聖誕之夜—桃園市兒童美術館夜間開館活動

書藝之夜—橫山書法藝術館夜間開館活動

舞光墨藝—桃園市立美術館五週年館慶

來點光吧

2023橫山書法藝術館展徵件

「藝兔迎新：第17屆桃園全國春聯書法比賽」開始徵件！

「當態度變為尺牘？」系列講座

當態度變為尺牘？書寫–往返–語境–性別–迷因

觀‧擬‧什麼事？—關於「書藝」的對話紀錄

Mind & Matter Unleashed: Selective Works of Hsu Yung-Chin

2022橫山獎-書藝研究與評論雙年獎 徵件延長

Meta-Calligraphy: Ko Liang-Chih

Family Visitors in Art Museums: Past, Present, and Future–International Symposium on Children's Art 

Treasure: A East Asian Perspective on Calligraphy

Crossroads for Calligraphy in Taiwan: Special Exhibition on 1949 Calligraphers Crossing the Sea

Days of Tranquility: Commemorative Calligraphy Exhibition of Hwang Chyun-Ing

See Sea

Call for Entries to “2023 Taoyuan International Art Award” of Taiwan Opens on 4 April 2022

The main construction project began at the end of 2020.

Continue to negotiate the allocation of ground usage.
Coming Soon!

334027桃園市八德區介壽路1段728號5樓

6F., No. 728, Sec. 1, Jieshou Rd., Bade Dist., Taoyuan City 334027

No. 100, Daren Rd. Dayuan Dist., Taoyuan City 337002

[測試]線上金流

桃園市立美術館2021年暑期實習生召募（初選申請）

「2023桃源國際藝術獎」徵件

橫山書法藝術館申請展

桃園市立美術館2022暑期實習生召募（初選申請）

2022桃源美展

觀‧擬‧什麼事？—關於「書藝」的對話紀錄 展覽座談會

2023橫山書法藝術館展覽徵件

第13屆桃園全國春聯書法比賽

書藝啟程—書藝家的日常

書藝啟程—說「書」系列講壇

書藝巡遊—書藝導覽公車

橫山書法藝術館策展徵件

第14屆桃園全國春聯書法比賽

新春特別活動- 筆墨燈籠賀新春

2020 桃園市兒童美術館主題活動－藝愛之名

桃園市兒童美術館2020夏令營「暑假？就是玩藝！」

書寫超越，當代翻轉 — 橫山書法藝術館書藝策展工作坊

書藝同行—橫山書法藝術館文化平權系列活動

好墨聲—2020女性書法藝術論壇

有怪獸－肢體律動課

第15屆桃園全國春聯書法比賽

春天是一個晴天的早上——「寫一首春天的詩」特展 展前工作坊

點名時間－我最喜歡的展覽線上票選活動

桃園市立美術館三周年館慶－野孩子肢體劇場x街頭表演工作坊

低頭思故鄉，抬頭看遠方-桃園市立美術館三週年館慶論壇

藝起說晚安－兒美館夜間開館活動

書畫記─2021桃園市立美術館典藏研究暨專刊發表會

願景裡的生日派對-《樹說：過去、現在、未來》工作坊

願景裡的生日派對-香料工作坊-第1天-1/16

願景裡的生日派對-《吞吞二號》「造型紙盒」工作坊

願景裡的生日派對-童話搖籃－「布」能說的故事-工作坊

願景裡的生日派對-香料工作坊-第2天-1/17

願景裡的生日派對-《RECYCLING AND CREATION》工作坊

願景裡的生日派對

藝備起!桃園市立美術館三週年館慶系列活動

寫一首春天的詩－假日暨新春工作坊「平安、吉利」 轟隆隆

藝術家駐館計劃#馬尼尼為

桃園市兒童美術館策展徵件簡章

橫山獎頒獎典禮暨座談

小小人空間遊樂場

小小物件工作坊

藝創未來－2021 美術館兒童藝術教育國際論壇

【桃美館X小典藏】藝起聽繪本《柯爾達的鐵線世界》，大玩想像力！

藝術家駐「館」計劃 #林瑋婷：一間彩色透明的房子

藝術家駐「館」計劃 #林育正－小毛怪工作坊

藝想立方家屋-新住民藝術共融工作坊

紙的第三面塗畫工作坊

2021桃園市兒童美術館夏令營「暑假？就是玩藝！」

藝術家駐「館」計劃 #紀冠地－文字會說畫（線上課程）

「2021桃源美展」初選徵件

2021桃園市兒童美術館夏令營「暑假？就是玩藝！」(線上版)

【線上講座】桃藝論 —  2021 桃園當代藝術生態暨典藏研究專刊發表會

書法有感—數位時代的書藝策展工作坊

【桃美館X小典藏】藝起聽繪本─《跟著線條走》

「英文書藝」工作坊x於同生書藝家

橫山書藝獎

手印墨條工作坊x大有製墨

墨作・墨象・「非」書法：東亞書藝的當代性 | 橫山書法藝術館國際論壇

舞墨－肢體律動課程

【桃美館X小典藏】藝起聽繪本~愛畫畫的親子們聽故事囉!《在美術館裡逛一天》

水墨創意工作坊

藝術家駐「館」計劃 #鄭宇宏－玩墨實驗室

2021聽損兒童藝術共融工作坊

「『福虎生風』~第16屆桃園全國春聯書法比賽」初選徵件

「地方美術館與當代藝評實踐」線上學術研討會

書藝之夜

「飛墨橫山」橫山書法藝術館開館國際書藝展系列書藝講座

桃園市立美術館四週年館慶－聖誕之夜

點名時間－「我最喜歡的活動」線上票選

「『過去』的未來—亞洲當代藝術之收藏、修復與展示」線上論壇

好肆 FOUR Good Things Happen!－桃園市立美術館四週年館慶

「魚的身體裡工作坊」 x 藝術家康雅筑

Formosa奇幻海洋記事─「走近一片海」展作品欣賞體驗與集體藝術創作工作坊

「製造海怪工作坊」 x 藝術家邱杰森 x莫珊嵐（Margot Guillemot）

「臺灣書藝新契機—1949渡海書家特展」與「澹養天龢—黃羣英書藝紀念展」系列書藝講座

《浮島》─紙想飛 創作工坊

「承繼與發展—渡海來臺書家的影響」橫山書法藝術館論壇

共感自然：2021+桃園地景藝術節藝術論壇

雜草茶X筆墨：草根筆書寫工作坊

橫山書法藝術館限定茶席

橫山散策：美術節系列活動

桃藝論II—藝術專題研究發表會

111年橫山書法藝術館申請展

《當我可以飛》2022兒童節親子劇場表演及體驗工作坊

美術館中的家庭觀眾：過去．現在．未來—2022美術館兒童藝術教育國際論壇

「未來飛行器」- 我們將如何飛行？創意雕塑工作坊

「Read up! 悅讀藝術」世界閱讀日微型書展

展覽內容以春聯為主題，邀請7位藝術家以各種不同的春聯型式來創作，並藉由「春仔」帶著大小朋友一起來了解春聯的由來及典故，一起穿梭於書寫藝術的任意門，也藉由不同形式的創意春聯作品，開啟一道道對藝術的想像之門。

桃園市兒童美術館(八德館)

春仔串門子-春聯的再想像

As the theme of the exhibition was fai chun, 7 artists were invited to create art works based on different forms of fai chun. Adults and children could learn about the origins and stories about fai chun and calligraphy.

Taoyuan Children’s Art Center

Fai Chun by the Door–Re-imagining Fai Chun

在藝術媒介及表現型式發展愈趨多元的今日，「桃源創作獎」肩負著開創當代藝術潮流的使命，提供藝術創作者自由創新與實驗的平臺，不設限地鼓勵各國籍、各世代的創作者們跳脫固有思考模式，發揮洞悉社會脈動的敏銳度，透過作品表述對社會現象的反思與批判，激發當代藝術的無限可能。
本屆創作獎吸引美國、英國、南非、韓國、馬來西亞、中國等共543件作品投件，爭取獲獎的殊榮及30 萬元獎金。在初審中脫穎而出的32 件作品，於4月23日至5月12日在桃園展演中心盛大展出，邀請民眾一同認識這些優秀創作者以及他們的當代思維。

桃園市立美術館(母館)

第17屆桃源創作獎

以母親為主題所策劃，透過藝術表現方式呈現現代母親的多重面貌，藉由藝術作品來連結母親的保護概念，如同子宮、育兒袋、育嬰房到巢穴、家屋等，從蘊育誕生後仍不斷與孩童形塑彼此的互動關係，同時教導使其成長茁壯，期盼以藝術作品來傳達出親子間的互動，增進彼此發現、感受與學習到愛的方式。

【媽媽・寶貝—創造愛與被愛的方式特展】

Inspired by mothers, the exhibition presented many aspects of modern mothers through artistic expressions, connecting the concept of motherly protection such as wombs, marsupium, nursing rooms, nests, and homes. Since the birth of their children, mothers constantly shape their relationships with the children and teach them to grow. The exhibition aimed to present mother-child interactions to encourage discovering, feeling, and learning ways to love.

Mothers & Babies – Ways to Love and Be Loved

本展運用科技與多媒體，讓親子藉由「拼貼」藝術創作技巧，體驗與日常生活不同的「一天」。在日復一日的尋常生活中，進入兒美館，藉由本展的體感互動與拼貼遊戲，帶著親子重新思考日常的意義，激發孩童的想像力，並在拼貼中重組屬於自己想像的美好日常。

不一樣的一天多媒體互動展

A Different Day

本展由40位桃園學生擔任策展人，以家鄉為主題，並以桃園市立美術館典藏品為策展基礎，親自體驗挑選展品、書寫論述、空間配置等策展實務，分別以實體展品及VR虛擬美術館的方式呈現。

關於家鄉，我想說的是……

Summer Vacation Workshop

桃園市的大型藝術展演活動「地景藝術節」，今年轉進八德區，以閒置多時而今將規劃為森林公園的「保一總隊大湳舊營區」為核心展區，並向外擴延至鄰近的綠地與陂塘生態區。整合陂塘田野的養護特質，與昔日軍警營區兼具守備與戰略的積極性格，2019年的地景藝術節以「守護所在，進擊未來」為基礎概念，以「新風景線」的想像與創建作為主題。除了邀集國內外藝術家駐地創作、設置作品或與民眾合作共創外，亦規劃一系列與在地文化、歷史記憶與生活環境相關的藝術體驗和參與活動，藉以打造一個探索地方過去也思考共同未來的地景藝術節。

新風景線—2019桃園地景藝術節

澳洲藝術家坦雅‧舒爾姿擅長運用各式手作材料，例如砂糖、亮粉、絨球、串珠、水晶等，營造繽紛多彩的夢幻空間。她以充滿玩興的創作手法，融合對神話、傳說與古地圖的興趣，將日常物品轉化為超常想像的「風景」，細膩又具體地呈現歡愉甜美的烏托邦情境。

日月奇遇記

Taoyuan Museum of Fine Arts

In Search of the Moon and the Sun

「桃源美展」迄今(108)年已邁入第37屆，從昔日的地方藝文展覽，發展至今日成為桃園歷史最悠久、備受矚目的視覺藝術競賽，每年皆吸引近千位來自各領域、不同年齡層的創作者投件參賽，對於提倡全民美育、推展美術創作風氣，扮演著十分重要的角色。期望藉由公開競賽機制，鼓勵優秀藝術家持續進行創作，同時發掘更多藝術新秀，讓臺灣的藝術創作能量得以不斷積累及創新。
為鼓勵多元媒材創作，本屆徵件分為水墨、膠彩、書法篆刻、油畫、水彩、雕塑、工藝、視覺設計、攝影及版畫共10個類別，另外新增「免審查獎」，曾經3屆獲得本展覽同一類別「桃美獎」之參賽者，可以免審查資格參與展出。今年入選作品共計150件，藝術家們以不同手法展現各自的人文關懷，刻劃出對社會、生活、自然的種種情感，其豐富的內涵與殊異的藝術表現，值得細細品味。
所有獲選作品11月在桃園市政府文化局及中壢藝術館盛大展出，不僅讓喜愛藝術的民眾能感受一場「藝」猶未盡的視覺饗宴，更展現桃園市戮力於藝文培育的豐碩成果。

第37屆桃源美展

This year (2019) marks the 37th year of Taoyuan Fine Arts Exhibition (TFAE), which has evolved from a local exhibition of arts into the most popular visual art competition with the longest history in Taoyuan. It draws thousands of artists varied in fields and ages every year, playing a vital role in promoting art education and creation for all. Through a public competition mechanism, it encourages brilliant artists to continue their practices, while discovering more emerging artists for the art creation in Taiwan to accumulate and innovate relentlessly.
To encourage for artworks in diverse mediums, the open call this year is divided into 10 categories, i.e. Oil Painting, Watercolor Painting, Sculpture, Craft, Eastern Gouache, Printmaking, Ink Art, Calligraphy &amp; Seal Engraving, Visual Design, and Photography. Also, "Selection-Exempt" Prize is granted to the 3-time winner of "Taoyuan Art Award" in the same category of TFAE, so that the artist can enter the exhibition without review process. A total of 151 entries are selected this year. Artists capture emotions toward the society, the life, and nature in variety and present their humanistic care via different approaches. Their rich contents and artistic practices distinctive from one another are worthy of your appreciation.All the selected artworks will be showcased at the Department of Cultural Affairs of Taoyuan City Government and Zhongli Arts Hall, presenting not just a visual feast to the eyes of art lovers that "art" never enough, but the abundant fruits of Taoyuan's endeavor in art cultivation.

