阿斯匹靈計畫 Hot Spring Project

25/07/2025

22/07/2025

留下或是離開:台韓交流計畫，陳家翊江陵短期駐地創作筆記-5
Stay Or To Go Taiwan-Korea Exchange Project, Chia-Yi Chen Short-term Residency in Gangneung-5

7月17日是展覽《留下或離開》的開幕日與藝術家對談，透過與不同藝術家的交流，我看見每個人用獨特的創作語言回應同一個主題，也讓我重新從新的角度理解自己的作品。雖然這次駐村只有短短一週，但對江陵環境的觀察與素材的採集，成為我這次創作的核心。
江陵這座城市除了擁有豐富的自然景觀，也留下許多生活中的痕跡，讓我著迷，像是山路旁一座座堆疊的許願石塔，又或是前一位藝術家在美術館外的屋瓦上描繪的海邊風景。這些微小卻深刻的痕跡，似乎在訴說人與自然、記憶之間的關係。

我將在地收集的自然素材與觀察到的場域記憶，轉化成《未知的場域》影像裝置的一部分，在 Daechumoo Fine Art 展覽空間中重新組構。觀眾可以從一樓觀看，也可以走到二樓的玻璃地板上，從不同高度與角度與作品互動。對我而言，「留下或離開」並不是一種二選一的決定，而是一種共存於空間與身體之間的狀態。

我也邀請觀眾參與創作，將我在現地採集的自然媒材（如石頭、松果、落葉等）自由堆疊在作品裝置周圍，留下自己想留下的痕跡。這樣的行動讓作品成為一個持續變動、共同構成的地景。

展覽的隔天，我很高興遇見傳統刺繡藝師金順德女士的兒子和他的朋友，他們特地前來參觀作品。之後，我們也拜訪了韓國藝術家 고사리 在江陵的駐村工作室，體驗她專注而平靜的韓文字書法創作。從她的筆畫中，我感受到一種來自內在與空間之間的連結。

7月19日清晨，感謝 Daechumoo 的 Laehyun 特地開車送我去搭往仁川機場的巴士。雖然這趟旅程很短，卻讓我經歷了許多過去只在韓劇裡看過的場景與文化細節，也讓我更深刻地思考藝術如何與地方產生真實的共鳴。

July 17 marked the opening of the exhibition Stay or To Go, along with an artist talk session. Through conversations with other artists, I saw how each of us responded to the same theme in our own creative languages. It also gave me a new perspective on my own work. Although my residency in Gangneung was only one week, my observations of the environment and the materials I collected during this time became the core of this piece.

Gangneung is not only rich in natural landscapes, but also full of traces left by people—small yet meaningful marks that captivated me. For example, the wishing stone piles along mountain trails, or a previous artist’s paintings left on roof tiles outside the museum. These traces seem to tell stories about how people connect with nature and memory.

I transformed these locally collected materials and impressions into part of my Unknown Site video installation, reassembled within the exhibition space at Daechumoo Fine Art. Visitors can view the work from the ground floor or walk up to the second-floor glass platform, experiencing the piece from different heights and perspectives. For me, Stay or To Go is not a binary choice, but a state that coexists in both space and the body.

I also invited the audience to leave their own traces by stacking the natural objects I gathered—such as stones, pinecones, and fallen leaves—around the installation. Through this gesture, the work becomes a shared and growing landscape, shaped by both the artist and those who experience it.

On the following day, I was glad to meet the son of traditional embroidery master Ms. Kim Soon-deok, who came to see the exhibition with his friend. Later, we visited Korean artist Gosari’s residency studio in Gangneung and experienced her calming and focused Korean calligraphy practice. Through her brushstrokes, I could feel a deep connection between her inner state and the surrounding space.

On the morning of July 19, I was grateful that Laehyun from Daechumoo kindly drove me to catch the early bus to Incheon Airport. Although this journey was short, it allowed me to experience many scenes and cultural details I had only seen in Korean dramas before. It also led me to reflect on how art can resonate more deeply with place.

