GORO KAKEI
掛井五郎

Photo by GORO KAKEI
攝影 掛井五郎

Goro KAKEI

 (born 1939) is a renowned Japanese sculptor and painter. He graduated from the Department of Sculpture in Tokyo University of the Arts in 1955. Kakei was an art professor at Aoyama Gakuin Women’s Junior College from 1962 to 1996. Since 1968, he worked as a visiting professor at the University of Veracruz, Mexico for 2 years. He has been a member of the Sculpture Club of the New Production Association since 1961.  Kakei earned many important awards in Japan including the New Creator Award in 1957 by exhibited “Conception Announcement” at the 21st New Production Association Exhibition; the 7th Teijiro Nakahara Grand Prize for his bronze sculpture “Banzai Hill” in 1976, the 2nd Kotaro Takamura Award for Excellence in the bronze sculpture “Butterfly” in 1981, and the 23rd Teijiro Nakahara Award for her bronze sculpture “Standing” in 1992. In 2017, Goro Kakei Foundation was established. There are more than 70 collections throughout Japan public space, including the Tokyo Government Building.  He now lives and works in Tokyo.

掛井五郎

日本著名雕塑家及畫家,1930年生於日本靜岡縣靜岡市。 1955年畢業於東京藝術大學雕塑系。從1962年至1996年,他擔任青山學院女子短期大學的藝術教授。從1968年起,他在墨西哥韋拉克魯斯大學擔任客座教授2年。 1961年成為新製作協會雕塑部的會員。 掛井在日本贏得了許多重要的獎項,包括1957年首次在第21屆新制作協會展覽上展出的「受胎告知」獲得了新藝術家獎。 1976年以他的青銅雕塑「萬歲山」獲得第七屆中原悌二郎大獎; 1981年銅雕“蝴蝶”獲得第二屆高村光太郎獎;並憑藉其1992年的青銅雕塑「站立」獲得第23屆中原悌二郎獎。2017年,掛井五郎基金會成立。在日本全國,包括東京政府大樓在內,共有70多個公共收藏品。 他現在在東京生活和創作。

 

About the Paintings

Lily 

Easter is coming soon.

Lily means resurrection. 

Biography of Matthew from the Bible 

Look at the lilies blooming in the field. How do they bloom? 

I didn’t work hard 

But even in Solomon’s glory, that dress 

It is not as good as this lily.

_____________________ 

A Happy Day in Dream 

Expressed a day’s dream. 

_____________________ 

Lily Blossom 

A lily has bloomed on a person.

_____________________ 

A Journal

When I went for a walk, the old house was demolished. The trees in the garden have also been felled. I retrieved the scrolling log and drew it.  

_____________________ 

Easter Lily

Easter, resurrection flowers, lilies.

關於作品

「百合」

復活節快到了。 

百合花意味著復活。 

摘自聖經的馬修傳記 

看看田間盛開的百合花。它們如何開花? 

我沒有努力工作

但是即使在所羅門的榮耀中,那件衣服 

它不如這個百合花那麼好。

__________________________________

「在夢中快樂的一天」

表達了一天的夢想。

__________________________________

「百合盛開」

百合已經綻放在一個人身上。

__________________________________ 

「日誌」

我去散步時,老房子被拆了。 花園裡的樹木也被砍伐了。 我取回了正在滾動的日誌並繪製了它。  

__________________________________

「復活節百合」

復活節,復活的花朵,百合。


CHRISTIAN HENRY
克里斯蒂安・亨利

Photo by Cedric PUTAGGIO

CHRISTIAN HENRY

Born in Normandy in 1954, he spent his childhood in the countryside. After high school, he sailed the North Atlantic for a year as a sailor on the merchant ship Jadebusen at Kiel Harbour, Germany. From 1973 to1978, he studied painting, sculpture and engraving at the Rennes Academy of Fine Arts. He travelled to the Middle East in 1979. Living in Hamburg from 1980 to 1987, he was a theatre painter under director Peter Zadeck and stage installer Lilot Hegi. He returned to France in 1987 and continued his work as a painter and sculptor. He focused on the stillness and immediacy of his paintings, faithful to the light of northern Europe and the fragility of real appearances. 

