2025 ART TAIPEI

Yu Cheng-Yao (February 28, 1898 – April 4, 1993), born Yu Shun with the courtesy name Cheng-Yao, was a native of Yangshang Township, Yongchun County, Fujian. In 1920, he went to Japan, where he studied economics at Waseda University before transferring to the Imperial Japanese Army Academy in Tokyo. After returning to China, he taught tactics at the Whampoa Military Academy, retired with the rank of lieutenant general in 1946, and came to Taiwan in 1949, the year the Nationalist government relocated there. Having spent the first half of his life in the military and in business, he did not take up painting until the age of 56, earning him the title “the General Painter.” Self-taught and taking nature as his only teacher, he built up rock textures and dense mountain structures with fine, tightly woven brushstrokes. Shaped by his travels across China’s mountains and rivers in his early years, his ink paintings carry a grand, lofty spirit and a style entirely his own, securing him an important place in modern Asian ink painting. His major exhibitions include his first overseas solo exhibition, at the Chinese Cultural Center in New York in 1977; his first solo exhibition in Taiwan, held at the age of 88 at Hsiung Shih Gallery in Taipei in 1986; a solo exhibition at Hong Kong City Hall in 1987; Yu Cheng-Yao at Ninety: A Retrospective at the National Museum of History in Taipei in 1988; and A Heart-warming Glance: Calligraphy and Paintings by Yu Cheng-Yao at the National Museum of History in 2015.

1953年生於所羅門群島，1976-1980年在巴黎國立美術學院修習。1990年於誠品畫廊舉辦第一次個展。其作品先後在皇冠藝文中心、串門藝術空間、阿普畫廊、飛元藝術中心、月臨畫廊、赤粒藝術等藝廊舉辦個展，並多次於國內外重要美術機構聯展。從炭筆的輕、重、緩、急、勾、轉，都可從近距離中觀察細微變化，超越傳統素描格局，展現遼闊生命感。

Yu Peng was born in 1955 in Waishuangxi, Taipei, Taiwan, and passed away in 2014. He grew up in a relatively stable postwar era. After completing his military service, he worked as a street artist in Taipei’s New Park (now 228 Peace Memorial Park), drawing portraits for visitors. His years as a street artist sharpened his quick and keen powers of observation and made him a highly skilled figure sketcher. Yu Peng’s career can be divided into three periods: early (1980–1997), middle (1998–2004), and late (2004–2014). His early output consisted mostly of drawings and watercolors. His drawing style was deeply inspired by Chen Yigeng, and the influence of Taiwanese and international artists he encountered through “Lion Art” and “Artist” magazines is also evident. In 1997, at the invitation of his friend Zheng Zaidong, he moved to Shanghai, where he lived for three years and traveled widely across mainland China. This experience greatly enriched the depth and range of his ink landscapes and figure paintings, with his “Desire Landscapes / Figures” series standing as the representative work of this period. From 2005 until his death in 2014, he continued to travel frequently between Taiwan and mainland China, taking part in numerous projects and exhibitions. Although Yu Peng is best known for his ink painting, his early drawings and pastels reveal the source of its strength: the successful transformation of Western drawing lines into the remarkable brushwork of his middle and late periods. His works are marked by originality and a strongly personal mode of expression.

Born in Taipei in 1957, with ancestral roots in Fu’an, Fujian, Wu Shi-Wei graduated from the Chinese Painting Division of the Department of Fine Arts at Chinese Culture University in 1985 and earned a Master of Fine Arts from Tunghai University in 1998. He has held seventeen solo exhibitions, taken part in more than one hundred group exhibitions in Taiwan and abroad, and published ten painting catalogues. Through refined brushwork, meticulous layered washes, and elegant yet vivid color, his paintings create an exquisite world in which all things may enter the picture. Combining the quiet refinement of the literati tradition with a rich interplay of ink and color, his graceful and vigorous brushwork charts a restrained new path for ink painting in the contemporary era.

