






Opening:1/16 19:00
Lecture:1/26 15:00
Topic:東方再起—談蕭明賢、歐陽文苑在戰後水墨現代化的位置
Speaker:白適銘 (師範大學美術系教授)
The wave of abstract art in Taiwan started at the end of the 1950s when “modern painting” fully arose in the art scene. The art movement emphasized on “the emancipation of image,” and one of the pioneering art groups in the development of Taiwanese modern art was Ton Fan Art Group. Its key members include Ho Kan, Hsia Yang, Li Yuan-Chia, Oyan Wen-Yuen, Wu Hao, Hsiao Ming-Hsien, Tommy Chen and Hsiao Chin. Together, these artists have not only turned a new page of the Taiwanese art history and consolidated the form and development of abstract painting, but also set a crucial milestone of post-war modern painting movement.
For years, Chini Gallery has been endeavoring in the promotion of Taiwanese abstract art. At the beginning of 2019, Chini will proudly adopt the theme of The Outlaws to feature the classic abstract works by three masters from Ton Fan Art Groups, including Ho Kan, Oyan Wen-Yuen and Hsiao Ming-Hsien. At Taipei Dangdai, we will present a solo exhibition by HO Kan while launching a dual exhibition of Oyan Wen-Yuen and Hsiao Ming-Hsien at Chini Gallery at the same time. The exhibitions demonstrate how the three trailblazing artists of the “Eight Great Outlaws” have shattered the limitation of traditional art practice and become pioneering masters of the modern avant-garde art.
The dual exhibition of f Oyan Wen-Yuen and Hsiao Ming-Hsien that opens in January at Chini Gallery is a joined exhibition of the two artists. The exhibition will feature an ink series by Oyan, which reveals how the artist has achieved a vigorous, unadorned style through combining refined, elegant ink painting and the structure of stone inscription from the Han dynasty. Also on view in the exhibition are Hsiao’s oil and ink paintings. The artist’s abstract line and unfettered, vibrant brushstrokes embody the union of rationality and sensibility. His paintings often show dancing lines that are reminiscent of the musical staff, on top of which Hsiao adds unrestrained, calligraphic brushstrokes in a rhythmic manner, forming a free-flowing, unencumbered creative style.