九節拂風─林鉅個展|8.24-10.6|耿畫廊

  • 展期|2019/08/24 – 2019/10/06
  • 開幕|2019/08/24 (六) 4:30 p.m.
  • 地點|耿畫廊 (台北市11492內湖區瑞光路548巷15號1樓)
  • 更多訊息|www.tinakenggallery.com

林鉅2018年開始的系列「九節拂風」源自於近年來他練習的九節佛風,為一種佛教調養生息的運氣法。「佛」與「拂」兩字的錯別,顯現了林鉅的創作一直以來與世界各宗教、神話與哲學脈絡看似絲絲扣連,卻又離經叛道地自闢出的一條路。或許正是林鉅曾說的那份對於這個世界的陌生感,推進著他在生命與創作上緊追眼前疑問。「拂風」系列中仍然可見林鉅早期創作中的「視肉」,他於1995年以《山海經》中的生物「視肉」為原型撰寫視肉傳說,在其脈絡中成為獨特的語彙。視肉又名為太歲,它象徵生生不息的生命;在林鉅的傳說中,人類因對於生的貪戀和總總貪欲食下視肉而變成妖怪危害人間。

就如九節佛風被轉變成了林鉅的拂風,那些在生活中隨緣而遇的元素與經驗也時常被林鉅揀起,在創作與解惑世界的陌生間構成了林鉅自我與其作品裡的世界。2018年因為「藏枒入華:常玉與浪蕩子美學」一展,林鉅因緣際會下受邀談常玉,從開始研究到逐漸深受其畫中的情感世界動容,因而開啟了「九節拂風之常玉演」、「常玉山海經」和「常玉動物園」等系列,每幅畫背上貼著的手稿與剪報呼應著其正面作品的前置或後設的各種思緒;相較正面的繪畫更為果決的狀態,畫背的絮語、素描更符合他近年在創作上趨近直覺與欲對話的創作方式。這對話性或許可以回溯到2014年小鏡覺展中的「回元」系列,看著年輕藝術家陳敬元的作品讓他對持續30年作畫的脈絡有不同觸動,因此返回繪畫的源頭,借用與陳敬元相仿的小尺幅繪畫中細細的看與畫,以素描過程的純粹身體性來反應自身最根本的存在。在「小鏡覺」那次展覽中,除了「回元」系列還呈現了一系列文字手稿,猶如這次展中的畫面與畫背般,呈現身體與思維間的迴旋狀態。

不論在早期大型繪畫中對於陌生世界偏執的、似苦行的闡述,到「回元」系列探討感官生命與繪畫的本質,至今在畫作中與常玉對話交融,林鉅仍以藝術持續追問這些於有限生命中無限的疑惑,只是如此追尋的過程在過去略顯的孤獨與乖戾,於近年遂漸轉成更為積極的對話性空間。藝術創作為思想與精神的實體,它能在不斷推演的時空下與自我、他人反覆對話並且再生,就如在「常玉演」的畫背上林鉅寫道:「理常玉花盆,掉出太歲君 ,瞳中長手, 掌心有眼。」畫面為一株視肉,太歲君這長生不老的肉靈芝象徵著常玉畫中的精神,它進入林鉅,從畫背一躍到正面,長出了眼,再看世界。林鉅以畫布的正反面打破線性時空創造敘事空間,如此反覆錯置的精神與時空在展出的作品間遊蕩,林鉅向觀眾呈現自己。

關於林鉅

林鉅1959年出生於宜蘭,1980年獲第四屆雄獅美術新人獎。1985年五月,首次個展「林鉅純繪畫實驗閉關九十天」於嘉仁畫廊,引起矚目。1986年與友人共組藝術團體「息壤」,此團體分別於1988年、1991年及1996年在不同地點陸續發表作品。1996年入選台北市立美術館雙年展、1999年入選「台灣當代美術1988-1999」。林鉅的作品多次隨聯展於美國、西班牙、葡萄牙各國展出。個展經歷包括「小鏡覺」,耿畫廊,台北,台灣(2014);「指虛錄」,耿畫廊,台北,台灣(2012);「體內——一個倖存者的烏托邦」,大未來畫廊,台北,台灣(2008);「無忌宮(三)斷境——行為藝術及繪畫作品展」,台北市立美術館,台北,台灣(2002)。聯展經歷包括「台灣當代 ‧ 玩古喻今」,台北市立美術館,台北,台灣(2012);「執古御令」,皇后美術館,紐約,美國(2008);「中國現代顛覆與詩趣」,里斯本,葡萄牙(2003);「複數元的視野:台灣當代美術1988-1999」,中國美術館,北京,中國(1999);以及「台灣藝術主體性——台北市立美術館雙年展」,台北,台灣(1996)。

