Han Chun (Candy Bird)

I visited the Thailand Biennale this week. Many works really impressed me, especially the choice of locations — political, local, and with a kind of cool. It was very inspiring. This trip also gave me a better sense of Chinese communities in Southeast Asia. But what I really want to explore is not identity politics or migration. What interests me more is how certain histories and geopolitics turn into a kind of pressure, something hard to describe, but still perceptible as a structure. Perhaps the most contradictory example of this is the idea of being “Chinese” in my hometown, Taiwan. I will continue building this perceptual structure. It feels like something contemporary art should try to describe. #candybbird #studionotes #sinophone

The past three months have been pretty busy, applying for residencies, writing proposals. I did a lecture performance I wasn’t happy with. I think I could’ve done it better. I also went to the Singapore Biennale. Somehow, things are clearer. I learned something from that performance. I even picked up a brush again and worked on a small old drawing. But lately I still feel a bit tired. I keep thinking about unfinished works. I need some funding. I hope to have gallery support someday. It’s kind of like dating. Finding a gallery that gets you isn’t easy. You need shared values, some chemistry. I do have a quiet crush in mind, but I’m not saying who. #candybird #studionotes #daily #eyeonyou

Lecture Performance 講述表演 01.22 (Thur.) 17:30–18:00 A Soup of Chestnuts and Winter Melon 栗子冬瓜湯 Performer｜Candy Bird Candy Bird (Han Chun-Yueh) explores psychological, linguistic, and memory “gaps” shaped by power and history through moving images, objects, and spatial compositions. Grounded in post–martial law Taiwan and the geopolitical tensions that reverberate across the global Chinese-language (Sinophone) diaspora, his work examines how speech and memory are reorganized under competing narratives. Evolving from site-specific graffiti to visual and sonic experiments, Candy Bird employs blurred symbols and dissonant sound structures to construct spaces of distant intimacy and quiet unease. Candy Bird，本名韓君岳，透過動態影像、物件與空間構成，探索由權力與歷史所形塑的心理、語言與記憶的「間隙」。他的創作聚焦於解嚴後的台灣，以及全球華語離散社群中（Sinophone）所迴盪的地緣政治緊張局勢。從特定場域的塗鴉（筆名Candy Bird的由來）演變至運用模糊的符號與不和諧的聲音結構，構建疏離的親密感與不安的沈靜空間。 #TaipeiArtFair #PAVILIONTaipei

I’m trying to gradually integrate lecture performance into my overall conceptual framework, instead of producing it as isolated pieces. The process is still about adjusting pace and rhythm. Sometimes I feel my approach might not be very interesting, but overall it feels solid and fulfilling. I’m trying not to fall back into just storytelling, and that gives me a sense of relief, I think. The performance will take place on January 22 at Grand Courtyard Taipei, as part of an art fair curated by my friend. More details soon. #candybird #lectureperformance #studionotes #processnotes

Scarlet Corner: a run-down Indian restaurant that looks rough but tastes incredible, usually almost empty. I’m often drawn to a slowly drifting corner like this, where a few objects seem to play together on their own, away from a polarized world. Staring at them lets my mind wander into the past, or into strange, imagined scenes. The objects are already there, but the atmosphere — the language around them — translates itself. Just a note. #candybbird #daily #narrative #memories

. 在鳳甲美術館狹長的展場中，Candy Bird 將九零年代的中華民國文化符號置入和轉化，其源於家人與長輩對該年代的緬懷。 此外，藝術家也設定一對偷情男女的故事為敘事背景，以人際關係隱喻政治情勢，當觀眾面向大廳、轉身進入走廊，昏暗的燈光與旅館般的佈局創造出隱約的親密與不安。透過視覺性的作畫邏輯來編排動線，Candy Bird 將展覽空間轉變成不尋常的場景。 通道轉動中的電扇、小房間內半滿的水杯、影像中起伏的皮質沙發，皆暗示進行中的日常。但在流動的同時，碎花壁紙、傾倒的空衣帽架，這些居家物件的刻意擺放和挪用，也代表著那個時代滯留、卡頓在當代的台灣。 如同走廊底部透出光線的窗簾，隱約可以聽到機器運轉聲，然而後方其實空無一物，牆上的剪影只不過是某種幻象或揮不去的陰影。 ⟡ •̀.̫•́ ✧ 攝影｜陳怡如 @zolala69 文字｜陳意舒 ꒰꒰ ⓢugar Nocturne ꒱꒱ ꒰꒰ Candy Bird Solo Exhibition꒱꒱ @candybbird ⤳ 18th Oct. to 30th Nov. 2025 ⓗⓞⓝⓖⓖⓐⓗ ⓜⓤⓢⓔⓤⓜ #鳳甲美術館 ⌇ #CandyBird ⌇ #羅曼菲林 #展覽現場 ⌇ #honggahmuseum

