BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Events Calendar - ECPv6.8.1//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Events Calendar
X-ORIGINAL-URL:https://events.mcu.edu.tw
X-WR-CALDESC:Events for Events Calendar
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:Asia/Taipei
BEGIN:STANDARD
TZOFFSETFROM:+0800
TZOFFSETTO:+0800
TZNAME:CST
DTSTART:20240101T000000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241019T100000
DTEND;TZID=Asia/Taipei:20241110T170000
DTSTAMP:20260405T104756
CREATED:20241008T075810Z
LAST-MODIFIED:20241008T075810Z
UID:10000568-1729332000-1731258000@events.mcu.edu.tw
SUMMARY:超越圈圈 循回桃園 Circular Economy Innovation Exhibition
DESCRIPTION:「超越圈圈 循回桃園」計劃作為巡迴台灣各地的首站活動，展示多元豐富的循環文化之美。活動亮點之一是「循回教育推廣車」，這台行動展覽車將置入12種循環經濟的設計融入日常生活，讓民眾透過互動和展示實踐環保與永續。 \n本次活動將展示多家循環經濟品牌的創新產品，展出植物應用於服飾的循環主題。例如，**青年兔庭**將推廣其創新植物纖維皮革，展示如何以環保材料替代傳統動物皮革，實現時尚與環保的完美結合。**優織隆**的鳳梨纖維衣和**七逃**的植物染工藝展示了環保技術如何融入日常服飾。此外，**威力康**、**電電租**、**挑品picupi**等品牌將展示從餘料木材、環保材料製作的服飾到減碳包裝的生活用品，體現資源再利用的創意與多樣性。**桃園在地品牌WeiLi Soul維勵說**將展示回收木材創作，賦予廢棄木材新的生命，作品風格簡約自然，保留木材的溫潤與質感。德大公司亦將參與此次展覽，展示其2023年創立的品牌**HOSAY**，該品牌利用廢棄寶特瓶和台灣農業廢棄物開發全球第一隻消滅塑膠、減碳與環保的清潔劑，期望透過創新實踐，解決寶特瓶污染問題並促進地方創生。 \n此外，青創團隊**台灣茶具有限公司**將展示其以循環經濟為理念的茶具系列，將蚵殼粉結合天目釉製作成茶器，促進經濟增長並推動環保和陶藝文化的傳承。**生森の木零伐科技綠建材 SenSenWood**的環保建材展示，則展現循環經濟在建築領域的應用與創新。其他循環主題品牌如**ACC域創**的綠色展覽應用模式等，進一步呈現循環經濟在生活中各方面的實踐。 \n現場還安排多場手作體驗，如【雲垛療癒設計】的永續石製作、【仙野作】的葉拓體驗、【O2 Lab 海漂實驗室】的海廢文創、【樸植作】的銀行歡再生文創，以及【美麗台灣】的鳳梨纖維絹印活動，讓參與者親身體驗如何將廢棄材料轉化為美觀實用的日常用品。 \n「超越圈圈 循回桃園」將以豐富的內容和深刻的理念，帶領社會進入循環經濟的世界，推動資源再生，打造永續未來，期待更多民眾的參與，讓循環經濟融入日常生活的每個角落。 \nCircular Economy Innovation Exhibition initiative kicks off as the first stop in a touring exhibition across Taiwan\, showcasing the diverse beauty of circular culture. One of the event’s highlights is the “Circular Education Promotion Truck”\, a mobile exhibition vehicle featuring 12 designs that integrate circular economy concepts into daily life\, allowing the public to engage with interactive displays and practice sustainability. \nThis exhibition will showcase innovative products from various circular economy brands\, with a focus on plant-based materials in fashion. For example\, Youth Bunny Court will promote its innovative plant fiber leather\, demonstrating how eco-friendly materials can replace traditional animal leather\, achieving the perfect combination of fashion and environmental responsibility. Youzhi Long will exhibit clothing made from pineapple fiber\, and Chitao will showcase plant dyeing techniques\, demonstrating how eco-friendly technologies can be incorporated into everyday attire. Additionally\, brands such as Weilikang\, Electric Rent\, and Picupi will present clothing made from leftover wood\, eco-friendly materials\, and low-carbon packaging\, reflecting the creativity and diversity of resource reuse. Local Taoyuan brand WeiLi Soul will exhibit creations made from recycled wood\, giving discarded wood new life with simple and natural designs that retain the warmth and texture of the material. HOSAY\, a brand founded in 2023 by Deda Company\, will also participate\, showcasing the world’s first plastic-eliminating\, carbon-reducing\, and eco-friendly cleaning products made from recycled PET bottles and Taiwanese agricultural waste\, aiming to solve plastic pollution and promote local revitalization. \nFurthermore\, the startup team Taiwan Teaware Co.\, Ltd. will display a series of tea sets based on circular economy principles\, combining oyster shell powder with Tenmoku glaze to produce tea utensils\, promoting economic growth while preserving environmental sustainability and the cultural heritage of ceramics. SenSenWood\, a green building materials company specializing in zero-felling technology\, will exhibit eco-friendly materials\, demonstrating the application of circular economy in the construction industry. Other circular economy brands\, such as ACC Green Innovations with its green exhibition models\, will further showcase how circular practices are applied in various aspects of daily life. \nThe event will also feature several hands-on workshops\, including sustainable stone crafting by Cloudstack Design\, leaf printing by Xianye\, marine waste creativity by O2 Lab\, recycled cultural creations by Puzhizuo\, and pineapple fiber silk-screen printing by Beautiful Taiwan\, allowing participants to experience firsthand how waste materials can be transformed into aesthetically pleasing and practical everyday items. \n“Circular Economy Innovation Exhibition” offers a wealth of content and profound ideas to guide society into the world of circular economy\, promoting resource regeneration and building a sustainable future. The organizers look forward to more public participation\, bringing circular economy practices into every corner of daily life. \n活動詳情 Event Details：超越圈圈官網 Official Website https://circular-cross.com/ \nEmail：service@youchun-culture.com \n展覽日期 Exhibition Dates | 2024.10.19（六 Saturday）-11.10（日 Sunday）10:00-17:00 *週一休園 Closed on Mondays \n展覽地點 Venue | 中原文創園區 10倉、11倉 Warehouses 10 & 11\, Chung Yuan Cultural and Creative Park *免費入場 Free admission
URL:https://events.mcu.edu.tw/event/%e8%b6%85%e8%b6%8a%e5%9c%88%e5%9c%88-%e5%be%aa%e5%9b%9e%e6%a1%83%e5%9c%92-circular-economy-innovation-exhibition/
LOCATION:中原文創園區\, 中壢區忠仁路33號\, 桃園市\, Taiwan
CATEGORIES:中原文創園區
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2024/10/1920_960視覺.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241020T100000
DTEND;TZID=Asia/Taipei:20241110T183000
DTSTAMP:20260405T104756
CREATED:20240918T061633Z
LAST-MODIFIED:20240918T061633Z
UID:10000501-1729418400-1731263400@events.mcu.edu.tw
SUMMARY:山上的風依舊香──伊誕．巴瓦瓦隆個展 Etan Pavavalung: Mountain Winds Remain Sweetly Fragrant
DESCRIPTION:藝術家 Artist：伊誕．巴瓦瓦隆 Etan Pavavalung \n展期 Date：2024.09.14 – 11.10 10:00 – 18:30（週一休館 Closed on Mondays） \n地點 Venue：亞洲藝術中心 Asia Art Center（台北 Taipei） \n這是最最遙遠的路程，來到以前出發的地方──胡德夫〈最最遙遠的路〉 \n伊誕．巴瓦瓦隆即將在2024年9月14日至11月10日於亞洲藝術中心（台北）舉辦的個展「山上的風依舊香」，是延續與回應自2014年在北美館個展「山上的風很香」的概念，那是伊誕在經歷2009年莫拉克風災後的首次個展，更是其創作生涯中第一次大型且具脈絡整理的個展。而時隔10年，本次個展「山上的風依舊香」，分別以「風」與「靈鳥」兩種形象寓言著伊誕在藝術中的世界觀。在伊誕的的觀念中，靈鳥象徵著永恆的存有，即使物換星移，生命、萬物都無可避免地隨時間流轉與變化，但因為那永恆的牽引，才讓山上拂來的風依舊是香的。 \n2009年的莫拉克風災不僅破壞了伊誕．巴瓦瓦隆所居住的大社部落，災後的異地安置也致使他重新省思人與自然環境的羈絆。對伊誕而言，莫拉克風災是橫亙在其生命與創作歷程中重大的轉捩點，本就以藝術創作長期為原民權益服務的他，在災後更進一步將藝術視作一種心靈重建的工程，不僅是對舊大社部落的重建想望，也盼維繫在災後遷居他處的精神歸屬。災後遷居於「禮納里部落」，是集合原本的大社、瑪家、好茶三個部落的永久村聚落，而雖然他們在這裡的家屋名為「永久」，但包含伊誕在內的多數族人，仍然嚮往著回去那山上原本的家。「原鄉部落的水，好喝的非常啊！沿著溪流起風時，是多麼的香啊！」就在一次耆老吟唱的古調中，呼喚起他記憶中那在山中的風香，也啟示著自於先民那與自然大地互動的生命智慧。於是伊誕以「紋砌刻畫」的獨特手法，反覆將傳統的排灣族紋飾體系轉化為當代視覺系統，這個重複的過程猶如古老的語言和文化教育，Tjasiumalj tjasiumalj ── 重複再重複，經由不斷使用與修正的累積下，伊誕透過這種圖像系統與過去溝通，再將命題放回當下。 \n自2014年在北美館的個展以來，「風」便一直是貫穿在其創作中的一個基本要素，風傳遞消息、帶來希望，也維繫生命、撫平傷痛，而靈鳥指引的道路亦偃藏在風中；就如同在古調中的風帶起了香味，緻密的風紋串連著其作品中的敘事主體，彼此互相牽引著密不可分。當時伊誕受到啟發，寫下了一段詩句： \n這些景 這些事\n印記在風災肆虐的土地上 \n我想要上山\n讓心靈隨風走往\n傾聽靈魂心旋樂音的居所\n在溪水詠讚的大地間\n我要重新披上\n哼唱原味氣息的風彩衣 \n在夢境中切記\n山上的風 依舊香 \n伊誕擷取其以前寫過的詩句，藉「山上的風依舊香」為題，彷若以自己的話語回應耆老的提醒，也響應著他在這十多年來心靈重建的想望；每年依循傳統路徑返回舊大社祭祀、整理，伊誕不僅透過藝術的各種面向重構其心中的精神文化的道，也以實際行動維繫與故鄉的心靈關係。 \n本次的展出脈絡跨度伊誕近10年的創作，分別以「風」與「靈鳥」兩種概念引領觀眾探詢自己的心靈聖山。展出的作品類型與媒材多元，除廣為人知的紋砌刻畫作品外，也包含全新創作的複合媒材與石板雕刻作品，亦有曾赴澳洲參加2021年亞太三年展的數件作品；以及創作於2017年、曾於國際巡迴參展的大尺幅作品《翱翔》，此作以清晰而簡要的輪廓刻畫出靈鳥於風中翱翔的形象，反映其創作歷程的主要意象，是伊誕於紋砌刻畫美學的標誌性之作。展題中的「依舊」，不僅映照著伊誕．巴瓦瓦隆的創作初心，亦隱喻著以前那山上的風很香的部落或已不再是未竟之地，時過境遷，他想透過展覽告訴大家，山上的風依舊是香的。 \n“This is the longest course\, returning to where we started.” ––Parangalan (De-Fu HU)\, ‘The Longest Course’ \nEtan Pavavalung’s solo exhibition Mountain Winds Remain Sweetly Fragrant at Asia Art Center (Taipei) from September 14 to November 10\, 2024\, continues the concept from his solo show The Fragrant Mountain Winds at the Taipei Fine Arts Museum (TFAM) in 2014. That exhibition was Etan’s first solo exhibition after Typhoon Morakot\, and was also the first large-scale and coherent solo exhibition in his artistic career. \nAfter a decade\, the solo exhibition Mountain Winds Remain Sweetly Fragrant uses “winds” and “spiritual birds” as metaphors to represent Etan’s aesthetic worldview. In Etan’s aesthetic\, spiritual birds symbolize a kind of eternal existence. Even as time brings irresistible change\, vitality\, and decline to all things\, spiritual birds still guide us a path and ensure that the winds from the mountains remain fragrant\, just as they have always been. \nTyphoon Morakot in 2009 severely destroyed the Paridrayan tribe where Etan lived\, and the resettlement after the disaster also caused him to reflect the bond between humans and the natural environment. For Etan\, Typhoon Morakot impacted him deeply; even though he had long utilized his art to advocate for indigenous rights\, the typhoon damage leading him to embrace art as a means of spiritual rebuilding—not only for his original Paridrayan tribe but also to maintain spiritual belonging after the disaster. After Morakot\, Etan and his community relocated to the Rinari Permanent Housing Community\, which combining three tribes from different groups of Paridrayan\, Makazayazaya and Kucapungane. Although they now lived in “permanent” housings\, many\, including Etan\, still longed to return to their original homes in the mountains. “Water from the tribal homeland\, tasty so very! Along the creek as the wind picks up\, how fragrant it is!” Inspired by an elder’s ancient chant that recalled the fragrance of the wind on the mountain\, Etan used his unique “Trace Layer Carve Paint” technique to transform traditional Paiwan patterns into a contemporary visual and narrative system. This process\, akin to the accumulation of ancient language and cultural education\, Tjasiumalj tjasiumalj (means repetition after repetition)\, allows Etan to communicate with the past while bringing those ideas into the contemporary. \nSince Etan’s 2014 solo exhibition at TFAM\, “winds” have consistently been a fundamental element in Etan Pavavalung’s art. Winds are like messengers\, bringing hope\, sustaining life and soothing pain. The path guided by the spiritual bird is also hidden within the wind. Like the scent brought by the wind in the ancient chant\, the meticulous wind patterns connect each narrative in his works\, intricately linked and inseparable. Inspired by that ancient chant\, Etan wrote a poem capturing the essence of the wind’s message: \nThese sights\, these events\nThey are engraved into a typhoon-ravaged land \nI want to head up the mountains\nLetting my heart follow the wind\nChasing the musical notes in my souls\nNotes that compose the odes of the creeks\nI want to be cloaked once more\nBy the colorful singing winds \nLingering in my dreams\nThe ever-fragrant winds of the mountains. \nThe exhibition title Mountain Winds Remain Sweetly Fragrant echoes Etan’s poem and serves as a response to the elder’s reminder\, reflecting his desire for spiritual reconstruction over the past decade. Through this exhibition\, Etan not only reconstructs the spiritual and cultural path in his heart but also maintains a connection to his homeland through art and action. \nThis exhibition spans nearly a decade of Etan’s artistic thoughts\, guided by the dual concepts of “winds” and “spiritual birds\,” leading viewers to search their own sacred mountains. The works on display include his most well-known “Trace Layer Carve Paint” pieces\, newly created mixed media works and slate carvings\, as well as several pieces that were part of the 10th Asia Pacific Triennial of Contemporary Art in Australia in 2021. And a remarkable large-scale work Flyng\, created in 2017\, which has toured internationally. This piece\, with its clear and concise composition\, depicts a spiritual bird flying in the wind\, reflecting the primary imagery in Etan’s artistic journey and is a hallmark of his “Trace Layer Carve Paint” aesthetic. The word “Remain” in the exhibition title not only reflects Etan Pavavalung’s artistic origins but also symbolizes that the tribe in the mountain that once blew the fragrant wind is no longer an unreachable place. Thought time flied\, Etan seeks to convey through this exhibition that the mountain winds remain sweetly fragrant.
