【蜷川實花展 MIKA NINAGAWA】
台北當代藝術館 MOCA Taipei
系列活動訊息即將公開，敬請期待！
【蜷川實花展 MIKA NINAGAWA】
台北當代藝術館今春隆重上檔的【蜷川實花展】，是藝術家自出道以來最大規模的藝術個展。本展完整鋪陳了蜷川實花近二十年來的創作軌跡，精要呈現了藝術家多元的創意表現及其連結脈絡，從形式到內涵，帶領觀眾一層一層地進入蜷川實花獨特迷人的意象世界。從青少年時期便熱愛拍照的蜷川實花，大學時候參與不同公開攝影比賽，呼應女性攝影師紛紛出線發聲的新浪潮，開始崛起於日本藝壇，並於2001年獲得了日本最具代表性的木村伊兵衛攝影獎。憑著獨特的視覺風格和鏡頭美學，蜷川實花在攝影界和市場上獲得了極大的成功，亦將其美學風格作了動態的延伸，2007年首部電影〈惡女花魁〉以及2012年的〈惡女羅曼死〉也得到了業界、評論、媒體及票房上的多重肯定；此後，蜷川實花不斷跨足流行文化產業，先後為多位國際著名偶像明星拍攝音樂影片，為企業商品拍攝廣告，本身也日漸活躍於娛樂圈中，成為隨時被媒體關注報導的藝術名人。2015年伊始，蜷川實花進一步發表自創品牌「M/mika ninagawa」，推出個人風格鮮明的服飾設計，積極進軍時尚產業。而當其個人藝術創作及品牌事業同步發展之際，奧運委員會及殘障運動會籌委會也正式邀聘蜷川實花擔任2020年東京奧運的籌委會理事，印證了其藝術成就不論在民間或官方，正不斷地擴張其吸引力和影響力！
This spring, the Museum of Contemporary Art (MOCA), Taipei officially presents MIKA NINAGAWA, which is the largest solo exhibition since the artist&s debut. This exhibition introduces Ninagawa&s complete works created in the past twenty years, displaying and contextualizing the essence of her versatile creative career. From its form to content, the exhibition gradually lures audience into Ninagawa&s unique and fascinating world of images. Ninagawa started photography since she was in college and engaged in various public contests. At that time, a new wave of female photographers emerged and Ninagawa also grasped the attention of the Japanese art circle and eventually awarded the Kimura Ihei Photography Award in 2001. Her distinctive visual style and aesthetics in photography made her incredible success in both photography and the commercial market. Ninagawa also started her career as a film director. Her first film Sakuran in 2007, and second film Helter Skelter in 2012, were well-received by the industry, critics, media, and achieved a box-office success. Since then, the artist has been continuously collaborating with the pop culture industry, filming music videos for famous international idols and stars, and making commercials and advertisements for various products. Ninagawa herself has also become a celebrity, active in the entertainment world and received much attention from the media all the time. At the beginning of 2015, Ninagawa launched her own brand &M/mika ninagawa&, introducing clothing lines filled with designs of her signature style and actively venturing into the fashion industry. In addition, while her artistic career and brands have been progressing, the Tokyo Organising Committee of the Olympic and Paralympic Games has also officially invited Ninagawa to be a member of the committee for the Tokyo Olympics in 2020. This shows the attraction and influence of her artistic achievements is constantly expanding in different respects and direction.&
本次於台北當代藝術館的個展，蜷川實花除了展出近二十年來的靜態攝影代表作，包括《花系列(Flowers)》、《液態夢幻(Liquid Dreams)》、《櫻(SAKURA)》、《名人肖像(Portraits)》、《自拍像(Self-image)》、《種一棵樹(PLANT A TREE)》，以及《暗黑(noir)》等系列，藝術家也特別規劃了一個裝置空間〈TAKE OVER THE WORLD〉，集結其歷年涉獵影像創作、商品企劃、及時尚設計等領域的過程軌跡和多樣成果，從中可以見識蜷川實花過人的創作精力，感受其多面的藝術才華。本次展覽內容及動線規劃，將當代館展場分為三大區塊，一樓色調繽紛地呈現了自然與人工美學的混融，兼或觸涉了日本消費文化中的耽美現象與內在矛盾；二樓前段讓觀眾窺探蜷川較個人化及私密內心的領域；及至空間最大的201展間，則有轉進為有如馬戲團般的浮世歡樂世界和民眾參與現場，而這裡也可視為藝術家馳騁藝壇征戰四方數十年後，註記和分享其輝煌戰果的紀功室，蜷川以絕對的自信和不斷擴張的行動，宣告了「攝影」不僅是影像再現的方法，更是自我主張、自我實現的極佳媒介與手段。
Ninagawa&s solo exhibition at MOCA, Taipei not only showcases her representative series of works in the past two decades, such as Flowers, Liquid Dreams, Sakura, Portraits, Self-image, PLANT A TREE, noir, etc., she also specially designs an installation space entitled, MIKA LAND, in which audience could see the diverse results and progress the artist has made throughout the years in video-making, commercial product design, and fashion design. The audience can therefore see Ninagawa&s prolific creativity and be fully immersed in her artistic talents. In terms of content and viewing sequence, the exhibition is divided into three sections. The first floor introduces a mixture of natural and artificial beauty in radiant colors, implicitly tackling the phenomenon of worshipping and pursuing beauty and its inherent conflicts in the Japanese consumer culture. The second floor reveals to the audience a more personal and private realm of the artist. In R201, the largest gallery in the museum, the atmosphere changes again and surfaces as a circus-like world of joy and fun for the audience&s participation. This space could also be viewed as an achievement room that marks and shares the sweet fruits of her endeavors after decades of diligent work in the art field. With absolute confidence and ceaseless efforts, Ninagawa declares that photography is not just a way to represent images but an excellent medium and means for self-assertion and self-realization.&
?最古老的，也就是最先進的?。蜷川實花以此為中心概念，今年特別與日本四國愛媛縣的著名老店「道後溫泉」合作，將古老的建築與街道轉化為百花齊放、魅力四射的文化藝術樂園，從而揭開了「道後溫泉藝術季」的序頁。時值2016年臺北市「世界設計之都」各項活動陸續開跑，當代館的古蹟建築空間，也因【蜷川實花展】華美絢麗作品的介入和活化、妝點，而呈現出全然不同的風貌和氛圍。在藝術、設計與文創產業整合成為時代命題與全球共競潮流之際，本展無疑特具有觀摩、借鏡的作用和意義，而蜷川實花的展覽和國際巡迴展出計畫，因為見證了從個人創作者蛻變為一個世界品牌的成功模式，相信將會在各地引發更多創意的火花，以及「有為者當若是」的行動效應。
The most ancient is also the most advanced. Ninagawa uses this saying as the central concept and collaborates with the famous &Dogo Onsen& hot spring in Ehime Prefecture, Shikoku, Japan this year. She converts the ancient architecture and streets into a cultural and artistic space filled with multicolored flowers of incredible charm, inaugurating the Mika Ninagawa & Dogo Onsen DOGO ART 2015. This year, all kinds of events and activities of World Design Capital are launching in Taipei. The historical architecture of MOCA Taipei is also transformed with a new look and ambience because of the appearance, rejuvenation and decoration of the dazzling, brilliant MIKA NINAGAWA. When integration of art, design and the cultural and creative industry becomes a prominent issue and the entire world is competing on the same stage, this exhibition unquestionably serves as a great model of emulation and reflection. As the MIKA NINAGAWA exhibition and its world tour is a successful example of how an individual artist transforms into a global brand, it is without doubt that it will bring about more creativity around the world and set in motion a chain effect of making &those who have the ability aspire to be the same.
