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

首頁 展覽資訊
展覽名稱 Exhibit


Where Have All The Flowers Gone -- These Flowers. Musical Memory & Art Exhibition

展覽時間 Date

2019/04/27 (SAT.) ~2019/07/07 (SUN.)  

展覽地點 Venue

台北當代藝術館 二樓主展區

策展人 Curator

計畫策展人Project Curator — 方序中Joe Fang

音樂執行總監Music Director — 瑪莎 Masa

計畫執行總監Project Director — 陳勇志 Ason Chen

參展藝術家 Artists
志樂制樂 (林強+許志遠) X 黃邦銓 + 蔡孟閶
Aspiration Music Productions (Lim Giong + DJ POINT) X Huang Pang-Chuan + TSAI Meng Chang
阿信 X 明和電機 Ashin X Maywa Denki
魏如萱 + 鳳小岳 + 陳建騏 X 豪華朗機工
waa wei + Rhydian Vaughan + George Chen X LuxuryLogico
家家 X 曲倩雯 Jia Jia X Vvzela Kook
劉若英 René Liu
方序中 X 蘇益良 Joe Fang X Liang Su
李英宏 X 新興糊紙文化 + 齊振涵 + 李嘉泉
Ying-Hung Lee X Hsin Hsin Joss Paper Culture + Hans Chyi + Lee Chia Chuan
茄子蛋 X 王宗欣 EggPlantEgg X Cowper Wang
告五人 X 吳仲倫 Accusefive X Chung Lun Wu
宇宙人 X 紀昀  Cosmos People X Asking Gee
HUSH X 李霽 HUSH X Lee Chi

展覽介紹 About the Exhibition
















Where Have All the Flowers Gone

—— These Flowers. Musical Memory & Art Exhibition

Curator  Joe Fang


Exhibition Introduction


 “Is time the greatest enemy of memory?”


The easiest way to be lost in the 21st century is to lose one’s way home.

The greatest sorrow in the last century was “unable to return to one’s home.”

The first drop of tears in this century is unexpectedly shed for “having no home to go back to.”


We started These Flowers project in the Autumn of 2015, right before the demolition and relocation of Gong-He Military Village in Donggung, Pingtung. The elders used to say that fallen leaves would eventually return to their roots. We leave because we wish to resist getting old, yet we become rootless leaves before even withering. At first, we worry and search in the endless world to find the person that we can go home with. We get frustrated; we fight regardless of all risks; we find the self, but cannot find the home to return to. We find the person to go home with and track down the path that leads to home, only to find that “home” exists no more. We find each other, only to become drifters in the end. The time that we have not written a letter is how long we have not sent a letter home. Yesterday, I could not help but picking up the pen to write a letter with that very first address I ever memorized; today, the letter was returned. The reason for the failure to deliver is not “address nonexistent” but “addressee unknown.” Without home, we are mere drifters, wandering from one familiar memory to another.


Gradually, we realize that “time” is a tender killer. As we chase after time, we have slowly forgotten everything we used to cherish. Those moments that we thought to be carefully preserved in our minds have lost their luster along the course of seasonal cycles. As of now, These Flowers project has reached its fifth year. We hope to portray each other’s memories, using popular music to recreate the lost rhythm and to recall the melodies buried our reminiscence. The artists have teamed up and employed light and shadow as well as interactive and interdisciplinary media to echo the music. As the sense of hearing materializes the bone structure of memory, the sense of sight gives memory a corporeal existence. Each song seems to remind us of things we do not wish to let go. Through these well-intentioned works, it is hoped that every listener can experience others’ stories when listening to the music.


Let’s return to the most innocent self to look for ______ that we have tried so hard to hold on to.

參展藝術家 About the Artists


·志樂制樂 (林強+許志遠) X 黃邦銓 + 蔡孟閶
  Aspiration Music Productions (Lim Giong + DJ POINT) X Huang Pang-Chuan + TSAI Meng Chang

·阿信 X 明和電機
  Ashin X Maywa Denki

·魏如萱 + 鳳小岳 + 陳建騏 X 豪華朗機工
  waa wei + Rhydian Vaughan + George Chen X LuxuryLogico

·家家 X 曲倩雯 
  Jia Jia X Vvzela Kook

  René Liu

·方序中 X 蘇益良
  Joe Fang X Liang Su

·李英宏 X 新興糊紙文化 + 齊振涵 + 李嘉泉
  Ying-Hung Lee X Hsin Hsin Joss Paper Culture + Hans Chyi + Lee Chia Chuan

·茄子蛋 X 王宗欣
  EggPlantEgg X Cowper Wang

·告五人 X 吳仲倫
  Accusefive X Chung Lun Wu

·宇宙人 X 紀昀
  Cosmos People X Asking Gee

·HUSH X 李霽
  HUSH X Lee Chi


作品介紹 About the Artworks


志樂制樂(林強+許志遠) X 黃邦銓 + 蔡孟閶

《台灣是好所在》Incomplete Memories


環景影像裝置  Panorama Video Installation

尺寸因空間而異 Dimensions Variable

6分15秒 6 min. 15 sec.

