第57屆威尼斯雙年展 — 有無之際．李光裕大型個展 The 57th Venice Biennale The National Pavilion of San Marino To Have and

The Hemingway residence is a venue that embodies both historical and classical beauty. I feel that, in this environment, I should create an intimate relationship with Hemingway, which could stimulate people's inner passion and sense of beauty.

This awareness of beauty would be characteristic of our generation, inheriting past history and wisdom as well as representing a new world born from life's emotions and feelings. 「海明威故居」是一個具有歷史感與古典美感的場域。 在

個環境裡，我要跟海明威建立一個親密的關係， 個關係會激起人的內在熱情與心靈美感，

是屬於

個世代的美學意識，承載著整個歷史智慧，

還有生命情感所產生的一個新的世界。 ─ 李光裕 LEE Kuang-Yu

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Copyright 版權

The 57th Venice Biennale The National Pavilion of San Marino To Have and Have Not：the Solo Exhibition of LEE KUANG-YU 第 57 屆威尼斯雙年展 聖馬利諾國家館 — 有無之際．李光裕大型個展

Publisher

Vincent LIN

發行人

林清汶

Consultant

Yao-Sheng TSENG

顧問

曾堯生

Chief Editor

Dr. Shinyi YANG

總編輯

楊心一

Planning Editor

Peggy CHENG

策劃編輯

鄭佩芳

Executive Editor

Audrey TU, Lihsin HO

執行編輯

杜綺文、何立心

Coeditor

Lilian TSENG, Joan TSAI

編輯協力

曾金鈴、蔡怡芬

Designer

Free Fritz

設計

Free Fritz

Marketing

Sabrina LEE, En DAI

藝術行銷

李朝馨、戴奕恩

發行

采泥藝術事業股份有限公司

Published by Chini Gallery

臺北市大直敬業一路 128 巷 48 號 1 樓

1F, No.48, Ln 128, Jingye 1st Rd., Zhongshan Dist., Taipei City 10462, Taiwan Tel

886-2-7729-5809

Tel

886-2-7729-5809

Fax

886-2-8502-5715

Fax

886-2-8502-5715

Web

www.chinigallery.com

Web

www.chinigallery.com

Fb

www.facebook.com/chinigallery

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www.facebook.com/chinigallery

Publishing Date

July., 2017 First Print

出版日期

2017 年 7 月 初版

ISBN

978-986-95081-1-7

國際標準書號

978-986-95081-1-7

Price

TWD 1000

定價 新台幣

1000 元

All rights reserved.

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版權所有 翻印必究

Contents 目次

010

Prefaces 序言

012

About the Exhibition 關於展覽

014

Exhibition Documentation 展覽活動實錄

024

Floor Plan 展場示意圖

027

Artworks 展覽作品

139

Rounds of Applause 掌聲響起

147

Angel Project 天使計劃

154

Artist Introduction : LEE Kuang-Yu 藝術家簡介：李光裕

160

Postscript: Vincent LIN 後記：林清汶

164

Featured Interview : “To Have and Have Not” vs. “Sisy’s World News” 「有無之際」vs.「文茜的世界周報」採訪記錄

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Prefaces 序言

Art is soul and inspiration, art is creative mood,

藝術是心靈和靈感；藝術是創造性的情緒、技

technique, knowledge, art is art.

巧、知識；藝術即藝術。

Lee Kuang-Yu express the connection between

李光裕表現了生命與藝術之間的連結，在其雕

life and art, showing in his sculptures how nature

塑創作中，展現自然如何影響、啟發並保護每

can influence each one soul inspiring and

一個心靈。

protecting.

我有幸得以參觀李先生位於汐止山區的工作室 I had the pleasure to visit Mr. Lee’s atelier and

及花園，親身體驗他的精采創作是如何完美的

garden in Xizhi mountains and I realized personally

融為一體，與傳統東方人文意涵、地景及自然

how the perfect symbiosis of his masterpieces,

完整結合。最令我印象深刻是，一切都看起來

fully connected with traditional Eastern human

如此「自然」，所有銅雕作品都如此精緻而完

meaning, with landscape and nature. What hit

全融入自然之中。就我看來，這是生存與藝術

me more has been how all seems so “natural”

之間的關係，最為完美的呈現。

and how the bronze sculptures are delicate and completely connected to nature. This is, in my opinion, the perfect expression of the relationship between existence and art.

Paolo RONDELLI

Paolo RONDELLI

General Director of Cultural Institutions –

聖馬利諾國家文化管理局局長 第57屆威尼斯雙年館聖馬利諾國家館官方代表

Commissioner of the National Pavilion 57th International Art Exhibition of Venice for the Republic of San Marino

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I f e e l p r i v i l e g e d t h a t L e e K u a n g - Yu , t h e

我深感榮幸可以邀請臺灣知名藝術大師李光

renowned artist from Taiwan, can be our Special

裕，參加 2017 年第 57 屆威尼斯雙年展聖馬

Project of the San Marino Pavilion of the 57th

利諾國家館的特別計劃，李光裕的藝術地位是

Venice Biennale in 2017. I am convinced that he

無庸置疑的，他的雕塑展現的並不是一般常見

is an important artist. His sculptures are not the

的宏偉風格，相反地，他的作品細緻、充滿情

typically seen grandeur style. Rather, his works

感，獨一無二，其表現風格源自於東方哲思，

are refined, emotional and unique. His style

和意圖展現壯麗之美的雕塑不同；舉例來說，

of expression stems from Oriental philosophy,

他製出許多虛的空間，創造出陰影效果，讓觀

distinctive from the sculptures seeking to give a

眾能以自身雙眼，將其融匯一體。

sense of magnificence. For example, he creates many virtual spaces by leveraging the shadows.

他的作品帶有一種不言而喻之美，他的雕塑做

The audience can integrate these virtual spaces

為一種形式和空間，同時也是進行實驗的場

with their own eyes.

域，探索著虛與實、現實與虛構之間的關係， 是東方藝術的真實體現，他有些作品深入空間

Lee Kuang-Yu’s works speak for themselves. His

之中，有些則超越空間。

sculptures explore the relationship between fullness and emptiness and between reality

李光裕的雕塑以虛實之姿存在於空間之中，這

and fiction with the sculptures as the form

種手法即獨特又深具意義，因為他的作品受情

and space as the realm for experiments. This

感啟發，目的在表現情感，這也是我為何決定

is the manifestation of Oriental art. Some of

邀請他舉辦展覽，我深信做為一名藝術家，他

his sculptures go inside the space whilst others

必定能成就偉大的藝術。

extend beyond space.

Lee Kuang-Yu’s sculptures occupy the space in both the real and virtual manners. It is a unique and meaningful approach because his sculptures draw inspirations from emotions and aim to express emotions. This is why I decided to showcase his works as I believe he will eventually achieve great things as an artist.

Vincenzo SANFO

Vincenzo SANFO

Curator of San Marino Pavilion of

第 57 屆威尼斯藝術雙年展聖馬利諾國家館策展人

the 57th Venice Biennale

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About the Exhibition 關於展覽

As the Special Project of the San Marino Pavilion

spirituality of our era from a perspective of

of the 57 th Venice Biennale, Lee Kuang-Yu

humanism. It is a response to the theme “Viva

from Taiwan presents his creative works and

Arte Viva ” of 2017 Venice Biennale .

showcases his artistic achievements during the past 30 years. His new Bullfighting Series dedicated to this event and representative works during other periods, in conjunction with documentary, studio archives and outdoor pieces are all part of the exhibition. Lee KuangYu is a success story in the history of sculptures from Taiwan, with his connection and dialogues to the world.

To Have and Have Not conveys two meanings.

Firstly, it is the synthesis of Lee Kuang-Yu’s own sculpture aesthetics. Since the 1980s, he has been exploring new spatial relationships in the realm of sculptures. He has developed another type of formal language and aesthetic concept of the “void” that differ from Western sculpture.

Lee Kuang-Yu creates the multiple virtual spaces, filled with emotional tensions, with the contrast between fantasy and reality, fullness and emptiness. It is the manifestation of the Oriental aesthetics and philosophy, deep and profound.

Secondly, it is a tribute to the history of the venue. Ernest Hemingway, the wellknown American writer of the Lost Generation, once lived here in the late 1940s and the early 1950s.

To Have and Have Not is a title of one of his novels. This exhibition creates with that time PhD in Art History, Cornell University

again. In his homage to Ernest Hemingway,

Academic Chair and Exhibition Consultant

Lee Kuang-Yu seeks to depict and reflect the

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Shin-Yi YANG

period, as our world is becoming uncertain

「有無之際─李光裕大型個展」為聖馬利諾國 家館的特別計劃，共展出李光裕特別為此次展 覽所創作的作品《鬥牛系列》，以及其他時期 經典代表作、紀錄片、藝術家檔案室等約 30 餘件作品。本展不僅對李光裕的雕塑藝術進行 全面討論與梳理，更以藝術家個體生命經歷， 立足多元文化的臺灣，透過東方美學的語言形 式，與世界進行連結與對話。

本展聚焦李光裕長達 30 年的雕塑創作及其藝 術成就，展名「有無之際」為題，有兩層含義： 一方面，它是對李光裕獨具特色之雕塑美學的 歸納，從 1980 年代至今，李光裕一直不斷在 探索雕塑的新型空間關係，特別是發展出一種 異於西方雕塑的「空」的形式語言，透過虛與 實、滿與空之間的對比，創造出富有情感張力 的多重虛擬空間，也體現出一種深厚的東方美 學境界與哲學理念。

另一方面，它亦是向展覽場所的特定歷史致 敬，1940 末至 50 年代初美國大文豪、「迷惘 的一代」代表作家海明威曾在此旅居與寫作。 「有無之際」即取自他的小說標題。當今世界 又開始變得充滿不確定性，本展覽與這一特定 背景產生互文，在致敬海明威的同時，藝術家 力圖從人文主義視角勾勒與反思我們這個時代 的精神世界，同時也回應本屆威尼斯雙年展的 主題「藝術萬歲」。

楊心一 康乃爾大學藝術史博士 「有無之際」學術主持暨展覽顧問

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Exhibition Documentation 展覽活動實錄

To Have and Have Not：the Solo Exhibition

Director of the Centro de Arte Reina Sofía, Mr.

of LEE KUANG-YU at the 57th Venice Biennale

Manuel J. Borja-Villel, and other five members

opened at the Palazzo Rota Ivancich on May

of the Venice Biennale jury committee arrived

11, 2017. The exhibition marked the first time for

at the venue to evaluate the exhibition.

the San Marino Pavilion at the Venice Biennale

Exceptionally, the jurors stayed for twenty

to officially invite a Taiwanese artist to exhibit at

minutes to closely view each artwork, and

the national pavilion. The opening ceremony

expressed their praises to Lee Kuang-Yu

was hosted by Mr. Paolo Rondelli, the General

afterwards.

