▌一百年之後：台北肖像
我的父親告訴我，他是在台北出生的。
我的家人曾住在日本兵庫縣高砂市，父母在那裡經營麵包店約十年。當我還在小學或國中時，父親偶爾會帶回罐裝的芒果汁、番石榴汁或鳳梨汁。有一天，我問他為什麼喜歡買這些熱帶水果汁？他告訴我，他是在台北出生的，這讓他想起小時候吃過的水果味道。藉由這次在台北「一票人票畫空間」舉辦個展的機會，我調出了父親的戶籍謄本，以確認他的正式出生地。根據戶籍資料，我父親的出生地並不在台灣，而是在日本九州鹿兒島縣的指宿村。我一直都知道指宿是父親的故鄉。戶籍顯示，他於1925年1月3日出生於該村，但登記日期是在1933年。出生後八年才申報似乎不合常理，因此我推測，他應該是在台灣生活了八年後，才連同家人一起回到鹿兒島的故鄉。
無論如何，沒有任何官方記錄顯示我父親在台北出生，一切都僅僅是我從父親口述聽來的回憶故事。另一個讓我認為他可能在台灣出生的原因，是我父親在關閉麵包店後開了一間中式餐廳。我從未過問緣由，但現在回想，或許是因為他想念童年記憶中的味道。另外，我還記得他不時會在家做豬肉包子。
作為藝術家，私人記憶一直是我創作的主要素材。在這次展覽中，我用了我拍攝的台北風景，以及去年五月我待在台北期間，將畫布埋在彭先生家中花園的作品，並將它們與我在台北創作的一些圖畫結合，另外還有我於2011年、2017年、2020年、2021年、2023年、2024年和2025年1月3日，分別在不同地方完成的圖畫，我擷取了其中部分線條與點，匯集總和為本次的創作。我將這些集結而成的作品，構想為一種由我和父親之間的記憶、也有我與台北之間的記憶，所喚起的一種「肖像」。
文/ 林亨
▌創作自述
我以個人記憶作為創作素材，探索日常生活所喚起的「風景」。透過記憶中的影像與意涵回首過往，促使我重新審視自身與語言之間的關係。
在工作室的創作實踐中，我運用攝影影像、油畫、水彩及壓克力等媒材，將日常經驗轉化為紙上、木板及畫布上的抽象表現。除此之外，我也透過繪畫、素描及複合媒材的相互結合，創作裝置作品。
我的作品特別關注「位置」的表達：包含我作為藝術家的自我定位，以及「場域」如何展現其社會特性。同時作為一個溝通平台，它如何引導觀者關注日常生活中看似微小之事。
透過自身的身體位置與周遭環境的關係，我探索多種嶄新視角來觀看與理解生活中習以為常的事物。我在日本讀大學時主修數學，對數學的理解幫助我在藝術創作中釐清許多抽象的概念。例如，數學中質數的存在與規律，啟發我運用相似的邏輯去梳理記憶。
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《一百年之後：台北肖像》林亨 個展
▋展期｜2025／9／30 (Tue.) – 2025／10／18 (Sat.)
▋時間｜週一公休、週二-週六13:00-21:00、週日11:00-18:00
▋地點｜台北市大安區永康街44&63-1號
▋展覽開幕式｜2025／10／4 (Sat.)
14:00-14:30 開幕茶會
14:30-15:00 論壇「關於記憶：看不見的的城市」
▋講者
#賴毓芝
藝術史工作者、中央研究院近代史研究所
#張惠菁
作家、鏡文學 文學開發部執行總編輯
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▌After One Hundred Years—Taipei Portraits
My father told me he was born in Taipei.
My family lived in Takasago, Hyogo Prefecture, where my parents had run a bakery shop for about ten years. When I was in elementary or middle school, my father would occasionally bring home canned mango, guava, or pineapple juice. One day, I asked him why he liked to get this tropical juice, and he told me that he was born in Taipei and recalled the taste of the fruits he ate as a child. With this opportunity to have a solo exhibition at Piaopiao Gallery, I ordered my father's family register to confirm his official place of birth. According to the register, my father's birthplace was not in Taiwan, but in Japan, specifically in Ibusuki Village, Kagoshima Prefecture, in Kyushu. I knew that Ibusuki was my father's hometown. The register indicates that he was born on January 3, 1925, in the village, although the registration occurred in 1933. It is unusual to submit a birth report eight years after a birth. I believe that he had lived in Taiwan for eight years before his family returned to the village in Kagoshima.
In any case, there is no official record that my father was born in Taipei. It's all just memories of the stories I heard from my father. I also assume that he was born in Taiwan because my father opened a Chinese restaurant after closing the bakery shop. I never asked him why, but now it might have been because of the taste of the food from his childhood. I also recall him making pork buns at home from time to time.
As an artist, personal memory is the primary material for creating work. In this exhibition, I used Taipei landscapes I photographed and the canvas I buried in the garden of Mr. Peng's house during my stay in Taipei last May, and I combined them with the manipulated lines and dots derived from some drawings I created while in Taipei and other drawings I made at various places on January 3 in 2011, 2017, 2020, 2021, 2023, 2024, and 2025. I conceive each of these combined works as a "portrait" evoked by memories between my father and me, as well as between Taipei and me.
Text/ Toru Hayashi
▌Artist Statement
I use personal memories as material for my work, which explores the "landscape" triggered and impressed by my everyday life. Envisioning the past through the images and meanings of memories, I question what lies between me and words.
My studio practice involves transforming my daily experiences into abstract views on paper, wood, and canvas, using photographic images, oil, watercolor, and acrylic. I also create an installation composed of drawings, paintings, and mixed media.
My work is concerned with expressing location: where I situate myself as an artist and how "location" (or locale) can manifest social characteristics and function as a communicative platform for drawing attention to seemingly trivial observations of everyday life.
Through the relationship between my own physical location and surroundings, I explore novel ways of seeing and understanding things from everyday life that are seemingly already well-known. Mathematics, which I majored in at college in Japan, helps me clarify vague ideas in my art. For instance, a mathematical way of seeing what and how prime numbers exist allows me to conceive how memory might compare to them.
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“After One Hundred Years—Taipei Portraits” Toru Hayashi Solo Exhibition
▋Dates｜2025／9／30 (Tue.) – 2025／10／18 (Sat.)
▋Time｜Tue. - Sat. 13:00-21:00, Sun. 11:00-18:00, Closed on Monday
▋Piaopiao Gallery｜No. 63-1, Yongkang Street, Da-an District, Taipei 106
▋Opening｜2025／10／4 (Sat.)
14:00-14:30 Opening Reception¬¬
14:30-15:00 Forum “On Memory: The Invisible City”
▋Speaker
Yu-chih Lai
Art Historian, Institute of Modern History, Academia Sinica
Lotus Chang
Author and Executive Editor-in-chief of Mirror Fiction
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