Thirty years ago, when Tina Keng entered Taiwan’s art globe, her work and the future of the market could be assured.
Ken, 72, of the Taiwan Gallery, said: “It’s similar to the desert, and it’s actually unpredictable. She remembers that when she left her real estate sales job in the 1980s, the market still controls Western art. ”
Thirty years ago, she saw this clearly in a public auction in Paris. There, she also met with the paint of a born French painter Sanyu, in addition to the work of Matisse and Monet. Sanyu’s work is as good as other musicians, but has little concentration in Asia.
“I see that musicians’ abilities are relevant to China in both cosmetics and easy situations,” Ken said. She discusses her choice to gather and present deeply rooted Chinese musicians, such as the Chinese-born French painters San and Zao Wou-ki, a born French painter. “Since then, I actually formed the idea of bringing them to Asia.”
Currently, she does so, revealing contemporary and modern paints of Tina Keng Gallery’s Tina Keng Gallery, the enthusiastic underground of the six-story structure of the active technical location in the city’s Neihu area. In a cellar with exactly the same structure, the gallery’s sibling brand Tkg+ – run by Keng’s little girl Shelly Wu (42) – offers immersive multimedia centers and speculative tasks, many of which are neighborhood skills. When Kenger’s gallery welcomes timeless plants, Wu is seeking the future, and by contrast, these areas are a study.
Outdoor Taipei, Kan and Wu turned their galleries into motorists in the global art market. They showcased their collections at global fairs such as the Basel Hong Kong and Venice Biennale, and continued with well-known names and abilities. This month, Tina Keng Gallery and TKG+ and 9 other various Taiwanese art galleries will surely showcase musicians in Basel Hong Kong Art.
It’s a grand personality, but it’s not surprising for Kenger and Wu, explaining that Taiwan uses solid enthusiast assistance, rich multiculturalism and a completely free and open atmosphere, a perfectly active ingredient for solid art worldwide that has been the perfect active ingredient for fostering their work over the years.
Originally in the market in 1989, Ken started with measuring art facilities, a business focusing on art preparation. Three years later, she co-founded Lin & Keng Gallery. She remembered that in the early 1990s, more and more clients in Taiwan agreed to spend art because the economic situation developed after the combat style was introduced in the late 1980s.
“This is the time when an individual starts his destiny and buys art,” Ken said. “The Taiwanese art gallery market has also surged during this time.”
In 2009, she founded the Tina Keng Gallery in a global currency situation and handled it with the assistance of her loyal clients. Ken’s gallery, which wanted to attract more prospects, expanded briefly to Beijing, but closed the branch in 2012 after discovering that the acquisition rights of the Chinese cash register did not meet her assumptions.
“From a market perspective, Taiwanese customers are most effective in Asia,” Ken said. “Chinese collection agencies are still lagging behind.”
Wu, her little girl and an American-educated developer, founded TKG+ in 2009 at the age of 27.
“My mom is definitely the main factor for me to register in the market,” Wu said. “In fact, I often follow her behavior easily, but so do other obstacles.”
Wu’s art gallery brings visitors a dream comparable to a cinema. The front, darkness, light, audio and many consecutive experiments will surely weave each other. Wu said she loves multimedia art. Her schedule includes many musicians from Taiwan and other eastern countries. These include Taipei-born Yuan Gegong – a “Forward” event currently preserved in the gallery.
In one area, his video clip “Daily Battle” (2024) illustrates a relatively damaged space, and then returns to routine, as if nothing happened. In another area, gradually relocating before on-site visitors is the work of “Very Huge Ineffective Breathing” (1995-2024).
“I purposely promoted more work of Taiwanese musicians in my gallery,” Wu said.
In 2013, Wu launched TKG+ Projects, a unique event location for musicians who appeared in her gallery, and she welcomes managers or musicians to view more speculative art tasks. Behind the scenes of the location’s “Evening and Heart” (2025), it is a huge shelf made of steel lamp beams and concrete originating from the structure that fell throughout the earthquake. In Julia Hung’s Little West and the Mirage series, silver made of copper enamel awaits an item, waiting for the evening sky.
“I’m cutting-edge and some speculative stuff, and it’s hard to keep the company from the beginning,” Wu said. “But I think talented people need this stage.”
Of course, this will be their 13th consecutive time to attend the expo. They will definitely showcase Yang Mao-Lin, Yuan Hui-Li, Chen Ching-Yuan and 9 other jobs. They say attending the event has actually become a normal part of their annual routine. Nevertheless, they hope to see Taiwan become the host of musicians from all over the world in the future.
“This market is different from the first one thirty years ago, but I hope Taiwan will certainly become an exhibitor and owner of Basel’s artwork.”