1969年出生於廣島。1988年進入東京學藝大學書法系不久後，接觸到了井上有一的作品，深受啟發，決定走出自己的書法風格，並於20歲時自稱為書法家，正式展開其藝術創作生涯。曾參與東京UNAC的《井上有一全集》編纂工作，爾後決意走出井上有一的影響。2004年，在藝術評論家海上雅臣的邀請下，成立以井上有一為主題的群展「天作會」，並在34歲時首次以藝術家身分展出作品。 此後參與「天作會」長達12年，並於2015年在UNAC Salon舉辦首次個展《Machine》，引起廣泛關注。翌年出版藝術作品集《舟》（YKG Publishing）。2016年於Yumiko Chiba Associates舉辦個展《flying saucer》，2018年擔任全球首場以書法為主題的藝術博覽會「ART SHODO TOKYO」策展人。隨後陸續舉辦多場個展，包括2019年的《ENTRANCE⇔EXIT⇔LID⇔BOTTOM》，2024年的《Naming The World》，並於2020年參與Yumiko Chiba Associates舉辦的《現代書藝術的世界2：符號與時代》。2023年參與於台灣橫山書法藝術館舉辦的橫山書藝雙年展《法與無法交織的年代——書法作為一種視覺形式》。

Courtesy name: Yu Chuan Zi. Born in 1973 in Huangshan, Anhui, Liu Xin completed his studies in the Department of Chinese Painting at the Central Academy of Fine Arts in 1997 and is currently based in Beijing. Liu excels in meticulous gongbi techniques of traditional Chinese painting. Drawing inspiration from the antiquarian painting styles of the Song, Ming, and Qing dynasties, he created a series of sixteen portrait-style album leaves depicting Xuande incense burners. Some of these works were previewed in Shanghai in October 2014, receiving high praise from collectors, and were later featured in the major publication Yiyun《異雲》—a scholarly monograph on bronze incense burners published at the end of 2016. His works have also been exhibited at the invitation of Christie’s Beijing and renowned British collector of Ming-style furniture, Marcus Flacks.

Born in 1975 in Hualien, Taiwan, Chang Ling received his D.N.S.A.P. (Diplôme National Supérieur d’Arts Plastiques) from the École Nationale Supérieure des Beaux-Arts in Paris in 2004. In 2006, he joined Hantoo Art Group, a Taipei-based artists’ collective. Chang Ling’s recent solo exhibitions include War Preparation at MOCA Taipei in 2023, Flowers Bloom in the Moment When Time Does Not Exist at Don Gallery, Shanghai, in 2022, and The Illusion Society: The Everyday of History at the Kaohsiung Museum of Fine Arts in 2019. Recent group exhibitions include Memories of the Times: Highlights from the Collection at the National Taiwan Museum of Fine Arts.

1979年生於台灣屏東。畢業於俄羅斯列賓美院（包勃洛夫架上繪畫修復工作室），專攻繪畫（油畫）修復、坦培拉（蛋彩）修復及繪畫技法與材料，求學期間操作聖彼得堡喀山教堂藏品、帕夫洛斯克博物館、普希金博物館、聖彼德堡宗教博物館等十餘件博物館等級修復。結合科學修復技巧於創作之中，作品精微寫實，善於表現物體肌理的細膩質感，深具文藝復興古典韻味。

Born in 1989 in Malacca, Malaysia, Tan Jui-Wan holds an MFA from the Department of Fine Arts at Tunghai University, where he specialized in Asian gouache painting. He currently lives and works in Taiwan. Taking his experiences of relocation and moving between different environments as a point of departure, he gathers fragments of everyday scenery—including weather phenomena, urban construction sites, and buildings embedded in local topographies—and reconfigures them into landscapes on paper. Through this process, he explores how the distinctive character of a place is formed, while reflecting on his own position and condition within it. In recent years, Tan has received First Prize at the Huilan Award, First Prize in the Deutsche Bank Taiwan Fellowship for Young Artists, a Merit Award in the Two-Dimensional Category of the Nanying Award, the Bronze Prize at the Yilan Art Award, and selection for the TDCC Art Award. He has also been selected for the Pier-2 Art Center Artist-in-Residence Program and the Chishang Art Village Artist Residency Program organized by the Lovely Taiwan Foundation. His work has been exhibited at the Hualien Art Museum, Tsukuba Museum of Art in Japan, King Car Cultural & Art Center, and MIACC Gallery in Kuala Lumpur, Malaysia. His works are held in the collections of the Chishang Barn Art Museum and the Hualien Art Museum.

Born in Taipei, Taiwan, in 1989, Yen Yu-Ting focuses her practice on the dialogue and reinterpretation between the cultural context of ink painting and the experiences of contemporary life. Often taking images and texts from news events as her point of departure, Yen brings together personal perception with a transformed vocabulary of traditional ink painting. Through this process, she recomposes information and narratives from different times and places, using painting to reflect a collective state of agitation and disorientation in contemporary society, as well as the absurdity and subtle humor that emerge from it.