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赤粒艺术:【在抽象之间】

赤粒艺术【在抽象之间】

赤粒艺术:【在抽象之间】 赤粒艺术:【在抽象之间】 赤粒艺术:【在抽象之间】 赤粒艺术:【在抽象之间】 赤粒艺术:【在抽象之间】 赤粒艺术:【在抽象之间】 赤粒艺术:【在抽象之间】 赤粒艺术:【在抽象之间】 赤粒艺术:【在抽象之间】 赤粒艺术:【在抽象之间】 赤粒艺术:【在抽象之间】 赤粒艺术:【在抽象之间】 赤粒艺术:【在抽象之间】 赤粒艺术:【在抽象之间】 赤粒艺术:【在抽象之间】
    展期

    日期:2019-07-13 ~ 2019-08-25

    地点

    大安路一段116巷15号

    参展艺术家

    中村一美,李凤烈,李镇雨

    赤粒艺术:【在抽象之间】 赤粒艺术

    台湾,台北市

      在抽象之间

      文贞姬Moon, Junghee(国立台南艺术大学副教授)

      艺术史上,相对立「抽象」的思潮发展,即是「具象」对「抽象」。这样的对立关係,就好比超现实主义与抽象主义、西方抽象主义与东方抽象主义之对立指称。而综观东亚抽象主义发展,我们可以回溯到1930年代,日本接受「抽象‧创造」画派思潮起,且于第二次世界大战结束后,现代艺术中登场的欧美「非定形艺术」(informel art)与抽象主义脉络上,以上这些都是我们在诠释东亚抽象绘画论述不能轻易忽略的部分。今日,我们透过诠释抽象作品,除了可以看到创作者反省当下现实问题外,创作者亦藉由作品开展出新的艺术世界。

      李凤烈(1937年生),于第二次世界大战结束后,身为韩国抽象画第一阶段的代表画家,他的艺术理念,首先是从非定形艺术出发,再走出异于其他单色画家的「单色画」(monochrome)艺术阶段。李凤烈1967年游学法国,他见证了「极简艺术」(minimal art)表现出人类个人如何随着社会结构性之变化,进而加以转变,值得注意的是,他利用韩国人生活空间中经常可见于韩屋建筑内的树木格子窗,透过这样隔窗的「格子」(grid),极简地二分出「外在」与「平面性内在」的感受空间。同时,他做为一个在韩战结束后,无法回到北韩的异乡人,藉由自身的创作,表现出浓厚纯粹的乡愁,上述这些情感表达,可清楚见于李凤烈1970年代所创作出来的作品内;而来到1980年代后,「格子」(《空间》(1987))成为指向李凤烈作品内「面的平面性」;1990年代后半叶开始,甚至迄今,格子的解体与内在的能量涌现,一直是他作品的重心;最后,来到2010年,李凤烈的画布上,透过单纯纯粹的色调,与线条流动的自然空间,共同作用(synergy)出长久时间下所凝缩的能量。

      1980年代,日本艺术中的「绘画回归」,主要以「斜行格子」绘画作为大宗,其中代表人物即是日本国内外知名的中村一美(1956年生),他观察外部世界的不确实性与灾难,从而展开自己的艺术世界。而做为一位专业画家,他从未停止努力实验着多样的艺术空间,其作品受到许多艺评人持续的关注。其中,他透过斜行系列作品,以五感感官诱导出规律的构造,最后依循画笔笔触,瓦解了斜行的形式。特别是他《存在の鸟350 A Bird in its Existence 350 (Cisticola Juncidis) 》(2019)此系列内,传达出具象与抽象间绘画起源的意象,让我们可以看到,其中飞翔的鸟就像穿梭在前世今生般,传达给人们古代文明的命运与信仰一般的存在象徵,而中村一美在绘画画面整体的笔触速度,充满着不可思议的生命力,以及跃动动力节奏的符号化,看似是对非现实世界的抽象性意象,然而,却是此抽象性意象能让我们还原、再现出最具体「真实世界」的意象。

      1980年代后半期,主张反对概念化艺术的李镇雨(1959年生),认为「作画」此一艺术动作,也是一种偏见,而他认为得抛弃「作画」(动作),才有可能产生新的艺术形式。因此,李镇雨实验性地利用韩纸自身的物质性,试图创作出收纳「时间」的造型画。换句话说,李镇雨巧妙地运用韩纸的纤维质组织特性,堆叠出多层韩纸,随着时间流逝,任凭多层韩纸吸收颜料色彩。在此次展览中的《无题》(2019)系列的作品中,我们可以看到他的创作,呈现出最自然的颜色,与物理时间流逝的痕迹,藉此表现手法,李镇雨企图呈现出人身体苦痛的「自我消灭」抽象空间。易言之,他的作品是利用诸如纸、碳等物质表现现实世界,连结到肉体时间,相互堆叠出抽象空间之一定点。

