林耕舞，
1993年生於台北。曾就讀於國立臺北藝術大學 電影創作學系，而後於倫敦藝術大學的雀兒喜學院，取得藝術學士。同時是一名演員、作家、視覺藝術家。
他將自身的肉體、時間、經歷作為創作媒材，沈浸/扮演著社會所給予他的不同身份，透過探尋自身矛盾的身份認同，質問著制式社會框架下所形成角色分工、角色形象及角色期待。
在靜態的展示語言中擅長使用錄像、現成物及文字，仍在不斷的嘗試與擴張中。近期，他將個人關注轉向更為宏觀的社會議題，諸如少數群體人權、性別政策和全球運動，在其近作《這是我們所承諾的未來嗎？》中更層層揭開近年諸多大國為經濟利益而選擇背棄社會正義的真相。


Born and raised in Taipei City, Kengwu Yerlikaya (b. 1993)
studied at the Department of Filmmaking, National Taipei University of the Arts, going on to earn his Bachelor of Fine Arts from Chelsea College at University of the Arts London.

Kengwu begins with his body as media itself, exploring societal expectation and the contradictory image it creates. Identity and labour division are central themes. Using video, ready-made objects, and text – his work operates as both experimental and expansive.

Recently, he has shifted his personal attention to macro social issues, such as minority human rights, gender policies, and global movements. In his recent work “Is This The Future We Promise For?”, countries that abandon social justice for economic gain are primary concerns.

"Selected exhibitions, Screenings, Conference, Art fair:"

第二章:「兩者之間」, 2021 Taichung (窯座), Taiwan
(https://artemperor.tw/tidbits/11948)

文化平權駐村聯展_共􏰁著, 2021 Taipei (臺北國際藝術村), Taiwan
(https://www.facebook.com/events/320044679853199?locale=zh_TW)

序曲:「修補一份 無濟於事」, 2021 Online (Artogo), Taiwan
(https://artogo.tw/exhibition/mendingtheirreversible)

Other ways of watching together (film screening), 2020 Rotterdam, Netherlands
(https://thisismama.nl/events/home/other-ways-of-watching-together)

QUEER ARTist NOW (exhibit artist), 2020 London, U.K (http://queerartistsnow.com)

A World Without End (exhibit artist), 2020 Online, U.K (https://www.nobarkingartgallery.com/#/)

So Close (exhibit artist), 2020 Online, U.S
(https://sidexsidecontemporary.com/So-Close-International-Online-Juried-Group-Exhibitio)

Out The Window (film screening), 2020 Bristol, U.K
(https://www.instagram.com/weareoutthewindow/)

Widening the Gaze (presenter as artist), 2018 London, U.K
 A conference exploring the role of Race in Creative Practice today
(https://www.ucl.ac.uk/slade/events/widening-the-gaze)

LOA-upload gallery (exhibit artist), 2018 London, U.K
 (https://www.leaveofabsence.london)

第一屆藝術自由日 (exhibit artist), 2014 Taipei (華山文創園區), Taiwan
(http://www.freeartfair.tw/)

2014 超新星 (exhibit artist), 2014 Taichung (自由人藝術公寓), Taiwan
(https://www.facebook.com/events/872150919484597/)

林耕舞 Kengwu Yerlikaya

長椅的一端坐著女公爵，另一端坐著無家可歸的流浪漢，一段談話正要開啟。

這就是展覽的存在，向上面對購買藝術品的百萬富翁，向下面對對藝術感興趣的普羅大眾。這一刻，它將一個線性的二維關係轉化成了一個存在在三維空間的平台，無論你是誰，歡迎進入這場談話，這有可能是現存改變世界最平和的的方式了。

長椅小姐是一名對旅行上癮的策展人、平民藝評人、日常中的奇觀鑒察者，以下內容為她的見聞分享，僅供擁有獨立思想的個體閱讀，尋找正確答案者勿入。

2018年，「異常狀態」，切爾西藝術學院，倫敦
2018年，「//」，切爾西藝術空間，倫敦
2019年，「儀式性動物」，柳美術館，台中
2019年，「O//O」，柳美術館/窯座，台中
2021-2022年，「以島為家系列」，ARTOGO/臺北國際藝術村/窯座/鹽埕黑白切，雲端/台北/台中/高雄


On the end of the bench sits the Duchess, with the homeless tramp at the other end, thereby a conversation is about to begin.