21/07/2025

【603編輯留言版｜邁向六都齊備美術館的時代】

　台灣美術館界在近一個月先後迎來三位新館長：桃園市立美術館館長林詠能已於7月1日出任，高雄市立美術館宣布第六任館長為顏名宏，在8月1日正式就任，而朱銘美術館由周永昭出任新任館長；同時，即將於今年年底啟用開館的台中市立美術館公布首展的策展理念與部分參展藝術家名單。邁向六都齊備美術館的時代，為台灣藝術場域所密切關注，也伴隨著相應的反思與想像。

　逢成立滿十週年的台灣文化政策研究學會與台灣藝術史研究學會，攜手於6月13日舉辦十週年聯席論壇「現在台灣，文化政策與藝術管理專業不再受用了嗎？」，檢視過去十年來台灣文化政策環境與台灣美術史重建地景值得討論的現象。台灣藝術史研究學會理事長廖新田，在本期文化行政單元梳理與會的學者們於論壇中提出的諸多議題與對話，均為持續發展的藝文環境提供深刻的觀察論述和建言。

　本期新闢專欄「台灣美術史隨筆」，由國立台灣師範大學美術系教授、國立台灣師範大學台灣藝術史研究中心主任白適銘執筆，以其研究台灣美術史歷程的感思為基礎書寫在學術專論中未能述及的觀點，首篇以「大全集時代」為題，展開思辨。 　

　暑期間國內外相繼推出大展，8月專輯聚焦國際三場重要的雙年展／三年展：不同於往年在雙數年舉辦，相隔三年的第十三屆柏林雙年展於今年夏季推出，林于嫣在雙年展的四個主展場探索本屆策展人薩莎．科拉如何透過城市中的狐狸靈活遊走的「逃逸性」為核心概念，探討當面對結構性、合法化的暴力時藝術所展現出文化自主性的潛能。今年利物浦雙年展亦有別過去多邀請外國策展人的做法，由深耕、熟悉在地藝術圈的資深策展人瑪麗─安．麥奎策畫，以「基岩」為題，林盈君從鋪展於城市中不同空間的作品，測繪藝術家們如何共同勾勒出利物浦做為記憶港口的當代圖景。吳尚霖登島來到第六屆的瀨戶內國際藝術祭，除了與藝術家根據場域特性所創作的作品相遇，並邂逅這些島嶼的自然地景和地方文化，而因多重問題一度沒落的島域也透過「海的賦權」的藝術祭命題重新與世界連結。

　國際藝壇單元帶來幾檔備受矚目的藝術家回顧展與個展，包含大衛．霍克尼和珍妮．薩維爾，各以極具辨識度的風格拓展繪畫在當代的可能性；「沙金與巴黎」特展呈現這位美國藝術家致力的肖像畫如何在19世紀的巴黎藝壇打開新局面。在同樣關照古美術的視野下，本單元中也介紹巴黎羅浮宮「馬木路克王朝，1250-1517」以及居美國立亞洲藝術博物館「皇室青銅」大展，分別回看伊斯蘭文化與柬埔寨古代文明令人驚豔的藝術成就。

　本期藝術市場單元針對6月甫結束的巴塞爾藝術展，非營利藝術空間研究員李欣潔、藝術家許家維和馬凌畫廊副總監呂季璇從各自不同背景和位置的觀點，交流對今年展會的觀察，並談及對現今變動的市場與藝術環境下的思考。

圖說：
茱迪絲．布魯姆．瑞迪（Judith Blum Reddy）　Futurama（局部）　2015　於第13屆柏林雙年展KW當代藝術中心展場一景（Photo: Marvin Systermans）©Judith Blum Reddy

⬇《藝術家》603期將於本週三出刊，選購連結請見留言處⬇

#第十三屆柏林雙年展
#傳遞逃逸者
#2025利物浦雙年展： #基岩 :
#瀨戶內國際藝術祭
#現在台灣文化政策與藝術管理專業不再受用了嗎？
#台灣文化政策研究學會 #台灣藝術史研究學會
#台灣美術史隨筆
#大衛霍克尼
#珍妮薩維爾
#沙金與巴黎

#皇室青銅

17/07/2025

留下或是離開:台韓交流計畫，陳家翊江陵短期駐地創作筆記-4
Stay Or To Go Taiwan-Korea Exchange Project, Chia-Yi Chen Short-term Residency in Gangneung-4

