台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

展覽名稱 Exhibit

低限命題.感性空間─東和鋼鐵國際藝術家駐廠創作展

Minimalism & Sensibility ─ Exhibition of Tung Ho Steel International Artist Residency Program 

展覽時間 Date

2018/8/18(Sat.)-10/28(Sun.)

展覽地點 Venue

MOCA Plaza 台北當代藝術館 戶外廣場

門票 Admission

免費

參展藝術家 Artists

李再鈐 Zai-Qian LEE

湯原和夫 Kazuo YUHARA

展覽介紹 About the Exhibition

 

 

「東和鋼鐵駐廠創作計畫」緣起於2009年東和鋼鐵執行長侯王淑昭女士與國家文化基金會合作為期三年的專案「東鋼藝術家駐廠創作專案」。2012年開始,東和鋼鐵文化基金會持續推動此專案,每年邀請一位台籍和一位外籍藝術家,以東和鋼鐵苗栗廠區為創作場域,提供廢鋼材料、專業機具及技術人員支援,協助藝術家創作,希望透過這個計畫得以推廣鋼雕藝術、擴展其可能性及促進不同文化藝術家之間的交流與對話。

 

本次展覽邀請到2017年參與「東和鋼鐵國際藝術家駐廠創作計畫」兩位藝術家─台灣藝術家李再鈐及日本藝術家湯原和夫於當代館廣場展出駐廠期間的創作。兩位藝術家,透過自身東方文化養成,創造出與西方思想脈絡不同的創作,反映東方形上哲學的極簡雕塑,以簡單造型詮釋自身文化,本次創作的作品亦回歸到「鋼鐵材料」的本質,巧妙運用廢鋼材料、將加工降至最低限,反思作品與周遭環境之間的關係。

 

本次共展出兩位藝術家七件作品。李再鈐的作品著重於工字鐵的再造,選用工廠中的工字鐵殘件,稍微加工為形體簡潔的雕塑作品,透過上色及不上色的手法突顯作品結構的趣味及材質的原味;湯原和夫的作品則直接使用花紋鋼板及菱形網等工業製品創造另類空間,讓觀眾在互動的過程中感受與日常生活中不同的空間體驗。

 

 

參展藝術家 About the Artists

李再鈐 Zai-Qian LEE

  

1928年生於中國福建省仙遊,1948年進入臺灣省立師範學院(今國立臺灣師範大學)美術學系學習,開始接觸雕塑藝術,他以中國傳統思想出發,以西方現代主義低限風格作為表現手法,擅用鋼材創作,透過空間組構再現東方哲學中對純粹與本質的審美思維。

 

曾經與當代重要雕塑家組成「五行雕塑小集」。1983年李再鈐運用鋼板創作〈低限的無限〉,為抽象三角形塊面之紅色造型參與台北市立美術館之開館展,由於其造型顏色使人聯想到中共紅色政權,原作在未經告知的情況下被漆成白色,引起輿論譁然。近年來仍保持創作不懈的習慣,作品受國內外各大美術館典藏,著作有《希臘雕刻》、《鐵屑塵土雕塑談─李再鈐八十八文鈔》、《即興八九》等。

 

個展 

2016「低限無限.即興89-李再鈐雕塑展」台灣創價學會巡迴展,台灣

2009「鐵屑.塵─2009李再鈐雕塑個展」,大趨勢畫廊,台北,台灣

2008「哲理與詩情─李再鈐八十雕塑展」,關渡美術館,台北,台灣

2001「生活.藝術.空間展」,金山藝術生活空間,台北,台灣

1986「雕塑個展」,雄獅畫廊,台北,台灣

1975「雕塑個展」,版畫家畫廊,台北,台灣

1969「李再鈐作品近作展」,凌雲藝廊,台北,台灣

 

聯展 

2017「今年秋季.紐約.解嚴三十年專題展✕2」美國康乃爾大學強生美術館,綺色佳,美國;駐紐約辦事處臺北文化中心,紐約,美國

2015「向大師致敬─臺灣前輩雕塑11家大展」,臺北市中山堂,台北,台灣

2011「雕火─焊接藝術」,大趨勢畫廊,台北,台灣

2008「北京兩岸美術交流展」,臺北市立美術館,台北,台灣;北京藝術館,北京,中國

2006「五人雕塑聯展」,福華畫廊,台北,台灣

1999「國際造形藝術展」,新加坡

 

1980─1990  

「台北市立美術館開幕展」,台北市立美術館,台北,台灣

「現代雕塑五行展」, 玄門藝術中心,台北,台灣

「國際造型藝術家亞洲巡迴展」,國立歷史博物館,台北,台灣

「五行雕塑小集聯展」,台北市立美術館,台北,台灣

「兩岸名家雕塑交流展」,山美術館,高雄,台灣

1971─1980  

「五行雕塑小集展」,國立歷史博物館,台北,台灣

「現代六人展」,生產力中心大樓,中國

1969─1970  

「台灣現代美術聯展」,現代畫廊,台北,台灣

「國際造型藝術家環太平洋巡迴展」,國立歷史博物館,台北,台灣

「六人夏展」,良氏畫廊,台北,台灣

「現代美展」,凌雲畫廊,台北,台灣

 

