Hanging a monumental still-life from Zhao Gang’s earlier period for a collector today. It’s a joy to see such a significant work find its place on the wall after years in a private collection. A belated happy birthday to the artist @zhao___gang
In Zhao’s practice, still life is never just a quiet arrangement; it’s a stage where history and irony intersect. Some works don’t just occupy space—they command it. The moment this piece was installed, the entire room’s energy shifted.
#ZhaoGang #ContemporaryArt #StillLife #PrivateCollection
Congratulations to Wu MeiChi.
Presented in “Electric City III” @elec.city , “Moving Forest” @kmfacasoficial transforms the ecology of Kaohsiung into a playful, shifting visual landscape.
From oversized dice to mural-like walls, the work invites viewers to lose orientation—not as disorientation, but as another way of seeing.
Set within the open green, the work becomes a site of shared joy, where art is not simply observed, but physically encountered, explored, and enjoyed.
@wu_meichi
#wumeichi #吳美琪 #eachmodern #artinstallations #interactiveart
Congratulations to Tseng Chien-Ying on the presentation at @independent_hq New York.
Following several years of development and presentations across Asia since 2019—including @westbundartfair@artcollaborationkyoto@longlatifoundation , and a solo exhibition at @eachmodern —it’s exciting to see this trajectory continue to unfold in New York.
@tsengchienying
Photo: West Bund Art & Design 2019；artist at his studio in 2021 photo by @seanwangphotography
#tsengchienying #EachModern #independentnewyork #ArtFair #asiancontemporary
Araki Nobuyoshi is currently featured at Pingtung Art Museum @pt1936.tcb in Flowers in Full Bloom: Contemporary Japanese Art Exhibition.
Beyond the familiar provocations, the exhibition reveals another Araki—through flowers in bloom and decay, and Sentimental Journey II – Okinawa (1971), a profoundly human, worldly vision of postwar Japan.
The exhibition has extended until end of August.
#arakinobuyoshi #eachmodern
Xu Jiong: as flower, as fire, as me, as cicada
Gallery Weekend Beijing
22 - 31 May, 2026
798 Art District, A07 Building, 301
Xu Jiong (b. 1983, Hangzhou, China)’s practice has consistently centered on the traditional medium of ink on paper. For him, the encounter between ink and paper is not merely a display of technique, but an immediate inscription of life’s traces. Having lived in Beijing for over a decade, he translates the subtle, lyrical sensibility of Jiangnan into a visual language marked by the intensity of the North. Through the seepage, voids, and accumulations of ink on paper, he constructs an abstract structure that hovers between writing and image.
His solo exhibition As flower, as fire, as me, as cicada further intensifies this notion of “writing as life.” Xu moves beyond the formal constraints of traditional calligraphy, approaching “writing” instead as a physiological rhythm—akin to breathing or the chirring of cicadas. On the paper’s surface, variations in ink—dry and wet, dense and diluted—become visual translations of his daily perceptions: the fragrance of orchids, fallen blossoms, lingering shadows, and waking dreams. These works are deeply personal, yet through the visual language of a “new cursive script,” they transform the persistence and vulnerability of midlife into a restrained yet universally resonant contemporary aesthetic.
#xujiong #galleryweekenbeijing #beijing #soloexhibition #artfair
For the first time, artist Liang Yuanwei is exhibiting in Taiwan.
Born in 1977, Liang Yuanwei stands as an important bridge between contemporary Chinese painting and the international art scene, and previously participated in the Chinese Pavilion of the Venice Biennale. Working primarily through painting, she has developed a highly distinctive non-narrative visual language through self-imposed methodologies and structures. Her works are known for their delicate and layered chromatic compositions, transforming forms of writing, coding, and repetition into painterly vocabulary, through which emotion and historical experience gradually unfold.
“As an artist whose primarily media is painting. I am deeply interested in the structural relationship between painting and its surroundings: whether physical, historical, the immediate.… There is no medium that is inherently closed, only closed minds. Even within spaces that are continuously compressed, unstable, and unable to sustain permanence, those unwilling to compromise can still use limited materials to depict infinite visions.
The starting point of the “Wu Se Tu” project is the newspaper. Conceptually, printing, publishing, and carbon paper are all indirect media - on a metrial level, carbon paper pnly provides basic industrial hues, rather than the colors associates with fine art. As globalization twists and turn to align different ideologies and methodologies – much like matching Rubik’s Cube – there are also those who choose to leap off modernity’s fast mocing track, seeking a retun to origins and a rediscovery of identity. In the end, what is imaginary and what is real?” – from the notes on “Wu Se Tu”
“Wu Se Tu”, 2024-2025 @liangyuanwei is on view at “Intellectual Structures: Trigger, Judgment, and Decision”
Thanks to @beijingcommune
#liangyuanwei #梁遠葦 #eachmodern
Queer culture, community culture, and a sense of the wild—these three forces form the core of DAZHI’s @dzhiameng ongoing exploration.
In her work, everything unfolds through dialogue: the gesture of painting and the movement of embroidery share a strikingly unified rhythm. Painted figures and abstract forms, set in subtle opposition, construct a field of memory and emotion. These images speak both to individual experience and to the reconfiguration and healing of collective memory. Beneath the figurative body lies a coordinate-like abstraction—where emotion, pain, memory, and uncertainty are repositioned.
DAZHI’s works is on view at the group show “Intellectual Structures: Trigger, Judgement, and Decision”.