Director of Cultural Institutions and Commissioner of the National Pavilion of the Republic of San

More importantly, among the guests at the

Marino. The San Marino's Secretary of State

opening, an Italian art critic, a poet and a

of Internal Affairs and Civil Defense as well as

collector fervently expressed their thoughts with

officials from the country's Ministry of Foreign

gestures to make up for their English, saying

and Political Affairs gave congratulatory toasts

that Lee's works had an impact on their minds

in the ceremony. The heiress of the aristocratic

and almost moved them to tears. The poet

Ivancich Family, Mdm. Irina Ivancich, personally

hoped to write poems about every sculpture

attended the event. On the opening day,

for the artist whereas the art critic promised

crowd swarmed the Palazzo Rota Ivancich,

he would further study Lee's artistic philosophy

including chief editors of various international art

in the future and would visit him in Taipei. The

media, art critics, and collectors from different

Italian collector, who also owned works by Pablo

parts of the world, among whom were Patricia

Picasso and Mark Rothko, was so amazed by

Bickers, Editor of Art Monthly , and Massimo Bran,

the techniques, forms, structures, and Eastern

Editor-in-Chief of Venews . Nearly thirty collectors

aesthetics embodied by Lee's bronze sculptures

and entrepreneurs from Taiwan also graced

that he immediately collected an entire room of

the occasion with their presence, including the

artworks.

President of Taipei National University of the Arts, Mr. Yang Chyi-Wen, and the Consultant of

Around three thirty in the afternoon, Taiwan's

Taiwan Art Gallery Association, Mr. Jimmy Lu. The

Minister of Culture, Mdm. Cheng Li-Chiun, led a

exhibition received extensive recognition and

group of Taiwanese officials to visit the exhibition,

accolades from art professionals because of its

and were accompanied by the artist himself

unique realization in the space, the ingenious

and the international curator, Dr. Yang Shin-Yi,

integration of the artworks and the historic site,

to view the artworks. In her speech, the Minister

and the curatorial approach to retrospectively

commented that it was truly commendable that

examine the artist's career.

the Taiwanese private sector had made the efforts to display the cultural essence of Taiwan

At half past nine on the opening day, the

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on an international platform such as the Venice

5 月 11 日， 第 57 屆 威 尼 斯 雙 年 展「 李 光 裕 大型個展─有無之際」在「海明威故居」羅

裕製作銅雕作品的手法、造形、結構，其所內 的東方美學，當下收藏一整個展間的作品。

塔．伊萬柯宮（Palazzo Rota Ivancich）揭 幕，這是歐洲國家聖馬利諾首次以官方身份邀

下午 3 點半，臺灣文化部長鄭麗君率領台灣官

請臺灣藝術家代表聖國參加威尼斯雙年展的國

員參訪團親臨展場，一行人在李光裕及國際策

家館。開幕式由聖國文化管理局局長、國家

展人楊心一的陪同下仔細觀看了作品，鄭部長

館官方負責人 Paolo Rondelli 先生主持，聖

在公開致辭中說到，她認為以臺灣民間的力量

國內政部長及外交部官員相繼致辭，海明威

到威尼斯雙年展的國際平台上來展示台灣文化

故居繼承者、威尼斯貴族 Ivancich 家族繼承

內涵，李光裕的藝術代表臺灣與國際的一種連

人 Irina Ivancich 親臨會場。開幕當日羅塔．

接，實數難能可貴。

伊萬柯宮人氣爆棚，包括來自世界各地的國際 藝術媒體總編輯、藝術評論家、國際藏家，以

當晚，采泥藝術在被喻為最奢華的百年飯店

及 Art Monthly 雜 誌 編 輯 Patricia Bickers、

DANIELI A LUXURY COLLECTION HOTEL

Venews 雜誌主編 Massimo Bran 等，更特別

舉 辦 慶 祝 晚 宴， 李 光 裕 與 聖 國 代 表 Paolo

的是，從臺灣遠道而來的 30 餘位收藏家及企

Rondelli，Irina Ivancich，Thomas Girst

業家，其中包括北藝大校長楊其文、中華民國

（BMW 集 團 文 化 事 業 總 監 ），Patricia

畫廊協會顧問陸潔民。展覽以其獨特的空間呈

Bickers，Barbara Bloemink（古根海姆美術

現方式、藝術家作品與特定歷史場域的巧妙結

館 拉 斯 維 加 斯 分 館 館 長 ），Richard Vine，

合，以及梳理臺灣藝術家個案的策展角度，得

Piero Carcerano（義大利知名建築師）等知

到藝術界專業人士的廣泛認可與好評。

名人士及來自臺灣的收藏家代表團出席晚宴。

上 午 9 點 半， 由 索 菲 亞 王 后 藝 術 中 心 總 監

「有無之際─李光裕大型個展」學術主持暨展

Manuel J. Borja-Villel 等 6 位評委組成的本屆

覽顧問楊心一博士曾指出，本展聚焦李光裕長

威尼斯雙年展評審團來到展場評審，並破天荒

達 30 年的雕塑創作及其藝術成就，以海明威

地駐留了二十分鐘，非常仔細地觀看每一件作

的 小 說「 有 無 之 際 」（To Have and Have

品，並與與藝術家李光裕對談，表達對作品的

Not）為題，有兩層含義：一方面，它是對李

讚嘆。

光裕獨具特色之雕塑美學的歸納，從 1980 年 代至今，李光裕一直不斷在探索雕塑的新型

特別值得關注的是，與會者中有三位義大利藝

空間關係，特別是發展出一種異於西方雕塑的

評家、詩人、藏家熱切地以誇張的手勢彌補不

「空」的形式語言，透過虛與實、滿與空之間

流利的英語對李光裕說著這些作品如何直接嵌

的對比，創造出富有情感張力的多重虛擬空

入他們的情感裡，令他們感動欲淚：詩人希望

間，也體現出一種深厚的東方美學境界與哲學

為每個雕塑寫詩送李老師，藝評家握著李光裕

理念。另一方面，它亦是向展覽場所的特定歷

的手說要在未來專注好好的研究他的藝術哲學

史 致 敬，1940 末 至 50 年 代 初 美 國 大 文 豪、

並相約到台北拜訪；而另擁有眾多藏品包含畢

「迷惘的一代」代表作家海明威曾在此旅居與

卡索 , 羅斯科等的義大利藏家，非常驚艷李光

寫作，「有無之際」即取自他的小說標題。當

017

Biennale . Lee's art represented a connection

the title of Hemingway's novel was to pay tribute

between Taiwan and the globe.

to the history of the exhibition venue. From the 1940s to 1950s, the American literary giant as

That same evening, Chini Gallery hosted a

well as the representative of the Lost Generation

celebratory dinner reception at the luxurious

had lived and wrote novels here. Therefore,

and centennial Danieli Hotel. Many esteemed

the title of his novel is perfect for the exhibition.

guests attended the feast, including the artist

Nowadays, as a sense of uncertainty permeates

himself, the representative of the Republic of San

through the world, the exhibition hopes to

Marino, Paolo Rondelli, Irina Ivancich, Thomas

create intertextuality with this specific historic

Girst (the BMW Cultural Manager), Patricia

background, simultaneously paying tribute to

Bickers, Barbara Bloemink (the Director of the

Hemingway while delineating and reflecting

Guggenheim Hermitage Museum, Las vegas),

on the spirituality of our time from a humanistic

Richard Vine, Piero Carcerano (renowned Italian

point of view.

architect), and a delegate team formed by Taiwanese collectors.

In the following part of the article, the international curator, Dr. Yang Shin-Yi, who

According to Dr. Yang Shin-Yi, the academic

served as the academic chair of the exhibition,

chair and exhibition consultant of To Have and

and the curator of the San Marino Pavilion at

Have Not：the Solo Exhibition of LEE KUANG-YU ,

the Venice Biennale , Mr. Vincenzo Sanfo, have

the exhibition foregrounded the artist's thirty-year

provided their insights into Lee's solo exhibition in

career of sculpture-making with an emphasis

an in-depth dialogue.

on his artistic achievements. The meaning of

018

using the title of Hemingway's novel, To Have

Yang: To Have and Have Not：the Solo Exhibition

and Have Not , was twofold. On the one hand,

of LEE KUANG-YU is a large-scale exhibition and

it symbolized a retrospective examination of

showcases more than thirty sculptures in the

Lee's distinctive sculptural aesthetics. Since the

two-story building of the Palazzo Rota Ivancich.

