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

國立臺灣美術館於民國77年（1988年）開館。以視覺藝術為主導，典藏並研究臺灣現代與當代美術發展特色，致力於多樣性的主題規劃特展與藝術教育推廣活動，提供民眾多元化欣賞藝術的環境。以臺灣美術為研究核心，本館以建構臺灣美術史的詮釋內容與詮釋體系，開拓對美術發展現象及議題的多面向探討，創造數位及跨領域藝術發展之平臺，以擴大與國際相關藝術機構對話的空間，結合典藏、展覽、推廣等功能，打造兼具專業性、教育性與未來發展性的公共美術館。依據三大核心主軸：「臺灣美術發展脈絡」、「媒材類別發展脈絡」、「藝術家風格與系譜」，本館研究調查國內外藝術生態與發展，近年並兼顧亞洲藝術家作品典藏，期能深化臺灣與亞洲當代藝術發展研究，拓展臺灣藝術與國際接軌的面寬和能量。累積的藏品，是建構臺灣美術史發展脈絡與研究藝術家風格表現之重要資產，亦可視為臺灣各時期社會脈動、經濟與文化發展樣貌的縮影。本館並肩負守護臺灣美術資產的重任，建置圖像與文字豐富的多元資料庫，強化以資訊科技輔助藏品之自動化管理與服務機制，守護且活用本館所典藏的藝術資產，成為國家文化競爭力的資本與全民共享的資源。身為國家級美術館，本館除了以展現臺灣藝術創作的特色與發展自許，更積極強化藝術研究、延展臺灣藝術的系譜研究、開展國際對話與視野，提升國家文化藝術的內在精神與涵養。在文化交流上，則強化館際合作，並與國際接軌，加強與國內、外美術館和專家學者的共同合作，規劃啟發視覺文化、分享藝術價值的展覽活動；同時以多元化的推廣藝術教育活動，引介臺灣藝術的特色，讓民眾了解藝術的精華，而達到以藝術向下紮根並向上延展文化認知的目標。 The National Taiwan Museum of Fine Arts (NTMoFA) was founded in 1988. The NTMoFA is dedicated to the education and promotion of visual arts. It places great emphasis on collecting works by Taiwanese artists and exploring unique characteristics of modern and contemporary Taiwanese arts. Its aims are: to organize the most diverse range of themed visual art exhibitions, to foster long-term art exchanges with overseas institutions, to actively participate in major international events, to promote art education, and to provide the public with a pleasing and multi-faceted environment for viewing art. The NTMoFA has primarily focused its research work on the fine arts of Taiwan. The Museum's research team sets the agenda and direction for the permanent exhibitions. From 2007 onward, the NTMoFA has organized permanent exhibitions on significant works from the NTMoFA's permanent collection. An all-encompassing artistic and educational institution, the NTMoFA serves multiple functions as an art collector, exhibition organizer and learning resource provider. The NTMoFA charts the trajectory of Taiwanese arts with its unique collection of artworks by Taiwanese artists from the 18th century to the present day. Its permanent collection includes artworks and historical documentation from Ming-Qing Dynasties, through the era of Japanese Colonial Era and the Modernist period, to the post-war period. To convincingly articulate the diversity of Taiwanese fine arts and its developments and transitions over time, the NTMoFA presents its collection of Taiwanese artworks based on two dimensions of development. Whereas the vertical axis charts the historical contexts of Taiwanese fine arts, the horizontal axis shows a genealogy of artists and their works. The presentation gives a clear picture of how artists and their works may relate to the social-historical contexts from which they have emerged and prospered. Digitalization of the museum collection and documentation has not only enabled the NTMoFA to manage and maintain its art collection with more efficiency, but also effectively enhanced understanding and dialogues among the art community worldwide, as it provides international art lovers with fast and easy access to the wealth of Taiwanese art and its diverse and unique characteristics. The NTMoFA is a national art museum dedicated to the research, education and promotion of Taiwanese art. In terms of research, the museum continues to concentrate on tracing the genealogy of Taiwanese arts. In terms of education, its aim is to enhance the artistic capacity of the nation. It should also be highlighted that the NTMoFA has always been a true ambassador of Taiwanese art, as it seeks to promote international cultural exchange by actively participating in international art exhibitions, and by collaborating with international arts-and-cultural organizations and individual experts in organizing arts events. By providing a diverse range of arts and educational activities, the NTMoFA introduces to the public the characteristics of Taiwanese arts and help the visitors appreciate the beauty of art. The ultimate aim of the Museum is to extend and deepen the public's interest in arts.

策展人Curator

山峰潤也 Junya YAMAMINE

山峰潤也1983 年出生，畢業於東京藝術大學。曾擔任東京都寫真美術館、金澤21 世紀美術館和水戶藝術館等機構的策展人，爾後於創辦東京新興藝術空間ANB Tokyo 的東京藝術加速基金會擔任聯合總監。山峰潤也以其對媒體理論的熟稔，策劃參與從新媒體到當代藝術的各種展覽，其重要策展有「嗨！世界：後人類時代藝術展」和「霧之抵抗：中谷芙二子」（水戶藝術館當代藝術中心）。他也曾參與「肉眼之外」和第4 至第7 屆的「惠比壽映像祭」（東京都寫真美術館），並曾擔任國際電腦藝術節（斯洛維尼亞；2011）和「生態延伸之城」（波蘭弗羅茨瓦夫藝術中心；2016）的客座策展人。山峰潤也是日本藝術口述歷史文獻庫成員及東京寫真研究會副會長，並活躍於寫作、座談策劃、論壇主持和授課講座等各類活動。 Born in 1983. Received his MFA from Tokyo University of the Arts. Worked as a curator at Tokyo Photographic Museum, 21st Century Museum of Contemporary Art, Kanazawa, and Contemporary Art Center, Art Tower Mito. Then, he became a co-director of Tokyo Art Acceleration which launch new art complex ANB Tokyo. Based on media theory, he has been involved in a wide range of exhibitions from new media to the field of contemporary art. Major exhibitions include “Hello World: For the Post-Human Age”, “Resistance of Fog: Fujiko Nakaya” (Art Tower Mito, Contemporary Art Center). He has also participated in “Beyond the Naked Eye” and “Yebisu International Festival for Art and Alternative Visions” (4th-7th) (Tokyo Photographic Museum). Other activities include guest curating for IFCA (Slovenia, 2011), Eco Expanded City (Poland, 2016, WRO Art Center), etc. He is also a member of the Oral History Archive of Japanese Art. He is also a vice-director of the artist collective Tokyo Photographic Research, and active in a wide range of other activities including writing, organizing symposiums, moderating, and lecturing.

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宮永愛子Aiko MIYANAGA

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。 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).

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莊志維 Chih-Wei CHUANG

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。 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).

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新井卓 Takashi ARAI

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）。 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).

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露口啓二 Keiji TSUYUGUCHI

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）。 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.

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AKI INOMATA

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。 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).

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徐叡平 Rae Yu-Ping HSU

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。 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).

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劉肇興 Jawshing Arthur LIOU

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。 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.

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賈娜．阿爾安妮 Jananne AL-ANI

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。 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.

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米卡．塔尼拉 Mika TAANILA

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」。 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).

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阿德爾．艾比登 Adel ABIDIN

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。 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.

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羅智信 Jr-Shin LUO

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）。 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).

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宮島達男 Tatsuo MIYAJIMA

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」。 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.

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Y2K

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。 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).

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尼爾．柯廷 Nile KOETTING

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。 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.

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