Taichung Art Museum’s Inaugural Exhibition “A Call of All Beings” Opens December 13th!

The Taichung Art Museum (hereinafter referred to as TcAM) will officially open on December 13, 2025. This new arts and culture venue, co-located with the Taichung Public Library as part of the Taichung Green Museumbrary, is situated amid the greenery of Central Park. Designed by SANAA, the building is formed through light, flowing curves and a highly transparent expanded mesh, creating a fluid and multifaceted space that is closely connected with its surroundings. By integrating reading, art, nature, and urban life, it offers audiences a multisensory, cross-disciplinary experience of modern and contemporary art. The opening exhibition, “A Call of All Beings: See you tomorrow, same time, same place,” marks the starting point for the practice of TcAM’s curatorial direction. It is jointly curated by the TcAM curatorial team together with Taiwanese curator Chow Ling-Chih, American curator Alaina Claire Feldman, and Romanian curator Anca Mihuleţ-Kim. Beginning from the landscape context of Central Park, formerly Taichung Shuinan Airport, the exhibition extends to the multiple relationships between people and nature, the city and memory, interspecies connections, and the future. Featuring more than 90 works by 70 artist groups from over 20 countries, the exhibition includes commissioned works, pieces from the TcAM collection, and international loans, spanning diverse forms such as video, installations, sculpture, painting, documents, and artist books, creating an artistic journey that begins in Taichung and resonates with the world.

Within the Taichung Green Museumbrary, a new cultural forest is born in the city
Designed by Kazuyo Sejima and Ryue Nishizawa of SANAA, laureates of The Pritzker Architecture Prize, the Taichung Green Museumbrary is set amid the expansive greenery of Taichung Central Park, shaping a new cultural landscape between the park’s scenery and the city’s urban fabric. In the surrounding 67-hectare park environment, nearly 12,000 native trees have been planted, forming a natural ecological framework rarely found in an urban setting. “Green” refers to the park environment and also symbolizes a relationship of co-existence among people, plants, animals, and culture.
In this new type of venue, although the Taichung Art Museum (TcAM) and the Taichung Public Library operate as independent institutions, they create cultural circulation across disciplines through multiple connecting passageways within the architecture, a shared lobby, and inclusive open spaces. Visual art, book reading, research and collections, and public education are juxtaposed and converge here. The public can freely shift between strolling through the park, visiting exhibitions, and exploring knowledge, opening up a cultural experience with greater depth and breadth. Through this shared building model, the Taichung Green Museumbrary redefines the relationship between the art museum, the library, and the living environment, and further offers new possibilities for interdisciplinary curating, collection thinking, and educational collaboration.

Beginning with the Shuinan landscape, five major subthemes depict the multiple relationships between the city and nature
Taichung Art Museum (TcAM)’s inaugural exhibition, “A Call of All Beings: See you tomorrow, same time, same place,” takes as its point of departure the landscape and urban context of Taichung Central Park, where the Taichung Green Museumbrary is located, and focuses on the coexistence of people and all beings. Through canonical works by senior artists and the diverse vocabularies of contemporary creators, it connects cross-generational artists’ observations and imaginations of land, nature, and space. This environment-led curatorial direction also signals that, going forward, TcAM will continue to proceed from ecological thinking, linking urban life, cultural development, and global dialogue, and building a public art platform that brings together natural and cultural energy.
The curatorial team has organized the exhibition around five subthemes: “How to Draw a Coastline?”, “Recalling Fables”, “Folds and Flows”, “The Troubling of Natural Histories”, and “When the World Begins to Speak”. From cross cultural, cross species, and cross generational perspectives, these subthemes reflect the issues of how cities govern nature and coexist with the environment. Artists work across diverse media to respond to the ongoing changes in environment and history, and, through the mutual flows between the city and all beings, unfold multiple imaginaries of sensing nature, traces of memory, and healing and restoration.
In the subtheme “How to Draw a Coastline?”, the exhibition raises questions about the complex and ever changing states of all beings, guiding viewers to sense the interwoven conditions of life. Taiwanese senior artist Chen, Hsing Wan’s The Song of the Earth No.1, publicly presented for the first time in nearly 30 years, incorporates clothing textiles and leather to embody the life cycle of all beings and reflect on the essence of life; American pioneer of performance and video art Joan Jonas’s By a Thread in the Wind uses paper kites floating in the air to lead viewers to see the imagery of the forest and the wind from different perspectives. In the subtheme “Recalling Fables”, artists begin with local landscapes and lore, myths, and fables to reweave the world’s appearance. Myrlande Constant’s La Sirène reimagines Vodou flag art from a female perspective, weaving together religious and cultural narratives to reshape impressions of Haitian art; National Living Treasure Wang, Ching Shuang’s Standing Peacocks showcases vivid peacock imagery through masterful lacquer techniques; Rngrang Hungul (Yu, Hsin Lan)’s I’m a Woman, I’m a Hunter documents her mother’s everyday life as she enters the mountains to hunt, gradually constructing an understanding of the interdependence among humans, ecosystems, and animals.
In the subtheme “Folds and Flows”, the works range from geology and forests to urban renewal, presenting memories shaped through the mutual making of people and the land. Hung, Tien Yu’s Three Watchtowers on Cross Island Highway: 1900, 1960, 2000 uses oil paintings of mountain landscapes from different periods to portray a century of environmental change. Irina Botea Bucan and Jon Dean present Unfinishing A Cultural Hearth through embroidery and installation, proposing the idea that “culture is always in the making.
In the subtheme “The Troubling of Natural Histories”, the exhibition focuses on exploring relationships between humans and nonhumans. Yin, Ju Chen’s Evocative of Mountains and Seas uses sound and scent to reconstruct the multi species world of The Classic of Mountains and Seas. Lin, Chih Chu’s Autumn Fruit is a rare mosaic work within his artistic practice, demonstrating a meticulous observation of details in nature and an aesthetic reconfiguration.
In the subtheme “When the World Begins to Speak,” “listening” is presented as a way to respond to the world. German conceptual art master Joseph Beuys’s Backrest for a fine-limbed person (hare-type) of the 20th century AD refers, through the form of a therapeutic backrest, to a wounded body; the work becomes a tangible symbolic object, and its metallic materiality further underscores the meanings of support and protection. Hong-Kai Wang and Bopha Chhay invite multiple writers and theorists to collaborate on Our Words Don’t Suit Prophecies Anymore, exploring, through installation and publications, ways of listening to nonhuman life; Liao, Te-Cheng’s Lingering Light (Guanyin at Dusk) distills the fading light at dusk with gentle brushwork, responding to life’s trauma and emotional ties to the land. In a new work, On Thin and Transparent Things, artist Seung Hyun Moon, who has cerebral palsy, enters into dialogue through bodily rhythm and transparent architecture, attempting to create a “healing space of the body.”

