ss space space

ss space space is delighted to announce our participation in Liste Art Fair Basel, taking place in Basel, Switzerland, this June! The presentation features a dual project by artists Teyu Wang and Sara Wu. Engaging with spatial structures, the order of the everyday, and embodied experience, their works investigate how space conditions behaviour and perception. The project proposes a perspective from a non-central position, inviting a reconsideration of the politics of space. Liste Art Fair Basel is renowned for its focus on independent and experimental practices. It serves as a vital platform within the international contemporary art network, attracting museum professionals and curators from across the globe. For ss space space, presenting this project at Liste holds particular significance. As a research-led, artist-run space, we are committed to fostering cross-disciplinary inquiry and international collaboration, whilst striving to amplify the voice of Taiwanese contemporary art within the global cultural arena. Liste Art Fair Basel runs from 15 to 21 June. Further details regarding the project will be announced in due course. We look forward to welcoming you in Basel! - ss space space 非常高興宣布，我們將於今年六月初赴瑞士巴賽爾，參與世界重要當代藝術展會之一——Liste Art Fair Basel！本次展出計畫由藝術家王德瑜與吳依宣共同呈現，透過對空間結構、日常秩序與身體經驗的創作實踐，探討空間如何形塑行為與感知，並提出一種來自非中心位置的觀看視角，重新思考空間的政治性。 Liste Art Fair Basel 長期聚焦獨立且具實驗性的藝術實踐，每年吸引來自全球的重要美術館與策展專業人士，並成為藝術家與畫廊進入國際當代藝術網絡的重要平台。對我們而言，能夠於 Liste 呈現此一計畫具有相當的特殊意義。ss space space 作為一個以研究為核心運作的藝術家自營空間，持續透過跨域研究與國際合作，連結不同文化脈絡，致力推動臺灣當代藝術於全球文化場域中持續發聲。 本次計畫將於 6 月 15 日至 6 月 21 日 於 Liste Art Fair Basel 展出，相關計畫內容將陸續公開，誠摯邀請各位持續關注，並期待在巴賽爾與大家相見。 - #ListeArtFairBasel #Liste #ssspacespace #TeyuWang #SaraWu

Prior to the opening of the current exhibition, Alluvium, we had the pleasure of visiting the studio of artist Ban-Yuan Chang in Tamsui. The studio is filled with the traces of drafts and material testing, revealing the cumulative process of transforming conceptual thought into physical matter. Chang’s practice frequently examines how everyday perception is moulded under the contemporary deluge of information. Through cross-media restructuring and compression, he evokes the sense of delay and weightlessness that emerges from over-saturation, leaving an open, perceptual space for fragmented sensory experiences. For this solo exhibition at ss space space, the artist further adopts paper pulp as a medium to condense daily experience into concrete forms, exploring the threshold between the physical and the spiritual. Ban-Yuan Chang graduated from the Royal College of Art in London. His work has been exhibited internationally, including the Saatchi Gallery, the Taipei Fine Arts Museum, and the Kaohsiung Museum of Fine Arts. - 在當期展覽「態: Alluvium」開幕前，我們有幸前往藝術家張般源位於淡水的工作室。 工作室中陳列著草稿與材料結構的測試痕跡，展現創作從意念轉化為物質的累積過程。張般源的實踐經常關注在當代資訊洪流中，日常感知如何被形塑；他透過跨媒材的重組與壓縮，呈現過度堆疊下的延遲與失重感，為碎片般的感性經驗留下開放的感知空間。這次在 ss space space 的個展，藝術家進一步以紙漿為中介，將日常經驗凝結為具體形體，探討物質與精神的邊界狀態。 藝術家張般源畢業於英國皇家藝術學院（Royal Collage of Art），其作品曾展出於倫敦薩奇美術館（Saatchi Gallery）、台北市立美術館與高雄市立美術館等。 - Images: Ban-Yuan Chang’s studio, 2026. Photo © ss space space (Sean Tseng) - #ssspacespace #banyuanchang #alluvium #exhibition #contemporaryart

