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2019台北国际艺术博览会

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展览介绍

永恒的对偶

索美画廊Taipei展位前言

文 / 莫芷

 

现在,除了灵光、感性、诗意,艺术家的观念,成为了支撑起艺术这张美丽画皮的脊梁。的确,所见皆有所指,事物背后总有个主旨,花朵对等女性,骨头对等死亡的必然。花卉与骨头的图像并置更可能来源于东方禅宗“枯骨观”的修行方法,教人去观想生命腐败的全部过程,从而抛下对美的耽迷,对存在的执念。这个持续性过程赋予了图像更深远的体验空间,艺术家在制作这类图像的过程,即是重溯修行的过程。林博裕将自己在台南山中观察到的花草形态投射于作品之中,将心比心地赤诚之心看待世界,塑造为草木与肉身混杂的生命状态;胡顺香转化了日常生活中的平凡情景,使之成为冥想中的视觉图景,或是具有决定性的,充满文学意味的瞬间;我在践行观想的阶段,既是客体生命的形象,又是对自我肉身的表述,花与骨骼将不断提醒我们抒情之于艺术史的单薄,绘画之于艺术的局部,生之于轮回的有限。当人们在艺术展会上搜寻美、欣赏美、推崇繁复的工艺,我们应该承认,没有艺术践行的粗粝、生猛与真实,谈何技艺并塑造,没有死何来生,没有宿命何来挣扎,是这样永恒的对偶给作品以能量,给艺术家以持续的张力。

其实一直陪伴艺术家成长的策展人、艺术经理人才见证了作品的全部生命,见证艺术家人生轨迹的兴衰,幸福或不安,见证一个作品系列的诞生,灵感的最终消亡、又再生,他们看到的是生命进行思想的自我解剖——从生活到作品。他们目睹整个过程而不加以干预,带着距离感,像隔着玻璃幕墙观看毫无差错的手术一样,精准且残忍。展览题目“永恒的对偶”既是伯乐识马,对艺术的持续发掘与关注,亦是观者与艺术家永无休止的对话,也是个体对死生伦常的辨识,用绘画反抗无病呻吟的斗争。对偶的存在驱散了那些昏昏欲睡的美,提示我们正身处于自己又爱又恨的世界,那些令人不快的情景,却恰恰是生命出发的原点。

或许到最后人们都会疯狂爱上张爱玲的那句:生命是一袭华美的袍,上面爬满了虱子。对美的贪恋与对沉沦的恶就是这样一双永恒的对偶,将我们牢牢抓住。对偶是世界的程式,是我们甘之如饴,恨之入骨的,哭之,笑之。

 

Eternal Antithesis

 

Foreword to somay gallery Taipei booth

Article/mo zhi

 

Now, in addition to sensitivity, sensibility and poetry, the artist's concept has become the backbone that supports the beautiful skin of art.indeed,Everything you see means somethingthere is a general theme behind everything. flowers equal women, bones equal death.the juxtaposition of the images of flowers and bones is more likely to come from the practice method of the "dead bone view" of the eastern zen Buddhism, which teaches people to visualize the whole process of the corruption of life and thus abandon the obsession with beauty and the obsessiveness with existence.this continuous process endows images with a more profound experience space. The process of making such images is the process of retracing the practice. Lin boyu projected the flowers and plants he observed in mount tainan into his works, looked at the world with sincere heart, and shaped them into a life state with plants and bodies mixed together. Hu shunxiang transformed the ordinary scenes of daily life into a visual picture in meditation, or a decisive moment full of literary significance. In the stage of my practice of visualization, I am not only an image of the object life, but also an expression of my own body. Flowers and bones will constantly remind us that lyricism is weak in art history, painting is part of art, and life is limited in reincarnation.when people search for beauty, appreciate beauty and praise complicated craft in art exhibition, we should admit that there is no coarse, vigorous and real art practice, no art and shaping, no afterlife and no fate to struggle. It is such eternal duality that gives energy to works and continuous tension to artists.

 

Actually has grown with artists, curators, art, manager of the talent to witness the all works of life, witness the rise and fall of artist life trajectory, happiness or uneasy, witness the birth of a series of works, eventually die, and regeneration of inspiration, they see is the life of the thought of self-analysis, from life to work. They watch the whole process without intervention, at a distance, as precise and brutal as watching an error-free operation through a glass wall. The title of the exhibition "eternal duality" is not only bole's knowledge of horses, his continuous exploration and attention to art, but also the endless dialogue between the audience and artists, as well as the individual's identification of the ethics of life and death, and his struggle against moaning and groaning through painting. The presence of duality dispels the drowsiness.

 

The beauty of yzc reminds us that we are in the world we love and hate. Those unpleasant situations are exactly the starting point of life. Maybe in the end people will fall in love with the words of Eileen chang: life is a gorgeous robe covered with lice. The love of beauty and the evil of destruction is such a pair of eternal duality, we will firmly grasp. Duality is the formula of the world, which we enjoy, hate, cry and laugh at.