BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Apollo art gallery - ECPv6.15.20//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Apollo art gallery
X-ORIGINAL-URL:https://artgalleryapollo.com/2021
X-WR-CALDESC:Events for Apollo art gallery
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:Asia/Taipei
BEGIN:STANDARD
TZOFFSETFROM:+0800
TZOFFSETTO:+0800
TZNAME:CST
DTSTART:20250101T000000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260613
DTEND;VALUE=DATE:20270101
DTSTAMP:20261019T075531
CREATED:20260611T093922Z
LAST-MODIFIED:20260611T093922Z
UID:14992-1781308800-1798761599@artgalleryapollo.com
SUMMARY:《資訊之森》洪司丞 個展 ╳ The One南園
DESCRIPTION:《資訊之森》洪司丞 個展 ╳ The One南園\n展期 | 2026.06.13 – 12.31 \n地點 | The One南園人文客棧 (新竹縣新埔鎮九芎湖32號) \n  \n《資訊之森》以當代數位環境為背景，聚焦人工智慧、區塊鏈與Web3技術快速發展下，人類在虛擬與現實交錯之間的感知狀態與精神處境。隨著科技不斷改變創作模式與社群結構，虛擬世界早已不再只是想像，而逐漸成為日常生活的一部分。藝術家透過此次展覽，重新思考數位時代中的觀看方式、身份認同，以及資訊洪流所帶來的孤獨與迷失感。 \n「資訊之森」象徵當代人置身於如叢林般龐雜的網絡世界。在Web3時代中，DAO等新型態社群逐漸成形，資訊傳遞與人際互動模式也持續被重塑。然而，在看似自由且開放的數位環境背後，亦潛藏著資訊單一化、機器干擾與真假難辨等問題。藝術家藉由作品提出提問：當虛擬逐漸滲透現實，我們是否也過度依賴顯示器與數據來理解世界？而在流量與演算法主導的時代，人類又該如何重新辨識真實與自我？ \n作品透過圖像與空間的建構，營造出介於虛擬與現實之間的感知場域，引導觀者進入一座充滿未知的數位森林。藝術家以帶有象徵性的視覺語彙，描繪資訊衝突、身份錯位與虛擬情感等現象，讓觀眾在觀看的過程中感受到浩瀚、孤寂與不安並存的心理狀態。同時，也反映出人在數據化社會中的生存處境與精神投射。 \n《資訊之森》不只是對科技發展的回應，更是一場關於現實與虛擬邊界的思辨。透過作品，藝術家試圖建立一個與觀者對話的平台，邀請觀眾重新思考數位時代下的感知經驗，以及人類在未知世界中的探索、選擇與存在價值。 \n  \n\n#移動畫廊\n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。\n\n\n\n展期 | 2026.06.13 – 12.31\n地點 | The One 南園人文客棧\n地址 | 新竹縣新埔鎮九芎湖32號\n\n\n\n**參觀及遊園請電話預約**\n預約中心 | (02)2562-1777 週一至週六 09:00~18:00\n現場服務專線 | (03)589-0011#1101、1102\n\n  \n關於藝術家 → 洪司丞 \nThe One官網
URL:https://artgalleryapollo.com/2021/event/%e3%80%8a%e8%b3%87%e8%a8%8a%e4%b9%8b%e6%a3%ae%e3%80%8b%e6%b4%aa%e5%8f%b8%e4%b8%9e-%e5%80%8b%e5%b1%95-%e2%95%b3-the-one%e5%8d%97%e5%9c%92/
LOCATION:The One\, 九芎湖32號\, 新埔鎮\, 新竹縣\, 台灣
CATEGORIES:slide show,展覽
ATTACH;FMTTYPE=image/jpeg:https://artgalleryapollo.com/2021/wp-content/uploads/2026/06/官網.jpg
ORGANIZER;CN="%E9%98%BF%E6%B3%A2%E7%BE%85%E7%95%AB%E5%BB%8A":MAILTO:artgalleryapollo@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261024
DTEND;VALUE=DATE:20261206
DTSTAMP:20261019T075531
CREATED:20260929T041537Z
LAST-MODIFIED:20261008T032950Z
UID:15224-1792800000-1796515199@artgalleryapollo.com
SUMMARY:牽纖敘事・萬縷成章｜沈佳玲 個展 "Woven Narratives: Infinite Threads" Solo Exhibition by Caren Shen
DESCRIPTION:牽纖敘事・萬縷成章｜沈佳玲 個展\n展期｜\n2026.10.24 – 12.05\n開幕｜\n2026.10.24 (六) 15:00\n贊助｜\n \n  \n \n🔗沈佳玲 簡歷 & 作品 \n  \n「我不認為自己是在創作纖維藝術，而是在用纖維作為一種語言，去談記憶、感知與生命經驗。」 \n定居奧地利維也納三十載的台灣當代編織藝術家沈佳玲（Caren Shen），長年活躍於織品設計、金工、雕塑與當代藝術領域。本次展覽除了帶來極具份量感的大型纖維創作，亦同步展出藝術家近年透過水彩、壓克力，揭示從平面色彩過渡至立體毛織結構的轉譯歷程，引領觀者走入一場回歸純粹感受的沉浸式對話。 \n沈佳玲初中時期赴美求學，在美術課堂上獲得啟蒙與肯定；然而，為了追尋更具歷史厚度與文化底蘊的藝術環境，她隻身前往歐洲，考入享譽國際的奧地利國立維也納應用藝術大學（University of Applied Arts Vienna）。求學期間，她以優異的天賦被教授譽為「早已烤好的麵包」，陸續受教於多位名師，研習織品設計、金屬工藝與雕塑教育，並於1996年取得藝術碩士（Magistra artium）學位。 \n長年的歐洲文化洗禮，造就了沈佳玲自由、不受框架束縛的創作特質。「我從未刻意去想要如何『整合』金工與雕塑，因為做出來的當下，它自然就是一個整體的流露。」沈佳玲直言。對她而言，纖維不僅是工藝媒材，更是「人一出生最初接觸的物質」，帶著天然的體溫。 \n沈佳玲突破大眾對傳統地毯或掛毯的實用性想像，大膽將織面視為畫布、以纖維取代顏料。她擅長運用西藏純羊毛、竹絲等天然材質，結合高低絨結構（Hi-Lo Pile）與手工雕刻修剪（Carving）技法。隨著走動時光線與視角的改變，羊毛織面呈現如水墨暈染般的色澤變化，讓平面的掛織展現出接近浮雕的立體景深。 \n本次展出的代表作《物質催眠》（Silent Matter），打破了具體形象的限制，藉由如水滴般流動起伏的輪廓與層疊色彩，讓人放下對『畫中畫了什麼』的揣測，走進一片能讓思緒慢慢安靜下來的內在角落。沈佳玲指出，「催眠」並非沉睡，而是觀看方式的轉換；當色彩緩緩流動，物質自身所蘊藏的無聲力量便悄然撫慰觀者的心靈。