伊日藝術計劃台北空間現正展出聯展《魔幻日常》，展期自 2026 年 9 月 10 日至 10 月 31 日。本展亦呈現現居印尼日惹的藝術家黛安·蘇西（Dian Suci Rahmawati）的兩組作品，從家庭內部延伸至土地與公共領域，探討空間如何承載身體經驗、勞動與權力關係。
具建築學習背景的黛安·蘇西，對空間如何影響人的存在與意識保持敏銳觀察。她以繪畫、裝置與錄像進行創作，經常將畫布轉化為舞台，透過牆面、圍籬、轉角與日常事物的位置，描繪人物在空間中的身體感受與心理狀態。
其中一組作品源自她作為單親母親的生活經驗。洗衣、清潔、烹飪與照顧孩子等日常活動，不只是私人生活的片段，也反映社會對女性與母職的期待。畫面中的家屋既是熟悉而安全的所在，也可能成為限制行動與選擇的空間。人物試圖觸及外部世界，卻始終受到牆面與邊界阻隔；那些在生活中被隱藏的疲憊、空虛與孤獨，也在作品中轉化為直接的視覺感受。
另一組作品則將視線從家屋延伸至土地，關注以「發展」為名的土地徵收、迫遷與生態破壞。藝術家質疑，當大型開發被稱為具有戰略意義時，真正受益的究竟是誰。作品引用印尼作家 Gunawan Maryanto 的爪哇語短篇《Bon Suwung》中《Suluk Greget-Saut Sanga》的段落，藉由土地、田野與水域孕育生命的意象，回望自然與人類原本相互依存的關係，以及這種秩序如何在持續開發中受到壓迫與破壞。
兩組作品共同指出，空間從來不只是生活發生的背景。從家屋到土地，原本提供庇護與維繫生命的場所，也可能在父權、資本與國家權力的介入下，轉化為勞動、限制與失去的現場。
呼應《魔幻日常》的策展主題，黛安·蘇西作品中的「魔幻」並非來自幻想，而是發生於熟悉空間突然顯露其權力結構的瞬間。當家不再只是歸屬，土地也不再只是可被開發的資源，我們對日常現實的理解便開始產生變化。她的作品邀請觀者重新觀看那些習以為常的空間，並思考其中被忽略的身體、勞動與生命。
YIRI ARTS Taipei is currently presenting Magical Everyday, a group exhibition on view from September 10 to October 31, 2026. The exhibition includes two bodies of work by Yogyakarta based Indonesian artist Dian Suci Rahmawati, extending from the domestic interior to land and the public realm to examine how space carries bodily experience, labor, and relations of power.
With a background in architectural studies, Dian is attentive to how space shapes one’s sense of being and meaning. Working across painting, installation, and video, she often transforms the canvas into a stage. Walls, fences, corners, and arrangements of everyday materials define the positions of her figures and reveal their physical and psychological relationships with the spaces they inhabit.
One body of work draws from Dian’s experience as a single mother. Washing, cleaning, cooking, and caring for children are presented not simply as private routines, but as reflections of the social expectations placed upon women and mothers. The home appears as both a familiar place of safety and a form of enclosure. Figures reach toward an outside world that remains close yet inaccessible, while feelings of exhaustion, emptiness, and isolation, often concealed in daily life, become visible within the paintings.
The second body of work shifts from the house to the land, addressing land seizure, forced displacement, and environmental damage carried out in the name of development. Dian questions who truly benefits when large projects are described as strategic. The work draws upon passages from Suluk Greget-Saut Sanga in Bon Suwung, a Javanese language short story by Indonesian writer Gunawan Maryanto. Its images of earth, fields, and water as the foundations of life recall the interdependence of people and nature, while reflecting on how this order is disrupted by continuing development and oppression.
Together, the two bodies of work demonstrate that space is never merely a background to everyday life. From house to homeland, places intended to provide shelter and sustain life can also become sites of labor, restriction, and loss when shaped by patriarchal, capitalist, and state power.
In dialogue with Magical Everyday, the magical in Dian’s work does not arise through fantasy. It emerges when familiar spaces suddenly reveal the systems of power operating within them. When the home is no longer understood only as a place of belonging, and land is no longer viewed simply as a resource for development, our perception of everyday reality begins to shift. Her work invites viewers to reconsider familiar environments and the bodies, labor, and forms of life that are too often overlooked within them.