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谁遯㹻矦娜
Artist Biography
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前 言
安卓藝術很榮幸與關渡美術館合作，推出中國藝術家傅饒在台的首次個 展「光年」。這個展覽的發生與籌備前後經歷了數年，從 2016 年我在藝 術家鍾江澤的畫室中見到一本傅饒的畫冊 (Follow Wind) 開始，到今年 4 月底最近一次前往德勒斯登的傅饒工作室拜訪為止，這場展覽在我腦海裡 就像有機體般地隨著時間不斷進行著重塑與成長… 傅饒和我都是慢熟的人，我依稀記得 2017 年 9 月首次造訪他時，在我 詳細觀察藝術家的方方面面時，傅饒似乎也細心評量著做為事業合作夥伴 的我，對他而言是否合適？很幸運地，我們很快能感覺出彼此對於藝術追 求的真誠與共識。2019 年 1 月，為了此回關渡美術館的展覽，傅饒首度 來到台灣，儘管只是短暫幾日的造訪停留，但我知道這一次的台灣之行， 對於他與安卓的合作卻是深具意義的，也加深了我們彼此更好的默契與更 大的信任。 「光年」一展，傅饒用不到一年的時間揮灑出 20 多幅全新創作，包含 他首次挑戰巨幅尺度的兩件繪畫《光年》 與《離弦》，這兩件史詩般的浩 瀚畫作不僅構築出此次個展的恢弘企圖與感性基調，還從抽象意念的闡述 和現實層面的關注，呈現藝術家長年對於「時間」、「空間」、「文化」、 「地域」、「身份」…等課題的思索，以創作探尋了生命裡最為素樸的一 種存在。而這樣的藝術追求，既反應傅饒在藝術路途上前行的單純與執著，
李 政 勇
也映射出他畫作裡始終蘊含的豐厚精神與巨大能量。傅饒的人和藝術，往 往就在這一份真實簡單的熱情和執著中，令人更加地著迷與充滿期待！
Foreword Andre Lee
Mind Set Art Center (MSAC) is delighted to collaborate with the Kuandu Museum of Fine Arts in staging Chinese artist Rao Fu’s first solo exhibition in Taiwan. This exhibition has come a long way, taking years from its inception to the subsequent preparation works. It all began in 2016 when I read Follow Wind, a catalogue of Rao Fu, in Jhong Jiang-Ze’s art studio, leading up to my last visit to Rao Fu in his studio in Dresden, Germany this past April. This exhibition has been growing organically and being reshaped in my mind over time... Rao Fu and I both took time to get acquainted. I vaguely remember when I visited him for the first time in September 2017: as I was carefully trying to read him, Rao Fu was also taking his time to evaluate me as a business partner, perhaps thinking whether I was any good for him? Fortunately, before long, we came to understand each other’s sincerity and commitment in the pursuit of art. In January 2019, Rao Fu made his first visit to Taiwan for this exhibition at the Kuandu Museum of Fine Arts. It was just a short visit, but I firmly believe that the trip was a meaningful one for both Rao Fu and MSAC—one that deepened our mutual understanding and trust. For the Infinitrace exhibition, Rao Fu has created some twenty new paintings in less than a year, including challenging himself to two large-scale paintings, Infinitrace and Inevitable, for the first time. These two epic paintings of phenomenal proportion not only illustrate the grand attempt and sensibility of this solo exhibition, but also present the artist’s long-time exploration of “time”, “space”, “culture”, “region” and “identity” from expounding abstract ideas and drawing attention to the reality. Through creation, he is discovering the simplest sense of existence. Such artistic pursuit reflects the simplicity and perseverance of Rao Fu’s journey on his artistic path and echoes the bountiful spirit and creative energy he always infuses in his paintings. Rao Fu, as a person and as an artist, is filled with simple passion and determination, which makes him all the more fascinating and full of surprising possibilities!
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安 靜 的 超 速 者
傅饒長年旅居富有極右派色彩的德勒斯登，但他卻有著極其平和的態度， 談到家人總是展顏開懷，說到工作室時又不時陷入激情，然而回到創作時， 他會收回一切外放的情緒，謙和地向我們指出一處掏之不絕的「深處」。 他的「深處」不是一個封閉的點，而是一個被莫名強度打開的點，這個被 強度打開的點就像世界敞開之處，意即他的創作不斷進行的邊界穿越，「光 年」這個原本用來描繪不可能的宇宙距離的詞，在傅饒這裡成了穿越的發 生，因為只要一發生，我們便隨即被帶到距離外的另一時空。 我會說他的繪畫首先展現出跨文化、跨國界的纖細領會，所以，在他的 繪畫中所生成的空間必要是複數的，事件的空間、片段時刻的空間、史詩 的空間、路邊的空間會同時出現在他的繪畫中，也因此，除了可以涵納複 數空間的大幅畫作外，一些中小型的繪畫大致分別再現個體穿梭的時刻， 或與其他小型畫作形成累計情緒的系列。跨國界遷徙與跨文化經驗在全球 繪畫史中的呈現與討論，都還尚未真正展開，而傅饒的創作在這個全球繪 畫史的缺口中，無疑地，表現出極高的品質與深度，因為一方面深入歐洲 繪畫的文化深度，另一方面他面對跨越經驗時採取的是修復，意即與危機 世界的協商。 「跨越」經驗中的複數空間對他而言，並非是一種全息式的烏托邦 （Holo-Utopias），而是德國表現主義繪畫中經常出現的災難世界，但在
關 渡 美 術 館 館 長 / 黃 建 宏
畫中一些角落又不時出現溫暖的光、顏色或瞬間。所以，藝術家帶領我們 面對的並不是純粹的想像世界，而是讓我們置身於現實情境，再以記憶中 的溫暖時光進行在世界中的「協商」，展現出一種充滿溫度的姿態。關渡 美術館和安卓藝術在 2019 年合作完成傅饒的「光年」個展，藝術家不僅 呈現一年多來的創作成果，更藉此整理長年來的創作脈絡。傅饒是個安靜 的超速者，這是面對今天暗黑世界需要的速度，一種從經驗和生活所養成 的速度，拖曳著生命溫度的光速。
A Silent Speeder Director / Huang Chien-Hung
Rao Fu has long been based in Dresden, Germany, a hub wearing right-wing colors, but he himself keeps a very peaceful attitude. When he talks about his family, you see warm smiles on his face; when he talks about his studio, passionate fervor takes over. When it comes to creation, he reels back all the outgoing emotions and humbly points us to an unfathomable “deepness.” This “deepness” of his is not a closed-off point, but a point that’s opened through inexplicable intensity. The opening point is like a portal to the world, suggesting that his creations continue to transcend borders. In Rao Fu’s Infinitrace, “light year”, a word that’s used depict the vast cosmic distance, becomes a traversal of the boundaries. As soon as this happens, we are immediately taken to another time and space outside the realm of distance. I would say that his paintings first show the fine grasp of cross-cultural and cross-border contexts. That’s why the space generated in his paintings is always pluralistic—space of an event, space of a fleeting moment, space of the epic, and space of a roadside would simultaneously exist. In addition to large-scale paintings that can cover multiple spaces, some small and medium-sized paintings represent a traversal moment of an individual, or they form a series of accumulated emotions with other smaller paintings. The presentation and discussion of cross-border migration and cross-cultural experience in the global history of painting have yet to be unfolded, and Fu’s creations undoubtedly illustrate high quality breadth and depth in this gap of global painting history. On the one hand, he dives deep into the cultural depth of European paintings; on the other hand, when faced with cross-over experience, he adopts the means of repair, that is, negotiation with the world in crisis. The pluralistic space in his “cross-over” experience is not a Holo-Utopias, but an apocalyptic world often seen in German expressionist paintings. However, in some corners of his paintings, warmth emerges from time to time, whether it’s light, color or just a transient moment. The artist leads us to more than a purely imaginary world, but lets us immerse in the reality, using the sumptuous warmth of memory to “negotiate” with the world in motion. Rao Fu’s solo exhibition Infinitrace in 2019 staged by Kuandu Museum of Fine Arts and Mind Set Art Center (MSAC) presents the artist’s creative fruits over the past year or so, as well as a walk-though of his creative universe over the years. Rao Fu is a silent speeder, moving in a speed needed to pass through today’s dark world, in a speed driven by experience and life, and in the speed of light that transports the warmth of life.
