Asia Art CenterArt Taipei 2019 | Taipei International Art Fair
Booth | Booth: F02
Matsutani
Sadamasa Montonaga, Sekine Nobuo
Haraguchi Noriyuki of Haraguchi Nobuo
Haraguchi Noriyuki, Koshimizu Susumu
Affandi
Date:
time Date:
Open to the public on 20 Public Days 19:00/10/20Public Days1 11:00/zzz6 1 11:00/zzz 1 10/10 11:00-18:00
Venue:
Taipei World Trade Center Exhibition Hall 1
Taipei World Trade Center Exhibition Hall 1
No. 5, Section 5, Xinyi Road, Xinyi District, Taipei City
No. 5, Sec. 5, Xinyi Rd., Xinyi Dist. , Taipei
Asia Art Center will divide the booth into 3+1 sections in the F02 exhibition area of the 2019 Taipei International Art Fair, exhibiting the works of 11 artists. The "Oriental Translation" exhibition area is based on the original business context, showing the appearance of the Chinese post-war art development; in recent years, the art territory of the Asian Art Center has continued to expand-from Chinese and overseas Chinese to Southeast Asia and Japan’s post-war art is fully promoted and researched; since the 2017 "Zhong Sibin Hundred-year-old Birthday Exhibition", the excavation of Southeast Asian post-war artists has started, and it can be used in this exhibition "Indonesia Post-War: Afan "Di" exhibition area exhibits Indonesian expressionist giant Afandi-he uses landscape paintings to record landscapes and current events in various places, and more vividly interprets the "field spirit" of people, land or religion; "material and form" The exhibition area has developed since the solo exhibition of Wushu artist Nobuo Sekine "Empire-Skin" in January this year, and the solo exhibition of the post-wushu artist Yuankouren in May. These three exhibition areas can be described as a condensed version of the post-war art development in Asia, and in the development of post-war art, you can see the relationship between global and regional integration, as well as its open and independent characteristics. Finally, the artist Li Zhen’s exhibition area presents a new Oriental spirit with the concept of a tea room: "Let the truth go abroad" -exhibited his latest graphic works "Silver Black Series", etc., and the first exposure of early graphic creation and Sculpture "Mount Putuo".
exhibition site
exhibition site exhibition site
Ren Zhen and overseas
Li Zhen's graphic creation can be divided into two parts: the first part is derived from the original manuscripts that are closely related to the sculpture itself, such as the atmosphere of the gods and the Tiansui series; The other part is Li Zhen's development of the graphic works in his early creative context, which can be traced back to the creation of a series of ink scrolls in 1997, such as "Ice Stone" and "Light and Shadow in the Deep Pool", which also present sculpture-like landscapes. In the picture, the fine lines similar to the engraving (presented on the base of Mount Putuo) replace the traditional method of mountain and stone dumping, and show a free breath of energy flowing. In the future, there will be works of weird forms similar to landscapes and texts, which are mixed with Li Zhen's own mood when creating, and incorporate their own interests, recreating an abstract artistic vocabulary of the New Oriental spirit, leaving the real world abroad.
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Oriental translation
based on the inherent cultural heritage of the EastThe foundation, through the transformation of form, media or context, to create the artistic spirit of "New Oriental" is the purpose of setting up the "Oriental Translation" exhibition area. For example, Feng Zhongrui of the May Art Association, influenced by the wave of abstract expressionism after the war, used oriental elements to complement the expression of abstract painting, and played an important role in the development of the post-war and art in Taiwan. Another abstract giant from and Taiwan , Yang Zhihong, inherited the concept and style of abstract expressionism represented by Pollock in the 1950s. He is no longer eager to capture the treacherous external environment and instead observe his own inner experience. Dong Xiaohui, who was influenced by Western Impressionism in the early days, was later inspired by the ideas of Lao Zhuang and created the creation of spiritual imagery.
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Indonesia post-war: Afandi
Southeast Asian post-war artists have two main categories, one is overseas Chinese; the other is artists native to Southeast Asia. The Indonesian artist Afandi in this exhibition records his rich travel experience with paintings, not only depicting the landscapes and current events in various places, but also vividly interpreting the characters and local customs, or the so-called "field spirit". Due to the emergence of a group of Western art historians in the 20th century in Indonesia during the Dutch colonial period, local Indonesian artists have the opportunity to receive the influence of Western aesthetics. At that time, the Indonesian art center "Yogjakarta" gathered many popular artists, whose creations were mostly about everyday life. A realistic portrayal of life or a critique of politics. Although the mainstream art vocabulary at the time was purely concrete expression, there were a few artists who were born here, who did not blindly follow the mainstream art form, and devoted themselves to the exploration of abstract art, which left an indispensable role in the history of modern abstract art in Indonesia. Replaced position.
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Substances and Forms
This exhibition area presents the relationship between "Guotai" and "Mono" in Japanese post-war art in a way similar to the time wall. In the development of Japanese modern art, the Second World War can be used as a breakpoint. Before the war, Japan began its Meiji Restoration in the middle of the eighteenth century. It was completely Westernized under the slogan of "Leaving Asia and Entering Europe". Naturally, the development of art was deeply influenced by the West. Haruyoshi Yoshihara, who was a member of the pre-war art group "The Second Section Association", founded the "Ghutan School" in 1954. After Shiraga Kazuo and Moto Naga Masasai and others joined, with the aim of "not imitating others", they tried to gradually In the declining Japanese art, a new style belonging to Japan was created; the second phase member Matsutani, who joined in 1963, after the dissolution of the Gutai school, created a more avant-garde, pure painting expression based on original materials, such as " Stream series". At the end of the 1960s, another high-profile Japanese post-war "Mono School", led by Nobuo Sekine, Shimizu Masan, and later members of Haraguchi Noriyuki, gave rise to a wave of "things" art—seeing the material itself as The subject seeks a certain meaning and vocabulary from the material. In general, the two are also pursuing the essence and materiality of form and material, achieving a relationship of reciprocity and even mutual influence with Western art of the same period, and pushing Japanese post-war art to the top of the world like a relay.
Partial Sketch Diagram of Art Taipei 2019
The Partial Sketch Diagram of Art Taipei 2019
is on display Current Exhibition
Asia Art Center (Beijing) "Fenglin Volcano-Abstract from the East"