1980s onward, Lee has persisted in exploring a

On view on the first floor are new works that Lee

new spatial relation in sculpture, and developed

has specially created for this exhibition, titled

a formal language of the "void" that set him

Bullfighting Series, which is consisted of four

apart from Western sculpture. By creating a

large-and middle-size works—Tactful Matador ,

contrast between the void and the solid as

Grenanda , Red Passion , and Majesty . Lee's

well as fullness and emptiness, the artist has

signature pieces from different periods are

successfully created a virtual space with multiple

displayed on the second floor. The exhibition

layers and incredible emotional tension while

also shows a documentary, an artist archive,

demonstrating profound Eastern aesthetics and

and other outdoor sculptures. Would you

philosophical ideas. On the other hand, using

please elaborate on the unique value of Lee's

今世界又開始變得充滿不確定性，本展覽與這

影響一直繼續到馬斯特羅亞尼，對於這些西方

一特定背景產生互文，在致敬海明威的同時，

雕塑家的關注使得他尋找到屬於個人獨有的藝

藝術家力圖從人文主義視角勾勒與反思我們這

術表達方式。然而，同時他仍然從許多東方雕

個時代的精神世界。

塑家中尋找到靈感，在飄忽不定的形態中，隱 約能看見各種以佛教、道教等為原型的雕塑作

本文特邀李光裕大型個展學術主持、國際策展

品，涉及到以東方傳統文化為基礎的動態、形

人楊心一博士，與威尼斯雙年展聖馬利諾國家

式及宗教哲學，並賦予其當代藝術的生命力。

館策展人 Vincenzo Sanfo，以對談的形式對

所以，我對於李光裕在威尼斯雙年展的此次個

本次展覽與李光裕的藝術進行深度解析。

展感到非常榮幸，這個展覽可以幫助我們更好 的理解這位國際雕塑大師的作品。

楊心一：「有無之際，李光裕大型個展」規模 龐大，共包含 30 餘件雕塑作品，遍佈羅塔．

楊心一：本展覽所在地位於前威尼斯貴族官

伊萬柯宮的兩層建築內，一層主要展出李光裕

邸 羅 塔． 伊 萬 柯 宮， 以「 海 明 威 之 家 」 聞

特別為此創作的新作《鬥牛系列》，包含〈機

名，1940 年 代 末 至 50 年 代 初， 海 明 威 曾 與

智的鬥牛士〉、〈格蘭納達〉、〈紅色情挑〉

Ivancich 家族來往密切並寫作小說《過河入

與〈威德〉四件中大型作品，二層主要展出李

林》，Adriana Ivancich 被稱為海明威的最

光裕其他時期的代表作，並結合紀錄片、藝術

後一位繆斯。正是受到這個特定場域，及其所

家檔案室、戶外作品等多種形式。在威尼斯雙

蘊含的特定歷史時期、特定文化背景的吸引，

年展上，以如此大的規模呈現一位臺灣藝術家

李光裕的大型個展選擇在此舉辦，並嘗試以他

的個展，您能否談談李光裕的作品有哪些特殊

的藝術與海明威進行對話。在展覽呈現上，以

的價值？

「場景再現」的特殊方式佈展，展場空間的一 半特意保留展場原有的建築特色和生活痕跡，

Vincenzo Sanfo：李光裕毫無疑問是臺灣最傑

另一半則設置為白色展牆，形成歷史空間與當

出的雕塑家之一，甚至不僅如此。我認為他的

代空間的折疊。您怎麼評價李光裕的作品與展

藝術具有不容忽視的獨特價值，可以說有兩方

場之間的關係？

面，首先，我們注意到李光裕雕塑獨一無二的 藝術手法。他的雕塑藝術圍繞著「空間感」這

Vincenzo Sanfo：藝術作品與其展覽的地點的

一核心課題而展開，這些雕塑作品的構造並非

結合往往是非常重要的，在這次的展覽中，二

是全圓型的，而是向空間的內部塑造，包圍空

者的關係變得尤為特殊。因為海明威藝術與生

間以表達其作品的蘊意。然而，罕見的是，他

活的喧囂與寧靜，正好與李光裕作品中的喧囂

的作品形態又相當完整。在此，藝術家從「滿」

與生命力相結合。海明威在其文學作品中表達

中尋找到一種詩意，又借助「空」這一形式達

出的精神亦是藝術家所讚賞的，並且李光裕還

到完整。這兩部分使得他的作品獨特，具有活

找到了一個絕佳的切入點，他曾於 1970 年代

力並且絕不固化。其次，李光裕的雕塑具有深

在西班牙留學，眾所周知，海明威一生癡迷於

刻的東方文化內涵，藝術家受到布朗庫西、賈

西班牙的鬥牛，並稱其為「生與死的藝術」。

科梅蒂的啟發，西方現代藝術對其潛移默化的

可以說，與海明威在思想上的對話賦予了藝術

019

work since you have chosen to present a solo

the works by this international sculpture master.

exhibition of a Taiwanese artist with such a large scale in the Venice Biennale ?

Yang: This exhibition takes place at the Venetian aristocratic mansion, the Palazzo Rota Ivancich,

Sanfo: Lee Kuang-Yu is unquestionably one of

which is known as "the Hemingway residence."

the most outstanding sculptors in Taiwan, or even

From the end of the 1940s to the beginning of

better. I think his art possesses unique value that

the 1950s, Hemingway had closely socialized

cannot be ignored. What I mean here is twofold.

with the Ivancich Family, during which he was

Firstly, we can see his distinctive approach to

writing Across the River and into the Trees .

sculpture. His work unfolds and evolves around

Adriana Ivancich was called Hemingway's last

the subject of "spatiality" of the sculptural art. His

muse. It is precisely because of this specific site,

sculptures are not round, but envelope space to

its association with a special historic period and

convey their meanings by developing toward

cultural background, that make it a perfect

the internal space. Yet, very rarely, his works still

venue for Lee's solo exhibition, in which he has

embody relatively complete forms. The artist

created a dialogue with the writer. In terms of

has discovered a sense of poetry in the form

the exhibition presentation, the approach is

of "fullness" while adopting the form of "void" to

to "re-create the setting." Half of the exhibition

reach that sense of completeness. These two

space remains unchanged to show the

elements create the uniqueness of his art, which

architectural features and traces of life in the

is exuberant and fluid. Secondly, Lee's sculpture

past. The other half of the space is met with

manifests profound Eastern culture. Inspired by

white walls, forming a fold between the historical

artists such as Brancusi and Giacometti as well as

space and the contemporary space. How

actors like Mastroianni, Western modern art has

would you describe the relationship between

had subtle influences on Lee's work. His attention

Lee's works and the exhibition space?

to these Western artists has led him unto a path

020

of individual artistic expression. Nevertheless,

Sanfo: A full integration between artworks and

Lee has also found inspiration in many Eastern

an exhibition venue is always crucial. In this

sculptors. In his fluid, unfixed forms, one detects

exhibition, the relationship between the two

subtle qualities of Buddhist and Taoist sculptures.

has been rather unique. The reason is that the

His work taps into the fundamental dynamics,

boisterousness and tranquility of Hemingway's

form, and religious philosophy deeply rooted

art and life have perfectly coincided with the

in Eastern traditional culture, into which Lee

bustle and vitality in Lee's work. The literary spirit

has infused the vitality of contemporary art.

conveyed through Hemingway's works is also

Therefore, I feel deeply honored to be part of

highly praised by the sculptor. Moreover, Lee

Lee's solo exhibition in the Venice Biennale . This

has found an excellent connection with the

exhibition definitely provides great insight into

writer because he studied in Spain during the

家的靈感，促使他創作出一系列以鬥牛為題材

Caro)、基亞 (Chia) 等等許多著名的藝術家。

的精彩作品，表達出人類處於危險狀態中時，

每一位藝術家都有一種獨特的人格，但是又都

所展現出的激情、勇氣與靈魂不朽，這些作品

有一個共同點：思維的縝密性，讓他們變得獨

是李光裕雕塑創作成熟的高峰。

一無二，不同於他人。同樣，這也是李光裕的 特點。我曾經有幸與奇利達及安東尼．卡羅共

楊心一：本次威尼斯雙年展的主題為“藝術萬

同合作，相比之下，我可以看見李光裕的作品

歲”（Viva Arte Viva），主題館共分為 9 個

顯然同樣有著關於「空間」的對話，「空」包

不同的單元，分別為 「藝術家與書之館」、「快

圍著並完善了整個作品，這是我基於對前兩個

樂與恐懼之館」、「公共空間館」、「地球館」、

雕塑大師的研究而得出的結論。

「傳統館」、「巫師館」、「酒神館」、「色 彩館」和「時間與無盡之館」，李光裕的個展

楊心一：您對李光裕接下來的藝術創作和展覽

與威尼斯雙年展的主題如何關聯與互動？

有什麼期待？

Vincenzo Sanfo： 由 總 策 展 人 Christine

Vincenzo Sanfo：對於李光裕來說，我不僅僅

Macel 選擇的本次展覽的主題， 「藝術萬歲」，

是充滿希望，而是，我確信在這次展覽過後，

完美地與李光裕的個展主旨相融合。李光裕的

他的藝術（儘管已眾所周知）將變得更加有影

雕塑並非是一般常見的以宏大形式為特點的、

響力。我更相信，他將收穫更多實至名歸的榮

固態的雕塑作品，而是抽象的、充滿誘惑力的、

譽與讚賞，他的作品在世界上的影響力也將越

能夠「自我言說」的雕塑作品。他的雕塑的外

來越大。

形有的深入到空間裏面，有的延伸到空間面， 就好像是作品本身的藝術性佈滿與佔據了整個

今年威尼斯雙年展的主題為「藝術萬歲」(Viva

展廳，非常具有獨創意義。所以，李光裕的作

Arte Viva)，主題館共分為 9 個單元，強調文

品極其生動，他把屬於藝術本質的生命力帶給

化傳統與藝術家的角色在文化傳承與創新中的

我們。

作用。李光裕的展覽參與到國際藝術間的對話 與交流，並於 5 月 12 日舉辦題為「東西方藝

楊心一：李光裕是您第一次合作的臺灣藝術家

術精神的傳承」國際學術討論會，來自臺灣的

嗎？您還和哪些西方雕塑家有過合作，可否比

中天電視台「文茜世界週報」對此進行了全程

較一下以李光裕為代表的亞洲雕塑家與西方雕

記錄。

塑家的異同？

Vincenzo Sanfo：大約三十年前我也幫助過其 他臺灣藝術家組織威尼斯雙年展。在我的一生 中曾策劃過很多的展覽，從羅丹到馬里諾．馬 里尼 (Marino Marini) 和賈科梅蒂，從摩爾到 帕拉迪諾 (Paladino)，從奇利達 (Chillida) 到 呂佩爾茨 (Lupertz)、安東．尼卡羅 (Antony

021

1970s. It has been known that Hemingway

into the surrounding space. In a way, the

Lee's artistic creation and exhibition in the

was obsessed with bullfighting and once

artistry of his sculptures permeates and fills

coming future?

described it as "the art of life and death."

the entire exhibition in an incredibly unique

One can say that the spiritual connection

way. So, the vividness of Lee's sculptures has

Sanfo: I am not only hopeful for Lee's

with what Hemingway thinks gives birth to

conveyed to us the vitality inherent to art.

work, I am also completely assured that

Lee's artistic inspiration, motivating him to

his art (although known by many already)

create a series of magnificent sculptures

Yang: Is Lee the first Taiwanese artist you ever

would become more influential. I am also

based on the bullfighting theme. The series

work with? Regarding Western sculptors, who

convinced that he would receive more

delineates the crisis that humanity faces

have you worked with in the past? Could

honors and praises, which are definitely well-

now, and demonstrates passion, courage,

you provide a brief comparison between

deserved. Moreover, his works would have

and immortality, showing that Lee's sculptural

Asian sculptors, such as Lee, and Western

greater and greater influence on the global

art is mature and at its creative peak.

sculptors?

stage.

