1
著陸方法工作室負責人，跨域藝術創作者、設計師、山域活動愛好者、獨立研究者。以空間構築、互動影像與聲音為媒介，發展讓觀眾以身體進入觀看機制的跨域裝置創作。創作背景來自建築空間、數位製造、材料研究與互動媒體實作，長期關注人在被觀看、被辨識、被忽略與自我修正之間的感知經驗。過往作品多以構築型裝置、即時影像、實驗聲響與場域設計，召喚特定情境，讓抽象的社會機制轉化為可被身體經歷的空間經驗。曾獲第一屆桃園科技表演藝術獎金獎，並歷經蕭壠文化園區駐村、工研院藝術進駐、國美館國際光影藝術節、邁阿密Filmgate Interactive Media Festival 及伊斯坦堡IDAF等展演與交流經驗。近年亦持續參與跨域研究型專案，累積研究架構擬定、田野整理、技術協作與製作統籌能力，著力將創作、研究與公共溝通整合推進。
交通大學建研所數位設計組
臺北科大建築系
個展
2017 未知全域 Omni(x).v0 @江山藝改所
2020 <無人的在場> @蕭壠文化園區A13倉
2020 煙花宇宙《巢 獨立影音計畫展》@新樂園藝術空間 SLY art space
2021 <in between> 展覽with洪芷寧@435藝文特區
2023 <耳語> 個展 @435藝文特區
2024 Landing in nowhere 個展 @@435藝文特區
2025 《靠近詭異：驅動感知的起點》 @成功大學光復校區歷史文物館
2026 延遲的光景(LIVE?) @435藝文特區
獲獎/入選
2026 高美館縫隙計畫 入選�2023 Filmgate Interactive X 入選
2020 第一屆桃園科技表演藝術獎 金獎
2021 全國美展 新媒體藝術類 入選
2021 全國美展 綜合媒材類 入選
駐村
2020 蕭壠文化園區駐村個展<無人的在場>
2022 Arts@ITRI藝術家進駐工研院
2019-2026 進駐於板橋435藝文特區�2026 藝術轉動社區「金門」
策展
2021 新樂園第二屆『影』像『展』- 定向失序 @策展人介紹作品
其他
2023 C-LAB 聲響藝術節：張晏慈–《誰的手術刀 2.0》@裝置型態設計
經歷
2014-2016 形構設計@型態專員
2019 宜蘭映像節 陳明章X煙花宇宙 《噶瑪蘭公主》光雕投影設計與空間規劃
2022 TDRI 捷運中山站改造案專案/形構設計/空間規劃團隊
2023-2025 國立陽明交大建研所竹材科研計畫執行人
2025-至今 著陸方法工作室負責人
演出
2017 台藝舞蹈x交大應藝 新媒體舞蹈呈現《Under the water, we shout.》@臺灣藝術大學
2018 北藝戲劇《Love Equation》@臺北藝術大學戲劇系館
2020 Breath(In)Room v.2 限定演出x身言舞蹈劇團 @空總中正堂
2022 《離人 Dissociation—台日DVJ浮空投影線上演出計畫》暖場演出 @435枋橋大劇院
2022 Minimal Input – Algorithmic Art Gathering with CHANG Yen Tzu@ C-Lab//live visual
2022 數位藝術節<Fake It Real>系列活動演出<噪幻II> with CHANG Yen Tzu @臺北數位藝術中心
2024 台灣國際紀錄片影展系列活動 <檔案影像創作計畫：再編碼> with CHANG Yens @C-Lab
2025 點和點之間(things between two points) @435藝文特區
聯展
2019 清大藝術季阿特梅 解壓縮聯展《好看嗎？》@清華大學
2019 回桃看藝術節聯展 《Breath(in)Room》 @ingtsxyz
2020 TAxT 桃園科技藝術節『當然耳』@桃園展演中心
2021 全國美術展 @國立臺灣美術館
2021 Ars Electronica Garden Taipei/Formosa New media tour
2021 和平島掀風潮 《巢》展出
2023臺灣國際光影藝術節『數據光景』@國立臺灣美術館
2023 Internet Surfing：網路衝浪手冊 @有章藝術博物館, 台灣
2023 Regenerate X, FilmGate Interactive Media Festival @邁阿密
2024 <Search Reality>, Digital Art Festival Istanbul @Atatürk Cultural Centre, 伊斯坦堡
