2026年是第61屆「威尼斯國際藝術雙年展 La Biennale d’arte di Venezia 」每兩年一度國際當代藝術界公認最具份量的展覽舞台，然而，它從不只是一場純粹的藝術盛宴。國際關係、政治角力、資本介入和身份認同之間的拉扯，早已是這個百年展覽無法迴避的狀態。而這一屆，從籌備階段就注定不平靜。
2026 marks the 61st edition of La Biennale d’arte di Venezia — the Venice International Art Biennale — widely regarded as the most significant stage in contemporary art, returning every two years to place the world’s creative pulse under a single roof. Yet it has never been simply about art. International relations, political tensions, the weight of capital, and the ongoing negotiation of identity have long been woven into the fabric of this century-old institution. And this edition, from the very first steps of its preparation, was never going to be quiet.
▍一場策展人離世所留下的遺願展覽An Exhibition Built on the Vision of a Curator Who Never Saw It Open
本屆總策展人為來自喀麥隆的策展人 Koyo Kouoh，她以「小調 In Minor Keys」作為本屆主題，試圖以一種更幽微、更貼近人體感官與個體記憶的視角，重新叩問當代藝術在這個動盪世界中的存在意義。然而，Kouoh 於 2025 年 5 月因癌症驟逝，在她還來不及親眼目睹展覽開幕的情況下，這場展覽由她親自召集的五人策展顧問團隊接手完成，忠實呈現她生前所擘畫的完整藍圖。
在某種意義上，「小調」這個主題，在她離開之後，更多了一層更難以言說的重量。
Koyo Kouoh, the Cameroonian curator behind this edition’s theme In Minor Keys, envisioned an exhibition attuned to the sensory, the intimate, and the personal — a quieter register against a turbulent world. She passed away from cancer in May 2025, before the exhibition opened. A team of five curatorial advisers carried her vision forward. In a way, In Minor Keys carries an entirely different weight now that she is gone.
Traditionally, the Venice Biennale awards two Golden Lions — one for the best national pavilion and one for the best artist in the central exhibition — along with the Silver Lion and a Lifetime Achievement award, recognized as some of the highest honors in contemporary art and it is usually announced before the public opening.
In 2026, however, the fate of the Golden Lion was sealed before the Biennale even opened. The jury announced it would exclude countries whose leaders faced charges at the International Criminal Court — namely Israel and Russia. The Biennale’s organizers refused to accept this. On April 30, the jury collectively resigned.
▍金獅讓位，「 觀眾票選獅 」登場——藝術界的民主實驗還是政治妥協？Enter the “Visitor Lion” — Democratic Experiment or Political Compromise?
After the jury’s resignation, organizers scrapped the Golden and Silver Lions entirely, replacing them with Visitor Lions— open to any ticket holder who visited both Giardini and Arsenale. Results will be announced at the closing on November 22. Israel and Russia were reinstated as eligible participants.
The backlash was immediate: 81 artists from the central exhibition and representatives from 16 national pavilions withdrew from the competition in solidarity with the resigned jury. As art historian Antonia Majaca wrote on e-flux: “The result: a mass vote in which no one bears responsibility for the outcome.”
Controversy has always been part of art. When an exhibition can simultaneously ignite debates about politics, ethics, aesthetics, and public opinion, it has already accomplished something essential — it has made silence impossible. To walk through the Giardini and the Arsenale today is not only to see works on walls. It is to witness something happening in real time.
台北市中正高中舞蹈班再度受邀挑戰國際舞台，參與2025佛羅倫斯舞蹈藝術節展現臺灣青春優雅魅力 La classe di danza del Liceo Zhong-zheng di Taipei è stata nuovamente invitata a sfidare il palcoscenico internazionale, partecipando al Florence Dance Festival 2025 per mostrare l’eleganza e la giovinezza di Taiwan.
撰文者/photo credit：Gogo.W
臺北市立中正高中舞蹈班連續受邀，挑戰國際舞台，今年再度亮相義大利佛羅倫斯舞蹈藝術節（Florence Dance Festival, FDF），以動人肢體語彙綻放臺灣學生的青春光芒與優美身段，受歐洲觀眾熱烈掌聲肯定。 La classe di danza del Liceo Municipale Zhongzheng di Taipei è stata invitata ancora una volta a sfidare il palcoscenico internazionale, partecipando quest’anno al Florence Dance Festival (FDF) in Italia, esprimendo con gesti vibranti e raffinati tutta la luce e la bellezza della gioventù taiwanese, ottenendo calorosi consensi dal pubblico europeo.
成立超過35年的佛羅倫斯舞蹈藝術節，是義大利最具盛名且歷史悠久的現代舞盛事。由創始人與前國際知名舞者 Keith Ferrone與Marga Nativo 共同創辦，主要演出場域選在佛羅倫斯地標之一的「 Basilica di Santa Maria Novella新聖母大殿」進行。該藝術節融合古典與當代舞蹈，致力打破藝術與大眾之間的隔閡，推動多元舞蹈表現與國際間深度交流。 Fondato oltre 35 anni fa, il Florence Dance Festival è uno degli eventi di danza moderna più prestigiosi e longevi d’Italia. Creato dai curatori e rinomati ballerini signore Keith Ferrone e signora Marga Nativo, lo spettacolo si svolge nella storica Basilica di Santa Maria Novella, uno dei simboli di Firenze. Il festival coniuga danza classica e contemporanea, con l’obiettivo di abbattere il muro tra arte e pubblico, promuovendo espressioni artistiche diversificate e un intenso scambio internazionale.
中正高中作為臺灣少數設有正式舞蹈班的中學，近年來在校長江惠真帶領下，積極推動校園藝術國際化，鼓勵學生勇敢走向世界舞台。此次師生一行不僅參與FDF的舞蹈演出，也深入參加大師班與舞蹈交流工作坊，透過浸潤式的訓練與學習，跨越年齡與文化，將內心情感巧妙轉譯為動人肢體語言。 Il Liceo Zhongzheng, una delle poche scuole superiori di Taiwan dotate di un corso formalizzato di danza, negli ultimi anni si è impegnato a internazionalizzare l’arte scolastica sotto la guida della preside Jiang Huizhen, che incoraggia gli studenti a confrontarsi con il mondo. In quest’occasione, insegnanti e studenti non solo hanno preso parte alle esibizioni e ai laboratori del FDF, ma hanno vissuto un’esperienza immersiva di formazione, superando le barriere generazionali e culturali, traducendo emozioni interiori in potenti linguaggi corporei.
