作者: Bonn

  • 「一般垃圾不可回收」 展覽與系列活動
“Gen-neral": Exhibition and Performance Events

    「一般垃圾不可回收」 展覽與系列活動 “Gen-neral": Exhibition and Performance Events

    − 年度:2025
    − 地點:Our Gym Space,臺灣臺北
    − 内容:展覽、工作坊、活動、演出
    − 簡介:

    本計畫以被視為廢物的物件,連結與象徵不符社會體制或想像的 90 年代青年,策劃系列展演活動。内容包含展覽、身體工作坊、藝術家演出、懷舊遊戲夜等,以多種切角,實地觀看 Gen 90 的真實樣貌。

    − Year:2025
    − Venue:Our Gym Space, Taipei, Taiwan
    − Contents:Exhibition, Workshops, Events, Performances
    − Description:

    This project uses discarded objects as symbols of 1990s youth who did not conform to social expectations. The program includes an exhibition, body workshops, artist performances, and nostalgic game nights, offering multiple perspectives to engage with the lived realities of Gen 90.。

  • 獨立製作詩集 2:《吹蠟燭時三個都許著死掉的願望》
Poetry Collection 2 : I wish I could die as my 3 birthday wishes

    獨立製作詩集 2:《吹蠟燭時三個都許著死掉的願望》 Poetry Collection 2 : I wish I could die as my 3 birthday wishes

    – 詩集介紹:

    收錄 2019 到 2022 所寫的詩,寫的都是那時候的哀傷瞬間,例如憂鬱症發作、社群媒體的孤獨,以及數位或實際的性暴力,而這些瞬間大多都是自己一個人度過,好像必須寫詩才不至於毀滅,即便已經毀滅。

    攝影的部分就是像吹熄生日蛋糕上的蠟燭時,所看見的關於自己與他人的幻影,是留存曾經存在過的證據,不這樣的話,我好像不存在過一樣。

    – Introduction:

    It collects poems written between 2019 and 2022 — moments of sorrow from that time, such as depressive episodes, the loneliness of social media, and experiences of sexual violence, both digital and real. Most of these moments were endured alone, as if writing poetry were the only way to keep from being destroyed, even though destruction had already happened.

    The photos are like the visions of myself and others that appear when blowing out the candles on a birthday cake — traces preserved as evidence of what once existed. Without them, it feels as though I might never have existed at all.

  • 《儚垠》
Waste Land/ Wonder Land

    《儚垠》 Waste Land/ Wonder Land

    − 年度:2025/2019
    − 地點:Our Gym Space/ 濕地 venue,臺灣臺北
    − 媒介:舞蹈劇場
    − 簡介:

    2019 入選濕地 venue Wet Base 實驗劇場計劃第 18 屆台新藝術獎第四季提名,並於 2025 移地重製。

    「儚」取自「虻」,是一種吃廢棄物的小蟲,借代 90 年代出生的青年,既是廢物,也是吃廢物長大的人們。觀衆以遊走的方式體驗一個人如何從新生到廢棄的過程。

    − Year:2025/2019
    − Venue:Our Gym Space/ 濕地 venue, Taipei, Taiwan
    − Mediums:Dance Theatre
    − Description:

    Originally selected for the Wet Base Experimental Theatre Program at 濕地 venue in 2019 and nominated for the 18th Taishin Arts Award, then this work was re-staged in 2025.

    Meng(儚), derived from the insect “Hermetia illucens (虻)”, which feeds on waste, represents youth born in the 1990s. Audiences experience the trajectory of an individual’s life, from birth to abandonment, by moving through the performance space.

  • Gen 90:我們如何成為廢物
Exhibition For Gen 90

    Gen 90:我們如何成為廢物 Exhibition For Gen 90

    − 年度:2025
    − 地點:洪建全基金會,臺灣臺北
    − 内容:展覽、工作坊
    − 簡介:

    入選洪建全基金會「雨棚計劃」。「Gen 90」命名戲擬「Gen Z」,依照物件廢棄回收的過程,在展場打造一座「廢物回收場」,比擬 90 年代出生的青年,如何在意識形態矛盾中長大,又因不符合社會期待成了所謂「廢物青年」。

    除了成長回憶的廢棄物,亦邀請三位藝術家帶來與「Gen 90」成長經驗相關的作品。

    − Year:2025
    − Venue:Hong Foundation, Taipei, Taiwan
    − Contents:Exhibition, Workshops
    − Description:

    Selected for the Hung Foundation’s Canopy Project, “Gen 90” plays on the term “Gen Z.” The exhibition constructs a “waste recycling yard” within the gallery, drawing parallels to the experience of those who were born in the 1990s and being labeled as “waste youth” for failing to meet societal expectations.

    In addition, three artists were invited to display works that reflect on the shared experiences of Gen 90.

  • 《原本想作的夢》After That Dream

    《原本想作的夢》After That Dream

    − 年度:2025
    − 地點:軟輪畫廊,臺灣臺北
    − 媒介:裝置、録像、現場演出
    − 簡介:

    臺灣策展人嚴淳齡策劃「反覆操演 Re-her-sal:觀衆入場」聯展作品之一。

    以作夢為出發點,蒐集重鬱後開始創作的所有夢境文字、隨筆、排練筆記進行再創作,以影像與表演的形式,讓「原本想作的夢」成為《原本想作的夢》。

    − Year:2025
    − Venue:Gallery 80A, Taipei, Taiwan
    − Mediums:Installation, Video, Live Performance
    − Description:

    As part of the group exhibition “Re-her-sal: Entering the Auditorium”, curated by Taiwanese curator Yen Chun-Lin, this work begins with the act of dreaming. It re-creates collected texts of dreams, writings, and rehearsal notes produced after experiencing severe depression. Through video and performance, the piece transforms these fragments into “After That Dream “.