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李智神父來台68年，於18日安息天主的懷抱！
李智神父25歲到台灣，此後一生都奉獻給這塊土地，他最喜歡說「我係台灣人」，尤其是愛講台語，還帶有一口濃濃宜蘭腔。
一生都在澎湖和宜蘭偏鄉服務，從早期照顧痲瘋病患，到無健保時代，協助大量結核病人就醫…，直到辭世前，還是拄著助行器，或坐著輪椅到醫院裡各個病房探望生病的人。
李智神父畢生為弱勢者東奔西跑，跑久了，對台灣也有很特別的觀察。「台灣人不是經濟真的多好，而是台灣人ㄟ心，勁好！」李智神父歸納他一個多甲子的台灣印記，原來，台灣人那份心，就是支持他一生為台灣付出的動力。
李智神父用一輩子的青春與歲月都獻給了台灣，您的典範長存在我們的心中！謝謝您！
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新聞來源:
我係台灣人 也將埋骨台灣！義大利神父李智不幸辭世 享耆壽95歲
https://www.rti.org.tw/news/view/id/2097314
【我係台灣人，也將埋骨台灣...95歲義大利老神父李智不幸辭世。】
李智神父25歲到台灣，此後一生70年的時間，都奉獻給這塊土地，他最喜歡說「我係台灣人」，尤其是愛講台語，還帶有一口濃濃宜蘭腔。這位可愛又親切的老神父，在昨(18)日傳出不幸於宜蘭安詳辭世，享耆壽95歲。
李智神父長駐澎湖和宜蘭偏鄉服務，從早期照顧痲瘋病患，到無健保時代，協助大量結核病人就醫…，直到辭世前，還是拄著助行器，或坐著輪椅到醫院裡各個病房探望生病的人。
李智神父畢生為弱勢者東奔西跑，跑久了，對台灣也有很特別的觀察。「台灣人不是經濟真的多好，而是台灣人ㄟ心，勁好！」李智神父歸納他一個多甲子的台灣印記，原來，台灣人那份心，就是支持他一生為台灣付出的動力。
時尚設計大師溫慶珠訪談羅展鵬第1/4篇
在幽暗曠野上尋光的孩子
文字／鍾瑩貞 CHUNG Yin Chen
引言：
像是拋棄世俗皮囊般，他選擇獨自背上行囊，一個人前往未知，緩慢以自我步調行走在曠野之上。路上，偶爾會有小狗陪伴，但常常僅是無聲，一股像是穿越時空的沉默，足以讓人挖掘、掏空、反芻、打破、再生，一次又一次，重覆再重覆，他不厭其煩的想用畫筆尋找自我，尋找內在那個隱藏已久卻閃閃發光的孩子……
內文：
他說：「永遠都要面對未知，像在曠野裡徘徊尋找，才會找到一條路。走著走著，可能發現前行的大師們早已經過，我會發現他們殘餘的篝火，也會依稀看到一點新方向，接著，繼續摸索的走下去……我覺得創作像是如此。」
從最早的草莓族系列作品，陰鬱中充滿光鮮色彩，一絲不苟、比照片更加真實的具象繪畫；到近期卸下大量色彩、拋棄巨幅畫布，轉換為一種更加純粹、沉靜的氛圍，你會以為他變了，但其實他只是選擇了反璞歸真。「我的人生有兩個階段，以前是想超越人類的手，挑戰極限，力求完美且十分巨大；但現在，我是跟空間、氣候、季節、溫度與濕度一起作畫，我想回到『手的溫度』，它有缺點，但缺點就是我，也是人類的魅力。」
一開始畫大眾所謂的「美女」時，就只是畫生活週遭的友人，想藉由她們傳達身分認同、國族認同、貧富差距等問題，也想挖掘屬於台灣印記的文化特徵，因為他認為台灣從根本論述上就避諱談「如何面對自己」。 （待續）
Know more about Lo Chan Peng 1/4
The Child Seeking for Light on the Dim Plains
By CHUNG Yin Chen
Prologue
As if trying to be rid of the mundanity of the world, he chooses to travel solo into the unknown with a rucksack on his back, paving his way through the plains at his own pace. The occasional company of a puppy on the journey is often silent, a silence that pierces through time and space, encouraging one to investigate, empty, reiterate, break away and reborn over and over again, as he tirelessly seeks for the hidden yet radiant child within himself through his paint brushes.
Content
He says: “One is always faced with the unknow, as if searching for a trail on a wild plain. The past masters may have already made the same journey, and I may find new directions from the ashes left from their campfires and continue to explore the path…I sense that making art is just like this.”
From the hyperrealistic figurative paintings of the early “Strawberry Generation” series which consist of bright colours with contrasting dark atmosphere to Lo’s recent abandonment of large-scale canvases and vivid colours in favour of unalloyed and tranquil compositions, one may wonder if he had changed. But as a matter of fact, he had not altered at all, he had simply chosen to go back to the purest beginning of his art. “There have been two different stages in my life. I had wanted to challenge the human capacity in pursue of perfection and grandeur, but now I work with the space, weather, season, temperature and humidity around me, for I want to deliver the “warmth of my hands” despite their flaws. The flaws are part of me, and they are also the charms of human as a species.”
The paintings of the so-called “beauties” in the public eye were simply portraits of friends within Lo’s social circle. Through the portraits of these females, the artist aimed to explore multiple social issues such as identity, nationality, economic inequality, as well as investigating the cultural significance that is unique to Taiwan as a nation. For he believed the question of “how to inspect oneself” has always been avoided in the Taiwanese society...（to be continued）
她是原住民音樂界最重要的人物之一。
她也是罕見的一位將傳統原住民音樂帶入現代劇場表演舞台的藝術家。
她曾於世界許多重要的藝術節作巡迴演出。
Rsrs is a member of the Indigenous Paiwanese of Taiwan. She is outstanding in Indigenous music. She is the voice, the soul of the Paiwanese. She was the first artist to bring the traditional music of Taiwans Indigenous population to the contemporary stage. She has participated in many important International and Domestic Arts Festivals around the world.
她的歌聲夾帶著排灣族祖靈跨越時空所賜予的巨大遠古能量與磁場，
開啟了一條通往生命原點的通道，喚回生命最深處的古老回憶
Her voice, with a given mysterious ancient power,
opens the gate to the source of life.
她，第十五屆金曲獎傳統暨藝術類最佳演唱獎得主 芮斯
