中文語音導覽

英文語音導覽

2021
77 x 23 x 40 cm
萘、複合媒材 naphthalene, mixed media

作品介紹：
「世界變化萬千，卻永恆存在」這是宮永愛子創作的原點。

本次展出作品的〈訊息〉是萘製成的日用品主體，展覽期間作品本身會產生些微變化。
萘接觸空氣後於常溫中昇華，隨時間經過漸漸失去原本樣貌。乍看之下消失無形的萘卻在玻璃展示櫃中重新結晶，產生不同的美麗變化，優雅地改變樣貌。

〈等待覺醒—椅子〉將透明樹脂如地層般與氣泡堆疊一起，萘製成的椅子雕塑被密封其中。透明樹脂裡的氣孔延伸到雕塑，表面被簡易的密封。移開封口，萘會慢慢昇華，原本白色的雕塑逐漸轉成半透明，逐漸消逝中的雕刻更令人意識到它的存在。

〈層〉將漲潮的日期烙印在玻璃書上。潮起潮落、安靜無聲，自人類居住於這片土地以來，潮汐就一直具有一定的節奏。

宮永的作品時而影射消失，時而因時間更換形態，甚而連結無形的世界，透過不同形式的存在，感受到無常世界的永恆。

藝術家介紹：
2008 年東京藝術大學研究所美術研究科先端藝術表現專攻碩士課程畢業。宮永以萘製作各式日用品主體，使用鹽、葉脈、陶器碰撞的聲音製作裝置藝術著名，作品藉由心靈的痕跡將時光視覺化而倍受矚目。2013 年榮獲第一屆「日
產藝術獎」首獎、2020 年榮獲「藝術選獎文部科學大臣新人賞」。主要個展有「宮永愛子：漕法」，高松市美術館（香川、2019）、「圓缺之間」（みちかけの透き間），大原美術館有隣荘（岡山、2017）、「宮永愛子：Nakasora（なかそら）―空中空―」，國立國際美術館（大阪、2012）等。


Work Statement:
“The world continues to exist through constant changes” perhaps best describes the creative concept of Miyanaga.

For message, featured in this exhibition, Miyanaga shapes naphthalene into a daily object, which will gradually change over time during the exhibition period. Once exposed to air, naphthalene will sublime at room temperature, and slowly loses its original shape with the passing of time. Naphthalene that seems to have disappeared at first glance re-crystalizes beautifully in the glass case, changing its shape.

For waiting for awakening - chair, Miyanaga layers transparent resin up like strata, and seals a chair inside, made from naphthalene. The transparent resin with air bubbles that connects to the chair, with just a simple seal on the surface. Once someone removes the seal, the chair starts to slowly sublime, and the white sculpture gradually turns translucent. The non-existent sculpture perhaps can better make people aware of the meaning of existence.

For Strata, Miyanaga prints the dates of spring tide on a book made of glass. The tides rise and fall quietly through eternity; since ancient times when men first started living on this land, the tides have continuously set a steady tempo.

Miyanaga’s works imply non-existence, displaying the constant changes of time and shapes. Through her works, perhaps we can connect with those invisible places, and perceive eternity in this world that always exists and constantly changes shape.


Biography:
Born 1974 in Kyoto, Japan, where she is currently based.

Graduated from Graduate School of Fine Arts, Tokyo University of the Arts in 2008.
Miyanaga is known for her installation using materials such as salt, leaf veins, cracking sound of glaze and especially objects made with naphthalene into the shape of daily commodities. She visualizes time by tracing signs of it's presence. She received the Grand Prize at Nissan Art Award (2013), and the new face award of Minister of Education Award for Fine Arts (2020).

Her recent solo exhibitions include "Rowing Style" (Takamatsu Art Museum, Kagawa,
2019), "between waxing and waning" (Ohara Museum of Art Yurinso, Okayama, 2017) and "MIYANAGA Aiko: NAKASORA-the reason for eternity-" (The National Museum of Art, Osaka, 2012).

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

訊息 message

2017
64 x 62.5 x 113 cm
萘、樹脂、複合媒材 naphthalene, resin, mixed media

作品介紹：
「世界變化萬千，卻永恆存在」這是宮永愛子創作的原點。

本次展出作品的〈訊息〉是萘製成的日用品主體，展覽期間作品本身會產生些微變化。
萘接觸空氣後於常溫中昇華，隨時間經過漸漸失去原本樣貌。乍看之下消失無形的萘卻在玻璃展示櫃中重新結晶，產生不同的美麗變化，優雅地改變樣貌。

〈等待覺醒—椅子〉將透明樹脂如地層般與氣泡堆疊一起，萘製成的椅子雕塑被密封其中。透明樹脂裡的氣孔延伸到雕塑，表面被簡易的密封。移開封口，萘會慢慢昇華，原本白色的雕塑逐漸轉成半透明，逐漸消逝中的雕刻更令人意識到它的存在。

〈層〉將漲潮的日期烙印在玻璃書上。潮起潮落、安靜無聲，自人類居住於這片土地以來，潮汐就一直具有一定的節奏。

宮永的作品時而影射消失，時而因時間更換形態，甚而連結無形的世界，透過不同形式的存在，感受到無常世界的永恆。

藝術家介紹：
2008 年東京藝術大學研究所美術研究科先端藝術表現專攻碩士課程畢業。宮永以萘製作各式日用品主體，使用鹽、葉脈、陶器碰撞的聲音製作裝置藝術著名，作品藉由心靈的痕跡將時光視覺化而倍受矚目。2013 年榮獲第一屆「日
產藝術獎」首獎、2020 年榮獲「藝術選獎文部科學大臣新人賞」。主要個展有「宮永愛子：漕法」，高松市美術館（香川、2019）、「圓缺之間」（みちかけの透き間），大原美術館有隣荘（岡山、2017）、「宮永愛子：Nakasora（なかそら）―空中空―」，國立國際美術館（大阪、2012）等。


Work Statement:
“The world continues to exist through constant changes” perhaps best describes the creative concept of Miyanaga.

For message, featured in this exhibition, Miyanaga shapes naphthalene into a daily object, which will gradually change over time during the exhibition period. Once exposed to air, naphthalene will sublime at room temperature, and slowly loses its original shape with the passing of time. Naphthalene that seems to have disappeared at first glance re-crystalizes beautifully in the glass case, changing its shape.

For waiting for awakening - chair, Miyanaga layers transparent resin up like strata, and seals a chair inside, made from naphthalene. The transparent resin with air bubbles that connects to the chair, with just a simple seal on the surface. Once someone removes the seal, the chair starts to slowly sublime, and the white sculpture gradually turns translucent. The non-existent sculpture perhaps can better make people aware of the meaning of existence.

For Strata, Miyanaga prints the dates of spring tide on a book made of glass. The tides rise and fall quietly through eternity; since ancient times when men first started living on this land, the tides have continuously set a steady tempo.

Miyanaga’s works imply non-existence, displaying the constant changes of time and shapes. Through her works, perhaps we can connect with those invisible places, and perceive eternity in this world that always exists and constantly changes shape.


Biography:
Born 1974 in Kyoto, Japan, where she is currently based.

Graduated from Graduate School of Fine Arts, Tokyo University of the Arts in 2008.
Miyanaga is known for her installation using materials such as salt, leaf veins, cracking sound of glaze and especially objects made with naphthalene into the shape of daily commodities. She visualizes time by tracing signs of it's presence. She received the Grand Prize at Nissan Art Award (2013), and the new face award of Minister of Education Award for Fine Arts (2020).

Her recent solo exhibitions include "Rowing Style" (Takamatsu Art Museum, Kagawa,
2019), "between waxing and waning" (Ohara Museum of Art Yurinso, Okayama, 2017) and "MIYANAGA Aiko: NAKASORA-the reason for eternity-" (The National Museum of Art, Osaka, 2012).

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

等待覺醒 -  椅子 waiting for awakening - chair

2018-19
23 x 16.5 x 4 cm each
玻璃、大潮曆書(2009-14)、複合媒材 glass, spring tide almanac (2009-14), mixed media

作品介紹：
「世界變化萬千，卻永恆存在」這是宮永愛子創作的原點。

本次展出作品的〈訊息〉是萘製成的日用品主體，展覽期間作品本身會產生些微變化。
萘接觸空氣後於常溫中昇華，隨時間經過漸漸失去原本樣貌。乍看之下消失無形的萘卻在玻璃展示櫃中重新結晶，產生不同的美麗變化，優雅地改變樣貌。

〈等待覺醒—椅子〉將透明樹脂如地層般與氣泡堆疊一起，萘製成的椅子雕塑被密封其中。透明樹脂裡的氣孔延伸到雕塑，表面被簡易的密封。移開封口，萘會慢慢昇華，原本白色的雕塑逐漸轉成半透明，逐漸消逝中的雕刻更令人意識到它的存在。

〈層〉將漲潮的日期烙印在玻璃書上。潮起潮落、安靜無聲，自人類居住於這片土地以來，潮汐就一直具有一定的節奏。

宮永的作品時而影射消失，時而因時間更換形態，甚而連結無形的世界，透過不同形式的存在，感受到無常世界的永恆。

藝術家介紹：
2008 年東京藝術大學研究所美術研究科先端藝術表現專攻碩士課程畢業。宮永以萘製作各式日用品主體，使用鹽、葉脈、陶器碰撞的聲音製作裝置藝術著名，作品藉由心靈的痕跡將時光視覺化而倍受矚目。2013 年榮獲第一屆「日
產藝術獎」首獎、2020 年榮獲「藝術選獎文部科學大臣新人賞」。主要個展有「宮永愛子：漕法」，高松市美術館（香川、2019）、「圓缺之間」（みちかけの透き間），大原美術館有隣荘（岡山、2017）、「宮永愛子：Nakasora（なかそら）―空中空―」，國立國際美術館（大阪、2012）等。


Work Statement:
“The world continues to exist through constant changes” perhaps best describes the creative concept of Miyanaga.

For message, featured in this exhibition, Miyanaga shapes naphthalene into a daily object, which will gradually change over time during the exhibition period. Once exposed to air, naphthalene will sublime at room temperature, and slowly loses its original shape with the passing of time. Naphthalene that seems to have disappeared at first glance re-crystalizes beautifully in the glass case, changing its shape.

For waiting for awakening - chair, Miyanaga layers transparent resin up like strata, and seals a chair inside, made from naphthalene. The transparent resin with air bubbles that connects to the chair, with just a simple seal on the surface. Once someone removes the seal, the chair starts to slowly sublime, and the white sculpture gradually turns translucent. The non-existent sculpture perhaps can better make people aware of the meaning of existence.

For Strata, Miyanaga prints the dates of spring tide on a book made of glass. The tides rise and fall quietly through eternity; since ancient times when men first started living on this land, the tides have continuously set a steady tempo.

Miyanaga’s works imply non-existence, displaying the constant changes of time and shapes. Through her works, perhaps we can connect with those invisible places, and perceive eternity in this world that always exists and constantly changes shape.


Biography:
Born 1974 in Kyoto, Japan, where she is currently based.

Graduated from Graduate School of Fine Arts, Tokyo University of the Arts in 2008.
Miyanaga is known for her installation using materials such as salt, leaf veins, cracking sound of glaze and especially objects made with naphthalene into the shape of daily commodities. She visualizes time by tracing signs of it's presence. She received the Grand Prize at Nissan Art Award (2013), and the new face award of Minister of Education Award for Fine Arts (2020).

Her recent solo exhibitions include "Rowing Style" (Takamatsu Art Museum, Kagawa,
2019), "between waxing and waning" (Ohara Museum of Art Yurinso, Okayama, 2017) and "MIYANAGA Aiko: NAKASORA-the reason for eternity-" (The National Museum of Art, Osaka, 2012).

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

層 Strata

2019
尺寸視場地而定 dimensions variable
冷陰極燈管、植物、電子裝置、油漆顏色（中國風情）cold-cathode fluorescent lamp, plant,
electronic device, painting color (Chinese Sensation)

作品介紹：
《感染系列》概念來自疾病在家人、朋友身上相繼發生，那些不正常的細胞和外來的病菌在體內大量的增生和流竄，隨著時間增加，也漸漸的佈滿，面對這般無法控制的勢力形成，也只能任由它們佔領。這些微生物迅速的擴張，大量的攻城掠地，從一變成二，再分裂成四、十六⋯⋯，以等比級數的方式複製繁衍；對於生物來說，這或許是延續生存的一種原始方式，但對於被寄生感染的生命體來說，卻也是逐漸走向死亡。

人類面對疾病如地球之於人類、環境之於科技，或是如兩異大小、強勢弱勢文化，彼此互相侵略以強迫獲取的方式，只是為了延續發展。作品《感染系列：共棲》藉由人造燈管與植物時間的生長變化，在兩異材質的關係之間呈現美麗又殘忍的曖昧關係。

藝術家介紹：
1986 年生於臺灣臺中，目前居住於臺北。

畢業於臺北藝術大學新媒體藝術研究所和交通大學建築所。有著藝術與建築背景的莊志維，擅長運用光和空間創造互動裝置，探討人與環境之間的相互關係，至今於創作歷程中仍不斷追尋跨領域間的揉合，呈現理性與感性並存的藝術美學。2014 年獲選至東京Tokyo Wonder Site 創作駐村，2019-2020年臺中國家歌劇院駐館藝術家。受邀參加東亞當代藝術展( 釜山市立美術館)、台灣美術雙年展、韓國平昌雙年展、東京六本木之夜。

Work Statement:
Infection Series owes its inspiration to the illnesses afflicting the artist’s family and friends. Those abnormal cells and pathogenic bacteria proliferate and go into every corner of the human body over the course of time. Confronting such an uncontrolled expansion, we can do nothing but let them occupy our bodies. These micro-organisms increase rapidly and reproduce in geometrical progression, as if they were taking cities and seizing territories. This is probably a primitive survival strategy for microorganisms, yet it portends the demise of their hosts.

Biography:
Born 1986 in Taichung, Taiwan and currently based in Taipei.

Chih-Wei Chuang earned his master’s degrees from the Department of New Media Art, Taipei National University of the Arts and the Graduate Institute of Architecture, National Chiao Tung University. As an artist with a background in architecture, Chuang excels in utilizing light and space to create interactive installations that delve into the interrelationship between humanity and the environment. He has been pursuing a perfect fusion of different disciplines, in which his artistic aesthetics that reconciles sense and sensibility finds expression. He worked as an artist-in-residence at the Tokyo Wonder Site in 2014 and at the National Taichung Theater from 2019-2020. He has also been invited to present his works at “Botanica: East Asian Contemporary Art Exhibition” (Busan Museum of Art), “Taiwan Biennial”, “Pyeongchang Biennale” (South Korea), and “Roppongi Art Night” (Tokyo).

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

感染系列：共棲 Infection Series: Commensalism

2014
80.6 x 172.7 cm (含框 Framed)
達蓋爾攝影（銀鹽寫真） daguerreotype

作品介紹：
新井使用的是最早期的攝影技法－銀版攝影法，追逐輻射污染相關的歷史性遺跡。

1954 年3 月1 日，美國於太平洋馬紹爾群島附近海域進行水底試爆（城堡行動），日本木造遠洋鮪魚漁船第五福龍丸遭受波及，新井與第五福龍丸船體及船員相遇成為了新井拍攝這系列攝影作品的契機。

「從歷史遺跡中，若只是斷然地聯想到『和平』、『反戰』等抽象意味，我們會遺漏許多連結記憶與情感的細節。所以，當我們不了解核爆、不了解第五福龍丸號，我們不得不駐足其表面，細細傾聽歷史遺跡的表面所編織出的『你』與『我』的新故事。如此一來，
我們每個人都能經由內心深處所湧現的情感及實際感受，找出微薄的與他人共享記憶的可能，即使心痛難耐」新井如此敘述。

此次展出的作品皆選自《在百個太陽中燃燒》，此系列描繪了日本兩個不同時代的廣島原子彈爆炸圓頂屋與福島第一核能電廠。

藝術家介紹：
1978 年出生於日本神奈川縣並居住於神奈川。

新井卓使用了銀版攝影法－是早期攝影沖洗技術的一種。他將被輻射污染的第五福龍丸的打撈船體、與船員的相遇製作成核災歷史紀錄，此也促使他拍攝福島、廣島、長崎這三個相互關聯的主題。主要系列包含年輕人肖像及訪談企劃的 《明日歷史》、福島第一核能電廠事故後記錄相雙地區（北相馬、南雙葉）的 〈Here and There - 明日之島〉、圍繞著核子時代記憶與紀念物的 《在百個太陽中燃燒／ EXPOSEDIN A HUNDRED SUNS》 等。近年來拍攝電影、寫作、演講等活動相當多元。

主要參與的展覽有橫濱三年展2020（橫濱美術館、2020 年）、「Imago」（PGI、2019 年）、「Bright wasthe Morning - 某個明亮的清晨」（橫濱市民畫廊あざみ野、2017 年）。

Work Statement:
Arai uses the earliest photographic technique, “daguerreotype,” to continually follow up on historical monuments related to radioactive contamination.

