江上越台北个展开幕全部被收藏
点此投稿    日期:2021-02-23 09:52
Poster of Egami Etsu solo show “RAINBOW”Poster of Egami Etsu solo show “RAINBOW”

  白石画廊

百_宝_度

  日本顶级画廊之一白石画廊,台北馆举办了日本艺术家江上越( Egami Etsu)的全新作品展《彩虹》。作为艺术家在台湾的首次个展,展览将伴有全新中英双语画册,其中收录了日本广岛美术馆馆长千足伸行、英国苏富比艺术学院商业研究课程院长伊恩 · 罗伯森(Iain Robertson)及台湾艺术大学美术院院长陈贶怡之评论文章。

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  白石画廊创办于1967年在东京的最核心地带银座成立。白石画廊国际上推动了日本战后的物派以及具体派,是日本具有前瞻性的画廊之一。2012年白石集团在轻井泽创建了私人美术馆,2015年五月白石画廊在香港HQueen‘s正式开幕,位于台北的画廊于2017年春开幕由日本著名建筑师隈研吾设计。

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  白石画廊香港不只是一个将日本艺术家推介至国际市场的平台,同时也开启了一条将国际艺术活动引进日本之路。从战后的前卫艺术家到年轻的新兴艺术家,对于旗下推广的艺术家群,不论是多元性或高质量都深具信心

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  Whitestone Gallery 百宝度 baibaodu.com

  Whitestone Gallery, one of the top galleries in Japan, held a new exhibition “Rainbow” by Japanese artist Egami Etsu in Taipei gallery。 As the artist‘s first solo exhibition in Taiwan, the exhibition will be accompanied by a new bilingual catalogue of Chinese and English, which includes comments by Senzoku Nobuyuki, director of Hiroshima Museum of art, Japan, Iain Robertson, Dean of business studies at Sotheby’s College of art, UK, and Chen Kuangyi, Dean of the school of art, Taiwan University of the arts。 百宝度 baibaodu.com

  Whitestone gallery is one of the top galleries in Japan。 Founded in 1967 in Ginza, the core area of Tokyo。 Whitestone gallery is one of the forward-looking galleries in Japan, which has promoted the post-war materialism and concreteism in Japan。 In 2012, Baishi group set up a private art gallery in Nakai Zawa。 In May 2015, Baishi Gallery officially opened in HQueen‘s, Hong Kong。 The gallery in Taipei opened in spring 2017, designed by Kengo Kuma, a famous Japanese architect。

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  As the first overseas business space, Whitestone Gallery in Hong Kong is not only a platform to promote Japanese artists to the international market, but also a way to introduce international art activities to Japan。 From avant-garde artists after the war to young emerging artists, they have deep confidence in the diversity and high quality of the artists they promote

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图:江上越个展《彩虹》现场 Egami Etsu solo show “RAINBOW” exhibition in Whitestone gallery Taipei  图:江上越个展《彩虹》现场 Egami Etsu solo show “RAINBOW” exhibition in Whitestone gallery Taipei 图:江上越个展《彩虹》现场 Egami Etsu solo show “RAINBOW” exhibition in Whitestone gallery Taipei  图:江上越个展《彩虹》现场 Egami Etsu solo show “RAINBOW” exhibition in Whitestone gallery Taipei 图:江上越作品 《彩虹》 Egami Etsu “RAINBOW”图:江上越作品 《彩虹》 Egami Etsu “RAINBOW”

  江上越 baibaodu.com

  江上越是代表“后绘画”的新一代画家,如蓬皮杜艺术中心策展人和千叶成夫在日本千叶市美术馆的国际论坛中谈到“江上越的作品是融合了绘画的两条脉络:‘精华化同时抽象化’一方面取出事件的精华,另一方面造型性援用一种抽象化的方法,把这两件事在同一个时间,在一个新的地平线上将它们进行绘画化”。作为一位年轻的艺术家,江上越出生于日本,在德国卡尔斯鲁厄艺术与设计学院,中国中央美术学院留学,她海外丰富的经历通过误听,误视等个人体验探索交流的本质。提供了更个人更人性,同时更国际的视点,作为日本战后第三代当代艺术家深受关注。

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  Egami Etsu

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  Egami Etsu is a new generation of painters representing “post painting”。 For example, Pompidou Art Center curator and Chiba Cheng said in the international forum of Chiba City Museum of Art in Japan, “Egami Etsu‘s works are the two threads of painting:‘abstraction and abstraction ’, on the one hand, extract the essence of events; on the other hand, modeling uses an abstract method to put these two things together。 At one time, paint them on a new horizon。 As a young artist, Egami Etsu was born in Japan and studied in Karlsruhe Institute of art and design in Germany and Central Academy of Fine Arts in China。 Her rich overseas experience explores the essence of communication through personal experience such as false listening and false seeing。 It provides a more personal, more human, and more international perspective。 As the third generation of post-war Japanese contemporary artists, it is deeply concerned。

