About 展覽介紹

花東縱谷的小鎮玉里,舊名「璞石閣」,意為「風塵之巷」或「灰塵世界」,據說原住民深居山林,忘形打獵之際,不知不覺走出森林邊緣,望見一座小鎮,其間風塵飛揚,景像荒疏,異於山林,因而得名。仲夏初秋之際,秀姑巒溪總是一片風沙滾滾,偶爾還捲起小龍捲風。那個無聊的年代,下午坐在半山腰上,望著無人出沒的小鎮,只有載甘蔗的黑火車,無聲無息的冒著白煙從山腳下緩緩駛過。縱谷大塊的雲朵,山形色彩的變化,都輕如它們自己的影子。 The small town Yuli in East Rift Valley was previously known as “Pu Shih Ko,” which means “the ally of dust” or “the world of dust” in aboriginal languages. It is said that on one occasion, the indigenous people who lived deep in the mountains were so immersed in hunting that they found themselves walking beyond the edge of the forest. The people saw a small town surrounded by dust, a deserted scenery that looked different from the mountains, hence the name “the world of dust” come out. Xiuguluan River is often surrounded by dust with occasional small tornadoes during midsummer and early autumn. In the early days, people would take the train halfway up the mountain and look on to the empty town while black trains carrying sugar cane slowly pass by the foot of the mountain, quietly puffing smoke. The changing contours and colors of the mountains and large clouds throughout the rift valley are as light as if they were shadows of themselves. 島嶼東部的開發比西部晚兩百年,一般人印象中,這裡是原住民群居的蠻荒之地,狂野的太平洋帶來無情的颱風,活躍的菲律賓海板塊帶來恐慌的地震。這裡的人「如四季花草榮枯由他」般活著,不知不覺。如果說殖民時期帶來自卑,威權時期帶來平庸,被遺忘的島嶼邊緣,就更加莫名的卑微,過著反智的生活。確實,島嶼的邊緣,遙遠的化外之地,注定被孤立、被遺忘,但也有些避亂保真、隱身內觀、孤獨創作的人,受不了都市也住不久鄉下,總是來來去去。時光飛逝,曾幾何時被稱做「後山」的臺灣東部,變成了「臺灣最後一塊淨土」,這其中沒有什麼邏輯,只是一種存在的悖論。 The development of East Taiwan started 200 years later than West Taiwan. Most people have the impression that East Taiwan is an undeveloped place with indigenous tribes, confronted with ruthless typhoons brought by the wild Pacific Ocean and earthquakes created by the energetic Philippine Sea Plate. Just like seasonal flowers and plants, the habitants of East Taiwan live passively under the impact of nature. If colonialism brings a sense of inferiority, authoritarian leads to banality. The margins of this island, forgotten by others, have become even more insignificant and represent a life of anti-intellectualism. The edges of this island and remote locations are indeed destined to be isolated and forgotten; however, there are exceptions. Some manage to avoid the chaos of the outside world and preserve authenticity, hiding and nurturing the inner scenery, creating art in solitude. These people are unable to live in the city nor in the country for long, constantly traveling back and forth. As time goes by, East Taiwan, previously known by many as “Back Mountain,” has now become “the last pure land of Taiwan.” This phenomenon does not contain any logic and is merely a paradox of existence. 新時代的來臨,西部的進步帶來生活的矛盾與價值牴觸,使得島嶼東部出現另一種可能。壯闊的大地、無情的自然、簡單的人文,必定有它的意義。康德(I.Kant)在他的《判斷力批判》(The Critique of Judgment)中提及崇高與壯美,他說由於自然對象的巨大體積或力量超過想像力所能掌握時,於是在人心中會喚起一種要求對對象予以整體把握的「理性理念」來掌握和戰勝對象,從而對對象的恐懼、畏避的痛苦,轉化為對自身(即人)尊嚴、勇敢的肯定而生快感。這種審美特質在於它不是和諧優美那種,而是在愉快中包含痛苦,痛苦中又含有愉快。 With the dawning of the new age, contradictions in life and values that result from the advancement of the West have led to a new possibility for East Taiwan. The spacious land, ruthless nature, and simple culture, all have their unique value. In “The Critique of Judgment,” Immanuel Kant mentioned “the sublime,” a sensation that arises in the heart when one encounters overwhelming size or force in nature. The sensation induces reason to grasp and conquer the phenomenon, which results in the pain of fear or recoil. This pain further transforms into a pleasing sensation of dignity and courage towards the self (human). This unique quality of aesthetic judgment does not arise from harmony or beauty, but from an intertwined and mixed sensation of pleasure and pain. 這是東部藝術家面對的第一個悖論,也是創作的來源,對抗巨大空虛無聊、原始的自然力量而產生的整體把握之野心與批判力度。另外,那些離開再回來,一直處於隱身避世與豪邁開創之中來來去去而形成第二種悖論,在價值兩極之間巨大擺盪的體力與精力所帶來的生命力量。第三個悖論即原住民山林世界與漢人灰塵世界,是關於始原的探索與存在的警覺。每一個悖論都有它的社會議題以及矛盾勢力,創作者必須不斷保持活躍的心靈與創造的喜悅,又不斷重回寧靜與穩實,才能獨自在前無古人後無來者的洪荒之地為這個世界命名;無權過問世事卻有清晰的思考能力;身處資本主義卻保有社會良心,與自然的、形而上的原始的契約不曾間斷,這就是隱身島嶼的性格。本展覽「島嶼隱身」希望透過這三個悖論,探討一種特殊美學與存在之真,邀請深居東部的藝術家,以及外地來來去去求學的青年創作者,就他們生活實踐與自我探索,彰顯「任何一個地方都有大地與世界,自由與文明」的思緒及其藝術。 For artists of East Taiwan, this contradiction is the first paradox and an inspiration for creativity, the ambition and judgment of grasping the enormous emptiness of boredom and ancient forces of nature. In addition, artists who have returned and are moving back and forth between secluding quietly and creating boldly, form a second type of paradox, a life force that sways between the two extreme poles of different values with physical and mental energy. The third paradox lies between the indigenous world of the mountains and the dusty Han Chinese world, a vigilance of exploring origin and existence. Each paradox involves social issues and contradicting forces. In order to identify this world, alone and without forebears and followers, the artist must continue to preserve the liveliness of the mind and the joy of creating while also enable the return to serenity and seclusion. These artists have no right to enquire about the incidents of this world but are blessed with a clear mind, living in our capitalist world while maintaining social conscience. The ongoing connection with nature and the metaphysical is the temperament of living in seclusion on this island. Hiding in the Island is an exhibition that aims to explore this unique aesthetic and authenticity of existence through these three paradoxes. Artists who live deep in East Taiwan and young artists who arrive during the travels in their studies come together to share their mindset and work, hoping to highlight the idea that “any location is a place for nature and the world, freedom and culture.”

