關渡美術館

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關渡美術館
投影:韓國當代藝術展
展覽日期
2006-06-16 ~ 2006-08-13
 

投影:韓國當代藝術展

展期: 2006-06-16 ~ 2006-08-13
地點: 週二至週日 上午10:00-下午5:00

策展人:蔡鍾基(光州市立美術館 學藝研究室長)

國立台灣美術館、關渡美術館及光州市立美術館主辦的「愛之維谷-台灣當代繪畫的迴旋曲式」展,已於2004年假光州市立美術館展出。本展為該展之交流展的一環,參展的包括40歲到50歲左右,共三十一位韓國藝術家。展覽的主題為「投影」,展品繼國立台灣美術館之後,將巡迴至關渡美術館展出。

參展藝術家大多數的主要活動範圍均是在號稱為「文化之都」的光州市。他們曾多次參與韓國全省以及國外的各種展覽。近來,韓國社會改變的速度很快,這當然跟國際間的變化有極大的關聯。由於國際交流日趨頻繁,因此文化間的混合(混融),也面臨了多元化時代的來臨,尤其在發展網路商業化近10多年期間,韓國的網路使用率很高,也因此為社會帶來更多的發展。這現象不僅是在韓國看到,為了改變固有的藝術觀念,創作者努力從多元表現型態中尋找出新的結構型態(paradigm)

這些參展的創作者將韓國的情形呈現在作品當中,反映這地區參雜傳統保守以及進步的情況,呈現出經歷歷史變遷後,韓國人生活型態和歷史的演變。光州位於韓國文化之中心點,因此而奠定了「光州雙年展」的歷史,以及2005年開辦的「光州設計雙年展」之成就。光州市個吟茶和吟唱的都市,由於過去有許多的詩畫學者被放逐於此地,因此自然而然培養出很多出色的藝術家。

本展覽「投影」中最受人矚目的內容是有關女性藝術家,以及5.18光州民主化運動的作品。事實上,韓國開始注意且積極討論有關女性權力,才不過30多年前的事情。韓國女性在原本傳統父系社會中受苦,因此,自1990年中期開始,為爭取有關女權法律制度而努力,且最終獲勝。這與30多年前蓬勃發展的民主化運動有關。民主化運動不僅反抗統治獨裁,同時也紓解市民的壓力。在男性權威之下遭受壓迫的韓國女性,透過此運動表現,擴大了在社會活動的範圍。這些脫離傳統樣式的表現,成就獨一無二的的作品。

30多年前,光州女性藝術家組織的時間點與女權運動是一致的。她們卓越的表現,不但爭取法律上的女權之外,同時也提高女性的經濟能力。從第一展廳不難發現作品當中呈現韓國女性爭取女權的美學上的見解以及感觸。

藝術乃環境所遺留下來的。韓國的社會政治環境急速改變,促使作品上的改變。創作者雖然無法進行作品的任何活動發展,但還是熱中於藝術創作。這次參展的藝術家是4050歲的年齡層,其熱情是無法衡量的。這些藝術家們在大學以及個人工作室教育晚輩,同時也不斷發表作品,成為韓國美術界的龍頭。他們多元化創作媒材以及表現方式,帶給韓國美術界蓬勃發展的空間;由於大部分創作都在光州進行,因此很自然地注意到世界文化現象以及「光州雙年展」作品的特色,並奠立了他們的獨特性。從作品當中,不難發現他們盡力再定所反應的歷史美學。

1980年爆發的「光州民主化運動」使得作家們創作出另類美術樣式:「民眾美術」。而光州這城市也因此成為在韓國歷史上改革運動的中心點,並藉此能有機會展現文化藝術價值。在本展覽的最後一間展覽室裡,將解開創作者隨著歷史腳步演進如何提升美術型態的問題。

光州為興起「大眾美術」的主要都市,所以作品當中有融入市民的情感,這比照片更能顯現當時的真實情況,以及藝術工作者對藝術運動和社會上密切關係的深思。

21世紀為資訊時代,韓國為建立科學思考模式「普遍化的」(Ubiquitous)的環境而努力。從作品裡頭可看出韓國創作者提出關於未來的啟示。自1992年韓台斷交以來,期盼能透過藝術,使兩國再次回歸至斷交前有好的關係。藉由本展促使觀眾體會出韓國藝術家作品的特色,並增進兩國國民之間的相互了解。

