窯座 Yáo

窯座 Yáo 一棟兼差做展場/工作室/活動空間的公寓
目前替代空間執行中,聚落集散中

然而,we live as if we are immortal。🕳「我曾經看過一座果園,像船、像扇貝、像一顆熟透的水果、像餵養家畜的碗、像水塘、像空心的骸骨、像有神的廟宇、像玻璃燈具、像蝸牛殼、像燃燒的鞭炮」一開始,我最先注意到的是牆。因...
12/05/2026

然而,we live as if we are immortal。🕳

「我曾經看過一座果園,像船、像扇貝、像一顆熟透的水果、像餵養家畜的碗、像水塘、像空心的骸骨、像有神的廟宇、像玻璃燈具、像蝸牛殼、像燃燒的鞭炮」

一開始,我最先注意到的是牆。
因為沒有牆,園內的生命將無限制的恣意生長,生命將會變得沒有盡頭,因而變得沒有生,也沒有死。

然後,我看見泥土。
那是一籮又一籮的大量土壤,空氣中充滿了原始的氣味,晶瑩的、跳動的粒子在空氣中湧動,準備餵養眾生。

果園的角落,是一窪淺水塘。
南方的光線穿透水體,黏合了土壤的豐盈,在熱帶魚表面映照出光亮的花紋,池底的水草順著水流緩緩漂動。

水草上方,ㄧ串熟透的果實懸掛在樹枝上。
隨著一粒又一粒的果實逐漸顯現,不同種類的果樹也逐一出現在園內,他們的雌蕊與雄蕊互相沾染著彼此,樹梢的
盡頭開著不合時宜的花朵。

夜裡,一隻白犬踏著碎步進入果園。
他的腳掌在鋪滿樹枝的土壤上發出潮濕又悅耳的聲響,藉由嗅聞,他知道哪些動物正準備甦醒,而哪些植物又正踏入長長的睡眠。

I once beheld an orchard, like a boat, like a scallop, like a ripened fruit, like a bowl for feeding beasts, like a pond, like hollowed bones, like a temple of the gods, like a glass lamp, like a snail’s shell, like burning firecrackers.

In the beginning, what I first noticed was the wall. Because without a wall, the life within the garden would grow wantonly without limit; life would become endless, and thus there would be no birth, and no death.

Then, I saw the soil. It was basket upon basket of vast earth, and the air was filled with a primordial scent; crystalline, pulsing particles surged in the air, ready to nourish all living things.

In the corner of the orchard, there was a shallow pond. The southern light pierced the body of water, binding the richness of the soil, reflecting luminous patterns upon the surface of tropical fish, while the water weeds at the bottom drifted slowly with the current.

Above the water weeds, a cluster of ripened fruit hung upon the branches. As one fruit after another gradually manifested, different kinds of fruit trees appeared one by one in the garden; their pistils and stamens stained one another, while at the ends of the treetops bloomed untimely flowers.

In the night, a white dog entered the orchard with light, rhythmic steps. His paws made a damp and pleasant sound upon the soil strewn with branches; through scent, he knew which animals were preparing to wake, and which plants were stepping into a long, deep sleep.

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藝術家 Artist /童安雅 Tong Anya 蕭雅萱 Hsiao YaHsuan

展覽日期 Dates / 2026.05.10-2026.05.24
開放時間 Time / 15:00-20:00(週一、二公休)
展覽地點 Venue / 窯座 Yáo

*夏天來了
*大家聽到了嗎?

然而,we live as if we are immortal。🕳本展覽以《摩訶婆羅多》中的一句話 “Every day, people pass away, yet we live as if we are immortal.”  引出...
04/05/2026

然而,we live as if we are immortal。🕳

本展覽以《摩訶婆羅多》中的一句話 “Every day, people pass away, yet we live as if we are immortal.”  引出童安雅與蕭雅萱兩位藝術家對生命與死亡的思索。

童安雅透過多媒材散文式創作,追索遺忘、執念與重生中靈魂墜入塵世的軌跡,於燃燒的灰燼間見證凡人抗拒消亡的無聲證據,揭示記憶與無意識在時空中的印記。蕭雅萱則建構虛構的來世「等待室」,聚焦回憶如何被揀選、攜帶,成為逝者在領受生命並與過去和解的憑證。展覽呈現兩位藝術家如何以凝視生死夾縫間的永恆悖論,回應生命在塵世與彼岸的不同狀態。

This exhibition is introduced by a quote from the Mahabharata: “Every day, people pass away, yet we live as if we are immortal.” It brings together the reflections on life and death of artists Anya Tong and Hsiao Ya-Hsuan.

