2024 ART TAIPEI 台北國際藝術博覽會
Galleries：C03
VIP PREVIEW | Oct. 24,2024, PUBLIC DAYS | Oct. 25-28, 2024
觀止堂（ADMIRA Gallery）很榮幸將於 2024 年10月參與成立已31年、台灣規模最大的藝博會「2024 ART TAIPEI 台北國際藝術博覽會」。本次是本畫廊連續參與10週年，配合首次舉辦的台北藝術週（Taipei Art Week），我們將帶來六位亞洲藝術家、橫跨台灣、日本、韓國！
ADMIRA Gallery is honored to participate in ART TAIPEI 2024, Taiwan’s largest and longest-running art fair, celebrating its 31st anniversary, this October 2024. Marking our 10th consecutive year of participation, this milestone coincides with the inaugural Taipei Art Week, further highlighting the significance of this year’s presentation.
For this special occasion, ADMIRA Gallery proudly presents works by six Asian artists from Taiwan, Japan, and Korea, showcasing a dynamic cross-cultural dialogue and reflecting the diverse creative energy of contemporary Asian art.
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塚本智也 Tomoya Tsukamoto
s桜 12 Cherry Blossom 12
2024
Acylic on canvas
162x130.3cm(F100)
塚本智也 Tomoya Tsukamoto
現年43歲的青年日本藝術家塚本智也（Tomoya Tsukamoto），擁有豐富美學思考與深厚的藝術哲學，以日本古典美術為基底，在印象派的技法脈絡上融合西方繪畫技巧，僅以紅黃藍三原色的極簡原則創作，圖地反轉加上絢麗的彩色風格創造獨特畫面魅力，跨越學術與商業領域，從學術圈到高端百貨商業的持續合作展現其藝術價值。
2025年開始，他展開個人睽違13年的亞洲個展巡迴，第二站東京結束後，第三站回到他被亞洲藏家發現的原點——台北藝博（ART TAIPEI）。早在2015年觀止堂首次參與台北藝博時，我們就帶著塚本智也的作品進入台灣藝術市場至今已11年，並連續參加亞洲重要藝博會如香港 Art Central、台北 Art Taipei 及東京 Art Fair Tokyo 等，均取得亮眼的銷售成績，每檔展會作品售出率皆超過八成，藏家遍佈東京、台北、倫敦、紐約、柏林、北京等歐美亞主要城市。據內部統計，僅在過去三年的展覽中，累積銷售額便已突破美金 50 萬元，展現他在國際藝術市場與藏家中，穩定且強勁的收藏實力與市場熱度。
Tomoya Tsukamoto (b. 1982) is a 43-year-old Japanese artist whose practice is grounded in rigorous aesthetic inquiry and a deeply rooted artistic philosophy. Drawing from the foundations of classical Japanese art, he integrates Western painting techniques through the lineage of Impressionism. Working under a strict minimalist principle, Tsukamoto limits his palette to the three primary colors—red, yellow, and blue—while employing figure–ground reversal and vivid chromatic compositions to create visually striking and distinctive imagery. His work seamlessly bridges the academic and commercial realms, demonstrated through sustained collaborations ranging from institutional art circles to high-end department stores, underscoring the enduring value and versatility of his artistic practice.
Beginning in 2025, Tsukamoto embarked on his first Asian solo exhibition tour in 13 years. Following its second stop in Tokyo, the third exhibition returns to the place where he was first recognized by Asian collectors—ART TAIPEI. As early as 2015, when Guanzhitang first participated in ART TAIPEI, Tsukamoto’s works were introduced to the Taiwanese art market, marking an 11-year presence to date.
Over the years, his works have been consistently showcased at major Asian art fairs, including Art Central Hong Kong, ART TAIPEI, and Art Fair Tokyo, achieving outstanding sales results. At each fair, over 80% of the exhibited works were sold, with collectors spanning major cities across Asia, Europe, and North America, including Tokyo, Taipei, London, New York, Berlin, and Beijing. According to internal statistics, cumulative sales from exhibitions over the past three years alone have exceeded USD 500,000, reflecting Tsukamoto’s strong and sustained collector base as well as his growing momentum in the international art market.
