展覽回顧Past Exhibitions

「低鳴的山水:再進入繪畫」The Subtle Resonance of Shanshui: Re-immersing in Painting

低鳴的山水:再進入繪畫  展覽主視覺
低鳴的山水:再進入繪畫 展覽主視覺

名稱 「低鳴的山水:再進入繪畫」The Subtle Resonance of Shanshui: Re-immersing in Painting

類型 展覽 類型檢索

時間 2023/05/02 10:00 ~ 2023/08/27 18:00 時間檢索

地點 2館3樓展覽室K、2館3樓展覽室L、2館3樓展覽室M 地點檢索

  • 「低鳴的山水:再進入繪畫」 展覽介紹

     

    是否有一種繪畫可以接近巴哈(Johann Sebastian Bach)的無伴奏組曲(unaccompanied suites),一個人、一個聲部、不需伴奏,在同一個旋律蘊含著各聲部與和聲,創造精彩的對位;又或是比擬賦格:那些生活中在意的情緒、思緒、感觸,在每一次創作中,雖然反覆提及卻又有變化,宛如主題與答題之間彼此追逐而產生張力?是否,能夠想像著作品彷彿散發著低鳴的聲音,相似森林裡的漆黑,神秘且無以名狀;又或是似乎發出了物體被細微摩擦的聲響,低調而凝鍊,宛若無人的夏日午後被風揚起的窗簾。是否,觀者有可能再以此感知與聯想進入繪畫?

     

    Is there any type of painting that can come near to Johan Sebastian Bach's Cello Suites, with only one unaccompanied individual, one musical voice, and one melody increasingly enriched by a range of musical voices and harmonies that demonstrate a superb mastery of counterpoint? Is there a type of painting that can be compared to the musical technique of fugue, in the sense that all the feelings, thoughts, and sentiments concerned in everyday life, though repeated in every creation, carry nuanced maneuvers and correspond to one another, like a theme and its varying responses that produce gradually escalating intensity? Could we maybe imagine works of art to be making low yet resonating sounds, like the mysterious and indescribable pitch blackness of a forest? Or, maybe these sounds are subtle friction sounds coming from an object being ever so softly rubbed against – understated and refined – like window curtains dancing gently with summer breeze in an afternoon without any people in sight. Is it possible for a spectator to re-immerse him/herself through such perceptions and associations?

     

    大多的當代藝術創作方式緊扣著議題,著重有效的實踐、策略的布署、文化系統/歷史的連結,以及生產藝術的機制問題,但仍有一些藝術創作方式,專注觀視自身個體的內在生命經驗與作品之間的相互關係。而在後者的創作中,有些作品有著低沉而內斂的氣息,所表現的意圖與情緒明顯但又節制,看似平淡卻表現著「活在此刻」的當下意義,或許可以視為在當代紛雜的生活中,這類創作會是一種可能,能讓觀眾將思緒沉靜,讓情緒放緩,可以再次凝視藝術、佇足作品前,讓作品引導視覺感官,進而聯想自身的生命經驗,喚醒敏銳的感知,察覺自身內心與外在天地。

     

    Most contemporary art creations engage in different issues, and focus on effective practice, strategic deployment, connection with cultural system and history, and the mechanism of art production. However, there are still some other forms of artistic creation that concentrate on the inner life experiences of individuals and their interconnections with the created works. Among the latter, some works appear gloomy and reserved, expressing intentions and emotions in a prominent yet reticent manner. Some look unadorned but convey the meaning of “being in the now.” In the tumultuous and complicated contemporary life, this type of art creations could offer a possibility for the audience to calm their minds, recover from tensed emotions, and enable them to once again gaze into art, and pause in front of artworks, allowing the works to take the visual lead and help the audience navigate the vastness of their own life experiences through association to awaken their keen senses and become aware of the inner realm and the external world.

