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BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241028T100000
DTEND;TZID=Asia/Taipei:20241117T170000
DTSTAMP:20260418T083140
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:20241108T100000
DTEND;TZID=Asia/Taipei:20241129T170000
DTSTAMP:20260418T083140
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:20260418T083140
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:20260418T083140
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:20260418T083140
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:20260418T083140
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:20260418T083140
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:20241110T100000
DTEND;TZID=Asia/Taipei:20241118T170000
DTSTAMP:20260418T083140
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:20241113T090000
DTEND;TZID=Asia/Taipei:20241119T170000
DTSTAMP:20260418T083140
CREATED:20241112T084946Z
LAST-MODIFIED:20241112T084946Z
UID:10000661-1731488400-1732035600@events.mcu.edu.tw
SUMMARY:WOW TYPE 國際字型論壇 International Typography Forum
DESCRIPTION:｜活動介紹 Event Overview｜ \n這是一場不能錯過的年度盛事，國際兩大字型設計公司聯手舉辦大型論壇，無論您的專業是字型設計、平面設計、品牌行銷、品牌經營，都值得來一探究竟！ \nAn unmissable annual event! This large-scale forum is hosted by two leading international typography companies\, making it a must-attend for professionals in type design\, graphic design\, brand marketing\, and brand management. \n \n｜講師介紹 Speakers｜ \n🖋️Charles Nix：Monotype 蒙納 高級執行創意總監 Senior Creative Director\, Monotype \n🖋️姜鳳怡 Olive Chiang：華康字型 資深字型設計師 Senior Typeface Designer\, DynaComware \n🖋️土井遼太 Ryota Doi：Monotype 蒙納 高級字體設計師 Senior Typeface Designer\, Monotype \n🖋️林偉駿 Lim Wei-Chuin：華康字型 字型設計師 Typeface Designer\, DynaComware \n🖋️黃靖婷 Huang Jing-Ting：華康字型 字型設計師 Typeface Designer\, DynaComware \n \n｜內容說明 Event Content｜ \n5大主題，從字型設計到品牌創意，提供不同角度應用思維，透過更全面的觀點，提升字型運用的靈活度！ \nThe forum will feature five major topics\, covering type design and brand creativity. Gain diverse perspectives and broaden your understanding of type application and versatility! \n \n｜活動資訊 Event Details｜ \n時間 Date & Time：2024.11.20（三 Wednesday）13:00-17:00 \n入場時間 Entry From：12:30 \n地點 Venue：台北文創大樓6樓 D&E廳 Halls D & E\, Taipei New Horizon \n適合對象 Target Audience：設計師、行銷人員、廣告主 Designers\, marketing professionals\, advertisers \n報名費 Fee：NT$300 \n報名日期 Registration Period：2024.10.28～2024.11.19 \n退費政策 Refund Policy：委託ACCUPASS代辦退款事宜 Refunds processed through ACCUPASS \n報名 To apply：https://www.accupass.com/eflow/ticket/2410250328172028054315?utm_campaign=accu_banner&utm_medium=home_north&utm_source=Web \n｜聯絡方式 Contact Information｜ \nFB粉絲專頁 Facebook：華康字型 \nInstagram：Monotype 蒙納
URL:https://events.mcu.edu.tw/event/wow-type-%e5%9c%8b%e9%9a%9b%e5%ad%97%e5%9e%8b%e8%ab%96%e5%a3%87-international-typography-forum/
LOCATION:台北文創大樓\, 信義區菸廠路88號6樓\, 台北市\, Taiwan
CATEGORIES:ACCUPASS,華康字型
ATTACH;FMTTYPE=image/png:https://events.mcu.edu.tw/wp-content/uploads/2024/11/12.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241114T200000
DTEND;TZID=Asia/Taipei:20241115T220000
DTSTAMP:20260418T083140
CREATED:20241111T074220Z
LAST-MODIFIED:20241111T074220Z
UID:10000655-1731614400-1731708000@events.mcu.edu.tw
SUMMARY:Disney Princess – The Concert 迪士尼《公主音樂會》
