SHAPE THE WORLD AROUND YOU

Art Installations That Redefined Contemporary Art.

Twenty-first-century contemporary art has long outgrown the confines of frames and pedestals. Artists no longer produce mere objects; they construct entire worlds into which the viewer is fully immersed. Museum halls, exhibition spaces, or even entire cities become living environments, and the act of perception itself transforms into an integral part of the work. Source: mymodernmet.com

重新定義當代藝術的裝置作品。步入二十一世紀，當代藝術早已超越了畫框與基座的限制。藝術家們不再只是創造孤立的物件，而是建構一個完整的世界，讓觀者得以全心沉浸其中。博物館展廳、展覽空間，乃至整座城市，皆化身為鮮活的生存環境；而「感知」這一行為本身，也隨之昇華為作品不可或缺的組成部分。

LEVIATHAN BY ANISH KAPOOR.

Leviathan, an inflatable sculpture standing up to 35 meters tall, covering 13,500 square meters, and weighing 18 tons. The enormous red PVC structure transformed the glass-domed hall into a pulsating, almost living organism. Visitors entered the cavernous interior, feeling as if inside a planetary womb.

卡普爾 Anish Kapoor 的利維坦（Leviathan）。利維坦是一座充氣雕塑，高達35米，佔地13,500平方米，重達18噸。這座巨大的紅色PVC結構將玻璃穹頂大廳轉化為一個律動不息、彷彿擁有生命的有機體。步入其洞穴般的內部空間，參觀者會產生一種置身於行星子宮之中的奇妙感受。

CLINAMEN BY CÉLESTE BOURSIER-MOUGENOT.

Inspired by ancient Epicurean physics, the work reflected on the unpredictable motion of atoms, and by extension, life itself. “If in the moment before two porcelain bowls collide you try to anticipate the resulting note or timbre,” the artist explained, “most of the time your expectation will be foiled by the sound of the collision.” The installation’s quiet harmonies transformed chance into symphony.

作品的靈感源自古希臘的伊比鳩魯派物理學，旨在對原子的不可預測運動——進而延伸至生命本身的運動——進行哲思式的反觀。 「如果在兩隻瓷碗即將相撞的前一刻，你試圖去預判隨後產生的音高或音色，」藝術家解釋道，「那麼絕大多數時候，碰撞發生時的實際聲響都會打破你的預期。」正是這件裝置作品中那份寧靜和諧的樂音，將偶然性昇華為了一曲交響。

TO BREATHE – COACHELLA VALLEY BY KIMSOOJA.

For Desert X 2025, Korean artist Kimsooja unveiled To Breathe – Coachella Valley, an iridescent spiral of diffraction film that shimmered like a mirage against California’s desert landscape. Inspired by traditional Korean bottari textiles, the installation became a “bottari of light,” reflecting the sun’s spectrum in waves of pink, green, and gold.

呼吸－科切拉谷－金守子 Kimsooja 作品。在2025年的「沙漠X」（Desert X）藝術展上，韓國藝術家金守子（Kimsooja）揭幕了作品《呼吸－科切拉谷》（To Breathe – Coachella Valley）。這是一座由繞射薄膜構成的虹彩螺旋裝置，在加州的沙漠景觀映襯下，閃爍著海市蜃樓般的迷離光彩。該裝置的靈感源自韓國傳統的“包袱布”（bottari）織物，它化身為一個“光的包袱”，將太陽的光譜折射開來，泛起層層粉、綠、金色的光波。

LIBRARY OF LIGHT BY ES DEVLIN.

In the courtyard of Milan’s Pinacoteca di Brera, artist Es Devlin erected a rotating 60-foot library for Salone del Mobile 2025. Containing 3,200 illuminated books, Library of Light celebrated the act of learning as a communal, luminous exchange.

Es Devlin 創作的光之圖書館。在米蘭布雷拉畫廊（Pinacoteca di Brera）的庭院中，藝術家 Es Devlin 為 2025 年米蘭國際家具展（Salone del Mobile）搭建了一座高達 60 英尺且能夠旋轉的圖書館。這座名為《光之圖書館》（Library of Light）的裝置作品內藏 3200 本發光的書籍，以此禮贊「學習」這一既是社群性的、又是充滿光輝的交流行為。

A WEEK AT THE KNEES BY ALEX CHINNECK.

Constructed from 7,000 bricks and reinforced with steel salvaged from the former U.S. Embassy, the 12.6-ton sculpture was both technically impressive and playfully absurd. By turning a static building into a sculpture waiting to be explored, Chinneck invited the public to see the poetry hidden in everyday architecture.

這座重達12.6噸的雕塑由7000塊磚砌成，並輔以從前美國駐英大使館回收的鋼材進行加固；它不僅在技術層面令人嘆為觀止，更透著一種充滿玩趣的荒誕感。透過將一座靜態的建築轉化為等待人們探索的雕塑，欽內克邀請大眾發現隱藏在日常建築中的詩意。

CHOIR BY KATHARINA GROSSE.

For the 55th edition of Art Basel, German artist Katharina Grosse transformed the Messeplatz into a vast expanse of color. CHOIR stretched across more than 5,000 square meters (about 53,820 square feet), saturating Herzog & de Meuron’s architecture in sweeping sprays of white and magenta. Magenta was a purposeful choice, as it’s the most visible hue to the human eye.

