➤ 卓永俊，《愛你潔淨雙腳的週四》，2023，首爾Atelier Hermès展覽現場。圖像由藝術家提供。攝影｜Sangtae Kim, Fondation d’entreprise Hermès。
2025年第14屆台北雙年展發佈亮點及開幕活動，探索集體思慕與共同未來
2025年9月17日，台北——2025年第14屆台北雙年展「地平線上的低吟」，11月1日即將於臺北市立美術館（北美館）開幕。展覽由柏林漢堡車站國家當代藝術美術館（Hamburger Bahnhof - National Gallery of Contemporary Art）雙館長山姆．巴塔維爾與提爾．法爾拉特（Sam Bardaouil and Till Fellrath）共同策劃，彙集來自全球35個城市、52位藝術家的作品，其中包含33件全新委託創作與現地製作。
17 September 2025 – Taipei: The 14th edition of the Taipei Biennial, Whispers on the Horizon, is set to open to on November 1 at the Taipei Fine Arts Museum (TFAM). Curated by Sam Bardaouil and Till Fellrath, directors of Hamburger Bahnhof—National Gallery of Contemporary Art in Berlin, the exhibition brings together 52 artists from 35 cities worldwide, featuring 33 newly commissioned works and site-specific installations.
➤ 雅浸・金朝恩，《微創：侵碎之章》，2025。圖像由藝術家及 François Ghebaly Gallery 提供。
展覽以臺灣層疊錯綜的歷史為背景，鋪陳出對「思慕」的探討——並非訴諸懷舊之情，而是指向現實與想望之間的張力。同時，它跨越國界和文化產生共鳴，既體現深植於人性的慾望，也提供解讀當下處境的一種視角。而在今日，思慕更展現出新的迫切性：在現實可能隨時被抹除或遺忘的危機之中，它成為爭取正義、認同和歸屬的集體追求。這種緊迫感縈繞於三個啟發本屆雙年展的物件中：侯孝賢《戲夢人生》（1993）中的尪仔；陳映真《我的弟弟康雄》（1960）中的日記；以及吳明益《單車失竊記》（2015）中的單車。每個物件都承載著失落與渴望，提醒我們思慕並非抽象無形，而是切身體驗。
The exhibition explores the notion of yearning—not as nostalgia, but as a vital tension between the real and the desired. Rooted in Taiwan’s layered histories yet resonating across borders and cultures, this longing manifests as both a profoundly human impulse and a lens through which to interpret our present. Yet today, yearning takes on a new urgency: it becomes a collective pursuit for justice, recognition, and belonging in the face of erasure. This sense of urgency echoes through three artifacts that inspired the biennial: the puppet from Hou Hsiao-Hsien’s film The Puppetmaster (1993), the diary from Chen Yingzhen’s short story My Little Brother Kangxiong (1960), and the bicycle from Wu Ming-Yi’s novel The Stolen Bicycle (2015). Each object embodies both loss and desire, reminding us that yearning is lived—not abstract.
➤ 托比亞斯・茲耶羅尼，《閃耀》，2017。噴墨印刷，84 x 56 公分，共 6 版+ 2 AP版。圖像由藝術家及 KOW Berlin 提供。
「地平線上的低吟」彙集以截然不同方式體現思慕的作品，包括影像、表演、雕塑和沉浸式場景。這些作品構築記憶、脆弱與創造的共鳴場域——每件作品都宛如地平線上的一縷低吟，敦促我們以嶄新的方式傾聽，立足於未竟之境。本屆雙年展邀請觀眾走入「介於之間」的空間——由藝術家創作交織而成、充滿探索與可能性的領域。
Whispers on the Horizon gathers works that embody yearning in strikingly different ways, from film and performance to sculpture and immersive environments. These works create a shared terrain of memory, fragility, and invention—each a whisper on the horizon, urging us to listen differently and to stand amid the unfinished. Through new commissions and encounters, the Taipei Biennial invites visitors into this in-between space—a realm of discovery and possibility.
➤ 寇拉克里・阿讓諾度才，《愛在死亡之後》（錄像截圖），2025。圖像由藝術家提供。
本屆雙年展的亮點作品包括以下全新委託創作，以及沉浸或參與式之現地製作：
寇拉克裡・阿讓諾度才（Korakrit Arunanondchai，生於1986年，現居曼谷和紐約）的 《愛在死亡之後》將回憶與神話融合成幽靈般的儀式：據聞能傳達逝者意念的靈體和猴子在透明投影幕上閃爍現形，探問悲痛如何將灰燼化鍊為黃金。
Highlights of the 14th Taipei Biennial include the following newly commissioned works:
Korakrit Arunanondchai’s (b. 1986, lives and works in Bangkok and New York) Love after Death merges recollections and myth into a ghostly ritual: on a transparent projection, spirits and monkeys said to channel the dead flicker into view, asking how grief can turn ash into gold.
