Contested Waters 涉水而渡

Contested Waters 涉水而渡 Contested Waters is a visual art project connecting aquatic aesthetics of Taipei, Venice, and Kaohsiung.

The ship has sailed, to Venice, for the opening! Please join us at the opening reception at  on October 2nd from 6:30pm ...
24/09/2025

The ship has sailed, to Venice, for the opening! Please join us at the opening reception at on October 2nd from 6:30pm 🎉🎉🎉

重組血 The Replicate Blue姚睿蘭 Jui-Lan Yao鳳甲美術館展出中,2025.4.26 - 6.22(最後一天❗️)在漫長的演化中,鱟幾乎沒有天敵。牠們的藍血中含有對細菌內毒素極為敏感的蛋白質,至今仍被廣泛應用於疫苗...
21/06/2025

重組血 The Replicate Blue
姚睿蘭 Jui-Lan Yao

鳳甲美術館展出中,2025.4.26 - 6.22(最後一天❗️)

在漫長的演化中,鱟幾乎沒有天敵。
牠們的藍血中含有對細菌內毒素極為敏感的蛋白質,至今仍被廣泛應用於疫苗與藥物的無菌檢測——但疫情期間的需求暴增,也加劇了鱟的生存壓力。

金門潮間帶因戰地歷史未被過度開發,意外成為鱟的棲地,卻難擋跨海抽砂與全球生技的無聲掠奪。

這件作品循著基因重組技術與鱟血替代試劑的發展軌跡,想像一種不以掠奪為前提的物種共存未來。

姚睿蘭,媒體藝術家,目前生活創作於台北。創作著眼於科技媒體的物質性、技術語言與其所在環境之間的依存關係,以跨學科研究、藝術參與、創作、計畫⋯等,多面向實踐探討物質與價值之間的關與非關。她也是「導體計畫」的成員,以實地踏查活動參與地球科學與海洋科學的野外工作,找尋生態與科技發展的立足點。

💧由謝一誼策劃,《涉水而渡》是台灣、芬蘭、與威尼斯當代視覺藝術工作者與藝術團體,一起以各種可能性接近穿越水生麻煩的計畫。

圖1-2攝影:林玟伶


On view at Hong-gah museum, 2025.4.26 - 6.22 (Last Day❗️)

Over millions of years of evolution, horseshoe crabs have had few natural predators.

Their blue blood contains proteins highly sensitive to bacterial endotoxins, and is still widely used in sterile testing for vaccines and pharmaceuticals. But during the pandemic, rising demand intensified the pressure on their survival.

The intertidal zones of Kinmen, largely undeveloped due to its military past, have become an unexpected refuge for these ancient creatures. Yet, across-the-strait sand dredging and global biotechnological extraction continue to threaten their fragile habitat.

This work traces the development of recombinant technologies and rFC (recombinant Factor C) as an alternative testing method, imagining a future of multispecies coexistence that moves beyond extractive frameworks.

Jui-Lan Yao is a multi-media artist based in Taipei. Her works focus on materiality of tech-media, the symbiosis of technological language models and their environment. Her art practices also involve researches on the scientific, participatory art practices and other creative projects. In which she explores the (non)relationship between materiality and value. Yao is a member of art collective SYSTEM OF CONDUCTORS: More-than-Human Technical Studies for Transentient Becomings. It focuses on fieldwork practices to sites of geo-science and marine science, exploring the stand points for ecological and science development.

💧Curated by Dr. Hsieh I-yi, Contested Waters is a visual art project connecting aquatic aesthetics of Taipei, Venice, and Kaohsiung.

Photo 1-2 credit: Lin Wen-Ling

拆船檔案 [shipbreak_dossier]坎達爾岡卡 Ranjit Kandalgaonkar鳳甲美術館展出中,2025.4.26 - 6.22(最後一週❗️)✨歡迎參加21日週六下午兩點的策展人導覽藝術家坎達爾岡卡花了十年時間,在印...
19/06/2025

