台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

「烏鬼」Stories We Tell To Scare Ourselves With

展覽名稱 Exhibit

Stories We Tell To Scare Ourselves With

展覽時間 Date
2019/01/26 (SAT.) ~2019/04/14 (SUN.)  
展覽地點 Venue


門票 Admission


策展人 Curator

黃漢沖 Jason Wee ;協同策展人Co-curator 黃香凝 Anita Hsiang-Ning Huang

參展藝術家 Artists
Abdul Abdullah 阿卜杜拉
Anne Samat 安妮沙末
Cassie Machado 凱西.馬查多
Chi Too 陶志恆
Chitti Kasemkitvatana 吳松吉
Chris Yeo  (Yeo Siew Hua) 楊修華
Ding-Yeh Wang 王鼎曄
Enzo Camacho & Amy Lien 恩佐.卡馬喬&連潔
Hilarie Hon 韓幸霖
Jakkai Siributr 賈凱.斯里布特
Liang Ting-Yu 梁廷毓
Minstrel Kuik 郭靜潔
Nipan Oranniwesna 尼潘.歐拉尼維
Norberto Roldan 諾爾貝托.羅爾丹 
Siki Sufin 希巨蘇飛
Tan Pin Pin 陳彬彬
Timoteus Kusno 堤莫斯.庫斯諾
Vuth Lyno 烏茲.里諾
Wei-Li Yeh 葉偉立
Yan Chung-Hsien 顏忠賢
Zarina Muhammad 莎琳娜.穆罕默德
Zulkhairi Zulkiflee 族卡里.祖琪基


策展論述 Curatorial Statement

















Exhibition Introduction

Curator|Jason Wee


Exhibition Introduction


“Wugui (literally dark ghosts). Name of the indigenous country and slaves of the Dutch. This race has extremely black skin. They do not sink in water and can walk on the water surface as if were on land.” _ An Official Brief History of Taiwan, (1738)

Fear drives our basest instincts. Fear is generative; it produces Epinephrine, shapes the borders that settle our tribal demands for security and safety, and the demarcation of what lies within one territory or region and what lies outside it. In the face of the strange and unknown, fear enters our stories as ghosts and ghouls separating the human from the animal, the human from the nonhuman. In the Chinese languages, the word “ghost” often signifies the foreigner or the uncivilized race; “Wu Gui” for instance, refers collectively to the slaves brought by 17th-century European colonizers to Taiwan from Africa and Southeast Asia, including those slave soldiers from the Indonesian Banda Islands who served Koxinga’s Kingdom of Formosa as well as the indigenous people inhabiting Xiaoliuqiu who were exterminated by the Dutch. Ghosts, cast in this light, populate Southeast Asia’s oral, artistic and cinematic landscapes because they generate a sense of who we are to ourselves. The ghost is the figure of the foreigner, the intruder and the invasive species.


The shadows of political extremes no longer skirt our political scene but are its central subjects. These shadows are cast upon the scene as though their silhouettes remain just outside or beyond present events, reaching us from the borders of a far past. Yet what ghost and ghouls often reveal are the continuation of empire’s protocols and predilections into the scripts and habits of our everyday. The colonial is not in the past simply because it has already happened, but also because it is the past we require for our modern present. We imagined ourselves modern because we have left that past behind. The figures in this exhibition – a man-eating tiger, false gods – are analogies for the Others of our time – the foreigner, the immigrant, the unbeliever, the queer, even at times the governed, if the governed risks their own agency and visibility.


Yet if our present sense of living in this part of the world is one inhabited by the ghosts of imperious pasts, it is also a wilder terrain inhabited by older ghosts of pre-coloniality and the ghosts of futures buried in the present. In these moments, the distinctions between the human and the non-human – the elemental, the bestial, the technological – smudge into a spectrum of generative admixtures. Correspondingly, our fears of the non-human modulate themselves, mitigated by excavated knowledges, or they intensify into fresh terrors. Who is pointing the ghouls out? What are the ghost stories to come? Who will ‘we’ be then?



參展藝術家 About the Artists

藝術家介紹 Artist Introduction



顏忠賢 Yan Chung-Hsien


顏忠賢(b. 1965‚臺灣)為英國曼徹斯特大學建築研究所碩士後研究、臺大建築城鄉所碩士。目前為實踐大學建築設計系專任教授。是藝術家、小說家、策展人。其創作跨域建築、設計、文學與藝術,挑戰前衛同時流露著對古老神祕的、廟宇與慶典的喜好,無論是文學或藝術的跨界演繹,作品皆呈現與異質時空的對話和顛覆傳統的思考邏輯。


Yan Chung-Hsien (b. 1965, Taiwan) holds a master degree from the Graduate Institute of Building and Planning, National Taiwan University, and has conducted postgraduate research in architecture at the University of Manchester in the UK. He is Professor at the Department of Architecture, Shih Chien University as well as an artist, a novelist and a curator. He is dedicated to a cross-disciplinary practice that integrates architecture, design, literature and art. As he challenges the avant-garde, he is also fascinated with the ancient, the mysterious, temples and peculiar festivals. Whether in his literary or artistic practice, his works have displays a dialogue with heterogeneous times and his thinking that is subversive to tradition.



吳松吉 Chitti Kasemkitvatana


吳松吉(b. 1969‚泰國)為藝術家及獨立策展人。1990年代活躍於曼谷藝術圈,於2002至2010年赴泰北森林寺廟出家。用觀念性與極簡的語彙,探詢藝術與精神生活的多孔性。


Chitti Kasemkitvatana (b. 1969, Thailand) is an artist and independent curator who became active in Bangkok’s art scene in the 1990s. He became a Buddhist monk between the years 2002 and 2010 stayed in a temple situated at the northern forests of Thailand. Using conceptual and minimalism expressions, his art explores the porous qualities embodied by art and spirituality.



諾爾貝托.羅爾丹 Norberto Roldan


諾爾貝托.羅爾丹(b. 1953‚菲律賓)為菲律賓文化實踐前導者,1986年創立了以菲律賓為基地的亞洲黑人藝術家團體,專注社會與政治進步的實踐。他詮釋自己的創作是跨藝術與人類學界的作品,以歷史、政治、宗教與當代生活的現實為基礎,擅用日常物件、圖像、文本等複合符號呈現碎片式的聚合裝置,透過符號化的象徵,探討歷史與集體記憶等當代議題。


Norberto Roldan (b. 1953, Philippines) is a pioneer in cultural practice in the Philippines. In 1986, he founded Black Artists in Asia, a Philippines-based art group focused on socially and politically progressive practice. Roldan views his own work as bridging art and anthropology. Using history, politics, religion and contemporary life to form the foundation of his work, the artist specializes in creating mixed media installations constituted of a wide range of symbols, such as daily objects, visual images and texts. With symbolic signs, his work explores contemporary issues regarding history and collective memory.



族卡里.祖琪基 Zulkhairi Zulkiflee


族卡里.祖琪基(b. 1991‚新加坡)視覺藝術家、教育者、展覽製作人。他的創作形式含括繪畫、插畫、攝影、新媒體等多元媒材,關注知識生產和社會結構的能動性並以此探究「馬來性」的概念。


Zulkhairi Zulkiflee (b. 1991, Singapore) is a visual artist, educator, and exhibition-maker. He works with a wide range of media, including painting, illustration, photography, and new media. His practice explores the notion of “Malayness” in relation to knowledge production and social agency.



賈凱.斯里布特 Jakkai Siributr


賈凱.斯里布特(b. 1969‚泰國)於美國印第安納大學及費城大學完成紡織/美術的學士與碩士學位。回到泰國後著重於布料、鈎針和刺繡的媒材應用,多以手工壁毯、錄像、複合裝置的形式,反映社會在快速轉型中的不確定性,將織繡的美感語彙轉化為關涉種族、宗教、社會和政治議題的敘事,對當代問題進行批判與省思。


Jakkai Siributr (b. 1969, Thailand) holds a BFA in Textile/Fine Arts from Indiana University, Bloomington and an MS in Printed Textile Design from Philadelphia University in the US. After returning to Thailand, he has mostly used fabric, crochet and embroidery to create his work, such as handmade tapestry, video and mixed media installation. His work reflects the uncertainties in the rapidly changing society as he transforms the aesthetic vocabularies of weaving and embroidery into narratives that foreground issues of race, religion, society and politics and express his critiques and thinking about problems of the contemporary era.


1、2樓走廊/1F, 2F Hallway

尼潘.歐拉尼維 Nipan Oranniwesna


尼潘.歐拉尼維(b. 1962‚泰國)出生並成長於泰國北部的清邁。泰國曼谷錫爾巴貢大學藝術學士畢業,之後獲日本文部省獎學金,完成東京藝術大學美術碩士與博士學位。1990年代回泰國並任教於曼谷大學藝術學院。多次遷徙的經歷,使得他的言語表達充滿社會意識,其創作形式多以低限主義風格,圍繞在歷史記憶、國家政治以及全球化和移民、身分等議題,將不可見之事物可視化,使錯綜複雜的意象詮釋隱含其中。


Nipan Oranniwesna (b. 1962, Thailand) was born and grew up in Chiang Mai in northern Thailand. After completing his BFA at Silpakorn University in Bangkok, Thailand, he was awarded a scholarship by Japan’s Ministry of Education, Science and Culture and later completed his MFA and DFA at Tokyo University of the Arts. He returned to Thailand in the 1990s and started teaching at the School of Fine and Applied Arts, Bangkok University. His experience of living in different places has filled his art practice and language with social consciousness. His work adopts a minimalistic style and revolves around the issues of historical memory, national politics, globalization, immigrants and identity, visualizing the invisible and embedding complex and intricate imageries within his work.



