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目錄 INDEX

04

創辦人及主席的話

08

為什麼水墨現場提出「 東方根性,當代表現 」?

06 14 16 18 20 21 22 68 80 86 96

主要合作夥伴的話

回向傳統精神深處的現代性

水墨現場台北展博會策展論述

談水墨現場台北展博會的空間精神 展博會平面圖 展位代號檢索

東方根性 當代表現 特展

台灣烏龍畫派 公共裝置藝術

人工智能與藝術

102 水墨現場貴賓室 - 暗即是明 104 畫廊檢索

107 「水墨現場」學術論壇 108 合作夥伴與贊助

台北 展博會 2


台北展博會

05

Message from Founder and Chairman

11

Why INK NOW and Why “Eastern Origin in Contemporary Expression”?

06 15 17 19 20 21 22 68 81 86 96

Message from Lead Partner A Modernity That Returns to the Depth of Traditional Spirit INK NOW Taipei Art Expo Curatorial Statement Discourse on the Spatial Concept of INK NOW Taipei Art Expo Floor Plan Booth Index Eastern Origin in Contemporary Expression Curated Exhibitions Taiwan Oolong School of Art Installation Art Projects Artificial Intelligence and Art

102 INK NOW VIP Lounge - Dark Is Light 104 Gallery Index

107 INK NOW Art Expo Academic Program 108 Partners & Sponsors

台北展博會

3


創辦人及主席的話 各位來賓,您們好。 歡迎來到首屆「水墨現場」展博會,今天也是我們「水墨現場」專刊《墨.聞》 及自媒體網站 ink-now.com 的首發日,請大家持續關注我們! 在首屆台北展博會,我希望大家不要錯過以下的重要亮點 : 首先,由台北無有設計劉冠宏先生精心設計的水墨現場展博會場地,是以中國

四大名園之一「留園」的建築與空間設計理念提煉出全新的策展方向,把 6,000

平方米的空間,納須彌於芥子;把「一池三山」、「留園三峰」等園林造景概 念,化為觀賞者可以感知的時尚展覽空間,充分表現了我們「不止於藝博」的 成立宗旨。

首屆展博會精選展出了來自亞洲多間畫廊和藝術機構的作品,涵蓋繪畫、雕 塑、攝影、裝置、人工智能等多種不同媒材,讓觀眾可以在專業的平台欣賞及 收藏到精彩的優秀作品,也期望為大家帶來「無窮於水墨」的耳目一新感覺。

此外,我再一次感謝美國運通的支持,成為水墨現場台北展博會的主要合作夥

伴,並期待歡迎 Centurion 及簽帳白金會員共襄盛舉;也特別感謝台北晶華酒 店及 BMW 大 7 系列分別作為酒店夥伴及貴賓專車夥伴,以及格蘭父子洋酒特 別贊助高級洋酒,為貴賓們提供禮賓式服務。

最後,特別推薦大家手上這本水墨現場專刊 —《墨.聞》,結合了各大畫廊 的精選藝術家資訊和深度閱讀文章,表達出我們展博會的「東方根性、當代表 現」取向。創刊號收錄了四篇由兩岸三地水墨學者、專家,以及水墨現場編輯

團隊撰寫的文章:<為什麼「水墨現場」提出「東方根性、當代表現」?>、 <回向傳統精神深處的現代性>、<談水墨現場的空間精神>、<人工智能與

藝術>,並以一個綜合學術、市場、文化、哲學的角度,思考水墨的未來性。 希望大家能從中得到一些新的啟發。

再一次衷心感謝各位出席與支持。希望未來與大家有更多的交流。 許劍龍

水墨現場創辦人兼主席

4


Message from Founder and Chairman Dear Distinguished Guests,

Welcome to the debut of INK NOW Art Expo, today also marks the launching of INK NOW Art Journal and our self-media website ink-now.com, please follow us.

In the first edition of Taipei Art Expo, I wish you all not to miss our highlights:

INK NOW Taipei Art Expo and Hom Liou’s unique architectural interior design take curatorial inspiration from China's finest gardens - the Lingering Garden of Suzhou to create "More than an Art Fair" experience. Interpreting the legendary folklore of "Three Islands of the Gods", these gardens have been recreated within the 6,000 m2 of the exhibition hall where visitors can become immersed in the Eastern spirit.

INK NOW Art Expo advocates the “More than Ink” concept, presenting an exquisite selection of art pieces including paintings, sculptures, photography as well as digital, Artificial Intelligence and installation art, offering a professional platform for appreciating and collecting ink art.

I would once again like to express my gratitude and thanks to American Express for their support as Lead Partner of INK NOW Taipei Art Expo. I look forward to welcoming Centurion and Platinum cardholders to the American Express VIP Lounge. My special thanks also go to Regent Taipei and BMW 7 Series as our hotel partner and VIP limousine partner respectively, as well as William Grant & Sons for sponsoring our fine spirits, enhancing the bespoke experience.

Finally, this INK NOW ART JOURNAL - Debut Issue features first-hand information from our participating galleries. Revolving around our belief in “Eastern Origin in Contemporary Expression”, the Art Journal also recommends four well-written articles contributed by ink art experts and INK NOW editorial team, “Why INK NOW proposes ‘Eastern Origin in Contemporary Expression’?”, “A Retrospect of Modernity in the Depth of Traditional Essence”, “Discourse on the spatial concept of INK NOW Taipei Art Expo”, “Artificial Intelligence and Art”. These articles have an integrated perspective on academic, market prospect, culture and philosophy to examine the future development of ink art, delivering new insights to our readers.

I am grateful for all your attendance and support and wish we continue to share this cultural exchange in future.

Calvin Hui INK NOW Founder and Chairman

5


主要合作夥伴的話

Message from Lead Partner 推廣藝術美學一直是美國運通長期以來努力的方向。 美國運通卡會員也有許多藏家及藝術愛好者,過去我們 也跟不同類型的夥伴合作,例如蘇富比拍賣。

水墨是中國的重要文化遺產,也很開心這次有機會跟「水

墨現場」合作,一起推廣水墨藝術,期許中國水墨未來 在世界的藝術舞台發光發熱。

American Express (AMEX) endeavors to promote art aesthetics.

最後,我們希望透過這次與「水墨現場」的合作,也為

A lot of AME X card holders are collectors and

員,分享更多有關收藏當代水墨藝術的資訊。

different sectors in the past, such as Sotheby’s.

熱 愛 水 墨 藝 術 的 美 國 運 通 簽 帳 白 金 卡 及 Centurion 會

郭豐賓

台灣美國運通董事長

art lovers; we have collaborated with partners of

Ink art is an important cultural legacy of China. We are pleased to partner with INK NOW to support the development of it and wish Chinese ink will shine on the international art stage. We, through this partnership, hope to provide latest update about contemporary ink art, art collection and market information to AMEX Platinum and Centurion card holders. Ben Kuo Chairman of American Express Taiwan

6


台北展博會

AMEX 短 文、照片


水墨現場(INK NOW)提出一個具有開展性、發展史觀的

命題(discourse):「東方根性,當代表現」。「東方根性, 當代表現」並非一種對當下結構的被動式回應,它不是一

個流派或是一個概念——概念有其局限性,對某些藝術界

的事件可能沒有解釋能力;流派亦是時代潮流的產物,自 與水墨市場流動的論述。每一種論述都有著自身的歷史背

「水墨與當代」 ——無窮的引力與無盡的前衛

濟與後人類社會論述底下,如何深化東方審美價值與東方

「水墨」作為一種繪畫媒材,一直在超脫傳統意識形態的

性問題。「東方根性」不是一種狹隘與過時的文化本質主義

物一樣,水墨亦隨著時代的脈絡不停更新、改革。我們由

身被歷史任務限制。相反,一個命題,是可以隨著當代藝術 景,而水墨現場面臨的是全球數位時代視覺語言、虛擬經

美學在整個藝術生態的位置,換言之就是東方審美的現代 (或文化保守主義),不是一種自戀與要求認同的心理,不 是結構性的「普世美學」回應;而是關注未來性,具有前膽 性與發展性的定位方針。「當代表現」是藝術、學術、收藏

家、畫廊與全球在地化(Glocalisation)市場的互動合作, 推動整個藝術生態發展。我們還會以建築與空間設計理念

提煉出全新的策展方向,使展博會不僅僅是概念上的突破, 也是在空間使用上的突破。

束縛;滴墨為漬,遇水而染,正如抽象藝術是現代化的產 「此在」 (Being-There)的當下性發展到「語言作為存在

之 居所」 (Language as the house of Being)的全 球 數

位時代視覺世紀,水墨接受著現實、幻想與虛擬世界的再 衝擊,再改造。「水墨與當代」是兩部引擎、兩個系統,一 個帶著歷史的重量,漩渦般的吸引我們走入傳統的中心;

另一個永遠向前,不停追求突破與改變。藝術家王無邪曾

經講過一句話充分展示「當代與水墨」的關係:「有水有

墨,似水似墨,非水非墨都是將來水墨畫可行的路線。」 王無邪將所有水與墨的可能組合都窮盡了,當代其實就是

多元表象(multiple appearance)的總稱,德國哲學家黑

格爾(Georg Wilhelm Friedrich Hegel)在 19 世紀就 以 預言式的書寫總結了當代:「表象的表象就是真理」 (the

appearance of the appearance is the truth),在 去 本 質的世紀,禁令成為自身的不可能;「當代」本身就是結構 主義、後結構主義、後殖民、後現代等等思潮的結集體,簡 單一句就是能指(signifier)與所指(signified)不停滑動

的時代——唯一不變的就是變化本身。我們已經進入了書

法入油畫、不強調渲染感的墨水畫、以水墨為意的爆破作 品、甚至任何量、任何形、任何維度與任何媒介都可以成

為水墨作品的時代,更要了解這些超脫了媒材與技法限制 的作品背後,有著一支定海神針——東方根性(東方審美

精神),使藝術表現不是胡亂的無意識行為,而是有藝術 價值的作品。

8

EASTERN ORIGIN IN

撰文:水墨現場編輯部

CONTEMPORARY

EXPRESSION

為什麼水墨現場提出 「 東方根性,當代表現 」?


「東方與當代」 ——困在別人的夢中,你就完了 「東方根性」作為我們思考的錨點,是一種發展觀而不是 墨守成規的本質主養表現,因為「東方」從來就不是一個 自主圓滿的概念。相反,它是一個多元的共同體。葛兆光

在《宅茲中國:重建有關「中國」的歷史論述》提到東方

這個概念在清朝年間經過撕裂的過程:「『東方』,也就

是原本在華夏文化基礎上東亞的認同的最終崩潰,這種

漸漸的互不相識,體現著『東方』看似同一文明內部的巨

大分裂。」由清入民國再到現代中國再到今天的人類命運 共同體,「東方」一直經歷著「同」到「異」,再由「異」轉

「同」的辯證發展。直到現在,我們才又一次從傳統中找 到答案——儒、道、佛、茶道、陶瓷、園林、建築等。但水 墨現場相信,「東方」還是會一直處於螺旋型的辯證昇華 當中——儒、道、佛等亦未必就窮盡了東方精神;因為一

個概念必然包含其不在場的對立面——「西方」;要了解 什麼是東方,我們同時亦要了解什麼是西方,而「西方」

本身亦是在恆常變動當中。我們眼中的「東方」,在現階

段就是擁有一套自己的功夫自己的拳法,我們可以自豪地 在不同場合不同文化面前揮灑自如。可是,如果只停留於 「東/西」對立概念的思維,就等於困在一黑一白的兩元 化夢境一樣,「適領一藝,未窺全 豹」;水墨現場相信擁 有複數的道路很重要,不能只有一座獨木橋。

「根性和表現」 ——一對若即若離的概念 在能指與所指任意滑動的當代數位語境底下談「根性」

(Origin),好像是跟永遠不會重覆流過同一個地方的流

水作對一樣。但水墨現場相信無根(Origin-less)的形式 和表現跟空中樓閣一樣,一旦碎拆下來,便會不成片段。

我們不是「為當代而當代」,也不是「為東方而東方」, 而是堅持兩者是內在地聯繫在一起。根性和表現絕不是

「東體西用」、「西體中用」這些具有戰略性色彩的新瓶 裝舊藥。而是更深層次的「世界觀、人生觀、價值觀」(三 觀)的表現。其實過往每一次對「水墨」與「中國畫」產

生的討論和辯爭都是根性與表現的一種:早至文人畫的興 起、董其昌的南北宗論;晚清民國的康有為、陳獨秀、魯

迅、徐悲鴻、林風眠等人開始意識到「筆墨之變」的問題, 到近代的吳冠中提出抽象美、李小山和劉國松在差不多同 一時間形成全國性討論、到谷文達、徐冰的新潮水墨、再

之後就是「新文人畫」、「實驗水墨」、「抽象水墨」、「表 現水墨」、「泛水墨」、「當代水墨」、「新工筆」、「新

水墨」漸次與重疊著發生;再到當代的各種概念與理論框

架的嘗試——諸如水墨藝博提出的「水墨 +」、夏可君的 水墨性藝術(Inkness Art)、馬唯中的「似重若輕」、皮

道堅的「現在進行式」等等,都是在尋找東方根性在當代 社會如何不失本真地(authentically)表現自己。

綜上所述,「根性、表現」是一對若即若離的概念。漢學

家宇文所安在《他山的石頭記——宇文所安自選集》提到: 「我們沒有固定的文本,沒有可靠的源頭,只有一部充滿 變化和可以一再解讀的歷史。」我們詢問自己如何走到今 天這一步,靠的是一步一腳印。我們展示未來的同時,亦 不時回望走過來的步伐。我們腳踏過的痕跡是「根性」,

將會走出來的道路就是「表現」。水墨現場創辦人兼主席 許劍龍講過:「千百年來,『水墨』在東亞文化,並非一

種單純的繪畫媒介,它是一種文明的象徵,是一種古老文 化傳統的物質載體。其與東方人的哲學、人生觀、審美意 識等等諸方面交融到一起,不分彼此。進入近現代以來,

東方開始步向現代轉型,水墨作為東方藝術領域的標誌更 是首當其衝,事實上,這一歷史性的轉折到今天也沒有完 全結束。」

9


「當代表現」也包含東方美學在當代社會表現的一部分, 比西方幸福的是,東方美學與審美觀一直存在於從事水 墨的當代藝術家的胸懷之中。西方傳統美學是一個永恆

失落的樂園;當代藝術與傳統西方美學是真實界(the real)的割裂,而不是幻想性(the imaginary)的可痊 癒 的 傷 口。 相 反, 東 方 美 學 卻 以 莫 比 烏 斯 環(Möbius

strip)的結構呈現於當代,前與後是不可以分開的,整

個美學傳統就是一個連貫的存在。我們提倡的「當代表 現」還包括一切文化、商業、學術上的相互合作。許劍

持續推廣水墨藝術發展的熱情和承擔;二、開創一個有

最後,水墨現場的寄語: ——東方根性,當代表現

經營模式,透過整年度在亞歐地區策劃一系列巡迴展覽

如果我們用一種戲謔式的方法轉換一下命題的邏輯:「當

真正做到互惠共贏;三、深信國際藝術市場值得擁有一

Expression),就 會 發 現 比「 東 方 根 性,當 代 表 現 」

龍表示:「我們帶著三大使命去創辦水墨現場:一、對 別於傳統藝博會 (Art Fair) 的全新藝術展博會 (Art Expo)