It all started when Arai encountered surviving crew members, and the salvaged hull, of Daigo Fukuryūmaru, a wooden tuna fishing boat that was contaminated by the fallout from the U.S. H-bomb test (Castle Bravo) test on March 1, 1954, near the Marshall Islands in the Pacific.

“If we simplify monuments into abstract meanings, such as ‘peace’ or‘antiwar’, many nuances related to our memory and emotion would be overlooked,” said Arai. “Therefore, we, who do not have the experience of an atomic bombing or Daigo Fukuryumaru Incident, ought to linger on the surface of things…Listen to the new stories of yours and mine that are woven from the sur face of monuments. Through new emotions and sense of reality that arise individually within each of us, we will finally discover a narrow pathway to share memories of others.”

The works featured in this exhibition are selected from the series of EXPOSED IN A HUNDRED SUNS, depicting the Atomic Bomb Dome in Hiroshima and Fukushima Daiichi
Nuclear Power Plant that represent two different eras in Japan.

Biography:
Born 1978 in Kanagawa, Japan, where he is currently based.

Takashi Arai uses daguerreotypes, one of the ﬁrst photographic processes. He had produced documents tracing nuclear history from his encounters with surviving crew members and the salvaged hull of the falloutcontaminated Daigo Fukuryūmaru fishing boat; this led him to photograph the deeply interconnected subjects of Fukushima, Hiroshima, and Nagasaki. His major projects include Tomorrow's History, based on portraits and interviews with young people; Here and There –Tomorrow's Island, which documents the Soso region after the Fukushima Daiichi nuclear power plant accident; and Exposed in a Hundred Suns, a tour of Atomic Age memories and monuments. In recent years, he has been involved in a wide range of activities, including filmmaking, writing, and lecturing.

He has participated the exhibitions include “Yokohama Triennale 2020” (Yokohama Museum of Art, 2020), “Imago” (PGI, 2019), and “Bright was the Morning” Yokohama Civic Gallery Azamino, 2017).

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

多重廣島和平紀念碑（原爆圓頂館）小模型；《在百個太陽中燃燒》系列 A Maquette for a Multiple Monument for the Hiroshima Peace Memorial (Genbaku Dome). From the series of EXPOSED IN A HUNDRED SUNS

2014
67 x 280 cm (含框 Framed)
達蓋爾攝影（銀鹽寫真） daguerreotype

作品介紹：
新井使用的是最早期的攝影技法－銀版攝影法，追逐輻射污染相關的歷史性遺跡。

1954 年3 月1 日，美國於太平洋馬紹爾群島附近海域進行水底試爆（城堡行動），日本木造遠洋鮪魚漁船第五福龍丸遭受波及，新井與第五福龍丸船體及船員相遇成為了新井拍攝這系列攝影作品的契機。

「從歷史遺跡中，若只是斷然地聯想到『和平』、『反戰』等抽象意味，我們會遺漏許多連結記憶與情感的細節。所以，當我們不了解核爆、不了解第五福龍丸號，我們不得不駐足其表面，細細傾聽歷史遺跡的表面所編織出的『你』與『我』的新故事。如此一來，
我們每個人都能經由內心深處所湧現的情感及實際感受，找出微薄的與他人共享記憶的可能，即使心痛難耐」新井如此敘述。

此次展出的作品皆選自《在百個太陽中燃燒》，此系列描繪了日本兩個不同時代的廣島原子彈爆炸圓頂屋與福島第一核能電廠。

藝術家介紹：
1978 年出生於日本神奈川縣並居住於神奈川。

新井卓使用了銀版攝影法－是早期攝影沖洗技術的一種。他將被輻射污染的第五福龍丸的打撈船體、與船員的相遇製作成核災歷史紀錄，此也促使他拍攝福島、廣島、長崎這三個相互關聯的主題。主要系列包含年輕人肖像及訪談企劃的 《明日歷史》、福島第一核能電廠事故後記錄相雙地區（北相馬、南雙葉）的 〈Here and There - 明日之島〉、圍繞著核子時代記憶與紀念物的 《在百個太陽中燃燒／ EXPOSEDIN A HUNDRED SUNS》 等。近年來拍攝電影、寫作、演講等活動相當多元。

主要參與的展覽有橫濱三年展2020（橫濱美術館、2020 年）、「Imago」（PGI、2019 年）、「Bright wasthe Morning - 某個明亮的清晨」（橫濱市民畫廊あざみ野、2017 年）。

Work Statement:
Arai uses the earliest photographic technique, “daguerreotype,” to continually follow up on historical monuments related to radioactive contamination.

It all started when Arai encountered surviving crew members, and the salvaged hull, of Daigo Fukuryūmaru, a wooden tuna fishing boat that was contaminated by the fallout from the U.S. H-bomb test (Castle Bravo) test on March 1, 1954, near the Marshall Islands in the Pacific.

“If we simplify monuments into abstract meanings, such as ‘peace’ or‘antiwar’, many nuances related to our memory and emotion would be overlooked,” said Arai. “Therefore, we, who do not have the experience of an atomic bombing or Daigo Fukuryumaru Incident, ought to linger on the surface of things…Listen to the new stories of yours and mine that are woven from the sur face of monuments. Through new emotions and sense of reality that arise individually within each of us, we will finally discover a narrow pathway to share memories of others.”

The works featured in this exhibition are selected from the series of EXPOSED IN A HUNDRED SUNS, depicting the Atomic Bomb Dome in Hiroshima and Fukushima Daiichi
Nuclear Power Plant that represent two different eras in Japan.

Biography:
Born 1978 in Kanagawa, Japan, where he is currently based.

Takashi Arai uses daguerreotypes, one of the ﬁrst photographic processes. He had produced documents tracing nuclear history from his encounters with surviving crew members and the salvaged hull of the falloutcontaminated Daigo Fukuryūmaru fishing boat; this led him to photograph the deeply interconnected subjects of Fukushima, Hiroshima, and Nagasaki. His major projects include Tomorrow's History, based on portraits and interviews with young people; Here and There –Tomorrow's Island, which documents the Soso region after the Fukushima Daiichi nuclear power plant accident; and Exposed in a Hundred Suns, a tour of Atomic Age memories and monuments. In recent years, he has been involved in a wide range of activities, including filmmaking, writing, and lecturing.

He has participated the exhibitions include “Yokohama Triennale 2020” (Yokohama Museum of Art, 2020), “Imago” (PGI, 2019), and “Bright was the Morning” Yokohama Civic Gallery Azamino, 2017).

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

多重福島第一核電廠紀念碑小模型 A Maquette for a Multiple Monument for Fukushima Daiichi Nuclear Power Plant

2015
60 x 48 cm
噴墨輸出、鋁板裱褙 ink print on paper, aluminum panel

作品介紹：
本展展出作品是《自然史》，這是拍攝受大自然影響產生變化的系列作品，由此系列中挑選日本東北太平洋沿岸及福島歸還困難區的攝影作品。

《自然史》的構思與攝影始於2010 年秋天，捕捉的是我們所認知「大自然」的一切，不過是人為的影響滲透之下，逐漸改變後形成的樣貌。然而在2011 年東日本大震災後突顯出的問題是：何謂 「自然」，但此問題已超越我們的理解範圍。這絕非以超然的角度來看待自然，因為我們所處的現狀，是在這所謂近代的時代中面對不斷重演的歷史，這暗示著全球正朝向一個均質性的瓦解狀態邁進。作品的年表是按照時序排列事件，並可窺見東北地區不斷上演的歷史與福島核能第一發電廠在短短幾天內我們熟悉的日常瞬間驟變。

「同時，我們不能忘記的是，此處是我們之所在。我們佇足停留且在此營生，這是我
們對抗造成此事態萬禍根源的據點，也是希望的憑依」。露口如此敘述。

藝術家介紹：
1950 年出生於日本德島縣，居住於日本香川縣。

1990 年代末期開始聚焦於場所與歷史的攝影作品。《地名》系列網羅了北海道以愛奴語命名之地，於2002 年的個展「地名」（LIGHT WORKS、橫濱）、「現代日本攝影Black Out( 現代日本の写真Black Out)」展（2002 年、巴黎／羅馬／東京），以及「無派別激進分子ー當代攝影（Non-sect radical ー現代の写真ー）」（2004 年、橫濱美術館）中發表。2011 年開始拍攝受大自然影響產生變化的作品ー《自然史》。

近年參展：2014 年「札幌國際藝術祭」（札幌市）、2018 年「搖晃至今」展（今も揺れている，橫濱市民Gallary あざみ野・橫濱市）、2020 年「道草展」（水戸藝術館現代Art Gallary・水戸市）。

Work Statement:
The works featured in this exhibition show the long Pacific coast in the Tohoku region and Difficult-to-Return Zone of the Fukushima Nuclear Power Plant accident, selected from the series of Natural History, which depicts places that have changed under the influences of nature.

The conceptualization and execution of Natural History began in fall 2010. At first, the original purpose was to photograph and present sceneries we were used to call “nature,” which had really been exposed to and altered by human forces. However, the Great East Japan Earthquake in 2011 further highlighted the question of “what exactly is nature” that was already beyond our comprehension. Nature is not an existence of transcendence, and what we are facing is historical phenomena constantly repeating themselves in this “modern” age; this
also implies that the world is headed towards a homogenous collapse. The related “timelines” of the works list events in chronological order, through which we can see the repeated history of the Tohoku region, as well as the phenomenon of daily life changing drastically within a few days after the accident of Fukushima Daiichi Nuclear Power Plant.

“At the same time, we cannot forget that this is undoubtedly our place,” said Tsuyuguchi. “Staying behind to live here symbolizes that this is a stronghold, which launches resistance against the reasons that have caused our current situation; also, it is the base of our hope.”

Biography:
Born in 1950 in Tokushima, Japan and currently based in Kagawa, Japan.

In the late 1990s, Tsuyuguchi began to create photographic works that focused on
places and history. He has published works of the Place Names series, which depicts
the birthplace of the Ainu language in Hokkaido, in solo exhibition “Place Names” (Light Works, Yokohama) in 2002, “Black Out: Contemporary Japanese Photography” (Paris/ Rome/ Tokyo) in 2002, and “Non-Sect Radical – Contemporary Photography” (Yokohama Museum of Art) in 2004. In 2011, Tsuyuguchi began to create the Natural History series, photographing places that have changed under the influences of nature.

More recent exhibitions include the “Sapporo International Art Festival” (Sapporo)
in 2014, “ Uncertain Landscape” (Azamino Contemporary, Yokohama) in 2018, and“ Michikusa: Walks with the Unknown” (Art Center Mito Contemporary Art Gallery, Mito ) in 2020.

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

波路上 Hajikami

2016
60 x 48 cm
噴墨輸出、鋁板裱褙 ink print on paper, aluminum panel

作品介紹：
本展展出作品是《自然史》，這是拍攝受大自然影響產生變化的系列作品，由此系列中挑選日本東北太平洋沿岸及福島歸還困難區的攝影作品。

《自然史》的構思與攝影始於2010 年秋天，捕捉的是我們所認知「大自然」的一切，不過是人為的影響滲透之下，逐漸改變後形成的樣貌。然而在2011 年東日本大震災後突顯出的問題是：何謂 「自然」，但此問題已超越我們的理解範圍。這絕非以超然的角度來看待自然，因為我們所處的現狀，是在這所謂近代的時代中面對不斷重演的歷史，這暗示著全球正朝向一個均質性的瓦解狀態邁進。作品的年表是按照時序排列事件，並可窺見東北地區不斷上演的歷史與福島核能第一發電廠在短短幾天內我們熟悉的日常瞬間驟變。

「同時，我們不能忘記的是，此處是我們之所在。我們佇足停留且在此營生，這是我
們對抗造成此事態萬禍根源的據點，也是希望的憑依」。露口如此敘述。

藝術家介紹：
1950 年出生於日本德島縣，居住於日本香川縣。

1990 年代末期開始聚焦於場所與歷史的攝影作品。《地名》系列網羅了北海道以愛奴語命名之地，於2002 年的個展「地名」（LIGHT WORKS、橫濱）、「現代日本攝影Black Out( 現代日本の写真Black Out)」展（2002 年、巴黎／羅馬／東京），以及「無派別激進分子ー當代攝影（Non-sect radical ー現代の写真ー）」（2004 年、橫濱美術館）中發表。2011 年開始拍攝受大自然影響產生變化的作品ー《自然史》。

近年參展：2014 年「札幌國際藝術祭」（札幌市）、2018 年「搖晃至今」展（今も揺れている，橫濱市民Gallary あざみ野・橫濱市）、2020 年「道草展」（水戸藝術館現代Art Gallary・水戸市）。

Work Statement:
The works featured in this exhibition show the long Pacific coast in the Tohoku region and Difficult-to-Return Zone of the Fukushima Nuclear Power Plant accident, selected from the series of Natural History, which depicts places that have changed under the influences of nature.

The conceptualization and execution of Natural History began in fall 2010. At first, the original purpose was to photograph and present sceneries we were used to call “nature,” which had really been exposed to and altered by human forces. However, the Great East Japan Earthquake in 2011 further highlighted the question of “what exactly is nature” that was already beyond our comprehension. Nature is not an existence of transcendence, and what we are facing is historical phenomena constantly repeating themselves in this “modern” age; this
also implies that the world is headed towards a homogenous collapse. The related “timelines” of the works list events in chronological order, through which we can see the repeated history of the Tohoku region, as well as the phenomenon of daily life changing drastically within a few days after the accident of Fukushima Daiichi Nuclear Power Plant.

“At the same time, we cannot forget that this is undoubtedly our place,” said Tsuyuguchi. “Staying behind to live here symbolizes that this is a stronghold, which launches resistance against the reasons that have caused our current situation; also, it is the base of our hope.”

Biography:
Born in 1950 in Tokushima, Japan and currently based in Kagawa, Japan.

In the late 1990s, Tsuyuguchi began to create photographic works that focused on
places and history. He has published works of the Place Names series, which depicts
the birthplace of the Ainu language in Hokkaido, in solo exhibition “Place Names” (Light Works, Yokohama) in 2002, “Black Out: Contemporary Japanese Photography” (Paris/ Rome/ Tokyo) in 2002, and “Non-Sect Radical – Contemporary Photography” (Yokohama Museum of Art) in 2004. In 2011, Tsuyuguchi began to create the Natural History series, photographing places that have changed under the influences of nature.

More recent exhibitions include the “Sapporo International Art Festival” (Sapporo)
in 2014, “ Uncertain Landscape” (Azamino Contemporary, Yokohama) in 2018, and“ Michikusa: Walks with the Unknown” (Art Center Mito Contemporary Art Gallery, Mito ) in 2020.

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

浪板 Namiita

水上 Minakami

古川沼 Furukawanuma

下江井 Shimoenei

北緯 37°31’ 45.24” 東經 140°52’ 24.10” N 37°31’ 45.24” E 140°52’ 24.10”

北緯 37°33’ 42.07” 東經 140°47’ 24.94” N 37°33’ 42.07” E 140°47’ 24.94”

2014
60 x 48 cm
噴墨輸出、鋁板裱褙 ink print on paper, aluminum panel

作品介紹：
本展展出作品是《自然史》，這是拍攝受大自然影響產生變化的系列作品，由此系列中挑選日本東北太平洋沿岸及福島歸還困難區的攝影作品。

《自然史》的構思與攝影始於2010 年秋天，捕捉的是我們所認知「大自然」的一切，不過是人為的影響滲透之下，逐漸改變後形成的樣貌。然而在2011 年東日本大震災後突顯出的問題是：何謂 「自然」，但此問題已超越我們的理解範圍。這絕非以超然的角度來看待自然，因為我們所處的現狀，是在這所謂近代的時代中面對不斷重演的歷史，這暗示著全球正朝向一個均質性的瓦解狀態邁進。作品的年表是按照時序排列事件，並可窺見東北地區不斷上演的歷史與福島核能第一發電廠在短短幾天內我們熟悉的日常瞬間驟變。

「同時，我們不能忘記的是，此處是我們之所在。我們佇足停留且在此營生，這是我
們對抗造成此事態萬禍根源的據點，也是希望的憑依」。露口如此敘述。

藝術家介紹：
1950 年出生於日本德島縣，居住於日本香川縣。

1990 年代末期開始聚焦於場所與歷史的攝影作品。《地名》系列網羅了北海道以愛奴語命名之地，於2002 年的個展「地名」（LIGHT WORKS、橫濱）、「現代日本攝影Black Out( 現代日本の写真Black Out)」展（2002 年、巴黎／羅馬／東京），以及「無派別激進分子ー當代攝影（Non-sect radical ー現代の写真ー）」（2004 年、橫濱美術館）中發表。2011 年開始拍攝受大自然影響產生變化的作品ー《自然史》。

近年參展：2014 年「札幌國際藝術祭」（札幌市）、2018 年「搖晃至今」展（今も揺れている，橫濱市民Gallary あざみ野・橫濱市）、2020 年「道草展」（水戸藝術館現代Art Gallary・水戸市）。

Work Statement:
The works featured in this exhibition show the long Pacific coast in the Tohoku region and Difficult-to-Return Zone of the Fukushima Nuclear Power Plant accident, selected from the series of Natural History, which depicts places that have changed under the influences of nature.