2019年  2019


油彩畫布  Oil on Canvas

116.5公分 x 72.5公分  116.5 cm x 72.5 cm

2017年  2017






Aspiration Music Productions (Lim Giong + Point) X Huang Pang-Chuan + TSAI Meng Chang

Incomplete Memories


Panorama video installation, Incomplete Memories, is co-created by musicians Lim Giong and Point as well as artists Huang Pang-Chuan and Tsai Meng Chang. To create the music, Lim and Point base their work on traditional Taiwanese folk melody of “Doumadiao” and combine synthesized music and the Taiwanese language to portray the vibrant energies that connect the new and the old, ushering in a fresh music style through amalgamating or colliding different elements.


In terms of the video installation, Huang Pang-Chuan, who specializes in interpreting disappearing time through image, uses frames of images to show a series of photographed figures, objects and scenes, unveiling fragments of life through whispering sounds. A quaint sentiment informed by the nostalgic feelings for one’s native home as well as a sense of familiarity can be perceived in the work. The five paintings, on the other hand, are part of Tsai Meng Chang’s painting series featuring his native home; they respond to the cherishment of land and the feeling of gratitude expressed in the lyrics of the song. The representation of tranquility and time in the paintings materializes the artist’s emotion and documents the challenging journey of the older generations; at the same time, these paintings also preserve the artist’s memories of a disappeared home and childhood. Through these artists’ quest of a home for the spirit on this land and their personal understanding of life and its rhythm, the work takes a slow pace to reflect upon contemporary culture while bringing the environment and folk culture into focus.




阿信 X 明和電機  


《隱形的紀念》the hidden memories

雙頻道錄像裝置 Two-Channel Video Installation

尺寸因空間而異  Dimensions Variable

5分19秒  5 min. 19 sec.

2019年  2019


木、金屬、合成樹脂  Wood, Metal, Synthetic Resin

14.8公分 x 10.5公分 x 3公分   14.8 cm x 10.5 cm x 3 cm

七件二組  2 sets, 7 pieces per set

2019年  2019





Ashin X Maywa Denki

the hidden memories


Two-channel video installation, the hidden memories, is co-created by singer-songwriter Ashin and Maywa Denki from Japan Ashin reinterprets the idea that the happiness of loving and guarding someone might have an expiration date; but when rememberance becomes invisible and submerged in time, one should never forget the beauty and experiences gained along the journey. Extracting the essential imagery from Ashin’s interpretation of the song, Maywa Denki translates the passing time loaded with emotions and feelings into the mood for reading, creating a set of new wooden instrument-books, entitled BUNKOGAKKI, to be used in composing fresh melodies and respond to Ashin’s music.


Displayed on the table and bookshelf are newly developed instruments in the form of books; they include wooden block, ocarina, kalimba, toy piano and ukulele. The seven musical books constitute an experience that engages the sense of hearing and visual exploration while revealing an alternative sense of humor. Maywa Denki calls these unique musical instruments “nonsense machines,” For this reason, they specially put the names of the musical instruments on the book spines, for example “Kalimba”, as if it is a pocket book regarding to the knowledge of kalimba. When playing the “kalimba,” its sounds conjure up African scenes in our mind. BUNKOGAKKI is a project that aims to create musical instruments to collect sonic memories from around the world. The series will become a set of sonic encyclopedia when it reaches BUNKOGAKKI Vol. 100. When Maywa Denki’s passion for machines and artisan spirit for handcrafted objects meet the fresh music interpretation by rock'n'roll poet Ashin, people’s feelings and imagination for machines will be awakened.




魏如萱 + 鳳小岳 + 陳建騏 X 豪華朗機工

《很難很難》 Hard, Hard

複合媒材、動力裝置  Mixed Media, Kinetic Installation

尺寸因空間而異  Dimensions Variable

20分  20min.

2019年  2019





waa wei + Rhydian Vaughan + George Chen X LuxuryLogico

Hard, Hard

Mixed media kinetic installation, Hard, Hard, is co-created by singer-songwriter waa wei, Rhydian Vaughan (song co-writer), single music director, George Chen and artist collective LuxuryLogico. Both the song and the art installation reveal the creators’ emotional projection about the disappearing and birth of life. waa wei’s lyrics depict the cycle of life inspired by her experience of rejoicing in the arrival of a new life and accepting the loss of a beloved family member. close friend and her pet.

