Taipei Biennial 2025: Whispers on the Horizon
November 1 2025 - March 29 2026
Taipei Fine Arts Museum, Taipei, Taiwan
The 14th edition of the Taipei Biennial 2025, titled Whispers on the Horizon, brings together 54 artists from 35 cities worldwide. Curated by Sam Bardaouil and Till Fellrath, the exhibition features 33 newly commissioned works and site-specific installations that engage deeply with the museum’s unique architecture and context. The Taipei Biennial 2025 amplifies the voices of young and mid-career artists, with nearly half of the participants born after 1984.
Excavating the Many Dimensions of Yearning
Taiwan’s layered history—marked by colonial rule, shifting identities, and political transformation —forms the backdrop of the Taipei Biennial 2025. Whispers on the Horizon explores the notion of yearning, expanding it beyond mere desire into something more persistent, unresolved, and deeply embedded in the human condition.
Yearning is a force that stretches across time and geography. It is the ache of lost homes and forgotten histories, the quiet pull of a future that never fully arrives. It is not simply nostalgia, nor is it hope—it exists in-between, in the suspended space where past, present, and future collide. Whispers on the Horizon traces this longing as it manifests in personal narratives and collective memory, resonating between reality and illusion, belonging and displacement, permanence and disappearance.
Three Objects, Three Stories: Tracing the Echoes of Memory
The exhibition’s inspiration is rooted in three literary and cinematic objects rooted in Taiwan that carry histories of yearning:
- A puppet – from Hou Hsiao-Hsien’s film The Puppetmaster (1993), a semi-biographical reflection on the life of the Taiwanese puppet master Li Tien-lu, in times of Japanese colonial rule.
- A diary – from Chen Yingzhen’s short story My Kid Brother Kangxiong (1960), chronicling the aspirations and struggles of a young man who committed suicide in a politically turbulent Taiwan.
- A bicycle – from Wu Ming-Yi’s novel The Stolen Bicycle (2015), where a son searches for traces of his father through a lost object, and who in the process gets entangled in Taiwan’s wartime history.
While these objects are not physically present in the exhibition, they instead act as silent markers of memory, embodying what has been lost, taken, or left behind. They remind us that yearning is as much about absence as it is about presence, about what we search for and what we already carry within us.
Dialogue Between Past and Present: Weaving Historical and Contemporary Narratives
In Whispers on the Horizon, contemporary works will engage in a dialogue with early 20th-century paintings from Taipei Fine Arts Museum’s collection — including works by Chen Cheng-Po, Chen Chin, and Chen Chih-Chi. Moreover, the biennial will draw inspiration from artifacts from the National Palace Museum. This adds an extra historical dimension and cultural depth to the meaning of yearning, reminding us that yearning is not merely an emotional experience, but a reverberation across time, preserved in paint and porcelain, in delicate brushstrokes, and in objects that transcend borders and generations. They act as visual and conceptual bridges, reminding us that longing is not bound to the present; it echoes through centuries, across cultural shifts and political ruptures.
A Yearning That Never Settles
Though this exhibition begins in Taiwan, its themes extend far beyond. Whispers on the Horizon reminds us that yearning is universal, present in every culture and era. It is the ache of migration, the longing for home, the search for identity, the hunger for futures yet to unfold. Yearning, in the Taipei Biennial, is neither static nor resolved. It moves, fragile yet persistent, invisible yet deeply felt.
Whispers on the Horizon does not close doors, it does not offer answers. Instead, it lingers. It lives in the space between memory and imagination, between what was and what could be. It does not resolve. It whispers.
