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DTSTART;TZID=Asia/Taipei:20250503T093000
DTEND;TZID=Asia/Taipei:20250524T173000
DTSTAMP:20260626T060807
CREATED:20250424T023957Z
LAST-MODIFIED:20250424T031711Z
UID:10001040-1746264600-1748107800@events.mcu.edu.tw
SUMMARY:2025 X-site: 毛孔城市─佔領計畫 Program X-site 2025: The Pore Landscape Project
DESCRIPTION:「X-site 計畫」（2014~）以美術館戶外廣場為基地，每年公開徵選一件實驗性的臨時裝置提案。從建築結構、當代藝術、環境研究、公眾參與等多元角度，鼓勵創新實驗的跨域創作與公共性交織的整合性計畫，激發公眾對公共空間、城市環境與人類發展等議題的探討與想像。「X-site 計畫」歷年來已支持許多新銳建築與藝術團隊實踐創作計畫，成為臺灣深具開放性、實驗性與培育中青世代的重要平台。 \n今年由跨領域團隊「表層工作室 (Studio Superficial)」《毛孔城市－佔領計畫（The Pore Landscape Project）》獲得2025第12屆首獎。 \n關於作品 \n臺北市為臺灣熱島效應最嚴重的都市，逐年升溫的氣候改變了人與廣場的互動關係。表層工作室將毛孔的散熱機制擬態於地表，設計量造上百座回收鋁製的「毛孔」裝置，象徵性地佔領北美館廣場。透過大範圍鋪面介入，並像毛孔般植入公共場域，展開一場人群與空間的地景實驗。從有形的物件到無形的水霧，呈現光影、風向、濕度與溫度的調節，如城市中的微型氣候，試圖緩解場域中的熱氣滯留，同時打開觀眾的身體感知，重新定義北美館廣場與人群之間的互動行為。 \nAbout Program X-site \nBased on the outdoor plaza of the Taipei Fine Arts Museum (TFAM)\, Program X-site (2014 –) launches an annual open call for experimental temporary installation projects. From multiple perspectives\, such as architectural construction\, contemporary art\, environmental research and public participation\, the event encourages interdisciplinary and publicly engaged projects that emphasize innovative experimentation. Meanwhile\, it inspires the public to imagine and explore the issues related to public space\, urban environment and human development. Over the years\, Program X-site has supported various pioneering projects proposed by cutting-edge teams in architecture and art\, establishing itself as an important incubator of openness and experimentation for young and mid-career generations in Taiwan. \nThe Pore Landscape Project\, conceived by the interdisciplinary team Studio Superficial\, was selected as the 12th laureate in 2025. \nAbout The Pore Landscape Project  \nTaipei is the city most severely affected by the urban heat island effect in Taiwan\, and rising temperatures have gradually reshaped the way people interact with public plazas. Simulating the heat dissipation mechanism of pores\, Studio Superficial has conceived an installation consisting of hundreds of “porous” devices made from recycled aluminum\, symbolically occupying the TFAM outdoor plaza. Embedded into the public space like a breathing carpet with pores\, the installation has initiated a landscape experiment exploring the relationship between people and their surroundings. Constructed from tangible objects and intangible mist\, the installation integrates the concept of microclimate landscape design to regulate light and shadow\, wind direction\, humidity and temperature. It attempts to alleviate the stationary heat on-site while awakening the public’s bodily perception\, ultimately redefining the interaction between the plaza and its visitors. \n觀展指南 \n1. 作品鋪面採用擴張網（孔徑10 x 6cm），網面踩踏時會有些微不穩定，平衡感不佳者，請小心行進。