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诚品画廊:【立】夏阳、林彦玮、张安、张银亮、郑帛囱联展

发布时间:2020-05-28   来源:H生活网    
诚品画廊【立】夏阳、林彦玮、张安、张银亮、郑帛囱联展诚品画廊:【立】夏阳、林彦玮、张安、张银亮、郑帛囱联展
    展期

    日期:2019-07-06 ~ 2019-08-04

    地点

    台北市信义区松高路11号5楼

      诚品画廊将于-8月4日推出「立」,此联展以前辈艺术家夏阳不同时期的雕塑,对应台湾青年艺术家林彦玮、郑帛囱以及中国大陆新星张安、张银亮近年的绘画作品。年龄相距半世纪的夏阳,与林彦玮、张安、张银亮、郑帛囱等后辈有着截然不同的成长经历与艺术养成。他年少时遇上兵荒马乱的时局,先是抗日战争然后是国军大撤退,从军来台后跟随李仲生习画。当时政治环境高压、社会经济萧条,现代艺术未成气候,艺术家几乎无从得知国外趋势,只能靠自己摸索并与同侪切磋。然而夏阳与斗志高昂的同好们跨越知识与资源匮乏的屏障,以「八大响马」之姿创立「东方画会」,大力推动现代艺术,接着相继奔往义大利、西班牙、巴黎、纽约等地,一路排除万难开闢出各自的艺术道路。如今夏阳在上海定居,从东方到西方,再从西方回到东方,他年过八旬仍维持着不坠的创造力,持续勇往直前、突破自我。林彦玮、张安、张银亮和郑帛囱约莫三十岁不等,他们成长于没有战争但资讯爆炸的地球村,接受艺术学院的训练,在这双年展、博览会数量不断攀升的年代随时可接触到世界顶尖的艺术,然而这一代艺术家所必须克服的挑战,是在这多元丰富以致于充满杂音干扰的环境中以自己独特的创作语彙发声。

      在此联展中,夏阳的大型金属片雕揉合了金属的硬度与草书的苍劲线条,雄浑有力地立体呈现了他知名的「毛毛人」。台南大学与新竹教育大学毕业的林彦玮,写实描绘公共空间中历经风霜的动物雕像或手边的动物玩具,他的油画聚焦在这些动物不合时宜又啼笑皆非的拟人神态,幽默而精準地比喻了当代人尴尬的窘况。台北艺术大学毕业的郑帛囱用立可白、马克笔、铅笔、原子笔等常见文具,在便利纸上任意识自然而随性的流转,有些是他印象深刻的风景,有些是随机生成的抽象画面,每一幅画尺寸虽小却有大画的格局。张安现于中央美术学院攻读博士。他使用蛋彩坦培拉技法,将拆迁中的建筑、钢筋曝露的废墟营造成一个个古典写实的「纪念碑」,此外展览还将展出他在文化考察期间的写生以及最近的纸上作品。张银亮儿时从泉州移居香港,后赴英国格拉斯哥美术学院和伦敦大学学院斯莱德美术学院就读,现于北京生活及工作。她敏感地观察每个曾经旅行或居住过的城市,运用微妙的色彩关係与扭曲交错的构图,製作出别具一格的独幅版画。从夏阳到林彦玮、郑帛囱再到张安、张银亮,「立」一展以五位艺术家的作品映照出不同世代与地域的表现风格,以及自成天地的创作观。

      ESLITE GALLERY is pleased to present “Stance—HSIA Yan, LIN Yen Wei, ZHANG An, Ngan Leong CHEUNG, CHENG Po-Tsung” from July 6 to August 4, 2019. Half a century older than the other four artists, Hsia Yan was caught in the throes of war before finding himself in Taiwan as a young soldier in 1949. When he began taking art lessons from LEE Chun-Shan, it was a time of political oppression, economic slump and little information about art from the outside world. Despite limited resources, he founded Tongfang Art Group with fellow artists to push the modernization of art. In 1960s he went to Paris and later in New York, and it was in those places where he developed his signature fuzzy men and experimented with photorealism. Currently he lives in Shanghai and continues to explore forms and styles that emanate an Eastern essence that is both robust and spiritual. Lin Yen Wei, Zhang An, Ngan Leong Cheung and Cheng Po-Tsung, all more or less in their thirties, have grown up in a time of stability and were able to receive academic training in art colleges. In this digital, global village of explosive number of biennials and art fairs, they have the privilege to access top-notch art all year round, but faces the challenge of staying “unperturbed” and make their individual voice heard.

      In “Stance,” Hsia’s powerful metal sculptures in his signature fuzzy man style provide the anchor of this exhibition. In the gallery are satellites of paintings by Taiwanese Lin Yen Wei and Cheng Po-Tsung and mainland Chinese Zhang An and Ngan Leong Cheung. Lin’s close-ups of animal sculptures found in public spaces and toys show human-like eyes and smiles, and can be regarded as a zoomorphic portrayal of man’s self-alienation in an age of consumerism. Cheng’s small “Untitled” drawings are his visual diary, describing personal feelings and documenting the journey in his inner world. Zhang’s doubts about rapid urbanization are revealed through memorialized images of abandoned buildings and ruins. Having lived in Quanzhou, Hong Kong, Glasgow, London and Beijing, Cheung’s monotypes on paper captures her acute observation of places she has travelled to. From Hsia Yan to Lin Yen Wei and Cheng Po-Tsung to Zhang An and Ngan Leong Cheung, “Stance” presents five artists from different generations and regions and their unique take on art.


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