10.02.2012

評北美館抽象藝術大展「非形之形」─ 思考另一種「抽象」畫的觀看方式


今年七月在台北市立美術館展出的台灣當代抽象藝術大展「非形之形」,共展出了三十二位抽象藝術家六十八件作品,展覽以代表理性、幾何的「冷」抽象與象徵抒情、感性奔放的「熱」抽象作為展出畫作的主要歸類依準。
 首先從展覽的名稱便為抽象藝術之「抽象」簡潔地下了定義。第一個「形」,即我們物理世界一般對於存在物,眼觀所見之形;抽象則是對再現寫實的背離,也就是展覽之名中的「非形」,呼應藝術史學者E.H.Gombrich對於抽象一詞的說明:「常有人批評抽象這個字眼並不恰當,於是有人建議使用『非具象』(non-objective)或者是『非表象』(non-figurative)來取代抽象一詞。」。
 而第二個「形」,在展覽的呈現脈絡中,則廣泛指稱藝術家對於無法以自然世界萬物固有之形,來表達個人心智空間當中的各樣溢於言表之物,這些可能包含如展覽論述當中提及的:「直覺、思想、記憶、物質、時間或空間等多元議題」。
 作為回應西方藝術史長達六百多年以「再現模仿」為主要目標的反動─抽象藝術,除了展覽中「冷」與「熱」風格表現手法的差異分類,以及在世俗形體之外對「心靈原鄉」的精神性追求。在此筆者以展覽繪畫為主要探討主題,意圖提供觀者此展覽命名與論述當中沒有含括的其他觀看理解抽象藝術的角度,如進一步探討「冷」與「熱」表現手法背後全然不同的各自藝術理念,以及延伸試探台灣抽象畫的常見母題─「精神世界」之困境突破可能。
                                                                                <全文刊登於台北藝術論壇電子報2012VOL.19展覽評論>


Regard the “Abstract” Painting with a New Outlook —Commentaries on the TFAM's Formless Form Exhibition


Starting this July, the exhibition Formless Form—Taiwanese Abstract Art in Taipei Fine Arts Museum showcases 32 abstract artists and 68 artworks, among which cold abstraction and hot abstraction are thus categorized.
For starters, the title of the exhibition serves as a succinct definition for “abstract” of the phrase abstract art. As a “form” generally refers to what we see in this physical world, whilst “abstract” steers away from the representation of reality, which is hence smartly coined “formless” and consistent with what E. H. Gombrich, a scholar of art history, said about “abstract”: “Many people do not consider the word ‘abstract’ accurate, and some suggest to use ‘non-objective’ or ‘non-figurative’ to replace it.”
The second meaning of the “form” here encompasses a wider range of diverse matters or concepts such as “intuition, imagination, memory, matters, time or space”, which, as mostly existing in one’s mind, might be difficult for artists to express through the medium of the natural world.
As a reactionary force to “representation” (or mimesis), which has dominated western history of art for more than six centuries, abstract art has embraced two differing categories, rational expression (cold abstraction) and lyrical expression (hot abstraction), and has been involved with a spiritual pursuit toward the “motherland of the soul”, beyond the worldly, mundane substances. Here I would like to discuss the paintings of this exhibition, and accordingly, provide the audience with more outlooks other than the title and discourse have suggested, such as the respective philosophies of art behind rational/ lyrical expressions, and the possible breakthroughs of the subject “spiritual world”, which has been most popular with Taiwanese abstract painters.  
                                                                                                       < Click for full article in the current issue >

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