Anya Tong works in a multi-medium, prose-like style, tracing the path of the soul as it descends into the worldly realms of oblivion, fixation, and rebirth. Her work reveals silent evidence of the mortals‘ resistance against decay amidst burning ashes, exposing the traces of memory and the unconscious in space and time.

Hsiao Ya-Hsuan constructs a fictional ’waiting room‘ for the afterlife, focusing on how memories are selected and carried, becoming a testament for the deceased as they receive life and reconcile with the past.

The exhibition will present how the two artists respond to the various states of life in this world and the hereafter, by staring at the eternal paradox within the cracks between life and death.

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藝術家 Artist /童安雅 Tong Anya 蕭雅萱 Hsiao YaHsuan

開幕活動 Opening Event / 05.10(日)18:00-21:00
展覽日期 Dates / 2026.05.10-2026.05.24
開放時間 Time / 15:00-20:00(週一、二公休)
展覽地點 Venue / 窯座 Yáo

*生死凝視的夾縫
*好有畫面感

𝙏𝙝𝙚 𝙤𝙩𝙝𝙚𝙧 𝙨𝙝𝙤𝙬:今天的我是76分“today I’m scoring a 76 out of 100”76分展覽順利落幕,謝謝參與和到場同樂的大家~希望你們都有玩得開心,下次見!The 76-point show has co...
03/05/2026

𝙏𝙝𝙚 𝙤𝙩𝙝𝙚𝙧 𝙨𝙝𝙤𝙬
:今天的我是76分
“today I’m scoring a 76 out of 100”

76分展覽順利落幕,謝謝參與和到場同樂的大家~
希望你們都有玩得開心,下次見!

The 76-point show has come to a close.
Thank you to everyone who participated and came by to hang out.

Hope you all had a good time
see you next time!

23/04/2026

𝙏𝙝𝙚 𝙤𝙩𝙝𝙚𝙧 𝙨𝙝𝙤𝙬
:今天的我是76分

今天不完美,也不算糟
班照常去上,在辦公室懶洋洋地撐過午後
一如既往的尖峰時刻,卻看見了夕陽
不完美但也不糟,今天大概75分
但75太整齊,像是勉強給的
所以決定,是76分

Yáo presents: the other show
“today I’m scoring a 76 out of 100”

Today wasn’t perfect, but it wasn’t bad either.
Went to work as usual, sluggishly made it through the afternoon. The rush hour felt the same as always — only this time, with a sunset.

Not perfect, not terrible. Maybe a 75 kind of day.
But 75 feels too neat, like I was trying to make it sound okay.

So I’m calling it 76.

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影像輸出 Print Production / 造影所

展覽日期 Dates / 2026.05.01-05.03
開幕活動 Opening Event / 05.01 (六)16:00
開放時間 Time / 15:00-20:00
展覽地點 Venue / 窯座 Yáo

*支線計畫
*來了來了
*三天限定
*3-day pop-up

那些與我無關的 Little Matters「我們很常分享那些美麗是如何在不經意中,於自然拾得」「它們常常出現在某個角落,通常低於視平線處」「我覺得當我們有所感知的時候,關係就已經產生了,只是還說不清楚」「剛剛突然想到,如果它們有眼睛,那我...
20/04/2026

那些與我無關的 Little Matters

「我們很常分享那些美麗是如何在不經意中,於自然拾得」
「它們常常出現在某個角落,通常低於視平線處」
「我覺得當我們有所感知的時候,關係就已經產生了,只是還說不清楚」
「剛剛突然想到,如果它們有眼睛,那我想,當下一定是正巧的眼神交會」
「就像看文字,盯著眼前景象久一點,便會感覺陌生,一種新的理解也被打開了」

「在記憶裡存放著,時不時回想,是不是也算一種盯著?但現在想起來,那應該屬於是模糊的曾經⋯」

「流淌或搖曳,滲進纖維和顆粒間,滲進牆,成為一抹漬或影子」
「一種記憶的痕跡?畢竟其餘的應該早就忘了吧⋯忘了它們的顏色、水分、健康狀態⋯」

「一些過於茂盛、鮮活、無瑕的,反而讓我感到不太真實」

「對啊⋯」

“We often share how beauty is found, unintentionally, in nature.”
“They often appear in corners, usually below eye level.”
“I feel that once we perceive something, a relationship is already formed, even if we can’t yet describe it.”
“I just thought, if they had eyes, it would be a moment of accidental eye contact.”
“It’s like reading—if you look at something long enough, it becomes unfamiliar, and a new understanding opens.”

