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PTT Space

@ptt_space

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／台北／台北市松山區敦化南路一段100巷5弄31號旁
／上海／上海市普陀區莫干山路50號M50藝術區4號樓A-101
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在資訊快速流動、影像不斷被複製、轉傳與再製的今日，「Ctrl C+V」早已不只是電腦快捷鍵，而成為我們理解世界的一種日常姿態。 由毛刺 Glitch 於 PTT SPACE策劃的《Ctrl C+V》，邀請台日韓藝術家莊培鑫、丘冀丁、賴晟浩與 orm 皆推出全新製作。展覽並不將技術視為單純的進步神話，而是透過第一手觀點與跨媒材實踐，展開數位時代中「物質如何被重新感知」的提問。 藝術家們並非只是模擬數位世界，而是將複製與轉譯的過程重新帶回身體與空間之中。賴晟浩以輕薄材質與手工技法重置媒體圖像；莊培鑫透過挪用與再組裝使視覺經驗產生位移；丘冀丁讓「複製」成為重新感受時間的方法；orm 則將平靜的廚房日常轉化為陌生的沙地舞台。 從媒體圖像、手工製作到裝置場景，影像可能成為物件，資料可能帶有重量，日常經驗也可能在技術的折射下，顯現出陌生而迷人的質地。當作品在真實與虛擬之間展開游移，這也使觀眾重新意識到：我們所謂的「現實」，或許早已是一連串被剪下、複製、貼上與重新生成的結果。 #展覽資訊 展覽地點：PTT SPACE (臺北市松山區福成里敦化南路一段100巷5弄31號) 展覽日期：2026/07/18 - 09/12 策劃單位：毛刺 Glitch
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🐦 Ctrl C+V｜Key Visual Design 感謝毛刺 文豪 @yandaojh 找我製作 Ctrl C+V 藝術家聯展主視覺，讓我一起玩：） 展覽將技術的發展看作一種不斷重複的歷史循環，藝術家們則從各自的日常與感受出發回應這件事。透過複製、挪用、對稱等方式創作，讓作品在真實與虛擬之間來回游移。 在思考主視覺時，翻到了很多自己隨手拍的鴿子。走在路上、坐在公園，牠們一直都在，一群，長得一樣，做著一樣的事，但我從來沒有認出過其中任何一隻。這種若即若離的存在感讓我很好奇，我們跟牠們的距離、關係、感受究竟是什麼。 主視覺透過網路媒介與展覽現場兩個空間不斷來回改變，將視覺中的鴿子持續複製，透過複製與重複回應展覽本身的命題，從螢幕到印刷，一直都在，但不一定記得看過。

The exhibition frames technological progress as a perpetually recurring cycle, with each artist responding through personal lived experience. While developing the key visual, I kept returning to photographs of pigeons I had taken without intention. Always present, always identical, yet I have never distinguished any single one from another. The key visual reproduces the pigeon across digital and physical space. Always present, though not necessarily recalled. Exhibition Period｜2026.07.18 - 2026.09.12
Time｜Tue. - Sat. 13:00 - 18:30（Closed on Sundays and Mondays）
Venue｜@ptt_space Curated by｜毛刺Glitch @glitch.home
Artists｜Chuang Pei-Xin 莊培鑫 @chuang_pei_xin ╱ Gijeong Goo 丘冀丁 구기정 @goo_gijeong ╱ Lai Cheng-Hao 賴晟浩 @chenghao_fff ╱ orm オーム @orm_project @tomoya____fujii @noisy_eye 
Graphic Design｜Yagi Wang @yyy_yagi Exhibition Photo｜@dulub_studio〔dulub_studio〕嘟嚕影像
Special Thanks｜@beau_19961002
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Ctrl C+V at @ptt_space Taipei 《Dream of Sand》2026 This work explores the profound disruption of peaceful existence, capturing the moment when the "kitchen"—the foundational space of daily life—is suddenly torn apart. Stripped of adult armor, individuals are reduced to a defenseless, childlike state and cast into an unfamiliar, sandy wilderness where innocent memories intersect with a harsh, complex reality. Drawing inspiration from Hermann Hesse’s Märchen, a collection of fairy tales written during World War I to comfort brutalized soldiers, this artwork offers a contemporary reinterpretation of the experience of watching a trusted, harmonious world crumble away. The performance space functions as a symbolic