阿卜杜拉 Abdul Abdullah


阿卜杜拉(b. 1986‚澳大利亞)是第七代澳大利亞穆斯林,擁有馬來西亞和澳大利亞的血統,父親於1972年皈依伊斯蘭教。他的創作具有強烈的政治表述,以繪畫、攝影、裝置等媒介,關注社會中「他者」的經歷。藝術家不僅對自身的認同質疑,亦深層地諭示了當代全球社會與政治的隔離政策,其後果將如何影響著我們的生存處境。


Abdul Abdullah (b. 1986, Australia) is a seventh-generation Australian Muslim of Malaysian and Australian descent. His father converted to Islam in 1972. Abdullah makes strong political statements through painting, photography and installation that center on the experiences of “other” in society. Through his work, he not only challenges his own identity but also insightfully exposes how the consequences of the segregation policies in contemporary social and political scenes around the world would influence our life.



郭靜潔 Minstrel Kuik


郭靜潔(b. 1976‚馬來西亞)是馬來西亞華裔,臺灣師範大學美術學系西畫組畢業後,赴法國亞爾國立高等攝影學院取得碩士學位,這樣多元的成長背景影響她的創作,認為私領域才是意識形態、政治、與經濟的主要戰場。近期作品關注個人與集體間的協調關係,與空間作為個人介入的場域。


Minstrel Kuik (b. 1979, Malaysia) is a Chinese Malaysian artist. After graduating from the Western Painting Division of the Department of Fine Arts, National Taiwan Normal University, she obtained her master degree from the École nationale supérieure de la photographie (ENSP) in France. Such a diverse background has deeply influenced her artistic creation. She believes that the personal space is a major battlefield of ideological, political and economic interests. Her recent work focuses on the negotiation between the collective and the individual as well as the place as a field of personal intervention.



Western Stairway 2F,  R204,  Central Stairway 2F


Enzo Camacho & Amy Lien




Enzo Camach (b. 1985, the Philippines) and Amy Lien (b. 1987, the U.S.) both hold undergraduate degrees from Harvard University in Cambridge, U.S., and Master of Fine Arts degrees from Hochschule für bildende Künste in Hamburg, Germany. The duo has been working together since 2009, creating sculptures, paintings, performance art, and video installations. Creating contemporary art in today’s complex globalized and digitalized setting, their work examines physical materials and especially the connections between the materials and the external world. Through examining details and imprints of change and through a perspective that focuses on humanity, they then question the phenomena observed.



葉偉立 Wei-Li Yeh


葉偉立(b. 1971‚臺灣)畢業於美國羅得島普羅敦斯/羅得島設計學院攝影藝術碩士。1982年隨家人移居美國,2002年返臺定居。在美國高中求學期間追拍重金屬樂團時,發現敘述的深度有賴音樂會結束後殘留的現場廢物,從殘跡溯及時間的深度及其擴延的關係。創作多以被遺棄的無用物品或空間為素材,以自身的投入與外力介入以及時間的累積,造就作品的生命與自己的故事。


Yeh Wei-Li (b. 1971, Taiwan) holds an MFA in in Photography from the Rhode Island School of Design in Providence, Rhode Island, USA. He moved to the United States with his family in 1982, and moved back to Taiwan in 2002. During his high school years in the US, Yeh was fascinated with photographing heavy metal music bands. He realized that narrative depth exists in the garbage disposed at the venues of music concerts, and therefore, started exploring the temporal depth and relations stemming from it through these traces. His work mostly focuses on abandoned, unused objects or spaces. Through his own artistic investment, the intervention of external forces and the progress of time, Yeh has given a voice to his works that tell their own stories.



韓幸霖 Hilarie Hon


韓幸霖(b. 1994‚香港)三歲開始習畫,畢業於香港浸會大學視覺藝術學院,擅長以繪畫來表達自我,十分享受在畫面中創立一個獨特的世界,對顏色的掌握有強烈的感受。作品常受到文學與電影的啟發,色彩鮮艷且具強烈的個人風格。


Hilarie Hon (b. 1994, Hong Kong) began learning how to paint at the age of three. An alumna of the Academy of Visual Art at the Hong Kong Baptist University, Hon, who is exceptionally skilled with colors, specializes in using paintings to express herself, and thoroughly enjoys creating unique worlds in her art. Often inspired by literary works and films, Hon’s artworks of powerful personal style are vividly colorful and vibrant.



莎琳娜.穆罕默德 Zarina Muhammad




Zarina Muhammad (b 1982, Singapore) is an artist and curator, and she also lectures at LASALLE College of the Arts in Singapore. Having engaged in extensive studies on Southeast Asian ritual magic, mythologies, animism, folk religion, sacred sites, witchcraft, and other transdisciplinary subject matters, Muhammad seeks to use performative/collaborative work to deconstruct and respond to the contested histories, texts, and definitions pertaining to the broader contexts of myth-making.



梁廷毓 Liang Ting Yu


梁廷毓(b. 1994‚臺灣)目前就讀於國立臺北藝術大學藝術跨領域研究所。創作主要結合地方調查、研究,以計畫性的藝術行動、複合媒體為主,關注面向涉及歷史檔案與族群關係等議題,近期延伸關於地方異聞的探討,並以動態影像、地方鬼故事採集、製圖、書寫的方式探究鬼魂與地形的關係。


Liang Ting Yu (b. 1994, Taiwan) is currently enrolled in the Graduate Institute of Trans-disciplinary Arts at the Taipei National University of the Arts. Liang’s practice focuses on integrating regional investigations and studies with project-based art actions and mixed media art. He examines issues related to historical archives and ethnic relations, and has recently expanded into exploring archives and local myths and legends. Using motion images, local ghost stories, image production, and writing, he creates art that looks into relationships between ghosts and topography.


202、201展間/R202, R201

陶志恆 Chi Too


陶志恆(b. 1981,馬來西亞)是一個自學而成的跨領域藝術家,除了視覺藝術,也從事實驗音樂、表演、公共藝術計畫等,作品常帶有幽默、諷刺、或視覺上的詩意。創作主題十分多元,在個人與社會、輕浮與嚴肅之間擺盪。


Chi Too (b. 1981, Malaysia) is a self-taught trans-disciplinary artist that creates visual art, experimental music, performance, and public art. His artworks are often humorous, satirical, and sometimes visually poetic. Working with a plethora of creative topics, Chi Too traverses through personal and social realms via art, as he sways between being lighthearted and serious.



堤莫斯.庫斯諾 Timoteus Kusno


堤莫斯.庫斯諾(b. 1989,印尼)過去求學背景為社會政治科學與宗教、文化研究。他常使用民族學的方法創作,媒材含括了裝置、電影、素描、攝影等,作品探詢歷史與幻想、記憶與虛構之間的界線,挑戰集體記憶形成與遺忘的過程,對記憶如何被形塑、扭曲、並轉換成虛幻的歷史感到興趣。


Timoteus Kusno (b. 1989, Indonesia) studied social and political science and religious and cultural studies as a student. Kusno’s creative method often involves ethnology concepts and applies various media including installation, film, sketch, and photography. Kusno’s works explore the boundary between history, imagination, memory and fantasy, challenging the process of how collective memory is formed and forgotten. Kusno is especially interested in how memory takes shape, distorts, and transforms into illusory history.



希巨蘇飛 Siki Sufin 


希巨蘇飛,漢名廖勝義(b. 1966,臺灣)為臺東都蘭部落阿美族藝術家。以部落為創作發想的主軸,挖掘賦有時代意義卻被人們忽略的部落事件,為文化歷史發聲,如老兵問題。創作手法多以鏈鋸雕鑿表現大開大闔的精神氣象。將藝術創作做為原住民族傳統與現代語境的銜接橋樑,紀錄部落的神話與探討族群的困境。


Siki Sufin (b. 1966, Taiwan), whose Chinese name is Liao Sheng-Yi, is an Amis artist based in Dulan, Taitung in Taiwan. His work revolves around indigenous villages and unearths tribal events that possess historical significance but are largely overlooked. Through his art, the artist brings people’s attention to different issues in cultural history, such as the issue of aged soldiers. He mainly uses chain saws to carve and sculpt, giving his works a sense of unrestrained majesty. His art serves as an instrument that bridges the indigenous tradition and the modern context, recording mythologies passed down in the villages as well as the predicaments of the indigenous community.



烏茲.里諾 Vuth Lyno


烏茲.里諾(b. 1982,柬埔寨)於2009年取得澳洲墨爾本大學社會科學碩士,並赴紐約州賓漢頓大學研讀藝術史碩士,除從事創作、策展,也是金邊 Sa Sa Art Projects藝術空間的總監。常使用攝影進行社會介入及參與式的創作,探討柬埔寨社會轉變與發展議題。


Vuth Lyno (b. 1982, Cambodia) obtained his MA in Social Science from Melbourne University in Australia in 2009. Afterwards, he continued studying for an MFA in Art History at the State University of New York at Binghamton. He is an artist, curator as well as the director of Sa Sa Art Projects, an art space in Phnom Penh. His art practice involves social intervention and participatory work often conducted through photography, and his work centers on issues of social changes and development in Cambodia.



