【 ART TAIPEI 2016 台北國際藝術博覽會】

經典畫廊展位 Gallery Booth   D5

藝術家  徐冰Xu Bing、霍剛 Ho Kan、李光裕 Lee Kuang-Yu

策展人  楊心一博士 Dr. Yang Shin-Yi

 

影像之聲展位 Voice of Image Booth   V3

藝術家  周慶輝 Chou Ching-Hui

 


展覽時間Exhibition Period           2016.11.12-2016.11.15

開放時間Public Opening             11/12至11/14為11: 00 - 19 : 00 ( 11/15為11 : 00-18 : 00 )

展覽地點Venue                             台北世界貿易中心一館Taipei World Trade Center Exhibition Hall 1

 
 
 
 
[ 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: D5
展覽主題:「東方空境」
展出藝術家:徐冰、霍剛、李光裕
策展人: 楊心一博士
 
 
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.
 
 
 
 
[ 藝術家介紹 ]
About the Artists
 
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。
 
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.
 
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。
 
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.
 
 
 
[ 作品介紹 ]
About the Artwork
 
 
徐冰
Xu Bing
 
 
徐冰 石徑《李白客中行》尺寸依場地而定 新英文書法、鵝卵石 2008
 
 
徐冰 石徑《李白客中行》尺寸依場地而定 新英文書法、鵝卵石 2008
 
 
霍剛
Ho Kan
 
 
霍剛 抽象2015-081 45.5x53cm 油彩、畫布 2015
 
 
霍剛 抽象2015-070 31.5x41cm 油彩、畫布 2015
 
 
李光裕
Lee Kuang-Yu
 
 
李光裕 風影 銅 55x60x100cm 2016
 
 
 
 
李光裕 順風耳  銅55x56x121cm 2015