ART TAIPEI 2016 台北國際藝術博覽會
2016.11.12-2016.11.15
展覽地點:台北世界貿易中心一館

經典畫廊展位: D5
藝術家:徐冰、霍剛、李光裕
策展人:楊心一博士

影像之聲展位: V3
藝術家:周慶輝

ART TAIPEI 2016
2016.11.12-2016.11.15
Venue : Taipei World Trade Center Exhibition Hall 1

Gallery Booth:D5
Artists : Xu Bing、Ho Kan、Lee Kuang-Yu
Curator : Dr. Yang Shin-Yi

Voice of Image Booth:V3
Artist:Chou Ching-Hui

[ 展覽介紹 ]

About the Exhibition

Art Taipei 2016 台北國際藝術博覽會

采泥藝術「經典畫廊」區

展位Booth: D5

展覽主題Topic:東方空境 Silent Void in The Oriental Culture

展出藝術家Artists:徐冰Xu Bing、霍剛Ho Kan、李光裕Lee Kuang-Yu

策展人Curator: 楊心一博士 Dr. Yang Shin-Yi

2016 Art Taipei臺北國際藝術博覽會,采泥藝術邀請國際策展人楊心一博士策劃「東方空境」主題展,以兩岸知名藝術家徐冰、霍剛與李光裕的精彩作品探究東方藝術特有的空性美學。在中國藝術的範疇裡,「空」意味吐納萬象,在寧靜中孕育生機,在虛實裡涵融宇宙萬象。「空」並非空無,而是孕育萬物之初始力量,企及豐盈、完滿的原生力。「東方空境」將呈現三位藝術家如何以各自的藝術表述,轉化東方文化的內涵與底藴,闡述關乎東方空境的不同面向,探究東方藝術如何在有限中尋求無限,追求藝術本體的空境傳達。

這次「東方空境」一展,特別展出徐冰的石徑《李白客中行》。本作品由20塊北京房山石所組成,石頭上以其著名的「新英文書法」刻上李白著名詩詞《客中行》:「但使主人能醉客,不知何處是他鄉。」石頭象徵的「自然」與代表中國文化的「書法」所連綴成的小徑,通往的正是對時空、對生命、以及對自我的人生旅途所進行的漫長沈思。李光裕的近作「在水一方」,透過女子造形的正負虛實結構,描繪身體的虛幻,洞察生命似有似無的奧義。2016年新作「風影」,則以片狀造型營造的瀟灑,體現漂泊旅人的不羈與滄桑。霍剛的〈抽象2015-070〉、〈抽象2015-081〉,主要以繪畫最基本的元素:點、線、面與色塊建構畫面,在極簡中蘊含詩意,素樸的質地潛藏雋永的氣質,基本的幾何構圖與多變的豐富色彩開創關乎宇宙哲理更為遼闊的想像,體現東方哲理內斂且底藴深厚的文化質地與內涵。

「東方空境」將三位藝術家並置一堂,在二維、三維空間中創造更多關乎東方哲學與美學的更多激盪,以空馭豐,澄心以進「空性」之觀,以純粹之境訴諸更為精煉深刻的內在本質,探究東方美學的雋永與無窮。

Chini Gallery specially invites esteemed curator, Dr. Yang Shinyi, to curate the gallery’s themed exhibition, The Concept of Silent Void in The Oriental Culture, at Art Taipei 2016. The exhibition showcases the outstanding works of three internationally renowned Chinese and Taiwanese artists, including Xu Bing, Ho Kan, and Lee Kuang-Yu, and explores the unique aesthetics of the “void” in Oriental art. In Chinese art, the “void” contains all things, nurtures all life in tranquility, and encompasses the universe. The “void” does not refer to nothingness, but the primal force that gives birth to everything; it is the origin of abundance and perfection. Through the respective artistic work of the three artists, The Concept of Silent Void in The Oriental Culture elaborates on the various aspects and rich meanings of “the aesthetics of the void,” revealing how oriental art pursues the infinite in a finite world while conveying the concept of silent void through art.

Xu Bing’s Stone Path: Traveling away from Home specially displays in the exhibition. The sculptural installation is comprised of twenty pieces Fangshan stones from Beijing, which are inscribed with a couplet from Li Bai’s “Traveling Away from Home” in Xu’s groundbreaking “New English Calligraphy.” The couplet reads, “if only a host can keep his guests drunk, they will soon forget about their hometowns.” As the hand-carved inscription on the stones symbolizes “nature” and the “calligraphy” represents Chinese culture, a path constructed by them leads to a lasting contemplation on time and space, life as well as one’s journey in life. Across the Water created in 2014 depicts the illusory existence of the body and the meaning of life through unfolding both the interiority and exteriority of a female form. Created in 2016, Shadow of Wind continues the structural approach of mixing the interior and the exterior and delineates a wandering traveler’s carefreeness and unsettled life.Ho Kan’s Abstract 2015-070 and Abstract 2015-081 uses fundamental elements in painting such as dots, lines, planes, and color blocks to construct the image. The composition is tranquil and emotionally charged, unfolding a sense of poetry in minimalistic delineation. The simple texture seems everlasting whereas the geometric composition and changing colors enrich the infinite imagination of the universe, manifesting the reserved and rich culture and essence of Oriental philosophy.

