林亦軒：太陽的鉛筆
Lin YiHsuan：The Sun’s Pencil
林亦軒：太陽の鉛筆
許炯：帶我去遠方
Xu Jiong ：Home
許炯：遠きにありて
25 June to 7 August 2023
南城美术馆 Nanjo Art Museum
冲縄県南城市知念安座真865 Azama-865 Chinen, Nanjo, Okinawa
Each Modern亞紀畫廊與南城美術館很高興宣布林亦軒「太陽的鉛筆」、許炯「帶我去遠方」，將同時於6月25日起舉辦。兩位藝術家分別自美術館的駐留項目中獲得對繪畫、文化、生命的新線索，以各自獨特的藝術手法與詩意，累積出新的色彩與線條、拙樸的型態、或既具有機性亦具精神性的圖樣。
展名「太陽的鉛筆」源自東松照明1975年知名的攝影集書名。沖繩環境中的礁石、海浪、水平面時刻讓林亦軒感受自然、生命、創作的脈動連結，期間創作四件油畫說明了太陽的循環軌跡：日出、上午、正午、黃昏。而鉛筆是繪畫的起源，也共鳴著林亦軒抽象線條中的原始與拙樸。「太陽的鉛筆」展名的使用獲得東松照明遺孀的認同，在記錄沖繩人文的方向下，林亦軒透過繪畫，為太陽的鉛筆加入找尋歷史與身份的21世紀面貌。
許炯在晚春時候到達沖繩，南國的花卉也在春天綻放，隨後凋零。花與落花是美麗、脆落、包容、坦承。許炯在沖繩一期一會的相遇中感受島嶼生命對於去留往返之間的憂傷，他說每次從外回來褲腿、鞋子都扎滿種子，原來花草們也希望他帶走他們的未來去遠方。在短短的駐留期間，如何創作表達此時此刻的存在、與因而誕生的鄉愁？或未來離此而去、亦因此而生的鄉愁？這是沖繩過去的樣貌，與不可能避免的未來。許炯也以此述說了自己故鄉的情狀。
關於藝術家
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林亦軒，1985年生於宜蘭，在2009年前往拉丁美洲生活與創作，曾居住洪都拉斯、阿根廷，最終落腳巴西。 近年重要個展包括2023年沖繩南城美術館「太陽的鉛筆」與畫廊週北京「密度」、2021年台北亞紀畫廊「一個叫木材的傢伙」、2019年巴西聖保羅「在星空下」（為該年古裡提巴雙年展會外展）與台北關渡美術館「我們是烏龜」、2018年台北亞紀畫廊「吸管」、2017年費城Basin「Baby Danger Baby Extraño」與亦安畫廊台北「河馬啊」、以及2016年紐約Jeffrey Stark「A Chicken and a dog, they walk」等；重要聯展包括2022年慕尼黑Galerie Nagel Draxler 「Morgenrot und Abendbrot」、2019年香港Simon Lee Gallery「夏日外出」與台北亞紀畫廊「李元佳與年輕藝術家」、2018年宜蘭美術館「詩意的凝視：宜蘭美術館典藏特展」、2016年洛杉磯Moran Moran「Paper in Practice」與台北雙方藝廊「寫生：書寫與繪畫」、2014年紐約Suzanne Geiss 「That's the neighbor， always dressing these boulders in the yard」、2013年聖保羅 Instituto Figueiredo Ferraz「Olhae e escolher」、以及2011年台北鳳甲美術館「當代素描展」等。林亦軒曾參與2019 年聖保羅與紐約ISCP、及2013 年洛杉磯18 街藝術中心的駐村計劃。
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許炯，1983 年生於中國杭州，畢業於中國美術學院書法系，現居住與工作於北京。在思維根植於中國的精神核心下，許炯試圖轉化媒材、技法與風格間傳統而緊密的聯想，甚或在圖像及意象上以古代大家的文本元素拼貼，作為對固有思想的映照與挑戰，拒絕包袱與局限，也是個人與創造自由的實現。重要個展有2023年北京穹究堂「在每一個宇宙遇見你」、2022年台北亞紀畫廊「山水2022 SS」、2019年台北亞紀畫廊「自畫像」、2017 年罐子空間台北「我看見賈島」、亦安畫廊台北「我看見賈島了嗎？」以及2014 年亦安畫廊北京「大觀」。重要群展有2022年橫山書法雙年展、橫山書法藝術館「當態度變為尺牘」、Galerie Nagel Draxler 「Morgenrot und Abendbrot」、2021年穹究堂「亙古亙今 」；2022年，日本藝術家鈴木展所主持的《Drawing Tube》合刊收錄了許炯的作品，2015 年亦安工作室也為其出版藝術家書《萬物想》。
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林亦軒：太陽的鉛筆
Lin YiHsuan：The Sun’s Pencil
林亦軒：太陽の鉛筆
許炯：帶我去遠方
Xu Jiong ：Home
許炯：遠きにありて
25 June to 7 August 2023
Nanjo Art Museum
865 Azama-865 Chinen, Nanjo, Okinawa, Japan
Each Modern and Nanjo Art Museum are pleased to announce Lin YiHsuan's "The Sun’s Pencil" and Xu Jiong's "HOME" will be held simultaneously from June 25. The two artists obtained new inspiration from landscapes, culture, and daily life during the residency and accumulated fresh presentation both organically and spiritually.
