Apollo art gallery

構圖台灣 ╳ 恆。好
2025-12-29 - 2026-04-10 | 恆。好 HunHau, 東門路2巷11弄4號, 恆春鎮, 屏東縣, 台灣
構圖台灣 ╳ 恆。好
藝術家｜
余采軒.林千瑋.林芃穎.金祺龍.高冠羣.陳廷菲.陳怡安.傅聖雅.彭冠銘.劉康彥
展期｜
2025.12.29 – 2026.04.10
地點｜恆。好
屏東縣屏東鎮東門路2巷11弄2&4號

《構圖．臺灣》第四屆入圍聯展，集結十位藝術家，透過繪畫、裝置與複合媒材等形式，呈現當代創作中對空間、日常與文化感知的多元回應。本屆展覽延續「構圖．臺灣」對於當代視覺語彙的關注，呈現年輕世代藝術家在各自創作脈絡中的觀察與實踐。

「恆 · 好」是阿波羅畫廊位於屏東恆春的展覽空間，自2017年起持續策劃並推出多元展覽，邀請不同世代與創作背景的藝術家於此發表作品，逐步建立南臺灣穩定的藝術據點。空間座落於恆春東門，也讓藝術融入日常風景，成為旅途中可駐足停留的文化場域。

→恆。好

《Go To Taiwan》Joint Exhibition

Artists｜
YU Cai-Xuan, LIN Chien-Wei, LIN Peng-Ying, JIN Chi-Lung, KAO Kuan-Chun, CHEN Ting-Fei, CHEN Yi-An, FU Sheng-Ya, PENG Guan-Ming, LIU Kang -Yen
Duration｜
2025.12.29 – 2026.04.10
Location｜HunHau

No. 2, Aly. 11, Ln. 2, Dongmen Rd., Hengchun Township, Pingtung County 946, Taiwan
Go To Taiwan: The 4th Selected Artists Joint Exhibition brings together ten artists working across painting, installation, and mixed media. Through diverse artistic approaches, the exhibition presents multifaceted responses to space, everyday life, and cultural perception in contemporary practice. Continuing the exhibition’s long-standing focus on contemporary visual language, this edition highlights observations and artistic practices shaped by different generational and creative contexts.
「HunHau」 is an exhibition space of Apollo Art Gallery located in Hengchun, Pingtung. Since 2017, it has continuously curated and presented a diverse range of exhibitions, inviting artists from different generations and creative backgrounds to present their works, gradually establishing a stable art presence in southern Taiwan. Situated within the historic Hengchun Old Town, the space allows art to merge naturally into the everyday landscape, becoming a cultural stop where visitors can pause and engage during their journey.
Welcome to wander through HunHau Old Town and visit Heng. Hao to experience the artworks.

→HunHau

《臨界之間》李萬全.胡文賢.林嶺森 聯展 ╳ The One南園
2026-01-02 - 2026-06-01 | The One, 九芎湖32號, 新埔鎮, 新竹縣, 台灣
《臨界之間》李萬全.胡文賢.林嶺森 聯展 ╳ The One南園
展期 | 2026.01.02 – 06.01
地點 | The One南園人文客棧 (新竹縣新埔鎮九芎湖32號)

《臨界之間》呈現停留、過渡、稍縱即逝之感，現實與想像的聯展。作品展示靜物、風景與花卉，畫面中既有船舶停靠於岸邊的瞬間，也有花卉綻放之際所展現的生命節奏，並伴隨著脫離純粹再現、滲入想像的景物。這些景象彷彿停留在行動尚未發生之前，介於抵達與啟程、現實與心象之間。三位藝術家李萬全、胡文賢、林嶺森，皆以油彩以各自的創作語言，捕捉風景的臨界狀態，使觀看成為一種對時間與感知的凝視。
李萬全曾旅居法國，行走於城市與鄉間之間。他將港口中停泊的船舶，或是鄉野間的自然風景，成為創作題材。李萬全以光線的素描原理作為構圖基礎，從具象繪畫的古典語彙出發，逐步吸收印象主義對光與感知的理解，對自然的客觀形體進行深入探求，進一步內化將情感投入其中，呈現出客觀與主觀間的臨界之際。
胡文賢以靜物為其主要題材，他融合超現實主義，將內在的思想、幻想及理想忠實的呈現。複合圖像與錯置空間融合。把日常生活所見的瓶花、蔬果食糧、器具等靜物，透過色彩與筆觸的布局，古典之中帶有獨具氛圍的奇幻與浪漫之感。遊走於現實與異想的臨界線。
林嶺森以照片寫實風格凝結大自然瞬息萬變的光影。他的畫筆如同攝影鏡頭般敏銳，構圖與色調講究而細膩，表達理想中的自然風貌。林嶺森將陽光底下花卉綻放的動人姿態，流露出最美好的一面。奔騰的瀑布，希臘羅馬古城的融入，帶有超現實的元素，增添想像。展現流動之中，瞬息的臨界點。
本次展覽期待透過三位藝術家的作品，引領觀者感受介於停留與流動、現實與想像之間的臨界風景。

