著名策展人 | 韓   祺

　審美教育是關於態度的。最成功和最難的是實現培養一種無態度的態度。何謂無態度的態度？即是一種恰當的態度。
    
　是否擁有恰當的審美態度，決定了是否能獲得審美經驗。什麼是恰當的審美態度呢？即 ，無功利、無概念、無目的。如何獲得恰當的審美態度呢？要獲得無態度的態度，要“減”，要與學習知識的方法相反，知識教育是“加”，審美教育是“減”。這裡的“減”如同禪宗，不可說！禪宗第一要義便是不可說。
 
　如何實施美育？ 藝術創作是實施美育非常重要和作用顯著的一環，這是因為藝術“再現”特質所決定。因為藝術中的再現是無利害的，這種無利害可以令人超然。

　藝術創作，是關於個人審美教育的自習課，自我自覺的培養是最珍貴而重要的。此次展出的作品，是九位參展藝術家交的“自習作業”，既是自我教育的成果， 也是進行審美教育的載體。

　我期待觀眾對這些“自習作業”的感受。

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Attitude / No Attitude — Young Artists Invitational Exhibition

　Curator, Han Qi

 
　Aesthetic education is all about attitude. The most successful and challenging part is developing a “no-attitude” attitude. But what is the “no-attitude” attitude? The answer is, an appropriate attitude.

　The appropriate aesthetic attitude leads to a good experience. What is the appropriate aesthetic attitude? Namely, an attitude that is non-utilitarian, non-conceptional and aimless. The way to obtain appropriate attitude is adverse to that of acquiring knowledge. Knowledge education is about addition while aesthetic education does subtraction, which is similar with ineffable Zen philosophy.

　How to implement aesthetic education? Creation is one of the significant parts for its nature of reconstruct. Because the reconstruct in art is disinterested and detached.

　Creation is the self-study of personal aesthetic education, which is valuable and important. The artworks presented in this exhibition can be regarded as the self-study homework of the participating artists, also the achievement of their self-study and the carrier of aesthetic education.

　I look forward to the feelings from the audience when facing these artworks.

大午侖系列1 | Da Wulun 1 龍一 | Long Yi 天然大漆，麻布，瓦灰，金銀箔 | Lacquer,linen,clay powder, gold and silver foil 30 x 30 cm 2018	空相之二 | Vanities 2 王立偉 | Wang Liwei 牛皮 綜合材料 | Calfskin, Mixed Media 65 x 45 x 40 cm 2018
糾纏 | Knot 潘星瑋 | Anton Poon 考頓鋼 | Corten Steel 70 x 90 x 50 cm 2018	生活記憶系列 - 某天的黃昏 | Life Memory Series - Someday at Dusk 胡浚諺 | Wu Chun Yin 油畫木板 | Oil on wood 50 x 60cm 2012

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