百_宝_度

图:江上越个展《彩虹》现场 Egami Etsu solo show “RAINBOW” exhibition in Whitestone gallery Taipei  图:江上越个展《彩虹》现场 Egami Etsu solo show “RAINBOW” exhibition in Whitestone gallery Taipei 图:江上越作品 《Artist-J》 Egami Etsu “Artist-J”图:江上越作品 《Artist-J》 Egami Etsu “Artist-J”

  此次个展的学术主持台湾艺术大学美术院院长陈贶怡谈到:

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  如此,江上越台北的首度個展以一系列的繪畫作品《彩虹》來呈現她對生活的看法,每一幅畫都是一個待解的謎題。展名叫《彩虹》,巨幅的油畫作品不論具象與抽象都叫做〈彩虹〉,這個展覽本身很可能就是一個誤解,因為其實看不到彩虹,甚至連印象派畫家喜歡的光的七個明亮顏色都見不到。我認為江上越一直以來的油畫創作方式,其實也刻意植基於東方人對西方媒材的‘誤解’:顏料調的稀薄,以豐富而微妙的中性色調,以及酣暢淋漓的筆法刷抹勾勒出肖像。在這次的展覽中,《彩虹》系列將畫布劃分成橫條,以沾滿顏料的排刷一筆一筆填滿,每一筆又都相當通透,像書法線條一樣的氣韻生動。但這些平行的橫條,卻又像是透過對電腦數據干擾,或對電子設備進行物理性操弄引起的‘閃變’(glitch)。干擾造成的‘錯誤’使得畫作的內容失去辨識度,隱約的似人又似非人。另一些作品則增加了簡單的輪廓勾勒,頓時人的‘面相’變得清晰。在這個社群媒體氾濫的時代,江上越對人臉的喜愛,豈不是因為作為辨識系統的‘面相’與‘真相’之間游離的關係嗎? 本文来百宝度

  不論江上越的‘彩虹’繪畫意謂著什麼,隨著時間的消逝,作品勢必遠離作者賦予它的意義;但也正因為如此,未來的誤解有可能正好揭曉了今日的謎底。而誤解作為藝術,也將特別的富含生產性、矛盾性和創造性,因為畫家的無意識和觀眾的誤解最終成就了江上越的‘彩虹’:人際交流的象徵,一個‘美麗的錯誤’。 百宝度 baibaodu.com

  Textes by curator Chen KuangYi (PhD in Contemporary Art History at Université Paris Nanterre/Professor and Chair of the Department of Fine Arts at National Taiwan University of Arts) 本文来百宝度

  In such a way, Etsu Egami’s first solo exhibition in Taipei will display a series of “Rainbow” to express her views of life。 Each painting is an unsolved riddle。 “Rainbow” is not only the exhibition title but also the working title of each of her picture, whether it is an abstract painting or a portrait。 The exhibition itself could probably be a misunderstanding, in which the the rainbow is nowhere to be found, not even the seven bright colours that impressionists love to use。 I firmly believe that the approach Etsu Egami handling oil paint is as well based on how Asians “misunderstand” western medium: employing light and creamy yet neutral colour with vigorous brushstrokes to outline the face of a human。 In this exhibition, the canvas of her “Rainbow” paintings, has been divided into horizontal strips。 Filled with thin brushstrokes and calligraphic-like lines, the artist painted the works with a large flat brush。 These parallel lines are looking very much like “glitch” that interferes computer data or electronic equipment。 The “errors” caused by interference have decreased the resolution of the picture, blurring the definition of a human face。 In some other works, the artist added simple lines to increase the sharpness, and the “face” has suddenly become vividly。 In the age of overusing social media, the devotion Etsu Egami has for human characteristic is a manifesto of detached relationship between “face” and “truth” in facial recognition system。

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  The meaning of an Etsu Egami’s painting will eventually drift away from its initial definition。 Because of that, future misunderstanding might possibly reveal the mystery the artist created today。 Art as misunderstanding, it will create works that are notably productive, contradictory and creative。 Rainbow, a symbol of interpersonal communication, will be built by the unconsciousness of a painter and the misconception of the audience —— which is also a delicate misunderstanding。

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  以下是此次个展的学术主持之一英国苏富比艺术学院商业研究课程院长伊恩 · 罗伯森(Iain Robertson)之评论文章。 baibaodu.com

