(中文在下方)
2026 Chiayi Lantern Festival
Enterable Art Installation ──
《 Passing Through the Wardrobe, Returning Home 》
Original Technique:
Lua Rivera
Art Collective:
NO!W Across Lab
Yang Fang-Yi, LIN Tzu-Fen, LIN Chun-Tso, Peng Yu-Hong
Lighting Design:
Chou Ya-Wen
Materials: Recycled textiles (used clothing such as shirts, pants, skirts, socks; bed sheets; pillowcases), nylon weaving rope
Form: Large-scale net-woven installation within a 21-meter-diameter circular space
Co-creation Partners:
Chen Yen-Zhen, Lin Wei-Xiang, Huang Reo, Huang Tzu-Chieh, Hsiao Chih-Hsuan
Local Youth Participants (Hsin Kang Foundation of Cultural and Education):
Zheng You-Hao, Zheng Zhao-Kai, Tsai Yu-Cheng, Chien Chia-Hsien, Hu Jia-Ling, Chen Wen-Hsun
This work responds to Wang Wen-Chih’s important 1997 project The Wardrobe. That work combined large cedar-wood structures with public acts of clothing donation and exchange, transforming the “wardrobe” into a public space that carried collective memory and social relationships.
For the Chiayi Lantern Festival, beneath Wang Wen-Chih’s bamboo dome, we developed an enterable and inhabitable soft woven structure, drawing on weaving techniques learned from Mexican artist Lua Rivera. The inspiration comes from artist Yang Fang-Yi’s childhood memory of a wardrobe in her family home that connected two rooms. As a child, moving through this wardrobe felt as though simply opening its doors could lead her into another world—mysterious, safe, and protected.
It was a place of shelter, a space of one’s own, and an entrance to imagined futures. For Wang Wen-Chih, who has long created works across different regions, returning to Chiayi is not only a geographical homecoming but also a return of spirit. His works consistently invite people to lie quietly within them, experiencing warmth, enclosure, and calm.
Responding to this artistic sensibility, we take “returning home” as the core image of the work. Beneath this bamboo structure—embracing like a maternal body—we embed a wardrobe-like space woven from donated clothing. Through an open call for second-hand garments, fabrics once worn by different families—along with their traces, scents, and memories—are transformed into a soft, tactile woven structure.
Interlacing diverse life experiences, the installation becomes a space that can be walked through, explored, and rested within. As visitors enter, they are invited to return to that childhood wardrobe—both familiar and unknown—where, wrapped in light and fiber, they may gather the strength to move forward once again.
This is a work about homecoming, memory, and collective weaving.
It is also an invitation, in the lantern-lit night, to feel held, protected, and ready to set out again.
2026 嘉義燈會
嘉義夢燈區
《穿過衣櫃，回嘉》
原創技法：Lua Rivera
創作團隊：不廢跨村實驗室／
楊芳宜、林俊作、
林資芬、彭宇弘
燈光設計：周雅文
共創夥伴：陳彥蓁、林暐翔、黃嘉緯、黃子倢、蕭秩瑄
在地夥伴：新港文教基金會
鄭又豪、鄭兆凱、蔡育誠、簡嘉嫻、胡家菱、陳玟薰
使用質材：回收布(舊衣褲裙襪/被單枕套等)、尼龍編織繩
作品形式：直徑21公尺圓內大型網編藝術
本次作品回應王文志老師1997年的重要作品《大衣櫃》。該作以大量杉木結構結合民眾捐衣與交換衣物的行動，將「衣櫃」轉化為承載集體記憶與社會關係的公共空間。
在嘉義燈會的合作中，我們於王文志老師的竹構穹頂作品下，師承墨西哥藝術家Lua Rivera的編織技法，發展一件可進入、可停留的軟性編織結構。創作靈感來自楊芳宜的童年記憶——老家那座連結兩個房間的衣櫃，曾讓她在穿梭其間時，感覺只要推開櫃門，便能抵達另一個神秘而安全的世界。 那是一個被保護的所在，也是一個屬於自己的空間，更是通往想像未來的入口。
對長年在各地創作的王文志老師而言，回到嘉義不僅是地理上的返鄉，更是一種精神狀態的歸返；他的作品總是邀請人們靜靜躺臥其中，感受溫暖、包覆與平靜。回應這樣的創作氣質，我們在這座如母體般包容的竹構空間下，以「回家」作為核心意象，嵌入一座由舊衣物編織而成的「衣櫃式空間」。並透過向大眾募集舊衣，將各個家庭曾經穿戴過的布料、氣味與記憶，轉化為柔軟而可觸的編織結構。
這些來自不同生命經驗的衣物，在交織之中形成一個可穿行、可探險、亦可停留的場域。觀眾得以走入其中，如同再次回到童年那個既熟悉又充滿未知的衣櫃，在光影與纖維的包覆下，積蓄重新前行的力量。
這是一件關於回家、記憶與集體編織的作品，也是一個邀請人們在燈會夜晚，重新感受被承接、被保護，並再次出發的地方。