➤ 邱子晏，《偽飛行場》（錄像截圖），2025。圖像由藝術家提供。
歐馬爾・米斯馬爾（Omar Mismar，生於1986年，現居貝魯特）的 《我的雙眼仍在流淚》 展示一束宏偉的人工花卉，靈感來自 《巴勒斯坦之花》（1870）。這些完美但無香的花朵，反映巴勒斯坦作為生機之地，卻逐漸化為凋零的記憶。
Omar Mismar’s (b. 1986, lives and works in Beirut) Still My Eyes Water presents a monumental bouquet of artificial flowers inspired by Flowers of Palestine (1870). Perfect yet scentless, they reflect on Palestine as both a land of life and a fading memory.
邱子晏（生於1985年，現居苗栗及雲林）在 《偽飛行場》 中重建一個殖民時期的誘敵機場，結合手工製作的零式戰鬥機和錄像敘事，他揭示歷史的虛構本質，並探索臺灣身份認同與自身客家文化的傳承。
Zih-Yan Ciou (b. 1985, lives and works in Miaoli and Yunlin) reconstructs a colonial decoy airfield in Fake Airfield, with a handmade Zero fighter and fictional film, exposing history as invention and exploring Taiwanese identity and his own Hakka heritage.
➤ 阿瓦羅・烏爾巴諾，《活畫》（裝置一隅），2024-25，紐約 Sculpture Center展覽現場。圖像由藝術家及紐約SculptureCenter，ChertLüdde （柏林），Travesia Cuatro（馬德里、墨西哥城、瓜達拉哈拉）提供。攝影｜Charles Benton。
阿瓦羅・烏爾巴諾（Álvaro Urbano，生於1983年，現居柏林及巴黎）的 《活畫（失竊的太陽）》 呈現一個無聲劇場，物件在變幻的光影中如同幽靈般浮現，與北美館的館藏作品交織，模糊美術館與舞臺、歷史與角色扮演之間的界限。
The exhibition also features the following immersive and participatory site-specific installations: Álvaro Urbano’s (b. 1983, lives and works in Berlin and Paris) TABLEAU VIVANT (A Stolen Sun) is a silent theater where objects glow like apparitions under shifting light, intertwined with works from the TFAM collection, blurring museum and stage, history and role-play.
➤ 法特瑪・阿布杜哈迪，《留下的⋯⋯盡可能長存》，2025。絹印於透明網布、不鏽鋼懸吊結構、九層塔植栽，共18幅，每幅 400 x 90 公分。圖像由藝術家提供。
法特瑪·阿布杜哈迪（Fatma Abdulhadi，生於1988年，現居利雅德）的作品 《留下的……盡可能長存》 中，以九層塔植栽與絹印網布構築芬芳花園，保存那些逐漸消逝的關懷與追憶儀式，讓氣味與寂靜化為歸屬的容器。
Fatma Abdulhadi (b. 1988, lives and works in Riyadh) builds a fragrant garden of basil and printed mesh in What Remains... Stay as Long as You Can, preserving fading rituals of care and reminiscence where scent and silence become vessels of belonging.
加埃爾・肖瓦內（Gaëlle Choisne，生於1985年，現居富熱爾及巴黎）的《幸運餅乾》是由數千個手工捏製的陶土幸運餅乾組成的裝置作品。每個餅乾內都藏有一顆種子或一個秘密，引人聯想起隱而未見的勞動，以及被錯置的文化歷史。
Gaëlle Choisne’s (b. 1985, lives and works in Fougères and Paris) Fortune Cookies is an installation of thousands of handmade clay fortune cookies, each containing a seed or secret, evoking hidden labor and misattributed cultural histories.