URL:https://events.mcu.edu.tw/event/%e5%b1%b1%e4%b8%8a%e7%9a%84%e9%a2%a8%e4%be%9d%e8%88%8a%e9%a6%99%e2%94%80%e2%94%80%e4%bc%8a%e8%aa%95%ef%bc%8e%e5%b7%b4%e7%93%a6%e7%93%a6%e9%9a%86%e5%80%8b%e5%b1%95-etan-pavavalung-mountain-winds-remai/
LOCATION:亞洲藝術中心\, 樂群三路128號\, 台北市\, Taiwan
CATEGORIES:亞洲藝術中心
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2024/09/011-scaled.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241020T100000
DTEND;TZID=Asia/Taipei:20241110T183000
DTSTAMP:20260405T104756
CREATED:20240918T063503Z
LAST-MODIFIED:20240918T063503Z
UID:10000502-1729418400-1731263400@events.mcu.edu.tw
SUMMARY:Katja Farin: Blind Spot
DESCRIPTION:藝術家 Artist：Katja Farin \n展期 Date：2024.09.14 – 11.10 10:00 – 18:30（週一休館 Closed on Mondays） \n地點 Venue：亞洲藝術中心 Asia Art Center（台北 Taipei） \n亞洲藝術中心很榮幸宣布於9月14日至11月10日 舉辦美國藝術家Katja Farin在亞洲地區的首次個展Blind Spot。 \n亞洲藝術中心自1982年成立以來，長期致力於台灣藝術界的發展，並於2024年推出亞洲藝術中心國際藝術家駐村創作計劃，以培養年輕、中生代藝術家為使命，並探索除了舉辦展覽之外能夠為藝術領域做出貢獻的方式。透過這個駐村計畫，亞洲藝術中心邀請來自世界各地的藝術家來台體驗本地獨特的生活方式和多元的文化，想必這樣的刺激會為藝術家帶來全新的創作靈感。身為亞洲藝術中心國際藝術家台灣駐村創作計劃首位參與者，Katja Farin從8月到9月初這段期間在台灣東岸的南方澳漁港進行駐村。當地豐富的歷史和文化背景同時也鼓勵了藝術家探索全新創作的可能。 \n藝術家在駐村期間所創作的畫作也將於《Blind Spot》展覽展出。Katja Farin敏銳的觀察力，將在地元素如漁船、窗花、動物、昆蟲和植物等呈現在畫作中，並以其具有高辨識度的橘、紅、綠與藍色，共同構成當地的日常場景。這些在南方澳創作的畫作描繪了蘇澳的自然人文風貌，與他在倫敦所完成、大多以室內為空間為主的作品呈現截然不同的氛圍。 \nFarin的作品多以鮮豔的色彩與具戲劇效果的畫面呈現，透過畫面中看似面無表情的主角探索無意識、集體無意識和個人的具象繪畫探索自我、空間和周圍環境之間的關係。這些複雜的構圖描繪了看似是微不足道的日常場景，例如《Flowers for You》、《Splitting While Entering》和《Lost Keys》中無所事事地坐在未知室內場景的人物，或者《Exhausted Bed》中因精疲力盡而倒下的人。角色之間的關係不明確，但對身分認知、外貌、自我接納和差異的模糊和焦慮感始終存在。這些雌雄同體的人物看似被動且面無表情，更加凸顯了他們與周遭的環境隔絕的尷尬感。Farin畫中無法辨別時間與空間的敘事充滿了懸而未決的氣氛，提供了觀者無限的想像空間。《Entering from Exiting》和《Ghost Behind the Screen》中的人物打破了空間的界限，而《Starting to Detach》和《Limited Curtain Call》中人物的潛意識看似脫離了肉體，藉此逃離現實的枷鎖。 \nFarin複雜的構圖和大膽色彩的運用充滿了強烈的劇場效果與敘事感。他曾說「性別即為一種展演」。所謂的性別並不是由生物學來判定，而是社會規範下所產生的演出。無法或是不願被歸類為二次元性別的人則可能面對社會不公的質疑。隨著社會的進步，此一傳統的分類逐漸受到挑戰，但關於這個主題的爭論仍持續不休。Farin的作品涉及性別焦慮和對外貌的各種不安全感，而他所創造的場景反映了人們為了滿足社會期望而進行的對外展演，但內心真實的自我卻被迫隱藏。身為藝術創作者，藝術家如同性別角色的發明者一般，透過筆刷與顏料在畫布上呈現精采的戲劇場景。刻板的性別角色不是與生俱來的，而是隨著社會的塑造、後天逐漸形成的。此現象所造成的焦慮感，想必是許多大眾都能夠同感身受的。 \n在此次展覽中，Farin也首次帶來多件陶器作品。以灰、棕、綠和白釉為主的陶作帶有尖刺與陶和金屬所製成的鏈子和鏡面，是他將畫作中一再出現的符號立體化。透過二維和三維作品的演繹，藝術家審視了隱藏在潛意識中不願被提起的情感盲點、揮之不去的創傷，以及尚待釐清的爭議。兩種不同媒材的作品透過鏡子中反射的畫面緊密結合，而觀者的倒影則被困在這個如同夢境般的漩渦中，彷彿也成為令人不安的空間的一部份。 \n他原是初來乍到、穿梭於南方澳小鎮的旅客，邊探索邊努力適應陌生的語言、街景和文化，在這段一個半月的時間內他已融入當地生活步調，已然是社區的一個居民，即使駐村計畫結束後也不會被遺忘。 \nKatja Farin 2018年於洛杉磯加州大學獲取藝術學士學位，目前正就讀於倫敦大學斯萊德美術學院研究所。曾個展於Friends Indeed ( 舊金山 )、Era Gallery ( 米蘭 )、Lubow ( 紐約 ) 以及in lieu ( 洛杉磯 ) 等國內外畫廊，並曾在Pace Gallery ( 香港 )、Alexander Berggruen ( 紐約 )、Beers ( 倫敦 )、Wilding Cran與Nicodim ( 洛杉磯 ) 等畫廊參與聯展。他目前居住、生活於加州洛杉磯和英國倫敦。 \nAsia Art Center is pleased to present a body of new work by American artist Katja Farin. On view from 14th September to 10th November\, this presentation marks Farin’s first solo show in Asia. \nAsia Art Center has been committed to the Taiwanese art scene since its establishment in 1982\, and from 2024\, the AAC International Artist Residency Program in Taiwan is launched with the mission of nurturing emerging talent and mid-career artists as well as exploring new ways to contribute to the field of art beyond exhibitions. Asia Art Center invites artists from around the world to experience the unique way of life and vibrant culture scene in Taiwan which may provide new sources of inspirations for the artists. As the first participant of the AAC International Artist Residency Program in Taiwan\, Katja Farin has been living and working in the fishing village of Nanfang’ao by the eastern coast of the island throughout the month of August to early September. The village’s rich historical and cultural backdrop offers a meaningful context for the artist’s six-week residency\, encouraging exploration and creative engagement. \nPaintings executed during the residency period are to be included in the exhibition Blind Spot. Layered with Farin’s signature vivid oranges\, reds\, greens and blues with local elements such as fishing boats\, window gratings\, animals\, insects and plants that make up everyday scenes for the locals are visible indications of the artist’s observant eye. In contrast to the works the artist completed in London which are mostly set within an interior\, the Nanfang’ao paintings depict outdoor environments which reflect on the natural scenery of the village. \nBest known for their figurative paintings which investigate the unconscious mind\, the collective unconscious and the personal\, the seemingly expressionless protagonists in Farin’s works are often painted in vibrant colours and stage-like settings that explore the relationships between the self\, the space and the surroundings. Farin’s complex compositions frequently portray seemingly insignificant everyday scenes\, such as figures sitting idlily within an unidentified interior as seen in Flowers for You\, Splitting While Entering and Lost Keys\, or a person collapsing from exhaustion in Exhausted Bed. The relationship between the figures is unclear\, but the sense of ambiguity and anxiety over one’s identity\, physical appearance and self-acceptance as well as difference\, is constantly present. The impassive and blank faces of the androgynous figures appear to be awkward and secluded from their surroundings. There’s an air of suspension in the narratives which are not bound to any particular storyline or timeline hence are open for interpretation. The figures in Entering from Exiting and Ghost Behind the Screen break the boundaries between spaces\, whilst the subconscious of the figures in Starting to Detach and Limited Curtain Call appear to be detaching itself from the physical bodies\, as if escaping from the reality. \nFarin’s complex compositions and the use of bold colours are highly theatrical with a strong sense of narrative. “Gender is a performance”\, says Farin. Gender is not an essential quality or identity determined by biology\, but a performative act reinforced by societal norms. Individuals who cannot or would not be pigeonholed as women or men often face negative consequences. This conventional configuration has been challenged as the society progresses\, yet the debate on the topic continues. Farin’s works deal with gender dysphoria and insecurities about appearances\, the staging of the scenes refers to one’s external performances executed to fulfill societal expectations\, whereas the internal life may remain hidden away behind the screens. The role of an artist as a maker and producer of their art is in fact reflective of the invention of gender roles\, which one is not born with\, but grows into\, as shaped by the society. Via their brushworks\, Farin addresses the source of such anxieties which is shared by most members of the public. \nThis exhibition also sees the largest display of Farin’s ceramic works. Glazed in greys\, browns\, greens and white\, the ceramic pieces with spiky ends\, ceramic and metal chains as well as mirrors\, which are reiterations of symbols found in Farin’s canvases. Through the presentation of both two dimensional and three-dimensional works\, Farin examines emotional blind spots\, the lingering trauma\, unresolved conflicts which are tucked away in one’s subconscious not wanting to be disturbed or reminded. The two media are closely bonded by the reflected images of the paintings in the mirrors\, whilst the reflections of the viewers are then trapped within this vortex\, establishing a relationship with a dreamlike dysphoric space. \nKatja Farin begun their stay in Nanfang’ao as a newcomer\, navigating their way around town soaking in the languages\, street scenes and cultures which were all foreign to them. By the end of the residency\, they have become part of the community whose presence will be missed by the friendly residents. \nKatja Farin \nFarin received a BA in Fine Art from the University of California\, Los Angeles in 2018 and is a candidate for an MFA degree from the Slade School of Fine Art in London. Selected solo exhibitions include Friends Indeed (San Francisco)\, Era Gallery (Milan)\, Lubov (New York) and in lieu (Los Angeles). Their art has been included in group exhibitions at Pace Gallery (Hong Kong)\, Alexander Berggruen (New York)\, Beers (London)\, Wilding Cran (Los Angeles) and Nicodim (Los Angeles). They live and work in Los Angeles\, CA and London\, UK. \nKatja Farin在南方澳：亞洲藝術中心國際藝術家台灣駐村創作計劃 Katja Farin in Nanfang’ao: AAC International Artist Residency Program in Taiwan \nhttp://www.asiaartcenter.org/asia/?p=99233&lang=en
URL:https://events.mcu.edu.tw/event/katja-farin-blind-spot/
LOCATION:亞洲藝術中心\, 樂群三路128號\, 台北市\, Taiwan
CATEGORIES:亞洲藝術中心
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2024/09/1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241028T080000
DTEND;TZID=Asia/Taipei:20241111T235900
DTSTAMP:20260405T104756
CREATED:20241022T053958Z
LAST-MODIFIED:20241022T053958Z
UID:10000600-1730102400-1731369540@events.mcu.edu.tw
SUMMARY:圖書館 Library｜E書E語．推薦接力 即起開跑 E-books Relay Recommendation Contest Kicks Off Now
