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

Taoyuan Children’s Art Center

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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桃園市兒童美術館(八德館)

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

Taoyuan Museum of Fine Arts

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

桃園市立美術館(母館)

〈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

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

「像極了怪獸」展

Like Monsters

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

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

「小時候」特展

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

The "Childhood" Exhibition

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。

「遊走地圖」展

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

「有跡可『尋』」展

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

“Tracing”-From Archeological Vision to Art Imagination

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。

日月奇遇記

In Search of the Moon and the Sun

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。

關於家鄉，我想說的是……

Summer Vacation Workshop

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

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

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

【媽媽・寶貝—創造愛與被愛的方式特展】

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

Mothers & Babies – Ways to Love and Be Loved

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。

桃園市美術館 Logo

展覽展覽回顧