Im/permanence by Manbo Key

06/06/2026

最近才與好友聊到關於現場與觀看表演，在此刻成為一種無可取代的體感經驗，人與人之間的接觸經驗能否留存於記憶，記憶體夾雜腦與體平行卻尋求交錯的時刻，人體記憶容量被科技記憶容量挑戰。我們只能享受當下，關於現場此刻。謝謝每個參與工作的人享受此刻，未善於引導的我或許也在等待一種非言語的默契，需要積累，而感謝第二次拍攝夏帆的經驗，我感受劇場經驗給我的隨興臨場感。

Talent：夏帆 かほ Kaho

Photographer: Manbo Key Feature Director: Nicole Lee
Stylist: Raf Lin
Text and Translator: Yvonne W.
Makeup: Sunny Hsu
Hair: Weic Lin
Talent Manager: Sylvie Yeh
Lighting Design : Ping Hsiao Tsai
Assistant: ArtWei :
Special Thanks : Yuki Onitta
Fashion: .er

#夏帆 #恍恍 #小鎮新熱點

27/05/2026

那是一個把臉當作書在看的時代 2012 and still ?!

That was an era when faces were read like books, 2012.

Project 做臉不輸──小美容藝術節

26/05/2026

Island Compound Eyes :
Multiple Images of Taiwan


Fotofestiwal 18-28 June 2026

This photobook exhibition uses images as an entry point into Taiwan, presenting multiple views of the island through the works of photographers from different generations. From local photographers’ reflections on land, memory, and identity to young artists’ sharp responses to contemporary realities, the exhibition invites Polish audiences to turn the pages and encounter a Taiwan that is fluid, complex, and full of vitality—opening space for cross-cultural understanding and imagination through photography.

Manbo Key (born 1986 in Taichung, Taiwan) is a rising artist gainin recognition across a wide range of creative fields. He first earned acclaim in fashion photography, with his work appearing in magazines and media such as Vogue Taiwan. In 2019, he won the Grand Prize at the Taipei Art Awards for Father’s Video-tapes, and in 2022, he held a major solo exhibition at the Taipei Fine Arts Museum, marking a significant step into the world of contemporary art. Born into a Hakka family (Han Chinese who migrated to southernChina), Manbo is also the founder of the q***r platform Homo Pleasure. As someone deeply engaged with q***r culture and multiple layers of identity, he represents the diversity and complexity of contemporary Taiwanese society.

From Tokyo to Poland 💗 2026

04/05/2026

基隆是個啟發我的城市。

從90年代侯孝賢導演的台灣電影的《悲情城市》、《好男好女》，到如今仍受注目並留存著亞洲rave文化的作品《千禧曼波》，因此去年於基隆策展，在仁愛市場集結HomoPleasure 開了一家「人魚壽司店」，當時頻繁往返於漁市場、舞廳與繁忙的街道，基隆仍保留著能連結電影給予我當時感受的氛圍，想透過這次與楊謹華的創作，穿梭式地紀念這個迷幻之都，當時拍攝工作期間，社群手機跳出來：侯孝賢73歲生日快樂，發麻的腦袋與手中握著的，是記憶也是一刻的閃爍。

Keelung is a city that has deeply inspired me.

From Hou Hsiao-hsien’s 1990s Taiwanese films A City of Sadness and Good Men, Good Women, to the still-celebrated work Millennium Mambo, which preserves traces of Asian rave culture, these works have left a lasting impression on me.

Last year, I curated a project in Keelung, where HomoPleasure gathered at Ren’ai Market to open a “Future Sashimi” During that time, I frequently moved between the fish market, dance clubs, and the bustling streets. Keelung still retains an atmosphere that connects me to the feelings those films once gave me.

Through this collaboration with Cheryl Yang, I hope to create a drifting, interwoven tribute to this hallucinatory city. During the shoot, a notification suddenly popped up on my phone: “Happy 73rd Birthday to Hou Hsiao-hsien.” In that moment—my mind tingling, something held in my hand—it was both memory and a flicker of the present.

