伏流：李岳凌個展
Undercurrent: Yehlin LEE solo exhibition
2026.05.16 - 06.27
伏流：李岳凌個展
Undercurrent: Yehlin LEE solo exhibition
2026.05.16 - 06.27
地點 Venue|朝代畫廊 (台北市大安區樂利路43號)
開幕 Opening|2026.05.16 (Sat.)4PM
座談暨〈伏流〉攝影書發表會
Artist Talk &“Undercurrent” Photobook Launch
2026.06.06(Sat.)4PM
座談與談人 Speakers|
◆沈昭良|華梵大學攝影與VR設計系教授兼主任、Photo ONE 台北國際影像藝術節召集人
Chao-Liang SHEN|Professor and Chair of the Department of Photography and VR Design, Huafan University; Convener of Photo ONE
◆李岳凌|藝術家
Yehlin LEE|Artist
朝代畫廊向您宣布，我們將於5月16日下午4點舉行台灣攝影藝術家李岳凌個展《伏流》開幕茶會，展期至6月27日。本展將呈現李岳凌於台灣南部的母親河曾文溪流域進行之攝影創作計畫，延續其對身體、信仰與土地之間關係的長期關注。《伏流》承接其2017年攝影集〈Raw Soul〉的感知探索，進一步深入民間信仰與集體記憶的底層，試圖捕捉在現代化進程中逐漸隱沒，卻仍持續流動的精神痕跡。
Dynasty Gallery is pleased to announce the opening reception of Undercurrent, a solo exhibition by Taiwanese photographic artist Yehlin LEE, to be held on May 16 at 4:00 PM. The exhibition will run through June 27. This exhibition presents LEE’s photographic project developed in the Zengwen River basin in southern Taiwan—often regarded as the island’s “mother river”—continuing his long-term exploration of the relationship between body, belief, and land. Undercurrent extends the perceptual inquiry of his 2017 photobook Raw Soul, delving further into the substrata of folk belief and collective memory, and seeking to capture spiritual traces that are gradually fading amid modernization, yet remain in constant flow.
李岳凌
Yehlin LEE
創作背景源於曾文溪流域的歷史與信仰脈絡。這條曾被稱為「青瞑蛇」的河流多次改道，其不穩定性深刻形塑地方對自然與神靈的理解。在各庄頭的祭典儀式中，乩童透過附身與身體實踐召喚神靈，以抵禦災厄並撫慰歷史創傷，人們亦從中獲得心靈慰藉，使信仰成為日常生活的重要依託。隨著社會演進，這些傳統逐漸轉變，然而在李岳凌的影像中，仍可見當地居民於有形與無形之間延續著祖先留下的文化痕跡，使觀看轉化為一種共同的感知經驗。
The project is rooted in the historical and spiritual landscape of the Zengwen River basin. Once known as the “Blind Serpent,” the river has shifted its course many times, shaping local perceptions of nature and the divine. In village rituals, spirit mediums invoke deities through possession and physical endurance, calling upon unseen forces to ward off disasters and heal historical wounds. Through these practices, faith becomes a vital source of emotional sustenance and an integral part of daily life. Although such traditions have gradually transformed over time, LEE’s images reveal how local communities continue to carry and transmit these cultural legacies, both visibly and invisibly, turning the act of viewing into a shared sensory experience.
李岳凌 Yehlin LEE
《請水，台南西港 | Water-invoking Ritual, Xigang, Tainan》
87.5x162cm, Ed.3+2AP
檔案級紙本藝術微噴 Archival Pigment Print on Hahnemühle Photo Rag Baryta
2022
在拍攝過程中，藝術家回望自身生命的轉折，進而意識到個體經驗與土地歷史之間的深層連結。《伏流》因此指向一種集體性的「疤痕結構」：累積的創傷在時間中轉化為信仰，並成為維繫群體的精神力量。河面上的日常與河面下的無形流動彼此交織，呈現出一種不穩定卻持續運作的內在平衡。詩人吳俞萱認為，《伏流》的關鍵在於重新看待「表面」。李岳凌透過貼近物件、壓縮空間的方式，讓影像不再只是用來說故事，而是讓畫面本身就成立。像血痕、剝落的顏料或懸掛的物件，看似靜止，卻隱含著內在的變化與力量，在穩定與崩解之間形成張力。在影像的安排上，《伏流》不走線性敘事，而是透過畫面之間的呼應與連結，形成一種類似夢境的觀看經驗，讓觀者可以自由感受與理解。相較於〈Raw Soul〉偏向象徵的表現方式，《伏流》更直接面對事物本身，強調「看到的就是它本身」，也進一步回應了我們如何觀看、記憶與理解世界的問題。
Throughout the process, the artist reflects on his own life’s turning points, recognizing a profound connection between personal experience and the historical memory embedded in the land. Undercurrent thus points to a collective “structure of scars,” where accumulated trauma transforms into belief and becomes a sustaining spiritual force. The visible surface of everyday life and the invisible currents beneath it intertwine, forming a dynamic yet fragile equilibrium. Poet Yu-Hsuan WU suggests that the essence of Undercurrent lies in rethinking the notion of “surface.” By compressing space and moving close to material details, LEE allows the images to stand on their own rather than merely narrate. Blood traces, peeling paint, and suspended objects may appear still, yet they carry an inner movement, holding tension between stability and collapse. The sequencing of images follows a non-linear structure, forming a dreamlike network of associations that invites open-ended interpretation. Compared to the symbolic approach of Raw Soul, Undercurrent confronts things as they are, emphasizing that what is seen is what it is, and raising deeper questions about how we perceive, remember, and understand the world.
