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非池中藝術網

亞洲藝術中心

【空間的動態】法賈希迪個展

  • 展期

    日期:2020-05-16 ~ 2020-06-28

  • 地點

    建國南路二段177號

  • 參展藝術家

    法賈希迪

  • 「空間的動態─法賈希迪個展」為印尼現代抽象繪畫先鋒法賈希迪(1930-2004)首次海外個展。這位出生於印尼泗水的藝術家,以簡練構圖中的活躍生息和大自然律動聞名,並發展出極具開創性的「空間的動態」(Space Dynamics)系列作品。本展精選十五件法賈希迪自1970年代至2000年代初期的重要抽象畫作,具體而微地展現藝術家創作成熟期中最精萃的代表性作品。
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    在印尼抽象繪畫史上,法賈希迪具有無可取代的的地位,他透過繪畫提出印尼邁向都市化、工業化時代的美學新觀點。希迪的創作風格融合了共通性的幾何語言和印尼傳統美學,從本展橫跨三十年的法賈希迪作品中,可見印尼傳統手工蠟染(batik)的不規則圖樣、伊斯蘭書法的文字符號,及提卡(tikar)藤編交織網格等圖樣特徵對其創作產生的影響。儘管用色或形狀隨系列而異,但希迪始終透過畫面中的「負空間」在浮動的圖形及構圖間維繫張力,這是他對空間的創造性探索中,所欲強調的一種具有韻律的動態,也是他風格演進的基礎。希迪創作的年代時值現代化風潮席捲獨立之初的印尼,他的創作展現了時代對和諧狀態的追求。
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    在印尼現代藝術史的大敘事中,希迪顯得與眾不同。他並未陷入當時具象寫實主義和現代抽象主義間的爭論。不同於日惹畫派同儕所關注的現實主義及民族主義,希迪出乎意料地在六○年代初,由表現性的再現轉而致力於純抽象風格。回應驟變的社會環境,他轉而探索內心世界,並創作出反映直覺情感與思考的作品。如此特殊的創作演進歷程,也讓他有別於主要受到形式主義問題和西方理論啟發的萬隆畫派同輩。希迪的抽象藝術不僅是精簡後的現實觀察,而是在非客觀繪畫、紡織工藝、伊斯蘭幾何圖騰與設計原理間建立深刻連結的重要途徑。
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    An inimitable figure in the development of Indonesian abstract painting, Fadjar Sidik presented a new aesthetic proposition in the age of urbanisation and industrialisation. The Surabaya-born artist is best known for simple compositions that evoke the vibrant pulse and movement of changing nature. Titled after his ground-breaking body of work ‘Space Dynamics’ (Dinamika Keruangan), the exhibition presents 15 paintings that trace Sidik’s mature period from the 1970s to the early 2000s. It is also his first solo presentation outside of his home country, Indonesia.
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    Synthesising the universal language of geometric shapes and traditional Indonesian aesthetics, the paintings on view feature irregular patterns found in hand-drawn batik, script-like marks that recall Islamic calligraphy, as well as interlocking grids that resemble tikar weavings. While colour and form may vary across the series, negative space is a critical element in Sidik’s paintings, with tension being maintained among floating shapes and formations. As inventive explorations of space, these works emphasise a sense of rhythmic dynamism, a bedrock throughout the artist’s stylistic evolution. For him, the serial reconfiguration of basic shapes was a gesture towards the pursuit of harmony, at a time when modernisation was sweeping through the newly independent Indonesia.
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    In the narrative of Indonesian modern art, Sidik was an anomaly that contradicted the polemic that existed between artists working in representational realism and modern abstraction. Unlike his Yogyakarta peers who pursued in realism and nationalist subjects, Sidik defied expectations and shifted from expressive representation to a purely abstract idiom in the early 1960s. In response to the changing social environment, he turned inwards to create works that reflected his emotional impulses and inner thoughts. This unique process also sets Sidik apart from Bandung school contemporaries, who were predominantly driven by formalist questions and Western theory at that time. Sidik’s abstraction is not simply a reduction of observed reality, but rather a critical device to weave profound connections between non-objective painting, textile art, Islamic geometry and design principles.

亞洲藝術中心法賈希迪印尼抽象繪畫東南亞

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