陳幸婉(1951-2004)過世之後，雖然有許多的紀念展，但目前並沒有一個展覽集中討論她的抽象水墨與抽象表現主義，以及跟李仲生(1912-1984)教學之間的複雜關係。李仲生所提倡的的「自動繪畫」（automatic drawing）原本來自20世紀初期法國詩人安德烈middot布勒東的理論，而該理論在後來也成為超現實主義（surrealism）和達達主義（dadaism）的重要根據之一。 這個理論主張：如果擺脫意識的糾結而能夠進入到潛意識（佛洛伊德）的創作樣態，藝術家或許更能夠擺脫傳統與意識形態的束縛，而能夠直接進入到創作的原質狀態。這個理論主張：如果擺脫意識的糾結而能夠進入到潛意識（佛洛伊德）的創作樣態，藝術家或許更能夠擺脫傳統與意識形態的束縛，而能夠直接進入到創作的原質狀態。
陳幸婉1990年於巴塞爾駐村工作室。（圖片轉載自《原形．開闔．陳幸婉》，2023年，國立臺灣美術館）
對陳幸婉而言，這種來自於李仲生的啟發與她後來在歐美國家所看到抽象繪畫的衝擊，讓她從1990年前往瑞士巴塞爾（Basel）駐村時，開始嘗試大量的繪製在紙本上的抽象水墨創作。乍看之下，陳幸婉的抽象水墨比起劉國松所領導的五月畫會要整整晚了將近40年。但是，陳幸婉與劉國松其實走的是不同的道路。陳幸婉與劉國松的抽象水墨創作，到底有何差異之處，也是本次展覽所要探究的主題之一。
其次，從林珮淳的《女/藝/論─臺灣女性藝術文化現象》（1998）到陸蓉之的《臺灣（當代）女性藝術史》（2002），到臺北市立美術館所舉辦的「她的抽象」（2019），臺灣藝術界對於女性藝術，特別是女性的抽象藝術之研究，已經日益精深。本次展覽的另一個重點是展示陳幸婉在1990年代所創作的一批未曾公開曝光的抽象水墨作品。藉由這批精選的30件作品，本展覽企圖提問：是否抽象水墨是陳幸婉奔向內在自由的關鍵途徑？身為一位女性創作者，又有一位代表創作權威的父親，藉由自動繪畫的方式，她既可以不依賴傳統的繪畫形式，又能直接探索生命的絕對內在？ 此外，「抽象水墨」與複合媒材（拼貼）創作，之於陳幸婉的生命到底是如何的關係？這些問題，希望能夠透過「生命的速寫─陳幸婉的揮灑與拼貼」展覽，能夠提供一些最新的研究與看法。
陳幸婉1990年代抽象水墨創作（圖片：幸文化藝術基金會提供）
Sketches of Life:The Expressions and Collages of Chen Hsing-Wan
After the passing of Chen Hsing-wan (1951-2004), several memorial exhibitions were held, but none of them focused on exploring the intricate connections between her abstract ink painting, abstract expressionism, and the teachings of Li Chun-shan (1912-1984). The concept of ldquoautomatic drawingrdquo advocated by Li originated from the theories of the early 20th-century French poet Andreacute Breton, which later became one of the fundamental references of surrealism and dadaism. According to Breton, it would be possible to access the subconscious (Freudian) state of creation if one could be freed from the entanglement of consciousness. In this case, artists might be better equipped to free themselves from traditional and ideological restraints to enter the primal state of creation directly.
Chen was inspired by Li and influenced by seeing abstract paintings in Western countries, which led her to start experimenting extensively with abstract ink painting on paper during an artist residency in Basel, Switzerland in 1990. Although Chenrsquos abstract ink painting emerged four decades after the Fifth Moon Group, led by Liu Kuo-sung, her abstract works unfolded a path different from Liursquos, and the difference between Chenrsquos and Liursquos abstract ink creations becomes one of the topics explored in this exhibition.
In addition, from Lin Pey-Chwenrsquos Women Art Discourse (1998) to Victoria Lursquos History of (Contemporary) Taiwan Women Artists (2002) to The Herstory of Abstraction in East Asia (2019) presented by the Taipei Fine Arts Museum, the art world in Taiwan has increasingly studied womenrsquos art in recent decades, particularly abstract art by women artists. Another highlight of this exhibition is a collection of Chenrsquos abstract ink paintings from the 1990s, never publicly shown before. Through a careful selection of thirty artworks, the exhibition aims to ask various questions: Is abstract ink painting a key pathway for Chen to pursue inner freedom? As a woman artist who grew up with a paternal presence that represented creative authority, does employing the technique of automatic painting indicate that Chen was able to distance herself from traditional forms of painting while directly exploring an absolute inner realm of life? Furthermore, how was the creation of ldquoabstract ink paintingrdquo and mixed media (collage) related to Chenrsquos life? The exhibition Sketches of Life:The Expressions and Collages of Chen Hsing-Wan hopes to offer the latest research findings and insights into these unanswered questions.
策展人：吳超然
展出時間：2024年9月12日至10月19日
展覽地點：東海大學藝術中心
展場地址：台中市西屯區臺灣大道四段1727號／東海大學人文大樓一樓
開放時間：週一至週六12:00~18:00／週日及例假日休館
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