為實現專題「永續」精神，本期調整製作形式採電子書為主，實體印製僅保留兩篇文學性書寫；書封採資料夾式設計，盼讀者延伸使用。本期並以「時間」意識貫穿，從臨界、急迫、消逝，到緩慢、延續與積累，時間在每一篇文本中，以不同形式召喚我們對未來的想像與對過往的回望。
專題「永續・時間的寓言」即由此視角展開。永續顧問王詠葎從永續發展簡史出發，開啟一場關於人類存在與未來的思索，並介紹國際館所機構的實踐藍圖；透過訪談倫敦大學金匠學院藝術與生態研究中心聯合主任安娜・柯林（Anna Colin），從策展人與教育者的觀點，闡述永續理念如何結合實務，進而深植於展覽及教育現場；並借鏡藝術家奧拉弗・埃利亞松（Olafur Eliasson）工作室，觀察藝術創作如何將永續思維滲入計畫與日常實踐；以及梳理北美館從展覽、數位轉型到材料新生，逐步構築多面向的永續策略，展現機構對於公共文化場域的責任與永續轉型。此外，特別邀請兩位學者以文學視野拓展我們對世界與他者的理解：李育霖以吳明益小說為例，探討自然書寫中的感性價值；史蒂芬・科林曼（Stephen Clingman）則剖析南非諾貝爾文學獎得主娜汀・葛蒂瑪（Nadine Gordimer）筆下的土地正義與歷史創傷，跨越經緯，交織出生態與倫理的共鳴，指向人類共同的課題。
展覽觀點聚焦「托瑪斯・德曼：歷史的結舌」，由長期關注影像與文化技術的學者李立鈞撰文，從歷史與記憶切入德曼以紙張與影像重構的場景，呈現時間如何被建構、封存與再現，並解析其作品中現實與虛構、記憶與遺忘之間的辯證關係與文化意涵。
文獻研究室以「檔案轉譯」為題，映現檔案隨時間累積所承載的意義與轉化的可能。黃聖閎從自身經驗出發，以影像為引、檔案為場，書寫對檔案近用的觀察與思考，並帶入機構所扮演的角色與潛在動能；蔡雅祺以電影《福田村事件》為例，思索檔案的可見與不可見，探討轉譯者在檔案缺漏與影像虛構之間的中介角色；余思穎則以石內都的攝影歷程為例，呈現檔案於藝術轉譯中的另一種可能，透過藝術家的取鏡，開展出有別於既定框架的史觀。
本期印刷選用國產紙與再生紙，採用環保大豆油墨與無毒水性光油，捨棄收縮膜等塑膠製品，盡可能兼顧環境友善。永續實踐始於當下，更是對未來的提問與承諾。藝術生產或許難以完全避免環境負荷，但當代藝術始終真誠地向世界傳遞關懷與善意。
To embody the theme of "sustainability," this issue primarily adopts an eBook format with two scholarly articles on literature in physical printing. The cover is designed as a folder, inviting readers to make extended use of it. "Time" is the main thread running through the entire issue, from criticality, urgency, and disappearance to slowness, continuity, and accumulation. In each text of this issue, time, whilst taking different forms, sparks our imagination of the future and retrospection of the past.
This issue unfolds from the above-mentioned perspective to address the topic "Sustainability: The Allegory of Time." Sustainability consultant Mia Wang starts with a brief history of sustainable development, exploring human existence and future and introducing the sustainability blueprints of several international museums. The second article is an interview with Anna Colin, the director of the Center for Art and Ecology, Goldsmiths, University of London. As a curator-cum-educator, Colin expounded on how to put sustainability into practice to let this idea take deep root in venues of exhibition and education. The third article draws on the experience of artist Olafur Eliasson's studio, observing how artistic creation makes the idea of sustainability part of art projects and people's quotidian existence. The fourth article shows how the Taipei Fine Arts Museum managed to construct a multifaceted sustainable strategy from the aspects of exhibition, digital transformation, and material regeneration. This issue also features two scholars' literary horizons that broaden our understanding of this world and the other. Yu-lin Lee uses the example of Wu Ming-Yi's novel to discuss the affective value of nature writing. Stephen Clingman offers a nuanced analysis of Nadine Gordimer's engagement with land justice and historical trauma, tracing how her narratives transcend geography, bridge ecological and ethical concerns, and reflect on the conditions confronting humanity.
The Exhibition Focus of this issue is on "Thomas Demand: The Stutter of History." We invite Li-Chun Lee, a scholar who has long been interested in images and cultural techniques, to write an article for this focus. From the aspects of history and memory, Lee's article explores the scenes reconstructed by Demand using paper and images. It not only demonstrates how time is constructed, archived, and represented, but also analyzes the dialectical relationships between reality and fiction as well as between memory and oblivion in addition to their cultural significance in Demand's works.
The Archival Research of this issue features "Archives in Translation," seeking to suggest the meanings that archives have carried over time and the possibilities of their transformation. Based on his personal experience, Alexandre Huang treats images as the guidance and archives as the context to offer his observations and reflections on archival access while introducing the role and potential agency of institutions. Citing the example of the movie September 1923, Ya-Chi Tsai cogitates on the visibility and invisibility of archives and investigates the mediating role of translators between archival silences and fictive images. Drawing on Ishiuchi Miyako's photographic journey, Sharleen Yu presents a new possibility for archives in artistic translation, in which the artist's photographic composition provides a perspective of history that transcends the confines of established frameworks.
The printing of this issue uses soy ink, non-toxic water-based varnish, and recycled paper produced domestically. We also refrain from using plastic products such as shrink wrap, striving to minimize our ecological footprint. Sustainable praxis starts as we implement it. It is a challenge and a commitment to the future. Although environmental impact may be inevitable in the process of artistic production, contemporary art continues to sincerely offer care and goodwill to the world.
