非畫廊 Beyond Gallery

非畫廊 Beyond Gallery 台北市長安東路一段9號2樓 Open Hours:周一至周六 11:00~18:00

【非畫廊展覽 | 默・墨：水墨美學的潛移、轉譯與再生】展　期 | 2026/07/20~09/05地　點 | 非畫廊(104003台北市中山區長安東路一段9號2樓)墨，在漢字文化圈的美學史中從來不只是顏料。它是一種感知世界的方式，一條使身體...
22/08/2026

【非畫廊展覽 | 默・墨：水墨美學的潛移、轉譯與再生】
展　期 | 2026/07/20~09/05
地　點 | 非畫廊(104003台北市中山區長安東路一段9號2樓)
墨，在漢字文化圈的美學史中從來不只是顏料。它是一種感知世界的方式，一條使身體與精神相互測量的通道，一個在紙、絹、身體與歷史之間緩慢滲透的介質。本展覽以「默・墨」為題，邀請觀者追問的正是這種沉默而深層的美學傳遞——它如何跨越時代，悄然轉換形態，在意料之外的情境中重新萌生。

圖像
彈甲一（Tan Kai-I）近年的「夢露」系列，將二十世紀西方流行文化的最高圖騰——瑪麗蓮・夢露——召喚入水墨的虛空之中。〈夢露・巴黎〉（2024）、〈夢露穿越森林 II〉（2025）與〈夢露・蝴蝶夢〉（2025）中，夢露的身體漂浮於氤氳的煙墨之上，或飛升、或穿越黑暗森林的糾纏枝椏、或夢化為蝶，與莊周夢蝶的哲學意象發生不期而遇的碰撞。這不是挪用，也不是戲謔，而是一個嚴肅的試探：當西方的慾望符號進入東方的虛無美學，它究竟是被吸納、被解構，還是在空白之中獲得了某種意想不到的解放？水墨的留白究竟能承受多少異質的重量，又能以怎樣的方式將之轉化？彈甲一讓這個問題懸而未決——懸置本身，正是水墨最古老的美學姿態。

Silence・Ink: The Permeation, Reinterpretation and Rebirth of Ink Painting Aesthetics
Exhibition Dates｜2026/07/20~09/05
Venue｜Beyond Gallery (2F, No.9, Chang An E. Rd., Sec.1, Taipei 104003, Taiwan)
In the aesthetic history of the cultural sphere of Chinese characters, ink has never been merely a pigment. Rather, it is a way of perceiving the world, a channel through which body and spirit mutually measure each other, and a medium that slowly permeates between paper, silk, the body, and history. Moving beyond the framework of traditional literati painting, this exhibition brings together works by artists from Taiwan, Japan, and China under the title Silence・Ink. It invites viewers to consider this silent yet profound aesthetic conveyance - how it traverses eras, quietly changes forms, and emerges anew in unexpected circumstances.

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In recent years, Tan Kai-I has developed the “Monroe” series, bringing one of the twentieth century’s most iconic symbols of Western popular culture - Marilyn Monroe - into the void of ink painting.
In Monroe: Paris (2024), Monroe Crossing the Forest II (2025), and Monroe: Butterfly Dream (2025), Marilyn’s body floats amidst atmospheric smoky ink. She ascends, traverses tangled branches within dark forests, or is transformed in dreams into a butterfly, like a chance encounter with the philosophical imagery of Zhuangzi’s “butterfly dream.”
This is neither appropriation nor parody, but a serious inquiry: when a Western symbol of desire enters the Eastern aesthetic of emptiness, is it absorbed, deconstructed, or somehow granted an unexpected liberation within the blank space? How much heterogeneity can the empty spaces of ink painting bear, and by what means can they transform it?
Tan Kai-I leaves the question hanging, unresolved. Suspension itself is among the oldest aesthetic gestures of ink painting.


