若木藝廊 Ruomu Gallery

若木藝廊 Ruomu Gallery 若木藝廊嶄新的空間座落大安區杭州南路二段,比鄰中正紀念堂與兩廳院園區,位處綠蔭扶疏與人文薈萃交織、音樂與藝術匯流之地。期望在這個空間,能帶給藝術愛好者及藏家朋友們,更開闊的藝術視野及多元的文化觀點。

彷彿能裝進一整個銀河系的閃耀眼眸,纖細修長的身形,充滿夢幻色彩的粉紅泡泡。從《凡爾賽玫瑰》、《美少女戰士》到《庫洛魔法使》。日本少女漫畫深深影響了一整個世代的視覺經驗。而當村上隆將動漫美學推上當代藝術的美學時,這套視覺語言不再單純只是流行文...
18/07/2026

彷彿能裝進一整個銀河系的閃耀眼眸,纖細修長的身形,充滿夢幻色彩的粉紅泡泡。從《凡爾賽玫瑰》、《美少女戰士》到《庫洛魔法使》。日本少女漫畫深深影響了一整個世代的視覺經驗。而當村上隆將動漫美學推上當代藝術的美學時,這套視覺語言不再單純只是流行文化,更成為足以承載當代社會情感、消費文化與世代記憶的藝術媒介。

在這樣的文化脈絡下,日本當代藝術家 Mr. 的創作,承襲村上隆的 Superflat 超扁平概念,將日本動漫、御宅族文化、萌文化與消費主義結合,創造出一個天真爛漫又耐人尋味的世界觀。值得一提的是,Mr. 於上個月剛完成在日本福岡亞洲美術館舉辦的大型個展,這不僅是他近年最具規模的展覽之一,更象徵其創作獲得日本重要美術館體系的肯定,成為其藝術生涯的重要里程碑。從畫廊到美術館,Mr. 的創作持續證明,源自動漫文化的視覺語言,同樣能在當代藝術的脈絡中,展現深刻的文化意義與時代價值。

The sparkling eyes that seem to hold an entire galaxy, graceful figures, and dreamy pastel worlds of Japanese shōjo manga have shaped the visual imagination of generations. From The Rose of Versailles and Sailor Moon to Cardcaptor Sakura, these iconic works have become a lasting part of contemporary visual culture. When Takashi Murakami brought anime aesthetics into contemporary art, this once-popular visual language evolved into a powerful medium for expressing collective memory, consumer culture, and the spirit of our time.

Within this context, the contemporary Japanese artist Mr. carries forward Murakami’s Superflat philosophy, blending anime, otaku culture, moe aesthetics, and consumerism into works that are both playful and thought-provoking. Last month, he concluded a major solo exhibition at the Fukuoka Asian Art Museum, a significant milestone that reflects growing institutional recognition of his practice. From galleries to museums, Mr.’s work continues to demonstrate the enduring cultural and artistic value of anime-inspired visual language.

作品資訊
城市女孩新生活
Mr.
2020
絲網版畫
畫面尺寸58×43 cm
紙張尺寸70×55cm
Edition of 100

風銷雨霽,天朗雲清。風雨洗刷後的街景,在陽光的映照下格外閃耀。人們終於能走出家門,沐浴在陽光的街道上,重新探索這片滌去塵土的光景。這街頭躍動的人潮與街景,交織成一幅躍動的抽象畫,正如藝術家朱德群畫筆下的世界。1955年,他遠赴巴黎,在陌生的...
12/07/2026

風銷雨霽,天朗雲清。風雨洗刷後的街景,在陽光的映照下格外閃耀。人們終於能走出家門,沐浴在陽光的街道上,重新探索這片滌去塵土的光景。這街頭躍動的人潮與街景,交織成一幅躍動的抽象畫,正如藝術家朱德群畫筆下的世界。

1955年,他遠赴巴黎,在陌生的土地重新展開藝術人生。面對語言、文化與現實壓力的重重挑戰,朱德群在無數個安靜的夜晚默首執筆,將生命中的迷惘、磨練、感動與希望,一筆一畫化作氣宇磅礴的光芒與線條。那些曾經歷過的風雨都將沉澱為創作最深厚的養分,在畫布上綻放。就像今日雨過天晴的天空,生命中的每一段經歷,無論是苦難磨練,還是迎來成功的喜悅,都是生命中無可取代的珍貴時刻。

After the storm, the sky clears and the city shines once again. As people step back into the sunlight, the streets come alive, forming a vibrant composition that recalls the abstract worlds of Chu Teh-Chun.

