2026 ART TAIPEI 台北國際藝術博覽會
Sep. 2-5, 2026
台北世貿一館
Galleries：B15
VIP PREVIEW | Oct. 29,2026, PUBLIC DAYS | Oct. 30-Nov.2, 2026
Between Seeing and Sensing｜見與感之間
2026 年，觀⽌堂 ADMIRA Gallery 再度參與台灣最具代表性的當代藝術博覽會 ART TAIPEI。今年，我們將帶來⼗位來⾃台灣、⽇本與韓國的藝術家共同展出，也是近年觀⽌堂在 ART TAIPEI 最具跨地域與跨媒材特⾊的⼀次陣容。
今年的策展主題「Between Seeing and Sensing｜⾒與感之間」 ，從「觀看」與「感知」之間那段難以被完全說明的距離出發。⼗位藝術家的作品橫跨繪畫、⽔墨、纖維、⾦屬、陶瓷與複合媒材；有⼈處理光與餘⽩，有⼈描繪記憶、氣味與存在的痕跡，也有⼈透過材料轉換，重新挑戰我們對物質的既定認知。當我們不再急著辨識作品「是什麼」，⽽開始感受光、材料、時間、記憶與⾝體留下的線索，觀看也不再只是視覺⾏為，⽽成為⼀次重新理解世界的過程。
如果說過去幾年的觀⽌堂，持續透過台北、東京、⾹港與⾸爾等不同城市的展覽，試圖建⽴屬於亞洲當代藝術的交流網絡，那麼今年的ART TAIPEI，則更像是這些累積逐漸匯流的⼀次呈現。
其中，台灣藝術家魏聖倢、蔡旻芸，⽇本藝術家⾕﨑⼀⼼，以及 韓國藝術家朴鍾鎭 、朴成林 、李潤整 ，都將在今年⾸次參與 ART TAIPEI。幾位藝術家過去已先後透過 On e Art Taipei 、Δ Design Art 以及觀⽌堂其他 展覽計 畫與台灣觀眾相遇 ，今年則進⼀步⾛進 台灣規模最⼤的國際藝術博覽會。對我們⽽⾔ ，這不只是參展平台的轉換，也是⻑期觀察 、合作與市場累積之後 ，將新⼀批亞洲藝術家帶向更完整收藏市場的重要⼀步 。
⼗位藝術家從各⾃不同的⽂化與材料背景出發，卻都在回應相似的問題： 我們如何觀看？ 如何辨認與記憶？ 材料如何留下時間？ ⽽那些無法被直接看⾒的感知，又如何透過作品被我們察覺？ 「⾒與感之間」並不試圖將⼗位藝術家歸納為單⼀⾵格 ，⽽是讓差異本⾝成為彼此對話的起點 。
In 2026, ADMIRA Gallery returns to ART TAIPEI, Taiwan’s leading contemporary art fair, with ten artists from Taiwan, Japan, and Korea. This year marks one of the gallery’s most geographically diverse and materially expansive presentations at the fair in recent years.
Under the curatorial theme “Between Seeing and Sensing,” the presentation begins with the elusive distance between what we see and what we sense. Across painting, ink, fiber, metal, ceramics, and mixed media, the ten artists explore light and blank space, memory and scent, traces of existence, and transformations of material that challenge familiar assumptions about what things are. When we stop rushing to identify an artwork and instead attend to the traces left by light, matter, time, memory, and the body, looking becomes more than a visual act; it becomes a way of understanding the world anew.
Over the past several years, ADMIRA Gallery has continued to build a network of contemporary Asian art through exhibitions in Taipei, Tokyo, Hong Kong, Seoul, and beyond. ART TAIPEI 2026 brings many of those accumulated relationships and experiments together in one presentation.
Among the ten artists, Taiwanese artists Sheng Chieh Wei and Min Yun Tsai, Japanese artist Isshin Tanisaki, and Korean artists Jongjin Park, Sung Rim Park, and Yoonjeong Lee will all make their ART TAIPEI debut this year. Several of them have already met Taiwanese audiences through One Art Taipei, ΔDesignArt, and other ADMIRA Gallery projects; this year, they move into Taiwan’s largest international art fair. For us, this is not simply a change of platform, but an important next step after sustained observation, collaboration, and market development.
Coming from different cultural and material backgrounds, the ten artists nevertheless return to related questions: How do we see? How do we recognize and remember? How does material retain time? And how can perceptions that cannot be directly seen become palpable through art? “Between Seeing and Sensing” does not attempt to reduce the ten artists to a single style; instead, it treats their differences as the starting point for dialogue.
