Advertisement
安卓藝術將於 2026 年 10 月 17 日至 11 月 21 日推出聯展「陰性空間」（Feminine Space），並於 10 月 17 日下午 4 點 30 分舉行開幕酒會。本展由陳家翊、陳妍伶、瑪莉娜．克魯斯、派翠西亞．伊斯塔柯、羅懿君、安德利亞．梅達爾、安娜・瑪瑞亞・米庫與謝鴻均等來自臺灣、菲律賓與羅馬尼亞的八位女性藝術家共同呈現。展期間亦將於 11 月 14 日舉辦座談，邀請陳家翊、陳妍伶與謝鴻均從各自的創作實踐展開對談。展覽將視角從過往強調內在經驗、記憶與身體感知顯影的「陰性基質」（Chora），進一步推演至更具身體實踐力的「物理構築」與「精神棲居」。以時間的縫補與物質考古為核心，探討女性創作者如何面對生活的焦慮、殘破的現實與逝去的記憶，將視角落實於實體媒介的物理性修復，同時保留對生命靈魂深沉的精神探問。在此次展覽中，「空間」並非空無的框架，而是由歷史舊木、廢物現成物、舊衣布料、經濟作物皮質與非自然塑料等交融而成的感知實體與物理邊界。藝術家們透過切削、手縫、數位編織、光影顯影與日常植物的凝視，將耗時漫長的指尖勞務轉化為對抗外界喧囂的彈性護盾，每一次指尖與材質的碰撞，都是她們在日常焦慮、家族記憶、身體傷痕與歷史遺憾中，主動為自我撐開的精神防線。
帶有歷史溫度與生活痕跡的物件，成為創作展開物質考古與親密關係修復的起點。長期關注人、環境與物質共生關係的陳家翊，作品《存在 I》、《存在 II》以日治時期舊木建材牛眼窗重製成燈箱裝置，她將城市發展中破損的建築痕跡與生活記憶重新框限，重塑為具備身體感知的流動發光窗景。陳妍伶則在新作《紅線》中，以蒙眼人像與投影的流動影像互文，將紅線轉化為象徵臍帶與血液流動的無形牽繫，呈現母親面對未知的焦慮與超越視覺的生物性連結。來自菲律賓的瑪莉娜．克魯斯取材於家族祖屋遭遇淹水的日常記憶與家族舊衣，新作《黃、黑與白》以極為精確微觀的寫實繪畫筆觸特寫描摹衣飾拉鍊與布料褶皺，而《墊高的盆栽》則細致描繪祖屋庭院靜置的陶盆與植栽，將歲月刻痕、洪水風化的牆面與日常照顧疊合，凝結為私密的情感風景。
指尖漫長的重複勞動與時間層層疊合，則在物質上鑄造成抵禦焦慮的堅韌精神護盾，與身心遷移的軌跡。長期採擷臺灣經濟作物為媒材的羅懿君，以風乾香蕉皮、香蕉絲與生漆交織出類似人類皮膚般溫熱的物理質地；在《讀信的上校》與新作《手持Rosary的女人》中，她轉化馬奎斯小說《沒有人寫信給上校》的等待張力，刻畫上校最後迎來信件的專注，以及妻子經歷時局更迭與生活困頓，仍日復一日為生存祈禱的堅忍，用材質的溫度為文學中的失落賦予改寫後的溫暖回應。游走於繪畫、雕塑與織品工藝之間的派翠西亞．伊斯塔柯，作品《一場綜解 (廢墟中的對話，致法蘭西斯科)》運用當代科技與數位編織技術，將線材、布料與印刷影像匯聚於同一平面，回應菲律賓藝術家璜．魯納 1881 年油畫《克麗奧佩托拉》，將古典畫作筆觸與時間的形態轉換轉譯為觸覺豐厚的實體織毯。深掘女性生命主體性的謝鴻均，新作《在虛空中塗寫》則回到臺北老家畫室，重訪「壁花」語彙起點；昔日象徵邊緣與被忽視的壁花，在此轉化為無需向外發聲、專屬內在對話與自我重構的練習場，以油彩穿梭於羽毛碎片與帶翅膀的童年洋裝意象間，在虛實交織的羽浪中完成生命之網的內在修練。
而當創作退回居所與工作室的私密邊界，對身邊居所環境、植物與記憶片段的細膩凝視，則在繪畫與刺繡的多重介面上轉化為安頓個體的心靈空間。安娜．瑪瑞亞．米庫環繞個人的生活與工作空間進行高度警覺的觀察，在《怒吼來自……折疊早晨》與《早慧的幼苗……微小的勝利，皆有意義》等新作中，以細膩筆觸記錄工作室內盆栽植物的季節榮枯與光影，在植物與空間的凝視中展現和諧共生的泛靈狀態。追溯歷史起源與家族記憶的安德利亞．梅達爾，則以「手工刺繡」為貫穿創作的核心語彙，遊走於紙張、畫布與透明塑料等介面。在作品《索雷多爾的野餐》中，她以針線於紙面與畫布上記錄隨筆與家鄉風景；而《草圖》與《園丁》，則將刺繡延伸至透明與半透明塑料上，讓手的溫度與穿針引線的痕跡，在多元載體上縫合日常光影與記憶。
來自不同國家的八位藝術家在「陰性空間」中，以身體、物件、光影與材質，回應了當代的個體生存與精神困境，共同構築出了充滿再生能量的活性修復場域。她們在物質的餘溫與時間的皺褶中，展示了陰性力量如何主動跨越內外邊界，為觀者提供了一處安頓心靈、溫柔縫補現實與心靈裂縫的精神棲居所。
Mind Set Art Center is honored to present Feminine Space, a group exhibition on view from October 17 to November 21, 2026, with an opening reception on October 17 at 4:30 p.m. The exhibition brings together eight women artists from Taiwan, the Philippines, and Romania: Chia-Yi CHEN, CHEN Yin Ling, Marina CRUZ, Patricia Perez EUSTAQUIO, LO Yi-Chun, Andreea MEDAR, Ana Maria MICU, and Juin SHIEH. An artist talk will also be held during the exhibition on November 14, featuring Chia-Yi CHEN, CHEN Yin Ling, and Juin SHIE in conversation about their respective artistic practice.
