June 1 – June 30, 2018

Galeria Curators’ Lab
Poznan, Poland

Curatorial
策展論述

The exhibition presents seven contemporary Asian artists who think about transmitting ideas in the dislocation of culture and pattern.

The exhibition shows the rise and breakthrough in Asian art. From the traditional media: ink, lacquer, paper, and so on, the contemporary artists explore how to use traditional technology to interact with the audience with present concepts, subvert traditional ideas, transform media images, break the routine narrative model and create a different sensory experience. At the same time, the artists also consider today’s scientific and technological progress in capturing the audience’s accurate perception of expertise.

Chinese traditional art forms are considered as ink paintings, with only water and ink, black and white, presenting realism in the near sight and abstract in the distant view, using monotonous color to represent the rich artistic conception. Honestly, there is no precise year for clearly delineating the boundaries between the traditional and the contemporary ink painting. The word “ink painting” is interpreted time by time in the twentieth century and gradually evolved in a semi-experimental manner in the years of trial and error, including the introduction of a variety of paint and canvas and blatant attempt. In the unique way of Xiao Xu’s ink paintings and Wu Chi-Tsung’s video works, we can see the culture’s continuity and innovation in an elegant and delicate style, while the form is full of bold breakthroughs and attempts. Ink painting is more than the media; it is an attitude, philosophy, and worldview.

In Vietnam, traditional lacquer art is used on the surface of objects such as furniture, utensils, statues, etc. for a long time. Until the founding of the Indochinese Academy of Fine Arts in Hanoi in 1925, lacquer began to become a medium of artistic creation. The comprehensive application combines sculpture, painting, and craft. Artist Nguyen Oanh Phi Phi studied coat for more than 15 years, and we can see a breakthrough of lacquer art in her works. When I first came into her work, I thought it was created with technology. After digging deeper, I realized she released the aesthetic habit of lacquer painting and integrated the digital era’s hardware to recreate the unique sensory perspective.

In addition to clearly seeing the formal transmission of ideas in culture and media, Taiwanese artist Lee Tzu-Ling and Macau director Cheong Kin Man developed unique concepts to discuss their relationship with media. The artist Lee Tzu-Ling has created a weight track of life through collecting invoices, making recycled paper, air-drying, and polishing. Through repeated bodywork, like a craftsman, she transforms daily life material into a seemingly ordinary but unusual sensual experience. In work “Flowing III,” the ordinary and discardable objects sensibly deify themselves into an image of language. They are entirely free to infiltrate into practices and spaces, works and people, and people and space, leading us and infiltrating our senses.

Macau director Cheong Kin Man reflected the function of the novel in diary format in the experimental ethnographic short film “A Useless Fiction.” He cleverly combined the sound of dialect and the picture and asking questions through the visual media. Between the traditional text reading and speaking language, such as Vietnamese, Cantonese, Korean, Japanese overlap, we can see the existence of the variety of identities in Eastern and Western cultures diversity.

Asian artists extend the sensory experience of life aesthetics, and it is allowing us to see the independent value of the art language itself. They connect the innovation and recombination to the traditional concept, and then think of the coexistence of culture and pattern, the existence of traditional art media, the replaceability of material, the natural characteristic of the material itself and the abstract concept and try to contribute to the future of contemporary art.


展覽《延-伸-文化與媒材的移動關係》邀請七位亞洲當代藝術家,思考文化與媒材形式的思想傳遞。

展覽能看見亞洲藝術的崛起和突破,從熟悉的傳統創作媒材:水墨、漆、紙等,探究當代藝術家如何運用傳統技術結合當代觀念與觀者產生互動,顛覆傳統概念,轉化媒材意象,打破習以為常的敘述模式,創造不同的感官經驗,同時考慮了當今社會的科技進步,再次捕捉觀眾真實的感知經驗。

中國傳統的藝術形式被認為是水墨畫,僅有水與墨,黑與白色,近處寫實,遠處抽象,色彩單調,意境豐富。老實說,尚未有個確切年份,清楚劃分傳統和當代的界線,但水墨兩字的用法,自二十世紀以來已有多次的詮釋,一直透過半傳統、半實驗性的方式演進,在經年累月的嘗試和錯誤中,引進各種顏料、畫布及視覺嘗試。如此獨特的媒材與概念運用,在藝術家肖旭的宣紙畫和吳季璁的錄像作品中,看見文化以一種優雅細膩的方式延續與創新,而形式上則是充滿大膽的突破與嘗試。水墨不止是媒材,它是一種態度、哲學和世界觀。

越南傳統的漆藝,過去長期使用在物件表面的覆蓋,如傢俱、器皿、神像等,直到1925年河內的印度支那美術學院 (Indochinese Academy of Fine Arts ) 創立後,漆開始成為繪畫用媒材,結合雕塑、繪畫與工藝的綜合應用。藝術家阮菲菲研究漆藝超過15年,在她的作品中看見了漆藝的突破。初次接觸到她的作品,會以為是運用科技技術來創作,仔細品味,才知道她釋放漆畫的審美習慣,融合數位時代的硬體,重新創造了獨特的感官視角。

除了明顯地看見文化與媒材形式上的思想傳遞,另外台灣藝術家李姿玲與澳門導演張健文,各自發展了獨特的概念討論自己與媒材間的關係。藝術家李姿玲透過收集發票、造紙、風乾、打磨過程中,創造了生活的重量軌跡,身體的反覆勞動,如同工匠般,將日常生活材質轉換為看似平凡卻不尋常的體驗。而在《夜雨》作品中,平凡易丟棄的物件,感性地化身為一種形象的語言,完全自由地滲透在作品和空間、作品和人、以及人和空間,引領我們、滲透我們感官。

澳門導演張健文,在實驗民族誌短片《小說無用》中以日記形式反思小說的功能,巧妙結合聲音方言與畫面,透過視覺媒介提出問題。又在傳統文字閱讀與語言之間,像是越南話、廣東話、韓語、日語的交疊,看見存在東西方文化異同中的身份認同多樣性。

亞洲藝術家延伸生活美學的感官經驗,讓我們看見藝術語言自身的獨立價值。他們從傳統概念創新與再組合,進而思考文化與形式的共存,在傳統藝術媒材的存在、材質的被取代性、物質本身的自然性與抽象概念的探討,嘗試對於未來的當代藝術做出貢獻。

Ho How
From left to right, Wu Chi-Tsung, Nguyen Oanh Phi Phi, and Li Tz-Ling.
Aliansyah Caniago
Li Tzi-Ling
Xiao Xu
Cheong Kin Man
Exhibition site view
Exhibition site view
  • Ho How
  • From left to right: Wu Chi-Tsung, Nguyen Oanh Phi Phi, Lee Tzu-Ling
  • Aliansyah Caniago
  • Lee Tzu-Ling
  • Xiao Xu
  • Cheong Kin Man
  • Exhibition site view
  • Exhibition site view

Info:
Artist list: Wu Chi Tsung, Lee Tzu-Ling, Ho How, Nguyen Oanh Phi Phi, Aliansyah Caniago, Xiao Xu, Cheong Kin Man

Curator: Lee Yipei
Assistant: JoKu Chen

Organization: SUAVEART
Partners: Galeria Curators’s Lab
Sponsor: National Culture and Arts Foundation

簡介:
藝術家: 吳季璁、李姿玲、何灝、阮菲菲、阿里安山‧卡尼阿哥、肖旭、張健文

策展人: 李依佩
策展助理: 陳若谷

主辦單位: 細着藝術
合作單位: 策展人實驗室藝廊
贊助單位: 國家文化藝術基金會