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信 手 拈 來 關 於 傅 饒 及 其 畫 作 的 漫 談
今天我要面對有些棘手的困境，即寫一篇「深入剖析」傅饒畫作的評 論，他是一位出生在中國（1978 年生於北京）十多年來旅居薩克森首 府德勒斯登市的年輕畫家。我說感到棘手是因為已經有很多關於這位畫 家的令人感興趣的評論 *：我能再做些什麼？能夠幫助觀眾去理解並面 對畫作。我跟畫家之間並沒有能讓我像隨意談論某位密友那種深入的瞭 解和多年的交往，我只能跟著感覺走，根據他作品引出的諸多提示來組 織（話題）主線，不考慮時間和地理上的限制，我只能從個人生活到時 事、從現實到夢想、從引用經典到大膽創作、從單色到豐富多彩、從稀 薄到厚塗的色塊入手加以評述。也許命運讓傅饒處在不同時間和不同文 化的交叉點上，這個交叉點可以讓即將發生和正在發生的具有濃重色彩 的悲劇以強烈的色調舞蹈般地盤旋飛翔。
空間與時間 傅饒他從哪兒來、現在他人在何處？他怎麼生活、怎樣畫畫、為什 麼？對這些問題我只能試著回答。傅饒生於北京長於山東，他家族的原 籍。在家鄉他爺爺曾是最有文化的人，他為家家戶戶書寫迎春對聯。傅 饒在首都學習了平面設計兩年後，休學並移居到德國，旅居在薩克森首 府德勒斯登，這個有著光輝文化傳統的城市。他學習德語並發現自己真 正的興趣是繪畫；他成了克爾巴赫（Ralf Kerbach）教授的學生。在該 城的博物館，如阿爾貝提諾博物館（Albertinum）和 古典大師博物館 （Gemäldegalerie Alte Meister），他接觸了很多古代的傑作，作者都 成了他的最愛：林布蘭、魯本斯、布魯哲爾、維梅爾。或近代的作品： 浪漫主義、佛烈德利赫、印象派、費利克斯 · 瓦洛頓、表現主義。當代 作品：巴塞利茲、瑪琳 · 杜馬斯、葛哈 · 李希特，他們的作品以及李希特 的檔案則被收藏在阿爾貝提諾博物館。傅饒加入一個偶爾負責展覽佈置 工作的藝術家團隊，這使他有機會直接與作品發生接觸，可以觀察筆觸 並研究作畫心態，正像觀摩中國書法的筆劃那樣。當他停下從近處從容 地觀察這些作品時，他自願接受畫面所傳遞情感的感染。他與這些作品 之間有了某種親密關係，而他並沒有機會與祖國的藝術品有這樣的接觸 和體驗。 * 參閱：馮馬林博士（Constanze von Marlin）、施密德（Andreas Schmid）、 韋因琨（Fanny Weinquin）
進入傅饒的畫室是令人激動的：似乎時光在這裡倒轉。對於我這樣既 熟悉義大利又熟悉中華人民共和國環境的人，很驚喜進入一個德勒斯登 「新區」的老宅院子（的確從實際上看算不得新建），在這裡不同的群
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體在工作：音樂家、舞蹈家、瑜伽教練、畫家、雕塑家……建築結構保 留了原樣，有點破舊，但是精神是正確的。在這裡外表無所謂，一切都 籠罩在某種創作和放鬆的無序中，讓人釋放出放任自由的思想理念。我 發覺自己愛上了德國文化的這一面， 即那種直接深入探討的能力，而 不迷失於表面的浮華上。需要爬樓梯才能到達傅饒用來作畫室的兩個房 間。最有魅力的是這個空間像是一個洞穴，要通過一個靠衡重裝置打開 頂部有些晃悠的活板門才能開啓，可以進去嗎？回答是肯定的，這是另 一個世界的入口。裡面就好像是一個存放了幾輩人回憶的寶庫，多虧了 有心人讓它們再生：在這個環境裡畫家的創作無拘無束。我發現這位年 輕的中國男人熱戀那些我以為只有歐洲人才為之所動的形象、氛圍和物 品。這裡有無數的上世紀五十年代末名為《青春與技術》 （Jugend und Technik） （圖 1）的雜誌，這是典型的東德（德意志民主共和國）出版物， 我突然記起了很多年一度存在的共產主義中國和東歐國家之間的牢固關 係和互惠通道。這些雜誌嚴肅、具體、更多是黑白版面的，它們展示來 自全國在科技領域的種種新聞，提出複雜的「自己動手」的種種實驗。 圖片主要表現的是機器和工廠，簡單有序；還有在機床旁有紀律地工作 著全身心投入 「建設未來」的年輕人。 還有黑白或深棕色的相簿（圖 2），裡面的照片已經褪色，配有用自來 水筆寫的注釋，這些照片是已經不復存在的家庭的回憶，這些家庭或自 行分家或被迫妻離子散。一個已經不能用的烤火爐被用來當支架，成堆
շꫭ僱莅䪮遯ո
的藝術書籍和幾乎掛滿的畫布，一切都很隨意，卻呈現出某種引起自然 聯想的有機混亂。這裡有黑暗雜亂的角落，有無法落腳的空間，有我們 接過來卻不知如何傳承下去的過去時光的全部魅力。我明白在這裡我見 到的一切都是他積累的財富，傅饒從中信手拈來地隨意索取，來創立和 重建一個複雜和多面的形象，這是他每天自照的一面「鏡子」：其結果 就是他的畫作。這裡的一切似乎與年齡並無關聯，比他本人年齡還大而 且屬於另一種文化的那些形象和物品面對著他。我似乎看清了傅饒是一 個會從骨子裡去感受並與過去發生聯繫的人。與過去的聯繫不是通過理 性的重建，而是通過完全個人的內心深處的方式。往事的見證，不論是 在德國還是在其他地方，都勾起他對童年環境的眷戀之情，他也許再也 看不到那些地方了，或許已經被拆毀，被完全改造了。我多麼想嘗試卻 又不知怎麼開口對傅饒說：在某個前世的輪迴中，他曾轉世在德國。我 無法證實這一點，再說也不重要：重要的是他接受周圍的環境並主動建 設環境。他積極參與這個環境，用繪畫創造出超越表面距離建立某種能 引起共鳴和發現隱藏的相似性的聯繫。
生命之舞 我問過傅饒是否還記得他從哪兒開始起筆畫這幅掛在我們面前的大型 畫作的（《光年》2019 年，220×435cm，頁 33），他是否遵循某些 特殊習慣。他帶著一絲壞笑對我講述道，當他面對一個未經處理的畫布 時，他喜歡用誇張動作對待它，用一種舞姿展開雙臂抱住所蘊含的一切， 再在以後的描繪中逐漸揭示這一切。畫筆，浸滿了棕色顏料和瀝青色（過 去的幾年裡他很多畫作的主色而且繼續經常使用），被拖著劃出長長的 流線和曲線（圖 3）。我似乎能悟出這大概是創作中最幸福的時刻，一切 都浸淫著狂歡般的陶醉。如同道家思想提示的那樣，第一筆劃要面對原 初的空白，由此誕生第二筆和後來無數的筆劃。接下來要和諧處理不同 之處。將虛與實對立，曲線與像字母 Z 一樣將畫布分割的筆直光線，這 樣形成的對角線劃分並聯繫時間與空間（圖 4）。現在通過聯想繼續進行 （我想像），傅饒將他的感覺通過理性、感性、審美或者機體的本能表 達出來。一個從提香的畫中借用過來的扭曲的人物形象，以此暗示與藝 術史不斷地對比借鑒。我覺得畫家用手作畫比他腦海構圖要流暢、迅捷 （圖 5）。
他縱情揮毫，他希望發現能獲取更多意外，然後再次回到導演的角色，
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使各個局部相互關聯，使其與整體一致。通過不是為了調和，而是保持 高度集中的接近，在最初的單一顏色上現在加入了更加大膽的顏色而改 變畫面。色調不多，辛辣刺眼，經常像表現派繪畫那樣運用純色技法。 在這幅大畫上傅饒將歷史與時事相聯繫（右邊的黑色人物也許取材於當 代的暴力事件），一些嚴謹的建築結構反襯著自然展開的山脈並鋪陳出 臉部圖像一樣的大朵雲彩。在左邊很可能是個大體育場的環形建築裡， 一個雕塑在燃燒；是對社會和政治內容的影射？畫家提問同時又提示。 如同一條運河讓穿過它的能量流淌，畫家驚奇地發現自己手下畫出的諸 多形式。首先畫出它們，然後給它們一個不確定的解釋，幾乎是一次內 向的旅行，以此來接近他深藏不露的內心深處。他感覺自己同時既是蓋 世英雄又是江洋大盜。 在這個路徑上，前些年他所學習的藝術心理治療專業給了他很大幫 助，這些探討會向他揭示出「結構」不扎實的人，如孩子們（首先是他 自己的兩個孩子 : 奕璞和多雅）和那些患有心理及精神疾病的人，他們 與自己的內心世界有著直接的聯繫。也許在他很多畫面裡散發出的憂傷 產生於對永恆失去那些天真的無奈自覺，自知命中注定要背負著世界一 直強加給藝術家的沉重包袱。
有篩選的感情共鳴 傅饒的人物形象面孔僅有輪廓的提示和兩個空蕩圓圈代替的眼睛，不 禁令人想起兒童畫，儘管他畫的形象更加令人不安。另外顯而易見也令 人想到那位可能是傅饒最喜愛的藝術家：愛德華 · 孟克。傅饒欣賞孟克 那以簡潔有力的手法用繪畫形式表達強烈情感（如愛情、痛苦、死亡） 的能力。他被挪威大師繪畫那直截了當的表現力深深觸動，也被線條的 運用觸動，這使他想起（特別是木刻）偉大的中國繪畫傳統中線條的運 用。某些主題的重複打動了他，挪威大師不厭其煩地重複是因為這些主 題更真實、更深入、更人性。那些激情是純粹但經過生活歷練過濾的情 感，如八大山人寫意般的酣暢泉湧。 傅饒的世界也許比那些留在中國的同儕們和德國同儕們的世界更廣闊 一些：他支配著一個具有視覺和文化刺激的百寶盒，他信手拈來地隨意 * 擔當(1593-1673)，是一位明朝的和尚， 詩人和畫家。
獲取，毫不猶豫。他自知我們大家都互有牽連，沒有什麼是憑空出現的， 但是一切又都在不斷變化。因此，在還有人認為東方不應該向西方學習
借鑒（或出於覺得很沒面子或出於難以抑制的民族自豪感）的環境下， 傅饒從容地列出他最愛的畫家名單，他認為與這些畫家有同感。如我前 面所述，這份名單從昨天到今天，從東方到西方，從俄羅斯聖像到敦煌 壁畫，從馬琳 · 杜馬斯到喬治 · 莫蘭迪，從呂克 · 圖伊曼斯到范寬，從丹 尼爾 · 李希特到馬遠，從彼得 · 多伊格和尼奧 · 勞赫到擔當 *。 最近的大型畫面上，傅饒就像是熟練的表演者或煉丹高手，把構圖做 成類似非常複雜的馬賽克拼圖，仔細盤算著各個局部的關係。每一個小 的畫面相對於大型整體而言就像是一本小說的各個章節，構架龐大且錯 綜複雜。的確格調有時比較陰沈、色彩略顯悲壯，畫面像是潘多拉盒子 被打開之後被所有「邪惡」侵略過的世界，但是幸虧留在盒子底部的是 希望，按照我的理解這個希望就是創造力，也許它能超越生命和令藝術 家悲觀失望的絕境。
莫妮卡 · 德瑪黛 Vigolo Vattaro， 2019 年 6 月 15 日 祁玉樂翻譯
感謝張近慧
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With Both Hands Asides about Rao Fu and his paintings
Today I find myself in the difficult position of making use of writing in order to fully investigate the paintings by Rao Fu, a young painter of Chinese origins (Beijing 1978) but by now resident for a decade in Dresden in the former German Democratic Republic. I say ‘difficult’ because there are already many essays about him*: what can I add so that the viewers, though left alone to immerse themselves in the painting and interpret it in their own way, can deal with it with the best-adapted tools? I don’t have at my back a long-standing knowledge or frequentation of his work that would allow me to speak with the ease of an old friend, I can only follow my sensations and weave together the threads of the many hints his works refer back to, without any temporal or geographical limits, and move from his personal life to recent events, from reality to dreams, from quotations to daring inventions, from monochrome to a rich range of colours, from veils of paint to clotted material. Perhaps Rao Fu has had the fate of finding himself at such a crossroads of time and culture that he can whirl in a dance of strong colours, the bright contrasts of latent or actual tragedy.
