淡水河位在鹹淡水交界，一條通往海洋的大河，其遼闊的地景引人嚮往，黑夜下的淡水映射出大都會的光點，在既有空間中延伸成新樣貌，是帶有如此奇幻色彩。
經常往返淡水的路途，早上啟程，夜晚歸來，享受著這個城鎮的晝美景，回程的午夜時刻將城市浸泡在爍爍燈火，整個景色彷彿穿越到另一個時空，一陣驚喜，不禁懷疑這是否同為晝日的路途，於是我們受到這個時刻的吸引，是奇幻的、充滿想像的，以對環境的意象，來表達或思考藝術作為一種魔法的可能，讓具象與抽象、真實與虛幻並存、日常和異質界線模糊。
午夜的魅力驅使著我們對於曖昧的氣氛感到渴望，追求看見其面貌，在夜深人靜的淡水河口地帶總是充滿著某種無法用言語表達的迷人感受，我們也總是在這個時刻出門遊走、聚在一塊深夜長談去享受午夜時刻所帶來的養分，促發我們思考、感化內在的過程，創作的能量。
The Tamsui River sits at the boundary of salt and fresh water, a wide river that leads to the ocean. Its vast landscape is captivating, and under the cover of night, Tamsui reflects the sparkling lights of the metropolis, extending into a new, magical form.
We often travel back and forth to Tamsui, leaving in the morning and returning at night. We enjoy the town’s daytime beauty, but it’s the midnight return, with the city steeped in shimmering lights, that feels like crossing into another dimension. This sudden wonder makes me question if it’s the same path We took during the day. We were drawn to this moment—it’s fantastic and full of imagination. We use this imagery of the environment to express and ponder the possibility of art as a form of magic, where the tangible and abstract, the real and the illusory, and the everyday and the heterogeneous all coexist in blurred boundaries.
The allure of midnight drives our longing for this ambiguous atmosphere, a desire to see its true face. The quiet, deep night at the mouth of the Tamsui River always holds a certain indescribable charm. We often go out, wander, and gather for late-night talks, soaking in the nourishment this midnight hour provides, which fuels our process of thought, internal transformation, and creative energy.
▌展覽資訊 Exhibition Information
▰展出日期 Dates｜2022.09.16(五)～09.28(三)
▰展出時間 Hours｜14:00-21:00
▰地點 Venue｜永富五號，新北市淡水區中正路18巷5號
▰開幕座談會 Opening & Artist Talk｜2022.9.16 Fri.
▰與談人 Speaker｜涂維政 Tu Wei-cheng－國立臺北藝術大學美術系專任助理教授暨藝術家 Assistant Professor, Department of Fine Arts, Taipei National University of the Arts; Artist
▰座談時間 Talk Time｜18:30-19:30
▰宵夜派對 Late-Night Party｜19:30-21:00
▌藝術家
▰ 王威中 Wang Wei-chung
國立臺北藝術⼤學美術系學士。
Bachelor of Fine Arts, Taipei National University of the Arts.
創作理念 Concept
在淡水生活了三年多，竹圍小鎮是我的生活範圍，享受這裡的日常，所有活動場所、人群的聚集，堆起整個小鎮的溫度和生命力。於是我嘗試在永富五號的廚房舉辦料理直播節目，廚房外的狹長走道放了塊石板，在一來一回的點菜、送菜、料理和與直播間的觀眾互動。
而我疲累時便會坐在石板上休息，身上的汗水、油漬、氣味在此刻遺留並展現，在忙碌在過程中我是否從生命體到自媒體都成了某種高度活動的載體，石板上的我則是某種靜置的身體，能量期待被在一次充滿，時刻被真空，一座雕像佈滿脈動的痕跡。藉由直播幕後的臨時搭建設備，日常餐館或攤販買賣活動，使生活蹤跡堆起一個區域的熱度，並重新看待所謂「替代空間」的展演性質。
Having lived in Tamsui for over three years, the small town of Zhubei has become my home. I’ve grown to love its daily life—the gathering spots and people who give the town its warmth and vitality. So, I tried hosting a cooking live stream in the kitchen of Yongfu No. 5. Outside the kitchen’s narrow hallway, I placed a slab of stone.
As I took orders, delivered food, cooked, and interacted with the audience, I would sit on that stone to rest when I got tired. My sweat, grease, and scent would remain there, visible and present. I wondered if, in this busy process, my body—from a living being to a self-media creator—had become a highly active vessel, while my body on the stone was a static one, its energy waiting to be refilled, a moment in a vacuum.
It was like a statue filled with pulsating traces. Through the temporary setup behind the live stream, along with the everyday activities of a restaurant or a street vendor, the traces of life built up the warmth of the area and redefined the performance nature of an “alternative space."