公共藝術

2017「自強不息」,臺灣大學第二教學大樓,台北,台灣

2015「即時即地」,桃園國際機場入境大廳,桃園,台灣

2009「0&1無上有」,高雄SOGO百貨前廣場,高雄,台灣

2003「紅不讓」,台北市立美術館前廣場,台北,台灣

1993「元」,國立台灣美術館廣場,台中,台灣

1992「無限延續」,元智大學校園,桃園,台灣

1986「合」,中原大學校園,桃園,台灣

1983「低限的無限」,國泰寰宇大廈中庭,台北,台灣

 

 

Born in Xianyou, Fujian Province, China, in 1928, Lee entered the Department of Fine Arts at Taiwan Provincial Normal College (now National Taiwan Normal University) in 1948, where he was first introduced to sculptural art. Finding inspirations in traditional Chinese philosophy, LEE adopts the minimal style of Western modernism as his expressive method, and has become known for creating steel sculptures; through spatial constructs, he represents the aesthetic thinking on purity and nature of Oriental philosophy.

 

Lee founded with important contemporary sculptors the “Zodiac Sculpture Group.” In 1983, LEE utilized steel plates to create the “Endless Minimalism,” which was a red abstract triangular plane, and participated in the Taipei Fine Arts Museum Opening Exhibition. Because its shape and color provoked associations of the Red Chinese regime of P.R.O.C., the original work was painted white without LEE being notified in advance. The incident triggered public uproar. In recent years, LEE has continued creating sculptures relentlessly. His works have been collected by major art museums both in Taiwan and abroad. LEE also published “Greek Sculpture,” “On Sculpture—Iron Scraps and Dust: Compilation of Zai-Qian LEE’s Essays at the Age of 88,” and “Minimal, Infinite. Improvisation 89: The Sculpture of Zai-Qian LEE.”

 

Solo Exhibition     

2016 “Minimal, Infinite, Improvisation 89”, Taiwan Soka Association Tour Exhibition, Taiwan

2009 “Iron, Dust – Zai Qian Lee Sculpture Exhibition”, Main Trend Gallery, Taipei, Taiwan

2008 “Philosophy and Poetry – Exhibition of Eighty Zai-Qian Lee’s Sculptures”, Kuandu Museum of Fine Arts, Taipei, Taiwan

2001 “Art and Living”, Jingshan Art and Living Space, New Taipei City, Taiwan

1986 “Solo Exhibition of Sculptures”, Xiongshi Gallery, Taipei, Taiwan

1975 “Solo Exhibition of Sculptures”, Printmakers Art Gallery, Taipei, Taiwan

1969 “Recent Works of Lee Tsai-Chien”, Ling Yun Gallery, Taipei, Taiwan

 

Group Exhibition

2017 “Power, Haunting, and Resilience”, Herbert F. Johnson Museum of Art, Cornell University, New York, U.S.A.

2015 “Tribute to the Masters – Exhibition of Taiwan’s Eleven Senior Sculptors”, Zhongshan Hall, Taipei, Taiwan

2011 “Sculpture, Fire – The Art of Welding”, Main Trend Gallery, Taipei, Taiwan

2008 “PRC Association for Relations Across the Taiwan Art Exhibition”, Taipei Fine Arts Museum, Taipei, Taiwan; NAMOC, Beijing,

         China

2006 “Group Exhibition of Five Sculptors”, Fuhua Gallery, Taipei, Taiwan

1999 “International Graphic Art Exhibition”, Singapore

1980-90   “Opening Exhibition of Taipei Fine Arts Museum”, Taipei Fine Arts Museum, Taipei,Taiwan

                “Modern Sculpture Exhibition of Five Elements”, Xuan Men Art Center, Taipei, Taiwan

                “International Plastic Artists Association Asia Touring Exhibition”, National Museum of History, Taipei, Taiwan

                “Zodiac Sculpture Group Exhibition”, Taipei Fine Arts Museum, Taipei, Taiwan

                “Cross-Strait Exhibition of Famous Sculptors”, Mountain Art Museum, Kaohsiung, Taiwan

1971─80   “Zodiac Sculpture Group Exhibition”, National Museum of History, Taipei, Taiwan

1969─70     “Exhibition of Modern Taiwanese Art”, Modern Art Gallery, Taipei, Taiwan

  “International Plastic Artists Association Pan-Asia Touring Exhibition”, National Museum of History, Taipei, Taiwan

