北師美術館將於2026年4月18日至6月28日隆重推出《遙視》—— 一場跨越歷史與地域的藝術展覽。本展覽由旅居紐約的獨立策展人柯念璞策展，獲國家文化藝術基金會「視覺藝術策展專案」贊助，探索藝術與心靈技術的交會，邀請觀者新思考影像在感知、心理與知識生產中的角色。 《遙視》以日本1930年代一項試圖透過心靈傳遞月球背面影像的實驗作為起點。心理學家與心靈研究者福來友吉作為此實驗的重要推動者，身處當時探索心靈潛能的國際運動交匯點，帶來獨特的亞洲視角。儘管其研究在學術界遭到排斥，他透過實驗所生成的影像至今仍見證其提出的激進命題：心靈本身亦可被視為一種影像生成的技術。在數位文化與科技持續拓展視覺疆界的當代，心靈之眼亦成為感知不可見之物的重要途徑。 本展覽結合歷史檔案與當代國際藝術家作品，將圖像視為一種心理介面，使時間、聲音與身份得以在跨距離的狀態下被重新理解與感知。展覽亦聚焦藝術、心理學、夢境、冥思與科學之間的交互作用，並以戰前至冷戰時期的心理實驗檔案為軸線，重新審視東西方關於意識與觀看的多重觀點。《遙視》橫跨北師美術館三個樓層，以一組過去未曾公開展出的歷史檔案揭開序幕，圍繞福來友吉及其心理實驗，構成一片關於「心象」的星叢：匯集來自台灣與國際的重要當代藝術家，包括湯尼・奧斯勒（Tony Oursler ）、何子彥（Ho Tzu Nyen）、許哲瑜與陳琬尹（Che-Yu Hsu × Wan-Yin Chen）、阿比查邦・韋拉斯塔古（Apichatpong Weerasethakul） 等。同時，本展亦首次呈現早期心靈實驗實踐者如三田光一（Koichi Mita）、御船千鶴子（Chizuko Mifune）、伊波利特．巴哈杜克（Hippolyte Baraduc）以及英戈．斯旺 （Ingo Swann）等所遺留的視覺檔案、攝影與文獻。透過兩者的並置與交織，勾勒出感知如何在歷史與當代之間被持續詮釋與轉化。 《遙視》的核心命題在於指出：「遙視」並不僅止於對遠方事物的觀看，更重要的是，它揭示了個體與集體的心理經驗，如何在一種現代次文化的框架中被塑造。這些框架涉及身體、歷史與心靈見證如何在不斷變動的視覺語言內，被重新顯影、轉譯與理解。透過與當代作品的對話，展覽從多重知識論的角度重新介入這批檔案材料，並將其置於與藝術相互生成的關係之中。藉由以非線性且跨文化的視角串連參展藝術家的實踐，本展試圖鬆動既有的藝術史敘事，並為感知開啟新的可能性。 MoNTUE is pleased to present Remote Viewing, on view from April 18 to June 28, 2026—an exhibition that traverses histories, geographies, and systems of perception. Curated by New York–based independent curator Alice Nien-Pu Ko, the exhibition is supported by the National Culture and Arts Foundation’s Production Grants to Independent Curators in Visual Arts. Exploring the intersection of art and psychic technologies, Remote Viewing invites viewers to rethink the role of images in perception, psychology, and the production of knowledge. Remote Viewing takes as its point of departure a 1930s Japanese experiment that attempted to transmit an image of the moon’s far side onto a photographic plate through mental projection. Tomokichi Fukurai , the psychologist and psychical researcher who played a critical role in this experiment, worked at the nexus of an international movement investigating the hidden capacities of the mind, bringing a distinctly Asian perspective to the field. Although professionally ostracized for his work, the photographs produced through these experiments remain a testament to Fukurai’s radical proposal that the mind is a form of imaging technology—an idea that corresponds to prevailing concerns among many contemporary visual artists. In an age in which digital culture and advanced technology have vastly expanded our capacity to capture and circulate images of distant or previously imperceptible realms, it is still the mind’s eye that enables us to perceive what lies beyond conventional visibility. Bringing together historical archival materials and works by internationally known contemporary artists, Remote Viewing considers the image as a psychic interface through which time, voice, and identity may be reconfigured across geographic distance. The exhibition presents documentation of psychical and psychological experiments conducted during the prewar and Cold War eras as a framework for reevaluating a