2026.10.30 – 11.02【生成之地】ART TAIPEI 2026
展覽資訊
ART TAIPEI 2026 台北國際藝術博覽會
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展覽時間：
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貴賓預展時間：
2026年10月29日 ( 四 ) 15:00 - 20:00
2026年10月30日 ( 五 ) 11:00 - 14:00 -
公眾展覽日期：
2026年10月30日 ( 五 ) 14:00 - 19:00
2026年10月31日 ( 六 ) 11:00 - 19:00
2026年11月01日 ( 日 ) 11:00 - 19:00
2026年11月02日 ( ㄧ ) 11:00 - 18:00
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展覽地點：台北世界貿易中心展覽大樓 - 世貿一館（ 台北市信義區信義路五段五號 ）
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購票 & 官方網站：點擊【台北國際藝術博覽會】官方網站 前往購票
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鶯歌光點美學館展位編號：C15
鶯歌光點美學館｜ART TAIPEI 2026 《生成之地》展覽介紹
前言：
本次以《生成之地》作為鶯歌光點首次參展台北國際藝術博覽會的主題，希望進一步將鶯歌轉化為一個「文化生成現場」，讓它不只是工藝的代表，更是一處持續孕育台灣當代藝術能量的重要場域。若鶯歌只被閱讀成陶瓷重鎮，其實略顯可惜，《生成之地》也並非指向單一媒材的展覽命題，而是一種關於文化、土地與當代感知的提問，我們更關注的是在當代藝術的語境之中，地方文化如何持續生成？而藝術又如何成為連結時間、記憶與文明經驗的方法。
「生成」本身具有極高的包容性，不只包含雕塑生成、繪畫生成、陶土生成，更延伸至土地、身份、記憶與時間等更大的文化命題，同時涵蓋多重意涵。而此一概念，能自然串聯本次參展七位藝術家不同的背景與創作語言，也讓展覽提升為具有當代藝術視角，與國際語境的整體敘事。
展覽論述：
在當代藝術逐漸鬆動媒材邊界的今天，創作已不再只是形式與技術的展現，而是一種關於文化記憶、土地經驗與時代感知的持續生成。《生成之地》匯聚吳炫三、蒲浩明、林振龍、王志文、陳盈如、薛宏瑋、梁佑華七位跨越不同世代與創作領域的藝術家，透過繪畫、雕塑、陶作或複合媒材，共同建構一處持續孕育創作能量、文化記憶與當代藝術語境的「生成現場」，試圖從更當代的角度思考鶯歌之於臺灣文化的位置，以及當代藝術如何重新回應人之於土地與文明之間的連結。 七位藝術家的創作語言彼此殊異，卻在精神脈絡中形成微妙而深刻的連結。
吳炫三作為台灣當代藝術重要前輩之一，長年旅居法國並遊走於世界原始文明之間，其創作充滿強烈生命力量與神話性語彙，作品以近乎圖騰般的視覺結構，召喚人類最原始的精神感知與文化記憶；陳盈如則從東方文化與民間記憶出發，建構帶有寓言性的當代心理風景；薛宏瑋筆下潮濕而流動的城市光影，映照出時間與情緒的狀態。另一方面，王志文與蒲浩明的雕塑創作，使「身體」與「空間」成為精神性的存在結構，在重量與漂浮之間重新定義材料與存在的關係；而梁佑華與林振龍的作品，則讓火焰、手感與物質痕跡成為時間的容器，使創作本身保留了來自土地與工藝深處的溫度。這些作品並非彼此並列，更像不同感知在同一空間中的交會與對話。
作為台灣重要的文化地景之一，鶯歌長期承載著地方工藝、產業歷史與創作能量的累積。而「鶯歌光點」作為文化平台的角色，將重新思考地方藝術如何進入當代國際語境，而並未直以陶視為主題，反將其轉化為一種隱性的文化語言：關於土與火、生成與淬鍊、傳承與轉化的精神線索。從手工痕跡到複合媒材，從地方文化到國際視野，當傳統不再只是被保存的對象，而是在當代藝術之中持續被轉譯、擴張與重新創造，藝術家們共同呈現出台灣當代創作中少見的跨域融合性，也讓鶯歌不再只是工藝聚落，而是一個持續孕育文化的現場。
因此，《生成之地》所關注的，不只是媒材之間的跨越，更是一種文化狀態的形成，在全球化與高速資訊流動的時代裡，藝術如何重新承載時間？又如何讓地方性的經驗，轉化為具有當代性的世界語言？展覽中的作品有些如文明遺跡，有些則如尚未完成的未來地景；它們共同保留了手工的溫度、材料的記憶，以及人類對於存在最原初的感知。七位藝術家透過不同的創作方法，共同構築出一條關於台灣當代文化生成的精神軸線，也使《生成之地》成為一次介於傳統與未來、地方與國際之間的深層對話。
At a time when the boundaries between artistic media are increasingly dissolving, artistic creation is no longer merely an expression of form or technique, but an ongoing process through which cultural memory, lived experience, and contemporary consciousness are continuously generated. Genesis Ground brings together seven artists from different generations and creative disciplines — A-Sun Wu, Hao-Ming Pu, LIN Chen-Long, Wang Chih-Wen, Chen Ying-Ju, Hsueh Hung-Wei, and Liang Yu-Hua. Through painting, sculpture, ceramics, and mixed media, they collectively construct a “site of generation” that continuously cultivates creative energy, cultural memory, and contemporary artistic discourse.
