ART TAIPEI 2025
Booth B11
2025.10.24- 2025.10.27
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參展藝術家 Artist Introduction
方偉文 FANG Wei-Wen
許尹齡 HSU Yin-Lin 謝牧岐 HSIEH Mu-Chi 毛利悠子 Yuko MOHRI 王璽安 WANG Sean |
就在藝術空間這次在2025 台北國際藝術博覽會，呈現方偉文、毛利悠子、謝牧岐、王璽安與許尹齡五位藝術家的最新創作。五位藝術家分別以繪畫、裝置與跨媒材的形式，展現他們對身體、環境與文化的觀察與思索，延續畫廊長期對當代藝術多元面向的關注。
方偉文以繪圖、摺紙與拼貼等元素，展現創作與身體之間真切的連結，也呈現出作品中獨有的不定性。而甫於五月於就在藝術空間個展的毛利悠子，除了廣為人熟悉的《Decomposition》系列，也將帶來兩件全新平面畫作。謝牧岐、王璽安與許尹齡三位藝術家，則各自以獨特視角延展對繪畫語言的探索——謝牧岐透過個人繪畫銜接環境與文化，思考繪畫在當代的定位；王璽安以哲學態度探討繪畫的對象與媒材語彙；許尹齡則以繪畫折射人與人、人與環境之間的關係。 For this year “Art Taipei 2025” Project Fulfill Art Space presents new works by Fang Wei-Wen, Yuko Mohri, Hsieh Mu-Chi, Wang Sean, and Hsu Yin-Ling. Through painting, installation, and mixed-media practices, the five artists offer diverse perspectives on the body, environment, and culture, continuing the gallery’s ongoing commitment to multifaceted dialogues in contemporary art. Fang Wei-Wen explores the intimate connection between creation and the body through tracing, paper folding, and collage, revealing a sense of indeterminacy unique to his work. Yuko Mohri, who held a solo exhibition at Project Fulfill this May, will showcase two new paintings in addition to her well-known Decomposition series. Hsieh Mu-Chi, Wang Sean, and Hsu Yin-Ling each expand the language of painting from their distinctive viewpoints—Hsieh Mu-Chi connects to the environment and culture with his works to examine the position of painting in the contemporary era; Wang reflects on the philosophical dimensions of pictorial subjects and materials; Hsu mirrors the relationships between people and their surroundings through her painterly lens. |
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方偉文 FANG Wei-Wen b. 1970 方偉文的創作重視手工與身體感，他視創作為一場「被作品引領的旅行」。他以繪畫的手工性作為核心，透過摺紙、拼貼與圖像，讓創作與身體的動作緊密相連。這些紙張的質地與層次，喚起觀者對材料與觸感的感知。創作過程中沒有既定方向，而是在實作中隨著形狀與物件的生成不斷延伸。這種無法再製的不定性，成為他創作中獨特的生命力。此次展出的作品不同於以往，方偉文以深色顏料覆蓋畫布，再將層疊如裙擺的紙件貼合畫面，於固定的結構中營造出動態的姿態與呼吸感。 Fang Wei-Wen’s practice emphasizes craftsmanship and bodily perception, describing art-making as “a journey guided by the work itself.” Centering on the manual process, he intertwines physical gestures with materials through folding, collage, and tracing. The textures and layers of paper evoke tactile recognition in viewers. His process unfolds without a predetermined direction—forms and objects emerge and evolve in real time. This irreproducible indeterminacy becomes the vital force within his art. In his new works, Fang departs from previous approaches, layering dark pigments over the canvas and attaching skirt-like paper structures to create a rhythmic tension between stability and movement. |
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許尹齡 HSU Yin-Ling b. 1987 許尹齡將於 2026 年於台北市立美術館舉辦個展，主題為《胸骨上的花粉》。本次於藝博會展出的新作，即是這場大型個展的前導，率先揭示其創作脈絡與概念延伸。《胸骨上的花粉》靈感源自一則考古紀錄——科學家在十三萬年前的尼安德塔人胸骨上發現花粉，推測那是人類最早以花祭祀死者的行為，也被視為情感誕生的起點。藝術家由此思考情緒與存在感的關聯：我們因失去而悲傷，因疏離而焦慮。隨著時代演進，情緒形態不斷更新，就如數位生活中對「連結」與「抽離」的矛盾渴望。她問：「如果追求存在感本身是一種天生的能力，是否正是證明我們存在的方式？」在這個系列中，許尹齡將每件作品視作「人」的化身，以誇張行為演繹情緒的演進，重新理解存在的意義。 