DESCRIPTION:銘傳大學作為臺灣學術電子書暨資料庫聯盟（TAEBDC）的成員館，配合聯盟舉辦「E書E語．推薦接力-113年度跨校推廣活動」。即日起至11／11（一），113年度TAEBDC聯盟學生與教職員，只要參與有獎徵答與電子書推薦，即有摸彩獲得豐富獎品的機會！ \n活動設有兩項獎勵——推薦獎與接力獎。參與「推薦獎」的同學只需填妥基本資料、依指示挑選並閱讀任一本聯盟電子書，並分享推薦內容，提交後經承辦單位審核通過，即可參加推薦獎抽獎。至於「接力獎」，則是延續推薦獎，每分享一本電子書內的精選短句並提交表單，通過審核後，即可加碼參加抽獎，每人最多可獲得五次抽獎機會，且需挑選不同冊的電子書進行分享。 \n參加活動的同學需注意幾點事項：活動參加者需授權投稿內容無償供主辦單位及聯盟合作學校推廣使用；投稿內容必須為原創，若有抄襲行為需自負法律責任。此外，獎品圖片僅供參考，實際款式以實物為準；若獲得超過新臺幣壹仟元之獎品，需列入當年度所得稅申報，外籍得獎人須繳交獎品價值20%稅金及居留證影本。獲獎者需至所屬圖書館領取獎項，並完成簽收。 \n圖書館活動多元且鼓勵閱讀，盼各位師生多加善用活動資源，閱讀豐富知識的同時，還能順便將豐富大獎帶回家。 \nAs a member library of the Taiwan Academic E-book and Database Consortium (TAEBDC)\, MCU is participating in the “E-books Relay Recommendation Contest – 2024 Cross-School Promotion Event”. From now until Monday\, November 11\, TAEBDC consortium students and faculty can participate in a prize draw by answering quiz questions and recommending e-books\, with a chance to win fantastic prizes! \nThe event features two awards: the Recommendation Award and the Relay Award. For the Recommendation Award\, participants simply need to fill in their basic information\, select and read any e-book from the consortium\, and share a brief recommendation. Once approved by the organizing committee\, participants will be entered into the prize draw. The Relay Award extends the Recommendation Award by allowing participants to share selected quotes from any e-book. For each approved submission\, they will earn an additional prize draw entry\, with a maximum of five entries per person. However\, each submission must be from a different e-book. \nA few important notes for participants: By entering the contest\, participants agree to grant the host and consortium partner schools the right to use the submitted content for promotional purposes. Submissions must be original; plagiarism will result in legal liability. Prize images are for reference only; actual styles may vary. If the prize exceeds NT$1\,000 in value\, it must be declared for tax purposes. Foreign winners are required to pay 20% tax on the prize value and submit a copy of their residence permit. Prizes must be claimed at the respective university library with a signed receipt. \nThe library encourages faculty and students to take advantage of this diverse event. Not only will you expand your knowledge through reading\, but you may also take home exciting prizes! \n更多活動詳情，歡迎至活動網頁查詢 For more event details\, please visit：https://reurl.cc/ky84Ed
URL:https://events.mcu.edu.tw/event/%e5%9c%96%e6%9b%b8%e9%a4%a8-library%ef%bd%9ce%e6%9b%b8e%e8%aa%9e%ef%bc%8e%e6%8e%a8%e8%96%a6%e6%8e%a5%e5%8a%9b-%e5%8d%b3%e8%b5%b7%e9%96%8b%e8%b7%91-e-books-relay-recommendation-contest-kicks-off-now/
CATEGORIES:圖書館
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2024/10/1210期圖書館E書電子報配圖.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241028T100000
DTEND;TZID=Asia/Taipei:20241117T170000
DTSTAMP:20260405T104756
CREATED:20240821T074120Z
LAST-MODIFIED:20240821T074120Z
UID:10000429-1730109600-1731862800@events.mcu.edu.tw
SUMMARY:新北市美術館 New Taipei City Art Museum｜體育課 In Terms of Sport
DESCRIPTION:當我們談論「體育」的時候，談的是什麼？當我們觀看「運動」的時候，看的又是什麼？日常生活中的運動時刻，在休閒、健身與競技之際，是否也伴隨著諸多非關動作的經驗連結？適逢2024年巴黎奧運，緊鄰鶯歌運動中心的新北市美術館以「體育課」（In Terms of Sport）為題，策劃一檔結合場內（遊樂場、體育館）與場外（城市、街頭）運動的主題展覽，意圖拆解與挑戰當代社會關於「體育」的主流想像。 \n從生活中的體育時刻出發，「體育課」邀請公眾走入新北市美術館的藝術街坊，共同感受關於運動的多重敘事。在這裡，我們將體驗非常規的運動場；閱讀屬於臺灣的體育故事；遇見藤吉維．尼基．恩科西（Thenjiwe Niki Nkosi）作品裡出神與隱身的各國國家代表隊；端看羅智信〈看我舞動〉和楊季涓「只是玩⼀場遊戲」的自轉運動；踏上張幼欣取材臺灣山林的動態音景；與阿莫．帕特爾（Amol K. Patil）的印度勞動者歌聲前行；隨著芭芭拉．瓦格納 & 班傑明．德．布爾卡（Bárbara Wagner & Benjamin de Burca）來自巴西街頭的〈SWINGUERRA〉起舞，而後望向加布里埃拉．安戈蒂瓊斯（Gabriella Angotti-Jones）《我只是想衝浪》眼前的加州汪洋。這些交織著身分認同、殖民背景、政治情勢與社會議題的展覽敘事，是另一種運動日常，也是一堂堂發生在美術館的，不一樣的「體育課」。 \nWhen we talk about sports\, what do we talk about? What do we truly observe when we watch sports? Do moments of physical activity in daily life—spanning recreation\, workout\, and athletics—entail experiences that revolve not really around movement? Coinciding with the 2024 Paris Olympics\, the New Taipei City Art Museum\, adjacent to the Yingge Civil Sports Center\, is presenting “In Terms of Sport”\, an exhibition that integrates indoor (playgrounds\, stadiums) and outdoor (cities\, streets) sports. This thematic exhibition aims to dismantle and challenge contemporary society’s mainstream perceptions of “sports”. \nStarting from the everyday moment in sports\, “In Terms of Sport” invites the public to visit the Creative Cluster of the New Taipei City Art Museum and experience the multiple narratives surrounding sports. Here\, we will explore unconventional sports venues\, read stories of sports in Taiwan\, encounter the impeccable and invisible national team in Thenjiwe Niki Nkosi’s works\, witness the rotational movement in Luo Jr-shin’s Look at Me Grooving and Yang Chi-chuan’s “Just Playing a Game”\, step into the dynamic soundscape of Taiwan’s mountains and forests by Sayun Chang\, move forward amidst the laborers’ song by Amol K. Patil\, dance to Bárbara Wagner & Benjamin de Burca’s SWINGUERRA from the Brazilian streets\, and gaze at the California’s ocean in Gabriella Angotti-Jones’s I Just Wanna Surf. These exhibition narratives weave together identity\, colonial history\, political dynamics\, and social issues\, offering an alternative routine of sports as well as a different kind of physical education class at the museum. \n策展人 Curator：鄒婷 Tsou Ting \n\n\n參展藝術家 Artists：\n加布里埃拉．安戈蒂瓊斯 Gabriella Angotti-Jones\n芭芭拉．瓦格納 & 班傑明．德．布爾卡 Bárbara Wagner & Benjamin de Burca\n阿莫．帕特爾 Amol K. Patil\n張幼欣 Sayun Chang\n富安隼久 Hayahisa Tomiyasu\n楊季涓 Yang Chi Chuan\n羅智信 Luo Jr Shin\n藤吉維．尼基．恩科西 Thenjiwe Niki Nkosi \n免費入場 Free for Admission
URL:https://events.mcu.edu.tw/event/%e6%96%b0%e5%8c%97%e5%b8%82%e7%be%8e%e8%a1%93%e9%a4%a8-new-taipei-city-art-museum%ef%bd%9c%e9%ab%94%e8%82%b2%e8%aa%b2-in-terms-of-sport/
LOCATION:新北市美術館\, 鶯歌區館前路300號\, 新北市\, Taiwan
CATEGORIES:新北市美術館
ATTACH;FMTTYPE=image/png:https://events.mcu.edu.tw/wp-content/uploads/2024/08/3-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241101T090000
DTEND;TZID=Asia/Taipei:20241112T210000
DTSTAMP:20260405T104756
CREATED:20241001T084047Z
LAST-MODIFIED:20241001T084047Z
UID:10000550-1730451600-1731445200@events.mcu.edu.tw
SUMMARY:臺灣水彩專題精選系列〈山林篇〉水彩大展 Taiwan Watercolor Selection: Mountain and Forest Series Watercolor Exhibition
DESCRIPTION:山林自古以來便是文人墨客和藝術家們取材的豐富泉源，那飄渺的雲霧，蘶峨的山峰，青翠的松柏，以及涓涓潺流的小溪，都賦予了無限的靈感和創作的激情。在這片廣闊而神秘的天地間，山林不僅僅是自然的景觀，更是心靈的歸宿和精神的寄托。這次共有54位水彩藝術家參與，除了國內的創作者外，更有來自馬來西亞的畫家共襄盛舉，承先啟後為山林篇的展覽獻上最精彩的作品。 \nMountains and forests have long been a rich source of inspiration for scholars\, poets\, and artists. The ethereal mist\, towering peaks\, lush pines\, and gently flowing streams provide endless creativity and passion for artistic expression. In this vast and mysterious world\, mountains and forests are not just natural landscapes but also a sanctuary for the soul and a spiritual refuge. This exhibition features 54 watercolor artists\, including not only creators from Taiwan but also painters from Malaysia\, coming together to present the most captivating works for the Mountain and Forest series\, bridging the past and future. \n票價 Fee：免費 Free
URL:https://events.mcu.edu.tw/event/%e8%87%ba%e7%81%a3%e6%b0%b4%e5%bd%a9%e5%b0%88%e9%a1%8c%e7%b2%be%e9%81%b8%e7%b3%bb%e5%88%97%e3%80%88%e5%b1%b1%e6%9e%97%e7%af%87%e3%80%89%e6%b0%b4%e5%bd%a9%e5%a4%a7%e5%b1%95-taiwan-watercolor-selection/
LOCATION:藝文大樓\, 松山區八德路三段25號\, 台北市\, Taiwan
CATEGORIES:臺北市藝文推廣處,藝文大樓
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2024/10/461097272_940659624770411_6852626879274300751_n.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241108T090000
DTEND;TZID=Asia/Taipei:20241122T160000
DTSTAMP:20260405T104756
CREATED:20241017T055709Z
LAST-MODIFIED:20241017T055709Z
UID:10000590-1731056400-1732291200@events.mcu.edu.tw
SUMMARY:銘傳藝術中心桃園館展出「2024黃山攝影展」 MCU Art Center Taoyuan Gallery Presents "2024 Huangshan Photography Exhibition"
DESCRIPTION:銘傳大學藝術中心桃園館推出「2024黃山攝影展」，展期從即日起至11／22止，精選50幅海峽兩岸攝影作品展出，透過攝影鏡頭紀錄下世界自然與文化遺產－黃山的不同面貌，讓師生大開眼界。 \nMCU’s Art Center Taoyuan Gallery is proud to present the “2024 Huangshan Photography Exhibition\,” which will run from now until November 22. The exhibition showcases 50 selected works from photographers across the Taiwan Strait\, capturing various perspectives of the world-renowned natural and cultural heritage site\, Huangshan\, offering a breathtaking experience for students and faculty. \n \n此次展覽匯集海峽兩岸攝影師作品，以自然奇景與四季更迭的黃山為主角，分為《春生萬壑》、《夏夜闌珊》、《秋霜雅望》、《冬雪傲寒》四個篇章，共計展出50幅攝影作品，呈現大自然風光的變化萬千。 \nThe exhibition brings together works from photographers on both sides of the Taiwan Strait\, focusing on the natural wonders and seasonal transformations of Huangshan. It is divided into four thematic sections: “Spring’s Awakening Valleys”\, “Summer’s Tranquil Nights”\, “Autumn’s Frosted Elegance” and “Winter’s Proud Snow”. A total of 50 photographs are displayed\, showcasing the ever-changing beauty of the natural landscape. \n \n「2024黃山攝影展」由銘傳大學、黃山風景區管理委員會、台灣攝影家交流協會共同主辦，即日起至11／22止，在銘傳大學桃園校區藝術中心桃園館展出；12／9-2025／1／3移師台北校區藝術中心台北館續展，每週一至週五開放免費參觀（例假日除外），歡迎喜歡欣賞攝影作品的民眾、全校師生前往欣賞。 \nThe “2024 Huangshan Photography Exhibition” is co-hosted by MCU\, Huangshan Scenic Area Management Committee and Taiwan Photographers Association. It is currently on display at the Taoyuan Gallery of the Art Center on MCU’s Taoyuan Campus until November 22. The exhibition will then move to the Taipei Gallery at the Taipei Campus Art Center from December 9\, 2024\, to January 3\, 2025. The exhibition is open for free viewing from Monday to Friday (excluding public holidays)\, and all photography enthusiasts\, as well as students and faculty\, are welcome to attend.
