采泥艺术:【2018 ART TAIPEI】台北国际艺术博

2020-05-29
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采泥艺术【2018ART TAIPEI】台北国际艺术博览会

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采泥艺术:【2018  ART TAIPEI】台北国际艺术博

霍刚, 抽象2010-053, 150x100 cm, 油彩、画布, 2010

采泥艺术:【2018  ART TAIPEI】台北国际艺术博

霍刚, 抽象2018-001, 72.5x91cm(x4), 油彩、画布, 2018

采泥艺术:【2018  ART TAIPEI】台北国际艺术博

霍刚, 抽象2017-041, 100x100cm, 油彩、画布, 2017

采泥艺术:【2018  ART TAIPEI】台北国际艺术博

庄普, 新境主义, 铅笔、压克力、纸、画布、铝製品, 130x194x5cm, 2018

采泥艺术:【2018  ART TAIPEI】台北国际艺术博

庄普, 地景化, 纸、画布、铝製品, 97x130cm, 2016

采泥艺术:【2018  ART TAIPEI】台北国际艺术博

Jo Hsieh, None-Space P1, 120x120cm, 矿石粉末、压克力树脂、画布, 2002

采泥艺术:【2018  ART TAIPEI】台北国际艺术博

Jo Hsieh, None-Space S36, 29.5×42cm, 2000, 混合媒材

采泥艺术:【2018  ART TAIPEI】台北国际艺术博

吾妻兼治郎(Azuma Kenjiro), MU-786, 32.5x47.5x31cm, 铜, 1978

采泥艺术:【2018  ART TAIPEI】台北国际艺术博

刘柏村, 八方维度之金刚造像, 铁、马达、Led变色, 300x300x400 cm, 2018

采泥艺术:【2018  ART TAIPEI】台北国际艺术博
    展期

    日期:2018-10-25 ~ 2018-10-29

    地点

    台北世界贸易中心 展览一馆

    采泥艺术:【2018  ART TAIPEI】台北国际艺术博采泥艺术

    台湾,台北市

      2018 台北国际艺术博览会 ART TAIPEI
      展位:J01
      低限.冷抽—霍刚、庄普、谢贻娟、吾妻兼治郎 (Kenjiro Azuma)联展
      公共艺术:PA-D
      刘柏村 -八方维度之金刚造像

      2018 ART TAIPEI
      “Minimalism · Cold Abstraction” — Joint Exhibition of Ho Kan, Tsong Pu, Jo Hsieh and Kenjiro Azuma
      Booth:J01
      LIU Po-Chun —Vajras of the Eight-dimensional Space
      Public Art:PA-D

      SVIP:
      10.25|12pm-3pm

      VIP :
      10.25|3pm-9pm
      10.26|11am-2pm

      Date :
      10.26|2pm-7pm
      10.27|11am-7pm
      10.28|11am-7pm
      10.29|11am-6pm

      Venue :
      台北世界贸易中心 展览一馆|Taipei World Trade Center Exhibition Hall 1

      [ 低限.冷抽—霍刚、庄普、谢贻娟、吾妻兼治郎 (Kenjiro Azuma)联展 ]
      采泥展位:J01

      论及抽象艺术在台湾形成的风潮,学者均认同以1957年「五月」与「东方」两画会带动的「现代绘画运动」为起点;而至迟在1962年,东方画会自欧洲引进的「庞图国际艺术运动」,标举所谓「静观」、「禅思」的东方哲学,类似低限、几何的「冷抽」创作,也在台湾扎下根基,霍刚(1932-)正是其中最具代表性的典範。80年代后,由林寿宇带领新生代创作者在空间上、材质上进行低限主义的美学实验,开启台湾极简抽象艺术的风潮。

      今年,采泥艺术以「低限、冷抽」为主题,展出霍刚、庄普、谢贻娟以及吾妻兼治郎(Kenjiro Azuma)等艺术家的抽象作品,试图对于极简抽象艺术进行深度的探勘了解。霍刚,为「东方画会」创始会员的「八大响马」之一。1964年,定居义大利米兰,开始专注于绘画本质的探究,从绘画基本元素:点、线、面与色块,从中发展合乎艺术家体质的抽象表现。庄普,留学西班牙,其绘画以方印为基本单元,在立体派或几何硬边的构图方式中,呈现意念的运动和自律性。谢贻娟,其创作乃结合东方禅学、西方哲学,以及人类心理与心灵的一种产物,企及观者内心深处的杰出创作。另外,本次特别展出着名的日本雕塑家吾妻兼治郎(Kenjiro Azuma)的雕塑作品,为庞图运动的代表人物,其雕塑作品以简约且精炼的造型着称,作品表面错落的孔洞犹如现代人内心栖息的角落,传递饶富禅学的隽永深意与内涵。