landscape strewn with silent, black objects representing both the discarded remnants of once-cherished memories and the heavy, stagnant history of repeated human conflict. In this environment, the innocent melodies of the past appear faded against the overwhelming complexities of the modern world. Yet, these seemingly lost songs occasionally catch a new light, transforming into vital tools for survival in the present. At the center of this piece is the artists who embodies two conflicting emotional states by simultaneously inhabiting the dual roles of "parent" and "child." The artist shifts between the vulnerable gaze of a youth and the stark awareness of an adult confronting an endless wilderness. This internal struggle reflects the tension between mourning what has been lost and releasing loved ones into an unpredictable, unpromising future. Ultimately, by standing beside the silent artifacts and singing quietly, the work seeks neither nostalgic escape nor false assurances of safety. Instead, it confronts an urgent, enduring question: as we face the irreversible tides of history, how do we continue to breathe, endure, and go on living? Ctrl C+V Chuang Pei-Xin, Gijeong Goo, Lai Cheng-Hao, orm Courtesy of: 毛刺Glitch @glitch.home Photo credit:@dulub_studio〔dulub_studio〕嘟嚕影像
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For Ctrl C+V at @ptt_space Taipei, I presented a new iteration of Every organism subtly moves with its own independent rhythm (2026), developed in response to the city‘s streetscape, where plants are integrated into everyday life and often remain in their original pots along sidewalks and storefronts. The exhibition reflects on the recurring cycles of technological transformation and how digital systems continually reshape perception, materiality, and our understanding of reality. With Chuang Pei-Xin, Gijeong Goo, Lai Cheng-Hao, and orm. Courtesy of: 毛刺Glitch @glitch.home Photo credit:@dulub_studio〔dulub_studio〕嘟嚕影像
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《砂の夢》以一座失去原有秩序的廚房為舞台，靈感來自第一次世界大戰期間赫曼．赫塞的童話集《Märchen》，將戰爭轉化為一則關於技術進步的寓言：人類相信文明會持續向前，但同樣帶來效率與便利的技術，也可能成為摧毀日常的力量。 沙地、黑色物件與殘存的生活痕跡，使廚房成為文明失序後的遺址，表演者在父母與孩子、記憶與現實之間切換，重新學習如何感受世界。 在展覽中，作品所呈現的並非單純複製，而是文明在一次次更新中，同時複製進步的希望與毀滅的可能。 orm オーム @orm_project 由Tomoya Fujii 與 Chikaya Takahashi 於 2024 年組成的藝術團體。名稱源自「Form」去除字首 F 後所形成的文字遊戲，使原有的意義與外形轉化為另一種狀態。 orm 的創作經常取材自家庭環境中被忽略、卻可能逐漸轉化為個人與社會議題的現象，並以錄像等形式，呈現當代生活中關於身體、身分與集體經驗的感知。近期展覽包括「Wonderland」（K Contemporary，東京，2026）、「NEW New Artists / NEW Backbone Artists 2025」（Art Center NEW，橫濱，2025）及「150 Years」（東京，2025）於香川縣高松市經營藝術空間 @syndicate_tak，並持續在日本國內外策劃展覽。 