The exhibition seeks to reconsider Yingge’s place within Taiwanese culture from a contemporary perspective, while exploring how contemporary art may reconnect humanity with land and civilization. Although the artistic languages of the seven artists differ significantly, subtle yet profound connections emerge within their shared spiritual and conceptual concerns. As one of the most important senior figures in Taiwanese contemporary art, A-Sun Wu has long lived in France and traveled extensively among indigenous civilizations across the world. His works are imbued with primal vitality and mythological symbolism, employing totemic visual structures that evoke humanity’s most instinctive spiritual perceptions and cultural memories. Chen Ying-Ju, by contrast, draws upon Eastern cultural traditions and vernacular memory to construct allegorical psychological landscapes of the contemporary world. In the paintings of Hsueh Hung-Wei, humid and fluid urban light becomes a reflection of time, emotion, and shifting states of consciousness. Meanwhile, the sculptural practices of Wang Chih-Wen and Hao-Ming Pu transform the body and space into spiritual structures of existence, redefining the relationship between materiality and being through tensions between weight and suspension. The works of Liang Yu-Hua and LIN Chen-Long preserve the traces of fire, touch, and material processes as vessels of time, allowing the warmth of land and craftsmanship to remain embedded within the works themselves. Rather than existing in parallel, these works function as intersecting forms of perception engaged in an ongoing dialogue within the same space.
As one of Taiwan’s significant cultural landscapes, Yingge has long embodied the accumulation of local craftsmanship, industrial history, and artistic energy. Through the role of Yingge Spotlight as a cultural platform, the exhibition reconsiders how local artistic practices may enter contemporary international discourse. Rather than positioning ceramics as an explicit theme, the exhibition transforms them into an underlying cultural language — one rooted in the spiritual trajectories of earth and fire, generation and refinement, inheritance and transformation. From traces of handcraft to mixed-media experimentation, and from local culture to international perspectives, tradition is no longer treated as something merely preserved, but as something continually translated, expanded, and recreated through contemporary art. Together, the artists present a rare form of interdisciplinary fusion within Taiwanese contemporary practice, allowing Yingge to emerge not simply as a craft settlement, but as an active site of ongoing cultural production. Ultimately, Genesis Ground explores the formation of cultural identity beyond media boundaries. In an age of globalization and rapid information flows, the exhibition reflects on how local memory and material experience may be transformed into a contemporary global language.
