In May 2025, sculptor Tuan Tsun-Chen will present his new exhibition “Constructed Object”, which will feature not only three-dimensional sculptures but also a series of sketches that use cement, iron, and graphite to construct a tranquil and understated urban landscape.

In the philosophy of Martin Heidegger (1889–1976), human construction is a means of dwelling. However, this concept of dwelling is not synonymous with mere habitation; it is “poetic dwelling,” which encompasses the totality of life.  As such, it is not only the human home that matters—every built structure, every form of construction, is essential to human life practice, embodying the self.

Tuan Tsun-Chen approaches architecture from the perspective of a “constructor,” re-examining the complex patterns of buildings.  He dissects architecture with clear forms and principles—stairs, porches, corridors, walls.  When these elements transition from their original interdependent state into independent entities, they seem to gain a new opportunity for reinterpretation, like reborn objects gleaming in the clear light after a rainstorm, signaling that they hold all new possibilities.  Tuan meticulously examines these architectural components, attempting to capture the subtle traces of dwelling hidden within them.  What once was a concrete jungle suddenly becomes a living thing. In the hands of the sculptor, these fragments are reassembled and molded into new existences.  Unlike real buildings, which are vast and unapproachable, these cement-cast sculptures are small and intimate, tangible and viewable.  Through constant refinement and polishing of materials, the previously ambiguous yet deeply cherished ideal of a beautiful place gradually takes form.

This may not be Tuan Tsun-Chen’s personal experience alone; rather, he invites the viewer into this hypothesis.  In the intersection of reality and imagination, he builds a poetic dwelling—a space where one may find solace and peace.

2025年5月，雕塑家段存真的新作展《築造之物》，除了三維的雕塑作品外，亦展出一系列素描作品，以水泥、鐵件及石墨構築出一片靜謐低調的城市景觀。

在海德格（Martin Heidegger，1889—1976）的認知中，人類築造是為了棲居，然而所謂的棲居並不等同於一般概念中的居住，而是「詩意的棲居」，它包含了一切生活的總和。也因此，不僅是人的家屋，所有被築造搭構起來的建築體，都是人類實踐生命，體現自我的必要所在。

段存真試著依循「築造者」的視角，重新審視建築的複雜樣態。他用一種明晰的形式與法則拆解建築——階梯、門廊、過道、牆垣，當它們從原本緊密相依的狀態轉變為單獨存在的個體時，似乎獲得了被重新詮釋的機會；如同在雨後的清朗光線下閃閃發亮的重生物，宣示它保有一切新的可能。段存真仔細審視這些建築構件，試著捕捉暗藏於其中的隱微棲居痕跡人們隱微的棲居痕跡，原本面無表情的水泥叢林突然成為了富含生氣之物，在雕塑家的手中，重新集結形塑出新的存在。這些水泥翻鑄而成的雕塑不像真正的建築物一樣巨大難以親近，它們具體而微，可把控、可細觀，透過對材質不斷的研磨修整，原本曖昧難明卻又令他心心念念的美好之地緩慢顯形。

這或許不是段存真個人的單一體驗，他更希望邀請觀者一起進入這個假設，在現實與想像的交錯中，築造讓自身安心棲居的詩意居所。

Entry Information | 入場方式

Open Access | 自由入場

Closed on Sundays and Mondays | 星期日、一休館

Event Contact | 活動聯繫

Chiao-Yen, CHANG｜張巧妍

[email protected]