考現學—陸先銘的陸上思考
Modernology—LU Hsien-Ming’s Urban Thinking
藝術家：陸先銘

【台北 采泥藝術】
2019.03.02-04.14
開幕Opening: 03.02 15:00
座談Forum: 03.23 15:00 陸先銘x龔卓軍x陳貺怡

【台南 耘非凡美術館】
2019.03.16-05.05
學術主持：龔卓軍
開幕Opening: 03.24 15:00
新書發表會暨展覽座談 Catalogue Launch & Forum：04.20 15:00 陸先銘x龔卓軍x陳貺怡

本展「考現學-陸先銘的陸上思考」為陸先銘與采泥藝術合作的首次展覽，將以其「陸橋時期」及「人物時期」系列作品搭配其最新創作「老樹時期」系列作品，呈現陸先銘近三十年的創作歷程轉變，表述藝術家對於台灣巨變的生存環境、人文結構進行觀察所提出檢討與省思。展覽將於台南耘非凡美術館與台北采泥藝術共同展出。台南耘非凡美術館主呈現「陸橋時期」、「人物時期」的經典作品，此兩個系列作品乃是藝術家在大時代環境快速演變下，對於環境地景與個人生存條件造成劇烈影響提出批評與反思。最新創作「老樹時期」作品將於台北采泥藝術展出，該系列作品是藝術家回歸生命本質，透過環境生命的再詮釋來傳達人類文明與自然環境之間應尋求的和諧存在與價值。本展於南北兩地展出的三個創作系列，一方面呈現藝術家高超的具象寫實功力之外，亦體現藝術家從早期尖銳批判的直接強悍，在構築蛻變之際，注入更多人性關懷與情感內涵的創作轉向，以更為內斂溫潤的力量與感受性，觸動共鳴直抵人的內心深處。

Modernology—LU Hsien-Ming’s Urban Thinking is the artist’s first collaboration with Chini Gallery, and will take place simultaneously at Remarkable Cultivation Art Gallery in Tainan and Chini Gallery in Taipei. Lu Hsien-Ming’s signature series, including the Bridge Series and the Figure Series, are featured in the exhibition at Remarkable Cultivation Art Gallery. Together, the painting series convey the artist’s critique of and reflection on the drastic impact on the environment and people’s living condition resulted from rapid social changes. Lu’s latest painting series, Old Trees Series, will be displayed at Chini Gallery. In the new series, the artist revisits the essence of life and reinterprets the environment to voice his ideal and value that human civilization and natural environment should co-exist in harmony. This series inherits and continues the artist’s thinking and representation of the urban environment. From these three series, viewers will perceive the artist’s evolving power and sensibility, which have become more self-effacing but exude a sense of warmth that resonates with something deep in everyone’s heart.

會用「考現學」這樣的名字來思考陸先銘的藝術，純粹是因為我對「考現學」的理解，既是一門「都會路上的徘徊觀察學」，也是一門「焦土陸上探頭的新芽學」，而這正是我對陸先銘繪畫與裝置的感受。…陸先銘的繪畫裝置涉及解嚴三十年來，台北縣市各個角落架起了工地與鷹架、陸橋與捷運高架之後，屬於那個世代、穿越那個世代的都市閒游者，現代化生活狀況之下的畫家，在有如微服王子巡行越過大工地般的都會空間中，呈現為考現學─考掘現代生活經驗之學─眼底的都會風景。

— 龔卓軍（國立台南藝術大學藝術創作理論研究所專任副教授，本展台南場學術主持）

To think about Lu Hsien-Ming’s art through “modernology” is due to my understanding of “modernology” as both “the study of observations made through lingering on urban streets” and “an emerging study grown from a scorched land,” the combination of which represents how I feel about Lu’s painting and installation.… Lu’s painting and installation address the period of three decades after the lifting of martial law, during which construction sites, scaffoldings, bridges and viaducts started appearing in different corners of Taipei City and Taipei County; they belong to urban flâneurs who have lived in and through that era. Lu, as a painter immersed in modern living condition, is like a prince in disguise making rounds in the urban space resembling a mega construction site, and reveals an urbanscape of modernology—the study of modern living experiences.

