Some places, you will go there again and again.   Sometimes you may not even like them. It can be out of fear, or reasons that only you can understand. But if you can see those places with your eyes closed, they are where you truly belong. Five places keep calling for my return~ so I ask some people (that aren't even human) who probably don't know they can fit in so well... to be the characters of the autobiography in my heart unknown to anyone~ MRT (Mass Rapid Transit) is a recipe of political correctness~ follow the instructions, you can end up with a wrong dish full of religious flavors. 正大商場（高雄） insists on the remorse of objectification~ the only consolation is we tacitly understand each other. From the beach to the mangrove, the journey is a perfect relaxation for us burdened with tons of inferiority~ as we watch out for the next step that's never right.    The askew specimen and twitching puppy are playing Red light, Green light.   How many advices does one need for this journey? Imitation itself can take you far away!

Artist Tai Ming-te in his Sisyphean state of life creates drawings perpetually as a "Perceptual Drawing Machine". What is he searching for with all the absurd efforts? Is this a form of punishment, a mission or just an unusual attitude to life?      In the postmodernism context where the creator is irrelevant to its creation, Tai's sketches of daily trivialities interweave with history, observations of the society, experiments of art styles and other elements. Such drawing and surveying of life is a body of modernity, which serves to challenge the limit and to gradually accomplish impossible missions with disciplined practicality. It is inherently like a graphic space with an ever-growing root-like structure of connections. Up to now Tai has created a dozen of different series. Each time you feel getting closer to his art, he is already on his way to drawing something new. For him, a series is not merely a random assembly of artworks, but a holistic study of relevant contents over a dedicated period of time. His creation process is like a restless drawing machine going full turbo with new inspirations unceasingly emerging.

The very first exhibition upon the opening of Chiayi Art Museum, Re-visiting Landscape, employs “landscape”, a significant painting form over the century, as the angle for inquiry. With the exploration of “landscape” at the core, the Exhibition contemplates upon the presentation, transformation, and interpretation thereof in different historical contexts, creative forms, and materials as well as how to reflect on the relationship among people, the environment, and cities via the concept of landscape as it evolves into the practices of the contemporary art. With this exhibition, visitors are invited to appreciate the perspectives of artists and their formation collectively while pondering over further individual’s temporal connotation with the respective environment, viewing relationship, and geopolitics. “Re-visiting” in the title “Re-visiting Landscape” suggests return and reflection while reconsiders how artists represent the interpretation and critical relationship between themselves and Nature via art creation and actions. The topics of this exhibition are “Embodied Nature”, “Inner Landscape”, “Mediated Landscape Viewing”, and “Radical Landscape.” Traversing among different axes of time, it mulls over the artistic, social, and cultural implications of works of different times under the concept of “landscape.” The content exhibited ranges from the important paintings produced in the Japanese Rule Period to the collection of Chiayi Art Museum and the contemporary artworks. Amidst the diverse creative forms, we revisit how artists of different times interpret the dialectics of nature and culture in landscape. With juxtaposition of diverse presentations, the Exhibition showcases the journey of modernization of art in Chiayi as well as the landscapes unique to Chiayi, natural and cultural alike.