      本次展览希望聚焦东亚的抽象绘画,并呈现八〇年代日本与韩国发展出不同的抽象理念、相关造型及脉络发展的对应。东亚抽象绘画碰上七〇年代的反艺术、观念艺术、日本物派和韩国单色画,而绘画的势力趋向丧失的同时,再思考「抽出」和「脱离意象」两者之间的连贯性。到八〇年代重新还原绘画本质,并且启发反思「现代主义」来发展。

      Between Abstraction

      Moon, Junghee (Associate Professor, Tainan National University of the Arts)

      In the art history, the trend of “abstraction” has been evolving as a contrast to “figuration.” The same oppositional relationship also exists between Surrealism and Abstractionism, between Western Abstractionism and Eastern Abstractionism. The development of East Asian Abstractionism could be traced back to the 1930s, when Japan accepted concepts of the school of “abstraction and creation,” and to the time after WWII, when “informel art” and Abstractionism emerged on both sides of the Atlantic in the context of the modern art. All these cannot be ignored in interpreting East Asian abstract painting. Interpretations of the abstract works shed light on how the artists ponder the real-world issues, and attempt to create a new artistic world.

      Lee Bongreal (1937- ) is one of the representative painters in the first phase of Korean abstract painting in the wake of WWII. His artistic philosophy takes root in the informel art before taking a “monochrome” turn that distinguishes him from all other monochrome painters. In 1967, when pursuing studies in France, Lee Bongreal witnessed how an individual transformed with the changing social structure in “minimal art.” He adopted the image of grid wooden windows commonly seen at traditional Korean houses in the living space of Korea. With the “grids” of the interior windows, he minimally drew a dichotomy between the outer space and planar one of inner feelings. After the Korean War, as a stranger from North Korea to which he could never return, he expressed deep nostalgia for his homeland via artistic creations. Lee Bongreal’s works during the 1970s were thus filled to the brim with nostalgic emotions. In the 1980s, he underscored the planarity of the two-dimensional with the “grids” (Space, 1987). Since the second half of the 1990s, he has been dedicated to deconstructing the grids with the full force of his inner energy through his works. Ultimately in 2010, his canvas abounds with energy condensed from synergy of simple, pure color tones, and a natural space of fluid lines over a long period of time.
      In the 1980s, there was a “comeback of painting” in the world of Japanese art marked by “oblique grid” paintings. Kazumi Nakamura (1956- ), renowned at home and abroad, is then one of the most representative artists in the field. He crafted an artistic world from his observation of the uncertainties and disasters in the outer world. As an assiduous painter, he continues experimenting with a miscellany of artistic spaces, and his works have received significant attention from art critics. The oblique series, for example, renders regular structures from the five senses, ultimately breaking the oblique form with each brushstroke. The A Bird in its Existence 350 (Cisticola Juncidis) (2019) series conveys the imagery in between figuration and abstraction that breathe life into painting. The flying bird, as if traveling through time and space, tells of the destiny of ancient civilizations and religion-like existence. Nakamura deftly applies brushstrokes with such a speed that displays an astonishing vitality. The symbols of dynamic rhythms seem to capture an unreal world with abstract imagery, which however allows us to restore and represent the most figurative imagery (of the real world).

      In the second half of the 1980s, Lee Jin Woo (1959- ), an opponent of conceptualized art, maintained that the artistic act of painting was a form of prejudice in itself, and that only by discarding “painting” (as an act) could one create a new artistic form. Therefore, Lee Jin Woo has been experimenting with the physicality of traditional Korean paper to collect forms of “time” in his paintings. In other words, he ingeniously takes advantage of its fiber texture by building up layers of the paper, which absorbs pigment with the passage of time. The Untitled (2019) series provides a glimpse into how he seamlessly brings out colors in their intrinsic nature and traces of the passing physical time. With this method of expression, he endeavors to shape an abstract space where the human being attempts to “obliterate the self” under physical pain. Through repetitive superimposition, he connects the physical, real world constructed from paper and charcoal with the physical time until a certain point in the abstract space comes into sight.

      The exhibition seeks to explore the East Asian abstract painting, and present a wide diversity of abstract ideas, and formal and contextual evolutions in Japan and Korea during the 1980s. It also examines how the abstract painting in East Asia collided with the anti-art, conceptual art, Japanese Mono-ha, and the Korean monochrome painting in the 1970s. As painting appeared to be losing its power, there was a rethinking of the coherence between “extraction” and “breakaway from imagery.” The 1980s saw a restoration of the essence of painting, which inspired reflection on “modernism.”


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