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【公告】8月21日(星期五)的開放時間為15：00～18：00。
18/08/2026

【公告】8月21日(星期五)的開放時間為
15：00～18：00。

【非畫廊展覽 | 默・墨：水墨美學的潛移、轉譯與再生】展　期 | 2026/07/20~09/05地　點 | 非畫廊(104003台北市中山區長安東路一段9號2樓)書寫書寫，在水墨美學中從來不僅是工具性的文字傳達，而是思想本身的形態。石川九...
14/08/2026

【非畫廊展覽 | 默・墨：水墨美學的潛移、轉譯與再生】
展　期 | 2026/07/20~09/05
地　點 | 非畫廊(104003台北市中山區長安東路一段9號2樓)

書寫
書寫，在水墨美學中從來不僅是工具性的文字傳達，而是思想本身的形態。石川九楊(b.1954~)（Ishikawa Kyuyoh）的兩件作品在此形成鮮明對照：〈源氏物語Ⅱ 花散里〉（1992）以極細的墨線在雁皮紙上構築出彷若神經叢或植物細根的書寫結構，文字的可辨識性消解為純粹的線條能量，光源氏的物語化作感知的場域；〈9.11 事件以後Ⅱ〉（2004）則以切裂、重疊、崩解的書寫語法，將一場世紀災難的衝擊直接鑄入紙面的肌理之中。石川九楊主張「書寫乃存在之痕跡」，在他的作品中，歷史事件不是被描繪的對象，而是作為書寫行為本身的創傷，留存在墨與紙的物理關係之中。事件成為書寫，書寫成為記憶的形體。

Silence・Ink: The Permeation, Reinterpretation and Rebirth of Ink Painting Aesthetics
Exhibition Dates｜2026/07/20~09/05
Venue｜Beyond Gallery (2F, No.9, Chang An E. Rd., Sec.1, Taipei 104003, Taiwan)

Writing
Within ink aesthetics, writing has never functioned merely as a tool for conveying language; it is a form of thought itself.
Two works by Ishikawa Kyuyoh (b.1954~) form a striking contrast. In The Tale of Genji II: Hanachirusato (1992), exceedingly fine ink lines on gampi paper construct structures resembling neural networks or delicate plant roots. The recognizability of language dissolves into pure linear energy, and the narrative of Prince Genji becomes a field of perception.
In contrast, After the 9/11 Incident II (2004) employs a grammar of rupture, overlap, and disintegration, embedding the impact of a century-defining catastrophe directly into the texture of the paper. Ishikawa maintains that “writing is the trace of existence.” In his works, historical events are not represented as subjects of depiction; rather, they remain as wounds within the act of writing itself, preserved in the physical relationship between ink and paper. The event becomes writing, and writing gives form to memory.


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【非畫廊展覽 | 默・墨：水墨美學的潛移、轉譯與再生】展　期 | 2026/07/20~09/05地　點 | 非畫廊(104003台北市中山區長安東路一段9號2樓)氣韻自謝赫六法將氣韻生動列於美感首位，「氣韻」便成為水墨美學永恆的追尋。葉世...
07/08/2026

【非畫廊展覽 | 默・墨：水墨美學的潛移、轉譯與再生】
展　期 | 2026/07/20~09/05
地　點 | 非畫廊(104003台北市中山區長安東路一段9號2樓)

氣韻
自謝赫六法將氣韻生動列於美感首位，「氣韻」便成為水墨美學永恆的追尋。
葉世強（Yeh Shih-Chiang）的兩件大幅水墨——〈蒙古包〉(2001)與〈訪孤僧〉(約2000)——呈現氣韻截然不同的面貌：〈蒙古包〉以大面積暗灰積墨暗示茫茫草原的夜色，空間感與寂靜感幾乎以物理方式壓迫觀者的感知；〈訪孤僧〉則以橫掃的黑色筆觸和殘存的書寫碎片，在簡約中透出孤絕的詩意，兩件作品都以水墨的靜默承載了遼闊地帶的歷史與人文厚度。
黃志超（Dennis Hwang）的〈鬪鬧熱(一)〉(1991)以流暢飛動的線條描繪無數人形嬉戲、糾纏、喧鬧，以人體的動能置換山水的意境，將民間生命力的集體能量灌注入傳統水墨語境，說明氣韻不僅棲居於靜寂的自然之中，亦能容納世俗肉身的喧譁與躁動。
黃致陽（Huang Zhi-Yang）的〈千靈顯-水光 No.1303〉(2013)以絹為地，以墨與礦物彩構建由無數微型書寫標記所組成的巨大場域，如魚群、如草葉、如意識的流動——書寫性在此被放大為去個體化的集體律動，個體的筆觸消失於整體的呼吸之中。