In 1955, Chu moved to Paris to begin a new chapter of his artistic journey. Facing an unfamiliar language, culture, and countless challenges, he devoted himself quietly to painting, transforming uncertainty, hardship, hope, and resilience into luminous colors and expressive lines. Every storm he endured became nourishment for his art. Like today‘s clear sky after the rain, every chapter of life—whether marked by struggle, perseverance

作品資訊
珍貴時刻
朱德群
2002
石版版畫
畫面尺寸60×78 cm
紙張尺寸73×105cm
Edition of 150

【複數的風景】
展期|2025.6.6 — 8.23
地點|台北市大安區杭州南路二段29號 若木藝廊
時間|11:00-19:00 週一休館
電話|02-3343-3638

誕生於內蒙古通遼地區的「哲里木版畫」具有獨樹一幟的藝術風格與發展歷史。以蒙古族歷史文化、草原生活與民族精神為核心題材,融合中國新興木刻版畫運動的表現力量,逐漸形成兼具地域特色與時代精神的藝術流派。而作為哲里木版畫的重要代表藝術家,烏恩琪長期...
05/07/2026

誕生於內蒙古通遼地區的「哲里木版畫」具有獨樹一幟的藝術風格與發展歷史。以蒙古族歷史文化、草原生活與民族精神為核心題材,融合中國新興木刻版畫運動的表現力量,逐漸形成兼具地域特色與時代精神的藝術流派。

而作為哲里木版畫的重要代表藝術家,烏恩琪長期致力於將蒙古民族的歷史記憶與文化傳承轉化為鮮明而富有生命力的木刻語言。他以渾厚有力的刀刻、鮮明的色彩對比以及充滿節奏感的線條結構,塑造出兼具史詩氣勢與精神象徵的視覺風格,在當代木刻版畫領域建立了獨特的地位。

《聖祖》以成吉思汗為主題,將他縱橫疆場、統御千軍的英姿神采。透過層層交錯的刻痕與鮮明的光影對比,營造出磅礡而充滿張力的歷史氛圍,使人物形象不僅展現征戰天下的雄偉氣魄,也蘊含蒙古民族對祖先精神與文化源流的崇敬。

Born in Tongliao, Inner Mongolia, the Zhelimu Printmaking School has developed a distinctive artistic history and visual language. Rooted in Mongolian history, nomadic culture, and the spirit of the grasslands, it combines these themes with the expressive power of China’s modern woodcut movement, forming a printmaking tradition that embodies both regional identity and contemporary significance.

As one of its leading representatives, Wu Enqi has devoted his practice to transforming Mongolian cultural memory and historical heritage into a vivid and dynamic woodcut language. Through vigorous carving techniques, striking tonal contrasts, and rhythmic linear compositions, he has established a visual style that is both epic in scale and rich in symbolic meaning, securing a unique position within contemporary Chinese woodcut art.

The Saint depicts the heroic figure of Genghis Khan, capturing his commanding presence on the battlefield. Interwoven carved textures and dramatic contrasts create a powerful historical atmosphere, conveying not only the grandeur of conquest but also the Mongolian people‘s reverence for their ancestral legacy and cultural origins.

作品資訊
聖祖
烏恩琪
2005
木刻版畫
畫面尺寸 65×95 cm
Edition of 50

【複數的風景】
展期|2025.6.6 — 8.23
地點|台北市大安區杭州南路二段29號 若木藝廊
時間|11:00-19:00 週一休館
電話|02-3343-3638

從世界頂尖美術館到精品櫥窗,從藝術收藏到流行文化,一朵朵帶著笑臉的太陽花突破了作品的界限,躍升成為二十一世紀最具全球辨識度的當代藝術符號。村上隆的太陽花系列,是其最具代表性的作品之一,也是理解其藝術思想的重要入口。綻放的微笑花朵交疊排列構成...
03/07/2026

