New Taipei City Art Museum Exhibition Audio Guide

The audio guide will be available soon. ------------------- NTCAM Collection: Between Arts and Folk Cultures 2026.05.09-08.02 Curatorial｜Research and Collection Department of NTCAM Artists｜WU Wang-ju, HU Chia, GUO Dung-jung, LIAO Shiou-ping, YUAN Chin-taa, SO Yo-hen, LI Jiun-yang, LEE Shi-chi, PENG Hung-chih, SHEN Chao-liang

The audio guide will be available soon. ------------------- NTCAM Collection: Between Arts and Folk Cultures 2026.05.09-08.02 Curatorial｜Research and Collection Department of NTCAM Artists｜WU Wang-ju, HU Chia, GUO Dung-jung, LIAO Shiou-ping, YUAN Chin-taa, SO Yo-hen, LI Jiun-yang, LEE Shi-chi, PENG Hung-chih, SHEN Chao-liang

The audio guide will be available soon. ------------------- NTCAM Collection: Between Arts and Folk Cultures 2026.05.09-08.02 Curatorial｜Research and Collection Department of NTCAM Artists｜WU Wang-ju, HU Chia, GUO Dung-jung, LIAO Shiou-ping, YUAN Chin-taa, SO Yo-hen, LI Jiun-yang, LEE Shi-chi, PENG Hung-chih, SHEN Chao-liang

The audio guide will be available soon. ------------------- NTCAM Collection: Between Arts and Folk Cultures 2026.05.09-08.02 Curatorial｜Research and Collection Department of NTCAM Artists｜WU Wang-ju, HU Chia, GUO Dung-jung, LIAO Shiou-ping, YUAN Chin-taa, SO Yo-hen, LI Jiun-yang, LEE Shi-chi, PENG Hung-chih, SHEN Chao-liang

Script of this episode// Fly with Pacha, into the Aerocene portrays the long-standing collaboration between the Aerocene Foundation and Indigenous Communities in northern Argentina. Their collective resistance against industrial lithium mining defends ancestral lands and the vital water that supports them. Extending this gesture, the Fairclouds project invited local and Argentine communities to draw cloudscapes of these salt flats. These "imagined clouds" emerge as an intergenerational artwork, connecting participants to more just cycles of water, memory, and life. Oriented toward weather-dependent interdependency, Aerocene presents for the first time in Taiwan, Museo Aero Solar: a flying museum built from reused plastic bags, collectively assembled by participants and lifted only with the heat of the Sun. This aerosolar sculpture proposes flight without fossil fuels: at once a sculpture, a climate action, and a gesture of commoning. Museo Aero Solar is an invitation to build and dream collectively. ----------------------------------------------------- Tomás Saraceno: Interwoven 2026.03.21–2026.09.06 NTCAM Gallery 6A、6B

Script of this episode// In the room of Thermodynamic Imaginary, an ecology of air, glass, and light reveals the invisible movements of energy that sustain life across scales and spectra. Aerocene sculptures float as prototypes for fossil-free flight; interconnected geodesic sculptures from the artist's long-standing Cloud Cities series mirror vapor and equilibrium, proposing alternative urbanisms. Glass works such as Pneuma and Ibytu hold air as sculptural matter, while Ha Chi Ki… captures the breath in flux. Together, the works compose a theater of thermodynamic exchange, where air becomes a medium of connection and every breath a reminder of planetary interdependence. ----------------------------------------------------- Tomás Saraceno: Interwoven 2026.03.21–2026.09.06 NTCAM Gallery 6A、6B

Script of this episode// Algor-(h)i(y)thms echoes the more-than-human architectures introduced earlier, transforming the spider/web into an inhabitable, tensile environment where bodies encounter new forms of connectivity and balance. Participants are invited to experience a different physics of coexistence, where movement and vibration become ways of listening. Each converging node within Algor-(h)i(y)thms corresponds to resonant frequencies across micro- and macroscopic phenomena. These range from the peak courtship signals of an orb-weaving spider to the frequencies of a halo formed by ultrarelativistic electrons surrounding a distant galactic cloud. By doing so, the artwork links our bodily perception with cosmic scales of relation. ----------------------------------------------------- Tomás Saraceno: Interwoven 2026.03.21–2026.09.06 NTCAM Gallery 6A、6B

Script of this episode// Arachnophilia refers to an affinity or fascination with spiders, in contrast to the more familiar arachnophobia. Across cultures, spiders have long been seen as beings of wisdom and mystery, and practices of "spider divination" continue today, asking spiders about past, present, and future. For over two decades, Tomás Saraceno and Arachnophilia, the interdisciplinary project-community he founded, has collaborated with spiders, observing how a spider’s woven web functions as an extension of its body to sense the world through vibration. This section features two works. Webs Of At-ten(s)ion presents intricate, three-dimensional constellations woven by different spider species—a choreography of movement, silk, and time. Though spiders in nature often avoid one another, here they weave sequentially within the same structure, forming a dialogue across time and suggesting possibilities of coexistence. How to Entangle the Universe in a Spider/web? transforms these webs into cosmic cartographies, drawing parallels between spider architectures and the filamentary networks of dark matter, inviting reflection on the invisible connections linking micro and macro worlds, earth and cosmos. ----------------------------------------------------- Tomás Saraceno: Interwoven 2026.03.21–2026.09.06 NTCAM Gallery 6A、6B

Script of this episode// What do you see in the clouds? What latencies are contained within their waters? These walls feature the intergenerational artwork Fairclouds, composed by clouds of imagination drawn by participants from local workshops and by children in Argentina. For the Communities of Salinas Grandes, water is life. They have long-defended its environment against industrial lithium mining that extracts, per tonne of this ‘white gold’, as much as 2 million liters of groundwater. In today’s world, clouds most ubiquitously embody a story of neo-colonial, industrial extraction, as physical clouds are drained and converted into fuel for digital memory and technologies of control. Fairclouds invites you to become part of a community for more just cycles of water, memory and life. You are invited to enter Interwoven and contribute to this ongoing, collective project. ----------------------------------------------------- Tomás Saraceno: Interwoven 2026.03.21–2026.09.06 NTCAM Gallery 6A、6B

Script of this episode// Welcome to the New Taipei City Art Museum. We invite you to explore Interwoven, the solo exhibition of artist Tomás Saraceno. In the 1970s, environmental movements framed “nature” as an object in need of protection and sought to return the world to a pre-industrial state of purity. Entering the twenty-first century, however, scholars introduced the concept of the Anthropocene, arguing that humans have become a geological force transforming the Earth itself. Others argue that the current era should be referred to as the Capitalocene, in which the climate crisis and pollution are driven by capitalism's relentless need for profit and growth, rather than an inherent human trait. Furthermore, this view challenges the idea of “pristine nature,” resisting binaries of touched and untouched, and recognizing that such notions of ‘returning to nature’ exclude Indigenous voices. Such cultures, in which ancestral knowledge and wisdom have guided Indigenous peoples to live in sustainable and equilibrated ways, are ones from which many of us can still learn a great deal. For more than two decades, artist Tomás Saraceno has cultivated forms of knowledge that emerge from collaboration. His Berlin-based studio functions as an experimental environment where art, science, and social action converge. Across installations, floating sculptures, and grassroots activism, Saraceno's practice invites a (re)consideration of interdependence and openness. In Interwoven, Saraceno’s first large-scale solo exhibition in Taiwan, audiences are invited to attune with and learn from the web(s) of life—together with the air, spiders, clouds, and the cosmos. Visitors will encounter immersive installations where spider/web architectures and flying museums of reused materials become vehicles to imagine a multiplicity of futures. ----------------------------------------------------- Tomás Saraceno: Interwoven 2026.03.21–2026.09.06 NTCAM Gallery 6A、6B

Script of this episode// Try to imagine: if memories were tangible, what would they be like? Would they be stretched and folded by time, or would they be worn and torn to gradually disappear? If so, what would happen to handcrafting and laboring experiences carrying these memories? How would they be transmitted, changed, or even cease little by little during generational shifts? The story begins in New Taipei City. It used to be a place where textile machines rumbled and ore rolled, with laboring rhythms engraved on bodies and the land. Of Thread and Stone is an exhibition exploring the relationships between people, events, and objects. Stones and threads are born all over the world, but they intertwine distinct stories, responding to each other in similar contexts of laboring and life. Following a strand of colorful thread or an inconspicuous crushed stone, the exhibition not only questions the functions and shapes of objects, but also further explores the colonial industries behind the thread and stone, as well as the resistance traces left at the sites of laboring activities and local lives. The journey is like an archaeological act, delving into the past while revealing our life at this moment—the light side ignored by us, along with the unspeakable dark side. ----------------------------------------------------- Of Thread and Stone ｜Curator｜TSOU Ting, WANG Han-fang ｜Artists｜Jam WU, Kieren KARRITPUL, Forensic Architecture, CHIU Chen-hung, KAO Ya-ting, CHEONG See-min, Akac Orat, Slavs and Tatars, HUANG Po-chih, Rayyane TABET、jiandyin、Nii Nami

Script of this episode// The story begins with the memories of this city. The opening exhibition of the New Taipei City Art Museum exhibited the images of the mining industry shot by the photographer CHANG Chao-tang, which not only document the laboring body, but also present the history of an industry that existed on this land. Stones, as a quotidian reality, used to be excavated and moved, changing the regional landscape. Thus, stones become an entry that responds to local memories. However, the entry does not merely lead to New Taipei City. Mining is actually an industrial condition that many parts of the world have or are still experiencing. Stones relate to the connections between resources, laboring, and environments wherever they are. In the exhibition, you will see the tools, notes, and photos provided by the mining laborers. The artworks will also encourage you to reflect on the influence brought by mining on the environment, as well as an always difficult problem: who is, after all, qualified to possess these excavated materials? The displayed objects and works in the venue are like ripples caused by a stone thrown into the water, spreading circle after circle to surround one story after another. You can also visit the exhibition at your will to rearrange the segments, embarking on your own adventure across varied industries, scales of time, and laboring experiences. ----------------------------------------------------- Of Thread and Stone ｜Curator｜TSOU Ting, WANG Han-fang ｜Artists｜Jam WU, Kieren KARRITPUL, Forensic Architecture, CHIU Chen-hung, KAO Ya-ting, CHEONG See-min, Akac Orat, Slavs and Tatars, HUANG Po-chih, Rayyane TABET、jiandyin、Nii Nami