權能 Kwon Neung
Artistic Haunts
2024
Oil on canvas
170x105cm
權能 Kwon Neung
現年35歲的超年輕韓國藝術家權能（Kwon Neung），作品首次於 2019 年香港 Art Central 亮相後獲得歐亞美藏家圈轟動，開幕首日3小時內8張大幅作品全數售罄，銷售額超過15萬美元，藏家詢問收藏作品的訊息絡繹不絕。後續隨著本畫廊為其安排於香港Art Central與台北Art Taipei連續數年固定展出，權能的作品市場價格穩定持續攀升，至今漲幅已逾20%，累積的銷售金額也超過50萬美金，藏家群來自歐美亞之餘，也獲得美術館策展委員的高度關注與肯定。隨後，他陸續收到多間美術館邀請舉辦個展，展覽計畫已排至2027年，展現其在國際藝壇持續上升的影響力。
今年新作展現以往不曾有過的畫面深度與魅力。過往他的作品總是充滿著他無以絕倫的幽默與想像力下創造出來的各式人物，今年他刻意減少畫面中的人物數量，在人物間創造出空間留白，有一種電影畫面感，也有種私寫真隨手拍的日本攝影即興感。超寫實技法創造超現實畫面的風格越見成熟，，跨越國界、文化與年齡，各國藏家都能感受到他作品畫面的戲劇張力，在現今眾多亞洲年輕藝術家中獨樹一格。
Kwon Neung (b. 1990) is a remarkably young Korean artist whose work caused an immediate sensation among collectors across Europe, Asia, and the United States following its debut at Art Central Hong Kong in 2019. Within just three hours of the opening day, all eight large-scale works on view were completely sold out, generating sales exceeding USD 150,000, while inquiries from collectors continued to pour in.
In the years that followed, the gallery consistently presented Kwon’s works at major Asian art fairs, including Art Central Hong Kong and ART TAIPEI, establishing a strong and steadily growing market presence. His market prices have shown sustained and stable growth, with an increase of over 20% to date, and cumulative sales surpassing USD 500,000. His collector base now spans Asia, Europe, and North America, and his work has also attracted significant attention and recognition from museum curatorial committees. As a result, Kwon has received multiple invitations from museums to present solo exhibitions, with exhibition schedules confirmed through 2027—underscoring his steadily rising influence within the international contemporary art scene.
His latest body of work reveals a level of visual depth and expressive power not previously seen in his practice. While his earlier works were characterized by an abundance of figures born from his singular humor and boundless imagination, this year Kwon intentionally reduces the number of figures within the composition, introducing spatial pauses and moments of visual silence between them. The resulting images evoke a cinematic sensibility, as well as the improvisational intimacy of Japanese snapshot photography. His hyper-realistic technique continues to generate distinctly surreal visual narratives, now with increased maturity and restraint. Transcending national, cultural, and generational boundaries, Kwon’s works resonate with collectors worldwide through their dramatic tension and psychological nuance, positioning him as a singular presence among the new generation of Asian contemporary artists.
賴逸倫 Yi-Lun Lai
恩蒂 Envy
2024
陶瓷 油彩 金屬
W30xH77xD24cm
賴逸倫 Yi-Lun Lai
賴逸倫作品榮獲由台灣工藝中心舉辦的第四屆台灣青年陶藝獎雙年展首獎，也曾於鶯歌陶瓷博物館展出，獸首人身作品看似魔幻，姿態卻帶批判語意，人物手腳比例細長有著日本動漫感仿似公仔，不明所以的人還以為能如此精細呈現身體細節媒材必是木雕，但他其實全用陶瓷創作，為保留原胚精緻度，以低溫土施釉燒製，技術爐火純青。
他像是個社會觀察家，將人性與動物的生物性連結，變異成某種真實象徵的慾望，藉此巧妙回應各種社會議題。人形代表了外顯社會化角色，動物則代表了角色的原始內心，間接反映了人為了適應社會環境所做出的妥協和變異。
他在藝術家自述中說，「在充斥無奈的社會中，悲劇是我們最習以為常的色彩，日復一日的呢喃抗議。反覆的生活模式被視為馴化的真實，慣於被圈養的人類，似乎加速生物性的表現。作品的特殊性在於，如同動物般追求奔向自由的我們，最後變異成某種『慾望的』象徵。蛻去人類的表皮，我們也在這當中成為被揶揄的『牠們』。不管你認不認同這些赤裸的人性，但它卻是牽起你我連結的橋樑，不美好但真實。」
2020年開始，本畫廊正式代理他的作品後，人氣迅速於台灣藝博會竄升，每次作品幾乎都是在VIP首日完售秒殺，2023年首次帶著他作品前進Art Central HK，亦獲得完售好成績，未來將規劃他前往更多國外平台展出。本次台北藝博帶來許多全新突破！單件作品中呈現動物雙體，精細陶瓷燒製技巧讓人歎為觀止！
Yi-Lun Lai is a Taiwanese ceramic artist whose work was awarded the Grand Prize at the 4th Taiwan Biennial of Young Ceramic Art, organized by the Taiwan Craft Research and Development Institute. His works have also been exhibited at the Yingge Ceramics Museum. At first glance, Lai’s sculptures—hybrid figures with animal heads and human bodies—appear fantastical and mythic; yet their postures and gestures carry sharp critical undertones. The elongated limbs and stylized proportions evoke the visual language of Japanese animation and collectible figures, leading many viewers to mistakenly assume that such finely articulated bodily details must be carved from wood. In fact, Lai works exclusively with ceramics. To preserve the delicacy of the original form, he employs low-temperature clay and glazing techniques, achieving a level of technical mastery that is both precise and remarkable.