The Concept of Silent Void in The Oriental Culture brings together the three artists, and offers stimulating ideas about the Oriental philosophy and aesthetics through two-dimensional and three-dimensional works. The silent void enriches and propels the abundance, revealing refined and profound inner qualities through presenting a realm of pureness.

徐冰

Xu Bing

1955生於中國重慶。1977年考入北京中央美術學院版畫系,1981年畢業留校任教。 1990年移居美國紐約。2007年回國,現工作、生活於北京和紐約。作品曾在紐約現代美術館、美國大都會博物館、MASS MoCA、英國大英博物館、英國維多利亞與艾爾伯特博物館,西班牙索菲亞女王國家美術館、美國華盛頓賽克勒國家美術館、澳大利亞新南威爾士美術館及當代藝術博物館、加拿大國家美術館、捷克國家美術館及德國路維希美術館等藝術機構展出;並多次參加威尼斯雙年展、悉尼雙年展、聖保羅雙年展等國際展。

1999年由於他的「原創性、創造能力、個人方向和對社會,尤其在版畫和書法領域中作出重要貢獻的能力」獲得美國最重要的個人成就獎,麥克阿瑟「天才獎」 (MacArthur Award)。2003年「由於對亞洲文化的發展所做的貢獻」獲得第十四屆日本福岡亞洲文化獎。2004年獲得首屆威爾士國際視覺藝術獎(Artes Mundi),評委會主席奧奎 (Okwui Enwezor) 在授獎辭中說:「徐冰是一位能夠超越文化界線,將東西方文化相互轉換,用視覺語言表達他的思想和現實問題的藝術家。」2006年由於「對文字、語言和書籍的使用,對版畫與當代藝術這兩個領域間的對話和溝通所產生的巨大影響」獲全美版畫家協會「版畫藝術終身成就獎」。2010年被美國哥倫比亞大學授予人文學榮譽博士學位。 2015年榮獲美國國務院頒發的藝術勳章。

Xu Bing was born in Chongqing, China in 1955. In 1977, he entered the Department of Printmaking, Central Academy of Fine Arts, Beijing (CAFA), where he completed his bachelor’s degree in 1981 and stayed on as an instructor. In 1990, he moved to the United States. Since 2007, he has been living and working in both Beijing and New York. His exhibitions have been held at the MoMA, the Metropolitan Museum of Art and the New Museum of Contemporary Art, MASS MoCA, the British Museum, The Victoria and Albert Museu, Arthur M. Sackler Gallery, Washington DC, Art Gallery of New South Wales and the Museum of Contemporary Art in Australia, National Gallery of Canada, Ottawa, National Gallery of Prague and Ludwig Museum in Germany amongst other major art institutions. Additionally, his works have been shown at the 45th and 51st Venice Biennales, the Biennale of Sydney, and the Bienal de São Paulo amongst other international exhibitions.

In 1999, Xu Bing was awarded the MacArthur Award in recognition of his “originality, creativity, individuality, and capacity to contribute importantly to society, particularly in printmaking and calligraphy.” In 200,3 Xu Bing was awarded the Fukuoka Asian Culture Prize for his “contribution to the development of Asian culture,” and in 2004 he was awarded the first Artes Mundi International Visual Art Prize in Wales. The chair of judging panel, Okwui Enzwor, considers that Xu “translates ideas and issues visual forms that cross cultural boundaries.” In 2006, the Southern Graphics Council awarded Xu Bing their lifetime achievement award in recognition of the fact that his “use of text, language, and books has impacted the dialogue of the print and art worlds in significant ways.” He was also awarded a Doctorate of Humane Letters by Columbia University in 2010. In 2015 Xu Bing receive the Medal of Arts by the U.S. Department of State.