在場的痕跡：關於留下與離開的選擇｜2025年7月14-16日，Daechumoo Fine Art
這幾天是 Daechumoo Fine Art 的佈展日，江陵山區終於迎來睽違兩個月的梅雨。細雨落下，當地人說這是滋潤乾涸土地的好消息。雖然與前幾日的大晴天截然不同，這樣的天氣卻帶來了一種靜謐的節奏。
中午，館方帶我們去吃在地知名的手工刀削麵，清爽的湯頭與有勁的麵條，讓我感受到地方的溫度。午後的佈展與溝通過程專業而流暢，每位藝術家也逐漸在空間中搭建出作品的初貌，讓人期待展覽開幕的到來。
我在美術館周圍農地採集已收割的玉米枝葉，在策展人尚霖與他的女兒協助下完成；連農地的主人也熱情幫忙整理田間植物的殘留。這些即將被移除的自然碎片，對我而言卻是「留下」的證據——關於時間、地貌與人之間的關係。
我也發現美術館外牆上，前一位藝術家留下的屋瓦與畫作痕跡。這些遺留物彷彿與場域仍在對話，引發我思考：我們究竟能在一個地方留下什麼？而那些被留下的，又將如何轉化？
我的錄像裝置集結了這段期間採集的自然物：海邊的石頭、森林的松果、田邊的枯葉與枝實。透過影像與裝置結合，延續《未知的場域》系列中，身體與鏡頭的介入視角。當「人」與裝置進入自然場域，便構成一種「留下」與「離開」的張力；不是絕對的佔據，也不僅是干預，而是彼此之間曖昧、拉鋸又難以分割的共存關係。
我試圖透過這些細節，回應此次展覽的核心命題：在時代與空間流變之中，「留下」與「離開」不僅是物理位置的轉換，更是一種對土地、記憶與未來的提問。

During the installation days at Daechumoo Fine Art, the mountains finally welcomed the first rain in two months. While the weather shifted, each artist slowly built their work in the space, and I looked forward to seeing everything come together.
In the days before, I collected corn stalks from nearby farmland with the help of the curator Shang-Lin and his daughter. Even the farmers kindly joined us. These dried plants, though often overlooked, became traces of “staying” for me—small fragments carrying time and memory.
Outside the museum wall, I noticed broken roof tiles and painting marks left by a previous artist. These remnants made me think: what can we really leave behind in a place? And how do those traces continue to live or change?
My video installation includes natural materials I gathered—stones from the sea, pinecones from the forest, dried leaves from farmland. These are combined with footage that slowly moves from far above to close to the ground, showing the body in a space that feels both peaceful and uncertain.
When humans or manmade structures enter natural environments, they create a tension between staying and leaving. This action is not always destruction—it can also be a form of connection.
In this exhibition, I invite viewers to join the process. Visitors can stack stones I collected in Korea, inspired by the stone towers I saw in the mountains—where people build them as wishes or memorials. This gesture becomes a shared memory between humans and nature.

16/07/2025

13/07/2025

留下或是離開:台韓交流計畫，陳家翊江陵短期駐地創作筆記-3
Stay Or To Go Taiwan-Korea Exchange Project, Chia-Yi Chen Short-term Residency in Gangneung-3

7月12日：屋脊與岩岸之間
往江陵北方地區走訪，沿路經過一座靠海的漁村，岸邊堆疊著經年海浪侵蝕而成的岩石，呈現出強烈的地貌感。在海邊的阿德勒岩公園（아들바위공원）停留，發現岩石與地方神話形成共構，轉化為集體情感的承載體。去程途中偶然經過一排老房子，注意到其中幾戶仍保留韓屋式屋脊，瓦片末端飾有「福」字或吉祥符號，屋頂線條與植物自然共生，彷彿是默默守護空間的身體。無論是岩石、屋瓦還是植栽，這些生活痕跡都以「堆疊」的形式構築著一種屬於地方的記憶紋理。

