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Friday, August 30, 2019
CC Yang: Reclaiming the Vision 楊金池的願景
Sunday, August 18, 2019
Ruminations on “STATELESS” 「無國籍」的聯想
Ruminations on “STATELESS” 「無國籍」的聯想
By Luchia Meihua Lee
Suppose a group of Frenchmen formed an alternative government
and claimed to be the official government of France. Suppose that indeed they controlled 75% of
French land at one point, but were defeated in a French civil war and retreated
to the Basque land in Spain. After some time had passed, they might bow to
reality and relinquish their claim to govern France but then claim – with the
consent of the Basque people – to govern that land they controlled in the
Basque part of Spain.
Now the Spanish government in Madrid might contest the alienation
of some of their country. But it would be no affair of the French government in
Paris.
This is the situation with the Republic of China with one
crucial geographic difference. The land
to which the government of the Republic of China retreated, after losing a
civil war in China, did not belong to a third country. It was an island,
Taiwan, that Japan had ruled and claimed as a Japanese prefecture, but which
the United States seized as a bounty of war and gave to the Republic of China.
Japan has never claimed Taiwan since losing the Second World War. But the
parallel still holds – the People’s Republic of China has no valid claim on the
territory of Taiwan.
Steven Balogh's “stateless” series paintings apply graffiti
lines as in paintings in recent years, a free-flowing line and a dynamic
abstraction (Gestural abstraction); I like to cite Cy Twombly’s later paintings
as an exemplar. Developing work of the Bauhaus in Germany, Black Mountain and
Jackson Pollock, Twombly extended abstraction to embrace an avant-garde new
world of street graffiti and classical painting. The difference in this series
of refugees and stateless works is that Steven Balogh put graffiti on images of
his early passport and identity documents. Steven Balogh in1989 was officially listed
as “stateless” which recalls the diplomatic dilemma of people living in Taiwan.
For example, the flag of Taiwan needs to be hung inside the New York office of
Taiwan’s de-facto consulate. Also,
the country can't join international organizations or participate under its own
name in international sporting events. Steven Balogh's passport turned out to
represent a transitional period for him; he has embraced a new life and
identity as he passed from the refugee camp to New York. Can Taiwan let us know
that the internationally-recognized nationality is coming?
「無國籍」的聯想
綠可
假設一群法國人組建了一個替代政府並聲稱自己是法國的官方政府。假設他們確實在某一時刻控制了75％的法國土地，但在法國內戰中被擊敗並撤退到西班牙的巴斯克地區。經過一段時間後，他們可能會屈服於現實並放棄他們對法國統治的主張，但隨後在巴斯克人的同意下，要求他們控制他們在西班牙巴斯克地區控制的土地。
現在，馬德里的西班牙政府可能會對他們某些國家的異化提出質疑。但這與巴黎的法國政府沒有任何關係。
這與中華民國的情況有一個重要的地理差異。在中國內戰後，中華民國政府撤退的土地不屬於第三國。這是一個台灣島嶼，日本統治並聲稱是日本的一個地區，但是美國卻把它作為戰爭的獎勵並賜給了中華民國。自從第二次世界大戰失敗以來，日本從未聲稱過台灣屬於他們的領土。但這個概念也是並行存在 - 中華人民共和國對在台灣的領土上也不會是有效的主張。
匈牙利裔美國人史蒂文·巴洛（Steven Balogh）倖免於俄羅斯強加匈牙利的共產主義，被迫的義務兵役以及在奧地利難民營的拘留; 他現在在紐約Astoria區域生活和工作。 他在我們2019年 “都會部落”的展覽中提供的作品反應了他在匈牙利的兵營的不人道要求及的國家的不道德行為。 在奧地利難民營時，他的護照被沒收，並獲得了這份早期身份證件。 從他1989年11月在美國臨時合法居民那裡獲得的護照，特別是將他稱為無國籍人士。
這塗鴉式的綫條是巴洛（Balogh）近數年來蟬蛹的繪畫形式，一種自由揮灑的綫條也是一種動態的抽象（Gestural abstraction）形式，但我喜用Cy Twombly 來連接他的近期畫作，Cy Twombly在德國包浩斯(Bauhaus)、美國黑山學院（Black Mountain）與Jackson Pollock的基礎上，將抽象概念融合街頭塗鴉，並蘊涵經典繪畫加童趣創造出一種新境。不同的是巴洛（Balogh）在這系列的「難民」及「無國籍」作品中，把這種塗鴉加在護照上面及早期的照片。在圖像上我們看到1989 年他的的國籍（Nationality）是無國籍-“Stateless" 讓我聯想到居住在台灣的人民，不也是屬於”無國籍“，這種無國籍狀態也是在台灣整體在外交上的困境，如駐紐約辦事處的國旗是需要懸挂在大廳内部，或是無法參與國際組織，以及使用城市的名稱來代表國家等等。目前正式通用的ROC Taiwan 事實上也不代表一個國家，不同於Steven Balogh 的護照是一種過渡期, 在他通過了難民營的庇護他迎接了新的生活與身份，台灣可以讓我們瞭解即將有確定的nationality來臨嗎？
