臺北美術獎 2025

見證臺灣當代藝術發展脈絡，鼓舞新世代揮灑創作能量

Taipei Art Awards 2025 

Witnessing Taiwan’s Contemporary Art and the Creative Pulse of a New Generation

北美館自 1983 年開館以來，承辦了 40 餘年「臺北美術獎」從未間斷。自「台北市美展」一脈相承，不僅是臺灣最具前瞻性與指標性的視覺藝術獎項之一，也持續孕育這片土地上的多元藝術觀點與創作能量。自 2001 年起不以媒材區分類型，而將該獎項定位於「跨界發掘年度新秀」，以鼓勵更具時代精神，能反映當代訊息並帶來省思的藝術創作。

Since its opening in 1983, the Taipei Fine Arts Museum has continuously organized the Taipei Art Awards for over four decades. Evolving from the legacy of the Taipei City Art Exhibition, the Awards have become one of Taiwan’s most forward-looking and influential visual art prizes, continuing to foster diverse artistic perspectives and creative energy in Taiwan. Since 2001, the Awards have no longer been categorized by medium. Instead, they serve as a platform for the cross-disciplinary discovery of emerging artists. This approach encourages artistic practices that embody the spirit of the times—works that respond to contemporary conditions, reflect current realities, and invite critical reflection.

➤ 謝榕蔚 Hsieh Jung-Wei｜軌道，2025，陽光、光固化樹脂、彈性反光布、橡膠球、LED 軌道

首獎《軌道》：邀請觀者參與星體運行軌跡，反思人類於宇宙中的自我定位

Grand Prize: Orbit

Inviting Viewers to Engage with Celestial Trajectories and Reflect on Humanity’s Place in the Cosmos

作品以 1919 年愛丁頓爵士於日全蝕期間觀測星光偏移、驗證愛因斯坦廣義相對論的歷史事件為起點。裝置依據太陽運行的軌跡與角度進行計算，將展場視為接收與反射光線的條件空間。它邀請觀者進入一種實驗狀態，在與環境互動的過程中，重新思考當我們試圖理解宇宙時，也同時在理解我們自身的位置。

Orbit takes its point of departure from the historic 1919 solar eclipse, when Sir Arthur Eddington observed the bending of starlight, providing evidence for Einstein’s theory of general relativity. The installation is precisely calibrated to the sun’s path and angle, treating the exhibition space as a receptive and reflective field for light. It invites viewers into an experimental, open-ended encounter. By observing the shifting light, one can locate oneself and sense their place within the vast, unknowable movements of the universe.

優選作品運用裝置、影像、繪畫與現場展演等多元媒材，解構日常、展露獨特視角

Selected Works Employ Installation, Video, Painting, and Live Performance

Deconstructing the Everyday and Revealing Distinct Perspectives

《意識的推手》試圖梳理數位訊息對思緒的影響。藉由出門散步時不斷變動的局部視角帶動肢體，再隨手描繪尚未成形的念想，成為一種抽象感知與自我理解的途徑。

Before Paint explores the impact of digital messages on human thought. Through constantly shifting partial perspectives while walking outdoors, bodily movement is activated, and fleeting, not-yet-formed ideas are sketched as they arise. The process becomes a path toward abstract perception and self-understanding.

➤ 王冠蓁 Wang Guan-Jhen｜掉筆的寫生，2024，油彩、畫布，163×112 公分

《母親凝視過你》 為一件現場展演作品（Live Exhibition）。作為以表演藝術為創作出發的團隊，明日和合製作所透過與觀者互動呈現作品張力。在成長的過程中，我們帶著母親的凝視越走越遠，而有一天當我們回望，是否也能在那樣的凝視中，看見她老去的生命？

Through the Mother’s Eyes is a live exhibition piece. Rooted in performing arts, the team presents the tension of the work through interaction with the audience. In growing up, we walk ever farther under the mother’s gaze—but one day, when we look back, can we also perceive her aging life through that same gaze?

➤ 明日和合製作所（洪千涵、張剛華）Co-Coism (Hung Chien-Han, Chang Kang-Hua)｜母親凝視過你，2025，現場展演，尺寸依場地而定

童話總是承諾奇蹟與拯救，而 《這裡沒有神仙教母》 則以教母的缺席為核心，揭示聲音如何在制度與技術中被操控，暴露潛藏的權力結構，並達到支配與馴化的目的。使觀者能在發聲與沉默、主體與客體切換中，感受權力運作的現場。

There Is No Fairy Godmother Here centers on the absence of the fairy godmother, revealing how voices are manipulated within systems and technologies and exposing underlying structures of power. The work allows viewers to experience power in action, shifting between voice and silence, subjectivity and objectivity.