&mika ninagawa Courtesy of Tomio Koyama Gallery
喜歡本次展覽嗎？歡迎填寫展覽問卷，謝謝您的支持與鼓勵！
●中文問卷 The Chinese Questionnaire：
●英文問卷 The English Questionnaire：
藝術家介紹 Artist Introduction
蜷川實花 MIKA NINAGAWA
廣場 / Plaza
LEXUS for MIKA〈魅?車〉
當代館廣場展出的〈LEXUS for MIKA（魅?車）〉，將一部休旅車，從現代主義風的極簡、單色，轉化為蜷川實花式的繁馥、盛錦。工商量產的消費物，也因此變成了獨一無二的藝術品，車體外觀以蜷川實花最具個人風格的花樣和花色，作為裝飾性和表現性的元素，結合了輕鬆自由的影像拼貼手法，和先進時髦的汽車包膜工藝，在汽車工業極致凝煉的設計中，注入了感性優雅的動能美學，這是蜷川實花跨足攝影、製片、電影、時尚等領域後，又一次媒合商業、設計與藝術的合體之作。【蜷川實花展】以台北當代藝術館作為世界巡迴展的首站，此作也展現了一種預示馳行的姿態，和由此啟動的象徵意義。
Displayed on MOCA Plaza, LEXUS for MIKA showcases a model which is transformed from an usual impression of car, a modern minimalistic, monochromatic look, into the Ninagawa-esque fasc hence, a commercial product of mass production is turned into a one-of-a-kind artwork. The exterior of the vehicle is adorned with Mika Ninagawa&s most personalized decorative and expressive elements. Integrating relaxing and free collage of images, along with fashion-forwarded and advanced auto foil craftsmanship, a dynamic aesthetics of sensibility and elegance is added to the ultimately refined design in the auto industry. This is Ninagawa&s another interdisciplinary work, combining commerce, design, and art after her achievements in photography, film production, movie, and fashion. MIKA NINAGAWA premieres with its first exhibition at MOCA Taipei, and this particular work also implies a state of traveling forward and symbolizes the commencement of a journey.
蜷川實花的鏡頭，擅於運用飽滿的視覺和具有張力的影像演繹生命躍動之美，透過豔彩色域的鋪陳、冷暖色系的鮮明對比或暈化轉換，推衍出寬闊而多樣的視覺層次，讓一朵朵盛開的花，從中成為視覺的焦點和世界的亮點；在她的作品中，真實自然與人工做作之美，可以同樣地張揚恣肆、美麗綻放，真實與虛幻可以平行合奏乃至於徹底化除界線，而共創蜷川實花最喜歡的一種既迷幻又絢爛的幸福感和喜悅性。無怪乎日本美術評論家松井（Midori Matsui）稱譽她為：「地上的花，天上的色」。
Ninagawa&s photography interprets the beauty of vibrancy in life with its saturated visual presentation and tension-brimming images. Through arrangement of vivid color gamut, contrast or vignette between cold and warm colors, she is able to create a wide range and variegated visual levels, rendering each blooming flower the focal point and highlight of the world. In her works, both natural and artificial beauty can be equally free and uninhibited in their full glory, reality and illusion can coexist in harmony and fully integrate, and collectively create a kind of illusory and splendid sense of happiness and joy favored by the artist. It is no wonder that the Japanese art critic, Midori Matsui, praises her works as &earthly flowers, heavenly colors.&
LEXUS for MIKA〈魅?車〉
空間裝置、數位輸出
Site Installation, Digital Print
入口形象區、105展間、105走廊 / Entrance Hall, R105, R105 Hallway
Flowers Series《花系列》
在入口形象區、105展間及其走廊展出的《Flowers Series(花系列)》，集結了充滿生命活力和色彩魅力的攝影作品，是蜷川實花極個人風格的典型。拍攝主題除了形色各異的花朵，還含括了金魚、蝶蟲標本、人像、雕像以及近攝的嘴唇等等，呈現出繽紛富麗的大千世界。這些影像作品結合現場的鏡牆與門窗，將影像觀看的機制和作用，從形象光色的感知延伸成情境心理的檢驗。陣列整齊貼在鏡牆上的一幅幅作品，以美麗的姿態作為光的焦點，映射出真實世界的細碎片段；用於洞視戶外大世界的窗，模擬呈現的則是各種微觀自然的視覺切片!於此，蜷川以虛擬交錯手法，極度美化了自然與生命的斑斕、撩亂，同時也揭露黑暗和死亡的威脅與存在。
The Flowers Series on view at the Entrance Hall, R105 and the hallway outside R105 represents the best example of Mika Ninagawa&s distinctive artistic style. Vibrant and multihued, the collection of photographs not only features a kaleidoscope of flora but also includes a wide range of subjects such as goldfish, insect specimens, portraits, sculptures, and close-ups of human lips. They collectively portray a boundless universe of colors and life. The images are displayed with the walls of mirrors, doors and windows site specifically. Such spatial installations elevate the mechanism and functionality of seeing from the perception of physical shapes and light to the examination of personal psychological activities in response to the surroundings. The orderly positioned photographs on the mirror walls serve visually as a striking medium on which the light focuses, jointly presenting a collection of fragments of the real world. The windows meant for examining the world outside are now clad with pictorial representations that exemplify the microscopic slices of nature. The visual montage manifests a fictitious reality created by Ninagawa, which on one hand greatly beautifies the colors and intricacy of nature and life as it on the other hand exposes the threat and ubiquity of darkness and mortality.