塚本智也 Tomoya Tsukamoto
Cycle of Light 12 ‒ Bamboo Grove
光の循環 12 ‒ 竹林
2026
Acrylic, Canvas
91 x 72.7 cm (F30 )
塚本智也 Tomoya Tsukamoto
塚本 智也是觀⽌堂合作時間最 ⻑、也最具代表性的⽇本藝術家之⼀。
以⽇本古典美術的觀看⽅式為基礎 ，塚本將⻄⽅繪畫中對於光與⾊彩的研究重新拆解，只使⽤紅 、⿈ 、藍三原⾊，以⼤量極細⼩ 的點狀筆觸進⾏畫⾯建構 。近看時彷彿純粹抽象的⾊彩與筆觸 ，當觀看距離逐漸拉遠 ，⼈物、櫻花 、⾵景甚⾄動物的形象才緩慢浮現。
2015年觀⽌堂⾸次參與 ART TAIPEI 時，即將塚本智也帶⼊台灣市場 ，此後持續於 ART TAIPEI、⾹港 ArtCent ral、Art F ai r Tok yo 等亞洲藝博會展出。2026 年，他更與都淳朗 共同⼊選 Frieze Seoul「Material Practice」策展單元 ，從原本市場熟悉的「三原⾊繪畫」，進 ⼀步將作品放⼊ 「光如何成為物質、觀看如何形成影像」的當代藝術脈絡重新理解。
今年，塚本也帶來以「⽵林 」為題材的全新嘗試。⾃⽣活重⼼移⾄⾃然環境豐富的鎌倉後 ，他開始不再將⾃然視為被觀看的外部對象 ，⽽是感受到⾃⾝也存在於⾃然循環 之中。⽵林裡筆直向上的⽵幹 、⽵節形成的⽔平節奏，以及光穿過葉⽚與空隙時產⽣的明暗變化 ，被他轉化為⾊彩、留⽩與節奏的構成。⽵的形象仍然存在，卻逐漸被還原成垂直與⽔平的純粹結構 ；三原⾊則在⽩⾊餘⽩之間彼此重疊 ，使光像是在畫⾯中持續流動 。
這批新作也讓塚本的創作從過去鯉 、⿅ 與櫻花所延伸 出的「光的循環 」，進 ⼀步⾛向更安靜⽽抽象的空間性。畫⾯中的留⽩與「間」，既讓 ⼈聯想到 ⽇本建築 、庭園 與禪 的空 間感，也讓⾃然與現代繪畫中的格 線結構產⽣交會。對塚本⽽⾔，⽵並不是新的⾵景題材，⽽是⼀次重新思考⽇本觀看⽅式的實驗如何讓光、⾃然與餘⽩，在畫⾯中留下⾜以讓觀者慢下來觀看的時間。
今年回到 ART TAIPEI，對觀⽌堂⽽⾔ ，也像是再次回到我們與塚本在亞洲市場共同出發的原點 ，同時看⾒這位⻑期合作藝術家如何在熟悉的三原⾊語彙裡 ，持續打開新的觀看⽅式 。
Tomoya Tsukamoto is one of ADMIRA Gallery’s longest-standing and most representative Japanese artists.
Drawing from modes of perception rooted in classical Japanese art, Tsukamoto reconsiders Western painting’s investigations of light and color. Working only with the three primary colors—red, yellow, and blue—he builds images through countless minute points of paint. Seen up close, the surface appears almost purely abstract; from a distance, figures, cherry blossoms, landscapes, and animals gradually emerge.
When ADMIRA Gallery first participated in ART TAIPEI in 2015, Tsukamoto was among the artists it introduced to the Taiwanese market. The gallery has since presented his work at ART TAIPEI, Art Central Hong Kong, Art Fair Tokyo, and other Asian fairs. In 2026, he was selected together with Atsuro Miyako for Frieze Seoul’s “Material Practice” section, opening a new way of reading his familiar primary-color paintings through contemporary questions of how light becomes material and how perception constructs an image.
This year, Tsukamoto introduces a new body of work centered on bamboo groves. Since relocating his daily life to Kamakura, surrounded by sea, forests, and abundant nature, he has begun to experience nature not as an external object to be observed, but as a cycle in which his own body participates. Upright bamboo trunks, the horizontal accents of their joints, and the shifting light passing through leaves and gaps are translated into compositions of color, rhythm, and negative space.
The image of bamboo remains, yet is gradually reduced to vertical and horizontal structures, while overlapping primary
colors within areas of white make light appear to circulate across the surface. These new works extend Tsukamoto’s ongoing “Cycle of Light,” previously developed through koi, deer, and cherry blossoms, toward a quieter and more abstract sense of space. The use of blank space and ma—the interval or pause— recalls Japanese architecture, gardens, and Zen spatial sensibilities, while also allowing natural forms to intersect with the grid structures of modern painting. For Tsukamoto, bamboo is therefore not simply a new landscape motif, but an experiment in reconsidering a Japanese structure of perception: how light, nature, and emptiness can create enough space and time for the viewer to slow down and look.
For ADMIRA Gallery, Tsukamoto’s return to ART TAIPEI is also a return to one of the starting points of our shared journey in the Asian art market—while revealing how a long-term collaborator continues to open new ways of seeing through his familiar language of primary colors.