As a painter, he has been invited to lectures by Karl-Josef Pazzini (1992) at the University of Hamburg and Marie Gautheron (2002,2007) at the Ecole Normalia Superior in Lyon. In 2016, he was invited as the resident artist of Heinrich-Boll-Cottage in Ireland. 1991-2020 Taught sketch, painting and sculpture at Talm-Tours. 

克里斯蒂安亨利

1954年生於諾曼底,在鄉村度過童年。中學畢業後,在停泊德國基爾港的玉灣號(Jadebusen)商船上當水手,航行北大西洋一年。1973-1978年在雷(Rennes)美術學院研習繪畫、雕塑和雕刻。1979年去中東旅行。1980-1987年旅居漢堡,是導演彼得·扎德克(Peter Zadeck)和舞台裝置師利洛·赫基(Lilot Hegi)領導的劇院畫家。1987年返回法國,繼續從事畫家和雕刻家的工作。  他專注於畫作的靜止和即時性,忠實於北歐的光和真實表象易碎的虛弱性。  

作為畫家,受邀參加過漢堡大學卡爾-約瑟夫·帕茲尼(Karl-Josef Pazzini)(1992)和里昂高等師範學院瑪麗·葛特隆(Marie Gautheron)的講座(2002,2007)。  2016年受邀愛爾蘭Heinrich-Böll-Cottage駐地藝術家。 1991-2020年在圖爾高等美術學院(TALM-TOURS)講授素描、繪畫和雕刻。  

 

About The Paintings

Each of the small-scale compositions are part of a larger landscape. The artist views the complete work as being highly mutable; not bound by the individual frames. They can be viewed as single paintings or as components that can be arranged to create new landscapes. (Excerpt)

Ta Kung Pao, Hong Kong

The individual paintings constitute a minor suite. They can be assembled into a series of hidden poems: the liquid verse of “An Evening”, with all of its uneasy tenderness in the half-light, painted with great energy, precision, and care. These are my tasks: to unfold the poem, close the fragments, build the “twilight structure”. The poets who helped me most in this regard are Georg Trakl, Tarjei Vesaas, and the Nordic light. 

Christian HENRY

All of the landscapes are inspired by contemplation bathed in twilight; one has the distinct impression that the artist is painting the memories of things that never took place, or things dreamt. Distant, trembling figures appear, nearly fading; a dimension linked to the evening light and death of day. 

Emilie DANIEL, Art Critic  

關於作品

作品的構圖,很多時候只是大片風景的一部分,他不希望風景被畫框所局限,而是畫面有向外的延展性。他的作品都是小幅,這些作品,除了本身是一幅畫之外,若將三幅或四幅作品放在一起也能構成一幅大風景畫作。因此,作品的位置都是細心佈局的。(節錄)

大公報 / 香港

一些小幅畫作,各自獨立,構成一個小調的組曲。它們可以排列成一組隱秘的詩:“一個夜晚”的液態詩,带有微光不安的溫柔、生氣、細緻和準確,這就是我要做的:詩的展開,殘片的彌合,暮色的形象和“構造”。這方面對我有幫助的詩人是格奥爾格·特拉克爾(Georg Trakl), 塔傑伊·維薩(Tarjei Vesaas),以及北歐的光。

克里斯蒂安·亨利 

所有那些風景的靈感都來自長久的凝視,然而沉浸在暮色的光中,我們覺得他畫的是對不曾存在的事物的回憶,或在夢中所見。遙遠的、顫動的、幾乎消逝的形狀與夜晚的光和白晝的死亡連在一起。