拆船檔案 [shipbreak_dossier]
坎達爾岡卡 Ranjit Kandalgaonkar

鳳甲美術館展出中,2025.4.26 - 6.22(最後一週❗️)
✨歡迎參加21日週六下午兩點的策展人導覽

藝術家坎達爾岡卡花了十年時間,在印度阿朗的拆船廠進行田野與檔案調查,記錄巨輪登陸後的最後一段旅程,以及工人們與金屬殘骸共生的勞動現場。

此系列曾於挪威 Bergen Assembly、斯里蘭卡 Colomboscope 雙年展與阿布達比展出,這次在台灣展出他此計畫中最具代表性的作品。

坎達爾岡卡的藝術實踐主要聚焦於城市研究。他的藝術計畫大多建立在長期研究,重新思考並挑戰傳統的研究模式。cityinflux、Gentricity、build/browse 和 Stories of Philanthropic Trusts 等計劃,描繪了城市再發展中的脆弱性,記錄了再發展的時程與「盲點」,呈現一個城市正在分崩離析的樣態。對印度填海造地與推測都市發展戰鬥歷史的研究,產出了如「填海中的島嶼」和「無人認領的七島」等計劃。獲獎與藝術駐村經驗包括 Majlis 視覺藝術獎學金、UDRI 獎學金、Leverhulme 駐村、哈佛大學 SAI 駐村、Atelier Prati 駐村、Seed Funding Award - Welcome Trust and a Gasworks/Wellcome Collection 駐村。

💧由謝一誼策劃,《涉水而渡》是台灣、芬蘭、與威尼斯當代視覺藝術工作者與藝術團體,一起以各種可能性接近穿越水生麻煩的計畫。

圖1-3攝影:林玟伶


On view at Hong-gah museum, 2025.4.26 - 6.22 (Last Week❗️)
✨Curator’s Tour|Saturday, June 21, 2:00 PM

Artist Ranjit Kandalgaonkar spent a decade conducting fieldwork and archival research at the shipbreaking yards of Alang, India—documenting the final journey of decommissioned vessels and the laboring bodies working amidst metal ruins.

This ongoing series has been shown at Bergen Assembly (Norway), Colomboscope Biennale (Sri Lanka), and Warehouse421 (Abu Dhabi). The current exhibition in Taiwan presents some of the project’s most representative works.

Ranjit Kandalgaonkar lives and works in Mumbai and his art practice currently comprises a lens directed at the urban context of cities and scapes at the mercy of new infrastructures. Most of the projects are research-intensive - their nature varied and seek unique opportunities to rethink and challenge conventional modes of research to offer new modes of dissemination. Some of these long-term projects attempt to unlock historical and contemporary data through placing the work in the context of an unseen social history. Awards & grants include Majlis Visual Arts Fellowship, UDRI Fellowship, Leverhulme Artist Residency, Harvard University SAI Artist Residency, Atelier Prati Print Residency, The -Wellcome Trust Seed Funding Award and a Gasworks Residency.

Photo 1-3 credit: Lin Wen-Ling
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濕地講座回顧🐚
19/06/2025

濕地講座回顧🐚

#濕地座談回顧 #涉水而渡倒數四天
究竟我們是怎麼想像濕地的?濕地對我們來說是什麼?我們又是如何討論濕地?

六月初時,我們邀請到濕地專家 #方偉達 來與我們分享濕地的知識與經驗,方偉達教授是國立臺灣師範大學永續管理與環境教育研究所特聘教授兼所長、理學院副院長,也是國際濕地科學家學會亞洲主席。

這一場講座中,方偉達從臺北曾經是一片湖泊開始談起,提到國際上非常重要的《 #拉姆薩公約》,根據公約,濕地的定義為「包含沼澤(marsh)、沼地(fen)、泥炭地(peatland),以及無論天然或人為、永久或暫時、水體靜止或流動、淡水或鹹水、水深於低潮時不超過六公尺者之水域。」

而他在最新出版的著作《 #臺灣濕地誌》中,他從人與環境的相處切入濕地議題的討論。他談到地球氣候正在劇烈改變,我們究竟該如何思考,又該如何永續發展,這是非常重要的議題。隨著全球暖化、海平面上升與極端氣候頻繁出現,高科技設施的選址變得更加關鍵,否則將可能面臨被水淹沒的風險。這也與近期國際的重要議題息息相關——黃仁勳宣布將在北士科建造輝達台灣總部,這很可能會影響到附近的濕地環境。

科技固然是一個國家經濟發展的硬實力,但對環境的破壞也從未停止。方教授以光電板為例,指出光電板中含有硒、砷等有毒元素,當其被設置在魚塭上時,這些有毒元素可能滲入水中,造成濕地災變,也有機會被魚類吸收、進而被食入人體,對健康構成威脅。