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Steven Balogh, Stateless I, 2019. Stateless II, 2019。Acrylic, pastel, pigment print on canvas
22 x 34 inches，Courtesy of the artist
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Steven Balogh, Refugee Passport I, 2019. Refugee Passport II, 2019. Acrylic, pastel, pigment print on canvas. 21 x 44 inches. Courtesy of the artist
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Information authentication II, 1980, Ink,
acrylic on paper 28 x 40 inches
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| Info-kamikaze I./self-portrait, 1979, C print, 12 x 24 inches Courtesy of the artist, Contemporary art collection Ferenczy Museum Center, Hungary, Europe |
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Info-kamikaze II, 1979, C print, 12 x 24
inches,
Contemporary art collection Ferenczy Museum Center, Hungary, Europe
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Friday, August 16, 2019
20190815 Urban Tribes Closing dance music-with Yutien Chang sculpture
我們可能會發現一個自給自足的群體在任何種族中發展自己的文化身份，並且與其原始性格顯著不同。然而，而且最有趣的是差異，城市部落的成員從未完全接受他們所居住的較大人口的生活方式，在這裡，我們希望用一種全新的視角來觀察小的甚至可能是孤立的脫節，然後在全球和國際背景下解讀它們。美國是許多不同種族和文化起源的人的家園共同組成這個國家。展覽將來自代表不同種族和文化背景的藝術家, 透過這使美國經驗成為一種現實的呈現。對我們來說，成為美國都會部落的一部分意味著什麼？
20190815 Urban Tribes- Yutien closing party
https://youtu.be/Lf-3Ltf81BA
ONE NIGHT ONLY: URBAN TRIBES I@ El Taller Latino Americano
CLOSING PARTY
August 15, 2017, from 6 to 8 pm
El Taller Latino Americano: 215 E. 99th Street, New York City
CLOSING PARTY
August 15, 2017, from 6 to 8 pm
El Taller Latino Americano: 215 E. 99th Street, New York City
The unveiling of a new, original piece by YUTIEN CHANG, to meet and greet Urban Tribes artists, and enjoy performances by violinist JOANNE LIN and dancer SAMMI TAI.
Curators: Luchia Meihua Lee, Jennifer Pliego
Urban Tribes-!: Urban Caravan Participating artists :
Miya ANDO, Steven BALOGH, Yutien CHANG, Ching-Yao CHEN, Jen-Pei CHENG, Andrea CORONIL, Che-Min HSAIO, Felipe GALINDO, Ming-Jer KUO, Pey-Chwen LIN, Yi-Chun LO, Lulu MENG, Kelly TSAI and Ryan Hartley SMITH, Yu-Chuan TSENG, Pei-Shih TU.
Taiwanese born and bred, Yutien Chang graduated from Brooklyn College. Chang was working on three sculptures for Urban Tribes but was unable to complete them because the federal immigration authorities denied him reentry to the US. He was sent back to Taiwan in May. In a case of art imitating life, his lone work displayed in Tribeca shows a dove-headed man, his wings broken off, sprawled on his back on a cloud.
Curators: Luchia Meihua Lee, Jennifer Pliego
Urban Tribes-!: Urban Caravan Participating artists :
Miya ANDO, Steven BALOGH, Yutien CHANG, Ching-Yao CHEN, Jen-Pei CHENG, Andrea CORONIL, Che-Min HSAIO, Felipe GALINDO, Ming-Jer KUO, Pey-Chwen LIN, Yi-Chun LO, Lulu MENG, Kelly TSAI and Ryan Hartley SMITH, Yu-Chuan TSENG, Pei-Shih TU.
Taiwanese born and bred, Yutien Chang graduated from Brooklyn College. Chang was working on three sculptures for Urban Tribes but was unable to complete them because the federal immigration authorities denied him reentry to the US. He was sent back to Taiwan in May. In a case of art imitating life, his lone work displayed in Tribeca shows a dove-headed man, his wings broken off, sprawled on his back on a cloud.
