2026臺北藝術節：陳天灼 x 西科·塞蒂安托《海籠》

【藝術家介紹】

陳天灼

1985 年生於北京，先後畢業於倫敦中央聖馬丁藝術設計學院與切爾西藝術與設計學院，陳天灼自跨入當代藝術領域以來，便以其激進、跨界且具侵略性的感官語彙，成為國際藝壇無法忽視的存在。
陳天灼擅長從現實社會中挖掘潛藏驅力元素，將其轉化為劇場能量——無論是銳舞（Rave）派對、流行文化符號，或古老宗教圖騰——並將這些看似互不兼容的材料進行重組，透過跌宕詭艷的視覺色彩、強大的音樂激發以及深刻的感官互動，在作品中塑造出具有豐沛生命力的狂熱氣氛，誘發觀者進入一種超越世俗的精神狀態。

在近年極具代表性的創作脈絡中，從聚焦西藏生命儀式的影像作品《塵埃》，到橫跨全球前衛劇場的作品《海籠》（Ocean Cage），陳天灼展現了強大的創作能量。在大型個展「山水」中，他將傳統文化中的信仰、生產模式與後殖民語境下的精神危機縫合，探索生命、靈魂與（非）物質力量在當代現實中的多重定義。

《海籠》正是這場旅途的集大成之作。陳天灼將印尼拉瑪萊拉漁村的捕鯨傳統，轉化為一場跨物種的肉身祭儀。他在劇場中構築出一個如海洋、亦如潛意識深處的異世界，讓人類在傳統智慧與現代性衝突的狹縫中掙扎與共生。

陳天灼的創作腳印遍及柏林喜歌劇院、倫敦巴比肯藝術中心、東京藝術祭等世界指標性殿堂。他不僅致力於創作藝術，更忘情於打造出一處沒有邊界的「現場」——一個讓傳統與生態、靈性與科技、痛苦與平靜共同翻騰的感官宇宙。

西科·塞蒂安托 (Siko Setyanto)

Siko Setyanto 是來自印尼雅加達的舞者與編舞家，他將舞蹈作為表達自我的方式，由此踏入跨學科藝術的廣闊領域。自9歲起，Siko開啟了他的專業舞蹈之路。在多元豐富的印尼文化中成長，並在童年時期接受爵士舞與芭蕾舞訓練，為Siko的舞蹈語言與編舞方法奠定了堅實基礎。作為推動印尼當代表演藝術發展的積極實踐者，Siko創立了DRKR Kolektif當代舞蹈平台，旨在促進從亞齊至巴布亞各地舞者之間的信息交流，同時作為舞者培訓與青年編舞人才支持的基地。

2020年中，Siko與他人共同創立了Dansity Dance Company，致力於在雅加達建立一支專業的當代舞蹈團隊。他目前擔任韓國Eun Me Ahn Company的舞者與編舞，並與印尼先鋒電子組合Gabber Modus Operandi保持長期合作。Siko與藝術家陳天灼合作創作《TRANCE》和《PHYSIS》，除擔任主要表演者外，也負責舞蹈編排的構建與發展工作。2020年至2023年期間，他還是雅加達藝術委員會舞蹈委員會成員。

Kadapat

Kadapat是由Yogi與Barga共同發起的音樂計劃，其總部位於印尼峇里島。他們將峇里島的“黑/白魔法”作為精神核心，融合實驗電子與甘美朗（gamelan）音樂，致力於在聲音實踐中傳遞傳統文化與城市傳說。認識Kadapat，意味著走近一群來自峇里島郊區的千禧一代青年。他們自幼便在社區中學習甘美朗及其背後的儀式傳統，不僅具備深厚的技藝基礎，也常年參與Banjar社區的宗教與傳統慶典演奏。Banjar是一種基於地方禮俗、負責管理社區事務的自治組織，Kadapat的創作亦深植於這一文化結構與其背後的宇宙觀之中。身為“新一代”的他們，同樣深受都市文化、科技語境與峇里島當代多元性的影響。當他們步入以西方教學體系為基礎的正式藝術教育之中，文化身份的交織變得愈發複雜。

Nova Ruth

Nova Ruth Setyaningtyas是一位現場表演藝術家，她的歌詞不僅是創作文本，更是貫穿日常生活的指引與宣言。出生於印尼東爪哇的瑪瑯，Nova的創作長期關注環境議題與女性聲音。2011年，她在創辦Legipait咖啡館，成為家鄉音樂展示與藝術交流的平台。

