Screen 介面

11/30/2025

🪴 《如果通得過時間的強酸，有閒蒔花養草，她會在她家前種什麼花》閉幕放映：〈穿越照護：家與身體之間的移動〉

時間｜2025/12/03（三）18:00
地點｜中央大學 #107電影空間

在一個家與另一個家的邊界之間，照護既是移動的理由，也是無法移動的牽絆。

郭俞平與印尼導演 Ismail Fahmi Lubis 各自從不同角度切入跨國照護現場。郭的作品回到印尼，拜訪曾在台灣照應其爺爺的看護移工，透過第一人稱影像凝視她返鄉後的日常與記憶的存留；Lubis 的紀錄片《歸鄉》則延續之前紀錄片《助守在異鄉》對在台印尼看護工的關注，記錄當中一位移工Tari在疫情期間返鄉的歷程。

本場放映試圖看見在持續失衡的全球照護流動中，這種關係如何穿越物質、語言、時間、身體與國境。邀請觀眾，一同思考家的所在。

🎥 放映片單｜
▍Ismail Fahmi Lubis，《歸鄉》（2019）
▍郭俞平，《如果通得過時間的強酸》（2025）

:::交通方式:::

🚌 公車
從中壢火車站出站後，可轉乘：
• 中壢客運 133
• 桃園客運 132
約 20–25 分鐘可抵達中央大學校門口。

🚕 計程車
可直接從中壢火車站或桃園高鐵站搭乘進校園，車資約200-250元，從校門步行至107電影院約 4–5 分鐘。

🚗 自行開車
校內各停車格皆可停放，離場前請至校門口旁繳費後再離開校區。
🪴 Closing Screening of What Grows in the Breach of Care
Crossing Care: Between the Home and the Body

Time｜2025/12/03 Wed. 18:00
Venue｜NCU #107 Cinema

Between one home and another, care becomes both the reason to move and the tether that keeps one from moving.

Kuo Yu Ping and Indonesian filmmaker Ismail Fahmi Lubis each approach the transnational care landscape from distinct yet intersecting angles. Kuo returns to Indonesia to visit the former caregiver who once looked after her grandfather in Taiwan, using a first-person lens to observe her everyday life and the residues of memory after returning home. Lubis’ documentary short Homebound (2019) follows Tari, one of the caregivers previously featured in his earlier work Help Is on the Way, tracing her journey of returning home during the COVID-19 pandemic.

This screening explores how caregiving—within the uneven flows of global labor—travels across matter, language, time, bodies, and borders. We invite you to sit with these stories, and reconsider where “home” might be located.

🎥 Screening List｜
▍Ismail Fahmi Lubis, Homebound (2019)
▍Yu-Ping Kuo, What Grows in the Breach of Care
Crossing Care Screening (2025)

::: Getting Here :::

🚌 By Bus
From Zhongli Train Station, you can transfer to:
• Zhongli Bus No. 133
• Taoyuan Bus No. 132
It takes about 20–25 minutes to reach the main gate of National Central University.

🚕 By Taxi
You may take a taxi directly from Zhongli Train Station or Taoyuan HSR Station to the campus. The fare is approximately NT$200–250.
From the main gate, it’s about a 4–5 minute walk to the 107 Cinema.

🚗 By Car
Visitors may park in any available on-campus parking spaces.
Please pay the parking fee at the payment machine near the main gate before exiting the campus.

11/26/2025

🌀 展覽落幕｜笹本晃〈生命實驗室〉
📍東京都現代美術館
📆2025 年 8月23日–11 月24日

從即興表演到動態裝置，笹本晃首場職業中期回顧展梳理了她近二十年的創作實驗：敘事穿梭於雕塑裝置與身體的動作。

在她的「生命實驗室」裡，氣候系統、情緒脈動、身體的細微動作轉化為一段段編舞，遊走於美術館與舞台、日常與超現實之間。

《Strange Attractors》、《Skewed Lies》、《Spirits Cubed》、《Sounding Lines》等作品，共同建構「行為如何在制度場域中發生」的重新想像，邀請觀眾在空間裡移動、傾聽、再度進入。
🌀 Exhibition Wrap-up｜Aki Sasamoto: Life Laboratory

📍Museum of Contemporary Art Tokyo
📆 Aug 23 – Nov 24, 2025

From improvisational performances to kinetic installations, Aki Sasamoto’s first mid-career retrospective traced two decades of experimentation across sculpture, movement, and narrative form. Inside her Life Laboratory, weather systems, emotional patterns, and bodily gestures became choreography—unfolding between museum and stage, between the everyday and the surreal.

