自 1983 年台北市立美術館啟用以來，公立美術館、藝廊、各類型替代空間等美術機構提供藝術家多類型的展出平台，也間接梳理了台灣美術史的發展脈絡；藝術家黃志超在 1950、60 年代歷經了台灣現代美術風起雲湧的年代，包括畫會時期、現代繪畫潮及西方藝術思潮的引入等，1971 年他以蠟染作品成名，受美國國務院邀請，赴美作文化藝術巡迴交流展，因而發展出了與當時台灣美術圈鄉土情懷為主流截然不同的創作脈絡，並展開逾 40 年的旅美生活。
1980 年代的紐約畫壇是華人藝術家聚集、活躍的黃金年代，黃志超旅美時期與丁雄泉、陳昭宏並稱紐約三劍客，成為運用複合媒材與東方繪畫對話的代表性藝術家之一，以放縱、率意的表現手法，大膽地接受壓克力彩色相鮮豔乃至螢光的特性。歷經現代轉向後現代的思潮接壤，黃志超以融合東方水墨、書法線性及民俗基調，旅美的物理距離使黃志超對東西方藝術的運用和看法有了獨到的詮釋，數十年來活躍於美國、加拿大、西班牙、香港等地，直至 2011 年返台定居後持續創作至今。然而，作為台灣藝術史上的重要藝術家之一，他卻未曾受邀於台灣公立美術機構個展。
本展作為黃志超在台灣公立美術館的首次個展，邀請其回台定居後所創作的「台灣風光」系列作品展出，此系列作品既帶著對鄉土的情懷、又異於 1970 年代台灣鄉土熱潮下的創作。一反旅美時期狂妄恣意的筆觸，他以細膩嚴謹的線性構圖，描繪熟悉又陌生的故土景緻，在他筆下，風景繪畫的人世百態不再只是點景，反倒成為時代交融的象徵及畫作的主體。藝術不再遺世獨立，而是如實的生活感悟。
黃志超與新竹的淵源可回溯至 1960 年代，年少時期與亦師亦友的藝術家席德進屢次造訪新竹寫生，尤常以新竹迎曦門、城隍廟為寫生題材，即便旅美數十年後重返新竹，仍然對其記憶猶新，對此故景念茲在茲。今年黃志超以近八十歲之姿、五度重返新竹，創作數件以新竹東門城、城隍廟為題的新作，回應新竹市文化局以東門城、城隍廟為題的典藏畫作。此次參與展出的新竹典藏藝術家作品包括前輩畫家李澤藩、蘇秋東、陳在南、蔣瑞坑、何肇衢、劉去徐、趙小寶、蔡國川、黃銘祝等，畫家們擅以穩定的西式構圖及接近真實的色彩表現繪畫形式，同時藉由畫家的手與眼，為後人紀錄在地的生活風景圖誌。本展欲邀請民眾回首竹塹今昔變遷、帶民眾回顧新竹及台灣美術史的脈絡，亦由繪畫的視角欣賞城市地景的歷時性變遷，思索新竹在地文化的核心價值。
Since the Taipei Fine Art Museum’s foundation in 1983, public museums, private galleries and alternative spaces have provided artists with various exhibition spaces, in other hand recorded the development of Taiwanese art history. Taiwan saw a thrive in modern art development in the ‘50s and ‘60s, when The Era of Art Associations occurred, modern art waves tided and Western art were introduced into the East. Having gone through the flourishing era, artist Dennis Hwang became famous for wax printing in 1971, further invited to participate in a series of cross-cultural exhibitions by the US Department of State. He stayed in the USA for over 40 years, developing an artistic context foreign to the Taiwanese artists’ emotion ties to the local back then.
In the ‘80s in New York City, the golden age when Eastern artists gathered and thrived, Hwang was nicknamed The Three New York Musketeers along with Walasse Ting and Hilo Chen. Known for conversing with Eastern paintings through mixed media, the artist embraced the colorful and fluorescent acrylic with whimsical expressions. Experiencing the transformation from modernism to postmodernism, he further integrated ink painting, calligraphy and Taiwanese elements into his artwork, demonstrating unique perspectives on Eastern and Western arts from a distance. Having been an active artist around the USA, Canada, Spain and Hong Kong, Hwang moved back to Taiwan in 2011, continuing to paint. Nevertheless, as one of the most significant artist in Taiwanese art history, he has never held a solo exhibition in Taiwan’s public art institutes.
Gaze Back, the first solo exhibition of Dennis Hwang in public art gallery, presents the artist’s “Taiwan Landscapes” series, portraying close ties to Taiwan as well as perspectives different from that of the artists in the ‘70s. Instead of the wild strokes he applied in America, Hwang depicts the familiar and foreign Taiwanese landscapes with delicate compositions. In his artistic world, landscapes are beyond pure sceneries, further symbolizing the integration of generations. Art is not a utopia isolated from the reality, but an honest reflection of daily life.
The story of Hwang and Hsinchu began in the ‘60s, when the young artist visited the city and sketched with his friend and mentor Shiy De Jinn. Their beloved subjects – the East Gate and City God Temple are still fresh in his mind even after 40 years’ abroad. This year, nearly 80 years old, he came back to Hsinchu for the fifth time, creating new paintings of the two historical sites, responding to the selected collections of Cultural Affairs Bureau, Hsinchu City. The representative artists presented include Lee Tze-Fan, Su Ciou Dong, Chen Tsai Nan, Su Jui Keng, Ho Chau Chu, Liu Chu Hsu, Chao Hsiao Pao, Tsai Kuo Chuan and Huang Ming Chu. Applying stable Western compositions and realistic color usages, they recorded the local life and sceneries through their eyes and with their hands. The exhibition invites the audiences to look into the changes in Hsinchu City and gaze back the history of Hsinchu and Taiwan’s art, further ponder upon the core value of Hsinchu’s culture by appreciating the city’s historical developments through paintings.
The title “Gaze Back” indicates an expatriate artist’s journey back to Taiwan and his old good memories of the East Gate, opening conversations between his artistic career and Hsinchu City. The term “Back” also refers to a throwback to the past and a connection with the land through the representative artists’ perspectives. The audiences are invited to gaze back on one hand with the chronicle of Dennis Hwang and the representative artists; on the other hand through the 3D distributed scenery of Hwang’s new painting “The East Gate” in the Virtual Reality (VR) headset, enjoying a technology-involved painting appreciation with the artist’s audio guide in ears.
展期｜即日起2019/10/5(四)-12/29(日) 9:00-17:00 (免費參觀，每週一休館)
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