LuxuryLogico uses “light” to connect the work and the lyrics to create the overall atmosphere; it also serves as the key imagery that embodies life’s flow, their remembrance of a departed group member and a sentimental perception of disappearing lives, things and stories in the changing city. They use objects to create a unit that simultaneously resembles a house and a desk, blending moments of memories symbolized by a desk, kitchen, bus station, house windows, eaves, street corners, street lamps, seashore, etc. Mechanically controlled, a glowing sphere follows the music and floats in the space. When the light shines through the window, it becomes a lamp left on for those that come home late in the night; and when it reaches the seashore, a setting sun suddenly comes into view. Whatever object the light moves onto, a different memory is evoked. Using light to guide the audience’s vision to gradually enter the music, the work recreates moments and scenes from the past, reliving old memories while introducing the force of a new life.




家家 X 曲倩雯

《回家》 Go Home


單頻道錄像裝置  Single-Channel Video Installation

6分28秒  6 min. 28sec.

2019年  2019





Jia Jia X Vvzela Kook

Go Home

Go Home is a video installation co-created by musician Masa, Jia Jia and Hong Kong artist Vvzela Kook. Masa re-arranges singer Shunza’s hit song, Go Home, to be re-interpreted by Jia Jia with her soulful voice, portraying the complex feelings about home, a drifting life and the separation from one’s native land. Throughout the music, Masa uses sound-mixing technology to combine ambient sounds with the music to evoke memories about travelers and traveling by train. Through sounds, the work mixes and transports listeners through rural, village, urban and interregional memories, layering travelers’ longing for home and conveying an emotional soundscape of home as the audience attentively listens through the headphones.

Expanding mental image through sound and visual image, the video reveals Kook’s use of multi-layered texture and appealing to audience’s sensibility as well as Jia Jia’s interpretation of indigenous peoples’ loss of home. The work also continues Kook’s creative work, in which she has embedded intricate, overlapping narratives of diaspora, such as her virtual replication of Hong Kong’s Kowloon Walled City, stories about the migrants’ in Vancouver, and her grandfather’s brother who fought in the Korean War and eventually settled down in Taiwan. Various perspectives and narratives are woven together to reflect a cross-regional imagination about migration, immigrants and diasporic experiences, initiating a dual discussion about returning home and failing to do so. Meanwhile, delineating an intersection of “audio” and “visual” perceptions, Kook also employs the characteristically penetrative quality of music and sound to “visualize” her interpretation of Taiwan’s mountains and sea as well as that of separation and quest.





《小事》Tiny Things


聲音裝置 Sound Installation

1分35秒 1 min. 35 sec.

2019年 2019



Central Stairway 2F

René Liu

 Tiny Things

With the sound installation, Tiny Things, singer-songwriter René Liu reveals a sonic context of interconnected perceptions constructed with “sounds” and “space.” Through her soft, unhurried narration of her intimate relationship with home – characterized by tiny daily scenes in life – her comforting voice seems to shine with the gentle light that fills life with warmth. Without using music, her expressive voice conveys more simplified and pure emotions. Her heartfelt language, the embedded feelings and a heart unswayed by the world have come together to serve the various expressions and forms in her voice. Sounds, stories and the space invite the audience to be immersed in the sonic field and to listen to and perceive a fluid innerscape.

Moreover, this unique context also transforms the relational connection in the aesthetics of interstices. The middle staircase in the museum is like a spatial pause and transition in the traffic route of exhibitions while implicitly indicating the progress of time. In this exhibition, the first four gallery rooms before this work collectively form an overture, and Liu’s work functions as a comma in the writing of the exhibition—after a brief pause, the narrative will continue.




方序中 X 蘇益良

《親愛的____》Dear ____


多媒體裝置  Multimedia Installation

尺寸因空間而異  Dimensions Variable

2019年  2019






Joe Fang X Liang Su

Dear ____

Multimedia installation, Dear ____, is created by Joe Fang, the curator of this exhibition, and photographer Liang Su. Sitting at the center of the gallery room, the massive installation, like a giant of time, extends its feelers to connect with other works on display in the space and assumes the physical manifestation of time.