. 羅曼菲林 𝘚𝘶𝘨𝘢𝘳 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦 Candy Bird 個展 📣開幕：2025.10.18 （六） 15:00 展期：2025.10.18-11.30 鳳甲美術館很榮幸推出藝術家Candy Bird全新個展「羅曼菲林 𝘚𝘶𝘨𝘢𝘳 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦」。本次展出包含一系列空間裝置作品，圍繞近期Candy Bird的創作核心：探問華人的遷徙與離散，如何與當代政治結構交織。在「羅曼菲林」中，Candy Bird 將中國內戰後來台的華人移民軌跡，置於東亞持續延宕的冷戰遺緒與新浮現的地緣政治衝突中。透過營造介於日常與寓言之間的氛圍，召喚觀眾的感官經驗，凝視台灣的後威權社會內在，同時也映照著當代民主的脆弱性。 本館於2018年首次和藝術家Candy Bird合作，在街區藝術計畫「Video On The Phone」當中，以網路直播的方式，邀請Candy Bird以說書人的角色，帶領一段從鳳甲美術館出發步行至空場藝術聚落（當時位於北投路一段）的旅程，途中結合Candy Bird擅長的塗鴉繪畫，以融合街區地景的即興創作搭配敘事演說，該次合作拓展了Candy Bird的創作手法，藝術家進而開始思考創作過程中的表演性，以及議題表現上不同於地景塗鴉、更為多元的敘事方法。2022年本館進而在聯展「你到哪了呢？一個距離的想像」當中，再次邀請Candy Bird從移動、行旅的經驗出發，思考關於距離的詩性表現，該展當中Candy Bird展出強調光影變化的影像裝置與平面繪畫，並於戶外舉辦了一場「此時此刻 The Moment」的口述表演，將散落的日期和新聞事件，串成一段日常與異常交織的故事，提供觀眾投射都會生活共感的可能。 近年來Candy Bird的創作轉型逐漸明確，以往直接回應社會議題的街頭塗鴉已淡出檯面，但藝術家對社會矛盾的敏感和關懷並未減弱，反而是花更多時間精力去探究與分析，對外他將台灣特有的省籍矛盾置放於東亞新冷戰的格局中；對內他回望自身家庭背景，探討意識形態衝突以及民主政治的脆弱性，如何以忽隱忽現又如影隨形的方式影響著他的日常生活，這種雙向的凝視，使個人經驗成為解析歷史遺緒的感官入口，與台灣的政治、歷史、社會主流敘事形成另一種對照。在形式語言上，其手法也與不同表演者合作，例如透過舞者或演員來傳達更為強烈的情緒，在影像編輯上冷冽的都會感和意識流的敘事也慢慢樹立出個人風格。 本次展覽中，他藉由數個流動影像與仿古家具的陳設，配合鳳甲美術館狹長的廊道與鄰近機房的展場結構，營造日常與寓言之間的張力氛圍。帶有居家符號的房間、碎片般的壁紙花紋、木質調的衣帽架、皮沙發與椅凳，促使觀眾感受敘事聚焦在一段凝結的時空，而刻意用簡體中文呈現的文本、故事中男女主角的對話，都指涉了一種難以回返的複雜狀態。期待觀眾透過各種投射或想像，以展覽明狀當今宏大的歷史或政治敘事之下，被忽略的日常經驗與感受。