Yang: The theme of this year's Venice

Sanfo: I did assist some Taiwanese artists

The theme of this year's Venice Biennale is

Biennale is "Viva Arte Viva ," and the main

in organizing their exhibition at the Venice

"Vava Arte Viva," and the main exhibition

exhibition presents nine chapters under

Biennale about thirty years ago. Throughout

has nine chapters that emphasize on how

different sub-themes. They are the "Pavilion

my life, I have organized many exhibitions

cultural traditions and artists affect the

of Artists and Books," "Pavilion of Joys and

and collaborated with many renowned

cultural legacy and innovation. From this

Fears," "Pavilion of the Common," "Earth

artists, from Marino Marini to Giacometti,

perspective, Lee's exhibition has become an

Pavilion," "Pavilion of Traditions," "Pavilion of

from Henry Moore to Paladino, from Chillida

integral part of an on-going artistic dialogue

Shamans," "Dionysian Pavilion," "Pavilion of

to Lupertz, Antony Caro, Chia, etc. Each

and exchange in the international art scene.

Colors," and "Pavilion of Time and Infinity."

artist embodies a unique individuality, but

An international academic seminar, titled

How would you describe the connection

they also have something in common, that

"The Legacy of Eastern and Western Artistic

and interaction between Lee's solo

is the circumspection in thinking. This trait

Spirit" was held on May 12, 2017. The CTI

exhibition and the theme and sub-themes of

makes them unique artists and sets them

Television's "Sisy's World News" from Taiwan

the Venice Biennale ?

apart from others. Similarly, I see this trait in

has done a comprehensive coverage on

Lee. I have had the privilege to work with

the seminar.

Sanfo: The year's theme, "Viva Arte Viva ,"

Chillida and Antony Caro. In comparison,

chosen by the Chief Curator Christine Macel,

I have observed that Lee's work, like the

is perfectly corresponded to the theme of

two artists, creates a dialogue with "space."

Lee's solo exhibition. Lee's sculptures are

His "void" envelops and simultaneously

different from common sculptures that

completes each sculpture. This is what I have

emphasize on magnificence and solid forms.

concluded from my study of the previously

Instead, his works are abstract, seductive,

mentioned master sculptors.

and self-expressive. Some of his sculptures develop inwardly whereas some extend

022

Yang: What expectation do you have for

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Floor Plan 展場示意圖

Gallery 102

Gallery 101

Exhibition Introduction 展覽簡介文字

1F

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Gallery 205

Gallery 202

Gallery 206

Gallery 207

Gallery 208

Balcony

Gallery 201

Gallery 203

Gallery 204

Documentary 藝術家紀錄片

2F

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029

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Gallery 101

Majesty 威德 2016 125x77x203 cm 銅 Bronze

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The sculpture “Majesty” converts the image of a bull into that of Yamantaka in Tibetan Buddhism. It has an auspicious meaning. Originally a bull god with great powers, Yamantaka later took refuge in Manjushri, the bodhisattva of wisdom. He is often portrayed with six faces, six legs and six hands, sitting on a bull, and adored as a protector of human beings. 〈威德〉將公牛的形象轉化為藏傳佛教中的大威德金剛，傳遞吉祥 之意。大威德金剛原為具有神力的公牛神祉，後來順服代表智慧的 文殊菩

，

常被描繪成有六面六臂的形象，以公牛為坐騎，為人

類的保護者，因此深受喜愛。

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Gallery 102

Lee Kuang-Yu used to study in Spain, and was influenced by Western modern art, especially Cubism and sculptors such as Henry Moore. Such influence led him to digress from realism and start exploring sculptural space. On view in this gallery is the Bullfighting series, which has been specifically created for this exhibition. The new series is inspired by the artist's personal experience in Spain, Hemingway's novel, and another art master known for his passion for bullfighting, Picasso. Hemingway once stated that "bullfighting is the only art in which the artist is in danger of death." Bullfighting symbolizes mankind's living situation, in which people are often faced with severe challenges. Portraying an intense conflict, this set of sculptures is a celebration of strong vitality and the courage to pursue freedom and immortality of the soul. The series depicts a woman standing amidst two fierce oxen and a matador, which implicitly points out the theme of affections that the artist has always focuses on.

李光裕曾於西班牙求學，受到西方現代 藝 術， 特 別 是 立 體 主 義 以 及 亨 利． 摩 爾等雕塑家的影響，從寫實主義轉向 對雕塑空間的探索。本廳展出李光裕 特別為展覽創作的新作《鬥牛系列》， 其靈感來源於他在西班牙的經歷、海 明威的小說，以及另一位酷愛鬥牛的 藝 術 大 師 畢 加 索， 海 明 威 曾 說，「 鬥 牛是唯一一種使藝術家處於死亡威脅 之中的藝術」。鬥牛象徵著人們常需 面臨的嚴酷的生存處境，這組作品在激 烈的衝突之中，讚頌了強烈的生命力、 追求自由的勇氣以及靈魂的永生不朽。 兩頭兇猛的公牛與鬥牛士中間站立一 位女子，隱喻藝術家一直關注的情感 主題。

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Grenada 格蘭納達 2016 43x44x157 cm 銅 Bronze

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Red Passion 紅色情挑 2016 213x135x88 cm 銅 Bronze

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Tactful Matador 機智的鬥牛士 2016 258x115x130 cm 銅 Bronze

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My sculpture can be compared to the Chinese calligraphic art, the writing of form and taste with the simple blank and white in a blank space.

Therefore, the sense of space in my work is particularly discernible. The action of writing is so direct that it leaves traces, a kind of aesthetic and abstract beauty posited between the void and the concrete. 我創作之造形，有如書法藝術。在一空白的空間，寫形態，寫品味。 就那麼單純黑白兩色。 所以空間感特別明顯，書寫的動作那麼直接了當留下痕跡， 無有之間的美感，那麼地

有抽象美感。 ─ 李光裕 LEE Kuang-Yu

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Gallery 201 & Gallery 202

The first gallery room on the second floor used to

2 樓的第一間展間本是這座建築的擁有

be the living room of the Ivancich family, a Venetian

者威尼斯貴族 Ivancich 家族的客廳，

aristocratic family that owns this piece of architecture,

一些歷史文化名人曾在此來往。有別

which has witnessed the family's associations with

於 美 術 館 的「 白 盒 子 」， 展 覽 特 意 保

historical figures and cultural celebrities. Setting itself

留了部分生活痕跡，與放置其中的雕

apart from the "white box" museum space, in the

塑作品產生互文，形成歷史空間與當

exhibition traces of past life have been particularly

代 空 間 的 折 疊， 豐 富 展 覽 意 涵。 本 廳

retained to create a sense of intertextuality with

展 出 的 作 品 以 人 物 為 主， 有 男 人、 女

the sculptures on view. The approach creates a

人、 孩 童， 他 們 或 陷 入 情 感 之 中（ 如

fold between the historical space and that of the

〈 女 人 胸 像 〉、〈 思 〉）， 或 沉 浸 於

contemporary, and adds more depth to the meaning

自 己 的 事（ 如〈 山 人 〉、〈 書 伴 〉、

of the exhibition. On view in this gallery are figure

〈嬝吟〉），喚起觀者的共鳴與回憶。

sculptures that portray men, women, and children.

其 中〈 稻 田 〉 這 件 作 品， 表 現 一 群 鳩

Some depict figures caught in their own emotions

鳥在牛背上群飛環繞，恍若再現台灣

(such as Woman's Bust and Thinking), and some

稻田上的田園風光，具有滄海桑田的

portray those immersing in their own affairs (like

意境。

Hermit, The Book Lover, and The Delicate Breath). It is hope that the sculptures create certain resonance with the visitors and bring back their own memories.

Among the works, Field delineates a swarm of turtledoves hovering above an ox and represents a pastoral Taiwanese scene with a sense of nostalgia.

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Gallery 201

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Unrestrained Ox 隨欲寶牛 2017 74x38x41 cm 銅 Bronze

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Gallery 202

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Thinking 思 2016 96.5x55x88 cm 銅 Bronze

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Womanʼs Bust 胸像 2016 56x46x70 cm 銅 Bronze

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The way I approach sculpture is to use metal sheets and wires as my brush to write in the air. The sculptural form is, in this case, my writing of ink, and the blankness the open space. 我的造形方式，是以鐵片、鐵線當作毛筆， 在空中書寫， 那墨跡就是造形之有， 那空白處即空間之有。 ─ 李光裕 LEE Kuang-Yu

Little Girl 小女孩 2016 31x15.5x51 cm 銅 Bronze

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The Book Lover 書伴 2013 40x17x47 cm 銅 Bronze

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Hermit 山人 2016 68x48x147 cm 銅 Bronze

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The work “Field ” creates a typical scene of rice farming in Taiwan, with pigeons flying above the ploughing oxen, and tells the story of many changes since then. 〈稻田〉一作呈現台灣典型的田野景色，群鴿飛舞在 耕作的公牛上方，呈現出自藝術家年幼時期至今日的 生活變化。

Field 稻田 2016 115x105x60 cm 銅 Bronze

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A Dlicate Breath 嬝吟 2013 22x31x29 cm 銅 Bronze

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Looking into the Distance to Find the Lover 遙望情郎 2016 53x55.5x79 cm 銅 Bronze

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When sculpting, I like to handle a light theme with intensity and a heavy theme with lightheartedness. In the rolling movement, there is silence.