艾米麗·丹尼爾 / 藝術評論家 


SHEN CHEN
沈忱

Photo by Klaus REINELT

SHEN CHEN

Born in China in 1955, SHEN Chen is a New York-based artist. In 1988, he came to the United States on a fellowship as artist in residence at the Skowhegan School of Painting and Sculpture. He continued his studies at Boston University on an MFA scholarship the following year.  He has lived in New York since1991.  In the 1980s, Chen was one of China’s pioneers of Chinese abstract painting and experimental ink painting. He was an active member of “Art Salon” (an underground art movement). He held his first solo show in 1984 at the China Journalist Society in Beijing, collaborating with galleries in Asia, Europe and America for more than 30 solo exhibitions, and has continued showing his work in China and abroad at venues including the National Art Museum of China (NAMOC), Roma Academy of Fine Arts, Today Art Museum, Nantong Museum of Art, Queens Museum of Art, Museum of Chinese in America, Ming Yuan Museum of Art, Singer Museum of Art, Bochum Museum, Kunsthalle Recklinghausen, Museum Hurrle Durbach and ME Collection Berlin… His works were in the collections of Museums and art foundations as well as many privates. 

沈忱

藝術家,1955年出生於中國,現居住和工作于紐約和上海。 1988年獲斯考海根藝術學院獎金作為駐校藝術家赴美。次年獲全獎赴波士頓大學攻讀碩士學位。 1991年起定居紐約。 沈忱為80年代中國抽象繪畫和實驗水墨的先行者之一,並活躍於當時的“地下藝術沙龍”。 1984年,他在北京中國記者協會舉辦了第一次個人展覽。從此他開始與亞洲及歐美多家畫廊合作,至今已舉辦了三十多處個人展覽,作品展出在世界各地美術館,其中包括中國美術館,羅馬美術學院,今日美術館,昆斯美術館,明園美術館,美國華人博物館,辛格美術館,瑞克琳豪森美術館,波弘美術館,杜爾巴赫美術館,和柏林ME美術館等。作品被世界各地多家美術館,藝術基金會及私人收藏。 

 

About The Paintings

Overlaying of strokes is an action of negating.  I cover paint with paint in order for a painting to dissolute the painting itself. The more the number of strokes is laid, the further the negation is made.  Such dissolution is a long process that involves time and order, stretching from the beginning to the end.  Layers of stroke and paint eventually realize the space and a psychological third dimension.  Through the very intimate process of stroke-laying the artist thereby enters a void and dismisses all thinking activities.  Such reflection of the inner spirit is a poem of stream of consciousness.  The strokes as artworks are but the remainder of the process and the trace of time and spirit.  The canvas exemplifies nothingness and emptiness, like a magnetic field of soul releasing the impact of emptiness. I do not practice Zen.  I paint with pure mind and feel amidst peace.  Neither abstraction, nor minimalism, such is but my conceptualization of art.  And grey, just as the tone of my work, best depicts my style.  It is ambiguous, enchanting while uncertain.  Through the stroke I find my spiritual anchor and the ink my cultural indulgence.  I start with but go beyond ink painting.  It serves as aesthetic reference and artistic methodology rather than a “cultural association”.  Essentially, it is the realization and outflow of the spirit of the artist himself.

The Impact of Emptiness, SHEN Chen  

關於作品

一次次筆觸的重疊把前面一次次的筆觸加以覆蓋,否定,讓繪畫消解於繪畫本身。畫得越多,否定得越多。這種消解是一個很長的過程,包含了時間,秩序,由開始到完成。先後的筆觸和前後的層次,又體現出空間,還有一種心理的三維。這個過程是藝術家創作的最私密狀態,進入空虛,忘卻思想。內在的精神關照,猶如詩歌意識。作品,是整個消解過程留下的筆觸,時間和精神的痕跡。畫面是“虛無”,或 “空洞”。它像一個靈魂的磁場,放射著一種“空洞的力量”。我不修禪,無望“禪的修煉”,只是淨心地作畫,靜心地去體悟。這是關於 繪畫的觀念,既不 “抽象”,也不 “極限”,我的作品風格,就像作品的色彩,灰色。曖昧。令人著迷而又不確定性。對筆觸的精神崇尚,對墨色的文化淘怡。我的創作起步水墨,又跨越水墨。但這並不給我的作品以特定的“文化暗示”。作為一種純粹的藝術實踐的美學指涉,更傾向藝術家個人精神的弘揚和放射。 

