large":5154,"1536x1536":5157},{"url":5153,"w":84,"h":3556},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-1-300x256.jpg",{"url":5155,"w":88,"h":5156},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-1-1024x874.jpg",874,{"url":5158,"w":300,"h":5159},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-1-1536x1312.jpg",1312,{"id":5161,"url":5162,"w":2838,"h":4143,"alt":5150,"sizes":5163},320,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-2.jpg",{"medium":5164,"large":5166,"1536x1536":5168,"2048x2048":5170},{"url":5165,"w":84,"h":231},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-2-300x150.jpg",{"url":5167,"w":88,"h":4150},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-2-1024x512.jpg",{"url":5169,"w":300,"h":3139},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-2-1536x768.jpg",{"url":5171,"w":304,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-2-2048x1024.jpg",{"id":5173,"url":5174,"w":5175,"h":2838,"alt":5150,"sizes":5176},321,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-3.jpg",1925,{"medium":5177,"large":5179,"1536x1536":5182,"2048x2048":5185},{"url":5178,"w":3130,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-3-241x300.jpg",{"url":5180,"w":5181,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-3-821x1024.jpg",821,{"url":5183,"w":5184,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-3-1232x1536.jpg",1232,{"url":5186,"w":5187,"h":304},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-11-03-3-1643x2048.jpg",1643,[503],{"id":5190,"slug":5191,"no":5192,"title":5193,"artists":5198,"venue":767,"location_note":4600,"location_note_zh":2777,"lat":1723,"lng":1723,"year":5199,"medium":5200,"dimensions":17,"is_new":797,"description":5205,"notes":5210,"credit":5211,"series":5212,"names":5213,"incomplete":797,"images":5214,"image_credit":17,"themes":5255},322,"untitled-imagined-homeland-1","01-LC-12-01",{"zh":5194,"en":5195,"ja":5196,"ko":5197},"無題，想像的家園","Untitled, Imagined Homeland","無題、想像の故郷","무제, 상상의 고향",[2211],"2018",{"zh":5201,"en":5202,"ja":5203,"ko":5204},"數位攝影、藝術微噴，61×91.4公分","Digital photograph, giclée, 61×91.4 cm","デジタル写真、ジクレープリント、61×91.4 cm","디지털 사진, 지클레 프린트, 61×91.4 cm",{"zh":5206,"en":5207,"ja":5208,"ko":5209},"「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.","「想像の故郷」シリーズは、作家が2013年から2019年にかけて、中印国境地帯に暮らすリス族に長期的に向き合ってきたことから生まれた。演出写真、光と影、多重露光によって、現実と精神の世界を織り交ぜる。金色の光、アヒル、水が繰り返し登場し、人間、動物、自然を象徴するとともに、家族アルバムのような写真によって想像上の帰属の場を構築する。作品は、国境統治、都市化、信仰と現代文明の衝突といった状況から、グローバル化のもとでの帰属感を問いかける。本展では「光」を核とする2点の作品に焦点を当て、観客がまず光の知覚を通して、その神秘的で情感豊かな写真の世界へと入っていくよう誘う。","「상상의 고향」 시리즈는 작가가 2013년부터 2019년까지 중국과 인도 국경 지대의 리수족에 대해 오랫동안 기울여 온 관심에서 출발하며, 연출 사진과 빛과 그림자, 다중 노출을 통해 현실과 정신의 세계를 엮어낸다. 금빛 광선과 오리, 물이 반복해서 등장하여 인간과 동물, 자연을 상징하고, 가족 앨범 같은 이미지로 상상 속 귀속의 장소를 구축한다. 작품은 국경 통치, 도시화, 신앙과 현대 문명의 충돌 등의 상황에서 출발해 세계화 시대의 소속감을 묻는다. 이번 전시는 ‘빛’을 중심으로 한 두 점의 작품에 초점을 맞추어, 관객이 먼저 빛의 감각을 통해 작가의 신비롭고 감성적인 사진 세계로 들어서도록 초대한다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[5215,5231,5243],{"id":5216,"url":5217,"w":5218,"h":2838,"alt":5219,"sizes":5220},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":5221,"large":5223,"1536x1536":5225,"2048x2048":5228},{"url":5222,"w":3590,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-1-257x300.jpg",{"url":5224,"w":4582,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-1-878x1024.jpg",{"url":5226,"w":5227,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-1-1316x1536.jpg",1316,{"url":5229,"w":5230,"h":304},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-1-1755x2048.jpg",1755,{"id":5232,"url":5233,"w":2838,"h":4735,"alt":5219,"sizes":5234},324,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-2.jpg",{"medium":5235,"large":5237,"1536x1536":5239,"2048x2048":5241},{"url":5236,"w":84,"h":114},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-2-300x200.jpg",{"url":5238,"w":88,"h":2901},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-2-1024x683.jpg",{"url":5240,"w":300,"h":4744},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-2-1536x1025.jpg",{"url":5242,"w":304,"h":4747},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-2-2048x1366.jpg",{"id":5244,"url":5245,"w":2838,"h":4735,"alt":5219,"sizes":5246},325,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-3.jpg",{"medium":5247,"large":5249,"1536x1536":5251,"2048x2048":5253},{"url":5248,"w":84,"h":114},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-3-300x200.jpg",{"url":5250,"w":88,"h":2901},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-3-1024x683.jpg",{"url":5252,"w":300,"h":4744},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-3-1536x1025.jpg",{"url":5254,"w":304,"h":4747},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-12-01-3-2048x1366.jpg",[503],{"id":5257,"slug":5258,"no":5259,"title":5260,"artists":5265,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":5199,"medium":5266,"dimensions":17,"is_new":797,"description":5267,"notes":5268,"credit":5269,"series":5270,"names":5271,"incomplete":797,"images":5272,"image_credit":17,"themes":5273},326,"lisangi-and-dulusu-yobin-wait-indefinitely-in-the-forests-of-namdapha-with-their-son-imagined-homeland","01-LC-12-02",{"zh":5261,"en":5262,"ja":5263,"ko":5264},"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","Lisangi、Dulusu Yobinとその息子、ナムダファの森で果てしなく待つ、想像の故郷","Lisangi, Dulusu Yobin과 그들의 아들, 남다파의 숲에서 끝없이 기다리다, 상상의 고향",[2211],{"zh":5201,"en":5202,"ja":5203,"ko":5204},{"zh":5206,"en":5207,"ja":5208,"ko":5209},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[503],{"id":5275,"slug":5276,"no":5277,"title":5278,"artists":5283,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":5199,"medium":5284,"dimensions":17,"is_new":797,"description":5285,"notes":5286,"credit":5287,"series":5288,"names":5289,"incomplete":797,"images":5290,"image_credit":17,"themes":5291},327,"children-explore-the-mythical-forest-imagined-homeland","01-LC-12-03",{"zh":5279,"en":5280,"ja":5281,"ko":5282},"兒童探索神話森林，想像的家園","Children Explore the Mythical Forest, Imagined Homeland","神話の森を探検する子どもたち、想像の故郷","신화의 숲을 탐험하는 아이들, 상상의 고향",[2211],{"zh":5201,"en":5202,"ja":5203,"ko":5204},{"zh":5206,"en":5207,"ja":5208,"ko":5209},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[503],{"id":5293,"slug":5294,"no":5295,"title":5296,"artists":5297,"venue":767,"location_note":4600,"location_note_zh":2777,"lat":1723,"lng":1723,"year":5298,"medium":5299,"dimensions":17,"is_new":797,"description":5304,"notes":5305,"credit":5306,"series":5307,"names":5308,"incomplete":797,"images":5309,"image_credit":17,"themes":5310},328,"untitled-imagined-homeland-2","01-LC-12-04",{"zh":5194,"en":5195,"ja":5196,"ko":5197},[2211],"2019",{"zh":5300,"en":5301,"ja":5302,"ko":5303},"數位攝影、藝術微噴，106.7×91.4公分","Digital photograph, giclée, 106.7×91.4 cm","デジタル写真、ジクレープリント、106.7×91.4 cm","디지털 사진, 지클레 프린트, 106.7×91.4 cm",{"zh":5206,"en":5207,"ja":5208,"ko":5209},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[503],{"id":5312,"slug":5313,"no":5314,"title":5315,"artists":5320,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":5199,"medium":5321,"dimensions":17,"is_new":797,"description":5326,"notes":5329,"credit":5330,"series":5331,"names":5332,"incomplete":797,"images":5333,"image_credit":17,"themes":5334},329,"ngwalidew-and-the-portal-imagined-homeland","01-LC-12-05",{"zh":5316,"en":5317,"ja":5318,"ko":5319},"恩瓦利德與傳送門，想像的家園","Ngwalidew and the Portal, Imagined Homeland","Ngwalidewとポータル、想像の故郷","Ngwalidew와 포털, 상상의 고향",[2211],{"zh":5322,"en":5323,"ja":5324,"ko":5325},"數位攝影、藝術微噴，91.4×137.2公分","Digital photograph, giclée, 91.4×137.2 cm","デジタル写真、ジクレープリント、91.4×137.2 cm","디지털 사진, 지클레 프린트, 91.4×137.2 cm",{"zh":5206,"en":5207,"ja":5327,"ko":5328},"「想像の故郷」シリーズは、作家が2013年から2019年にかけて中国とインドの国境地帯に暮らすリス族に長期的なまなざしを向けてきたことに端を発し、演出写真、光と影、多重露光によって現実と精神世界を交錯させる。金色の光、アヒル、水が繰り返し現れ、人間、動物、自然を象徴するとともに、家族アルバムのような写真によって想像上の帰属の場を構築する。作品は国境管理、都市化、信仰と近代文明の衝突といった状況から、グローバル化のもとでの帰属意識を問う。本展では「光」を核とする2点の作品に焦点を当て、観客がまず光の知覚を通して、その神秘的で情感豊かな写真の世界へと入っていくよう誘う。","「상상의 고향」 연작은 작가가 2013년부터 2019년까지 중국과 인도의 국경 지대에 사는 리수족에게 기울여 온 오랜 관심에서 출발하며, 연출 사진과 빛과 그림자, 다중 노출을 통해 현실과 정신세계를 교차시킨다. 금빛 광선과 오리, 물이 반복해서 등장하여 인간과 동물, 자연을 상징하며, 가족 앨범 같은 이미지로 상상 속 귀속의 장소를 구축한다. 작품은 국경 통치, 도시화, 신앙과 현대 문명의 충돌 등의 상황에서 출발해 세계화 속의 소속감을 묻는다. 이번 전시는 「빛」을 핵심으로 한 두 작품에 초점을 맞추어, 관람객이 먼저 빛의 감각을 통해 그 신비롭고 정서 가득한 이미지의 세계로 들어서도록 초대한다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[503],{"id":5336,"slug":5337,"no":5338,"title":5339,"artists":5344,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":5298,"medium":5345,"dimensions":17,"is_new":797,"description":5350,"notes":5351,"credit":5352,"series":5353,"names":5354,"incomplete":797,"images":5355,"image_credit":17,"themes":5356},330,"untitled-i-imagined-homeland","01-LC-12-06",{"zh":5340,"en":5341,"ja":5342,"ko":5343},"無題-I，想像的家園","Untitled-I, Imagined Homeland","無題-I、想像の故郷","무제-I, 상상의 고향",[2211],{"zh":5346,"en":5347,"ja":5348,"ko":5349},"數位攝影、藝術微噴，142.2×215.9公分","Digital photograph, giclée, 142.2×215.9 cm","デジタル写真、ジクレープリント、142.2×215.9 cm","디지털 사진, 지클레 프린트, 142.2×215.9 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photograph, giclée, 61×52.3 cm","デジタル写真、ジクレープリント、61×52.3 cm","디지털 사진, 지클레 프린트, 61×52.3 cm",{"zh":5206,"en":5207,"ja":5327,"ko":5328},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[503],{"id":5441,"slug":5442,"no":5443,"title":5444,"artists":5449,"venue":767,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":5298,"medium":5450,"dimensions":17,"is_new":797,"description":5451,"notes":5452,"credit":5453,"series":5454,"names":5455,"incomplete":797,"images":5456,"image_credit":17,"themes":5457},336,"untitled-iv-imagined-homeland","01-LC-12-12",{"zh":5445,"en":5446,"ja":5447,"ko":5448},"無題-IV，想像的家園","Untitled-IV, Imagined Homeland","無題-IV、想像の故郷","무제-IV, 상상의 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Last Call, Imagined Homeland","最後の呼び声、想像の故郷","마지막 부름, 상상의 고향",[2211],{"zh":5300,"en":5301,"ja":5302,"ko":5303},{"zh":5206,"en":5207,"ja":5327,"ko":5328},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[503],{"id":5505,"slug":5506,"no":5507,"title":5508,"artists":5513,"venue":767,"location_note":5514,"location_note_zh":5515,"lat":1723,"lng":1723,"year":2684,"medium":5516,"dimensions":17,"is_new":797,"description":5521,"notes":5526,"credit":5527,"series":5532,"names":5533,"incomplete":797,"images":5534,"image_credit":17,"themes":5548},340,"mpression-gaze-around-tainan-spinning-circles-plein-air-action","01-LC-13",{"zh":5509,"en":5510,"ja":5511,"ko":5512},"印象／凝視：環臺南動圈寫生行動","MPRESSION \u002F GAZE：Around Tainan – Spinning Circles Plein Air Action","印象／凝視：台南を巡る回転する円環の写生アクション","인상／응시: 타이난을 도는 회전하는 원 사생 액션",[114],"1F Central Corridor Nanmen Rd. side","1樓中央廊道南門路側",{"zh":5517,"en":5518,"ja":5519,"ko":5520},"複合媒材，200×200×60公分","Mixed media, 200×200×60 cm","ミクストメディア、200×200×60 cm","혼합 매체, 200×200×60 cm",{"zh":5522,"en":5523,"ja":5524,"ko":5525},"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.","張駿業理事長が受講生を率いて教室を出て、台南のロータリーで共に写生を行う。見慣れていながら見過ごされがちな公共空間をあらためて見つめることで、個人の観察と感覚を芸術を通して公共の領域へと送り出し、都市の共同の記憶を形づくる。作品はゆっくりと回転する車輪状の装置によって、コマ撮りアニメーションのような写生の画像を提示し、デジタルフォトフレームで制作の記録を上映する。静止した風景を流動する都市の印象へと転換し、絶えず回り続けるロータリーのリズムに呼応しながら、台南の歴史と現在、記憶と現実が交錯し共存する都市のありようを象徴する。","Chang Chun-yeh 이사장이 수강생들을 이끌고 교실 밖으로 나가 타이난의 로터리에서 함께 사생한다. 익숙하지만 쉽게 간과되는 공공 공간을 다시 바라봄으로써 개인의 관찰과 감각이 예술을 통해 공공 영역으로 들어가게 하고, 도시의 공동 기억을 형성한다. 작품은 천천히 회전하는 바퀴 모양의 장치로 스톱모션 애니메이션 같은 사생 이미지를 보여 주고, 디지털 액자로 제작 기록을 재생한다. 이를 통해 정지된 풍경을 흐르는 도시의 인상으로 전환하고, 끊임없이 돌아가는 로터리의 리듬에 호응하며, 역사와 현재, 기억과 현실이 교차하며 공존하는 타이난의 도시 상태를 상징한다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":5528,"en":5529,"ja":5530,"ko":5531},"臺南社區大學提供","Courtesy of the Tainan Community University","台南社区大学提供","Tainan Community University 제공",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[5535],{"id":5536,"url":5537,"w":3425,"h":2838,"alt":5538,"sizes":5539},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":5540,"large":5542,"1536x1536":5544,"2048x2048":5546},{"url":5541,"w":2410,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-13-1-212x300.jpg",{"url":5543,"w":3432,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-13-1-724x1024.jpg",{"url":5545,"w":2907,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-13-1-1086x1536.jpg",{"url":5547,"w":3437,"h":304},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-lc-13-1-1448x2048.jpg",[503],{"id":5550,"slug":5551,"no":5552,"title":5553,"artists":5555,"venue":767,"location_note":5556,"location_note_zh":5557,"lat":1723,"lng":1723,"year":4210,"medium":5558,"dimensions":17,"is_new":797,"description":5563,"notes":5568,"credit":5569,"series":5570,"names":5571,"incomplete":797,"images":5572,"image_credit":17,"themes":5573},342,"concrete-reflections-tainan-city","01-LC-14-01",{"zh":5554,"en":5554,"ja":5554,"ko":5554},"CONCRETE REFLECTIONS \u002F TAINAN CITY",[2238],"2F Exhibition Gallery B exterior corridor","2樓B展間外側廊道",{"zh":5559,"en":5560,"ja":5561,"ko":5562},"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","特注コンクリート混合物、エディション1\u002F7、15×10.5×5.5 cm","맞춤 제작 콘크리트 혼합물, 에디션 1\u002F7, 15×10.5×5.5 cm",{"zh":5564,"en":5565,"ja":5566,"ko":5567},"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.","コンクリートは世界中で広く用いられ、現代の生活を深く形づくってきた人工の素材である。Peter Baranはそれを制作の媒体とみなすだけでなく、そこに内包される、建設し、改変し、成長しようとする人間の欲望にも目を向ける。作品はコンクリートの重さ、質感、空間性を通して、都市、建築、景観、日常生活がいかに構築されているのかを問い直し、人と環境の絶えず変化する関係について観る者に省察を促す。","콘크리트는 전 세계에서 널리 사용되며 현대의 삶을 깊이 형성해 온 인공 재료다. Peter Baran은 이를 창작 매체로 여길 뿐 아니라, 그 안에 담긴 건설하고 개조하며 성장하려는 인간의 욕망에 주목한다. 작품은 콘크리트의 무게와 질감, 공간감을 통해 도시와 건축, 경관, 일상생활이 어떻게 구축되는지를 다시 사유하고, 관람객이 끊임없이 변화하는 인간과 환경의 관계를 성찰하도록 이끈다.",{"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},[],[503],{"id":5575,"slug":5576,"no":5577,"title":5578,"artists":5580,"venue":767,"location_note":5556,"location_note_zh":5557,"lat":1723,"lng":1723,"year":4210,"medium":5581,"dimensions":17,"is_new":797,"description":5586,"notes":5587,"credit":5588,"series":5589,"names":5590,"incomplete":797,"images":5591,"image_credit":17,"themes":5592},343,"concrete-reflections-tainan-an-artwork-by-artist-peter-baran","01-LC-14-02",{"zh":5579,"en":5579,"ja":5579,"ko":5579},"CONCRETE REFLECTIONS: TAINAN - an artwork by artist Peter Baran",[2238],{"zh":5582,"en":5583,"ja":5584,"ko":5585},"作品創作記錄影片，11 分 55 秒","Documentary video of the artwork, 11 min 55 sec cm","作品制作記録映像、11分55秒","작품 제작 기록 영상, 11분 55초",{"zh":5564,"en":5565,"ja":5566,"ko":5567},{"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},[],[503],{"id":5594,"slug":5595,"no":5596,"title":5597,"artists":5602,"venue":767,"location_note":5603,"location_note_zh":5604,"lat":1723,"lng":1723,"year":2684,"medium":5605,"dimensions":17,"is_new":797,"description":5610,"notes":5615,"credit":5616,"series":5617,"names":5618,"incomplete":797,"images":5619,"image_credit":5649,"themes":5650},344,"echoes-of-the-invisible-collective","01-MC-01",{"zh":5598,"en":5599,"ja":5600,"ko":5601},"無形共同體的迴響","Echoes of the Invisible Collective","見えざる共同体の反響","보이지 않는 공동체의 울림",[2252],"2F Art Terrace","2樓藝術露臺",{"zh":5606,"en":5607,"ja":5608,"ko":5609},"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","台南でのリサーチを通じて展開したパフォーマティブ・インスタレーション：サウンド—水池のインタラクティブ・インスタレーション（多種のベトナムの植物、インタビュー、ストーリーテリング、環境音の録音、植物とのインタラクティブな振動を含む）、サイズ可変","타이난에서의 리서치를 통해 전개된 퍼포먼스 설치: 사운드—수조 인터랙티브 설치(다양한 베트남 식물, 인터뷰, 스토리텔링, 환경 녹음, 식물 인터랙티브 진동 포함), 가변 크기",{"zh":5611,"en":5612,"ja":5613,"ko":5614},"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.","本作は池の形をしたインタラクティブ・インスタレーションであり、人々が集い交流するためのコミュニティ・プラットフォームでもある。Tuan Mamiは台南に暮らすベトナム系移民の家庭を訪ね、彼らが故郷から持ち込んだ植物や種子を収集して、故郷の記憶を宿す植物を異郷の地で育てるとともに、サウンド・インスタレーションと座席によって観客に留まり交流するよう誘う。作品は「ベトナム移民の庭」プロジェクトを継続するものであり、人とともに移動してきた植物の軌跡をたどりながら、個人の物語、文化的記憶、種子の交換を結びつけて人類の移動の歴史を見つめ直し、移住の背後に潜む見えざる政治、権力、社会的序列を明らかにする。","이 작품은 연못 형태의 인터랙티브 설치이자, 사람들이 모여 교류하는 커뮤니티 플랫폼이다. Tuan Mami는 타이난의 베트남 이주민 가정을 찾아가 그들이 고향에서 가져온 식물과 씨앗을 수집하고, 고향의 기억을 품은 식물이 낯선 땅에서 자라나게 하며, 사운드 설치와 좌석을 통해 관람객이 머물며 교류하도록 초대한다. 작품은 「베트남 이주민 정원」 프로젝트의 연장선에 있으며, 사람을 따라 이동해 온 식물의 궤적을 통해 개인의 이야기와 문화적 기억, 씨앗 교환을 연결하여 인류의 이동사를 다시 바라보고, 이주의 이면에 감춰진 정치와 권력, 사회적 위계를 드러낸다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[5620,5637],{"id":5621,"url":5622,"w":2838,"h":5623,"alt":5624,"sizes":5625},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":5626,"large":5628,"1536x1536":5631,"2048x2048":5634},{"url":5627,"w":84,"h":1861},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-01-1-300x169.jpg",{"url":5629,"w":88,"h":5630},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-01-1-1024x577.jpg",577,{"url":5632,"w":300,"h":5633},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-01-1-1536x866.jpg",866,{"url":5635,"w":304,"h":5636},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-01-1-2048x1155.jpg",1155,{"id":5638,"url":5639,"w":2838,"h":4475,"alt":5624,"sizes":5640},476,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-01-2.jpg",{"medium":5641,"large":5643,"1536x1536":5645,"2048x2048":5647},{"url":5642,"w":84,"h":114},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-01-2-300x200.jpg",{"url":5644,"w":88,"h":2901},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-01-2-1024x683.jpg",{"url":5646,"w":300,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-01-2-1536x1024.jpg",{"url":5648,"w":304,"h":2895},"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",[552],{"id":5652,"slug":5653,"no":5654,"title":5655,"artists":5660,"venue":767,"location_note":5661,"location_note_zh":5662,"lat":1723,"lng":1723,"year":2684,"medium":5663,"dimensions":17,"is_new":797,"description":5668,"notes":5673,"credit":5674,"series":5675,"names":5676,"incomplete":797,"images":5677,"image_credit":17,"themes":5703},345,"the-old-banyan-of-the-sea-the-siraya-tree-1","01-MC-02",{"zh":5656,"en":5657,"ja":5658,"ko":5659},"海之老榕樹，西拉雅之樹","The Old Banyan of the Sea, the Siraya Tree","海の老ガジュマル、シラヤの樹","바다의 늙은 반얀나무, 시라야의 나무",[2265,2278],"Reading Forest in front of the 1F Central Corridor and 2F Exhibition Gallery G","1樓中央廊道「閱讀之森」前及2樓展覽室G",{"zh":5664,"en":5665,"ja":5666,"ko":5667},"蚵殼繩、竹材、鐵網，尺寸依場地而定","Oyster shell cord, bamboo, wire mesh, Dimensions variable","牡蠣殻ロープ、竹材、金網、サイズ可変","굴 껍데기 줄, 대나무, 철망, 가변 크기",{"zh":5669,"en":5670,"ja":5671,"ko":5672},"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.","当館の庭園に立つ樹齢80年を超える老ガジュマルは、日本統治時代の台南警察署の建設から今日に至るまで、この場の歴史の変遷を見届けてきた。杉原信幸と中村綾花は、老ガジュマルと美術館の空間との関係に着想を得て、台南の牡蠣養殖に用いられる牡蠣殻ロープを組み合わせ、光に向かって伸びる樹木と船のイメージを形づくる。作品は、作家が台南でのレジデンス期間中に行ったシラヤ文化の研究を継承し、シラヤの夜祭とかつての「台江内海」の海の記憶に応答する。さらにシラヤの歌謡と即興パフォーマンスを交えて、老ガジュマル、民族文化、海のイメージを織り合わせ、時空を超えて続く土地の歴史と生命の鼓動を示す。","미술관 정원에 자리한 수령 80년이 넘는 늙은 반얀나무는 일본 통치 시기 타이난 경찰서가 건립된 이래 지금까지 이 장소의 역사적 변천을 지켜보았다. Sugihara Nobuyuki와 Nakamura Ayaka는 늙은 반얀나무와 미술관 공간의 관계에서 영감을 받아, 타이난의 굴 양식에 쓰이는 굴 껍데기 줄을 결합해 빛을 향해 뻗어 가는 나무와 배의 이미지를 형상화한다. 작품은 작가들이 타이난 레지던시 기간 동안 진행한 시라야 문화 연구를 이어 가며, 시라야 밤 제례와 옛 「타이장 내해」의 바다 기억에 응답한다. 또한 시라야 가요와 즉흥 퍼포먼스를 결합하여 늙은 반얀나무와 종족 문화, 바다의 이미지를 엮어 내고, 시공간을 가로지르는 땅의 역사와 생명의 맥동을 펼쳐 보인다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[5678,5691],{"id":5679,"url":5680,"w":4475,"h":2838,"alt":5681,"sizes":5682},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":5683,"large":5685,"1536x1536":5687,"2048x2048":5689},{"url":5684,"w":114,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-02-01-1-200x300.jpg",{"url":5686,"w":2901,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-02-01-1-683x1024.jpg",{"url":5688,"w":88,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-02-01-1-1024x1536.jpg",{"url":5690,"w":2895,"h":304},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-02-01-1-1365x2048.jpg",{"id":5692,"url":5693,"w":4475,"h":2838,"alt":5681,"sizes":5694},347,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-02-01-2.jpg",{"medium":5695,"large":5697,"1536x1536":5699,"2048x2048":5701},{"url":5696,"w":114,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-02-01-2-200x300.jpg",{"url":5698,"w":2901,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-02-01-2-683x1024.jpg",{"url":5700,"w":88,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-02-01-2-1024x1536.jpg",{"url":5702,"w":2895,"h":304},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-02-01-2-1365x2048.jpg",[552],{"id":5705,"slug":5706,"no":5707,"title":5708,"artists":5713,"venue":767,"location_note":5714,"location_note_zh":5715,"lat":1723,"lng":1723,"year":4210,"medium":5716,"dimensions":17,"is_new":797,"description":5721,"notes":5726,"credit":5727,"series":5728,"names":5729,"incomplete":797,"images":5730,"image_credit":17,"themes":5731},422,"not-quite-gone-not-quite-finished-tainan-art-museum","01-MC-04",{"zh":5709,"en":5710,"ja":5711,"ko":5712},"未全然消逝，未全然完成","Not Quite Gone, Not Quite Finished","消えきらず、完成しきらず","완전히 사라지지도, 완전히 완성되지도 않은",[2291],"1F Central Corridor Revival Coffee Roasters Terrazzo floor","1樓中央廊道溫故知新咖啡廳後地面",{"zh":5717,"en":5718,"ja":5719,"ko":5720},"造形陶瓷藝術廢料，尺寸依場地而定","Variable ceramics art waste, Dimensions variable","造形陶磁芸術の廃材、サイズ可変","조형 도자 예술 폐자재, 가변 크기",{"zh":5722,"en":5723,"ja":5724,"ko":5725},"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.","卓俞翔の創作は廃棄と更新のあいだにあり、素材の「サンプリング」を通して、割れたり損傷したりした陶磁器、放棄された作品や消耗材を集め、再加工・再構成して新たなオブジェをつくり出す。作品は、捨てられた後も続く素材の生命、そして芸術的価値が保存と淘汰のあいだでいかに規定されるのかに目を向けるとともに、制作の時間と歴史を保存する。本展の全作品は《消えきらず、完成しきらず》というひとつの名のもとに統合され、制作の残余を基盤として、サンプリング、積層、再利用を通じ、恒久と脆さ、作者性と匿名性、破壊と再生のあいだの緊張を探り、残されたものが再び生成される可能性を思索する。","Tok Yu-xiang의 작업은 폐기와 갱신 사이에 놓여 있으며, 재료의 「샘플링」을 통해 깨지고 손상된 도자기, 버려진 작품과 소모품을 수집하고 이를 다시 가공하고 재구성하여 새로운 오브제로 만든다. 작품은 버려진 뒤에도 이어지는 재료의 생명, 그리고 예술적 가치가 보존과 도태 사이에서 어떻게 규정되는지에 주목하며, 창작의 시간과 역사를 보존한다. 이번 전시의 모든 작품은 《완전히 사라지지도, 완전히 완성되지도 않은》이라는 하나의 이름으로 통합되며, 창작의 잔여물을 바탕으로 샘플링과 적층, 재활용을 통해 영속성과 취약성, 작가성과 익명성, 파괴와 재생 사이의 긴장을 탐구하고, 남겨진 것이 다시 생성될 가능성을 사유한다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[552],{"id":5733,"slug":5734,"no":5735,"title":5736,"artists":5741,"venue":767,"location_note":5742,"location_note_zh":5743,"lat":1723,"lng":1723,"year":2684,"medium":5744,"dimensions":17,"is_new":797,"description":5749,"notes":5754,"credit":5755,"series":5756,"names":5757,"incomplete":797,"images":5758,"image_credit":17,"themes":5807},349,"spirit-of-labour-zhi-nu","01-MC-05",{"zh":5737,"en":5738,"ja":5739,"ko":5740},"勞動的精神：織女","Spirit of Labour: Zhi Nu","労働の精神：織女","노동의 정신: 직녀",[2304],"1F Central Corridor You'ai St. side","1樓中央廊道友愛街側",{"zh":5745,"en":5746,"ja":5747,"ko":5748},"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","工業織物、12本撚り糸、モヘア、紙、レーヨン、ポリエステル、1000x350 cm","공업 직조, 12합사, 모헤어, 종이, 레이온, 폴리에스터, 1000x350 cm",{"zh":5750,"en":5751,"ja":5752,"ko":5753},"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.","本シリーズは産業革命期の労働組合の旗や組合員証に着想を得ており、それらの図像とスローガンは労働者の感情、連帯、希望を担っていた。〈労働の精神：織女〉はシリーズ中これまでで最大の作品であり、かつて香港の旧紡績工場で展示され、女性紡織労働者の強靭さと貢献に敬意を表した。郭晟邦は織りの技法に文献写真と祝福の言葉を組み合わせ、世代を超えた女性労働者たちの友情、思いやり、集団の力を描き出し、長らく歴史から見過ごされてきた女性の労働をあらためて可視化する。本展は本作の台湾における初の展示であり、台南の繊維産業の歴史的変遷との対話を展開する。","이 연작은 산업혁명 시기 노동조합의 깃발과 조합원 증서에서 영감을 받았으며, 그 이미지와 구호에는 노동자들의 감정과 연대, 희망이 담겨 있다. 〈노동의 정신: 직녀〉는 연작 가운데 지금까지 가장 큰 작품으로, 홍콩의 옛 방적 공장에서 전시되어 여성 방직 노동자들의 강인함과 공헌에 경의를 표한 바 있다. Marcos Kueh는 직조 공예에 기록 사진과 축복의 문구를 결합해 세대를 넘나드는 여성 노동자들 사이의 우정과 돌봄, 집단적 힘을 드러내며, 오랫동안 역사에서 외면되어 온 여성 노동을 다시 보이게 한다. 이번 전시는 이 작품의 대만 첫 전시로, 타이난 섬유 산업의 역사적 변천과 대화를 펼친다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[5759,5771,5783,5795],{"id":175,"url":5760,"w":2838,"h":4475,"alt":5761,"sizes":5762},"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":5763,"large":5765,"1536x1536":5767,"2048x2048":5769},{"url":5764,"w":84,"h":114},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-1-300x200.jpg",{"url":5766,"w":88,"h":2901},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-1-1024x683.jpg",{"url":5768,"w":300,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-1-1536x1024.jpg",{"url":5770,"w":304,"h":2895},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-1-2048x1365.jpg",{"id":5772,"url":5773,"w":2838,"h":4475,"alt":5761,"sizes":5774},351,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-2.jpg",{"medium":5775,"large":5777,"1536x1536":5779,"2048x2048":5781},{"url":5776,"w":84,"h":114},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-2-300x200.jpg",{"url":5778,"w":88,"h":2901},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-2-1024x683.jpg",{"url":5780,"w":300,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-2-1536x1024.jpg",{"url":5782,"w":304,"h":2895},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-2-2048x1365.jpg",{"id":5784,"url":5785,"w":2838,"h":4475,"alt":5761,"sizes":5786},352,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-3.jpg",{"medium":5787,"large":5789,"1536x1536":5791,"2048x2048":5793},{"url":5788,"w":84,"h":114},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-3-300x200.jpg",{"url":5790,"w":88,"h":2901},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-3-1024x683.jpg",{"url":5792,"w":300,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-3-1536x1024.jpg",{"url":5794,"w":304,"h":2895},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-3-2048x1365.jpg",{"id":5796,"url":5797,"w":2838,"h":4475,"alt":5761,"sizes":5798},353,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-4.jpg",{"medium":5799,"large":5801,"1536x1536":5803,"2048x2048":5805},{"url":5800,"w":84,"h":114},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-4-300x200.jpg",{"url":5802,"w":88,"h":2901},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-4-1024x683.jpg",{"url":5804,"w":300,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-4-1536x1024.jpg",{"url":5806,"w":304,"h":2895},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F01-mc-05-4-2048x1365.jpg",[552],{"id":5809,"slug":5810,"no":5811,"title":5812,"artists":5817,"venue":830,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":5818,"dimensions":17,"is_new":797,"description":5823,"notes":5828,"credit":5833,"series":5838,"names":5839,"incomplete":797,"images":5840,"image_credit":17,"themes":5891},123,"the-loop","03-EC-01",{"zh":5813,"en":5814,"ja":5815,"ko":5816},"迴圈 \u002F 打開的環","The Loop","ループ \u002F 開かれた環","순환 \u002F 열린 고리",[2317],{"zh":5819,"en":5820,"ja":5821,"ko":5822},"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)","木材、外輪直径35.6m、内輪直径22.6m、輪の幅6.3m、外輪高さ4.4m、内輪高さ2.8m","목재, 바깥 고리 지름 35.6m, 안쪽 고리 지름 22.6m, 고리 폭 6.3m, 바깥 고리 높이 4.4m, 안쪽 고리 높이 2.8m",{"zh":5824,"en":5825,"ja":5826,"ko":5827},"〈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.","〈ループ／開かれた環〉は、物理的にも精神的にも意味をもつ集いの場である。「凝集」と「親密さ」によって、ビエンナーレのテーマ「ループ・超展開」と、会場が担う都市的な意味に応答する。環状の木造構造は公衆を抱擁するかのように人々を集めて結びつけ、都市の中心に自然を身近に感じられる場を生み出す。展示会場の中心的な動線として、人々はその下を通り抜け、また留まることができる。明確な機能と曖昧な境界のあいだで、歴史的な古跡と現代アートをつなぐ移行の回廊を形づくり、共有された親密な集団の物語を展開する。","〈순환／열린 고리〉는 물리적·정신적 의미를 함께 지닌 모임의 공간이다. ‘응집’과 ‘친밀함’으로 비엔날레의 주제 ‘순환·확장’과 장소가 지닌 도시적 의미에 응답한다. 고리 모양의 목조 구조물은 대중을 끌어안듯 사람들을 모으고 연결하며, 도시 한가운데에서 자연을 가까이 느끼게 한다. 전시장의 핵심 동선으로서 사람들은 그 아래를 지나가거나 머물 수 있으며, 명확한 기능과 모호한 경계 사이에서 역사 유적과 동시대 미술을 잇는 전이의 회랑을 형성하고, 함께 나누는 친밀한 집단적 서사를 펼쳐 낸다.",{"zh":5829,"en":5830,"ja":5831,"ko":5832},"工廠預製　2026.10.31–11.20\n現地組裝　2026.11.20–12.4\n開放參觀　2026.12.5–2027.3.1","Off-site Fabrication: 2026.10.31–11.20\nOn-site Assembly: 2026.11.20–12.4\nOpen to the Public: 2026.12.5–2027.3.1","工場でのプレファブ製作　2026.10.31–11.20\n現地組立　2026.11.20–12.4\n一般公開　2026.12.5–2027.3.1","공장 사전 제작　2026.10.31–11.20\n현장 조립　2026.11.20–12.4\n일반 공개　2026.12.5–2027.3.1",{"zh":5834,"en":5835,"ja":5836,"ko":5837},"現地製作","Creat on site by the artist","現地制作","현장 제작",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[5841,5852,5861,5871,5881],{"id":5842,"url":5843,"w":4186,"h":5844,"alt":5814,"sizes":5845},668,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-v3-1.jpg",941,{"medium":5846,"large":5848,"1536x1536":5850},{"url":5847,"w":84,"h":1861},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-v3-1-300x169.jpg",{"url":5849,"w":88,"h":4259},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-v3-1-1024x576.jpg",{"url":5851,"w":300,"h":4262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-v3-1-1536x864.jpg",{"id":3921,"url":5853,"w":4186,"h":5844,"alt":5814,"sizes":5854},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-v3-2.jpg",{"medium":5855,"large":5857,"1536x1536":5859},{"url":5856,"w":84,"h":1861},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-v3-2-300x169.jpg",{"url":5858,"w":88,"h":4259},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-v3-2-1024x576.jpg",{"url":5860,"w":300,"h":4262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-v3-2-1536x864.jpg",{"id":5862,"url":5863,"w":4186,"h":5844,"alt":5814,"sizes":5864},670,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-v3-3.jpg",{"medium":5865,"large":5867,"1536x1536":5869},{"url":5866,"w":84,"h":1861},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-v3-3-300x169.jpg",{"url":5868,"w":88,"h":4259},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-v3-3-1024x576.jpg",{"url":5870,"w":300,"h":4262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-v3-3-1536x864.jpg",{"id":5872,"url":5873,"w":4186,"h":5844,"alt":5814,"sizes":5874},671,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-v3-4.jpg",{"medium":5875,"large":5877,"1536x1536":5879},{"url":5876,"w":84,"h":1861},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-v3-4-300x169.jpg",{"url":5878,"w":88,"h":4259},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-v3-4-1024x576.jpg",{"url":5880,"w":300,"h":4262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-v3-4-1536x864.jpg",{"id":5882,"url":5883,"w":4186,"h":5844,"alt":5814,"sizes":5884},672,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-v3-5.jpg",{"medium":5885,"large":5887,"1536x1536":5889},{"url":5886,"w":84,"h":1861},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-v3-5-300x169.jpg",{"url":5888,"w":88,"h":4259},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-v3-5-1024x576.jpg",{"url":5890,"w":300,"h":4262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F03-ec-01-v3-5-1536x864.jpg",[307],{"id":5893,"slug":5894,"no":5895,"title":5896,"artists":5901,"venue":856,"location_note":5902,"location_note_zh":17,"lat":1723,"lng":1723,"year":4329,"medium":5903,"dimensions":17,"is_new":797,"description":5908,"notes":5913,"credit":5914,"series":5915,"names":5916,"incomplete":797,"images":5917,"image_credit":17,"themes":5935},354,"transformation-14al1030-1034","04-RC-08",{"zh":5897,"en":5898,"ja":5899,"ko":5900},"轉進論 14AL1030 1034","Transformation\n14AL1030 1034","転進論 14AL1030 1034","전진론 14AL1030 1034",[2331],"Cultural Heritage Preservation Research Center, Bureau of Cultural Heritage, Ministry of Culture",{"zh":5904,"en":5905,"ja":5906,"ko":5907},"不鏽鋼、銅、培林，187x140x189公分","Stainless steel, bronze, and ball bearing, 187x140x189 cm","ステンレス鋼、銅、ベアリング、187×140×189 cm","스테인리스강, 동, 베어링, 187×140×189 cm",{"zh":5909,"en":5910,"ja":5911,"ko":5912},"《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.","《転進論》シリーズは、「動き」と「予測不可能」な生の状態をめぐる梁任宏の思考に応答するものである。作品の各部品は軸で連結されて自由に回転し、有機体のように絶えず変化し、組み合わさっていく。動物を思わせる造形は自然の生き物を指し示し、ステンレスの表面は周囲の環境を映し出す。鑑賞者が介入して作品を動かすとき、その人もまた自然のエネルギーの一部となる。柔らかく流れるような機械の運動と、冷たく硬い金属とが対比をなし、生命と環境の絶えず移ろう関係を示すとともに、予測不可能な世界において人がいかに自然に応答し、共に生きていくのかを問いかける。","《전진론》 연작은 ‘움직임’과 ‘예측 불가능성’이라는 생명의 상태에 대한 Liang Jen-hung의 사유에 응답한다. 작품의 각 부품은 축으로 연결되어 자유롭게 회전하며 유기체처럼 끊임없이 변화하고 재조합된다. 동물적인 형태는 자연의 생물을 가리키고, 스테인리스 표면은 주변 환경을 비춘다. 관람자가 개입하여 작품을 움직이면 관람자 역시 자연 에너지의 일부가 된다. 