Harmony means the unity of oppositions. 我做作品喜歡舉輕若重，舉重若輕， 在滾動包含了寂靜， 和諧就是對立的統一。 ─ 李光裕 LEE Kuang-Yu

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Gallery 205

Since the 1980s, the artist's exploration of the language of "void" has undergone four distinctive stages, which can be thematically categorized as "Destruction as Innovation," "Buddhist Subject and Openwork in Sculpture," "From Openwork to the Silent Void in Oriental Culture," and "The Open Void." Through a wide range of techniques such as openwork, the artist gradually unfolds the internal space of sculpture, and "allows the work to fully open up, extend, and exist in space." The approach enables him to reach an extraordinarily ethereal, tranquil state that embodies Oriental aesthetics, and eventually arrives at an expressive form and style informed by highly individualized characteristics and visuality.

從 1980 年代至今，李光裕對「空」語 言的探索經歷了四個階段，分別是「破 壞 成 新 局 」、「 佛 教 題 材 及 造 形 上 的 鏤 空 」、「 從 鏤 空 走 向 東 方 空 境 」、 「開放的虛空」，通過運用鏤空等多種 方式，逐步打開雕塑的內部空間，「讓 作品在空間中，完全的敞開，開展，存 在」，達到極為空靈、寧靜的東方美學 境界，最終發展出具有個人強烈特色的 藝術表達風格，及視覺呈現方式。

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Lee Kuang-Yu’s exploration of the “void” has undergone four stages from its germination, to his using of the Buddhist elements, to his personal reflection on the society.

Lee has opened up the previously enclosed space and removed excessive volume as much as possible to create more “holes.”

This “allows the work to fully open up, extend, and exist in space”, achieving an extremely ethereal, tranquil state. 李光裕對於「虛空」的探索，從初始的概念萌發，運用佛教元素， 到後來刻畫個人對社會的想法，透過打開雕塑原本封閉的空間，儘 量去除過多的體積質量，創造出更多的「孔洞」，「讓作品完全開放、 延伸、存在於空間之中」，達到極為空靈、寧靜的境界。

Across the water 在水一方 2013 44x34x86 cm 銅 Bronze

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(L)

Wandering in the Misty Mountains 雲山行旅 2013 20x45x125 cm 銅 Bronze

(R)

Filled Vessel 盈甕 2013 35x37x62.5 cm 銅 Bronze 097

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Shadow of Wind 風影 2016 67x62x94 cm 銅 Bronze

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To make art is to "become aware of your own sentient existence."

Art-making is not to inflate the self but the representation of my natural potentials, my past and present, and my union with nature. When it comes into being by itself, it is discovery rather than pursuit. As the new world continues to fade away, you discover how you exist when you work; you see, in that image, the self. 創作就是「覺有情」 創作不是自我的膨脹，那是我的原始潛能， 我的歷史，我當下的情境，我與自然結合而成。 當它自生就是不意味著追求，而是發現。 新的世界不停地流逝，在工作時，你發現，你是如何地存在， 在那畫面上，你看到自己。 ─ 李光裕 LEE Kuang-Yu

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Balcony 窗台

Catching the wind 捉風 2013 44x27.5x29cm 銅 Bronze

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Gallery 207

Lee Kuang-Yu employs and appropriates a large amount of Buddhist, Zen, and Taoist images in his body of works, which conveys the profoundness of Oriental culture. For Clairvoyance and Clairaudient, Lee uses the mythological figures in Taoism as symbols to discuss human's longing to transcend physical and perceptive limitations. The artist hopes to remove hindrances that obstruct one's spirituality and perception so that the original life can be revealed in an open and ethereal state.

李光裕作品大量借鑒與轉化佛教、禪 宗以及道教形象，具有深厚的東方文 化內涵。 〈千里眼〉、〈順風耳〉來 自道教的神話形象，象徵人類對超越 自 身 局 限、 擺 脫 感 官 束 縛 的 嚮 往。 藝 術家希望藉由他的雕塑作品拆除這些 心 靈 與 知 覺 上 的 障 礙 物， 以 開 放 的、 空靈的姿態，回歸生命的本來面目。

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Even when a space does not contain any physical objects, it still exists. Such a space is a space of the void or the absolute void. Is space not produced by our thinking? The humanistic space is poetry, love, art. 空間即使不包含實在物體，其自身仍不失實。沒有物體的空間稱為 虛空的空間，或真空。空間自身是一種「思想存有物」，對

？

人文性的空間是詩、是愛、是藝術。 ─ 李光裕 LEE Kuang-Yu

Clairvoyance 千里眼 2016 64x45x112 cm 銅 Bronze

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In terms of "wind," its movement is filled with rhythm and tempo that build up to a climax, which is the movement of energy, like the "apprehension of the amorphous whole," like "making art." The movement of wind implies the swirling energy and its movement of life. In the movement, the sculptural form is informed by characteristic representation of space. To slowly savor the wind's dynamic movement makes one feel alive. 就「風」而言，風之動充滿了節奏與韻律而到達了高潮，那是靈動， 有如「一合相」，有如「創作」。風動意味著滾動的能量之生命動向， 在風動裡，我們的造形充滿了有特質的空間方式，慢慢品味，風動 的動勢使人感覺活著。 ─ 李光裕 LEE Kuang-Yu

Clairaudient 順風耳 2016 55x56x121 cm 銅 Bronze

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Gellery 208

Through his sculpture, Lee Kuang-Yu has created a

李光裕的雕塑創造了新的空間感，雕塑

fresh sense of spatiality, reversing the internal and

內 部 變 成 外 部， 外 部 變 成 內 部， 這 使

external spaces of sculpture and converting spectator's

得觀眾無法站在一個不變的外在視角，

previously fixed perspective into a dynamic one.

而是視線隨著雕塑穿梭，二維與三維、

As the spectator's line of vision moves around and

甚 至 第 四 維 的 時 間， 在 其 中 轉 換。 觀

through the sculptures, he or she experiences the two-

眾所處的外部空間與雕塑的內部空間，

dimensional and three-dimensional spaces, even the

兩者融為一體。本廳展出的兩件作品

four-dimensional space of time, and continuously

均 以 戀 人 為 題 材， 用 空 間 穿 插、 虛 實

moves from one space to another. The external space

對比的手法，表現出情感細膩而忘我

where the spectator resides becomes integrated with

的存在。

the internal space of sculptures. The two sculptures on view in this gallery both depict lovers through an approach of interlacing spaces and contrasting the real and the unreal to portray the affectionate and self-renunciating existence.

Flying 飛來 2013 55x22x80 cm 銅 Bronze

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Taichi 太極 2013 35x32x82 cm 銅 Bronze

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My sculpture is like poetry as well as Chinese landscape. It is not just sculpture but the embodiment of how I see humanity. 我的雕塑像首詩， 又像中國山水，不只是一件雕塑。 它隱藏我對人的看法。 ─ 李光裕 LEE Kuang-Yu

Reading the earth 閱讀大地 2009 53x24x38 cm 銅 Bronze

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Gallery 206

In this gallery, visitors can see the artist's studio

本廳呈現藝術家工作室的創作現場。

where he creates his sculptures. Lee Kuang-Yu uses

李光裕的創作方法核心在於「破壞成

"destruction as innovation" as his core creative

新局」，他曾講述，「我有許多作品，

approach. He once said, "many of my works did not

都是做完整後，覺得沒有什麼生動感，

possess a sense of liveliness after I completed them.

就將之往地上摔或用鋸子鋸開成幾塊，

So, I smashed them on the ground or sawed them

然後再重組，它的造型生動超過我的

into pieces to reconstruct them. The liveliness of the

想 像， 超 出 我 的 慣 性 思 維 」。 在 他 的

reconstructed forms exceeded my imagination and

工作室中隨處可見這樣的石膏碎片，

surpassed my habitual thinking." In his studio, one

可以說是「俯拾即得，不假諸鄰」。

can see such plaster fragments or parts lying around, validating the saying that "inspiration could be found everywhere without searching outward."

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The Advent of Bliss 福臨 2016 118x86.5x105.5 cm 石膏 Plastic

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Gallery 204

An "Archive Rom" has been created in the exhibition.

Through texts and images, the space presents Lee Kuang-Yu's artistic development from his time in school to becoming a professional artist. These documents put together a full picture of the artist's career, from receiving his training in sculpture at National Taiwan Academy of Arts, to refining his art and techniques in Madrid, Spain, to being a teacher and nurturing later generations of fine sculptors after he returned to Taiwan, to becoming fully dedicated to his personal sculptural art after his retirement. The Archive Room offers a clear, concise, yet comprehensive portrayal of Lee's artistic journey throughout four decades as well as the complete system of his unique sculptural aesthetics that centers on the “the silent void of the Oriental culture.”

在 本 展 所 特 別 設 置 的「 檔 案 室 」， 乃 以文字與圖片的相互參照爬梳李光裕 自求學時期到成為專職藝術家的發展 歷程。無論是在台灣國立藝專奠定個 人雕塑基礎；西班牙馬德里留學的精 進 技 藝； 回 到 台 灣 後 的 教 學 經 驗， 孕 育無數優秀的年輕雕塑家；再到退休 之後，專心致力於發展個人的雕塑藝 術 創 作。 本 展 的「 檔 案 室 」 以 清 晰 簡 要的脈絡完整體現李光裕近四十年來 的 創 作 歷 程， 以 及 個 人 獨 樹 一 格「 東 方空境」雕塑美學的完整系統。

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The word, "void," suggests "the universal whole." "Void," in this sense, is contrary to what it usually means. It represents a portal of space, the key to time, the impermanence of nature.

In the universal whole, the marvelous world knows no end. 「空」

個字，是大有之意。

「空」，字面上的意義，是相反的， 它代表空間之門，時間之鑰，自然之無常之變， 在大有中，妙有世界無盡頭。 空有一體，妙在此處。 ─ 李光裕 LEE Kuang-Yu

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Villel, and other five members of the Venice Biennale

The Venice Biennale Jury Committee came to evaluate the exhibition.

jury committee arrived at the venue to evaluate the

威尼斯雙年展評委團評審

At half past nine on the opening day, the Director of the Centro de Arte Reina Sofía, Mr. Manuel J. Borja-

exhibition. Exceptionally, the jurors stayed for longer than expected to closely view each artwork, and expressed their praises to Lee Kuang-Yu afterwards.

