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

畢卡索說：「如果我生在中國，我將以書法寫出我的畫來。」徐永進說：「書法是一種精神標竿的符號。」從事書畫創作長達四十三年的徐永進，從傳統書藝出發，融入當代藝術的有機元素，創造出風格獨特的「視覺系」書法。浸淫書畫40年，僅得一個「鬆」字，徐永進的書法創作線條筆觸既凝練又鬆活，多年來致力以敏銳的觸感，呈現他對當下生存場境的新思維、新感知。 本次展覽，徐永進展出十五件作品，其中唯獨「飛龍在天」使用傳統書法的筆墨媒材，其餘則是以壓克力顏料、畫布及其它複合媒材等，用實驗性的創作手法擴大了書法藝術的表現形式和可能性。本次首次公開的「台灣夢」錄像裝置，以徐永進所揮灑的書法線條，結合優人神鼓幽然神往的太極樂音，投影於弧形牆面，營造出氣勢滂礴的氛圍，將書法藝術從平面靜態的閱讀又導向空間劇場的體驗。 除了用新的創作手法，徐永進的作品，在概念方面也有突破性的思考。他賦予作品深厚的本土文化內涵及強烈的社會關懷，以此挑戰被視為「保守-道統」的權威體系，藉以扭轉書法藝術與社會脫節而趨向沉寂的命運。要之，徐永進的書法已不只是書法，而是在媒材技法、內容主題、線條筆觸、空間構成，造型形式、意象營造及書寫意識上，皆充滿了創造力、時代感，也因夾雜了濃厚的個性和主張，反而讓書法藝術有了令人驚喜的新生命。 Picasso once said that had he been born Chinese, he would have been a calligrapher, not a painter. Hsu Yung-Chin believes that calligraphy is a spiritual symbol. Hsu has been dedicated in calligraphy extensively for 43 years, and he fuses organic elements from contemporary art with traditional calligraphy style. The outcomes of his creative endeavors have formed a unique “visualization” calligraphic style. In his over four decades of creating with calligraphy, he has come to the realization of one key word and that is to be “loose”. Hsu’ calligraphic lines and painterly touches are focused yet relaxed, and his sensitive and precise expressions are used to represent new concepts and feelings he has for the contemporary life. This exhibition includes 15 artworks by Hsu, and amongst these works, only one piece “Flying Dragon” is created based on traditional calligraphic approach. The other pieces are created with mixed-media, such as acrylic on canvas. The artist has opted to use experimental approaches to subvert conventional views on calligraphy. One of the most eye-catching works on display is a video piece titled, “Taiwan Dream”. The artist has incorporated his physical movements when writing calligraphy combined with U Theater Group’s enchanting tones of Taichi drum music. The video is projected on a panoramic wall surface, and the ambiance created is majestic and grand. In addition to innovative creativities, Hsu’s works are also groundbreaking
in their conceptual context. His works are embodiments of profound local cultures with strong sense of social concern. His objective is to challenge the authoritative orthodox core, and from which the previously solemn destiny of calligraphy art is given a twist of faith. Hsu’s calligraphy is no longer just calligraphy; his works give the traditional art form a sense of surprising vitality through the artist’s expressions in media techniques, subject contents, lines and textures, spatial constructions, shapes and forms, imagery developments, and calligraphic impressions.