2018 臺北國際藝術博覽會 ART TAIPEI

低限.冷抽—霍剛、莊普、謝貽娟、吾妻兼治郎 (Kenjiro Azuma)聯展

展位:J01

劉柏村 -八方維度之金剛造像

公共藝術:PA-D

2018 ART TAIPEI
“Minimalism · Cold Abstraction” — Joint Exhibition of Ho Kan, Tsong Pu, Jo Hsieh and Kenjiro Azuma
Booth:J01
LIU Po-Chun —Vajras of the Eight-dimensional Space
Public Art:PA-D

SVIP:
10.25|12pm-3pm

VIP :
10.25|3pm-9pm
10.26|11am-2pm

Date :
10.26|2pm-7pm
10.27|11am-7pm
10.28|11am-7pm
10.29|11am-6pm

Venue :
台北世界貿易中心 展覽一館|Taipei World Trade Center Exhibition Hall 1

[ 低限.冷抽—霍剛、莊普、謝貽娟、吾妻兼治郎 (Kenjiro Azuma)聯展 ]

 采泥展位:J01

論及抽象藝術在台灣形成的風潮,學者均認同以1957年「五月」與「東方」兩畫會帶動的「現代繪畫運動」為起點;而至遲在1962年,東方畫會自歐洲引進的「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,也在台灣紮下根基,霍剛(1932-)正是其中最具代表性的典範。80年代後,由林壽宇帶領新生代創作者在空間上、材質上進行低限主義的美學實驗,開啟台灣極簡抽象藝術的風潮。

今年,采泥藝術以「低限、冷抽」為主題,展出霍剛、莊普、謝貽娟以及吾妻兼治郎(Kenjiro Azuma)等藝術家的抽象作品,試圖對於極簡抽象藝術進行深度的探勘了解。霍剛,為「東方畫會」創始會員的「八大響馬」之一。1964年,定居義大利米蘭,開始專注於繪畫本質的探究,從繪畫基本元素:點、線、面與色塊,從中發展合乎藝術家體質的抽象表現。莊普,留學西班牙,其繪畫以方印為基本單元,在立體派或幾何硬邊的構圖方式中,呈現意念的運動和自律性。謝貽娟,其創作乃結合東方禪學、西方哲學,以及人類心理與心靈的一種產物,企及觀者內心深處的傑出創作。另外,本次特別展出著名的日本雕塑家吾妻兼治郎(Kenjiro Azuma)的雕塑作品,為龐圖運動的代表人物,其雕塑作品以簡約且精煉的造型著稱,作品表面錯落的孔洞猶如現代人內心棲息的角落,傳遞饒富禪學的雋永深意與內涵。

“Minimalism · Cold Abstraction” — Joint Exhibition of Ho Kan, Tsong Pu, Jo Hsieh and Kenjiro Azuma

Booth : J01

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. And around 1962, the Ton Fan Art Group also introduced the PUNTO International Art Movement to Taiwan. This movement put its emphasis on Eastern philosophical aspects presenting creations with minimal and geometric elements, which can be seen as Cold Abstract. An example representative of this artistic wave would be Ho Kan (1932-). Later, in the 80s, led by Richard Lin, Taiwanese artists started to carry out a series of aesthetic experiments in Cold Abstract using different aspects of space and materials, opening a new chapter of minimal abstract art in Taiwan.

This year, Chini Gallery will exhibit the works of Ho Kong, Tsong Pu, Jo Hsieh and Kenjiro Azuma at ART TAIPEI 2018 on the theme of “Minimalism · Cold Abstraction.” Ho Kan is one of the original “Eight Great Outlaws” of the Tong Fang Art Group. His abstraction is executed in a subtractive manner, simple yet highly poetic. Tsong Pu, who has studied abroad in Spain, uses the stamp as a basic unit of his style, resembling the compositions of Cubism and Pointillism to convey a sense of conscious movement and autonomy. Jo Hsieh’s outstanding works for attempting to combine Eastern Zen and Western philosophy with the human psychology and mind, to create work that can gaze deeply into the soul. In addition, sculpture works of Japanese sculptor, Kenjiro Azuma, famous for his minimalistic yet articulated style, will also be presented in this exhibition. His work resembles the hidden corners in the heart of modern people, conveying the context and connotation of Zen philosophy.