Talent／楊謹華
Editor-in-Chief／Sara Lee
Fashion&Creative Director／Kris Lin
Senior Features ／EditorPatreeck Liao
Interview&Text／Eika Huang
Photographer／Manbo Key
Producer／Nelly Yang
Make Up／Lee hsiao wen
Hair／Isiah
Executive Producer／Bo Jyun Chen
Video Editor／Milky Lin
Lighting ／Ping-Hsiao
Set Design ／火山 .3
Set Design Assistant／Xuan
Wardrobe／Prada

13/04/2026

𝗛𝗼𝗺𝗼𝗣𝗹𝗲𝗮𝘀𝘂𝗿𝗲 𝗖𝗼𝗹𝗹𝗲𝗰𝘁𝗶𝘃𝗲 𝗣𝗿𝗲𝘀𝗲𝗻𝘁𝘀

𝑩𝒆𝒕𝒕𝒚 𝑨𝒑𝒑𝒍𝒆: Betty Apple 倍帝愛波 💓

𝑪𝒍𝒖𝒃 𝑷𝒆𝒓𝒇𝒐𝒓𝒎𝒂𝒏𝒄𝒆 ‘𝑴𝒐𝒕𝒉𝒆𝒓’

楷恩 CHOUCHOU Betty Apple Art Works

▐ 在無油的後烏托邦末日，當肌肉崇拜的座駕因乾涸而沉寂，Betty Apple 親自演繹 Mother——這位「羞到怨」祭壇的母系大家長，將在現場集結信念。Kaynkenchen 的怪力裝置「拼裝車 2.0」，將驅動引擎，與她共同祭出一場邪典集會。

眾人於夜半抹油敬拜、聽 Mother 講道，以慾望之軀遙祭古代大地，祈求在乾涸的荒原中，重新流出滋養萬物的化石聖油。

In a dystopian, oil-less wasteland, where the chariots of muscle-worship lie silenced by drought, Betty Apple personally embodies “Mother”—the matriarch of the ASYLUM altar, gathering the faithful on-site. Kaynkenchen’s monstrous installation, “Franken-car 2.0,” will ignite its engine, joining her to manifest a full-scale cult assembly.

At the stroke of midnight, the congregation anoints themselves with oil in worship, listening to Mother’s sermon. With bodies of desire, they offer remote sacrifices to the ancient earth, praying that in the scorched plains, the sacred fossil oil may flow once more to nourish all existence.

┏━━━━━━━━━━━━━┓
┃酷趴踢：羞－到－怨
┃𝗤𝗼𝗼 𝗣𝗮: 𝗔𝗦𝗬𝗟𝗨𝗠
┃𝟮𝟬𝟮𝟲.𝟰.𝟭𝟴 (𝗦𝗮𝘁.)
┃𝗟𝗼𝗰𝗮𝘁𝗶𝗼𝗻 ▶ 𝗙𝗶𝗻𝗮𝗹 𝗧𝗮𝗶𝗽𝗲𝗶 FINAL
┃𝗧𝗶𝗺𝗲 ▶ 𝟮𝟯:𝟬𝟬 - 𝟬𝟰:𝟯𝟬
┗━━━━━━━━━━━━━┛
✦ 𝗟𝗶𝗻𝗲 𝗨𝗽 ✦
┃𝑩𝒆𝒕𝒕𝒚 𝑨𝒑𝒑𝒍𝒆: 𝑪𝒍𝒖𝒃 𝑷𝒆𝒓𝒇𝒐𝒓𝒎𝒂𝒏𝒄𝒆 ‘𝑴𝒐𝒕𝒉𝒆𝒓’
┃𝑺𝒖𝒔𝒉𝒊𝒇𝒍𝒐𝒘
┃𝒀𝒖𝒏𝒖𝒔
┃𝑵𝑬𝑫𝑼
┃𝑲𝒆𝒎𝒊𝒄𝒂𝒍 𝑺𝒊𝒔𝒕𝒂𝑺

Betty Apple 倍帝愛波 💓 Sushiflow Yunus دولفين Bright 汪 NEDU 𝗬𝗘𝗫𝗜𝗔𝗢 ̷K̷e̷m̷i̷c̷a̷l̷ ̷S̷i̷s̷t̷a̷s̷ ̷ 𝑳𝒊𝒏𝑮𝒊𝒂 Chien-Wen

