采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

2020-05-29
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采泥艺术【2017威尼斯双年展│圣马利诺国家馆│《有无之际─李光裕大型个展》】

机智的斗牛士Tactful Matador (L)、格兰纳逹Grenada (M)、红色情挑Red Passion (R)

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

威德Majesty 125*77*203cm.Bronze,2016

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

LEE Kuang-Yu稻田 Field 2016 120x107x70cm Bronze

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

圣国官方代表Mr.Rondelli

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

展览顾问暨学术主持杨心一博士

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

探春 Visiting Spring 156x127x240cm,Bronze,2015

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

一线天 Skein of Heaven 150x100x310cm,Bronze,2016

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

随欲宝牛 Unrestrained Ox 74x38x41cm,Bronze,2017

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

胸像 Woman's Bust 56x46x70cm,Bronze,2016

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

风影Shadow of Wind 67x62x94cm,Bronze,2016

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

千里眼 Clairvoyance 64x45x112cm,Bronze,2016

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

顺风耳Clairaudient 55x56x121cm,Bronze,2016

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

山人Hermit 68x48x147cm,Bronze,2016

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

在水一方Across the water 44x34x86cm,Bronze,2013

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

秋藕Autumn Lotus 54.5x57.5x89cm,Bronze,2010

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

捉风Catching the Wind 44x27.5x29cm,Bronze,2013

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

盈瓮Filled Vessel 35x37x62.5cm,Bronze,2013

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

小女孩Little Girl 31x15.5x51cm,Bronze,2016

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

阅读大地Reading the earth 53x24x38cm,Bronze,2009

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

书伴The Book Lover 40x17x47cm,Bronze,2013

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

嬝吟A Dlicate Breath 22x31x29cm,Bronze,2013

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

思Thinking 96.5x55x88cm,Bronze,2016

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

57th威尼斯双年展│「有无之际─李光裕大型个展」│台北同步展

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

57th威尼斯双年展│「有无之际─李光裕大型个展」│台北同步展

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

57th威尼斯双年展│「有无之际─李光裕大型个展」│台北同步展

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

57th威尼斯双年展│「有无之际─李光裕大型个展」│台北同步展

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

57th威尼斯双年展│「有无之际─李光裕大型个展」│台北同步展

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

57th威尼斯双年展│「有无之际─李光裕大型个展」│台北同步展

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

57th威尼斯双年展│「有无之际─李光裕大型个展」│台北同步展

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

57th威尼斯双年展│展场实况

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

57th威尼斯双年展│展场实况

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

57th威尼斯双年展│展场实况

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

57th威尼斯双年展│展场实况

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

57th威尼斯双年展│展场实况

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际

57th威尼斯双年展│展场实况

采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际
    展期

    日期:2017-05-11 ~ 2017-11-26

    地点

    威尼斯“海明威故居”罗塔·伊万柯宫邸 (Palazzo Rota Ivancich) 与户外广场

    参展艺术家

    李光裕

    采泥艺术:【2017威尼斯双年展│圣马利诺国家馆│《有无之际采泥艺术

    台湾,台北市

      2017年第57届威尼斯双年展
      李光裕受邀 圣马利诺国家馆大型个展
      《有无之际:李光裕大型个展》To Have and Have Not:The Solo exhibition of Lee Kuang-Yu

      第57届威尼斯双年展《有无之际─李光裕大型个展》台湾同步展
      The simultaneous Exhibition with the Venice Biennale of LEE Kuang-Yu
      【采泥艺术】
      日期:04.29-06.11
      10:30-19:00(*周一休馆)
      地点:采泥艺术│台北市大直敬业一路128巷48号1F
      开幕:05.06(六) 14:00
      艺术家分享会:06.03(六) 14:00

      【耘非凡美术馆】
      日期:07.15-09.30
      10:0-18:00(*周一休馆)
      地点:耘非凡美术馆│台南市东区林森路一段370号
      开幕:07.15(六) 14:00

      2017李光裕纪录片「有无之际To Have and Have Not」
      ,圣马利诺国家文化管理局局长、威尼斯双年展圣马利诺国家馆政府主管Paolo Rondelli先生飞抵台北,宣布邀请台湾艺术家李光裕参加第57届威尼斯双年展圣马利诺国家馆,在主展馆展出《有无之际:李光裕特别计划》大型个展,并在台北举办了学术讨论会暨媒体发布会。这是圣马利诺国家馆首次以官方身份邀请台湾艺术家代表圣国参加威尼斯双年展。Paolo Rondelli先生表示,邀请外国艺术家参展,可使不同国家通过艺术联繫起来,显示出艺术突破国界的一种努力。