與宣傳活動,與所有合作夥伴一起開發和共享藏家資源, 個能夠體現東方文化精神的大型藝術平台及展覽會。並 以專業且開放的態度,為前人的藝術遺產做好研究和總

結的同時,也為後代做好東方美學之未來性的探討。這 就是我們成立『水墨現場』的核心理念。」這就是為什 麼除了「東方根性,當代表現」之外,我們還會以「不止

代根性,東方表現」 (Contemporary Origin in Eastern (Eastern Origin in Contemporary Expression)更能

反映現象。可是,現象背後的本質總是以否定的否定的形 式出現,一艘墨海中的遊輪,必須有一掌舵的思想——東 方精神,才不致迷失本真。

於藝博,無窮於水墨」作為我們另一個核心思想的原因。

——現場,就是現場之外

如果「當代表現」只存在於理論層面,而不接觸經濟與

其實,我們一早就踏入了「東方根性,當代表現」的時代。

價值。「當代表現」並非學院式的斷代與定位概念,而

is retrospective)的方式呈現。蘇軾有句詩詞:「不識廬

社會的實際運作,就會淪為虛詞,變成口號而失卻內在 是一系列在場的實際操作,包括展博會、畫廊、拍賣行、 收藏家、基金會等等多方面的商業、文化與學術交流所 促成的成果。我們不止詢問「在偏向西方主義文化語境

的狀態下,我們如何在亞洲推廣與創造溝通」,我們還 會詢問如何深化中國與外國畫廊的溝通、如何建立外地 水墨畫家在中國宣傳的渠道等等實際參與的問題。

我們語言的結構讓話語的意義總是以回溯性(meaning

山真面目,只緣身在此山中」;如果我們還沒踏入「東方

根性,當代表現」的時代,我們根本不能夠提出這句命題; 正正是水墨的前輩們走過多蹇難行的道路,我們才可以 得出一個階段性的總結與寄語。可堪玩味的是,蘇軾也正

正標示著中國寫實風格 畫與文 人 畫的轉 折,與「東方根 性,當代表現」形成一個有趣的對比。什麼是「現場」?現

場就是一 個時空的起點,一 個代表行動的能指,不囿於 一個展覽場地和機構,不止是作為中西結合的香港,不是 正在走向國際的內地,也不是台灣和外地的水墨文化;而 是「千里之行,始於足下」。「現場」是什麼?現場就是「現 場之外」 (Beyond NOW)。

10


Why INK NOW and Why “Eastern Origin in Contemporary Expression”? Written by INK NOW Editorial Team

Ink and the Contemporary - Infinite Gravitation and Avant-garde As a medium of painting, “ink” continues to move beyond constraints of traditional ideology. An ink drop forms a spot; it is dyed in water. Just like abstract art is a product of modernisation, ink is being renewed and have evolved from the Nowness of Being-There to the

Contemporary Expression.” It is neither a passive reaction

visual era of global digital age where “Language [is] the

to current structure, nor a school of thought or a concept—

house of Being”. Ink assumes reality, fantasy as well

concept has limits and probably does not suffice to

as re-impact and reformation of the virtual world. “Ink

explain certain events in the art world; a school of thought

and the contemporary” are two engines, two systems;

is also a product of a trend in a certain era and limited

one carries the weight of history, attracting us into the

by historic task. On the contrary, a discourse can flow

center of tradition like in a swirl, while the other keeps

with contemporary art and the ink painting market. Each

moving forward and ceaselessly seeking breakthrough

discourse has its historic background. What INK NOW

and change. The following words from artist Wucius

tries to address is how to enhance the position of Eastern

Wong adequately illustrate the relation between the

aesthetic values and Eastern aesthetics in the entire art

contemporary and ink: “With water and ink, like water

ecosystem against the backdrop of a visual language in

and ink, neither water nor ink - these are all possible paths

a global digital era, virtual economy and post-humanist

of future ink painting”. Wucius Wong exhausted all the

social discourse. In other words, it is about the question of

possible combinations of water and ink. “Contemporary”

modernity in terms of Eastern aesthetics. “Eastern origin”

actually sums up multiple appearances. In the 19th

is neither a narrow and obsolete cultural essentialism

century, Germany philosopher Georg Wilhelm Friedrich

(or cultural conservatism), nor a narcissistic mentality

Hegel summarised contemporary with his prophetic

that requires identification or a structural response of

writing: “the appearance of the appearance is the truth”. In

“universal aesthetics”. Rather, as a positioning principle,

a century devoid of essence, taboo becomes impossible;

it is forward-looking, stressing future possibility and

the “contemporary” itself is an assemblage of trends of

CONTEMPORARY

reformed along with contexts of different eras. We

historic perspective of development: “Eastern Origin in

EASTERN ORIGIN IN

INK NOW proposes a progressive discourse based on a

thought including structuralism, post-structuralism, post-

consists of interaction and collaboration among art,

colonialism, postmodernism, etc. In short, it is an age

scholarship, collectors, galleries as well as the glocalised

where signifier and signified keep on slipping - the only

market, in order to move the whole art ecosystem

thing that remains is change itself. We have entered an era

EXPRESSION

potential of development. “Contemporary expression”

forward. We will also distill brand new curatorial direction

where calligraphy is applied to oil painting, ink painting no

through ideas of architecture and space design, so the

longer stresses the effect of dye, artists create works with

Expo will not only be a conceptual innovation but also a

notions of ink through explosions, and even any volume,

breakthrough in spatial employment.

form, dimension and medium can become ink works. It is all the more necessary to understand that behind these works beyond limits of medium and technique, there is a pillar that Pacifies the Oceans. Eastern aesthetic spirit, for which artistic expression will not amount to merely whimsical unconscious action, but works with artistic value.

11


Origin and Expression - A Pair of Linked Yet Different Concepts Talking about “Origin” in the contemporary digital

The East and the Contemporary - Doomed If You Are Trapped in the Dream of Others

context where signifier and signified arbitrarily slip is like

As the anchoring point of our thinking, “Eastern

torn apart, become mere fragments. What we propose

Origin” is a pro-development perspective rather than a

is neither “contemporary for the sake of contemporary,”

manifestation of conservative essentialism, since “the

nor “East for the sake of the East”. Rather, we insist on

East” has never been a self-sufficient and complete

the internal connection between the two. Origin and

concept. On the contrary, it is a diversified collective.

expression are far from “old wine in a new bottle” with

In his Here in 'China' I Dwell : Reconstructing Historical

strategic implication, like “zhong ti xi yong”, “xi ti zhong

Discourses of China for Our Time, Zhaoguang Ge

yong”, but the expression of “view of the world, view

talks about how the concept of the East was being

of life, values” (three views) at a deeper level. Actually,

torn apart during the Qing Dynasty, that within “the

each of past discussions and debates over “ink” and

East,” meaning the eventual collapse of East Asian

“Chinese painting” represents a manifestation of origin

identification originally based on the Huaxia culture,

and expression. Early on, upon the emergence of

there is such a gradual mutual foreignness, incarnating

literati painting, Dong Qichang discussed Northern and

the internal immense split within “the East” which

Southern schools; from the late Qing Dynasty to the

seems to be a single civilisation. From the Qing

Republic of China, Kang Youwei, Chen Duxiu, Lu Xun, Xu

Dynasty to the Republic of China, the Modern China

Beihong, Lin Fengmian and others began to be aware of

and today’s human community of shared destiny, “the

the issue of “mutation of brushwork and ink”. In modern

East” has undergone a dialectic development from

times, Wu Guanzhong proposed abstract beauty;

“sameness” to “difference”, and from “difference” to

Li Xiaoshan and Liu Kuo-Sung initiated nationwide

“sameness.” Until today, we once again find answers

discussion around the same time. Then, Gu Wenda and

from tradition: Confucianism, Taoism, Buddhism, tea

Xu Bing proposed a new wave of ink and wash, followed

ceremony, ceramics, garden, architecture, etc. But

by “new literati painting”, “experimental ink and wash”,

INK NOW believes “the East” will remain in a spiral

“abstract ink and wash”, “expressive ink and wash”, “pan

dialectic sublimation - Confucianism, Taoism and

ink and wash”, “contemporary ink and wash”, “new fine

Buddhism do not necessarily exhaust the Eastern spirit

brushwork” and “new ink and wash” that overlapped

since a concept certainly includes its absent opposite

and gradually took place. Into the contemporary era,

- “the West”. Understanding what the East is requires

there are various attempts in terms of concepts and

understanding what the West is while the latter itself

theoretical frame, like “ink+” proposed by Ink Asia,

is also in constant change. Currently, “the East” in

Xia Kejun’s Inkness Art, “The Weight of Lightness”

our eyes means possessing our own Kungfu and a

proposed by Lesley Wei-Chung Ma, Pi Daojian’s “present

set of fighting skills which can be proudly and freely

progressive tense”, etc.; all seek how Eastern Origin

exerted in front of different occasions and cultures.

authentically manifests itself in the contemporary

However, confining ourselves to the oppositional

society.

full picture”. INK NOW believes the importance of having plural ways rather than merely a log bridge.

12

EASTERN ORIGIN IN

were being observed without getting to know the

expressions are like castles in the air that, once being

CONTEMPORARY

a black/white dichotomous dream where “particulars

course. Yet INK NOW believes origin-less forms and

EXPRESSION

thinking of “East/West” amounts to being trapped in

going against running water that never repeats the same


If “contemporary expression” only exists on a theoretical level and does not touch on actual economic and societal In summary, “origin and expression” compose a pair of related yet different concepts. In his Borrowed Stone: Stephen Owen’s Selected Essays, sinologist Stephen Owen talks

operation, it falls into empty words, becomes a slogan and loses its internal value. “Contemporary expression” is not an academic periodisation and positioning concept, but a series of on-site actual operation, involving art expos,

about how we do not have fixed texts or reliable source; we

galleries, auction houses, collectors, foundations, etc.,

only possess a history filled with mutations, which we can

resulting from the contribution of commercial, cultural and

interpret over and over. We ask ourselves how we come

academic exchanges. We not only ask “how to promote

to take the current step; the answer is that: by each of our

and create communication in Asia in the situation of a pro-

steps that are down-to-earth. In showing the future, we also,

Occidentalism cultural context,” but also question actual

at times, look back at the steps trodden. The footprints we

participation such as how to deepen the communication

make are “origin” and the road we will walk out is “expression.” Calvin Hui, Founder and Chairman of INK NOW, said, “For thousands of years, in the cultural world of East Asia, ‘ink’ is not a simple medium of painting, but rather a cultural symbol and a material vehicle of ancient culture and tradition. It is integrated into Easterners’ aspects including our philosophy view of life, aesthetic awareness, etc. Into the modern era, the East made a shift toward modernisation, and ink as a mark

between Chinese galleries and foreign galleries, how to create promotion channels in China for ink painters overseas, etc.

Finally, the Dedication of INK NOW: - Eastern Origin in Contemporary Expression If we slightly reverse the logic of the discourse in a playful way and turn it into “Contemporary Origin in Eastern

of Eastern art field particularly confronted such impact. In

Expression,” we find the latter reflects the phenomenon

fact, even today, such a historic turn has not totally ended.”

better than “Eastern Origin in Contemporary Expression”. However, the nature behind a phenomenon always

“Contemporary expression” also contains part of the

manifests in the form of negation of a negation. Like a

manifestation of Eastern aesthetics in contemporary society.

cruise ship on an ink sea, a guiding idea - Eastern spirit - is

The East is more fortunate than the West in that Eastern

necessary to avoid the loss of authenticity.

aesthetics and aesthetic views remain in the minds of contemporary artists working with ink. Traditional aesthetics of the West are about a forever lost paradise; contemporary art and such aesthetics is about rupture with the real rather than a curable imaginary wound. On the contrary, Eastern aesthetics manifests itself in the contemporary through the structure of Mobius strip; what comes before and after it are inseparable and the entire aesthetic tradition exists as a

- NOW Is “Beyond Now” In fact, we have already entered the era of “Eastern Origin in Contemporary Expression.” Due to the structure of our language, the meaning is always transmitted in a retrospective manner. A poem of Su Shi goes: “I cannot tell the true shape of Lu-shan, because I myself am in the mountain”. If we had not stepped into

coherent whole. The “contemporary expression” advocated

the era of “Eastern Origin in Contemporary Expression,”

here also involves all cultural, commercial and academic

we simply could not have proposed such discourse. It is

collaborations. According to Calvin Hui, “We founded INK

precisely for the rugged roads trodden by predecessors

NOW by taking on three missions: first, our passion and

of ink painting that we can obtain a periodical conclusion

responsibility in promoting the development of ink art; second,

and dedication. Interestingly, Su Shi also precisely

to establish an Art Expo business model–beyond the existing

marked the turn between Chinese realistic painting

art fair format – through lining up year-round ink art events in Asia and Europe such as touring exhibitions and promotional activities, we can discover and share resources with our partners to achieve a win-win situation and third, our vision of providing an art platform that reflects a more concise presentation of Eastern culture to the global market. We should be open-minded enough to learn from the past while continuing the discussion of future development

and literati painting, forming an interesting contrast to “Eastern Origin in Contemporary Expression”. What is “NOW”? NOW is the starting point of a time and space, a signifier signifying action. Beyond an exhibition venue and an institution; more than the East-West combination in Hong Kong, the process toward internalisation in the Mainland, or the ink culture in Taiwan and elsewhere, it means “a journey of a thousand miles begins with a single step”. What is “NOW”? NOW is “Beyond now”.

of Eastern aesthetics. This is the core concept of our foundation of ‘INK NOW’.” This is why, in addition to “Eastern Origin in Contemporary Expression,” we also assume another core idea: “More than Art Fair; More than Ink.”