7月13日：觀察與思考：地景的遷徙與「留下」的選擇
在江陵北方的海灘游泳，觀察岩石與浪濤之間不斷交互的侵蝕與生長。午後則走訪市區서부시장周邊，發現許多年輕創業者選擇留在這裡，於老屋與傳統市場中重構生活場域。他們將地方的地理與文化特色轉譯為創意商品與空間實踐，使街區在傳統與當代之間展開對話，也吸引了更多人潮與活力。
這不僅是一種空間上的遷徙與選擇，更是價值認同的重新定位——是離開熟悉的土地，或是留下來書寫新的地方敘事？這些年輕品牌與空間實踐，是「留下」的行動表徵，也與我長期關注地方記憶與微觀材料再現的創作脈絡形成回應。

July 12: Between Eaves and Rocks
I explored a northern part of Gangneung, passing through a quiet fishing village where the shoreline was lined with layered rocks shaped by years of wave erosion. I paused at A-deul Rock Park (아들바위공원), where coastal stones are imbued with local myth, transforming the landscape into a vessel of shared memory. On the way there, I unexpectedly came across a row of old houses—some retaining hanok-style rooftops, with tile ends bearing the character “福” or protective symbols. Their lines blended gently with climbing plants, like silent guardians of space. From rocks to rooftops, these layered elements felt like quiet inscriptions of memory etched into the texture of place.

Observation & Reflection: Migration of Landscapes and the Choice to Stay
This morning I swam along the northern coast of Gangneung, observing how the rocks and waves continuously shape one another—a slow erosion that also speaks of endurance. In the afternoon, I visited the 서부시장 (Seobu Market) area and found vibrant shops, bookstores, and craft studios run by young creatives who have chosen to stay and reimagine everyday life through the lens of their hometown. These practices translate the local geological and cultural features into contemporary expressions, gradually building new layers of time and meaning into the cityscape.
“To stay or to go” is not only a geographical decision, but a matter of values and belonging. These actions become a form of localized response, resonating with my ongoing artistic inquiry into material memory and micro-landscape reconstruction. Creation, for me, is not only a reflection of the present—but a deep sensing and connecting with place.

11/07/2025

留下或是離開:台韓交流計畫，陳家翊江陵短期駐地創作筆記-2
Stay Or To Go Taiwan-Korea Exchange Project, Chia-Yi Chen Short-term Residency in Gangneung-2

7月9日至11日，我在江陵進行為期三天的實地踏查與素材採集。首先造訪烏竹軒周邊，沿途田野寧靜、韓屋與植物共構出自然融合的生活樣貌。透過 Daechumoo Fine Art 協助，我拜訪江陵工藝展示中心，認識傳統刺繡藝師金順德女士的作品與歷程，並受到其子熱情款待。當晚也品嚐了韓國生牛肉與江陵特色「갯벌비빔밥」蚵仔拌飯。
7月10日，我前往노추산 모정탑길（Mother’s Love Trail），了解차순옥女士26年來在山谷中堆疊3,000座石塔的生命故事。在那裡，我也親手堆起一座石塔，作為參與此地記憶的微小回應。
7月11日走訪연곡해변與鏡浦台，在松林與海灘交會處感受江陵地景的涼爽與詩意。當地人說松樹是江陵的城市之樹，也讓我開始思考自然與集體記憶的關係。我撿拾了松針與漂木，作為創作素材。從石塔、刺繡到松林，這些屬於土地的痕跡，構築出一種地方記憶的堆疊方法。

From July 9 to 11, I conducted three days of site-specific exploration and material gathering in Gangneung. I first visited the area around Ojukheon, where hanok houses sit quietly among open farmland and greenery. With support from Daechumoo Fine Art, I was introduced to master embroiderer Kim Soon-deok and her son at the Gangneung Craft Center. Their warm hospitality and stories of traditional embroidery left a lasting impression. That evening, I finally tasted yukhoeand Gangneung’s oyster rice dish, Gaetbeol Bibimbap.
On July 10, I visited the Nochusan Mother’s Love Trail (노추산 모정탑길), where Cha Soon-ok quietly built over 3,000 stone towers across 26 years to honor her family. I, too, placed a small stone tower along the trail—a humble gesture of participating in its memory.
On July 11, I explored Yeongok Beach and Gyeongpo Pavilion, where pine forests meet the sea. The cool breeze and natural shade made the space feel timeless and serene. Locals told me that the pine tree is the symbolic tree of Gangneung—“the pine-scented city.” This led me to reflect on how nature, material, and memory coexist. I collected pine needles and driftwood as creative material. From embroidery and stone towers to coastal forests, each site offered a different texture of memory—layered, grounded, and deeply rooted in place.