The conceptualization and execution of Natural History began in fall 2010. At first, the original purpose was to photograph and present sceneries we were used to call “nature,” which had really been exposed to and altered by human forces. However, the Great East Japan Earthquake in 2011 further highlighted the question of “what exactly is nature” that was already beyond our comprehension. Nature is not an existence of transcendence, and what we are facing is historical phenomena constantly repeating themselves in this “modern” age; this
also implies that the world is headed towards a homogenous collapse. The related “timelines” of the works list events in chronological order, through which we can see the repeated history of the Tohoku region, as well as the phenomenon of daily life changing drastically within a few days after the accident of Fukushima Daiichi Nuclear Power Plant.

“At the same time, we cannot forget that this is undoubtedly our place,” said Tsuyuguchi. “Staying behind to live here symbolizes that this is a stronghold, which launches resistance against the reasons that have caused our current situation; also, it is the base of our hope.”

Biography:
Born in 1950 in Tokushima, Japan and currently based in Kagawa, Japan.

In the late 1990s, Tsuyuguchi began to create photographic works that focused on
places and history. He has published works of the Place Names series, which depicts
the birthplace of the Ainu language in Hokkaido, in solo exhibition “Place Names” (Light Works, Yokohama) in 2002, “Black Out: Contemporary Japanese Photography” (Paris/ Rome/ Tokyo) in 2002, and “Non-Sect Radical – Contemporary Photography” (Yokohama Museum of Art) in 2004. In 2011, Tsuyuguchi began to create the Natural History series, photographing places that have changed under the influences of nature.

More recent exhibitions include the “Sapporo International Art Festival” (Sapporo)
in 2014, “ Uncertain Landscape” (Azamino Contemporary, Yokohama) in 2018, and“ Michikusa: Walks with the Unknown” (Art Center Mito Contemporary Art Gallery, Mito ) in 2020.

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

北緯 37°21’ 26.99” 東經 140°59’ 52.62” N 37°21’ 26.99” E 140°59’ 52.62”

北緯 37°27’ 02.19” 東經 141°00’ 23.87” N 37°27’ 02.19” E 141°00’ 23.87”

北緯 37°28’ 46.31” 東經 140°59’ 15.70” N 37°28’ 46.31” E 140°59’ 15.70”

2016-17
1 min 58 sec
高解析錄像 HD video

作品介紹：
透明的都市做成寄居蟹的殼 〈給寄居蟹一個家〉 等，AKI INOMATA 的作品圍繞在與生物周遭的關係延伸，甚或是彼此間的關聯性。

本次展出作品 〈思考演化#1：鸚鵡螺（菊石）〉 是由電腦斷層掃描化石的數據，還原出土的菊石貝殼形狀，試圖透過菊石與進化中捨棄貝殼的章魚相遇，進行思想實驗。菊石在經歷了3 億年的繁榮之後， 6600 萬年前與恐龍一起滅絕。透過菊石化石與外殼結構，可推測菊石與花枝、章魚應該是近親關係，而章魚拋棄外殼後，開始使用椰子殼、雙殼等道具來保護柔軟的身體。滅絕的菊石與演化至今的章魚原本是絕不會相遇的兩種生物，但透過數位科技，扭曲時空描繪出 「或許可行的另一種未來」。

藝術家介紹：
1983 年出生並現居於東京。

2008 年東京藝術大學研究所美術研究科先端藝術表現專攻碩士課程畢業。2017 年接受亞洲文化協會補助前往美國。作品主要訴說與生物周遭的關係延伸，甚或是彼此間的關聯性。重要作品有透明的都市做成寄居蟹殼的〈給寄居蟹一個家〉（やどかりに「やど」をわたしてみる）、將作家愛犬的毛和作家的頭髮做成斗篷，穿戴於彼此身上的〈我穿狗毛斗蓬、狗穿我頭髮的斗篷〉（犬の毛を私がまとい、私の髪を犬がまとう）等。

曾於南特美術館（南特）、十和田市現代美術館（青森）、北九州市立美術館（福岡）等舉辦個展之外，亦參與2021 年「Broken Nature」 ，MoMA（紐約）、2019 年 「第22 回米蘭三年展」 ，三年展設計美術館（米蘭）、2018 年 「泰國雙年展」（喀比）等展出。

Work Statement:
In Why Not Hand Over a “Shelter” to Hermit Crabs?, AKI INOMATA creates transparent city-like shells for hermit crabs. AKI INOMATA strives to create works that are inspired by or explore bio-relevance.

In Think Evolution #1: Kuku-ishi (Ammonite), shown in this exhibition she tries to carry out an experiment of thinking. According to CT scan data of fossils, she restores the shape of an unearthed ammonite, allowing it to meet with octopus that has abandoned its shell through the process of evolution. After nearly 300 million years of prominence, ammonites became extinct some 66 million years ago around the same time as dinosaurs. Judging from the structure of its shell, ammonite is believed to be closely related to cuttlefish and octopus.

On the other hand, octopus has abandoned its shell, and uses other props, such as coconut shells and shells, to protect its own soft body. It is impossible that the two species, ammonite that has become extinct and octopus that has survived until today, will encounter e ach o ther. AKI INOMATA uses digital technology to twist time and space, and depicts“another possible future.”

Biography:
Born 1983 in Tokyo, Japan, where she is currently based.

After graduating from Tokyo University of the Arts in 2008, she stayed in New York on an Individual Fellowship Grant from the Asian Cultural Council. Focusing on how the act of “making” is not exclusive to mankind, AKI INOMATA develops co-creation with nonhuman animals into artworks. She presents what is born out of her interactions with living creatures as well as the relationship between humans and animals.

Her major artworks include Why Not Hand Over a “Shelter” to Hermit Crabs?, in which she created city-like shells for hermit crabs, and I Wear the Dog’s Hair, and the Dog Wears My Hair, in which the artist and her dog wear capes made out of each other’s respective hair. She has had solo exhibitions at the Musée des Beaux-Arts de Nantes (Nantes, France), Towada Art Center (Aomori, Japan), Kitakyushu Municipal Museum of Art (Fukuoka, Japan); group exhibitions included “Broken Nature”, MoMA, NYC, USA (2021), “The XXII Triennale di Milano”, La Triennale di Milano, Milan, Italy (2019), “Thailand Biennale 2018”, Krabi, Thailand (2018).

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

思考演化#1 ： 鸚鵡螺（菊石） Think Evolution #1 : Kikuishi (Ammonite)

2016-17
12 x 15 x 7 cm
菊石化石、樹脂 ammonite fossil, resin, 3D CG modeling

作品介紹：
透明的都市做成寄居蟹的殼 〈給寄居蟹一個家〉 等，AKI INOMATA 的作品圍繞在與生物周遭的關係延伸，甚或是彼此間的關聯性。

本次展出作品 〈思考演化#1：鸚鵡螺（菊石）〉 是由電腦斷層掃描化石的數據，還原出土的菊石貝殼形狀，試圖透過菊石與進化中捨棄貝殼的章魚相遇，進行思想實驗。菊石在經歷了3 億年的繁榮之後， 6600 萬年前與恐龍一起滅絕。透過菊石化石與外殼結構，可推測菊石與花枝、章魚應該是近親關係，而章魚拋棄外殼後，開始使用椰子殼、雙殼等道具來保護柔軟的身體。滅絕的菊石與演化至今的章魚原本是絕不會相遇的兩種生物，但透過數位科技，扭曲時空描繪出 「或許可行的另一種未來」。

藝術家介紹：
1983 年出生並現居於東京。

2008 年東京藝術大學研究所美術研究科先端藝術表現專攻碩士課程畢業。2017 年接受亞洲文化協會補助前往美國。作品主要訴說與生物周遭的關係延伸，甚或是彼此間的關聯性。重要作品有透明的都市做成寄居蟹殼的〈給寄居蟹一個家〉（やどかりに「やど」をわたしてみる）、將作家愛犬的毛和作家的頭髮做成斗篷，穿戴於彼此身上的〈我穿狗毛斗蓬、狗穿我頭髮的斗篷〉（犬の毛を私がまとい、私の髪を犬がまとう）等。

曾於南特美術館（南特）、十和田市現代美術館（青森）、北九州市立美術館（福岡）等舉辦個展之外，亦參與2021 年「Broken Nature」 ，MoMA（紐約）、2019 年 「第22 回米蘭三年展」 ，三年展設計美術館（米蘭）、2018 年 「泰國雙年展」（喀比）等展出。

Work Statement:
In Why Not Hand Over a “Shelter” to Hermit Crabs?, AKI INOMATA creates transparent city-like shells for hermit crabs. AKI INOMATA strives to create works that are inspired by or explore bio-relevance.

In Think Evolution #1: Kuku-ishi (Ammonite), shown in this exhibition she tries to carry out an experiment of thinking. According to CT scan data of fossils, she restores the shape of an unearthed ammonite, allowing it to meet with octopus that has abandoned its shell through the process of evolution. After nearly 300 million years of prominence, ammonites became extinct some 66 million years ago around the same time as dinosaurs. Judging from the structure of its shell, ammonite is believed to be closely related to cuttlefish and octopus.

On the other hand, octopus has abandoned its shell, and uses other props, such as coconut shells and shells, to protect its own soft body. It is impossible that the two species, ammonite that has become extinct and octopus that has survived until today, will encounter e ach o ther. AKI INOMATA uses digital technology to twist time and space, and depicts“another possible future.”

Biography:
Born 1983 in Tokyo, Japan, where she is currently based.

After graduating from Tokyo University of the Arts in 2008, she stayed in New York on an Individual Fellowship Grant from the Asian Cultural Council. Focusing on how the act of “making” is not exclusive to mankind, AKI INOMATA develops co-creation with nonhuman animals into artworks. She presents what is born out of her interactions with living creatures as well as the relationship between humans and animals.

Her major artworks include Why Not Hand Over a “Shelter” to Hermit Crabs?, in which she created city-like shells for hermit crabs, and I Wear the Dog’s Hair, and the Dog Wears My Hair, in which the artist and her dog wear capes made out of each other’s respective hair. She has had solo exhibitions at the Musée des Beaux-Arts de Nantes (Nantes, France), Towada Art Center (Aomori, Japan), Kitakyushu Municipal Museum of Art (Fukuoka, Japan); group exhibitions included “Broken Nature”, MoMA, NYC, USA (2021), “The XXII Triennale di Milano”, La Triennale di Milano, Milan, Italy (2019), “Thailand Biennale 2018”, Krabi, Thailand (2018).

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

2020
24 x 19 x 85 cm
不鏽鋼、吹製玻璃、軟管、菌母stainless steel, blown glass, tubing, scoby

作品介紹：
該作品將微生物學作為探究「內共生美學」的方法，由微生物的能動性解構人對於個體的執著。系列作品中的錄像及物件裝置試著製造感性的分裂，從縫中滲出污染與被污染的生存模式。

故事始於「腸道中的大腦」，置換認知和能動性的來源。我們現在明白，人類腸道中的微生物群影響著我們的自我認同及行為感受。微生物從很久前便主宰著萬物的發展。
比如說，在人類演化的時間軸中如果沒有一組來自病毒的 Arc 基因造就腦部的神經突觸，人們的「思考」能力會變成什麼模樣？主導著人類自我感官的「能動性」可以是複數的嗎？在《植物的慾望》中，邁克爾·波倫寫道：「我們的語法教會我們將世界分為主動主體和被動客體，但在共同進化關係中，每個主體也是客體，每個客體都是主體。」這是作者在一個炎夏午後跪在花園裡，汗流浹背地照料著馬鈴薯時得到的結論。誰是真正被馴化的？是他還是馬鈴薯？

長久以來，微生物一直是研究體系和產業中的勞動者，但我們對它們了解多少？語言對他們來說是什麼？慾望是什麼？何為生死？在這個故事中，污染被視為與他者成立親屬關係的一種方式。污染作為一個能指，它既是物質的——內共生；微生物群；人類病毒組——同時也是情感的，入侵意識的那一刻——同理心、驚奇或介於兩者之間的東西。

藝術家介紹：
1989 年生於臺北，現居紐約。

畢業於麻省理工學院藝術文化與科技所。作品跨越多種媒材與形式，從玻璃至細菌、證件到糞便。近年創作以「內共生美學」為題，反向操作生物科技的語彙與方法，以探討人類作為共生體，對非人類生命體的義務與責任。目前與MIT Media Lab 太空探索倡議合作，拍攝以解殖為背景的微生物太空西部片，試圖脫離殖民的隱喻看待太空。作品曾獲得「高雄獎」首獎、「全國美術獎」、「臺北美術獎」、「台北數位藝術獎」等。展覽經歷包括：國立臺灣美術館，臺灣（2021）；Mana Contemporary，美國（2020）；BAIT15，阿布達比（2020）；高雄市立美術館，臺灣（2018）；羅德島博覽中心，美國（2017）；台北數位藝術節，臺灣（2016）；臺北市立美術館，臺灣（2015）等。

Work Statement:
This archive engages the science of microbiome and fermentation as methods of inquiry into endosymbiotic aesthetics. The video and its accompanying artifacts look for ruptures to create shifts in senseablilities, oozing with entangled forms of collaboration and contamination.

It begins with the “brain in the gut”— a powerful displacement of cognition and agency. We have gut feelings, we get butterflies in our stomachs, we are gutsy. We now understand that our gut microbiome have much to do with who we are and how we feel. There is no point in our physical development that was not heavily influenced by signals from our microbiota. What would thought itself look like without the Arc gene from a virus that allows for neural synapses to occur? Can agency be plural, multiplicitous? In The Botany of Desire Michael
Pollan writes “Our grammar might teach us to divide the world into active subjects and passive objects, but in a coevolutionary relationship every subject is also an object, every object a subject.” He came to this conclusion as he was kneeling in his garden, sweating and tending to his potato plants. He wondered who was truly domesticated? Him or the potato?

Microbes have been laborers in the research and industrial system for a very long time, and yet how much do we know about them? What is language to them? What is desire? Life and death? Here contamination is invoked as a way into kinship. Contamination is invoked as a signifier that is both material—endosymbiosis; microbiome; the human virome—and affect, the moment that intrudes consciousness—empathy, wonder, or something in between.

Biography:
Born 1989 in Taipei, Taiwan, and currently based in New York, USA.

Her practice is research-based and materially-informed, spanning across multiple disciplines and materials; from hot glass to fibroblasts, passports to fecal sports. Her recent works speculate on microbial ethics within interplanetary travel, reconstructing colonial narratives through alternative cosmologies regarding the celestial and its extended voyages. She has participated in exhibitions include: National Taiwan Museum of Fine Arts, Taiwan (2021); Mana Contemporary, the United States (2020); BAIT15, Abu Dhabi (2020); Kaohsiung Museum of Fine Arts, Taiwan (2018); Rhode Island Convention Center, the United States (2017); Taipei Digital Art Fair, Taiwan (2016); Taipei Fine Arts Museum, Taiwan (2015).