  “Summer Exhibition of Six Artists”, Liang Shi Gallery, Taipei, Taiwan

     “Modern Art Exhibition”, Ling Yun Gallery, Taipei, Taiwan

 

Public Art

2017 “Exerting Constantly”, National Taiwan University, Taipei, Taiwan

2015 “Here We Are”, Taoyuan International Airport Arrivals Hall, Taoyuan, Taiwan

2009 “The 0 & 1 of the Insuperable”, Pacific SOGO Department Stores, Kaohsiung , Taiwan

2003 “Home Run”, Taipei Fine Arts Museum, Taipei, Taiwan

1993 “Monad”, National Taiwan Museum of Fine Arts Library, Taichung, Taiwan

1992 “Limitless Continuity”, Yuan Ze University, Taoyuan, Taiwan

1986 “Match”, Chung Yuan Christian University, Taoyuan, Taiwan

1983 “Minimal to Infinite”, Cathay Pacific Building, Taipei, Taiwan

 

___________________________________________________________________________________________

 

湯原和夫Kazuo YUHARA

  
1930年出生於東京,畢業於東京藝術大學美術學部雕刻系,1962年獲得丸善石油藝術獎大賞,並以大獎獲得的獎金,隔年前往巴黎生活與創作,直到1980年歸國。他在學生時期從事具象雕塑創作,從巴黎歸國後,作品風格便開始轉為強而有力的冷抽象極簡風格,呈現作品本身的材質肌理,彰顯形而上的意義。
 
 
 
作品足跡遍及日本國內外,例如「第五屆古根漢國際雕塑展」、「第五屆巴黎國際藝術雙年展」、「第十屆聖保羅雙年展」、「大阪國際藝術博覽會」、「印度三年展」及「東京國際藝術展」等,作品在歐美也廣為私人收藏。目前工作並定居於日本,近年作品也注意作品與周遭空間,以及觀者之間的各種互動關係可能。
 
 
 
個展
 
2012 泰斯畫廊,巴黎,法國
 
2010 寺下畫廊,東京,日本
 
2008 神奈川縣立現代美術館,葉山,日本
 
2000 粕谷之森當代美術館,橫須賀,日本
 
1999 名古屋畫廊,名古屋,日本
 
1996 天空之門藝術空間,東京,日本
 
1995 希爾塞畫廊,東京,日本
 
1988 三重縣立美術館,津,日本
 
1982 神奈川縣立現代美術館,鎌倉,日本
 
1979 國立國際美術館,大阪,日本
 
1974 東京畫廊,東京,日本
 
1970 索納班畫廊,巴黎
 
 
 