13


UART KUART

回向傳統精神深處的現代性 撰文:庫藝術

「現代性」問題是中國社會與文化延綿百年的歷史命題, 如何找到東方傳統文化現代性轉換的創造性路徑,也是 中國文化人一直在探究的課題。在對這一問題的看法上,

一直存在著不同的聲音,有人認為「現代性」是西方的創

造,不可複製;也有人認為中國完全可以創造自身的「現 代性」。「現代性」即是指建立在科學、理性基礎上的對 一切既有傳統價值、道德標準 和行為法則的打破、審視

與重新評估。這當然是對於人的個體的極大解放。打破了 傳統價值和規則的束縛,讓每個人的創造活力都得到釋

當我們將自身視為當代與傳統的交匯,並把它作為獨特

過「我」的頭腦和感受,才能得出結論接受與否。

一步,反身回向歷史深處,那裡同樣有著無數早已被遺落

放,從此一切的價值和教條不再先驗的正確,而是必須經

隨著西方現代性所引發問題的不斷凸顯,如環境污染,科 技對人的異化,過度追求效率與物質所造成的人性危機

等等……中國的知識份子和藝術家們也在不斷反省和矯 正自己在現代性問題看法上的誤區和偏頗。同時,隨著中

國在國際上話語地位的不斷提升,中國的藝術家們也希 望不僅僅作為西方現代性的東方樣本,而是開始尋求發 出自己的聲音,並對西方現代性的問題有所補充和矯正。

近些年來,隨著全球化和都市化的發展,全世界各個大城 市的生活模式日漸趨同,文化與生活方式的多樣性和在

地性越來越受到有識之士的重視。那些曾經被看作糟粕 與枷鎖的文化傳統,當離得越遠,我們越開始重新發現其

中人性和美好的部分。如果說西方文化是在不斷尋求人

的力量的強大和對世界和自然的改 造,那麼東方文化則 是不斷召喚我們去遵循自然和萬物本身的法則。

價值而非天然缺陷,就不會汲汲於在單向道上掙扎,後退

的價值與精神等待被喚醒。而這種「浪子回頭」,並非證 明當初的背叛和遠離是一種錯誤,出離與歸返之間,關係

早已發生互換,「傳統」不再是一種對立於人的自由的外 在戒律,而恰恰是我們今天面對當下現實處境所需的精 神資源與文化依憑。

今天,很多藝術家開始重新回向傳統文化精神的深處,從 自身文化的源頭汲取今日發展、創造的動力與可能。這不 是一時的「復古」和「追風」,而是許多中國當代藝 術家

們面對當下的個體生命選擇,是一種當代文化現象。他們

並非重複某種傳統文化藝術的模式,而是以當代人的經 驗和視角,將之進行 個體化的詮釋與重新演繹。從表面

上看,他們的藝術有的偏於傳統,有的近於當代,但他們 均已超越了對於傳統與現代二元對立截然兩分的局限性 觀點,這或許即是所謂「另一種現代性」的體現,而不再

單單是「西方現代性的東方樣本」。兩者之間最大的區別, 似乎是前者已然離開單純藝 術本體層面,成為個體面對 現代性危機下的一種生命選擇。

KUART 14


A Modernity That Returns to the Depth of Traditional Spirit Written by KUART

KUART In regarding ourselves as being at the intersection of the

The question of “modernity” has been a century-old

contemporary and the traditional and absorbing these

historic thesis regarding Chinese society and culture. How

unique values we are no longer struggling along a one-

to find creative paths for transforming the modernity of

way path. Taking a step backwards we return to our history

Eastern tradition and culture have been a constant subject

where there are also abundant long-lost values and spirits

of investigation of Chinese men of letters; views toward

waiting to be awakened. Such “return of the prodigal son”

the problem remain divergent. Some hold “modernity” is

does not prove the original betrayal and departure to be

a creation of the West and cannot be reproduced while

erroneous. Rather, relations have been reversed during the

others think Chinese people absolutely can create their

interval between parting and return; “tradition” is no longer

own “modernity”. “Modernity” precisely means breaking,

an external discipline in opposition to man’s freedom but

examining and re-evaluating all existing traditional values,

precisely the required spiritual resource and cultural means

moral criteria and principles of behaviour on a scientific and

in confronting the status quo.

rational basis, which definitely liberates the individual to a great extent. Breaking traditional values and rules lead to

Today, many artists began to return to the depth of

the liberation of everyone’s creative energy. Henceforth, all

traditional culture and spirit, and draw from the source of

values and tenets are no longer correct. The conclusion of

their own culture the motivation and possibilities of their

accepting something or not has to be approved by “one’s”

current development and creation. Rather than transient

brain and feeling.

“revival” or “following the trend,” this is the individual choice of life made by many Chinese contemporary artists

While problems caused by Western modernity continue

in facing the status quo, amounting to a contemporary

to manifest, including pollution, alienation imposed by

cultural phenomenon. Instead of repeating certain patterns

technology, human crisis resulted from excessive pursuit

of traditional culture and art, they make individualised

of efficiency and materialist thinking, etc., Chinese

interpretation and re-interpretation through experience and

intelligentsia and artists continue to reflect on and correct

perspective of a contemporary man. Some of them make

their miscomprehension and bias related to the question

more traditional art while others create more contemporary

of modernity. With China’s voice becoming more relevant

art, yet they all surpass the restrictive view of the distinct

internationally, Chinese artists seek to voice their opinions

dichotomy and opposition between the traditional and the

in an attempt to exceed merely an Eastern version of

modern; incarnating the so-called “another modernity,”

Western modernity but to complement and correct the

surpassing merely an “Eastern version of Western

question of Western modernity.

modernity”. It seems the main difference between the two is that the former already departs from merely an aspect

Following the development of globalisation and urbanisation

of art per-se and becomes an individual’s choice of life in

in recent years, modes of life in metropolises worldwide

confronting the crisis of modernity.

have become similar. Diversity and locality of culture and lifestyle have become more important in the eyes of insightful persons. As we move farther away we start to rediscover our humanity and the beautiful sides of cultures and traditions once cast aside and almost forgotten. If Western culture forever seeks the strength of man’s power and transformation of the world and nature, Eastern culture is a lasting call to follow the rules of nature and our relationship withal. 15


水墨現場台北展博會策展論述 撰文:王焜生(水墨現場藝術總監)

當代 水 墨 觸 及 到兩 個 基 本 層面的 問 題。一 個 是 何 謂「當

代 性 」?另一 個 是 何 謂「水墨 」?為何 在當 今的水墨論 述

中要 特別 提出當代 性的 問 題,顯 示了過去 對 水 墨 有 著根 深蒂固屬於傳統的或古老的,甚至是不合時宜的印象,不

論藝術家或者論述者不斷強調「當代性」。然而當我們提 到「水墨」又是非常東方精神的象徵,猶如提到西方繪畫 必 然 與油畫 對比有相同的道 理。因此在傳 統與 創新之間 找到屬於當下現 狀甚至看望未 來才是值得深入省思的問 題。

從 19 世紀 以來進 入 20 世紀,西方現代的風潮逐漸成 為

主 流 觀 點之 際,甚至在西方藝 術史觀中水墨藝 術 一直都

被當作是區域性的現 象,在 亞 洲 藝 術史的主 體 性也遭 受

前所未有的挑 戰。水墨 創作 在 過去回應 現實生活的議 題

上,多屬於形而上的文人高遠理性,是一種出世的人生觀, 因此 造 就出封閉式的 視 覺語言。當代 水墨 創作應 該發展 的面向趨向多元,更多入世的社會性議題被藝術家引用,

水墨藝術走出傳統,拋開歷史的枷鎖,當代新局的可能性 逐 漸開展,台灣、中國大陸、香 港、日本 與 韓國幾 個東 亞

水墨藝 術 最高度 發展的地區,藝 術家 提 供了足 以 反映當 代現實的藝術觀。

台北 展博會 16

當 代 藝 術 徹 底 走 入 個 人 主 義 化 的 時 代,過 去 所 謂 的 流 派 或 藝 術 團 體 也 不 復 見,在 進 入「後 歷 史 狀 態 」 (post-

historical condition)的時期,更凸顯了個人的獨特性, 這也是當代 水墨 遠離 傳 統 集體 性精神的過往傳 統。當此

現象逐漸成為現下的水墨創作風 貌也就明顯標示出更個

人化的可能,水墨藝 術的當代性論述退卻了「文化認同」

色彩,強化了概念式的「後設性」 (Meta-concept)鋪陳, 尋 找自身的定位不 再是藝 術家 汲 汲 追 求 的 課 題,取而代

之的是更回歸本質的提問,包括何謂水墨?水墨的形式為

何?什麼是水墨的精神?水墨的當下現象是什麼?這些質 疑透過藝 術家的創作形成對當代 現象的再反思以 及對水 墨藝術重新看待的視野。

本次水墨現 場展博會 起 始於台北,建 立在 歷 史的來 龍去

脈之上,將華人地區的水墨創作回顧梳理,建構一個更完 整 體 系的 論 述,從 1920 年 代 出生 的 藝 術 家 受 到 傳 統 水

墨的訓 練 到面對動 盪社會的影 響直到 1960 年代 藝 術家 面對不同政治環境錯 綜複雜背景下的生活由藝 術創作反

映到的現實;再由 1980 年代另一批在台灣歷經青少年時

期衝 擊的水墨創作 者卻受到中國傳統影響的矛盾中所產 生的水墨 新 變 種作 為討 論 水墨當下的新脈 絡。水墨現 場

提出「不止 於藝博」的破格思維,建立一 個介於主題式策 展、學術交流與面向市場的綜合性平台,試圖把水墨本身

既有的地區 文化屬性 放 進 數位時代的當代社會 語境中, 重新與西方藝術找到對話的基礎。


台北展博會 INK NOW Taipei Art Expo Curatorial Statement Written by Emerson WANG (Artistic Director, INK NOW)

The future development of contemporary ink painting inevitably involves two fundamental questions: 1) What is “contemporariness” and 2) What is “ink art”? Deploying a discussion on “contemporariness” in the present ink discourses implicitly reflects the preceding impression of ink art as traditional and obsolete, even if artists and art critics put persistent emphasis on contemporariness. When it comes to “ink art,” it is often considered as an emblem of Eastern spirit, as if oil painting is always correlated to Western art. Thus, the following question deserves deeper reflection: between tradition and innovation, how to find a point of relevance to the status quo even while looking toward the future? Entering the 20th century, the modern wave of the West has gradually become the dominant viewpoint; ink art is seen a regional phenomenon in the scope of Western art history, and the subjectivity of ink in Asian art history also encounters unprecedented challenge. In history, ink works of art mostly adopted metaphysical approach and the lofty rationality of literati to respond to worldly issues. It represents a reclusive way of life which therefore leads to an esoteric visual language. Contemporary ink art should become more diversified and include more secular social issues to go beyond tradition. Shackles imposed by history should be abandoned to deploy new development trajectory. Artists from the East Asian regions such as Taiwan, mainland China, Hong Kong, Japan, and Korea, where the art of ink is highly developed, offer all-encompassing aesthetical views to ponder on nowadays society. Contemporary art has completely entered the era of individualisation, and the so-called schools and art groups in the past no longer exist. Under the “post-

which also indicates that contemporary ink art further moves away from traditional collective spirit. The fact that such phenomenon gradually becomes a part of current ink painting gives rise to individualised, idiosyncratic style; however, the discussion of cultural identity in the contemporary ink discourse is relatively dimed. As metaconcept is pervasively accentuated, self-discovery and self-identity are no longer the what artists are gung-ho about. Rather, questions are raised based on the essence of substance: what is ink art? What is the form of ink creation? What is the spirit of ink art? What is the current phenomenon of ink? Artists create their works in the reasoning and rethinking of the contemporary trends and develop new values. The first edition of INK NOW Art Expo will debut in Taipei. Based on the historic context, it reviews and recontextualises ink in Greater China to construct a more complete narrative: beginning with the artists born in the 1920s, who are greatly influenced by traditional ink training and faced the impact of a tumultuous society, to artists from the 1960s that lived in a chaotic political situation and represented the situation through artmaking, to the artists in the 1980s who were brought up in Taiwan and bombarded by Chinese tradition. They paved way for a new direction of ink art in the complex yet resourceful background. INK NOW propounds an innovative idea - “More than an Art Fair” and establishes a multifaceted platform between thematic curating, academic exchange, and market insight, in an attempt to integrate regional culture embedded in ink art into the contemporary social context in the digital era and to open a conversation with Western art.

historical condition,” personalised forms and styles are

台北展博會 continuously celebrated and become more prominent,

17


談水墨現場台北展博會的空間精神 撰文:劉冠宏(無有建築 主理人 )

「水墨現場」是以當代的材料、形式、以及空間語彙,呈 現東方水墨情懷。

傳統東方水墨創作者並非西方的畫家或是專職藝術家, 多是中國的仕人階級,對讀書人而言,繪畫、書法、文章

都是表達個人修養與抱負的方式,重點不在筆法與技巧, 而在書寫的情境,這是造成東方水墨與西方藝術繪畫差 異的原因。

因此要理解東方水墨不能從藝術角度入手,要從傳統文

人的教育與生活進行理解。東方水墨中的意境,反映的是

文人對於天地自然的信仰。在自然中,人是謙卑並且臣服; 生於天地間,也將天地作為終極歸宿信仰,這點與西方啟

蒙運動理性主義以來,相信人為自然中心觀點,有很大的 不同,形成東方水墨特有多視角,人與建築的隱晦遮掩, 也形成構圖上特有的留白與空的意境。

而東方文人對於天地自然的喜愛,除了遊山玩水,繪畫書

寫外,也嘗試將自然縮小為園林、盆景,甚至筆山硯墨等 日用品之中。我們可以說園林便是縮小的自然,遊走園林

便是投射對於自然的仰望。這種特別仰望與投射,在世界 文明中也絕無僅有。

18

「水墨現場」台北展博會的空間設計概念選擇四大園林

之一「留園」的空間配置作為展場架構,有別於一般藝術

博覽會各藝廊排排站,單消點透視的西式空間表現手法, 「水墨現場」將呈現一種中式空間的曲折和蜿蜒,模擬園 林一種曲徑幽明的狀態;並以當代藝術展場常見的白牆,

公共空間的鋼件與薄紗,表達出中式空間的虛實、縮放, 回應園林的山水石樹。

藏家進入「水墨現場」時,將得到一種新的空間體驗,不

再是傳統的條條大路通羅馬,而是山水路徑之間的遊走; 欣賞藝術品時,不只是傳統的一眼望盡,而是猶抱琵琶半

遮面;每個展間不再是傳統相似的店舖,而是各自具有生

命力、獨特性的有機體。整個遊歷過程像是一場生命旅 程,時有彎折卻柳暗花明、誤入彎路不斷卻風景處處;所 熟悉的藝術品,在鋼件的框景之間,在薄紗的半透中間,

在藏家迂迴抵達,心境轉折之時,開啟新的觀賞視角,綻

放新的生命力。「水墨現場」空間設計,是東方對於自然 山水的情懷,也是對於生命的特有體會。


Discourse on the Spatial Concept of INK NOW Taipei Art Expo Written by Hom LIOU (Director, Wooyo Architecture) INK NOW reflects and defines the representation of

The spatial arrangement of the Lingering Garden, one of

Eastern ink painting through contemporary materials,

the great four gardens in China, is applied to structuring

forms and spatial vocabulary.

the venue of INK NOW. Differing from ordinary art fairs where galleries stand in rows representing the single

Eastern traditional ink painters are often not defined

point perspective found in Western spatial expression,

as professional artists, differing in this aspect from

INK NOW presents winding and zigzag Chinese-style

Western artists. Often members of China’s literati,

use of space; imitating a state of winding paths in a

their intelligentsia, painting, calligraphy and writing are

garden leading to secluded corners where voids and

forms of expression, their self-cultivation and artistic

reality are magnified through white walls in the venue,

aspiration. What matters are not in brushstroke nor

and steel component and fabric in the public space,

technique but the situation being written about; this

echoing mountains, waters, stones and trees of gardens

differentiates ink painting from Western painting.

– a living canvass of Chinese style.

The comprehension of ink painting is not purely based

Entering INK NOW, collectors will acquire a new spatial

on its artistic angle. Rather an understanding of the

experience. It is no longer “all roads lead to Rome,” but

education and life of traditional literati must coincide.

wandering on paths among mountains and waters.

The artistic connotation of ink painting reflects literati’s

Artworks are no longer viewed through merely one

belief in universe and nature. In nature man is humble

glance as in the conventional way, but ambiguously

and obedient, born between heaven and earth, man

perceived. Departing from convention, the booths are no

holds the universe as the ultimate destination of belief.

longer similar to one another but presented as organic

This greatly differs from the view of man as the center

entities, containing a vitality and uniqueness of their

of nature as originated from the Enlightenment and

own. The entire touring process is like a journey of life,

Rationalism in the West.

sometimes meandering yet leading to the silver lining at the end; one strays by wrong corners yet encounters

The multiple perspectives that characterise Eastern

scenic sights everywhere. When collectors make

ink painting at times shadow and conceal the role of

detours, their moods shift and familiar artworks open

man and architecture creating an artistic composition

up brand new perspectives of viewing, with new vitality

characteristic of the genre.

blooming among view of frame and semi-transparent fabric.

