2026國家漫畫博物館 棒球漫畫主題特展「壘上有人」 棒球，是臺灣共同的語言，也是跨越世代與族群的集體記憶。
從日治時期傳入，歷經三級棒球的榮光，到職棒開打，棒球一次次掀起全臺熱潮，成為承載國族情感的「國球」。這股熱血，不只在球場，更延伸至漫畫世界。
早期因審查制度，大眾多透過日本漫畫認識棒球；隨著本土創作萌芽，至職棒開打後原創漫畫能量迸發。透過誇飾筆觸與圖像敘事，呈現速度與張力，不僅描繪技術與比賽，更折射臺灣對「國球」的想像與記憶。
Baseball is a shared language in Taiwan, as well as a collective memory that bridges generations and ethnic groups.
Since its introduction during the Japanese colonial period, baseball in Taiwan has witnessed the international successes of youth baseball and the establishment of the professional baseball league. Numerous baseball events have fueled excitement and exhilaration across the island, and baseball has become the ”national sport“ that embodies collective national sentiment. Beyond the ballpark, this fervent passion has also extended into the world of comics.
In the early days, under the influence of censorship, the public came to know baseball through Japanese comics. As works created by local artists gradually emerged, Taiwan’s original comics began to flourish following the establishment of the professional baseball league.
Through exaggerated brushwork and visual narratives, these works present speed and tension; they not only depict techniques and matches but also reflect Taiwan‘s imagination and memory regarding its ”national sport.“
Exhibition Period｜Jan 29 – Aug 30, 2025
Venue｜National Taiwan Museum of Comics , Gallery 13
“Orbitrack”2025
軌道與軌跡在空間中相互纏繞，每一次旋轉，金屬僅作為載體，能量在其表面呼吸、轉向、消逝，僅顯現自身的運行。
每一次旋轉都不是循環，而是一段被錯置的軌跡，一個無法回到原點的時間。並非模擬有機物，它重現一個人造宇宙的運行，光以自身的軌跡反覆燃盡、交織與消逝。
Orbits and trajectories intertwine in space. With each rotation, metal serves only as a vessel. Energy moves across its surface, shifting, dissipating, and revealing only its own motion.
Each rotation is not a cycle, but a displaced trajectory, a passage of time that cannot return to its origin.
Orbitrack does not imitate the organic. It reconstructs the operation of an artificial cosmos, where light follows its own trajectory, repeatedly burning out, intertwining, and fading.
2025 台灣文博會 嘉義市「＋1點」 今年適逢嘉義市建城321週年。站在深厚的歷史紋理之上，城市的生成不僅來自宏大的建設與規劃，更來自無數細微而持續的行動累積。《＋1點》以回望與前行交織的視角，重新梳理城市記憶與當代創意之間的關係，在時間的縱深之中，思考文化如何成為推動未來的動能。
「＋1」並非量化的增加，而是一種態度的轉向。為產業加一點創意，為品牌加一點故事，為城市加一點觀察，為生活加一點心意。這些看似微小的增量，構成一種集體參與的結構，使文化不再只是被保存的資產，而成為持續生成的過程。展覽透過空間轉譯與策展敘事，將城市發展視為一場長時間的累積實驗，讓觀者在行走之中，看見每一個「加一點」如何重新塑造城市的輪廓與氣質。
2025 Taiwan Creative Expo “+1 Point — Chiayi”
Before its present form, Chiayi has accumulated more than three centuries of layered history. Marking the 321st anniversary of the city’s establishment, “+1 Point” reflects on urban memory while projecting new cultural possibilities. Rather than focusing solely on grand narratives of development, the exhibition examines how incremental gestures—subtle yet persistent—shape the identity of a city across time.
The notion of “+1” signifies a collective act of addition: adding creativity to industry, narrative to brands, observation to the city, and intention to everyday life. These marginal shifts, though modest in scale, construct a shared cultural framework that gradually transforms urban character. Through spatial interpretation and curatorial structure, the exhibition positions cultural production as an ongoing process—an accumulation of small but decisive contributions that redefine the trajectory of the city’s future.
