山内祥太 Shota Yamauchi
日本新媒體藝術家山內祥太的創作關注自我與世界的關係，以及現實與幻想之間的裂縫。經由數位影像、雕 塑、行為表演等多樣媒材，將身體感知與人類情感置於急遽發展的當代科技之中。近年來，他設計的裝置不僅喚起視覺印象，也同時激發嗅覺與觸覺的感受,使個體的感官與記憶參與於創作的過程中。
取材自格林童話〈不來梅的音樂隊>的《安魂曲》(2022)，創作於新冠疫情期間。藝術家邀請友人在家中以 Skype 與虛擬替身軟體 FaceRig 共同演出，並將四台電腦分置於不同房間同步開機拍攝，呈現飾演驢子角色的龍、狗、貓與雞。故事講述經歷勞役的老動物尋求烏托邦的過程，同時隱喻藝術家自身的處境,折射出對隔離、遠距交流與角色扮演的沉思。
Japanese new media artist Shota Yamauchi engages with the relationship between the self and the world, as well as the fractures between reality and fantasy. Working across digital video, sculpture, and performance, he situates bodily perception and human emotion within the rapid development of contemporary technology. In recent years, He has designed devices that evoke not only visual impressions but also olfactory and tactile sensations, engaging individual senses and memories in his creative process.
Created during the COVID-19 pandemic, Requiem (2022) draws inspiration from the Brothers Grimm's Town Musicians of Bremen. The artist invited friends to perform at home via Skype and the virtual avatar software FaceRig, filming simultaneously on four computers placed in different rooms. A donkey (dragon), a dog, a cat, and a chicken take on the roles of the aging animals seeking a utopian future-a metaphor for Yamauchi's own condition and a reflection on isolation, remote communication, and role-play.
卡蜜兒·安侯 Camille Henrot
法國藝術家卡蜜兒·安侯的創作跨越影像、雕塑、繪畫與裝置，長期關注檔案與資訊分類等議題，探問人類渴望組織、歸納的本能衝動。
她的作品多以龐大的研究為基礎，涉獵文學、哲學、人類學及資訊社會等多元領域，以獨特的視覺語彙提出深刻省思。錄像作品《極度疲憊》(2013)從數位資訊超載現象切入，提醒我們在便捷的資訊流通中，往往忽略其來源、歷史與文化脈絡，逐漸喪失對待知識的謹慎態度。該作於第55屆威尼斯雙年展獲得銀獅獎，奠定她在國際藝壇的重要地位。
近年以拼貼繪畫及青銅材質雕塑的創作則進一步觸及社會與心理層次，探索關懷、紀律、教育與服從之間的複雜關係。雕塑《替代者的故事》(2021)從母子依附關係出發，揭示主體與客體在情感「依附/抽離」的循環中不斷生成與變動，映照出個體與集體、照顧與失落、在場與缺席之間的動態張力。
French artist Camille Henrot works across video, sculpture, painting, and installation. Her practice consistently engages with issues of archives and systems of classification, probing the instinctive human impulse to organize and categorize.
Largely grounded in extensive research, her works are informed by literature, philosophy, anthropology, and the information society, using a distinctive visual language to offer deep reflections. Her video work Grosse Fatigue (2013) addresses the phenomenon of digital information overload, reminding us that amid the convenience of information flow we often neglect its sources, histories, and cultural contexts, gradually losing a careful attitude toward knowledge. The piece was awarded the Silver Lion at the 55th Venice Biennale, establishing her as a significant figure in the international art world.
In recent years, her collaged paintings and bronze sculptures have further explored social and psychological dimensions, examining the complex relationships among care, discipline, education, and obedience. Her sculpture Story of a Substitute (2021) begins from the mother-child bond, revealing how subject and object are continually formed and transformed within cycles of attachment and detachment. The work reflects the dynamic tensions between individual and collective, care and loss, presence and absence.
央兔 yang02
日本藝術家央兔透過裝置作品反思人類與科技之間的關係，運用機器學習技術取代人類行為，揭示科技表象下潛藏的社會與倫理議題，呈現對人類中心主義的批判性思考。
作品《慢速迷你4DW——逃離現代價值觀》(2025)，以多台迷你四驅車作為媒介，透過減速改造，讓原本追求速度的競賽變為一場「慢速遊戲」。在科技效率主導的世界中，作品促使觀者重新反思對快速的依賴，並體驗放慢速度所帶來的新視角與隱含其中的價值與意義。
在《永久的暫時性》(2022)中,一台自動導引車(AGV)在展場中持續巡行,挑選、搬運、安裝各種物件,無 論「藝術品」或「非藝術品」皆被一視同仁地放置於展示台上。他將往往被隱蔽的佈展過程公開,透過象徵現 代社會高度發展的物流系統,反思便利背後持續運作的資本機制。
Japanese artist yang02 reflects on the relationship between humans and technology through installation works that use machine learning to replace human actions. By revealing the social and ethical issues hidden beneath technological spectacle, his practice offers a critical perspective on anthropocentrism.