08/07/2025

留下或是離開:台韓交流計畫，陳家翊江陵短期駐地創作筆記-1
Stay Or To Go Taiwan-Korea Exchange Project, Chia-Yi Chen Short-term Residency in Gangneung-1

7月6日下午3點順利抵達江稜站，Daechumoo Fine Art 的夥伴熱情接駁，沿途向我介紹這個曾因奧運而繁盛、後來一度沉寂，如今又因觀光而復甦的城鎮。我們一邊吃著韓國夏日必備的冷麵與水煮五花肉，一邊在染上粉紅色晚霞的天空下，散步於魚市場。他提到，這裡的漁村產業尚存，但多已轉型為觀光用途，沿路的玉米田與馬鈴薯地則成為這片土地的日常風景。他笑著說，如果我早起運氣好，或許能遇見在海邊工作的「海女」，那會是個難得的幸運時刻。
7月7日上午，我真的在海邊游泳時，意外與一位年長女性擦肩而過，疑似是位「海女」。下午前往美術館，與策展人討論下週布展的規劃，當我提起上午的偶遇時，他說，現在的海女多是80歲以上的耆老，也許我遇見的，是未來的海女。回程經過「七事堂」，發現周圍堆滿石膏與瓦片，那些建材在風雨中與自然緩慢融合，成為新的地景。
7月8日上午，我開始在海邊邊潛水撿拾漂流石塊與廢棄物，也沿路記錄遇見的植物與生態，展開屬於這次駐村的田野旅程。下午我將拜訪버징가藝術單位，也是這次交換展覽的藝術家們:Bae Cheol 和Siesu Kimn所經營的藝術空間。也拜訪了他們各自的工作室。這個下午我們交換了很多資訊，也很期待下週在Daechumoo Fine Ar一起工作的展覽！

On the afternoon of July 6, I arrived at Gangneung Station at 3 p.m. and was warmly welcomed by a member of Daechumoo Fine Art, who kindly offered me a ride to the seaside accommodation. Along the way, they shared stories of how this town once flourished during the Olympic Games, later declined, and is now experiencing a revival through tourism. We enjoyed quintessential Korean summer dishes—cold noodles and boiled pork belly—and strolled through the fish market beneath a sky tinted with pink twilight. They mentioned that although the local fishing villages still exist, many have transformed into tourist spots. The landscape is now dotted with cornfields and potato farms, a common sight in this area. With a smile, they told me that if I were lucky enough to rise early, I might catch a glimpse of a haenyeo—a traditional female diver—by the sea.

On the morning of July 7, while swimming near the shore, I unexpectedly crossed paths with an elderly woman who might have been a haenyeo. Later that afternoon, I visited Daechumoo Fine Art to tour the exhibition space and discuss next week’s installation plan. When I mentioned my morning encounter, the curator explained that most haenyeo are now in their eighties—perhaps I had met a future haenyeo? On the way back, I passed by the Chilsa-dang Shrine and discovered piles of plaster and roof tiles nearby. These materials, weathered by time, were slowly merging into the surrounding natural landscape, forming a new kind of scenery.

On the morning of July 8, I began diving and collecting found stones and debris along the coast, while also documenting the local plant life and ecology—a field study that marks the beginning of this residency journey. In the afternoon, I visited Buzzinga, an art space run by the participating exchange artists Bae Cheol and Siesu Kimn. I also had the chance to see their respective studios. We shared many insights and ideas, and I’m looking forward to working together on the upcoming exhibition at Daechumoo Fine Art next week.