“If something is stored in memory and revisited from time to time, does that also count as staring?
Thinking about it now, it probably belongs to a blurred past…”

“Flowing or swaying, seeping into fibers and particles, into the wall, becoming a stain or a shadow.”
“A trace of memory, perhaps? The rest must have already been forgotten—its color, its moisture, its state…”
“Things that are too lush, too vivid, too perfect feel unreal to me.”
“Yeah…”

Photo © YÁO
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藝術家 Artist /莊品彥 Zhuang PinYen、張大仁 Chang DaRen

展覽日期 Dates / 2026.04.09-2026.04.26
開放時間 Time / 15:00-20:00(週一、二公休)
展覽地點 Venue / 窯座 Yáo

*今天突然好奇
*上班的大家
*午餐吃什麼

那些與我無關的 Little Matters植物作為過客這檔展覽,從我們彼此的興趣與創作交集的題材「植物」開始。在我們各自的作品中,植物多像是一個過客,或是漫不經心下發覺的存在。它們並非被「特地尋找」而來,更多是行進間的偶遇。這些平時彷彿與...
16/04/2026

那些與我無關的 Little Matters

植物作為過客

這檔展覽,從我們彼此的興趣與創作交集的題材「植物」開始。在我們各自的作品中,植物多像是一個過客,或是漫不經心下發覺的存在。它們並非被「特地尋找」而來,更多是行進間的偶遇。這些平時彷彿與任何人都無關的街邊植物,可能因姿態奇特、不似印象中的自然產物,或因出現於規制之外的所在,使其造形、結構……格外引人注意。往往在短暫的視線映照後,基於謎樣的採集或美感本能,它們被吸收進我們創作的迴路中,伴隨著體內那陣陣迴盪、難以言明的共鳴,繼續生長。植物的本體,可能依舊停留在某個街邊角落;或被裝進一個當下隨意找出的塑膠袋;又或遺留在為了夾存它而臨時翻開的層層書頁中。

Plants as Passersby

This exhibition begins with a shared interest in plants, a subject that intersects our individual practices. In our works, plants often appear as passersby, discovered casually rather than deliberately sought. These ordinary street plants, seemingly unrelated to anyone, may attract attention because of unusual forms, unexpected colors, or their presence outside conventional spaces. Brief glimpses, guided by a mysterious impulse or aesthetic instinct, draw them into our creative loop, accompanied by a subtle, difficult-to-express resonance that continues to grow. The plants themselves may remain on a street corner, placed in a spontaneously found plastic bag, or left between the pages of a book opened just to hold them temporarily.

Photo © YÁO
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藝術家 Artist /莊品彥 Zhuang PinYen、張大仁 Chang DaRen

展覽日期 Dates / 2026.04.09-2026.04.26
開放時間 Time / 15:00-20:00(週一、二公休)
展覽地點 Venue / 窯座 Yáo

*這兩天犯春懶
*特別嚴重
*但又特別忙
*(-_^)

那些與我無關的 Little Matters幾年前還在大學時,我們在跨校的繪畫聯展結識,後來因都有持續參與相關活動而更熟絡。由於念不同學校,除了偶爾相約看展,平常都用IG互相分享喜愛的藝術家、作品,通常是畫,或各種美麗的工藝、文物、生物、時...
13/04/2026

那些與我無關的 Little Matters

幾年前還在大學時,我們在跨校的繪畫聯展結識,後來因都有持續參與相關活動而更熟絡。由於念不同學校,除了偶爾相約看展,平常都用IG互相分享喜愛的藝術家、作品,通常是畫,或各種美麗的工藝、文物、生物、時尚、建築......之類。比起燒腦地探討議題,更想花時間接觸美麗的事物,比如花草植物,純粹的令人著迷。

某天聊到,做個滿是花草的展感覺會很開心吧,當時還不知何時會實現,也不知要長什麼樣子。大學畢業後,依然保持著聯絡和對美麗事物的興趣。有趣的是,我們在生活中一直都沒有養植物,只是愛看而已。

A few years ago, when we were still in university, we met through an intercollegiate painting exhibition. Later on, we became closer as we continued to take part in related events.

Since we studied at different schools, we mostly kept in touch by occasionally visiting exhibitions together, and more often by sharing things we loved on Instagram—usually paintings, but also various beautiful things: crafts, artifacts, living forms, fashion, architecture, and more. Rather than overthinking concepts, we preferred to spend time simply engaging with beauty—like flowers and plants, something purely captivating.

One day, we talked about how nice it would be to create an exhibition filled with plants. At the time, we had no idea when it would happen, or what it would look like. Even after graduating, we stayed in touch and continued sharing this interest in beautiful things.

