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BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20250517T093000
DTEND;TZID=Asia/Taipei:20250607T173000
DTSTAMP:20260527T105325
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20250510T093000
DTEND;TZID=Asia/Taipei:20250607T173000
DTSTAMP:20260527T105325
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
ATTACH;FMTTYPE=image/jpeg:https://events.mcu.edu.tw/wp-content/uploads/2025/05/繁花夢露Banner-1810x768px.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20250503T093000
DTEND;TZID=Asia/Taipei:20250511T173000
DTSTAMP:20260527T105325
CREATED:20250502T064455Z
LAST-MODIFIED:20250502T064455Z
UID:10001064-1746264600-1746984600@events.mcu.edu.tw
SUMMARY:陳正雄90大展—一位抽象畫家與他的收藏 Chen Cheng-Hsiung at 90 An Abstract Painter and His Collection
DESCRIPTION:四季中的人間煙火 Finding Splendor in Every Season \n在《陳正雄畫語錄》中他曾說：「我的藝術是『召喚的』，而非『描繪的』。如同音樂，旨在激發內在情感，而非記錄自然的外貌或述說故事。它是內在經驗的一種強烈表徵，是視覺的『隱喻』，而非視覺的『敘述』。」 \n“The nature of my art is ‘evocative’ rather than ‘descriptive’. Like music\, it is meant to stimulate inner feeling rather than tell a story. It is intended as an intense expression of the inner experience—a visual metaphor\, not a visual narrative.” \n–Chen Cheng-Hsiung\, The Sayings of Chen Cheng-Hsiung on Art \n不僅是一位藝術家。陳正雄生涯中對藝術領域的貢獻絕非僅止於抽象繪畫，他是原住民與清朝服飾文物研究的學者藏家，同時也是抽象藝術理論撰寫的教育者，更是帶領臺灣藝術家們走向國際藝壇的重要推手。多重的身分讓陳正雄早早即開啟了當代在談論的「跨領域」，在藝術創作的理論與傳統收藏中，展現出他獨有的色彩跨界對話。 \n從1966年便開始收藏臺灣原住民服飾與文物的陳正雄，作品中奔放的飽和色調及抽象線條，似乎都能從其藏品來延伸出創作上的投射。1993年在參觀北京故宮博物院、瀋陽故宮博物院及大英博物館的過程中，他被宮廷服飾之美所震攝，也因而興起對清代宮廷服飾的購藏與研究。在梳理陳正雄與他的收藏中，最讓人驚艷的是他的抒情抽象繪畫與藏品間的高度連結，色系的對應就宛如當代設計中的色域思維，不僅建構出陳正雄作品中自帶的時尚感，更觸及了藝術家本人對於跨領域的成就與貢獻。 \n不僅如此，旅居巴黎的知名作家祖慰在為陳正雄撰寫傳記時即以《畫布上的歡樂頌》一書，來稱讚其所帶給觀者的喜悅，而筆觸中自然流露的音樂與流動性，讓陳正雄在創作的畫面中，皆染上四季的氛圍。於是，四時流轉，萬物生機交融於天地人間，無論市井喧囂亦或是內觀心性，總能適度展示出如春之新鬱、夏之嬌豔、秋之閑靜，或是冬之冷瑟的章節。 \n回到《陳正雄90大展－抽象畫家和他的收藏》展覽中，這次高美館以陳正雄的收藏帶出創作中所蘊含的「文化色彩」，我們不僅能從原民藏品中的海洋性，直接投射到陳正雄抽象繪畫中的「抒情海洋」，更能在他的《窗》與《數位空間》等系列作品中，看見書法與刺繡服飾間的線條呼應，他巧妙地以色彩突圍了東方元素，但卻在畫面中同時融合了西方抽象的精粹，就如同劉禹錫《董氏武砬集記》所提出的「境生子象外」一說：或許在我們體會「意境」的當下，感受到的正是陳正雄在創作上呈現出如史記的磅礡，但心領神會後，卻又能從其中看見被列傳所點綴出的璀璨時代。 \nChen Cheng-Hsiung has enriched Taiwan’s art world through an impressive range of contributions over the course of his career—from his abstract painting\, scholarly research on indigenous and Qing dynasty clothing and jewelry\, art education\, academic publications on abstract art\, to his promotion of Taiwan’s artists to the international stage. These diverse roles established Chen as an early voice in cross-disciplinary dialogue\, weaving together his theoretical work and traditional collecting practices in a distinctive approach to artistic creation. \nA pivotal moment in Chen’s artistic journey came in 1966 when he began collecting clothing and objects of the indigenous peoples of Taiwan\, drawing inspiration from their vibrant colors and abstract patterns for his own work. Years later\, in 1993\, he toured the Beijing Palace Museum\, Shenyang Palace Museum\, and British Museum and found himself similarly fascinated with the displayed imperial garments\, leading him to build and study a collection of Qing dynasty clothing. The depth of these influences can be seen in the striking connections between Chen’s lyrical abstract paintings and his collected objects\, particularly in his sophisticated use of color; his approach to color relationships echoes contemporary design principles\, lending his work a modern sensibility while reinforcing his contributions to cross-disciplinary artistic practice. \nChen’s biography was written by the renowned Paris-based artist Chang Tzu-wei\, who captured the essence of Chen’s work in the work’s title\, An Ode to Joy on Canvas. This celebration of the delight Chen’s art brings to viewers stems in part to the natural musicality and flow of Chen’s brushstrokes\, infusing his works with the essence of the four seasons. This essence conveys a sense of convergence across time and his works—whether amid urban clamor or introspective contemplation—speak to the unique atmospheres of each season: the emergent lushness of spring\, the charming brilliance of summer\, the tranquility of autumn and the somber chill of winter. \nIn this exhibition—Chen Cheng-Hsiung at 90:An Abstract Painter and His Collection—KMFA aims to illuminate the cultural dimensions of Chen’s artwork through his collected objects. For instance\, his collection of indigenous pieces reveals marine elements that find direct expression in his own abstract paintings of the lyrical ocean. Moreover\, the dialogue between East and West emerges clearly in his “Window” and “Digital Space” series\, where calligraphic lines resonate with embroidered patterns\, Chen’s bold use of color extending beyond the traditionally Eastern medium while also incorporating the essence of Western abstraction. This artistic fusion brings to mind Liu Yuxi’s meditation in Record of the Dong Clan’s Wula Collection\, where he notes that “the scene emerges beyond the work”. In this way\, Chen’s work first strikes viewers with its commanding presence\, but deeper contemplation reveals intricate details that delicately embellish his artistic vision.
URL:https://events.mcu.edu.tw/event/%e9%99%b3%e6%ad%a3%e9%9b%8490%e5%a4%a7%e5%b1%95-%e4%b8%80%e4%bd%8d%e6%8a%bd%e8%b1%a1%e7%95%ab%e5%ae%b6%e8%88%87%e4%bb%96%e7%9a%84%e6%94%b6%e8%97%8f-chen-cheng-hsiung-at-90-an-abstract-painter/
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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