另一件重要作品《WeR》（之間），音同「我們（We are）」，透過色彩的碰撞與高低起伏的纖維剪修，勾勒出如胚胎與水流般循環的生命律動，在柔軟的地貌中鋪陳人與人共生流動的過渡空間。而作品《氣息》（Atem）則將「呼吸」化為核心意象，讓如氣流與脈動般的線條在織面上交疊穿梭，將看不見的氣息轉化為身體與自然之間最細微的連結。 \n本次展覽同步呈現多幅水彩壓克力原作（如《夢之織》、《寧靜之核》、《界縫孵室》等）。對沈佳玲而言，創作前的打掃整頓是一種讓思緒歸零的儀式；而將布面小稿一針一線放大為巨幅織作的過程，不僅考驗著手工與比例，更讓她在日復一日的繁複勞動中安定下來，體驗兩件作品相互呼應的療癒感。 \n沈佳玲認為，創作與生活的關係從來不是「征服」，而是「調和」: 在日常生活的限制、衝突與變化之中，循著線條慢慢找到自己的節奏。材料承載著生活，生活塑造了人；而人就在這兩者之間，以雙手觸摸世界，也重新理解自己。 \n曾於阿波羅畫廊參與纖維藝術聯展、在台北國際藝術博覽會展出的沈佳玲，此次再度攜手阿波羅畫廊，於 10 月 24 日至 12 月 5 日推出最新個展《牽纖敘事・萬縷成章》。談及這場展覽，沈佳玲真誠表示：「我希望這不只是一場織造技法的展現，而是一場對話與共鳴的尋找。每件作品都不是標準答案，觀者在作品面前無論感到喜歡還是不喜歡，都是一段探索自我與重新傾聽內在的開始。」 \n本次個展亦同步響應 2026 台北藝術週（10 月 24 日至 11 月 7 日）的城市藝文串聯，期盼邀請觀者慢下腳步，開啟一場溫暖的心靈對話。 \n  \n  \n\nWoven Narratives: Infinite Threads — Caren Shen Solo Exhibition\nDuration｜2026.10.24 – 12.05\nOpening｜2026.10.24 Sat.15:00\nSponsor｜ \n \n🔗Caren Shen’s CV & Artworks \n  \n“I don’t consider myself to be creating fiber art. Rather\, I use fiber as a language to speak about memory\, perception\, and lived experience.” \nBased in Vienna\, Austria\, for three decades\, Taiwanese contemporary textile artist Caren Shen has long been active across textile design\, metalwork\, sculpture\, and contemporary art. In addition to presenting a series of substantial\, large-scale fiber works\, this exhibition also features recent watercolor and acrylic paintings that reveal the artist’s process of translating two-dimensional color into three-dimensional woven structures. Together\, these works invite viewers into an immersive dialogue centered on the return to pure sensation. \nShen first went to the United States to study during junior high school\, where she discovered both inspiration and recognition in her art classes. Seeking an artistic environment with greater historical depth and cultural richness\, she later traveled alone to Europe and was admitted to the internationally renowned University of Applied Arts Vienna. During her studies\, her exceptional talent led her professors to describe her as “already baked bread”—someone whose artistic potential was already fully formed. She studied under several distinguished teachers\, pursuing textile design\, metalwork\, and sculpture\, and received her Magistra artium degree in 1996. \nDecades of immersion in European culture have shaped Shen’s free and unconstrained approach to art. “I never deliberately thought about how to ‘integrate’ metalwork and sculpture\,” she explains. “When the work comes into being\, it naturally reveals itself as a whole.” For Shen\, fiber is not merely a craft material\, but “the first material a person encounters at birth\,” carrying with it a natural sense of warmth and the human touch. \nBreaking away from conventional perceptions of carpets and tapestries as functional objects\, Shen boldly treats the woven surface as a canvas and fiber as a substitute for paint. She works extensively with natural materials such as Tibetan wool and bamboo silk\, combining Hi-Lo Pile structures with hand-carved and trimmed surfaces. As viewers move around the works\, changing light and perspectives reveal subtle shifts in color and texture. The wool surfaces evoke the diffuse washes of ink painting\, giving these seemingly flat woven works a sculptural depth reminiscent of relief. \nOne of the exhibition’s representative works\, Silent