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

菌母，黃湯－母乳菌 Scoby skin, yellow soup - Mother's milk

2020
38 x 30 x 78 cm
豬胃、不鏽鋼、吹製玻璃、菌母 pig stomach casing, stainless steel, blown glass, scoby

作品介紹：
該作品將微生物學作為探究「內共生美學」的方法，由微生物的能動性解構人對於個體的執著。系列作品中的錄像及物件裝置試著製造感性的分裂，從縫中滲出污染與被污染的生存模式。

故事始於「腸道中的大腦」，置換認知和能動性的來源。我們現在明白，人類腸道中的微生物群影響著我們的自我認同及行為感受。微生物從很久前便主宰著萬物的發展。
比如說，在人類演化的時間軸中如果沒有一組來自病毒的 Arc 基因造就腦部的神經突觸，人們的「思考」能力會變成什麼模樣？主導著人類自我感官的「能動性」可以是複數的嗎？在《植物的慾望》中，邁克爾·波倫寫道：「我們的語法教會我們將世界分為主動主體和被動客體，但在共同進化關係中，每個主體也是客體，每個客體都是主體。」這是作者在一個炎夏午後跪在花園裡，汗流浹背地照料著馬鈴薯時得到的結論。誰是真正被馴化的？是他還是馬鈴薯？

長久以來，微生物一直是研究體系和產業中的勞動者，但我們對它們了解多少？語言對他們來說是什麼？慾望是什麼？何為生死？在這個故事中，污染被視為與他者成立親屬關係的一種方式。污染作為一個能指，它既是物質的——內共生；微生物群；人類病毒組——同時也是情感的，入侵意識的那一刻——同理心、驚奇或介於兩者之間的東西。

藝術家介紹：
1989 年生於臺北，現居紐約。

畢業於麻省理工學院藝術文化與科技所。作品跨越多種媒材與形式，從玻璃至細菌、證件到糞便。近年創作以「內共生美學」為題，反向操作生物科技的語彙與方法，以探討人類作為共生體，對非人類生命體的義務與責任。目前與MIT Media Lab 太空探索倡議合作，拍攝以解殖為背景的微生物太空西部片，試圖脫離殖民的隱喻看待太空。作品曾獲得「高雄獎」首獎、「全國美術獎」、「臺北美術獎」、「台北數位藝術獎」等。展覽經歷包括：國立臺灣美術館，臺灣（2021）；Mana Contemporary，美國（2020）；BAIT15，阿布達比（2020）；高雄市立美術館，臺灣（2018）；羅德島博覽中心，美國（2017）；台北數位藝術節，臺灣（2016）；臺北市立美術館，臺灣（2015）等。

Work Statement:
This archive engages the science of microbiome and fermentation as methods of inquiry into endosymbiotic aesthetics. The video and its accompanying artifacts look for ruptures to create shifts in senseablilities, oozing with entangled forms of collaboration and contamination.

It begins with the “brain in the gut”— a powerful displacement of cognition and agency. We have gut feelings, we get butterflies in our stomachs, we are gutsy. We now understand that our gut microbiome have much to do with who we are and how we feel. There is no point in our physical development that was not heavily influenced by signals from our microbiota. What would thought itself look like without the Arc gene from a virus that allows for neural synapses to occur? Can agency be plural, multiplicitous? In The Botany of Desire Michael
Pollan writes “Our grammar might teach us to divide the world into active subjects and passive objects, but in a coevolutionary relationship every subject is also an object, every object a subject.” He came to this conclusion as he was kneeling in his garden, sweating and tending to his potato plants. He wondered who was truly domesticated? Him or the potato?

Microbes have been laborers in the research and industrial system for a very long time, and yet how much do we know about them? What is language to them? What is desire? Life and death? Here contamination is invoked as a way into kinship. Contamination is invoked as a signifier that is both material—endosymbiosis; microbiome; the human virome—and affect, the moment that intrudes consciousness—empathy, wonder, or something in between.

Biography:
Born 1989 in Taipei, Taiwan, and currently based in New York, USA.

Her practice is research-based and materially-informed, spanning across multiple disciplines and materials; from hot glass to fibroblasts, passports to fecal sports. Her recent works speculate on microbial ethics within interplanetary travel, reconstructing colonial narratives through alternative cosmologies regarding the celestial and its extended voyages. She has participated in exhibitions include: National Taiwan Museum of Fine Arts, Taiwan (2021); Mana Contemporary, the United States (2020); BAIT15, Abu Dhabi (2020); Kaohsiung Museum of Fine Arts, Taiwan (2018); Rhode Island Convention Center, the United States (2017); Taipei Digital Art Fair, Taiwan (2016); Taipei Fine Arts Museum, Taiwan (2015).

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

菌母，黃湯－胃中大腦 Scoby skin, yellow soup - Brain in the gut

2020
40 x 50 cm
菌母、鋁、不鏽鋼、軟管、棉線 scoby, aluminum, stainless steel, silicone tubing, cotton thread

作品介紹：
該作品將微生物學作為探究「內共生美學」的方法，由微生物的能動性解構人對於個體的執著。系列作品中的錄像及物件裝置試著製造感性的分裂，從縫中滲出污染與被污染的生存模式。

故事始於「腸道中的大腦」，置換認知和能動性的來源。我們現在明白，人類腸道中的微生物群影響著我們的自我認同及行為感受。微生物從很久前便主宰著萬物的發展。
比如說，在人類演化的時間軸中如果沒有一組來自病毒的 Arc 基因造就腦部的神經突觸，人們的「思考」能力會變成什麼模樣？主導著人類自我感官的「能動性」可以是複數的嗎？在《植物的慾望》中，邁克爾·波倫寫道：「我們的語法教會我們將世界分為主動主體和被動客體，但在共同進化關係中，每個主體也是客體，每個客體都是主體。」這是作者在一個炎夏午後跪在花園裡，汗流浹背地照料著馬鈴薯時得到的結論。誰是真正被馴化的？是他還是馬鈴薯？

長久以來，微生物一直是研究體系和產業中的勞動者，但我們對它們了解多少？語言對他們來說是什麼？慾望是什麼？何為生死？在這個故事中，污染被視為與他者成立親屬關係的一種方式。污染作為一個能指，它既是物質的——內共生；微生物群；人類病毒組——同時也是情感的，入侵意識的那一刻——同理心、驚奇或介於兩者之間的東西。

藝術家介紹：
1989 年生於臺北，現居紐約。

畢業於麻省理工學院藝術文化與科技所。作品跨越多種媒材與形式，從玻璃至細菌、證件到糞便。近年創作以「內共生美學」為題，反向操作生物科技的語彙與方法，以探討人類作為共生體，對非人類生命體的義務與責任。目前與MIT Media Lab 太空探索倡議合作，拍攝以解殖為背景的微生物太空西部片，試圖脫離殖民的隱喻看待太空。作品曾獲得「高雄獎」首獎、「全國美術獎」、「臺北美術獎」、「台北數位藝術獎」等。展覽經歷包括：國立臺灣美術館，臺灣（2021）；Mana Contemporary，美國（2020）；BAIT15，阿布達比（2020）；高雄市立美術館，臺灣（2018）；羅德島博覽中心，美國（2017）；台北數位藝術節，臺灣（2016）；臺北市立美術館，臺灣（2015）等。

Work Statement:
This archive engages the science of microbiome and fermentation as methods of inquiry into endosymbiotic aesthetics. The video and its accompanying artifacts look for ruptures to create shifts in senseablilities, oozing with entangled forms of collaboration and contamination.

It begins with the “brain in the gut”— a powerful displacement of cognition and agency. We have gut feelings, we get butterflies in our stomachs, we are gutsy. We now understand that our gut microbiome have much to do with who we are and how we feel. There is no point in our physical development that was not heavily influenced by signals from our microbiota. What would thought itself look like without the Arc gene from a virus that allows for neural synapses to occur? Can agency be plural, multiplicitous? In The Botany of Desire Michael
Pollan writes “Our grammar might teach us to divide the world into active subjects and passive objects, but in a coevolutionary relationship every subject is also an object, every object a subject.” He came to this conclusion as he was kneeling in his garden, sweating and tending to his potato plants. He wondered who was truly domesticated? Him or the potato?

Microbes have been laborers in the research and industrial system for a very long time, and yet how much do we know about them? What is language to them? What is desire? Life and death? Here contamination is invoked as a way into kinship. Contamination is invoked as a signifier that is both material—endosymbiosis; microbiome; the human virome—and affect, the moment that intrudes consciousness—empathy, wonder, or something in between.

Biography:
Born 1989 in Taipei, Taiwan, and currently based in New York, USA.

Her practice is research-based and materially-informed, spanning across multiple disciplines and materials; from hot glass to fibroblasts, passports to fecal sports. Her recent works speculate on microbial ethics within interplanetary travel, reconstructing colonial narratives through alternative cosmologies regarding the celestial and its extended voyages. She has participated in exhibitions include: National Taiwan Museum of Fine Arts, Taiwan (2021); Mana Contemporary, the United States (2020); BAIT15, Abu Dhabi (2020); Kaohsiung Museum of Fine Arts, Taiwan (2018); Rhode Island Convention Center, the United States (2017); Taipei Digital Art Fair, Taiwan (2016); Taipei Fine Arts Museum, Taiwan (2015).

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

菌母，黃湯－菌制約 010 Scoby skin, yellow soup – Containmination 010

菌母，黃湯－菌制約 004 Scoby skin, yellow soup – Containmination 004

2020
4 min 16 sec
錄像 video

作品介紹：
該作品將微生物學作為探究「內共生美學」的方法，由微生物的能動性解構人對於個體的執著。系列作品中的錄像及物件裝置試著製造感性的分裂，從縫中滲出污染與被污染的生存模式。

故事始於「腸道中的大腦」，置換認知和能動性的來源。我們現在明白，人類腸道中的微生物群影響著我們的自我認同及行為感受。微生物從很久前便主宰著萬物的發展。
比如說，在人類演化的時間軸中如果沒有一組來自病毒的 Arc 基因造就腦部的神經突觸，人們的「思考」能力會變成什麼模樣？主導著人類自我感官的「能動性」可以是複數的嗎？在《植物的慾望》中，邁克爾·波倫寫道：「我們的語法教會我們將世界分為主動主體和被動客體，但在共同進化關係中，每個主體也是客體，每個客體都是主體。」這是作者在一個炎夏午後跪在花園裡，汗流浹背地照料著馬鈴薯時得到的結論。誰是真正被馴化的？是他還是馬鈴薯？

長久以來，微生物一直是研究體系和產業中的勞動者，但我們對它們了解多少？語言對他們來說是什麼？慾望是什麼？何為生死？在這個故事中，污染被視為與他者成立親屬關係的一種方式。污染作為一個能指，它既是物質的——內共生；微生物群；人類病毒組——同時也是情感的，入侵意識的那一刻——同理心、驚奇或介於兩者之間的東西。

藝術家介紹：
1989 年生於臺北，現居紐約。

畢業於麻省理工學院藝術文化與科技所。作品跨越多種媒材與形式，從玻璃至細菌、證件到糞便。近年創作以「內共生美學」為題，反向操作生物科技的語彙與方法，以探討人類作為共生體，對非人類生命體的義務與責任。目前與MIT Media Lab 太空探索倡議合作，拍攝以解殖為背景的微生物太空西部片，試圖脫離殖民的隱喻看待太空。作品曾獲得「高雄獎」首獎、「全國美術獎」、「臺北美術獎」、「台北數位藝術獎」等。展覽經歷包括：國立臺灣美術館，臺灣（2021）；Mana Contemporary，美國（2020）；BAIT15，阿布達比（2020）；高雄市立美術館，臺灣（2018）；羅德島博覽中心，美國（2017）；台北數位藝術節，臺灣（2016）；臺北市立美術館，臺灣（2015）等。

Work Statement:
This archive engages the science of microbiome and fermentation as methods of inquiry into endosymbiotic aesthetics. The video and its accompanying artifacts look for ruptures to create shifts in senseablilities, oozing with entangled forms of collaboration and contamination.

It begins with the “brain in the gut”— a powerful displacement of cognition and agency. We have gut feelings, we get butterflies in our stomachs, we are gutsy. We now understand that our gut microbiome have much to do with who we are and how we feel. There is no point in our physical development that was not heavily influenced by signals from our microbiota. What would thought itself look like without the Arc gene from a virus that allows for neural synapses to occur? Can agency be plural, multiplicitous? In The Botany of Desire Michael
Pollan writes “Our grammar might teach us to divide the world into active subjects and passive objects, but in a coevolutionary relationship every subject is also an object, every object a subject.” He came to this conclusion as he was kneeling in his garden, sweating and tending to his potato plants. He wondered who was truly domesticated? Him or the potato?

Microbes have been laborers in the research and industrial system for a very long time, and yet how much do we know about them? What is language to them? What is desire? Life and death? Here contamination is invoked as a way into kinship. Contamination is invoked as a signifier that is both material—endosymbiosis; microbiome; the human virome—and affect, the moment that intrudes consciousness—empathy, wonder, or something in between.

Biography:
Born 1989 in Taipei, Taiwan, and currently based in New York, USA.

Her practice is research-based and materially-informed, spanning across multiple disciplines and materials; from hot glass to fibroblasts, passports to fecal sports. Her recent works speculate on microbial ethics within interplanetary travel, reconstructing colonial narratives through alternative cosmologies regarding the celestial and its extended voyages. She has participated in exhibitions include: National Taiwan Museum of Fine Arts, Taiwan (2021); Mana Contemporary, the United States (2020); BAIT15, Abu Dhabi (2020); Kaohsiung Museum of Fine Arts, Taiwan (2018); Rhode Island Convention Center, the United States (2017); Taipei Digital Art Fair, Taiwan (2016); Taipei Fine Arts Museum, Taiwan (2015).

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

菌母，黃湯－黃湯 Scoby skin, yellow soup – Yellowsoup

2020
40 x 12 x 10 cm
黏土、顏料、不鏽鋼骨釘 clay, metallic pigment, stainless steel boneplate

作品介紹：
該作品將微生物學作為探究「內共生美學」的方法，由微生物的能動性解構人對於個體的執著。系列作品中的錄像及物件裝置試著製造感性的分裂，從縫中滲出污染與被污染的生存模式。

故事始於「腸道中的大腦」，置換認知和能動性的來源。我們現在明白，人類腸道中的微生物群影響著我們的自我認同及行為感受。微生物從很久前便主宰著萬物的發展。
比如說，在人類演化的時間軸中如果沒有一組來自病毒的 Arc 基因造就腦部的神經突觸，人們的「思考」能力會變成什麼模樣？主導著人類自我感官的「能動性」可以是複數的嗎？在《植物的慾望》中，邁克爾·波倫寫道：「我們的語法教會我們將世界分為主動主體和被動客體，但在共同進化關係中，每個主體也是客體，每個客體都是主體。」這是作者在一個炎夏午後跪在花園裡，汗流浹背地照料著馬鈴薯時得到的結論。誰是真正被馴化的？是他還是馬鈴薯？

長久以來，微生物一直是研究體系和產業中的勞動者，但我們對它們了解多少？語言對他們來說是什麼？慾望是什麼？何為生死？在這個故事中，污染被視為與他者成立親屬關係的一種方式。污染作為一個能指，它既是物質的——內共生；微生物群；人類病毒組——同時也是情感的，入侵意識的那一刻——同理心、驚奇或介於兩者之間的東西。

藝術家介紹：
1989 年生於臺北，現居紐約。

畢業於麻省理工學院藝術文化與科技所。作品跨越多種媒材與形式，從玻璃至細菌、證件到糞便。近年創作以「內共生美學」為題，反向操作生物科技的語彙與方法，以探討人類作為共生體，對非人類生命體的義務與責任。目前與MIT Media Lab 太空探索倡議合作，拍攝以解殖為背景的微生物太空西部片，試圖脫離殖民的隱喻看待太空。作品曾獲得「高雄獎」首獎、「全國美術獎」、「臺北美術獎」、「台北數位藝術獎」等。展覽經歷包括：國立臺灣美術館，臺灣（2021）；Mana Contemporary，美國（2020）；BAIT15，阿布達比（2020）；高雄市立美術館，臺灣（2018）；羅德島博覽中心，美國（2017）；台北數位藝術節，臺灣（2016）；臺北市立美術館，臺灣（2015）等。

Work Statement:
This archive engages the science of microbiome and fermentation as methods of inquiry into endosymbiotic aesthetics. The video and its accompanying artifacts look for ruptures to create shifts in senseablilities, oozing with entangled forms of collaboration and contamination.

It begins with the “brain in the gut”— a powerful displacement of cognition and agency. We have gut feelings, we get butterflies in our stomachs, we are gutsy. We now understand that our gut microbiome have much to do with who we are and how we feel. There is no point in our physical development that was not heavily influenced by signals from our microbiota. What would thought itself look like without the Arc gene from a virus that allows for neural synapses to occur? Can agency be plural, multiplicitous? In The Botany of Desire Michael
Pollan writes “Our grammar might teach us to divide the world into active subjects and passive objects, but in a coevolutionary relationship every subject is also an object, every object a subject.” He came to this conclusion as he was kneeling in his garden, sweating and tending to his potato plants. He wondered who was truly domesticated? Him or the potato?