《留下或是離開》台韓當代藝術交流展
Art on the Edge of Existence

參展藝術家 Artists：
許貞媛Heo Jungwon |金志壽 Kim siesu | 尹洙竫 Yoon Soojung
吳尚霖 Shanglin Wu| 陳家翊 Chia-Yi Chen | 陳含瑜 Hanyu Chen
展覽日期 Date：July 17 – August 18, 2025
地點 Venue：Daechumoo Fine Art, Gangneung
18-21 Somok-gil, Gangneung-si, Gangwon-do, 南韓 電話：+82336426708
台灣展覽地點 Exhibition Venue in Taiwan：
臺北中山堂 Zhongshan Hall, Taipei, Taiwan (Upcoming)
主辦單位Organizer：
Daechumoo Fine Art
https://www.daechumoo.com
Hot Spring Project Studio 阿斯匹靈計畫工作室
https://www.hotspring-project.com
贊助單位 Sponsor：
Gangwon Art & Culture Foundation江原藝術文化基金會

03/07/2025

一場匯聚韓國與台灣6位藝術家的國際交流展覽！
An international exchange exhibition featuring 6 artists from Korea and Taiwan!

《留下或是離開》台韓當代藝術交流展

一句看似簡單卻極具深意的提問——它探究的是我們身分的根本。
《留下或是離開》串聯江陵與台北兩座城市，集結六位藝術家，他們的創作跨越國界、語言、認同與文化記憶的邊界。本次展覽遊走於「停留」與「離去」之間的界線，呈現當代處境中有關移動與歸屬的張力。
你，正站在什麼位置上？

Art on the Edge of Existence

A deceptively simple question—one that probes the very foundations of who we are. connects the cities of Gangneung and Taipei, bringing together six artists whose practices move across boundaries of nation, language, identity, and cultural memory. This exhibition inhabits the threshold between presence and departure, articulating the tensions of dislocation and belonging in our contemporary condition.
Where are you standing at now? Stay or To Go?

參展藝術家 Artists：
許貞媛Heo Jungwon |金志壽 Kim siesu | 尹洙竫 Yoon Soojung
吳尚霖 Shanglin Wu| 陳家翊 Chia-Yi Chen | 陳含瑜 Hanyu Chen

展覽日期 Date：July 17 – August 18, 2025

地點 Venue：Daechumoo Fine Art, Gangneung
18-21 Somok-gil, Gangneung-si, Gangwon-do, 南韓 電話：+82336426708

台灣展覽地點 Exhibition Venue in Taiwan：
臺北中山堂 Zhongshan Hall, Taipei, Taiwan (Upcoming)

主辦單位Organizer：
Daechumoo Fine Art
https://www.daechumoo.com
Hot Spring Project Studio 阿斯匹靈計畫工作室
https://www.hotspring-project.com

贊助單位 Sponsor：
Gangwon Art & Culture Foundation江原藝術文化基金會

28/05/2025

漂流宴維也納展(展場紀錄)
Installation Views of Drifting Feast in Das Weisse Haus



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漂流宴 Drifting Feast
維也納白屋當代藝術中心國際交流展
(2023文化部文化黑潮之中壯世代藝術家國際展覽計畫)
開幕Opening: Thursday, 8.May.2025, 7pm
展期Duration: 09.05.2025-28.06.2025
地點Location: DAS WEISSE HAUS, Ground floor
地址Address: Hegelasse 14, 1010 Vienna, Austria
策展人Curated by:
Shang-Lin Wu(吳尚霖) & Eva Kovač
藝術家 Artists:
Jelena Micić, Haruko Maeda(前田春子), Philipp Pess, John Chuang(莊約翰), Ying-Chih Chuang(莊媖智), En-ManChang(張恩滿), Hai-Hsin Huang(黃海欣), Li-Chung Lee(李立中), Kai Philip Trausenegger, Julia Taschler
展覽介紹Announcement text:
漂流宴的概念意味著流動、不可預測性、自由的移動，交流與聚集之間所產生的美感。以此意涵探索個人與集體的旅程、慶典與新意。這場盛宴象徵著不同的傳統、風味及故事之間的矛盾與融合。它代表著相遇、慶祝、滋養和文化交流空間等不同觀點的交會區。在漂流的過程中其影響力匯聚，透過不同的人與地方進而自我重塑。
在這個地源政治與經濟不穩定的時代人們正需要更多對話的機會，然而當我們需要溝通的時候，對話的機會正在減少。眼前的世界因過度的消費環境遭受破壞，為了少數人的利益成功與累績而無視多數人的福祉，這場盛宴正逐漸消逝。《漂流宴》讚頌與世界的互聯性同時探討交流中所造成的過度、流離失所、無效與失敗等主題。每一次的宴會都是一場儀式與故事的篇章。 展覽中所挑選的作品呈現了歷史、傳統、信仰、孤獨、消費主義的誘惑與神話之間的緊張關係。
The notion of Drifting Feast connotes the flow, the unpredictability, the freedom of movement, and the beauty of exchanges and gatherings. By way of this metaphor, the
exhibition explores personal and collective journeys, celebrations, and renewals. The feast symbolizes an ambivalent confluence of diverse traditions, flavors, and stories. It represents a space for encounter, celebration, nourishment, and cultural exchange—a meeting point of diverse perspectives. As it drifts, it gathers influences, reshaping itself through people and places.

