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X-WR-CALDESC:Events for Apollo art gallery
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260613
DTEND;VALUE=DATE:20270101
DTSTAMP:20261025T073818
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
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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:20260720
DTEND;VALUE=DATE:20260930
DTSTAMP:20261025T073818
CREATED:20260407T040546Z
LAST-MODIFIED:20261001T043427Z
UID:14080-1784505600-1790726399@artgalleryapollo.com
SUMMARY:黑貓域｜高橋行雄 個展 ╳ 恆。好
DESCRIPTION:黑貓域｜高橋行雄 個展 ╳ 恆。好\n展期｜\n2026.04.28 – 09.29 \n本次展覽邀請日本藝術家高橋行雄，出生於日本東北地方的岩手縣，自1989年開始他以「貓」為主題，創作張張栩栩如生的作品。曾連續十年獲選參展法國LE SALON的他，在法國更是以「貓畫家」的美名備受肯定。從他的創作中，可以感受到他不僅是一位愛貓的紳士，同時對貓性格也瞭如指掌。自身為飼主，藉由長期對貓的觀察，描繪出貓各種動人的姿態及容顏，猶如花朵般地在一瞬之間綻放！行雲流水般的色鉛筆技法，畫出蓬鬆茸茸的貓毛，似棉花糖般的輕盈。高橋將自己對藝術的執著，透過貓系列的作品創作傳達給欣賞者，從而療癒人心。同時，高橋更關注「愛與被愛」，隱約流露出飼主給予愛，貓接受飼主的愛，展現飼主與貓之間互動的重現。 \n恆。好是阿波羅畫廊位於屏東恆春的空間，自2017年起，定期安排展覽展出，為阿波羅畫廊拓展南臺灣的據點。 \n→恆。好 \n  \n\nTakahashi Yukio Solo Exhibition\nDuration｜\n28.04 – 29.09\, 2026 \n  \n\n\n\n\n\n\n\n\nThis exhibition features Japanese artist Takahashi Yukio\, who was born in Iwate Prefecture in the Tohoku region of Japan. Since 1989\, he has centered his work on the theme of “cats\,” creating vividly lifelike pieces. Having been selected for the prestigious LE SALON in France for ten consecutive years\, he has earned wide recognition there as the renowned “cat painter.” \nThrough his work\, one can sense that he is not only a gentleman who deeply loves cats\, but also someone who thoroughly understands their nature. As a cat owner himself\, his long-term observation allows him to capture a wide range of expressive feline postures and appearances—each moment blooming like a flower in an instant. With fluid\, graceful colored-pencil techniques\, he renders the cats’ soft\, fluffy fur with a lightness reminiscent of cotton candy. \nTakahashi conveys his dedication to art through his cat series\, offering viewers a sense of warmth and healing. At the same time\, his works subtly explore the theme of “love and being loved\,” revealing the tender relationship between owner and cat—the love given by the owner and received by the cat—capturing their intimate interactions. \n“HunHau” is Apollo Art Gallery’s space located in Hengchun\, Pingtung. Since 2017\, it has hosted regular exhibitions\, serving as an important extension of Apollo Gallery’s presence in southern Taiwan. \n\n\n\n\n\n\n\n\n\n\n\n\n→ HunHau
URL:https://artgalleryapollo.com/2021/event/%e9%ab%98%e6%a9%8b%e8%a1%8c%e9%9b%84-%e5%80%8b%e5%b1%95-%e2%95%b3-%e6%81%86%e3%80%82%e5%a5%bd/
LOCATION:恆。好 HunHau\, 東門路2巷11弄4號\, 恆春鎮\, 屏東縣\, 台灣
CATEGORIES:展覽