從世界頂尖美術館到精品櫥窗,從藝術收藏到流行文化,一朵朵帶著笑臉的太陽花突破了作品的界限,躍升成為二十一世紀最具全球辨識度的當代藝術符號。村上隆的太陽花系列,是其最具代表性的作品之一,也是理解其藝術思想的重要入口。

綻放的微笑花朵交疊排列構成圓形畫面,宛如一座當代曼陀羅,在鮮豔而飽和的色彩之中,交織出介於歡愉與沉思之間的精神場域。花朵在日本文化中不僅象徵生命的盛放,同時標記著季節的流轉。村上隆則將這一傳統意象轉化為全球化時代的文化符號,使其成為連結藝術、流行文化與日常生活的重要媒介。

From museums to luxury brand, and from fine art collections to pop culture, these smiling flowers have transcended the boundaries of traditional artwork to become one of the most globally recognized contemporary art symbols of the 21st century.

Takashi Murakami’s Flower series is not only his most iconic work, but also a vital gateway to understanding his artistic philosophy. In these pieces, overlapping layers of blossoming, smiling flowers form a circular composition that resembles a contemporary mandala. Within the vibrant and saturated colors, they weave a spiritual realm balanced between joy and contemplation.

In Japanese culture, flowers symbolize both the blooming of life and the passage of seasons. Murakami transforms this traditional imagery into a global cultural symbol, turning it into a powerful medium that bridges art, pop culture, and everyday life.

作品資訊
Hold Me Tight
村上隆
2017
版畫
直徑 71 cm
Edition of 300

【複數的風景】
展期|2025.6.6 — 8.23
地點|台北市大安區杭州南路二段29號 若木藝廊
時間|11:00-19:00 週一休館
電話|02-3343-3638

「落霞與孤鶩齊飛,秋水共長天一色。」—— 王勃《滕王閣序》朱德群曾言「我熱愛詩詞,它們與我的畫作自然融合。西方藝術評論家認為我的抽象作品靈感來自詩詞,而這確實如此。」他師從潘天壽學習書法,尤其對草書一氣呵成、行雲流水般的筆勢有深刻體悟,並將...
30/06/2026

「落霞與孤鶩齊飛,秋水共長天一色。」
—— 王勃《滕王閣序》

朱德群曾言「我熱愛詩詞,它們與我的畫作自然融合。西方藝術評論家認為我的抽象作品靈感來自詩詞,而這確實如此。」他師從潘天壽學習書法,尤其對草書一氣呵成、行雲流水般的筆勢有深刻體悟,並將這種書寫性的節奏轉化為繪畫構成的重要元素。藉由光影與筆觸構築出一種近似宇宙生成的詩意空間,使觀者在抽象形式之中感受到天地呼吸、山川流動。那些流動的光、奔放的線條與層疊的色彩,宛如暮色中未盡的餘暉,在時間深處持續閃耀,讓人得以在抽象之中,再次感知山河的壯闊、詩意的悠長,以及生命無盡的律動。

Chu Teh-Chun once remarked, “I love poetry; it naturally merges with my paintings. Western critics believe that my abstract works are inspired by poetry, and indeed they are.” Having studied calligraphy under Pan Tianshou, he drew inspiration from the fluid, unbroken movements of cursive script, transforming its rhythm into a vital element of his visual language. Through light, gesture, and color, he created poetic spaces that evoke the breath of nature and the flow of mountains and rivers. His luminous forms, dynamic lines, and layered colors resemble the lingering glow of twilight, inviting viewers to experience the grandeur of nature, the resonance of poetry, and the enduring rhythm of life.