展出藝術家介紹
▌藝術家介紹 —— 吳炫三 A-Sun, WU
台灣當代藝術大師吳炫三（1942年出生於宜蘭羅東）以其狂野的表現主義風格享譽國際。他的創作深受原始藝術與部落文化啟發，充滿強烈的爆發力，並始終將大自然視為撼動靈魂的創作泉源。
因早年留學西班牙聖費爾南多皇家美術學院的經歷，促使其展開追尋自我原創性的旅程。他深入非洲、中南美洲與埃及，將馬雅、印加等古文明的生命洗禮融入靈魂，成功在現代文明意識與大自然古老的原始生命力之間，築起獨一無二的藝術橋梁。
憑藉紮實的寫實底蘊，吳炫三打破了視覺表象的限制，將世界的色彩與線條融入人的輪廓，直指心靈的純粹反映。現在的他，創作狀態收發自如、不拘泥於特定材質。他透過大膽的用色與不斷嘗試的媒材，將難以言喻的情感具象化，向世界釋放出直擊人心的野生律動與生命能量。
Wu Xuan-San (born 1942 in Luodong, Yilan) is an internationally renowned master of contemporary Taiwanese art, celebrated for his powerful expressionist style deeply inspired by primitive art and tribal cultures. Believing that connection with nature is the ultimate source of creative inspiration, he pursued early studies at the Real Academia de Bellas Artes in Spain. For Wu, this journey allowed him to discover his own primal, original elements, successfully bridging human civilization with the unrefined, ancient vitality of the natural world.
Possessing rigorous realist training, Wu has expanded his artistic life across the globe, drawing profound inspiration from the ruins of Maya and Inca cultures, Africa, Central and South America, and ancient Egypt. He integrates global colors and lines into human contours, casting aside external appearances to achieve a direct reflection of the soul. His creative world has reached a state of effortless mastery, characterized by an unconstrained form and a fearless experimentation with diverse materials. Through continuous, relentless creation and bold palettes, Wu translates ineffable emotions into visual art, releasing a raw, wild dynamism and profound life energy.
▌藝術家介紹 —— 蒲浩明 Hao-Ming, PU
蒲浩明（1944年出生於嘉義）成長於深厚的藝術世家，外祖父為前輩畫家陳澄波，父親為臺灣雕塑家蒲添生。自年少起便在父親工作室接受紮實的古典雕塑訓練，後畢業於文化大學美術系，並赴比利時布魯塞爾皇家藝術學院與法國巴黎國立高等美術學院深造，奠定橫跨古典造形與現代空間思維的創作基礎。返臺後，蒲浩明持續在雕塑、書法、平面與空間裝置之間展開多元探索，逐步發展出兼具精神性與當代感的個人語彙。
蒲浩明的作品關注生命、時間、空間與觀看之間的關係，從金色小水滴、生命系列，到透明空間與裝置創作，皆展現他對形體生成與能量流動的深層思索。書法在他的創作中不僅是文字書寫，更是身體節奏、精神運動與空間延展的痕跡。長年累積的造形功力，使他的作品既有雕塑的厚度，也帶有東方美學中的留白、氣韻與內斂力量。在沉靜而開放的形式之中，蒲浩明不斷將物質轉化為可被感知的精神場域，呈現出對存在與宇宙的深刻凝視。
Pu Hao-Ming (born 1944 in Chiayi) grew up in a profound artistic lineage, with his maternal grandfather being the pioneer painter Chen Cheng-Po and his father being the prominent Taiwanese sculptor Pu Tiansheng. From a young age, he received rigorous classical sculpture training in his father’s studio. He later pursued advanced studies at the Royal Academy of Fine Arts in Brussels, Belgium, and the École Nationale Supérieure des Beaux-Arts in Paris, France. Pu has continually explored the realms of sculpture, calligraphy, graphic art, and spatial installations, gradually developing a personal vocabulary that possesses both spirituality and a contemporary sensibility.
Moving beyond traditional forms, Pu integrates Eastern aesthetics into his evolving practice. He expands sculpture into transparent spaces and installations, exploring the fluidity of life, time, and perception. Calligraphy transformed in his work from mere text into traces of physical rhythm and spatial extension. This artistic progression endows his contemporary creations with both physical weight and the contemplative negative space of Eastern philosophy, effectively turning raw matter into a perceptible spiritual field.
