「正常與非常」揭示著身體與環境的格不相入；因此我們動身、觸及他人，持續經驗「移動與棲居」；「酷異與結盟」則作為信仰與解方，共生、共情、共社。
"Typical and Atypical" reveals the dissonance between our bodies and the world around us; thus, we move, reach out to others, and continue to experience "Mobility and Dwelling." In this way, "Queerness and Coalition" becomes both belief and response—a call for coexistence, empathy, and assemblage.
由「移動與棲居」理解世界 Understanding the world through "Mobility and Dwelling"
纖維行走檔案
Fiber Walking Archive
2020-2025｜複合媒材，尺寸因場地而異 mixed media, dimension variable
王翊如 RU
在日常的移動之間，我經常憑直覺撿起一塊布料、一段線頭、一撮天然纖維。那些纖維物件多半來自他人遺棄的殘餘，在被世界忽略之前，先被我默默地拾起。這些看似偶然的選擇，或許映照著某種我與環境互動的方式，雖然每一次採集的理由未必清晰，但它們總在某個瞬間觸動我，一種難以言喻的惜物之情，或是一種對尚未消逝之物的回應。
這次展出，試圖以檔案化的形式，回溯這些一段段被保存下來的情感決策，讓那些纖維材質成為一種可見的思考痕跡。它們不只是材料，而是某些尚未被命名的情感，是未來創作的伏筆，是人與材料之間、我與世界之間仍在發展的潛藏連結。
As I move through daily life, I often pick up pieces of fabric, loose threads, or bits of natural fiber—usually guided by instinct. Most of these materials were once discarded by others. Before they were lost or forgotten, I quietly collected them. These choices may seem random, but they reflect how I relate to my surroundings. Even if I don’t always know why I pick something up, there’s often a feeling behind it—a sense of care, or a response to something that still feels alive.
This exhibition looks back at these moments, organizing them like an archive. Each fiber carries traces of decisions made through feeling rather than logic. They are more than just materials. They hold unnamed emotions, hints of future works, and hidden connections—between people and materials, between myself and the world—that are still growing.
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2025｜數位印刷，200*100毫米 digital printing, 200*150mm
匿名寫手 Anonymous Writer
一個難以忽視的「書寫」，看不見的運行顯現在城市的物件上（visible/invisible）。
當我偶然行走經過高雄市區某個路段，發覺有座變電箱吸引不少圍觀群眾；後幾日，只要在附近徘徊，就能聽到身旁路人討論上方所書寫的內容，甚至開始搜尋鄰近的角落是否有同樣的文字，讓本來未受注目的城市物件不再凝滯。這位未具名寫手的行為牽引起變電箱與觀看者的關係，也重新詮釋該地方不僅作為一個地圖上平面的點，而是完整的動態過程（place as process, Doreen Massey 1993）。
該事件所建立的多層關係，奠基於一位匿名者身體的移動性，我深信此舉非一時興起，是其錨定一個點刻意為之，有意識地行徑，使一個靜止、穩定、扁平的地方，逐漸與環境交織、立體，且成為流動關係的節點，企圖延展變電箱本體的功能性，構築日常生活中第三空間（thirdspace, Edward Soja 1996）的共同意識，揉和群體、環境、時間等幽微關係，揭開城市居住者對地方的依附與疏離。
直至某日，他主動找向我，描述如此錨定不是一個點，而是一個多面體......（王冠鈞寫於2025/04，旁觀計畫進行中）
An invisible act of "writing"—made visible on the objects of the city.
One day, I passed a street in downtown Kaohsiung and noticed a crowd gathering around a transformer box. In the following days, whenever I lingered nearby, I would hear people talking about the words written on it. Some even started searching the surrounding area for more of these messages, as if the once-overlooked corners and objects of the city had begun to stir. The anonymous writer’s actions reshaped the relationship between the transformer box and its viewers, reframing the location not merely as a point on a map, but as a dynamic process—what Doreen Massey calls a place as process.