作品資訊
暮暉
朱德群
2002
石版版畫
畫面尺寸85×64 cm
紙張尺寸105×73cm
Edition of 150

【複數的風景】
展期|2025.6.6 — 8.23
地點|台北市大安區杭州南路二段29號 若木藝廊
時間|11:00-19:00 週一休館
電話|02-3343-3638

「北大荒版畫」是中國當代版畫發展中極具代表性的地域性畫派。50年代隨著東北大規模墾荒建設展開,大批藝術工作者深入北大荒地區,以版畫記錄開拓者的勞動精神與黑土地的自然風貌。相較於早期新興木刻偏重社會批判與革命宣傳的功能,北大荒版畫逐漸發展出兼...
25/06/2026

「北大荒版畫」是中國當代版畫發展中極具代表性的地域性畫派。50年代隨著東北大規模墾荒建設展開,大批藝術工作者深入北大荒地區,以版畫記錄開拓者的勞動精神與黑土地的自然風貌。相較於早期新興木刻偏重社會批判與革命宣傳的功能,北大荒版畫逐漸發展出兼具寫實觀察與抒情表現的藝術語言,既展現雄渾壯闊的北國景觀,也蘊含對土地與生命的深刻情感,成為中國版畫由政治敘事走向藝術表現的重要里程碑。

郝伯義作為北大荒版畫的代表人物,以細膩而富節奏感的木刻語彙,將東北自然景觀轉化為充滿詩意的視覺世界。《冬日》描繪靜謐的北國冬景中一對雌鹿低頭飲水以及公鹿昂首仰望的英姿。俐落的線條紋理與鮮明色塊的留白對比,營造出北方大地獨特的寧靜與遼闊。郝伯義不僅保有木刻版畫剛勁有力的形式特質,同時也展現出對自然的深情凝視。

The Beidahuang Art School is one of the most significant regional movements in the development of contemporary Chinese printmaking. Emerging in the 1950s alongside large-scale land reclamation projects in Northeast China, artists documented both the pioneering spirit of settlers and the vast landscapes of the region. Moving beyond the social criticism and political messaging of earlier woodcut movements, Beidahuang prints developed a visual language that combined realism with lyricism, celebrating both the grandeur of the northern landscape and a profound connection to the land.

As a leading figure of the The Beidahuang Art School, Hao Boyi transformed the natural scenery of Northeast China into poetic visual compositions through his rhythmic and finely crafted woodcut technique. In Winter Day, a doe lowers its head to drink while a stag stands alert against the tranquil winter landscape. Bold lines, textured carving, and the contrast between solid forms and open space create a sense of stillness and vastness. Hao’s work preserves the strength of the woodcut medium while expressing a deep sensitivity toward nature.

作品資訊
冬日
郝伯義
1991
木刻版畫
畫面尺寸44×57 cm
Edition of 50

【複數的風景】
展期|2025.6.6 — 8.23
地點|台北市大安區杭州南路二段29號 若木藝廊
時間|11:00-19:00 週一休館
電話|02-3343-3638

1949年初抵巴黎的趙無極,透過友人的介紹接觸了石版畫。不同於當時石版畫講究控制水分與技法規範的傳統做法,他大膽地將顏料潑灑於潔白多孔的石版表面,突破既有媒材的限制,也創造出前所未有的視覺效果。這種不受框架束縛的實驗精神,不僅展現了他對藝術...
20/06/2026

1949年初抵巴黎的趙無極,透過友人的介紹接觸了石版畫。不同於當時石版畫講究控制水分與技法規範的傳統做法,他大膽地將顏料潑灑於潔白多孔的石版表面,突破既有媒材的限制,也創造出前所未有的視覺效果。這種不受框架束縛的實驗精神,不僅展現了他對藝術的探索欲望,更將油畫、水彩與東方水墨的創作經驗帶入版畫之中,開啟了全新的表現可能。

趙無極曾說:「我整天都在畫油畫。對我而言接觸並練習版畫幾乎像是遊戲,是一種放鬆的方式。同時我也有意尋找另一種表達方式。與油畫不同,版畫具有較多變化,他所使用的材料本身就蘊含了豐富的可能性。而繪畫的形式則較為一成不變。」然而,正是在這樣自由而開放的創作過程中,他找到了一種不同於油畫的語言。石版畫融合了油畫的平塗色韻、水彩的輕盈詩意,以及水墨寫意的奔放氣韻,成為他藝術生涯中極為重要的實驗場域。這些看似輕鬆的嘗試,不僅深刻影響了他日後抽象繪畫的發展,也為其獨樹一幟的藝術風格奠定了重要基石。

Arriving in Paris in 1949, Zao Wou-Ki was introduced to lithography through friends. Rather than following traditional lithographic conventions, he experimented freely with the medium, bringing together influences from oil painting, watercolor, and Chinese ink painting to create a highly personal visual language.

