當期展覽

不均的平面:1957-1983 面向國際的臺灣版畫

展覽主視覺
展覽主視覺
李錫奇《作品之二》,1964
李錫奇《作品之二》,1964
楊英風《豐年》,1951
楊英風《豐年》,1951

名稱 不均的平面:1957-1983 面向國際的臺灣版畫

類型 展覽 類型檢索

時間 2020/09/10 10:00 ~ 2020/12/13 18:00 時間檢索

地點 2館3樓展覽室M、2館3樓展覽室N 地點檢索

  •   如果我們將西方視為「進步」的象徵,而西方政治與資本主義的經濟發展或可比喻通往「進步」的列車引擎,隨著時代推移,其他國家與地方也逐漸搭上了這班通往進步之路的列車,趕上文明的巔峰。換句話說,受到歐美強大的國力的影響,所謂的「文化標準」也轉變為以西方價值觀馬首是瞻的評斷方式與價值品味。在此觀察下,展覽命題「不均的平面」可用來指涉發生在地表平面上(ground horizon)國家之間其不均的文化資本發展。大體而言,在1950年代至1980年代的國際情勢下,「不均的平面」在諸多方面影響了臺灣藝術家創作的過程與藝術發展的結果。今日,在我們可以仍可清楚感受到資本主義與全球化的正反面影響,而這班「進步列車」的終點尚處未明之時,本展希望透過梳理歷史與反思身處現代性與全球化的暗流,找尋新的可能。

      回顧第二次世界大戰後臺灣的藝文展覽時間軸,版印媒材輕便、複數,並能在社會中快速流動傳播的特質,使其跨越有形與無形疆界,在網際網路與航空通運尚未完全普及的通訊黎明期,開啟臺灣面向世界的櫥窗,成為臺灣接觸西方藝術的第一手媒介、也扮演了文化全球化的先鋒角色。本展由「版畫」單一媒材的方式切入,源於對時代背景的反射,以及版畫獨特的肉身性-即作品製程中付出的高度勞動。另一方面,若以藝術創作的角度切入,展題亦可指典型版印媒材創作的平面(surface),當藝術家在選定版面上完成構思,以各種技法製造凹凸段差、抑或是不連續的平面,正為版畫創作時不可或缺的環節。
      本展嘗試將14位臺灣藝術家的版畫作品,透過研究探索其潛藏的的歷史與線索,輔以影像與檔案,探索戰後的三個十年間,創作者與時局共處、對峙的當下,對國際的感知與回應。此外,此次也將藉由曾在1975年於臺灣展示過的數件畢卡索版畫原作,以及本館為未來展覽前期研究所購置1964年出版的克林姆版印速寫複製畫冊,做為展覽的外部文件與對照之註腳,企圖藉由版畫對歷史狀態的微縮,使觀者能以視覺切入的回顧路徑進行探索,展開更為深刻的思考與對話。

     


    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.

  • 藝術家


    方向
    江漢東
    吳昊
    李國初
    李錫奇
    林雪卿
    秦松
    許漢超
    陳庭詩
    楊英風
    董振平
    廖修平
    謝里法
    鐘有輝

    巴勃羅.畢卡索

     

    Artists


    Hsiang Fang
    Han-Tong Chiang
    Hao Wu
    Kuo-Chu Lee
    Shi-Chi Lee
    Hsueh-Ching Lin
    Song Chin
    Hon-Chew Hee
    Ting-Shih Chen
    Yuyu Yang
    Chen-Ping Dawn
    Shiou-Ping Liao
    Li-Fa Shaih
    You-Hui Chung

    Pablo Picasso

    (按筆畫排列listed in the order of the number of strokes