The multilayered relationships formed through this event are grounded in the mobility of the anonymous writer’s body. I’m convinced that this act wasn’t done on a whim—it was intentional, a planned effort to anchor a specific point. Through this deliberate act, a place once static, stable, and flat began to intertwine with its surroundings, transforming into a node of fluid relationships. It sought to extend the function of the utility box itself, and to construct a shared consciousness of thirdspace (Edward Soja, 1996) within the realm of everyday life—blending subtle relations among people, environment, and time. It revealed how urban dwellers become attached to or distanced from a place.
Until one day, the writer approached me and said—"This act of planning isn’t just a point. It’s a polyhedron…"(Written by Champion, April 2025 — from the ongoing Witnessing Project)
小誌 Zine＞
時葉
Time and Leaves
2025｜小誌，180*170*120毫米 zine, 180*170*120mm
林育嫻 Miya Lin
這是一本與時間共創的書。
每一頁、每一葉，啃咬、彎曲、斑點、枯黃，都是自然輕輕寫下的詩。我將這些隨風而落的片段拾起，讓時間在書葉間緩緩流動。
A book co-written with time.
Each page—each leaf—chewed, curled, spotted, yellowed—is a quiet poem penned by nature.I gather these fallen fragments, letting time flow gently between the leaves.
在樹葉落下時
Falling
2025｜樹葉、簽字筆，尺寸因場地而異 leaves, Ink pen, dimension variable
林育嫻 Miya Lin
樹葉像是一張張隨手撕下的便條紙，而我好奇在它落下前，曾停留世界的哪個角落。
創作時，由心帶著眼，由眼帶著手，讓風景自然流進畫面裡。不求還原，也不預設結果，只是想留下那個瞬間，葉子與世界相遇時的痕跡。
Leaves, like notes torn from a pad, make me wonder where they once belonged before falling.
In creating, the heart leads the eyes, the eyes guide the hand—letting the landscape flow in, unforced and unscripted. Not to replicate, not to predict, only to hold the trace of that moment when a leaf meets the world.
圖像誌 Graphzine＞
走路( )看路
Hiiiiit The Road
2024｜圖像誌、展覽紀實（數位印刷，100*150毫米） graphzine, exhibition documents(digital printing, 100*150mm)
命之星 MeanToStar
小誌收錄自2024年3月《走路( )看路》展覽的各種碎片，展中一同邀請體驗者書寫「在路上」的過程，以下為策展概念：
「當你駕車離去，身後的人越來越小且不斷遠去，最後消失在茫茫平原上，那種感覺是什麼？ —— 這就是道別。卻也期待在這廣闊無邊的世界中依然駛向前方，迎接下一個瘋狂的旅程。」—— 《在路上》傑克‧凱魯亞克（1957）
後現代文學主義中垮掉的一代（Beat Generation）之代表性作家傑克‧凱魯亞克，於《在路上》一書中描寫對世界的不安想像與倦怠（beat），冀望逃離生活困境，告別過去的自己，從而開啟一場浪蕩不羈的公路旅程。本展始於一段悄然相遇的美好關係，儘管彼此迫於現實而短暫揮別，使我們處於迥然不同的公路旅程中，但在各自看似無關的生活裡仍然緊密聯繫著，持續驅車前行。
猶如展題《走路( )看路》，我們終究處於一道前進的路上，即使行走於互不連通的路段，也因我們的熟識而休戚相關。其中揉和各式情緒的生活，時而如夢般荒謬，相應著現實的無常；時而難以置信如此不期而遇的緣分。在這遼闊的世界裡，我們何嘗不是各自行走？即使不看著路、想看著路、要看著路，皆因擁有過往跌宕起伏的旅程，使我們持續成長壯碩、彼此交互影響，也因而展開了「在路上」的數個創作計畫。
The zine documents various events from the exhibition Hiiiiit The Road held in March 2024. During the exhibition, visitors were invited to write about their own experiences of being "on the road." The following is the curatorial statement:
"What is that feeling when you're driving away from people and they recede on the plain till you see their specks dispersing? —— it's the too-huge world vaulting us, and it's good-bye. But we lean forward to the next crazy venture beneath the skies."—— On the Road, Jack Kerouac (1957)
In On the Road, a seminal work of postmodern literature and a defining text of the Beat Generation, Jack Kerouac captures the sense of unease, disillusionment (beat), and yearning for escape. Through the act of departure—saying goodbye to a former self—he opens up a boundless, unruly road trip, chasing something just out of reach.
