弱書道-汪柏成創作個展 Beyond Calligraphing–Wang Bo-Cheng Solo Exhibition
藝術家：汪柏成
&nbsp;&nbsp;&nbsp; 桃園市立美術館（以下簡稱桃美館）為鼓勵優秀策展、創作人才與團體，以橫山書法藝術館為平台，舉辦「2023橫山書法藝術館展覽徵件」，鼓勵富有時代精神或歷史意義，具創新觀點、議題、形式內容的書法相關展覽提案。本年度創作類由汪柏成所提展覽案「弱書道-汪柏成創作個展」獲選至本館C棟展廳展出。
&nbsp;&nbsp;&nbsp; 汪柏成（1983-），自幼耳濡目染於文學家庭，從中體悟進而表現出於書法線構與平面繪畫。求學期間創作擴及雕塑與建築，自此縱橫於點、線、面、體。此展首度公開以指掌代筆的行為藝術，抓、放、扭地詮釋古典技法的「捻管/轉筆」，指掌似筆鋒轉變躍然紙上。不變的是以書入畫的觀點，在既有限制裡演化無限風格。
&nbsp;&nbsp;&nbsp; 歷時九年探求的「弱書道」系列中，「弱」乃留下「寫」，弱化「字」。寫字亦寫時間，係自可識至不可識，有限尺幅中，書寫內容於有序時間被覆蓋/堆積。最終可為辨識之「字」，成為純粹之「痕跡/團塊」，形成老子所言之「無狀之狀」。過去、現在、未來書寫的字相遇在同一位置，猶如山水皴法層次，呼應汪柏成人生觀—活在三世。當下即成過去，未來亦轉瞬為當下;我們都活在一息，活在每一個吐納中。此亦佛理化跡，體現在汪柏成的創作中。
&nbsp;&nbsp; 「弱書道」系列中書寫內容出自〈千字文〉、〈般若波羅蜜多心經〉、汪柏成自作詩文〈頇顢〉、華文方言⋯⋯，呈現天地萬物的表皮空相與本質空性、不分時空的翰墨文化、自我反省之悟道⋯⋯。經不可逆地持誦、書寫釋放能量，望與觀者靈魂共鳴，讓我們從可控與不可控的生命記憶，探索自我與世間的關係。

橫山書法藝術館

弱書道-汪柏成創作個展

關於2023桃源美展
「桃源美展」身為桃園歷史最悠久的視覺藝術競賽之一，已舉辦超過40年，是桃園各藝術競賽的指標，不僅肩負傳承的任務，同時展開視野的新頁。桃園市立美術館自2020年接手策劃後，以更聚焦的方式探索類別內的創新與實驗，將賽制改以「繪畫與書寫類」及「立體與影像多媒體類」兩大主題，隔年輪替的方式辦理。
「2023桃源美展」第二度以「立體與影像多媒體類」為徵件主題，分為「立體造形類」、「攝影與錄像類」及「科技新媒體類」共3個徵件類別，本屆徵件吸引來自不同世代與多元背景的創作者投件，經審慎評選後共55件優秀作品入選展出。參展創作者不僅以多樣且豐富的媒材及技法來表現，聚焦的內容主題也反映出對時代的關注，在觀念與訊息傳達的層面上激發了許多全新的思維，體現藝術創作因時代及科技推進而產生的多樣性與當代視野，並持續探究與突破媒材疆界的可能性。
展覽於10月17日（二）至11月4日（六）在桃園市政府文化局（攝影與錄像類、科技新媒體類）及中壢藝術館（立體造形類）辦理，希冀藉由年度分類徵件展覽的方式，打造良性競爭的藝術交流空間，獎掖並培育國內藝術人才，同時帶給觀眾多元的文化感官體驗，感受藝術創作的無窮可能性，激發豐沛的藝文創新能量。
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■「2023桃源美展」展區 桃園市政府文化局(週二到週日9:00-12：00、13：00-17：00)：攝影與錄像類、科技新媒體類 中壢藝術館(週二到週日9:00-17:009:00-17:00：立體造形類 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;
 ■「2023桃源美展」頒獎典禮 時間：112年10月20日(五)下午1:30 地點：桃園市政府文化局1樓大廳
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桃園市立美術館(母館)

2023桃源美展

Meta-Calligraphy: KO Liang-Chih
Curator&nbsp; CHANG Li Hao
&nbsp;2022.7.16-2022.9.19
Hengshan Calligraphy Art Center, Building C
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Meta-Calligraphy: Ko Liang-Chih is the exhibition for the awardee of the Hengshan Calligraphy Award. The Hengshan Calligraphy Award aims to promote calligraphy exhibitions and creations that are of the zeitgeist and pioneering perspectives in various forms and contents.
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In the sweeping wave of digitalization in the 21st century, it has become highly challenging for calligraphy to catch people’s eye. Thus, artists whose work is centered on handwriting must move beyond recounting life experiences and consider how to infuse and enrich their art with new concepts. For this reason, the Chinese title of Meta-Calligraphy: Ko Liang-Chi intentionally alludes to a photography term, "depth of field" (i.e., the distance between the nearest and the furthest objects that are in acceptably sharp focus in an image captured with a camera), in an attempt to shift the focus from the two-dimensional presentation of calligraphy to various unrevealed processes, procedures, stages, scenarios, and states of perception that one might encounter before arriving at the ultimate result. Besides hoping to break free from the single aesthetic standard of traditional calligraphy that only judges the ultimate two-dimensional outcome, the exhibition also emphasizes how a contemporary artist comprehensively examines the relationship between traditional and modern calligraphy from diverse perspectives. It investigates how words change over time in terms of meaning and cultural context to discover various ways handwriting can enter the realm of modern art.
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Having observed for many years the foothold and possible expressions of handwriting within contemporary art, Ko Liang-Chih tries to break free from the convention of sorting and displaying calligraphy art according to the calligraphy script or content. This exhibition showcases seven sets of artworks made from different media, including two-dimensional works, video installations, NFTs, and interactive installations that encourage visitor participation. These works may partially overlap, prompting diverse perceptions about handwriting.

Hengshan Calligraphy Art Center

Meta──Calligraphy : Ko Liang-Chih

Wang Bo-cheng (1983- ) has been steeped in literature since childhood, and the insights and epiphanies he gained therein are revealed in the linework and characters structures of his calligraphy as well as in his painted works. During his student years, the range of Wang’s creative output expanded to include sculpture and architecture, and ever since then his explorations have moved unhindered between points, lines, surfaces, and three-dimensional forms. This exhibition is the first public showing of Wang’s performative artworks in which he uses his fingers and palms in place of a calligraphy brush. He uses the opening, closing, and twisting movements of his hand to interpret the ancient techniques of “twirling the brush’s handle” and “revolving the brush,” such that palms leap across the paper with all the dynamism of a brush’s tip. However, what has not changed in Wang’s work is the concept of imbuing paintings with the techniques and aesthetics of calligraphic brushwork. It is within the limits of that established framework that Wang’s limitless style evolved.
Throughout a nine-year-long series of explorations that Wang Bo-cheng refers to as the “beyond calligraphing,” act “beyond” allows “writing” to remain, while blurring the written “characters.” To write Chinese characters is to write time itself; this is a practice of seeing that arrives at the point of actually glimpsing nothingness. Within the limited space that can be devoted to a piece of writing, the contents of calligraphic inscriptions are enveloped by and heaped up within the order that comes from time. In the final product, whatever “characters” can be discerned become pure “vestiges” and/or “agglomerations.” They turn into what Lao-tzu referred to as “formless forms.” Characters written in the past, present, and future encounter each other in the same space, much like the crosshatched texturing strokes found in traditional Chinese landscape paintings. This element echoes Wang’s life philosophy: be alive in the past, present, and future. The present moment morphs into the past, just as the future suddenly becomes the present. We all live within the span of the inhalation and exhalation of each solitary breath. These traces of Buddhist principles are embodied in Wang Bo-cheng’s creative works.
The texts in the “Way of Weak Calligraphy” series derive from the Heart Sutra, the Thousand Character Classic, Wang Bo-cheng’s poem “Half-beat slower than others,” and samplings of different Sinosphere dialects. These works demonstrate the superficial, ultimately empty appearances of heaven, earth, and all between, as well as the fundamentally empty nature of all things. They also demonstrate the timelessness of calligraphic culture, and the epiphanies that emerge from self-examination. It is Wang’s hope that the energy he irreversibly released through chanting and writing calligraphy will resonate with the souls of all those who view these works. May this exhibition allow us to probe the links between ourselves and the world via our memories of that which we can control in life, as well as that which we cannot.

Beyond Calligraphing–Wang Bo-Cheng Solo Exhibition

The Inscription of the Times Dates：16 NOV 2023—15 JAN 2024 Curator：SHIU Tzu-kuan Consultant：HSIUNG Yi-ching
Artists：LIN Chen-han, CHI Kuan-ti, TSAI Cheng-han This exhibition is the selected exhibition proposal for the 2023 Hengshan Calligraphy Art Center's Call for Exhibition Proposals, held by the Taoyuan Museum of Fine Arts. The curator is Shiu Tzu-kuan, and the exhibition is titled "The Inscription of the Times."
In Chinese, inscriptions are sentences written for commemoration. Behind the inscription lays the romance of the artist and the story worth memorizing. The exhibition entitled “The Inscription of the Times” uses calligraphy to explore the variety of the inscriptions presented in the time and the space nowadays.
Calligraphy is a way to express emotion. In the Letter about a Stomachache, the renowned cursive calligrapher Zhang Xu (ca. 675-ca. 750) wrote about his pain while stomachache. In the Coral Post, Mi Fu (1051-1107) introduced his favorite collection to his friend. In his Cold Food Post, Su Shi (1037-1101) illustrated his frustration during the Cold Food Festival. These masterpieces of calligraphy are not only precious historical heritages but also the paradigms of beauty. For centuries, the calligraphy paradigms left by the antecessors have provided a way to express the beauty of writing, constructing a system and context to value the art. This enables the later generations to learn the system and establish their own styles, developing their characteristics and spiritual language of calligraphy.
While the ancients shared their thoughts and emotions of the times on the inscriptions, how do calligraphers nowadays articulate their inner feelings through their calligraphy? The exhibition focuses on the artists’ modern interpretations of inscriptions with classical calligraphy scripts in our time of a kaleidoscopic visual environment via advanced technology and various ideas, the artworks also contain the artists’ footprints in their respective phases of life.
All the touching feelings in life are worth remembering, as the inscriptions written by the ancients. The feelings expressed in the inscriptions persist through different times. For the artists of calligraphy, word still plays an important role through the times to express their emotions and writing is still a way to inscribe their own lives. Based on classical calligraphy, this exhibition showcases the works from the transcription of philological texts, the combination of daily life and seasonal scenes, and the embodiment of the artists’ memory. Employing profound classical techniques, the artists interweave the themes nowadays with their sense of humor. They reinterpret seemingly ordinary personal experiences within their works, offering a creative expression that recontextualizes classic literary traditions within the framework of modern life.