Space and Time Where did Rao Fu come from and where is he now? How does he live, paint, and why? I can only attempt to give an answer to these questions. Rao Fu was born in Beijing but grew up in Shandong, the region his family came from. There his grandfather was the most well-read person in the village: he wrote the new year’s calligraphic greetings for every family. Rao Fu, after having studied graphic design in the capital, had the opportunity of moving to Dresden in Germany, the state capital of Saxony and a city with a great cultural tradition. He studied German and became aware that it was painting that most interested him. He became a pupil of professor Kerbach. In the city museums (Albertinum and the Gemaeldegalerie Alte Meister) he discovered many masterpieces from remote times that became favourites: Rembrandt, Rubens, Brueghel, Vermeer. Or less remote times: Romanticism, Caspar David Friedrich, the Impressionists, Felix Vallotton, Expressionism. And contemporary artists: Baselitz, Marlene Dumas, Gerard Richter (present with his archives at the Albertinum). He became part of a group of artists *By Constanze von Marlin, Andreas
who worked sporadically at installing exhibitions and this gave him the
Schmid, Fanny Weinquin
opportunity of being in direct contact with the works. He could look at the
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brushstrokes and discover states of being, just as with Chinese calligraphy. He was permeated by the moods that the canvases communicated while he stopped and looked at them close-up and without hurry. He came to have a familiarity with them that he could never have had with works of art from his own country. It is moving to enter Rao Fu ’s studio: it seems we are going back in time. For me, so familiar with Italian settings and the People’s Republic of China, it is a fine surprise to enter the courtyard of an old house in the ‘new’ part of Dresden (which in fact is not all that recent) in which various people work: musicians, dancers, yoga teachers, painters, sculptors … The structures have remained what they once were, rather run-down, but the spirit is right. I do not give importance to the exterior aspect, everything is in a kind of creative and relaxed disorder that allows me to guess there is free thought at large. I discover that I love this aspect of a certain German culture: its capacity to go straight to the heart of matters without losing itself in the frills of appearance. Having climbed the stairs, we arrive at two rooms that act as the studio of Rao Fu. The most fascinating one resembles a cave which is entered through a hatch held open by a rather shaky counterweight. Will it work? Yes, and inside there is another world. It is like entering a place where there have been deposited the memories of generations, due to the very fact that someone has made them live again: the painter’s creativity has been given free rein. I discover that this young Chinese man has grown fond of images, atmospheres, and objects that I thought could only move a European. There are issues upon issue of a magazine called ‘Jugend und Technik’(fig.1) dating
+VHFOE VOE 5FDIOJL
back to the end of the 1950s, typical of the ‘DDR’ (Deutsche Democratische Republik), and I suddenly remember that for many years there was a deep link, a privileged channel, between communist China and Eastern European countries. They are little magazines that are severe, serious, concrete, mainly in black and white, that illustrate the latest technical and scientific advances and that suggest very complex ‘do-it-yourself’ experiments. The images are mostly of machines and factories and are sober, well-ordered; the machinery is worked on by young people wholly caught up in ‘constructing the future’. Then there are albums of black and white or sepia photos(fig.2), with faded images and comments written with a fountain pen; they are the memories of families from the past who have drifted apart and been forced to get rid of things. There is an old stove, no longer working, that acts as a table top, there are piles of art books, and canvases hung almost everywhere, at random, in an organic disorder that stimulates spontaneous associations. There are dark and disordered corners, inaccessible spaces, there is all the fascination of a past that reaches us without a break. I realise that what I can see here is a heritage that Rao Fu uses fully for constructing a complex and multifaceted image, the ‘mirror’ in which he looks every day: his paintings. It is as though age did not count: those images, these objects that are older than him and that belong to another culture, are ‘about him’: I think I understand that Rao Fu is someone who experiences the links with the past in a visceral manner. Not through rational reconstruction but in a quite personal, intimate way. The testimonies of past events, whether in Germany or elsewhere, make him nostalgic for the places of his childhood, which he will never see again because they have been destroyed or radically altered. I would be tempted to suggest that Rao Fu, in an earlier incarnation, lived in Germany. I cannot prove this nor is it important: what counts is that he sees himself in the environment that surrounds him and to the construction of which he makes his own contribution. He actively participates in it by creating with his painting links that supersede apparent distances and touch on hidden harmonies and analogies.
The Dance of Life I asked Rao Fu if he remembers from where he began to paint the large painting that is now in front of us (Infinitrace, 2019, 220 x 435 cm)(P.33), and if he follows any particular habits. With a rather malicious smile he told me that when he finds himself in front of an untouched canvas he loves to
deal with it with ample movements, in a dance in which he opens his arms
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in order to contain everything that already exists in nuce, and that he will discover slowly as he paints. The paintbrush is loaded with brown paint, that bituminous colour that was the protagonist of many paintings from recent years and that he continues to use frequently, drawn in long, fluid lines and curves(fig.3). I seem to imagine that this is the most enjoyable moment of creating, everything pervaded by an almost Dionysian sense of intoxication. As Taoist thought reminds us, the first mark of the brush is the one that faces the initial emptiness, and from it are born the second and then the other ten thousand. Now there is the question of harmonising the differences. Of counterposing the voids and fullness, the curved lines and the flashes of direct light that cut across the canvas with a movement similar to a Z, with diagonals that divide and link spaces and times (fig.4). At times this movement advances due to associations that proceed (I imagine) a slight feeling in the gut, a part of the brain – or perhaps the eye. A twisted human figure, borrowed from a painting by Titian, alludes to the continuous confrontation with art history; I believe this bloomed from the artist’s hand before from his mind(fig.5). And he lets himself go, curious to discover what else is pressing to be released, and then takes back the role of producer who relates together each protagonist in such a way that it is coherent with everything else. The initial monochrome is modified with the addition of increasingly brilliant colours, with juxtapositions that do not attempt to pacify but to maintain the tension. There are just a few poisonous colours, often used pure as the Expressionists did. In this large-scale canvas Rao Fu creates a kind of fresco that links history to current events (the black figures to the right are perhaps inspired by contemporary violence), and the rigour of some architectural structures to the spontaneous development of mountains ranges and masses of clouds, similar to human faces. Within the ring-shaped building on the left, probably a large stadium, a sculpture burns: is this a hint of social and political content? The painter asks himself this and outs it forward as a suggestion at the same time. Like a channel, he permits the flow of energy * Literally, to write the idea. A kind of painting that with the use of a brush and ink speedily and without second thoughts traces out the subject. ** An “eccentric” Chinese painter on the cusp between the Ming and the Qing dynasties. *** Dandang 擔當 was a Chinese monk, poet, and painter during the Ming dynasty.
through it and discovers with surprise the forms originated by his hand. First he generates them and then gives them an interpretation that is not univocal but almost a journey towards the interior, one with which he arrives at his own deep and hidden self. He feels himself a hero and a brigand at the same time. During this development he is aided by the years he devoted to art-therapy, years that revealed to him that less “structured” people, such as chil-
dren (first of all his two children Yipu and Duoya) and those who suffer from “mental illnesses”, are directly linked to their interiority. Perhaps the melancholy that hovers over many of his paintings is generated by an awareness of having lost forever that original ingenuity and to be destined to carry the heavy burden that the world always imposes on artists.
Elective Affinities The faces of the figures by Rao Fu, with outlines that are only hinted at and with two simple, empty circles for eyes, could well recall children’s drawings, but they are far more disturbing. They also allude quite obviously to the artist who is perhaps the most loved by Rao Fu: Edward Munch. Rao Fu appreciates Munch’s ability to pictorially translate in a fundamental and powerful manner such highly intense feelings as love, pain, and death. He is touched by the unmediated expressivity of the paintings by the Norwegian master, by a use of lines that reminds him (above all in the engravings) of the great Chinese tradition. He is struck by the repetition of certain themes on which Munch persisted because they are the most true, profound, and human ones. They are pure emotions, but distilled by the torment of life, and they gush out with the immediacy of a xieyi* by Badashanren**. The world of Rao Fu is vaster than that of those compatriots of his who have remained in China, and also of his German colleagues: he has at his disposal a range of visual and cultural stimuli in which to dip with both hands without qualms, aware that we are all linked together, that nobody creates from nothing but that everything is in continuous evolution. And so, while there are still some who insist that “the East must not be inspired by the West” for fear of losing face or perhaps for a badly hidden new kind of national pride, Rao Fu calmly lists the names of the painters he loves the most and with whom he feels he has something in common. He ranges, as I have already said, from yesterday to today, but also from the East to the West. From Russian icons to the murals of Dunhuang, Marlene Dumas, Giorgio Morandi, Luc Tuymans, Fan Kuan, Daniel Richter, Ma Yuan, Peter Doig, Neo Rauch, and Dandang***. A seasoned storyteller or expert alchemist, Rao Fu constructs his large recent canvases like extremely complex mosaics, carefully dosing every detail. The small paintings relate to the large ones like the single chapters of a novel relate to the final, vast, and developed work. It is true that the atmospheres are at times dark, the tones dramatic as in a world invaded by all the “evils” after the opening of Pandora’s box. But thanks to what has remained at the bottom of the box - hope, which here I intend to consider a creative force - it is perhaps possible to overcome the impasse of a resignedly pessimistic vision of life and the role of the artist. Monica Dematté Vigolo Vattaro, 15 June 2019 Translated by Michael Haggerty