The photographic subject, Fang’s maternal grandfather, whose images serve as interpretations of the ever-changing time, has been the key figure of These Flowers, a project that Fang has worked on for five years. Upon seeing these images, elders in the audiences’ families or people missed by them are brought to mind; and through this character, everyone is encouraged to reflect upon the origin of one’s existence and value. Fang returned to his hometown, Gong-He New Village, in Donggang, Pingtung to photograph this series. Throughout the creative process, each subtle change of his grandfather’s inner world, along with all his feelings and emotions, is revealed and captured by the camera. In this multimedia installation, the slow-motion video is projected onto a tulle screen. As the tulle screen flutters in the air, the photographic images resting on an indistinct interface fall into an elusive state and are only discernable intermittently. Their ambiguous existence evokes the memories that soon fade away as the images disappear into oblivion. The work serves as a thought-provoking reminder about oneself. At the same time, it guides the audience with its extending feelers to listen to the other five works, which the audience can isolate themselves in an invisible, personal space separated from the surrounding by listening through headphones. Listening to the other works around the installation, physical distance is replaced by an intimate and encompassing experience. Which made music as an art of time, and the overflowing images will remain fluid in their constant motion….




李英宏 X 新興糊紙文化 + 齊振涵 + 李嘉泉

《有前無後》 One Way


複合媒材裝置  Mixed Media Installation

尺寸因空間而異  Dimensions Variable

7分43秒  7 min. 43 sec.

2019年  2019






Ying-Hung Lee X Hsin Hsin Joss Paper Culture + Hans Chyi + Lee Chia Chuan

One Way

Mixed media installation, One Way, is created by musician Ying-Hung Lee, Hsin Hsin Joss Paper Culture, organization, fashion designers Hans Chyi and Lee Chia Chuan. For the music, Ying-Hung Lee brings together music of different eras and adopts a diverse and mixed music style to portray the cultural meaning of traditional papier- mache offerings—the imagination of an afterworld paradise and the mourning for the dearly departed are transformed into a dance party, providi,g a fresh interpretation of papier- mache offerings and their significance.

The work adopts the form of “the Taiwanese-style paper house” (three two-story houses connected sideways), which is made by Hsin Hsin Joss Paper Culture, following the tradition methods and designs of “traditional paper house offerings,” from tying the bamboo structure, to using colored paper that carry the colors of folk myth, to cutting paper decorations to adorn the exterior of the building. The architectural style of these paper houses has also evolved from copying traditional temples, to Han people’s three-section residential compounds, to modernized Taiwanese two-story houses, revealing the uniquely hybridized style of papier- mache  art in Taiwan. The boy and girl attendants, made as companions of the deceased in the journey to the Western paradise, stand on cranes, which is a symbol for longevity and auspice as well as a reference to the euphemism, “the deceased rides the crane and returns to the West.” A traditional paper house only has a façade for display and the back is usually left blank, a traditional metaphor for “moving forward without returning and leaving anything behind.” Hans Chyi and Lee Chia Chuan reinterpret this traditional concept from the angle of fashion design, enabling viewers to look at their transformation of the time-honored craft and all the reinvented details from all angles: they use luminescent light to outline the external form and mix old and new paper materials for the interior to echo decorative styles of different eras, such as flowery walls and modern floral fabric. They also put in a mini disco light to create a retro dance club vibe. Foregrounding the similarity between the concept of sending messages to the dead by burning paper offerings and the contemporary practice of uploading information to the cloud, the work expresses both our need to communicate and our unwillingness to let go of what we have lost, providing hope for the future and denoting our refusal to forget.




茄子蛋 X 王宗欣

《我夢見了小叮噹》XiaoDingDang in My Dreams


多媒體互動裝置  Interactive Multimedia Installation

尺寸因空間而異  Dimensions Variable

4分05秒  4 min. 05 sec.

2019年  2019





EggPlantEgg X Cowper Wang

XiaoDingDang in My Dreams

Interactive multimedia installation, XiaoDingDang in My Dreams, is co-created by music band EggPlantEgg and artist Cowper Wang. EggPlantEgg interprets their nostalgia for childhood cartoon animations in the song, expressing the idea that “childhood cartoons are always more enjoyable!” This song by EggPlantEgg draws inspiration from childhood imagination in memory that enables one to see the world from a fun-inducing perspective and become aware that time can never be turned back.

Memory has always unexpectedly snuck upon us. XiaoDingDang in My Dreams unfolds a projection of the past. A photograph, a video clip or an audio segment is integrated into the space and with the flow of time, overlapping with each other and oblivion. What would the fluid memory be like if it could be seen? Cowper Wang views the space as a gigantic scanner, for which he installs a house door” that ironically cannot be opened, symbolizing that time is always moving forward in one direction and only allows exiting but not entering. Meanwhile, he sets up a video camera looking through the peephole, secretly viewing the crowd outside the door and documenting the traces created by people going through this space manifested as irregular layers. They sometimes form concrete images, and are sometimes showed as dispersing, disappearing traces. Projected into the space, the visible memories flee in all directions and create a surreal scene with their morphing, distorting, floating and fluid existence, outlining the connection between memories and emotions.