Across works like Strange Attractors, Skewed Lies, Spirits Cubed, and Sounding Lines, Sasamoto reimagined how performance lives within institutional space, inviting visitors to move, listen, and return.

11/23/2025

🌌 Collide Stockholm 2025 — Open Call
Deadline: 15 December 2025

CERN（瑞士日內瓦）與 Nobel Prize Museum（瑞典斯德哥爾摩）正式啟動 Collide Stockholm 駐村徵件，邀請來自全球、對科學與科技有深度興趣的藝術家提出研究計畫。

入選者將獲得：
✨ 在 CERN 駐村 1 個月（與物理學家、工程師交流）
✨ 在 Nobel Prize Museum 駐村 1 個月（延伸研究）
✨ CHF 15,000 創作補助
✨ 旅費、住宿與生活補助
（團體最多 2 位成員可共同駐村）

我們特別歡迎：
— 探索科學與文化關係的創作者
— 對量子科技、人工智慧、物理研究等議題有興趣
— 具跨領域合作能力的藝術家

📩 立即申請
https://arts.cern/call/collide-stockholm/

（需提交作品集與計畫提案）

🗓 徵件截止：15 December 2025
🗓 結果公布：April 2026

11/21/2025

🎬 新文章上線｜《走向〈行者十步：蔡明亮〉的背面》，專訪展覽製作團隊田倧源、王瑀

「我們是從布的背面走進展場，就像從電影院的後面鑽進去。」
— 展覽統籌田倧源

當觀眾踏入高美館104展間，紙與影像交錯鋪展，《行者十步：蔡明亮》不單是電影影像的回顧，也是一場「佈展」作為創作的實驗。這篇訪談走進展覽幕後，由展覽製作統籌田倧源與技術統籌王瑀揭示，那些在高空作業車、脆弱紙面與影像光線之間的對弈，如何讓空間成為一部永遠剪不完的電影。

👣 閱讀本文，重新思考展覽的身體感、臨場性與勞動知識：https://onscreentoday.com/conversation-zh/walking-toward-the-reverse-side-of-footprints-of-the-walker-tsai-ming-liang/?utm_source=fb&utm_medium=post&utm_campaign=new+article&utm_id=walker

#行者十步 #蔡明亮 #田倧源 #王瑀 #高美館 #展覽製作 #幕後工作者 #影像藝術

展覽製作團隊田倧源說這段話時，彷彿揭開了為何《行者十步：蔡明亮》要從影像背面作為起點，這不僅翻轉電影院觀看模式，更隱含著一檔展覽的構成亦可以從背面說起。當前針對蔡明亮影片展覽的專訪，大多集中於藝術家和...

11/21/2025

🕒 3 Days Left｜Choreographies of the Everyday
📍 Museum of Contemporary Art Tokyo (MOT)

To mark its 30th anniversary, MOT presents Choreographies of the Everyday—a large-scale exhibition featuring over 30 artists and collectives across generations and geographies.
The show turns everyday life into a site of critical reflection: from domestic spaces shaped by gender norms, to institutions like the museum, to urban environments such as Okinawa and Mumbai.

Through performances, workshops, and newly commissioned works researched in Tokyo, the exhibition brings forward the political and economic conditions embedded in the ordinary—revealing systems of control, the persistence of inequality, and the small acts of resistance that reshape how we move through the world.
🕒 展期倒數 3 天｜〈日常的編舞〉
📍 東京都現代美術館（MOT）

為慶祝 30 週年，MOT 推出大型群展〈日常的編舞〉，集結超過三十位（組）藝術家，以當代藝術回應生活中的社會現實。展覽從性別規訓的家庭、機構性的美術館空間，到沖繩、孟買等城市場景，勾勒出日常中被形塑的主體性。

透過表演、工作坊，以及在東京進行的研究委託計畫，展覽揭示日常背後的文化、政治與經濟力量——那些不易被看見的壓迫、結構性的暴力，以及持續存在的偏移、創造與幽默。


#日常的編舞 #東京都現代美術館 #當代藝術

11/19/2025

📰 New on SCREEN
“The Luminous Gaze of War and Photography”
by Hsing-Jou Yeh

In 1930s–40s Dadaocheng, a single studio window became a site where wartime display, street life, and personal memory collided. Piercing Through a Porous Archive revisits Peng Ruei-lin’s photographs alongside works by Fujita Tsuguharu and Hikaru Fujii, tracing how images move through glass, light, and historical rupture.

Shown at Shibunkaku in Ginza, the exhibition centers on Exterior View of Apollo Studio—a photograph marked by taped glass, model planes, and faces illuminated by both portrait light and the glow of war. Across missing album pages, handwritten notes, digital scans, and reconstructed scenes, the exhibition reveals an “archive” built from what remains as much as from what has disappeared.