Script of this episode// Have you noticed? The three displayed objects here are all from the Houtong Miner’s Culture and History Museum. The director of the museum, ZHOU Chao-nan, had worked in the mine since he was 14. After retiring and leaving the mine, he found that the stories of mining laborers were bit by bit forgotten. To maintain the memories, he called on other retired mining laborers to raise funds for establishing the Houtong Miner’s Culture and History Museum, in the hopes of preserving the gradually disappearing history. ZHOU Chao-nan started as a frontline worker and eventually became a foreman. The showcased objects are the tools he carried with him when he worked in the mine, which witnessed the laboring traces of workers day after day. Divert your eyes to another side, and you will see the notes from the overseer of the mine works. After graduating from junior college, Mr. Wang used to be the overseer of the mine works at Yingge, in charge of workplace safety and administration. What he left here are his work diaries and mining textbooks, which record the institutions, risks, and the mining world in his eyes with his personal feelings. Two different positions show two kinds of narratives. However, both of them piece together a more concrete and intimate history of the mining industry. ----------------------------------------------------- Of Thread and Stone ｜Curator｜TSOU Ting, WANG Han-fang ｜Artists｜Jam WU, Kieren KARRITPUL, Forensic Architecture, CHIU Chen-hung, KAO Ya-ting, CHEONG See-min, Akac Orat, Slavs and Tatars, HUANG Po-chih, Rayyane TABET、jiandyin、Nii Nami

Script of this episode// A stone from the other side of the world brings a distinct story. For the artist Rayyane Tabet, the heirlooms from his great-grandfather are like a stone thrown into the water, stirring ripples in his mind and opening up a broader world for him. On the surface, his great-grandfather was an assistant to an archaeologist, but in truth, he undertook a mission as a government spy to secretly surveil the archaeologist Max von Oppenheim, who travelled all the way from Germany to Syria. Through family history, Tabet realizes that archaeology is not only an exploration of knowledge, but also a realm affecting power and politics. Oppenheim transported substantial Syrian stone tablets back to Germany in the name of “cultural heritage preservation,” which were bombed during World War II and destroyed into rubble. The outcome of the stone tablets makes the statement “Artifacts are safest when being brought to the West” sound satirical. Hence, Tabet re-depicts the traces of the stone tablets through rubbing, attempting to assemble the appearance of the archaeological site. He also aims to suggest a question: Who are the appropriate ones to preserve and interpret the artifacts? Another clue comes from a gentle heirloom, a wool carpet. It is a gift from Bedouins when his great-grandfather served as the archaeological assistant. The Bedouin are ancient nomadic tribes living in the deserts, bearing a rich and delicate culture. Oppenheim wrote several ethnographical works for them, recording their different inhabited regions and genealogies. Today, the Bedouin still live on the margins of the state and society, and the carpet is not only a memory left by the artist’s great-grandfather, but also a life story of the Bedouin. ----------------------------------------------------- Of Thread and Stone ｜Curator｜TSOU Ting, WANG Han-fang ｜Artists｜Jam WU, Kieren KARRITPUL, Forensic Architecture, CHIU Chen-hung, KAO Ya-ting, CHEONG See-min, Akac Orat, Slavs and Tatars, HUANG Po-chih, Rayyane TABET、jiandyin、Nii Nami

Script of this episode// The story should be traced back to April last year. At that time, the New Taipei City Art Museum started with the history of the city, exhibiting several works related to the textile industry in Xinzhuang. The exhibition planted a seed in the curatorial team’s minds: How will the memories of the city be if we retrospect them from the perspective of the textile industry? In recent years, the curatorial team has observed that more and more artists have returned to the medium of threads. They create through weaving and handcrafting in the field of contemporary art, making cotton yarn back into the creative vision again. It is more than a choice of mediums, but much more an act that guides people to consider the laboring experiences and cultural transmission carried by threads. Like the mining industry, the textile industry used to be rooted deeply in the daily lives of New Taipei City and support countless families. Threads were pulled and entangled in factories, transmitting techniques and memories across generations. Thus, soft threads meet hard stones in the exhibition, encouraging us to think about how industries shape the city as well as our lives in the flow of time. ----------------------------------------------------- Of Thread and Stone ｜Curator｜TSOU Ting, WANG Han-fang ｜Artists｜Jam WU, Kieren KARRITPUL, Forensic Architecture, CHIU Chen-hung, KAO Ya-ting, CHEONG See-min, Akac Orat, Slavs and Tatars, HUANG Po-chih, Rayyane TABET、jiandyin、Nii Nami

Script of this episode// In the New Stone Age, stones are tools used for cutting, striking, twisting the yarn, and weaving fabrics. For archaeologists, stones are testaments to civilizations, telling the existence and history of ethnic groups silently. On the borderline between Israel and Lebanon, a stone has become a symbol of protest. In the front area of the venue, as the cultural theorist Edward Said cast a stone toward the Israeli army camp, the stone bore not only anger, but also the power of resistance. On the Ketagalan Boulevard in Taiwan, to defend their traditional living areas, the indigenous peoples endow stones with colors to draw people’s attention. Stones here become a token of bringing people together, bearing cultures, and protesting. In the creative process of the artist CHIU Chen-hung, on the other hand, stones are materials for the restoration of memories. The artist reproduces the cracks on the sculptures, demonstrating another kind of repair work. From tools to symbols, from resistance to restoration, stones roll through the ages, secretly reminding us that the most silent materials usually tend to contain the deepest power. ----------------------------------------------------- Of Thread and Stone ｜Curator｜TSOU Ting, WANG Han-fang ｜Artists｜Jam WU, Kieren KARRITPUL, Forensic Architecture, CHIU Chen-hung, KAO Ya-ting, CHEONG See-min, Akac Orat, Slavs and Tatars, HUANG Po-chih, Rayyane TABET、jiandyin、Nii Nami

Script of this episode// The final story begins in the era of American aid. The old photo in the venue shows the distribution process of supplies, whereas the photographer didn’t shoot the scene of a rattan basket on the back of an indigenous girl. Rattan baskets were often used as containers of American aid supplies. The sweaters sent to tribes were also unraveled into thread, since for Truku women, only blankets woven with their own hands, called “qabang” in the Truku language, are assets with social value. The fabric the artist Labay Eyong inherits from her grandmother is exactly the continuation of the memory. The rattan objects displayed in the venue are not merely tools for the Amis people. Rattan craft is traditionally a skill exclusive for men, and when elders pass away, rattan items in production are usually left unfinished. The semi-finished rattan basket in the exhibition venue, called “fakar” in the Amis language, was passed on to the artist Akac Orat by a tribal elder’s partner after his death, in hopes that the rattan basket would be completed one day. It also signifies that the craft still awaits being passed down. These woven and braided items connect life, laboring, and culture. They show us that every thread and every object in our hands holds memories and histories of ethnic groups. ----------------------------------------------------- Of Thread and Stone ｜Curator｜TSOU Ting, WANG Han-fang ｜Artists｜Jam WU, Kieren KARRITPUL, Forensic Architecture, CHIU Chen-hung, KAO Ya-ting, CHEONG See-min, Akac Orat, Slavs and Tatars, HUANG Po-chih, Rayyane TABET、jiandyin、Nii Nami

[The script of this episode] This exhibition is presented by the artist collective You Don’t Know Me At All. Its title is a playful take on the lyric, “If this ain’t love, then why am I so heartbroken?” At first, it might sound like a song about romance—but the artists ask, is it really just about love? They contrast the “Ai” in the lyric, pointing to artificial intelligence, with “Bi,” which echoes the Taiwanese Hokkien word for sorrow (pi-ai). Using dark humor and clever wordplay, the works create a space where meanings can shift, letting each viewer discover new ways of understanding. The exhibition begins with two place names that are often confused: Taiwan’s North Coast and Japan’s Hokkaido. It makes you wonder: is your sense of familiarity with a place shaped by personal experience, or by seeing similar images over and over on social media? Through imagery, spatial design, and sound, the artists present home videos and street interviews filmed during their travels. Merchandise promoted on social media is transformed into site-specific installations and paintings, questioning the ties between tourism, consumption, and branding. Found objects such as souvenirs and trinkets are used to unpack the emotional bond between Instagram-ready landmarks and their viewers. Inspired by a shared theme while extending their individual practices, the participating artists— Ciou Zih-yan, Ni Hsiang, Feng Chih-ming, and Chien Chih-feng—respond to issues of technology and the artificial, piracy and imitation, tourism and consumption, as well as labor and art. Through imagery, light, and sound, they invite viewers into a space of overlapping narratives, encouraging reflection on physical experience suspended between reality and fiction. ---------- If this ain’t Ai, don’t make me Bi. 2026.01.17-04.12 ｜Artists｜ Ciou Zih-yen, Ni Hsiang, Feng Chih-ming, Chien Chih-feng ｜More Information｜https://ntcart.museum/en/exhibition_content.aspx?id=H2512001

[The script of this episode] What do you see in the work before you? This is a working space set up by the artist in the public area of the lobby, inspired by a desk found in museum storage. Here, you are invited to use material left over from past exhibitions to make your own artwork. Take a trip down memory lane, and recall what it felt like to make art by hand as a child. The works created by participants are then placed in Vending Machine, an artwork located outside Gallery 4A, where they are sold as souvenirs. In this process, the viewer becomes more than just a viewer, but a maker and co-creator. When another visitor purchases one of these works, they are, in effect, paying for someone else’s fruits of labor. What, then, is carried away: a beautiful memory, or a lingering grudge? There is always a fine line between the two. In our experience of travel, souvenirs often stand for objects that preserve beautiful memories. By transforming the form of souvenirs, the artist asks: do we live in mementos of sorrow, or in memories of difficult times? Due to the limitations of the museum system, the proceeds from this transformation of artistic labor and economic value will not change the current overwork of art administrators or participating artists. What it can do, however, is act as a temporary lifeline for this Bi (sad) art industry, allowing us to see the long-standing structural overexploitation in the field. ---------- If this ain’t Ai, don’t make me Bi. 2026.01.17-04.12 ｜Artists｜ Ciou Zih-yen, Ni Hsiang, Feng Chih-ming, Chien Chih-feng ｜More Information｜https://ntcart.museum/en/exhibition_content.aspx?id=H2512001