聯展
 
2017 「啥玩意兒」,平塚市美術館,平塚,日本
 
2016 「第3屆『MOMAS館藏展』」,埼玉縣立現代美術館,埼玉,日本
 
2015 「溯源於鎌倉之1951—2016」,神奈川縣立現代美術館,鎌倉,日本
 
「橫濱美術館館藏展」,橫濱美術館,橫濱,日本
 
2014 「新館藏展」,平塚市美術館,平塚,日本
 
「『看不懂』鑑賞展2」,茨城縣立現代美術館,水戶,日本
 
2013 「保田春彥‧湯原和夫作品展」,平塚市美術館,平塚,日本
 
「『看不懂』鑑賞展1」,茨城縣立現代美術館,水戶,日本
 
「戰後之雕刻:從素材觀點」,國立國際美術館,大阪,日本
 
2011 「有形與無形之創作‧2—當代雕刻之—斷面」,埼玉縣立現代美術館,埼玉,日本
 
「館藏作品展」,愛知縣美術館,名古屋,日本
 
「當代美術發展—最佳典藏」,神奈川縣立現代美術館,葉山,日本
 
2009  神奈川文化賞
 
2008  「雕刻探險〇△□展」,旭川雕刻美術館,旭川,日本
 
2007  「日本現代雕刻展」,東京國立現代美術館,東京,日本;宮城縣美術館,仙台,日本;三重縣立美術館,津,日本
 
2005  「雕刻家之紙雕與雕刻展」,神奈川縣立現代美術館,鎌倉,日本
 
2004  「土方定一創作展」,神奈川縣立現代美術館,鎌倉,日本
 
2003  「另一種當代展」,神奈川縣立現代美術館,葉山,日本
 
2002  「金屬光輝展」,旭川市雕刻美術館,旭川,日本
 
      「長岡美術館賞1964─1968回顧展」,長岡現代美術館,長岡,日本
 
      「開館50週年紀念展」東京國立現代美術館,東京,日本
 
2001  「第十屆印度三年展」,拉利特學院,新德里,印度
 
1999  「大正、昭和美術展」,神奈川縣立現代美術館,鎌倉,日本
 
1994  「現代日本美術名作展」,神奈川縣立現代美術館,鎌倉,日本
 
1991  「日本現代雕刻世紀展—由寫實主義邁入立體造型」,茨城縣立現代美術館,水戶,日本;
            德島縣立現代美術館,德島,日本
 
1989  「當代茨城1945—88年之美術展」,茨城縣立現代美術館,水戶,日本
 
          「抽象雕刻之旗手展」,福島縣立美術館,福島,日本
 
1985  「橫濱美術邀請展」,橫濱市民藝廊,橫濱,日本
 
1983   「當代、紙造型—日本與韓國展」,首爾國立美術館,首爾,韓國;京都市立美術館,京都,日本;埼玉縣立美術館,埼玉,日本;熊本縣立傳               統工藝館,熊本,日本
 
1982   「館藏特展開館30週年展1—1945年後之現代日本美術特展」,東京國立現代美術館,東京,日本
 
1981  「日本當代雕刻回顧展」,神奈川縣立現代美術館,鎌倉,日本
 
          「1960年代—當代藝術轉型展」,東京國立現代美術館,東京,日本
 
1977  「小品展」,史德文森與保耶勒畫廊,巴黎,法國
 
1976  「第三屆法國國際當代藝術展」,巴黎大皇宮美術館,巴黎,法國
 
1975  「第二屆箱根雕刻之森美術館賞展」,雕刻之森美術館,箱根,日本
 
          「第十三屆安特衛普國際戶外雕刻展」,安特衛普,比利時
 
1973  「當代日本美術展—當代藝術20年之展望」,東京都美術館,東京,日本
 
          「戦後日本美術發展・抽象表現之多樣化」,東京國立現代美術館,東京,日本
 
          「第五屆日本藝術展」,新宿伊勢丹百貨店,東京,日本
 
1972  「當代美術鳥瞰展」京都國立現代美術館,京都,日本
 
          「第三屆神戸須磨離宮公園當代雕刻展」,神戶須磨離宮公園,神戶,日本
 
           (74年「第四屆」也參展)
 
1971  「現代日本雕刻展」京都國立現代美術館,京都,日本
 
          「當代100人展」兵庫縣立現代美術館,神戶,日本
 
1970  「萬國博美術展—當代躍動展」,萬國博美術館,大阪
 
          「第三屆皮洛特畫廊國際展」,州立美術館,洛桑,瑞士;巴黎市立現代美術館,巴黎,法國
 
          「第五屆日本藝術祭」,全美巡迴展出
 
          「聯展」,亞培與費爾修畫廊,法蘭克福,德國
 
1969   「新現實主義沙龍」,巴黎市立現代美術館,巴黎,法國
 
           「第十屆聖保羅雙年展」,聖保羅,巴西
 
           「國際鋼鐵論壇」萬國博覽會,大阪,日本
 
1968   「第八屆當代日本美術展」獲優秀獎,東京都美術館,東京,日本
 
             (69年「第九屆」、71年「第十屆」、75年「第十一屆」、81年「第十五屆」也參展)
 
            「第三屆日本藝術祭」墨西哥市現代美術館、墨西哥市,墨西哥(全美巡迴展出)
 
            「當代日本美術展」,I・C・A,倫敦,英國
 
1967   「當代藝術趨勢展」,京都國立現代美術館,京都,日本
 
           「第九屆日本國際美術展」,東京都美術館,東京,日本
 
           「第二屆當代日本雕刻展」獲每日新聞社獎,宇部市戶外雕刻美術館,宇部,日本(73年「第五屆」也參展)
 
           「第四屆長岡當代美術館賞展」,長岡當代美術館,長岡,日本
 
           「第五屆古根漢國際雕刻展」,古根漢美術館,紐約,美國
 
1966   「聯展」,安德森畫廊,巴黎,法國
 
1965   「第四屆巴黎雙年展」,巴黎市立現代美術館,巴黎,法國
 
           「比較沙龍」,巴黎市立現代美術館,巴黎,法國(66年也參展)
 
1964   「第十六屆青年雕刻家沙龍」,羅丹美術館,巴黎,法國
 
(65年「第十七屆」也參展)
 
1963   「雕刻之新世代展」,東京國立現代美術館,東京,日本
 
 
 
公共收藏
 
東京國立現代美術館,日本
 
國立國際美術館,日本
 
神奈川縣立現代美術館,日本
 
三重縣立美術館,日本
 
茨城縣立現代美術館,日本
 
埼玉縣立現代美術館,日本
 
宮崎縣立美術館,日本
 
橫濱美術館,日本
 
廣島市當代美術館,日本
 
世田谷美術館,日本 
 
高松市美術館,日本
 
札幌藝術之森美術館,日本
 
宇部市戶外雕刻美術館,日本
 
旭川市雕刻美術館,日本
 
長岡當代美術館,日本
 
愛知美術館,日本
 
千葉工業大學,日本
 
大阪大學,日本
 
茨城縣立醫療大學,日本
 
千葉信用金庫,日本
 
日本長期信用銀行,日本
 
酒田市,日本
 
平塚市,日本
 
横須賀市,日本
 
世田谷區,日本
 
PL教團,日本
 
岡建築設計事務所,日本
 
里昂美術館,法國
 
C・N・R・S,法國 
 
國立圖書館,法國
 
貝魯・巴里西斯文化中心,法國
  
 

