台中市立美术馆（台中绿美图）丨中国台中丨SANAA,刘培森建筑师事务所

台湾2025年最具突破性的全新文化地标——台中绿美图，由普利兹克奖得主建筑事务所 SANAA 设计，以汇集来自20个国家、70余位艺术家的大型展览正式启幕。被视为台湾2025年最重要的文化建设项目之一，位于台湾第二大城市台中的台中绿美图，已在2025年12月13日（星期六）——正式向公众开放。开幕仪式将由台中市市长出席，并汇集来自各地的政要、博物馆馆长、策展人及艺术家。作为一处全新的国际文化目的地，台中绿美图是台湾首座将都会美术馆与市立图书馆整合于同一场馆的文化设施，提出了一种新的艺术机构发展模式。

Taiwan’s Groundbreaking New Cultural Landmark, Taichung Green Museumbrary, Designed by Pritzker-Winning Architects SANAA, Opens with Major Exhibition with over 70 Artists from 20 Nations. Considered Taiwan’s most important cultural development of 2025, Taichung Green Museumbrary, located in Taiwan’s second largest city Taichung, was officially opened to the public on Saturday, December 13, 2025, after an opening ceremony attended by the Mayor as well as dignitaries, museum directors, curators and artists who will have travelled to the city from far and wide. The new international cultural destination is Taiwan’s first venue to integrate a metropolitan art museum and the city’s central library—presenting a new model for arts institutions.

▼台中绿美图鸟瞰，Aerial View of Taichung Green Museumbrary© Iwan Baan

台中绿美图坐落于台中市67公顷的中央公园内，内部设置台中市立美术馆与台中市立图书馆。这一引人注目的双馆复合体由日本建筑事务所 SANAA 与台湾的刘培森建筑师事务所合作完成设计。SANAA 由2010年普利兹克建筑奖得主妹岛和世与西泽立卫领衔。建筑总楼地板面积为57,996平方米，是 SANAA 在台湾的首座公共建筑，也是其迄今规模最大的文化类项目。设计延续 SANAA 标志性的透明性与流动性主题，由八个尺度不一、相互连通的体量构成，外覆玻璃与金属材料，并整体包裹在一层纯白色的金属扩张网幕立面之中。台中美术馆以开馆展览《万物的呼唤：明天见，同一时间，同一地点》正式启幕（2025年12月13日—2026年4月12日）。该展览由来自台湾、罗马尼亚/韩国及美国的国际策展团队共同策划，汇集来自20多个国家的70余位艺术家，在在地视角与全球视野之间展开对话。美术馆亦将同步推出首届 TcAM 公共空间艺术委任计划，呈现河濑直美与林明弘的作品，确立其在当代艺术领域中以国际对话为导向的文化定位。

Located within Taichung’s 67-hectare Central Park, Taichung Green Museumbrary is home to the new Taichung Art Museum and the Taichung Public Library. The spectacular dual-venue complex was designed through an international collaboration between SANAA—the renowned Japanese architectural team led by 2010 Pritzker Prize laureates Kazuyo Sejima and Ryue Nishizawa—and Taiwan’s Ricky Liu & Associates Architects + Planners. The building covers a total floor area of 57,996 square metres and is both SANAA’s first public building in Taiwan and their largest cultural project to date. The design reflects SANAA’s signature themes of transparency and fluidity, comprising eight interconnected volumes of varying sizes clad in glass and metal, which are enveloped by a pristine white expanded metal mesh curtain façade. Taichung Art Museum (TcAM) opened with the inaugural exhibition ‘A Call of All Beings: See you tomorrow, same time, same place’ (13 December 2025 – 12 April 2026), curated by an international team from Taiwan, Romania/South Korea and the United States. The exhibition brings together more than 70 artists from over 20 nations, blending local perspectives with global insights. The museum will also unveil the first TcAM Art Commissions in Public Space from Haegue Yang and Michael Lin, establishing itself as a cultural force in contemporary art with a commitment to international dialogues.