2025年夏季，適逢江校長任期即將結束，帶領舞蹈班同學出訪歐洲，同時也帶領美術班學生赴佛羅倫斯美術學院進行跨領域學習與文化交流。江校長表示：「我們的學生是臺灣的代表隊，這趟旅程是搭建中西文化交流橋樑的珍貴窗口。」 Nell’estate 2025, con il termine del mandato della preside Jiang, lei ha guidato la delegazione non solo degli studenti di danza ma anche quelli del corso di arti visive verso l’Accademia di Belle Arti di Firenze per uno scambio culturale interdisciplinare. La preside ha dichiarato: «I nostri ragazzi sono la squadra rappresentativa di Taiwan, e questo viaggio è un prezioso ponte per lo scambio tra culture orientali e occidentali.»
舞者劉育榕分享，芭蕾大師班由國際著名舞者Marga Nativo親授，「老師除了強調動作細節與精準度，更注重我們如何表達情感以及感受音樂所帶來的動作張力。」現代舞課程則由當代編舞家Angelo Egarese指導，引領學生探索肢體的多樣質感與律動，激發個人獨特舞蹈語言，並與國際舞團共創舞作，迸發創新火花。 La studentessa Liu Yurong ha condiviso la sua esperienza: «Durante la lezione di balletto tenuta dalla celebre Marga Nativo, l’insegnante non si concentra solo sui dettagli e la precisione dei movimenti, ma anche su come esprimere emozioni e sentire la tensione del movimento in sintonia con la musica.» Nel corso contemporaneo, diretto dal coreografo Angelo Egarese, gli studenti hanno esplorato diverse qualità del movimento, sviluppando un proprio linguaggio artistico e collaborando con compagnie internazionali per creare nuove coreografie, accendendo scintille di creatività.
“親人在遠方，我們彼此思念牽掛，但知曉各自安好”
Al sorgere dell’alba, arrotola le tende ghiacciate. Scalda le mani e si prova il trucco nello stile del fiore di prugno. Prova malinconia perché il suo amante non è più lì. Si disegna le sopracciglia lunghe, come catene montuose.
《遠山 Montagne lontane》
當晚，中正高中舞蹈班同學以《遠山》這齣舞作壓軸演出由韋紫翎編舞，遠山含笑、春水綠映的寫意情境，透過舞者們好似自然山形的身段動作與舞蹈語彙表現出 “親人在遠方，我們彼此思念牽掛，但知曉各自安好”的文學意境。 Quella sera, gli studenti della classe di danza del Liceo Zhong-zheng hanno chiuso lo spettacolo con la coreografia 《Montagne Lontane》, creata dalla coreografa Wei Ziling. L’atmosfera pittorica, con montagne che sorridono e acque primaverili verdeggianti, viene resa attraverso movimenti e posture dei danzatori che ricordano la sagoma naturale delle montagne. L’opera esprime il sentimento letterario di “avere cari lontani, sentirsi vicini nel pensiero e nell’affetto, pur sapendo che ognuno sta bene nel proprio luogo.”
photo credit: Gogo.W
李佳育同學分享，「我們運用舞蹈動作與飄扇來表達對彼此的思念，穿著一套綠色系的衣服來表達青山綠水。」整體服裝的設計傳達出一種「靜謐而生動」的動態美，藉由絲織材質的選擇帶出湖面波光般輕盈飄逸的律動感，配合飄扇靈動的特質，猶如思念之意隨風吹過遠山樹梢，從視覺與聽覺中時刻傳達含蓄內斂的思念情意。 La studentessa Li Jiayu ha condiviso: “ Abbiamo utilizzato movimenti di danza e ventagli leggeri per esprimere il nostro affetto e la nostalgia reciproca, indossando abiti nei toni del verde per rappresentare le montagne verdi e le acque cristalline.” Il design complessivo dei costumi trasmette una bellezza dinamica, «tranquilla ma vivace». La scelta di tessuti di seta evoca la leggerezza e la fluidità delle increspature sulla superficie del lago. Insieme alla delicatezza e al movimento dei ventagli, si crea l’effetto di un sentimento di nostalgia che si diffonde dolcemente come il vento che accarezza le cime degli alberi lontani, comunicando con discrezione e profondità questa emozione sia visivamente che nell’atmosfera sonora.
事隔三年與佛羅倫斯的情誼，是對該校舞蹈教育及學生努力最好的肯定。藝術是一種跨越語言與文化的力量，期盼透過舞蹈與藝術，將臺灣青年的活力和創意帶到國際舞台，與世界分享屬於臺灣學子的故事。 Il viaggio a Firenze di quest’anno è il frutto di un rapporto profondo e duraturo tra il Liceo Zhong-zheng e il panorama internazionale della danza, nonché un riconoscimento del duro lavoro e della qualità dell’insegnamento della scuola. L’arte supera tutte le barriere linguistiche e culturali: il Liceo Zhong-zheng aspira a portare l’energia e la creatività dei giovani taiwanesi sul palcoscenico mondiale, condividendo con il mondo le emozionanti storie degli studenti di Taiwan.