成長過程中，Nova同時接觸教會聖歌、《古蘭經》、甘美朗（gamelan）音樂與爪哇五聲音階——這些跨宗教、跨文化的家庭背景深深塑造了她的音樂語言與世界觀。她最早以雙人女子組合Twinsista（Otak Asap）發表作品，歌詞直指工業污染與環境破壞，自此，她成為自然之聲的堅定發言者。

近年來，她與藝術搭檔Filastine共同開啟了Arka Kinari航行計劃——兩人從山城出發，徒步至海岸，打造以風能與太陽能驅動的文化航船，穿梭於印度尼西亞群島，開展在“Arka Kinari”號甲板上的現場演出、工作坊與音樂合作，邀請新生代本地音樂人共同參與創作與交流。同時，Nova還是The Women of the Seven Seas網站的聯合發起人之一，致力於聯結全球各領域的女性海洋工作者。

【演職人員名單】

導演｜陳天灼(Tianzhuo Chen)
編舞與表演｜西科·塞蒂安托(Siko Setyanto)
音樂｜Kadapat*、Nova Ruth
服裝｜ 俞晨婷(Yu Chenting)
面具設計｜Manda Pinky
化妝設計｜Una Ryu
紡織設計｜Diane Esnault
燈光設計｜Akihiko Tanida
音效設計｜Martin Ortiz
技術總監｜Francisca Marques
技術執行製作｜Paul Mede
助理暨舞臺監督管理｜Diane Esnault
製作人｜Johannes Maile
化妝｜Eunah You
製作統籌與管理｜partner in crime

《海籠》由partner in crime與陳天灼共同製作
Production: partner in crime and Tianzhuo Chen 

*Kadapat由 I Gede Yogi Sukawiadnyana 和 I Gusti Nyoman Barga Sastrawadi 共同組成

Co-production by HAU Hebbel am Ufer, Arsenic Lausanne, Kyoto Experiment, Kampnagel Hamburg, tanzhaus NRW 
Funded by Hauptstadtkulturfonds 
Supported by Theaterhaus Berlin Mitte

[ Show Introduction ]

 -- Deep under the sea lies a destiny-defying summoning of struggle, devotion and redemption.

“Baleo! Baleo!” – the cry signaling fellow fishermen that a whale has been spotted transforms the theatre space into an alluring world where the traditional hunting ceremony is no longer a lived myth, but a contemporary narrative reexploring the relationship between humanity and nature
Inspired by the centuries-old whaling heritage still practiced in Lamalera, a coastal village in Indonesia known as the land “left behind,” Ocean Cage creates a world reminiscent of a whale’s belly, the immense ocean, the human subconsciousness, and the ancient harmony to address urgent issues concerning solidarity and spirituality as well as economic coexistence and ecosystems.  Here, the ocean is both threatening and a source of blessing – though the gift has its limits and cannot be exploited endlessly.  
Since commercial whaling was banned in 1986 due to declining whale populations and animal conservation concerns, Lamalera has remained one of the few communities still using traditional harpoons and ropes to hunt sperm whales.  In this village of 2000 people, fishermen undertake their missions at the risk of their lives.  Rather than a gesture of humans conquering nature, the whaling tradition in Lamalera is more like a spiritual quest that redefines human beings’ existence within the universe.  In our contemporary world where the tradition is fading alongside the endangered species, Ocean Cage offersa narrative thatrestores this long-lost awareness.

As physically strenuous as a real life-or-death struggle in the open sea, Ocean Cage is an immersive performance of highly sensorial and immersive experience.  Its visually striking setting features living installations, an island of sand, a large sail unfurled during the performance, live traditional instruments, and video containing filmed footage of on-site materials – such as the whale-hunting rituals and voyages – as well as CGI animated figures and images.  Meanwhile, taking on different roles including the ancestor , the deity, and the fisherman, Javanese dancer and choreographer Siko Setyanto is the solo performer whose presence juxtaposes the screen and the fluid stage.