Essay

Chae, Jongkee (Chief Curator, GwangjuArt Museum)

The exhibition of "Scylla and Charybdis in Love: The Challenges Facing Contemporary Taiwanese Artists" was held in the Gwangju Art Museum in 2004, jointly sponsored by the National Taiwan Museum of Fine Arts, Kuandu Museum of Fine Arts, and the Gwangju Art Museum. This exhibition is planned as a part of the exchange program. This exhibition, entitled “Reflection” will feature works of 31 Korean artists in their 40s and 50s.  It will be held at the National Taiwan Museum of Fine Arts and Kuandu Museum of Fine Arts.  Most of the artists are from Gwangju, the cultural capital of Korea, and they are actively participating in exhibitions not only in Korea, but also abroad.

Korean society changes so rapidly that it is hard to catch up. It is closely related with the international milieu. As international exchange becomes more frequent, a new age of multiplicity and hybridity has developed. Such a symptom is very acute in Korea, where the rate of internet users has reached to the top of the world in the last ten years. Many artists around the world including Koreans struggle to reestablish their view of the art and find a paradigm through various experiments.

The works of the artists in this exhibition clearly show this situation in Korea. The life and history of the people in this area, where the conservative and radical ideas interact creatively, is reflected in them. Gwangju is at the center of Korean culture. The success of both the Gwangju Biennale and the Gwangju Design Biennale which is launched in 2005 confirms this. The city has been the town of refined taste in which people drink tea and enjoy music. Because Gwangju has been a place of exile for learned scholars and artists, many artists are naturally from this region.

The features of woman artists and the works dealing with May 18 Gwangju Democratic Uprising is one of the most remarkable characteristics of this exhibition. Only about thirty years has passed since serious discussion of women’s rights has begun in Korea. Since the mid 1990s, a serious of legal acts has been made to ensure their rights of who are suffering under the parochial and patrilineal society. In Korea, the women's movement is closely related with the democratic movement, which has been active for the last thirty years. The democratic movement was not merely a resistance against dictatorship; it also worked as a kind of detonator to release oppressed feelings. Korean women, who have endured the oppression of male authority, took advantage of this change of the society and began to broaden their scope of social participation. It is evident in the bold mode of expression the woman artists adopt to get away from the traditional styles. The Association for Woman Artists in Gwangju goes hand in hand with the women's movement overall. Their energetic activity reflects not only their enhanced legal status, but also a better economic situation. Visitors to the first room in the gallery will be able to feel the aesthetic view and sensibility of Korean women who are still struggling for further extension of their human rights.

Circumstances play a major role in the creation of a work of art. As if to support these words, the social and political milieu of Korea stimulates artists to change constantly. Though the circumstances are not favorable to concentrate on their work, many Korean artists are burning with their zeal for the art. The male artists in this exhibition are in their 40s and 50s, but their enthusiasm for their works is well beyond their age. Even while they teach future artists in the classrooms and studios, they continue to create artworks. The wide variety of their materials and expression technique show the unlimited possibility of Korean art. Most of them are working in Gwangju, while they are endeavoring to find their own identity as artists.  This is done in relation to other famous artists whose works they see at the Gwangju Biennale. You can easily sense their passion in the exhibition hall.

The May 18 Gwangju Democratic Uprising in 1980 has instigated the artists in Gwangju to found a new genre called "Minjung Art." Historically, Gwangju has been the center of the radical movement, and it has confirmed the pride of the city as a cultural capital of the Korea. Visitors will see in the last room how the artists have sublimated the historical unfurling into the artistic creation. Their works are more powerful than photos in delivering the emotion of the people of the time because they have experienced the uprising on the spot. They will serve as a good material to think about the relationship between the artistic activity and social event.

In this information age of the 21st century, Korea is planning to establish an ubiquitous environment. In this exhibition, you will see how Korean artists respond to this kind of unprecedented change and what they suggest as a koan for the future. Personally, I hope that this exchange problem can work as a kind of bridge between Taiwan and Korea. Perhaps art can heal the severance of diplomatic relations involving the two countries and also promote mutual understanding.