夏日特調2026
Summer Sips 2026
2026.08.29 - 10.24
夏日特調2026
Summer Sips 2026
2026.08.29 - 10.24
地點 Venue|朝代畫廊 (台北市大安區樂利路43號)
展出藝術家 Artists|
草間彌生、村上隆、朱銘、林餘慶&魏杏諭、曾上杰、許仁蕙
Yayoi KUSAMA, Takashi MURAKAMI, LIN & WEI, TSENG Shang-Jie, HSU Jen-Hui
盛夏是一個感官格外鮮明的季節。光線、色彩與溫度，共同形塑我們觀看與感受世界的方式。朝代畫廊以「特調」為概念，推出夏季精選展「夏日特調 2026」，匯集草間彌生、村上隆、朱銘、林餘慶&魏杏諭、曾上杰、許仁蕙等藝術家的作品，透過不同世代、文化背景與創作語彙的交會，調製出一場輕盈而層次豐富的夏日藝術風景。
「特調」意味著選擇，也意味著組合。如同一杯飲品因不同風味的比例、碰撞與融合，而產生獨特的層次與餘韻，展覽亦試圖打破單一藝術家、媒材或主題的觀看框架，讓各具性格的作品在同一空間中重新相遇。從草間彌生與村上隆鮮明而極具辨識度的視覺符號，到朱銘凝練且充滿生命力的雕塑語彙，再到林餘慶&魏杏諭、許仁蕙與曾上杰對繪畫、雕塑、材質與當代生活經驗的不同探索，彼此之間既形成對比，也產生意想不到的呼應。
當色彩與材質、平面與立體、流行文化與個人感知並置，觀看也不再只有單一方向。作品之間的距離與差異，反而成為開啟想像的空間，使不同世代與文化脈絡中的藝術語言，在展場裡形成新的節奏。「夏日特調 2026」以輕盈的題名，展開一場跨越世代與媒材的藝術對話。朝代畫廊邀請觀者在盛夏走進展場，暫時離開日常既定的觀看方式，自由穿梭於作品之間，在每一次相遇與轉換中，尋找屬於自己的觀看節奏，品味不同藝術語彙交會後所留下的獨特餘韻。
At the heart of Summer Sips 2026 is the idea of the “blend”—an act of both selection and composition. Much like a carefully mixed drink, in which distinct ingredients reveal new flavors through their proportions, contrasts, and unexpected combinations, the exhibition creates new relationships among works that differ in medium, form, and visual language. Rather than organizing the exhibition around a single narrative, Summer Sips 2026 embraces diversity itself as a point of departure, allowing each work to retain its individual character while contributing to a broader conversation.
The instantly recognizable visual worlds of Yayoi Kusama and Takashi Murakami bring vibrant color, repetition, and contemporary cultural imagery into the exhibition, while Ju Ming’s sculptural language demonstrates a powerful balance between material, movement, and distilled form. Alongside them, LIN Yu-Ching & WEI Hsing-Yu, HSU Jen-Hui, and TSENG Shang-Jie offer distinctive approaches to painting, sculpture, materiality, and contemporary experience. Together, these artistic positions create contrasts as well as unexpected resonances across generations and cultural contexts.
As color meets material, two-dimensional images encounter sculptural forms, and popular visual culture intersects with personal perception, the exhibition encourages a way of looking that is open, intuitive, and fluid. Differences between the works become spaces for imagination, allowing visitors to move freely between individual artistic worlds and discover connections that may emerge only through their juxtaposition. With a title that evokes the lightness and spontaneity of summer, Summer Sips 2026 unfolds as a dialogue across generations, media, and artistic languages. Dynasty Gallery invites visitors to step away from familiar ways of seeing and wander through the exhibition at their own pace. Like savoring a carefully crafted summer drink, each encounter offers a different note, texture, and aftertaste—together forming an experience that is refreshing, unexpected, and uniquely its own.