  近期的〈彩虹〉系列作品富有表現力及線性的筆觸,建構出整個肖像展的主軸,同時令人想起物派(Mono-ha)大師李禹煥。藝術家在彩虹的各種顏色中展現出具野獸派風格的肖像,如畫作《藝術家-A》向圍觀者側目一看、《藝術家-K》透過眼鏡斜眼凝視觀者,以及《藝術家-Z》古怪的審視。 這些主體不明的短暫圖像,明確地表達出藝術家兩個重要的意圖:物質的無常和個體與整體的二分性。這些作品為肖像,卻非為實質上的表象。它們既是原型角色,也是獨特的群體面孔。從這樣的意義上,她是受到劉小東作品中描繪的人物所啟發,其肖像更超越了以繪製後漫畫人物風格聞名的日本藝術家Madsaki。江上越所繪的臉龐有著身份和目的:其角色有著自己的生命,但卻以有機生物體的形式呈現。無常的概念是佛教的核心,表達的兩個相對面:永恆與無常、連續與非連續。日本智者松尾芭蕉(Matsuo Basho)完善了這個概念,並提出連續的可存在性,而他指改變才是永恆不變的定律。他詩意地將存在比作一條流淌的河水,從不破壞河岸,但川流不息。這個想法與希臘哲學家赫拉克利特(Heraclitus)的著作及其關於生命流動的教條非常接近。意思是,當形容一個人隨波逐流時,有兩種意思:消極地屈服於生命現狀,或正面地接受自己的命運。因此,命運之愛 (Amor fati)不但象徵宿命主義,同時亦為解放,它暗示了對象徵宇宙最終力量的自然或是上帝的默許。 百宝度 baibaodu.com

  The gestural, linear brushstrokes of the recent Rainbow Series, reminiscent of the oil paintings of the Mono-ha master Lee U-fan, form the backbone of this exhibition of portraits。 Out of the variegated colours of the rainbow spring the Fauvist portraits of Artist A, who casts a sidelong glance at the onlooker, the oblique, bespectacled gaze of Artist-K and the quizzical scrutiny of Artist-Z。 These transitory images of undefined subjects articulate two key artistic intentions, the mutability of matter and the dichotomy of the individual and the crowd。 These pictures are portraits, but not physical representations。 They are archetypes; distinctive group faces。 And in that sense, they are inspired by the characters depicted in the work of Liu Xiaodong。 They go beyond the Post-Manga mannequins with which the Japanese artist, Madsaki, has made his name。 The faces that Egami paints have an identity and purpose; they have lives, but they are presented as existential organisms。 百宝度

  The idea of impermanence lies at the heart of Buddhism。 It is expressed as two opposites, permanent and impermanent or as continuous and non-continuous。 The Japanese sage, Matsuo Basho, refines this concept and suggests that there can be continuity, by which he means consistency, but also change。 He likens existence, poetically, to a flowing river, which never breaches its banks, but is in endless flux。 This idea is close to the writings of the Greek philosopher Heraclitus and his doctrine of the flow of life。 In English, when one is persuaded to go with the flow, it indicates, negatively, a surrender to the status quo or more positively, an acceptance of one‘s fate。 Amor fati (love of fate) is, thus, indicative of fatalism, but also liberation。 It suggests acquiescence to the ultimate power of the universe, to nature or to God。 百宝度 baibaodu.com

图:江上越个展《彩虹》现场 Egami Etsu solo show “RAINBOW” exhibition in Whitestone gallery Taipei  图:江上越个展《彩虹》现场 Egami Etsu solo show “RAINBOW” exhibition in Whitestone gallery Taipei 图:江上越作品 《彩虹》 Egami Etsu “RAINBOW”图:江上越作品 《彩虹》 Egami Etsu “RAINBOW” 图:江上越个展期间与台湾艺术大学艺术学院院长陈贶怡对谈图:江上越个展期间与台湾艺术大学艺术学院院长陈贶怡对谈 江上越 Egami Etsu 艺术家头像江上越 Egami Etsu 艺术家头像

  她1994年生于日本,目前生工作于东京。2020年作为最年少艺术家获得福布斯30岁以下精英榜,同年选为日本文化厅杰出艺术家派遣纽约,在千叶市美术馆举办个人项目。她正于中国北京中央美术学院攻读博士学位。江上越先后获得多个奖项,包括日本文化厅杰出艺术家(2020)及第十六届千叶市艺术文化新人奖(2018)。她入围东京当代艺术基金会奖(2020)及亚洲独立艺术奖(Sovereign Asian Art Prize,2019)。她曾于多个城市举办展览,如伦敦、香港、北京、台北及东京。收藏其作品的机构包括北京中央美术学院美术馆、莫斯科车库当代艺术馆、北京元典美术馆、北京树美术馆、达美艺术中心,首尔衣恋集团等。 baibaodu.com

  江上越的首次台北个展《彩虹》展示了江上越的37幅全新画作 — 当中包括〈彩虹〉〈艺术家〉两个系列作品 — 这些展出的作品在开幕首日全部售出。 baibaodu.com