37th Taoyuan Fine Arts Exhibition

「玩筆弄墨—兒童書藝體驗展」邀請大家一起來「體驗」書法！首先讓我們先認識各種造型與種類的毛筆與墨，並拿起大筆、小筆，來寫下自己風格的文字，也可以發揮創意和想像，讓書法像玩遊戲!
寫字是我們日常生活的一部分，但你知道嗎？「寫字也可以是一種藝術！」。就如古時候的人們用毛筆和墨水，表述心中的情感並創造出獨特的文字風格，發展出一種關於寫字的藝術——書法。
當用毛筆書寫時，墨水與筆毛拉出一道道線條，像是畫畫，也像是跳舞，這些生動活潑的線條結合在一起，便成為一件有趣的藝術品。
「玩筆弄墨—兒童書藝體驗展」邀請大家一起來「體驗」書法！首先讓我們先認識各種造型與種類的毛筆與墨，並拿起大筆、小筆，來寫下自己風格的文字，也可以發揮創意和想像，讓書法像玩遊戲！同時，大小朋友也可以藉著自由拆解、重組，來了解書法的奧秘。
另外，隨著科技的進步，人們不再只用筆來「寫」書法。「玩筆弄墨」展中，我們也可以戴上VR頭罩，用控制器進入書法世界；或者用手寫版和平板電腦體驗傳統或充滿嶄新創意的書法藝術！

「玩筆弄墨—兒童書藝體驗展」

From the traditional handwriting to thecontemporary technology applications of multi-media, image, and VR, the children will experience the freedom and fun of “playing with” calligraphy through disassembling, reorganizing, and writing. The lines will inspire their aesthetic experience for Chinese characters. The exhibition presents the creative tools at the same time, brushes and ink in various styles, so that the children will experience the calligraphy art in a casual and lively way and understand its culture and contents.

Play with ink & brush—Children''s Calligraphy Art Experience

日常生活的物件、動物的足跡或骨骸、植物的枝幹或碎片、乃至今日的廢棄物，伴隨著時間的推移，皆可作為研究人類的歷史或生活軌跡的重要寶物。《有跡可「尋」》展，將桃園市立兒童美術館化身為一座「尋寶」的基地。透過沙坑挖寶模擬、紋飾拓印工作坊及異材質拼貼等藝術的體驗，讓兒童從尋寶樂趣中，一同探究來自在地、來自遠古的訊息，將遙遠時空的遺跡場景，以想像力凝結在當下。
物件標本的研究或遺跡的調查，也激發了許多當代藝術家的創作靈感。例如：將科技產品「古物化」，或對社區的未來進行考古，展現對自然環境與歷史變遷的文化觀察；或以日常生活的拾得物，探索社會現代化的過程。藉由考古的視角、由此激發的想像，《有跡可｢尋｣》展希望能增進兒童對事物與環境的觀察，喚起主動探尋和學習的好奇心。
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☆團體參觀套裝活動： †於開館日的週間藉由展覽導覽、展體互動、創作體驗等豐富活動，進一步了解本檔展覽內容。 †歡迎學校團體、幼兒園、自學團以及課後輔導團預約。 †團體參觀預約： <a href="https://tmofa.tycg.gov.tw/home.jsp?id=77&amp;parentpath=0,1">前往預約參觀</a> †團體參觀諮詢： 03-286-8668 分機8011 許小姐

「有跡可『尋』」展

Daily articles, animal footprints or bones, plant branches or fragments and even today's garbage along with the advancement of time can become important treasures to studying the human history or tracing to the ancient life.
The Tracing'' Exhibition transforms Taoyuan Children's Art Center into the headquarters for treasure hunting.'' From the archeological perspective and creative imagination, the Exhibition hopes to assist children's observations towards surrounding objects and environment and to encourage active exploration and curiosity in learning.

“Tracing”-From Archeological Vision to Art Imagination

地圖承載了不同時期的自然地貌、建築街道、社會文化及政治領地等重要的訊息，具有將資訊轉化為視覺語言的功能。地圖包括地理環境和人文社會科學議題的時空資料處理，也涵蓋空間視覺化的思考，見證著時代的更迭。透過地圖的分析可窺得物換星移的人文地貌，一探活動軌跡，跨步思考全球文化的關係。
《遊走地圖》展，藝術家們以地圖為發想起點或創作核心，探索歷史檔案、社區環境及個人遷徙的經驗。他們遊走於國際與地方，懷抱著探險的心，運用不同的媒材，包括數位地圖、歷史地圖或心靈地圖等形式作為創作的手法，以套疊、定位或虛構的方式，跨越地圖學的疆域，創造出個性化的藝術表現。
《遊走地圖》希望能藉此帶領孩童從觀察社區的周圍環境到開啟對世界的想像，也藉由親身繪製地圖，使地圖成為記錄回憶、發現自我、創造夢想的載體。
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「遊走地圖」展

Inspired by map making, artists create to explore history archives, community environment, and individual migration experiences. They travel to other countries and cities with the spirit of exploration and various materials including digital maps, historical maps or soul maps to create through overlapping, positioning or virtual methods to transcend boundaries and present personalized arts. This Exhibition expects to lead children to observe their surrounding communities and inspire their imagination towards the world. Through mapping by their own, children will use maps as the carrier to record, discover, and dream.

Walking Maps

童年經驗是成長的動力，孩提時期萌發的創意心智，有助於開展繽紛的未來。桃園市兒童美術館《小時候》展，邀集1910至1990年代出生的十一位藝術家作品，藉此探看不同時代的童年樣貌、召喚不同時代的集體記憶，更鼓勵各年齡層的觀眾透過藝術分享經驗、與他者對話。大朋友們可以藉著欣賞各年代創作者的藝術品，回望各自生命的根源、喚起童年的回憶；小朋友們則可以瞭解不同世代的兒時生活趣味，在藝術的探索中，學習自我認同，以及喜愛自己的生活環境。
現場展出的作品，包括油畫、雕塑、版畫、粉彩等，創作靈感來自童年記憶、體驗與感受。例如：祖母描述的小故事、幼時成長的自然環境、兒時玩伴的嬉戲、家人一同歡聚的節日，或是珍藏的童年玩具及相片。藉由這些藝術作品與互動區的規劃，期能開啟大小朋友、親子觀眾們對生命、文化與藝術的寬廣視野，發現自己、瞭解他人，共同拼貼出跨時代彌足珍貴的童年記憶。
參展藝術家 : 劉其偉、賴傳鑑、林智信、趙國宗、張心龍、徐瑞憲、黃坤伯、游孟書、羅喬綾、邱懷萱、李仲程 (依出生年代排序)
☆團體參觀套裝活動： 於開館日的週間藉由展覽導覽、展體互動、創作體驗等豐富活動，進一步了解本檔展覽內容。 歡迎學校團體、幼兒園、自學團以及課後輔導團預約。 團體參觀預約： <a href="https://tmofa.tycg.gov.tw/home.jsp?id=77&amp;parentpath=0,1">前往預約參觀</a> 團體參觀諮詢： 03-286-8668 分機8011 許小姐
聯絡人：王小姐
聯絡電話：03-286-8668 #9007
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「小時候」特展

Childhood experience is the drive of growth. MentalChildhood experience is the drive of growth. Mentalcreativity development during childhood will benefit one'sfuture. This Exhibition invites 11 artists born between1910 and the 1990s to look back their childhoodmanners in different time and to call for the collectivememory in different eras. Audiences in different agegroups are encourage to share experiences and initiatedialogues with others via arts. With the planning ofthese artworks and planning of the interactive zone,friends of all ages, children and parents are broadenedtheir perspectives towards life, culture, and arts byknowing oneself and others better to collectively collagevaluable childhood memories in different time.

The "Childhood" Exhibition

作為桃園歷史最悠久的視覺藝術競賽，「2020桃源美展」透過公開徵件，遴選146件優質藝術品參展，鼓勵具有傳承與創新精神的美術創作，培育並發掘藝術人才。今年的頒獎典禮暨記者會於本（8）日下午2時在桃園市文化局1樓大廳舉行，現場頒發年度特別獎、前三名、佳作等獎項，另邀請長榮大學書畫學系熊宜敬教授為來賓及民眾們進行精彩的作品導覽。
2020桃源美展首次以兩年一屆的方式辦理，今年以「繪畫與書寫類」為主題，分為水墨、膠彩、書法篆刻、油畫、水彩及版畫共6個徵件類別，並放寬投件作品尺寸的限制。另外今年首增2名「年度特別獎」，頒予彰顯當代性或實驗性作品，提供參賽者更多自由揮灑創意的空間，豐富桃源美展的面貌。
本屆吸引近千件作品參賽，經過激烈的初審選出146件入選作品，再由評審進行作品現場審查，決定年度特別獎、前三名及佳作等名次。今年度6位「桃美獎」首獎得主，分別為水墨類-呂如笙〈光影文化館〉、膠彩類-林菊珍〈幻境生機Ⅱ〉、書法篆刻類-羅應良〈奮翼〉、油畫類-潘文凱〈車內風景(九)〉、水彩類-溫崎君〈回憶錄-4〉以及版畫類-林義隆〈栮杏相之森(日)〉。「年度特別獎」的殊榮由黃千育的水彩作品〈夢遊仙境〉和陳錦忠的水墨作品〈野有死麕〉分別獲得。
參賽者來自不同世代與多元的社會背景，各以其獨特視角創作出主題、風格迥異的作品。展覽中不乏見到多位創作者對於媒材和表現形式的嘗試和探索，在作品中加入異材質拼接、轉譯與挪用經典或以組件表現，抒發內心感懷、反思藝術本質或關心社會議題。參賽者靈活運用不同創作手法，彰顯作品意涵，觸發觀者思考與想像，也讓六類作品看似各自獨立，實則彼此映照和對話。
所有入選作品即日起至11月22日（週日）於桃園市文化局及中壢藝術館同步展出，文化局展出水墨、膠彩、油畫、水彩及版畫等5類；中壢藝術館展出書法篆刻類。展覽期間誠摯歡迎各方藝文愛好者親臨現場！ ※展覽日期：10/31（週六）至11/22（週日）9:00-17:00 (每周一休展) ※展覽地點： 桃園市文化局展出：水墨、膠彩、油畫、水彩、版畫等5類 中壢藝術館展出：書法篆刻類

