台灣樣品屋文化以高密度影像的視覺編排，預演理想化的居住可能。未來在觀看的當下先被驗證，感知也因此壓縮為對視覺證據的即時判斷。「釋放儲存空間」以 1970 至 2010 年間的樣品屋影像為對象，檢視此展示機制如何在生活尚未發生之前，將「家」的想像導向既定生活形式的辨識與投射。
展覽挪用這套預售文化的影像語法，從內部拆解其展示結構。當支撐理想生活的配置被抽離，樣品屋不再成立為完整的生活展示；顯露出來的不是被還原的家，而是一個尚未被填滿的空位。
Preset Living examines Taiwan’s model-house culture through images produced between 1970 and 2010. In these staged interiors, dense visual composition anticipates an ideal mode of living, allowing the future to be validated in advance through acts of looking. Perception is thereby compressed into an immediate judgment based on visual evidence. By appropriating and dismantling this image language from within, the exhibition exposes the display structure that sustains it. Once the arrangements that support the fantasy of ideal living are removed, the model house no longer appears as a complete vision of life. What emerges is not a restored home, but an unfilled space.
【釋放儲存空間：陳祐軒個展】
開幕活動｜2026.04.26 14:00
開放時間｜2026.04.25 – 05.03 14:00 – 19:00，週一休館
【藝術家簡介】
陳祐軒近年持續關注媒介如何塑造感知結構，並將此視為一種空間性的擴延。他透過複合媒材的實驗，試圖將這些感知空間轉化為可視且可思的形式。擁有建築背景的他，將觀者的位置視為一種可被調度的感知節點，並透過對日常經驗的重複操演與條件干預，使身體、影像與場域之間產生錯位與滑移。藉此，他撬動「空間性」內部的知覺秩序，開啟對視覺與經驗要素如何交織、並共同形構感知的觀察與思考。
Chen Yu Hsuan has recently focused on how media shape structures of perception, approaching this as a spatial extension of experience. Through mixed-media experiments, he seeks to render such perceptual conditions visible and available for reflection. With a background in architecture, he treats the viewer’s position as a perceptual node that can be arranged and disturbed, producing shifts between body, image, and site.
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