Why Don't Young Artists Paint Abstract Art?
Hsieh Mu-Chi Solo Exhibition
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年輕人為何不畫抽象？－謝牧岐個展
2022.04.23 - 2022.05.22 |
座談會 Artist Talk: 2022.05.07 (六 Sat) 3pm
與談人: 黃柏皓 × 郭昭蘭 × 謝牧岐 Guests: Huang Bo-Hao, Guo Jau-Lan, Hsieh Mu-Chi |
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就在藝術空間很榮幸於5月份推出藝術家謝牧岐的全新個展「年輕人為何不畫抽象？」展覽概念起點是從藝術家看見的台灣當代繪畫現象切入，並嘗試以創作、研究與訪查計畫，思考繪畫實踐在這塊土地上的遺產。展覽將於 4 月 23 日（六）下午4點開幕。 藝術家講座將於 5 月 7 日（六）下午 3 點舉行，邀請與談人藝術家黃柏皓和獨立策展人郭昭蘭以及展覽共同研究者陳晞擔任主持人。
展覽介紹： 謝牧岐個展將展出全新繪畫系列作品，分為三個章節，並在展覽空間播放三段短篇敘事為主軸，章節一透過東西之間，對於風景的不同空間與構圖方式，講述東方與西方對於觀看風景的概念不同。章節二聚焦於五〇年代末至六〇年代初包含台灣在內的亞洲各國，曾掀起一股探討抽象繪畫的探尋與追求。以中國現代畫的背景下，藝術家如何將自身民族性融入西方媒材，採東西合一的創作路徑，才可能有機會成為一位成功藝術家的寓言。在那時間點，台灣推派作品參與巴西聖保羅雙年展、東方五月畫會的成立，西方抽象融合東方傳統內容所展中國現代畫運動。而現今四十五歲以下的繪畫創作者，普遍以具象、半具象的繪畫表現形式為主，單純抽象的風格在比例上稍微偏少，「年輕人為何不畫抽象」這句話就像是由過往去看待現狀。1950年代的年輕畫家與2022年的年輕畫家，面對抽象在各自創作上的發展，思考觀者如何看待作品，在不同時空背景下如何影響作為藝術家的身份以及創作的選擇？ 展覽前兩章節搭配的敘事內容以兩位來自另一個時代虛構藝術家的對話，聆聽時，會發現謝牧岐的畫作呼應了他們的討論，例如對話中提及的雨後淡水、失根蘭花、極端新派、國外的畫冊都成為描繪對象。 章節三以謝牧岐個人生命與創作經驗杜撰而成，講述個人藝術養成的背景，學院的內外之間，如何認識東方與西方之間的藝術發展，再回到最初的提問「年輕人為何不畫抽象？」。雖然謝牧岐不歸類自己是純粹抽象藝術家，但對於他來說，選擇畫還是不畫抽象的問題，必須持續探索成為藝術家該如何選擇描繪什麼，美術史遺產的意義，過往東西方繪畫的定義，以及藝術家的個人反思。 在這最後一章節中，觀眾聆聽的對話是謝牧岐自己的聲音，而繪畫元素則反映了藝術家自己獨特的創作路徑，比如融入以自身為左撇子的筆畫方向，由左上往右下的方向為順勢，去形構抽象的表現於畫面之中。因此展出的繪畫作品中，都會刻意去凸顯左邊高右邊低的筆觸、構圖、手的運動、塗抹於作品中。而這樣的創作方式可以感受到一種回歸，藝術家不在用追求時下流行的繪畫風格，而是真實面對自己的方式去畫圖。 Hsieh Mu-Chi’s latest works began from a seemingly simple questions arisen from his own observations of contemporary artists in Taiwan: Why Don’t Young Artists Paint Abstract Art? Also the title of his solo exhibition opening at Project Fulfill Art Space in May, this question launched an extensive research and discussion with contemporaries into the development of painting in Taiwan, and how contemporary artists navigate the legacies of this land. The exhibition opens on Saturday 23 April, and an artist talk will be held on Saturday 7 May at 3pm, with guest speakers artist Huang Bo-Hao and independent curator Guo Jau-Lan, with joint-researcher Chen Hsi as chair. Exhibition Introduction: The exhibition features his new painting series divided into three chapters, accompanied by an audio narrative played throughout the exhibition space. The first chapter explores the distinctly parallel schools of Eastern and Western painting – their different philosophies and creative intent is reflected in the differences in technique. The second chapter follows the story of young Taiwanese painters in the late 50s and early 60s, forging a new creative path combining Eastern and Western influences. This movement includes the formation of the ‘May’ artist group who pioneered the use of Western mediums into their own sense of nationality and Chinese modern painting. Around the same time young artists were chosen to participate in the São Paulo Art Biennial, under this environment an increasing interest in Western abstract art across Asia was launched. In contrast, Hsieh observes many young painters under the age of 45 today generally focus on figurative or semi-figurative forms, with proportionally less artists painting in a purely abstract form. His question “why don’t young artists paint abstract art?” is like an echo from the past looking at the present. Crossing the expanse of time, young artists in the 1950s and 2022 face the same challenge of how the developments of abstraction, and how critique and outside influences affect your identity as an artist and what you choose to paint. The first two chapters are paired with a sound recording of a dialogue between two fictional artists from another era – as audiences listen to their conversation, Hsieh’s paintings echo their discussion, such as references to landscapes of Damsui after rain, orchids, avant-garde new schools of painting, or foreign art books appear as motifs in his work. The third and final chapter switches to a more personal tone – Hsieh focuses on his own art background, his early influences, while circling back to his original question. Although he does not consider himself a purely abstract artist, for Hsieh, the question of choosing to paint or not to paint abstract, is ultimately a reflection of what an artist chooses to portray, and the significance of historical legacies, the integration of Eastern and Western techniques, and the artist’s own personal responses that this choice contains. In this last chapter, audiences listen to Hsieh’s own voice in an intimate dialogue, while elements in his paintings reflect his own unique creative path – such as the left-tilting diagonal brushstrokes due to the artist being left-handed, or imagery of art books and magazines that were his early influences. Hsieh’s new solo exhibition sets to be his most extensive exploration into Taiwan’s art history, from the wider discussion of division of technique, to the individual events and personal responses that each artist faces in their art practice. |