Matter\, breaks free from the constraints of recognizable imagery. Through fluid\, undulating contours reminiscent of water droplets and layers of shifting color\, the work encourages viewers to let go of the question of “what is depicted” and instead enter an inner space where thoughts can gradually become still. For Shen\, “hypnosis” does not mean falling asleep\, but rather a transformation in the way we look. As colors appear to flow slowly across the surface\, the silent force contained within the material quietly soothes the viewer. \nAnother significant work\, WeR\, whose title echoes “We are\,” explores the rhythms of interconnected life through collisions of color and the sculptural variation created by high- and low-pile fibers. Its forms suggest the cyclical movements of embryos and flowing water\, creating a transitional space within a soft\, tactile landscape where human beings coexist and move together. \nIn Atem\, the German word for “breath\,” breathing becomes the central motif. Lines resembling currents of air and pulses overlap and weave across the surface\, transforming invisible breath into one of the most delicate connections between the body and the natural world. \nThe exhibition also presents a selection of original watercolor and acrylic works\, including Dream Weave\, The Core of Stillness\, and Incubation Chamber at the Seams. For Shen\, cleaning and organizing her studio before beginning a work is a ritual that allows her mind to return to zero. The process of enlarging small fabric studies\, stitch by stitch\, into monumental woven works not only tests her craftsmanship and sense of proportion\, but also enables her to find stability through repetitive\, day-to-day labor. In this process\, she experiences a sense of healing that resonates between the two forms of work. \nShen believes that the relationship between art and life has never been about “conquering\,” but about “harmonizing.” Within the limitations\, conflicts\, and changes of everyday life\, she follows the lines and gradually finds her own rhythm. Materials carry life\, while life shapes the individual. Between the two\, we touch the world with our hands—and\, in doing so\, come to understand ourselves anew. \nHaving previously participated in a fiber art group exhibition at Apollo Art Gallery and exhibited at Art Taipei\, Shen once again joins hands with Apollo Art Gallery for her latest solo exhibition\, Woven Narratives: Infinite Threads\, presented from October 24 to December 5. \nReflecting on the exhibition\, Shen says sincerely: “I hope this is not simply a presentation of weaving techniques\, but an opportunity to seek dialogue and resonance. None of the works offers a standard answer. Whether viewers feel drawn to a work or not\, that response can become the beginning of an exploration of the self and a renewed act of listening inward.” \nThe exhibition will also take part in the citywide cultural programming of Taipei Art Week 2026\, taking place from October 24 to November 7. Through this occasion\, viewers are invited to slow down\, pause before the works\, and enter into a warm and intimate dialogue with the inner self. \n“I don’t consider myself to be creating fiber art. Rather\, I use fiber as a language to speak about memory\, perception\, and