A Representation of the 1960s / Ink Art ? 韓湘寧個展

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HAN Hsiang-Ning Solo Exhibition:
A Representation of the 1960s / Ink Art ?
韓湘寧個展－再現一九六Ｏ／不是山水

Exhibition Link

Type: Exhibition

Client: Asia Art Center 亞洲藝術中心

Year: 2019

Artist: HAN Hsiang-Ning 韓湘寧

Design: Sung, Di-Yen 宋狄諺

Installation View

展場照

Introduction 簡介

Han Hsiang-Ning’s Representing 1960 series is a reproduced digital print of his paint works of the 1960s, applied with a thin layer of acrylic and varnish over the images; nevertheless, the images of the selected reproduced works are further simplified into symbols of time, hence recalling the significant circumstances of their creation.

At that time, he foresaw the East-West distinction would disappear in the discourse of contemporary art, since many of Western abstract paintings have already incorporated elements of Eastern art. This prediction is proven and accelerated by the rapid sharing and access of information today. Furthermore, his ongoing series Travelers Among Mountains and Streams since 1998 has manifested this concept of global culture without East-West distinction. Modeling Northern-Song Dynasty artist Fan Kuan’s Travelers Among Mountains and Streams as the composition prototype, Han re-introduces his paint roller painting techniques of the 1960s to make semi-automatic prints of different ground textures as he travels around the world. By this, he assumes the role of the traveler in the original painting, whose ceaseless effort of personal exploration is evidently shown through his ideas, fulfillments and compositions themselves. Unbounded by the artistic distinction between East and West, as well as the barriers of apparatus and media, Han re-constructs a new dimension of space and time that coerces the audience to imagine a new definition of painting – Ink Art, or Ink Art?

韓湘寧將自己60年代的油畫圖像以數位微噴方式再創作，薄塗壓克力及凡尼斯，創作出《再現1960》系列。從這系列作品中可以看到那些經由創作者擷取的圖像，進而轉為符號的重現。

他認為在當代藝術的發展中，已不需要劃分東與西，因為所謂的歐美抽象繪畫，不乏有許多來自於東方的影響；時至今日，迅疾的資訊傳遞和移動速度，更加證明他當時頗有見地。2000年開始的《行旅圖》系列創作，更貫徹了韓氏無分東西的「世界」文化概念。他將北宋名家范寬的《谿山行旅圖》之構圖作為腳本，結合本身60年代的滾筒繪畫，將其行遍世界各地尋找的地面物件紋理，大量使用半自動拓繪技法拓於畫上，他的實際行動取代了原始畫面中的行旅者，思想、實踐乃至於作品本身，皆盡展現他遼闊的視野，跨越東西方美術的限制，也打破工具和媒材的界線，同時重構時間與空間的維度，迫使觀者進入新的繪畫定義中──是山水畫，又或不是？

Exhibition Brochure

展覽手冊

Design concept of brochure 設計概念

韓湘寧個展的展覽手冊是以藝術家擅長使用的媒材，將其解構並組裝成冊。膠殼背面是將早期拍攝的正片轉印到透明塑膠殼上，因為刻意不印上白墨，需要將其輕壓才能將作品看得清晰。同時，藉由紙張的折疊，讓讀者得以窺探當時的創作氛圍，裝訂上透過十字折與粘貼的工法，將大尺寸的作品壓縮在可隨身攜帶手冊中，呼應著當時備受壓抑的年代，而在當今開放的氛圍下將其解壓縮。

The Brochure of HAN Hsiang-Ning Solo Exhibition deconstructs the artist's well-known media and forms them as a brochure. The back of the plastic cover is the artist's early positive film work; by not applying white ink on the cover, the viewer needs to press the plastic cover lightly to see the work clear. Meanwhile, the viewer can know the artistic atmosphere of that time by folding papers of the brochure. Since the brochure uses cross-fold and stick-on to bind, large works' pictures can fold into a carriable-sized brochure. This method echos the design concept of the brochure: the artworks were created under the repression years of Taiwan, and now we can decompress them in the liberal vibe.