▼台中绿美图外观，Exterior of Taichung Green Museumbrary© Iwan Baan

台中美术馆馆长赖怡欣表示：“台中美术馆、台中市立图书馆与公园的整合，促使我们重新思考环境、文化、人群与城市之间的关系。通过开馆展与公共艺术委任计划，我们不仅促成跨世代、跨文化的艺术对话，也希望让美术馆真正进入城市与市民的日常生活，激发更多创造力与想象力。我们期待这里成为一个让每位访客都能留下独特记忆与体验的开放场所。”

Yi-Hsin Lai, Director of Taichung Art Museum, said, “The integration of Taichung Art Museum with Taichung Public Library and the park has activated our thinking about the environment, culture, people and the city. With the inaugural exhibition and the special commissions, we not only combine artistic dialogues across generations and cultures, but also strive to fulfil the potential of an art museum to enter the everyday life of the city and its residents, as well as to inspire creativity and imagination. We look forward to making this a welcoming space for visitors to create unique memories and experiences of their own.”

▼台中美术馆中庭，Atrium of Taichung Art Museum© Iwan Baan

台中市政府文化局局长陈佳君表示：“台中绿美图的落成，是城市长期文化投入的重要里程碑，象征着台中前瞻而具创新性的文化政策。我们由衷感谢 SANAA 为城市带来这样一座极具开放性与亲和力的建筑杰作，让来自各地的访客都能共享其中。”

Jia-Jun Chen, Director of the Cultural Affairs Bureau of Taichung City Government, said, “The completion of Taichung Green Museumbrary is a milestone in the city’s sustained investment in culture. It is emblematic of the city’s forward-thinking cultural policy and commitment to innovation. We are grateful to SANAA for gifting this extraordinarily welcoming architectural marvel to our city for all visitors from near and afar to enjoy.“

▼台中绿美图外观，Exterior view of Taichung Green Museumbrary© Iwan Baan

台中美术馆

Taichung Art Museum

在馆长赖怡欣的领导下，台中美术馆致力于支持本地艺术实践，并推动台湾与国际艺术社群之间的交流与对话。其展览计划以开放、跨领域为核心，邀请公众进入多感官的探索体验。美术馆关注环境议题、文化基础设施与城市发展，并与市立图书馆建立独特的合作关系。继台北双年展（1998）、台北艺术周（2024）与新北市美术馆（2025）之后，台中美术馆被视为台湾艺术生态中最重要的新成员。

Under the leadership of Director Yi-Hsin Lai, Taichung Art Museum is dedicated to supporting local artistic practices while fostering international exchange and dialogue between Taiwanese and global art communities. Its exhibition programme embraces open and cross-disciplinary perspectives, inviting the public into new experiences of exploration and sensory immersion. Central to the museum’s vision are reflections on environmental concerns, cultural infrastructure, and urban development, as well as a unique partnership with the Public Library. The museum is the most important addition to Taiwan’s vibrant art scene following the founding of the Taipei Biennial (1998), Taipei Art Week (2024), and New Taipei City Art Museum (2025).

▼台中美术馆，Taichung Art Museum © Iwan Baan

开馆展览《万物的呼唤：明天见，同一时间，同一地点》

Opening Exhibition ‘A Call of All Beings: See you tomorrow, same time, same place’

台中美术馆开馆展览《万物的呼唤：明天见，同一时间，同一地点》由台中美术馆策展团队与周灵芝（台湾）、Alaina Claire Feldman（美国）及 Anca Mihuleţ-Kim（罗马尼亚/韩国）共同策划。展览以美术馆所处的自然与城市环境为灵感，将建筑的开放性与跨世代的多元艺术视角交织在一起。展览汇集来自20多个国家的70余位艺术家，策展合作通过多种方法论并置——从道家思想到原住民宇宙观，从身体经验到非西方视角——构建出一个多声部的策展框架，抵抗关于自然、文化与跨物种关系的单一叙事。

Co-curated by Taichung Art Museum’s curatorial team alongside Ling-Chih Chow (Taiwan), Alaina Claire Feldman (USA) and Anca Mihuleţ-Kim (Romania/South Korea), Taichung Art Museum’s opening exhibition ‘A Call of All Beings: See you tomorrow, same time, same place’ draws inspiration from the natural and urban landscape surrounding the museum, interweaving architectural openness with diverse artistic perspectives across generations. Featuring works by more than 70 artists from over 20 countries, the curatorial collaboration weaves multiple methodologies—from Daoist philosophies to indigenous cosmologies, from embodied knowledge to non-Western perspectives—creating a multivocal framework that resists singular narratives about nature, culture, and interspecies relations.

