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藝術台北2026

ONE ART Taipei 2026

2026.01.16 - 18

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藝術台北 ONE ART Taipei 2026
2026.01.16 - 28

朝代畫廊展間 Room:𝟏𝟏𝟎𝟏
貴賓預展 VIP Preview:2026.01.16(五) 
大眾參觀 Public Days:2026.01.17(六)-01.18(日)
地點 Venue:JR東日本大飯店 台北

           Hotel Metropolitan Premier Taipei
展出藝術家 Artists:夏愛華、具本妸、草間彌生、林餘慶&魏杏諭、劉振祥、呂文、水谷篤司、曾上杰
HSIA AiHua, KOO Bon-A, KUSAMA Yayoi, LIN Yu-Ching & WEI Hsing-Yu, LIU Chen-Hsiang, LU Wen, MIZUTANI Atsushi, TSENG Shang-Jie
憑票入場,官方票務 Tickets:https://www.onearttaipei.com/buyticket

朝代畫廊誠摯邀請您蒞臨《藝術台北 ONE ART Taipei 2026》,本次我們將展出匯聚台灣、日本與韓國當代藝術的重要創作力量,參展藝術家包括夏愛華、具本妸、草間彌生、林餘慶 & 魏杏諭、劉振祥、呂文、水谷篤司與曾上杰,呈現橫跨繪畫、攝影、雕塑與複合媒材的多元創作面貌。透過不同世代與文化背景的藝術實踐,本次展覽聚焦於感知、記憶、身體與時代經驗等核心議題,展現藝術家如何在傳統脈絡與當代語境之間持續探索與回應。我們期盼在 ONE ART Taipei 2026 的現場,與觀眾一同深入藝術語言的層次,拓展對當代藝術的想像與理解。

誠摯邀請您蒞臨朝代畫廊展間,與我們一同感受藝術所帶來的深度與思考。

Dynasty Gallery cordially invites you to ONE ART Taipei 2026. This presentation brings together leading contemporary artistic voices from Taiwan, Japan, and Korea, featuring works by HSIA AiHua, KOO Bon-A, Yayoi Kusama, Lin Yu-Ching & Wei Hsing-Yu, Liu Chen-Hsiang, Lu Wen, Mizutani Atsushi, and Tseng Shang-Jie. The exhibition spans painting, photography, sculpture, and mixed media, presenting a rich diversity of contemporary practices. Through artistic approaches shaped by different generations and cultural backgrounds, the exhibition focuses on core themes of perception, memory, the body, and lived experience, revealing how artists continue to explore and respond within the dialogue between tradition and contemporary contexts. At ONE ART Taipei 2026, we look forward to engaging audiences in deeper encounters with artistic language and expanding the imagination and understanding of contemporary art.

 

We warmly welcome you to visit the Dynasty Gallery booth and experience the depth and reflection that art brings.

草間彌生《KY178 花 QE》I:72.7x60.6cm P:84x71cm, 絲網版印Screenprint, 64之90, 1993.jpg

​草間彌生

​KUSAMA Yayoi

草間彌生為當代藝術史上舉足輕重、影響深遠的亞洲藝術家。草間素以豐富多產的創作而著名,其作品涵蓋繪畫、雕塑、行為展演、流動影像和大型裝置。她原本修習傳統日本畫,1957年移居美國,很快就以破格而別樹一幟的藝術語言,在美國和歐洲前衛藝術界打響名堂,在藝壇贏得一席之地。草間於1973年返回日本,之後一直創作不輟,推陳出新,與自己身處的時代呼應共鳴。草間彌生堅持不懈地追求前衛藝術實踐,使她成為二十一世紀的全球文化偶像。她在逾七十年的創作生涯中發展出獨樹一幟的核心美學和人生哲學。其作品展示浩瀚無垠之境,反思大自然的生命形態與循環,擄獲世人的目光。

KUSAMA Yayoi is a monumental and influential figure in contemporary art history. Known for her prolific output, Kusama's work spans painting, sculpture, performance, film, and large-scale installations. Trained in traditional Japanese painting, she moved to the United States in 1957, quickly gaining acclaim in avant-garde circles across America and Europe with her distinct artistic language. After returning to Japan in 1973, Kusama continued to create innovative works, resonating deeply with the times. Her relentless pursuit of avant-garde practice has made her a global cultural icon in the 21st century. Over a career spanning more than 70 years, Kusama developed a unique core aesthetic and life philosophy, exploring the vastness of nature’s forms and cycles, captivating audiences worldwide.