Microbes have been laborers in the research and industrial system for a very long time, and yet how much do we know about them? What is language to them? What is desire? Life and death? Here contamination is invoked as a way into kinship. Contamination is invoked as a signifier that is both material—endosymbiosis; microbiome; the human virome—and affect, the moment that intrudes consciousness—empathy, wonder, or something in between.

Biography:
Born 1989 in Taipei, Taiwan, and currently based in New York, USA.

Her practice is research-based and materially-informed, spanning across multiple disciplines and materials; from hot glass to fibroblasts, passports to fecal sports. Her recent works speculate on microbial ethics within interplanetary travel, reconstructing colonial narratives through alternative cosmologies regarding the celestial and its extended voyages. She has participated in exhibitions include: National Taiwan Museum of Fine Arts, Taiwan (2021); Mana Contemporary, the United States (2020); BAIT15, Abu Dhabi (2020); Kaohsiung Museum of Fine Arts, Taiwan (2018); Rhode Island Convention Center, the United States (2017); Taipei Digital Art Fair, Taiwan (2016); Taipei Fine Arts Museum, Taiwan (2015).

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

菌母，黃湯－消化不良 001 Scoby skin, yellow soup - Existential indigestion 001

2020
32 x 8 x 46 cm
菌母、鋼、石膏 scoby, plaster, steel

作品介紹：
該作品將微生物學作為探究「內共生美學」的方法，由微生物的能動性解構人對於個體的執著。系列作品中的錄像及物件裝置試著製造感性的分裂，從縫中滲出污染與被污染的生存模式。

故事始於「腸道中的大腦」，置換認知和能動性的來源。我們現在明白，人類腸道中的微生物群影響著我們的自我認同及行為感受。微生物從很久前便主宰著萬物的發展。
比如說，在人類演化的時間軸中如果沒有一組來自病毒的 Arc 基因造就腦部的神經突觸，人們的「思考」能力會變成什麼模樣？主導著人類自我感官的「能動性」可以是複數的嗎？在《植物的慾望》中，邁克爾·波倫寫道：「我們的語法教會我們將世界分為主動主體和被動客體，但在共同進化關係中，每個主體也是客體，每個客體都是主體。」這是作者在一個炎夏午後跪在花園裡，汗流浹背地照料著馬鈴薯時得到的結論。誰是真正被馴化的？是他還是馬鈴薯？

長久以來，微生物一直是研究體系和產業中的勞動者，但我們對它們了解多少？語言對他們來說是什麼？慾望是什麼？何為生死？在這個故事中，污染被視為與他者成立親屬關係的一種方式。污染作為一個能指，它既是物質的——內共生；微生物群；人類病毒組——同時也是情感的，入侵意識的那一刻——同理心、驚奇或介於兩者之間的東西。

藝術家介紹：
1989 年生於臺北，現居紐約。

畢業於麻省理工學院藝術文化與科技所。作品跨越多種媒材與形式，從玻璃至細菌、證件到糞便。近年創作以「內共生美學」為題，反向操作生物科技的語彙與方法，以探討人類作為共生體，對非人類生命體的義務與責任。目前與MIT Media Lab 太空探索倡議合作，拍攝以解殖為背景的微生物太空西部片，試圖脫離殖民的隱喻看待太空。作品曾獲得「高雄獎」首獎、「全國美術獎」、「臺北美術獎」、「台北數位藝術獎」等。展覽經歷包括：國立臺灣美術館，臺灣（2021）；Mana Contemporary，美國（2020）；BAIT15，阿布達比（2020）；高雄市立美術館，臺灣（2018）；羅德島博覽中心，美國（2017）；台北數位藝術節，臺灣（2016）；臺北市立美術館，臺灣（2015）等。

Work Statement:
This archive engages the science of microbiome and fermentation as methods of inquiry into endosymbiotic aesthetics. The video and its accompanying artifacts look for ruptures to create shifts in senseablilities, oozing with entangled forms of collaboration and contamination.

It begins with the “brain in the gut”— a powerful displacement of cognition and agency. We have gut feelings, we get butterflies in our stomachs, we are gutsy. We now understand that our gut microbiome have much to do with who we are and how we feel. There is no point in our physical development that was not heavily influenced by signals from our microbiota. What would thought itself look like without the Arc gene from a virus that allows for neural synapses to occur? Can agency be plural, multiplicitous? In The Botany of Desire Michael
Pollan writes “Our grammar might teach us to divide the world into active subjects and passive objects, but in a coevolutionary relationship every subject is also an object, every object a subject.” He came to this conclusion as he was kneeling in his garden, sweating and tending to his potato plants. He wondered who was truly domesticated? Him or the potato?

Microbes have been laborers in the research and industrial system for a very long time, and yet how much do we know about them? What is language to them? What is desire? Life and death? Here contamination is invoked as a way into kinship. Contamination is invoked as a signifier that is both material—endosymbiosis; microbiome; the human virome—and affect, the moment that intrudes consciousness—empathy, wonder, or something in between.

Biography:
Born 1989 in Taipei, Taiwan, and currently based in New York, USA.

Her practice is research-based and materially-informed, spanning across multiple disciplines and materials; from hot glass to fibroblasts, passports to fecal sports. Her recent works speculate on microbial ethics within interplanetary travel, reconstructing colonial narratives through alternative cosmologies regarding the celestial and its extended voyages. She has participated in exhibitions include: National Taiwan Museum of Fine Arts, Taiwan (2021); Mana Contemporary, the United States (2020); BAIT15, Abu Dhabi (2020); Kaohsiung Museum of Fine Arts, Taiwan (2018); Rhode Island Convention Center, the United States (2017); Taipei Digital Art Fair, Taiwan (2016); Taipei Fine Arts Museum, Taiwan (2015).

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

菌母，黃湯－被動的觸碰 Scoby skin, yellow soup - Touched

2020
99 x 39 x 9 cm
菌母、CNC 鋁 scoby, CNC aluminum

作品介紹：
該作品將微生物學作為探究「內共生美學」的方法，由微生物的能動性解構人對於個體的執著。系列作品中的錄像及物件裝置試著製造感性的分裂，從縫中滲出污染與被污染的生存模式。

故事始於「腸道中的大腦」，置換認知和能動性的來源。我們現在明白，人類腸道中的微生物群影響著我們的自我認同及行為感受。微生物從很久前便主宰著萬物的發展。
比如說，在人類演化的時間軸中如果沒有一組來自病毒的 Arc 基因造就腦部的神經突觸，人們的「思考」能力會變成什麼模樣？主導著人類自我感官的「能動性」可以是複數的嗎？在《植物的慾望》中，邁克爾·波倫寫道：「我們的語法教會我們將世界分為主動主體和被動客體，但在共同進化關係中，每個主體也是客體，每個客體都是主體。」這是作者在一個炎夏午後跪在花園裡，汗流浹背地照料著馬鈴薯時得到的結論。誰是真正被馴化的？是他還是馬鈴薯？

長久以來，微生物一直是研究體系和產業中的勞動者，但我們對它們了解多少？語言對他們來說是什麼？慾望是什麼？何為生死？在這個故事中，污染被視為與他者成立親屬關係的一種方式。污染作為一個能指，它既是物質的——內共生；微生物群；人類病毒組——同時也是情感的，入侵意識的那一刻——同理心、驚奇或介於兩者之間的東西。

藝術家介紹：
1989 年生於臺北，現居紐約。

畢業於麻省理工學院藝術文化與科技所。作品跨越多種媒材與形式，從玻璃至細菌、證件到糞便。近年創作以「內共生美學」為題，反向操作生物科技的語彙與方法，以探討人類作為共生體，對非人類生命體的義務與責任。目前與MIT Media Lab 太空探索倡議合作，拍攝以解殖為背景的微生物太空西部片，試圖脫離殖民的隱喻看待太空。作品曾獲得「高雄獎」首獎、「全國美術獎」、「臺北美術獎」、「台北數位藝術獎」等。展覽經歷包括：國立臺灣美術館，臺灣（2021）；Mana Contemporary，美國（2020）；BAIT15，阿布達比（2020）；高雄市立美術館，臺灣（2018）；羅德島博覽中心，美國（2017）；台北數位藝術節，臺灣（2016）；臺北市立美術館，臺灣（2015）等。

Work Statement:
This archive engages the science of microbiome and fermentation as methods of inquiry into endosymbiotic aesthetics. The video and its accompanying artifacts look for ruptures to create shifts in senseablilities, oozing with entangled forms of collaboration and contamination.

It begins with the “brain in the gut”— a powerful displacement of cognition and agency. We have gut feelings, we get butterflies in our stomachs, we are gutsy. We now understand that our gut microbiome have much to do with who we are and how we feel. There is no point in our physical development that was not heavily influenced by signals from our microbiota. What would thought itself look like without the Arc gene from a virus that allows for neural synapses to occur? Can agency be plural, multiplicitous? In The Botany of Desire Michael
Pollan writes “Our grammar might teach us to divide the world into active subjects and passive objects, but in a coevolutionary relationship every subject is also an object, every object a subject.” He came to this conclusion as he was kneeling in his garden, sweating and tending to his potato plants. He wondered who was truly domesticated? Him or the potato?

Microbes have been laborers in the research and industrial system for a very long time, and yet how much do we know about them? What is language to them? What is desire? Life and death? Here contamination is invoked as a way into kinship. Contamination is invoked as a signifier that is both material—endosymbiosis; microbiome; the human virome—and affect, the moment that intrudes consciousness—empathy, wonder, or something in between.

Biography:
Born 1989 in Taipei, Taiwan, and currently based in New York, USA.

Her practice is research-based and materially-informed, spanning across multiple disciplines and materials; from hot glass to fibroblasts, passports to fecal sports. Her recent works speculate on microbial ethics within interplanetary travel, reconstructing colonial narratives through alternative cosmologies regarding the celestial and its extended voyages. She has participated in exhibitions include: National Taiwan Museum of Fine Arts, Taiwan (2021); Mana Contemporary, the United States (2020); BAIT15, Abu Dhabi (2020); Kaohsiung Museum of Fine Arts, Taiwan (2018); Rhode Island Convention Center, the United States (2017); Taipei Digital Art Fair, Taiwan (2016); Taipei Fine Arts Museum, Taiwan (2015).

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

菌母，黃湯－有翅種子 Scoby skin, yellow soup - Winged seed

2011-12
14 min
六機投影裝置、3200 x 1250 超高解析度錄像，立體聲音效 6-projection installation, 3200 x 1250 ultra HD video, stereo sound

作品介紹：
旅美影像藝術家劉肇興於2011 年起程前往後藏，兩千三百公里的路程從拉薩出發，行經西藏高原、珠穆朗瑪和岡仁波切峰，並在岡峰海拔五、六千公尺處轉山繞行四天。作者為了紀念往生的幼女，以龐大的拍攝規模記錄了這場朝聖之旅，採用了超高解析度及第一人稱角度。展覽現場無限廣闊的空間感，引領觀者趨近山嶺上的朝聖者、觀光客、殊異的山光景色，體會蘊含其中對生命與自然的敬畏虔誠。

〈廓拉〉在藏文的意涵是指繞著寺院、佛塔，或是任何神聖的地境轉圈行走。它是一種朝聖及修行的方式。轉行的過程中，信眾經常轉動手中的法輪，頌經、數念珠，甚至以一步一跪的方式趨進。岡仁波切峰可謂是亞洲第一神山，除了磅礡的景觀，它金字塔般的四面山形和山腳下四條大河的源流，也對應著佛典形容的世界中心。 信徒們相信，如果克服這52 公里艱難的高海拔山道轉行一圈，人們可以洗滌一世的惡業。對作者而言，這段朝聖的路，是他亟欲尋覓的心靈蔽護空間。

藝術家介紹：
劉肇興生於1968 年臺灣中壢，現居於美國印第安納。

他的錄像裝置結合了攝影及數位製作，描繪心理及超現實的空間。其作品將時間帶入緩行的狀態，呈現沈思默念的情境，鮮有明確的敘述。影像造形之規模則在微型和無限寬廣間擺盪。劉肇興取材於風景、油彩、飲食、人體。作品主題遍及對自然的冥想、無常的宗教觀念、和面對喪痛的心靈療癒。

劉肇興的作品曾於眾多國際美術館展演典藏，包括日本東京都寫真美術館、韓國首爾美術館、臺北市立美術館、北京紅點美術館、美國休士頓美術館、芝加哥當代攝影美術館。得獎經歷包括紐約亞洲文化協會獎助金、依佛生現代藝術獎助金、和美國攝影教育全國年會蓋瑞費茲獎。重要講演包括美國大學藝術學會、SIGGRAPH 國際年會、歐洲科學藝文雙年會、和芝加哥人文科學節。劉肇興現任美國印第安納大學數位藝術教授。

Work Statement:
Video artist Liou embarked on a 2,300 kilometer filming expedition that started from Lhasa, traveled through the Tibetan Plateau, and ultimately made sojourns to Mount Everest and Mount Kailash. The trip included a four-day kora—a walking circumambulation around Mount Kailash at an elevation between five and six thousand meters. The work traces the steps of pilgrims while presenting unique mountain landscapes, reverence for nature and a space of spiritual sanctuary.

Mount Kailash is sacred in four world religions including Buddhism, Hinduism, Jainism, and Bon. For Liou, the quest was a search for sanctuary following the death of his young daughter Vivian from leukemia in 2007. He recorded the journey on an ultra-high definition 4K camera and scored the work with an acoustic soundtrack to heighten the dramatic arc of the trek. Focusing solely on the path ahead, the video mimics the otherworldly quality of Liou’s journey, with its startling and ever-changing vistas. The viewer cannot help but be mesmerized by the slow, steady excursion around the sacred mountain to a pass strewn with colorful prayer flags—evidence of the spiritual quests of thousands of pilgrims before.

Kora is deliberately shot and edited from a first person perspective, placing the viewer on the path of a pilgrim. The thin air of the dizzying altitude is made palpable through the hand-held camera technique. Only that which is closest in view has defined edges; the mountain remains a mirage receding into the heavens. The slowly unfolding composition of expansive electronic sounds and string instruments gradually brings one’s attention to the present moment of the solitary hike.

Biography:
Born 1968 in Zhongli, Taiwan, and currently based in Indiana, USA.

Liou is an artist, educator, and administrator with a background in photography, digital media, film, and journalism. His recent projects include a pilgrimage in the sacred mountains in Tibet, a journey through the tsunami-ravaged coastline of Japan,
and a cinematic collaboration with a brain scientist regarding the connection between endocannabinoids and memory. Liou works with lens-based materials and electronic imaging to create installations depicting mental and surreal spaces.

Liou’s videos and prints have been featured in programs, exhibitions, and collections in Tokyo Metropolitan Museum of Photography, Crystal Bridges Museum of American Art, Rubin Museum in New York, Museum of Fine Arts in Houston, Museum of Contemporary Photography in Chicago, Indianapolis Museum of Art, National Gallery Victoria, Melbourne, Seoul Museum of Art, Red Brick Museum in Beijing, Taipei Fine Arts Museum, and Sharjah Biennial.

