絕對空間藝術進駐

✨駐村成果展覽✨
【龐然殘片 Vast Fragment 】

展覽「龐然殘片」是藝術家井上修志在造訪台灣花蓮時，前往一處石灰岩採石場的震撼經驗。在那片巨大的開挖地中，大型卡車不斷來回穿梭，工人們顯得如同螞蟻般渺小。抬頭一看，藝術家卻被數百公尺的高山圍繞，眼前的景象令他久久無法忘記，他第一次親眼看見一個巨大到彷彿能抹去整座山的採礦現場，並試圖想着眼前尚未被開採的景貌，這裏本應是一座巨大的山體，規模超出人類的感知。在這股壓倒性的力量中，也讓藝術家強烈感受到一種不可逆的轉變。
駐村期間，藝術家從花蓮的採石現場回到台南觀察到人類文明如何將龐大的山體，拆解為鞏固城市發展的材料，也令他回想起311東日本大地震的毀滅與隨後的重建，不論是人為主導的地形塑造，還是地震與侵蝕等自然發生的地貌變化，在他看來這現象尚未區分清楚，他所關注的並不是將兩者區分，而是將其理解為整體性的風景轉變過程，也讓這展覽賦予了更深層的共鳴——是「人為」與「自然」的互相連結。

The exhibition “Vast Fragment” describes artist Shuji Inoue’s overwhelming experience when visiting a limestone quarry in Hualien, Taiwan. Within the immense excavation site, massive trucks moved constantly back and forth, while the workers appeared as small as ants. Looking up, the artist found himself surrounded by mountains rising hundreds of meters high. The scene left a lasting impression on him. For the first time, he witnessed a mining site so enormous that it seemed capable of erasing an entire mountain. He tried to imagine the landscape before excavation began — what should once have been a vast mountain mass beyond the scale of human perception. Within this overwhelming force, the artist also strongly sensed an irreversible transformation.

During his residency, the artist observed how human civilization dismantles massive mountains into materials that sustain urban infrastructure, from quarry sites in Hualien to the urban construction systems of Tainan. This also reminded him of the destruction and subsequent reconstruction following the 2011 Great East Japan Earthquake. Whether shaped by human intervention or by natural processes such as earthquakes and erosion, he feels these transformations cannot be clearly separated. Rather than distinguishing between the “man-made” and the “natural,” he seeks to understand them as part of a continuous and holistic process of landscape transformation.

˚｡⋆ 𖣘*˚｡⋆ 𖣘*˚｡⋆𖣘*˚｡⋆ 𖣘*˚｡⋆ 𖣘*˚｡⋆ 𖣘*˚｡˚｡⋆ 𖣘*˚｡⋆ 𖣘*˚｡

【龐然殘片 Vast Fragment 】
藝術家Artist｜ 井上修志 Shuji Inoue
展期Exhibition Period｜2026.5.16 Sat - 5.31 Sun
開放時間 Opening Hours｜週三-週日 Wed-Sun 13:00-18:00
地點 Venue ｜三和進駐基地 SanHo Art Lab
地址 Address｜臺南市南區三和街14號 No. 14, Sanhe St., South Dist., Tainan City
主辦單位Organizer｜絕對空間藝術進駐 Absolute Space AIR
合作單位Co-organizer｜黃金町管理中心 Koganecho Area Management Center
指導單位Advisor｜文化部 Ministry of Culture
海報設計Poster Design｜林渝捷 Lin Yu Jie

2026絕對空間藝術進駐全球徵件
Absolute Space AIR 2026 Global Open Call
決選結果公告 Final Selection Results
>>>入選：1名 Selected Artist: 1
>>>備取：2名 Alternate Artists: 2
恭喜入選藝術家 Mooni Perry
Congratulations to the Selected Artist: Mooni Perry
We warmly congratulate Mooni Perry on being selected for the Absolute Space AIR 2026 residency program. We look forward to welcoming you to Taiwan!

📢藝術家交流活動分享Highlights from the Artist Exchange Event
🦁八幡亞樹 Yahata Aki

來自 #關渡美術館 的駐館藝術家八幡亞樹 Yahata Aki來台南進行短期的交流進駐，為了幫助她的創作計畫，我們安排她與台南大學民俗隊的成員們進行舞獅的基本學習與交流。另外也到十鼓文創園區進行學習打鼓、與十鼓擊樂團交流。相信這些交流機會能幫助她的創作計畫更加順利進行，讓我們一起期待成果吧！

在此感謝 #國立台南大學民俗隊 全體的熱情教學與幫助，也感謝 #十鼓文創園區 的用心安排，特別是執行長與總監的協助及教學。

Aki Yahata, a resident artist from the Kuandu Museum of Fine Arts, undertook a short-term exchange residency in Tainan.