La squadra del Liceo Zhong-zheng con i fondatori del Florence Dance Festival e lo staff. photo credit: Gogo.W
布雷拉美術館 Pinacoteca di Brera 是義大利最重要的古代和現代美術館之一，位於米蘭的 Palazzo di Brera 內的二樓，一樓為米蘭布雷拉美術學院Accademia di Belle d’Arte。美術館由拿破崙於 1809 年創立，展出 13 世紀至 20 世紀的傑作，包括拉斐爾、卡拉瓦喬、曼特尼亞和海耶茲的作品
Museo del Cenacolo Vinciano 位於米蘭的 Santa Maria delle Grazie 修道院內，專門展示達芬奇於 1494 年至 1498 年間創作的經典壁畫《最後的晚餐》以及 Donato Montorfano 的受難圖。⚠️ 特別注意：需要提前一個月～兩週瘋狂刷票！
巴傑羅美術館Museo Nazionale del Bargello 又名巴傑羅宮、人民宮，曾經用作軍營和監獄，是義大利最重要的雕塑博物館之一。館內收藏有米開朗基羅的不少作品，例如《巴卡斯》、《聖母和聖嬰》。還有多那太羅（Donatello）的大衛像和聖喬治像，詹波隆那（Giambologna）的《L’Architettura和Mercurio》等。
萬神殿，又譯萬神殿、潘提翁神殿，是一座古羅馬時期的宗教建築，後改建為教堂。公元609年，東羅馬帝國皇帝將萬神殿獻給教宗波尼法爵四世，後者將它更名為聖母與諸殉道者教堂（Santa Maria ad Martyres），這也是今天萬神殿的正式名稱。由於其完美的古典幾何比例，萬神殿被米開朗基羅譽為「天使的設計」。
國立伊特魯斯坎博物館 Museo Nazionale Etrusco di Villa Giulia 位於羅馬的維拉朱利亞，專門展示伊特魯斯坎和法利斯坎文明的文物。博物館收藏了許多重要的藝術品，包括著名的《新婚夫婦石棺》（Sarcofago degli Sposi）和皮爾基金字塔金板，這些都是前羅馬義大利最古老的銘文之一。
拿坡里國立考古博物館 Museo Archeologico Nazionale di Napoli 是世界上最重要和最獨特的考古博物館之一，收藏豐富，包括法爾內塞收藏的雕塑、維蘇威火山附近（特別是龐貝、赫庫蘭尼姆和斯塔比亞）的發現以及埃及收藏。博物館每年吸引數十萬遊客，展出約18,000件文物，包括壁畫、伊西斯神廟、馬賽克、日常生活用品、龐貝模型、法爾內塞收藏的雕塑和寶石、秘密室藏品、錢幣、銘文以及其他考古收藏。
那不勒斯王宮 Palazzo Reale di Napoli 位於歷史悠久的普雷比西托廣場，最初於1600年為西班牙國王菲利普三世建造，後來成為重要的王室居所。宮殿內部擁有華麗的皇家公寓、博物館和國家圖書館，並展示了大量的藝術品和歷史文物。該宮殿於1919年轉變為博物館，並經過多次修復，最近的修復工程於2019年完成。
聖埃爾莫城堡Castello Sant’Elmo 位於那不勒斯的沃梅羅山頂，擁有俯瞰那不勒斯灣的絕佳景觀。城堡於2010年改建為二十世紀博物館Museo del Novecento a Napoli，展示了1910年至1980年間那不勒斯藝術界的重要作品，包括從十九世紀風景畫傳統到未來主義、1930年代的「回歸秩序」以及二十世紀後半葉的多種藝術體驗。
杜卡・迪・馬爾蒂納陶瓷博物館 Museo della Ceramica Duca di Martina in Villa Floridiana 成立於1931年，博物館內展示了超過六千件來自12世紀至19世紀的西方和東方陶瓷藝術品。館內主要收藏由杜卡・迪・馬爾蒂納 Placido de Sangro 於19世紀後半期建立，並於1911年捐贈給那不勒斯市。
杜林國家電影博物館 Museo Nazionale del Cinema Torino 位於著名的摩爾安東內利亞（Mole Antonelliana）內，是世界上最重要的電影博物館之一。博物館自2000年對外開放，博物館內展示了超過180萬件與電影相關的物品，包括影片、照片、器材和海報，並以互動方式呈現電影的歷史和技術演變，是杜林一個重要的地標。
蒙特烏達波羅馬考古遺址 Area archeologica della città romana di Industria 位於杜林大都會區的蒙特烏達波鎮，是一處重要的羅馬時期考古遺址。這裡曾是一座繁榮的商業城市和金屬加工中心，其獨特之處在於保存有供奉伊西斯女神和塞拉比斯神的神廟。考古遺址包括神聖區域、祭壇、祭司住房等建築，以及周圍的住宅和工坊。
女王別墅 Villa della Regina 是薩沃伊家族的夏季別墅，建於17世紀，並於1997年被列入聯合國教科文組織世界遺產名錄。該別墅擁有壯觀的義式花園和葡萄園，展示了當時的貴族生活方式，並提供了壯麗的城市景觀。
以上主要以義大利幾個重要城市的推薦美術館、博物館的介紹，義大利文化部所推動的活動「星期天的博物館」（Domenica al Museo）活動旨在促進公眾對文化遺產的認識和欣賞，並鼓勵民眾（遊客）積極參觀國家博物館、考古公園和文化遺址。透過每月的第一個星期日免費入場的策略，讓活動吸引更多的遊客和當地居民參與文化活動，培養對歷史和藝術的熱愛。這項計畫自2014年啟動以來，旨在提高意大利豐富的文化資源的可及性，並促進文化教育和交流。
每年雙年展的頒獎典禮更是每位藝術人最關注的盛事，獎項從金獅獎 Golden Lion（最佳國家館/最佳藝術家獎）、銀獅獎 Silver Lion（最有前途的年輕創作者）、特別國家評審獎 Special Mention of National、特別評審獎 Special Mention 以及終身成就金獅獎 Lifetime Achievement。
Can “Socially Engaged Art” effectively bridge the gap between “art/society” and “NFT/crypto art”?
撰文者/photo credit：Gogo.W
近年來，以社會參與（Social Engagement）為核心的藝術實踐計畫，越來越常在世界各地發現它們的蹤跡，藝術創作者們以多樣化的身份跨界投入，作為探討「社會議題」與研究「當代藝術變遷」的媒介，進一步誘發公眾的「價值思維」讓大家思考藝術計畫的動機與目的，認同並主動成為「社會參與藝術」（Socially-Engaged Art）的一份子，讓非藝術的社會行為變成創作的一種形式。 In recent years, art practices centered on Social Engagement have become more and more commonplace around the world. Art creators have crossed borders in a variety of capacities to explore “social issues” and study “contemporary art changes,” further inducing the public’s “value mindset” to think about the motivation and purpose of art projects and to recognize and take the initiative to become a part of Socially Engaged Art so that non-artistic social behaviors can be turned into forms of creativity.
線上與線下「參與者」間的共通性 Commonalities between online and offline ‘participants’
社會參與藝術的兩大核心概念：「社區/社群」（Community）與「公眾/公共」（Public）。其中一部份以去除藝術家身份為主體的概念，強調以存在于相同空間、分享著相似的信念與觀點的特質，匯集這樣一群人在一起成為「藝術參與者」，共同為某一個具體的目標投入時間與心力為達成預想內的成果。 There are two core concepts of participatory art: “Community” and “Public”. One of these concepts is based on the removal of the artist’s identity, emphasizing the qualities of existing in the same space, sharing similar beliefs and perspectives, and bringing together a group of people to become “art participants”, who jointly invest their time and effort in a specific goal to achieve a desired result.