Silence・Ink: The Permeation, Reinterpretation and Rebirth of Ink Painting Aesthetics
Exhibition Dates｜2026/07/20~09/05
Venue｜Beyond Gallery (2F, No.9, Chang An E. Rd., Sec.1, Taipei 104003, Taiwan)

Vital Resonance
Since Xie He placed qiyun (“spirit resonance”) at the forefront of his Six Principles of Painting, it has remained an enduring pursuit of ink aesthetics.
The two large-scale ink paintings by Yeh Shih-Chiang - Yurt (2001) and Visit With a Solitary Monk (c. 2000) - present markedly different manifestations of vital resonance. In Mongolian Yurt, vast fields of dark blue accumulated ink suggest nighttime on a vast grassland; the sensations of space and solitude exert an almost physical pressure upon the viewer’s perception. In Visit With a Solitary Monk, sweeping black brushstrokes and fragments of writing convey a solitary lyricism through spare minimalism. In spite of these contrasts, both works employ the silence of ink to bear the historical and human depth of expansive landscapes.
With fluid, soaring lines, In Bustling(1) (1991) Dennis Hwang depicts countless human figures playing, struggling, and reveling. By substituting bodily dynamism for the atmosphere typical of landscapes, he channels the collective energy of popular life into the context of ink painting. The work demonstrates that spirit resonance resides not only in tranquil nature, but can also accommodate the hubbub and restlessness of worldly bodies.
In Three Marks Water Light No.1303 (2013), Huang Zhi-Yang uses silk as a foundation, constructing a huge venue populated with innumerable tiny notations written in ink and mineral pigments. These notations resemble schools of fish, blades of grass, or streams of consciousness. Writing here is magnified into a depersonalized collective rhythm, where individual brushstrokes are subsumed by the respiration of the whole.


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【非畫廊展覽 | 默・墨：水墨美學的潛移、轉譯與再生】展　期 | 2026/07/20~09/05地　點 | 非畫廊(104003台北市中山區長安東路一段9號2樓)《千層墨》系列，可說是楊詰蒼最為人所知的作品之一。每天在同一張宣紙上重複塗墨...
31/07/2026

【非畫廊展覽 | 默・墨：水墨美學的潛移、轉譯與再生】
展　期 | 2026/07/20~09/05
地　點 | 非畫廊(104003台北市中山區長安東路一段9號2樓)

《千層墨》系列，可說是楊詰蒼最為人所知的作品之一。
每天在同一張宣紙上重複塗墨，而非「畫」水墨，乾了再塗一層地反覆進行了數十次、上百次，直至宣紙吸足了墨水，在藝術家無法預料和控制下形成皺褶滿佈、重巒疊嶂的豐富肌理，並且熠熠地泛著金屬般的光澤。作品的巨大尺幅，產生了如紀念碑的宏偉氣勢；一層層無可名狀、變化無窮的積墨，彷彿原初宇宙一片混沌，又如具神秘力量、能吞噬一切的黑洞。
《千層墨》在觀念上符合道家順應自然、返璞歸真、隨遇而安的基本訴求。《千層墨》與其說是繪畫，不如說是一個「關於時間、空間和水墨的觀念作品」；通過長時間不斷反覆塗墨的動作，將繪畫還原到最簡單的形式，畫面呈現的是塗墨過程所有痕跡的積聚。
塗墨，既是楊詰蒼自1989年展開的新的創作手段，更成為他離開中國後在異地生活頭十年當中，面對不論創作或生活上的種種變動和挑戰時，安頓躁動不安的心、沈澱思考的修行方式。隨著一幅又一幅《千層墨》的創作，儘管使用的材料和畫面形象變得更加豐富多樣，但不變的是那反覆執行的塗墨動作；一次又一次的塗墨過程中，他獲得了面對瞬息萬變世界所需的從容、淡定和能量。楊詰蒼自此在兩條似乎平行的藝術道路上達到了一種平衡：為不同展覽進行形式不拘的場域特定創作，《千層墨》以及其後的水墨創作則讓他得以反諸內心世界，感悟萬物變化下的自然規律。
若身體是水墨傳遞的第一介質，則時間是它最深沉的媒材。楊詰蒼（Yang Jie-Chang）的《千層墨》系列（1990–1994），以宣紙、紗布層層積疊，反覆塗墨直至紙面凝結為近乎礦物的黑色固體，是對墨的物質性最為極端的叩問。墨不再是流動的書寫介質，而是時間本身的凝固物——每一層墨漿的乾燥都是一次時間的沉積，百層之後所形成的龐然黑體，彷彿地質剖面，彷彿記憶的考古。觀者所面對的不是一件繪畫，而是一個已然成為物質的時間塊。三件相近尺幅的作品並置，使積累的過程本身成為可見：相同尺度之內，時間密度的細微差異在光澤與肌理中靜靜顯現。