URL:https://events.mcu.edu.tw/event/%e9%8a%98%e5%82%b3%e8%97%9d%e8%a1%93%e4%b8%ad%e5%bf%83%e6%a1%83%e5%9c%92%e9%a4%a8%e5%b1%95%e5%87%ba%e3%80%8c2024%e9%bb%83%e5%b1%b1%e6%94%9d%e5%bd%b1%e5%b1%95%e3%80%8d-mcu-art-center-taoyuan-gallery-pr/
LOCATION:桃園校區Taoyuan Campus\, 龜山區德明路5號\, 桃園市\, Taiwan
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2024/10/DSC6913-scaled-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241108T100000
DTEND;TZID=Asia/Taipei:20241129T170000
DTSTAMP:20260405T104756
CREATED:20241107T065903Z
LAST-MODIFIED:20241107T065903Z
UID:10000642-1731060000-1732899600@events.mcu.edu.tw
SUMMARY:不眠山 Seeking for Absent Forms in Forests —蔡昱廷個展 Yu Ting Tsai Solo Exhibition
DESCRIPTION:展覽介紹 Exhibition Introduction \n夜晚的靜謐是登山者出發的時刻，像是夢遊一般地闖進黑暗的森林中。 \n約莫七年的時間，藝術家作為高山嚮導在臺灣廣袤的山林中持續攀爬，見證過生命的殞落、攀登的迷戀、光怪陸離的故事又或是在山林中看見臺灣複雜歷史的感嘆，那長時間住在山中與外界斷聯的日子，總能有許多體悟。 \n\n山林不僅隱藏文明發展的遺忘痕跡，也創造了某種中介地帶，被時間掩蓋的歷史、記憶、人類的慾望與失蹤的人彷彿化作幽魂，徘徊在蒼翠的樹影中。 \n展覽試圖聚焦於『失蹤』作為一種存在的狀態，山中聚落遺址難以接近的失蹤、黑夜山林攀爬身體與意識解離的失蹤狀態以及日治時期至民國初期，威權轉移下文化銜接的模糊地帶，它們同樣位於中介地帶之中。觀者與藝術家，身在其中，失蹤的存在狀態，一切都在巨大的循環中息息相關。同時展覽探索觀者觀看的出神狀態，意識跨越時間線，關於日本殖民、山林產業與臺灣人民之間逐漸消散的集體記憶，被山林的異質空間所包覆。 \nThe silence of night marks the hour when mountain-climbers depart. Like sleepwalking\, they intrude into the darkened forests. \nFor seven years\, having witnessed the final moments in life\, a mountain guide as an artist is climbing continuously in the thick and dense forests in Taiwan. There exists the allure of ascending and the bizarre tales and the sighs of history through the dense woodlands. In those long days\, being isolated from the world outside\, the artist found countless revelations. \nThe mountains not only hide the forgotten traces of civilization but also forge an “Liminal Zone”. Time-buried history\, faded memories\, human desires\, and the missing humans being specters have drifted in the shadows of ancient trees. \nThis exhibition makes a focus of “disappearance” as a state of existence: the elusive disappearance of inaccessible mountain ruins\, the dissociative state of body and mind while climbing through the nocturnal forest\, and the ambiguous zones of cultural transition from the Japanese colonial era to the early Republic period. All reside within this liminal zone. The artist and the observer dwell in this state of absence\, where all things are bound within a grand cycle. \nThe exhibition also explores the entranced state of the viewer\, in which consciousness transcends the boundaries of time\, enveloped by different space of forests in the mountains. It reflects on the gradually fading collective memories of Japanese colonization\, forest industries\, and Taiwanese people shrouded within the ethereal woods. \n藝術家簡介 About the Artist \n蔡昱廷 Yu Ting Tsai \n1999年生，目前於北藝大新媒體藝術碩士進修。曾獲2025桃源國際藝術獎、2024臺灣美術新貌獎、2024西班牙馬德里錄像藝術節放映等。 \n創作語彙多結合自然、科技、歷史等不同知識領域，以此建構多重角度的觀看。媒材跨及裝置、錄像、與攝影。 \n創作核心源自於生命經驗，自我、精神、地方、歷史的挖掘與辨認，以拓墣學觀點觀看個體，藝術家走入作品之中，再相性不同的歷程中觀看經驗在個體作用的狀態以及多重主體性的形塑過程。 \nYu Ting Tsai(b.1999\, Taipei\, Taiwan) is an artist who lives and works in Taipei\, currently pursuing a master’s degree in New Media Art at Taipei National University of the Arts. His major awards include the 2025 Taoyuan International Art Award (TW)\, 2024 Taiwan Emerging Art Awards (TW)\, Festival PROYECTOR 2024(ES)\, etc. \nThe vocabulary words used in the work consists of various fields of knowledge\, such as nature\, technology\, and history to construct a multi-perspective viewing. The mediums include installations\, videos\, and photographs. \nThe core of the work stems from life experiences\, exploring and identifying self\, spirits\, places\, and histories. The individual is viewed from a topological perspective\, and the ideas are generated by navigating through different systems and coordinates to interweave a common location in points. The artist enters the work\, through different processes\, the purposes are to view how these experiences have impacts on the individual and shape multiple subjectivities.
URL:https://events.mcu.edu.tw/event/%e4%b8%8d%e7%9c%a0%e5%b1%b1-seeking-for-absent-forms-in-forests-%e8%94%a1%e6%98%b1%e5%bb%b7%e5%80%8b%e5%b1%95-yu-ting-tsai-solo-exhibition/
LOCATION:關渡美術館\, 北投區學園路一號\, 台北市\, Taiwan
CATEGORIES:關渡美術館
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2024/11/3.jpg
ORGANIZER;CN="%E9%97%9C%E6%B8%A1%E7%BE%8E%E8%A1%93%E9%A4%A8":MAILTO:kdmofa@kdmofa.tnua.edu.tw
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241108T100000
DTEND;TZID=Asia/Taipei:20241129T170000
DTSTAMP:20260405T104756
CREATED:20241107T072839Z
LAST-MODIFIED:20241107T072839Z
UID:10000643-1731060000-1732899600@events.mcu.edu.tw
SUMMARY:遲來菩薩 Belated Bosal —朴贊景個展 Park Chan-kyong Solo Exhibition
DESCRIPTION:展覽論述 Exhibition Introduction \n朴贊景是一位跨足電影的當代藝術家，長年關注冷戰課題，以及韓國傳統文化與殖民現代性支配關係，特別關於西方強權勢力對於韓國歷史的介入，和薩滿信仰對於韓國人精神結構的影響，這種文化政治的政治性更是他作品持續延展的主要動力。因而思考、批判、對抗殖民關係成為他創作中表露無遺的「態度」。 \n2000年的《Set》到2007年《權力通道》（Power Passage）與2009年的《停電》（Black Out）以一種在全球冷戰角力的錯視下進行一種南北韓的交互觀看，於2004年獲得韓國愛馬仕藝術獎，而2008年的「新都內」計畫可以視為奠基朴贊景創作軸線的複雜計畫，一方面追索雞籠山的跨教派文化，另一方面則揭露這些經驗和政治抗爭史之間的密切關係，連結萬物有靈、宇宙論、殖民史和創傷療癒等課題。2011年和哥哥朴贊郁（合組Parking CHANce）合作iphone影片《夜釣》獲柏林影展金熊獎，於2014年擔任「媒體城市：首爾雙年展」的藝術總監，提出「鬼魂、間諜與祖母們」為主題，將亞洲的殖民現代性開展為一個即為廣褒的光譜，技術、女性、儀式與跨國翻譯是這一屆雙年展極具特色的主題。2019年的「匯聚」（Gathering）展覽是一個非常龐大而完整的創作計畫，呈現了藝術家對於殖民現代性與解殖的精神道路，《遲來菩薩》是這個展覽計畫的核心作品，可以視為是《市民森林》與「安寧」展覽（2017）課題的延伸。 \n《遲來菩薩》以福島核災作為一個關鍵時刻，而與摩訶迦葉從靈鷲山趕到拘尸那羅追悼佛陀葬禮的遲到時刻，發生了一種跨時空、跨文化認知的強力交會，影片中利用負片效果與輻射光透視效果的連結，提示出人類的精神所需必須面對越來越顯得無形的暴力與支配力，當摩訶迦葉趕到卻無法開棺瞻仰時，卻見到佛陀伸「腳」行最後的告別，阿難才得進行荼毘（火化）。「遲來」造就了一個深刻的交會時刻：積累了溯往之情、命運的轉折（災難），以及輕輕的一個動作成就一道重重的安慰與傳承。當「遲來」被放回災難與倖存的脈絡時，藝術家讓我們領略到修復作為延續的深度時刻。在朴贊景的創作脈絡中來看待《遲來菩薩》與《小藝術史》的並置，我們將會置身於殖民與衰變的時間迭異，殖性的時間就如同衰變期的時間，都遠超出人們以「遺忘」生成出的樂觀想像。 \nPark Chan-kyong is a contemporary artist whose work spans film and visual art\, focusing on the themes of the Cold War\, Korean traditional culture\, and the dynamics of colonial modernity. His art critically examines Western powers’ interventions in Korean history and the influence of shamanism on Korean spiritual structures. These cultural-political forces serve as the primary motivators for his continued exploration of colonial relationships through critical analysis and resistance. \nFrom Set in 2000 to Power Passage in 2007 and Black Out in 2009\, Park’s works have depicted inter-Korean perspectives under the illusions of the global Cold War. He was awarded the Korean Hermes Prize in 2004. His 2008 Sindoan project represents a foundationally complex endeavor within his artistic trajectory: it both investigates the cross-denominational culture of Mt. Gyejok and reveals the close ties between these experiences and Korea’s political struggles. Through this work\, he bridges animism\, cosmology\, colonial history\, and the healing of trauma. \nIn 2011\, Park collaborated with his brother Park Chan-wook under the collective name Parking CHANce to create the iPhone film Night Fishing\, which won the Golden Bear at the Berlin Film Festival. He later served as the artistic director for the Media City: Seoul Biennale in 2014\, where he introduced the theme “Ghosts\, Spies\, and Grandmothers”\, expanding on the concept of colonial modernity in Asia. The Biennale explored themes of technology\, women\, ritual\, and transnational interpretation. \nPark’s 2019 exhibition Gathering was an extensive and cohesive project focused on colonial modernity and decolonial spiritual pathways. At the center of this exhibition was the artwork Late Arriving Bodhisattva\, which is viewed as a continuation of his previous works Citizen’s Forest and the 2017 Tranquility exhibition. \nLate Arriving Bodhisattva takes the Fukushima nuclear disaster as a pivotal moment\, connecting it to the myth of Mahakasyapa’s “late arrival” at Buddha’s funeral in Kusinagara after traveling from Vulture Peak. This cross-temporal\, cross-cultural event is highlighted in the film through the juxtaposition of negative images and radiative visual effects\, symbolizing the intangible violence and dominance humanity faces. In the narrative\, Mahakasyapa arrives too late to view Buddha’s body but witnesses Buddha’s “foot” gesture in a final farewell\, allowing Ananda to proceed with the cremation rites. This “late arrival” is thus a profound moment of convergence\, embodying yearning\, fate’s shifts (disasters)\, and a comforting legacy passed down through a simple act. \nBy contextualizing Late Arriving Bodhisattva within disaster and survival\, Park invites us to perceive restoration as a deep\, continuing moment. Viewing Late Arriving Bodhisattva alongside A Small Art History\, we experience the layered temporality of colonialism and decay\, where the time of colonial modernity parallels that of radioactive decay\, exceeding any optimistic notion of “forgetting”.