在這樣的背景之下，可以直接聯想到區塊鏈所倡議的「社群共識」(community consensus)，系統性建立了關於參與者的交易軌跡，當符合多數人的共識後，才得以延續物件的交易紀錄。其中加密貨幣（cryptocurrencies）去中心化的金融架構與不可逆的交易原理，完美的被應用於NFT（Non-Fungible Token）與數位藝術（Digital Art）的串連之中，從而衍生出新的藝術資產定義—加密藝術（Crypto Art）。系統架構運作的必然要素即為社群的力量，開發機能完善的資料庫機制，如果沒有人的使用就無法構成有效積極的交易體系。 Against this background, we can directly think of the “community consensus” advocated by blockchain, which systematically establishes the transaction trajectory of the participants, and only when it meets the consensus of the majority of the people can the transaction records of the objects be continued. The decentralized financial structure of cryptocurrencies and the principle of irreversible transactions are perfectly applied to the connection between NFT (Non-Fungible Token) and Digital Art, thus giving rise to a new definition of art assets – Crypto Art. The inevitable element of the system structure is the power of the community, and the development of a well-functioning database mechanism will not be able to constitute an effective and active trading system without the use of people.
「社會參與藝術」和「加密藝術」， 兩個同樣都是建立於「公眾認同」理念的線上/線下社群， 看似八竿子打不著的藝術導向，卻都凝聚著公眾的力量， 逐漸形成一種特殊的關係美學。 “Socially-Engaged Art” and “Crypto Art” are two online/offline communities that are also based on the concept of “public recognition”. Seemingly unrelated to each other in terms of artistic direction, they both unite the power of the public and gradually form a special aesthetic relationship.
LVGA/XY ASTRO FLOWERS
LVGA/XY ASTRO FLOWERS 是義大利/瑞士混血的視覺藝術家—尤里・卡塔尼亞（Yuri Catania）與其團隊構思的一項社會參與式的藝術計畫，2023年8月30日起，歷時13個工作天，投入超過150位藝術專業工作者以及自發性參與者（其中包含市民、學生以及民間組織志工等組成），在瑞士盧加諾（Lugano, Switzerland）國會宮（會展中心）的外牆上執行的大型裝置作品。 LVGA/XY ASTRO FLOWERS is a socially engaged art project conceived by Italian/Swiss visual artist Yuri Catania and his team. Starting from August 30th, 2023, lasted over thirteen days, more than 150 art professionals and spontaneous participants (including citizens, students, and volunteers of civic organizations, etc.) were involved in the execution of a large-scale installation on the facades Palazzo dei Congressi (Exhibition Center) in Lugano, Switzerland.
“Art will save the world” slogan with artist Yuri Catania, photo credit: Gogo.W
計畫標語—「Art Will Save The World藝術將拯救世界」作品靈感來自瑞士第一位登上太空的飛行員－克勞德・尼科里埃爾（Claude Nicollier）的宇宙觀，採用「Paste-Up黏貼」的街頭藝術技法，融合藝術家的美學思維與其過往的創作元素，藝術家結合主體對象「太空人」以及夜間拍攝的物件「植物花卉」構成畫面的3個架構。 The slogan of the project – “Art Will Save The World” is inspired by the cosmic vision of Claude Nicollier, the first Swiss astronaut in space. Adopting the street art technique of “Paste-Up”, it combines the aesthetics of the artist with elements of his past creations. The main subject “astronauts” and the objects “plants and flowers” photographed at night, which are making up the three structures of the picture.
以當週於會展中心舉行的NFT節為背景，藝術家深入探討當代的關鍵議題：Web3.0、區塊鏈、加密貨幣/藝術與元宇宙之間的交互作用，質疑自然與科技之間的關聯。太空人金色面罩觀望著恰尼公園（Parco Ciani），反射出作品與地景間的連結，符合3D視覺的空間編排，與多達1,500個紙花朵結合，呈現寬42公尺＊高8公尺的大型裝置作品。 Against the backdrop of the NFT Festival held at the Palazzo dei Congressi that week, the artist delves into key contemporary issues: Web 3.0, blockchain, cryptocurrencies/interaction between art and metaverse, and questioning the relationship between nature and technology. The astronaut’s golden mask looks out over the Parco Ciani, reflecting the connection between the work and the landscape, conforming to the spatial arrangement of 3D vision, and combining with more than 1,500 paper-made flowers to create a large-scale installation 42 meters wide * 8 meters high.
實踐社會參與藝術，成為其中一份子 Become a part of socially-engaged arts practice
筆者因為參與了盧加諾NFT節活動得以與這項藝術計畫串起連結，早在活動開始前，太空人早已乘著群花遍佈展會中心的外牆，從遠處觀看難以分辨是何種媒材與技法，強烈的黑白與彩色構成的3D視覺效果勾起我想要深入了解的好奇心，連續三天在會場外觀察藝術家與志願們分工合作的身影，偶爾藝術家也會停下動作與路過圍觀的民眾，親切地解釋計畫的動機並分享使用媒材的特性與原因，試圖拉近藝術與公眾的距離。 As a result of my participation in the NFT Festival in Lugano, I was able to connect with this art project. Even before the event started, astronauts were already riding on the flowers on the outer wall of the exhibition center, and it was hard to tell what kind of media and technique they were using from afar, but the strong black and white and colorful 3D visual effect aroused my curiosity to learn more about the project. For three consecutive days, I observed the artists and volunteers working together outside the venue. Occasionally, the artists would stop to explain the motivation of the project and share the characteristics and reasons for the use of the media with the passing onlookers, in an attempt to bring art and the public closer together.
作品完成前夕，筆者積極正向的態度成功讓藝術家留下深刻印象，並受邀請在最後一天實際參與計畫，過程當中與藝術家妻子Silvia Torricelli，同時為計畫背後除藝術家外最主要的執行者，以及數位志願者們交談，深切地感受到每個人單純支持藝術行動的心。即使是簡單的「剪貼行為」使用單純的媒材「紙張」與「膠水」也能夠將想像具體化，後期透過縮時攝影的拍攝，將13天的時間濃縮成60秒的畫面，藉由AI的技術未來將製成NFT贈送給所有參與計畫的人，藝術除了在這個宇宙時空留下足跡，更是在元宇宙中劃下一部分區塊。 On the eve of the completion of the artwork, the author’s positive attitude successfully impressed the artist and invited her to participate in the project on the last day. During the process, I talked with the artist’s wife, Silvia Torricelli, as well as the main implementers of the project besides the artist, and digital volunteers, and deeply felt everyone’s heart to support the art action. Even the simple act of “cutting and pasting” with the use of simple media “paper” and “glue” can materialize the imagination, and in the later stage, through time-lapse photography, the 13 days were condensed into a 60-second image, which will be made into NFTs to be given to all the participants in the future through AI technology, so that the art will not only leave its footprints in the universe and space-time but will also delineate a part of the meta-universe.