凱西.馬查多 Cassie Machado




Cassie Machado (b. 1982, UK) is an artist of English and Sri Lankan descent. She lived in Sri Lanka before she turned one year old; later, her entire family fled to the UK due to the riotous Black July in 1983. She graduated from the King’s College London. Her work revolves around the trauma and memory of the Sri Lankan Civil War as well as the socio-political conflicts between the Buddhist Sinhalese people and the ethnic minority group, the Tamil people.



安妮沙末 Anne Samat


安妮沙末(b. 1973,馬來西亞)於1995年畢業於馬來西亞瑪拉工藝大學藝術與設計學系,主修織品設計。她的創作融合了現代與傳統的編織媒材與技術。同時,作為東南亞少數的跨性別藝術家,她的創作題材常探索性別的多種可能。


Anne Samat (b. 1973, Malaysia) received her BFA in Textile Design from the Faculty of Art and Design, Mara Institute of Technology in Malaysia in 1995. Her work reveals an intricate blend of modern and traditional weaving materials and techniques. An artist of the Southeast Asian transsexual community, she often explores the diverse spectrum of gender possibilities through her creative work.



王鼎曄 Ding-Yeh Wang




Ding-Yeh Wang (b.1978, Taiwan) was awarded the degree of Meisterschule from the Dresden Academy of Fine Arts in 2011. An expert at expressing ideas using video installations and paintings, Wang’s works are centered on issues such as the self, society, and historical memory. Wang believes that creativity is a therapeutic process that allows individuals to connect with or resist society.


活動大廳/Activity Hall

楊修華   Chris Yeo (Yeo Siew Hua)


楊修華(b. 1985, 新加坡)畢業於新加坡國立大學哲學系,其劇情長片《幻土》(2018)獲得第71屆洛迦諾電影節最高榮譽的金豹獎,亦在新加坡、艾爾古納、奎松國際電影節,獲得最佳影片首獎。此外,本片也讓楊修華獲得亞太電影大獎(APSA)的青年電影獎,以及由新加坡國際電影節頒發的亞洲電影人才獎。楊修華為亞太電影學院的成員,亦為新加坡電影團體「十三部小電影」的發起人之一,藉由電影團體的協助,製作其首部劇情長片《稻草屋》(2009) 和音樂紀錄片《The Obs:一個新加坡的故事》(2014)。楊修華希望透過哲學思想,在電影作品中探索身分間的變化和其流動邊界。
Yeo Siew Hua (b. 1985, Singapore) is a filmmaker who graduated in Philosophy from the National University of Singapore. Yeo's narrative feature, A Land Imagined (2018), won the Best Film grand prizes at the 2018 Locarno, Singapore, El Gouna, and QCinema film festivals. For A Land Imagined, he received the  Asia Pacific Screen Awards' Young Cinema Award, and Lesley Ho Asian Film Talent Award from the Singapore International Film Festival. A member of the Asia Pacific Screen Academy, he is a founding member of Singapore film collective "13 Little Pictures", which produced his debut film In the House of Straw (2009), and music documentary The Obs: A Singapore Story (2014). Through film, Yeo philosophically explores the fluctuations and boundaries of identity.


活動大廳/Activity Hall

陳彬彬 Tan Pin Pin


陳彬彬(b. 1969,新加坡)早年為攝影師,後成為新加坡重要獨立紀錄片導演。有感於新加坡社會的快速變動,作品常聚焦於新加坡過去的歷史文化與記憶,其中《新加坡風(2005)》為當地有史以來首次在電影院正式公映的本土紀錄片。


Tan Pin Pin (b. 1969, Singapore) started her career as a photographer. She is now an important independent documentary filmmaker in Singapore. In view of the rapid social changes in Singapore, Tan often explores Singapore’s history, culture and memory through her work. Her documentary, Singapore GaGa (2005), was the first Singaporean documentary ever officially screened in cinemas.




作品介紹 About the Artworks



顏忠賢 Yan Chung-Hsien


《三寶殿》Zheng He Temple

空間裝置 Installation

尺寸因空間而異 Dimensions Variable



The installation, entitled Zheng He Temple, reveals a ritual for blessing and exorcizing evil spirits with paper-mache soldiers and boats to memorialize the historical specter of Zheng He in his temple. Combining a ceremonial rite of launching water lanterns and burning king boats to guide spirits in the water into the next life and the metaphor of Zheng He’s historical expeditions to the Western Ocean, the work shows a peculiar temple with a medium conducting rituals for the communication with deities at the altar. Nevertheless, is the worshipped eunuch in the temple a deity or a ghost? Or is he just an illusion that could be both or neither? Or, is he just some old relic in a Southeast Asian museum featuring the history of Zheng He’s expeditions, or an old wooden statue with one arm that turns Zheng He into a sea god found in the ancient city of Cochin in India? The time-worn images seem to have coagulated the fragmented texture of ancient history and transformed Zheng He into a perfect yet mysterious figure.


The installation on view in the exhibition stems from Yan Chung-Hsien’s literary work published in 2017, Zheng He’s Observations of the Western Ocean, which is an imaginary recount of the vicissitudinous civilization throughout six hundred years. Sixty decades ago, Zheng He’s majestic fleet to the Western Ocean carried the responsibility to publicize the national prestige and strength. Sixty decades later, the study of Zheng He’s expeditions has become a professional subject. However, the Ming Empire fell from its peak after the isolationism during Yongle Emperor’s reign, and most literature regarding the voyages was destroyed, leaving later generations to fill in the historical gaps and blanks with imagination. The artist re-imagines the boats of Zheng He’s seven voyages as magnificent moving castles as well as floating curio boxes. Zheng He’s sailing routes have created a flowing topography that allows people to put together the puzzles and evoke the historical presence of the civilization. The intricate layers of these curio boxes have shortened the historical gaps within the six centuries of time. Like magical mandalas themselves, they are fantastic yet fictional constructions. All the different clues have been piled up around various interpretations and misunderstandings that have collectively created a mysterious historical view.


The artist has constructed a dream, and gradually deconstructed it at the same time. Although Zheng He was of a Muslim descent, he had also been a Buddhist monk as well as a worshipper of Guanyin during his voyages. In terms of religion, Zheng He embodies intriguing “inconsistencies”; as a eunuch, his gender identity was also “inconsistent.” In short, Zheng He’s Observations of the Western Ocean adopts these peculiar historical fragments to construct a mythological legend posited between historical facts and fictitious elements.



1. Zheng He’s birth name was Ma San-Bao. When he was ten years old, he was captured by the Ming army and became a eunuch. Because of his contribution during the Jingnan Campaign, Yongle Emperor Zhu Di conferred the last name “Zheng” to him and changed his first name to “He” as the emperor believed that “Ma” (meaning “horse”) was not an appropriate last name to the temple of “San Bao” (in Buddhism, “San Bao” means the Buddha, the Dharma and the Sangha).



吳松吉 Chitti Kasemkitvatana

《湄南河上的波光粼粼》Elliptical glints on R. Menam

數位輸出、研究文件 Digital Prints, Research Materials 

尺寸因空間而異 Dimensions Variable



Elliptical Glints on R. Menam highlights moments in the history of conflict between Siam and her neighbouring competitors for regional dominance, a history of mutual antagonism that laid the ground for Siam’s wary encounters with colonial modernity. The work is based on Chitti Kasemkitvatana’s extensive research on Thailand’s modernity, which predominately examines news archives from the 1600s to the early 1900s. The Menam River began as a misnomer used by Europeans to refer to the Chao Phraya, since menam literally means “river” in Thai. The artworks on view focus on the initial conflicts that arose when Thailand first came into contact with the West, including the Siege of Bangkok, the Bowring Treaty, and King Rama V’s visits abroad, which all unfolded alongside this important river.


Amongst these incidents, the Siamese Revolution of 1688 was a coup d'état which led to the overthrow of the pro-Western Siamese King Narai. The Siege of Bangkok was a key event of the revolution, in which the French was ousted, which would cut off all Western contacts with the Kingdom of Siam till the 19th century. The Bowring Treaty of 1855 signed between the Kingdom of Siam and the United Kingdom was, on the surface, a treaty of friendship and commerce. But it was a profoundly unequal treaty allowing free trade by the British in Bangkok and the establishment of a British consulate with extraterritorial powers. Subsequently, King Rama V embarked on international visits in the 1870', traveling to places under British colonial rule, including the Malay Peninsula, Singapore, and India, with the aim to gain insights into colonial operations and administration. All these voyages were undertaken as Rama V determined the future direction of Thailand’s modernization.


In the following century, Bangkok quickly developed into a modern metropolis, which also opened the city to extensive influence from the empires in Southeast Asia. The text and photo excerpts from the archives bear witness to the ways imperialism was propagandized by Western media, as well as to the conflicts with Western powers in Southeast Asia that persist well into the next century. 