To support her artistic project, we arranged for her to learn and exchange basic lion dance practices with members of the Taiwanese folk arts team at National Tainan University. She also visited the Ten Drum Cultural and Creative Park, where she learned drumming techniques and engaged in an exchange with the Taiwan Ten-Drum Art Percussion Group.

We believe these exchange opportunities helped her artistic project proceed more smoothly, and we look forward to the outcomes together.

We would like to express our sincere thanks to the entire National Tainan University Folk Arts Team for their enthusiastic teaching and support, as well as to the Ten Drum Cultural and Creative Park for their thoughtful arrangements—especially the CEO and artistic director for their assistance and instruction.

2026絕對空間藝術進駐藝術家歡迎會暨一人一菜分享會➋
Absolute Space Artists-in-Residence Program for 2026 Artist Talk and Potluck Party with Clara Silveira

🌟一人一菜藝術家分享會Artist Talk and Potluck Party🌟

日期Date：2026.5.30 Sat. 18:00-19:30
地點 Venue：三和進駐基地 SanHo Art Lab
地址Address：臺南市南區三和街14號 No. 14, Sanhe St., South Dist., Tainan City
主辦單位Organizer：絕對空間藝術進駐 Absolute Space AIR
合作單位Co-organizer：德國柏林GlogauAIR
指導單位Advisor：文化部 Ministry of Culture
海報設計Poster Design：林渝捷 Lin Yu Jie

:*:･･:*:･ﾟ･:,｡*:..｡o○:*:･･:*:･:*:･･:*:･ﾟ･:,｡*:..｡o○:*:･･:*:･

📜藝術家介紹
Clara Silveira 克拉拉‧西爾維
Clara Silveira（1990年生）是一位巴西多媒體藝術家，其游牧式的創作實踐深受她作為探戈舞者的背景所影響。她的作品透過身體動作探究具身記憶，以阿根廷探戈為靈感來源，將其視為離散記憶的檔案與暴力的編舞形式。
她的研究聚焦於身體作為承載世代創傷的活體檔案，並探索古典二分法中的希臘「憂鬱」（melankholia）與拉丁「狂怒」（furor）之間的關係——將「憤怒」理解為對抗憂鬱性停滯的重要能量。
她的創作橫跨裝置、影像與表演藝術，將個人證言轉化為集體共鳴，創造讓個體記憶與共享經驗相遇的空間。她的實踐亦延伸至社會參與，透過與青年合作的社區計畫以及與女性集體 Arsenália 的合作，將藝術作為賦權工具，回應結構性暴力。
位於占卜、記憶與溫柔的交界之處，Silveira 的創作致力於保存拉丁「狂怒」，將其視為轉譯熱帶憂鬱的重要資源。

Clara Silveira (1990)
is a Brazilian multimedia artist whose nomadic practice is deeply
informed by her background as a tango dancer. Her work investigates embodied memory through gesture, drawing from Argentine Tango as both an archive of diasporic memory and a choreography of violence.
Her research focuses on the body as a living archive of inherited trauma, exploring the classical dichotomy between Greek melankholia and Latin furor—understanding fury as a vital antidote to melancholic paralysis.
Working across installation, video, and performance, she transforms personal testimony into collective resonance, creating spaces where individual memory encounters shared experience. Her practice extends to social engagement through community projects with youth and collaboration with the women's collective Arsenália, employing art as a tool for empowerment and response to structural violence. Situated at the intersection of divination, memory, and tenderness, Silveira's practice preserves Latin fury as an essential resource for translating the melancholy of the tropics.

:*:･･:*:･ﾟ･:,｡*:..｡o○:*:･･:*:･:*:･･:*:･ﾟ･:,｡*:..｡o○:*:･･:*:･

駐村期程：5/7 (Thur) - 8/4 (Tue)

💫進駐藝術家介紹 Residency Artist Introduction💫
Clara Silveira 克拉拉‧西爾維

Clara Silveira（1990年生）是一位巴西多媒體藝術家，其游牧式的創作實踐深受她作為探戈舞者的背景所影響。她的作品透過身體動作探究具身記憶，以阿根廷探戈為靈感來源，將其視為離散記憶的檔案與暴力的編舞形式。