“The shape reflects the disillusionment with social hierarchy and is made of Polish coins minted in brass from cement waste at construction sites. The total value of the coins used on the creation = [the poverty line] corresponds to the official statistics of Poland in 2021 (based on a family of four) .” ［2329,77/4, 2022］
對光的研究和時間的測量都是研究實踐的重要工具 the research on light and the measurement of time is the essential tools to investigate the practice.
藝術家們的創作靈感，大多數都來自於日常生活中的痕跡。 Most of the artists’ creations are inspired by the traces of daily life.
Mateusz Choróbski (Poland, 1987), through his subtle observation of the surrounding environment, extracted every aspect of things and transformed them into the source of the essence of his works, obtaining the necessary information and characteristics from the different material carriers. By deconstructing and analyzing the object, the artist touches on the artist’s acute perceptual experience and reconstructs a different visual vehicle, skillfully integrating the reshaped object with the characteristics of space and time, giving it a different direction of interpretation than before.
近年來不斷到各國進行展出，柏林・Another Vacant Space (2013)、波蘭貝托姆・Kronika Centre for Contemporary Art (2016)、波蘭華沙・Wschód Gallery (2019)等地，更是與義大利結下了深刻的緣分，分別在（2019）羅馬・La Fondazione、（2020) 佛羅倫斯・Edorardo Secci Gallery 舉辦展覽，同年受埃娃・卡恩博士基金會Dr. Kahán Éva Foundation 的邀請，在托斯卡尼中部作為三位藝術家之一，進行為期一個月的藝術駐村計畫。
Mateusz Choróbski, born in 1987 in Radomsko, Poland, now lives in Warsaw, Poland. He graduated from Poznan University of Arts and Warsaw Academy of Fine Arts.
He is a creator of multimedia, installation, performance art, and sculpture. He is influenced and inspired by the reality of society through the recycling of readymade building materials, which in turn brings multisensory works into a broad conceptual framework (everyday readymades, common objects, natural creatures). For the artist, the opposite of “effective art practice” should be “spatial concept” and “physical perception”.
In recent years, he has been exhibiting in various countries, such as Another Vacant Space (2013) in Berlin, Kronika Centre for Contemporary Art (2016) in Bertram, Poland, and Wschód Gallery (2019) in Warsaw, Poland, and has a deep connection with Italy, where he exhibited at （In the same year, he was invited by the Dr. Kahán Éva Foundation to be one of three artists in central Tuscany for a month-long residency program.
2020年，在佛羅倫斯・塞奇畫廊（Eduardo Secci Gallery）的展覽中，【一步之遙 A Step Away】透過轉換空間與物體之間主賓的關係，輕柔譜寫出一系列作品與展廳的音符節奏，加入自然界礦物和植物元素的特徵，再生合成出尋常主體，讓時間和物質自然發揮它們的作用，好像變奏曲一般不依循常態律動。然而，展覽當時卻受到新冠疫情的影響，參觀人次銳減僅維持短短數週，隨即結束展演。
In 2020, in the exhibition at Eduardo Secci Gallery in Florence, A Step Away gently composed a series of works and rhythms of the exhibition hall by changing the relationship between space and objects, adding the characteristics of natural mineral and plant elements, regenerating, and synthesizing the ordinary subject, allowing time and matter to play their role naturally, like a rhythm. It is like a variation of the normal rhythm. However, the exhibition was affected by the new epidemic and the number of visitors dropped drastically for a few weeks, and the exhibition was then closed.
三年過去疫情趨緩，同樣在義大利知名藝評、策展人—皮爾・保羅・潘科托Pier Paolo Pancotto的推波助燃之下，終於在米蘭・塞奇畫廊（Secci Gallery）的NOVO實驗空間以【捉迷藏 Hide and Seek】為題，開啟藝術家首次個展，並且同步於米蘭舊蒸汽工廠 Fabbrica del Vapore 轉型後的文創園區裡，啟動另一個特定的燈光裝置項目。
Three years later, the epidemic subsided, and with the help of Pier Paolo Pancotto, a renowned Italian art critic and curator, the artist finally opened his first solo exhibition at the NOVO Experimental Space in Secci Gallery in Milan under the title Hide and Seek. In parallel, another specific lighting installation project was launched in the transformed cultural and creative park of Fabbrica del Vapore, the former steam factory in Milan.
Mateusz Choróbski, exhibition view at Fabbrica del Vapore, Milano 2023. photo by Gogo. W
Mateusz Choróbski, exhibition view at Fabbrica del Vapore, Milano 2023. photo by Gogo. W
The relationship between two indoor and outdoor spaces, two ways of time movement, and daylight, is common to Mateusz Choróbski’s work itself. In the gallery, the objects flow with the clock, while the large installations on view at the Steam Factory flow against the clock. The former is a private space; the latter is a light installation in a public space. To move naturally between the two exhibitions, the only way to understand the intrinsic value and meaning of art creation is to analyze the concepts and thoughts behind the works, and to visit the site to feel the perceptual experience beyond the written narrative, so as to connect one’s own experience with the viewing experience.
Mateusz Choróbski, exhibition view at Secci Gallery, Milano 2023. photo by Gogo. WMateusz Choróbski, exhibition view at Secci Gallery, Milano 2023. photo by Gogo. W
On the opening night, we had the opportunity to meet the curators, artists, and enthusiastic art workers, and even if it was just a few minutes of conversation, it induced the passion and feelings hidden deep inside. The artist briefly explained that the large installation, located in the outdoor space, reuses the receding window glass of the old building, and mixes it with lighting installations to create a silhouette that resembles the top of the building, which you can’t find during the daytime, but when the sunset comes, it quietly appears in your sight, opening a dialogue with the environment every second.
初次到訪畫廊位於米蘭的空間，2米高的落地玻璃，大方消除空間的隔閡，［2329,77/4, 2022］這件裝置的標題來自錢幣的總和，由熔化金幣再製的複合媒材雕塑，數件高低之分的圓柱結構，連接著展間的地板與天花板。 空氣中充斥著一股淡淡的肥皂氣味，從形似工程中的木質結構雕塑系列［37 Old Road No.1/2/3, 2022］散發出，那是藝術家記憶中對家的嗅覺記憶。
When I first visited the gallery’s space in Milan, the 2-meter-high floor-to-ceiling glass generously bridged the space. [2329,77/4, 2022] The title of this installation comes from the sum of coins, a composite media sculpture made from molten gold coins, and several high and low cylindrical structures connecting the floor and ceiling of the exhibition space. The air is filled with a faint smell of soap, emanating from a series of sculptures shaped like the wooden structures in the project [37 Old Road No. 1/2/3, 2022], which are the artist’s olfactory memories of home.