諾爾貝托.羅爾丹 Norberto Roldan


                 Courtesy of Bryan and Dinggay Villanueva Collection, Norberto Roldan, and SILVERLENS



Textile Installation with Embroidered Fabric, Re-purposed Old Catholic Vestment (Humeral), Dangling Metal Amulets and Metal Chains

198 x 271.78 cm



                   Courtesy of Bryan and Dinggay Villanueva Collection, Norberto Roldan, and SILVERLENS



Textile Installation with Embroidered Fabric, Re-purposed Old Catholic Vestment (Humeral), Dangling Metal Amulets and Metal Chains

199.6 x 271  cm



The two banner installations, respectively entitled Katipunan and Demokrasya, are part of a series of large textile banners, which together narrate a history of resistance against colonial rule and corruption in the Philippines, The artist weaves symbols, emblems and texts from traditional Catholic iconographies together with masonic, folk and aristocratic symbols, to create these tapestries of struggle out of Philippines’ violent history. In doing so, Noberto suggests the possibility of re-intepreting a history of nationalism for an examination of the struggle for the present, while narrating a more complicated story of interconnectedness in Philippine colonial past

作品涉及了1892年於馬尼拉建立的秘密革命社團―「卡提普南 (Katipunan)」,簡稱KKK,力圖從西班牙三百年的統治下獨立出來,組織為掩人耳目偽身於當時受西班牙管控的天主教教會。旗幟上的文字「菲律賓聯盟教會(Iglesia de la Liga Filipina)」為藝術家虛構的教會組織,菲律賓聯盟由菲律賓國父黎剎所創建,主張非暴力改革,西班牙當局逮捕黎剎後,「卡提普南」即成立,誓以暴力革命爭取獨立。

The work Katipunan refers to a secret revolutionary society, known as “Katipunan” (KKK) founded in Manila in 1892. The goal of the society to gain independence from Spain that had ruled the Philippines for three centuries. In order to hide its existence, the organization disguised as part of the Catholic Church, which was controlled by the Spain. The name on the banner, “Iglesia de la Liga Filipina” (Church of the Philippine League), is a fictional church organization invented by the artist. José Rizal, the founding father of the Philippines, founded “La Liga Filipina” (The Philippine League), which upheld the idea of non-violent reforms. Right after Rizal was arrested by the Spanish authority, Katipunan was founded with the goal to fight for independence through a violent revolution.

《民主》旗幟,載述了由菲律賓社會主義之父—德洛斯雷耶斯,因公開倡導革命遭監禁與流放至馬德里,期間受歐洲社會主義和馬克思主義著作的影響,於1902年返國成立「民主工人聯盟(Unión Obrera Democrática)」,並主張從殖民政府管控的天主教分離成立菲律賓獨立教會。藝術家將天主教聖心圖像、共濟會標誌與革命政府封印和鳶尾花等意符相結合,雜揉在宗教旗幟之下的革命信息,揭示了菲律賓宗教與殖民抗爭歷史的複雜性。

Demokrasya refers to the history about Isabelo Florentino de los Reyes, the father of socialism in the Philippines. He was imprisoned and exiled to Madrid due to his open advocacy of revolutions. During his exile, he was influenced by European socialism and books about Marxism. After returning to his homeland in 1902, he founded the “Unión Obrera Democrática” (Democratic Workers Union), and contended to establish an independent Philippine Church separated from the Catholic Church controlled by the colonial government. On this banner, the artist combines various signs, including the sacred heart of Catholicism, Masonry symbols, the seal of the revolutionary government and an iris floral pattern. By weaving revolutionary messages into religious cloth, the artist presents the complex intermix between religion and the resistance against authoritarian power in the Philippines.



族卡里.祖琪基 Zulkhairi Zulkiflee

《無題》Untitled (Type As Abstraction)

布料、木 Calico, Wood

16 x 21.5cm,

共5件 5 Pieces



Zulkhairi Zulkiflee’s five canvases are part of a longer series of small works. These works draw from his collection of old colonial photographs depicting Malay individuals alongside beastss. The relationship between the humans and the nonhuman creatures is uncertain; One may have hunted the other, or they were placed next to each other by the colonial photographer as equivalent creatures? Zulkhairi’s approach folds and drapes printed textile over wooden frames, obscuring the complete images. The bubbled spaces, formed by the protrusions that extend beyond the flat surfaces of the images, further obscure our view, creating a new sculptural image. These layered artworks explore the relations between Malay portraiture and racist, classist and colonial gazes, and the unequal relationship between the powerful and the ruled  and   that is embedded in images of history.   



賈凱.斯里布特 Jakkai Siributr


《更衣室》Changing Room

衣服、帽子 Clothes and Caps

尺寸因空間而異 Dimensions Variable



Jakkai Siributr’s recent embroidery works display the history of minorities shaped by Thai nationalism as well as the ignored aspects and texture in the personal lives of these minorities. Two works by the artist are on view in the exhibition, which discuss the continuous violence and conflicts between Thai people and the Muslim community in Patani region of southern Thailand.

《更衣室》邀請觀眾試穿泰國軍用夾克和帽子,此為泰國南部穆斯林男子經常佩戴的帽子塔基亞¹ (taqiyah)。夾克的外部和帽子內部皆繡有佛教徒與穆斯林之間的衝突場景。夾克上的繡樣呈現泰國南部伊斯蘭信徒所經歷的暴力寫照,以及生活上幸福的虛假景象;頭巾襯裡則粗略地繡繪了該地區頻仍的恐怖日常,如砸車或血腥的士兵等暴力圖像。這些稚樸的圖形風格與作品互動的機制,顛覆與融合了觀眾沉浸在服裝中的和平與暴力的象徵,寓意了諷刺和同理心的結合。

Changing Room invites audiences to put on a Thai military jacket and the kabiyoh cap, the Thai name for the taqiyah cap frequently worn by Muslim men in the South of Thailand. The jacket’s exterior and the cap’s interior are embroideried with images depicting the ongoing conflict between Buddhists and Muslims. Cheerful depictions of mosques, homes, families coincide with images of detention, explosions, arson, and other forms of violence, These images on the jackets and caps enjoined the often-told news narrative of Muslim separatist insurgency with a different narrative of community life. The innocent, childlike st embroideries, combined with the audiences’ interaction with the work, undercut the newstory of violence with the peaceful, playful immersion of the audience into the clothes.



1“Taqiyah” originally means "prudence" in Arabic and refers to a principle and practice permitted by the Quran, which is that, in the face of persecution, Muslims can conceal their religious belief and temporarily stop the religious practice while denying their religious identity for protection. The Sunni Islam, Shia Islam and Kharijite Islam all follow this principle to different degrees. The Shia Islam, due to its position, views “taqiyah” as one of the fundamental doctrines.



賈凱.斯里布特 Jakkai Siributr


《78》 78

鷹架、竹、布料、刺繡 Steel Scaffolding, Bamboo, Fabric and Embroidery

350 x 350 x 350cm


裝置作品《78》,是泰國南部城鎮德白(Tak Bai)死亡事件的浮動紀念碑。受伊斯蘭分離主義運動的影響,泰國南部三府(北大年府惹拉府陶公府)一帶,自2004年至今,馬來人穆斯林分離主義分子的武裝動亂接連不斷。長期陷入困境的德白鎮於2004年10月,遭泰國警方強行逮捕的數百名穆斯林反政府示威者,以軍車押運至惹拉府關押,押運過程中因捆綁過緊及軍車後廂擁擠不堪,導致78名示威者窒息死亡。黑色織物的立方體裝置,橫向排列的金色字母帶有泰國傳統類似阿拉伯語的字樣,內部裝有78個木質擔架,每一層皆鋪陳了白色穆斯林束腰外衣(kurta),袖子上繡著死者的名字,這高聳的結構意象,強烈地指向伊斯蘭教神聖的卡巴天房(Kaaba),聖城麥加的中心與朝覲的位置,將這些穆斯林平民的名字與烈士和先知的聖名銜繫起來,示意對殤逝者的哀悼之意,同時,思索文化的再現與認同,意圖定義該地與個人身分「界線」的挑戰。

The installation, entitled 78, is a moveable monument for the fatal incident happened at the city of Tak Bai in southern Thailand. Due to the Islamic separatist movement, three southern Thai provinces (Patani, Yala and Narathiwat) have witnessed violent riots launched by Malay Muslim separatists since 2004. In October 2004, hundreds of Muslim anti-government protestors were arrested in Tak Bai that has suffered instability for a long time. The arrested protestors were transported with military trucks to be detained in Yala; however, seventy-eight protestors were suffocated to death, due to tight restraints and and overcrowding in the trucks. Within the black fabric cube, one can see horizontal golden lettersin Arabic. Inside the installation are seventy-eight wooden stretchers, each paired with a white Muslim kurta embroidered with the name of a deceased individual  on the sleeve. The image of this tall structure strongly recalls the sacred Kaaba, located at the center of the holy city of Mecca. By connecting the names of these Muslim civilians with the sacred names of Muslim martyrs and prophets, the work mourns the deceased while exploring the difficulties of cultural representation and identification within the frame of larger spiritual and national identities.


2樓走廊/1F, 2F Hallway

尼潘.歐拉尼維 Nipan Oranniwesna


四頻道錄像裝置 Four-channel Video Installation

40 min.

2015年迄今 2015-ongoing


Signal is a site-specific four-channel video installation. The artist invited Thai migrant workers in Taiwan to conduct a long jog in the architectural complex of the Museum of Contemporary Art, Taipei (including the campus of Jian Cheng Junior High School). Their movements are transformed into brief images in the video, suggesting the diasporic movements of those constantly migrating workers within Southeast Asia. The invisible existence of these migrant workers or others that are forgotten, overlooked or erased from certain parts of our shared past shape a contemporary commonality shared by the different Southeast Asian countries.