Venue:

Palazzo Rota Ivancich

Date： 2017.05.11, 開展當日，由索菲亞王后藝術中心總監 Manuel J. Borja-Villel 等 6 位評委組成 的威尼斯雙年展評審團來到展場評審， 作品豐富的藝術性與表現性吸引評審仔 細地觀看每一件作品，逗留時間甚至超 過預期，還特別與藝術家李光裕對談， 表達對作品的讚嘆。

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09:30 am

Opening Ceremony 開幕酒會

The opening ceremony was hosted by Mr. Paolo Rondelli, the General Director of Cultural Institutions and Commissioner of the National Pavilion of the Republic of San Marino. The San Marino's Secretary of State of Internal Affairs and Civil Defense as well

Venue:

Palazzo Rota Ivancich

Date： 2017.05.11,

11:00 am

as officials from the country's Ministry of Foreign and Political Affairs gave congratulatory toasts in the ceremony. On the opening day, crowd swarmed the Palazzo Rota Ivancich, including chief editors of various international art media, art critics, and collectors from different parts of the world, among whom were Editor of Art Monthly and Editor-in-Chief of Venews. Nearly thirty collectors from Taiwan also graced the occasion with their presence, including the President of Taipei National University of the Arts, Mr. Yang Chyi-Wen, and the Consultant of Taiwan Art Gallery Association, Mr. Jimmy Lu.

本展開幕式乃由聖馬利諾文化管理局局 長、國家館官方負責人 Paolo Rondelli 先 生 主 持， 聖 國 內 政 部 長 及 外 交 部 官 員 相 繼 致 辭， 海 明 威 故 居 繼 承 者、 威 尼 斯 貴 族 Ivancich 家 族 繼 承 人 Irina Ivancich 親臨會場。現場貴賓包括來自 世界各地的國際藝術媒體總編輯、藝術 評 論 家、 國 際 藏 家， 以 及 Art Monthly 編輯 Patricia Bickers、Venews 主編 Massimo Bran 等， 更 特 別 的 是， 從 臺 灣遠道而來的 30 餘位收藏家及企業家， 其中包括北藝大校長楊其文、中華民國 畫廊協會顧問陸潔民，特別親赴威尼斯， 以實際行動為李光裕的威尼斯大型個展 表達最由衷的支持。

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In the afternoon, Taiwan's Minister of Culture, Mdm. Cheng Li-Chiun, led a group of Taiwanese officials to visit the exhibition, and were accompanied by

Visiting of Taiwan's Minister of Culture 文化部長鄭麗君參訪

the artist himself and the international curator, Dr. Yang Shin-Yi, to view the artworks. In her speech, the Minister commented that it was truly commendable that the Taiwanese private sector had made the efforts to display the cultural essence of Taiwan on an international platform such as the Venice Biennale.

Lee's art represented a connection between Taiwan and the globe.

開幕當天下午，台灣文化部長鄭麗君率 領台灣官員參訪團親臨展場，一行人在 李光裕及國際策展人楊心一的陪同下觀 看了作品。鄭部長在公開致辭中說到， 她認為以台灣民間的力量到威尼斯雙年 展的國際平台上來展示台灣文化內涵， 李光裕的藝術代表臺灣與國際的一種連 接，實數難能可貴。

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Venue:

Palazzo Rota Ivancich

Date:

2017.05.11, 15:30 pm

VIP Dinner Reception 開幕貴賓晚宴

That same evening, Chini Gallery hosted a celebratory dinner reception at the luxurious and centennial Danieli Hotel. Many esteemed guests attended the feast, including the artist himself, the representative

Venue:

Danieli A Luxury Collection Hotel

of the Republic of San Marino, Paolo Rondelli, Irina

Date:

2017.05.11, 20:00 pm

Ivancich, Thomas Girst (the BMW Cultural Manager), Patricia Bickers, Barbara Bloemink (the Director of the Guggenheim Hermitage Museum, Las vegas), Richard Vine, Piero Carcerano (renowned Italian architect), and a delegate team formed by Taiwanese collectors.

開 幕 當 天 晚 上， 采 泥 藝 術 在 被 喻 為 最 奢 華 的 百 年 飯 店 Danieli A Luxury Collection Hotel 舉 辦 慶 祝 晚 宴， 李 光裕與聖國代表 Paolo Rondelli，Irina Ivancich，Thomas Girst（B M W 集 團文化事業總監），Patricia Bickers， Barbara Bloemink（古根海姆美術館拉 斯維加斯分館館長），Richard Vine， Piero Carcerano（義大利知名建築師） 等知名人士及來自臺灣的收藏家代表團 出席晚宴。

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Academic Forum The day after the exhibition opening, an academic

學術討論會

seminar, titled "The Legacy of Eastern and Western Artistic Spirit," was held at the exhibition venue.

The seminar was moderated by Dr. Yang Shin-Yi, the academic chair and consultant of the exhibition, who

Venue:

Palazzo Rota Ivancich

conducted an in-depth discussion with the other three

Date:

2017.05.12, 11: 00 am

international art critics and chief editors about the artistry and expressiveness of Lee Kuang-Yu's work.

CTI Television's "Sisy's World News" from Taiwan also did a comprehensive coverage on the seminar.

開幕隔天，於展場舉辦了「東西方藝術 精神的傳承」的學術討論會，由本展「學 術主持暨展覽顧問」楊心一主持，與三 位國際藝評家、總編輯深入探討李光裕 雕塑作品的藝術性與表現性。來自台灣 的「中天電視 - 文茜的世界週報」並對 此進行了全程記錄。

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International Response 國際迴響

Lee Kuang-Yu's solo exhibition at the 57th Venice Biennale in 2017 has received much attention from international art media. Flash Art has given an eight-page interview of the artist in the publication's May issue of its international edition, and Venews has published an article introducing the exhibition in its April issue and used the photo of the exhibition as the back cover. 李光裕參加 2017 第 57 屆威尼斯雙年展，受到國際藝術媒體關注。分別於《Flash Art》國際英文版 5 月號的 8 頁專訪，以及《Venews》4 月號專文報導和封底刊登。

Flash Art was established over fifty years ago. A highly respectable and professional art media in the global art circle, the publication now has an Italian edition and an international edition, which is published in English with the highest standard. Prestigious museums and brands, such as MoMA and Louis Vuitton, are the publication's long-term advertisement clients. The art publication has a wide and professional audience, including museums directors, art critics, curators, collectors, and artists worldwide; the esteemed Soloman R. Guggenheim Museum is also one of the publication's consistent subscriber. The content of each issue is strictly reviewed and selected by the publication's board of editors. Therefore, having his special interview published in Flash Art's international edition marks the international recognition and acceptance of Lee Kuang-Yu's art.

《Flash Art》是擁有 50 年歷史、全球藝術領域中少數最受尊敬的藝術專業媒體， 分義大利文版和國際版，又以英文發行的國際版規格最頂級。美術館如 MoMA、 品牌如 Louise Vuitton 是其長期廣告客戶，對話目標精確對准了全球美術館館 長、評論家、策展人、藏家、藝術家等專業人士及高端商務人士，如古根漢美術 館即是長期訂戶。每期內容必須經過編委會嚴格選稿，李光裕能被邀請在《Flash Art》國際英文版上刊登受訪專文，等同於受到國際認可。

Venews, a comprehensive magazine in both Italian and English, enjoys the largest circulation in Venice. Like a city guide, the magazine introduces cultural events and highlights of the season in Venice, among which art is regarded as the most prominent section. Venews can be seen in every high-end hotels and restaurants, cultural institutions, and entertainment venues, and is one of the most important publications for exhibition promotion during every Venice Biennale. In the April interview published in Venews, Lee Kuang-Yu talks about how the charm of Western art and Oriental traditions are integrated in his work as well as his use of media in art-making. Through the interview, the artist answers questions about his place in the global contemporary art scene as well as how he perceives his own art.

《Venews》是威尼斯發行量最大的一本綜合類雜誌，以義大利文和英文雙語發 行，介紹威尼斯當季重點，相當於城市指南，其中藝術是最重要的內容。幾乎威 尼斯每家高級酒店、文化機構、高檔娛樂場所都可以看到這本雜誌。而每遇威尼 斯雙年展便是國際兵家競爭之地。刊登於 4 月號的訪談，邀請李光裕對其作品具 西方氣質又傳承東方傳統的融合、媒材運用，回應在全球當代藝術的定位之觀察 和自我認定。

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"I saw the angel in the marble and carved until I set him free."

— Michelangelo

「我在大理石中看見天使，於是我不停地雕 刻，直到使他自由。」 ̶ 米開朗基羅

The “Angel Project” is an art-promoting project initiated by the General Manager of Chini

「天使計劃」為采泥藝術總經理林清汶費時五

Gallery, Mr. Vincent Lin. The project calls for art-

年準備，三年前所發起的藝術推廣計劃，號召

loving Taiwanese entrepreneurs to form a group

熱愛藝術的台灣民間企業家共同合作，籌組

called "Lee Kuang-Yu's Angels of Art". Upholding

「藝術天使團」，一同秉持將台灣藝術家推向

the belief and ideal to introduce Taiwanese

國際的信仰與理念，以積沙成塔的方式集結眾

artists to the world, the group turns individual

人的力量，實現「讓李光裕前進威尼斯雙年展」

power into a collective force and gather

的藝術夢想。

financial and human resources to realize the dream of "sending Lee Kuang-Yu to the Venice

「藝術天使團」並於展覽期間，結團成行親赴

Biennale."

