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【2026-2027 工藝遶境】南投境：不只是工藝｜尋找土地行蹤

Giai đoạn

2026-06-05 ~ 2027-05-09

Địa điểm

國立臺灣工藝研究發展中心工藝文化館

Địa chỉ

南投縣草屯鎮中正路573號

南投境：不只是工藝｜尋找土地行蹤 [文化觀光展區] Nantou: Tracing the Imprints of the Land Cultural Tourism Zone 文化來自生活的積累，工藝則是生活最具體的呈現。它源於日常，也長久存在於日常之中。隨著時代改變、科技發展與生活型態轉變，工藝的形式雖不斷變化，但其來自生活的本質始終未變。只是當工藝逐漸被侷限於既有分類與展示框架之中，也開始與真實生活產生距離。「2026–2027工藝遶境」以「不只是工藝」作為策展核心，希望重新開啟工藝與當代生活之間的對話關係。工藝不再只是單一領域中的展示，而是轉化為一種媒介，與文化觀光、藝術、音樂、科技交織共振，讓工藝跨越既有邊界，順著生活的肌理，自然地回流到大眾的日常之中。本次展覽主題「不只是工藝」，並非形式上的改變，而是工藝如何重新進入當代生活。從地方文化、材料運用，到感知經驗與未來技術，工藝始終反映著人們如何在生活中回應環境，並留下屬於時代的文化痕跡。如同科技始終來自人性，工藝也始終來自生活，兩者皆與人的需求、情感與時代變化緊密相連。展覽策展主軸以「島嶼工藝」作為四大軸線。南投境以「尋找土地行蹤」，透過自然元素與地景紋理，轉化為可感知的行蹤；花蓮境以「建構當代語彙」，將創作者情感與生命經驗，轉化為當代敘事；臺北境以「凝結感官節奏」，藉由樂器解構與感知維度的轉譯，展開一場關於技藝與聲音的深層對話；高雄境以「驅動科技進化」，透過科技介入與生成轉化，呈現工藝文化在流動中的新樣態。對話，自古以來即是人類理解彼此、構建社會的關鍵方式，透過不同視域與世界觀的相遇及碰撞，激發創新的火花。「工藝×跨域對話」引領觀者以全新視角重新認識工藝，跨越傳統的界限，感受工藝於當代社會中的多重角色與價值，這不僅是一場視覺經驗的展演，更是一場關於思想、感知與創意的交流，打破框架開啟對工藝與生活更多層次的探索，創造出更深層的文化意義。社會中每一個領域的元素，從來都不是孤立存在，而是在彼此交織之中相互促進、相互延伸。本計畫以工藝為核心，重新詮釋其於當代社會中的多重角色與價值，展現工藝在文化、生活與產業之間更豐富的層次與深度。「不只是工藝」所關注的，並非形式上的擴張，而是讓工藝回歸生活本身，如同水一般，自然流動於日常之中，在潛移默化之間持續形塑當代文化的樣貌，並成為連結人與生活、傳統與未來的重要媒介。從地方風土、生活習慣與工藝材料出發，觀看工藝如何因應不同土地環境而生。從山林、海洋到聚落與城市，工藝不只是技藝的展現，更承載著地方生活的記憶，以及人們與土地之間長時間累積的情感連結與文化脈絡。本展區透過工藝與文化觀光的跨域結合，使工藝不再只是被觀看的物件，而成為一條引領觀者深入地方的文化路徑。藉由自然元素與地景紋理的轉譯，將地方故事化為可被感知的生活行蹤，使「觀看」延伸為一種深度的文化與經濟體驗，讓工藝如水般流動於日常之中，持續展現其溫度和價值與地方生命力。 Culture emerges from the accumulation of lived experiences, and craft is one of the most tangible manifestations of those experiences. Rooted in the everyday, craft has endured within the fabric of daily life for centuries. As times change, technology advances, and lifestyles evolve, the forms of craft may constantly evolve, but its essence rooted in everyday life remains unchanged. However, as craft becomes increasingly confined by traditional classifications and conventional frameworks, it begins to detach from the realities of daily life. The 2026–2027 Craft Pilgrimage, centered on the curatorial theme “More Than Craft,” seeks to reopen a dialogue between craft and contemporary life. Craft is no longer presented merely within a single disciplinary framework; instead, it becomes a medium that resonates across cultural tourism, art, music, and technology. Transcending established boundaries, craft naturally flows back into everyday life, weaving itself into the textures of daily living. The focus of “More Than Craft” is not merely a change in form, but a re-exploration of how craft reintegrates into modern living. From local culture and material usage to sensory experiences and future technologies, craftsmanship reflects how humanity responds to its environment, leaving cultural traces of each era. Just as technology comes from humanity, craft originates from life; both are intimately linked to human needs, emotions, and the passage of time. The curatorial framework, “Island Craft,” unfolds through four distinct realms. The Nantou Realm, titled “Tracing the Imprints of the Land,” transforms natural elements and landscape textures into perceptible traces. The Hualien Realm, titled “Constructing Contemporary Expressions,” transforms the creators' emotions and life experiences into contemporary narratives. The Taipei Realm, titled “Condensing Sensory Rhythms,” unfolds a profound dialogue between craft and sound through the deconstruction of musical instruments and the translation of sensory dimensions. The Kaohsiung Realm, titled “Driving Technological Evolution,” presents emerging forms of craft culture through technological intervention and generative transformation. Dialogue has always been fundamental to human understanding and the building of societies. Through the collision of diverse perspectives and worldviews, sparks of innovation are ignited. “Craft × Interdisciplinary Dialogue” invites viewers to re-examine craft from an entirely new perspective. By transcending traditional boundaries, this exhibition explores the multifaceted roles and values of craft in contemporary society. It is not merely a visual presentation, but an exchange of ideas, perceptions, and creativity—breaking frameworks to explore the deeper cultural significance of craft and life. No element of society exists in isolation; instead, they evolve through constant interaction and mutual influence. This project centers on craft to re-interpret its diverse roles across culture, daily life, and industry. “More Than Craft” does not seek outward expansion, but rather a return to the essence of life—much like water, it flows naturally through the everyday, subtly shaping contemporary culture and serving as a vital bridge between tradition and the future. Beginning with local landscapes, everyday customs, and material traditions, this zone explores how craft emerges in response to diverse environments and ways of living. From mountains and forests to coastal regions, settlements, and cities, craft is not merely an expression of technique, but a vessel of collective memory, carrying the cultural contexts and emotional ties cultivated between people and the land over time. Through the convergence of craft and cultural tourism, the exhibition transforms craft from a static object of viewing into a cultural pathway that guides audiences deeper into local narratives and lived experiences. By translating natural elements and geographic textures into sensory encounters, local stories become tangible traces woven into everyday life. Viewing thus extends beyond observation into an immersive cultural experience, allowing craft to flow organically through daily life while continuously embodying warmth, local vitality, and cultural value.