2024 <From time, to timeless.>[時]數位藝術NFT授權展 @Maincoin, 臺北
2025 【續聖蹟——文史藝術特展】2025 好客文藝季 文流✕行動 @龍潭武德殿
20
26
【八仙山竹構造亭】殼之構
Solo Exhibition
指導單位：農業部林業及自然保育署
計畫主持人：許倍銜
主創設計與統籌執行：蔡寧
研究計畫人員：曾子亭
前期模擬與材料實驗：徐華均、陳睿申、蔡宗晏
結構顧問：袁宇秉
協力夥伴：藝創木構（施工）、福樟實業（竹木集成材製造）、互若亞（竹材處理與竹集成元製作）、竹育（竹裂片）
【板橋435春季進駐展覽】
《 延遲的光景（LIVE？） 》蔡寧個展
Solo Exhibition
這是六年駐村歲月中最後一次觀看，比起白晝，我更熟悉這座園區日落後的模樣。那些原本高彩度的裝置、塗鴉與建築，在夜色中褪去喧囂，沉澱成黑白的輪廓。
原本預設呈現出模擬監視器的高掛視角，但在錄製過程中發現平視角度與1/8秒的快門，好像更符合我理想的畫面，更貼切地捕捉這些共處多年的熟悉角落。
在拉長的時間感裡，空間是靜止的，風的軌跡與經過的人、車，像一抹柔軟的筆刷劃過草皮與天空。
此刻這片褪色的光景正在展間裡持續運轉。當你走入這個空間，系統的捕捉與延遲，將會把你轉化為這段記憶裡的新筆刷。請在空間中自由移動，你的每一次介入與劃過，都將擦亮靜止的黑白，讓隱藏在記憶底層的斑斕色彩，重新顯影。
🎞️影片連結
🎞️影片連結
🎞️影片連結
20
25
【續聖蹟——文史藝術特展】遺構顯影
Tsai Ning
Exhibition
🎞️影片連結
Approaching(靠近)
Tsai Ning
Exhibition
這件作品延續我在 2020 年於蕭壠創作的〈無人的在場〉，那時我將聲音與影像部署在歷史創傷的發生地，試圖尋找一種方式，將時間拉扯出的斷裂，縫合回人與土地的關係之中。然而歷史不是靜止的紀錄，它會移動也會殘留，因此這次我想試著將視線從事件轉回人，從集體的傷轉向個體的痛。相較於〈無人的在場〉關注於某一個特定事件，〈靠近〉想看見過去的記憶與歷史性是如何殘留在人之中，如何被身體認定為某種情緒，或如何讓人不想靠近。
有些過去的事件不會留下痕跡，卻會留下一些不願靠近的感覺：
為什麼心跳突然加快？
為什麼想移開目光？
為什麼在還沒接觸它之前，就已經感到疼痛？
這是一件試圖建立「靠近」的作品。透過聲響、影像與空間設計，我想邀請觀眾/參與者經歷看似暫時還很模糊、尚無法明說的地帶。
things between two points//streaming record
Tsai Ning
Solo performance
20
24
(Behind)Bright-side Jamming with Archive: Re-coding�c：檔案影像創作計畫：再編碼
CHANG Yens x Tsai Ning
Performance
（國際紀錄片影展系列活動）
News sometimes resembles an apparatus for those in power to promote political achievements and attain social stability as imagined. Today, the utterly positive style and seriousness of reporting in the past make people laugh. As time evolves, juxtaposed with others, absurdity reflects the shadows difficult to discern in the current temporal-spatial context. (Behind) Bright-Side is based on a past initiative of the Government of Taiwan, i.e., sending balloons containing supplies to mainland Chinese as a relief. Related news materials are employed to make audio-visual elements, installations, and sensors for this performance, which depicts the phenomena of spectatorship transformation in terms of thinking.