Literati’s inclination towards the world and the pleasure of nature, of painting and writing is further expressed

The spatial design of INK NOW reflects sentiment for

in our desire to harness nature into gardens; bonsai

natural landscape as well as particular perception of life

and everyday items such as pen-holders and ink slabs

in Eastern culture.

imitating the form of mountain-scape. Gardens are our portraits of nature, wandering within them a projection of one’s admiration and respect of nature, a unique awareness of civilisation on Earth.

19


展博會平面圖 FLOOR PLAN

20


A3

P.36

漢雅軒 Hanart TZ Gallery

P.38

采泥藝術 Chini Gallery

A4 高士畫廊 Loftyart Gallery A5

A6

淵 Yewn

La Galerie Paris 1839

P.34 P.48 P.64 P.46

A7

言午画廊 Xu Gallery

B1

僑福芳草地 Parkview Green Art

P.54

思文閣 SHIBUNKAKU

P.56

B2 B3 B4 B5 B6 B7

C1 C2 C3

3812 畫廊 3812 Gallery

意識畫廊 Yesart Gallery 庫藝術 KUART

艾米李畫廊 Amy Li Gallery

騰化藝術畫廊 Nirvana Art Gallery

C6 C7

P1 P2 P3 P4 P5 P6

P.26 P.62 P.44 P.28 P.52

太和藝術空間 Taihe Art Gallery

P.58

涵藝術 Hann Art Agency

P.40

宛儒畫廊 Yuan Ru Gallery

C4 荷軒新藝空間 New Lotus Art Gallery C5

P.60

唯美藝術畫廊 Art WeMe Contemporary Gallery 正觀藝術 Jeng Guan Art

藝術地圖空間 a.m. space

展位代號檢索

A2

大象藝術空間館 Da Xiang Art Space

B O OT H I N D E X

A1

P.66 P.50 P.32 P.42 P.30

鄭路 Lu ZHENG|僑福芳草地 Parkview Green Art

P.90

葉偉立 Wei-Li YEH|漢雅軒 Hanart TZ Gallery

P.92

李光裕 Kuang-Yu LEE|采泥藝術 Chini Gallery

黃宏達 Victor WONG|3812 畫廊 3812 Gallery

徐永進 Yung-Chin HSU|意識畫廊 Yesart Gallery

洪根深 Ken-Shen HONG|荷軒新藝空間 New Lotus Art Gallery

P.91 P.97 P.93 P.94

P7

許雨仁 Yu-Jen HSU|采泥藝術 Chini Gallery

S1

大師之道 Masters’ Ways|羲之堂 Xi Zhi Tang

P.72

流變與生發 Growing & Happening|羲之堂 Xi Zhi Tang

P.76

S2 S3 S4 S5 S6

清風掠過 A Gentle Breeze Brushes |艾米李畫廊 Amy Li Gallery 台灣烏龍畫派 Taiwan Oolong School of Art|c@ns project

暗即是明 Dark is Light|思文閣 SHIBUNKAKU

天一生水 Heaven One Generates Water|艾米李畫廊 Amy Li Gallery

P.95

P.78 P.80 P.102 P.79

21


EASTERN ORIGIN IN CONTEMPORARY EXPRESSION 東方根性 當代表現


畫廊 Galleries 3812 畫廊 3812 Gallery

高士畫廊 Loftyart Gallery

藝術地圖空間 a.m. space

騰化藝術畫廊 Nirvana Art Gallery

艾米李畫廊 Amy Li Gallery 唯美藝術畫廊 Art WeMe Contemporary Gallery 采泥藝術 Chini Gallery

大象藝術空間館 Da Xiang Art Space 漢雅軒 Hanart TZ Gallery 涵藝術 Hann Art Agency 正觀藝術 Jeng Guan Art 庫藝術 KUART

La Galerie Paris 1839

荷軒新藝空間 New Lotus Art Gallery 僑福芳草地 Parkview Green Art 思文閣 SHIBUNKAKU

太和藝術空間 Taihe Art Gallery 言午画廊 Xu Gallery

意識畫廊 Yesart Gallery 淵 Yewn

宛儒畫廊 Yuan Ru Gallery

( 依英文字母排序 in alphabetical order )

23


東方根性 東方根 性 當代表現

當觀眾進入展場,猶如穿梭在一個精緻細膩的園林,穿梭

駐足之間一一探索拜訪當前藝術家的水墨藝術。藝術家 各自在當代的表現性方法從東方文化背景的基礎上進行

不同的探索與實驗,劉國松的水拓畫 vs. 薛松的焚燒拼貼, 演繹出一場水與火的交融,劉國松的水拓畫,取代傳統畫

筆創造的山石、流水與雲霧,拋棄畫筆,另闢蹊徑;薛松的 焚燒拼貼具有強烈的燃燒爆發力與殺傷力,奇異的視覺動 感重組拼貼在畫布上,構成新的圖像。徐永進最近幾年不

斷在書法中找出繪畫性與身體感,晨昏定省面對自然山水

的淡定反映在作品中的書性繪畫具有更哲學的意境;鄧卜

君從宋元時期的山水畫以紮實的功力創造出當代的魔幻 寫實;白鶴拳法在台灣發展多年,以靜柔、慢功為鍛鍊的

課程,胡嘉藉此發展出屬於舞蹈性的書法繪畫充滿表演性; 上海藝術家楊泳梁的攝影山水以皴法的概念進行攝影的 創作,透過細密的控制與安排將都市景觀與自然景致重新

組合為似是而非的山水,香港藝術家翁狄森運用日常使用

的手機拍攝尋常景物卻產生了夢幻迷離的無人之境。中國 星星畫會的領銜人之一毛栗子,巧妙掌住顏料在畫布上類 似於墨色的各種特性,創造了含蓄與詩意之美。

其他來自華人地區的藝術家與東亞藝術家甚至歐洲藝術

家都透過不同的材質與創作方式來訴說屬於東方的美學

精神,將水墨視為概念與想法而展現的方式,則有更多不 同的可能。在這個薈萃藝術的場域有了更具趣味的觀賞方 式與樂趣。

24


Like roaming in a delicate and refined garden, we wander and stop for exploring and looking at ink art by contemporary artists. Based on Eastern cultural background, artists respectively carry out various explorations and experiments by means of expressive methods. Liu Guo-Song’s water marbling painting vs. Xue Song’s burned collage: this conducts a fusion of water and fire. Liu’s water marbling painting replaces mountain rocks, water, cloud and fog created with conventional paintbrushes. Discarding the paintbrush, the artist blazed a trail. Xue’s burned collage has strong fiery dynamism and lethality; its strange visual dynamism is recombined and collaged onto the canvas, forming new graphics. In recent years, Hsu Yung-Chin has been seeking qualities of painting and of body in calligraphy; the calmness with which he faces natural landscape day and night is reflected in his calligraphic painting with an enhanced philosophical state. Teng Pu-Chun creates a contemporary magic realism based on landscape painting of Sung and Yuan Dynasty through his solid skills. White Crane Style has been developed in Taiwan for many years; based on such training centering on calm, softness and slowness, Hu Chia develops highly performative and dancelike calligraphic painting. Shanghai artist Yang Yongliang uses the concept of wrinkles to create landscape photography; through meticulous control and arrangement, he recombines cityscape and natural landscape into something similar to yet actually different from shan shui. Hong Kong artist Dickson Yewn uses cellphone for daily use to shoot ordinary scenes and objects which nevertheless generate dreamy and vague scenes devoid of human figure. Mao Lizi, one of the leaders of Starts Group in China, cleverly handles various inky qualities of paint on the canvas, creating veiled and poetic beauty. Other artists from Greater China, East Asia and even Europe all relate an aesthetic spirit pertaining to the East through different materials and artistic methods, adding different possibilities to ways of expression that take ink as concept and idea. In the venue full of great works, one finds more interesting ways of appreciation and delight.

25


畫廊

3812

東方根性 當代表現

3812 Gallery

Mark PEAKER & 許劍龍 Calvin HUI

倫敦:聖詹姆斯萊德街 21 號 SW1Y 6PX

London: 21 Ryder Street, St. James’s London SW1Y 6PX England 香港:中環雲咸街 40-44 號雲咸商業中心 16 樓 B

Hong Kong: 16B, Wyndham Place, 40-44 Wyndham Street, Central Tel: +852-2153-3812 www.3812gallery.com info@3812cap.com

王璜生 Huang-Sheng WANG

《游象:不生不滅》Moving Vision: Neither dying or being 水墨設色、紙本 Ink on Paper 69 x 110 cm 2017 26

B2


代理藝術家

展出藝術家

蕭勤 Chin HSIAO

何鳳蓮 Chloe HO

黃冠餘 Guan-Yu HUANG

曲磊磊 Lei-Lei QU

Represented Artists

何鳳蓮 Chloe HO

劉國夫 Guo-Fu LIU 曲磊磊 Lei-Lei QU

王璜生 Huang-Sheng WANG 王劼音 Jie-Yin WANG

Exhibiting Artists

李磊 Lei LI

王璜生 Huang-Sheng WANG 王劼音 Jie-Yin WANG 黃宏達 Victor WONG

黃宏達 Victor WONG

曲磊磊 Lei-Lei QU 《時光》Moment

水墨、紙本 Ink on Paper

120 x 160 cm 2017

27


畫廊 艾米李

東方根性 當代表現

Amy Li Gallery

李穎 Amy LI

北京市朝陽區機場輔路草場地 54 號院

No.54 Caochangdi, Chaoyang District, Beijing, China Tel: +86-10-6434-0616 www.amyligallery.com info@amyligallery.com

張見 Jian ZHANG

《山桃紅》Peachy Red

絹本設色 Ink and Colour on Silk 90 x 120 cm 2018

28

B6


代理藝術家

Represented Artists Jean-Jacques ARGUEYROLLES Claire BASLER Marion BATAILLARD 陳琦 Qi CHEN

Marc DESGRANDCHAMPS 高茜 Qian GAO

韓婭娟 Ya-Juan HAN 金沙 Sha JIN

康春慧 Chun-Hui KANG 劉雲 Yun LIU

劉玉潔 Yu-Jie LIU 馬丹 Dan MA Yigal OZERI

瞿倩梅 Qian-Mei QU 孫浩 Hao SUN

Pierrick SORIN

沈勤 Qin SHEN 他們 + They+

王鑒為 Jian-Wei WANG 王野夫 Ye-Fu WANG 蕭戈 Ge XIAO

張見 Jian ZHANG 展出藝術家

Exhibiting Artists 高茜 Qian GAO 金沙 Sha JIN

劉雲 Yun LIU

王鑒為 Jian-Wei WANG 張見 Jian ZHANG

康春慧 Chun-Hui KANG 沈勤 Qin SHEN 陳琦 Qi CHEN

康春慧 Chun-Hui KANG

《執花寄月.夏至》Flowers the Whole Year, Xiazhi 設色紙本 Ink and Colour on Paper 110 x 77 cm 2017

孫浩 Hao SUN

29


空間 藝術地圖

東方根性 當代表現

a.m. space

C7

樊婉貞 Anthea FAN

香港中環鴨巴甸街 24 至 26 號興揚大廈 1 樓 C 室

1C, Kingearn Building, 24-26 Aberdeen Street, Central, Hong Kong Tel: +852-2547-9898 amspace.com.hk amspace@artmap.com.hk

杜海銓

Hoi-Chuen TAO 《理性的鄉愁》

The Nostalgia of Rationality 水墨設色紙本

Chinese Ink and Colour on Paper 93 x 104 cm 2018

30


代理藝術家

Represented Artists 張暉明 Huei-Ming CHANG 鄭虹 Hung CHENG

張梓祈 Tsz-Ki CHEUNG

鄭燕垠 Yin-Ngan, Un CHENG 許哲瑜 Che-Yu HSU 何美薇 Mei-Mei HO

黃博志 Po-Chih HUANG

何藹恩 Oi-Yan, Carol HO 何兆基 Siu-Kee HO

廖祈羽 Chi-Yu LIAO

梁凱雅 Hoi-Nga LEUNG 廖詩薇 Sze-Mei LIO

廖紫婷 Tsz-Ting, Purple LIU 梁詠康 Wing-Hong LEUNG 劉彥韜 Yin-To, Lewis LAU

麥莉琪 Nicole Jean MCCORKELL 譚綽琳 Cheuk-Lam TAM

曾翠薇 Chui-Mei TSANG 杜海銓 Hoi-Chuen TAO

王順瑜 Shun-Yu WONG

黃潔宜 Kit-Yi, Ali WONG

展出藝術家

Exhibiting Artists 杜海銓 Hoi-Chuen TAO

王順瑜 Shun-Yu WONG

王順瑜 Shun-Yu WONG

《月夜孤山明》Lonely Mountain at Moonlight 水墨絹本 Ink on Silk 48 x 92 cm 2018

31


藝術畫廊 唯美

東方根性 當代表現

Art WeMe Contemporary Gallery

Sufei LIEW 166 Jalan Bukit Bintang, Pavilion Elite #2.100 & 2.101, Kuala Lumpur 55100, Malaysia Tel: +603-2110-6822 artweme.com info@artweme.com

高小云 Xiao-Yun GAO

《侯月》Waiting for The Moon 布面油畫 Oil on Canvas 60 x 120 cm 2017

32

C5


代理藝術家

展出藝術家

鄭浩千 Haw-Chien CHENG

高小云 Xiao-Yun GAO

Represented Artists

Saenkom CHANSRINUAL 陳秀雯 Hsiu-Wen CHEN

Exhibiting Artists

散子 SANZI

馮一塵 Yi-Chen FENG

郭淑玲 Shu-Ling GUO 高小云 Xiao-Yun GAO 高異 Yi GAO

侯曉暉 Xiao-Hui HOU

黃玉龍 Yu-Long HUANG 張蔚琴 KIUM

羅青 Ch'ing LO

李耿民 Geng-Min LI

駱克璜 Kerk-Hwang LOK 雷磊 Lei LEI

廖迎晰 Ying-Hsi LIAO 吳少英 Cindy NG

吳富章 Foo-Cheong NG 黃則強 Tony NG 戚彧 Yu QI

散子 SANZI

歌房史郎 Shiro UTAFUSA 王詩文 Shi-Wen WANG 王志武 Zhi-Wu WANG 夏航 Hang XIA

鄒亮 Liang ZOU

散子 SANZI

《清晨》Early Morning

布面油畫 Oil on Canvas 120 x 100 cm 2013

33


藝術 采泥

東方根性 當代表現

Chini Gallery

林清汶 Ching-Wen LIN

台北市中山區敬業一路 128 巷 48 號 1 樓

1F, No.48,Ln.128, Jingye 1st Rd., Zhongshan Dist., Taipei City, Taiwan Tel: +886-2-7729-5809 www.chinigallery.com info@chinigallery.com

鄧卜君 Pu-Chun TENG

《太虛獨境》Virtuality in Solitude 紙上水墨 Ink on Paper 126 x 239 cm 2018

34

A2


Eastern Origin in Contemporary Expression

代理藝術家

Represented Artists 霍剛 Kan HO 李光裕 Kuang-Yu LEE 劉柏村 Po-Chun LIU 許雨仁 Yu-Jen HSU 鄧卜君 Pu-Chun TENG 謝貽娟 Jo HSIEH 池農深 Wei-Jane CHIR 陸先銘 Hsien-Ming LU 周慶輝 Ching-Hui CHOU 楊北辰 Pei-Chen YANG 王淑鈴 Su-Ling WANG 徐畢華 Pi-Hua HSU 鄭麗雲 Leigh L. WEN 焦興濤 Xing-Tao JIAO 陳承衛 Cheng-Wei CHEN