▌藝術家介紹 —— 林振龍 Chen-Long, LIN
林振龍（字號「二谷」，出生於南投）是台灣現代陶藝的重要推手，也是推動當代「名家彩瓷」風潮的先驅。他於1973年入王修功主持的漢唐陶藝廠學習，後拜陶藝名家林葆家教授為師，奠定深厚基礎。1979年，林振龍於台北土城成立「瓷揚窯」工作室，以專業技術製作坯體供藝術家前來繪製陶瓷畫；這種合作模式不僅成功搭建起傳統工藝與現代純美術之間的橋梁，也讓他得以吸收各家之長，開啟陶瓷創作的全新天地。
林振龍透過對泥土質地與特色的深刻了解，寫意地呈現自然樣貌。他善於以肌理和釉面的對比，詮釋對大地的虔誠與關懷——撕土的粗獷肌理如嶙峋山石，青瓷的溫潤幽靜喻作一泓碧綠湖水，高溫燒製的大地裂紋則延展出無盡情感。他的創作成功將自然與人文氣息進行完美融合，徹底改變了台灣陶藝的發展面貌。
Lin Chen-Long (styled "Er-Gu", born 1955 in Nantou) is a key promoter of modern Taiwanese ceramics and a pioneer of the contemporary "celebrity painted porcelain" movement. Early in his career, he studied under the renowned master Professor Lin Bao-Jia, laying a solid foundation for his craft. In 1979, he established the "Ci-Yang Kiln" studio in Tucheng, Taipei, professionally crafting ceramic bodies for prominent artists to paint on. This collaborative model successfully bridged traditional craftsmanship with modern fine art, while allowing Lin to absorb the strengths of various masters and forge his own path in ceramic creation.
With a profound understanding of clay’s inherent textures and characteristics, Lin expressively captures the forms of nature. He masterfully utilizes the contrast between texture and glaze to convey reverence and care for the earth: the rugged texture of torn clay resembles craggy mountains, the warm serenity of celadon evokes a pool of emerald water, and the high-fired fissures of the earth unfold boundless emotion. His creations beautifully integrate nature with humanity, fundamentally transforming the landscape of Taiwanese contemporary ceramic art.
▌藝術家介紹 —— 王志文 Chih-Wen, WANG
王志文是台灣當代雕塑藝術家，以木雕為核心，專注於探索人類與環境的深層連結。
王志文以對人體解剖學的嚴謹掌握，以及將古典寫實雕塑、古典技法與現代抽象主題、當代敘事相結合的獨特能力而聞名，數十年來，他利用木材、樹脂、不鏽鋼、石膏及青銅等多元媒材，運用細膩工藝構築出具備深刻身體表現力的作品，展現對材質與形體的精準掌控，也反映對人性、多元文化與社會現象的深刻觀察。
代表作包括《融異》、《自由女神》等，在近年的展出中，帶領觀眾一同穿越現實與想像的邊界，進一步體會雕塑的精神魅力與哲學深意，並曾擔任多所藝術院校講師，作品也多次於國內外美術館及藝術展覽中亮相，獲得廣泛的收藏與肯定。
Wang Zhi-Wen is a prominent Taiwanese contemporary sculptor who centers his practice on woodcarving, focusing on exploring the deep connection between humanity and the environment.
Renowned for his rigorous mastery of human anatomy, Wang possesses a unique ability to combine classical realist techniques with modern abstract themes and contemporary narratives. Over the decades, he has worked with a diverse range of media—including wood, resin, stainless steel, plaster, and bronze—utilizing exquisite craftsmanship to construct works with profound physical expressiveness. His creations not only demonstrate a precise control over material and form, but also reflect his deep observations of humanity, multiculturalism, and social phenomena.
His representative works include Blending and Divergence and Statue of Liberty. In his recent exhibitions, he has guided audiences across the boundaries of reality and imagination, allowing them to further experience the spiritual charm and philosophical depth of sculpture. In addition to having served as a lecturer at various art institutions, his works have been frequently showcased in museums and art exhibitions both domestically and internationally, earning widespread acclaim and placement in major collections.