┏━━━━━━━━━━━━━━━━━━━┓
┃禁錮的靈魂潛心修行，期盼有一天真能皈依
┃不分日夜的祈禱，體內的不安份終能得到救贖
┃
┃客觀描述——
┃跪地閉眼，手握念珠，雙手合十默唸禱詞
┃
┃主觀形容——
┃搔癢、刺痛、古怪的暖流持續於底部騷動
┃
┃這是道院還是迷魂院
┃本想修願，但羞到怨

⋯⋯雖然還繼續相信／聽起來連自己都覺得太煽情
雖然還依舊愛祢／看起來又嫌多餘

⋯⋯祢離去的那天／忽然傾盆大雨
忘記關的窗／濕了一地

┗━━━━━━━━━━━━━━━━━━━┛

✦ 𝗔𝗿𝘁 𝗪𝗼𝗿𝗸𝘀 ✦ 楷恩 CHOUCHOU Yaode JN Betty Apple 倍帝愛波 💓 Manbo Key / 登 曼波 Chien-Wen 𝑳𝒊𝒏𝑮𝒊𝒂 Andy Liu

27/03/2026

24/03/2026

艾怡良 生日快樂，「我的問題該問誰」專輯一年多了，覺得這是近期唱片拍攝期間被攝者與我有奇幻程度的內在連結（並不是真的經歷過很多相處，而是從觀察到投射真實的樣子，艾就是這麼具有表演性，而且是渾然天成的對身體的認同感，對於自己選擇的審美，給了她的表演能量）btw 這個系列幾乎是零修圖，在這個AI時代，又將面臨另一個過度追求完美的審美校正，但當天的艾是對自己充滿自信的，she is ready ! 還是期待著「被愛妄想症」演唱會。

除此之外我也想紀念2024年那段拍攝期間與巴塞隆納駐村的日子，當時父親正面臨生命的考驗，他通過了，或是說如他所願「forever young」，我想謝謝艾怡良，還有左光左姐照顧，還有要特別謝謝康永哥給我一個深刻的感念，高中時父親會轉錄「兩代電力」以及「娛百」保存給我（在「父親的錄影帶」裡除了私密禁忌其實還是有親密溫馨的部分）讓我週末從乏味的二中升學苦悶日子，以錄影帶回顧當週錯過，但絕對升學毫無幫助但拯救我的心靈的舒壓節目，所以這專輯有一首康永寫的詞我很感動，雖然駐村期間我選擇自主摩羯四宮消化那段家族再次變革，父親重新定義於這個次元；那段期間音樂播放只有艾的「forever young 」以及陶喆的「搖籃曲」。嗯！ 我父親楊嘉銘，一生只當過青春少年安安祥的孩子。從來不像是個爸爸。

聽兩首歌的歌詞，真的就如同孩子與父親兩個人身份一直轉換，我像是父親照顧要哄這個想要痛快逃避的孩子。嗯，父親離開的那年我38歲，也剛好是我出生時父的年紀，毀滅與重生循環著，那段艱辛奔波的日子有這些陪伴，我很幸福，垂直活著，水平留戀著。

———————————————

Forever Young 詞曲：艾怡良

像孩子那樣哭著鬧著
像大人那樣安靜沈穩的
活得高亢 低落 高亢 低落
有個沙漏在心中盪呀
默許時間讓皺紋蔓延了
對在意的事手也握緊了
不願得過且過 可無可有
不是命運 這是我最深愛的
時間啊 來吧
再重來一次我都會
沒有明天般揮霍著
找到你 時間啊 走吧
我依然還是那個她
沒有明天地去愛著
Forever young
Forever young
學著遙望 手卻不會放
我多驕傲 這是我的骨架 我的內臟
對嗎? 你深愛著那樣的我對嗎?
遇到每個女孩我都會告訴她
妳該那樣愛上
Forever young
Forever young
Oh, oh
小嬰兒那樣哭著鬧著
我哄她說你該變成信徒安靜臥著
為愛情合掌 因為妳會
垂直活著 水平留戀著
我一橫一豎描上過程
我一刀一剪摺成了永恆
我不知不覺 不知不覺
畫我的模樣成你的模樣
Oh 時間啊 來吧
我也曾讓你受過傷
擁有一切都還渴望
還尋著 時間啊 走吧
我也曾為你去流浪
我還是這樣 我願意這樣
Forever young
Forever young
怎麼愛一個人我都沒忘
20年後還是一樣輕狂一樣不枉
對嗎? 你深愛著那樣的我對嗎?
哪天我離去了 我會告訴他
親愛的你該像 沒有明天地唱
Forever young, oh-oh, oh-oh
Forever young, oh-oh, oh-oh
Forever young