Acting as a keen observer of society, Lai connects human nature with animal instinct, transforming this relationship into symbolic manifestations of desire that subtly respond to contemporary social issues. In his works, the human body represents socially constructed roles and external identities, while the animal head embodies the primal inner self. Together, they reflect the compromises and mutations humans undergo in order to adapt to social environments.
In his artist statement, Lai writes:
“In a society saturated with resignation, tragedy has become the most familiar color—a daily murmured protest. Repetitive life patterns are accepted as a domesticated form of reality. Humans, accustomed to being confined, seem to accelerate the expression of their biological instincts. The distinctiveness of my work lies in how we, like animals chasing freedom, ultimately mutate into symbols of ‘desire.’ As we shed the skin of humanity, we ourselves become the satirical ‘creatures’ being observed. Whether or not you agree with this exposure of raw human nature, it remains a bridge that connects us all—not beautiful, but undeniably real.”
Since 2020, when the gallery began officially representing Lai, his popularity has surged rapidly at ART TAIPEI, with works consistently selling out—often within moments—on VIP preview days. In 2023, his works were presented at Art Central Hong Kong for the first time, where they again achieved a complete sell-out. Looking ahead, the gallery plans to introduce Lai’s work to additional international platforms. At this year’s ART TAIPEI, he presents a series of bold new breakthroughs, including single works featuring dual animal bodies, executed with astonishing ceramic firing techniques that further push the expressive and technical boundaries of his practice.
国本泰英 Yasuhide Kunimoto
Sumo
2022
acrylic on canvas,
112x194cm
國本泰英Yasuhide Kunimoto
國本泰英是獲得2019年One Art Taipei新賞獎得主之一（同年獲獎的還有我們另一位韓國藝術家權能），他以「記憶」為創作軸線，認為人類依賴視覺形象組織過去的經驗，缺失的片段，或多或少都會經由人類擅自的解釋補上，最後存在於記憶裡的影像可能早已不是事情的原貌。作品經常呈現相似又不盡相同的畫面，尤其經常描繪橫綱力士或游泳選手，最有辨識度的五官及形體邊界卻刻意以技法模糊，似乎要告訴你記憶是一件多麽籠統而不可被信任的事情，讓人想起高松次郎60年代創作的〈影〉系列。
相撲（SUMO）系列之外，本次展出他另一個同樣受歡迎的系列——泳者。
或許對台灣人很難想像，但日本是唯一一個亞洲國家將游泳課納入中小學國民義務教育課綱，時間長達50年以上。而這樣的日本人集體記憶的起因來自於二戰後1950至1960 年代，日本社會接連發生重大海難事故，造成許多學生意外喪生，引發社會輿論高度關注。政府與地方教育單位因此開始檢討，認為身為四面環海、河川湖泊眾多的國家，國民若沒有基本水性是巨大的安全風險。於是中央政策逐步推動游泳教育制度化，適逢1964年東京即將舉辦奧運，因此藉此將游泳納入體育課程標準，並投入經費建設校園泳池、建立教學規範，讓學生從基礎漂浮、自救到規律訓練逐步培養能力。長期執行後，游泳變成日本教育中幾乎理所當然的必備科目，也有效降低學生溺水意外，成為一項以生命安全為核心、基於歷史教訓而形成的國家教育政策。
與相撲系列探討「記憶」的概念相同，游泳是日本人的文化與共同記憶。國本泰英藉由描繪日本學生從泳池邊入水游泳或是等待老師呼喚的場景，乍看之下似乎都是同一個人，但臉、手腳的角度等姿態又略有微妙不同，引起觀者投射自身的記憶至畫面當中。
Yasuhide Kunimoto is one of the recipients of the 2019 One Art Taipei New Award (alongside fellow awardee, Korean artist Kwon Neung). His artistic practice centers on the concept of memory, proposing that human beings rely heavily on visual images to organize past experiences. Missing fragments are often unconsciously filled in through personal interpretation, and as a result, the images that ultimately remain in memory may no longer correspond to the original reality.
