Back_y伊日後樂園

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Back_y伊日後樂園 A contemporary art gallery that offers an experimental space for art openness, while unveiling what the future gallery could become.

《伊日後樂園 BACK_Y 》
2022年成立於臺北內湖,以當代藝術為主軸的藝廊。取自於後花園(Back Yard),其中多樣化的有機體互相串連並隨著時間變化,散發出瞬息萬變的能量感染周遭環境。此刻,什麼樣的藝術正在發生,人們正在想些什麼,而想像又如何進入此場域。BACK_Y 是一條路徑,暗示著充滿生機、時刻有新事物發生的樂園。

我們尋找世界上最令人興奮的藝術家,捕捉當代藝術那稍縱即逝的魔幻特質,並以展覽策劃做為最即時的回應。致力傳達當今藝術與文化上最迫切與渴望的重要訊息,我們期許成為推動當代藝術機器中的那關鍵齒輪。

A contemporary art gallery that offers an experimental space for art openness, while unveiling what the future gallery could become.

Now on View | 伊日後樂園 BACK_Y 1F陳昱翰 Chen Yu-Han : 別居 Bathroom Camping此次個展《別居》源自近年社群媒體上出現的「Bathroom Camping」現象。當人們選擇短暫躲進浴室或廁...
16/09/2026

Now on View | 伊日後樂園 BACK_Y 1F

陳昱翰 Chen Yu-Han : 別居 Bathroom Camping

此次個展《別居》源自近年社群媒體上出現的「Bathroom Camping」現象。當人們選擇短暫躲進浴室或廁所,這些原本以生理機能為主要用途的空間,也逐漸轉變為暫時遠離外界壓力、安放情緒與獲得片刻獨處的場所。陳昱翰由此開始思考,當最私密的身體空間同時存在於公共建築之中,個人的界線究竟如何被建立、壓縮,又如何不斷受到他人的介入。

在展覽中,浴室與廁所成為藝術家觀察身體、情感與他人距離的核心場域。小便斗、奶嘴、隔簾、紗網與日常物件經過重新轉譯與排列,使原本熟悉的功能產生錯置。這些作品指向公共空間中難以避免的視線交會、過度靠近的身體距離,以及遮蔽與暴露同時存在的矛盾狀態,也使原本被忽略的尷尬、脆弱與不安逐漸浮現。

「別居」作為展覽名稱,是藝術家對 Bathroom Camping 的中文轉譯與延伸。它並非指向真正的居住或離開,而更接近一種短暫停留的狀態,如同在日常生活中為自己搭起一處臨時營地。人在其中暫時卸下外在防備,讓情緒、身體與空間彼此試探,並重新確認自身與他人之間的距離。

透過《別居》,陳昱翰將日常中對距離、私密性與身體感知的觀察,轉化為一系列空間性的實踐。展覽所關注的並非浴室本身,而是在最私密與最公共之間,那些難以被清楚劃分的界線,以及人在其中不斷尋找自身位置的過程。

Bathroom Camping takes its starting point from the social-media phenomenon in which people retreat to bathrooms or toilets for moments of solitude. Spaces primarily associated with bodily functions are temporarily transformed into places of withdrawal, offering brief relief from external pressure and a provisional space in which emotions can be contained. From this phenomenon, Chen considers how privacy is constructed, compressed, and repeatedly interrupted when intimate bodily spaces are embedded within public architecture.

Throughout the exhibition, bathrooms and toilets become central sites through which the artist examines bodily awareness, emotional states, and interpersonal distance. Urinals, pacifiers, curtains, mesh, and familiar domestic elements are displaced from their expected functions and reconfigured into spatial encounters. Through these gestures, Chen draws attention to forced proximity, unavoidable exchanges of gaze, and the simultaneous presence of concealment and exposure within shared environments.

The Chinese title Bie Ju extends the idea of “Bathroom Camping” into a broader condition of temporary inhabitation. Rather than suggesting permanent residence, it describes a momentary pause between arrival and departure: a provisional state in which one withdraws from external expectations, lowers one’s defenses, and renegotiates the relationship between body, emotion, and space.

Through Bathroom Camping, Chen transforms subtle experiences of discomfort, intimacy, and spatial negotiation into a series of visual and spatial propositions. The exhibition ultimately looks beyond the bathroom itself, focusing instead on the unstable boundaries between the private and the public, and on the ways individuals continually search for a place in which the self can momentarily settle.