His work, Slow Mini 4DW– Escape from Modern Values (2025), employs multiple mini four-wheel-drive cars as its medium. Modified to decelerate, the cars transform what is usually a speed-driven race into a "slow game." In a world dominated by technological efficiency, the work encourages viewers to reconsider their reliance on speed and to experience alternative perspectives along with the values and meanings embedded within slowness.
In Installation in Progress (2022), an Automated Guided Vehicle (AGV) continuously roams the exhibition space, selecting, transporting, and installing various objects. Whether “artwork” or "non-artwork,” all are placed on the pedestal without distinction. By bringing the usually hidden process of exhibition installation into view, the work symbolically evokes the logistics systems of highly developed modern society and reflects on the capitalist mechanisms that sustain the convenience we take for granted.
吳美琪 Mei-Chi Wu
台灣藝術家吳美琪以攝影為主要創作媒材，作品融合色彩靜物、編導式攝影、抽象繪畫與光影實驗，擅長以手工構築的光影語言,將日常物件轉化為張力十足的場景。
攝影裝置《禮物II》(2025)，共展示九件影像及物件，猶如打開潘朵拉的盒子，看見她自2017至2025年四階段多元世界的宇宙；《XYX - 流動的饗宴》(2017)以熱帶水果與禪意元素交織，結合鏡子創造自我意識的隱喻，模糊現實與象徵的界線；《驚喜盒》(2023)則將近十年蒐集的奇異物件、包裝紙與貼鑽拼貼於畫布，經過再攝影處理，使物件彷彿從畫面中跳出；《Love, Double Love》(2024) 挑戰透視傳統，以層疊與虛擬重疊構築概念空間，營造介於靜物畫與數位影像的曖昧經驗；到《靜物系列》(2025)則回歸純粹的攝影凝視，以光線、物質與感知捕捉生命短暫卻深刻的美。
Taiwanese artist Mei-Chi Wu works primarily with photography, blending color still life, staged photography, abstract painting, and light experiments. Known for her handcrafted approach to light and shadow, she transforms everyday objects into scenes full of tension.
Her photographic installation Baby's Baby II (2025) presents nine images and objects, opening like a Pandora's box to reveal a multi-layered universe developed over four stages from 2017 to 2025. XYX - A Moveable Feast (2017) intertwines tropical fruits with Zen-inspired elements, using mirrors to create metaphors of self-awareness that blur the line between reality and symbol. Jack in the Box (2023) assembles curious objects, decorative papers, and rhinestone-studded collages collected over nearly a decade, which are re-photographed so that the objects appear to leap out of the frame. Love, Double Love (2024) challenges conventions of perspective by layering and overlapping the virtual, constructing a conceptual space that offers a liminal experience between still life and digital image. Finally, Still Life Series (2025) returns to the purity of photographic vision, capturing the fleeting yet profound beauty of life through light, material, and perception.
納溫·努通 Nawin Nuthong
納溫·努通是一位泰國當代藝術家與策展人，長期以跨媒材實踐探索歷史與文化的交織。他將神話傳說融入電子遊戲、漫畫與電影等流行文化語彙，並以「童年/童真」作為隱喻，思考科技如何在當代重塑歷史的學習與理解。
於基隆創作的新作《4-6位紙鈔上的孩子(八件)》(2025)則取材自新台幣千元鈔券，揭露隱藏於圖像中的「 第五與第六位孩子」，並結合在地廟宇的觀察生成帶有童趣的敘事。作品中同時翻轉策略遊戲的六角格，構成一只六角地球儀，上方僅顯示文化與科學的象徵圖示。此系列作品藉此質疑二戰後，各國以文化作為政治工具的歷史敘事，而非單純作為經濟數據的體現。
Nawin Nuthong is a Thai contemporary artist and curator whose cross-media practice explores the intersections of history and culture. He often weaves myths and legends into the visual languages of popular culture-video games, comics, and film, using childhood/childlike innocence as a metaphor to reflect on how technology reshapes the ways history is learned and understood today.
His new work created in Keelung, 4-6 Child on the note (8 Pieces) (2025), draws inspiration from the New Taiwan Dollar 1,000 banknote, revealing a hidden “fifth and sixth child” within the imagery. The piece incorporates playful narratives informed by observations of local temple culture, while also reimagining the hexagonal grid of strategy games as a hexagonal globe displaying only symbolic icons of culture and science. Through this series, Nuthong questions the post-World War II use of culture as a political tool rather than as a reflection of economic data alone.