DESCRIPTION:全台大小公主集！合！囉！準備好重回感動了嗎？ \n去年造成全台轟動的迪士尼《公主音樂會》今年華麗回歸就在臺北流行音樂中心！全新打造我們童年心中的浪漫美夢。 \n今年11月，你最愛的公主經典歌曲——迪士尼御用當紅百老匯歌手們唱給你聽！ \n音樂總監Benjamin Rauhala擔綱鋼琴家，共演屬於我們的璀璨回憶，引領我們在笑淚交織中身歷其境體驗公主的奇幻魅力！當流星劃過迪士尼城堡，一起讓經典童話成真！ \nCalling all princes and princesses! Are you ready to relive the magic? \nAfter creating a sensation across Taiwan last year\, Disney Princess – The Concert is making a grand return to the Taipei Music Center! This year\, a whole new concert experience brings our childhood dreams to life. \nIn November\, get ready to hear your favorite Disney princess classics performed by acclaimed Broadway singers\, personally chosen by Disney! \nWith Music Director and pianist Benjamin Rauhala leading the performance\, we’ll relive our cherished memories and experience the enchanting magic of the princesses through a journey of laughter and tears. As shooting stars grace the Disney castle\, let’s make these timeless fairy tales come true together! \n購票 To purchase：https://ticket.mna.com.tw/UTK0201_?PRODUCT_ID=P0KVNXU4
URL:https://events.mcu.edu.tw/event/disney-princess-the-concert-%e8%bf%aa%e5%a3%ab%e5%b0%bc%e3%80%8a%e5%85%ac%e4%b8%bb%e9%9f%b3%e6%a8%82%e6%9c%83%e3%80%8b/
LOCATION:台北流行音樂中心LIVE HOUSE D\, 南港區市民大道八段99號\, 台北市\, Taiwan
CATEGORIES:MNA牛耳藝術
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2024/11/20240816115043889.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20241115T110000
DTEND;TZID=Asia/Taipei:20241117T193000
DTSTAMP:20260418T083140
CREATED:20241016T063447Z
LAST-MODIFIED:20241016T063447Z
UID:10000586-1731668400-1731871800@events.mcu.edu.tw
SUMMARY:2024 Pinkoi Design Fest in Taipei
DESCRIPTION:🎉 2024 Pinkoi Design Fest 瘋設祭 Betterday 🎉 \n「迫不及待拆開禮物的欣喜、收到量身訂做禮物的感動，每個用心選品的瞬間，都是為了延續心意的溫度。」一年一度的聖誕派對，Pinkoi於華山東2館包場舉辦年度「最好玩」「最盛大」的派對活動，邀請大家一起於現場聖誕樹下傳遞你的心意！ \n不論你來自何處、喜歡哪種文化設計，都能在Pinkoi，發現與你共鳴的人事物，找到屬於你的送禮首選！ \n“The joy of unwrapping a gift\, the emotional warmth of receiving something made just for you—every moment of thoughtful selection continues the warmth of our intentions.”\nThis year\, Pinkoi’s annual Christmas party is back\, hosted at Huashan East 2 Hall. Join us at the “most fun” and “grandest” event of the year\, and share your heartfelt gifts under the Christmas tree! \nNo matter where you’re from or which design culture you love\, Pinkoi helps you discover things that resonate with you\, and you’ll find the perfect gifts for your loved ones! \n📅 日期 Date：11／15（五 Friday）- 11／17（日 Sunday）\n⏰ 時間 Time：11:00 – 19:30（最後入場時間 last entry at 19:00）\n📍 地點 Venue：華山文創園區東2館 Huashan Cultural Park\, East 2 Hall（100台北市中正區八德路一段1號 No. 1\, Sec. 1\, Bade Rd.\, Zhongzheng Dist.\, Taipei City） \n✨ 活動亮點 Event Highlights ✨ \n🎁 聖誕禮物預備備 Prepare Your Christmas Gifts 🎁\n還在煩惱今年的聖誕禮物嗎？\nPinkoi Design Fest 瘋設祭要邀請大家一起參與「萬」「人」「交」「換」「禮」「物」\n只要你包裝好價值NT$500的禮品，就可以現場隨機參與交換禮物哦！\n＊偷偷報你知！有機會換到設計師商品呦 <3 \nStill struggling with gift ideas for this Christmas?\nAt Pinkoi Design Fest\, we invite everyone to join the “Grand Gift Exchange”!\nBring a gift worth NT$500\, wrap it nicely\, and you’ll get the chance to exchange it for a random gift on-site!\nPsst… you might even get a designer item! <3 \n✦ 萬人交換禮物：超過百間設計師品牌和Pinkoi精選商品，讓你隨心所欲地交換！\n✦ 自帶BGM大型聖誕裝置：親臨聖誕節現場，與2024第一顆聖誕樹合影留念！\n✦ 32+聯名刺繡燙布貼全台獨家，海內外插畫品牌聯名，限量刺繡燙布貼專區，還有超可愛娃娃區等你來收集！\n✦ 身心療癒專區：人類圖、塔羅牌、更多療癒品牌持續揭曉中，讓你身心放鬆，重拾活力！\n✦ 微醺酒廠專區：大人系放鬆必備，清酒、梅酒、雞尾酒通通一手包辦 \n✦ Massive Gift Exchange: Over 100 designer brands and Pinkoi-selected products\, ready for you to exchange at will!