International Modern Ink Painting Exhibition

国际现代水墨大展

Hosted by: Asian Cultural Center, Crystal Foundation
Exhibition Address:

• Asian Cultural Center at New York
  15 East 40th Street, New York, NY 10016
  Exhibition Date: May 22 to June 10, 2006
  The reception of this exhibition will take place on May 26, 2006, Friday, 6:00 PM ~ 8:00 PM at Asian Cultural Center.
  

• Asian Cultural Center at New Jersey
  Address: 1876 Route 27 Edison, NJ 08817
  Exhibition Date: June 1 to June 15, 2006
  The reception of this exhibition will take place on June 3, 2006, Saturday, 5:00 PM ~ 7:00 PM at Asian Cultural Center at New Jersey.
  

• Asian American Cultural Center, Rutgers, the State University of New Jersey
  Address: 49 Joyce Kilmer Avenue, Piscataway, NJ 08854
  Exhibition Date: May 22 to June 10, 2006
  Monday - Friday
  8:30 am - 4:30 pm

策划： 亚洲文化中心、纽约协和文化基金会
展出地点：

• 纽约亚洲文化中心
  15 East 40th Street, 2nd Floor，New York, NY 10016
  展出时间： 2006年6月1日至6月17日
  展览开幕仪式： 2006年5月26日 星期五 下午 6 点 至 8 点

• 新泽西亚洲文化中心
  1876 Route 27, Edison, NJ 08817
  展出时间： 2006年6月1日至6月15日
  展览开幕仪式： 2006年6月3日 星期六 下午 5 点 至 7 点

• 亚美文化中心（新泽西州 Rutgers 大学）
  49 Joyce Kilmer Avenue, Piscataway, NJ 08854
  展出时间： 2006年5月22日至6月10日
  星期一 至 星期五
  8:30 am - 4:30 pm

Artists:
China
Qiu Deshu、Duan Xiucang、Liang Quan、Lion Lih Jian、Ye Xue、ong Kong、Lee Chun Yi、Liang Deng Chai、Chen Cheng Qiu、Chan Kwan-Lap
Taiwan
Liu Kuo-Sung、Yuan Chin-taa、Hung Ken-Shen、Li Chung Chung、Li jen ming、Cheng dai le、Juang lian don、Hung-Hsien Chao、Shin Tung-Ching、Kung-jui Wu、Hsi-yueh Li、Kun-te Chen、Kuo Yen-Huang、Yi-cheng Hu
USA
Leong Lampo、Kong-Yi Wang、Shen Chen
French
Gao Xing Jian
Korea
Kim Soo-Gil、Kim Young Whan、Lee Keun Woo、Kim Hee-Young、Song Soo-Ryun
Singapore
Chen Kezhan