#移動畫廊
阿波羅畫廊成立以來致力於推廣藝術，藝術展出不局限於畫廊空間。自2018年起與異數悅遊 The One南園人文客棧 以「共好」的精神攜手合作，將藝術進駐於南園同心樓的公共空間以及各個廂房裡，讓來此隱山歇心的旅人們，恣意游於藝術之間，深入體驗臺灣原創藝術能量與實力。

展期 | 2024.11.12 – 2025.04.30
地點 | The One 南園人文客棧
地址 | 新竹縣新埔鎮九芎湖32號

**參觀及遊園請電話預約**
預約中心 | (02)2562-1777 週一至週六 09:00~18:00
現場服務專線 | (03)589-0011#1101、1102

關於藝術家 → 李萬全 胡文賢 林嶺森
The One官網

冉茂芹 油畫寫生 個展｜光影拾歲
2026-03-07 - 2026-04-07
冉茂芹 油畫寫生 個展
藝術家｜冉茂芹
展期｜2026.03.07 – 2026.04.07
地點｜阿波羅畫廊
台北市大安區忠孝東路四段218-6號A棟2樓

冉茂芹 油畫寫生 個展｜光影拾歲
長期以風景和肖像畫作為創作核心，冉茂芹的繪畫實踐，並不止於對地點或景象的描繪，而是透過藝術家的視角去觀看我們所在的世界。回顧其創作歷程，1990年至2015年間，他於台灣多處地景及日本創作寫生。這些地點橫跨不同文化與自然條件，並未在展覽中被作為旅行紀錄或地域比較的對象，而是為藝術家反覆進入同一種創作狀態的不同場域。本次展覽透過許多風景作品，呈現藝術家與繪畫之間所建立的觀看方式。

對冉茂芹而言，旅行繪畫並不是為了捕捉壯麗景觀或是標誌性景點，而更接近一種「田野式」的創作行動。他堅持對景寫生時，讓自身實際置身於風景之中，在現場觀察光線、空氣、結構與時間的流動。無論是在日本河岸長時間凝視光影變化，或是在台灣田疇、城市邊緣駐足作畫，繪畫皆發生於當下。
《落日蘭嶼》以夕光中的船隻與海岸為構圖主體，畫面中略帶想像色彩的造型與柔和光線，使風景呈現出介於現實與感受之間的靜謐氛圍。
在肖像繪畫方面，冉茂芹的畫風承襲俄羅斯畫派嚴謹細膩的寫實傳統畫法，展現出紮實醇厚的功力。溫和高雅的色調運用，使畫中人物流露出一種內斂、優柔溫潤的氣質，形象清晰而非流於形式上的描摹。
值得注意的是，這些肖像多半來自不同文化背景與族群，有些是來臺的交換學生，有些則是旅途中相遇的人等等。無論膚色或文化差異，冉茂芹皆以同樣的觀看方式與創作態度，使人物形象在畫布上展現出跨越地域與文化差異的共通性。
《黔東南苗家女》描繪在結婚前的苗族少女，畫面透過服飾、色彩與姿態，呈現當地文化中蘊含的節慶氣息與生命喜悅。
《貴妃遙想》以唐代人物為創作起點，冉茂芹透過層次豐富而內斂的色彩處理，使歷史人物在畫面中呈現出兼具想像與情感重量的肖像形象。

冉茂芹並不將寫實視為單純的複製畫面，而是追求一種介於再現與轉化之間的狀態。他曾引用齊白石所言：「妙在似與不似之間，太似為媚俗，不似為欺世」，作為自身創作的核心精神。在畫面中，透過構圖的取捨、筆觸的節奏，以及顏料厚薄的層次變化，保留感受尚未定型的時間痕跡。這樣的處理，讓作品不僅描繪所見之景，更呈現一種具有生命力度的靈光。
本次展覽恰逢春季開展（2026年3月7日至4月7日），時節上的呼應，更讓展覽多了一層重啟的象徵意義。藝術家冉茂芹曾提及，前幾年的春天受疫情影響，心境容易感到鬱卒，但隨著畫展的舉辦，心情也隨之雀躍起來，這本質上就是一種心理上的重啟 。