Kunimoto’s works frequently present scenes that appear similar yet subtly different. He is particularly known for depicting yokozuna sumo wrestlers and swimmers. While these figures are immediately recognizable by their iconic forms, Kunimoto deliberately blurs facial features and bodily contours through painterly techniques, suggesting that memory itself is vague, unstable, and fundamentally unreliable. This visual strategy recalls the conceptual investigations of Jiro Takamatsu’s Shadow series from the 1960s, in which perception and representation are similarly destabilized.
In addition to his well-known SUMO series, this exhibition presents another highly acclaimed body of work: the Swimmer series.
While it may be difficult for Taiwanese audiences to imagine, Japan is the only Asian country to have included swimming as a compulsory subject in its national elementary and secondary school curriculum—for more than fifty years. This collective memory originates from the postwar decades of the 1950s and 1960s, when a series of major maritime accidents resulted in the tragic deaths of many students, drawing intense public attention. In response, the government and local education authorities reassessed national safety priorities, recognizing that for a country surrounded by seas and dense with rivers and lakes, a lack of basic swimming skills posed a serious risk.
As a result, swimming education was gradually institutionalized as national policy. Coinciding with preparations for the 1964 Tokyo Olympics, swimming was formally incorporated into physical education standards, accompanied by public investment in school swimming pools and standardized teaching systems. Students were trained progressively—from basic floating and self-rescue skills to structured swimming practice. Over time, swimming became an almost unquestioned component of Japanese education, significantly reducing drowning accidents and standing as a national policy shaped by historical trauma and a commitment to life safety.
Much like the SUMO series’ exploration of memory, swimming functions as a deeply embedded cultural and collective memory for the Japanese people. In Kunimoto’s paintings, students are shown entering the pool, swimming, or waiting quietly at the poolside for a teacher’s signal. At first glance, the figures appear to depict the same individual; yet subtle variations in facial features, limb positions, and bodily angles introduce small but crucial differences. These nuances invite viewers to project their own memories into the image, transforming the painted scene into a shared psychological space where personal recollection and collective experience quietly overlap.
小谷くるみ Kurumi Kotani
Tulip
2024
acrylic on cotton wooden panel
162 x 131 cm_(F100)
小谷くるみKurumi Kotani
小谷くるみ是非常年輕的日本人氣藝術家，她於2017年從京都造形藝術大學油畫系畢業，2019年於同校取得碩士學位，今年才剛滿30歲，但作品在日本人氣居高不下，除了在東京不同畫廊空間展出外，2023年更前進關西大阪中之島美術館，首度讓美術館破例為40歲以下的藝術家舉辦個展。
她以「存在的痕跡與氣息」為主題持續發表繪畫作品。近期代表作包括：「21g」系列──源自她對靈異與恐怖題材的興趣，透過如同有人以手指在結露玻璃上塗寫的意象，試圖描述生命在不同次元的歷程，描繪出介於存在與不存在之間的不確定感。“21g”象徵靈魂的重量，飽滿水氣窗戶上的半透明膜，成為生者與逝者聯繫的媒介，也讓人聯想起兒時在父母帶著自己出遊時，在車上天真地塗鴉的記憶，充滿思慕之情。
透過記錄物質在時間推移中所經歷的變化痕跡，讓人聯想起20 世紀60年代西方藝術運動，如極簡主義和概念藝術，以及當時在日本興起的物派。儘管這種做法在現代和當代藝術史的背景下可能並不顯得特別罕見，但小谷獨特的技法獨特地呈現景物有與沒有之間的樣貌，霧氣背後風景非常寫實細膩，對超現實現象的紀錄與描繪，將變化和痕跡與無形世界相結合，讓人過目難忘。
Kurumi Kotani is a highly regarded young Japanese artist whose popularity continues to rise rapidly in Japan. She graduated from the Oil Painting Department of Kyoto University of the Arts in 2017 and completed her master’s degree at the same institution in 2019. Having just turned 30 this year, Kotani has already established a strong presence within the Japanese art scene. In addition to exhibiting at various gallery spaces in Tokyo, she achieved a major milestone in 2023, when the Nakanoshima Museum of Art, Osaka made a rare exception to present a solo exhibition by an artist under the age of 40.