To stay is to drift. In Taipei, prosperity masks a refusal of Taiwan—leaving me alien in my own home. This feeling has lingered for over twenty years: never leaving home, yet never belonging to one. In certain parts of Taipei, we are all strangers to one another—alien among aliens. Beneath the surface of prosperity lies an absence of Taiwanese identity. I cannot share in their refusal of recognition. So here, who is it that draws the line? The work Unnamed Nightshade first unfolded from this question (shown at C-Lab in 2025 June). Its inquiry now extends into October, shaping my solo exhibition at Hong-gah Museum. Following the thread of doubt, it will continue in different movements, across different places. Slowly, I revisit the past—not only to respond to the question, but also to seek a release for the anxiety that binds me. That deeper anxiety resonates with the harsh realities of today’s new Cold War. . . . . . . #diaspora #migrationstories #postmigration #displacement #taiwaneseart #newmediaart #artistsoninstagram #contemporaryart #artpractice #eastasianart #postcolonialart #artresidency #candybbird

The exhibition runs until August 10.@As with my graffiti practice, I’m drawn to crossing boundaries — while also recognizing the ones that cannot be crossed. I’ve received many generous insights and suggestions, and I’m grateful to everyone who participated and supported the project. . . . #memories #candybbird #taiwaneseartist #contemporaryart #movingimage #videoart #newcoldwar #diaspora #artandpolitics #freedomofexpression

“Belts / Restraints in the Room” Mixed media, 2023 Exhibited at Project Fulfill Art Space (就在藝術空間), Taipei. #painting #taipei #dailyart #memories #candybird #taiwaneseartist #sinophone #diaspora

花開藝文誌 #010 《森·人號》 （Forrest•People Issue) 重磅推出！（For English please scroll down) 這一期花開藉由進駐太魯閣同禮部落的機會，與部落族人一起共同生活，我們晚間在爐火前談話，與來到山上的登山客討論行程與天氣，從中觀察，聽聞，也閱讀了許多過往鮮少接觸的歷史與故事，因此希望藉著這期的花開藝文誌，以談論山林與居於其中的人彼此所發展出的關係，並分享關於環境與變遷的故事。 森·人號邀請過往曾經於森人駐村(@treetreetreeperson )的兩位藝術家撰稿，以莫奴《什麼是生活？什麼是藝術》，分享了藝術介入他人生活時，來自求知的善意無意識地形成他人的困擾，並分享加拿大學者暨策展人Dylan Robinson的著作，《飢餓聆聽》對於反抗研究的策略。Candy Bird 是第一屆於森人駐村的藝術家之一，他運用於駐村中感受到的山林聲響，木作工作的過程，形成了一則切換於夢境、回憶、傳說的故事。 有感於在駐村時，對如何描述不同族群之間關係的戰戰兢兢與躊躇，在有幸閱讀到Yabung的論文，並進而訪問到她後，逐漸獲得推進的力量。其中她如何面對自己的家庭，並反抗制式的論文結構，也拒絕使用西方理論，轉而肯認自己的聲音，太魯閣族的說故事方式，在總向資本看齊，渴望西方眼光認同的臺灣閱讀，更是對Yabung突破的成果深感敬佩與鼓勵。 ///花開藝文誌#010 《森·人號》 線上閱讀：/file/d/1WuVUi748ZtE6vjd1dDrRnWmh1np6j_ZM/view?usp=drivesdk /// 花開紙本：目前2024年森人的藝術駐村展覽正在花蓮太魯閣的歌勒文傳藤編工作室舉辦中，展出至2025/1/19號，現場可索取紙本。 /// 如果你喜歡我們的刊物，歡迎贊助花開藝文誌：https://portaly.cc/hagaihuakai/support 2024森人駐村計劃展出地址： 歌勒文傳藤編工作室 花蓮縣秀林鄉富世村9鄰38號 ———————————— HAGAI HUAKAI #010: Forrest•People Issue This issue of HAGAI HUAKAI reflects on life in Taiwan’s Taroko Tribe through stories of nature and culture uncovered during a residency in the Tongli community. Highlights include Lou Mo‘s exploration of art’s unintended impacts with insights on decolonizing research, and Candy Bird’s dreamlike narrative inspired by the carpentry work he did during residency. Taroko scholar Yabung shares how she rejected Western theories to embrace indigenous storytelling. The issue celebrates the connections between people and their environment while amplifying diverse voices and perspectives.