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非池中藝術網

誠品畫廊

【立】夏陽、林彥瑋、張安、張銀亮、鄭帛囪聯展

  • 展期

    日期:2019-07-06 ~ 2019-08-04

  • 地點

    台北市信義區松高路11號5樓

  • 誠品畫廊將於2019年7月6日-8月4日推出「立」,此聯展以前輩藝術家夏陽不同時期的雕塑,對應台灣青年藝術家林彥瑋、鄭帛囪以及中國大陸新星張安、張銀亮近年的繪畫作品。年齡相距半世紀的夏陽,與林彥瑋、張安、張銀亮、鄭帛囪等後輩有著截然不同的成長經歷與藝術養成。他年少時遇上兵荒馬亂的時局,先是抗日戰爭然後是國軍大撤退,從軍來台後跟隨李仲生習畫。當時政治環境高壓、社會經濟蕭條,現代藝術未成氣候,藝術家幾乎無從得知國外趨勢,只能靠自己摸索並與同儕切磋。然而夏陽與鬥志高昂的同好們跨越知識與資源匱乏的屏障,以「八大響馬」之姿創立「東方畫會」,大力推動現代藝術,接著相繼奔往義大利、西班牙、巴黎、紐約等地,一路排除萬難開闢出各自的藝術道路。如今夏陽在上海定居,從東方到西方,再從西方回到東方,他年過八旬仍維持著不墜的創造力,持續勇往直前、突破自我。林彥瑋、張安、張銀亮和鄭帛囪約莫三十歲不等,他們成長於沒有戰爭但資訊爆炸的地球村,接受藝術學院的訓練,在這雙年展、博覽會數量不斷攀升的年代隨時可接觸到世界頂尖的藝術,然而這一代藝術家所必須克服的挑戰,是在這多元豐富以致於充滿雜音干擾的環境中以自己獨特的創作語彙發聲。

    在此聯展中,夏陽的大型金屬片雕揉合了金屬的硬度與草書的蒼勁線條,雄渾有力地立體呈現了他知名的「毛毛人」。台南大學與新竹教育大學畢業的林彥瑋,寫實描繪公共空間中歷經風霜的動物雕像或手邊的動物玩具,他的油畫聚焦在這些動物不合時宜又啼笑皆非的擬人神態,幽默而精準地比喻了當代人尷尬的窘況。台北藝術大學畢業的鄭帛囪用立可白、馬克筆、鉛筆、原子筆等常見文具,在便利紙上任意識自然而隨性的流轉,有些是他印象深刻的風景,有些是隨機生成的抽象畫面,每一幅畫尺寸雖小卻有大畫的格局。張安現於中央美術學院攻讀博士。他使用蛋彩坦培拉技法,將拆遷中的建築、鋼筋曝露的廢墟營造成一個個古典寫實的「紀念碑」,此外展覽還將展出他在文化考察期間的寫生以及最近的紙上作品。張銀亮兒時從泉州移居香港,後赴英國格拉斯哥美術學院和倫敦大學學院斯萊德美術學院就讀,現於北京生活及工作。她敏感地觀察每個曾經旅行或居住過的城市,運用微妙的色彩關係與扭曲交錯的構圖,製作出別具一格的獨幅版畫。從夏陽到林彥瑋、鄭帛囪再到張安、張銀亮,「立」一展以五位藝術家的作品映照出不同世代與地域的表現風格,以及自成天地的創作觀。

    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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