➤ 陳彥齊 Chen Yen-Chi｜這裡沒有神仙教母，2025，回聲娃娃、單頻道錄像、超聲波指向性喇叭、監聽喇叭、PLA、錄音檔、紙本、LED 燈、壓克力，尺寸依場地而定

影像來自謝其軒創作過程中的紀錄。這些畫面不強調事件本身，而是捕捉在生活中不斷嘗試、調整與摸索的時刻。藝術家希望作品能讓觀眾感受到創作並非一條線性進程，而更像是一種在路上的狀態。

These videos document Hsieh Chi-Hsun’s creative process. Instead of highlighting specific events, they depict continuous snippets of experimentation, adjustment, and exploration in everyday life. The artist intends for the work to convey that creation is not a linear, ongoing process, but rather a state of being in progress, or “on the way.”

➤ 謝其軒 Hsieh Chi-Hsun｜On My Way，2025，水、合成木、鐵、影像、馬達，尺寸依場地而定

《酷兒解剖學圖譜》 以建立曖昧且流動的解剖系統為目標，挑戰醫學父權與異性戀正常性。出版虛構教科書，對照並批判自 20 世紀中期沿用至今、由白人男性學者 Frank H. Netter 繪製的 《人體解剖學圖譜》，指出其缺乏性別與人種的多元視角。

The Atlas of Queer Anatomy aims to construct an ambiguous and fluid anatomical system that challenges medical patriarchy and heteronormativity. The first step is the publication of a fictional textbook, Atlas of Queer Anatomy, which juxtaposes and critiques the long-standing Atlas of Human Anatomy, drawn by white male scholar Frank H. Netter and used worldwide since the mid-20th century, by highlighting its lack of gender and racial diversity. 

➤ 顧廣毅 Ku Kuang-Yi｜酷兒解剖學圖譜，2025，書、網頁、布料數位輸出、三維列印模型、乳膠、織品、錄像裝置，尺寸依場地而定

評審鼓勵創作者基於真實情感連結，與世界認知經驗對話，展現多元價值

Diverse Approaches to Material, Perception, and Identity

孫培懋的作品靈感多源自藝術家熱愛的視覺美學形式。吸收豐富的當代視覺特效元素，透過以繪畫為核心的創作方式表達，形塑他對「美」的理解與認同。蘇睿豪將創作聚焦於存在混亂的縫隙與畸零角落，探討「淸掃」作為現代社會中象徵性的分類與審判機制。《自我的版圖》 系列作品源於藝術家留學期間在餐廳廚房打工的經驗，思考跨國遷移者在日常中如何透過身體與周遭物質環境的關係來確立自我的界域。《山體切分計畫》探索時間如何形塑物質，並在變化中刻劃痕跡。陳寬睿以金屬葉片作為載體，在氧化與腐蝕中顯現色彩與肌理，使作品處於人造與自然的張力之間。

Sun Pei-Mao draws inspiration from visual forms he deeply loves. Absorbing elements from contemporary visual effects and expressing them primarily through painting, he shapes his understanding and recognition of “beauty.” Su Jui-Hao focuses on the cracks and leftover corners of existence, exploring “cleaning” as a symbolic mechanism of classification and judgment in contemporary society. Shiu Jui-Tsz’s The Territory of Self  series stems from experiences working part-time in a restaurant kitchen while studying abroad. It examines how transitional migrants establish personal boundaries through the interplay between their bodies and the surrounding material environment. Chen Kuang-Jui’s Divide the Mountain Mass explores how time shapes materiality and leaves traces through change. Using metal sheets as a substrate, the work reveals colors and textures through oxidation and corrosion, creating a dynamic tension between human intervention and natural processes.

➤ 孫培懋 Sun Pei-Mao｜文明的落日餘輝，2025，油彩、畫布，116.5×91 公分

「2025 臺北美術獎」於 12 月 12 日（五）於北美館舉行頒獎典禮，10 組作品於 308 件徵件中脫穎而出。評審團主席黃建宏表示：「今年的投稿作品，在創作者養成、創作方法、媒材等都呈現出相當的多樣性。獎項的評審機制僅作為藝術生態的一個對話環節，獲獎結果能夠成為交流與思考的動力，這才是藝術之福。」

The 2025 Taipei Art Awards ceremony was held on Friday, December 12, at the Taipei Fine Arts Museum. Ten works were selected from a total of 308 submissions. Jury Chair Huang Chien-Hung remarked, “This year’s submissions show remarkable diversity in the artists’ development, creative approaches, and choice of media. The Awards’ judging process serves as a forum for dialogue within the art ecosystem. The results of the competition can spark exchange and reflection, and that is the true blessing of art.”

➤ 蘇睿豪 Su Jui-Hao｜闌珊生態圈，2025，工業剩餘物、木棧板、LCD 螢幕、電子板、聲音裝置、影像、行為，尺寸依場地而定

➤ 許芯慈 Shiu Jui-Tsz｜貪吃蛇？，2025，不鏽鋼、玻璃纖維，尺寸依場地而定

➤ 陳寬睿 Chen Kuang-Jui｜離潺，2024，生態裝置，65×65×220 公分