霍剛 HO Kan

霍剛,著名的東方抽象藝術家,1932出生於中國南京。曾遠赴義大利,長居米蘭50年,近年返台定居。1949年隨國民政府來台,1950年進入台北師範學校藝術科就讀。因緣際會受教於「台灣現代藝術導師」李仲生,思想畫藝受其影響至為深遠,成為1960年代達到高峰的「台灣現代藝術運動」代表人物之一。爾後霍剛長期定居米蘭,作品受到硬邊抽象等西方藝術概念影響,結合東方書法、金石印刻等創作元素,以極簡且饒富詩意的視覺語言發展出個人特有的東方抒情抽象。

霍剛的早期創作主為超現實主義風格,作品充滿神秘主義與奇異性,然而此時創作的形制已開始著眼於幾何圖形的表現。定居於米蘭後,霍剛確立個人幾何抽象的創作途徑,並專注於繪畫本質的探究,從繪畫的基本元素:點、線、面與色塊,從中發展合乎藝術家體質的抽象表現。作品從「點」的元素出發,生成各自的存在性。畫風從早期的實驗、沈鬱逐漸蛻變成近期的開朗、明快。霍剛的抽象語法以「減法」運行,簡約也蘊含詩意,建構了一個更具包容性的抽象世界,也呼應東方哲理主張萬物相容再生、孕育無限。作品亦曾於台灣、中國、義大利、瑞士等多國展出。

2016年台北市立美術館舉辦個人大型展覽「寂弦激韻」。
2018年6月於義大利蒙札皇宮美術館(Villa Reale di Monza)舉辦大型個展「形色之外 Beyond colors and shapes」。

Ho Kan is a renowned abstract artist in Asia. Born in Nanjing, China in 1932, Ho Kan lived in Milan, Italy for fifty years, and now lives in Taipei. He studied modern art under “the master of Taiwanese modern art,” Lee Chun-Shan, whose thinking and artistic techniques had a great and lasting impact on him. Ho was extremely influential to the development of modern art in Taiwan in 1960s. Then, Ho went to study in Milan, and his style gradually shifted to geometric abstraction. Ho integrates Eastern calligraphy and seal carving art to develop his unique Eastern abstract painting of a minimalist yet poetic style. Ho’s early style was mainly surrealist, rendering his early works rather mysterious and spectacular. However, he had already begun exploring geometric shapes in his works at this period.

After he moved to Milan, his individual use of abstract and geometric shapes had established. He began focusing on exploring the essence of painting, and from the basic elements of painting—points, lines, planes, and color blocks—to develop his unique abstract style. He started from the element of points and created his own philosophy about the arrangement of the image, which validated the essential existence of each point. His painting also transformed from the early experimental and melancholic style to his recent style that has been bright and light. Ho introduced the method of reduction in his abstract art, rendering it minimalistic as well as poetic. His abstract world responds to the oriental philosophical idea that all things are mutually embracing and nurturing, which, in turn, gives birth to an infinite world. In 2016, a large retrospective, Reverberations – HO KAN, was presented at Taipei Fine Arts Museum, and Ho’s works have also been exhibited in numerous countries, including Taiwan, China, Italy, Switzerland, etc.

莊普 TSONG Pu

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。 

The pure essence of Tsong Pu’s works are not merely from the visual structures of colors and shapes but rather with introspection that involves action and thinking. In the seemingly silent context exists the tensions and hints of reality. Whether planar or cubic, Tsong Pu’s creation has always reflected the meaning of the present, here-and-now moment.  His works are akin to his mind/spiritual journal, each a proof of existence of every present moment. 