沈忱《空洞的力量》


BEI DAO
北島

Photo by GAN Qi  攝影 甘琦

Bei Dao

Bei Dao, whose original name is Zhao Zhenkai, was born in Beijing in 1949.  In 1978, he founded the literary magazine Jintian (lit.: ‘Today’) with friends in Beijing. Since 1987, he has been teaching in many universities in Europe, America, and Hong Kong.  His work has been translated into 30 languages.  He is the Honorary Doctorate at Brown University, Honorary Professor of the Faculty of Art at The Chinese University of Hong Kong.  Bei Dao was awarded the PEN/Barbara Goldsmith Freedom to Write Award, the Swedish PEN Literature Prize, the American Guggenheim Prize, and the highest honour of Golden Wreath Prize of the Macedonian Struga International Poetry Festival.  He is an Honorary Member of the American Academy of Arts and Letters.  In 2009, Bei Dao founded the International Poetry Nights in Hong Kong, currently the most influential international poetry festival in Asia.  He created the Hong Kong Poetry Festival Foundation in 2018.

北島

原名趙振開,1949年生於北京,1978年和朋友在北京創辦文學雜誌《今天》。自1987年起,在歐美及香港多所大學教書或任駐校作家,其作品被譯成30種文字,曾獲瑞典筆會文學獎,美國古根漢獎,馬其頓斯特魯加國際詩歌節最高榮譽金花環獎等,獲選美國藝術文學院終身榮譽院士。2009年創辦亞洲最具影響力的國際詩歌活動 — 香港國際詩歌之夜,2018年創辦香港詩歌節基金會。

 

About The Paintings

The primary element of my poetry is, of course, metaphor, yet despite the differences, the medium of writing is in fact quite close to ink points, and at times they are difficult to distinguish from each other. In a sense, ink points are always lurking behind writing, present yet nameless. And in poetry there is another stream, in which all of poetry’s elements point toward the mysteries. (Excerpt) 

The Ink Point’s Revelations, Bei Dao  

Later I discovered that his paintings need to be viewed flat on a horizontal surface, so that they can be read point by point. It looks like a page, but hang that page on a wall as a painting and what you notice are the variations in its formatting and paragraphs, the variations in its moisture. The effect of the ink welling in the creases of the paper, though, each unique, or where the reader or conjecturer begins in this field of points, or the relations of succession they endeavor, or that at this point the composer must have been upset by something, and that at that point he came back after a long absence… these details are hard to spot from the wall, yet give us endless space for fantasy and delight in conjecture. A bit like reading the poem above, an interlaced viewing space that belongs to nowhere. (Excerpt) 

Bei Dao’s “Points”, XU Bing  

關於作品

我的詩歌元素尤其是隱喻,與墨點非常接近,但媒介不同,往往難以互相辨認。在某種意義上,墨點遠在文字以前,尚未命名而已。而詩歌有另一條河流,所有的詩歌元素共同指向神秘。 (節錄)

北島 《墨點的啟示》

我後來終於發現,這張畫是需要平放在書桌上看的,一個點一個點讀的。其實它更像一張書頁,但把書頁掛起來當圖看,看到的更多是版式、段落圖形的變化,難免單調。放在桌上當字讀,其中的每個“點”型的變化,墨色的變化,輕重的變化,水份的變化……,這些水帶著墨色在紙質的縫隙中停留的微妙結果,每一個都是不同的;讀著、推測著這一片點是從哪裡開始的;它們生成的先後關係;作者點到這裡可能心緒有點煩亂;這幾處,點點兒的人可能離開了好長時間… …。這些掛在牆上不易被看到的信息,給人無限的猜測的樂趣和幻想的空間。有點像讀上面那首短詩,交錯出一個哪都不屬於的觀看空間。 (節錄)

 徐冰 《北島的 “點” 》 


ADONIS
阿多尼斯

Photo by BEO DAO 攝影 北島

Photo by Bei Dao  攝影 北島

ADONIS 

Ali Ahmad Said Esber, who goes by the pen name Adonis (born 1930, Syria), is one of the most influential poets, critics, and essayists in contemporary Arabic literature. A seminal figure in modern Arabic poetry, Adonis is known for merging classical traditions with new poetic modes. 