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圖 版
Plates
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շ⯕䎃 **ո Infinitrace II
屘䕙殥䋒 0JM PO DBOWBT Y DN
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շ㢹隡ո Reading at Night 屘䕙殥䋒 0JM PO DBOWBT Y DN
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շ㢚傈ո Summer Days 屘䕙殥䋒 0JM PO DBOWBT DN
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շ娝鸁ո A Way Back
屘䕙殥䋒 0JM PO DBOWBT Y DN
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շ⯕䎃ո Infinitrace
屘䕙竸ざ㯯勞殥䋒 0JM BOE NJYFE NFEJB PO DBOWBT Y DN
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շ秋鮦ո The Red Cart 屘䕙殥䋒 0JM PO DBOWBT DN
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շ➛欰⚆ո This Life, the Past Life 屘䕙殥䋒 0JM PO DBOWBT Y DN
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շꨆ䓛 **ո Inevitable II
屘䕙殥䋒 0JM PO DBOWBT Y DN
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շꨆ䓛 ***ո Inevitable III
屘䕙殥䋒 0JM PO DBOWBT Y DN
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շ꣮暟ո Everything Has Its Vanquisher
屘䕙秶劥醆倴殥䋒 0JM PO QBQFS NPVOUFE PO DBOWBT Y DN
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շ匌괐ո Dongfeng
屘䕙秶劥醆倴殥䋒 0JM PO QBQFS NPVOUFE PO DBOWBT Y DN
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շꨆ䓛ո Inevitable
屘䕙竸ざ㯯勞殥䋒 0JM BOE NJYFE NFEJB PO DBOWBT Y DN
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շ麽ո Xun
屘䕙殥䋒 0JM PO DBOWBT Y DN
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շ涯딭廪ո The Lake of White Swans 屘䕙殥䋒 0JM PO DBOWBT DN
շ䷛⿼ո The Best Friend 屘䕙殥䋒 0JM PO DBOWBT DN
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Dance with me 屘䕙殥䋒 0JM PO DBOWBT Y DN
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շ僒⻍屎歿涸鼣鷝ո An Encounter by River Elbe 屘䕙殥䋒 0JM PO DBOWBT Y DN
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շ婉ꨈ罏ո Martyr
屘䕙殥䋒 0JM PO DBOWBT Y DN
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շ婉ꨈ罏 **ո Martyr II
屘䕙殥䋒 0JM PO DBOWBT Y DN
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շ㼱㥏 3PTBո Maiden Rosa 屘䕙殥䋒 0JM PO DBOWBT Y DN
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շ鼍剅ո The Will
屘䕙殥䋒 0JM PO DBOWBT Y DN
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շガո This Kiss
屘䕙殥䋒 0JM PO DBOWBT Y DN
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շꦑ괐 **ո Follow Wind II
屘䕙竸ざ㯯勞秶劥 0JM BOE NJYFE NFEJB PO QBQFS Y DN
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շ⼯䖕ո Afternoon
屘䕙竸ざ㯯勞秶劥 0JM BOE NJYFE NFEJB PO QBQFS Y DN
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光 年 的 製 繪 師 繪測光年的距離 意欲從傅饒的畫作中得到答案其實是一種不可能，而此種不可能亦是開 啟無限可能性的關鍵。對於傅饒而言，說不清楚即是一種清楚，而無法 言說即是一種言說。在此情境下，觀者該如何去捕捉傅饒繪畫中所謂 的無法言說？而傅饒又該如何透過繪畫去繪測光年的距離？這都隱含在 「光年」一展的概念中。談到「光年」概念，傅饒坐臥沙發若有所思， 緩緩的闡述著： 傅饒：「『光年』是我個人的第二次在美術館的個展，第一次個展是在 德勒斯登國家美術館舉辦，相形之下，關渡美術館的規模都大的許多，
所以對我個人而言是個很大的挑戰。展覽從半年前就開始籌劃，『光年』
這個概念是在我創作過程中間接近末期才出現的概念，並非在先前就有， 這跟我創作的習慣有關。我不想在之前就有一個框架與命題，然後基於 此而創作，我更傾向於一種天馬行空的方式去構想與創作，當然我也對 我過去的藝術歷程做一個回顧，我發現我過去的展覽與創作都跟時間有
關係。比如說我畢業之後的第一個個展『七年』，之後的『浮游』、『推
手』，包括 2018 年在站台中國的『世紀』，都是跟時間有關。如『光年』 跟時間概念的關係，跟距離的關係，這種距離有著千千萬萬的可能性Э 距離是我跟畫布之間的距離、我和人之間的距離、我跟故鄉的距離、我
和我孩子的距離Э所以這一切又會匯入了我個人在那邊生活的體驗與感 情於其中，『光年』此命題更能在此時對我的作品有種更全面的概括。
受 訪
當然『光年』又跟我創作的工作方式有關係，特別是創作大幅作品裡面，
/
每一個對局部的描寫像是一個瞬間定格的影像，但稍瞬即逝，透過這種
傅 饒
筆觸表達出速度與時光的穿梭。」
訪 談 、 撰 文
既已討論到展覽的概念與本質，不免令人想要探索傅饒不同個展之間的
/ 王 叡 栩
差異性，而相較於傅饒上一次於站台中國的個展「世紀」作品中隱含著 許多的對照與相應，如人鬼、神善，自然、暴力，進化、末世，傅饒此 次則是透過「光年」一展注入新的動能，藉此帶給觀者差異的感受，至 於是何種複數差異的動能呢？
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傅饒回應著：「『光年』較『世紀』的展覽，還保留了一種對特定歷史人物與
形象的表達，特別是 17 世紀的巴洛克繪畫中，裡面有一種人與事物總和的表達， 這在我以往的作品中是一直不斷在從事的課題。因為生活在異國他鄉，所以人 物的表達對我而言每次都是一個挑戰，我自己可能都還不清楚它是一個什麼樣 子，可能是一個混合體，是一種寥寥幾筆、點到為止的一種呈現。我試圖去抓
住本質的東西，這種本質的東西應該是最樸素的，如同兒童繪畫對人物的表達 一樣。當然在『光年』的作品中更融入了我對人文和環境的提問，也融入了我 對家庭中父愛的呈現。觀眾跟我說過在我作品中可以看見『明』與『暗』，某 種程度我將『暗』更戲劇化，更激化，例如通過深色的色調處理去渲染了『黑
暗』，而這一切都是為了去表現另外的面─『明』，所以我的畫作中有許多敘 事化的場景，通過顏色強烈的對比讓畫面透出光，這個光就是希望與力量。」
複數疊加的自省 談到了創作本身，不免談到成長歷程對一位藝術家的影響，而在傅饒的成長過 程中有著一個顯著的切換點，即是 2001 年時，傅饒從中國青島來到了德國德 勒斯登深造、直到 2009 年結婚生子、最後定居下來，這個過程的對藝術家產 生空間與時間的匯聚與刻度。談及此，傅饒的思緒拉回了 2001 年，咀嚼著游 移於兩個國家之間的歷程，並一邊回顧著： 傅饒：「很多藝術家到了異國的國度創作，他創作的本身總免不了和內心的情 感有關，這種情感是多層面的，有鄉愁、有文化身份被接納的訴求，這是一種
希望被融合但又需要去抵抗去追問自己文化身份的過程。我在德國生活一段時
間之後，反而對中國山水背後的人文與哲學更感興趣，這對我而言是一種文化 土壤，在我年少的 20 年來，它在我內心中生根，還在我血液裡面流淌，可能符
合我內心的氣質，它無形當中是一種力量，讓我能感受到宋元時期山水中的人 文。人是大自然的一部分，所有的氣韻讓人有一種無上的平靜，雖然它的構圖
有些是動感式的，給人很深的印象和感染力，但相比較於德國浪漫主義時期的 大風景的創作構圖，卻是另一種詮釋。我想讓兩種經驗都有所疊加，是屬於我 個人的一種融合，於是就有了我現在的創作。」
此種遷徙轉換的歷程也造就德國藝術養成教育對傅饒創作的潛移，傅饒在創作
過程中，並非採用前設、預想規劃的方式，而是用一種默化內潛的方式，但同時也跟外於 自身的歷史、時間、空間、經驗、孩子家庭之間飽含匯聚的關係，是一種無目的地的意識流。 而針對這種創作方式，傅饒認為其實跟他後來受德國教育養成的背景相當有關係： 傅饒：「這也是德國藝術教育和我先前所經歷有著非常不同的地方，可能是因為德國有著 理論的支持，包含哲學與心理學等，人在其中不容易迷失，而我有研究藝術心理學的經歷，
我在其中有著非常強烈的感受，在創作過程深入後不停地再做修正，不停地在自省，在進 入了一定的深入之後，如果沒有辦法再繼續往前走，就會做一個破和一個重新立的動作。 我想就是在不斷的破和立，不斷的自省的過程中，再加上自己對藝術史與哲學的輔助，作
品自始自終都會保持著一種純粹性、自我、自省、由內而發的感情於其中。雖然德國的極 簡主義與對建築的理解中與亞洲完全不同，但其中的精神其實是有著力量的。」
此種德國式持變自省的創作方式，謹慎處理抗拒外在過度的干涉，不斷的發問，卻開放各 種可能性，而沒有答案就是唯一的答案。不追求處理完問題的一刻，而是讓持續的自省與 尋找成為創作的動能，讓流變成為一種持存，使歷史與空間的跨度，匯集於藝術家自身的 生命與創作中，這即是傅饒成為一位終其一身都無法被定義的藝術家的原因： 傅饒：「我不想被很快的定義，我想懷著一種開放的心態去嘗試更多，『光年』是我某個 階段的呈現，我想我會通過在某個文化地域一段時間的感受，可能會再有不斷的問題被提 出，或是不一樣的呈現。」
最後，對於外界一談到傅饒的畫作，總不免提到傅饒的畫作除了隱含表現主義、德國浪漫 主義、與中國山水的融合，更飽含著敘事性、幽微、墨韻、張力與動能，傅饒針對這些外 界的評價親自做出回應： 傅饒：「這應該是在我創作一段時間之後要去做的思考，我在創作中是不會去做這種思考。
作為藝術家，是要去對當下的繪畫性、針對當下時事的見解，去做思考，去提出問題，我 不會強迫自己將這種問題生硬地與我的作品加以連接，我希望它是由內而外自然地流露，
這可能與我工作方式─在創作前不會有一種規劃、計畫─有關。特別是構圖，我往往是從 一種即興開始，在這過程中對我而言是去跟作品產生互動，在之後我也會和其他藝術家交 流與探討問題，但這種探討不是要去解決問題或作出回答，因為你提出的問題不見得有一 種答案，這種過程和創作其實非常的相像。」
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靜息吐納的本真 如果你試著觀看傅饒的畫作，會有一種漸進式的感受。一開始會讓人感到恐懼 卻隱含著神秘，而這股神秘蘊含著一股引導的力量，並非引導觀者挖掘更黑暗 的層面，而是在最後隱約中感受到這股力量引領著人偶遇希望跟曙光，這道希 望與光以一種不明不滅的狀態存留於觀者的感受中，卻又潛含著純粹、真誠與 力量，在具體的部分呈現出一種不停的變化、游移。然而，在幽微之處深深隱 含著一種無法被清楚給出答案的狀態，因為傅饒想給出的絕非答案，而是持續 性的提問與感知狀態，讓觀者沈浸於傅饒作品的無法捕捉的凝匯中，並一同吐 納著藝術的本真性，所以傅饒想透過畫作對觀者傳達的是： 傅饒：「我的畫作中總是帶著悲傷，但在悲傷過後，在越過黑暗之後，我想讓
人看見的是一道光。我覺得是一種氛圍，你用任何的形式與內容要去表現一種 繪畫的精神，這種精神我會在我的繪畫中，通過我身體的運動、韻律、筆觸等
去介入。我希望我的繪畫可以呼吸，可以有多層次的解讀，每個觀者可以加上
自己的生活體驗再去賦予不同的解讀，可以不只有一種答案，可以有千千萬萬 個答案。我是在敘事，但我的敘事就如同妳所言，是一種不清楚的清楚，是一
種混沌的清晰，如果我將自己比喻成一個導演，我運用繪畫的原理，讓繪畫中
有戲劇化層面。如果說還有什麼沒有被經常提到的，我的作品其實就是我內心 的一面鏡子，一個寫照，但觀眾可能要看過我許多作品之後才能感受到。」
筆者在與傅饒貼身工作的觀察中，感受到傅饒身上具備一種純粹且本真的特質， 而這並非從他的言說中獲得，而是傅饒的行為與繪畫其實透露著更多的答案。 如在等待佈展的短暫空檔中，傅饒總是坐在偌大的展間一隅，安靜的、默默的 在自己的本子上創作著。一有時間，傅饒不去遊玩，而是拿著紙與筆穿梭著、 用雙腳走著、用眼睛看著、用心感受著台北的城市空間，然後用手製繪著他與 台北的距離。在一連串緊湊的媒體採訪行程中，相較於媒體的採訪，傅饒卻願 意花更多時間，一個人耐心與一名坐在展間地上的陌生小女孩討論著他的展覽， 在他面前，彷彿這些外在的附加條件都不再重要，社經背景不重要、光環不重 要、有沒有藝術知識也不重要，他看待人就只是純粹的人，他看待藝術就只是 真誠的藝術，這對他而言是最重要的，讓本真存在於他看待生命的方式，同時 並存在他的繪畫中：
傅饒：「我覺得接近本真的東西反而能讓人產生敬畏，會打動人，作為一個藝術家，在我 的作品中我有勇氣讓別人看見。我需要呼吸，我不停地在呼吸，這說明了我不停地在從事
藝術創作，我希望我的作品它可以呼吸，它是鮮活的，它可以讓人看到各種層面的情緒、 善與惡，藝術對我而言是一種內心表達，但又不僅僅於此，也是我作為一個藝術家所要面
對的課題：提出問題。而這些問題可能需要從事十年、二十年，甚至到生命終止也未有一 個答案存在，但必須要懷著一個真誠的心去從事，我希望我的作品也如同我對藝術的態度 如此真誠。」
傅饒傳達著一種無法敘述的敘述，無法言說的言說，此種無法被言說的狀態指涉出一種本 真的狀態，身為一個無法也不欲被定義的藝術家，傅饒用生命作為度量，用藝術作為呼吸， 帶給世界本真的吐納。因此欲透過一幅畫作或一個展覽就妄想瞭解或解讀傅饒的藝術，我 們就犯了一個武斷與過度詮釋的錯誤，那就可惜了我們曾經這麼接近傅饒的畫作。因為傅 饒用他的宇宙去傳達自己的藝術態度，既是線性也是點性的，既是全面性也是片段性的， 既是時間性也是空間性的；光年不僅是傅饒用來度量時間與空間的距離，亦是傅饒用來度 量他一生的距離。如果說傅饒最偉大的作品就是他本真的一生，那我們是不是也該用一生 的時間去細細感知傅饒的藝術？
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Constructing Infinitrace Interviewee / Rao Fu Interviewed and written / Wang Rui-Xu
Measuring the Distance of “Light Year” It is nearly impossible to get an answer from Rao Fu’s paintings. This impossibility is also the key to unlocking infinite possibilities. For Fu, what is unclear is clear, what is indescribable is describable. So how can viewers capture the so-called indescribable in Fu’s paintings? And how can Fu paint and measure the distance of “light year” through his paint brushes? The clues are hidden in the concept of the Infinitrace exhibition. Speaking about the concept of Infinitrace, Fu sat thoughtfully on a sofa and slowly explained: Rao Fu: Infinitrace is my second solo exhibition in a museum—the first being at the Dresden State Art Collections in Germany. In contrast, the Kuandu Museum of Fine Arts is much bigger, which also makes it a bigger challenge for me personally. The planning for the exhibition began half a year ago. The concept of “Light Year” didn’t emerge until towards the end of my creative process. This has to do with my habit of creation. I prefer not to have a preset framework or a theme beforehand, upon which to base my creations. Instead, I prefer to let my imagination roam wild and let it build organically into creations. Of course, as I look back at my personal art history, I realize that my past exhibitions and creations are all about time. For instance, Qi Nian, my first solo exhibition after graduation, and later on, PLANKTON, Pushing Hands, and CENTURY at the Platform China Contemporary Art Institute in 2018 are all related to time. Relating to time and space, the distance of “light year” contains endless possibilities—distance between the canvas and I, distance between people and I, distance between my hometown and I, distance between my child and I—all of these merge with the experiences and feelings of my personal life. The topic “Light Year” epitomizes my works at this moment. Of course, “Light Year” has something to do with the way I create, especially in the creation of large-scale paintings. The depiction of each corner is like a freeze-frame shot,
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fleeting and transient, where I intend to express the time-warped speed and time through brushstrokes.” Q: Having talked about the concept and essence of the exhibition, one can’t help but want to explore the differences between Fu’s various solo exhibitions. CENTURY, Fu’s last solo exhibition at the Platform China Contemporary Art Institute suggests many contrasting elements: humans and spirits, gods and goodness, nature, violence, evolution, and the end of the world. This time around, Fu is injecting new energy in the Infinitrace exhibition to bring forth different feelings for the viewers. What kind of pluralistic energies are we talking about? Compared to CENTURY, Infinitrace retains an expression of specific historical figures and images, especially the expressive sum of people and things seen in 17th-century Baroque paintings. It’s a topic that I’ve constantly explored in my previous works. Living in a foreign country, the expression of characters presents a challenge for me every time. I may not even know what it is like, perhaps a chimera, a presentation that is faintly sketchy in form. I attempt to capture the essence of things, which should be the simplest, just as how children’s paintings express the characters. Then again, the works in Infinitrace have incorporated my questions about humanity and the environment, while blending in a father’s love for his family. Viewers had told me that they can see “light” and “darkness” in my works. To some extent, I give “darkness” more drama and more intensity by using darker tones to render the so-called “darkness”. But all of this is done to accentuate “light”. This is why there are many narrative scenes in my paintings, where “light” peeks through the contrast of colors. And the “light” represents hope and strength,” Fu responded.
