PTT SPACE 最新展览 | 202109152144 Skate Time Again!

「  202109152144

Skate Time Again !    」

以滑板为起点，我们再次在

公共空间、人际关系与身体感知之间滑行

「 艺术家 Artist 」

林恩仑  Aaron Horse

曹恒诚  Choco Tsao

苏煌盛  Huang-Sheng Su

「 策展人 Curator 」

洪培馨   Pei-Shin Hung

「 展览日期 Duration 」

2025.12.27 – 2026.02.07

「 展览地点 Location 」

PTT SPACE

台北市松山区敦化南路一段100巷5弄31号旁

Besides Alley 5, Lane 100, Section 1, Dunhua S Rd, 31, 1f, Songshan District, Taipei City, Taiwan (R.O.C.)

向左滑动查看更多展览现场照片

“202109152144”以一张拍摄于 2021 年 9 月 15 日晚间 21:44、位于高楼夹缝中的圆形溜冰场照片为起点，回望一段以滑板串连的友情与身体记忆。在 2025 至 2026 之际，再次打开这个影像，像是打开了一个时间的裂缝：过去的身体、尚未形成的未来，以及正在面对的现实生活，在展览中彼此呼应、重叠、互为幽影。

林恩仑 Aaron Horse

Kick the Can to the Playground – Bench

2025

3D 列印（PETG）、环氧树脂、压克力喷漆

3D print (PETG), epoxy resin, acrylic spray paint

H 73 × W 156 × D 73 cm

林恩仑作品现场图

左：Trap – 3

2025

压克力、亚麻画布、艺术家装裱画框

Acrylic on linen with artist’s frame

H 162 × W 130 cm

右：The Stick of Truth – rolling rolling

2019

白铁 Stainless steel

H 60 × W 65 × D 60 cm

从前，滑板是青春里用来认识自己、和伙伴一起度过长夜的方式。而长大以后，生活换了角色、时间被责任切割，属于自己的时间被实用与效率悄悄收编。滑板于是成了留在身后的光，就像人们在现实里逐渐松手的那些热情，被不得不前进的节奏慢慢吞没。展览以一段因滑板而起的相遇为核心，却不仅仅关于滑板。它触及的是在当代亚洲高度管控与快速变动的城市里，人如何以身体行动创造缝隙，重塑边界、社群与身体的感知方式。滑板不只是运动的场域，更是一种“占据”与“再定义”公共空间的行动；它挑战了谁能停留、谁被驱逐的城市规则，也在痕迹、摩擦与聚散之间，留下了抵抗被抹除的证据。

曹恒诚 Choco Tsao

Keep pushing

2025

录像、木板、金属架、播放器、滑板、震动马达

Video, wood, metal rack, media player, skateboard, vibrating motor

尺寸依场地而定

Dimensions variable

曹恒诚互动作品Keep pushing现场图

回到身体动作本身，滑板的世界以跳跃为名，但初学者最先面对的不是跳，而是该如何跌倒。从最基本的腾板动作 Ollie 的第一步开始，滑板练习的核心并非如何飞起，而是如何落地。跌倒在此并不等同于失败，而更像是一种方法，一种不同于日常的节奏，也是身体学习如何自由的过程。每一次跌倒，都是对身体记忆的微调，那种“跌倒也没关系”的经验，如同身体暂时脱离规训，找到被赋权的瞬间。滑板本质上抵抗规训，它重新发明街道、楼梯、缝隙等日常空间，使城市变成流动的、可重新想像的身体场域。滑板者的身体永远处于“可能摔倒”的动能中，而这种动能构成创造力，不断试错、不断挑战重力与恐惧，而不断突破。一次又一次、Skate Time Again，它不仅是重回滑板的时光，更标志着练习的循环，也标志着生活中不断回返的现实缝隙。透过跌倒，滑板者知道每一次落地，都伴随着重新开始的力量与韧性。

苏煌盛 Huang-Sheng Su

SK8 #4

2025

矿物颜料、画布 Mineral pigment on canvas

H 70 × W 140 cm

苏煌盛作品现场图

左：Boardslide

2025

油彩、Jessup 砂纸 

Oil on Jessup griptape

H 83 × W 22 cm

右：SK8 #5

2025

矿物颜料、金属箔、画布、轮架

Mineral pigment, metal foil on canvas

H 180 × W 70 cm

本次展览如同一场既亲密又公共的实验，三位创作者从不同媒介出发：林恩仑的雕塑将公共空间中的障碍物弯曲、重复与变形，松动人们习以为常的规范逻辑；曹恒诚的影像作品透过个人形象与体感的塑造，开展对观看方式与空间经验的探索；苏煌盛的绘画则以跳跃、腾空与视角转换，隐喻身体在运动中所经历的敏锐变化与心理状态。滑板经验为我们提供了一种不同于日常的理解方 式，如同创作以各种别于以往的表现力来辨识自身、形塑认同与发现价值。展览本身宛如一个非线性的时间装置，借由时间回返、空间错置、身体感知与感性的相互支持来维系彼此的连结。它从一次次深夜的练板谈话而来，扩展到当代都市社会中的共同生存经验，作品所呈现的不仅是三位创作者的个人轨迹，更是整个世代在城市缝隙中留下的时空印记。