Drawing on the notion of Chora, a feminine matrix associated with interiority, memory, and bodily perception, Feminine Space turns toward physical acts of making and the creation of spaces for inward dwelling. Through the intertwined ideas of the mending of time and material archaeology, the exhibition considers how women artists respond to anxiety, fractured realities, and fading memories through acts of material repair, while sustaining a deeper inquiry into existence and the inner life. Here, space is understood not as an empty framework, but as a tangible and perceptual field shaped by aged timber bearing historical traces, discarded objects, worn textiles, skins and fibres derived from cash crops, and synthetic plastics. Through carving, hand stitching, digital weaving, the manipulation of light and shadow, and attentive observation of everyday plants, the artists transform slow and repetitive handwork into protective forms against the clamor of the outside world. Each encounter between hand and material becomes a way of working through family memory, bodily wounds, unresolved histories, and the pressures of everyday life.
Objects marked by history and use become points of departure for material archaeology and the repair of intimate relationships. Chia-Yi CHEN, whose practice has long explored the interdependence of people, environments, and matter, presents Exist I and Exist II, lightbox installations reconstructed from ox-eye windows dating from the Japanese colonial period. Reframing damaged architectural remnants as luminous, shifting structures, Chen reactivates fragments of urban memory through bodily perception. In her new work Red Thread, CHEN Yin Ling places a blindfolded portrait in dialogue with moving projected imagery. Evoking both the umbilical cord and the circulation of blood, the red thread becomes an invisible bond through which maternal anxiety and an embodied bond that exceeds sight are brought into focus. Filipino artist Marina CRUZ draws on memories of flooding at her family’s ancestral home and on garments passed down through generations. In The Yellow, Black and White, she depicts zippers, seams, and folds of fabric with meticulous, close-up realism. Elevated Potted Plant focuses on a ceramic pot and plant in the family courtyard, bringing together flood-weathered walls, the passage of time, and gestures of everyday care within an intimate emotional landscape.
Elsewhere in the exhibition, repetitive labor and accumulated time become material expressions of resilience. LO Yi-Chun, known for incorporating materials derived from Taiwanese cash crops into her practice, combines dried banana peels, banana fiber, and natural lacquer to create surfaces whose warmth and texture evoke human skin. In Colonel Reading Letters and the new work Woman with a Rosary, Lo responds to the tension of waiting in Gabriel García Márquez’s No One Writes to the Colonel. One work focuses on the colonel as he receives a long-awaited letter, while the other turns to his wife, whose repeated prayers embody persistence amid political upheaval and material hardship. Through the tactility of her materials, Lo transforms the novel’s atmosphere of waiting and loss into one of quiet endurance. Working across painting, sculpture, and textile, Patricia Perez EUSTAQUIO presents An Unraveling (Conversation Among Ruins, After Francisco). Using digital weaving, Eustaquio brings thread, fabric, and printed imagery together within a single surface. Responding to Filipino artist Juan Luna’s 1881 painting Cleopatra, she translates the gestures of classical painting and their transformation across time into a richly tactile woven form. Continuing her exploration of female subjectivity, Juin SHIEH returns in the new work Writing in the Void to the studio in her old family home in Taipei, revisiting the origins of her recurring “wallflower” motif. Once associated with marginality and being overlooked, the wallflower becomes a private space for inward dialogue and self-reconstruction. Moving between fragments of feathers and the image of a childhood dress with wings, Shieh constructs layers of imagery suspended between reality and imagination, turning painting into a process of reweaving the inner fabric of a life.
As artistic practice turns toward the intimate boundaries of the home and studio, close observation of immediate surroundings, plants, and fragments of memory gives rise to spaces of refuge. Ana Maria MICU observes her living and working environments with sustained attention. In new works including The roar of the ... folding the morning and precocious youngling ... Small Victories Matter, she records the seasonal growth and decline of plants in her studio alongside shifting patterns of light and shadow. Through this attentive engagement with plants and interior space, Micu evokes a quiet animistic condition in which human and nonhuman life coexist in mutual presence. Tracing historical origins and family memory, Andreea MEDAR uses hand embroidery as a central language of her practice across paper, canvas, and transparent plastic. In Picnic on Sohodol, needle and thread inscribe notes and landscapes associated with her homeland. In Sketch and The Gardener, embroidery extends onto transparent and semi-transparent plastic, allowing the warmth of the hand and the physical traces of stitching to connect everyday light, shadow, and memory across different surfaces.
Bringing together eight artists from distinct cultural contexts, Feminine Space considers how bodies, objects, light, and material can respond to the psychological and existential pressures of contemporary life. Across the exhibition, acts of making become acts of repair. Within the residual warmth of materials and the accumulation of time, feminine force emerges as a movement between inner and outer worlds, opening a space for reflection, refuge, and regeneration.
了解更多:
https://www.art-msac.com/exhibitions/156/overview/
Advertisement
Event venue
瑞光路548巷15號5F 、 Taipei, Taiwan 114, 台灣114063台北市內湖區瑞光路548巷15號,Taipei, Taiwan
Tickets
Concerts, fests, parties, meetups — all the happenings, one place.