謝貽娟 Jo HSIEH

台灣知名抽象藝術家謝貽娟(Jo Hsieh),1967年出生於台灣,1991年前往倫敦求學,1998年獲英國「皇家藝術學院」碩士學位。2002年獲英國「費爾茅斯藝術學院」藝術哲學博士學位,後定居英國,2015年回到台灣,直至完成她藝術創作的最後階段,2017年9月逝世於台北。

謝貽娟的主要作品可粗略分兩個時期:早期的「自由抽象」與單色畫「藍色時期」。其中「自由抽象」時期,作品一方面帶有「超現實的抽象主義」特徵,另一方面借鑒西方抽象藝術大師,特別是康定斯基一脈對「音樂性」的強調。1997年開始,謝貽娟開始轉向藍色的單色繪畫,以表現無限深邃的時間與空間,她稱之為「非空間」(None-Space)。後期她改用一種稀有的藍色礦物粉末,直接以雙手塗抹於畫布,這是藝術家早期「自由抽象」中書寫性的延續,但她用強調身體性更為親密的創作方式,創造出這個寧靜,虔敬的空間,宛如靈魂深處的凝視。對於謝貽娟來說,藝術作為她經驗到世界的界面。只有藉由她的藝術語言進入她的藝術世界,才能理解到她對時間和空間存在的思考,以及感受她面對信仰與虛無等問題的掙扎。

謝貽娟終其一生致力於藝術創作的精進與開創,投入絕對的心力與專注,使其在短短五十年的生命歲月中,創作超過上千張的作品呈現豐富多變且饒富哲思內涵的創作風格與思想,不僅體現其向自我極致挑戰與超越的激情與毅力,也突顯個人創作在抽象藝術領域的獨特價值。對於這位以一生實踐藝術純粹與美好的藝術家,采泥藝術特別策劃本展,讓更多藝術愛好者能夠進一步了解這位優秀傑出的華人抽象女藝術家-謝貽娟,以其作品體現自身所有,而精神永流傳。

Jo Hsieh was born in Taiwan in 1967. She went to study in London in 1991, first obtained her master’s degree from the Royal College of Art, then her doctorate from Falmouth College of Art, and eventually settled down in the UK. Returned to Taiwan and continued to make art in 2015 and passed away in September, 2017.

Jo’s oeuvre can be divided into two periodic groups, which are her early Free Abstraction and the monochromatic Blue Period. The works of the free abstract stage had a surrealist abstract quality; she was also influenced by Western abstract masters, in particular the “musicality” stressed by the Kandinsky school. In 1997, Jo began to move onto mono-chromatic painting. She gradually transitioned to even purer geometric abstract to express boundless time and space that she called None-Space. Later in this stage, she gave up ordinary paints and adopted a rare blue mineral pigments that she applied directly onto the canvas with her hands. At the center of the paintings, there is a circular symbol like seen in calligraphy, forming a light blue halo like a mysterious eye. This is an extension of the calligraphic character of the Free Abstraction period work early in the artist’s career, however, she used a more intimate creative method that emphasized physicality to create a tranquil and reverent space, like gazing deep down into the soul. For Jo Hsieh, art functioned as an interface for her to experience the world. One can only enter her art world through her artistic language, which allows people to comprehend her thinking about time and space as well as perceiving her struggles about faith and emptiness.

Hsieh dedicated her life to the betterment of her artistic and innovative work. Her efforts and determination enabled her to create more than one thousand works that greeted the world with a diverse style and philosophical meanings.These works have not only embodied a spirit in challenging herself and her passion and perseverance to surpass her own work, but also highlighted the unique value of her abstract creations.For Hsieh, an artist who has given her life to a pure and remarkable artistic practice, Chini Gallery specially curates this exhibition and offers more art enthusiasts a chance to further understand this outstanding female abstract artist from Taiwan. Her work has materialized the essence of her life, and her spirit will live on forever.