URL:https://events.mcu.edu.tw/event/%e9%81%b2%e4%be%86%e8%8f%a9%e8%96%a9-belated-bosal-%e6%9c%b4%e8%b4%8a%e6%99%af%e5%80%8b%e5%b1%95-park-chan-kyong-solo-exhibition/
LOCATION:關渡美術館\, 北投區學園路一號\, 台北市\, Taiwan
CATEGORIES:關渡美術館
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2024/11/4.jpg
ORGANIZER;CN="%E9%97%9C%E6%B8%A1%E7%BE%8E%E8%A1%93%E9%A4%A8":MAILTO:kdmofa@kdmofa.tnua.edu.tw
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241108T100000
DTEND;TZID=Asia/Taipei:20241129T170000
DTSTAMP:20260405T104756
CREATED:20241107T073652Z
LAST-MODIFIED:20241107T073652Z
UID:10000644-1731060000-1732899600@events.mcu.edu.tw
SUMMARY:凡是過往，皆為序章 Past Is Prologue —何翔宇個展 He Xiangyu Solo Exhibition
DESCRIPTION:在展廳內，有平滑石頭組成的金屬裝置，牆上有幾幅照片，有水彩一般薄薄塗抹於牆面之上的橄欖油。在這裡，虛無也適時的扮演了重要的角色。 \n除了我們所製造的聲音外，展廳裡安靜無聲。人會製造噪音，石頭不會。 \n展廳內有著不同層次的結構變化。有些人可能會稱之為「和諧」。和諧的概念一如天氣，隨緯度高低而變化，或許在某個地方靜止停滯，在其他地方卻徐徐移動。多年以來，何翔宇曾四處遷徙，至今仍然如此－－他生於中國，寓居美國，又遷往柏林。他常感覺自己困於不同型態的和諧之間，而試圖為這樣的緊張賦予形體。 \n他常聆聽種種不同的聲音，聆聽彼此相異的文字，而有時，他試圖用藝術來創造新的聲音。 \n這些靜止不動的石頭也曾長途跋涉。我們並不知道它們來自何方，流浪了多久，也無從得知是什麼環境將它們打磨得如此光滑圓潤。人們藉由欣賞讚嘆它們的形狀，來表達對它們不明身世的敬意。 \n在進入展廳之前，你我或許對它們的瞭解並不多（也可能是一無所知），在離開展廳之後，可能依然對它們所知甚少。 \n或許有些觀者會想計算它們的數量，數字能使我們彷彿略知一二。這麼做也許能帶來寬慰，畢竟秩序使人心安。但也可能乏味無趣，或引人深思。另一些人光是凝神觀看便滿足了，注視著被挽救出且近乎飄浮的完美形體是一種樂趣。 \n那些被撿回並懸起的事物中蘊含著慰藉，因為人生有時重量深沉，會將我們壓垮在地。 \n展廳內除了石頭和金屬勾勒出的線條，還伴隨著一些象徵性的符號。部分的牆面被鉛筆標記出界線，線內再塗上了層層的橄欖油。 \n在過去的某個時刻，某處所曾存在著壓力，因為油的製程需要壓力，橄欖需要經過壓榨。而在久遠以前，在與這裡相距遙遠的國度裡，壓榨這些果實的滾輪也是用石頭製成的。其中許多滾輪如今已不再使用，只是安靜地躺在某處，如同古老的寺廟，恆久不變，僅有微微的磨損、小小的缺口。至今，人們並無法透過肉眼察覺它們的腐朽。 \n橄欖油滲入牆壁的時刻同樣不會為人所注意，牆壁吸收油的過程也模糊了鉛筆的印記。鉛筆痕跡消失的那一刻也不被輕易察覺。 \n很快的，這個展廳將重新粉刷，這些場域的變化不會留下任何可見的痕跡。但它們仍然存在，只不過隱入了建築之中。 \n這一切都發生在光陰荏苒之間。石頭的磨光需要時間－－極漫長的時間。橄欖油的消失也需要時間－－極短暫的時間。人們存在於這兩種時間狀態，為處理這兩種狀態而忙碌－－我們保存並高懸歷經歲月淘洗的事物，同時又不停修補已經開始在我們身旁崩解的事物。 \n這是我們的日常練習。 \n展廳牆上的照片也同樣傳遞著一股壓力，講述著擠壓與修補的故事，塑膠布和膠帶儼然已成為圖像的一部分，試圖修補破碎的窗戶。此外還存在著努力，個體的努力。 \nHere\, in these rooms\, there are things within the space: a metal garland of smoothed-down stones\, a few pictures on the walls\, olive oil applied very thinly\, like watercolor. Occasionally\, the void will play some role. \nThere will be no noise in these rooms\, other than those that we might make. People can be noisy\, stones are not. \nThere is structure here\, a level of composition. Some might say ‘harmony.’\nAt different latitudes\, the idea of harmony changes\, just like the weather: in one place it may stand still\, while elsewhere it gently moves. Over the years\, He Xiangyu has also moved from place to place\, and he still does: he was born in China\, lived in the US and then in Berlin\, too. Often\, he finds himself caught between different versions of harmony and tries to give some sort of shape to this tension. \nHe has listened to various sounds––words that differ from each other––and at times\, with his art\, he seeks to make new ones. \nThese stones that stand so still\, so carefully spaced\, have themselves traveled widely. You and I don’t know how long for\, or from where; which waters and winds have smoothed them down so finely. We pay respect to their untold origins by expressing admiration for their shapes. \nYou and I may have known very little about them before entering these rooms (perhaps we knew nothing at all); we may still know very little about them after leaving these rooms. \nSome of us might consider counting them: numbers can at least give the feeling of knowing something. This could be comforting ––there’s relief in order\, after all––or boring\, or even meditative. Others will be happy just to contemplate them\, the joy of seeing such perfect forms\, salvaged and almost levitating. \nThere is solace in things that have been retrieved and lifted\, for life can be heavy\, a thing of such weight that\, at times\, it crushes us to the ground. \nAlong with composition\, there is decoration in these rooms\, too\, with portions of the walls having been painted with olive oil\, more than once. Pencil was used to mark the limits of the areas. \nThere was pressure at a certain moment\, somewhere\, some time back\, since pressure is what is needed for the oil to be made; the olives must be crushed. And in the olden days\, in countries far away from these rooms\, the wheels that would have crushed the fruits were made of stone. Many of those wheels now lie somewhere\, no longer in use\, like ancient temples\, perpetual\, only slightly worn\, chipped––their erosion\, so far\, imperceptible to the eye. \nUnnoticed will go too the oil while it sinks into the wall\, unseen will be the moment when the process of assimilation will start blurring the pencil lines. \nSoon\, these rooms will be repainted\, no visible trace left of this moving field. But the field will stay alive\, recessed into the building. \nAll this happens over time. The stones have been smoothed over time––a great deal of it––and the olive oil will disappear over time\, a very small amount of it. You and I exist in between these two scales of events\, and we keep ourselves busy by dealing with them: we preserve and elevate things that have survived a magnitude of time\, while constantly repairing things that start falling apart around us. \nThis is a daily exercise. \nThere is pressure\, crushing and repair in these pictures too\, the ones on the walls. Windows got smashed; plastic and tape came into play. And then the effort\, the individual effort.
URL:https://events.mcu.edu.tw/event/%e5%87%a1%e6%98%af%e9%81%8e%e5%be%80%ef%bc%8c%e7%9a%86%e7%82%ba%e5%ba%8f%e7%ab%a0-past-is-prologue-%e4%bd%95%e7%bf%94%e5%ae%87%e5%80%8b%e5%b1%95-he-xiangyu-solo-exhibition/
LOCATION:關渡美術館\, 北投區學園路一號\, 台北市\, Taiwan
CATEGORIES:關渡美術館
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2024/11/5-scaled.jpg
ORGANIZER;CN="%E9%97%9C%E6%B8%A1%E7%BE%8E%E8%A1%93%E9%A4%A8":MAILTO:kdmofa@kdmofa.tnua.edu.tw
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241108T100000
DTEND;TZID=Asia/Taipei:20241129T170000
DTSTAMP:20260405T104756
CREATED:20241107T074246Z
LAST-MODIFIED:20241107T074246Z
UID:10000645-1731060000-1732899600@events.mcu.edu.tw
SUMMARY:轉生成火鍋料的我，今天也在鍋底徘徊 In the Reincarnation as Hot Pot Ingredients\, I Find Myself Lingering at the Bottom of the Pot Today
DESCRIPTION:在台灣錄像藝術史的發展過程中，復興漢工作室具有時代轉折的代表性意義。二十一世紀的第一個十年，藝術家們持續著上個世紀九零年代末期對於電影、電視的影像敘事，與觀眾觀影習慣的探索，與此同時，網際網路的普及與行動裝置的生活化，大幅改變了影像在社會中的角色，漫畫、動畫、遊戲與影音串流之間的界線開始變得模糊。在這個媒介史的背景下，復興漢工作室的作品大幅反映了這樣的轉折，直到現在，陳亮璇、張曉書、李承亮、陳敬元、吳其育與致穎等這些藝術家們仍以不同的創作型態持續推移這樣的邊界。 \n這個展覽在文化部推動博物館及藝術5G科技跨域應用之基礎上，希望延續在地實驗團隊長期以來對於技術變遷之於藝術與創作的影響的關注，另一方面也希望確實回應5G技術的特色，以機器人、VR與APP這些當下的技術條件，透過遊戲化的策略與虛實整合展演形式支撐藝術家們對於媒介互涉與藝術發展的思考。 \nThe Fuxinghan Studio holds significant importance in the development of video art history in Taiwan. In the first decade of the 21st century\, artists continued to explore the narrative techniques of film and television\, as well as the viewing habits of audiences from the late 1990s. Simultaneously\, the widespread use of the internet and the integration of mobile devices into daily life drastically altered the role of images in society. The boundaries between comics\, animation\, games\, and video streaming began to blur. Against this backdrop of media history\, the works of Fuxinghan Studio significantly reflect this transition. To this day\, artists such as Chen Liang-Hsuan\, Zhang Hsiao-Shu\, Li Cheng-Liang\, Chen Ching-Yuan\, Wu Chi-Yu\, Musquiqui Chihying\, and others continue to push these boundaries through various forms of creation. \nThis exhibition\, based on the Ministry of Culture’s “Museum and Art 5G Technology Cross-Domain Application Project”\, aims to continue the long-term focus of ET@T on the impact of technological changes on art and creation. It also seeks to respond to artists’ reflections on media interaction and artistic development through current technological conditions like robotics\, VR\, and apps\, employing gamification strategies and an integration of virtual and physical exhibition forms.
URL:https://events.mcu.edu.tw/event/%e8%bd%89%e7%94%9f%e6%88%90%e7%81%ab%e9%8d%8b%e6%96%99%e7%9a%84%e6%88%91%ef%bc%8c%e4%bb%8a%e5%a4%a9%e4%b9%9f%e5%9c%a8%e9%8d%8b%e5%ba%95%e5%be%98%e5%be%8a-in-the-reincarnation-as-hot-pot-ingredients-i/
LOCATION:關渡美術館\, 北投區學園路一號\, 台北市\, Taiwan
CATEGORIES:關渡美術館
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2024/11/6-scaled.jpg
ORGANIZER;CN="%E9%97%9C%E6%B8%A1%E7%BE%8E%E8%A1%93%E9%A4%A8":MAILTO:kdmofa@kdmofa.tnua.edu.tw
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241108T100000
DTEND;TZID=Asia/Taipei:20241129T170000
DTSTAMP:20260405T104756
CREATED:20241107T074704Z
LAST-MODIFIED:20241107T074704Z
UID:10000646-1731060000-1732899600@events.mcu.edu.tw
SUMMARY:全域代議 Universal Deputies
DESCRIPTION:展覽介紹 Exhibition Introduction \n《全域代議》計劃旨在構建一個三維掃描系統，並結合人工智慧虛擬人格，探索未來監控技術及其與現實世界的連結。類似於醫學診斷從X射線到磁共振成像（MRI）的發展，使醫生能夠全面掌握病人資訊，該計劃探討是否能將監控技術提升至全面且三維的空間監控。 \n通過數學演算法創建即時同步的三維虛擬空間，讓人工智慧在其中生活。隨著科技的快速發展，未來或將進入人工智慧實體超過人類的時代，這些人工智慧可能從輔助角色轉變為社會主體。這一轉變引發了對人工智慧的地位和權利的思考，若它們獲得法律主體性或公民身份，將會對現有民主制度構成挑戰。計算機運算能力的提升也可能改變我們對人口和代表的認知，這需要人類建立新的信任機制來應對這一哲學上的轉變。 \nThe “Universal Deputies” project aims to construct a 3D scanning system combined with AI-generated virtual personas to explore the future of surveillance technology and its connection to the real world. Similar to how medical diagnostics evolved from X-rays to Magnetic Resonance Imaging (MRI)\, enabling doctors to fully understand patient information\, this project investigates whether surveillance technology can be advanced to achieve comprehensive and three-dimensional spatial monitoring. \nBy using mathematical algorithms to create a real-time synchronized 3D virtual space\, AI entities can exist and operate within it. As technology rapidly advances\, we may soon enter an era where AI entities outnumber humans and transition from auxiliary roles to becoming social subjects. This shift raises important questions about the status and rights of AI\, and if they were to gain legal personhood or citizenship\, it would pose significant challenges to existing democratic systems. The increase in computational power might also change our perception of population and representation\, necessitating the development of new trust mechanisms to address this philosophical shift.