尼潘.歐拉尼維 Nipan Oranniwesna

《你的邊緣是我的中心》Your Edge Is My Center

黃銅、鍊子、鍍金 Brass, Chain, Gold Plated

尺寸因空間而異 Dimension Variable



硬幣粉末、膠囊 Coin Dust, Capsule

55 x 55 cm


《你的邊緣是我的中心》以一條綿長鍍金的鍊子伏地裝置於展間,將空間分隔成兩邊,仿佛是一道意識不到的牆,鍊上的字樣「Your Edge Is My Center」,意喻邊緣/中心的無形國界,指涉暹羅與緬甸邊境由北至南長期以來的經濟、戰爭、合法或非法的成為各種陸路跨境的關口,揭示了泰緬之間的地理分化,與兩地複雜交織的經濟連結;然而觀者在作品前後跨越行走,卻仿若自由地完成了在現實情況之中艱難的國境跨越。以此國家意識與內心藩籬的象徵,無論是身體的還是靈魂的,思索隱形界線是如何的形成?而另一件作品《膠囊》擬仿了一個開放式的藥櫃,羅列成行的膠囊是藝術家將來自泰國以及鄰邦的硬幣,將它們碾磨成金屬粉末,每一粒膠囊裡包含著不可知的混合貨幣,猶如每種藥物在治療價值之間都有著千絲萬縷的關係,是無法擺脫且緊密聯繫的。它是一體兩面既是毒藥也是治癒藥,影射對不斷發展的民族主義有其副作用的鏡射比擬。

The installation, entitled Your Edge Is My Center, is a long gold-plated brass chain lain on the floor of the gallery room, dividing the space into two sides as if it were an invisible wall. The words on the chain, “Your Edge Is My Center,” refers to an intangible border between the margins and the capital, and beckons at the complicated history of conflicts and divisions between Thailand and her neighbours, including Malaysia, Cambodia and Myanmar. The audience consciously and unconsciously move across the work, performing a symbolic crossing of national borders. The artist uses this work as a symbol of national consciousness and inner barrier, be it physical or spiritual, to reflect on how such an invisible border is formed? Capsule resembles a medicine shelf, on which rows of capsules filled with metal powder made from Thai coins and those of Thailand’s neighbors. Each pill is an unpredictable mixture of these currencies, the value of each now inextricably linked. Both poison and cure, the capsules embody the two interlinked sides, suggesting that growing nationalism is not without sickening side effects.




阿卜杜拉 Abdul Abdullah

                                                        Courtesy of the artist and Yavuz Gallery

《相互保證》Mutual Assurances

檔案輸出 Archival Print

100 x 232 cm


                                                    Courtesy of the artist and Yavuz Gallery

《委託風險管理》Delegated Risk Management

檔案輸出 Archival Print

100 × 154 cm


                                                    Courtesy of the artist and Yavuz Gallery

《累計股利》Accumulated Dividend

檔案輸出 Archival Print

100cm x 178.5cm



On view in the exhibition is Abdul Abdullah’s Wedding series, which is created as a response to the discussions about “Muslim” and “violence” that center on Australian Muslims.


The images depict typical wedding halls that would be familiar sights to urban Malay Muslims in Southeast Asia. The decorative drapes, the wedding garments and the postures of the newlyweds suggest nothing out of the ordinary. The spotlight however reveals that the newlyweds’ faces are covered by balaclavas. The inexpressive masks commonly associated with crimes form a sharp contrast to the joyful occasion, which underlines the heavy irony in juxtaposing “Muslim” and “violence”. An unsettling atmosphere implies something looming that is far more ominous.



郭靜潔 Minstrel Kuik

《不要說謊2》Jangan Tipu 2 (Do Not Lie 2)

炭筆畫作 Charcoal on Paper

100 x 150 cm



Selamat Datang Ke Bandaraya Kuala Lumpur (Welcome to the City of Kuala Lumpur)

炭筆畫作 Charcoal on Paper

100 x 150 cm



The two charcoal drawings, respectively titled Jangan Tipu 2 (Do Not Lie 2) and Selamat Datang Ke Bandaraya Kuala Lumpur (Welcome to the City of Kuala Lumpur), originated from the photographs taken by the artist when participating in the social movement launched by Gabungan Pilihanraya Bersih dan Adil, also known as Bersih (The Coalition for Clean and Fair Elections). Bersih is a coalition of non-governmental organizations and political parties, which seeks to reform the corrupted political system of the Malaysian political scene to ensure free, clean and fair elections while challenging the regime of the political alliance formed by UMNO(United Malays National Organisation) and Barisan Nasional that has continued for sixty years since the independence of Malaysia. From 2007 to 2016, Bersih has organized five demonstrations in Kuala Lumpur. Protestors were met with tear gas grenades, water cannons and even arrests and charges under sedition laws. The two drawings reveal the conflict and opposition between the governing power and the governed people, with the very idea of a free and public citizen an increasingly policed subject.


Kuik slowly painted the negatives of the photographs on paper with charcoal. According to the artist, “In analog photography, the negative is a latent image that unfolds its reality to the future—a prophetic object embedded with an oracle/truth. To draw a photographic image by returning it to its negative stage is to travel in time, to reveal the making of history, and to remain there.” During the creation of the works, the artist had to visually move back and forth between the drawings and the photographs. Throughout this time and energy consuming process, the photographed people were also gradually anchored to the demonstration site whereas the demonstration itself was once again suspended in a prolonged, unending moment in time.



Western Stairway 2F,  R204,  Central Stairway 2F

恩佐.卡馬喬&連潔 Enzo Camacho & Amy Lien


《相遇》Arb/Krasue +855 I-FOLLOW-U

2樓西側樓梯 Western Stairway 2F

紙、假髮、木棍、投影機、雲台夾、單頻道錄像 Paper, Wig, Wooden Stick, Projector with Mount and Mask, Single Channel Video 

尺寸因空間而異Dimensions Variable

 25 min. 3 sec.



《相識》Arb/Krasue +855 U-NOTICE-ME

204展間 R204

紙、假髮、木棍、投影機、雲台夾、單頻道錄像 Paper, Wig, Wooden Stick, Projector with Mount and Mask, Single Channel Video

尺寸因空間而異 Paper, Wig, Wooden Stick, Projector with Mount and Mask, Single Channel Video

25 min. 21 sec.



《相戀》ArbKrasue +855 WE-B-2GETHER

2樓中樓梯 Central Stairway 2F

紙、假髮、木棍、投影機、雲台夾、單頻道錄像 Paper, Wig, Wooden Stick, Projector with Mount and Mask, Single Channel Video 

尺寸因空間而異Dimensions Variable

25 min. 13 sec.


藝術家以東南亞文化中的神話人物為原型,一個能夠將肢體從軀幹與器官分離的幽靈。它在各地有著不同的說法:泰國:阿克拉蘇(Krasue),柬埔寨:阿普(Arb),菲律賓:馬納南加爾(Manananggal),馬來半島:漢圖∙婆南佝(Hantu Penanggal),沙巴州:巴蘭巴蘭(Balan-balan)等。唯一共同的特徵是,她有著一個自由浮動的頭,並且會在身後留下自己的痕跡。

The work is based on a Southeast Asian mythological figure, a ghost which self-segments and flies around with its head and internal organs, and it can be found in the traditions of several locations in the region, such as Thailand’s kakrasue, Cambodia’s arb, the Philippines’ manananggal, Malay Peninsula’s hantu penangga, and Sabah’s balan-balan. The one shared trait between them is that the ghost (usually a woman) has a floating head and leaves behind parts of herself.


Floating female heads are suspended above the artwork which consists of three single channel videos, with love stories between two homosexual men projected underneath the heads. The three videos, I-FOLLOW-U, U-NOTICE-ME, and WE-B-2GETHER, are positioned in different areas in the exhibition venue, showing a couple meeting on a construction site on Koh Pich (Diamond Island) in Phnom Penh, falling in love in a dimly lit gay bar, and going on a date at the ice skating rink in the local Japanese-owned AEON Mall. The work reflects the city’s industrial boom and its rapidly changing economic structure, weaving together images of different consumer spaces and also scenes of labor in Phnom Penh. The image of internationalization purposely shaped by the city is deconstructed, unveiling the paradox between promotional sceneries and the realistic conditions faced by the underprivileged.


The artists see the similarities observed with the mythological ghost as a shared cultural trait of the Southeast Asian region and the kakrasue/arb/manananggal is proposed by the artists as a symbol of an ever-shifting sense of self: one without a fixed center and perpetually migrates. The work conveys the rapid transformations in urban environments across Southeast Asia, and explores modernity issues under   globalization.




葉偉立 Wei-Li Yeh

《仙跡》Divinity Trace

攝影、椅子、物件 Photography, Chairs, Objects

尺寸因空間而異 Dimensions Variable

2009年迄今 2009-ongoing


Divinity Trace is an on-going art project started in 2009. The project revolves around a chair that has first been marketed as a commercial product and defined by its function; after its functional purpose is lost and the chair has become a piece of garbage, the artist reconstructs and transforms it into an artwork to be displayed on a glass plinth, rendering it symbolic of a certain culture. As an object that provides visual experiences in a museum, the function of the chair is converted into an aesthetic experience whereas the chair becomes contextualized in a relationship between itself, the photographs, texts and other objects, demonstrating the differentiation and positioning of identity.


In contemporary installation art, the juxtaposition of objects creates new connections and meanings. The chair that has lost its purpose and function is changed from being a piece of garbage into an artwork displayed in museums. From being a commercial product, to garbage and to a work of art, the transformation as well as the overlap and reconstruction of identities rely on the value system operated by the mechanism of art-making. In the name of art, one can revive something useless and give it a new place in society. The core concept of Yeh’s work is to question the identity of objects through changing identities enabled by the conversion or production of the objects.




