RIVER ART Gallery 大河美術

RIVER ART Gallery 大河美術 Contact information, map and directions, contact form, opening hours, services, ratings, photos, videos and announcements from RIVER ART Gallery 大河美術, Arts & Crafts Store, 大業路281號, Taichung.

│地址│ 408 台灣台中市南屯區大業路281號
│電話│ (04) 2310-8282
│信箱│ [email protected]
│官網│ www.riverart.com.tw

【代理藝術家】
王尋、蔡育田、魏立剛、洪琦軒、劉哲榮、張富峻、楊博堯、陳硯平、邱奕辰、侯俊杰、西岡良太、REACH

【展出藝術家】
洪易、李真、蕭勤、劉國松、村上隆、草間彌生、奈良美智

About Hsiao-Ai Wang and Xinran Liu |生於高雄的臺灣藝術家王筱璦，從自然觀察與自我觀照出發，探索內在精神與生命歷程，並體悟生命與存在的哲理。其創作以多媒材為基礎，汲取東西方美學養分，結合自然材料所蘊含的療癒...
12/08/2026

About Hsiao-Ai Wang and Xinran Liu |

生於高雄的臺灣藝術家王筱璦，從自然觀察與自我觀照出發，探索內在精神與生命歷程，並體悟生命與存在的哲理。其創作以多媒材為基礎，汲取東西方美學養分，結合自然材料所蘊含的療癒能量，梳理、釋放並回應個體與世界之間的關係。她的藝術實踐揭示自然、材質與人類心靈之間的深層連結，以詩意形式回應當代藝術對療癒、存在與生命哲思的探問。

同樣藉凝視個人經驗的幽微變化來探問生命軌跡的劉欣然，出生於中國成都，從記憶與情感出發，反覆堆疊筆刷痕跡、鉛筆線與形體，在畫布上蔓延構築出高度簡化的心理風景。散落的局部輪廓同樣是重要的元素，整體形塑出一片情感地景，如同藝術家內在經驗與感受交織而成的獨白。

Hsiao-Ai Wang, who was born in Kaohsiung, Taiwan, she draws on close observation of the natural world and processes of self-reflection, she explores inner states of being and the unfolding trajectories of life, seeking philosophical insight into existence and human experience. Working across multiple media, Wang draws on aesthetic traditions from both East Asia and the West, and incorporates natural materials and their perceived restorative qualities into a visual language through which she processes, releases, and responds to the relationship between the self and the world. Her practice reveals the profound interconnections among nature, materiality, and the human psyche, responding through poetic form to contemporary art’s ongoing inquiries into healing, existence, and the philosophical dimensions of life.

Similarly, Xinran Liu, born in Chengdu, China, turns her gaze toward the subtle shifts within personal experience to reflect on the trajectories of life. Drawing from memory and emotion, she repeatedly layers brushstrokes, pencil lines, and forms that spread across the canvas to construct highly simplified psychological landscapes. Scattered fragments of contours serve as another important element, collectively shaping an emotional terrain that resembles a monologue woven from the artist’s inner experiences and sensations.
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【Into the Fern Glow．拜訪暉蕨之森】
▎Dates：15 Aug - 3 Oct 2026
▎Opening：15 Aug 3pm
▎Artists-led Tour：15 Aug 3:30pm

《Into the Fern Glow | 拜訪暉蕨之森》呈現介於人造與自然之間的過渡狀態。展出藝術家陳惠立，1988年出生於香港，現工作與生活於香港。他擅長運用簡單材料與幽默語彙呈現嚴肅議題，藉此探索觀眾、日常物件與個人經驗之間的關係。近...
09/08/2026

《Into the Fern Glow | 拜訪暉蕨之森》呈現介於人造與自然之間的過渡狀態。展出藝術家陳惠立，1988年出生於香港，現工作與生活於香港。他擅長運用簡單材料與幽默語彙呈現嚴肅議題，藉此探索觀眾、日常物件與個人經驗之間的關係。近年逐漸轉向對內在狀態的關注，並嘗試將游泳所涉及的身體行動與感知經驗融入創作。陳惠立從記錄一座童年經常造訪的公共游泳池開始，計算不同泳池中的磁磚數量，並將其空間結構重新構築於紙上，使之不僅是被描繪的場所，更成為藝術家整理思緒、沉澱感知並延續創作的方法。

