非池中藝術網

采泥藝術

【鄧卜君 現實】TENG Pu-Chun Reality

  • 展期

    日期:2024-06-22 ~ 2024-08-04

  • 地點

    采泥藝術

  • 參展藝術家

    鄧卜君

  • ■ 鄧卜君 現實
    2024.06.22-08.04

    策展人:鄭乃銘 (當代藝術新聞 總編輯)

    ◆ 6/29 Sat.
    14:30 講座|發現鄧卜君的「現實」
    講者:鄭乃銘 (當代藝術新聞 總編輯)

    16:00 開幕
    藝術家親自出席

    ———————————————————————
    文/鄭乃銘

    我從不覺得鄧卜君水墨創作是靜止的。也就是說,他的畫面是「以畫的方法在講一段段關於生命的過程、時間的移動、內在的蠢動,它們並不能以故事來作為概括,但是,他的畫;絕對是有情節」。因此,我的確無法說服自己說他的畫是『魔幻寫實』、是所謂『超現實』!關鍵因素在於,如此類歸太就作品形制劃分,卻沒有觸碰到作品的軟肋。

    對我而言,他的畫就是動的,不是所謂動態;是動的!所以,再也沒有比「現實」這二字更能點化出我對他藝術的由衷,也找不出比這二字更能夠翻轉過去許多的眾人對他藝術的看法。以「現實」來作為展覽總題,更有個關鍵性因素是在於鄧卜君對創作所懷抱的態度,這份實際態度是更符合「現實」兩個字意涵,這裡所指的「現實」與臺灣80年代一度盛行鄉土寫實水墨創作是兩個截然不同訴求與主體。鄧卜君從現實環境截取題材,他確實不是複製類西畫的照相寫實、也不是回到傳統山水畫所負重的抒情寓意。他筆下所呈現的自然是經過反芻後的景緻,由於經過反芻與不願讓傳統的因襲成為個人創作的負累,因此鄧卜君的水墨跳脫為傳統山水景緻服務,展現自構的章法和鋪局,進而使得他的作品煥發出一股「骨氣」,而不是拘泥在傳統水墨靈氣的標配上,這使得「現實」二字的遼闊性更充滿著推力與想像,也更貼近當代的節奏、更得以從不同視野來觸擊他的人與藝、內與外…各式的種種因緣。這個入口,就鄧卜君而言,也是過去未曾有人裁切的章程。

    I have never felt that TENG Pu-Chun's ink creations are static. In other words, his paintings convey "a process of life, the movement of time, and the stirring within through the method of painting. They cannot be summarized as stories, yet his paintings undoubtedly have plots."

    Therefore, I cannot convince myself to classify his works as 'magical realism' or 'surrealism'! The key factor is that such classifications focus too much on the form of the works without touching on their essence.
    To me, his paintings are dynamic, not in the sense of motion, but dynamic indeed!

    Thus, no words better encapsulate my genuine admiration for his art than "reality." There are no words more apt to transform many people's perceptions of his art. Using "reality" as the overarching theme for the exhibition is crucial because it aligns with TENG Pu-Chun's attitude toward creation. This attitude reflects the true meaning of "reality," which is distinct from the earthy realism of ink painting that was popular in Taiwan during the 1980s.

    TENG Pu-Chun draws inspiration from the real environment. He does not replicate the photorealism of Western painting, nor does he revert to the lyrical connotations borne by traditional landscape painting. The natural scenery depicted in his work is a ruminated landscape. This reflective process and his refusal to let traditional conventions burden his creativity enable his ink paintings to transcend serving traditional landscape aesthetics. Instead, they exhibit self-constructed compositional methods, imparting a unique "integrity" to his work, rather than conforming to the conventional ethereal qualities of traditional ink paintings.

    This interpretation of "reality" expands its breadth, filling it with momentum and imagination. It resonates more closely with contemporary rhythms and allows for various perspectives to engage with his persona and art, internal and external connections. For TENG Pu-Chun, this approach represents an unprecedented and uncategorized narrative.

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