文｜黃德馨 

《雙城計：臺南 × 熊本臺灣當代藝術接力展》是一項以城市為節點、以時間為軸線展開的跨國藝術計畫。透過作品在不同城市之間的移動與回應，展覽形成一條持續延伸的敘事路徑，使創作在多重空間與觀看關係中不斷累積新的意義。計畫自臺南啟動，於臺南市美術館以三位藝術家的聯展揭開序幕，並將於2027年移至熊本，以三位藝術家的個展深化跨城市的藝術對話。

臺南與熊本皆為由多重歷史層次交織而成的城市。臺南在古蹟與日常之間緩慢流動，熊本則在震後重建與城市結構中展現斷裂與修復的節奏。兩者皆非靜止的歷史，而是在持續變動中生成當代樣貌。在此脈下，記憶不僅存在於空間，也延伸至數位影像與個人感知之中，使時間與自我呈現流動與重組的狀態。

本展邀集楊茂林、林鴻文與常陵三位藝術家，分別從文化混種、存在感知與虛實結構等面向回應當代處境。透過三者的創作，展覽呈現身分的流動、感知的沉澱，以及現實的再建構，開啟觀者對自我與世界的再思考。

本計畫藉由藝術在兩座城市之間的轉譯與流動，讓觀看不再只是瞬間經驗，而成為一種持續生成的文化行動。

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指導單位｜文化部、文化黑潮、臺南市政府
策劃單位｜東益藝術設計工作室
主辦單位｜臺南市美術館、東益藝術設計工作室
協辦單位｜熊本市現代美術館
協力單位｜公益財團法人熊本市美術文化振興基金會
感謝單位｜公益財團法人日本台灣交流協會高雄事務所
贊助單位｜異雲書屋文化創意有限公司

Text｜Huang De-xin

“Twin Cities Project: Tainan × Kumamoto Taiwan Contemporary Art RelayExhibition” is a transnational art project that unfolds with cities as its nodes and timeas its axis. Through the movement of and responses between works in different cities,
the exhibition forms a continuously extending narrative path, allowing creations to continuously accumulate new meanings within multiple spaces and viewing relationships. The project launches from Tainan, opening with a group exhibition of
three artists at the Tainan Art Museum, and will move to Kumamoto in 2027 where solo exhibitions by the three artists will further deepen cross-city artistic dialogue.

Both Tainan and Kumamoto are cities woven from multiple historical layers. Tainan flows slowly between historical sites and daily life, while Kumamoto reveals a rhythm of rupture and repair within post-earthquake reconstruction and urban structures. Neither city is defined by a static history; rather, they generate contemporary forms amidst continuous change. Within this context, memory exists not only in space but also extends into digital images and individual perceptions, resulting in a state of fluidity and reconfiguration of both time and the self.

This exhibition invites three artists, Yang Mao-lin, Lin Hong-wen, and Chang Ling, to respond to contemporary conditions from the perspectives of cultural hybridity, existential perception, and the structure of the real and the virtual, respectively. Through the creations of these three, the exhibition presents the fluidity of identity, the accumulation of perception, and the reconstruction of reality, inviting viewers into a reconsideration of the self and the world.

Through the translation and fluidity of art between the two cities, this project redefines viewing as no longer merely a momentary experience, but an ongoing cultural practice.

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Supervising | Ministry of Culture, T-content, Tainan City Government
Curated  | Dongyi Art Design Studio
Organized  | Tainan Art Museum,Dongyi Art Design Studio
Co-organized  | Contemporary Art Museum Kumamoto
Co-produced  | Kumamoto City Art and Culture Promotion Foundation
Special Thanks | Japan–Taiwan Exchange Association, Kaohsiung Office
Sponsor | YI YUN ART LTD.

參展藝術家：楊茂林、林鴻文、常陵

藝術家介紹：

楊茂林｜在神話與混種世界之間，召喚自我認同的意志

楊茂林的創作建立在多重文化語彙交錯的場域之中。動物、英雄、卡漫角色與神話形象在他的畫面裡彼此滲透，使作品始終處於難以被單一文化系統界定的狀態。這種視覺策略可對應文化揉雜（cultural hybridisation）的實踐：文化並非源自單一根源，而是在不斷的碰撞、轉譯與重組之中生成新的語言與系統，點出一個重要命題「我是誰」的提問。
當文化記憶不再沿著單一路徑運作，身分在多重影響中持續變形，這樣的異質符號拼合，反而對應出主體性確切流動的狀態，使身分的複雜與多元得以被具體化。在熟悉與陌生並存的視覺張力中，自我不再是固定的標籤，而是一種在文化交錯中被不斷召喚、反覆生成的動態存在。

