手感的妙 PART 1 : Contemporary Airy Crafts from Japan
21世紀日本X台灣的嶄新工藝當代藝術聯展
2010/01/09 ~ 2010/02/28
21世紀日本X台灣的嶄新工藝當代藝術聯展
2010/01/09 ~ 2010/02/28
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Curator: Kaneshima Takahiro
Artist：SHIMURABROS.、Kaneuji Teppei、Iida Ryuta Panelists：Kaneshima Takahiro、Iida Ryuta、SHIMURABROS.、Lin, Llunc、Liu, Wen-Hsuan The sense of substance and significance of materials becomes more lighthearted through handicraft. The 21st century, Japan and Taiwan Contemporary Craft Arts Exhibition The skills of professionals, the lightness of fingertips, and the feeling of delicacy; the expression of Japanese contemporary art is often limited to sub-cultural elements. In reality, there are many rising artists who have a new Japanese spirit that cannot be categorized in this category. Although materials are still their basis, but they have positions and contact with the material differing from the “Mono-ha” art movement started in the 1960s, the final artwork is completed only after the fine handiwork of the artist. Instead of creating something, "Mono-ha" artists tend to re-build “materials,” and also pay attention to the environment that surrounds the “materials.” They recreate new relationships based on the interdependent relationship between the two elements and challenging the established concept of collapsing material. This type of basic processing method toward “materials” seems similar to the artists participating in the exhibition, but because the “Mono-ha” era is already unlike the modern era, the modern artists have different feelings toward “materials,” and the expression methods of the artwork are also extremely different. So what kind of era are we in now? The artists participating in this exhibition were all born in the 1970s, where they experienced the eras of mass production and mass consumption, and grew up surrounded by numerous consumer products and information. They lived in an era of ambiguity, where the importance of materials as well as what to believe is a constant issue they faced. Although the production process of their artwork is similar to “Mono-ha,” but they hold different feelings toward “materials” and the artwork they create appears similar to Contemporary Airy Crafts. In addition, handcrafting allows the sense of substance and significance of materials to become more lighthearted, and can be said to be a unique Japanese characteristic. In China, the more handcrafting involved, the more ornamental the material appears, and the sense of substance and significance becomes more burdensome. This type of artwork which allows the viewer to sense a delicate handcraft touch also cannot be found in Korea which values surface appearances. This type of new Japanese artist that meticulously completes light craftwork by hand may be called the “Mono-ha” artists of the 21st Century. Iida Ryuta sculpts as a creative means, carefully cutting up books. Kaneuji Teppei takes advantage of the heterogeneity of materials and combines them to form rhythmic works. The creativity of SHIMURABROS. extends over various domains. In "手感的妙PART1," the works created from different materials such as paper, plastic, paint, photography, and videos by these three Japanese artists exhibiting the playful exchanges between "media" and "field" are scattered around the exhibition space. In the "手感的妙 PART2," Izumi Keiji creates unbelievable wood sculptures of imaginary people; Iwasaki Takahiro takes towels and the threads from book bindings to create a new world; and Taiwanese artists Mia Wen-Hsuan Liu who cleverly uses paper materials as well as Llunc Lin who can create through the perfect combination of scientific materials such as acrylic, gather their works to form this exhibition. Different “materials” such as wood, thread, paper, and scientific materials fill this open space. These different and complex body of artworks that extend over “materials,” “media,” and “fields” exhibit a new Japanese mentality. Along with the two new age Taiwanese artists, the collaboration between the two parties this time in this exhibition this time will open a new horizon for the East Asian art world. 手感的妙 PART1 : 21世紀日本X台灣的嶄新工藝當代藝術聯展 策展人: 金島隆弘 Kaneshima Takahiro 參展藝術家：志村姐弟SHIMURABROS. 、金氏徹平 Kaneuji Teppei 、飯田竜太 Iida Ryuta 座談與會人：飯田竜太 Iida Ryuta、志村姐弟SHIMURABROS. 金島隆弘 Kaneshima Takahiro及林昆穎、劉文瑄 透過手工，使物質的存在感和意義呈現更為輕快 21世紀 日本x台灣嶄新工藝性質的當代藝術聯展 職人技巧、指尖的輕巧感、以及纖細感。在國外，日本當代藝術的呈現經常被侷限在次文化要素中，其實依然有許多無法被歸於此類，甚至更帶有新日本氣質的藝術家逐漸嶄露頭角。他們雖然以物質為立足點，但是和自1960年代開始的美術運動「物派」有著不同的姿態，與物質接觸關聯，然後再經過藝術家自身的細膩手工後完成作品。 「物派」的藝術家們比起創造些什麼，他們傾向將「物」重新構築、更注重「物」和將之包圍的環境，兩者之間相互依存的關係、他們挑戰崩解物質的既定概念，重新建構新的關係。這種對於「物」的基本取徑，和這次參展藝術家的製作方法有互通的部份，但是由於「物派」的時代和目前的時代不同，藝術家對於「物」所持有感覺也因此大相逕庭，最後，兩方的作品的呈現也有極大的差異。 那麼現今又是什麼樣的時代？本次參展藝術家都出生於1970年代之後，他們經歷大量生產、大量消費的時代，被包圍在大量商品和情報中成長，對於物質的重要性、以及該相信什麼，他們可說是生活在全部曖昧不明的意識中的世代。即使他們的作品的製作過程和「物派」的方法相像，但是由於對「物」的感受不同，他們所創作出的作品，看來就像是輕巧的現代工藝 ;Contemporary Airy Crafts。 此外，以手進行創作，讓物質的存在感和意義呈現更為輕快，這點可說是日本人獨有的特徵。在中國，越是加上手工，物質就越顯得具有裝飾感，存在感和意義也變得相當沉重，另外，在重視表面性的韓國，更無法看見像這類能感受到纖細手工觸感的作品。這樣以新日本人的姿態，卻又以一絲不苟的手工技巧完成輕巧工藝作品的藝術家們，或許可稱之為21世紀的「物派」藝術家。 飯田竜太以雕刻作為創作手法，仔細地切割書本；金氏徹平利用在身邊的異質性素材，組合成帶有韻律感的作品；SHIMURABROS.則橫越了不同領域的創意。在「手感的妙 PART1」當中，展示了在「媒材」和「領域」間輕盈來回的三組日本藝術家的作品，這些以紙、塑膠、漆、攝影和影像等不同素材創造的作品錯落在展示空間中。 「手感的妙 PART2」中，創作出不可思議的幻想人型木雕的泉啟司、將毛巾和書的分段帶的線頭拆解後再建構另一個世界的岩崎貴宏，搭配巧妙運用紙素材的劉文瑄和將壓克力等科學素材完美組合的林昆穎兩名台灣藝術家，共同創造了這個展覽，讓木頭、線段、紙張和科學素材等相異「物質」充滿在這個空間。 這些橫跨「物質」、「媒材」、「領域」，型體相異錯綜複雜的作品群，新日本人的感覺，以及與之同步的台灣新世代藝術家，由兩者合作而成的本次展覽，想必將開闢今後新東亞藝術世界的地平線。 主辦 Organizers：FEC、就在藝術空間 協助 Co-organizers：日本交流協會 贊助 Sponsor：台北市文化局 合作 Collaborators：ARATANIURANO、ShugoArts、Taka Ishii Gallery、TSCA |
藝術家 Artists
SHIMURABROS 村姐弟 Kaneuji Teppei 金氏徹平 Iida Ryuta 飯田竜太 |