Introspection of Pluralistic Superposition When it comes to creation itself, it is inevitable to talk about the influence of the upbringing of an artist. A significant turning point in Rao Fu’s life is 2001, when Fu left Qingdao, China for Dresden, Germany to pursue study. Later in 2009, he got married, had a child and settled down in Dresden. This process creates defining moments of temporal-spatial aggregation for the artist. Talking about this, Fu’s drifted back to 2001, ruminating his journey between these two countries, and recalled: Rao Fu: “When an artist creates in a foreign country, the creations are very likely to be related to their inner feelings. This kind of emotion is multi-faceted. There is homesickness, a cry for cultural identity and to be accepted. It’s a process of hoping to assimilate into the foreign culture while resisting the urge to define their cultural identity. After living in Germany for a while, I actually became more interested in the humanities and philosophy behind Chinese landscape paintings. For me, this is some kind of cultural soil. Over 20 years of my youth, it has taken root in my heart and still runs in my blood. Perhaps it fits my inner temperament, an invisible power for me to feel the cultural pulse of the landscape mountains and rivers of the Song and
Yuan Dynasties. People are part of nature that has the power to make people feel completely serene. The composition is somewhat dynamic, leaving a deep impression and resonance to the viewers. However, when compared to the great scenery of the German Romantic period, the composition is a whole other interpretation. I want to superimpose the experiences from both worlds, and it becomes a fusion of my own, giving birth to the creations I do now.” In the process of moving to a foreign land and the subsequent assimilation, German art education had subtly transformed how Rao Fu creates. Fu does not adopt the pre-supposed or pre-planned approach in his creative process, but immerses himself in the creation, while connecting his own relationship with history, time, space, experiences, child and family in an unconscious flow of consciousness. With regards to this approach to creation, Fu believes it is related to how he’s educated in Germany: Rao Fu: “German art education is rather different from my experiences in the past. It may be because art education in Germany is supported by theories, such as philosophy and psychology, so people don’t get lost in it so easily. Plus, I have dabbled in art psychology, and I have a very strong feeling towards it. When I am deep in the creative process, I continue to make corrections; at the same time, I also practice introspection. After reaching a certain depth and I feel that there is no way to continue forward, I would deconstruct it before constructing a new one. I think that in the process of continual deconstruction and construction, as well as the constant introspection, coupled with the support of art history and philosophy, my creative works always maintain a kind of purity, self-spirit, introspection and emotions arising from within. Although German’s minimalism and understanding of architecture are completely different from that of the Orient, the underlying philosophy is actually quite powerful.” This is how Fu creates—German-style introspective creative approach, carefully resisting excessive interference from the outside, the continuous questioning that opens up endless possibilities—where no answer is the only answer. Instead of pursuing the moment of solving a problem, he allows the continuous introspection and exploration to become the driving force of creation. He turns changing flows into some sort of sustainable persistence, which makes the span of history and space converge into the life and creation of the artist. This is why Rao Fu is an artist who cannot be defined by genre: Rao Fu: “I don’t want to be defined just like that. I want to keep an open mind in trying new things. Infinitrace is a representation of a stage of my creative journey. I think once I immerse myself in a certain cultural region for a while, the feeling that comes with it may lead me to raise even more questions or have different presentations.”
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When people talk about Rao Fu’s paintings, they always mention that in addition to the implicit expressionism, German romanticism, and the integration of Chinese landscapes in Fu’s paintings, they are also full of narrative, subtlety, ink wash charms, and engaging dynamics. Rao Fu’s personal response to these comments are as follows: Rao Fu: “This thinking happens after creations have already been made. I don’t think about any of that in the process of creation. As an artist, I try to interpret the current artistic expression and current affairs through paintings, thinking and asking questions. However, I don’t force myself to make connections with these issues, because I want them to naturally reveal themselves from within. This could be related to how I work—making no plans or goals before I create. This is especially true for composition. I tend to start with impromptu brushstrokes here and there. In the process, I am basically interacting with what I am creating. Afterwards, I also talk and discuss problems with other artists, but this exploration is not intended to solve a problem or give an answer. The question you ask may not necessarily have an answer. This exchange process is very similar to creation.”
Breathing the Truth When you really look into Rao Fu’s paintings, the feelings come at you in different waves. At first, you feel fear with a mystery hidden underneath, and this mystery contains a guiding force. Not to guide the viewer to dig deeper into the darker side, this force actually draws you to serendipitously get in touch with the glimmer of hope and light shrouded in this cloud of darkness. This flickering hope or light stays in the viewer’s mind, encapsulating pureness, sincerity and strength. In specific parts, there are constant changes and shifts. Nevertheless, there is a hidden and inexplicable state of not being able to be clearly given an answer. That’s because what Rao Fu wants to give is not the answer per se, but the continuous state of questioning and perceiving, so that the viewer is immersed in the inability to capture the meaning of his works, while still breathing the truth of art. This is what Rao Fu wants to convey to the viewer through his paintings: Rao Fu: “My paintings always carry with it some form of sorrow, but following the sorrow and after crossing the darkness, I want people to see a light. I think it is like an aura. You can use any form and content to express the spirit of a painting. To express this spirit, I infiltrate the painting through my body movement, rhythm, strokes, and so on. I hope my paintings are alive and breathing, so there are many levels of interpretation. Each viewer can add their own life experiences and then give their very own different interpretations. There can be more than one answer, perhaps thousands. I am narrating, but my narrative is like what you said: clear in the unclear, clarity in the chaos. If I compare myself to a film director, I am essentially using the principles of painting to give painting dramatic layers. One thing that may not often be mentioned is that my work is
actually a mirror to my mind, a portrayal of sorts, but viewers may have to peruse a bulk of my works before they can feel it.” After observing Rao Fu in person up close, the writer feels that Fu has a pure and authentic character, which is not obtained from his words but from his actions. His paintings also reveal his true colors. For instance, during the short breaks in setting up the exhibition, Rao Fu would sit quietly in a corner of the vast exhibition space and create things in his own drawing book. When he has free time, he doesn’t go on sightseeing tours. Instead, he takes his paper and pen, and walk around Taipei, taking in the urbanscape and drawing the distance between he and Taipei. Compared to a series of backto-back media interviews, Rao Fu would rather spend time sitting on the exhibition floor with a little girl who he’s never met and talk with her about his exhibition. For him, external status is not important, as social background, prominence, or artistic knowledge are not of his concern. He sees people with pure eyes and treats art with the same pureness. This is what’s important to him—truth exists in the way he sees life and it shows in his paintings. Rao Fu: “I feel that the closer you get to the truth, the more it can make people be in awe and moved. I, as an artist, have the courage to let others see that in my works. I need to breathe, and I keep breathing. This shows that I am constantly engaged in artistic creation. I hope that my creations can also breathe, meaning they are alive and allow people to see all kinds of emotions, good or evil. Art is an expression of my inner self. But it is also more than that. It’s something I have to face as an artist: asking questions. Getting the answers to these problems may take ten or twenty years, even a whole lifetime. And it must be done with a sincere heart. I hope that my creations are as sincere as my attitude towards art.” Rao Fu conveys an indescribable narrative, an inexpressible statement. This state of being indescribable suggests a true state, as an artist who cannot and does not want to be defined. Fu uses life as a measure and art as his way of breathing to bring truth to the world. Therefore, if we want to understand or interpret Fu’s art through merely a painting or an exhibition, we are making the mistake of being assertive and overly interpretative. It would be a pity for anyone who has been so close to his art. Rao Fu is using his universe to convey his artistic attitude: it is both linear and non-linear, both comprehensive and fragmentary, both temporal and spatial. “Light year” is not only used by Fu to measure the distance of time and space, but to measure the distance of his life. If Fu’s greatest work is his life of truth, shouldn’t we also spend a lifetime savoring his art?