URL:https://events.mcu.edu.tw/event/%e5%85%a8%e5%9f%9f%e4%bb%a3%e8%ad%b0-universal-deputies/
LOCATION:關渡美術館\, 北投區學園路一號\, 台北市\, Taiwan
CATEGORIES:關渡美術館
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2024/11/7.jpg
ORGANIZER;CN="%E9%97%9C%E6%B8%A1%E7%BE%8E%E8%A1%93%E9%A4%A8":MAILTO:kdmofa@kdmofa.tnua.edu.tw
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241108T120000
DTEND;TZID=Asia/Taipei:20241117T190000
DTSTAMP:20260405T104756
CREATED:20241107T084218Z
LAST-MODIFIED:20241107T084218Z
UID:10000647-1731067200-1731870000@events.mcu.edu.tw
SUMMARY:鎧美拉之島CHIMERA ISLAND 臺北數位藝術節 Taipei Digital Art Festival
DESCRIPTION:第19屆臺北數位藝術節11月2日於臺灣當代文化實驗場C-LAB登場，由獨立策展人陳湘汶和顧廣毅共同策劃，集結了國內4組、國際12組藝術家，共計21件跨域、混種的藝術作品。展覽以「鎧美拉之島」為名，用神話中同時擁有獅身、羊頭、蛇尾的噴火獸－鎧美拉（Chimera）一詞出發，比喻社會機制和各項科技就像是不同功能的器官，嵌合並運作成理想的鎧美拉，透過多樣化的藝術作品，與觀眾共同思考人類和科技之間更加有機的關係。 \n展覽以C-LAB美援大樓展演空間為室內主展場，在這棟兩層樓高的歷史建物，策展脈絡的兩大軸線於此交錯，第一個軸線是以「器官學」（Organology）一詞作為本策展企劃的概念延伸；第二個軸線則是把「推測」（Speculation）與「虛構」（Fiction）當作方法去勾勒科技與人類的交錯混種，並嘗試從中窺視隱藏其中的倫理爭議與文化問題。為了引導觀眾進入「鎧美拉之島」的展覽敘事，策展人特別將美援大樓兩層樓分別規劃出截然不同的調性。 \nThe 19th Taipei Digital Art Festival will launch on November 2 at the Taiwan Contemporary Culture Lab (C-LAB)\, curated by independent curators Chen Hsiang-wen and Ku Kuang-yi. The festival brings together 21 interdisciplinary\, hybrid artworks created by four Taiwanese and twelve international artists. Titled Island of Chimera\, the exhibition draws from the mythical creature Chimera—characterized by its lion’s body\, goat’s head and serpent’s tail—to symbolize societal mechanisms and various technologies as interlocking organs functioning together as an ideal Chimera. Through a diverse range of artworks\, the exhibition invites audiences to consider a more organic relationship between humanity and technology. \nThis year’s Taipei Digital Art Festival\, themed “Chimera Island”\, uses the U.S. Aid Building at C-LAB as the main indoor exhibition venue. The exhibit is organized around two curatorial concepts: the first axis extends the idea of “Organology” (the study of organs) as a framework\, while the second axis explores “Speculation” and “Fiction” to examine the intersections of technology and humanity\, revealing hidden ethical and cultural issues. Curators have tailored each of the U.S. Aid Building’s two floors to convey unique atmospheres and lead visitors into the narrative of “Chimera Island”. \n \n荷蘭藝術團體Nonhuman Nonsense作品《泥巴與洪水 – 妮海蓮娜的歸來》©Nonhuman Nonsense。 \n神秘黑盒—探討個體與社會集體的意識對話 The Black Box of Individual and Collective Consciousness \n具有神祕黑盒子氛圍的一樓展區，作品主題圍繞在探討精神性或神話內容，延伸到個體與社會集體的意識對話。如藝術家詹宏祿的作品《與內在外星人的親密接觸》，其建構了一個過渡空間，呈現人類集體意識和AI資料庫互動後的外星人形象，邀請觀眾共同欣賞他人的內在外星人，藉此反思自身對於未知他者的認知偏見；而在《泥巴與洪水 – 妮海蓮娜的歸來》作品中，以荷蘭為基地的藝術團體Nonhuman Nonsense復活了古老的海洋女神妮海蓮娜，讓祂以21世紀的全新形象出現，融合了科學與神話，迫使我們在氣候變遷的環境下，重新審視與非人類生物與自然力量的整體關係；英國藝術家夏洛特．賈維斯（Charlotte Jarvis）的《激進照護器官：一個集體子宮》為藝術與科學跨界的實踐性計畫，企圖從多名女性、跨性別者和非二元性別人士自願提供的細胞中培育出子宮，反映了科技藝術對跨界、性別議題發展的關心。 \nThe first floor has a black-box aesthetic\, focusing on themes of spirituality and mythology\, exploring the dialogues between individual and collective consciousness. For example\, artist Chien Hung-Lu’s Close Encounters with Inner Aliens constructs a transitional space that reflects interactions between the collective human consciousness and AI databases\, creating alien forms that reflect human biases toward the unknown. The Dutch artist group Nonhuman Nonsense presents Mud and Flood – The Return of Nehalennia\, reimagining the ancient ocean goddess in a 21st-century light to prompt reflections on humanity’s relationship with non-human life and natural forces in an era of climate change. British artist Charlotte Jarvis’s Radical Care Organ: A Collective Womb is an artistic-scientific project aiming to create a womb from cells provided by women\, trans and non-binary volunteers\, bridging art and science to explore gender and technology issues. \n \n英國藝術家Alexandra Daisy Ginsberg的作品《授粉者的路徑創造者》 \nPollinator Pathmaker in Pollinator Vision\, 2023. © Alexandra Daisy Ginsberg Ltd. Courtesy of the artist. \n互動體驗—挑戰科技發展對人類社會的影響 Interactive Experiences and the Impact of Technology on Society \n走進二樓展區，更加強調的是與觀眾的互動體驗，展現藝術家如何用作品呈現人在網路中的自我關係，讓觀眾以不同於平常習慣的視角來思考，或挑戰科技發展對人類社會的影響。如英國藝術家亞歷姍卓・金斯柏（Alexandra Daisy Ginsberg）的作品《授粉者的路徑創造者》，透過互動讓參與者打造一個從授粉者生物角度設計的花園，其目的是改變我們看待花園的方式，以及探索我們為誰建造花園；而以疫後成為常態的視訊會議為靈感《一場煩蛋的視訊會議》，是藝術家吳權倫挪用視訊的經驗，以非人觀點去思考，我們觀察自然的行為對於非人生物來說何嘗不是一種社交尷尬？就像我們在視訊會議中不小心窺見他人隱私空間一樣。新銳藝術團體XTRUX為展覽新作的《黑色博物館》，展覽形式包括立體雕塑及遊戲引擎打造之即時遊戲，揉合影像及空間建構大型空間裝置，思慮感知中虛擬與現實的交互辯證。 \nThe second floor emphasizes interaction\, challenging visitors to rethink the influence of technology on human society. British artist Alexandra Daisy Ginsberg’s Pollinator Pathmaker encourages participants to create a pollinator-friendly garden\, rethinking garden design from a non-human perspective. Wu Chuan-Lun’s A Boring Video Meeting\, inspired by the post-pandemic era of video calls\, reinterprets virtual social spaces from a non-human viewpoint\, exploring the shared awkwardness of online interactions. New art collective XTRUX presents The Black Museum\, a large-scale installation blending virtual and physical realities through real-time gaming and sculpture\, provoking a dialectic on virtual versus tangible experiences. \n \nCharlotte Jarvis英國藝術家《激進照護器官：一個集體子宮》 \n\n\n\n\n©Charlotte Jarvis。 \n \n新銳藝術團體XTRUX為展覽新作的《黑色博物館》。 \n跨域合作—未來廣場科技互動與藝術共演 Outdoor Collaboration – Interactive Technology and Art Performances at Future Plaza \n本次臺北數位藝術節特別增設了戶外展區，互動作品《如何（不）被自動駕駛車輛撞擊》由藝術家木原共Tomo Kihara和Daniel Coppen共同創作，在未來廣場上設置一條挑戰人工智慧的遊戲賽道，歡迎觀眾嘗試在不被AI辨識發現的情況下抵達終點，藉由互動誘發大眾思考自動駕駛系統的潛在危險；廣場上同時與NFT社群「眾聲道VolDAO」合作，展出多樣豐富的生成式藝術品，向觀眾展現充滿活力與跨域合作的藝術面貌。 \n活動期間除了上述作品常態展出外，戶外同時用「異質組裝」的精神搭建成舞台，藉以回應本次「鎧美拉之島」的主題，於C-LAB未來廣場上安排兩場戶外演出，11/2開展日19至21時在未來廣場邀請臺灣三位表演者共演現代特技與跨界馬戲，11/15閉幕節目18至21時在未來廣場邀請日本雙人組高橋啓治郎（Keijiro Takahashi）＆首藤陽太郎（Yotaro Shuto）、韓國雙人組oOps.50656、義大利籍藝術家盧卡（Luca Bonaccorsi）與臺灣多位藝術家連袂演出，不僅藝術展演本身富有跨域、幻想的特質，也希望用多元迷人的演出吸引更多不同參觀群眾，豐富本次及未來的臺北數位藝術節。 \nThis year’s festival includes an outdoor section. How (Not) to Get Hit by a Self-Driving Car\, created by Tomo Kihara and Daniel Coppen\, invites visitors to navigate an AI-monitored race track\, exploring the risks of automated systems. The NFT community VolDAO showcases generative art pieces to highlight the vitality of interdisciplinary collaboration in digital art. \nIn addition to the exhibits\, two outdoor performances are scheduled at Future Plaza\, embodying the festival’s “Chimera” theme with diverse artistic expressions. The opening performance on November 2 features contemporary acrobatics and circus acts by three Taiwanese performers\, while the November 15 closing program includes collaborations between Japanese artists Keijiro Takahashi & Yotaro Shuto\, Korean duo oOps.50656\, Italian artist Luca Bonaccorsi\, and several Taiwanese artists\, offering a fusion of fantasy and cross-disciplinary art to engage diverse audiences. \n臺北數位藝術節 Taipei Digital Art Festival —鎧美拉之島 CHIMERA ISLAND \n日期 Date：11/02（六 Saturday）至11/17（日 Sunday） 週一不開放 closed Mondays \n時間 Time：12:00-19:00 \n地點 Venue：臺灣當代文化實驗場C-LAB Taiwan Contemporary Culture Lab (C-LAB)（美援大樓展演空間＆未來廣場） \n官網 Website：https://festival.dac.taipei/
URL:https://events.mcu.edu.tw/event/%e9%8e%a7%e7%be%8e%e6%8b%89%e4%b9%8b%e5%b3%b6chimera-island-%e8%87%ba%e5%8c%97%e6%95%b8%e4%bd%8d%e8%97%9d%e8%a1%93%e7%af%80-taipei-digital-art-festival/
LOCATION:臺灣當代文化實驗場C-LAB\, 大安區建國南路一段177號\, 台北市\, Taiwan
CATEGORIES:臺灣當代文化實驗場C-LAB
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2024/11/8.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241109T093000
DTEND;TZID=Asia/Taipei:20241110T163000
DTSTAMP:20260405T104756
CREATED:20240918T055500Z
LAST-MODIFIED:20240918T055500Z
UID:10000500-1731144600-1731256200@events.mcu.edu.tw
SUMMARY:表達藝術治療 Expressive Arts Therapy：探索多元媒材的療癒性‧藝術與我的關係 Exploring the Healing Power of Diverse Media and My Relationship with Art