▌藝術家介紹 —— 梁佑華 Yu-Hwa, LIANG
梁佑華是台灣當代陶藝界極具潛力的新星，現為「埜漜居工作室」負責人。他以陶瓷雕塑為核心載體，善於將人類內心深處的複雜情感與社會現象具象化，其作品融合了黑色幽默、漫畫語彙及科幻次文化的獨特美學，用純樸的陶土構築出一個引人入勝的「荒謬劇場」。
梁佑華對「深淵」與「怪物」等意象有著深刻的探索，創作往往充滿戲劇張力與哲思，無論是蟄伏於深淵中的小怪物，還是象徵信仰與守護的流浪神獸，皆是對人性與社會議題的深刻反思，並曾多次參與國內外重要展覽及駐村計畫，在持續挑戰材料邊界與藝術多元表達的同時，亦致力於推動當代陶藝的創新，期盼藉由作品，喚起觀者對自我內心與現實世界的重新審視。
Liang Yu-Hua is a rising star in Taiwan's contemporary ceramic art scene and the founder of Ye-Ye-Ju Studio. Using ceramic sculpture as his primary medium, he excels at objectifying complex human emotions and societal phenomena. His works blend black humor, comic book vernacular, and sci-fi subcultures, transforming rustic clay into a captivating "theater of the absurd.
"Deeply exploring motifs of "abysses" and "monsters," Liang’s creations brim with theatricality and philosophical inquiry. Whether portraying little monsters from the abyss or stray mythical beasts symbolizing faith and protection, his art profoundly reflects on human nature and social issues. Having participated in numerous exhibitions and residencies worldwide, Liang continuously challenges material boundaries, inviting viewers to re-examine their inner selves and reality.
▌藝術家介紹 —— 薛宏瑋 Hong–Wei, SYUE
薛宏瑋（1979年出生於澎湖）以巧妙運用光、影、水元素，將寫實與抽象交融的卓越能力而聞名。近年創作以雨景系列為主，藉由城市、街道、行人來呈現時常下雨的台灣，並透過畫布的特殊處理與顏料的堆疊延伸，使畫面產生動態感覺，強烈表現出畫以外的濕度。最新作品更創新加入了白色人像，打破日常之所見，在營造畫面衝突感的同時，也為觀者產生了更多虛與實的想像空間。
Hsuan Hung-Wei (born 1979 in Penghu) is an outstanding contemporary Taiwanese oil painter, renowned for his exceptional ability to blend realism and abstraction through the masterful use of light, shadow, and water. In recent years, his creations have focused on rainscapes, depicting a frequently rainy Taiwan through cities, streets, and pedestrians. By utilizing special canvas treatments and layered paint extensions, his work generates a sense of dynamic movement, vividly conveying a palpable humidity that extends beyond the canvas. His latest pieces innovatively incorporate white human figures, disrupting everyday reality to create visual conflict and open up vast spaces for imagination.
▌藝術家介紹 —— 陳盈如 Ying-Ru, CHEN
陳盈如的作品題材經常是以台灣民俗、中國傳統的人、事、物做為主角，結合生活中遇到的事件、故事為主軸，透過第三者的角度以獨立和純粹的心境，在作品中表達了對所處環境的感受、經歷。她擅用「心、意」在畫作中融入自我想像、天馬行空的潛意識，豐富的色彩、幽默逗趣的造型，使得畫面構成了屬於自我的高度顯意識。
Chen Ying-Ju's artwork frequently features Taiwanese folklore and traditional Chinese figures, events, and objects as her core subjects, weaving them together with everyday encounters and stories. Observing from a third-person perspective with an independent and pure mindset, she expresses her experiences and perceptions of her surroundings through her creations. She skillfully harnesses "mind and intent" to infuse her paintings with personal imagination and a whimsical subconscious; the vibrant colors and humorously witty figures ultimately shape a visual realm that represents a highly distinct self-consciousness.
