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DTSTART;VALUE=DATE:20260613
DTEND;VALUE=DATE:20270101
DTSTAMP:20260627T034400
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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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260620
DTEND;VALUE=DATE:20260818
DTSTAMP:20260627T034400
CREATED:20260617T095108Z
LAST-MODIFIED:20260626T053600Z
UID:14017-1781913600-1787011199@artgalleryapollo.com
SUMMARY:文明的圍欄｜黃法誠、官孟玄 聯展
DESCRIPTION:展期｜預約制\n2026.06.20 – 2026.08.17\n→ 報名  \n開幕｜預約制\n2026.06.20 (六) 15:00\n→ 報名 \n圍欄不只是物理性的阻隔，更是文明運作的象徵。文明的建立，往往伴隨著對其他生命自由的限制。人類藉由「界線」區分舒適與危險、文明與荒野，並在這些界線之中重新定義生命存在的位置。 \n本次聯展邀請黃法誠與官孟玄兩位藝術家，透過各自不同的創作語言，共同回應當代人類與自然之間逐漸複雜的關係。兩人的作品皆關注「人為環境」如何重新塑造自然，也同時指向人類在文明社會中的矛盾處境：我們無法真正離開文明，卻始終對自然抱持想像；我們試圖接近野性，卻又不斷以秩序、景觀與觀看機制重新限制它。 \n \n黃法誠長期關注都市環境中的「人造風景」。他認為，台灣多數林相其實皆經過人為改造，無論是行道樹的修剪、山林景觀的整理，或樹木的遷徙與支撐，都顯示出自然早已成為文明系統的一部分。他將這些現象視為人與自然互動的隱喻。 \n在創作中，黃法誠大量挪用都市中常見的「樹木支架」作為符號。自然生長的樹木原本不需要支架，但當樹木被迫遷移、離開原生土地後，便需要依靠支架固定與支撐才能存活。藝術家進一步將「樹」與「人」的角色相互置換，描繪人物利用支架做出武術、飛行、攀附等動作。那些看似輕盈甚至帶有幽默感的姿態，實際上卻透露出一種被結構限制的狀態：人類雖然藉由文明追求自由與進步，卻也同時被文明本身所建立的秩序、欲望與規範所固定。 \n黃法誠的畫面經常出現紅線、水池、擋土牆與人工景觀等元素，並以壓克力顏料結合墨與金蔥粉，營造出灰濛、不穩定且帶有擬像感的空間氛圍。那些看似自然的風景，其實皆經過人工安排與修整。他曾在中國見到整排被塗上相同高度白漆的行道樹，那種高度一致的景觀令他聯想到政治與權力系統中的規格化秩序；而在山陀兒颱風侵襲高雄後，他也持續記錄那些被吹倒、裸露根部的樹木，藉此回望城市與自然之間脆弱而矛盾的關係。 \n官孟玄則從另一種角度切入。她的創作長期圍繞「逃避文明、逃避自然」的矛盾狀態。她關注人類既離不開文明的保護，卻又持續嚮往自然與野性，而這種對自然的想像，往往只能透過一種被重新建構的「中間景觀」來完成。 \n在她的作品中，公園、動物園等場域被視為文明與自然之間的過渡空間。人類透過限制自然、模擬自然與重現自然，打造出一種近似烏托邦的幻覺。然而，這樣的幻覺極其脆弱，只要秩序稍微失衡，人們便會意識到其中的「不自然」。 \n官孟玄早期以版畫創作為主，近年則以數位繪畫作為主要媒材，並以細膩、安靜且帶有距離感的畫面風格，描繪動物園中的風景與動物。其作品《Views from the zoos》入選 2026 義大利波隆那插畫展（BCBF Illustrators Exhibition）。 \n對官孟玄而言，動物園始終是一個充滿矛盾的地方。當觀眾凝視被圈養的動物時，究竟看見的是動物本身，還是人類自身對自然的欲望與投射？她引用 John Berger 在〈為何凝視動物？〉中的提問，重新思考動物園作為觀看場域的意義。在她的畫面裡，動物經常呈現出缺席、躲藏、停頓或如同幽靈般的狀態，觀眾不斷尋找牠們的位置，卻也逐漸意識到，真正被觀看的，也許是文明本身。 \n在《A zoo in winter》系列中，她記錄了冬季赫爾辛基動物園的經驗。位於海中孤島上的動物園，在寒冷、空曠與缺乏遊客的狀態下，呈現出極度安靜甚至近乎超現實的氛圍。動物們彷彿消失在霧氣與空景之中，只留下觀看者在園區裡不斷尋找與凝視。那些問題——「熊在哪裡？」「老虎在哪裡？」「誰在這裡？」「我在哪裡？」——不再只是尋找動物的位置，而更像是對人類自身存在狀態的提問。 \n兩位藝術家的作品雖然形式不同，卻共同指向當代文明中的一種深層矛盾。黃法誠描繪的是被支架固定、被遷徙的樹木；官孟玄關注的是被圍欄圈養、被觀看的動物。兩者皆揭示了人類如何以保護、美化、管理與觀看之名，持續介入並重塑自然。 \n展覽中的支架、紅線、圍欄與人工景觀，不只是視覺元素，同時也是一種文明結構的象徵。那些看似輕盈、幽默甚至安靜的畫面背後，實際上反映的是人類對秩序、舒適與控制的依賴，以及自然在高度文明社會中逐漸被取代、模擬與規格化的過程。 \n當真實自然逐漸缺席，人類所觀看與接近的，也許早已不是自然本身，而是一種被重新設計過的風景。 \n  \n→ 黃法誠、官孟玄 簡歷 \n  \nFences of Civilization\nArtists｜HUANG Fa-Cheng\, Kuan Meng-Hsuan \nExhibition｜By Appointment Only\n2026.06.20 – 2026.08.17\n→ Registration \nOpening｜By Appointment Only\n2026.06.20 (Sat.) 15:00\n→ Registration \n  \nFences \nA fence is more than a physical barrier; it is a symbol of how civilization operates. The construction of civilization has always been accompanied by restrictions placed upon the freedom of other forms of life. Through boundaries\, humanity distinguishes comfort from danger\, civilization from wilderness\, while continually redefining the place of life within these divisions. \nThis two-person exhibition brings together Huang Fa-Cheng and Kuan Meng-Hsuan\, whose distinct artistic practices explore the increasingly complex relationship between humanity and nature. Although working through