Special Display of ’90 Taiwan “Painting of Analogous Classic”
Chen Chun-Hao 、Guo Chun 、Hsiao Chong-Po 、Lin Chin-Hsien 、Chou Chuan-Chih 、Hsu Rui-Fu 、Chu Yu-Yi 、Lee Chu-Hsin 、Hsu Chih-Wei 、Huang Kuen-Po 、Wang Chih-Bin 、Kuo Wei-Kuo
2002. 10. 12 — 2002. 11. 09

EXHIBITON

Special Display of ’90 Taiwan “Painting of Analogous Classic”
Curator / Wang Fu-Tung, Hung Shao-Han

Taiwan’s analogous classic painting sprouted from ’80 gets to its peak momentum in the end of last century with 3 cliques: “Ideal Classicalism”, “Metaphysical Classicalism”, and “Modern Classicalism”. Among that, “Ideal Classicalism” pursuing a pure voice records snatches in life through “time passage”, picks up the most inner affection and then slowly releases traces of the time; such a work is used to juxtaposed with historical classic work often emerges in mode of still life. “Metaphysical Classicalism” meaning the painting based on mental analysis represents self-examined, inner-transformed, illusive, and intimate vocabularies to build up a fantastic dream in which desire is implicated. “Modern Classicalism” tightly connecting to a newly -risen global trend nearly equals to New Classicalism what is prompted at the age; the painters extensively utilize the skill of modern art expression- “appropriation” to collect images from ancient myths, history, present media, and consumer culture and then reveal a scene of parable. Those three tendencies construct the multi-aspects of Taiwan’s analogous classic.

In the exhibition, we intend to completely compile all branches of the analogous classic in hope of uncovering the wonder and diversity of such a painting to audiences through the display.