亚洲展讯 | 大隅无界：艺域的无限扩展与延伸 - 朱为白 、李再钤双人展（台北）
展名 / Title: 大隅无界：艺域的无限扩展与延 - 朱为白 、李再钤双人展
Form Without Boundaries -
Chu Weibor, Lee Tsai-chien Dual Exhibition
艺术家 / Artist:
朱为白 Chu Weibor, 李再钤 Lee Tsai-chien
展期 / Duration: 2020.10.3 (Sat）- 11.29 (Sun)
地点 / Venue:
亚洲艺术中心（台北一馆）
Asia Art Center Taipei I
106 台北市建国南路2段177号 (周一休馆)
No.177, Sec. 2, Jianguo S. Rd.,Taipei 106 (Closed on Mondays)
亚洲艺术中心（台北二馆）
Asia Art Center Taipei II
106 台北市乐群二路93号 (周一休馆)
No.93, Lequn 2nd Rd., Taipei 104 (Closed on Mondays)
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展览以“大隅无界”为题，九十二岁高龄的艺术家李再钤保有中国传统宏大而深邃的艺术境界“天人，物我谐一”，对于李再钤而言，重要的是徜徉在没有界线的空间中，让想象无限驰骋。而在朱为白长达一甲子的艺术生命中，同样是在多元哲思与媒材间出入自得。
朱为白与李再钤皆是隐含哲学家特质的创作者，将自身生成于东方哲学的思维寄寓于抽象艺术。无论是朱为白的平面作品，还是李再钤的几何雕塑，都以简洁练达的造型语言以及纯黑、纯白、纯红、金属本身的颜色等，呈现虚实结合与无限延伸，表达有无相生，创造出巧妙的空间感。早在1960年朱为白即受卢齐欧·封塔纳Lucio Fontana（1899 - 1968）的影响，创造出饱含人性温度的作品，或常以“圆”的形象代表圆满或一元复始，或创造如书法的线条，打造专属于他的东方空间主义，廖仁义曾评这位自然运用减法来创作的艺术家：“一如为道日损，损之又损，才能开启众妙之门”。
李再钤擅长以几何表达世间万物如生命、自然等内在秩序，对于永恒价值的追求，乃东西方皆然。1968年，李再钤接触到西方“低限主义(Minimalism)”，他发现这与距今两千多年前的中国传统哲学“老庄思想”有着相近之处。领悟到世间物事总是由简至繁、又由繁返简。“低限”，以简驭繁的哲学，实则隐藏着人们在概念上可以理解的渺小。而宽广且无穷的想象，体现在李再钤作品的曲折、组合、延伸所形成的无限变化中。
上世纪八十年代在台北市立美术馆举办的展览“低限的无限”令李再钤声名远扬。时隔三十七年，时间证明恒常久远的是作品本身的魅力，藉由此展让观者欣赏两位艺术家沉静、内敛、精准、平衡、温暖特质的艺术能量。
Asia Art Center is proud to announce the upcoming dual exhibition Form without Boundaries, an exploration of infinite artistic expansion through the visual and conceptual dialogue of Chu Weibor and Lee Tsai-chien. A very special occasion, especially since Lee rarely exhibits his work in galleries, the show bears testament to the close, long-lasting friendship between the two seasoned artists. In total, the exhibition will feature 31 works of art: 15 created by Chu, a former member of the Eastern Painting Group, and 16 produced by Lee, one of the most representative sculptors of contemporary times. By tracing the pair's overlapping arcs of creative evolution, the exhibition aims to draw visitors closer to the Eastern abstractionism at the core of each artist's collection. Form without Boundaries will commence on October 3rd, with an opening reception at Asia Art Center Taipei II venue.
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Conceived around the Taoist notion of the infinite, this exhibition reveals Lee's transcendence as an artist to the realm of "ormless forms and shapeless shapes". At the age of 92, he remains creatively engaged and credits his fanciful, imaginative output to a deliberate practice of unhurried, cerebral wandering through vast, boundless space. Likewise, over the course of his own six-decade-long career, Chu has freely explored and experimented with a diverse collection of materials and philosophies, the unfettered contemplations of which remain manifest in his work.
In truth, the creative output of both artists is underpinned by philosophical musings as Lee and Chu have each sought to transmit their innate understanding of Eastern philosophies into abstract art. Regardless of form or medium - whether in Chu's planar yet quasi-sculptural compositions or in Lee's fully three-dimensional constructions - there is a clear, sophisticated language of the plastic which resonates with a simplified palette of pure black, white, red, and yellow, along with a range of natural metallics. This conceptual pairing extends out into infinity, fusing the real with the illusory but also pointing to their necessary interrelationship. Further complemented by artistic technique, this combination creates a unique spatiality which amplifies the spiritual undertones of each piece.