草間彌生
Yayoi KUSAMA
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。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。其規模最大的歐洲巡迴回顧展即將於荷蘭阿姆斯特丹市立博物館展出。
KUSAMA Yayoi is a pivotal and profoundly influential Asian figure in the history of contemporary art. Renowned for her prolific output, her practice spans painting, sculpture, performance, moving image, and large-scale installations. After returning to Japan in 1973, Kusama has continued to create relentlessly, renewing her language in resonance with the spirit of her time. Her unwavering commitment to avant-garde artistic practice has established her as a global cultural icon of the twenty-first century. Over a career spanning more than seven decades, she has developed a singular core aesthetic and philosophy of life. Her works evoke boundless realms, reflecting on the forms and cycles of life in nature, and have captivated audiences worldwide. Her largest retrospective touring exhibition in Europe to date will soon be presented at the Stedelijk Museum Amsterdam.
草間彌生 Yayoi KUSAMA
《檸檬水 | Lemon Squash》
I：53x45.5cm, P：61x53.5cm, Ed.100
絲網版畫 Screen Print
1984
村上隆
Takashi MURAKAMI
村上隆是當代全球最具影響力的日本藝術大師，也是「超扁平」（Superflat）藝術運動的開創者。他擁有東京藝術大學日本畫博士學位，擅長將傳統浮世繪的平面技法，與現代動漫及御宅族（Otaku）次文化進行完美解構，成功模糊了「高雅藝術」與「通俗流行文化」的傳統界線。其創作的色彩斑斕「太陽花」與經典角色「Mr. DOB」，早已成為跨越國界的當代視覺符號。村上隆不僅在頂尖藝術拍賣市場屢創千萬美元天價，更以與路易威登（Louis Vuitton）的傳奇合作轟動全球，開啟了當代藝術與時尚奢華跨界融通的全新紀元。身為藝術家、策展人及 Kaikai Kiki 公司創辦人，他持續引領全球潮流與視覺藝術的演進，是當今跨界文化最具指標性的靈魂人物。
Takashi Murakami is one of the most influential Japanese artists in contemporary art and the founder of the Superflat movement. Holding a Ph.D. in Nihonga from Tokyo University of the Arts, he combines the flat pictorial traditions of ukiyo-e with the visual language of anime, manga, and otaku subculture, challenging the conventional boundaries between fine art and popular culture. His vibrant Flowers and iconic character Mr. DOB have become internationally recognized symbols of contemporary visual culture. Murakami has achieved remarkable success in the global art market, with works commanding multimillion-dollar prices at major auctions. His celebrated collaboration with Louis Vuitton also marked a defining moment in the relationship between contemporary art, fashion, and luxury culture.
As an artist, curator, and founder of Kaikai Kiki, Murakami continues to shape global visual culture through a practice that moves fluidly across fine art, popular culture, fashion, and commerce. His distinctive artistic language and interdisciplinary approach have established him as one of the most significant and recognizable figures in contemporary art today.