吳少英 Cindy NG 蔡士弘 Shih-Hung TSAI 張嘉穎 Chia-Ying CHANG 張永達 Yung-Ta CHANG 展出藝術家

Exhibiting Artist 鄧卜君 Pu-Chun TENG

鄧卜君 Pu-Chun TENG

《泉落數彎水綠岩砌獨釣青雲》

Twisted Spring Water and Greenstones Fish for the Green Clouds 紙上水墨 Ink on Paper 96 x 217.5 cm 2016

35


空間館 大象藝術

東方根性 當代表現

Da Xiang Art Space

鍾經新 Ching-Hsin CHUNG 台中市北區博館路 15 號

No.15, Boguan Rd., North Dist., Taichung City, Taiwan Tel: +886-4-2208-4288 www.daxiang.com.tw daxiang.art@msa.hinet.net

36

A1


代理藝術家

Represented Artists 朱為白 Wei-Bor CHU 蘇信義 Hsin-Yi SU

徐正旻 Jeong-Min SUH 侯珊瑚 Shan-Hu HOU 宋璽德 Hsi-Te SUNG

劉金桔 Kim-Chit LOW

陳念慈 Nien-Tzu CHEN 徐睿甫 Rui-Fu HSU

黃贊倫 Zan-Lun HUANG 許維頴 Wei-Ying HSU

林世雍 Shih-Yung LIN

曾霆羽 Ting-Yu TSENG 彭譯毅 I-I PENG

耿傑生 Chieh-Sheng KENG

展出藝術家

Exhibiting Artists 侯珊瑚 Shan-Hu HOU

陳念慈 Nien-Tzu CHEN

陳念慈 Nien-Tzu CHEN 《谷雨》Grain Rain

水墨紙本 Ink on Paper 138 x 70 cm 2018

37


漢雅軒

東方根性 當代表現

Hanart TZ Gallery

張頌仁 Tsong-Zung CHANG

401 Pedder Building, 12 Pedder Street, Central, Hong Kong Tel: +852-2526-9019 www.hanart.com hanart@hanart.com

葉世強 Shih-Chiang YEH

《荷、 本來人、二鵝》The Primal Soul 水墨紙本 Ink on Paper 139 x 301 cm Undated

38

A3


葉世強 Shih-Chiang YEH

《枯池紅蜓》Red Dragonfly amidst Withered Reeds 水墨設色紙本 Ink and Colour on Paper 70 x 137 cm Undated

代理藝術家

Represented Artists 沈愛其 Ai-Qi SHEN

徐龍森 Long-Sen XU

Inga Svala THORSDOTTIR / Shan-Zhuan WU

葉世強 Shih-Chiang YEH

英格•斯瓦拉•托斯朵蒂爾 / 吳山專 曹曉陽 Xiao-Yang CAO 陳福善 Luis CHAN

諶北新 Bei-Xin CHEN

成瑞嫻 Emily CHENG

周俊輝 Chun-Fai CHOW 馮夢波 Meng-Bo FENG 谷文達 Wen-Da GU

劉國松 Guo-Song LIU 何倩彤 Sin-Tung HO

梁巨廷 Kui-Ting Leung 劉大鴻 Da-Hong LIU

Nilima SHEIKH

葉偉立 Wei-Li YEH

邱世華 Shi-Hua QIU

王無邪 Wu-Cious WONG 毛旭輝 Xu-Hui MAO 邱志傑 Zhi-Jie QIU

鄭在東 Tsai-Tung CHENG 于彭 Peng YU

王冬齡 Dong-Ling WANG 許雨仁 Yu-Jen HSU 鄭力 Li ZHENG 羅穎 Ying LUO

展出藝術家

Exhibiting Artists 葉世強 Shih-Chiang YEH 葉偉立 Wei-Li YEH

39


藝術 涵

東方根性 當代表現

Hann Art Agency

林暄涵 Metra LIN

台灣台南市安平區華平路 703 號 2 樓

2F., No.703, Huaping Rd., Anping Dist., Tainan City, Taiwan Tel: +886-6-2955-161 www.hanartspace.com info@hanartspace.com

李厚 Hou LI

《2007. 夏》2007. Summer 水墨、紙本 Ink on Paper 60 x 180 cm 2007

40

C3


代理藝術家

展出藝術家

岑龍 Long CEN

李厚 Hou LI

Represented Artists

李厚 Hou LI

Exhibiting Artist

林靖子 Yasuko HAYASHI 邱掇 Dou CHIU

王馨 Xin WANG

羅曼·諾金 Roman NOGIN

娜塔莎·別列克霍琴柯 Natasha PEREKHODENKO 薩芬娜·克謝妮亞 Safina KSENIA

弗拉基米爾·諾山 Volodymyr NOSAN

弗拉基米爾·涅斯柯羅姆內伊 Volodymyr NESKOROMNYI 李丰佳 Fun-Ga LI 孫藝 Yi SUN

李厚 Hou LI

《2006. 秋》2006.Autumn 水墨、紙本 Ink on Paper 59.5 x 59.5 cm 2006

41


藝術 正觀

東方根性 當代表現

Jeng Guan Art

林文娟 Wen-Chuan LIN

高雄市苓雅區中正二路 91 號 7 樓之 2

7F-2, No.91, Zhongzheng 2nd Rd., Lingya Dist., Kaohsiung City, Taiwan Tel: +886-7-2266-858 goo.gl/sHP915 luna118195@gmail.com

韓訓成 Hsun-Cheng HAN

《雲山悠然不住》A Mind Which Does Not Abide in Anything

設色紙本、彩墨 Aquarene, Rice Paper, Chinese Colour Brush Painting 70 x 113 cm 2017

42

C6


代理藝術家

展出藝術家

韓訓成 Hsun-Cheng HAN

韓訓成 Hsun-Cheng HAN

Represented Artists

阮長靈 Truong-Linh NGUYEN

Exhibiting Artist

陳俊龍 Tuan-Long TRAN

韓訓成 Hsun-Cheng HAN

《谿山雲水不住相》Dharma is Universal and Impartial

設色紙本、彩墨 Aquarene, Rice Paper, Chinese Colour Brush Painting 68 x 134 cm 2017

43


藝術 庫

東方根性 當代表現

KUART

B5

江濤 Tao JIANG

北京市朝陽區望京中環南路甲 2 號佳境天城 B 座 1806 號

B, No. 1806 lead international in the No. 2 Ring Road Wangjing of Chaoyang District, Beijing ,China Tel: +86-10-8478-6155 www.kuart.com.cn 1035152476@qq.com

代理藝術家

Represented Artists 劉知白 Zhi-Bai LIU

藍正輝 Zheng-Hui LAN 丁立人 Li-Ren DING

劉慶和 Qing-He LIU

王濛莎 Meng-Sha WANG

黃紅濤 Huang-Hong TAO 蔡萇 Chang CAI 展出藝術家

Exhibiting Artist 劉知白 Zhi-Bai LIU

44


劉知白 Zhi-Bai LIU

劉知白 Zhi-Bai LIU

《溪山野趣》The Enjoyment Among Mountains and Streams

《金沙印象》Seal of Golden San

68.6 x 137.5 cm

68 x 134.6 cm

紙本水墨 Ink on Paper 2000

紙本水墨 Ink on Paper 2001

45


東方根性 當代表現

La Galerie Paris 1839

Rainbow KWOK 74 Hollywood Road, Central, Hong Kong Tel: +852-9229-7993 www.lagalerie.hk Rainbow.kwok@lagalerie.hk

Cyril DELETTRE Untitled Inkjet Print on Fine Art Paper 34 x 84 cm

46

A6


Represented Artists: Isabelle CHAPUIS & DUY Almond CHU Ching-Hui CHOU Cédrix CRESPEL Denis DARZACQ Cyril DELETTRE Richard Mark DOBSON Vincent FOURNIER V V FRANKLIN Nick GLEITZMAN Jing HUANG Frederic JAGER Nicolas LEFEUVRE Picasso PRINTMAKER Juan SEA Le TURK Peter TURNLEY André VILLERS Wu-Sheng WANG Vincent YU Nian ZENG Ke-Chun ZHANG

Exhibiting Artists: Cyril DELETTRE Nicolas LEFEUVRE

Nicolas LEFEUVRE Landscape 123 Indigo Ink and Metallic Gold Powder on Hahnemühle Cotton Photo Paper 330g 118 x 118 cm 2018

47


畫廊 高士

東方根性 當代表現

Loftyart Gallery

A4

劉素玉 Elaine Suyu LIU

台北市大安區青田街 2 巷 21 號 3F

3 F., No. 21, Lane 2, Qingtian St., Daan Dist., Taipei, Taiwan Tel: +886-2-23917718 www.lofty-art.com loftyartgallert@gmail.com

劉國松 Kuo-Sung LIU 《八月在絲綢路上》

August on the Silk Road

設色紙本 Ink and Colour on Paper 95.2 x 51 cm 1986

48


代理藝術家

Represented Artists 劉國松 Kuo-Sung LIU 薛松 Song XUE

王易罡 Yi-Gang WANG

魏光慶 Guang-Qing WEI 林磐聳 Pang-Soong LIN 洪易 Yi HUNG 郭凱 Kai GUO

熊薇 Wei XIONG

張發志 Fa-Zhi ZHANG

喬治菲林 Gheorghi FILIN

展出藝術家

Exhibiting Artists 劉國松 Kuo-Sung LIU 薛松 Song XUE

薛松 Song XUE

《梅蘭竹菊》Plum, Orchid, Bamboo & Chrysanthemum

綜合媒材布面 Mixed Media on Canvas 208 x 116 cm 2016

49


空間 荷軒新藝

東方根性 當代表現

New Lotus Art Gallery

洪宛均 Wan-Chun HONG

高雄市鳳山區文衡路 457 號 2 樓

2F., No.457, Wunheng Rd., Fongshan Dist., Kaohsiung City, Taiwan Tel: +886-7-767-7566 goo.gl/PytmrJ art600upgallery@gmail.com

沈昌明 Chang-Ming SHEN

《荷塘一隅》Part of Lotus Pond 複合媒材 Mixed Media 150 x 150 cm 2018

50

C4


代理藝術家

展出藝術家

洪祥植 Sang-Sik HONG

沈昌明 Chang-Ming SHEN

Represented Artists

柯雍雅 Yung-Ya KUA

Exhibiting Artist

梁任宏 Jen-Hung LIANG

沈昌明 Chang-Ming SHEN

《新月荷趣》Lotus under New Moon 複合媒材 Mixed Media 450 x 150 cm 2018

51


畫廊 騰化藝術

東方根性 當代表現

Nirvana Art Gallery

B7

何昶廷 Chang-Ting HE

西安市碑林區三學街 32 號

No. 32, Sanxue Street, Beilin District, Xi’an, Shaanxi province Tel: +86-29-8724-0295 / +81-1-80913-87699 Nirvana.AG@qq.com

樊洲 Zhou FAN

《天籟》Elegant Melody of Nature 紙本金墨 Gold Ink on Paper 360 x 148 cm 2010

52


合作藝術家 :

Collaborating Artist 樊洲 Zhou FAN 展出藝術家

Exhibiting Artist 樊洲 Zhou FAN

樊洲 Zhou FAN

《水墨氤氳》Permeating Ink and Wash

紙本水墨 Ink on Paper 62 x 42 cm 2011

53


芳草地 僑福

東方根性 當代表現

Parkview Green Art

B1

呂恒順 Heng-Shun LU

台北市大安區仁愛路四段 115 號 1 樓

1st Floor, No. 115, Sec 4, Renai Road, Daan District, Taipei, Taiwan Tel: +886-2-2777-2585 www.parkviewgreenart.com gallery.tp@parkviewgreen.com

叢雲峰 Yun-Feng CONG

《二進制 - 城市山水圖》Binary City Landscape 絹本水墨 Ink on Silk 158 x 82 cm 2018

54


代理藝術家

Represented Artists 叢雲峰 Yun-Feng CONG

侯忠穎 Chung-Ying HOU

洪京澤 Kyoung-Tack HONG

張琪凱 Qi-Kai ZHANG

《丁酉 - 1》Dingyou - 1

複合媒材 Mixed Materials 124 x 124 cm 2017

馬銘澤 Ming-Ze MA

王小雙 Xiao-Shuang WANG 楊韜 Tao YANG

任泰奎 Tae-Kyu YIM 于洋 Yang YU

鄭路 Lu ZHENG

張琪凱 Qi-Kai ZHANG

展出藝術家

Exhibiting Artists 叢雲峰 Yun-Feng CONG

李浩 Hao LI

蕭博駿 Po-Chun HSIAO 毛栗子 Lizi MAO 鄭路 Lu ZHENG

張琪凱 Qi-Kai ZHANG

55


思文閣

東方根性 當代表現

SHIBUNKAKU

山內德太郎 Tokutaro YAMAUCHI

355 Motomachi, Higashiyama-ku, Kyoto, Japan 605-0089 Tel: +81-7-5531-0001 www.shibunkaku.co.jp/english/ artfair@shibunkaku.co.jp

井上有一 Inoue YUICHI 泰 Tai (Tranquility)

水墨日本紙 Ink on Paper 118 x 175.5cm 1964 56

B3


代理藝術家

Represented Artists Conrad Jon GODLY

須田剋太 Suda KOKUTA

森田子龍 Morita SHIRYU 上田桑鳩 Ueda SOKYU

楊泳梁 Yong-Ling YANG 井上有一 Inoue YUICHI 展出藝術家

Exhibiting Artists Conrad Jon GODLY

森田子龍 Morita SHIRYU 楊泳梁 Yong-Ling YANG 井上有一 Inoue YUICHI

楊泳梁 Yong-Liang YANG

年代久遠的古松 Time Immemorial-Old Pine 數碼打印宣紙掛軸

Giclee Print on Rice Paper on Hanging Scroll 64 x 64 cm 2016

57


藝術空間 太和

東方根性 當代表現

Taihe Art Gallery

C1

賈廷峰 Ting-Feng JIA

北京市朝陽區酒仙橋路 798 藝術區 2 號院 B10

B10, 2nd. House, 798 Art Zone, Jiuxianqiao Road, Chaoyang Distrist, Beijing, China Tel: +86-1-38012-85989 www.taiheart.com taiheyishu@163.com

茅小浪 Xiao-Lang MAO 《草虯系列 No.42》

Wilderness Dragon No.42

非宣水墨 Non-rice Paper Ink 130 x 106 cm 2018 58


代理藝術家

Represented Artists 侯珊瑚 Shan-Hu HOU 老赫 He LAO

茅小浪 Xiao-Lang MAO 衲子 Zi NA

展出藝術家

Exhibiting Artists 白明 Ming BAI 島子 Zi DAO

谷文達 Wen-Da GU

賈善國 Shan-Guo JIA 老赫 He LAO

劉鄧 Deng LIU

劉巨德 Ju-De LIU

劉知白 Zhi-Bai LIU 劉子建 Zi-Jian LIU

茅小浪 Xiao-Lang MAO 沈勤 Qin SHEN

王川 Chuan WANG

王冬齡 Dong-Ling WANG 王秋人 Qiu-Ren WANG 王舒野 Shu-Ye WANG

周韶華 Shao-Hua ZHOU

鐘躍英 Yue-Ying ZHONG 老赫 He LAO

《水墨思維·天石·與時間有關嗎?系列之三十四》

No.34, Ink Thinking·Heaven Stone·Related with Time? 硬質紙水墨 Chinese Ink on Paperboard 119 x 90 cm 2016

