謝貽娟 Jo Hsieh None-Space S22  61x91cm  2009 混合媒材、畫布
 
 
 
 
 
 
 
【 ART TAIPEI 2017 台北國際藝術博覽會】
 
 
展位 Booth:A-07
展覽名稱 Topic:人們應該記住她的名字謝貽娟
We Need to Remember Her Name - Jo Hsieh
 
 
 
展位 Booth:PA-05
展覽名稱 Topic:威尼斯同步展 有無之際—李光裕
To Have and Have Not:A Simultaneous Exhibition with the Venice Biennale by LEE Kuang-Yu 
 
 
 
 
 
日期 Date:2017.10.20—2017.10.23
 
地點 Venue:台北世界貿易中心一館Taipei World Trade Center Exhibition Hall 1
 
 
 
 
 
 
【展覽介紹】
 
 
 
展位 Booth:A-07
展覽名稱 Topic:人們應該記住她的名字謝貽娟
We Need to Remember Her Name - Jo Hsieh
 
 
 
策展人:楊心一博士
 
謝貽娟(Jo Hsieh, 1967-2017)出生於台灣,1991年前往倫敦求學,1998年獲「英國皇家藝術學院」(Royal College of Art U.K) 碩士學位。2002年獲「英國費爾茅斯藝術學院」(Falmouth college of Art) 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。
 
謝貽娟畢生以抽象藝術的創作為己任。1990年代台灣藝壇呈現高度的本土文化自覺與國際化浪潮,在這一社會與藝術思潮的影響下,謝貽娟遠赴他鄉,而她所面對的英國藝術景象此時正值以為達米恩·赫斯特 (Damien Hirst) 代表的YBA (年輕英國藝術家) 的崛起。可見她的個體生命和藝術追求,包括其性別、台灣文化身份、海外經歷,恰與主流的藝術潮流之間形成了時空上的錯位。這一段「遺憾的距離」卻令我們得以理性的審視她留下的極為豐富的作品。當下,越來越多年輕藝術家開始從事抽象繪畫。然而像謝貽娟這樣具有完整個人化的創作邏輯,並在概念上推動對抽象藝術理解的藝術家依然少見。
 
筆者認為,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,特別是康丁斯基( Kandinsky  Wassily)一脈對「音樂性」的強調。但與這些前輩不同的是,她的畫面具有離散性,無序化,偶然性等特點,並使用鉛筆,水彩,壓克力,油彩等複合媒材,將素描、書寫、塗抹、油畫相結合,在繪畫表面形成豐富的層次,從某種意義上講,更類似於美國藝術家 賽·托姆布雷 (Cy Twombly) 式的繪畫行為。
 
從1997年開始,謝貽娟轉向藍色的單色繪畫。對藝術家而言,藍色「是精神與自由的化身」。與藝術史上著名的「克萊因藍」(Yves Klein Blue) 不同,她一般使用兩種或多種深淺不一的藍色,並逐漸過渡到更單純的幾何抽象,以表現無限深邃的時間與空間,她稱之為「非空間」(None-Space)。後期她拋棄了普通顏料,改用一種稀有的藍色礦物粉末,直接以雙手塗抹於畫布,在畫面中心可以看到書法一般凸起的圓形符號,形成一個淺藍色光環,如一隻神秘的眼睛,這是藝術家早期「自由抽象」中書寫性的延續,但她用強調身體性的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。
 
筆者認為,謝貽娟屬於追求將生命融於藝術的一類藝術家,換句話說,她以藝術來作為她經驗到世界的界面,以對藝術的信仰為支撐走過了短暫的人生。梳理及回顧台灣與亞洲藝術史,她強烈的個人風格及其在抽象藝術領域的創造力反而更加凸顯,她的藝術值得從學術角度開始細細發掘。
 
本展覽以個展形式,分為「自由抽象」、「藍色信仰」、「她是誰」、「發掘亞洲抽象脈絡」等四大單元,其中「她是誰」透過自畫像展現謝貽娟作為女性藝術家的自我意識,特別是面對藝術史時的自我懷疑與自我審視,將她的自畫像與其他女性藝術家如Frida Kahlo、Alice Neel等進行比較討論;「發掘亞洲抽象脈絡」則試圖從更大的視角探討亞洲抽象藝術與海外相關的另一條線索,展出林壽宇、霍剛、許雨仁等人作品,呈現藝術史的背景。此外還將展出藝術家人生最後階段留下寶貴記錄的影片檔案。采泥藝術自2012年成立以來,致力於發掘台灣本土藝術史,並與更廣泛的亞洲及全球視野相鏈接,力圖通過此展覽對台灣及亞洲當代藝術史的敘事有所貢獻。
 
 
Jo Hsieh (1967﹣2017) was born and raised in Taiwan. She went to study in London in 1991, was awarded an MA by the Royal College of Art in 1998 and a PhD in Art Philosophy by the Falmouth School of Art at Falmouth University in 2002. She lived in the UK until she returned to Taiwan in 2015, where she completed the final stage of her art creation.
 