diverse range of Eastern and Western perspectives on consciousness and perception, opening onto a broader examination of the intricate relationship between art, psychology, dreams, meditation, and science. Spanning three floors of MoNTUE, Remote Viewing opens with a presentation of previously unexhibited historical documents centered on Fukurai and his psychical experiments, which formed a field of inquiry around the “mental image.” The concepts explored in Fukurai＆#039;s work resonate with works on view by key contemporary artists from Taiwan and abroad, including Tony Oursler, Ho Tzu Nyen, Che-Yu Hsu × Wan-Yin Chen, and Apichatpong Weerasethakul. These works are presented alongside visual archives, photographs, and documents created by other early practitioners of psychical experimentation, such as Koichi Mita, Chizuko Mifune, Hippolyte Baraduc, and Ingo Swann, expanding the connections. By juxtaposing these objects and interweaving their histories, Remote Viewing traces how human perception has been continually re-interpreted and transformed across historical and contemporary contexts. Ultimately, the exhibition advances a central proposition: remote viewing transcends the mere act of seeing what lies beyond the scope of unaided vision. The objects on view reveal how individual and collective psychic experiences are shaped by the frameworks of a subcultural modernity. These frameworks determine the ways bodies, histories, and testimonies are continuously brought into view, translated, and understood through ever-evolving visual languages. By situating these archival materials in dialogue with contemporary artworks, the exhibition reengages the histories they document through multiple epistemological perspectives, establishing a reciprocal and generative relationship between past and present. By examining the practices of participating artists through a nonlinear and cross-cultural lens, Remote Viewing seeks to question established art historical narratives and open up new possibilities for perception. 遙視 Remote Viewing 2026.04.18 - 2026.06.28 地點 Venue｜MoNTUE 北師美術館 策展人 Curator｜柯念璞 Alice Nien-pu Ko 藝術家 Artists｜安妮．貝森特 × C. W. 李德彼特、伊波利特．巴哈杜克、車學慶、路易．達爾傑、馬克斯．恩斯特、福爾科納兄弟、哈倫．法洛基、瑪奇．吉爾、芙瑞妲．哈利斯夫人、蘇珊．希勒 、何子彥、斯凱．霍平卡、威廉．霍普、許哲瑜 × 陳琬尹、久保田成子、傑拉德．萊特、松澤宥 、御船千鶴子、三田光一、桑德拉．穆金加、亨利．莫瑞 × 克里斯蒂安娜．摩根 × 賽西莉亞．羅伯茨 × 查爾斯．E．伯菲爾德、長尾郁子、雅各布．奧, 諾維奇‧馮‧納爾基耶維奇－約德科、湯尼．奧斯勒 、白南準、崔佛．帕格倫、 J.B. 萊茵、赫曼．羅夏、傑瑞米．蕭、志賀理江子、海倫娜．史密斯、孫儲琳、珍娜．蘇特拉、英戈．斯旺、高橋貞子、阿比查邦．韋拉斯塔古、卡爾．曾納 Annie Besant × C. W. Leadbeater, Hippolyte Baraduc, Theresa Hak Kyung Cha, Louis Darget, Max Ernst, Falconer Brothers, Harun Farocki, Madge Gill, Lady Frieda Harris, Susan Hiller, Ho Tzu Nyen, Sky Hopinka, William Hope, Che-Yu Hsu × Wan-Yin Chen, Shigeko Kubota, Gerald Light, Yutaka Matsuzawa, Chizuko Mifune, Koichi Mita, Sandra Mujinga, Henry A. Murray × Christiana Morgan × Cecilia Roberts × Charles E. Burchfield, Ikuko Nagao, Jakob Ottonowitsch von Narkiewitsch-Jodko, Tony Oursler, Nam June Paik, Trevor Paglen