Personal Structures

Palazzo Bembo, Venice, Italy
May 11 - November 24, 2019

宛儒畫廊受邀參加第五十八屆威尼斯雙年展 GAA Foundation 主辦《個人結構-開放邊界》 展覽
文/李寅彰

在 2019 年第五十八屆威尼斯雙年展脈絡下, 全球藝術事務基金會( Global Art Affairs Foundation, GAA Foundation) 主辦《個人結構-開放邊界》( Personal Structures–open borders) 展覽, 分別在威尼斯著名地點本博宮( Palazzo Bembo),莫拉宮( Palazzo Mora) 和瑪莉蕾瑞莎花園( Giardini Marinaressa) 展出。

《個人結構-開放邊界》 主要關切歐洲與非歐洲之間差異與共同之間的對話狀態, 讓觀者在日常環境之間凝聚意識, 藉由時間與空間的文化特性提升人類個體存在的觀察洞見。 臺北宛儒畫廊受邀參加本屆 GAA Foundation 主辦的展覽, 展出藝廊代理的三位藝術家: 連建興、 謝宛儒、 郭彥甫。 三位藝術家針對展覽的命題, 透過不同創作實踐的個體狀態與作品呈現的有機組態( configuration) 予以對話。

連建興的非寫實繪畫, 主要透過個人的記憶圖像, 組織成一套虛構的敘事邏輯。邀請觀者針對畫中虛構的形體, 喚醒台灣地景的回憶, 並在觀看中穿梭於歷史與現實之間的當下。 謝宛儒在抽象與水墨之間, 轉化為一種藝術療癒的方式, 讓韻律帶動觀者進入抒發與張力的邊界形貌。 郭彥甫在繪畫中以行李箱作為景框, 透過物件的再現形像作為自我肖像, 呈現藝術家個人身影如何在繪畫中進行反身性的思考與自我旅程的對應關係。 整體而言, 宛儒藝廊透過三位當代繪畫藝術的創作, 藉由繪畫中不同的構圖( composition), 激發觀者進入私人與公共彼此模糊的想像邊界, 從中開啟個人與世界之間的有機思維與情感動能( agency)。

藝術家

連建興
謝宛儒
郭彥甫
夢土勘輿之礦工島行旅
夢土勘輿之礦工島行旅
連建興
2019
油墨、畫布 (112 x 194 cm)
試圖從曾經繁榮興盛過的台灣東北角金瓜石一帶的煤、銅礦產業地景之地理勘輿式的踏察紀錄記憶裡,形塑一種浪漫記遊的主題縮景繪畫觀看方式。主觀的再現心中失落的圖景想像。藉由實景重點地標與虛境再造的空間重構,勾勒出似真亦假的時間流逝之產業感懷、心靈悸動。也試圖呈現物質資源開發與自然環境保護間的矛盾與省思。透過飛船進入一個已失落無人它島溉念的礦工縮景飛島。由畫面左方開始一隊旅行團之登島行旅視野,揭示記憶中的礦村種種想像重遊。視覺移動由水湳洞漁港、無人礦村、象鼻洞、金瓜石十三層廢墟礦場、黃金瀑布、黃金神社、茶壺山、至九份、乃至畫面深遠處的台北盆地101至基隆港的環形地景島鍊之精細描繪外。再到畫面右側練油廠延伸小島外,孤坐在墜落飛碟上的,陷於思緒中的外星人。都是特殊觀看的畫面安排巧思。最後回到畫面前方,地面上的採礦軌道、推動礦車的公鹿,還有坑道口下的地下礦車軌道設施之描景安排,隱藏其間的探頭小鹿,躲在石洞石階上伸展身體的野豹等,皆是共同串演一劇礦工飛島的神遊懷想情趣。
靜心之島
靜心之島
連建興
2019
油墨、畫布 (112 x 194 cm)
乘著輕舟,來到舒放的心靈靜心之島,自在的在島上漫遊,尋找有溫度情趣的地景。將許多嚮往的心靈寄托之純樸異境奇景,盡收納在想像的心海之島。可以瑜珈、泡湯、散步、放空、冥想,感受那天人合一,動物悠遊,和協無擾的清淨夢土。
游絲
游絲
謝宛儒
2018
ink on paper (132 x 100 cm)
In the ink paintings of Julie Hsieh, we see a female artist who revels in her study of music and art. She enters the world of ink in a direct and charming way by injecting a simple musicality that provides her work with a sense of rhythm. She uses a soft, hand-made brush like a mop—which has a similar look as the strands of her hair—to drag the ink on large rice paper. The vortex action of her sliding brush on the surface of paper is free and has the feel of creation. Explosive, like a whirlwind and a dazzling movement, it appears as a momentary projection of the huge cyclone in the universe. This is as much a dance as a painting. Sometimes she draws directly with her fingers to produce subtle marks to better realize her vision. There are two types of traces that contrast to form the defining linguistic features of Julie Hsieh’s paintings. First, she forms fine gossamers lines by the swift movement of her brush across the paper. What Julie Hsieh consciously pursues are thin lines that can breathe. It is like the natural reverberation of the ancient Chinese technique of “yóu sīxiàn”: the carving of curves as thin as gossamers on jade. It is conveyed, however, by action rather than calligraphy. These thin lines seem to breath and yell as they run in on their own swirls and reverberation. They echo like the soul’s desire to share its mood and meaning with the universe. Second, there is the gravity of the thick ink, which focuses on its explosive power and force. This type of stroke seems to make the picture sound, as if you can hear explosions. The explosive point of gravity and the swirling feelings of the filament in her artworks are like the contrast between pureness and musical tension, lightness and gravity, fragment and heaviness, concentration and scatter; her art seems to echo with this endless power and sound waves. This is the swirling of the rhythm and the perfect connection between both senses of vision and hearing. The ink paintings of Julie Hsieh are the paintings of life’s dance with rich black-and-white blooms as well as the vivid and majestic contemporary expression of black-and-white art. This painting style emphasizes the painter’s movement in the process of creating. It expresses the artist’s emotions, energy, and spirit. It is through this that her paintings acquire a graceful and majestic life.
Ink Forest
Ink Forest
謝宛儒
2019
ink on paper (148 x 79 cm)
這邊到那邊B
這邊到那邊B
郭彥甫
2019
複合媒材 (190 x 170 cm)
這邊到那邊A
這邊到那邊A
郭彥甫
2019
複合媒材 (190 x 170 cm)