2025 新營波光節 「路徑之間」 新營天鵝湖公園承載著在地的人文記憶，與未來發展的想像。隨著城市規劃與人為建設的介入，文化的磨合，以及自然與人造景觀間的平衡，持續形塑著場域樣貌，也成為無法忽視的城市命題。作為城市公共空間的一部分，公園不僅是景觀的容器，同時也是社會結構與生活節奏的交點。
本次策展以「時代文化—城市社會—生活體驗」為主軸，透過藝術家們，如漫遊者的視角，穿梭於城市與日常場景之間，揭示空間、社會與人際關係交織的狀態。「光」作為波光節的核心元素，在時間的流動中轉換角色：當夕陽落下，人工光源逐一亮起，城市秩序被重新描繪，社會運作的節奏亦隨之浮現。
光不僅照亮路徑，也成為引導觀看的媒介，在行走之間重構「空間—社會—人」三者之間的關係與張力。
Xinying Shimmer Festival 2025 “Among The Trails”
Before its current urban form, Swan Lake Park in Xinying has long carried layers of local memory and projections of the city’s future. As planning and development intervene, the negotiation between culture and construction, nature and the artificial, continuously reshapes the site. The park functions not only as a landscape setting, but as a node where social structures and everyday rhythms converge.
The curatorial framework, structured around “Era and Culture — Urban Society — Lived Experience,” adopts the perspective of the flâneur, moving through urban scenery and daily situations to reveal the entangled relationships between space, society, and human interaction. Light, as the central element of the festival, becomes a temporal medium. As daylight fades and artificial illumination gradually emerges, urban order is redefined and the cadence of social activity becomes perceptible.
Light delineates pathways while guiding perception, reconstructing the dynamic tension between space, society, and the individual.
“Concave” 2024 是一份紀念，也是一場凝視未來的實驗。 在眺望未來與回望過去之間，”Concave”又名《凹》，以波浪般的結構，回應臺南建城四百年的時間脈動。作品將動態與光線的節奏化為地景再現，在人與城市、記憶與未來之間，描繪不斷向前推進的流動姿態。
裝置的起伏如潮，象徵歷史的堆積消融。觀眾穿行其間，如同在時間的斷層中感受推擠與回返的力量。這些流動的線條，對應臺南由海入陸的地質演變，潮汐、泥沙與地殼，共同塑造城市的形體，使土地在反覆的侵蝕與生成中持續生長。 在光影與結構中，時間被折疊、被重組。歷史無法被完全重塑，我們只能大膽猜想，並保留那反覆運動的浪。也許四百年後的浪，仍會如此湧動。
Concave stands as a remembrance, and as an experiment in looking beyond the horizon of time.
Between looking toward the future and glancing back to the past, Concave responds to the four-hundred-year pulse of Tainan through a structure shaped like a wave. The work translates the rhythm of movement and light into a reimagined landscape, portraying a continuous flow between people and city, between memory and what lies ahead.
Its undulating form mirrors the tide— a symbol of history’s accumulation and erosion. As viewers move within it, they seem to pass through the fractures of time, feeling the tension and return of each shifting current. These flowing lines correspond to Tainan’s geological transformation from sea to land, where tides, silt, and tectonic motion have together shaped the city’s form, allowing the earth to grow through cycles of erosion and renewal. Within the oscillation of light and structure, time folds and recomposes itself. History can never be fully remade— only imagined, and carried forward like waves that continue to rise and recede, still moving four centuries on.