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主辦單位

國立臺灣工藝研究發展中心

國立臺灣工藝研究發展中心（以下簡稱本中心）隸屬於文化部，致力於工藝文化推廣與工藝產業扶植，業務職掌包含工藝研創、人才培育、工藝檢測修復、研究出版與展覽、工藝典藏加值應用、地方工藝扶植、工藝美學教育推廣、工藝產業輔導、國際交流合作等工作。工藝源自生活，以人為本。基礎於色彩心理學中綠色的正面象徵，本中心提出「綠工藝」概念，涵容工藝的多元價值，歸納出內涵面與實踐面兩大核心精神理念：內涵面之工藝精神理念包含自然、循環、平衡、寬容、生命力；實踐面則包含頂真精神、工作倫理、愉悅勞動與生活美學。本於前述綠工藝精神理念，本中心為推動臺灣工藝文化發展與交流之平臺，施政關照之對象除了包括工藝產業生態系中所有參與者，亦期許藉由工藝介入社會，促進公民參與，以關照生活在臺灣這塊土地上的所有人民，實踐Craft for All之理念，達成健全臺灣工藝生態系與臺灣工藝價值的社會實踐之雙重目標。

執行單位

西屹設計有限公司

西屹設計有限公司－1996年成立於臺灣臺南市，是專業產品開發公司，具有深厚的人文性產品思考。企業精神「對話」，對話使得老人與小孩、製造者與消費者、使用者與設計者…等，產生共通的記憶與規範、價值觀及生活哲學，進而延伸特有的人文，透過設計產生獨特的型態與模式，貼近人心符合使用者需求的作品。創辦人王士俊老師，在公司成立當年即獲得，世界傑出工業設計競賽－金牌獎（1996 lDEA AWARD），是全球華人第一位獲獎者，創作領域包含設計、工藝與藝術。在其認知只要是創作，都是源出於人文的涵養與藝術的思維，其哲學與本質是共通的，所以也就沒有創作領域的問題。在創辦人的帶領下，西屹設計從一開始的工業設計領域，跨足至視覺設計、展覽策劃、活動規劃、社區聯結，全方位整合實績豐富。

總策展人

台灣設計研究院張光民董事

張光民長期致力於推動臺灣設計與工藝的公共化及國際連結，擅長透過平台建置、跨域策劃與制度倡議，串聯產官學資源及地方社群，將工藝從創作層面延伸至文化治理、產業發展與地方品牌敘事，持續拓展設計與工藝在當代社會中的影響力。現任世界設計組織（WDO）區域顧問、財團法人台灣設計研究院（TDRI）董事暨總顧問，以及中原大學設計學院講座教授。曾任外貿協會設計推廣中心主任、《設計》雙月刊總編輯、台灣設計聯盟（TDA）創會理事長，並創辦台灣設計館，亦多次擔任 iF、Red Dot 等國際設計獎評審。2020 年榮獲金點設計獎「最佳設計成就獎」，其長年深耕設計與工藝領域的貢獻，對臺灣設計生態及國際交流具有深遠影響。

策展顧問

雲林科技大學黃世輝教授

黃世輝現任國立雲林科技大學副校長，專長於設計科學、工藝產業研究、社區總體營造及文化產業發展。長期投入地方工藝資源調查、文化生態研究與社區營造，持續關注工藝物件所承載的文化價值、社會網絡及地方知識，致力建構「工藝社造」的理論基礎，並透過設計思維引導地方工藝創新與文化產業發展。多年來，黃世輝教授積極參與工藝研究、展覽策劃與地方文化實踐，擅長從產業發展、文化治理及社會脈絡切入，串聯當代設計與傳統工藝的跨域對話。其研究與實務經驗呼應本計畫「工藝．公益．公意」的核心理念，並能以國立臺灣工藝研究發展中心七十年發展歷程為基礎，梳理臺灣工藝的歷史脈絡，提出兼具學術視野與未來發展方向的觀點。