부드럽게 흐르는 기계의 움직임은 차갑고 단단한 금속과 대비를 이루며 생명과 환경 사이의 끊임없이 변화하는 관계를 드러내고, 예측할 수 없는 세계에서 인간이 어떻게 자연에 응답하고 공존할 수 있는지를 사유한다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":4465,"en":4466,"ja":4467,"ko":4468},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[5918],{"id":5919,"url":5920,"w":5921,"h":2838,"alt":5922,"sizes":5923},736,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F04-rc-08-1.jpg",1807,"轉進論 14AL1030 1034 Transformation\n14AL1030 1034",{"medium":5924,"large":5926,"1536x1536":5929,"2048x2048":5932},{"url":5925,"w":2648,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F04-rc-08-1-226x300.jpg",{"url":5927,"w":5928,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F04-rc-08-1-771x1024.jpg",771,{"url":5930,"w":5931,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F04-rc-08-1-1156x1536.jpg",1156,{"url":5933,"w":5934,"h":304},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F04-rc-08-1-1542x2048.jpg",1542,[454],{"id":5937,"slug":5938,"no":5939,"title":5940,"artists":5945,"venue":884,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":5946,"dimensions":17,"is_new":797,"description":5950,"notes":5955,"credit":5956,"series":5957,"names":5958,"incomplete":797,"images":5959,"image_credit":17,"themes":5973},355,"nananews-the-7-avenue-newsroom","05-GC-03",{"zh":5941,"en":5942,"ja":5943,"ko":5944},"NaNaNews－七條通新聞社","NaNaNews: The 7-Avenue Newsroom","NaNaNews－七条通新聞社","NaNaNews－일곱 갈래 길 신문사",[2344],{"zh":5947,"en":3405,"ja":5948,"ko":5949},"報紙（A3米漫紙）、木作，尺寸依場地而定","新聞（A3マット紙）、木工、サイズ可変","신문(A3 매트지), 목공, 가변 크기",{"zh":5951,"en":5952,"ja":5953,"ko":5954},"「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 .","「NaNaNews—七条通新聞社」は、台南アートビエンナーレにおいて「湯德章ロータリー」から放射状に広がる「七条通」の道筋に呼応し、各地の「小さな出来事」から互いにつながる台南の物語を採集して、《七条通通報》を6号にわたり発行する。4面構成の紙面は、ニュース、エッセイ、漫画、イラスト、広告、区長日誌から成る。また「みんな来て！新聞を書こう！」と題したイベントを10回開催し、市民を一日特約編集者として招き、共同制作を通して地域の記憶を採集することで、台南のローカルな編集の歴史に応答する。臨時の新聞社は中西区図書館の2階に設けられ、編集デスク、コピー機、新聞ラックなどによって現地の作業空間を構成し、見学と参加に開かれている。","「NaNaNews—일곱 갈래 길 신문사」는 타이난 예술 비엔날레가 ‘탕더장 로터리’에서 바깥으로 뻗어 나가는 ‘일곱 갈래 길’의 경로에 호응하여, 각지의 ‘작은 일’들로부터 서로 연결된 타이난의 이야기를 수집하고 《일곱 갈래 길 통보》를 6호에 걸쳐 발행한다. 4면으로 구성된 지면은 뉴스, 에세이, 만화, 일러스트, 광고, 구청장 일지를 담는다. 또한 ‘모두 와서! 신문을 쓰자!’ 행사를 10회 열어 시민을 하루 특약 편집자로 초대하고, 공동 작업을 통해 지역의 기억을 수집함으로써 타이난의 지역 편집사에 응답한다. 임시 신문사는 타이난시 중서구 도서관 2층에 마련되며, 편집 데스크와 복사기, 신문 거치대 등으로 현장의 작업 공간을 구성하여 관람과 참여에 열려 있다.",{"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},[5960],{"id":5961,"url":5962,"w":2838,"h":3425,"alt":5963,"sizes":5964},744,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F05-gc-03-1.jpg","NaNaNews－七條通新聞社 NaNaNews: The 7-Avenue Newsroom",{"medium":5965,"large":5967,"1536x1536":5969,"2048x2048":5971},{"url":5966,"w":84,"h":2410},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F05-gc-03-1-300x212.jpg",{"url":5968,"w":88,"h":3432},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F05-gc-03-1-1024x724.jpg",{"url":5970,"w":300,"h":2907},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F05-gc-03-1-1536x1086.jpg",{"url":5972,"w":304,"h":3437},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F05-gc-03-1-2048x1448.jpg",[405],{"id":5975,"slug":5976,"no":5977,"title":5978,"artists":5983,"venue":915,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":5984,"dimensions":17,"is_new":797,"description":5989,"notes":5994,"credit":5995,"series":5996,"names":5997,"incomplete":797,"images":5998,"image_credit":17,"themes":5999},356,"oh-siubi-mature-women-x-fiber-art-co-creation-project","06-GC-06",{"zh":5979,"en":5980,"ja":5981,"ko":5982},"黑秀美－大女纖維共創計畫","Oh! Siubi!Mature Women x Fiber Art Co-Creation Project","黒秀美－大女繊維共創計画","Oh! Siubi!－성숙한 여성 섬유 공동 창작 프로젝트",[2357],{"zh":5985,"en":5986,"ja":5987,"ko":5988},"拼布、絹印、縫繡，尺寸依場地而定","Patch work,silk screen printing,stitching, Dimensions variable","パッチワーク、シルクスクリーン、ステッチ刺繍、サイズ可変","패치워크, 실크스크린, 스티치 자수, 가변 크기",{"zh":5990,"en":5991,"ja":5992,"ko":5993},"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.","台南は繊維・紡織の一大拠点であり、その産業と手仕事は、女性が生計を立てる重要な拠り所であるだけでなく、心を癒やす力でもある。本作は台南芸術大学応用芸術研究所の教員・学生とサードライフコミュニティとの協働により、自らの物語と葉石濤の文学を布の作品へと転換する。ループ／集結の概念を押し広げ、大型の旗を掲げたパレードによって人と土地を結び、ともに声を上げる。","타이난은 섬유·방직의 중심지로, 그 산업과 손기술은 여성들이 생계를 유지하는 중요한 기반일 뿐 아니라 마음을 위로하는 힘이기도 하다. 이 작품은 타이난 예술대학 응용예술연구소의 교수진·학생들과 제3인생촌이 협력하여 자신들의 이야기와 Yeh Shih-tao의 문학을 직물 작품으로 전환한다. 순환／집결의 개념을 확장하며, 대형 깃발 행진으로 사람과 지역을 잇고 함께 목소리를 낸다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[405],{"id":6001,"slug":6002,"no":6003,"title":6004,"artists":6009,"venue":942,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6010,"dimensions":17,"is_new":797,"description":6015,"notes":6020,"credit":6021,"series":6022,"names":6023,"incomplete":797,"images":6024,"image_credit":17,"themes":6025},357,"the-virtual-and-real-in-cyclic-succession","07-LC-15",{"zh":6005,"en":6006,"ja":6007,"ko":6008},"迴圈演替的虛與實","The Virtual and Real in Cyclic Succession","ループ遷移の虚と実","순환 천이의 허와 실",[2371],{"zh":6011,"en":6012,"ja":6013,"ko":6014},"竹，300x450x900公分","Bamboo, 300x450x900 cm","竹、300×450×900 cm","대나무, 300×450×900 cm",{"zh":6016,"en":6017,"ja":6018,"ko":6019},"「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.","「事功無己、終而復始」とは、万物の循環を意味する。\n\n本作は構造において、地面の「方」によって竹の「円」を支える。空間においては、竹の骨組みによって風と光が通り抜ける「ネガティブスペースの学び舎」を描き出す。時間においては、朽ちることに抗うのではなく、竹の退色と修繕を、市民とともに完成させる「ループの遷移」へと転換する。\n\nここでは、1年目は青緑と鮮やかな黄色が剛健な張力を示し、2年目は落ち着いた茶褐色へと移ろって歳月による磨耗をあらわにし、3年目には竹の紋様が灰白色を帯びて、極限まで簡素な枯淡へと帰す。限られた年月のなかで、自然のループが演じられるのである。消耗材である竹片や麻布のネット袋は、毎年の「学び舎ワークショップ」の一環として、受講者の手で編み直され、交換される――「修繕」そのものが、学び舎において最も頻繁で、最も中核的な展示活動となるのである。\n\n半円アーチ状の天蓋に生まれる、虚と実が交錯する空間と光影は、格子状の棚の一部の区画を密にし（竹編みや麻袋を張るなど）、一部を空けたままにすることで実現されている。こうした重層的な虚実の交錯は、台南の豊かな陽光のもとで交差する格子を透過し、地面にまだらで動的な光と影のマトリクスを投影して、時間のループを演じる。","‘이룬 일에 나를 앞세우지 않고, 끝나면 다시 시작한다’는 말은 만물의 순환을 뜻한다.\n\n작품은 구조적으로 지면의 ‘네모’가 대나무의 ‘원’을 떠받친다. 공간적으로는 대나무 골조로 바람과 빛이 통과하는 ‘네거티브 스페이스 학당’을 그려 낸다. 시간적으로는 부식에 맞서지 않고, 대나무가 바래고 보수되는 과정을 시민과 함께 완성하는 ‘순환 천이’로 전환한다.\n\n이곳에서 첫해에는 청록과 선명한 노랑이 강인한 긴장감을 드러내고, 둘째 해에는 차분한 갈색으로 바뀌며 세월의 연마를 고스란히 보여 준다. 셋째 해에는 대나무 결이 회백색을 띠며 극도로 간결한 고적함으로 돌아가, 한정된 세월 속에서 자연의 순환을 펼쳐 보인다. 소모성 대나무 조각이나 마포 그물망 자루는 매년 ‘학당 워크숍’의 일환으로 참여자들이 다시 엮어 교체한다. ―‘보수’ 그 자체가 학당에서 가장 빈번하고 가장 핵심적인 전시 활동이 되는 것이다.\n\n반원형 아치 지붕에 펼쳐지는 허와 실이 뒤섞인 공간과 빛과 그림자는, 격자 구조의 일부 구역을 촘촘하게 메우고(대나무 엮음이나 마대를 까는 등) 일부 구역은 비워 두는 방식으로 구현된다. 이처럼 층위를 이루며 엇갈리는 허와 실은 타이난의 풍부한 햇살 아래 교차하는 격자를 통과해 지면에 얼룩지고 역동적인 빛과 그림자의 매트릭스를 투사하며 시간의 순환을 펼쳐 낸다.",{"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},[],[503],{"id":6027,"slug":6028,"no":6029,"title":6030,"artists":6035,"venue":969,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6036,"dimensions":17,"is_new":797,"description":6041,"notes":6046,"credit":6051,"series":6052,"names":6053,"incomplete":797,"images":6054,"image_credit":17,"themes":6055},358,"a-wild-goose-chase-after-shallot","08-HC-05",{"zh":6031,"en":6032,"ja":6033,"ko":6034},"一個關於紅蔥頭的鳥計畫","A Wild-goose Chase after Shallot","エシャロットにまつわる鳥計画","샬롯에 관한 새 프로젝트",[2384,2397,2410],{"zh":6037,"en":6038,"ja":6039,"ko":6040},"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","3シリーズのワークショップ、空間インスタレーション（木工、鉢植え、地域の品々、インタビュー資料など）、サイズ可変","3개 시리즈의 워크숍, 공간 설치(목공, 화분, 지역 공동체 물품, 인터뷰 자료 등), 가변 크기",{"zh":6042,"en":6043,"ja":6044,"ko":6045},"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.","迴聲社造、郝渂心、蔡蕥竹が共同で企画し、台南市北門区三寮湾のエシャロット畑を起点に、農業生産、消費、政策、市民参加、そして鳥類の生態をつなぎ、人と環境と社会の関係を再構築する。プロジェクトは植え付け、鉢植えづくり、執筆のワークショップを通して展開され、台南愛国婦人館で長期にわたるフィールドワークの成果を発表する。会場の木造小屋は、台風ダナスの被災の記憶と村の印象を融合させ、地域の生命、産業、生態、社会が織りなす関係のネットワークを象徴している。","NCKU ECHO, Hao Wen-sin, Cai Ya-zhu가 공동 기획한 프로젝트로, 타이난시 베이먼구 싼랴오완의 샬롯 밭을 출발점으로 삼아 농업 생산, 소비, 정책, 시민 참여, 조류 생태를 연결하며 사람과 환경, 사회의 관계를 재구축한다. 프로젝트는 식재, 화분 만들기, 글쓰기 워크숍을 통해 전개되며, 타이난 애국 부인관에서 장기간에 걸친 현장 연구의 성과를 선보인다. 전시장의 목조 오두막은 태풍 다나스의 피해에 대한 기억과 마을의 인상을 융합하여 지역의 삶, 산업, 생태, 사회가 엮어 내는 관계의 네트워크를 상징한다.",{"zh":6047,"en":6048,"ja":6049,"ko":6050},"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.","共催：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","공동 주최: Chiayi Branch, Forestry and Nature Conservation Agency, Ministry of Agriculture; Watch Nature Ecological Consultant Co., Ltd.",{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[357],{"id":4624,"slug":6057,"no":6058,"title":6059,"artists":6064,"venue":1000,"location_note":6065,"location_note_zh":6066,"lat":1723,"lng":1723,"year":2684,"medium":6067,"dimensions":17,"is_new":797,"description":6072,"notes":6077,"credit":6082,"series":6083,"names":6084,"incomplete":797,"images":6085,"image_credit":17,"themes":6163},"procession-tapani-urban-theatre","09-HC-04",{"zh":6060,"en":6061,"ja":6062,"ko":6063},"遊街－噍吧哖事件城市劇場","Procession – Tapani Urban Theatre","練り歩き－タパニー事件都市劇場","거리 행진－타파니 사건 도시 극장",[2423,2436],"Third Courtroom","第三法庭",{"zh":6068,"en":6069,"ja":6070,"ko":6071},"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","ライブ・パフォーマンスおよびミクストメディア・インスタレーション（シングルチャンネル映像、ワークショップの映像記録、パフォーマンスの小道具）、サイズ可変","라이브 퍼포먼스 및 혼합 매체 설치(단채널 영상, 워크숍 영상 기록, 공연 소품), 가변 크기",{"zh":6073,"en":6074,"ja":6075,"ko":6076},"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 .","本作は、タパニー事件を都市劇場の物語の核とし、蜂起の歴史を都市のなかで繰り広げられるパフォーマンス・アートの行動へと転換する。西来庵の旧跡（青年路121号から123号の間）に隣接する台湾府城隍廟を出発し、通りを練り歩きながら亡魂を招き、湯德章紀念公園を経て南門路をたどり、司法博物館に至る。歩くことを、歴史を書き記す方法とするのである。練り歩き、詠唱、反復される奇妙なループによって、前世と今生が絶えず重なり合う時間構造をつくり出し、亡霊、身体、都市空間を互いに浸透させる。幻覚的な遊歩、パフォーマンス、即興劇という形式をとり、単一の線的な物語を拒んで、歴史を断片化、反復、輪廻というかたちで浮かび上がらせる。身体によって公共空間に介入することで、本行動はタパニー事件の集団的記憶を再構築するだけでなく、都市を生きた儀式の場へと変え、抑圧されてきた歴史に、歩みのなかで再び声を与える。","이 작품은 타파니 사건을 도시 극장의 서사적 핵심으로 삼아, 봉기의 역사를 도시에서 펼쳐지는 행위예술 행동으로 전환한다. 시라이안 사원 옛터(칭녠로 121호와 123호 사이) 옆의 타이완 부성황묘에서 출발해 거리를 행진하며 망자의 혼을 불러내고, 탕더장 기념공원을 지나 난먼로를 따라 사법 박물관에 이른다. 걷기를 역사를 써 내려가는 방식으로 삼는 것이다. 거리 행진과 읊조림, 반복되는 기이한 순환으로 전생과 현생이 끊임없이 겹쳐지는 시간 구조를 만들어, 망령과 신체, 도시 공간이 서로 스며들게 한다. 환각적 배회, 행위 퍼포먼스, 즉흥 연극의 형식을 취해 단일한 선형적 서사를 거부하고, 역사가 파편화와 반복, 윤회의 방식으로 떠오르게 한다. 신체를 통해 공공 공간에 개입함으로써 이 행동은 타파니 사건의 집단 기억을 재구성할 뿐 아니라, 도시를 살아 있는 의례의 장으로 전환하여 억압된 역사가 걷기 속에서 다시 목소리를 내게 한다.",{"zh":6078,"en":6079,"ja":6080,"ko":6081},"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","Special thanks:\nRusheng Workshop, Nandu Curatorial Studio, Chunhaoxin, Chunhaoxin Lifestyle Crafts, Weiwuying Art Village WeR, Peng Chun-lin Creative Living Studio","スペシャルサンクス：\n如縄坊、南渡策室、春好芯、春好芯生活工芸、衛武営芸術村WeR、彭春林生活創意工房","특별 감사:\n루성 공방, 난두 기획실, 춘하오신, 춘하오신 생활공예, 웨이우잉 예술촌 WeR, 펑춘린 생활창의공방",{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[6086,6098,6108,6118,6131,6141,6151],{"id":6087,"url":6088,"w":2737,"h":6089,"alt":6090,"sizes":6091},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":6092,"large":6094,"1536x1536":6096},{"url":6093,"w":84,"h":114},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-1-300x200.jpg",{"url":6095,"w":88,"h":2901},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-1-1024x683.jpg",{"url":6097,"w":300,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-1-1536x1024.jpg",{"id":6099,"url":6100,"w":2737,"h":6089,"alt":6090,"sizes":6101},157,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-2.jpg",{"medium":6102,"large":6104,"1536x1536":6106},{"url":6103,"w":84,"h":114},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-2-300x200.jpg",{"url":6105,"w":88,"h":2901},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-2-1024x683.jpg",{"url":6107,"w":300,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-2-1536x1024.jpg",{"id":6109,"url":6110,"w":6089,"h":2737,"alt":6090,"sizes":6111},158,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-3.jpg",{"medium":6112,"large":6114,"1536x1536":6116},{"url":6113,"w":114,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-3-200x300.jpg",{"url":6115,"w":2901,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-3-683x1024.jpg",{"url":6117,"w":88,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-3-1024x1536.jpg",{"id":2911,"url":6119,"w":6120,"h":6121,"alt":6090,"sizes":6122},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-4.jpg",1706,958,{"medium":6123,"large":6125,"1536x1536":6128},{"url":6124,"w":84,"h":1852},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-4-300x168.jpg",{"url":6126,"w":88,"h":6127},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-4-1024x575.jpg",575,{"url":6129,"w":300,"h":6130},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-01-4-1536x863.jpg",863,{"id":6132,"url":6133,"w":6089,"h":2737,"alt":6090,"sizes":6134},665,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-5.jpg",{"medium":6135,"large":6137,"1536x1536":6139},{"url":6136,"w":114,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-5-200x300.jpg",{"url":6138,"w":2901,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-5-683x1024.jpg",{"url":6140,"w":88,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-5-1024x1536.jpg",{"id":6142,"url":6143,"w":3149,"h":6144,"alt":6090,"sizes":6145},666,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-6.jpg",1107,{"medium":6146,"large":6148},{"url":6147,"w":84,"h":2635},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-6-300x225.jpg",{"url":6149,"w":88,"h":6150},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-6-1024x767.jpg",767,{"id":6152,"url":6153,"w":6154,"h":6155,"alt":6090,"sizes":6156},667,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-7.jpg",1567,1045,{"medium":6157,"large":6159,"1536x1536":6161},{"url":6158,"w":84,"h":114},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-7-300x200.jpg",{"url":6160,"w":88,"h":2901},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-7-1024x683.jpg",{"url":6162,"w":300,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F09-hc-04-7-1536x1024.jpg",[357],{"id":6165,"slug":6166,"no":6167,"title":6168,"artists":6172,"venue":1031,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6173,"dimensions":17,"is_new":797,"description":6178,"notes":6183,"credit":6184,"series":6185,"names":6186,"incomplete":797,"images":6187,"image_credit":17,"themes":6188},363,"floating-memories-lotus-of-devotion","10-GC-05",{"zh":6169,"en":6170,"ja":6169,"ko":6171},"風荷蓮葉一央池","Floating Memories: Lotus of Devotion","바람에 흔들리는 연잎과 한가운데 연못",[2449],{"zh":6174,"en":6175,"ja":6176,"ko":6177},"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","台湾の民間信仰の祭祀用器、赤い鴛鴦柄のたらい、EVA高密度フォームボード、金属、水、サイズ可変","대만 민간신앙 제사 용기, 붉은 원앙 무늬 대야, EVA 고밀도 폼보드, 금속, 물, 가변 크기",{"zh":6179,"en":6180,"ja":6181,"ko":6182},"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.","寺廟での祈願の供花に着想を得て、人々の行動を結集する現地インスタレーションへと転換した作品である。作家は本物そっくりの植物を寺廟の片隅に潜ませ、身体感覚による探索と巡遊を誘う。植物の導きに従って進むと、観客は最終的に、歴史の記憶のなかに消えた寺廟の池の風景を現地に再現した場所にたどり着く。そして自らの手で「浮き蓮」をその静けさのなかに置き、その行動によって、現実と想像の境界において時空を超えた現代の儀式の風景をともに形づくる。","사원의 기원 공양 꽃에서 영감을 받아, 사람들의 행동을 한데 모으는 현장 설치 작품으로 전환하였다. 작가는 실물 같은 식물을 사원 구석구석에 숨겨 두어 신체적 감각을 통한 탐색과 유람을 이끈다. 식물의 안내를 따라가면 관객은 마침내 역사의 기억 속에서 사라진 사원의 연못 풍경을 현장에 재현한 곳에 이르게 되고, 직접 ‘물에 뜨는 연꽃’을 그 고요함 속에 띄우는 행동을 통해 현실과 상상의 경계에서 시공간을 초월한 동시대 의례의 풍경을 함께 만들어 간다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[405],{"id":6190,"slug":6191,"no":6192,"title":6193,"artists":6198,"venue":1031,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6199,"dimensions":17,"is_new":797,"description":6204,"notes":6209,"credit":6214,"series":6215,"names":6216,"incomplete":797,"images":6217,"image_credit":17,"themes":6218},364,"spirit-soothing-talisman-generals-fan-xie","10-TC-07-12",{"zh":6194,"en":6195,"ja":6196,"ko":6197},"收驚鎮魂器之范謝你來了","Spirit-Soothing Talisman: \nGenerals Fan & Xie","収驚鎮魂器：范・謝将軍のお出まし","놀란 넋을 달래는 진혼기: 판·셰 장군의 행차",[2462],{"zh":6200,"en":6201,"ja":6202,"ko":6203},"複合媒材、機械裝置，140x90x160公分","Interactive mechanical installation, mixed media, 140x90x1161 cm","ミクストメディア、機械装置、140×90×160 cm","혼합 매체, 기계 장치, 140×90×160 cm",{"zh":6205,"en":6206,"ja":6207,"ko":6208},"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。","Installed between the Taiwan Prefectural City God Temple and the Wenting Phonograph Museum, this interactive sound installation links faith, memory, and the experience of play. The artist transforms coin-operated rocking-horse rides into vessels of faith, modeled on Lord Tiger and Generals Fan and Xie, and combines mechanics, lighting, the blessing verses of the “Fright-Calming Song,” bells, and local ambient sounds to create an experience that lies somewhere between play and ritual. Through familiar rocking motions and sounds, the work reinterprets the meanings of comfort, protection, and blessing in folk belief, and considers how traditional rituals can become sources of emotional solace and local cultural experience in contemporary everyday life.","本作は台湾府城隍廟と文鼎留聲（蓄音）博物館の間に設置され、音のインタラクティブ・インスタレーションによって信仰、記憶、遊びの体験をつなぐ。作家はコイン式の揺れる木馬を信仰の担い手へと転換し、虎爺と范・謝将軍をかたどって、機械、照明、《収驚歌》の祝詞、鈴の音、そして地域の環境音を組み合わせ、遊びと儀式のあいだにある体験をつくり出す。慣れ親しんだ揺れと音によって、民間信仰における慰撫、守護、祝福の意味を読み替え、伝統的な儀式がいかにして現代の日常における心の慰めや地域文化の経験へと転じうるのかを考察する。","작품은 타이완 부성황묘와 원딩 축음 박물관 사이에 설치되어, 소리 기반의 인터랙티브 설치로 신앙과 기억, 놀이의 경험을 연결한다. 작가는 동전을 넣으면 움직이는 흔들말을 신앙의 매개체로 전환하고, 호랑이 신과 판·셰 장군의 형상을 본떠 기계, 조명, 《놀란 넋을 달래는 노래》의 축원, 방울 소리, 지역의 환경음을 결합함으로써 놀이와 의례 사이에 놓인 경험을 만들어 낸다. 익숙한 흔들림과 소리를 통해 민간신앙 속 위무와 수호, 축복의 의미를 새롭게 해석하고, 전통 의례가 어떻게 동시대 일상의 정서적 위안과 지역 문화의 경험으로 전환될 수 있는지를 사유한다.",{"zh":6210,"en":6211,"ja":6212,"ko":6213},"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","楽曲制作：羅士哲、蘇俊穎\n機械エンジニアリング：杜佳韋","곡 창작: Lô Sū-thiat, Su Jun-ying\n기계 엔지니어링: Tu Chia-wei",{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":6220,"slug":6221,"no":6222,"title":6223,"artists":6228,"venue":1031,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6229,"dimensions":17,"is_new":797,"description":6234,"notes":6235,"credit":6240,"series":6241,"names":6242,"incomplete":797,"images":6243,"image_credit":17,"themes":6244},365,"incense-and-devotion-of-tainan","10-TC-07-13",{"zh":6224,"en":6225,"ja":6226,"ko":6227},"府城香火","Incense and Devotion of Tainan","府城の香火","푸청의 향불",[2462],{"zh":6230,"en":6231,"ja":6232,"ko":6233},"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","消石灰、官田烏金（菱殻炭）、海藻糊、木、樹脂、アクリル、麻繊維、鉱物顔料、63×180×10 cm","소석회, 관톈 흑금(마름 껍질 숯), 해조 풀, 나무, 수지, 아크릴, 마 섬유, 광물 안료, 63×180×10 cm",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":6236,"en":6237,"ja":6238,"ko":6239},"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","漆喰：林宏儒、李冠鋐\n木工：黃于峻、陳怡杕\n脚部：夏宏仁\n素材・構造アドバイザー：林秋婷、林裕鈞","회벽 작업: Lin Hung-ju, Li Kuan-hung\n목공: Huang Yu-chun, Chen Yi-ti\n테이블 다리: Hsia Hung-jen\n재료 및 구조 자문: Lin Chiu-ting, Lin Yu-chun",{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":6246,"slug":6247,"no":6248,"title":6249,"artists":6252,"venue":1058,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":6253,"medium":6254,"dimensions":17,"is_new":797,"description":6259,"notes":6264,"credit":6265,"series":6269,"names":6270,"incomplete":797,"images":6271,"image_credit":17,"themes":6272},366,"nwe-phase-art-space","11-GC-11",{"zh":2479,"en":6250,"ja":6251,"ko":2480},"Nwe Phase Art Space","新生態芸術環境",[2475],"1992-1999",{"zh":6255,"en":6256,"ja":6257,"ko":6258},"文件、物件，尺寸依場地而定","Documents, objects, Dimensions variable","資料、オブジェ、サイズ可変","문서, 오브제, 가변 크기",{"zh":6260,"en":6261,"ja":6262,"ko":6263},"「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.","「新生態芸術環境」は1992年6月6日、杜昭賢によって台南の永福路二段138号に設立された。本展では「新生態芸術環境2.0」ともいうべきかたちで、「B.B. ART」（2012年創立）にて展示を行う。この展示エリアでは、年表、資料、写真、新生態芸術環境の刊行物を展示して歴年の活動の概要を紹介するほか、代表的な展覧会や活動シリーズのアーカイブ資料を精選して紹介する。","‘New Phase Art Space’는 1992년 6월 6일 Jamie Tu가 타이난 융푸로 2단 138호에 설립하였다. 이번 전시는 ‘New Phase Art Space 2.0’과 같은 형식으로 ‘B.B. ART’(2012년 설립)에서 선보인다. 이 전시 구역에서는 연표, 문서, 사진, New Phase Art Space의 간행물을 통해 그간의 활동 개요를 보여 주는 한편, 대표적인 전시와 활동 시리즈의 아카이브 자료를 엄선하여 소개한다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":6266,"en":6267,"ja":6266,"ko":6268},"杜昭賢提供","Courtesy of Jamie Tu","Jamie Tu 제공",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[405],{"id":6274,"slug":6275,"no":6276,"title":6277,"artists":6282,"venue":1087,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":6283,"medium":6284,"dimensions":17,"is_new":797,"description":6289,"notes":6294,"credit":6295,"series":6296,"names":6297,"incomplete":797,"images":6298,"image_credit":17,"themes":6340},367,"square","12-GC-04",{"zh":6278,"en":6279,"ja":6280,"ko":6281},"廣場","Square","広場","광장",[2488],"2018，2026年重新剪輯",{"zh":6285,"en":6286,"ja":6287,"ko":6288},"錄像裝置，尺寸依場地而定","Film work\nconsisting of two\nchannels, Dimensions variable","映像インスタレーション、サイズ可変","영상 설치, 가변 크기",{"zh":6290,"en":6291,"ja":6292,"ko":6293},"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.","本作は、謎めいた古い彫刻の出現によって混乱に陥る、穏やかな小さな町を描く。その彫刻はかつて政治の変遷を見届けてきた遺物であり、「あなたたちにひとつ質問したい」と繰り返し歌う。住民たちは無視することを選ぶが、歌声は陽気なものからしだいに怒りへと変わり、ついには集団による攻撃を引き起こす。本作は海馬迴フォトギャラリーおよび映画看板絵師の顏振發と協働してシングルチャンネル映像として再編集され、顏振發の旧アトリエに設置される。また顏振發に展覧会のメインビジュアルの制作を依頼し、その制作過程も作品の一部となっている。","이 작품은 신비롭고 오래된 조각상이 나타나면서 혼란에 빠지는 평온한 작은 마을을 그린다. 조각상은 정치적 변천을 목격해 온 유물로, “여러분에게 질문 하나를 하고 싶다”는 노래를 되풀이해 부른다. 주민들은 이를 외면하지만, 노랫소리는 즐거움에서 점차 분노로 바뀌고 마침내 집단적인 공격을 불러일으킨다. 이 작품은 해마체 광 사진 미술관 및 영화 포스터 화가 Yan Jhen-fa와 협업하여 단채널 영상으로 재편집되었으며, Yan Jhen-fa의 옛 작업실에 설치된다. 또한 그에게 전시의 메인 비주얼 제작을 의뢰하였으며, 그 창작 과정 역시 작품의 일부가 되었다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[6299,6316,6328],{"id":6300,"url":6301,"w":6302,"h":2838,"alt":6303,"sizes":6304},368,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-1.jpg",1661,"廣場 Square",{"medium":6305,"large":6307,"1536x1536":6310,"2048x2048":6313},{"url":6306,"w":2357,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-1-208x300.jpg",{"url":6308,"w":6309,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-1-709x1024.jpg",709,{"url":6311,"w":6312,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-1-1063x1536.jpg",1063,{"url":6314,"w":6315,"h":304},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-1-1417x2048.jpg",1417,{"id":6317,"url":6318,"w":6302,"h":2838,"alt":6303,"sizes":6319},369,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-2.jpg",{"medium":6320,"large":6322,"1536x1536":6324,"2048x2048":6326},{"url":6321,"w":2357,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-2-208x300.jpg",{"url":6323,"w":6309,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-2-709x1024.jpg",{"url":6325,"w":6312,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-2-1063x1536.jpg",{"url":6327,"w":6315,"h":304},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-2-1417x2048.jpg",{"id":6329,"url":6330,"w":6302,"h":2838,"alt":6303,"sizes":6331},370,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-3.jpg",{"medium":6332,"large":6334,"1536x1536":6336,"2048x2048":6338},{"url":6333,"w":2357,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-3-208x300.jpg",{"url":6335,"w":6309,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-3-709x1024.jpg",{"url":6337,"w":6312,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-3-1063x1536.jpg",{"url":6339,"w":6315,"h":304},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F12-gc-04-3-1417x2048.jpg",[405],{"id":6342,"slug":6343,"no":6344,"title":6345,"artists":6350,"venue":1087,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6351,"dimensions":17,"is_new":797,"description":6356,"notes":6361,"credit":6362,"series":6363,"names":6364,"incomplete":797,"images":6365,"image_credit":17,"themes":6366},371,"assemblage-gods-3","12-TC-05-03",{"zh":6346,"en":6347,"ja":6348,"ko":6349},"組裝獸神 3","Assemblage Gods 3","組み立てられた獣神 3","조립된 짐승 신 3",[2502],{"zh":6352,"en":6353,"ja":6354,"ko":6355},"壓克力、水泥漆、畫布，145x240公分","Acrylic and cement paint on canvas, 145x240 cm","アクリル、セメント塗料、キャンバス、145×240 cm","아크릴, 시멘트 페인트, 캔버스, 145×240 cm",{"zh":6357,"en":6358,"ja":6359,"ko":6360},"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。","Behind the present-day forms of worship of each Lord Tiger along the old harbor channels lie endless stories of movement and flow. Through them, one can observe the political economy, power, and communities that have shaped Tainan’s development, and the ways in which each Lord Tiger cult has been dismantled and reassembled in relation to them. Approaching the subject through “assemblage theory,” these paintings regard the Lord Tiger worship of Tainan’s old city as a “socio-material assemblage” woven from matter, divine power, ritual, communities, and animal instinct. From the worship of wild beasts to a guardian of children and a god of wealth, and on to today’s cultural and creative imagery, Lord Tiger has continued to transform in response to the needs of different eras and societies, demonstrating remarkable adaptability and fluidity. In this way, the work reveals how traditional belief moves beyond established frameworks and into the networks of contemporary commerce, the cultural and creative industries, and urban life.","港道沿いに祀られる虎爺たちの今日の祭祀のかたちの背後には、尽きることのない流転の物語がある。そこからは、台南の発展を形づくってきた政治経済、権力、人々と、一尊一尊の虎爺信仰との間にある解体と再構成の関係を読み取ることができる。本絵画作品は「アッサンブラージュ（assemblage）理論」を考察の方法とし、府城の虎爺信仰を、物質、神の力、儀礼、人々、そして動物の本能が交錯して成り立つ「社会物質的アッサンブラージュ」として捉える。自然の獣への崇拝、子どもの守護神や財神から、今日の文化創意的なイメージに至るまで、虎爺は時代や社会の要請に応じて変容し続け、高い適応性と流動性を示してきた。本作はそれを通して、伝統的な信仰がいかに既存の枠組みを越え、現代の商業、文化創意産業、そして都市生活のネットワークへと入り込んでいるのかを明らかにする。","항구 물길을 따라 모셔진 호랑이 신들의 오늘날 봉안 형태 이면에는 끝없이 이어지는 유동의 이야기가 있다. 그로부터 타이난의 발전을 이끌어 온 정치경제와 권력, 사람들, 그리고 각각의 호랑이 신 신앙 사이에서 일어난 해체와 재조합의 관계를 살펴볼 수 있다. 이번 회화 작품은 ‘아상블라주(assemblage) 이론’을 논의의 방식으로 삼아, 푸청의 호랑이 신 신앙을 물질, 신력, 의례, 사람들, 동물적 본능이 얽혀 이루어진 ‘사회물질적 아상블라주’로 바라본다. 자연 속 짐승에 대한 숭배, 아이들의 수호신과 재물신에서 오늘날의 문화창의 이미지에 이르기까지, 호랑이 신은 시대와 사회의 요구에 따라 끊임없이 변모하며 높은 적응성과 유동성을 보여 왔다. 작품은 이를 통해 전통 신앙이 어떻게 기존의 틀을 넘어 동시대의 상업, 문화창의 산업, 도시 생활의 네트워크로 들어서는지를 드러낸다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":6368,"slug":6369,"no":6370,"title":6371,"artists":6376,"venue":1114,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6377,"dimensions":17,"is_new":797,"description":6382,"notes":6387,"credit":6388,"series":6389,"names":6390,"incomplete":797,"images":6391,"image_credit":17,"themes":6392},372,"the-magic-house-is-waiting-for-a-story-story-open-call","13-GC-07",{"zh":6372,"en":6373,"ja":6374,"ko":6375},"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","魔法の家はひとつの物語を待っている｜物語募集プロジェクト","마법의 집은 한 편의 이야기를 기다리고 있다｜이야기 공모 프로젝트",[2515],{"zh":6378,"en":6379,"ja":6380,"ko":6381},"尺寸依場地而定","Dimensions variable","サイズ可変","가변 크기",{"zh":6383,"en":6384,"ja":6385,"ko":6386},"《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.","《魔法の家はひとつの物語を待っている》は、イギリスのアーティストJoshua Sofaerが立ち上げた参加型アートプロジェクトである。旧台南公園管理所を想像の核とし、台南公園や地域の記憶、日々の暮らしにまつわる物語を書くこと、そして建物から喚起される想像を分かち合うことを市民に呼びかける。物語は人と土地、記憶と想像を結びつける。募集を通して、異なる世代や背景をもつ人々の経験が少しずつ集まり、市民がともに築き上げる「魔法の家の物語アーカイブ」が形づくられる。入選作品は旧台南公園管理所で展示されるとともに演劇作品へと転換され、歴史的建築を、絶えず新たに知られ、書き継がれていく公共の現場とする。","《마법의 집은 한 편의 이야기를 기다리고 있다》는 영국 작가 Joshua Sofaer가 시작한 참여형 예술 프로젝트로, 옛 타이난 공원 관리소를 상상의 중심으로 삼아 시민들에게 타이난 공원, 지역의 기억, 일상의 삶과 관련된 이야기를 쓰고 건축물이 불러일으키는 상상을 나누도록 초대한다. 이야기는 사람과 장소, 기억과 상상을 연결한다. 공모를 통해 서로 다른 세대와 배경을 지닌 이들의 경험이 점차 모여, 시민이 함께 구축하는 ‘마법의 집 이야기 아카이브’가 형성된다. 선정된 작품은 옛 타이난 공원 관리소에서 전시되고 연극 공연으로도 전환되어, 역사적 건축물이 끊임없이 새롭게 인식되고 쓰이는 공공의 현장이 되도록 한다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[405],{"id":6394,"slug":6395,"no":6396,"title":6397,"artists":6402,"venue":1114,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":6403,"medium":6404,"dimensions":17,"is_new":797,"description":6409,"notes":6414,"credit":6415,"series":6416,"names":6417,"incomplete":797,"images":6418,"image_credit":17,"themes":6419},373,"mountain-leafs","13-GC-08-01",{"zh":6398,"en":6399,"ja":6400,"ko":6401},"山葉","Mountain Leafs","山の葉","산의 잎",[2529],"2004",{"zh":6405,"en":6406,"ja":6407,"ko":6408},"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","台湾の植物による手漉き紙、糸、葉、草、紐、アクリル絵具、ジェルメディウム、195×84 cm","대만 식물 수제 종이, 실, 잎, 풀, 끈, 아크릴 물감, 젤 미디엄, 195×84 cm",{"zh":6410,"en":6411,"ja":6412,"ko":6413},"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.","re : Cycle｜回旋\n\nJane Ingram Allenは土地の植物繊維を採集し、自然素材を手漉き紙へと変えながら、場所への観察、出会い、記憶をそこに凝縮させる。彼女の創作は、素材の循環と再生、四季の移ろい、そして生命の流転に目を向けている。\n\n本展ではJane Ingram Allen個人の作品を紹介するだけでなく、多くの受講者を百年の歴史をもつ台南公園へと招き、植物の採集から手漉き紙の共同制作までを行う。素材と人が交わるなかで、新たな作品と記憶が少しずつ生まれていく。\n\n循環とは起点に戻ることではない。一つひとつの回帰のなかで、新たな可能性を開いていくことなのである。","re : Cycle｜소용돌이 회귀\n\nJane Ingram Allen은 지역의 식물 섬유를 채집해 자연 재료를 수제 종이로 바꾸고, 그 안에 장소에 대한 관찰과 만남, 기억을 응축한다. 그의 작업은 재료의 순환과 재생, 사계절의 변화, 생명의 흐름에 주목한다.\n\n이번 전시는 작가 Jane Ingram Allen의 개인 작품을 선보일 뿐 아니라, 여러 참여자를 백 년 역사의 타이난 공원으로 초대하여 식물을 채집하고 함께 수제 종이를 만든다. 재료와 사람이 만나는 가운데 새로운 작품과 기억이 서서히 생겨난다.\n\n순환은 출발점으로 돌아가는 것이 아니라, 매번의 회귀 속에서 새로운 가능성을 여는 것이다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[405],{"id":6421,"slug":6422,"no":6423,"title":6424,"artists":6429,"venue":1114,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":6430,"medium":6431,"dimensions":17,"is_new":797,"description":6436,"notes":6437,"credit":6438,"series":6439,"names":6440,"incomplete":797,"images":6441,"image_credit":17,"themes":6442},374,"in-the-mountains","13-GC-08-02",{"zh":6425,"en":6426,"ja":6427,"ko":6428},"六龜","In the Mountains","六亀","류구이",[2529],"2005",{"zh":6432,"en":6433,"ja":6434,"ko":6435},"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","植物による手漉き紙、綿糸、葉、花、アクリル絵具、ジェルメディウム、植物の採集地：高雄六亀林業試験所、扇平森林生態科学園区、190×100 cm","식물 수제 종이, 면사, 잎, 꽃, 아크릴 물감, 젤 미디엄, 식물 출처: 가오슝 Liou-Guri Forest Research Center, Shan Ping Forest Ecological Garden, 190×100 cm",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[405],{"id":6444,"slug":6445,"no":6446,"title":6447,"artists":6452,"venue":1141,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6453,"dimensions":17,"is_new":797,"description":6458,"notes":6463,"credit":6464,"series":6465,"names":6466,"incomplete":797,"images":6467,"image_credit":17,"themes":6468},375,"the-voice-of-dawn","14-RC-05",{"zh":6448,"en":6449,"ja":6450,"ko":6451},"黎明之聲","The Voice of Dawn","夜明けの声","새벽의 소리",[2014],{"zh":6454,"en":6455,"ja":6456,"ko":6457},"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","綿、麻、染料、和紙、台湾の再生紙、サイズ可変","면, 마, 염료, 일본 화지, 대만 재생지, 가변 크기",{"zh":6459,"en":6460,"ja":6461,"ko":6462},"(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.","（小林万里子 本作は弎畫廊にて展示）\n\n本作は、作家が台南に滞在していた期間の鳥類観察を出発点とし、都市の生命と、人間が自然を記録してきた痕跡を探る。新しい建築や古い寺廟、日常の暮らしのなかを行き交う鳥の群れが、図鑑にかつて記録された鳥たちと重なり合う。作品では図鑑の図版と文章を紙に転写し、布や糸と組み合わせる。時間と素材を織り交ぜることで、過去の記録と現在の観察を出会わせ、記憶がいかに受け継がれ、新たなかたちのなかで生命をつないでいくのかを考察する。","(Kobayashi Mariko 이 작품은 산 갤러리에서 전시)\n\n이 작품은 작가가 타이난에 머무는 동안 진행한 조류 관찰에서 출발하여, 도시의 생명과 인간이 자연을 기록해 온 흔적을 탐구한다. 새로운 건축물과 오래된 사원, 일상의 삶 사이를 누비는 새 떼는 도감에 과거 기록된 새들과 서로 겹쳐진다. 작품은 도감의 그림과 글을 종이에 전사하고 천과 실을 결합하여, 시간과 재료의 교직을 통해 과거의 기록과 현재의 관찰이 만나게 하며, 기억이 어떻게 전해지고 새로운 형식 속에서 생명을 이어 가는지를 사유한다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[454],{"id":6470,"slug":6471,"no":6472,"title":6473,"artists":6478,"venue":767,"location_note":4497,"location_note_zh":2969,"lat":1723,"lng":1723,"year":4235,"medium":6479,"dimensions":17,"is_new":797,"description":6484,"notes":6489,"credit":6490,"series":6491,"names":6492,"incomplete":797,"images":6493,"image_credit":17,"themes":6494},376,"manifestasi-kesaksian","01-MC-03",{"zh":6474,"en":6475,"ja":6476,"ko":6477},"見證的顯現","Manifestasi Kesaksian","証しの顕現","증언의 현현",[2543],{"zh":6480,"en":6481,"ja":6482,"ko":6483},"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","アクリル絵具、木炭、キャンバス、石、シングルチャンネル・ビデオ、9分10秒、サイズ可変","아크릴 물감, 목탄, 캔버스, 돌, 단채널 영상, 9분 10초, 가변 크기",{"zh":6485,"en":6486,"ja":6487,"ko":6488},"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.","ジョグジャカルタのグダッド村（Gedad Village）の宗教的人物Mbah KH Abu Dardaの物語を起点に、イスラーム神秘主義の伝統Thoriqoh Syattariyahにおける信仰、帰依、徳行の思想を探る。1998年、村は深刻な干ばつに見舞われたが、Mbah Abuは師から受け継いだ精神的な導きのもとで天然の泉を発見し、それは村の暮らしを支える重要な資源となった。この物語は、分かち合い、ともに自然を守ることの価値を強調する。作品はそこから「Wujud」——宇宙とあらゆる生命のうちに神聖なるものが顕現すること——へと思索を広げ、さらに人と自然、信仰と地域の知のあいだの関係を探る。","족자카르타 그다드 마을(Gedad Village)의 종교 인물 Mbah KH Abu Darda의 이야기를 출발점으로, 이슬람 신비주의 전통 Thoriqoh Syattariyah에서의 신앙, 복종, 덕행의 사상을 탐구한다. 1998년 마을은 극심한 가뭄을 겪었고, Mbah Abu는 스승에게서 이어받은 영적 인도에 따라 천연 샘을 발견했으며, 이 샘은 마을의 삶을 지탱하는 중요한 자원이 되었다. 