[The script of this episode] The vending machine in the public area on the 4th floor was inspired by one of the artist’s trips to Japan. What struck him most on that trip were the countless vending machines scattered across the city. Think about your own travels: have you ever spotted one tucked on a street corner, at a train station, or in a quiet alley? They seem convenient, yet somehow they blend into the city. Because the artist didn’t speak the local language, every time he put in a coin, it was like opening a mystery box—he never knew what would come out. For this artwork, the artist has given the machine a playful twist: when a visitor inserts coins, it plays prerecorded music and sound effects at random. The merchandise in the machine comes mostly from leftover materials from the artist’s past art-making process, or works created by participants in Get Off Work on Time. Through these quirky objects, the viewer is invited to reconsider the act of purchse and the element of chance within it, as well as the lingering emotions that inhabit everyday life and labor. ---------- If this ain’t Ai, don’t make me Bi. 2026.01.17-04.12 ｜Artists｜ Ciou Zih-yen, Ni Hsiang, Feng Chih-ming, Chien Chih-feng ｜More Information｜https://ntcart.museum/en/exhibition_content.aspx?id=H2512001

[The script of this episode] Before entering the exhibition space, the viewer will first encounter this wall. Inspired by poster walls, the artist rearranges images from signs, advertisements, and billboards using collage, reorganization, and symbolic suggestion. These images reference the familiar travel promotions and commercial branding of Japan’s Hokkaido and Taiwan’s North Coast. The artist invites the viewer to rethink: how is our imagination of tourist attractions being shaped? In this work, the artist intentionally highlights painting’s original function: as a decorative medium. He reconfigures the front hall of the exhibition space using painting and mixed media. In doing so, he responds to the conventional display framework, while reimagining the relationship between the artwork and the space around it. Beneath your feet, the floor is patterned like sea waves, evoking the leisurely strolls people take along the beach on vacation. Alongside the souvenirs in Vending Machine, the artist turns his attention to the traces left behind on each trip—the items that were once cherished as merchandise, only to eventually become discarded objects. ---------- If this ain’t Ai, don’t make me Bi. 2026.01.17-04.12 ｜Artists｜ Ciou Zih-yen, Ni Hsiang, Feng Chih-ming, Chien Chih-feng ｜More Information｜https://ntcart.museum/en/exhibition_content.aspx?id=H2512001

[The script of this episode] As you enter the exhibition space, a giant ceiling fan looms overhead. Doesn’t it look both familiar and a little out of place? While reading about visual artifacts generated by AI, the artist was reminded of the fan in his old home. Left without care for years, its blades slowly swelled and warped in the humid air—much like the glitches and strange distortions you see in AI-generated images. Recreated from the artist’s memory, the fan now rotates at an almost imperceptible speed. Standing beneath it, do you feel the quiet weight of stagnation or fatigue, the kind that makes you pause and face reality? This slowly turning fan captures a state of mind: tired and discouraged, yet still functioning, despite the challenges life throws our way. ---------- If this ain’t Ai, don’t make me Bi. 2026.01.17-04.12 ｜Artists｜ Ciou Zih-yen, Ni Hsiang, Feng Chih-ming, Chien Chih-feng ｜More Information｜https://ntcart.museum/en/exhibition_content.aspx?id=H2512001

[The script of this episode] The artist collective You Don’t Know Me At All was founded in the summer of 2015 by a group of young artists passionate about contemporary art. Their practice responds to Taiwan’s historical, political, and everyday realities through remaking, performance, sound, and video installation. Working from the perspective of the Other, they explore contemporary life in its many forms. In recent years, their focus shifts toward the changes in their hometowns and their own formative experiences, prompting a renewed reflection on the relationship between contemporary life and the individual. This exhibition is a collaboration between Ciou Zih-yan, Ni Hsiang, Feng Chih-ming, and Chien Chih-feng, developed with creative partner Chang Li-ren. In Tidal Installation, various found objects and modified items are suspended from a truss on the ceiling. When things usually seen on the floor are moved overhead, you might begin to wonder: what is the subject of the exhibition? And what is the background? This inverted display challenges our usual expectations of what an exhibition should be, and how it is meant to be seen. Set between Taiwan’s North Coast and Japan’s Hokkaido, the work brings together images, home videos, and street interviews, as well as popular subjects and memes drawn from news and social media. Through personal visits, the artists rethink the connections between local settings, tourism, consumption, and souvenirs. The work transitions between day and night modes. In day mode, the space resembles a factory, or feels as if the exhibition has yet to open, challenging the viewer’s assumptions. When placed alongside different narrations of Emotional Universes by Feng Chih-ming, the work reconfigures the relationship between sound, image, and space. ---------- If this ain’t Ai, don’t make me Bi. 2026.01.17-04.12 ｜Artists｜ Ciou Zih-yen, Ni Hsiang, Feng Chih-ming, Chien Chih-feng ｜More Information｜https://ntcart.museum/en/exhibition_content.aspx?id=H2512001

[The script of this episode] Skilled in sound design, Feng Chih-ming transforms sound technology into an almost hallucinogenic medium. Mapping a field through hypnotic sounds, he guides the viewer into a heightened perceptual world. Space is reconfigured by audio systems positioned throughout the environment, producing an enveloping surround soundscape. As you stand within the space, sound seems to flow and move, altering your perception of spatial relations. The artist further integrates speaker units into a kinetic installation, transforming what was once intangible into a perceptible medium. Sound is no longer just something you hear, but a palpable presence in the space. What does it make you feel? As sound continues to operate within the environment, paired with the multi-channel video of Tidal Installation and its varying narrations, the viewer’s emotions rise and fall through their engagement with the imagery. ---------- If this ain’t Ai, don’t make me Bi. 2026.01.17-04.12 ｜Artists｜ Ciou Zih-yen, Ni Hsiang, Feng Chih-ming, Chien Chih-feng ｜More Information｜https://ntcart.museum/en/exhibition_content.aspx?id=H2512001

[The script of this episode] In the final section, Yin Zi-Jie’s Tissue reemerges. The artist traces the origin of tissue paper by visiting artificial forests in Indonesia. In the exhibition space, paper tubes with diameters matching the harvested trees are arranged according to the spacing of such plantations. This setting prompts us to reflect on how a single sheet of paper may represent the loss of an entire forest. Meanwhile, viewers can experience Yannick Dauby’s Upstream Meanders in the same space, which includes several chapters of sound recordings representing sounds gathered along his journey from Xindian to Yingge. The upstream symbolizes retracing the origin. Traveling upstream means reflecting on the past as well as understanding habitats. Through the interplay of sound and installation, this work evokes a sense of shelter. Finally, Hsu Ting’s Particles by the Window series is displayed in a space filled with flowing natural light. She starts in her studio, capturing fleeting dust particles illuminated by sunlight, viewing them as a source of inspiration. At the same time, her studio is like a small ecosystem that sustains her everyday life. These three artists collectively respond to the subtheme, “Satoyama,” by creating metaphors that highlight the strong bond between humanity and nature. Although fear persists, we have always found protection through healing. Architecture, born from the need for safety, also reminds us to understand and address the fear and healing of others. ---------- The Architecture of Fear and Cure 2025.10.04-2026.01.25 ｜Curator｜ROAN Ching-yueh ｜Artists｜YIN Zi-jie, Boonserm PREMTHADA, WU Tseng-jung, WU Yao-tung, MATSUDA Kazuhisa, HUNG Hao-chun, HSU Ting, FU Chang-feng, Divooe ZEIN, FCHY Architect Lab, LIAO Wei-li, Yannick DAUBY, CHEN Donghua, Kay Ngee Tan Architects, LAI Po-wei, KU Shih-yung ｜More Information｜https://ntcart.museum/EN/exhibition/H2508001

[The script of this episode] As you move to the next section, you will encounter two large-scale installations. The first is The Unfinished Distance by Singapore-based architectural firm Kay Ngee Tan Architects. Echoing the subtheme “The Law of Architecture,” this work uses square structures to explore how we perceive and experience the transition of spatial distance, inviting viewers to feel the changes of the work in space. The next work is Thai architect Boonsorn Premthada’s Medicine Chapel. Since ancient times, Thailand has cultivated a rich tradition of herbal healing. The chapel features a semi-enclosed space made with dried pluang leaves, blending medical symbolism with spiritual elements. As visitors enter the installation, they will encounter a dim, tranquil atmosphere filled with a pervasive scent, experiencing how architecture has accompanied humanity from fear to healing. Further ahead is the section “The Shape of Shadow,” curated by Chinese architect Chen Donghua. This section focuses on architectural experiences in tropical climates as a starting point to examine the everyday and public nature of shadow in southern China. The section showcases typical southern living scenes, using shade as a spatial language to explore the distinct meaning of “locality” amid the waves of globalization. ---------- The Architecture of Fear and Cure 2025.10.04-2026.01.25 ｜Curator｜ROAN Ching-yueh ｜Artists｜YIN Zi-jie, Boonserm PREMTHADA, WU Tseng-jung, WU Yao-tung, MATSUDA Kazuhisa, HUNG Hao-chun, HSU Ting, FU Chang-feng, Divooe ZEIN, FCHY Architect Lab, LIAO Wei-li, Yannick DAUBY, CHEN Donghua, Kay Ngee Tan Architects, LAI Po-wei, KU Shih-yung ｜More Information｜https://ntcart.museum/EN/exhibition/H2508001