1998年生於臺灣屏東、現工作與生活於臺灣及倫敦的藝術家余政諺，則是以截然不同的方式探索感知。他的創作涵蓋繪畫、裝置與現成物，他探討媒材最純粹的狀態，並將之與地域性的歷史、空間與哲學脈絡相互連結，將創作視為一場精神考古。透過收集、堆積與轉化自然物質，藝術家試圖挖掘那些沉積於身體與時間深處的感知痕跡。

“Into the Fern Glow” explores the transitional space between the artificial and the natural. Wai Lap Chan, born in Hong Kong in 1988, currently lives and works in Hong Kong. Working with modest materials and a distinctly humorous visual language, he addresses serious subjects while exploring the relationships among viewers, ordinary objects, and lived experience. In recent years, Chan’s practice has increasingly turned toward his immediate inner state. He incorporates the bodily actions and perceptual experiences associated with swimming into his work. He began by documenting a public swimming pool he had frequented since childhood, counting the tiles in different pools and reconstructing their spatial configurations on paper. The swimming pool thus functions not merely as a subject, but as a conceptual and spatial framework through which the artist organizes his thoughts, distills his perceptions, and sustains his creative practice.

Born in 1998 in Pingtung, Taiwan, and currently based between Taiwan and London, artist Yu Cheng-Yen explores perception through a distinctly different approach. His practice spans painting, installation, and found objects, examining materials in their most elemental states and connecting them with the historical, spatial, and philosophical contexts. He regards the act of creation as a form of spiritual archaeology. Through the collection, accumulation, and transformation of natural materials, the artist seeks to uncover traces of perception embedded deep within the body and across time.
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【Into the Fern Glow．拜訪暉蕨之森】
▎Dates：15 Aug - 3 Oct 2026
▎Opening：15 Aug 3pm
▎Artists-led Tour：15 Aug 3:30pm

Upcoming｜Into the Fern Glow．拜訪暉蕨之森▎Dates：15 Aug - 3 Oct 2026▎Opening：15 Aug 3pm▎Artists-led Tour：15 Aug 3:30pm▎Artists：C...
06/08/2026

Upcoming｜Into the Fern Glow．拜訪暉蕨之森

▎Dates：15 Aug - 3 Oct 2026
▎Opening：15 Aug 3pm
▎Artists-led Tour：15 Aug 3:30pm
▎Artists：
Cheng Yen Yu 余政諺
Hilarie Hon 韓幸霖
Hsiao-Ai Wang 王筱璦
Liao Wen 廖雯
Ngai Wing Lam Ant 蟻穎琳
Wai Lap Chan 陳惠立
Xinran Liu 劉欣然
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大河美術很榮幸呈現群展《Into the Fern Glow｜拜訪暉蕨之森》。本展首次展開跨域合作項目，由大河策展團隊攜手香港獨立策展人林志恒（Jims Lam），共同邀請七位來自臺灣、香港與中國的藝術家，探尋「東亞濕潤文明的離線狀態」。 8 月 15 日 ，三位香港藝術家與兩位臺灣藝術家將參與開幕。

展覽探問科技高速發展與 AI 時代下，人的精神寄託將何去何從。藝術家們浸泡於海島濕氣、盆地山霧、回南天與漫長雨季中，將情緒記憶、五感與集體意識滲入身體、城市與文化，並在城與自然交疊之處，發展出既敏感又疲憊、壓抑卻仍具韌性的視覺語彙。展題以蕨類與生活中的暉光為隱喻：前者指向面臨過度加速仍潛伏於體內的生命能量；後者涵蓋雨後水氣、迷霧中的燈、深夜霓虹、失眠時的螢幕藍光，以及內在韜光養晦的修養。

展覽並非指向末世，而是新時代來臨前的感知預演。大河美術邀請觀者離開過載的前台，在朦朧中向內退隱，接受迷路並喚醒夢的潛能，與不可見之豐盛相遇。

RIVER ART GALLERY is pleased to present “Into the Fern Glow”, our upcoming group exhibition that inaugurates the gallery’s first overseas exchange project. Led by RIVER ART GALLERY’s curatorial team in collaboration with Hong Kong–based independent curator Jims Lam. Bringing together seven artists from Taiwan, Hong Kong, and China, the exhibition explores an “offline condition” of East Asia’s humid civilization. On August 15, three Hong Kong artists and two Taiwanese artists will join us for the opening.