이 이야기는 나눔과 자연을 함께 지키는 일의 가치를 강조한다. 작품은 이로부터 「Wujud」——우주와 모든 생명 속에 신성한 존재가 드러나는 현현——에 대한 사유로 확장되며, 더 나아가 인간과 자연, 신앙과 지역 지식 사이의 관계를 탐구한다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[552],{"id":6496,"slug":6497,"no":6498,"title":6499,"artists":6504,"venue":1171,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6505,"dimensions":17,"is_new":797,"description":6510,"notes":6515,"credit":6516,"series":6517,"names":6518,"incomplete":797,"images":6519,"image_credit":17,"themes":6520},377,"arus-yang-berubah-ingatan-yang-kabur-shifting-currents-sunken-memories","15-MC-03",{"zh":6500,"en":6501,"ja":6502,"ko":6503},"變動之流・沉潛的記憶","Arus Yang Berubah, ingatan yang kabur (Shifting Currents, sunken memories)","変動する流れ・沈潜する記憶","변화하는 흐름・가라앉은 기억",[2543],{"zh":6506,"en":6507,"ja":6508,"ko":6509},"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","シリーズ1：笠、鈴、パターン定規、裁縫定規、発電機、動力装置、アクリル部材；シリーズ2：パターン定規、裁縫定規、紙にドローイング、サイズ可変","시리즈 1: 삿갓, 방울, 패턴자, 재봉자, 발전기, 동력 장치, 아크릴 부재; 시리즈 2: 패턴자, 재봉자, 종이에 드로잉, 가변 크기",{"zh":6511,"en":6512,"ja":6513,"ko":6514},"〈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。","Arus Yang Berubah, Ingatan yang Kabur (Shifting Currents, Sunken Memories) grows out of Afandi’s observations of the traditional markets, alleys, temples, harbors, and farmland around him during his residency in Tainan, and reflects on how changes in the landscape transform the relationships between people and nature, and between knowledge and society. The artist focuses on how knowledge is passed on through everyday labor, rituals, habits, oral histories, and exchanges between generations, and seeks resonances between life experiences in Tainan and Java. Some of the works also invite local residents to take part, engaging with the community in an unfinished state within the exhibition space so that the stories can continue.","〈変動する水流、ぼやけた記憶〉（Arus Yang Berubah, Ingatan yang Kabur \u002F Shifting Currents, Sunken Memories）は、Afandiが台南に滞在した期間に、周辺の伝統市場、路地、寺廟、港、農地などで行った観察に端を発し、景観の変化が人と自然、知識と社会の関係をいかに変えるのかを考察する。作家は、知識が日々の労働、儀礼、習慣、オーラル・ヒストリー、そして世代間の交流を通していかに伝えられるのかに注目し、台南とジャワの生活経験のなかに共鳴を探る。一部の作品では地元住民の参加も呼びかけ、未完成の状態のまま展示空間で地域との交流を繰り広げ、物語が続いていくようにする。","〈변화하는 물길, 흐릿한 기억〉(Arus Yang Berubah, Ingatan yang Kabur \u002F Shifting Currents, Sunken Memories)은 Afandi가 타이난에 체류하는 동안 주변의 전통시장, 골목, 사원, 항구, 농지 등을 관찰한 데서 비롯되었으며, 경관의 변화가 사람과 자연, 지식과 사회의 관계를 어떻게 바꾸는지를 사유한다. 작가는 지식이 일상의 노동, 의례, 관습, 구술사, 세대 간의 교류를 통해 어떻게 전해지는지에 주목하고, 타이난과 자와의 삶의 경험에서 공명을 찾는다. 일부 작품은 지역 주민의 참여를 이끌어, 미완의 상태로 전시장에서 지역과 교류를 펼쳐 나가며 이야기가 이어질 수 있도록 한다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[552],{"id":6522,"slug":6523,"no":6524,"title":6525,"artists":6528,"venue":1171,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":4210,"medium":6529,"dimensions":17,"is_new":797,"description":6531,"notes":6535,"credit":6536,"series":6537,"names":6538,"incomplete":797,"images":6539,"image_credit":17,"themes":6540},378,"not-quite-gone-not-quite-finished","15-MC-04",{"zh":5709,"en":5710,"ja":6526,"ko":6527},"完全には消えず、完全には終わらず","완전히 사라지지 않은, 완전히 끝나지 않은",[2291],{"zh":5717,"en":5718,"ja":5719,"ko":6530},"조형 도자 예술 폐기물, 가변 크기",{"zh":6532,"en":5723,"ja":6533,"ko":6534},"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。","卓俞翔の創作は廃棄と更新のあいだにある。素材の「サンプリング」を通して、割れたり傷ついたりした陶磁器、放棄された作品や消耗材を収集し、新たなオブジェへと加工・再構成する。作品は、捨てられた後も続く素材の生命、そして芸術的価値が保存と淘汰のあいだでいかに規定されるのかに目を向けるとともに、創作の時間と歴史を保存する。本展のすべての作品は《完全には消えず、完全には終わらず》というひとつの名のもとに統合される。創作の残余を基盤に、サンプリング、積層、再利用を通して、永続と脆さ、作者性と匿名性、破壊と再生の緊張関係を探り、遺されたものが再び生成する可能性を考察する。\n\n備考：絶対空間で展示される《完全には消えず、完全には終わらず》の一部作品は、2026年12月27日まで展示。","Tok Yu-xiang의 작업은 폐기와 갱신 사이에 놓여 있다. 재료의 ‘샘플링’을 통해 깨지고 손상된 도자기, 버려진 작품과 소모품을 수집하고, 이를 다시 가공하고 조합하여 새로운 오브제로 만든다. 작품은 버려진 뒤에도 이어지는 재료의 생명, 그리고 예술적 가치가 보존과 도태 사이에서 어떻게 규정되는지에 주목하며, 창작의 시간과 역사를 간직한다. 이번 전시의 모든 작품은 《완전히 사라지지 않은, 완전히 끝나지 않은》이라는 하나의 이름으로 통합된다. 창작의 잔여물을 바탕으로 샘플링, 적층, 재활용을 통해 영속성과 취약성, 작가성과 익명성, 파괴와 재생 사이의 긴장을 탐구하고, 남겨진 것들이 다시 생성될 가능성을 사유한다.\n\n비고: 절대공간에서 전시되는 《완전히 사라지지 않은, 완전히 끝나지 않은》의 일부 작품은 2026년 12월 27일까지 전시된다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[552],{"id":6542,"slug":6543,"no":6544,"title":6545,"artists":6550,"venue":1202,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6551,"dimensions":17,"is_new":797,"description":6556,"notes":6561,"credit":6562,"series":6563,"names":6564,"incomplete":797,"images":6565,"image_credit":17,"themes":6578},130,"deformed-loop","16-EC-03",{"zh":6546,"en":6547,"ja":6548,"ko":6549},"變形之環","Deformed Loop","変形する環","변형의 고리",[2556],{"zh":6552,"en":6553,"ja":6554,"ko":6555},"木材，160×160×160公分","Wood, 160×160×160 cm","木材、160×160×160 cm","목재, 160×160×160 cm",{"zh":6557,"en":6558,"ja":6559,"ko":6560},"《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.","《変形する環》は、作家が近年取り組む「有機的台南」の創作研究を継続するものであり、「環」が絶えず生成し変形していく生の状態から、建築、都市、生命が互いに浸透し合う関係を考察する。作品は中に入ることのできる隕石を原型とし、岩石、細胞、天体、そして極小の建築のあいだに位置づけられる。木材をCNC積層工法で幾重にも積み重ねた構造は、岩石の堆積、樹木の年輪、そして都市の歴史を象徴する。観客がその内部へ足を踏み入れると、彫刻はモノから知覚可能な空間へと変わり、台南の街路や路地、建築、生活の記憶が重なり合って生まれる有機的な都市の姿にも応答しながら、身体、空間、時間、記憶を新たに結び直す。","《변형의 고리》는 작가가 최근 이어 온 ‘유기적 타이난’ 창작 연구의 연장선에서, 끊임없이 생성되고 변형되는 ‘고리’의 생명 상태를 통해 건축과 도시, 생명이 서로 스며드는 관계를 사유한다. 작품은 안으로 들어갈 수 있는 운석을 원형으로 삼아 암석, 세포, 천체, 초소형 건축 사이에 자리하며, 목재를 CNC 적층 공법으로 겹겹이 쌓아 암석의 퇴적, 나무의 나이테, 도시의 역사를 상징한다. 관람자가 그 안으로 걸어 들어가면 조각은 사물에서 감각할 수 있는 공간으로 전환되고, 타이난의 거리와 골목, 건축, 삶의 기억이 겹쳐지며 생성된 유기적 도시의 모습에도 응답하며 신체와 공간, 시간과 기억을 다시 연결한다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2982,"en":2983,"ja":2984,"ko":2985},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[6566],{"id":6567,"url":6568,"w":6569,"h":6570,"alt":6571,"sizes":6572},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":6573,"large":6575},{"url":6574,"w":84,"h":3103},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-03-1-300x240.jpg",{"url":6576,"w":88,"h":6577},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-03-1-1024x819.jpg",819,[307],{"id":6580,"slug":6581,"no":6582,"title":6583,"artists":6588,"venue":1202,"location_note":6589,"location_note_zh":6590,"lat":1723,"lng":1723,"year":2684,"medium":6591,"dimensions":17,"is_new":797,"description":6596,"notes":6601,"credit":6602,"series":6603,"names":6604,"incomplete":797,"images":6605,"image_credit":17,"themes":6664},138,"loop-and-return","16-EC-06",{"zh":6584,"en":6585,"ja":6586,"ko":6587},"迴與回","Loop and Return","迴と回","순환과 회귀",[2569],"Anping Lakeside Waterbird Park","安平湖濱水鳥公園",{"zh":6592,"en":6593,"ja":6594,"ko":6595},"約5公尺木柱60支，直徑1400公分","60 rectangular wooden columns, each 5 meters high, Ø1400 cm","約5mの木柱60本、直径1400 cm","약 5m 나무 기둥 60개, 지름 1400 cm",{"zh":6597,"en":6598,"ja":6599,"ko":6600},"回應2026第一屆臺南藝術雙年展主題「迴圈．超展開」主題，因應本作品在安平區府都建設「白鷺灣」-建築文化館展場入口前方鹽水溪側綠帶的基地，應用作者建築構築的創作背景，結合基地的特性，創作了此一空間裝置作品「迴與回」。\r\n在基地上被雜木林圍繞的草坪空地上，以內外圈各30支5m高的矩型木柱圍塑了半徑各約5m、7m左右的雙「迴圈」，形成雙迴圈之間的環型步道空間，環繞內圈內靜謐的內向性空間，中心一片3m直徑圓形水池，水面如鏡，映照藍天，映照綠樹，也映照星空月夜，雲過無痕，明鏡是臺，亦非臺，與禪的「自性」對話，是謂之「回」，回到本質，回到初心，回到本來面目。","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.","2026年第1回台南アートビエンナーレのテーマ「ループ・超展開」に応答し、本作の敷地である安平区の府都建設「白鷺湾」―建築文化館の展示会場入口前方、塩水渓沿いの緑地帯に合わせて、作者の建築構築の創作背景を応用し、敷地の特性と結びつけて、この空間インスタレーション作品「迴と回」を制作した。\n敷地内の雑木林に囲まれた芝生の空き地に、内外の輪それぞれ30本、高さ5mの矩形の木柱によって、半径約5m、7mほどの二重の「ループ」を形づくる。二重のループの間には環状の歩道空間が生まれ、内側の輪の内部にある静謐で内向的な空間を取り囲む。中心には直径3mの円形の池があり、鏡のような水面は青空を映し、緑の木々を映し、星空や月夜をも映す。雲が過ぎても跡は残らない。明鏡は台であり、また台にあらず。禅の「自性」と対話するこのありようを「回」という。本質へ、初心へ、本来の面目へと回帰するのである。","2026 제1회 타이난 예술 비엔날레의 주제 ‘순환·확장’에 응답하여, 안핑구 푸두 건설 ‘백로만’-건축문화관 전시장 입구 앞 옌수이강 변 녹지대라는 작품 부지에 맞추어, 작가의 건축 구축 작업 배경을 적용하고 부지의 특성을 결합해 공간 설치 작품 ‘순환과 회귀’를 제작하였다.\n부지 안 잡목림에 둘러싸인 잔디 공터에 안팎으로 각각 30개, 높이 5m의 직사각형 나무 기둥을 세워 반지름 약 5m와 7m가량의 이중 ‘순환’을 형성한다. 이중 순환 사이에는 원형의 산책로 공간이 만들어지고, 이는 안쪽 원 내부의 고요하고 내향적인 공간을 감싼다. 중심에는 지름 3m의 원형 연못이 있어, 거울 같은 수면이 푸른 하늘을 비추고 푸른 나무를 비추며 별이 빛나는 달밤도 비춘다. 구름이 지나가도 흔적은 남지 않는다. 밝은 거울은 받침대이면서 또한 받침대가 아니다. 선의 ‘자성’과 대화하는 이 상태를 ‘회귀’라 한다. 본질로, 초심으로, 본래면목으로 돌아가는 것이다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2982,"en":2983,"ja":2984,"ko":2985},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[6606,6614,6627,6639,6651],{"id":6607,"url":6608,"w":3149,"h":3148,"alt":17,"sizes":6609},734,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-EC-06-A.jpg",{"medium":6610,"large":6612},{"url":6611,"w":84,"h":2635},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-EC-06-A-300x225.jpg",{"url":6613,"w":88,"h":3139},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-EC-06-A-1024x768.jpg",{"id":6615,"url":6616,"w":289,"h":6617,"alt":17,"sizes":6618},717,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002FB-6-6-6-scaled.jpg",1920,{"medium":6619,"large":6621,"1536x1536":6623,"2048x2048":6625},{"url":6620,"w":84,"h":2635},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002FB-6-6-6-300x225.jpg",{"url":6622,"w":88,"h":3139},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002FB-6-6-6-1024x768.jpg",{"url":6624,"w":300,"h":3142},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002FB-6-6-6-1536x1152.jpg",{"url":6626,"w":304,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002FB-6-6-6-2048x1536.jpg",{"id":6628,"url":6629,"w":6630,"h":6631,"alt":6585,"sizes":6632},721,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002FB-6-6-6-1.png",1548,870,{"medium":6633,"large":6635,"1536x1536":6637},{"url":6634,"w":84,"h":1861},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002FB-6-6-6-1-300x169.png",{"url":6636,"w":88,"h":4259},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002FB-6-6-6-1-1024x576.png",{"url":6638,"w":300,"h":6130},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002FB-6-6-6-1-1536x863.png",{"id":6640,"url":6641,"w":6642,"h":6643,"alt":6585,"sizes":6644},720,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002FB-6-6-6-2.png",1641,923,{"medium":6645,"large":6647,"1536x1536":6649},{"url":6646,"w":84,"h":1861},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002FB-6-6-6-2-300x169.png",{"url":6648,"w":88,"h":4259},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002FB-6-6-6-2-1024x576.png",{"url":6650,"w":300,"h":4262},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002FB-6-6-6-2-1536x864.png",{"id":6652,"url":6653,"w":6654,"h":6655,"alt":6585,"sizes":6656},735,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-EC-06-B.jpg",1698,946,{"medium":6657,"large":6659,"1536x1536":6662},{"url":6658,"w":84,"h":1839},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-EC-06-B-300x167.jpg",{"url":6660,"w":88,"h":6661},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-EC-06-B-1024x570.jpg",570,{"url":6663,"w":300,"h":4783},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-EC-06-B-1536x856.jpg",[307],{"id":6666,"slug":6667,"no":6668,"title":6669,"artists":6674,"venue":1202,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6675,"dimensions":17,"is_new":797,"description":6680,"notes":6685,"credit":6686,"series":6691,"names":6692,"incomplete":797,"images":6693,"image_credit":17,"themes":6741},143,"tsuru-awakening-of-water-1","16-EC-07-01",{"zh":6670,"en":6671,"ja":6672,"ko":6673},"TSURU \u002F 鶴—水之覺醒","TSURUーAwakening of Water","TSURU \u002F 鶴―水の目覚め","TSURU \u002F 학—물의 각성",[2582],{"zh":6676,"en":6677,"ja":6678,"ko":6679},"行動藝術、特定場域表演，尺寸依場地而定","Performance, Site-specific performance, Dimensions variable","パフォーマンス・アート、サイトスペシフィック・パフォーマンス、サイズ可変","행위예술, 장소 특정적 퍼포먼스, 가변 크기",{"zh":6681,"en":6682,"ja":6683,"ko":6684},"《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.","《TSURU／鶴―水の目覚め》は、水を絶えず流れ、変化し続ける関係性のメディウムとして捉え、歴史、文化、記憶が絶えず生成されていく台南という都市の特質に呼応する。パフォーマンスは太極、水、墨、音、鏡面を融合させ、身体と物質の相互作用を通して、変化し続ける痕跡を残す。上演の後も、着物、クリスタル・シンギングボウル、鏡面、墨の痕跡は、時間や光、観客の参加とともに変化し続ける。作品は木製の美術品輸送用クレートの中に置かれ、移動と輸送の記憶を創作に取り込むことで、時間を作品の一部とし、未完成のまま生成し続ける生命の状態を示す。","《TSURU／학—물의 각성》은 물을 끊임없이 흐르고 변화하는 관계적 매개체로 삼아, 역사와 문화, 기억이 끊임없이 생성되는 타이난의 도시적 특성에 호응한다. 퍼포먼스는 태극권, 물, 먹, 소리, 거울면을 융합하여 신체와 물질의 상호작용을 통해 끊임없이 변화하는 흔적을 남긴다. 공연이 끝난 뒤에도 기모노, 크리스털 싱잉볼, 거울면과 먹의 흔적은 시간과 빛, 관람자의 참여에 따라 계속 변화한다. 작품은 목재 미술품 운송 상자 안에 놓여 이동과 운송의 기억을 창작에 끌어들이며, 시간을 작품의 일부로 삼아 미완의 상태로 끊임없이 생성되는 생명의 상태를 드러낸다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":6687,"en":6688,"ja":6689,"ko":6690},"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.","作家本人および現地パフォーマンス\n台南市美術館委嘱制作。","작가 본인 및 현장 퍼포먼스\n타이난 미술관 커미션.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[6694,6707,6719,6731],{"id":6695,"url":6696,"w":2838,"h":3132,"alt":6697,"sizes":6698},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 Water",{"medium":6699,"large":6701,"1536x1536":6703,"2048x2048":6705},{"url":6700,"w":84,"h":2635},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-07-01-1-300x225.jpg",{"url":6702,"w":88,"h":3139},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-07-01-1-1024x768.jpg",{"url":6704,"w":300,"h":3142},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-07-01-1-1536x1152.jpg",{"url":6706,"w":304,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-07-01-1-2048x1536.jpg",{"id":6708,"url":6709,"w":3132,"h":2838,"alt":6697,"sizes":6710},145,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-07-01-2-rotated.jpg",{"medium":6711,"large":6713,"1536x1536":6715,"2048x2048":6717},{"url":6712,"w":2635,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-07-01-2-225x300.jpg",{"url":6714,"w":3139,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-07-01-2-768x1024.jpg",{"url":6716,"w":3142,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-07-01-2-1152x1536.jpg",{"url":6718,"w":300,"h":304},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-07-01-2-1536x2048.jpg",{"id":6720,"url":6721,"w":2838,"h":3132,"alt":6697,"sizes":6722},146,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-07-01-3.jpg",{"medium":6723,"large":6725,"1536x1536":6727,"2048x2048":6729},{"url":6724,"w":84,"h":2635},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-07-01-3-300x225.jpg",{"url":6726,"w":88,"h":3139},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-07-01-3-1024x768.jpg",{"url":6728,"w":300,"h":3142},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-07-01-3-1536x1152.jpg",{"url":6730,"w":304,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-07-01-3-2048x1536.jpg",{"id":6732,"url":6733,"w":3142,"h":6734,"alt":6697,"sizes":6735},147,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-07-01-4.jpg",925,{"medium":6736,"large":6738},{"url":6737,"w":84,"h":3130},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-07-01-4-300x241.jpg",{"url":6739,"w":88,"h":6740},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F16-ec-07-01-4-1024x822.jpg",822,[307],{"id":6743,"slug":6744,"no":6745,"title":6746,"artists":6750,"venue":1233,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6751,"dimensions":17,"is_new":797,"description":6756,"notes":6761,"credit":6762,"series":6763,"names":6764,"incomplete":797,"images":6765,"image_credit":17,"themes":6766},389,"tiger-of-fortune","17-TC-06-01",{"zh":6747,"en":6748,"ja":6747,"ko":6749},"福運成虎","Tiger of Fortune","복운으로 빚은 호랑이",[2596],{"zh":6752,"en":6753,"ja":6754,"ko":6755},"剪紙，60x60公分","Paper cutting, 60x60 cm","切り絵、60×60 cm","페이퍼 커팅, 60×60 cm",{"zh":6757,"en":6758,"ja":6759,"ko":6760},"作品以臺灣民間信仰中的虎爺為起點，重新思考「守護」的意義。藝術家從臺南街巷、市場、職人與居民累積的生活記憶汲取靈感，將城市四百年的歷史轉化為「萬物成虎」的剪紙創作。剪紙既是民間藝術，也是保存地方記憶的媒介；作品透過虎爺形象串聯信仰、百味、百業與日常風景，將城市萬物凝聚為守護土地的文化圖像，描繪一座由生活共同孕育、承載人文記憶與祝福的幸福臺南。","Taking Lord Tiger of Taiwanese folk belief as its starting point, the work rethinks the meaning of “protection.” Drawing inspiration from the everyday memories accumulated in Tainan’s streets and alleys, markets, artisans, and residents, the artist transforms four hundred years of the city’s history into paper-cut works on the theme of “All Things Become Tigers.” Paper cutting is both a folk art and a medium for preserving local memory. Through the image of Lord Tiger, the work links faith, local flavors, trades, and everyday scenes, gathering all things in the city into a cultural emblem that guards the land, and portraying a happy Tainan nurtured by shared everyday life and imbued with human memories and blessings.","本作は台湾の民間信仰における虎爺を起点に、「守護」の意味を問い直す。作家は台南の街路や路地、市場、職人、住民が積み重ねてきた生活の記憶から着想を得て、都市の四百年の歴史を「万物成虎」の切り絵作品へと転換する。切り絵は民間芸術であると同時に、地域の記憶を保存するメディアでもある。作品は虎爺の姿を通して信仰、百の味、百の生業、日常の風景をつなぎ、都市の万物を、土地を守る文化的な図像へと凝縮して、暮らしがともに育み、人々の記憶と祝福を宿した幸福な台南を描き出す。","작품은 대만 민간신앙의 호랑이 신에서 출발하여 ‘수호’의 의미를 다시 생각한다. 작가는 타이난의 거리와 골목, 시장, 장인과 주민들이 쌓아 온 삶의 기억에서 영감을 얻어, 도시의 400년 역사를 ‘만물이 호랑이가 되다’라는 페이퍼 커팅 작품으로 전환한다. 페이퍼 커팅은 민간 예술이자 지역의 기억을 보존하는 매체이다. 작품은 호랑이 신의 형상을 통해 신앙, 온갖 맛, 온갖 생업, 일상의 풍경을 연결하고, 도시의 만물을 땅을 지키는 문화적 도상으로 응집하여, 삶이 함께 길러 내고 인문적 기억과 축복을 품은 행복한 타이난을 그려 낸다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":6768,"slug":6769,"no":6770,"title":6771,"artists":6775,"venue":1233,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6776,"dimensions":17,"is_new":797,"description":6777,"notes":6778,"credit":6779,"series":6780,"names":6781,"incomplete":797,"images":6782,"image_credit":17,"themes":6783},390,"tiger-of-flavors","17-TC-06-02",{"zh":6772,"en":6773,"ja":6772,"ko":6774},"百味成虎","Tiger of Flavors","온갖 맛으로 빚은 호랑이",[2596],{"zh":6752,"en":6753,"ja":6754,"ko":6755},{"zh":6757,"en":6758,"ja":6759,"ko":6760},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":6785,"slug":6786,"no":6787,"title":6788,"artists":6792,"venue":1233,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6793,"dimensions":17,"is_new":797,"description":6794,"notes":6795,"credit":6796,"series":6797,"names":6798,"incomplete":797,"images":6799,"image_credit":17,"themes":6800},391,"tiger-of-the-alleyways","17-TC-06-03",{"zh":6789,"en":6790,"ja":6789,"ko":6791},"巷陌成虎","Tiger of the Alleyways","골목길로 빚은 호랑이",[2596],{"zh":6752,"en":6753,"ja":6754,"ko":6755},{"zh":6757,"en":6758,"ja":6759,"ko":6760},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":6802,"slug":6803,"no":6804,"title":6805,"artists":6809,"venue":1233,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6810,"dimensions":17,"is_new":797,"description":6811,"notes":6812,"credit":6813,"series":6814,"names":6815,"incomplete":797,"images":6816,"image_credit":17,"themes":6817},392,"tiger-of-crafts","17-TC-06-04",{"zh":6806,"en":6807,"ja":6806,"ko":6808},"百業成虎","Tiger of Crafts","온갖 생업으로 빚은 호랑이",[2596],{"zh":6752,"en":6753,"ja":6754,"ko":6755},{"zh":6757,"en":6758,"ja":6759,"ko":6760},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":6819,"slug":6820,"no":6821,"title":6822,"artists":6826,"venue":1233,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6827,"dimensions":17,"is_new":797,"description":6828,"notes":6829,"credit":6830,"series":6831,"names":6832,"incomplete":797,"images":6833,"image_credit":17,"themes":6834},393,"tiger-of-faith","17-TC-06-05",{"zh":6823,"en":6824,"ja":6823,"ko":6825},"信仰成虎","Tiger of Faith","신앙으로 빚은 호랑이",[2596],{"zh":6752,"en":6753,"ja":6754,"ko":6755},{"zh":6757,"en":6758,"ja":6759,"ko":6760},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":6836,"slug":6837,"no":6838,"title":6839,"artists":6844,"venue":1260,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6845,"dimensions":17,"is_new":797,"description":6850,"notes":6851,"credit":6852,"series":6853,"names":6854,"incomplete":797,"images":6855,"image_credit":17,"themes":6856},394,"assemblage-gods-1","18-TC-05-01",{"zh":6840,"en":6841,"ja":6842,"ko":6843},"組裝獸神 1","Assemblage Gods 1","組み立てられた獣神 1","조립된 짐승 신 1",[2502],{"zh":6846,"en":6847,"ja":6848,"ko":6849},"木板、古仔紙、金紙、水泥漆，80x186公分","Board, Kóo-á-tsuá, joss paper, cement paint, 80x186 cm","木板、古仔紙、金紙、セメント塗料、80×186 cm","목판, Kóo-á-tsuá, 지전, 시멘트 페인트, 80×186 cm",{"zh":6357,"en":6358,"ja":6359,"ko":6360},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":6858,"slug":6859,"no":6860,"title":6861,"artists":6866,"venue":1260,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6867,"dimensions":17,"is_new":797,"description":6868,"notes":6869,"credit":6870,"series":6871,"names":6872,"incomplete":797,"images":6873,"image_credit":17,"themes":6874},395,"assemblage-gods-2","18-TC-05-02",{"zh":6862,"en":6863,"ja":6864,"ko":6865},"組裝獸神 2","Assemblage Gods 2","組み立てられた獣神 2","조립된 짐승 신 2",[2502],{"zh":6846,"en":6847,"ja":6848,"ko":6849},{"zh":6357,"en":6358,"ja":6359,"ko":6360},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":6876,"slug":6877,"no":6878,"title":6879,"artists":6883,"venue":1287,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6884,"dimensions":17,"is_new":797,"description":6889,"notes":6894,"credit":6899,"series":6900,"names":6901,"incomplete":797,"images":6902,"image_credit":17,"themes":6903},396,"connection-hoyas","19-TC-02-01",{"zh":6880,"en":6881,"ja":6880,"ko":6882},"一境一鏡・南廠「聚虎」","Connection · Hoyas","하나의 터, 하나의 거울・난창 「모여든 호랑이」",[2609],{"zh":6885,"en":6886,"ja":6887,"ko":6888},"複合媒材，21x12公分","Mixed media, 21x12 cm","ミクストメディア、21×12 cm","혼합 매체, 21×12 cm",{"zh":6890,"en":6891,"ja":6892,"ko":6893},"本作品出自持續進行的場域創作計畫《一境一鏡》，以臺南生活場域為研究對象。藝術家走訪十一間宮廟與友愛街周邊，觀察虎爺的姿態神情，並記錄巷弄、廟埕間自然生長的植物，結合田野調查與傳統工藝進行轉譯。「境」指向城市獨有的生活場域，「鏡」則象徵觀看地方的方法。作品以虎爺、植物與街區紋理為線索，映照信仰、自然與日常生活交織的文化景觀，重新思考人、地方與自然之間持續共生的關係。","This work comes from Connection, an ongoing site-based project that takes the lived spaces of Tainan as its subject of research. The artist visited eleven temples and the area around Youai Street, observing the postures and expressions of the Lord Tiger figures and documenting the plants growing naturally in the alleys and temple courtyards, then translated these observations by combining field research with traditional crafts. “Realm” refers to the city’s distinctive lived spaces, while “mirror” symbolizes a way of looking at place. Taking Lord Tiger, plants, and the texture of the neighborhood as its threads, the work reflects a cultural landscape woven from faith, nature, and everyday life, and reconsiders the ongoing symbiotic relationship between people, place, and nature.","本作は、台南の生活の場を研究対象とする、継続中のサイトベースの創作プロジェクト《一境一鏡》から生まれた。作家は十一の宮廟と友愛街周辺を訪ね、虎爺の姿勢や表情を観察するとともに、路地や廟の前庭に自生する植物を記録し、フィールドワークと伝統工芸を組み合わせて翻訳する。「境」は都市固有の生活の場を指し、「鏡」は地域を見つめる方法を象徴する。作品は虎爺、植物、街区の紋理を手がかりに、信仰、自然、日常生活が織りなす文化的景観を映し出し、人、地域、自然のあいだで続いていく共生の関係を改めて考察する。","이 작품은 타이난의 생활 공간을 연구 대상으로 삼아 지속적으로 진행 중인 장소 기반 창작 프로젝트 《하나의 터, 하나의 거울》에서 비롯되었다. 작가는 열한 곳의 사원과 유아이 거리 일대를 찾아 호랑이 신의 자세와 표정을 관찰하고, 골목과 사원 앞마당 사이에 자연스럽게 자라는 식물을 기록하여, 현장 조사와 전통 공예를 결합해 이를 번역해 낸다. ‘터’는 도시 고유의 생활 공간을 가리키고, ‘거울’은 지역을 바라보는 방법을 상징한다. 작품은 호랑이 신과 식물, 거리의 결을 단서로 삼아 신앙과 자연, 일상생활이 얽힌 문화적 풍경을 비추고, 사람과 장소, 자연 사이에 지속되는 공생의 관계를 다시 생각한다.",{"zh":6895,"en":6896,"ja":6897,"ko":6898},"5件一組","A set of five","5点1組","5점 1세트",{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":6905,"slug":6906,"no":6907,"title":6908,"artists":6912,"venue":1287,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6913,"dimensions":17,"is_new":797,"description":6918,"notes":6919,"credit":6920,"series":6921,"names":6922,"incomplete":797,"images":6923,"image_credit":17,"themes":6924},397,"connection-lilies","19-TC-02-02",{"zh":6909,"en":6910,"ja":6909,"ko":6911},"一境一鏡・南廠「百合」","Connection · Lilies","하나의 터, 하나의 거울・난창 「백합」",[2609],{"zh":6914,"en":6915,"ja":6916,"ko":6917},"複合媒材，28x29x7公分","Mixed media, 28x29x7 cm","ミクストメディア、28×29×7 cm","혼합 매체, 28×29×7 cm",{"zh":6890,"en":6891,"ja":6892,"ko":6893},{"zh":6895,"en":6896,"ja":6897,"ko":6898},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":6926,"slug":6927,"no":6928,"title":6929,"artists":6934,"venue":1287,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6935,"dimensions":17,"is_new":797,"description":6940,"notes":6941,"credit":6942,"series":6943,"names":6944,"incomplete":797,"images":6945,"image_credit":17,"themes":6946},398,"connection-hands","19-TC-02-03",{"zh":6930,"en":6931,"ja":6932,"ko":6933},"一境一鏡・南廠「合十」","Connection · Hands","一境一鏡・南廠「合掌」","하나의 터, 하나의 거울・난창 「합장」",[2609],{"zh":6936,"en":6937,"ja":6938,"ko":6939},"複合媒材，39x39x7公分","Mixed media, 39x39x7 cm","ミクストメディア、39×39×7 cm","혼합 매체, 39×39×7 cm",{"zh":6890,"en":6891,"ja":6892,"ko":6893},{"zh":6895,"en":6896,"ja":6897,"ko":6898},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":6948,"slug":6949,"no":6950,"title":6951,"artists":6956,"venue":1382,"location_note":6957,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6958,"dimensions":17,"is_new":797,"description":6963,"notes":6968,"credit":6969,"series":6970,"names":6971,"incomplete":797,"images":6972,"image_credit":17,"themes":6988},399,"huye-on-day-off-1","22-TC-01-01",{"zh":6952,"en":6953,"ja":6954,"ko":6955},"虎爺放風中（組件）","Huye on Day Off","虎爺、息抜き中（組作品）","바람 쐬러 나온 호랑이 신(구성 작품)",[2622],"Tan (Tian Gong Temple)",{"zh":6959,"en":6960,"ja":6961,"ko":6962},"水墨、壓克力、絹布，85x90公分","Ink and acrylic on silk, 85x90 cm","水墨、アクリル、絹布、85×90 cm","수묵, 아크릴, 비단, 85×90 cm",{"zh":6964,"en":6965,"ja":6966,"ko":6967},"作品以「神明的日常」為核心，重新思考虎爺與地方生活、當代社群的共生關係。藝術家走訪七間宮廟進行田野實察，將信仰文史與多樣虎爺形貌轉化為繪畫。畫面翻轉傳統神聖視角，描繪孩童與虎爺躲貓貓、嬉戲、修理指甲等日常互動，在幽默溫馨的情境中，呈現彼此陪伴的情感羈絆，使虎爺從神龕中的驅邪神祇，轉化為貼近日常、承載地方記憶與情感的溫柔守護者。","Addressing “the everyday life of deities,” the work explores the relationship between Lord Tiger, local life, and contemporary communities. Drawing on field research at seven temples, the artist has transformed local beliefs and diverse images of Lord Tiger into paintings. Depicting children's hide-and-seek, happy play, and tending to Lord Tiger’s claws, these warm and playful scenes transform the deity from a forbidding sacred figure into a gentle guardian embedded in everyday life, local memory, and emotional bonds.","本作は「神々の日常」を核に、虎爺と地域の暮らし、現代のコミュニティとの共生関係を問い直す。作家は七つの宮廟を訪ねてフィールドワークを行い、信仰の文化史と多様な虎爺の姿を絵画へと転換した。画面は伝統的な神聖の視点を反転させ、子どもたちと虎爺がかくれんぼをしたり、じゃれ合ったり、爪の手入れをしたりする日常のふれあいを描く。ユーモラスで温かな場面のなかに、互いに寄り添う情緒的な絆を表し、虎爺を、神龕のなかの厄除けの神から、日常に寄り添い、地域の記憶と感情を担うやさしい守護者へと変えていく。","작품은 ‘신들의 일상’을 핵심으로 삼아 호랑이 신과 지역의 삶, 동시대 공동체 사이의 공생 관계를 다시 생각한다. 작가는 일곱 곳의 사원을 찾아 현장 조사를 진행하고, 신앙의 문화사와 다양한 호랑이 신의 모습을 회화로 전환하였다. 화면은 전통적인 신성의 시선을 뒤집어, 아이들이 호랑이 신과 숨바꼭질을 하고 장난을 치며 발톱을 손질해 주는 일상의 교감을 그린다. 유머러스하고 따뜻한 장면 속에서 서로 곁을 지키는 정서적 유대를 보여 주며, 호랑이 신을 신감 속 액막이 신에서 일상에 가까이 머물며 지역의 기억과 감정을 품은 다정한 수호자로 탈바꿈시킨다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[6973],{"id":161,"url":6974,"w":6975,"h":2838,"alt":6976,"sizes":6977},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F22-tc-01-01-1.jpg",1581,"虎爺放風中（組件） Huye on Day Off",{"medium":6978,"large":6980,"1536x1536":6982,"2048x2048":6985},{"url":6979,"w":2198,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F22-tc-01-01-1-198x300.jpg",{"url":6981,"w":2744,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F22-tc-01-01-1-675x1024.jpg",{"url":6983,"w":6984,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F22-tc-01-01-1-1012x1536.jpg",1012,{"url":6986,"w":6987,"h":304},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F22-tc-01-01-1-1349x2048.jpg",1349,[],{"id":6990,"slug":6991,"no":6992,"title":6993,"artists":6994,"venue":1382,"location_note":6957,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":6995,"dimensions":17,"is_new":797,"description":6996,"notes":6997,"credit":6998,"series":6999,"names":7000,"incomplete":797,"images":7001,"image_credit":17,"themes":7002},401,"huye-on-day-off-2","22-TC-01-02",{"zh":6952,"en":6953,"ja":6954,"ko":6955},[2622],{"zh":6959,"en":6960,"ja":6961,"ko":6962},{"zh":6964,"en":6965,"ja":6966,"ko":6967},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":7004,"slug":7005,"no":7006,"title":7007,"artists":7012,"venue":1406,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":7013,"dimensions":17,"is_new":797,"description":7018,"notes":7019,"credit":7020,"series":7021,"names":7022,"incomplete":797,"images":7023,"image_credit":17,"themes":7024},402,"spirit-soothing-talisman-guardian-tiger","23-TC-07-01",{"zh":7008,"en":7009,"ja":7010,"ko":7011},"收驚鎮魂器之虎哩平安大漢","Spirit-Soothing Talisman: Guardian Tiger","収驚鎮魂器：虎のご加護で健やかに","놀란 넋을 달래는 진혼기: 호랑이가 지켜 주는 무탈한 성장",[2462],{"zh":7014,"en":7015,"ja":7016,"ko":7017},"複合媒材、機械裝置，130x90x100公分","Interactive mechanical installation, mixed media, 130x90x101 cm","ミクストメディア、機械装置、130×90×100 cm","혼합 매체, 기계 장치, 130×90×100 cm",{"zh":6205,"en":6206,"ja":6207,"ko":6208},{"zh":6210,"en":6211,"ja":6212,"ko":6213},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":7026,"slug":7027,"no":7028,"title":7029,"artists":7033,"venue":1406,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":7034,"dimensions":17,"is_new":797,"description":7039,"notes":7040,"credit":7041,"series":7042,"names":7043,"incomplete":797,"images":7044,"image_credit":17,"themes":7045},403,"lord-tiger-of-sanguan-temple","23-TC-07-02",{"zh":7030,"en":7031,"ja":7030,"ko":7032},"城隍鎮虎｜三官廟","Lord Tiger of Sanguan Temple","성황의 수호 호랑이｜싼관묘",[2462],{"zh":7035,"en":7036,"ja":7037,"ko":7038},"複合媒材，15x10x15公分","Mixed media, 15x10x15 cm","ミクストメディア、15×10×15 cm","혼합 매체, 15×10×15 cm",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":7047,"slug":7048,"no":7049,"title":7050,"artists":7054,"venue":1406,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":7055,"dimensions":17,"is_new":797,"description":7056,"notes":7057,"credit":7058,"series":7059,"names":7060,"incomplete":797,"images":7061,"image_credit":17,"themes":7062},404,"lord-tigers-of-chongqing-temple","23-TC-07-03",{"zh":7051,"en":7052,"ja":7051,"ko":7053},"城隍鎮虎｜重慶寺","Lord Tigers of Chongqing Temple","성황의 수호 호랑이｜충칭사",[2462],{"zh":7035,"en":7036,"ja":7037,"ko":7038},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":7064,"slug":7065,"no":7066,"title":7067,"artists":7072,"venue":1406,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":7073,"dimensions":17,"is_new":797,"description":7074,"notes":7075,"credit":7076,"series":7077,"names":7078,"incomplete":797,"images":7079,"image_credit":17,"themes":7080},405,"lord-tigers-of-taiwan-prefectural-city-god-temple","23-TC-07-04",{"zh":7068,"en":7069,"ja":7070,"ko":7071},"城隍鎮虎｜臺灣府城隍廟","Lord Tigers of Taiwan Prefectural City God Temple","城隍鎮虎｜台湾府城隍廟","성황의 수호 호랑이｜타이완 부성황묘",[2462],{"zh":7035,"en":7036,"ja":7037,"ko":7038},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":7082,"slug":7083,"no":7084,"title":7085,"artists":7089,"venue":1406,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":7090,"dimensions":17,"is_new":797,"description":7091,"notes":7092,"credit":7093,"series":7094,"names":7095,"incomplete":797,"images":7096,"image_credit":17,"themes":7097},406,"lord-tigers-of-dongyue-temple","23-TC-07-05",{"zh":7086,"en":7087,"ja":7086,"ko":7088},"城隍鎮虎｜東嶽殿","Lord Tigers of Dongyue Temple","성황의 수호 호랑이｜둥웨전",[2462],{"zh":7035,"en":7036,"ja":7037,"ko":7038},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":7099,"slug":7100,"no":7101,"title":7102,"artists":7106,"venue":1406,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":7107,"dimensions":17,"is_new":797,"description":7108,"notes":7109,"credit":7110,"series":7111,"names":7112,"incomplete":797,"images":7113,"image_credit":17,"themes":7114},407,"lord-tigers-of-liwang-altar","23-TC-07-06",{"zh":7103,"en":7104,"ja":7103,"ko":7105},"城隍鎮虎｜厲王壇","Lord Tigers of Liwang Altar","성황의 수호 호랑이｜리왕단",[2462],{"zh":7035,"en":7036,"ja":7037,"ko":7038},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":7116,"slug":7117,"no":7118,"title":7119,"artists":7123,"venue":1406,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":7124,"dimensions":17,"is_new":797,"description":7125,"notes":7126,"credit":7127,"series":7128,"names":7129,"incomplete":797,"images":7130,"image_credit":17,"themes":7131},408,"lord-tigers-of-gufuma-temple","23-TC-07-07",{"zh":7120,"en":7121,"ja":7120,"ko":7122},"城隍鎮虎｜辜婦媽廟","Lord Tigers of Gufuma Temple","성황의 수호 호랑이｜구푸마묘",[2462],{"zh":7035,"en":7036,"ja":7037,"ko":7038},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":7133,"slug":7134,"no":7135,"title":7136,"artists":7140,"venue":1406,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":7141,"dimensions":17,"is_new":797,"description":7142,"notes":7143,"credit":7144,"series":7145,"names":7146,"incomplete":797,"images":7147,"image_credit":17,"themes":7148},409,"lord-tigers-of-baoxi-temple","23-TC-07-08",{"zh":7137,"en":7138,"ja":7137,"ko":7139},"城隍鎮虎｜保西宮","Lord Tigers of Baoxi Temple","성황의 수호 호랑이｜바오시궁",[2462],{"zh":7035,"en":7036,"ja":7037,"ko":7038},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":7150,"slug":7151,"no":7152,"title":7153,"artists":7157,"venue":1406,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":7158,"dimensions":17,"is_new":797,"description":7159,"notes":7160,"credit":7161,"series":7162,"names":7163,"incomplete":797,"images":7164,"image_credit":17,"themes":7165},410,"lord-tigers-of-ciyin-pavilion","23-TC-07-09",{"zh":7154,"en":7155,"ja":7154,"ko":7156},"城隍鎮虎｜慈蔭亭","Lord Tigers of Ciyin Pavilion","성황의 수호 호랑이｜츠인정",[2462],{"zh":7035,"en":7036,"ja":7037,"ko":7038},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":7167,"slug":7168,"no":7169,"title":7170,"artists":7174,"venue":1406,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":7175,"dimensions":17,"is_new":797,"description":7176,"notes":7177,"credit":7178,"series":7179,"names":7180,"incomplete":797,"images":7181,"image_credit":17,"themes":7182},411,"lord-tigers-of-kaishan-temple","23-TC-07-10",{"zh":7171,"en":7172,"ja":7171,"ko":7173},"城隍鎮虎｜開山宮","Lord Tigers of Kaishan Temple","성황의 수호 호랑이｜카이산궁",[2462],{"zh":7035,"en":7036,"ja":7037,"ko":7038},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":7184,"slug":7185,"no":7186,"title":7187,"artists":7191,"venue":1406,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":7192,"dimensions":17,"is_new":797,"description":7193,"notes":7194,"credit":7195,"series":7196,"names":7197,"incomplete":797,"images":7198,"image_credit":17,"themes":7199},412,"lord-tigers-of-shatao-temple","23-TC-07-11",{"zh":7188,"en":7189,"ja":7188,"ko":7190},"城隍鎮虎｜沙陶宮","Lord Tigers of Shatao Temple","성황의 수호 호랑이｜사타오궁",[2462],{"zh":7035,"en":7036,"ja":7037,"ko":7038},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":7201,"slug":7202,"no":7203,"title":7204,"artists":7209,"venue":1433,"location_note":1437,"location_note_zh":17,"lat":1723,"lng":1723,"year":2684,"medium":7210,"dimensions":17,"is_new":797,"description":7215,"notes":7220,"credit":7221,"series":7222,"names":7223,"incomplete":797,"images":7224,"image_credit":17,"themes":7237},413,"gian-gian","24-TC-04",{"zh":7205,"en":7206,"ja":7207,"ko":7208},"電氣石虎童「虤虤」","giân giân","電気・石虎童「虤虤」","전기 삵 동자 「giân giân」",[2635],{"zh":7211,"en":7212,"ja":7213,"ko":7214},"複合媒材，150×90×90公分","Mixed media, 150×90×90 cm","ミクストメディア、150×90×90 cm","혼합 매체, 150×90×90 cm",{"zh":7216,"en":7217,"ja":7218,"ko":7219},"本作品為「電氣神將」系列第十一架次創作，由兒童與青少年擔任將軍腳穿戴。