大器逍遙 - 徐永旭個展|11.2-12.8|双方藝廊

大器逍遙 - 徐永旭個展|11.2-12.8|双方藝廊

 

大器逍遙 – 徐永旭個展
11.2-12.8
Opening|11.2, 15:00
双方藝廊 Double Square Gallery 
策展人: 廖仁義


双方藝廊將於2018年11月2日推出徐永旭個展「大器逍遙」,曾獲得2008年「第八屆日本美濃國際陶藝競賽首獎」及2018年聯合國教科文組織國際陶藝協會榮譽會員肯定,並受邀展出於不計其數的全球各大雙年展與重要藝術機構。歷經三十年努力,徐永旭持續琢磨與媒介之間共生的厚度和對話的深度,並建立自己造型藝術的獨特風格,以泥土創作中難見的「極大極薄」創作不斷地自我挑戰。此次共計展出二十五件作品,可謂是集結藝術家過去四年藝術生命的統整與回顧,特別邀請現任國立臺北藝術大學博物館研究所所長廖仁義擔任策展人,展覽將持續至12月8日。

在徐永旭創作過程中,藝術家以雙手不停地在陶土上按、壓、擠、撕、捏、點、磋、疊、推等方式重複做出形狀,再一個個堆疊,每個作品上都印滿了他的指印、掌紋,藉由知覺、觸覺與痛覺探索身體的極限和強調自身與作品間的對話。徐永旭的作品不落款,指印與掌紋成為獨一無二的身體簽名。藝術家在創作中主要使用兩種造型元素:貝殼造型與帶狀造型的元素。有如貝殼般的造型元素,有時像花生殼,有時像蚵仔殼,有時又像是脫落的稻米外殼;這些橢圓造型是整個架構的基本單位而非象徵物,除了呈現量體的物理層次,也產生虛構、明暗與高低起伏的視覺層次。另一方面,像手工麵條、大尺寸昆布或海草的造型元素,則是用來改造空間方位與讓靜止發生運動並發生時間的線條元素。

「大器逍遙」為藝術家徐永旭目前所達到的藝術深度與高度,徐永旭的創作既是造型的藝術,也是思想的藝術,更是生命實踐的藝術。這次藝術家創作的形狀與結構變化,並非只是視覺美學的改變,而是從哲學層面所展開的美學思想演變。他的藝術創作正從身體疆界的探索朝向具有東方形上學精神的美學境界,這個美學境界就是「大器逍遙」。所謂「大器」,意旨徐永旭的創作中表現出生命實踐的高度;所謂「逍遙」,是因為藝術家的創作超越了現實世俗的觀點,體現出藝術家將這個世界中卑微的塵土轉變成為壯闊的詩意宇宙並對精神境界的嚮往。這是一個朝向精神層面探索美學的藝術實踐,也是登高望遠的生命實踐。徐永旭開拓的不只是藝術的造型視野,也是當代藝術的精神向度。

徐永旭,1955年出生於高雄,2007年取得國立臺南藝術大學應用藝術研究所藝術碩士。作品曾於美國、義大利、日本、馬來西亞、韓國、澳洲等地展出。近年來的重要展覽包括:「第六十屆義大利法恩札雙年展」(2018)、「第十五屆Swell澳洲黃金海岸雕塑藝術節」(2017)、國立臺灣美術館「一座島嶼的可能性–2016台灣美術雙年展」(2016)、「第六屆義大利拉科尼吉國際雕塑雙年展:現在和過去的經驗」(2010),並於新加坡勝樂集團總部及美國加州大學長灘分校等地舉辦個展。

廖仁義,臺灣大學哲學系碩士,法國巴黎第十六大學美學博士。現任國立臺北藝術大學博物館研究所所長。曾任巴黎臺灣文化中心主任、蘭陽博物館館長、朱銘美術館館長、忠泰建築藝術文化基金會董事。
展覽策畫經歷豐富,包括伊通公園「磁性書寫」紙上作品展、關渡美術館「千濤拍岸:台灣美術百年回顧展」、「李光裕回顧展」、國立歷史博物館「滄海遺珠:徐寶琳遺作展」等。

http://www.doublesquare.com.tw/tw/exhibition/unfettered-encompassment

Exhibition Dates: 2018.11.02 – 2018.12.08
Exhibition Venue: Double Square Gallery
Exhibition Opening: 2018 November 2, Friday, 15.00
Artist Talk: 2018 December 1, Saturday, 15.00
Artist: Hsu Yunghsu
Curator: Liao Jen-I