權能 Kwon Neung
All Our Yesterdays Meet in the Rain
2026
Oil on canvas
86 x 160 cm
權能 Kwon Neung
韓國藝術家權能⾃ 2019 年於⾹港 Art C ent ral ⾸度透過觀⽌堂進⼊國際藝術市場後 ，作品便逐漸受到不同地區藏家的關注 。此後觀⽌堂持續於⾹港與台北的重要 藝博會展出他 的作品，逐步建⽴穩定的收藏群 。
權能以極為精細的超寫實技法 ，構築出完全不寫實的世界。他擅⻑運⽤設計、藝術、動漫等領 域中具有⾼度辨識度的⾓⾊、圖像與經典作品，將原本平凡的⽇常場景 重新組合成帶有荒謬 感與戲劇 性的超現實畫⾯ 。這些視覺符號往往能跨越 國籍 、⽂化與語⾔的藩籬 ，使觀者即使來⾃不同背景 ，也能迅速進⼊ 作品的情境 ；⽽畫⾯ 中密集 ⽽細膩 的細節 ，則讓 ⼈很 難只看⼀眼便 離開，反⽽會不⾃覺停留在作品前 ，逐⼀尋找其中隱藏的線索與⾓落 。
近年的作品也可 以明顯看出他的敘事⽅式正在轉變 。權能像是⼀位電影導演 ，畫⾯不再只強調 ⼈物與符號的⼤量堆疊 ，⽽是開始更細緻地經營前景 、中景 與遠景之間的關係 ，透過縱深、尺度與空間安排 ，讓整體畫⾯產⽣更強烈的景深與層次。
⼈物數量有時反⽽減少了 ，但觀看的空間卻被打開。熟悉的⾓⾊與物件被放進更完整的世界之中，觀者不再只是站在畫外觀看⼀場荒謬事件 ，⽽像是逐漸被吸進畫⾯深處，進⼊⼀個介於真實與虛構 、幽默與孤獨之間的平⾏世界。
超寫實只是權能的⼯具，真正讓作品令⼈難忘的，是他如何利⽤我們共同熟悉的⽂化記憶，重新編排成⼀個既陌⽣又似曾相識的世界。
Since Korean artist Kwon Neung entered the international art market with ADMIRA Gallery at Art Central Hong Kong in 2019, his work has steadily attracted collectors from different regions. The gallery has continued to present his work at major fairs in Hong Kong and Taipei, gradually building a stable collector base.
Kwon uses extraordinarily detailed hyperrealist technique to construct worlds that are anything but realistic. He draws on highly recognizable characters, images, and iconic works from design, art, animation, and popular culture, recombining ordinary scenes into surreal situations filled with absurdity and theatrical tension. These visual references can cross barriers of nationality, culture, and language, allowing viewers from very different backgrounds to enter the work immediately. At the same time, the density and precision of the details make it difficult to look only once; viewers tend to remain in front of the painting, searching through every corner for hidden clues.
His recent work also reveals a clear shift in narrative approach. Like a film director, Kwon no longer relies primarily on the accumulation of figures and symbols; he increasingly choreographs the relationships between foreground, middle ground, and background, using depth, scale, and spatial composition to create a richer and more immersive pictorial world.
At times there are fewer figures, yet the visual space itself becomes more expansive. Familiar characters and objects are placed within more fully constructed environments, so the viewer no longer stands outside watching an absurd event but seems to be drawn into the picture—into a parallel world suspended between reality and fiction, humor and solitude.
Hyperrealism is only Kwon’s tool. What makes the work memorable is the way he rearranges shared cultural memories into a world that feels simultaneously unfamiliar and strangely recognizable.
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魏聖倢 Sheng Chieh Wei
#whyshouldwebecomplete
2026
Acrylic, Canvas
15.5 x 22.5 cm (F1)
魏聖倢 Sheng Chieh Wei
魏聖倢畢業於⾼雄師範⼤學藝術學院跨領域藝術研究所。他的創作從社群媒體與「氣味」出發，關注⼈在⼤量流動的陌⽣影像之中，為何會突然對某⼀個從未相識的⼈產⽣熟悉與吸引。
對魏聖倢⽽⾔，氣味並不是記憶的象徵，⽽是⼀種早於理解發⽣的「辨認」。如同動物透過氣味認出彼此，在真正看清對⽅、知道對⽅是誰以前，⾝體似乎早已察覺了某種存在。他所描繪的因此不是陌⽣⼈的⾝分，⽽是「辨認」發⽣的瞬間̶̶我們看⾒彼此、感覺彼此，甚⾄以為理解彼此，卻始終存在著某種無法完全跨越的距離。
這種靠近與疏離，也延伸⾄他的繪畫材料。他以顏料與透明媒材反覆堆疊、包覆與滲透，讓⼈物時⽽浮現、時⽽沉⼊畫⾯，形成如同氣味般不斷改變的「濃度」。⼀些五官被保留下來，⼀些逐漸模糊；⼈物彷彿近在眼前，卻始終無法被完全掌握。
因此，他並不是試圖描繪氣味，⽽是讓繪畫像氣味⼀樣運作。在⼈物反覆出現、消失與重新被辨認的過程裡，作品最終指向的，也許並不只是陌⽣⼈的肖像，⽽是我們如何在孤獨之中尋找彼此：既然已經認出了彼此，為什麼我們仍然如此孤獨？
過去透過 One Art Taipei 與觀⽌堂的展覽逐步累積台灣觀眾與藏家的認識之後，2026 年也將是魏聖倢⾸次進⼊ART TAIPEI。對我們⽽⾔，這代表的不只是展覽規模的推進，更是他逐漸成熟的個⼈繪畫語彙，正式進⼊更完整的當代藝術收藏市場。
Sheng Chieh Wei graduated from the Graduate Institute of Interdisciplinary Art at National Kaohsiung Normal University. His practice begins with social media and the idea of “scent,” asking why, amid an endless stream of unfamiliar images and faces, we sometimes feel an inexplicable familiarity or attraction toward someone we have never met.