Chang's “Truth Based Freedom” focuses on re-energizing the freedom within us. Freedom is not a list of expectations and comparisons; it demands to be individually defined. The definition they developed built our parents’ homes and dreams, and is the basis for their freedoms. However, we must come up with our own answer to guide our lives.
URBAN CARAVAN focuses on world caravans, that is, all those who choose to leave the hometown looking for a better life on the material or spiritual level. The universal question “What is the human being?” has never lost its relevancy. Part of the answer is that being human means embracing cultural diversity, yet humanity also requires valuing people as individuals. For those in caravans at the US border as well as immigrants who are already here, being human is holding on to aspiration in spite of accidents of birth. For others, it is a reverence for natural and social systems, as elaborated by artistic discourse. For all, it is holding on to human values in order to better employ advancing technology.
● Urban Tribes I @ New York Foundation for the Arts, 20 Jay Street, Brooklyn, New York – still on view until Sept 12
The Urban Tribes exhibitions are a collaboration by Taiwanese American Arts Council, El Taller Latino Americano, and New York Foundation for the Arts.
Special thanks to:
TWNY Music Guild, BAS
TWNY Music Guild, BAS
Thursday, August 8, 2019
Wednesday, August 7, 2019
Art as Implicit Substance存在中的真實
Reinhard Blank: Art as Implicit Substance
德國藝術家 Reinhard Blank: 存在中的真實
Luchia Meihua Lee
Reinhard
Blank has located his Spiritual Garden on a hill behind his studio. This piece
is a set of four walk-in wooden sculptures connected by a metal walkway, and
there we find that his work combines natural strength and spiritual softness;
it is rational, minimal and conceptual. Instead of splashing his emotions
about, the artist is revealed by the substances he employs – by his recurrent
use of materials that can be returned to nature: earth pigment on unprimed
canvas, water, and steel. This is not surprising in the son of a farmer with
academic art training. Blank always wears a humble smile, whether despite or
because of his pursuit of complex philosophical ideas.
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| Space sculpture- Garden of 4 Elements, each cabin 3 X 3 m; built in 2014. Chosen in 2018 as a model and architectural inspiration in the Allgau region by Architekt forum e.V. after a review by an international panel of professional architects. |
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| Space sculpture- Garden of 4 Elements |
Blank is highly trained in the ideas of the Bauhaus School in Design and Art in Germany, in industrial design, simple abstract design, and as a machinist, plus research and dedication to philosophy, and needs to immerse himself in natural environments such as his beloved Allgäu region of Bavaria.
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| Five forms of self-reflection: each 96 X 250 cm, Obsidian pigment on Japanese paper, 2019 |
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| Shadow of Mind, Steel,
Pigment on canvas
42 X 42 X 6,5 cm
2007
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| Sky Mirror: Steel, granite, water; 350 X 205 X 45 cm ; 2007 |
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| Introspection, Pigment on canvas
80 X 80 cm, 2015
Substances always give the thought a shape
and the thought returns the substances
a form.
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| Coordinates: Pigment, multiplex; 48 X 99 cm; 2018 Life movement staggers between space and time. |
Reinhard Blank: Art as Implicit Substance
存在中的真實
August 10 - exhibit preview, concert and opening reception @Palazzo Albrizzi-Capello Associazione Culturale Italo-Tedesca Cannaregio, F.TA San Andrea 4118, 30121 Venezia
Curator: Luchia Meihua Lee
August 10 – September 1, 2019
Palazzo Albrizzi-Capello, Cannaregio 4118, Venice
Vernissage in
Saturday 10th August
Concert: at 5 pm ‘L’Offerta Musicale’ Director Enrico Parravicini Church of Santa Sofia Strada Nova, 4193,
30121 Venezia VE, Italia
Presentation and visit exhibition
at 6 pm
Albeizzi-Capello Palace
Exhibition’s Opening Hours: Tuesday to Sunday
10:00-13:00 ; 15:00-18:00
Palazzo Albrizzi-Capello Associazione Culturale Italo-Tedesca Cannaregio, F.TA San Andrea 4118, 30121 Venezia
Installation view video
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| A view to a sutra, 100 X 75 cm Pigment on canvas I opened a sutra; suddenly I saw the frame around the text |
Artist statement
What I am looking for is the simplest forms to comprehend the world. I dedicated most of my time and energy to philosophy. Inspired by Artist Piet Mondrian, Art historian Hans Joachim Albrecht1, and influenced by ‘Structures and dynamics of empirical theories’ of Wolfgang Stegmüller, I have transformed my artwork toward rational and conceptual expression through geometric structures.
At the beginning my work concentrated on the visual presentation of theoretical structures. Later I found that my geometric base vocabulary can be correlated with Earth symbolism; hence I can process my interests (the relationships between the world, the human body, and the mind) into images.