[The script of this episode] After moving past the “planet” and “air,” the next section on the right wall features works by Wu tseng-jung, an artist who shifted from architecture to painting. This exhibition includes five of his pieces related to architecture, such as his competition entry for the 228 Memorial Monument and a painting of the Taipei City Government. These works showcase his distinctive vision, shifting fluidly between painting and architecture. On the left side of the section are two screening rooms, each showing a documentary: The first, Wu yao-tung’s The Journey—A film about Chen Kuen Lee features the life of the late architect Lee Chen-Kuen, with insights from five architects and scholars. The second, Fu Chang-Feng’s Deep Current – Architecture of Taiwan series examines the transformation of modern architecture in postwar Taiwan. This exhibition showcases the episode featuring architect Lee Chu-Yuan and his role in the evolving architectural landscape of power structure. On display between the two screening rooms is Hung Hao-chun’s Plug-in Paradise. Inspired by the use of plug-ins and add-ons in traditional Taiwanese architecture, this work reflects on how, facing economic and spatial constraints, ordinary people have shaped a uniquely Taiwanese architectural culture.. Entering the work feels like stepping into the story of “The Peach Blossom Spring,” providing a healing experience that transitions from darkness to light. ---------- The Architecture of Fear and Cure 2025.10.04-2026.01.25 ｜Curator｜ROAN Ching-yueh ｜Artists｜YIN Zi-jie, Boonserm PREMTHADA, WU Tseng-jung, WU Yao-tung, MATSUDA Kazuhisa, HUNG Hao-chun, HSU Ting, FU Chang-feng, Divooe ZEIN, FCHY Architect Lab, LIAO Wei-li, Yannick DAUBY, CHEN Donghua, Kay Ngee Tan Architects, LAI Po-wei, KU Shih-yung ｜More Information｜https://ntcart.museum/EN/exhibition/H2508001

[The script of this episode] The following two works explore the subtheme, “The Law of Architecture,” starting with fundamental principles and perspectives on architecture. Next to The Cold Shot, the large-scale metal installation titled Architecture as Air is a work by FCHY Architect Lab, formed by Yang Hsiu-Chuan and Kao Ya-Feng. Inspired by the flow and permeability of air, they examine how invisible elements can be sensed through temperature, convection, and disturbance, and how it might be constructed into a collective presence between what exists and what does not. On the other side of the canopy is architect Matsuda Kazuhisa’s The Planet of Nobody / Collective Unconscious. Inside this semi-translucent sphere, the artist draws inspiration from sand tray therapy, creating an environment that simulates storms and tremors. Visitors are invited to step into the planet to observe the interaction between individuals and groups in unstable conditions, while searching for the possibility of coexistence between self-interest and altruism. ---------- The Architecture of Fear and Cure 2025.10.04-2026.01.25 ｜Curator｜ROAN Ching-yueh ｜Artists｜YIN Zi-jie, Boonserm PREMTHADA, WU Tseng-jung, WU Yao-tung, MATSUDA Kazuhisa, HUNG Hao-chun, HSU Ting, FU Chang-feng, Divooe ZEIN, FCHY Architect Lab, LIAO Wei-li, Yannick DAUBY, CHEN Donghua, Kay Ngee Tan Architects, LAI Po-wei, KU Shih-yung ｜More Information｜https://ntcart.museum/EN/exhibition/H2508001

[The script of this episode] Stepping into the next section, you will be greeted by Yin Zi-jie’s Tissue. Using common tissue paper, she has created canopy-like installations. This series of works is scattered throughout the gallery, seamlessly blending with Yannick Dauby’s sound creations, collectively exploring the connection between life, nature, and industry chains through a rich, multi-sensory experience. Walking past the canopy, you’ll see Liao Wei-Li’s* The Tender Span Between Time and Space—A Room of Mother's* on the rear wall. This series of pen sketches documents the artist’s visits to his ninety-six-year-old mother. Dozens of drawings capture his mother’s changes in everyday life and psychological states at different moments and from various angles, weaving a visual record of time’s passage. To the artist, his mother becomes the symbol of home—a sanctuary for body and mind—echoing the exhibition’s subtheme “Calling.” Looking diagonally ahead on the wall, you will find Divooe Zein’s collection of objects gathered over the years from indigenous villages in Taiwan. These include hunting tools, ritual objects, ceremonial artifacts, and musical instruments. Each object not only originates from survival needs but also embodies a shared reverence for heaven and earth. His work, The Cold Shot, invites us to consider whether modern society still recognizes and continues the spiritual significance of such objects or if we only see them as material objects to admire. ---------- The Architecture of Fear and Cure 2025.10.04-2026.01.25 ｜Curator｜ROAN Ching-yueh ｜Artists｜YIN Zi-jie, Boonserm PREMTHADA, WU Tseng-jung, WU Yao-tung, MATSUDA Kazuhisa, HUNG Hao-chun, HSU Ting, FU Chang-feng, Divooe ZEIN, FCHY Architect Lab, LIAO Wei-li, Yannick DAUBY, CHEN Donghua, Kay Ngee Tan Architects, LAI Po-wei, KU Shih-yung ｜More Information｜https://ntcart.museum/EN/exhibition/H2508001

[The script of this episode] The exhibition begins with the “Ceremony” section. As you step into the gallery, the first thing that catches your attention is Lai Po-wei’s Parasitic Temples—an installation of hanging beadwork shaped like a temple roof. Lai has long explored these small temples in urban areas. Through field research, he carefully documents and categorizes them. The photos and materials on the walls present the result of his dedicated work over the years. The accompanying book on display provides a diverse and thorough examination of Taiwan’s micro religious spaces. As you continue through the gallery, you might notice the sounds of drums from across the gallery. This work, Ku Shih-Yung’s* Echo*, features eight large stone images on the wall, each covered with a layer of stone powder and attached to drumsticks on pedals. You are invited to remove your headphones and step onto the pedals, feeling the drumstick’s impact on the canvas, which causes the stone powder to fall like dust. Meanwhile, the drumsticks also trigger sounds inspired by nature, such as birds singing, insects chirping, streams flowing, or thunder roaring. These sounds echo through the space like in a valley, revealing nature’s energy and evoking a sense of awe toward unknown forces. ---------- The Architecture of Fear and Cure 2025.10.04-2026.01.25 ｜Curator｜ROAN Ching-yueh ｜Artists｜YIN Zi-jie, Boonserm PREMTHADA, WU Tseng-jung, WU Yao-tung, MATSUDA Kazuhisa, HUNG Hao-chun, HSU Ting, FU Chang-feng, Divooe ZEIN, FCHY Architect Lab, LIAO Wei-li, Yannick DAUBY, CHEN Donghua, Kay Ngee Tan Architects, LAI Po-wei, KU Shih-yung ｜More Information｜https://ntcart.museum/EN/exhibition/H2508001

[The script of this episode] Welcome to the exhibition “The Architecture of Fear and Cure." This audio guide will lead you along the exhibition route to explore the exhibition space and the artworks. The origin of architecture stems from our need for shelter. Like other living beings, humans depend on architecture to protect themselves from natural disasters, diseases, and threats. However, when fear and healing come together, it can create feelings of chaos and unease, as well as a desire for order and stability. These feelings are, in fact, fundamental aspects of life. In modern society, this pursuit is often overlooked in architecture and cities. Instead, they often fall into what philosopher Georges Bataille described as a dilemma: the expansion of the self, the ultimate void, the scorn of the others, the thunderous shout, the gaze into the past ill-fated grandeur. This exhibition begins with this problematic and invites everyone to reflect together. This exhibition is organized into four subthemes: “Ceremony,” “The Law of Architecture,” “Calling,” and “Satoyama.” With voices, visuals, and installations created by 16 architects and artists, let’s embark together on a journey of exploring the complex relationship between architecture and life. ---------- The Architecture of Fear and Cure 2025.10.04-2026.01.25 ｜Curator｜ROAN Ching-yueh ｜Artists｜YIN Zi-jie, Boonserm PREMTHADA, WU Tseng-jung, WU Yao-tung, MATSUDA Kazuhisa, HUNG Hao-chun, HSU Ting, FU Chang-feng, Divooe ZEIN, FCHY Architect Lab, LIAO Wei-li, Yannick DAUBY, CHEN Donghua, Kay Ngee Tan Architects, LAI Po-wei, KU Shih-yung ｜More Information｜https://ntcart.museum/EN/exhibition/H2508001

Introduction [The script of this episode] During its preparatory phase, the New Taipei City Art Museum began to trace the history of experimental art in the 1990s, a chapter often described as “the greatest carnival of the late 20th century,” through publications, forums, and other initiatives. Relational Field emerges from this research-driven approach, focusing on the artistic practices at the Taipei County Cultural Center between 1992 and 1997, combining interviews and archival documentation with works by artists who were active in the 1990s and continue to make art today. Together, these elements re-map the artistic networks of that era, networks shaped by interdisciplinary collaboration and international exchange, and illuminate the avant-garde spirit that fueled them. Beginning in 1992, the Taipei County Cultural Center drew public attention to local issues, such as environmental ecology and folk belief, through its exhibition themes and the reform of the Taipei County Art Exhibition. During this time, noise art also began to flourish, seeking to disrupt the social order. Critics have since dubbed this period the “wild 90s.” If 1980s art helped open a window on democracy and diversity in public space, then 1990s art sought to break free from systemic constraints by initiating a new dialogue with the environment, sound, and folk traditions, ultimately building a new cultural landscape rooted in local sensibilities. This research exhibition offers a lens into the environmental trauma caused by river pollution, while highlighting the humanitarian concern intrinsic in artistic practice. From river basins to mountain ranges, Relational Field charts* Taiwan’s journey toward a form of self-naming th*rough an interdisciplinary approach, spanning archaeology, geology, geography, anthropology, and curating, as we reflect on the land that has nurtured us. ---------- Relational Field: The Cultural Landscape of New Taipei in the 1990s 2025.08.16-12.21 ｜Curator｜ WANG Pin-hua ｜Artists｜ WANG Fujui, WU Mali, LIN Chi-wei, YAO Jui-Chung, KAO Jun-honn, HUANG Ming-chuan, LIU Chen-hsiang ｜Oral Archive Providers｜ Sisy CHEN, CHIEN Ming-hui ｜More Information｜https://ntcart.museum/EN/exhibition/H2507001