Kazuo YUHARA

Born in 1930 in Tokyo, Kazuo YUHARA graduated from the Tokyo National University of Fine Arts and Music, where he studied sculpture. In 1962, he won the grand-prix with scholarship of studying abroad at the Competition of Maruzen Oil Foundation, Tokyo, and left for Paris the next year, where he worked until returning to Japan in 1980. His sculptures during his earlier days as an art student were figurative. After his return, his works transformed into cold minimalist abstract style, presenting the nature and texture of the materials and manifesting metaphysical meaning.

 

YUHARA’s works have travelled throughout Japan and around the world, for example, the 5th Guggenheim International Exhibition of Sculpture, the 10th Sao Paolo Biennale and the Expo Museum of the Arts, Osaka, Triennale-India, and Art Fair Tokyo. A lot of his works are in the collections of private collectors in Europe and the United States. He now resides and works in Japan and his more recent sculptures showcase an emphasis on the relationship between the works and surrounding spaces, as well as the possibilities of interactive relationship between the works and audiences.

 

 

Solo Exhibition

2012  Galerie Taiss, Paris, France

2010  Gallery Terashita, Tokyo, Japan

2008  The Museum of Modern Art, Kamakura & Hayama, Japan

2000  Museum Haus Kasuya, Yokosuka, Japan

1997  Nagoya Gallery, Nagoya, Japan

1996  Skydoor Art Place Aoyama, Tokyo, Japan

1995  Hillside Gallery, Tokyo, Japan

1988  Mie Prefectural Art Museum, Tsu, Japan

1982  The Museum of Modern Art, Kamakura Annex, Kamakura, Japan

1979  The National Museum of Art, Osaka, Suita, Japan

1974  Tokyo Gallery, Tokyo, Japan

1970  Galerie Ileana Sonnabend, Paris, France

 

Group Exhibitions

2017  “What is IT”, Hiratsuka Museum of Art, Hiratsuka, Japan

2016  “MOMAS, Collection 3”, The Museum of Modern Art, Saitama, Japan

2015  “All Begun in Kamakura 1951-2016”, The Museum of Modern Art, Kamakura, Japan

          “Collection of Yokohama”, Yokohama Museum Art, Yokohama, Japan

2014  “The New Collection”, Hiratsuka Museum of Art, Hiratsuka, Japan

          “Recommendation of Non Understanding 2” The Museum of Modern Art, Ibaraki, Japan

2013  “The Form of Kazuo Yuhara & Haruhiko Yasuda”, Hiratsuka Museum of Art, Japan

          “Recommendation of Non Understanding”, The Museum of Modern Art, Ibaraki, Japan

          “Collection 2─Postwar Sculpture: Focus on Materials”, The National Museum of Art, Osaka, Japan

2011  “Visible and Non Visibilities 2”, The Museum of Modern Art, Saitama, Japan

          “Development of contemporary Arts”, The Museum of Modern Art, Kamakura, Japan

2009  “Prize Cultural” from Kanagawa Prefecture, Japan

2008  “Discover the Shapes”, Asahikawa Museum of Sculpture, Asahikawa, Japan

2007  “Modern Age in Japanese Sculpture”, The National Museum of Modern Art, Tokyo, Japan

2005  “Paper Work by Sculptors”, The Museum of Modern Art, Kamakura Annex, Japan

2004  “Hijikata Teiichi” and The Museum of Modern Art, Kamakura Annex, Japan

2003  “Another History”, The Museum of Modern Art, Kamakura & Hayama, Japan

2002  “Brilliant Metal”, Asahikawa Museum of Sculpture, Asahikawa, Japan

          “Retrospective Prize Nagaoka, Museum of Contemporary Art (1964-1968)”, Nagaoka Museum of Contemporary Art, Nagaoka, Japan

          “The 50th Anniversary─The Growth of the Museum Collection (1952-2002)”, The National Museum of Modern Art, Tokyo, Japan

2001  “10th Triennale-India”, Lalit Kala Academi ( National Academy of Art), New Delhi, India

1999  “Modern Age in Japanese Art by Museum Collection”, The Museum of Modern Art, Kamakura, Japan

1994  “Masterpiece of Japanese modern art”, The Museum of Modern Art, Kamakura Annex, Japan