Silence・Ink: The Permeation, Reinterpretation and Rebirth of Ink Painting Aesthetics
Exhibition Dates｜2026/07/20~09/05
Venue｜Beyond Gallery (2F, No.9, Chang An E. Rd., Sec.1, Taipei 104003, Taiwan)

Hundred Layers of Ink series is undoubtedly one of Yang’s most well-known works.

He repeatedly applied ink –not “painted” with ink - to the same pieces of paper, day after day, adding layer upon layer once the first one had dried, and this for dozens, hundreds of times, until the paper was completely saturated. Quite unexpectedly, and out of the artist’s control, multiple layers of ink formed a densely textured surface with myriad cracks, folds, ridges and grooves, and took on a metal-like shiny, luminescent quality. While the monumental scale of the paintings produces an effect of grandeur, accumulated layers of dried ink forming intricate and infinitely varied patterns give an illusion of primordial chaos, or a mysterious “black hole” capable of absorbing anything in the way.
Hundred Layers of Ink is in accordance with fundamental ideas of Taoism of conforming to the ways of nature, returning to simplicity and essence, and being at ease in all encounters. Instead of being a painting, Hundred Layers of Ink “is a conceptual work related to time, space and the material of ink”. Through repeatedly applying ink over a long period of time, and reducing the act of painting to its most elemental gesture, he turned the canvas into a depository of the traces of the process of applying ink.

Applying ink was not only the new creative approach Yang invented in 1989, but also a spiritual practice that helped him to calm his restless mind, to clarify and condense his thoughts, during the first decade of his emigration to Europe, where he was facing all sorts of changes and challenges both in his life and his creation. As he worked on the Hundred Layers of Ink series, realizing one work after another, despite the fact that the materials he used and the shapes on the canvas diversified, he was repeating the same gesture of applying ink. During the process, he obtained the quietude, serenity and energy that was necessary to face a rapidly changing world. Yang has since then achieved a sort of balance between two seemingly parallel practices: he would create site-specific works for different exhibitions, while Hundred Layers of Ink and other ink works thereafter allow him to connect with his inner world, and to recognize the laws of nature beneath the constant changes of things.

If the body is the first material conveyed by ink, then time is its deepest medium. In the One Thousand Layers of Ink series (1990–94), artist Yang Jie-Chang stacked rice paper and gauze, layering ink repeatedly until the surface solidified into a near-mineral black solid. In this way, the work constitutes one of the most extreme inquiries into the materiality of ink, where ink ceases to be a fluid medium of writing to instead become the solidification of time itself. Upon drying, each layer represents the sedimentation of time, and the black mass formed by countless layers is like a geological cross-section, or archaeological memory.

The viewer is presented not with a painting, but a block of time transformed into matter. The juxtaposition of three works of similar dimensions renders the process of accumulation visible: within comparable scale, subtle differences in temporal density quietly reveal themselves through variations of sheen and texture.


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【非畫廊展覽 | 默・墨：水墨美學的潛移、轉譯與再生】展　期 | 2026/07/20~09/05地　點 | 非畫廊(104003台北市中山區長安東路一段9號2樓)水墨史中，「身體」向來是隱而不顯卻又深刻的存在——書論中以「筋骨肉」形容筆法...
22/07/2026

【非畫廊展覽 | 默・墨：水墨美學的潛移、轉譯與再生】
展　期 | 2026/07/20~09/05
地　點 | 非畫廊(104003台北市中山區長安東路一段9號2樓)