作品以臺灣特有種石虎為形象原型，融合民間信仰中虎爺守護兒童、招財與先鋒等神能，轉化為小巧親和的「童仔」藝陣造形。藝術家藉由傳統神將的當代轉譯，將神能延伸至對原生物種與生態環境的守護，同時拉近新世代與民俗文化的距離，引導兒童從參與及穿戴經驗認識臺灣信仰文化，建立親近而具生命力的文化連結。","Electricity Leopard Cat Child “giân giân”\n\nUsing 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).","本作は「電気神将」シリーズの第11作であり、子どもや青少年が神将の担い手となって身にまとう。台湾固有種の石虎を造形の原型とし、民間信仰において虎爺がもつ子どもの守護、招財、先鋒といった神力を融合させ、小さく親しみやすい「童仔」の芸陣の造形へと転換した。作家は伝統的な神将を現代的に翻訳することで、その神力を在来種や生態環境の守護へと広げるとともに、新しい世代と民俗文化との距離を縮め、子どもたちが参加し身にまとう経験を通して台湾の信仰文化を知り、親しみと生命力にあふれた文化的なつながりを築くよう導く。","이 작품은 ‘전기 신장’ 연작의 열한 번째 작품으로, 어린이와 청소년이 신장을 짊어지는 연희자가 되어 착용한다. 대만 고유종 삵을 형상의 원형으로 삼고, 민간신앙에서 호랑이 신이 지닌 아이 수호, 재물 초래, 선봉 등의 신통력을 결합하여 작고 친근한 ‘동자’ 형상의 민속 연희 행렬 조형으로 전환하였다. 작가는 전통 신장을 동시대적으로 재해석하여 그 신통력을 토종 생물과 생태 환경의 수호로까지 확장하는 동시에, 새로운 세대와 민속 문화 사이의 거리를 좁히고, 아이들이 참여와 착용의 경험을 통해 대만의 신앙 문화를 알아 가며 친근하고 생동감 있는 문화적 연결을 맺도록 이끈다.",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":2697,"en":2698,"ja":2699,"ko":2700},{"zh":2702,"en":669,"ja":670,"ko":671},{"zh":17,"en":17,"ja":17,"ko":17},[7225],{"id":7226,"url":7227,"w":7228,"h":7229,"alt":7230,"sizes":7231},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":7232,"large":7234},{"url":7233,"w":3103,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F24-tc-04-1-240x300.jpg",{"url":7235,"w":7236,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F24-tc-04-1-818x1024.jpg",818,[],{"id":7239,"slug":7240,"no":7241,"title":7242,"artists":7247,"venue":856,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":17,"medium":7248,"dimensions":17,"is_new":797,"description":7249,"notes":7254,"credit":7255,"series":7256,"names":7257,"incomplete":796,"images":7258,"image_credit":17,"themes":7275},415,"hsu-ping-den-work","04-HC-06",{"zh":7243,"en":7244,"ja":7245,"ko":7246},"警察漫畫","Police Cartoon","警察漫画","경찰 만화",[2648],{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7250,"en":7251,"ja":7252,"ko":7253},"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.","許丙丁は日本統治時代に台南州の巡査、刑事課の巡査部長を務め、《台湾警察時報》に数多くの警察漫画を発表して、風刺、写実、諧謔の手法で警察の日常を描いた。本作の主人公「凹巡査」は、十年間一件も犯罪を検挙していないことで上司に目をつけられ、真面目に巡回しようと決意するが、映画撮影中の俳優を傷害事件の現行犯と取り違えてしまう。ユーモラスな誤認の筋立てによって警察の職務と官僚体制を揶揄するとともに、堅い警察刊行物に庶民的な面白みを添えている。","Hsu Ping-den은 일본 통치 시기 타이난주의 순사와 형사과 순사부장을 지냈으며, 《대만 경찰 시보》에 다수의 경찰 만화를 발표해 풍자와 사실, 해학의 기법으로 경찰의 일상을 그렸다. 이 작품의 주인공 ‘아오 순사’는 10년 동안 범죄를 한 건도 적발하지 못해 상관의 주목을 받자 성실히 순찰하기로 결심하지만, 영화 촬영 중인 배우들을 상해 현행범으로 오인하고 만다. 작품은 유머러스한 오인 소동을 통해 경찰 업무와 관료 체제를 꼬집는 한편, 딱딱한 경찰 간행물에 서민적인 재미를 더한다.",{"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},[7259],{"id":7260,"url":7261,"w":2838,"h":7262,"alt":7243,"sizes":7263},416,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x12-1.jpg",1592,{"medium":7264,"large":7266,"1536x1536":7269,"2048x2048":7272},{"url":7265,"w":84,"h":2211},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x12-1-300x199.jpg",{"url":7267,"w":88,"h":7268},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x12-1-1024x679.jpg",679,{"url":7270,"w":300,"h":7271},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x12-1-1536x1019.jpg",1019,{"url":7273,"w":304,"h":7274},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x12-1-2048x1359.jpg",1359,[357],{"id":7277,"slug":7278,"no":7279,"title":7280,"artists":7285,"venue":856,"location_note":17,"location_note_zh":17,"lat":1723,"lng":1723,"year":17,"medium":7286,"dimensions":17,"is_new":797,"description":7287,"notes":7292,"credit":7293,"series":7294,"names":7295,"incomplete":796,"images":7296,"image_credit":17,"themes":7327},417,"lin-po-liang-work","04-HC-07",{"zh":7281,"en":7282,"ja":7283,"ko":7284},"葉石濤於書桌前獨照（正面）","Solo Portrait of Yeh Shih-tao at His Desk (Front View)","机に向かう葉石濤の肖像（正面）","책상 앞 Yeh Shih-tao의 독사진(정면)",[2661],{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7288,"en":7289,"ja":7290,"ko":7291},"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.","晩年の葉石濤の姿は、林柏樑が1998年に作家群像の写真プロジェクト「文学の容顔」を始めた際に記録したもので、その足跡は台南の武廟から高雄・左営の旧城にまで及んだ。武廟の竹椅子で振り返る一枚では、深いまなざしに白色テロを経験した歳月の苦難がかすかににじむ。左営の書斎では、老作家がなおも机に向かって執筆する姿が見られる。これらの写真は文学者の容顔の記録であると同時に、台湾文学史における貴重な視覚的証言ともなっている。","Yeh Shih-tao의 만년의 모습은 Lin Po-liang이 1998년 작가 군상 사진 프로젝트 ‘문학의 얼굴’을 시작하며 기록한 것으로, 그 여정은 타이난 무묘와 가오슝 쭤잉 옛 성에까지 이르렀다. 무묘의 대나무 의자에서 뒤돌아보는 장면에서는 깊은 눈빛 속에 백색테러를 겪은 세월의 풍상이 은은히 배어난다. 쭤잉의 서재에서는 노작가가 여전히 책상에 엎드려 글을 쓰는 모습을 볼 수 있다. 이 사진들은 문학가의 얼굴을 담은 기록이자 대만 문학사의 귀중한 시각적 증언이 되었다.",{"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},[7297,7313],{"id":7298,"url":7299,"w":2838,"h":7300,"alt":7281,"sizes":7301},418,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x13-1.jpg",2091,{"medium":7302,"large":7304,"1536x1536":7307,"2048x2048":7310},{"url":7303,"w":84,"h":3725},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x13-1-300x261.jpg",{"url":7305,"w":88,"h":7306},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x13-1-1024x892.jpg",892,{"url":7308,"w":300,"h":7309},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x13-1-1536x1338.jpg",1338,{"url":7311,"w":304,"h":7312},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x13-1-2048x1784.jpg",1784,{"id":7314,"url":7315,"w":7316,"h":7317,"alt":7281,"sizes":7318},419,"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x13-2.jpg",1832,1613,{"medium":7319,"large":7321,"1536x1536":7324},{"url":7320,"w":84,"h":3826},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x13-2-300x264.jpg",{"url":7322,"w":88,"h":7323},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x13-2-1024x902.jpg",902,{"url":7325,"w":300,"h":7326},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002Fhc-x13-2-1536x1352.jpg",1352,[357],{"id":7329,"slug":7330,"no":7331,"title":7332,"artists":7337,"venue":807,"location_note":7338,"location_note_zh":7339,"lat":1723,"lng":1723,"year":17,"medium":7340,"dimensions":17,"is_new":797,"description":7341,"notes":7346,"credit":7351,"series":7352,"names":7356,"incomplete":797,"images":7359,"image_credit":7372,"themes":7373},567,"rooted-in-the-land","02-VC-01",{"zh":7333,"en":7334,"ja":7335,"ko":7336},"立於土地","Rooted in the Land","土地に立つ","땅에 서다",[],"3F","3樓",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7342,"en":7343,"ja":7344,"ko":7345},"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.","土地は人々の母であり、芸術創作の母体でもある。本セクションでは、台湾島の特色ある景観、地形、ランドマークなどの地理的特徴を美術創作と応用デザインの主題として取り上げ、台湾の視覚芸術を明確に識別する記号とする。台湾最高峰の玉山（新高山）、雪山（次高山）、阿里山、あるいは国境の南端の鵝鑾鼻、さらに象徴的な景観である淡水、観音山、太魯閣など、そして投票によって選ばれた「台湾八景」や各都市に建設されたランドマーク建築、港湾、名勝などは、いずれも近代台湾の芸術家とデザイナーが「土地に立つ」を描く際の定番の題材となった。こうした特色ある景観のイメージを通じて、台湾の視覚芸術の主体性と、識別性をもつ記号が形づくられていったのである。\n\n日本統治時代に台湾で活動した芸術家、石川欽一郎（Ishikawa Kinichiro、1871-1945）による台南の赤崁楼、木下静涯（Kinoshita Seigai、1887-1988）による淡水、郷原古統（Gobara Koto、1887-1965）による太魯閣、塩月桃甫（Shiotsuki Toho、1886-1954）による鵝鑾鼻、そして台湾の芸術家である林玉山（Lin Yu-shan、1907-2004）、郭雪湖（Kuo Hsueh-hu、1908-2012）、楊三郎（Yang San-lang、1907-1995）の3人が描いた玉山の風景は、いずれも台湾島の特色ある景観の典型である。これらの美術作品は、新高阿里山や国立公園予定地などを題材とする絵葉書や書籍といった対応する応用デザインと並べて展示され、この土地の雄大な山河の風景を互いに映し出す。また、吉田初三郎（Yoshida Hatsusaburo、1884-1955）の《双絶台湾八景》、金子常光（Kaneko Tsunemitsu、生没年不詳）が台湾および他の都市のために描いた鳥瞰図、さらに台湾各地の都市が観光宣伝のために制作した案内パンフレットや鳥瞰図は、台湾の景観と都市の姿を描いたもうひとつの応用デザインであり、ともに台湾の土地ならではの島の記号を構築している。","땅은 사람들의 어머니이자 예술 창작의 모체다. 이 섹션은 대만 섬의 특색 있는 경관과 지형, 랜드마크 등 지리적 특징을 미술 창작과 응용 디자인의 주제로 삼아, 대만 시각예술을 분명하게 식별하는 기호로 제시한다. 대만 최고봉 위산(니타카야마), 쉐산(쓰기타카야마), 아리산, 국경 남단의 어롼비, 그리고 상징적인 경관인 단수이, 관인산, 타이루거 등, 나아가 투표로 선정된 「대만 팔경」과 각 도시에 세워진 랜드마크 건축, 항구, 명승지 등은 모두 근대 대만의 예술가와 디자이너들이 「땅에 서다」를 표현할 때 즐겨 다룬 소재가 되었다. 이처럼 특색 있는 경관 이미지를 통해 대만 시각예술의 주체성과 식별성을 지닌 기호가 형성될 수 있었다.\n\n일본 통치 시기 대만에서 활동한 예술가 Ishikawa Kinichiro(1871-1945)의 타이난 츠칸러우, Kinoshita Seigai(1887-1988)의 단수이, Gobara Koto(1887-1965)의 타이루거, Shiotsuki Toho(1886-1954)의 어롼비, 그리고 대만 예술가 Lin Yu-shan(1907-2004), Kuo Hsueh-hu(1908-2012), Yang San-lang(1907-1995) 세 사람이 그린 위산의 풍경은 모두 대만 섬의 특색 있는 경관을 보여 주는 전형이다. 이들 미술 작품은 니타카·아리산, 국립공원 예정지 등을 다룬 그림엽서와 서적 등 그에 상응하는 응용 디자인과 나란히 전시되어, 이 땅의 웅장한 산천 풍경을 서로 비춘다. 또한 Yoshida Hatsusaburo(1884-1955)의 《쌍절 대만 팔경》과 Kaneko Tsunemitsu(생몰년 미상)가 대만 및 다른 도시를 위해 그린 조감도, 그리고 대만 각 도시가 관광 홍보를 위해 제작한 안내 책자와 조감도는 대만의 경관과 도시 풍모를 그려 낸 또 다른 응용 디자인으로, 함께 대만 땅만의 독특한 섬의 기호를 구축한다.",{"zh":7347,"en":7348,"ja":7349,"ko":7350},"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","会期：2026.10.31–2027.5.2\n会場：臺南国家美術館準備処 3階\nキュレーター：林磐聳（リン・パンソン）\n共同キュレーター：姚村雄、李新富\nキュレーション顧問：廖仁義","전시 기간: 2026.10.31–2027.5.2\n장소: 타이난 국립 미술관 지원부 3층\n큐레이터: 린판쑹\n공동 큐레이터: Yao Tsun-hsiung, Lee Shin-fu\n큐레이팅 자문: Liao Jen-i",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7353,"en":253,"ja":7354,"ko":7355},"被消逝的臺灣美術與設計","消去された台湾の美術とデザイン","사라진 대만 미술과 디자인",{"zh":7357,"en":7358,"ja":7357,"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",[7360],{"id":305,"url":7361,"w":141,"h":7362,"alt":7363,"sizes":7364},"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":7365,"large":7367,"1536x1536":7369},{"url":7366,"w":84,"h":2119},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-01-1-300x192.jpg",{"url":7368,"w":88,"h":2855},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-01-1-1024x656.jpg",{"url":7370,"w":300,"h":7371},"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",[243],{"id":7375,"slug":7376,"no":7377,"title":7378,"artists":7383,"venue":807,"location_note":7338,"location_note_zh":7339,"lat":1723,"lng":1723,"year":17,"medium":7384,"dimensions":17,"is_new":797,"description":7385,"notes":7390,"credit":7391,"series":7392,"names":7393,"incomplete":797,"images":7396,"image_credit":7372,"themes":7410},569,"grounded-in-the-people","02-VC-02",{"zh":7379,"en":7380,"ja":7381,"ko":7382},"本於人民","Grounded in the People","人々に根ざす","사람에 뿌리를 두다",[],{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7386,"en":7387,"ja":7388,"ko":7389},"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.","本セクション「人々に根ざす」は、人々を主とし、暮らしを本とする台湾島の作品に焦点を当てる。原住民族と漢人の建築、器物、衣服、民俗信仰、生活の様子などを描いた、近代台湾の画家たちが台湾の人々と暮らしを題材として残した美術とデザインの作品を掘り起こす。なかでも原住民族から極めて深い影響を受けた塩月桃甫はその典型であり、台湾の土地と人々が芸術家の美術創作と応用デザインに与えた深い影響を示している。これこそ本展がとりわけ際立たせようとする台湾の主体性の精神である。また、原住民族をテーマとする創作に取り組みながらも台湾美術史に記載されることのなかった芸術家も多く、台湾美術史を再構築するうえでの欠落となっている。\n\n1890年、小林永濯（Kobayashi Eitaku、1843-1890）が《永濯漫画》に収めた「台湾人種」の版画は、日本の植民地統治以前の台湾原住民族を描いた貴重な図像である。塩月桃甫は原住民族から深い影響を受け、美術創作と応用デザインの両面で豊富な史料を残し、帰国後もその作品は台湾原住民族の図像の表現に重きを置いた。顏水龍（Yen Shui-long、1903-1997）が残した数多くの原住民族の図像と林玉山の〈風浪帰舟〉は、いずれも台湾原住民族を描いた代表的な作品である。梅原龍三郎（Umehara Ryuzaburo、1888-1986）による《霧社》の表紙デザインと、本文の仕切りページに台湾の民間版画を数多く用いた構成は、この画家のかつての鮮烈な作風とは異なる、もうひとつの応用デザインを残している。「宜洲」の署名をもつ8枚の絵葉書と竹村秋峰（Takemura Shuho、1882-1955）の《台湾趣味》の版画、そして版画によって原住民族と漢人の暮らしや台湾の風土を記録した石川寅治（Ishikawa Toraji、1875-1964）の作品は、いずれも台湾美術史が補うべき貴重な史料である。","이 섹션 「사람에 뿌리를 두다」는 사람을 주체로, 삶을 근본으로 하는 대만 섬의 작품을 강조한다. 원주민과 한족의 건축, 기물, 의복, 민속 신앙, 생활상 등을 묘사한, 근대 대만 화가들이 대만 사람들과 그들의 삶을 소재로 남긴 미술과 디자인 작품을 발굴한다. 그중에서도 원주민에게서 지극히 깊은 영향을 받은 Shiotsuki Toho가 가장 대표적이며, 대만의 땅과 사람들이 예술가의 미술 창작과 응용 디자인에 끼친 깊은 영향을 보여 준다. 이는 이번 전시가 특별히 부각하고자 하는 대만 주체성의 정신이기도 하다. 또한 원주민 의제에 주목한 창작을 했음에도 대만 미술사에 기록되지 못한 예술가들이 여럿 있어, 대만 미술사를 재건하는 데 빠진 조각으로 남아 있다.\n\n1890년 Kobayashi Eitaku(1843-1890)가 《에이타쿠 만화》에 수록한 「대만 인종」 판화는 일본 식민 통치 이전 대만 원주민의 귀중한 도상이다. Shiotsuki Toho는 원주민에게서 깊은 영향을 받아 미술 창작과 응용 디자인에 풍부한 사료를 남겼으며, 귀국한 뒤에도 그의 작품은 대만 원주민 도상의 표현에 중점을 두었다. Yen Shui-long(1903-1997)이 남긴 수많은 원주민 도상과 Lin Yu-shan의 〈풍랑을 헤치고 돌아오는 배〉는 모두 대만 원주민을 그린 고전적인 작품이다. Umehara Ryuzaburo(1888-1986)의 《우서》 표지 디자인과 본문 간지에 대만 민간 판화를 대거 사용한 구성은 화가의 이전의 뚜렷한 화풍과는 다른 색다른 응용 디자인을 보여 준다. 「Yizhou」라는 서명이 있는 그림엽서 8장과 Takemura Shuho(1882-1955)의 《대만 취미》 판화, 그리고 판화로 원주민과 한족의 생활 및 대만의 풍토를 기록한 Ishikawa Toraji(1875-1964)의 작품은 모두 대만 미술사가 보완해야 할 귀중한 사료다.",{"zh":7347,"en":7348,"ja":7349,"ko":7350},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7353,"en":253,"ja":7354,"ko":7355},{"zh":7394,"en":7395,"ja":7394,"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",[7397],{"id":6661,"url":7398,"w":7399,"h":141,"alt":7400,"sizes":7401},"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":7402,"large":7404,"1536x1536":7407},{"url":7403,"w":2371,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-02-1-209x300.jpg",{"url":7405,"w":7406,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-02-1-714x1024.jpg",714,{"url":7408,"w":7409,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-02-1-1071x1536.jpg",1071,[243],{"id":7412,"slug":7413,"no":7414,"title":7415,"artists":7420,"venue":807,"location_note":7338,"location_note_zh":7339,"lat":1723,"lng":1723,"year":17,"medium":7421,"dimensions":17,"is_new":797,"description":7422,"notes":7427,"credit":7428,"series":7429,"names":7430,"incomplete":797,"images":7433,"image_credit":7372,"themes":7447},571,"purposed-in-function","02-VC-03",{"zh":7416,"en":7417,"ja":7418,"ko":7419},"用於功能","Purposed in Function","機能に資する","기능에 쓰이다",[],{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7423,"en":7424,"ja":7425,"ko":7426},"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.","近代百年の台湾デザインの発展を振り返ると、その起源は日本の植民地統治時代にさかのぼる。政治的統治に必要な政令の宣伝、産業の振興、観光旅行などを目的として、「美術を体とし、デザインを用とする」という、形式と機能を兼ね備えた手法が情報伝達の手段として用いられた。当初は日常生活における実用的な機能を満たすための美術デザインとして、ポスター、書籍・雑誌、チラシ、絵葉書、広告、パッケージなどによく見られた。美術デザインが庶民生活の衣食住、交通、教育、娯楽などの多様な領域に広く応用されたことで、社会の基層にいる一般大衆も応用デザインを通じて生活美学の素養と文化的精神の薫陶を得ることができた。それゆえ美術デザインは「庶民の生活美術館」と言うことができる。\n\n本セクションでは、日本の台湾統治の始政を記念して発行された絵葉書を取り上げる。なかでも1905年に和田三造が始政十周年記念のために描いた6枚の絵葉書は台湾の絵葉書の嚆矢となり、日本の著名な芸術家が台湾の応用デザインに参画する幕開けとなった。台湾の観光旅行や茶葉・砂糖の輸出振興に必要とされたポスターデザインに伴い、西洋の油彩画、日本の美人画、上海の月份牌など、さまざまな形式・様式のポスターデザインが同時に現れ、「機能に資する」という目的志向のデザイン手法を示している。また、塚本閣治（Koji Tsukamoto、1896-1965）がデザインした始政四十年台湾博覧会のポスターと、顏水龍が大阪の寿毛加歯磨粉のためにデザインしたポスターは、いずれも台湾美術デザインの代表的な図像である。さらに時代が下り、1962年に専門団体として設立された中国美術設計協会、そして大智浩（Ochi Hiroshi、1908-1974）と郭叔雄（Kuo Shu-hsiung、1934-）がデザインしたコーポレート・アイデンティティ・システムが、台湾の近代的な専門デザインの序曲を開いた。","근대 백 년간 대만 디자인의 발전을 돌아보면, 그 기원은 일본 식민 통치 시기로 거슬러 올라간다. 정치적 통치에 필요한 정령 홍보, 산업 진흥, 관광 여행 등을 목적으로 형식과 기능을 겸비한 「미술을 본체로, 디자인을 활용으로」의 방식이 메시지 전달의 수단으로 쓰였다. 처음에는 일상생활에서 실용적 기능을 충족하기 위한 미술 디자인으로서 포스터, 서적과 잡지, 전단, 그림엽서, 광고, 포장 등에서 흔히 볼 수 있었다. 미술 디자인이 서민 생활의 의식주와 교통, 교육, 오락 등 다양한 영역에 널리 응용되면서, 사회 저변의 일반 대중도 응용 디자인을 통해 생활 미학의 소양과 문화 정신의 감화를 얻을 수 있었다. 그러므로 미술 디자인은 「서민 생활 미술관」이라 할 수 있다.\n\n이 섹션은 일본의 대만 통치 시정을 기념해 발행된 그림엽서에서 출발한다. 그중 1905년 Wada Sanzo가 시정 10주년 기념으로 그린 그림엽서 6장은 대만 그림엽서의 효시가 되었으며, 일본의 저명한 예술가들이 대만 응용 디자인에 참여하는 서막을 열었다. 대만의 관광 여행과 차·설탕 수출 진흥에 필요한 포스터 디자인과 더불어 서양 유화, 일본 미인화, 상하이 월분패 등 다양한 형식과 양식의 포스터 디자인이 함께 등장하여, 「기능에 쓰이다」라는 목표 지향적 디자인 방식을 보여 준다. 또한 Tsukamoto Koji(1896-1965)가 디자인한 시정 40년 대만박람회 포스터와 Yen Shui-long이 오사카의 스모카 치분을 위해 디자인한 포스터는 모두 대만 미술 디자인의 고전적인 이미지다. 이어 1962년 전문 단체로 설립된 중국미술설계협회, 그리고 Ochi Hiroshi(1908-1974)와 Kuo Shu-hsiung(1934-)이 디자인한 기업 아이덴티티 시스템은 대만 현대 전문 디자인의 서곡을 열었다.",{"zh":7347,"en":7348,"ja":7349,"ko":7350},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7353,"en":253,"ja":7354,"ko":7355},{"zh":7431,"en":7432,"ja":7431,"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",[7434],{"id":7435,"url":7436,"w":7437,"h":141,"alt":7438,"sizes":7439},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":7440,"large":7442,"1536x1536":7444},{"url":7441,"w":2159,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-03-1-195x300.jpg",{"url":7443,"w":6152,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-03-1-667x1024.jpg",{"url":7445,"w":7446,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-03-1-1000x1536.jpg",1000,[243],{"id":7449,"slug":7450,"no":7451,"title":7452,"artists":7457,"venue":807,"location_note":7338,"location_note_zh":7339,"lat":1723,"lng":1723,"year":17,"medium":7458,"dimensions":17,"is_new":797,"description":7459,"notes":7464,"credit":7465,"series":7466,"names":7467,"incomplete":797,"images":7470,"image_credit":7372,"themes":7485},573,"refined-in-form","02-VC-04",{"zh":7453,"en":7454,"ja":7455,"ko":7456},"美於形式","Refined in Form","形式に美を宿す","형식으로 아름답다",[],{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7460,"en":7461,"ja":7462,"ko":7463},"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.","本セクションでは主に、芸術家たちが芸術創作における美的な表現技法や形式・様式を、機能性を備えた応用デザインの表現へと転換したさまを紹介し、芸術創作と応用デザインのあいだにある芸術形式と美的素養を探る。当時の台湾の芸術家たちは「美術を体とし、デザインを用とする」精神を堅持し、純粋な芸術創作のかたわら応用デザインにも携わり、絵葉書、ポスター、書籍・雑誌の表紙や挿絵など豊富な史料を残した。それらは台湾美術史を構築するうえで欠かすことのできない領域となっている。初期の美術とデザインの原作の多くは現存していないが、応用デザインの印刷物によって今日まで伝えられてきた。デザイン史料を逆にたどることで、より豊かで多様な台湾近代美術史の遺珍を掘り起こすことができる。\n\n日本統治時代、石川欽一郎、塩月桃甫、郷原古統、木下静涯は、台湾美術の発展において重要な「台展」（台湾美術展覧会）と「府展」（台湾総督府美術展覧会）を推進した。本展では特に「台展」、「府展」と日本内地の「文展」（文部省美術展覧会）、「帝展」（帝国美術院美術展覧会）の図録を並べて展示し、両地の展覧会図録の類似性から、台湾美術の発展が日本から深い影響を受けていたことを浮かび上がらせる。また、石川寅治、矢崎千代二（Yazaki Chiyoji、1872-1947）、三迫星洲（Misako Seishu、生没年不詳）、阿藤秀一郎（Ato Shuichiro、1888-1972）らの現存する絵葉書を発掘し、台湾美術史において忘れられていた欠落を補う。さらに石川欽一郎の水彩画と《台湾時報》のために描いた表紙、林玉山の〈改良蔗作〉および《動物分類掛図》からは、芸術家たちが絵画創作と応用デザインに等しく心を注いでいたことがうかがえる。","이 섹션은 주로 예술가들이 예술 창작에서의 미적 표현 기법과 형식·양식을 기능성을 갖춘 응용 디자인 표현으로 전환한 양상을 보여 주며, 예술 창작과 응용 디자인 사이의 예술 형식과 미적 소양을 탐구한다. 당시 대만 예술가들은 「미술을 본체로, 디자인을 활용으로」라는 정신을 견지하며 순수 예술 창작과 더불어 응용 디자인에도 참여하여 그림엽서, 포스터, 서적과 잡지의 표지 및 삽화 등 풍부한 사료를 남겼고, 이는 대만 미술사를 구축하는 데 없어서는 안 될 영역이 되었다. 초기의 미술과 디자인 원작 중 상당수는 현존하지 않지만 응용 디자인 인쇄물을 통해 오늘날까지 전해지고 있으며, 디자인 사료를 거꾸로 추적함으로써 더욱 풍부하고 다채로운 대만 근대 미술사의 유산을 발굴할 수 있다.\n\n일본 통치 시기 Ishikawa Kinichiro, Shiotsuki Toho, Gobara Koto, Kinoshita Seigai는 대만 미술 발전에 중요한 「대전」(대만미술전람회)과 「부전」(대만총독부미술전람회)을 추진했다. 이번 전시는 특별히 「대전」, 「부전」과 일본 본토의 「문전」(문부성미술전람회), 「제전」(제국미술원미술전람회) 도록을 나란히 전시하여 두 지역 전람회 도록의 유사성을 엿볼 수 있게 하고, 대만 미술의 발전이 일본으로부터 깊은 영향을 받았음을 보여 준다. 또한 Ishikawa Toraji, Yazaki Chiyoji(1872-1947), Misako Seishu(생몰년 미상), Ato Shuichiro(1888-1972) 등의 현존하는 그림엽서를 발굴하여 대만 미술사에서 잊힌 빈자리를 채운다. 아울러 Ishikawa Kinichiro의 수채화와 《대만시보》를 위해 그린 표지, Lin Yu-shan의 〈개량 사탕수수 재배〉 및 《동물 분류 괘도》에서도 예술가들이 회화 창작과 응용 디자인에 똑같이 정성을 기울였음을 엿볼 수 있다.",{"zh":7347,"en":7348,"ja":7349,"ko":7350},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7353,"en":253,"ja":7354,"ko":7355},{"zh":7468,"en":7469,"ja":7468,"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",[7471],{"id":7472,"url":7473,"w":7474,"h":141,"alt":7475,"sizes":7476},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":7477,"large":7479,"1536x1536":7482},{"url":7478,"w":2502,"h":84},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-04-1-217x300.jpg",{"url":7480,"w":7481,"h":88},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-04-1-742x1024.jpg",742,{"url":7483,"w":7484,"h":300},"https:\u002F\u002Fdev.tainanbiennial.org\u002Fcms\u002Fwp-content\u002Fuploads\u002F2026\u002F10\u002F02-vc-04-1-1113x1536.jpg",1113,[243],{"id":6127,"slug":7487,"no":7488,"title":7489,"artists":7494,"venue":807,"location_note":7338,"location_note_zh":7339,"lat":1723,"lng":1723,"year":17,"medium":7495,"dimensions":17,"is_new":797,"description":7496,"notes":7501,"credit":7502,"series":7503,"names":7504,"incomplete":797,"images":7507,"image_credit":17,"themes":7508},"realized-through-culture","02-VC-05",{"zh":7490,"en":7491,"ja":7492,"ko":7493},"成於文化","Realized through Culture","文化に結実する","문화로 완성되다",[],{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7497,"en":7498,"ja":7499,"ko":7500},"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.","美術とデザインが歴史の変遷のなかで、「土地に立つ」、「人々に根ざす」、「機能に資する」、「形式に美を宿す」といったさまざまな側面を通じて交わると、それは社会集団に溶け込んだ共同の文化となり、作品に台湾固有の文化的価値をもたらす。「文化に結実する」セクションは、デザインが文学、美術、音楽、映画、舞踊、演劇、建築などの文化的産物や活動にいかに応用されたかに焦点を当てる。芸術形式とデザイン手法によってそれらを形づくり、広めることで、目的をもったデザイン行為が達成された。なかでも台湾美術デザインの発展過程において文化的価値を最もよく示すのは、まず書籍・雑誌など出版物の装幀デザインである。たとえば《民俗台湾》、あるいは西川満（Nishikawa Mitsuru、1908-1999）と立石鉄臣（Tateishi Tetsuomi、1905-1980）、宮田弥太郎（Miyata Yataro、1906-1968）が協力して刊行した、美術品のような限定版の書籍の数々は、今日に至るまできわめて貴重な台湾の文化資産である。\n\n本セクションでは、藤田嗣治（Foujita Tsuguharu、1886-1968）、川島理一郎（Kawashima Riichiro、1886-1971）らが短期間の来台中に描いた台湾の風景や風物、そして西川満と立石鉄臣、宮田弥太郎が協力して台湾の風俗を主題に刊行した限定本を展示する。これらは芸術とデザインが見事に融合した文化資産である。陳澄波（Chen Cheng-po、1895-1947）による嘉義農校の雑誌《瑞穂》の表紙と第2回台陽展のポスターには、いずれもユーモラスなカエルの図像が用いられている。廖未林（Liao Wei-lin、1922-2011）、楊英風（Yuyu Yang、1926-1997）、高山嵐（Gau Shan-lan、1934-）らは台湾の書籍・雑誌の文化的文脈を築いた。1960年代には、龍思良（Lung Sih-Liang、1937-2012）がデザインした《文星》と《現代文学》、黃華成（Huang Hua-Cheng、1935-1996）がデザインした《劇場》誌の表紙が台湾の近代デザインに新たな風を巻き起こした。1964年の台湾省教育庁《中華児童叢書》では、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-）らの芸術家が児童向け絵本の絵を手がけ、台湾の文化発展を支える重要な礎となった。","미술과 디자인이 역사적 변천 속에서 「땅에 서다」, 「사람에 뿌리를 두다」, 「기능에 쓰이다」, 「형식으로 아름답다」 등 여러 측면을 통해 교차하고 나면, 사회 집단에 스며든 공동의 문화가 되어 작품에 대만 고유의 문화적 가치를 부여한다. 「문화로 완성되다」 섹션은 디자인이 문학, 미술, 음악, 영화, 무용, 연극, 건축 등의 문화적 산물과 활동에 어떻게 응용되었는지에 초점을 맞춘다. 예술 형식과 디자인 기법을 통해 이를 형상화하고 널리 알림으로써 목적성을 지닌 디자인 행위를 이루어 냈다. 그중 대만 미술 디자인의 발전 과정에서 문화적 가치를 가장 잘 드러내는 것으로는 단연 서적·잡지 등 출판물의 장정 디자인을 꼽을 수 있다. 《민속 대만》, 혹은 Nishikawa Mitsuru(1908-1999)와 Tateishi Tetsuomi(1905-1980), Miyata Yataro(1906-1968)가 함께 펴낸 예술품 같은 수많은 한정판 서적은 오늘날까지도 매우 귀중한 대만의 문화유산이다.\n\n이 섹션에서는 Foujita Tsuguharu(1886-1968), Kawashima Riichiro(1886-1971) 등이 짧게 대만에 머물며 그린 대만의 풍경과 풍물, 그리고 Nishikawa Mitsuru와 Tateishi Tetsuomi, Miyata Yataro가 함께 대만 풍속을 주제로 펴낸 한정본 서적을 선보이며, 이는 예술과 디자인이 완벽하게 결합한 문화유산을 이룬다. Chen Cheng-po(1895-1947)가 자이 농업학교의 잡지 《루이쑤이》에 그린 표지와 제2회 타이양전 포스터에는 모두 재미있는 개구리 이미지가 사용되었다. Liao Wei-lin(1922-2011), Yuyu Yang(1926-1997), Gau Shan-lan(1934-) 등은 대만 서적·잡지의 문화적 맥락을 구축했다. 1960년대 Lung Sih-Liang(1937-2012)이 디자인한 《원싱》과 《현대문학》, Huang Hua-Cheng(1935-1996)이 디자인한 《극장》 잡지 표지는 대만 현대 디자인의 새로운 바람을 일으켰으며, 1964년 대만성 교육청의 《중화아동총서》에는 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-), Tsao Chun-yen(1941-) 등의 예술가가 참여해 아동 그림책을 그렸고, 이는 대만 문화 발전의 중요한 초석이 되었다.",{"zh":7347,"en":7348,"ja":7349,"ko":7350},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7353,"en":253,"ja":7354,"ko":7355},{"zh":7505,"en":7506,"ja":7505,"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",[],[243],[7510,7533,7559,7577,7603,7625,7644,7662,7674,7692,7704,7729,7741,7757,7769,7792,7814,7832,7850,7869,7892,7911,7929,7943,7965,7984,7998,8017,8034,8047,8066,8093,8114,8127,8140,8163,8184,8209,8222,8235,8245,8261,8278,8296,8314,8328,8342,8359,8376,8397,8406,8427,8441,8467,8484,8497,8510,8533,8543,8568,8583,8605,8622,8642,8655,8667,8685,8702,8715,8725,8742,8759,8772,8789,8808,8826,8839,8853,8874,8892,8909,8923,8945,8967,8985,9004,9027,9041,9059,9081,9094,9106,9119,9132,9150],{"id":7511,"slug":7512,"title":7513,"date":7518,"date_end":17,"time":7519,"venue":1000,"location":7520,"description":7525,"registration_required":796,"registration_url":17,"fee":17,"fee_note":7530,"image":1723,"strands":7531,"themes":7532},440,"e-tapani-walk",{"zh":7514,"en":7515,"ja":7516,"ko":7517},"噍吧哖事件重返歷史現場：走讀工作坊","Tapani Incident Walking Workshop","噍吧哖事件 歴史の現場へ再び：ウォーキング・ワークショップ","타파니 사건 역사 현장 재방문: 워킹 워크숍","2026-10-24","13:00–17:00",{"zh":7521,"en":7522,"ja":7523,"ko":7524},"第三法庭及周邊歷史現場","Courtroom 3 and nearby historic sites","第三法廷および周辺の歴史的現場","제3법정 및 주변 역사 현장",{"zh":7526,"en":7527,"ja":7528,"ko":7529},"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.","講師を招いて噍吧哖事件に関わる法的な論点を紹介していただくとともに、台南監獄、台南刑務所、湯德章旧居、西来庵跡などの歴史的な場所を歩き、写生と執筆を組み合わせて記録します。成果は司法博物館の展示エリアで展示される可能性があります。","강연자를 초청해 타파니 사건과 관련된 법률적 쟁점을 소개하고, 타이난 감옥, 타이난 형무소, 탕더장 옛집, 시라이안 옛터 등 역사적 장소를 함께 걸으며 스케치와 글쓰기를 결합합니다. 결과물은 사법 박물관 전시 공간에서 전시될 수 있습니다.",{"zh":17,"en":17,"ja":17,"ko":17},[612],[],{"id":7534,"slug":7535,"title":7536,"date":7541,"date_end":7542,"time":7543,"venue":1087,"location":7544,"description":7545,"registration_required":797,"registration_url":7550,"fee":7551,"fee_note":7552,"image":1723,"strands":7557,"themes":7558},427,"e-unfinished",{"zh":7537,"en":7538,"ja":7539,"ko":7540},"《日院放映：未完的簿冊》舞蹈×電影×老戲院跨域展演","Unfinished – Dance at the Cinema","《日院放映：未完の帳面》ダンス×映画×古い映画館による領域横断パフォーマンス","《일원 상영: 미완의 장부》 무용×영화×옛 극장 융복합 공연","2026-10-30","2026-11-01","14:30–16:00／19:30–21:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7546,"en":7547,"ja":7548,"ko":7549},"《日院放映：未完的簿冊》是一場以臺南在地老戲院「全美戲院」為創作演出現場的跨域展演製作。編舞家羅文瑾結合導演黎宇文，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，在銀幕與身體、光影與聲響、幻境與現實之間，展開一場關於時間、記憶與人生的未竟之旅。\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.","《日院放映：未完の帳面》は、台南の老舗映画館「全美戯院」を創作・上演の場とする領域横断パフォーマンスです。振付家・羅文瑾が監督・黎宇文とともに、ダンス、映像、音楽、オブジェ、空間を交錯させ、観客を幻想的な上映の場へと誘います。スクリーンと身体、光と影と音、幻想と現実のあいだで、時間、記憶、人生をめぐる未完の旅が繰り広げられます。\n公演日時：10\u002F30、10\u002F31 19:30；10\u002F31、11\u002F01 14:30。","《일원 상영: 미완의 장부》는 타이난의 오래된 극장 「췐메이 극장」을 창작·공연 현장으로 삼은 융복합 공연입니다. 안무가 Lo Wen-jin이 감독 Lai Yu-wen과 함께 무용, 영상, 음악, 오브제, 공간을 교차시키며 관객을 환상적인 상영 현장으로 이끌고, 스크린과 신체, 빛과 그림자와 소리, 환상과 현실 사이에서 시간과 기억, 인생에 관한 미완의 여정을 펼칩니다.\n공연 일정: 10\u002F30, 10\u002F31 19:30; 10\u002F31, 11\u002F01 14:30.","https:\u002F\u002Fwww.opentix.life\u002Fevent\u002F2072585470724239361","paid",{"zh":7553,"en":7554,"ja":7555,"ko":7556},"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","NT$800、ビエンナーレのチケット提示で当日会場購入は20%割引","NT$800, 비엔날레 티켓 소지 시 현장 구매 20% 할인",[683,705],[],{"id":7560,"slug":7561,"title":7562,"date":7541,"date_end":17,"time":7567,"venue":1202,"location":7568,"description":7569,"registration_required":797,"registration_url":17,"fee":17,"fee_note":7574,"image":1723,"strands":7575,"themes":7576},423,"e-opening-fudu",{"zh":7563,"en":7564,"ja":7565,"ko":7566},"府都[KIÀN_TIÒK]文化館開幕式+簡琿瑛表演","Grand Opening: Bailuwan Exhibition Area & TSURU—Awakening of Water","府都[KIÀN_TIÒK]文化館 開幕式+簡琿瑛パフォーマンス","푸두[KIÀN_TIÒK] 문화관 개막식+Bonnie TCHIEN Hwen-ying 퍼포먼스","16:00–21:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7570,"en":7571,"ja":7572,"ko":7573},"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.","白鷺湾展示エリアの開幕式です。フランス在住のアーティスト簡琿瑛が〈TSURU 水の覚醒〉を上演します。","바이루완 전시구역 개막식으로, 프랑스에서 활동하는 작가 Bonnie TCHIEN Hwen-ying이 〈TSURU 물의 각성〉을 공연합니다.",{"zh":17,"en":17,"ja":17,"ko":17},[696,683],[],{"id":7578,"slug":7579,"title":7580,"date":14,"date_end":17,"time":7585,"venue":767,"location":7586,"description":7591,"registration_required":797,"registration_url":17,"fee":17,"fee_note":7596,"image":1723,"strands":7601,"themes":7602},62,"e-opening",{"zh":7581,"en":7582,"ja":7583,"ko":7584},"「迴圈．超展開」開幕晚會","Opening Ceremony of the 1st Tainan Art Biennale","「ループ・超展開」オープニングパーティー","「순환·확장」 개막 파티","19:00–21:00",{"zh":7587,"en":7588,"ja":7589,"ko":7590},"中央廊道","Central Corridor","中央回廊","중앙 회랑",{"zh":7592,"en":7593,"ja":7594,"ko":7595},"開幕式邀請國內外知名聲樂家孔孝誠開場演出，以派對的形態讓貴賓沉醉在藝術的氛圍裡，集結國內外策展人與藝術家於南美館交流。本場為邀請制。","The opening ceremony features a performance by renowned vocalist Kong Siao-cheng (Ezio) and brings together curators and artists from Taiwan and abroad at the Tainan Art Museum. Invitation only.","開幕式では、国内外で知られる声楽家・孔孝誠がオープニングを飾ります。パーティー形式で来賓の皆さまに芸術の雰囲気を存分に味わっていただき、国内外のキュレーターやアーティストが台南市美術館に集い交流します。本イベントは招待制です。","개막식은 국내외에서 이름난 성악가 Kong Siao-cheng의 오프닝 공연으로 시작하며, 파티 형식으로 귀빈들이 예술의 분위기에 흠뻑 빠져들게 하고, 국내외 큐레이터와 예술가들이 타이난 미술관에 모여 교류합니다. 이번 행사는 초청제로 운영됩니다.",{"zh":7597,"en":7598,"ja":7599,"ko":7600},"邀請制","By invitation only","招待制","초청제",[683],[],{"id":7604,"slug":7605,"title":7606,"date":14,"date_end":17,"time":7611,"venue":830,"location":7612,"description":7617,"registration_required":797,"registration_url":17,"fee":17,"fee_note":7622,"image":1723,"strands":7623,"themes":7624},425,"e-tour",{"zh":7607,"en":7608,"ja":7609,"ko":7610},"32展區策展人迴圈大繞境巡禮","Opening Procession: Curators and Artists Tour the Roundabout","32会場キュレーターによるループ大遶境巡礼","32개 전시구역 큐레이터 순환 대순례","14:00–18:00",{"zh":7613,"en":7614,"ja":7615,"ko":7616},"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","湯德章紀念公園を出発し、各協力会場を巡行","탕더장 기념공원에서 출발하여 각 협력 전시구역 순회",{"zh":7618,"en":7619,"ja":7620,"ko":7621},"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.","台南アートビエンナーレのキュレーター陣とアーティストがロータリーを巡礼し、各協力会場を巡って開幕を呼びかけます。最新情報は本サイトのイベント告知をご覧ください。","타이난 예술 비엔날레 큐레이터단과 예술가들이 로터리를 순례하고 각 협력 전시구역을 돌며 개막을 알립니다. 