韓幸霖 Hilarie Hon

《遙遠的島》Far Flung Island

壓克力、油彩、畫布 Acrylic and Oil on Canvas

40 x 80 cm


《第一個登陸遙遠的島的人》The First Immigrant Landed on A Remote Island

壓克力、油彩、畫布 Acrylic and Oil on Canvas

100 x 120 cm


《第一批登陸遙遠的島的人》The First Bunch of Immigrants Landed on A Remote Island

壓克力、油彩、畫布 Acrylic and Oil on Canvas

120 x 140 cm



Hilarie Hon often paints with complementary colors, portraying unsettling scenarios with vibrant, eye-catching hues. Inspired by Spanish romantic painter Francisco Goya, she captures horrific and satirical human circumstances in her paintings. On view in the exhibition are artworks from her series that depict people that have just recently migrated to an unknown island. The apparition-like characters, wearing masks with smiley faces, party hats, and festive streamers, are entering, or more like floating, into a neon-colored forest. They seem to be about to engage in a mysterious celebration, or have been lured into this nightmarish island. An air of danger and unrest looms over the seemingly festive setting. These three paintings appear like fairytales or modern fables, and reveal that underneath the smiley faces of migrants are feelings of apprehension and unease, with them overwhelmed with fear due to the unknown environment before them. 




莎琳娜.穆罕默德 Zarina Muhammad


《奇特棲息地的護身符》Talismans for Peculiar Habitats


Bamboo, Rope, Batik, Unbleached Cotton Shroud, Wax, Straw, Agarwood, Incense, Clay, Water, Wood, Ceramics, Paper, Ink, Benzoin Resin, Snakeskin, Hair, Turmeric and Sandalwood

尺寸因空間而異 Dimensions Variable


《奇特棲息地的護身符》Talismans for Peculiar Habitats

單頻道錄像 Single Channel Video



Talismans for Peculiar Habitats explores the peculiar ways that queer people can’t help but to adapt when forming kinship, as they leave the comfort and care of their birth families to seek a sense of belonging that is associated with the notion of “home.” This artwork is presented in three parts: A Shrine of Remembrance for the Spirits Estranged from their Ancestors (an installation); Water as Conduit, Curse and Cure (a single channel video projection); and Domesticating Doubt about the Afterlife: Death Rituals and Mourning the Queer Body (a lecture-performance), with different perspectives provided for imagining how those without homes wish to be commemorated after they have died, and how the living should remember those drifting souls.


Composed with personal mementos, handwritten notes, small sculptural works, shrouds, talismanic textiles, offerings, and other elements, A Shrine of Remembrance for the Spirits Estranged from their Ancestors presents an altar that commemorates the souls that have nowhere to return to. According to Malay traditions, the body of the dead should be cleaned and buried by the person’s family before sunrise on the next day after the person’s passing. Water as Conduit, Curse and Cure presents a poetic imagination on those without a place of belonging, imagining what sorts of symbols, verses, or messages will be left on their bodies and passed on to the strangers that will be cleaning their corpses. Water is regarded in many traditions as an important element that ends all mortal connections and serves as a transitioning portal that leads to the afterlife. Domesticating Doubt about the Afterlife: Death Rituals and Mourning the Queer Body opens with historical stories about life, death, and survival gathered from various places in Southeast Asia, asking if there is anything else that we wish to speak on in regards to final rites, peculiar phantoms, ruined and renewed landscapes of isolation and belonging, and thresholds that the dead will need to cross but might be unfamiliar with? Are we able to diminish the fear and doubts that we hold for the afterlife through these complex oral histories and rituals of remembrance?



梁廷毓 Liang Ting Yu


《斷頭之河》 The Beheaded Stream

錄像裝置Video Installation

29 min. 57 sec.


《斷頭之河》錄像裝置作品,由〈土地神的地誌〉、〈問山〉、〈無頭河〉三部影像構成,敘事原客衝突的村落文化與集體記憶。在遺留的「斷頭河」地形(Beheaded stream)上,位於桃園,趨近新竹關西、龍潭東南部的近山地區,清初,仍是泰雅族原住民的獵場與生活領域,目前居住於此區的居民,多以客家族群為主。從一個跨村落的原客衝突事件,以及土地神和山神顯靈的傳聞開始,藝術家藉由廟誌以及尋訪客家耆老,向土地神、山神與無頭鬼問話與溝通,透過雞鳴聲、自然溝通師、擲杯問靈的方式,進而獲致可持續的回聲。

The Beheaded Stream is a video installation that consists of the following three videos: the Cartography of Land God , the Chorography of Mountain God, and Water Without a Source, with conflicting indigenous and Hakka tribal cultures and collective memories narrated in the videos. Topographical remnants of “beheaded stream” are located in the mountains near Taoyuan, close to Guanxi Township in Hsinchu and in the southeast region of Longtan District. In the early Qing dynasty, it was an area where indigenous Atayal people hunted and lived in, and the area is now mostly inhabited by people of Hakka descent. Starting with an intertribal conflict between the indigenous and the Hakka communities and along with myths and legends about the God of Soil and other mountain deities, the artist referenced temple chronicles and visited Hakka elders, where he inquired and communicated with the God of Soil, mountain deities, and beheaded spirits through means that included the crows of rooster, mediums, and divination blocks, with responses received that continue to echo and linger. 


The Capturing River is an ongoing part of the same project, which is examined from the perspective of the indigenous people. Exploring the natural geological phenomena, beheaded river and stream capture, observed in the area, Liang Ting Yu conducts field studies that extend into geology, topography, landscape, regionalism, and chorography, with focus placed on death, killing (the head-hunting tradition and cannibalism [eating the flesh of the indigenous people]), ghosts of ethnic conflicts, as the artist also conducts a practice of geographical production that negotiates with death.    



202、201展間/R202, R201

陶志恆 Chi Too

《13/ 05/ 1969》13/ 05/ 1969

柏油及道路轉印畫布 Bitumen and Road Paint on Canvas

180 x 180 cm


《13/ 05/ 1969》標誌的是馬來西亞的種族衝突事件,數月的暴動導致多人傷亡,也讓種族對立再次加劇。馬來西亞以Jalaini Abu Hassan為首,引領許多藝術家紛紛以柏油作畫,半透明且具年代歷史的質感,常被使用於社會寫實的繪畫作品。「當我們接觸時」系列作品,既承接了這個傳統,又反其道而行,將空白的畫布,用柏油繪製出由濃到淡密密麻麻的線條,猶如一幅抽象畫。重複繪製線條的動作,就像是對幽靈般反覆發生的政爭與抗議行動,進行衝撞與沉思的過程。

13/ 05/ 1969 refers to an incident of sectarian violence that occurred in Malaysia. The riot lasted for several months, with many hurt and killed, which led to a greater racial divide in the country. Led by Jalaini Abu Hassan, many artists in Malaysia began to paint with asphalt, also known as bitumen; the semi-transparent medium with rich historical texture is often used to depict social realism paintings. Continuing with this tradition, the series, Sometimes When We Touch, however also opts with a different approach. A blank canvas is transformed into an abstract painting using bitumen to create numerous lines, as the medium goes from opaque to translucent. The gesture of painting repeated lines resembles a ghostly process that confronts and reflects on recurring political calamities and actions of revolt. 



「柏油上的畫布」系列Canvas on Bitumen Series

《柏油上的畫布—淨選盟2.0》Canvas on Bitumen – Bersih 2.0

微噴相紙 Giclée Prints on Hahnemühle Photo Rag Paper

40 x 60 cm


「當我們接觸時」系列 Sometimes When We Touch Series


《當我們接觸時#2》Sometimes When We Touch #2

柏油、畫布Bitumen on Canvas100 x 100公分

100 x 100 cm


陶志恆此次展出的作品皆為Bukan Budaya Kita研究計畫的一部分。Bukan Budaya Kita 直譯為「不是我們的文化」,這句話是馬來西亞執政黨在面對近年來風起雲湧的社會運動與抗爭所做出的回應。其中,陶志恆在「柏油上的畫布」系列作品,帶著空白畫布回到歷史上的重要抗爭現場,將畫布鋪在柏油路上,並進行拍攝。從19世紀的部落起義開始,一直到2007-2013年乾淨與公平選舉聯盟,對獨斷的專制政府及選舉弊案所進行的大規模抗議行動,作品有如馬來西亞抗爭史的紀錄,也是對政府「不是我們的文化」的宣稱提出異議。空白的畫布,仿佛昭示著被政府掩蓋與撇清的社會現實,而這些公民不服從的抗爭過往,也成為了陶志恆所欲保存的創作媒材。

The artworks by Chi Too on view in this exhibition are a part of the research project for Bukan Budaya Kita, which literally means, “This is not our culture.” The phrase is used in Malaysia’s surging social movements and activisms in recent years to confront the ruling political party. For his Canvas on Bitumen series, Chi Too takes blank canvases to important historical protest sites, where he places them on the asphalt roads there and takes photographs. The project begins with the tribal revolts that took place in the 19th century and traces the Coalition for Clean and Fair Elections from 2007 to 2013, traveling to sites where large-scale protests have taken place to revolt against authoritarian regimes and election frauds. The resulting artworks seem to have become records of Malaysia’s history of revolt, and serve as objections to the government’s claim of “This is not our culture.” The blank canvas points at social realities that the government is trying to cover up and neglect. These past incidents of civil disobedience have also become creative mediums that Chi Too is seeking to preserve.  




堤莫斯.庫斯諾 Timoteus Kusno

《老虎之死》The Death of Tiger

四頻道錄像、素描、輸出、水彩畫 Four-Channel Videos, Drawings, Print, Watercolor

尺寸因空間而異 Dimensions Variable

Dimensions Variable, 7 min. 5 sec., 9 min. 18 sec.