In the age of AI, the exhibition asks where spiritual anchorage may be found. Immersed in island humidity, basin mist, seasonal condensation, and rain, the artists draw emotional memory, sensory experience, and collective consciousness into the body, city, and culture. Their works emerge where urban and natural boundaries overlap, forming visual languages that are sensitive yet exhausted, repressed yet resilient. The title takes ferns and everyday “glow” as metaphors: one for a life force latent within the body despite relentless acceleration; the other for moisture after rain, lamps in mist, lingering neon, sleepless screen light, and the inner light preserved within us.

Rather than imagining an apocalypse, the exhibition proposes a rehearsal of perception before a new era. RIVER ART GALLERY invites viewers to step away from the overloaded foreground, retreat inward through the hazy glow, accept becoming lost, awaken dreams, and encounter the abundance of the unseen.

李奕諠的個展將於本週六結束，感謝所有蒞臨觀展的貴賓。本檔展覽挑戰慣常的思維與觀看方式，以形式的純粹探討與裝置，揭示一場時代與本能預感及感知間的真實對話。大河美術歡迎各位把握時光參觀，在仍然晴朗的天氣，懷抱著動盪中依然願意持續凝視、感受與想像...
29/07/2026

李奕諠的個展將於本週六結束，感謝所有蒞臨觀展的貴賓。本檔展覽挑戰慣常的思維與觀看方式，以形式的純粹探討與裝置，揭示一場時代與本能預感及感知間的真實對話。

大河美術歡迎各位把握時光參觀，在仍然晴朗的天氣，懷抱著動盪中依然願意持續凝視、感受與想像的能力。

Closing soon.

Yi-Shuan Lee’s solo exhibition will come to a close this Saturday. We would like to extend our heartfelt thanks to everyone who has visited the exhibition.
Challenging conventional ways of thinking and seeing, the exhibition explores the purity of form through painting and installation, revealing a genuine dialogue between the times we inhabit and our instinctive premonitions and perceptions.

RIVER ART GALLERY warmly invites you to make the most of the final days of the exhibition—to visit while the skies remain clear, and to hold on to the capacity to continue looking, feeling, and imagining, even in times of uncertainty.
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𝐎𝐍 𝐀 𝐂𝐋𝐄𝐀𝐑 𝐃𝐀𝐘, 𝐘𝐎𝐔 𝐂𝐀𝐍 𝐒𝐄𝐄 𝐅𝐎𝐑𝐄𝐕𝐄𝐑.
June 6th - August 1st 2026.

此作創作於李奕諠日本駐村期間。狹小的環境讓他對距離與孤立感產生更敏銳的身體感知，刻意以真實比例描繪當時工作室的窗戶，也使平凡的構件成為觀看的尺度與心理空間的框架。晴天娃娃是日本民間祈求放晴的日常物件，在此並未將它視為文化符號或敘事線索，而是...
24/07/2026

此作創作於李奕諠日本駐村期間。狹小的環境讓他對距離與孤立感產生更敏銳的身體感知，刻意以真實比例描繪當時工作室的窗戶，也使平凡的構件成為觀看的尺度與心理空間的框架。晴天娃娃是日本民間祈求放晴的日常物件，在此並未將它視為文化符號或敘事線索，而是極度克制的維持懸掛姿態，擾動空間的心理氛圍。窗戶轉為一關於等待、投射與希望的感知場域。

在今日資訊高速流動、AI 與演算法不斷以關鍵字重組的時代，獲取資訊未必等於有所感受體悟。李奕諠始終選擇具象來創作，使日常物件既保留可辨識性，也成為觀者進入形式的感知入口。當觀看從辨識轉向，形式便不再只是組成方法，而能成為重新理解世界的開口。最終打開了一種風景——即使世界充滿不確定也願意相信晴天，持續感受與凝視，並懷抱著信念前行。