草間彌生《KY178 花 QE》I:72.7x60.6cm P:84x71cm, 絲網版印Screenprint, 64之90, 1993.jpg

草間彌生 KUSAMA Yayoi

《花 QE | Flower QE》

​I:72.7x60.6cm P:84x71cm

絲網版畫 Screen Print, Ed.90

1993

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林餘慶&魏杏諭

LIN Yu-Ching & WEI Hsing-Yu

林餘慶&魏杏諭共同創作至今已近二十年,藝術家耐心分配色調和色塊,在繁忙緊湊的節奏中,公平地分配色彩,創造了均衡生態。此外,系列作品之間的物件串連,也讓他們的創作產生古時壁畫的共時性──將長篇幅的故事呈現在一片牆上,讓觀者於一眼全覽的同時也能在細節裡悠遊。藝術家筆下的主要角色「Wulala」就像是他們的化身,不斷出現在作品畫面之中,像是導遊般引領我們徜徉在林餘慶和魏杏諭為作品所創作的心情詩海中,盡情探索。

LIN Yu-Ching & WEI Hsing-Yu have collaborated for nearly two decades. With patience and precision, the artists carefully distribute tones and color blocks, allocating color with an almost egalitarian rhythm amid dense and dynamic compositions to create a balanced visual ecology. The connections between individual works within a series further generate a sense of synchronicity reminiscent of ancient murals—unfolding an extended narrative across a single wall, allowing viewers to grasp the whole at a glance while wandering freely through its details. The recurring protagonist “Wulala”, a figure that functions as the artists’ alter ego, appears continuously throughout their works. Like a guide, Wulala leads viewers through the poetic emotional landscapes constructed by Lin Yu-Ching and Wei Hsing-Yu, inviting an immersive journey of exploration and contemplation.

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林餘慶&魏杏諭 LIN Yu-Ching & WEI Hsing-Yu

《人造星球7號 | Artificial Planet No.7》

80x110cm

複合媒材 Mixed media

2024

劉振祥

LIU Chen-Hsiang

劉振祥為台灣重要的攝影家之一,長年耕耘新聞與表演藝術攝影,尤以與雲門舞集的合作,以及多位知名導演所執導的電影劇照聞名。他影像中的強烈紀實質地,在雜誌與報社任職期間,他以獨特視角貼近街頭第一線,在言論仍受限制的年代持續拍攝,為當時社會提供不同於官方主流的觀點,也為台灣民主化進程記載了一頁頁的影像。《戀戀風塵》系列為劉振祥於與導演侯孝賢合作期間所拍攝的側寫劇照,透過其獨特的攝影視角,捕捉電影畫面之外演員、劇組與鏡頭之間的互動瞬間,留下珍貴而細膩的創作紀錄。

LIU Chen-Hsiang is one of Taiwan’s most significant photographers, with a long career spanning photojournalism and performance arts photography. He is particularly renowned for his collaborations with Cloud Gate Dance Theatre of Taiwan and for his film stills created for works directed by many leading filmmakers. Marked by a strong documentary sensibility, Liu’s images—shaped during his years working for magazines and newspapers—bring him to the front lines of the street with a distinctive, intimate perspective. In an era when freedom of expression was still constrained, he persistently documented society, offering viewpoints that diverged from official narratives and recording, frame by frame, Taiwan’s path toward democratization. The “Dust in the Wind” series comprises behind-the-scenes stills taken during Liu’s collaboration with director Hou Hsiao-hsien. Through his singular photographic vision, Liu captures moments beyond the film’s on-screen imagery—revealing the subtle interactions among actors, crew, and camera—and preserves a body of work that is both precious and finely observed.