  Egami Etsu was born in Japan in 1994 and currently works in Tokyo。 In 2020, as the youngest artist, she won the Forbes Under 30 Under, and in the same year, she was selected as the outstanding artist of Agency of Cultural Affairs Japan Government to send to New York,and did her solo project in Chiba City Museum of Art。 She is studying for PHD at the Central Academy of Fine Arts in Beijing, China.Egami Etsu has won many awards, including the outstanding artist of Japan cultural agency (2020) and the 16th Chiba art and culture Newcomer Award (2018)。 She is also shortlisted for the Tokyo Contemporary Art Foundation Award (2020) and the sovereign Asian Art Prize (2019)。 She has held exhibitions in many cities, such as London, Hong Kong, Beijing, Taipei and Tokyo。 Her works are collected by the Art Museum of Beijing Central Academy of Fine Art Museum, Beijing Yuan Art Museum,Damei Art Center, Beijing tree art museum, Seoul Yilian group, etc。 百宝度 baibaodu.com

  Egami’s first solo exhibition in Taipei, rainbow, shows 37 new paintings including two series of works, rainbow and artist,all works were sold on the first day of the exhibition。 百宝度 baibaodu.com

  國立臺灣藝術大學美術系所美術學院院長陳貺怡在《误解中的艺术》文章中谈到“不論江上越的‘彩虹’繪畫意謂著什麼,隨著時間的消逝,作品勢必遠離作者賦予它的意義;但也正因為如此,未來的誤解有可能正好揭曉了今日的謎底。而誤解作為藝術,也將特別的富含生產性、矛盾性和創造性,因為畫家的無意識和觀眾的誤解最終成就了江上越的‘彩虹’:人際交流的象徵,一個《美麗的錯誤》’。”

本文来百宝度

  Chen KuangYi(Chair of the Department of Fine Arts at National Taiwan University of Arts) 百宝度

  In the age of overusing social media, the devotion Etsu Egami has for human characteristic is a manifesto of detached relationship between “face” and “truth” in facial recognition system。 百宝度 baibaodu.com

  The meaning of an Etsu Egami’s painting will eventually drift away from its initial definition。 Because of that, future misunderstanding might possibly reveal the mystery the artist created today。 Art as misunderstanding, it will create works that are notably productive, contradictory and creative。

百_宝_度

  Rainbow, a symbol of interpersonal communication, will be built by the unconsciousness of a painter and the misconception of the audience —— which is also a delicate misunderstanding。 百宝度

  苏富比艺术学院院长伊恩羅伯森博士在江上越作品的文章《无常》中写到“江上越所繪的臉龐有著身份和目的:其角色有著自己的生命,但卻以有機生物體的形式呈現。創作靈感源自於他者對其名字的誤解。 江上越的日文讀音聽起來像中國東北話的“一袋子米”(Etsu Egami)。一個強調短暫、快速與無常的時代產生出的混亂與喧囂 —— 這也許就是藝術家透過她當前肖像系列所突顯出的。缺乏了撫慰人類胸懷的精神或哲學基礎,我們註定成為一個瘋狂且無意義的存在。因此,此展覽並不僅僅是展出一系列的肖像畫,而是定義了新的繪畫風格。” 百宝度

  Iain Robertson director of school of Southbys

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  “The faces that Egami paints have an identity and purpose; they have lives, but they are presented as existential organisms。

本文来百宝度

  The idea of impermanence lies at the heart of Buddhism。 It is expressed as two opposites, permanent and impermanent or as continuous and non-continuous。 honetically, in Chinese, Egami sounds like ‘a full cup of rice’。 An age, which emphasises the transitory, the immediate and the impermanent, generates confusion and noise。 Perhaps it is this that the artist highlights through her current series of portraits。 Without the spiritual or philosophical foundation to calm the human breast, we are condemned to a frenetic, purposeless existence。

百宝度

  So, this exhibition is much more than a collection of portraits; it redefines the genre。” 百_宝_度

图:江上越个展《彩虹》现场 Egami Etsu solo show “RAINBOW” exhibition in Whitestone gallery Taipe  图:江上越个展《彩虹》现场 Egami Etsu solo show “RAINBOW” exhibition in Whitestone gallery Taipe

  《彩虹-------江上越个展》

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  展览日期及时间 百宝度

  2021年1月23日至3月14日(周一及假日除外) 百宝度

  每周二至周日 11:00 - 19:00

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  展览地点 baibaodu.com

  白石画廊台北

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  台湾台北市114内湖区基湖路1号1楼

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  网站:www.whitestone-gallery.com 百宝度

  Instagram: whitestonegallery.official 本文来百宝度

  Facebook: whitestonegallery.official 百宝度

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