For Wei, scent is not a symbol of memory, but a mode of recognition that occurs before understanding. Just as animals recognize one another through smell, the body seems to register a presence before we clearly see, understand, or even know who the other person is. What he paints is therefore not the identity of strangers, but the instant in which recognition takes place: we see one another, sense one another, and may even believe we understand one another, yet a distance remains that can never be completely crossed.
This tension between proximity and distance extends into his materials. Through repeated layers of pigment and transparent media—covering, permeating, and accumulating—figures alternately emerge and sink back into the painting, creating changing “concentrations” reminiscent of scent. Some facial features remain while others dissolve; the figure seems close at hand, yet can never be fully grasped.
He is therefore not trying to paint scent itself, but to make painting operate like scent. As figures repeatedly appear, disappear, and are recognized again, the work points beyond portraiture toward a more fundamental question of how we seek one another through loneliness: if we have already recognized one another, why do we remain so alone?
After gradually building recognition among Taiwanese audiences and collectors through One Art Taipei and ADMIRA Gallery’s exhibitions, 2026 marks Wei’s first participation in ART TAIPEI. For the gallery, this is not only a step up in exhibition scale, but also a moment in which his increasingly mature painterly language enters a broader contemporary art collecting context.
蔡旻芸 Min Yun Tsai
某個邊界之內 Within the Boundary
2026
Ink on Paper
50 x 80 cm
蔡旻芸 Min Yun Tsai
蔡旻芸 1993 年出⽣，畢業於⾼雄師範⼤學藝術學院，2014 年即以⽔墨作品獲得南瀛獎⾸獎，2023 年再獲 One Art Taipei 新賞獎評審肯定。
她的作品看似安靜，卻有⼀種讓⼈停留很久的不安感。從早期以兒時⽣活過的三合院為軸線，到近年的窗景、植物、建築與庭園，⼈類明明曾經存在於這些空間裡，畫⾯卻永遠缺席。植物被照顧得很好、建築維持著秩序，所有事物都透露著⼈為⼲預的痕跡，但⼈卻消失了。
這種「有⼈⽣活過，卻沒有⼈存在」的⽭盾，讓蔡旻芸的當代⽔墨形成⾮常特殊的清冷氣質。她並⾮描繪真正無⼈的⾵景，⽽是在描繪現代⼈⾝處社會之中，明明不斷與世界接觸，卻⼜持續感到疏離的⼼理狀態。
從 One Art Taipei 的新賞獎與多次展出，到今年⾸次參與 ART TAIPEI，蔡旻芸也從新世代⽔墨藝術家的⾓⾊，逐漸⾛向更成熟的市場階段。觀⽌堂希望透過 ART TAIPEI，讓她安靜⽽帶有⼼理距離的作品，被更多不同世代的藏家重新觀看。
Born in 1993, Min Yun Tsai graduated from the College of Arts at National Kaohsiung Normal University. She received the Grand Prize of the Nanying Awards for an ink work in 2014 and was later recognized by the One Art Taipei New Award jury in 2023.
Her work appears quiet at first, yet carries an unease that keeps the viewer looking. From earlier works centered on the traditional courtyard house of her childhood to recent images of windows, plants, architecture, and gardens, human presence is everywhere implied yet never shown. Plants are carefully tended and architecture remains ordered; traces of human intervention are unmistakable, yet the people themselves have disappeared.
This contradiction—spaces that have clearly been lived in, yet contain no people—gives Tsai’s contemporary ink painting its distinctive cool and suspended atmosphere. She is not simply depicting empty landscapes, but a psychological condition of contemporary life: remaining constantly in contact with the world while continuing to feel estranged from it.
From receiving the One Art Taipei New Award and appearing in multiple exhibitions to making her ART TAIPEI debut this year, Tsai is moving from the position of an emerging ink artist into a more mature stage of market development. Through ART TAIPEI, ADMIRA Gallery hopes to bring her quiet, psychologically distanced images into view for a wider range of
collectors.