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劉振祥 LIU Chen-Hsiang

《戀戀風塵 | Dust in the Wind》

10x12 inch, Ed.20

銀鹽相紙 Gelatin silver print

1986

水谷篤司

MIZUTANI Atushi

水谷篤司的雕刻創作以「似曾相識的風景」為主題,這些風景混合了現實、印象、記憶、遺忘、虛構與未來,交織成作品的形體。他試圖將自己的作品與觀者心中的風景融合並形成一種巨大磅礡的樣子,激發人們內心深處的情感,或成為某些記憶浮現的契機。對他而言,雕刻雖是藉由肉體勞動產生的具體行為,卻也是接觸人心深處的一種方式。他常年持續進行的《Drawing》系列則如為風景雕製的輕盈速寫,將腦海中的不斷重疊的各種記憶具像化。

MIZUTANI Atsushi's sculptural works revolve around the theme of "familiar landscapes." These landscapes blend reality, impressions, memories, oblivion, fiction, and the future, intertwining to form the shapes of his creations. He seeks to merge his works with the landscapes embedded in the viewer's mind, creating a grand and powerful presence that evokes deep emotions or triggers the resurfacing of certain memories. For him, sculpture, though a tangible act born from physical labor, is also a way to connect with the depths of the human heart. His long-running Drawing series resembles light, swift sketches carved for landscapes, giving tangible form to the continuously overlapping layers of memory in his mind.

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水谷篤司 MIZUTANI Atsushi

《Drawing 1.2026》

H28x15x14cm

木、水性日本畫顏料、壓克力顏料 Wood, water-based Japanese painting pigments, acrylic

2026

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具本妸

KOO Bon-A

具本妸以東方繪畫為創作起點,將日常感知與內在哲思轉化為視覺語言。她長期關注生命與時間的流動關係,融合韓國東洋畫的韻味與層次豐富的色彩,形塑出鮮明而詩性的畫面。作品多以韓國紙為基底,透過剪裁、拼貼與堆疊,使材質本身成為重要視覺元素,隱喻時間於無形中留下的痕跡,引領觀者感受存在於時間長河中的生命軌跡。此次展出的《牆上的詩》系列以古羅馬建築遺跡為引,思索時間的重量與無盡流轉。符號與詩篇在創作者遠去後仍留存,映照人類短暫存在於兩個永恆之間的狀態。

KOO Bon-A begins her practice from the perspective of East Asian painting, transforming everyday perceptions and inner reflections into a visual language. She has long been concerned with the fluid relationship between life and time, combining the sensibilities of Korean ink traditions with richly layered colors to create vivid and poetic compositions. Working primarily on Korean paper, she employs cutting, collage, and layering so that the material itself becomes a key visual element—an allusion to the traces time leaves unseen—guiding viewers to sense the trajectories of life within the long flow of time. The exhibited “Poetry on the Wall” series draws inspiration from the remnants of ancient Roman architecture, contemplating the weight of time and its endless passage. Symbols and poetic inscriptions endure long after their makers have vanished, reflecting the fleeting nature of human existence suspended between two eternities.

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具本妸 KOO Bon-A

《共進化 3 | Co-evolution 3》

69x86cm

水墨設色、金粉、銀粉於韓紙拼貼上 Ink and color, silver and gold powder on Korean paper collage

2022

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​夏愛華

HSIA Aihua

夏愛華擅長使用「活脫乾漆」這種用來製作佛像的古時技術,向觀眾闡述她在自然界各種奇妙的偶遇與回憶,而徜徉在山林中的動物們更是被她視為像是精靈神祇般的存在,並在創作中成為主要的角色。她使用天然材質-生漆-來重新塑造出這些動物們的形體,而這些雕像也遵循古法留下了空心部分,象徵呈載了靈性、真我,讓整件作品更加完整飽滿。此次展出的平面作品為《夜之動物園》系列的延伸,我們在看著她所繪製的動物圖像時,彷彿也像是閱覽著一頁頁的妖精圖鑒般,既生動而又奇幻。

HSIA Aihua specializes in using the ancient "hollow dry lacquer" technique, traditionally employed in crafting Buddhist statues, to convey her encounters and memories of the natural world. She regards the animals wandering through forests as spiritual beings or deities, making them central characters in her creations. Utilizing natural lacquer as her medium, HSIA reshapes these animals into sculptural forms, adhering to traditional methods that leave the sculptures hollow. These hollow spaces symbolize spirituality, the true self, and an intrinsic essence. The lacquer paintings featured this time are an extension of her *Night Zoo* series. Observing her animal imagery feels like exploring a bestiary of fairies—vividly dynamic, enchanting, and brimming with a sense of wonder.

