11 May 2023-14 May 2023
貴賓預展 11 MAY 2 – 5 PM
預展開幕夜11 MAY 5 – 8 PM
公眾日12 MAY- 14 MAY 11 AM – 6 PM
采泥藝術於2023 年台北當代集結多位獨家經紀藝術家匠心之作，很榮幸帶來藝術家霍剛(b.1932-)、王淑鈴(b.1963-)獨具鮮明色彩的抽象新作；李光裕(b.1954-)、焦興濤(b.1970) 精彩的當代雕塑作品，以及董承濂(b.1973-) 全新聲光裝置作品。采泥藝術希冀透過不同的藝術視野和創作，深入參與國際藝術的交流和對話，呈現亞洲藝術家豐沛的人文涵養與藝術成就。我們期待在台北當代藝博會與您相見。
CHINI Gallery is delighted to present a selection of artworks in Taipei Dangdai 2023 that will feature several sole representative renowned artists. We are proud to showcase the distinctive abstract works of HO Kan (b.1932-) and WANG Suling (b.1963-), the stunning sculptures of LEE Kuang-yu (b.1954-) and Jiao Xingtao (b.1970), and the innovative installation works of Nick DONG (b.1973-). Through different artistic perspectives and creations, CHINI Gallery aims to deepen participation in international art exchange and dialogue, showcasing the rich cultural heritage and artistic achievements of Asian artists. We look forward to seeing you at the Taipei Dangdai 2023.
霍剛 HO Kan
抽象2023-003 Abstract2023-003 , 2023, 162 x 130 cm ,油彩、畫布Oil on canvas
霍剛 1932 年出生於中國南京，華人幾何抽象藝術的先鋒，台灣知名現代藝術團體「東方畫會」的創始成員。1949 年來台並師從李仲生，1956年與其他七位畫友組成「東方畫會」，致力於推動「台灣現代藝 術運動」，被譽為「八大響馬」代表人物之一。1964 年前往義大利米蘭，展開長達 50 年的旅居生涯，直至 2014 年才返台定居。
Born in Nanjing, China, in 1932, Ho Kan is a pioneer of Chinese geometric abstraction, and a founding member of Ton Fan Painting Society, a renowned modern art group in Taiwan. He moved to Taiwan in 1949 to study modern art with Li Chun-Shan. In 1956, Ho Kan, and seven other painters (Li Yuan-chia, Wu Hao, Ou Yang Wen-yuan, Hsia Yang, Hsiao Chin, Tommy Chen, and Hsiao Ming-hsien) founded Ton Fan to promote “the Taiwanese modern art movement,” and they have been known as the “Eight Great Outlaws” ever since.1 In 1964, Ho moved to Milan, Italy, where he lived before returning to settle in Taiwan in 2014.
Influenced by Western artistic concepts such as hard-edge abstraction, Ho Kan integrates Eastern calligraphy and the art of seal carving with a minimalist yet poetic visual language to develop his distinctive, Eastern lyrical abstraction. He starts with elemental points, and, from them, he creates his own philosophy about the arrangement of the image, validating the existence of each element. Ho Kan further applies the method of reduction to his abstract art, constructing a more encompassing abstract world, which responds to the Eastern philosophical idea that all things are mutually embracing and complementing.
地平線的回響_藍Echo of the Horizon(Blue) 2021-2023, 176x146cm 油彩、壓克力、畫布 Oil and acrylic on canvas
山的語言 6 Mountain Language VI 2022, 122x102cm 油彩、壓克力、畫布 Oil and acrylic on canvas
王淑鈴更是首位獲頒美國華盛頓赫希洪美術館Hirshhorn Museum and Sculpture Garden 2019年最高榮譽獎項的台灣藝術家。 作品被紐約古根漢美術館、洛杉磯當代藝術美術館、美國猶他州藝術博物館、美國辛辛那提藝術博物館、瑞士銀行、英國倫敦證券交易所、美國在臺協會等機構收藏。
Suling WANG was born in Taiwan in 1968. She holds a BA in Fine Art from Central St. Martins College of Art and Design, and a MA in Painting from the Royal College of Art, London, UK. Informed by her experience of growing up in Taiwan, her work embodies her understanding of traditional Taiwanese folk mythology, Buddhist philosophy, and the art of Chinese calligraphy, revealing strong connotations of Eastern art and culture. Influenced by her experience of living and travelling abroad, and by the artistic approaches and techniques of modern European and American abstract painting.
WANG is known for her large-scale abstract paintings, which demonstrate a unique artistry drawing on both the history of Chinese landscape painting and British landscape artists such as Turner. She infuses her personal emotions and thoughts into her work, and uses bold and spontaneous brushstrokes to create majestic and dynamic composition, exhibiting unrestrained colors on the canvas. With flowing and changing forms, her work materializes her wide ranging ideas and creative thoughts, and interweaves notions of time, space, and cultural identity with a pure vocabulary of abstract art that stems from an artistic language deeply rooted in a concept of art as a shared universal experience.