The Inscription of the Times

時空題辭 The Inscription of the Times
展覽時間：2023.11.16-2024.1.15
策展人：徐祖寬
策展顧問：熊宜敬
藝術家：林承翰、紀冠地、蔡承翰（依姓氏筆畫排序）
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此展為桃園市立美術館舉辦2023橫山書法藝術館展覽徵件「策展類」獲選之展覽，策展人為徐祖寬，展名為「時空題辭」。
「題辭」，是為了紀念而寫下的文句，題辭的背後，是創作者的浪漫，也是值得紀念的故事。本展以「時空題辭」為題，藉由書寫，探討現今時空多種多樣的「題辭」呈現。
書寫本身即是傳達情意的方式，唐代張旭在腹痛下疾書苦楚；宋代米芾書信友人，介紹自己心愛收藏；蘇軾也將失意之情寄於筆端，以寒食節之景自況神傷。這些為生命「題辭」的行為，為後世留下知名的〈肚痛帖〉、〈珊瑚帖〉以及〈寒食帖〉。傳世作品不只是珍貴的歷史資產，更是書寫藝術中美的典範。長久以來，前人所留下的典範提供了美感表達的方式，書寫藝術也在長時間的醞釀與演變中，逐漸構築出完整的體系與脈絡。後人得以循此脈絡學習，建立自身的書寫底蘊，並在領會精妙之處後發展風格特色，寫照心靈語彙。
古人透過書寫、題辭留下生活點滴，分享時空情懷，當代創作者又將如何藉由書寫，傾訴他們的心靈所見？「時空題辭」中的「時空」，圍繞著資訊多元的現代，在科技進步、五花八門的視聽環境之下，創作者們將會激盪出怎樣的奇思妙想？而「時空題辭」中的「題辭」，則是藝術家們以經典書體出發，在作品中所開展的生命內容。
生命中的感觸都值得紀念，一如古人題辭，有感而發。撫今追昔，即便時空幻變，「題辭」的情懷卻永無止息。對於書法藝術的創作者來說，文字依舊是舉足輕重、貫穿古往今來的情感符號，書寫是為自身生命題辭的方式。此展以傳統書法為基礎，透過哲學經典的運用、生活與風景的結合、記憶形制的開展來表述時空心靈。以深沉的古典手法，詼諧地扣合時代內容。藝術家將看似日常的個人感受，從作品中重新詮釋，轉繹經典書寫於現代生活的創作表現。 ◆展覽推廣講座◆ 
→報名連結：<a href="https://tmofa.com/art03yNurA" target="_blank" rel="nofollow noopener noreferrer" title="(另開新視窗) 時空題辭-展覽系列講座報名網址">https://tmofa.com/art03yNurA</a> 日期：112年11月25日(六)下午1:30-15:30 講題：時空題辭一書寫的複合及延伸 主持：徐祖寬(策展人) 講者：熊宜敬(策展顧問｜華梵大學、長榮大學兼任教授)&nbsp;&nbsp; &nbsp; 與談人：林承翰、紀冠地、蔡承翰(參展藝術家)
地點 &nbsp;橫山書法藝術館E棟2F 書藝講堂
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時空題辭

What kind of space is an art museum’s “storage room?”
Perhaps many of us share a common experience: as children, we would keep cherished items in a special box, and as time passed, we’d keep adding to this “collection.” Sometimes, we’d take them out for our own enjoyment or show them to friends.
Art museums also have their “collections,” housed in spaces specifically designated as “Collection Storage Rooms”—essentially, the sanctuary for these works of art.
The exhibition “Pop-up Collection Highlights” features five select pieces from the Taoyuan Museum of Fine Arts’ storage room. Collaborating with illustrator Chang Hsiao-Chi, it creatively scripts a narrative that opens a door into the museum’s history, inviting visitors to explore the abodes of artistic imagination. This storage room is a confluence of myriad stories, offering insights into the artists’ life experiences, concerns, and perspectives on the world. Here, we are given the opportunity to delve into the artworks, letting the artists’ whimsy carry us on unexpected journeys.
The curation focuses on works in the museum’s collection that are rich in visual exploration, prompting visitors to consider the following questions: How are the tactile qualities of images revealed? How do material and light interact to generate imagery? What characterizes the images of our digital age? What sorts of visual experiences do still and moving images provide? And how do images articulate space in relation to each other?
The exhibition collaborates with artists to reimagine various innovative ways of viewing the collection. It aims to endow these works with new spatial contexts, focusing on sensory exploration, tactile engagement, bodily rhythms, and interactive elements, all as means to mutually explore and respond to what artists think and feel.

Taoyuan Children’s Art Center

Pop-up Collection Highlights

美術館的「庫房」是什麼樣的空間?
也許我們都有過這個經驗──小時候將自己喜歡的東西放進盒子裡，隨著時間不斷添加「收藏品」，更有時候，我們將它們拿出來自己欣賞、或是跟朋友們分享。
美術館中也有「收藏品」，存放它們的空間叫作「典藏庫房」，也就是藝術品的家。
「開放中！臨時庫房」精選了桃園市立美術館庫房中的五件作品，並與插畫家張筱琦共同設計展覽創作劇本，推開美術館的記憶之門，邀請觀眾拜訪藝術家的想像之屋。美術館的藏品庫房是許多故事的集結之所，透過作品，我們可以認識到藝術家的生命經驗、關懷以及他們對世界的理解。我們得以潛入作品中，乘著藝術家的奇思妙想，飛行到意料之外的旅程。
展覽選件聚焦在桃美館藏品中饒富圖像探索性的作品出發，讓觀眾思考以下幾道問題──圖像的觸感如何展現?如何發現材質與光源產生的圖像?數位時代的圖像有什麼特色? 影像的靜止與流動帶給人們何種視覺體驗? 以及，圖像與圖像之間如何展開空間。
本展將與藝術家重新創造多種觀看典藏品的嶄新方法，賦予它們全新空間，並聚焦在以感官探索、手感創作、身體律動和互動遊具，共同探索及回應藝術家的所思與所想。

桃園市兒童美術館(八德館)

開放中！臨時庫房

The Taoyuan Fine Arts Exhibition has been held for over 40 years and is one of the most long-standing visual arts competitions in Taoyuan. It serves as a benchmark for various art competitions in Taoyuan, bearing legacy while simultaneously pioneering new vistas. Since the Taoyuan Museum of Fine Arts took over its curation in 2020, the focus has been sharpened to explore innovation and experimentation within genres. The competition is now divided into two main themes, the “Painting and Calligraphy Category” and “Three-dimension and Multi-media Category,” which alternate every year.
The 2023 Taoyuan Fine Arts Exhibition returns for the second time with “Three-dimension and Multi-media Category” as its submission theme, and it is further subdivided into three categories: “Plastic Art,” “Photography and Video Art,” and “New Media Art.” This year’s exhibition has attracted entries from creators of diverse generations and backgrounds, and after meticulous selection, 57 outstanding works have been chosen for exhibition. The participating artists not only employ a diverse and rich array of media and techniques, capturing narratives resonant with the zeitgeist. This engenders a fertile ground for new reflections on both conceptual and communicative layers, embodying the diversity and contemporary perspectives generated by artistic creation as it evolves with the era and technology while continuing to explore and break through the possibilities of different mediums.
The exhibition will be held from Tuesday, October 17th to Saturday, November 4th at the Department of Cultural Affairs, Taoyuan (Photography and Video Art, New Media Art) and the Zhongli Arts Hall (Plastic Art). By organizing the exhibition through annual categorical submissions, we aim to cultivate a healthy competitive atmosphere for artistic exchange, to encourage and nurture domestic artistic talent, while also offering the public a diverse cultural experience. Through this, we hope to unlock the boundless possibilities of artistic creation and ignite abundant creative energy in arts and culture.

Taoyuan Museum of Fine Arts

About the 2023 Taoyuan Fine Arts Exhibition

A Dimension to be Found: Hakka Narrative in Calligraphy
Dates: 2023. 8. 11 - 2023. 10. 30 （Soft Opening: 8.8 - 8.10, free ticket）
Curator: Wu, Yi-ting
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Overview
This exhibition attempts to reexamine the achievements of Hakka calligraphers in Taiwan, exploring the artistic dissemination chain and literary influence driven by ethnic migration, in response to the theme of the 2023 Hakka Expo in Taoyuan, “Travel to Tomorrow,” while also discovering and opening up new perspectives in Taiwan's calligraphy history.
Through a selection of works spanning from 1917 to 2023, this exhibition reexamines the calligraphy artistry of the Hakka community in Taiwan. Starting from the densely populated Hakka areas of Taoyuan and Hsinchu, the focus shifts from individual styles to an overview of the community, attempting to trace the century-long trajectory of Hakka calligraphy. Simultaneously, drawing inspiration from Hakka literature, the exhibition establishes connections between the diverse styles of contemporary calligraphy artists, collectively contributing to the continuation of Hakka culture.
The four sections of the exhibition show the various aspects of Hakka calligraphy. “Embodying the Memory” explores the Hakka community's traditional reverence for written words and their ancestral wisdom. “Transcribing the Legacy” delves into the efforts of the Hakka gentry during the Japanese colonial period to uphold Han Chinese culture. “Calligraphing for the Communities” showcases collaborations and critiques between post-war artists and authorities, as well as poetic reflections on daily life. “Unstoppable exploration” focuses on contemporary artists breaking through artistic forms to respond to the multiple possibilities of Hakka texts, ultimately leading to identity recognition with the Hakka heritage.
H.C.A.C., 2023 Hakka Expo sub-exhibition area will exhibit “A Dimension to be Found: Hakka Narrative in Calligraphy, ”begins in 11th August to 30th October, 2023. The exhibition continues in 80 days, including 41 artists and 47 pieces of artworks, on loan from public and private collection, and also commissioned artworks.
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A Dimension to be Found: Hakka Narrative in Calligraphy

未究之境：書法中的客家敘事
A Dimension to be Found: Hakka Narrative in Calligraphy
展覽時間：2023. 8. 11 - 2023. 10. 30（2023.8.8 - 8.10試營運，免票入場）
策展人：巫伊婷
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參展藝術家：
彭裕謙、吳榮棣、劉家驥、張采香、葉鏡鎔、范耀庚、妙果法師(葉阿銘)、劉崧生、吳濁流、黃國書、呂傳命、范侃卿、郭阿壽、范天送、鍾肇政、戴武光、陳坤一、黃農、賴煥琳、莊明忠、徐永進、陳國福、官大欽、于彭、羅德星、陳欽忠、吳鳴、盧廷清、陳板(陳邦畛)、陳俊光、羅應良、黃智陽、曾子雲、許悔之、古耀華、姜義才、何信旺、邱清吉、陳柏伩、鄧君浩、江柏萱
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展覽概述：
「未究之境：書法中的客家敘事」展覽企圖重新爬梳臺灣客家族群的書藝樣貌，從族群遷徙所帶動的藝術傳播鏈及文學影響力，回應世界客家博覽會大會主題「天光日个客家」（Travel to Tomorrow），並探究、還原臺灣書法史的足跡。由客家人口最集中的桃園、新竹地區出發，展覽精選二十世紀初至當代的書畫作品（1917-2023），聚焦個人藝術表現繼而綜觀群體，嘗試歸納與整理百年來臺灣客家族群的書藝樣貌。回首向來，亦透過客籍文學家的小說、新詩、歌曲等文本為靈感，串聯當代書藝家的多元風格，共同書寫出展覽的主旋律。
展覽分為「客居家園」、「翰墨書香」、「鄉土記憶」、「未究之境」四項子題，引領觀者探索「客居家園」中客家庄敬天惜字的傳統、先民智慧的結晶；「翰墨書香」裡日治時期客家仕紳如何致力延續傳統文化；「鄉土記憶」裡有戰後藝術家對當權者的合作與批判，也有日常生活的謳歌；「未究之境」則展現當代藝術家突破形式回應客家文本的多重可能，最終對客家身分產生認同的過程。
世界客家博覽會副展區橫山書法藝術館特展〈未究之境：書法中的客家敘事〉，定於2023年8月11日至10月30日，於書藝館全棟展出，展期共80天，展出41位書藝家共47組件作品，借展單位來自公、私收藏及委託創作，呈現客家文學、歷史與書法藝術的跨界對話。
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未究之境：書法中的客家敘事 