This exhibition begins with the quiet encounter of a beautiful connection. Though reality forces a brief parting, sending us down different roads, we remain intimately linked through the seemingly unrelated rhythms of our lives, continuing to drive forward.
Like the exhibition's title, Hiiiiit The Road, we are all ultimately traveling along some paths. Even when walking disjointed roads, our shared bond keeps us connected. The emotional spectrum of our lives unfolds—at times dreamlike and absurd, echoing the instability of reality; at other times, astonishing in its serendipitous encounters. In this vast world, aren't we all moving in our own directions? Whether we ignore the road, wish to see it, or insist on watching it, it is our winding journeys that strengthen us, shape us, and intertwine us. From this, several creative projects "on the road" have emerged—each one a milestone along the way.
蕭宇汶 Yogafish Xiao｜進來看看吧 Come On In and Take a Look
邱柔瑄 Sutor Chiu｜你不是沒用，你只是沒用 You're Not Useless, You're Just Not in Use
陳小圓 Circle Chen｜30天的茅塞頓開 30 Days of Sudden Realization
傅有薇 Foy｜距離／時間＝風景 Distance/Time=Scenery
王冠鈞 Champion Wang｜浪 The Waves
走路（別）看路 ⸺《進來看看吧》
Walking (Beyond) Watching the Road — "Come On In and Take a Look"
蕭宇汶 Yogafish Xiao
分享和邀請對我來說不是容易的，因為必須先相信自己並且相信別人。
那是在好幾個夜晚，友人們盡可能依照我的節奏，在那些準備被丟棄的紙箱上，進行無數次加工：手撕裁切、浸泡、不均勻染色、凹折、曬乾等待、來回運送，極力鋪出一條狹窄、包圍、只能容納一人的小徑，卻意外開展出不只我一人能前進的路。
這些大量重複的勞動行為，打開我與身邊人的聯繫，承載著數不清的感謝；而我也終於願意開始相信，愛的接收不需要回應任何期待。
Sharing and inviting have never come easily to me—because they require trusting myself, and trusting others.
Over the course of many nights, friends followed my pace as best they could. Together, we processed discarded cardboard boxes: tearing, soaking, unevenly dyeing, folding, drying, transporting—again and again. All this to pave a narrow path, enclosed and only wide enough for one person. And yet, somehow, it became a way that more than just I could walk.
These repeated, laborious actions opened up connections between myself and those around me. They carry countless traces of gratitude. And finally, I’ve begun to believe that to receive love, I don’t have to meet any expectations in return.
走路（都）看路 ⸺《你不是沒用，你只是沒用》
Walking (Always) Watching the Road — "You're Not Useless, You're Just Not in Use"
邱柔瑄 Sutor Chiu
2023年底的道別集合，讓原先飽滿的期望，瞬間被稀釋。
感受到強烈「沒有用」，是我在一段互相依賴的關係裡被丟掉了，我知道那是深思熟慮後，對當下我們最好的選擇。但生活還是變得很空蕩，只能一如往常的努力讓那些已然成為「沒有用」的過去記憶，盡可能的讓他們變得「有用」。
回到台南後，我時常待在房間，被那些大量「沒有用」的物件們包圍著，希望自己也在強烈「沒有用」的感受裡，經過一段時間後成為「有用」。就像那張「沒有再使用」的人生第一張書桌，差點被丟掉，又被留下了。
At the end of 2023, a farewell gathering diluted the expectations that once felt so full.
The overwhelming feeling of being "useless" hit me when I was discarded in a relationship where mutual dependence had once existed. I knew it was a carefully considered choice, the best one for both of us at that moment. But life became empty, and all I could do was try, as always, to make the memories of the past—memories that had already become "useless"—useful again.
After returning to Tainan, I often found myself alone in my room, surrounded by so many "useless" objects, hoping that, in the midst of feeling utterly useless, I could eventually become useful. It was like that first desk in my life—the one that was no longer in use, almost thrown away, yet somehow still kept.