He also played a key role in the evolution of al-shi’r al-hadith (modern, or free verse) in the late 1940s, a movement in the theorisation and practice of modern Arabic poetry that marked a break from the restrictions of classical meter, forms, and themes in favour of experimentation. 

Adonis began to create works of visual art – often multi-layered, mixed media calligraphic pieces on paper – in the early 2000s. He scripts segments of classical poetry, and in some cases his own poetry which are layered with small fragments of parchment, cloth, or swatches of colour. 

Through this work he pays homage to pre-Islamic Arabian poets Zuhayr and Tarafa Ibn Al Abd, whose poems, the Mu’allaqaat (“Suspended Odes”) were said to have been hung in, or on, the Kaaba in pre-Islamic Mecca, and are considered the primary source for early Arabic poetry.

阿多尼斯

阿里·艾哈邁德·賽義德·伊斯比爾(Ali Ahmad Said Esber),筆名阿多尼斯(Adonis),是當代阿拉伯文學中最有影響力的詩人、評論家和散文家之一。阿多尼斯是現代阿拉伯詩歌的重要人物,以將古典傳統與新詩歌模式結合而聞名。

十九世紀四十年代後期,他在現代自由詩的演變中發揮了關鍵作用,即現代阿拉伯詩歌的理論化和實踐運動,標誌著以實驗打破古典韻律、形式和主題的限制。

阿多尼斯從二十一世紀初開始創作視覺藝術作品——通常是多層的、混合媒介的紙上書法作品。他寫下了古典詩歌的片段,在某些情況下,他自己的詩歌是由羊皮紙,布料或彩色的小碎片分層所作。

通過這作品,他向前伊斯蘭教的阿拉伯詩人祖海爾和塔拉法致敬,他們的詩歌「暫停的頌歌」據說是掛在前伊斯蘭教麥加的天房,並被認為是早期阿拉伯詩歌的主要來源。

 

About The Paintings

In the same way that Adonis’s poetry is connected to classical Arabic poems and French surrealism and Islamic Sufism in an exciting revisited relation, some of his paintings are devoid of imagery and some are full of them.  At first glance, it would seem that a large number of those images and forms are threatened by calligraphy art which attempts at replacing image with a written script. If we look deeper into the subject, we notice that on the contrary, there exists a pleasant vital balance between images and calligraphy. They both embrace and ornament each other in a certain rhythm. (excerpt)

Adonis’s Muallaquat, Henrich Detering, Frankfurt Newspaper FAZ 

In Adonis’ work, writing is a drawing. His writing, beautiful and elaborate, is part of the collages. And the collages are part of this writing. The one serves the other. When I see these works, I feel strongly that Adonis manages to give us a very powerful emotion with a piece of wood, a piece of fabric, which he looks and uses for a collage. He is playing with writing, and what he does is so close to it: one writes with ink, not paint. Even in the image, he is writing. 

A, Adonis’ visual work, Azzedine Ala

關於作品

同樣,阿多尼斯的詩歌與古典阿拉伯詩歌、法國超現實主義和伊斯蘭蘇菲主義以一種令人興奮的重新審視的關係聯繫在一起,他的一些繪畫缺乏意象,而有些則充滿了意象。乍一看,以文字代替形象的書法藝術似乎威脅著大量的這些形象和形式。如果我們深入研究這個主題,我們會發現相反,圖像和書法之間存在著一種令人愉快的重要平衡。它們都以一定的節奏相互擁抱和點綴。任何能破譯這些文字的人都不會發現古老的傳統詩歌,而會發現一些阿多尼斯的詩句,它們延伸到圖像內部,融化在圖像中。文字是否經常以一種有序或扭曲的方式退出前面的場景,出現在畫面的結構中?書面文字變成了毫無意義的塗鴉。至於較小的畫,它們看起來就像明信片,複製他們自己的數字在一些情況下沒有書面文字。因此,通過這些更小的畫,生物變成了被風吹動的樹葉;因此,藝術家阿多尼斯這個名字的意義就在於它指的是一個古希臘東方傳說,根植於植物王國,賦予了藝術家這個名字一個新的詩意維度。