Large-Scale Site-Specific Installations and Public Commissions
“A Call of All Beings” extends the exhibition into the public spaces of the Taichung Green Museumbrary, where several large-scale, site-specific works respond directly to the architecture. Adrien Tirtiaux’s Post-Museum Evidences (Core Drill) reveals traces of construction and labor through a structure that cuts through the exhibition halls; Yuya Suzuki’s In the World of Last Things is composed of urban waste, allowing viewers to extend the story based on what they see; Soyoung Chung’s Wheel within Wheel I & II uses interactive oval sculptures to symbolize cycles of emotion. Through the subtitle “See you tomorrow, same time, same place,” the exhibition not only signifies meeting all beings again, but also conveys a promise of mutual care set in motion through an arts venue.
The “Public Space Commissioning Programme” echoes the Museum’s long-term vision of serving as a public cultural venue, and has invited Haegue Yang and Michael Lin. In the 27-meter-high lobby, Haegue Yang presents Liquid Votive – Tree Shade Triad, her first large-scale suspended work produced in Taiwan, paying tribute to the shared cultural spirit of venerable trees in Taiwan and Korea. Michael Lin’s Processed employs the motifs of Taiwanese floral fabric and misregistered printing to reshape the dynamic visual experience of the architectural space.

Interactive Education and Outreach Programmes Bringing Art into Everyday Life
In conjunction with the opening, the education programme “Corner Mission Play Space Plug-in” is launched. Based on the concept of a “plug-in,” it transforms knowledge of the collection, architecture, and art into small hands-on learning tools that can be discovered along the visitor route. Distributed across five corners within the Taichung Green Museumbrary, it invites families to explore architectural space and artworks in depth through hands-on interaction.
On B2 of the Taichung Art Museum (TcAM), the collections-based education exhibition “Light in the Storeroom” features a “Visible Storage” created by SANAA with three floor-to-ceiling glass walls. Integrating multimedia interactive installations, the exhibition presents, in an engaging and educational manner, the complete life journey of an artwork from creation and acquisition to conservation.

Opening Events Series: Art Energizing a New Rhythm for the City
Director Lai, Yi Hsin stated that, after the Taichung Art Museum (TcAM) opens, the Museum hopes audiences will enter at their own pace, shaping unique memories with the space through exploration, and allowing TcAM to become part of everyday city life. Looking ahead, through exhibition programs, collections research, and education and outreach, TcAM will gradually build an art-historical narrative rooted in central Taiwan. With cross-disciplinary exchange, local connections, and international collaboration as its core directions, TcAM aspires to become an important node for dialogue between Taiwan and the global art world.
The Taichung Green Museumbrary successfully opened with the support of a wide range of enterprises and organizations, including Taichung Mass Rapid Transit Corporation, CMP Group, InterContinental Taichung, Shang Kai Steel Co., Ltd., Eslite Bookstore, the Yue Yuen Education Foundation, and the Vedan Cultural and Educational Foundation. In addition, the Taichung Art Museum’s inaugural exhibition, “A Call of All Beings,” also sincerely thanks the Taichung City Four Seasons Arts Education Foundation, Arden Precision Technology Co., Ltd., and Chung Shan Medical University for their support, which made it possible for valuable documents to be exhibited in Taiwan for the first time.

During the exhibition period, “A Call of All Beings” will be accompanied by a series of talks, performances, and workshops. The program will continue through spring 2026, and audiences are invited to join the dialogue between art and public life. For detailed event information, please follow the Taichung Art Museum (TcAM) official website (https://www.tcam.museum) and social media platforms (Facebook / Instagram).