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Explore : https://yiriarts.com.tw/
2026.09.10–2026.10.31

📍伊日後樂園 BACK_Y 1F
https://yiriarts.com.tw/contact/

此計劃受國藝會補助
Supported by NCAF

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Photo Credit : Courtesy of the artist and YIRI ARTS

Now on View |伊日後樂園 BACK_Y 2F李世文 Li Shih-Wen : 風來 Presence of Wind此次個展《風來》延續藝術家對生命經驗與身體感知的探索,並將視線帶向山林。2024 年,李世文與隊友夜宿匹匹達東...
14/09/2026

Now on View |伊日後樂園 BACK_Y 2F

李世文 Li Shih-Wen : 風來 Presence of Wind

此次個展《風來》延續藝術家對生命經驗與身體感知的探索,並將視線帶向山林。2024 年,李世文與隊友夜宿匹匹達東鞍,整夜未歇的強風拍打帳篷,使他重新意識到,風不僅是氣象數據中的自然現象,更是一種直接作用於身體、改變人與環境邊界的存在。

回到繪畫,李世文將每一次山行所累積的感知與記憶轉化為畫面,使風成為連結視覺、身體與空間的媒介。畫布上的皺褶、光影與流動痕跡,如同另一種形式的氣流,讓觀看不只停留於視覺,也觸發身體曾經感受過的溫度、震動與節奏。

《風來》並非描繪風的形象,而是試圖捕捉一種始終存在、卻不可見的力量。當內在經驗再次透過繪畫顯現,風也成為藝術家重新感知自身、自然與世界之間關係的方式。

Presence of Wind extends the artist’s ongoing exploration of lived experience and bodily perception, turning his attention toward the mountain landscape. In 2024, Li spent a night camping with his companions at Pipidadong Saddle, where relentless winds battered their tent and kept them awake throughout the night. The experience led him to reconsider wind not simply as meteorological data, but as a force that acts directly upon the body, continuously reshaping the boundary between the self and the surrounding environment.

Returning to painting, Li transforms the sensations and memories accumulated through his journeys into visual form. Wind becomes a medium connecting vision, body, and space. Folds, shifting light, and traces of movement across the canvas evoke another kind of airflow, allowing the act of looking to extend beyond sight and awaken bodily memories of temperature, vibration, and rhythm.

Rather than depicting wind itself, Presence of Wind seeks to register an invisible yet persistent force. As internal experience gradually takes visible form through painting, wind becomes a means through which Li reconsiders the relationship between the self, nature, and the world.

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Explore
https://yiriarts.com.tw/

2026.09.10–2026.10.31
📍 https://yiriarts.com.tw/contact/

Photo Credit: Courtesy of the artists, BACK_Y, and YIRI ARTS

Now on View|伊日後樂園 BACK_Y伊日後樂園現正推出兩檔個展:陳昱翰《別居 Bathroom Camping》與李世文《風來 Presence of Wind》。兩檔展覽展至 2026 年 10 月 31 日。開幕茶會將於 9...
11/09/2026

Now on View|伊日後樂園 BACK_Y

伊日後樂園現正推出兩檔個展:陳昱翰《別居 Bathroom Camping》與李世文《風來 Presence of Wind》。兩檔展覽展至 2026 年 10 月 31 日。

開幕茶會將於 9 月 12 日(六)15:00–19:00 舉行,誠摯邀請您蒞臨。

BACK_Y is pleased to present two solo exhibitions now on view: Chen Yu-Han’s Bathroom Camping and Li Shih-Wen’s Presence of Wind. Both exhibitions continue through October 31, 2026.

Join us for the opening reception on Saturday, September 12, from 3–7 PM.

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▎BACK_Y 1F

陳昱翰 Chen Yu-Han
別居 Bathroom Camping

《別居》延伸自社群媒體上流行的「Bathroom Camping」現象,將浴室與廁所視為暫時抽離外界、安放情緒的空間。藝術家透過小便斗、隔簾、紗網與日常物件的轉譯,重新思考私密與公共、遮蔽與暴露、靠近與疏離之間模糊而矛盾的界線。

Bathroom Camping takes its point of departure from the social-media phenomenon of the same name, in which bathrooms become temporary retreats from external pressures. Through the recontextualization of urinals, curtains, mesh, and familiar objects, Chen reflects on the shifting boundaries between private and public, concealment and exposure, intimacy and distance.