霍剛

Ho Kan

霍剛,1932年生於中國南京,東方幾何抽象的代表藝術家。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。1956年,霍剛與李元佳、吳昊、歐陽文苑、夏陽、蕭勤、陳道明、蕭明賢組成「東方畫會」,成為1960年代「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獨特的東方理性抽象。霍剛的早期創作為超現實主義風格,作品充滿神秘主義與奇異性。定居米蘭後,霍剛確立幾何抽象的創作途徑,從繪畫的基本元素:點、線、面與色塊,進而發展到整體構圖的研究。作品從「點」的元素出發,進行關乎畫面配置的哲學,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。2016年於臺北市立美術館舉辦個人大型個展「寂弦激韻」,作品亦曾於義大利、瑞士、中國等地展出。

Born in Nanjing, China in 1932, Ho Kan is a representative artist of Oriental geometric abstract painting. In 1949, Ho settled down in Taiwan with the Nationalist Government, and entered the Department of Fine Arts, Taiwan Provincial Normal School in 1950. He had studied under “the master of Taiwanese modern art,” Li Chun-Shan, who has had lasting influence on Ho’s thinking and art. In 1956, Ho co-founded the “Ton Fang Art Group” with Li Yuan-Chia, Wu Hao, Ou Yang Wen-Yuan, Hsia Yang, Hsiao Chin, Tommy Chen, and Hsiao Ming-Hsien, making him one of the representative figures in the Taiwanese modern art movement in the 1960s. After Ho moved to Milan, his work became influenced by Western art concept such as hard-edge abstraction, which he integrated with Chinese calligraphy and seal carving art to develop his characteristic Oriental abstract painting of a minimalist yet poetic style. Ho’s early style was mainly surrealist, rendering his early works rather mysterious and spectacular. After he moved to Milan, his individual use of abstract and geometric shapes had established. From the basic elements of painting, such as points, lines, planes, and color blocks, Ho developed 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 has also transformed from the early experimental and melancholic style to his recent style that is bright and light. Ho introduced the method of reduction in his abstract art, rendering it minimalistic as well as poetic. He has created a more encompassing abstract world that 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, is presented at Taipei Fine Arts Museum, and Ho’s works have also been exhibited in numerous countries, including Italy, Switzerland, and China etc.

李光裕

Lee Kuang-Yu

1954年生於高雄內惟,70年代中期在台灣完成學院雕塑訓練後,負笈西班牙「聖費南度皇家藝術學院」及「國立馬德里大學美術學院」研習西方雕塑技法與理論,師承著名雕塑家托雷多。取得碩士學位歸國後任教於台北藝術大學、台灣藝術大學,直至2006年提前退休,創作至今。李光裕以其融合現代與傳統的造形思維,具象中帶抽象的形構方式,結合西方技法與東方文化於藝術創作,雕塑造型以虛實交錯的結構,靈變地塑寫種種意在物外的世間情態,藉由心境、山境與作品意境之間的層層映照與對話,他創造出立基於西方雕塑技法,卻充滿東方人文意涵的作品風格,為「東西融合」的成熟體現。 在台灣雕塑史的發展中,李光裕的作品是標示禪學、道家思想及現代主義交融的文化座標。他的創作不屬於一般慣習的風格歸類,而是以自身獨具的技法、風格、材料構成融合的語言,呈現台灣藝術內蘊的多元文化本質,標識了台灣在地的文化基底表現。曾於紐約、威尼斯、西班牙、奧地利、日本、新加坡等地舉行展覽。台灣三大美術館包括台北市立美術館、國立台灣美術館及高雄市立美術館收藏其多件作品。台大醫院捷運站、市民大道及高雄大學亦可見其多件大型公共藝術作品。

Born in Neiwei, Kaohsiung in 1954, after completing his training in sculpture in Taiwan in the mid-70s, Lee Kuang-Yu continued studying sculpture at The Real Academia de Bellas Artes de San Fernando (RABASF) with celebrated sculptor Toledo, and later, studying Western sculptural techniques and theory at the Universidad Complutense de Madrid, Spain. After obtaining a master’s degree, Lee returned to Taiwan and began teaching at National Taipei National University of the Arts and National Taiwan University of Arts until his retirement in 2006, and has been an artist ever since. Through integrating modern and traditional sculptural concepts, Lee’s work amalgamates the concrete and the abstract while combining Western techniques with Eastern culture in his sculpture.

Lee’s sculpture portrays worldly existences and their implications in an ingenious manner that interweaves the real and the imaginative. Through the contrast and dialogue among the state of mind, mountainous landscape, and artistic conception of his work, he has created a unique style that combines Western sculptural techniques and Eastern humanistic meanings, fully embodying the perfect unison of the East and the West. In the history of Taiwanese sculpture, Lee’s work embodies a cultural unification of Zen, Taoism, and modernism. His work cannot be attributed to any existing style but rather displays an individual sculptural language that integrates unique techniques, style, and material. His sculpture shows the diverse qualities of Taiwanese art and manifests the essence of Taiwanese culture. Lee’s work has previously been exhibited in New York, Venice, Spain, Austria, Japan, and Singapore, collected by Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, and Kaohsiung Museum of Fine Arts, and can be seen in public space, including National Taiwan University Hospital MRT Station, Civic Boulevard, and National University of Kaohsiung.