隨著色彩與色塊的佈局、流動，105展間及其走廊，組作的畫面愈加濃重飽滿，一種排山倒海的視覺膨脹感，從逼視的近觀漸次推遠出空間來，而這正反映出藝術家創作的雙重角度。蜷川實花自言：「我觀察事物有兩個方式，一是盡可能從俯瞰的角度思考大局，二是盡可能觀察最細小的部分。就是分別透過鳥和蟲的角度看世界，這兩點對我的創作很重要」。對蜷川來說，小景觀的花朵、金魚、草莓、蜜蜂與大自然的藍天等等，本質上並沒有絕對的差異，甚至物和我之間是可以同化合一的，她說：「&自己就像變成植物一樣，我很喜歡小蟲或蝴蝶停在花朵上面的片刻，有兩個時間點我會按下快門，一是感覺自己跟植物融為一體，想像自己成為那個植物，二是小蟲停在成為植物的我身上，那一剎那，所有物體的輪廓是模糊的，事物的界線變得有些曖昧，那個瞬間就是我變成花，花變成我的感覺」。類此，藝術家讓其肉眼的敏銳感知，流洩成心裡的魔幻色彩，渲染到被攝物的表層、皮膜，湮漫了鏡頭下的花蕊、魚鱗、果核，乃至於相機前的整個空間和世界。這些作品美麗的外形背後，存在某些完全相反的意涵，如藝術家自言：「這更像是命運，母親給了我『實花』這個名字，因為她希望我可以擁有花一樣的，會開花結果的人生，碰巧的是，鮮花那種短暫的生命力在創作中深深吸引了我」。
The arrangement and flow of colors and shapes have established an incrementally saturated prospect in Room 105 and its hallway, resulting in a sense of overwhelming inflation of vision for the viewer. The overwhelming compilation of close-up photos gradually evolves into an open landscape, exemplifying the double-perspective that the artist often maneuvers. &I employ two approaches simultaneously when observing things,& explained Mika Ninagawa. &One is to understand the overall context in the fashion of a bird&s-eye view. The other is to observe the minutest details, that is, to view the world from the viewpoint of a bird or an insect. These two perspectives are crucial for my creative practice.& For Ninagawa, small-scaled subjects, such as flowers, goldfish, strawberries and bees, and the vast sky have no fundamental differences. In the most extreme cases, the line between the artist and the surroundings even becomes nullified. On such nullification, she said, &I enjoy when a bug or a butterfly rests on me as if I had become a plant. I usually press the shutter at two types of timing&when I find myself unified with a plant as a result of imagining and when an insect lands on me, who had become a plant. At such moments the contour of things becomes blurred and the line between ambivalent. It feels like I had turned into the flower and the flower me.& In addition to flowers, the stamen, fish scales, pit of fruit and even the entire space and world captured in the lens all become brightly pigmented as she translates her visual sensibility into surreal coloration. While visually appealing, the photos are contrived with undertones. As Ninagawa puts it, &As if it is a destiny, my mother gave me the name Mika, meaning &flourishing flowers,& as a symbol for a thriving life. Ironically, it is the ephemeral vitality of the flowers that captivates me immensely and inspires my work.&
Flowers&Series《花系列》
數位輸出、藝術微噴，透光片輸出
Digital Print,Gicl&e Print, Transparent Film
尺寸因空間而定&Dimensions Variable
1樓走廊 / 1F Hallway
FLOWER ADDICT Series《豔菊系列》
一樓長廊，以蜷川實花鏡頭下的八幅菊花特寫，放大成現場八個窗景的圖像。品相各異、經過人工染色而更顯得錦簇飽滿的菊花，原先是鏡頭俯視下的一種美麗「小尤物」，於此卻彷彿教堂牆面的彩繪玻璃花窗一般，以居高臨下、神聖堂皇的樣態，讓行過長廊的觀眾，逐一細看或瞻仰它們的形色與光彩。使勁開展的蕊瓣，花色絕倫如群芳競豔，蜷川以花為主題的影像作品，或呈現互補色的冷熱對比、或突顯近似色的相互簇擁，都有意讓色彩超越形體限制。色彩，如過飽和的「情/慾」一般，從本體或肉身湧溢而出，是以，在這些圖像中，可看到不少菊花被處理成如浸泡在色彩漿液中的狀態，來詮釋自然的活力和生命的喜悅。
On the first floor of the Museum, eight close-up photographs of chrysanthemums are stretched into large-scale sizes and mounted onto the windows lining the hallway, replacing the original glass and the view it allows. The chrysanthemums are disparate in types and artificially dyed to create an effect of excessive colorfulness and abundance. The beautiful and delicate flowers, which were captured from the above by the camera, are now altered to a superior and saintly position up on the hallway, as if the reminiscent of the stained glass at churches. They draw the viewers passing by, demanding careful examination and reverence for their forms and bright tinctures. In the series featuring flowers, the blooms often embrace vigorous stamina and exceptional chromatism. The artist intentionally manipulates colors to challenge the limitation of physicality. Complementary color schemes make the contrast stand out while analogous colors create harmonious visual clusters. In the images, saturated pigmentation discharge like overflown sentiments and eroticism. As seen in the photographs, many of the chrysanthemums are extravagantly hued as if soaked in colorful paints. They concretize the artist&s assertion of the exuberance of nature and joyousness of life.
再美的花，盛放之後終將凋謝，蜷川實花選擇清雅高逸、生命力堅韌的白菊，透過非自然方式，讓活菊吸收人工調製的各色染料，而後成為鏡頭下花姿招展、美豔絕倫、集自然與人工之大成的一種美感典型。此系列作品，從精神面呼應人們對於「生命當放、青春不可留白」的信念，在創作手法上，也提出了將普世性期望結合當代視覺與流行文化的美學主張。
All blossoms are destined to wither. Mika Ninagawa chooses white chrysanthemums for the symbolism of nobility and tenacity. The flowers are dyed with artificial pigments and forged a flamboyant and unprecedented aesthetic prototype&a perfect merger between the natural and the man-made. Conceptually, the&Flower ADDICT Series&resonates with the pursuits of the life philosophy carpe diem. Artistically, it welds together universal desires and contemporary art as well as popular culture to address her sense of artistic aesthetics.
「菊與刀」，向來被用於詮釋日本文化中的兩極美學，菊花代表的是溫婉恬靜的自然觀照，武士刀象徵的是專注快準的人類行動，蜷川的自然與人工美學，隱約融合了日本文化的兩極。
Metaphorically, &The Chrysanthemum and the Sword& has long been referred to suggest the polarized contradictions in Japanese cultural traditions. The chrysanthemum symbolizes tender and peaceful reflection on nature as the sword stands for some of the most single-minded and aggressive actions taken by human being. Ninagawa&s play on nature and artificial manipulation hints at the incorporation of such contradictions in Japanese culture.
