《Open Territory》

Open Territory

2025 年台北國際藝術博覽會（ART TAIPEI）即將揭幕，在全球藝術產業關鍵輪廓轉變的現在，台灣作為亞太區域重要交匯點之一，藝術家從在地經驗出發，將個人視角轉化為全球議題的對話場域；既是局勢的見證者，也是文化跨界的推動者。

ART TAIPEI 2025 is set to open. As the global art industry undergoes a pivotal shift, Taiwan--a vital Asia-Pacific hub, local artists translate their experiences into a global dialogue, acting as both witnesses and cultural mediators.

今年，也趣藝廊以《Open Territory》帶來多位國際藝術家，共同探討在眾多空間與游離的條件下，屬於自身的心靈座標，呈現藝術作為重啟社會及個體連結的介面，如何在當代語境中不斷反省內在與世界的關係，並在微觀與宏觀間以視覺開啟對話。

This year, AKI Gallery presents Open Territory, featuring a group of international artists who collectively explore the spiritual coordinates of the self under numerous spatial and fluid conditions. The exhibition aims to present art as an interface for rebooting social and individual connections, examining how art continuously reflects on the relationship between the internal and the external within a contemporary context, and opening up a dialogue between the micro and the macro through visual means.

➤ 沈昭良 Chao-Liang SHEN_築地魚市場 Tsukiji Fish Market

沈昭良 Chao-Liang SHEN（b.1968）與築地魚市場這將近 30 年的紀實攝影，是一場宿命的相逢。「築地魚市場」(1993-2022)系列臨場、迫近又抽離的鏡頭張力，帶領觀者重返那個飄散著昭和風情，鼎沸雜沓卻也井然有序的拍賣現場；曾是全球規模最大的魚貨市場，在沈昭良的作品中不僅召喚歷史也彷若重生，同時記憶著長年追尋攝影與築地的鮮明步履。

Chao-Liang SHEN ( b.1968 ), his nearly 30-year documentary photography project on the Tsukiji Fish Market was a fateful encounter. His Tsukiji Fish Market (1993-2022) series, with its immersive, proximate, yet detached lens tension, transports the viewer back to the bustling yet orderly auction site, imbued with the atmosphere of the Showa era. This market, once the largest of its kind in the world, is not only summoned back from history in SHEN's works but also seems to be reborn, simultaneously memorializing the artist's distinct journey in his long-term pursuit of photography.

➤ 沈昭良 Chao-Liang SHEN_築地魚市場 Tsukiji Fish Market

華建强 Chien-Chiang HUA（b.1975）以「無草圖」與「快速下筆」的方式描繪臺灣的集體活動，強調即時、身體性與社會議題的即刻碰撞。作品靈感源於中秋燈會、白沙屯媽祖繞境，將民主與民俗並置，而角色們身穿統一服飾的重複性，隱含個體在集體中被壓縮為「社會螺絲釘」的焦慮，藉此探問社會權力結構與身份規格化。

Chien-Chiang HUA ( b.1975 ) depicts collective activities in Taiwan through a method of "no sketching" and "rapid brushwork," emphasizing the immediate collision of spontaneity, physicality, and social issues. His inspiration is drawn from events like the Mid-Autumn Lantern Festival and the Baishatun Mazu Pilgrimage, juxtaposing elements of democracy and folk customs. The repetition of characters in uniform attire implies an anxiety of the individual being compressed into a "social screw" within the collective, thereby questioning social power structures and the standardization of identity.

➤ 華建强 Chien-Chiang HUA_心內的風_Breeze in My Heart_膠彩、壓克力、白墨液、畫布_Gouache、Acrylic and white ink on canvas_91 x 116.5 cm_2021

➤ 華建强 Chien-Chiang HUA_春天的風_Spring Breeze_膠彩、畫布_Gouache on canvas_91 x 116.5 cm_2020

➤ 華建强 Chien-Chiang HUA_粉紅色的約會_The Pink Date_膠彩、畫布 Gouache on canvas_91 x 116.5 cm_2024

吳逸寒 Yih-Han WU（b.1982）經常以女性、兒童做為描繪對象，並運用水彩，隨著水色的流淌勾勒輪廓，模糊抽象與具象界線。她筆下的身體已非被規訓與凝視的客體，而是自我言說的場域。母職中所孕育的依附與溫柔，揭示女性身體政治並不僅止於反抗，更涵納承受、照護與倫理思索，使存在在脆弱與堅韌間浮現出複調的聲音。

Yih-Han WU ( b.1982 ) often depicts women and children, using watercolor to outline their forms with the flowing of the paint, thereby blurring the line between abstraction and figuration. The bodies in her works are no longer objects of discipline and gaze but sites of self-expression. The attachment and tenderness nurtured in motherhood reveal that the body politics of women are not limited to resistance but also encompass endurance, care, and ethical contemplation, revealing the coexistence of fragility and resilience within motherhood.