堤莫斯.庫斯諾於2013年成立了然庫地研究中心(Centre for Tanah Runcuk Studies),這個(虛構的)組織,旨在對荷屬東印度的想像領土然庫地進行實驗性的研究,召集了歷史學者、人類學家、藝術家、作家等人一同探究「文本」如何被用來建立「政權體制」,及虛構的歷史如何能反應如虛構般的現實?

Timoteus Kusno established the Centre for Tanah Runcuk Studies in 2013, a (fictional) organization which conducts studies on the imaginary territory of Dutch East Indies called Rancuk. By bringing together historians, anthropologists, artists, and writers, the Centre for Tanah Runcuk Studies explores how“texts” are used to construct political systems and how fabricated history reflects fictional reality.

《老虎之死》為然庫地研究計畫之一。1791年起從日惹開始於開齋節當日由皇室舉辦鬥虎節(Rampok Macan),19世紀初這個傳統漸漸傳到其他王國。鬥虎節當日,爪哇虎被群眾用長矛尖刺向內團團圍住,與公牛甚至是罪犯相互纏鬥,老虎如果勝利,將被群眾以長矛刺死。國王將邀請殖民官員共同欣賞這場血腥的殺戮,藉由這個場合,昭示封建與殖民時代並置的統治者權力位階。

The Death of Tiger is one of the projects of Tanah Runcuk Studies. Rampok Macan has taken place on the day of Eid, which marks the end of Ramadan, in Yogyakarta since 1791 and is arranged by the royal family. At the beginning of the 19th century, the ritual gradually spread to other kingdoms. On the day of Rampok Macan, a Javan tiger would be speared by the gathering crowd and pitted against a bull or criminal. If the tiger wins, it would be killed by the crowd. During the feudal and colonial periods, the king would invite colonial officers to see this bloody ceremony as a demonstration of his ruling position.


The four false documentaries and documents on The Death of Tiger tell the tradition of Tanah Runcuk, where humans dress up as tigers to participate in the festival. According to legend, people whose souls have been captured by the tiger will be sent into the fight. The killing was supposed to cleanse the souls of the humans and to restore order among society. By presenting the supreme power of the ruling authorities, the enthusiasm and anger of the crowd, the helplessness of the sacrificed, and the silent consent of the onlookers, Tanah Runcuk rationalizes the appalling acts by prosecuting the “other” in society through violence. Although this tradition no longer exists and the Javan Tiger is now extinct, the artist wishes to draw attention to the continuing oppression towards the other across the society of Indonesia.




希巨蘇飛 Siki Sufin 


木、物件 Wood, Objects

尺寸因空間而異 Dimensions Variable



Masalauway refers to the Amis legend about “SaLaw,” meaning “ghosts and gods,” and “Masalauway,” meaning “those fooled or taken by SaLaw,” and points to the historical past when Taiwanese indigenous soldiers, known as the Takasago Volunteers, were sent to the most violent battlefield of the Pacific War in New Guinea during the Japanese colonial period from 1942 to 1944. Through this work, Siki Sufin compares the history of the national machine and the journey of the Takasago Volunteers to the relationship between SaLaw and Masalauway.

藝術家與紀錄片導演蔡政良,於2013年回到新幾內亞的二戰遺址,與當地藝術家Papa David取用同塊木頭,分別建造了雙翼展翅的雕像—「高砂的翅膀」,為戰死異國的高砂義勇軍靈魂返鄉,以及戰時被迫擔任運送物資挑夫的新幾內亞先人。

The artist and documentary director Futuru Tsai visited the WWII sites in New Guinea in 2013. He shared one piece of wood with local artist Papa David to respectively create a sculpture with spreading wings. The wings of Takasago symbolically bring home the souls of the volunteer soldiers died in the foreign country as well as memorialize the New Guinea people who were forced to carry goods and materials during the war.


To create Masalauway, the artist uses Yellow Rotang Palm, a common plant in the South Pacific region, to connect all the exhibits and re-interprets the meaning of “path” in the Amis tradition. In the Amis community, if a member passes away, the rest of the community would walk the path once travelled by the deceased. The practice symbolically transforms the path into a zone where the worlds of the living and the dead overlap; it is an abstract paralleling of the two worlds. The artist’s visit to New Guinea represents the path of the volunteer soldiers, and consequently creates a homeward path. Moreover, the collaboration between Siki Sufin and the local artist also connects the Amis people and the New Guinean people. Even today, the people in New Guinea are still living in an environment where ruins from the war can be seen. In comparison, this part of the history has been largely forgotten in Taiwan. The relationship between Taiwan and New Guinea is similar to looking at oneself in the mirror. The former’s image is the reflection of “the other”; and both countries have become each other’s mirror image.




烏茲.里諾 Vuth Lyno

《透瑪達》系列Thoamada Series

攝影裝置 Photo Installation

尺寸因空間而異 Dimensions Variable



The Thoamada series comprises of nine large photographic portraits arranged in a circle suspended from the ceiling. This work was developed from an intensive workshop participated by the artist and nine men who have sex with men (MSM). During the two-day workshop, the participants shared their own stories and conducted an intimate yet open dialogue within this LGBT community. At the end of the workshop, every participant was invited to paint his face with an image that represented himself, which was a symbolic gesture of putting on a mask. The participants painted various images, including a butterfly, the Cambodia national flag, a tiger, the Asura, etc. The butterfly, half in colors and half in black and white, was a combination of life’s joy and sorrow. The national flag brought together the pride of the people and the mercy of Cambodia. The tiger symbolized a counteracting strength when facing attacks. The Asura reflected the public’s common fear of the LGBT community.


“Thoamada” is a common Cambodian word that refers to common stuff that is natural, usual or unproblematic. The circular form of the installation creates a zone, which encircles viewers within the embrace of the portraits and naturally immerses them in an intimate relation with the photographed subjects. However, when viewers step outside the circular zone, they assume an opposing position that define the self and the other. This situation is reminiscent of the circumstances faced by the LGBT community that is denied of familial and social recognition and is restricted by law and in the working environment. Through this work, the artist questions the boundary that demarcates the inner and outer worlds as well as the intimate and the public spheres.




凱西.馬查多 Cassie Machado

「來世」系列 Afterlife Series

                                                                                                                          © Cassie Machado

《圖5》 Fig.5 90° 18' 43.057" N 80° 47' 11.726" E

數位輸出 C- Print

30 x 23公分,共14件 30 x 23cm, 14 Pieces


                                                                                                                           © Cassie Machado

《來世VII》Afterlife VII- Mullivaikkal

數位輸出 C- Print

152 x 122 cm


 © Cassie_Machado

《來世II》Afterlife II, Mullivaikkal

數位輸出 C- Print

152 x 122 cm



The Sri Lankan Civil War was sparked by the conflicts between the ethnic majority, the Sinhalese people, and the ethnic minority, the Tamil people, during the British colonization. Since 1983, the Sri Lankan government and the Liberation Tigers of Tamil Eelam fought each other for nearly twenty-five years. Near the end of the war, a spot of major conflicts was a scenic island near the northern shore, called Mullivaikkal. The government’s military force carried out a genocide against the Tamil people on the island. Within one month, an estimate of forty to seventy thousand civilians died; in fact, the real death toll remains unclear until today. According to the Hindu and Tamil cultural tradition, the deceased should have a proper burial ceremony that sends their souls peacefully to reincarnation, otherwise they will become wandering ghosts that are bound to linger in limbo forever. The people that died during the civil war were not properly buried, and their family members were also deprived of the chance for mourning and remembrance. This deprivation has therefore trapped them in tremendous trauma and grief.


Cassie Machado spent nearly five years to study this history and created the Afterlife series based on her research. The clothes, baggage and human bones scattered around the village have formed a common landscape of the place. Through her camera lens, the artist captured the time-ridden, yellowed and fragile photo albums. Among the personal items left behind, the photo albums become the evidence that validates the faded existence of the dead and serve as a temporary shelter of the souls. These poetic yet politically charged images, for the artist, not only convey her reverence of the disappeared lives but also symbolize a burial ritual that appeases the dead and comforts the living.




安妮沙末 Anne Samat



Rattan Sticks, Yarns, Washers, Rakes, PVC

Chains, Home, Fashion Accessories, (Kitchen

& Garden) Utensils and Stationary Item

214 x 67 x 31 cm




Rattan Sticks, Yarns, Washers, Rakes, PVC

Chains, Home, Fashion Accessories, (Kitchen

& Garden) Utensils and Stationary Item

230 x 120 x 30 cm


《公主7 (披著黃絲巾的第7位公主)》

Puteri 7 (Berselendang Koning / Seventh Princess with yellow scarf)


Rattan Sticks, Yarns, Washers, Rakes, PVC

Chains, Home, Fashion Accessories, (Kitchen

& Garden) Utensils and Stationary Item

224 x 122 x 30 cm



Anne Samat employs everyday housewares traditionally used by women, including kitchenware, gardening tools, clothing accessories, rakes, etc., and transforms them into various figures with vibrant colors and exaggerated forms as her means to explore what it means to be a woman in society. Meanwhile, she also challenges the weaving tradition by adopting the weaving technique of the Songket, which is a fabric traditionally used for making royal and aristocratic clothing, and replacing the gold and silver threads with common plastic materials, rendering the fabric a metaphor for switched nation and identity.