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Artists 參展藝術家

本次共有41位藝術家共同參展
Labay Eyong 林介文
Huang Jin-Cheng 黃錦城
Malay Makazuwan 林琳
Pakavulay 巴卡芙萊
Silvia Piantini 塞爾維亞・皮安提妮
Giacomo Zaganelli 賈科莫・札加內利
Tseng, Yi-wen 曾以文
Tommaso Muzzi 多瑪索‧穆之
Corner Art Group 角落藝術群
Sculpture Garden 《石雕花園》
Tien, Ming-Chang 田名璋
Idas Losin 宜德思‧盧信
Watan Tusi 瓦旦‧督喜
Eleng Luluan 安聖惠

林介文(b.1982),花蓮縣萬榮鄉紅葉部落太魯閣族人。向來厭惡束縛與體制框架的林介文,大學主修金工,研究所赴西班牙投入於實驗性臨時空間的探究,以身體感官直覺先於思考,從而跳脫平面拘限:「我得先動手,知道材料的感覺,才能慢慢建構。我從不畫圖,圖一定是騙人的。我的東西很有機,要不斷疊上去。」隨著意念游藝於異質媒材的織構與碰撞,銜繫起太魯閣族傳統的織布文化,履踐之中感懷部落織女耆老的啟發尤深;作品融入早期金工技法與纖維等複合媒材及錄像裝置,以軟雕塑作品居多,擅長用多面向的方式呈現同一主題,關切身分認同、身體行為、女性、環境等議題。

Labay Eyong (b. 1982) is a member of the Truku village, called Ihownang, in Wanrong Township, Hualien County. She has always disliked constraints and systematic frameworks. After graduating college with a major in metal art, she travelled to Spain and explored the potentiality of experimental temporary space. She places physical senses before rational thinking and escapes two-dimensional limitations. According to the artist herself, “I have to work with my hands first to feel the materials and slowly build the work. I have never done preliminary drawings because they are deceitful. My work is organic, like endless layers upon layers.” Following her mind to explore weaving and a combination of heterogeneous materials, Labay Eyong has inherited the traditional weaving culture of the Truku people and incorporated her gratitude for the inspiration from female elder weavers in her community. She combines metal work techniques with mixed media, such as fibers, and the art form of video installation to create her works, which are mainly soft sculptures that tend to delineate one subject at a time from various perspectives. Her works engage viewers in issues about identity, bodily actions, women and the environment.