최신 정보는 본 사이트의 행사 공지를 확인하십시오.",{"zh":7597,"en":7598,"ja":7599,"ko":7600},[696,683],[],{"id":7626,"slug":7627,"title":7628,"date":14,"date_end":7633,"time":17,"venue":1723,"location":7634,"description":7639,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":7641,"image":1723,"strands":7642,"themes":7643},606,"web-post-market",{"zh":7629,"en":7630,"ja":7631,"ko":7632},"後市場：流變啟示錄","Post-Market: Revelations of Flux","後市場：流変の黙示録","포스트 마켓: 변화의 계시록","2026-12-31",{"zh":7635,"en":7636,"ja":7637,"ko":7638},"Thau Ke 頭家（臺南市中西區淺草里海安路二段 30 巷 10 號）","Thau Ke (No. 10, Lane 30, Sec. 2, Hai’an Rd., Qiancao Vil., West Central Dist., Tainan City)","Thau Ke 頭家（台南市中西区浅草里海安路二段 30 巷 10 号）","Thau Ke(타이난시 중서구 첸차오리 하이안로 2단 30항 10호)",{"zh":17,"en":17,"ja":17,"ko":17},"free",{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":7645,"slug":7646,"title":7647,"date":14,"date_end":7652,"time":17,"venue":1350,"location":7653,"description":7658,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":7659,"image":1723,"strands":7660,"themes":7661},638,"hb-silk-road",{"zh":7648,"en":7649,"ja":7650,"ko":7651},"流動的絲路","Flowing Silk","流動するシルクロード","흐르는 실크로드","2026-11-30",{"zh":7654,"en":7655,"ja":7656,"ko":7657},"公園路 8 號","No. 8, Gongyuan Road","公園路8号","공원로 8호",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":3649,"slug":7663,"title":7664,"date":14,"date_end":7668,"time":17,"venue":1612,"location":7669,"description":7670,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":7671,"image":1723,"strands":7672,"themes":7673},"hb-floating-days",{"zh":7665,"en":7666,"ja":7665,"ko":7667},"浮日","The Everyday, Afloat","떠 있는 일상","2026-11-29",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":7675,"slug":7676,"title":7677,"date":14,"date_end":17,"time":7682,"venue":1171,"location":7683,"description":7684,"registration_required":797,"registration_url":17,"fee":17,"fee_note":7689,"image":1723,"strands":7690,"themes":7691},424,"e-opening-absolute",{"zh":7678,"en":7679,"ja":7680,"ko":7681},"絕對空間展覽開幕茶會暨講座分享","Absolute Space for the Arts: Opening & Talk","絶対空間 展覧会オープニング・ティーパーティー＆トーク","절대공간 전시 개막 다과회 및 강연","15:00–17:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7685,"en":7686,"ja":7687,"ko":7688},"臺南藝術雙年展絕對空間展區開幕暨座談。","Opening and talk at the Absolute Space for the Arts venue of the Tainan Art Biennale.","台南アートビエンナーレ絶対空間会場の開幕式およびトークです。","타이난 예술 비엔날레 절대공간 전시구역의 개막식 및 좌담회입니다.",{"zh":17,"en":17,"ja":17,"ko":17},[696,683],[],{"id":3886,"slug":7693,"title":7694,"date":14,"date_end":7652,"time":17,"venue":1350,"location":7699,"description":7700,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":7701,"image":1723,"strands":7702,"themes":7703},"hb-classic-architecture",{"zh":7695,"en":7696,"ja":7697,"ko":7698},"經典建築的次文化想像","Subcultural Re-imagining of Classic Architecture","名建築のサブカルチャー的想像","고전 건축의 서브컬처적 상상",{"zh":7654,"en":7655,"ja":7656,"ko":7657},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":301,"slug":7705,"title":7706,"date":14,"date_end":17,"time":7711,"venue":767,"location":7712,"description":7717,"registration_required":797,"registration_url":17,"fee":17,"fee_note":7722,"image":1723,"strands":7727,"themes":7728},"e-popup",{"zh":7707,"en":7708,"ja":7709,"ko":7710},"蚵殼的記憶之歌即興演出：杉原信幸 × 中村綾花 × 黃雅農","Pop-up Performance: Nobuyuki Sugihara × Ayaka Nakamura × Huang Ya-nung","牡蠣殻の記憶の歌 即興パフォーマンス：杉原信幸 × 中村綾花 × 黃雅農","굴 껍데기 기억의 노래 즉흥 공연: Sugihara Nobuyuki × Nakamura Ayaka × Huang Ya-nung","14:00",{"zh":7713,"en":7714,"ja":7715,"ko":7716},"中央廊道及 G 展間","Central Corridor and Gallery G","中央回廊およびG展示室","중앙 회랑 및 G 전시실",{"zh":7718,"en":7719,"ja":7720,"ko":7721},"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. Exact times and locations will be announced on this website.\nAfternoon; exact time to be announced on this website.","シラヤ文化を研究するなかで、私たちは牡蠣殻が地域の伝承において祖先や民族の起源を象徴し、海岸でよく見かける自然素材であるだけでなく、文化的な記憶を担うものであることを知りました。一枚一枚の牡蠣殻を家系図を編むようにつなぎ合わせ、生命、成長、移動を象徴する樹と船のイメージを創り出します。実際の上演時間と会場はビエンナーレ公式サイトの告知に準じます。\n上演は当日午後を予定しています。公式サイトの告知に準じます。","시라야 문화를 연구하면서 우리는 굴 껍데기가 지역 전설에서 조상과 종족의 기원을 상징하며, 해안에서 흔히 볼 수 있는 자연 재료일 뿐 아니라 문화적 기억을 담고 있다는 것을 알게 되었습니다. 굴 껍데기를 한 조각씩 족보를 엮듯 이어 붙여 생명과 성장, 이주를 상징하는 나무와 배의 이미지를 만들어 냅니다. 실제 공연 시간과 장소는 비엔날레 공식 웹사이트 공지를 따릅니다.\n공연은 당일 오후에 진행되며, 공식 웹사이트 공지를 따릅니다.",{"zh":7723,"en":7724,"ja":7725,"ko":7726},"憑本館門票免費","Free with museum admission","本館入館券で無料","본관 입장권 소지 시 무료",[696,683],[],{"id":7730,"slug":7731,"title":7732,"date":14,"date_end":15,"time":17,"venue":1461,"location":7736,"description":7737,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":7738,"image":1723,"strands":7739,"themes":7740},636,"hb-glow",{"zh":7733,"en":7734,"ja":7733,"ko":7735},"趨光","Born Through the Breach","빛을 좇아",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[602],[],{"id":275,"slug":7742,"title":7743,"date":14,"date_end":15,"time":17,"venue":1644,"location":7748,"description":7749,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":7754,"image":1723,"strands":7755,"themes":7756},"hb-zhuxi-relics",{"zh":7744,"en":7745,"ja":7746,"ko":7747},"跨世紀竹溪禪寺佛教文物展","Across the Centuries: Buddhist Cultural Artifacts Exhibition of Zhuxi Zen Temple","世紀を越える竹溪禅寺仏教文物展","세기를 넘어선 주시묘 불교 문물전",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7750,"en":7751,"ja":7752,"ko":7753},"竹溪禪寺創建於明朝永曆年間，為全臺第一座寺院。展覽以匾額、文獻及佛像為主，分兩大部分。第一部分「竹溪造像」，展出竹溪寺歷代佛像。第二部分為跨世紀文物，依時間序分層展出，「始見南溪」展出明時期的歷史文物；「募修鼎新」展出經清代乾隆、嘉慶與光緒年間多次重修後歷史文物；「重修續輝」展出歷經二十世紀二次重建後的歷史文物；「再造轉譯」展出第五次重建的歷史。","Founded during the Yongli reign of the Ming dynasty, Zhu-Xi Temple was the first Buddhist temple in Taiwan. Centered on plaques, documents and Buddhist statues, the exhibition is divided into two parts. Part One, “Zhuxi Statuary,” presents Buddhist statues from successive eras of the temple. Part Two presents artifacts spanning the centuries, arranged chronologically in layers: “First Seen at Nanxi” shows historical artifacts from the Ming period; “Funded Restoration and Renewal” shows historical artifacts following the repeated restorations of the Qianlong, Jiaqing and Guangxu reigns of the Qing dynasty; “Restoration and Continued Splendor” shows historical artifacts following the two reconstructions of the twentieth century; and “Rebuilding and Translation” presents the history of the fifth reconstruction.","竹溪禅寺は明朝の永暦年間に創建された、台湾で最初の寺院です。展覧会は扁額、文献、仏像を中心に、二部で構成されます。第一部「竹溪造像」では、竹溪寺の歴代の仏像を展示します。第二部は世紀を越える文物を時代順に層をなして展示し、「始見南溪」では明代の歴史文物を、「募修鼎新」では清代の乾隆・嘉慶・光緒年間の度重なる修復を経た歴史文物を、「重修続輝」では二十世紀の二度の再建を経た歴史文物を展示し、「再造転訳」では第五次再建の歴史を紹介します。","주시묘는 명나라 영력 연간에 창건된 대만 최초의 사찰입니다. 전시는 편액, 문헌, 불상을 중심으로 두 부분으로 구성됩니다. 제1부 「주시의 불상」에서는 주시묘의 역대 불상을 선보입니다. 제2부는 세기를 넘나드는 문물을 시대순으로 층층이 전시하며, 「남계에서 처음 보다」에서는 명대의 역사 문물을, 「모금으로 새롭게」에서는 청대 건륭·가경·광서 연간에 여러 차례 중수된 뒤의 역사 문물을, 「중수와 이어지는 빛」에서는 20세기 두 차례의 재건을 거친 역사 문물을 전시하고, 「재건과 번역」에서는 다섯 번째 재건의 역사를 보여 줍니다.",{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":3491,"slug":7758,"title":7759,"date":14,"date_end":7652,"time":17,"venue":1350,"location":7764,"description":7765,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":7766,"image":1723,"strands":7767,"themes":7768},"hb-breaking-loop",{"zh":7760,"en":7761,"ja":7762,"ko":7763},"迴圈破局：命運重生軍","Breaking the Circuit: Destiny Rebirth Army","ループ破局：運命再生軍","순환 깨기: 운명 재생군",{"zh":7654,"en":7655,"ja":7656,"ko":7657},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":7770,"slug":7771,"title":7772,"date":7542,"date_end":17,"time":7777,"venue":856,"location":7778,"description":7783,"registration_required":796,"registration_url":7788,"fee":7640,"fee_note":7789,"image":1723,"strands":7790,"themes":7791},63,"e-forum",{"zh":7773,"en":7774,"ja":7775,"ko":7776},"「迴圈．超展開：當代藝術與城市社區的對話」開幕論壇","Unfolding Circuits: Dialogues Between Contemporary Art, Cities, and Communities","「ループ・超展開：現代アートと都市コミュニティの対話」オープニング・フォーラム","「순환·확장: 현대미술과 도시 커뮤니티의 대화」 개막 포럼","09:50–17:30",{"zh":7779,"en":7780,"ja":7781,"ko":7782},"國立臺灣文學館 1F 演講廳","1F Lecture Hall","台湾文学館 1F 講堂","대만 문학관 1F 강연장",{"zh":7784,"en":7785,"ja":7786,"ko":7787},"09:00–09:30　論壇報到入場／開工典禮報到\n\n09:00–09:30　開工／開幕式（於湯德章紀念公園舉行）\n長官貴賓致詞：藤本壯介建築師、文化部長官代表、臺南市政府黃偉哲市長、臺南市政府文化局黃雅玲局長、臺南市美術館游文玫董事長、臺南市美術館龔卓軍館長\n\n09:30–09:50　步行回論壇會場\n\n09:50–11:20　專題演講\n主講人：藤本壯介 建築師\n主題：在大阪的大屋根和臺南小甜甜圈之間\n主持人：謝宗哲 策展人\n回應人：阮慶岳 建築師、龔卓軍 臺南市美術館館長\n\n11:20–12:30　專題座談 1\n主持人：龔卓軍 臺南市美術館館長\n分享者：吉田大作 Artist Cafe Fukuoka 首席總監、神谷幸江 東京國立新美術館首席策展人\n主題：社會介入與當代藝術圈\n\n12:30–13:30　午休\n\n13:30–13:50　報到入場\n\n13:50–15:20　專題座談 2\n主持人：陳明惠 國立成功大學創意產業設計研究所教授\n分享者：Theo Costantino 西澳大學 Lawrence Wilson Art Gallery 館長、Lee Kinsella 西澳大學 Lawrence Wilson Art Gallery 策展人、阮英俊 藝術家\n主題：美術館與城市社區生態網絡\n\n15:20–15:30　休息\n\n15:30–17:00　專題座談 3\n主持人：潘青林 嘉義市立美術館館長\n分享者：龔義昭 藝術家、楊佳璇 策展人、杜昭賢 都市藝術工作室、加力畫廊、B.B.ART 創辦人\n主題：城市裡的藝術出版與藝術群\n\n17:00–17:30　綜合交流（現場與會貴賓）\n主持人：龔卓軍 臺南市美術館館長","09:00–09:30  Forum Check-in \u002F Groundbreaking Ceremony Check-in\n\n09:00–09:30  Groundbreaking \u002F Opening Ceremony (at Tang Te-chang Memorial Park)\nOpening Remarks\n\n09:30–09:50  Walk back to the forum venue\n\n09:50–11:20  Keynote Speech\nSpeaker: Architect Sou Fujimoto\nTitle: Between Nature and Architecture\nModerator: Curator Sotetsu Sha\nRespondent: Architect Ching-Yueh Roan, Director Jow-Jiun Gong\n\n11:20–12:30  Panel Discussion 1\nModerator: Director Jow-Jiun Gong\nSpeakers: Chief Director Daisaku Yoshida, Chief Curator Yukie Kamiya\nTitle: Social Engagement and the Contemporary Art World\n\n12:30–13:30  Lunch Break\n\n13:30–13:50  Check-in & Welcome\n\n13:50–15:20  Panel Discussion 2\nModerator: Professor Ming Turner\nSpeakers: Director Dr Theo Costantino, Curator Lee Kinsella, Artist Tuan Mami\nTitle: Museums and Urban Community Ecological Networks\n\n15:20–15:30  Break\n\n15:30–17:00  Panel Discussion 3\nModerator: Director Ching-Lin Pan\nSpeakers: Artist Yih-jau Gong, Curator Chia-hsuan Yang, Founder\u002FArt Director Jamie Tu\nTitle: Art Publishing and the Art Community in the City\n\n17:00–17:30  Concluding Discussion (with participating guests)\nModerator: Director Jow-Jiun Gong","09:00–09:30　フォーラム受付・入場／起工式受付\n\n09:00–09:30　起工式／開幕式（湯德章紀念公園にて開催）\n来賓挨拶：藤本壮介 建築家、文化部代表、台南市政府 黃偉哲市長、台南市政府文化局 黃雅玲局長、台南市美術館 游文玫理事長、台南市美術館 龔卓軍館長\n\n09:30–09:50　徒歩でフォーラム会場へ戻る\n\n09:50–11:20　基調講演\n講演者：藤本壮介 建築家\nテーマ：大阪の大屋根と台南の小さなドーナツのあいだで\nモデレーター：謝宗哲（シェー・ジョンジェー） キュレーター\nコメンテーター：阮慶岳 建築家、龔卓軍 台南市美術館館長\n\n11:20–12:30　パネルディスカッション 1\nモデレーター：龔卓軍 台南市美術館館長\n登壇者：吉田大作 Artist Cafe Fukuoka チーフディレクター、神谷幸江 東京・国立新美術館チーフキュレーター\nテーマ：社会への介入と現代アートの世界\n\n12:30–13:30　昼休憩\n\n13:30–13:50　受付・入場\n\n13:50–15:20　パネルディスカッション 2\nモデレーター：陳明惠 国立成功大学創意産業設計研究所教授\n登壇者：Theo Costantino 西オーストラリア大学 Lawrence Wilson Art Gallery 館長、Lee Kinsella 西オーストラリア大学 Lawrence Wilson Art Gallery キュレーター、Tuan Mami アーティスト\nテーマ：美術館と都市コミュニティの生態系ネットワーク\n\n15:20–15:30　休憩\n\n15:30–17:00　パネルディスカッション 3\nモデレーター：潘青林 嘉義市立美術館館長\n登壇者：龔義昭 アーティスト、楊佳璇（ヤン・ジャーシェン） キュレーター、杜昭賢 都市芸術工作室、加力画廊、B.B.ART 創設者\nテーマ：都市におけるアート出版とアート・コミュニティ\n\n17:00–17:30　総合交流（会場のご来賓）\nモデレーター：龔卓軍 台南市美術館館長","09:00–09:30　포럼 등록 및 입장\u002F착공식 등록\n\n09:00–09:30　착공식\u002F개막식(탕더장 기념공원에서 개최)\n귀빈 축사: Sou Fujimoto 건축가, 문화부 대표, 타이난 시정부 Huang Wei-che 시장, 타이난 시정부 문화국 Huang Ya-ling 국장, 타이난 미술관 Yiu Wen-mei 이사장, 타이난 미술관 Jow-Jiun Gong 관장\n\n09:30–09:50　포럼 장소로 도보 이동\n\n09:50–11:20　기조 강연\n강연자: Sou Fujimoto 건축가\n주제: 오사카의 대지붕과 타이난의 작은 도넛 사이에서\n사회: 셰쭝저 큐레이터\n토론자: Ching-Yueh Roan 건축가, Jow-Jiun Gong 타이난 미술관 관장\n\n11:20–12:30　패널 토론 1\n사회: Jow-Jiun Gong 타이난 미술관 관장\n발표자: Daisaku Yoshida Artist Cafe Fukuoka 총괄 디렉터, Yukie Kamiya 도쿄 국립신미술관 수석 큐레이터\n주제: 사회 개입과 현대미술계\n\n12:30–13:30　점심시간\n\n13:30–13:50　등록 및 입장\n\n13:50–15:20　패널 토론 2\n사회: Ming Turner 국립성공대학교 창의산업디자인연구소 교수\n발표자: Theo Costantino 웨스턴오스트레일리아대학교 Lawrence Wilson Art Gallery 관장, Lee Kinsella 웨스턴오스트레일리아대학교 Lawrence Wilson Art Gallery 큐레이터, Tuan Mami 작가\n주제: 미술관과 도시 커뮤니티 생태 네트워크\n\n15:20–15:30　휴식\n\n15:30–17:00　패널 토론 3\n사회: Ching-Lin Pan 자이 시립미술관 관장\n발표자: Yih-jau Gong 작가, 양자쉬안 큐레이터, Jamie Tu 도시예술공작실, 자리 갤러리, B.B.ART 설립자\n주제: 도시 속 예술 출판과 예술 공동체\n\n17:00–17:30　종합 교류(현장 참석 귀빈)\n사회: Jow-Jiun Gong 타이난 미술관 관장","https:\u002F\u002Fwww.accupass.com\u002Fgo\u002Fopeningforum",{"zh":17,"en":17,"ja":17,"ko":17},[625,612],[],{"id":7793,"slug":7794,"title":7795,"date":7542,"date_end":17,"time":7800,"venue":1723,"location":7801,"description":7806,"registration_required":797,"registration_url":17,"fee":17,"fee_note":7811,"image":1723,"strands":7812,"themes":7813},453,"e-shallot-farm",{"zh":7796,"en":7797,"ja":7798,"ko":7799},"徵！紅蔥頭農夫｜種蔥頭","Wanted: Shallot Farmers!","募集！エシャロット農家｜植え付け","모집! 샬롯 농부｜샬롯 심기","10:00–18:00",{"zh":7802,"en":7803,"ja":7804,"ko":7805},"臺南北門三寮灣自然農法示範田","Sanliaowan Natural Farming Demonstration Field, Beimen","台南北門 三寮湾自然農法モデル農園","타이난 베이먼 싼랴오완 자연농법 시범 농지",{"zh":7807,"en":7808,"ja":7809,"ko":7810},"邀請民眾前往三寮灣參與紅蔥頭種植、農田生物觀察及採收，理解農村中人與土地相伴的勞動與生活節奏。","Plant shallots, observe field life and harvest in Sanliaowan, experiencing the rhythm of rural life.","三寮湾にお越しいただき、エシャロットの植え付け、農地の生き物観察、収穫に参加しながら、農村で人と土地がともに営む労働と暮らしのリズムを体感していただきます。","시민들을 싼랴오완으로 초대해 샬롯 심기, 농지 생물 관찰, 수확에 참여하며 농촌에서 사람과 땅이 함께하는 노동과 삶의 리듬을 이해하는 시간을 갖습니다.",{"zh":17,"en":17,"ja":17,"ko":17},[656,612],[],{"id":7815,"slug":7816,"title":7817,"date":7542,"date_end":17,"time":7822,"venue":830,"location":7823,"description":7824,"registration_required":797,"registration_url":17,"fee":17,"fee_note":7829,"image":1723,"strands":7830,"themes":7831},607,"web-loop-groundbreaking",{"zh":7818,"en":7819,"ja":7820,"ko":7821},"藤本壯介《The Loop 迴圈 \u002F 打開的環》開工典禮","Groundbreaking Ceremony for Sou Fujimoto’s The Loop","藤本壮介《The Loop ループ \u002F 開かれた環》起工式","Sou Fujimoto 《The Loop 순환 \u002F 열린 고리》 착공식","09:00–09:30",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7825,"en":7826,"ja":7827,"ko":7828},"「迴圈開工」揭開臺南藝術雙年展序幕，由藤本壯介參與開工典禮，並於開幕論壇中展開「城市與建築思考」專題演講，緊接著，舉行「當代藝術與城市社區的對話」。論壇後，傍晚和參與藝術家與貴賓前往老爺行旅，此為邀請制晚宴與交流活動，在藝術、城市與社群的對話中，共同展開雙年展的序章。","“Loop Groundbreaking” raises the curtain on the Tainan Art Biennale. Sou Fujimoto takes part in the groundbreaking ceremony and gives a keynote, “Thinking on Cities and Architecture,” at the opening forum, followed by “Dialogues Between Contemporary Art, Cities, and Communities.” After the forum, participating artists and guests head to The Place Tainan in the early evening for an invitation-only dinner and networking event, opening the first chapter of the Biennale together through dialogue among art, the city and communities.","「ループ起工」は台南アートビエンナーレの幕開けを告げるものです。藤本壮介が起工式に参加し、オープニング・フォーラムで「都市と建築の思考」をテーマに基調講演を行い、続いて「現代アートと都市コミュニティの対話」を開催します。フォーラム終了後、夕刻には参加アーティストや来賓とともに老爺行旅へ移動し、招待制の晩餐会と交流会を行います。アート、都市、コミュニティの対話のなかで、ともにビエンナーレの序章を開きます。","「순환 착공」은 타이난 예술 비엔날레의 서막을 엽니다. Sou Fujimoto가 착공식에 참석하고 개막 포럼에서 「도시와 건축에 대한 사유」를 주제로 기조 강연을 펼치며, 이어서 「현대미술과 도시 커뮤니티의 대화」가 열립니다. 포럼 후 저녁에는 참여 예술가 및 귀빈과 함께 The Place Tainan으로 이동해 초청제로 진행되는 만찬과 교류 행사를 가지며, 예술과 도시, 공동체의 대화 속에서 비엔날레의 서장을 함께 엽니다.",{"zh":7597,"en":7598,"ja":7599,"ko":7600},[696,683],[],{"id":3615,"slug":7833,"title":7834,"date":7839,"date_end":17,"time":7840,"venue":1114,"location":7841,"description":7846,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":7847,"image":1723,"strands":7848,"themes":7849},"web-recycle-opening",{"zh":7835,"en":7836,"ja":7837,"ko":7838},"Jane Ingram Allen 捐贈感謝儀式","Jane Ingram Allen Donation Appreciation Ceremony","Jane Ingram Allen 寄贈感謝式","Jane Ingram Allen 기증 감사식","2026-11-03","18:30–20:30",{"zh":7842,"en":7843,"ja":7844,"ko":7845},"TAM+ 藝術之森｜原臺南公園管理所","TAM+ Art Forest | Former Tainan Park Office","TAM+ アートの森｜旧台南公園管理所","TAM+ 예술의 숲｜옛 타이난 공원 관리소",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":7851,"slug":7852,"title":7853,"date":7858,"date_end":7859,"time":17,"venue":1580,"location":7860,"description":7861,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":7866,"image":1723,"strands":7867,"themes":7868},642,"hb-omotesenke",{"zh":7854,"en":7855,"ja":7856,"ko":7857},"表千家茶人器物展","Exhibition of Tea Utensils by Omotesenke Practitioners","表千家 茶人の器物展","오모테센케 다인 기물전","2026-11-04","2026-12-12",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7862,"en":7863,"ja":7864,"ko":7865},"本展以表千家茶之湯的精神為主題，展出來自臺灣與日本茶人與藝術家的陶藝、書法、花道及植物裝置藝術等作品。\n\n茶道不僅是一門點茶技藝，更是一種尊重他人、珍惜器物、懷抱對自然感恩之心，並培養謙遜品格的文化；表千家作為歷史悠久的日本茶道三千家其中一門，其傳承的侘寂風格，也成為現代社會的極致追求之一。\n\n除了茶人作品展示之外，本展亦將介紹茶之湯的精神及其文化背景，讓更多參觀者了解茶道是一項至今仍活躍於當代藝術與日常生活中的文化傳統。","Taking the spirit of Omotesenke chanoyu as its theme, this exhibition presents ceramics, calligraphy, ikebana and botanical installations by tea practitioners and artists from Taiwan and Japan.\n\nThe Way of Tea is not merely the skill of preparing tea, but a culture of respecting others, cherishing objects, holding gratitude toward nature and cultivating humility. As one of the three historic Sen schools of the Japanese tea ceremony, Omotesenke has carried on the wabi-sabi aesthetic, which has also become one of the ultimate pursuits of contemporary society.\n\nAlongside the works of tea practitioners, the exhibition introduces the spirit and cultural background of chanoyu, helping more visitors understand that the Way of Tea is a cultural tradition still alive in contemporary art and everyday life today.","本展は表千家の茶の湯の精神をテーマに、台湾と日本の茶人やアーティストによる陶芸、書、華道、植物によるインスタレーションなどの作品を展示します。\n\n茶道は点前の技にとどまらず、他者を敬い、道具を慈しみ、自然への感謝の心を抱き、謙虚な人柄を育む文化です。歴史ある日本の茶道三千家の一つである表千家が受け継いできた侘び寂びの美意識は、現代社会における究極の追求の一つともなっています。\n\n茶人の作品展示に加え、本展では茶の湯の精神とその文化的背景も紹介し、茶道が今なお現代アートや日常生活のなかに息づく文化的伝統であることを、より多くの来場者に知っていただきます。","이번 전시는 오모테센케 차노유의 정신을 주제로, 대만과 일본의 다인 및 예술가들이 만든 도예, 서예, 꽃꽂이, 식물 설치 작품 등을 선보입니다.\n\n다도는 차를 내는 기술에 그치지 않고, 타인을 존중하고 기물을 아끼며 자연에 감사하는 마음을 품고 겸손한 품성을 기르는 문화입니다. 오랜 역사를 지닌 일본 다도 삼천가 중 하나인 오모테센케가 계승해 온 와비사비의 미학은 현대 사회가 추구하는 궁극의 가치 가운데 하나가 되기도 했습니다.\n\n다인의 작품 전시와 더불어 차노유의 정신과 그 문화적 배경도 소개하여, 다도가 오늘날에도 현대미술과 일상생활 속에 살아 있는 문화 전통임을 더 많은 관람객이 이해할 수 있도록 합니다.",{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":7870,"slug":7871,"title":7872,"date":7877,"date_end":17,"time":7878,"venue":767,"location":7879,"description":7884,"registration_required":797,"registration_url":17,"fee":17,"fee_note":7885,"image":1723,"strands":7890,"themes":7891},609,"web-australia-talk",{"zh":7873,"en":7874,"ja":7875,"ko":7876},"「一任清風吹運：臺灣女性當代藝術」澳洲展出行前座談會","Pre-Departure Talk: “As the Clear Breeze Blows: Contemporary Art by Taiwanese Women” in Australia","「一任清風吹運：台湾女性の現代アート」オーストラリア展 事前座談会","「맑은 바람에 맡기다: 대만 여성 현대미술」 호주 전시 사전 좌담회","2026-11-05","14:30–16:30",{"zh":7880,"en":7881,"ja":7882,"ko":7883},"TAM+ 閱讀之森","TAM+ Reading Forest","TAM+ 読書の森","TAM+ 독서의 숲",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7886,"en":7887,"ja":7888,"ko":7889},"邀請制入場","Admission by invitation only","招待者のみ入場可","초청자에 한해 입장",[],[],{"id":7893,"slug":7894,"title":7895,"date":7900,"date_end":17,"time":7901,"venue":767,"location":7902,"description":7907,"registration_required":797,"registration_url":17,"fee":17,"fee_note":7908,"image":1723,"strands":7909,"themes":7910},610,"web-australia-night",{"zh":7896,"en":7897,"ja":7898,"ko":7899},"澳洲之夜","Australia Night","オーストラリア・ナイト","호주의 밤","2026-11-06","18:30–21:00",{"zh":7903,"en":7904,"ja":7905,"ko":7906},"臺南市美術館中央廊道","Central Corridor, Tainan Art Museum","台南市美術館 中央回廊","타이난 미술관 중앙 회랑",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7886,"en":7887,"ja":7888,"ko":7889},[],[],{"id":7912,"slug":7913,"title":7914,"date":7900,"date_end":17,"time":7919,"venue":856,"location":7920,"description":7921,"registration_required":797,"registration_url":17,"fee":17,"fee_note":7926,"image":1723,"strands":7927,"themes":7928},444,"e-craft-forum",{"zh":7915,"en":7916,"ja":7917,"ko":7918},"異地與在地之間：當代工藝的跨界流動、轉譯與再生","Between The Foreign and the Domestic: Transcultural Flows, Translation, and Regeneration in Contemporary Craft","異地と在地のあいだ：現代工芸の越境的な流動、翻訳、再生","이국과 지역 사이: 현대 공예의 경계를 넘는 흐름, 번역, 재생","09:30–17:30",{"zh":7779,"en":7780,"ja":7781,"ko":7782},{"zh":7922,"en":7923,"ja":7924,"ko":7925},"臺南藝術雙年展 × 北陸工藝祭 × 印度洋工藝三年展三角平台。以「異地與在地」為架構，由裘德・范德梅爾韋、秋元雄史專題演講，並邀集武玉玲、小林万里子、拉黑子．達立夫、卓俞翔、夏本度．德、約書亞．沙發兒等藝術家，探索工藝在不同地域、文化與族群之間的流動。","Tainan Art Biennale × Go For Kogei × Indian Ocean Craft Triennial. Keynotes by Jude van der Merwe and Akimoto Yūji, with artists including Aluaiy Kaumakan, Kobayashi Mariko, Rahic Talif, Todd Tok Yu-xiang, Sharbendu De and Joshua Sofaer.","台南アートビエンナーレ × 北陸工芸の祭典 GO FOR KOGEI × インド洋工芸トリエンナーレによる三者連携プラットフォーム。「異地と在地」を枠組みに、Jude van der Merwe と秋元雄史が基調講演を行い、武玉玲、小林万里子、拉黑子・達立夫、卓俞翔、Sharbendu De、Joshua Sofaer らアーティストを招いて、異なる地域、文化、民族のあいだを行き交う工芸の流動を探ります。","타이난 예술 비엔날레 × GO FOR KOGEI × 인도양 공예 트리엔날레 삼자 플랫폼. 「이국과 지역」을 틀로 삼아 Jude van der Merwe와 Akimoto Yūji가 기조 강연을 하고, Aluaiy Kaumakan, Kobayashi Mariko, Rahic Talif, Tok Yu-xiang, Sharbendu De, Joshua Sofaer 등 예술가들을 초청해 서로 다른 지역, 문화, 종족 사이를 오가는 공예의 흐름을 탐구합니다.",{"zh":17,"en":17,"ja":17,"ko":17},[625,612],[],{"id":3852,"slug":7930,"title":7931,"date":7936,"date_end":17,"time":7937,"venue":884,"location":7938,"description":7939,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":7940,"image":1723,"strands":7941,"themes":7942},"web-news-1107",{"zh":7932,"en":7933,"ja":7934,"ko":7935},"七條通新聞社 Open Studio 民眾編輯行動","The 7-Avenue Newsroom Open Studio: Public Editing Action","七条通新聞社 Open Studio 市民編集アクション","The 7-Avenue Newsroom Open Studio 시민 편집 활동","2026-11-07","14:00–16:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":7944,"slug":7945,"title":7946,"date":7936,"date_end":17,"time":7951,"venue":807,"location":7952,"description":7957,"registration_required":797,"registration_url":17,"fee":17,"fee_note":7962,"image":1723,"strands":7963,"themes":7964},428,"e-opera",{"zh":7947,"en":7948,"ja":7949,"ko":7950},"精選經典京劇：《鬼王鍾馗》","Classical Peking Opera: The Ghost King Zhong Kui","京劇名作選：《鬼王鍾馗》","엄선 경극 명작: 《귀왕 종규》","14:30–15:30",{"zh":7953,"en":7954,"ja":7955,"ko":7956},"跨域展演廳","Interdisciplinary Performance Hall","領域横断パフォーマンスホール","융복합 공연홀",{"zh":7958,"en":7959,"ja":7960,"ko":7961},"《鬼王鍾馗》由朱陸豪親傳、青年武生徐挺芳領銜主演，由生入淨，俊臉書生轉身花臉鬼王。世人皆知鍾馗歷劫成王，五鬼嫁妹喜氣奔放，《鬼王鍾馗》是真劇場京選獻給臺灣驅邪迎福的圓滿祝願。本場導聆將透過文學導聆、京劇說演、示範體驗等為您揭曉跨越人鬼陰陽的千古傳奇，一揭京劇背後的藝術符碼及精彩門道。","Presented by Authentic Playground and led by young martial-role performer Xu Ting-fang. This introduction combines literary commentary, storytelling and demonstrations to reveal the artistry of Peking Opera.","《鬼王鍾馗》は、朱陸豪の直伝を受けた若手武生・徐挺芳が主演を務め、生から浄へと役柄を転じ、端正な書生が隈取りの鬼王へと変身します。鍾馗が苦難を経て王となり、五鬼が妹の嫁入りを賑やかに彩る物語は広く知られており、《鬼王鍾馗》は真劇場京選が台湾に贈る、厄を払い福を招く円満な祈りです。本公演の解説では、文学的な解説、京劇の語りと実演、デモンストレーション体験などを通して、人と鬼、陰と陽を越える千古の伝説をひもとき、京劇の背後にある芸術的な符号と見どころを明らかにします。","《귀왕 종규》는 Chu Lu-hao에게 직접 사사한 청년 무생 Xu Ting-fang이 주연을 맡아, 생 역에서 정 역으로 넘나들며 준수한 서생이 화려한 분장의 귀왕으로 변신합니다. 종규가 시련을 거쳐 왕이 되고 다섯 귀신이 흥겹게 누이를 시집보내는 이야기는 널리 알려져 있으며, 《귀왕 종규》는 Authentic Playground의 경극 선집이 대만에 바치는, 액을 물리치고 복을 맞이하는 원만한 축원입니다. 이번 해설 공연에서는 문학 해설, 경극 이야기 시연, 시범 체험 등을 통해 인간과 귀신, 음과 양을 넘나드는 천고의 전설을 풀어내고, 경극 이면의 예술적 코드와 묘미를 밝혀 드립니다.",{"zh":17,"en":17,"ja":17,"ko":17},[683,705],[],{"id":7966,"slug":7967,"title":7968,"date":7973,"date_end":17,"time":7974,"venue":1260,"location":7975,"description":7976,"registration_required":797,"registration_url":17,"fee":17,"fee_note":7981,"image":1723,"strands":7982,"themes":7983},431,"e-film-1",{"zh":7969,"en":7970,"ja":7971,"ko":7972},"國影影像放映計畫：張帝找阿珠","TFAI Film Screening Program","TFAI映像上映プログラム：張帝找阿珠","TFAI 영상 상영 프로그램: 장디, 아주를 찾아서","2026-11-08","19:00–20:30",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7977,"en":7978,"ja":7979,"ko":7980},"本次雙年展與國家電影及視聽文化中心合作，播映多支修復過之作品，在不同的空間裡呈現，展現影像多重表現的可能性，在廟前廣場，或在替代空間，不同的放映時空，都希望帶給觀者不同的體驗。","Restored films presented with the Taiwan Film and Audiovisual Institute in temple forecourts and alternative spaces.","今回のビエンナーレでは国家映画・視聴文化センターと協力し、修復された複数の作品をさまざまな空間で上映して、映像の多様な表現の可能性を示します。廟前の広場で、あるいはオルタナティブ・スペースで、異なる上映の時空を通して、観客の皆さまにそれぞれ異なる体験をお届けします。","이번 비엔날레는 국가 영화 및 시청각미디어 문화중심과 협력해 복원된 여러 작품을 다양한 공간에서 상영하며 영상의 다채로운 표현 가능성을 보여 줍니다. 사당 앞 광장에서, 또는 대안 공간에서, 서로 다른 상영의 시공간을 통해 관객에게 색다른 경험을 선사하고자 합니다.",{"zh":17,"en":17,"ja":17,"ko":17},[714,683],[],{"id":7985,"slug":7986,"title":7987,"date":7973,"date_end":17,"time":7992,"venue":1350,"location":7993,"description":7994,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":7995,"image":1723,"strands":7996,"themes":7997},643,"hb-silk-road-meetup",{"zh":7988,"en":7989,"ja":7990,"ko":7991},"流動的絲路藝術家小聚","Flowing Silk Artist Gathering","流動するシルクロード アーティスト交流会","흐르는 실크로드 작가 모임","14:00–15:30",{"zh":7654,"en":7655,"ja":7656,"ko":7657},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":7999,"slug":8000,"title":8001,"date":8006,"date_end":17,"time":8007,"venue":915,"location":8008,"description":8009,"registration_required":797,"registration_url":17,"fee":17,"fee_note":8014,"image":1723,"strands":8015,"themes":8016},449,"e-siubi",{"zh":8002,"en":8003,"ja":8004,"ko":8005},"黑秀美－大女纖維共創計畫：臺南文學縫寫工作坊〈地方記憶與消失的城市〉","Oh! Siubi! Literary Interweaving Workshop","黒秀美－大女ファイバー共創プロジェクト：台南文学縫い書きワークショップ〈地域の記憶と消えた都市〉","Oh! Siubi!－중장년 여성 섬유 공동창작 프로젝트: 타이난 문학 바느질 글쓰기 워크숍 〈지역의 기억과 사라진 도시〉","2026-11-09","13:00–16:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":8010,"en":8011,"ja":8012,"ko":8013},"共四堂，可單堂或重複參加：11\u002F09〈地方記憶與消失的城市〉、11\u002F12〈臺南庶民的日常〉（官郁珊）；11\u002F16〈臺南文學地圖〉、11\u002F19〈回應一座城市〉（吳竺恩）。","Four sessions, each open on its own: 9 Nov and 12 Nov with Guan Yu-shan; 16 Nov and 19 Nov with Wu Chu-en.","全四回、一回のみの参加も、複数回の参加も可能です：11\u002F09〈地域の記憶と消えた都市〉、11\u002F12〈台南庶民の日常〉（官郁珊）；11\u002F16〈台南文学地図〉、11\u002F19〈ひとつの都市に応答する〉（吳竺恩）。","총 4회로, 한 회만 참여하거나 여러 회 반복해서 참여할 수 있습니다: 11\u002F09 〈지역의 기억과 사라진 도시〉, 11\u002F12 〈타이난 서민의 일상〉(Guan Yu-shan); 11\u002F16 〈타이난 문학 지도〉, 11\u002F19 〈한 도시에 응답하기〉(Wu Chu-en).",{"zh":17,"en":17,"ja":17,"ko":17},[612,647],[],{"id":4983,"slug":8018,"title":8019,"date":8024,"date_end":15,"time":17,"venue":1723,"location":8025,"description":8030,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":8031,"image":1723,"strands":8032,"themes":8033},"web-xiaohua-game",{"zh":8020,"en":8021,"ja":8022,"ko":8023},"遇見小花 \u002F 圓環頂時空事件簿實境遊戲","Meeting Xiaohua \u002F The Roundabout Time-Space Casebook: A Real-World Game","小花に会う \u002F 円環頂 時空事件簿 リアル体験ゲーム","샤오화를 만나다 \u002F 위안환딩 시공간 사건부 리얼 체험 게임","2026-11-10",{"zh":8026,"en":8027,"ja":8028,"ko":8029},"出發點：復興市場；遊玩區域：東門圓環周邊","Starting point: Fuxing Market; Play area: around Dongmen Roundabout","出発地点：復興市場；プレイエリア：東門円環周辺","출발 지점: 푸싱 시장; 플레이 구역: 둥먼 로터리 주변",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":8035,"slug":8036,"title":8037,"date":8041,"date_end":17,"time":8007,"venue":915,"location":8042,"description":8043,"registration_required":797,"registration_url":17,"fee":17,"fee_note":8044,"image":1723,"strands":8045,"themes":8046},747,"e-siubi-2",{"zh":8038,"en":8003,"ja":8039,"ko":8040},"黑秀美－大女纖維共創計畫：臺南文學縫寫工作坊〈臺南庶民的日常〉","黒秀美－大女ファイバー共創プロジェクト：台南文学縫い書きワークショップ〈台南庶民の日常〉","Oh! Siubi!－중장년 여성 섬유 공동창작 프로젝트: 타이난 문학 바느질 글쓰기 워크숍 〈타이난 서민의 일상〉","2026-11-12",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":8010,"en":8011,"ja":8012,"ko":8013},{"zh":17,"en":17,"ja":17,"ko":17},[612,647],[],{"id":8048,"slug":8049,"title":8050,"date":8055,"date_end":17,"time":8056,"venue":1580,"location":8057,"description":8058,"registration_required":796,"registration_url":17,"fee":7551,"fee_note":8059,"image":1723,"strands":8064,"themes":8065},613,"web-camellia",{"zh":8051,"en":8052,"ja":8053,"ko":8054},"茶花示範・體驗活動（花寄せ）","Chabana Demonstration & Hands-on Experience (Hanayose)","茶花の実演・体験（花寄せ）","차바나 시연·체험 행사(하나요세)","2026-11-13","13:30–16:30",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":8060,"en":8061,"ja":8062,"ko":8063},"收費活動，詳細資訊詳請甘樂阿舍美術館官網","Paid event; see the Asir Art Museum website for details","有料イベント。詳細は甘楽阿舎美術館の公式サイトをご覧ください","유료 행사, 자세한 내용은 감락 아시르 미술관 공식 웹사이트를 참조하십시오",[],[],{"id":8067,"slug":8068,"title":8069,"date":8074,"date_end":17,"time":8075,"venue":1723,"location":8076,"description":8081,"registration_required":797,"registration_url":17,"fee":7551,"fee_note":8086,"image":1723,"strands":8091,"themes":8092},454,"e-map",{"zh":8070,"en":8071,"ja":8072,"ko":8073},"《漫遊迴圈｜我的臺南地圖》","City in Circuit: A Personal Tainan Mapping Project","《漫遊ループ｜わたしの台南地図》","《순환 산책｜나의 타이난 지도》","2026-11-14","13:00、15:30 各一場",{"zh":8077,"en":8078,"ja":8079,"ko":8080},"萬寶隆空間設計總部（臺南市安平區郡平路 468 號）","SING WAN BAU LONG Interior Design HQ, No. 468, Junping Rd., Anping Dist.","萬寶隆空間設計本部（台南市安平区郡平路 468 号）","SING WAN BAU LONG Interior Design 본사(타이난시 안핑구 쥔핑로 468호)",{"zh":8082,"en":8083,"ja":8084,"ko":8085},"以圓環結構與放射狀路徑為靈感，透過隨機抽取的視覺元素，結合金箔與複合媒材，創作一張屬於自己的「臺南地圖」。","Inspired by roundabouts and radial paths, participants combine randomly drawn visual elements with gold leaf and mixed media to make a personal map of Tainan.","ロータリーの構造と放射状の道筋に着想を得て、ランダムに引いたビジュアル要素に金箔とミクストメディアを組み合わせ、自分だけの「台南地図」を制作します。","로터리 구조와 방사형 길에서 영감을 받아, 무작위로 뽑은 시각 요소에 금박과 혼합 매체를 결합해 나만의 「타이난 지도」를 만듭니다.",{"zh":8087,"en":8088,"ja":8089,"ko":8090},"收費活動，詳細資訊詳請官網\n$999\u002F人","Paid event; see the official website for details\nNT$999 per person","有料イベント。詳細は公式サイトをご覧ください\nお一人様NT$999","유료 행사, 자세한 내용은 공식 웹사이트를 참조하십시오\n1인 NT$999",[656,612],[],{"id":8094,"slug":8095,"title":8096,"date":8074,"date_end":17,"time":8100,"venue":1031,"location":8101,"description":8106,"registration_required":797,"registration_url":17,"fee":17,"fee_note":8111,"image":1723,"strands":8112,"themes":8113},441,"e-tapani-procession",{"zh":8097,"en":6061,"ja":8098,"ko":8099},"《遊街-噍吧哖事件 城市劇場》","《遊街-噍吧哖事件 都市劇場》","《행진-타파니 사건 도시극장》","15:30–17:00",{"zh":8102,"en":8103,"ja":8104,"ko":8105},"集合：府城隍廟口停車場","Meet at the Taiwan Prefectural City God Temple parking lot","集合：台湾府城隍廟前の駐車場","집합: 타이완 부성황묘 앞 주차장",{"zh":8107,"en":8108,"ja":8109,"ko":8110},"自西來庵舊址出發，沿街遊行、招喚亡魂，行經湯德章公園，循南門路抵達司法博物館，以行走作為歷史的書寫方式。","Starting from the former Xilai-an Temple site, the procession passes Tang Te-chang Memorial Park and arrives at the Justice Museum, using walking as a way of writing history.","西来庵跡を出発し、街を練り歩きながら亡魂を呼び招き、湯德章紀念公園を経て南門路を通り、司法博物館へ至ります。歩くことを歴史の書き方とする試みです。","시라이안 옛터에서 출발해 거리를 행진하며 망령을 불러내고, 탕더장 기념공원을 지나 난먼로를 따라 사법 박물관에 도착합니다. 걷기를 역사를 쓰는 방식으로 삼습니다.",{"zh":17,"en":17,"ja":17,"ko":17},[732,683],[],{"id":8115,"slug":8116,"title":8117,"date":8074,"date_end":17,"time":7585,"venue":1492,"location":8122,"description":8123,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":8124,"image":1723,"strands":8125,"themes":8126},615,"web-roundabout-governance",{"zh":8118,"en":8119,"ja":8120,"ko":8121},"圓環與城市治理","Roundabouts and Urban Governance","ロータリーと都市ガバナンス","로터리와 도시 거버넌스",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":8128,"slug":8129,"title":8130,"date":8074,"date_end":15,"time":17,"venue":1679,"location":8135,"description":8136,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":8137,"image":1723,"strands":8138,"themes":8139},644,"hb-wood",{"zh":8131,"en":8132,"ja":8133,"ko":8134},"建築的無限可能：從 WOOD 材料到環境迴圈的超展開","The Infinite Possibilities of Architecture: From WOOD as Material to the Unfolding of the Environment Circuit","建築の無限の可能性：WOOD素材から環境の回路の超展開へ","건축의 무한한 가능성: WOOD 소재에서 환경 순환의 확장까지",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":8141,"slug":8142,"title":8143,"date":8074,"date_end":17,"time":8148,"venue":1723,"location":8149,"description":8154,"registration_required":796,"registration_url":8155,"fee":7551,"fee_note":8156,"image":1723,"strands":8161,"themes":8162},614,"web-tainan-world-1114",{"zh":8144,"en":8145,"ja":8146,"ko":8147},"迴圈走讀：臺南與世界交會的時刻","Circuit Walking Tour: Where Tainan Meets the World","ループ・ウォーク：台南と世界が交わるとき","순환 워킹 투어: 타이난과 세계가 만나는 순간","09:00–12:00",{"zh":8150,"en":8151,"ja":8152,"ko":8153},"看西街教會集合","Meet at Kanxi Street Church","看西街教会に集合","칸시제 교회 집합",{"zh":17,"en":17,"ja":17,"ko":17},"https:\u002F\u002Fforms.gle\u002FxfCTNxqvqWYZPrCc9",{"zh":8157,"en":8158,"ja":8159,"ko":8160},"導覽費用$200元\u002F人，每團限額16人。","Tour fee NT$200 per person; up to 16 participants per group.","ガイド料はお一人様NT$200、1グループ定員16名です。","투어 비용은 1인 NT$200이며, 팀당 정원은 16명입니다.",[],[],{"id":3541,"slug":8164,"title":8165,"date":8170,"date_end":17,"time":7937,"venue":1723,"location":8171,"description":8176,"registration_required":797,"registration_url":17,"fee":17,"fee_note":8181,"image":1723,"strands":8182,"themes":8183},"e-shallot-1",{"zh":8166,"en":8167,"ja":8168,"ko":8169},"你算哪根蔥？（非）蔥農盆栽製作｜鹽分地帶場","Who Do You Think You Are? (Non-)Shallot Farmer Planter Workshop: Salt Belt","あなたはどのネギ？（非）エシャロット農家の鉢植えづくり｜塩分地帯編","당신은 어떤 파인가요? (비)샬롯 농부 화분 만들기｜염분 지대 편","2026-11-15",{"zh":8172,"en":8173,"ja":8174,"ko":8175},"臺南北門三慈社區發展協會","Sanci Community Development Association, Beimen","台南北門 三慈社区発展協会","타이난 베이먼 싼츠 지역사회발전협회",{"zh":8177,"en":8178,"ja":8179,"ko":8180},"陪伴北門紅蔥頭農民，分享彼此「蔥農以外」的斜槓歷程，以提問引導立體造型，最後翻模成一株獨一無二的紅蔥頭盆栽。","Join Beimen shallot farmers, shape a sculpture from guided questions, and cast it into a one-of-a-kind shallot planter.","北門のエシャロット農家に寄り添い、互いの「エシャロット農家以外」のパラレルキャリアの歩みを分かち合いながら、問いかけを手がかりに立体を造形し、最後に型取りをして世界にひとつだけのエシャロットの鉢植えに仕上げます。","베이먼의 샬롯 농부들과 함께하며 서로의 「샬롯 농부 이외」의 N잡 경험을 나누고, 질문을 통해 입체 조형을 이끌어 낸 뒤, 마지막으로 본을 떠 세상에 하나뿐인 샬롯 화분을 완성합니다.",{"zh":17,"en":17,"ja":17,"ko":17},[612,647],[],{"id":8185,"slug":8186,"title":8187,"date":8170,"date_end":17,"time":8056,"venue":1260,"location":8192,"description":8197,"registration_required":796,"registration_url":17,"fee":7551,"fee_note":8202,"image":1723,"strands":8207,"themes":8208},589,"tiger-walk-5",{"zh":8188,"en":8189,"ja":8190,"ko":8191},"迴圈．