展覽「我用身體畫座島」的概念源自於寫生這個活動，我們常常以眼睛看到，然後用手畫出來的方式來紀錄，但有沒有可能用不同的身體感官來觀察周遭的變化呢？日本的漫畫家山口飛翔在漫畫《藍色時期》中畫出：「現在所看見的風景也不單只是眼前所見的景色，這個風景是由各種歷史、文化、流行與人堆疊出來的，變成我們現在所看見的風景。」
在以前，我們常藉由感官去經歷變化，以天空的顏色去辨認大地的時間，用眼睛、用手去觸摸植物、水與泥土，也用身體感受溫度的落差。繪畫在過去記錄下了不同時代的人物與風景，更對於時間與空間的描繪有了多重的表現方式。展覽邀請了段沐、郭奕臣、許庭甄、涂維政、彭奕軒、湯雅雯與魏柏任等藝術家參展，他們透過不同的方式對當下的環境進行觀察，並運用不同的媒材創造身體的體驗，去描繪那些不容易注意的景色，用創造力對社會提出問題。在展覽裡，我們邀請大家將自己的身體變成一支支的筆，去勾勒出我們的島嶼，並穿梭於作品的過程之中，進行一場如跳島般的感官旅行。

我用身體畫座島

The concept behind the exhibition “I Use My Body to Draw an Island” was inspired by life drawing, as in seeing through our eyes and documenting with our hands. Is it possible for us to observe the changes around us through different bodily senses? In Blue Period, Japanese cartoonist Yamaguchi Tsubasa mentioned, “The sceneries before us are more than what we see, but is layered by different histories, cultures, trends, and people, shaping into the view before us.” &nbsp;
We often use our senses to experience change, such as discerning the time of the land through the colors of the sky, using our eyes and hands to touch plants, water, and mud, and sensing the shifts in the temperature with our bodies. In the past, painting has documented the people and sceneries of different times and developed varying expressions of time and space. This exhibition invites artists including Tuan Mu, Kuo I-Chen, Hsu Ting-Jane, Tu Wei-Cheng, Peng Yi-Hsuan, Tang Ya-Wen,&nbsp;and Wei Po-Jen to make observations of their surroundings through different methods, using different mediums to create bodily experiences, depict scenes that are easily overlooked, and propose questions toward society through creativity. In the exhibition, we invite visitors to transform their bodies into pens, illustrate our island, and immerse themselves in a sensory journey that resembles island hopping when viewing the works.

I use my body to draw an island

Size Matters: Calligraphy for Public Viewing This exhibition is organized by joint curation between the Taoyuan Museum of Fine Arts and the National Museum of History (NMH), which is the second collaboration since 2022. Artifacts from NMH's collection and ink rubbings from private collectors are showcased alongside commissioned bangshu (large-character calligraphy) artworks by calligraphers nowadays. This exhibition takes a historical perspective to review the context of bangshu while incorporating contemporary interpretations by contemporary calligraphers. Through the open displaying gallery in the HCAC, dialogue is fostered to show various aspects and potentials of bangshu creation. Curator：TSAI Yao-ching、LIN Chia-ying Overview
The terms of large-character calligraphy have shown in Chinese literature across the ages including shushu (署書), bokeshu (擘窠書), and bangshu (榜書). They appeared in the following chronological order: the term shushu was used as early as the Qin dynasty; bokeshu most likely originated between the Tang and Song dynasties; and bangshu only came into usage during the Ming and Qing dynasties. On a closer look, there are slight differences between the three: shushu refers to all sorts of inscriptions and signatures regardless of character size; Bokeshu indicates every form of large-character calligraphy including shushu. Only in the Qing era did Kang Youwei make the term bangshu equivalent to shushu and bokeshu, making all large-character calligraphy commonly called bangshu nowadays.
As a form of calligraphic expression, bangshu possesses a grand scale and imposing momentum. While beauty is not solely determined by size, the magnified characters of bangshu are filled with essence, vitality, and spirit, which can always inspire and energize people. Looking down at the signs of local shops and famous historical sites, bangshu is present in the scenes of our daily lives. Other than the domestic space, larger works are needed to provide a majestic aesthetic effect to meet visual expectations in the public space of modern buildings. This is precisely why bangshu deserves attention and recognition today.
This exhibition attempts to discuss the functionality and practicality of bangshu from a historical perspective. The changing process of the term bangshu is reviewed through the ink rubbings and surviving large characters works. In addition, the bangshu creations of modern calligraphers, such as Luo Huai-jan, Su Shi-jie,Fu Chuan-fu, Lee Ku-mo, Tong Yang-tze, Quenten Lee, Lin Long-dar, Chen Hung-mien, Chu Hsiu-ying, Hsueh Chih-yang, Huang Po-szu, Liu Kuang-yi, and Wang Yi-chun, are displayed to showcase the transformation and inheritance of bangshu, and to allow visitors to experience the special charm of large-character calligraphy.

SIZE MATTERS: CALLIGRAPHY FOR PUBLIC VIEWING

榜書
Size Matters: Calligraphy for Public Viewing
展覽時間：2023.5-27-2023.7.24
本次繼2022年再次與國立歷史博物館合作館際交流展，以雙策展人方式共同策劃，展出史博館藏品及相關私人拓本收藏，並邀請當代書藝家進行榜書創作，以史觀的角度回顧過去榜書的脈絡並結合當代書藝家對於榜書的詮釋，於書藝館具有開放性的展示空間中進行對話，重現不同面向的風采，以及發展榜書創作的可能性。
策展人： 國立歷史博物館展覽組助理研究員&nbsp; 蔡耀慶 橫山書法藝術館編輯&nbsp; 林佳穎
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展覽概述：
&nbsp;&nbsp;&nbsp; 歷代的文獻中，大字書法有：「署書」、「擘窠書」、「榜書」等稱呼，這些名詞先後出現：「署書」，最早在秦漢時期出現；「擘窠書」，大約出現於唐宋之間；「榜書」，到明清之際才出現。細查三者，所稱的內涵有些微差異，「署書」指題署的各類文字，無論大字或小字。「擘窠書」泛指一切大字包括署書中的大字，直到清代康有為將「榜書」概念等同「署書」、「擘窠書」，於是以「榜書」指稱一切大字，成為現今最通俗的說法。
&nbsp;&nbsp;&nbsp; 「榜書」大字作為一種書法表現形式，體量宏大、氣勢厚重，雖不以數大成美，然而碩大的字體，充滿精、氣、神，總能給人激勵奮進的能量。俯瞰市井街坊招牌及名勝古蹟之地，「榜書」其實無處不在我們生活的場景，而在新式建築中，不同於居家環境的展示空間，也需要體量較大，能予人磅礡審美效果的作品，以符合現代的視覺期待，這正是榜書在今日值得關注與重視的理由。
&nbsp;&nbsp;&nbsp; 本展嘗試從歷史脈絡的角度討論榜書的功能性、實用性，以傳世大字的拓本及書跡回顧「榜書」這一名詞的變動歷程，以及現、當代書藝家羅懷珍、蘇世傑、傅狷夫、李轂摩、董陽孜、李蕭錕、林隆達、陳宏勉、拾得法師（朱秀櫻）、薛志揚、黃伯思、劉廣毅、王意淳的榜書創作，展現榜書在其中的轉換與繼承，也希冀從中感受大字書法所予人的特殊趣味。

榜書

Artists are like mirrors, reflecting and transforming what they know and feel into artworks, taking viewers into their creative world and inspiring the viewers’ imaginations. “If I Were a Mirror” reverts existing understandings of “looking in the mirror” and encourages parents and children to view themselves as “mirrors,” tapping into the multifaceted ways of looking at the world through the images of people, objects, and spaces captured by artists.
This exhibition features the works of five artists. Tsai Chih-Chi depicts the awkwardness during the transitional, inner states of teenagers. Lo Yi-Chun “paints” portraits of migrant workers in Taiwan using sun-dried banana peels after engaging in conversations with them. The sweet scent of dried banana peels encourages viewers to explore the life experiences of migrant workers. Chien Yu-Jen interacts with workers holding placards through sketching, guiding children to observe the scenes of society in everyday life.
Apart from portraits, this exhibition also invites children to unearth ways of viewing “objects” from the perspective of artists. Yeh Wei-Li named an abandoned sofa as a “portrait,” transforming a discarded object into an artwork, endowing objects with sentiments and life, and inspiring children to become aware of “objects” in everyday life. Hsu Chiao-Yen uses sketch to capture the dynamic qualities and traces of space, depicting the various interactions between places and people, and summoning the traces of people within space. Through the pre-exhibition workshop, artists also guide children into creating works on-site, crafting a collective memory of space by carving the lines and designs of architecture and houses.

