你類了嗎 - 「類水墨」類與不類的跨度思維
水墨畫的變革自清末西學東漸以來，便不曾中斷過，這種不斷地自我期許、求新求變的精神，早已成為水墨畫創作的自覺與無意識的自然天性了。在這樣的時代氛圍中，推陳出新、日新月異便如滾動的時代巨輪，將水墨儘可能的推向一個應許的未來，卻又無人能想像的一個世界，水墨是甚麼?「類水墨」又是甚麼?如同後現代主義所要的不確定性般，曖昧、混沌、模糊、矛盾、莫衷一是，給予心靈提供偌大的想像空間，宛如給予水墨許下一個偌大的未來，水墨與「類水墨」的關係，或將如現代主義被後現代主義所逆反的繼承一樣，「類水墨」或許將成為未來水墨發展的主軸!
當代藝術強調的多元性與異質性，推倒了畫種與畫種之間的籓籬，不同的畫種在媒材、技法、觀念等互相融合，形成交互作用，而這種現象往往不僅止於二元的融合互摻，更多的是多元的並置共陳於一件作品之中，畫種之間也形成了一種新的生態樂園，曖昧性，矛盾性；樸朔迷離間，每每讓人失去判斷的準則，陷入「無意識的」情境之中。就平面繪畫而言，這種現象在水墨畫的創作中尤為顯著。如果說，膠彩有其本身的堅持，而陶然於自我；而油畫被壓克力取代後就是一種自我放逐的喜悅的話；那麼水墨畫無疑就是個保守的開放主義者，在與當代對話的同時，既想保留古典，又期待能夠具有十足的當代性，想固守一元性，卻又努力的往多元發展，或許這就是「類水墨」的部分現實吧。
〈湧動墨潮-國際交流展〉以推展當代水墨的國際平台為初心，期待在國際交流的視野中，探詢古典繪畫面對時代的轉變，在其固有思維崩解之際，如何面對新觀點的介入，如何面對二十一世紀，又如何回應當代，與當代對話，一直是我們策展關注的焦點。例如:兩岸三地、韓國與越南的水墨畫，中國、越南與日本的漆畫，南亞與中亞的細密畫，西藏、尼泊爾與不丹的唐卡，越南的絹畫等等，都同時面臨這些議題，而各自有所發展與回應。畢竟藝術一直是在過去的內涵中，回應當代，目的在於建構未來，如同我們的策展初心也不斷地在分解中重構，在重構中分解，不停地對時下的多元跨度，思索與期許著未來一樣。「類水墨」或許不僅僅是水墨，也或許不是水墨，我們希望能用同陳並展，讓作品說話、讓觀者說話、讓世界說話，因為一場展覽不僅僅是一場展覽，更是一種理念的闡述，一種觀點的實踐。
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- Transcendental Thinking in Ink like Between Ink and Ink like
The evolution of ink painting has never stopped since the late Qing Dynasty, when Western learning was introduced to the East. This spirit of constant self-expectation and pursuit of innovation has long become the conscious and unconscious nature of ink painting creation. In such an era, the constant innovation and constant change are like the rolling wheel of the times, pushing ink painting as far as possible to a promised future, but a world that no one can imagine. Ink painting is really What is "quasi-ink painting"? Just like the uncertainty required by postmodernism, ambiguity, chaos, blur, contradiction, and inconsistency provide the mind with a huge imagination space, just like promising a great future for ink painting. The relationship between ink painting and "quasi-ink painting" may be like the inheritance of modernism that was reversed by postmodernism. "Quasi-ink painting" may become the main axis of the future development of ink painting!
Contemporary art emphasizes diversity and heterogeneity, tearing down the barriers between different painting genres. Different painting genres merge with each other in terms of media, techniques, and concepts, forming an interactive collaboration. This phenomenon is often not limited to binary fusion and intermingling, but more of a juxtaposition of multiple genres in one work. A new ecological paradise has also been formed between painting genres. Ambiguity, contradiction, and confusion often make people lose their judgment criteria and fall into an "unconscious" situation. In terms of painting, this phenomenon is particularly evident in the creation of ink painting. If pastel has its own persistence and is self-indulgent, and oil painting is a kind of self-exile joy after being replaced by acrylic, then ink painting is undoubtedly a conservative open-minded. While communicating with the contemporary, it wants to preserve the classics while expecting to be fully contemporary. It wants to stick to unity but strives to develop towards diversity. Perhaps this is part of the reality of "quasi-ink painting".
The "Surging Wave - International Exchange of Art" aims to promote an international platform for contemporary ink painting. We hope to explore the changes in classical painting in the face of the times in the perspective of international exchange. When its inherent thinking collapses, how to face the intervention of new perspectives, how to face the 21st century, and how to respond to the contemporary. Dialogue with the contemporary has always been the focus of our curatorial attention. For example: ink paintings from the two sides of the Taiwan Strait, Hong Kong, South Korea and Vietnam, China, Vietnam and Japanese lacquer painting, South and Central Asian miniature painting, Tibetan, Nepalese and Bhutanese thangka, Vietnamese silk painting, etc., all face these issues at the same time, and each has developed and responded. After all, art has always responded to the present in the context of the past, with the purpose of constructing the future, just as our original intention of curating is to constantly reconstruct in decomposition, and decompose in reconstruction, constantly thinking about and looking forward to the future for the current multiple spans. "Ink-like" may not only be ink, but also may not be ink. We hope to use the same exhibition to let the works speak, let the audience speak, and let the world speak, because an exhibition is not only an exhibition, but also an explanation of a concept and the practice of a viewpoint.