2020桃源美展

碩大的魚，長著人的臉孔，是深海的神秘新物種？彷彿植物又像動物，會是何種生物？動物身體卻有人的頭，是人還是獸？……不論如何，都「像極了怪獸」！在許多的信仰、藝術與文學中，例如山海經、歐洲中世紀藝術，以及臺灣民間傳說中，奇誕荒謬、宛如怪獸的生物不勝枚舉，展現了文化豐沛的創造力，也蘊含著層次豐富而多重的意義。
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桃園市兒童美術館舉辦《像極了怪獸》特展，展出李小鏡、吳權倫、林介文、林威丞、黃贊倫及曾麗娟等六位藝術家的創作，呈現他們將物種轉化與再詮釋，像極了怪獸的形象表現，並規劃了從作品衍生的三個互動體驗區。種種活潑、幽默、誇張、浪漫或詭異而猶似怪獸的形象，包括拼組的人獸合體、未來世界的進化人魚、植物形態的動物化、攪亂生活的恐龍，還有彷彿穿越古今虛擬世界的異獸，或者沉睡的犀牛角少女，引人驚訝、讓人好奇。
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究竟是誰「像極了怪獸」？是這些奇特的物種，還是人類？抑或是人類的世界呢？藝術家們的作品中，「像極了怪獸」的多元形象，激發著物種的聯想，以及科技發展、現實社會與生態關懷的思考，也擴充了大小朋友對未知世界的想像。
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聯絡人：王小姐
聯絡電話：03-286-8668 #9010
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「像極了怪獸」展

Like Monsters

桃園市立美術館創設於2018年1月1日，至今已將屆三載。在歡慶成立三週年之際，桃美館與荷蘭烏特勒茲市的中央美術館跨國合作，精選雙方典藏以及特邀的9件短篇動畫與錄像作品，以「視窗之外」為題舉辦特展。
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窗，是建築中透光與通風所必須，引入的光線為雙眼帶來色彩與物像，流通的新鮮空氣滋養舒活的吐息。窗為生活空間中不可或缺之處，更是飽含意義的眺望之所。窗，就像眼睛，一開一闔間，決定了外面世界的見與不見。在數位時代的網路運用中，窗口/視窗更觸及訊息交換與資源分享，指涉人際間溝通以及國際間交流的介面。「窗」也因此，雖說「阻隔」卻也「連結」內外，雖反映了物理現實的「框限」但更象徵精神意識的突破而「無限」。
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「視窗之外」的命題，直指展覽所在的實體空間，亦訴諸窗/視窗所蘊含的豐富隱喻和象徵。桃美館的主體建築仍在興建，目前暫以八德區廣豐大樓五、六樓為據點。展覽乃是從基地所在的成排落地窗延伸至外牆，以大型投映裝置進行露天展演。藉此，突破美術館現有空間的侷限，創造內外的互動和連結，迎接更多的公眾參與、拓展藝術與生活的關係；也更藉此，遠眺窗格之外，藝術所可能帶來的遼闊視野。
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來自不同國度、殊異文化背景的參展藝術家，在「視窗之外」展現了九種圖景，從多元向度打開不同時空。黃心健與蘿瑞．安德森（Laurie Anderson）的〈登月〉，引我們躍入太空，重訪美國與蘇聯太空競技的關鍵性歷史現場，直探人類追逐科技的慾望；更藉無垠荒原、失重狀態，根本地詰問人類和宇宙的存在。漢．霍格布魯格（Han Hoogerbrugge）的〈愚人面具〉（Masks of Folly），以宛如中世紀彩色玻璃的鮮豔風格，重組地方歷史與文化的碎片。其中藉象徵手法並陳的人性鬥爭和善惡，像是博奕的拉霸機遊戲中一排排連續滾動的圖像，更隱喻其莫測的機率與一再復返的循環。
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吳雪綿的〈時間．終〉，直接以時鐘為基底，讓抽象的分秒、時間的意識，鮮明而具體。她展現分秒必爭的日常，亦傳達時間倒轉、錯亂和脫序的狀態，藉此思索「常軌」與「脫序」的二元論與絕對性。法蘭斯．霍夫梅斯特（Frans Hofmeester）的作品〈洛蒂與文斯〉（Lotte &amp; Vince）訴諸影像的連續性，藉由拍攝兩名烏特勒茲居民成長的影片，探索異時性的命題。在數分鐘的視窗中，兩個孩子洛蒂和文斯，從0歲成長到20歲的模樣，讓觀者具體得見時間的流逝及其在人類身上造成的變化。宛若個人生命史的紀錄，卻讓我們每個人都在其中看見了自己。傑羅恩．柯義吉曼斯（Jeroen Kooijmans）的〈划船者〉（De Roeier）中，時間卻彷彿停格。藝術家以近距離而充滿親密感的鏡頭，拍攝在運河划船的年輕女子。不變的如畫風光，反覆的搖槳動作，單純如一，異常地靜謐、柔和又浪漫。柯義吉曼斯以「詩意的反敘事」，放大了日常的重量與片刻的存在意義，帶我們跳脫現今消費社會慣常的奇觀化的影像框架。
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〈未央〉，劉肇興的「食事」系列作品之一，以獨特的高空視角，顛覆我們平常的夜市經驗：餵養市井小民的中壢夜市，萬頭鑽動、燈火閃爍，顯得瑰麗異常。蜿蜒的長街，滿佈微觀的細節又展現全視的整體，好比貪食的蟲蛇或說消化的腸道，緩緩蠕動，微妙地引人思索夜市作為城市維生系統的意義。
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鄧雯馨的〈牆角的窸窣囈語 — 無意義手語〉中，隨音樂舞動的各種手勢，藉助身體而非文字、訴諸於觀看更甚於閱讀的生動對話，活潑地啟發對語言與符號、對人際溝通與交談的另類思考。約翰．萊普瑪 (Johan Rijpma)的動畫〈外推〉（Extrapolate），同樣從「手」出發：握筆畫圖的手反轉為被畫的圖本身，主客異位又一再翻轉，藉此鋪展超現實想像、辯證科學邏輯。「外推」，在數學中意指從已知資料建構新數據的方法，常用來預測未來趨勢。萊普瑪以手繪線條「外推」、延伸出來的，卻是自動運作的思想「筆錄」。
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最後，拉斐爾．羅贊達爾（Rafaël Rozendaal）的〈不無可能.com〉（Not Never No.com），關照的則是虛擬網路空間中的視覺溝通。擅長網路動畫的藝術家以豐富多彩的幾何形式，動與靜、集中與擴散等饒富張力的結構佈局，探索簡明純粹而易於分享的視覺體驗，回應全球網路時代下的視覺趨勢。
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本展邀請觀眾既實際具體也在抽象概念上放眼「視窗之外」，透過國內外視角不一、視域有別的短片，在日常與異常、現實與超現實、內在宇宙與外在世界間，跳躍穿梭。已逝的過去、如今的當下、將近的未來，不論是已然或未曾經歷，或許也於此瞬時交會。放眼「視窗之外」，從觀看到想像，展望於持續生成又不斷打開的視野中，探索、超越乃至翻轉現實的「此在」。
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策展人：劉俊蘭、Bart Rutten
時間：2020年12月18日(五)至12月30日(三)
播放場次：每週一至週日19:00，週六19:00、19:50
地點：桃園市兒童美術館(八德館)廣豐新天地商場北側公園
開幕：2020年12月18日(五) 19:00
參展藝術家：吳雪綿、黃心健 + Laurie Anderson、鄧雯馨、劉肇興、Frans Hofmeester、Han Hoogerbrugge、Jeroen Kooijmans、Johan Rijpma、Rafaël Rozendaal
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主辦單位：桃園市立美術館
共同主辦：荷蘭烏特勒茲中央美術館
特別感謝：荷蘭在台辦事處、LIMA媒體藝術平台、廣豐新天地、彭園會館八德館

〈視窗之外〉桃園市立美術館 & 荷蘭烏特勒茲中央美術館館際交流展

Out of the Window&nbsp;
International Exhibition Produced by Taoyuan Museum of Fine Arts &amp; Centraal Museum Utrecht
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Established on 1 January 2018, this year marks the 3rd year of Taoyuan Museum of Fine Arts (TMoFA). In celebration of its 3rd anniversary of establishment, TMoFA works with the Centraal Museum of Utrecht, Netherlands across borders, selecting works in the collection of both while inviting nine works of short animations and video art for the special exhibition themed with “Out of the Window”.
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A window is essential to architecture for lighting and ventilation. The light introduced therefrom brings colors and images to the eyes, while the fresh air flowing through breathes life into it. A window is not merely an integral part of our living spaces, but also a place for overwatching rich with meanings. A window is like an eye, while the open and close of which determines the seen and unseen of the outside world. In applications of the Internet in the digital era, windows also involve in exchanges of information and resources, referred to as the interface in between individuals or countries. A “window” thus “blocks” while “connects” inside and outside. It not just reflects the “limit” in the physical reality but also symbolizes the “limitless” as the breakthrough psychologically and consciously.
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The theme “Out of the Window” refers to the physical space of the exhibition as well as the affluent metaphors and symbols residing in windows. The main complex of Taoyuan Museum of Fine Arts is still under construction. At present, it takes the 5th and 6th floor of the Guang-Feng Building in Bade District as its place of operation. The exhibition unveils from the array of French windows on site to the outer walls, using huge projectors for the outdoor showcase of video installations. Hence, the limit of the museum’s existing space is broken, creating interaction and connection inside and out to usher in more public participation and expand the relationship between art and life. On top of that, we can look beyond the window for the vast horizon that art may bring forth.
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Participating artists from different countries and diverse cultural backgrounds showcase nine landscapes in “out of the window”, opening portals to different space-time via multiple dimensions. To the Moon by Hsin-Chien Huang and Laurie Anderson takes us to fly into the space, revisit the historic site that signifies the space competition between the U.S. and the USSR, and delve into the desire of humans in pursuit of technology. Meanwhile, it inquires fundamentally the very existence of mankind and the universe via the immense plain of desolation and the state of weightlessness. Masks of Folly by Han Hoogerbrugge reconfigures local fragments of history and culture in the colorful style of the medieval stained glass. The struggle of humanity as well as good and evil are presented in juxtaposition in a symbolic fashion. It is like the rows of rolling images on a slot machine for gambling that implies their unpredictability and recurring cycle.
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Tick Tock by Hsueh-Mien Wu employs a clock as its basis, manifesting the abstract notion of minute/second and the consciousness of time lively and vividly. She demonstrates the life on the clock while depicts the status of time inverted, confused, and disordered so as to ponder over the duality and absolutivity of “on track” and “off track”. Lotte &amp; Vince by Frans Hofmeester appeals to the continuity of images, investigating the theme of heterochrony through the footage of the growth of two residents in Utrecht. In a window of a few minutes, the appearances of the two kids Lotte and Vince growing from age 0 to 20 allows audience to see vividly the flowing of time and the changes it brings to humans. Like a documentary of a personal life history, it grants each of us the chance to see ourselves therein. In De Roeier by Jeroen Kooijmans, time seems suspended. Through a shot at close filled with intimacy, the artist shoots the young lady rowing a boat on a canal. The constant picturesque landscape and the repeated motion of rowing are simple as one. It is exceptionally serene, tender, and romantic. Kooijmans amplifies the weight of routines and the existential meaning of moments via a “poetic counter-narrative”, getting us rid of the image framework of a conventional spectacle in the consumer society nowadays.
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The Insatiable, one of the works in "Things That Are Edible" series of Jawshing Arthur Liou, employs a distinctive bird’s eye view to flip our everyday night market experience: the Zhongli Night Market that feeds commoners, crowded with people and glistening with lights, appears to be extraordinary beautiful. Over the winding long street, one sees rich micro details as well as the holistic macro picture. It is like a gluttonous warm/snake or a digesting bowel in motion, intriguing us into contemplating the meaning of night market as a life support system to a city.
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In Murmur and Whisper II by Wen-Hsin Teng, with the various gestures dancing to the music, the use body instead of words and the appeal to a living dialogue composed of watching instead of reading inspire vibrantly an alternative thinking toward language and symbol as well as toward interpersonal communication and conversation. The animation Extrapolate by Johan Rijpma also employs “hand” as the point of departure: the hand holding a pen to draw becomes the picture drawn. The repeated inversion of subject and object unveils a surreal imagination and inquires the logic of science. The term “extrapolate” in mathematics refers to a mean to build new data on the basis of known information, which is often employed for the purpose of future trend projection. What Rijpma extrapolated and derived from the hand-drawn contours turns out to be an automatic “record” of thoughts.
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Finally, Not Never No.com by Rafaël Rozendaal stresses on the visual communication in the virtual space on the Internet. The artist exceling online animation utilizes rich and colorful geometric shapes as well as the structural compositions full of tension like action vs. inaction and concentration vs. proliferation to explore the simple, pure visual experiences that are easy to share as his response to the visual tendency in the era of global networks.
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Visitors are invited to set their eyes “out of the window” physically and abstractly, jumping and traversing in between the ordinary and extraordinary, the real and surreal, and the inner cosmos and the outer world via domestic and foreign short videos which are in different perspectives and fields of views. The elapsed past, the present now, and the forthcoming future, be that been or yet to be, they could cross with each other on this moment perhaps. Setting our eyes “out of the window” from watching to imagining, let us gaze at the vision that is constantly generated and opening, exploring, transcending, and even flipping the “here and now” in reality.
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Curator：Chun-Lan Liu, Bart Rutten
December 18 (Fri.) – December 30 (Wed.), 2020
Weekday and Sunday 19:00 / Saturday 19:00, 19:50
Venue：Taoyuan Children's Art Center and The North Park of Kwong Fong Plaza
Opening：December 18 (Fri.), 2020, 19:00
Artists：Hsin-Chien Huang + Laurie Anderson, Jawshing Arthur Liou, Wen-Hsin Teng, Hsueh-Mien Wu, Frans Hofmeester, Han Hoogerbrugge, Jeroen Kooijmans, Johan Rijpma, Rafaël Rozendaal
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Organization：Taoyuan Museum of Fine Arts &amp; Centraal Museum Utrecht
Special Thanks：Netherlands Office Taipei, LIMA media art platform, Kwong Fong Plaza, The Peng's Agora Garden