      本展览由圣马利诺国家馆策展人Vincenzo Sanfo先生特别策划,由国际策展人杨心一博士担任学术主持。展览位于圣马可广场步行10分钟,以 “海明威故居”闻名的威尼斯贵族官邸罗塔·伊万柯宫的两层建筑内,以及威尼斯户外广场,将呈献包括李光裕特别为此次展览创作的雕塑《斗牛系列》,以及其他时期经典代表作、纪录片、艺术家档案室、户外作品在内的约30余件作品。不仅对李光裕的雕塑艺术进行全面讨论与梳理,更以艺术家个体生命经历,立足多元文化的台湾,透过东方美学的语言形式,表达对本届威尼斯双年展主题“艺术万岁”(Viva Arte Viva)的回应。

      “有无之际”( To Have and Have Not)取自诺贝尔文学奖美国作家海明威的小说标题。本展览结合“海明威故居”的特定场域,以“场景再现”的特殊方式布展,保留展场原有的生活痕迹,与放置其中的雕塑产生互动,有别于美术馆的“白盒子”,形成历史空间与当代空间的折叠,赋予展览更多历史与文化层面的意涵。当今世界的政治经济局面又开始变得充满不确定性,在这一时刻,致敬海明威具有现实意义,艺术家意图借其作品,从人文主义视角勾勒并观照我们时代的精神世界。

      “有无之际”亦是李光裕雕塑美学的归纳。作为台湾艺术史上第二代雕塑家的杰出代表,李光裕在台湾艺术界成名甚早,但对其艺术的理解却受限于早期作品的刻板印象。本次展览从国际视野重新审视李光裕的艺术,凸显李光裕作品极具特色的「空」的语言与表现形式。李光裕的作品从雕塑概念和雕塑语言层面出发,成功表达出一种异于西方雕塑的「空」的形式语言及美学境界,不仅创造了新的空间感,也揭示出世界是正反两面相辅相成的辩证法则,充满东方哲学上的意义与当代的社会价值。在这个国际化平台上,李光裕将对东方文化的理解注入艺术作品,承载传统文化的当代价值,表达在文化、宗教及思考方式上的差异,更凸显其可贵性。

      采泥艺术自2012年开始持续推动李光裕的艺术发展,本次李光裕受邀参加威尼斯双年展,既是从学术层面高度肯定其艺术成就,亦将推动其艺术迈向一个新的里程碑。

      2017年第57届威尼斯双年展
      李光裕受邀 圣马利诺国家馆大型个展
      《有无之际:李光裕大型个展》To Have and Have Not:The Solo exhibition of Lee Kuang-Yu

      展览日期:至11月26日
      开幕酒会:5月11日11:00
      展览地点:威尼斯“海明威故居”罗塔·伊万柯宫邸 (Palazzo Rota Ivancich) 与户外广场
      (位于威尼斯市中心,距离圣马可广场步行10分钟路程)

      **************************************
      On March 18, 2017, Mr. Paolo Rondelli, Director General of San Marino's Cultural Institutes and Director of San Marino Pavilion in the Venice Biennale, arrived in Taipei and announced that Lee Kuang-Yu has been invited to hold a large-scale solo exhibition, To Have and Have Not: A Special Project of Lee Kuang-Yu, at the San Marino Pavilion in the 57th Venice Biennale. An academic seminar and a press conference were also held in concurrence with this announcement. The exhibition will mark the first time that the San Marino Pavilion officially invites a Taiwanese artist to represent the Republic of San Marino to participate in the Venice Biennale. According to Mr. Rondelli, inviting foreign artists to participate in the Biennale facilitates the connection between different countries, showing the force of art that transcends national boundaries.

      This exhibition is curated by Mr. Vincenzo Sanfo, curator of the San Marino Pavilion, with Dr. Yang Shin-Yi as the academic chair. The exhibition takes place at the two-story Palazzo Rota Ivancich known as "the former residence of Hemingway" and an outdoor plaza in Venice, and showcases about thirty sculptures, including the Bullfight series, which is specifically created for this exhibition, as well as the artist's masterpieces from different periods, documentaries, the artist's archive, and other outdoor sculptures. Therefore, the exhibition is not only a comprehensive investigation into and presentation of Lee's sculptural art, it is also his response to the theme of this year's Biennale, "Viva Arte Viva," a statement that integrates the artist's personal life experience, the diverse culture of Taiwan, and the expressive language of the Eastern aesthetics.