Double Square Gallery is pleased to present Unfettered Encompassment—Hsu Yunghsu Solo Exhibition on November 2, 2018. Hsu has been awarded the Grand Prix of the 8th International Ceramics Competition Mino, Japan. In 2018, he received an honorary member status from the International Academy of Ceramics of the United Nations Educational, Scientific and Cultural Organization (UNESCO). Hsu has been invited for exhibitions by innumerous biennials and prestigious art institutions worldwide. Throughout three decades of steadfast endeavors, Hsu has steadfastly nurtured a symbiotic union between himself and clay as well as the depth of their dialogue to create his unique sculptural style. He persistently challenges himself with extremely large and thin ceramic creations. This exhibition features twenty-five artworks by the artist, and can be viewed as a comprehensive review of Hsu’s artistic efforts and achievement in the past four years. Curated by Liao Jen-I, the director of the Graduate Institute of Museum Studies at Taipei National University of the Arts, the exhibition opens until December 8.

When creating his works, Hsu constantly and repeatedly presses, compresses, squeezes, tears, pinches, pokes, rubs, piles and pushes to create desired shapes before layering them up to form his sculptures. Therefore, each work is covered with his finger and palm prints, and represents his extreme exploration into his perception, tactility and sense of pain through his body while emphasizing the dialogue between himself and his works. Hsu never signs his works as the finger and palm prints already serve as a distinctive physical signature. In his work, the artist mainly employs two sculptural elements: seashells and ribbons. The seashell-like sculptural elements sometimes look like peanut shells, oyster shells or rice husks. These oval-shaped elements are not symbolic of physical things but basic units that form the overall structures. In addition to creating a sense of volume on the physical level, they also produce a contrast between the concrete and the void, brightness and darkness as well as a dynamic visuality from the uneven surface. On the other hand, the ribbon-like elements that remind people of handmade noodles or large sheets of seaweed are the lineal element that enlivens the stillness and introduces a sense of temporality into the works.

“Unfettered encompassment” denotes the artistic depth and height of Hsu’s art. His works embody the art of sculpture, the art of thinking as well as the realization of life. The formal and structural change revealed in the works on view in this exhibition not only beckons at a change in visual and aesthetic representation, but also signals a change in aesthetic concept that has taken place on a philosophical level. His art is shifting from his previous exploration of the physical boundaries toward the spiritual aesthetics emblematic of Eastern metaphysics. This aesthetic achievement can be described by the coined phrase, “unfettered encompassment.” It conveys the profoundness of Hsu’s realization of life and the loftiness of his creative thinking. At the same time, it indicates that his works have surpassed mundane points of view. Through his works, the artist has used humble clay from this world and built a magnificent poetic cosmos, which materializes his longing for the spiritual realm. Unfettered Encompassment demonstrates Hsu’s art practice that is moving towards the aesthetic exploration of spirituality; it also manifests what he has achieved through his realization of life. Not only has the artist expanded the vision and form of sculptural art, he has broadened the spiritual aspect of contemporary art.

Hsu Yunghsu was born in Kaohsiung in 1955. He received his MFA from the Graduate Institute of Applied Arts, Tainan National University of the Arts in 2007. His works have been extensively exhibited in the US, Italy, Japan, Malaysia, Korea, Australia, etc. In recent years, his works have been featured in various major exhibitions, among which are the 60th Premio Faenza in Italy (2018), the 15th Swell Sculpture Festival in Australia’s Gold Coast (2017), The Possibility of an Island—2016 Taiwan Biennial at National Taiwan Museum of Fine Arts (2016), the 6th International Sculpture at Racconigi: The Present and the Experience of the Past in Italy (2010). He has also held solo exhibitions at Select Group’s headquarter in Singapore and California State University Long Beach in California, USA.

Liao Jen-I holds an MA in Philosophy from National Taiwan University and a PhD in Aesthetics from Paris Nanterre University (Paris X-Nanterre). He is currently the director of the Graduate Institute of Museum Studies at Taipei National University of the Arts. Prior to his teaching position, he was the director of Centre Culturel de Taïwan à Paris, the director of Lanyang Museum, the director of Juming Museum and a board member of Jut Foundation for Arts and Architecture. Liao is a highly experienced curator, and has curated numerous exhibitions, including Magnetic Writing at IT Park, Waves Striking: One Hundred Years of Taiwanese Arts at Kuandu Museum of Fine Arts, Life, Illusion of Bodies: A Retrospective of Sculptures by LEE Kuang-Yu, and A Hidden Gem: Works of Shü Pao Lin at National Museum of History.