《存在の呼吸 Breath of Being 》 村松 桂 個展 Katsura Muramatsu Solo Exhibition 2026.09.10 Thu. – 2026.10.04 Sun. ▎ 開放時間 Open Hour 週四 五 六 日 Thur to Sun 13：00 - 17：00 ▎ 開幕 Opening 2026.09.12 Sat. 14:00 ▎ 策展人｜Curator 李俐亞（Liya Lee） POMA project 台北市忠孝東路二段64巷6號2F 2F, no.6, Lane 64, Section 2 Zhongxiao E Rd, Taipei . 村松桂的創作長期圍繞「記憶」與「檔案」兩個關鍵概念展開，透過攝影與書籍實踐，介入影像的時間性與觀看機制。在此脈絡下，攝影不被視為單純的再現工具，而是一種將瞬間固定、並同時生成新意義的裝置。影像既作為過去的痕跡，形成一種介於靜止與流動之間的時間結構。 《Theophany》系列透過動物形象的再現，指涉一種「顯現」（theophany）的狀態，影像中的對象不僅作為自然存在的標誌，同時也成為感知與意識投射的界面。這些影像位於生命與標本、自然與文化之間的臨界位置，揭示出攝影在分類、保存與再現機制中的雙重角色：既是科學性的視覺工具，也是具有象徵性與儀式性的表述媒介。 書籍作品如『Natura naturans』與『Shapes of Wonder』，進一步將影像轉化為檔案性的閱讀結構。透過編輯、排序與裝幀，書籍成為一種時間的操作裝置（temporal apparatus），使影像脫離單一觀看瞬間，轉而在翻閱過程中生成多重敘事。此一實踐亦呼應當代藝術對「書作為媒介」（book as medium）的再思考，將閱讀行為納入作品生成的機制之中。 裝置作品《Breathe In Peace》將「呼吸」從隱喻轉化為物質性的空間經驗。透過鐵與紙等材料的構成，作品指向一種不可見卻持續作用的生命狀態，使觀者在身體感知中經驗存在的流動性。錄像作品《Dream machine in the woods》則將時間性進一步延展至夢境與潛意識的維度，透過影像與聲音的交織，建構出一個非線性的感知場域，使存在在不同意識層之間轉換與滲透。 本展覽透過攝影、書籍、裝置與錄像的跨媒介整合，提出「呼吸」作為一種連結機制：連結過去與現在、物質與意識、觀看與記憶。在此架構下，「存在」不再被理解為固定的實體，而是一種持續生成、轉化與再配置的過程。《存在的呼吸》試圖回應當代影像文化中對於時間性、物質性與感知經驗的再思考，並透過藝術實踐，開啟一個介於檔案與感知、科學與詩性之間的複合場域。 Katsura Muramatsu’s practice unfolds around the intertwined notions of memory and archive, engaging with the temporality of images and the conditions through which they are seen. Working across photography and artist’s books, Muramatsu approaches the photographic image not simply as a means of representation, but as an apparatus that arrests a moment while simultaneously allowing other meanings to emerge. The image exists as a trace of what has passed, occupying a temporal threshold between stillness and movement. In the series Theophany, representations of animals evoke a state of manifestation—a moment in which something appears, yet remains beyond complete apprehension. The depicted subjects function not only as markers of the natural world, but also as surfaces onto which perception and consciousness are projected. Suspended between living beings and specimens, nature and culture, the works draw attention to photography’s inherently dual position within systems of classification, preservation, and representation. Here, the photographic image operates simultaneously as a scientific instrument of observation and as a symbolic, almost ritualistic, mode of articulation. In Muramatsu’s artist’s books, including Natura naturans and Shapes of Wonder, the image is further displaced from the singular act of viewing and reorganized as an archival structure. Through editing, sequencing, and binding, the book functions as a temporal apparatus, where meaning unfolds through duration, repetition, interruption, and the movement of the reader. Images encounter one another across successive pages, giving rise to narratives that remain open and continuously reconfigured. In this sense, Muramatsu’s practice resonates with the expanded conception of the book as medium, in which reading itself becomes part of the work’s spatial and temporal formation. The installation Breathe In Peace extends the notion of breath from metaphor into a tangible spatial condition. Constructed through materials including iron and paper, the work attends to a form of existence that is invisible yet continuously present. Breath becomes both a bodily rhythm and a subtle measure of duration, allowing the viewer to encounter the movement of existence through physical sensation. In the video work Dream Machine in the Woods, temporality shifts toward the territories of dream and the subconscious. Through the interweaving of moving image and sound, Muramatsu constructs a nonlinear perceptual field in which distinctions between waking and dreaming, presence and absence, gradually dissolve. Time no longer proceeds as a linear sequence, but emerges as something porous—capable of shifting, overlapping, and permeating different states of consciousness. Bringing together photography, artist’s books, installation, and video, Breath of Being approaches “breathing” as a subtle connective force: between past and present, matter and consciousness, image and memory. Rather than presenting existence as a fixed or stable condition, the exhibition considers it as something continually emerging, transforming, and being reconfigured. Breath of Being invites a reconsideration of the temporal and material conditions of the photographic image, while opening a space between archive and perception, science and poetry. Within this space, images do not merely preserve what has been seen; they remain active—breathing, shifting, and generating new possibilities of perception.