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

廓拉 Kora

2016
4 min 28 sec
單頻道數位錄像 single-channel digital film

作品介紹：
〈黑色粉末半島〉是創作計劃「消失的美學：沒有人民的國度」的第三章。這一系列的影片和錄像作品以中東、美國及英國的地景為主角。該計劃源自阿爾安妮對攝影、飛行及空戰對再現爭議地景的影響之三者關係的長期關注，誘發此系列的事件即為其出生地–伊拉克–在1991年的波灣戰爭中，受飛彈攻擊的媒體報導。

《黑色粉末半島》聚焦於英格蘭地景，為將注意力引向複雜的地理政治關係，作品不但與20 世紀後期美國軍事力量崛起有關，也連接了隸屬於大英帝國之美洲殖民地的歷史；以及英國在第一次世界大戰後，在現代中東地區的形成中所扮演的關鍵角色。

這件作品以空拍方式拍攝北肯特郡的胡半島，這個地區有著豐富的英國軍事遺跡和海軍、工業歷史，從16 世紀至1920 年初期，更是火藥的生產重地。影片名稱源自俗稱 「黑粉末」 的火藥，於13 世紀由中國傳入歐陸及中東地區。

《黑色粉末半島》 的拍攝及剪接手法營造出一種由地景升起及脫離地面的感受，彷彿從地面起飛，並將廢棄工業、軍事用地等特色留於原地。影片的垂直俯瞰視點形成地景扁平化、抽象化的效果，並進一步使地景陌生化，也揭示了隱身於視線中的歷史帝國廢墟。

藝術家介紹：
1966 年出生於伊拉克吉爾庫克，現居英國倫敦。

阿爾安妮的創作涵蓋攝影、電影及錄像。她畢業於柏亞姆肖藝術學校和倫敦皇家藝術學院，目前於倫敦藝術大學擔任攝影資深講師。阿爾安妮曾於國內外多次展出，並曾在倫敦海沃德美術館計劃空間、貝魯特藝術中心、華盛頓特區亞瑟．M．薩克勒美術館、倫敦帝國戰爭博物館、安曼Darat al Funun 藝術中心、以及倫敦泰德國英館 「藝術當下」 系列展中舉辦個展。
其近期展覽包括：「顫動的地景（」 荷蘭國家電影資料館，阿姆斯特丹）；「行動劇場：波灣戰爭1991-2011（」 MoMA PS1，紐約）；「縫合」（今日美術館，北京）；「歸來吧，世界作為牢籠？」（國立二十一世紀當代美術館，羅馬）；「影像作為地方」（舊金山現代美術館，舊金山）；「誰詮釋世界？」（21 世紀當代美術館，金澤）。阿爾安妮曾參加 「第9 屆亞太三年展」、「第11 屆沙迦雙年展」、「第13 屆伊斯坦堡雙年展」、「第18 屆雪梨雙年展」 和 「第54 屆威尼斯雙年展」。其作品受多個機構收藏，包括：倫敦維多利亞與亞伯特博物館、波士頓美術館、華沙現代美術館、巴黎龐畢度中心、東京森美術館和維也納現代美術館等。

Work Statement:
The film Black Powder Peninsula forms the third chapter of the project The Aesthetics of Disappearance: A Land Without People, a series of film and video works featuring the landscapes of the Middle East, the United States and Britain. The project grew out of Al-Ani’s longstanding interest in the relationship between photography and flight and the impact of aerial warfare on the representation of contested landscapes, sparked by the media coverage of missile strikes on Iraq, her country of birth, during the Gulf War of 1991.

Focusing on the English landscape, Black Powder Peninsula draws attention to the complex geopolitical relations that link the rise of American military power in the second half of the 20th century with the history of the American colonies of the First British Empire and the pivotal role played by Britain in the formation of the modern Middle East in the aftermath of the First World War.

Shot from the air over the Hoo peninsula in north Kent, the film features an area rich with the remains of British military, naval and industrial history which was home to gunpowder production from the mid 16th century to the early 1920s. The f ilm takes its name from gunpowder, also known as black powder, which was introduced into Europe and the Middle East in the 13th century from China.

Black Powder Peninsula is shot and edited to create the sensation of rising up and out of the landscape, as if taking off and leaving behind the abandoned industrial and military sites featured. The film’s vertical aerial perspective has the effect of flattening and abstracting the landscape and rendering it unfamiliar while revealing the ruins of a faded empire hidden in plain sight.

Biography:
Born 1966 in Kirkuk, Iraq, and currently based in London, UK.

Al-Ani works with photography, film and video. A graduate of the Byam Shaw School of Art and the Royal College of Art, she is currently Senior Lecturer in Photography at the University of the Arts London. Exhibiting widely both nationally and internationally, Al-Ani has had solo exhibitions at the Hayward Gallery Project Space, London; Beirut Art Center, Beirut; Arthur M. Sackler Gallery, Washington DC;
Imperial War Museum, London; Darat al Funun, Amman; and Art Now: Tate Britain, London.

Recent group exhibitions include “Trembling Landscapes”, Eye Filmmuseum, Amsterdam; “Theater of Operations: The Gulf Wars 1991-2011”, MoMA PS1, New York; “A Stitch in Time”, Today Museum, Beijing; “Please Come Back. The World as Prison?” MAXXI, Rome; “Film as Place”, SFMOMA, San Francisco; “Who Interprets the World?”, 21st Century Museum of Contemporary Art, Kanazawa. Ali-Ani has participated in the 9th Asia Pacific Triennial; 11th Sharjah Biennial; 13th Istanbul Biennial; 18th Biennale of Sydney; and the 54th Venice Biennale. Her work can be found in collections including the V&A, London; Museum of Fine Arts, Boston; Museum of Modern Art, Warsaw; Centre Pompidou, Paris; Mori Art Museum, Tokyo; and Museum Moderner Kunst, Vienna.

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

黑色粉末半島 Black Powder Peninsula

2004-12
15 min
三頻道投影裝置，彩色及黑白，有聲 three-channel video installation, colour and b/w, sound, 15 min

作品介紹：
錄像裝置〈The Most Electrified Town in Finland〉探討芬蘭西岸小鎮埃烏拉約基的歐基洛托核電廠3 號機的建設，而自1970年代建設至今的二座老舊核子反應爐也座落於該小鎮。歐基洛托核電廠3 號機是西方世界在車諾比核災後啓動的首個核子計劃，原本應是所有核子計劃中電力最強，且代表法國阿海琺和德國西門子公司聯盟推出的最新原型機。3 號機原訂2009年開始運作，卻因各種計劃性和技術性問題而嚴重延宕至今，導致最快必須等到2022年3月才能運轉。

作品並置了工業建設景觀、鄉野地景流變和專家們進行各種輻射測試的影像，而當地居民則已適應了這位核能鄰居所帶來的「隱形壓力」。作品名稱直接使用埃烏拉約基市政當局自豪地倡導其原子樂觀主義精神的宣傳口號。

藝術家介紹：
1965 年出生於芬蘭赫爾辛基，現居赫爾辛基。

塔尼拉的影像創作跨越古典紀錄片、前衛藝術和錄像藝術的傳統，經常處理科技幻想、科學烏托邦和其失敗等主題。塔尼拉的動態影像裝置曾於各大國際聯展中展出，例如：威尼斯雙年展（2017）、愛知三年展（2013）、卡塞爾文件展（2012）、上海雙年展（2006）、柏林雙年展（2004）和歐洲宣言展（2002）。也曾於各地舉辦個展，包括：波隆那新精神館（2020）、魯汶STUK 藝術中心（2018）、巴塞爾巴澤計劃空間（2016）、赫爾辛基奇亞斯瑪當代美術館（2013-14）、聖路易當代美術館（2013）、卡爾斯魯厄巴登藝術協會（2008）、蒙特婁大字報藝術中心（2007）和蘇黎士米格羅當代藝術館（2005）。

塔尼拉的創作曾在數個國際電影節和特別活動中播放，例如：多倫多國際影展、鹿特丹影展、哥本哈根國際紀錄片電影節、克萊蒙費朗短片國際影展、卡羅維瓦利國際影展、索丹屈萊午夜太陽電影節、阿姆斯特丹國際紀錄片電影節、柏林國際影展和奧伯豪森國際短片電影節。2015年，塔尼拉榮獲芬蘭藝術獎，而其專題紀錄片 《原子的回歸》 與尤西．埃羅拉共同導演）在哥本哈根國際紀錄片電影節中獲得「最佳北歐紀錄片」。

Work Statement:
The video installation The Most Electrified Town in Finland revolves around the construction of the Olkiluoto 3 power plant in Eurajoki, a small town on Finland's west coast, which also hosts two older reactors dating back to the 1970s. OL3 is the first nuclear project started in the Western world after the Chernobyl disaster and the supposed to be the most powerful of its kind, representing a brand new prototype by the French-German Areva-Siemens consortium. Although intended to start operating in 2009, planning and technical problems has caused major delays postponing its opening to March 2022 at the earliest.

The piece juxtaposes industrial construction scenes with images of the changing rural landscape and experts performing various radiation measurements. The local residents have adapted to the ‘invisible stress’ inflicted by their nuclear neighbour. The title of the piece stems directly from a slogan of the Eurajoki municipality, proudly promoting itself in a general spirit of atomic optimism.

Biography:
Born 1965 in Helsinki, Finland, where he is currently based.

Taanila films can be categorized somewhere between the traditions of classic documentary filmmaking, avant-garde and video art. His works often deal with techno-fantasies, scientific utopias and failures. Taanila’s moving image installations have been shown at major international group shows, such as “Venice Biennale”
(2017), “Aichi Triennale” (2013), “Documenta” (2012), “Shanghai Biennale” (2006) and “Berlin Biennale” (2004) and“Manifesta 4” (2002). Solo shows include “Padiglione de l'Esprit Nouveau, Bologna” (2020), “STUK Leuven” (2018), “Balzerprojects, Basel” (2016), “Kiasma Museum of Contemporary Art in Helsinki” (2013–2014), “Contemporary Art Museum, St. Louis” (2013), “Badischer Kunstverein” (2008), “Dazibao, Montréal” (2007) and “Migrosmuseum, Zurich” (2005).

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

The Most Electrified Town in Finland

2012
影像：1 分44 秒；雕塑：尺寸視場地而定 video: 1 min 44 sec; sculpture: dimensions variable
影像裝置 video installation

作品介紹：
艾比登以其混合媒材的創作而聞名國際，他經常以令人驚異、反映當代社會議題的雕塑和裝置吸引觀眾目光。

〈Symphony〉是獻給一群有著「情緒搖滾」裝扮的伊拉克青少年們，這種西方潮流風格講求緊身牛仔褲、黑色長髮或尖刺髮型，通常遮住半張臉。2012 年時，這些青少年在巴格達被宗教極端主義者以扔石頭的方式殺害。

這件帶有繪畫感、肖像畫尺幅的錄像裝置描繪的是大屠殺後的場景。被扔石殺害的青年屍體被描繪成雕像、塑像，甚至是小型聖像。每一個雕像的嘴部有一條線連接到鴿子的腳上。這些鴿子（靈魂）無效地拍打著翅膀，企圖逃離卻又被死亡的重量拖住。拍動的羽翅在空中形成整片白雲，形成作品中唯一的動勢。觀眾則目睹死亡的靜止與瘋狂振翅的對比。鳥兒們哨音般的叫聲、拍打翅膀的肅肅聲響，形成某種具有安定效果卻又駭人的白噪音，這即是死亡的交響曲。

這件作品還延伸為雕塑裝置。展場牆面上裝置著白色小門，一部份關閉著，有些則開著露出內部抽屜，讓觀眾可與之互動，在拉開的抽屜中會看到37 公分長、帶有汙痕的白色雕像，再現著受害青少年的真實面容。這些雕像即是錄像中使用的道具。

〈Al-Warqaa〉的靈感源自阿維森納的詩作《靈魂頌歌》。在這首詩中，靈魂的旅程被比喻為鴿子的飛翔。在阿維森納的詩文中，靈魂代表一種不朽、空靈的存在，在肉體死亡後會離開身體飛向天際，它象徵永恆，脫離天堂的領域。這件懸掛空中的物件散發著光芒，描繪出一隻鴿子的無形輪廓，運用視覺語言反映這個概念。

「它從天上降至你身，那崇高、不可言喻、光輝的天堂之鴿。那些本質上懂得它的人，曾對它眼見而不識。但它不曾罩上面紗，對人來說，也一直顯而易見。

它過去不願尋你、與你合一；然而，
雖然它悲傷著，它現在卻更不願棄你的身體而離去。
它曾抗拒、掙扎，不願如此之快地被馴服。
但與你合一後，它即慢慢習慣這荒蕪之地；
直到—我如此相信—它以前所追尋及其誓言
終被遺忘在它曾不願離開的天堂花園及林間。」
節錄自伊本．西納（阿維森納）的《靈魂頌歌》

藝術家介紹：
1973 年出生於伊拉克巴格達；現工作生活於芬蘭赫爾辛基。

他的作品運用錄像影像、錄像裝置、多媒體雕塑、聲音裝置、攝影和繪畫等多樣媒材，探索我們所居住之當代世界中的諸多議題。他的主要出發點一直與自身探索視覺藝術、政治和身分認同之間的關係有關。並運用其尖銳的獨特諷刺手法，表現不同社會情境所具有的吸引力，而這些社會情境多在處理難以捉摸之經驗和文化疏離。他運用自身跨文化的背景（以其伊拉克／芬蘭藝術家身分）創作出經常雜揉著嘲諷與矛盾的特殊視覺語言，同時也保留了以人文主義為核心手法。

艾比登具有巴格達美術學院繪畫學士學位（2000）及赫爾辛基藝術大學美術學院時空藝術碩士學位（2005）。自其代表芬蘭參加第52 屆威尼斯雙年展北歐館（2007）的展覽後，他的作品已在世界各地的重要展覽展出。

Work Statement:
Abidin is known internationally for the creation of mixed-media works that engage viewers through often shocking sculptures and installations which aim to reflect issues of contemporary society.

Symphony is a tribute to Iraqi teenagers with “Emo” appearances; a Western trend that consists of tight jeans and long black or spiky haircuts, which covers half of the face. Those teenagers were stoned to death by religious extremists in Baghdad in 2012. The video installation has a painterly portrait-scale scene that depicts the aftermath of an imaginary massacre. The corpses of the stoned youth are depicted as statues, icons, and even
sacred figurines. A thread connects each body by its mouth to the leg of a dove. The doves (souls) flap their wings in vain, attempting to escape yet they are anchored by the weight of death. The fluttering wings form a white cloud in the sky registering the only movement in the work. The viewer is left to watch the stillness of death against the frantically flapping wings. The sound of the birds, their whistling cries and rustling wings, creates a soothing yet terrifying sound track of white noise. It is a symphony of death.The piece continues with the sculpture-based installation; small white doors installed on the wall; some of them are closed, while others are open with sliding drawers that allows the viewer to interact by pulling them out where he/she would see the 37 cm long dirty white statues that represents the looks of the actual teens who were killed. The very same statues were used as props in the video.

Al-Warqaa is inspired by Avicenna’s poem (Ode to a Human Soul), which compares the journey of the soul to the flight of a dove. In his verses the soul represents a timeless, ethereal entity that soars beyond the body after death. It signifies eternity, detached from the heavenly sphere. A suspended object radiates light and depicts an intangible outline of a dove reflecting this concept through a visual language.

“It descended upon thee from out of the regions above, That exalted, ineffable, glorious, heavenly Dove. Twas concealed from the eyes of all those who its nature would ken Yet it wears not a veil, and is ever apparent to men.

Unwilling it sought thee and joined thee, and yet, though it grieve, It is like to be still more unwilling thy body to leave.

It resisted and struggled, and would not be tamed in haste,
Yet it joined thee, and slowly grew used to this desolate waste,
Till, forgotten at length, as I ween, ere hounds and its troth
In the heavenly gardens and groves, which to leave it was loath.”
Extracted from: Ode to a Human Soul by Ibn Sina (Avicenna).

Biography:
Born 1973 in Baghdad, Iraq, and currently lives and works in Helsinki, Finland.

Abidin’s art uses various media such as videos, video installations, multi media  sculptures, sound based installations, photography and paintings to explore the issues of the contemporary world that we are living in. His main point of departure is always linked to his intention to explore the complex relationship between visual art and politics & identity. Using a sharp palette of irony to express the gravitation towards different social situations that deal with elusive experiences and cultural alienation. Abidin uses my cross-cultural background (as an Iraqi/ Finnish artist) to create a distinct visual language often laced with sarcasm and paradox, while maintaining an ultimately humanistic approach.

Abidin has received a B.A. in painting from the Academy of Fine Arts in Baghdad (2000) and an M.F.A. from the Academy of Fine Arts in Time and Space Art in Helsinki (2005). Since his representation of Finland at the Nordic Pavilion in the 52nd Venice Biennale (2007), his work has been the subject of major exhibitions worldwide.

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

Symphony

2013
600 x 400 x 190 cm
綜合媒材裝置（懸掛鋼結構、壓克力片、LED 燈、繩索及訂製石頭）mixed media installation (suspended steel structure, acrylic sheets, LED lights, rope and customized stone).