義大利威尼斯展場，出席「有無之際」展覽開 幕酒會、VIP 貴賓晚宴，以百分之百的實際行

In addition to making financial and other

動支持李光裕登上國際藝壇的重要展覽。台灣

contributions, the Angels of Art also travelled

企業家殷實的情懷，讓台灣藝術家找到合適的

to Venice during the exhibition to attend the

國際舞台，為國際性藝術合作開啟更多可能

opening party and VIP banquet for To Have

性。台灣也因為藝術而與世界連結，「藝術天

and Have Not: The Solo Exhibition of LEE Kuang-

使團」以藝術之姿為台灣發聲，也為台灣在國

Yu and express their full support with concrete

際性的存在，作一個美麗且有力的証成！

a c t i o n s f o r L e e K u a n g - Yu ' s d e b u t i n t h e international art scene. The sincere friendship

「天使計劃」— 來自台灣收藏界最堅實的力

of the Taiwanese entrepreneurs has enabled

量，宛若從米開朗基羅所雕刻的大理石中飛出

Taiwanese artists to find a matching international

的天使，讓一個不可能的任務綻放了光芒 —

stage for their outstanding art, and ushered in

一道自天使羽翼所散發的希望之光！

more possibilities for global artistic collaboration.

The Angel Project—the strongest power from Taiwanese art collectors, who are like angels set free from Michelangelo's marble carvings, lending light to an impossible mission — the light of hope from the wings of angels.

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With the spirit of collective efforts, the Angels of Art attended the opening party of To Have and Have Not: The Solo Exhibition of LEE Kuang-Yu, contributing unique Taiwanese enthusiasm and vitality to the event and creating a festive, joyous atmosphere. They also highly praised the exhibition elaborately planned by Dr. Yang Shin-Yi and the Italian curatorial team. All of them felt incredibly proud to be part of the artist's large-scale solo exhibition in the Venice Biennale.

「藝術天使團」發揮群策群力的精神， 共同出席李光裕「有無之際」個展的開 幕酒會，以台灣人的熱情與活力為開幕 活動增添更多熱鬧歡慶的氣氛。「藝術 天使團」也對楊心一與義大利策展團隊 精心規劃的展場大為讚賞，表示身為參 與李光裕威尼斯雙年展大型個展的一份 子，與有榮焉！

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Meanwhile, accompanied and guided by the honorary Angels of Art group leader and president of Taipei National University of the Arts, Mr. Yang Chyi-Wen, and the senior consultant of Taiwan Art Gallery Association, Mr. Jimmy Lu, the Angels of Art travelled through various important artistic cities in Italy, including Venice, Florence, and Milan. The group visited world-class artistic attractions, such as the Peggy Guggenheim Collection, Punta Della Dogana, and Da Vinci's masterpiece, The Last Supper, at Santa Maria delle Grazie. Laughter could be heard all the time. A group of entrepreneurs with same interest and aspiration have created together immense joyful memory in Italy, becoming one family because of art.

同時，在榮譽團長「臺北藝術大學」校 長楊其文，中華民國畫廊協會資深顧問 陸潔民的帶領與解說下，天使團成員一 同走遍威尼斯、佛羅倫斯、米蘭等義大 利重要的藝術重鎮，包括：佩姬 · 古根 罕美術館，稅關美術館，及感恩聖母教 堂的達文西名作「最後的晚餐」等世界 級藝術景點，一路笑聲相伴。一群有志 一同的企業家在義國留下無數的歡笑與 回憶，一切都因藝術而相生相連。

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Artist Introduction 藝術家簡介

LEE Kuang-Yu 李光裕

Lee Kuang-Yu was born in 1954 in Taiwan.

1954 年生於台灣，70 年代中期在台灣完成學

In 1975, he went to Spain to study sculpture

院雕塑訓練後，負笈西班牙聖費南度皇家藝術

in Real Academia de Bellas Artes de San

學院及國立馬德里大學美術學院研習西方雕塑

Fernando and Universidad Complutense de

技法與理論，師承著名雕塑家托雷多。學成歸

Madrid respectively. On returning to Taiwan,

國後任教於台北藝術大學、台灣藝術大學。在

he taught at the Taipei National University of

台灣雕塑史的發展中，李光裕的創作在雕塑語

the Arts and the National Taiwan University of

言的基底層面，以「鏤空」等標誌性技法打開

Arts. Being a representative sculptor among

雕塑的封閉結構，形成獨特的「空」的形式、

the second-generation sculptors in Taiwanese

風格與觀念，呈現出一種物我兩忘的「東方空

art history, Lee Kuang-Yu achieved fame at

境」，不僅具有美學價值，亦蘊含對當下生命

an early stage. His creations cross cultural and

狀態的思考，具有當代的社會意義。曾受邀於

historical boundaries, representing a cultural

紐約、威尼斯、西班牙、奧地利、日本、新加

marker in which traditional Buddhist and Daoist

坡等全球多地舉行展覽。台灣三大美術館包括

thought intertwines with modernism. His work has

台北市立美術館、國立台灣美術館及高雄市立

previously been exhibited in New York, Venice,

美術館典藏其多件作品。

Spain, Austria, Japan and Singapore. Within Taiwan, three major galleries have collected many of his works.

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LEE Kuang-Yu: A Chronological Table 李光裕年表

1954

1974

1978

Lee Kuang-Yu was born in Neiwei,

Lee graduated from high school. His

Lee began studying under Professor

Kaohsiung, Taiwan.

teacher, Huang Kuang-Nan, suggested that

Francisco Toledo Sanchez at the Real

he could study sculpture.(fig.2) Lee entered

Academia de Bellas Artes de San Fernando.

the Sculpture Department of National

He learned how to demonstrate the

Institute of the Art. His learning there was

characteristics of sculpture and entered the

mainly of Western sculptural techniques,

world of sculpture language. (fig.3) (fig.4)

and he learned about Western sculptors

(fig.5)

李光裕出生於台灣高雄內惟。

1964

圖 fig. 1 李光裕自小學習水彩、水墨畫 Lee Kuang-Yu had studied watercolor and ink painting since childhood.

like Rodin and Michelangelo. At that time, a lecturer at the Sculpture Department, Jen

李光裕進入西班牙聖費南度皇

Chao-Ming, had studied in Spain. Influenced

家 藝 術 學 院， 師 從 著 名 雕 塑 家

by Jen, Lee had the idea of studying in

Francisco Toledo Sanchez 教

Spain for the first time.

授， 學 習 到 如 何 展 現 雕 塑 的 特

Lee began learning ink painting and

質，進入雕塑語言的境界。（圖

watercolor. His first teacher was Chen Chi-

李光裕高中畢業，黃光男老師建

Hsien. In junior high school, he began

議去學雕塑科（圖 2），考入國

learning the ink painting of Lingnan school

立台灣藝術專科學校（以下簡稱

with Hsu Shang-Wu. (fig.1)

為國立台灣藝專）雕塑科，以學 習西方雕塑技法為主，從畫冊了

李光裕開始學習水墨、水彩，啟

解羅丹、米開朗基羅等西方雕塑

蒙老師是陳啟賢老師，國中跟許

家。當時雕塑系講師的任兆明是

尚武學嶺南畫派的水墨。（圖 1）

留學西班牙，受任的影響，李光

3）（圖 4）（圖 5）

圖 fig.2 李光裕與恩師黃光男的合影 Lee Kuang-Yu and his mentor, Huang Kuang-Nan.

裕萌生去西班牙的想法。

1977 Lee graduated from the Sculpture Department of National Institute of the Art. 國立台灣藝專雕塑科畢業。

圖 fig.3 1979 年，李光裕於西班牙的泥塑教室 Lee Kuang-Yu in a clay sculpture classroom in Spain in 1979.

圖 fig.4 西班牙留學期間與同學參觀當地展覽 Lee Kuang-Yu visited a local exhibition with his classmate when studying in Spain.

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1981

1983

Lee participated in the Spain Fall Salón in

Lee obtained a master's degree from the

Inspired by his practicing of Tai Chi

College of Arts, Universidad Complutense

Chuan, he started creating the Hand series,

de Madrid. He returned to Taiwan and

transforming the Oriental philosophy in Tai

began teaching at the Department of Fine

Chi Chuan into his own artistic creation. He

Arts, Taipei National University of the Arts

made the first sculpture of the series, titled

(TNUA) until his retirement in 2006. He

A Hand it Seems.

Spain. 參加「西班牙秋季沙龍展」。 圖 fig.5 李光裕在西班牙馬德里大學美術學院與教授 Francisco Toledo Sanchez 的合影 Lee with his Professor Francisco Toledo Sanchez at Real Academia de Bellas Artes de San Fernando

1986

started to learn about Tibetan Buddhism.

1982

A friend took him to a Buddhist assembly

受打太極拳的身體體驗啟發，開

held for visiting Tibetan Rinpoches, and

始創作「手系列」作品，將其中

later, he studied under the Taiwanese

所蘊含東方哲理轉化成自己藝術

practitioner, Amica.

創作的養分。創作手系列第一件 作品「手非手」。

圖 fig.6 好夢 Good Dreams 1985-1988 銅 Bronze

Lee finished his study of sculpture at the

獲得西班牙國立馬德里大學美術

Real Academia de Bellas Artes de San

學院碩士學位。回國任教於國立

Fernando, which was later combined with

台北藝術大學美術系，至 2006

the Universidad Complutense de Madrid.

年退休。開始接觸藏傳佛教。當

Lee traveled in Europe, mainly visiting

時有位朋友帶去參加西藏仁波切

the UK and France. He stayed in Paris for

來台灣的法會，後來主要學習對

three months to visit museums like the

象是在台灣的修行者「阿彌迦」

Louvre and the Rodin Museum, and became

上師。

influenced by Western modernist sculpture.

He participated in Spain Coin and Relief Design Exhibition in the same year.