▼Haegue Yang的装置视图，液体祈愿-树荫三联，Installation view of Haegue Yang, Liquid Votive – Tree Shade Triad © ANPIS FOTO

展览通过馆藏作品与全新委任创作，梳理人与自然关系如何被想象、重塑与转译。来自台湾中部的艺术前辈为展览奠定历史基础：陈庭诗的《雷之初动》（1972）以藤编浮雕呈现自然之力；叶火城以厚涂笔触描绘富含矿物质的火炎山地景；王清霜的漆艺作品运用莳绘与螺钿镶嵌技法。陈幸婉的《大地之歌 No.1》以牛皮为基底承载硬化的织物形态——皮革仍然脉动着生命力，而纺织物则凝固为恒久的存在。

The exhibition draws from the museum’s collection and new commissions to trace how human-nature relationships have been imagined and transformed. Central Taiwan masters establish historical grounding: Chen Ting-Shih’s The First Crack of Thunder (1972) renders natural forces through cane fibre relief; Yeh Huo-Cheng captures Mount Huoyan’s mineral-rich earth with impasto; Wang Ching-Shuang’s lacquer work employs maki-e and mother-of-pearl inlay. Chen Hsing-Wan’s The Song of the Earth No.1 uses cowhide as ground for hardened fabric forms—the leather pulsing with vitality while textiles congeal into permanence.

▼“折叠和流动”的安装视图，Installation view of ‘Folds and flows’ © ANPIS FOTO

当代委任创作进一步拓展这些议题。陈盈如的《山海有感》通过声音、气味与极简文本，重新构构两千年前中国志怪文献中的神话动物；区秀诒的《广播计划 II：椰子之万象，一位来自槟城的美人，以及秘密特工 II》以虚构叙事串联椰子树与碎片化档案，重访马来亚殖民历史；王宏凯的合作出版项目《我们的语言已不再适合预言》则提出一个问题：我们是否能够倾听那些没有语言的存在。

Contemporary commissions extend these investigations. Chen Yin-Ju’s Evocative of Mountains and Seas reconstructs mythical animals from the 2,000-year-old Chinese bestiary through sound, scent, and minimal text. Au Sow Yee’s The Broadcast Project II: A Many Splendored Thing of the Coconut, a Belle from Penang and the Secret Agent II interweaves colonial histories of Malaya through fictional narratives of coconut palms and fragmented archives. Hong-Kai Wang’s collaborative publication Our Words Don’t Suit Prophecies Anymore asks how we might listen to beings without language.

▼“如何绘制海岸线”装置视图，Installation view of ‘How to draw a coastline’ © ANPIS FOTO

来自国际艺术家的作品进一步复杂化人与自然之间的二元关系。琼·乔纳斯的《风中之线》以悬挂于空中的竹纸风筝构成一种异质物种的隐喻，要求观众抬头而非向前观看；Loukia Alavanou 的 VR 装置《通往科洛诺斯之路》将希腊悲剧重新置入雅典罗姆人聚居区，使被边缘化的空间转化为尊严之所；Karolina Breguła 记录沿海社区面对海平面上升的现实处境。海地艺术家 Myrlande Constant 的串珠伏都教旗帜（drapos）融合信仰、历史与社会现实，呈现出一个神祇与人类共存的宇宙观。

International contributions complicate human-nature binaries. Joan Jonas’ By a Thread in the Wind—bamboo paper kites suspended overhead—evokes uncanny species, requiring upward rather than forward-facing attention. Loukia Alavanou’s VR installation On the Way to Colonus reimagines Greek tragedy within Athens’ Roma settlement, transforming marginalised peripheries into sites of dignity. Karolina Breguła documents coastal communities confronting rising seas. Haitian artist Myrlande Constant’s beaded Vodou flags (drapos) blend faith, history, and social reality, presenting a cosmology where deities and humans coexist.

▼“回忆寓言”安装视图，Installation view of ‘Recalling fables’ © ANPIS FOTO

部分艺术家直接介入建筑与身体的表演性维度。文胜贤的《薄与透明之物》通过身体在空间边界中的移动，激活展厅经验——这位出生即患有脑性麻痹的艺术家，借此探讨意识与空间之间的关系。TAI 身体剧场的表演则援引太鲁阁族神话，将巨人的身体想象为岛屿地景，使美术馆转化为一处“巨人居所”。

Artists engage architectural and performative dimensions. Seung Hyun Moon’s On Thin and Transparent Things activates galleries through bodies negotiating spatial barriers—the artist, born with cerebral palsy, interrogates relationships between consciousness and space. TAI Body Theatre’s performances invoke Truku mythology where giants’ bodies become island topography, transforming the museum into a “dwelling place of giants.”