This is the existence of the “Art Exhibition”, facing upwards to the millionaires who purchase art, and downwards to the general public who are interested in it.
At this very moment, it transforms a linear two-dimensional relationship into a platform that exists in three-dimensional space. No matter who you are, welcome to the conversation. This may be the most peaceful way to shift the world.

“Miss Bench” is an curator addicted to travel, a civilian art critic, and an observer of daily spectacles. The following content is her experience and thought sharing, which is only for individuals with independent thinking to read. Those who are seeking the correct fixed answers should not enter.

2018, Abnomal, Chelsea College of Arts, UAL, London
2018, //, Chelsea Space, London
2019, A Ceremonial Animal, Liu Museum, Taichung
2019, O//O, Liu Museum / YAO Space, Taichung
2021-2022, Home Land Is Land_Retrospective Tour of the Failure Artist, Various location of Taiwan

長椅小姐 Miss Bench

策展人

「窯」表示燒製瓦器的地方，本義燒磚瓦陶瓷器的灶，我們取其燒製含義，在此處作為醞釀和創造的過程，希望創作者以及觀眾在經歷此地的淬煉後能以嶄新的姿態離開。「座」在詞語解釋上有「托底」之意，為器物的基礎部分，我們希望能成為創作者的基底，成為支撐的那一方。
窄巷內，黃色外觀，公寓門前還有著像鳥居的建築標的窯座位於一棟1962年完工的步登公寓，三層六戶半，窯座這戶原已荒廢五年，目前替代空間執行 中，聚落集散中，祭典籌備中。想要辦有趣的展覽，讓台中較為弱勢的藝術環境也能百花齊放，利用台中圈子較為小眾的氣質轉化成為一個讓藝術家不受限的搖籃。
想法很簡單，就是當一個底座，給創作者展示自己的意念、支撐他們的信仰。

“Yao” means kiln in Mandarin, it generally implies an oven for processing a substance by burning, firing, or drying. We take the meaning of firing as a process of brewing and creating. Hoping the artist and visitors can come to experience in Yao and leave as the brand new version of themselves. “Zuò” in Mandarin means base, the basic foundation of the artifact. We hope this space can serve as the creator’s foundation to support them.
Yao alternative space is sitting in an old yellow apartment that was built in 1962, in a tiny ally with a torii(a traditional Japanese gate). As of now, Yao functions as an alternative space and a settlement that hopes to gather creators, and is in the process of creating an art festival.
The core idea of Yao is very simple, it will become a “Zuo” that offers creators a place to showcase their works and supports their beliefs.

窯座 Yao Alternative Space

場地方

Foggy Incense 是一個由各領域的藝術創作者複合而成的品牌，他們神經連結著彼此的視網膜，相互分享視覺與美感。
從視覺出發，脈絡起源于內容，藉由創作者們的思想體系與精神，將內容影像化並追尋更多可能性。我們有著跨越各種維度的視野，並不斷追求非物質上的進化。時而在雲端上冥想，時而在地下汲取養分，探索未知的世界是我們的使命。
於2020年4月20日在台灣台北由李奧納多博士、燁歌爾、神經寶貝、舊浪潮與軟笛共同創立，法映是一間主要專注在影像創作與概念設計的公司。
創作類型的守備範圍極其廣闊，商業廣告、音樂錄影帶、紀錄片、藝術創作皆囊括在內，我們的理念在於提供客戶嶄新的世界觀。不追隨潮流而嚮往漫遊在波峰與波谷，帶有F.I.印記的作品持續在這個宇宙中默默誕生。

如果有任何視覺上的需求、有趣的提案、或期望某個事件的發生，想找我們一起參與或合作，都請直接來信。

Founded by Dr.Leonardo, PsychobabyGill, O-WAVE and TsaiTsaiTsu.
F.I. Inc. is a conceptual design/film production company based in Taipei City that specializes in creating visual contents.
With a wide spectrum of creations: commercials, music videos, documentaries, artistic creations are all included.