Out of the Window

桃美館與故宮的館際合作展《寫一首春天的詩》，藉詩文和書法藝術，迎接春天的到來！
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春天為四季之首，時晴時雨的天氣引發詩人無限情思。細數古典詩詞，常見春天為創作主題，因為爛漫春光，無限抒懷。國立故宮博物院典藏品《花氣薰人帖》，便是詩人黃庭堅在春日時節，受人贈花索詩，借景表達自己步入中年的心境，而訴諸筆墨的書法佳作，照映了文人交誼的情感。另一件故宮典藏品《寒食帖》，宋代詩人蘇軾書寫雨後花落，筆墨中流露詩人鬱悶的情緒。此二件書法典藏，透過延伸創作，製作成數位動畫，重現春天時詩人的心境。
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《寫一首春天的詩》以故宮由《寒食帖》和《花氣薰人帖》衍生而來的二件數位動畫為起點，結合詩文、書法藝術、互動裝置以及數位新媒體，加入桃美館的書藝典藏品，邀請詩人管管及馬尼尼為、書法家林思妤、裝置藝術家黃美惠、新媒體藝術家蔡秉樺、動畫師王孝言、擅長聲音藝術的融聲創意進行跨域合作，使詩詞字裡行間的情感與想像，變得更具體可見，並得以親身體驗。
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展覽中，林思妤書寫余光中的《春雨綿綿》，結合聲音互動裝置成為「有聲書」；馬尼尼為的童詩及插圖轉化為動畫；蔡秉樺的體感數位裝置中，觀眾只要揮舞雙手，透過身體姿勢的互動，就能體驗臧真白《集甲骨文字詩》中文字的趣味與結構美學；黃美惠繽紛的軟雕塑，靈感來自詩人管管《春天的鼻子》的啟發，表現微笑的春天花朵；羅德星《巢石居印存》則以篆刻印章的形式刻下春天的印記。互動體驗區中，為呼應《花氣薰人帖》而打造了香氛花樹，大小朋友在聞香後可以書寫花朵明信片，並回贈桃美館一首詩。現場並有空白長卷，讓觀眾以書法留下集體創作的痕跡。本展從視覺、聽覺、觸覺及嗅覺，開啟大小觀眾的多元體驗，邀請大家到桃園市兒童美術館寫一首春天的詩!
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故宮精選：〈寒食帖〉、〈花氣薰人帖〉新媒體動畫
藝術家/詩人(依姓氏筆畫排序)：余光中、林思妤、馬尼尼為、黃美惠、管管、臧真白、羅德星
互動設計：蔡秉樺、融聲創意
動畫製作：王孝言
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寫一首春天的詩 - 桃美館X故宮書藝體驗展

Spring Poetry presented by TMoFA x NPM welcomes the advent of spring with poetry and calligraphy!
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Spring, the first of four seasons, brings sun and rains alternatively as well as infinite muses to poets. Combing through the classical poetry, one may find spring a common theme for creativity, for the romantic springtime expresses moods. Besotted by Flower Vapors in the collection of the National Palace Museum (NPM) is a work produced by the poet Huang Ting-Jian to convey his mood as he entered his middle age via the scene upon receiving flowers in exchange for a poem during the springtime, while the quality calligraphic work of ink reflects the bond between literati. In the other NPM collection, The Cold Food Observance, Su Shi of the Sung Dynasty depicted the scene of flowers inflicted by the rains, in which the melancholic mood of a poet flows in his words of ink. The two collection of calligraphy were taken as inspiration for the production of digital animations to represent the moods of poets during the springtime.
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The two digital animations inspired by The Cold Food Observance and Besotted by Flower Vapors in the NPM collection are taken as points of departure, combined with poetry, calligraphic art, interactive installations, and new media of digital technology. Along with the calligraphic art collection of Taoyuan Museum of Fine Arts (TMoFA), poets Kuan Kuan and Maniniwei, calligrapher Lin Szu-Yu, installation artist Huang Mei-Hui, new media artist Tsai Bing-Hua, animator LC Wang, and Zone Sound Creative that excels at sound art are invited to engage an interdisciplinary collaboration, so that the emotions and imagination between words in poetry can stand out vividly for visitors to savor in person.
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In the exhibition, Yu Kwang-Chung’s Incessant Spring Rain written by Lin Szu-Yu, combined with an interactive sound installation, becomes an ”audio calligraphy”; the children’s poem and illustration by Maniniwei is transformed into an animation; the digital kinetic installation of Tsai Bing-Hua allows visitors to simply wave their hands to enjoy the fun of words and the structural aesthetics in Zang Zhen-Bai’s Poem in Oracle Bone Script through their postural interactions; the colorful soft sculpture by Huang Mei-Hui, inspired by poet Kuan Kuan’s The Nose of Spring, portrays the smiling flowers in spring; Seals from Ch'ao-Shih Dwelling by Luo De-Shing carves out the marks of spring in the form of seal cutting. In the Interactive Experience Area, a scented tree of flower is created in echo with Besotted by Flower Vapors. Visitors, young and old, can write postcards of flowers after breathing in the fragrance and leave a poem as a gift in return to TMoFA. There is also a blank sheet of long scroll for visitors to leave their marks as a collective work of calligraphy. The exhibition shall arouse an array of visual, auditory, tactile, and olfactory experiences in visitors, young and old. Welcome to pay a visit to Taoyuan Children’s Art Center to compose a poem of spring!
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NPM Selection: New media animations of The Cold Food Observance and Besotted by Flower Vapors
Artists/Poets (in Chinese surname stroke order): YU Kwang-Chung, LIN Szu-Yu, Maniniwei, HUANG Mei-Hui, Kuan Kuan, ZANG Zhen-Bai, LUO De-Shing
Interactive Design: TSAI Bing-Hua, Zone Sound Creative
Animation: LC WANG

Spring Poetry-TMoFA x NPM Calligraphic Art Interactive Exhibition

「桃源國際藝術獎」前身為桃源創作獎，在承繼當代藝術實驗與創新精神的基礎上，為追求競賽型展覽的格局突破，以兩年一屆的全新賽制，規劃了不分藝術類型的國際徵件，邀集學者、藝評及創作者組成國際評審團，評選國內外藝術家至桃園參展，藉此鼓勵創作之多元發展、厚植當代藝術研究根基，並以桃園作為培育當代藝術人才的基地，向外拓展交流與對話的空間，進而鏈結臺灣與國際藝壇脈動。
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轉型後的首屆桃源國際藝術獎，109年進行國際徵件，吸引46國六百多位藝術家參賽，歷時一個月的評選，最終選出17件入圍作品，創作者來自臺灣、日本、韓國、馬來西亞、孟加拉、美國、葡萄牙、拉脫維亞、希臘等9個國家，作品涵蓋平面繪畫、立體裝置、攝影、錄像等不同形式的藝術實踐。經過近半年的籌備，110年3月上旬，入選藝術家在桃園展演中心或親自佈展或視訊完成作品展示，並參與第二階段的複審，由評審團與藝術家進行即席問答，最終決選出「桃創獎」首獎1名、「優選獎」3名以及「遊藝獎」1名。
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綜觀本屆入圍作品，藝術家在媒介運用、空間處理上各異其趣，不僅有對藝術本身課題的探討，也涵蓋以藝術介入時下社會，關注環境變遷、政經結構與後殖民認同等議題，這些作品呈現在桃園的文化脈絡下，衍生更多層次的意義，讓觀眾在每一件作品前的駐足，皆是一場思辨的過程、一趟薈萃創意、實驗以及國際視野的藝術體驗。
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※「桃源國際藝術獎」特展資訊
時間：110年3月13日至4月18日，每周一及國定假日休館(4月4日至4月5日休館)
地點：桃園展演中心1樓 (桃園市桃園區中正路1188號)
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「2021桃源國際藝術獎」特展

The Taoyuan International Art Award, formerly known as the Taoyuan Contemporary Art Award, has been pursuing a new breakthrough in terms of its scale as a competition-based exhibition built upon the continuation of contemporary art experiment and innovative spirit. With the new system featuring a biennial art competition based on a non-category international open call, the Award invites scholars, art critics and artists to form an international jury committee to conscientiously select both Taiwanese and foreign artists for the award exhibition in Taoyuan. The objectives are to encourage diverse development of artistic creation, to cultivate contemporary art research, and to transform Taoyuan into a base for nurturing contemporary art talents, so that the space of outward exchanges and global dialogues can be expanded to further the link between Taiwan and the international art scene.
After its transformation, the first edition of the Taoyuan International Art Award organized its first international open call in 2020 and received more than six hundred artists’ submissions from forty-six countries. Seventeen finalists have been selected after a month-long selection process. The finalists come from nine countries, including Taiwan, Japan, Korea, Malaysia, Bangladesh, the United States, Portugal, Latvia, and Greece, with diversified forms of art practice ranging from two-dimensional painting, three-dimensional installation, photography to video. With a nearly six-month preparation, the finalists have completed the installation of their artworks, either in person or via teleconferencing, at the Taoyuan Arts Center in early March 2021. They have also attended an interview with a live Q&amp;A session chaired by the jury committee for the second-stage selection. Finally, recipients of the Grand Prize, three Honorable Mentions, and the Sojourn Award are selected.
Generally speaking, the finalists in this edition have all shown distinctive approaches to their use of mediums and handling of space to develop their exploration of art-related subjects or engage with the current society, using art as a form of intervention to tackle issues related to environmental changes, politico-economic structures, and post-colonial identity. The presentation of these artworks has engendered more multilayered meanings in Taoyuan’s cultural context. In viewing each work, the audience are drawn into a process of dialectic thinking as well as an art experience richly informed with creativity, experimentality and global vision.
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Time: March 13 to April 18 9am to 5pm (Close on Mondays and National Holidays including April 4 to 5)
Venue: Taoyuan Arts Center 1F (No. 1188, Zhongzheng Rd., Taoyuan Dist., Taoyuan City 330, Taiwan (R.O.C.)&nbsp;)
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2021 Taoyuan International Art Award Exhibition