走路（毋）看路 ⸺《30天的茅塞頓開》
Walking (Without) Watching the Road — "30 Days of Sudden Realization"
陳小圓 Circle Chen
模糊地帶的喃喃自語：「30天的關係紀錄。」
回到最初2020的作品《我與這個世界，多近?》我跟這世界的距離如何衡量？在探問這個問題前，需要回到人與人的關係，怎麼建立關係？為什麼要建立關係？關係是如何開始？開始後又是如何建立及維繫？試著用盡全身力量維繫關係，似乎還存在著有效期限，而這個有效期限卻讓我難以消化。試圖透過雙眼重新回看發生過的事，將已發生的事重新整理、建構、輸出，赤裸的將這一切都擺在眼前，進行抽絲剝繭。並透過一篇篇的書寫，去回看這些內容是否有甚麼共同處，由我作為故事中唯一不變的人物，去看待我生命這條軸線上經歷了什麼。
A quiet murmur in the blurred space: "A 30-day record of relationships."
Looking back to my 2020 work, How Close Is My Distance to This World?, how do I measure my distance to the world? Before exploring this question, I must first return to the relationships between people: How do we build relationships? Why do we build them? How do relationships start? Once they begin, how are they maintained?
Trying with all my might to sustain these relationships, it seems there is always an expiration date, one that I can hardly digest. I attempt to revisit past events with my eyes wide open—rearranging, reconstructing, and outputting what has already happened. I lay it all bare before me, peeling back the layers. Through a series of writings, I try to discern if there are any common threads in these experiences, as the one constant in this story is me—the only unchanging figure on the timeline of my life.
走路（在）看路 ⸺《距離/時間=風景》
Walking (Just) Watching the Road — "Distance/Time = Scenery"
傅有薇 Foy
生活是平面的，我騎著車穿梭其間。
行經無人的路段時，總有種時間靜止的錯覺。一直到紅燈亮起、停下腳步，才注意到路旁的零星綠意，從牆角冒出來；與磚牆平起平坐；跨過鐵皮外的世界...... 叫不出這些植物的名字，只知道它們正沐浴著陽光恣意生長、隨風晃動。能夠騎車上路，是成長的感覺；而能在緊盯路面之餘，擁有瞥一眼風景的餘裕，靠的是經驗的堆疊，一點一點、成為日常之外的興味。
生活是平面的，片刻風景勾勒出立體的模樣，又走了一段路。
Life unfolds on a flat plane, and I ride my scooter through it.There’s always a strange sense that time has stopped when I pass through empty streets. It isn’t until the red light appears and I’m forced to pause that I notice the bits of green at the roadside—sprouting from cracks in walls, stretching up to meet the bricks, reaching beyond the sheets of metal into another world... I don’t know the names of these plants. I only know they sway freely in the sun, growing as they please.
Being able to ride out into the world feels like growing up. But having the space to glance at the scenery—not just keeping your eyes fixed on the road—comes with experience. It builds over time, turning into a quiet kind of joy.
Life may be flat, but these fleeting scenes give it shape, and then the road continues.
走路（即）看路 ⸺《浪》
Walking (While) Watching the Road — "The Waves"
王冠鈞 Champion
延續2022年與纖維創作者王翊如於臨海城鎮的駐地創作，逐年形構沉浸式的纖維音景。
「與水相伴、和浪同行、臨海共振」作品原初以水為核心物件，試圖凝視當代眾人對海洋景色的印象。藉體驗者的參與，遍地無數纖維的皺摺，連綴起受浪花而影響的環境，而踩踏皺摺會觸發浪花聲，連綿著臨海的聲響採集，以喚起對知覺的共同意識、記憶，並探掘匿伏於感覺遺失狀態中的細微觸動。
In continuation of a 2022 residency in a coastal town, The Waves is a collaborative work with fiber creator RU, gradually evolving into an immersive fiber soundscape.
Accompanied by water and guided by waves, we resonate by the sea—the work centers on water as a material and conceptual core, inviting reflection on how contemporary life shapes our impressions of the ocean.
As participants move through the space, they walk across layers of creased fabric shaped like waves. Each step triggers the sound of the sea, playing recordings of waves and tides. These sounds, gathered from the coast, form a shared soundscape that invites people to reconnect with their senses and memories—especially those that may have faded or gone unnoticed.