吾妻兼治郎 Kenjiro Azuma

吾妻兼治郎自1961年起加入「龐圖運動」,不僅代表日本這亞洲重要體系之參與,亦是唯一以雕塑創作為主之成員。吾妻兼治郎五〇年代畢業於東京藝術大學之後,即遠赴米蘭布雷拉藝術學院深造,成為雕塑大師馬里尼(Mario Marini)的助理。馬里尼鼓勵吾妻兼治郎勿於西潮之中丟失自我,更應從本國傳統之中開拓新機。經此啟發,吾妻將工作室內的舊作清掃一空,矢志創造出「一種只有日本人方能感悟的非建構之美」。遠離家鄉的吾妻兼治郎在沉澱與思考後,最終發展出富於東方哲學精粹的現代雕塑「MU」系列,即「無」的意思。吾妻兼治郎於1963年-也就是「龐圖運動」臻於頂峰之年-獲得日本國立近代美術館賞,隨即在美國舊金山美術館及現代美術館等七個重要博物館巡迴展覽,作品更於1975年獲梵蒂岡博物館收藏,並由教宗保祿六世親手展示於館中,成為該館首件日本藝術典藏。 

 Azuma Kenjiro joined Movimento Punto in 1961 as a representative of Japan and the only member using sculpture as the main creative medium. In 1960, the artist joined the workshop of Marino Marini as personal assistant, who repeatedly reminded him to always be cognizant of his Japanese identity. Inspired by such advice, Kenjiro vowed to create an “unconstructed beauty, something that can only be felt by Japanese”. These reflections on the meaning of infinity and the life cycle brought him to the realization of his first bas-reliefs entitled MU, which means “none” in Kanji and Chinese. In 1963, when the Movement reached its peak, Kenjiro was awarded the Japanese National Museum of Modern Art prize, followed by a touring exhibition across seven major museums in the United States. In 1975, his work was acquired by the Vatican Museum, and became its first collection by a Japanese artist.  

吾妻兼治郎 (Kenjiro Azuma) MU-786 32.5×47.5x31cm Bronze 1978

[ 劉柏村-八方維度之金剛造像 ]

 公共藝術展位:PA-D

在數學中, 一個 n 實數的序列可以被理解為 n 維空間中的一個位置。當 n 等於八時,所有這樣的位置的集合被稱為 「八維空間」。 通常這種空間被研究為一個向量空間,而沒有任何距離的概念。簡易的說它是一個幾何結構凝聚的能量場域。「八方維度之金剛造像」即援用八維空間的概念,運用雷射切割的手法,設定 20~80cm 之各尺寸大小不一的金剛造形元素,拼接構成一座八面體的鋼鐵圍牆,並於這結構體各面保留一人形空間,以供觀眾進入。上方安置每分鐘一轉之馬達與 led 變色投射燈。作品運用重複的表現,但尺寸不同、肢體各異的金剛形象以多點並存所構成的面,進而拼接圍成的八面結構體,如此的多面向維度空間,象徵如同宇宙中的八面維度。作品表現當今工業時代的面貌,意指在時間流變的未來過程中,事物價值的存有、變動與消逝,具體顯示一種生命不安的內在情愫。

LIU Po-Chun —Vajras of the Eight-dimensional Space

Public Art Booth:PA-D

In mathematics, a sequence of n real numbers can be understood as a location in n-dimensional space. When n equals 8, the set of all such locations is called eight-dimensional space. Such spaces are often studied as vector spaces, without any notion of distance. In a way, the term may refer to an energy field created with geometric structures. Vajras of the Eight-dimensional Space adopts the concept of eight-dimensional space and uses laser cutting technology to produce vajras in various sizes ranging from 20 cm to 80 cm. These vajras are then joined together to build an eight-faceted steel tower with each facet presenting a figural form that serves as both an entrance and an exit. The tower ceiling is installed with a motor of one revolution per minute and color-changing LED projection light. Using the expression of repetition and the elements of vajras in different sizes and gestures, the work reveals facets that encompass multiple points and form an eight-faceted structure. The multi-faceted space symbolizes the eight-dimensional space in the cosmos. Depicting contemporary industrial reality, the work beckons at the existence, change and disappearance of the values and things throughout the process of flowing time, embodying the feeling of restlessness in life.

八方維度之金剛造像  2018  鐵、馬達、led變色  300x300x400 cm

Vajras of the Eight-dimensional  2018  Space  Iron, motor, color-changing LED projection light   300x300x400 cm