59


画廊 言午

東方根性 當代表現

Xu Gallery

A7

許華琳 Wendy XU

上海市閔行區新鎮路 1399 號寶龍大廈 1 樓

1F Powerlong Building, No.1399 Xinzhen Road, Minhang District, Shanghai, China Tel: +86-21-5227-1999 www.xu-gallery.com

李小可 Xiao-Ke LI 《水墨山魂》

Ink Landscape

設色紙本

Ink and Colour on Paper 250 x 203 cm 2016

60


代理藝術家

展出藝術家

賈寬 Kuan JIA

賈寬 Kuan JIA

Represented Artists

李孔 Kong LI

Exhibiting Artists

李孔 Kong LI

李小可 Xiao-Ke LI

賈寬 Kuan JIA

《艷陽天》A Sunny Day 紙本水墨 Ink on Paper 70 x 215 cm 2018

61


畫廊 意識

東方根性 當代表現

Yesart Gallery

簡潔 Murcy CHIEN | 徐浩登 Victor HSU 台北市中山北路七段 48 號

No.48, Sec.7, Zhongshan North Rd. Taipei, Taiwan Tel: + 886-2-2876-3858 www.yesart.com.tw yesart777@gmail.com

徐永進 Yung-Chin HSU

《萬物負陰而抱陽 沖氣為和》

With the Support of Yin and the Embrace of Yang: Harmony - Tao Te Ching 貝殼金粉、萬年藍宣 Ink on Handmade Paper 135 x 340 cm 2016

62

B4


代理藝術家

展出藝術家

阿 咧 A-Lei

徐永進 Yung-Chin HSU

Represented Artists

弗萊勒 Fredo M. FRAILE

Exhibiting Artist

徐永進 Yung-Chin HSU 李 浩 Hao LI

唐 唐 Tang TANG

王筱雯 Hsiao-Wen, Annie WANG

徐永進 Yung-Chin HSU

《遊心》 Wandering of Heart

貝殼金粉、萬年藍宣 Ink on Handmade Paper 136 x 136 cm 2018

63


東方根性 當代表現

Yewn

Mary KWOK | Frances CHAN Shop 208 Landmark Atrium, 15 Queen’s Road Central, Hong Kong Tel: +852-2868-3890 www.yewn.com / www.dicksonyewn.com mary@yewn.com / frances@yewn.com

翁狄森 Dickson YEWN 《紅樓夢 - 十二金釵》

Dream of the Red Chamber

18K 黃金、鑽石、黃剛玉、沙佛萊石、貝母、非洲黑胡桃木手鐲

Brilliant Cut Diamond, Tsavorite and Yellow Sapphire Set in 18K Yellow Gold with Mother of Pearl and African Black Walnut 9 (L) x 6 (W) x 6 (H) cm 2018

64

A5


代理藝術家

Represented Artist 翁狄森 Dickson YEWN

展出藝術家

Exhibiting Artist 翁狄森 Dickson YEWN

翁狄森 Dickson YEWN

《文人系列:臨水芙蓉 - 來自明代文人唐寅》

“Hibiscus by The Water” inspired by Literati Painter Tang Yin 18K 白金、鑽石、白玉戒指

Brilliant Cut Diamond Set in 18K White Gold on White Jade 3 (H) x 2 (L) x 1.5 (W) cm 2018

65


畫廊 宛儒

東方根性 當代表現

Yuan Ru Gallery

謝宛儒 Julie HSIEH

10F., No.343, Sec. 5, Nanjing E. Rd., Songshan Dist., Taipei, Taiwan Tel: +886-2-8787-4050 yuanru.gallery info@yuanru.gallery

胡嘉 Chia HU

《雙魚》Yin / Yang

水墨紙本 Ink on Paper 155 x 128.7 cm 2015

66

C2


代理藝術家

展出藝術家

艾丹 Daniel ARROYO

胡嘉 Chia HU

Represented Artists

陳景容 Ching-Jung CHEN 紀冠地 Kuan-Di CHI

Exhibiting Artists

謝宛儒 Yuan-Ru HSIEH

徐明豐 Ming-Feng HSU 謝宛儒 Yuan-Ru HSIEH 郭彥甫 Yen-Fu KUO

連建興 Chien-Hsing LIEN 李美慧 Mei-Hui LI

梁平正 Ping-Cheng LIANG 廖修平 Shiu-Ping LIAO 田文筆 Wen-Bi TIAN

陶文岳 Wen-Yue TAO

楊象‧楊柏林 Yang-Bo-Lin YANG SIANG

謝宛儒 Yuan-Ru HSIEH 《游絲》Gossamer

水墨紙本 Ink on Paper 100 x 132 cm 2018

67


特展 68


大師之道 Masters’ Ways 羲之堂 Xi Zhi Tang

流變與生發 Growing & Happening 羲之堂 Xi Zhi Tang

清風掠過 A Gentle Breeze Brushes 艾米李畫廊 Amy Li Gallery

天一生水 Heaven One Generates Water 艾米李畫廊 Amy Li Gallery

台灣烏龍畫派 Taiwan Oolong School of Art c@ns project

CURATED EXHIBITIONS


大師之道

水墨藝術在上世紀初開始經歷百年巨變,從張大千與吳冠中的創作開啟新的東方水 墨精神,不再只是形而上的胸中抱負,更有對世俗生活的關照。從材質到作品尺幅打 破傳統的邏輯,在美學上模糊了「水墨」的界線,卻增加了趣味與更多可能性。

旅居法國的趙無極與朱德群融匯了現代油畫的技法與色彩,讓水墨與西方世界接軌; 「採花大盜」丁雄泉在宣紙上大筆塗上塑膠彩,色彩絕麗,風格特列,將水墨畫帶入 新時代。

近現代水墨名家余承堯在無形式中創造了形式,結構密實而且層次多變,其獨有的 山水語言開創新局;趙春翔將對土地的特殊表現性以水墨塑造了質地的堅實。

蕭勤與劉國松在 50 年代分別與同儕組織東方與五月畫會,劉國松以革命的精神提

出水墨新可能,蕭勤在米蘭發起龐圖運動(1961-1966) ,把從在異鄉的文化衝擊裡, 反思屬於東方更深刻的精神性,更用創新的方式在作品中提出東方哲理式的抽象藝 術理論,展開新的探索。

袁旃從比利時留學回到台灣,在中國水墨畫的範疇曾作出多方面的實驗和探求,為了

尋求新的表現形式。李義弘深入傳統中去理解筆墨與自身的關係,在水墨畫中開創 出嶄新的表現思維和現代詞彙,並彰顯台灣「島嶼色彩」的水墨新境。由此脈絡不斷

延伸,台灣孕育培養出從傳統扎實的水墨技法,並在自由的社會氛圍中得以不斷衝撞 傳統,將東方水墨努力提高地位得以與西方並駕齊驅。

水墨現場大師特展區,向前輩藝術家致敬,重新回顧華人水墨百年發展的革新創變, 藉由典範的追尋,獲得更多對當前創作的理解還有對未來發展的想望。

70


Masters’ Ways Since the beginning of last century, ink art has experienced a century of great mutation. Starting from works of Chang Dai-Chien and Wu Guanzhong that open a new Eastern ink spirit, it is no longer just a metaphysical ambition in the mind but further pays attention to mundane life. Conventional logic in terms of material and dimension is broken and boundaries of “ink” are blurred aesthetically. Yet this leads to more interesting aspects and possibilities. Residing in France, Zao Wou-Ki and Chu Teh-Chun integrated technique and palette of modern oil painting, bridging ink and the Western world; Walasse Ting (also known as “Flower Stealer”) applied wide strokes of glue paint on rice paper and created gorgeous colours and unique styles, taking ink painting into a new era. Yu Chengyao, an ink master of late modern era, created form from non-form; its structure is dense and thick and layers are diverse. His particular “shan-shui” language open up a new situation for the genre; Chao Chung-hsiang forged solid texture with ink based on the expressivity of the land. Hsiao Chin and Liu Guosong respectively organised the Eastern Painting Group and the Fifth Moon Group with their peers in the 1950s. While the latter proposed new possibility of ink painting in a revolutionary spirit, the former initiated Punto Art Movement in Milan (1961-1966), proposed abstract art theories in the vein of Eastern philosophy in the artworks through more innovative ways and made new explorations based on reflection over the deeper spirituality pertaining to the East amidst the culture shock in a foreign country. Back to Taiwan after studying in Belgium, Yuan Jai made multifaceted experiments and explorations in the category of Chinese ink painting in order to seek new ways of expression. Lee Yi-Hong delved into tradition to grasp the relation between himself and ink stroke, creating brand new thinking and modern vocabulary for ink painting while foregrounding a new vision of ink based on Taiwan’s “island feeling”. Extending further from such context, ink technique based on solid traditional training is developed and incubated in Taiwan, which comes to collide incessantly with tradition in the free ambiance of the society, striving to elevate the status of Eastern ink to the same height of the West. “Masters” exhibition venue in INK NOW pays tribute to senior artists and looks back again at innovation and change of the century-old development of Chinese ink art. By seeking models, we obtain a better understanding of current artistic creation and aspiration for future evolution.

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吳冠中 Guan-Zhong WU 《清奇古怪》Cypress 設色紙本、鏡心

Ink and Colour on Paper, Mounted 68 x 137.5 cm 1988

朱德群 Teh-Chun CHU

《雪夜》Snowing Night 彩墨紙本、壓克力

Ink and Colour on Paper, Acrylic 70 x 60 cm 1996 72


趙春翔 Chung-Hsaing CHAO

《光耀》In Praise of Light 彩墨紙本、壓克力

Ink and Colour on Paper, Acrylic 135.5 x 69 cm 1989

余承堯 Cheng-Yao YU

《青綠山水》Landscape

水墨紙本設色 Ink and Colour on Paper 69.5 x 134.5 cm

S1

《大師之道》特展由羲之堂全力贊助 Curated exhibition, Masters’ Way is sponsored by Xi Zhi Tang

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劉國松 Kuo-Sung LIU

《紅太陽》The Red Sun 彩墨紙本、鏡框

Ink and Colour on Paper, Framed 93 x 63.5 cm 2010

李義弘 Yi-Hong LEE

《石頭物語二》Set in Stone II

淨皮單宣 Thin Cotton and Bark 148.5 x 275.4 cm 2013

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袁旃 Jai YUAN

林風眠 Feng-Mian LIN

重彩絹本 Ink and Colour on Silk

設色紙本、鏡框 Ink and Colour on Paper, Framed

《男體》A Man 195.5 x 75 cm

《溪畔人家》Life by The Waterside 64.6 × 64.7 cm

2010

S1

《大師之道》特展由羲之堂全力贊助 Curated exhibition, Masters’ Way is sponsored by Xi Zhi Tang

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徐冰 Bing XU

《文字山水》Landscript 水墨紙本 Ink on Paper 122 × 370 cm 2001

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李華弌 Hua-Yi LI

《峻嶺奇松》Landscape

彩墨紙本、立軸 Ink and Colour on Paper 71.8 x 126.5 cm 2009

展出藝術家

Exhibiting Artist

李華弌 Hua-Yi LI 徐冰 Bing XU

李津 Jin LI

彭康隆 Kang-Long PENG 徐累 Lei XU

梁震明 Chen-Ming LIANG 彭薇 Wei PENG

李水歌 Shu-Ige LI 康凱 Kai KANG

郝量 Liang HAO

肖旭 Xu XIAO

馬靈麗 Ling-Li MA

徐累 Lei XU

《茫》The Confused

設色紙本 Ink and Colour on Paper

65 x 90 cm 2003

S3

《流變與生發》特展由羲之堂協力及贊助 Curated exhibition, Growing & Happening is coordinated and sponsored by Xi Zhi Tang

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劉雲 Yun LIU

《靈山秀水之三》 The Spiratual Landscape No.3

紙本設色 Ink and Colour on Paper

100 x 350 cm 2017

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S2

劉雲《清風掠過》特展由艾米李畫廊協力及贊助 Curated exhibition, A Gentle Breeze Brushes by Yun LIU is coordinated and sponsored by Amy Li Gallery


王鑒為 Jian-Wei WANG 《混沌》 Chaos

紙本水墨、丙烯、鉛筆 Ink, Acrylic, Pencil on Paper 205 x 412 cm 2017

S6

王鑒為《天一生水》特展由艾米李畫廊協力及贊助 Curated exhibition, Heaven One Generates Water by Jian-Wei WANG is coordinated and sponsored by Amy Li Gallery

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AIWAN OOLONG CHOOL OF ART

台灣烏龍畫派

撰文:劉太乃(資深媒體人暨藏家)

眾所周知「烏龍茶」是台灣茶的第一品牌。它原生樹種來 自於福建,早期明清移民引進台灣島上種植;日本據台期

間從事茶葉改良,有所謂「台灣烏龍茶 Formosa Oolong Tea」的外銷,但指的是類似茶的粗製烏龍,不是現在大家

所認知的烏龍茶。1949 年國民政府遷台後,大面積的推廣 山地種植,並有高海拔的高山烏龍茶出產,從此「烏龍茶」 成為台灣最具代表的茶品牌。

以「烏龍世代」來稱呼 1949 年後出生台灣的藝術家群,是

為強調台灣與中國血脈相連的文化淵源;但經過日本殖民 的西方美術教育,台灣藝術家不僅熟悉中華文化、更了解 西方美術;然而這群藝術家有著更大的時代機遇。

國民政府 1949 年從中國大陸來到台灣,引領了一批學者大

儒、畫壇大師齊聚,還有北京故宮文物的遷台。這些文物 書畫的來台,讓台灣「烏龍世代」的藝術家可以近距離的 還要幸運。

千年難得的中央政府偏安機遇,有如南宋、晚明,藝術家 創作同樣有著鮮明的地域和時代風格,而以「烏龍畫派」 來稱呼此世代的台灣藝術家是為貼切不過。

本次台灣「烏龍畫派」展是由 c@ns project 策劃,展出藝

TA I W A N OOLONG SCHOOL OF ART

術家有于彭、鄭在東、許雨仁、周于棟、王萬春與雕塑家

鄭在東題字

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蕭長正共六位。這六位藝術家正可作為台灣「烏龍畫派」 的代表,觀眾可以透過這次展出的作品,體會到這群藝術

家源於中國、兼具西學、立足台灣,勇於創新的東方新美術; 而其骨子裡所流淌的千年中國文人血脈及文人對待宇宙萬

物的精神,將對往後世界文明走向帶來重要的影響與價值。

OOLONG SCHOOL OF ART

接觸中華藝術瑰寶,此時的他們比任何時代的中國藝術家


Written by T. N. LIU (Media Veteran & Collector)

As many of you may know, Oolong Tea is one of the most popular types of tea in Taiwan. Oolong tea

TA I W A N OOLONG SCHOOL OF ART

Taiwan Oolong School of Art

trees were originally from Fujian and later imported to Taiwan in early Ming Dynasty. During Japanese occupation of Taiwan, the Japanese practices were taking different measures to improve tea plantations in Taiwan and exported their products in the name of “Formosa Oolong Tea;” while in fact those were merely a different type of red tea but not the oolong as we all know today. Since 1949, agricultural production in the mountains grew rapidly, and there was produce of oolong tea leaf in high altitude which has become the most sought-after tea of Taiwan. Naming the post-1949 Taiwanese artists as “Oolong Generation” is to emphasis the Chinese cultural root. Having learnt Western art from the Japanese at the time of colonisation, the Taiwanese artists at that time were not only familiar with Chinese culture but also the Western, creating more and better opportunities

TA I W A N OOLONG

for their development.

