[The script of this episode] In the final section, Yin Zi-Jie’s Tissue reemerges. The artist traces the origin of tissue paper by visiting artificial forests in Indonesia. In the exhibition space, paper tubes with diameters matching the harvested trees are arranged according to the spacing of such plantations. This setting prompts us to reflect on how a single sheet of paper may represent the loss of an entire forest. Meanwhile, viewers can experience Yannick Dauby’s Upstream Meanders in the same space, which includes several chapters of sound recordings representing sounds gathered along his journey from Xindian to Yingge. The upstream symbolizes retracing the origin. Traveling upstream means reflecting on the past as well as understanding habitats. Through the interplay of sound and installation, this work evokes a sense of shelter. Finally, Hsu Ting’s Particles by the Window series is displayed in a space filled with flowing natural light. She starts in her studio, capturing fleeting dust particles illuminated by sunlight, viewing them as a source of inspiration. At the same time, her studio is like a small ecosystem that sustains her everyday life. These three artists collectively respond to the subtheme, “Satoyama,” by creating metaphors that highlight the strong bond between humanity and nature. Although fear persists, we have always found protection through healing. Architecture, born from the need for safety, also reminds us to understand and address the fear and healing of others. ---------- The Architecture of Fear and Cure 2025.10.04-2026.01.25 ｜Curator｜ROAN Ching-yueh ｜Artists｜YIN Zi-jie, Boonserm PREMTHADA, WU Tseng-jung, WU Yao-tung, MATSUDA Kazuhisa, HUNG Hao-chun, HSU Ting, FU Chang-feng, Divooe ZEIN, FCHY Architect Lab, LIAO Wei-li, Yannick DAUBY, CHEN Donghua, Kay Ngee Tan Architects, LAI Po-wei, KU Shih-yung ｜More Information｜https://ntcart.museum/EN/exhibition/H2508001