➤ 吳逸寒 Yih-Han WU_無題_Untitled_紙、水彩、墨水 Watercolour and ink on paper_57 x 38 cm_2024

➤ 吳逸寒 Yih-Han WU_Cupid and Psyche_紙、水彩 Watercolor on paper_71 x 50 cm_2016

➤ 吳逸寒 Yih-Han WU_無題_Untitled_紙、水彩、墨水 Watercolour and ink on paper_76 x 57 cm_2024

➤ 吳逸寒 Yih-Han WU_Hercules and Omphale, after Francois Boucher_紙、水彩、墨水 Watercolor and ink on paper_76 x 57 cm_2021

Willy VERGINER（b.1957）的作品如同一本未完的寓言，卻拒絕被歸類為童話。在他靜謐的人物雕塑中，潛藏對工業文明與自然生態失衡的無聲控訴。那一道鮮明的色彩分割，將身體一分為二，宛如人造與自然的裂痕，冷冽地揭示了我們所處世界的矛盾。人物在此不再是完整的「主體」，而成為一種容器；既是參與其中的行動者，也是無力旁觀的見證者。寓言的最後一頁，交付觀者，結局並非預先存在，而是必須在觀看與思考之中被不斷書寫。

Willy VERGINER ( b.1957 ), his work is like an unfinished fable. In his serene figurative sculptures lies a silent protest against the imbalance between industrial civilization and the natural ecosystem. A sharp division of color splits the body in two, like a rift between the artificial and the natural, coldly revealing the contradictions of the world we inhabit.

➤ Willy VERGINER_Volo e tutto sembra rosa_Bronze, acryl color_21 x 78 x 30 cm_2025_ed.2_7

➤ Willy VERGINER_Butta l_acqua sui piedi_Linden wood, acryl color_52 x 59 x 24 cm_2025

➤ Willy VERGINER_Guarda te fiorita_Linden wood, acryl color, burnt linden, iron_167 x 51 x 64 cm_2025

Akiko SUMIYOSHI（b.1981）藝術家以細膩的筆觸上彩，在錫箔與洋金箔的映襯下留下極細的線條，更加凸顯動、植物的存在。畫面中，沉靜凝視前方的動物與茂盛攀藤的植物，共同構築出微妙的主客體關係，散發出真實的「靈氣」。正如哲學家 Timothy Morton 所提出的「共生體」（symbiosis）概念，人類從未孤立存在，而是始終與他者共同編織著一張複雜而無法切斷的生命網絡。

Akiko SUMIYOSHI ( b.1981) applies color with delicate brushstrokes, leaving extremely fine lines against the backdrop of tin and gold foil, further accentuating the presence of flora and fauna. The tranquil animals and lush climbing plants in her paintings construct a subtle subject-object relationship, exuding a genuine "aura" and reflecting the complex web of life woven by humans and other beings.

➤ Akiko SUMIYOSHI_Frame frame _Sloth_Acrylic, silverleaf-paper on panel_33.3 x 33.3 x 2.2 cm_2022

➤ Akiko SUMIYOSHI_Little flow (Geoffroy_s cat)_Acrylic on cotton canvas_33.3 × 33.3 × 2.2 cm_2024

土屋仁應 Yoshimasa TSUCHIYA（b.1977）學習傳統佛像的製作跟修復，作品也延續了如佛像的安魂氣韻，創作題材為現實和神話中的動物、神獸，而水晶琉璃鑲嵌的眼珠，通透流光，化為凝視的迴環，讓觀者感受其中的神韻靈趣。

Having studied the restoration of traditional Buddhist statues, the works of Yoshimasa TSUCHIYA ( b.1977 ) continue the soul-soothing aura of such statues. He takes real and mythical animals as his subjects, inlaying their eyes with crystal and glass, which transforms them into a cycle of gazes, allowing the viewer to feel their divine charm.

➤ 土屋仁応 Yoshimasa TSUCHIYA_竜_Dragon_Painted camphor wood, crystal_45 x 41 x 17 cm_2025

➤ 土屋仁応 Yoshimasa TSUCHIYA_山羊_Goat_Painted camphor wood, labradorite_59 x 27 x 17 cm_2025

➤ 土屋仁応 Yoshimasa TSUCHIYA_鹿_Deer_Painted camphor wood, crystal_34 x 26 x 10 cm_2025

➤ 土屋仁応 Yoshimasa TSUCHIYA_猫 Cat_Painted camphor wood, borosilicate glass by Fukuo Tanaka_40 x 22 x 30 cm_2025