作品介紹：
艾比登以其混合媒材的創作而聞名國際，他經常以令人驚異、反映當代社會議題的雕塑和裝置吸引觀眾目光。

〈Symphony〉是獻給一群有著「情緒搖滾」裝扮的伊拉克青少年們，這種西方潮流風格講求緊身牛仔褲、黑色長髮或尖刺髮型，通常遮住半張臉。2012 年時，這些青少年在巴格達被宗教極端主義者以扔石頭的方式殺害。

這件帶有繪畫感、肖像畫尺幅的錄像裝置描繪的是大屠殺後的場景。被扔石殺害的青年屍體被描繪成雕像、塑像，甚至是小型聖像。每一個雕像的嘴部有一條線連接到鴿子的腳上。這些鴿子（靈魂）無效地拍打著翅膀，企圖逃離卻又被死亡的重量拖住。拍動的羽翅在空中形成整片白雲，形成作品中唯一的動勢。觀眾則目睹死亡的靜止與瘋狂振翅的對比。鳥兒們哨音般的叫聲、拍打翅膀的肅肅聲響，形成某種具有安定效果卻又駭人的白噪音，這即是死亡的交響曲。

這件作品還延伸為雕塑裝置。展場牆面上裝置著白色小門，一部份關閉著，有些則開著露出內部抽屜，讓觀眾可與之互動，在拉開的抽屜中會看到37 公分長、帶有汙痕的白色雕像，再現著受害青少年的真實面容。這些雕像即是錄像中使用的道具。

〈Al-Warqaa〉的靈感源自阿維森納的詩作《靈魂頌歌》。在這首詩中，靈魂的旅程被比喻為鴿子的飛翔。在阿維森納的詩文中，靈魂代表一種不朽、空靈的存在，在肉體死亡後會離開身體飛向天際，它象徵永恆，脫離天堂的領域。這件懸掛空中的物件散發著光芒，描繪出一隻鴿子的無形輪廓，運用視覺語言反映這個概念。

「它從天上降至你身，那崇高、不可言喻、光輝的天堂之鴿。那些本質上懂得它的人，曾對它眼見而不識。但它不曾罩上面紗，對人來說，也一直顯而易見。

它過去不願尋你、與你合一；然而，
雖然它悲傷著，它現在卻更不願棄你的身體而離去。
它曾抗拒、掙扎，不願如此之快地被馴服。
但與你合一後，它即慢慢習慣這荒蕪之地；
直到—我如此相信—它以前所追尋及其誓言
終被遺忘在它曾不願離開的天堂花園及林間。」
節錄自伊本．西納（阿維森納）的《靈魂頌歌》

藝術家介紹：
1973 年出生於伊拉克巴格達；現工作生活於芬蘭赫爾辛基。

他的作品運用錄像影像、錄像裝置、多媒體雕塑、聲音裝置、攝影和繪畫等多樣媒材，探索我們所居住之當代世界中的諸多議題。他的主要出發點一直與自身探索視覺藝術、政治和身分認同之間的關係有關。並運用其尖銳的獨特諷刺手法，表現不同社會情境所具有的吸引力，而這些社會情境多在處理難以捉摸之經驗和文化疏離。他運用自身跨文化的背景（以其伊拉克／芬蘭藝術家身分）創作出經常雜揉著嘲諷與矛盾的特殊視覺語言，同時也保留了以人文主義為核心手法。

艾比登具有巴格達美術學院繪畫學士學位（2000）及赫爾辛基藝術大學美術學院時空藝術碩士學位（2005）。自其代表芬蘭參加第52 屆威尼斯雙年展北歐館（2007）的展覽後，他的作品已在世界各地的重要展覽展出。

Work Statement:
Abidin is known internationally for the creation of mixed-media works that engage viewers through often shocking sculptures and installations which aim to reflect issues of contemporary society.

Symphony is a tribute to Iraqi teenagers with “Emo” appearances; a Western trend that consists of tight jeans and long black or spiky haircuts, which covers half of the face. Those teenagers were stoned to death by religious extremists in Baghdad in 2012. The video installation has a painterly portrait-scale scene that depicts the aftermath of an imaginary massacre. The corpses of the stoned youth are depicted as statues, icons, and even
sacred figurines. A thread connects each body by its mouth to the leg of a dove. The doves (souls) flap their wings in vain, attempting to escape yet they are anchored by the weight of death. The fluttering wings form a white cloud in the sky registering the only movement in the work. The viewer is left to watch the stillness of death against the frantically flapping wings. The sound of the birds, their whistling cries and rustling wings, creates a soothing yet terrifying sound track of white noise. It is a symphony of death.The piece continues with the sculpture-based installation; small white doors installed on the wall; some of them are closed, while others are open with sliding drawers that allows the viewer to interact by pulling them out where he/she would see the 37 cm long dirty white statues that represents the looks of the actual teens who were killed. The very same statues were used as props in the video.

Al-Warqaa is inspired by Avicenna’s poem (Ode to a Human Soul), which compares the journey of the soul to the flight of a dove. In his verses the soul represents a timeless, ethereal entity that soars beyond the body after death. It signifies eternity, detached from the heavenly sphere. A suspended object radiates light and depicts an intangible outline of a dove reflecting this concept through a visual language.

“It descended upon thee from out of the regions above, That exalted, ineffable, glorious, heavenly Dove. Twas concealed from the eyes of all those who its nature would ken Yet it wears not a veil, and is ever apparent to men.

Unwilling it sought thee and joined thee, and yet, though it grieve, It is like to be still more unwilling thy body to leave.

It resisted and struggled, and would not be tamed in haste,
Yet it joined thee, and slowly grew used to this desolate waste,
Till, forgotten at length, as I ween, ere hounds and its troth
In the heavenly gardens and groves, which to leave it was loath.”
Extracted from: Ode to a Human Soul by Ibn Sina (Avicenna).

Biography:
Born 1973 in Baghdad, Iraq, and currently lives and works in Helsinki, Finland.

Abidin’s art uses various media such as videos, video installations, multi media  sculptures, sound based installations, photography and paintings to explore the issues of the contemporary world that we are living in. His main point of departure is always linked to his intention to explore the complex relationship between visual art and politics & identity. Using a sharp palette of irony to express the gravitation towards different social situations that deal with elusive experiences and cultural alienation. Abidin uses my cross-cultural background (as an Iraqi/ Finnish artist) to create a distinct visual language often laced with sarcasm and paradox, while maintaining an ultimately humanistic approach.

Abidin has received a B.A. in painting from the Academy of Fine Arts in Baghdad (2000) and an M.F.A. from the Academy of Fine Arts in Time and Space Art in Helsinki (2005). Since his representation of Finland at the Nordic Pavilion in the 52nd Venice Biennale (2007), his work has been the subject of major exhibitions worldwide.

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

Al-Warqaa

2021
尺寸視場地而定 dimensions variable
木作、寵物飲水機、水、碘溶液、紙鈔、幫浦、塑膠水管、金箔、麥克風、喇叭、礫石、植物（狼尾草），有聲 wooden structure, pet drinking fountain, water,
iodine solution, banknote, pumping, plastic tubing, gold leaf, microphone, speaker, gravel, plants(pennisetum), sound

作品介紹：
羅智信的創作著重在創造特定言說或閱讀的情境。透過流體循環系統、化學變化、自然物（易腐或衰敗），賦予了作品一種持續改變的、不穩定的特質。近期更試圖結合文本、聲響、語言、動力與空間裝置，試圖為觀眾創造一種流動的、動態的，並且更為個人化的觀看體驗——他相信，一首歌、一張畫或一篇文章在成為普遍（universal）之前，勢必先足夠個人（personal）。

〈無人區底有人在唱歌〉這件作品描繪了一個末世氛圍的場景，不見人影只聞其聲響與歌聲，從連接地底的管道中傳出，低語呢喃，難以辨認是倖存者、亡靈或是正在自主隔離。

〈無人區底有人在唱歌〉為本次展覽主題創作之新作。

藝術家介紹：
羅智信1984 年出生於臺灣苗栗，在臺北生活與工作。

其創作實踐圍繞著對於多種傳統和非典型材料的實驗，從陶土、樹脂、金屬、日常物件、食物、化學材料、香味中，去探索再現世界裡所隱含的精神性與人類況境。他關注生產架構與模式所衍生的認知經驗，擅長捕捉日常生活間不穩定的、虛幻或甚至妄想的時刻。近日展覽包括：臺北市立美術館，臺北（2021）；國立臺灣美術館，臺中（2020）；台北當代藝術館，臺北（2019）；亞洲文化殿堂，光州（2017）；時代美術館，廣州（2017）；皇后美術館，紐約（2013）。

Work Statement: Luo’s oeuvre tends to create specific speaking or reading contexts. By virtue of fluid circulating systems, chemical reactions, and res naturales (predisposed to rotting or decay), the artist gives his works an everchanging, protean quality. Recently, he has tried to
achieve further integration among text, sound, language, as well as kinetic and spatial installations, insofar as to offer the viewers a flowing, dynamic, and more personal viewing experience—he believes that a song, a painting, or an article has to be personal enough before it becomes universal.

The work Man Singing under No Man’s Land portrays an apocalyptic scene in which no other thing than sound and singing voice come from the channel leading to deep underground. The whisper is so enigmatic that we cannot tell whether it is from a survivor, a ghost, or
someone in self-isolation.

Man Singing under No Man’s Land is a Commissioned work created specifically for this exhibition.

Biography:
Born 1984 in Miaoli, Taiwan and currently based in Taipei.

Luo’s practice revolves around the experimentation of a variety of traditional and
unconventional materials. Ranging from clay, resin, metal and everyday objects to food, chemicals and scent, he investigates the underlying spirituality and human condition in our representational world. Interested in the framework and modes of production from which our cognitive experiences arise, Luo is known for capturing and amplifying the absurdity within precarious, illusionary, and sometimes delusionary moments of everyday life. Recent exhibitions include Taipei Fine Arts Museum, Taipei (2021); National Taiwan Museum of Fine Arts, Taichung (2020); MoCA Taipei, Taipei (2019); ACC, Gwangju (2017); Times Museum, Guangzhou (2017); and Queens Museum, New York (2013).

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

無人區底有人在唱歌 Man Singing under No Man's Land

作品音檔-1

作品音檔-2

2020
340 x 221.4 x 13 cm
36 枚發光二極體、36 件舊木層板、電源開關、電線、線路連結器 36 LEDs, 36 old wood shelves, switching supply, electric wires, wire connectors

作品介紹：
宮島基於「不斷變化」、「萬物相關」、「永恆持續」、此三概念，以1到9 的LED 數位計數器製作的作品自1980 年代起受到國際矚目。

由1數到9 結束計時，「0」以黑幕取代，也象徵死亡。而後計數器再度出現數字，意味著新生命的開始，也象徵生命的輪迴。

本展展出以生死為主題的三件作品。將計數器縫在布上形成圓型的〈不穩定的時間C - no.4〉，柔軟的布帛，可隨意構成各種形體，意喻流動的宇宙。〈飛天- no.4〉靈感來自中國敦煌莫高窟的飛天天使，配置可以自由變更，是試圖將不確定因素融入其中的作品。此外，與人工生命研究學者共同製作的〈生命（沒有器官的軀體- no.18〉系列是由數位計數器構成，並內建依環境與周遭情況自我變化的程式。這雖是人工製造物，卻與生命體的隨環境自我調整、適應環境、自律等特性相互呼應不謀而合。

藝術家介紹：
1957 年出生於東京，現居於日本茨城。

1986 年東京藝術大學研究所畢業。1988 年受邀參加威尼斯雙年展新人部門，使用數位數字的作品受到國際矚目。爾後，於國內外推出諸多展覽及公共藝術作品。

近年主要個展「Connect with Everything」（雪梨現代美術館、2016 年）、「Unfinished: Thoughts Left Visible」（The MET Breuer/ 紐約、2016 年）、「Being Coming」（ 民生現代美術館/ 上海、2019）、 「Sky of Time」（Espoo Museum of Modern Art, EMMA/ 芬蘭、2019）等。2020 年，森美術館「STARS 展：現代美術的明星ー由日本至世界」受邀參展作家之一，參展作品為記錄東日本大地震企劃的「時之海- 東北」。

Work Statement:
Since the 1980s, Miyajima has used digital LED garget counters that display numbers from 1 to 9 to create works based on three concepts: “It keep changing”, “It connects with everything”, and “It continues forever,” garnering global attention.

After the counters finish counting from 1 to 9, they do not display “0”; instead, they turn black to symbolize death. The counters calculate and display the number of new lives, suggesting the ever-lasting cycle of life.

In this exhibition, his three works show the theme of life and death. With counters sewn onto a piece of fabric in a circle, Unstable Time C - no.4 can freely form all kinds of shapes, revealing the fluidity of the universe. Inspired by the flying apsaras depicted on the walls of Mogao Cave in Dunhuang, China, the configuration and combination of HITEN - no.4 can be randomly changed as an attempt to introduce uncertain elements to the work.

On the other hand, the Life (le corps sans organes) - no.18 series produced in collaboration　with artificial life researchers consists of digital counters embedded with a program that　autonomously generates changes in response to surrounding environment and situation;　although these are artificial objects, they are capable of changing with the environment on　their own, reminding people of life forms with self-discipline.

Biography:
Born 1957 in Tokyo, Japan, and currently based in Ibaraki, Japan.

Completed postgraduate studies at Tokyo University of the Arts in 1986, Miyajima was invited to the “43rd Venice Biennale: Aperto '88” (1988, Venice), with his works using digital numbers, which has received international acclaim. Since then, he has developed numerous public projects and exhibitions beyond the confines of the country. His recent solo shows include: “Being Coming”(Minsheng Art Museum, Shanghai, 2019), ”Sky of Time” (Espoo Museum of Modern Art, EMMA, Finland, 2019), “Connect with Everything” (Museum of Contemporary Art Australia, 2016), “Unfinished: Thoughts Left Visible” (The MET Breuer/ New York, 2016). He was selected as one of the artists within “STARS: Six Contemporary Artists from Japan to the World” at Mori Art Museum.

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

飛天 - no. 4 HITEN - no.4

2013
434.3 x 288.1 x 79.5 cm
發光二極體、IC 電路、微電腦程式（編寫：池上通訊）、鋼、塑膠罩、被動感應器、電線 L.E.D., IC, microcomputer by Ikegami program, steel, plastic cover, passive sensor, electric wire

作品介紹：
宮島基於「不斷變化」、「萬物相關」、「永恆持續」、此三概念，以1到9 的LED 數位計數器製作的作品自1980 年代起受到國際矚目。

由1數到9 結束計時，「0」以黑幕取代，也象徵死亡。而後計數器再度出現數字，意味著新生命的開始，也象徵生命的輪迴。

本展展出以生死為主題的三件作品。將計數器縫在布上形成圓型的〈不穩定的時間C - no.4〉，柔軟的布帛，可隨意構成各種形體，意喻流動的宇宙。〈飛天- no.4〉靈感來自中國敦煌莫高窟的飛天天使，配置可以自由變更，是試圖將不確定因素融入其中的作品。此外，與人工生命研究學者共同製作的〈生命（沒有器官的軀體- no.18〉系列是由數位計數器構成，並內建依環境與周遭情況自我變化的程式。這雖是人工製造物，卻與生命體的隨環境自我調整、適應環境、自律等特性相互呼應不謀而合。

藝術家介紹：
1957 年出生於東京，現居於日本茨城。

1986 年東京藝術大學研究所畢業。1988 年受邀參加威尼斯雙年展新人部門，使用數位數字的作品受到國際矚目。爾後，於國內外推出諸多展覽及公共藝術作品。

近年主要個展「Connect with Everything」（雪梨現代美術館、2016 年）、「Unfinished: Thoughts Left Visible」（The MET Breuer/ 紐約、2016 年）、「Being Coming」（ 民生現代美術館/ 上海、2019）、 「Sky of Time」（Espoo Museum of Modern Art, EMMA/ 芬蘭、2019）等。2020 年，森美術館「STARS 展：現代美術的明星ー由日本至世界」受邀參展作家之一，參展作品為記錄東日本大地震企劃的「時之海- 東北」。

Work Statement:
Since the 1980s, Miyajima has used digital LED garget counters that display numbers from 1 to 9 to create works based on three concepts: “It keep changing”, “It connects with everything”, and “It continues forever,” garnering global attention.

After the counters finish counting from 1 to 9, they do not display “0”; instead, they turn black to symbolize death. The counters calculate and display the number of new lives, suggesting the ever-lasting cycle of life.

In this exhibition, his three works show the theme of life and death. With counters sewn onto a piece of fabric in a circle, Unstable Time C - no.4 can freely form all kinds of shapes, revealing the fluidity of the universe. Inspired by the flying apsaras depicted on the walls of Mogao Cave in Dunhuang, China, the configuration and combination of HITEN - no.4 can be randomly changed as an attempt to introduce uncertain elements to the work.

On the other hand, the Life (le corps sans organes) - no.18 series produced in collaboration　with artificial life researchers consists of digital counters embedded with a program that　autonomously generates changes in response to surrounding environment and situation;　although these are artificial objects, they are capable of changing with the environment on　their own, reminding people of life forms with self-discipline.

Biography:
Born 1957 in Tokyo, Japan, and currently based in Ibaraki, Japan.