告五人 X 吳仲倫



複合媒材、動力裝置  Mixed Media, Kinetic Installation

尺寸因空間而異  Dimensions Variable

4分03秒  4 min. 03 sec.

2019年  2019





Accusefive X Chung Lun Wu


Mixed media kinetic installation, Deer, is co-created by music band Accusefive and film director Chung Lun Wu. With this song, which was written before the band debut, Accusefive expresses their feelings about the world with all its sorrow and joy. Meanwhile, the song also records their growth along their journey. To reinterpret this song after gaining more experiences feels like taking a retrospective, emotion-filled glance towards one’s home. It also poses a question: what is it that we still cherish as we eventully getting more mature and growing older in life?

Wu, on the other hand, draws his inspiration from “efflorescence,” transforming his personal memory of dampness into a kinetic installation and linking it to his experience of leaving home to pursue a professional career. According to Wu, there are always many reasons that bring one away from home, whether it is work or any other excuse that prolongs one’s absence at home. The memory of dampness and that of home have always kept spinning in his mind while he is away from home. The idea that “home is always there” might be assuring, but it also grows more fragile and unreliable over the course of time. This installation does not operate in a perfect balance and distribute the kinetic energy evenly. A small area of efflorescence on a wall at home can suddenly remind one of time’s progress, calling to mind how we have taken the existence of home for granted and failed to cherish it. Through this useless machine that serves as a metaphor for time, it is hoped that the work can provide a tranquil outlet for everyone at a time when people’s inner world seems to be emptied by rapid technological progress.




宇宙人 X 紀昀

《禁止觸摸》Don't Touch


多媒體互動裝置  Interactive Multimedia Installation

尺寸因空間而異  Dimensions Variable

4分31秒  4 min. 31 sec.

2019年  2019






Cosmos People X Asking Gee

Don't Touch

Interactive multimedia installation, Don’t Touch, is co-created by music band Cosmos People and artist Asking Gee. Cosmos People incorporates perceptive experiences into Song writing, drawing inspiration from the feeling of touching a Kashmir rug and interpreting the tactile memory through the music. Specializing in new media art, Asking Gee uses interactive installation and mapping projection to generate visual and audio variations when audiences touch the acrylic cube on the wall. When changes in the projected image occur, Cosmos People’s music that can be heard from the headphones will change accordingly.

The work reflects how technological advancement is ensued by the virtualization of physical objects, which has altered modern people’s ways of life and consumption as well as how objects are revealed to people. Changes, such as physical books are replaced by electronic books and automobile stereo systems are now controlled with tablets, have led to the absence of our “first-hand” experience of things. Instead of genuinely touching an object, people find themselves faced with a screen that lacks warmth and deprived of the chance to touch and feel the object. However, the sense of touch and the feeling of touching an object allow the emergence of varying sentiments and emotions toward different objects. In a way, tactile perception has always deepened and strengthened our memory of things.





《大樹小花》  Have You Been There?


複合媒材裝置  Mixed Media Installation

尺寸因空間而異  Dimensions Variable

2分59秒  2 min. 59 sec.

2019年  2019





HUSH X Lee Chi

Have You Been There?

Have You Been There? is a mixed media installation co-created by singer-songwriter HUSH and artist Lee Chi. To commemorate an old mango tree in front of his home, HUSH wrote this song in his usual tender style informed by touching emotions, perhaps as a way to cherish the memory of having the mango tree as a companion when growing up, to make the mango tree a symbol of “home,” or to convey his nostalgia for the good old days. Lee Chi uses plants to depict the disappearing tree in the installation, recreating the silhouette of the mango tree in the space. Moreover, he incorporates other plants to produce organ-like tissues without external skin, displaying their incompleteness to the viewers. The connection between a refrigerator and plants also responds to the fact that sometimes people’s solutions are methods of involuntariness that can only preserve beautiful things temporarily. Therefore, one can only imagine the original form and appearance of the disappeared tree based on the constructed silhouette.


The meaning of the tree lies in the memory of growing up. People, things and events around us have always quietly entered our memory in daily life. Therefore, when they finally disappear some day, we feel sad, helpless and despondent; however, our feelings, like that old mango tree, have taken roots deep within us, occasionally dancing with the wind and causing ripples in our hearts.


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