This painting was created during Yi-Shuan Lee’s residency in Japan. Living within a compact domestic environment, the artist developed a heightened embodied awareness of distance and isolation. The window is taken directly from his studio and rendered at a one-to-one scale, transforming an otherwise ordinary architectural element into both a measure of seeing and a framework for psychological space. Suspended before the window is a traditional Japanese teru teru bōzu, a handmade doll commonly hung in hopes of clear weather. Rather than treating it as a cultural symbol or narrative cue, Lee maintains its suspended posture with restraint, allowing it to unsettle the psychological atmosphere of the space. The window gradually transforms from an architectural opening into a perceptual site of waiting, projection, and hope.

In an age when information moves at unprecedented speed, and AI and algorithms continuously reorganize knowledge through keywords, instant access to information does not necessarily lead to genuine feeling or understanding. Lee consistently works through figuration, allowing everyday objects to retain their recognizability while serving as perceptual entry points into form. As looking shifts from recognition toward perception, form ceases to function merely as a compositional method and instead becomes an opening through which the world may be understood anew. Ultimately, the work opens onto a landscape in which, even amid uncertainty, we continue to believe in clear skies—to keep feeling, keep looking, and move forward with conviction.

《On A Clear Day You Can See Forever》, 2024, Oil on Linen, 45.5 x 38 cm.
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𝐎𝐍 𝐀 𝐂𝐋𝐄𝐀𝐑 𝐃𝐀𝐘, 𝐘𝐎𝐔 𝐂𝐀𝐍 𝐒𝐄𝐄 𝐅𝐎𝐑𝐄𝐕𝐄𝐑.
June 6th - August 1st 2026.

《The Soloist》為藝術家獻給父親的致敬。透過懸掛的西裝外套和握著小提琴的手，間接拼湊出獨奏者缺席的形象。半掩的門與受阻的入口，在視覺上介於阻斷和進入之間，形成克制而微妙的張力。等比例的大小使得畫作帶有鮮明的雕塑性，藝術家以近乎舞台...
22/07/2026

《The Soloist》為藝術家獻給父親的致敬。透過懸掛的西裝外套和握著小提琴的手，間接拼湊出獨奏者缺席的形象。半掩的門與受阻的入口，在視覺上介於阻斷和進入之間，形成克制而微妙的張力。

等比例的大小使得畫作帶有鮮明的雕塑性，藝術家以近乎舞台式的組織處理線條、門框等結構，高度清晰及節制的構圖，跳脫了敘事背景，框建出作品的的核心意義。觀看因此受構圖驅動，游移在圖像、結構與純粹的存在狀態之間。

Final two weeks on view.

“The Soloist” is conceived as a homage to the artist’s father. Through the hanging suit jacket and the isolated hand holding a violin, the absent figure of the soloist is assembled indirectly through gesture and association rather than direct representation. The partially opened doorway and obstructed entrance establish a measured and subtle tension between blockage and access, holding the work in a state suspended between concealment and entry.

Rendered at a one-to-one scale, the painting takes on a pronounced sculptural sensibility. The artist organizes lines, doorframes, and other structural elements with almost stage-like precision, while the composition’s clarity and restraint allow it to move beyond a conventional narrative setting and establish the central framework through which meaning is constructed. Viewing is therefore driven by composition, allowing the work to move between image, structure, and a state of pure presence without fully settling into any single category.

《The Soloist》, 2026, Oil on Linen, 190 x 130.3 cm.
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𝐎𝐍 𝐀 𝐂𝐋𝐄𝐀𝐑 𝐃𝐀𝐘, 𝐘𝐎𝐔 𝐂𝐀𝐍 𝐒𝐄𝐄 𝐅𝐎𝐑𝐄𝐕𝐄𝐑.
June 6th - August 1st 2026.