村上隆 Takashi MURAKAMI
《水母的眼睛 x e-ma 快樂彩虹花架 | Jellyfish Eyes × e-ma Flower Stand Happy Rainbow》
164 x 143 x 75 cm, Ed.30
人造塑料花 100個糖果盒 上色金屬架 fabricated plastic flower and 100 candy cases on a painted metal stand
2013
朱銘
JU Ming
朱銘（本名朱川泰）1938年出生於苗栗通霄。15歲拜傳統雕刻師李金川為師，接受紮實的木雕技藝訓練；30歲時再拜雕塑家楊英風為師，逐步從傳統雕刻技藝走向現代雕塑創作，並建立獨具個人特色的藝術語彙。
1976年，朱銘於國立歷史博物館舉辦首次個展，以充滿臺灣鄉土情感與生命力的作品受到藝壇矚目。與此同時，他亦開始發展日後最具代表性的《太極系列》，將自身習練太極拳的身體經驗融入雕塑，以簡潔有力的切面與量體捕捉招式中的動勢、平衡與氣韻。1977年，《太極系列》於日本東京展出後引起廣泛迴響，逐漸奠定朱銘在國際藝壇的重要地位。
1980年代起，朱銘進一步發展《人間系列》，將目光轉向日常生活與芸芸眾生，以木雕、青銅、不鏽鋼、海綿等多元媒材，描繪不同階層、職業與生活情境中的人物群像，使雕塑成為觀察當代社會與生命經驗的媒介。
隨著創作受到國際關注，朱銘的作品陸續於亞洲及歐美各地展出，大型雕塑更進入城市公共空間，展現其作品跨越文化語境的感染力。1999年，他歷經多年籌備，在新北市金山創立朱銘美術館，將藝術創作、自然環境與公共教育融為一體。
朱銘一生持續探索雕塑的可能性，從《鄉土系列》、《太極系列》至《人間系列》，其創作由傳統出發而不受傳統所限，在東方精神與現代雕塑語彙之間開創獨特道路，成為臺灣現代雕塑最具國際代表性的藝術家之一。
Ju Ming (born Ju Chuan-Tai) was born in Tongxiao, Miaoli, Taiwan, in 1938. At the age of fifteen, he began an apprenticeship under traditional woodcarver Lee Chin-Chuan, receiving rigorous training in woodcarving techniques. At thirty, he became a student of renowned sculptor Yuyu Yang, gradually moving beyond traditional craftsmanship toward modern sculpture and developing a distinctive artistic language of his own.
In 1976, Ju Ming held his first solo exhibition at the National Museum of History in Taipei, attracting considerable attention with works deeply rooted in Taiwanese local culture and imbued with a strong sense of vitality. Around the same period, he began developing what would become his iconic Taichi Series, integrating his own experience of practicing tai chi into sculpture. Through bold, simplified planes and powerful volumes, he captured the movement, balance, and inner energy of the martial art. Following the presentation of the Taichi Series in Tokyo in 1977, Ju Ming gained wider recognition and gradually established an international reputation.
Beginning in the 1980s, Ju Ming expanded his artistic exploration with the Living World Series, turning his attention to everyday life and the diverse individuals who make up society. Working across a wide range of materials—including wood, bronze, stainless steel, and sponge—he portrayed people from different occupations, social backgrounds, and everyday situations, transforming sculpture into a means of observing contemporary society and the human experience.
As his international recognition grew, Ju Ming’s works were exhibited extensively throughout Asia, Europe, and beyond, while his monumental sculptures entered prominent urban and public spaces. In 1999, after years of planning and development, he founded the Juming Museum in Jinshan, New Taipei City, creating a unique environment that brings together artistic creation, nature, and public education.
Throughout his career, Ju Ming continuously explored the possibilities of sculpture. From the Nativist Series and Taichi Series to the Living World Series, his practice evolved from traditional foundations while transcending their boundaries. By forging a distinctive path between Eastern philosophy and the language of modern sculpture, Ju Ming became one of Taiwan’s most internationally recognized and influential modern sculptors.