In an era of geopolitical and economic instability, plentiful occasions for dialogue are dwindling—precisely when they are needed most. The feast is drifting away, strained by overconsumption, environmental exploitation, and disregard of the wellbeing of the many for the benefit, success, and accumulation of the few. This project celebrates global interconnectivity while addressing themes of excessiveness, displacement, futility, and failure. Every feast is a ritual and a story. The selected artworks display tensions between history, tradition, belief, contemporary loneliness, the seductive pull of consumerism, and prosperity myths.

合作主辦單位Co-organizers:
Hot Spring Project Studio https://www.hotspring-project.com
Das Weisse Haus https://www.dasweissehaus.at
贊助單位Sponsors:
文化部 Ministry of Culture (Taiwan)
the Department of Culture of the City ofVienna (MA 7)
The Austrian Ministry of the Arts, Culture, the Civil Service and Sport (BMK.S)
Erste Bank Sponsoring Programme, and Bildrecht

19/05/2025

漂流宴-李立中維也納DWH駐村週記-5
Drifting Feast - Li-Chung Lee AIR Weekly Diary in Das Weisse Haus, Vienna(Week-5)

駐地研究已到尾聲，這趟旅程收穫滿溢，尤其這幾天還特地參訪許多美術館、博物館之類。有機會見識到教科書等級的藏品，雖然數量多與密集的觀看難免疲累，但能親眼所見藝術史中常提及的作品，就心滿意足了。 例如，美景宮美術館所典藏的克林姆（Gustav Klimt）作品《吻》、《茱蒂絲與荷羅芬尼》，以及席勒（Egon Schiele）的自畫像等，也不經意想起前幾天在跳蚤市場與這些複製品的邂逅。

但印象深刻，甚至可說足以讓自己陷入其中的，就是維也納藝術史博物館的觀看經歷。這次在DAS WEISSE HAUS藝廊展出的作品，還包含這趟駐地研究的前期作品《Pontanus的日誌本》系列《威廉大公的購物清單》，作品文本所提及的敘事主角《利奧波德・威廉大公》他的肖像畫作就典藏在藝術史博物館裏。這趟旅程最終能以穿越劇般重返歷史現場的姿態，再與他面對面的相遇，一切都值得了。

As my residency research comes to an end, I feel overwhelmingly fulfilled by all that this journey has offered. In the past few days, I made a point to visit numerous art museums and galleries. Having the chance to encounter textbook-level masterpieces in person was truly a highlight. Despite the inevitable fatigue from such intense and concentrated viewing, the opportunity to see artworks so frequently mentioned in art history—right before my eyes—was more than satisfying. For instance, at the Belvedere Museum, I saw Gustav Klimt’s The Kiss and Judith and Holofernes, along with Egon Schiele’s self-portraits. These iconic works brought back a spontaneous memory of stumbling upon their reproductions just a few days ago at a flea market.

Yet, the most unforgettable experience—the one that captivated me deeply—was my visit to the Kunsthistorisches Museum. One of the works I presented in the exhibition at DAS WEISSE HAUS was a preliminary piece from my residency project, The Shopping List of Archduke Wilhelm, part of The diary of Pontanus series. It so happens that the central figure in the narrative of this work—Archduke Leopold Wilhelm—is also depicted in a portrait held in the museum’s collection. The encounter felt almost surreal. To stand face-to-face with a historical figure from my own research, in a setting where time folds in on itself, was a moment of theatrical time travel. It was the perfect conclusion to this journey—and for that, everything was worth it.