Kotani’s painting practice consistently revolves around the theme of “traces of existence and presence.” Among her recent representative works is the “21g” series, inspired by her long-standing fascination with supernatural and horror narratives. The imagery evokes the sensation of fingers tracing words or shapes across a fogged, condensation-covered window, attempting to visualize the journey of life across different dimensions and to capture the uncertainty that exists between being and non-being. The title 21g refers to the supposed weight of the human soul. The translucent membrane formed by moisture on glass becomes a symbolic medium connecting the living and the deceased, while also recalling childhood memories of innocently drawing on car windows during family trips—images imbued with longing, tenderness, and nostalgia.
By recording the subtle traces left by materials as they transform over time, Kotani’s work resonates with artistic movements of the 1960s, such as Minimalism, Conceptual Art, and Japan’s Mono-ha movement. While this approach may not appear uncommon within the broader context of modern and contemporary art history, Kotani’s distinctive technique offers a singular visual experience. She renders landscapes that hover delicately between presence and absence: scenes behind misted surfaces are depicted with striking realism and precision, while simultaneously documenting surreal phenomena. Through this fusion of change, trace, and the invisible realm, her paintings leave a lasting and unforgettable impression
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山崎雅未 Mami Yamasaki
Generative Taipei
2024
Acrylic on canvas
162x130cm(F100)
長島伊織 Iori Nagashima
山崎雅未1987年出生，曾參與京都的ACK、One Art Taipei、台北當代等重要藝博會，是極具潛力的日本年輕藝術家。
作品以都市夜景為媒介，探求超越物質意義的「光」。對她而言，光即是「希望」的具象化，反映出觀者內心深處比現實更為鮮豔的「記憶色」（Memory Color）。她透過夜景描繪，邀請觀者在與作品對峙的瞬間，開啟一場回溯個人情感與愉悅記憶的旅程。
然而，在璀璨燈火的背後，山崎也敏銳地捕捉了城市黑暗中潛伏的悲傷與不安。她運用刮板與畫刀，以高度抽象的手法重構都市光影，使畫面在遠觀與近賞之間產生驚人的視覺張力。更為獨特的是其創作最後的「破壞」工序——藉由如同切碎般的毀壞行為，將具象的形式推向純粹的抽象。這種具偶然性的表現，使作品如同「羅夏克墨跡測驗」（Rorschach test）般，隨觀者的心境投射而幻化出不同的形貌。
從探討人性幽暗的傳統媒介，到結合 AI 科技的《Generative》系列，山崎雅未不斷地在光的追尋與黑暗的揭示中，尋找藝術與人類集體意識的共鳴點，引領我們看見那隱藏在都市脈絡下的希望與動盪。
Mami Yamasaki (b. 1987) is a highly promising young Japanese artist who has participated in major art fairs including ACK (Art Collaboration Kyoto), One Art Taipei, and Taipei Dangdai. Her practice positions her as a rising voice within contemporary Japanese painting.
Using urban nightscapes as her primary visual medium, Yamasaki explores the notion of light beyond its material presence. For her, light is a visualization of hope, reflecting what she describes as the viewer’s inner “memory color”—a hue more vivid and emotionally charged than reality itself. Through depictions of illuminated cityscapes, she invites viewers, in the moment of confronting the work, to embark on a journey of emotional recollection, revisiting personal feelings and moments of joy embedded deep within memory.
Yet beneath the brilliance of artificial lights, Yamasaki also sensitively captures the sorrow and unease lurking within the city’s darkness. Employing scrapers and palette knives, she reconstructs urban light and shadow through a highly abstracted language, generating striking visual tension between distant viewing and close inspection. Particularly distinctive is her final act of destruction in the creative process: through gestures resembling cutting or shredding, she dismantles figurative forms and pushes them toward pure abstraction. This element of chance allows the works to function much like a Rorschach inkblot test, transforming in appearance according to the psychological projections and emotional states of each viewer.
From traditional painterly approaches that probe the darker aspects of human nature to her “Generative” series, which integrates AI technology, Yamasaki continuously navigates between the pursuit of light and the revelation of darkness. In doing so, she seeks points of resonance between art and collective human consciousness—guiding us to perceive both the hidden hope and the underlying turbulence embedded within the urban fabric.
