拜訪暉蕨之森
遠在人類活動尚未出現以前，在潮濕而幽暗的地帶，蕨類便已生長於地球原始地貌之上，透過孢子繁衍，在漫長時間中無聲延續著古老的生命。《拜訪暉蕨之森》以羊齒植物作為此次策展的軸線，意在嘗試喚醒一種潛在的感知旅程：不從創作者的出生地與身份直接切入，而訴諸更為隱密的共同生理感受——濕度、身體、城市記憶與夢境。此次大河美術攜同香港獨立策展人 Jims Lam（林志恒），邀請來自台灣、香港、中國的藝術家從共同身處的東亞季風氣候出發，將「潮濕」長期滲入生活所帶來的獨特氣味、肌膚觸感、霧氣景象等集體經驗轉化為藝術表達。相較於持續在線輸出、不斷被觀看的當代生活，展覽試圖探究一種精神性退縮，專屬於「東亞濕潤文明的離線狀態」。
Long before human activity appeared on Earth, ferns had already taken root in the planet’s primordial landscapes, growing in damp and shadowed places. Reproducing through spores, they have silently carried this ancient form of life forward across the vastness of time. Taking ferns as the curatorial axis, Into the Fern Glow seeks to awaken a latent journey of perception—not approaching the artists directly through their places of birth or identities, but appealing instead to a more hidden realm of shared physiological experience: humidity, the body, urban memory, and dreams. In collaboration with Hong Kong–based independent curator Jims Lam (Lam Chi-hang), RIVER ART GALLERY brings together artists from Taiwan, Hong Kong, and China, inviting them to begin from the shared East Asian monsoon climate and transform into artistic expression the collective experiences born from the long-term presence of humidity in everyday life—the distinctive scents it carries, the sensation of moisture upon the skin, and the shifting scenes of mist. In contrast to a contemporary life defined by constant online output and perpetual visibility, the exhibition seeks to explore a form of spiritual retreat particular to the “offline condition of East Asia’s humid civilization.”
➤ 劉欣然，《The Irresistible Desire of You to Devour》 2026 ，油彩於羊皮紙，70 x 60
➤ Xinran Liu, The Irresistible Desire of You to Devour, 2026, Oil on Parchment, 70 x 60
潛入七位藝術家的夢境生態
Entering the Dream-Ecologies of Seven Artists
在廊道與梯間穿行，從天井散落的天光、長廊遠處端景，乃至角落安靜叢生的蕨類，共同構成介於虛實之間的游離體驗。首先映入眼簾的是中國藝術家劉欣然於羊皮紙上的油彩畫作，呈現炙熱耀眼的日光印象，而後轉入天井下與香港藝術家蟻穎琳邂逅於 1930 年代的水池旁，再進入韓幸霖如漫遊宇宙般的精神暗室。觀展起承轉合的動線彷彿一座夢境森林，引人穿梭於藝廊本身富有層次的空間場域。拾級前往二樓，一座座由陳慧立繪製的夢中泳池散發著曖昧濕氣；而由台灣藝術家余政諺所詮釋的化石意象，如某種歷經時間沉積而留下的物質痕跡。穿過天井走廊，廖雯以多媒材裝置將身體帶入廢墟般的建築場景，在牆面與空間之間探觸身體與環境的邊界；最後，在王筱璦創作的一系列心象植物譜的圖像中，映照出一座藝術家回應真實世界的內心花園。
Moving through corridors and stairways, the scattered daylight from the atrium, distant views at the end of long passageways, and ferns quietly growing in the corners together create a drifting experience suspended between reality and illusion. The journey begins with oil paintings on parchment by Chinese artist Xinran Liu, evoking the searing radiance of sunlight, before turning beneath the atrium, where one encounters Hong Kong artist Ngai Wing Lam beside a pool from the 1930s, and then entering Hilarie Hon’s psychic darkroom, where the mind seems to drift through the cosmos. The rhythm of the exhibition’s spatial journey unfolds like a forest of dreams, drawing viewers through the layered spaces of the gallery itself. Ascending to the second floor, a series of dreamlike swimming pools painted by Wai Lap Chan emanate an ambiguous sense of moisture; while the fossil imagery articulated by Taiwanese artist Cheng Yen Yu resembles some material trace left behind by the sedimentation of time. Crossing the atrium corridor, Liao Wen brings the body into a ruin-like architectural setting through a multimedia installation, probing the boundary between body and environment through an encounter with walls and space. Finally, within a series of inner-vision botanical charts created by Taiwanese artist Hsiao-Ai Wang, an inner garden emerges—one through which the artist reflects upon the real world.