生於臺灣宜蘭,輔仁大學應用美術系畢業。目前居住與工作於花蓮吉安。

Huang Jin-Cheng was born in Yilan, Taiwan. He graduated from the Department of Applied Arts, Fu Jen Catholic University. He now lives and works in Jian, Hualien.

生於臺灣花蓮,國立東華大學原住民學院民族文化系畢業,目前居住與工作於花蓮吉安。

Malay Makazuwan was born in Hualien, Taiwan. She graduated from the Department of Ethnic Relations and Cultures, College of Indigenous Studies, National Dong Hwa University. She now lives and works in Jian, Hualien.

由林琳、黃錦城兩人所組成的「巴卡芙萊」,在卑南語中隱含著「使事物變的美好」的意涵。作品常以現成物、自然素材與部落口傳神話意象之結合、對應,以此呈現族群文化的傳承與創始的可能,藉以凸顯臺灣的原住民族群之現代處境。

Pakavulay is formed by Malay•Makazuwan and Huang Jin-Cheng. In the Puyuma language, it means "to make things beautiful and wonderful." The artist collective often employs ready-made objects and natural materials to combine with or respond to imagery of their tribe's oral mythology. Their work emphasizes on the inheritance of their tribal culture and the possibility to create, and by doing so, highlights the modern circumstances of Taiwanese indigenous peoples.

塞爾維亞・皮安提妮(Silvia Piantini ,1986—),生於義大利托斯卡尼,是一位時尚配件設計師,專注於飾品設計,對於傳統手工藝、失傳的技藝、傳統服飾、傳統音樂及樂器有濃厚的興趣。

Silvia Piantini (1986-) was born in Toscana, Italy, and works as a fashion accessory designer specializing in jewelry design. She is particularly interested in traditional handicrafts, lost artistry, traditional clothing, Traditional music, and music instrument.

賈科莫・札加內利(Giacomo Zaganelli ,1983—),生於義大利佛羅倫斯,目前居住於義大利及柏林。創作領域包括藝術、建築、空間創作之公共藝術裝置,希望藉由作品提供一種觀看日常生活的「非常規」方式。其創作及研究著重於時間與空間的關係,相信藝術的附加價值來自於其歷史深度、包括對於過去、現在及未來的想法。

Giacomo Zaganelli (1983-) was born in Florence, Italy, and now lives in Italy and Berlin. His work ranges from art, architecture, and public art installation for spaces. He hopes to provide an "unconventional" perspective to look at daily life. His work and research focus on the relationship between time and space, showing his belief in the fact that the value of art comes from its historical depth, which is informed by thoughts on the past, present and future.

曾以文,阿美族藝術家,以初生之犢的姿態,意識到部落族群文化的式微,試圖尋溯母文化的源流,立意將族群原生傳統裡,無聲卻撼動人的精神,以及積澱自生活形成鮮明生命力的集體記憶,將抽象感知以視覺語言的可讀性轉化為圖騰,希冀觸動觀者去思索理解在地傳統於歷史脈絡中的經緯指引,並以此作為衍繹的基石,創造出當代新象的樣貌。

Noticing the fading of the tribal culture, Amis artist Tseng, Yi-wen boldly attempts to search for the source of her mother culture, determined to transform the abstract experience, silent but moving spirits, and collective memories that originate from everyday life and form vivid life forces, into totems through readability of visual language. Tseng hopes to touch and encourage the viewer to contemplate and understand the guidance within local traditional and historical context, using it as the foundation of interpretation, finally creating new contemporary appearances.

