藝術節主題精神『可愛力量』

2026 年的大稻埕國際藝術節,以「可愛力量」作為年度主題。

此一主題的提出,並非出於流行文化趣味,而是對當代世界處境的回應。

我們所處的年代,同時面對戰爭威脅、科技加速與經濟不確定性。

這些壓力共同改變了人的感受方式:人愈來愈傾向焦慮、警戒、效率化、自我保護,

並在快速與高壓之中逐漸失去對小事物、日常生活、溫柔關係與細膩感受的耐心。

在這樣的年代,藝術不應只是再現危機,也應提出一種讓人仍能保有柔軟、想像與連結能力的文化形式。

因此,本屆藝術節提出「可愛力量」作為年度主題,

主張可愛不只是風格、商品或流行,而是一種文化力量。

它使人願意靠近,願意喜愛,願意停留,願意保護,也願意重新感受世界。

可愛的力量,看似細小,卻能在高壓年代中維持人性的柔軟面,抵抗冷酷、麻木與去人性化。
作為主展演,《台灣可愛啟蒙》進一步提出一個問題:

若可愛是一種現代文化力量,那麼在台灣,

這種力量是否也有其歷史起點?若 1920 年代是台灣現代性的關鍵時刻,

那麼台灣可愛文化的現代感性,是否也能回到那個時代尋找其萌芽?

Festival Theme: Cute Power

The 2026 Tua-Tiu-Tiann International Festival of Arts takes “Cute Power” as its annual theme. 

This theme is not proposed simply as an exploration of popular culture, but as a response to the conditions of the contemporary world.

 

We live in an era shaped simultaneously by the threat of war, accelerating technological change, and economic uncertainty. Together, these pressures are reshaping the way we experience the world: people are increasingly inclined toward anxiety, vigilance, efficiency, and self-protection, while gradually losing the patience to appreciate small things, everyday life, gentle relationships, and subtle emotions amid the speed and pressure of contemporary life. In such an era, art should not merely represent crises; it should also propose cultural forms that allow us to retain our capacity for softness, imagination, and connection.

 

For this reason, this year’s festival presents “Cute Power” as its annual theme, proposing that cuteness is not merely a style, commodity, or popular trend, but a form of cultural power. It makes us willing to draw closer, to love, to stay, to protect, and to experience the world anew. Though seemingly small, the power of cuteness can preserve the softer side of humanity in times of intense pressure, resisting coldness, numbness, and dehumanization.

 

As the festival’s main exhibition, “The Origin of Taiwanese Cuteness” further poses a question: if cuteness is a form of modern cultural power, does this power also have a historical point of origin in Taiwan? If the 1920s marked a crucial moment in Taiwan’s modernity, might the modern sensibility of Taiwanese cuteness also trace its early emergence back to that era?

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