－GONG Jow-Jiun, Associate Professor, Doctoral Program in Art Creation and Theory, TNNUA; Academic Chair of the Tainan Exhibition

陸橋時期

陸先銘創作了一批紀錄城市變化的陸橋系列，在這些作品中，陸先銘使用大塊、粗糙的筆觸，刮抹的手法堆積了類似於土木工程建築本身的物質感。這些物質冷漠而又具有工業自身的大線條式的暴力，他們屹立於那些暗喻著工業黃昏的環境之中，具體的人被抽離了，時間也被抽離了，畫面冷聚甚至有些煩躁的色彩，使得城市置於一片工業的無人之地。從那時起，陸先銘用這種帶有表現色彩的現實主義方法，不斷記錄著這座城市的變遷。

－ 藝評人 崔燦燦

Bridge Series

Lu Hsien-Ming creates a group of paintings featuring bridges and documenting urban changes. In this body of work, Lu uses bulky, coarse brushstrokes and a painting method of scraping and wiping to create a layered materiality reminiscent of that of civil engineered constructions. Such a materiality is cold and conveys a blunt sense of bulkiness found in these industrial constructions, which stand upright amidst a surrounding hinting at the dusk of industry. Both people and the sense of time are absent in these images composed of cold and even slightly restless colors, and the city is placed in an unpopulated, industrial setting. Ever since this series, Lu has used this realistic approach, mixed with expressive colors, to record the changes that this city has undergone.

－CUI Can-Can, Art Critic

人物時期

陸先銘的「人物」作品，鎖定的是社會邊緣、夾縫中生活的小人物。畫面是一面黑灰色調，背景一片單調虛冷，只有描繪細膩的這些不滿生活軌跡的人物在其中踽踽獨行。在形式上，他加入了電子看板走馬燈，在畫面旁邊滾動電子文字標語。半裝置地，嘗試性的延展畫面視覺的可能性。（作品）畫的明明是在撩亂社會中求取生存的小人物，然而那些撩亂的社會背景在這時被抽空成為虛清。…這些來自不同地方經歷生活風霜的人，總是特別能夠抓住他的視線。這些屬於多數人心情的清冷與無奈。

－ 藝評人 李維菁

Figures Series

Lu Hsien-Ming’s figure paintings center on marginal nobodies in society, who are trying to survive in life. The image is in dark and grayish tones with a monotonous, empty background; only those carefully delineated figures that are discontent with life occupy the images. In terms of form, he incorporates electronic scrolling text boards to display messages on the sides of the paintings, turning his works into semi-installations in the attempt to expand visual potentiality. Nevertheless, although the artist’s subject matter is the nobodies struggling for a livelihood in an unrestful society, such a social backdrop is replaced by emptiness…. What has usually caught the artist’s attention is this group of people coming from different background, beaten down by life, and give off a sense of being deserted and helplessness understood by most people.

－LEE Wei-Jing, Art Critic

老樹時期

不同於現代畫家們的樹，陸先銘在2018年所創作的樹全都出現在純白的背景中，彷彿若干當代藝術家觀看世界的方式：把無所不在的媒體圖像與它們的特定時空背景分開，視為本質上獨立於任何特定語境而存在的符號，可以被任意重組。因此陸先銘的樹不再只是城市中被寄託以情感的某樹或「那樹」之再現而已，而是與城市中的其他元素一樣化身為圖像符號，任由作者安排，譜出因時、因地、因人而異的城市之歌。

－ 藝評家 國立臺灣藝術大學美術學院院長 陳貺怡

Old Trees Series

Different from trees painted by other modern painters, the paintings in Lu Hsien-Ming’s new series in 2018, Old Trees Series, are given a blank, pure white background. This approach seems to echo how some contemporary artists perceive the world: they separate the ubiquitous media images from their individual historical background and see them as symbols essentially independent from any specific context to gain the freedom to reconstruct these symbols at will. Consequently, Lu’s tree is no longer a certain object on which one projects emotions, nor is it a representation of “the tree.” Like other urban elements converted into graphic symbols, it can also be arranged by the artist to compose an urban melody for a certain period, place and people.

－CHEN Kuang-Yi, Art Critic & Dean of College of Fine Arts, National Taiwan University of Arts