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)

Bangkok’s rapid urbanisation has drastically reduced the city’s green spaces, leaving residents increasingly disconnected from nature. Public parks have given way to shopping malls, and concrete and glass now dominate the skyline. As a result, many people find themselves confined to artificial environments, distanced from the natural world. This transformation extends beyond physical surroundings; it reshapes how we experience light. With modern life increasingly moving indoors, our exposure to natural sunlight has diminished, aecting both physical and mental well-being. The warmth of the sun has been replaced by the cool glow of LED lights and digital screens, which quietly govern the rhythms of our days and nights.

In this series, Atom Pavarit reflects on his own routine between Pak Chong and Bangkok, where direct encounters with nature or natural light have become increasingly rare. His world is lit by artificial sources: screens, overhead bulbs, and the filtered rays that slip in through windows. Across the series, windows become a quiet but persistent presence. Whether it’s the soft spill of light through a real window or the electric glare of a digital screen mimicking one, each painting contains a frame—a threshold between interior and exterior, real and artificial. These windows serve as both openings and boundaries. They let light in, but also remind us of our distance from the outside world. In the absence of natural access, even screens begin to resemble windows, oering simulated light, curated landscapes, and secondhand experience.

His palette, rich in yellows, greens, and blues, echoes the light we encounter every day—whether from the sun or from our devices. Yet this familiar glow plays a subtle trick. While the colors may suggest natural light, their sources of inspiration are often artificial, drawn from household fixtures and screen-based illumination. Atom rarely uses white paint in this series; instead, he leaves parts of the canvas untouched to suggest light in its purest form.

Ironically, many of the works were inspired by the artist’s home and studio in Pak Chong, a place surrounded by nature. Yet the scenes he paints are almost always viewed from within. Windows frame the world outside rather than immersing us in it. The remaining works reflect his time in Bangkok, where access to open air and sunlight is even more limited.

Though these paintings may appear serene, they quietly ask a question: Is this our new reality—framed, filtered, and confined? Do we still have a choice? Today, we are invited to “experience” nature and light in curated environments, through immersive exhibitions, indoor installations, or the mediated glow of screens. In this context, the series asks us to reconsider how we perceive space, light, and connection in an era when even our access to the outside world is increasingly controlled and constructed.

Light, long seen as a symbol of guidance and hope, once led the way. But in a world shaped by artificial glow, the artist gently asks: As natural light fades and digital brightness takes over, can we still find our hope and purpose? Will it lead us home, or have we already lost our way?

Venue
Artemin Gallery, 1F. No. 32, Ln. 251, Jihe Rd., Shilin Dist., Taipei City 111012, Taiwan

Artist
Atom Pavarit

Exhibition Dates
May 3 – June 7, 2025

Gallery Hours
Tuesday – Saturday | 11 AM – 6 PM

Website
https://www.artemingallery.com

Instagram
https://www.instagram.com/artemin.gallery/

Contact
info@artemingallery.com

(Text and images courtesy of Artemin Gallery)