[ 展場照 ]

Installation View

Art Taipei 2016 台北國際藝術博覽會

采泥藝術   「影像之聲」展區

展位 Booth: V3

展覽主題:「黃羊川計劃」The Yellow Sheep River Project

展出藝術家:周慶輝 Chou Ching-hui

周慶輝的「黃羊川計劃」主以攝影為媒材探究科技與夢想的關係。拍攝對象為甘肅省黃羊川地區的小孩子與其對於科技的夢想與想像。周慶輝將小孩子對於科技的想像繪畫轉移至當地的土牆遺跡上,藉由「土牆」象徵的「衰敗」與「小孩」代表的「希望」對比與反差,體現現實與夢想的鴻溝進一步思考人與夢想的關係。計劃作品包括以「擺拍」形式呈現當地的「小孩肖像」、「小孩與土牆上的作品」、「小孩身體,老人行為」、「生活與環境」等。透過藝術家的介入,將人與社會景觀及地域結合成為藝術家自我營造的「造像」場域,看似簡單的畫面,捕捉了超越現實的色彩與形影,並以豐富多變的後設元素,將抽象且難以名狀的想像予以具象化,並在紀實與當代攝影的混合交織中開創獨樹一格的影像風格。

本次推薦的「III-20」這件作品為「小孩身體,老人行為」的最後一張作品,也是唯一一張非站立的人物照。藝術家以西方古典繪畫中,女性半躺臥在床上或躺椅的姿態做為靈感,設定小女孩的擺拍姿勢,藉此在小女孩單純且質樸的面容下,透過一種靜謐的凝視氛圍中營造近似古典的優雅氣質以及耐人尋味的雋永。

周慶輝

Chou Ching-hui

生於1965年,畢業於世界新聞專科學校,退伍後進入媒體工作,之後並開啟了幾個窮年耗月的專題攝影計畫,包括:「停格的歲月—痲瘋村紀事」(現稱為「行過幽谷」)、「消失的群像—勞動者紀事」、「野想—黃羊川計劃」等。早期攝影作品以「報導攝影」風格為主,以紀實且帶有詩意的影像語言,傳達個人對於主題人物的觀點與想法。

「人的莊園」為個人首度以「編導式攝影」方式進行的創作主題,透過精緻細膩且色彩飽滿的影像,結合超現實的景境氛圍,開創個人獨特的攝影語境。周慶輝曾先後榮獲了「自立報系台灣新聞年度攝影獎」、「映像與時代—中華民國國際攝影藝術大展」的「報導類銀牌獎」、「台北攝影節報導類特別獎」、「金鼎獎」等榮譽獎項。同時,周慶輝也以攝影藝術家的身份多次受邀參加國際攝影大展,包括:「廣州國際攝影雙年展」、「香港攝影節 四度空間—兩岸四地當代攝影展」、「首屆長江國際影像雙年展」、「2014台北雙年展」、「陌生的亞洲—北京國際攝影雙年展」等。周慶輝希望自己成為一位用相機說故事的人,「我想讓影像如文字般,本身就能敘述故事」,每個看過圖片的人,如同聽他說完故事一般,自影像中得到豐富的感受。

Born in 1965 following graduation from Shih Hsin University, Chou devoted himself to both the efficiency-orientated news photography industry and to beginning several time-consuming specialists photography projects, including: Out of the Shadows, Vanishing Leagues: Images of Workers and Wild Aspirations: The Yellow Sheep River Project. His photographic works arise from social realities, and combine artistic representative techniques. Animal Farm was his first creative venture to make the switch from documentary photography to directed photography. Through delicately exquisite yet vibrantly colored images, he conjured a kind of hyper-real atmosphere, creating his own photographic language. Chou Ching-Hui has successively been awarded the Independence Post Group Annual Taiwan News Award, a silver medal in the Reportage category at the ROC International Photography Art Exhibition, the Taipei Photography Festival Reportage Photography Award Gold Medal among other honours, and has been invited to participate in international photography exhibitions many times. These include Sightings: Searching for the Truth 2009 Guangzhou Photo Biennial Exhibition, Four Dimensions Contemporary Photography from Mainland China, Hong Kong, Taiwan & Macau, The First Yangtze International Photography & Video Biennale, the 2014 Taipei Biennale and Unfamiliar AsiaThe Second Beijing Photo Biennale. Chou Ching-Hui wishes to use his camera to tell stories. “I want to make images that, just like words, relate stories by their very nature.” He hopes that everyone who sees his pictures gains a rich feeling from the images, just as if they had heard him tell a story.

[ 展場照 ]

Installation View