Our prospect is to provide customers with a new world view.

Not following the existing tide but roaming the crests and troughs, creation engraved with the F.I. Inc.  trademark continues to be born in this universe.

Foggy Incense 法映視覺創意

指導單位

愛若磐石, 2017 Love As the Stone, 2017

無用的努力, 2017 Useless Effort, 2017

忍住, 2019 Bear-Up, 2019

習得性失助的逃避依戀, 2016 Avoidant-attachment by Learned Helpless, 2016

預期外的邀請, 2017  Unexpected Invitation, 2017

合作式恐慌, 2017  Collective Terrorism, 2017

依靠自己, 2017  Rely On Self, 2017

試過, 2018/2021 Tried, 2018/2021

去-區隔化, 2019  DE-COMPARTMENTALIZATION, 2019

整齊的床, 2016/2021 Neat Bed, 2016/2021

帶走, 2018  Let Go the Sorrow, 2018

未盡之言, 2018  The Untold, 2018

致 新殖民主義, 2019  To Neo-colonialism, 2019

認同認證, 2019-2020  Identity Certificate, 2019-2020

突如其來, 2014/2021 This is Love, 2014/2021

親愛的耕舞:

「初戀」
初次見到你時，我並不感到排斥，源於某種好感，流動的話語中對你的好奇隱隱的躁動著。某些 回應告訴我，這樣的吸引力或許是雙向的，它構成了後來一次又一次不間斷的對話，我們在對話中描摹彼此的樣貌，
你是一個人，
一個喜好藝術的人，
一個曾經學電影後來投入當代藝術的人，一個曾經在台灣學電影後來去英國投入當代藝術的人，一個曾經在台灣學電影受不了種種體制而輟學當兵，後來去英國投入當代藝術並且在倫敦有過一段婚姻的人... ...
在這一點一點累積的形容詞中，有些讓我新奇而喜悅，有些讓我同情想更進一步挖掘你，有些讓我遲疑卻步。我們一步一步伸出觸角探尋著前行，這樣的深度會帶我們到哪裡呢?
讓我們極力的佔用著彼此的時間，直到兩個人的時間融為一體，看我們會不會生出愛。

「警報」
緣自對於戀人關係的共同想像，一條隱形的線牽引著我們，有時像厚重確信的麻繩、有時又時隱
時現像麥芽糖拉出的絲、有時像鋒利的釣魚線。
我漸漸的感受到你的重量、你的存在、你的一舉一動之於我情緒的連動性，我討厭那種不受控的
感覺，我討厭按耐不住性子的自己，我討厭暴露弱點，我討厭在你面前赤裸裸的樣子——那樣地
殘缺、破碎、面目全非。
只得卑微的哀求著:你不要害怕，我們都一樣爛，不會有一個人可以把另一個人帶去更爛的地
方，就讓兩個殘廢者相擁相融，一起失能吧!

「再見」
我們離想像的共同體越來越遠，一步一步的倒退，再次相見時，隔著一段距離，凝著視彼此，所
有的話，在即將說出口的那一刻，化成了沈默。

「結」
結點 / 結局 / 結婚。
你來過。

長椅小姐
寫於台中房間 2021.11.3

Dear Keng:

"First Love"
When we met for the first time, I didn't feel repulsive at all. It came from a certain kind of intuition, and the curiosity of you was faintly agitated in the flowing conversation. From some of your responses, I assumed that this kind of attraction might be two-way, and it constitutes an uninterrupted dialogue again and again, in which we describe each other gradually:
You are a person,
A person who into art,
A person who once studied film and then devoted himself to contemporary art,
A person who once studied film in Taiwan and then went to England to devote himself to contemporary art,
A person who once studied film in Taiwan and couldn't stand the various systems and dropped out of school to join the military service. Later, he went to England to devote himself to contemporary art and had a marriage in London...
Among the adjectives accumulated in this little bit, some make me surprised and amused, some make me sympathized and wanting to dig in further, and some bring me hesitance. We stretched out our tentacles step by step to explore the way forward, where will this depth lead us?
Let us try our best to occupy each other's time, until the time of the two people blends into one, and see if we will give birth to love.