#ListeGalleries ssspacespace, New Taipei City @ssspacespace presents Teyu Wang @wang.teyu and Sara Wu @sarawuihsuan For Liste, ssspacespace presents Unstable Grounds, a compelling exploration of spatial politics featuring Taiwanese artists Teyu Wang and Sara Wu. Treating the booth as an active medium, Wang’s site-responsive inflatable structures radically reshape its volume into a breathing environment. In dialogue with this, Wu employs images and sculpture to interrogate how everyday forms regulate our being. The booth space thus becomes an active field where visitors are invited to physically inhabit the artwork. Read together, their practices resonate with Taiwan’s geopolitical ambiguity, offering a nuanced reflection on the dynamics of space and power. Images: 1: Overexposure by Sara Wu, 2023 (Photo: Chungping Wang) 2: Portrait of the artist, Sara Wu 3: No. 72 by Teyu Wang, 2013 (Courtesy of Kalos Gallery) 4: Portrait of the artist, Teyu Wang Courtesy: The Artists and ssspacespace Liste 15–21 June 2026 Hall 1.1, Messe Basel #Liste2026 #ListeArtFairBasel

In an age of visual overproduction, what truly remains? In this exhibition, the artist adopts paper-mâché as a vessel for our perception of the everyday. Much like environmental alluvium, this medium allows fragmented memories and silent textures to find a place to reattach. Broken experiences and unread information slowly gather and bind within the material, eventually crystallising into a tangible interface. These works act as containers for the afterimages of the everyday. Through the layering of fibres, we witness the physical remains of memory that can no longer be read, reminiscent of the ash that drifts down after a ritual burning. On the threshold between the physical and the spiritual, the artist compresses fleeting thoughts into a tactile structure, opening up a new and profound field of perception. - 在影像過度生產的當代，什麼能被留下？ 此次展覽中，藝術家將「紙漿」視為一種日常感知的載體。它們如同環境中的沖積物，使細碎的記憶、失語後的質地，得以在此重新附著。那些日常的破碎經驗、來不及讀取的資訊，在濃稠的紙漿中緩慢凝結，形成如結晶般的介面。 作品收納了日常景觀的殘像。在觀看過程中，纖維的交織與堆疊既是記憶失去可讀性後的物質痕跡，亦如同廟宇文化中物質焚化後緩慢降落的灰燼。在物質與精神的邊界，藝術家將飄渺的念想壓縮為可觸的結構，延展出一片新的場域。 - Images: Ban-Yuan Chang, ‘Alluvium’ at ss space space, 2026. Photo © ss space space (Sean Tseng) - #ssspacespace #banyuanchang #alluvium #exhibition #contemporaryart

‘producing space: ’ is an ongoing project by ss space space. The work takes existing functional spaces as our primary subject, sourcing materials and themes directly from the site (be they physical elements or the issues they reflect) to bridge the contemporary reality and historical context of the space. Since 2022, the series has unfolded across dessert shop, art collective, megaphone factory, art fair, and walk-up apartment. These projects become a method of inquiry, seeking the revelations held within the space itself. There is a compelling depth to this practice: as each space is understood more deeply, new creative methodologies are unearthed. It is a process of learning from the space itself. - 向空間學習⛲️ 「producing space: 」這個系列的作品是 ss space space 的長期創作計畫。我們以社會中既有的功能性空間(現今多轉為展覽用途）為創作主體，並且在空間中就地取材，無論是物質材料或是其所反應的議題。嘗試連結空間所能回應的現況、歷史脈絡。 從2022年開始，已經累積在甜點店、藝文組織、揚聲器製造所、藝術博覽會以及步登公寓展覽。我一直都很喜歡這個系列的作品，每深入認識一個空間的同時，也能發掘新的創作方法。 - 1-7｜producing space: divergence, convergence, dessert shop, 2022 生產空間：發散、聚合、甜點店 @madeleinekitchen63 8-11｜producing space: clear, obscure, a collective, 2023 生產空間：清晰、模糊、藝文組織 @tenthausoslo 12-15｜producing space: simplify, amplify, megaphone factory, 2023 生產空間：精簡、擴充、揚聲器製造所 @chiaoxart 16-20｜producing space: alone, together, walk up apartment, 2024 生產空間：獨步、團聚、步登公寓 @mynameis_yao