此計劃受國藝會補助
Supported by the National Culture and Arts Foundation (NCAF)

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▎BACK_Y 2F

李世文 Li Shih-Wen
風來 Presence of Wind

《風來》並非描繪風本身,而是試圖捕捉一種始終存在、卻不可見的力量,並藉此重新思考自身、自然與世界之間的關係。

Rather than depicting wind itself, Presence of Wind seeks to register an invisible yet persistent force, opening a space to reconsider the relationship between the self, nature, and the world.

-

Explore
https://yiriarts.com.tw/

2026.09.10–2026.10.31

Opening Reception
09.12 (Sat.) 3–7 PM

📍 https://yiriarts.com.tw/contact/

Photo Credit: Courtesy of the artists, BACK_Y, and YIRI ARTS

UPCOMING|伊日後樂園 BACK_Y 1F陳昱翰 Chen Yu-Han : 別居 Bathroom Camping伊日後樂園將於 2026 年 9 月 10 日至 10 月 31 日推出陳昱翰個展《別居》,並於 9 月 12 日下午...
27/08/2026

UPCOMING|伊日後樂園 BACK_Y 1F

陳昱翰 Chen Yu-Han : 別居 Bathroom Camping

伊日後樂園將於 2026 年 9 月 10 日至 10 月 31 日推出陳昱翰個展《別居》,並於 9 月 12 日下午 3 點舉行開幕茶會。

陳昱翰的創作涵蓋陶、影像、聲音與現成物,並以裝置形式探討身體、空間與人際關係之間的微妙距離。作品多從個人經驗與日常觀察出發,關注私密性、脆弱感,以及人在公共空間中不斷協商自身界線的狀態。

此次個展《別居》延伸自社群媒體上流行的「Bathroom Camping」現象,將浴室與廁所視為一種暫時抽離外界、安放情緒的空間。藝術家透過小便斗、隔簾、紗網與日常物件的轉譯,重新思考私密與公共、遮蔽與暴露、靠近與疏離之間模糊而矛盾的界線。

《別居》指向一種短暫停留的身體與情緒狀態,如同一次未決定去向的紮營,在抵達與離開之間,尋找片刻得以安放自身的位置。

BACK_Y is pleased to present Bathroom Camping, a solo exhibition by Chen Yu-Han, on view from September 10 to October 31, 2026. An opening reception will be held on September 12 at 3 PM.

Chen Yu-Han works across ceramics, video, sound, and found objects, using installation to explore the shifting relationships between the body, space, and interpersonal distance. Drawing from personal experience and everyday observation, his practice examines privacy, vulnerability, and the ways individuals continually negotiate their boundaries within shared environments.

Bathroom Camping takes its point of departure from the social-media phenomenon of the same name, in which bathrooms become temporary retreats from external pressure. Through the recontextualization of urinals, curtains, mesh, and familiar objects, Chen reflects on the unstable boundaries between private and public, concealment and exposure, intimacy and distance.

The exhibition proposes “camping” as a temporary state of emotional and bodily suspension: a moment between arrival and departure, in which one seeks a provisional space to withdraw, reposition, and simply remain.

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Explore : https://yiriarts.com.tw/

2026.09.10–2026.10.31
Opening Reception|09.12 (Sat.) 3-7pm

📍伊日後樂園 BACK_Y 1F
https://yiriarts.com.tw/contact/

此計劃受國藝會補助
Supported by NCAF

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Photo Credit : Courtesy of the artist

UPCOMING|伊日後樂園 BACK_Y 2F李世文 Li Shih-Wen : 風來 Presence of Wind伊日後樂園將於 2026 年 9 月 10 日至 10 月 31 日推出李世文個展《風來》,並於 9 月 12 日下午...
26/08/2026