different visual languages\, both artists examine how human-made environments reshape nature\, while revealing the contradictions embedded within contemporary civilization. We cannot truly exist outside civilization\, yet we continue to romanticize nature. We long to approach the wild\, only to constrain it once again through systems of order\, landscape\, and observation. \nHuang Fa-Cheng has long focused on the notion of the “artificial landscape” within urban environments. In his view\, much of Taiwan’s forests have already been transformed by human intervention. Whether through the pruning of roadside trees\, the management of mountain landscapes\, or the transplantation and support of trees\, nature has gradually become an integral part of the civilizational system. For Huang\, these phenomena serve as metaphors for the relationship between humans and the natural world. \nA recurring motif in Huang’s paintings is the ubiquitous tree support frame found throughout cities. Trees growing in their native environment require no such structures. Yet once uprooted and relocated\, they depend upon artificial supports to survive. Huang further blurs the roles of trees and humans by depicting figures performing martial arts\, flying\, climbing\, or balancing with the aid of these supports. While these gestures appear lighthearted and even humorous\, they subtly reveal a condition of structural constraint. Civilization promises freedom and progress\, yet simultaneously binds humanity within the systems of order\, desire\, and regulation that it has created. \nHis paintings frequently incorporate elements such as red guide lines\, pools\, retaining walls\, and constructed landscapes. Combining acrylic paint with ink and glitter\, Huang creates hazy\, unstable spaces imbued with a sense of simulation. Landscapes that appear natural are\, in fact\, carefully designed and maintained. He recalls seeing rows of roadside trees in China painted with identical bands of white\, their uniformity evoking standardized systems of political authority and power. Following Typhoon Krathon’s devastation in Kaohsiung\, Huang also documented uprooted trees with exposed roots\, reflecting on the fragile and contradictory relationship between the city and nature. \nKuan Meng-Hsuan approaches similar questions from another perspective. Her practice revolves around the paradox of simultaneously escaping civilization and escaping nature. She explores humanity’s dependence upon the protection of civilization while continuing to yearn for nature and wilderness. Yet this longing can only be fulfilled through a reconstructed intermediary landscape. \nWithin Kuan’s work\, sites such as parks and zoos function as transitional spaces between civilization and nature. By restricting\, simitating\, and reconstructing nature\, humanity fabricates an illusion that resembles a utopia. Yet this illusion remains profoundly fragile. The slightest disruption of order immediately reveals its artificiality. \nInitially trained as a printmaker\, Kuan has in recent years shifted toward digital drawing as her primary medium. Through