遶境｜百虎尋福七路徑：走讀老師林荃荃X藝術家黃雉原導覽","Ritual Procession | Seven Tiger Paths to Blessings: Tour with Walking Guide Lin Chuan-chuan × Artist Huang Zhi-yuan","ループ・遶境｜百虎と福をたずねる七つの道：ウォーキングガイド林荃荃×アーティスト黃雉原によるガイドツアー","순환·순례｜백호와 함께 복을 찾는 일곱 갈래 길: 워킹 가이드 Lin Chuan-chuan × 작가 Huang Zhi-yuan 투어",{"zh":8193,"en":8194,"ja":8195,"ko":8196},"八吉境關帝廳 + 全美戲院","Guan-Di Temple of Ba-Ji-Jing + Chuang Mei Theater","八吉境道署関帝廟 + 全美戯院","바지징 관제묘 + 췐메이 극장",{"zh":8198,"en":8199,"ja":8200,"ko":8201},"七條走讀路線串聯臺南街區、宮廟與地方生活場域，從赤崁、開山、城隍、藥王信仰，到五條港與南廠聚落，探索虎爺信仰與城市文化的交織。透過藝術家的田野踏查與創作，走進府城歷史脈絡，感受信仰、地方記憶與日常生活共同形成的文化景觀。\n\n港道虎路線：水仙宮-天心軒-玄明保安宮-厲王宮-神興宮-搭車-關帝廳","Seven walking routes link Tainan’s neighborhoods, temples and places of everyday local life—from Chihkan and Kaishan and the City God and Medicine King faiths to the Wutiaogang and Nanchang settlements—exploring how Tiger Lord worship is interwoven with the culture of the city. Through the artists’ fieldwork and creations, participants step into the historical context of old Tainan and experience a cultural landscape shaped by faith, local memory and everyday life.\n\nHarbor Channel Tiger Route: Shuixian Temple - Tianxin Hall - Xuanming Bao’an Temple - Liwang Temple - Shenxing Temple - by vehicle - Guan-Di Temple of Ba-Ji-Jing","七つのウォーキングルートが台南の街区、廟宇、地域の生活の場をつなぎ、赤崁、開山、城隍、薬王信仰から五条港、南廠の集落まで、虎爺信仰と都市文化の交わりを探ります。アーティストのフィールドワークと創作を通して府城の歴史の文脈に分け入り、信仰、地域の記憶、日常生活がともに形づくる文化的景観を体感していただきます。\n\n港道虎ルート：水仙宮-天心軒-玄明保安宮-厲王宮-神興宮-車で移動-八吉境道署関帝廟","일곱 갈래의 워킹 투어 코스가 타이난의 거리와 사당, 지역 생활의 장을 잇고, 츠칸, 카이산, 성황, 약왕 신앙에서 우탸오강과 난창 마을에 이르기까지 호랑이 신 신앙과 도시 문화가 얽혀 있는 모습을 탐색합니다. 예술가의 현장 답사와 창작을 통해 타이난 부성의 역사적 맥락 속으로 들어가, 신앙과 지역의 기억, 일상이 함께 빚어낸 문화 경관을 느껴 봅니다.\n\n항도 호랑이 코스: 수선궁 - 천심헌 - 현명보안궁 - 여왕궁 - 신흥궁 - 차량 이동 - 바지징 관제묘",{"zh":8203,"en":8204,"ja":8205,"ko":8206},"導覽費用1,200元／人，每團限額20人。至全台 7-11 ibon 報名。","Tour fee NT$1,200 per person; up to 20 participants per group. Register via ibon at 7-11 stores across Taiwan.","ガイド料はお一人様NT$1,200、1グループ定員20名です。台湾全土の7-11 ibonでお申し込みください。","투어 비용은 1인 NT$1,200이며, 팀당 정원은 20명입니다. 대만 전역의 7-11 ibon에서 신청하실 수 있습니다.",[634,612],[],{"id":8210,"slug":8211,"title":8212,"date":8216,"date_end":17,"time":8007,"venue":915,"location":8217,"description":8218,"registration_required":797,"registration_url":17,"fee":17,"fee_note":8219,"image":1723,"strands":8220,"themes":8221},748,"e-siubi-3",{"zh":8213,"en":8003,"ja":8214,"ko":8215},"黑秀美－大女纖維共創計畫：臺南文學縫寫工作坊〈臺南文學地圖〉","黒秀美－大女ファイバー共創プロジェクト：台南文学縫い書きワークショップ〈台南文学地図〉","Oh! Siubi!－중장년 여성 섬유 공동창작 프로젝트: 타이난 문학 바느질 글쓰기 워크숍 〈타이난 문학 지도〉","2026-11-16",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":8010,"en":8011,"ja":8012,"ko":8013},{"zh":17,"en":17,"ja":17,"ko":17},[612,647],[],{"id":8223,"slug":8224,"title":8225,"date":8229,"date_end":17,"time":8007,"venue":915,"location":8230,"description":8231,"registration_required":797,"registration_url":17,"fee":17,"fee_note":8232,"image":1723,"strands":8233,"themes":8234},749,"e-siubi-4",{"zh":8226,"en":8003,"ja":8227,"ko":8228},"黑秀美－大女纖維共創計畫：臺南文學縫寫工作坊〈回應一座城市〉","黒秀美－大女ファイバー共創プロジェクト：台南文学縫い書きワークショップ〈ひとつの都市に応答する〉","Oh! Siubi!－중장년 여성 섬유 공동창작 프로젝트: 타이난 문학 바느질 글쓰기 워크숍 〈한 도시에 응답하기〉","2026-11-19",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":8010,"en":8011,"ja":8012,"ko":8013},{"zh":17,"en":17,"ja":17,"ko":17},[612,647],[],{"id":8236,"slug":8237,"title":8238,"date":8239,"date_end":17,"time":7937,"venue":884,"location":8240,"description":8241,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":8242,"image":1723,"strands":8243,"themes":8244},616,"web-news-1121",{"zh":7932,"en":7933,"ja":7934,"ko":7935},"2026-11-21",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":3583,"slug":8246,"title":8247,"date":8239,"date_end":15,"time":17,"venue":1319,"location":8252,"description":8253,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":8258,"image":1723,"strands":8259,"themes":8260},"hb-bread",{"zh":8248,"en":8249,"ja":8250,"ko":8251},"日常與麵包","Everyday Life and Bread","日常とパン","일상과 빵",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":8254,"en":8255,"ja":8256,"ko":8257},"Yu Sora以日常生活為主題，關注那些在災害或意外中可能瞬間失去的平凡片刻。透過立體與平面作品——以黑線在白色柔軟布面上刺繡、記錄日常風景——創造出促使人們重新思考「何為日常」的空間。","Taking everyday life as the theme, Yu Sora focuses on ordinary moments that could be lost in an instant to disaster or accident. Through three-dimensional and two-dimensional works—embroidering everyday scenes in black thread on soft white fabric to record them—the artist creates a space that prompts people to rethink “what everyday life is.”","Yu Soraは日常生活をテーマに、災害や事故によって一瞬にして失われうる何気ないひとときに目を向けています。立体と平面の作品——白く柔らかな布に黒い糸で刺繍し、日常の風景を記録したもの——を通して、「日常とは何か」を改めて考えさせる空間を創り出します。","유소라는 일상생활을 주제로, 재해나 사고로 한순간에 잃을 수 있는 평범한 순간들에 주목합니다. 입체와 평면 작품——흰 부드러운 천에 검은 실로 수를 놓아 일상의 풍경을 기록한 작업——을 통해 「일상이란 무엇인가」를 다시 생각하게 하는 공간을 만들어 냅니다.",{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":3748,"slug":8262,"title":8263,"date":8268,"date_end":17,"time":7937,"venue":1679,"location":8269,"description":8270,"registration_required":796,"registration_url":17,"fee":7640,"fee_note":8271,"image":1723,"strands":8276,"themes":8277},"web-prototype-tour-1122",{"zh":8264,"en":8265,"ja":8266,"ko":8267},"原型迴圈之木構住宅建築導覽","Prototype Circuit: Architectural Tour of the Timber House","原型ループの木造住宅 建築ガイドツアー","프로토타입 순환 목구조 주택 건축 투어","2026-11-22",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":8272,"en":8273,"ja":8274,"ko":8275},"免費，限額 30 位，需報名","Free; limited to 30 participants; registration required","無料、定員30名、要事前申込","무료, 정원 30명, 사전 신청 필요",[],[],{"id":8279,"slug":8280,"title":8281,"date":8268,"date_end":17,"time":8286,"venue":807,"location":8287,"description":8288,"registration_required":797,"registration_url":17,"fee":17,"fee_note":8293,"image":1723,"strands":8294,"themes":8295},429,"e-salon",{"zh":8282,"en":8283,"ja":8284,"ko":8285},"文學沙龍演談：真劇場文學小聚與臺南作家主題演談","Literary Salon Talk & Performance","文学サロン・トーク＆パフォーマンス：真劇場の文学の集いと台南作家テーマトーク","문학 살롱 토크 공연: Authentic Playground 문학 모임과 타이난 작가 주제 토크","14:30–16:00",{"zh":7953,"en":7954,"ja":7955,"ko":7956},{"zh":8289,"en":8290,"ja":8291,"ko":8292},"真劇場文學小聚與臺南作家主題演談：精選近年華文出版作品中具影響力的臺南在地作家著作，以書為名，透過朗讀、舞蹈、樂音、戲劇重新演繹文本，進而與作家展開對話，並且為與會者打造獨特的閱讀體驗，沉浸感受文字魅力，在輕鬆親近的氛圍裡，見證智慧哲思的交互激盪。","Authentic Playground reinterprets recent works by Tainan writers through reading, dance, music and theatre, followed by conversations with the authors.","真劇場の文学の集いと台南作家テーマトーク：近年の華文出版のなかから影響力のある台南の地元作家の著作を選び、本を軸に、朗読、ダンス、音楽、演劇でテキストを新たに表現したうえで、作家との対話を行います。参加者に独自の読書体験を提供し、言葉の魅力に浸りながら、くつろいだ親しみやすい雰囲気のなかで、知恵と思索が響き合う瞬間に立ち会っていただきます。","Authentic Playground 문학 모임과 타이난 작가 주제 토크: 최근 중화권 출판물 가운데 영향력 있는 타이난 지역 작가의 저서를 엄선하여, 책을 매개로 낭독, 무용, 음악, 연극으로 텍스트를 새롭게 해석한 뒤 작가와 대화를 나눕니다. 참가자에게 특별한 독서 경험을 선사하며, 편안하고 친근한 분위기 속에서 글의 매력에 흠뻑 빠져 지혜와 사유가 서로 부딪히는 순간을 함께합니다.",{"zh":17,"en":17,"ja":17,"ko":17},[683,705],[],{"id":8297,"slug":8298,"title":8299,"date":8268,"date_end":17,"time":8056,"venue":1382,"location":8304,"description":8306,"registration_required":796,"registration_url":17,"fee":7551,"fee_note":8311,"image":1723,"strands":8312,"themes":8313},585,"tiger-walk-1",{"zh":8300,"en":8301,"ja":8302,"ko":8303},"迴圈．遶境｜百虎尋福七路徑：走讀老師林荃荃X藝術家陳盈如導覽","Ritual Procession | Seven Tiger Paths to Blessings: Tour with Walking Guide Lin Chuan-chuan × Artist Chen Ying-ru","ループ・遶境｜百虎と福をたずねる七つの道：ウォーキングガイド林荃荃×アーティスト陳盈如によるガイドツアー","순환·순례｜백호와 함께 복을 찾는 일곱 갈래 길: 워킹 가이드 Lin Chuan-chuan × 작가 Chen Ying-ru 투어",{"zh":8305,"en":1386,"ja":1387,"ko":1388},"天壇",{"zh":8307,"en":8308,"ja":8309,"ko":8310},"七條走讀路線串聯臺南街區、宮廟與地方生活場域，從赤崁、開山、城隍、藥王信仰，到五條港與南廠聚落，探索虎爺信仰與城市文化的交織。透過藝術家的田野踏查與創作，走進府城歷史脈絡，感受信仰、地方記憶與日常生活共同形成的文化景觀。\n\n赤崁虎路線：大天后宮-廣安宮-小南天-北極殿-天壇","Seven walking routes link Tainan’s neighborhoods, temples and places of everyday local life—from Chihkan and Kaishan and the City God and Medicine King faiths to the Wutiaogang and Nanchang settlements—exploring how Tiger Lord worship is interwoven with the culture of the city. Through the artists’ fieldwork and creations, participants step into the historical context of old Tainan and experience a cultural landscape shaped by faith, local memory and everyday life.\n\nChihkan Tiger Route: Grand Mazu Temple - Guang’an Temple - Xiaonantian Temple - Beiji Temple - Tian Tan (Tian Gong Temple)","七つのウォーキングルートが台南の街区、廟宇、地域の生活の場をつなぎ、赤崁、開山、城隍、薬王信仰から五条港、南廠の集落まで、虎爺信仰と都市文化の交わりを探ります。アーティストのフィールドワークと創作を通して府城の歴史の文脈に分け入り、信仰、地域の記憶、日常生活がともに形づくる文化的景観を体感していただきます。\n\n赤崁虎ルート：大天后宮-広安宮-小南天-北極殿-台湾首廟天壇(天公廟)","일곱 갈래의 워킹 투어 코스가 타이난의 거리와 사당, 지역 생활의 장을 잇고, 츠칸, 카이산, 성황, 약왕 신앙에서 우탸오강과 난창 마을에 이르기까지 호랑이 신 신앙과 도시 문화가 얽혀 있는 모습을 탐색합니다. 예술가의 현장 답사와 창작을 통해 타이난 부성의 역사적 맥락 속으로 들어가, 신앙과 지역의 기억, 일상이 함께 빚어낸 문화 경관을 느껴 봅니다.\n\n츠칸 호랑이 코스: 대천후궁 - 광안궁 - 소남천 - 북극전 - 대만 서우먀오 천단(톈궁먀오)",{"zh":8203,"en":8204,"ja":8205,"ko":8206},[612,665],[],{"id":8315,"slug":8316,"title":8317,"date":8268,"date_end":17,"time":8322,"venue":1319,"location":8323,"description":8324,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":8325,"image":1723,"strands":8326,"themes":8327},617,"web-yusora-tour",{"zh":8318,"en":8319,"ja":8320,"ko":8321},"開幕 Yu Sora 藝術家導覽","Opening: Artist Tour with Yu Sora","オープニング Yu Sora アーティスト・ツアー","개막 유소라 작가 투어","15:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":4419,"slug":8329,"title":8330,"date":8335,"date_end":17,"time":8336,"venue":1202,"location":8337,"description":8338,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":8339,"image":1723,"strands":8340,"themes":8341},"web-fudu-talk-1128",{"zh":8331,"en":8332,"ja":8333,"ko":8334},"環境藝術講座—陳宣誠 + 黃婉雯","Environmental Art Talk—Chen Hsuan-cheng + Huang Wan-wen","環境アート講座—陳宣誠 + 黃婉雯","환경 예술 강좌—Chen Hsuan-cheng + Huang Wan-wen","2026-11-28","14:00–17:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":8343,"slug":8344,"title":8345,"date":7668,"date_end":17,"time":7937,"venue":969,"location":8350,"description":8351,"registration_required":797,"registration_url":17,"fee":17,"fee_note":8356,"image":1723,"strands":8357,"themes":8358},451,"e-shallot-2",{"zh":8346,"en":8347,"ja":8348,"ko":8349},"你算哪根蔥？（非）蔥農盆栽製作｜市區場","Who Do You Think You Are? (Non-)Shallot Farmer Planter Workshop: City","あなたはどのネギ？（非）エシャロット農家の鉢植えづくり｜市街地編","당신은 어떤 파인가요? (비)샬롯 농부 화분 만들기｜시내 편",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":8352,"en":8353,"ja":8354,"ko":8355},"邀請地主、賞鳥者、文史工作者、生態顧問與消費支持者等「非蔥農」，從「我和紅蔥頭的關係」出發，翻模完成紅蔥頭盆栽。","For “non-farmers”—landowners, birdwatchers, historians, eco-consultants and supporters—starting from “my relationship with shallots.”","地主、バードウォッチャー、郷土史研究者、生態コンサルタント、消費を通して支える人など「非エシャロット農家」を招き、「私とエシャロットの関係」を出発点に、型取りをしてエシャロットの鉢植えを完成させます。","토지 소유자, 탐조가, 향토사 연구자, 생태 컨설턴트, 소비자 후원자 등 「비샬롯 농부」를 초대해 「나와 샬롯의 관계」에서 출발하여 본을 떠 샬롯 화분을 완성합니다.",{"zh":17,"en":17,"ja":17,"ko":17},[612,647],[],{"id":8360,"slug":8361,"title":8362,"date":7668,"date_end":17,"time":8100,"venue":1723,"location":8367,"description":8372,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":8373,"image":1723,"strands":8374,"themes":8375},620,"web-stone-tiger",{"zh":8363,"en":8364,"ja":8365,"ko":8366},"石虎爺入神儀式","Spirit Installation Ritual for the Leopard Cat Tiger Lord","石虎爺 入神儀式","삵 호랑이 신 봉안 의식",{"zh":8368,"en":8369,"ja":8370,"ko":8371},"普濟殿","Puji Temple","普済殿","보제전",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[602],[],{"id":8377,"slug":8378,"title":8379,"date":8384,"date_end":17,"time":8336,"venue":1000,"location":8385,"description":8389,"registration_required":797,"registration_url":17,"fee":17,"fee_note":8394,"image":1723,"strands":8395,"themes":8396},442,"e-tapani-screening",{"zh":8380,"en":8381,"ja":8382,"ko":8383},"〈遊街－噍吧哖事件城市劇場〉播映會","Procession – Tapani Urban Theatre: Screening","〈遊街－噍吧哖事件都市劇場〉上映会","〈행진－타파니 사건 도시극장〉 상영회","2026-12-05",{"zh":6066,"en":8386,"ja":8387,"ko":8388},"Courtroom 3","第三法廷","제3법정",{"zh":8390,"en":8391,"ja":8392,"ko":8393},"時間暫定。","Times are tentative.","時間は暫定です。","시간은 잠정적입니다.",{"zh":17,"en":17,"ja":17,"ko":17},[683],[],{"id":8398,"slug":8399,"title":8400,"date":8384,"date_end":17,"time":7937,"venue":884,"location":8401,"description":8402,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":8403,"image":1723,"strands":8404,"themes":8405},621,"web-news-1205",{"zh":7932,"en":7933,"ja":7934,"ko":7935},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":8407,"slug":8408,"title":8409,"date":8384,"date_end":17,"time":7682,"venue":1723,"location":8414,"description":8419,"registration_required":797,"registration_url":17,"fee":17,"fee_note":8424,"image":1723,"strands":8425,"themes":8426},64,"e-parade",{"zh":8410,"en":8411,"ja":8412,"ko":8413},"迴圈．超展開遊行","Unfolding Circuits: The Street Parade","ループ・超展開パレード","순환·확장 퍼레이드",{"zh":8415,"en":8416,"ja":8417,"ko":8418},"中正路河樂廣場集合","Gather at The Spring, Zhongzheng Rd.","中正路 河楽広場に集合","중정로 The Spring 집합",{"zh":8420,"en":8421,"ja":8422,"ko":8423},"遊行隊伍邀請臺南大學民俗隊競技舞龍的帶領，各式各樣華蓋變異的有趣裝扮粉墨登場，結合臺南在地企業「林百貨」摩登大遊行活動，貫穿臺南繁榮的商業區，展現本次雙年展重要的「公私協力」精神。","Led by the Tainan University Folk Arts Troupe’s dragon dance, a procession of canopy-inspired costumes joins Hayashi Department Store’s Modern Grand Parade through Tainan’s historic commercial district.","パレードは台南大学民俗隊による競技龍舞が先導し、華蓋をアレンジしたさまざまなユニークな衣装が登場します。台南の地元企業「林百貨」のモダン大パレードと連携して台南のにぎやかな商業地区を練り歩き、本ビエンナーレの重要な理念である「官民協働」の精神を示します。","퍼레이드는 타이난대학교 민속단의 경기 용춤이 선두를 이끌고, 화개를 변형한 다채롭고 재미있는 의상들이 등장합니다. 타이난 지역 기업 「하야시 백화점」의 모던 대퍼레이드와 함께 타이난의 번화한 상업 지구를 가로지르며, 이번 비엔날레의 중요한 「민관 협력」 정신을 보여 줍니다.",{"zh":17,"en":17,"ja":17,"ko":17},[696,683],[],{"id":8428,"slug":8429,"title":8430,"date":8435,"date_end":17,"time":7937,"venue":1202,"location":8436,"description":8437,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":8438,"image":1723,"strands":8439,"themes":8440},622,"web-fudu-talk-1206",{"zh":8431,"en":8432,"ja":8433,"ko":8434},"空間藝術講座—黃姍姍","Spatial Art Talk—Huang Shan-shan","空間アート講座—黃姍姍","공간 예술 강좌—Huang Shan-shan","2026-12-06",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":8442,"slug":8443,"title":8444,"date":7859,"date_end":17,"time":8449,"venue":767,"location":8450,"description":8455,"registration_required":797,"registration_url":17,"fee":17,"fee_note":8460,"image":1723,"strands":8465,"themes":8466},65,"e-nightfair",{"zh":8445,"en":8446,"ja":8447,"ko":8448},"藝術夜間市集「光圈 ◎ 市集」","Art Night Market","アートナイトマーケット「光の輪 ◎ マーケット」","아트 야시장 「빛의 고리 ◎ 마켓」","14:00–21:00",{"zh":8451,"en":8452,"ja":8453,"ko":8454},"中央廊道、榕樹中庭、館外周邊，以及珍藝術空間 1 樓","Central Corridor, Banyan Courtyard, surrounding areas, and Jan House 1F","中央回廊、ガジュマルの中庭、館外周辺、および珍(ジェン)芸術空間 1 階","중앙 회랑, 반얀나무 중정, 미술관 외부 주변, 그리고 젠 예술공간 1층",{"zh":8456,"en":8457,"ja":8458,"ko":8459},"在臺南，夜市像是生長出現，不只是交易，更是技藝、食物與故事交換的場域。市集與旗幟作為雙年展貼近日常的在地方法，是最鮮明的公共訊號，也是一種「圓環」；人們辨識位置、宣告聚集、繞行、停留，累積出臺南特有的人情溫度。","In Tainan, night markets are places where skills, food and stories are exchanged. Markets and flags are the Biennale’s everyday local methods—and a kind of roundabout.\n12 Dec 14:00–21:00; 13 Dec 14:00–20:00.","台南において夜市は自然に生まれ育ってきたかのような存在で、売り買いの場であるだけでなく、技、食、物語が交わされる場でもあります。マーケットと旗は、日常に寄り添うビエンナーレのローカルな方法であり、最も鮮やかな公共のシグナルであると同時に、一種の「ロータリー」でもあります。人々はそこで位置を確かめ、集まりを告げ、巡り、立ち止まりながら、台南ならではの人情のぬくもりを積み重ねていきます。","타이난에서 야시장은 저절로 자라난 듯 생겨나며, 거래의 장일 뿐 아니라 기술과 음식, 이야기가 오가는 장소입니다. 시장과 깃발은 일상에 가까운 비엔날레의 지역적 방법이자 가장 선명한 공공의 신호이며, 일종의 「로터리」이기도 합니다. 사람들은 위치를 확인하고, 모임을 알리고, 돌고, 머무르며 타이난 특유의 따뜻한 인정을 쌓아 갑니다.",{"zh":8461,"en":8462,"ja":8463,"ko":8464},"入館門票不另行收費","No additional charge with museum admission","入館料のほかに追加料金はかかりません","입장권 외 별도 요금 없음",[696,683],[],{"id":8468,"slug":8469,"title":8470,"date":7859,"date_end":17,"time":8286,"venue":807,"location":8475,"description":8476,"registration_required":797,"registration_url":17,"fee":17,"fee_note":8481,"image":1723,"strands":8482,"themes":8483},430,"e-kids",{"zh":8471,"en":8472,"ja":8473,"ko":8474},"趨勢文學兒童劇場：《夏天默默做的幾件事》","Literary Children's Theater","トレンド文学児童劇場：《夏がひそかにするいくつかのこと》","추세 문학 어린이극장: 《여름이 묵묵히 하는 몇 가지 일》",{"zh":7953,"en":7954,"ja":7955,"ko":7956},{"zh":8477,"en":8478,"ja":8479,"ko":8480},"延續 2024-2025 年巡演四地的《夏天默默做的幾件事》作品，2026 年再邀出身自臺南大內的知名青年作家楊富閔授權文本，並由活躍於大小劇場製作編導、演出的呂名堯出任導演並擔綱劇本改編創作，共同推出極受親子歡迎的全新文學兒童劇。","Following A Few Things Summer Does Quietly, a new literary children’s play based on a text by Tainan-born writer Yang Fu-min, adapted and directed by Lu Ming-yao.","2024-2025年に四か所を巡回した《夏がひそかにするいくつかのこと》に続き、2026年には台南・大内出身の著名な若手作家・楊富閔から改めてテキストの使用許諾を受け、大小さまざまな劇場の制作で演出・出演と幅広く活躍する呂名堯が演出と脚本の翻案を担い、親子に大人気の新作文学児童劇をともに送り出します。","2024-2025년 네 곳을 순회한 《여름이 묵묵히 하는 몇 가지 일》에 이어, 2026년에는 타이난 다네이 출신의 유명 청년 작가 Yang Fu-min에게 다시 텍스트 사용을 허락받고, 크고 작은 극장 제작에서 연출과 출연으로 활약해 온 Lu Ming-yao가 연출과 각색을 맡아 가족 관객에게 큰 사랑을 받는 새로운 문학 어린이극을 함께 선보입니다.",{"zh":17,"en":17,"ja":17,"ko":17},[683,705],[],{"id":8485,"slug":8486,"title":8487,"date":7859,"date_end":8491,"time":17,"venue":1612,"location":8492,"description":8493,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":8494,"image":1723,"strands":8495,"themes":8496},646,"hb-pursuit",{"zh":8488,"en":8489,"ja":8488,"ko":8490},"踅｜PURSUIT","Se̍h | PURSUIT","Se̍h｜PURSUIT","2027-02-28",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":8498,"slug":8499,"title":8500,"date":7859,"date_end":17,"time":7937,"venue":1202,"location":8505,"description":8506,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":8507,"image":1723,"strands":8508,"themes":8509},623,"web-fudu-talk-1212",{"zh":8501,"en":8502,"ja":8503,"ko":8504},"都市藝術講座—李清志","Urban Art Talk—Li Ching-chih","都市アート講座—李清志","도시 예술 강좌—Li Ching-chih",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":8511,"slug":8512,"title":8513,"date":8518,"date_end":17,"time":7919,"venue":856,"location":8519,"description":8521,"registration_required":797,"registration_url":17,"fee":7551,"fee_note":8526,"image":1723,"strands":8531,"themes":8532},445,"e-2028-forum",{"zh":8514,"en":8515,"ja":8516,"ko":8517},"2028 臺南藝術雙年展駐地藝術家計畫論壇","2028 Tainan Art Biennale Engaging Artists Forum","2028 台南アートビエンナーレ 滞在制作アーティスト・プログラム・フォーラム","2028 타이난 예술 비엔날레 레지던시 작가 프로그램 포럼","2026-12-13",{"zh":7779,"en":8520,"ja":7781,"ko":7782},"Institute of Cultural Heritage Preservation Research, 1F",{"zh":8522,"en":8523,"ja":8524,"ko":8525},"片岡真實談雙年展的長期工作方法，接續許家維、梁慧圭、李明維、島袋道浩等對談，並以圓桌聚焦田野研究、地方知識與全球脈絡。購票資訊詳見官網。","Mami Kataoka opens with long-term biennale methodologies, followed by panels with Hsu Chia-wei, Haegue Yang, Lee Mingwei and Shimabuku, and a roundtable on field research and local knowledge. See this website for tickets.","片岡真実がビエンナーレの長期的な取り組みの方法について語り、続いて許家維、ヤン・ヘギュ、李明維、島袋道浩らによる対談、さらにフィールドリサーチ、ローカルな知、グローバルな文脈に焦点を当てたラウンドテーブルを行います。チケット情報は公式サイトをご覧ください。","Mami Kataoka가 비엔날레의 장기적인 작업 방법론에 대해 이야기하고, 이어 Hsu Chia-wei, 양혜규, Lee Mingwei, Shimabuku 등의 대담과 함께 현장 연구, 지역 지식, 글로벌 맥락에 초점을 맞춘 라운드테이블이 진행됩니다. 티켓 정보는 공식 웹사이트를 참조하십시오.",{"zh":8527,"en":8528,"ja":8529,"ko":8530},"需購票，票價待公布","Ticketed; prices to be announced","要チケット購入、料金は後日発表","티켓 구매 필요, 가격 추후 공지",[625,612],[],{"id":8534,"slug":8535,"title":8536,"date":8518,"date_end":17,"time":8537,"venue":767,"location":8538,"description":8539,"registration_required":797,"registration_url":17,"fee":17,"fee_note":8540,"image":1723,"strands":8541,"themes":8542},746,"e-nightfair-2",{"zh":8445,"en":8446,"ja":8447,"ko":8448},"14:00–20:00",{"zh":8451,"en":8452,"ja":8453,"ko":8454},{"zh":8456,"en":8457,"ja":8458,"ko":8459},{"zh":8461,"en":8462,"ja":8463,"ko":8464},[696,683],[],{"id":8544,"slug":8545,"title":8546,"date":8518,"date_end":17,"time":8551,"venue":1723,"location":8552,"description":8555,"registration_required":796,"registration_url":8560,"fee":7551,"fee_note":8561,"image":1723,"strands":8566,"themes":8567},446,"e-lantern-1",{"zh":8547,"en":8548,"ja":8549,"ko":8550},"藤本壯介來到臺南：城市裡的新風景","Echoes of the City: Sou Fujimoto in Tainan","藤本壮介、台南へ：都市の新たな風景","Sou Fujimoto, 타이난에 오다: 도시 속 새로운 풍경","17:00–18:30",{"zh":8553,"en":8554,"ja":8553,"ko":8554},"南埕衖事","Tainan Lòng Story",{"zh":8556,"en":8557,"ja":8558,"ko":8559},"提一盞暖光，在暮色裡穿梭臺南巷弄。由南埕衖事說書人領路！這是一場在光影間結合「建築 × 歷史 × 人文 × 故事」的夜行散步。","Starting from Sou Fujimoto’s vertical alleyways, walk Tainan’s roundabouts and streets by lantern light through historic architecture, urban memory and contemporary art. Online or on-site registration while places last; NT$300 per person.","温かな灯りを手に、夕暮れの台南の路地を歩きます。南埕衖事の語り部がご案内します！光と影のなかで「建築 × 歴史 × 人文 × 物語」を結ぶナイトウォークです。","따스한 등불을 들고 해 질 녘 타이난의 골목을 누빕니다. Tainan Lòng Story의 이야기꾼이 길을 안내합니다! 빛과 그림자 속에서 「건축 × 역사 × 인문 × 이야기」를 엮는 야간 산책입니다.","https:\u002F\u002Fdocs.google.com\u002Fforms\u002Fd\u002Fe\u002F1FAIpQLSd_ub7ShkojcjzfItL1DZVaZGOOh0haf3YC30ZRoMHCJSSz0A\u002Fviewform",{"zh":8562,"en":8563,"ja":8564,"ko":8565},"線上報名\u002F現場報名。額滿為止。\n專題導覽費用：每人300元","Tour fee NT$300 per person","オンライン申込\u002F当日申込。定員に達し次第締切。\n特別ガイドツアー料金：お一人様NT$300","온라인 신청\u002F현장 신청. 선착순 마감.\n특별 투어 비용: 1인 NT$300",[634,612],[],{"id":8569,"slug":8570,"title":8571,"date":8576,"date_end":8577,"time":17,"venue":1580,"location":8578,"description":8579,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":8580,"image":1723,"strands":8581,"themes":8582},647,"hb-energy-landscape",{"zh":8572,"en":8573,"ja":8574,"ko":8575},"能量風景——曾英棟個展","Landscape of Energy—Tseng Ying-tung Solo Exhibition","エネルギーの風景——曾英棟個展","에너지의 풍경——Tseng Ying-tung 개인전","2026-12-16","2027-02-27",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":8584,"slug":8585,"title":8586,"date":8591,"date_end":8577,"time":17,"venue":1549,"location":8592,"description":8593,"registration_required":796,"registration_url":17,"fee":17,"fee_note":8598,"image":1723,"strands":8603,"themes":8604},648,"hb-window-show",{"zh":8587,"en":8588,"ja":8589,"ko":8590},"日常風景採集計畫 - 微型機窗展","Everyday Landscape Collection Project - Mini Window Exhibition","日常風景採集プロジェクト - ミニ・ウィンドウ展","일상 풍경 채집 프로젝트 - 미니 쇼윈도 전시","2026-12-19",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":8594,"en":8595,"ja":8596,"ko":8597},"《日常風景採集計畫》以臺南開山社區為基地，透過人物訪談、生活觀察與物件採集，逐步建立屬於地方的生活資料庫。展覽以第一期八位受訪者為主角，邀請他們透過不能重拍、不能後製的即可拍底片相機與手寫文字，記錄自己眼中的臺南日常。每一張照片、每一段文字，都是共同創作的一部分。這不只是一場訪談，更是一場共同觀看、共同記錄的文化行動。我們希望透過不同的生活視角，慢慢累積屬於這座城市的日常風景，讓那些平凡卻珍貴的片刻，被重新看見、好好保存。","Based in Tainan’s Kaishan community, the Everyday Landscape Collection Project gradually builds a local archive of daily life through interviews, observation of everyday life and the collection of objects. The exhibition features the eight interviewees of its first phase, who were invited to record Tainan’s everyday life as they see it with disposable film cameras—allowing no retakes and no post-processing—and handwritten texts. Every photograph and every passage of text is part of a shared creation. This is not just a series of interviews but a cultural action of looking and recording together. Through different perspectives on daily life, we hope to slowly accumulate the everyday landscapes of this city, so that ordinary yet precious moments can be seen anew and carefully preserved.","《日常風景採集プロジェクト》は台南・開山コミュニティを拠点に、人物へのインタビュー、暮らしの観察、物の採集を通して、地域の暮らしのデータベースを少しずつ築いています。展覧会では第一期の八名の協力者を主役に、撮り直しも後処理もできない使い捨てフィルムカメラと手書きの言葉で、彼らの目に映る台南の日常を記録してもらいました。一枚一枚の写真、一つ一つの文章が、共同創作の一部です。これは単なるインタビューではなく、ともに見つめ、ともに記録する文化的な行動です。さまざまな暮らしの視点を通して、この街の日常の風景をゆっくりと積み重ね、平凡でありながらかけがえのない瞬間が改めて見いだされ、大切に保存されることを願っています。","《일상 풍경 채집 프로젝트》는 타이난 카이산 지역을 기반으로 인물 인터뷰, 생활 관찰, 사물 채집을 통해 지역의 생활 데이터베이스를 차근차근 구축하고 있습니다. 전시는 1기 인터뷰 참여자 여덟 명을 주인공으로, 다시 찍을 수도 후보정할 수도 없는 일회용 필름 카메라와 손글씨로 그들의 눈에 비친 타이난의 일상을 기록하도록 했습니다. 사진 한 장 한 장, 글 한 편 한 편이 모두 공동 창작의 일부입니다. 이는 단순한 인터뷰가 아니라 함께 보고 함께 기록하는 문화적 행동입니다. 우리는 다양한 삶의 시선을 통해 이 도시의 일상 풍경을 천천히 쌓아 가며, 평범하지만 소중한 순간들이 새롭게 발견되고 잘 보존되기를 바랍니다.",{"zh":8599,"en":8600,"ja":8601,"ko":8602},"採預約制","By reservation","予約制","예약제",[],[],{"id":8606,"slug":8607,"title":8608,"date":8591,"date_end":17,"time":7519,"venue":1723,"location":8613,"description":8618,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":8619,"image":1723,"strands":8620,"themes":8621},624,"web-fiber-workshop",{"zh":8609,"en":8610,"ja":8611,"ko":8612},"纖維藝術工作坊（藝術家武玉玲）","Fiber Art Workshop (Artist Aluaiy Kaumakan)","ファイバーアート・ワークショップ（アーティスト 武玉玲）","섬유 예술 워크숍(작가 Aluaiy Kaumakan)",{"zh":8614,"en":8615,"ja":8616,"ko":8617},"屏東瑪家鄉禮納里","Rinari, Majia Township, Pingtung","屏東 瑪家郷 礼納里","핑둥 마자향 리나리",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":8623,"slug":8624,"title":8625,"date":8591,"date_end":8630,"time":8631,"venue":767,"location":8632,"description":8633,"registration_required":796,"registration_url":8634,"fee":7551,"fee_note":8635,"image":1723,"strands":8640,"themes":8641},625,"web-sugata",{"zh":8626,"en":8627,"ja":8628,"ko":8629},"雞屎藤舞蹈劇場《時代之身—SUGATA》","The Body of an Era—SUGATA","《時代の身体—SUGATA》","《시대의 몸—SUGATA》","2026-12-20","19:00–19:30／20:30–21:00",{"zh":7903,"en":7904,"ja":7905,"ko":7906},{"zh":17,"en":17,"ja":17,"ko":17},"https:\u002F\u002Fwww.opentix.life\u002Fevent\u002F2110293988239908864",{"zh":8636,"en":8637,"ja":8638,"ko":8639},"售票","Ticketed","チケット制","티켓 판매",[705],[],{"id":8643,"slug":8644,"title":8645,"date":8630,"date_end":17,"time":7937,"venue":1679,"location":8646,"description":8647,"registration_required":796,"registration_url":17,"fee":17,"fee_note":8648,"image":1723,"strands":8653,"themes":8654},626,"web-prototype-tour-1220",{"zh":8264,"en":8265,"ja":8266,"ko":8267},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":8649,"en":8650,"ja":8651,"ko":8652},"免費，報名限額30位","Free; registration limited to 30 participants","無料、申込定員30名","무료, 신청 정원 30명",[],[],{"id":8656,"slug":8657,"title":8658,"date":8630,"date_end":17,"time":7974,"venue":1433,"location":8662,"description":8663,"registration_required":797,"registration_url":17,"fee":17,"fee_note":8664,"image":1723,"strands":8665,"themes":8666},432,"e-film-2",{"zh":8659,"en":7970,"ja":8660,"ko":8661},"國影影像放映計畫：無言的山丘","TFAI映像上映プログラム：無言の丘","TFAI 영상 상영 프로그램: 무언의 언덕",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7977,"en":7978,"ja":7979,"ko":7980},{"zh":17,"en":17,"ja":17,"ko":17},[714,683],[],{"id":8668,"slug":8669,"title":8670,"date":8675,"date_end":17,"time":7878,"venue":1644,"location":8676,"description":8677,"registration_required":797,"registration_url":17,"fee":17,"fee_note":8682,"image":1723,"strands":8683,"themes":8684},435,"e-yearend",{"zh":8671,"en":8672,"ja":8673,"ko":8674},"《神與城之間｜歲末酬神》","Between Gods and the City | Year-End Offerings to the Gods","《神と都市のあいだ｜歳末の神恩感謝》","《신과 도시 사이｜세밑 감사 제례》","2026-12-26",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":8678,"en":8679,"ja":8680,"ko":8681},"歲末，是城市回望一年、向土地與生活致謝的時刻。由尼可樂表演藝術策劃，邀請臺灣當代即興舵手鋼琴家李世揚及 live coding 即興代碼音樂創作者 S0M3H04X，以當代音樂與跨域聲響回應臺南的信仰文化與歲時記憶。從「感恩」走向「送歲」，讓聲音穿梭於土地、信仰與人的日常，陪伴城市向一年道謝，也為新歲留下祝福。","Curated by Nikole’s Performing Arts, pianist Li Shih-yang and live-coding musician S0M3H04X respond to Tainan’s religious traditions and seasonal memories.\nTimes are tentative.","歳末は、都市が一年を振り返り、土地と暮らしに感謝を捧げるときです。尼可楽表演芸術の企画により、台湾の現代即興音楽を牽引するピアニスト李世揚と、ライブコーディングによる即興音楽家S0M3H04Xを迎え、現代音楽と領域横断的なサウンドで台南の信仰文化と歳時の記憶に応えます。「感謝」から「送歳」へ、音が土地、信仰、人々の日常を行き交い、一年に感謝を伝える都市に寄り添うとともに、新たな年への祝福を残します。","세밑은 도시가 한 해를 돌아보며 땅과 삶에 감사를 전하는 때입니다. Nikole’s Performing Arts가 기획하고, 대만 현대 즉흥 음악을 이끄는 피아니스트 Li Shih-yang과 라이브 코딩 즉흥 음악가 S0M3H04X를 초청해 현대음악과 장르를 넘나드는 사운드로 타이난의 신앙 문화와 세시의 기억에 응답합니다. 「감사」에서 「한 해 보내기」로 나아가며, 소리가 땅과 신앙, 사람들의 일상을 넘나들고, 한 해에 감사를 전하는 도시와 함께하며 새해를 위한 축복을 남깁니다.",{"zh":17,"en":17,"ja":17,"ko":17},[683,723],[],{"id":3012,"slug":8686,"title":8687,"date":8675,"date_end":8692,"time":17,"venue":1518,"location":8693,"description":8694,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":8699,"image":1723,"strands":8700,"themes":8701},"hb-street-snap-show",{"zh":8688,"en":8689,"ja":8690,"ko":8691},"街拍記 2026——此路不通的施工漫遊","Street Chronicles 2026—Wandering Through a Road Closed for Construction","街拍記 2026——通行止めの工事現場をめぐる散策","거리 사진 기록 2026——통행 금지 공사 구간 산책","2027-01-31",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":8695,"en":8696,"ja":8697,"ko":8698},"「街拍記」策展計畫是以臺南鐵路地下化工程為起點。藉由具紀實性的街頭攝影作為基底材出發，融合影像—物、拾得物、隨手快拍與錄像藝術等多元媒介，勾勒出當代藝術家對於城市變遷的想像拓撲。","The Street Chronicles curatorial project takes the Tainan Railway Underground Project as its starting point. Using documentary street photography as its base material, it brings together diverse media—image—object, found objects, casual snapshots and video art—to map a topology of contemporary artists’ imaginings of urban change.","「街拍記」キュレーション・プロジェクトは、台南の鉄道地下化工事を出発点としています。記録性をもつストリート写真を基底材として、イメージ—物、ファウンド・オブジェ、スナップショット、ビデオアートなど多様なメディアを融合し、都市の変容をめぐる現代アーティストの想像のトポロジーを描き出します。","「거리 사진 기록」 기획 프로젝트는 타이난 철도 지하화 공사를 출발점으로 합니다. 기록성을 지닌 거리 사진을 바탕 재료로 삼아 이미지—사물, 발견된 오브제, 즉석 스냅, 비디오 아트 등 다양한 매체를 융합하여, 도시 변화에 대한 동시대 예술가들의 상상의 위상학을 그려 냅니다.",{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":8703,"slug":8704,"title":8705,"date":8675,"date_end":17,"time":8322,"venue":1518,"location":8710,"description":8711,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":8712,"image":1723,"strands":8713,"themes":8714},628,"web-street-snap",{"zh":8706,"en":8707,"ja":8708,"ko":8709},"街拍記 2026—此路不通的施工漫遊 開幕演出","Street Chronicles 2026—Wandering Through a Road Closed for Construction: Opening Performance","街拍記 2026—通行止めの工事現場をめぐる散策 オープニング・パフォーマンス","거리 사진 기록 2026—통행 금지 공사 구간 산책 개막 공연",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":8695,"en":8696,"ja":8697,"ko":8698},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":8716,"slug":8717,"title":8718,"date":8675,"date_end":17,"time":8148,"venue":1723,"location":8719,"description":8720,"registration_required":796,"registration_url":8155,"fee":7551,"fee_note":8721,"image":1723,"strands":8723,"themes":8724},627,"web-tainan-world-1226",{"zh":8144,"en":8145,"ja":8146,"ko":8147},{"zh":8150,"en":8151,"ja":8152,"ko":8153},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":8722,"en":8158,"ja":8159,"ko":8160},"導覽費用200元\u002F人，每團限額16人。",[],[],{"id":8726,"slug":8727,"title":8728,"date":8675,"date_end":17,"time":7519,"venue":969,"location":8733,"description":8734,"registration_required":797,"registration_url":17,"fee":17,"fee_note":8739,"image":1723,"strands":8740,"themes":8741},452,"e-bird",{"zh":8729,"en":8730,"ja":8731,"ko":8732},"這什麼鳥生活！書寫討論會","What a Bird’s Life!","なんて鳥な暮らし！ライティング・ディスカッション","이게 무슨 새 같은 삶이람! 글쓰기 토론회",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":8735,"en":8736,"ja":8737,"ko":8738},"從北門的「關水」文化出發，聚集農人、記者、鳥類研究者、公部門與移工，透過提問、討論與書寫，共同建構北門的鳥類敘事。","Starting from Beimen’s water-retention farming, farmers, journalists, bird researchers, officials and migrant workers build a shared bird narrative through dialogue and writing.","北門の「関水」文化を出発点に、農家、記者、鳥類研究者、行政関係者、移住労働者が集い、問いかけ、議論、執筆を通して北門の鳥の物語をともに紡ぎます。","베이먼의 「물 가두기」 문화에서 출발해 농민, 기자, 조류 연구자, 공공 부문 관계자, 이주 노동자가 모여 질문과 토론, 글쓰기를 통해 베이먼의 새 이야기를 함께 만들어 갑니다.",{"zh":17,"en":17,"ja":17,"ko":17},[612,647],[],{"id":8743,"slug":8744,"title":8745,"date":8749,"date_end":17,"time":7974,"venue":1350,"location":8750,"description":8755,"registration_required":797,"registration_url":17,"fee":17,"fee_note":8756,"image":1723,"strands":8757,"themes":8758},433,"e-film-3",{"zh":8746,"en":7970,"ja":8747,"ko":8748},"國影影像放映計畫：回來安平港","TFAI映像上映プログラム：回来安平港","TFAI 영상 상영 프로그램: 안핑항으로 돌아오라","2026-12-27",{"zh":8751,"en":8752,"ja":8753,"ko":8754},"太平境馬雅各紀念教會 副堂","Thai Peng Keng Maxwell Memorial Church Fellowship Hall","太平境馬雅各紀念教会 副堂","타이핑징 마야거 기념교회 부속 강당",{"zh":7977,"en":7978,"ja":7979,"ko":7980},{"zh":17,"en":17,"ja":17,"ko":17},[714,683],[],{"id":8760,"slug":8761,"title":8762,"date":8766,"date_end":17,"time":7974,"venue":1492,"location":8767,"description":8768,"registration_required":797,"registration_url":17,"fee":17,"fee_note":8769,"image":1723,"strands":8770,"themes":8771},434,"e-film-4",{"zh":8763,"en":7970,"ja":8764,"ko":8765},"國影影像放映計畫：三鳳震武林","TFAI映像上映プログラム：三鳳震武林","TFAI 영상 상영 프로그램: 세 봉황, 무림을 뒤흔들다","2027-01-02",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":7977,"en":7978,"ja":7979,"ko":7980},{"zh":17,"en":17,"ja":17,"ko":17},[714,683],[],{"id":8773,"slug":8774,"title":8775,"date":8766,"date_end":8779,"time":17,"venue":1723,"location":8780,"description":8785,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":8786,"image":1723,"strands":8787,"themes":8788},629,"web-river-cloth",{"zh":8776,"en":8777,"ja":8776,"ko":8778},"河布織組合：紡織、運河、西市場","River-Cloth-Weave Union: Textiles, Canal, West Market","강·천·직조 조합: 방직, 운하, 서시장","2027-02-02",{"zh":8781,"en":8782,"ja":8783,"ko":8784},"新泰興被服廠（臺南市中西區中正路 271 巷 6-1 號）","Xin Tai Xing Garment Factory (No. 6-1, Lane 271, Zhongzheng Rd., West Central Dist., Tainan City)","新泰興被服廠（台南市中西区中正路 271 巷 6-1 号）","신타이싱 피복 공장(타이난시 중서구 중정로 271항 6-1호)",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":8790,"slug":8791,"title":8792,"date":8797,"date_end":17,"time":8056,"venue":1233,"location":8798,"description":8800,"registration_required":796,"registration_url":17,"fee":7551,"fee_note":8805,"image":1723,"strands":8806,"themes":8807},588,"tiger-walk-4",{"zh":8793,"en":8794,"ja":8795,"ko":8796},"迴圈．