來自於義大利佛里諾的藝術家多瑪索‧穆之,分別在義大利及西班牙完成電影製作學位。是一位專注於拍攝具實驗性及故事性紀錄片的導演。2009及2015年受邀至花蓮與宜蘭頭城駐村創作,目前定居於臺灣花蓮。

Tommaso Muzzi is an artist from Foligno Italy who completed his degree in film making in Italy and Spain. Muzzi is a director who focuses on shooting experimental documentaries with a storyline. In 2009 and 2015, Muzzi was invited to be an artist-in-residence in Hualien and Toucheng, Yilan. The artist is currently living in Hualien, Taiwan.

「角落藝術群」是一個來自花蓮的當代藝術團體,成立於2014年,緣由是因為在國立東華大學有一群熱愛藝術創作的師生,自行籌劃舉辦「東華角落藝術節」而來,後來變成大學裡每年舉辦的特色活動。這群成員對藝術狂熱,是一個純然自發地藝術組合,對於另類展演空間以及跨領域藝術實驗有著濃厚的興趣,成員來自不同類型的創作系所,藝設、藝創、華文、歷史系所等,平時定期聚會討論,偶而不定期聯展和各種跨領域的嘗試。討論議題聚焦在校園政治和所處的東臺灣環境、文化、性別、族群等議題,期盼透過藝術展演將所發現的東岸議題帶到平台上來討論。

“Corner Art Group” is a contemporary art group from Hualien that was established in 2014 by a bunch of students and teachers from National Dong Hwa University who have a deep passion for art. The “Corner Art Group” arranged the Dong Hwa Corner Art Festival, which later became a unique annual event throughout campus. This artistic combination is spontaneously made up of a group of art enthusiasts who have a common interest towards alternative performance spaces and interdisciplinary art experiments. The members of the group come from all sorts of departments including Art and Design, Arts and Creative Industries, Sinophone Literatures, and History. The members gather together regularly for discussions and engage in group exhibitions and all sorts of different interdisciplinary experiments. Discussion topics focus on campus politics and environmental, cultural, gender, and race issues in East Taiwan. “Corner Art Group” hopes to provide an opportunity for discussion about issues concerning East Taiwan that are discovered through artistic performances and display.

參展藝術家/吉歐‧菲林 Gheorghi Filin、楊正端 Yang, Cheng-Duan、吳明聲 Wu, Ming-Sheng、枸蘭‧瞿帕雅 Goran Čpajak、那特‧斯汀 Knut Steen、柳順天 Liu, Shun-Tian、張乃文 Chang, Nai-Wun、默許‧帕羅曼 Moshe Perelman、尼可拉斯‧貝杜 Nicolas Bertoux、約瑟夫‧維希Joseph Visy、余宗杰 Yu, Tsung-Chieh、鄭梃甄 Cheng, Ting-Chen、皮耶羅‧爵西尼 Piero Gensini、胡棟民 Hu, Tung-Ming、卡倫‧范‧歐曼仁 Karin Van Ommeren、田中等 Hitoshi Tanaka、史提夫‧伍德沃 Stephen Woodward

英國布萊敦大學藝術創作博士,現為國立東華大學藝術與設計學系專任副教授。創作媒材主要以攝影與錄像為主,藝術創作長期聚焦在鄉愁此一主題上,探討個人離開「家」之後,對於土地和親人的思念,而近年開始探索自我的童年,回到故鄉挖掘孩時的記憶。自2011年開始對鏡中世界產生好奇心,因此成為創作素材的一部分。在這些創作轉折中,從沈重的鄉愁氛圍,轉化為一種詼諧的遊戲,就如回到童年一般的玩耍,以此方式作為另類的鄉愁主題再現。

宜德思,太魯閣族藝術家,擅以油畫為創作媒材,將自身文化的圖騰織紋,揉合極簡造型的轉化,輔以單純簡易的色彩並蘊藉層次的營造,在大膽簡練而肯定的描繪手法下,創作出質樸類似剪貼意味的超現實風格,不僅呈現出自身圖像符號結構的繪畫語言,同時,更承續了原住民堅毅的生命力。

Idas Losin is an artist from Truku who specializes in oil painting. Transforming the totem weave pattern from her culture through minimalist designs, added with simple colors and layers using bold, confident techniques, Idas Losin creates surreal works that are simple and remind the viewer of collages. Apart from displaying elements of the image and initial structure of symbol’s, the works of Idas Losin are also an extension of the determined vitality of the indigenous people.