朱銘 JU Ming
《人間系列-彩繪木雕 | Living World Series - Painted Wood Carving》
9.8x6.6x40cm, Ed.300
聚酯樹脂、礦物顏料 Polyester resin, mineral pigments
2018
林餘慶&魏杏諭
LIN & WEI
林餘慶（1983）與魏杏諭（1982）皆於2007年畢業於朝陽科技大學視覺傳達設計系。自學生時期起，兩人便展開共同創作，以雙人協作的方式發展出獨特的藝術實踐。作為臺灣當代藝術中極具辨識度的雙人創作組合，他們將微觀自然生態、精神感知與奇幻符號相互交織，在繁複而有序的視覺語彙中，建構出一個持續生長、充滿想像力的平行宇宙。在表現技法上，林餘慶與魏杏諭多以複合媒材進行紙上創作，透過細膩而有秩序的色調與色塊配置，使畫面呈現規律、平整而溫潤的質感。這種均衡而克制的用色方式，與蛋彩畫及文藝復興時期濕壁畫的視覺質感形成有趣的呼應。作品同時具有如古代壁畫般的「共時性」，將不同時間與情節濃縮於同一畫面之中，使觀者既能觀看整體，又能隨著視線游移，在層層交疊的繁密細節中，自由探索不同角色、場景與故事之間的關係。
在兩人長年構築的創作世界中，「Wulala」是最具代表性的核心角色。這個如同引路精靈般的繽紛生物，自創作初期便反覆出現在作品之中，既是藝術家內在精神世界的投射，也引領觀者進入他們共同建構的奇幻宇宙。Wulala與其夥伴們隨著創作歷程不斷演化，以不同樣貌穿梭於作品之間，承載著藝術家面對未知世界的不安與想像，同時寄託著對未來生活的期待與熱情。
林餘慶與魏杏諭曾入選「高雄獎」，並持續活躍於國內外展覽及藝術博覽會，曾獲邀於義大利耶西皮亞內蒂宮參與「RATATÀ藝術季」、於東京參與「台日交流展」，並多次參展 ART OSAKA、ART TAIPEI及 ONE ART Taipei。兩人的作品曾多次獲國立臺灣美術館典藏，並進入研揚文教基金會、澳門何鴻燊博士基金會、香港梁潔華藝術基金會及南京嚴陸根藝術基金會等機構收藏，私人收藏亦遍及臺灣、香港、澳門、中國、美國、日本及韓國。透過近二十年的共同創作，兩人持續拓展其奇幻宇宙的疆界，在細密的視覺敘事與不斷演化的世界觀中，逐步建立出跨越地域與文化語境、極具辨識度的當代藝術語彙。
LIN Yu-Ching (b. 1983) and WEI Hsing-Yu (b. 1982) both graduated from the Department of Visual Communication Design at Chaoyang University of Technology in 2007. Having begun working together during their student years, the two artists have developed a distinctive collaborative practice over nearly two decades. As one of Taiwan’s highly recognizable contemporary artist duos, LIN & WEI interweave microscopic forms of nature, psychological perception, and fantastical symbols within intricate yet carefully ordered compositions, constructing an ever-evolving parallel universe filled with imagination. Working primarily with mixed media on paper, LIN & WEI meticulously arrange colors and forms to create surfaces characterized by a sense of order, smoothness, and warmth. Their balanced and restrained approach to color evokes certain visual qualities associated with tempera painting and Renaissance frescoes. Their compositions also possess a sense of “simultaneity” reminiscent of ancient murals, condensing events and narratives from different moments in time into a single pictorial space. Viewers are invited to perceive the work as a whole while allowing their gaze to wander through its densely layered details, freely discovering relationships among characters, scenes, and narratives.
At the heart of the imaginative world that LIN & WEI have developed over the years is Wulala, their most iconic recurring character. Resembling a colorful guiding spirit, Wulala has appeared throughout their work since the early stages of their practice. The character functions both as a projection of the artists’ inner world and as a guide leading viewers into the fantastical universe they have created together. As their practice continues to evolve, Wulala and its companions take on changing forms and roles, moving through different scenes and narratives. These characters embody the artists’ anxieties and imagination in confronting the unknown, while simultaneously expressing their enthusiasm and expectations for the future.
LIN & WEI have been selected for the Kaohsiung Awards and have maintained an active presence in exhibitions and art fairs both in Taiwan and internationally. They were invited to participate in the RATATÀ Art Festival at Palazzo Pianetti in Jesi, Italy, as well as the Taiwan–Japan Exchange Exhibition in Tokyo. Their works have also been presented on numerous occasions at ART OSAKA, ART TAIPEI, and ONE ART Taipei.