這次展出的三件雕塑作品皆源自於傳統神話故事:「象頭神」、「瑪雅」¹、「公主7 (披著黃絲巾的第7位公主) 」²。安妮沙末藉由神話故事中的角色引申為現代性別身分認同寓言,將來自世俗艷麗繁複的組件,轉化為力量強大的神祇,在神聖與世俗、傳統與現代、陰性與陽性之間創造出一個相互交織的複雜形象。

Three mythology-inspired sculptures, Ganesha, Maya¹ and Puteri 7 (Berselendang Koning / Seventh Princess with Yellow Scarf)², are on view in the exhibition. The artist converts the characters in the mythological stories into fables that address the issues of modern gender identity. By transforming earthly, colorful and elaborate sculptural components into powerful deities, Anne Samat creates complex images interwoven with elements of the sacred and the secular, the traditional and the modern as well as the masculine and the feminine.



2.「公主7 (披著黃絲巾的第7位公主) 」源於馬來傳統舞蹈Ulek Mayang,述說一位海上公主愛上漁夫的故事。公主為愛引誘了漁夫的靈魂,漁夫的朋友見其無知覺,便請求巫師救治他。巫師作法召喚漁夫之際,公主亦請求五位姊妹協助她,兩相鬥法直到第七位公主現身,下令:「我知道你們的根源。來自海上的就回去海上;來自陸地的就回去陸地。」

1 “Ganesha” is the son of Shiva and Parvati. Parvati molded clay into the form of a boy and created Ganesha. Shiva misunderstood Parvati for being unchaste and became so furious that he sent a group of demons to attack the boy. The boy, however, easily defeated his assailants, so Shiva was forced to appear in the form of the goddess “Maya” to mediate the situation. As the boy was distracted by the beauty of the goddess, a demon or Shiva himself took the opportunity to behead the boy. Later, in order to make up his own mistake, Shiva cut down the head of an elephant to replace the boy’s head, and named him the Elephant God to honor his courage of defeating the demons.

2 Puteri 7 (Berselendang Koning / Seventh Princess with Yellow Scarf) is inspired by Ulek Mayang, a classical Malay dance. The dance tells the tale of a sea princess who fell in love with a fisherman. The princess abducted the fisherman’s soul out of love. Seeing the fisherman was unconscious, the fisherman’s friends asked a bomoh (shaman) to save him. As the bomoh was conducting the ritual to call the fisherman’s soul, the princess also asked her five sisters to her aid. The battle continued until the seventh and the eldest princess appeared and commanded, “I know your origins. Let those from the sea return to the sea, and those from the land return to the land."



王鼎曄 Ding-Yeh Wang

《三留》Ghost between island and land


Single Channel Video



Single channel video Ghost between Island and Land is an extension of Ding-Yeh Wang’s Family History Series. By integrating the reflections of the sea water, this work narrates the history and memories related to the Black Ditch of Taiwan Strait.


Ghost between Island and Land conveys the concept of the past, present, and future, touching upon Taiwanese migration history, the family history of migrants who traveled to Taiwan from China, and myths legends. The passage of time reveals the deaths and unknowns accompanying exodus and separation, as well as shattered dreams of a better tomorrow. Many people travel to the island with bright hopes and dreams about the future but are faced with the dangers and various challenges while crossing the Black Ditch. There is a Taiwanese saying that among ten people who attempt to cross the Black Ditch, six will die at sea, three will arrive at the shore, and one will retreat and return to China. Several myths and legends describe the sea monsters of the Strait, all indicating the perilous journey across the waters. Throughout the past four, five hundred years, the Black Ditch has taken countless lives, each with different dreams for the future, becoming a graveyard for beautiful memories and visions of a better past, present, and future.


The ghost of past dreamers has transformed into waves on the waters between the island and land. Either peaceful or stormy, the waters have witnessed both hope and despair, glittering in the sun and reflecting segments of history, memory, and all things of the past, present, and future.



活動大廳/Activity Hall

楊修華  Chris Yeo (Yeo Siew Hua)

《幻土》A Land Imagined

劇情片 Narrative Feature Film

95 min.




Since becoming an independent country in 1965, Singapore has conducted several land reclamations, making up almost one-quarter of its current land. Today, the construction process is continuing. Singapore’s land expansion has not only caused environmental destruction to neighboring gravel-providing countries, but the marine ecology of Singapore has also suffered severe impact.




A Land Imagined is set on the western industrial area of Singapore, which is created by land reclamation and filled with foreign workers from Bengal, Mainland China, Myanmar, Cambodia, Thailand, etc. Singapore is home to a vast number of foreign labors, but these people are like ghosts, excluded from the lives of the local people. For Chris Yeo, Singapore’s land is not only purchased from neighboring countries but also constructed through the efforts of the foreign citizens. Yeo spent three to four years collecting information and conducting field research, finally producing his script for A Land Imagined. The narrative film integrates social realism with film noir, recounting the tale of a missing Chinese worker. In order to reveal the incidents that happened on this land, the insomniac police detective observes and contemplates from the perspective of the migrant worker and discovers the hidden dangers concerning land, race, and nation that are concealed behind the façade of Singapore’s cleanliness and economic growth.


*電影放映時間:03/16(六) 14:00-15:40

Screening Hours of the Film: Sat., Mar. 16, 14:00 to 15:40



活動大廳/Activity Hall

陳彬彬 Tan Pin Pin

《星國戀》To Singapore, with Love

紀錄片 Documentary





In To Singapore, with Love, Tan Pin Pin interviewed a group of Singaporean left-wing social activists, student movement leaders, communist party members, who were forced into exile due to political reasons in the 60s and 70s. In 1963, the Lee Kuan Yew regime initiated “Operation Coldstore” and launched a large-scale police action of entrapment that led to the arrest or detainment of over one hundred left-wing political figures of opposition parties and activists of social and student movements. Employing the “Preservation of Public Service Security Ordinance,” the police force was given the right to arrest or indefinitely detain anyone that held a political stance different from that of the government. The operation resulted in the imprisonment or deportation of more than a thousand people.



The film centers on the life stories of these expatriates and focuses on their daily life as well as their genuine yet complicated feelings for Singapore. To film this documentary, Tan travelled to the UK, Thailand and Malaysia for the interviews. Through their extraterritorial perspectives, Tan explores a new understanding of the self emerged from the relocation of the body or the border-crossing thinking. With this film, Tan “wanted to understand how we became who we are by addressing what was banished and unspoken for. Perhaps what remains could be the essence of us today.”


然而,由於本片涉及政治敏感議題,被新加坡媒體發展管理局(Media Development Authority,MDA)下令禁映,不得在新加坡境內公開播放。誠如陳彬彬導演在聲明書中所闡述的,「最反諷的現實是,一部有關新加坡流亡分子的影片本身也遭逢自島國流亡的命運。」


Nevertheless, due to the sensitive political topics discussed in the film, Singapore’s Media Development Authority (MDA) banned the screening of the documentary within the country. As the director describes in his statement of the film, “the irony is that a film about Singapore exiles is now exiled from Singapore as well.”


*紀錄片放映時間:02/17(日) 14:00-15:10

Screening Hours of the Documentary: Sun., Feb. 17, 14:00 to 15:10



相關教育活動 Educational Programs

時 間|01月26日(六) 14:00-15:30
主持人|黃漢沖 Jason Wee (「烏鬼」策展人)
藝術家|恩佐‧卡馬喬 & 連潔 Enzo Camacho & Amy Lien
賈凱‧斯里布特 Jakkai Siributr
時 間|02月16日(六) 14:00-15:30
主持人|黃漢沖 Jason Wee (「烏鬼」策展人)
藝術家|烏茲 ‧ 里諾 Vuth Lyno
時 間|03月09日(六) 14:00-15:30
主持人|黃香凝 (「烏鬼」協同策展人)
藝術家|郭靜潔 Minstrel Kuik
時 間|03月23日(六) 14:00-15:30
主持人|黃香凝 (「烏鬼」協同策展人)
時 間|04月06日(六) 14:00-16:00
主持人|黃香凝 (「烏鬼」協同策展人)
與談人|林潤華 (國立東華大學臺灣文化學系暨研究所助理教授)

時 間|03月17日(日) 14:00-15:30
藝術家|莎琳娜・穆罕默德 Zarina Muhammad
地 點|當代館二樓204展間

專家導覽 週日14:00-15:30
01月27日|黃漢沖 Jason Wee  (「烏鬼」策展人)
黃香凝 (「烏鬼」協同策展人)
02月24日|劉星佑 (獨立策展人、走路草農/藝團成員)
03月24日|黃蘭燕 (桃園市政府文化局文化發展科科長、國立中央大學藝術學研究所兼任講師)


●星國戀 To Singapore, with Love
場 次|02月17日(日) 14:00-16:10 (含映後座談)
04月13日(六) 11:00-12:10
幻土 A Land Imagined
場 次|03月16日(六) 14:00-17:00 (含映後座談)
04月13日(六) 14:00-15:40

時 間|01月26日(六) 16:00-18:00
藝術家|賈凱・斯里布特 Jakkai Siributr (「烏鬼」參展藝術家)
對 象|15歲以上,對藝術創作有興趣之一般民眾
費 用|500元
地 點|當代館一樓好玩藝教室
備 註|本工作坊為中英雙語教學
時 間|04月04日(四) 10:30-12:00
講 師|小美姐姐 (本名范美幸,致力於越南文化推廣與分享)
對 象|12歲以下之親子觀眾
地 點|當代館一樓活動大廳
辦 法|免費參加,現場座位有限,請事先至官網報名


時 間|03/03-04/14,每週日10:00-12:30,共七週
對 象|國小三-六年級
費 用|4,500元
藝術家|提姆 Tim Budden (英國藝術家)
備 註本課程為中英雙語教學