🎞️影片連結
Landing in no(w)here
Tsai Ning 蔡寧
projector, PC, speakers, interface
投影機, 電腦, 主動式喇叭一組, 錄音介面
Solo_Exhibition
"Landing in nowhere" can be translated as "Touching down in the present moment." This phrase is an interesting double entendre, with two possible interpretations depending on the context: one is "landing in nowhere," suggesting a failure to reach a destination or ending up in a place that is meaningless or unknown. It can describe a state of confusion, feeling lost or perplexed, as if one has lost direction or does not see a path forward. The other interpretation is "touching down in the present moment," emphasizing the importance of the current moment.
As someone from central Taiwan, having spent a considerable amount of time studying and working in the northern part of the country, the desire to settle down and establish a sense of belonging has never ceased. In the past few years here in New Taipei, I have embarked on a journey as a full-time creator/self-employed individual, attempting to carve out my own space in this region.
Reflecting on why I chose the Greater Taipei area, it is also because of its advantages in resource concentration and the density of relevant industries. However, beyond these factors, what significance does it hold for me?
During a three-month residency in Jiali District, Tainan, one year, I unexpectedly found myself enjoying the pace, scenery, population density, and skyline of the countryside. I believe that as long as I can find a sustainable production style and work mode that allows me to live comfortably, it doesn't matter where I am.
Can one still clearly perceive the subconscious of each action in the transitional zone?
I have always regarded the northern part of Taiwan, where I lived for over a decade, to some extent, as a temporary transitional zone. It has brought me a sense of belonging and security, but it has also made me feel confined and unsettled. It wasn't until I realized that I might settle here permanently until I started realizing the need to cultivate my soil, until I became aware of my reality, that it seemed like the true preparation for landing began.
In psychology, there is a trauma coping method called "grounding," which involves using touch and interaction with physical objects to bring oneself back from intense emotions and focus on the present. I try to document every moment when I frequently go to the northern part for specific purposes.
In 2020, using the same inflatable sphere, I performed "Breath(in)room v2" with the 身言舞蹈劇場 at the Taoyuan Arts Festival. In this version, images were directly projected onto the inflatable sphere, with dancers representing individuals grappling with confusion, struggle, and the effort to adapt, separated from the world by a thin membrane. The membrane with images is like our own filter/protective layer; we rely on this preset layer to protect ourselves while sometimes pushing others away. I try to remove some unverified imagination to see the surroundings at this moment.
20
23
Invisible Portal
Tsai Ning 蔡寧
projector, PC, speakers, interface
投影機, 電腦, 主動式喇叭一組, 錄音介面
Group_Exhibition
Language serves as a communication medium with a common set of symbolic meanings. Through writing, it manifests as actions or their foundations. In the world of computer programming, code is written using a binary system of 0s and 1s. In the digital world, every action can be measured, leading to a highly quantifiable ecosystem. It serves as a tool with unambiguous characteristics, requiring the definition of all events. It is gradually constructing a transitional zone that is difficult to perceive in its vast existence. In this space, the apparent reality may not be as it seems. The endpoint is also the starting point, and with the correct address, you can go anywhere, making it difficult to escape this omnipresence.
The vast expanse may be devoid of everything, while narrow spaces may hide unseen things. Images and sounds manifest alternately in a small space amidst surrounding reverberation from multiple channels. Invisible sounds bounce between material walls, and together with images surrounding from all sides, they open a hidden entrance formed by the attachment of media to space.
"The first task of underwater surfing is to ensure calm weather, preferably with a bit of wind that stirs the sea surface and creates small waves for riding. As I gaze upon the far-off horizon, the vast expanse of the sea sparkles with waves, and distinct patterns resembling fish emerge. The interwoven network of fiber optic cables spread across the sea forms the internet that we use. These electronic echoes transform data into sound waves, constantly playing with the vast ocean of information."
