安卓藝術 Mind Set Art Center

11/08/2026

#藝術家動態｜ #羅懿君 獲選 #臺北市立美術館 2027 年度個展

藝術家羅懿君以展覽計畫《線與線、島與島：從這裡出發的風景之間》，正式獲選 #北美館 116 年（2027 年）年度個展徵件。

羅懿君長期擅長透過島嶼植物與材料探索文化記憶，曾獲高雄獎首獎（2015）及桃源創作獎首獎（2017），並於 2021 年獲得臺北美術獎肯定。在本次獲選的計畫中，她將以「琉球弧島鏈」的地理脈絡為線索，巧妙結合香蕉皮、芭蕉布與香蕉絲等植物纖維與工藝，回應臺灣、沖繩與日本南九州之間流動的物質與文化記憶。

透過故事、歌謠、表演性雕塑與空間裝置，羅懿君將在展場中詮釋地方的技藝與身體經驗，進而探索物質與精神之間交織的連結,。這場備受期待的個展，預計將於 2027 年下半年在北美館 3 樓正式登場。

| Selected for Taipei Fine Arts Museum’s 2027 Solo Exhibition Program

Artist Lo Yi-Chun has been selected for the (TFAM) 2027 Solo Exhibition Program with her proposed project ‘Thread to Thread, Island to Island — The In Between Landscape from Here’.

Known for exploring cultural memory through island flora and natural materials, Lo is a recipient of the Kaohsiung Award First Prize (2015), the Taoyuan Contemporary Art Award First Prize (2017), and the Taipei Art Awards (2021). In this selected project, she takes the geographical context of the "Ryukyu Arc" as a starting point, integrating botanical fibers and artisanal techniques—such as banana peels, banana cloth (bashōfu), and banana fiber threads—to respond to the flowing material and cultural memories shared across Taiwan, Okinawa, and Southern Kyushu.

Through narratives, songs, performative sculptures, and spatial installations, Lo interprets local craftsmanship and bodily experiences within the gallery space, further examining the interwoven connections between the material and the spiritual. This anticipated solo exhibition is scheduled to open on the third floor of TFAM in the second half of 2027.

08/08/2026

#父親節快樂

安卓藝術以 #傅饒 2017 年的作品《同心協力》，向每一位陪伴孩子成長的父親致意。畫面中，藝術家與年幼的兒子一起騎著腳踏車，在並肩前行的身影裡，留下親子之間最平凡也最珍貴的陪伴。從童年的相依，到孩子一步步走向自己的道路，那些並肩前行的時刻，也在歲月裡留下溫柔而深刻的記憶。

祝所有父親，父親節快樂。

圖｜傅饒《同心協力》，2017



This Father’s Day, Mind Set Art Center celebrates fathers and the quiet presence they bring to their children’s lives through Rao FU’s 2017 painting Co-Driver. In the work, the artist rides a bicycle with his young son, capturing a simple yet precious moment of companionship between father and child.
As children grow and begin to find their own way, the moments once shared side by side remain among our most tender memories.

Wishing all fathers a Happy Father’s Day.

Image｜Rao FU, Co-Driver, 2017

07/08/2026

#當期展覽 #作品介紹

#馬堤耶馬哈切克 的作品《山脊》，源自他在奧地利因斯布魯克旅行時所留下的觀察與圖像記錄。這座位於山谷中的城市，被壯闊的阿爾卑斯山脈環繞。馬哈切克以飽和的火橘與深鏽紅描繪畫面中央的山峰，強烈的色彩使山體彷彿蘊含著原始而炙熱的能量，如同由鐵礦淬鍊而成的大地。

為了凸顯這座在變動世界中灼然矗立的山峰，他以柔和的灰色與薰衣草紫鋪陳天空，讓流動、輕盈的色調與厚重的山體形成對比。創作時，馬哈切克讓墨水與壓克力顏料直接在紙面滲化，再將紙張裱於畫布上，形成細緻如絲、層次豐富的質感，彷彿將自然世界的記憶悄然封存其中。

對他而言，這座山峰不只是一處風景，也是一個關乎存在的場域。個體的人類置身其前，面對的是看似恆久、卻同樣帶著脆弱重量的自然地景。人類的時代不斷更迭，而山岳以遠超越人的時間尺度持續存在，也因此讓此刻的相遇顯得格外迫切。



’s ‘Crest’ is rooted in visual notes made during his travels in Innsbruck, Austria. Capturing the monumental presence of the Alps surrounding the valley city, Macháček painted the central peak in saturated tones of fiery orange and deep rust red. The work vibrates with the raw energy of an earth that feels as if it were forged from iron ore.