As Zao once remarked, printmaking felt almost like a game—a space for relaxation and exploration beyond painting. Through lithography, he discovered new expressive possibilities, combining the richness of color, the lightness of watercolor, and the spontaneity of ink. These experiments would profoundly shape the development of his abstract art and become a cornerstone of his artistic journey.

作品資訊
No. 157
趙無極
1965
石版版畫
畫面尺寸38×59.3 cm
紙張尺寸50×65cm
Edition of 150

【複數的風景】
展期|2025.6.6 — 8.23
地點|台北市大安區杭州南路二段29號 若木藝廊
時間|11:00-19:00 週一休館
電話|02-3343-3638

在這次【複數的風景】展覽中,展出了一件相當特別的版畫作品《Wrapped Fountain》,出自傳奇藝術家組合 Christo and Jeanne-Claude 之手。 這對藝術伴侶,以巨型地景包裹裝置創作聞名全球。從柏林國會大廈到巴黎...
18/06/2026

在這次【複數的風景】展覽中,展出了一件相當特別的版畫作品《Wrapped Fountain》,出自傳奇藝術家組合 Christo and Jeanne-Claude 之手。

這對藝術伴侶,以巨型地景包裹裝置創作聞名全球。從柏林國會大廈到巴黎凱旋門、雪梨海岸線到邁阿密的島嶼。他們用柔軟的布料將剛硬的建築與地景包裹。抹去既有外觀與功能性。讓人們重新觀看那些習以為常的事物,並賦予其全新的審美與詩意。

然而,這些動輒耗資數百萬美金的龐大計畫,背後往往伴隨著漫長而艱鉅的實踐過程。從數十年的政治協商、繁複的法規審查,到環境評估與公眾質疑。而為了捍衛最純粹的創作自由,他們拒絕任何政府補助與私人企業贊助,也從不販售或保留完成後的作品。當展期結束,所有裝置皆被拆除回復原貌。也正因其短暫而不可複製的存在,更賦予了作品震撼人心的力量,以及難以磨滅的集體記憶。

而支撐這一切創作得以實現的,正是藝術家募資出售的手稿版畫。結合了創作手稿與藍圖,記錄下藝術家將想像化為現實的構思軌跡。透過銷售這些作品,藝術家得以建立了一套獨立自主的創作模式。藏家所支持的不只是作品本身,而是一種堅持創作自由的信念。自此,藏家不再只是旁觀者,而是與 Christo and Jeanne-Claude 一同將那些看似不可能的藝術願景,得以實踐的重要參與者。

Wrapped Fountain, featured in Landscapes in Multiplicity, is a remarkable print by the legendary artistic duo Christo and Jeanne-Claude.

Renowned for their monumental wrapped-environment projects, Christo and Jeanne-Claude transformed landmarks and landscapes around the world—from the Berlin Reichstag and the Arc de Triomphe in Paris to the coastlines of Sydney and the islands of Miami. By covering familiar structures with fabric, they stripped away their conventional appearance and function, inviting viewers to see them anew through a lens of beauty and poetry.

These ambitious projects, often costing millions of dollars, required decades of negotiations, regulatory approvals, environmental assessments, and public debate. To preserve complete artistic freedom, the artists refused government funding and corporate sponsorships. Their installations were always temporary, dismantled after exhibition and returned to their original state, making each project a powerful and unforgettable collective experience.

What made these works possible were the preparatory drawings and prints sold by the artists themselves. Combining sketches, plans, and artistic vision, these works document the journey from imagination to realization. By collecting them, patrons supported not only an artwork, but also the artists’ commitment to creative independence—becoming active participants in bringing seemingly impossible artistic dreams into reality.

