名稱 不均的平面：1957-1983 面向國際的臺灣版畫
時間 2020/09/10 10:00 ~ 2020/12/13 18:00
If the West is regarded as a symbol of "progress," and the economic development of Western politics and capitalism can be compared to the train engine leading to "progress", as the times go by, other countries and places have gradually caught up with this communication- the train along the road of the climax of civilization. In other words, under the influence of the strong national strength from the Occident, the "cultural standards" for which they acted have also changed into a judging method and value taste based on Western values. Under this observation, the exhibition’s title "Uneven Horizons," reference the uneven geographical development of geography and cultural assets among territories in the ground horizon. Indeed, under the international situation from the 1950s to the 1980s, the " Uneven Horizons " has affected the progression of artistic creation in many ways.
Looking back at the timeline of post–World War II art and cultural exhibitions in Taiwan, the attributes of printmaking materials—they were lightweight and varied, and they spread rapidly acrosssociety—have allowed these materials to cross the tangible and intangible boundaries and open a window for Taiwan to face the world. Printmaking became the first-hand medium for Taiwan to connect with Western art at the dawn of communication, when the Internet and air travel were not widespread; printmaking, then, played a pioneering role in cultural globalization.
The exhibition’s entry point is through the path of single media, derived from the response to the background of the times and the unique physical nature of printmaking – that is, the labor-intensive quality of the production process. On the other hand, if we look at the exhibition from the angle of artistic creation, the title also denotes the surface created with typical printmaking materials. This is an indispensable link to the process of print creation: artists complete their ideas on chosen plates, creating a discontinuous and uneven surface.
The exhibition attempts to find new possibilities by sorting through history and reflecting on the undercurrents of modernity and globalization; while the pros and cons of capitalism and globalization could be felt clearly until nowadays, and the eventuality of “train to progress” remaining unknown.
This exhibition attempts to use the hidden history and clews retained in the prints created by the 14 Taiwanese artists, supplementing these hints with historical images and archive materials, to explore the moments when creators coexisted with or confronted the political situation during the three decades after the war. Moreover, the exhibition reveals the artists’ perception and response to the world. In addition, a number of Picasso’s original prints that had been exhibited in Taiwan in 1975, as well as the portfolio of lithographs of life sketches by Klimt (1964) purchased by the Museum for preliminary research into future exhibitions, will also be displayed as external parts of the exhibition and as footnotes for cross-reference.
This exhibition attempts to miniaturize the historical status through printmaking, allowing viewers to explore visually through a retrospective path and develop deeper thinking and dialogue.
（按筆畫排列listed in the order of the number of strokes ）