To intensify this glowing monument within a shifting world, he contrasted it with fluid washes of muted grey and lavender violet in the sky. By bleeding ink and acrylic directly into the paper before mounting it on canvas, Macháček created a silken, tonal texture where the memory of an organic world is silently sealed.

For the artist, this peak stands as an existential site of urgency,a landmark where individual human presence confronts the fragile weight of an enduring landscape that outlasts the shifting eras of humanity.

05/08/2026

#當期展覽 #作品介紹

#吳增榮 的作品《文學院西側中庭有一顆大樹》以台大校園景觀為基調，將文學院原本明確的建築輪廓，隱沒於層層交疊的色塊與水洗痕跡之中。畫面中建築的水平與垂直結構，與大樹生長的有機線條交織，在光影律動下呈現出一種「晃影」感，使熟悉的校園景致彷彿自現實中抽離，進入一種詩意而內斂的精神造境。他透過獨創的「蓮蓬頭沖水洗刷」手法，反覆在畫紙上堆疊、沖刷水彩與壓克力顏料，使色調在層次堆砌間產生微妙的游移與豐富肌理，賦予水彩畫不輸油畫的厚實份量。這種介於具象與抽象之間的表現，不僅捕捉了空間的流動感，更映照出藝術家作為「瑀瑀獨行的現代文人」大隱於市、淡泊專注的心靈寫照。

圖 |《文學院西側中庭有一顆大樹》
1996-2000（背面）、2015（正面）
水彩、壓克力、紙
108.9 × 78.8 cm



’s artwork, ‘A Big Tree to the West of NTU College of Liberal Arts’, takes the National Taiwan University campus landscape as its foundation, blurring distinct architectural contours beneath layered color blocks and traces of water washing. The horizontal and vertical structures of the building interweave with the organic lines of the tree, yielding a shimmering rhythm under the play of light and shadow. This quality detaches the familiar campus scenery from reality, translating it into a poetic and introspective mental realm.

Through his unique technique of washing and scrubbing with a showerhead, Wu repeatedly layers and washes watercolor and acrylic paints, allowing subtle tonal shifts and rich textures to emerge, endowing the watercolor medium with a weight and rich texture no less than oil painting. Wavering between the figurative and the abstract, this expression captures a sense of spatial fluidity while reflecting the artist's inner state as a "solitary modern literati"—living within the metropolis while harboring a vast inner landscape.

Image | A Big Tree to the West of NTU College of Liberal Arts

1996-2000（Back）、2015（Front）
Watercolor, acrylic on paper
108.9 × 78.8 cm

03/08/2026

#藝術家動態｜安娜・瑪瑞亞・米庫

很高興與大家分享， #安娜瑪瑞亞米庫 作品獲紐約非營利出版社 World Poetry Books 選為羅馬尼亞詩人 Dan Sociu 英譯詩集《Deep Fakes》的封面作品。

由 Monica Cure 翻譯的《Deep Fakes》，集結 Sociu 橫跨十餘年的創作，以簡練而銳利的語言書寫後社會主義羅馬尼亞的失落、愛、死亡與生存，使個人生命經驗與社會批判彼此交織。繪畫與詩在此相遇，共同回應身體、脆弱與現實生活的複雜質地。

恭喜藝術家，也期待本書正式出版。

| Ana Maria Micu

Artwork by has been selected by World Poetry Books, a New York-based non-profit publisher, as the cover art for ‘ ’, an English translation of poetry by Romanian poet Dan Sociu.

Translated by Monica Cure, ‘Deep Fakes’ gathers over a decade of Sociu’s writing, addressing loss, love, mortality, and survival in post-socialist Romania through sparse, incisive language, interweaving personal lived experience with social critique. Here, painting and poetry converge, jointly addressing the body, vulnerability, and the complex textures of everyday life.

Congratulations to the artist on this upcoming publication.