講座的最後,觀眾對於濕地與環境的議題反應非常熱烈,透過這場演講,我們可以理解濕地作為環境生態中重要的一部分,與歷史、國際公約、民族、疾病、科技、科學及氣候之間存在緊密並充滿張力的關係。而這些也正是本檔展覽《 #涉水而渡》的策展人與藝術家們,透過自身經驗與田野踏查,試圖以藝術的方式呈現濕地的多重視角。

How do we imagine wetlands? What do wetlands mean to us, and how do we talk about them?

On the first Saturday of June, we invited Prof. Fang Wei-Ta, a leading expert on wetland studies, to share his insight and experience. Prof. Fang is a Distinguished Professor and the Director of the Graduate Institute of Sustainable Management and Environmental Education at National Taiwan Normal University. He also serves as the President of the Society of Wetland Scientists Asia Chapter.

Prof. Fang began his speech by mentioning that Taipei was once a lake. Prof. Fang then introduces the Ramsar Convention, a globally influential framework for wetland conservation. According to it, wetland are defined as “areas of marsh, fen, peatland or water, weather nature or artificial, permanent or temporary, with water that is static or flowing, fresh, brackish or salt, including areas of marine water the depth of which at low tide does not exceed six meters”.

In this recently published book Chronicles of Taiwan’s Wetlands, Dr. Fang approaches wetland through the lens of human—environment interaction. He noted that the environment has been changing dramatically due to global warming, rising sea levels, and increasingly extreme weather. As a result, the location of energy-intensive high-tech industries has become more critical; otherwise, they risk facing catastrophic flooding.

Focusing on Beitou, one of the most significant recent international developments is Jensen Huang’s announcement that NVIDIA will establish its new Taiwan headquarters at the Beitou-Shilin Technology Park. This large-scale project is likely to impact the surrounding wetland environment.

Admittedly, technology is a powerful driver of national economic development, but its negative impacts have never ceased. Dr. Fang cited the example of the solar panels installed over fish ponds, pointing out that they contain toxic substances such as selenium and arsenic, which may soil into the water, pollute the fish, and ultimately pose health risks to humans who consume them, as well as led to the degradation of wetlands.

The lecture concluded with a dynamic exchange between Dr. Fang and the audience. Through this talk, we came to understand that wetlands, as a vital part of ecological systems, are intricately connected to history, international conventions, ethnic identity, disease, technology, science, and climate—revealing a complex and urgent web of tensions. These interconnections are precisely what the curators and artists of the current exhibition, ​ 𝘾𝙤𝙣𝙩𝙚𝙨𝙩𝙚𝙙 𝙒𝙖𝙩𝙚𝙧𝙨, aim to explore. Drawing from their personal experiences and field research, they seek to present the many perspectives of wetlands through the language of art.

A Lagoon, A Portal郭俞平 Yu-Ping Kuo鳳甲美術館展出中,2025.4.26 - 6.22(最後一週❗️)你知道嗎?這座城市曾是一片瀉湖。在治理河道之前,人們依著水退後的泥地耕種;那些曾經的作物,如今成了荒地裡難尋...
18/06/2025

A Lagoon, A Portal
郭俞平 Yu-Ping Kuo

鳳甲美術館展出中,2025.4.26 - 6.22(最後一週❗️)

你知道嗎?這座城市曾是一片瀉湖。
在治理河道之前,人們依著水退後的泥地耕種;那些曾經的作物,如今成了荒地裡難尋的原生種,或是在車流間靜靜佇立的行道樹。

物種聚散、文化斷裂又重生。這件作品呈現一種糾纏的樣貌——像是介於生命與遺骸之間的結構,佈滿孔隙,彼此相連,有的可見、有的潛藏。

郭俞平的作品涉獵於多重的媒材,關注歷史中的個人與集體、自身與他者的認同經驗與所在地政治,及女性的感官、離散、神秘等多重經驗。近年作品見於臺北市立美術館「飛地:一部自傳的誕生」及國立臺灣美術館「地緣詩學:瀕危世界的多變特質」、「綠島人權藝術—傾聽裂隙的迴聲」等。

💧由謝一誼策劃,《涉水而渡》是台灣、芬蘭、與威尼斯當代視覺藝術工作者與藝術團體,一起以各種可能性接近穿越水生麻煩的計畫。

圖ㄧ攝影:林玟伶


On view at Hong-gah museum, 2025.4.26 - 6.22 (Last Week❗️)

Did you know this city was once a lagoon?
Before the rivers were tamed, people farmed on the soil left behind by retreating waters. Those crops are no longer on our plates—some have become rare native species, others now stand quietly as street trees amid the traffic.