lived experience.” \nBased in Vienna\, Austria\, for three decades\, Taiwanese contemporary textile artist Caren Shen has long been active across textile design\, metalwork\, sculpture\, and contemporary art. In addition to presenting a series of substantial\, large-scale fiber works\, this exhibition also features recent watercolor and acrylic paintings that reveal the artist’s process of translating two-dimensional color into three-dimensional woven structures. Together\, these works invite viewers into an immersive dialogue centered on the return to pure sensation. \nShen first went to the United States to study during junior high school\, where she discovered both inspiration and recognition in her art classes. Seeking an artistic environment with greater historical depth and cultural richness\, she later traveled alone to Europe and was admitted to the internationally renowned University of Applied Arts Vienna. During her studies\, her exceptional talent led her professors to describe her as “already baked bread”—someone whose artistic potential was already fully formed. She studied under several distinguished teachers\, pursuing textile design\, metalwork\, and sculpture\, and received her Magistra artium degree in 1996. \nDecades of immersion in European culture have shaped Shen’s free and unconstrained approach to art. “I never deliberately thought about how to ‘integrate’ metalwork and sculpture\,” she explains. “When the work comes into being\, it naturally reveals itself as a whole.” For Shen\, fiber is not merely a craft material\, but “the first material a person encounters at birth\,” carrying with it a natural sense of warmth and the human touch. \nBreaking away from conventional perceptions of carpets and tapestries as functional objects\, Shen boldly treats the woven surface as a canvas and fiber as a substitute for paint. She works extensively with natural materials such as Tibetan wool and bamboo silk\, combining Hi-Lo Pile structures with hand-carved and trimmed surfaces. As viewers move around the works\, changing light and perspectives reveal subtle shifts in color and texture. The wool surfaces evoke the diffuse washes of ink painting\, giving these seemingly flat woven works a sculptural depth reminiscent of relief. \nOne of the exhibition’s representative works\, Silent Matter\, breaks free from the constraints of recognizable imagery. Through fluid\, undulating contours reminiscent of water droplets and layers of shifting color\, the work encourages viewers to let go of the question of “what is depicted” and instead enter an inner space where thoughts can gradually become still. For Shen\, “hypnosis” does not mean falling asleep\, but rather a transformation in the way we look. As colors appear to flow slowly across the surface\, the silent force contained within the material quietly soothes the viewer. \nAnother significant work\, WeR\, whose title echoes “We are\,” explores the rhythms of interconnected life through collisions of color and the sculptural variation created by high- and low-pile fibers. Its forms suggest the cyclical movements of embryos and flowing water\, creating a transitional space within a soft\, tactile landscape where human beings coexist and move together. \nIn Atem\, the German word