The Reform of the Taipei County Art Exhibition and the Environmental Art Festival [The script of this episode] The timeline in front of you shows how, beginning in the 1990s, the Taipei County Cultural Center reformed its art exhibition system to emphasize environmentally reflective themes. These reforms encouraged artists to engage with social issues and environmental concerns, opening up broader, freer directions for artistic practice at the time. Within the timeline section, you’ll find a map of the Tamsui River basin, including the Keelung River, Dahan River, and Xindian River. This map originally appeared in the 1993 exhibition catalogue View on the Tamsui River in 50 Years, curated by Chang Chao-tang and Liu Chen-hsiang. The exhibition featured photography related to the Tamsui River, and the map was printed across a full spread in the catalogue, marking the locations where the photographs were taken. It visually captured the cultural landscapes of the Tamsui River across different historical periods. Looking back today, this river basin map has come to symbolize the 1990s concept of a watershed-based cultural landscape. Next, take a look at the brochures for the Taipei County Art Exhibition displayed in the case. These are from 1993 to 1997, and you’ll notice that each year brought subtle changes. The most significant turning point came in 1994, when the exhibition adopted the approach of responsible art critic. That year, the organizers eliminated the traditional classification by medium and the multi-judge evaluation system, replacing them with two categories: an open call and a special call. Art critics Lien Te-cheng and Ni Tsai-chin were invited to serve as jurors for each category, with Ni also curating the special call, which focused on environmental art. This reform sparked heated debate at the time. In response, a group of young artists even organized an alternative Exhibition of Artworks Rejected by the Taipei County Art Exhibition, calling on all rejected applicants to join the exhibition as a form of protest, questioning the legitimacy and fairness of the newly reformed system. ---------- Relational Field: The Cultural Landscape of New Taipei in the 1990s 2025.08.16-12.21 ｜Curator｜ WANG Pin-hua ｜Artists｜ WANG Fujui, WU Mali, LIN Chi-wei, YAO Jui-Chung, KAO Jun-honn, HUANG Ming-chuan, LIU Chen-hsiang ｜Oral Archive Providers｜ Sisy CHEN, CHIEN Ming-hui ｜More Information｜https://ntcart.museum/EN/exhibition/H2507001

Chien Ming-hui: A Provider of Oral and Documental Archives [The script of this episode] What prompted the series of reforms at the Taipei County Cultural Center beginning in 1992? One of the key figures was Chien Ming-hui, the project officer from the Museum Division of the Taipei County Cultural Center at the time. Back then, the title “curator” did not yet exist. But Chien was an important driving force behind this avant-garde exhibition program. He introduced a number of innovative changes: reforming the Taipei County Art Exhibition system, appointing art critics as curators, inviting experimental artists outside the mainstream to present their work, and highlighting diverse forms of artistic practice. The complete photo album of the 1995 Taipei County Art Exhibition is on view in the display case, along with press coverage reflecting both praise and criticism. These materials are part of Chien’s carefully assembled archive. He also invited a photographer and a documentarian to capture the exhibition in photography and video. These visual records offer a glimpse into the atmosphere of that time. The video on display stands as evidence of Chien’s commitment to reform. Although his official position was that of a government project officer, Chien Ming-hui had long been an exhibition organizer and a dedicated arts professional. He built horizontal connections across public and private institutions, non-profit organizations, and alternative spaces, working tirelessly to weave together a professional network grounded in Taiwanese contemporary art. ---------- Relational Field: The Cultural Landscape of New Taipei in the 1990s 2025.08.16-12.21 ｜Curator｜ WANG Pin-hua ｜Artists｜ WANG Fujui, WU Mali, LIN Chi-wei, YAO Jui-Chung, KAO Jun-honn, HUANG Ming-chuan, LIU Chen-hsiang ｜Oral Archive Providers｜ Sisy CHEN, CHIEN Ming-hui ｜More Information｜https://ntcart.museum/EN/exhibition/H2507001

Taipei County Art Exhibition (1995, 1997) [The script of this episode] The 1995 Taipei County Art Exhibition continued responsible art critic, with Lin Hsin-yueh curating Resurgence on the Tamsui River. By 1997, Shih Jui-jen had assumed the formal role of curator for the 8th Taipei County Art Exhibition, using the image of the river as a maternal figure to evoke a shared origin of Asian civilizations. His curatorial vision brought together artists from across East Asia for this exhibition in Taipei. The archives in the display case offer a glimpse into past editions of the Taipei County Art Exhibition, featuring materials such as contracts, selection notices, open call agreements, invitations, promotional materials, artist manuscripts, and fieldwork documentation. On full display are the challenges encountered when artworks were planned to be relocated from indoor to outdoor settings. Some artists even created works by organizing events. It is worth noting that the organizers of the 1997 Taipei County Art Exhibition included public sector bodies and private arts organizations, including alternative spaces. The exhibition venues extended across Taipei City and Taipei County. Looking back on the art scene of the 1990s, we see a deep concern with and reflection on environmental issues. The works from that era lay bare the ecological wounds left by river pollution. Today, artists continue to create in response to the land, walking into river basins and mountain forests, as they delve further into the often-invisible social fabric that underpins our contemporary cultural landscape. ---------- Relational Field: The Cultural Landscape of New Taipei in the 1990s 2025.08.16-12.21 ｜Curator｜ WANG Pin-hua ｜Artists｜ WANG Fujui, WU Mali, LIN Chi-wei, YAO Jui-Chung, KAO Jun-honn, HUANG Ming-chuan, LIU Chen-hsiang ｜Oral Archive Providers｜ Sisy CHEN, CHIEN Ming-hui ｜More Information｜https://ntcart.museum/EN/exhibition/H2507001

Zhongyuan Pudu Religious Arts Festival [The script of this episode] Between 1992 and 1996, the Taipei County Cultural Center organized a special event each year: the Zhongyuan Pudu Religious Arts Festival. More than just an ordinary temple gathering, it was a pioneering celebration that brought together religion, art, and pressing social issues. The planner of the first edition was Sisy Chen, who founded the Girl’s Shrine Folk Culture Studio to organize the event. In the video shown here, she recalls how the traditional rituals were reimagined to strengthen their relevance to modern society for the 1992 edition. Alongside customary pudu rites such as street parades and water lantern ceremonies, the event featured workshops where elementary schoolchildren and minority groups were invited to create their own lanterns and express their artistic visions, bridging ritual with everyday life. Sculpture workshops for county residents, as well as public dance and theater performances, further expanded community participation. The chief executive of the second edition was Ho Tian-tian, with Liu Chen-hsiang serving as the official photographer. This 1993 edition, titled Pudu of the Tamsui River, mourned the river’s lost spirit, polluted and neglected over the years, likened to Taiwan’s largest wandering ghost. Organized by Li Chi’s Folk Art Studio, the third through fifth editions continued with customary pudu rites, alongside film screenings, theater performances, and art exhibitions held in riverside containers. The 1994 edition, themed Modern Hell, evoked the emptiness and chaos of urban life, while the 1995 edition centered on humanitarian concerns, serving as a rallying cry for urgent social issues. The five editions of the Religious Arts Festival, in hindsight, were part of a trailblazing experiment. More than an arts festival, it was a cross-disciplinary collective action. Participants included artists, social activists, local temples, and the public. What remains striking is how the concept of pudu extended beyond the traditional act of relieving and redeeming wandering spirits. It was reimagined as a public action aimed at society and marginalized communities. Ultimately, it became a response to the reality of Taipei County and its migrant population, fostering a more inclusive sense of belonging. ---------- Relational Field: The Cultural Landscape of New Taipei in the 1990s 2025.08.16-12.21 ｜Curator｜ WANG Pin-hua ｜Artists｜ WANG Fujui, WU Mali, LIN Chi-wei, YAO Jui-Chung, KAO Jun-honn, HUANG Ming-chuan, LIU Chen-hsiang ｜Oral Archive Providers｜ Sisy CHEN, CHIEN Ming-hui ｜More Information｜https://ntcart.museum/EN/exhibition/H2507001

Yao Jui-chung Roaming Around the Ruins I – The Civilization Built by Skeleton 1996 Gelatin silver prints 42 x 60 cm / each, 36 in total Collection of New Taipei City Art Museum Roaming Around the Ruins – The Civilization Built by Skeleton & Paradise Lost 1992-2001 Giclée prints 150 x 100 cm / each, 9 in total Single-channel video (color, sound) 15’00” Posters 60 x 85 cm [The script of this episode] The series of works you see here is Roaming Around the Ruins – The Civilization Built by Skeleton by Yao Jui-chung. Begun in 1991, the project spanned 14 years, during which the artist traveled across Taiwan to photograph abandoned spaces and buildings. Most of these ruins were left behind due to industrial relocation, such as the Songshan Cigarette Factory in Taipei, the Sintung Sugar Factory in Dulan, Taitung, or former export processing zones that once flourished but were eventually shut down. The nine pieces on view here were selected by the artist specifically for this exhibition. Taken between the 1990s and 2000s across what is now New Taipei City, the works portray deserted landscapes from the Shuinandong Smelter in Ruifang, a sewage treatment plant in Bali, the UFO Houses in Sanzhi, to Hongludi in Zhonghe and the Zhenzhuling Amusement Park in Linkou. Each site tells a decades-old story that invites reflection. Through the artist’s lens, the ruins are no longer merely derelict buildings, but silent archives that prompt us to consider why these places fell into decay, and what industries once thrived there. Yao began his journey of climbing Taiwan’s 100 Peaks when he started a mountain climbing club in college. This also marked the beginning of his photography series on ruins, in which he documented large, abandoned buildings on the urban fringes and in remote mountain areas. These desolate ruins, like cautionary tales, or relics left behind by the passage of time, transport us beyond temporal and physical limits to historical scenes of social change, industrial decline, and labor migration, all seen through his humanitarian lens. ---------- Relational Field: The Cultural Landscape of New Taipei in the 1990s 2025.08.16-12.21 ｜Curator｜ WANG Pin-hua ｜Artists｜ WANG Fujui, WU Mali, LIN Chi-wei, YAO Jui-Chung, KAO Jun-honn, HUANG Ming-chuan, LIU Chen-hsiang ｜Oral Archive Providers｜ Sisy CHEN, CHIEN Ming-hui ｜More Information｜https://ntcart.museum/EN/exhibition/H2507001