FLOWER ADDICT&Series《豔菊系列》
透光片輸出&Transparent Film
尺寸因空間而定&Dimensions Variable
106展間 / R106
Liquid Dreams&Series (Photograph)《液態夢幻系列》&(攝影)
106展間中，展出以金魚為主題的攝影作品。金魚是鯽魚(*註)的突變體，人類為了觀賞和樂趣，為了追求形色美麗又奇特的金魚，不斷地將其配種、改造，也因此導致金魚從細胞到生命的異常發展。金魚依存在人類所設定的美感樣式和生命框架中，以幸福自若的姿態成天悠游在毫無隱私的觀賞櫥窗中，蜷川作品對這種由來已久的豢養文化及其延伸效應，呈現了不贊同也不批判的冷靜觀點，因為人類本身其實就是生存在這種矛盾的框架裡。蜷川希望提醒觀眾，欣賞作品中這些金魚被操控的身體美感和生命狀態之同時，不要忘卻了反照自身最原本、真切、自然的面貌和立場；對她而言，創作者拍攝呈現雖是有形、特定的事物，但是可以延伸為對一些價值觀念、人文現象的探索。
R106 exhibits photographs of goldfish from Liquid Dreams. Goldfish is a mutation bred from Prussian carp (*note). For human appreciation, people continuously cross-breed and transform goldfish for more beautiful and unique appearance, which also causes goldfish&s abnormal development in cells and in lives. Goldfish&s existence is aesthetically designed and framed by human beings.They swim in their own happiness all day long in ornamental fish tanks without any privacy. Ninagawa presents her perspective towards this long breeding culture and its extended consequences without showing any affirmation or judgment. As a matter of fact, human being&s lives are also framed in such contradictory way. Ninagawa hopes to remind her audience to reflect upon their truest, most original and natural selves and standpoints while appreciating the manipulated physical beauty and existence of these goldfish. For the artist, even though the photographs present something tangible and specific, they could also be extended to a kind of exploration of values and phenomena in human life.
註：鯽魚（學名：Carassius auratus）在歐亞地區為常見淡水魚。鯽魚經過人工養殖和選育，可以產生許多新品種，金魚就是由此產生的一種觀賞專用的魚類。
*Note:&Prussian carp (Scientific name: Carassius auratus) is a common freshwater fish in Europe and Asia. Through selective breeding, a great variety of goldfish breeds have been produced for ornamental and viewing purposes.
Liquid Dreams&Series (Photograph)《液態夢幻系列》&(攝影)
藝術微噴、水晶裱&Gicl&e Print Mounted on Plexiglas
尺寸因空間而定&Dimensions Variable
107展間 / R107 &
Liquid Dreams Series(Video)《液態夢幻系列)》(錄像)
107展間的三螢幕投影裝置，同步播出蜷川專程到香港金魚街、泰國和其他亞洲地區所拍攝的金魚錄像，成群如織的金魚游動於顯然擁擠的透明水箱中，頂著偌大紅色頭冠，或身姿粉黛柔美、或金碧亮眼的金魚，映著一下紫藍和一下鮮綠的螢光水色和泡沫，彷彿爭相吸引路人的眼光；反之，飼養這些變種魚群的人類，則是以模糊恍動的形影，來回出現在背景的市井街道中，有意無意地，將主宰者的角色弱化成了無足輕重的芸芸眾生！感覺上，這些異質影音的複合和對話，有力地突顯了在本地城市和異國街頭同樣流行的一種文明，也就是將商業櫥窗轉化成「觀看和被觀看」的流行舞臺和商業戲碼。
The three-channel video installation in R107 synchronously shows videos of goldfish that Ninagawa has filmed in Hong Kong goldfish market, Thailand, and other regions in Asia to where she traveled especially for filming. As swarms of goldfish are swimming in transparent obviously crowded, water tanks, with large red hoods, tender and colorful bodies, and bright and luminous eyes, they appeal to the passers-by in a fluorescent background of water and foam that is sometimes purple-blue, sometimes bright green. On the contrary, human beings who used to keep these mutant fish are shown as blurry and swaying figures, appearing back and forth in the background of market streets.Intentionally or inadvertently, they show in a manner that downplays the originally dominant figures as if they are unimportant among all living beings. In a way, the combination of and the dialogue between these heterogeneous videos and audios unveil a kind of pop culture which has its presence on both local and foreign streets: an idea that window displays have been transformed into a pop stage and commercial drama of &viewing and being viewed.&
Liquid Dreams&Series(Video)《液態夢幻系列)》(錄像)
三頻道錄像&Three-Channel Video
3 min. 5 sec.
108展間 / R108
SAKURA Series《櫻系列》
108展間四個牆面及地板，鋪天蓋地裱貼了櫻花盛開的數位壁紙，其中以粉紅色為主調的兩面牆，盛開的花幾乎完全遮蔽了天空，強調了旺盛的生命和豐滿的視覺，另外的兩面牆，則是鋪陳了白色櫻花和藍色天空，天地和諧對話的另一情境。在這四面牆紙上，以特寫鏡頭和更高解析度呈現的近十張櫻花影像，選自日「東日本大地震」發生後，蜷川在那一星期中所拍攝的數千張作品，根據她自己的說法：「日本人都愛看櫻花，但地震後的那段時日，大家都沒心情賞櫻了」。相反地，身為藝術家，蜷川想拍攝櫻花的心情卻特別強烈，她說：「&怎樣都忘不了那時怒放的櫻花，那櫻海一般壯闊的姿態、著實令人屏息難忘!那一週裡，我拍下了2500張的櫻花，拼了命地拍攝，彷彿為了要記住什麼似的&，日本是如此的美麗，我將以此作為新起點，在我們重啟的新生活中認真地活著。」此系列作品展現的不僅僅是櫻花的美，還有櫻花的堅毅與強韌，並藉此療慰受創者的心靈。
The walls and floor of R108 are entirely covered with digitally printed wallpaper of cherry blossoms. Among them are the two main pink walls, on which the full blossoms almost cover the sky completely, emphasizing exuberant life and visual richness. The other two walls are white cherry blossoms and the blue sky, displaying a harmonious dialogue between heaven and earth. Nearly ten close-up images of cherry blossoms in high resolution are selected from thousands of Ninagawa&s works photographed during the week after the 311 Great East Japan Earthquake in 2011. According to the artist, &Japanese people love to however, no one was in the mood for that during those days after the earthquake.& Contrarily, as an artist, Ninagawa felt a particularly strong urge to photograph the cherry blossoms. She said, &I could not bring myself to forget the cherry blossoms in full bloom. The magnificence of the cherry blossom sea really made one forget to breathe and was unforgettable! During that week, I took 2500 photos of cherry blossoms. I photographed like crazy, as if I wanted to remember something& Japan was so beautiful that I would take this work as a fresh start, and live earnestly the new life that we started again.& This series presents not only the beauty of cherry blossoms but also their perseverance and strength, which would comfort the injured minds.
蜷川除了用攝影存記了那年因天災而失寵的櫻花，也特意將它們集結出版成《櫻(SAKURA)》攝影專輯，除了以此詮釋藝術家對於大自然破壞力與生命力的雙重感悟，也展現了創作者對自身社會性角色的一種體認和實踐，讓人們後續回顧2011年之創痛時，也有機會補讀當年櫻花盛開的樣子，和生命美學不因鉅變或災厄而停擺的啟示意義。
In addition to photographing the cherry blossoms ignored for the natural disaster, Ninagawa published a photography book of these photos, titled SAKURA, through which she interpreted her newfound understanding of both nature&s destructive power and life force. The book also demonstrated the awareness and practice of an artist as a social role. Thus, when people look back on the traumatized experience of 2011, they will also have a chance to catch up on the blooming cherry blossoms they have missed in that year and understand the meaning that life does not stop simply because of any drastic changes or catastrophes.