展覽經歷 Exhibition experience
台藝北藝元智三校繪畫聯展
▰ 張念為 Zhang Nian-wei
國立臺北藝術⼤學新媒體藝術系學士
Bachelor of New Media Art, Taipei National University of the Arts
創作理念 Concept
午夜時刻是奇幻的，將地方釋出了第二次的詮釋空間，黑色的輪廓描述著更為豐富的想像，有人感到不安全、猜疑、平靜… 也有人感到浪漫的情調吧。本性驅使著我們對於未知的事物感到渴望，追求看見其面貌，或許是美麗的，但可能也是致命的。每當我們提到影像概論時，時常以Allegory of the cave (洞穴寓言) 比喻存在於影像中的『幻象』，當今為視覺主導的影像社會，我們該怎麼思考所見即所聞。你有看過恐龍嗎？恐龍真的可怕嗎？當你認為牠很可怕，那牠真的會很可怕。
Midnight is a fantastical time; it gives a place a second chance at interpretation. Black outlines describe a richer imagination. Some people feel insecure, suspicious, or peaceful, while others feel a sense of romance. Our nature drives us to long for the unknown, to pursue its true face—it might be beautiful, but it could also be fatal.
When we discuss visual theory, we often use Plato’s Allegory of the Cave to represent the “illusion" that exists in images. In today’s visually dominated society, how should we think about the idea that what we see is what we know? Have you ever seen a dinosaur? Are dinosaurs really scary? If you believe they are, then they will indeed be very scary.
展覽經歷 Exhibition experience
2022｜「親愛的呆腦，親愛的獸 Lovely Dino Lovely Saur」，張念為個展，噪山
2022｜《無期遷徙 Liminalspace》北藝新媒第九屆畢業展演，華山藝文特區
2022｜「Drive My Car 開我的車」，THE HALL
2020｜「台灣美術雙年展平行展《技術變形記》」， 河南 8 號
▰ 侯文詠 Hou Wen-yong
國立臺北藝術⼤學美術系學士
Bachelor of Fine Arts, Taipei National University of the Arts
創作理念 Concept
在釣魚的過程中坐在浮筒平台上跟著它慢慢的隨著水波上下晃動，同時也看著浮標同步跟著水波上下晃動，不管在視覺或是感官上都透過了水這個媒介所帶來了某種程度上的饗宴。
近期更是對於氛圍與感受特別敏感和關注，所以我這次的作品試圖把「晃動」這個動態結合在警告標示桿上，去除它好端端的被豎立在土地上的樣子，轉化成巨型浮標的念，在視覺上主體在水中晃動外，同時卻又再警示著你小心別看著看著暈了，在認知與身理上形成某種打結的矛盾感。
While fishing, I sit on a pontoon platform and slowly sway up and down with the water. I watch the bobber on the water’s surface do the same, creating a feast for both the eyes and the senses. Lately, I’ve become particularly sensitive to and interested in atmosphere and sensation.
In my work, I tried to combine this “swaying" motion with a warning sign pole, removing it from its usual upright position on solid ground and transforming it into a giant buoy. Visually, the subject sways in the water, yet at the same time, it warns you to be careful not to get dizzy from watching. This creates a contradictory feeling, a kind of cognitive and physical knot.
展覽經歷 Exhibition experience
2022｜「逢魔巴島」藝術家聯展，平谷試誤所，北投，台灣
2021｜「在表格上打一個勾」，南北畫廊，關渡
2019｜「找不到替代文字」北藝美術第33屆系展，地美館，關渡
▰ 洪瑞謙 Hong Rui-qian
國立臺北藝術⼤學美術系學士
Bachelor of Fine Arts, Taipei National University of the Arts
創作理念 Concept
在明月當空的午夜，漆黑的河畔漁港，有一具屍袋隨著浪潮蕩漾。本次作品模擬漁港的浮濫設施以長型的物體樣態漂浮於淡水的滬尾漁港口，外型則仿造屍袋的模樣有隱約的人體造型細節，並上色為黑色仿造常見的黑色垃圾袋。
在國立臺北藝術大學生活的這幾年，初嚐自由的同時生活環境劇變造成的各種困難接種而來，而臨近學校的淡水一帶成了我排解迷惘、散心的歸處。每當我在夜半時分漫遊至滬尾漁港，漂蕩於漆黑海面上的浮筒總是會帶給我無盡的想像。所以這次的作品我企圖製造一個契機引發幻想的漣漪，擴大思想上的感知，用詭異、恐怖等負面的情緒去負向凸顯場景的幽美，並利用與日常感知上的落差，體會獨我的存在感。
Under a bright moon at midnight, in a dark riverside fishing harbor, a body bag sways with the tide. My work simulates the floating facilities of a fishing harbor by placing a long, object-like form in the mouth of the Tamsui Huwei Fishing Harbor. It’s shaped like a body bag with subtle human-like details and is painted black to resemble a common trash bag. In the years I’ve lived at TNUA, while tasting freedom for the first time, I was also hit with various difficulties caused by dramatic changes in my environment.