      The exhibition takes its title, To Have and Have Not, from the American Nobel laureate Ernest Hemingway's novel. Combining the specific site of Hemingway's former residence, the exhibition is designed to "represent the past scenes" by retaining the traces of life in the venue and creating interaction between the space and the sculptures. Unlike the white box space of museums, the exhibition interlaces the historic space and the contemporary space so that it becomes enriched with historic and cultural significance. As today's global political and economic situations become more uncertain, the exhibition's timely tribute to Hemingway carries practical implication—it conveys how the artist aims to portray the inner world of our time from a humanistic perspective through his works.

      To Have and Not Have also revisits Lee's sculptural aesthetics from a comprehensive perspective. Being a representative sculptor among the second-generation sculptors in Taiwanese art history, Lee achieved fame in the art circle in Taiwan at an early stage. However, the general public's understanding of his art is stereotyped and limited to his early work. This exhibition re-examines Lee's art from an international perspective and foregrounds his distinctive language of the "void" and his expressive form. His work begins with sculptural concept and language, and successfully develops the formal language of the "void" and the aesthetic concept different from the Western sculpture. Lee's sculpture not only creates a fresh sense of space but also unveils the dialectic existence of this world that is characterized by a mutually complementing duality. Therefore, Lee's work is informed with Eastern philosophical connotation and contemporary social value. On this international platform, the artist infuses his understanding of the Eastern culture into his artworks, which embody the contemporary implication of traditional culture, express the differences in culture, religion, and thinking, and highlight the preciousness of his work.

      Chini Gallery has been promoting the artistic development of Lee Kuang-Yu since 2012, the artist's invitational exhibition in the Venice Biennale is not only a tremendous validation for his artistic achievement, but also marks a brand new milestone of his art.

      Date:5.11-11.26,2017
      Venue: Palazzo Rota Ivancich (known as "the former residence of Hemingway") and an outdoor plaza in Venice

      ------------------------------------
      艺术家:
      李光裕 LEE Kuang-Yu

      1954年生于台湾,70年代中期在台湾完成学院雕塑训练后,负笈西班牙圣费南度皇家艺术学院及国立马德里大学美术学院研习西方雕塑技法与理论,师承着名雕塑家托雷多。学成归国后任教于台北艺术大学、台湾艺术大学,直至2006年退休,创作至今。在台湾雕塑史的发展中,李光裕的雕塑创作跨越文化、历史的向度,是标示东方文化与西方现代主义交融的文化座标,集台湾在地的文化底蕴与国际多元文化之大成,形塑出极富个人特色的雕塑美学风格。他的创作在雕塑语言的基底层面,以「镂空」等标誌性技法打开雕塑的封闭结构,形成独特的「空」的形式、风格与观念,呈现出一种物我两忘的「东方空境」,不仅具有美学价值,亦蕴含对当下生命状态的思考,具有当代的社会意义。曾受邀于纽约、威尼斯、西班牙、奥地利、日本、新加坡等全球多地举行展览。台湾三大美术馆包括台北市立美术馆、国立台湾美术馆及高雄市立美术馆典藏其多件作品。台大医院捷运站、市民大道及高雄大学亦可见其多件大型公共艺术作品。

      LEEKuang-Yu was born in Taiwan in 1954. After receiving an academic education of sculpture in Taiwan in the 1970s, he continued his study in Real Academia de Bellas Artes de San Fernando and Universidad Complutense de Madrid, Spain, where he studied Western sculptural technique and theory with the renowned sculptor, Francisco Toledo Sanchez. After completing his study, he returned to Taiwan and began teaching at Taipei National University of the Arts and National Taiwan University of Arts until his retirement in 2006. In the history of Taiwanese sculpture, LEE's work has spanned the cultural and historical dimensions and become a unique cultural presence that marks the unification of Eastern culture and Western modernism. His work successfully combines the rich Taiwanese culture and international diverseness, creating an individualistic sculptural aesthetics and style. With his signature sculptural vocabulary of "openwork," he opens the enclosed sculptural structure and creates the distinctive form, style, and concept of the "void" while demonstrating a state of "Eastern emptiness" that embodies the unity of the self and object. Therefore, his work is not only aesthetically appealing, but also conveys his contemplation on the present state of life and is informed with contemporary social implication. LEE has been invited for exhibitions in New York, Venice, Spain, Austria, Japan, Singapore, etc. The three major museums in Taiwan, Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, and Kaohsiung Museum of Fine Arts, have collected multiple works by LEE. His largescale public artworks can also be seen in NTU Hospital MRT Station, Civic Boulevard, and National University of Kaohsiung.
      --------------------------------