李岳凌 Yehlin LEE
《修復期間的寺廟壁畫，台南佳里 | Temple mural during restoration, Jiali, Tainan》
75x100cm, Ed.5+2AP
檔案級紙本藝術微噴 Archival Pigment Print on Hahnemühle Photo Rag Baryta
2021
本展覽亦將於6月6日舉辦座談暨《伏流》攝影書發表會，由沈昭良教授與李岳凌共同對談，從創作方法、影像語言與台灣當代紀實攝影的脈絡出發，深入分享《伏流》的生成過程與觀看觀點，當天藝術家亦將首次發表由日本知名攝影書出版社赤赤舍(赤々舎)出版的最新攝影書〈伏流 Undercurrent〉，誠摯邀請您蒞臨參與。朝代畫廊歡迎您走入《伏流》的影像現場，在表面之中感受潛藏的精神暗流。當我們凝視這些影像時，或許也將意識到，那些來自土地與他人的痕跡，正與我們自身交織，在時間之中持續生成。
The exhibition will also host an Artist Talk and Photobook Launch of Undercurrent on June 6. The talk will feature Professor Chao-Liang SHEN in conversation with Yehlin LEE, exploring the creative process, visual language, and the context of contemporary documentary photography in Taiwan. Together, they will offer in-depth insights into the development of Undercurrent and its perspectives on viewing. On the same day, the artist’s latest photobook “Undercurrent(伏流)”, published by the renowned Japanese photobook publisher Akaaka Art Publishing (赤々舎), will be presented for the first time. Welcome you to enter the visual field of Undercurrent and to sense the hidden currents beneath its surfaces. As we contemplate these images, we may come to realize that the traces of land and others are intertwined with our own, continuously unfolding through time.
李岳凌 Yehlin LEE
《Untitled，台南西港 | Untitled, Xigang, Tainan》
75x56.25cm, Ed.7+2AP
檔案級紙本藝術微噴 Archival Pigment Print on Hahnemühle Photo Rag Baryta
2021
李岳凌2001年起投入聲音藝術創作，關注人文音景、電子原音與具象音樂，於2006年完成法國國立高等裝飾藝術學院互動媒體藝術工作室後學位研究；2011年起自學攝影並專職創作。對他而言，聆聽、瑜珈、長跑與攝影都是內在覺知的練習——在用力與放鬆之間取得平衡，直至內外界線的消融。他將攝影視為「以視覺與外界共鳴的自動書寫」：在移動與感知之中，使攝影從現象的紀錄，轉化為召喚潛意識的儀式；影像因此成為不可見世界顯影的痕跡。個展包括《Raw Soul》(京都Under-throw，2018)、(東京Place M，2017)、《Frames In-Between》(英國Lewis Elton Gallery, University of Surrey，2014)，曾於台灣、祕魯、中國、香港、日本等地美術館、藝術節展出聯展，並於2025年「Photo ONE 專家面對面計畫」獲評審團特別獎(2025)及首獎(2016)。其攝影書〈Raw Soul〉(2017)、〈伏流 Undercurrent〉(2025) 由日本京都的赤赤舍出版。
Yehlin LEE began his practice in sound art in 2001, focusing on soundscapes, electroacoustic composition, and musique concrète. In 2006, he completed Post-Diplome at the Interactive Media Art Studio at École nationale supérieure des Arts Décoratifs in Paris. Since 2011, he has been self-taught in photography and has worked as a full-time artist. For LEE, listening, yoga, long-distance running, and photography are all practices of inner awareness—seeking balance between exertion and release until the boundary between inner and outer dissolves. He regards photography as “automatic writing through visual resonance with the external world,” transforming it from a record of phenomena into a ritual that summons the subconscious. His images thus become traces through which the invisible world reveals itself. His solo exhibitions include Raw Soul (Kyoto UNDER-THROW, 2018; Tokyo Place M, 2017) and Frames In-Between (Lewis Elton Gallery, University of Surrey, UK, 2014). He has participated in group exhibitions in Taiwan, Peru, China, Hong Kong, and Japan. His photobooks Raw Soul (2017) and Undercurrent (2025) are published by Akaaka Art Publishing in Kyoto. He received the Jury Special Prize (2025) and First Prize (2016) at the Photo ONE Portfolio Review.
李岳凌 Yehlin LEE
《Untitled，台南麻豆 | Untitled, Madou, Tainan》
56.25x42.2cm, Ed.7+2AP
檔案級紙本藝術微噴 Archival Pigment Print on Hahnemühle Photo Rag Baryta
2021