SAKURA&Series《櫻系列》
數位輸出、藝術微噴 、水晶裱&Digital Print, Gicl&e Print Mounted on Plexiglas
尺寸因空間而定&Dimensions Variable
1樓西側樓梯、205展間 / 1F Western Stairway, R205
Portraits Series《人像系列》
自1F西側樓梯至205展間，牆面展出的圖像為亞洲各地演員、歌星等影視及流行文化界的人物攝影，也是蜷川將其藝術創作和視覺美學，擴展到時尚設計與流行文化的跨界之作，此系列延伸了她自成一脈的創作思維，詮釋亮麗表徵之下，演藝世界的慾望伏流。
Starting from the west wing stairway to R205, audience can see on the walls the portraits of actors, actresses, singers from movie and TV as well as pop culture celebrities. The series showcases how Ninagawa extends her artistic creation and visual aesthetics to other fields such as fashion design and pop culture. It is also a continuation of her distinctive creative thinking, elaborating on the undercurrent of desire behind the glamorous and dazzling appearances in the entertainment world.
出生成長於日本藝能界，看慣了舞臺上諸般人物風采的蜷川，對於鎂光燈背後原生的慾望，乃至於舞臺競爭的殘酷一面，也特別關注。「偶像」這個閃爍熠熠的發光體，可視為個人及社會慾望的化身，眾星拱月的光環後面是藝人之間的爭奇鬥艷，舞臺上真正繽紛演出的，是潮起潮落的嚴酷戲碼。
Born and raised in the Japanese showbiz circle, Ninagawa has gotten fairly used to the glamour of all the figures on stage. She also pays special attention to things, from individual desires to the cruel competition on stage. &Idol&, the iridescent existence, could be taken as an incarnation of personal and social desire. Behind the dazzle of being surrounded and worshipped are contests and competitions
what is honestly performed on stage is cruel rise and fall.
蜷川的人像攝影系列，雖以濃烈鮮豔的風格和色彩著稱，但重點不在拍攝對象是否外貌明豔或妝扮嬌媚，而是通過人物角色與服裝場景的構設，以及光影色彩的鋪陳，透過鏡頭去發現和捕捉他們原本的性格及魅力潛質，繼而將之提升至最高的境界。蜷川表示：「&其實我只是準備了一個類劇場的舞臺，再加上一點點妄想，通過這個馳騁著想像的妄想劇場，誘發出拍攝對象原生質素的釋放，既不諂媚拍攝對象，同時又能將其魅力徹底展現。」
Ninagawa&s portrait series is known for its vivid, strong style and colors. However, what really matters is not the subject&s gorgeous appearance or charming costume or make-up. Instead, through the construction of characters, costume, and setting along with the orchestration of light, shadow and colors, Ninagawa captures the essence of people&s true personality and charisma then elevates it to the most prominent point. In her own words, &I simply prepare a theatrical stage and add a little bit of interpretation. Through this wildly imaginative theater of illusion, the original quality of the subject is brought out, enabling a complete release of his or her charm without being sycophantic.&
Portraits&Series《人像系列》
數位輸出、藝術微噴&Digital Print, Gicl&e Print
尺寸因空間而定&Dimensions Variable
2樓走廊 / 2F Hallway
noir Series《暗黑系列》
有別於1樓通廊高彩飽滿的《FLOWER ADDICT (豔菊)》窗景圖像，2樓走廊展出的《noir（暗黑系列）》作品，以無彩色的影像，探討/呈現了視覺感知的兩極；耀眼的光線能使色彩搶眼突出，但也能讓陰影更加濃烈，蜷川相信藝術披露或探照的不應只是豔麗的世界，對於一些背後的或陰暗的事物，同樣可用纖細的心和眼去加以鑑照或表現。
Different from FLOWER ADDICT Series on the windows in the 1F Hallway which displays saturated colors, noir Series in the 2F Hallway explores and represents the two opposites of visual perception with achromatic images. Bright light could make colors more vivid and eye-catching,at the same time enable shadows to grow darker and more powerful. Ninagawa believes that art ought not to reveal or spotlights only the bright-colored and beautiful world, but with a delicate heart and attentive eyes, it can also provide a lesson or represent things of the world&s darker side.
《Noir（暗黑系列）》作品，結合廊道的五扇大木窗，呈現生活拾景和城市街景的片段和灰階影像的精彩演出，反映著人間的情色慾望百態，誠如攝影家森山大道所說：「城市本身就是人類慾望的集合體，街道就是反射所有慾望的劇場。」破碎、不完整的畫面，像是斷續不全的篇章故事，蜷川實花透過鏡頭，在光線的遞移間表現出黑灰白的層次變化，她自言能從漆黑中看見色彩，自光彩中感受黑暗，正是這樣敏銳和感性，賦予作品某種奧迷而耐人解讀的特性。
Making use of the five large wooden windows in the hallway, noir Series shows outstanding presentation of achromatic images and fragments of life and cityscape, reflecting the hundred faces of lusts and desires in the mundane world. As Photographer Daido Moriyama puts it, &a city itself is like a collective of human desires, and the street is a theater that reflects all desires.& Fragmented, incomplete images are like broken narratives. Through her lens, Ninagawa presents the changes in gradation of black, gray and white in the shifting of light. She states that she sees colors in pitch black and perceives darkness in bright colors. It is precisely because of such acuteness and sensibility that give her work a mysteriously intoxicating and intriguing quality.
noir&Series《暗黑系列》
透光片輸出&Transparent Film
尺寸因空間而定&Dimensions Variable
204-1展間/ R204-1（本展間禁止攝影）
Male Portraits Series《男性肖像系列》
《Male Portraits Series (男性肖像系列)》，有別於蜷川以舞臺和道具搭設華麗背景的作品，此系列作品的拍攝選在日常性的場域，如飯店房間、個人臥室中進行，也因此，攝影者與被拍攝對象之間，不再是主客分明的關係，而存在著某種心理拉鋸的互動狀態。另外，相較於日本傳統社會慣用男性沙文主義的視角來拍攝和再現女性，蜷川則由女性觀點拍攝男性，除了開拓日本攝影界罕見的主題，對如何觀看男人與描述男人，實際也提出了不同於以往的表達方式。這些取材於現實空間和真實環境中的男性，以一種信任的眼神和姿態面對鏡頭，呈現的是自然的性格和生活化的劇情，這些照片同時卸載了觀看者和被觀看者的心防，即使鏡頭和人物之間隔著一段距離，感覺卻是相當親切自在的，這批訴諸當下直覺和情感的抓拍式攝影作品，具現了蜷川人像攝影不為人知的另一種魅力。
Male Portraits Series is different from Ninagawa&s other works, which include splendid backgrounds fabricated with stages and plots. On the contrary, this series is created in sites of daily life, such as a hotel room or a personal bedroom. Therefore, there is no clear subject-object relationship between the photographer
instead, there exists a kind of interactive, psychological tug-of-war. Moreover, unlike traditional Japanese society in which it is common to photograph and represent women from a male chauvinist perspective, Ninagawa photographs men from a female&s perspective, which not only introduces an alternative realm in the Japanese photography but also proposes a fresh way of expression in terms of how to perceive and portray men. Found in real-life space and environment, these men face the camera with a trusting gaze and postures. These works portray their natural characters and some down-to-earth circumstances. They also remove the guard of the photographer and the photographed. Even though there is a distance between the lens and the person, there is a friendly and relaxing feeling. Appealing to instinct and feelings of the moment, these snapshot-like photos display a lesser-known charm of Ninagawa&s portraits.
