道(Street) | Chim↑Pom from Smappa!Group

--- Project Index: BENTEN 2024BENTEN 2024 2024
ナラッキーNa-Lucky 2023
DOBUROKGEOLLIDOBUROKGEOLLI 2022
いつのことだか思いだしてごらんいつのことだか思いだしてごらん 2022
改名Name Change 2022
くらいんぐみゅーじあむCrying Museum 2022
SUNSUN 2022
はい、こんにちは Hello There 2020
May, 2020, TokyoMay, 2020, Tokyo 2020
A Drunk PandemicA Drunk Pandemic 2019
にんげんレストランNingen restaurant 2018
道Street 2017-
The other side 2017
Scrap & Build 2 2017
Scrap & Build 2016
Don't Follow The Wind initiated by Chim↑Pom 2015-
堪え難きを耐え↑忍び難きを忍ぶ10th ANNIVERSARY EXHIBITION 2015
金三昧KANE-ZANMAI 2014-
パラドックスPARADOX 2014
LOVE IS OVER 2014
マッドエリイMAD ELLIE 2013-
GARBAGE 2012-
PAVILION 2012-
REAL TIMES 2011
パズルPUZZLE 2011,2014-
IMAGINEIMAGINE 2010
BLACK OF DEATH 2008,2013
広島HIROSHIMA 2008-
日本のアートは10年おくれている世界のアートは7,8年おくれているJAPANESE ART IS 10 YEARS BEHIND, AND ART OF THE WORLD IS 7 OR 8 YEARS BEHIND. 2008
友情か友喰いか友倒れかBecoming Friends, Eating Each Other or Falling Down Together 2008
TPA 2007
サンキューセレブプロジェクト・アイムボカンTHANK YOU CELEB PROJECT "I'M BOKAN" 2007
ともだちTOMODACHI 2007
オレオレORE-ORE 2007
エロキテルEROKITEL 2007-
スーパーラットSUPER RAT 2006-
BODY 2005-