花蓮卓溪鄉,Swasal部落太魯閣族人,Watan Tusi (瓦旦‧督喜)承襲外曾祖父與父親的名字。年幼便跟著雙親到臺北就學及工作,1997年看了「原舞者」的演出受到古老歌舞的召喚,一頭栽進原住民傳統樂舞的世界裡。2012年創辦「TAI身體劇場」,到部落進行田野採集,蒐集老一輩人唱過的歌、踏過的舞。除了傳承推廣之外也作為劇場創作的基礎,開創新的原住民劇場風貌。題材涵括生存、環境、文化與文學,編舞作品有《身吟》、《Tjakudayi我愛你怎麼說》、《橋下那個跳舞》、《水路》、《織布》等。

Watan Tusi, a Taroko artist from the Swasal Tribe in Zhuoxi Township, Hualien, inherited the name of his great-grandfather and his father. Watan Tusi moved to Taipei with his parents at a young age. In 1997, at a performance by the Formosa Aboriginal Song and Dance Troupe, Watan Tusi felt a calling from the ancient songs and plunged into the world of traditional indigenous song and dance. Watan Tusi founded the “TAI Body Theatre” in 2012 and conducted field collection in tribes, collecting the songs and dances of the older generation. Apart from promoting tradition, “TAI Body Theatre” also creates a new form of indigenous theater on the foundation of theater creation. The themes of his works include survival, the environment, culture, and literature. Choreography works include Humming of the Body, Tjakudayi: How Should I Say I Love You, Dancing Under the Bridge, The Path of Water, and Weaving X Our Steps.

峨冷.魯魯安(Eleng Luluan,1968—),漢名安聖惠,生於臺灣屏東,為臺東藝術家群落「意識部落」的成員之一,擅長運用漂流木、植物纖維等自然媒材進行創作,結合雕塑、裝置、地景藝術等形式,寓意強烈的自我追尋與土地之關係的思索,在充分體現取「材」自然也取「道」自然的藝術精神,作品呈現出蘊藏無限的張力與爆發力。

Eleng Luluan (1968-), whose Chinese name is An Sheng-Hui, was born in Pingtung, Taiwan. She is a member of an artist community in Taitung, called Floated Tribe. She specializes in using driftwood and plant fiber to create sculpture, installation, and land art. Her work shows her self-pursuit and reflection of the land, fully embodying the artistic spirit of using natural materials and learning from nature and demonstrating limitless tension and power.

Artworks作品介紹

Sculpture Garden 《石雕花園》
Mermaid 《美人魚》
Wind-like Old Dream 《舊夢如風》
Between Returning Waves 《洄轉之間》
We Two Guys 《我們倆人》
Cariatide 《裹腹的女神》
Fusion 《融合》
The Cloud 《浮雲》
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Relative Events 相關活動

與展覽相關的講座、專家導覽及工作坊體驗等系列活動 活動類型

活動名稱

活動地點

活動時間

  • 台北當代藝術館一樓大廳

    2017/02/18 Sat.

    - 2017-02-18 Sat.

    16:00 - 17:00

  • 台北當代藝術館一樓活動大廳

    2017/03/04 Sat.

    14:00 - 17:00

  • 台北當代藝術館一樓展間入口

    2017/03/05 Sun.

    14:00 - 15:30

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Notice 著作權&隱私權相關政策
關於當代藝術館需要注意的相關法規

著作權聲明

台北當代藝術館尊重他人著作權,台北當代藝術館服務條款亦明定,網友使用台北當代藝術館服務不得侵害他人之著作權,因此,台北當代藝術館呼籲使用者同樣尊重他人之著作權。如果您認為台北當代藝術館網站中之任何網頁內容或網友使用台北當代藝術館服務已侵害您的著作權,建議您利用本處理辦法提出檢舉,台北當代藝術館客服中心將儘速為您處理:

  • 權利人檢舉著作權侵權處理辦法

    若台北當代藝術館網站中之任何網頁內容或網友使用台北當代藝術館服務已侵害您的著作權,請您填寫:「 著作權侵權通知書」,且依該通知書所載提供下列資料及聲明,並以傳真的方式通知台北當代藝術館:
    1、著作權人之簽名、或著作權人之代理人之簽名、相關權利證明文件及著作權之內容,例如:已發行書籍之封面及相關頁面、發表於網路中之網頁內容列印紙本及其網址。
    2、侵害著作權之內容所在的網頁及網址。
    3、您的聯絡地址、電話等資料。
    4、書面聲明您確信該網頁內容的使用行為是未經過著作權人、其代理人或法律的授權。
    5、書面聲明您於通知書所載相關資料均為真實,且您是著作權人或著作權人之代理人而為上開聲明。

