靈魂的渡口－吳寬墩 戴翰成 創作聯展
The Ferry of Soul – The Joint Exhibition of Wu Kuan Dun and Dai Han Cheng
The Ferry of Soul – The Joint Exhibition of Wu Kuan Dun and Dai Han Cheng
2023/02/04~2023/02/15
「靈魂的渡口」的概念來自赫曼．赫賽的《流浪者之歌》，將吳寬墩與戴瀚成兩位藝術家的作品，演釋故事的主人翁悉達多的三段旅程：第一段「文明的彼岸」看到人世間和自己內心的紛亂；第二段「迴旋與試煉」走入人群，與人群對話：第三段「擺渡人」覺悟了人生，放下自我成為擺渡人。
就展覽形式言，除了每個展區同時展示吳寬墩醫師與戴瀚成醫師之作品外，本策展團隊將結合現代舞蹈及藝術家訪談，拍攝製作一支展覽主題影片。策展人將結合其影像導演的專業，以藝術跨域的形式針對本次展覽主題做影像的詮釋與回應，於展場及線上同步播出。
The idea of “The Ferry of Soul” is inspired by Hermann Hesse’s Siddhartha, interpreting the three stages of the protagonist Siddhartha’s journey through the works of two artists—Wu Kuan-Dun and Dai Han-Cheng. The first stage, “The Far Shore of Civilization,” reflects the chaos of the human world and the tangle within oneself. In the second stage, “Revolutions and Trials,” a man enters civil society and talk to others. In the third stage, “The Ferryman,” a man becomes aware of what life is, lets go of himself, and becomes a ferryman helping others cross.
In terms of exhibition format, each exhibition zone will feature works by both Dr. Wu Kuan-Dun and Dr. Dai Han-Cheng displayed side by side. Additionally, the curatorial team will produce a thematic exhibition film incorporating modern dance and artist interviews. Combining the curator’s background in film direction, the video will serve as an artistic, interdisciplinary response to the exhibition’s core. It will be screened both in the exhibition and online simultaneously.
The Folds of Life – Solo Exhibition of Dr. Wu Kuan Dun
2022/06/11~2023/07/09
此次「生命的皺褶－吳寬墩醫師個展」總共展出「文明的皺褶」、「大地的皺褶」、「歷史的皺褶」、以及「自由的皺褶」等四大主題，每一主題皆是生命的皺褶在不同尺度與面向上的展開。
就展覽形式言，除了每個展區同時展示吳寬墩醫師之畫作外，本策展團隊將結合現代舞蹈及藝術家訪談，拍攝製作一支展覽主題影片及預告片。策展人將結合其影像導演的專業，以藝術跨域的形式針對本次展覽主題做影像的詮釋與回應，於展場及線上同步播出。
The solo exhibition “The Folds of Life – Dr. Wu Kuan-Dun” features four major thematic sections: “Folds of Civilization,” “Folds of the Earth,” “Folds of History,” and “Folds of Freedom.” Each theme unfolds the concept of life’s folds from different scales and perspectives.
In terms of exhibition format, each section will showcase paintings by Dr. Wu Kuan-Dun. In addition, the curatorial team will produce a thematic film and a trailer for the exhibition, incorporating elements of modern dance and interviews. Drawing on the curator’s expertise in film direction, the video will serve as an interdisciplinary artistic interpretation and response to the exhibition’s core themes, and will be presented both on-site and online simultaneously.