水墨史中，「身體」向來是隱而不顯卻又深刻的存在——書論中以「筋骨肉」形容筆法，論書畫之源必談身體動勢，在在說明書寫行動從未脫離肉身的測量。
台灣藝術家張富峻的〈體勢 2009-0703〉則在另一個維度演示身體與書寫的交纏。墨、墨粉、水彩與壓克力顏料複合施作於蔗渣紙上，字形在解體的邊緣游移，既是書寫的殘餘，也是身體能量在物質表面的直接拓印。「體勢」典出古典書論，指身體姿勢如何構成筆墨形態——張富峻將這個古老命題推入當代抽象語境，使之成為開放的感知邀請。

Silence・Ink: The Permeation, Reinterpretation and Rebirth of Ink Painting Aesthetics
Exhibition Dates｜2026/07/20~09/05
Venue｜Beyond Gallery (2F, No.9, Chang An E. Rd., Sec.1, Taipei 104003, Taiwan)

In the history of ink art, the body has always been a profound yet understated presence. Calligraphic theory describes brushwork in terms of “sinews,” “bone,” and “flesh,” and discussions of the origins of painting and calligraphy are incomplete without touching on bodily movement. These observations demonstrate that the act of writing has never been detached from the measure of the living body.
Taiwanese artist Chang Fu-Chun (b. 1965) presents another dimension of the entanglement between body and writing in Posture 2009-0703. Ink, ink powder, watercolor, and acrylic are applied in combination on bagasse paper. Character forms hover at the threshold of dissolution, acting both as remnants of writing and direct imprints of bodily energy upon material surfaces. The title Posture is derived from classical calligraphic theory, referring to the way bodily posture gives rise to the forms of brush and ink. Chang Fu-Chun carries this ancient proposition into a contemporary abstract context, transforming it into an open invitation to perception.


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【非畫廊展覽 | 默・墨：水墨美學的潛移、轉譯與再生】展　期 | 2026/07/20~09/05地　點 | 非畫廊(104003台北市中山區長安東路一段9號2樓)墨，在漢字文化圈的美學史中從來不只是顏料。它是一種感知世界的方式，一條使身體...
17/07/2026

【非畫廊展覽 | 默・墨：水墨美學的潛移、轉譯與再生】
展　期 | 2026/07/20~09/05
地　點 | 非畫廊(104003台北市中山區長安東路一段9號2樓)

墨，在漢字文化圈的美學史中從來不只是顏料。它是一種感知世界的方式，一條使身體與精神相互測量的通道，一個在紙、絹、身體與歷史之間緩慢滲透的介質。「默」與「墨」在漢語中同音異義——默，是靜默、潛行、不言而傳；墨，是物質、行動、留痕於世。二者之間的共振，描述了水墨美學一種特有的運作方式：它從不以宣言推進，而是以滲透的姿態流動，穿越語言、地域與時代的邊界，在陌生的情境中重新發聲，以難以預料的形態再度成形。跳脫傳統文人畫的框架，本展覽聚集台灣、日本與中國的藝術家作品，以「默・墨」為題，邀請觀者追問的正是這種沉默而深層的美學傳遞——它如何跨越時代，悄然轉換形態，在意料之外的情境中重新萌生。

Silence・Ink: The Permeation, Reinterpretation and Rebirth of Ink Painting Aesthetics
Exhibition Dates｜2026/07/20~09/05
Venue｜Beyond Gallery (2F, No.9, Chang An E. Rd., Sec.1, Taipei 104003, Taiwan)

In the aesthetic history of the cultural sphere of Chinese characters, ink has never been merely a pigment. Rather, it is a way of perceiving the world, a channel through which body and spirit mutually measure each other, and a medium that slowly permeates between paper, silk, the body, and history. In Chinese, mo (默) and mo (墨) are homophones with different meanings: mo (默) signifies silence, quiet movement, and communication without language; mo (墨) signifies materiality, action, and leaving traces in the world. The resonance between the two describes a distinctive mode of operation in the aesthetics of ink painting: it advances not through declarations but through permeation, flowing across the boundaries of language, geography, and time, finding new voices in unfamiliar contexts and taking shape again in unpredictable forms.
Moving beyond the framework of traditional literati painting, this exhibition brings together works by artists from Taiwan, Japan, and China under the title Silence・Ink. It invites viewers to consider this silent yet profound aesthetic conveyance - how it traverses eras, quietly changes forms, and emerges anew in unexpected circumstances.