      圣马利诺国家馆官方负责主管:
      Mr. Paolo RONDELLI

      威尼斯双年展圣马利诺国家馆政府代表,现任圣马利诺驻联合国教科文组织常驻大使,圣马利诺国家文化管理局局长,负责圣马利诺的美术馆、档案馆、图书馆、表演艺术等。2007年至2016年曾任圣马利诺驻美国大使。

      Director of San Marino Pavilion:
      Mr. Paolo RONDELLI

      Paolo RONDELLI is the official representative of the San Marino Pavilion in the Venice Biennale, and the Ambassador-Permanent Representative of San Marino to UNESCO. He is also Director General of San Marino's Cultural Institutes that manages the State Museum, the National Archives, the National Library, and the Performing Arts. From 2007 to 2016, RONDELLI served as San Marino's Ambassador to the United States.
      ----------------------------------

      威尼斯双年展圣马利诺国家馆策展人:
      Mr. Vincenzo SANFO

      2017年第57届威尼斯艺术双年展圣马利诺国家馆策展人,义大利文化艺术中心(杜林,罗马)的创始人与主席,与大型国际艺术机构如格拉西宫(Palazzo Grassi)、马德里的索菲亚艺术中心(Centro de Arte Reina Sofia )等多有合作,自1988年开始与威尼斯艺术双年展及威尼斯电影节合作。曾任Fabbri-Rizzoli's出版集团主编,出版过超过300本艺术书籍。

      Curator of San Marino Pavilion:
      Mr. Vincenzo SANFO

      Vincenzo SANFO is the curator of San Marino Pavilion in the 57th Venice Biennale. He is the founder and president of the Cultural Center of Italy (Turin and Rome), and has collaborated with large international art institutions, such as Palazzo Grassi and Centro de Arte Reina Sofia. Since 1988, he has been collaborating with the Venice Biennale and Venice Film Festival. He was Chief Editor of Fabbri-Rizzoli's, which has published more than 300 art books.
      -------------------------------------

      学术主持暨展览顾问:
      杨心一博士Dr. Shin-Yi YANG

      国际策展人,李光裕特别计画学术主持暨展览顾问,美国康乃尔大学艺术史博士,康乃尔大学新媒体艺术档案馆顾问,Discovery Channel艺术类节目Chineseness联合製作人。曾任职于纽约MoMA、古根汉美术馆。曾主要策划徐冰“背后的故事研究展(以富春山居图为例)”(中间美术馆,北京,2014)、“徐冰与孩子们木林森计划”(国立历史博物馆,台北,2014年)、“徐冰:桃花源的理想一定要实现”(维多利亚和阿尔伯特博物馆,伦敦,2013年)、“放大——第55届威尼斯双年展平行展”(莫拉卡纳雷乔宫,威尼斯,2013年)、 “阿弥陀佛”张洹个展(台北当代艺术馆,台北,2010年)等。

      Academic Chair and Exhibition Consultant: Dr. Shin-Yi YANG

      Dr. Shin-Yi YANGis an international curator and the academic chair and exhibition consultant of this special project of Kuang-Yu LEE. YANG holds a PhD in Art History, Cornell University, and is the consultant to the university's archive of new media art. He is also the co-producer Chineseness, an art program on the Discovery Channel, and has worked in MoMA and The Solomon R. Guggenheim Museum. He has curated many exhibitions, among which are Research Exhibition on Xu Bing's Background Story: Dwelling in Fuchun Mountains (Inside-Out Art Museum, Beijing, 2014), Xu Bing and Children's Forest Project (National Museum of History, Taipei, 2014), Utopian Village: Sketches, Calligraphy and Paintings by Xu Bing (Victoria and Albert Museum, London, 2013),Ingrandimento: A Parallel Exhibition of the 55th Venice Biennial (Palazzo More Cannaregio, Venice, 2013), and Amituofo: A Solo Exhibition by Zhang Huan (The Museum of Contemporary Art, Taipei, 2010).

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