Alienation and distortion of humanity in the modern consumerist society and the overwhelming pervasion of digital technology and electronic media led many people in the last century to worry about the future of Chinese ink and wash painting. Could the ancient art form celebrating nature and life, visual perception and philosophical thinking continue to exist in a completely different historical context? In a world saturated with material desires, multimedia stimulation and pleasure seeking, who would be interested in contemplating man and nature, and in pursuing spiritual liberation and freedom? Suddenly the future of ink and wash looked dim indeed, and many people believed that the art would wither away.
As we enter the new century, however, ink and wash has not died away, though it attracts much smaller audiences than the multitude of highly addictive multimedia that dominate the entertainment and consumer culture. Not only has ink and wash survived, but it has acquired a new life. The ink medium has found diverse applications beyond traditional restraints. In addition to ink and wash paintings on paper or silk, the medium is now used in new art forms such as performances, installations and films. The new ink and wash technique has also crossed many national borders to become a global way of artistic expression. More and more artists in the West as well as in the East are turning their attention to this traditionally Asian art.
World-famous Japanese photographer and artist Araki Nobuyoshi observes that “art that touches the spirit is the most important for people. Not only will ink painting survive, it will become the star of tomorrow.” He even predicts that “the new century will be a watershed, an era dominated by the spirit of ink and wash.” The spirit of ink and wash that Araki proclaims, refers to a broad mind-cleansing artistic spirit. It is not limited to ink painting, but it certainly is closely linked to the thinking of Chinese ink and wash. Commenting on Chinese painter Cai Guoqiang’s artistic style, Araki believes that it is essentially influenced by Chinese thinking of ink and wash. “Chinese spirituality is often expressed, unconsciously, through techniques such as black and white, and heavy and light,” he adds. “Physically and spiritually, Chinese are infused with ink and wash. It is an intricate quality that I envy.” (See “An Interview with Araki Nobuyoshi” by Yang Ermin in Pictorial No. 6, 2004.)
And indeed, the new ink and wash in China, Taiwan and Hong Kong has had remarkable achievements since the beginning of the new century. In other Asian countries such as Korea, and in Europe and the United States, there have also been noteworthy works. These examples of new ink and wash painting around the world have used innovative artistic languages to express the artists’ longing for and pursuit of spiritual freedom. In an era of the Internet and instant cultures, people have a greater need for contemplation, meditation and deep understanding. The new ink and wash paintings represent life in ink, a return to purity and simplicity. This spirit of ink and wash connects our memory of the past with our perception of the present. When viewing modern ink and wash paintings, we regain a certain degree of spiritual freedom of contemplation, meditation and deep understanding deprived by modern media and instant cultures.
The new ink and wash movement in Taiwan and Hong Kong began nearly half a century ago. And in mainland China, the trend of modern ink art has continued for two decades since the New Wave Art in the mid-1980s. But in spite of the impressive achievements of new ink and wash artists and the recognition of their roles in art history, the influence of this art form is still limited to the elites and professionals. In order to introduce the new ink and wash and its spirit to the general public and bring it closer to people’s life, we have organized the Life in Ink and Wash international exhibition. We hope that the exhibition will help people better understand modern ink and wash art and foster interaction between modern ink artmaking and the public. Our objective is to encourage public participation and involvement in the interests of the society. We do not wish to impress viewers with high-sounding artmaking methodology. It would be ridiculous to teach other people what one does not understand.
With these considerations, we have chosen the works of twenty three artists from China, Taiwan and Hong Kong, and ten artists from Korea, the United States, France and Singapore. These modern ink and wash paintings will be exhibited in Asian Cultural Centers of New York and New Jersey in the United States. The exhibitions will focus on an ambiance of ink culture at the exhibition site. Artists will be invited to take part in academic exchanges. Speeches and panel discussions will be organized to help viewers have an interactive dialogue with the artworks. The works have been exhibited in Taiwan, and won positive reviews from the media. The warm responses prove that it is right to try and bring modern ink and wash art into the lives of the general public. It is also in accordance with the multicultural trend of the new century.
The works in the exhibition depict modern life from different and unique perspectives. With vivid and distinctive languages of new ink and wash, they interpret life in water and ink in the contemporary cultural context, a kind of spiritual life of contemplation, mediation and deep understanding.
Lui Guosong is the leader of the new ink and wash movement in Taiwan which began in the 1950s. He created the non-brush-and-ink ink painting. His Jiuzhaigou Series reaches unraveled perfection of the semi-automatic ink techniques inspired by traditional Chinese ink and wash painting. Moreover, it reflects, through a vocabulary of the time and a personal syntax, the artist’s unique interpretation of the ideal of unity between man and nature.