空間是怎麼構成的？展場中垂直的牆與柱、水平的天花板與地面，常被忽略、視而不見。然而，這些結構及其所代表的線性維度，卻是界定空間的要素。桃園市兒童美術館的《空間遊戲》特展即由此出發，藉王德瑜、林育正、邱裕文及高德亮等藝術家的大型裝置，讓兒童或親子觀眾以遊戲性的方式參與體驗、探索空間。
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王德瑜在天花板與地面之間鼓起了一個充氣裝置，觀眾得以踏步進入，體驗界線消融的空間，也可循聲探索，進行一場以聽覺引領觸覺、開展身體感知的空間遊戲。林育正則讓常見的樑柱、牆面與樓梯，解構、重組成一處「舞台」也成為其中的主角，引人重新認識建築空間。藝術家塑造的「小東西」，攀附或藏身其間，更讓人充滿趣味與驚奇地重新關注日常環境、重新發現平凡角落。建築師邱裕文把連續的牆面切成錯綜的斷面，也把柱和牆分離，邀請大家穿梭其間，玩味打破空間秩序和規則的嶄新經驗。高德亮利用雷射光反轉觀眾身體成為定位的「發光座標」，讓觀眾漫步體會「座標」的移動，探索空間之際也具體感知自己的所在。
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兒童的「空間概念」發展，來自身體感知和實際體驗，它是生活學習也是科學或藝術發展所不可或缺。《空間遊戲》改造、變化、翻轉既定的展場空間，藉由得以進入其中、遊戲互動、身歷其境的藝術裝置，透過視覺、聽覺、觸覺、特別是身體感知，刺激對空間的好奇與敏銳觀察、促進空間認知的形塑或重新發現。同時，也邀請大小朋友突破既定框架，打開對空間的想像。
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參展藝術家
王德瑜
1970年出生，畢業於國立臺北藝術大學美術創作研究所。王德瑜不斷嘗試探索空間並思考人在空間裡的狀態，她的創作常讓身體的感官經驗取代視覺經驗，讓觀眾與作品互動並實際「進入」作品。
林育正
1979年出生，畢業於國立臺灣藝術大學雕塑系的林育正，專注於動力雕塑，也參與公共藝術創作。他常以翻模的手法擬仿磚塊、「自製」水泥齒輪或馬達來組構動態裝置，藉其中的機械運轉，象徵都市生活的重覆循環。
邱裕文
1976年出生，美國康乃爾大學建築碩士、任教於中原大學建築系、「共時書寫建築工作坊」負責人，曾與團隊參加臺北市立美術館2015第二屆 X-site計畫徵選並獲得優勝。
高德亮
1991年生於澳門、畢業於實踐大學建築設計系以及國立臺北藝術大學新媒體藝術系，曾參與「白晝之夜」、臺南月津港燈節。高德亮的創作主要關注科技與空間，常透過光線的重疊、反射與投射，擴展人們的感知和想像。
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空間遊戲

What constitutes space? The vertical walls and pillars as well as the horizontal ceiling and floor in an exhibition venue are oftentimes ignored or overlooked. Nonetheless, these structures and the linear dimension they represent are defining elements for space. “Playing with Space” presented by Taoyuan Children's Art Center takes this as the point of departure. Through the huge installations of Wang Te-Yu, Lin Yu-Cheng, Chiu Yu-Wen, and Kou Tak-Leong, children and parents are invited to experience, participate, and explore space in games.
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Wang Te-Yu inflated an inflatable installation in between the ceiling and the floor. Visitors can step in to experience a space where boundaries dissolve while trace sounds in a quest for a spatial game that guides the tactile sense with the auditory sense and deploys bodily senses. Lin Yu-Cheng employs beams, pillars, walls, and stairs commonly seen. These elements are deconstructed and reassembled into a “stage” and the de facto protagonist therein that guides us to reopen our eyes to architectural spaces. The “little things” crafted by the artist cling to or hide in these components. In funs and wonders, it allows us to refocus on our everyday environment and rediscover ordinary corners. Architect Chiu Yu-Wen dissects a continual wall into several ones that intersect with one another, while separating pillars from walls. Visitors are welcome to walk among them to savor the novel experience of breaking free from the order and rules of space. Kou Tak-Leong utilizes laser to turn visitors’ bodies into “lighting coordinates” for positioning. Visitors can thus roam in the midst to appreciate the movement of “coordinates”, vividly sensing the whereabouts of their own while exploring the space.
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Children’s “spatial concept” is developed through bodily perception and authentic experience. It is essential to life learning and to scientific or artistic development. “Playing with Space” modifies, alters, and flips the existing exhibition space. These art installations that invite one to enter, to interact in games, and to immerse themselves in experiences stimulate one’s curiosity and acute perception as well as facilitate one’s formulation and rediscovery of spatial cognition via visual, auditory, tactile, and particularly bodily senses. Meanwhile, visitors young and old are invited to break free from the existing frameworks and open up their imagination toward space.
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ARTISTS WANG Te-Yu
Born in 1970, Wang obtained her MFA at the School of Fine Arts, Taipei National University of the Arts. Wang Te-Yu endeavors ceaselessly to explore space and ponder over human’s condition in space. Her practices oftentimes replace visual experience with bodily senses, allowing visitors to interact and practically “enter” her works.
LIN Yu-Cheng
Born in 1979, Lin Yu-Cheng graduated from the Department of Sculpture, National Taiwan University of Arts. He concerns himself with kinetic sculpture as well as engages in public art production. He often simulates bricks via rollover and produces “homemade” cement gears or motors for kinetic installation assembly. Through the mechanical operation therein, it symbolizes the repeated cycle of urban life.
CHIU Yu-Wen
Born in 1976, Chiu obtained his Master of Architecture from Cornell University in the U.S. He is a faculty at the Department of Architecture, Chung Yuan Christian University, and the head of Synchronic Composing Architect. Chiu and his team partook in and stood out in the selection for the 2nd edition of X-site Project organized by Taipei Fine Arts Museum in 2015.
KOU Tak-Leong
Born in Macau in 1991, Kou is an alumnus of the Department of Architecture, Shih Chien University, and of the New Media Art Department, Taipei National University of the Arts. The artist participated in Nuit Blanche Taipei and Yuejin Lantern Festival Tainan. Kou Tak-Leong’s practices mainly emphasizes technology and space, constantly broadening people’s perception and imagination via superimposition, reflection, and projection of light.
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Playing with Space

Although writing and drawing differ in that they involve the different uses of writing/drawing characteristic, they share one common trait; that is, they both entail the use and presentation of “lines.” In the field of calligraphy and painting, the two are even more interconnected as they are regularly united together.
 Children use lines to express themselves to the outside world. Random scribbling, controlled brushwork , and the writing of words demonstrate the different stages of children’s mental and physical development; how they feel; and what they see, recognize and can do.
 The “Drawriting!” exhibition, inspired by the idea that “calligraphy and painting are of the common origin,” uses lines, a method for children to express themselves, to connect writing and drawing together, offering children different experiences, encouraging them to explore different possibilities, inspiring them develop power of keen observation, and sparking their imagination and creativity.
 The exhibition introduces the works of artists such as Ting Yin-yung, Lu Fo-ting, Chiang Po-hsuan, Chi Guan-ti, Hung Tung, Chang Ya-hon, and Fung Mingchip. Moreover, it uses interactive designs to divide the exhibition section into different zones; namely, “Shape and Form,” “Mood,” “Rhythm,” and “Expression.” “Shape and Form” fuses writing and drawing together, guiding children in using lines to depict nature. “Mood” preaches the use of different stroke to express ones’ emotions. “Rhythm” illustrates how ones’ changing thoughts change what they write, evoking a sense of rhythm. “Expression” explores the possibilities of joining words and images together. Finally, children may use their bodies and limbs replacing their brush to play the “games,” crossing existing boundaries in writing and drawing and displaying the potential of bodies.
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Artists Ting Yin-yung, Lu Fo-ting, Chiang Po-hsuan, Chi Guan-ti, Hung Tung, Chang Ya-hon, and Fung Mingchip
Special thanks National Museum of History, Cultural Affairs Bureau, Tainan City Government, Art Museum The Chinese University Of Hong Kong

Drawriting !

書寫與繪畫，雖然用筆可能有所不同，但「線條」的運用和表現，卻讓它們之間有了緊密關連。特別是在筆墨合一的書畫藝術裡，兩者更是相互為用而彼此共通。
線條，亦是兒童表達自我的重要方法、內外溝通的語言形式。凌亂無形的塗鴉、形象具體的描繪、乃至文字的書寫，體現了兒童不同階段的身心發展，也呈現了他們的所能、所見、所知或所感。
 「寫寫畫畫」展，由「書畫同源」的概念出發，以貼近兒童的表現語言 — 線條，串連起「寫」與「畫」，讓小朋友從中碰觸不同的體驗、開啟多方的探索，發展敏銳的觀察、想像與創造力。
 現場展出丁衍鏞、呂佛庭、江柏萱、紀冠地、洪通、張耀煌、馮明秋等藝術家的作品，搭配互動體驗的設計，劃分不同展區：「象形」，突破文字和圖像的界線，引小朋友玩味如何以線條摹寫自然；「表意」，訴諸「以筆表心」，將情感化為筆墨的表情；「造境」，展現「筆隨意轉」下，點劃的節奏與音律；「表現」，探索文字與圖像自由結合的可能，並且，除了用筆，也透過手腳並用乃至身體的遊戲參與，解放寫寫畫畫的既定框架，展現身體的動能。
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藝術家：丁衍鏞、呂佛庭、江柏萱、紀冠地、洪通、張耀煌、馮明秋(依姓氏筆畫排序) 特別感謝：國立歷史博物館、臺南市政府文化局、香港中文大學文物館
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｢寫寫畫畫｣展