Male Portraits&Series《男性肖像系列》
輸出&Inkjet Print
尺寸因空間而定&Dimensions Variable
204-2、203-1展間/ R204-2, R203-1
Self-image Series《自拍像系列》
蜷川以「攝影家」出道時，初試啼聲之作便是自拍像。然後，聲名鵲起，隨其知名度相繼而來的，是如電影、廣告片拍攝之類的大型合作案。團隊合作其實也就是一種混雜的創作形態，在這當中如何找回個人保有自我，就變成了另一種考驗和挑戰。蜷川自2007年開始投入團隊導向的電影創作，在執導電影之際，卻不斷湧起另一股自我尋找的欲望，彷彿外界的喧嚷繁囂，更讓人想回歸內心寂靜的沉澱，此系列作品原本無意對外發表，僅是單純地為自己而拍，所以沒有任何偽裝或武裝，只有赤裸、本我、真純的蜷川。這批自拍照的質地和內涵，誠如她的父親，日本劇場大師蜷川幸雄於《Self-image (自拍像)》攝影集中，所寫的一段文字：「&這就是當一個人設法包容這個世界、設法讓自己融入這個世界時才會展現出的本質」。
When Ninagawa started her career as a photographer, her debut works were self-portraits. As time goes by, her reputation was built up, and major collaborations such as movie and commercial projects ensued. Team collaboration is an intermixing form of creative work and how to retrieve one&s individuality and maintain the self in these works becomes a challenge. From 2007, Ninagawa started her team-oriented work. Since then, an urge to seek her own self kept emerging while she was directing the team. It was the external uproars and boisterousness that made her long for a return to her inner tranquility. At the beginning, this series was not meant to be shown in public. Originally, it was something simply done for herself. Therefore, one could see no camouflage or guard in the works, but only the genuine and authentic Ninagawa in her true colors. Speaking of what the essence and meaning of the Self-image Series are, her father, Yukio Ninagawa, a Japanese theater master, has described it in the book of Self-image: &People reveal their essence in the way they accept the world and how they attempt to reconcile themselves with it.&
Self-image&Series《自拍像系列》
藝術微噴&Gicl&e Print
鋁框&Aluminium Framed
尺寸因空間而定&Dimensions Variable
203-2展間/ R203-2
PLANT A TREE Series《種一棵樹系列》
203-2展間牆面、地面皆以黑色為主調，呼應蜷川《PLANT A TREE Series (種一棵樹系列)》所呈現的櫻之輕柔和情之沉重。
The walls and floor of R203-2 are all in black, responding to the tenderness of cherry blossoms and the emotional denseness featured in Ninagawa&s&PLANT A TREE&Series.
此系列作品攝於2010年春天的東京賞櫻勝地目黑川，後收錄於2011年發行之攝影集《PLANT A TREE》。蜷川以數小時拍下櫻花散落之際的樣貌，畫面中櫻花紛飛似雪飄落河面，黑暗沉著的背景，映現出一片壯闊卻清冷的無邊漫漶；藝術家透過直觀的自然影像寄寓/封存了當下的時光、情感、和記憶。這不是花期將盡而搶鏡頭的櫻吹雪，而是承載了那一天、那一刻的極度感傷而拍攝完成的心像之作。
This series was photographed at Meguro River(one of the most famous places to see cherry blossoms in Tokyo) in the spring of 2010, and was later included in the photography book, PLANT A TREE, published in 2011. Ninagawa spent hours documenting the falling moments of the cherry blossoms. The flying cherry blossoms in the images resemble falling snow on the river, and the dark, placid background revealed a vast, desolate and infinite blurriness. The intuitive and direct images of nature epitomize and preserve the moments, feelings and memories of the artist at that time. This series is no mere &sakura fubuki& (a flurry of falling cherry blossoms) captured at the end of the flowering season, but image of the mind that bears the extreme sorrowfulness of the day and the moment.
PLANT A TREE&Series《種一棵樹系列》
相紙輸出&C-Print
木框&Wood Framed
72.8&48.5 cm
202展間、中樓梯 / R202, Central Stairway
noir Series《暗黑系列》
202展間以及中樓梯展出的《noir Series (暗黑系列)》，選自2010年發行之攝影集《noir》，與二樓長廊窗景之新作同為一系列作品。拍攝題材包括生物、自然、人工化的千奇百態，雖為彩色作品，相較於明亮斑斕的花、金魚、菊等系列，卻顯得黑暗而濃重。蜷川描述：「閃耀眩目的光線，黑暗靜靜地從中滲流而出，每當捕捉到那樣的黑暗，我心中總是一陣空虛的恍惚，&若仔細凝望，有一種令人喘不過氣的窒息感，畫面中數以萬計的生與死映入眼簾&&萬物的屍體成為人類的餐中食、花朵凋謝前總是奮力綻放、寵物受人豢養卻身處於籠中供人賞玩&，生命的姿態是如此地無情而耀眼。然而，新生命仍前仆後繼地誕生，同時，也一天一天地邁向死亡&，這日復一日令人無感的日子，我仍得奮力地活下去」。
The&noir&Series on view in R202 and Central Stairway is selected from the photography book,&noir, published in 2010, and belongs to the same series of the new works exhibited on the windows in the 2F Hallway. The photographed subjects include different faces of living creatures, nature, and those that are artificial. Although the images are in colors, they seem relatively dark and heavy comparing to the bright and multi-colored series of flowers, goldfish, and chrysanthemums. According to Ninagawa, &The dazzling and blinding light is quietly sieved through the darkness. Whenever I capture darkness like that, a kind of empty trance always takes over my mind&when carefully gazing into it, therein lies a sense of suffocation. Images of thousands of lives and deaths flash across&carcasses of all living beings become human& flowers always give their all to blossom bef pets are kept and yet caged for people&s appreciation and amusement& The condition of life is so relentless but resplendent. However, lives are being born continuously, and at the same time, moving towards death as time flows& In the day-after-day, senseless days, I still have to do my best to carry on.&
《noir Series (暗黑系列)》，敢情是蜷川自生命哲學與生活美學中有感而發的一種人生宣言！
The noir Series is definitely a form of Ninagawa&s declaration of life gained from her life philosophy and living aesthetics!