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「 光 年 」 座 談 會
時間：2019/7/13 15:00-17:30 ｜ 地點：安卓藝術 與談人：傅饒、黃建宏、阮慶岳
傅饒： ……其實光年不是一種容易定義的概念，我的繪畫它自始至終都有一種 不確定性，其實是我從一些虛無中信手拈來的一些東西，把它彙整在一起。 然後在我設置的一個框架下進行創作，它似乎之間並沒有什麼太多關連， 它集合了我此時此刻內心的一些感受、一些片段。或者是我有在我的繪畫 裡面會用到一些心理學方面譬如說移情的……我有一段在那邊的 Master 之後還有兩年藝術治療的學習經歷… 藝術它從何而來，它感興趣，每個人在心理層面，所以我選擇了當時這 個學業，之後又作了些和患者心理之間的實習。 所以，我可以這樣說，我的創作就是我發現自己，找尋自己內心的一個 過程…… 我在創作一幅畫時，我往往是先面對一張白色的畫布，我會先試著讓自 己靜下來，然後進入一種冥想的過程。我會注視畫布很久，會去感受畫布 和空間的關係，然後在一瞬間我可能會用畫筆，像《光年》這樣大幅的作 品，我會在畫室裡面即興，然後神經質的像手舞足蹈，然後在畫布上去留 下一些軌跡。我想這可能就是一個開局，之後我也會去找一些互動，入和 出之間的動作。 黃建宏： ……儘管在此之前就有看過一些圖片，那時就覺得傅饒在繪畫上的表達 是很有吸引力的。但真正看到你的畫在美術館裡呈現時，那個力量和豐富 性是遠遠超出我的度量。我就先從「度量」這個事情開始談起。 傅饒的題目是「光年」，因為我以前學科學，「光年」我會很機械性的 反射，就是光走一年的距離，它和光和某種速度有關。這個速度其實預測 了人類無法超越的速度。光的速度在科學的說法來講，如果我們真的可以 超出光的速度，我們所有的空間是會改變的。可是，我在看傅饒的繪畫， 我所思考的是，如果一個人在他的生命歷程裡面，他經歷了不同的區域、 不同的文化和不同的處境，然後在經歷過所有這些後，再回到藝術家內在 的心理的時候，到底積累出了什麼？在這裡面其實我就開始用一種不是科 學家的方式去想像，所以「光年」在這裡面所意味的會不會比較是，到底 在光裡面的「時間」是什麼？又或者說我們個人的時間裡又會出現什麼樣 的「光」？ 在這裡面看到傅饒作品，特別是大幅作品或是中小幅作品之間排列出的 關係，其實都有一種契合。其實，我們現代人所置身的空間感，已經因為 各式各樣的科技、處境和全球化的關係，其實我們的空間是非常的碎裂，
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而且我們也談的很多在這種碎裂的狀態和流動的非常厲害的狀態，到底個 人的靈魂和個人的意識是處在什麼樣的處境內？在看傅饒的畫非常難用言 語去回答，那裡面有非常多豐富的東西，其實都會讓我在推進這樣一個當 代處境的想像有更豐富的連結。也就是說，我們從外部一個那麼流動和碎 裂的空間和時間，把整個往內翻的時候，那個內在會變成什麼樣的樣子？ 所以，傅饒的繪畫其實給我一個比較大的想像空間跟契合的感覺，其 實是在這樣的一種狀態。這件事情會讓我對傅饒的生命歷程又有一些想 像……也會給我一種和旅行這件事有一種很大的聯繫……我們都活在光線 裡面，可是在光底下到底發生多少事情，這些事和光的關係是什麼？種種 這些想像都開始讓我在想人的生命歷程，包含遷徙、旅遊如何重新和這個 既是外在的光，又可以翻轉成內在的光的這個關係要如何去銜接。然後我 就有些職業病的開始想像，到底在歷史上有那些旅行和這有關……傅饒的 顏色和光其實會給我很強烈的想到在德國到瑞士看到的 18-19 世紀歐洲北 部畫家他們所處理的光和顏色，可是傅饒的空間感的處理又和他們非常不 一樣。 在這樣的想像，我第一個想像的旅程是哥德在 1786-1788 去了義大利 旅行，然後 1790 年他就有浮士德第一次片斷的出版。我會覺得這裡面 關係非常有趣，哥德到了義大利，它其實面對到非常多當時的古典元素 和相關科學研究的接觸，這些事情讓他更完整的去想像浮士德的生命。 然後，時隔 100 年之後，另外一位很重要的藝術史學家沃夫林 (Heinrich Wölfflin )，也做了一次畢業旅行，也是到義大利，然後他最重要的發現其 實是巴洛克，並以巴洛克的觀察寫出了他生平非常重要的著作。我其實在 想這些東西，又會突然想到另一個比較無關，但是他可能和中國有關，就 是康有為在 1899 年開始他的世界大旅行…… 為什會這樣想，我從傅饒的繪畫裡會看到，當他 21 歲到了德國後，他 在面對整個歐洲的繪畫傳統，你如何從這個繪畫傳統中把自己的經驗帶進 去？我們看你的繪畫會看到這些古典的元素它被分置在一個更不一樣的空 間裡面，而它裡面其實有很多的質變。我覺得這是還蠻重要的一個紀錄， 因為我在思考的事情是如果過往我們有很多藝術史或文學史上的傳說，這 個傳說其實和幽靈有關。然後德國人曾經到義大利裡面去琢磨那些古典元 素的變化，那我們在今天是不是有可能展開另外一個圖像，是一位中國藝 術家到了德國去琢磨這些經過兩三百年之後，變成古典元素的這些事情。 然後你又用你生命和熱情貫注在這裡面，這裡面有一個既差異很大的事情 同時也是一個巧合，就是表現主義和浪漫主義在你的繪畫中非常容易讓人 找到連結。只是我會覺得這裡面有一個很珍貴的，而且需要再進一步去考 察和琢磨的，是德國表現主義和浪漫主義經過你這樣的滲透，不管是無意 識地翻轉或怎樣，它出現了什麼樣的情況？
阮慶岳： ……我對傅饒的感覺是，他的作品有很扎實的當代藝術承傳，同時又對 古典致敬，那個致敬不同於很多當代藝術家與古典的決裂狀態，而且他的 致敬已經高到令人驚訝的程度。但他可以在似乎顯得斷裂的當代和古典之 間，很成功的做出連接，尤其他作品給人的第一個印象其實是非常當代， 非常具現代感的…… 首先我想討論現代性的成分，像建宏剛剛所提最強烈聯想的德國表現主 義，幾乎有著哥德派風格那樣神祕性的強烈力道，另外當然就是浪漫主義。 我個人對作品的浪漫主義傾向興趣更高，表現主義像是在運用的一種技法， 但作品的本質精神是更傾向浪漫主義。 我們看到你的繪畫還在回答另一個現代性的問題，就是人類的內在困境。 這困境具有普遍性的意涵，就是人類從 19 世紀中期以來，近 200 年內的 流離失所現象，必須很沒有安定感的不斷移動，這當然給我們一些啟發， 但也讓我們出現失衡的狀態，以及因此感受到一種存在意義的失去。作品 有一種對於此刻人的內在本質的探索。這可能是透過你自己的感受投射出 來，就可以看到譬如作品裡頭人鬼獸的共存，這樣的共存究竟要言說什麼？ 雖然有漂亮風景在後面布局，但又有一種恐怖、迫害、受難所交織的不安， 不過在最底層有一種安撫的力量，想把這一切都鎮定下來。 其次，如果拉更深遠去看，作品的核心和本質，似乎還是和浪漫主義更 為相關。浪漫主義在回顧古典精神以及瞻望未來時所湧現的不安，那不安 使他們想肩負起要往何處去的責任感？基本上，這帶著中世紀的騎士精神， 彷彿在眼前一片黑暗的狀態下，我們必需去尋找出路，其中有自我安慰的 樂觀性。它同時代表一個人的自然宇宙觀，雖然世界看起來霧濛濛，卻相 信冥冥之中有一個力量在作支撐。人和自然的關係重新被建立起來，有可
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能是透過對於人治世界的不信任，而相信另外一個更廣大自然力量的存在， 這樣的力量在浪漫主義的作品中會被帶出來。 大自然和風景也是傅饒作品中很重要的元素，它永遠存在那裡，甚至這 樣的自然已經侵入到現實，已經跟前面的東西交融對話。這部分會讓我想 到不只是浪漫主義，還有和中國山水畫的關係，譬如傅饒的「中美國」系 列，有些構圖我覺得是山水的構圖。……傅饒也提到影響他的藝術家包括 范寬、馬遠，但是范寬、馬遠或是浪漫主義，在對待風景山水的時候，比 較是作個人的內在尋求，想跟一個更寬大的永恆價值，做出某個聖性的連 結，並透過這種連結產生出作品的崇高性。這是透過化解自我來傳達藝術。 傅饒的作品可看到一樣的縱深、一樣的深遠性、甚至一樣的風景，但是卻 沒有那麼浪漫的樂觀性，反而帶進邪惡、荒蕪與黑暗的力量。這樣黑暗的 力量，有點像哥德在《浮士德》裡頭，所強烈暗示的惡的存在。這個惡的 存在，我們在中國傳統文人畫或是浪漫主義，其實是看不太到的，而這樣 的惡在傅饒的作品裡，似乎隨時伺機而出，把可能的祥和與完整吞噬或撲 滅。 傅饒作品的消點是很特殊的，沒有絕對遵從單一消點的寫實性，好像又 回到傳統山水畫的多消點或中國園林的多視角觀點，開始產生多元的敘事 性，是相當有趣的特質。若從這個特質再拉下去，可以說到「複調」的可 能，複調是巴赫金在談杜斯妥也夫斯基的小說，人物龐雜每個人都在說話， 每個事情看起來又各自獨立不連結。角色一下獨語，一下客觀敘事，一下 旁白，多元龐雜到接近雜亂的狀態，按理這是注定失敗的，但為什麼明明 在結構上、敘事方法、論述上，應該失敗的作品，卻反而那麼迷人，所有 人都被它吸引進去呢？……巴赫金說這樣的小說是「複調」，就是可以讓 不同的聲調，自在地同時存在，杜斯妥也夫斯基沒有蓄意去建立統一性，
他讓每個人獨自發聲，相信他們自己會協調出一種共時的存在。傅饒的作 品也有些這樣多重複雜的意味，雖然作品大量運用象徵與符號，那本身的 必然比較是直覺，讓他們各敘述他們的故事，最後究竟說出了什麼，是很 神秘也不單一清晰的…… 然後，你在往裡頭內向性自我挖掘的時候，和客觀性外觀包括時代、政 治，這兩件事在你的處理中是有擺盪的嗎 ? 或是怎樣的狀態？你的絕對主 體和客觀全局之間的關係，真正的你在創作過程中在哪 ? 你出去和移進來 的位置定點究竟是什麼？以及你處理大作品和小作品間的時候，你的心態 是怎樣？ 傅饒： 謝謝阮老師這麼精闢的分析。我首先回答和我自然的關係，自然可以理 解為我和我自己，人和大自然的關係。自然還有人文關係就是在社會學的 框架下，我作為一個身在異國的境遇或周遭對於身分特徵，或融入的這種 關係。我的家在嶗山腳下，那個地方就是那種怪石嶙峋，是一個道家勝地。 小時候經常去那邊爬山，它會在那山的形狀中給我帶來一些這種看到山的 影子就會聯想到蛇神鬼怪，在潛意識給我留下記憶，這種東西會無意識的 體現到我繪畫中，特別是對所謂山水的呈現。 山對我來說，在我的作品裡的意象又像是一種人往內心的影射，根據它 的形狀不同，它有堅定意志的性格特徵，可能也有比較脆弱的一面，甚至 有一點馬上就要去崩塌的影射。在我的繪畫裡，如果是表現一個大風景的 場景，它往往會成為我構圖的一個主線，更多來說，我的山是一種神祕的， 甚至有一點點危機存在的危險境地，我不知道這是我自己的內心在那邊生 活的感受，可能並沒有一種真正生存的危機，但可能我看到那邊當下對於 難民問題的討論，包括德勒斯登又是一個新納粹的大本營，包括有一個伊 斯蘭教在德勒斯登的興起，恰恰是在一個外國人比例佔很小的城市，反而 人始終還縈繞著一種恐懼、恐慌，東西德合併已經差不多 20 年，這種意 識型態的衝撞和提問還一直都是當下一個最激烈的討論。我想這個是在我 的繪畫裡面可能有一種這樣無意識的體現。什麼是家園？可能是一種內心 的平靜，但是我繪畫裡面反而點點滴滴透露著一點危機，但危機的深層裡 面又有一點透過光的表達有一種希望在裡面。 關於大尺幅和小尺幅作品，在我畫完大尺幅，再畫小尺幅我會感覺得真 的好難。大尺幅它會是去融入更多身體中的韻律，我會張開雙臂像是去擁 抱它，小的尺幅很難是因為在創過程中容不得半點注意力的不集中，我需 要高度的集中，需要百分之百的靈敏，我需要去捕捉它最生動最精緻的一 面……
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Infinitrace Artist Talk Date & Time: July 13, 2019, 15:00 to 17:30 | Venue: Mind Set Art Center Artist | Rao Fu Panelists | Huang Chien-Hung, Roan Ching-Yueh
Rao Fu (hereafter referred as “Fu”): In fact, “infinitrace” is not an easy concept to define. There has always been a sense of uncertainty in my painting, which comes from random things that I have put together without specific reasons. I then create under a preconceived framework. There is not much connection between these things; they could be feelings, fragments I have felt at that moment; or, from a psychological perspective, there is the element of transference that I have employed to create my painting… I have spent time studying for my master degree there, and also spent two years studying art therapy… Where does art come from? It is interested in the psychology of people. That is why I chose to study art therapy, and also did some practice sessions with patients. So, I can say that my art resembles a process of self-discovery… When I create a painting, I usually face the blank canvas to let myself quiet down, entering a state of meditation. I would spend a long time staring at the canvas to perceive the relation between the canvas and the space. Then, all of a sudden, I might start painting with the brush, making a large painting like Infinitrace. I would improvise in the studio, dancing like a lunatic and leaving some traces on the canvas. For me, it servers a starting point; then, I would try to interact by physically engaging and detaching myself from the painting.