DESCRIPTION:📆工作坊日期 Date：2024.11.9（六 Saturday）-11.10（日 Sunday） \n🕘工作坊時間 Time：09:30-12:00／13:30-16:30，共計12小時 Total: 12 hours \n🏠工作坊地點 Venue：美意好室 May House（台北市南港區玉成街179號，後山埤捷運站3號出口步行2分鐘 No. 179\, Yucheng St.\, Nangang Dist.\, Taipei City; 2-minute walk from Houshanpi MRT Station\, Exit 3） \n👫工作坊對象 Participants：（如對報名資格有疑問請洽主辦單位E-CATA Please contact the organizer\, E-CATA\, if you have any questions about eligibility） \n1.對表創造性藝術治療有興趣的心理健康服務人員\,如醫療、教育、心理諮商相關人士 \n2.教育部承認之國內外大專院校藝術、心理、教育、醫療、社工等相關系所之研究所學生，並修習表創性藝術治療相關領域課程（曾經參與實習具有實務經驗）。 \n\nMental health professionals interested in expressive arts therapy\, including those in healthcare\, education\, and counseling.\nGraduate students from accredited universities\, majoring in arts\, psychology\, education\, healthcare\, or social work\, who have taken courses related to expressive arts therapy (including those with internship and practical experience).\n\n工作坊介紹 Workshop Overview \n本工作坊提供一個創造性和支持性的空間，讓參與者對於表達性藝術治療的發展和起源有一個基礎的概念，並了解表達性藝術治療領域中，創作不僅是個媒介也是處遇的核心原則，在心理健康領域中協助個體去面對自己的疾病、診斷，透過多種藝術媒材來探索自我，促進個人成長和心靈療癒，並透過創作延伸出內在自我和外在社會的平衡。 \nThis workshop provides a creative and supportive space for participants to gain a foundational understanding of the development and origins of expressive arts therapy. Participants will learn how creation serves as both a medium and a core principle of treatment in this field. Through various artistic materials\, individuals can explore self-awareness\, promote personal growth\, and find spiritual healing\, ultimately achieving a balance between their inner self and the external world. \n講師介紹 Instructor Introduction \n章容榕老師 Dr. Chang Jung-Jung \n美國麻州LELSEY UNIVERSITY表達性治療藝術博士 \n臺北市立大學兼任助理教授 \n專長領域包含表達性藝術治療、治療性遊戲、行為認知治療、EMDR眼動身心重建法、心理困擾與心理保健 \nPh.D. in Expressive Therapies\, Lesley University\, Massachusetts \nAdjunct Assistant Professor\, University of Taipei \nSpecializations: Expressive arts therapy\, therapeutic play\, cognitive-behavioral therapy\, EMDR (Eye Movement Desensitization and Reprocessing)\, psychological distress and mental health care. \n工作坊目標 Workshop Goals： \n1.      提供對表達性藝術治療的基礎概念。 \n2.      強調創作在治療中的核心地位，不僅是媒介，更是處遇的重要原則。 \n3.      探索多種藝術媒材如何幫助個人探索自我、促進成長和心靈療癒。 \n4.      強調創作對內在自我和外在社會的平衡的重要性。 \n\nProvide a foundational understanding of expressive arts therapy.\nEmphasize the central role of creation in therapy\, highlighting its importance as both a medium and treatment principle.\nExplore how diverse artistic media can aid in self-exploration\, growth\, and healing.\nHighlight the significance of balancing the inner self with the external world through creative expression.\n\n工作坊架構 Workshop Structure： \n1.      導入和介紹 \n2.      介紹表達性藝術治療的發展和起源 \n3.      創作作為處遇的核心 \n4.      實際創作體驗 \n5.      分享和討論 \n6.      總結和反思 \n\nIntroduction and overview\nHistory and development of expressive arts therapy\nCreation as the core of treatment\nHands-on creative experience\nSharing and discussion\nSummary and reflection\n\n諮商心理師&社工師繼續教育積分申請中 Continuing Education Credits for Counselors & Social Workers Pending \n報名 To apply：https://www.accupass.com/eflow/ticket/2408241515231099580411 \n📣報名須知 Notes \n\n本課程學習內容不歸屬於表達性藝術治療實作課程。\n請參與者穿著輕便好伸展的衣服。\n請攜帶過期雜誌圖片數份。\n本研討會提供研習證明電子檔。\n教室內禁止攜帶外食；請自備口罩，如有發燒、咳嗽等不適症狀，請勿參加。\n需事先報名，以便安排座位及準備教材，主辦單位將於上課前以電子郵件寄發報到提醒，若有訊息漏失情事，可逕洽主辦單位查詢。\n若因報名人數不足或不可預測之因素，主辦單位得保留本課程日期及內容之變更權利。\n如遇活動取消或延期，相關事宜請洽主辦單位。聯絡信箱：service@ecata.org.tw聯絡電話：0903-522-015 E-CATA秘書處。\n\n\nThis workshop is not a practical course in expressive arts therapy.\nPlease wear comfortable clothing for ease of movement.\nBring several expired magazines with pictures for the session.\nAn electronic certificate of participation will be provided.\nNo outside food is allowed in the classroom; please bring your own mask and refrain from attending if you have a fever\, cough\, or other symptoms.\nPre-registration is required to ensure seating and materials are prepared. The organizer will send a reminder via email before the course. For any missing information\, please contact the organizer directly.\nThe organizer reserves the right to change the course date and content due to low registration or unforeseen circumstances.\nFor cancellation or postponement inquiries\, please contact the organizer at service@ecata.org.tw or call 0903-522-015 (E-CATA Secretariat).
URL:https://events.mcu.edu.tw/event/%e8%a1%a8%e9%81%94%e8%97%9d%e8%a1%93%e6%b2%bb%e7%99%82-expressive-arts-therapy%ef%bc%9a%e6%8e%a2%e7%b4%a2%e5%a4%9a%e5%85%83%e5%aa%92%e6%9d%90%e7%9a%84%e7%99%82%e7%99%92%e6%80%a7%e2%80%a7%e8%97%9d/
LOCATION:美意好室\, 南港區玉成街179號\, 台北市\, Taiwan
CATEGORIES:ACCUPASS,臺灣表達-創造性藝術治療學會
ATTACH;FMTTYPE=image/png:https://events.mcu.edu.tw/wp-content/uploads/2024/09/13.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241110T090000
DTEND;TZID=Asia/Taipei:20241110T170000
DTSTAMP:20260405T104756
CREATED:20241021T062449Z
LAST-MODIFIED:20241021T062449Z
UID:10000598-1731229200-1731258000@events.mcu.edu.tw
SUMMARY:羽球社 Badminton Club｜11/10三校羽球交流賽開打 Tri-School Badminton Exchange Tournament on 11/10
DESCRIPTION:桃園校區喜歡打羽球的同學看過來！桃銘羽球社與輔仁大學與長庚大學共同舉辦的羽球交流賽將於11／10（日）09:00-17:00登場，交流賽地點在長庚大學活一羽球室。本次交流賽報名對象為銘傳大學桃園校區全體學生及羽球社成員，比賽項目為男雙與女雙，會依據報名人數調整，比賽用球為RSL3號；獎品依據名次可獲得對應價值的等價商品（非現金），分別為第一名價值NT$700商品，第二名價值NT$500商品及第三名價值NT$300商品。 \n此次交流活動不僅包括上午的比賽，下午還設計了趣味賽，讓選手們在競技之外也能享受輕鬆愉快的比賽氛圍。趣味賽將採隨機組隊方式，來自三校的選手混合搭配進行淘汰賽，最終獲勝隊伍將贏得驚喜獎品，所有參賽者需完成趣味賽後才可離場，讓比賽更加充滿趣味與互動。 \n報名部分羽球社社員免報名費，非社員則需繳交NT$150報名費，報名連結可於社團首頁自介處找到：https://forms.gle/NXWkjdNat4ascF5s7，報名截止日期為10／20（日）23:59。參賽者需繳交NT$200保證金，於比賽當天全程參與可全額退還。若於報名截止後取消，保證金將不予退還。報名表請於社課時間或指定時間內到羽球社辦繳費確認。羽球社辦社辦位於體育館二樓，面對舞台的最左側角落，牆上有「羽球社」藍色標示。 \n實體繳費時間為10／7（一）、10／9（三）社課時間，至球場找幹部，10／11（五）、10／18（五）12:10-13:40，至羽球社辦，10／16（三）、10／17（四）19:00-21:00。相關詳情請洽桃銘羽球社專頁【mcubc113】，了解更多資訊。 \nCalling all badminton enthusiasts at Taoyuan Campus! The Taoyuan Campus Badminton Club\, in collaboration with Fu Jen Catholic University and Chang Gung University\, is hosting a Badminton Exchange Tournament on Sunday\, November 10\, from 09:00 to 17:00 at Chang Gung University’s badminton court (Gym 1). This tournament is open to all students of MCU’s Taoyuan Campus\, as well as members of Badminton Club. The competition will include men’s and women’s doubles\, with the match format adjusted based on the number of participants. The games will use RSL No. 3 shuttlecocks. Prizes will be awarded based on rankings\, with equivalent goods (non-cash) valued at NT$700 for first place\, NT$500 for second place\, and NT$300 for third place. \nIn addition to the morning competition\, a fun match will be held in the afternoon to create a more relaxed and enjoyable atmosphere. The fun match will be played in randomly assigned teams\, mixing players from all three schools for a knockout competition. The winning team will receive a surprise prize. All participants must complete the fun match before leaving\, ensuring that the event is full of interaction and excitement. \nFor registration\, members of the Badminton Club can join for free\, while non-members must pay a registration fee of NT$150. You can find the registration link in the club’s homepage bio: https://forms.gle/NXWkjdNat4ascF5s7. The registration deadline is 23:59 on Sunday\, October 20. Participants are also required to submit a NT$200 deposit\, which will be fully refunded upon full participation on the day of the event. If registration is canceled after the deadline\, the deposit will not be refunded. Payments can be confirmed in person during club activity hours or designated times at Badminton Club office. \nThe Badminton Club office is located on the second floor of the gymnasium\, in the far-left corner when facing the stage\, marked by a blue “Badminton Club” sign. \nIn-person payment times are as follows: \n\nClub hours on Monday 10/7 and Wednesday 10/9 on the courts.\nFriday 10/11 and 10/18 from 12:10-13:40 at Badminton Club office.\nWednesday 10/16 and Thursday 10/17 from 19:00-21:00.\n\nFor more details\, please visit the Taoyuan Campus Badminton Club’s official page 【mcubc113】 for updates and further information.