UPCOMING|伊日後樂園 BACK_Y 2F

李世文 Li Shih-Wen : 風來 Presence of Wind

伊日後樂園將於 2026 年 9 月 10 日至 10 月 31 日推出李世文個展《風來》,並於 9 月 12 日下午 3 點舉行開幕茶會。

李世文長期將創作視為整理與轉化生活經驗的方式。那些難以被直接言說的感受,透過繪畫逐漸轉化為內在精神的出口。個人化的物件、圖像與記憶片段彼此交疊,形成介於現實與心理感知之間的敘事,也使觀看成為一種重新映照自身經驗的過程。

此次個展《風來》延續藝術家對身體感知與生命經驗的探索。2024 年,李世文與隊友夜宿匹匹達東鞍,整夜未歇的強風吹打帳篷,使他重新意識到,風不只是氣象中的自然現象,更是一種直接作用於身體、改變人與環境邊界的力量。

回到繪畫,李世文將山行中累積的感知與記憶轉化為畫面。畫布上的皺褶、光影與流動痕跡,如同另一種形式的氣流,使觀看從視覺延伸至身體記憶。

《風來》並非描繪風本身,而是試圖捕捉一種始終存在、卻不可見的力量,並藉此重新思考自身、自然與世界之間的關係。

BACK_Y is pleased to present Presence of Wind, a solo exhibition by Li Shih-Wen, on view from September 10 to October 31, 2026. An opening reception will be held on September 12 at 3 PM.

Li Shih-Wen has long approached art-making as a way of processing and transforming lived experience. Feelings that resist direct articulation gradually take form through painting, becoming an outlet for his inner world. Personal objects, images, and fragments of memory overlap within his compositions, forming narratives that move between reality and psychological perception, while inviting viewers to reflect upon their own experiences.

Presence of Wind extends Li’s ongoing exploration of bodily perception and lived experience. In 2024, while camping overnight with his companions at Pipidadong Saddle, relentless winds battered their tent throughout the night. The experience led him to reconsider wind not simply as a meteorological phenomenon, but as a force that acts directly upon the body and reshapes the boundary between the self and the surrounding environment.

Through painting, Li transforms the sensations and memories accumulated during his mountain journeys into visual form. Folds, shifting light, and traces of movement across the canvas evoke another kind of airflow, allowing the act of looking to extend beyond sight and into bodily memory.

Rather than depicting wind itself, Presence of Wind seeks to register an invisible yet persistent force, opening a space to reconsider the relationship between the self, nature, and the world.

-

Explore : https://yiriarts.com.tw/

2026.09.10–2026.10.31
Opening Reception|09.12 (Sat.) 3-7pm

📍伊日後樂園 BACK_Y 2F
https://yiriarts.com.tw/contact/

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Photo Credit : Courtesy of the artist

Closing Soon| 伊日後樂園 BACK_Y蔡瑞恒 Cai Ruei-Heng|晃動的聖像 Swaying Icon「我知道你在演,你也知道我知道,但我們還是一起完成這場荒謬的儀式吧。」在蔡瑞恒刻意安排的混亂中,畫面中的角色並非反抗...
22/08/2026

Closing Soon| 伊日後樂園 BACK_Y

蔡瑞恒 Cai Ruei-Heng|晃動的聖像 Swaying Icon

「我知道你在演,你也知道我知道,但我們還是一起完成這場荒謬的儀式吧。」在蔡瑞恒刻意安排的混亂中,畫面中的角色並非反抗,而是在其中找到一種繼續存在的姿態。

蔡瑞恒大學就讀工業管理,畢業後的第一份工作是在工廠擔任品管員,每天分辨產品的好壞。然而,那些因反向接縫或略帶黃色的象牙白而被判定為「瑕疵品」的物件,往往比合格品更令他著迷。

他也在狗身上看見人與社會的縮影:總是受到規則規訓,犯錯時以裝可愛化解尷尬,置身陌生群體時則顯得不知所措。這成為蔡瑞恒對當代處境最初的觀察。

“I know you’re playing a part, and you know that I know. Still, let’s complete this absurd ritual together.” Within Cai’s deliberately arranged disorder, his figures do not resist. Instead, they find a posture through which to carry on.

Cai Ruei-Heng studied industrial management and began his career as a factory quality inspector, sorting acceptable products from defective ones. Yet he was often more drawn to the so-called flaws, such as reversed seams and ivory whites tinged with yellow, which he found more compelling than the products that passed inspection.