《Dream of Sand》takes place in a kitchen that has lost its order. Inspired by Hermann Hesse’s 《Märchen》, written during the First World War, the work turns war into an allegory of technological progress: technologies that bring efficiency and convenience may also destroy everyday life. Sand, black objects, and domestic traces transform the kitchen into a ruin of collapsed civilization. Moving between parent and child, memory and reality, the performers relearn how to sense the world. Rather than simple copying, the work shows how each renewal of civilization carries both the hope of progress and the possibility of destruction. orm is an artist unit formed in 2024 by Tomoya Fujii and Chikaya Takahashi. Its name comes from removing the initial “F” from “Form,” transforming the word’s meaning and shape. Drawing on overlooked domestic phenomena, orm explores how they develop into personal and social issues. Through video and other media, their work examines the body, identity, and collective experience. Recent exhibitions include Wonderland (Tokyo, 2026), NEW New Artists / NEW Backbone Artists 2025 (Yokohama, 2025), and 150 Years (Tokyo, 2025). They also run @syndicate_tak in Takamatsu and curate exhibitions in Japan and internationally. ｜展覽資訊 information｜ Ctrl C+V 展期 Exhibition Period ｜ 2026.07.18 - 2026.09.12 開幕 Opening｜ 07.18 （六）14:00 時間 Time｜Tue. - Sat. 13:00 - 18:30 (Closed on Sundays and Mondays) 地點 Venue｜@ptt_space 臺北市松山區敦化南路一段100巷5弄31號旁 策劃 Curated by｜毛刺Glitch @glitch.home 贊助單位 Sponsor｜台北市文化局、UGLY HALF BEER 酉鬼啤酒 @uglyhalfbeer
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莊培鑫的《風景寫生》從網路購買一座3D森林模型，戴上VR頭戴裝置進入其中，以油畫進行寫生。作品將寫生過程的錄像與完成的繪畫並置，使原本建立於身體面對自然、觀察光線與氣候變化的創作方式，轉向一座由模型、貼圖、虛擬光源與即時運算共同構成的數位風景。眼前看似自然的森林，實際上是經過建模、複製與拼接而成的影像環境。 在繪畫史中，寫生意味著藝術家親臨現場，透過身體的停留與觀看，回應自然中不斷變動的光線、氣候與時間。《風景寫生》延續這項傳統，卻將其移入一個可以被複製、修改與重新載入的虛擬空間。陽光、黃昏與閃電不再稍縱即逝，而成為可以被設定、控制與反覆觸發的影像事件。 藝術家再將這些可被無限複製的數位風景，透過身體的觀看、手部動作與顏料堆疊，轉譯為具有表面、厚度與時間痕跡的實體繪畫。寫生因此不再只是對風景的再現，而成為一場往返於真實與複製、實體與虛擬之間的觀看實驗，也回應當代生活中自然與人工日益難以區分的感知處境。 Chuang Pei-Xin 莊培鑫 @chuang_pei_xin 創作聚焦於數位技術如何改變人們對真實、物質與感知的理解，運用 3D 掃描、遊戲引擎、錄像、雕塑與繪畫等媒介，探索數位影像在複製、轉譯、壓縮與輸出的過程中，如何重新生成物質性與觀看經驗。 Chuang Pei-Xin’s《Landscape Painting》begins with a 3D forest model purchased online. Wearing a VR headset, the artist enters the model and paints from life in oil. Video documentation and finished paintings are presented side by side, shifting a practice traditionally grounded in direct encounters with nature toward a digital landscape composed of models, textures, virtual light, and real-time computation. Within painting history, painting from life implies the artist’s physical presence before a changing landscape. Here, that tradition is relocated to a virtual space that can be copied, modified, and reloaded. Sunlight, dusk, and lightning become controllable and repeatable image events. Through bodily observation, manual gestures, and layers of paint, these reproducible digital landscapes are translated into physical paintings with surface, thickness, and traces of time. The work turns painting