■ 抽象的曙光 ─ 霍剛、朴栖甫、松谷武判
Abstract Radiance ─ Ho Kan, Park Seo-Bo, Matsutani Takesada
2022.03.26 - 2022.05.08

策展人 Curator 王焜生 Emerson WANG

3/ 26 Sat
14:30-16:30 策展人講座
亞洲抽象的形而上意涵 — 戰後精神的再詮釋
16:30 展覽開幕

4/ 09 Sat
14:30-17:00
《典藏》學術研討會
藝術家國際高度的建構力
主持人│簡秀枝社長

4/ 30 Sat
14:30-16:30
學術專題講座
戰後前衛:1950年代以後台灣抽象藝術運動
主講人│白適銘教授


文/策展人 王焜生
霍剛、朴栖甫與松谷武判曾經參與藝術創造的歷史，不僅是傳奇，也是亞洲當代藝術走向抽象繪畫的先鋒。在西方觀念主導之際提出辯證並試圖融合，重新詮釋自身的文化主體性，尤其是去殖民化的過程，藝術家也勇於挑戰傳統，發表各式的宣言。
2017年這三位開創抽象藝術的先鋒，於韓國首爾的一場論壇中首度同台，分享各自的創作歷程；而2022年3月在台北采泥畫廊的展覽，則是三位藝術家首次同台展出。雖然成長經歷各異，創作歷程不同，然而在戰後亞洲文化脈絡下，三位都在二戰後對於社會的衝撞，以藝術來抒發各自內在的吶喊。有趣的是，雖然材質與手法大異其趣，在精神上卻有許多相同之處，其創作雖然反對傳統形式，在精神上卻是更屬於東方的抽象靈性概念，以無為追求純粹的極致，將物質提升到心靈的層次。
有別於西方的極簡主義與簡約美學，更不是藝術史裡以西方為主的抽象繪畫，純粹在形式上著力，霍剛、朴栖甫、松谷武判在藝術創作上都有一種以自我經驗走入普遍共同情感為依歸的路徑，自我表現不再是他們汲汲營營追求的，創作過程與行為都猶如一種修行，自我淨化與了悟，達到心靈清澈的境地。從年輕氣盛的意氣風發，到走過80年後的人生，他們依然敏銳地觀察社會，以客觀存在的身分，像是每一件作品的其中媒材，以抽象性的表現情感，他們的創作不僅是個人的路程，更是戰後亞洲藝術史裡值得一再書寫的光芒。

Text / Emerson WANG
The histories created respectively by Ho Kan, Park Seo-Bo, and Matsutani Takesada are not only legendary highlights, but also transformed the three artists into pioneers of abstract painting in the trajectories of Asian contemporary art. During the period when Western ideas dominated the art scene, they have dialectically reflected on and amalgamated these ideas to re-interpret their own cultural subjectivities, especially the processes of de-colonization. Furthermore, they have bravely challenged the tradition and conventional practices by publishing various manifestoes.
In 2017, these three pioneering figures in the abstract art scene appeared on the same stage for the first time in an art forum in Seoul, Korea, where they shared with the public their individual journeys in the world of art. This group exhibition at Chini Gallery in Taipei in March 2022 marks the first time they exhibit together. Although coming from different backgrounds and having stepped onto different creative paths, Ho, Park, and Matsutani have expressed their inner voices through art against the backdrop of the post-WWII Asian cultural context informed by social conflicts and tumults. Intriguingly, even though they have differed greatly in terms of artistic mediums and creative approaches, they share a common denominator in art-making—the three artists have all started with spirituality to formulate their works. Despite their opposition to the conventional form, in spirit, they have created works that embody the Eastern abstract concept of spirituality, through which they pursue the ultimate purity via non-action and by elevating matter and the material into the dimension of the spiritual.
Departing from Western minimalism and minimalist aesthetics as well as Western-styled abstract painting in art history, they have devoted their art purely to formal exploration. The artistic creation of Ho, Park, and Matsutani begins with personal experiences and unfolds into a path of expressing universal feelings. Whereas self-expression is no longer the subject the artists are eager to address in their work, their creative processes and actions resemble a form of spiritual practice, which points to a quest of self-transcendence and self-realization that takes them to a state of inner clarity. After turning eighty and having left behind the days of vigorous and impulsive youthfulness, the artists still retain a keenly observant eye to contemplate on the society with an objective presence while expressing their feelings in abstract vocabularies, just like the mediums in each of their works. Their oeuvres are not merely representations of their individual journeys but also rays of radiance in Post-war Asian art history that are worth revisiting again and again.