Completed postgraduate studies at Tokyo University of the Arts in 1986, Miyajima was invited to the “43rd Venice Biennale: Aperto '88” (1988, Venice), with his works using digital numbers, which has received international acclaim. Since then, he has developed numerous public projects and exhibitions beyond the confines of the country. His recent solo shows include: “Being Coming”(Minsheng Art Museum, Shanghai, 2019), ”Sky of Time” (Espoo Museum of Modern Art, EMMA, Finland, 2019), “Connect with Everything” (Museum of Contemporary Art Australia, 2016), “Unfinished: Thoughts Left Visible” (The MET Breuer/ New York, 2016). He was selected as one of the artists within “STARS: Six Contemporary Artists from Japan to the World” at Mori Art Museum.

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

生命（沒有器官的軀體）- no. 18 Life (le corps sans organes) - no.18

2020
220 x 220 x 1 cm
發光二極體、IC 電路、電線、尼龍布、電源開關 light emitting diode, IC, electric wire, nylon fabric, switching power supply

作品介紹：
宮島基於「不斷變化」、「萬物相關」、「永恆持續」、此三概念，以1到9 的LED 數位計數器製作的作品自1980 年代起受到國際矚目。

由1數到9 結束計時，「0」以黑幕取代，也象徵死亡。而後計數器再度出現數字，意味著新生命的開始，也象徵生命的輪迴。

本展展出以生死為主題的三件作品。將計數器縫在布上形成圓型的〈不穩定的時間C - no.4〉，柔軟的布帛，可隨意構成各種形體，意喻流動的宇宙。〈飛天- no.4〉靈感來自中國敦煌莫高窟的飛天天使，配置可以自由變更，是試圖將不確定因素融入其中的作品。此外，與人工生命研究學者共同製作的〈生命（沒有器官的軀體- no.18〉系列是由數位計數器構成，並內建依環境與周遭情況自我變化的程式。這雖是人工製造物，卻與生命體的隨環境自我調整、適應環境、自律等特性相互呼應不謀而合。

藝術家介紹：
1957 年出生於東京，現居於日本茨城。

1986 年東京藝術大學研究所畢業。1988 年受邀參加威尼斯雙年展新人部門，使用數位數字的作品受到國際矚目。爾後，於國內外推出諸多展覽及公共藝術作品。

近年主要個展「Connect with Everything」（雪梨現代美術館、2016 年）、「Unfinished: Thoughts Left Visible」（The MET Breuer/ 紐約、2016 年）、「Being Coming」（ 民生現代美術館/ 上海、2019）、 「Sky of Time」（Espoo Museum of Modern Art, EMMA/ 芬蘭、2019）等。2020 年，森美術館「STARS 展：現代美術的明星ー由日本至世界」受邀參展作家之一，參展作品為記錄東日本大地震企劃的「時之海- 東北」。

Work Statement:
Since the 1980s, Miyajima has used digital LED garget counters that display numbers from 1 to 9 to create works based on three concepts: “It keep changing”, “It connects with everything”, and “It continues forever,” garnering global attention.

After the counters finish counting from 1 to 9, they do not display “0”; instead, they turn black to symbolize death. The counters calculate and display the number of new lives, suggesting the ever-lasting cycle of life.

In this exhibition, his three works show the theme of life and death. With counters sewn onto a piece of fabric in a circle, Unstable Time C - no.4 can freely form all kinds of shapes, revealing the fluidity of the universe. Inspired by the flying apsaras depicted on the walls of Mogao Cave in Dunhuang, China, the configuration and combination of HITEN - no.4 can be randomly changed as an attempt to introduce uncertain elements to the work.

On the other hand, the Life (le corps sans organes) - no.18 series produced in collaboration　with artificial life researchers consists of digital counters embedded with a program that　autonomously generates changes in response to surrounding environment and situation;　although these are artificial objects, they are capable of changing with the environment on　their own, reminding people of life forms with self-discipline.

Biography:
Born 1957 in Tokyo, Japan, and currently based in Ibaraki, Japan.

Completed postgraduate studies at Tokyo University of the Arts in 1986, Miyajima was invited to the “43rd Venice Biennale: Aperto '88” (1988, Venice), with his works using digital numbers, which has received international acclaim. Since then, he has developed numerous public projects and exhibitions beyond the confines of the country. His recent solo shows include: “Being Coming”(Minsheng Art Museum, Shanghai, 2019), ”Sky of Time” (Espoo Museum of Modern Art, EMMA, Finland, 2019), “Connect with Everything” (Museum of Contemporary Art Australia, 2016), “Unfinished: Thoughts Left Visible” (The MET Breuer/ New York, 2016). He was selected as one of the artists within “STARS: Six Contemporary Artists from Japan to the World” at Mori Art Museum.

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

不穩定的時間 C - no. 4 Unstable Time C - no.4

2020
400 x 400 x 300 cm
植栽、玻璃、金屬、電算器、電子零件 plants, glass, metal, computer program, electronic device

作品介紹：
混合生物裝置〈BIOSIGNAL-PNEUMA〉作為新生態系統中「能」的象徵，藉由體內訊號的交流使自己面向陽光，並將能量轉譯之後傳達到周圍的空間中，如同植物在自然界中的作為。

中心樹上的每片葉子都是一個光感知單體，將樹冠依照方向分區，收集植物感光所產生電訊號後進行演算，於是裝置得以知曉陽光由哪個方位而來。植物經由光合作用將光能轉換而成的生物能，僅有少部分提供自身存活使用，大部分轉移至土壤中，土中的微生物充分利用這些有機物並且產生游離電子，以電極收集即為生物電能；作者仿照這樣的過程，將大樹所製造的電能蓄電，自中心樹朝四周延伸出多套水盤組件，依照其感知所
得的光線方向以水波形式放出能量作出回應，同時也影響著周邊的其他生物。

藝術家介紹：
周巧其1996 年生於臺灣臺中，是臺灣新一代創作者。其家庭中植物研究的背景，對於她在藝術發展的方向影響深遠。就讀實踐大學期間，周巧其開始投入創作生物裝置作品，其作品時常環繞於環境議題的批判，著重於觀賞者的實際體驗並減少過多的比喻。在與創作者胡悠揚合作後作品特質更被彰顯，並且與之共同創立Y2K 創作組合，爾後發表多件探討人類與植物之間關係的作品，也更加確立了創作方向。她現在於國立清華大學攻讀博士學位，並接受李家維教授的指導，進一步探索生物科學與藝術學門。

胡悠揚1995 年生於中國武漢，致力於以感性、直覺式的創作手法，將新媒介重新置入生活。就讀實踐大學期間，胡悠揚發掘了對於電腦編程的天賦。在參與Y2K 組合的初期，他著重於的舊物體交互設計，將舊物質作為喚起經驗者
記憶的材料，執行完成作品〈應跡〉之後，他更加清楚自己在科技與藝術的交界處所處的立場。於往後多項作品中，他堅持以實際操作與體驗，實現對超現實的思考。他現已完成台灣大學網路媒體研究所的碩士學位，正專注於學習電腦科學的專業學識，並且將以其為主軸展開文化上的討論。

Y2K 展覽經歷包括：就在藝術空間，臺灣（2020）；林茲電子藝術節，奧地利（2019）；國際數位藝術大獎優選展，日本（2019）；動態媒體藝術節，臺灣（2019）；臺北數位藝術節，臺灣（2018）等。

Work Statement:
The bio-hybrid installation BIOSIGNAL-PNEUMA is emblematic of “energy” in the new ecosystem. The internal signal exchange keeps the installation automatically facing the sunlight, and the energy it acquires is converted and released into the immediate surroundings, just like what plants do in the natural world.

In this installation, each leaf is a light-sensing monomer which clusters around the tree at the center. The canopy is divided into different zones according to direction. When the light illuminates part of the leaves, the electronic signals of photosynthesis are collected and calculated, from which the azimuth of the light source can be identified. Plants tend to live on a tiny part of the bio-energy they converted from optical energy through photosynthesis, and transmit most of the energy into the soil, where the micro-organisms can make full use of these organic substances and produce ionized electrons that can be converted into bio-electro-energy if collected with electrodes. By reference to such a process, the artists store the electric energy generated by the tree and connect many water-collecting plates to it. The tree will respond to the source of light by releasing energy in the form of water wave, and meanwhile affects the dynamism of its ambient ecology.

Biography:
CHOU Chiao-Chi, born 1996 in Taichung, Taiwan, she is a new-generation Taiwanese artist. Her family’s background in botany has a p rofound and e nduring i nfluence on her orientation of artistic creation. She embarked on bio-installations during her enrolment at the Shih Chien University. Her works often revolve around environmental issues and accentuate viewers’ physical experiences rather than excessive metaphors. Her collaboration with HU You-Yang makes each shine more brilliantly in the other’s company. They founded the artist group “Y2K” and presented several works on the relationship between humanity and plants, which in turn renders her more resolute in her creative orientation.

HU You-Yang, born 1995 in Shanghai, China, he employs a sensitive, intuitive technique to reintroduce new media into our quotidian existence. His talent for computer programming was unearthed during his enrolment at the Shih Chien University. In the initial stage of Y2K, he focused on the inter-design of old, worn objects, treating them as the materials able to rekindle the viewers’ memories. No sooner did he complete the work Response Traces, than he gained a more thorough understanding of his position on the border of technology and art. He persists in
contemplating hyper-reality through hands-on experiences when creating his subsequent works.

Y2K has presented its works at the Project Fulfill Art Space, Taiwan (2020), Ars Electronica, Linz, Austria (2019), International Digital Art Awards Exhibition, Japan (2019), Unstable Media Art Festival, Taiwan (2019), and Digital Art Festival Taipei, Taiwan (2018).

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

BIOSIGNAL - PNEUMA

2021
尺寸視場地而定 dimensions variable
激發型表演、限地製作複合媒材裝置activation performance, site-specific mixed media installation

作品介紹：
柯廷以其融合錄像、表演和聲音等多元媒材的裝置作品著名。他的創作計劃探索科技時空地景中物質與非物質、生命及無生命存在之間相互交替的新感受。

這件委託新製的作品〈保持冷靜 – 節制〉是由他正在發展中的表演裝置作品《保持冷靜》（2019-）所衍生而來。此作以緊急疏散演練作為某種編舞規則，探討不斷演變的環境；藝術家也會將作品呈現地點的機構語彙，限地性地融入作品之中，藉此向其提問。

柯廷發展了新的情境及構成元素，如美術館長凳雕塑、編排過的錄像呈現、急難糧食、緊急逃生照明模組等，這些元素靈感汲取自現今商業市場中的疏散避難包。

除了裝置呈現，每個週末將會有在地表演者現場演出的編排表演會在展覽期間中現場表演。在表演中，演出者會移動美術館長凳、燈籠和牆面輸出的位置，而錄像及聲音的呈現也將經過編排。透過這個儀式性的表演，裝置作品會在演變中創造出一種介於極度（不）安全感之間的空間。

藝術家介紹：
1989 年出生於日本鐮倉，現居德國柏林和日本東京。

柯廷的創作涵蓋裝置、燈光、表演、場景設計和聲音等多元形式。他的藝術計劃探索科技時空地景中物質與非物質、生命及無生命存在之間相互交替的新感受。其作品和計劃曾於多個機構展出，包括：巴黎東京宮、大館當代美術館、沙迦藝術基金會、龐畢度中心X西岸美術館、東京愛馬仕基金會、薩默塞特
宮、哥廷根藝術協會、莫斯科雙年展、卡爾斯魯厄藝術與媒體中心、柏林黑貝爾劇院、溫哥華西線空間、森美術館和漢諾威藝術協會等。

Work Statement:
Koetting is known for his installation with a diverse range of media to include video, performance, and sound. His projects explore a new perception of interchange between material – immaterial, living – non living beings in a landscape of technological time and space.

Remain Calm - Refrain is a new commissioned performative installation piece by Koetting developed from Koetting's ongoing performative installation piece Remain Calm (2019 - ongoing). The piece explores a relation with evacuation drill as a choreographic protocol towards ever changing environment, while questioning the relation to institutional language which Koetting incorporates site-specifically where piece is presented.

Koetting develops a new scenario and elements such as museum bench sculpture, programmed video, emergency food, emergency lighting modules which are highly inspired by evacuation survival kits which you can find in the commercial market nowadays.

Besides installation, the programmed performance performed by local performers will be planned for every weekend. In this performance, the performer will move the position of the museum bench, lantern, and the prints hanged on the wall. - the video and sound will be programmed as well. Through this ritualistic performance, the installation evolves and generates a space in between hyper(in)security.

Biography:
Born 1989 in Kamakura, Japan, and currently based in Berlin, Germany and Tokyo, Japan.

Nile Koetting works with a diverse range of formats, such as installation, light, performance, scenography, and sound. His artistic projects explore a new perception
of interchanges between material and immaterial, living and non-living beings in a landscape of performative time and space. Koetting’s works and projects have been
presented at Palais de Tokyo, Tai Kwun Contemporary, Sharjah Art Foundation, Centre Pompidou x Westbund Museum, Fondation Hermès Tokyo, Somerset House, Kunstverein Göttingen, Moscow Biennale, ZKM Karlsruhe, Hebbel Am Ufer Theater, Western Front, Mori Art Museum, and Kunstverein Hannover.

攝影：ANPIS FOTO 王世邦。國立臺灣美術館提供。
Photographer: Anpis Wang. Courtesy of National Taiwan Museum of Fine Arts.

保持冷靜 - 節制 Remain Calm - Refrain

原本應沈浸於奧運狂熱的2020年，因突如其來的COVID-19讓都市陷入沈寂，前所未聞的現實讓政治經濟陷入混亂前景不明，對人類而言這是一場前所未見的大浩劫。

然而這場浩劫也帶來諸多省思。人類因為外出移動受限，活動量銳減，空氣污染影響減輕，環境獲得改善。若因人類限制行動，讓大自然恢復活力，我不禁要懷疑，這是否證明人類的存在對大自然就是一場災難？

工業革命後約200年來，人類活動致使森林遭到破壞與氣候變遷，全球人口爆增，嚴重擠壓到大自然與其他生物的生存空間，人類世時代隨之問世。直到COVID-19蔓延，大眾才開始有切身感受。但這同時也是一個契機，讓大眾重新認知過去在人類中心主義掩蓋下存在的世界。正如同文化人類學家克勞德‧李維史陀（Claude Lévi-Strauss）在其著作《憂鬱的熱帶》中所言，「這個世界開始的時候，人類並不存在，這個世界結束的時候，人類也不會存在。」 ，遠在人類誕生前許久，大自然就一直屹立不搖的存在。
透過以人類為首的進步主義，人類免於大自然的威脅在壓榨其他生命的同時，人類也受到大自然曠日廢時地長期孕育。本展覽除了同時涵蓋上述兩個面向之外，在重新思考過往的典範移轉之際，也隱射出建構新生命循環以迎向未來的轉換期。

1 克勞德．李維史陀，《憂鬱的熱帶》，王志明譯，臺北；聯經出版事業股份有限公司，2017，頁626。

2020 was supposed to be a bustling year with the organization of the Olympics. The unexpected outbreak of COVID-19 has silenced all cities. This reality has exceeded the imagination of most people, bringing disorder and chaos to economy and politics. This is a disaster mankind has never encountered before.

Nonetheless, we have also discovered in this situation other facts. For example, due to restriction of movement, human activities are limited, and we can see some improvements in the environment, such as reduced air pollution. If restriction of human movements enables nature to regain vitality, then it is only inevitable that people have this question: does this prove that, to nature, the existence of men is a disaster?

In nearly 200 years after the Industrial Revolution, human activities have led to deforestation and climate change so severe that scientists have proposed the new epoch dating concept of “Anthropocene,” which shows that mankind has grown to a degree where we disregard nature and other beings. The COVID-19 pandemic has made this fact a question much more relevant to us. Also, this could be an opportunity for us to once again get to know the world we previously overlooked due to anthropocentrism. However, just as Claude Lévi-Strauss says in Tristes tropiques that “The world began without the human race and it will end without it.” nature had already been a kind of eternal and pure existence way before men were born onto this world.

The humancentric progressivism has enabled mankind to escape the threats of nature, but on the other hand it has also enabled men to continually exploit other life forms; nurturing nature takes a very long time, and mankind is also a part of nature. This exhibition includes the two facts mentioned above, reconsiders past paradigms, and shifts the focus onto a transitional period towards the future, constructing a brand-new circle of life.

1 Claude Lévi-Strauss, Tristes Tropiques, Translated by John Russell. New York : Criterion Books. 2006. pp.397.

世界不隨人類生滅

國立臺灣美術館 National Taiwan Museum of Fine Arts