1991  “History of Modern Sculpture of Japan”, The Museum of Modern Art, Ibaraki, Japan; Tokushima Modern Art Museum, Tokushima, Japan

1989  “Art in Ibaraki 1945-88”, The Museum of Modern Art, Ibaraki, Japan

          “Contemporary Abstract Sculpture in Japan”, Fukushima Prefectural Museum of Art, Fukushima, Japan

1985  “Yokohama Invitation Art Exhibition”, Yokohama Citizen Gallery, Yokohama, Japan

1983  “Contemporary Paper Work in Japan and Korea”, National Museum Contemporary Art, Seoul, Korea; The Museum of Modern Art, Saitama, Japan; Kumamoto Prefectural Traditional crafts Center, Kumamoto, Japan

1982  “The 30th Anniversary Exposition from The Museum Collection: Modern Japanese Art, Part 1(1945-)”, The National Museum of Modern Art, Tokyo, Japan

1981  “Development in Modern Japanese Sculpture”, The Museum of Modern Art, Kamakura, Japan

 “The 1960s: Decade of Change in Contemporary Japanese Art”, The National Museum of Modern Art, Tokyo, Japan

1977  “Exhibition of Small Works”, Galerie Stevenson et Palleul, Paris, France

1976  “3rd FIAC” Grand Palace, Paris, France

1975  “The Second Prize Exhibition” , Hakone Open-Air Museum, Kanagawa, Japan

          “13th Middleheim Biennale”, Antwerpen, Belgium

1973  “Development of Postwar Japanese Art: Abstract and Non Figurative”, The National Museum of Modern Art, Tokyo, Japan

1972  “A Birds Eye View of Contemporary Art”, The National Museum of Modern Art, Kyoto, Japan

          “The 3rd Contemporary Sculpture Exhibition”, The Suma Detached Palace, Kobe, Japan (also in “74)

1971  “Modern Sculpture”, The National Museum of Modern Art, Kyoto, Japan

          “One Hundred Contemporary Artists”, The Museum of Modern Art, Kobe, Japan

1970  “World Expo Art Exhibition: Pulse of Today”, World Expo Art Museum, Osaka, Japan

 “The 3rd Salon International de Galerie Pilotes Lausanne”, Musée des Cantonal Beaux Lausanne, Lausanne, Switzerland; Musée D’Art Modern de la Ville de Paris, France

  “The 5th Japan Art Festival”, the USA tour Exhibition.

 “Group Show”, Galerie Apple and Fershe, Frankfurt, German

1969  “Realites Nouvelles”, Musée D’art Modern de la Ville de Paris, France

          “EXPO’ 70 International Sculpture Symposium”, World Expoposition, Osaka, Japan

          “The 10th San Paolo Biennial”, Sao Paolo, Brazil

1968  Received Award for Excellence Prize “The 8th Exhibition of Contemporary Art”, Tokyo Metropolitan Art Museum, Tokyo, Japan (also in ‘69’71’75’81)

“The 3rd Japan Art Festival”, Meseo de Arte Moderno, Mexico City, Mexico (also toured in the USA).

“Contemporary Japanese Art”, I.C.A, London, the UK

1967  “Trend in Contemporary Art”, The National Museum of Modern Art, Kyoto, Japan

Received Mainichi Newspaper Prize,”The 2nd Exhibition of Contemporary Japanese Sculpture”, Ube City Open-Air Sculpture Museum, Ube, Japan (also in ’73).

          “The 4th Nagaoka Museum of Contemporary Art Exhibition”, Nagaoka Museum of Contemporary Art, Nagaoka, Japan

          “The 5th Guggenheim International Exhibition of Sculpture”, Solomon R. Guggenheim Museum, New York, the USA

1966  “Group Show”, Galerie Anderson, Paris, France

1965  “The 4th Paris Biennale”, Musée D’art Modern de la Ville de Paris, France

          “Salon Comparation”, Musée D’art Modern de la Ville de Paris, France

1964  “The 16th Salon de la Jeune Sculpture”, Musée Rodin, Paris, France (also in ’65)

1963  “New Generation of Sculpture”, The National Museum of Modern Art, Tokyo, Japan

 

Public Collection

The National Museum of Modern Art, Tokyo, Japan

The National Museum of Modern Art, Osaka, Japan

The Museum of Modern Art, Kamakura and Hayana , Japan

Mie Prefectural Museum, Tsu, Japan

The Museum of Modern Art, Saitama, Japan

Miyazaki Prefectural Art Museum, Miyazaki, Japan

Yokohama Museum of Art, Yokohama, Japan

Hiroshima City Museum of Contemporary Art, Hiroshima, Japan

Setagaya Art Museum, Tokyo, Japan

Takamatsu City Museum of Art, Takamatsu, Japan

Museum of Contemporary Art, Sapporo, Japan

Ube City Open-Air Sculpture Museum, Ube, Japan

Asahigawa Sculpture Museum, Asahigawa, Japan

Nagaoka Museum of Contemporary Art, Nagaoka, Japan

Aichi Museum, Aichi, Japan

Hiratsuka Museum of Art, Hiratsuka, Japan

Centre Culturel de la Villeparisis, Villeparisis, France

C.N.R.S, Paris, France

Bibliotheque National, Paris, France

Musée des Beaux Arts de Lyon, France

  