林鴻文｜成為一種存在的狀態

林鴻文的創作關心的不是形式如何被建構，而是畫面如何成為一種可以棲居的狀態。他以色層、線條與空間的配置，留下時間與情緒在畫布上的痕跡。他的繪畫或雕塑，如同一段被保留下來的剎那存在經驗，讓觀看者進入一種介於內在與外在之間的狀態，在其中感受到時間的流動與自身的呼吸。
作品不提供敘事，也不要求理解。它更像是藝術家內在空間的私語場域，卻又能使觀者與藝術家共享某種靜止而持續的存在感，引領觀者進入內外交融的境地。在此，抽象轉化為一種無法言說的精神寫實空間，使人得以暫時安放自身。

常陵｜在假性與虛擬之間，重構我們以為的現實

常陵的創作並非單純描繪場景，而是建構一種「假性與現實」的討論：一種被視為真實，實則由影像、想像與集體與個人記憶拼湊而成的現實結構。畫面雖似曾相識，卻沒有具體地理對應，指向的並非空間，而是人們如何從心理與文化之中組裝世界。
在高度數位化的時代，新聞、社群影像與歷史敘事不斷疊合，我們的認知愈發依賴再製的影像。現實已轉化為被敘述、被內化的經驗結構。街景、媒介與記憶，使畫面成為一種「被深信的假性現實」。其筆下的人物與場景不承載單一敘事，而是懸浮於虛實之間。觀者在畫面前產生的既視感（Déjà vu），宛如幻覺式的清醒，映射出每個人早已內化的世界想像。

 Artists : Yang Mao-lin, Lin Hong-wen, Chang Ling

Artist Introductions :

Yang Mao-lin | Between Myth and Hybrid Worlds, Summoning the Will of Identity

Yang Mao-lin’s creations are established within a field where multiple cultural vocabularies intersect. Animals, heroes, manga characters, and mythological figures permeate one another within his frames, keeping the works in a state that is always difficult to define by a single cultural system. This visual strategy corresponds to the practice of cultural hybridisation: culture does not originate from a single source but generates new languages and systems through constant collision, translation, and restructuring, highlighting an important proposition: the question of “Who am I?”

When cultural memory no longer operates along a single path and identity continuously deforms under multiple influences, such an assemblage of heterogeneous symbols instead corresponds to the precisely fluid state of subjectivity,allowing the complexity and plurality of identity to be materialized. Amidst the visual tension where the familiar and the unfamiliar coexist, the self is no longer a fixed label but a dynamic existence that is constantly summoned and repeatedly generated within cultural intersections.

Lin Hong-wen | Becoming a State of Existence

Lin Hong-wen’s creation is not concerned with how form is constructed, but with how the image becomes a state that can be inhabited. Through the arrangement of color layers, lines, and space, he leaves traces of time and emotion on the canvas. His paintings or sculptures are like a preserved moment of existence, allowing the viewer to enter a state between the internal and external, within which they feel the flow of time and their own breathing.

The works provide no narrative, nor do they demand understanding. It is more like a field of whispers from the artist’s inner world, yet it enables the viewer to share a certain still and continuous sense of existence with the artist, leading the viewer into a realm where the internal and external meld. Here, abstraction is transformed into an unspeakable space of spiritual realism, allowing one to temporarily settle oneself.

Chang Ling | Between the Pseudo and the Virtual, Reconstructing the Reality We Assume

Chang Ling’s creations do not simply depict scenes but construct a discussion on “the pseudo and reality”: a structure of reality perceived as real, yet pieced together from images, imagination, and collective and personal memories. Although the images seem familiar, they have no specific geographical reference; they point not to space, but to how people assemble the world from within psychology and culture.

In an age of high digitization, where news, social media images, and historical narratives constantly overlap, our cognition increasingly relies on reproduced images.Reality has been transformed into a narrated and internalized structure of experience.Streetscapes, media, and memory turn the images into a “deeply believed pseudo-reality.” The figures and scenes under his brush do not carry a single narrative but are suspended between the real and the virtual. The déjà vu experienced by the viewer before the paintings is like a hallucinatory sobriety, reflecting the imagination of the world that each person has already internalized.

策展人：黃德馨 

長期關注當代藝術在地域與國際脈絡 中文化交會與轉譯的臺灣獨立策展人， 近年積極參與及辦理國際藝術交流， 致力於推動臺灣與日本及東亞地區之 間的藝術對話與展覽合作，擅長在資 訊時代的背景下，探索當代表達、身 份認同與藝術實踐之間的多重交織與可能性，拓展東亞當代藝術的對話空 間。使其自2025年起受邀擔任日本福岡市政府文化局長期國際交流臺灣 策展人，並長期支持臺灣藝術家於日 韓港展演、臺灣文化品牌及設計師於 大型藝術節海外曝光。

Curator：Huang De-xin