Ban-Yuan Chang’s solo exhibition, 'Alluvium', officially opened last Sunday! This exhibition presents a new body of work by Ban-Yuan Chang. Continuing his long-standing exploration of ‘perceptual displacement’ within digital information environments, he further examines how daily experiences are shaped within the digital torrent and transforms them into tangible material states through artistic practice. The title 'Alluvium', a geological term for deposits, serves as a metaphor for the flux of contemporary imagery and information: in our fragmented digital daily life, information particles accumulate and settle like sediment, gradually shaping our perceptual structures. The exhibition extensively utilizes the layering of paper pulp fibers and the translation of ‘smoke’ from spiritual practices to condense these intangible narratives and spirits into physical works. Between the states of fluidity and form, Chang establishes a perceptual interface for the viewer to inhabit. The current show runs until 7 June. Opening hours are Thursday through Sunday, 11:00 – 17:30. We warmly welcome you to visit Bali on the north coast and explore the exhibition! - 張般源個展「態: Alluvium」已於上週日正式開展！ 本次展覽呈現藝術家張般源的一系列全新創作。延續對數位資訊環境中「感知位移」的長期關注，他進一步聚焦日常經驗如何在數位洪流中被形塑，並透過藝術實踐將其轉化為可被觸知的物質狀態。 展名「Alluvium」原為地質學中的「沖積物」，藝術家以此隱喻當代影像與資訊的流動：在高度碎裂的數位日常中，資訊如微粒般持續堆積、沉降，最終如同泥沙沖積，緩慢地形塑了我們的感知結構。展覽中大量使用紙漿纖維的堆疊與信仰經驗中的煙氣轉譯，將這些無形的敘事與精神凝結成作品，在流動與定型之間，為觀者建立一處可供棲息的感知介面。 本期展覽開放至 6 月 7 日，營業時間為週四至週日每日 11:00 至 17:30，歡迎來北海岸八里走走、看展！ - Images: Ban-Yuan Chang, ‘Alluvium’ at ss space space, 2026. Photo © ss space space (Sean Tseng) - #ssspacespace #banyuanchang #alluvium #exhibition #contemporaryart

Ban-Yuan Chang’s solo exhibition, Alluvium (態), opens this Sunday, 3 May at 2:00 pm! The exhibition brings together the artist's research and practice developed over the past few years, featuring more than ten new works spanning painting, sculpture, and installation. Come and join us for the opening—we look forward to welcoming you! - 張般源個展「態: Alluvium」將於本週日 #5月3日 #下午2點 開幕！ 本次展覽集結藝術家近年累積之研究成果與創作，呈現繪畫、雕塑與裝置等十餘件全新作品。歡迎大家一起來看展，期待相見！ - Images: Ban-Yuan Chang, ‘Alluvium’ at ss space space, 2026. Photo © ss space space (Sean Tseng) - #ssspacespace #banyuanchang #alluvium #exhibition#contemporaryart