Following Siko Setyanto, the audience walks around the performance space as if being summoned to dive into the subconscious world of myth, animalistic presence and the ever-present conflict with the mindset of modernity.  In this marine-like universe created by visual artist and director Tianzhuo Chen – known for his complex, hypnotic performances spanning multiple disciplines – the ocean becomes as immense as a dark trap, where humans struggle to find balance in coexistence.  Live music by Balinese duo Kadapat and Javanese singer Nova Ruth further evokes a sense of oneness.  It is not a historical look back at a fading tradition, but a forward-looking vision reflected through ancient eyes. 

With its premiere in Berlin, Ocean Cage has toured to Lisbon, Utrecht, Brussels, Bergen, Hamburg, Dusseldorf, Munich, Lausanne, Shanghai, Kyoto and Tokyo. However, the journey had long begun.

The fishermen sail to the unknown, staying true to ancestral beliefs while waiting for a giant marine mammal to emerge.  As the audience walks into the theatre, Ocean Cage takes us on an equally adventurous journey into the porous essence of water, fisherfolk, ballads, breezes and spirits, reconsidering the interdependent relationships across species and how we can (re)understand the more-than-human justice. 

[ Artist Introduction ]

Tianzhuo Chen

Some may know him as Asian Dope Boys, while others praise him as an alchemist of the arts—Tianzhuo Chen is an undefinable artist who challenges existing boundaries and ventures across disciplines.
Born in Beijing, China in 1985, Chen graduated from Central Saint Martins with a BA in Graphic Design and later received an MA in Fine Art at Chelsea College of Art and Design, UK.  The training in visual techniques did not confine him; instead, he has consistently pursued various forms of “liveness” in his artistic practice, combining performance, installation, video, and photography to create a unique language that is hypnotic, ritualistic, sensorial, and evocative. 
Dwelling on a liminal world between everyday life and illusion, his works are a chemical mixture of elements extracted from pop symbols, club culture, traditional myths, and on-site experiences.  In this world, the audience is invited into a fully sensory and immersive experience intensified by material and non-material allures—the latter including sound, music, lighting, and a nearly ecstatic atmosphere. 
However, the trance-like liveness is not intended for one to get lost, nor does it encourage viewers to simply decode hidden magic.  Instead, it is an immediate encounter that reflects on the absurdity of life and death, offering a profound meditation on existence that resonates long after the initial emergence.   

Following the founding of Asian Dope Boys in 2015—a collective dedicated to the integration of art, music and live dance performances— Chen presented the milestone solo exhibition and performance TRANCE at M Woods Museum, Beijing in 2019.  The exhibition features a 12-hour durational performance that later toured to Kampnagel (Hamburg 2022), Komische Oper (Berlin 2023), Dark Mofo (Tasmania 2023), Sonic Acts (Amsterdam 2024), and Southbank Centre (London 2025).  Recent solo exhibitions include Ocean Cage (Song art museum, Beijing, 2024), Illuminated Spirits (Tank Shanghai, 2023) The Dust (Dark Mofo, Tasmania, 2021),The Shepherd (Kyoto Experiment, Kyoto, Japan, 2021), His other notable theater works include Ksana (2019), An Atypical Brain Damage (2018), and Ishvara (2017).

In Ocean Cage, Chen Tianzhuo furthers his journey to the marine myth.  The performance draws on the whale-hunting heritage in Lamalera, Indonesia, and features Indonesia dancer and choreographer Siko Setyanto.  Known for his versatile physical vocabularies spanning classical, jazz, ballet, and contemporary dance, Siko also co-created choreography for Chen’s TRANCE and PHYSIS.

Siko Setyanto

Siko Setyanto is a dancer and choreographer from Jakarta, Indonesia. He chose dance as a means of expression, opening up the opportunity to work extensively in multidisciplinary arts. Siko began his training at the age of nine with Wied Sendjayani at the Sanggar Maniratari, Solo. The diversity of Indonesian culture in which Siko grew up and the opportunity to participate in jazz and ballet training as a child provide a strong foundation for Siko's dance and choreographic vocabulary. Siko founded the DRKR Kolektif as a medium for the exchange of information about contemporary dance, a network of dancers from Aceh to Papua, and as a training center for dancers and to support young choreographers. In mid-2020, he co-founded Dansity Dance Company, which is dedicated to the setup of a professional contemporary dance company in Jakarta. He currently works as a dancer and choreographer with Eun Me Ahn Company in South Korea and regularly with Gabber Modus Operandi. He has worked with Tianzhuo Chen on the productions TRANCE and PHYSIS, where he was responsible for the development of the choreography in addition to his role as a dancer/performer. He has been a member of the Jakarta Arts Council Dance Committee from 2020 - 2023.