Species gather and scatter, cultures break and revive.
This work reveals a tangled form—structures between life and remains, full of porous surfaces, some visible, some hidden, all subtly connected.

Yu-Ping Kuo's work involves multiple media, focusing on the experience of identity and local politics of the individual and the collective, the self and the other, and the multiple experiences of women's senses, dispersion, and mystery. Her recent works can be found in major exhibitions such as Enclave: The Birth of an Autobiography at the Taipei Fine Arts Museum (2024), Geopoetics: Changing Nature of Threatened Worlds (2023-2024) at the National Taiwan Museum of Fine Arts, and The Crow’s Feet Disappear After A Gentle Flap at the 2023 Green Island Biennial (themed Listening to the Echoes of the Rift).

💧Curated by Dr. Hsieh I-yi, Contested Waters is a visual art project connecting aquatic aesthetics of Taipei, Venice, and Kaohsiung.

Photo 1 credit: Lin Wen-Ling
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「謝一誼策展的田野好似成為一種『涉水』實踐:既不在中心,也不尋求穩定,而是將身體交付給一個尚未定義的流域,在不明確的邊界中摸索出通行的可能。」謝謝典藏的報導。展期至週日22號,21號週六下午兩點也有策展人導覽,歡迎大家把握機會!
17/06/2025

「謝一誼策展的田野好似成為一種『涉水』實踐:既不在中心,也不尋求穩定,而是將身體交付給一個尚未定義的流域,在不明確的邊界中摸索出通行的可能。」

謝謝典藏的報導。展期至週日22號,21號週六下午兩點也有策展人導覽,歡迎大家把握機會!

展覽所鋪陳的水體敘事——「涉水而渡」所強調的「渡」,並非單純的跨越或穿行,而是一種在「非常規」中行動的姿態。它邀請觀者置身於變動的地理與知識現場,以新的視角重新理解水如何連結萬物、如何承載記憶與抵抗,...

八月的淡水河(大約晚上 6 點) Tamsui River in August (around 6pm)柯萬里 Ilmari Koria鳳甲美術館展出中,2025.4.26 - 6.22(最後一週❗️)在水下聆聽,會是什麼感覺呢?藝術家柯萬...
17/06/2025

八月的淡水河(大約晚上 6 點) Tamsui River in August (around 6pm)
柯萬里 Ilmari Koria

鳳甲美術館展出中,2025.4.26 - 6.22(最後一週❗️)

在水下聆聽,會是什麼感覺呢?藝術家柯萬里帶著水下錄音麥克風,來到熱鬧的釣魚平台,把它沉進淡水河裡,想要捕捉一種不一樣的「漁獲」。

他聽見了神祕的雜音、噴湧聲、撲通聲、咔嗒聲……但他不是在找魚的聲音,而是在傾聽另一種河流語言:來自城市的噪音、污染、人類的聲響,以及屬於「人類世」的水下音景。

藝術家想知道,我們每天製造的聲音,正在如何悄悄改變水底世界的生態節奏。

柯萬里居住與工作於倫敦,是一位環境聲響錄音師以及獨立研究者。

💧由謝一誼策劃,《涉水而渡》是台灣、芬蘭、與威尼斯當代視覺藝術工作者與藝術團體,一起以各種可能性接近穿越水生麻煩的計畫。

圖二攝影:林玟伶
On view at Hong-gah museum, 2025.4.26 - 6.22 (Last Week❗️)

What does it feel like to listen underwater?

Artist Ilmari Koria brought his hydrophones to a busy fishing platform, lowering them into the Tamsui River—hoping to catch something other than fish.

He heard strange sounds: mysterious static, gushing, plops, and clicks. But he wasn’t listening for aquatic life. He was tuning into another language of the river: the noise, pollution, and human-made sounds of the Anthropocene.

Koria wants to know—how are the sounds we create quietly reshaping the rhythms of the underwater world?