Taoyuan Fine Arts Exhibition&nbsp; (TFAE) has evolved from a local exhibition of arts into the most established and high-profiled visual art competition in the history of Taoyuan nowadays. It had built up the art platform through annual open calls, simultaneously incubating and tapping more promising artists, making the power of art creation in Taiwan to be accumulated relentlessly.&nbsp; TFAE used to arrange the competition in 10 categories regarding different media, but its system has been revised since 2020, following the new strategy to adopt a biennial timeframe with different focal points, holding open calls for various genres. The theme of the 2021 TFAE is 'Three-dimension and Multi-media Category', holding open calls in the following three categories: 'Plastic Art', 'Photography and Video Art', and 'New Media Art'. 'Video Art' and 'New Media Art' are two new categories especially put in TFAE this time, aiming to encourage more entries with a sense of modernity or experimentality to take part in. The entries will be exhibited in three venues regarding their own styles, allowing the exhibition to be both as a whole and in different dimensions on the one hand, and allowing the competitors to have more space for artistic presentation, responding to the changes and development of contemporary art on the other hand. There are 402 pieces of artwork up for grabs this year, and there are 56 pieces selected. The exhibition will be held from October 30, Sat. to November 21, Sun., in the following three venues: Department of Cultural Affairs, Taoyuan (Photography and Video Art), Zhongli Arts Hall (Plastic Art) and Taoyuan Public Assembly Hall (New Media Art). The topics of exhibited works are in high diversity, including social issues at the time, self-identities, life experience, documentary photography, virtual simulation, dialectic of artistic thinking, and so on. Some artists even endeavor to apply media with greater scale and breakthroughs, demonstrating the variety and contemporary visions to be given rise to by the artists' practice in accordance with the development of time and technology. Even though these three venues are separated, they still echo each other, showing openness and diversity in terms of specific media categories, aiming to stimulate a whole new exhibition experience of the audience towards TFAE.
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■ 2021 Taoyuan Fine Arts Exhibition 【Plastic Art】 &nbsp; &nbsp; Time : Tuesday to Sunday 9:00-17:00 &nbsp; &nbsp; Venue :Zhongli Arts Hall-Exhibition Room（ No. 16, Jhongmei Rd., Zhongli Dist., Taoyuan City 320 ） 【Photography and Video Art】 &nbsp; &nbsp; Time : Tuesday to Sunday 9:00-17:00 &nbsp; &nbsp; Venue :Department of Cultural Affairs,Taoyuan（ No.21 Xianfu Rd., Taoyuan Dist., Taoyuan City 330 )&nbsp; 【New Media Art】 &nbsp; &nbsp; Time : Tuesday to Saturday 11:00-21:00, Sunday 12:00-17:00 &nbsp; &nbsp; Venue : Taoyuan Public Assembly Hall （ No. 8, Zhonghua Rd., Taoyuan Dist., Taoyuan City 330 ） &nbsp;■ The Awards Ceremony of&nbsp; the 2021 Taoyuan Fine Arts Exhibition&nbsp; &nbsp; &nbsp; Time: Nov. 6, 2021, Sat. 14:00 &nbsp; &nbsp; Venue: 1F, Department of Cultural Affairs, Taoyuan&nbsp; (No.21 Xianfu Rd., Taoyuan District, Taoyuan City 330 Taiwan)

2021 Taoyuan Fine Arts Exhibition

關於「2021桃源美展」
從昔日的地方藝文展覽，發展至今日成為桃園歷史最悠久、備受矚目的視覺藝術競賽，「桃源美展」每年透過公開徵件，打造藝術平臺，同時培育並發掘更多藝術新秀，讓臺灣的藝術創作能量得以不斷積累。
 「桃源美展」一改過去依媒材分為10個類別，自2020年起調整賽制，改為隔年輪替、分別聚焦的方式辦理各類別徵件。「2021桃源美展」以「立體與影像多媒體類」為主題對象，甄選「立體造形」、「攝影與錄像」、「科技新媒體」三類作品，本屆特別新增錄像類與科技新媒體類，鼓勵更多具當代性或實驗性的作品參賽，並依作品調性分項聚焦於三個場地展出，讓展覽兼具整體性與殊異向度，亦讓參賽者有更大的創作發揮空間，回應當代藝術的變動和發展。
 今年共有402件作品激烈角逐，入選作品共計56件。展覽於10月30日(六)至11月21日(日)，在桃園市政府文化局(攝影與錄像類)、中壢藝術館(立體造形類)及桃園區公民會館(科技新媒體類)盛大展出。展出之作品主題觸角多元，包含時下社會議題、身份認同與生命經驗、人文風景紀實、虛擬奇觀、藝術哲思的辯證等，更有部分創作者尋思媒材使用的更大可能與突破，體現藝術創作因時代及科技推進而生的多樣性與當代視野。三大展區看似各自獨立，卻又彼此參照，在特定媒材類別下，展現開放與多元的表現，激發民眾對「桃源美展」全新的觀展體驗。
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■「2021桃源美展」展訊 &nbsp; &nbsp; &nbsp;展期：10月30日至11月21日 &nbsp; &nbsp;【&nbsp;立體造形類 】 &nbsp; &nbsp; &nbsp; &nbsp;時間：週二至週日 9:00 - 17:00 &nbsp; &nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;地址：中壢藝術館 （桃園市中壢區中美路16號）&nbsp;&nbsp; &nbsp; 
&nbsp; 【&nbsp;攝影與錄像類&nbsp;】 &nbsp; &nbsp; &nbsp; &nbsp;時間：週二~週日09:00~12:00，13:00~17:00 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;地址：桃園市政府文化局（桃園市桃園區縣府路21號）
&nbsp; 【&nbsp;科技新媒體類&nbsp;】 &nbsp; &nbsp; &nbsp; &nbsp;時間：週二至週六 11:00 - 21:00，週日12:00 - 17:00 &nbsp; &nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;地址：桃園區公民會館 （&nbsp;桃園市桃園區中華路8號 ）
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■「2021桃源美展」頒獎典禮 &nbsp; &nbsp; &nbsp; &nbsp;時間：110年11月6日(週六) 14:00 &nbsp; &nbsp; &nbsp; &nbsp;地點：桃園市政府文化局1樓大廳

2021桃源美展 

本展引領孩童尋訪古今之「優墨」！如《天工開物》提及，墨作為顏料，記載了文明；墨品的優劣，也成為了古代文人的追求。另外，「Humor」在古希臘本義為「汁液」，與「墨」的物質特性有所連結；諧音「幽默」始於林語堂由外來字「Humor」音譯而成，相近於「風趣」，對指涉之物意在言外，讓留白引發觀賞者的詼諧想像。展覽由題名的多重內涵出發，策劃「墨寶開箱」、「墨氣實驗」、「酷墨遊戲」三個單元。
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「優墨」展匯聚臺灣、中國、香港前輩藝術家和青年藝術家，包括劉國松、蔡水景、楊詰蒼、鄧啟耀、凌佩詩、曾霆羽及陳瑞鴻的作品，並結合國立故宮博物院及國家圖書館的藏品資源，從歷史性、物質性和遊戲性出發，觸發孩童對「墨」的好奇、了解和創意想像。
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「墨寶開箱」邀請小朋友打開歷史與現代的墨寶箱，遊歷《方氏墨譜》、《天工開物》，一起穿梭古今的製墨現場；「墨氣實驗」讓孩童在不同材料的介質之中，學習掌握墨的物質特性；「酷墨遊戲」以日常經驗和現成物觸發「墨」與觀念性、遊戲性和音樂性共振的趣味。
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藝術家：凌佩詩、陳瑞鴻、曾霆羽、楊詰蒼、劉國松、蔡水景、鄧啟耀(依姓氏筆劃排序)
特別感謝：國立故宮博物院、國家圖書館、非畫廊、異雲書屋
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「優墨」展

The Hengshan Calligraphy Art Center (HCAC) is the first public calligraphy art center in Taiwan and shoulders the responsibilities of preserving, studying, developing, and promoting Taiwanese calligraphy art, ensuring that regional cultural features take shape through studies and educational endeavors focusing on calligraphy, and facilitating international calligraphy art exchanges. The Flying Ink: Hengshan International Calligraphy Art Exhibition, the opening exhibition of the HCAC, is curated by Professor Huang Chih-Yang, chair of the College of Art and Design, Huafan University. For the exhibition, the HCAC invits 51 artists from Taiwan, China, Japan, South Korea, Germany, and Finland to exhibit their artworks.
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Curatorial Concepts Contemporary calligraphy is the result of the coopetition between ancient and modern aesthetics and the complex union of art and culture. Calligraphy consists of history, writing, literature, visuals, bodies, concepts, and behavior to be a perfect representative of integrated art. It raises the question of whether to inherit from the past or to create innovations, and challenges contemporary societies to find a balance between visual values and cultural depth. Exhibiting calligraphy displays calligraphy’s roles in globalization and localization and induces the audience to contemplate the ambiguous relationships between time and space, prompting the audience to develop diverse aesthetic values and judgments.
As an art form of Chinese characters with a long history, calligraphy art is traditional, charming, fashionable, retro, persistent, and unique. Thinking about calligraphy art and creating calligraphy art enable people to develop new calligraphy understanding in the 21st century. To reassess calligraphy art possibilities, values, and aesthetics, the optimal methods may be to curate calligraphy art exhibitions, conduct calligraphy art research, and facilitate calligraphy art viewing and dialogues. To realize these methods, this exhibition introduces calligraphy art creation-related tendency and aesthetics as well as the “dialogues” between traditional and contemporary calligraphy art through four subtopics; namely, “traceability,” “novelty,” “interlocutory,” and “interdisciplinary.” The exhibition marks the beginning of Hengshan Calligraphy Art Center’s vista and demonstrates the center’s plan to evolve itself into a key international venue for calligraphy art exchanges.
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“Traceability” The evolution of Chinese characters has given them diversified features, prompting numerous literati and artists to use calligraphy to showcase the unique features of Chinese characters. These efforts subsequently enrich the quantities of visual art produced. At the Flying Ink: Hengshan International Calligraphy Art Exhibition, experienced calligraphy artists utilize their traditional calligraphy knowledge and skills to present Chinese characters perfectly, illustrating their mesmerizing, ingenious thoughts.
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“Novelty” The calligraphy styles present the zeitgeists from different dynasties. For example, Jin, Tang, Song, Yuan–Ming, and Qing dynasty people preached calligraphy styles that focused on grace, system, fun, past-emulation, and high-quality, respectively. In the 20th century, the effects of international art movement, abstract expressionism (which influenced Japan, South Korea, Taiwan, and then China), and Western politics, economics, and cultures revolutionized contemporary calligraphy, shifting it from following traditions and making gradual changes to seeking new, drastic changes. In the early 21st century and contemporary era, calligraphy styles have focused on changes and novelty, respectively, and the objective is to expand from traditions and seek new changes.
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“Interlocutory” Contemporary calligraphy art represents the styles the zeitgeist nowadays and records the unique meanings and values of said era. In the exhibition, calligraphy artists reveal their deep thoughts on their living environments through calligraphy artworks. They escape from traditional patterns and stop imitating traditional styles, resulting in the contemporary calligraphy art deviating from written vernacular Chinese, reaching a state “disrupted communication.” Contemporary calligraphy uses the “languages” of the environments to exemplify the timeliness and vitality of calligraphy art, and highlight how calligraphy art differs from pure visual art in that it embodies a wealth of reading-based characteristics.
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“Interdisciplinary” Through devices, images, and new media, contemporary calligraphy presents the complex relationships between calligraphy, space, time, and the audience. In fact, contemporary calligraphy can be used to show landscape-based living, surviving in environments, and various ideas and philosophies. At the Flying Ink: Hengshan International Calligraphy Art Exhibition, calligraphy art flaunts its charm on walls, boasts its creativity in the exhibition space, and becomes easily accessible to the audience in outdoor environments, sparking their responses. Such a result confirms that calligraphy art from ancient times must be re-examined, reinterpreted, and reused in contemporary environments. By conducting interdisciplinary experiments, we gain insight into the features of calligraphy culture. Subsequently, we link calligraphy and contemporary art concepts together to deepen and broaden calligraphy art presentation, inaugurating new possibilities. Whether such possibilities will become the mainstream possibilities in art venues in the 21st century remain to be seen.
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Curator：HUANG Chih-Yang Artists：Abugy, Along CHEN, BAI Di, CHANG Ben-Huang, CHANG Jih-Kuang, CHANG Mu-Hsi, CHEN Kun-I, CHEN Ming-Te, CHEN Shih-Hsien, CHENG Chin-Fa, CHENG Tai-Le, FUNG Ming-Chip, GU Wenda, HONG Sio-Pang, HSIAO Shih-Chiung, HSU Yung-Chin, HU Kangmei, HUANG I-Ming, HUANG Tsung-I, HWANG Bang-Yeon, JI Zhi-Shan, JUN Jin-Won, KAWACHI Toshiharu, KIM Byeong-Gi, KIM Min-Jung, KO Liang-Chih, KWON Chang-Ryun, LEE Quenten, LI Qing, LIANG Yung-Fei, LIN Chang-Hu, LIN Chin-Chung, LIN Chun-Chen, LIN Jiun-Ting, LIN Long-Dar, LIU Canming, LIU Kuo-Sung, NAKAMURA Nobuo, PARK Won-Gyu, QIU Zhenzhong, SHIH Chun-Mao, TAKAKI Seiu, TANG Kaizhi, TONG Yang-Tze, TSAI Ming-Tzann, TU Chung-Kao, Tuula VELLING, WANG Dongling, WU Ying-Guo, XU Bing, ZHANG Aiguo