台北雙年展 2025：地平線上的低吟
2025 年 11 月 1 日 — 2026 年 3 月 29 日
台北市立美術館，台北，台灣
2025台北雙年展「地平線上的低吟」（Whispers on the Horizon）將於2025年11月1日至2026年3月29日在臺北市立美術館（北美館）舉行。由策展人山姆．巴塔維爾與提爾．法爾拉特（Sam Bardaouil and Till Fellrath）共同策劃，本屆雙年展將展出來自全球35個城市的54位藝術家的作品，透過多元當代的創作語彙，探究「思慕」（yearning）這個難以明說卻又驅策行動的深層渴望。
以多元當代的全新創作，追尋「思慕」的多重意義
臺灣錯綜交織的歷史——從殖民統治、認同掙扎到政治更迭——形塑了這次雙年展的背景。「地平線上的低吟」挖掘「思慕」的本質及其錯綜複雜的地層：它不僅是欲望，更是一種灼燒於心的渴求；它在個人記憶與集體歷史中流轉、在過去與未來間縈繞，也在現實與虛妄、歸屬與離散、消逝與恆常間迴盪；它是一種難以捉摸的引力，驅使著人們盡力前行、奮力邁進，卻終將是個永難企及的追尋。
潛伏於記憶的三個物件，交織歷史與當代的對話
「地平線上的低吟」策展構想源自三個與臺灣歷史密切相關的物件──尪仔、日記與單車。尪仔，活在侯孝賢的電影《戲夢人生》（1993）的世界裡，呼應著李天祿動蕩不安的生命；日記，來自陳映真的短篇小說《我的弟弟康雄》（1960），記錄著一個年輕人對於理想的深切渴望。單車，存在於吳明益的作品《單車失竊記》（2015），追憶著消失在歷史中的父親身影。這些物件雖未現身展場，卻如銘刻於記憶的線索、潛流於空間的低語，提醒著人們：「思慕」雖關乎失落，亦是擁有，它不只是嚮往追尋，更包含我們所承載背負的信念。
此外，展覽亦從臺北市立美術館收藏的二十世紀初期畫作，包括陳澄波、陳進及陳植棋等人的畫作，以及國立故宮博物院的典藏文物中汲取靈感，為「思慕」注入更深層的歷史紋理與文化縱深。穿越時代更迭、文化變遷與政治動盪，這些典藏作品成了視覺與概念的橋樑，以及跨越時空的殘響——封存於顏料與瓷釉之中，或隨筆觸與器物流轉。
青壯年藝術家齊聚，跨領域媒材、回應現場空間的現地展演
2025台北雙年展將展出33件新委託創作和特定場域裝置，曾展出的作品也將回應美術館獨特的建築空間與城市脈絡。特別的是，近半數參展藝術家出生於1984年後，透過不同世代，帶著當代語境的思考，展現對於現今世界的即時視角，並以不同形式，回應過去與未來的連結，展開對「思慕」的多層次探索。展覽作品橫跨多種媒材與表現形式，作品風格多變，從視覺上的奇想，到結構上的重組，從親密細膩的個人體驗，到集體記憶的碰撞反思，讓「思慕」成為一種可以感知、得以進入，又能持續尋找、期待與探究的存在。
2025台北雙年展「地平線上的低吟」以臺灣為起點，其所關注的主題卻不止於此——「思慕」存在於每個地方、每個時代在不同文化脈絡中潛行，是遷徙的痛、是思念的家；是身份與認同的追尋，是默默生根、持續醞釀的渴望。「思慕」從不停歇，也難以抹煞；飄忽無形、游移不定，卻又頑強真切地深植人心。
「地平線上的低吟」穿梭於現實與想像，遊走在遺落與將成的各種時態之間，作品挖掘個人事件或構築虛擬世界，映照當前現況與異想未來。「思慕」不再只是抽象的情感，更是探尋自身定位的關鍵線索。於此，「地平線上的低吟」進一步揭示了思慕的真相：唯有在不斷追尋之中，我們才得以開始理解自己。這裡沒有禁忌、不是答案、亦非解方，唯有「低吟」。
︎ official taipei biennial website
台北雙年展官方網站
︎ official artist profile
藝術家官方頁面
work list:
1.
The Bloom That Holds Her Shadow
2025
Two pairs of worn polyester and cotton socks purchased from a Taiwanese trans woman who identified herself as two sisters, contacted via Instagram following an open call on Threads to the foot-fetish community; wood, beam-splitting glass, lights, and other mixed media; and a video monitor displaying two consecutive videos of both sisters wearing and removing the socks in her residence.
Sculpture dimensions: approx. 97 × 68 × 57.5 cm
Monitor dimensions: 35.5 × 23 cm
Video duration: 4 min 36 sec
Courtesy of the artist, Commissioned by Taipei Biennial 2025.
姊花懷影
2025
兩雙曾穿過的聚酯纖維與棉質襪，購自一位自我認同為兩位姊妹的台灣跨性別女性；她在回應 Threads 上向戀足社群發出的公開徵集後，透過 Instagram 聯繫取得；木材、分光玻璃、燈光及其他複合媒材；以及一部播放兩段依序呈現兩位姊妹在其居所中穿脫襪子影像的螢幕。
雕塑尺寸：約 97 × 68 × 57.5 公分
顯示器尺寸：35.5 × 23 公分
影像長度：4 分 36 秒
藝術家版權所有，由 2025 台北雙年展委託製作。
2.