［2329,77/4, 2022］［37 Old Road No.2, 2022］
3件運用鋼、玻璃與燈光構成的作品［Hide and Seek no.1/2/3, 2023］，柔和的光線透出氣泡霧面玻璃結構，照亮了昏暗的空間，塑造了鋼構的視覺輪廓，轉化材質的功能性，無聲無息突破舊有的表現力。
The soft light of the three works [Hide and Seek no.1/2/3, 2023], which use steel, glass, and light, illuminates the dim space with its air bubble matte glass structure and shapes the visual contours of the steel structure, transforming the functionality of the material and breaking through the old expression without a sound.
The lightness of the light shows us the social dilemma of being a Polish person, and the actual value issues brought out by the concrete economic situation, from the shallow to the deeper to see the real issues that exist in all corners of the world.
Mateusz Choróbski, exhibition view at Secci Gallery, Milano 2023. photo by Gogo. W
Mateusz Choróbski・Hide and Seek｜馬特烏斯・喬羅伯基｜捉迷藏 策劃人｜Pier Paolo Pancotto 展期｜即日起，至 2023年5月27日 地點｜米蘭・塞奇畫廊 Secci Gallery Milano、米蘭・舊蒸汽工廠 Fabbrica del Vapore 時間｜Fabbrica del Vapore：週一到週日 上午8點-下午9點 / Secci Gallery：週二到週六 上午10點-下午1點 、下午2點-6點，週日一公休 免費入場參觀
— 回到過去Back to the Future：聚焦於1960年代至今，當代藝術先驅們的專題項目，重新將藝術家帶回國際藝術對話的中心。由柏林藝文中心Haus am Waldsee館長—Anna Gritz、義大利獨立策展人—Balthazar Lovay共同策劃，10位藝術家（9間國際畫廊與1間義大利畫廊）。
2020年為因應新冠疫情造成的影響，展會將焦點投注於創建線上影音平台。【ARTISIMMA VOICE OVER】一項全新跨多媒體影音的企劃，今年在Fondazione CampagnIa di San Paolo合作贊助下順利執行，針對參與展會的所有藝術家與藝術工作者們進行廣泛的概述與訪問，透過「Podcase」、「頁面文字」、「採訪影片」等多媒體形式，提供豐富的深度報導，同時也讓其他地區的人有機會遠端參與展會。
今年展會概念為「變革性體驗」，主題核心取自美國哲學家 Laurie Anna Paul (L.A. Paul：耶魯大學哲學與認知科學教授) 2014年在牛津大學出版社發表的書籍文章中提出的概念，所謂「變革性體驗」能夠從根本上改變生活在其中的人，以一種對未知的視角面對，試圖引發一場理性預期的危機，嘗試觸發更多潛藏於各領域尚未被提出討論的觀點與互動。
Oroma Elewa, 2 prints on paper Baryta Hahnemuhle 315 g, mounted on dibond, 2022, Galerie In Situ – fabienne leclerc, photo credit: artissima
（left）Vasilis Papageorgiou, ceramic and steel, 2022, 56*36*2 cm, UNA, photo credit: artissima （right）Dala Nasser, Anemone, 2022, 227 x 202 cm, Lenzuola, federe, tinture a base di ibisco e anemone, cenere, sale, nastro, ossido di ferro, acqua piovana
“This extraordinary renaissance building has traveled through the centuries to great us here, now, in the twenty-first century – not as a mere host for art but as a co-producer of the exhibitions..”
— 奧拉佛・艾里亞森 Olafur Eliasson
一場展覽最需要的是觀展者的實際參與，伴隨著不同形式的反饋，以構成印象深刻的美學體驗。 What an exhibition needs most is the actual participation of the audience, along with different forms of feedback, to form an impressive aesthetic experience.
When science meets artistic aesthetics, it is conceivable that it could become a dialogue that cannot be stopped, nor needs to be demonstrated or dissected, because their combination will produce wonderful products beyond imagination. The mysterious vortex is slowly moving through the artist’s meticulous plan, one by one, being cleverly created and verified in front of your eyes.
冰島丹麥裔藝術家｜奧拉佛・艾里亞森Olafur Eliasson，首次在義大利最大個展就選在佛羅倫斯當代藝術博物館-斯特羅齊宮Palazzo Strozzi舉辦，以雕塑和大型裝置藝術創造沈浸式體驗與空間聞名全世界，從千禧年代發跡至今在各國知名博物館皆可以看到他的展覽足跡，Netflix上熱門紀錄片《Abstract: The Art of Design》第二季第一集更是專門介紹這位「光之魔術師」。
Icelandic Danish-born artist | Olafur Eliasson, whose largest solo exhibition in Italy for the first time was held at the Palazzo Strozzi one of the important contemporary art museums in Florence, is famous for his sculpture and large-scale installation art creation immersion experience and space, and his footprints can be seen in well-known museums around the world since the millennium. Also, the first episode of the second season of the popular documentary “Abstract: The Art of Design” on Netflix is dedicated to this “Magician of Light”.
Just before now 2022, exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.WColour spectrum kaleidoscopo 2003, exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.W
Spanning between light, shape, color, time, and space, Olafur Eliasson attempts to reconstruct the present and the past by weaving natural elements throughout the exhibition landscape.
Tomorrow 2022, exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.W
藉由標題「在你的時間裡」(Nel tuo tempo) 可以很直接地理解到整個展覽是以「觀眾」作為核心，建立觀眾與裝置之間的對話，促使其成為作品的一部份。打破博物館/美術館與觀眾之間的規範與界限，一直是藝術家Eliasson創作歷程中主要的研究導向之一；不再以博物館為導向，不過度解釋說明作品，為其建立一個既定的思考方向，而是聚焦於觀眾本身，打造一種身歷其境的體驗裝置，豐富觀者的所有視覺感官。
Through the title of the exhibition “In your time” (Nel tuo tempo), we could directly understand that the entire exhibition is centered on the “audience”, establishing a dialogue between the audience and the installation, and promoting it to become part of the work. Breaking the norms and boundaries between museums and audiences has always been one of the main research directions in artist Eliasson’s creative process; no longer museum-oriented, not overly interpreting the works, but creating a predetermined thinking direction for it. Instead, focusing on the audience itself creates an immersive experience device that enriches all the visual senses of the viewer.