If I Were a Mirror

藝術家如同一面鏡子，將所知、所感轉化為藝術創作，映照在作品之中，引領觀者進入其創作世界，也開啟觀者的內在想像。「如果我是一面鏡子」反轉我們習以為常「照鏡子」的概念，引導親子觀眾將自身視為「鏡子」，隨著藝術家一同捕捉生活中的人像、物象與空間眾相，試圖開啟我們觀看世界的多重面向。
展覽邀請五位藝術家，蔡芝其描繪身心處於過渡階段的青少年，其成長過程中的尷尬與姿態。羅懿君透過與在臺移工對談，使用日曬香蕉皮為他們「繪製」肖像，風乾的香蕉皮所散發出之甘甜氣息，讓觀眾透過香氣探索移工們的生命經驗。簡佑任則藉由速寫行為與舉牌工人交流，引領孩童體察行走在生活中的社會群像。
除了人像，本展亦邀請孩童跟隨藝術家的視角挖掘「物」觀看方式。葉偉立替廢棄沙發命名為「肖像」，將廢棄物翻轉成藝術品，賦予物件情感與生命，激發孩童在日常中察覺「物」的面容。許喬彥則是以素描捕捉空間的動態輪廓與痕跡，呈現地方與人互相形塑的多重樣貌，並藉此召喚人在空間中的形態軌跡，藝術家也透過展前工作坊，帶領兒童於展場現地創作，以刻印建築與家屋的線條與造形，一同建構出屬於集體的空間記憶。

如果我是一面鏡子

The first Hengshan Calligraphy Biennial will be held from January 20, 2023, to April 24, 2023, at the Hengshan Calligraphy Art Center (HCAC). The exhibition’s title, “Era of Principle and No Principle Interwoven—Calligraphy as a Visual Form” focuses on the influence and development of calligraphy in contemporary art to invigorate the ensuing development of contemporary calligraphy.
The HCAC is committed to provoking calligraphy art and its networks from a multicultural perspective in Asian and global. Professor Wu Chao-Jen, Assistant Professor of the Department of Fine Arts, Tunghai University, and Mr. Chen I-Tso, HCAC supervisor, jointly curate this exhibition. They expand the possibilities and imaginations for calligraphy by finding the diverse aspects of the art through the Exhibition, delving into calligraphy work presented , and encompassing in-depth discussions and analysis from different angles.
The Exhibition has invited 42 calligraphers and artists from various countries to present multifaceted contemporary calligraphy art around the world to explore the future of the art. This includes how Western abstract art and calligraphy stimulate and learn from one another, as well as the contemplation of Taiwan's post-war calligraphy masters regarding the evolution of calligraphy. Young calligraphers from Europe, Taiwan, Mainland China, Japan and South Korea have also been invited to contribute their creative inspirations for the contemporary world, demonstrating the thriving calligraphy art. Based on a context for conversations on art history, the Exhibition hopes to open the imagination to the future of calligraphy through the diverse array of artworks on display.
Overview The Hengshan Calligraphy Biennial is to explore the following aspects: (1) In response to the “Principle” in the exhibition title, “Reinterpretation of the Classics” will be the first topic of the exhibition to lay out the context of contemporary calligraphy in Taiwan. (2) As for “No Principle,” the Exhibition displays the works from domestic and foreign artists, somewhere “in-between” calligraphy and painting to probe for the possibility of calligraphy in a visual and painting-like direction. (3) For years, many non-traditional works of calligraphy in Taiwan have been labeled as “Experimentation” , especially the works displayed in privately-organized "Chinese Calligraphy Biennial: Tradition and Experimentation." But what does "Experimental" even mean, however? Can "avant-garde" be considered as a possibility for discussion in contemporary calligraphy? Curatorship can answer not only questions but also pose ones. This Exhibition aims to focus on the contemporary thinking of calligraphy. It also hopes to generate new momentum and meaning for future calligraphy creation.
Artists (in alphabetical order) André Kneib, Chang Shun-hsian, Chang Tien-chien, Chen Danqing, Fu Xiaodong, Fu Ying Ying, Fung Ming Chip, Hans Hartung, He Huaishuo, Henry Michaux, Hsu Yu-jen, Huang I-ming, Inoue Yuichi, Kato Taikei, Kawao Tomoko, Lee Chun-yi, Lee Mao-cheng, Lee Yih-hong, Li Mingchang, Lin Chun-chen, Liu Kuo-sung, Liu Yi, Mami, Nangaku Koun, Pan Hsin-hua, Park Jinwoo, Pu Tze, Shi Jin-hua, Teng Jun-hao, Tu San-hsin, Wang Gongyi, Wang Yu-cyuan, Wesley Tongson, Wu Chi-tsung, Xiao Yi-fan, Xiao-yu, Xu Jing, Xu Jiong, Yamamoto Hisashi, Yang Ping, Yang Shih-chih, Yu Tung-sheng.
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Collateral Events For the first Hengshan Calligraphy Biennial, local art galleries in Taoyuan are invited to hold collateral calligraphy events. The participants include the Department of Cultural Affairs, Taoyuan City, Zhongli Arts Hall, Eleven Art Gallery, Living Lab Gallery, and 2 GATHER. These exhibitions promote diverse perspectives of calligraphy in Taoyuan.
■ Group Exhibition Held by Mastery Calligraphy and Chinese Painting Society
Mar. 15 to Apr. 2, 2023 Department of Cultural Affairs, Taoyuan City (No. 21, Xianfu Road, Taoyuan District, Taoyuan City)
■ Sentiments in Ink: Yizhuxuan Caligraphy Art Academy Group Exhibition
Mar. 7 to 27, 2023 Zhongli Art Hall (No. 16, Zhongmei Road, Zhongli District, Taoyuan City)
■ “Poetry and Rhythm–Between Us” Feature Calligraphy Exhibition
Apr. 7 to May 31, 2023 Eleven Art Gallery (2F, Building A, No.5, Jia'an W. Road, Longtan District, Taoyuan City)
■ Written Image: Kuan-Ti Chi Calligraphy Art Exhibition
Feb. 19 to Apr. 5, 2023 Living Lab Gallery (No.8, Lane 157, Cihui 3rd Street, Zhongli District, Taoyuan City)
■ That Person. That Night. That Sea.
Jan. 30 to Mar. 30, 2023 2 GATHER (No. 181, Qiaxi Road, Zhongli District, Taoyuan City)

2023 Hengshan Calligraphy Biennial: Era of Principle and No Principle Interwoven—Calligraphy as a Visual Form

策展人:吳超然
機構策展人: 陳俋佐
桃園市立美術館首屆橫山書藝雙年展，於2023年1月20日至4月24日在橫山書法藝術館展出「法與無法交織的年代－書法作為一種視覺形式」，聚焦「書法」於當代藝術中的影響和發展，試圖帶動當代書法藝術後續發展新量能。
書藝館致力於書法藝術發展，透過多元文化觀點積極地參與亞洲乃至全球書法藝術網絡。本展邀請東海大學美術系助理教授吳超然擔任策展人，偕同橫山書法藝術館陳俋佐督導擔任機構策展人，以共同策劃模式，展開對於書藝雙年展各種可能性與想像。透過雙年展以不同角度思考書法藝術，並深度討論、剖析書藝於現當代藝術發展中的定位。
本展邀集多國42名書法家和藝術家，共同呈獻全球當代書藝的多樣面貌，並探究書法藝術的未來與可能。其中包括西方抽象藝術與書法如何互相刺激與借鏡，以及臺灣戰後名家對於書法形式和內容流變中的沉澱和省思。邀集歐洲、臺灣、中國大陸、日本和韓國青壯輩的書藝家，各自用書藝創作對當代世界提出他們的思考及創發，呈現當代書藝多元並行的生猛活力。不僅希望能夠鋪陳一個藝術史的討論脈絡，更希望能夠透過展出不同類型的作品，來豐富眾人對於書法的未來想像。
策展概述 橫山書藝雙年展以「法與無法交織的年代－書法作為一種視覺形式」為題目，企圖透過首屆書藝雙年展來探討幾個面向：（1）回應展覽標題「法與無法」之中的「法」，以「古典的轉譯」作為展示主題之一，來鋪陳臺灣當代書法發展的脈絡。（2）在「無法」議題上，本展覽挑選國內外的藝術家，但其作品的視覺呈現位於書法與繪畫之間（in-between）的特質，藉此提問書法朝向視覺與繪畫性的發展可能。（3）多年以來，臺灣民間所舉辦「傳統與實驗雙年展」有一半屬於「實驗性」的作品參展。然而，何謂「實驗性」？是否「前衛性」也可引入當代書法來作為一種討論的可能？策展不僅可以是一種回應問題的方式，也同時可以是一種提出問題的方式。本展希望聚焦書法藝術的當代思考，更希望能夠於未來書法創作上，產生嶄新的動能與意義。
藝術家(依姓氏筆畫排序) 卜茲、小魚、山本尚志(YAMAMOTO Hisashi)、川尾朋子(KAWAO Tomoko)、井上有一(INOUE Yuichi)、王公懿、王鈺權、付曉東、加藤堆繋(KATO Taikei)、石晉華、朴鎮雨(PARK Jinwoo)、亨利米肖(Henry MICHAUX)、何懷碩、吳季璁、李君毅、李明昌、李茂成、李義弘、杜三鑫、於同生、林俊臣、南岳杲雲(NANGAKU Koun)、柯迺柏(André KNEIB)、唐家偉、張天健、張舜翔、許雨仁、許炯、許靜、陳丹青、傅瑩瑩、馮明秋、黃一鳴、楊世芝、楊平、万美(MAMI)、漢斯哈同(Hans HARTUNG)、劉國松、劉懿、潘信華、鄧君浩、蕭一凡
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平行展 橫山書法藝術館首屆橫山書藝雙年展盛大開幕。邀請桃園在地藝文空間共襄盛舉舉辦平行展覽，以藝術共振的概念串聯合作，以書法藝術為主題舉辦平行展覽，包括桃園市政府文化局、中壢藝術館、桃園十一份美術館、藍瓦空間，以及2 GATHER藝起吧展覽等。藉此，匯聚藝文能量並促進多元觀點，讓桃園深化書法藝術發展，綻放獨特的在地藝文特色。
■ 造詣書畫會聯展 
2023/03/15-2023/04/02 桃園市政府文化局（桃園市桃園區縣府路21號）
■ 翰墨寄情-名家書畫聯展
2023/03/08-2023/03/26 中壢藝術館（桃園市中壢區中美路16號）
■ 《詩與韻–我們之間》—書法主題展
2023/04/07-2023/05/31 桃園十一份美術館（桃園市龍潭區佳安西路 5 號A棟2樓)
■ 書寫印象—紀冠地書藝展
2023/02/19-2023/04/05 藍瓦空間 Living Lab Gallery （桃園市中壢區慈惠三街157巷8號）
■ 那人。那夜。那海。
2023/01/30-2023/03/30 2 GATHER藝起吧（桃園市中壢區洽溪路181號）
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2023橫山書藝雙年展：法與無法交織的年代─書法作為一種視覺形式

Light occupies a significant part of our daily lives, but its intrinsic intangibleness often leads us to take it for granted. This exhibition, Let There Be Light, brings together works from seven artists/groups, including Wang Ya Hui, Wang Poyen, Li Ping-Yi, Hsieh Yu-Cheng, Tsai Yi-Ting, Flying Group Theatre, and Liu Kuo-Sung, in order to showcase the multifaceted aspects of light. The exhibition presents various guises and portrayals of light, as captured in modern art forms such as film, paintings, interactive installations, and theater, in order to seek the essential nature of light, as well as propose potential depictions and representations.
Under the theme, Candle Flame, the artist Hsieh Yu-Cheng has set up seven windowsills in the exhibition space, and makes clever use of the interplay between image projection and still objects to encourage children to observe, experiment, and engage in a game of capturing shadows cast by the dancing candlelight. The artist Tsai Yi-Ting made use of motors, ultraviolet light, and color-shifting light-sensitive paint to capture tracks of moving light, thereby creating a massive Light Canvas upon which parents and children can paint upon using handheld ultraviolet light sources, a concept that has never been previously exhibited before. The Flying Group Theatre has also set up a Drama of Light and Shadow installation onsite, and invites parents and children attending the exhibition to participate in a human-puppet joint performance that uses light and shadow to tell stories.&nbsp;&nbsp;&nbsp;&nbsp;
The artist Liu Kuo-Sung ingeniously flipped the day-to-day perspective of the Moon, to present instead a view of the Earth in the eyes of an astronaut walking on the Moon. The artists Wang Ya Hui and Li Ping-Yi seek to guide children into a world of nighttime light, and expand their imaginations regarding light at night. The artist Wang Poyen used animations to present rapidly changing patterns of sunlight on a fine day, and further utilizes a Lightscape Capture Wall to enable children to collaborate and draw the flowing patterns of sunlight. In these ways, the curation team of this exhibition invites children to observe, record, and create light through extemporaneous creation and physical engagement, and use light as a tool to tell their own stories.&nbsp;&nbsp;
The exhibition also brings together children’s works, picture book reading areas, self-guided teaching materials, and imagination-building activities from the STEAM Workshop, and by presenting the different sensibilities and reasoning of various artists, endeavors to guide children on a journey of contemplation focused upon light.&nbsp;&nbsp;&nbsp; &nbsp;