noir&Series《暗黑系列》
數位輸出、藝術微噴&Digital Print, Gicl&e Print
尺寸因空間而定&Dimensions Variable
201展間/ R201
TAKE OVER THE WORLD〈征服世界〉
201展間以落地的簾幕、菱形圖案的門柱，以及門額上的「MIKA LAND」華麗匾額，建構了一個歡樂取向的蜷川樂園外觀。內部展間為雙重八角形的空間設計，紗幕的天空中，懸吊著七彩復古的燈籠，依照動線先後出現在外層展間的是攝影區、服飾區、文創區、年表及文獻區，內層展區則藉由七面投影，呈現蜷川歷年MV、短片、電視廣告、電影等剪輯連播之31部動態影像。這整個空間透過各類影片、圖像、商品等炫麗合奏，展現了蜷川實花以此為基地征服世界的企圖與心願。
A fun-oriented Ninagawa world is constructed in R201 with ceiling-to-floor curtains, doorposts decorated with diamond-shaped patterns, and a gorgeous inscribed board that reads &MIKA LAND.& Inside the gallery is a double-octagonal space. Colorful, retro-style lanterns are hanging from the tulle-veiled ceiling. Following the exhibition route, audience will see many sections of archival exhibits. There are photography section, clothing section, cultural and creative section, and chronology and documentation section in the outer area. Seven projections in the inner area display 31 videos, including MVs, short films, TV commercials, and movies, which Ninagawa has produced throughout the years. With an incredible ensemble of all types of videos, images, and commercial products, the entire space demonstrates Ninagawa&s ambition and her hope to use this as her base to take over the world.
蜷川自藝術創作開始便積極地將作品商品化。即便遭受評論家的批評，並有因被過度消費而造成她自身與作品的快速凋零之風險，她仍選擇置身其中。她早有覺悟這世界就是由人類眾多欲望所交織而成，因而不避諱地讓其作品進入普羅大眾市場。她自言：「我要讓人們在其生活周遭都能輕易地取得『真正的藝術品』」。她認為昂貴的藝術品市場建構於少數高端消費者和特定人士的評價，對她而言，小自設計一枝原子筆，大至裝飾一架飛機，只要能以作品接觸消費者，藉此瞭解廣大群眾的欲望，她都會設法讓自己融入其中，從而獲至肯定。基於如此的信念，無怪乎她會說：「我的夢想是征服世界」。
Ever since the beginning of her artistic career, Ninagawa has been actively introducing merchandise related to her artworks. Despite critics& criticism and the risk of rapid downfall of herself and her artistic work due to being overly consumed by the market, she has still chosen to be part of it. At a very early stage, she has already realized that the world is made of all kinds of human desires. Therefore, she has not avoided introducing her works into the public market. In her own words, &I want to enable people to have easy access to &real artworks& in life.& In her opinion, expensive art market is constructed by a few elite consumers and assessment of specific people. For her, from as small as a pen to as large as an airplane, as long as she could reach consumers and get to understand the vast public&s desires, she would not hesitate to allow herself to be part of it and gain recognition from it. Because of such belief, it is no wonder that she says, &my dream is to take over the world.&
TAKE OVER THE WORLD〈征服世界〉
特別感謝&Special Thanks to：
AKB48&ここにいたこと (就是在這裡)/CD
AKB48&君はメロディー (你是旋律) /CD
AYABAMBI&Mgirl/雜誌
BUMP OF CHICKEN/RAY 藝人照片
CHIHARU&LUMINE/廣告
Hello Kitty&「不思議の国のハローキティ」鳴謝 SANRIO co., LTD/廣告
知英 Jiyoung&VOGUE Taiwan/雜誌
MIKIKI Hong Kong/廣告
安室奈美惠&Marie Claire Hong Kong/雜誌
安室奈美惠&VOGUE Taiwan/雜誌
綾野剛&VOGUE Taiwan/雜誌
大島優子&さよならクロール (再見自由式)/CD
大島優子&LOVEフォト/雜誌
桐谷美玲&FRaU/雜誌
桐谷美玲&Mgirl/雜誌
栗山千明&FHM男人裝/雜誌
栗山千明&FRaU/雜誌
倖田來未&Pink Spider inspired by Buffalo 5人娘/MV
倖田來未&Color The Cover/CD
小松菜奈&LUMINE/廣告
紗榮子&Sweet/雜誌
澤尻英龍華&Mgirl/雜誌
澤尻英龍華&VOGUE Taiwan/雜誌
椎名林檎&VOGUE Taiwan/雜誌
篠田麻里子&Mgirl/雜誌
柴崎幸&VOGUE Taiwan/雜誌
島崎遙香&Hot Pepper Beauty
島崎遙香&Mgirl/雜誌
玉城 Tina&Mgirl/雜誌
土屋安娜&Mgirl/雜誌
土屋安娜&VOGUE Taiwan/雜誌
電波組.inc&TOKYO INNOCENCE/寫真集
富永愛&ELLE Hong Kong/雜誌
福山雅治&化身/CD
ふなっしー(船梨精) &2015年月曆
堀北真希&FRaU/雜誌