for “breath\,” breathing becomes the central motif. Lines resembling currents of air and pulses overlap and weave across the surface\, transforming invisible breath into one of the most delicate connections between the body and the natural world. \nThe exhibition also presents a selection of original watercolor and acrylic works\, including Dream Weave\, The Core of Stillness\, and Incubation Chamber at the Seams. For Shen\, cleaning and organizing her studio before beginning a work is a ritual that allows her mind to return to zero. The process of enlarging small fabric studies\, stitch by stitch\, into monumental woven works not only tests her craftsmanship and sense of proportion\, but also enables her to find stability through repetitive\, day-to-day labor. In this process\, she experiences a sense of healing that resonates between the two forms of work. \nShen believes that the relationship between art and life has never been about “conquering\,” but about “harmonizing.” Within the limitations\, conflicts\, and changes of everyday life\, she follows the lines and gradually finds her own rhythm. Materials carry life\, while life shapes the individual. Between the two\, we touch the world with our hands—and\, in doing so\, come to understand ourselves anew. \nHaving previously participated in a fiber art group exhibition at Apollo Art Gallery and exhibited at Art Taipei\, Shen once again joins hands with Apollo Art Gallery for her latest solo exhibition\, Woven Narratives: Infinite Threads\, presented from October 24 to December 5. \nReflecting on the exhibition\, Shen says sincerely: “I hope this is not simply a presentation of weaving techniques\, but an opportunity to seek dialogue and resonance. None of the works offers a standard answer. Whether viewers feel drawn to a work or not\, that response can become the beginning of an exploration of the self and a renewed act of listening inward.” \nThe exhibition will also take part in the citywide cultural programming of Taipei Art Week 2026\, taking place from October 24 to November 7. Through this occasion\, viewers are invited to slow down\, pause before the works\, and enter into a warm and intimate dialogue with the inner self.
URL:https://artgalleryapollo.com/2021/event/%e7%89%bd%e7%ba%96%e6%95%98%e4%ba%8b%e3%83%bb%e8%90%ac%e7%b8%b7%e6%88%90%e7%ab%a0%ef%bd%9c%e6%b2%88%e4%bd%b3%e7%8e%b2-%e5%80%8b%e5%b1%95-woven-narratives-infinite-threads-solo-exhibition-by-caren/
LOCATION:阿波羅畫廊\, 大安區忠孝東路四段218-6號A棟2樓 (阿波羅大廈)\, 台北市\, 106\, 台灣
CATEGORIES:slide show,展覽
ATTACH;FMTTYPE=image/jpeg:https://artgalleryapollo.com/2021/wp-content/uploads/2026/09/沈佳玲-文宣_官網_贊助.jpg
ORGANIZER;CN="%E9%98%BF%E6%B3%A2%E7%BE%85%E7%95%AB%E5%BB%8A":MAILTO:artgalleryapollo@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261029
DTEND;VALUE=DATE:20261103
DTSTAMP:20261019T075531
CREATED:20261003T081847Z
LAST-MODIFIED:20261017T064717Z
UID:15245-1793232000-1793663999@artgalleryapollo.com
SUMMARY:2026 台北國際藝術博覽會 ART TAIPEI | B06 & M03 展位