\n基於作品設計與體驗的安全性，以下觀眾不適合參觀： \n– 穿著高跟鞋者\n– 使用拐杖、輔具者（如輪椅等）\n– 嬰兒推車或其他類似設備（建議將車體暫放展區外）\n– 動物或寵物 \n2. 展區體驗時，請務必留意： \n– 禁止奔跑、推擠。\n– 請勿飲食。\n– 孩童須由隨行成人陪同，確保安全並引導適當的觀展方式。\n– 避免長時間站在霧氣裝置出口處。請勿觸摸設備，以免影響作品裝置的正常運作。\n– 請注意隨身細小物品掉落。若不慎掉落請尋求展務人員協助，勿自行撿拾，以免受傷。\n– 不開放商業攝影（例：婚紗、商品型錄、攝影教學等）或其他影響參觀安全及品質之拍攝。 \n3. 如遇大雨、打雷、颱風等天候狀況，因安全考量本作品將暫時關閉。 \n4. 視視各項公眾活動前置準備，作品的局部區域於活動開始前後60分鐘暫停開放（以現場公告為準） \n5. 公眾活動之舉辦、延期與取消，將因應氣候狀況彈性調整，詳情請至本館官網查詢。 \nVisiting reminder \n1. The installation is paved with expanded metal meshes (aperture: 10 × 6 cm). For safety reasons related to the design and experience of the installation\, the following visitors are not recommended: \n– with high heels;\n– with canes;\n– with baby strollers or similar devices (recommended to park outside the exhibition area);\n– wheelchair users;\n– carrying animals with feet smaller than the mesh aperture. \n2. Please note in the exhibition area: \n– Children must be accompanied by a parent or guardian to ensure their safety and to guide them in experiencing the exhibition appropriately.\n– Please do not touch the devices to avoid malfunctions of the installation.\n– Please avoid standing for extended periods near the outlet of the mist device.\n– Please do not run or push others.\n– No eating or drinking is allowed.\n– Please be mindful of small personal belongings that may fall. Seek assistance from exhibition staff for any fallen item instead of retrieving it yourself to avoid injury.\n– Please do not use strong flashlights to avoid disturbing other visitors and the exhibition effects.\n– Please apply in advance for any photo or video recording for commercial purposes. \n3. In cases of severe weather conditions\, such as heavy rain\, thunder and lightning\, and typhoons\, the installation will be temporarily closed for safety reasons. Please do not enter and plan your visit for another date. \n4. According to the preliminary arrangements for the public events\, certain areas of the exhibition will be closed for 30 minutes before and after each session\, as announced on-site that day. Please plan your visit accordingly. \n5. The organization\, postponement or cancellation of the public events will be determined based on weather conditions. For more information\, please visit the official TFAM website. \n日期 Date｜5/3－7/13 09:30 ~ 17:30（每週一休館 Closed every Mondays） \n收費 Fee｜NT$30
URL:https://events.mcu.edu.tw/event/2025-x-site-%e6%af%9b%e5%ad%94%e5%9f%8e%e5%b8%82%e2%94%80%e4%bd%94%e9%a0%98%e8%a8%88%e7%95%ab-program-x-site-2025-the-pore-landscape-project/
LOCATION:臺北市立美術館\, 中山區中山北路三段181號\, 台北市\, Taiwan
CATEGORIES:臺北市立美術館
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BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20250506T093000
DTEND;TZID=Asia/Taipei:20250525T173000
DTSTAMP:20260626T060807
CREATED:20250324T064857Z
LAST-MODIFIED:20250324T064857Z
UID:10000977-1746523800-1748194200@events.mcu.edu.tw