Hengshan Calligraphy Art Center

Flying Ink: Hengshan International Calligraphy Art Exhibition

「書」是「書法」也是「書籍」。「讀」可「讀帖」亦可「讀書」。橫山書法藝術館開館有「飛墨橫山」展示書法藝術品，也以「橫山展書讀」為題，品讀書藝出版。書籍包含文字及圖像，有如另一種展覽形式，在讀者眼前及腦海開展寬闊的書藝世界。透過出版，藝術品得以突破展場空間和展期限制，讓讀者能夠細讀與分享。此外，書法是結合文字形式、內容意涵、音律節奏及視覺美感的綜合性藝術，具有多元且複雜的脈絡，因此更需要文字解說、闡述與辯證，這些因素都讓出版成為書法藝術推廣與交流的重要管道。
由是之故，桃園市立美術館針對典藏、研究及展覽，規劃各式主題的專書出版擴大思考討論面向，也開發不同類型的文創商品推廣藝術生活美學。「橫山展書讀」與何創時書法藝術基金會、五南文化事業機構，以及書法教育月刊蔡明讚老師合作，引介國內重要的現當代書法藝術書刊，回顧書藝展覽、研究和教育推廣的歷程，展現書藝館在書藝發展上承先啟後的定位和願景。

橫山書法藝術館

橫山展書讀

橫山書法藝術館為臺灣首座由官方經營之書法藝術主題館，肩負推動臺灣書法藝術保存、研究、發展與推廣之使命，以奠基書法研究與教育、形塑在地藝文特色、促進國際書藝交流為目標。
　　開館首展「飛墨橫山」由華梵大學人文與藝術學院院長黃智陽教授擔綱策劃，邀請臺灣、中國、日本、韓國、德國、芬蘭等地共51位藝術家參與展出。&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;
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｜策展概念｜
　　當代書法是古今審美衝突的競合成果，更是文化與藝術離合的複雜狀態。書法集合歷史、文字、文學、視覺、身體、觀念與行為，成為總合性藝術的最佳代表，挑起了繼承與創新的矛盾，同時考驗了當代社會中的視覺價值與文化深度的爭端。展示書法，同時展示了國際化與在地性的角色扮演，也誘使觀察者思考時空的曖昧關係，因而產生極為不同的審美價值判斷。
　　具有悠久歷史的漢字書藝，傳統又迷人，時尚而復古，固執且獨特。這些思考與創作成果都輻射出新世紀的書法新解。為了重估書法藝術的可能與價值，策展與研究，觀看與對話，可能是建構書法美學的最佳途徑。橫山書法藝術館開館展「飛墨橫山」以此為旨，透過「溯源」、「尋新」、「對語」、「跨域」四個子題，展示書法藝術傳統與當代的對話，探索書藝創作的時代趨勢和美學思維。藉此，為橫山書藝館的未來發展拉開序幕，也展望橫山書藝館成為國際書藝匯流的焦點場域。　　
　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　
「溯源」
漢字書寫的歷史演進，使文字符號出現多種多樣化的面貌，吸引了大量的文人藝術家透過書寫的表現展現出特殊的品味，豐富了視覺的藝術。在這次的展示中，資深書法藝術家透過深厚的傳統書法功底，表現出對於文字把握的能力與學養，展現出耐人尋味的思考。
　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　「尋新」 
所謂晉人尚韻丶唐人尚法、宋人尚意丶元人復古、明人尙態丶清人尚質，書法史各個朝代的書風都展現出時代不同的樣貌。20世紀受到西方政治、經濟、文化的影響，書法表現也受到國際藝術運動的感染，從抽象表現風潮影響日本，韓國，臺灣，再蔓延到中國。書法面對近現代的求變渴望相較於傳統期望，有了漸變與激變的差異。概括現代書法到21世紀初，若從中國輻射的角度而言，民國尚變，當代尙新。從傳統表現的基礎擴張，進一步達到尋新懷異的狀態。
　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　
&nbsp;「對語」
當代的書寫藝術，最能夠展現時代的能量，就是為這個時代記錄不同於其他時空所能替代的意義與價值。在「飛墨橫山」展出的作品中，書藝家透過書寫的內容表現出對於自己生活環境深刻思考的紀錄，脫開傳統語言的慣性，擺脫傳統書法的傳抄，以致在當代展示場域無法與白話文時代對話，而呈現的失語狀態。面對真實環境的話語，突顯出書法藝術的時代性與生命力。更顯出書法藝術不同於純粹視覺藝術一般，具有濃厚的閱讀特質。
　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　
&nbsp;「跨域」
當代書法表現透過裝置丶影像丶新媒體互動，將書法的觀念擴展到空間丶時間與群眾之間的複雜關係。甚至書法對於景觀生活丶環境生存、觀念哲思，都能提出切題的對應。此次展覽可看到書法藝術在牆上展現的魅力，以及在空間中表現的創意，甚至在戶外環境貼近群眾而帶來的親近與回饋⋯⋯在在都證明古老的書法藝術在當代環境中需要再認識、再詮釋以及再利用。跨域實驗性特質，在充分體察書法文化的特殊性之後，接合當代觀念藝術的軌輒，使書法藝術的表現既深且廣，宣示了新時代的潮流，而是否可能成為21世紀藝術場域的主流？
&nbsp; 策展人&nbsp; &nbsp;黃智陽 藝術家&nbsp; &nbsp;(依姓氏筆畫排序)
中村伸夫、王冬齡、白&nbsp; &nbsp;砥、全瑨元、朴元圭、吳英國、李&nbsp; &nbsp;青、 李蕭錕、杜忠誥
谷文達、林俊臣、林俊廷、林章湖、林進忠、林隆達、河內利治、邱振中、金玟廷
金炳基、阿卜極、施春茂、柯良志、洪小澎、 紀之山、 胡抗美、 唐楷之、 徐永進
徐&nbsp; &nbsp;冰、高木聖雨、張日廣、張炳煌、張愛國、張穆希、梁永斐、陳一郎、 陳世憲
陳坤一、陳明德、程代勒、馮明秋、 黃一鳴、 黃邦衍、 黃宗義、董陽孜、 劉國松
劉燦銘、蔡明讚、鄭進發、蕭世瓊、魏林楓、權昌倫
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&nbsp;【平行展】
橫山書法藝術館於今年10月22日盛大開幕。開館同時，書藝館也邀請桃園在地藝文空間共襄盛舉，以「藝術共振」的概念串連合作，聚焦於書法藝術主題，舉辦平行展覽，包括藍瓦空間的「觀字在：曾泰翔書作展」、众藝術「回憶急就章：王家男個展」、桃園市兒童美術館「優墨」，以及2 GATHER藝起吧展覽等。藉此，期能促進多元並陳的觀點，讓書法藝術在桃園深化，並綻放獨特的在地藝文特色。
■《觀字在－曾泰翔書作展》2021/9/11-10/31 藍瓦空間（桃園市中壢區慈惠三街157巷8號）
■《回憶急就章 - 王家男個展》2021/12/18-2022/1/8 众藝術（桃園市桃園區中埔六街196巷22號）
■《優墨》2021/10/7-12/5 桃園市兒童美術館（桃園市八德區介壽路一段728號6樓）
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飛墨橫山 — 橫山書法藝術館開館國際書藝展

海，是萬物的起源也是文化的載體，不只孕育生命也乘載記憶，與世界聯繫同時也與自身連結。
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生長於海島國家的我們對海並不陌生，島與海相互依存，密不可分。波浪將海水推上岸，又淘選了部分的陸地回到海洋，猶如兩地的驛站交換著彼此的訊息。從古至今，人們對海洋的探索從未停歇。藝術家也在這個綿延無邊的大海中，發掘他們的靈感，轉譯為嶄新的想像，讓海洋得以在觀眾眼前展示它千變萬化的面貌。
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《走近一片海》特展邀請跨國際的六組藝術家，包含法國SUPERBIEN團隊、日本毛利悠子、以及來自臺灣的李家祥與李葳靜、邱杰森與莫珊嵐、胡縉祥與蔡秉樺、蔡宛璇，以沉浸式海洋劇場、裝置藝術、錄像、新媒體等媒介，以及延伸設計的互動體驗區，觸發兒童對海的漫「游」異想與多方探索。
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毛利悠子將海浪聲轉化成即興鋼琴獨奏，彷彿自然想藉此與我們對話；胡縉祥與蔡秉樺擷取即時氣象資訊，將數據轉換為水波紋的虛擬影像，藉機械裝置展現海浪舞動的姿態；Superbien則是與摩納哥海洋學研究所合作，打造一座「海洋奧德賽沉浸劇場」(Oceans Digital Immersive Odyssey)，讓觀眾盡情地深潛於大海，並與海洋物種互動；李家祥與李葳靜以被「海洋泡泡」包覆的環境，讓觀眾沉浸感受大海所蘊含的豐盈而充沛的生命能量；邱杰森與莫珊嵐透過現代地圖上消逝已久的海怪，重新喚醒海怪潛藏在人心中的故事；蔡宛璇用詩文記錄幼兒與母語的相遇，也藉此轉譯與海洋的相處、與生長環境的對話。
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海的信息如潮水般不斷推動著想像和創造。本展邀請兒童與親子觀眾「走近」這片海，以視覺、聽覺、觸覺、體感等多維感官捕捉海洋試圖傳達的每一則訊息，重新喚醒對海的想望，開啟對世界、對生命的遼闊視野。
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藝術家：SUPERBIEN團隊、毛利悠子、李家祥與李葳靜、邱杰森與莫珊嵐、胡縉祥與蔡秉樺、蔡宛璇 特別感謝：法國在台協會學術合作暨文化處、法國藝文推廣總署
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「走近一片海」展