Hong Genshen’s Landscape Geometry Series intertwines geometric symbols with landscape imagery to construct reality and deconstruct transcendental images. Through this construction and deconstruction, Hong offers interpretations of how man interacts with nature, and brings the viewer to appreciate the intriguing relationships between man and nature, and between the synchronic and the diachronic. His latest work, Men and Women of the City, expresses the loneliness and bewilderment, the bustle and suppression in today’s world. Through the new ink and wash language, the artist ruminates over modern-day urban life and his reaction to the environment.
Yuan Chin-taa is a leading artist who excels in mixed media to give ink and wash a new life. His works always reflect his humanistic concerns. Recently his style has shifted from detailed realism to free brushwork. The more traditionally Eastern flavor expands his artistic expressions and broadens our artistic horizon.
Liang Quan, Liu Zijian and Ye Xue are among the most active experimental ink and wash artists in China since the 1990s. Their works are inspired by the traditional form, but they choose their subjects and painting methods from modern-day China. They shun slavish imitation of tradition as well as indiscriminate borrowing of Western art. Values and ideals of the Chinese culture are presented in their distinctive and unique styles, creating works that are profoundly traditional and modern at the same time.
Liang Quan’s Xuan paper (rice paper) collages using traditional mounting techniques are deeply poetic. The exquisite, light inking corresponds to the Chinese ideal of the transparent, lofty, pure, marginal, contemplative, peaceful, modest, self-discipline and concentrated devotion. Zhang Yu’s Fingerprint seems to defy the restraints of traditional ink and wash with its obvious conceptual and performance significance. But in essence, it has the same spirit found in his Inspiration series, a kind of cleansing of the mind. Liu Zijian has five new works of starry skies. As always, they demonstrate Liu’s efforts to re-create a new Eastern culture. “For a long time there is little change in my paintings. I just try to paint a little better.” he says. “I always think that at a time of great changes, it is much more difficult to hold on to your ideals than to follow popular fads. I am what I am today because of my resolute persistence. It drives me to keep trying until I have achieved something.” This is a responsible attitude towards culture, and I believe that conscientious viewers and readers will see from Liu’s works, as I have done, the hope of Chinese culture. The artist’s passion for expression opens our eyes to the reality of the mind and the erosion of the mind by the reality.
Qiu Deshu began his experimental ink and wash art early in the 1980s. He has created a new way of ink painting that involves composing, lacerating, integrating and mounting all at the same time. The result is an unprecedented wonderful effect of Xuan paper, the unique medium for Chinese ink and wash painting, and an absorbing manifestation of his idea of “crackling” art. Duan Xiucang from northern China has also been exploring modern ink and wash. As one of the activists of the New Wave Art in the 1980s, he approaches art and life from a philosophical perspective. His ink art is expressed in a free-flowing and majestic language, and tells of his new understanding of the black and white ink spirit of traditional Chinese culture.
Modern ink and wash artists from Hong Kong share a unique characteristic of their time and local culture. Liang Dongcai, Chen Junli and Chen Chengqiu often choose natural objects as their subjects and treat them in a variety of abstract techniques such as rubbing, rinsing, washing and dying to create striking and fascinating play of ink and water. The abstract form is rich in philosophical thinking, poetic quality or meditation. While these works give us novel visual effects, they also convey the artists’ identification with national and cultural values and embody the ideal of harmony between man and nature in Eastern culture. Young artist Li Junyi was born in Taiwan, grew up in Hong Kong and studied in the United States. These experiences help him to move beyond local and cultural boundaries and pursue vastly different methods in his artmaking. Turning away from the random inking technique, he divides his picture into small squares or fills it with repetitive imprinting by a cork stamp. This is his way of creating new visual effects to express the modern-day culture.
The works of Wang Gongyi and Liang Lanbo from the United States present an outlook very different from the works of Chinese, Taiwanese and Hong Kong artists. They tend to put much more emphasis on the site of the exhibition and create a strong visual impact. Wang experiences life through ink and wash. Her Conch Diary is a sensitive and exquisite record of her private experiences at different moments. Yet it is represented in a spectacular way that draws the viewer to the very spot. While preserving the same spirit of ink and wash and Eastern realization, she has greatly expanded the visual tension and sense of space. Liang’s works of color ink and mixed media integrate the irreplaceable expression of Chinese ink and wash with the color, light, texture and three dimensions of Western art. The visual landscapes he creates are striking and splendid. He sets an example of transcending the dichotic oppositions of technology and humanities, of modernity and tradition, and opens up a new way of thinking for contemporary ink and wash artmaking.
Modern ink and wash movement in Korea began in the 1960s. Like artists in other Asian countries, Korean painters have overcome their doubt about the vitality and essence of Eastern painting. In spite of the impacts of Western cultures, they firmly believe in the spirituality and vitality of ink and wash. They experiment with their own unique media and forms in search of a Korean abstract ink and wash art that unites formal beauty with simple expression. Kim Soogil is a representative artist of this group. He will guide us to discover more possibilities of life in ink and wash from new perspectives.
The International Modern Ink Paintings Exhibition, organized by Crystal Foundation and Asian Cultural Center, showcases the achievements of some of these artists of Eastern Painting. It is our sincere wish that more people would enter the world of ink and wash—a spiritual life of meditation, contemplation and deep understanding.