11/03/2026

Tizzy Bac陳惠婷
看見音樂新風景：「我還是想要一直有創作動能，而不是消費過往作品。」

從CD到串流、MTV到IG Reels，音樂的流行樣貌在20年間翻轉無數次。在這場巨變中，陳珊妮與陳惠婷，分別以不同姿態，持續定義著華語音樂的更多可能。她們不只是音樂人，也是「 觀察者」與「評審者」，見證主流與實驗之間的消長，也代表著新世代對多元與真誠的信仰。我們討論流行的形狀、創作的重量，以及聽覺如何成為時代的鏡子。

PHOTOGRAPH A/D _ MANBO KEY
PHOTO ASSISTANT_L-CC, DOLLY LIAO
STYLING_TITI CHEN
MAKE UP_詹惟晴
HAIR_TYKER HO .lab
SET DESIGN ASSISTANT_曾明修CHOUCHOU, DOLLY LIAO
PROJECT MANAGEMENT & TEXT_CHRISTY YANG

09/03/2026

珊妮公主

The Value of Adventure Lies Not in Perfection, but in Imbalance

“You remember a face that leaves a deep impression because it has angles and edges.” Music is the same—what truly draws us in has never been a beauty built on perfect balance.

The Value of Creation Is Becoming Rare

Facing the rapid turnover of generations, Sandee Chan jokes that she has “lived longer and seen more.” She feels neither panic nor naive optimism, but simply regards it as an “irreversible evolution.”

“AI will indeed eventually replace a great deal of human labor, but we shouldn’t think of it as something new ‘overthrowing’ what came before. This is an inevitable evolutionary process—there’s nothing that needs to be overthrown. Of course I wonder what the future will become, but I don’t expect anything in particular, nor do I set assumptions. And I certainly won’t force myself to do things I’m not good at or don’t want to do.”

What concerns Chan more is this: when AI can generate “compromised yet practical content,” where will the value of human creation lie?

“So make more decisions. Make complex decisions. Learn to take risks. That’s something AI can’t do.”

陳珊妮 :冒險的價值不是完美，而在不平衡
「你會記住一張令你印象深刻的臉，是因為它有稜有角。」而音樂也是，真正吸引人的美感從來都不是平衡構成的。

創作的價值變得稀有
面對世代的急速更迭，陳珊妮笑說自己「活得比較久、看得也很多」，沒有恐慌，但也沒有天真的樂觀，只把它視為「不可逆的演化」。「AI確實終將大幅取代人工，但不要去想那是現在的東西『推翻』過去的東西，這是一個必經的演化過程，沒有什麼需要去推翻。當然我會去想未來到底會變成什麼樣子？但我不會期待也沒有預設，更不會勉強自己去做我不擅長、或是我不想做的事情。」陳珊妮更關心的是，當AI可以生成「折衷且好用的內容」，那人類創作的價值又會在哪裡？「所以多做決定，去做一些很複雜的決定，學會去承擔風險，那是AI做不來的。」


PHOTOGRAPH_MANBO KEY
PHOTO ASSISTANT_L-CC, DOLLY LIAO STYLING_TITI CHEN
SET DESIGN ASSISTANT_曾明修 CHOUCHOU，
DOLLY LIAO
PM & TEXT_CHRISTY YANG

17/02/2026

新年快樂，與台灣女兒 妮妃雅 (Nymphia Wind) 的特別合作雲豹企劃。


從世界舞台閃耀回歸，我們將在 大港開唱 2026 齊聚發聲——
集結屬於台灣女兒們的能量、驕傲與創造力，
在港邊掀起最自由、最無畏的聲浪。

Happy Lunar New Year
A special collaborative project with Taiwan’s daughter Nymphia Wind is here!

Shining back from the global stage, we’re gathering at Megaport Festival 2026—
bringing together the power, pride, and creativity of Taiwan’s daughters.

Get ready to raise our voices by the harbor,
fierce, fearless, and unapologetically radiant.

We can’t wait to see all the Taiwan daughters unite—and light up Megaport together!