Name: 「支撐之架：維護與修復的通道與顯現」布恩・卡路拜恩｜開幕酒會
Start: 2026-04-18T15:30:00+08:00
Location: 瑞光路548巷15號5F 、 Taipei, Taiwan 114

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安卓藝術很榮幸於瑞光路新空間的首場正式展覽中呈現菲律賓藝術家布恩・卡路拜恩（Buen CALUBAYAN）個展「支撐之架：維護與修復的通道與顯現」。作為藝術家在畫廊的第二次個展，卡路拜恩選擇以菲律賓語中意指「鷹架」的 Andamyo 為題，呈現一系列超越「修復」技術層面的最新創作，將維護與修復重新定位為決定我們如何感知、導航並存在於日常之中的基本結構條件。透過此視角，andamyo 成為了一種隱喻，指涉著支撐我們社會與物理現實的無形勞作與臨時框架。展覽將於4月18日下午開幕，並展出至5月23日，我們誠摯歡迎您的蒞臨。
鷹架（scaffold）是一種臨時性的框架，通常由木材或鋼材搭建，用於建築施工、維護與修繕過程中的身體支撐與材料。它為通往平日難以觸及的高處與真空地帶提供了通道。然而，鷹架的存在從來不是為了自身；它是一種依附性的結構，追隨著被建造或修復之物的輪廓而生。它的存在是流動、未完成或衰敗的符號標記。透過將結構從其預定功能中抽離、使之懸浮，鷹架將具備功能的建築轉化為一處「停滯的現場」，成為關於等待、暫時性與靜止的視覺象徵。
儘管鷹架外表與路障相似，它實際上卻使「斷裂」變得可以被進入。它扮演著不同狀態之間臨時橋樑的角色，促進了人在過渡與不確定時刻中的穿行。從其升高的平台之上，觀者會遭逢一種轉移後的視角，揭開無論在物理或感知層面上平時被遮蔽的事物。在這種情境下，通道（access）不僅是空間性的，更是關係性的，重新校準了個體在關懷、勞動與注意力體系中的位置。
布恩・卡路拜恩將此邏輯延伸至「圖示」（diagram）。在日常生活的結構中，圖示運作如同一種認知的鷹架，是我們藉以導航、詮釋與重新定位自身的臨時支撐。我們的日常律動，包括通勤、工作、儀式與休憩，共同譜寫了一種圖示性的脈動。維護集體生活的基礎結構正是在此脈動中浮現；維護因此顯現為一種並非孤立的行為，而是嵌入於時間之中、具備模式且體現於身體的實踐。
本展透過圖示作為感知鷹架的功能。透過檢視觀景平台、服務台與施工現場等結構，卡路拜恩揭示出這些框架如何中介我們的感官，並將個體與更大的社會群體連結。透過這些場域，感知被展現為一種建構而成、且需集體支撐方能延續的現象。展覽涵蓋繪畫、素描、圖示、錄像與空間裝置，並植根於藝術家的教學實踐。這些作品並非被視為靜態的物件，而是「運作中的結構」（operative structures），它們既是證據，同時也是一個仍處於「施工中」過程的建築組件。每一件作品都邀請觀者棲居於懸浮與完成之間的間隙。在「支撐之架」中，維護被重新定義為一種生成的條件，而非消極的保存。修復成為一種機制，揭示了在可見性表面下支撐生命的勞作，使鷹架既作為強而有力的隱喻，也成為一種嚴謹的方法。

Mind Set Art Center is honored to present ANDAMYO: Access and Appearance of Maintenance and Repair, a solo exhibition by Filipino artist Buen Calubayan, as the inaugural formal exhibition at our new space on Ruiguang Road. Marking the artist's second solo presentation with the gallery, the exhibition takes its title from the Filipino word for "scaffolding."Calubayan’s latest body of work moves beyond the technicality of the fix, repositioning maintenance and repair as fundamental structural conditions that dictate how we perceive, navigate, and exist within the everyday. Through this lens, the andamyo becomes a metaphor for the invisible labor and temporary frameworks that uphold our social and physical realities. The exhibition will be open to the public from April 18 to May 23, 2026, with an opening reception on April 18 at 3:30 PM. We warmly welcome your presence.
A scaffold is a temporary framework, typically wood or steel, assembled to support the body and material during the acts of construction, maintenance, and repair. It grants access to heights and voids otherwise unreachable. Yet, scaffolding is never an end in itself; it is a parasitic structure that follows the contours of what is being built or restored. Its presence is a semiotic marker of mobility, incompleteness, or decay. By suspending an object from its intended function, scaffolding transforms functional architecture into a "halted site," becoming a visual emblem of anticipation, temporality, and stillness.
While it may resemble a barricade, the scaffold actually makes rupture accessible. It serves as a provisional bridge between states, facilitating passage through moments of transition and uncertainty. From its elevated platforms, the viewer encounters a shifted vantage point, uncovering what is normally obscured, both physically and perceptually. In this context, access is not merely spatial but relational, recalibrating one’s position within a system of care, labor, and attention.
Buen Calubayan extends this logic to the diagram. In the fabric of everyday life, the diagram operates as a cognitive scaffold, a temporary support through which we navigate, interpret, and reposition ourselves. Our daily rhythms, including commuting, working, ritual, and rest, compose a diagrammatic pulse. From this pulse emerges the infrastructure of maintenance that sustains collective life; maintenance is thus revealed not as an isolated act, but as a patterned, embodied practice embedded in time.
The exhibition interrogates the diagram’s function as a perceptual scaffold. By examining structures such as the view deck, the help desk, and the construction site, Calubayan reveals how these frameworks mediate our senses and link the individual to the wider social body. Through these sites, perception is shown to be a constructed and collectively sustained phenomenon.
The presentation unfolds through a multi-disciplinary array of paintings, drawings, diagrams, videos, and installations rooted in pedagogical practice. These works are conceived not as static objects but as operative structures, simultaneously the evidence and the building blocks of a process still "under construction." Each piece invites the viewer to inhabit the interval between suspension and completion. In ANDAMYO, maintenance is repositioned as a generative condition rather than passive preservation. Repair becomes the mechanism for revealing the labor that sustains life beneath the surface of visibility, establishing the scaffold as both a potent metaphor and a rigorous method.