Light Up

「光」在我們的生命中，佔據我們的日常，但我們觸摸不到它，所以往往習慣它的存在。「來點光吧」展出王雅慧、王博彥、李屏宜、謝佑承、蔡宜婷、飛人集社劇團、劉國松等七組藝術家/團隊的作品，透過錄像、繪畫、互動裝置、劇場等不同當代藝術創作，捕捉光的不同形象與姿態、挖掘光的本質，更提問光可能的模樣。
謝佑承以「燭火」為題，於展場佈置七面窗台，透過投影與靜物的交互關係，引發孩童動手實驗、觀察燭影的好奇心，一同玩「捉影」遊戲。蔡宜婷運用馬達、紫外光和變色漆，以感光原理捕捉光的擺動軌跡，更首次為展覽打造大型的「光畫布」空間，邀請親子觀眾手持紫外光燈源，一起勾勒光的軌跡。飛人集社劇團現地搭建一座「光影戲」裝置，邀請親子觀眾加入人偶共演劇場，運用光影說故事。
劉國松翻轉觀者對月亮的日常視角，體驗太空人登上月球遙望地球的視野；王雅慧和李屏宜則要帶孩童走入夜晚的燈火世界，打開其對夜光的想像力。王博彥運用動畫，展演太陽照射下瞬息萬變的日光，讓孩童現場共創「光景捕捉牆」，試著畫出流動的太陽光。策展團隊邀請孩童透過即興創作、身體展演，並試著覺察光、紀錄光並創造光，甚至運用光作為工具，說自己的故事。
連結展覽策劃的「STEAM工作坊」兒童作品、繪本閱讀區、自導式教具和想像力練習等活動，並透過不同藝術家的感性與理性，引導孩童開啟一場以光為主題的思考與漫遊。

來點光吧

Curatorial Team：Coexist Exhibition Artists：Wang Chika, Jiang Bo-xuan, Ho Ching-chwang, Hung Yun-ting, Po Chiao-ling, Xu Jiong, Ni Hao, Chang Jia-chae, Yeh Yi-lin, Tsai Tsung-yu,&nbsp; Liu Hsing-yu
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This exhibition comes from the Chinese word chidu, which we know today as letters. Chidu is a medium that conveys messages through words. Originating from writing on bamboo and wooden slips to paper, chidu is no longer merely a physical substance but a symbol that reveals feelings and manifests conscious thoughts. Until now, discussions of chidu either treat it as a literary genre and style, or as objects for the history of literature and calligraphy from the author’s perspective as a writer or calligrapher. Aside from these discussions, this exhibition hopes to propose the possibility of a new aspect. Treating chidu as an event in calligraphy art, the curatorial team hopes to provide a vision between calligraphic tradition and contemporary art through this collection of works. Thus, the exhibition shifts the focus from "What is chidu?" to "What can chidu be?" and further "What can calligraphy be," providing fluctuating and innovative criticism of contemporary art.
This exhibition is selected from the call for curatorial proposals of the Hengshan Calligraphy Art Center. The curatorial team consists of the younger generation of artists and calligraphers. The exhibition includes works by artists Chika Wang, Chiang Po-hsuan, Ho Ching-chwang, Hung Yun-ting, Po Chiao-ling, Xu Jiong, Ni Hao, Chang Chia-che, Yeh Yi-lin, Tsai Tsung-yu, and Liu Hsing-yu. Not all of them are of background in calligraphy. Some just began a conversation with calligraphy, some re-interpreted their works with a calligraphic perspective in this exhibition, and others purposefully avoided using ink and brush to explore the possibilities in calligraphy.
The calligraphic multiverse is expanding. This exhibition aims to be a “calligraphic event,” showcasing artists’ daring and brave spirit in the name of chidu.

What If Attitudes Become Letters? Writing - Correspondence - Context - Gender  -  Meme

當態度變為尺牘？書寫–往返–語境–性別–迷因
What If Attitudes Become Letters? Writing - Correspondence - Context - Gender&nbsp; -&nbsp; Meme
展覽時間：2022.10.8-2022.12.26
策展團隊：多元成展
藝術家：王千華、江柏萱、何景窗、洪韵婷、柏巧玲、許炯、倪灝、張嘉哲、葉乙麟、蔡宗祐、劉星佑（依姓氏筆畫排序）
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此展為桃園市立美術館舉辦111年橫山書法藝術館「策展徵件」獲選之展覽，策展團隊由新一代的藝術家、書法家組成，展名為「當態度變為尺牘？書寫–往返–語境–性別–迷因」。
尺牘即今人所認知的書信，是傳遞文字訊息的媒介。從竹簡、木牘到紙張，隨著歷史的演變，尺牘不只是物質的存在，更是表露情意、彰顯精神性的象徵。目前關於尺牘的討論，或視尺牘為一種文本的體裁與風格，或以作者觀點出發，以文學家與書法家之名，進行文學史與書法史的探討。漢代揚雄曾云：「書，心畫也。」尺牘是訊息自身，也是媒材自身。「什麼是尺牘？」轉向「尺牘可以是什麼？」，也間接叩問「書法可以是什麼？」。更甚者，尺牘作為一種媒介為當代藝術提供了更具流變性與創造性的批評。本次展覽則希望在原先的討論之外，思考另外一種面向的可能性，企圖讓「尺牘」成為書法藝術的事件，藉由作品探照書法與當代藝術之間的視野。
此次參展藝術家為王千華、江柏萱、何景窗、洪韵婷、柏巧玲、許炯、倪灝、張嘉哲、葉乙麟、蔡宗祐與劉星佑（依姓氏筆畫排序）。藝術家的養成背景並非全然與書法有關，其中所展出的作品則是因本展而展開第一次與「書法對話」的創作，有些已完成的作品，則是在參展後，才被賦予有關書法的詮釋，還有些善書的創作者，刻意不以筆墨紙本的形式參展，希望啟發書法藝術在書寫創作上的各種可能性。
策展團隊表示，書法藝術的多重宇宙正在進行中，此次受橫山書法藝術館所啓發的「書法」事件，展現了藝術家以尺牘為名的戇膽與挑戰，試圖探索更貼近當代的生活經驗，擴大新世代的共鳴。

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
策展人：王焜生
藝術家：黃俊嘉
桃園市立美術館於111年起辦理橫山書法藝術館「申請展」，以橫山書法藝術館為平台，鼓勵書法藝術創作，推動書法藝術之多元、開放與創新發展。首屆「申請展」獲選提案為藝術家黃俊嘉「觀‧擬‧什麼事？—關於『書藝』的對話紀錄」，並邀請策展人王焜生策劃。
年輕書藝家黃俊嘉在此個展中以傳統書藝為本，內容則不再以嚴肅的內容為載體，反而更多取擷自當代生活裡的日常對話作為反映現實的寫照。書寫內容不只是文言詩詞，更多的語句是日常生活裡隨時聽聞的街巷對話，觀看閱讀之時，觀眾開始口中唸出字句，擬想情境，赫然發現藝術家將觀者帶出書房之外，置身於巷弄里鄰之間，彷彿可以聽見男女老少彼此之間的對話，而這些內容還充滿著常民戲謔或者調侃的趣味。正襟危坐論書藝的嚴肅感在這裡被日常口吻與年輕氣氛所取代。
黃俊嘉在書寫上，將漢字單獨獨立出來，從字義與字型的關係探討其象徵意義，運用篆書象形的特徵加入抽象的精神表現。一方面，黃俊嘉回到自己彰化成長的背景，回想過去與現在家鄉親友或鄰居的日常對話中包含閩南語成為書寫並可被閱讀，其間轉折產生的口語X書寫X閱讀的關連與失調，也成為Z世代面對書藝的新想法。

觀‧擬‧什麼事？—關於「書藝」的對話紀錄

Curator：Emerson Wang
Artist：Huang Chun-chia
The Taoyuan Museum of Fine Arts aims to promote the diverse, open, and innovative development of calligraphy art with the venue of Hengshan Calligraphy Art Center (HCAC) as the exhibition platform. Huang Chun-chia's latest solo exhibition, “Observe and Portray”, is selected from the first HACA’s exhibition application and curated by Emerson Wang.
In this exhibition, young calligrapher Huang Chun-chia builds on the foundation of traditional calligraphy. However, instead of serious subject matters, he selects conversations from daily life to reflect reality. His works no longer merely present classical Chinese poetry but include casual dialogues. While seeing his work, one could read aloud, imagine the situation, and suddenly realize that the artist has brought the viewer out of the studio and into the neighborhood streets, where everyone talks or chats, jokes or mocks. The serious tone and solemnity of calligraphy are thus replaced by a casual and delightful atmosphere.
When writing, he examines Chinese characters individually, explores the symbolism in the relationship between their meaning and form, and adds abstract expression to the representational quality of words. Digging into his memories of Changhua, where he grew up, Huang recollects the conversations—some in Taiwanese Hokkien—between his relatives, friends, or neighbors in the past and now, and calligraphs them out so that these dialogues can be read. The connections and discrepancies of his works in the exhibition can be seen as new ideas that Generation Z has come up with when interacting with the calligraphic tradition.

Observe and Portray 

Since 2019, the Taoyuan Museum of Fine Arts has been promoting its ‘Artist-in-Residence Project’ initiative, inviting artists to utilize on-site exhibition and library resources and guide parents and schoolchildren from an artist’s perspective to explore the resources available at the Taoyuan Children’s Art Center. These projects immerse audiences in the context of each individual artist’s creation and their way of thinking.
In 2022, the Artist-in-Residence Project will be implemented in the form of an exhibition focused on the Children's Art Center. Artists are invited to showcase the Center’s various features while considering how the Center’s location within a shopping mall affects the Center’s spatial layout and visitor demographics. In this sense, the artist will become an adventurer within the Art Center, transforming into a prospector with his/her work of art and guiding children as they explore the Art Center and discover its hidden secrets.
Six groups of artists are invited to participle in the exhibition. The art works by Sandwishes Studio, Walking Grass Agriculture, and Chien-Chung Liao correspond with the Art Center’s daily operations — otherwise hidden behind the scenes from visitors — from the perspectives of observation/monitoring, space design, and exhibition installation. Artist Chien-Yi Wu opens up the unused space and, under the light streaming through the window, reflects her wishes for the future of Children’s Art. Shu-Kai Lin invites children to build their own art center from imaginary and realistic urban scenes. Cooperating with the teachers and students of Dayong Elementary School, Yu-Ting Lin invites these students to write down their memories, expectations and even fantasies associated with the Children's Art Center.
‘Behind the Scenes’ is a children-focused program that inspires children's imagination through on-site art creation. And to inspire children to create works based on the ‘museum’ theme to demonstrate the various possible appearances of the Taoyuan Children's Art Center.