--- Statement　open/close: 美術館内と外の庭、公道を繋げる一本の長い道を作る。素材はアスファルト。断面が特徴を持つように厚みを出す。全てのプロテストは道をステージにし、デモは集合場所から国会などのゴールへと道を歩く。道は全て繋がっていることから、この道も美術館内から立法院へと繋がっていると言える。また、これは国立美術館という場所がどれほど公的な場所なのかを問うプロジェクトでもある。例えば公道は２４時間誰でも使用可能であり、使用上のルールは法律と人々のコモンセンス、信頼関係によって築かれている。国立美術館を真の意味で公的に開く、立法院という公的な場所を舞台にしたサンフラワームーブメントからインスパイアされたこの実験によって、国立美術館の公的センスやポテンシャルを最大限に引き出すことを目指す。立法院や国立美術館は誰のものなのか、そこに入り何をするのか/して良いのかは誰が決めるのか？そのジャッジの公的性はどう評価されるべきか？幾つものクエスチョンをこのプロジェクトは内在するだろう。公道でも国立美術館でもない第3のパブリックスペースとして、Chim↑Pomは美術館と交渉しながらこの道のためのレギュレーションを新たに作ろうと思う。Why open? ドアが何故か開いていたことを機に立法院に入り込んだサンフラワームーブメント。美術館の入り口をも繋げた道を観た人々はきっとそんな疑問を持ち、それを入り口に様々なことを考えるだろう。公とは、道とは、美術とは。そういう意味でも、公道と繋がる道が敷かれたエントランスは、まさにビエンナーレの「入り口」としてふさわしいように思う。また、タイトルが漢字である理由は、台湾の文化のコアともいえよう道教からのインスパイアであり、日本の柔道や書道など「道を人生に例える」風習への接続だ。それは、あくまでアジアをテーマにした今回のビエンナーレに対する、チンポムからの応えでもある。 We created a street that connects the inside of the museum with the outside garden and public street. It is made of asphalt concrete and is thickly layered for the cross section to stand out. All protests are staged on streets, with people walking on streets from meeting points to whatever destination they aim for, such as the National Diet. Since all streets are connected, we can say that this street connects the inside of the museum to the Legislative Yuan. This project also questions how public of a space the National Taiwan Museum of Fine Arts really is. For example, public streets are free for anyone to use 24 hours a day with usage rules built upon the law, the public's common sense, and mutual trust. Inspired by the Sunflower Movement that used the public space of the Legislative Yuan as its stage, we aim to bring out the maximum potential and public sensibility of the National Museum through this experiment, opening it up to the public in a true sense. To whom do the Legislative Yuan and the National Museum belong to, and who gets to decide what one does or can do inside those spaces? How should the fairness of such judgment be reviewed? This project may contain many questions. So we have decided to negotiate with the museum and make new regulations just for this street, which is neither a public road nor a national museum but an alternative public space. Why open? The participants of the Sunflower Movement entered the Legislative Yuan upon realizing that the door was somehow open. People who view that the street is also connected to the museum entrance will ask the same question and with that, begin pondering about many things. What is the public, what is the street, what is art? Even in that sense, it seems fitting to have the gateway to the Biennale be an entrance that is in fact connected to the public street and the paved street. The title is in kanji character because it is inspired by Taoism, which may be considered at the core of Taiwanese culture, and also because it connects to the Japanese judo and calligraphy customs to use streets as metaphors for life. It is also Chim↑Pom's response to this Biennale under the theme of Asia.
--- Overview　open/close: 2017- 2018
国立台湾美術館の「アジアン・アート・ビエンナーレ 2017」で展開した、美術館内から前庭に延び、公道へとつながる 1 本の長い舗装道を作るプロジェクト。あらゆるプロテストは道をステージにしており、例えばデモは集合場所から国会などのゴールへと道を歩く。台湾のひまわり学生運動の際、立法院の扉には鍵がかかっておらず、学生が占拠できたというエピソードからもインスパイアされた。この道も、美術館内から立法院へとつながっていると言える。つまり、国立美術館という場所がどれほど公的な場所なのかを問い、国立美術館の公的センスや公的ポテンシャルを最大限に引き出すことを目指したプロジェクトでもある。立法院や国立美術館は誰のものなのか? そこで何をするのか/できるのかを誰が決めるのか? そして、そのジャッジは公的にどう評価されるべきか? このようないくつものクエスチョンが、このプロジェクトには内在する。公道でも国立美術館でもない第三のパブリック・スペースとして、Chim↑Pomは美術館と交渉しながら、この道のためのオリジナルのレギュレーションを新たに作った。また、タイトルが漢字である理由は、台湾の文化のコアともいえる道教からの着想であり、日本の柔道や書道など「道を人生に例える」倣いへの接続である。 2017- 2018
A street that connects the inside of the museum with the outdoor garden and the public street was created under this project as part of the “Asian Art Biennale 2017” held at the National Taiwan Museum of Fine Arts. All protests were staged on the street, with people walking from meeting points to whatever destination they aim for, such as the National Diet. The work was partly inspired by the story that students of the Sunflower Student Movement were able to occupy the Legislative Yuan because the front door was not locked. This street could be seen to be connecting to the inside of the museum to the Legislative Yuan too. The project also questions how public of a space a national museum really is, and aims to maximize the public potential and public sensibility of the National Museum through this experiment. The project puts forward many questions: To whom do the Legislative Yuan and the National Museum belong to? Who gets to decide what one does or can do inside those spaces? How should the fairness of such judgment be reviewed? Chim↑Pom decided to negotiate with the museum to make original regulations for this street, which is neither a public road nor a national museum, but an alternative public space. On the other hand, the title of this work is written in kanji character because it is inspired by Taoism, which is considered to be at the core of Taiwanese culture, and also because it connects to the Japanese judo and calligraphy customs to use michi [streets] as a metaphor for life.
--- Speech　open/close: ご来場の皆様。本日はお集まり頂きありがとうございます。
私はChim↑Pomのエリイです。
Chim↑Pomはこれまで街に出て、様々な道で色々な作品を作ってきました。社会に街に介入した作品を作る時、いつも現場は様々な道でした。
そして、今回Chim↑Pomは道そのものを制作しました。
この道は外の公道と美術館内を繋ぐように作られました。
公道と国立美術館、２つともパブリックなものでありながら、性質は大きく異なります。
このビエンナーレのために台湾をリサーチする中で、2014年のサンフラワームーブメントの参加者にたくさん出会いました。
世界中、ふつうデモは外の道のみで行われます。
しかしご存知の通り、彼らは立法院の中に入りこみ、中と外を繋げることに成功しました。
これは、「国立のインスティチュートとは、パブリックとは誰のものなのか？」を考えさせる世界的な出来事です。
もし彼らが立法院のルールに従っていたら、サンフラワームーブメントがここまで大きくなることはなかったでしょう。
そして今、新しい道ができました
この道も公道と繋がっているので立法院まで繋がっています。
しかし、今現在、道はただのアスファルトの塊です。本当の意味で自由な道にするためには、道を育てないといけません。道を育てる。
ネゴシエーティング・ザ・フューチャー。
私たちはこの国立台湾美術館と協議して、公道のとも美術館のとも違う、この道のためだけのオリジナルのレギュレーションが出来ると良いと思っています。
例えばデモ。美術館内ではいかなるデモも禁止と決められていますが、Chim↑Pom主催のデモならば開催して良いとなりました。美術館という場所で主張したいことがあればお声がけ下さい。デモしましょう。
あと、この後、パーティーでドリンクを出します。通常、国立の美術館ではドリンやフードを出してはダメなのですが、本日はオッケーです。道の上では。
道はそもそも自由なものです。しかし暴力行為は禁止です。公然猥褻も、ロマンチックで愛がある行為を除いて禁止です。
ここはChim↑Pomの作品だけどパブリックな場所なので。
モラルに挑戦するようなものを見せたいならば、公道やこの道ではなく、美術館の中こそが望ましいでしょう。
あっ！でももしも道の上にグラフィティが描かれたら、しょうがないですね。パブリックな場所とはいえ、Chim↑Pomの作品なので、私たち的には全然オッケーです。
さて、長くなりましたが、この道がただのアスファルトの塊であることを超えて、本当に自由な道へと育つことを希望し、挨拶に変えさせていただきます。