  • 台北當代藝術館處理原則

    若台北當代藝術館網站中之任何網頁內容或網友使用台北當代藝術館服務已侵害您的著作權,請您填寫:「 著作權侵權通知書」,且依該通知書所載提供下列資料及聲明,並以傳真的方式通知台北當代藝術館:
    1、著作權人之簽名、或著作權人之代理人之簽名、相關權利證明文件及著作權之內容,例如:已發行書籍之封面及相關頁面、發表於網路中之網頁內容列印紙本及其網址。
    2、侵害著作權之內容所在的網頁及網址。
    3、您的聯絡地址、電話等資料。
    4、書面聲明您確信該網頁內容的使用行為是未經過著作權人、其代理人或法律的授權。
    5、書面聲明您於通知書所載相關資料均為真實,且您是著作權人或著作權人之代理人而為上開聲明。

隱私權保護政策

台北當代藝術館非常重視用戶的隱私權,因此制訂了隱私權保護政策。請你細讀以下有關隱私權保護政策的內容。

隱私權保護政策的適用範圍

1、隱私權保護政策內容,包括台北當代藝術館如何處理在用戶使用網站服務時收集到的身份識別資料,也包括台北當代藝術館如何處理在商業伙伴與台北當代藝術館合作時分享的任何身份識別資料。
2、隱私權保護政策不適用於台北當代藝術館以外的公司,也不適用於非台北當代藝術館所僱用或管理的人員。
3、台北當代藝術館在你註冊台北當代藝術館帳號、使用台北當代藝術館的產品或服務、瀏覽台北當代藝術館網頁、參加宣傳活動或贈獎遊戲時,台北當代藝術館會收集你的個人識別資料。台北當代藝術館也可以從商業夥伴處取得個人資料。
4、當你在台北當代藝術館註冊時,我們會問及你的姓名、電子郵件地址、出生日期、性別、職位、行業及個人興趣等資料。你在台北當代藝術館註冊成功,並登入使用我們的服務後,我們就會認識你。
5、台北當代藝術館也自動接收並紀錄你瀏覽器上的伺服器數值,包括互聯網協定位址 (IP Address) 、台北當代藝術館cookie中的資料及你要求取用的網頁紀錄。
6、台北當代藝術館會使用資料作以下用途:改進為你提供的廣告及網頁內容、完成你對某項產品的要求及通知你特別活動或新產品。
7、台北當代藝術館不會向任何人出售或出借你的個人識別資料。
8、在以下的情況下,台北當代藝術館會向政府機關、其他人士或公司提供你的個人識別資料:與其他人士或公司共用資料前取得你的同意。
9、需要與其他人士或公司共用你的資料,才能夠提供你要求的產品或服務。
10、向代表台北當代藝術館提供服務或產品的公司提供資料,以便向你提供產品或服務 (若我們沒有事先通知你,這些公司均無權使用我們提供的個人資料,作提供產品或服務以外的其他用途)。
11、應遵守法令或政府機關的要求。
12、我們發覺你在網站上的行為違反 台北當代藝術館服務條款或產品、服務的特定使用指南。
13、其他依「個人資料保護法」或政府法令應公開之資料。
14、為了保護使用者個人隱私, 我們無法為您查詢其他使用者的帳號資料,請您見諒!若您有相關法律上問題需查閱他人資料時,請務必向警政單位提出告訴,我們將全力配合警政單位調查並提供所有相關資料,以協助調查及破案!
15、 台北當代藝術館會到你的電腦設定並取用台北當代藝術館cookie。
16、台北當代藝術館容許在我們網頁上擺放廣告的廠商到你的電腦設定並取用cookie。其他公司將根據其自訂的隱私權保護政策,而並非本政策使用其cookie。其他廣告商或公司不能提取台北當代藝術館的cookie。
17、當台北當代藝術館進行與其產品及服務有關的工作時,會使用 web beacons 進入我們的網站網絡,提取cookie使用。
18、台北當代藝術館賦予你在任何時候修改個人台北當代藝術館帳號資料及偏好設定的權力,包括接受台北當代藝術館通知你特別活動或新產品的決定權。