Hsu Yin-Ling will be holding a solo exhibition at the Taipei Fine Arts Museum in 2026. Her new works presented at ART TAIPEI 2025 serve as a prelude, revealing the conceptual threads and emotional framework of this upcoming project. The series draws inspiration from an archaeological record: scientists discovered traces of pollen on a Neanderthal’s sternum dating back 130,000 years, suggesting one of the earliest human rituals of offering flowers to the dead—an origin of emotional consciousness. Hsu reflects on the relationship between emotion and existence: grief from loss, anxiety from disconnection. As emotional forms evolve with digital life, she contemplates our contradictory longing for connection and withdrawal. She asks, “If the pursuit of being is an innate ability, could it itself be the proof of our existence?” In this series, each work personifies a facet of humanity, dramatizing the evolution of emotion to reconsider what it means to exist. |
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謝牧岐 HSIEH Mu-Chi b. 1981 謝牧岐於 2024 年在嘉義美術館舉辦個展〈起始的地方〉，該展獲第 23 屆台新藝術獎提名。此次於藝博會展出的作品，延續自該系列的創作脈絡，展現藝術家對繪畫本質與文化脈絡的持續探索。他以繪畫為介質，銜接地方環境與文化記憶，開啟對當代繪畫語言的追尋與思考。透過回望過去的創作，他在新的時空中尋找不同的對照與回應，並以全新的作品再次面對「繪畫」這件事本身——重新定義創作者在畫布前的角色與位置。 Hsieh Mu-Chi’s solo exhibition “The Place of Beginning” at Chiayi Art Museum held in 2024 was nominated for the 23rd Taishin Arts Award. His new works at ART TAIPEI continue from this series, reflecting his sustained inquiry into the essence of painting and its cultural contexts. For Hsieh, painting serves as a connection between place, environment, and collective memory, prompting new reflections on contemporary visual language. This time, by revisiting his earlier works, he searches for new comparison within new temporal and spatial frameworks, redefining the artist’s role before the canvas. |
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毛利悠子 Yuko MOHRI b. 1980 就在藝術代理已長達十年的毛利悠子，是本次參展藝術家中最受國際矚目的一位。2024 年，她代表日本參加第 60 屆威尼斯雙年展，以《Decomposition》與《Moré Moré (Leaky)》系列作品成為當屆最具話題的展覽之一。今年 5 月，第四次於就在藝術空間的個展呈現全新創作脈絡，緊接著 9 月中，於義大利米蘭 Pirelli HangarBicocca 舉辦大型個展，持續展現其對能量流動與空間裝置的獨特思考。毛利悠子的作品常以自然能量的流動與傳導為核心，運用電路與循環的概念建構自成系統的有機裝置。她經常蒐集日常物件並重新組構，使磁力、重力、光線與溫度等無形元素化為具節奏與感知的動態作品。 Collaborated with Project Fulfill Art Space for ten years, Yuko Mohri is among the most internationally recognized artists in the presentation. In 2024, she represented Japan at the 60th Venice Biennale, where her Decomposition and Moré Moré (Leaky) series garnered wide acclaim as one of the most popular exhibitions of the year. Following her fourth solo exhibition at Project Fulfill in May, Mohri held a major solo show at Pirelli Hangar Bicocca in Milan in September. Her practice centers on the flow and transmission of natural energies, constructing self-sustaining organic systems through concepts of circuitry and circulation. By reconfiguring found daily objects, she transforms invisible forces—magnetism, gravity, light, and temperature—into perceptible, rhythmic installations of motion and sensitivity. |
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王璽安 WANG Sean b. 1979 王璽安的創作延續他長期對「光」與繪畫關係的探索。透過留白與材質的觸感，他在畫面中構築出記憶的場景與光的經驗。對他而言，光不只是物理現象，更象徵精神與語言的層次——那是「神話的光」、「突發的光」，亦是形與意之間的流動。他試圖讓繪畫在當代語境中獨立於既有藝術史之外，成為一種對自然、對繪畫歷史深刻的再思與回望。 Wang Sean continues his long-standing exploration of the relationship between light and painting. Through texture, material, and negative space, he builds scenes of memory and experiences with light. For Wang, light transcends physicality to embody spiritual and linguistic dimensions— “the mythical light,” “the sudden light,” the flux between form and meaning. His works position painting within a contemporary context independent of traditional art history, becoming a profound reflection and rediscovery of nature and the painterly act itself. |