Huang Chien-Hung (hereafter referred as “Huang”): …Although I have seen the images of Fu’s paintings, which I already found their expressiveness highly attractive, when I really saw the works in the museum, I realized that their power and richness far exceeded what I could fathom. I shall therefore start with the concept of “fathom.”
Fu’s exhibition theme is “Infinitrace.” (*The Chinese title of the exhibition literally means “light year.”) I used to be a science major, so, upon seeing the exhibition title, I intuitively thought about the astronomical distance equivalent to the distance that light travels in one year. It is related to light and speed, which implies a speed that humans are not able to surpass. In science, if humans can really surpass the speed of light, the surrounding space will be altered. Nevertheless, viewing Fu’s painting, what I was thinking about were the various places, different cultures and situations he has experienced in his life, as well as what he has accumulated after these experiences and how he has processed them within his artistic mind. In this regard, I then started to imagine from a non-scientific perspective: could the exhibition title refer to the “time” in light? Or, what kind of “light” might be found in individual time? Viewing Fu’s works in the space, especially when observing the connection between the larger, mid-sized and smaller pieces, I realized that they were really in harmony. As a matter of fact, the sense of space for modern people has been shattered and fragmentized by a wide range of relations in terms of technologies, situations and globalization. Amidst this broken, rather fluid state, what kind of a situation does an individual soul and consciousness face? When viewing Fu’s painting, words fail because there are so many things in it, which allow me to form diverse connections to imagine about our contemporary situation; that is, when we turn the external world, with its fluid and broken space and time, from the inside out, what would we find? For me, Fu’s painting promises a wide imaginative space and a sense of harmony. It makes me imagine about Fu’s experiences in life, and also brings me to think about travel… We all live within light; but what has been happening under this light? How does light factor in this happening of things? My imagination about these things starts to make me wonder about people’s lives, including how migration and traveling can be re-connected with this light that is external but can also be found within us. Due to my professional training, I also wondered about the historical instances about such light and travel… Fu’s palette and light are strongly reminiscent of the rendering of light and colors by northern European painters in the 18th and 19th century, which I have seen in Germany and Switzerland. On the other hand, the way Fu handles the sense of space differs greatly from these painters. The first instance that surfaced in my imagination was Goethe’s trip to Italy from 1786 to 1788, which resulted in the partial publication of Faust in 1790. The underlying connection therein is very intriguing. When Goethe was in Italy, he encountered a lot of classical elements and science-related studies at the time, all of which enabled him to more comprehensively imagined Faust’s life. A century later, a major art historian, Heinrich Wölfflin, also conducted a graduation trip to Italy. His most significant discovery has been the baroque style; and based on his observation of the baroque style, he published his crucial work. When thinking about these instances, I also thought of a less relevant example, which was related to China though. It was Kang You-wei’s grand world trip in 1899...
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Why did I think of these instances? From what I have seen in Fu’s painting, after he arrived in Germany at the age of twenty-one, he faced the entire European painting tradition. How did he incorporate his experiences into this tradition? In Fu’s painting, we see these classical elements being re-arranged in a different space, and they have undergone a qualitative change therein. This, in my opinion, is a rather important documentation. What I have been thinking is that if we have many legends in art history or literature, they are related to specters in fact. The German art historian once visited Italy to study the changes of classical elements. In the same way, is it possible for us to imagine another image, which is a Chinese artist that goes to Germany to study the things from two to three hundred years ago and are now deemed classical. In addition, Fu also infuses his life and passion into his art, which brings together two things that are immensely different in sort of a coincidence; that is, Fu’s painting makes it easy for us to connect expressionism and romanticism. There is something very valuable, which deserves further examination and contemplation—after your integration of German expressionism and romanticism, be it an unconscious endeavor or not, what has emerged from this situation?
Roan Ching-Yueh (hereafter referred as “Roan”): …My impression of Fu is that his work demonstrates the solid learning of contemporary art and pays tribute to classical art at the same time. The way he pays tribute is at such an impressive level and differs from many contemporary artists, who break from the classical tradition. He is able to successfully bring together the contemporary and the classical, which seem absolutely severed; in particular, people’s first impression of his work is that it is very contemporary, incredibly modern… Firstly, I would like to discuss the modernist quality in his work. Like Huang mentions, his work strongly reminds people of German expressionism, and almost exudes a mysterious power found in the Gothic style; on top of this, there is also romanticism. Personally, I am more inclined towards the romantic nature in his work. Expressionism suggests the use of certain techniques, but his work is essentially more romantic than expressionistic. Fu’s painting also responds to another question about modernity, which is the inner predicament of humanity. This predicament is rather universal because it has its root in the diaspora humanity has undergone for nearly two hundred years since the mid-19th century, as human beings have been forced to move constantly without feeling settling down. This diasporic existence has
naturally inspired some thoughts but also put us in an imbalanced state, causing us to lose the sense of purpose in our existence. Fu’s work, in this regard, displays the exploration of human’s inner state in this era. It might be a projection of your own feelings surfacing in your work in the form of the co-existence of human beings, ghosts and beasts. What is this co-existence communicating exactly? Although the scene might have a beautiful backdrop, it conveys a strong angst stemming from terror, persecution and suffering. Having said that, there is also an underlying comforting force that tries to calm everything down. Secondly, taking a closer look at Fu’s work, its core and nature still seem to resonate with romanticism. As romanticists glanced back on the classical sprit while looking into the future, they found themselves overwhelmed by angst, which resulted in a sense of mission, making them ask where they were heading towards. In essence, this echoed the medieval spirit of chivalry, as if they were compelled to find a way out in the midst of engulfing darkness; it also showed a self-consoling optimism. Meanwhile, this tendency beaconed at their cosmic view: although the world might be shrouded in a fog of uncertainty, they believed that there was an invisible, supporting force. This belief reconstructed the relationship between human beings and nature. Perhaps it was because of their distrust in the rule of man that they would rather put their faith in a more expansive, natural power, which was consequently revealed in romantic art. Nature and landscape are also important elements in Fu’s work. They are always there, and have even invaded the reality by engaging in a dialogue with the subjects in the foreground of the paintings. In addition to romanticism, this reminds me of Chinese landscape painting. For example, some of the works in Fu’s Chimerica series have the composition that looks like that of Chinese landscape painting to me… Fu also mentioned before that he was influenced by Fan Kuan and Ma Yuan. However, whether these ancient Chinese artists or the romanticists, in their presentation of
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landscape, they focused on the inner quest of individuals in hope of achieving something more expansive and eternal in order to form a certain connection with the divine and create a sense of sublime in their work. This approach is to create art through dissolving the self. On the other hand, Fu’s work shows an equal depth, profoundness and even a similar landscape but without that romantic optimism; instead, he introduces the force of evil, desolation and darkness. This darkness echoes the existence of evil strongly implied in Goethe’s Faust; and we cannot find such darkness in traditional Chinese literati painting or romanticism. This evil seems to lurk in Fu’s painting and is ready to strike at any moment to devour or destroy the potential harmony and unity. Fu’s work adopts unique vanishing points instead of following the rule of a single vanishing point decreed by realism; therefore, it seems to revert to the multiple vanishing points in traditional ink landscape or the multi-perspective used in the design of Chinese gardens. It produces diverse narrative, which is a fascinating quality. From this quality, it creates the possibility of the “polyphony,” a concept employed by Bakhtin in his discussion of Dostoevsky’s novel, which involves an extensive amount of characters speaking simultaneously and incidents that seem independent and unrelated. The novelist’s characters might jump from a soliloquy to objective description to being the narrator, creating a multi-voiced, complex situation bordering on chaos. Logically speaking, this approach is doomed to fail; yet, why does this supposed failure, in terms of structure, narrative method and theoretical approach, come out as extremely mesmerizing to the point that it captures everyone’s attention? … According to Bakhtin, it is because of the “polyphony” in the novel, which allows difference voices to co-exist at the same time in their own ways. Dostoevsky does not try to craft a sense of unity but instead allows each character to speak, believing that the characters will create a synchronous existence. Fu’s work also shows this kind of complexity. Although he utilizes a large number of symbols and signs in an intuitive manner, he allows them to unfold their own stories; in the end, the result becomes enigmatic, pluralistic and opaque... Do you oscillate between your self-exploration and the objective observation of the external world, including our time and the politics? If not, what is the situation? Between the absolute subject and the objective reality, where do you put yourself in the creative process? How do you position yourself when entering and exiting the creative state? Finally, what is your mindset when you deal with large and smaller works?