參展藝術家：
中國
仇德樹、段秀蒼、梁 銓、劉子建、野雪
香港
李君毅、梁棟材、陳成球、陳君立
臺灣
劉國松、袁金塔、洪根深、李重重、李振明、程代勒、莊連東、洪顯超、史東錦、吳恭瑞、李錫岳、陳坤德、郭炎煌、胡以誠
美國
王公懿、梁藍波、沈忱
法國
高行健
韓國
金秀吉、金泳煥、李根雨、金嬉瑛、宋秀璉
新加坡
陳克湛

因消費社會對人之性靈的異化扭曲，也由於數位化新技術新媒體之鋪天蓋地來勢洶洶，上個世紀末不少人對水墨畫的前途和命運憂心忡忡。他們對水墨畫這一涵詠天地、品味人生，視覺感受與哲學思維相伴而行的古老藝術方式在全然改變了的歷史條件下還能否繼續存在，表示了深刻的懷疑：紅塵滾滾，物欲橫流，聲色光電，享樂成風，誰還有心去俯仰天地，追求精神解放、心靈自由？一時間，持水墨藝術消亡論者，大有人在。
然而，進入新世紀，就受眾的範圍而言水墨畫雖遠不敵形形色色的影視影像多媒體等等依託聲色光電能令人沉溺上癮的娛樂消費文化，卻也並未消亡。不僅並未消亡，更有新機新運，水墨媒材有了更為多元化的運用，不只超越了傳統的筆墨規範，更超越了平面、架上的限制，滲透到行為、裝置和錄影等新的藝術方式之中；現代水墨藝術更加國際化，它不只在亞洲國家繼續推進，且已走出東方文化的苑囿，為越來越多的西方人士矚目，成為世界性的藝術表達方式。這也正像一些有識之士，如世界級的攝影藝術家荒木經惟所言，“觸及精神的藝術對人類來說才是最重要的，所以水墨畫不但不會消亡，還將成為未來的明星。”荒木甚至認為：“新世紀是一個分界線，新世紀將是水墨精神稱霸的時代。”作為一位傑出的世界級的攝影藝術家，荒木所說的“水墨精神”應該是一種寬泛的藝術精神，一種能蕩滌人們心靈的藝術精神。它顯然並不局限於水墨畫，但也顯然與中國水墨畫思想有關，因為荒木不僅認為蔡國強的藝術方式從根本上是因有中國水墨畫思想存在的緣故，還說：“中國人往往無意識地通過黑白、濃淡之類的手法來傳達某種精神性。中國人的肉體和精神上都浸染著水墨畫。我真羡慕你們的這種‘被墨浸染’的本質。”（見楊佴旻《東京日和——訪荒木經惟》載《畫刊》2004年6期）
事實也正如此，新世紀以來新水墨藝術在海峽兩岸三地的大陸、臺灣、香港都有引人注目的創作成果。在亞洲其他國家如韓國、在歐洲及美國也都有耐人尋味的創作實例發生。這些世界範圍的新世紀的新水墨藝術作品以多元的水墨藝術語言，傳達了在這個網路化的、速食文化發達的時代，人對沉思、冥想和開悟等精神自由活動的嚮往與追求，它們共同體現著新世紀的一種傳承“水墨精神”的水墨生活，這是一種精神還鄉的生活，它追遠曆新，連接我們對過去的記憶和對當下的認知。面對這些現代水墨藝術作品，我們可以在相當程度上重獲被現代媒體和速食文化剝奪了的沉思、冥想和開悟的精神自由。