@daylighteffect 作日製作 品牌識別再造
作日製作是一個以實踐為導向、專注於策展製作邏輯的新銳跨領域藝術團隊。以「製作」作為思考策展的起點，透過空間、敘事與物件的轉化，將抽象概念具體化為可被經驗的形式。不刻意製造事件，而是從日常與過去中尋找尚未完成的對話，重新排列、製作與構成。每一次策展，並非作品的集合，而是一次時間的重組與觀看方式的重新啟動。
作日製作於 2022 年成立於台南，為臺灣新銳跨領域藝術團隊。團隊成員組成多元，涵蓋藝術策展、專案管理、科技藝術研發、線上宣傳行銷與藝術家合作夥伴。近年創作多以裝置藝術為核心，實踐各種人造地景的再造，並關注空間、光影與運動如何形塑觀者的身體感知與觀看經驗。近期參與計畫包含：2024 新營波光節「路徑之間」策展執行、2024 台灣設計展「新力」空間設計執行、2024 月津港燈節新創燈區設計執行、2023 月津港燈節「見山仍是山・見水仍是水」新創燈區區域策展，以及 2022 月津港燈節「序」新創燈區區域策展，持續深化策展規劃與裝置藝術實踐。
Logo設計以三組幾何圖形緊接構成，描繪物體或空間在不同時間下所投射出的光影輪廓，像是不同時間的疊合以及觀看角度的轉變。最終三組圖形形成一個量體，暗示觀看方式的改變，也象徵策展中敘事與人事物之間的再配置。呼應品牌「作日製作」於時間與空間中持續累積、建構文本重新演繹的核心價值。
Logotype是一款具備細節張力的新現代無襯線字體，在嚴謹結構與圓潤線條之間取得平衡。部分筆畫接合處採用平切設計，為字形增添細緻的工藝感，使整體視覺呈現穩定且易於閱讀。中文標準字則為客製設計，回應並延伸歐文字形特徵，建立一致而完整的品牌識別。
Daylight Effect is an emerging interdisciplinary art collective founded in Tainan in 2022. Grounded in practice and driven by curatorial production, the team translates abstract ideas into experiential forms through the transformation of space, narrative, and objects. Each project is conceived not as a collection of works, but as a reconfiguration of time and a reactivation of ways of seeing.
With a diverse team spanning curatorial practice, project management, technology art, and visual communication, Daylight Effect focuses primarily on installation-based practices and the construction of artificial landscapes. Their work explores how space, light, shadow, and movement shape bodily perception and viewing experience, continuing to develop experimental approaches to curatorial planning and spatial practice.
HOUTH team
CD 黃紀滕 @huangchiteng
AD 何婉君 Wanchun Ho
D 曹仲 @zhong.archives 徐丞佑 @chen_yyou
Motion 曹仲 @zhong.archives
PM&Photography黃紀滕 @huangchiteng
CL @daylighteffect
Year 2025
2025 台灣設計展彰南展區 「溫室城堡 」 一座以溫室為結構的植物場域，結合可呼吸的休憩設計，與植栽實驗，讓綠意與花香，隨著光線與季節流動於其中。這裡既是田尾面向未來的實驗場，也是扇通往世界植物景觀的窗口。從育種研究到景觀應用，呈現園藝的多樣性與可能性。
觀者行走於光影與植物之間，近距離感受生命的生長節奏，與空間設計的細節，展開一段連結在地經驗，與全球視野的綠色旅程。
Taiwan Design Expo, Changhua 2025 Zhangnan Exhibition Area Exhibition Design: Greenhouse Castle
Greenhouse Castle is a plant-based environment built from the structure of a greenhouse, combining breathable resting spaces with experimental planting systems. Greenery and floral scents move gently through light, air, and seasons, forming a space that is both functional and exploratory.
Serving as a future-oriented testing ground for Tianwei and a window into global horticulture, the project brings together advanced breeding research and innovative landscape applications, revealing the diversity and potential of plant design.
Visitors are invited to wander between light and foliage, experiencing the vitality of plants alongside the quiet precision of spatial design, and to begin a journey that connects local ground with a wider, global landscape.
“2224 Slice” 2024 它既是一塊被收藏的碎片，也是一處仍在形成中的風景。
《2224切片》試圖擷取一塊屬於未來的人造地景。作品將物件轉移與構成的過程切割與放大，在層層斷面中，重組一座縮微的地表。那些被擠壓、傾斜與坍塌的瞬間，被封存於結構之內，成為可被觀看的時間紋理。 透過對動態過程的截取與凝結，作品將原本持續發生的變化轉化為靜止的形態，使地景生成的機制被具象化。
當自然被再造與重塑，人造肌理逐漸取代原始地層，形成了新的物質語彙。在未來的探查視角之中，這些構造不再模擬自然，而是透過自身的分解與演化，生成另一種未經修飾的地景樣貌。在錯置的尺度之間，作品指向一種持續發生的演變狀態，發聲與回應人類對未來環境的建構及想像。 The piece exists both as a preserved fragment and as a landscape still in formation.
Before 2224, a fragment of a future man-made landscape is extracted and condensed. “2224 Slice” isolates and magnifies the process of transference and formation, reorganizing compressed and fractured layers into a miniature terrain. Moments of tension, tilt, and collapse are sealed within its structure, transforming temporal movement into visible strata.