遶境｜百虎尋福七路徑：走讀老師林荃荃X藝術家謝美鈴導覽","Ritual Procession | Seven Tiger Paths to Blessings: Tour with Walking Guide Lin Chuan-chuan × Artist Hsieh Mei-ling","ループ・遶境｜百虎と福をたずねる七つの道：ウォーキングガイド林荃荃×アーティスト謝美鈴によるガイドツアー","순환·순례｜백호와 함께 복을 찾는 일곱 갈래 길: 워킹 가이드 Lin Chuan-chuan × 작가 Hsieh Mei-ling 투어","2027-01-03",{"zh":8799,"en":1237,"ja":1238,"ko":1239},"林百貨",{"zh":8801,"en":8802,"ja":8803,"ko":8804},"七條走讀路線串聯臺南街區、宮廟與地方生活場域，從赤崁、開山、城隍、藥王信仰，到五條港與南廠聚落，探索虎爺信仰與城市文化的交織。透過藝術家的田野踏查與創作，走進府城歷史脈絡，感受信仰、地方記憶與日常生活共同形成的文化景觀。\n\n藥虎虎路線：良皇宮-總趕宮-五瘟宮-五福商店-五帝廟-林百貨","Seven walking routes link Tainan’s neighborhoods, temples and places of everyday local life—from Chihkan and Kaishan and the City God and Medicine King faiths to the Wutiaogang and Nanchang settlements—exploring how Tiger Lord worship is interwoven with the culture of the city. Through the artists’ fieldwork and creations, participants step into the historical context of old Tainan and experience a cultural landscape shaped by faith, local memory and everyday life.\n\nMedicine Tiger Route: Lianghuang Temple - Zonggan Temple - Wuwen Temple - Wufu Store - Wudi Temple - HAYASHI Department Store","七つのウォーキングルートが台南の街区、廟宇、地域の生活の場をつなぎ、赤崁、開山、城隍、薬王信仰から五条港、南廠の集落まで、虎爺信仰と都市文化の交わりを探ります。アーティストのフィールドワークと創作を通して府城の歴史の文脈に分け入り、信仰、地域の記憶、日常生活がともに形づくる文化的景観を体感していただきます。\n\n薬虎虎ルート：良皇宮-総趕宮-五瘟宮-五福商店-五帝廟-旧林百貨","일곱 갈래의 워킹 투어 코스가 타이난의 거리와 사당, 지역 생활의 장을 잇고, 츠칸, 카이산, 성황, 약왕 신앙에서 우탸오강과 난창 마을에 이르기까지 호랑이 신 신앙과 도시 문화가 얽혀 있는 모습을 탐색합니다. 예술가의 현장 답사와 창작을 통해 타이난 부성의 역사적 맥락 속으로 들어가, 신앙과 지역의 기억, 일상이 함께 빚어낸 문화 경관을 느껴 봅니다.\n\n약호 호랑이 코스: 양황궁 - 총간궁 - 오온궁 - 오복상점 - 오제묘 - 구 하야시 백화점",{"zh":8203,"en":8204,"ja":8205,"ko":8206},[612,665],[],{"id":8809,"slug":8810,"title":8811,"date":8816,"date_end":17,"time":8056,"venue":1406,"location":8817,"description":8818,"registration_required":796,"registration_url":17,"fee":7551,"fee_note":8823,"image":1723,"strands":8824,"themes":8825},587,"tiger-walk-3",{"zh":8812,"en":8813,"ja":8814,"ko":8815},"迴圈．遶境｜百虎尋福七路徑：走讀老師林荃荃X藝術家蔡濰任導覽","Ritual Procession | Seven Tiger Paths to Blessings: Tour with Walking Guide Lin Chuan-chuan × Artist Tsai Wei-jen","ループ・遶境｜百虎と福をたずねる七つの道：ウォーキングガイド林荃荃×アーティスト蔡濰任によるガイドツアー","순환·순례｜백호와 함께 복을 찾는 일곱 갈래 길: 워킹 가이드 Lin Chuan-chuan × 작가 Tsai Wei-jen 투어","2027-01-10",{"zh":1409,"en":1410,"ja":1411,"ko":1412},{"zh":8819,"en":8820,"ja":8821,"ko":8822},"七條走讀路線串聯臺南街區、宮廟與地方生活場域，從赤崁、開山、城隍、藥王信仰，到五條港與南廠聚落，探索虎爺信仰與城市文化的交織。透過藝術家的田野踏查與創作，走進府城歷史脈絡，感受信仰、地方記憶與日常生活共同形成的文化景觀。\n\n城隍虎路線：沙淘宮-蝸牛巷-保西宮-開山宮-慈蔭亭-文鼎","Seven walking routes link Tainan’s neighborhoods, temples and places of everyday local life—from Chihkan and Kaishan and the City God and Medicine King faiths to the Wutiaogang and Nanchang settlements—exploring how Tiger Lord worship is interwoven with the culture of the city. Through the artists’ fieldwork and creations, participants step into the historical context of old Tainan and experience a cultural landscape shaped by faith, local memory and everyday life.\n\nCity God Tiger Route: Shatao Temple - Snail Lane - Baoxi Temple - Kaishan Temple - Ciyin Pavilion - Wenting Phonograph Museum","七つのウォーキングルートが台南の街区、廟宇、地域の生活の場をつなぎ、赤崁、開山、城隍、薬王信仰から五条港、南廠の集落まで、虎爺信仰と都市文化の交わりを探ります。アーティストのフィールドワークと創作を通して府城の歴史の文脈に分け入り、信仰、地域の記憶、日常生活がともに形づくる文化的景観を体感していただきます。\n\n城隍虎ルート：沙淘宮-蝸牛巷-保西宮-開山宮-慈蔭亭-文鼎留聲（蓄音）博物館","일곱 갈래의 워킹 투어 코스가 타이난의 거리와 사당, 지역 생활의 장을 잇고, 츠칸, 카이산, 성황, 약왕 신앙에서 우탸오강과 난창 마을에 이르기까지 호랑이 신 신앙과 도시 문화가 얽혀 있는 모습을 탐색합니다. 예술가의 현장 답사와 창작을 통해 타이난 부성의 역사적 맥락 속으로 들어가, 신앙과 지역의 기억, 일상이 함께 빚어낸 문화 경관을 느껴 봅니다.\n\n성황 호랑이 코스: 사도궁 - 달팽이 골목 - 보서궁 - 개산궁 - 자음정 - 원딩 축음 박물관",{"zh":8203,"en":8204,"ja":8205,"ko":8206},[612,665],[],{"id":2798,"slug":8827,"title":8828,"date":8833,"date_end":17,"time":8336,"venue":1202,"location":8834,"description":8835,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":8836,"image":1723,"strands":8837,"themes":8838},"web-fudu-talk-0106",{"zh":8829,"en":8830,"ja":8831,"ko":8832},"建築藝術講座 - 簡學義 + 劉國滄","Architectural Art Talk - Chien Hsueh-yi + Liu Kuo-chang","建築アート講座 - 簡學義 + 劉國滄","건축 예술 강좌 - Chien Hsueh-yi + Liu Kuo-chang","2027-01-16",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":8840,"slug":8841,"title":8842,"date":8833,"date_end":17,"time":8847,"venue":1260,"location":8848,"description":8849,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":8850,"image":1723,"strands":8851,"themes":8852},631,"web-sound-1626",{"zh":8843,"en":8844,"ja":8845,"ko":8846},"聲音計劃｜1626：撥弦的兩端","Sound Program | 1626: Both Ends of the Plucked String","サウンドプログラム｜1626：撥弦の両端","사운드 프로그램｜1626: 현을 튕기는 양 끝","19:30–21:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[683,723],[],{"id":8854,"slug":8855,"title":8856,"date":8861,"date_end":17,"time":8056,"venue":1287,"location":8862,"description":8866,"registration_required":796,"registration_url":17,"fee":7551,"fee_note":8871,"image":1723,"strands":8872,"themes":8873},591,"tiger-walk-7",{"zh":8857,"en":8858,"ja":8859,"ko":8860},"迴圈．遶境｜百虎尋福七路徑：走讀老師林荃荃X藝術家陳立凡導覽","Ritual Procession | Seven Tiger Paths to Blessings: Tour with Walking Guide Lin Chuan-chuan × Artist Chen Li-fan","ループ・遶境｜百虎と福をたずねる七つの道：ウォーキングガイド林荃荃×アーティスト陳立凡によるガイドツアー","순환·순례｜백호와 함께 복을 찾는 일곱 갈래 길: 워킹 가이드 Lin Chuan-chuan × 작가 Chen Li-fan 투어","2027-01-17",{"zh":1315,"en":8863,"ja":8864,"ko":8865},"U.I.J Hotel & Hostel","U.I.J ホテル ＆ ホステル","U.I.J 호텔 & 호스텔",{"zh":8867,"en":8868,"ja":8869,"ko":8870},"七條走讀路線串聯臺南街區、宮廟與地方生活場域，從赤崁、開山、城隍、藥王信仰，到五條港與南廠聚落，探索虎爺信仰與城市文化的交織。透過藝術家的田野踏查與創作，走進府城歷史脈絡，感受信仰、地方記憶與日常生活共同形成的文化景觀。\n\n南廠虎路線：尊王公壇-天池壇-保安宮-和意堂-昆沙宮-友愛街旅館","Seven walking routes link Tainan’s neighborhoods, temples and places of everyday local life—from Chihkan and Kaishan and the City God and Medicine King faiths to the Wutiaogang and Nanchang settlements—exploring how Tiger Lord worship is interwoven with the culture of the city. Through the artists’ fieldwork and creations, participants step into the historical context of old Tainan and experience a cultural landscape shaped by faith, local memory and everyday life.\n\nNanchang Tiger Route: Zunwanggong Altar - Tianchi Altar - Bao’an Temple - Heyi Hall - Kunsha Temple - U.I.J Hotel & Hostel","七つのウォーキングルートが台南の街区、廟宇、地域の生活の場をつなぎ、赤崁、開山、城隍、薬王信仰から五条港、南廠の集落まで、虎爺信仰と都市文化の交わりを探ります。アーティストのフィールドワークと創作を通して府城の歴史の文脈に分け入り、信仰、地域の記憶、日常生活がともに形づくる文化的景観を体感していただきます。\n\n南廠虎ルート：尊王公壇-天池壇-保安宮-和意堂-昆沙宮-U.I.J ホテル ＆ ホステル","일곱 갈래의 워킹 투어 코스가 타이난의 거리와 사당, 지역 생활의 장을 잇고, 츠칸, 카이산, 성황, 약왕 신앙에서 우탸오강과 난창 마을에 이르기까지 호랑이 신 신앙과 도시 문화가 얽혀 있는 모습을 탐색합니다. 예술가의 현장 답사와 창작을 통해 타이난 부성의 역사적 맥락 속으로 들어가, 신앙과 지역의 기억, 일상이 함께 빚어낸 문화 경관을 느껴 봅니다.\n\n난창 호랑이 코스: 존왕공단 - 천지단 - 보안궁 - 화의당 - 곤사궁 - U.I.J 호텔 & 호스텔",{"zh":8203,"en":8204,"ja":8205,"ko":8206},[612,665],[],{"id":8875,"slug":8876,"title":8877,"date":8882,"date_end":17,"time":8551,"venue":1114,"location":8883,"description":8884,"registration_required":797,"registration_url":17,"fee":17,"fee_note":8889,"image":1723,"strands":8890,"themes":8891},455,"e-magichouse",{"zh":8878,"en":8879,"ja":8880,"ko":8881},"「魔法屋正在等待一個故事」故事徵集計畫總成果發表 feat. Joshua Sofaer","The Magic House Story Open Call: Project Showcase","「魔法の家はひとつの物語を待っている」物語公募プロジェクト 総合成果発表 feat. Joshua Sofaer","「마법의 집은 이야기를 기다리고 있다」 이야기 공모 프로젝트 최종 성과 발표 feat. Joshua Sofaer","2027-01-23",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":8885,"en":8886,"ja":8887,"ko":8888},"藝術家約書亞．沙發兒將入選故事轉化為現場演出，邀請觀眾走進魔法屋，重新想像這座百年建築的記憶與未來。","Artist Joshua Sofaer turns the selected stories into a live performance inside the Magic House.","アーティストのJoshua Sofaerが入選した物語をライブパフォーマンスへと転化し、観客を魔法の家へと招き入れ、この築百年の建物の記憶と未来を改めて想像します。","작가 Joshua Sofaer가 선정된 이야기들을 라이브 공연으로 풀어내며, 관객을 마법의 집으로 초대해 백 년 된 이 건물의 기억과 미래를 새롭게 상상합니다.",{"zh":17,"en":17,"ja":17,"ko":17},[656,612],[],{"id":8893,"slug":8894,"title":8895,"date":8900,"date_end":17,"time":8551,"venue":1723,"location":8901,"description":8902,"registration_required":796,"registration_url":8560,"fee":7551,"fee_note":8903,"image":1723,"strands":8907,"themes":8908},447,"e-lantern-2",{"zh":8896,"en":8897,"ja":8898,"ko":8899},"一座圓環，一件作品，一段臺南故事：從南埕衖事到藤本壯介","Echoes of the City: One Circle, One Work, One Tainan Story","ひとつのロータリー、ひとつの作品、ひとつの台南物語：南埕衖事から藤本壮介へ","하나의 로터리, 하나의 작품, 하나의 타이난 이야기: Tainan Lòng Story에서 Sou Fujimoto까지","2027-01-24",{"zh":8553,"en":8554,"ja":8553,"ko":8554},{"zh":8556,"en":8557,"ja":8558,"ko":8559},{"zh":8904,"en":8563,"ja":8905,"ko":8906},"線上報名\u002F現場報名。額滿為止。\n專題導覽費用：$300\u002F每場","オンライン申込\u002F当日申込。定員に達し次第締切。\n特別ガイドツアー料金：NT$300\u002F回","온라인 신청\u002F현장 신청. 선착순 마감.\n특별 투어 비용: NT$300\u002F회",[634,612],[],{"id":8910,"slug":8911,"title":8912,"date":8917,"date_end":17,"time":8551,"venue":1723,"location":8918,"description":8919,"registration_required":796,"registration_url":8560,"fee":7551,"fee_note":8920,"image":1723,"strands":8921,"themes":8922},448,"e-lantern-3",{"zh":8913,"en":8914,"ja":8915,"ko":8916},"臺南，原來可以這樣走：從南埕衖事到藤本壯介","Echoes of the City: A New Way to Walk Tainan","台南は、こんなふうに歩ける：南埕衖事から藤本壮介へ","타이난, 이렇게 걸을 수도 있다: Tainan Lòng Story에서 Sou Fujimoto까지","2027-01-26",{"zh":8553,"en":8554,"ja":8553,"ko":8554},{"zh":8556,"en":8557,"ja":8558,"ko":8559},{"zh":8904,"en":8563,"ja":8905,"ko":8906},[634,612],[],{"id":8924,"slug":8925,"title":8926,"date":8931,"date_end":17,"time":8336,"venue":856,"location":8932,"description":8933,"registration_required":796,"registration_url":17,"fee":7551,"fee_note":8938,"image":1723,"strands":8943,"themes":8944},456,"e-env-talk",{"zh":8927,"en":8928,"ja":8929,"ko":8930},"「環．境迴圈」講座","Environment Circuit Talk","「環・境の回路」レクチャー","「환·경 순환」 강연","2027-01-30",{"zh":7779,"en":7780,"ja":7781,"ko":7782},{"zh":8934,"en":8935,"ja":8936,"ko":8937},"從建築、城市與藝術的交會出發，探究藤本壯介的木構環狀裝置如何回應場所、記憶與當代城市。實際時間依報名公告為主。","How Sou Fujimoto’s timber ring responds to place, memory and the contemporary city. Times subject to the registration announcement.","建築、都市、アートの交差点を起点に、藤本壮介による木造のリング状インスタレーションが場所、記憶、現代都市にいかに応答するのかを探ります。実際の時間は申込告知に準じます。","건축, 도시, 예술의 교차점에서 출발해 Sou Fujimoto의 목구조 고리형 설치 작품이 장소와 기억, 동시대 도시에 어떻게 응답하는지 탐구합니다. 실제 시간은 신청 공지를 따릅니다.",{"zh":8939,"en":8940,"ja":8941,"ko":8942},"預計為收費活動，相關報名資訊詳官網公告（預計開放 150–200 人報名參與）","Expected to be a paid event; see the official website announcement for registration details (registration expected to open for 150–200 participants)","有料イベントとなる予定です。申込に関する情報は公式サイトの告知をご覧ください（150–200名の申込受付を予定）","유료 행사로 진행될 예정입니다. 신청 관련 정보는 공식 웹사이트 공지를 참조하십시오(150–200명 신청 접수 예정)",[612,674],[],{"id":8946,"slug":8947,"title":8948,"date":8692,"date_end":17,"time":8953,"venue":1723,"location":8954,"description":8959,"registration_required":797,"registration_url":17,"fee":17,"fee_note":8964,"image":1723,"strands":8965,"themes":8966},436,"e-techno",{"zh":8949,"en":8950,"ja":8951,"ko":8952},"府城魔幻夜「電氣神將」出巡踩街","Tainan Magical Night: “Techno-Deity” Procession","府城マジカルナイト「電気神将」巡行パレード","부성 매지컬 나이트 「전기 신장」 거리 순행","18:00–20:00",{"zh":8955,"en":8956,"ja":8957,"ko":8958},"集福宮－普濟殿","Puji Temple and Jifu Temple","集福宮－普済殿","집복궁－보제전",{"zh":8960,"en":8961,"ja":8962,"ko":8963},"普濟殿燈會由藝術家李育昇作品「電氣神將」出巡踩街，百年廟宇合演當代交陪境，於集福宮演出。","Artist Li Yu-sheng’s Techno-Deity parades through the streets for the Puji Temple Lantern Festival.\n31 Jan 18:00–20:00 procession; 1 Feb 18:40 lantern light-up.","普済殿ランタンフェスティバルでは、アーティスト李育昇の作品「電気神将」が街を巡行し、百年の歴史をもつ廟宇がともに現代の交陪境を演じ、集福宮で上演します。","보제전 등불 축제에서는 작가 Li Yu-shen의 작품 「전기 신장」이 거리를 순행하며, 백 년 역사의 사당들이 함께 현대의 사당 교류 의례를 펼쳐 집복궁에서 공연합니다.",{"zh":17,"en":17,"ja":17,"ko":17},[683,723],[],{"id":8968,"slug":8969,"title":8970,"date":8692,"date_end":17,"time":8056,"venue":1433,"location":8975,"description":8977,"registration_required":796,"registration_url":17,"fee":7551,"fee_note":8982,"image":1723,"strands":8983,"themes":8984},586,"tiger-walk-2",{"zh":8971,"en":8972,"ja":8973,"ko":8974},"迴圈．遶境｜百虎尋福七路徑：走讀老師林荃荃X藝術家李育昇導覽","Ritual Procession | Seven Tiger Paths to Blessings: Tour with Walking Guide Lin Chuan-chuan × Artist Li Yu-shen","ループ・遶境｜百虎と福をたずねる七つの道：ウォーキングガイド林荃荃×アーティスト李育昇によるガイドツアー","순환·순례｜백호와 함께 복을 찾는 일곱 갈래 길: 워킹 가이드 Lin Chuan-chuan × 작가 Li Yu-shen 투어",{"zh":8976,"en":1437,"ja":1438,"ko":1439},"艸祭",{"zh":8978,"en":8979,"ja":8980,"ko":8981},"七條走讀路線串聯臺南街區、宮廟與地方生活場域，從赤崁、開山、城隍、藥王信仰，到五條港與南廠聚落，探索虎爺信仰與城市文化的交織。透過藝術家的田野踏查與創作，走進府城歷史脈絡，感受信仰、地方記憶與日常生活共同形成的文化景觀。\n\n開山虎路線：小南城隍-大埔福德祠-天主堂-臨水夫人廟-馬公廟-永華宮-艸祭","Seven walking routes link Tainan’s neighborhoods, temples and places of everyday local life—from Chihkan and Kaishan and the City God and Medicine King faiths to the Wutiaogang and Nanchang settlements—exploring how Tiger Lord worship is interwoven with the culture of the city. Through the artists’ fieldwork and creations, participants step into the historical context of old Tainan and experience a cultural landscape shaped by faith, local memory and everyday life.\n\nKaishan Tiger Route: Xiaonan City God Temple - Dapu Fude Shrine - Catholic Church - Linshui Furen Temple - Magong Temple - Yonghua Temple - CaoJi Book inn","七つのウォーキングルートが台南の街区、廟宇、地域の生活の場をつなぎ、赤崁、開山、城隍、薬王信仰から五条港、南廠の集落まで、虎爺信仰と都市文化の交わりを探ります。アーティストのフィールドワークと創作を通して府城の歴史の文脈に分け入り、信仰、地域の記憶、日常生活がともに形づくる文化的景観を体感していただきます。\n\n開山虎ルート：小南城隍-大埔福徳祠-天主堂-臨水夫人廟-馬公廟-永華宮-艸祭ブックイン","일곱 갈래의 워킹 투어 코스가 타이난의 거리와 사당, 지역 생활의 장을 잇고, 츠칸, 카이산, 성황, 약왕 신앙에서 우탸오강과 난창 마을에 이르기까지 호랑이 신 신앙과 도시 문화가 얽혀 있는 모습을 탐색합니다. 예술가의 현장 답사와 창작을 통해 타이난 부성의 역사적 맥락 속으로 들어가, 신앙과 지역의 기억, 일상이 함께 빚어낸 문화 경관을 느껴 봅니다.\n\n카이산 호랑이 코스: 소남성황 - 대포복덕사 - 천주당 - 임수부인묘 - 마공묘 - 영화궁 - 카오지 Book inn",{"zh":8203,"en":8204,"ja":8205,"ko":8206},[612,665],[],{"id":8986,"slug":8987,"title":8988,"date":8993,"date_end":17,"time":8994,"venue":1723,"location":8995,"description":8996,"registration_required":797,"registration_url":17,"fee":17,"fee_note":9001,"image":1723,"strands":9002,"themes":9003},751,"e-techno-lantern",{"zh":8989,"en":8990,"ja":8991,"ko":8992},"聲音計畫：府城魔幻夜「電氣神將」普濟燈會點燈","Sound Program: Tainan Magical Night “Techno-Deity” Puji Lantern Festival Lighting","サウンドプログラム：府城マジカルナイト「電気神将」普済殿ランタンフェスティバル点灯","사운드 프로그램: 부성 매지컬 나이트 「전기 신장」 보제전 등불 축제 점등","2027-02-01","18:40 點燈",{"zh":8368,"en":8956,"ja":8370,"ko":8371},{"zh":8997,"en":8998,"ja":8999,"ko":9000},"普濟殿燈會由藝術家李育昇作品「電氣神將」出巡踩街，百年廟宇合演當代交陪境，於集福宮演出。普濟殿燈會點燈當天舞臺演出及點燈後廟埕演出。","For the Puji Temple Lantern Festival, artist Li Yu-shen’s work Techno-Deity parades through the streets, as century-old temples come together in a contemporary celebration of inter-temple fellowship, performed at Jifu Temple. On the day of the lantern lighting, there will be stage performances, followed by performances in the temple square after the lights are lit.","普済殿ランタンフェスティバルでは、アーティスト李育昇の作品「電気神将」が街を巡行し、百年の歴史をもつ廟宇がともに現代の交陪境を演じ、集福宮で上演します。普済殿ランタンフェスティバル点灯当日にはステージ公演が、点灯後には廟前広場での公演が行われます。","보제전 등불 축제에서는 작가 Li Yu-shen의 작품 「전기 신장」이 거리를 순행하며, 백 년 역사의 사당들이 함께 현대의 사당 교류 의례를 펼쳐 집복궁에서 공연합니다. 보제전 등불 축제 점등 당일에는 무대 공연이, 점등 후에는 사당 앞마당 공연이 펼쳐집니다.",{"zh":17,"en":17,"ja":17,"ko":17},[683,723],[],{"id":9005,"slug":9006,"title":9007,"date":9012,"date_end":17,"time":9013,"venue":1406,"location":9014,"description":9015,"registration_required":797,"registration_url":17,"fee":7551,"fee_note":9020,"image":1723,"strands":9025,"themes":9026},437,"e-sound-1",{"zh":9008,"en":9009,"ja":9010,"ko":9011},"聲音計畫：文鼎留聲博物館 x 華之和音","Sound Program: The Art of the Phonograph","サウンドプログラム：文鼎留聲（蓄音）博物館 x 華之和音","사운드 프로그램: 원딩 축음 박물관 x Hana No Waon","2027-02-04","15:00–16:00",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":9016,"en":9017,"ja":9018,"ko":9019},"從留聲機播放黑膠到數位製作，聲音如何改變我們的聽覺？邀請華之和音與黃裕元副研究員演繹與探討。","From gramophones to digital production, how has sound changed the way we listen? A performance and discussion with Hana No Waon and Associate Researcher Huang Yu-yuan.","蓄音機で再生するレコードからデジタル制作まで、音は私たちの聴覚をどのように変えてきたのでしょうか？華之和音と黃裕元副研究員を迎え、演奏と考察を行います。","축음기로 재생하는 레코드에서 디지털 제작에 이르기까지, 소리는 우리의 청각을 어떻게 바꾸어 왔을까요? Hana No Waon과 Huang Yu-yuan 부연구원을 초청해 연주와 탐구를 펼칩니다.",{"zh":9021,"en":9022,"ja":9023,"ko":9024},"咖啡廳低消入場","Admission with minimum café purchase","カフェのミニマムオーダーで入場可","카페 최소 주문으로 입장",[683,723],[],{"id":9028,"slug":9029,"title":9030,"date":9035,"date_end":17,"time":7937,"venue":1492,"location":9036,"description":9037,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":9038,"image":1723,"strands":9039,"themes":9040},632,"web-loop-initiative",{"zh":9031,"en":9032,"ja":9033,"ko":9034},"迴圈倡議","Circuit Initiative","ループ・イニシアティブ","순환 이니셔티브","2027-02-13",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":9042,"slug":9043,"title":9044,"date":9049,"date_end":17,"time":8056,"venue":1492,"location":9050,"description":9051,"registration_required":796,"registration_url":17,"fee":7551,"fee_note":9056,"image":1723,"strands":9057,"themes":9058},590,"tiger-walk-6",{"zh":9045,"en":9046,"ja":9047,"ko":9048},"迴圈．遶境｜百虎尋福七路徑：走讀老師林荃荃X藝術家王傑導覽","Ritual Procession | Seven Tiger Paths to Blessings: Tour with Walking Guide Lin Chuan-chuan × Artist Wang Chieh","ループ・遶境｜百虎と福をたずねる七つの道：ウォーキングガイド林荃荃×アーティスト王傑によるガイドツアー","순환·순례｜백호와 함께 복을 찾는 일곱 갈래 길: 워킹 가이드 Lin Chuan-chuan × 작가 Wang Chieh 투어","2027-02-14",{"zh":1495,"en":1496,"ja":1495,"ko":1497},{"zh":9052,"en":9053,"ja":9054,"ko":9055},"七條走讀路線串聯臺南街區、宮廟與地方生活場域，從赤崁、開山、城隍、藥王信仰，到五條港與南廠聚落，探索虎爺信仰與城市文化的交織。透過藝術家的田野踏查與創作，走進府城歷史脈絡，感受信仰、地方記憶與日常生活共同形成的文化景觀。\n\n五條港虎路線：兑悅門-集福宮—金安宮-媽祖樓-普濟殿-88藝寮所-搭車-山前世界","Seven walking routes link Tainan’s neighborhoods, temples and places of everyday local life—from Chihkan and Kaishan and the City God and Medicine King faiths to the Wutiaogang and Nanchang settlements—exploring how Tiger Lord worship is interwoven with the culture of the city. Through the artists’ fieldwork and creations, participants step into the historical context of old Tainan and experience a cultural landscape shaped by faith, local memory and everyday life.\n\nWutiaogang Tiger Route: Duiyue Gate - Jifu Temple—Jin’an Temple - Mazulou Temple - Puji Temple - 88 Art Studio - by vehicle - Sanzen Sekai","七つのウォーキングルートが台南の街区、廟宇、地域の生活の場をつなぎ、赤崁、開山、城隍、薬王信仰から五条港、南廠の集落まで、虎爺信仰と都市文化の交わりを探ります。アーティストのフィールドワークと創作を通して府城の歴史の文脈に分け入り、信仰、地域の記憶、日常生活がともに形づくる文化的景観を体感していただきます。\n\n五条港虎ルート：兌悦門-集福宮—金安宮-媽祖楼-普済殿-88藝寮所-車で移動-山前世界","일곱 갈래의 워킹 투어 코스가 타이난의 거리와 사당, 지역 생활의 장을 잇고, 츠칸, 카이산, 성황, 약왕 신앙에서 우탸오강과 난창 마을에 이르기까지 호랑이 신 신앙과 도시 문화가 얽혀 있는 모습을 탐색합니다. 예술가의 현장 답사와 창작을 통해 타이난 부성의 역사적 맥락 속으로 들어가, 신앙과 지역의 기억, 일상이 함께 빚어낸 문화 경관을 느껴 봅니다.\n\n우탸오강 호랑이 코스: 태열문 - 집복궁—금안궁 - 마조루 - 보제전 - 88 아트 스튜디오 - 차량 이동 - 산전세계",{"zh":8203,"en":8204,"ja":8205,"ko":8206},[612,665],[],{"id":9060,"slug":9061,"title":9062,"date":9049,"date_end":17,"time":9067,"venue":767,"location":9068,"description":9073,"registration_required":797,"registration_url":17,"fee":17,"fee_note":9078,"image":1723,"strands":9079,"themes":9080},439,"e-garden",{"zh":9063,"en":9064,"ja":9065,"ko":9066},"阮英俊：越南移民花園派對","Vietnamese Immigrating Garden Party","Tuan Mami：ベトナム移民ガーデンパーティー","Tuan Mami: 베트남 이민자 정원 파티","12:00–17:00",{"zh":9069,"en":9070,"ja":9071,"ko":9072},"臺南市美術館中庭花園、藝術露台","Courtyard Garden and Art Terrace, Tainan Art Museum","台南市美術館 中庭ガーデン、アートテラス","타이난 미술관 중정 정원, 아트 테라스",{"zh":9074,"en":9075,"ja":9076,"ko":9077},"本活動源自藝術家阮英俊的「越南移民花園」計畫，並延伸自本屆雙年展展出的作品〈無形共同體的迴響〉。藝術家將與越南社群合作，透過表演、共食與日常對談，創造特別的交流時刻。活動邀請大眾一同聚會、交流，分享個人的生活經驗與記憶。","Tuan Mami’s participatory project connects the lives and memories of immigrant communities through Vietnamese herbs, shared meals and everyday exchange.","本イベントは、アーティストTuan Mamiの「ベトナム移民ガーデン」プロジェクトに由来し、今回のビエンナーレで展示されている作品〈無形の共同体の響き〉から展開するものです。アーティストはベトナムのコミュニティと協働し、パフォーマンス、共食、日常の対話を通して特別な交流のひとときを創り出します。どなたでもご参加いただき、ともに集い、交流しながら、それぞれの暮らしの経験や記憶を分かち合います。","이번 행사는 작가 Tuan Mami의 「베트남 이민자 정원」 프로젝트에서 비롯되었으며, 이번 비엔날레 출품작 〈보이지 않는 공동체의 메아리〉에서 확장된 것입니다. 작가는 베트남 커뮤니티와 협력하여 공연, 함께 먹기, 일상의 대화를 통해 특별한 교류의 순간을 만들어 냅니다. 누구나 함께 모여 교류하며 각자의 삶의 경험과 기억을 나눌 수 있습니다.",{"zh":8461,"en":8462,"ja":8463,"ko":8464},[696,683],[],{"id":9082,"slug":9083,"title":9084,"date":9088,"date_end":17,"time":8336,"venue":1202,"location":9089,"description":9090,"registration_required":797,"registration_url":17,"fee":7640,"fee_note":9091,"image":1723,"strands":9092,"themes":9093},633,"web-fudu-talk-0220",{"zh":9085,"en":9086,"ja":9085,"ko":9087},"建築創作講座 - 翁廷楷 + 許棕宣","Architectural Design Talk - Weng Ting-kai + Hsu Tsung-hsuan","건축 창작 강좌 - Weng Ting-kai + Hsu Tsung-hsuan","2027-02-20",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":9095,"slug":9096,"title":9097,"date":9088,"date_end":17,"time":9013,"venue":767,"location":9101,"description":9102,"registration_required":797,"registration_url":17,"fee":17,"fee_note":9103,"image":1723,"strands":9104,"themes":9105},438,"e-sound-2",{"zh":9098,"en":9009,"ja":9099,"ko":9100},"聲音計畫：文鼎留聲博物館 x 唱盤上的府城記憶","サウンドプログラム：文鼎留聲（蓄音）博物館 x レコード盤の上の府城の記憶","사운드 프로그램: 원딩 축음 박물관 x 레코드판 위의 부성 기억",{"zh":7587,"en":7588,"ja":7589,"ko":7590},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":8461,"en":8462,"ja":8463,"ko":8464},[683,723],[],{"id":9107,"slug":9108,"title":9109,"date":9113,"date_end":17,"time":9013,"venue":767,"location":9114,"description":9115,"registration_required":797,"registration_url":17,"fee":17,"fee_note":9116,"image":1723,"strands":9117,"themes":9118},750,"e-sound-3",{"zh":9110,"en":9009,"ja":9111,"ko":9112},"聲音計畫：文鼎留聲博物館 x 黃裕元老師","サウンドプログラム：文鼎留聲（蓄音）博物館 x 黃裕元先生","사운드 프로그램: 원딩 축음 박물관 x Huang Yu-yuan 선생님","2027-02-21",{"zh":7587,"en":7588,"ja":7589,"ko":7590},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":8461,"en":8462,"ja":8463,"ko":8464},[683,723],[],{"id":9120,"slug":9121,"title":9122,"date":8577,"date_end":17,"time":7800,"venue":1723,"location":9127,"description":9128,"registration_required":796,"registration_url":17,"fee":7640,"fee_note":9129,"image":1723,"strands":9130,"themes":9131},634,"web-shallot-harvest",{"zh":9123,"en":9124,"ja":9125,"ko":9126},"徵！紅蔥頭農夫｜收蔥頭","Wanted: Shallot Farmers! | Harvesting","募集！エシャロット農家｜収穫","모집! 샬롯 농부｜샬롯 수확",{"zh":7802,"en":7803,"ja":7804,"ko":7805},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":17,"en":17,"ja":17,"ko":17},[],[],{"id":9133,"slug":9134,"title":9135,"date":8491,"date_end":17,"time":9140,"venue":830,"location":9141,"description":9142,"registration_required":796,"registration_url":17,"fee":17,"fee_note":9147,"image":1723,"strands":9148,"themes":9149},443,"e-prayer",{"zh":9136,"en":9137,"ja":9138,"ko":9139},"城市祈禱向天敬拜活動","City Prayer: Worship and Reverence to Heaven","都市の祈り 天への礼拝","도시의 기도, 하늘을 향한 경배","14:00–17:00（實際辦理時間依活動報名公告為主）",{"zh":17,"en":17,"ja":17,"ko":17},{"zh":9143,"en":9144,"ja":9145,"ko":9146},"邀請眾人走入藤本壯介設計的湯德章圓環木構之環，以開放的空間承接城市的記憶與願望，向天獻上祈禱與祝福。\n實際辦理時間依報名公告為主。","Everyone is invited into Sou Fujimoto’s timber ring at Tang Te-chang Roundabout to offer prayers and blessings for one another and for the city.\nExact times are subject to the registration announcement.","藤本壮介が設計した湯德章ロータリーの木造の環へ皆さまをお招きし、開かれた空間で都市の記憶と願いを受けとめ、天に祈りと祝福を捧げます。\n実際の開催時間は申込告知に準じます。","Sou Fujimoto가 설계한 탕더장 로터리의 목구조 고리 안으로 모두를 초대해, 열린 공간에서 도시의 기억과 소망을 받아 안고 하늘에 기도와 축복을 올립니다.\n실제 진행 시간은 신청 공지를 따릅니다.",{"zh":17,"en":17,"ja":17,"ko":17},[732,683],[],{"id":9151,"slug":9152,"title":9153,"date":15,"date_end":17,"time":9013,"venue":767,"location":9158,"description":9159,"registration_required":797,"registration_url":17,"fee":17,"fee_note":9160,"image":1723,"strands":9161,"themes":9162},635,"web-chang-yuhuang",{"zh":9154,"en":9155,"ja":9156,"ko":9157},"回顧與展望｜張玉璜對談","Retrospect and Prospect | A Conversation with Chang Yu-huang","回顧と展望｜張玉璜 対談","회고와 전망｜Chang Yu-huang 대담",{"zh":7903,"en":7904,"ja":7905,"ko":7906},{"zh":17,"en":17,"ja":17,"ko":17},{"zh":8461,"en":8462,"ja":8463,"ko":8464},[],[],[],[9165,9179,9189,9199,9210,9220,9231,9241,9246,9256,9266,9276,9281,9286,9296,9306,9316,9326,9336,9342,9352,9362,9372,9382,9392,9402,9408,9418,9425,9435,9445,9450,9460,9470,9480,9485,9488,9493,9503,9513,9523,9528,9533,9538,9543,9548,9558,9567,9576,9587,9597,9607,9617,9627,9637,9646,9656,9666,9675,9685,9695,9705,9715,9725,9735,9742,9752,9762,9771,9781,9787,9797,9807,9817,9827,9837,9847,9857,9867,9877,9887,9896,9905,9915,9925,9935,9945,9955,9966,9972,9982,9988,9993,9999,10009,10015,10025,10035],{"id":9166,"name":9167,"type":9168,"tickets":9169,"limit":9170,"address":9171,"phone":9172,"offer":9173,"file":9178},478,"台南富信大飯店","stay","passport","once","台南市北區成功路336號","06-2227373",{"zh":9174,"en":9175,"ja":9176,"ko":9177},"持藝術護照入住享雙年展專案房價：平日 2,500 元起、假日 3,400 元起（含早餐，各房型價格請洽飯店）。\n鼎園中式餐廳、富麗廳假日早午餐免收服務費。\n訂房時請告知使用雙年展藝術護照優惠，不與飯店其他優惠併用。","Art Passport holders enjoy special Biennale room rates: from NT$2,500 on weekdays and from NT$3,400 on weekends and holidays (breakfast included; please contact the hotel for rates by room type).\nNo service charge for weekend and holiday brunch at Ding Yuan Chinese Restaurant and Fu Li Hall.\nPlease mention the Biennale Art Passport offer when booking. Cannot be combined with other hotel offers.","アートパスポートをお持ちの方は、ビエンナーレ特別宿泊料金でご宿泊いただけます：平日NT$2,500から、休日NT$3,400から（朝食付き。各客室タイプの料金はホテルにお問い合わせください）。\n鼎園中華レストランおよび富麗庁の休日ブランチはサービス料無料です。\nご予約の際に、ビエンナーレ・アートパスポート特典のご利用をお伝えください。ホテルの他の特典との併用はできません。","아트 패스포트 소지자는 비엔날레 특별 객실 요금으로 투숙하실 수 있습니다: 평일 NT$2,500부터, 주말·공휴일 NT$3,400부터(조식 포함, 객실 유형별 요금은 호텔에 문의해 주십시오).\n딩위안 중식당 및 푸리팅의 주말·공휴일 브런치는 봉사료가 면제됩니다.\n예약 시 비엔날레 아트 패스포트 혜택 이용을 알려 주십시오. 호텔의 다른 혜택과 중복 적용되지 않습니다.","https:\u002F\u002Fdrive.google.com\u002Ffile\u002Fd\u002F1xzBpUVZ45FHbKmZ_mHYUnL91osOnTuCB\u002Fview?usp=sharing",{"id":9180,"name":9181,"type":9168,"tickets":9169,"limit":9170,"address":9182,"phone":9183,"offer":9184,"file":9178},479,"台南富華大飯店","台南市中西區忠義路二段28號","06-2251000",{"zh":9185,"en":9186,"ja":9187,"ko":9188},"持藝術護照入住享雙年展專案房價：平日 1,780 元起、假日 2,280 元起（含早餐，各房型價格請洽飯店）。\n訂房時請告知使用雙年展藝術護照優惠，不與飯店其他優惠併用。","Art Passport holders enjoy special Biennale room rates: from NT$1,780 on weekdays and from NT$2,280 on weekends and holidays (breakfast included; please contact the hotel for rates by room type).\nPlease mention the Biennale Art Passport offer when booking. Cannot be combined with other hotel offers.","アートパスポートをお持ちの方は、ビエンナーレ特別宿泊料金でご宿泊いただけます：平日NT$1,780から、休日NT$2,280から（朝食付き。各客室タイプの料金はホテルにお問い合わせください）。\nご予約の際に、ビエンナーレ・アートパスポート特典のご利用をお伝えください。ホテルの他の特典との併用はできません。","아트 패스포트 소지자는 비엔날레 특별 객실 요금으로 투숙하실 수 있습니다: 평일 NT$1,780부터, 주말·공휴일 NT$2,280부터(조식 포함, 객실 유형별 요금은 호텔에 문의해 주십시오).\n예약 시 비엔날레 아트 패스포트 혜택 이용을 알려 주십시오. 호텔의 다른 혜택과 중복 적용되지 않습니다.",{"id":9190,"name":9191,"type":9168,"tickets":9169,"limit":9170,"address":9192,"phone":9193,"offer":9194,"file":17},480,"台南晶英酒店","台南市中西區和意路1號","06-2136290",{"zh":9195,"en":9196,"ja":9197,"ko":9198},"入住時出示藝術護照，每房贈送限定禮：府城地圖托特包乙個，數量有限，贈完為止。","Present your Art Passport at check-in to receive an exclusive gift for each room: one Fucheng map tote bag. Limited quantities, while supplies last.","チェックイン時にアートパスポートをご提示いただくと、1室につき限定ギフトとして府城マップのトートバッグを1点プレゼントします。数量限定のため、なくなり次第終了となります。","체크인 시 아트 패스포트를 제시하시면 객실당 한정 선물로 푸청 지도 토트백 1개를 드립니다. 수량이 한정되어 있어 소진 시 종료됩니다.",{"id":9200,"name":9201,"type":9168,"tickets":9202,"limit":9170,"address":9203,"phone":9204,"offer":9205,"file":17},481,"台南遠東香格里拉","all","台南市東區大學路西段89號","06-7028888",{"zh":9206,"en":9207,"ja":9208,"ko":9209},"官網預訂任一客房專案並於辦理入住時出示藝術護照即享專屬限定禮－贈送聯名飲品一杯","Book any room package on the official website and present your Art Passport at check-in to receive an exclusive gift – one co-branded drink","公式サイトでいずれかの宿泊プランをご予約のうえ、チェックイン時にアートパスポートをご提示いただくと、限定特典としてコラボドリンクを1杯プレゼントします","공식 웹사이트에서 객실 패키지를 예약하고 체크인 시 아트 패스포트를 제시하시면 전용 한정 혜택으로 컬래버레이션 음료 1잔을 드립니다",{"id":9211,"name":9212,"type":9168,"tickets":9202,"limit":9170,"address":9213,"phone":9214,"offer":9215,"file":17},482,"台南老爺行旅","台南市東區中華東路一段368號","06-2361680",{"zh":9216,"en":9217,"ja":9218,"ko":9219},"-住房優惠｜\n提供「甘情尚好」住房專案優惠價格；贈爺友券(雙人房$200、家庭房$400),農曆春節期間恕不適用。\n-餐飲優惠｜\n甘粹餐廳：四人同行 一人免，,需加原價服務費，限使用一組一次。\n回甘Bar：飲品(咖啡或茶飲)享買一送一。\n-甘情商號｜\n洗沐組買一送一，限使用一組一次。\n\n*上述優惠活動，不得與其他優惠合併使用。","-Accommodation |\nSpecial rates on the “Gan Qing Shang Hao” room package, plus a Ye You voucher (NT$200 for double rooms, NT$400 for family rooms). Not applicable during the Lunar New Year holiday.\n-Dining |\nGan Cui Restaurant: one guest dines free with a party of four; service charge on the original price applies. Limited to one use per group.\nHui Gan Bar: buy one drink (coffee or tea), get one free.\n-Gan Qing Shop |\nBuy one bath set, get one free. Limited to one use per group.\n\n*The above offers cannot be combined with other promotions.","-宿泊特典｜\n「甘情尚好」宿泊プランを特別料金でご提供し、爺友券（ダブルルームNT$200、ファミリールームNT$400）を進呈します。旧正月期間はご利用いただけません。\n-飲食特典｜\n甘粹レストラン：4名様でご利用の場合1名様無料（定価に対するサービス料が別途かかります）。1グループにつき1回限り。\n回甘Bar：ドリンク（コーヒーまたはお茶）が1杯購入で1杯無料。\n-甘情商号｜\nバスアメニティセットが1点購入で1点無料。1グループにつき1回限り。\n\n*上記の特典は、他の特典との併用はできません。","-객실 혜택｜\n「간칭상하오」 객실 패키지를 특별 요금으로 제공하며, 예유 쿠폰(더블룸 NT$200, 패밀리룸 NT$400)을 드립니다. 음력 설 연휴 기간에는 적용되지 않습니다.\n-식음료 혜택｜\n간추이 레스토랑: 4인 동반 시 1인 무료(정가 기준 봉사료 별도), 그룹당 1회 한정입니다.\n후이간 Bar: 음료(커피 또는 차) 1잔 구매 시 1잔을 더 드립니다.\n-간칭 상점｜\n배스 세트 1개 구매 시 1개를 더 드립니다. 그룹당 1회 한정입니다.\n\n*위 혜택은 다른 혜택과 중복 적용되지 않습니다.",{"id":9221,"name":9222,"type":9168,"tickets":9202,"limit":9223,"address":9224,"phone":9225,"offer":9226,"file":17},483,"禧榕軒大飯店","unlimited","台南市北區成功路28號","06-2222188",{"zh":9227,"en":9228,"ja":9229,"ko":9230},"展覽期間持藝術護照入住，各房型享9折優惠(依當日官網一般含早售價為準)","Art Passport holders staying during the exhibition period enjoy 10% off all room types (based on the standard breakfast-included rate on the official website on the day)","会期中、アートパスポートをお持ちの方は全客室タイプが10%割引になります（当日の公式サイトにおける朝食付き通常料金が基準です）","전시 기간 중 아트 패스포트를 소지하고 투숙하시면 모든 객실 유형 10% 할인을 받으실 수 있습니다(당일 공식 웹사이트의 조식 포함 일반 요금 기준)",{"id":9232,"name":9233,"type":9168,"tickets":9202,"limit":9170,"address":9234,"phone":9235,"offer":9236,"file":17},484,"六宿民宿","臺南市北區長興里公園北路116巷7號之1","0919-768-515",{"zh":9237,"en":9238,"ja":9239,"ko":9240},"平日消費享94折優惠","6% off on weekdays","平日のご利用で6%割引","평일 이용 시 6% 할인",{"id":9242,"name":9243,"type":9168,"tickets":9202,"limit":9170,"address":9244,"phone":9235,"offer":9245,"file":17},485,"六宿樲館","台南市中西區衛民街106-30號",{"zh":9237,"en":9238,"ja":9239,"ko":9240},{"id":9247,"name":9248,"type":9168,"tickets":9169,"limit":9170,"address":9249,"phone":9250,"offer":9251,"file":17},486,"天下南隅 PROVINTIA Hotel","台南市北區成功路202號","06-2290271",{"zh":9252,"en":9253,"ja":9254,"ko":9255},"入住天下南隅出示藝術護照即贈送品牌盥洗包或延後退房一小時（價值500元）","Present your Art Passport when staying at PROVINTIA Hotel to receive a branded toiletry bag or a one-hour late checkout (valued at NT$500)","天下南隅にご宿泊の際にアートパスポートをご提示いただくと、ブランドのトイレタリーポーチ、または1時間のレイトチェックアウト（NT$500相当）をプレゼントします","PROVINTIA Hotel 투숙 시 아트 패스포트를 제시하시면 브랜드 세면 파우치 또는 1시간 레이트 체크아웃(NT$500 상당)을 제공합니다",{"id":9257,"name":9258,"type":9168,"tickets":9202,"limit":9170,"address":9259,"phone":9260,"offer":9261,"file":17},487,"日日和民宿","台南市安平區國勝路35巷7號","0928-356-389",{"zh":9262,"en":9263,"ja":9264,"ko":9265},"全票種優惠：95折入住＋限量拍立得一張","All ticket types: 5% off your stay + one limited-edition instant photo","全券種特典：宿泊料金5%割引＋数量限定のインスタント写真1枚","모든 티켓 종류 혜택: 숙박 5% 할인 + 한정 즉석 사진 1장",{"id":9267,"name":9268,"type":9168,"tickets":9169,"limit":9170,"address":9269,"phone":9270,"offer":9271,"file":17},488,"台南荷米輕別館","台南市府前路一段122巷6號","0905-051-562",{"zh":9272,"en":9273,"ja":9274,"ko":9275},"折抵新台幣100","NT$100 off","NT$100割引","NT$100 할인",{"id":9277,"name":9278,"type":9168,"tickets":9169,"limit":9170,"address":9279,"phone":9270,"offer":9280,"file":17},489,"台南荷米輕新館","台南市建業街39號-2",{"zh":9272,"en":9273,"ja":9274,"ko":9275},{"id":9282,"name":9283,"type":9168,"tickets":9169,"limit":9170,"address":9284,"phone":9270,"offer":9285,"file":17},490,"台南荷米輕洋樓","臺南市中西區赤嵌里新美街160號",{"zh":9272,"en":9273,"ja":9274,"ko":9275},{"id":9287,"name":9288,"type":9168,"tickets":9202,"limit":9170,"address":9289,"phone":9290,"offer":9291,"file":17},737,"台南House123巷民宿","台南市中西區北門路123巷42之一號","0938-580-201",{"zh":9292,"en":9293,"ja":9294,"ko":9295},"9折優惠","10% off","10%割引","10% 할인",{"id":9297,"name":9298,"type":9168,"tickets":9169,"limit":9223,"address":9299,"phone":9300,"offer":9301,"file":17},491,"台糖長榮酒店(台南)","台南市東區中華東路三段336巷1號","06-2899988",{"zh":9302,"en":9303,"ja":9304,"ko":9305},"2026臺南美術館推出「雙年展藝術護照」合作事如下：\n\n一、為迎接臺南美術館第一屆臺南藝術雙年展，美術館規劃「雙年展藝術護照」進行 ibon 線上預購，印刷量約 3,000 本。