前田敦子&VOGUE Taiwan/雜誌
前田敦子&Mgirl/雜誌
松岡 Mona&ELLE China/雜誌
松岡 Mona&VOGUE Taiwan/雜誌
Mademoiselle Yulia&TOKYO INNOCENCE/寫真集
水原希子&VOGUE Taiwan/雜誌
水原希子&Vision/雜誌
山田優&shu uemura sakura collection 2011
渡邊麻友&Hot Pepper Beauty
宮本彩菜&LUMINE/廣告
西島隆弘（AAA）&Numero TOKYO/雜誌
立花惠理&Mgirl/雜誌
立花惠理&Mgirl/Merrysight/雜誌
立花惠理&VOGUE Taiwan/雜誌
永瀬正敏&N@G+S.F.2002,Masatoshi Nagase Official Portal Website
東方神起&太陽/寫真集
三吉彩花&Mgirl/雜誌
古川雄輝&FRaU/雜誌
Louise Wong&CASIO EXILIM/廣告
五月天 阿信 Ashin&STAIRWAY TO HEAVEN 蜷川実花&阿信 天堂 影像書/寫真集
白百何&瑞麗服飾美容/雜誌
蔡依林&VOGUE Taiwan/雜誌
康倩文&COSMOPOLITAN China/雜誌
杜鵑&COSMOPOLITAN China/雜誌
范冰冰&FHM男人裝/雜誌
Lina Wang&Harper's BAZAAR Hong Kong/雜誌
梁靜茹&崇拜/CD
林依晨&蘭陵王/電視劇
林依晨 陳曉東&蘭陵王/電視劇
林志玲&VOGUE Taiwan/雜誌
陳嘉樺 Ella&VOGUE Taiwan/雜誌
田馥甄 Hebe&VOGUE Taiwan/雜誌
任家萱 Selina&VOGUE Taiwan/雜誌
S.H.E&蜷川實花展主視覺
蕭敬騰&VOGUE Taiwan/雜誌
楊丞琳&VOGUE Taiwan/雜誌
周秀娜&East Touch Hong Kong/雜誌
福島莉拉&FIGARO Japon/雜誌
安心亞&VOGUE Taiwan/雜誌
王若琳&VOGUE Taiwan/雜誌
郭碧婷&VOGUE Taiwan/雜誌
簡嫚書&VOGUE Taiwan/雜誌
謝欣穎&VOGUE Taiwan/雜誌
周湯豪&VOGUE Taiwan/雜誌
信&VOGUE Taiwan/雜誌
孫芸芸&VOGUE Taiwan/雜誌
張孝全&VOGUE Taiwan/雜誌
張子萱&瑞麗服飾美容/雜誌
張子萱&瑞麗服飾美容/雜誌
張鈞甯&VOGUE Taiwan/雜誌
陳庭妮&VOGUE Taiwan/雜誌
陳柏霖&VOGUE Taiwan/雜誌
楊謹華&VOGUE Taiwan/雜誌
羅志祥&VOGUE Taiwan/雜誌
路嘉怡&VOGUE Taiwan/雜誌
彭于晏&VOGUE Taiwan/雜誌
范曉萱&VOGUE Taiwan/雜誌
賈靜雯&Make a Wish/CD
馮紹峰 林依晨&蘭陵王/電視劇
紀培慧&VOGUE Taiwan/雜誌
AMIAYA&MAGIC COLOR/CD
SHIHO&Sweet/雜誌
秋元梢&Mgirl/雜誌
杏&FRaU/雜誌
石原里美&FRaU/雜誌
井上真央&FRaU/雜誌
太田莉菜&Mgirl/雜誌
筧美和子&Mgirl/雜誌
菊地凛子&LOVEフォト/雜誌
北川景子&R25 Extra Photo Edition by Sony Ericsson/2011/廣告
北野武&SIGHT/雜誌
黒木美沙&FRaU/雜誌
齋藤工&齋藤工 蜷川實花/寫真集
佐佐木希&SWAK/雜誌
佐藤健&Harper's BAZAAR Japan/雜誌
壇蜜&Warp/雜誌
壇蜜&美術手帖/雜誌
豐川悦司&豐川悦司 蜷川實花/寫真集
中川翔子&Mgirl/雜誌
仲里依紗&Mgirl/雜誌
成宮寛貴Chorus/雜誌
橋本愛&LUMINE/廣告
長谷川潤&MAQUIA/雜誌
松坂桃李&Chorus/雜誌
松田翔太&月刊MEN松田翔太/寫真集
道端 Jessica&Samantha Thavasa/廣告
向井理&LOVEフォト/雜誌
Momoiro Clover Z&Mgirl/雜誌
森星&JR名古屋高島屋/廣告
吉川雛乃&MAMA MARIA/雜誌
ROLA&Mgirl/雜誌
百田夏菜子&Mgirl/雜誌
矢澤永吉&Mgirl/雜誌
紗羅 Mary&Oh! My RODY/雜誌
《蜷川實花X後藤繁雄》創作座談
Sat. 14:00-16:00
講師：蜷川實花／藝術家
& & & & & 後藤繁雄／京都造形藝術大學教授
Sat. 14:00-16:00
講師：吳嘉寶／視丘攝影藝術學院創辦人
Sat. 14:00-16:00
講師：黃美清／電影藝術指導
& & & & & &許力文／電影造型指導
藝術工作坊
Sun. 14:00-16:00
講師：Cheng／Cheng&Mach exotic florist&
& & & & & & & & & & & & &創辦人暨藝術總監
Sun. 14:00-16:00
講師：王小路（花見小路）／手機攝影達人
Sun. 13:00
講師：黃姍姍／忠泰建築文化藝術基金會
& & & & & & & & & & & & &美術館營運處主任
活動網址：
Sun. 13:00
講師：潘怡帆／攝影創作者、BIOS Monthly編輯
Sun. 14:00 *兒童導覽
講師：王瑋婷／台北當代藝術館 教育推廣專員
Sun. 13:00
講師：黃姍姍／忠泰建築文化藝術基金會
& & & & & & & & & & & & &美術館營運處主任
Sun. 13:00
講師：潘怡帆／攝影創作者、BIOS Monthly編輯
Sun. 13:00
講師：趙士麃&Bruce／視覺文化評論與文字工作者
Sun. 13:00
講師：趙士麃&Bruce／視覺文化評論與文字工作者
Sun. 13:00
講師：王建揚／藝術家
同場加映！【蜷川實花展】特別活動：
《拾?花》影像徵件計畫
活動網頁：
《花?現蜷川》MOCA Dresscode Party 特別活動
活動網頁：
《MOCA X 蜷川實花》填問卷抽限量海報！
活動網頁：
《拾?花》兒童著色比賽
台北當代藝術館現正展出日本女性藝術家－蜷川實花創作個展！藝術家從青少年時期就很喜歡拍照，她憑著獨特的視覺風格和鏡頭美學，拍攝出一張張高彩度、色彩飽滿、繽紛富麗的花花世界。本次展出舉辦《拾?花》兒童著色比賽，邀請小朋友們一同發揮自己獨一無二的色彩魅力，分享屬於自己獨特的藝術花園！現在快跟著我的腳步，一起進入蜷川實花的繽紛世界吧！
※ 活動網頁：
【兒童語音導覽】
為強化美感教育、深耕藝術教育，於原有的教育設施導賞服務中，開發兒童語音導覽服務，以活潑趣味的說故事方式，深入淺出的導讀主題展覽。
※ 歡迎點選下列連結下載取用：
【兒童學習單】&*適合5-12歲使用，提供大朋友問題，引導小朋友觀看。
以寓教於樂的方式，配合每檔主題展覽，開發展覽學習單及學習盒，輔助了解展覽內容，增添學習趣味。104年度新推出「親子觀察單」，讓家長能自行引導年齡較小的小朋友，參觀展覽。
※ 歡迎點選下列連結下載取用：
&【親子觀察單】&*適合12歲以上使用。
為強化美感教育、深耕藝術教育，於原有的教育設施導賞服務中，持續推出兒童語音導覽服務，以活潑趣味的說故事方式，深入淺出的導讀主題展覽。
※ 歡迎點選下列連結下載取用：
【兒童學習盒】&*適合6-15歲使用，歡迎至當代館一樓服務台借用。
年度教育贊助&Sponsor for Education Programs│
文心建設&Winsing
●&TEL +886 2- & / & FAX +886 2-
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