     

    本次參展的藝術家王紫芸、王董碩的作品有著細緻的情緒觀照,黎志文、黃舜星的創作蘊含東方哲思,雖然這四位藝術家的創作核心截然不同,但卻強烈的散發前述的氣息與特質。然而,除了作品氣質外,其實也可以發現這四位藝術家共同的高度關注材料的本真,相信透過單純的物理作用(如色粉遇水沉澱、罩染堆疊、刮除磨損)與節制的介入,能夠引出材料本身素直的光澤與古樸的質地。除此,本展最後企圖以林壽宇作品中的靜默禪意,與極其低限的形式表現作為展覽總結。

     

    Featured in this exhibition, the works of Wang Tzu-yun and Wang Tung-shuo reveal their thorough exploration of emotions. Lai Chi-man and Huang Shun-hsing are distinctly informed by Eastern philosophies. Although the creative core of the four artists differs greatly, their works all vividly exude the aforementioned tendency and characteristics. Nevertheless, in addition to the qualities of their works, it is noticeable that they also share a high degree of attention to the nature and essence of their chosen material, as they believe that uncomplicated physical effects (i.e., pigments depositing in water; layering of glazing; scraping off wears and tears) and a restrained degree of intervention allow the material to display a natural shine and simple qualities. Finally, Richard Lin’s work is shown to highlight its tranquil air of Zen and minimalist expression as a definitive conclusion to the exhibition.

     

    「風景」一直是本館的展覽發展主題脈絡之一,本次展覽「低鳴的山水:再進入繪畫」期盼讓觀眾能在繁雜的生活、百花齊放的當代藝術中,給予觀眾一個較內觀、低頻、樸素的觀看選擇,關注藝術家如何持續的探索與觀照自身的內在風景與所創造的內在山水。

     

    “Landscape” is a thematic context that the Tainan Art Museum has been consistently developing. The Subtle Resonance of Shanshui: Re-immersing in Painting aims to provide the audience with an introspective, inconspicuous, and uncomplicated choice in the midst of the hustles and bustles of modern life and the mesmerizing forms of contemporary art, which unfolds how the artists have continuously explored and contemplated on their inner landscape and the internal shanshui visualized by them.

  • 參展藝術家(依中文姓氏筆畫排列):

     

    藝術家:王紫芸、王董碩、林壽宇、黃舜星、黎志文

     

    Artist: Wang Tzu-yun, Wang Tung-shuo, Richard Lin Show-yu, Huang Shun-hsing, Lai Chi-Man

     

    指導單位:臺南市政府

    Supervisor: Tainan City Government

    主辦單位:臺南市美術館

    Organizer: Tainan Art Museum

    特別感謝:高雄市立美術館、大趨勢畫廊、科元藝術、樸石藝術、蕭勤國際文化藝術基金會

    Special thanks: Kaohsiung Museum of Fine Arts, Main Trend Gallery,Ke-Yuan Gallery, Cornerstone Gallery, Hsiao Chin Art Foundation

  • 策展人:莊東橋

    Curator: Chuang Tong-chiao

  • 展覽室K

    王紫芸的創作關注時間性,著重使用彷彿反璞歸真的技巧,創造出回憶或記憶中那無以名狀的存在時刻;王董碩的創作著重情緒的感受,但以極為冷靜與冷調的方式表現出。

    本展區以王紫芸的作品〈12:35〉、〈6:27〉開啟樂章,引人回憶起某個午後的窗邊,忽然揚起了風將窗簾高撐為一個飽滿的空,一種浮生若夢或是當下即存在的生命直觀感受。

     

    Gallery K

    Wang Tzu-yun's practice revolves around temporality, and primarily utilizes seemingly simplified techniques and skills to re-create indescribable moments of being in reminiscences or memories. Wang Tung-shuo's practice emphasizes on emotion perception, which is delivered contrarily in a rather cool-minded and detached manner.

    In this section, Wang Tzu-yun's 12:35 and 6:27 serve as an overture, and evoke a scene from a certain afternoon when the wind suddenly rose and made the window curtains fly, forming a full presence of emptiness, which is an intuitive perception of life embodied by a dreamlike, transient moment, or validates the saying, “the way to be is in the now.”