Behind the Scenes

2019年起桃園市立美術館推動「藝術家駐館計畫」，邀請藝術家結合當期展覽主題及圖書館資源，引導親子及學童從藝術家的視角，共同探索桃園市兒童美術館的雙「館」資源，並親近個別藝術家的創作脈絡與思考方式。
2022年「藝術家駐館計畫」以展覽形式呈現，將目光放回兒美館，由藝術家共同思考座落於商場空間的美術館，如何在館舍空間、群眾組成等條件上的特殊性，呈現美術館各種特色切面。在此意義上，藝術家成為美術館的探險者，將跟著作品化身為引領孩童探索美術館的探勘器，一起探索美術館不為人知的神祕面貌。
展覽邀請六組藝術家／團隊，走路草農／藝團、三明治工及廖建忠的作品，分別從觀看／監視、展場空間設計、佈展工作等角度，呼應美術館日常的幕後運作。吳芊頤打開過去不曾使用的空間，在窗景光影下閃爍著對兒美館的未來想望。林書楷從想像與現實的城市場景，邀請孩童建造專屬自己的美術館建築。林玉婷與大勇國小美術老師合作，帶領學生記錄著自己與兒美館的記憶，甚至是期待與狂想。
兒美館藝術家駐館計畫以孩童為主體，透過藝術家的現地創作啟發孩童的想像力，進而以美術館為主題進行創作，展現兒美館各種可能的面貌。

美術館探密

關於2022桃源美展
 自1982年起始的「桃源美展」今年時逢第40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之一，除鼓勵創作之目的外，其歷史脈絡也成了刻劃及記錄地方城市及其藝術紋理的重要推手。每年透過公開徵件的方式，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」自2020年起調整賽制，改為兩年輪替、以聚焦主題類型的方式辦理各類別徵件。接續去年「立體與影像多媒體」類型的作品，今年「2022桃源美展」回歸為繪畫、書寫類型的藝術創作，分為「水墨」、「膠彩」、「書法篆刻」、「油畫」、「水彩」及「版畫」共6個徵件類別，期望以公辦美展的影響力與資源挹注在地的創作能量，並同時鼓勵創作者帶入當代創作思維、持續探究與突破媒材疆界的可能性。
 今年共有613件作品激烈角逐，入選作品共計125件。展覽於10月8日(六)至10月28日(日)，在桃園市政府文化局（油畫、水彩、版畫）及中壢藝術館（水墨、膠彩、書法篆刻）盛大展出。希冀於獎掖之外，也藉由展覽引動在地藝術創作的能量，鼓勵藝術家們打開對各類媒材的寬闊實踐，開啟當代美展的多元面貌，並拓展當代藝術與城市、在地觀眾的對話空間。
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   ■「2022桃源美展」展區 桃園市政府文化局：油畫、水彩、版畫 中壢藝術館：水墨、膠彩、書法篆刻
 ■「2022桃源美展」頒獎典禮 時間：111年10月16日(日)下午2點 地點：桃園市政府文化局1樓大廳

2022桃源美展

Mind &amp; Matter Unleashed: Selective Works of Hsu Yung-Chin
Curator: J.J. Shih
2022.7.16-2022.9.19
Hengshan Calligraphy Art Center, Building A and B
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The Information Age is flooded with texts yet drought in handwriting. Handwriting, the activity humans have performed for millennia, has been replaced by typing—through keyboards, keypads, speech recognition, or scribbling. The scribbling is to be identified only by the device; once the word is identified, the handwriting immediately disappears, though the electronic signature may be an exception. On the other hand, handwriting in the past was a way to send messages and could also express personality, characteristics, emotion, taste, and aesthetics. Thus, it is crucial for calligraphy, an art of handwriting, to break through the tradition and move with the time.
From July 16, the Hengshan Calligraphy Art Center (HCAC) will exhibit 38 masterpieces of calligraphy art by HSU Yung-Chin from the Taoyuan Museum of Fine Arts collection. Curating by Professor J.J. Shih, the works on display represent the development of Hsu’s art and respond to the issue of the innovation of calligraphy art in modern times. Hsu's art career is built on his base studies in traditional calligraphy in the 1970s and 1980s. In the 1990s, he devoted himself to modern calligraphy experiments and incorporated the art with Taiwan's untamed cultural vitality. Since the 21st century, he has been trying to liberate calligraphy, creating an intuitive calligraphy style that transcends the forms of Chinese characters and truthfully reflects his mind. In addition, Hsu also strives to engage in dialogues and collaborate with other fields, integrating calligraphy aesthetics into contemporary cultural activities and daily life.

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

書寫的景深──柯良志創作個展
Meta-Calligraphy: Ko Liang-Chih
策展人：張禮豪
展覽日期：2022.7.16-2022.9.19
展覽地點：橫山書法藝術館C棟
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本檔展覽為首屆「橫山書藝獎」獲獎者柯良志之創作個展，「橫山書藝獎」為國內首創以書藝展覽為訴求的獎項，旨在獎勵並發掘具有時代性與開拓性的書藝展覽，希望能夠激勵書藝創作者及策展人以更多元而開放的視野，來探索書藝在當代的各種可能。
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本展由張禮豪擔綱策劃，以「書寫的景深」為題。有感於在21世紀全面性席捲而來的數位時代浪潮下，書法更難在一般人的視野內出現，以書寫為核心的藝術家在創作上除了生命經驗的再現，更需要思考如何注入與澆灌嶄新的觀念。故此次「書寫的景深──柯良志個展（Meta-Calligraphy: Ko Liang-Chih）展覽命名刻意援引一般用於影像的術語──「景深」（Depth of the Field，意指相機對焦點前後相對清晰的成像範圍），藉此嘗試從書法的平面呈現，把鏡頭緩慢挪移到最終結果出現之前，所可能遭遇、不為人所知的各種工序、過程、階段、場景與感知狀態……，以跳脫傳統書法藝術向來只依賴最終平面展示結果來論斷、品評的單一審美判準，同時側重在其身為一個當代創作者，如何透過多元視角來全面觀照書法傳統與當代書寫之間的關係，和考察文字在語言意義與文化內涵等面向的時代變遷，進一步挖掘出書寫跨入當代藝術的種種可能。
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此展覽中，藝術家柯良志試圖打破書法藝術多以書體風格或書寫內容來進行分類展陳的既定形態，改以囊括平面作品、錄像裝置、NFT乃至於邀請觀者參與的互動行為等不同形式所創作的七組（件）作品，相互之間亦或有部分疊合互涉之處，進而輻射出關於書寫的多元面向思考。

書寫的景深──柯良志創作個展

狂筆‧顛墨：徐永進贈藏選粹
Mind &amp; Matter Unleashed: Selective Works of Hsu Yung-Chin
策展人：石瑞仁J.J. Shih
展覽日期：2022.7.16-2022.9.19
展覽地點：橫山書法藝術館A、B棟
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我們所處的資訊時代，是文字泛濫、書寫沒落的時代。人類應用數千年的「文字書寫 」已變成了「文字輸入」─透過鍵盤、拼音、口語或手寫模式輸入文字，但即便是手寫模式，重點也僅止於辨識，辨識完畢手跡立刻「被消失」（簽名檔或許例外），較之過去，人類的書寫行為除了傳達訊息之外，也可以透過手跡展現個性、人格、情緒，乃至於品味與美感，作用是完全不同的。在數位與資訊時代的洪流中，書法如何從傳統中脫胎而出，與當代的社會文化和民眾生活繼續磨合，肯定是有待集思廣義、共同迎戰的重大文化課題。
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「狂筆‧顛墨：徐永進贈藏選粹」特展，對於上述的提問，提出了一個拋磚引玉式的回答。展出作品，精選自藝術家徐永進捐贈予桃園市立美術館之典藏，共計展出38組件代表作，由石瑞仁教授擔任策展人。此展兼顧傳統書法的梳理和當代書藝創作的推介，以鋪陳徐永進「傳統書法、現代書藝、當代遊藝」三階段書藝演進經歷與發展脈絡。徐永進的書藝創作生涯，奠基於70、80年代時對傳統書法的鑽研，90年代起投身現代書藝的創作實驗，繼而以之融入臺灣狂野文化生命力與人文關懷；進入二十一世紀後，致力解放書法，開創了超於象外、契合本心的直觀書藝。在個人書藝的創新求變之外，徐永進也致力透過跨界合作、跨域對話的新創模式，將書藝美學融入當代文化活動與社會生活場域。此次展覽將完整呈現其創作歷程，展現其創作與時俱進、活潑多元的形式風貌。
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狂筆‧顛墨：徐永進贈藏選粹

Parent-child relationship is often depicted from the perspective of motherhood, where the fathering role is usually ignored. "Papahood" attempts to explore the special parent-child relationship and bond from a father’s angle, unveiling the various images, moods and desires of fathers through artistic works by creators with ‘dual identities’ as father and artist.
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The seven groups of invited artists, which include Mirza Čizmić, Lee Wen-Cheng + Nagee, Lee Ming-Hsueh, Lin Chi-Wei, Chen Chien-Jung, Huang Yi-Min + Chen Yen-Yi, and So Yo Hen, embed the notion of fatherhood in their artworks, using the language of art to evoke the child’s impression of a father or their creative thoughts. These father-and-child stories vary: an exchange of memories and affection between Čizmić and his father; a submarine packed with island stories by Lee Wen-Cheng and Nagee; an object metaphor that carries all sorts of projective identification and relationship expectations by Lee Ming-Hsueh; a flipped relationship created by Lin Chi-Wei allowing adults to learn words like babies do; an integration of the child’s toy’s design into paintings by Chen Chien-Jung; the shadow theater created by Huang Yi-Min and Chen Yen-Yi shows what new parents want to say to their children; or like So Yo Hen, who struggles between art making and childcare duties, an artist who must work in his spare time after putting the kids to bed.
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From "Mothers &amp; Babies – Ways to Love and Be Loved" in 2019 to "Papahood" of this year, we aim to explore the flow of affection between parent and child through the language of art. The Papahood exhibition came just in time for this year’s Father's Day, when visitors will be able to see, listen, and touch these daddy artists’ heart and emotions through their artworks. The interactive workshop allows imaginative children to react and get close to the image of their father. Daddy and baby: papahood is not only the connection of relationship, but also the attachment of mutual affection and care.

