羅曼菲林 Sugar Nocturne — Candy Bird 個展

Name: 羅曼菲林 Sugar Nocturne — Candy Bird 個展
Start: 2025-10-18T10:30:00+08:00
End: 2025-10-18T17:30:00+08:00
Location: 鳳甲美術館 Hong-gah Museum

Schedule

Sat Oct 18 2025 at 10:30 am to 05:30 pm

UTC+08:00

Location

鳳甲美術館 Hong-gah Museum | Taipei, TP

(English below)

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　　羅曼菲林 𝘚𝘶𝘨𝘢𝘳 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦
　　Candy Bird 個展 Solo Exhibition
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開幕：2025.10.18 (六) 15:00
展期：2025.10.18-11.30

鳳甲美術館很榮幸推出藝術家Candy Bird全新個展「羅曼菲林 𝘚𝘶𝘨𝘢𝘳 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦」。本次展出包含一系列空間裝置作品，圍繞近期Candy Bird的創作核心：探問華人的遷徙與離散，如何與當代政治結構交織。在「羅曼菲林」中，Candy Bird 將中國內戰後來台的華人移民軌跡，置於東亞持續延宕的冷戰遺緒與新浮現的地緣政治衝突中。透過營造介於日常與寓言之間的氛圍，召喚觀眾的感官經驗，凝視台灣的後威權社會內在，同時也映照著當代民主的脆弱性。
本館於2018年首次和藝術家Candy Bird合作，在街區藝術計畫「Video On The Phone」當中，以網路直播的方式，邀請Candy Bird以說書人的角色，帶領一段從鳳甲美術館出發步行至空場藝術聚落（當時位於北投路一段）的旅程，途中結合Candy Bird擅長的塗鴉繪畫，以融合街區地景的即興創作搭配敘事演說，該次合作拓展了Candy Bird的創作手法，藝術家進而開始思考創作過程中的表演性，以及議題表現上不同於地景塗鴉、更為多元的敘事方法。2022年本館進而在聯展「你到哪了呢？一個距離的想像」當中，再次邀請Candy Bird從移動、行旅的經驗出發，思考關於距離的詩性表現，該展當中Candy Bird展出強調光影變化的影像裝置與平面繪畫，並於戶外舉辦了一場「此時此刻 The Moment」的口述表演，將散落的日期和新聞事件，串成一段日常與異常交織的故事，提供觀眾投射都會生活共感的可能。
近年來Candy Bird的創作轉型逐漸明確，以往直接回應社會議題的街頭塗鴉已淡出檯面，但藝術家對社會矛盾的敏感和關懷並未減弱，反而是花更多時間精力去探究與分析，對外他將台灣特有的省籍矛盾置放於東亞新冷戰的格局中；對內他回望自身家庭背景，探討意識形態衝突以及民主政治的脆弱性，如何以忽隱忽現又如影隨形的方式影響著他的日常生活，這種雙向的凝視，使個人經驗成為解析歷史遺緒的感官入口，與台灣的政治、歷史、社會主流敘事形成另一種對照。在形式語言上，其手法也與不同表演者合作，例如透過舞者或演員來傳達更為強烈的情緒，在影像編輯上冷冽的都會感和意識流的敘事也慢慢樹立出個人風格。
本次展覽中，他藉由數個流動影像與仿古家具的陳設，配合鳳甲美術館狹長的廊道與鄰近機房的展場結構，營造日常與寓言之間的張力氛圍。帶有居家符號的房間、碎片般的壁紙花紋、木質調的衣帽架、皮沙發與椅凳，促使觀眾感受敘事聚焦在一段凝結的時空，而刻意用簡體中文呈現的文本、故事中男女主角的對話，都指涉了一種難以回返的複雜狀態。期待觀眾透過各種投射或想像，以展覽明狀當今宏大的歷史或政治敘事之下，被忽略的日常經驗與感受。

𝘚𝘶𝘨𝘢𝘳 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦
Candy Bird Solo Exhibition

Opening: 15:00. 18th Oct. 2025
Date: 18th Oct. to 30th Nov. 2025

Hong-Gah Museum is honored to present Candy Bird’s new solo exhibition, 𝘚𝘶𝘨𝘢𝘳 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦. The exhibition features a series of spatial installations that center on the artist’s recent explorations: an inquiry into how migration and memory intersect with contemporary structures of politics. In 𝘚𝘶𝘨𝘢𝘳 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦, Candy Bird situates the trajectories of Chinese migrants who came to Taiwan after the Chinese Civil War within East Asia’s enduring Cold War legacies and its newly emerging geopolitics. Through atmospheres that hover between the everyday and the allegorical, he engages the audience’s senses, reflecting on the fragility of contemporary democracy while also confronting the inner tensions of Taiwan’s post-authoritarian society.
The museum first collaborated with Candy Bird in 2018 on the community art project Video On The Phone. In this project, the artist played the role of storyteller, walking from Hong-Gah Museum to Polymer Art Studio while weaving graffiti interventions into the urban landscape with live narration. This marked a shift in his practice from site-specific graffiti toward performative storytelling and narrative installation, aligning his work with broader artistic conversations about how art mediates between urban experience and memory. In 2022, he participated in the group exhibition Where Are You Now? Imagining Distance, presenting video works and paintings that explored the poetics of light and shadow, alongside an outdoor performance The Moment, which intertwined scattered news fragments and daily events into a story of urban resonance.
In recent years, Candy Bird has moved away from direct street graffiti but deepened his reflection on social contradictions. He situates the lingering ethnic and identity divisions between post–Chinese Civil War mainland migrants and local Taiwanese within East Asia’s enduring Cold War legacies. These tensions are further framed against the region’s emerging geopolitical divides. At the same time, he revisits his own family background to probe ideological conflicts and the fragility of Taiwan’s democratic experiment in daily life. This dual lens transforms personal experience into a gateway for examining historical residues, offering an alternative counterpoint to dominant political and historical narratives. Formally, Candy Bird frequently collaborates with dancers and actors, using embodied performance to convey heightened emotion. His video editing juxtaposes the cool detachment of the urban environment with stream-of-consciousness narration, gradually shaping a distinctive aesthetic idiom.
In 𝘚𝘶𝘨𝘢𝘳 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦, he combines moving images with furniture arrangements, constructing an atmosphere of tension between the everyday and the allegorical, where intimacy intersects with estrangement. The exhibition is composed of multiple moving-image works and spatial installations, staged in dialogue with the museum’s elongated corridors and adjacent projection rooms. Domestic motifs—a fragmentary wallpaper pattern, a wooden coat stand, leather sofas and stools—concentrate the narrative within a suspended temporality, evoking both familiarity and unease. The use of Simplified Chinese texts, together with dialogues between male and female characters, underscores disjunctions of identity and belonging, pointing toward a complex, irretrievable state. The exhibition invites audiences to project and imagine, bringing into focus the overlooked textures of daily experience and affect that lie beneath sweeping historical and political narratives.