台北市立美術館 – 311展覽室    2026-07-04 — 2025-09-27     

許芳慈 策展

http://www.linchiwei.com/archives/3618

龍山
Mountain of Nāgas
2022｜壓克力彩、畫布｜130×97公分｜藝術家自藏
2022｜Acrylic on Canvas｜130×97 cm｜Collection of the Artist
地母
Mother Raw Earth
2021｜壓克力彩、畫布｜130×97公分｜私人收藏
2021｜Acrylic on Canvas｜130×97 cm｜Private Collection
魔山
Magic Mountain
2020｜壓克力彩、畫布｜130×97公分｜藝術家自藏
2020｜Acrylic on Canvas｜130×97 cm｜Collection of the Artist

《龍山》、《地母》與《魔山》均出自林其蔚的「魔山系列」（Série Montagnes-Magiques），
該系列創作始於第一次新冠疫情封城期間，在巴黎空無一人的共享工作室進行。這些畫作描
繪一片杳無人煙、充滿儀式感的景觀；崩塌的石英色岩石，透過自動性波紋技法呈現出連綿
起伏的群山。林其蔚運用高飽和度的紅色、黃色和綠色，讓色彩與線條來引導其獨特的紋理
筆觸。這些元素的重複和變化產生了某種音樂性，讓林其蔚聯想到余承堯的山水畫和南管音
樂的連結。這個連結相當貼切：余承堯是自學成才的畫家，也是南管音樂的倡導者，他用密
集堆疊、富節奏性的筆觸建構出巍峨壯麗的山巒，那層層疊疊的重複，猶如一種聽覺結構，
將聲音轉譯為視覺的記譜。受余承堯的繪畫啟發，林其蔚也試圖在視覺與音樂性之間建構
類似的交融，讓線條與色彩層疊成風景，如同樂句積聚成音樂。這種聯覺轉換（synesthetic
translation）正是藝術史學家在卡濟米爾．馬列維奇（Kazimir Malevich）的早期作品中所發
現的特質：一場全方位的感官體驗，顏料彷彿散發著香氣，音樂將空間凝聚為和諧的整體，
並將傳遞的聲音感受轉化為可見的圖像。如同馬列維奇的作品，林其蔚的作品也邀請觀者用
眼睛聆聽。這些畫作歷時一到兩年，反覆修改，隨著形狀不斷變形、色彩變換，最終脫離了
畫家的掌控。（許芳慈）
Mountain of Nāgas, Mother Raw Earth, and Magic Mountain are paintings from Lin Chi-Wei’s Série
Montagnes-Magiques, which began in a deserted shared Paris studio during the first pandemic
lockdown. These paintings depict a peopleless, ritual landscape of collapsed, quartz-toned rock,
rendered through automatist ripples that coalesce into mountains. Lin works in highly saturated
reds, yellows and greens, letting color and line guide the process of his eccentric texture-stroke
method. Their repetition and variation generate a musicality that recalls, for Lin, the kinship
between the landscapes of Yu Cheng-Yao and Nanguan music. The connection is apt: Yu, a selftaught painter and devoted Nanguan revivalist, built his monumental mountains from densely
accumulated, rhythmic brushstrokes whose layered repetition reads as an audible structure, a
visual scoring of sound. Inspired by his encounter with Yu’s paintings, Lin pursues a similar crossing
between visuality and musicality, letting line and hue accrue into landscape as phrases accrue into
music. This synesthetic translation is precisely what art historians locate in Kazimir Malevich’s early
work: a totalizing sensorium in which pigments seem to emit scent while music binds the room
into one harmony and assembles transferred sound-feelings into visible images. Like Malevich’s,
Lin’s surfaces ask the eye to hear. Painted over one or two years endlessly reworked as forms were
deformed and recolored, the canvases drifted beyond their painter’s control.

唸珠（聲珠）
Chapelet (Chapelet Sonore)
2018｜聲音裝置｜尺寸依空間而定｜臺北市立美術館典藏
2018｜Sound installation｜Dimensions variable｜Collection of Taipei Fine Arts Museum
註記：作品原名《唸珠》（北美館典藏，入藏年份：2020）。本檔展出經藝術家依據展示版本重新定名為《唸珠（聲珠）》。
Note: The artwork, originally titled Chapelet (Collection of Taipei Fine Arts Museum, acquired in 2020), has been retitled Chapelet
(Chapelet Sonore) for this exhibition to reflect the specific display

林其蔚作為臺灣聲音藝術運動先驅，長期探索集體智慧、儀式和表演藝術的交集。作品《唸
珠》由其代表性的《磁帶音樂》系列發展而來，將人體視為樂器。此次獨特的演示中，其組
件包含五串手工念珠、一份與之對應的色彩樂譜、一張捕捉五位《唸珠》演出者動勢的照
片，以及一個五聲道聲音裝置。它們如驅動聯覺（synesthesia）的引擎般共同運作，刻意打
破視覺、觸覺和聽覺感知的界線。林其蔚將祖母手持念珠誦經的童年記憶，與他對卡濟米
爾．馬列維奇（Kazimir Malevich）之抽象藝術和俄羅斯民間傳統關係的研究相結合。當觀
眾看到表演者將每顆念珠的物理存在與色調直接轉化為人聲時，他們會經歷一種共同的跨
感官體驗，透過想像將聲音轉化為色彩。八種色彩交替變換的色盤，通過五個不斷演變的音
階，逐步引導群表演者們通過這個聲音儀式，在沒有指揮的情況下，《唸珠》挑戰了古典音
樂的慣習，創造出感官重新協調的時刻，這是一個完全基於觀眾親臨現場、色彩和人聲的有
機聲音共同體。（許芳慈）
Lin Chi-Wei, a pioneer of Taiwan’s sound-art movement, continually explores the intersection of
collective intelligence, ritual, and performance. His work, Chapelet, builds upon his iconic Tape
Music series, treating the human body as an essential component of a living instrument. In this
particular presentation, the assemblage includes five strings of chapelet with hand-crafted beads,
a corresponding color score, a score representing the vocalization of the color score, a photo
capturing five performers of Chapelet in motion, and a five-channel sound installation. Together,
they function as an engine for synesthesia, deliberately collapsing the boundaries between visual,
tactile, and auditory perception. Lin combines his childhood memories of his grandmother chanting
sutras while holding prayer beads with his research on Kazimir Malevich’s abstraction in relation to
Russian folk tradition. As audiences encounter performers translating the physical presence and
hue of each bead directly into vocalized sound, they undergo a shared, cross-sensory experience,
potentially visualizing these colors projected on the white wall in front of them through their
brain’s synthesis. Relying on minimal control, a shifting palette of eight colors gradually guides the
group through five evolving paragraphs. Without rehearsal or a conductor, Chapelet challenges
conventional relationships to listening, forming moments of sensorial re-coordination, an organic
sound community built entirely on audiences’ physical presence, colors, and the human voice.

（許芳慈）

五軌聲音裝置

2018年影像錄音製作團隊

演唱：陳信豪、廖文瑞、李宜謹、李明緯、游博能 / 專案製作暨導演：陳芯宜（Singing CHEN）/現場製片：白永馨（Yung-Hsin PAI）/攝影：廖敬堯（Ching-Yao LIAO）/錄音：羅頌策（Song-Ce LO）/服裝：蔡奉瑾（Feng Chin TSAI）2018／2019年模組開發協作：陳芯宜（Singing CHEN）