SUMMARY:黑潮：賴純純回顧展 Jun T. LAI: A Retrospective
DESCRIPTION:賴純純（1953-）生於台北，大學時期受廖繼春啟發，領會色彩即為表現主體的可能。隨後在日本求學，建立日後空間創作的基礎觀念。 \n1980年代，她以複合媒材創作，藉由純粹的色彩、抽象性的排列，探討繪畫形式自由的可能性。作品接連在「中華民國現代繪畫新展望」、「中華民國現代雕塑展」等重要競賽展獲獎。1986年成立「SOCA現代藝術工作室」推展前衛藝術。1990年代重新體認東方美學，在材料的運用上顯現自然，訴求回歸內在感性。1998年起，投入公共藝術創作，行遍全台。2007年後，生活與創作重心轉向東部海岸。此時期作品重回色彩獨立表現，反映在東部長住後，對自然更為深層的嚮往。 \n本展以「黑潮」為名，象徵賴純純創作純然而深邃、多變卻一貫的特質。展覽邀請藝評家張晴文擔任客座策展人，預計透過四個子題梳理賴純純1970年代至今的創作脈絡，展出油畫、壓克力繪畫、複合媒材繪畫、雕塑、裝置、手稿、影片與文獻等。 \n“Jun T. Lai: A Retrospective”\, curated by art critic Chang Ching-Wen\, symbolizes the pure yet profound and versatile yet consistent attributes of the artist’s work. Jun T. Lai (b. 1953) was inspired by Liao Chi-Chun during her college years and began to explore colors as a means of expression. While studying in Japan\, she formulated the core concepts for her later spatial works. \nIn the 1980s\, she delved into the potential of painting through abstract arrangements of pure colors\, earning recognition in major competition exhibitions\, including the Contemporary Art Trends R.O.C. Subsequently\, she established the Studio of Contemporary Art (SOCA) to advocate for avant-garde art. In the 1990s\, she revisited Eastern aesthetics\, which led to new insights that inspired her to draw from nature and her inner feelings through her sensibility. Following 2007\, she focused on living and creating art on Taiwan’s eastern coast\, redirecting her attention to the independent expression of colors while expressing a profound desire for nature. \nThis exhibition will explore the artist’s creative journey through four themes spanning from the 1970s to the present. It will feature nearly one hundred exhibits\, including oil\, acrylic\, and mixed media paintings\, as well as sculptures\, installations\, hand drawings\, manuscripts\, videos\, and archives. \n日期 Date｜3/1－5/25 09:30 ~ 17:30（每週一休館 Closed every Mondays） \n收費 Fee｜NT$30
URL:https://events.mcu.edu.tw/event/%e9%bb%91%e6%bd%ae%ef%bc%9a%e8%b3%b4%e7%b4%94%e7%b4%94%e5%9b%9e%e9%a1%a7%e5%b1%95-jun-t-lai-a-retrospective/
LOCATION:臺北市立美術館\, 中山區中山北路三段181號\, 台北市\, Taiwan
CATEGORIES:臺北市立美術館
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20250510T093000
DTEND;TZID=Asia/Taipei:20250607T173000
DTSTAMP:20260626T060807
CREATED:20250502T061832Z
LAST-MODIFIED:20250502T061832Z
UID:10001063-1746869400-1749317400@events.mcu.edu.tw
SUMMARY:繁花夢露 Ethereal Bloom—張立曄的靈光樂園 The Luminous Paradise of Chang Li-Yeh
