2019 台北國際藝術博覽會
ART TAIPEI 2019
2019.10.18～21
地點 Venue：台北世貿一館 Taipei World Trade Center, Hall 1
朝代畫廊展位 Booth：M02
展出藝術家 Artists：
草間彌生 KUSAMA Yayoi
林餘慶 & 魏杏諭 LIN Yu-Ching & WEI Hsing-Yu
具本妸 KOO Bon-A
王永衢 WANG Yung-Chiu
貴賓預展 VIP Preview：
10/17 (Thu.) 3PM – 9PM
10/18 (Fri.) 11AM – 2PM
開幕夜 First Night：
10/17 (Thu.) 5PM – 9PM
公眾開放 General Opening：
10/18 (Fri.) 2PM – 7PM
10/19 (Sat.) 11AM – 7PM
10/20 (Sun.) 11AM – 7PM
10/21 (Mon.) 11AM – 6PM
台北國際藝術博覽會官網 Official Website：
朝代畫廊即將參展《Art Taipei 2019台北國際藝術博覽會》，公眾展期為10月18日至21日於台北世貿一館，展位M02；今年我們將推出草間彌生、林餘慶&魏杏諭、具本妸、王永衢等四位藝術家的經典藏品以及最新力作，歡迎各界觀眾踴躍出席這精彩非凡的年度藝術盛會。
Dynasty Gallery is glad to annouce you that we are going to attend to Art Taipei 2019, booth M02. We will exhibit 4 artists' works by Yayoi Kusama, Lin Yu-Ching & Wei Hsing-Yu, Koo Bon-A and Wang Yung-Chiu at the fair site.
草間彌生的作品跨越了二十世紀下半葉兩個最重要的藝術運動：波普和極簡主義。她極富影響力的創作生涯中，作品種類包括繪畫，表演，房間大小的演講，戶外雕塑裝置，文學作品，電影，時裝，設計以及現有建築結構中的介入，這些都同時暗示了微觀和宏觀宇宙。
草間彌生於1929年出生於日本松本，1952年便在日本舉辦了自己的第一次個展。在1960年代中期，她通過舉辦一連串具有開創性及影響力的活動和展覽，在紐約確立了自己作為重要前衛藝術家的地位。在1980年代後期，她的作品獲得了國際上的廣泛認可，包括在紐約MoMA和英國牛津現代美術館的展覽，這兩個展覽都於1989年舉行。她也在1993年代表日本參展第45屆威尼斯雙年展，並獲得了大量好評。2000年以後，草間獲得世界各地美術館的個展邀約，作品廣為世人知悉，如今已是全世界最有影響力的藝術家。
Yayoi Kusama's work has transcended two of the most important art movements of the second half of the twentieth century: pop and minimalism. Her highly influential career spans paintings, performances, room-size presentations, outdoor sculptural installations, literary works, films, fashion, design, and interventions within existing architectural structures, which allude at once to microscopic and macroscopic universes.
Born in 1929 in Matsumoto, Japan, Kusama presented her first solo show in Japan in 1952. In the mid-1960s, she established herself in New York as an important avant-garde artist by staging groundbreaking and influential happenings, events, and exhibitions. Her work gained widespread recognition in the late 1980s following a number of international solo exhibitions, including shows at the Center for International Contemporary Arts, New York and the Museum of Modern Art, Oxford, England, which both took place in 1989. She represented Japan in 1993 at the 45th Venice Biennale to much critical acclaim. After 2000, Kusama has been invited to present solo exhibition by many museums in different countries, and her works are widely known to people. Nowaday, she is the most influential artists in the world.
