藝術登陸新加坡博覽會

展期: 2013-01-24 ~ 2013-01-27
開幕: 2013-01-24
展場: 濱海灣金沙展會中心 Booth: B1-01
地址: 254 South Bridge Road, #02-01 (Office) Singapore, Singapore 058803

第三屆藝術登陸新加坡博覽會(Art Stage Singapore)將於2013年1月24日至1月27日於新加坡濱海灣金沙會展中心登場。耿畫廊(Booth: B1-01)將推出藝術家趙無極(b. 1921)、王懷慶(b. 1944)、蘇笑柏(b. 1949)、姚瑞中(b. 1969)、陳浚豪(b. 1971)及蘇孟鴻(b. 1976)的作品。 耿畫廊推出兩件趙無極於50年代「克利時期」的系列作品「1950山水」及「1952風景」。「克利時期」為藝術家具象轉變成抽象時期的重要階段，畫作中 細膩的筆觸及線條充分展現出此時期的獨特風格；中國藝術家王懷慶將展出2010年創作的「筆墨紙硯－1」，概念上由一貫熟悉的中國傳統明式家具系列發想， 延伸至中國傳統「文房四寶」，再次以不同角度切入傳統歷史與文化；旅德藝術家蘇笑柏使用大漆、麻布等綜合材料，表現厚實沉穩的層次肌理，傳達出深層的精神 性與純粹美學，以及獨特的抽象形式語言。此次將呈現「紅塵」、「瓦工」等新系列作品，在色彩及材質上持續突破，顯現更加多元樣貌。 臺灣當代藝術家姚瑞中、陳浚豪及蘇孟鴻，各自運用創新手法賦予傳統畫作嶄新面貌。姚瑞中將展出3件「世外塵」系列近作，以「針筆」堆疊線條於手工印度紙 上，繁瑣而近乎神經質的線條刻畫，在視覺上形成扁平化的錯覺；陳浚豪臨摹相傳為宋代畫家李相的「東籬秋色圖」、及遼金畫家武元直的「赤壁圖」，運用蚊釘疏 密的配置，以接近西方點描派的方式，形塑傳統水墨畫中的皴法乃至氣韻，活化了傳統山水；蘇孟鴻「罌粟」系列新作，在作品表面呈現斑駁質感，似雲似水的造型 牽引視線流動，顏料堆疊打磨後造成無止盡綿延的視覺快感，金箔雲海、絢爛華美。 耿畫廊的當代藝術平台TKG+　(Booth: A2-01PS) ，也將在項目舞台(Project Stage)專區，推出臺灣當代藝術家蔡佳葳的最新系列作品「蘭嶼」。蔡佳葳於2012年8月天秤颱風過後前往拜訪受災區蘭嶼，探討當地居民的精神信仰與 無常之間的關聯，思考當代社會與大自然的層層關聯。 The Tina Keng Gallery (Taipei, Beijing) is pleased to present Zao Wou-Ki (b. 1921), Wang Huaiqing (b. 1944), Xiaobai Su (b. 1949), Yao Jui-chung (b. 1969), Chen Chun-Hao (b. 1971) and Su Meng Hung (b. 1976) at the third edition of Art Stage Singapore (January 24-27, 2013, Booth B1-01). Educated both in the East and West, Zao Wou-Ki combines Chinese shan-shui and western painting techniques, incorporating slender brushwork and muted colors. Inspired by Paul Klee after Zao’s arrival in Paris in 1948, Zao’s focus in still life and landscape paintings during his “Klee period,” altered the manner in which he drew. Mountains, rivers, trees, and a house are legible in the two works 1950 Nature and 1952 Paysage. Wang Huaiqing, continuing with his work on Chinese furniture, will present Brush/Ink/Paper/Ink Stone-1, incorporating the four treasures of study—brush, ink, paper, and ink slab—into his paintings, accentuating the connection between of the flatness of the desk top and the flatness of the painting. Xiaobai Su, studied at the Beijing Central Academy of Fine Arts (1987) and the Düsseldorf Academy of Fine Arts (1992) in Germany, under the guidance of Konrad Klapheck, Gerard Richter, and Markus Lupertz. While in China, Su studied the techniques of traditional painting, which in Germany, he strived to break away from, developing a language rich in personal characteristics. Su experiments with new materials, including lacquer, linen, and emulsion, creating an imaginative and expressive vocabulary of abstract language. Contemporary Taiwanese artists Yao Jui-chung, Chen Chun-Hao, and Su Meng-Hung will exhibit works that challenge our perceptions of traditional shan-shui and traditions through their use of materials, including silver leaf, mosquito nails and acrylic paint. Yao Jui-chung deliberately ignores the rules and formats of traditional Chinese ink painting, embedding characters into the scenery of tall mountains and flowing water that seem to resemble Chinese paintings from the Song to Qing dynasties, while also rebelling the system through his use of materials—a fine-point pen and Indian handmade paper. Chen Chun-Hao carefully “copies” landscape paintings found at the National Palace Museum, Taipei, placing mosquito nails on canvas. Each nail is considered “profound,” as it punctures the surface of the canvas and gives life to his two-dimensional works. The mosquito nails, at times grouped together, and at others showing small specks of ink from the original landscape paintings, produce effects of light, shadow, and water vapor. Su Meng-Hung often presents contemporary assortments of traditional themes, borrowing from the floral paintings of Yuan Dynasty and others among the collection of the National Palace Museum in Taipei incorporating interpretations and symbols of desire, lust and addiction in his work. The poppy, with its medical and narcotic properties, is integrated into the layers of the paintings, as the artist considers the application of loaded symbols, transforming meaning and interpretation through his work.