Noise Art [The script of this episode] When we talk about noise art in the 1990s, one of the most important sites is the coffee shop Sickly Sweet. Run by Wu Chong-wei, this tiny space was more than a café. It was a key gathering place for people in the arts and literary circles. Once the venue for the Exhibition of Artworks Rejected by the Taipei County Art Exhibition, Sickly Sweet frequently hosted visual art shows, experimental video screenings, theater, and alternative music performances. On view in the display case are menus, flyers, and photos of the shop’s interior, which showcase a strong aesthetic of handcraft, collage, and reinvention, reflecting the rock spirit of the time. Zero and Sound Liberation Organization, the first noise art group formed after the Wild Lily student movement, was a regular performer at Sickly Sweet. The media coverage displayed on the wall captures the sense of shock and sorrow in the arts and literary circles when the coffee shop announced its closure. Walking to your right, you’ll see a network of noise art on the wall: zines, demos, performances, and letters exchanged by noise artists from 1993 to 1995 that gradually linked Taiwan to the international art scene. Members of Zero and Sound, Lin Chi-wei, Liu Hsing-i, Steve Chan, and Liu Poli, responded to a monotonous social system and growing urban pollution through noise art and intense physical experimentation. Around this time, Wang Fujui launched Noise, the first publication in Taiwan to focus on both local and international experimental music. Zero and Sound’s debut cassette tape was also featured in Noise. Wu Chong-wei, whom we mentioned earlier, was not only the owner of Sickly Sweet, but also an alternative artist active throughout the 1990s. He organized the Taipei Broken-Life Festival and Taipei Breaking Sky Festival by the river, two landmark sites for noise art performance. With friends, Wu also cofounded New Formosa Art Festival I: Taipei International Post-Industrial Art Festival, a pivotal event that connected Taiwan with the global noise art network. The Pots Weekly published an extensive, in-depth feature on the festival, which stood in stark contrast to the sensationalist headlines found in mainstream media coverage. Walk alongside the wall and you’ll find a timeline of noise art after 1995. Lin Chi-wei and Wang Fujui remained active in the scene as artist and organizer. Zero and Sound continued to host performances until the group disbanded in 2000. Notably, Liao Ming-he, also known as Dino, was once involved in the scene. By the late 1990s, noise art had clearly begun shifting toward electronic sound. Around this time, Wang Fujui returned from studying in the U.S., and began producing sound art and experimental video under the alias Ching-Shen-Ching. As the first artist to incorporate noise art into sound installation, he also played a key role in organizing sound art festivals, helping to foster the practice in Taiwan. ---------- Relational Field: The Cultural Landscape of New Taipei in the 1990s 2025.08.16-12.21 ｜Curator｜ WANG Pin-hua ｜Artists｜ WANG Fujui, WU Mali, LIN Chi-wei, YAO Jui-Chung, KAO Jun-honn, HUANG Ming-chuan, LIU Chen-hsiang ｜Oral Archive Providers｜ Sisy CHEN, CHIEN Ming-hui ｜More Information｜https://ntcart.museum/EN/exhibition/H2507001

Reimagining Radical Cities│The Visible and Invisible of the City [The script of this episode] Welcome to Reimagining Radical Cities. Data from the United Nations shows that over half of the world’s population lives in urban areas today. This underscores urban issues as a pressing concern. The exhibition Reimagining Radical Cities begins with the rise of modern cities and reconsiders them from the perspective of the Global South by asking: In this era of globalization, how can we understand our history, address current challenges, and envision future possibilities? The exhibition opens with imagery of cities that are both familiar and unusual, featuring ordinary objects from the streets and daily life that typically go unnoticed, such as a transformer, a stray dog, a grab bucket used in construction projects, and even a fallen satellite. Liao Chien-chung utilizes strikingly lifelike sculptures to create a narrative that stretches from daily life to urban infrastructure, even reaching into outer space. His work reveals both the visible and hidden aspects of urban issues. The sizable mural adorning the wall is created by Joiri Minaya. She combines tropical plants with traditional Hakka floral fabrics to trace and depict nearly 80 years of Taiwan-Dominican Republic relations. Through interviews with key figures and Taiwanese immigrant families in the Dominican Republic, Minaya unveils local stories obscured by time and represents how shifting international relations have influenced people’s lives and urban landscapes. ----------------------------------------------------------------------------------- Reimagining Radical Cities Time│2025/04/25-2025/09/07 Venue│NTCAM: 6A, 6B, 8F Gallery Curator│HSIEH Feng-rong, Amy CHENG Artist│Engineering of Volcano Detonating, Print & Carve Dept., JUN Sojung, Eisa JOCSON & Venuri PERERA, Joyce HO, HO Rui An, Your Bros. Filmmaking Group, WU Mali, WU Chuan-lun, HOU I-ting, HOU Lulu Shur-tzy, YAO Jui-lan, Musquiqui Chihying, Elom 20ce, Gregor Kasper, ZHANG XU Zhan, CHANG Chien-chi, Haegue YANG, Michael RAKOWITZ, Joiri MINAYA, HUANG Sun-quan, Rinus Van de Velde, VANDY Rattana, LIAO Chien-chung, JEONG Geumhyung More Details: https://ntcart.museum/EN/exhibition/H2503003

Reimagining Radical Cities│Labor Conditions from a Global South Perspective [The script of this episode] This section opens with a 1997 exhibition titled Lord of the Rim: In Herself / For Herself and features two key pieces from that exhibition, highlighting the labor dynamics shaped by the global division of labor. Hou Lulu Shur-tzy’s Labors and Labels I captures the daily experiences and work scenes of female laborers through photography. These are combined with cotton threads that are integral to their lives to portray their labor. Wu Mali’s Stories of Women from Hsinchuang embroiders stories of female textile workers onto fabric. The blurred text, barely perceptible in dim light, serves as a metaphor for their lack of visibility in society. The sound of sewing machines in the video reflects the relentless rhythm of their life. Hou I-ting’s latest work, developed for this exhibition and titled Revisit the Edge of Basin, responds to the themes of the 1997 exhibition, explores the bodily memories of female laborers, and further highlights the challenges faced by non-typical workers in contemporary times. Expanding on the discussion of labor issues, Print & Carve Dept.’s The Transformation utilizes comics to illustrate workers' living conditions. This work draws inspiration from Maquilapolis, a documentary featuring life in the maquiladora regions along the US-Mexico border. Moving forward, you will find Chang Chien-chi’s photographs of undocumented immigrants in New York’s Chinatown and their families back home. A comparison of their images reveals stark contrasts in living environments, expressions, and postures. Through these artworks, we invite you to reflect on how the formation of global industry chains and their changes impact workers’ lives. ----------------------------------------------------------------------------------- Reimagining Radical Cities Time│2025/04/25-2025/09/07 Venue│NTCAM: 6A, 6B, 8F Gallery Curator│HSIEH Feng-rong, Amy CHENG Artist│Engineering of Volcano Detonating, Print & Carve Dept., JUN Sojung, Eisa JOCSON & Venuri PERERA, Joyce HO, HO Rui An, Your Bros. Filmmaking Group, WU Mali, WU Chuan-lun, HOU I-ting, HOU Lulu Shur-tzy, YAO Jui-lan, Musquiqui Chihying, Elom 20ce, Gregor Kasper, ZHANG XU Zhan, CHANG Chien-chi, Haegue YANG, Michael RAKOWITZ, Joiri MINAYA, HUANG Sun-quan, Rinus Van de Velde, VANDY Rattana, LIAO Chien-chung, JEONG Geumhyung More Details: https://ntcart.museum/EN/exhibition/H2503003

Reimagining Radical Cities│Global Production Networks and Industrial Landscapes [The script of this episode] The previous section focused on human labor and living conditions. Now, we shift our perspective to “things”—objects and materials themselves—and the stories they tell. Wu Chuan-lun’s Derived Pottery features decorative ceramic figurines collected from around the world. While similar figurines from different regions may appear distinct in shape and color, they are often transient products shaped by diverse cultural influences. Yao Jui-lan’s The Secondary Copper examines the copper smelting industry in New Taipei City’s Jinguashi, Jiufen, and Shuinandong regions. The work deconstructs the economic and political roles historically attributed to copper, instead focusing on its mineral properties and the environmental changes triggered by climate change. Ho Rui-an’s Lining illustrates the rise and decline of Hong Kong’s textile industry. You will find out that the development of Hong Kong’s textile industry closely mirrors that of Taiwan. This piece also echoes a viewpoint that this exhibition aims to convey: Within the currents of global economic capital, countries in East Asia have, one after another, experienced labor-intensive production, technological advancements, and the outsourcing of industries and capital. This reflects the changes in the global industrial supply chains and the ongoing conflicts among different regional economic entities. ----------------------------------------------------------------------------------- Reimagining Radical Cities Time│2025/04/25-2025/09/07 Venue│NTCAM: 6A, 6B, 8F Gallery Curator│HSIEH Feng-rong, Amy CHENG Artist│Engineering of Volcano Detonating, Print & Carve Dept., JUN Sojung, Eisa JOCSON & Venuri PERERA, Joyce HO, HO Rui An, Your Bros. Filmmaking Group, WU Mali, WU Chuan-lun, HOU I-ting, HOU Lulu Shur-tzy, YAO Jui-lan, Musquiqui Chihying, Elom 20ce, Gregor Kasper, ZHANG XU Zhan, CHANG Chien-chi, Haegue YANG, Michael RAKOWITZ, Joiri MINAYA, HUANG Sun-quan, Rinus Van de Velde, VANDY Rattana, LIAO Chien-chung, JEONG Geumhyung More Details: https://ntcart.museum/EN/exhibition/H2503003

Reimagining Radical Cities│How Technology Shapes Our Lives [The script of this episode] How does the constantly evolving tech industry influence our daily lives, work, and environment? The upcoming artwork, The Annotation: Driving Simulator, by Musquiqui Chihying, addresses this question. Through interviews with scholars, data annotators training AI model, and taxi drivers, the artist seeks to initiate a dialogue around the discussions around job losses due to digitization. Another work of his, The Currency – Sensing 1 Agbogbloshie—a collaboration with artists Elom 20ce and Gregor Kasper—investigates the movement of electronic waste, transforming the electromagnetic waves emitted from e-waste into sound as a means of responding to the economic and political structures at play. Huang Sun-quan’s The Trilogy of Culture and Technology reflects on how cultural phenomena are shaped by digital technologies. These include the relationship between personal computers and countercultures in the 1960s, Shenzhen’s emergence as the “world's factory” in the 1980s, its effect on copycat culture, and ultimately, a focus on Taiwan’s history in semiconductor chip manufacturing and advanced processes. Rinus Van de Velde’s work, Most of the time during the day…, depicts a man fully concentrating on market trends while engaging in online trading to finance his evening art practice. This scene reflects the new work and lifestyle paradigms of the digital age, echoing the exhibition’s central theme: the intricate symbiosis between humanity and technology in our globalized world. ----------------------------------------------------------------------------------- Reimagining Radical Cities Time│2025/04/25-2025/09/07 Venue│NTCAM: 6A, 6B, 8F Gallery Curator│HSIEH Feng-rong, Amy CHENG Artist│Engineering of Volcano Detonating, Print & Carve Dept., JUN Sojung, Eisa JOCSON & Venuri PERERA, Joyce HO, HO Rui An, Your Bros. Filmmaking Group, WU Mali, WU Chuan-lun, HOU I-ting, HOU Lulu Shur-tzy, YAO Jui-lan, Musquiqui Chihying, Elom 20ce, Gregor Kasper, ZHANG XU Zhan, CHANG Chien-chi, Haegue YANG, Michael RAKOWITZ, Joiri MINAYA, HUANG Sun-quan, Rinus Van de Velde, VANDY Rattana, LIAO Chien-chung, JEONG Geumhyung More Details: https://ntcart.museum/EN/exhibition/H2503003