国本泰英 Yasuhide Kunimoto
七⼗四 74
2026
Acrylic, Silk, Aluminum Leaf and Torinoko paper on canvas
33.3 x 24.2 cm (F4)
国本泰英 Yasuhide Kunimoto
國本泰英⻑年以「記憶」作為創作核⼼。他認為，我們以為記住的事情，其實往往已被⾃⼰的經驗重新剪輯。遺失的部分被想像補上，清楚的部分⼜隨時間逐漸模糊；最後留在腦海中的影像，可能早已不是事件原本的樣⼦。
因此，他⻑年反覆描繪相撲⼒⼠、泳者等帶有強烈集體記憶的圖像，卻刻意模糊最容易辨識⼈物⾝分的五官與輪廓，使每⼀幅看似相同的畫⾯，都留下細微差異。
近年的創作更從相撲與泳者延伸⾄⻑崎燈籠祭。看似逐漸消失的輪廓，在新系列裡重新化為如⽔墨般扭曲流動的線條；記憶不再只是⼀張模糊照⽚，⽽像是⼀種仍然持續變形的⽣命體。
Yasuhide Kunimoto has long made “memory” the central subject of his practice.
He considers memory to be something continuously re-edited by personal experience. Missing parts are filled in by imagination, while once-clear details blur with time; the image that remains in the mind may no longer resemble the original event.
For this reason, Kunimoto repeatedly paints images such as sumo wrestlers and swimmers—figures embedded in collective memory—while deliberately blurring the facial features and contours that would normally identify them. Each apparently similar image therefore retains subtle differences.
In recent work, his subjects have expanded from sumo and swimmers to the Nagasaki Lantern Festival. Contours that once seemed to be disappearing are transformed into fluid, distorted lines reminiscent of ink painting. Memory is no longer merely a blurred photograph, but something alive and continuously changing.
⼩⾕くるみ Kurumi Kotani
black spot
2026
Acrylic on cotton wooden panel
53 x 45.5 cm (F10)
小谷くるみ Kurumi Kotani
⼩⾕くるみ是近年⽇本年輕世代中相當受到關注的藝術家。她於 2017 年⾃京都造形藝術⼤學油畫系畢業，2019年於同校取得碩⼠學位，如今才剛進⼊30 代，作品卻已在⽇本累積相當⾼的市場辨識度。除了持續於東京不同畫廊空間展出外，2023 年更前進⼤阪中之島美術館舉辦個展，成為其創作歷程中的重要節點。
⼩⾕⻑期以「存在的痕跡與氣息」作為創作核⼼。
她近年的代表性系列「21g」，源⾃對靈異與恐怖題材的興趣，透過彷彿有⼈以⼿指在結露玻璃上留下痕跡的畫⾯，描繪⽣命介於存在與不存在之間的不確定狀態。「21g」象徵靈魂的重量，⽽覆蓋在玻璃上的半透明⽔氣膜，則像是⼀道介於⽣者與逝者之間的媒介。
但這些畫⾯並不只是關於死亡或超⾃然現象。對⼩⾕⽽⾔，結露玻璃也連結著童年記憶̶̶坐在⽗⺟開⾞帶她出遊的⾞內，在起霧的窗戶上⽤⼿指隨意塗畫。於是作品同時帶著某種⾮常私密的思慕感：痕跡會出現，也會消失，⽽⼈所能留下的，往往正是那些短暫存在過的證明。
她透過記錄物質在時間推移中留下的變化，使作品與 1960 年代以來的極簡主義、概念藝術，以及⽇本物派對於物質、時間與存在的思考產⽣呼應；然⽽，⼩⾕並未停留在形式或材料本⾝。她以極為細膩、近乎寫實的繪畫技法，描繪霧氣後⽅若隱若現的⾵景，讓「有」與「沒有」、「存在」與「消失」始終同時停留在畫⾯之中。
觀看⼩⾕的作品，有時像是在凝視某個剛剛發⽣過、卻已經無法追回的瞬間。⾵景依然存在，痕跡卻正在消退；⽽那些看似無形的世界，反⽽因為這些短暫留下的⽔氣與指痕，被我們重新感知。
Kurumi Kotani is one of the most closely watched artists of Japan’s younger generation. She graduated from the Department of Oil Painting at Kyoto University of Art and Design in 2017 and completed her master’s degree there in 2019. Now only in her early thirties, she has already established strong recognition in the Japanese market. In addition to exhibitions at galleries across Tokyo, her 2023 solo presentation at the Nakanoshima Museum of Art, Osaka, marked an important milestone in her career.
Kotani has long centered her practice on “traces and presences of existence.” Her recent signature series, “21g,” grows out of an interest in the paranormal and horror. Images resembling marks traced by a finger on condensation-covered glass describe an uncertain state between existence and nonexistence. “21g” refers to the supposed weight of the soul, while the translucent film of moisture across a window becomes a medium between the living and the dead.
Yet these images are not only about death or supernatural phenomena. For Kotani, condensation-covered glass is also tied to childhood memories of drawing with her finger on fogged car windows during trips with her parents. The works therefore carry an intimate sense of longing: traces appear and disappear, and what we leave behind may be no more than evidence of having existed for a brief moment.