➤ 赫拉・比于塔詹，《摧毀你家，造一艘船，拯救生命》，2015。地毯印刷，尺寸依空間而定。圖像由藝術家及Green Art Gallery Dubai and EVA International – Ireland’s Biennial 提供。攝影｜Miriam O’Connor。
山姆． 巴塔維爾與提爾．法爾拉特表示：「如今最令我們觸動的是，思慕已不僅是個體的表達，而是某種深刻的集體經驗。無論我們望向何處，皆充滿渴望：在面臨假訊息時尋求真相，在破碎的社群中尋找歸屬，以及在分歧的時代渴求連結。雙年展中的創作並不會化解這些張力，反而是使它具象化。這正是本屆雙年展的承諾：讓思慕不再是抽象或歷史的產物，而是鮮活、迫切且當代共享的體驗。」
Sam Bardaouil and Till Fellrath said, “what strikes us today is how yearning is no longer only an individual expression but something profoundly collective. Everywhere we look, there is a longing for clarity in the face of disinformation, for belonging in fractured communities, for connection in a time of divisiveness. The works in the Biennial don’t resolve these tensions—rather, they seek to make them tangible. That is the promise of this Biennial: to experience yearning not as something abstract or historical, but as something alive, urgent, and shared in the present.”
➤ 基里亞科斯・托波利迪斯，《書寫日記》，2024。壓克力顏料、油彩、照片轉印於畫布，150 x 170 公分（含框153.3 x 173.3 x 4 公分）。圖像由藝術家及Galerie Judin, Berlin提供。攝影｜Trevor Good。
2025年11月1日至2日的開幕週末期間，雙年展除呈獻雅各波・貝納西（Jacopo Benassi）的音樂表演外，亦將舉辦為期兩日的論壇，共計六場座談，深入探討思慕、歸屬、失調、歷史、觀點與合作等主題，邀集近30位傑出參展藝術家以及思想家齊聚對話，包括作家吳明益、多媒體與裝置藝術家莫娜・哈透姆（Mona Hatoum），以及多領域藝術家和雕塑家伊凡娜・巴希奇（Ivana Bašić）、錄像創作者吳家昀等。這些座談從展覽主題出發，激發與會者進一步討論與交流藝術如何深入探問、挑戰既有假設並開啟新可能。
On the opening weekend, November 1 and 2, 2025, in addition to Jacopo Benassi’s live performance, the Biennial will host a two-day forum of 6 panels, delving deeper into themes of yearning, belonging, dissonance, history, seeing and collaboration. The event will feature conversations and contributions from nearly 30 acclaimed artists and thinkers, including Taiwanese writer and scholar Wu Ming-Yi, multimedia and installation artist Mona Hatoum, multidisciplinary artist and sculptor Ivana Bašić, and filmmaker Wu Chia-Yun, among other distinguished participants. Building on the exhibition’s presentation, these sessions spark discussions and exchanges on art’s ability to probe deeply, challenge assumptions, and open new possibilities.
本屆台北雙年展獲得眾多企業夥伴與單位的積極參與及資源挹注，對於展覽的實現至關重要。中國信託文教基金會長期支持臺灣藝術的發展，已連續三屆擔任台北雙年展的主力贊助。基金會董事長馮寄台表示：「台北雙年展是全球當代藝術的指標性平台，更是臺灣與國際當代藝術家同台展現創造力的場域。我們期盼透過各界量能的注入，提升臺灣國際文化交流的軟實力，並與大眾共享當代藝術的多元內涵與價值。」同時，亦特別感謝日本國立藝術研究中心（National Center for Art Research, Japan）支持日本參展藝術家、洪建全基金會支持臺灣藝術家作品製作，以及璞園建築團隊贊助展場製作。
This year’s Taipei Biennial has been made possible through the generous contributions of numerous corporate partners and organizations, whose support has been instrumental in bringing the exhibition to fruition. CTBC Foundation for Arts and Culture has served as the lead sponsor of Taipei Biennial for three consecutive editions. Feng Chi-Tai, chairman of the CTBC Foundation for Arts and Culture, states: “Taipei Biennial is an iconic platform within the global contemporary art scene, creating an environment where Taiwanese contemporary artists thrive alongside their international peers. We hope that by bringing in resources from all fields, we can strengthen Taiwan's role in global cultural exchange and introduce the public to the diverse meanings and values of contemporary art.” Acknowledgment is also extended to the National Center for Art Research, Japan for supporting Japanese artists, the Hong Foundation for supporting Taiwanese artists, and Pauian Archiland for their contribution to exhibition space production.
➤ 拉納・貝古姆，《No.1048 L 網格》（局部），2020，Kate MacGarry Gallery 展覽現場。圖像由藝術家提供。攝影｜Angus Mill。