非池中藝術網

非池中藝術網

福利社 FreeS Art Space :【蠭起】對悍圖社2016聯展的新展望

  • 展期:2016-09-17 ~ 2016-10-15
  • 地點:台北市中山區新生北路三段82號B1
  • 參展藝術家:楊茂林 ,吳天章,陸先銘,郭維國,李民中,楊仁明 ,連建興,賴新龍,唐唐發,涂維政,鄧文貞,朱書賢,常 陵,陳擎耀
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蠭起—對悍圖社2016聯展的新展望
文/白適銘 (國立臺灣師範大學美術系 教授)

在台灣現代美術興革史中,畫會具有極其重要的地位,尤其是對僵化體制的監督、批判或拒絕妥協,因而產生內省力、精神性相對強大的創作成果;同時,因其來自社會底部,更能反映現實潛在問題,進而成為該時代藝術運動的主要推力。戰後因白色恐怖,畫會受到箝制,進入衰退沉潛時期,直至解嚴之後。成立於九○年代末期的悍圖社,因應追求民主自由的時代氛圍,積極投入對政治、社會、文化及歷史的批判反思,創造深具民主紀念碑意義的美術成就。透過「剽悍氣質的凝聚」,彰顯絕對自由的理念,提倡跨越身分界線以及對不同主體性的兼容並蓄,已成為該社團的核心價值。在十八年披荊斬棘的歷史中,悍圖社不僅無懼風雨,更透過個人或集體的方式主動出擊,在市場導向及文化認同逐漸失焦的台灣社會中,持續捍衛創社理想,期待此股力量不斷壯大,並為下一個世代台灣美術建構有如啟蒙聖壇般的全新意義。

In the history of Taiwanese modern art reforms, painting holds an extremely important position. Above all, the supervision, criticism, or pertinacity of this rigid system result in the making of relatively strong creations that are introverted and spiritual in nature. Since these also come from the bottom rungs of society, it can better reflect actual or potential problems, thus becoming the main driving force for this era’s art movement. As there was a clamping down on painting during the White Terror period after the war, we entered a period of recession, which lasted all the way up to the lifting of martial law. Established in the late nineties, the Hantoo Art Group served as a response to the era’s atmosphere of pursuing democracy and freedom. With the members actively engaging in political, cultural, and historical critical reflection, an artistic accomplishment with profound democratic memorial connotations was achieved. The concept of absolute freedom manifested itself through a “cohesion of swift and fierce temperaments.” The promotion of cutting across the boundary of identity and including dissimilar subjects has already become the core value of this cooperative. During this eighteen-year period of overcoming difficulties, the Hantoo Art Group has not only shown fearlessness during trials and hardships, but also taken the initiative to fight back in a personal or a collective manner. In a Taiwanese society that is market-oriented and gradually losing its cultural identity, they continue to defend community ideals. They expect this growing force to construct a new meaning that is like a holy altar of enlightenment for the sake of the next generation of Taiwanese art.