\n✦ Custom Christmas BGM Installations: Step into a Christmas wonderland and take a photo with the first Christmas tree of 2024!\n✦ 32+ Exclusive Embroidery Patches: Unique collaborations with local and international illustration brands\, limited-edition patches\, and adorable plush toy sections!\n✦ Mind and Body Wellness Area: Featuring human design\, tarot reading and more wellness brands to help you relax and recharge!\n✦ Boozy Corner for Adults: Indulge in sake\, plum wine and cocktails for a complete unwind! \n＊禁止酒駕，酒後不開車 安全有保障，未滿18歲請勿飲酒 \n＊現場完成集點任務還能獲得超值設計好禮，消費越多，禮品越豐富！ \n*Note: Don’t drink and drive. Do not consume alcohol if under 18. \n*Plus\, complete the on-site stamp mission and earn amazing design gifts—the more you spend\, the better the rewards! \n#期待與你一起在聖誕樹下拉開緣分序幕！#尋找靈感，讓你的送禮充滿創意與心意！ \n🔗 活動詳請歡迎關注 Follow Pinkoi’s official IG for more event details Pinkoi IG 官方帳號 \n周邊大禮包＋雙人套票組（含全系列周邊） 原價 NT$1\,349   Pin友價 NT$880 \n閃閃惹人襪單人套票組  原價 NT$649 Pin友價 NT$399 \n聖誕奇緣針織袋單人套票組 原價 NT$999 Pin友價 NT$650 \n還可購買預售票與十人團體票！把握機會！ \nChristmas Gift Bag + Duo Ticket Set (Full Collection): Originally NT$1\,349 → Friend Price: NT$880 \nSparkling Socks Single Ticket Set: Originally NT$649 → Friend Price: NT$399 \nChristmas Fate Knit Bag Single Ticket Set: Originally NT$999 → Friend Price: NT$650 \nYou can also purchase presale and group tickets for 10 people! Don’t miss out! \n報名 To apply：https://www.accupass.com/eflow/ticket/2409300847091243293996?utm_campaign=accu_feature&utm_medium=home_north&utm_source=Web \n\n聖誕奇緣針織袋「圈圈圓圓，織出專屬的暖意連結」 Christmas Fate Knit Bag: “Loops and Circles\, Weaving a Warm Connection” \n每一針一線，都是你與Pinkoi間獨一無二的聯繫。具份量感的提把材質，讓每次拿起來都舒適安心，寬面設計不勒手配上柔軟細膩觸感；不論是上班日的午餐時刻、臨時出門的場合，聖誕奇緣針織袋妥妥地裝載著你的每日必需用品，陪伴你度過有笑有淚的每段日常，這個聖誕，把這段專屬於你的珍貴回憶，延續到未來的美好日常裡吧！ \nEvery stitch and thread represents the unique bond between you and Pinkoi. The sturdy handle gives you a comfortable grip\, while the wide and soft design ensures no pressure on your hands. Whether it’s lunch at work or a quick errand run\, the Christmas Fate Knit Bag can securely hold your daily essentials. Let this bag carry your precious memories from this Christmas into a beautiful future! \n \n閃閃惹人襪「聖誕時尚單品，讓流星雨如影隨形」 Sparkling Socks: “Shine Bright in Your Christmas Fashion” \n與來自社頭，已有十多年製襪經驗的ChangeTone千之棠攜手聯名，推出閃閃惹人襪！結合美感與舒適，還帶有浪漫設計的巧思。採用精細織法與親膚彈性材料，50顆星星在腳踝間閃爍，陪你高調地展現你的時尚品味。讓你成為聖誕夜裡最閃耀的焦點！ \nCollaborating with ChangeTone\, a sock brand with over 10 years of expertise\, we introduce the Sparkling Socks! Combining aesthetics with comfort\, these socks feature a romantic design with 50 tiny stars twinkling around your ankles. Made with fine weaving techniques and soft\, elastic materials\, they’ll ensure you shine as the fashion icon of the Christmas night! \n \n只響聽音樂NFC卡片「不會寫卡片沒關係！讓我為你唱情歌」 Just Hear the Music NFC Card: “Don’t worry about writing a card\, let me sing a love song for you!” \n想要送出獨一無二的祝福？讓「NFC卡片」化身你的心意代言人！只需輕輕一刷，即可將你的滿滿心意，以音樂的形式傳遞給對方，不用再為寫不出卡片內容而煩惱。簡單一秒，把你最認真的祝福送給最特別的人。 \nLooking for a unique way to send your well-wishes? The NFC Card lets you convey your heartfelt message through music! With a simple tap\, you can send your most sincere blessings in musical form\, no need to stress over what to write. In just one second\, deliver your best wishes to the most special person.