Exhibition for the Art Works from Doctors – The Tainan Art Museum
2020/03/07~2020/05/10
文／策展人 吳寬墩（臺大醫學院名譽教授）
醫學是一門藝術。
自古以來，有許多圖像闡述醫療，這些豐富的紀錄，讓我們得以瞭解人類健康的觀念、疾病的理論和型態、醫療系統的發展等歷史。文藝復興時期，達文西（Leonardo da Vinci）數量頗多的解剖圖，以及安德雷雅斯．維薩思（Andreas van Wesel）的巨著「人體的構造」（De humani corporis fabrica），對於藝術和醫學兩者有很大的影響，並奠定了醫學科學的基礎，也是西方醫學和其他傳統或東方醫學分道揚鑣的基點。
現代醫學越來越傾向唯物論和還原論，然而醫學的對象並不單是疾病，而是面對有情感的病人，以及更複雜的家庭和社會的各種面向。很多藝術家以畫作探討醫學的本質，譬如：哥雅、孟克、路克費爾德斯、畢卡索等，他們描繪醫師的悲憫和愛心，對生病的無奈和死亡的恐懼：當代藝術家則開始批判科技化取代人性醫療的異化現象。
「醫學是以科學為基礎的一門藝術」，這句話並非意味醫者必須是藝術創作者，而是醫師應該是具備人文思想的科學知識執行者。近二十年國外的醫學教育，將參觀美術館作為培養醫師的重要課程，希望藉由觀看藝術作品的活動培育其同理心和觀察力。職業的關係，醫師接觸各種層級和不同生活背景的病人，對生命的看法自有不同。臺灣有不少醫師，或因喜好畫畫、或作為忙碌工作的舒壓、或實現記憶中成為藝術家的願望，拿起畫筆或雕刻刀，記錄他們的另一種生活。在繁忙的行醫歲月中，能夠持續藝術創作，可見對藝術的執著。醫師的藝術創作可視為一種內觀和修鍊，並對於這個特殊職業的反思；有些醫師藝術家更和病友們一起創作，作為另一種療癒。
本展分為四個子題：行醫之道、生命的喜悅、尋覓故鄉、天道運行。呈現臺灣醫師在醫療專業之外，如何用藝術創作表現對於生命以及周遭事務的關懷。業餘畫家或許技巧樸拙，但卻展現出他們內心的執著和渴望。此次共邀請18位醫師藝術家，展出50件作品；限於展覽空間和作品內容，不無遺珠之憾，期待日後若有機會，再次發展醫學與藝術的系列展覽。
Medicine is an Art. By the Curator – Wu Kuan Dun
Since ancient times, many images have depicted medical practices. These rich visual records allow us to understand the historical development of human concepts of health, theories and models of disease, and the evolution of healthcare systems. During the Renaissance, Leonardo da Vinci’s extensive anatomical drawings and Andreas Vesalius’s monumental work De Humani Corporis Fabrica (On the Fabric of the Human Body) had profound influence on both art and medicine. They laid the foundation for medical science and marked a turning point where Western medicine diverged from other traditional or Eastern medical systems.
Modern medicine increasingly leans toward materialism and reductionism. However, medicine does not deal with disease alone—it involves treating human beings with emotions, and addressing complex family and societal dynamics. Many artists have explored the essence of medicine through their art—such as Goya, Munch, Luke Fildes, and Picasso—depicting the compassion and empathy of physicians, the helplessness of illness, and the fear of death. Contemporary artists have begun to critique the alienation brought about by the replacement of human-centered care with technology-driven medicine.
The phrase “Medicine is an art based on science” does not imply that a physician must be an artist, but rather that a doctor should be a practitioner of science grounded in humanistic thought. Over the past two decades, medical education abroad has incorporated museum visits as a key component of training, aiming to cultivate empathy and observational skills through the viewing of artworks. Because of their profession, physicians encounter patients from all walks of life and develop unique perspectives on life itself.
In Taiwan, many doctors have taken up painting or sculpture—either out of passion, as a way to relieve the stress of their demanding work, or to fulfill a long-held dream of becoming an artist. Their continued artistic practice amid a busy medical career reflects a deep dedication to art. For these physicians, art becomes a form of introspection, cultivation, and reflection on their unique profession. Some have even created art collaboratively with patients as a form of healing.
This exhibition is organized around four subthemes: The Path of Healing, The Joy of Life, Searching for Home, and The Way of Nature. It presents how Taiwanese doctors, beyond their medical expertise, express care for life and the world around them through artistic creation. Though some may be amateur artists, and their techniques may appear modest, their works powerfully convey their inner convictions and desires.
Eighteen physician-artists are featured in this exhibition, presenting 50 works in total. Due to space and curatorial considerations, some works could not be included—a regrettable limitation. We hope there will be future opportunities to further explore and develop the intersection of medicine and art through a continuing series of exhibitions.