《Sunshine Under Rainy Day》中，鬆散的鎖鏈固定著偌大的瓦斯桶與推車，亮粉色的天空正飄著雨，同時呈現了受限與移動的雙重情境。明亮飽和的天空拒絕掉入雨天慣有的沈重聯想，回應標題的矛盾氣氛，而鎖住的瓦斯筒則喻示了某種危險與...
19/07/2026

《Sunshine Under Rainy Day》中，鬆散的鎖鏈固定著偌大的瓦斯桶與推車，亮粉色的天空正飄著雨，同時呈現了受限與移動的雙重情境。明亮飽和的天空拒絕掉入雨天慣有的沈重聯想，回應標題的矛盾氣氛，而鎖住的瓦斯筒則喻示了某種危險與功能性正被控制，構築一種懸置在未決與衝突間的狀態。

藝術家以日常工業物件處理曖昧不明的情緒，雖未承載過多的象徵，卻能累積出相當有份量的張力與心理重量，使其徘徊在既有韌性又克制、幽默又帶有不確定性的糾纏之中。

A large gas cylinder and trolley are secured by a loose chain, positioned beneath a bright pink sky interrupted by falling rain, presenting a condition of both restraint and mobility. The bright, saturated sky resists the heaviness conventionally associated with rainy weather, echoing the contradiction introduced by the title, while the locked gas cylinder suggests that both danger and utility are being held under control. Together, these elements construct a state suspended between irresolution and tension.

Through ordinary industrial forms, the artist explores emotional ambiguity. Although these objects do not carry overt symbolic meanings, they gradually accumulate a striking sense of tension and psychological weight. The work ultimately lingers within a condition where resilience and restraint, humour and uncertainty, remain quietly entangled with one another.

《Sunshine Under Rainy Day》, 2024, Oil on Linen, 150 x 125 cm.
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𝐎𝐍 𝐀 𝐂𝐋𝐄𝐀𝐑 𝐃𝐀𝐘, 𝐘𝐎𝐔 𝐂𝐀𝐍 𝐒𝐄𝐄 𝐅𝐎𝐑𝐄𝐕𝐄𝐑.
June 6th - August 1st 2026.

《The Standing Reserve》取材自馬丁・海德格《關於科技的提問》中提出的「常備資源」概念——當今世界中，人類與自然的一切都逐漸被轉化為等待使用的資源，而此作並未再現這個思想，而是選擇透過更靜默且詩意的方式。海德格曾提及：「計...
17/07/2026

《The Standing Reserve》取材自馬丁・海德格《關於科技的提問》中提出的「常備資源」概念——當今世界中，人類與自然的一切都逐漸被轉化為等待使用的資源，而此作並未再現這個思想，而是選擇透過更靜默且詩意的方式。海德格曾提及：「計算伐木量的林務員，早已被商業木工所支配」。畫面中，樹木的年輪與桌面紋理呼應，正困於剛做好的木桌中，停留在「生命」與「加工」間，呈現了個體轉為可用資源的瞬間。

橫放的斧頭標示著這場轉化的發生，藏於樹心的眼睛成了最沉默的見證者。空鳥籠懸掛於截斷的樹枝上，那些原本與樹木相關的鳥群棲息地，如今已被控制與收藏的系統取代，進一步暗示其涉及的環境議題。透過表現形式與選用的物件，都在本質上體現出儘管作品啟發於對科技與工業的哲學思考，藝術家仍然將關注點聚焦於物本身即存在的情感承載力與氛圍中。

“The Standing Reserve” draws from Martin Heidegger’s “The Question Concerning Technology,” particularly his idea that, in the modern age, both humans and nature are increasingly becoming a “standing reserve” waiting to be used. The painting approaches this condition not through direct illustration, but through a quieter and more poetic mode. Heidegger once wrote: “The forester who measures the felled timber is already ordered by the lumber industry.” In the painting, the tree’s trunk echoes the grain of the tabletop, while the half-chopped tree itself remains caught within a newly built wooden table. Suspended between living presence and processed material, it captures the moment when life begins to transform into stock.

The axe laid across the surface marks the occurrence of this transformation, while the eye hidden within the heart of the tree becomes its silent witness. An empty birdcage hangs from a severed branch. The birds and habitats once associated with the tree have now been replaced by a system of control and collection, further suggesting the environmental issues involved. The absence of birds within the surrounding space makes the open cage feel less like a release than a lingering condition left behind. Through its mode of representation and its chosen objects, the work essentially shows that, although it is rooted in philosophical reflections on technology and industry, the artist continues to focus on the atmosphere of the scene and on the quiet emotional capacity carried by objects themselves.