Interestingly, neither of us has ever really kept plants—we’ve only ever looked at them.

Photo © YÁO
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藝術家 Artist /莊品彥 Zhuang PinYen、張大仁 Chang DaRen

展覽日期 Dates / 2026.04.09-2026.04.26
開放時間 Time / 15:00-20:00(週一、二公休)
展覽地點 Venue / 窯座 Yáo

*這次展覽
*只有三週喔
*要把握

那些與我無關的 Little Matters不經意瞥見,路邊已經枯黃的盆栽,盛裝的盆像是強調它們曾經被挑選,承載了人對於生活中綠意的嚮往,而被精心安排在此。如今散或許這簇捲縮如枯蛹的葉子,曾恣意伸展著青綠,落在地上,被風吹拂也沒有反應。盆旁...
03/04/2026

那些與我無關的 Little Matters

不經意瞥見,路邊已經枯黃的盆栽,盛裝的盆像是強調它們曾經被挑選,承載了人對於生活中綠意的嚮往,而被精心安排在此。如今散或許這簇捲縮如枯蛹的葉子,曾恣意伸展著青綠,落在地上,被風吹拂也沒有反應。盆旁,灰硬路面一撮砂石間的雜草顯得更有生機。

我們對那些植物的態度就像一個旁觀者,與它有種微妙的距離感──別人家的盆栽,或路邊無主的野花草,從不屬於我們,但時常被我們的目光擷取,揮之不去。

Glancing casually, we notice a withered potted plant by the roadside. Its carefully chosen pot seems to emphasize that it was once selected, carrying with it a human longing for greenery, now thoughtfully placed here. Perhaps the curled leaves, once stretching out in vibrant green like a cocoon, now lie scattered on the ground, unresponsive even to the wind. Nearby, a tuft of weeds among the hard gray pavement and scattered gravel seems more alive.

Our attitude toward these plants is like that of an observer, keeping a subtle distance—they are not ours: someone else’s potted plant, or a wild flower by the street—but they are often captured by our gaze, lingering in memory.

-
藝術家 Artist /莊品彥 Zhuang PinYen、張大仁 Chang DaRen

展覽日期 Dates / 2026.04.09-2026.04.26
開放時間 Time / 15:00-20:00(週一、二公休)
展覽地點 Venue / 窯座 Yáo

*我家樓下有一顆別人家的櫻花樹
*長得很高
*在我家就能看到
*我很感謝樓下別人家

WHAT THE traffic cone..  MAGICAL GIRL作品中的「魔法少女」靈感來自我平常遊玩的 Final Fantasy 系列。角色戴著誇張的大帽子,源自經典職業「黑魔法師(Black Mage)」,並延伸出火焰、冰凍...
30/03/2026

WHAT THE traffic cone..  MAGICAL GIRL

作品中的「魔法少女」靈感來自我平常遊玩的 Final Fantasy 系列。角色戴著誇張的大帽子,源自經典職業「黑魔法師(Black Mage)」,並延伸出火焰、冰凍、閃電、重力等魔法設定,以及象徵終極力量的「究極(Ultima)」概念。

交通錐是我很喜歡的材料,取得容易、可堆疊,完成後仍保有功能性。相較過去以水泥為基底、厚重且佔空間的作品,交通錐更輕盈,也延續我將日常物件可愛化的創作方向。這次在窯座頂樓創作時,我很直覺地想像出大量交通錐佈滿空間的畫面,希望觀眾能直接感受到這種轉化後的可愛感。

作品中也大量使用動物元素,並以粉紅與粉藍為主色。這來自童年被動物布偶包圍入睡的記憶,那種被陪伴的安心感一直留在我心中。近年的創作像是在重新召喚這些感受,也象徵我逐漸放下過去的沉重,重新找回自己真正喜歡的事物,並透過作品把它們表達出來。

The “magical girl” figure in this work is inspired by the Final Fantasy series, which I often play. The oversized hat comes from the iconic “Black Mage” character, extending into a system of magic including fire, ice, lightning, and gravity, as well as the idea of “Ultima,” a spell that represents ultimate, non-elemental power.

Traffic cones are one of my favorite materials. They are easy to obtain, stackable, and remain functional even after being transformed. Compared to my earlier cement-based works, which were heavy and spatially demanding, traffic cones allow for a lighter approach while continuing my interest in turning everyday objects into something cute. When I saw the rooftop space at YAO, I immediately imagined it filled with a large number of cones, hoping viewers could directly experience this transformation.