01/08/2026

#藝術家動態 #公共藝術｜ #大卷伸嗣《Memorial Rebirth 千住 2026 花畑公園》

自 2012 年於東京千住地區展開，大卷伸嗣的藝術計畫《Memorial Rebirth》（メモリバ）已持續十餘年。這項計畫每年選址於不同的校園或公園，如同「遞傳接力棒」般，在不同場域間延續並連結起城市的記憶。

計畫的核心在於運用數十台裝置，在每分鐘產生高達一萬個泡泡，將日常見慣的景色，於瞬間轉化為「光之風景」。在長年的發展過程中，此計畫也與在地社區深度結合，發展出原創的「泡泡盆舞」（しゃボンおどり）與結合音樂、舞蹈的夜間演出，透過視覺與身體感的體驗，建立人與人、人與城鎮之間的新連結。

今年度計畫將落腳於足立區花畑公園，持續以動態的藝術實踐，將展示空間轉化為非日常的世界，帶動觀者的感官經驗。

▎Memorial Rebirth 千住 2026 花畑公園

日期：2026 年 11 月 22 日（週日）
地點：日本足立區 花畑公園

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| ‘ 2026 Hanahata Park’

Initiated in the Senju district of Tokyo in 2012, Shinji Ohmaki’s public art project Memorial Rebirth (Memoriba) has spanned over a decade. Relocating to different schools or parks each year, the project functions like passing a baton, continuously linking and renewing collective urban memories across various sites.

At the heart of the project is the deployment of dozens of specialized machines generating up to 10,000 bubbles per minute, instantly transforming familiar everyday scenery into a "landscape of light." Over its long-term evolution, the initiative has embedded itself within local communities, fostering original creations such as the "Bubble Bon Dance" (Shabon Odori) alongside evening performances incorporating music and dance. Through combined visual and somatic experiences, it establishes new connections among individuals, communities, and the town.

This year, the project takes place at Hanahata Park in Adachi City. Through dynamic artistic practice, it continues to convert space into an extraordinary realm, awakening the sensory experiences of its audience.

▎Memorial Rebirth Senju 2026 Hanahata Park

Date: Sunday, November 22, 2026
Venue: Hanahata Park, Adachi City, Japan

31/07/2026

#媒體報導 #當期展覽

▋ 將目光化作指尖，「脈品：切診點畫」感知筆墨之中未竟的生命節奏

謝謝 典藏 ARTouch.com 深入剖析「脈品：切診點畫」聯展，由策展人沈裕昌援引中醫切診辨識脈象的概念，匯聚12位橫跨不同世代與文化背景的藝術家，以四個軸線從側面回應臺灣當代書畫在繪畫性方面出現「以點取代線」、「以畫取代寫」等不同突破進路交織出的實踐脈絡。展覽重新聚焦於「筆墨」，藉以提醒：書畫創作的當代性未必僅指創作形式的表面更新，亦可能發自於對自身文化語言與感知模式的重新理解與重構。