Reimagining Radical Cities│The Spectacle and Decadence of Modernity [The script of this episode] Upon entering this exhibition section, several large-scale installations reveal themselves, immersing us in rich visual and tactile experiences of urban spaces. Jun Sojung’s Despair to be Reborn is themed on a department store, a symbol of Western modernity, constructing a collage of a modernized landscape with rapid imagery and sound. Simultaneously, it reflects on the tension that emerges when Western modernity meets an Eastern context, which, despite seeming harmonious at first, is deeply intertwined with dislocation and contradictions. Nearby, in a ruin-like setting, Vandy Rattana’s Garden of the Night: MIND THE GAP BETWEEN TIME AND REALITY presents an installation comprising shattered roof tiles and scattered photographs depicting moments of brief interactions between people and their urban surroundings. Both artists explore similar themes, yet their works show a striking contrast—one showcases towering modern architecture, while the other focuses on ruins. As you proceed, you will discover Haegue Yang’s large-scale installation, Cittadella. The artist utilizes the ambiguous qualities of blinds, straddling the line between openness and closure, to examine the nature and possibility of boundaries. Through the design of light and various scents permeating the space, the installation enhances the environment with multiple layers, making the boundaries more fluid and less distinct. ----------------------------------------------------------------------------------- Reimagining Radical Cities Time│2025/04/25-2025/09/07 Venue│NTCAM: 6A, 6B, 8F Gallery Curator│HSIEH Feng-rong, Amy CHENG Artist│Engineering of Volcano Detonating, Print & Carve Dept., JUN Sojung, Eisa JOCSON & Venuri PERERA, Joyce HO, HO Rui An, Your Bros. Filmmaking Group, WU Mali, WU Chuan-lun, HOU I-ting, HOU Lulu Shur-tzy, YAO Jui-lan, Musquiqui Chihying, Elom 20ce, Gregor Kasper, ZHANG XU Zhan, CHANG Chien-chi, Haegue YANG, Michael RAKOWITZ, Joiri MINAYA, HUANG Sun-quan, Rinus Van de Velde, VANDY Rattana, LIAO Chien-chung, JEONG Geumhyung More Details: https://ntcart.museum/EN/exhibition/H2503003

Reimagining Radical Cities│Gazing into Private Spaces [The script of this episode] The upcoming section centers on the intimate aspects of everyday life. In Joyce Ho’s Vera x Diary, the performer acts as an object, nestling herself into the tight spaces of a home. This action mirrors a modern reality shared by many: living in a confined, standardized urban environment. Jeong Geumhyung’s Spa & Beauty showcases a variety of beauty and skincare products, underscoring how self-care has increasingly become a commodified experience. This encourages contemplation of the links between beauty, intimacy, and consumerism. Rinus Van de Velde’s A Life in A Day may first seem to portray a man’s ordinary 9-to-5 job. However, a closer look reveals that each scene is hand-drawn and crafted meticulously. What we see in this work is, in fact, a spiritual journey imagined by the artist while staying at his own home. Eisa Jocson and Venuri Perera’s Sweeping Sisters weaves the motifs of witches and maids together through the shared instrument of the broom, exploring the lasting themes of gender and labor politics within the family structure. ----------------------------------------------------------------------------------- Reimagining Radical Cities Time│2025/04/25-2025/09/07 Venue│NTCAM: 6A, 6B, 8F Gallery Curator│HSIEH Feng-rong, Amy CHENG Artist│Engineering of Volcano Detonating, Print & Carve Dept., JUN Sojung, Eisa JOCSON & Venuri PERERA, Joyce HO, HO Rui An, Your Bros. Filmmaking Group, WU Mali, WU Chuan-lun, HOU I-ting, HOU Lulu Shur-tzy, YAO Jui-lan, Musquiqui Chihying, Elom 20ce, Gregor Kasper, ZHANG XU Zhan, CHANG Chien-chi, Haegue YANG, Michael RAKOWITZ, Joiri MINAYA, HUANG Sun-quan, Rinus Van de Velde, VANDY Rattana, LIAO Chien-chung, JEONG Geumhyung More Details: https://ntcart.museum/EN/exhibition/H2503003

Reimagining Radical Cities│Reimagining Radical Cities [The script of this episode] In concluding the exhibition, we focus on the key factors that enable urban dwellers to coexist and cultivate a sense of belonging. This section revolves around the interrelations among narrative, space, and spirituality. Through discussions, collaborations, storytelling, gatherings, and initiatives, we invite the audience to envision the future of a radical city. The artist collective Engineering of Volcano Detonating exhibits The History of Yen: Return to the Island of Arrival, which delves into the intersection and tension between indigenous myths and sci-fi narratives in contemporary Taiwanese society. It engages viewers in examining key factors influencing how identity is connected to land. By blending fictional and poetic narratives, the work prompts viewers to reflect on these deep and intricate relationships. Zhang Xu Zhan’s Yi-zhen Paper Puppet Book-Centipede, Print & Carve Dept.’s Where Do We Come From? What Are We? Where Are We Going?, and Michael Rakowitz’s The Waiting Gardens of the North in the 8th-floor gallery investigate how the collective spirit and space shape lived experiences, as well as the imagination and practice of a future home. These pieces highlight the importance of public participation, engendering new dialogues and social relations through collaborative efforts. In the cities, parks are not just venues for activities but also places filled with countless stories. Your Bros. Filmmaking Group’s Taman-taman (Park) features two Indonesian poets. During the day, they gather the life stories of their fellow citizens in the park and transform these stories into poetry. At night, contrasting with the bustling daytime atmosphere, these poems echo throughout the park via radio broadcast, turning the area into a sanctuary of urban fables. ----------------------------------------------------------------------------------- Reimagining Radical Cities Time│2025/04/25-2025/09/07 Venue│NTCAM: 6A, 6B, 8F Gallery Curator│HSIEH Feng-rong, Amy CHENG Artist│Engineering of Volcano Detonating, Print & Carve Dept., JUN Sojung, Eisa JOCSON & Venuri PERERA, Joyce HO, HO Rui An, Your Bros. Filmmaking Group, WU Mali, WU Chuan-lun, HOU I-ting, HOU Lulu Shur-tzy, YAO Jui-lan, Musquiqui Chihying, Elom 20ce, Gregor Kasper, ZHANG XU Zhan, CHANG Chien-chi, Haegue YANG, Michael RAKOWITZ, Joiri MINAYA, HUANG Sun-quan, Rinus Van de Velde, VANDY Rattana, LIAO Chien-chung, JEONG Geumhyung More Details: https://ntcart.museum/EN/exhibition/H25030

Xindian Boys: Don't Worry, Baby [The script of this episode] Welcome to the Xindian Boys’ latest project, Don’t Worry Baby. This collective, formed in 2012, consists of four artists: Tsong Pu, Chen Shun-chu, Wu Tung-lung, and Su Hui-yu, all based in Xindian District, New Taipei City. Their work often reflects on everyday life and human existence, drawing inspiration from the Xindian River area. In this fifth collaborative project, the Xindian Boys have partnered with the younger art group XTRUX. Building on their previous four works, they’ve incorporated algorithm and game engine technology to create a new, immersive experience. This innovative approach crafts a landscape that exists between reality and fantasy, offering a fresh perspective on their artistic vision. As you step into the exhibition space, your attention will first be drawn to the massive projection encircling the entire room. From here, you can move to the right to explore the three-channel video installation titled Interstellar. This work by the Xindian Boys takes inspiration from Taiwanese artist Lee Tsai-chien’s 1980s sculpture Finite to Infinite. Lee’s sculpture became controversial at the time due to its resemblance, from certain angles, to a symbol associated with Communist ideology—the five-pointed star. This led to it being reported and temporarily repainted in silver before eventually being restored to its original red. The Xindian Boys reimagine this politically charged episode through the lens of retro sci-fi aesthetics, setting their work in the transformed, dried-up riverbed of the Xindian River after a typhoon. This creative reinterpretation merges art and politics into a fantastical narrative that invites reflection on history. As you continue deeper into the exhibition space, you’ll see the centerpiece of this show: the massive projection spanning three walls, titled Don’t Worry Baby. This namesake artwork immerses the viewer in scenes of people engaging with the natural environment of the Xindian River basin. Some are playing in shallow waters or lighting signal fires; others are setting off firecrackers or flying kites. As you stroll through the exhibition, it feels as though you are walking alongside these people, sharing in their connection to nature. As your gaze shifts to the distant landscape in the projection, unsettling elements begin to emerge. Dark clouds gather, lightning flashes across the sky, even flash floods appear—phenomena that defy the logic of everyday life. These surreal disruptions create a sense of unreality, prompting the viewer to ponder the fragile balance between nature and imagination. Unlike the traditional method where the artist captures actual imagery using a camera, the visuals you see today are generated through game engine technology and algorithm. These tools transform the artists’ instructions into a world that is virtual yet remarkably realistic. This approach allows us to question whether the reality we experience is truly real, while encouraging us to consider whether everything around us might simply be a game, a performance, or a world made believable by the technologies of our era. Inside the exhibition space, you’ll also find the “Determination of Life” photography series, alongside a small architectural structure embedded within the venue. This structure serves as a screening room, playing clips of past discussions among the four artists about their creative processes. These recordings reveal their artistic lives—at times serious, at times humorous, mysterious, even absurd. Together, these elements offer an intimate glimpse into the multifaceted world of their art making. ----------------------------------------------------------------------------------- Xindian Boys: Don't Worry, Baby Time│2025/04/25-2025/08/17 Venue│NTCAM, 4A Gallery Artist│Xindian Boys More Detail: https://ntcart.museum/exhibition/H2503004