林餘慶&魏杏諭自學生時期開始共同創作，至今已超過十年，在他們創造的生態系裡，以麥克筆為主的色調分配，讓畫面豐富而溫潤，也因此效果非常規律平整，這種平穩的用色模式和油畫顏料發明之前的蛋彩畫和文藝復興時期很普遍的濕壁畫頗接近，這些色料因為使用上無法「揮霍」、不得「揮灑」，因而予人平和穩定的感受，藝術家耐心分配色調和色塊，在繁忙緊湊的生態節奏中，公平地分配色彩，創造了均衡生態。此外，系列作品之間的物件串連，也讓他們的創作產生古時壁畫的共時性──將長篇幅的故事呈現在一片牆上，讓觀者於一眼全覽的同時也能在細節裡悠遊。
林餘慶&魏杏諭1983&1982年生於台灣，為雙人藝術創作組合，2007年畢業於朝陽科技大學視覺傳達設計系，現居於台中。他們的作品曾被美術館及基金會典藏，如國立台灣美術館(台中)、何鴻燊博士基金會(澳門)、梁潔華藝術基金會(香港)、嚴陸根藝術基金會(南京)等，私人收藏遍及港、澳、中、美、日、韓以及台灣，曾被銀川當代美術館(寧夏)以及國立台灣美術館(台中)邀請展出。
LIN Yu-Ching & WEI Hsing-Yu (b. 1983 & 1982 ,Taiwan) are double combination artists. They graduated from the Department of Visual Communication Design in Chaoyang University of Technology in 2007 and both live in Taichung now. The works of LIN & WEI are collected by many museums and foundations such as National Taiwan Museum of Fine Arts (Taiwan), Dr. Stanley Ho Foundation (Macau), Annie Wong Art Foundation (Hong Kong), Yan Lugen Art Foundation (Nanjing) and international collectors from Hong Kong, USA, Korea, Japan, China and Taiwan. LIN and WEI were also invited by MOCA Yinchuan, (Ningxia Hui Autonomous Region) and National Taiwan Museum of Fine Arts (Taichung) for attending exhibitions.
LIN Yu-Ching & WEI Hsing-Yu use the most industrial medium, marker pen, as the main base of their works. The steady and regular patterns of color-using builds up an atmosphere close to Tempera and Frescoes works, bringing people a peaceful and steady experience. In addition, the articles connecting different series has added the synchronicity of ancient murals to these work(to put a whole lengthy story on one wall), which provides the audience with an overview while they immerse in the exquisite details at the same time.
具本妸擅長以和諧的方式安排混沌和雜亂，為此她試圖與被人遺忘的「遺跡」對話；無論是傾毀的牆桓、建築物的破瓦殘礫或是已荒蕪的花園，都是在人類文明下的產物，然而經過時間的沖刷，到最後它們終究會回歸到大自然，成為人類與自然之間的一種過渡，也消除了兩者之間的隔閡焦慮。這些出現在作品裡的石頭磚牆與枯萎植物，透過時間與空間的交互作用產生了痕跡與形狀，這種變化讓這些無機物彷彿被灌注了生命，也讓我們對真實有了更直觀的感受。她的個展目前正於朝代畫廊中展出,持續至11月。
具本妸生於首爾，現為弘毅大學美術系教授，曾於台、韓、日、中、港、美、英、德等國家的美術館與畫廊展出，如《遺韻風景》(朝代畫廊，台北)、《午夜》(Google Go畫廊，加州矽谷)、《Art Olympia》(東京都美術館，東京)、《許多事情的開始與結束2》(敦義門博物館，首爾)、《空間，充滿觀念》(韓國文化中心，洛杉磯)、《新伊甸園》(金雞湖美術館，蘇州)、《光州畫壘》(韓國國立亞洲文化廳，光州)、《無為而無不為》(朝代畫廊，台北)、《走進自然》(Irorimura畫廊，大阪)、《KOOISM》(熏依社畫廊，上海)、《八色居詞》(OCI美術館，首爾)、《Earth's Banranjeon》(烏拉尼亞美術館，柏林)等。作品曾獲首爾美術館、韓國國立當代美術館、OCI美術館、仁川藝術文化基金會以及各國重要人士收藏。
KOO is good at arranging the chaos and messes in the harmonious way. To this, she tries to communicate with the forgotten “ruins”. No matters the fallen walls, debris from buildings or barren gardens, all of them are the result from the culture of human. However, they will return to the nature in the end through time and be a kind of transition, then erasing the gap and anxiety between nature and human being. The stones, bricks of wall and wilted plants appearing in the artworks have created traces and shapes through the interaction of time and space. This change makes these inorganic objects seem to be perfused with life and guides us to the direct intuition of reality. Her solo exhibition will be continued at Dynasty Gallery until November.