陳怡潔 Agi Chen
台灣藝術家陳怡潔的創作透過轉置動漫的色彩語彙，發展出一系列深具時代意義的當代藝術作品，既反映大眾媒體文化，也喚起集體視覺記憶。她持續以卡漫世界為根基，藉由再度虛擬化與設定新的度量衡介面，鬆動並重構角色的意義結構。
作品《裂嘴貓的極速飛行》(2022)及《小甜甜的極速飛行》(2022)將角色色彩比例抽取並化約為同心圓，使色彩脫離造型，再度置入幾何結構，形成如同從虛擬世界闖入公共場域的雕塑裝置，與建築空間及日常路徑產生碰撞與互動。
《連合島漫遊》(2025)原為一個民眾參與的資料庫計畫，邀請觀眾共同提交最具情感連結的動漫角色，並將其色彩轉化為多個抽象的同心圓放置在海港城市的場景中，藉此重新啟動個體與集體的記憶。這些色彩圓盤不僅象徵全球化語境下的「訊息介面」，也透過社群交流與群體協作的過程，探索網路媒體時代所生成的心理軌跡與共享經驗，提出關於記憶、資訊與文化共創的多重可能。
Taiwanese artist Agi Chen develops a body of contemporary artworks imbued with the spirit of the times by transposing the chromatic vocabulary of anime. Her practice both reflects mass media culture and evokes collective visual memory. Continuing to draw from the world of cartoons and anime, she re-virtualizes characters and devises a new conceptual interface of measurement, destabilizing and reconfiguring their structures of meaning.
In The High-Speed Flight of Cheshire Cat (2022) and The High-Speed Flight of Candy (2022), Chen extracts the color ratios of characters and reduces them into concentric circles. Detached from their original forms, the colors are repositioned into geometric structures, transforming into sculptural installations that collide and interact with architectural spaces and everyday pathways, as if virtual figures had burst into the public realm.
Roaming in United-Islands (2025) originated as a participatory database project that invites viewers to contribute anime characters with which they feel the strongest emotional connection. The extracted colors are then converted into multiple abstract concentric circles situated within the landscape of a harbor city, reactivating both individual and collective memory. The resulting color discs not only symbolize "information interfaces" within a globalized context but also, through processes of social exchange and collective collaboration, trace the psychological trajectories and shared experiences generated in the age of digital media. In doing so, the project opens up multiple possibilities for rethinking memory, information, and cultural co-creation.
陳松志 Sung-Chih Chen
陳松志是台灣當代藝術中長期致力於現地裝置的藝術家,其創作以多樣媒材、複雜敘事與細膩描述著稱，常透過蘊含歷史的材料呈現矛盾意義與文化記憶。
在作品《倒裝的語句-16》(2022)中，他以舊式居家飾品與建材拼組成造形裝置，重構日常事物,注入記憶 、儀式與轉變的思索。網狀織布與覆滿灰塵的舊鏡，被安置於原色建材面板內外，寓示消逝與流轉，隱喻人在時空更迭中的存續與變貌，並映照中產階級的審美與文化意識的延續。
新作《無題-KEE》(2025) 則邀請觀者行走於覆滿銀色塑膠亮粉的尼龍地毯上，留下如散場痕跡般的足跡，閃爍如時間流動的光影。柔軟的材質凸顯身體、空間與物質的即時互動，足跡成為時間消逝與記憶殘留的印記，象徵個體行為對環境的微妙影響。作品將無形的時序與行為轉化為可視經驗，在完形與散落之間營造動態、暫存的美學,隱喻日常生活中價值、界限與事件的流變。
瑞安・甘徳 Ryan Gander
英國觀念藝術家瑞安·甘德以概念性視野貫穿多樣創作，常透過虛構的存在與缺席的物件開啟想像遊戲，並延伸至兒童的趣味與創造力，跳脫成人行為中受「現實」與表象束縛的框架。
他的作品多圍繞以父親身份展開，如以 1500 張明信片拼湊未完成的大理石雕塑《本能的、非生產性的與自由的(出發)》(2024)，是源自對自閉症兒子巴克斯特的二十秒動態掃描，呈現其持續運動的存在姿態。《封閉系統》(2024) 則由巴克斯特排列玩具的日常活動構成，映射他獨特的感知方式。
作品《點子機器》(2024)挑戰原創與版權的迷思，將他兩千個未實現的藝術想法化為輕巧諷刺的裝置。《無可抗拒的力量悖論》(2024) 將漫畫「動作符號」轉化為抽象圖像，邀請觀者自行詮釋；而《同理心是一種超能力嗎》(2025) 則以巨型氣球展現兒子童言提問，從入口即宣告觀者進入藝術家所營造的世界。觀看作品的同時，也敞開了一個實踐同理的雙向渠道，關乎藝術家如何創造、觀眾如何去觀看，以及在這來回的觀看關係中，我們如何形成一個共同體。
British conceptual artist Ryan Gander works across a wide range of forms with a distinctly conceptual vision. His practice often plays with fictional presences and absent objects to trigger a play of imagination, extending into the curiosity and creativity of children while breaking free from the constraints of "reality" and appearances that frame adult behavior.