URL:https://events.mcu.edu.tw/event/%e7%be%bd%e7%90%83%e7%a4%be-badminton-club%ef%bd%9c11-10%e4%b8%89%e6%a0%a1%e7%be%bd%e7%90%83%e4%ba%a4%e6%b5%81%e8%b3%bd%e9%96%8b%e6%89%93-tri-school-badminton-exchange-tournament-on-11-10/
LOCATION:長庚大學\, 龜山區文化一路259號\, 桃園市\, Taiwan
CATEGORIES:羽球社
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2024/10/1210期羽球賽電子報配圖.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241110T100000
DTEND;TZID=Asia/Taipei:20241118T170000
DTSTAMP:20260405T104756
CREATED:20241106T061203Z
LAST-MODIFIED:20241106T061203Z
UID:10000633-1731232800-1731949200@events.mcu.edu.tw
SUMMARY:2024桃園青年設計展暨國際設計論壇 Taoyuan Youth Design Exhibition & Design Forum
DESCRIPTION:為接軌國際並扶植桃園在地青年設計師，桃園市政府青年局主辦、銘傳大學承辦的「2024桃園青年設計展暨國際設計論壇」活動，以「設計未來」為主軸，透過設計的視角，促進國際思維、交流與合作，將於11/10-18在桃園會展中心舉行，參與論壇及策展的國家包括美國、英國、義大利、新加坡、日本及越南等6國，以及國內5所大專院校、3所高中職師生與2家設計庫新銳團隊共同參展，預計展出87件設計作品，歡迎市民踴躍參與。 \n本次活動邀請到國際專家進行主題演講，並進行兩場焦點對談，激勵青年設計創意，促進國際設計交流。開幕式暨國際設計論壇將於活動首日，11/10上午10點在桃園會展中心盛大舉行，參與論壇的國外講者包括：來自英國倫敦的Celia Mead總監，將分享倫敦著名展覽open house的亮點；來自美國加州，現在定居韓國濟州島的Andrew Ananda Voogel將分享如何動員設計與創意來解決當前面臨的全球性塑料污染問題；來自日本千葉大學設計教育研究所的植田憲教授，將分享該大學與當地社區合作推動的「基於設計鄉村調查區域發展」；同樣來自日本三菱地所設計公司的首席建築師藤貴彰，將展出其研究循環式建築作品；來自越南VDAS的Danh Tran副主席，將分享其突破界限，激發設計領域的新想法。 \n活動總策展人、銘傳大學設計學院副院長李芝瑜表示，這次論壇不僅是知識與經驗的分享平台，更是跨文化對話與合作的契機；透過來自不同背景的設計師以設計為語言，共同激發出新的靈感與創意。 \n為接軌國際並扶植桃園在地青年設計師、高中職及大專院校設計科(系)發展， 活動安排有「桃園青年設計展」，由國內5所大專院校：銘傳大學、中原大學、健行科技大學、台北商業大學、萬能科技大學，3所高中職：壽山高中、育達高中、啟英高中師生及2家設計庫新銳團隊：星外視覺整合、民制設計顧問共同參展，展出87件設計作品，展期自11/10-18止。 \n此次活動結合國際締盟城市及國際設計領域領先城市之學校、業者及專家，共同參與策展與論壇，進而激發出桃園設計能量與創新思維，提升桃園設計產業發展，形塑台灣設計之都在桃園，歡迎桃園市民、師生踴躍參與，詳細活動訊息，請至活動官網查詢。 \nTo align with global trends and support local young designers\, Department of Youth Affairs\, Taoyuan City Government\, in collaboration with MCU\, is hosting the 2024 Taoyuan Youth Design Exhibition & Design Forum. Under the theme “Designing the Future”\, this event will promote international perspectives\, exchange and collaboration through the lens of design. The exhibition will be held from November 10 to 18 at Messe Taoyuan\, featuring participation from six countries—United States\, United Kingdom\, Italy\, Singapore\, Japan and Vietnam—as well as five domestic universities\, three vocational high schools\, and two emerging design studios. A total of 87 design works will be showcased\, and the public is encouraged to attend. \nThe event will include keynote speeches by international experts and two focused panel discussions to inspire creativity among young designers and promote international design exchange. The Opening Ceremony and International Design Forum will take place on November 10 at 10:00 a.m. at Messe Taoyuan. Among the international speakers are: \n\nCelia Mead\, Director from London\, UK\, who will highlight the prominent London exhibition\, Open House.\nAndrew Ananda Voogel from California\, currently based in Jeju\, South Korea\, who will discuss how design and creativity can address the global issue of plastic pollution.\nProfessor Noriyuki Ueda from the Design Education Research Institute at Chiba University in Japan\, who will introduce a regional development project involving rural community collaboration.\nTakayuki Fuji\, Chief Architect from Mitsubishi Estate Design in Japan\, who will present his research in circular architecture.\nDanh Tran\, Vice President of VDAS in Vietnam\, who will share breakthrough ideas that push the boundaries of design.\n\nThe Chief Curator\, Dr. Jeanne Lee\, Associate Dean of the School of Design at MCU\, noted that the forum is not only a platform for sharing knowledge and experience but also a chance for cross-cultural dialogue and collaboration. Designers from diverse backgrounds will come together to spark new inspiration and creativity through the universal language of design. \nTo foster international connections and support local youth and students in design departments at high schools and universities\, the event will feature the Taoyuan Youth Design Exhibition. Participants include five universities—Ming Chuan University\, Chung Yuan Christian University\, Chien Hsin University of Science and Technology\, National Taipei University of Business and Vanung University—three vocational high schools—Shoushan High School\, Yuda High School and Ching-Ying High School—and two emerging design studios: Outer Space Visual Integration and Mint Design Consultancy. A total of 87 design pieces will be on display from November 10 to 18. \nThis event will bring together schools\, professionals\, and experts from Taoyuan’s sister cities and leading cities in the global design field. It aims to ignite Taoyuan’s design energy\, foster innovative thinking\, and advance Taoyuan’s design industry\, shaping Taoyuan as Taiwan’s “Design Capital”. Taoyuan residents\, students\, and teachers are all invited to attend. For detailed event information\, please visit the official website.
URL:https://events.mcu.edu.tw/event/2024%e6%a1%83%e5%9c%92%e9%9d%92%e5%b9%b4%e8%a8%ad%e8%a8%88%e5%b1%95%e6%9a%a8%e5%9c%8b%e9%9a%9b%e8%a8%ad%e8%a8%88%e8%ab%96%e5%a3%87-taoyuan-youth-design-exhibition-design-forum/
LOCATION:桃園會展中心\, 中壢區領航北路一段99號\, 桃園市\, Taiwan
CATEGORIES:設計學院
ATTACH;FMTTYPE=image/png:https://events.mcu.edu.tw/wp-content/uploads/2024/11/5.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241110T140000
DTEND;TZID=Asia/Taipei:20241110T160000
DTSTAMP:20260405T104756
CREATED:20240918T071917Z
LAST-MODIFIED:20240918T072116Z
UID:10000503-1731247200-1731254400@events.mcu.edu.tw
SUMMARY:流動水晶藝術 Crystal Art｜造型裝飾掛鏡  Crystal Art Decorative Hanging Mirror
DESCRIPTION:活動日期 Date & Time：2024/11/10（日）(Sunday) 14:00-16:00\n活動地點 Venue：久號空間 Ninenine（台北市中山區南京東路一段15號4樓 4/F\, No. 15\, Sec. 1\, Nanjing E. Rd.\, Zhongshan Dist.\, Taipei City）\n老師 Instructor：賴詩蓓 Lai Shih-bei\n人數 Number of Participants：10-12\n推廣價 Fee：NT$1\,580（原價 Original Price NT$3\,680），雙人同行 NT$2\,850 for 2 people\n主辦單位 Organizer：久號｜永壽文教基金會 Ninenine\n報名 To apply：https://www.accupass.com/eflow/ticket/2407101028253987040700 \n※報名後務必加入官方Line：@ninenine，我們將於課程開始前2-3天於久號官方LINE上寄發課前通知給學員。 After registering\, please make sure to join the official Line: @ninenine. We will send pre-class notifications via the official Ninenine LINE account 2-3 days before the class starts. \n \n繽紛的樹脂流動畫\n你眼中的世界是什麼顏色？\n是熱情的紅色?是沉靜的藍?還是溫暖的黃？\n無論是什麼顏色，都是代表我們對生命的熱愛，讓我們用色彩來療癒生活吧！ \n水晶遇上藝術\n水晶能帶來幸福的正能量，依照顏色有不同的功效，白水晶淨化身心、紫水晶帶來好人緣、粉水晶提升魅力…等。而水晶不僅能做成飾品與布置擺設，更能運用在藝術創作上。晶瑩的水晶搭配剔透的樹脂，流動畫加上水晶加持，讓手作更升級，獨特又療癒，給你滿滿正能量，創作出不同凡響的藝術氛圍。 \n百變的環氧樹脂\n其實它十分常見，像地板、塗料與黏著劑都有它的身影。由於它防水、抗黃、無毒與耐用的特性，近期經常使用在創作上，例:藝術品、手工藝、公仔或標本保存，是可塑性極高的創作媒材。這堂課老師將帶領學員們，一步步認識媒材與學習創作技巧，創作出獨特的藝術手作吧。 \nColorful Resin Flow Art\nWhat color is the world in your eyes?\nIs it passionate red? Calm blue? Or perhaps warm yellow?\nWhatever the color may be\, it reflects our love for life. Let’s use colors to heal our lives! \nCrystals Meet Art\nCrystals are believed to bring positive energy and happiness. Different colors have varying effects: clear quartz purifies the body and mind\, amethyst fosters good relationships\, rose quartz enhances charm\, and so on. Crystals are not only used for jewelry and decor\, but also for artistic creations. Combining the brilliance of crystals with transparent resin\, this flow art class will elevate your handmade creations\, resulting in unique\, soothing pieces full of positive energy. Create an artistic atmosphere like no other! \nVersatile Epoxy Resin\nEpoxy resin is commonly seen in everyday life—in flooring\, coatings\, and adhesives. Due to its waterproof\, anti-yellowing\, non-toxic and durable properties\, it’s increasingly used in creative arts\, such as artwork\, crafts\, figurines\, or specimen preservation. It is an incredibly versatile medium. In this class\, the instructor will guide students through the process of understanding the material and learning techniques to create their own unique art pieces. \n課堂內容 Class Content \n1.環氧樹脂媒材介紹\n2.用具及創作技法講解\n3.水晶的介紹\n4.構圖與顏色搭配\n5.創作流程講解\n6.作品完成及分享\n7.造型圓鏡1個（直徑25-27公分） \n\nIntroduction to epoxy resin materials\nExplanation of tools and creation techniques\nIntroduction to crystals\nComposition and color coordination\nStep-by-step explanation of the creative process\nCompletion and sharing of the artwork\nOne decorative round mirror (diameter 25-27 cm)\n\n貼心小提醒 Reminders \n1.由於樹脂顏料不易清潔，課堂為大家準備圍裙，讓您創作時再也不用擔心衣服的面子問題，盡情揮灑創作。\n2.環氧樹脂調和時會產生淡淡刺鼻味，將提供每位學員N95高防護口罩，待樹脂固化後對身體沒有危害，讓大家創作時安心又放心。\n3.課程成品為造型圓鏡，可放裝飾空間與牆面之外，還兼具鏡子功能，美觀又實用。現場提供多樣色系挑選，基本可調出許多樹脂顏色，歡迎大家來報名。\n4.課堂已準備多樣水晶，例:白水晶、紫水晶、粉水晶、黃水晶…等，絕對能滿足你的創作欲望。\n5.成品保養建議使用軟性抹布或眼鏡布輕輕擦拭，放置室內陰涼處避免陽光及潮濕環境，如有污漬請用清水沖洗，勿用化學洗劑清洗，作品更持久耐用。\n6.課程當天無法直接帶走作品，環氧樹脂需要等待固化時間，全乾需要1-2天，待作品硬化後，統一進行後續處理，例:細節處理與包裝（約15個工作天）。\n7.如何取回成品呢? 可以選擇自取或寄送（課程當天告知地址與繳交運費）。 \n\nResin pigments are difficult to clean\, but aprons will be provided to ensure you can create freely without worrying about your clothes.\nMixing epoxy resin produces a slight odor\, so N95 masks will be provided for each participant. Once cured\, the resin is harmless\, ensuring a safe and enjoyable experience.\nThe final product is a decorative round mirror\, perfect for home or wall decor\, while also functioning as a mirror—both beautiful and practical. Various color options will be available during class\, and a wide range of resin colors can be mixed. Feel free to register and get creative!\nA variety of crystals will be provided\, such as clear quartz\, amethyst\, rose quartz\, and citrine\, ensuring you have plenty of options to fuel your creativity.\nFor product care\, use a soft cloth or eyeglass cloth to gently wipe the mirror. Store it in a cool\, dry place away from sunlight and humidity. If it gets dirty\, rinse with water—do not use chemical cleaners to preserve the longevity of the piece.\nYou won’t be able to take the artwork home on the day of the class. Epoxy resin takes 1-2 days to fully cure. After hardening\, we’ll handle post-production details such as refining and packaging\, which will take approximately 15 working days.\nHow to receive your artwork: you can choose to pick it up in person or have it shipped (shipping fees and address to be provided on the day of the class).\n\n \n \n師資說明 Instructor Information \n賴詩蓓 Lai Shih-bei \n學歷 Education\n國立臺灣藝術大學 雕塑學系 學士 Bachelor’s Degree in Sculpture\, National Taiwan University of Arts \n品牌 Brand\n2022創立「蓓窩beiworld」藝術創作平台\n熱愛藝術、手作與教學的女子，喜歡發掘不同的媒材與玩法，擁有大學主修雕塑培養的立體感，全方位研發藝術創意，不斷追求不同的藝術玩法，\n讓大家窩在一起玩創意。 \nIn 2022\, she founded “Beiworld”\, an art creation platform. Lai Shih-bei is passionate about art\, handmade crafts\, and teaching. She enjoys exploring different materials and methods\, leveraging her three-dimensional sense developed through her major in sculpture. She is committed to developing innovative artistic concepts and continuously pursuing various artistic practices\, encouraging everyone to come together and enjoy creative activities. \n經歷 Experience\n新北市自強國中美術社指導老師 Art Club Instructor\n基隆市陽明海洋文化藝術館流動畫親子課程教學 Fluid Acrylic Parent-Child Course Instructor\n台北市久號流動畫課程教學 Fluid Acrylic Course Instructor at Ninenine
URL:https://events.mcu.edu.tw/event/%e6%b5%81%e5%8b%95%e6%b0%b4%e6%99%b6%e8%97%9d%e8%a1%93-crystal-art%ef%bd%9c%e9%80%a0%e5%9e%8b%e8%a3%9d%e9%a3%be%e6%8e%9b%e9%8f%a1-crystal-art-decorative-hanging-mirror/
LOCATION:久號空間\, 中山區南京東路一段15號4樓\, 台北市\, Taiwan
CATEGORIES:ACCUPASS,久號｜永壽文教基金會
ATTACH;FMTTYPE=image/png:https://events.mcu.edu.tw/wp-content/uploads/2024/09/14.png
ORGANIZER;CN="%E4%B9%85%E8%99%9F%EF%BD%9C%E6%B0%B8%E5%A3%BD%E6%96%87%E6%95%99%E5%9F%BA%E9%87%91%E6%9C%83":MAILTO:foundation@jangdah.com
END:VEVENT
END:VCALENDAR