Ripened Moon
2025
Worn cotton-polyester socks purchased from a pregnant mother on a Taiwanese online foot-fetish marketplace via Twitter; plastic, epoxy resin, steel, and other mixed media; and a video monitor displaying footage of the seller in her bedroom, wearing and removing the socks.
Sculpture dimensions: approx. 60 × 60 × 45 cm
Monitor dimensions: 35.5 × 23 cm
Video duration: 1 min 56 sec
Courtesy of the artist, Commissioned by Taipei Biennial 2025.
盈月
2025
從一位懷孕母親於 Twitter 上經營的台灣腳控市集中購得的曾穿過的棉聚酯襪；塑膠、環氧樹脂、鋼及其他複合媒材；以及一部播放販售者在臥室中穿脫襪子影像的螢幕。
雕塑尺寸：約 60 × 60 × 45 公分
顯示器尺寸：35.5 × 23 公分
影像長度：1 分 56 秒
藝術家版權所有，由 2025 台北雙年展委託製作。
3.
Behind the Counter
2025
Four pairs of worn polyester and cotton socks purchased from four hotel front-desk staff on the same shift on a Taiwanese online foot-fetish marketplace via Twitter; wood, plastic, and other mixed media; and a video monitor displaying footage of the four sellers collectively wearing and removing the socks in the hotel’s luggage room.
Sculpture dimensions: approx. 128 × 128 × 58.5 cm
Monitor dimensions: 35.5 × 23 cm
Video duration: 2 min 17 sec
Courtesy of the artist, Commissioned by Taipei Biennial 2025.
檯後
2025
從四位同一班次的飯店櫃檯員工於 Twitter 上經營的台灣腳控市集購得的四雙曾穿過的聚酯纖維與棉質襪；木材、塑膠及其他複合媒材；以及一部播放四位販售者在飯店行李間共同穿脫襪子影像的螢幕。
雕塑尺寸：約 128 × 128 × 58.5 公分
顯示器尺寸：35.5 × 23 公分
影像長度：2 分 17 秒
藝術家版權所有，由 2025 台北雙年展委託製作。
4.
Lovers III (Soft Mountain Offerings)
2025
Two pairs of worn magnetic couple’s cotton-polyester socks purchased from a pair of young parents on a Taiwanese online foot-fetish marketplace via Twitter; Huggies baby wet wipes, epoxy resin, plastic, wood, aluminum, and other mixed media; and a video monitor displaying footage of the sellers doing household chores and interacting with each other before removing their worn socks.
Sculpture dimensions: approx. 107 × 75 × 54 cm
Monitor dimensions: 35.5 × 23 cm
Video duration: 2 min 11 sec
Courtesy of the artist, Commissioned by Taipei Biennial 2025.
戀人 III（柔山供）
2025
從一對年輕父母於 Twitter 上經營的台灣腳控市集購得的兩雙曾穿過的磁吸情侶棉聚酯襪；好奇嬰兒濕紙巾、環氧樹脂、塑膠、木材、鋁材及其他複合媒材；以及一部播放賣家做家務並互動後脫下襪子影像的螢幕。
雕塑尺寸：約 107 × 75 × 54 公分
顯示器尺寸：35.5 × 23 公分
影像長度：2 分 11 秒
藝術家版權所有，由 2025 台北雙年展委託製作。
5.
Nocturnal Chassis
2025
Worn cotton-polyester socks purchased from a male seller on a Taiwanese online foot-fetish marketplace via Twitter; Tesla Model 3 synthetic leather seat components and driver-side front fender panel; and a video monitor displaying footage of the seller inside a Tesla Model 3 at 1 a.m. in a quiet parking garage, wearing and removing the socks.
Sculpture dimensions: approx. 130 × 55 × 44 cm
Monitor dimensions: 35.5 × 23 cm
Video duration: 2 min 15 sec
Courtesy of the artist, Commissioned by Taipei Biennial 2025.
夜骨盤
2025
從一位男性賣家於 Twitter 上經營的台灣腳控市集購得的曾穿過的棉聚酯襪；Tesla Model 3 合成皮椅部件、主駕駛側前葉子板；以及一部播放賣家於凌晨一點在寂靜的停車場內坐在 Tesla Model 3 車內穿脫襪子影像的螢幕。
雕塑尺寸：約 130 × 55 × 44 公分
顯示器尺寸：35.5 × 23 公分
影像長度：2 分 15 秒
藝術家版權所有，由 2025 台北雙年展委託製作。
6.