ATTACH;FMTTYPE=image/jpeg:https://artgalleryapollo.com/2021/wp-content/uploads/2026/04/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:20260808
DTEND;VALUE=DATE:20260913
DTSTAMP:20261025T073818
CREATED:20260707T064312Z
LAST-MODIFIED:20261001T043416Z
UID:15080-1786147200-1789257599@artgalleryapollo.com
SUMMARY:墨日重生｜劉默霖 個展 "Ink Reborn” Solo Exhibition by LIU Mo-Lin
DESCRIPTION:墨日重生｜劉默霖 個展\n展期｜\n2026.08.08 – 09.12\n開幕｜\n2026.08.15 (六) 15:00\n藝術家與談｜\n2026.08.22 (六) 15:00 \n  \n \n🔗劉默霖 簡歷 \n  \n阿波羅畫廊將推出藝術家劉默霖個展《墨日重生》，本展以當代水墨為媒介，重新詮釋海洋生態與人類文明之間既親密又脆弱的關係。藝術家以海龜、珊瑚、魚群、建築與人造物作為主要視覺元素，在傳統水墨的線條、皴擦與細膩筆觸中，開展一場介於療癒與衝突之間的深海寓言。 \n《墨日重生》延續劉默霖長期對海洋生態、城市環境與文明發展的關注。作品透過擬人化海龜的日常行為，將社群文化、消費習慣、科技依賴與環境污染等當代社會現象，轉化為荒謬卻真實的海底日常。海龜戴著耳機、滑著手機，或穿梭於食物、品牌與外送平台等符碼之間，看似幽默輕鬆，實則映照人類生活方式對自然環境造成的深層影響。 \n在展覽中，動物不只是畫面中的主角，更成為人類文明的鏡像。那些出現在海洋生物身上的物件，看似戲謔，卻指向真實存在於海底的漂流物與污染痕跡。藝術家藉由水墨的流動性與滲化性，將海底世界轉化為介於真實與夢境之間的「後自然山水」：珊瑚如山脈般堆疊，潮汐、島嶼與建築交錯其間，文明遺跡隱沒於海陸邊界，也暗示著人類與自然之間難以切割的依存關係。 \n展名中的「重生」，並非回到未受破壞的原點，而是在污染、暖化、珊瑚白化與文明侵襲之後，生命仍然持續修復、流動與重新生長的狀態。劉默霖將自身視為一位「海上花藝師」，重新編排海底生態、山水結構與文明遺跡，使海龜擬人化、珊瑚山水化，讓建築成為精神棲居的所在。當世界逐漸崩解，墨色仍持續流動，生命也在潮汐之中悄然重生。 \n劉默霖為台灣當代水墨藝術家，現任復興商工美術科主任，畢業於國立臺灣藝術大學書畫藝術學系碩士，目前亦於國立臺北教育大學博士班進修。其創作與教學、研究並行，長期探索水墨在當代語境中的轉化可能，並曾多次參與國內外藝術博覽會與水墨交流展。 \n劉默霖與阿波羅畫廊已有持續合作關係。藝術家曾於 2024 年在阿波羅畫廊舉辦個展《默契》，並多次參與阿波羅畫廊於台北藝術博覽會、台中藝術博覽會、台南藝術博覽會、新竹藝術博覽會等展位展出。此次《墨日重生》個展，亦可視為藝術家在前一階段創作脈絡之後，進一步將水墨語彙、海洋生態與當代文明議題深化交織的重要呈現。 \n  \n\n“Ink Reborn” Solo Exhibition by LIU Mo-Lin\nDuration｜2026.08.08 – 09.12\nOpening｜2026.08.15 Sat.15:00\nArtist Talking｜2026.08.22 Sat. 15:00 \n \n🔗LIU Mo-Lin’s CV \nApollo Art Gallery is pleased to present《Ink Reborn》\, a solo exhibition by artist  LIU Mo-Lin. Using contemporary ink painting as her medium\, Liu reinterprets the intimate yet fragile relationship between marine ecology and human civilization. Taking sea turtles\, coral reefs\, fish\, architecture\, and man-made objects as key visual elements\, the artist unfolds a deep-sea allegory between healing and conflict through the lines\, texture strokes\, and delicate brushwork of traditional ink painting. \n《Ink Reborn》 continues Liu’s long-standing concern with marine ecology\, urban environments\, and the development of human civilization. Through the daily behaviors of anthropomorphized sea turtles\, the works transform contemporary social phenomena\, including social media culture\, consumer habits\, technological dependence\, and environmental pollution\, into absurd yet strangely realistic scenes of everyday life beneath the sea. Sea turtles are shown wearing headphones\, using smartphones\, or moving among symbols of food\, brands\, and delivery platforms. These humorous and seemingly lighthearted images in fact reflect the deeper impact of human lifestyles on the natural environment. \nIn this exhibition\, animals are not merely protagonists within the picture plane. They also serve as mirrors of human civilization. The objects that appear on marine creatures may seem playful or satirical\, yet they point toward the drifting debris and traces of pollution that truly exist in the ocean today. Through the fluidity and diffusion of ink\, Liu transforms the underwater world into a form of “post-natural landscape” suspended between reality and dream. Coral reefs rise like mountain ranges\, while tides\, islands\, and architectural forms intersect across the composition. Ruins of civilization appear along the boundary between land and sea\, suggesting the inseparable relationship of dependence between humanity and nature. \nThe “rebirth” in the exhibition title does not refer to a return to an untouched origin. Rather\, it describes a state in which life continues to heal\, flow\, and regenerate after pollution\, global warming\, coral bleaching\, and the intrusion of human civilization. Liu imagines herself as a “floral artist of the sea\,” rearranging marine ecosystems\, landscape structures\, and remnants of civilization. In her works\, sea turtles are anthropomorphized\, coral reefs become landscapes\, and architecture becomes a dwelling place for the spirit. As the world gradually fractures\, ink continues to flow\, and life quietly begins again within the tides. \nLIU Mo-Lin is a Taiwanese contemporary ink artist and currently serves as the Director of the Fine Arts Department at Fu-Hsin Trade and Arts School. She received her master’s degree from the Department of Calligraphy and Painting Arts at National Taiwan University of Arts and is currently pursuing doctoral studies at National Taipei University of Education. Working across artistic practice\, teaching\, and research\, Liu has long explored the possibilities of transforming ink painting within a contemporary context. She has participated in numerous art fairs and ink art exchange exhibitions in Taiwan and abroad. \n  \nLIU Mo-Lin is a Taiwanese contemporary ink artist and currently serves as the Director of the Fine Arts Department at Fu-Hsin Trade and Arts School. She received her master’s degree from the Department of Calligraphy and Painting Arts at National Taiwan University of Arts and is currently pursuing doctoral studies at National Taipei University of Education. Working across artistic practice\, teaching\, and research\, Liu has long explored the possibilities of transforming ink painting within a contemporary context. She has participated in numerous art fairs and ink art exchange exhibitions in Taiwan and abroad.
URL:https://artgalleryapollo.com/2021/event/%e5%a2%a8%e6%97%a5%e9%87%8d%e7%94%9f%ef%bd%9c%e5%8a%89%e9%bb%98%e9%9c%96-%e5%80%8b%e5%b1%95/
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
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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:20260926
DTEND;VALUE=DATE:20261018
DTSTAMP:20261025T073818
CREATED:20260905T072533Z
LAST-MODIFIED:20261001T042258Z
UID:15168-1790380800-1792281599@artgalleryapollo.com
SUMMARY:分水嶺｜王綺穗 個展 "Watershed" Solo Exhibition by WANG Chi-Sui
DESCRIPTION:Watershed 分水嶺｜王綺穗 個展\n展期｜\n2026.09.26 – 10.17\n開幕｜\n2026.09.26 (六) 15:00\n藝術家與談｜\n2026.10.09 (五) 15:00\n→報名 \n  \n \n🔗王綺穗 簡歷 & 作品 \n  \n藝術家王綺穗在《Watershed 分水嶺》個展，結合繪畫、編織等複合媒材，以水為主軸，探討時間流轉、記憶承載與身份認同的內在關係。為觀者帶來連結自然、自我與族群歷史的藝術體驗。 \n王綺穗出身臺東，母系隸屬西拉雅族、父系溯源為卑南族的原住民。獨特的成長背景與族群經歷，讓她對「流動、歸屬、溯源」有著極為深刻的體悟。「Watershed」不僅止於水，而是水與地形的互動關係。一場雨落下來，水滴形成溪，匯聚成河流，流向海洋。各方的水流，循著不同的地貌與路徑前行，共同形塑廣大的流域。Watershed也意指轉折點，每一滴水皆有其源頭，帶著留存的記憶，隨著流動的過程，構築獨特的生命歷程。如同水，身份亦非固定不變的存在，經不斷流動、分散與匯聚逐漸形成，漫長的旅程中尋回原始歸屬的可能。 \n王綺穗以「水具有記憶」為創作核心，寄託對自身族群身份的探尋、梳理與回望。新系列作品以纖維織物、水的形體與未被收束的經線等，探討記憶、結構與流動之間的關係。織物既是一種被組織的形式，也承載著時間累積的痕跡；垂落於表面的線則停留在尚未完成和固定的狀態。水在其間聚集、下墜與滲流，如同記憶穿越既有結構，在時間與移動之中持續改變形態。作品並不試圖指向一個完整而固定的身份，而是將「形成」本身視為持續發生的過程——在編織與鬆解、聚合與離散之間，尋找尚未被決定的流向。「分水嶺」不是界線的終點，而是一個流向開始分岔、重新生成的臨界時刻。 \n透過繪畫與編織，不僅表現水的各種型態，更跳脫水的物理表象，反映個人生命遷徙與時代變遷的隱喻象徵。既是對自然景致的細膩觀察，也是藝術家人生境遇的真實寫照。從家族歷史的追尋、記憶的重構，逐漸理解自身為原住民身分的歷程。 \n王綺穗畢業英國新堡大學美術系取得藝術創作研究博士，現任國立臺北藝術大學電影與新媒體學院教授教授。曾於台南市美術館、高雄市立美術館，英國、奧地利等國內外舉辦展覽。阿波羅畫廊於今年台南藝術博覽會展出王綺穗作品，此次首度於畫廊舉辦個展，發表王綺穗最新作品，誠摯邀請您蒞臨欣賞！ \n  \n \n💻前往欣賞→虛擬展廳 \n  \n \n🖥收看 → 人間衛視《藝次元宇宙》專訪 \n  \n \n📺 收聽 → 漢聲廣播電台 訪問 \n\n  \n“Watershed” Solo Exhibition by WANG Chi-Sui\nDuration｜2026.09.26 – 10.17\nOpening｜2026.09.26 Sat.15:00\nArtist Talking｜2026.10.09 Fri.15:00\n→Sign up \n \n🔗WANG Chi-Sui’s CV & Artworks \n  \nArtist Wang Chi-Sui’s solo exhibition Watershed brings together painting\, weaving\, and mixed media to explore the intrinsic connections between the passage of time\, the carrying of memory\, and identity\, with water as its central theme. The exhibition offers viewers an artistic experience that connects nature\, the self\, and the histories of communities. \nBorn in Taitung\, Wang Chi-Sui is an Indigenous artist whose maternal lineage belongs to the Siraya people and whose paternal lineage traces back to the Puyuma people. Her distinctive upbringing and experiences with her cultural heritage have given her a profound understanding of “flow\, belonging\, and tracing one’s origins.” Watershed refers not simply to water\, but to the interaction between water and the landscape. When rain falls\, droplets gather into streams\, converge into rivers\, and eventually flow toward the sea. Water from different directions follows distinct terrains and pathways\, collectively shaping vast watersheds. Watershed also signifies a turning point. Every drop of water has an origin\, carrying traces of memory as it moves\, and through this process of flow\, forms a unique life trajectory. Like water\, identity is not a fixed or immutable entity. It gradually takes shape through continuous movement\, dispersal\, and convergence\, and along this long journey\, there remains the possibility of rediscovering an original sense of belonging. \nAt the core of Wang’s practice is the idea that “water holds memory\,” through which she explores\, traces\, and reflects upon her own cultural identity. Her new series