Behind the simple pictorial forms stands a mathematical structure that takes into account width, length, area, volume, proportions, space, mass, weight, an Fibonacci sequence to produce an aesthetic view and effect with implicit and metaphorical statements.
My work is a product of a specific focus on the world that we live in and serves as a mirror for ourselves. In the beginning, we are embedded in a predetermined but unforeseeable background; however, the continued and inevitable interactions reformat and re-shape us.
In my work, I try to develop a harmonious, meditative character inviting self-contemplation. This reveals my innermost concern with consciousness – a seemingly comprehensible, mechanical structure, modified by a transcendence beyond the limits of rationality and hence unknowable.
1. He wrote that the structure of science, that can be elaborated clearly only by math, is too complicated to be transformed by means of geometric structure to visual terms.
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| Twelve Apostles, Steel, copper, glass, Invited Design of The Main door of Church Kinderlehrkirche. 2011 built in Memmingen, Germany |
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The Tree of Life, Sculpture model. Original commissioned
sculpture: Ceramic, Steel. Total height with base 240 cm
2007.
the law of three. A creation
of three forces defined
as positive, negative and neutral.
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Reinhard Blank
Born in Memmingen, Germany.
Lives and works in Thal Atelier, Bad Grönenbach, Germany.
MFA, The Academy of Fine Arts, Munich, Germany.
Selected Awards/Honors
Arts Prize, City Memmingen, Germany.
Special Artist Prize (Küstlersonderpreis), Marktoberdorf, Germany.
Selected Solo Exhibitions
Visual Structure Theory - Tractatus of Ludwig Wittgensteins, associated with a lecture about how to reconstruct Tractatus, University of Ulm, Germany.
Aesthetics of Void, Kreuzherrnsaal, Memmingen, Germany.
Poesie der Unterscheidung, Schloss Hohlenheim, Stuttgart, Germany
Selected Group Exhibitions
experiment konkret - Eugen Komringer zum 80, Museum für Konkrete Kunst, Ingolstadt, Germany.
Sammlerkonzepte, Kunstspeicher Museum, Würzburg, Germany.
Selected Public Art/Design
Interpretation from Trinity with Minimalsystemen der Selbstreferenz, Ceiling Design (size 99 m2), Trinity Church, Ravensburg, Germany. Corridor and Worship Room Design for Arche Slowenien, Medvode Slowenien.
Selected Collections
Municipal Cultural Department, Memmingen, Germany. Karl Gerstner, Basel, Switzerland
Selected Publications
Minimalsystem der Selbstreferenz. Malerei im interkulturellen Dialog, Gallery Akzente 2001, Memmingen, Germany.
Essay – Ent-täuschung – Spiritualität in book Spirituelle Erfahrung in philosophischer Perspektive, p. 161-167, Walter de Gruyter, Berlin, Germany.
Pedagogy 1991 - 1998
Principal of Schule für Gestaltung, Ravensburg, Germany Course taught: Philosophy of Fine Art
Thalatelier
Reinhard Blank
Unterthal 33a
87730 Bad Grönenbach-Thal Germany
info@reinhard-blank.de
Tel. + 49 8334 534840
德國藝術家李布朗克（Reinhard Blank）居住於巴伐利亞的阿爾高地區，受過德國包浩斯工業設計訓練，與慕尼黑藝術學院教育等大學時期拜學于徳國哲學大師Wolfgang Stegmüller，承襲德國的哲學研究精神和隱含的深度思維，加上沉浸環繞森林的自然環境中。他的作品呈現出自然不造作的簡單，純潔及抽象性；並精確掌握了立體造型的微妙。Blank作品的幾何形狀經過巧妙設計，並且耗時的以數學嚴謹的計算來約束；這些特徵也表達在他的平面畫中。藝術創作者的情感不會添加到作品中，而是傾向於讓藝術品的材質呈現出自己的特色。他遵循虛無的哲學意識，不是迸發情感如葉方的捲曲牡丹花瓣，在宇宙運行中呈現理性及柔軟包容的精神。如 “天空的鏡子”（Sky Mirror）景觀雕塑品--他在花園中結合了小池塘以水雕，鋼雕結構與自然景觀和花園完美融合，並與眾多珍稀花卉和植物對話。水流及天空和環境的反射相應變化，捕捉並折射了自然環境中的迷人變化情緒和季節的流逝，其靜止是動態的，思想中的空白帶著謙卑的拈花微笑。找到優雅精心計算的金屬和流水，各自代表堅固性和虛空的特質交錯和互補，展示出的存在中的真實性。
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