Ilmari Koria is a field recordist and independent researcher based in London.

💧Curated by Dr. Hsieh I-yi, Contested Waters is a visual art project connecting aquatic aesthetics of Taipei, Venice, and Kaohsiung.

Photo 2 credit: Lin Wen-Ling
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從濕地、潟湖到拆船場,藝術家們潛入水體被治理與資源化的現場,回應水與生命、勞動與地景之間的糾纏關係。作者林婷梅介紹了《涉水而渡》在鳳甲美術館展出的部分。
13/06/2025

從濕地、潟湖到拆船場,藝術家們潛入水體被治理與資源化的現場,回應水與生命、勞動與地景之間的糾纏關係。作者林婷梅介紹了《涉水而渡》在鳳甲美術館展出的部分。

臺灣博物館及地方文化館入口網

萬物皆有其水Everything has its water丁昶文 Chaong-Wen Ting壽山遊客中心展出中,2025.4.15 − 6.15. 藝術家丁昶文透過裝置與影像,回望潟湖的消逝、水源的枯竭與地層的變動。從猴群的行跡、地下...
11/06/2025

萬物皆有其水
Everything has its water

丁昶文 Chaong-Wen Ting

壽山遊客中心展出中,2025.4.15 − 6.15.

藝術家丁昶文透過裝置與影像,回望潟湖的消逝、水源的枯竭與地層的變動。從猴群的行跡、地下水的流失,到石頭裡殘存的海底遺骸,作品將這些物質線索編織成一段關於地景演變與記憶流失的故事,回應當代人與環境之間日益斷裂的感知。

丁昶文的作品擅長處理影像及物件等混合媒材的空間裝置,這些作品深受個人經驗啟發,常以現成物置於特定展覽背景下,演變成為特定的歷史敘事。在令人驚訝的創新當中,他嘗試解構、闡釋和重新詮釋著我們共享的歷史,並審視物質文化、歷史衝突、集體記憶和跨境存在等現象及問題。

💧由謝一誼策劃,《涉水而渡》是台灣、芬蘭、與威尼斯當代視覺藝術工作者與藝術團體,一起以各種可能性接近穿越水生麻煩的計畫。

攝影:丁昶文。
On View at Shoushan National Nature Park Visitor Center, 2025.4.15 − 6.15

Through installation and video work, the artist Chaong-Wen Ting revisits the disappearance of Shoushan's lagoon past, the depletion of groundwater, and shifts in the geological landscape. From the movements of monkeys and the drying of springs to marine remnants embedded in stones, the work weaves together material traces into a story of environmental transformation and the fading of collective memory—questioning how we sense and relate to the land today.

Chaong-Wen Ting specialize in artworks presented as installations of mixed media incorporating images and objects. Inspired by personal experiences, his works are often site-specific, utilizing ready-made objects in local context evolving into unique historical narratives. With surprising innovations, Ting deconstructs and reinterprets our shared history, examining phenomena and issues such as material culture, historical conflict, collective memory, and cross-border existence.

💧Curated by Dr. Hsieh I-yi, Contested Waters is a visual art project connecting aquatic aesthetics of Taipei, Venice, and Kaohsiung.

Photo by Chaong-Wen Ting.

稍好的亂局 Settle for a better mess,陳呈毓 Chen Chen Yu鳳甲美術館展出中,2025.4.26 - 6.22 水、硫磺、礦石與黑火藥交織成北投的地景記憶。藝術家陳呈毓以雕塑回應這片祛魅與復魅交錯的土地,透...
10/06/2025

稍好的亂局 Settle for a better mess,陳呈毓 Chen Chen Yu

鳳甲美術館展出中,2025.4.26 - 6.22

水、硫磺、礦石與黑火藥交織成北投的地景記憶。
藝術家陳呈毓以雕塑回應這片祛魅與復魅交錯的土地,
透過物質、符碼與身體的纏繞試探,
捕捉環境與人之間流動的張力與感知。

陳呈毓的創作涵蓋錄像、裝置與雕塑等多元媒材,關注社會中感性的物質化表現與傳播。他的作品探討信仰、慾望、焦慮等等感性流動,並也思考著身體與傷痛、性別身份政治等不同的身體經驗如何參與著社會的感性生產,試著映射生產、消費、攫取中產生的矛盾與張力。

💧由謝一誼策劃,《涉水而渡》是台灣、芬蘭、與威尼斯當代視覺藝術工作者與藝術團體,一起以各種可能性接近穿越水生麻煩的計畫。


On view at Hong-gah museum, 2025.4.26 - 6.22

Water, sulfur, minerals, and black powder shape Beitou’s layered landscape.
Artist Chen Chen Yu responds with sculpture—
tracing how materials, signs, and the body entangle,
sensing the subtle tensions between place, event, and self.