她的研究聚焦於身體作為承載世代創傷的活體檔案，並探索古典二分法中的希臘「憂鬱」（melankholia）與拉丁「狂怒」（furor）之間的關係——將「憤怒」理解為對抗憂鬱性停滯的重要能量。

她的創作橫跨裝置、影像與表演藝術，將個人證言轉化為集體共鳴，創造讓個體記憶與共享經驗相遇的空間。她的實踐亦延伸至社會參與，透過與青年合作的社區計畫以及與女性集體 Arsenália 的合作，將藝術作為賦權工具，回應結構性暴力。

位於占卜、記憶與溫柔的交界之處，Silveira 的創作致力於保存拉丁「狂怒」，將其視為轉譯熱帶憂鬱的重要資源。

Clara Silveira (1990)
is a Brazilian multimedia artist whose nomadic practice is deeply
informed by her background as a tango dancer. Her work investigates
embodied memory through gesture, drawing from Argentine Tango as
both an archive of diasporic memory and a choreography of violence.
Her research focuses on the body as a living archive of inherited trauma,
exploring the classical dichotomy between Greek melankholia and Latin
furor—understanding fury as a vital antidote to melancholic paralysis.

Working across installation, video, and performance, she transforms
personal testimony into collective resonance, creating spaces where
individual memory encounters shared experience. Her practice extends
to social engagement through community projects with youth and
collaboration with the women's collective Arsenália, employing art as a
tool for empowerment and response to structural violence. Situated at
the intersection of divination, memory, and tenderness, Silveira's
practice preserves Latin fury as an essential resource for translating the
melancholy of the tropics.

♩*。♫.°♪*。♬꙳♩*。♫.°♪*。♬꙳♩*。♫*。♫.°♪*。♬꙳♩*。♫.°♪*。♬꙳♩*。♫

進駐期間：2026年5月7日-8月4日
Residency period: 7 May – 4 August 2026
Residency period: May 5th–14th, 2026 顯示較少

井上修志 Shuji Inoue的展覽開幕活動圓滿結束，感謝與談人李承亮接受邀請前來與藝術家進行對話、交流，同時也感謝所有參與的人。
📢駐村成果展覽將持續到5/31(日)，歡迎大家前來欣賞。

Shuji Inoue’s exhibition opening event concluded successfully. We would like to thank our guest speaker Li Cheng-Liang for accepting the invitation to join the artist in dialogue and exchange, and also extend our gratitude to everyone who participated.

📢 The artist residency exhibition will continue until Sunday, May 31. Everyone is warmly welcome to visit and experience the exhibition.

日文翻譯：大洞敦史 Daido Atsushi

▹◃┄▸◂┄▹◃┄▸◂┄▹◃┄▸◂┄▹◃┄▸◂┄▹◃
【龐然殘片 Vast Fragment 】
藝術家Artist｜ 井上修志 Shuji Inoue
開幕Opening｜2026.5.17 Sun 15:00-18:00
開幕座談Forum｜2026. 5.17 Sun 15:30-17:00
與談人Panelist ｜李承亮 Li Cheng-Liang （藝術家 Artist）
展期Exhibition Period｜2026.5.16 Sat - 5.31 Sun
開放時間 Opening Hours｜週三-週日 Wed-Sun 13:00-18:00
地點 Venue ｜三和進駐基地 SanHo Art Lab
地址 Address｜臺南市南區三和街14號 No. 14, Sanhe St., South Dist., Tainan City
主辦單位Organizer｜絕對空間藝術進駐 Absolute Space AIR
合作單位Co-organizer｜黃金町管理中心 Koganecho Area Management Center
指導單位Advisor｜文化部 Ministry of Culture
海報設計Poster Design｜林渝捷 Lin Yu Jie

2026絕對空間藝術進駐，第一階段的徵件徵選評審結果。
>>>第二階段面試時間：5月18日至5月24日

2026 Absolute Space AIR, First Phase Application Selection Results
>>>Phase 2 Interview and Evaluation Period: May 18 to May 24

🦁進駐藝術家介紹
八幡亞樹 Yahata Aki

一位以田野調查與訪談為基礎，進行跨領域藝術創作的當代藝術家。主要媒材為影像與裝置藝術。其創作持續探究「邊境（地理／社會／身心層面）」的概念，並思索與探索藝術如何拓展身體的可能性與生命力。

近年來，作為此研究的一部分，她聚焦於「公路電影（road movie）」、「手食文化」以及「山水」等主題。2022年創立了記錄世界各地手食文化的線上檔案平台《手食Web》，並擔任其主理人與編輯。近期也開始展開對聲音表現的探索與研究。

