《無物》- MONO-HA : The art of Nothingness|10.18-11.10|也趣藝廊

  • 展覽 |《無物》- MONO-HA : The art of Nothingness
  • 藝術家 | 李禹煥、関根伸夫、菅木志雄、原口典之、小清水漸、高山登
  • 展期 | 2019.10.18 (五) – 2019.11.10 (日)
  • 開幕 | 2019.10.19 (六) 4:00pm
  • 地點 | 也趣藝廊 | 臺北市民族西路141號
  • 聯絡 | [email protected] | 02-2599-117

也趣藝廊繼2017年舉辦了日本 #具體派 展覽GUTAI – Our Spirit is Free呈現 #吉原治良(Jiro Yoshihara, 1905-1972)、#元永定正(Sadamasa Motonaga, 1922-2011)以及具體派二代主力 #松谷武判(Takesada Matsutani, 1937-)三位藝術家在1980、90年代的成熟時期之作,隔年再度拋出震撼彈祭出Gutai and further一展,自具體派創立以來,就積極突破所在地域與創作思維的限制,持續與歐美藝壇進行交流和連結,這也正是也趣藝廊致力與國際接軌的經營理念所呈現的態度。

對於戰後風起雲湧的前衛藝術流派的關注並視其為與國際藝壇接軌的語彙的也趣藝廊,野心不僅止於此。自2019年初,便首當其衝推出與「具體派」同等重要的戰後前衛藝術運動 —「物派」核心成員小清水漸個展,展出了1971年起發展至今的經典代表作《從表面到表面》 ; 這個十月,也趣將推出更具規模的物派聯展「無物」MONO ha -The art of Nothingness 帶來六位最具代表的物派藝術家之作: 小清水漸(Susumu Koshimizu )、関根伸夫(Nobuo Sekine)、菅木志雄 (Kishio Suga)、李禹煥(Lee Ufan)、原口典之(Noriyuki HARAGUCHI)、高山登(Noboru Takayama),也趣誠摯邀請您,在10/18與我們一同進入純粹質樸的物派精神世界,從不同感知角度深入作品的本質,在探索廣袤無垠的物質邊際線,體驗人與物合而為一的那瞬間,感知藝術的美好。

#關根伸夫 將拓撲學理論結合藝術創作,探討事物「形變而質不變」,尋求事物因應不同環境伴隨而來的本質面貌,前衛的思想定錨了物派的發展。

#小清水漸 賦予有機材料一個戲劇性的展演,在藝術家心中,木條、石塊、土坯,相互輝映、而後交疊,即成宇宙,提醒了我們何謂「存在」,把物派的哲學精神發展到極致。

以理論和藝術實踐凝聚了物派 #李禹煥 同時為韓國單色畫 (Dansaekhwa)領導先驅,提出了背離歐洲中心論的哲學思想。追求從靈性角度回歸自然,以原始的狀態突顯材料的存在特質。

開創出嶄新自我風格的 #菅木志雄 隱含在他作品背後,有的是獨特空間哲學與禪思思想。使其裝置作品總處於一種運動中的狀態,給人以不斷變化和發展的想像。

在傾向於使用自然媒材的物派團體中獨樹一格的 #原口典之 擅長以鋼鐵、木板、PU物料等工業材料創造富有社會批判性的裝置藝術。

#高山登 多以鐵路枕木作為創作素材,並為枕木塗上厚厚的焦油,或瀝青。瀝青色的木頭不僅造成一種強烈的物質存在的印象,而且生動地比喻了鐵路及工業化,乃至隱喻了日本對其殖民地踐踏與侵略的沈重氣息。

Exhibition | MONO-HA : the art of nothingness
Artists | LEE Ufan, Nobuo SEKINE, Kishio SUGA, Noriyuki HARAGUCHI, SUSUMU Koshimizu, Noboru TAKAYAMA
Duration | 2019.10.18 (Fri) – 2019.11.10 (Sun)
Opening | 2019.10.19 (Sat) 4:00pm
Venue | AKI Gallery | 141, Min Tsu W. rd., Taipei, TAIWAN
Contact | [email protected] | 02-2599-1171

Tracing back to 2017, Aki host our very first show “GUTAI – Our Spirit is Free” in honored to the free spirit of the time. Following year, the group exhibition“Gutai and further” took place at the gallery, which could be seen as a gesture to illustrate our enthusiastic in keeping up with the global art scene. Due to the fact that not only Gutai but Mono-ha had pivotal effects on Japanese contemporary art, from the beginning of this year, AKI presented the primary member of Mono-ha – Susumu Koshimizu, who maximizes the character of the movement through the use of wood.

This October, Aki Gallery is delighted to present “Mono-ha : The Art of Nothingness”, which contains six key figures of Mono-ha, including Susumu Koshimizu, Nobuo Sekine, Kishio Suga, Lee Ufan, Noriyuki HARAGUCHI, and Noboru Takayama.

About Artists |

Nobuo SEKINE, as the pioneer of the Mono-ha group, combines the theory of topology with art, focusing on the essence of material and its changeable form.

Susumu KOSHIMIZU, intensifies the spirit of Mono-ha group by creating a stage for individual element to perform; a stone, a wood, or even a string could play a role; to exit for its own.

LEE Ufan, leading the trend of Dansaekhwa in Korea, returns to the quality of material and the pursue of nature, which departs from the common trend of Eurocentrism.

Kishio SUGA creates feelings of movement in his installation, constructing a space of philosophy and a world of zen through his dynamic approach.

Noriyuki HARAGUCHI forms a unique social critical style by using industrial material such as steel, board, and PU.

Noboru TAKAYAMA adds layers of asphalt on railway crossties as medium to reflect on the Japanese colonial period, both for its construction and destruction.

About the movement |

Mono-ha (literally meaning, School of Things) emerged in 1968, led by the artists LEE Ufan and Nobuo Sekine. Central to Mono-ha thought was initially a desire to create a contemporary Asian art free from what the artists considered to be Japan’s unquestioning absorption of international modernism. In addition, they also rejected the use of Asian motifs (such as those derived from Buddhism or Zen), which could be considered derivative. Its members were stridently anti-modernist—consisting primarily of sculptures and installations that incorporated basic materials such as rocks, sand, wood, cotton, glass and metal, often in simple arrangements with minimal artistic intervention.


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