In response to the digital overload of contemporary society, Ban-Yuan Chang materialises the everyday, transforming the familiar imagery and fleeting moments we are so accustomed to into tangible traces. Through his physical engagement with the materials, the viewers are invited to step into the space and observe how our daily experiences take shape—suspended in a delicate state between fluidity and sedimentation. Join us for the opening on Sunday, 3 May at 2:00 pm. We’d love for you to drop by and have a chat with the artist! - 「態: Alluvium」現正布展中🏰 面對當代社會中過度飽和的數位資訊，藝術家張般源將我們習以為常的網路影像與生活片段，透過身體與材料的介入，將其轉化為具體的物質痕跡，並邀請觀者走入其中，在材料流動與沉降的狀態之間，緩緩感受日常經驗形塑的過程。 本次展覽將於 5 月 3 日下午 2 點開幕，歡迎來現場與藝術家聊聊！ - #ssspacespace #banyuanchang #alluvium

ss space space is delighted to present ‘Alluvium’, a solo exhibition by Ban-Yuan Chang. The exhibition features a new body of work developed over the years, spanning painting, sculpture, and installation. In this series, the artist employs paper pulp as his core medium, transforming the overwhelming accumulation of contemporary images and information into tangible, material forms. Through an adept translation of everyday landscapes and digital fragments, the works cultivate a viewing experience suspended between fluidity and sedimentation.  Ban-Yuan Chang’s research has long interrogated how our modes of viewing and sensing are shaped within an image-saturated environment. Drawing upon urban landscapes, online imagery, and fragments of lived experience, his practice utilises reconfiguration and cross-media application to further examine the intricate relationship between perceptual structures and embodied experience.  ‘Alluvium’ opens on Sunday, 3 May at 2:00 pm. We warmly invite you to join us if you’re around! - ss space space 即將帶來張般源個展「態: Alluvium」，本次展覽將呈現藝術家歷時多年的全新創作，橫跨繪畫、雕塑與裝置等十餘件作品。在此系列中，藝術家以「紙漿」為核心媒材，將當代生活中龐雜的影像與資訊，轉化為具體的物質型態；同時，透過對日常景觀與數位片段的巧妙轉譯，試圖於作品中呈現一種介於流動與沉降之間的觀看經驗。 張般源的研究長期關注在影像飽和的環境中，我們的觀看與感受方式如何被形塑。其創作多從城市景觀、網路影像與生活片段出發，透過重組與跨媒材實踐，延伸出對感知結構與身體經驗之間關係的探討。 本期展覽「態: Alluvium」將於 #5月3日 #下午2點 開幕，歡迎大家來現場與藝術家一同聊聊近年的創作與研究。 - #ssspacespace #banyuanchang #alluvium

In the current exhibition, Chengchun Chang presents two works titled as tables, ‘Beaver’s Table’ and ‘My Table’. Both are derived from objects that were not originally tables, reconfigured into surfaces that appear usable, yet remain functionally unresolved. ‘Beaver’s Table’ originates from materials removed during a campus renovation, while ‘My Table’ is constructed from remnants of another artist’s work. Through reassembly and naming, these objects are designated as tables, a familiar form that quietly prescribes modes of use and positions of action. What does it mean for an object to be called a table? Does naming alone confer function, or even a certain kind of authority? Across these surfaces, almost usable yet slightly displaced, the works point to an underlying order, one that structures use, distribution, and position, often without being seen. - 在此次展覽中，張程鈞呈現兩件以「桌子」命名的作品：《河狸的桌子》與《我的桌子》。兩者皆由原本不屬於桌子的物件轉化而成，在形式上接近可被使用的平面，卻同時維持著某種不完全的功能狀態。 《河狸的桌子》取材自校園整修中拆除的物件，而《我的桌子》則來自他人創作遺留下的材料。經由重新組構與命名，它們被指認為桌子，一種看似日常卻預設了使用方式與行動位置的結構。 當一個物件被稱為「桌子」，它是否因此取得某種功能與權限？在這些近似可用卻略為偏移的表面之間，作品指向一種被建構的秩序，那些支撐使用、分配與位置的條件，往往在日常中不被察覺。 - Images: Chengchun Chang ‘Beaver's Table’, (2026), ‘My Table’, (2026). Photo © ss space space (Sean Tseng) - #ssspacespace #ABeautifulFeint #exhibition #contemporaryart #漂亮的假動作