林恩仑 

Aaron Horse

林恩仑（Aaron Horse）1991年生于克里夫兰，现工作与居住于新北市。2020年毕业于国立台北艺术大学美术系硕士班，主要以空间装置、雕塑、版画为创作媒材，作品主题围绕于物质环境的观察及人与物之间的连结，近年更聚焦于公共空间的样貌与其中的权力关系。重要经历包括2020年于非常庙艺文空间的个展“Frontside and Backside”，以及2022年于新竹市美术馆共同策展及展出的展览“祝您健康快乐”。

曹恒诚 

Choco Tsao

曹恒诚 （Choco Tsao）1997年生于新竹，现工作与居住于新北市。

曹恒诚毕业于国⽴台北艺术⼤学美术学系复合媒体组，现为3D动画师。创作以动画为主要媒介，关注影像与景框的关系，尝试透过空间结构干扰既有的观看⽅式。

苏煌盛 

Huang-Sheng Su

苏煌盛（Huang-Sheng Su）的创作主要使用水墨、矿物颜料、纸、绢、金箔等传统材料，透过当代视觉经验的视角，重新诠释古典东亚绘画技法。苏煌盛从数位绘图、摄影、伊斯兰细密画和拜占庭艺术中汲取灵感，探索当代图像与传统亚洲叙事之间的交集。他的作品运用精细的笔触、层叠的构图，以及虚实（空与密）的交替，唤起如光影般的空间节奏。

苏煌盛曾于2019年获得亚洲文化协会（ACC）的纽约驻村奖助，并于2022年至2025年期间驻居伦敦。他的作品曾在台北市立美术馆、国立台湾美术馆、香港巴塞尔艺术展和新加坡艺博会等展出。

洪培馨

Pei-Shin Hung

洪培馨（Pei-Shin Hung）为策展人与艺术写作者，于2024年取得伦敦大学金匠学院策展硕士学位（Goldsmiths, University of London, MFA Curating），主要实践关注潜在性、时间性与非主流叙事，并探讨观点与记忆如何形塑认知。她视策展为倾听与连结的过程，关注慢速、再生与抵抗的节奏。曾于伦敦Gasworks（2023）与李晓晴（香港）、周楚（中国）共同策划表演项目“声波摩擦”，探讨声音与社群叙事；亦于新竹市立美术馆（2022）与林恩仑、陈玟君共同策划展览“祝您健康快乐”聚焦信仰与后疫情生活。2024年7至9月参与策展人驻村计划于东伦敦哈克尼八座图书馆（Hackney Libraries）与当地社群共同进行研究；2014年–2022年间任职于台北市立美术馆，主要负责王大闳建筑剧场相关公众计划规划与执行，并协助台北双年展及其他相关公众活动。

Written by｜Pei-Shin Hung

“202109152144” takes as its starting point a photograph of a circular skating rink nestled between high-rise buildings, captured at 21:44 on September 15, 2021. It looks back at a friendship and body memory connected by skateboarding. Reopening this image on the cusp of 2025 to 2026 is like opening a crack in time: the bodies of the past, the future yet to be formed, and the reality currently faced echo, overlap, and haunt one another in the exhibition.

林恩仑 Aaron Horse

快乐崇拜 Create Life

2022

三频道录像、压克力、灯

Three-channel video, acrylic, LED light

H 66.8 × W 42 × D 11 cm

Skateboarding was once the way in youth to understand oneself and spend long nights with friends. As one grows older, life changes roles, time is segmented by responsibilities, and personal time is quietly appropriated by utility and efficiency. Skateboarding thus becomes a light left behind, much like the passions people gradually let go of in reality, slowly consumed by the relentless pace of moving forward. While centered around an encounter sparked by skateboarding, the exhibition is about more than just the sport. It touches upon how people use bodily action to create fissures and redefine boundaries, community, and bodily perception in the highly regulated and rapidly changing contemporary Asian city. Skateboarding is not merely a domain for sport; it is an act of “occupation” and “redefinition” of public space. It challenges the urban rules of who can stay and who is expelled, leaving behind evidence of resistance against erasure through traces, friction, and moments of gathering and dispersal.