**NTCAM Collection: Encounters in Reflection ** Introduction [The script of this episode] Hello, and welcome to Encounters in Reflection! This exhibition offers a curatorial re-evaluation of the collection of the New Taipei City Art Museum, reconsidering how artists, through their creative works, interpret the land, history, and urban development. The works on display include pieces originally housed in the Taipei County Cultural Center which were later transferred to the museum, as well as acquisitions that have expanded the collection in line with its evolving vision. Spanning from the 1930s to the present, these artworks offer insights into the shifting social landscapes and diverse artistic expressions that have shaped New Taipei City over time. New Taipei City is a place of rich cultural diversity and deep history, constantly evolving toward the future. To reflect this dynamic character, the exhibition is structured around two sub-themes: Nature / Landscape / Boundary and Humanity / Memory / Urban Community. This exhibition explores how people, events, and objects interact and reflect one another across time and space, shaping memories, geographical experiences, and social landscapes. As you explore the exhibition, you’ll notice these artistic journeys unfold in varied ways—at times parallel, at times layered, and at times interwoven—yet always distinct in their temporal and spatial dimensions. They illuminate the unique collection of the New Taipei City Art Museum, while revealing an artistic panorama of the city. ----------------------------------------------------------------------------------- NTCAM Collection: Encounters in Reflection Time│2025/04/25-2025/08/17 Venue│NTCAM: 3A, 3B, 4B Gallery Curator│PAI Shih-ming Co-curator│TSOU Ting Artist│Atelier Hui-kan, HSU Yen-ting, HO Chau-chu, YU Chin-chang, WU Tien-chang, WU LI Yu-ge, WU Hao, WU Mali, LEE Min-jong, LEE Yung-two, LEE Tsai-chien, LEE Chung-chung, LEE Quan-pui, LEE Yih-hong, Idas Losin, LIN Chang-hu, Richard LIN, LIN Chuan-chu, YAO Chung-han, SHIH Tsui-feng, HUNG Tung-piao, HUNG Rui-lin, HU Kun-jung, NI Chiang-huai, TANG Tang-fa, HSIA Yi-fu, YUAN Goang-ming, CHANG Chao-tang, TSONG Pu, LIEN Chien-hsing, CHEN Yueh-li, CHEN I-chun, CHEN Chun-hao, CHEN Shun-chu, FU Chuan-fu, Posak Jodian, HUANG Tsai-sung, HUANG Zan-lun, YANG San-lang, YANG Chi-tung, LIU Wen-wei, CHIANG Jui-keng, CHENG Shang-his, DAI Bih-in, LO Cheng-hsien, LO Huei-ming. More Details: https://ntcart.museum/exhibition/H2503001

Lee Yung-two View of Tamsui from the South Window Oil on canvas 67x158.5cm 1983 [The script of this episode] "View of Tamsui from the South Window" depicts the view from Lee Yung-two’s window, capturing the scenery of Tamsui as seen from his home. Lee bisects the view along the Tamsui River, with Guanyin Mountain in the background and the streets of Tamsui in the foreground. Using a perspective akin to a wide-angle lens, Lee conveys the vastness of both the natural landscape and the bustling harbor town through dynamic and fluid lines. From each window of his home, Lee could see a different view of Tamsui’s landscape. In the 1970s, when his wife closed her stationery shop, Lee used the leftover oil paints from the shop to create his very first painting, marking the beginning of his artistic career focused on depicting Tamsui. As a native of Tamsui, Lee captures the essence of Tamsui, serving not only as a historical record of the town but also as an expression of the artist’s profound connection to local culture and heritage. ----------------------------------------------------------------------------------- NTCAM Collection: Encounters in Reflection Time│2025/04/25-2025/08/17 Venue│NTCAM: 3A, 3B, 4B Gallery Curator│PAI Shih-ming Co-curator│TSOU Ting Artist│Atelier Hui-kan, HSU Yen-ting, HO Chau-chu, YU Chin-chang, WU Tien-chang, WU LI Yu-ge, WU Hao, WU Mali, LEE Min-jong, LEE Yung-two, LEE Tsai-chien, LEE Chung-chung, LEE Quan-pui, LEE Yih-hong, Idas Losin, LIN Chang-hu, Richard LIN, LIN Chuan-chu, YAO Chung-han, SHIH Tsui-feng, HUNG Tung-piao, HUNG Rui-lin, HU Kun-jung, NI Chiang-huai, TANG Tang-fa, HSIA Yi-fu, YUAN Goang-ming, CHANG Chao-tang, TSONG Pu, LIEN Chien-hsing, CHEN Yueh-li, CHEN I-chun, CHEN Chun-hao, CHEN Shun-chu, FU Chuan-fu, Posak Jodian, HUANG Tsai-sung, HUANG Zan-lun, YANG San-lang, YANG Chi-tung, LIU Wen-wei, CHIANG Jui-keng, CHENG Shang-his, DAI Bih-in, LO Cheng-hsien, LO Huei-ming. More Details: https://ntcart.museum/exhibition/H2503001

Yang San-lang Sound of Sea Waves Oil on canvas 73x91cm Date unkown [The script of this episode] When was the last time you stood by the sea? What left the deepest impression on you-the salty breeze on your face or the sound of the waves crashing against the rocks? This work before you is a coastal landscape oil painting by Yang San-lang. In the painting, the waves surge and crash violently against the steep cliffs in the foreground, while the distant sky glows with a light-yellow light, evoking a sense of tranquility and grandeur in the early morning light. Yang San-lang was one of the Taiwanese artists who studied in France during the period of Japanese rule. His works were selected to be shown at the Salon d’Automne in Paris and were frequently featured in Taiwan’s art exhibitions. He excelled in landscape painting, becoming known for his rich, vibrant colors and thick, powerful brushstrokes. He was particularly skilled at coastal and sunrise motifs, and as a lover of fishing and outdoor sketching, he continued to create seascapes of sunrises throughout his later years. ----------------------------------------------------------------------------------- NTCAM Collection: Encounters in Reflection Time│2025/04/25-2025/08/17 Venue│NTCAM: 3A, 3B, 4B Gallery Curator│PAI Shih-ming Co-curator│TSOU Ting Artist│Atelier Hui-kan, HSU Yen-ting, HO Chau-chu, YU Chin-chang, WU Tien-chang, WU LI Yu-ge, WU Hao, WU Mali, LEE Min-jong, LEE Yung-two, LEE Tsai-chien, LEE Chung-chung, LEE Quan-pui, LEE Yih-hong, Idas Losin, LIN Chang-hu, Richard LIN, LIN Chuan-chu, YAO Chung-han, SHIH Tsui-feng, HUNG Tung-piao, HUNG Rui-lin, HU Kun-jung, NI Chiang-huai, TANG Tang-fa, HSIA Yi-fu, YUAN Goang-ming, CHANG Chao-tang, TSONG Pu, LIEN Chien-hsing, CHEN Yueh-li, CHEN I-chun, CHEN Chun-hao, CHEN Shun-chu, FU Chuan-fu, Posak Jodian, HUANG Tsai-sung, HUANG Zan-lun, YANG San-lang, YANG Chi-tung, LIU Wen-wei, CHIANG Jui-keng, CHENG Shang-his, DAI Bih-in, LO Cheng-hsien, LO Huei-ming. More Details: https://ntcart.museum/exhibition/H2503001

**Hsia Yi-fu ** Mountains in Morning Light Ink and color on paper 81x71cm 1991 [The script of this episode] How can one capture the endless expanse of mountain ranges on a single sheet of paper? First, observe the composition of the painting. You'll notice that the entire layout develops upward along the axis of the painting, with layers upon layers of mountains seemingly stretching endlessly into the horizon. The varying shades of ink, from dark to light, cleverly create the undulating peaks, adding depth to the space. With delicate brushwork, Hsia Yi-fu builds up the foliage and trees, layer by layer, giving the mountain a fluffy yet dense appearance, as if a gentle breeze is rustling through the leaves. Next, look at the mist and clouds around the mountainside. The mist seems to flow through the mountain valleys, adding layers of depth to the landscape. Sunlight filters through the mist, illuminating the slopes of the mountains and creating a striking contrast of light and shadow. This not only adds dimensionality to the painting but also enhances its vastness. Hsia Yi-fu captures the ever-changing dynamics of the mountain scene, fully embodying the spirit of oriental ink painting tradition, where emptiness and fullness coexist. ----------------------------------------------------------------------------------- NTCAM Collection: Encounters in Reflection Time│2025/04/25-2025/08/17 Venue│NTCAM: 3A, 3B, 4B Gallery Curator│PAI Shih-ming Co-curator│TSOU Ting Artist│Atelier Hui-kan, HSU Yen-ting, HO Chau-chu, YU Chin-chang, WU Tien-chang, WU LI Yu-ge, WU Hao, WU Mali, LEE Min-jong, LEE Yung-two, LEE Tsai-chien, LEE Chung-chung, LEE Quan-pui, LEE Yih-hong, Idas Losin, LIN Chang-hu, Richard LIN, LIN Chuan-chu, YAO Chung-han, SHIH Tsui-feng, HUNG Tung-piao, HUNG Rui-lin, HU Kun-jung, NI Chiang-huai, TANG Tang-fa, HSIA Yi-fu, YUAN Goang-ming, CHANG Chao-tang, TSONG Pu, LIEN Chien-hsing, CHEN Yueh-li, CHEN I-chun, CHEN Chun-hao, CHEN Shun-chu, FU Chuan-fu, Posak Jodian, HUANG Tsai-sung, HUANG Zan-lun, YANG San-lang, YANG Chi-tung, LIU Wen-wei, CHIANG Jui-keng, CHENG Shang-his, DAI Bih-in, LO Cheng-hsien, LO Huei-ming. More Details: https://ntcart.museum/exhibition/H2503001