URL:https://events.mcu.edu.tw/event/2024-pinkoi-design-fest-in-taipei/
LOCATION:華山文創園區東二館\, 中正區八德路一段1號\, 台北市\, Taiwan
CATEGORIES:ACCUPASS,Pinkoi
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DTSTART;TZID=Asia/Taipei:20241115T190000
DTEND;TZID=Asia/Taipei:20241115T210000
DTSTAMP:20260418T083140
CREATED:20241113T033344Z
LAST-MODIFIED:20241113T033344Z
UID:10000666-1731697200-1731704400@events.mcu.edu.tw
SUMMARY:LSF #131 - 失聲祭編號第131演出 Lacking Sound Festival
DESCRIPTION:這場聲響演出匯聚了四位風格獨特的藝術家，結合各自的聲音實驗與哲學探索，帶來跨越時空的聽覺體驗。 \n來自加拿大旅居日本神戶的Tim Olive運用磁拾音器揭示金屬物體的內在聲音。 \nweiii的作品融入田野錄音與混合模組合成器系統，探索人與環境的互動。 \nUrban Fungus與Tile Shop Monologue的合作將捷克風的迷幻音樂與實驗性電子舞曲融為一體，帶來跨文化的聲音之旅。 \n四位藝術家透過即興與聲音設計，邀請聽眾進入聲音與思維交織的夢幻場域。 \nThis sound performance brings together four unique artists\, each blending their sound experiments with philosophical explorations for a transcendent auditory experience. Tim Olive\, originally from Canada and based in Kobe\, Japan\, reveals the internal sounds of metal objects using magnetic pickups. Weiii incorporates field recordings with a hybrid modular synthesizer system\, examining interactions between humans and the environment. Urban Fungus and Tile Shop Monologue collaborate to merge Czech-inspired psychedelic music with experimental electronic dance tracks\, offering a cross-cultural sound journey. \nThrough improvisation and sound design\, these four artists invite listeners into a dreamlike realm where sound and thought are intricately intertwined. \n演出時間 Date & Time｜2024.11.15（五 Friday）19:00 – 21:00（18:45入場 entry at 18:45）\n演出地點 Venue｜濕地 Venue B1\n地址 Address｜104台北市中山區林森北路107巷10號B1 B1\, No. 10\, Ln. 107\, Linsen N. Rd.\, Zhongshan Dist.\, Taipei City\n活動售票 Fee｜預售 Pre-sale NT$350 \nhttps://www.accupass.com/eflow/ticket/2411041706371142075130?utm_campaign=accu_banner&utm_medium=home_north&utm_source=Web \n演出藝術家 Artists｜ \nTim Olive (CA) \nweiii 張永薇 (TW) \nTile Shop Monologue (TW) & Urban Fungus (CZ) \n藝術家介紹 Artist Introductions｜ \nTim Olive\n使用磁拾音器和簡單的模擬技術來探索、激發和擴大金屬物體的內在聲音。他出生於加拿大，長期居住於日本神戶。他與Anne-F Jacques、Jason Kahn、Takahiro Kawaguchi、Katsura Mouri、Takuji Naka、Kayu Nakada、Jin Sangtae、Martin Tetreault、Yan Jun ……等人有廣泛的合作。他的唱片作品在亞洲、歐洲和北美的多家唱片公司發行，包括AAD、Bent Window、BISAD、Chocolate Monk、Coherent States、Dasa Tapes、EM Records、Falt、Grisaille、MRM、Molt Fluid、Notice Recordings、Pilgrim Talk、Spleen Coffin、Steep Gloss、Tsss Tapes、845 Audio等。 \nweiii\nweiii的創作旅程始於繪畫\,逐漸跨入聲音與模組合成器的世界\,透過創作實踐進行哲學上的探索。她專注於Hybrid模組合成器系統\,結合田野錄音來揭示聲音的生成過程\,並在東京和京都的演出中將這些元素融入即興表演。weiii的作品充滿對「連接 (Patching)」概念的深層思考\,無論是人與環境的互動還是數位與生物系統的交互\,她的作品探索了聲音與思維如何在即興中展開對話。 \nTile Shop Monologue\nTile Shop Monologue為A.C.I.D. LAB創辦人EJ So的一項實驗音樂計畫。以DAW-LESS / LIVE概念建構，透過FM引擎鼓機、序列機、合成器、卡帶播放機等類比設備，以現場演奏方式呈現電子舞曲。創作除了有類比器材復刻的80經典科幻音色之外，同時也融入環境音樂與傳統民俗樂器演奏，並飾以大量延遲、殘響堆疊的迷幻聲音設計、以及House、Breakbeat、Downtempo等舞曲節奏。