And since 1949, a number of scholars, artists as well as many important Chinese antiques, books, paintings and work of arts arrived Taiwan, allowing the “Oolong Generation” to gain better understanding of the Chinese masterpieces. Under such rare circumstances that the political situation finally settled in peace, the Oolong School artists in Taiwan is highly resemble to those in Southern Song Dynasty and late Ming Dynasty who had uniquely Chinese cultural characteristics and idiosyncratic style. Curated by c@ns project, the “Taiwan Oolong School of Art” exhibition will showcase works by Peng YU, Zaidong ZHENG, Yu-Jen HSU, Earthstone CHOU, Wan-Chun

WANG

and

sculpturist

Chang-Cheng

HSIAO, who are all the representative figures of Oolong School of Art. In their artworks, visitors can see the Eastern aesthetics that absorbs both Chinese essence and Western influences, as well as the traditional Chinese literati spirit and cosmology that they carry which are of significance in the development of civilisation.

TA I W A N OOLONG SCHOOL OF ART

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TA I W A N OOLONG SCHOOL OF ART

于彭 Peng YU

《漁父江湖閒》 Fisher in Marshy Landscape 355.5 x 93.4 cm

水墨紙本 Ink on Paper 2001

劉太乃收藏

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周于棟 Earth-Stone CHU

《賞飛花》In the View of Seeing Flowers Flying in Wind

水墨紙本 Ink and Colour on Paper

180 x 90 cm x 2 件 Pieces ( 左右 2 幅聯屏 ) 落款:澄澄明透賞飛花,珠揮環移非語時

Inscription: In the view of seeing flowers flying in the wind delightfully, it a better a way to let your mind and thinking keep silent.

蕭長正 Chang-Cheng HSIAO 《秋意》Autumn Scenery 木 Wood

78 x 85 cm x 6 件 Pieces 1992

S4

台灣烏龍畫派特展由 c@ns project 協力及贊助 Curated exhibition, Oolong School of Art is coordinated and sponsored by c@ns project

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王萬春 Wan-Chun WANG 《非理性》Irrationlity

壓克力、畫布 Acrylic on Canvas 60 x 60 cm 2016

王萬春 Wan-Chun WANG

《逆向思考》Reverse Thinking

壓克力、畫布 Acrylic on Canvas 91 x 65 cm 2015

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TA I W A N OOLONG SCHOOL OF ART

鄭在東 Zai-Dong ZHENG

《世說新語―絕妙好辭、興致正濃、支公好鶴,書畫長卷》 A New Account of Tales of the World —

A Great Puzzle, Happiness on the Present, How do a Man in Love with the Crane 水墨長卷 Ink on Paper Scroll 540 x 70 cm 2018

S4

台灣烏龍畫派特展由 c@ns project 協力及贊助 Curated exhibition, Oolong School of Art is coordinated and sponsored by c@ns project

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公共裝置藝術

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鄭路 Lu ZHENG / 僑福芳草地 Parkview Green Art 李光裕 Kuang-Yu LEE / 采泥藝術 Chini Gallery 葉偉立 Wei-Li YEH / 漢雅軒 Hanart TZ Gallery

徐永進 Yung-Chin HSU / 意識畫廊 Yesart Gallery

洪根深 Ken-Shen HONG / 荷軒新藝空間 New Lotus Art Gallery 許雨仁 Yu-Jen HSU / 采泥藝術 Chini Gallery

INSTALLATION ART PROJECTS


MORE THAN INK

無窮於水墨 More than INK

所謂的「水墨」在當今的詮釋不再局限於材質與形式的

表現,更重視觀念與東方精神的內涵。這是足以體現出 當代藝術東西藝術家與西方創作最大的區別性,包括從 過去文人山水的出世到當代生活的入世,不論題材或者 是運用的材料都有更新的可能,雕塑家鄭路的作品將凝

結了時間的片刻,讓水滴在空間中暫留;洪根深代表了 台灣南部工業社會一種時代的反映;李光裕展開一幅水

墨捲軸成為立體的穿透視覺效果;黃宏達運用當下最新 的科技藝術給予水墨新的想像;葉偉立的裝置作品帶領 觀眾透過閱讀重新探尋東方人文情懷;徐永進的書性繪 畫從書法轉化在一個靜謐的禪室薰香空間中。唯有東方

MORE THAN INK

藝術家能夠創造出來的藝術情境,將在這次的特展區中 呈現對應西方最大的差異。

當代水墨以「反傳統」的轉型方式挪移在現代的可能, 「顛覆」傳統的意境格局,也翻轉傳統的「意象」,一 群藝術家以「形而上」的中國哲學為元素試探西方技法

的可能;另一部分的藝術家以「形而下」工具材料連接

中介作用的多樣性。「無窮於水墨」特展呈現藝術家將 水墨形式從傳統文人山水畫的格局中剝離,去除過於地

域性的文化因素,轉變為更純粹的形式,強調水墨的材 質特點而非文化性質。在表現、抽象等各種水墨實驗的 「語言」與西方樣式結合。

《山水訓》:「山水有可行者,有可望者,有可游者,

有可居者。畫凡至此,皆入妙品。」當代的水墨創作與 觀賞方式也應該直接進入更直觀的經驗中,透過參與讓 觀眾感受作品的多面樣貌,筆調之生命與水墨之趣味也 自然而生。

88


MORE THAN INK

In an “anti-traditional” way of transformation, contemporary ink art alters its possibility in modern times, “subver ts” traditional ar tistic mood and framework while reversing traditional “imagery”. A group of artists take “metaphysical” Chinese philosophy as an element to probe possibilities of Western technique; another group of artists link the diversity of mediation In current interpretation, the so-called “ink painting” is

by means of “physical” tools and material. The special

no longer restricted to expressions through material

exhibition “More than Ink” presents how artists remove

and form but further stresses concepts and essence

the form of ink from the framework of traditional literati

of Eastern spirit, which adequately epitomises major

landscape painting, eliminate cultural elements that

differences between Eastern and Western art-making.

are too localized, turn into purer forms, and stress ink’s

From the seclusion in the literati landscape of the past

material characteristics rather than its cultural qualities,

to the mundaneness of contemporary life, their subjects

combining various experimental “languages” of ink (such

or materials used all possess ever new possibility. In

as expressionism, abstraction, etc.) with Western styles.

sculptor Zheng Lu’s work, an instant is fixed and water drop is made to stay temporarily in space; Genshen

Shan Shui Theory contains the following phrases,

Hong represents a reflection of the times from the

“there is Shan Shui where one can ramble, look, play

angle of industrial society in Sothern Taiwan; Lee Kuang-

and live. Paintings attaining such extent are considered

Yu unfolds an ink scroll and creates three-dimensional

excellent” Similarly, the ways of making and appreciating

penetrating visual effect; Huang Hung-Da employs

contemporary ink art should engage more instinctive

art of the most advanced technology and endows ink

experiences and make the viewer feel the various facets

with new imagination; Yeh Wei-Li’s installation guides

of the works through participation, so that the life of

the viewer to seek again the Eastern humanistic mood

brushwork and delight of ink come naturally.

through reading; Hsu Yung-Chin’s calligraphic painting is transformed in the incense space of a tranquil meditation room. In the special exhibition venue, artistic moods that only Eastern artists can create will show major differences from the West.

89


P1 鄭路 Lu ZHENG

《淋漓 - 江瀾》Water in Dripping - Billow 不鏽鋼 Stainless Steel

130 (L) x 80 (W) x 165 (H) cm 2018 僑福芳草地 Parkview Green Art

90


P2

上圖 | 正面,下圖 | 反面

李光裕 Kuang-Yu LEE

《雙趣》Dual Interests 銅 Bronze

418 (L) x 76 (W) x 73 (H) cm 2019 采泥藝術 Chini Gallery 91


P3 葉偉立 Wei-Li YEH 葉世強物件展示桌

Artworks Display Table

上罩強化玻璃,桌內展示葉世強作品與物件。

Artworks and objects by Wei-Li YEH, protected by tempered glass. 150 x 400 x 80 cm 漢雅軒 Hanart TZ Gallery

92


P5 徐永進 Yung-Chin HSU

《逍遙於天地之間而心意自得》

Strolling between Heaven and Earth, completely at ease - Chuang Tzu 墨、礦物 Ink on Handmade Paper 135 x 340 cm

意識畫廊 Yesart Gallery

93


P6 洪根深 Ken-Shen HONG 《繫》Connect

複合媒材 Mixed Media 162 x 130 cm 2015 荷軒新藝空間 New Lotus Art Gallery

94


P7 許雨仁 Yu-Jen HSU

《粗筆系列之十九》 Rough-brush Ink Painting Series No.19 水墨、紙 Ink on Paper 70 x 240 cm 2007 采泥藝術 Chini Gallery 95


Artificial Intelligence and Art

人工智能 與 藝術 黃宏達 Victor WONG / 3812 畫廊 3812 Gallery

96


P4 黃宏達 Victor WONG

《逸 003》 Escapism 003 水墨紙本 Ink on Paper 2018

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Artificial Intelligence an Art 人工智能與藝術 撰文:水墨現場編輯部

由市場帶動的又一次人工智能熱發生在 2018 年 10 月底的

一場拍賣之中,一幅由人工智能 (Artificial Intelligence, AI) 生成的油畫以高於估價 45 倍成交。人工智能曾經是

一股潮流,因為沒有人相信它將會成功。試問人類心智如 何能夠由一副機械 ( 不,現在的人工智能可以存 在於 網 絡 之中,一 個 沒 有 實 體 physical reality 的 虛 擬 存 在 )

模仿 ? 但今天 AI+ 圍棋、AI+ 醫療、AI+ 藝術、AI+ 文學、 AI+ 音樂等卻實實在在存在於我們的生活當中。如今討論 「AI+ 藝術」不再是痴人夢話,而是時代的話題。在後康 德 (post-Kantian) 時代沒有普世的直觀的美學論述,相

對的只有數位時代的視覺語言轉化,我們面對一個問題,

是否需要一套全新的藝術語言與論述 ? 而在多大程度上, 人工智能會顛覆「藝術」?

當我們過於熱衷以電影與科幻小說邏輯 ( 我知道你們在

想什麼—《黑鏡》、艾西莫夫 ) 思考人工智能與科技發達 可能帶來的負面影響之際,首要地需要清除兩個誤區: 一.

誤以為人工智能就是人類智能 (Human Intelligence)。

這是個典型的地圖/實際地域誤區:地圖只是其中一種 「觀看」方式,當我們切身處地的時候,依然會發覺有些 出入,這就是為什麼飲食節目永遠不能讓我們有飽腹感

一樣。人工智能模仿的只是其中一種 ( 而不是全部 ) 人類 思維模式,數理化、程式化與理性化。 二.

人工智能 與 藝 術

人 工 智 能、大 數 據、全 機 械 自 動 化 甚 至 是 擴 增 實 境 (Augmented Reality, AR) 等 等 都 是 一 種 中 介 (medium)。不應該被視為目的本身 (be-all and end-all),

IG、Facebook、錄 像 與 攝 影 都 在 很 大 程 度 上中 介 化了

(mediated) 我們。攝影的出現挑戰過我們人類的圖像複 製技術,而影像則取代了我們眼睛,但藝術都沒有因為這

些挑戰而消失,相反,藝術吸收了它們,轉化成自己的養份。

98


人工智能 與 藝術

那麼我們應該以什麼態度來思考與討論人工智能與藝術?

那 麼 人 工 智 能 的 出 現 會 顛 覆「 藝 術 」 嗎? 其 實 藝 術 早

加入其中,便會生產出有文化特色的藝術作品。以水墨現

到 現 代 的 轉 折 點:「 藝 術 」 作 為 被 倒 置 的 對 象 早 在 杜

and

在國外,人工智能更偏向於概念藝術,但只要將人的元素

尚 (Marcel Duchamp) 現 成 物 (Ready Made) 的 出 現

Artificial Intelligence and Art

場台北展博會展出的黃宏達與 AI GEMINI 的水墨畫為例,

已 經 歷 了 幾 次「 被 顛 覆 」 的 危 機, 其 中 一 個 就 是 傳 統

同樣以程式運作的機器人就生產出具有東方美學精神的山 水畫。反觀外國藝術家的人工智能合成油畫,同樣是機械 學習 (machine learning) 的結果,但缺少的是一股人性

的表現。水墨現場強調「東方根性 當代表現」,正正就是

這樣一個質變與傳承的過程,在所有社會與現實條件都已

經改變的「當代」,水墨藝術如何能夠表達東方美學精神 ? 黃宏達在幾年前與香港賽馬會和徐悲鴻兒子合作的 3D 化 徐悲鴻「駿馬」是一例,現在他與 AI GEMINI 又是另一例。 而更宏觀地看,水墨現場的成立也是在思考這些問題。

就完成了。另一個則是東方內部的現代化之辯。可以顛 覆藝術的並不是機器,而是人類自己,努力興建與盡情 破 壞 的 生 殺 之 權 還 是 掌 握 在 我 們 手 中。 純 理 性 的 創 造

機器結合感性與理性並存的人類而創造 的新型藝術作 品, 今 天 我 們 暫 且 在 此 稱 之 為「 科 技 藝 術 流 派 」(Art-

technoism)。這樣藝術會不會沒有了自我?正如「見山

還是山」的辯證關係告訴我們,藝術在否定自己之後,

必然通過陌生化回頭認識自己的傳統,從「見藝術不是 藝術」再次回到「見藝術還是藝術」的境界。

每 一 種 衝 擊 都 是 一 次 反 思 的 機 會,在 現 今主 體 被 IG、

Facebook、Wechat 等 資訊 科 技 外 判的世代,我 們更 應 該勇於思考。人工智能很快會有下一波的熱潮沖擊我們 的眼球,囿於字數所限,姑且拋磚引玉: 一.

創作權的問題,沒有自我意識的 AI 可以宣稱是藝術家嗎? 二.

AI GEMINI 現階段更像是古時的匠人畫工,即便有自由創 作的能力,還是需要人類的協助;那麼 AI GEMINI 有可能 成為文人士大夫嗎? 三.

我們可以讓人工智能學習某一個藝術家的風格,試試看

它會有甚麼「創造性的詮釋」 ,這樣比無目的機器學習更 有意義。

何鳳蓮, 《步進水墨中》( 圖片由 3812 畫廊提供 )

Chloe HO, Step Ink Side (Courtesy of 3812 gallery)

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Artificial Intelligen Art

Artificial Intelligence and Art Written by INK NOW Editorial Team

Another market-driven milestone in artificial intelligence

took place at an auction in late October 2018, when

At a time when we are often too attached to the logic of

an AI-generated oil painting was sold at forty-five

cinema and science fiction novels (I know you're thinking

times more than its estimated price. AI was once just

about <Black Mirror> and <Isaac Asimov>) in pondering the

a fad, because no one believed it could succeed. You

possible negative effects of artificial intelligence, there are

may wonder how a machine (actually, today’s artificial

two misconceptions we need to clear up first:

intelligence can exist online, without a physical reality) could imitate human intelligence, but today, it exists as a

The misconception that artificial intelligence is human

part of our lives, as AI enters realms such as the game of

intelligence. This is a classic “map versus terrain”

go, medicine, art, literature and music. Today, AI art is no

misconception. The map is just one possible way of

longer just a dream, but a topic of discussion in our time.