作品資訊
Wrapped Fountain
Christo and Jeanne-Claude
2009
版畫
畫面尺寸56×71 cm
Edition of 200

【複數的風景】
展期|2025.6.6 — 8.23
地點|台北市大安區杭州南路二段29號 若木藝廊
時間|11:00-19:00 週一休館
電話|02-3343-3638

朱德群基金會日前在社群媒體上分享了一段關於朱德群石版畫創作的文字,正好呼應這次【複數的風景】的策展主軸,讓我們深有所感,也想與大家分享:「不同於油畫創作的氣勢磅礡,朱德群的石版畫展現了另一種尺度的創作面貌。更為親近、內斂,卻同樣充滿力量。在...
14/06/2026

朱德群基金會日前在社群媒體上分享了一段關於朱德群石版畫創作的文字,正好呼應這次【複數的風景】的策展主軸,讓我們深有所感,也想與大家分享:

「不同於油畫創作的氣勢磅礡,朱德群的石版畫展現了另一種尺度的創作面貌。更為親近、內斂,卻同樣充滿力量。在靈動秀雅的畫幅之中,他獨特的視覺語言以更細膩的方式展開。抒情的抽象意境、中國書法的氣韻,以及光線與流動色彩之間不斷變化的交織。這是進入朱德群藝術宇宙的另一種親近也更私密的方式」

許多人認識朱德群,都是從他壯麗恢弘的油畫開始,石版畫不僅是其創作的延伸,更是理解其藝術精神的重要入口。藉此我們得以更近距離地感受他對光、色彩、空間與東方書寫精神的探索,也能看見他如何在不同媒材之間持續拓展抽象藝術的可能性。

The Chu Teh-Chun Foundation recently shared a reflection on Chu Teh-Chun’s lithographic works on social media. Its message resonates with the curatorial theme of our exhibition, Landscapes in Multiplicity, and we would like to share it with you:

“While Chu Teh-Chun is best known for his monumental oil paintings, his lithographs reveal another scale of his work: more intimate, yet just as powerful. More intimate formats, where his pictorial language unfolds with subtlety: lyrical abstraction, the breath of Chinese calligraphy, interplay of light and fluid colors, in constant motion. Another way to enter his universe — closer, almost confidential.

For many, their introduction to Chu Teh-Chun begins with his magnificent and expansive oil paintings. Yet his lithographs are far more than an extension of that practice; they provide an essential gateway to understanding the core of his artistic vision. Through these works, we are invited to engage more intimately with his exploration of light, color, space, and the spirit of Eastern calligraphic expression, while witnessing how he continually expanded the possibilities of abstract art across different mediums.

作品資訊
朱德群
晨 Morning of Esprit
2002
石版版畫
畫面尺寸60×80 cm
紙張尺寸73×105 cm
Edition of 150

【複數的風景】
展期|2025.6.6 — 8.23
地點|台北市大安區杭州南路二段29號 若木藝廊
時間|11:00-19:00 週一休館
電話|02-3343-3638

若木藝廊【複數的風景】開幕講座若木藝廊現正展出的《複數的風景》,於上週六舉辦開幕活動,特別邀請 Podcast《藝視 Art Market》主持人黃宇正與若木藝廊總監徐之婷進行專題講座,與現場來賓一同探索原創版畫的多元面向與收藏魅力。講座中...
09/06/2026

若木藝廊【複數的風景】開幕講座

若木藝廊現正展出的《複數的風景》,於上週六舉辦開幕活動,特別邀請 Podcast《藝視 Art Market》主持人黃宇正與若木藝廊總監徐之婷進行專題講座,與現場來賓一同探索原創版畫的多元面向與收藏魅力。

講座中,兩位講者從原創版畫的發展與特色談起,介紹木刻、石版、網版絹印等不同的媒材形式,並進一步分享原創版畫在當代藝術史中的文化意義與美學價值。黃宇正也與觀眾分享,原創版畫正是他踏入藝術收藏領域的重要契機。版畫兼具原創性、文化深度與傳播的影響力,讓更多人得以從收藏中建立與藝術的連結,進而開啟對藝術世界更深入的理解與熱情。

本次展覽匯聚二十世紀至當代東西方藝術家的精彩原創版畫創作,展出作品涵蓋朱德群、趙無極、村上隆、奈良美智等國際知名藝術家。透過不同文化背景與創作語彙的交織,呈現藝術家如何透過版畫媒介記錄當代,並形塑出獨特的風景。

【複數的風景】
展期|2025.6.6 — 8.23
地點|台北市大安區杭州南路二段29號 若木藝廊
時間|11:00-19:00 週一休館
電話|02-3343-3638

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