The sea, the origin of all creatures, and a vessel for cultures. The sea is a cradle of life and carries memories of humanity: the sea connects the world, just as the seas are connected.
 As people of an island nation, we are no strangers to the sea. Islands and the sea depend on each other to thrive — they are inseparable. Waves push water onto shores, and pull the land back into the sea, acting as a courier between two places, exchanging messages. Since ancient times, humans never cease to explore the sea. And artists have discovered muses in the boundless sea and translated their inspiration into new-found imagination, showing the thousands of faces of the sea to audiences.
 See Sea exhibition has invited six teams of artists, including Superbien Studio from France, Yuko Mohri from Japan, and Taiwanese artists Lee Chia-hsiang &amp; Lee Wei-jing, Chiu Chieh-sen &amp; Margot Guillemot, Hu Chin-hsiang &amp; Tsai Bing-hua, and Tsai Wan-shuen. The artists created an immersive ocean theater, art installations, videos, and new media projects in conjunction with an interactive area that is guaranteed to spark children’s curiosity in exploring the sea.
 Yuko Mohri’s piano solo improvisation mimics the sound of crashing waves as if nature is trying to communicate with us. Hu Chin-hsiang and Tsai Bing-hua converted real-time weather data into virtual ripples and use mechanical installations to display the dancing waves. Superbien Studio partnered with the Oceanographic Institute of Monaco to build the Oceans Digital Immersive Odyssey, which allows visitors to dive into the deep sea and interact with marine life. Lee Chia-hsiang and Lee Wei-jing created an environment wrapped in ocean bubbles, immersing visitors in the sea and letting them feel the rich and thriving lifeforce from the ocean. Though ancient sea monsters have vanished from modern world maps, Chiu Chieh-sen and Margot Guillemot bring the stories of sea monsters back to the surface. Tsai Wan-shuen translates the poetry of infants learning their mother languages into a conversation on how we should live with the ocean and the rest of the environment.
 Messages from the sea push and pull on human imagination and creativity like fluctuating tides. The exhibition invites friends of all ages to come and walk closer to the sea. Try to capture every message the sea is sending us with all our senses. Rekindle your longing for the sea, and broaden your perspective of the world, and of life.
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Artists: Superbien Studio Yuko Mohri Lee Chia-Hsiang &amp; Lee Wei-Jing Chiu Chieh-Sen &amp; Margot Guillemot Hu Chin-Hsiang &amp; Tsai Bing-Hua Tsai Wan-Shuen
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Special Thanks: Bureau Français de Taipei Institut Français
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When the Government of the Republic of China (ROC) relocated to Taiwan in 1949, a great number of renowned calligraphers from various provinces flocked to Taiwan. Most of them were highly educated and adept at multiple calligraphic styles in addition to poetry, painting, and seal carving. By internalizing their fields of study, they were able to form their own artistic identities. Artists such as Yu Yu-Jen, Wu Ching-Heng, Tung Tso-Pin, Pu Hsin-Yu, Chang Ta-Chien, and Ting Nien-Hsien, in particular, were already accomplished figures in Chinese calligraphy circles before they even set foot in Taiwan. Prior to the arrival of these calligraphers, never before had Taiwan seen such high quality and quantity of talent in such a wide variety. A sizable number of them brought their vast collections of stelae, model books, calligraphy works, paintings, and other cultural artifacts with them, providing the nourishment required for Taiwanese calligraphy to grow and prosper. These calligraphers not only led the calligraphy in Taiwan to its peak but also set up a wide and solid base for the thriving development of Taiwanese calligraphy.
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This exhibition selects 26 migrant calligraphers and divides them into three categories by their specialty: the Model Calligraphers, the Painter Calligraphers, and the Scholar Calligraphers. Under such categories, we emphasize not only the features of the calligraphers’ works but also their accomplishments from their lives and backgrounds.
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"The Model Calligraphers"
These individuals spent all their energy practicing calligraphy, subsequently earning renown in the calligraphy world. Featured in the exhibition are Yu Yu-Jen (1879-1964), Ting Chih-Pan (1892-1988), Chu Chiu-Ying (1898-1996), Wang Kai-He (1901-1997), Ting Nien-Hsien (1906-1969), Hsieh Tsung-An (1907-1997), Wang Chuang-Wei (1909-1998), Hsi Nan-Hsun (1915-1976), Chen Chi-Chuan (1917-2003), and Sung Chin-Yin (1917-1982).
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Ting Nien-Hsien and Wang Chuang-Wei were both especially authoritative figures in the publishing of calligraphy and painting treatises; though they also had qualities of the Scholar Calligraphers, this exhibition categorizes them under the Model Calligraphers due to their extraordinary legacy in the art of calligraphy.
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"The Painter Calligraphers"
These calligraphers excelled at ink wash painting. Besides such attainment in both fields, many of them were also skilled at poetry. Their abilities complemented each other in such a way that their calligraphy had a particular expressiveness and charm akin to painting. Featured Painter Calligraphers in this exhibition are Pu Hsin-Yu (1896-1963), Peng Chun-Shih (1896-1976) Chen Ting-Shan (1897-1989), Chang Ta-Chien (1899-1983), Kao I-Hung (1908-1982), Fu Chuan-Fu (1910-2007), Lu Fo-Ting (1911-2005), Chang Kuang-Pin (1915-2016), Wu Ping (1920-2019), and Chiang Chao-Shen (1925-1996).
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Pu Hsin-Yu, Peng Chun-Shih, Chen Ting-Shan, Lu Fo-Ting, Chang Kuang-Pin, and Chiang Chao-Shen were also accomplished scholars and poets, however, due to their incredible achievements in painting and calligraphy and prominence in these fields, this exhibition categorizes them as painter calligraphers.
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"The Scholar Calligraphers"
These calligraphers were all exemplary scholars as they were accomplished calligraphers. In this exhibition, we present six of the best Scholar Calligraphers: Wu Ching-Heng (1865-1953), Tung Tso-Pin (1895-1963), Kao Pai-Shih (1901-1969), Tai Ching-Nung (1902-1990), Chang Lung-Yen (1909-2009), and Wang Chung (1926-2010).
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The aforementioned Pu Hsin-Yu, Peng Chun-Shih, Chen Ting-Shan, Ting Nien-Hsien, Wang Chuang-Wei, Lu Fo-Ting, Chang Kuang-Pin, and Chiang Chao-Shen from the other categories were also accomplished scholars in their own right.
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Curator
HUANG Tung-Fu
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Consultant
TU Chung-Kao
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Artists
YU Yu-Jen, TING Chih-Pan, CHU Chiu-Ying, WANG Kai-He, TING Nien-Hsien, Hsieh Tsung-An, WANG Chuang-Wei, HSI Nan-Hsun, CHEN Chi-Chuan, SUNG Chin-Yin, PU Hsin-Yu, PENG Chun-Shih, CHEN Ting-Shan, CHANG Ta-Chien, KAO I-Hung, FU Chuan-Fu, LU Fo-Ting, CHANG Kuang-Pin, WU Ping, CHIANG Chao-Shen, WU Ching-Heng, TUNG Tso-Pin, KAO Pai-Shih, TAI Ching-Nung, CHANG Lung-Yen, WANG Chung

Hwang Chyun-Ing (1920-2019), with an art name “You-ching (green again)” and a late-life art name “Elder of Panshan,” was born to a well-educated family in Guangchang, Jiangxi in China. He started to learn calligraphy when he was five and had kept practicing daily even when he was nearly a hundred. During the Chinese Civil War, Hwang Chyun-Ing took fourteen students to Taiwan and had humbly resided nearby the Taoyuan Confucius Temple for more than sixty years. He focused on self-cultivation and lived a simple and nonmaterialistic life. Hwang was deeply aware that “calligraphy contains vast wisdom and is an invaluable asset of human civilization.” Having dedicated himself to calligraphy education for years, he had been the instructor for more than twenty institutions at the same time to promote calligraphy.
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This exhibition emphasizes Hwang Chyun-Ing’s art of calligraphy in his centenarian life based on his late works in the collection of the Taoyuan Museum of Fine Arts. There are four categories. “Love for Calligraphy” contains his transcription of famous works, texts of calligraphy theories, his expressive writing; “Diligence in Literature” shows his poetic texts; “Life by Panshan” displays his poetry on peaceful seclusion in his late-life; “Harmony of Mind” includes his transcriptions and writing of Confucian and Buddhist texts. Hwang Chyun-Ing was an advocate of the Confucian ideals of self-cultivation and ruling by virtuous conduct. His works contain his belief that "the idea speaks through calligraphy." The sentences he wrote allude to his transcendent wisdom and spiritual attitude through Confucian and Buddhist ideas. His autobiographical text expresses his heart for calligraphy:
&nbsp; I grind ink and ink grinds me down. Nine decades pass in the blink of an eye. I scribble a few words when inspiration comes. In my daily practice, I adhere to leisurely. I spend my golden years devoid of ambition.
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Hwang Chyun-Ing had a modest, polite, and upright personality. Just as one of his mottos, “One displays artistic content with technique, just like people are vessels that help to spread the Way; the Way, in turn, nourishes the world,” he educated virtues with calligraphy. For him, calligraphy is not only a technique but also a symbol of culture. It carries the culture and wisdom of the sages. Appreciating the works by Hwang Chyun-Ing is just like meeting the calligrapher and being moved by his spirit. His playful funeral words “What dying words can I have? I do not regret any deeds” created when he was 95 illustrates his satisfaction for achieving his life goal: to live in days of tranquility.
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Hundreds of Hwang Chyun-Ing’s seal carvings are mostly gifted by his friends and students. This exhibition collects and displays 75 seal carvings he used in his late life. His twelve catalogs in his lifetime are also presented to demonstrate the development of his calligraphy style.
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Curator TSAI Chieh-Teng
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Artist Hwang Chyun-Ing
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「臺灣書藝新契機—1949渡海書家特展」由國立屏東大學視覺藝術學系藝術講座教授黃冬富擔任策展人，精選于右任、溥心畬、張大千、傅狷夫、張光賓、宋金印等26位渡海書家之作品展出，聚焦於1949年前後渡海書家的書藝特質及面貌，以及其為臺灣書藝及文化發展帶來的新契機。
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策展人 | 黃冬富 策展顧問 | 杜忠誥 藝術家 | 于右任、丁治磐、朱玖瑩、王愷和、丁念先、謝宗安、王壯為、 奚南薰、陳其銓、宋金印、溥心畬、彭醇士、陳定山、張大千、 高逸鴻、傅狷夫、呂佛庭、張光賓、吳平、江兆申、吳敬恆、 董作賓、高拜石、臺靜農、張隆延、汪中
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策展概念 |&nbsp; 1949年前後，大量來自大陸各省的書法菁英隨著國民政府遷臺而同時薈萃於臺灣，幾乎各個都是飽學之士，書法造詣精湛而且大多不僅專擅一體，甚至兼長詩、書、畫以至於篆刻，而且多能內化所學，形成自家面貌，尤其于右任、吳敬恆、董作賓、溥心畬、張大千、丁念先…等人，在渡臺以前，都已是華人書壇的重量級人物。這批渡海書家，在品質、數量以及多樣性方面，都是前所未有。而且不少渡海書家同時帶來大批的碑帖、書畫收藏等文物，為臺灣書法界帶來發榮滋長的源頭活水。也由於如是的緣故，因而締造出臺灣書法史上之空前高峰，也為邇來臺灣書法藝術蓬勃發展的盛況，奠定既深又廣的基礎。
本展選出26位重要渡海書家，分為「典範書家」、「書畫名家」、「學者書家」三種類型展出，除了呈現個別書家最具代表性書體之作，也提供觀看渡海書家學養背景及書藝成就關係的線索。
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典範書家 這類型書家其主要創作精力多集中於書法而馳名於書壇，本展展出之書家有于右任(1879~1964)、丁治磐(1892~1988)、朱玖瑩(1898~1996)、王愷和(1901~1997)、丁念先(1906~1969)、謝宗安(1907~1997)、王壯為(1909~1998)、奚南薰(1915~1976)、陳其銓(1917~2003)、宋金印(1917~1982)等10位。
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其中丁念先和王壯為二人在書畫藝術論述發表方面極具份量，也兼具「學者書家」之特質，然基於其書法成就格外凸顯的緣故，故納入本類型之中。
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書畫名家 這類型書家兼長於水墨畫，書和畫皆有很高的成就，甚至大多數都擅長作詩，而且彼此觸類融通、相輔相成，其書風往往另具一種類近於繪畫藝術的表現性趣味，如 : 溥心畬(1896~1963)、彭醇士(1896~1976)、陳定山(1897~1989)、張大千(1899~1983)、高逸鴻(1908~1982)、傅狷夫(1910~2007)、呂佛庭(1911~2005)、張光賓(1915~2016)、吳平(1920~2019)、江兆申(1925~1996)等10位。
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其中，溥心畬、彭醇士、陳定山、呂佛庭、張光賓、江兆申等人都術學兼治，詩文和學術方面也同樣有很高的成就，然而他們在書畫方面的成就和形象極為鮮明，故歸入此一類型中。
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學者書家 這類書家都是學術成就卓越的學者身分，而且同樣擁有很高的書法造詣者，由於學術底子深厚，因而書卷味也是其共有之書風特質。本展覽最為典型的例子為吳敬恆(1865~1953)、董作賓(1895~1963)、高拜石(1901~1969)、臺靜農(1902~1990)、張隆延(1909~2009)和汪中(1926~2010) 6位。
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此外，其他二類書家當中，溥心畬、彭醇士、陳定山、丁念先、王壯為、呂佛庭、張光賓、江兆申等人，也都各有其獨到的學術成就。

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