新水墨藝術運動在臺灣和香港發生迄今已將近半個世紀，在大陸隨“85美術新潮”而起的現代水墨藝術潮流到現在也已有了二十年的歷史。雖然今天看來新水墨藝術創作成果累累，其藝術史地位也早已不容忽視，但新水墨藝術的影響至今仍局限在精英文化的層面和專業圈子之內，與社會公眾的生活仍有一段距離。為推介新水墨藝術及其所代表的水墨精神，加深人們對現代水墨藝術的認知，促成現代水墨藝術創作與社會公眾的互動，我們舉辦了這個以“水墨生活”為主題的國際現代水墨藝術大展。策展思路已如前述，重在推介與互動，推廣水墨文化，弘揚水墨精神，注重吸引公眾的參與，旨在做有益於社會公眾的實事，不圖以創作方法論之類的大話空話蒙人，以顯自己高深，否則“以其昏昏，使人昭昭”豈不可笑！
由此思路出發，展覽選擇了兩岸三地大陸、臺灣和香港的二十三位藝術家以及分別生活在韓國、美國、法國和新加坡的十位藝術家的現代水墨藝術作品在美國紐約和新泽西等地的亞洲文化中心展出，展出期間將著力營造展場的水墨文化氣氛，舉辦有藝術家參與的學術交流活動，引導公眾與作品互動對話。這個展覽已在臺灣展出，媒體稱“展現難得交流機會”、“與民眾暢談美學”，反響良好。可見讓現代水墨藝術深入民間的策展思路順應民意、順應新世紀的世界多元文化潮流。
此次三十三位參展藝術家的作品均從各自獨特的視角切入當下生活的不同方面，他們以各具鮮明特色的現代水墨藝術語言為我們詮釋了當代文化情境中“水墨生活”（一種冥想、沉思、開悟的精神生活）這一極富啟發性意義的主題。
劉國松是臺灣上世紀五十年代興起的新水墨藝術運動的領軍人物，是“非筆墨性水墨畫”的開創者，他的“九寨溝系列”作品，不只將他在中國古人啟發下創造的一系列半自動水墨技法運用到爐火純青、令人歎為觀止的境地，更值得我們細心品味的是畫家“用時代的語彙和個人的語法”對“天人合一”理想所作的獨特闡釋。洪根深的《山水幾何系列》藉幾何符號與山水圖像的穿插交錯結構現實畫面、解構先驗意象，並以此詮釋人與自然的互動，引人感悟人文與自然、同時性與共時性的奇妙辨證關係。其近作《都會男女》則以現代水墨語言表達當代時空裏的落寞與錯愕、煩囂與壓抑，是藝術家對都市生活的感歎，也是對環境與心境的反芻。袁金塔是臺灣現代水墨藝術家中擅長媒介語言嫁接的代表性人物，其作品一直帶有較強的人文關懷色彩，他的近作從精細的描寫走向寫意，追求更多的東方韻味，他拓展了自己的藝術表現方式，也開闊了我們的藝術眼界。
梁銓、劉子建、野雪等均為大陸20世紀90年代以來十分活躍的“實驗水墨”代表性藝術家，他們的作品立足于中國當代現實生活並從中獲得靈感，既不重複古人也不照搬洋人，而是以各具鮮明特色的現代水墨語言方式表達中國文化的一些價值觀念和文化理想，因而富於民族文化的精神氣質並充溢著現代的生活氣息。梁銓用中國畫傳統托裱方法所作的條狀宣紙拼貼極富詩意，它們浸染著淡淡的墨痕，是關於“澄明的、高遠的、純正的、邊緣的、沉思的、安詳的、謙恭的、潔身自好的、專心致志的”中國文化理想的“絕妙好辭”。劉子建的五件以星空為題材的新作，一如既往地努力實現他重建新東方文化的理想，他說：“我的畫好長的時間裏並沒有太大的改變。我只想把畫畫得更好一些。……我一直認為在一個太多變化的時代守住自己比順應時流要困難得多。事實上是我的固執成就了我的今天，它讓我把一件做得還像那麼一回事。”這是一種負責任的文化態度，認真的觀眾或讀者能從中看到中國文化的希望。