▼“自然历史的烦恼”装置观，Installation view of ‘The troubling of natural histories’ © ANPIS FOTO

展览亦纳入若干关键的历史艺术位置：约瑟夫·博伊斯的晚期雕塑将具有疗愈意义的物件转化为承载治愈的容器；安娜·门迪埃塔生命最后阶段的“土地—身体”作品，将身体表面与大地肌理融为一体；克里斯·马克的《动物志》系列探讨人与动物之间相互凝视的关系；安托万·德·圣埃克苏佩里的《小王子》手稿则提供了关于关怀与想象力的思考。

The exhibition incorporates pivotal historical positions: Joseph Beuys’ late sculptures transform therapeutic objects into vessels for healing; Ana Mendieta’s final earth-body works merge corporeal and terrestrial surfaces; Chris Marker’s Bestiaire series explores reciprocal gazes between humans and animals; Antoine de Saint-Exupéry’s Little Prince manuscripts provide meditations on care and imagination.

▼“当世界开始说话”的装置视图，Installation view of ‘When the world begins to speak’© ANPIS FOTO

TcAM 公共空间艺术委任计划：河濑直美与林明弘

TcAM Art Commission in Public Space: Haegue Yang and Michael Lin

台中美术馆回应建筑语言所呈现的视觉通透性，规划以双年制形式在建筑公共空间中展开艺术委任计划。TcAM 公共空间艺术委任不仅与建筑空间产生共鸣，也与美术馆的整体定位相呼应，并融入其生态与文化景观之中。来自韩国的河濑直美与台湾艺术家林明弘，于馆内呈现首届公共艺术委任作品。河濑直美的装置作品《液态祈愿——树荫三联》（2025）位于高达27米、由螺旋坡道环绕的中庭空间，是她在台湾首次创作的大型委任作品。作品源自韩国、台湾乃至更广泛地区对古树的敬仰传统，向在地与跨文化的自然精神信仰致意。常驻台北与布鲁塞尔的林明弘，与台中有着深厚的家族渊源。他的委任作品《Processed》（2025）通过大型绘画装置的编排，挪用台湾传统织物中的图样与设计，对公共空间进行重新构想与重组。

Taichung Art Museum responds to the visual permeability of architectural language with art commissions in the public spaces of the building on a biennial basis. TcAM Art Commission not only resonates with the architecture, but also the museum’s identity, integrating with its ecological and cultural landscape. Haegue Yang (South Korea) and Michael Lin (Taiwan) unveil their inaugural commissions within the museum. Yang’s installation, Liquid Votive – Tree Shade Triad (2025) in the museum’s soaring 27-metre atrium encircled by a spiral ramp is her first large-scale commissioned piece in Taiwan. Inspired by the universal tradition of venerating old trees in South Korea, Taiwan, and beyond, her work pays homage to the local as well as transcultural spiritual beliefs in nature. Based in Taipei and Brussels, Michael Lin has deep family roots in Taichung. His commissioned work, Processed (2025), orchestrates monumental painting installations that re-conceptualise and reconfigure public spaces using patterns and designs appropriated from traditional Taiwanese textiles.

▼Michael Lin的装置视图，Installation view of Michael Lin©ANPIS FOTO

▼Michael Lin的装置视图，Installation view of Michael Lin© Chen Wan Ning

建筑

Architecture

台中绿美图位于台湾第二大城市台中市（人口约280万），坐落于67公顷中央公园北缘，隶属占地254公顷的水湳经贸园区，该基地原为一座军用机场，于2004年除役。SANAA 的设计体现了台中绿美图“公园中的图书馆、森林中的美术馆”的理念，其空间亮点包括：

Located in Taiwan’s second largest city of Taichung (population 2.8 million), Taichung Green Museumbrary occupies the northern edge of the 67-hectare Central Park within the 254-hectare Shuinan Trade and Economic Park, the site of a former military airport decommissioned in 2004. SANAA’s design embodies the ethos of the Taichung Green Museumbrary as ‘a library in a park and an art museum in a forest’, with spatial highlights including:

▼台中公众阅读区，Reading Area of Taichung Public © Iwan Baan

无界、包容的空间

A boundless, inclusive space

该设施消解了美术馆与图书馆之间的传统边界，营造出一个展览与阅读并置、相互交汇的开放而包容的环境。台中市立图书馆馆藏超过一百万册实体书籍，并配备丰富的数字资源。

The facility dissolves traditional boundaries between museums and libraries, creating an open, inclusive environment where exhibitions and reading converge. The Taichung Public Library houses over 1,000,000 physical books and digital resources.