Chen Chen Yu works cover a variety of multi-media creation such as video, installation and sculpture, focusing on the materialized expression and dissemination of sensibility in society. His works explore the perceptual flow of faith, desire, anxiety, etc., and also think about how different bodily experiences such as the body, pain, gender, identity, and politics participate in the perceptual production of society. They reflect on the contradictions and tensions generated in production, consumption, and extraction.

💧Curated by Dr. Hsieh I-yi, Contested Waters is a visual art project connecting aquatic aesthetics of Taipei, Venice, and Kaohsiung.

.tw

世界上的水一點都不會減少No single drop of water diminishes in the world温思妮 Szu-Ni Wen + 孫佳暄 Chia-Hsuan Sun壽山遊客中心展出中,2025.4.15 − 6.15...
06/06/2025

世界上的水一點都不會減少
No single drop of water diminishes in the world

温思妮 Szu-Ni Wen + 孫佳暄 Chia-Hsuan Sun

壽山遊客中心展出中,2025.4.15 − 6.15

藝術家丁昶文帶温思妮走進柴山的地下水道,她才驚覺自己忽略了身邊的水——水不只是山間清澈的溪流,也藏身於城市地底,被切割、污染、遺忘。地球上的水從未消失,它在我們體內蒸散、分流、降落,終會再次相遇。

在展場,温思妮邀請你穿過狹長的甬道,一起感受這種體感。同時,合作藝術家孫佳暄的織品也攀附在咕咾石上,轉述著壽山的海洋過往。

::温思妮::
柏林戲劇學院偶戲碩士,劇場導演、戲劇構作。2015年回到高雄,重新向台灣學習。關注都市發展與人的關係,以地方記憶、想像與認同,結合多種藝術形式於非典型空間演出。

::孫佳暄::
印花織品設計師、劇場服裝設計師。人體生物醫學背景跨領域到織品工藝,穿梭在織品纖維、服裝、劇場、異材質的創作設計,並透過服裝結構發展織品與人之間的關係。

💧由謝一誼策劃,《涉水而渡》是台灣、芬蘭、與威尼斯當代視覺藝術工作者與藝術團體,一起以各種可能性接近穿越水生麻煩的計畫。

Photo 4-8 攝影:丁昶文。

On View at Shoushan National Nature Park Visitor Center, 2025.4.15 − 6.15

Led by artist Chaong-wen Ting into Shoushan’s underground springs, Szu-Ni Wen reencounters water—not just clear mountain streams, but hidden urban flows, divided and forgotten.

In the exhibition, she invites you to walk a narrow corridor and feel this presence, alongside Chia-Hsuan Sun’s textiles that echo Shoushan’s oceanic memory.

Szu-Ni Wen is a theater director and dramaturg with a master’s degree in Puppetry from Ernst Busch University of Theatre Arts Berlin. Since 2015, she has returned to Kaohsiung and re-studied the island of Taiwan. Focusing on the relationship between urban development and people, her art practice combines local memory, imagination and identity with a variety of art forms performed in atypical spaces.

Printed fabric designer & theatrical costume designer. Chia-Hsuan Sun’s background is in human biomedicine crossing the field of textile craft. Shuttling through the creation and design of fabric fibers, clothing, theater, and multiple materials, she develops her works with a focus on the relationship between fabrics and people through the structure of clothing.

💧Curated by Dr. Hsieh I-yi, Contested Waters is a visual art project connecting aquatic aesthetics of Taipei, Venice, and Kaohsiung.

Photo 4-8 by Chaong-wen Ting.

國藝會線上誌與策展人謝一誼聊了聊這個長了三年的計畫。💦
05/06/2025

國藝會線上誌與策展人謝一誼聊了聊這個長了三年的計畫。💦

一場藝術、生態與地緣政治的流動辯證……

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