KOO Bon-A was born in Seoul, and she is the professor of Department of Fine Arts, Hongik University now. KOO has exhibited in galleries and art museums in Taiwan, Korea, Japan, China, Hong Kong, US, UK and Germany, such as Wreck Scenery (Dynasty Gallery, Taipei), Midnight (Google Go Art Gallery, CA), Art Olympia (Tokyo Metropolitan Art Museum, Tokyo), The Beginning and End of a Lot of Things 2 (Don-Eui Gate Museum, Seoul), Space, Fill with Notion (Korean Cultural Center, LA), Neo-Eden (Jinji Lake Museum, Suzhou), Gwangju Huaru (National Asian Cultural Complex, Gwangju), Nothing Is Intentional But Nothing Exists Without Intention (Dynasty Gallery, Taipei), Into the Nature (Irorimura Gallery, Osaka), KOOISM (Shun Art Gallery, Shanghai), Ba Se Ju Ci (OCI Museum of Art, Seoul), Earth’s Banranjeon (Urania Museum of Art, Berlin), and etc.. KOO’s works has ever been collected by Seoul Museum of Art, National Museum of Contemporary Art, Korea, OCI Museum of Art, Incheon Culture Foundation, and important collectors in the world.
王永衢畢業於美國西雅圖康沃爾藝術學院，現居於台中。他的作品曾多次於台灣、香港及美國展出，例如《不必然遺忘》(伊通公園，台北)、《Art Central》(中環海濱，香港)、《捕捉漸瞬》(朝代畫廊，台北)、《Art Taipei》(世貿中心，台北)、《台灣當代一年展》(台北爭豔館，台北)、《Mapping Fixes》(Richard Hugo Gallery，西雅圖)以及《New Points》(Behnke Gallery，西雅圖)等。身為一個以抽象作為創作表現方法的藝術家，王永衢一直在持續探索顏色、律動、空間、構圖、平恆、與質地的極端可能性，這些作品的構圖與創作，深深受到科學時空與他出身亞洲求學美國的背景等因素影響。
從美國返台生活後，王永衢開始研究宋瓷的紋路，並開始以裂紋作為他作品的主要視覺。抽象元素與古瓷器紋理的結合，讓他的作品畫面在極簡淨潔之中帶有時間性的深沉力度，隱藏其中的螢光色帶有幾分都會感而不俗豔。另一方面，畫面中的細節也將透過觀者與作品距離的改變以及時間的延續而逐漸浮現，以幽微的方式勾起觀者對作品的好奇觀察，引導以非單一性的觀看方式開發出更多互動可能，也是王永衢在其作品所帶有的實驗性質。
WANG Yung-Chiu graduated from Cornish College of the Arts, Seattle in USA. Currently he lives and creates in Taichung, Taiwan. His works were exhibited in Taiwan and USA for many times, such as Oblivion Is Not Guaranteed (IT Park, Taipei), Art Central (Central Harbourfront, Hong Kong), Catching Evanescence (Dynasty Gallery, Taipei), Art Taipei (Taipei World Trade Center, Taipei), Taiwan Annual (Taipei Expo Dome, Taipei), Mapping Fixes (Richard Hugo Gallery, Seattle) and New Points (Behnke Gallery, Seattle). As an artist who uses abstraction and minimalism as a method of expression, WANG has been continuously exploring the extreme possibilities of color, rhythm, space, composition, balance, and texture.
After returning from US to Taiwan to settle, WANG thought about the broken-ice crackle of the Southern Song Dynasty porcelain and began to work out slowly to use "crackle" as the main visual element. For him, the meaning of the crackle is to remind the existence of time: No matter how clean and smooth, the new surface may still be rough due to time. On the other hand, the structure formed by color and shape is also a noteworthy feature of his works. For the artist, graphic works do not just mean that the audiences must watch statically at a certain distance. Through the actual distance between the audiences’ body and the work, the viewing itself can be a dynamic process of perception.