Two of A Kind, 2025, oil, pastel, colored pencil, pencil, marker, oil pastel on spliced canvas
Rehabilitation Training, 2024, pencil on paper, flat embroidery on fabric, mounted on aluminum panel
Rehabilitation Training, 2025, calligraphy ink on rice paper, charcoal, pastel, pencil, colored pencil, oil on paper, mounted on aluminum panel
Thanks to @whitespacebeijing
#DAZHI #大志 #eachmodern #painandmemory #contemporarypainting
Antone Könst‘s work explores the intersection of power and culture, revealing how love and violence coexist within familiar narratives. Rather than depicting conflict directly, his paintings remain close to the everyday, where good and evil become mutually constitutive. In this sense, his approach echoes the 21st-century sense of insecurity described by many important artists.
Yet instead of critique alone, Antone offers a more tender response. Through a fable-like visual language, he proposes the possibility of coexistence and compassion—preserving a space where emotion and understanding can still take place.
Grateful for his painting, and for sustaining its possibility today. Happy birthday, @annntone
Antone will be presented at ARCOLisboa @feriaarco this May, with solo exhibitions in Los Angeles and Taipei opening in mid-June.
Images: the artists studio 2026, and the artist in the group show @gallerycommon 2023 (portrati Photo by Christian Miller)
#antonekönst #eachmodern #artistsupportartists
Infused with a distinctly northern austerity, Jing Ao @jingao__ constructs within space a terrain that approaches the raw and the untamed. Each work reads as an intervention into the ground itself—an act of sensing, testing, and attuning. She once described her state of making as “wandering barefoot through a forest,” engaging the world with heightened sensitivity and awareness. Clay becomes earth, branches become wood, wire becomes metal, while the potential for movement unfolds like water—these elements intertwine, transforming material processes into a conduit through which the immaterial takes form, ultimately arriving at a near “post-material” state of perception.
Rather than emphasizing control or formal construction, Jing Ao’s practice leans toward contingency and emergence. “The process is somewhat like divination,” she notes, “using the body to detect the energies of all things.”
Jing Ao’s works is on view in the group show “Intellectual Structures: Trigger, Judgement, and Decision”.
Sleepwalker, 2025-2026, bronze, lead, wood, deer horn, paint, aluminum, steel
God with Yellow Nose, 2023, clay, iron, wood
morning glow, 2026, oil on canvas
Thanks to MAGICIAN SPACE
#JingAo #經傲 #earthandsoul #EachModern #contemporarysculpture
From encyclopedias to card games, the act of “drawing a card” has always carried a near-ritualistic sense of mystery, transforming randomness into a perceptible order and moment of surprise. Cards are no longer merely tools of play, but material symbols that carry memory and value.
Since 2022, Wenjue has taken “The Divine Comedy” as a conceptual anchor, allowing his pictorial language to encompass theology, cosmology, and ethical order. From 2025 onward, he further incorporates the “card game” into his visual vocabulary, framing each match as a miniature universe. This approach also recalls Cézanne’s The Card Players—a pivotal shift in which painting no longer serves to narrate, but instead asserts itself as structure.
In “Date A Live! Pierrot! The Duel Master!“, Wenjue brings together the visual logic of live-streamed card gameplay with the compositional structure of a religious altarpiece and the sacred narrative of religious imagery. Within the composition, Pierrot and Arlequin engage in a “card duel,” while the figure of Colombine—printed on their playmats—becomes the object of invocation and gaze. It mirrors the bond between player and deck, and suggests a longing for response, even for blessing.
Wenjue @wenjue29 Date A Live! Pierrot! The Duel Master! , 2026 oil on canvas mounted on board, 114 × 159 cm × 2
On view at “Intellectual Structures: Trigger, Judgment, and Decision”. Thanks to @bankmabsociety
#wenjue #文爵 #eachmodern #contemporarypainting #cardgames
Ding Hongdan’s @dinghongdan.1216 practice does not simply represent reality; rather, through the reconstruction of images, she introduces subtle displacements into everyday experience. This condition of “imperfect reality” more closely reflects the perceptual logic of contemporary life.
”Butterflies Landing on the Table“ is a strongly autobiographical work. The composition brings together scenes of everyday dining culture in Guangzhou with imagery drawn from the artist’s childhood, such as swimsuit models seen on calendar prints. These elements are transformed into a subtle yet quietly humorous visual language, in which still life and portraiture intertwine to form a landscape of cultural memory.
This marks our second collaboration with the artist, following her recent breakout presentations in London and Shanghai.
The group exhibition ”Intellectual Structures“ opens tomorrow, April 25.
#dinghogdan #丁鴻丹 #eachmodern
Arttaca Visits Each Modern @eachmodern at Art Basel Hong Kong.@artbasel
The Taipei-based gallery presents a dialogue between the legendary Araki Nobuyoshi and contemporary ink artist Xu Jiong @jiongjiongjiongjiong .
Anchored by their shared use of calligraphy, the booth becomes a site where life experience and the passage of time are transcribed into raw, gestural movements. Together, they offer a profound meditation on how we record the moments of our existence through image and text.
Each Modern @eachmodern is a gallery in Taipei focusing on post-war and contemporary art from Asia and around the world.
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#ArttacaVisits is our way of bringing you into the art world, one exhibition at a time.
Stay tuned!
#EachModern #ArakiNobuyoshi #XuJiong