\n\n二、展覽名稱：「迴圈．超展開：2026 第一屆臺南藝術雙年展」，展期為 2026 年 10 月 31 日至 2027 年 3 月 1 日止。\n\n三、配合活動酒店推出各廳餐飲優惠，凡持「藝術護照」之民眾可享以下優惠：\n\n四、優惠活動內容：（同忠孝里里民優惠方案）\n\n（一）大廳酒吧／桂冠烘焙坊：享優惠 88 折（內用需加 10% 服務費），特殊節假日均可使用。\n\n（二）吃遍天下自助餐廳：活動限週一～五（週三除外），午／晚餐適用，成人享餐價 88 折優惠餐價（需加原價 10% 服務費），如遇國訂假日、特殊節慶日及餐飲特殊節慶日不適用。\n\n（三）長園中餐廳：平日享 88 折優惠（內用需加 10% 服務費），國訂假日、特殊節慶日及餐飲特殊節慶日不適用。\n\n・本活動優惠不與其他優惠合併使用。\n\n五、優惠活動將於「迴圈．超展開：2026 第一屆臺南藝術雙年展」網站露出。","Details of the 2026 Tainan Art Museum “Biennale Art Passport” partnership are as follows:\n\n1. To mark the Tainan Art Museum’s 1st Tainan Art Biennale, the museum is offering the “Biennale Art Passport” for online pre-order via ibon, with a print run of about 3,000 copies.\n\n2. Exhibition title: “Unfolding Circuits: 1st Tainan Art Biennale 2026,” on view from October 31, 2026 to March 1, 2027.\n\n3. In conjunction with the event, the hotel offers dining discounts at its restaurants. All “Art Passport” holders are entitled to the following offers:\n\n4. Offer details (same as the offer for Zhongxiao Village residents):\n\n(1) Lobby Bar \u002F Laurel Bakery: 12% off (10% service charge applies for dine-in); also valid on special holidays.\n\n(2) Chi Bian Tian Xia Buffet Restaurant: Mondays to Fridays only (excluding Wednesdays), for lunch and dinner. Adults enjoy 12% off the meal price (10% service charge on the original price applies). Not valid on national holidays, special festive days, or the restaurants’ special occasion days.\n\n(3) Chang Yuan Chinese Restaurant: 12% off on weekdays (10% service charge applies for dine-in). Not valid on national holidays, special festive days, or the restaurants’ special occasion days.\n\n・These offers cannot be combined with other promotions.\n\n5. The offers will be featured on the “Unfolding Circuits: 1st Tainan Art Biennale 2026” website.","2026年、台南市美術館が実施する「ビエンナーレ・アートパスポート」の提携内容は以下のとおりです。\n\n一、台南市美術館の第1回台南アートビエンナーレ開催にあたり、美術館は「ビエンナーレ・アートパスポート」をibonでオンライン予約販売します。印刷部数は約3,000冊です。\n\n二、展覧会名：「ループ・超展開：第1回台南アートビエンナーレ2026」、会期は2026年10月31日から2027年3月1日までです。\n\n三、本企画に合わせ、当ホテルでは各レストランで飲食特典をご用意しています。「アートパスポート」をお持ちの方は、以下の特典をご利用いただけます。\n\n四、特典内容：（忠孝里の住民向け特典プランと同内容）\n\n（一）ロビーバー／桂冠ベーカリー：12%割引（店内でのご飲食は10%のサービス料が別途かかります）。特別な祝祭日もご利用いただけます。\n\n（二）吃遍天下ビュッフェレストラン：月曜〜金曜（水曜を除く）限定、ランチ・ディナーに適用。大人のお食事代が12%割引になります（定価の10%のサービス料が別途かかります）。国定休日、特別な祝祭日およびレストランの特別催事日はご利用いただけません。\n\n（三）長園中華レストラン：平日12%割引（店内でのご飲食は10%のサービス料が別途かかります）。国定休日、特別な祝祭日およびレストランの特別催事日はご利用いただけません。\n\n・本特典は他の特典との併用はできません。\n\n五、特典は「ループ・超展開：第1回台南アートビエンナーレ2026」のウェブサイトに掲載されます。","2026 타이난 미술관 「비엔날레 아트 패스포트」 제휴 내용은 다음과 같습니다.\n\n1. 타이난 미술관의 제1회 타이난 예술 비엔날레를 맞아, 미술관은 「비엔날레 아트 패스포트」를 ibon을 통해 온라인으로 사전 판매하며, 인쇄 부수는 약 3,000권입니다.\n\n2. 전시명: 「순환·확장: 2026 제1회 타이난 예술 비엔날레」, 전시 기간은 2026년 10월 31일부터 2027년 3월 1일까지입니다.\n\n3. 행사에 맞춰 호텔 각 레스토랑에서 식음료 혜택을 제공하며, 「아트 패스포트」 소지자는 다음 혜택을 받으실 수 있습니다.\n\n4. 혜택 내용: (중샤오리 주민 혜택과 동일)\n\n(1) 로비 바 \u002F 구이관 베이커리: 12% 할인(매장 내 식사 시 봉사료 10% 별도), 특별 명절·공휴일에도 이용 가능합니다.\n\n(2) 츠볜톈샤 뷔페 레스토랑: 월–금요일(수요일 제외) 한정, 점심·저녁 식사에 적용되며, 성인 식사 요금 12% 할인(정가 기준 봉사료 10% 별도). 국정 공휴일, 특별 명절 및 레스토랑 특별 행사일에는 적용되지 않습니다.\n\n(3) 창위안 중식당: 평일 12% 할인(매장 내 식사 시 봉사료 10% 별도). 국정 공휴일, 특별 명절 및 레스토랑 특별 행사일에는 적용되지 않습니다.\n\n・본 혜택은 다른 혜택과 중복 적용되지 않습니다.\n\n5. 혜택 내용은 「순환·확장: 2026 제1회 타이난 예술 비엔날레」 웹사이트에 게재됩니다.",{"id":9307,"name":9308,"type":9168,"tickets":9202,"limit":9170,"address":9309,"phone":9310,"offer":9311,"file":17},492,"成功古巷","台南市北區佑民街14號","0952-377-007",{"zh":9312,"en":9313,"ja":9314,"ko":9315},"定價8折","20% off the list price","定価の20%割引","정가 20% 할인",{"id":9317,"name":9318,"type":9168,"tickets":9202,"limit":9223,"address":9319,"phone":9320,"offer":9321,"file":17},493,"西港外婆家民宿","台南市西港區新興街8-113號","0903-586-601",{"zh":9322,"en":9323,"ja":9324,"ko":9325},"全票種：平日住宿9折、假日住宿95折，展期內不限使用次數\n「雙年展藝術護照」：提供民眾折抵新台幣100元，限乙次","All ticket types: 10% off weekday stays and 5% off weekend and holiday stays; unlimited use during the exhibition period\n“Biennale Art Passport”: NT$100 off, one-time use only","全券種：平日の宿泊10%割引、休日の宿泊5%割引。会期中は何度でもご利用いただけます\n「ビエンナーレ・アートパスポート」：NT$100割引、1回限り","모든 티켓 종류: 평일 숙박 10% 할인, 주말·공휴일 숙박 5% 할인, 전시 기간 중 횟수 제한 없이 이용 가능\n「비엔날레 아트 패스포트」: NT$100 할인, 1회 한정",{"id":9327,"name":9328,"type":9168,"tickets":9169,"limit":9170,"address":9329,"phone":9330,"offer":9331,"file":17},494,"吾寓旅宿","臺南市中西區赤嵌里西門路二段300巷2號","0966-703-206",{"zh":9332,"en":9333,"ja":9334,"ko":9335},"現金100元折抵","NT$100 cash discount","NT$100の現金割引","NT$100 현금 할인",{"id":9337,"name":9338,"type":9168,"tickets":9202,"limit":9170,"address":9339,"phone":9340,"offer":9341,"file":17},495,"赤樓古巷","台南市中西區民族路二段317巷18號","0968-377-007",{"zh":9312,"en":9313,"ja":9314,"ko":9315},{"id":9343,"name":9344,"type":9168,"tickets":9202,"limit":9170,"address":9345,"phone":9346,"offer":9347,"file":17},496,"和逸飯店·台南西門館","台南市中西區西門路一段658之2號","06-7026699",{"zh":9348,"en":9349,"ja":9350,"ko":9351},"住宿\n透過和逸飯店·台南西門館官網預訂任一住房專案並出示藝術護照，即可享「藝文旅人專屬禮遇」：免費升等卡通主題房型、延遲退房1小時，並加贈卡通主題明信片乙份(2張)。\n*房型升等依當日房況安排。\n\n餐飲\n至飯店4F Cozzi KITCHÉN用餐，單筆消費滿NT$600以上即可折抵NT$100，單筆消費滿NT$800，加碼贈送「奇趣操場當日暢玩資格」乙組，適用一位大人及一位小孩，限當日下午場次使用。\n*此優惠建議提前訂位，並於訂位時告知欲使用活動護照優惠。\n*每日名額有限，額滿為止，且不得與其他優惠合併使用。","Accommodation\nBook any room package on the official website of Hotel Cozzi Ximen Tainan and present your Art Passport to enjoy the “Arts Traveler Exclusive Privileges”: a complimentary upgrade to a cartoon-themed room, a one-hour late checkout, and a set of cartoon-themed postcards (2 cards).\n*Room upgrades are subject to availability on the day.\n\nDining\nAt Cozzi KITCHÉN on 4F, receive NT$100 off a single purchase of NT$600 or more. With a single purchase of NT$800 or more, you will also receive one set of same-day “Fun Playground” passes, valid for one adult and one child, for that day’s afternoon session only.\n*Advance reservations are recommended; please mention the passport offer when booking.\n*Daily availability is limited and offered on a first-come, first-served basis. Cannot be combined with other offers.","宿泊\n和逸飯店·台南西門館の公式サイトからいずれかの宿泊プランをご予約のうえ、アートパスポートをご提示いただくと、「アート旅人限定特典」として、キャラクターテーマルームへの無料アップグレード、1時間のレイトチェックアウトに加え、キャラクターテーマのポストカード1セット（2枚）をプレゼントします。\n*客室のアップグレードは当日の空室状況により手配いたします。\n\n飲食\nホテル4FのCozzi KITCHÉNでのお食事で、1会計NT$600以上のご利用でNT$100割引。1会計NT$800以上のご利用で、さらに「奇趣操場」当日フリーパス1組をプレゼントします。大人1名・子ども1名にご利用いただけ、当日午後の回に限ります。\n*本特典のご利用には事前のご予約をおすすめします。ご予約時にパスポート特典のご利用をお伝えください。\n*1日の数量に限りがあり、なくなり次第終了となります。他の特典との併用はできません。","숙박\nHotel Cozzi Ximen Tainan 공식 웹사이트에서 객실 패키지를 예약하고 아트 패스포트를 제시하시면 「예술 여행자 전용 특전」으로 캐릭터 테마 객실 무료 업그레이드, 1시간 레이트 체크아웃과 함께 캐릭터 테마 엽서 1세트(2장)를 드립니다.\n*객실 업그레이드는 당일 객실 상황에 따라 제공됩니다.\n\n식음료\n호텔 4F Cozzi KITCHÉN에서 1회 NT$600 이상 결제 시 NT$100을 할인해 드리며, 1회 NT$800 이상 결제 시 「치취 놀이터 당일 자유 이용권」 1세트를 추가로 드립니다. 성인 1명과 어린이 1명이 이용할 수 있으며, 당일 오후 회차에 한해 사용하실 수 있습니다.\n*사전 예약을 권장하며, 예약 시 패스포트 혜택 이용을 알려 주십시오.\n*일일 수량이 한정되어 있어 소진 시 종료되며, 다른 혜택과 중복 적용되지 않습니다.",{"id":9353,"name":9354,"type":9168,"tickets":9202,"limit":9170,"address":9355,"phone":9356,"offer":9357,"file":17},497,"幸福種子手作民宿","臺南市學甲區民權路38號","0905-232-918",{"zh":9358,"en":9359,"ja":9360,"ko":9361},"雙人房折抵300\n家庭房折抵500","Double room: NT$300 off\nFamily room: NT$500 off","ダブルルーム NT$300割引\nファミリールーム NT$500割引","더블룸 NT$300 할인\n패밀리룸 NT$500 할인",{"id":9363,"name":9364,"type":9168,"tickets":9202,"limit":9170,"address":9365,"phone":9366,"offer":9367,"file":17},498,"南岸山綺台南民宿","台南市安平區世平五街10巷35號","0929-386-118",{"zh":9368,"en":9369,"ja":9370,"ko":9371},"一日票、雙日票、電子票、ibon 實體票、貴賓票：\n平日住宿 9 折、假日 95 折優惠\n\n「雙年展藝術護照」優惠內容：\n提供民眾優惠內容為 一張票券折抵 50 元住宿費，最多入住 14 位，因此最多可以現場折抵 700 元，平假日入住都可以使用，展期間每一張票使用一次（無法再使用其他折扣，例如用優惠券的則無法再使用護照優惠，已訂房者憑券仍可折抵）","One-Day Pass, Two-Day Pass, e-tickets, ibon printed tickets, VIP tickets:\n10% off weekday stays, 5% off weekend and holiday stays\n\n“Biennale Art Passport” offer:\nNT$50 off the room rate per ticket, for up to 14 guests, so up to NT$700 off on site. Valid for both weekday and weekend\u002Fholiday stays; each ticket may be used once during the exhibition period (cannot be combined with other discounts: for example, guests using a coupon cannot also use the passport offer; guests who have already booked can still receive the discount by presenting their ticket)","1日券、2日券、電子チケット、ibon発券チケット、VIPチケット：\n平日の宿泊10%割引、休日の宿泊5%割引\n\n「ビエンナーレ・アートパスポート」特典内容：\nチケット1枚につき宿泊料金NT$50を割引します。最大14名様までご宿泊いただけるため、現地で最大NT$700の割引となります。平日・休日いずれのご宿泊でもご利用いただけ、会期中はチケット1枚につき1回ご利用いただけます（他の割引との併用はできません。例えばクーポンをご利用の場合はパスポート特典をご利用いただけません。ご予約済みの方もチケットのご提示で割引を受けられます）","1일권, 2일권, 전자 티켓, ibon 실물 티켓, VIP 티켓:\n평일 숙박 10% 할인, 주말·공휴일 5% 할인\n\n「비엔날레 아트 패스포트」 혜택 내용:\n티켓 1장당 숙박료 NT$50을 할인해 드리며, 최대 14명까지 투숙할 수 있어 현장에서 최대 NT$700까지 할인받으실 수 있습니다. 평일과 주말·공휴일 모두 이용 가능하며, 전시 기간 중 티켓 1장당 1회 사용하실 수 있습니다(다른 할인과 중복 적용되지 않습니다. 예를 들어 쿠폰을 사용하신 경우 패스포트 혜택은 적용되지 않으며, 이미 예약하신 분도 티켓을 제시하시면 할인받으실 수 있습니다)",{"id":9373,"name":9374,"type":9168,"tickets":9169,"limit":9170,"address":9375,"phone":9376,"offer":9377,"file":17},499,"屎溝墘客廳","台南市中西區信義街3號","0931-820-552",{"zh":9378,"en":9379,"ja":9380,"ko":9381},"憑護照住宿享提供民眾優惠內容為，住宿來賓可享由廳長免費導覽『五條港歷史街區行程』乙次（大約90分鐘）。\n*上述折抵不指定使用區間","Guests staying with the passport receive one free guided tour of the “Wutiaogang Historic District” led by the host (about 90 minutes).\n*The above offer has no designated usage period","パスポートをお持ちのご宿泊のお客様は、オーナーによる『五条港歴史街区ツアー』の無料ガイドを1回ご利用いただけます（約90分）。\n*上記の特典に利用期間の指定はありません","패스포트를 소지하고 투숙하시는 고객은 주인장이 직접 안내하는 『우탸오강 역사 거리 투어』를 1회 무료로 이용하실 수 있습니다(약 90분).\n*위 혜택은 이용 기간의 제한이 없습니다",{"id":9383,"name":9384,"type":9168,"tickets":9202,"limit":9170,"address":9385,"phone":9386,"offer":9387,"file":17},500,"春眠民宿","台南市中西區中山路82巷6-1號","0978-236-677",{"zh":9388,"en":9389,"ja":9390,"ko":9391},"平日住宿九折（限官方Line預定，ID: @t8282）","10% off weekday stays (bookings via the official LINE account only, ID: @t8282)","平日の宿泊10%割引（公式LINEでのご予約に限ります。ID: @t8282）","평일 숙박 10% 할인(공식 LINE 예약에 한함, ID: @t8282)",{"id":9393,"name":9394,"type":9168,"tickets":9169,"limit":9170,"address":9395,"phone":9396,"offer":9397,"file":17},501,"珍友愛民宿","台南市中西區友愛街26-1號","0965-364-471",{"zh":9398,"en":9399,"ja":9400,"ko":9401},"優惠限珍友愛官網直接預訂,並須於預訂時主動告知欲使用雙年展藝術護照優惠\n實際入住者憑本人藝術護照每人折抵200元;OTA及第三方平台訂單不適用,且\n不得與民宿其他優惠併用。","Offer valid only for direct bookings on the Zhen You Ai official website; please tell us when booking that you wish to use the Biennale Art Passport offer.\nNT$200 off per person for each staying guest who presents their own Art Passport. Not applicable to bookings made through OTAs or third-party platforms, and\ncannot be combined with other guesthouse offers.","特典は珍友愛公式サイトからの直接予約に限ります。ご予約時に、ビエンナーレ・アートパスポート特典のご利用を必ずお申し出ください。\n実際にご宿泊される方が本人のアートパスポートをご提示いただくと、お一人様につきNT$200割引となります。OTAおよび第三者プラットフォーム経由のご予約は対象外です。また、\n民宿の他の特典との併用はできません。","혜택은 전유아이 공식 웹사이트에서 직접 예약하신 경우에 한하며, 예약 시 비엔날레 아트 패스포트 혜택 이용을 직접 알려 주셔야 합니다.\n실제 투숙객이 본인의 아트 패스포트를 제시하시면 1인당 NT$200을 할인해 드립니다. OTA 및 제3자 플랫폼 예약에는 적용되지 않으며,\n민박의 다른 혜택과 중복 적용되지 않습니다.",{"id":9403,"name":9404,"type":9168,"tickets":9202,"limit":9223,"address":9405,"phone":9406,"offer":9407,"file":17},502,"海安。轉角民宿","臺南市中西區淺草里正德街20巷12號","0926-616-869",{"zh":9322,"en":9323,"ja":9324,"ko":9325},{"id":9409,"name":9410,"type":9168,"tickets":9202,"limit":9223,"address":9411,"phone":9412,"offer":9413,"file":17},503,"神榕一四七","臺南市中西區神農街147號","06-2208147",{"zh":9414,"en":9415,"ja":9416,"ko":9417},"全票種優惠：9折優惠，限非OTA訂房，展期內不限使用次數。\n\n「雙年展藝術護照」優惠：\n抵扣新台幣200元（限非OTA訂房）","All ticket types: 10% off, for non-OTA bookings only; unlimited use during the exhibition period.\n\n“Biennale Art Passport” offer:\nNT$200 off (non-OTA bookings only)","全券種特典：10%割引。OTA以外でのご予約に限ります。会期中は何度でもご利用いただけます。\n\n「ビエンナーレ・アートパスポート」特典：\nNT$200割引（OTA以外でのご予約に限ります）","모든 티켓 종류 혜택: 10% 할인, OTA 외 예약에 한함, 전시 기간 중 횟수 제한 없이 이용 가능.\n\n「비엔날레 아트 패스포트」 혜택:\nNT$200 할인(OTA 외 예약에 한함)",{"id":9419,"name":9420,"type":9168,"tickets":9169,"limit":9170,"address":9421,"phone":9422,"offer":9423,"file":17},504,"荷方輕旅","台南市中西區大同路一段46巷33弄1號","0911-189-070",{"zh":9424,"en":9273,"ja":9274,"ko":9275},"提供民眾折抵新台幣100元",{"id":9426,"name":9427,"type":9168,"tickets":9202,"limit":9170,"address":9428,"phone":9429,"offer":9430,"file":17},505,"軟寓","台南市南區樹林街二段420號","06-2229255",{"zh":9431,"en":9432,"ja":9433,"ko":9434},"訂購背包房每筆折抵50元。\n訂購套房每筆折抵100元。","NT$50 off per booking for dorm rooms.\nNT$100 off per booking for private en-suite rooms.","ドミトリールームのご予約は1件につきNT$50割引。\nバス・トイレ付き個室のご予約は1件につきNT$100割引。","도미토리룸 예약 시 건당 NT$50을 할인해 드립니다.\n개인 욕실이 있는 객실 예약 시 건당 NT$100을 할인해 드립니다.",{"id":9436,"name":9437,"type":9168,"tickets":9202,"limit":9223,"address":9438,"phone":9439,"offer":9440,"file":17},506,"愉品居","台南市中西區府中街36號","0972-609-152",{"zh":9441,"en":9442,"ja":9443,"ko":9444},"全票種優惠:\n入住當日房價9折＋台南甜品招待\n不限使用次數\n\n雙年展藝術護照：\n提供民眾折抵新台幣100元\n限使用乙次","All ticket types:\n10% off the room rate on the day of stay + complimentary Tainan dessert\nUnlimited use\n\nBiennale Art Passport:\nNT$100 off\nOne-time use only","全券種特典：\nご宿泊当日の客室料金10%割引＋台南スイーツのサービス\n利用回数制限なし\n\nビエンナーレ・アートパスポート：\nNT$100割引\n1回限り","모든 티켓 종류 혜택:\n투숙 당일 객실 요금 10% 할인 + 타이난 디저트 제공\n이용 횟수 제한 없음\n\n비엔날레 아트 패스포트:\nNT$100 할인\n1회 한정",{"id":9446,"name":9447,"type":9168,"tickets":9202,"limit":9223,"address":9448,"phone":9406,"offer":9449,"file":17},507,"窗花時光樹","台南市中西區南美里忠義路二段147巷15號之1",{"zh":9322,"en":9323,"ja":9324,"ko":9325},{"id":9451,"name":9452,"type":9168,"tickets":9202,"limit":9170,"address":9453,"phone":9454,"offer":9455,"file":17},508,"椰風谷電梯民宿","台南市中西區大埔街89巷51號","0921-197-543",{"zh":9456,"en":9457,"ja":9458,"ko":9459},"一日票、雙日票：美術館好朋友優惠，限使用乙次。\n藝術護照：單筆訂單折抵100元，不限使用次數。","One-Day Pass, Two-Day Pass: museum friends discount, one-time use only.\nArt Passport: NT$100 off per booking, unlimited use.","1日券、2日券：美術館フレンズ割引、1回限り。\nアートパスポート：ご予約1件につきNT$100割引、利用回数制限なし。","1일권, 2일권: 미술관 친구 할인, 1회 한정.\n아트 패스포트: 예약 건당 NT$100 할인, 이용 횟수 제한 없음.",{"id":9461,"name":9462,"type":9168,"tickets":9202,"limit":9170,"address":9463,"phone":9464,"offer":9465,"file":17},509,"福憩背包客棧 - 緣憩館","台南市中西區中正路70號","06-7034543",{"zh":9466,"en":9467,"ja":9468,"ko":9469},"續住可享50元折價或延後一小時退房（折一使用）","Extended stays receive NT$50 off or a one-hour late checkout (choose one)","連泊の場合、NT$50割引または1時間のレイトチェックアウトをご利用いただけます（いずれか1つ）","연박 시 NT$50 할인 또는 1시간 레이트 체크아웃을 이용하실 수 있습니다(택1)",{"id":9471,"name":9472,"type":9168,"tickets":9202,"limit":9170,"address":9473,"phone":9474,"offer":9475,"file":17},510,"福憩背包客棧-和平館","台南市中西區和平街91號","06-2211167",{"zh":9476,"en":9477,"ja":9478,"ko":9479},"續住折50元或可延後一小時退房。（折一使用）","Extended stays: NT$50 off or a one-hour late checkout. (Choose one)","連泊でNT$50割引、または1時間のレイトチェックアウトが可能です。（いずれか1つ）","연박 시 NT$50 할인 또는 1시간 레이트 체크아웃이 가능합니다. (택1)",{"id":9481,"name":9482,"type":9168,"tickets":9202,"limit":9223,"address":9483,"phone":9406,"offer":9484,"file":17},511,"趣遊赤崁民宿","臺南市中西區赤嵌里民族路二段359巷8號",{"zh":9322,"en":9323,"ja":9324,"ko":9325},{"id":4150,"name":9486,"type":9168,"tickets":9202,"limit":9223,"address":9483,"phone":9406,"offer":9487,"file":17},"樹沐漱石",{"zh":9322,"en":9323,"ja":9324,"ko":9325},{"id":9489,"name":9490,"type":9168,"tickets":9202,"limit":9223,"address":9491,"phone":9406,"offer":9492,"file":17},513,"樹舍","台南市中西區開山路84巷34號",{"zh":9322,"en":9323,"ja":9324,"ko":9325},{"id":9494,"name":9495,"type":9168,"tickets":9169,"limit":9170,"address":9496,"phone":9497,"offer":9498,"file":17},514,"GOIN","台南市中西區和平街70號","06-2228022",{"zh":9499,"en":9500,"ja":9501,"ko":9502},"酒吧消費滿300元，每人贈送一個編織杯墊","Spend NT$300 or more at the bar to receive one woven coaster per person","バーでNT$300以上のご利用で、お一人様につき編み込みコースターを1枚プレゼントします","바에서 NT$300 이상 이용 시 1인당 직조 코스터 1개를 드립니다",{"id":9504,"name":9505,"type":9168,"tickets":9202,"limit":9223,"address":9506,"phone":9507,"offer":9508,"file":17},515,"Maru Yang 馬路楊宿屋","台南市中西區忠孝街37號","0938-885-555",{"zh":9509,"en":9510,"ja":9511,"ko":9512},"續住第二晚9折","10% off the second night of an extended stay","連泊の2泊目が10%割引","연박 시 2박째 10% 할인",{"id":9514,"name":9515,"type":9168,"tickets":9202,"limit":9170,"address":9516,"phone":9517,"offer":9518,"file":17},516,"HDL - 澤居","台南市安平區世平路168號","0908-331-857",{"zh":9519,"en":9520,"ja":9521,"ko":9522},"全票種：平日雙人房800、四人房1300\n「雙年展藝術護照」優惠內容：提供新台幣100元","All ticket types: weekday double room NT$800, quad room NT$1300\n“Biennale Art Passport” offer: NT$100 off","全券種：平日ダブルルームNT$800、4人部屋NT$1300\n「ビエンナーレ・アートパスポート」特典内容：NT$100割引","모든 티켓 종류: 평일 더블룸 NT$800, 4인실 NT$1300\n「비엔날레 아트 패스포트」 혜택 내용: NT$100 할인",{"id":9524,"name":9525,"type":9168,"tickets":9202,"limit":9170,"address":9526,"phone":9517,"offer":9527,"file":17},517,"HDL - 帆雨","台南市安平區世平路180號",{"zh":9519,"en":9520,"ja":9521,"ko":9522},{"id":9529,"name":9530,"type":9168,"tickets":9202,"limit":9170,"address":9531,"phone":9517,"offer":9532,"file":17},518,"HDL - 理蓄","台南市安平區州平二街2-5號",{"zh":9519,"en":9520,"ja":9521,"ko":9522},{"id":9534,"name":9535,"type":9168,"tickets":9202,"limit":9170,"address":9536,"phone":9517,"offer":9537,"file":17},519,"HDL - 燈塔","台南市安平區州平二街一巷26號",{"zh":9519,"en":9520,"ja":9521,"ko":9522},{"id":9539,"name":9540,"type":9168,"tickets":9202,"limit":9170,"address":9541,"phone":9517,"offer":9542,"file":17},520,"Viva 漁樂活","台南市安平區世平五街10巷37號",{"zh":9519,"en":9520,"ja":9521,"ko":9522},{"id":9544,"name":9545,"type":9168,"tickets":9202,"limit":9170,"address":9546,"phone":9517,"offer":9547,"file":17},521,"禾也.香格","台南市安平區世平四街72號",{"zh":9519,"en":9520,"ja":9521,"ko":9522},{"id":9549,"name":9550,"type":9168,"tickets":9202,"limit":9170,"address":9551,"phone":9552,"offer":9553,"file":17},522,"樂客花園旅宿","台南市中西區海安路二段259巷33號","0986-080-513",{"zh":9554,"en":9555,"ja":9556,"ko":9557},"9折優惠，不含平日、春節及連假。","10% off; not valid on weekdays, during Lunar New Year, or on long holiday weekends.","10%割引。平日、旧正月および連休は対象外です。","10% 할인. 평일, 음력 설 및 연휴에는 적용되지 않습니다.",{"id":9559,"name":9560,"type":9168,"tickets":9169,"limit":9170,"address":17,"phone":9561,"offer":9562,"file":17},738,"老古石渡","0911-220-433",{"zh":9563,"en":9564,"ja":9565,"ko":9566},"折價100元現金,不限平日或假日，需事先聯繫才能享有優惠","NT$100 cash discount, valid on both weekdays and weekends\u002Fholidays; advance contact is required to receive the offer","NT$100の現金割引。平日・休日を問わずご利用いただけます。特典のご利用には事前のご連絡が必要です","NT$100 현금 할인, 평일·주말 구분 없이 이용 가능하며, 혜택을 받으시려면 사전에 연락해 주셔야 합니다",{"id":9568,"name":9569,"type":9168,"tickets":9169,"limit":9170,"address":17,"phone":9570,"offer":9571,"file":17},745,"四季洋房","098-374-0760",{"zh":9572,"en":9573,"ja":9574,"ko":9575},"平日優惠房價9折","10% off weekday room rates","平日の客室料金10%割引","평일 객실 요금 10% 할인",{"id":9577,"name":9578,"type":9579,"tickets":9169,"limit":9170,"address":9580,"phone":9581,"offer":9582,"file":17},523,"二子咖啡","food","台南是市東區城東街66號","聯繫請私訊 Instagram",{"zh":9583,"en":9584,"ja":9585,"ko":9586},"店內咖啡部消費單筆滿500，現折50元（不包含外帶）","Spend NT$500 or more in a single purchase at the in-store coffee bar to get NT$50 off on the spot (takeout excluded)","店内のコーヒー部門で1会計NT$500以上のご利用で、その場でNT$50割引（テイクアウトは対象外）","매장 내 커피 코너에서 1회 NT$500 이상 결제 시 NT$50 즉시 할인(테이크아웃 제외)",{"id":9588,"name":9589,"type":9579,"tickets":9202,"limit":9223,"address":9590,"phone":9591,"offer":9592,"file":17},524,"丰禾物食","台南市中西區永福路二段54巷18號","0989-893-788",{"zh":9593,"en":9594,"ja":9595,"ko":9596},"持臺南藝術雙年展藝術護照至丰禾物食消費，即贈「巷仔內的迴圈」限定貼紙乙張。\n貼紙結合老宅、巷弄散步與店內人氣甜點元素，以丰禾物食貓咪與狗狗為主角，邀請民眾在觀展之餘，也能收藏屬於臺南巷弄的日常風景。","Present your Tainan Art Biennale Art Passport when making a purchase at Feng He Wu Shi to receive a limited-edition “Circuit in the Alleys” sticker.\nCombining motifs of old houses, alley walks and the shop’s popular desserts, the sticker stars Feng He Wu Shi’s cats and dogs, inviting visitors to collect a piece of everyday life in Tainan’s alleys alongside their exhibition visit.","台南アートビエンナーレのアートパスポートをお持ちのうえ丰禾物食でご利用いただくと、「路地裏のループ」限定ステッカーを1枚プレゼントします。\nステッカーは古民家、路地散策、店内の人気スイーツをモチーフに、丰禾物食の猫と犬を主役としたデザインです。展覧会の鑑賞とあわせて、台南の路地の日常風景をコレクションしてみてください。","타이난 예술 비엔날레 아트 패스포트를 소지하고 펑허우스에서 구매하시면 「골목 안의 순환」 한정 스티커 1장을 드립니다.\n스티커는 오래된 집, 골목 산책, 매장의 인기 디저트 요소를 결합하고 펑허우스의 고양이와 강아지를 주인공으로 하여, 전시 관람과 함께 타이난 골목의 일상 풍경을 간직하실 수 있도록 디자인되었습니다.",{"id":9598,"name":9599,"type":9579,"tickets":9202,"limit":9170,"address":9600,"phone":9601,"offer":9602,"file":17},525,"水倉試驗所","臺南市中西區永福路２段81巷18號","0918-492-818",{"zh":9603,"en":9604,"ja":9605,"ko":9606},"限內用飲品與購買咖啡豆，滿200九折，滿500八折","Dine-in drinks and coffee bean purchases only: 10% off purchases of NT$200 or more, 20% off purchases of NT$500 or more","店内でのドリンクおよびコーヒー豆のご購入に限り、NT$200以上で10%割引、NT$500以上で20%割引","매장 내 음료 및 원두 구매에 한해 NT$200 이상 10% 할인, NT$500 이상 20% 할인",{"id":9608,"name":9609,"type":9579,"tickets":9202,"limit":9170,"address":9610,"phone":9611,"offer":9612,"file":17},526,"水試所","台南市中西區南門路233-6號","06-2131662",{"zh":9613,"en":9614,"ja":9615,"ko":9616},"1F咖啡消費滿350折50\n2F茶飲消費滿1000招待小點乙份\n以上優惠不得與其他方案並用。","1F coffee: NT$50 off purchases of NT$350 or more\n2F tea: complimentary snack with purchases of NT$1000 or more\nThe above offers cannot be combined with other promotions.","1Fカフェ：NT$350以上のご利用でNT$50割引\n2F茶房：NT$1000以上のご利用で軽食を1品サービス\n上記の特典は他のプランとの併用はできません。","1F 커피: NT$350 이상 이용 시 NT$50 할인\n2F 차: NT$1000 이상 이용 시 간식 1인분 제공\n위 혜택은 다른 혜택과 중복 적용되지 않습니다.",{"id":9618,"name":9619,"type":9579,"tickets":9169,"limit":9170,"address":9620,"phone":9621,"offer":9622,"file":17},527,"宅・J HOUSE Coffee Bar & Jazz","臺南市中西區府前里西門路2段25巷1號3樓之1","0905-840-465",{"zh":9623,"en":9624,"ja":9625,"ko":9626},"J House x 台南雙年展限定 Welcome Tasting","J House x Tainan Art Biennale exclusive Welcome Tasting","J House x 台南アートビエンナーレ限定 Welcome Tasting","J House x 타이난 예술 비엔날레 한정 Welcome Tasting",{"id":9628,"name":9629,"type":9579,"tickets":9202,"limit":9170,"address":9630,"phone":9631,"offer":9632,"file":17},739,"杏源珈琲","臺南市府前路一段342巷2號1樓之2","06-2229505",{"zh":9633,"en":9634,"ja":9635,"ko":9636},"外帶折五元，兌換明信片。","NT$5 off takeout, and redeem a postcard.","テイクアウトはNT$5割引、ポストカードとの引き換えもできます。","테이크아웃 NT$5 할인, 엽서로 교환해 드립니다.",{"id":7406,"name":9638,"type":9579,"tickets":9169,"limit":9170,"address":9639,"phone":9640,"offer":9641,"file":17},"東二精釀啤酒吧","臺南市中西區南廠里保安路57巷7號","0906-065-250",{"zh":9642,"en":9643,"ja":9644,"ko":9645},"來店現折30元","NT$30 off on the spot when you visit","ご来店でその場でNT$30割引","매장 방문 시 NT$30 즉시 할인",{"id":9647,"name":9648,"type":9579,"tickets":9202,"limit":9170,"address":9649,"phone":9650,"offer":9651,"file":17},528,"林珈琲","台南市中西區忠義路二段63號5樓","06-2213000 #241",{"zh":9652,"en":9653,"ja":9654,"ko":9655},"消費即贈限定明信片乙張","Receive a limited-edition postcard with any purchase","ご利用で限定ポストカードを1枚プレゼント","구매 시 한정 엽서 1장 증정",{"id":9657,"name":9658,"type":9579,"tickets":9202,"limit":9170,"address":9659,"phone":9660,"offer":9661,"file":17},529,"時之幸福","臺南市中西區忠義路二段49號1F","0955-071-905",{"zh":9662,"en":9663,"ja":9664,"ko":9665},"冰淇淋買大送大","Ice cream: buy a large, get a large free","アイスクリームはLサイズ1つご購入でLサイズ1つプレゼント","아이스크림 라지 사이즈 구매 시 라지 사이즈 1개 증정",{"id":4627,"name":9667,"type":9579,"tickets":9202,"limit":9170,"address":9668,"phone":9669,"offer":9670,"file":17},"晨寓咖啡","臺南市佳里區忠仁里延平路206號","0966-289-105",{"zh":9671,"en":9672,"ja":9673,"ko":9674},"飲品消費滿200元\n打九折","Spend NT$200 or more on drinks\nto get 10% off","ドリンクNT$200以上のご利用で\n10%割引","음료 NT$200 이상 구매 시\n10% 할인",{"id":9676,"name":9677,"type":9579,"tickets":9202,"limit":9223,"address":9678,"phone":9679,"offer":9680,"file":17},740,"深作咖啡","台南市中西區民權路二段231號","0983-711-927",{"zh":9681,"en":9682,"ja":9683,"ko":9684},"消費享九折優惠","10% off purchases","ご利用代金が10%割引","구매 시 10% 할인",{"id":9686,"name":9687,"type":9579,"tickets":9202,"limit":9170,"address":9688,"phone":9689,"offer":9690,"file":17},531,"博仁堂","台南市中西區西門路二段300巷27號1樓","06-2226473",{"zh":9691,"en":9692,"ja":9693,"ko":9694},"茶包一份","One pack of tea bags","ティーバッグ1袋","티백 1팩",{"id":9696,"name":9697,"type":9579,"tickets":9202,"limit":9170,"address":9698,"phone":9699,"offer":9700,"file":17},532,"棕色果醬咖啡","台南市湯德章大道10號2樓","06-2210017",{"zh":9701,"en":9702,"ja":9703,"ko":9704},"憑護照可享結帳時九折優惠","Show your passport for 10% off at checkout","パスポートのご提示で、お会計が10%割引になります","패스포트 제시 시 결제 금액 10% 할인",{"id":9706,"name":9707,"type":9579,"tickets":9202,"limit":9170,"address":9708,"phone":9709,"offer":9710,"file":17},533,"溫故知新咖啡廳","臺南市中西區南門路37號1室","06-2211356",{"zh":9711,"en":9712,"ja":9713,"ko":9714},"消費享折扣-現折30元","Discount on purchases - NT$30 off on the spot","ご利用で割引-その場でNT$30割引","구매 시 할인-NT$30 즉시 할인",{"id":9716,"name":9717,"type":9579,"tickets":9202,"limit":9223,"address":9718,"phone":9719,"offer":9720,"file":17},534,"路果RUGOs丨臺南比司吉專門店","臺南市中西區衛民街96巷18號","0979-012-928",{"zh":9721,"en":9722,"ja":9723,"ko":9724},"外帶比司吉搭配\n飲品打八五折","Takeout biscuits paired with\na drink: 15% off","テイクアウトのビスケットと\nドリンクのセットで15%割引","테이크아웃 비스킷과\n음료 함께 구매 시 15% 할인",{"id":9726,"name":9727,"type":9579,"tickets":9202,"limit":9223,"address":9728,"phone":9729,"offer":9730,"file":17},535,"褐umber","臺南市中西區南美里忠義路二段1號2樓","06-2210210",{"zh":9731,"en":9732,"ja":9733,"ko":9734},"消費享折扣85折","15% off purchases","ご利用代金が15%割引","구매 시 15% 할인",{"id":9736,"name":9737,"type":9579,"tickets":9169,"limit":9170,"address":9738,"phone":9739,"offer":9740,"file":17},741,"bar home","台南市中西區中山路23巷1號","06-2232869",{"zh":9741,"en":9293,"ja":9294,"ko":9295},"九折優惠",{"id":9743,"name":9744,"type":9579,"tickets":9169,"limit":9170,"address":9745,"phone":9746,"offer":9747,"file":17},536,"CupiCho全球精品巧克力專門店","台南市中西區和緯路五段57號1樓","06-3587709",{"zh":9748,"en":9749,"ja":9750,"ko":9751},"來CupiCho湖美門市憑藝術護照正本就送CupiCho品牌精緻巧克力一份","Present your original Art Passport at the CupiCho Humei store to receive one serving of CupiCho fine chocolate","CupiCho湖美店でアートパスポートの原本をご提示いただくと、CupiChoブランドの上質なチョコレートを1つプレゼントします","CupiCho 후메이점에서 아트 패스포트 원본을 제시하시면 CupiCho 브랜드의 고급 초콜릿 1개를 드립니다",{"id":9753,"name":9754,"type":9579,"tickets":9169,"limit":9223,"address":9755,"phone":9756,"offer":9757,"file":17},537,"DJ Bar & 黑膠唱片咖啡","台南市中西區西華南街120巷18號之4","06-2200032",{"zh":9758,"en":9759,"ja":9760,"ko":9761},"持護照消費送一杯shot","Make a purchase with your passport to receive a free shot","パスポートをお持ちのうえご利用いただくと、ショット1杯をプレゼント","패스포트 소지 후 구매 시 샷 1잔 증정",{"id":7481,"name":9763,"type":9579,"tickets":9169,"limit":9170,"address":9764,"phone":9765,"offer":9766,"file":17},"here Kyoto 台南｜開山・清水","台南市中西區開山路 3 巷 21 號","0925-999-758",{"zh":9767,"en":9768,"ja":9769,"ko":9770},"Puddle 建築師 — 加藤匡毅先生手繪 here 明信片","Puddle architect — here postcard hand-drawn by Masaki Kato","Puddle 建築家 — 加藤匡毅氏による手描きの here ポストカード","Puddle 건축가 — Masaki Kato가 직접 그린 here 엽서",{"id":9772,"name":9773,"type":9579,"tickets":9202,"limit":9170,"address":9774,"phone":9775,"offer":9776,"file":17},743,"Hey Yo Club","台南市中西區尊王路69-2號","0987-665-358",{"zh":9777,"en":9778,"ja":9779,"ko":9780},"憑票卷招待一杯shot","Show your ticket for a complimentary shot","チケットのご提示でショット1杯をサービス","티켓 제시 시 샷 1잔 무료 제공",{"id":9782,"name":9783,"type":9579,"tickets":9202,"limit":9170,"address":9784,"phone":9785,"offer":9786,"file":17},538,"maki doughnut","台南市長榮路三段66巷25號","0966-188-733",{"zh":9681,"en":9682,"ja":9683,"ko":9684},{"id":9788,"name":9789,"type":9579,"tickets":9202,"limit":9223,"address":9790,"phone":9791,"offer":9792,"file":17},539,"O’PARIS法式甜點","台南市東區東寧路37號","06-2088999",{"zh":9793,"en":9794,"ja":9795,"ko":9796},"消費滿500贈法式手工小點","Spend NT$500 or more to receive a handmade French petit four","NT$500以上のご利用で手作りのフレンチ小菓子をプレゼント","NT$500 이상 구매 시 수제 프렌치 디저트 증정",{"id":9798,"name":9799,"type":9579,"tickets":9202,"limit":9223,"address":9800,"phone":9801,"offer":9802,"file":17},540,"rhalife赤崁糖 總店","台南市中西區永福路2段184號","06-2230209",{"zh":9803,"en":9804,"ja":9805,"ko":9806},"93折","7% off","7%割引","7% 할인",{"id":9808,"name":9809,"type":9579,"tickets":9202,"limit":9170,"address":9810,"phone":9811,"offer":9812,"file":17},541,"東山威記原汁排骨湯","臺南市新營區民治路27之12號","06-6320128",{"zh":9813,"en":9814,"ja":9815,"ko":9816},"現場燙青菜乙份","One serving of blanched greens, served on site","店内で湯通し野菜を1皿","매장에서 데친 채소 1접시 제공",{"id":9818,"name":9819,"type":9579,"tickets":9202,"limit":9170,"address":9820,"phone":9821,"offer":9822,"file":17},542,"THINKPIZZA","台南市中西區西和路289號1樓","06-3589850",{"zh":9823,"en":9824,"ja":9825,"ko":9826},"贈送五週年貼紙一張","Receive a 5th-anniversary sticker","5周年記念ステッカーを1枚プレゼント","5주년 스티커 1장 증정",{"id":2914,"name":9828,"type":9829,"tickets":9202,"limit":9170,"address":9830,"phone":9831,"offer":9832,"file":17},"誠品生活台南","shop","台南市南區中華西路一段76號","06-2918999",{"zh":9833,"en":9834,"ja":9835,"ko":9836},"誠品生活-台南限定提袋乙個","One eslite spectrum-Tainan exclusive tote bag","誠品生活-台南限定トートバッグ1点","eslite spectrum-Tainan 한정 쇼핑백 1개",{"id":9838,"name":9839,"type":9829,"tickets":9202,"limit":9170,"address":9840,"phone":9841,"offer":9842,"file":17},544,"拾藤","台南市北區公園南路233巷13號","06-2231022",{"zh":9843,"en":9844,"ja":9845,"ko":9846},"藤製家具九五折","5% off rattan furniture","籐家具5%割引","등나무 가구 5% 할인",{"id":9848,"name":9849,"type":9829,"tickets":9202,"limit":9170,"address":9850,"phone":9851,"offer":9852,"file":17},545,"新泰興被服廠","臺南市中西區府前里中正路271巷6-1號","聯繫請私訊 Facebook \u002F Instagram 專頁",{"zh":9853,"en":9854,"ja":9855,"ko":9856},"茶飲九折優惠","10% off tea drinks","お茶のドリンク10%割引","차 음료 10% 할인",{"id":9858,"name":9859,"type":9829,"tickets":9202,"limit":9170,"address":9860,"phone":9861,"offer":9862,"file":17},546,"FOCUS時尚流行館","台南中西區中山路166號","06-2113888",{"zh":9863,"en":9864,"ja":9865,"ko":9866},"出示護照兌換FOCUS 100元活動券","Show your passport to redeem a FOCUS NT$100 promotional voucher","パスポートのご提示で、FOCUS NT$100イベントクーポンと引き換えいただけます","패스포트 제시 시 FOCUS NT$100 이벤트 쿠폰으로 교환해 드립니다",{"id":9868,"name":9869,"type":9829,"tickets":9202,"limit":9223,"address":9870,"phone":9871,"offer":9872,"file":17},547,"百年傳承香舖","台南市中西區民權路二段253號","06-2256842",{"zh":9873,"en":9874,"ja":9875,"ko":9876},"消費滿300元 享九折優惠","Spend NT$300 or more to enjoy 10% off","NT$300以上のご利用で10%割引","NT$300 이상 구매 시 10% 할인",{"id":9878,"name":9879,"type":9829,"tickets":9202,"limit":9170,"address":9880,"phone":9881,"offer":9882,"file":17},548,"野掬","台南市北區公園路321巷15號1樓","0978-119-332",{"zh":9883,"en":9884,"ja":9885,"ko":9886},"購買日常小掬（小花束），多贈送一朵花","Buy an Everyday Handful (small bouquet) and receive one extra flower","日常小掬（小さな花束）をご購入で、花を1輪追加でプレゼント","데일리 한 줌(작은 꽃다발) 구매 시 꽃 한 송이를 더 드립니다",{"id":2940,"name":9888,"type":9829,"tickets":9202,"limit":9170,"address":9889,"phone":9890,"offer":9891,"file":17},"漢菓方","台南市中西區新美街70號","0933-365-178",{"zh":9892,"en":9893,"ja":9894,"ko":9895},"消費滿800送 潤潤菓一包","Spend NT$800 or more to receive a pack of Run Run Guo","NT$800以上のご利用で潤潤菓を1袋プレゼント","NT$800 이상 구매 시 룬룬궈 1봉지 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