仇德樹是中國大陸較早從事現代水墨實驗的藝術家，也是80年代後中國現代水墨的代表畫家，他獨創了一種邊構圖、邊撕裂、邊整合、邊裝裱的一氣呵成的新水墨畫創作方法，不只令中國水墨藝術的特殊媒材——宣紙的性能有了 前所未有的美妙展現，更將他關於“裂變”的藝術理念作了充分的並且是引人入勝的演繹。河北畫家段秀蒼也有長期現代水墨探索的藝術經歷，他曾是“85美術新潮”的弄潮兒，這賦予他終生以哲人氣質，令他以哲學眼光剖析宇宙人生，他也因此而錘煉了自己縱橫捭闔、大氣磅礴的現代水墨藝術語言，向人們傳達他對中國文化傳統中的黑白意識和水墨精神的新領悟。
香港的現代水墨畫藝術帶有濃郁的時代氣息和地域文化色彩，梁棟材、陳君立、陳成球的作品，多以自然物象為原始素材，運用豐富多變的拓、涮、渲、染等新水墨技法作抽象化處理，從而營造出一個個墨韻恣肆回蕩、意象動人心魄的神奇景觀。抽象的形式意味中蘊含著某種哲理、詩情或禪意。在給我們帶來上新奇的視覺感受的同時，它們更多傳達的是對民族文化價值觀念的認同，更多體現的是人與自然和諧相處的東方文化精神。年輕的水墨藝術家李君毅有著在臺灣出生、在香港和臺灣生活並留學美國的特殊經歷，這使他的創作得以在相當程度上超越地域文化的限制，在創作方法的轉換上也更為徹底。他摒棄隨機性水墨畫技巧代之以細格分化的處理方式或以軟木方塊反復印製的辦法，正是為了以嶄新的視覺效果表達富有時代意義的文化內涵。
生活在美國的王公懿、梁藍波的作品反映了在海外的水墨藝術家的藝術狀態，具有不同於上述兩岸三地現代水墨藝術的藝術面貌。一般說來他們的作品都十分強調展覽的現場感，衝擊人們的視覺感官。女藝術家王公懿堅持以水墨方式體悟生命與生活，她的《海螺日記》敏感而細膩地記錄了畫家不同瞬間的私密體驗，再以有強烈現場感的蔚為壯觀的方式呈現，她在保留水墨方式與東方文化的感悟方式之同一性的同時，極大地拓展水墨藝術的視覺張力和現場空間感。梁藍波的彩墨紙本綜合媒材作品，綜合了中國水墨媒材不可替代的特殊表現力和西畫在色彩、光感、肌理以及三度空間等方面的造型手法，去營造具有視覺震撼力的博大輝煌景觀，提供了一個超越科技與人文、現代與傳統二元對立的範例，也為當代水墨藝術的創新開拓了新的思路和視野。
韓國的現代水墨運動起始於上世紀60年代，與其他東方國家的藝術家一樣韓國藝術家也在西方文化的衝擊下克服了對東方畫的生命力和精髓的懷疑和不信任，他們堅信水墨畫裏潛藏的精神性和燦爛生命力，創造了有鮮明特色的注重材質與藝術形式語言變化、追求形式美感與單純表達相統一的韓國抽象水墨藝術，金秀吉的作品是其中的代表，他將引我們用新的眼光去發現更多可能的水墨生活。
這次由美國協和文化基金會和亞洲文化中心策劃的「國際現代水墨大展」，即是提出東方畫系部份畫家的努力成果，以嚮觀眾，並期待著更多的人走進水墨生活——一種冥 想、沉思、開悟的精神生活。
　