Throughout her career, Jo focused on abstract art. The author believes that Jo’s work can be roughly divided two stages: the early “free abstract” stage and the mono-chromatic painting “blue period.” The works of the free abstract stage were characterized by dispersion, disorder and serendipity. She used pencil, water colors, acrylic, greasepaint and other mediums to combine sketch, calligraphy, daubing and oil painting, giving the surface of her paintings multiple layers. To a certain extent, her style resembled the painting behavior of US artist Cy Twombly.
 
In 1997, Jo began to move onto mono-chromatic painting. To artists, blue is the embodiment of spirt and freedom. Unlike the Yves Klein Blue famous in art history, she used two kinds or multiple shades of blue. 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.
 
The author believes that Jo was the type of artist who pursues the merger of life and art. When arranging and looking back on Taiwanese and Asia art history, her strong individual style and her creativity in the field of abstract art really stand out. Her art deserves to be carefully unearthed from an academic perspective. This solo exhibition is divided four parts, namely Abstract Freedom, Blue Belief, Who is She? and Unearthing the Context of Asian Abstract. Since it was founded in 2012, Chini has strived to unearth Taiwan’s native art history and link it to a wider Asian and global vision. It is hoped that this exhibition will made a contribution to the Taiwan and Asian contemporary art history narrative.  
 
 
 
 
 
 
 
 
謝貽娟 Jo Hsieh None-Space P51  254x77cm  2013  礦石粉末、壓克力樹脂、畫布
 
 
 
 
 
 
 
謝貽娟 Jo Hsieh None-Space S22  61x91cm  2009 混合媒材、畫布
 
 
 
 
 
 
 
謝貽娟 Jo Hsieh None-Space M13  57x76.5cm  1995  混合媒材、紙
 
 
 
 
 
 
 
謝貽娟 Jo Hsieh None-Space T1 . 55×74cm 19950620 粉彩  已裱
 
 
 
 
 
 
 
 
 
 
展位 Booth:PA-05
展覽名稱 Topic:威尼斯同步展 有無之際—李光裕
To Have and Have Not:A Simultaneous Exhibition with the Venice Biennale by LEE Kuang-Yu 
 
 
 
台灣知名雕塑家李光裕的最新創作《鬥牛》系列,目前正於2017年威尼斯雙年展「有無之際」大型個展展出,體現藝術家如何在寫實技法的基礎下,發展個人鏤空造型與片狀結構的構成美學,以一種異於西方雕塑的「空」的形式語言,透過虛與實、滿與空之間的對比,創造出極具情感張力的多重虛擬空間,傳遞深厚的東方美學境界與哲學理念。
本件作品的靈感來源自藝術家西班牙的留學經歷,海明威小說,以及畢卡索的立體主義解構美學,以讚頌個人如何在追求自由及不朽靈魂的過程中,所展現的力量、勇氣及生命力。海明威曾說,「鬥牛是唯一一種使藝術家處於死亡威脅之中的藝術」,此謂「鬥牛」象徵著人們常需面臨嚴酷的生存處境,如何在轉身的瞬間之際以優美的姿態來回應危急的當下的智慧。這是一種優雅中的狂放激起觀者生命激盪的熱情,也在激烈的衝突之中,讚頌了強烈的生命力、追求自由的勇氣以及靈魂的永生不朽。
 
Lee Kuang-Yu's latest work, the Bullfighting series is the most important piece featured in Lee Kuang-Yu's large-scale solo exhibition, To Have and Have Not, in the 2017 Venice Biennale. Bullfighting series demonstrates how the artist has employed realistic techniques to develop his sculptural aesthetics based on forms of openwork and metal-sheet structure. The artist shows a formal language of "the void" different from Western sculpture, and through contrasting the virtual and the real as well as the full and the void, creates a multi-layered virtual space informed with emotional intensity, embodying profound Oriental aesthetics and philosophical ideas. 
This series is inspired by the artist's experience of studying in Spain, his personal interpretation of Hemingway's novel, and Picasso's deconstructive aesthetics of Cubism. It praises how an individual shows power, courage, and vitality in the pursuit of freedom and immortality. Hemingway once said, "bullfighting is the only art in which the artist is in danger of death." "Bullfighting" symbolizes the severe living condition one often faces and one's wisdom exercised to cope with a critical situation at the moment of making a turn in a graceful manner. This unrestrained quality demonstrated with elegance stirs up the viewer's passion for life; and amidst intense conflicts, the work also praises the strong force of life, the courage to pursue freedom and the immortal soul.
 
 
 
 
李光裕 機智的鬥牛士(左) 格蘭納達(中) 紅色情挑(右) 2016
258x115x130cm,43x44x157cm, 213x135x88cm 銅
 
 
 
 
威德 2016 125x77x203cm Bronze
 
 
 
 
 
[展場照片]