KADAPAT

Uncompromising and intense, Bali-based duo Kadapat consisting of I Gede Yogi Sukawiadnyana and I Gusti Nyoman Barga Sastrawadi is one of the best hidden talents in Bali's promising music scene, inviting listeners to get to know the Millennial youth from Bali's suburbs through their new self-titled album released in August 2022. Kadapat combines idiosyncratic resonances and references that transform into unexpected, but unique sound developments. They play with a kind of "hybrid identity" embedded in urban culture, technology, Balinese cosmopolitanism and traditional culture.

Nova Ruth

Nova Ruth Setyaningtyas is a singer, musician, and activist based in Indonesia. Nova Ruth is the co-founder of Arka Kinari: a floating cultural platform that takes the form of a 70-ton sailing ship on a mission to foster resilience to climate change and reconnect people with the sea. Arka Kinari derives its name from the Latin word arka, a vessel signifying “to hold off or defend”, and the Sanskrit word kinari, representing a half-human, half-bird musician, who is the guardian of the tree of life. Today, Nova Ruth sails with Arka Kinari in Indonesian waters, merging messages and methods. She performs atop a traditional schooner ship that carries tales of climate resilience and solutions. In her performances, Nova Ruth primarily sings in Javanese lyrics and melodies, firmly believing that genuine emotions can transcend language barriers more effectively than any language that exists.

Her first music project, the conscious rap duo Twin Sista performed in contexts as diverse as prisons, cheesy shopping malls, poetry festivals and punk gigs across her native Indonesia. As a solo performer, Nova Ruth spread her poetry and raps wider, traveling to Australia in 2008 at the invitation of Gang Festival. Nova is now part of the Barcelona-based AV project Filastine, where she sings, raps and plays drums on stages from Cairo to Paris to Tokyo. Her work with Filastine includes a pair of videos that address cultural and ecological frictions, winning critical acclaim and an award from the United Nations OCHA. Despite being on tour nearly half of every year Nova continues to dedicate much of her time to projects within Indonesia, Nova opened a cafe & cultural space called Legipait in her hometown of Malang, Java, where she organizes art expositions, micro-concerts, and readings. Nova worked for years with Engage Media, a social justice and environmental video site for the Asia Pacific.

[ Credit List ]

Director｜Tianzhuo Chen
Choreography & Performance｜Siko Setyanto
Music｜Kadapat, Nova Ruth
Costume｜Chenting Yu
Mask｜ Manda Pinky
Make-Up｜Una Ryu
Textile Design｜ Diane Esnault
Lighting Design｜Akihiko Tanida
Sound Design｜Martin Ortiz
Technical Director ｜Francisca Marques
Technical Production ｜Paul Mede
Assistant & Stage Management｜Diane Esnault
Production Direction and Management｜partner in crime

Production: partner in crime and Tianzhuo Chen
Co-production by HAU Hebbel am Ufer, Arsenic Lausanne, Kyoto Experiment, Kampnagel Hamburg, tanzhaus NRW 
Funded by Hauptstadtkulturfonds 
Supported by Theaterhaus Berlin Mitte

◎ 節目全長約115分鐘。19:00/14:00開放驗票，19:30/14:30開放入場。入場後為空間自由探索，約15分鐘後演出正式開始。

◎ 本場為長時間遊走式演出，期間可自由進出，如需暫時離場，請隨身攜帶票券以供查驗 ，屆時請依工作人員引導等候入場。

◎ 演出語言：印尼文。

◎ 字幕語言：中文及英文。

◎ 演出中不開放飲食。

◎ 演出含炫光、煙霧效果、巨大聲響，並有煎魚、抽菸段落及燃線香，將有濃烈氣味產生，請留意並斟酌入場。

◎ 歡迎觀眾在演出過程中手機拍照或錄影，請勿使用專業攝影機或攜帶腳架，並請勿使用閃光燈。

◎ 因演出場地規劃限制，部分演出內設施輪椅觀眾觀賞及參與程度將受限，敬請海涵。

◎ 演出現場寄物櫃數量有限，建議輕裝前來欣賞。