Walking into the 16th century, the historical corridor comes into the huge oval vortex floating in the air, simulating the movement of ocean waves, resembling a figurative sound wave, which is following your wandering steps, replacing the appearance of it passing through the light to reach your pupils.
《Under the water》2022 鋼架、 印花紡織品、再生聚丙烯捆紮帶、單頻燈 steel frame, printed textile, recycled polypropylene strapping, monofrequency lights 11x8m 由藝術家提供 courtesy of the artist
Entering the main exhibition hall on the second floor, the window structure that is previously wrapped in the past, was deliberately included in the work by the artist this time. The light penetrated the glass window surface at that time, and the fine glass craft patterns between the filter panes, the bubble holes were wrapped into the glass structure, and the “traces of time” that could not be seen by the naked eye were once again covered with sunset-like colors to show the elegant and psychedelic posture of the aristocracy in the renaissance.
《Triple seeing survey》2022 投射燈，壁掛 3 spotlights, wall mounts 尺寸因地制宜 dimensions variable 由藝術家提供 courtesy of the artist
《Tomorrow》2022 投射燈，壁掛，投影布幕，彩色濾光玻璃 3 spotlights, wall mounts, rear-projection screen, color-filter glass 尺寸因地制宜 dimensions variable 由藝術家提供 courtesy of the artist
《Just before now》2022 投射燈，壁掛，鏡面箔，投影布幕，彩色濾光玻璃 3 spotlights, wall mounts, rear-projection screen, color-filter glass 尺寸因地制宜 dimensions variable 由藝術家提供 courtesy of the artist
After passing through the projection screen installation, the works in rooms 6, 7, 9, and 10 are the installations that best reflect the natural environment issues in the entire exhibition.
Among them, Room 9 brings out the artist’s most classic and famous work “Beauty”. Through the elements of water and spotlights, a seemingly simple installation is created. In the dark room, the water spray reverberates with the focused light, which is refracted into the pupils of the audience and awakens ” Rainbow”; as the artist puts it: “it is a matter of fluctuating back and forth between two positions: seeing the rainbow, not seeing the rainbow, seeing and not seeing.” No one can see the same rainbow formation, walking into the mist of water and becoming part of beauty.
《Beauty》1993 聚光燈、水、噴嘴、木頭、軟管、幫浦 spotlight, water, nozzles, wood, hose, pump 尺寸因地制宜 dimensions variable 由藝術家提供 courtesy of the artist
Triple window 1999, exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.WSolar compression 2016, exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.WRed window semicircle 2008, exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.W24 glass spheres 2022, exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.W
The essence of art originates from everyday life, and inextricable relationship between science and nature has shown their complementary roles in many fields, while there are still phenomena that cannot be explained and demonstrated.
Artificial lighting installations and various media: color, water vapor, space, mirrors, with the progress of outdoor daylight, changes in the surrounding environment affect everyone’s participation experience, fully immersed in the installation situation, resulting in a dialogue structure between perspective and time points.
《Firefly double-polyhedron sphere experiment 》2020 不銹鋼、彩色濾光玻璃、玻璃鏡面LED燈、電機、油漆 stainless steel, collour-effect filter glass, gllass mirror LED light,motor , paint 170cm 由藝術家提供 courtesy of the artist
Our understanding of artistic creation depends on the knowledge content of the individual and the fermentation between life experiences. When facing contemporary art, most audiences are overly relying on reading the introduction, the existence of audio-guide, it is undeniable that in the field of conceptual art, a complete analysis and understanding of the motives and ideas of artistic creation is the core; however, the connection between the viewer and the work, that process of viewing experience, is the product of introspection after consumption, which could be video, photo, could be oral feedback, it could be an internal experience connection, or it could be a memory of the moment with companions.
《Olafur Eliasson : Nel tuo tempo》展覽近20件集結歷年重要裝置與2022新作，在斯特羅齊宮基金會的大力協助之下，實踐藝術家對共享體驗與互動裝置的堅持，以不同的展覽型態構思，主要聚焦在觀眾的感官體驗，試圖跨越空間界限和物理限制，將展覽場域打造為一切元素的匯集點。
The “Olafur Eliasson : Nel tuo tempo” exhibition brings together nearly 20 pieces of important installations over the years and news in 2022. With the strong assistance of the Fondazione palazzo strozzi, the practice artist’s insistence on shared experience and interactive installations is displayed in different exhibition types. The concept of state-of-the-art mainly focuses on the sensory experience of the audience, trying to transcend the spatial boundaries and physical limitations, and make the exhibition area a meeting point of all elements.