亨利·德靈・法蘭克福報紙FAZ 《阿多尼斯的懸詩》

在阿多尼斯的作品中,寫作就是一幅畫。他的文字,優美,精緻,是拼貼畫的一部分。拼貼畫也是寫作的一部分。一個服侍另一個。當我看到這些作品的時候,我強烈的感覺到阿多尼斯用一塊木頭,一塊布料,來做拼貼,給我們帶來一種非常強烈的情感。他寫作就如同: 他是用文字來書。在畫中寫作。」

阿瑟丁・阿拉《阿多尼斯的視覺作品》


A Dialogue with Spring
春天的對話

畫是一種無聲的詩,而詩則是一種有聲的畫 

 西摩尼德斯 (前556年-前468年)

 

在西方,從古希臘已有對詩與畫的探索;拓展當代詩與藝術的對話,則是香港國際詩歌節基金會(HKPFF)新的使命。

然而2020年的世紀疫症使天地變色,受制於不同的限聚措施,人際間尋常的活動受到前所未有的考驗,激起全球數碼化進程加速發展。有感於網上的交流已成為生活日常,HKPFF相應地開發以夜巡為名的綫上畫廊,越過時間和空間的束縛,作為詩與藝術對話的平台。

第一次的展覽以春天點題,意味著一個契機,激活了未知的可能。五位藝術家來自世界不同的地方,他們的創作與詩的關係千絲萬縷。阿多尼斯和北島同是詩壇中的泰斗,近年進行藝術創作其實是以畫寫詩;旅居紐約的沈忱畫風簡約中充滿襌意;法國畫家克里斯蒂安亨利的作品是與不同詩人的對話;掛井五郎是日本藝術界的前輩,他的畫作如其雕塑作品,有強烈的個人風格,鮮明的筆觸裡是對生命的敏感和關懷,以無言的文字說著深沉的故事。

夜巡的命名來自北島的同名詩作,那是三十年前的事了;背景已不再一樣,但一直是詩人與藝術家創作靈感的起點。

這個網上平台的建立,除了為基金會勾畫出往後可持續發展的輪廓與方向外,也為讀者、觀眾、相關領域的研究者和創作者提供交流的可能,以及拓闊詩與藝術發展的視野和研究的範疇,也為兩者推向更具時代性的展現。

麥安
藝術總監 /策展人

Painting is silent poetry, and poetry is painting with the gift of speech.

 Simonides of Ceos (556-468 BC)

 

There have been explorations on poetry and painting since ancient Greece in the West. A mission of HKPFF is to extend the dialogue between poetry and art in the contemporary era.

However, the pandemic since 2020 has interrupted and posed unprecedented challenges to interpersonal activities. It also stimulated the acceleration of global digitalization. Recognizing the internet communication has become a norm of our daily life, HKPFF has accordingly started an online gallery under the title Night Patrol. The gallery serves as an open platform for dialogues between poetry and art to tackle time and space impediments.

The metaphor of Spring, which signified an opportunity to discover the unexplored horizon, brightened up our first exhibition. The five invited artists came from different parts of the world and their works are inextricably linked to poetry imagery.  Adonis and Bei Dao are both masters in the domain of poetry. They have started painting in recent years as a unique way in writing poetry with colours and ink.  SHEN Chen, who resides in New York, insists on simplicity in his paintings, which led the viewers to a profound contemplation of Zen philosophy.  The works of French painter Christian HENRY are, as a matter of fact, his diary, which recorded on canvas his sensual dialogues with different poets. Goro KAKEI is a veteran in the Japanese art world. His paintings, like his sculptures, have a strong personal style. From his vivid brushstrokes, one could be moved by his sensitivity and care for life. His narratives without speech convey different touching stories behind.

Night Patrol is a title inspired by Bei Dao’s poem of the same name written thirty years ago. Though the background is no longer the same, the metaphors of night and patrol are still the ponds where artists and poets draw their inspiration. 

This online platform outlines the direction of sustainable development for the Foundation in the coming future and provides communication possibilities for readers, audiences, researchers and creators of related fields. It widens the vision and the research scope for poetry and sustains its development by moving it in line with the current epoch.

Ann Mak
Artistic Director / Curator

Artwork 作品