2017年9月、Chim↑Pom
ありがとうございます。

Ladies and gentlemen, Thank you for coming today.
I'm Ellie from chimpom.
Chimpom has gone out into towns and made various works on all sort of streets. When we make art works which step into society and towns, those sites were always on different kinds of streets. And this time, we made a street itself.
This street was made to connect the public road, outside and inside of the museum. These places are both public, however their characteristics differ greatly.
While researching Taiwan for this biennale, we've met many participants of 2014 Sunflower movement.
Normally, demonstrations are held only on streets around the world.
However, they went to inside the Legislative Yuan and succeeded to connect the inside and outside.
It was a global news which made us think about "What is a national institute?" and "Who owns public?".
The Sunflower movement could not be this big if they would have followed the Legislative Yuan's rules,
And now, a new street is born.
This street is also connected to a public road which leads to the Legislative Yuan.
However, the street is just a lump of asphalt right now. To make this street be "a liberated street" in the real sense, we need to expand this street. We have to cultivate the street.
"Negotiating the Future". We wish to make original regulations just for this street which is different from the ones of public roads and this museum, after discussions with National Taiwan Museum of Fine Arts.
For example, demonstrations.
The museum forbids any kind of demonstrations inside, but this time it is allowed if it is organized by chimpom. If you have something to claim at the museum, please let us know. Let's do it together.
And, we'd like to serve you drinks after this ceremony. Usually this is not allowed in the national museum, but it is OK today, and only on this street.
Streets are without any rules in the first place. However, violence is forbidden as well as public indecency, except romantic acts with love.
Because this is a public space even though it's a chimpom's art work.
If you want to show something to challenge the moral, you would also think that inside of a museum is the best place, neither on public road nor this street.
but If someone bombs graffiti on this street, well, we can't help it. For us, it's totally OK, because this is our art piece even it is a public space.
Well, my speech has become quite long, but we wish this street will be beyond just a lump of asphalt and expand to be a true free street. That is all I'd like to say.
September 2017, chimpom
Thank you for listening.

道(Street)
2017-2018
オンサイトインスタレーション
サイズ可変
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO Production道(Street)
2017- 2018
On-site installation
dimensions variable
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道(Street)
2017-2018
オンサイトインスタレーション
サイズ可変
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO Production道(Street)
2017- 2018
On-site installation
dimensions variable
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道(Street)
2017-2018
オンサイトインスタレーション
サイズ可変
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO Production道(Street)
2017- 2018
On-site installation
dimensions variable
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道(Street)
2017-2018
オンサイトインスタレーション
サイズ可変
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO Production道(Street)
2017- 2018
On-site installation
dimensions variable
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道(Street)
2017-2018
オンサイトインスタレーション
サイズ可変
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO Production道(Street)
2017- 2018
On-site installation
dimensions variable
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道(Street)
2017-2018
オンサイトインスタレーション
サイズ可変
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO Production道(Street)
2017- 2018
On-site installation
dimensions variable
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道(Street)
2017-2018
オンサイトインスタレーション
サイズ可変
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO Production道(Street)
2017- 2018
On-site installation
dimensions variable
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道(Street)
2017-2018
オンサイトインスタレーション
サイズ可変
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO Production道(Street)
2017- 2018
On-site installation
dimensions variable
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production

---
BLOCK PARTY　open/close

道上趴體 - ART is in the pARTy -
2018年1月27日
国立台湾美術館、Chim↑Pom作品"道"の上にて
入場料:無料
Originated and organized by Chim↑Pom
Curated by Betty Apple
Direccted by Chim↑Pom and Betty Apple

