│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.

郭振昌於1949年出生於台灣鹿港，1967年進入李仲生畫室，1973年畢業於文化大學美術系。郭振昌的作品帶有強烈的批判風格，他以通俗而直接的藝術表現手法反映當下的周遭議題，從解嚴後的政治發展，經濟快速起飛帶來的社會型態轉變，進而討論貧富不均、物質氾濫、宗教迷思、傳統文化的失落、人際關係的疏離以及流行媒體的猖獗等主題。

對於以長年生活及成長的土地──「台灣」為主題，郭振昌曾經這麼說過：

⌈ 今天，我在台灣，我就以台灣作為創作的主題。有很多人認為，我用了太多台灣的圖像來作為表達，但是，我自己並不覺得如此。我的看法是，我用的大多是混雜化的形式。我用很多的對比和並列，來處理畫面。說我完全是用台灣的影像作為表達的方式，這是絕對不可能的！我已經說過，我不會沉溺於過去，或是把過去的形式重新挖出來，再一一去品嘗細嚼。沒錯，我會借用舊的造型、符號或形式，但是，我的目的卻是透過它們，來對當下的人文現象，進行一些比較深入的討論。 ⌋──郭振昌訪談

台灣解嚴前後的環境氛圍，出現了台灣藝術史上真正大量以社會批判為主題的藝術家們，郭振昌作為其中之一，始終持續不懈，以自己獨特敏銳的觀察，記錄著台灣這塊土地轉變的軌跡。