新浜碼頭藝術空間 The Sin Pin Pier—Absolutely Art Space
空間介紹
About the Space
「新浜碼頭藝術空間」於民國86年8月由三十多位成員以會員制共組「新浜碼頭藝術空間」，其會員大多數為「高雄市現代畫學會」之菁英，因此「新浜碼頭藝術空間」與「高雄市現代畫學會」有著深厚的臍帶關係。有鑒於新浜碼頭多年來在致力於推動南部藝文發展及其累積的藝術能量，以黃文勇為首的新浜執委會提出：應視新浜為一「社會公共財」此概念，並進行永續經營的思考，故由執行委員會共議獨立籌組人民團體，於民國98年1月10日，「高雄市新浜碼頭藝術學會」正式立案改制成立。民國115年3月，搬遷至大仁路146號。
The Sin Pin Pier—Absolutely Art Space (Sin Pin Pier) was first formed in August 1997 by more than 30 members, who were mostly elite members of the Kaohsiung City Modern Painting Association. Consequently, the Sin Pin Pier has a close tie with the Kaohsiung City Modern Painting Association. In view of the endeavors of the Sin Pin Pier to promote artistic and cultural activities in Southern Taiwan and the artistic capacities that have been accumulated in this space over the years, the executive committee of the Sin Pin Pier, which was led by Huang Wen-yung, proposed to redefine the Sin Pin Pier as a public good. To ensure the sustainable operation of the Sin Pin Pier, the executive committee reached a consensus to establish an independent civil association.On January 10, 2009, the restructured Kaohsiung City Sin Pin Art Society was officially registered. In March 2026 , relocated to No. 146, Daren Road.
當期展覽
Exhibition《潮間湧動——海灣中的承浪與造浪》Surging Intertidal: Riding and Making Waves in the Bay
藝術家｜洪龍木 Lung-Mu Hung
2003年，新浜碼頭藝術空間推出李俊賢策畫的《黑手打狗—工業高雄》，集結林正盛、洪政任、洪龍木、黃吉祥、楊順發、劉丁讚等人，從高雄工業城市的背景出發，將目光轉向勞動者的生活、身體、材料與藝術創作，試圖尋找不同於主流藝術的另一種可能。時光匆匆，二十餘年後的現在，高雄的城市風光與印象已大有不同，近年高雄藝術文化產業發展快速，例如2009年行政院計畫設立高雄流行音樂中心，也包含民間的發起與政府支援，如2017年鹽埕第一公有市場的協力合作等，當年《黑手打狗—工業高雄》的展場—由高雄市新浜碼頭藝術學會成立的新浜碼頭藝術空間，也從大勇路原址遷入新的場域空間中。
展覽《潮間湧動—海灣中的承浪與造浪》運用2003年的展覽文件，以及當年參展藝術家洪龍木的作品，相疊在新的新浜，人在不同時間與不同空間的維度下，共同在高雄這座港灣城市交織出新的浪潮。
In 2003, Sin Pin Pier - Absolutely Art Space presented Takao Labor-industrial Kaohsiung: The Reach of Blue Collar Artists in Kaohsiung, curated by Lee Jiun-Shyan. Bringing together artists including Lin Cheng-Sheng, Hung Art, Lung-Mu Hung, Huang Chihsiang, Yang Shun-Fa, and Liu Dingzan, the exhibition took Kaohsiung’s identity as an industrial city as its point of departure. It turned its attention to the lives and bodies of workers, the materials they worked with, and their artistic practices, seeking possibilities beyond the conventions of mainstream art.
More than two decades later, Kaohsiung’s urban landscape and image have changed considerably. In recent years, the city’s arts and cultural sector has developed rapidly. This transformation can be seen in projects such as the establishment of the Kaohsiung Music Center, initiated by the Executive Yuan in 2009, as well as collaborations between civic initiatives and government support, including the revitalization of Yancheng First Public Market in 2017. Sin Pin Pier - Absolutely Art Space, established by the Kaohsiung Sin Pin Pier Art Society and the original venue of Takao Labor-industrial Kaohsiung, has also relocated from its former site on Dayong Road to a new space.
Surging Intertidal: Riding and Making Waves in the Bay brings together archival materials from the 2003 exhibition and works by Lung-Mu Hung, one of the participating artists at the time, layering them within the new Sin Pin Pier. Across different moments and spatial contexts, people, artworks, and memories intersect once again, generating new currents within Kaohsiung, a harbor city continually shaped by change.
《...代謝中...》
藝術家｜林昱達 Yu-Ta Lin (TW)
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以「酷/殘理論 (Crip Theory)」中酷兒與殘兒抵抗健全主義(Ableism)的視角出發，審視藝術家自身患異位性皮膚炎的歷程，將皮膚病視為一種酷兒展演的身體政治，揭露紅腫、脫屑、刺痛等感官經驗下的特殊世界觀，建構在健全主義的觀視中，超越憐憫的新敘事。
展覽透過空間影像裝置，將全白展間重構為一個不斷剝落、循環與消磨的代謝世界觀 ── 生命是一場大型的代謝工程，我們在不斷飄屑的過程中消磨時間，異化的身體不必被排除，而是能在特定的空間場域中驕傲地展演 。
...Metabolizing...: Yu-Da Lin Solo Exhibition
Drawing on Crip Theory and its intersection of queer and crip perspectives in resisting ableism, the artist reflects on their own experience of living with atopic dermatitis. The skin condition is approached as a form of queer performativity and embodied politics, revealing a distinctive worldview shaped by sensory experiences of redness, swelling, flaking, and stinging pain. In doing so, the work constructs a new narrative that moves beyond pity and challenges the ableist gaze.
Through spatial and moving-image installations, the exhibition transforms the all-white gallery into a metabolic world of continual shedding, renewal, and erosion. Life becomes a vast metabolic process in which time wears away as we endlessly shed fragments of ourselves. Rather than being excluded, bodies perceived as different are given space to assert their presence and perform with pride.