「如何邁向當代？」是水墨創作如今最常被討論的命題，其相關實踐也多半圍繞著媒介的跨界與邊界的拓展：如何跨越紙本、進入空間？又如何與裝置、影像、數位科技甚至人工智慧展開對話？似乎已成為「當代水墨」直觀且主流的創作走向。
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走進安卓藝術現正舉辦的「脈品：切診點畫」聯展，則會發現策展人沈裕昌提出了一個近乎逆向的提問：如果書畫持續借用當代藝術的語言，它是否也逐漸淡忘了自身獨有的筆墨語言？然而，這並非一場關於「傳統」與「當代」的辯論，而更像是一場重新理解書畫自身感知方式的回應。
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➤➤ #精彩全文請見留言處
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誠然，一談到筆墨，多數人立即會聯想到建立於書法基礎之上的傳統技法，而經常被視為一套帶有歷史重量與長期養成的系統。對觀者來說，也認為需要具備相當程度的知識才足以鑑賞其中的精妙而容易卻步。這也使得許多當代創作者傾向繞開它，轉而以跨媒材、新媒體或觀念藝術尋找新的表現形式。不過，沈裕昌認為，若因此完全離開筆墨，也意味著放棄了東亞書畫最獨特的一套觀看系統。
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近代以降，「筆墨」經常被翻譯成現代造形語言中的「點、線、面」。沈裕昌則指出，「線條」是源自歐洲幾何學與運動軌跡的觀看方式，其關注的是形體、結構與空間；相對而言，東亞書畫中的「點畫」並非單純的形體元素，而更接近身體、呼吸、力度與時間所共同生成的痕跡。兩者外顯的形式看似相近，實則表述著不同的邏輯，若是把「筆墨」簡化為「線條」，東亞書畫最獨特的一套感知系統，也會逐漸被西方的觀看方式所覆蓋。
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他借鑒醫學史學者栗山茂久對古希臘與古中國的比較醫學之研究：古希臘醫學與年代相當的漢代醫學都發展出對脈搏的觀察方式，但兩者的理解截然不同。古希臘醫學偏向以幾何學的角度分析頻率與節律，中醫則透過切診辨識脈象，以感知脈的質地、狀態與變化；前者偏向量化的分析，後者則更重視質性的感受。「脈」不只是東方的醫學概念，也可作為重新理解筆墨的隱喻。
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在此思考的脈絡之下，「脈品：切診點畫」匯聚12位橫跨不同世代與文化背景的藝術家：吳增榮、楊世芝、于彭、林銓居、鄔一名、劉星佑、曾建穎、楊寓寧、李凱真、馬堤耶．馬哈切克（Matěj Macháček）、邱瑋祥、王翔，以四個軸線從側面回應臺灣當代書畫在繪畫性方面出現「以點取代線」、「以畫取代寫」等不同突破進路交織出的實踐脈絡，重新聚焦「筆具在基底材上所能展現的線條語言」。選件上，以更廣義的書畫概念作為觀看的方法，儘管展品以平面繪畫作為主，但並不囿於狹義的筆墨材料限制，涵蓋水墨、水彩、壓克力顏料與影像之形式，甚至納入西方藝術家的創作經驗與觀看方式，共同探問何謂具有呼吸感與生命節奏的「點畫」。
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「脈品：切診點畫」選擇了一條看似回頭、實則前瞻的路徑。它並未否定書畫創作進行裝置、影像或跨域合作的嘗試，也沒有主張回歸傳統筆墨。而是在此提出另一種提醒：當代性未必僅指創作「形式」的表面更新，更可能發自於對自身文化語言與感知模式的重新理解與重構。
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當代藝術習慣從媒介、觀念或制度理解作品，而「脈品：切診點畫」所提出的觀看方式，則更接近一場身體感知的練習。觀者不只是以眼辨識畫面，而是彷彿將目光化作切診的指尖，感受作品之中線條的疾徐、墨色的潤澀、筆勢的頓挫，以及點畫之間細微的呼吸與流動。於是，筆墨便不再只是傳統技法，而成為一種持續生成的生命語言；它未竟的可能，也如經脈中運行的氣血，在當代藝術的語境裡，依舊保持著強韌而鮮活的搏動。（文／楊椀茹）

「脈品：切診點畫」
展期：2026年7月11日至8月22日
時間：週二至週六 12:30–18:30
地點：安卓藝術，臺北市內湖區瑞光路548巷15號五樓

30/07/2026

▎ #展覽介紹｜脈品：切診點畫

展覽的最後一個區塊回歸墨法本身，當墨色在紙上散開，呈現的是氣勢的磅礴與散落的餘韻。 #邱瑋祥 描繪魚在魚缸中的擾動，線條強烈且長，氣勢沉穩，展現出「大而行闊」的「洪脈」特徵，充滿生命的水氣； #鄔一名 在墨色與樹形之間保留了呼吸的白空間，線條舒緩不迫，在沈靜中自有力量，不疾不徐的節奏展現了「緩脈」特有的從容與內斂 ； #楊寓寧 使用排筆在生紙上拖曳，墨色呈現一種「有表無理、渙散不收」的質地，這種「散脈」般的散淡質感，與馬堤耶的緊密結構形成強烈對比，展現出墨色最自由的狀態。

▎ Gallery Exhibition | Pulse Profile: Palpating Dots and Strokes

The final section of the exhibition returns to the methodology of ink itself (mofa), where ink dispersing across paper captures both majestic momentum and lingering residue. CHIU Wei-Hsiang depicts the disturbance of fish within a tank through strong, extended lines of steady composure, embodying the quality of a "flooding pulse" (hong mai)—expansive and surging, filled with vital moisture. WU Yiming preserves breathing white space between ink tones and tree forms, with unhurried lines that hold quiet strength, their calm tempo reflecting the signature composure and restraint of a "moderate pulse" (huan mai). YANG Yu-Ning drags a wide flat brush across raw paper, yielding an ink texture characterized by loose exterior diffusion without internal cohesion. This dispersed quality, akin to a "scattered pulse" (san mai), stands in sharp contrast to Matěj MACHÁČEK’s dense structures, revealing the ink’s most uninhibited state.