As a sculptor, Lee skillfully captures the intrinsic order of this universe in his geometric figures. With his attention turned towards both worldly affairs and natural phenomena, he continuously searches for enduring, eternal values rooted in Eastern and Western traditions. After first becoming acquainted with Western minimalism in 1968, Lee was struck by its strong similarities with Taoism and realized that, for all things in this world, there are two equal and opposing forces: one that complicates and another that simplifies. He thereupon deduced that minimalism, as a philosophy, harbors the rational notion of the infinitesimal and thus reveals infinite potential. It is precisely this conception of the vast, limitless universe which takes concrete yet abstract form in the twisted, melded shapes of his enigmatic sculptures.
Chu, in his ownartistic evolution, came under the influence of Lucio Fontana in 1960, whereupon he began creating "slashed" works full of warmth and emotion. To this day, he continues to invent intriguing textures, even working at times withcotton swabs, and often incorporates circular motifs to symbolize absolute perfection or the idea of coming full circle. Most notably, the razor-sharp, calligraphic contours which dance across Chu's œuvre have constructed adistinctive Asian spatialism. As the art critic Liao Ren-yi once pointed out, in order to find the way - that is, the Tao - we must let go a little more each day, and that is exactly what Chu does. With his blade, he cuts away and then cuts away some more so as to open up a hitherto unfathomable universe of possibilities.
Initially, Lee rose to fame during the late martial law period when Minimal to Infinite, the brilliant red sculpture which he conceived for the 1983 opening of the Taipei Fine Arts Museum, sparked a fiery political controversy. Nevertheless, nearly forty years later, it is the attractiveness of Lee's work which has alone stood the test of time. As the focal points of Form without Boundaries, his sculptural creations and artistic exchange with Chu will lead visitors through an infinite expression of serenity, restraint, precision, balance, and warmth - timeless values worthy of eternal pursuit.
关于艺术家 About Artist
朱为白，1929年出生于江苏南京，本名朱武顺。1949年随军来台。1953年在廖继春的“云和画室”习画。1958年起加入“东方画会”。朱为白家中三代都是裁缝，他回溯到媒材和色彩本身的质地，利用他所擅长的刀剪线缝手艺营造空间感，他极简风格的创造性不在冷调，反而在于素朴和温润。
重要个展：“朱为白回顾展 - 破空为白”（亚洲艺术中心，台北，2018）、“造空者 - 朱为白个展”（关渡美术馆，台北，2012）、“问云思空”（天使美术馆，台北，2008）、“朱为白回顾展”（台北市立美术馆，台北，2005）、“朱为白个展”（斯坦福大学，加州，美国，1971）
重要群展: “大隅无界：艺域的无限扩展与延伸 - 朱为白 、李再钤双人展“（亚洲艺术中心，台北，2020）、 “风林火山 - 源自东方的抽象”（亚洲艺术中心，北京，2019）、“抽象艺术先锋（1955-1985）”（伊克塞尔博物馆，布鲁塞尔，比利时，2017）、“1960 - 台湾现代艺术的滥觞”（亚洲艺术中心，台北，2016）、“长流 - 50年代台湾美术发展”（台北市立美术馆，台北，2003、2004）、“台北现代艺术交流展”（上海美术馆，上海，1996）、“中国当代绘画新貌展”（历史博物馆，台北，1987）、“中国现代绘画回顾展”（台北市立美术馆，台北，1986）、“东方 ‧ 五月二十五周年联展”（台湾省立美术馆（今台湾美术馆），台中，1981）、“第六届英国国际版画双年展”（英国，1979）、“第四届英国国际版画双年展”（英国，1974）、“第十二届现代版画展”（1970）、“第十一届现代版画展”（1969）
Chu Weibor, born in 1929 in Nanjing, Jiangsu Province, was given the name Wushuen. In 1949, as a soldier, he moved to Taiwan with the troops. Art became his passion in his free time. In 1953, he studied painting in Liao Chichun’s Yunho Studio and began his art career. In 1958, he joined the Eastern Painting Group. As a third-generation seamster, Chu Weibor acknowledges the inherent texture of materials and colors, employing his fine workmanship to construct a sense of space; his minimalistic style is not impersonal but rather grounded and warm.