My Melody
2025
Worn cotton socks purchased from a female seller on a Taiwanese online foot-fetish marketplace via Twitter; trilobite fossil (Redlichia sp., Early Cambrian, ca. 518 million years ago); steel stand; and a video monitor displaying footage of the seller in a public park, wearing and removing the socks amid trees, birds, and insects.
Sculpture dimensions: approx. 33 × 28 × 33.5 cm
Monitor dimensions: 35.5 × 23 cm
Video duration: 2 min 20 sec
Courtesy of the artist, Commissioned by Taipei Biennial 2025.
美樂蒂
2025
從一位女性賣家於 Twitter 上經營的台灣腳控市集購得的曾穿過的棉質襪；三葉蟲化石（紅麗克亞屬，寒武紀早期，約 5 億 1,800 萬年前）；鋼製支架；以及一部播放賣家在公園中、於樹林、鳥鳴與蟲鳴間穿脫襪子影像的螢幕。
雕塑尺寸：約 33 × 28 × 33.5 公分
顯示器尺寸：35.5 × 23 公分
影像長度：2 分 20 秒
藝術家版權所有，由 2025 台北雙年展委託製作。
7.
Elementary School Teacher (Recess)
2025
Worn cotton socks purchased from a 23-year-old female elementary school teacher on a Taiwanese online foot-fetish marketplace via Twitter; epoxy resin, UV resin, PLA plastic, rubber, wood, and fabric; and a video monitor playing footage of the seller on a bed, wearing and removing the socks.
Sculpture dimensions: 34 × 25.5 × 37.5 cm
Monitor dimensions: 35.5 × 23 cm
Video duration: 59 sec
Courtesy of the artist, Commissioned by Taipei Biennial 2025.
國小老師（下課時間）
2025
從一位 23 歲女性國小老師於 Twitter 上經營的台灣腳控市集購得的曾穿過的棉質襪；環氧樹脂、UV 樹脂、PLA 塑膠、橡膠、木材及布料；以及一部播放賣家在床上穿脫襪子影像的螢幕。
雕塑尺寸：34 × 25.5 × 37.5 公分
顯示器尺寸：35.5 × 23 公分
影像長度：59 秒
藝術家版權所有，由 2025 台北雙年展委託製作。
8.
Lovers II (Yieldpoint)
2025
Two pairs of worn tie-dye Nike Dri-FIT crew polyester socks purchased from a gay couple on a Taiwanese online foot-fetish marketplace via Twitter; steel, rust, and resin; and a video monitor displaying footage of the sellers at a gym, wearing and removing the socks while interacting with each other.
Sculpture dimensions: approx. 45.2 × 70.2 × 37.7 cm
Monitor dimensions: 35.5 × 23 cm
Video duration: 2 min 24 sec
Courtesy of the artist, Commissioned by Taipei Biennial 2025.
戀人 II（屈服點）
2025
從台灣一對同志情侶於 Twitter 上經營的腳控市集購得的兩雙曾穿過的紮染 Nike Dri-FIT 專業排汗聚酯纖維中筒襪；鋼、鐵鏽及樹脂；以及一部播放販售者在健身房中彼此互動並脫下襪子影像的螢幕。
雕塑尺寸：約 45.2 × 70.2 × 37.7 公分
顯示器尺寸：35.5 × 23 公分
影像長度：2 分 24 秒
藝術家版權所有，由 2025 台北雙年展委託製作。
9.
Soft Transcript
2025
Animation based on real chat screenshots with online sellers, presented in five parts corresponding to the works Nocturnal Chassis, The Bloom That Holds Her Shadow, Lovers III (Soft Mountain Offerings), Behind the Counter, and Lovers II (Yieldpoint); loop.
Courtesy of the artist, Commissioned by Taipei Biennial 2025.
柔性對話記錄 2025
以真實與網路賣家的對話截圖為基礎製作的動畫影像，串連呈現五段分別對應作品《夜骨盤》、《姊花懷影》、《戀人 III（柔山供）》、《檯後》與《戀人 II（屈服點）》的片段，循環播放。
藝術家版權所有，由 2025 台北雙年展委託製作。
Image courtesy of Taipei Fine Arts Museum, photo by Lu Guo-Way. （圖像由臺北市立美術館提供，攝影呂國瑋。）