Exhibition Dates | 08.24–10.06.2019
Reception | 08.24.2019 (Sat.) 4:30 p.m.
Venue | Tina Keng Gallery (1F, No. 15, Ln. 548, Ruiguang Rd., Neihu Dist., Taipei, Taiwan 114)

The Tina Keng Gallery is pleased to present Lin Ju’s latest solo exhibition Flowing Reformation, which opens on August 24, 2019. The exhibition title derives from a Buddhist breathing practice called “Nine Cycle Breathing Exercise,” which the artist has been practicing in recent years.

Known for his rigorous painting style, Lin Ju portrays mysterious and sometimes indecipherable notions and symbols from world religions and myths. As the notion of eye and sight is ubiquitous in his work, sighted flesh, one of his unique motifs, has returned to the series “Flowing Reformation.” A creature from ancient Chinese text The Classic of Mountains and Seas written in the 4th century B.C., sighted flesh represents self-generation and immortality. Lin Ju penned his version of the Tale of Sighted Flesh in 1995, where humans consume sighted flesh to seek immortality and quench sinful lusts, only to lose their minds in the end.

At a Sanyu retrospective at the Tina Keng Gallery in 2018, Lin Ju was captivated by the sensibility in Sanyu’s painting, and decided to start three series as a tribute to Sanyu, namely “Flowing Reformation, Act Sanyu,” “Sanyu’s Classic of Mountains and Seas,” and “Sanyu’s Zoo.” These series comprise notably of double-sided works, with painting on the front, drafts and drawings on the back. Intuitive and pensive, drafts and drawings on the back of the canvas serve as a space for reflection in his preparatory or post-painting stage, while the front and the back of the canvas together create interweaving thoughts and actions.

“Twice I’ve come into this world,” Lin Ju once said. “Chaotic the first time, estranged the second.” It is perhaps the feeling of estrangement that nudged him into painting, in an attempt to grasp the intangible unfamiliarity of being. In Lin Ju’s 2014 exhibition Mirrored Vignettes, his “Virility Revisited” series comprising rigorous still lifes of bones, candles, and mirrors, was inspired by artist Chen Ching-Yuan’s work, which urged Lin Ju to reflect upon the act of painting in which he has faithfully engaged for 30 years. The series embodies Lin Ju’s exploration of the origin of painting, where he paints as if he was sketching, a process that involves instinctive hand-eye coordination, and undergoes what he calls “the most corporeal experience” that links to the very existence of his own.

Evolving from his early solemn, strenuous paintings, such tension has eased down in his recent body of work, as the canvas turns into a more lively and inviting space to the viewer. Written on the back of the painting Flowing Reformation is a poem: “Sighted flesh falls out while I’m arranging the flower pot of Sanyu; hand grows from the pupil with eyes in the palm,” reminiscent of Nietzsche’s Thus Spoke Zarathustra (1883). The golden ball of Zarathustra symbolizes a world of one. The center of the world shifts when the golden ball is passed to another person. Lin Ju captures the golden ball of Sanyu, and passes his world on to the viewer.

About Lin Ju

Born in Yilan, Taiwan, Lin Ju (b. 1959) currently lives and works in Taipei, Taiwan. Lin has exhibited internationally in Taipei and Taichung, Taiwan; Beijing, China; New York City, USA; Madrid, Spain; and Lisbon, Portugal. He has held numerous solo exhibitions, including Finger on the Void, Tina Keng Gallery, Taipei, Taiwan (2012); The Interior: Utopia of a Survivor, Lin & Keng Gallery, Taipei, Taiwan (2008); and The House of Wuchi III: State of Severance—Paintings and Performance, Taipei Fine Arts Museum, Taipei, Taiwan (2002). His past group exhibitions include Time Games: Contemporary Appropriations of the Past, Taipei Fine Arts Museum, Taipei, Taiwan (2012);Reason’s Clue, Queens Museum of Art, New York, USA (2008); Chinese Modernity-Subversion and Poetry, Lisbon, Portugal (2003); Visions of Pluralism: Contemporary Art in Taiwan, 1988-1999, National Art Gallery, Beijing, China (1999); and Taipei Biennial: The Quest for Identity, Taipei Fine Arts Museum, Taipei, Taiwan (1996).


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