『道』を舞台にしたブロックパーティー。公道と国立美術館という、ともにパブリックでありながら、独自のレギュレーションやルールによって性質の異なる２つの公共圏を繋げる『道』。サンフラワームーブメントによる立法院占拠にインスパイアされ、発案したことから、「国立の機関とは誰のものなのかな？」ひいては「公共とは？」という問いを投げかける。『道』自身も、Chim↑Pomの作品というプライベートな側面を持つ一方で、オルタナティブな公共圏としても機能するパブリックなものである。これまで世界中で行われてきた様々な道でのブロックパーティーと同様に、このパーティーも公共圏での出来事であることから、一般に開かれているパブリックな催しである。本来、道はどこよりも自由な空間であり、また新たに出来たこのパブリックスペースの性質を決定していくためにも、「新たな公共性とは」「自由とは」という問いがこのパーティーのテーマとなる。パーティーの参加者は、演者であれ観客であれ、そのテーマを体現する「道の当事者」となることから、美術館内の道の周りに設置された観客席に座る観客から、鑑賞される対象となる。パーティーに参加する観客と、道の外側からパーティーを鑑賞する観客という鑑賞の二重構造をこのイベントは持つことになるが、パーティーへの参加は自由なので、観客が参加者になり、道の当事者へと変わることも可能である。その場合は、公道と『道』の接点に設けられた入り口から道に入る、もしくは出ることが条件となる。パーティー時の『道』への入り口はその一点のみ。そこ以外からの出入りを禁じるために、道の周り全てに、作品への侵入防止用パーテーションを立てる。これにより、道の上で行われる全ての出来事や人々を「作品」として定義し、道の外側を作品を鑑賞する側のスペースとして定義。その２つを厳しく仕切り分けることで、このブロックパーティーは、作品として美術館のルールやレギュレーションから独立したものになる。館内であっても、この『道』オリジナルのルールが適用されるイベントとなるために、パーティーに参加する際には、そのルールを守る合意書への誓約が義務となる。逆にいうと、『道』以外の場所では、美術館独自のレギュレーションが徹底され、公道ではそこのルールが尊重されることから、公道・美術館・『道』という3つのパブリックスペースの違いは、より一層明確なものとなる。道上趴體 - ART is in the pARTy -
27th of January, 2018
At National Taiwan Art Museum, on the work by Chim↑Pom “道”
Entrance Fee: FREE
Block party on Chim↑Pom’ s art piece made for the Asia Art Biennal
Originated and organized by Chim↑Pom
Curated by Betty Apple
Direccted by Chim↑Pom and Betty Apple

This block party is set in the “street” . The “street” connects public road and the national museum that are both public but also have different characteristics on original regulations and rules. We were inspired by Legislative Yuan occupation of the Sunflower Movement and came upon with this idea. That’ s why we direct questions “Who owns public institutions?” and “What is public” . This “street” itself is also public that perform as alternative public sphere but also has a private side as an artwork. As same as several block parties that have been happened on streets all over the world, this party is also happened inside public sphere, and this is a public event opened for general. Originally, streets are the freest place in any other places. Also to be deciding the characteristics of this brand new public space, the party’ s theme will be the questions “what is new public?” and “what is freedom?” Participants of this party will be objects to be looked at by the museum visitors who would have seats on the chairs around the street inside the museum. Regardless they are performer or audience, they will be “the actors of the street” . This event will have double structures that there will be audience who look at the party from outside the street and join the party itself, however anybody can join the party, it could be happen that the museum visitors become party participants and actors of the street. In this case, they will allow to enter the street from the entrance where is located at the contact point of the public street and the “street” . During the party, the entrance of the street is only that point. Entering from any other place will be forbidden, so we will put partitions to prevent from entering the work all around the street. By doing this, we define that everything happens on the street and everyone on the street as “art work” , and the space outside the street defined as the space to observe the work. By classifying strictly those two, this party will be independent from rules and regulations of the museum as art piece. Even it is inside the museum, the street’ s original regulation will be applied. So people who join the party have to sign the agreement to follow the rules. Conversely, the museum’ s regulation has to be followed by all outside the street and so as the public street’ s rules. This makes the differences between public street, the museum and “street” further clear.

道上趴體 - ART is in the pARTy
2018
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Yuki Maed
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：Yu en Lin and jia-zhen Lee
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Yu en Lin and jia-zhen Lee
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：Yu en Lin and jia-zhen Lee
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Yu en Lin and jia-zhen Lee
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：Yu en Lin and jia-zhen Lee
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Yu en Lin and jia-zhen Lee
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：Yu en Lin and jia-zhen Lee
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Yu en Lin and jia-zhen Lee
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：Yu en Lin and jia-zhen Lee
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Yu en Lin and jia-zhen Lee
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：Yu en Lin and jia-zhen Lee
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Yu en Lin and jia-zhen Lee
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：Yu en Lin and jia-zhen Lee
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Yu en Lin and jia-zhen Lee
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：Yu en Lin and jia-zhen Lee
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Yu en Lin and jia-zhen Lee
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production
道上趴體 - ART is in the pARTy
2018
撮影：Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production道上趴體 - ART is in the pARTy
2018
Photo: Zito Tseng
Courtesy of the artist, ANOMALY and MUJIN-TO Production