耳語(WHISPER)
Tsai Ning 蔡寧
Acrylic panels, sensor, speaker driver, steel, projector, PC
壓克力板、感測器、單體、鐵件、投影機、主機
2023 Taiwan International Light Festival ｜Scenery of Dataflow
2022 Artist@ITRI
Supervisor｜Ministry of Culture
Organizer｜National Taiwan Museum of Fine Arts
Implementor｜Goldilocks Production
「你」被集體凝視還是被圍繞著呢喃細語，一場虛實感測的《耳語》小劇場－－蔡寧|藝術家進駐成果網
Solo_Exhibition
🎞️影片連結
Dozens of surrounding and enwrapping mirror plates alternately show the reflection of the spectator’s face. This is combined with the gaze of an AI-generated human visage that does not belong to anyone in this world, creating a quick alternation of images of the self and an imagined other. Based on the spectator’s distance from the installation, the scattered speakers play a conversation between two people. From fragmentary whispers to rambunctious noises, the spectator within the installation will first approach and then walk away.
20
22
MRT ZhongShan Station
work for Morpho Design as project manger & designer
Public_Design
2022 台北捷運中山站再設計
Re-design
9
Minimal Input – Algorithmic Art Gathering
CHANG Yens x Tsai Ning 張晏慈x蔡寧
#audio-visual experiment #contemporary art #technology media
Performance
11
20
21
living in the between
Hung Tzu Ning x Tsai Ning 洪芷寧 x 蔡寧
Exhibition
This project, "in between," is composed of two works, "A Thin Line Apart" and "Borrowed Conditions."
The work "A Thin Line Between" portrays a tent-like image within the exhibition space and the blurred appearance of the mainstream in society, reflecting my personal anxiety and the desire for stability. The work "Borrowed Conditions" draws from over a year of living indoors in a tent, using body memory to depict the possibilities of minimal living conditions within urban indoor tents.
Both artists embark on this project based on their actual experiences of living in indoor tents. Living "in between" means not being here or there but also implies the ability to exist in any gap. On one end, the text reflects on the relationship between nomadic people and the concept of stability, while the high variability of the tent-like structure offers a unique perspective on the coexistence and interaction of individuals and spaces. It is a reconsideration of "residing," dealing with the issue of individuals and the consumption space of the city, trying to cast a light on how to live within it in contemporary society.
In "A Thin Line Apart," the discussion to be constructed through visuals and sound is that the connotation of the contemporary nomad is not necessarily a group in ragged clothing with disheveled appearances, but those with inner restlessness.
We live in the same place, speak the same language, dress similarly, and act alike. Why do we still feel distant? Making one wrong decision or an unexpected incident can disrupt our stability, and we become our own nomads, constantly suffering from not being able to return home. If I do not belong here completely, how can I live here? The sense of homelessness and rootlessness brought about by the nomads and tents stems from the life choices we make and the crisis they entail, the alienation and estrangement we experience as we bear the responsibility for our choices and become nomads who move for housing prices and job locations, all the while wandering interpersonally and spiritually. What is the notion of stability in the fluidity of contemporary life?
When viewers enter the exhibition space, they will see one space, two tents, several pieces of furniture, and several pairs of indoor slippers. The imagery is projected onto the walls and inside/outside the tents, forming multiple viewing perspectives. The sound changes depending on the viewer's location inside/outside the tent or the spatial position. Each recognizable object is high, but as the exhibition time lengthens, the differences and similarities within the "In Between" structure are captured.
20
20
無人的在場(Absence In Presence)
Tsai Ning 蔡寧
Exhibition
<Award>
2021 New Media Art/Selected, NTMFA, “Absence In Presence."
2021 Mixed Media/Selected, NTMFA, “NEST."
Video Link 蔡寧(TSAI Ning)《無人的在場》(Absence in Presence)
Ars Electronica 2021 https://garden2021.metarealitylab.com/new-media-tour/
蕭壠駐村藝術家蔡寧《無人的在場》(Absence in Presence) | 舊站資料| 最新消息
Fabric, projector, PC
投影紗、投影機、主機
#projectionmapping #virtualspace #physicalspace #surveyingandmapping
🎞️影片連結
Architecture shows traces of human existence. Those who had lived here may be gone; however, what has happened here will constantly affect future users in an invisible way.