#非畫廊
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端午連假｜非畫廊： 6/19 → 6/21 休館喔！
15/06/2026

端午連假｜非畫廊： 6/19 → 6/21 休館喔！

【非畫廊展覽 | 來自邊際的餘光 蘇旺伸X邵婷如】邵婷如（1963年生）不同於許多在體制內接受完整訓練的藝術家，她是在自我摸索中逐漸走出創作之路。邵婷如與陶的相遇有如命定。在漫長的人類歷史裡，泥土始終與人的身體與生活緊密相連。自新石器時代起...
16/05/2026

【非畫廊展覽 | 來自邊際的餘光 蘇旺伸X邵婷如】
邵婷如（1963年生）不同於許多在體制內接受完整訓練的藝術家，她是在自我摸索中逐漸走出創作之路。邵婷如與陶的相遇有如命定。在漫長的人類歷史裡，泥土始終與人的身體與生活緊密相連。自新石器時代起，人類便以陶土製作器皿、塑造形體。製作陶藝時，創作者以雙手觸摸、形塑陶土，不同於繪畫透過畫筆，或石雕、木雕依賴刻刀，因此創作者與媒材之間的關係格外直接而親密。陶土觸感微涼，柔軟中帶有韌性，會隨著手的力量改變形狀，也留下指尖的痕跡。「當我初次用泥土捏塑的瞬間，極為專注而平靜」，邵婷如對那一刻記憶猶新，「彷彿藏在血液裡的基因被喚醒」。
邵婷如的創作回應著相似的命題。她長年思索「我們是誰」和「人何以為人」等存在問題，以人偶為起點，將群體置於戲劇化的場景。如同蘇旺伸，她對自然環境的破壞、個人與社會群體的關係，以及人對名利與權勢的渴求有著敏銳的洞察力。因此，邵婷如的人偶更多是塵世情緒的容器，在不同情境中盛著複雜而幽微的波動。

Unlike many formally-trained artists, Shao Ting-Ju (b. 1963) is a self-taught artist that has explored her way along her artistic path. Having enjoyed working with her hands since childhood, she encountered ceramics at a ceramics studio in Tianmu as a foreign language major at Christ’s College in Guandu. From that point forward, she committed herself to ceramics as a lifelong vocation.
Shao Ting-Ju and ceramics were seemingly destined for each other. Throughout human history, earth has remained closely connected to the human body and everyday life. Since the Neolithic period, humans have used clay to create vessels and sculpt forms. In ceramics, the artist directly touches and shapes the material with their hands, unlike painting, which relies on brushes, or stone and wood carving, which depend on tools. The relationship between the ceramics creator and material is therefore especially direct and intimate. Clay is cool to the touch, soft yet resilient, responsive to the force of the hands, and capable of retaining the traces of fingertips. “When I first molded clay, I was extremely focused and calm,” Shao recalls clearly to this day. “It was as if something embedded in my blood had been awakened.”
Shao Ting-Ju and ceramics were seemingly destined for each other. Throughout human history, earth has remained closely connected to the human body and everyday life. Since the Neolithic period, humans have used clay to create vessels and sculpt forms. In ceramics, the artist directly touches and shapes the material with their hands, unlike painting, which relies on brushes, or stone and wood carving, which depend on tools. The relationship between the ceramics creator and material is therefore especially direct and intimate. Clay is cool to the touch, soft yet resilient, responsive to the force of the hands, and capable of retaining the traces of fingertips. “When I first molded clay, I was extremely focused and calm,” Shao recalls clearly to this day. “It was as if something embedded in my blood had been awakened.”

來自邊際的餘光 蘇旺伸X邵婷如
展　期 | 2026/05/04~06/27
地　點 | 非畫廊(104003台北市中山區長安東路一段9號2樓)
Afterglow From the Margins Su Wong-Shen x Shao Ting-Ju
Exhibition Dates｜2026/05/04~06/27
Venue｜Beyond Gallery (2F, No.9, Chang An E. Rd., Sec.1, Taipei 104003, Taiwan)

#蘇旺伸


#非畫廊

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台北市長安東路一段9號2樓
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