Olafur Eliasson：Nel Tuo Tempo｜奧拉佛・艾里亞森：在你的時間裡 展覽構思｜Studio Olafur Eliasson 策劃推廣｜Fondazione Palazzo Strozzi 斯特羅齊宮基金會 展期｜2022年9月22日(四) 至2023年1月22日(日) 地點｜Palazzo Strozzi斯特羅齊宮, Firenze 時間｜週一至五10點-晚間8點，週四10點-晚間11點 購票｜全票15歐，優待票12歐（以及其他更多優惠票價，詳情請至官網 https://www.palazzostrozzi.org/en/tickets-opening-hours/ ）
《Olafur Eliasson : Nel tuo tempo》展覽近20件集結歷年重要裝置與2022新作，在斯特羅齊宮基金會的大力協助之下，實踐藝術家對共享體驗與互動裝置的堅持，以不同的展覽型態構思，主要聚焦在觀眾的感官體驗，試圖跨越空間界限和物理限制，將展覽場域打造為一切元素的匯集點。
Exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.WExhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.WExhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.W
《The Three Pietàs of Michelangelo : No one thinks of how much blood it costs 》｜米開朗基羅的三聖殤：無人知曉的血汗 地點｜Opera del Duomo Museum 主教座堂博物館 策展人｜Barbara Jatta (梵蒂岡博物館館長), Sergio Risaliti (佛羅倫斯現代美術館館長), Claudio Salsi (米蘭斯福爾扎城堡館長), Timothy Verdon (佛羅倫斯主教座堂博物館館長) 展期｜即日起，至 2022年8月1日 時間｜每日9:00至晚間7:45 注意｜從 8 月 6 日起，參觀 Opera del Duomo 博物館必須出示國際Covid 健康證明（英文版）或綠色通行證Green Pass。 購票｜請點我，博物館連結
#誰是多納太羅 Donatello？ 本名 Donato di Niccolò di Betto Bardi（1386－1466），也譯為多納泰洛，15世紀義大利佛羅倫斯知名雕刻家，可以說是文藝復興初期寫實主義與復興雕刻的推手，對當時其藝術發展有深遠的影響。並與同時期的著名藝術家們並駕其居，如拉斐爾、米開朗基羅、菲利波・布魯內萊斯基、馬薩喬、喬瓦尼・貝利尼等。
多納太羅《David》,1440 , 青銅, 高158 cm, 巴杰羅美術館館藏 (Museo Nazionale de Bargello, Florence)。 photo credit： Steven Zucker, CC BY-NC-SA 2.0)
該展覽公開超過130件藝術品，其中包含雕塑、繪畫和素描等傳統藝術媒材的作品，當中更是有許多創作是從未對外展示過，作品取自近60個博物館與藝文機構（如巴黎羅浮宮、紐約大都會博物館等）。《多納太羅・文藝復興展（Donatello・Il Rinascimento）》在斯特羅齊宮和巴杰羅美術館 (Museo Nazionale del Bargello) 同時於兩處舉辦，提供關於這位堪稱「復興大師之父」的人物，其對於美學表現風格和透視技法的轉變，與其創作脈絡和觀念如何影響著後世們的比較關係。
《Donatello・Il Rinascimento》｜多納太羅・文藝復興展 地點｜斯特羅齊宮（Palazzo Strozzi）/ 巴杰羅美術館（Museo Nazionale del Bargello） 推動策劃｜斯特羅齊宮 (Palazzo Strozzi) 、巴杰羅美術館 (Museo Nazionale del Bargello) 贊助單位｜佛羅倫斯市政府、托斯卡尼省會、佛羅倫斯商會組織、斯特羅齊基金會合作夥伴。 合作單位｜德國柏林國家博物館 (Staatliche Museen)、英國倫敦維多利亞與亞伯特博物館 (Victoria and Albert Museum)、公家機關-宗教建築基金 (F.E.C. – Fondo Edifici di Culto) 展期｜即日起，至 2022年7月31日 時間｜每日9:00至晚間7:45 購票｜斯特羅齊宮（詳情請點），巴杰羅美術館（詳情請點） ※ 免費導覽活動：斯特羅齊宮提供每週兩次同時段，透過預約票卷申請，免費的導覽活動，每週三晚間6:00-7:30，以及每週日下午3:00-4:30。（詳情請點）
⧪ 舊宮（Palazzo Vecchio）・朱塞佩・佩利扎・達・沃爾佩多(Giuseppe Pellizza da Volpedo)《 第四階級 Il Quarto Stato 》
Il Quarto Stato Giuseppe
從5月1日國際勞動節那天開始，佛羅倫斯・舊宮（Palazzo Vecchio）成為朱塞佩・佩利扎・達・沃爾佩多（Giuseppe Pellizza da Volpedo）《第四階級 Il Quarto Stato 》暫時的所在地。佛羅倫斯市政府與米蘭市政府的合作，與米蘭二十世紀博物館借出這件富涵義社會價值議題與勞工權利平等的作品，作品將對大眾開放至6月30日。
#誰是Giuseppe Pelliza 朱塞佩・佩利扎，他出生於1868年7月28日 義大利沃爾佩多（北義亞歷山德里亞省的一個城市）。在家鄉的技術學院 Castelnuovo Scrivia 學習繪畫的基礎，隨後到米蘭就讀布拉雷美術學院 Accademia di Brera，並先後在數間藝術學院成為學徒。可以看作是為以社會和政治議題為繪畫核心的畫家。
#最有名的作品 他最著名的作品就是 《 第四階級 Il Quarto Stato 》，這件作品是義大利社會主義的象徵，描繪了正在準備集結罷工的工人們。這件作品耗時4年才完成，之前更是繪製 《飢餓大使 Ambasciatori della fame》與 《La Fiumana》兩件作品，皆可以看作是第四階級的前期作品。
#il Quarto Stato （義文：第四階層/層級/等級）在法國大革命期間，被用於形容社會底層較為貧窮民眾的代稱；隨著工業革命的發展，19世紀至20世紀的前幾十年，“第四階層”一詞被用作無產階級的代名詞，指的是受過教育卻對社會絕望的工人階層。
《第四階級 Il Quarto Stato》｜朱塞佩・佩利扎(Giuseppe Pellizza da Volpedo) 地點｜舊宮（Museo di Palazzo Vecchio） 合作單位｜佛羅倫斯市政府、米蘭市政府、米蘭二十世紀博物館（Museo del 900)、佛羅倫斯 Museo Novecento 展期｜即日起，至 2022年6月30日 購票｜全票 €12.5，優待票 €10，免費。（詳情請點）
5月18日至7月31日，斯特羅齊宮將與倫敦當代數位藝術博物館（Museum of Contemporary Digital Art，簡稱：MoCDA）合作，一次把所有目前世界上最知名的數位藝術家們（Refik Anadol、Anyma、 Daniel Arsham、 Beeple、 Krista Kim 和 Andrés Reisinger）的創作帶到佛羅倫斯這座古典世界裡頭！將觀眾帶入一個由數位藝術家創造的多媒體沈浸式展演，來一場穿梭於新媒體裝置與加密藝術構成的冒險旅程，探索這個正在全世界發燒的藝術革命風潮。
Refik Anadol, Machine Hallucinations: Nature Dreams at Galerie König, Berlin. Photo: Roman Maerz.Beeple, Everydays：The First 5000 Days, 2007-2021, Photo Credit:Beeple.
「國際論壇」則由總召集人｜派翠克佛洛雷斯 Patrick D. FLORES（菲律賓大學藝術研究系藝術研究教授，曾多次擔任韓國雙年展策展人之一、2019年新加玻雙年展藝術總監），以及資深策展人｜徐文瑞、國立高雄師範大學跨領域藝術研究所教授｜吳瑪悧，擔任各場次主持人，並規劃邀請國內外學者、藝術家一同參與，試圖以「論壇」為方法，從各個面向重新思考威尼斯雙年展中的台灣館，並回應當今世代的關鍵議題，鼓勵觀點共存、解放已固化的知識面，將其導向開放性結局。
國際論壇召集人｜派崔克・佛洛雷斯 Patrick Flores, Convener of International Forums。（臺北市立美術館提供）
CiaoGogoWang 