曹恒诚 Choco Tsao

击破点 Breakpoint

2024

录像 Video

1'34"

Returning to the bodily movement itself, the world of skateboarding is characterized by the jump, yet the first thing a beginner faces is not how to jump, but how to fall. Starting from the first step of the most basic trick, the Ollie, the core of skateboarding practice is not how to fly, but how to land. Falling here is not equivalent to failure; it is more like a method, a different rhythm from the everyday, and a process for the body to learn how to be free. Each fall is a slight adjustment to body memory. That experience of “it’s okay to fall” is like the body temporarily escaping discipline, finding a moment of empowerment. Skateboarding is inherently resistant to discipline. It reinvents everyday spaces—streets, stairwells, and gaps—turning the city into a fluid, reimagined physical arena. The skater's body is constantly in the dynamic state of “potential to fall,” and this dynamic constitutes creativity, constantly trial-and-erroring, challenging gravity and fear, and breaking through. Again and again, Skate Time Again marks not only a return to skateboarding but also the cycle of practice, and the constantly recurring fissures of reality in life. Through falling, the skater understands that every landing is accompanied by the power and resilience to restart.

苏煌盛 Huang-Sheng Su

Skate for Nothing

2025

油彩、Jessup 砂纸

Oil on Jessup griptape

H 22 × W 83 cm

This exhibition is like an experiment, simultaneously intimate and public, with three creators working across different media: Aaron Horse’s sculptures bend, repeat, and deform public space obstacles, loosening the normative logic people are accustomed to; Choco Tsao’s video work explores the ways of viewing and spatial experience through the shaping of personal image and embodied feeling; Huang-Sheng Su’s paintings, through jumping, soaring, and shifting perspectives, metaphorize the acute changes and psychological states the body experiences in motion. The skateboarding experience offers us a way of understanding that differs from the everyday, just as creation uses various expressions unlike before to identify the self, shape identity, and discover value. The exhibition itself resembles a non-linear temporal device, maintaining connection through the mutual support of time return, spatial dislocation, and bodily perception and sensibility. It stems from conversations during late-night practice sessions and expands to the shared survival experiences in contemporary urban society. The exhibited works showcase not only the personal trajectories of the three creators but also the spatio-temporal imprint left by an entire generation in the fissures of the city.

Aaron Horse

Born in 1991, Cleaveland.

Lives and works in New Taipei.

Aaron Horse received an MFA from the Department of Fine Arts at Taipei National University of the Arts in 2020. His practice primarily utilizes spatial installations, sculpture, and printmaking as mediums. His work centers on the observation of material environments and the connection between people and objects. In recent years, his focus has increasingly centered on the forms of public space and the power dynamics embedded within them. Notable experiences include the 2020 solo exhibition, "Frontside and Backside," held at VT Artsalon, and the 2022 exhibition, "Wish You Good Health and Happiness — On Beliefs, Governance, and the New Life," at the Hsinchu City Art Gallery, where he also served as a co-curator.

Choco Tsao

Born in 1997, Hsinchu, Taiwan.

Lives and works in New Taipei.

Choco Tsao graduated from the Composite Media Group, Department of Fine Arts, Taipei National University of the Arts. He currently works as a 3D Animator. His creation primarily utilizes animation as the main medium, focusing on the relationship between the image and the frame, and attempting to disrupt existing viewing methods through spatial structure.

Huang-Sheng Su

Born in 1987, Taoyuan.

Lives and works in Taipei, Taiwan.

Huang-Sheng Su's work primarily utilizes traditional materials such as ink, mineral pigments, paper, silk, and gold leaf, reinterpreting classical East Asian painting techniques through the lens of contemporary visual experience. Drawing from digital sketches, photography, Islamic miniature painting, and Byzantine art, Su explores the intersections between contemporary image and traditional Asian narratives. His works employ fine brushwork, layered compositions, and the interplay of void and density to evoke spatial rhythms reminiscent of light and shadow.

Su was awarded a residency in New York by the Asian Cultural Council (ACC) in 2019 and has been based in London from 2022 to 2025. His works have been exhibited at the Taipei Fine Arts Museum, the National Taiwan Museum of Fine Arts, Art Basel Hong Kong, and ART SG Singapore.

Pei-Shin Hung

Pei-Shin Hung is a curator and art writer who obtained her Master of Fine Arts in Curating (MFA Curating) from Goldsmiths, University of London in 2024. Her practice primarily focuses on potentiality, temporality, and non-mainstream narratives, exploring how perspectives and memory shape cognition. She views curating as a process of listening and connection, concentrating on the rhythms of slowness, regeneration, and resistance.

In 2023, she co-curated the performance program "Sonic Friction" at Gasworks, London, with Crystal Li (Hong Kong) and Chu Zhou (China), which delved into sound and communal narratives. She also co-curated the exhibition "Wish You Good Health and Happiness" at Hsinchu City Art Gallery in 2022, which focused on faith and post-pandemic life. From July to September 2024, she participated in a Curator Residency (Art at Heart program) at eight Hackney Libraries in East London, conducting research with the local community. From 2014 to 2022, she served at the Taipei Fine Arts Museum, where she was primarily responsible for the planning and execution of public programs related to the Wang Da Hong House Theatre, and assisted with the Taipei Biennial and other related public activities.