低限.冷抽.九人展
Minimalism · Cold Abstraction – Contemporary Abstract Art in Taiwan

策展人 Curator:蕭瓊瑞 HSIAO, Chong-Ray

參展藝術家 Artists:

霍剛 HO, Kan (1932-)
莊普 TSONG, Pu (1947-)
曲德義 CHU, Teh-I (1952-)
胡坤榮 HU, Kun-Jung (1955-)
蔡志榮 Dino TSAI (1957-)
劉永仁 LIU, Yung-Jen (1958-)
宋曉明 SONG, Sheau-Ming (1967-)
耿晧剛 KENG, Hao-Kang (1969-)
吳東龍 WU, Tung-Lung (1976-)

●台北 采泥藝術
展覽期間 | 07.28-09.09
展覽地址 | 台北市中山區敬業一路128巷48號

●台南 耘非凡美術館
展覽期間 | 07.14-9.30
展覽地址 | 台南市東區林森路一段370號

●Chini Gallery
Date | 07.28-09.09
Venue |1F, No.48,Ln.128, Jingye 1st Rd., Zhongshan Dist., Taipei City

●Remarkable Cultivation Art Museum
Date | 07.14-9.30
Venue|No.370, Sec. 1, Linsen Rd., East Dist., Tainan City

【活動訊息】

◎ 台北 采泥藝術

講座      |和藝術家談低限冷抽
時間      |08.26  14:00
地點      |采泥藝術
主持人  |蕭瓊瑞
與談人  |曲德義、蔡志榮、劉永仁、宋曉明

◎台南 耘非凡美術館

講座      |和藝術家談低限冷抽
時間      |08.19  14:00
地點      |耘非凡美術館 1F
主持人  |蕭瓊瑞
與談人  |莊普、胡坤榮、耿?剛、吳東龍

講座      |東西方低限冷抽藝術的發展
時間      |09.09  14:00
地點      |耘非凡‧非凡廳
主講人  |蕭瓊瑞
**憑券入場

新書發表會
時間|2018.09.30  14:00
地點|耘非凡美術館
(藝術家與策展人皆出席)

抽象藝術自上世紀的第一個十年,在歐洲形成以來,便有所謂帶著表現性的「熱抽」(Hot Abstract)和偏向理性思考的「冷抽」(Cold Abstract)兩大路向。前者,以康定斯基為代表,日後以美國帶著行動特質的「抽象表現主義」為極致;後者,以蒙德里安為代表,加上日後的「低限主義」、「結構主義」,乃至俄國的「絕對主義」等,形成另一脈絡。

抽象藝術在台灣形成風潮,係以1957年「五月」與「東方」兩畫會帶動的「現代繪畫運動」為起點;其中,1960年代之後風起雲湧的抽象水墨創作,講究書寫性的筆觸與水渲墨染的趣味,帶著「熱抽」的傾向,被視為台灣抽象藝術最具代表性的風格。然而實際上,至遲在1962年,東方畫會自歐洲引進的「Punto(龐圖)國際藝術運動」,標舉所謂「靜觀」、「禪思」的東方哲學,類似低限、幾何的「冷抽」創作,已經在台灣札下根基,霍剛正是其中代表。

「低限.冷抽.九人展」,以台灣1960年代以來帶著「冷抽」傾向的九位藝術家為取樣,包括:霍剛、莊普、曲德義、胡坤榮、蔡志榮、劉永仁、宋曉明、耿晧剛、吳東龍等,呈顯台灣在此一路向上的表現,也是耘非凡美術館在系列抽象策展中,深具風格特色與學術深度的又一獻禮。

Since its germination in Europe during the first decade of the previous century, abstract art has developed Hot Abstract with an emphasis on expressiveness and Cold Abstract that focuses on the expression of rational thinking. The pinnacle of the former, heralded by Kandinsky, was the prevailing American Abstract Expressionism that came later, which displayed a quality of action; the latter, on the other hand, was emblematized by the works of Mondrian, and formed another route in abstract art joined by Minimalism, Structuralism and Russian Suprematism.

The wave of abstract art surged in Taiwan with the Modern Painting Movement advocated by the Fifth Moon Art Group and the Ton Fan Art Group in 1957. After the 1960s, abstract ink painting became popular; its grammatological brushstrokes and inking charm demonstrated a tendency towards Hot Abstract, and has been viewed as the most recognizable style in Taiwanese abstract art. Nevertheless, the Punto Art Movement was introduced the island by the Ton Fan Art Group no later than 1962, which had already taken root by then. The movement puts its emphasis on various Eastern philosophical aspects, such as “silent observation” and “Zen thinking,” and presented creations with minimal and geometric elements similar to Cold Abstract. Within this artistic wave, Ho Kan has been one of the representative artists.