Papahood

我們多半從母親的角色描述親情關係，爸爸總是深藏不露。《爸爸寶貝》試圖從父親的角色出發，邀請具有父親與藝術家雙重身分的創作者，透過藝術表現手法，探索爸爸的多種模樣，抽絲剝繭出父親的心情、想望，以及親子之間特殊的關係與羈絆。
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展覽邀請7組藝術家，米爾扎˙西茲米奇(Mirza Čizmić)、李文政+ Nagee、李明學、林其蔚、陳建榮、黃逸民+陳妍伊、蘇育賢，透過他們的創作，貼近爸爸藝術家的心情，藉由藝術語言，召喚出小朋友心中對於父親的形象或創意發想，這些爸爸與寶貝之間的故事，可以是西茲米奇畫筆下與父親共同記憶和情感；李文政與Nagee一艘運滿島嶼故事的潛水艇；李明學承載各種認同投射、關係期望的物的隱喻；林其蔚創造關係的翻轉，讓大人跟著嬰兒牙牙學語；陳建榮將孩子的玩具設計圖融入畫作；黃逸民與陳妍伊創作的一段光影劇場，投射著新手爸媽想對孩子說的話。甚至是，與孩子說晚安後的父親蘇育賢，利用一日僅剩時間，恢復了藝術家身分後對於創作與生活間的焦慮掙扎。
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從2019年的《媽媽˙寶貝—創造愛與被愛的方式》到今年的《爸爸寶貝》，我們透過藝術的語彙，探索親子間情感的流動。今年在父親節來臨之前，換父親登場，透過作品看到、聽到、碰觸到藝術家爸爸的心聲與情感，也透過互動工作坊，讓孩子們回應、想像、貼近爸爸的模樣。爸爸與寶貝，寶貝爸爸，既是關係的連結，也是相互呵護的寵愛。

爸爸寶貝

藏珎：東亞書學的視域 Treasure: A Perspective From East Asian Calligraphy
展覽時間： 2022.4.13- 2022.6.27
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桃園市立美術館建館之初即啟動佈建館際合作網絡，展開各項國內外聯繫佈署，其中，於 2019年與國立歷史博物館締結館際合作，正式啟動書藝合作網絡。「藏珎：東亞書學的視域」為桃美館與史博館首次聯手策劃之典藏研究展，由國立臺南大學國語文學系助理教授林俊臣擔任客座策展人，藉由桃美館及史博館書法藝術典藏，以「東亞書學」的視角探討臺灣身處東亞書藝核心的意義。
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策展概念&nbsp;
策展人 林俊臣
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臺灣作為東亞最早進入大航海時代的地區之一，歷經西方殖民的統治、也繼承了大量漢人移民帶來的文化思想，隨後日本殖民現代性、國民政府遷臺、美援……等影響，讓臺灣成為東亞地區涵融多種文化的舞臺。書法這個標幟華人鮮明文化色彩的藝術，在臺灣也因為種種歷史的機緣，從而有了新的轉化與發展。
桃園市立美術館與國立歷史博物館合作，於橫山書法藝術館展出分屬地方與中央層級的公立機構，經由捐贈或購藏等不同管道所典藏，自二十世紀以來臺灣、中國、日本、與韓國各地的書作，呈現東亞書法發展的某個「切片」，正好符合東亞書學視域的內涵，更凸顯臺灣身處東亞書學核心的意義。
日本跟韓國的書法發展雖受中國影響，然而隨著各種因素延伸出不同的書法旨趣。相對日、韓而言，臺灣書法發展的背景，從明清時期地處中原文化邊陲的滯後色彩，到日治時期接受新式書法教育的洗禮，又繼承1949年渡海來臺書法菁英的傳承。歷史的現實讓臺灣不必承擔過於沉重的民族包袱，並展現其多元性與包容。
「藏珎：東亞書學的視域」特展包括三大展區:華人書法、日本書法、韓國書法，不僅見證了東亞各地書法彼此混雜交融，甚至互別苗頭的景緻，也得以藉此思考臺灣作為東亞書學研究發展基地的文化潛力。
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藝術家
丁玉熙、丁翼、丁治磐、卜茲、王北岳、王孟瀟、王壯為、蕭一葦、朱玖瑩、吳平、呂佛庭、李猷、李超哉、胡適、黃羣英、施孟宏、陳定山、陳其銓、奚南薰、袁守謙、崔如琢、張隆延、許南英、梁寒操、曾紹杰、傅狷夫、楊福泉、鄭善禧、楊作福、董作賓、臧真白、謝宗安、魏樂唐、小林茂、木村允、小山天舟、小林松翠、大貫水聲、山本竟山、日下部鳴鶴、井上直弘、市川龍城、吉田京花、佐藤琿春、松本芳翠、岡田潭園、保田正二、皆川雅舟、草野鶴水、魚谷松葉、國重鯉卿、越野草崖、巖壽翠城、森吳正、藤崎保子、元仲植、朴俊根、李敦興、李春熙、李奉念、吳相焞、沈漢順、金瑞鳳、金世鍾、金膺顯、洪震杓、洪璹鎬、姜英淳、孫在馨、裴英淑、徐鏡普（依地區、姓氏筆畫排序）

「藏珎：東亞書學的視域」特展

Treasure: A Perspective From East Asian Calligraphy
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Curator&nbsp; LIN Chun-Chen
As one of the earliest places in East Asia to enter the Age of Discovery, Taiwan experienced Western colonialism and the East Asian cultural ideas from different groups of immigrants. Later, modern influences such as Japanese rule, the Republic of China’s retreat, and aid from the United States made Taiwan a stage for diverse cultures in East Asia. Calligraphy, a symbolic art of the Chinese character sphere, also experienced various changes and developments in Taiwan due to its unique historical background.
Through the collaboration between the Taoyuan Museum of Fine Arts and the National Museum of History, this exhibition will showcase calligraphy works from Taiwan, China, Japan, and Korea since the 20th century. The pieces are assembled from public institutions at the local and national levels through donations, acquisitions, and other channels. They show a specimen in the development of East Asian calligraphy and significantly highlight Taiwan's core role.
Although China influenced the development of Japanese and Korean calligraphy, the laters two also developed different emphases due to various factors. Compared to Japan and Korea, Taiwan’s calligraphy has evolved from the periphery of Chinese culture during the Ming and Qing dynasties, through the modern educational systems in the Japanese colonial period, to inheriting the legacy of elite calligraphers came to Taiwan in 1949. These historical realities enabled Taiwan to waive off heavy nationalist burdens and form a diverse and inclusive face of calligraphy.
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“Treasure: A Perspective from East Asian Calligraphy” includes three sections: ethnic Chinese calligraphy, Japanese calligraphy, and Korean calligraphy. We can see how calligraphy practices in East Asia mix, combine, or even compete to contemplate Taiwan's potential to be a base for East Asian calligraphy studies.

Treasure: A Perspective From East Asian Calligraphy

咬耳朵Sound Bite
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桃園市兒童美術館「咬耳朵Sound Bite」展覽，其命題聯想自美國新聞產業於1970年代發明的術語「聲刺」(Soundbite)，意指新聞中的「精彩片段」，如果進一步將英文詞彙字義拆解，Sound指的是聲音，Bite則指的是咬住、緊抓住，而這也如同藝術家運用敏銳的感知，從生活中的細節找尋、抓取可能被忽略，或是不曾為人知的聲響，並且運用多元媒介與方法，轉譯、傳達他們內心獨特的感受與想法。
展覽邀請王福瑞、張君慈、曾偉豪、蔡咅璟+吳宗龍、鄭琬蒨、蕭聖健等六組藝術家以及C-LAB聲響實驗室，透過他們的創作，讓孩童與陪伴者共同發揮想像力，於展覽現場展開「探索」、「記錄」、「製造」、「傳遞」四種由被動聆聽，轉向主動發聲的一系列動態任務。
若是仔細傾聽，我們會發現在生活週遭，隨時隨地充滿了各式各樣的聲響，但常常因為過於熟悉與理所當然，有時反而會遺忘掉這些幽微的存在。在沉浸於美術館空間，與作品產生連結的同時，更可以回顧日常，重新發現箇中奧秘、感受聲音的豐富變化。更可以在展覽現場，透過與作品的親密互動，和藝術家們彼此「咬耳朵」，傾訴悄悄話，在此時此刻，觀眾既是「聲音」的聆聽者，也是「聲音」的創造者。
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藝術家：C-LAB臺灣聲響實驗室+王仲堃+吳秉聖+鄭伊里、王福瑞、張君慈、曾偉豪、蔡咅璟+吳宗龍、鄭琬蒨、蕭聖健
特別感謝：C-LAB臺灣文化實驗場

咬耳朵

The proposition of the "Sound Bite" exhibition at Taoyuan Children's Art Center is reminiscent of the term "soundbite", which was coined by the U.S. media in the 1970s. A soundbite, literally meaning ‘the sound that bites,’ is a news clip that entices the reader or viewer. The effect relates to an artist using their sharp perception to find and grasp sounds that may be unknown or ignored in everyday life, then using multiple media and approaches to translate or express their unique inner feelings and thoughts.
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Six groups of artists and the C-LAB Taiwan Sound Lab have been invited to present their creations at the exhibition, helping children and their companions to unleash their imaginations and carry out a series of dynamic on-site tasks—like exploration, recording, creation and transmission—turning passive listening to proactive vocalization.
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When listening carefully, you will find that in day-to-day life, we are surrounded by all kinds of sounds, but we often take them for granted due to their familiarity and forget their subtle presence. Being immersed in the art center’s physical space and connecting with the works allows us to review our daily life while rediscovering the mysteries and various changes in sound. At the exhibition, we can even lend our ears to the artists and whisper to the creators through intimate interactions with their works. In this moment, the audience is not only the listener of sound, but also the creator of sound.

Sound Bite

Curator: Kuo Cho-Yuan, Fang Chih-Hsuan
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Raise your head and look at the sky; have you ever, like us, lifted your hands in the air to feel the dazzling sunshine and the breeze passing through your fingertips, then spread your arms and imagined yourself soaring in the sky?
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A long, long time ago, before human technology caught up with our imaginations, some artists had already dreamt of flying in the sky, or expressed their visions of the expanse and beauty of the heavens through their paintings of angels and holy figures. Once Leonardo da Vinci put his designs of helical rotor flying machines to paper, the stage was set for humans to slowly begin exploration of not just the sky, but also the universe beyond.
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Nowadays, flying is no longer an unattainable dream, but has become a tangible wish that every person can hope to fulfill someday. In this exhibition, parents and children are invited to immerse themselves in the boundless imagination of flying, through paintings, mechanical devices, videos, creative workshops, augmented reality, and innovative interactive zones that were developed through collaboration between 8 artists from Taiwan and Japan, including Wu Yi-Hsuan, Li Cheng-Liang, Yu Shih-Fu, Abe Nyubo (Japan), Hung Tien-Yu, Hsu Hui-Ching, Hsieh Chih-Hsuan, and Tang Jo-Hung.
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Modern flying is a collective experience, and thus flying machines also lend themselves to endless creations of the imagination. In her paintings, the artist Wu Yi-Hsuan presents her own travel memories, employing the setting of being onboard a plane in flight as a creative motif to portray scenes of day and night outside the cabin window. For some, flying is a profession, and the artist Hsu Hui-Ching draws on her own experiences as a flight attendant to guide the audience in contemplating and examining the social, political, and gender issues reflected in the profession of “flight attendant,” via the Border Roaming spatial video device. Flying is a physical experience as well, and the artist Abe Nyubo has set up an AR (augmented reality) installation in this exhibition, inviting audiences to use their mobile phones as a medium to participate in different modes of “flying” in various environments. The artwork of Tang Jo-Hung further presents imaginative “flying machines” placed in comically interesting scenes of daily life.
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Flying has expanded the human horizon beyond geography, borders, and even Earth itself. The artist Li Cheng-Liang utilizes a “space station” concept in his Wannian Station installation that inspires the audience to enter the cosmos directly from the exhibition gallery. The artist Yu Shih-Fu presents a mechanical device that captures the imagery of a bird flying in the sky, and employs metallic materials to embody the future of technology. The artist Hung Tien-Yu uses a “camera drone” to observe the surface of the Earth from a high altitude, compelling the audience to reflect upon the human destruction of the Earth. The artist Hsieh Chih-Hsuan further links the concept of “flying” with “floating” to craft the visual imagery of Floating Island as a hidden metaphor of solo flight. Children in the audience are invited to the accompanying creative workshop of the same name to collaboratively create artwork representing the independent yet close-knit links between each and every person.
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Dear children, what are your dreams and aspirations about flying? Welcome to this Neverland island where dreams never disappear, and let us explore the many possibilities of flight together!