from life into an experiment moving between reality and reproduction, the physical and the virtual. His practice explores how digital technologies transform our understanding of reality, materiality, and perception. Working across 3D scanning, game engines, video, sculpture, and painting, he examines how digital images generate new forms of materiality and viewing experience. ｜展覽資訊 information｜ Ctrl C+V 展期 Exhibition Period ｜ 2026.07.18 - 2026.09.12 開幕 Opening｜ 07.18 （六）14:00 時間 Time｜Tue. - Sat. 13:00 - 18:30 (Closed on Sundays and Mondays) 地點 Venue｜@ptt_space 臺北市松山區敦化南路一段100巷5弄31號旁 策劃 Curated by｜毛刺Glitch @glitch.home 贊助單位 Sponsor｜台北市文化局、UGLY HALF BEER 酉鬼啤酒 @uglyhalfbeer
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賴晟浩的作品《Best Fails of the day》從一段擷取自網路社群的「精選跌倒集錦」開始，在看似隨機、輕鬆且可被快速消費的影像碎片中，刻意穿插一名支持美國海關執法局（ICE）的男子，在反 ICE 遊行中挑釁群眾，最後反而遭到追逐的畫面。隨著觀眾步入地下展間，影像中的白人男子透過數位輸出與紙漿，被轉化為懸吊於天花板上的動力雕塑，在旋轉馬達的驅動下，持續追逐；後者同樣以數位輸出與紙漿製作，卻被壓縮、攤平為近似繪畫的平面形體，散佈於展場之中。 持續旋轉與迫近的雕塑，在空間中形成難以忽視的壓力，使原本隔著螢幕被觀看、甚至被當作娛樂消費的跌倒影像，重新顯露出危害。兩個被封存在短影音裡的身體，也以不同的媒材狀態再次出現，重新獲得表面、厚度、重量與尺度，使圖像不再只是可被快速滑過的資訊，而成為持續塑造我們如何感受世界的現場。 Lai Cheng-Hao 賴晟浩 @chenghao_fff 創作以大眾透過媒體圖像觀看事件的感知經驗為出發點，運用輕薄材質、手工技法與動態機械重新轉譯影像，在裝置空間中建構兼具實體重量與流動感的當代媒體風景。 Lai Cheng-Hao’s work《Best Fails of the day》begins with a compilation of falling videos sourced from social media, including footage of a pro-ICE man provoking protesters before being chased. As viewers enter the basement gallery, the online event is brought into physical space: the man becomes a suspended kinetic sculpture made from digital prints and paper pulp, while the figure who stole his glasses is flattened into painting-like forms scattered throughout the space. The rotating sculpture creates physical tension, transforming an incident once consumed as online entertainment into an embodied experience. Through pigment, paper pulp, digital printing, and handwork, Lai gives the image surface, thickness, weight, and scale. Viewers must move around the installation, turning the pursuit, collision, and loss of balance into a spatial encounter. Born in Taiwan in 2000, Lai Cheng-Hao is currently studying in the Master’s Program in Contemporary Visual Culture and Practice at the National Taiwan University of Arts. Using lightweight materials, handcrafted processes, and kinetic machinery, he transforms media images into installations that combine physical weight with a sense of fluidity. His recent awards include the Silver Medal at the 114th National Art Exhibition, Third Place at the 43rd Taoyuan Fine Arts Exhibition, and the Sian Aesthetics Award. ｜展覽資訊 information｜ Ctrl C+V 展期 Exhibition Period ｜ 2026.07.18 - 2026.09.12 開幕 Opening｜ 07.18 （六）14:00 時間 Time｜Tue. - Sat. 13:00 - 18:30 (Closed on Sundays and Mondays) 地點 Venue｜@ptt_space 臺北市松山區敦化南路一段100巷5弄31號旁 策劃 Curated by｜毛刺Glitch @glitch.home 贊助單位 Sponsor｜台北市文化局、UGLY HALF BEER 酉鬼啤酒 @uglyhalfbeer