He also saw in dogs a reflection of people and society: conditioned by rules, defusing awkwardness by acting cute when they make mistakes, and feeling lost among strangers. This became one of Cai’s earliest observations of the contemporary condition.

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Explore : https://yiriarts.com.tw/

July 16 – August 29, 2026

📍伊日後樂園BACK_Y 1F
https://yiriarts.com.tw/contact/

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Photo Credit : Courtesy of the artist,BACK_Y and YIRI ARTS

Closing Soon| 伊日後樂園 BACK_Y王冠蓁 Wang Guan-Jhen|尚未命名的涼亭 A Pavilion Yet to Be Named透過陶土捏塑,王冠蓁想像一座屬於自己的涼亭。這個過程似乎也呼應了陶藝之於她的意義:...
19/08/2026

Closing Soon| 伊日後樂園 BACK_Y

王冠蓁 Wang Guan-Jhen|尚未命名的涼亭 A Pavilion Yet to Be Named

透過陶土捏塑,王冠蓁想像一座屬於自己的涼亭。這個過程似乎也呼應了陶藝之於她的意義:在生活不斷湧動的時刻中,創造一處得以遊憩與放鬆的時空。

涼亭從來不只是一座固定的建築,而是一段又一段被重新想起的停留。透過捏塑陶土,王冠蓁邀請我們,也試著想像屬於自己的那一座尚未命名的涼亭。

Through shaping clay, Wang Guan-Jhen imagines a pavilion of her own. The process reflects what ceramics means to her: creating a time and space for rest and relaxation amid the constant flow of life.

A pavilion is never simply a fixed structure, but a series of pauses remembered again and again. Through the shaping of clay, Wang invites us to imagine one of our own, a pavilion yet to be named.

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Explore : https://yiriarts.com.tw/

July 16 – August 29, 2026

📍伊日後樂園BACK_Y 1F
https://yiriarts.com.tw/contact/

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Photo Credit : Courtesy of the artist,BACK_Y and YIRI ARTS

Artwork in Focus| 蔡瑞恒 Cai Ruei-Heng晃動的聖像 Swaying Icon蔡瑞恒的繪畫並非從零開始畫起,是透過不同圖像拼貼⽽成。他會蒐集⼤量的圖像,從中找到能觸動他的元素,把它從原本的脈絡抽離,再讓它與其他圖...
05/08/2026

Artwork in Focus| 蔡瑞恒 Cai Ruei-Heng

晃動的聖像 Swaying Icon

蔡瑞恒的繪畫並非從零開始畫起,是透過不同圖像拼貼⽽成。他會蒐集⼤量的圖像,從中找到能觸動他的元素,把它從原本的脈絡抽離,再讓它與其他圖像在畫布上重新相遇。「我想要得到的是圖像給我的某些元素,然後試著再偷走更多。」他這樣描述。被偷走的不是圖像本⾝,畢竟蔡瑞恒在挪⽤的同時,並非是要讓觀眾聯想到原本的圖 像,⽽是要呈現那個圖像帶給他的感受。

展覽中《謀殺劇》、《⿃巢頭的謀殺戲劇》則來⾃蔡瑞恒對中世紀⼿抄本插圖的挪⽤,他認為那個時代的繪畫者並不特別在意解剖學正確性,圖像中的⼈物時常肌⾁比例失當、動作浮誇且充滿表演性,但卻是要傳遞嚴肅的道德故事,那種⼀本正經⼜荒誕的氣質讓他覺得非常親切。在《騎兵》、《⼸箭⼿》、《無頭騎⼠》等作品中,蔡瑞恒同樣挪⽤了中世紀的騎⼠團圖像,卻以抖動的線條、失真的比例卸除了戰爭的殘酷,讓這些⾓⾊成為某種滑稽⼜無⼒的形象。

Cai Ruei-Heng’s paintings do not begin from a blank canvas. Instead, they are constructed through the collage of disparate images. He collects a vast range of visual material, searching for elements that resonate with him, removing them from their original contexts, and allowing them to encounter other images anew on the canvas. “What I want is to take certain elements that an image gives me, and then try to steal even more,” he explains. Yet what is being stolen is not the image itself. In appropriating existing imagery, Cai does not seek to evoke its original source in the viewer’s mind, but rather to convey the feelings that the image evokes in him.