The counterpoints between photography and painting, colonial Taiwan and postwar Japan, U.S. military policy and everyday lives, turn wartime vision into an unresolved method of seeing. The article reflects on how the residues of war persist today—through information systems, economic pressures, migration, and geopolitics—shaping how we read images and their afterlives.

👉 Read the full article:
“The Luminous Gaze of War and Photography: Exposure and Reflection in Piercing Through a Porous Archive”
https://onscreentoday.com/screenshot/the-luminous-gaze-of-war-and-photography-exposure-and-reflection-in-the-exhibition-piercing-through-a-porous-archive/

Taking a 1940s photograph of the exterior of Apollo Studio as its central image, the exhibition Piercing Through a Porous Archive held in June 2025 in Ginza Tokyo developed a multilayered dialogue with Peng Ruei-lin’s photographic practice. This dialogue explored the visualization of war and publi...

11/14/2025

（中文請向下）
🖋 Three Days Left｜Echoes in Calligraphy

📍 ICA Yerevan
📅 Until 11.17

Presented by ICA Yerevan and CYFEST, Echoes in Calligraphy brings together Taiwanese artists Tuan Mu and Lu Wei, using “writing” as a point of departure to explore the intersections of language, the body, and artificial intelligence.

Tuan Mu’s works draw from East Asian philosophies and belief systems, using generative imaging technologies to reconsider the form and meaning of written characters. Lu Wei approaches writing through the lens of female and maternal experience, layering ink, poetry, and moving image to reflect on cultural symbols and emotional memory.

With only three days left, this is your last chance to experience this new chapter of artistic dialogue between Taiwan and Armenia.
🖋 展期倒數三天｜《多重書寫》

📍 ICA Yerevan
📅 至 11.17

由葉里溫當代藝術中心（ICA Yerevan）與 CYFEST 共同呈現的雙個展《多重書寫》，邀請臺灣藝術家段沐與盧芛，以「書寫」為出發點，探討語言、身體與人工智慧之間的交會。

段沐的作品以東亞思想與信仰體系為靈感，透過生成式影像技術重新思考文字的形體與意義；盧芛則從女性與母性經驗出發，以水墨、詩與影像回應文化符號與情感記憶的層疊。

展期剩下最後三天，別錯過臺灣與亞美尼亞當代藝術對話的新篇章。

11/13/2025

📚 文章轉載｜「母神」的另類系譜與「母器」的傷殘慈悲：《殘酷母器》座談側記

👥 對談｜蔡佳宏（藝術家）／呂瑋倫（策展人）／武玉玲

甫獲得台新藝術獎第三季提名的展覽《殘酷母器》在絕對空間開幕當天舉行了藝術家座談。本篇轉載文章記錄了三位與談者如何思考從「母神」到「母器」，將子宮從生殖想像中解放，轉向身體經驗、酷兒時間與集體記憶。

點擊連結閱讀：https://onscreentoday.com/conversation-zh/the-alternative-genealogy-of-the-mother-goddess-and-the-cripped-maternal-vessel-conversation-notes-of-the-cripped-and-queered-vessel-zh/

11/10/2025

📸 The Horizon of Events
In 2025 Title Match at Buk-Seoul Museum of Art, Hong Jin-hwon asks:“Can a photograph awaken the world like a coup does?”

Once a photojournalist, Hong turns the camera inward—questioning how images shape history, power, and perception.

Through works like 𝘙𝘢𝘯𝘥𝘰𝘮 𝘍𝘰𝘳𝘦𝘴𝘵 𝟤𝟢𝟤𝟧 and 𝘌𝘬𝘵𝘢𝘤𝘩𝘳𝘰𝘮𝘦 𝘪𝘴 𝘗𝘳𝘰𝘤𝘦𝘴𝘴𝘦𝘥 𝘌𝘷𝘦𝘳𝘺 𝘍𝘳𝘪𝘥𝘢𝘺, he reveals photographs not as evidence, but as sites of ethical tension and collective memory.

At the edge of truth and fiction, Hong’s images remind us that seeing is never neutral.

✍️ Review by Tseng Che-Wei & Huang Yi-Hsuan
📍 Buk-Seoul Museum of Art

https://onscreentoday.com/screenshot/the-horizon-of-events-a-review-of-hong-jin-hwons-2025-title-match-exhibition/

This year marks the twelfth edition of Title Match, an annual exhibition organized by the Buk-Seoul Museum of Art since its opening in 2013. It features artist Hong Jin-hwon alongside the art collective Young-Hae Chang Heavy Industries, exploring how art can become a medium for catalyzing political....