作品介紹 About the Artworks

李再鈐Zai-Qian LEE

《功在工力》The Power of H-Beam

308 x 238 x 257 cm

鋼鐵,烤漆 Steel, Baking paint

2017

多年來我一直構思要利用H型鋼製作幾何抽象的現代雕塑作品,想將它的建築結構功能,轉移到雕塑的構成上,企圖拓展H型鋼的實用範圍,製造一個新面貌讓大眾對它能有嶄新的認識,更希冀它在未來的人類文明社會中扮演更多樣,更重要的藝術文化角色,這是我此次較有計畫的創作目標。

我覺察到H型鋼也可以做很即興式的作品,裁切後再組合成較感性的抽象造型,但相接的兩段接口必須角度與長度都要完全相等、相同或相對應,這是基本要求,例如《功在功力》和《撐著點》等,雖然帶有些許幾何意味,卻不是屬於純粹理性幾何結構。

I have been thinking about creating modern geometric sculptures using H-beams and wanted to convert the constructive functionality of H-beam into sculptural constructs. My original intention was to explore and expand the practical scope of H-beam, to give it a new look, so that people have new understanding of it; I also hoped that steel could play a more diverse and important cultural and art role in human civilization and society in the future. This was the creative objective I had in mind.

I noticed that H-beam could be used to create some improvised works; it could be cut and reassembled into sensual abstract shapes. However, the edges on the pieces that were to be connected must match perfectly in terms of angle and length; they needed to be identical or corresponding. This was the basic requirement. For example, “The Power of H-Beam,” and “Hang in There,” these works still exhibited a hint of geometric style, but could not be categorized as geometric rational abstraction.

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《節外生枝》Branched Out

102 x 112 x 172 cm

鋼鐵 Steel

2017

《節外生枝》這件工字鐵作品,不是很嚴密的組合,也不很規律、很自由、很鬆弛,也感覺比較活潑。這種風格的作品,並不曾在我過去的製作中出現過,算是一次新嘗試,也為我自己提供了一項新感覺。

The H-beam work, “Branched Out,” were not meticulously assembled; It did not follow any patterns, it was free, relaxed, and were more vibrant and energetic. This style had never appeared in my past works, and could be regarded as a new attempt which gave me a new feeling.

 

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《只緣身在此山中》 Because I am in the Mountain

尺寸依場地而定 Work size varies per location

鋼鐵 Steel

 
2017

來到工廠後,發現廢鐵堆裡有許多尺度不同,長短大小不同的工字鐵殘件,一頭被電鉅很整齊地切斷,另一頭卻是呈現自然地弧形或不規則波浪形,十分有趣。原來那是在製造過程中,由高爐中流洩出的鐵漿在形制軌道上的頭段,還不成形、不成材,不熔的原料。其形狀看來自然有韻味,圓潤溫和,像花瓣、像葉片、更像山脊或峰巒。我撿拾了數十段大小高低都不同的原材,組合成群,不雕不塑、不銲不接、不切不割,也不磨光也不上色,保留原形原樣,只是在組合排列時,給予節奏性和韻律感的構築考慮,它呈現出特殊風貌,產生了新感覺,也算賦予了新生命,成為了我的新作品。「不識廬山真面目,只緣身在此山中」,就這樣成為我對鋼鐵雕塑最新感覺的表達方式,不屬於我固定的風格,但讓我極度的神清氣爽,像置身於一處美好的景致中。

When I arrived at the factory, I discovered that there were many broken pieces of H-beam in the scrap piles in various sizes and lengths. On one edge, they were neatly cut, but the other edge was in naturally curved shape or irregular wavy shape. I found them quite interesting. It turned out that these edges were the first part of molten iron that flowed onto the track from the electric arc furnace. They were not shaped and could not be used; they were not acceptable products, and were cut off and thrown to the scrap piles, waiting to be melted again. They came in natural and intriguing shapes, round and tender, like petals, leaves, or mountain ridges and peaks. I chose dozens of pieces of such material in various sizes and shapes, and assembled them together; I did not carve or sculpt them, nor did I weld, cut, polish, or refine them. I kept their original looks. I simply considered rhythmic and melodic constructs when arranging them into the work, giving it a unique look and creating a new sensation; it was like me giving the scraps new lives, and they became my new work.“Why can’t I tell the true shape of Lushan? Because I am in the mountain,” thus, becomes my latest expressive form of steel sculpture. It is not my usual style, but makes me feel extremely refreshed, as if I were in a beautiful scenery.

