展期 Date︰3/16 (Sun)–4/20 (Sun)
展覽地點 Exhibition Site:
Chung Shan Creative Hub , S2 Hall
No.21, Sec.1, Minsheng E. Rd., Zhongshan Dist., Taipei City
參觀時間 Open Hours︰
週二~週日 10:00~18:00 (Tue-Sun), 週一公休 (Mondays off)
Opening Reception:
開幕酒會 Opening Reception ︰ 3/16 (週日,Sun) 15:00 – 18:00
開幕表演 Opening Performance︰ 15:30 – 17:30

策展人 Curator
吳牧青 WU Mu-Ching

參展藝術家 Artists
皮繩愉虐邦 BDSM Company
吳妍儀 WU Yen-I
林文藻 LIN Wen-Tsao
林慧如 Ruby Lin
邱勤榮 Roy Choiu
范晏暖 FAN Yen-Nuan
唐唐發 TANG Tang-Fa
郭慧禪 KUO Hui-Chan
黃文琳 HUANG Wen Lin
許村旭 HSU Tsun-Hsu
陳志翰 CHEN Chih-Han (阿怪, aka. aguai the freak)
張菀玲 CHANG Wan-Ling
曾韻潔 TSENG Yun-Chieh
葉育君 YE Yujun
萬一一 WAN Yi-Yi
潘韋儒 PAN Wei-Ju (貍貓, aka. Aristophanes)
藍聖傑 Blue
The sequnce of artists’ list is arranged by Chinese character.)

座談會 Forums
(於中山創意基地 S1教室, S1 Hall of URS21)︰
場次一 Panel#1 3/30 (週日,Sun) 15:00 – 17:30
與談人: 胡朝聖,郭昭蘭,策展人,參展藝術家
Participant : Sean Hu / GUO Jau-Lan / the curator & artists
場次二 Panel#2 4/13 (週日,Sun) 15:00 – 17:00
與談人: 陳泰松,吳介祥,策展人,參展藝術家
Participant : Taisang Chen / WU chieh_hsiang / the curator & artists

主辦單位︰新樂園藝術空間,中華民國視覺藝術協會 (視盟)
The Organizer :
Association of the Visual Arts in Taiwan
Shin Leh Yuan Art Space
場地/設備贊助 The Site & Facility Sponsor︰
JUT Foundation for Arts and Architecture
開幕酒會贊助 The Reception Sponsor︰
荷蘭商海尼根台灣分公司 Heineken® | Taiwan
特別感謝: 台北數位藝術中心
Special Thanks: DAC Taipei





Artworks, exhibitions, performances, events, discussions, reviews, publicity, and responses; these are all things conducted repeatedly every month, week, and day. At which moment does the work of an artist either remain or fade away in your memory? For the artist, at what fleeting moment of life does the artwork reside? When does it get picked up again, and become an opportunity for the life of a work to continue?

Text and skill, which are two words that practitioners of art and culture are vastly familiar with in everyday thought. They are not easily forgotten. If we were to conceive of a normal condition in a visual exhibition, this exhibition would display a narrative relative to the viewer, like a kind of text that’s suspended and awaiting explanation (as if it is the viewer’s most important mission). This gap in the two types of annotations has resulted in the birth of a relatively intriguing artistic scene. To some extent, the author’s aura also uses the gap and conspiracy hidden within these annotations as an attempt at comprehension.

With this exhibition plan, we would like to set up some rules for the exhibition and artworks, while raising a few hypothetical proposals: (1) The text and skill within the mechanisms of this exhibition may be presented as “verbs” (2) An opportunity for old text to “imitate” events or historical settings through an artwork (3) The power of an artist to return to the representation of an annotation (4) A space for discussion and expansion of a transcendent text and hypertext. There will be a creative space for participating resident artists in this exhibition. The setting is similar to that seen in Alfred Hitchcock’s film, Rear Window. These works by resident artist will be intertwined to compose a mosaic and mural in a small room. We call this the “post-hall”, which serves as a mode of contemporary art, much like a revisiting of “iconoclasm”.

Participating artists include visual and anime artists, songwriters, alternative poets, salon operators, and subculture community practice groups. The curatorial mechanism behind these organic experiments lets us return to the texts of their artworks as we observe the skills and revival methods of contemporary artists.