      “Minimalism · Cold Abstraction” — Joint Exhibition of Ho Kan, Tsong Pu, Jo Hsieh and Kenjiro Azuma
      Booth : J01

      The wave of abstract art surged in Taiwan with the Modern Painting Movement advocated by the Fifth Moon Art Group and the Ton Fan Art Group in 1957. And around 1962, the Ton Fan Art Group also introduced the PUNTO International Art Movement to Taiwan. This movement put its emphasis on Eastern philosophical aspects presenting creations with minimal and geometric elements, which can be seen as Cold Abstract. An example representative of this artistic wave would be Ho Kan (1932-). Later, in the 80s, led by Richard Lin, Taiwanese artists started to carry out a series of aesthetic experiments in Cold Abstract using different aspects of space and materials, opening a new chapter of minimal abstract art in Taiwan.

      This year, Chini Gallery will exhibit the works of Ho Kong, Tsong Pu, Jo Hsieh and Kenjiro Azuma at ART TAIPEI 2018 on the theme of “Minimalism · Cold Abstraction.” Ho Kan is one of the original “Eight Great Outlaws” of the Tong Fang Art Group. His abstraction is executed in a subtractive manner, simple yet highly poetic. Tsong Pu, who has studied abroad in Spain, uses the stamp as a basic unit of his style, resembling the compositions of Cubism and Pointillism to convey a sense of conscious movement and autonomy. Jo Hsieh’s outstanding works for attempting to combine Eastern Zen and Western philosophy with the human psychology and mind, to create work that can gaze deeply into the soul. In addition, sculpture works of Japanese sculptor, Kenjiro Azuma, famous for his minimalistic yet articulated style, will also be presented in this exhibition. His work resembles the hidden corners in the heart of modern people, conveying the context and connotation of Zen philosophy.

      [ 刘柏村-八方维度之金刚造像 ]
      公共艺术展位:PA-D

      在数学中, 一个 n 实数的序列可以被理解为 n 维空间中的一个位置。当 n 等于八时,所有这样的位置的集合被称为 「八维空间」。 通常这种空间被研究为一个向量空间,而没有任何距离的概念。简易的说它是一个几何结构凝聚的能量场域。「八方维度之金刚造像」即援用八维空间的概念,运用雷射切割的手法,设定 20~80cm 之各尺寸大小不一的金刚造形元素,拼接构成一座八面体的钢铁围墙,并于这结构体各面保留一人形空间,以供观众进入。上方安置每分钟一转之马达与 led 变色投射灯。作品运用重複的表现,但尺寸不同、肢体各异的金刚形象以多点并存所构成的面,进而拼接围成的八面结构体,如此的多面向维度空间,象徵如同宇宙中的八面维度。作品表现当今工业时代的面貌,意指在时间流变的未来过程中,事物价值的存有、变动与消逝,具体显示一种生命不安的内在情愫。

      LIU Po-Chun —Vajras of the Eight-dimensional Space
      Public Art Booth:PA-D

      In mathematics, a sequence of n real numbers can be understood as a location in n-dimensional space. When n equals 8, the set of all such locations is called eight-dimensional space. Such spaces are often studied as vector spaces, without any notion of distance. In a way, the term may refer to an energy field created with geometric structures. Vajras of the Eight-dimensional Space adopts the concept of eight-dimensional space and uses laser cutting technology to produce vajras in various sizes ranging from 20 cm to 80 cm. These vajras are then joined together to build an eight-faceted steel tower with each facet presenting a figural form that serves as both an entrance and an exit. The tower ceiling is installed with a motor of one revolution per minute and color-changing LED projection light. Using the expression of repetition and the elements of vajras in different sizes and gestures, the work reveals facets that encompass multiple points and form an eight-faceted structure. The multi-faceted space symbolizes the eight-dimensional space in the cosmos. Depicting contemporary industrial reality, the work beckons at the existence, change and disappearance of the values and things throughout the process of flowing time, embodying the feeling of restlessness in life.

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