28/07/2026

▎ #展覽介紹｜脈品：切診點畫

與寫生脈絡並行的，是關於「結構」與「物件書寫」的第二條路徑，三位藝術家展現了點畫如何突破傳統邊界，與當代物質產生共振。

#馬堤耶馬哈切克 以繪畫邏輯處理短而密的線條，將其疊構成具重量感的「面」，這種視覺質感如同「珠走盤」般流利、緊密且帶有震動感，完美詮釋了「滑脈」的活潑特徵； #吳增榮 選用粗細一致且綿長的線條，在畫面上拉出強大的張力，如同手指按在緊繃的弓弦上，充滿了「弦脈」結構性的能量，緊繃且蓄勢待發； #劉星佑 在攝影與物體上書寫，讓漢字與物質共生，線條呈現如扭轉繩索般的彈性、節奏緊湊，對應脈象中極具動態的「緊脈」。

▎ Gallery Exhibition | Pulse Profile: Palpating Dots and Strokes

Parallel to the trajectory of life sketching, the second pathway explores "structure" and "object-writing," where three artists demonstrate how dianhua (dots and strokes) breaks through traditional boundaries to resonate with contemporary materiality.

Matěj MACHÁČEK approaches short, dense lines through a painterly logic, layering them into weighted "surfaces." This visual texture is fluid, compact, and vibrant, like "pearls rolling on a plate," perfectly capturing the lively quality of a "slippery pulse" (hua mai). WU Tseng Jung employs long lines of uniform thickness, extending a powerful tension across the plane reminiscent of a finger pressing upon a taut bowstring, embodying the structural, tightly strung energy of a "bowstring pulse" (xian mai). LIU Hsing Yu writes directly on photographs and objects, allowing Chinese characters to coexist with physical matter. The lines exhibit a twisted, rope-like elasticity and a tight rhythm, corresponding to the highly dynamic "tight pulse" (jin mai) in pulse diagnosis.

25/07/2026

▎ #展覽介紹｜脈品：切診點畫

展覽在此向下開展出兩條平行的感知脈絡。第一條路徑呈現的是「寫生」如何賦予點畫深沉的厚度，兩位藝術家不直接追求線條表面的紛雜，而是將對自然的深刻觀察轉化為內在的生命質地。 #林銓居 的作品透過寫生轉化出沉穩且有力的線條，如同「牢脈」般沉在深處，觀者需如同診脈時「重按」至肌肉深層，方能感應其沉著的生命力； #王翔 同樣強調寫生的厚度，他的線條對應的是更深的「伏脈」，隱匿於表象之下，需按至骨間始能察覺其微弱而堅韌的脈動。在此，線條不再只是視覺的掃描，而是一場深入地層與肌理的切診。

▎ | Pulse Profile: Palpating Dots and Strokes

Here, the exhibition unfolds into two parallel lines of sensory inquiry. The first pathway demonstrates how "sketching from life" (xiesheng) imparts a deep substantiality to dianhua (dots and strokes), where the two artists refrain from chasing superficial linear complexity, instead translating profound observations of nature into an internal vitality. LIN Chuan-Chu converts life sketching into composed and powerful lines, reminiscent of a "confined pulse" (lao mai) buried deep below the surface. Viewers are engaged in a process similar to applying deep pressure during pulse diagnosis, reaching the deeper layers of muscle to perceive its solid vitality. WANG Hsiang likewise emphasizes the depth of life sketching, with lines corresponding to an even deeper "hidden pulse" (fu mai). Concealed beneath the exterior, its faint yet resilient pulsation becomes discernible only when pressed down to the bone. Here, lines are no longer mere visual scans, but an act of palpation delving deep into geological strata and physical texture.