“seeing”. When we are actually situated in a place, we

In the post-Kantian era, where there is no universal,

find discrepancies with the map. This is the same reason

direct aesthetic narratives, but the transformation of

cooking shows can't fill our bellies. Artificial intelligence

visual language in the digital era, we face a question,

only imitates one mode (rather than all modes) of human

which is whether we need an entirely new artistic

thought: quantification, formulation and rationalisation.

人工智能 與 藝術 language and means of discussion, and whether artificial intelligence will subvert “art”.

Artificial intelligence, big data, total automation and even augmented reality are types of mediums. They should not be seen as the be-all and end-all. Instagram, Facebook, film and photography have all, to some extent, mediated us. The emergence of photography challenged human image reproduction technology, and film replaced our eyes, but these challenges never caused art to disappear. To the contrary, art absorbed them and transformed them into its own nourishment.

100

黃宏達 Victor WONG 《逸 004》Escapism 004 水墨紙本 Ink on Paper 2018


人工智能 與 藝術

al ence a

What kind of attitude should we take in approaching the discussion of artificial intelligence and art? In other countries, artificial intelligence tends toward conceptual

art, but as soon as a human element is involved, it produces works of art with cultural characteristics. Take,

But will artificial intelligence subvert “art”? Art has actually

for example, the series of ink paintings created by Victor

faced the threat of being “subverted” many times, one

Wong and AI Gemini, which are presented in INK NOW. A

such instance being the transition from traditional to

programmed robot can produce landscape paintings with

modern: the overturning of “art” was completed long ago

Chinese aesthetic spirit. Looking at the AI synthesized oil

with Marcel Duchamp’s “readymade”. Another was the

paintings created abroad, they are all results of machine

debate over modernisation in the East. What can subvert

learning, but they lack an expression of humanity. The

art is not a machine, but mankind itself. The power to

concept of “Eastern Origin in Contemporary Expression”

build and destroy is in our own hands. As for the new

highlighted by INK NOW arises from just such a process

type of art created by the combination of purely rational

of change and inheritance. In our “contemporary” times,

creative machines and humans, who are both emotional

when all conditions of society and reality have changed,

and rational, we will call it, for now, “Art-Technoism”. Will

how can ink art express an Eastern aesthetic spirit? Victor

such art lack individuality? Just as the dialectical of “seeing

Wong's Horses series, a collaboration with the Hong Kong

the mountain as a mountain” tells us, once art is able to

Jockey Club and Xu Beihong's son, is a perfect example.

negate itself, it must use defamiliarisation to turn back

His current collaboration with AI Gemini is another. On

and recognise its own traditions, and go from “seeing art

a broader level, the establishment of INK NOW is also a

as not art” back to “seeing art as art”.

response to these questions. At the heart of each crisis lies an opportunity for selfreflection. At a time when the subject is being outsourced to such information technologies as Instagram, Facebook and Wechat, it is ever more important for us to think courageously. We will soon be dazzled by yet another wave of Artificial Intelligence. Due to limitations of space, I will simply offer a few possible issues here: •

The issue of creative attribution. Can an AI without self-awareness be called an artist?

At this current stage, AI Gemini is more like a craftsman’s painter. Even though it possesses the ability of free creation, it still requires human assistance. Could AI Gemini one day become a literati gentleman?

We can teach an artificial intelligence the style of a particular artist and see what kind of “creative interpretation” arises. This is more interesting than aimless mechanical learning.

101


S5

水墨現場貴賓室

INK NOW VIP LOUNGE 暗即是明 | Dark is Light 康拉德.榮.科得利

Conrad Jon GODLY 合辦:美國運通、思文閣

Co-presented by American Express & SHIBUNKAKU 瑞士藝 術家 Conrad Jon GODLY 經過 18 年專業攝影師的

As a seasoned professional photographer for more than 18

在他的作品中呈現屬於東方文人繪畫的藉景抒情。2007 年

the world's most breathtaking natural landscapes, with a

資歷,看遍山川大海,對於東方的山水風景特別著迷,屢屢

years, Swiss artist Conrad Jon GODLY has been to some of

重拾畫筆後,他將擅長的山脈主題以油畫的媒材表現,細膩

special interest in those in the East. His artistic expression

的厚畫法有著中國書畫的勁道與蒼茫,有別於西方繪畫的寫

by the traditional Chinese scholars. Since 2007 when

的色彩與構圖,看似隨意的揮灑卻逼真呈現山脈的形態,他

through different sceneries resembles the literati paintings

實,反而更接近東方的抽象精神。

he began to paint again, GODLY has created a series of

所謂的傳 統、歷史與文化認同長 期以來在東方社會不斷的

With sophisticated colour compositions and spontaneous

現東方精神的責任。然而當代藝術中,所強調的觀念已經跳

of the mountains, his heavy paint approach reminds us of

被提醒著,尤其面對西方主流的思考體系,我們更被賦予重

脫我們習以為常的範疇,更強調一種態度以及全球化的世界 觀。

mountain paintings using his favourite medium: oil painting. yet expressive brushstrokes to capture the shape and spirit the boundlessly strong ink brushes in Chinese paintings. As opposed to the Western Realism, his work is essentially more related to the Chinese Abstractionism.

在藝 術家 Conrad Jon GODLY 的作品裡,我們發現了沒有

Issues such as tradition, history and cultural identity have

見光明的美麗。

world that is dominated by Western values, we have the

隔閡的文化界線,超越地域的藩籬,在隱晦的氣氛中反而看

been widely discussed in the Eastern world for years. In the responsibility to reinterpret and promote our own values. In the context of the contemporary art world, the values that were given are no longer valid, it is therefore of utmost importance to advocate a new globalised worldview in the future. Conrad Jon GODLY's paintings transcend the romanticisation of nature which elevates its inner sensibility beyond beauty.

102


康拉德.榮.科得利 Conrad Jon GODLY 《暗即是明 Nr.07》Dark is Light Nr.07 油彩畫布 Oil on Canvas

110 x 90 cm 2017

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GALLERY INDEX

畫廊檢索 104

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3812 畫廊 3812 Gallery

艾米李畫廊 Amy Li Gallery 藝術地圖空間 a.m. space

唯美藝術畫廊 Art WeMe Contemporary Gallery c@ns project

采泥藝術 Chini Gallery

大象藝術空間館 Da Xiang Art Space 漢雅軒 Hanart TZ Gallery 涵藝術 Hann Art Agency 正觀藝術 Jeng Guan Art 庫藝術 KUART

La Galerie Paris 1839

高士畫廊 Loftyart Gallery

荷軒新藝空間 New Lotus Art Gallery 騰化藝術畫廊 Nirvana Art Gallery 僑福芳草地 Parkview Green Art 思文閣 SHIBUNKAKU

太和藝術空間 Taihe Art Gallery 羲之堂 Xi Zhi Tang

言午畫廊 Xu Gallery

意識畫廊 Yesart Gallery 淵 Yewn

宛儒畫廊 Yuan Ru Gallery ( 依英文字母排序 in alphabetical order )


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不止於藝博 MORE THAN ART FAIR MORE THAN INK

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「水墨現場」學術論壇

TAIPEI ART EXPO EXPO DOME, EXPO PARK

INK NOW ART EXPO ACADEMIC PROGRAM

學 術 論 壇 由 水 墨 現 場 藝 術 總 監 王 焜 生 策 劃 Academic Programme is curated by Ink Now Artistic Director Emerson WANG

19 JA N 2019

11:00 - 12:30

星期六 SAT

沒 有 距 離的旅程 — 當代水墨的全球化文本 講者:

許劍龍,水墨現場創辦人兼主席 樂大豆,香港/上海Arthub創辦人兼總監

JOURNEY WITHOUT DISTANCE — INK IN A GLOBAL CONTEXT Speakers:

14:00 - 15:30

Calvin HUI, INK NOW Founder and Chairman Davide QUADRIO, Arthub Founder and Director, Shanghai/Hong Kong

當 代 水 墨在中國的轉向與未來 主持: 講者:

合作單位:

江濤,《庫藝術》主編 夏可君,中國人民大學文學院副教授 黃海鳴,台北市立美術館前館長 賈廷峰,自由的尺度專題策展人 徐龍森,中國藝術家 庫藝術

THE FUTURE OF CONTEMPORARY INK IN CHINA Moderator: Speakers:

Co-Organiser:

16:30 - 18:00

Tao JIAN, KUART Chief Editor Ke-Jun XIA, Renmin University of China Faculty of Arts Associate Professor Hai-Ming HUANG, Former Director Taipei Fine Arts Museum Ting-Feng JIA, Curator of the Project Scale of Freedom Long-Sen XU, China Artist KUART

日 本 墨 人會藝術的發展與影響 講者:

白適銘,國立台灣師範大學美術系教授

BOKUJIN GROUP IN JAPAN AND ITS DEVELOPMENT

Speaker: Andrew Shih-Ming PAI, National Taiwan Normal University Department of Fine Arts Professor

20 JA N 2019

14:00 - 15:30

水 墨 藝術大師之道 講者: 合作單位:

星期日 SU N

陳筱君,羲之堂總經理 郭東杰,香港蘇富比現代亞洲藝術部資深專家 羲之堂

INK NOW MASTERS Speakers:

Co-Organiser:

16:30 - 18:00

Hsiao-Chun CHEN, General Manager of Xi Zhi Tang Gallery, Taipei Felix KWOK, Sotheby's Hong Kong Modern Asian Art Deputy Director Xi Zhi Tang Gallery

「 新 文人畫」不只三十年吧!談台灣烏龍畫派的存在與時代機遇 主持人: 與談人: 藝術家: 合作單位:

鄭乃銘,亞洲藝術新聞雜誌總編輯 吳超然,東海大學美術系助理教授 王萬春、周于棟、許雨仁、鄭在東、蕭長正 罐子茶書館

NEW LITERATI PAINTINGS ARE MORE THAN THIRTY YEARS! ON THE FOUNDING AND OPPORTUNITIES OF TAIWAN OOLONG SCHOOL OF ART Moderator: Panelist: Artists:

Co-Organiser:

21 JA N 2019

11:00 - 12:30

星期一 M ON

Nai-Ming CHENG, CANS Magazine Editor in Chief Philip Chao-Jen WU, Tunghai University Department of Fine Arts Assistant Professor Wan-Chun WANG, Earthstone YU, Yu-Jen HSU, Zai-Dong ZHENG, Chang-Cheng HSIAO c@ns project

科 技 與水墨的新融合 主持人: 講者:

陳蕉,國立臺南藝術大學造形藝術研究所所長 黃宏達,香港藝術家

INK ART IN THE AGE OF TECHNOLOGY AND ARTIFICIAL INTELLIGENCE Moderator: Speaker:

14:00 - 15:30

Ciao CHEN, Tainan National University of the Arts Director of Graduate Institute of Plastic Arts Victor WONG, Hong Kong Artist

水 墨 傳統的當代現場 — 台灣水墨發展與研究的切片 講者:

李思賢,台中東海大學美術系副教授

INK NOW THROUGH THE TRADITION IN INK PAINTING ART SECTIONS OF DEVELOPMENT AND RESEARCH OF INK ART IN TAIWAN Speaker:

Szu-Hsien LI, Tunghai University Department of Fine Arts Associate Professor


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THE OFFICIAL PR PARTNER OF INK NOW APPRECIATE � ACQUIRE � CULTIVATE � SHARE Collect Art is a first-of-its-kind multifaceted platform providing our partners with professional fine art services including advisory, curatorial management and communications strategy. We strive to adopt a “globalised” approach through a meaningful integration of our local knowledge and global reach, to engage art collectors and, by extension, all art lovers. Our partners include some of the leading art fairs, banks, galleries, private and public museums in the region. Feel free to contact us to explore collaborations.

賞│藏│養│享 修•藏藝術(Collect Art)是一個專門提供藝術品收藏顧問、藝術項目策劃、 媒體傳訊策略等綜合服務的跨功能藝術平台。 我們致力為來自世界各地的合作夥伴創造一個結合本地形勢和 國際視野的「全球在地化」方案,與收藏家以至廣大藝術愛好者建立更緊密的夥伴關係。 我們的合作夥伴包括區內重要藝術展覽會、畫廊、銀行,以及私人和公共美術館。 歡迎聯絡我們,商討合作計劃。

Taipei 台 北 Rm 603, 6/F, No.162, Sec.2, Zhongshan N. Rd., Zhongshan Dist., Taipei City 104, Taiwan

Hong Kong 香 港 16B, Wyndham Place, 40 - 44 Wyndham Street, Central, Hong Kong

台 灣 台 北 市 中 山 區 中 山 北 路 二 段 162號 6樓 603室

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十一 月 精 選

罐 N o v e m b e r

H i g h l i g h t

2 0 1 8 . 1 1

每日發送即時新聞、專訪、專輯,藝術圈最重要的微信新聞品牌。 A

W e C h a t n e w s b r a n d , p r e s e n t i n g i n s t a n t a r t n e w s , i n t e r v i e w s a n d s p e c i a l r e p微信製作、推送、咨詢服務 o r t s e v e r y d a y. 請洽罐子小秘書

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OCT 2018 - NOV 2018

issue 080

騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙 騙

藝術家,別被騙了!

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水墨現場有限公司

創辦人及主席 | 許劍龍 水墨現場 台北展博會

主辦單位 | 亞洲藝企有限公司 創辦人及主席 | 許劍龍 藝術總監 | 王焜生

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台北 | 王焜生、李悅芝、吳珈瑤、汪佳蓁、陳續文、莊瑀欣

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出版日期 | 2019 年 1 月

作品圖像版權歸屬原創作之藝術家所有,非經授權請勿翻印 ISBN 978-986-97386-0-6 ( 平裝 )

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INK NOW LTD Founder & Chairman | Calvin HUI INK NOW TAIPEI ART EXPO Organiser | ASIAN ART ENTERPRISE LTD Founder & Chairman | Calvin HUI Artistic Director | Emerson WANG Architectural Design | Hom LIOU

Lead Partner | American Express Hotel Partner | Regent Taipei VIP Limousine Partner | Pan German Motors Ltd. Special Sponsors | William Grant & Sons, OREZZA, NISOS Cultural Partners | Jut Art Museum, Suho Memorial Papar Musuem Media Partners | Cans Asia Art News, Art & Collection Group, ARTMAP, KUART, Phoenix Art, Randian, Zai-Art App Ticketing Partner | ACCUPASS Partnership & Media Relations | COLLECT ART HONG KONG LTD INK NOW ART JOURNAL Published by ASIAN ART ENTERPRISE LTD Publisher | Calvin HUI Editorial & Content

Hong Kong | Heiman NG, Joseph LAI, Natalie CHAN, Bonnie HO Taipei | Emerson WANG, Jo LI, Elisa WU, Ivy WANG, Eva CHEN, Zabdi CHUANG

Design | Wooyo Printed by Chance Design Printing Co. Ltd

ASIAN ART ENTERPRISE LTD Rm 603, 6/F, No.162, Sec. 2, Zhongshan N. Rd., Zhongshan Dist., Taipei City 104, Taiwan Tel | +886-2-2596-3812 / +886-2-2596-3807 E-mail | info@ink-now.com Website | ink-now.com Publication Date | January, 2019 2019 All right reserved. Copyrights of the works are reserved for the artists. Unauthorized reproduction of any kind is strictly prohibited. ISBN 978-986-97386-0-6 (Paperback)

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INK NOW ART JOURNAL ISSUE 1 JAN 2019 水墨現場 墨聞 創刊號 2019年1月  

INK NOW ART JOURNAL ISSUE 1 JAN 2019 水墨現場 墨聞 創刊號 2019年1月  

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