PLUS III-王懷慶 + 姚瑞中|7.21-9.23|TKG+

PLUS III-王懷慶 + 姚瑞中|7.21-9.23|TKG+

 

PLUS III-王懷慶 + 姚瑞中 
PLUS III-Wang Huaiqing + Yao Jui-chung

時間 |2018.07.21 – 2018.09.23
開幕|2018.07.21 (Sat.) 4:30 – 7:00 p.m.
地點 |TKG+
更多資訊|www.tkgplus.com


耿畫廊(Tina Keng Gallery)以獨到眼光,25年來榮幸收藏了華人藝術大師凝視的百年人間,自世紀的紛亂與風華,淬鍊出幽光粼粼的藝術時代切片。隨著時代的推演,藝術語言以更靈活的特性拆解並重構了訴說的方式,而當代的物事亦在此高度流動性中往原有之邊界推移,朝向更寬廣的範疇前進。耿畫廊於2009年推出之獨立品牌TKG+,其推廣具有開拓性潛力的當代藝術表現為重要使命,開啟更豐富的對話與實驗性空間。

「Plus」系列展是以時間脈絡下流動的藝術語言為命題,意圖探討時代脈動下的美學延異。其精神由TKG+所具備的顛覆性視野作為對話起點,並納入溯源的紋理脈絡裡尋找耿畫廊經典美學中類同的內在觀點與文化符碼,以此擴展圖像視覺外的感知與經驗,承繼現代語境外的敏銳探索,進而開啟世代之間美學及思想對話的光譜。

自2015年9月「Plus I」首檔以藝術家林鉅、陳敬元雙個展拉開序幕,延續至「Plus II」 蔣友梅與蔡佳葳的組合,今年Plus III將以王懷慶與姚瑞中雙個展方式呈現,意欲探討在時代的分流下,藝術家各自在特定政治與環境中如何面對歷史造就的記憶幽靈與在時代更迭下欲保存的自我,同時回歸對失根之於現代化下人對於自我的反思。耿畫廊代表藝術家王懷慶為中國後文革時期畫家,作品呈現出對中國傳統文化記憶的關懷,擅長以類京劇一桌兩椅之寫意抽象手法解構以廳堂為連繫家族情感的傳統符碼,使散落在畫面四周的明代傢俱產生人去樓空的失落感,而巨大的冰冷雕塑也在作品與影子之間道出文化棄兒的沉默。對照王懷慶,TKG+代表藝術家姚瑞中的作品中經常可以見到對正統性或是父權系譜的質疑及對歷史的興趣。他擅長以再現的手段呈現觀念攝影,同時讓自己參與在攝影其中。姚瑞中的攝影有別於油畫系列,不以戲謔嘲諷的方式遊戲於作品中,他藉由強烈懸疑劇的風格,與在作品中若有似無的線索,邀請觀者一起參與他的社會偵探行動。回應王懷慶在破碎的傢俱中尋找文化根源,姚瑞中的作品展現出沒有真實歷史的人是否等同遊走於記憶中的幽靈?兩位藝術家都望在混亂之中,以最柔軟的方式反抗大時代的謊言,再建立人的存在意義。

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For the past 25 years, Tina Keng Gallery (TKG) has collected, with pride and discernment, the works of contemporary Asian masters who have observed and distilled the turmoil and splendor of the past century into dazzling cross sections of artistic creation. With the passage of time, artistic language has become more flexible — dismantling and reconstructing conventional methods of artistic expression. This fluidity has propelled concepts and ideas beyond existing boundaries and expanded the potential of contemporary art. In 2009, TKG introduced TKG+, an independent platform dedicated to promoting groundbreaking contemporary art; stimulating a rich dialogue; and creating greater space for experimentation.

The Plus exhibition series explores the flow of artistic language across the sweeping current of time and examines how aesthetics have evolved within each generation. The series embodies the revolutionary vision lying at the heart of TKG+, tracing veins of artistic creation back to the underlying internal viewpoints and cultural codes of the classic TKG aesthetic. In so doing, the series extends our perceptions and experiences of visual art into greater dimensions. Furthermore, through this exploration beyond conventional artistic boundaries, the series elaborates a new spectrum of aesthetic and ideological dialogue between generations.

Unveiled in September 2015, Plus I inaugurated the series, featuring the works of artists Lin Ju and Chen Ching-Yuan in a duo exhibition. The second installment of the series, Plus II, brought together the works of Chiang Yomei and Charwei Tsai. This year, TKG+ will host Plus III, a duo exhibition presenting the works of Wang Huaiqing and Yao Jui-chung. This third exhibition seeks to understand how artists living in different socio-political environments confront the specters of history haunting our collective memories; how they maintain their sense of self in changing times; and how we as individuals contemplate our modern, uprooted existence.

A TKG-represented artist, Wang Huaiqing belongs to the generation of Chinese artists who came to prominence after the Cultural Revolution. Wang’s works reveal his desire to preserve memories of traditional Chinese culture. In an abstract freehand style, as spartan and versatile as the “one table, two chairs” stage set of Peking Opera, Wang neatly deconstructs the traditional cultural codes which sanctioned the role of ancestral hall as the emotional hub of the family. Wang’s canvases, which incorporate Ming Dynasty furniture, evoke feelings of emptiness and desolation, while his glacial sculptures, and the shadows they cast, evoke the silence of an abandoned culture.

The works of TKG+-artist Yao Jui-chung express an interest in history and challenge entrenched systems of orthodoxy and patriarchy. Yao’s conceptual photography is expertly rendered through creative reconstruction; at times the artist himself steps from behind the lens to become part of the image. Unlike his playfully parodic oil paintings, Yao’s photographic compositions — full of palpable suspense and ambiguous clues — invite onlookers to participate in his social investigative project.

Whereas Wang searches for the roots of an “orphan” culture among the fragments of dilapidated antiques, Yao contemplates whether a people dispossessed of an authentic history can be anything other than ghosts wandering aimlessly through the halls of memory. Faced with the disordered confusion of the world today, these artists quietly and gently rebel against the prevailing lies of our times and seek to reconstruct the meaning of human existence.