DESCRIPTION:2026 台北國際藝術博覽會 ART TAIPEI\n藝術家 |\n江漢東.冉茂芹.戴壁吟.許維忠.Uwe Mertsch.黃法誠.趙馥樂.黃至正.郭俊佑\nMIT新人推薦特區｜\n傅聖雅\n展位 |\nB06 & M03 \n▌《觀看的邊界》\n在影像、資訊與感知不斷重組的時代，「觀看」早已不只是單純的凝視，而是一種介於真實、記憶與想像之間的生成過程。我們透過雙眼理解世界，卻也同時被影像、文化與科技重新塑造觀看的方式。當現實與虛構逐漸交錯，人們所看見的景象，也開始產生新的邊界與距離。 \n阿波羅畫廊於2026台北國際藝術博覽會，以《觀看的邊界》為策展主題，邀集九位來自不同世代與文化背景的藝術家，包括江漢東、冉茂芹、戴壁吟、許維忠、Uwe Mertsch、黃法誠、趙馥樂、黃至正與郭俊佑。藝術家們透過油彩、水墨、手造紙、金屬箔材與複合媒材等多元創作語彙，重新思考人與世界之間的觀看關係。與此同時，阿波羅畫廊亦媒合於「文化部 MIT 新人推薦特區」展出的青年藝術家傅聖雅。其創作始終圍繞著「痕跡是如何留下的」核心提問，從版印壓印受力、摺紙與裱褙出發，將紙張視為人體表皮的隱喻，作品由家屋、女性勞動與照護工作中的傷口及皮膚出發，延伸至城市公共空間中無家者的日常物件與停留狀態。她藉由感溫油墨與身體溫度的介入，讓圖像在顯現與隱沒間流轉，使「痕跡」轉化為關於照護、親密與社會關係的存在方式，重新喚起那些日常中容易被忽略的微小印記。 \n江漢東以鮮明色彩、民俗記憶與童年經驗，建構出充滿生命力與想像性的視覺世界。冉茂芹則以深厚寫實技法與減筆筆觸，描繪人物精神、歷史情感與人文溫度。戴壁吟長年深耕「紙藝術」，藉由手造紙、壓印與抽象肌理，使紙張本身成為承載時間與內在意識的創作空間。許維忠的雕塑從人體出發，透過鏤空結構與空間量體，探討身體、精神與存在之間的關係。來自德國的Uwe Mertsch 透過簡潔俐落的線條，與鮮明的色彩，結合浮雕效果，豐富平面創作的層次性，表現日常的景象，呈現簡單即是美，藝術融入生活的創作精神。黃法誠長期關注文明與自然之間的矛盾，畫面中的支架、水池、假山與人工景觀，映照出人類對自然的控制、投射與擬像化觀看。趙馥樂以幾何結構與建築性的畫面語彙，探討空間秩序與感知邊界。黃至正結合金屬箔材、影像與記憶敘事，回應當代觀看經驗中真實與感知的流動狀態。郭俊佑則從數位介面、日常場景與荒誕感出發，延伸出介於真實與虛構之間的當代視覺場域。 \n本次展覽試圖透過不同藝術語言的交會，呈現觀看如何被文化、時間、記憶與科技所形塑。當觀者穿梭於主展位與 MIT 特區凝視作品的同時，也重新回望自身所處的世界，以及內心深處那些尚未被言說的感知經驗。 \n  \n尊榮貴賓預展 |\n2026.10.29 (四) 12:00-21:00\n貴賓預展｜\n2026.10.29 (四) 15:00-21:00\n2026.10.30 (五) 11:00-14:00\n公眾開放｜\n2026.10.30 (五) 14:00-19:00\n2026.10.31-11.01 (六.日) 11:00-19:00\n2026.11.02 (一) 11:00-18:00\n地點｜台北世界貿易中心一館 (台北市信義區信義路五段5號) \n台北國際藝術博覽會 | \n展會資訊 \n \n  \n \n📺 收聽｜MIT 新人推薦藝術家：傅聖雅 / 漢聲廣播電台 \n\nArtists |\nCHIANG Han-Tung\, YIM Mau-Kun\, DAI Bih-In\, SHEU Wei-Jong\, Uwe Mertsch\, HUANG Fa-Cheng\, CHAO Fu-Le\, HUANG Chih-Cheng\, KUO Jun-You\nMIT New Artists Recommendation Section |\nFU Sheng-Ya\nBooths |\nB06 & M03 \n▌The Boundaries of Seeing\nIn an age when images\, information\, and perception are constantly being reshaped and reconfigured\, “seeing” is no longer simply an act of looking\, but a generative process situated between reality\, memory\, and imagination. We understand the world through our eyes\, while the ways in which we see are simultaneously reshaped by images\, culture\, and technology. As reality and fiction increasingly intertwine\, the scenes we perceive begin to acquire new boundaries and distances. \nFor Art Taipei 2026\, Apollo Art Gallery presents The Boundaries of Seeing as its curatorial theme\, bringing together nine artists from different generations and cultural backgrounds: CHIANG Han-Tung\, YIM Mau-Kun\, DAI Bih-In\, SHEU Wei-Jong\, Uwe Mertsch\, HUANG Fa-Cheng\, CHAO Fu-Le\, HUANG Chih-Cheng\, KUO Jun-You. Through diverse artistic vocabularies including oil painting\, ink painting\, handmade paper\, metal leaf\, and mixed media\, the artists reconsider the relationship between human beings and the world through the act of seeing. \nCHIANG Han-Tung constructs a vibrant and imaginative visual world through vivid colors\, folk memories\, and childhood experiences. YIM Mau-Kun\, with his accomplished realist techniques and restrained brushwork\, portrays the spirit of his subjects\, historical emotions\, and a profound sense of human warmth. DAI Bih-In has devoted years to the exploration of “paper art\,” using handmade paper\, embossing\, and abstract textures to transform paper itself into a creative space that carries time and inner consciousness. \nSHEU Wei-Jong’s sculptures begin with the human body. Through hollow structures and spatial volumes\, he explores the relationship between the body\, the spirit\, and existence. German artist Uwe Mertsch employs clean\, precise lines and vivid colors\, combined with relief-like effects\, to enrich the dimensionality of his two-dimensional works. Drawing inspiration from everyday scenes\, his work conveys the beauty of simplicity and reflects a creative spirit in which art becomes an integral part of everyday life. \nHUANG Fa-Cheng has long explored the tension between civilization and nature. Supports\, pools\, artificial rockeries\, and constructed landscapes within his paintings reflect humanity’s attempts to control\, project upon\, and construct representations of nature. Through geometric structures and architectural visual vocabularies\, CHAO Fu-Le examines spatial order and the boundaries of perception. HUANG Chih-Cheng combines metal leaf\, imagery\, and narratives of memory to respond to the fluid relationship between reality and perception in contemporary experiences of seeing. KUO Jun-You draws from digital interfaces\, everyday scenes\, and a sense of the absurd to create contemporary visual spaces situated between reality and fiction. \nAt the same time\, Apollo Art Gallery is also presenting FU Sheng-Ya\, a young artist selected for the Ministry of Culture’s MIT New Artists Recommendation Section. Her practice consistently revolves around the fundamental question of how traces are left behind. Beginning with the physical pressure created through printmaking and embossing\, as well as paper folding and mounting\, she regards paper as a metaphor for the human skin. Her works draw from houses\, women’s labor\, and wounds and skin encountered through caregiving\, extending toward the everyday objects and states of temporary dwelling associated with unhoused people in urban public spaces. Through the interaction between thermochromic ink and body temperature\, images move between revelation and disappearance\, transforming “traces” into a form of existence connected to care\, intimacy\, and social relationships. In doing so\, her work brings renewed attention to the small imprints in everyday life that are easily overlooked. \nThrough the intersection of diverse artistic languages\, the exhibition explores how seeing is shaped by culture\, time\, memory\, and technology. As visitors move between the main booth and the MIT New Artists Recommendation Section\, encountering the works through acts of looking\, they are also invited to turn their gaze back toward the world they inhabit—and toward those yet-unspoken perceptual experiences within themselves. \n  \nVIP Preview |\nOctober 29\, 2026 (Thu.) 12:00–21:00 \nVIP Preview |\nOctober 29\, 2026 (Thu.) 15:00–21:00\nOctober 30\, 2026 (Fri.) 11:00–14:00 \nPublic Opening |\nOctober 30\, 2026 (Fri.) 14:00–19:00\nOctober 31–November 1\, 2026 (Sat.–Sun.) 11:00–19:00\nNovember 2\, 2026 (Mon.) 11:00–18:00 \nVenue |\nTaipei World Trade Center Hall 1\nNo. 5\, Section 5\, Xinyi Road\, Xinyi District\, Taipei City\, Taiwan \nArt Taipei |\nhttps://2026.art-taipei.com/taipei/tw/
URL:https://artgalleryapollo.com/2021/event/2026-%e5%8f%b0%e5%8c%97%e5%9c%8b%e9%9a%9b%e8%97%9d%e8%a1%93%e5%8d%9a%e8%a6%bd%e6%9c%83-art-taipei-b06-%e5%b1%95%e4%bd%8d/
LOCATION:台北世貿一館\, 台北市信義區信義路五段5號\, 台北市\, 台灣
CATEGORIES:slide show,展覽
ATTACH;FMTTYPE=image/jpeg:https://artgalleryapollo.com/2021/wp-content/uploads/2026/10/藝博文宣尺寸1006-官網.jpg
ORGANIZER;CN="%E9%98%BF%E6%B3%A2%E7%BE%85%E7%95%AB%E5%BB%8A":MAILTO:artgalleryapollo@gmail.com
END:VEVENT
END:VCALENDAR