卡塔琳娜·格羅斯 Katharina Grosse 作品：合唱 CHOIR。在第55屆巴塞爾藝術展（Art Basel）上，德國藝術家卡塔琳娜·格羅斯將展覽廣場（Messeplatz）幻化為一片廣袤無垠的色彩之境。作品《合唱》（CHOIR）橫跨逾5000平方米（約53,820平方英尺）的廣闊空間，以大筆揮灑的白色與洋紅色噴繪，將赫爾佐格與德梅隆（Herzog & de Meuron）設計的建築徹底浸染。選用洋紅色並非偶然，而是藝術家刻意為之——因為在所有色調中，洋紅色對人眼而言具有最高的可見度。

NOSSO BARCO TAMBOR TERRA BY ERNESTO NETO.

Brazilian artist Ernesto Neto filled the Grand Palais with an immense crocheted “forest” woven from bark, earth, and spices. Nosso Barco Tambor Terra, created in partnership with Lisbon’s MAAT, explores humanity’s bond with nature and rhythm.

Nosso Barco Tambor Terra－埃內斯托·內托 Ernesto Neto。巴西藝術家埃內斯托·內托（Ernesto Neto）在大皇宮（Grand Palais）內打造了一片宏大的鉤織“森林”，其材質取自樹皮、泥土與香料。這件名為《Nosso Barco Tambor Terra》的作品是內託與里斯本 MAAT 博物館合作呈現的，旨在探索人類與自然及韻律之間的連結。

HARMONY IN LIGHT BY HYBYCOZO.

In Mason City, Iowa,  HYBYCOZO unveiled Harmony in Light, a permanent installation of 20 stainless steel pillars that glow from within. Inspired by the city’s musical and architectural legacy, the work married Frank Lloyd Wright’s Prairie School geometry with abstract sound waves carved into each column.

HYBYCOZO 的光之和諧。在愛荷華州梅森市，HYBYCOZO 揭幕了名為《光之和諧》的永久裝置藝術作品。作品由 20 根不銹鋼柱組成，柱身內部發出柔和的光芒。作品的靈感源自於這座城市的音樂和建築傳統，將弗蘭克·勞埃德·賴特的草原學派幾何風格與雕刻在每根柱子上的抽象聲波圖案巧妙融合。

THE WHISPERING MOUNTAINS BY ENESS.

At the foot of The Remarkables in Queenstown, Australian art collective ENESS brought to life a family of glowing, AI-infused “oracles.” The Whispering Mountains awoke as visitors approached, whispering reflective, often mischievous musings generated by artificial intelligence.

低語山—ENESS 創作。在皇后鎮（Queenstown）「卓越山脈」（The Remarkables）的山腳下，澳洲藝術團體 ENESS 賦予了一群散發著微光、並融合了人工智慧（AI）的「神諭者」以生命。隨著遊客的臨近，這些「低語群山」便隨之甦醒，低聲傾吐出由人工智慧生成的、充滿哲思且往往略帶頑皮的感悟。

EMBRACE BY KLÁRA HOSNEDLOVÁ.

Embrace is a monumental installation of tapestries, glass, and ceramics. Textile is transformed from a simple surface into a vessel of memory, a space where material becomes a medium of historical experience. Referencing contemporary Czech landscapes shaped by craft, industry, and shifting borders, the work explores regional identity through texture, structure, and narrative.

擁抱－克拉拉‧霍斯內德洛娃 Klára Hosnedlová 作。擁抱是一件宏大的裝置作品，由掛毯、玻璃和陶瓷材質構成。在這部作品中，紡織不再只是單純的表面，而是昇華為記憶的載體──一個物質材料化身為歷史經驗媒介的空間。作品取材自當代捷克的景觀風貌——這些景觀由傳統手工藝、現代工業以及變遷的國境線共同塑造而成——並藉由材質肌理、結構佈局與敘事線索，深入探究了地域身份的內涵。

GRAVITATIONAL ARENA BY AN XU BING.

The work orchestrates a vortex of text: characters descend from the upper reaches of the space toward a mirrored floor below, generating a visual “wormhole” that destabilizes conventional spatial perception. Viewers navigate multiple levels: from the ground floor, the text remains largely illegible, whereas from higher vantage points, the characters progressively resolve into discernible forms—yet the “ideal viewpoint” remains perpetually elusive.

這部作品建構了一個文字的漩渦：字符從空間的上方垂落而下，直抵下方的鏡面地板，從而營造出一個視覺上的“蟲洞”，徹底顛覆了人們習以為常的空間感知。觀眾置身其中，將經歷多重層面的感知體驗：若立足於地面層，文字大都模糊難辨；而若移步至高處的有利視角，字符便會逐漸清晰，顯現出可辨識的形態——然而，那個所謂的「理想視角」卻始終遙不可及，難以企及。

THE WEATHER PROJECT BY OLAFUR ELIASSON.

The Weather Project featured an artificial sun under which thousands of visitors lay on the floor, reflected in a mirrored ceiling. The installation transformed industrial space into a temple of light and air. The idea emerged after a London winter night followed by a warm day, when discussions of climate change were especially pressing. Eliasson conceived weather as a mutable, living artistic medium, blending chance and order.

奧拉維爾·埃利亞鬆的天氣計劃。天氣計畫的核心是一輪人造「太陽」；成千上萬名參觀者躺臥在這一輪「太陽」之下，他們的身影映照在鏡面天花板上。這件裝置藝術將原本的工業空間轉化為由光與氣所建構而成的殿堂。這項構思源自於倫敦的一個冬夜──在經歷了一夜的寒冷之後，緊接著便是一個溫暖如春的白晝；而當時，關於氣候變遷的討論正顯得尤為緊迫。埃利亞松將「天氣」構思為一種變幻莫測、充滿生命力的藝術媒介，巧妙地融合了偶然性與秩序感。