《The Standing Reserve》, 2025, Oil on Linen, 140 x 165 cm.
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𝐎𝐍 𝐀 𝐂𝐋𝐄𝐀𝐑 𝐃𝐀𝐘, 𝐘𝐎𝐔 𝐂𝐀𝐍 𝐒𝐄𝐄 𝐅𝐎𝐑𝐄𝐕𝐄𝐑.
June 6th - August 1st 2026.

李奕諠的《Good Intuition》畫面中有著受限於玻璃水缸的海星、雞蛋與撈網，透過一種克制的方式，讓敘述結構難以被明確解讀或串連。在受困的環境中，看似被動的海星仍憑著生存本能努力脫逃，與未破殼的新生命形成強烈對比，與《The Lobs...
15/07/2026

李奕諠的《Good Intuition》畫面中有著受限於玻璃水缸的海星、雞蛋與撈網，透過一種克制的方式，讓敘述結構難以被明確解讀或串連。在受困的環境中，看似被動的海星仍憑著生存本能努力脫逃，與未破殼的新生命形成強烈對比，與《The Lobster in the Lobster Tank on the Titanic》一起呼應了某種直覺性的內在引導。

《The Neighbours》利用構圖和物的配置，挑戰我們習以為常的觀看方式，將焦點轉向「觀看行為」本身。藝術家製造出具有張力又微妙的空間。磚牆上裂痕與孔洞壓縮了空間，強烈的封閉感與唯一的開口，共同創造出得以被窺探的舞台。在斷壁殘垣中，將潛藏的暴力以及孩童的玩具戰鬥機並置，成了鮮明而諷刺的對照。

In “Good Intuition”, Yi-Shuan Lee depicts a starfish, an egg, and a net confined within a glass tank. Through a restrained visual language, the work resists any clear logic or narrative resolution. Trapped within this enclosed environment, the seemingly passive starfish struggles to escape through its survival instinct, forming a striking contrast with the unhatched eggs that embody dormant new life. Together with “The Lobster in the Lobster Tank on the Titanic”, the work evokes an intuitive inner force that quietly guides the course of existence.

In “The Neighbours”, Lee challenges our habitual ways of seeing through composition and the arrangement of objects, shifting attention toward the act of looking itself. The artist constructs a space that is at once subtle and charged with tension. Cracks and openings in the brick wall compress the pictorial space, while the overwhelming sense of enclosure and the single aperture together create a stage for voyeuristic observation. Within these crumbling ruins, latent violence is juxtaposed with a child's toy fighter jet, producing a vivid and ironic contrast.

《Good Intuition》, 2025, Oil on Linen, 45.5 x 53 cm.
《The Neighbours》, 2025, Oil on Linen, 61 x 81.5 cm.
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𝐎𝐍 𝐀 𝐂𝐋𝐄𝐀𝐑 𝐃𝐀𝐘, 𝐘𝐎𝐔 𝐂𝐀𝐍 𝐒𝐄𝐄 𝐅𝐎𝐑𝐄𝐕𝐄𝐑.
June 6th - August 1st 2026.

15/07/2026

一起回顧 7 月 4 日，李奕諠個展「策展人導覽 Take a dip in the River」的精彩片刻。感謝所有到場貴賓的參與，在當天的交流與分享中，我們一起從不同視角走進展覽，也開啟更多觀看與思考的可能。

展覽將持續展出至 8 月 1 日，RIVER ART GALLERY 誠摯邀請您走進展場，循著藝術家的視角，重新感受自身與世界之間的連結。

A look back at “Take a dip in the River” , the Curator Guided Tour of Yi-Shuan Lee's solo exhibition.Through dialogue and shared perspectives, the exhibition unfolded in new ways. Thank you to everyone who joined us.

The exhibition remains on view through August 1. We look forward to welcoming you to the gallery.
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𝐎𝐍 𝐀 𝐂𝐋𝐄𝐀𝐑 𝐃𝐀𝐘, 𝐘𝐎𝐔 𝐂𝐀𝐍 𝐒𝐄𝐄 𝐅𝐎𝐑𝐄𝐕𝐄𝐑.
June 6th - August 1st 2026.

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