In Murder Play and The Murder Play of Bird’s Nest Head, Cai Ruei-Heng draws on illustrations from medieval manuscripts. He is particularly drawn to the way painters of the period seemed relatively unconcerned with anatomical accuracy: figures often appear with distorted proportions and exaggerated, theatrical gestures, even as they were intended to convey serious moral narratives. Cai finds something deeply familiar in this peculiar combination of solemnity and absurdity.

In works such as Cavalryman, Archer, and Headless Knight, Cai similarly appropriates imagery of medieval knights. Yet through trembling lines and distorted proportions, he strips these scenes of the brutality of war, transforming the figures into characters that appear at once comical and powerless.

⽂|陳思宇
Text by Shih Yu Chen

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Explore : https://yiriarts.com.tw/
July 16 – August 29, 2026

📍伊日後樂園BACK_Y 1F
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Artwork in Focus| 蔡瑞恒 Cai Ruei-Heng晃動的聖像 Swaying Icon展覽中尺幅最大的作品《超級環湖大賽》,描繪一場看似緊張而混亂的賽馬競賽,仔細觀看,卻會發現馬群之中混入了一頭駱駝。周圍的賽事激烈進行,...
29/07/2026

Artwork in Focus| 蔡瑞恒 Cai Ruei-Heng

晃動的聖像 Swaying Icon

展覽中尺幅最大的作品《超級環湖大賽》,描繪一場看似緊張而混亂的賽馬競賽,仔細觀看,卻會發現馬群之中混入了一頭駱駝。周圍的賽事激烈進行,駱駝上的兩人卻悠閒地做著與競賽毫無關係的事,呈現出「不屬於這裡,卻假裝自己屬於」的矛盾與違和感。

蔡瑞恒透過蒐集與拼貼不同圖像進行創作,將觸動他的元素抽離原有脈絡,再於畫布上重新組合。他所挪用的並非圖像本身,而是圖像帶給他的感受,以及其中可以繼續延伸的想像。

The Super Lake Circuit Race, the largest painting in the exhibition, depicts what initially appears to be a tense and chaotic horse race. On closer inspection, however, a camel emerges among the horses. While the competition unfolds around them, the two figures riding the camel remain leisurely occupied with something entirely unrelated to the race. The scene captures the contradiction of “not belonging here, yet pretending to belong.”

Cai constructs his paintings by collecting and collaging disparate images. He removes elements that resonate with him from their original contexts and allows them to encounter one another anew on the canvas. Rather than reproducing the original images, he seeks to convey the feelings and possibilities they evoke.

⽂|陳思宇
Text by Shih Yu Chen

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超級環湖大賽 The Super Lake Circuit Race, 2026
Acrylic on canvas
162 x 194 cm

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Explore : https://yiriarts.com.tw/
July 16 – August 29, 2026

📍伊日後樂園BACK_Y 1F
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Photo Credit : Courtesy of the artist,BACK_Y and YIRI ARTS

Now on View| 伊日後樂園 BACK_Y蔡瑞恒 Cai Ruei-Heng|晃動的聖像 Swaying Icon《晃動的聖像》延續蔡瑞恒對秩序、規範與個體處境的長期思考。藝術家透過拼貼式圖像,重新組構彼此無關的元素,在荒謬與熟悉之...
22/07/2026

Now on View| 伊日後樂園 BACK_Y

蔡瑞恒 Cai Ruei-Heng|晃動的聖像 Swaying Icon

《晃動的聖像》延續蔡瑞恒對秩序、規範與個體處境的長期思考。藝術家透過拼貼式圖像,重新組構彼此無關的元素,在荒謬與熟悉之間,映照當代人游移於社會規範、自我認同與群體關係中的心理狀態。

Swaying Icon continues Cai Ruei-Heng’s long-standing exploration of order, social norms, and the individual’s suspended state within contemporary society. Through a collage-based visual language, he reconfigures disparate imagery to create scenes that are at once absurd and strangely familiar, reflecting the tension between social expectations, collective belonging, and selfhood.

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Explore : https://yiriarts.com.tw/
July 16 – August 29, 2026

📍伊日後樂園BACK_Y 1F
https://yiriarts.com.tw/contact/

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Photo Credit : Courtesy of the artist,BACK_Y and YIRI ARTS

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