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《Every organism subtly moves with its own independent rhythm》為丘冀丁以在首爾一座植物園中拍攝的影像為基礎導入生成式 AI的錄像作品。他使植物景觀如同持續生長一般，不斷向外延伸、繁衍與增殖。隨著影像在生成過程中彼此交融，葉片、枝幹與空間逐漸產生偏離現實規則的形態與變化。 丘冀丁並未將其中模糊、錯位或不自然的細節視為需要修正的瑕疵，而是將其保留下來，理解為影像生成過程中留下的痕跡，甚至是數位影像自身生命力的展現。其後，他擷取部分生成片段，再透過影像工具強化細節，使畫面持續擺盪於清晰與失真、自然與人工之間。 作品中亦交織著音樂與舞動的人物影像，使植物不再只是被觀看的景觀，而是如同能與人類、聲音及其他物種共同感知與活動的生命體。透過這一連串轉譯，植物循環於物質、圖像與編碼之間，也回應了「Ctrl C+V」所探討的複製、轉換與再生成。 Gijeong Goo 丘冀丁 구기정 @goo_gijeong 1990 年生，現居首爾。持續於韓國與國際展出，近期展覽包括「The City of Nam June Paik: The Sea Fused with the Sun」（白南準藝術中心，2025）、「At The End of The World Split Endlessly」（首爾市立美術館，2024）及「Five Footsteps」（國立現代美術館果川兒童美術館，2024）。 《Every organism subtly moves with its own independent rhythm》is a video work by Gijeong Goo based on footage filmed in a botanical garden in Seoul. Using generative AI, he transforms the original images into continuously expanding and multiplying plant landscapes, where leaves, branches, and spaces merge into forms that no longer follow the rules of reality. Rather than correcting the blurred, distorted, or misplaced details produced by AI, Gijeong Goo preserves them as traces of the image-making process and as signs of a digital life of their own. By combining these shifting plant forms with music and moving bodies, the work imagines plants, humans, and other species coexisting across matter, image, and code. It reflects the themes of copying, transformation, and regeneration explored in Ctrl C+V. Born in 1990 and based in Seoul, Gijeong Goo has exhibited widely in Korea and internationally. His recent exhibitions include The City of Nam June Paik: The Sea Fused with the Sun at Nam June Paik Art Center (2025), At The End of The World Split Endlessly at Seoul Museum of Art (2024), and Five Footsteps at MMCA Gwacheon Children’s Museum (2024). ｜展覽資訊 information｜ Ctrl C+V 展期 Exhibition Period ｜ 2026.07.18 - 2026.09.12 開幕 Opening｜ 07.18 （六）14:00 時間 Time｜Tue. - Sat. 13:00 - 18:30 (Closed on Sundays and Mondays) 地點 Venue｜@ptt_space 臺北市松山區敦化南路一段100巷5弄31號旁 策劃 Curated by｜毛刺Glitch @glitch.home 贊助單位 Sponsor｜台北市文化局、UGLY HALF BEER 酉鬼啤酒 @uglyhalfbeer
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Ctrl C+V 今日在 PTT space 舉辦開幕啤酒聚會，酉鬼啤酒為本次開幕提供數款風味獨特精釀啤酒，為午後的台北帶來清涼與愜意。 本次展出的四組藝術家，透過不同媒材展共編交織於數位技術、身體、情感與生活的感性網絡，其中日韓藝術家 丘冀丁구기정 與 ormオーム 皆為首次在台發表，並呈現其最新作品，丘冀丁구기정 的創作透過攝影結合生成影像，創造植物與人群共舞的感受性場景；ormオーム 則以成長故事的寓言，想像瞬息萬變的技術世界裡，成長意味著什麼。台灣藝術家 莊培鑫 與 賴晟浩，則以繪畫回應主題，並呈現兩種不同風貌與切角，莊培鑫針對VR影像進行油畫寫生，呈現視覺、身體感、繪畫之間的複雜維度，賴晟浩則將影像拆解，以繪畫基地創造極具身體感的造型物，我們可以看到藝術家如何把繪畫性加入到不同主體與媒材，持續拓展其繪畫材料與主題的可能性，並在持續虛化的世界，藉由身體性展開叩問。 從台中出發，毛刺將持續策劃實踐，將視角帶往不同場域。這次在台北 PTT space 展開一次新的嘗試，讓內容沿著城市移動進入其他空間，探索更多可能。 