Their works have been acquired on multiple occasions by the National Taiwan Museum of Fine Arts, and are also represented in the collections of the AdvanTech Foundation, the Dr. Stanley Ho Foundation in Macao, the Leung Kit Wah Art Foundation in Hong Kong, and the Yan Lu Gen Art Foundation in Nanjing. Their works are held in private collections across Taiwan, Hong Kong, Macao, China, the United States, Japan, and South Korea.
Through nearly two decades of collaborative practice, LIN & WEI continue to expand the boundaries of their fantastical universe. Through intricate visual narratives and an ever-evolving imaginary world, they have established a distinctive contemporary artistic language that resonates across geographical and cultural contexts.
林餘慶&魏杏諭 LIN & WEI
《人造星球7號 | Artificial Planet No.7》
80x110cm
紙上複合媒材 Mixed media on paper
2025
曾上杰
TSENG Shang-Jie
曾上杰1991年出生於高雄，2013年畢業於國立臺灣藝術大學雕塑學系，並於2016年取得該系碩士學位。在學院扎實的雕塑訓練下，他逐漸發展出以木雕為核心，並延伸至纖維與複合媒材的創作語彙，持續探索人物、空間與當代生活經驗之間的關係。
曾上杰的創作長期關注「人」與環境互動所產生的心理感受。他的木雕人物帶有獨特的「速寫」特質，靈感往往來自城市街頭匆匆一瞥的人物，以及對日常環境的細微觀察。他不追求形體的精確再現，而是刻意保留刀鋸、研磨、線條與上色等不同創作階段的痕跡。木材粗獷的刻痕與精心安排的色彩、結構彼此交錯，使作品在靜止的形體中產生流動的時間感與速度感。
從早期個展《如影隨形》、《心靈意象》，到與朝代畫廊合作推出的《鏟子》、《獵人》以及2024年的《萬坪》，曾上杰的創作逐漸從個人內在感受延伸至人物與空間共存的情境。他以不規則的幾何木塊重新組構場景，並在近年的創作中進一步將木材視為纖維的一種，納入紙、繩、石膏等不同材質，持續拓展雕塑與複合媒材之間的可能性。
除持續於臺灣發表作品外，曾上杰亦積極參與海外展覽，曾參展東京「台灣-日本交流展」、愛知「ととのう温泉美術館」三谷溫泉藝術節，以及沖繩「新黒潮チャンプルー沖縄・台湾現代美術展」等，並在2024年出版了個人首部正式作品集《切面》。透過對日常人物與環境的持續觀察，他將細微而私密的心理感受轉化為具有動態與空間感的雕塑語言，在具象與抽象、雕塑與繪畫、個人感知與日常現實之間，建立出鮮明的個人創作脈絡。
Tseng Shang-Jie was born in Kaohsiung, Taiwan, in 1991. He graduated from the Department of Sculpture at National Taiwan University of Arts in 2013 and received his MFA from the same department in 2016. Building upon his rigorous academic training in sculpture, Tseng has developed an artistic language centered on woodcarving while expanding into fiber and mixed media. His practice continuously explores the relationships between the human figure, space, and contemporary lived experience.
Tseng’s work has long focused on the psychological responses that emerge through interactions between individuals and their surroundings. His carved wooden figures possess a distinctive “sketch-like” quality, often inspired by fleeting glimpses of people on city streets and subtle observations of everyday environments. Rather than pursuing precise representation, he deliberately preserves traces of different stages of the creative process, including sawing, carving, sanding, drawing, and painting. The rough marks of the wood intersect with carefully considered colors and structures, creating a sense of passing time, movement, and speed within otherwise static forms.
From his early solo exhibitions Inseparable and Mental Imagery to Shovel, Hunter, and his 2024 exhibition Wanping, presented in collaboration with Dynasty Gallery, Tseng’s practice has gradually expanded from explorations of inner psychological states toward situations in which figures and spaces coexist. He reconstructs scenes using irregular geometric blocks of wood and, in recent years, has further explored wood as a form of fiber, incorporating materials such as paper, rope, and plaster to extend the possibilities between sculpture and mixed-media practice.