➤ 蟻穎琳，《我們在1930年代的水池旁邊相遇》2026，油彩於木板，30 x 45 cm
➤ NGAI Wing Lam Ant, We Met by The Fountain in 1930s, 2026, Oil on Wood Panel, 30 x 45 cm
➤ 韓幸霖，《飛行的模式》2026，複合媒材於畫布與木盒，50 x 121 x 5.5
➤ Hilarie Hon, A way of flying, 2026, Mixed Media on Canvas, Plywood Box, 50 x 121 x 5.5
➤ 余政諺，《Spiritual Fossils - Philosopher's Stone #8》2026，複合媒材於畫布，90 x 90
➤Cheng Yen Yu, Spiritual Fossils - Philosopher's Stone #8, 2026, Mixed Media on Canvas, 90 x 90
➤ 陳惠立，《夢見游泳池 (十八)》2026，鉛筆、色鉛筆於紙本，54 x 54，64.6 x 64.6 (含框)
➤ Wai Lap Chan, Dreaming of swimming pools 18 , 2026, Pencil and Colour Pencil on Paper, 54 x 54, 64.6 x 64.6 (framed)
塑造暗處微光的體驗場域
Shaping an Experiential Realm of Subtle Glow in the Dark
於展覽中隨處佈置的「Fern」指向生長於濕潤蔭蔽之處的羊齒植物，同時暗藏著「電子羊」的意象。前者是在暗處生長的古老植物，後者則比喻科技文明所製造的仿生生命，兩者形成一種既真實又虛幻的對照，猶如現代人對科技的依賴，存在著有如城市霓虹殘影、深夜螢幕反光的一絲曖昧與不確定性。於是策展團隊特地邀請專業燈光師營造觀展過程中的微光體驗，捕捉無聲蔓延、轉瞬即逝的幽微意象，將在暗處才得以被覺察的光「暉」融入場域之中，並以「拜訪」作為有意識的行動，邀請觀者短暫抽離持續在線的狀態，進入這片呼喚原始覺知的潛意識森林。
The recurring “Fern” elements throughout the exhibition refer to ferns, ancient plants that grow in damp and shaded environments, while also concealing the imagery of the “electric sheep.” The former is an ancient life form that grows in darkness, while the latter serves as a metaphor for the artificial life produced by technological civilization. Together, they form a contrast between the real and the illusory, much like contemporary humanity’s dependence on technology, carrying a sense of ambiguity and uncertainty akin to the afterimage of urban neon or the reflection of a screen in the depths of night. The curatorial team therefore invited a professional lighting designer to create an experience of subtle illumination throughout the exhibition, capturing elusive images that spread silently and disappear in an instant. The “glow”—a form of light perceptible only in darkness—is woven into the space, while the word “into” becomes a conscious act, inviting viewers to briefly withdraw from a state of perpetual connectivity and enter this subconscious forest that calls forth a primordial awareness.
➤ 廖雯，《墜夢》2026，陶瓷、聚氨酯樹脂、香椿木、櫻桃木、青田石、泡沫銅、石墨、海綿、皮革、亞麻，50 x 20 x 25
➤ Liao Wen, Hypnic Jerk, 2026, Ceramic, Polyurethane, Chinese Toona, Cherry Wood, Qingtian Stone, Porous Copper Foam, Graphite, Sponge, Leather, Linen, 50 x 20 x 25
➤ 王筱璦，《心象植物譜 0116-23》2023，油性粉彩於紙上，31.5 x 109