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夏愛華 HISA Aihua

《魔法之森 | Magic Forest》

H15x13x13cm, Ed.100

天然漆、麻繩、色漆、金箔 Natural lacquer, linen, color lacquer, gold Leaf

2024

​曾上杰

TSENG Shang-Jie

曾上杰的木雕並不追求形體的精準重現,而是傾向如何將精神感受再演繹。曾上杰認為,從繪畫角度看待自己的立體作品,更能表達他的內心對世界的感知,其顏料上色覆蓋著刀痕所產生的隨機性,以及上色後再刻掉的曖昧感,皆是呼應藝術家對於雕刻「減法」的認知,也是一種虛實之間的探索。本次新作《紅區》與《遠水》呈現了藝術家於不同階段中的自我挑戰與實踐,以粗獷明確的雕刻筆觸凸顯了材質與肌理的節奏,刻痕轉折面創造的陰影層次也隨著光線參與了色彩表現,構成光影與彩度的合作與張力。

TSENG Shang-Jie does not seek precise anatomical representation in his wood sculptures; instead, he focuses on reinterpreting inner, spiritual sensations. By approaching his three-dimensional works from a painterly perspective, Tseng articulates his perception of the world more directly. The layers of pigment that cover the randomness of chisel marks, along with the ambiguity created by carving back into painted surfaces, echo his understanding of sculpture as an act of “subtraction” and a continuous exploration between presence and absence. His recent works, “Red Zone” and “Distant Waters”, reflect different stages of self-challenge and artistic practice. Through bold and decisive carving gestures, Tseng emphasizes the rhythm of material and texture, while the shadows formed by shifting carved planes interact with light, actively participating in the expression of color and creating a dynamic tension between luminosity and chromatic intensity.

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曾上杰 TSENG Shang-Jie

《紅區 | Red Zone》

38.9x9x9cm

樟木、壓克力顏料、複合媒材 Camphor, acrylic, mixed media

2026

呂文

LU Wen

呂文的創作關注動物的生命狀態,亦映照自身經驗,從對飼養愛犬的觀察出發,逐步延伸至當代社會中人類與犬貓共處的現象,如流浪動物與家庭毛小孩等議題。他透過雕塑的材質技法與空間語言,回應對「眾生」的思考,並在具象動物造型中,進一步探討人類情感、慾念與行為模式的隱喻。創作上選用木雕與脫活乾漆等傳統材料,藉由層層堆疊與手作痕跡,呈現時間累積的質地與文化深度。在科技快速變動的時代,呂文以緩慢而踏實的創作方式,邀請觀者重新感受生命之形與存在的關係。

LU Wen focuses his practice on the states of animal life, reflecting his own experiences. Beginning with observations drawn from living with his pet dog, his inquiry gradually expands to contemporary social phenomena surrounding human relationships with dogs and cats, including stray animals and “fur children” within family structures. Through sculptural materials, techniques, and spatial language, Lu Wen engages with the concept of “sentient beings,” using figurative animal forms to further explore metaphors of human emotions, desires, and behavioral patterns. Working with traditional materials such as wood carving and kanshitsu (dry lacquer), he employs processes of layering and visible handwork to reveal textures shaped by accumulated time and cultural depth. In an era of rapid technological change, Lu Wen embraces a slow and grounded mode of making, inviting viewers to rediscover the forms of life and their relationship to existence.

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呂文 LU Wen

《聖環遊戲 | Holy Tricks》

H108x40x40cm

台灣檜木、榧⽊、⽣漆、⾊漆、⾦箔 Taiwan cypress, Japanese nutmeg-yew, lacquer, gold leaf

2025

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