My Neverland- Dreams of Flying

策展團隊：郭朝淵x方志軒
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抬頭看看天空，你是否也和我們一樣，曾經把手舉在空中，感受陽光閃閃發光，感受微風穿過指尖，然後張開雙手，夢想自己在天空飛翔？
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好久好久以前，在人類科技還趕不上想像的年代，有些藝術家就夢想在天空飛行，或透過繪畫中的天使和聖像，想像天空的壯闊與美麗。而從達文西設計的螺旋飛行器開始，慢慢地，不只是天空，連宇宙都已經是人類探索的場域了。
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在今日，飛翔已不再是夢想，而是一個每個人都有機會實現的心願。在這次的展覽裡面，透過與8位臺日藝術家，吳逸萱、李承亮、盂施甫、阿部乳坊（日）、洪天宇、許惠晴、謝芝萱和黨若洪的合作，藉由繪畫、機械裝置、錄像、創作工坊、擴增實境與創意互動區等不同體驗形式，邀請親子共同沉浸於飛行的無邊想像。
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現代飛行是一種集體經驗，飛行的工具也提供了無邊的想像。藝術家吳逸萱以繪畫作品呈現自身的旅行記憶，將機上風景作為創作主題，展現機艙外的日夜景色；飛行也是一種職業，許惠晴以曾擔任空服員的背景，透過《邊境漫遊》空間錄像裝置引導觀眾反思、審視「空服員」職業所反映的社會、政治及性別思索。飛行更是一種身體性的經驗，阿部乳坊(Abe Nyubo)在展場打造擴增實境的裝置，邀請觀者透過手機作為媒介，親臨在不同場域穿梭的「飛行」樣態。黨若洪的繪畫展示了天馬行空的「飛行器」，滑稽而趣味地將其放置於日常場景的描繪中。
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飛行拓寬人類的視域和地理、國境、地球之外的想像。李承亮以「太空站」的形式，啟發觀眾在美術館進入《萬年站》的宇宙空間；盂施甫的作品以機械裝置打造空中飛行的鳥類形象，並以金屬材質象徵未來科技的形貌，洪天宇運用「空拍機」抵達高空，觀測地表，啟發觀眾省思人類對地球的破壞；謝芝萱的以「漂浮」連結「飛行」的概念，以《浮島》作品中的視覺意象，隱喻人的獨自飛行，並邀請小朋友加入集體創作，共創每一個人之間既獨立又緊密的連結。
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親愛的小朋友們，你們對於飛行的夢想，又是什麼呢？請大家在這座夢不落之島，一起探索飛行的各種可能吧！

夢不落 - 我的飛行夢想

桃園市立美術館辦理的「2023桃源國際藝術獎」即日公布年度簡章，將於2022年4月4日起至4月22日開放徵件，凡首次正式公開發表、且無世界各地比賽獲獎紀錄之全新創作，不限國籍、個人或團體，皆可報名參賽。
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總獎金由新臺幣86萬提高至新臺幣145萬
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「桃源國際藝術獎」以鼓勵當代藝術之實驗與創新為宗旨，持續提供創作與交流的平臺，培育新生代藝術人才，強化國際藝文交流，厚植藝術研究與創作的根基。辦理方式為兩年一屆，一年全球徵件、一年辦理展覽，給予藝術家更多時間創作、籌劃展出事宜。徵件採不分類遴選，開放各式媒材、類別、領域的作品同台競藝。參賽者可使用中文、英文報名，凡通過初審，主辦單位將支援基礎場佈、作品回程運輸及海外藝術家來臺的經濟艙機票費用，協助藝術家來臺灣參展。由於轉型後第一屆辦理成果卓然，本屆獲桃園市政府支持，將總獎金全面提高，從86萬增至145萬，「桃創獎」首獎1名，獎金提高至新臺幣60萬元；「優選獎」3名，獎金加碼至新臺幣20萬元；以及「遊藝獎」1名，獎金提增至25萬，獎助本國籍參賽者至國外遊歷觀摩，期能藉此支持新銳藝術創作，培育深具潛力的藝術人才。
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二輪評選制，以獎項號召國際交流
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本屆「桃源國際藝術獎」採二階段評比。第一階段為線上評選，參賽者通過初審後，需實地佈展、參與展出。第二階段由評審團現場評選，與參賽藝術家進行即席答辯。獲選的作品預計將在2023年3、4月於桃園展演中心1樓展出。邀請藝術創作者踴躍參賽，屆時也歡迎不同文化背景、不同世代的藝術愛好者前來觀展，開啟國際對話。本屆徵件時間自2022年4月4日起至4月22日止，詳細中英文參賽簡章請見「桃源國際藝術獎」官網 (<a href="http://tmofa-tiaa.com/">http://tmofa-tiaa.com/</a>)。

「2023桃源國際藝術獎」徵件

&nbsp;“2023 Taoyuan International Art Award,” organized by Taoyuan Museum of Fine Arts, calls for entries from 4 April to 22 April 2022. New works created by individual or group disregard nationality that have yet been exhibited nor recognized by any award at home or abroad are eligible for registration.
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Total prize increased to NTD 1.45 million
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With an aim to promote the experiment and innovation of contemporary art, Taoyuan International Art Award provides a platform for creation and exchanges to incubate new generation of artists, enhance international art exchanges, and cultivate art research and practices. The Award is organized biennially, with one year for entry submission from around the world and one year for exhibition, so that artists can have more time for work creation and exhibition planning. The Call for Entries is open to works of any material, category, or field. Artists can submit entry either in Chinese or in English. For artists that are selected after the preliminary review, the Organizer will cover the expenses for the basic exhibit build-up, fees for return transportation and the roundtrip tickets of coach (economy class) to and from Taiwan for foreign artists to partake in the exhibition in Taiwan. One winner for “Grand Prize” will be determined from the shortlist with a prize of NTD 600,000 and three winners for “Honorable Mention” with a prize of NTD 200,000.
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Two rounds of selection with preliminary and secondary reviews; an exhibition for an international dialogue
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The Taoyuan International Art Award employs a 2-round selection. The first round is an online selection. Artists selected in the Preliminary Review will build up their exhibits and participate in the exhibition in Taiwan. The second round involves on-site review by the jury, followed by an interview in person with the participating artists. The selected entries will be exhibited on the first floor of Taoyuan Arts Center in March and April 2023.
Art workers are cordially invited to enter the competition. Art lovers diverse in cultural backgrounds or ages are welcome to the exhibition for an international dialogue. The Call for Entries starts from 4 April to 22 April 2022. Kindly visit the official website of “Taoyuan International Art Award” (tmofa-tiaa.com) for more details.

2023 Taoyuan International Art Award Call for Entries

「澹養天龢—黃羣英書藝紀念展」由國立臺灣藝術大學書畫藝術學系蔡介騰教授策劃，展出桃園重要書家黃羣英重要作品及相關文件。展覽以本館典藏為基礎，重新爬梳黃羣英的創作脈絡，呈現各類書體作品，展現其「書以言志」的精神。其中《金剛般若波羅蜜經》為一138聯屏、歷經一年光景才完成的鉅作，本展導入數位科技呈現該作品，提供觀者耳目一新的書藝閱讀體驗。
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策展人 | 蔡介騰 藝術家 | 黃羣英
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策展概念 |&nbsp;
黃羣英（1920-2019）號又青，晚號泮山老人、泮翁，出生於江西廣昌，於書香世家中成長，自五歲開始習書，從此臨池不輟，年至百歲依然每日書課。國共內戰時期，他帶著14位學生一路艱辛的來到臺灣，60多年來一直居住在桃園孔廟旁的宿舍。黃羣英注重人格品德的修養，生活簡樸，不為外物所役。他體認到「書法是人類智慧，世界文化的寶貴資產」，多年來在各地積極推動書法教育，曾經同時任教20多個單位，延續書法種子與傳播書法文化。
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本次展覽係據於黃羣英的百歲書藝成就，以桃美館所藏其晚年作品，依作品內容分為四個類項：「翰墨情緣」包含臨書、書論、獨特表現書寫；「篤志好學」則為與古對話，詩詞吟詠之作；「泮山閑居」呈現黃羣英晚年閑居書屋時的自作詩文；「處世養和」則總括了其謙和思維、佛語禪詩。黃羣英畢生推崇儒家修身治世之學，秉持「書以言志」的精神，書法作品文句每每傳達其處世哲理；又融通佛學禪思，表現在他天性豁達、澹泊名利的性格，如其句「我磨硯，硯磨我，九十歲月匆匆過，興來塗幾筆，悠閑寫日課，恬澹養天龢。」
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黃羣英一生謙沖自牧、人格高遠，重視以德行修身、養心，並堅持讀書、寫字，志在以書育人，一如其言「以技展藝，以藝育人，以人弘道，以道濟世。」書法是藝術，亦是文化表徵，書藝承載文化與智慧，更得以宏揚聖人之道。黃羣英的書法，展現深厚涵養，觀其作品猶如見識其人。黃羣英95歲所作「了無憾意，那有遺言」，即是他畢生以書藝明志，以恬澹養性的寫照。
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黃羣英常用印多為學生、友人所贈，本展彙整並展示晚年常用印75方；另也陳列黃羣英生前所出版專輯共12冊，其中有1990年出版之《黃羣英七十首展書畫選集》、1996年為法鼓山所寫並印刷發行的《金剛般若波羅蜜經》、2013年《雪泥鴻爪－泮翁詩文書畫彙編》等，以記述其書藝之面貌與發展。

「澹養天龢—黃羣英書藝紀念展」

「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。

「臺灣書藝新契機—1949渡海書家特展」

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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&nbsp;
Curator TSAI Chieh-Teng
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Artist Hwang Chyun-Ing
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Days of Tranquility: Commemorative Calligraphy Exhibition of Hwang Chyun-Ing

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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&nbsp;
"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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&nbsp;
"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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&nbsp;
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

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

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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See Sea

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

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。
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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

「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。

橫山展書讀

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

Flying Ink: Hengshan International Calligraphy Art Exhibition

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

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 

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

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

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

「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

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

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

Like Monsters

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

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

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.

Childhood

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

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

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

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

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

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

「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」

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

「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

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。

In Search of the Moon and the Sun

日月奇遇記

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

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。

Summer Vacation Workshop

關於家鄉，我想說的是……

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。

A Different Day

不一樣的一天多媒體互動展

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

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】

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。

第17屆桃源創作獎

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.

Fai Chun by the Door–Re-imagining Fai Chun

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。

春仔串門子-春聯的再想像

桃園市立美術館，融合城市底蘊、國際視野與未來想像的桃美館，不僅作為推展藝術的動力引擎，也望形成創新實驗、文化發展的活力基地

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