▼台中公共图书馆数码中心，Digital HUB at Taichung Public Library© Iwan Baan

户外屋顶花园 An outdoor rooftop garden

屋顶户外的“文化森林”为访客提供了极佳的观景视角，可俯瞰中央公园的葱郁绿意与城市天际线。该空间旨在回应并彰显基地独特的中央公园环境，引导美术馆与图书馆的访客从屋顶花园中沉浸式体验这一独特景观。

The outdoor rooftop Culture Forest offers visitors an exceptional vantage point to enjoy the sweeping views of Central Park’s lush greenery and the city skyline. Conceived to celebrate the site’s distinctive Central Park setting, it encourages museum and library visitors to immerse themselves in this unique landscape from the rooftop garden.

▼台中绿色博物馆屋顶的文化森林，连接台中美术馆和台中公共图书馆，Culture Forest on the rooftop of Taichung Green Museumbrary, connecting Taichung Art Museum and Taichung Public Library, designed by SANAA Architects. Image courtesy of Taichung Art Museum © Iwan Baan

通透与开放

Transparency and openness

建筑外立面采用双层表皮系统：内层为高性能低辐射玻璃或金属围护结构，外层为铝制扩张金属网。这一银白色的外覆层赋予建筑以轻盈而通透的视觉特质。建筑体量整体抬升，使公园的微风与自然光得以自由穿行其间，进一步强化建筑与周边环境的联系。首层的遮荫广场使访客可从社区街区与中央公园等多个方向进入建筑，共同营造出一个开放而友好的公共空间。

The exterior features a dual-layer façade: an inner layer of high-performance low-emissivity glass or metal cladding, and an outer layer of aluminium expanded metal mesh. This silvery-white veil gives the building a sense of lightness and transparency. The building volume has been lifted to allow the park’s breeze and natural light to flow freely through, enhancing the building’s connection to its surroundings. The shaded plazas at ground level enable visitors to access the building from all directions—both from the neighbourhood and from the Central Park—creating an open and inviting public space.

▼台中绿美图夜景，Night View of Taichung Green Museumbrary© Iwan Baan

SANAA 合伙人妹岛和世与西泽立卫表示：“我们始终希望创造一座让更多人能够轻松参与其中的开放建筑。无论是美术馆通过艺术提供视觉层面的学习，还是图书馆通过文学带来教育体验，将二者结合，形成一种全新的多元学习空间，是我们认为这座建筑最重要的特质之一。我们认真思考了如何以温和的方式将这两种功能连接起来，创造一个联结学习与交流的场所。”

Kazuyo Sejima and Ryue Nishizawa, Partners of SANAA, said, “We have always hoped to create an open building that many people can easily participate in. Whether it is the museum providing visual learning through art or the library offering education through literature, combining the two to create a new multifaceted learning space is what we believe to be one of the main characteristics of this building. We have carefully considered how to gently link the two entities together to create a place that connects learning and communication for people.”

A Call of All Beings: See You Tomorrow, Same Time, Same Place

Taichung Art Museum

13 December 2025 – 12 April 2026

Open Hours: Tue-Sun, 9AM–5PM., Sat, 9AM–8PM, Open on national holidays

No. 2201, Zhongke Rd., Xitun Dist., Taichung City

Under the auspices of the Taichung City Government

Organised by the Cultural Affairs Bureau of Taichung City Government and Taichung Art Museum

For Media Enquiries

International media enquiries:

Bolton & Quinn

Dennis Chang

+44 (0)20 7221 5000 / +44 (0)7854 242801 / Taichung Art Museum

Megan Lan

+886 (0)4 2369 6333 #605 / +886 (0)911 666 949 / meganlan@taichung.gov.tw