By recording how matter changes over time, Kotani’s work resonates with questions of material, duration, and existence explored by Minimalism and Conceptual Art since the 1960s, as well as by Japan’s Mono-ha movement. Yet she does not stop at form or material. Through highly refined, almost realistic painting, she renders landscapes glimpsed behind misted surfaces, allowing presence and absence, existence and disappearance, to occupy the image simultaneously.
To look at Kotani’s work can feel like watching a moment that has just passed and can no longer be recovered. The landscape remains while the trace fades; paradoxically, it is through these temporary marks of moisture and touch that an otherwise invisible world becomes perceptible again.
⾕﨑⼀⼼ Isshin Tanisaki
Morning
2026
Oil on Canvas
164.8 x 164.8 cm
谷﨑一心 Isshin Tanisaki
1974 年出⽣於福岡的⾕﨑⼀⼼，⻑年以「⽣命的能量與循環」為核⼼，透過⾊彩、肌理與不斷旋轉的渦流描繪⾃然與⽣命。
早在 2000 年代初期，他便開始以密集細⼩的點構成⾃然⾵景；後來，這些點逐漸演化成「渦」。對⾕﨑⽽⾔，渦並不是⼀種單純的視覺符號，⽽是萬物形成之前最根源的能量運動̶̶從⾃然、⽣命，到我們所處的⽇常世界與宇宙，都存在於不同尺度的循環之中。
今年將是⾕﨑⼀⼼⾸次參與 ART TAIPEI，也是觀⽌堂⾸次於 ART TAIPEI 正式介紹他的作品。
Born in Fukuoka in 1974, Isshin Tanisaki has long explored the energy and cycles of life, using color, texture, and continuously turning vortices to depict nature and living systems.
As early as the 2000s, Tanisaki began constructing natural landscapes from dense fields of minute dots. Over time, these points evolved into vortices. For him, the vortex is not merely a visual symbol but a fundamental movement of energy preceding form itself: nature, life, the everyday world, and the universe all exist within cycles operating at different scales.
This year marks Isshin Tanisaki’s first participation in ART TAIPEI, as well as ADMIRA Gallery’s first formal presentation of his work at the fair.
朴鍾鎭 Jongjin Park
Stratum-Patch-Wall-R4-1WBY
2026
Porcelain, paper, stain and glaze
33x33 cm
朴鍾鎭 Jongjin Park
如果今年 ART TAIPEI 有⼀位藝術家，可以最直接代表觀⽌堂近年逐漸延伸⾄「當代⼯藝 × Collectible Design × Contemporary Art」的⽅向，那便是韓國藝術家朴鍾鎭。
2026 年，他以《Strata of Illusion》獲得 LOEWE FOUNDATION Craft Prize。作品以紙張、⽩瓷泥漿與⾼溫燒 製為核⼼：柔軟、輕薄、甚⾄可以輕易破壞的紙，被⼀層層覆上瓷泥、折疊、堆積、壓縮，經過窯燒後，紙張本⾝消失，留下瓷所形成的地層般結構。
那些乍看像纖維、紙張甚⾄地質岩層的表⾯，實際上已轉化成陶瓷。作品因此不只是造型，⽽是⼀場關於材料認知的錯覺。
2026 年，朴鍾鎭透過 ΔDesignArt ⾸次與觀⽌堂 ADMIRA Gallery 與Designsurfing 設計發浪展開台灣合作；今年 ART TAIPEI 也將是他⾸次進⼊台灣主要國際藝術博覽會。觀⽌堂希望進⼀步把他的創作從「⼯藝」的既定框架抽離，放回當代藝術與雕塑的觀看⽅式之中̶̶紙究竟是紙？陶瓷⼜是否⼀定要看起來像陶瓷？
從 ΔDesignArt 到 ART TAIPEI，這半年之間也形成了朴鍾鎭與觀⽌堂ADMIRA Gallery、Designsurfing 設計發浪在台灣市場合作的第⼀階段：先讓觀眾理解材料，再逐漸讓收藏市場認識他的藝術語彙。當材料本⾝開始欺騙我們的眼睛，作品真正討論的，或許正是我們如何相信⾃⼰所看⾒的世界。
If one artist most directly represents ADMIRA Gallery’s recent expansion toward the intersection of contemporary craft, collectible design, and contemporary art, it is Korean artist Jongjin Park.
In 2026, Park received the LOEWE FOUNDATION Craft Prize for “Strata of Illusion.” His process centers on paper, white porcelain slip, and high-temperature firing. Soft, thin, and fragile sheets of paper are repeatedly coated with porcelain slip, folded, stacked, and compressed. During firing, the paper disappears, leaving behind geological, stratified structures formed entirely from porcelain.
Surfaces that initially appear to be fiber, paper, or even geological strata have in fact become ceramic. The work is therefore not only sculptural form, but an illusion that unsettles our assumptions about material.
