關渡美術館位於國立臺北藝術大學校園內，依山而建，俯看關渡平原，是臺灣第一所藝術大學專業美術館，期待透過學術研究、專業教學與鼓勵創作的相互激盪，成為充滿開放性與年輕能量的跨界藝術領域，提供與眾不同的展覽詮釋。全館六層空間，包含九個展廳及兩個戶外廣場，室內外展覽空間共計有2400平方公尺，靈活有機的設計風格猶如一件當代藝術作品。隨著季節變換顏色的關渡平原是美術館的景深，來自藝術家爆發的創作能量，則成為美術館多元包容的精神核心。
關渡美術館本體建築於1996年竣工，2001年舉辦首展「千濤拍岸—臺灣美術一百年展」後，獲教育部補助進行內裝，並於2005年3月重新開幕。關渡美術館以積極、專業的展覽策畫為核心，經營具有特色、活力與創意的美術館，以達到大學美術館在展覽籌畫、研究典藏、藝術教育及國際交流之任務。我們也期許關渡美術館能成為容納藝術想像力與文化創造力的最大空間。
Kuandu Museum of Fine Arts (KdMoFA), situated within the campus of Taipei National University of the Arts, was constructed alongside the mountain slope, overlooking the Kuandu Plain. It is the very first professional museum operated by a university of arts in Taiwan. Through academic research, professional pedagogy, and mutual inspiration of creativity, KdMoFA is expected to be an inter-disciplinary realm of art, full of space and young energy, providing extraordinary interpretation of exhibition. A 6-story tall museum, comprising 9 galleries and 2 outdoor plazas, offers 2,400 square meters of exhibition space in total, with an organic style of flexibility as if it is a piece of contemporary art itself. The varied colors of the Kuandu Plain due to seasonal changes is the field depth of the Museum, while the eruptive energy of artists embodies the spiritual core of variety of KdMoFA.
The main construction of KdMoFA was completed in 1996. After its first exhibition "Waves Striking: One Hundred Years of Taiwanese Arts" in 2001, the Museum received funds from Ministry of Education for its interior design, and consequently reopened in March 2005. KdMoFA, with proactive and professional curating as its heart, maintains a unique artistic space rich in energy and creativity, so as to accomplish the missions as a museum of university in exhibition, research and collection, art education, and international communication. As such, KdMoFA shall be a sphere encompassing all the imagination of art as well as creativity of culture.
藝術家
黎志文 Lai Chi Man
1949年出生於香港的黎志文，大學就讀國立臺灣藝術專科學校（今國立臺灣藝術大學）雕塑科，畢業後至義大利著名的世界雕塑中心卡拉拉石礦區亨魯石雕工作室學習雕刻，在工作室見習期間使其有機會接觸到如亨利．摩爾、野口勇、彼得．卡耶拿等國際著名藝術家。經歷了四年學藝生涯後，獲美國雕塑家羅伯．魯辛研究獎學金至美國懷俄明州攻讀碩士，並於1980年取得美國懷俄明大學雕塑碩士學位。之後則遠赴荷蘭遊學，於1982年取得荷蘭職業藝術家資格，正式展開專職藝術家生涯。黎志文同時身為臺灣現代雕刻學院系統第一代的教學開拓者，於1984年國立藝術學院（今國立臺北藝術大學）邀請其回臺於美術系任教以來直至2016年退休，奉獻於教授石雕藝術超過三十載。綜觀其石雕哲學，於材料自然的型態與質感加上人為意志的切割造境，以看似接近偶然的隨意，以及材質彼此關係營造所產生的天趣，是藝術家反覆與材料對話，經年累月推敲、去蕪存菁的心得體現，從中展現之從容的自信、清晰的永恆，代表了臺灣一整個世代雕刻美學的總結。
Born in Hong Kong in 1949, Lai Chi Man studied sculpture at the National Taiwan Academy of Arts (the predecessor of the National Taiwan University of Arts today). Afterwards, he went to Henraux at Carrara, the hub of sculpture in Italy known to the world, for sculpture learning. In the meantime, Lai had the opportunity to work with eminent world-class artists like Henry Moore, Isamu Noguchi, and Pietro Cascella. After four years of study, he was awarded the Robert I. Russin Fellowship in Sculpture and further his education in Wyoming, U.S.A., thereby receiving his M.F.A. degree from the University of Wyoming, U.S.A. in 1980. Then, Lai went to the Netherlands for study. In 1982, he was admitted as a member of professional artists in the Netherlands and kicked off his career as an artist by trade. Being the forerunner for the first generation of the modern sculpture academic education system in Taiwan, Lai returned to Taiwan at the invitation of the National Institute of the Arts (the predecessor of the Taipei National University of the Arts today) in 1984 to teach at the Department of Fine Arts, until his retirement in 2016, with over three decades of his life dedicated to the education of stone sculpture art. Lai’s philosophy for stone sculpture employs the natural forms and textures of the material, along with the cutting of the personal will. The seemingly sporadic randomness, combined with the natural amusement from the relationships between textures, is the artist’s persistent dialogues with materials. It is an incarnation of his mind born from years of banging and shaping in an attempt to preserve essence, whereas the composed confidence as well as the vivid perpetuity manifested therein bears witness to the culmination of the sculpture aesthetics of the whole generation in Taiwan.