Seeing is not simply the reception of what appears before us, but a process shaped through naming, memory, and projection. In this exhibition, Juitsz Shiu presents ‘A Stone Resembling a Bird’ and ‘Index’, exploring how perception is formed through acts of naming, repetition, and concealment. In ‘A Stone That Looks Like a Bird’, a found object—named for its likeness—is repeatedly translated through wood and clay, then presented as photographic prints. Viewing unfolds through comparison and subtle deviation, where naming becomes a point from which imagination begins. In ‘Index’, a tug-of-war rope takes on the form of a natural object, partially obscured by frosted acrylic. As the object resists full visibility, recognition turns toward the viewer’s own memory—what we see may be inseparable from what we already know. - 觀看，並非單純接收眼前的形象，而是不斷在命名、記憶與投射之中完成的辨認過程。在許芯慈此次展出〈一顆像鳥的石頭〉與〈索引〉兩件作品當中，分別從命名、臨摹與遮蔽出發，處理觀看如何形成，以及事物如何被辨認。 在〈一顆像鳥的石頭〉中，一顆被賦名的石頭成為臨摹對象。藝術家以木雕與泥塑重複轉譯其形貌，並將石頭與雕塑共同轉換為平面影像。作品將觀看置於反覆比對的過程中，也使命名不再只是描述，而成為牽引想像的起點。而另一件作品，〈索引〉則以拔河繩模擬某種自然物的輪廓，並透過霧面壓克力將其半遮蔽。由於物件未被完整顯現，辨識因而轉向觀眾自身的記憶與經驗。我們所看見的是否某種程度上也是我們已經知道的總和？ - Images: Juitsz Shiu, ‘A Stone That Looks Like a Bird’, (2026), ‘Index’, (2026). Photo © ss space space (Sean Tseng) - #ssspacespace #ABeautifulFeint #exhibition #contemporaryart #漂亮的假動作

In Wen Gum Gum’s recent work, Polymami, a woman is depicted with her back to the viewer, gazing into five mirrors that yield four entirely distinct reflections. Drawing inspiration from Rosalía’s album Motomami, the artist adopts the self-deconstructive neologism ‘Polymami’ to evoke a fluid state of multiplicity and ever-shifting identity. Since 2022, Wen has consistently interrogated queer desire and the suppressed emotions within art history through her motif of ‘bodiless figures’ and bodily mutation. Her subjects frequently bear farcical, cartoonish expressions, navigating striking contrasts of fluorescent green and black. Masterfully distilling the artificial sheen of internet visual culture, this vivid green—characterised by its overexposure and anonymity—functions as a visual membrane. Rather than serving as a simple lure, it is a surface that simultaneously summons the viewer‘s desire and deftly obstructs it. - ​​在溫佳寧（溫金金）的新作《多重兒》中，一位背對畫面的女士望向五面鏡子，卻映照出四張截然不同的面容。這件作品的命名靈感汲取自 Rosalía 的專輯《Motomami》，藝術家以帶有自我解構意味的「Polymami」一詞，暗示著多重身份與多元性的流動狀態。 自 2022 年起，溫佳寧便持續透過「無身體的人物」與變異的形體，探討酷兒慾望並揭露藝術史中被壓抑的情感。畫中人物常以帶有戲謔與滑稽感的卡通面容現身，遊走於強烈的螢光綠與黑之間。溫佳寧精準提煉了網路影像文化的光澤，這種帶有過度曝光與匿名性的螢綠色，宛如一道視覺薄膜；它並非單純意在誘惑，而是在召喚觀者慾望的同時，俐落且巧妙地將其阻絕。 - Images: Wen Gum Gum, ‘Polymami’, (2026). Photo © Chungping Wang - #ssspacespace #ABeautifulFeint #exhibition #contemporaryart #漂亮的假動作