In 2026, Park began his first collaboration in Taiwan with ADMIRA Gallery and Designsurfing through ΔDesignArt. This year’s ART TAIPEI will also mark his first appearance at Taiwan’s major international art fair. ADMIRA Gallery hopes to shift the reading of his work beyond the conventional frame of “craft” and into the broader context of contemporary art and sculpture: must paper remain paper, and must ceramic necessarily look like ceramic?
The six months from ΔDesignArt to ART TAIPEI form the first stage of Park’s collaboration with ADMIRA Gallery and Designsurfing in Taiwan: first allowing audiences to understand the material process, then gradually introducing his artistic language to the collector market. When material itself begins to deceive the eye, the work ultimately asks how we come to trust what we see.
朴成林 Sung Rim Park
My universe 010922
2022
Hanji
H45 x W45 x D6 cm
朴成林 Sung Rim Park
朴成林是⼀位以纖維作為主要創作媒材的韓國藝術家。她⻑期觀察⾃然物之中反覆出現的結構與秩序，再透過纖維柔軟、可堆疊、可延展的物質特性，轉化成帶有雕塑感的⽴體作品。
從遠處觀看，她的作品具有清晰甚⾄近乎建築般的結構；靠近之後，卻會發現構成這些形體的，是⼤量細⼩纖維、線條與反覆累積的⼿⼯痕跡。硬與軟、秩序與不規則、結構與觸覺，同時存在。
朴成林過去曾參與不同國際⼯藝與藝術平台，2026 年透過 ΔDesignArt ⾸次與觀⽌堂 ADMIRA Gallery 與Designsurfing 設計發浪展開台灣合作，⽽今年也將⾸次登上 ART TAIPEI。
從五⽉第⼀次讓台灣觀眾認識她的纖維創作，到半年後進⼀步進⼊ ART TAIPEI，觀⽌堂希望將她的作品放在更完整的當代藝術脈絡裡觀看：當纖維離開「織品」的功能性，開始形成空間、重量與結構，它是否也已成為雕塑？
Sung Rim Park is a Korean artist whose primary material is fiber. She observes recurring structures and orders found in nature, translating them through fiber’s softness, flexibility, and capacity for layering into sculptural three-dimensional forms.
From a distance, her works appear clearly structured, almost architectural. Up close, however, those forms reveal themselves as accumulations of fine fibers, lines, and repeated traces of handwork.
Hardness and softness, order and irregularity, structure and tactility coexist within the same object.
Park has participated in a range of international craft and art platforms. In 2026, she began her first collaboration in Taiwan with ADMIRA Gallery and Designsurfing through ΔDesignArt, and this year she will also make her first appearance at ART TAIPEI.
From introducing her fiber practice to Taiwanese audiences for the first time in May to presenting it at ART TAIPEI only half a year later, ADMIRA Gallery hopes to place Park’s work within a broader contemporary art context: when fiber leaves behind the functionality of “textile” and begins to create space, weight, and structure, does it also become sculpture?
李潤整 Yoonjeong Lee
ShareHolders / Frame２
2026
Wood, Metal
20x40x10cm
李潤整 Yoonjeong Lee
李潤整則從複合材質出發，重新觀看那些容易被我們忽略的⽇常事物。她擅⻑透過⾦屬鑄造、⽊⼯等⼯藝技術，將⽣活中看似普通、甚⾄微不⾜道的物件重新轉化；作品並不刻意強調材質本⾝的冰冷或堅硬，反⽽帶有⼀種⾮常安靜、細膩，甚⾄接近記憶的溫度。
2025 年，李潤整獲韓國⽂化組織 YEOL 選為年度「Young Craftsman」。她透過⾦屬鑄造重新發掘⽇常素材的造型可能，以細膩、溫暖的觀看⽅式，使造型與創作哲學在作品中並存。
2026 年，李潤整透過 ΔDesignArt ⾸次與觀⽌堂 ADMIRA Gallery Designsurfing 設計發浪展開台灣合作；半年後，她也將⾸次參與 ART TAIPEI。本次觀⽌堂將延續她《ShareHolders / Frame》系列，從「框」這個我們早已習以為常的展⽰結構出發，重新思考觀看、物件與空間之間的關係。
從設計與⼯藝導向的平台進⼊ ART TAIPEI，對李潤整⽽⾔也是⼀次觀看位置的轉換：⼯藝技術不再只是作品如何被製作，⽽開始成為作品如何被理解的⼀部分。
Yoonjeong Lee works with a range of mixed materials to reconsider the everyday objects that often go unnoticed. Through techniques such as metal casting and woodworking, she transforms seemingly ordinary, even insignificant, objects into works that invite a renewed way of seeing. Rather than emphasizing the coldness or rigidity often associated with these materials, her works convey a quiet and delicate sensibility, carrying a warmth that feels almost connected to memory.
In 2025, Lee was selected by the Korean cultural organization YEOL as a “Young Craftsman” of the year. Through metal casting, she rediscovers the formal possibilities of everyday materials, combining a delicate, warm mode of observation with a distinct sculptural and conceptual language.