employs woven fibers\, the forms of water\, and loose\, unfinished warp threads to examine the relationships between memory\, structure\, and flow. Textile is both an organized form and a carrier of traces accumulated over time\, while the threads hanging across its surface remain in a state that is neither complete nor fixed. Water gathers\, falls\, and seeps through these structures\, much like memory moving through established frameworks and continually transforming through time and movement. Rather than pointing toward a complete and fixed identity\, the works regard “becoming” itself as an ongoing process. Between weaving and unraveling\, convergence and dispersion\, they search for a direction that has yet to be determined. The “watershed” is not the endpoint of a boundary\, but a critical moment when a flow begins to diverge and generate new possibilities. \nThrough painting and weaving\, Wang not only depicts the various forms of water but also moves beyond its physical appearance\, using it as a metaphor for personal migration and the transformations of an era. Her works are at once subtle observations of natural landscapes and authentic reflections of her own life experiences. Through tracing family history and reconstructing memories\, she gradually comes to understand and embrace her Indigenous identity. \nWang Chi-Sui received a PhD in Fine Art from Newcastle University in the United Kingdom and is currently a professor at the School of Film and New Media\, Taipei National University of the Arts. She has exhibited extensively in Taiwan and internationally\, including exhibitions at the Tainan Art Museum and the Kaohsiung Museum of Fine Arts\, as well as in the United Kingdom\, Austria\, and other countries. \nApollo Art Gallery presented Wang Chi-Sui’s works at Art Tainan earlier this year. Watershed marks her first solo exhibition at the gallery and presents her latest works. We sincerely invite you to join us and experience the exhibition. \n  \n \n🖥 View AR Exhibition \n  \n \n🖥 Watch the Interview \n  \n \n📺  Listen to the Interview
URL:https://artgalleryapollo.com/2021/event/%e5%88%86%e6%b0%b4%e5%b6%ba%ef%bd%9c%e7%8e%8b%e7%b6%ba%e7%a9%97-%e5%80%8b%e5%b1%95-watershed-solo-exhibition-by-wang-chi-sui/
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/王綺穗-FB1_0912.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:20261025T073818
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:20261025T073818
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
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20261219
DTEND;VALUE=DATE:20270131
DTSTAMP:20261025T073818
CREATED:20261014T035522Z
LAST-MODIFIED:20261014T035522Z
UID:15292-1797638400-1801353599@artgalleryapollo.com
SUMMARY:樸覺｜洛貞 個展 "The Awareness of Being" Solo Exhibition by Lo Tsen
DESCRIPTION:樸覺｜洛貞 個展\n展期｜\n2026.12.19 – 2027.01.30\n開幕｜\n2026.12.19 (六) 15:00\n與談｜\n2027.01.09 (六) 15:00 \n“The Awareness of Being” Solo Exhibition by Lo Tsen\nDuration｜2026.12.19 – 2027.01.30\nOpening｜2026.12.19 Sat.15:00\nArtist Talk｜2027.01.09 Sat.15:00
URL:https://artgalleryapollo.com/2021/event/%e6%a8%b8%e8%a6%ba%ef%bd%9c%e6%b4%9b%e8%b2%9e-%e5%80%8b%e5%b1%95-the-awareness-of-being-solo-exhibition-by-lo-tsen/
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
ORGANIZER;CN="%E9%98%BF%E6%B3%A2%E7%BE%85%E7%95%AB%E5%BB%8A":MAILTO:artgalleryapollo@gmail.com
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