Fu: Thank you, Mr. Roan, for your insightful analysis. I would first respond to the question about my relationship with nature, which can be divided into my relationship with myself, the relationship between human beings and nature as well as the cultural aspect under the sociological framework, such as my experience of living in a foreign country, my identity and my integration into the surrounding. My hometown lies below Mount Lao, a place known for its strange rock formations and Taoist practice. As a young child, I often went mountain climbing, and the shapes of the mountains or the impressions they left in my mind made me think of ghosts, monsters and demons. This memory recorded in the subconscious is unknowingly visualized in my painting, especially in the representation of landscape. For me, the imagery of mountains in my work resembles human’s inner projection. Based on the different forms of the mountains, they might symbolize resilience, fragility or even an imminent collapse. In my painting, the delineation of a large landscape usually constitutes the main axis of my composition. To dig a bit deeper, my mountains are always somewhat enigmatic and suggest a perilous land of threatened existence. I wonder if it is because of how I have felt living overseas. Although I do not really face any survival threats, I have observed the discussions about the issue of refugees. Moreover, Dresden is a major hub of Neo-Nazism, and Islam is rising in the city as well. In a city with such a small percentage of foreigners, a sense of horror and nervousness still hovers. Even though East Germany and West Germany have united for over twenty years, the collisions between ideologies and other related issues are still the topics of heated debates. I might have unconsciously showed a little of such concerns in my painting. What is home? It can be a sense of inner tranquility. Although my painting exposes a sense of crisis here and there, the light deep within the crisis still delivers a ray of hope. Regarding the question about painting large and smaller works, I genuinely think it is difficult to paint smaller works after I have done large-scale paintings. Large paintings require more physical movement and bodily rhythm. I need to open my arms as if I am hugging the paintings. Making small paintings is hard because it demands all your concentration in the process. I need to fully concentrate and remain absolutely aware in order to capture the most vivid and exquisite moment...
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傅 饒
傅饒 1978 年出生於中國北京，現工作與生活於德國德勒斯登和萊比錫。 他的作品探討了東西方文化的差異和相似之處。「中美國（Chimerica）」系列作品，不僅展 現了中國與美國之間的共生關係，同時也以希臘神話中的怪獸凱邁拉（Chimera）作為發想， 試圖創造一種新的人類概念。傅饒的作品大多創作於紙上，這些色彩艷麗的繪畫，展現不同角 色之間的內心衝突與張力；而在傅饒的奇幻風景之中，關注於自然與人類開發的關係，在不斷 的毀滅與重生中，形成一個永無止盡的循環。 學歷 2008
畢業於德勒斯登藝術學院，繪畫專業碩士
2008-2010
為 Ralf Kerbach 教授指導之大師班研究生
2010-2012
藝術治療學碩士畢業
個展 2019 「光年」，關渡美術館，台北，台灣 「夜釣」，EIGENHEIM 畫廊沙龍，柏林，德國 2018 「Paysages Intérieurs」，ARTSCAPE 畫廊，盧森堡 「世紀」，站台中國，北京，中國 2017 「COXCOMB - 雞冠花」，Irrgang 畫廊，柏林，德國 「RAOFU - 繪畫作品」，Heissing 畫廊，呂貝克，德國 2016 「傅饒：中美國」，Projektraum Neue 畫廊 / City Art 畫廊，德勒斯登，德國 「開放工作室」，Hall 14 藝術中心，萊比錫棉紡織廠，德國 2015 「浮游生物」，Irrgang 畫廊，萊比錫，德國 2014 「隨風」，Kunstverein Junge Kunst，狼堡，德國 2013 「幻景」，Grafikladen 畫廊，德勒斯登，德國 2012 「中美國」，哥廷根藝術協會，哥廷根，德國 2011 「傅饒：Arbeiten」，Kunst bei Gericht, Ständehaus，德勒斯登，德國 2010 「凱邁拉」，Ling 畫廊，柏林，德國 2009 「七年」，Elly Brose Eiermann 畫廊，德勒斯登，德國 聯展 2018 「混沌劇場：傅饒、鍾江澤、黨若洪」，安卓藝術，台北，台灣 2017 「1443」，Ursula Walter 畫廊，德勒斯登，德國 2015 「似曾相識」，City Art 畫廊，德勒斯登，德國 「推手」，Ursula Walter 畫廊，德勒斯登，德國 2014 「DaDa Ty」，Hellerau 歐洲藝術中心，德勒斯登，德國 「同心協力」，Ursula Walter 畫廊，德勒斯登，德國 2013 「儘管這一切…」，Modul 8 畫廊，德勒斯登，德國
「當代藝術在這裡」，Lipsiusbau 美術館，德勒斯登，德國 「向亞洲致敬」，中國亭，德勒斯登，德國 2012 「第二十屆德勒斯登雙年展」，奧諾藝術節，德勒斯登，德國 「Fu: Leyh, mit Stefan Leyh」，cCe 文化館，洛伊納，德國 「看不見的城市」，2025 年藝術與文化項目，漢堡，德國 2010 「春季沙龍」，ZANDERKASTEN 畫廊，德勒斯登，德國 2009 「60 V.R. China」，中國文化中心，柏林，德國 「名師高徒」，Oktogon 美術學院，德勒斯登，德國 博覽會 2019 台北當代藝術博覽會，台北，台灣 2018 杜塞道夫藝術博覽會，杜塞道夫，德國 香港巴塞爾藝術博覽會，香港，中國 2016 阿姆斯特丹繪畫博覽會，阿姆斯特丹，荷蘭 PAN (Pictura Antiquairs Nationaal) 藝術博覽會，阿姆斯特丹，荷蘭 2014 科隆紙上藝術博覽會，科隆，德國 2009 SCOPE Basel Art Fair，當代國際藝術項目，巴塞爾，瑞士 獲獎 2016
薩克森自由邦文化基金會獎學金 Spielerei Leipzig 工作室獎學金
2014
薩克森自由邦文化基金會補助
2008-2012
海因里希．伯爾基金會獎學金
2006
德國學術交流獎（DAAD-price）
公共收藏 德勒斯登國家藝術收藏基金，德國 德勒斯登城市藝術博物館，德國 盧森堡國家歷史藝術美術館，盧森堡 出版 Rao Fu Follow Wind，Junge Kunst e.V., Wolfsburg, Dr. Constanze von Marlin 與 Andreas Schmid 撰文 . ISBN 978-3-7356-0033-2 Rao Fu，ARTSCAPE Contemporary Art Luxembourg. ISBN 978-2-9199432-1-0
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Rao Fu Rao Fu was born 1978 in Beijing, P.R. China and lives and works in Dresden and Leipzig, Germany. His works explore the differences and similarities of Western and Eastern culture; “Chimerica” tries to create a new concept of humanity, the chimera (a term used to describe the symbiotic relationship between China and the United States of America). The colorful paintings, most on paper, show vague conflicts and internal tension between and inside the protagonists. One essential focus in Rao Fu’s fantasy landscapes is nature, and its exploitation through mankind. Their relationship is characterized by destruction and redevelopment, an endless cycle.
Education 2008
Studied painting, Academy of Fine Arts, Dresden, Germany
2008-2010
Master student of Prof. Ralf Kerbach
2010-2012
Studied art therapy
Solo Exhibition 2019
Infinitrace, Kuandu Museum of Fine Arts (KdMoFA), Taipei, Taiwan Nachtangeln, EIGENHEIM Berlin (Salon), Berlin, Germany
2018
Paysages Intérieurs, Gallery ARTSCAPE Contemporary S.à,r.I.-S, Luxembourg CENTURY, Platform China Contemporary Art Institute, Beijing, China
2017
COXCOMB, Galerie Irrgang, Berlin, Germany Follow Wind, Galerie Heissingsart, Lübeck, Germany
2016
Rao Fu: CHIMERICA, Projektraum Neue Galerie, City Art Gallery, Dresden, Germany OPEN STUDIO, HALLE 14, Baumwollspinnerei Leipzig, Germany
2015
PLANKTON, Gellery Irrgang, Leipzig, Germany
2014
Follow Wind, Kunstverein Junge Kunst, Wolfsburg, Germany
2013
MIRAGE, Gallery Grafikladen, Dresden, Germany
2012
CHIMERICA, Kunstverein Göttingen, Germany
2011
Rao Fu Arbeiten, Kunst bei Gericht, Ständehaus, Dresden,Germany
2010
Chimäre, Gallery Ling, Berlin, Germany
2009
Qi Nian / Sieben Jahren, Gallery Elly Brose Eiermann, Dresden, Germany
Group Exhibition 2018
Chaos: Rao FU, JHONG Jiang-Ze, TANG Jo-Hung, Mind Set Art Center, Taipei, Taiwan
2017
1443, Galerie Ursula Walter, Dresden, Germany
2015
Das muss mann gesehen haben, 10 Jahren Städtische Galerie Dresden - Erwerbungen und Schenkungen, City Art Gallery Dresden, Germany Pushing Hands, with Andreas Sachsenmaier, Gallery Ursula Walter, Dresden, Germany
2014
DaDa Ty, Hellerau - Europäisches Zentrum der
2018
Art Basel, Hong-Kong, China
Künste Dresden, Germany Kooperation, Galerie Ursula Walter, Dresden,
2016
Amsterdam Drawing, Amsterdam, Netherlands PAN Amsterdam, Amsterdam, Netherlands
Germany 2013
Art Düsseldorf, Düsseldorf, Germany
trozt alledem..., Galerie Modul 8, Dresden,
2014
Cologne Paper Art, Cologne, Germany
Germany
2009
SCOPE Basel, International Contemporary Art, Basel, Switzerland
jetzt hier, Gegenwartskunst. Aus dem kunstfonds, Kunsthalle im Lipsiusbau, Dresden,
2012
Germany
Award & Grant
Hommage to Asia, Chinesischer Pavillon,
2016
Heimspiel - Leipziger Baumwollspinnerei,
Dresden, Germany
scholarship of Kulturstiftung des Freistaates
Dresdner Biennale des 20. Kunstfestivals Ornö,
Sachsen
Dresden, Germany
2014
Die unsichtbaren Städte, 2025 Kunst und Kultur
Project funding, Kulturstiftung des Freistaates Sachsen
e.V., Hamburg, Germany
2008-12 Scholarship of the Heinrich-Böll-Fondation
Fu: Leyh, mit Stefan Leyh, Gallery cCe
2006
DAAD-price
Kulturhaus, Leuna, Germany 2010 2009
Frühjahrssalon, Gallery ZANDERKASTEN,
Public Collection
Dresden, Germany
Art Fund of the State Art Collections Dresden
60 V.R. China, chinese culture center, Berlin,
Dresden City Art Museum
Germany
National Museum of History and Art Luxembourg
Meisterschüler, Oktogon, Hochschule für Bildende Künste, Dresden, Germany 2007
Nebel, HypoVereinsbank, Chemnitz, Germany Chinakohl, Galerie op-nord, Stuttgart, Germany
2006
Telling Surface, Senatssaal, Hochschule für Bildende Künste, Dresden, Germany
2005
Niemandsland, Motorenhalle Dresden,
Publication Rao Fu Follow Wind, Junge Kunst e.V., Wolfsburg, Dr. Constanze von Marlin and Andreas Schmid, ISBN: 978-3-7356-0033-2 Rao Fu, ARTSCAPE Contemporary Art Luxembourg, ISBN: 978-2-9199432-1-0
Germany Junge chinesische Kunst, New Galerie Landshut, Germany Meisterschüler HfBK Dresden, Kunstverein Burgwedel / Isernhagen, Germany
Art Fair 2019
Taipei Dangdai, Taipei, Taiwan
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