Selected Group Exhibitions: “Form Without Boundaries - Chu Weibor, Lee Tsai-chian Dual Exhibition” (Asia Art Center, Taipei, 2020); “Zeitgeist: Abstract Art of Eastern Origin” (Asia Art Center, Beijing, 2019); “Pioneers of abstraction (1955 -1985)” (The Museum of Ixelles, Brussels, Belgium, 2017); “1960 - The Origin of Taiwan's Modern Art” (Asia Art Center, Taipei, 2016); “From the Ground Up - Artist Association in 1950s Taiwan” (Taipei Fine Arts Museum, Taipei, 2003 and 2004); “Taipei Modern Art Exchange Exhibition” (Shanghai Art Museum, Shanghai, 1996); “New Modern Chinese Painting” (National Museum of History, Taipei, 1987); “Retrospective Exhibition of Modern Chinese Painting” (Taipei Fine Arts Museum, Taipei, 1986); “A Group Exhibition of the 25th Anniversary of the Eastern Painting Group and Fifth Month Group” (National Taiwan Museum of Fine Arts, Taichung, 1981); “The 6th Biennial of British Prints” (England, 1979); “The 4th Biennial of British Prints” (England, 1974); “The 12th Exhibition of Modern Prints” (Taipei, 1970); “The 11th Exhibition of Modern Prints” (Taipei, 1969)
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李再钤，1928年出生于福建仙游，出身于书画世家，自小受祖父、父亲的启发，接受正统的书画训练，年少时已有深厚的书法绘画功夫，1948年来台，进入台湾省立师范学院（今台湾师范大学）美术学系学习，开始接触雕塑艺术。早期于台湾地区手工业推广中心工作近十年的时间，积极推广工艺设计，创立六艺设计公司，曾任教于中国文化大学、实践大学、铭传大学等教授设计课程。1970年代与杨英风、朱铭、邱焕堂、郭清治、陈庭诗等重要雕塑家组成著名的雕塑家团体“五行雕塑小集”，对各类材质的大胆探索及运用，为台湾地区现代雕塑推进新页。
李再钤自1960年代便开始探索铜、砂石、玻璃纤维与不锈钢等新兴材料，尤其擅用钢材创作，于1970年代接触到包豪斯（Bauhaus）艺术风格与低限主义艺术（Minimalism），使其开启几何抽象的创作脉络。李再钤发现低限主义的核心概念与中国老庄思想及禅学颇有契合，加上本身对易经的深究，因此李再钤的创作在严谨而缜密的数学逻辑之外，也有深刻的东方哲思。他认为宇宙万物的点、线、面、体皆有其秩序与原则，都能够过视觉艺术再现其中的空间美学，反复的在数学、美学与哲学的三位辩证中，他开创出独特的艺术风格，成为最具代表性的当代雕塑家之一。
重要展览：“大隅无界：艺域的无限扩展与延伸 - 朱为白 、李再钤双人展”（亚洲艺术中心，台北，2020）、“低限命题．感性空间 - 东和钢铁国际艺术家驻厂创作展”（台北当代艺术馆，台北，2018）、”哲理与诗情 - 李再钤八十雕塑展”（关渡美术馆，台北，2008）
公共收藏：台湾美术馆（台中）；台北市立美术馆（台北）；高雄市立美术馆（高雄）
出版著作：《希腊雕刻》、《铁屑尘土雕塑谈-李再钤八十文钞》、《即兴八九》
Lee Tsai-chien was born in 1928 to an established artistic family in Xianyou County, Fujian Province. From a young age, he was inspired by the creative accomplishments of his father and grandfather, both of whom were skilled calligraphers, and received orthodox instruction in the fine arts. By adolescence, he had already attained an impressive command of painting and calligraphy. In 1948, Lee enrolled in the Department of Fine Arts at Taiwan Normal University and was formally introduced to sculpture as an artistic medium.
At the start of his career, Lee worked at the Taiwan Handicraft Promotion Center for nearly a decade. He became keenly engaged in promoting artisan designs and went on to establish the Six Arts Design Company. Over the years, Lee also taught design courses at several local tertiary institutions, such as the Chinese Culture University, Shih Chien University, and Ming Chuan University. In the 1970s, he co-founded the renowned Zodiac Sculpture Group with a number of other eminent sculptors, including Yuyu Yang, Ju Ming, Chiu Huan-Tang, Kuo Ching-Chih, and Chen Ting-Shih. This collaborative venture resulted in ambitious exploration and manipulation of awide variety of materials, heralding a new era in Taiwanese contemporary sculpture.
From the 1960s onwards, Lee began working with new materials - such as copper, sandstone, and fiberglass - and demonstrated great creative finesse in particular with iron and stainless steel. In the 1970s, having come under the influence of post-Bauhaus artistic styles and minimalist art, he ventured into the realm of geometric abstraction. As if by coincidence, Lee discovered that minimalism, at its core, shared certain key tenets with Chinese Taoism and Zen Buddhism, and was also consistent with his own in-depth understanding of The Book of Changes. As he explored these underlying interconnections, his creative work took on a precise and deliberate mathematical logic but, at the same time, grew ever more steeped in Eastern philosophical contemplations. According to the artist, the spatial aesthetics of each sentient and non-sentient thing in the Buddhist universe - in point, line, plane, and body - reflects a distinct natural order and individual set of principles, and can thus be reconstructed through the visual arts. Drawing onmathematics, aesthetics, and philosophy, Lee has continuously engaged in atripartite dialectic to develop a singular, integrated artistic style and has ultimately become one of the most representative sculptors of contemporary times.
Public Collections: Taiwan Museum of Fine Arts (Taichung)；Taipei Fine Arts Museum (Taipei); Kaohsiung Museum of Fine Arts (Kaohsiung)
Publications: Greek Sculpture;Iron Scraps Dust: Compilation of Lee Tsai-chien’s Essays at the Age of 80;Improvisation 89
相关阅读
* 风林火山 - 源自东方的抽象 | 东方画会
* 朱为白："破"则淡而自然
* 香港巴塞尔：重探1960年台湾现代艺术的滥觞即将开展 Upcoming Exhibitions
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