藝術攝影 @dulub_studio Ctrl C+V opens today at PTT SPACE with an opening beer gathering, featuring a selection of craft beers generously provided by Ugly Half Beer. Working across photography, generative imagery, painting, and sculpture, the four participating artists explore the intersections of digital technology, the body, emotion, and everyday life. Presenting in Taiwan for the first time, Gijeong Goo 구기정 combines photography and generative imagery to create scenes where plants and crowds appear to move together, while ormオーム reflects on growth through an allegorical story set within a rapidly changing technological world. Taiwanese artists Chuang Pei-Xin and Lai Cheng-Hao expand the possibilities of painting through VR-based imagery, bodily perception, image deconstruction, and sculptural form. In an increasingly dematerialized world, the exhibition returns to the body as a site of perception and inquiry. Starting from Taichung, Glitch will continue to develop curatorial practices and bring its perspectives into different contexts. This exhibition at PTT SPACE in Taipei marks a new attempt to allow artistic content to travel across cities, enter new spaces, and explore further possibilities. ｜展覽資訊 information｜ Ctrl C+V 展期 Exhibition Period ｜ 2026.07.18 - 2026.09.12 開幕 Opening｜ 07.18 （六）14:00 時間 Time｜Tue. - Sat. 13:00 - 18:30 (Closed on Sundays and Mondays) 地點 Venue｜@ptt_space 臺北市松山區敦化南路一段100巷5弄31號旁 策劃 Curated by｜毛刺Glitch @glitch.home 藝術家 Artists｜Chuang Pei-Xin 莊培鑫 @chuang_pei_xin、Gijeong Goo 丘冀丁 구기정 @goo_gijeong、Lai Cheng-Hao 賴晟浩 @chenghao_fff、orm オーム @orm_project @tomoya____fujii @noisy_eye 贊助單位 Sponsor｜台北市文化局、UGLY HALF BEER 酉鬼啤酒 @uglyhalfbeer
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#PPAPERweekends “記得對自己微笑” 週末藝術 / 展覽 / 快閃 / 美食推薦行程： 📍《青春遊客》 黃俊團 寫真展 即日起-8/10｜台北 SNAPPP寫真私館 二階社 赤波暗房 「妳清楚明白，身邊的人事物與感覺都會離妳而去。而妳能做的只有按下快門，讓青春在不可逆的底片上顯影。」 黃俊團集結十幾年影像精華，從寶麗來、拍立得、黑白底片親手放相的原稿，每張都有不同的主角與故事，現場也將販售黃俊團攝影集與攝影周邊商品。 @huang_jun_tuan @snappp_magazine 📍《Ctrl C+V》 藝術聯展 7/18-9/12｜台北 PTT SPACE 資訊快速流動、影像不斷被複製、轉傳與再製的今日，「Ctrl C+V」不只是電腦快捷鍵，而是我們理解世界的一種日常姿態，展覽以「複製、貼上、轉譯、再製」為出發點，回應當代生活中無所不在的技術迭代與影像循環。日韓台藝術家以全新作品回應AI、演算法與數位介面逐漸滲入日常，真實與虛擬之間的邊界不再清晰。 @chuang_pei_xin @glitch.home @ptt_space 📍《潮歌—光火共舞》 2026 福爾摩沙北海岸藝術季 即日起-9/27｜新北 朱銘美術館/北海岸 第四屆以「潮歌—光火共舞」為題，視角由海岸轉向內陸，由朱銘美術館核心策展，串聯藝術家、在地青創組織、居民與學校，展出包含科技互動、聲音裝置、自然生態藝術創作，以及融合社區情感的共創地景藝術，將北海岸大屯火山群地底的「火」轉化為點亮地方永續的「光」。 @jumingmuseum 📍《共編台東 Co-Editing Taitung》 文化實驗計劃 即日起-8/20｜臺東縣立圖書館 草率季攜手新啟用的臺東縣立圖書館，邀請不同背景的創作者，以書信往返的軌跡、田野筆記、創作提案與藝術家作品等方式，形成可以被閱讀、被探索的文化路徑。前來的人不只是看展，更像是在圖書館中展開一場綿長的台東文化航行，讓圖書館不只是閱讀的場所，也成為文化交流與創作發生的公共平台。 @taipeiartbookfair 📍《Hide and Seek》 ABAO 個展 7/18-8/2｜台北 one little planet 擅長以圓潤飽滿的粉嫩美學（Pastel Aesthetic）編織奇幻世界的插畫家ABAO，以在自然秩序下的「尋找（Seek）」與「躲藏（Hide）」為靈感，本次展覽轉向更內斂的心靈探索，並首度發表全新角色「Snail Baby」，溫柔地邀請觀者放慢腳步、靜靜挖掘。 @abaoabaoabao @1littleplanet 📍SPUTNIK 松菸店 7/18開幕｜西向製菸工廠 B5 區 SPUTNIK第二間實體店進駐松山文創園區，座落於舊菸廠建築之中，透過金屬鷹架與木質元素交錯堆疊，保留場域歷史感，全新狗狗角色也將登場，打造能與毛孩一起停留、交流，感受生活風格的空間。 @sputnik_tw 📍Coleman ╳ BEAMS 50 週年紀念聯名系列 即日起BEAMS官方購物網預購中 2026年適逢Coleman 50週年，同時也是BEAMS創立50週年，為紀念雙方十多年的合作關係，攜手推出歷來規模最大、最完整的聯名系列。除了睽違三年再度登場的戶外家具外，集結多款戶外用品，以BEAMS經典 Crazy Color設計與品牌代表色橘色為核心，打造兼具收藏價值與戶外機能的50週年紀念系列。 @beams_taiwan @coleman_taiwan 📍有肉 ╳ Miss V 《這秋，層層豐收》中秋禮盒 即日起預購中 植品設計品牌「有肉 SUCCULAND」推出2026中秋禮盒，以「春耘‧夏耕‧秋收」為年度節慶主軸，將一整年累積而成的感謝、思念與祝福，轉化為可以被照料、品嚐與收藏的秋日禮物，今年攜手台北人氣烘焙品牌 Miss V Bakery，共同打造一款兼具綠意陪伴、手工甜點與生活收藏感的中秋禮盒。 @succulandtw @missvbakery 📍Hotel EPISODE ╳ SAICHO ╳ 吳寶春 「MOONLIT PICNIC」 茶香檳 (氣泡茶)．酥餅中秋禮盒 即日起預購中 凱悅集團旗下伊普索酒店，將賞月、野餐、音樂與分享的生活場景濃縮於專屬野餐提籃中，邀請大家在月光下，用一場自在愜意的Moonlit Picnic，重新感受中秋團聚的美好。禮盒內精選吳寶春經典酥餅、英國獲獎品牌SAICHO無酒精茶香檳，更特別收錄由The SOCIAL by LayLow音樂總監量身策劃的Moonlit Picnic Playlist。 @episodedaantaipei - #PPAPER #台北 #台東 #行程推薦
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Ctrl C+V 將於 7/18 在 PTT Space 登場。 展覽以宏觀尺度切入技術浪潮，將其視為不斷循環的歷史進程；藝術家則從微觀的情感與日常經驗出發，凝視身處其中的當代生活處境。 展名 Ctrl C+V 既以電腦語法回應展覽對技術尺度與循環結構的思考，也指向參展藝術家的創作方法：他們透過複製、轉譯、對稱與挪用，持續測試數位時代中物質性的邊界，使作品在真實與複製、實體與虛擬之間展開游移與遊戲。 本次主視覺由設計師Yagi @yyy_yagi 製作，從日常觀察出發，以實體影像組合，呈現介於真實與虛擬之間的曖昧狀態，利用系列主視覺在數位媒體與展場現場回應展覽精神。 開幕活動將於 7/18 14:00 舉行，藝術家也將出席現場。日韓藝術家皆為首次在台發表，並將展出最新作品。活動由 酉鬼啤酒 Ugly Half Beer 獨家贊助精釀，邀請大家一同來到現場，在作品、交流與微醺之間，開啟 Ctrl C+V。 The exhibition explores technology as a recurring historical cycle, while the participating artists examine contemporary life through intimate, everyday experiences. Their works employ copying, translation, symmetry, and appropriation to question materiality in the digital age, blurring the boundaries between the real and the virtual. Visual identity by Yagi, combining physical imagery with subtle digital interventions across both online media and the exhibition space. ｜展覽資訊 information｜ Ctrl C+V 展期 Exhibition Period ｜ 2026.07.18 - 2026.09.12 開幕 Opening｜ 07.18 （六）14:00 時間 Time｜Tue. - Sat. 13:00 - 18:30 (Closed on Sundays and Mondays) 地點 Venue｜@ptt_space 臺北市松山區敦化南路一段100巷5弄31號旁 策劃 Curated by｜毛刺Glitch @glitch.home 藝術家 Artists｜Chuang Pei-Xin 莊培鑫 @chuang_pei_xin、Gijeong Goo 丘冀丁 구기정 @goo_gijeong、Lai Cheng-Hao 賴晟浩 @chenghao_fff、orm オーム @orm_project @tomoya____fujii @noisy_eye 贊助單位 Sponsor｜台北市文化局、UGLY HALF BEER 酉鬼啤酒 @uglyhalfbeer
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台北で開催中のグループ展『YONZUI』に出展している作品と @rbtxco とのコラボレーションWall Rag。 These are my artworks currently on display at the group exhibition YONZUI in Taipei, along with a collaborative piece with RBTXCO. For this collaboration, RBTXCO designer Teppei Higashi created 【Wall Rag】 a three-dimensional fabric artwork inspired by my work. 這是目前在台北舉辦的《YONZUI》聯展中，我所展出的作品，以及與 RBTXCO 的合作作品。 RBTXCO 的設計師 Teppei Higashi 以我的作品為靈感，為我創作了一件名為《Wall Rag》的布製立體作品。 2026.6.27[Sat]-7.11[Sat] group exhibition『YONZUI』 at PTT space @ptt_space 12:30-19:00 (Closed Sun&Mon) 【Artist】 冬耳　 MOYA MIZPAM Teppei Higashi @rbtxco
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