雪淹五彩池：九寨沟系列之六十一
Snow covers the colorful pond: Jiuzhaigou Series-61
刘国松 Liu Kuo-Sung
2004年
水墨综合媒材 ink and paint on mix medium
71.8 cm X 101.3 cm

日则沟：九寨沟系列之六十二
Jihtsegou: Jiuzhaigou Series-62
刘国松 Liu Kuo-Sung
2004年
水墨综合媒材 ink and paint on mix medium
79 cm X 76.3 cm

換人座 Change seat
袁金塔 Yuan Chin-Taa
1996 年
水墨綜合媒材 ink and paint on mix medium
150 cm X 105.5 cm

无题之485
Untitled No.485
沈忱 Shen Chen
1987 年
宣纸水墨 ink on paper
52 cm X 26 cm

我的竹馬
My bamboo horse
段秀蒼 Duan Xiucang
1999 年
水墨綜合媒材 ink and paint on mix medium
135 cm X 69 cm

山水幾何系列 14
Landscape geometry series-14
洪根深 Hung Ken Shen
1999 年
水墨綜合媒材 ink and paint on mix medium
135 cm X 69 cm

无题之13
Untitled No.13
沈忱 Shen Chen
1985 年
宣纸水墨 ink on paper
80 cm X 150 cm

相关报道：

亚文推出水墨大展
　　【侨报记者管黎明5月26日纽约报道】为弘扬中国传统的水墨绘画艺术，让更多的人能够在现今多媒体的时代不要忽视水墨画这门中国传统艺术的价值，台湾国立台北科技大学日前同纽约协和文化基金会和亚洲文化中心合作，联合推出了由三十多位画家参与的“国际现代水墨大展”。展览主办者26日晚在亚文中心举行开幕式，台北科技大学校长李祖添、该校艺文中心主任曹筱钥和两位参展艺术家袁金塔和胡以诚等人特地从台北赶来出席了仪式。活动纽约方的主办者，包括亚文中心市场经理毕萌和纽约协和文化基金会的总监杨心一以及大纽约台北科技大学校友会会长何吉夫等也都出席了开幕式。
　　据台北科技大学校长李祖添教授和该校艺文中心主任曹筱钥介绍，他们从去年5月份开始组织水墨展，这在科技大学的历史上还是首次。展览先后巡回于台湾的各个县市，包括桃园、宜兰、马祖等地，目的是为了向人们推介水墨画这门中国的古老绘画艺术，每到一地，他们还特地向当地的儿童发放宣传礼品，以让下一代能够有机会接触和了解水墨艺术。
　　据李祖添校长介绍，他们这次除了在纽约和新泽西展出这三十多位作家的作品外，还将赴芝加哥和美国的西部地区进行展览。展出期间主办者将着力营造展场的水墨文化气氛，举办有艺术家参与的学术交流活动，引导公众与作品互动对话；该展览在台湾展出后，被媒体赞为“展现难得交流机会”、“与民众畅谈美学”，反响良好，也可见让现代水墨艺术深入民间的策展思路顺应民意、顺应新世纪的世界多元文化潮流。
　　在26日的开幕式上，除了几位主办人致辞外，两位特地从台北赶来的艺术家－－袁金塔和胡以诚还当场泼墨，为观众们现场绘制了一幅以竹子为题材长卷水墨画。
　　此次参加展览的三十多位艺术家分别来自七个国家和地区，包括中国大陆的仇德树、段秀苍、梁铨、刘子建、野雪，香港的李君毅、梁栋材、陈成球、陈君立，台湾的刘国松、袁金塔、洪根深、李重重、李振明、程代勒、庄连东、洪显超、史东锦、吴恭瑞、李锡岳、陈坤德、郭炎煌、胡以诚，美国的王公懿、梁蓝波、沈忱，韩国的金秀吉、金泳焕、李根雨、金嬉瑛、宋秀琏，新加坡的陈克湛。旅居法国的著名作家兼艺术家高行健也参与了此次展览，26日的现场有他的两幅抽象作品。
　　这次展览的时间从即日起至6月10日结束，展览开放时间为周一至周六上午11时至下午5时，地点在曼哈顿东40街15号亚洲文化中心二楼。新泽西的展览分两部分，分别在新泽西亚洲文化中心和罗格斯(Rutgers)大学，亚文中心的展览为6月1日至15日，开放时间为周一至周五上午11时至下午5时。罗格斯大学的展览为即日起至6月10日，周一至周五上午8时30分至下午4时30分。

台北科技大学校长率团访纽约
李祖添与长岛大学签合作协定 并与团员参加「现代水墨大展」开幕礼

　　【世界日报记者陈逸青纽约报导】由亚洲文化中心、协和基金会与国立台北科技大学联合举办的「国际现代水墨大展」26日晚于亚洲文化中心举行开幕典礼，台北科技大学校长李祖添带领该校职员与参展艺术家来美参加。李祖添此行除出席水墨展开幕外，并与长岛大学 (Long Island Univerusty) 签订合作协定，未来五年内每年将互派交换学生与教师，提升美国与台湾之间的学术交流。
　　李祖添一行人包括该校艺文中心主任曹筱玥、研究发展处国际合作组王之珊等六人，访美主要目的就是为了与长岛大学布碌仑分院签订合作协定，以及参加水墨展开幕。
　　李祖添表示，该校去年成立艺文中心，除让学生与社区民众在学术专业训练之外，也能够接触和培养人文、艺术素养。而这次的展出更是艺文中心成立后首次与国外的机构合作，除了有台北科技大学的收藏品之外，更获得其它单位的赞助，取得如高行健等大师的作品。
　　李祖添25日也走访长岛大学布碌仑分院，并与该校签订了合作交流协定。
　　王之珊说，台北科技大学去年3月就曾来纽约与长岛大学讨论合作事宜，这次则是正式签约。
　　李祖添指出，此次的合作计画是属于该校「漂洋过海，迈向国际」计画中的一部分，该校已经与美国宾州大学、英国、德国、中国大陆等学校签订类似的合作计画，希望让学生了解不同国家的文化，培养更宽广的国际观。他也感谢大纽约区台北科技大学校友会的协助，因为校友会不仅促成两校的合作，同时也将提供奖学金给有需要的科技大学学生，协助他们完成交换学生的梦想。
　　台北科技大学校友会今(27日)晚6时至9时将于法拉盛东丽宫餐厅宴请李祖添一行人，校友会会长何吉夫鼓励校友们出席，与老同学欢聚。