Soulangh Incident that occurred in 1895 caused over 2 to 3 thousand deaths, from which the place was also called “the disappearing ones” back then. Even today, most residents here still try to avoid staying at the historic scenes at night. The invisible incident can have its own presence through oral narratives or ritual practices resulting from the descendants’ respect, fear, or belief.
The exhibition takes place in the corridor between A5 to A6 gallery. Image projection occurs only from 5 pm to 9pm every day to symbolize the concept that even though we can’t see the incident, it is still there. The second venue for the exhibition is at A13 gallery to present documents showing what has happened in the four-hour projection for those who are not there. The wall with various holes scattered around in the exhibition symbolizes preset angles. We have been confined to certain positions in the way we read history. Readers are told to “read in a correct and normal way”. The entrance is arranged in the place near the projection wall so that visitors can also be seen as a part of the exhibition.
N:NEST by Endospace
Installation design/Sound design/exhibition planning by Tsai Ning
Exhibition
Acrylic panel, steel, projector, PC
壓克力板、鐵件、投影機、主機
This exhibit project has been awarded "The 19th Taishin Arts Award: Season 4
Nominated". The art work has been awarded "The Selected Work in Mixed Media Category at the 2021 National Art Exhibition, R.O.C.", and has also been Longlisted for the Aesthetica Art Prize 2022 in UK.
Link https://endospace.com.tw/2020
"Nest" is an inner sense of security, the beginning of the flowing of emotions, and the home to which we eventually return. In the current state where the global collective consciousness rises again, the group Endospace initiated a project where it uses deconstructed components to re-structure the cognitive and spatial field of the immersive projection, showing multiple situational video works in circulation. The purpose of the exhibition is to reproduce the visual manifestation of the heart and the soul. It is an articulation of the state of feeling discomfort to calmness. In a viewing experience that owns no narratives, this exhibition reconstructs the experience and observation of the affective self.
Breath(in)Room v.2
Tsai Ning
choreography&dancer | ShenYan Dance Theater
Exhibition&Performance
Fabric, sensor, projector, PC
投影紗、感測器、投影機、主機
2020 Taoyuan Technology Performing Arts Award/Golden, TCG, “Breath(in)Room v2."
Teaser Breath(in)Room v.2 | Teaser
Breathing is usually an involuntary, voluntary physiological effect but is sometimes controlled temporarily and consciously. When feeling oppressed for a long time, individuals may have intense emotional ups and downs due to subjective anxiety and respond to changes in breathing frequency. Respiration is the primary mechanism of biological survival. The speed and depth are also suitable if you want to be relaxed and comfortable. There is no survival without breathing, and over-breathing is painful, as in this social system where there is no suitable place to be embedded and no place to stand.
38
38
38
38
🎞️影片連結
🎞️影片連結
Vision establishes spatial perception before other senses, reconstructs the breathing pattern caused by psychological induction into the immersive image experience, and forces the inner emotions to appear in the environment. Relationship, and gradually control the way of external changes. This interaction mechanism intends to experience the hypoxia illusion caused by the body’s excessive carbon dioxide excretion and a series of psychological, psychological, and physiological changes.
Contact me
Review&News
台北《巢》 獨立影音計畫 觀後 有感 A visit to Endospace Sound Visual Art’s “Nest”| Vanessa Tsai
「你」被集體凝視還是被圍繞著呢喃細語，一場虛實感測的《耳語》小劇場
Minimal Input – Algorithmic Art Gathering
17th Digital Art Festival Taipei 2022 - Phantom Noise II
2023臺灣國際光影藝術節，台中國美館登場：9組國內外藝術家，建構絢爛數據光景
ARS ELECTRONICA A NEW DIGITAL DEAL Taiwan Grand Tour | New Media Tour
「你」被集體凝視還是被圍繞著呢喃細語，一場虛實感測的《耳語》小劇場－－蔡寧
2023 Taiwan International Light Festival｜Scenery of Dataflow