meticulous\, quiet\, and emotionally restrained imagery\, she depicts landscapes and animals within zoos. Her series Views from the Zoos was selected for the 2026 Bologna Children’s Book Fair Illustrators Exhibition. \nFor Kuan\, the zoo remains an inherently paradoxical place. When visitors gaze upon captive animals\, are they truly seeing the animals themselves\, or merely witnessing humanity’s own desires and projections onto nature? Drawing upon John Berger’s influential essay Why Look at Animals?\, she reconsiders the meaning of the zoo as a site of observation. Animals in her images often appear absent\, concealed\, motionless\, or ghostlike. As viewers continue searching for them\, they gradually realize that what is truly being observed may\, in fact\, be civilization itself. \nIn her series A Zoo in Winter\, Kuan documents her experience at Helsinki Zoo during winter. Situated on an isolated island surrounded by the sea\, the zoo becomes extraordinarily quiet under cold weather\, empty pathways\, and the near absence of visitors. The atmosphere borders on the surreal. Animals seem to dissolve into mist and vacant landscapes\, leaving only the viewer wandering through the grounds in search of them. Questions such as “Where is the bear?”\, “Where is the tiger?”\, “Who is here?”\, and “Where am I?” no longer concern the animals’ whereabouts alone\, but evolve into reflections upon the human condition itself. \nAlthough differing greatly in form\, the works of Huang Fa-Cheng and Kuan Meng-Hsuan ultimately converge upon a shared contradiction within contemporary civilization. Huang portrays transplanted trees secured by supporting frames\, while Kuan examines animals enclosed by fences and subjected to human observation. Together\, their works reveal the ways in which humanity continually intervenes in and reshapes nature under the names of protection\, beautification\, management\, and surveillance. \nThroughout the exhibition\, tree supports\, red guide lines\, fences\, and artificial landscapes function not merely as visual motifs\, but as symbols of the structures of civilization itself. Beneath their seemingly light\, humorous\, or tranquil appearances lies a deeper reflection on humanity’s dependence upon order\, comfort\, and control\, as well as the gradual replacement\, simulation\, and standardization of nature within highly civilized societies. \nAs authentic nature steadily recedes\, what we encounter—and what we believe we are approaching—may no longer be nature itself\, but a landscape carefully redesigned in its image. \n→ CVs of HUANG Fa-Cheng and Kuan Meng-Hsuan
URL:https://artgalleryapollo.com/2021/event/%e6%96%87%e6%98%8e%e7%9a%84%e5%9c%8d%e6%ac%84%ef%bd%9c%e9%bb%83%e6%b3%95%e8%aa%a0%e3%80%81%e5%ae%98%e5%ad%9f%e7%8e%84-%e8%81%af%e5%b1%95/
CATEGORIES:slide show,展覽
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260620
DTEND;VALUE=DATE:20260802
DTSTAMP:20260627T034400
CREATED:20260505T072526Z
LAST-MODIFIED:20260616T072949Z
UID:14442-1781913600-1785628799@artgalleryapollo.com
SUMMARY:吟遊於母星之間｜曾詩涵 個展