     

    展覽室L

    黃舜星的作品形式從書法與水墨出發,探索水墨筆法與材質的純粹性與可能性;他近三十年創作時常會聆聽巴哈的「無伴奏大提琴組曲」,嚮往那深邃的音樂性與優雅的獨鳴。黎志文的創作蘊含東方陰陽協和以及西方虚實建構的核心觀念,他比喻自己的創作思想路徑,如山水中的「水」不斷流動,以柔克剛。

    本展區特意挑選黎志文作品題目較為具體的作品,如〈下雨〉、〈房子〉等作品,以及黃舜星抽象且內斂的大型作品,除了呼應王紫芸與王董碩表達「當下的生命直觀」主題,也讓觀眾從極度細膩敏感的內在情緒,有另一個路徑前往廣袤的山水意象。

     

    Huang Shun-hsing's practice starts with calligraphy and ink painting to investigate the pureness and potentiality of ink brush work and material. In nearly thirty years of career, the artist has often listened to Bach's Cello Suites when making art, and has longed for the profound musicality and graceful solo in the musical piece. Lai Chi-man's practice builds on the harmony of yin and yang in Eastern philosophies and the construction of virtuality and reality in Western art. He compares the pathway of his creative thinking to water in shanshui, which flows continuously and overcomes the hardest substance with its steadfast tenderness.

    This section especially showcases a selection of Lai's works with more tangible titles, such as Raining and House, as well as Huang's abstract and reserved works of a larger scale. While responding to the theme of“an intuitive perception of life in the now”expressed by Wang Tzu-yun's and Wang Tung-shuo's works, the section aims to offer an alternative pathway to the bounteous imagery of shanshui through the extremely delicate and sensitive inner feelings.

     

    展覽室M

    本展區前半部為黎志文的石雕作品與黃舜星帶有浮雕感的紙上作品,是兩位藝術家同樣主題的不同表現。黃舜星的作品將水墨的「平遠、中遠、高遠」的三遠格式「摺起」,嘗試質問心性與物質性的空間關係;黎志文雕塑作品的「雕與不雕、留與不留」的取捨觀念,直接反映在其紙上作品富有雕塑性的刮痕與破裂痕跡。

    展覽的最後段,每位藝術家彼此的作品張力更為密集地互相接應。王董碩的作品〈焦慮〉、〈集體焦慮〉、〈夜裡的黑色星星與夢〉、〈墜落的片段〉散發著高密度的情緒氛圍;王紫芸的作品〈24h.〉、〈空無的風景–水平〉、《86400秒的喧囂》系列直指生命/死亡的時間倒數刻痕;黎志文與黃舜星分別從學習魏碑拓印的效果與傳統拓碑技法汲取創作養分,在虛/實、陰/陽裡找出協和的內在空間。最後,林壽宇極度簡約的畫面,安靜卻也訴說著「一即一切」的世界觀。

     

    The first half of this section features Lai Chi-man's stone sculptures and Huang Shun-hsing's relief-evoking paper works, which are dissimilar expressions of the same theme by the two artists. Whereas Huang represents the style of three distances of traditional Chinese ink painting –“high distance,”“deep distance,”and“level distance”– to question the spatial relations between inwardness and materiality, Lai’s sculptural concept of creating a balance with compromises, through which the artist reflects on“carving or not carving, keeping or removing,”are directly shown in his paper works with highly sculptural marks of scrapes and tears.

    In the final section of the exhibition, the works of every artist become more closely interwoven and mutually responding. Wang Tung-shuo's Anxiety, Collective Anxiety, Black Stars and Dream in the Night, and Falling Periods exude a dense atmosphere charged with emotions. Wang Tzu-yun's 24h., Without Landscape – Horizon, and the series of 86400 Seconds of Hustle straightforwardly point to the countdown of life/death. Lai Chi-man and Huang Shun-hsing respectively draw inspiration from the effect of stone rubbing from Wei steles and traditional stone rubbing to unveil a well-balanced internal space between the virtual and the real as well as yin and yang. On view at the end of the exhibition are the ultimately minimalist images of Richard Lin's works, serenely communicating the worldview of “one is everything.”