 

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《撐著點》Hang in There

85 x 70 x 222cm

鋼鐵 Steel

2017

我保留鐵的本色以展現鐵本身生鏽的樣貌。我很喜歡鐵鏽的味道,我認為這是自然材料本身顯示出的力量,你可以感覺到它們有年代、血汗、時間在當中,這是另外一種美,跟我有上色的幾何作品系列完全不一樣,兩個系列作品的主要區隔在此。

I preserved the original color of iron in order to reveal the rusty look of iron. I like the look of rusty iron, and I think it is the power exhibited by the natural material. You can sense the age, sweat and blood, and time, embodied by these works. This is another kind of beauty, and drastically different from the colors of my geometric series. That is the main difference between the two collections.

 

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《相依相扶》Mutual Support

420 x 100 x 141 cm 

鋼鐵,油漆 Steel, paint

2017

這一次的駐廠作品可分為兩類:有上色與沒有上色。有的作品我甚至使用兩種顏色,以便突顯作品本身具有不同結構的趣味、線條以及輪廓的對比。作品使用顏色是因為我要作品的輪廓與造型在一個特定環境中被突顯出來,而使用金屬材料的原因是希望作品的輪廓可以非常清晰銳利。使用顏色另外一個用意是想要把材質覆蓋,因為我並沒有特別想要顯示作品的材質。

The works from this residency program can be also put into two categories: one is colored, and the other is not. For some works, I even used two colors to accentuate the contrasts in properties, lines, and silhouettes of the different structures within the works.

The reason why I used color is that I want to highlight the silhouettes of these works in specific environments, and I used metal because I wanted the silhouettes of these works to be sharp and precise. I used the color to try to mask the material, because I did not really want to exhibit the material of the works.

 

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湯原和夫Kazuo YUHARA

《無題’ 17- I》Untitled’ 17-I

152 x 152 x 154 cm.4 pieces

熱浸鍍鋅鋼板 Hot-dip Zinc-coated Steel Strip

2017

沒有使用廢鐵創作,是因為廢鐵具有高度的文學性,而這正是我想在創作中排除的。我希望觀眾在與作品互動的過程中獲得與日常生活感性經驗完全不同的空間體驗,花紋鋼板以及菱形網等工業製品所具有的「非日常性」,更能將我的理念表現出來。

The reason why I did not create with scrap steel is that scrap steel is highly literary, and this is the quality that I want to eliminate from my creative works. I hope audience can gain spatial experiences completely different from sensual experiences in daily life through their interaction with the works. Industrial products, such as checkered steel plate and wire mesh, have a “non-daily” quality that can better express this idea of mine.

 

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《無題’ 17- IIUntitled’ 17-II

熱浸鍍鋅鋼板 Hot-dip Zinc-coated Steel Strip

4 x 102 x 126 cm. 6 pieces

2017

我認為使用鋼鐵生產出來的工業製品特別具有「非日常」的特性,我在其中發現相當豐富的藝術語彙,從大學時代我就選擇它作為我的主要創作材料之一。我認為鋼鐵這個材質適合用來呈現我對「存在」這個概念的想法,因此直到現在我都還是會使用鋼鐵這個金屬材料來創作。

I think steel has “non-daily” properties, especially the industrial products made from steel. I have found within steel rich vocabulary, and I had already used steel as one of my main creative materials back in college. I think steel is a material suitable to present my ideas on the concept of “existence,” and therefore, I continue to use this metal for my creation until now.

 

 

 

相關教育活動 Educational Programs

MOCA Plaza【低限命題.感性空間─東和鋼鐵國際藝術家駐廠創作展】創作座談 (李再鈐X湯原和夫)

 

活動時間:2018/8/17(FRI.) 14:45 - 16:15

集合地點:台北當代藝術館 一樓活動大廳

主持 : 劉俊蘭(桃園市立美術館館長)

講者:李再鈐、湯原和夫(參展藝術家)

*即席口譯:國立臺灣藝術大學雕塑學系系主任 賴永興教授

 

簡    介:

本次展覽邀請到2017年參與「東和鋼鐵駐廠創作計畫」兩位藝術家─台灣藝術家李再鈐及日本藝術家湯原和夫於當代館廣場展出駐廠期間的創作。兩位藝術家擅於以簡單造型詮釋自身文化,本次創作的作品亦回歸到「鋼鐵材料」的本質,巧妙運用廢鋼材料、將加工降至最低限,反思作品與周遭環境之間的關係。座談將藉由不同國籍藝術家的創作、對談獲得不同的觀念,開啟更寬廣的藝術視野,歡迎有興趣的觀眾參與。

線上報名:

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l   洽詢專線:02-2552-3721#223王小姐

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