"Alarm"
Due to the shared imagination of lovers' relationship, an intangible thread draws us, sometimes like a thick and reassures hemp rope, sometimes like a thread drawn from maltose, and sometimes like a sharp fishing line.
I gradually feel your weight, your existence, and the connection between your every move and my emotions. I hate the feeling of inconsolableness. I hate myself being unable to bear temper. I hate exposing my weaknesses. I hate being naked in front of you- so mutilated, broken, unrecognizable. I had to beg humbly: Please, do not be afraid, we are as same rotten, no one can take the other to a worsen place, just let the two disabled people embrace each other and become disabled together!

"Farewell"
We were farther and farther away from the imagined symbiosis, step by step backwards. While we met again, we stared at each other from a distance.
All the words became silent at the moment we were about to open the mouth.

"Bond"
Node / ending / marriage.

You had been here.

Miss Bench
Written in Taichung Room 3/11/2021


展覽參考文獻:
1. 《聖經》箴言 第二十七章 19 節
2. 佐野洋子，《活了 100 萬次的貓》，翻譯:林真美，步步出版，2018.9
3. 坂元裕二，《往復書簡:初戀與不倫》，翻譯:蕾克，北京聯合出版公司，2020.8
4. 聖・修伯理，《小王子》，翻譯:宋碧雲，志文出版社，1992.4
5. 卡繆，《卡繆雜文集:抵抗、反抗與死亡》，翻譯:溫一凡，志文出版社，1979.11

Exhibition Reference:
1. The Bible, Proverbs, 27:19.
2. Sano Yoko, The Cat that Lived a Million Times, translator: Judith Carol Huffman, published
November 1st 1998 by University of Hawaii Press
3. Antoine de Saint-Exupéry., Le Petit Prince, translator:Katherine Woods, published April 1943 by
Reynal & Hitchock
4. Albert Camus, Resistance, Rebellion and Death: Essays, published August 1995 by Vintage

特別感謝 Special Thanks:
攝影師 Photographer: Brian Chen
平面設計師 Graphic designer: Crystal YP Lin
作品文本中文翻譯 Mandarin translation: Igor Morawski
器材 Equipment: 施博議、王思辰
聲音演員 Voice Actor: Josh、William
顧展人員 Invigilator: 黃靖中
窯座 Yáo
_________________________________________________________________________________________

「以島為家—失敗藝術家回顧巡展」(Home Land Is Land - Retrospective Tour of the Failure Artist) 將會是一個物理上橫跨台灣島嶼北、中、南三個展區的巡展，觀眾將隨著展期的時序回溯藝術家的創作歷程：
在台灣藝術學院的創作初期（2022年1月，高雄）；
英國留學期間的創作語言轉換（2021年11月，台中）；
返台後對故鄉作為島嶼的創作回應（2021年7月，台北）。

"Home Land Is Land - Retrospective Tour of the Failure Artist",
 will be a touring exhibition that physically spans the north, middle, and south of the island of Taiwan. Together, the audience will be tracing the artist’s artistic development along with the timing of the exhibition:
In the early stage of creation at Taiwan’s Arts education (January 2022, Kaohsiung);
Artistic language shift during the study in the UK (November 2021, Taichung);
Reflecting on hometown as an island, after returning to Taiwan (July 2021, Taipei).

阿特茶水間＿觀展Podcast

第二章: 「兩者之間」

媒材 Medium｜
木板、木條、石頭 Planks, wood strips, stone