19/05/2025

漂流宴-黃海欣維也納DWH駐村週記-5
Drifting Feast - Hai-Hsin Huang AIR Weekly Diary in Das Weisse Haus, Vienna(Week-5)

從開幕起，時間突然快的很不真實，開始更勇猛嘗試不同體驗，餐廳、音樂會什麼的，還因為認識了當地的新朋友，維也納的知識版圖突然又膨脹了，卻已經沒時間再約出來玩，短短一個月越來越體驗不完的感覺，自己真是越活越渺小。

離開前一晚吃了”Traditional Wiener Schnitzel“ （維也納傳統炸牛排），跟先前吃的較便宜的豬肉或雞肉版本差很多，那個麵衣的皺褶和肉之間在口裡感受到的優雅空氣感就是空前絕後。
去了三場音樂會，第一個是「熊布朗宮」的音樂會：在熊布朗宮的一個房間搭了一個舞台，周遭打了色彩鮮豔的LED燈，很像台灣的婚宴會館，演出的曲目都是短短的知名小曲，有俗氣的感覺，但票價卻不便宜，頗為懊悔。
第二個是「維也納音樂廳」的交響樂演出，意外的幾乎沒有觀光客，觀眾幾乎是年齡60以上的白人，從我的座位看下去都是白頭髮的頭頂，演出本身實在太讚了，驚人的音響和諧溫潤感宛如置身世界太平的完美天堂。
第三個是最著名的「金色大廳」的莫札特音樂會，樂團所有人穿上七彩古裝跟假髮，觀眾8成都是（不受控的）亞洲人，頻頻屢勸不聽的錄音錄影、進進出出大聲嚷嚷、iphone鬧鐘響，像小朋友戶外教學一般，令人嘖嘖稱奇。
最後一天太陽還沒出來，我們就動身搭火車八千里路的換三班火車前往巴黎（相當不推薦）。一到巴黎，扛著大行李在沒有電梯的地鐵裡痛苦的移動，在眾人嘻嘻哈哈、搖搖晃晃的車廂裡，突然好想念維也納平穩準時乾淨又安詳的tram；一開始覺得一本正經的維也納，真是個可靠、含蓄、曖曖內含光，不需要大聲證明自己的好地方。

Since the opening, time has flown by unrealistically fast. I've started trying different experiences more boldly – restaurants, concerts, etc… Also, because I've made new local friends, my understanding of Vienna has suddenly expanded. Yet, there's already no time left to hang out. In just a short month, I feel like there are endless things to experience, and I feel increasingly insignificant.
The night before leaving, I finally tried "Traditional Wiener Schnitzel." It was very different from the cheaper pork or chicken versions I had before. The wrinkles in the breading and the elegant airy sensation between the breading and the meat in my mouth were unprecedented and will likely be unmatched.

I went to three concerts. The first was a Schönbrunn Palace concert: a stage was set up in a room within Schönbrunn Palace, surrounded by brightly colored LED lights, resembling a Taiwanese wedding banquet hall. The pieces performed were all short, well-known tunes, which felt a bit tacky, but the ticket price was not cheap, leaving me quite regretful.

The second was a symphony orchestra performance at the Vienna Konzerthaus. Surprisingly, there were hardly any tourists; the audience was almost entirely white people over 60 years old. From afar, all I could see were white-haired heads from my seat. The performance itself was absolutely amazing, with astonishingly harmonious and mellow acoustics that felt like being in a perfect paradise of world peace.

The third was the most famous Mozart concert at the Musikverein's Golden Hall. All the musicians were dressed in colorful period costumes and wigs. Eighty percent of the audience were (unruly) Asians who repeatedly ignored requests not to record videos and audios, constantly moved in and out making loud noises, and even had iPhone alarms going off – it was like a children's field trip, quite astonishing.

On the last day, before the sun even came up, we set off by train on an thousand-mile journey with three train changes to Paris (highly not recommended). Upon arriving in Paris, we painfully moved our heavy luggages through subways without elevators. In the carriages filled with laughing and swaying people, I suddenly missed Vienna's stable, punctual, clean, and peaceful trams. What initially felt like a serious Vienna is truly a reliable, reserved, and subtly brilliant place that doesn't need to loudly prove its worth.