25 比 22。ART TAIPEI 2026 的海外名單攤開來，韓國畫廊的數字第一次壓過日本。展會將於 10 月 30 日至 11 月 2 日在台北世貿一館登場，總共 127 間畫廊、6 個國家與地區，台灣本地 66 間，海外 61 間。主場沒丟，客場的座次卻換了人。
首爾為什麼把攤位開到台北
報導把原因指向 Frieze Seoul 之後的餘熱：首爾的藝術市場剛被世界看見，下一步是找買家。台北的買家有兩個被反覆提到的條件，一是高淨值藏家的購買力，一是免稅優勢。首爾的畫廊把台北當成一個走得進去、也帶得出貨的市場，而且離得近。
數字背後有一條更大的曲線。一份談 2026 年亞洲當代藝術市場的分析指出，2025 年南韓市場成長 6%，日本是負 1%，整體走向是從「當作西方市場的亞洲入口」轉為「亞洲內部循環」。博覽會則占了 2025 年畫廊營業額的 35%，是 2022 年以來最高。展位對畫廊來說就是業績本身，哪裡的藏家肯掏錢，攤位就往哪裡長。
東京沒有比數量，換了一張牌
日本的回應是 22 間傳統畫廊，加上一個叫 Curated Japan 的特區。策劃者是東京 MISAKO & ROSEN，13 間獨立替代空間進駐，名單裡有 SCAI THE BATHHOUSE、小山登美夫、4649、XYZ Collective。賣點很明確：策展深度，不走過度商業化的路線。
另一張牌是回歸。村上隆旗下的 Kaikai Kiki Gallery 這次重回名單，等於日系一線畫廊對台北市場投了一票。首爾帶來的是規模，東京帶來的是「別處看不到的那種展」。同一個展場、同一批買家，兩邊的打法剛好相反。
台北站在中間，也被兩邊檢驗
本屆主題叫「Symbiosis 共生」，題目取得很應景：日、韓、台的畫廊擠在同一座展館，彼此是客人，也是對手。台北的位置有點像十字路口的咖啡攤，人潮是別人帶來的，生意卻要自己做。
這個位置有代價。海外畫廊來得多，代表台北有吸引力，也代表本地藏家的錢包同時被兩個鄰居盯著。首爾 25 間畫廊裡有多少會留下長期據點、多少只是來試水溫，名單看不出來。同期的台北藝術週把全市的畫廊、美術館與機構串成一條動線，展期內買家的腳步會落在哪裡，才是這場比數的真正答案。
10 月 29 日至 30 日是貴賓預展，第一批成交紅點，會在那兩天貼上牆。
— 張誠書
Seoul’s 25 Galleries Pass Japan in Taipei
Twenty-five against twenty-two. In the overseas list for ART TAIPEI 2026, Korean galleries outnumber Japanese ones for the first time. The fair opens October 30 and runs to November 2 at Taipei World Trade Center Hall 1, with 127 galleries from 6 countries and regions: 66 local, 61 from abroad. The home side held its ground, but the seating order abroad has changed.
Why Seoul is opening booths in Taipei
Reports point to the afterglow of Frieze Seoul: the city’s art market has just been noticed by the world, and the next step is finding buyers. Taipei offers two conditions that keep coming up, the purchasing power of high-net-worth collectors and a tax-free advantage. For Seoul’s galleries, Taipei is a market that is close by, easy to enter and easy to ship from.
A larger curve sits behind the numbers. One analysis of Asia’s contemporary art market in 2026 notes that South Korea grew 6% in 2025 while Japan slipped 1%, and that the market is shifting from serving as “Asia’s entrance to the Western market” to “circulating within Asia.” Fairs made up 35% of gallery turnover in 2025, the highest since 2022. For a gallery, a booth is the business itself, and booths multiply where collectors are willing to pay.
Tokyo changed the card, not the count
Japan’s reply is 22 traditional galleries plus a zone called Curated Japan, organised by MISAKO & ROSEN of Tokyo. Thirteen independent, alternative spaces take part, among them SCAI THE BATHHOUSE, 小山登美夫, 4649 and XYZ Collective. The pitch is plain: curatorial depth, and a route away from heavy commercialisation.
The other card is a return. Kaikai Kiki Gallery, Takashi Murakami’s gallery, is back on the list, a vote for the Taipei market from a leading Japanese name. Seoul brings scale; Tokyo brings the show not found elsewhere. Same hall, same buyers, opposite strategies.
Taipei in the middle, tested from both sides
The theme this year is “Symbiosis 共生,” a fitting choice: Japanese, Korean and Taiwanese galleries share one hall, each a guest and a rival to the others. Taipei sits like a coffee cart at a crossroads, where the foot traffic is brought by others and the sales have to be earned.
That position has a price. A strong overseas turnout proves the city’s pull, and it also means local collectors’ wallets are being courted by two neighbours at once. The list does not show how many of Seoul’s 25 galleries will keep a long-term base and how many are testing the water. The surrounding Taipei Art Week links the city’s galleries, museums and institutions into one route, and where buyers actually walk during the fair will settle the score.
The VIP preview runs October 29 to 30. The first red dots of sales will go up on the walls then.
— 張誠書
延伸閱讀
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