Port-Art: The Solo Exhibition of Wu Kuan Dun – Chang Yung-Fa Foundation
2018/09/15~2018/10/07
藝術之後
「藝術創作的目標在於呈現內心世界的樣貌。」～Stephan Mallarme
醫生醫病也醫心，吳醫師選擇以『藝術』的型態，道出他對於社會的觀察與批判，於針貶時事的同時，他選擇以『展覽』的方式傳達他的想法與理念，在醫生的身份背後以『藝術家』來醫治人類身體之外的病痛。
『藝術之後』展覽總共分為五個系列：「靜物」、「風景」、「高齡化社會」、「安全家園」、「藝術之後」，不論是哪一個系列，都是藝術家對於自身想法與體驗的不同方式訴說，靜物其實並不平靜，藝術家試圖從經典中尋找可能，而紛雜的構圖卻凸顯出對世事難以割捨之多情，同樣地，在外在的「風情景色」之中，所埋藏的更多是創作者自身的經驗與情感連結；吳醫師對現代藝術的哲學思維，充分展現在其他的三個系列，畫面中是思想的紀錄、事件的描述、亦是對現實的批判。透過繪畫的表現傳達出藝術家吳寬墩的思考軌跡，幽默的諷刺、沈重的吶喊、悲憫的視角、樂觀的想像，唯有放下既有的成見，才能回探初心。
『藝術之後』是一個可以多重解釋的展覽名字，充分展現了這次展覽的精神所在，『藝術』或有較通泛性的理解與字意，而在藝術之後放上了一個『後』字，有點似繞口令般的文字與語意上的值得一再玩味，『隱藏在藝術的後面是……』、『在藝術表現之後……』、『藝術形式的背後……..』、……，又或回到創作者本身，『當成為藝術家之後……..』、『從事藝術創作之後…….』，對於吳寬墩或許是一種對自己也是對觀者的提問，對於觀者，在觀展之前與參與展覽之後，會許答案會有些許的不同，但這正是這個展覽有趣得地方。
Post-Art
“The goal of artistic creation is to present the shape of the inner world.”
– Stéphane Mallarmé
Physicians heal not only the body, but also the soul. Dr. Wu has chosen art as the medium through which to express his observations and critiques of society. While addressing current issues, he uses exhibitions as a platform to convey his thoughts and ideals. Behind his identity as a physician, he steps into the role of artist, seeking to heal the ailments that lie beyond the physical body.
The exhibition “Post-Art” is divided into five series: “Still Life,” “Landscape,” “Aging Society,” “Safe Homeland,”and “Post-Art.” Each series offers a different way for the artist to share his thoughts and experiences. The “Still Life” works are anything but still—here, the artist searches for possibility within classical forms, while the complex compositions reveal his deep emotional ties to the world. Likewise, beneath the surface of “scenery and landscape” lies a strong personal connection—memories, emotions, and lived experience that shape the imagery.
Dr. Wu’s philosophical engagement with contemporary art is most evident in the other three series. These paintings are visual records of ideas, portrayals of real events, and critiques of societal realities. Through painting, he maps his intellectual journey—offering works filled with satirical humor, heavy outcries, compassionate perspectives, and hopeful imagination. Only by letting go of preconceived notions can one return to the original intention of creating art.
The title “After Art” itself invites multiple interpretations and encapsulates the spirit of this exhibition. While art may be broadly understood, the addition of the word after adds layers of meaning that are deliberately ambiguous and thought-provoking—almost like a tongue twister in both wording and semantics. “What hides behind art…,” “What comes afterartistic expression…,” “What lies beneath artistic form…,” or perhaps reflecting on the artist himself: “What happens after becoming an artist…” or “After devoting oneself to art…”
For Wu Kuan-Dun, it may serve as a question posed both to himself and to his audience. For the viewer, their answers before and after experiencing the exhibition might differ—and that, in itself, is what makes this exhibition so intriguing.
Secure Homeland: Solo Exhibition of Wu Kuan Dun – National Cheng Kung University Art Center
2016/03/30~2016/04/20
「家園」──人們生活成長並擁有共同記憶的處所。對所有人而言，家園應該充滿幸福甜蜜且沒有危險的印象，然而，當人們開始發生欲望，並擁有越來越多操控權力時，原本無後顧之憂的美好家園，開始逐漸崩壞。
從2014年的「土地與人情～聽診器遠端的聲音」吳寬墩醫師作品展開始，吳寬墩可以說奠定他明確而強烈的創作主題，從風景或自畫像轉移為遭受破壞的自然或社會環境，由醫者的角度出發以旁觀者姿態凝視生活空間及一切自然生態，透過繪畫圖像引導觀眾打破人與處所兩者之間透明的僵局，並擴展至社會議題的體驗及思考，完成不同領域與技法相互合作的藝術實踐。
以「安全家園」作為詮釋主題，藉不同形式的創作，透過不同圖像、影像、物件與文字，讓觀眾得以用不同方式參與作品，從中反思人類行為與當代社會的劇烈變動。此次共展出三十多件作品，創作中心思想包括核能存廢、環境過度開發與社會結構不均等議題，除此之外，吳寬墩亦針對當下政治文化及社會時事，利用圖像本身隱含意義提出反諷例如〈覆蓋〉與〈執政者的微調〉。
乍看吳寬墩作品會覺得他的繪畫僅是描繪真實存在發生的人事物，但仔細端看會發現他對細節巧妙的安排與構圖的巧思，似乎畫中人物即是存在我們身邊或是某個「印象」，例如〈舉牌人〉色調晦暗且肅穆，沒有多餘的背景襯托，畫作中男子手持房屋廣告立牌，面容哀愁坐在一只紅色行李箱上，整幅作品看似單純描繪一般社會底層人士，畫面中透過文字「氣派‧市隱‧中樞」與人物職業及行李箱產生強烈對比，暗喻社會較低階層的人物居無定所，卻拿著窮盡一生資產也買不起的房屋廣告，藉此反諷社會結構貧富的不平等進而讓觀眾對「居住正義」議題的思考。
“Homeland”—a place where people live, grow, and share collective memories. For everyone, home should evoke feelings of happiness, safety, and warmth. However, when desire begins to take root and power becomes increasingly centralized, this once peaceful and carefree haven can slowly begin to unravel.