11/07/2025

（中文請向下）
✨ New Article｜On Form: Exploring Tsai Jia-Hong's Mother Vessels by Brynn Gordon

How does a body’s private pain speak to a shared human chord? Tsai’s new ceramic and soft-sculpture in The Cripped and Queered Vessel —cut, cracked, doubled, unfinished—turn endometriosis, illness, and healing into forms that hold beauty and rupture at once. Rough clay, matte glazes, quilts and ramie reframe the womb beyond reproduction, queering the archetype and inviting us to read fragility as strength.

"In this new series, Tsai confidently presents her thematic explorations in compact, explicitly anatomical forms: the organic whorled silhouette of Mother Vessel 4 (2025) recalls a collapsed organ or womb; the jagged Vessels’ Interior (2025) is intentionally cut and cracked into calcified white shards, bone‑like in appearance; and The Crippled and Queered Vessel (2025), Tsai’s first soft sculpture, gathers bed-quilts and Ramie grass into a bulbous, stolid tumour-esq shape hanging at the heart of the exhibition. This new body of work appears more vulnerable than her previous thematic explorations of physical and emotional pain, displaying cut and cracked sculptures and exposing their internal structure to literally open then up before the audience – imbuing the clay with a genuine feeling of the imperfect human form."

Read the full article here 👉 https://onscreentoday.com/screenshot/on-form-exploring-tsai-jia-hongs-mother-vessels/
身體的私密疼痛，如何觸動共通的人性之弦？

在《殘酷母器》中，蔡佳宏以破裂、重複、未完成的陶與軟雕塑，將子宮內膜異位、疾病與癒合轉化為並存著美與裂縫的形體。粗糙的泥質、霧面的釉色、棉被與苧麻交織出一種超越生殖意象的子宮原型，讓脆弱成為另一種力量的詮釋。

閱讀文章由此去 👉 https://onscreentoday.com/screenshot/on-form-exploring-tsai-jia-hongs-mother-vessels/

Kaohsiung-based ceramic artist Tsai Jia-Hong’s (b.1994) most recent solo exhibition ‘The Cripped and Queered Vessel’, held at Tainan’s Absolute Art Space, attains this higher form of connection. This exhibition presents a new body of work by Tsai that builds on her established visual languag...

11/05/2025

🎌 Open Call｜Ishibashi Foundation / The Japan Foundation Fellowship for Research on Japanese Art

📅 Deadline: December 2, 2025 (1 p.m. JST)

從事日本藝術研究、策展或保存的海外個人研究者注意！
「石橋財團／日本國際交流基金會日本藝術研究獎助金」現正開放 2026 財政年度申請。此獎助旨在支持海外研究者、策展人、教育者、典藏與修復專家前往日本進行密集研究，促進日本藝術研究與其在國際間的推廣。

🧩 研究方向與內容
以日本視覺藝術（特別是當代藝術）為主題的研究計畫，需明確具體且必須赴日進行。優先考慮能透過展覽、出版等形式公開成果的提案。

📍 申請資格
居住於日本以外且具日本邦交國籍或永久居留權之個人
健康良好，能以英文或日文進行研究
可於 2026 年 6 月 20 日至 2027 年 3 月 31 日間連續在日停留

☀️曾獲獎助者須相隔三年以上方可再次申請

⏰ 研究期間：21 至 59 天
✈️ 補助項目：往返機票＋生活津貼
📈 錄取參考：2025 年度 73 件申請中錄取 17 件

🪶 評選重點
計畫目的與方法清晰、可行；
赴日研究為達成計畫所必須；
研究能促進日本藝術的國際交流與公共分享（如展覽、出版）。

🔗 申請截止：2025 年 12 月 2 日（日本時間下午 1 點）
📢 結果公布：2026 年 4 月
更多資訊與申請方式請見：
👉 The Japan Foundation - General Instructions:https://www.jpf.go.jp/e/program/culture.html

11/04/2025

🖐️ 從心智哲學的角度，會如何閱讀《露餡的總是手──介面／交握》？

作者林映彤從一個問題開始探問：「你，作為具有心智與身體的個體，你的邊界在哪裡？」

當手伸向世界：觸碰他人、操作工具、感知螢幕，邊界也在同時被延展與改寫。

點選連結閱讀👉 邊界的推手（與拉手）：《露餡的總是手 — 介面／交握》中的幾件作品

上述的例子以及此哲學觀點提供重要的意涵，在於我們的邊界不是清楚的，也不是固定的，而是模糊的，可變動的。在邊界的變化中，「手」扮演著關鍵角色，卻長久以來被忽略。展覽《露餡的總是手—介面／交握》的一系列作...