畢業於東京藝術大學大學院先端藝術表現科碩士課程。其後中途退出同校博士課程，並畢業於滋賀醫科大學。

A contemporary artist who creates cross-disciplinary artworks based on field research and interviews. Her primary media are video and installation. She explores the concept of “frontiers”—geographical, social, and psychophysical—and investigates how art can expand the possibilities of the body and the vitality of life. In recent years, as part of this inquiry, she has focused on themes such as road movies, eating-with-hands practices, and shanshui (Chinese landscape traditions). In 2022, she founded TESHOKU Web, an online archive documenting eating-with-hands cultures around the world, where she serves as director and editor. More recently, she has also begun exploring sound-based practices. She completed an MFA in Intermedia Art at Tokyo University of the Arts. After leaving the doctoral program in the same department, she graduated from the Shiga University of Medical Science.

˖✻*˸ꕤ*˸*⋆。˖✻*˸ꕤ*˸*⋆。˖✻*˸ꕤ*˸*⋆。˖✻*˸ꕤ*˸*⋆。･˖✻*˸ꕤ*˸*⋆。･
進駐期間：2026年5月5日-5月14日(暫定)
Residency period: May 5th–14th, 2026

絕對空間藝術進駐藝術家進駐成果❶
Absolute Space Artists-in-Residence Program for 2026❶

【龐然殘片 Vast Fragment 】

藝術家Artist｜ 井上修志 Shuji Inoue

開幕Opening｜2026.5.17 Sun 15:00-18:00
開幕座談Forum｜2026. 5.17 Sun 15:30-17:00
與談人Panelist ｜李承亮 Li Cheng-Liang （藝術家 Artist）
展期Exhibition Period｜2026.5.16 Sat - 5.31 Sun
開放時間 Opening Hours｜週三-週日 Wed-Sun 13:00-18:00
地點 Venue ｜三和進駐基地 SanHo Art Lab
地址 Address｜臺南市南區三和街14號 No. 14, Sanhe St., South Dist., Tainan City

主辦單位Organizer｜絕對空間藝術進駐 Absolute Space AIR
合作單位Co-organizer｜黃金町管理中心 Koganecho Area Management Center
指導單位Advisor｜文化部 Ministry of Culture

海報設計Poster Design｜林渝捷 Lin Yu Jie

✨關於展覽 About the Exhibition✨

我第一次親眼看見一個巨大到彷彿能抹去整座山的採掘現場。

當我拜訪花蓮市時，前往了一處石灰岩採石場，那是製作水泥的原料來源。在那片巨大的開挖地中，大型卡車不斷來回穿梭，景象令人震撼。抬頭望去，數百公尺高的山體環繞四周，山頂隱沒在雲層之中，無法清楚辨識。山坡呈現階梯狀，一層層延伸至我腳下、重機運作的地面。也就是說可以清楚地意識到開採已經從高到隱沒於雲中的位置，一路推進到我所站立的地方。試著從眼前的景象想像尚未被開採前的地貌，那裡原本應該是一座巨大的山體，其規模遠遠超出人類的感知。同時，在這股壓倒性的力量之中，也讓我強烈感受到一種不可逆的轉變。

這些從採石場開採出的石灰岩，最終會成為水泥，進而轉化為混凝土，構築出城市的結構骨架。在我駐村期間所居住的台南市區中，它被廣泛運用於基礎建設、建築，以及海岸防護工程之中。這樣的景象彷彿是一種一邊削平山體、一邊朝海洋推進、並同時鞏固陸地的運動。這些看似彼此分離的事件，對我而言並非零散片段，而是一個持續展開的城市運動，以連續的狀態在我眼前呈現。

我的創作起點，來自於在故鄉石卷所經歷的311大地震。地震與海嘯在瞬間摧毀了建築、道路與整座城市，徹底顛覆了我對世界的基礎認知。其後展開的重建，也是在未能彌合現實與情感之間距離的狀態下持續進行。曾經以瓦礫形式存在於眼前的混凝土，最終又以防波堤的形式再次出現。風景以一種無法抗拒、也不可逆的方式不斷被更新，而這些同樣呈現為無法分割的連續事件。

無論是人為主導的地形塑造，還是地震與侵蝕等自然發生的地貌變化，在我看來，本質上都是尚未被清楚區分的現象。儘管它們在規模與影響上有所不同，我們往往只是透過責任歸屬來加以區別。我所經歷的災難與其後的重建，固然可以分別理解為自然與人為，但兩者同樣都是劇烈改變地形與風景的連續事件。我的關注並不在於將它們區分開來，而是將其理解為一個整體性的風景轉變過程。

從這樣的視角來看，地表上所發生的一切並非在自然與人工之間維持清晰界線的狀態下存在，而是以一種未分化卻充滿動態的變化相互連結。這些過程以超越人類理解的尺度展開，並與世界一同持續運行。然而，幾乎不可能將其作為一個完整的個體來加以掌握。即便如此，我仍持續觸碰那些出現在眼前的片段，並以此作為想像的入口。面對那些龐大到難以完全理解的事件碎片，此刻的我，正透過創作與之對話。

I first witnessed an extraction site so vast that it seemed to erase mountains.