DESCRIPTION:關於本展 About the Exhibition \n蔚藍暗夜，百花盛開，綻放紅彩靈光。飛禽走獸、蟲蝶鳥蛙，慕光歡舞紛至沓來，迎向紅、橙、黃、綠、藍、靛、紫所織染閃爍韶光的花瓣，沐浴在那道流淌著金黃生命之泉的聖光中，花蝶鳥獸蟲蛙們瞠目私語盡顯驚嘆奇神之情，未明的棉花糖雲朵，對稱而乖巧地排列在夜空與飄盪其中的花朵，讓那金粉紅花粉微微顫動飄灑而出…頌讚著神聖又神祕的生之華，也隱匿著繁盛的剎那時間至極後的幻滅之悲。這是藝術家張立曄的繪畫作品〈百花樹〉所帶給我們的深層感動。 \n本展以「繁花夢露」－ 張立曄的靈光樂園為名，展出藝術家張立曄近十年的夢幻繽紛又帶著樸拙童趣的繪畫創作：「蝴蝶人」、「童話樂園」、「萬物有靈」和「靈光」等系列。同時，也追朔他早期在報社為副刊畫插畫的報紙原稿和原作，以及初入畫家專職所創作帶著原生藝術趣味的表現性系列作品如：「社會邊緣人」、「檳榔西施」、「土石流」和「護法金剛」等，來與他今日的創作做一比較對照，讓大家探訪一個藝術家所開展的創作脈絡。 \n本展策展人黃志偉提出「繁花夢露」一題，是「蝴蝶人」裡一花一世界、一塵一世間的層層疊疊詠嘆繽紛燦爛。刻印在臉上的是對過去燦爛的毀壞，洗鍊成現今畫家、畫家老婆和小孩簡單無華的滿滿的幸福的印記與圓滿；是在幽暗夜裡竊竊盡情開趴的〈小怪獸樂園〉，隱匿在陰沉的藍綠調性中，緩緩蠕動、或流竄飄動、或張牙舞爪歇斯底里般躁動的長腳魚、人腳獅、象鼻狗、草型兔、雀鳳、蝶花等莫以名之的各種精怪；是「萬物有靈」中的靈光湧現，照耀在一塵不染的仙境桃源，在七彩祥雲天女散花的瑞兆下，那世外之島由虛空注入，眾神龜、錦鯉、魚龍等神獸四方來朝的玄妙境界。這樣的靈光畫境乃純淨之土，邀請觀者入境穿梭優遊一探淨土風光，也一探畫家內心所望之境。 \n圍繞在〈一天〉24小時的時光景象中，觸動了緣起緣滅的媒介時空間的存在觀念，「一天」與一時的概念等同，一時一天，日復一日重複輪轉，天天都有一樣的一天，天天都是現在、過去與未來的天，天天都是不一樣的天，在〈一天〉的靈光樂園裡，是時間的瞬間所綻放的花華，猶如繁花盛綻之極，乃為凋零衰敗前的一瞬間相，一瞬間、一剎那、一時、一天如鏡般的折射出這一繁花夢露極致之境，雖世間繁華如朝露般的曇花一現，但已然是昇華過後之再生，夢恨已逝慰藉於心… \nEthereal Bloom – The Luminous Paradise of Chang Li-Yeh presents a radiant world where blossoms shimmer in divine light and fantastical creatures roam under deep blue skies. Inspired by his painting Blossoming Tree\, this exhibition captures the sacred beauty and fleeting sorrow of life at its most vibrant. \nFeaturing works from the past decade\, including the series Butterfly Man\, Fairy Tale Paradise\, Animism and Aura\, the show traces Chang’s journey from whimsical dreamscapes to spiritual utopias. Alongside these are his early newspaper per illustrations and expressive series like Self-Portrait and Social Outcast\, revealing a transformation from raw\, intuitive forms to intricate\, symbolic compositions. \nCurated by Huang Chih-Wei\, the exhibition explores the idea of “ephemeral dreams”—moments that sparkle and vanish like morning dew. In worlds filled with playful monsters\, sacred animals\, and floating blossoms\, time stretches and folds. Ethereal Bloom invites visitors to wander through Chang’s luminous landscapes and glimpse the artist’s innermost visions of joy\, loss and renewal. \n藝術家介紹 About the Artist \n藝術家張立曄出生於嘉義，東吳大學社會學系畢業，早期熱愛文學與詩的書寫和閱讀，跟所有愛畫畫的人一樣，從小便喜歡畫畫塗鴉，課本的空白處無一倖免皆被其所塗滿，無形中成了一種難以更改的「壞習慣」，這「壞習慣」一直深植在他的潛意識裏頭，今日畫作中滿溢而密集的圖像，或許正是這壞習慣的延伸而成為他作品面貌的鮮明特色。 \n張立曄初期作品以社會關懷出發，對社會邊緣人與弱勢族群進行描寫， 表現時代和社會變遷中小人物的流離、失根與存在困境。中期延續社會關懷路線，進行「檳榔西施」與「土石流」兩項社會議題的創作，前者反映了少女身體在台灣工業城市中的異化與色情化圖像，後者則對全球暖化與生態危機所暴露的政治人性光怪陸離現象進行批判。 \n近期作品轉為對個人內在潛意識能量的深層觀照，將身體與靈魂體的情感、欲念、記憶與糾葛執念視為一個小宇宙的經絡迴路， 將五臟神經血脈以意識流的自我幻化圖形塡充取代， 以自我變形、花形、山形各種包羅萬象的大自然元素重組內在山水。從《蝴蝶人系列》對自己過往情感、欲望與記憶的整理、爬梳與觀照，到《小宇宙系列》將自己置放到與大自然的聯結，在身體內在的小周天𥚃，佈置一座安身立命的山水花園。此時，寧靜的傾聽體內的流泉聲，與大自然的一草一木相應和，透過每一座山巒的聳立與小樹叢、小溪流的滋長與迴流，而將自身凈化，將山水世界放到身體𥚃面，一筆一畫的建造一座屬於自己內在的花園。 \nChang Li-Yeh was born in Chiayi. He graduated from the Department of Sociology at Soochow University in Taiwan. In his youth\, he developed a love for reading and writing literature and poetry. Like many budding artists\, he enjoyed doodling and habitually filled every blank space in his textbooks\, which ultimately became an indelible “bad habit”. This tendency shaped his subconscious\, leading to the brimming\, compact imagery found in his paintings today. Perhaps it is precisely this “bad habit” that contributes to the unique characteristics of his work. \nChang’s early works centered on social