他同時也將哲學、詩歌結合其現場演出，包含使用英國哲學家Alan Watts的獨白，將音樂作為媒介傳遞哲學信念。 \nUrban Fungus\n來自捷克的聲響藝術家、樂手Petr Danda，以擅長的迷幻曲風結合傳統希臘樂器Bouzouki，融合電子鼓與合成器聲響，形成充滿遠古神秘風味的電子音樂美學。 \nTim Olive\nTim Olive uses magnetic pickups and simple analog technology to investigate\, invoke and amplify the inner voices of metal objects. Born in Canada (Moose Jaw)\, long residing in Japan (Kobe)\, he has collaborated extensively with Anne-F Jacques\, Jason Kahn\, Takahiro Kawaguchi\, Katsura Mouri\, Takuji Naka\, Kayu Nakada\, Jin Sangtae\, Martin Tetreault\, Yan Jun and many others. His discography includes releases on Asian\, European and North American labels including AAD\, Bent Window\, BISAD\, Chocolate Monk\, Coherent States\, Dasa Tapes\, EM Records\, Falt\, Grisaille\, MRM\, Molt Fluid\, Notice Recordings\, Pilgrim Talk\, Spleen Coffin\, Steep Gloss\, Tsss Tapes\, 845 Audio and more. \nweiii\nweiii’s creative journey began with painting and gradually ventured into the realms of sound and modular synthesizers\, using her art as a means of philosophical exploration. She focuses on hybrid modular synthesizer systems\, incorporating field recordings to reveal the generative process of sound\, elements she integrates into her improvisational performances in Tokyo and Kyoto. weiii’s work is deeply rooted in the concept of “patching\,” whether it be the interaction between people and their environment or the interplay between digital and biological systems. Her art explores how sound and thought converse within improvisation. \nTile Shop Monologue\nA DAW-Less / Live setup music project led by EJ So\, the founder of A.C.I.D. LAB. Based on monophonic FM synthesis with sequencer\, drum machine\, cassette tape player and live instrument. Re-interpretation of the iconic synth sound from the 80’s music scene\, blending the elements of House\, Breakbeat\, Downtempo and other genres of contemporary electronic music. A modern approach explores experimental psychedelic sound design. He often mixes philosophical poems and quotes into his live performance. Including the English writer Alan Watts. Providing valuable insights and delivering a belief through the act of music. \nUrban Fungus\nPetr Danda is a sound artist and musician from the Czech Republic\, known for blending a psychedelic style with the traditional Greek instrument\, the bouzouki. He incorporates electronic drums and synthesizer sounds to create an electronic music aesthetic rich with an ancient and mysterious atmosphere.
URL:https://events.mcu.edu.tw/event/lsf-131-%e5%a4%b1%e8%81%b2%e7%a5%ad%e7%b7%a8%e8%99%9f%e7%ac%ac131%e6%bc%94%e5%87%ba-lacking-sound-festival/
LOCATION:濕地\, 中山區林森北路107巷10號\, 台北市\, Taiwan
CATEGORIES:ACCUPASS,失聲祭
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