In 2026, Lee began her first collaboration in Taiwan with ADMIRA Gallery and Designsurfing through ΔDesignArt. Half a year later, she will make her first appearance at ART TAIPEI. For this presentation, ADMIRA Gallery continues with her “ShareHolders / Frame” series, using the familiar structure of the frame as a starting point for reconsidering the relationship between viewing, object, and space.
Moving from a design- and craft-oriented platform into ART TAIPEI also shifts the position from which Lee’s work is viewed: craft technique is no longer only about how an object is made, but becomes part of how the work itself is understood.
從 One Art Taipei、ΔDesignArt，到 ART TAIPEI
今年⼗位藝術家的組合，也某種程度反映了觀⽌堂近年很重要的⼀個改變。
我們仍然持續經營塚本智也、權能、⼩⾕くるみ、國本泰英等⻑期合作藝術家的市場；另⼀⽅⾯，也開始透過 One Art Taipei、ΔDesignArt、Frieze Seoul 等不同形式的平台，接觸更多跨越藝術、設計與⼯藝界線的亞洲創作者。
今年六位⾸次參與 ART TAIPEI 的藝術家，正好呈現出這條發展軌跡。魏聖倢與蔡旻芸從 One Art Taipei 等較具實驗性與新世代特⾊的平台逐步累積市場；朴鍾鎭、朴成林與李潤整則從 ΔDesignArt 的材料與⼯藝脈絡進⼊台灣；⾕﨑⼀⼼則成為今年⽇本藝術家陣容中⾸次進⼊ ART TAIPEI 的新⾯孔。六位藝術家同時⾛進 ART TAIPEI，也讓畫廊過去幾年分別進⾏的藝術家培育、市場測試與跨國合作，在同⼀個展位裡真正交會。
因此，今年 ART TAIPEI 的展位裡，⽔墨與油畫、壓克⼒繪畫與纖維、陶瓷與⾦屬、⽊頭會同時出現。它們沒有必要被歸類成同⼀種⾵格。真正讓⼗位藝術家彼此產⽣關係的，是他們都在⾃⼰的⽂化與材料背景裡，重新思考觀看與感知之間的距離。
「Between Seeing and Sensing｜⾒與感之間」因此不只是⼀個展覽標題，也像是觀⽌堂近年策展⽅向的⼀次縮影：在繪畫與材料實踐、藝術與⼯藝、熟悉與陌⽣之間，尋找亞洲當代創作更開放的觀看⽅式。
六位⾸次登上 ART TAIPEI 的藝術家，與四位⻑期累積台灣市場的藝術家，共同構成今年觀⽌堂的⼗⼈陣容。全新的藝術家組合，嶄新的藝術對話。
期待與您相⾒於 ART TAIPEI 2026。
This year’s group of ten artists also reflects an important shift in ADMIRA Gallery’s recent development.
The gallery continues to develop the market for long-term collaborators such as Tomoya Tsukamoto, Kwon Neung, Kurumi Kotani, and Yasuhide Kunimoto. At the same time, platforms including One Art Taipei, ΔDesignArt, and Frieze Seoul have allowed us to engage with a broader generation of Asian creators working across the boundaries of art, design, and craft.
The six artists making their ART TAIPEI debut this year clearly embody this trajectory. Sheng Chieh Wei and Min Yun Tsai have gradually built their presence through younger and more experimental platforms such as One Art Taipei; Jongjin Park, Sung Rim Park, and Yoonjeong Lee entered the Taiwanese context through the material and craft-oriented framework of ΔDesignArt; and Isshin Tanisaki becomes the new Japanese voice making his first ART TAIPEI appearance in this year’s presentation. Bringing all six into ART TAIPEI allows several years of artist development, market testing, and cross-border collaboration to meet within a single booth.
As a result, this year’s presentation brings ink and painting, acrylic and fiber, ceramics 、 metal and wood into the same space. They do not need to be categorized as a single style. What connects the ten artists is their shared interest in reconsidering the distance between seeing and sensing from distinct cultural and material perspectives.
“Between Seeing and Sensing” is therefore more than an exhibition title. It also reflects ADMIRA Gallery’s recent curatorial direction: searching, between painting and material practice, art and craft, familiarity and estrangement, for more open ways of viewing contemporary Asian creation.
Six artists making their ART TAIPEI debut join four artists whose presence in Taiwan has been cultivated over time to form
ADMIRA Gallery’s ten-artist presentation this year.
A new constellation of artists, and a new artistic dialogue.
We look forward to seeing you at ART TAIPEI 2026.
Artists｜參展藝術家
塚本智也 Tomoya Tsukamoto
權能 Kwon Neung
魏聖倢 Sheng Chieh Wei
蔡旻芸 Min Yun Tsai
国本泰英 Yasuhide Kunimoto
⼩⾕くるみ Kurumi Kotani
⾕﨑⼀⼼ Isshin Tanisaki
朴鍾鎭 Jongjin Park
朴成林 Sung Rim Park
李潤整 Yoonjeong Lee