1984

1988

待三個月，參觀博物館，如羅浮

Teaching at the Department of Fine Art,

Lee par ticipated in the 3th Asia Ar t

宮、羅丹美術館，受到西方現代

Taipei National University of the Arts,

Exhibition in the Fukuoka Art Museum,

派雕塑的影響。參加「西班牙錢

Taiwan

Japan

開始任教於國立台灣藝術大學美

參加「第三屆亞洲國際美術展」

從西班牙聖費南度皇家藝術學院 雕塑科畢業，聖費南度皇家藝術 學院併入馬德里大學。在歐洲遊 歷，主要去英國、法國，在巴黎

圖 fig.7 探 Search 1989 銅 Bronze 76x61x55cm

幣、浮雕設計展」。 術系。

圖 fig.8 凝 II Meditation II 1995 銅 Bronze 150x120x180cm

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1991

1995

2000

Lee's sculpture, Good Dreams (1985-1988)

National Taiwan Museum of Fine Arts

Lee began teaching at the Department of

(fig.6), was collected by the Taipei Fine Arts

collected Meditation II (1995)(fig.8). Lee

Fine Arts, National Taiwan University of

Museum, symbolizing that his academic

participated in Austria Graz International

Arts (NTUA). When teaching at the College

position and artistic achievement were

Sculpture Craft Workshop Exhibition.

of Arts, he nurtured a new generation

recognized.

of Taiwanese artists, among whom are Yang Pei-Chen, Tan Sian-Wua, and Peng

李 光 裕 雕 塑 作 品<好 夢>

國 立 台 灣 美 術 館 收 藏 < 凝 II>

Kuan-Jun. The same year, the public

（1985-1988）（ 圖 6） 被 台 北

(1995)（圖 8）。李光裕參加奧

artwork, Combination, was installed at the

市立美術館收藏，標誌著李光裕

地利「格拉茲國際雕塑研習營聯

intersection of Civic Blvd and Yanji Street in

的學術地位和藝術成就得到認

展」

Taipei City.(fig.12)

圖 fig.9 台大醫院捷運站公共藝術〈心手相蓮〉 Heart and Hand , the public art of NTU Hospital MRT Station

可。 任教於國立台灣藝術大學美術 系，李光裕在藝術學院任教期間

1994

1998

培育眾多新生代台灣藝術家，其 中 比 較 知 名 的 包 括 楊 北 辰、 談 獻華、彭光均等人。同年，公共 藝術作品 < 合 > 設置於台北市

Kaohsiung Museum of Fine Arts collected

Lee began the construction of his sculpture

市民大道與延吉街交叉口。（圖

his sculptures, including Search (1989).

park and studio in the mountains of Xizhi,

12）

(fig.7)

unifying sculpture and nature.

高雄市立美術館收藏李光裕的作

開始在台灣汐止山中籌建雕塑公

品 < 探 >(1989)。（圖 7）

園和工作室，將雕塑與自然環境 相融合。

圖 fig.10 台大醫院捷運站公共藝術〈蓮花持〉 Lotus Grip , the public art of NTU Hospital MRT Station

2001 Lee completed the work for the Zhongshan

1999

District public art project by the Taipei Fine Arts Museum. The museum also collected his sculpture, The Offer from the Spring II. (2001)

Lee Participated in Volume & Form

完成台北市立美術館－中山區公

Exhibition. Three of Leeʼs public artworks:

共藝術創作。台北市立美術館收

Heart and Hand, Lotus Grip and Little Park

藏雕塑作品 < 供春 II>。(2001)

圖 fig.11 台大醫院捷運站公共藝術〈小公園〉 Little Park, the public art of NTU Hospital MRT Station

have been displayed at the NTU Hospital MRT Station.(fig.9)(fig.10)(fig.11) 李 光 裕 參 加「Volume & Form 新加坡國際雕塑展」。同年，台 大醫院捷運站月台放置其三件大 型公共藝術作品：< 心手相蓮 >、 < 蓮花持 >、< 小公園 >。( 圖 9) ( 圖 10)( 圖 11)

160

圖 fig.12 公共藝術作品〈合〉，位於台北市市民大道、延 吉街交叉口 Combination , the public art at the intersection of Civic Blvd and Yanji Street, Taipei

圖 fig.13 李光裕〈思惟〉一作，參加威尼斯「Open 18 國際雕塑展」，於利多島展出 。 Thinker by Lee Kuang-Yu at Open 18 International Exhibition of Sculptures and Installations on Lido Island in Venice

2006

2013

2017

Lee retired from the TNUA, allowing him to

Experiencing a surge of inspiration, Lee

In 2017, LEE Kuang-Yu was invited by the

fully concentrate on his artistic creation.

created his masterpiece, the Mountain ．

San Marino Pavilion to hold To Have and

Emptiness series. His artistic language

Have Not: The Solo Exhibition of LEE Kuang-

國立台北藝術大學退休，得以全

of the "void" has become more mature,

Yu at Hemingway's residence, Palazzo

心投入藝術創作。

pushing his unique artistic concept, "the

Rota Ivancich, at the Venice Biennale. The

silent void of the Oriental culture," to a

exhibition won international accolades

new height.

with high-quality artistic expression and outstanding artworks, enabling the artist to

李 光 裕 創 作 靈 感 迸 發， 代 表 作

reach a new peak in his creative career.

「空山」系列，「空」的藝術語

(fig.16)

言 日 趨 成 熟， 將 李 光 裕 獨 特 的 「東方空境」推向新的高度。

2017 年，李光裕受到威尼斯雙 年展聖馬利諾國家館的邀請，於

2009 圖 fig.14 李光裕作品〈伏心〉置放在美國紐約「可樂娜公 園 」最為著名的地標—「地球儀」(Unisphere) 一旁 , 營造出勢不可擋的磅礡氣勢。 Subduing by Lee Kuang-Yu next to the Unisphere, the most famous landmark in Corona Park, creating a powerful, majestic atmosphere.

Kuandu Museum of Fine Arts held a

「 海 明 威 故 居 — 羅 塔． 伊 萬 科 宮」舉辦「有無之際—李光裕大

2015

性與作品完成度，獲得國際藝壇 的高度肯定，再達個人創作新高 峰。

retrospective of sculpture for Lee, titled Life, Illusion of Bodies.

型個展」，以高質量的藝術表現

Lee was invited to participate in Open 18. International Exhibition of Sculptures

關渡美術館為李光裕舉辦「空身

and Installations in Venice, Italy, and The

幻影」雕塑回顧展。

Moment-The Taiwanese Art Projects in New York, USA. He received highly critical acclaim in these international exhibitions, which have enhanced his international

2011 圖 fig.15 李光裕 〈空行〉一作於紐約「皇后美術館 」前 廣場展出 Lee Kuang-Yu's Empty Procession on the plaza of Queens Museum in New York, USA

reputation, showing that the vision of his art has become more international. (fig.13)(fig.14)(fig.15) 2015 年，受邀參加在義大利威

The National Taiwan Museum of Fine Arts

尼斯舉辦的「開放 18. 國際雕塑

held a retrospective of sculpture for Lee,

裝置展」及在美國紐約舉辦的

titled Life, Illusion of Bodies.

「當下當代：台灣藝術計劃」， 在這些國際展覽上得到高度的評

國立台灣美術館為李光裕舉辦

價 並 提 升 國 際 知 名 度， 標 誌 李

「空身幻影」雕塑回顧展。

光裕的藝術向更國際化的視野邁 進。( 圖 13)( 圖 14)( 圖 15)

圖 fig.16 李光裕威尼斯雙年展全新作品《鬥牛系列》，以 精湛的雕塑技法獲得國際藝壇的高度肯定。 Lee Kuang-Yu's brand new work series for the Venice Biennale , the Bullfighting Series , has won critical acclaim in the international art scene with the artist's superb sculptural techniques.

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Postscript 後記

162

Introducing Taiwanese Artists to the World! 讓台灣藝術家踏上 國際舞台！

When Chini Gallery was established in 2012, I

2012 年，「采泥藝術」成立，我訂定了采泥

made a "ten-year plan for artistic branding."

的「藝術品牌推廣十年計劃」，前五年紮根台

According to the plan, Chini would build a solid foundation in Taiwan in the first five years, and

灣，後五年走向國際！

spend the next five years establishing a firm

於是，從畫廊創立開始，本諸創意、生意、意

ground in the world!

義的三意人生，我們紮紮實實的帶著藝術家走 Since the beginning, we have upheld the d o c t r i n e s o f c r e a t i v i t y , c o m m e rc e , a n d significance, and diligently brought our artists

遍整個台灣，透過大大小小的展覽、博覽會、 推廣活動等，以熱情且充滿活力的態度、認真

to innumerous exhibitions, art fairs and artistic

嚴謹的精神，成功獲得藏家、藝術家的肯定與

events. Chini's passionate, enlivening attitude

支持，一步一腳印地建立采泥在台灣當代藝術

and earnest, conscientious spirit have earned the recognition and support of collectors and

圈的品牌形象。

artists, allowing us to steadfastly build up Chini's brand image in the contemporary art circle in

2017 年，就在采泥藝術成立滿五年的今年，

Taiwan.

李光裕受到第 57 屆威尼斯雙年展－聖馬利諾 國家館的邀請，舉辦「有無之際—李光裕大型

In 2017, as Chini Gallery reaches its fifth anniversary, Lee Kuang-Yu has been invited by

個展」。這是李光裕踏上國際的第一步，也是

the San Marino Pavilion to exhibition in the 57th

采泥邁向國際的起點。從開展至今，這個展覽

Venice Biennale. The exhibition marks the artist's

受到來自國際藝評家、策展人、藏家的高度肯

first international step as well as the gallery's first

定，文化部鄭麗君部長也親臨盛會，還有「天

global venture. Since the opening, the exhibition has received accolades from art critics, curators, and collectors worldwide. Not only Taiwan's

使計劃」的企業家們，親自遠赴威尼斯，為采 泥與李光裕打氣。「有無之際」是一個成功的

Culture Minister Cheng Li-Chiun has graced the

開始，很高興跟大家一同參與這場美好的一

exhibition with her presence, the Taiwanese

役。未來，采泥會繼續帶著優秀的台灣藝術家

entrepreneurs from the Angel Project have also travelled to Venice to show their support for the artist and the gallery. To Have and Have

走向國際，尋找更多國際的知音與舞台，讓更 多藝術愛好者有機會支持台灣傑出的藝術家。

Not is truly a successful beginning, and we are

這個步伐不會停，一路上也歡迎更多志同道合

tremendously delighted that we have fought

的夥伴加入我們，一同體會藝術的滋養性靈，

a great battle. In the future, Chini Gallery will

藝術的豐富人生，因為藝術，讓一切更美好！

continue to introduce more excellent Taiwanese artists into the international art scene and find more kindred spirits and stages around the world. We shall never stop making progress, and

藝術萬歲！

we welcome more like-minded friends to join us to experience soul-nurturing and life-enriching art because art has made everything better!

Viva Arte Viva!

Vincent LIN

林清汶

General Manager of Chini Gallery

采泥藝術總經理

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