DESCRIPTION:吟遊於母星之間｜曾詩涵 個展\n展期｜\n2026.06.20 – 08.01\n開幕｜\n2026.06.20 (六) 15:00\n藝術家與談｜\n2026.07.04 (六) 15:00\n→ 報名 \n《吟遊於母星之間》聚焦藝術家曾詩涵近年重要生命經驗與精神轉化歷程，靈感源自2025年前往尼泊爾喜馬拉雅山聖母峰基地營（EBC）健行，以及同年於法國科西嘉島駐村的經驗。透過膠彩、水墨與礦物顏料層層堆疊，藝術家重新編織自然地景與內在感知之間的關係。 \n近年曾詩涵的創作逐漸由具象敘事轉向精神性探索。面對高海拔環境中的氣候變化、身體極限與旅途中的自我對話，她將山脈、河流、動物與能量感受轉化為畫面中的精神痕跡。作品大量運用膠彩揉紙技法，結合礦物、新岩與土顏料堆疊出如岩層般的肌理，也首次嘗試手工手抄紙創作，描繪帶有神秘色彩的靈獸意象。 \n曾詩涵與阿波羅畫廊合作多年，最早於2016年參與台北國際當代藝術博覽會 Young Art Taipei 2016（YAT 2016），其後於2017年參與阿波羅畫廊新銳藝術家助長計畫《楊桃派》，並持續參與畫廊策劃之展覽與藝術博覽會。此次個展亦呈現藝術家多年創作累積的重要階段，展現藝術家與畫廊長期合作脈絡中的重要成果，邀請觀者進入一段關於自然、生命與內在感知的精神旅程。 \n  \n→ 曾詩涵 簡歷\n→  欣賞 虛擬展廳 \n\n“Wandering Between Origins” —  Solo Exhibition by TSENG Shih-HanOpening｜20.06\, 2026 Sat. 15:00Duration｜20.06 – 01.08\, 2026Artist Talk｜04.07\, 2026 Sat. 15:00\n→Sign up \n  \nWandering Between Origins centers on Taiwanese artist TSENG Shih-Han’s recent life experiences and process of spiritual transformation. The exhibition is inspired by her 2025 trek to Everest Base Camp (EBC) in the Himalayas of Nepal\, as well as her residency experience in Corsica\, France later that year. Through layered applications of Nihonga\, ink\, and mineral pigments\, the artist reconstructs the relationship between natural landscapes and inner perception. \nIn recent years\, TSENG’s artistic practice has gradually shifted from figurative narratives toward spiritual exploration. Confronting changing climates\, physical limits\, and moments of self-reflection within high-altitude environments\, she transforms mountains\, rivers\, animals\, and energetic sensations into spiritual traces embedded within her paintings. Many works employ the traditional crumpling-paper technique in Nihonga\, layered with mineral pigments\, synthetic mineral pigments\, and earth pigments to create textures reminiscent of geological formations. The artist also presents handmade paper works for the first time\, depicting mystical spiritual creatures and imagined beings. \nTSENG Shih-Han has maintained a long-term relationship with Apollo Art Gallery. Her earliest participation with the gallery dates back to Young Art Taipei 2016 (YAT 2016)\, followed by Young & Top\, Apollo Art Gallery’s emerging artist support project\, in 2017. Since then\, she has continuously participated in exhibitions and art fairs organized by the gallery. This solo exhibition represents an important stage in the artist’s evolving practice and reflects the long-term trajectory of collaboration between the artist and the gallery. \n  \n→ TSENG Shih-Han’s CV
URL:https://artgalleryapollo.com/2021/event/%e3%80%8a%e5%90%9f%e9%81%8a%e6%96%bc%e6%af%8d%e6%98%9f%e4%b9%8b%e9%96%93%e3%80%8b%e6%9b%be%e8%a9%a9%e6%b6%b5-%e5%80%8b%e5%b1%95-2/
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:20260720
DTEND;VALUE=DATE:20260721
DTSTAMP:20260627T034400
CREATED:20260407T040546Z
LAST-MODIFIED:20260424T093158Z
UID:14080-1784505600-1784591999@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 – 07.28 \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｜\nMid-April – Mid-July\, 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:slide show,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
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