By suspending an ongoing transformation, the work renders the mechanics of landscape production tangible and spatial.
As nature is reconstructed and reshaped, artificial textures gradually replace original geological layers, establishing a new material vocabulary. Viewed from a speculative future archaeology, these structures no longer imitate nature; through their own processes of decay and evolution, they generate an unpolished terrain of their own. Across displaced scales, the work suggests an ongoing state of becoming—reflecting humanity’s persistent reconstruction of its environment and projection toward the future.
2024 台灣設計展 「A2新力」 本次展覽空間以策展主題中的前瞻產業為起點，嘗試跳脫單一陳列的觀看方式，透過堆疊、漸變與矩陣式的空間編排，讓展品在結構與節奏中形成近乎雕塑般的存在。展區不只是承載資訊，而是成為一段敘事，邀請觀者在行走之間，逐步理解產業的核心價值與未來想像。
空間語彙以金屬結構與光線為主軸，搭配曲線處理與半透明材質，讓原本厚重的量體，呈現出輕盈而流動的狀態。隱藏於展桌下方的線性光源，勾勒出結構輪廓，使展示物件自然融入整體空間，在冷靜而精準的氛圍中，形塑出一座關於創新與未來的展示場域。
The exhibition space begins with Tainan’s forward-looking industries, moving beyond conventional display toward a layered spatial composition. Through stacking, gradual transitions, and matrix-like arrangements, objects take on a sculptural presence, becoming part of a continuous narrative rather than isolated exhibits. Visitors are invited to experience industry not as information, but as an unfolding spatial story.
Metal structures and light form the core design language, softened by curved details and translucent materials to create a sense of lightness and flow. Linear lighting subtly traces the geometry of the displays, allowing objects and space to merge into a unified environment—one that reflects precision, innovation, and a vision of the future.
A2 New Momentum｜City of New Tainan 2024
Curated by 247Visualart
Exhibition Period｜Oct 26 – Nov 10, 2024 Venue｜Tainan Art Museum, Building 2 (1F)
Spatial Design｜Skillability Dept., Daylight Effect, Hiautue Display Design｜Yan Yen Design Sound Design｜Freedom Beat & cheer (All tracks remixed by cheer for the 2024 Taiwan Design Expo) Exhibition Documentation｜Taiwan Design Research Institute
“GRASS” 2022
在培塿中堆積，相互擁擠。都市的收縮擴張，改變了人們的生活軌跡。
城市漫然擴張，驅使身體黯然回應；內部之組織與調節機制之間，在不屈服的擠壓中，仍趨向於一種平衡的張力。於鋼鐵叢林蔓生之中，身體與社會如何在不連續的生長姿態裡取得平衡？曾經平淡無奇的地景，如今被鋼筋與水泥覆寫。它岈然、窪然，如同一種有機生命體的盎然生長。或許這股無法阻擋的力量，並非為被強加的秩序，而是一場自行演化的過程，是屬於城市自身的生長脈絡。
作品渴望以數據捕捉人們的生活軌跡，以光線傳遞城市運行的姿態。「還原」於此並非再造實景，而是一場資料的重組與刪減，在無序中理出應有的生長脈絡。《GRASS》所形塑的，是一種可被反覆驗證的行為樣態——體現人作為文本的存在，使感知得以被重新評價與重構。
Piled and pressed upon uneven ground, the city’s contractions and expansions reshape the trajectories of everyday life. Its diffuse growth and quiet disorder compel the body to respond; between self-organization and control, a balance emerges from pressures that refuse to yield.
Amid the overgrowth of the urban jungle, the body and society search for equilibriumwithin discontinuous gestures of expansion. What was once an ordinary terrainis now overwritten by concrete and steel—rising and sinking like an organic being that continues to grow. This force is not an imposed order but an evolving process, a rhythm inherent to the city’s own form of life.
The work seeks to trace human movement through data and to translate the city’s gestures through light. Reconstruction here is not reproduction, but an act of reorganizing and erasing,finding coherence within apparent disorder.GRASS reveals a pattern of behavior that can be observed and tested—a structure in which the human becomes the text itself, allowing perception to be reconsidered and remade.