When I visited Hualien City, I went to a limestone quarry, the raw material for cement. The sight of massive excavated land, where large dump trucks moved continuously back and forth, was overwhelming. Looking up, mountains several hundred meters high rose around me, their peaks hidden in the clouds, impossible to see clearly. The slopes of the mountains were terraced like steps, extending all the way down to where heavy machinery operated, including the ground where I was standing. In other words, it became clear that excavation had progressed from a height so vast it disappeared into the clouds down to my present location. Imagining the landscape before it was excavated, there must have once been a large mountain here. Its scale exceeds human perception by far. Alongside its overwhelming force, the site also made me realize a sense of irreversible transformation.

The limestone extracted from this quarry eventually becomes cement, and then concrete, forming the structural backbone of cities. Even in the urban landscape of Tainan, where I stayed during my residency, it was used for infrastructure, architecture, and coastal reinforcement. The scenery felt like a movement that carves into mountains while simultaneously advancing toward the sea, solidifying land as it goes. These seemingly separate events did not appear as fragmented phenomena, but rather as a continuous urban process unfolding before me.

At the starting point of my practice lies my experience of the Great East Japan Earthquake of March 11 in my hometown, Ishinomaki. The earthquake and tsunami destroyed buildings, roads, and the city itself in an instant, overturning the foundation of my world. The reconstruction that followed also proceeded without bridging the distance between reality and emotion. Concrete, once present before me as rubble, reappeared in the form of seawalls. The landscape is inevitably and irreversibly updated.

Both human-led land formation and natural transformations such as earthquakes and erosion are, in essence, phenomena I perceive as not yet fully differentiated. Although their scale and impact differ, we tend to distinguish them only through questions of responsibility. The disaster I experienced and the reconstruction that followed can be understood as nature on one side and human intervention on the other, yet both were continuous events that radically transformed land and landscape. My concern is not to separate them, but to understand them as part of a single unfolding transformation of the landscape.

From this perspective, what occurs on the earth’s surface does not exist while maintaining a clear division between nature and the artificial. Rather, it is a series of undifferentiated yet dynamic transformations. These processes unfold on a scale beyond our comprehension and continue to move together with the world itself. However, it is nearly impossible to grasp them as a unified whole. Even so, I continue to touch the fragments that appear before me, using them as entry points for imagination. Confronted with fragments of events too vast to fully comprehend, I am now engaging with them through my practice.

✨關於藝術家 About the Artist✨

井上修志

1995年出生於日本宮城縣，現居神奈川。
2018　多摩美術大學 工藝學科 學士（B.F.A.）
2019–2020　明斯特藝術學院（Münster Kunst Academy）
2021　東京藝術大學 全球藝術實踐學系 碩士（M.F.A.）
基於自身經歷過311東日本大地震的經驗，井上修志對社會的脆弱性與不穩定性以及社會與自然結構相互交會的面向產生了濃厚興趣。他經常將作品帶入公共空間創作，許多作品在物理上受到場域的限制與規定，或是高度依賴特定場域而存在。他透過梳理空間所承載的歷史與意義，並經由自身的觀點與詮釋，將其與當下連結起來。他創作的雕塑與裝置作品，多以日常生活中已不再需要的物品或廢棄材料作為主要媒材。

Shuji Inoue

Born in Miyagi, Japan, 1995. Live in Kanagawa
2018 B. F. A., Tama Art University, Department of Craft
2019-20 Munster Kunst Academy
2021 M. F. A., Tokyo University of the Arts, Department of Global Art Practice
From his experiences of the 3.11 Tohoku earthquake, Inoue is interested in the fragility and risks of society, as well as the points in the structures where society and nature meet. There are many works in public spaces which are physically confined or defined by those spaces. Inoue unravels the history and meaning of those spaces, linking them to the present through his own filter. His sculptures are composed using everyday life materials which would otherwise be waste or were no longer needed.