Minimalism.Cold Abstraction – Contemporary Abstract Art in Taiwan features nine Taiwanese artists whose works created from the 1960s onward have embodied Cold Abstract tendencies. They are Ho Kan, Tsong Pu, Chu Teh-I, Hu Kun-Jung, Dino Tsai, Liu Yung-Jen, Song Sheau-Ming, Keng Hao-Kang and Wu Tung-Lung. The exhibition surveys the achievements of these Taiwanese abstract artists, and is another exquisite exhibition enriched with stylistic characteristics and academic insights among the series abstract exhibitions presented by Remarkable Art Gallery.

霍剛   HO, Kan (1932-)

1953   畢業於台北師範學校(今國立台北教育大學)藝術科
1964 移居義大利米蘭,2014定居台北

霍剛在長達一甲子的創作生命中,結合西方硬邊抽象與東方書法、金石等元素,建構了一種殊異、如詩一般的神秘藝術特質。他透過純粹點、線、面的形色組構,營造出一批看似簡潔、其實充滿人文與精神性的藝術作品。這些作品既是音樂的、也是詩質的。

During his six decades of artistic creation, Ho Kan has constructed a mysterious artistic quality that is unique and poetic by combining western hard-edge abstractions and elements from oriental calligraphy and stone inscriptions. Through the composition of purely points, lines, and planes of colors and shapes, he creates a series of simple appearing artworks but full of humanism and spiritual meaning. These works are not only musical but also poetic.

霍剛 抽象2018-002 2018 100x80cm 油彩、畫布

莊普   TSONG, Pu (1947-)

1978 畢業於西班牙馬德里大學藝術學院
1992   台北現代美術雙年展獎 ,台北市立美術館,台北,台灣

莊普作品中的純粹本質,不純然全是來自視覺上的形色結構,而是帶著行動與思維的內觀特色;在看似不著一語的境況中,卻有諸多和現實的牽扯與暗示。莊普的創作,不論平面或立體,始終有其「當下」意義的返照;他的作品也猶如他的心靈日記,每一件作品,都是每一個當下片斷的存在印證。


莊普 晴日換雨 2017 194x130cm(x3) 壓克力顏料、畫布

 

 

曲德義  CHU, Teh-I  (1952-)

1983  法國國立高等設計學院美術設計碩士
1984  法國國立高等美術學院造型美術碩士

曲德義的創作,企圖結合「熱抽」與「冷抽」兩種風格,藉由不同色面的垂直或傾斜並置,造成一種帶著動勢與動能的不安定性;呈顯出媒材/作品、感性/知性、形式/內容、筆觸/色面、穩定/傾斜、硬邊/肌理,乃至平面/空間、精神/物質……等等多元對立、卻又疊合並置的獨特風貌。

Chu Teh-I’s artworks aim to combine two styles, the “hot” abstract and “cold” abstract by various vertical or bevel-parallel posing of color fields to create instability full of movement and kinetic energy. They reveal multiple contrasts in the materials/compositions, emotional/rational, form/content, stroke/color fields, stability/obliqueness, hard edge/texture, plane/space and spirituality/ materialism, but still portray unique scenes of coincidence and juxtaposition.

曲德義 位離D1611 2016 162x130cm、162x65cm 壓克力、畫布

 

胡坤榮 HU, Kun-Jung (1955-)

1981 畢業於國立台灣藝術專科學校美術科

1984   中國現代繪畫新展望優選,台北市立美術館,台北,台灣

胡坤榮的幾何抽象,以正方形色面為主,搭配一些斜面的構成;而粉系的色調,讓知性的畫面,散發一股輕柔、感性的氛圍。繁複卻具秩序的空間結構,充分展現都會生活的幸福情趣與個人品味。

HU Kun-Jung’s geometric abstractions focus on square color fields accompanying some beveled compositions. The pink color tones give the intellectual paintings a tender and sensible atmosphere. The complex yet orderly spatial structure fully reveals the happiness and personal tastes of urban life.

