Artemin Gallery is pleased to present No Man’s Land, a group exhibition featuring Su Wong-shen, Bram Kinsbergen, and Brian Chen, from March 7 to April 4, 2026, showing works spanning different periods of the three artists’ practices. The exhibition revolves around a psychological and spatial state of “no one,” a shared concern across the three artists: 

Is the self “present” or “absent”? In what form does self continue to exist?

First, the exhibition features the important Taiwanese artist Su Wong-shen, born in 1956 and a graduate of the Department of Fine Arts at Chinese Culture University. Emerging in the late 1980s Taiwan art scene, he worked through a politically charged environment but stayed flexible—both in his art and in his own position—continuously developing his own visual language. He began with hard-edge painting style, and while his style and subject matter have shifted toward landscapes over the years, his mastery of layered color blocks and tactile surfaces remains evident in the works presented here.

Su has long worked on the theme of “local landscapes,” often using a bird’s-eye view, as if observing the land from above. His compositions are restrained and quiet, but frequently contain small, illogical, or subtly humorous details. Unidentifiable animals or odd figures recur within his landscapes. They do not serve a clear narrative and do not correspond to real species—and that is precisely not the point. In all of Su’s works, humans are absent, fully de-emphasized, and species are undefined, yet traces of organic presence remain. This approach turns the landscape into a scene without a protagonist, while prompting reflection: from this low-altitude perspective, you, as the absent subject, may find yourself observing, hovering above, and attending to the land below.

Bram Kinsbergen, born in 1984 in Belgium, focuses on moments that are about to vanish—moments of fleeting, fragile beauty. His work revisits ephemeral beauty, capturing things that are destined to disappear, such as a damaged but still beautiful butterfly or a plant struggling to survive in a crack between paving stones. His paintings are predominantly low in saturation; even when bright yellows or oranges appear, they occupy only a small portion of the composition, while the overall tone remains subdued, restrained, and with a sense of impending instability. His works frequently include elements such as sunsets, palm trees, and water. Water, in particular, is never just a background element; it alters the structure of the painting itself. Rising or expanding water shifts otherwise stable landscapes, creating a subtle but persistent imbalance.

For Kinsbergen, water carries both personal and global significance. Growing up in a family closely connected to boats, water represents lived experience and a sense of security, but against the backdrop of climate change and rising sea levels, it also signals threat and irreversible change. This duality keeps his compositions at a critical point—appearing calm, yet loaded with risk. Palm trees, once symbols of vacation or escape, become drifting objects when surrounded by water. The instability of natural landscapes mirrors the precariousness of human positions—when the environment changes, can people still stand where they once stood?

Brian Chen’s work brings the question back to the human figure. In a contemporary context in which AI has already permeated our everyday life, the boundary between the “real” and the “replicable” becomes blurred. Using a sewing machine, Chen embeds wool, synthetic fibers, and threads into a textile base, creating surfaces that straddle painting and fabric. The three portraits presented in this exhibition deliberately leave the faces blank, removing identifiable features and preventing the viewer from confirming identity through the face. Figures exist in the work, yet are simultaneously absent. When images can be generated, copied, or replaced, how can the self be confirmed? What remains may be no more than a formal outline.

No Man’s Land is about a suspension of identity and position. When we can no longer determine whether we are present or have already been replaced, selfhood is no longer guaranteed but becomes a condition in flux. This suspension, and the precarious state of selfhood it reveals, is the central concern of the exhibition.

Venue
Artemin Gallery (111 1F, No. 32, Ln. 251, Jihe Rd., Shilin Dist., 111, Taipei City, Taiwan)

Artists
Su Wong-shen, Bram Kinsbergen, and Brian Chen

Exhibition Dates
March 7 – April 4, 2026

Gallery Hours
Tuesday – Saturday | 11 AM – 6 PM

Website
https://www.artemingallery.com/

Instagram
www.instagram.com/artemin.gallery/

Contact
info@artemingallery.com

(Text and images courtesy of Artemin Gallery)