Starting with the 2014 exhibition “Land and Sentiment: The Distant Echo from a Stethoscope,” Dr. Wu Kuan-Dun established a clear and powerful creative focus. His subject matter shifted from landscapes and self-portraits to depictions of damaged natural and social environments. From the perspective of a physician—and as a detached observer—he reflects on the spaces we live in and the ecosystems we inhabit. Through his artwork, he encourages viewers to break the invisible deadlock between people and place, expanding their awareness into the realm of social issues. This approach represents an interdisciplinary artistic practice that merges diverse techniques and fields.
The theme of “Secure Home” serves as a conceptual lens through which Dr. Wu explores these issues. Utilizing a variety of media—images, videos, objects, and text—he invites viewers to engage with the works from multiple angles, prompting reflection on human behavior and the volatile transformations of contemporary society. The exhibition features more than thirty works, centered around topics such as nuclear energy policy, environmental overdevelopment, and social inequality. Additionally, Dr. Wu addresses current political and cultural affairs using the symbolic nature of imagery to express ironic critiques, as seen in works like Cover-Up and Leader’s Fine-Tuning.
At first glance, Wu’s works may appear to simply document real people and events. But upon closer inspection, his careful attention to detail and thoughtful composition become apparent. The characters in his paintings seem to echo people from our daily lives—or perhaps exist as collective impressions. In Sign Bearer, for example, the somber color palette and stark composition emphasize the figure without embellishment. A man holds a house advertisement sign while sitting on a red suitcase, his face filled with sorrow. Although the scene may seem to depict an ordinary, working-class individual, the juxtaposition of the promotional text—“Luxurious · Urban Retreat · Central Hub”—with the man’s job and portable luggage creates a powerful contrast. It subtly alludes to the plight of the lower socio-economic class, who often have no fixed home yet are tasked with promoting real estate that is far beyond their financial reach. Through this, Wu delivers a sharp critique of wealth disparity and prompts deeper reflection on the issue of housing justice.
Secure Homeland: Solo Exhibition of Wu Kuan Dun – The China Medical University Art Center
2015/11/09~2015/12/04
Land and Sentiment: Solo Exhibition of Dr. Wu Kuan Dun
2014/10/15~2014/11/09
「人因為土地的滋養而茁壯和偉大，人的歡樂和悲傷也都是發生在這塊土地上。人應該回饋這片土地」。在這經濟快速發展的社會裡，吳醫師認為「土地不應該是一種擁有的『房地產』概念，必須以受到孕育的感受來回顧自己生長的土地（mother land）」。基於這樣的理念，此次展出的主題「土地與人情」。「人情」也代表吳醫師曾經在嘉義這個縣市成長，而欠了這個社會的一種情。
“People grow strong and great because of the nourishment of the land. Our joys and sorrows all take place upon this land. Therefore, we must give back to it.” In today’s fast-paced, economically driven society, Dr. Wu believes that “land should not be seen merely as a possession or real estate—it must be regarded with a sense of gratitude, as the nurturing ground of one’s roots, a motherland to be remembered and honored.”
With this belief as the foundation, the theme of this exhibition is “Land and Sentiment.” The word “sentiment” also reflects Dr. Wu’s personal ties to Chiayi, the city and county where he grew up—a place to which he feels a deep emotional debt and sense of gratitude.