The work also incorporates a large number of animal elements, with pink and light blue as the dominant colors. This comes from a childhood memory of falling asleep surrounded by plush toys, a feeling of companionship and comfort that has stayed with me. In recent years, my practice has become a way of recalling these sensations. It also reflects a gradual shift in letting go of past heaviness, and rediscovering what I truly enjoy, bringing those feelings back through making.

Photo © YÁO、
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藝術家 Artist /張鈞傑 Chang ChunChieh
燈光設計 lighting design / 絕對光度 LighTemp

展覽日期 Dates / 2026.03.11-2026.04.26
開放時間 Time / 15:00-20:00(週一、二公休)
展覽地點 Venue / 窯座天臺 Yáo’s roof top

*天臺的魔法少女
*到四月底喔

啵(破))))))))))))))))))PO(P))))))))))))))))))我在這檔展覽對「破」去做想像,一個物件、事件、關係體感上、腦中的想像。東西在破掉之前會有一個形象,在我看來,每個物件的外層都附著一層透明的泡泡,我稱他為距...
23/03/2026

啵(破))))))))))))))))))
PO(P))))))))))))))))))

我在這檔展覽對「破」去做想像,一個物件、事件、關係體感上、腦中的想像。東西在破掉之前會有一個形象,在我看來,每個物件的外層都附著一層透明的泡泡,我稱他為距離感。有時候是外面那層透明狀的膜破掉,有時則是一層一層逐漸推進到物件本身,而在經歷破掉的過程如同正在預期一件事的發生,真正破掉時,緊張感會瞬間歸零,像是急煞與緊急落地,那股墜落感藉由作品在展場中被放大觀看。

In this exhibition, I explore the idea of “breaking” as it relates to objects, events, relationships, bodily sensations, and mental imagery.

Before something breaks, it carries a certain form or image. To me, every object seems to be wrapped in a transparent bubble, which I think of as a kind of distance. Sometimes it is this outer translucent membrane that ruptures; other times, the breaking moves layer by layer, gradually reaching the object itself.

The process of breaking feels like anticipating the moment something will happen. When it finally occurs, the tension instantly collapses to zero, like a sudden brake or an abrupt landing. This sensation of falling is magnified through the works as they are experienced within the exhibition.

Photo © YÁO
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藝術家 Artist /葉姵萱 Ye PeiHsuan

展覽日期 Dates / 2026.03.07-2026.03.29
開放時間 Time / 15:00-20:00(週一、二公休)
展覽地點 Venue / 窯座 Yáo

*破掉的聲音還很可愛
*啵一聲
*卻回不去了

啵(破))))))))))))))))))PO(P))))))))))))))))))在展場中的完美與不完美,經過了一些事件的堆積,才能在乾淨中增添一些碎片。處理生蛋的洗手台,那久久無法散去的蛋腥味,盤旋在空氣中,像觀眾繞著《完蛋-標準》走...
16/03/2026

啵(破))))))))))))))))))
PO(P))))))))))))))))))

在展場中的完美與不完美,經過了一些事件的堆積,才能在乾淨中增添一些碎片。

處理生蛋的洗手台,那久久無法散去的蛋腥味,盤旋在空氣中,像觀眾繞著《完蛋-標準》走一樣,有一條透明的線牽引至感官。《完蛋-掉下去怎麼辦》的蛋掉下去了,樓下的狗狗(荔枝)回答了這個問題,他吃了半顆的皮蛋,所以我改成煮水煮蛋。

In the exhibition, perfection and imperfection coexist. Only through the accumulation of small events can fragments appear within a seemingly clean environment.

The sink used to handle raw eggs carries a lingering eggy smell that refuses to fade. It lingers in the air, much like visitors circling around “完蛋 – 標準 (Oops – Standard)”, as if an invisible line quietly guides the senses. In “完蛋 – 掉下去怎麼辦 (Oops – What If It Falls?)”, the egg eventually did fall. The dog downstairs (Lychee) answered that question by eating half of the century egg. So I changed it to a boiled egg.

The title comes from the Mandarin phrase “完蛋 (wándàn)”, meaning “it’s over” or “we’re doomed.” Since the word 蛋 literally means “egg,” the artist turns the phrase into a visual pun by using real eggs.

Photo © YÁO、葉姵萱
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藝術家 Artist /葉姵萱 Ye PeiHsuan

展覽日期 Dates / 2026.03.07-2026.03.29
開放時間 Time / 15:00-20:00(週一、二公休)
展覽地點 Venue / 窯座 Yáo

*完蛋
*完美的蛋
*oops
*翻譯的難度

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台中市西區民生路126巷9號2樓, West District
Taichung
126

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