issues\, portraying the struggles of marginalized communities. His Betel Nut Beauty series explored the objectification of young women in Taiwan’s industrial cities\, while Landslide reflected on climate change and ecological destruction. These works captured the raw\, often surreal contradictions of human nature and politics. \nIn recent years\, his focus has turned inward\, exploring the subconscious. He reimagines the body and soul as a microcosm of emotions\, memories\, and desires. His figures morph and flow\, their limbs entwined with mountains\, rivers\, and blooming landscapes—an intimate fusion of self and nature. In the Butterfly Man series\, he reflects on love\, longing and memory\, while the Small Universe series builds a connection between the body and the natural world\, creating a sanctuary where every tree\, stream\, and peak resonates with harmony.\n\n仙樹，2020，162 X 226cm，油彩、畫布 \n\n蝴蝶人-5，2014，112 X 145cm，壓克力、麥克筆、畫布 \n\n萬物有靈，2016，45 X 45cm，壓克力、畫布
URL:https://events.mcu.edu.tw/event/%e7%b9%81%e8%8a%b1%e5%a4%a2%e9%9c%b2-ethereal-bloom-%e5%bc%b5%e7%ab%8b%e6%9b%84%e7%9a%84%e9%9d%88%e5%85%89%e6%a8%82%e5%9c%92-the-luminous-paradise-of-chang-li-yeh/
LOCATION:高雄市立美術館\, 鼓山區美術館路80號\, 高雄市\, Taiwan
CATEGORIES:高雄市立美術館
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20250517T093000
DTEND;TZID=Asia/Taipei:20250607T173000
DTSTAMP:20260626T060807
CREATED:20250505T034625Z
LAST-MODIFIED:20250505T034625Z
UID:10001062-1747474200-1749317400@events.mcu.edu.tw
SUMMARY:行者十步 Footprints of the Walker：蔡明亮 Tsai Ming-Liang
DESCRIPTION:行者，不只是穿越時空的修行者，更意味著形象的轉生。 \n2011年，李康生在排練舞台劇《只有你》的〈李康生的魚・我的沙漠〉時，以極慢步伐行走短短幾公尺之間，轉換蔡明亮父親與玄奘法師的角色。此姿態讓蔡明亮深受震撼。這種既懸置又推進的步調，不僅凝聚了他與李康生數十年合作的精髓，也為他正在醞釀的、更開放的電影形態埋下了轉變的伏筆。 \n如果李康生慢行的一小步是他與蔡明亮長年合作所淬鍊出的結晶，那麼自2012年至2024年間，他們共同完成的《行者》系列，則可謂透過李康生化身紅袍僧侶的徐步實踐跨藝術的壯跡。 \n具體而言，這個系列包括十部長短不一的影片——《無色》、《行者》、《夢遊》、《金剛經》、《行在水上》、《西遊》、《無無眠》、《沙》、《何處》、《無所住》——亦包含舞台劇《玄奘》。此外，它也延伸至電影展覽，如「無無眠大展」（北師美術館）、「行者 蔡明亮」大展（壯圍沙丘旅遊服務園區）與「取經」（龐畢度中心）等，探索影像與空間的結合。 \n顧名思義，「行者十步：蔡明亮」呼應「十部」影片的諧音，指向這些受到唐代玄奘法師西行天竺十七載取經啟發的影像創作。十餘年來，《行者》影片除了涉足台北、雲林與宜蘭，也輾轉香港、古晉與東京，甚至遠行至馬賽、巴黎與華盛頓。影片以長鏡頭描寫聖僧自台北行向四方，從內心行至世間的經行。 \n在美術館中，這些影片並非單獨存在，而是彼此聯繫，形成一個有機整體，同時結合紙張、經文、鏡面、椅子、素描、畫作、物件與檔案等素材，藉由多重銀幕與裝置藝術的方式營造沉浸式影像空間；光影與色彩、線條與皺褶、錯過與相遇、生命與幻影、有限與無窮交織，形塑出獨特的行者世界。 \n「行者十步：蔡明亮」象徵著蔡明亮身為導演的藝術轉向，開啟另一種影像取經的旅程。試想，當年長安僧侶不顧朝廷的禁令，義無反顧地踏上西行求法之路；而蔡明亮則以影像為經，遊走於電影、劇場與展覽之間，在跨越空間、媒介與藝術邊界的過程中持續追尋，開闢一條凝視時間的行者之道。 \nThe Walker is more than a pilgrim through time and space\, it’s the transformation of imagery. \nIn 2011\, while rehearsing the stage play Only You\, in the monologue The Fish of Lee Kang-sheng: The Journey in the Desert\, Lee walked at an extremely slow pace for just a few meters. He shifts between the roles of Tsai Ming-liang’s father and the Tang Dynasty Buddhist monk Xuanzang. This movement profoundly affected Tsai. These steps both suspended and advanced the forward motion. It encapsulated