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2023 紅點設計獎 最佳設計獎
2023 Red Dot Design Award @reddotdesignaward : Best of the Best
“Acoustic Mirror” 2024
遠在1920年代，第二次世界大戰前，英國在南部和東部的沿岸，建立了一個巨大的「聲鏡」網路。它由不同量體的水泥結構組成，是一個實驗性的預警系統。它們被設計成曲面鏡的形狀，可以反射、聚焦聲波，防空部隊可以透過這些裝置監聽飛機引擎的聲音，以預防敵機。隨著時代跟科技推演，聲鏡順應時態而被淘汰，而這些水泥裝置，仍佇立在現今的沿海地區。
過去具有功能性的裝置，現在成為地域中失能的物件，我們透過運動的光線與數位聲音，運用建築物結構與龐然大物的創作語彙，築構堆砌這個巨大幻象，試圖在當今的地景中，再現這個建築空間，其背後所顯示出的技術追求，與人類活動總和的狀態，同時也是我們對於未來人類科技，與城市空間的著迷以及投射。
Before the Second World War in the 1920s, the United Kingdom established a vast network of ”acoustic mirror“ along its southern and eastern coasts. Comprising variously sized concrete structures, this experimental early-warning system was designed in the shape of curved mirrors capable of reflecting and focusing sound waves. Anti-aircraft forces could use these devices to listen to the sounds of approaching aircraft engines, providing advanced warning against incoming enemy planes. With technological advancements, the acoustic mirror project became obsolete and was eventually discontinued, but the structures built in the past still stand along coastal areas.
The installations that once served a functional purpose have now become unused spaces in the environment.Through the interplay of light and digital sound, as well as the creative approach of architecture, structures, and monumental elements, we construct and pile up this immense and surreal tableau. We attempt to reproduce this architectural space in today‘s landscape, revealing the technological pursuits and the aggregate state of human activities that lie behind it. Simultaneously, it reflects our fascination and projection of future human technology and urban spaces.
2023 月津港燈節新創燈區 「見山仍是山 見水仍是水 」 人們對空間的感知並非連續線性，而是在地方環境所提供的感官線索中，被不斷生成與重組，這個過程像是一種召喚儀式，交織著個人與共同的經驗，串連過去與現在的物質及記憶。展覽在現實與想像之間，開啟一扇觀景窗，讓身體與意識暫時停留，使原本破碎的景象重新聚合，成為可被感知的存在。
「見山仍是山，見水仍是水」指向一種回返。風景不再只是風景，而是一種由流動感知所構成的精神狀態。在身體受限的時代，展覽邀請觀者以直覺取代指認，透過單純而未經修飾的經驗，感受空間本身。過程或許曖昧不定，但正是這樣的觀看，能重新找回屬於自身的存在感。
“Seeing the Mountain Still as Mountain, Water Still as Water”
Innovative Lantern Zone, Yanshui Moonlight Festival
Drifting states of consciousness become a landscape in themselves.
Our perception of space is discontinuous and often unsteady. Shaped by the sensory information offered by place, it forms fictional images rooted in individual experience. This process unfolds like a quiet summoning ritual, where shared memory and personal intuition overlap, connecting past and present, material and recollection.
Within the exhibition, a viewfinder is extended between reality and fiction. Body and mind pause. Landscapes are no longer fragmented or distant. What once felt fleeting gathers into presence.
Echoing the Zen progression from “seeing the mountain as mountain” to “seeing the mountain still as mountain,” the exhibition invites viewers to sense space through intuition rather than definition. In an era marked by physical limitation, the works open new perspectives through direct, unembellished experience, allowing meaning to emerge beyond surface structures.
Here, landscape is not merely scenery. It becomes a spiritual terrain shaped by flowing perception, ambiguity, and the quiet persistence of being.
Yanshui Moonlight Festival 2023
Innovative Lantern Zone
“Seeing the Mountain Still as Mountain, Water Still as Water”
Curators｜Daylight Effect Artists｜LI Cheng-Liang, 404N.F, LIAO Chao-Hao, CHEN Wan-Yi / WU Lian-Yin Exhibition Period｜Jan 14 – Feb 12, 2023 Venue｜Yanshui Moonlight Festival, Tainan
Supervisor｜Ministry of Culture Organizer｜Tainan City Government