In addition to exhibiting extensively in Taiwan, Tseng has actively participated in exhibitions abroad, including the Taiwan–Japan Exchange Exhibition in Tokyo, Totono-u Onsen Museum at the Miya Onsen Art Festival in Aichi, and the New Kuroshio Champloo: Okinawa–Taiwan Contemporary Art Exhibition in Okinawa. In 2024, he published Cut Surface, his first official monograph. Through his sustained observation of everyday people and environments, Tseng transforms subtle and intimate psychological experiences into a sculptural language characterized by movement and spatial awareness, establishing a distinctive artistic trajectory between figuration and abstraction, sculpture and painting, personal perception and everyday reality.
曾上杰 TSENG Shang-Jie
《Swinger 74》
32x13x14cm
樟木、壓克力顏料、不鏽鋼底座 Camphor, acrylic, stainless base
2025
許仁蕙
HSU Jen-Hui
許仁蕙畢業於國立臺灣師範大學美術學系，現就讀東海大學美術學系碩士班。在學院訓練與當代視覺經驗的交會下，她持續探索繪畫媒材、空間感知與日常生活之間的關係，逐步發展出融合幾何秩序、光影變化與詩意氛圍的個人創作語彙。許仁蕙的創作往往從日常觀看經驗出發，其中《玻璃》系列源自她對「玻璃後方世界」的想像。透過如濾鏡般的視覺轉換，原本熟悉的自然與人文景觀被重新分割、折射與組構，現實中的具體形象逐漸轉化為介於真實與想像之間的視覺空間。她以帶有半立體質感的線條將畫面分割為細小的幾何方塊，使光線、色彩與景物在秩序井然的結構中產生細微變化。
近年許仁蕙持續參與各類展覽與藝術博覽會，作品曾於朝代畫廊《目光深切之裏》等展覽及 ONE ART Taipei 發表。2026年，她榮獲第18屆萬和美展國畫類第一名，並以《廟》獲得第27屆磺溪美展墨彩類「磺溪新人獎」。透過對日常景物與觀看經驗的持續轉化，她在具象景觀與幾何構成、現實空間與心理感知之間，逐步建立出具有辨識度的個人創作語彙。
HSU Jen-Hui graduated from the Department of Fine Arts at National Taiwan Normal University and is currently pursuing her master’s degree in the Department of Fine Arts at Tunghai University. At the intersection of academic training and contemporary visual experience, she continues to explore the relationships between painting, spatial perception, and everyday life, gradually developing a distinctive artistic language characterized by geometric order, shifting light and shadow, and a poetic atmosphere. HSU’s practice often begins with the experience of observing everyday surroundings. Her Glass series originates from her imagination of “the world behind glass.” Through a filter-like visual transformation, familiar natural and human-made landscapes are fragmented, refracted, and reconstructed, while recognizable forms gradually dissolve into visual spaces suspended between reality and imagination. Using lines with a subtle three-dimensional quality, she divides the pictorial surface into numerous small geometric blocks, allowing light, color, and scenery to undergo delicate transformations within a carefully structured composition.
In recent years, HSU has actively participated in exhibitions and art fairs, presenting her works in exhibitions such as Within the Intense Gaze at Dynasty Gallery, as well as at ONE ART Taipei. In 2026, she was awarded First Prize in the Chinese Painting category at the 18th Wan He Art Exhibition and received the Huang Xi New Artist Award in the Ink and Color category at the 27th Huang Xi Art Exhibition for her work Temple. Through her ongoing transformation of everyday scenery and visual experience, HSU continues to establish a distinctive artistic language between representational landscape and geometric composition, as well as between physical space and psychological perception.
許仁蕙 HSU Jen-Hui
《廟 | Temple》
72.7x90.9cm
膠彩、絹布 Eastern Gouache on silk
2025