the essence of the decades-long collaboration between Tsai and Lee. It also planted the seed for the open form of cinema Tsai has been nurturing. \nIf Lee’s slow walk is the crystallization of his years of collaboration with Tsai\, then The Walker series\, which they completed between 2012 and 2024\, can be seen as a grand artistic journey across disciplines\, realized through Lee ’s embodiment of a red-robed monk in slow\, deliberate motion. \nThis series includes ten films of varying lengths—No Form\, Walker\, Sleepwalk\, Diamond Sutra\, Walking on Water\, Journey to the West\, No No Sleep\, Sand\, Where\, and Abiding Nowhere—as well as the stage play The Monk from Tang Dynasty. Additionally\, it extends into cinematic exhibitions such as No No Sleep at MoNTUE －Tsai Ming-Liang Solo Exhibition\, Walker\, Tsai Ming-Liang at the Zhuangwei Dune Visitor Center and A Quest at the Centre Pompidou. Together\, they explore the fusion of film and space. \nFootprints of the Walker: Tsai Ming-Liang refers to the ten films\, pointing to this body of work inspired by the 17-year-long journey of Xuanzang in search of sutras from India. Over the past decade\, The Walker series has set foot not only in Taipei\, Yunlin\, and Yilan but also Hong Kong\, Kuching\, and Tokyo\, and extended as far as Marseille\, Paris and Washington D.C. Through long takes\, the films depict the monk’s journey outward from Taipei in meditative movement—from the inner self to the broader world. \nWithin the gallery space\, these films do not exist independently but interconnect to form an organic whole. Presented alongside paper\, sutras\, mirrors\, chairs\, sketches\, paintings\, objects\, and archival materials\, an immersive visual environment is created through multi-screen installations and video art. Light and shadow\, color and texture\, missed encounters and fateful meetings\, life and illusion\, the finite and the infinite—these elements weave together to shape the unique world of the Walker. \nFootprints of the Walker: Tsai Ming-Liang symbolizes the artistic transformation of Tsai as a director\, opening up a new cinematic pilgrimage. Imagine the ancient monk from Chang’an who\, defying the imperial decree\, set out resolutely on his westward journey in search of the Dharma. Similarly\, Tsai uses film as his scripture\, moving between cinema\, theater and exhibition spaces\, continuously  searching beyond spatial\, media\, and artistic boundaries—to carve out a Walker’s path that gazes upon time itself.
URL:https://events.mcu.edu.tw/event/%e8%a1%8c%e8%80%85%e5%8d%81%e6%ad%a5-footprints-of-the-walker%ef%bc%9a%e8%94%a1%e6%98%8e%e4%ba%ae-tsai-ming-liang/
LOCATION:高雄市立美術館\, 鼓山區美術館路80號\, 高雄市\, Taiwan
CATEGORIES:高雄市立美術館
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2025/05/行者十步-高美館官網banner-1810_768.jpg
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