藝術家簡歷→冉茂芹
虛擬展廳→欣賞

YIM Mau-Kun Oil Painting from Life – Solo Exhibition A Decade of Gathering Light and Shadow
Opening｜Saturday, March 7, 2026, 15:00
Exhibition Dates｜March 7 – April 7, 2026
Artist Talk｜Saturday, March 28, 2026, 15:00
Long devoted to landscape and portrait painting as the core of his practice, Yim Mau-Kun’s work goes beyond the depiction of specific sites or scenes. His painting is an ongoing act of seeing that unfolds through movement and presence. Reviewing his artistic trajectory, from 1990 to 2015 his exhibited works encompass numerous locations across Taiwan—including Taichung, Keelung Islet, Kaohsiung, Nantou, Yilan, Longtan in Taoyuan, and the back hills of Xindian—as well as sites in Japan such as Nagaokakyō, Kyoto, Nara, Osaka, the Kōya River, and Fukuyama Botanical Garden. Though these places span diverse cultural and natural conditions, they are not presented as travel records or regional comparisons. Rather, they are treated as different fields in which the artist repeatedly enters the same creative state. Taking this as its point of departure, the exhibition brings together landscapes from multiple regions to reveal how Yim establishes a distinctive and sustained mode of looking through movement, pause, and the act of painting.
For Yim Mau-Kun, painting while traveling is not about capturing spectacular views or iconic landmarks; it is closer to a form of “fieldwork.” He insists on painting directly from life, placing his body within the landscape and observing light, air, structure, and the flow of time on site. Whether lingering along riverbanks in Japan to contemplate subtle shifts of light and shadow, or pausing to paint amid Taiwan’s farmlands, botanical gardens, and urban fringes, his paintings emerge in the present moment and maintain a direct, intimate relationship with their surroundings.
Sunset at Lanyu centers on boats and coastline bathed in evening light. The slightly imagined forms and gentle illumination create a tranquil atmosphere suspended between reality and perception. In portraiture, Yim Mau-Kun’s style inherits the rigorous and refined realism of the Russian academic tradition, demonstrating a solid and mature command of form. His use of restrained, elegant color imbues his figures with a quiet, tender, and warm temperament—clearly defined yet never reduced to mere outward likeness.
Notably, many of these portraits depict individuals from diverse cultural and ethnic backgrounds—some exchange students visiting Taiwan, others people encountered during the artist’s travels. Regardless of differences in skin color or cultural origin, Yim approaches each subject with the same distance of observation and creative attitude, allowing the figures to embody a cultural presence that transcends geography. Miao Girl from Southeast Guizhou portrays a Miao girl before marriage; through costume, color, and posture, the painting conveys the festive spirit and vitality embedded in local culture. Consort’s Reverie takes a figure from the Tang dynasty as its point of departure; through layered yet restrained color treatment, Yim renders a historical figure imbued with both imaginative resonance and emotional weight.
Yim Mau-Kun does not regard realism as the faithful replication of detail, but as a pursuit of a state of seeing that lies between representation and transformation. He has often cited Qi Baishi’s words—“The marvel lies between likeness and unlikeness; too much likeness is vulgar, too little is deceitful”—as a guiding principle of his practice. Through compositional choices, the rhythm of brushwork, and variations in paint thickness, his landscapes remain poised in this “between,” preserving traces of time before sensation fully settles. Such an approach allows the works not only to depict what is seen, but also to reveal a vital, living aura.
Opening in spring, the exhibition gains an added layer of symbolic renewal through the season itself. Yim Mau-Kun has mentioned that in recent years, springtime under the shadow of the pandemic left him feeling subdued, yet the staging of exhibitions rekindled a sense of joy—a psychological reawakening at its core. This transition from melancholy to delight is vividly embodied in his decades-spanning works painted from life. The exhibition features a selection of oil paintings closely associated with spring scenery, including Spring Comes to Lishan (Jesus Church) from 1990, as well as a series capturing cherry blossoms in full bloom in Nara and Osaka, such as Under the Cherry Tree and Cherry Blossom Grove.
Artist’s CV
AR Exhibiton