The title of Lin’s exhibition "The Sun’s Pencil" comes from the same title of Tomatsu Shomei's famous photo book in 1975. The reefs, waves, and water in the Okinawa lead Lin feel the pulsating connection of nature, life, and creation. During this residency, he created four paintings to illustrate the cycle of the sun: sunrise, morning, noon, and dusk. The pencil is the origin of painting resonating with the originality and simplicity of Lin's abstraction. "The Sun’s Pencil" was approved by Tomatsu's widow. Under Tomatsu’s direction of recording Okinawa humanities, Lin attached the history and identity in 21st century appearance to The Sun’s Pencil through painting.
Xu arrived Okinawa in late spring, and the flowers in the southern bloomed then withered. Flowers and its falls are beautiful, fragile, tolerant and frank. The nature reflects the nostalgia of this island: every time Xu came back from outings, his trousers and shoes were full of seeds. It turned out that the flowers also hoped he would take away their future into distance. During the shot residency program, how to create the expression of the existence for the present with the nostalgia consequently from here? And how to depict the nostalgia while leaving here in the future? This is what Okinawa has experienced in the past, and its inevitable future. Xu also appropriate this to describe the situation in his hometown.
About Artist
Lin YiHsuan, born Yilan, Taiwan in 1985. In 2009, he moved to Latin America and lived in Honduras, Argentina, and eventually Brazil. Currently, he lives and works in São Paulo. Lin's recent important solo shows include ’The Sun’s Pencil’ (2023) at Nan Jo Art Museum, Okinawa, ‘Density’ (2023) at Gallery Weekend Beijing, Beijing, ‘a man called log’ (2021) at Each Modern, Taipei, ‘Sob o Céu Estrelado’ (2019) at Ateliê Fidalga, São Paulo, ‘We are Turtles’ (2019) at Kuandu Museum of Fine Arts, Taipei, ‘Straw’ (2018) at Each Modern, Taipei, ‘Baby Danger Baby Extraño’ (2017) at Basin, Philadelphia, ‘Argh. Hippos.’ (2017) at Aura Gallery Taipei, Taipei, and ‘A Chicken and a dog, they walk’ at Jeffrey Stark, New York. Lin's recent group shows include ‘Morgenrot und Abendbrot (2022) at Galerie Nagel Draxler, Munich, ‘Out of Summer’ (2019) at Simon Lee Gallery, Hong Kong, ‘Li Yuan-chia and the Homages to’ (2019) at Each Modern, Taipei, ‘Poetic Gaze: Yilan Art Museum Collection Exhibition’ (2018) at Yilan Art Museum, Yilan, ‘Paper in Practice’ (2016) at Moran Moran, Los Angeles, ‘Seize the Life: Contemporary Writing and Painting’ (2016) at Double Square Gallery, Taipei, ‘That's the neighbor, always dressing these boulders in the yard’ (2014) at Suzanne Geiss, New York, ‘Olhae e escolher’ (2013) at Instituto Figueiredo Ferraz, São Paulo, and ‘Drawing Now: Contemporary Taiwanese Drawing’ (2011) at Hong-Gah Museum, Taipei. Lin has also participated in residency programs at Ateliê Fidalga, Sao Paulo (2019), ISCP, New York (2019), and 18th Street Art Center (2013).
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Xu Jiong (b. 1983 in Hangzhou, China) graduated from China Academy of Art in calligraphy major and he currently lives and works in Beijing. Xu Jiong tries to transform the art tradition of ancient images and context as a reflection of the inherent thoughts and challenge to reject the limitations of creativity and freedom. Recent solo exhibitions include “Meeting You Again” (2023) at Qiongjiutang, Beijing; “ShanShui 2022 SS” (2022) at Each Modern, Taipei; “Self-portrait” (2019) at Each Modern, Taipei; “I Saw JiaDao” (2017) at aura gallery taipei and CANS Art Space, Taipei; and “Da Guan” (2014) at aura gallery Beijing, Beijing. Important group exhibitions include “Hengshan Calligraphy Biennial: Era of Principle and No Principle Interwoven—Calligraphy as a Visual Form” (2022); “What If Attitudes Become Letters? Writing -Correspondence - Context - Gender - Meme” (2022) at Hengshan Calligraphy Art Center, Taoyuan; “Morgenrot und Abendbrot” (2012) at Galerie Nagel Draxler, Munich; “ETERNAL PAST, PRESENT” (2021) at Qiongjiutang, Beijing. Publications include group catalogue Signals/Drawing Tube (2021) and All Things Are in Me (2015).