Much of his work centers on his role as a father. Instinctive, unproductive and free (Departure) (2024) consists of 1,500 postcards assembled into an unfinished marble sculpture derived from a twenty-second motion scan of his autistic son, Baxter, capturing his existence through a constant state of movement. Closed Systems (2024) emerges from Baxter's everyday activity of arranging toys, reflecting his unique modes of perception.
Idea Machine (2024) challenges the myth of originality and authorship by transforming 2,000 unrealized artistic ideas into a series of witty, satirical devices. Irresistible Force Paradox (Mint Green L22R) (2024) converts "action marks" of comic books into abstract imagery, inviting viewers to create their own interpretations. Meanwhile, Is empathy a superpower? (2025) presents a giant balloon emblazoned with a question posed by his son, announcing at the entrance that visitors are stepping into a world shaped by the artist. In encountering these works, viewers also enter a reciprocal space where empathy is practiced-one that speaks to how the artist creates, how the audience perceives, and how, through this ongoing exchange, a shared sense of togetherness takes shape.
鄭先喻 Hsien-Yu Cheng
鄭先喻是藝術家兼軟體開發者，其創作涵蓋結合電子設備的藝術作品、軟體與實驗性生物電子裝置。作品聚焦於人類行為、情感以及與機器的互動，透過幽默且具創意的方式,探討科技與社會之間的關係。
在《Around 7 Meters is More Fun》 (2023)中，作品一端的參與者透過操縱搖桿，在遠端螢幕上即時繪製 影像軌跡；另一端觀察者雖能看見畫面，卻距離七公尺無法向參與者直接描述圖像。此裝置透過現場元素與視覺限制，轉化了溝通方式，使參與者與觀察者在互動中建立更緊密合作，架起可見與不可見之間的橋樑，重新定義人類感知的多重性。
Hsien-Yu Cheng is an artist and software developer whose practice spans works with electronic devices, software, and experimental bio-electronic installations. His projects focus on human behavior, emotion, and interaction with machines, exploring the relationship between technology and society with humor and inventiveness.
In Around 7 Meters is More Fun (2023), one participant uses a joystick to draw image traces in real time on a remote screen. Another observer, positioned about seven meters away, can see the image but cannot directly describe it to the participant. By combining on-site elements with visual limitations, the installation transforms modes of communication, prompting participants and observers to develop closer collaboration. It bridges the visible and the invisible, redefining the multiplicity of human perception.
謝佑承 Yu-Cheng Hsieh
台灣裝置藝術家謝佑承，長期關注光、影像與感知之間的關係，藉由重構「幻象」的場域，讓觀者在移動與凝視之間體驗影像生成之本質。
本展新作《雨點》(2025)，藝術家將無數個由一公分光柵三變卡製成的彩色圓點散落於白牆，觀者穿梭其間時，光柵效應使色彩閃爍流動，感受一場不斷變化的「雨之視覺」。作品《白露》(2021)也與此呼應,以 電視螢幕為載體，拍攝水滴滑落的過程，揭示圖像、像素與媒介之間的結構關係，將影像像素還原為物質性層次，挑戰觀者既有的觀看習慣。
螢光系列代表作《大幕》(2023) 則以巨型珠簾構築如同 LED 螢幕般的浮空景觀，珠面覆以螢光漆料，光點隨人群移動交錯、閃爍,形成兼具場景與演出的沉浸空間。《大幕》在本展中，更進一步延伸為瀑布般傾瀉的光點意象，營造介於虛構與現實之間的奇幻場域。
Taiwanese installation artist Yu-Cheng Hsieh explores the relationship between light, image, and perception. By reconstructing spaces of "illusion," he invites viewers to experience the essence of image formation through movement and gaze.
His new work for this exhibition, Rainfall (2025), scatters countless colored dots made from one-centimeter lenticular sheets across a white wall. As viewers move among them, the lenticular effect causes the colors to flicker and shift, creating a constantly changing "visual rain.” This resonates with White Null (2021), which uses a television screen to record the descent of water droplets, revealing the structural links between image, pixel, and medium. The work restores the pixel to a material dimension, challenging habitual ways of seeing.
Cyclorama (2023), the signature piece of his fluorescent series, employs a monumental bead curtain to form a floating landscape reminiscent of an LED screen. Each bead is coated with fluorescent paint, creating a shimmering field of light that intersects and flickers as people pass through, transforming the space into both stage and performance. In this exhibition, Cyclorama is further extended into the image of a cascading waterfall of light, evoking a fantastical realm between fiction and reality.