胡坤榮 初雪 2010 95X90 cm 壓克力、畫布

 

蔡志榮   Dino TSAI (1957-)

2014  第28屆亞洲國際美術展,金門,台灣
2015  第30屆 ASROP 國際藝術展覽會,南韓

蔡志榮早期以條碼和QRcode作為創作語彙,反映現代社會科技生活的律動與美學。近年來,提出「環境動力美學」的概念,以規整卻又富於微妙律動變化的直線、橫線構成,表達現代都會建築與生活的美感,頗富視覺的震撼,亦引發深刻的人文反思。

In his early creations, Dino Tsai created his artworks with barcodes and QR codes to reflect the rhythm and aesthetics of modern technological life. Recently, the concept of environmental kinetic aesthetics he proposes expresses the aesthetics of modern urban architecture and life through the vertical and horizontal line compositions that has regular but trivial rhythmic variations, which possess visual impact and arouse profound humanistic retrospection.

蔡志榮 符語編碼11 2013 194.5cm x 131cm 2013

 

劉永仁  LIU, Yung-Jen  (1958-)

1983  畢業於文化大學美術學系
1995  義大利國立米蘭Brera藝術研究院碩士

劉永仁的創作,在帶著潛意識的特質中,浸淫於形與形、色與色之間的對應、卡位,形成深具張力與平衡的新秩序與新樂章。拆卸知性思維的邏輯架構,創作的過程就猶如平素生活的「呼、吸」之間,一樣的自然、舒緩,而平順。

With a feature of involving the sub-consciousness, Liu Yung-Jen’s artworks are immersed in parallelism and jockeying of position between shapes and colors which establish a new order and movement full of tension and balance. After deconstructing the logic structure of intellectual rationality, his art creations are as natural, smooth and peaceful as daily life between inhalation and exhalation of very breath.

劉永仁 結晶祕行之二 2016 260x194cm(x2) 油彩、鉛片、蜂蠟、畫布

 

宋曉明  SONG, Sheau-Ming (1967-)

2002  美國紐約市立大學藝術創作碩士
2008  英國國立蘭卡斯特大學視覺藝術博士

宋曉明以看似極其逼真的影像,挑戰觀眾的視覺,也傳達某些抽象的思維。在「真實」與「虛構」之間、「認知」與「想像」之間,宋曉明的作品令人重新反思:視覺幻象的產生,是否正好揭示了人們對於事物表象的執著與慣性?

Song Sheau-Ming’s highly realistic images challenge the audience’s visual sense and convey certain abstract ideas. Between reality and fiction, perception and imagination, Song’s artworks pose a question to reflect upon: when visual illusion appears, does it just happen to unveil our persistence and getting accustomed to the superficial?

宋曉明 困惑 2015 112 x 145.5 cm 油彩、壓克力、比利時畫布

 

耿晧剛  KENG, Hao-Kang  (1969-)

1993  畢業於東海大學美術學系
2002  義大利國立米蘭Brera藝術學院碩士

同樣是帶有色面與符號的抽象繪畫,耿晧剛的創作是變動的、視覺的,也是外在世界的映現與拼貼。他像是一位行吟的詩人,以開敞、流動、適意的心靈,讓外在世界的色彩、形式,乃至衝突、拉鋸,依他們自有的溫度、個性,同時呈現在畫面之中。耿晧剛的作品,充分反映一個多所關懷、凡事入心、凡物入眼的藝術家的生命本質。

Though these abstract painting are filled with color fields and signs, Keng Hao-Kang’s artworks are dynamic, and are visualizations of reflection and collages of external world. As a troubadour with an open, fluid and comfortable spirit, he lets the colors, form and even confrontation and struggles from external world based on the respective temperaments and personality to be presented in his pictures. Keng’s artworks fully reflect the true essence of an artist who cares about any object or thing that passes his gaze and mind.


耿晧剛 停泊 2016 150×90 cm 壓克力、畫布

 

吳東龍  WU, Tung-Lung  (1976-)

1998  畢業於國立台灣藝術學院美術系
2004  畢業於國立台南藝術學院造形藝術研究所

在看似單純、低限的圖形畫面中,其實蘊含了吳東龍來自現實生活環境中的種種細緻觀察與體驗;那可能是空氣的濕潤或乾冷,也可能是腳下泥土的鬆軟或枯乾,或是嗅覺的味道:木頭的香味,混合著大麥發酵的香氣,和不知名雜草的芬芳……。吳東龍畫面中的那些色彩、圖形,都是來自這些感官、觸覺、嗅覺的凝煉與統合。

These pure and minimal appearing graphical pictures in fact imply every trivial observation and detailed experiences from Wu Tung-Lung’s real life and environment. It might be the humid or cold dry air; perhaps the soft or dry soil underfoot; or it might be a smell: scents of wood mixing with aroma of fermenting barley and fragrance from unknown weeds…In Wu’s pictures, those colors and graphics come from the condensed refinement and integration of senses including touch and smell.

吳東龍Symbol-101 2016 120x150cm 油彩、畫布板

 

 

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