The Tamsui area near the school became my refuge for resolving confusion and clearing my mind. Whenever I would wander to the Huwei Fishing Harbor late at night, the floating pontoons on the dark sea would always spark my imagination. This work is an attempt to create a catalyst for a ripple of fantasy, expanding our perception. By using negative emotions like eeriness and horror, I aim to negatively highlight the serene beauty of the scene and, through the contrast with everyday perception, experience a sense of unique existence.
展覽經歷 Exhibition experience
2022｜「過三關：北台以北」，台北，台灣
2022｜「逢魔巴島」藝術家聯展，平谷試誤所，北投，台灣
2019｜「KOUTOZYU 洪東樹創作個展」，三峽，台北，台灣
2018｜「BusinessART」，巴黎
▰ 黃韻玹 Huang Yun-xuan
國立臺北藝術⼤學美術系學士
Bachelor of Fine Arts, Taipei National University of the Arts
創作理念 Concept
並排的咖啡館、座落在金色海岸旁的餐廳們，它們井然有序並排著，餐廳內鏗鏘作響的餐具聲，陌生的人在裡頭用餐窸窸窣窣的說話聲忽遠忽近。
我嘗試想把那個讓人安定的空間畫下來，但怎麼想也想不起那些色塊中的細節，沒有脈絡的畫面和線條，我驚覺那些空間是自己在現實中最困惑時會出現的地方，現實中我跟那些地方其實不太熟，但在夢中又好像時常和它們相處，似真似幻。
這次的作品我想深入研究夢，人的潛意識將複雜的記憶濃縮成簡單的記憶，那是一種凝縮的能力，而這個作品是想將一個不斷出現的夢公開，夢背後的意義是什麼？夢本身的機制就像意識正在創作，意識將現實中體驗的情感當作是元素編排成一個又一個的夢境，我們可以簡單的陳述顯夢，但背後的隱夢才是潛意識的訴求。
使用編導攝影的方式去將過去一段又一段的夢顯影進而將其呈現、紀錄下來，畫面中的物件正是觀者所看到的故事？這樣曖昧的觀看體驗我認為是有趣的。
The cafes lined up in a row, the restaurants situated next to the golden coastline—they are all neatly arranged. Inside, the clang of cutlery, and the faint, rustling voices of strangers dining seem to come and go.
I tried to paint that reassuring space, but no matter how hard I tried, I couldn’t remember the details in the colors—just screens and lines without context. I realized those spaces were places that appeared to me in my dreams during my most confused moments in reality. In reality, I wasn’t familiar with these places, but in my dreams, I seemed to spend a lot of time with them, making them feel both real and illusory.
With this work, I want to delve into the study of dreams. The human subconscious condenses complex memories into simple ones—a capacity for condensation. This piece aims to publicize a recurring dream. What is the meaning behind the dream? The mechanism of the dream itself is like consciousness creating art; it takes emotions experienced in reality and arranges them into one dream after another.
We can easily describe the manifest dream, but the latent dream behind it is the true plea of the subconscious. I used staged photography to develop and record a series of my past dreams. The objects in the frame—are they the story the viewer sees? I find this ambiguous viewing experience intriguing.
展覽經歷 Exhibition experience
2022｜「過三關：北台以北」，台北，台灣
藝術家作品列表
| 編號 | 名稱 | 尺寸 / 時間 | 材質 | 創作者 | 年代 | 展示方式 |
|---|---|---|---|---|---|---|
| 1 | 永夜五號宵夜店 | 依現場而定 | 直播設備、廚房用具、石板、水泥 | 王威中 | 2022 | 行為表演 |
| 2 | Lovely Dino Lovely Saur | 依現場而定 | 熱轉染金屬成像、動態影像、智慧型手機、不銹鋼 | 張念為 | 2022 | 空間裝置 |
| 3 | 等待的夜流 | 210*94.5cm | PVC水管、木材、沈水馬達、警示燈 | 侯文詠 | 2022 | 空間裝置 |
| 4 | 月夜下的屍體 | 170x90x30cm/ 2022 | frp、水泥、木材、布 | 洪瑞謙 | 2022 | 空間裝置 |
| 5 | 大夢 | 依現場而定 | 數位輸出 | 黃韻玹 | 2022 | 空間裝置 |
永富五號 Yong Fu No.5 