Suling Wang is the first Taiwanese artist to win the honoree at Hirshhorn Museum and Sculpture Garden in 2019.Besides, her works have been collected by institutions including the Solomon R. Guggenheim Museum in New York; the Museum of Contemporary Art in Los Angeles; the Utah Museum of Fine Arts; the Cincinnati Art Museum; Art in Embassies, US Department of State; UBS Group AG, and the American Institute in Taiwan.
李光裕 Lee Kuang-Yu
花供 Floral Offering ,2023,62x70x159cm, 銅 Bronze
荷塘月色 Lotus Pond on a Moonlit Night, 2022, 60x31x153cm,銅 Bronze
Lee Kuang-Yu was born in 1954 in Taiwan. In the early 1970s, he entered the Department of Sculpture of the National Institute of the Arts (predecessor of the National Taiwan University of Arts). Following graduation in 1975, he went to Spain to study western sculptural technique and theory in Real Academia de Bellas Artes de San Fernando and Universidad Complutense de Madrid respectively, studying with celebrated sculptor Francisco Toledo Sanchez and received his master degree. On returning to Taiwan, he taught at the Taipei National University of the Arts and the National Taiwan University of Arts, retiring in 2006 to devote himself to his works.
Lee Kuang-Yu’s creations crosses cultural and historical boundaries, representing a cultural marker in which traditional Buddhist and Daoist thought intertwines with modernism. His work cannot be assigned to any usual stylistic category. Instead, his works create a unique language with his incomparable skill, style and materials which in turn embodies the complex nature of Taiwanese art while representing the essence of Taiwanese culture. On the level of sculptural language, his work opens up the enclosed structure of sculpture with his characteristic techniques. It creates the unique form, style, and concept of the “void,” and demonstrates “the concept of silent void in the Oriental culture” that embodies the state of unifying the object and the self. It not only displays aesthetic values but also reveals the artist’s contemplation on the state of life at that moment, conveying contemporary social implications.
焦興濤 JIAO Xing Tao
焦興濤 大型裝置作品 黃/ 綠
黃/綠 Yellow/Green, 2012, 133x133xH137cm/ 136.5x133xH134cm, 玻璃鋼、漆 Painted on FRP
Born in Chengdu in 1970, and trained at the Sichuan Fine Arts Institute in Chongqing, JIAO Xingtao would seem to have taken heed of American artist Robert Rauschenberg’s statement, that he worked ‘in the gap between art and life’. But whereas Rauschenberg used actual discarded objects in his ‘combine sculptures’, Jiao instead re-creates and monumentalises discarded everyday objects and turns waste into meticulously crafted sculptures. Whether his starting point is a crumpled chewing gum wrapper or a crushed box that once held a tube of toothpaste, these quotidian things are re-scaled to become monuments to our consumer age. Packaging and branding are ubiquitous across the globe, and no less so in China: Jiao says, ‘It is too much, too fast, full of confusion. We are not in control of our own destiny, and we are filled with temptation.’ We are surrounded by the colours and logos of multinational corporations everywhere, every day.
董承濂 Nick DONG
陰晴圓缺 II Complete Crescent II 2022, 47x47x29cmD 桃花心木、鏡面壓克力、鋁、壓克力、LED 燈、電子組件 Sapele Wood, Mirror Acrylic,Aluminum, Acrylic, LED Filaments, Electrical Components
東海大學美術系創作組學士、美國奧瑞岡大學金工與珠寶設計系碩士。畢業後落腳於美國奧克蘭，2013年成立「studioDONG」工作室，作品多次於國內外美術館與藝術機構展出。2012年獲得美國「40 Under 40」（四十位四十歲以下具潛力藝術家）的殊榮。
Nick Dong graduated with a BFA in Mixed Medias and Paintings from Tung-Hai University and further acquired an MFA in Metalsmithing and Jewelry at the University of Oregon. After moving to Oakland, Dong established his own atelier: “studioDONG” in 2013 and started to exhibit both nationally and internationally. In 2012, Dong was enlisted as one of the 40 Under 40: Craft Futures artists by the Renwick Gallery of Smithsonian American Art Museum.
Dong is more than just a trained metalsmith; he is a multi-disciplinary conceptual artist that incorporates science theories, cutting age technologies, and humanity into his work, with the aim to spark wonder and create transcending experiences. Dong also draws on ideas in astronomy and physics, in particular, how spatial-temporal concepts can be connected with the art. The works are anchored in the concept of “the void.” Minus any narratives or stories, the works serve as a physical channel enabling a complete immersion where the mind can be emptied then an unknown aspects of “the self” can be explored. In this exhibition, each visitor will experience a spiritual feast created through a multi-dimensional audio-visual sensation of a changing cosmos thereby allowing them to transcend their daily routine.
董承濂 Nick DONG
Becoming Horizon 若水
Acrylic mirror, fabric, aluminum, musical and kinetic components
Immerse yourself in this shared space of meditative light play. Can you envision water (ever-changing) becoming the horizon (ever-constant)? Or perhaps you can imagine the ethereal events of the Big Bang—the universe’s origin as a hot, dense point; the explosion and rapid expansion of space; and finally, matter coalescing into galaxies.
Becoming Horizon fills the senses with motion, music, and dancing light for a meditative experience that is joyful and calm. This hand-crafted artwork incorporates over 100,000 mirror tiles.