香港巴塞爾藝術展 Art Basel Hong Kong｜Booth 1B33
Schedule
Sat May 28 2022 at 12:00 pm to 08:00 pm
Location
Hong Kong Convention and Exhibition Centre | Hong Kong, HK
Advertisement
展位 Booth｜1B33貴賓預展 VIP Preview｜05.25 - 05.27
公眾展期 Public Day｜05.28 - 05.29
地點 Venue｜香港會議展覽中心 Hong Kong Convention and Exhibition Centre
大未來林舍畫廊將於2022 Art Basel HK帶來四位現當代藝術家吳大羽、劉煒、陳界仁、申亮跨距百年的創作，透過中國傳統筆墨美學的探討，重新觀看「抽象」這個現代性的繪畫語彙。在探索藝術的林中路上，傳統美學猶如「返景入深林」的那道幽光，引領著中國的藝術家重見「復照青苔上」的靜謐，而那「不落文字，不著形象」卻通往精神深處的幽徑，也讓中國的審美意趣與現、當代的繪畫語彙有了密契的交融。
吳大羽的作品始終給人「似而非像，不落形象」的畫面，筆法瀟灑奔放，色彩鮮明抒情的空間韻調，以及其傳達出的與自然和調的精神氣質。吳大羽嘗言：「勢象之美……似佳句而不予其文字」，從這段回應禪宗那不落「有」、「無」的話中，可見到其創作的中國美學根源，也更可理解藝術家如何通過「勢象」、「光色」、「韻調」藉以傳承並演繹「氣韻生動」的筆墨傳統。除了創作在藝術史上所佔有的重要地位外，吳大羽亦培育出吳冠中、趙無極、朱德群等第二代兼融中西藝術的畫壇翹楚。
「丑筆陋墨」可說是劉煒近十年創作的態度與形式，劉煒筆下的人物狂癲、癖疪、拙憨，其「丑」即是在變形中體現真實，「丑筆」則直指當代水墨中，那套路和制式筆法功夫的「偽」與「矯」。若筆是「丑筆」那麼墨便是「陋墨」，細看劉煒的黑白，或許可以稱其「黑白」為「墨病」但卻「因病而美」。劉煒通過「墨病」將自己的黑白與當代水墨區隔出來，不與俗同而有了自我的主張。而恰恰是其「病品味」（ill taste），讓中國的「筆、墨、黑、白」有了回應西方「壞品味」（bad taste）的當代姿態。
陳界仁近年的創作計畫《為觀想「流變」而作－》，延續《星辰圖》、《中空之地》中所探討的「空性」、「流變」，藝術家在此創作計畫中，想像在生產一個圖像的同時，也在等待、觀看它將會如何不斷地「流變」，而這些注定會成為殘像的圖像，可能在不斷「流變」中的某些時刻，因著某些部分無法預知的變化、殘缺等因素，而浮現出它最「美麗」的樣貌，也或許圖像中的某些部分會頑強地持續存在，並存在至藝術家也不可見與無法想像的遙遠未來。
申亮的創作將「當代」的生活日常，融入傳統繪畫，從東方美學出發，使用西方傳統繪畫技法與材料，表現出具東方精神的繪畫。申亮以「訓練式繪畫」的方法，透過顏料塗繪、堆疊與造型，具象的描繪紅洋蔥、瓜子皮、蒜皮等日常無用之物，這看似簡單的描繪與勾勒，體現了「即物即真」、「回歸本體物象」的傳統美學。在細膩堆疊的筆觸和佈局構成了水墨山水般的動態韻律，更在巨觀的尺度下構成了無以言喻的生活況味。隨時隨地提筆書寫，周行不殆的藝術家以生活實踐著血脈中的美學文化。
Lin & Lin Gallery will present the works by four great artists spanning more than a century at 2022 Art Basel HK - Wu Da-Yu, Liu Wei, Chen Chieh-Jen, and Shen Liang. Exploring traditional Chinese aesthetics is like traveling a path in a deep forest and catching a glimpse of the sun's rays. These artists savor the tranquil light cast on green moss in the waning day and once again interpret the modern language of abstract painting.
Wu Da-Yu creates impressions that resemble something without being literal. His wild brushstrokes and vivid colors form rhythmic spaces while delivering a spirit of natural harmony. He has said, “Beautiful dynamism [...] is like a well-wrought sentence whose essence is read instead of its words.” This statement responds to the Chan Buddhist idea of not focusing on being and nothingness, and shows us how Wu’s art is rooted in Chinese aesthetics. Besides occupying an important position in art history, Wu influenced many second-generation artists, such as his students Wu Guanzhong, Zao Wou-Ki, and Chu Teh-Chun, who blended influences from the East and West in their works.
Liu Wei’s painting over these ten years can be described as awkward and crude. His figures suggest madness to unmask the phony standards in contemporary ink painting through deformation. Liu wields his brush as the clown would, and uses his ink in a crude manner. Closer examination of Liu's positive and negative space reveals that it is somehow ill. But this illness is beautiful, and Liu wields this beauty to distance his work from contemporary ink painting while promoting his ideas and shunning normalcy. Furthermore, this is an aesthetic of illness that responds to the contemporary idea of bad taste in the West, but with the black and white of a Chinese brush and ink.
In Chen Chieh-Jen’s recent works Envisioning Ephemerality, Star Chart, and A Field and Non-Field exploring the concepts of Śūnyatā and transformation. Chen imagines the production of images while waiting and watching how these images continually transform. Although these images are destined to be incomplete, perhaps their most beautiful manifestation will emerge at a certain point in this constant transformation, or perhaps some parts of them will persist into a distant future when the artist himself cannot see or even imagine them.
Shen Liang closely observes daily life and combines the spirit of Chinese ink with the medium and technology of Western art. Through Shen’s artistic training, his work embodies an aesthetic tradition of object as reality and is composed of depictions of red onions, sunflower seeds’ shell, garlic skins and butterflies, which are layered upon one another and positioned in a large and open background. With meticulous brushstrokes, he creates the rhythms and impressions of ink landscapes. The artist dedicates his time to diligent brushwork and constant practice to realize the aesthetic tradition that runs in his veins.
Advertisement
Where is it happening?
Hong Kong Convention and Exhibition Centre, 1 Expo Drive, Hong Kong Wan Chai,Hong KongEvent Location & Nearby Stays: