再见村上隆 Takashi Murakami, we meet again
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Where?
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When?
19 Nov 2010 ~ 13 Feb 2011
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Who?
Yayoi Kusama
Takashi Murakami
Yoshitomo Nara
Kohei Nawa
Michihiro Shimabuku
Yasumasa Morimura
Kazuhiko Hachiya
etc
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How Much?
SG$ 10 for adult
SG$ 10 for adult
SG$ 5 for students
Free admission at Friday
I used this title as this post entry it’s because this is the second time I see the Contemporary Art of Japan since the last time at Taipei MOMA’s
会用这个标题是因为这是我继上一次在台北当代馆看了＂动漫双年展＂之后，再次看到日本当代艺术家的原作，而村上隆是我印象最深刻的艺术家。此次展览还有奈良美智子，草间弥生等日本当代艺术家的作品，共40件。
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| Takashi Murakami, Flower, 2006 |
I always definitie myself as an anti-contemporary-art-fellow, because I always felt that the form they used in contemporary art is too far away from my appreciation, but these artworks just so exciting me, maybe it’s because I am one of the “Otaku” family? The things I thought to be superficial since my childhood had entered the hall of high-art, it is an exciting moment.
我一直认为自己不是个那么喜爱现代艺术的人，但是看到这些作品却让我兴奋不已，可能因为我“宅”吧？自己小时候喜欢以为庸俗的东西也能登上艺术的殿堂，这是让人雀跃的。
我一直认为自己不是个那么喜爱现代艺术的人，但是看到这些作品却让我兴奋不已，可能因为我“宅”吧？自己小时候喜欢以为庸俗的东西也能登上艺术的殿堂，这是让人雀跃的。
Trend, Mass-Production, Otaku, Childish, these elements seems to be not related to so-called “ART”, but they did overwhelmed Japan’s Contemporary Art. While we’re still confused in the definition of “Illustration” and “Fine Art”, Takeshi Murakami’s “Super-flat” had already entered the Hall-of-Fame. We start to think about “Illus & FA”’s things it’s because we’ve reach the moment of leaping forward to another level since we first study art, we start to question but not only learning, we start to worry if our works had fall into the trap of commercial, or is it the pure essence of Art that called no supporter. But it seems like so useless by troubling with these when we meet Japan’s Contemporary Art. On the commercial-art-side, we should prevent from making our works unlimited-duplicating-stuffs,; and in the other side, we think about how these “Culture-happening” affect our daily-life, is it correct? Is it suitable? Does it disobey our moral value? It creates the path to advance? Or it leads to destruction? It can be appreciate by common people, or is it too deep that no one can understand? Does it reach the peak of itself? Dose it “Beautiful”?
流行，量产，宅男，童真，这些看似和我们熟知的＂艺术＂毫无关系的元素，充斥着日本当代艺术。当我门还在苦恼着怎么界定＂插画＂和＂纯美术＂时，村上隆的超扁平已经入了殿堂。会开始思考这类问题是因为我门的思维自踏入美术圈里之后到了一个升华点，我们开始在自我探求，自我定位，想知道自己的作品是否堕入商业的圈套，抑或是纯粹的艺术结晶。但在日本当代艺术的面前，这样的思考显得微不足道。站在商业的角度，我门因当避免堕入毫无意义的工厂式复制；而站在艺术的立场，我们思考的是这种种的＂文明现象＂如何作用在我们人类的社会，它正确吗？适当吗？符合当代道德观吗？它通向进步吗？步向毁灭吗？它是雅俗共赏，抑或曲高和寡？它发展到顶峰了吗？它＂美＂吗？
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| Yasumasa Morimura, Criticism and the Lover A,B,C, 1990 |
The word “Beautiful” in Chinese can’t be translate straight into English, it reveal different meaning, what I want to say is, the most important part in Art is to touch someone, to impress people, or to inspire a person. It is not only a well-looked-outlook, it is a feeling arouse by our five senses, then it touch, impress, inspire us deep inside to our heart. The object might not be an artwork, it might be a plate of nasi lemak you taste in a foreign land, it is not an artwork, but it recalls you from your childhood memories, why don’t we get touch by these? And what for we arguing for the definition of Commercial and Art at the moment? The reason we feel art left us far away it’s because we blocked our senses, we make ourselves not to smell, not to taste, not to touch, not to listen, not to see, and even more not to think. If we really live like this, will art nourish our life?
美，是艺术中最重要的元素，此谓＂美＂并不单单只是视觉上的＂好看＂而已，它是经由五感激发，而后发自心灵深处的感动，它是我们在词穷的情况下所能找到的最好代替品。触动到我们美感经验的＂对象＂，我们会为之感动，它未必要是一件艺术品，它可能是你在异乡尝到的一碗干捞面，却能让你回忆起童年时一家大小出外用餐时的体验，我们何不为它而感到感动呢？这时争论商业与艺术又有什么意义呢？。而我门之所以会觉得艺术离我们越来越远，觉得对＂美＂的感动越来越生疏，是因为我们封闭自己不再进步吗？是艺术的步伐快得我们步不及后尘吗？最主要的原因是因为我们在忙碌的生活中已经流失了我们的五感，我们变得懒得闻，懒得尝，懒得摸，懒得听，懒得看，更甚者连想都懒得想，这样艺术还不离我们越来越远吗？这样我们还不觉得自己活在一个丑陋无不比世界里吗？
Maybe we won’t get touch by these artworks by the first eye, because it doesn’t relate to any of our “Aesthetic Memory”, so we have to think, does the world revealed by the artist try to didact us from mundane? We make ourselves into the artwork, we observe what we never observe before, we feel what we never feel before, then we complete a process of Art Appreciation.
也许我们第一眼看到这些作品的时候，会在心里想：＂这些物体何美之有？＂既无维纳斯的优雅，也无野兽派的洵丽，更无梵谷的激情，何美之有？这时我们的心灵便要达到一种同理心，想像一下，我们的世界是否真如艺术家所要表达的那样，是冰冷是枯燥是绝望的。想像一下我门的生活是否如艺术家所察觉的那样，是烦闷是无味是了无希望的。想像我们，是否真如艺术家想要在作品中透露，警示，暗示那样。这时我们就能把自己融入艺术品之中，欣赏我们从未欣赏过的，体验我们从未体验过的，完成一个＂审美＂的过程。
美，是艺术中最重要的元素，此谓＂美＂并不单单只是视觉上的＂好看＂而已，它是经由五感激发，而后发自心灵深处的感动，它是我们在词穷的情况下所能找到的最好代替品。触动到我们美感经验的＂对象＂，我们会为之感动，它未必要是一件艺术品，它可能是你在异乡尝到的一碗干捞面，却能让你回忆起童年时一家大小出外用餐时的体验，我们何不为它而感到感动呢？这时争论商业与艺术又有什么意义呢？。而我门之所以会觉得艺术离我们越来越远，觉得对＂美＂的感动越来越生疏，是因为我们封闭自己不再进步吗？是艺术的步伐快得我们步不及后尘吗？最主要的原因是因为我们在忙碌的生活中已经流失了我们的五感，我们变得懒得闻，懒得尝，懒得摸，懒得听，懒得看，更甚者连想都懒得想，这样艺术还不离我们越来越远吗？这样我们还不觉得自己活在一个丑陋无不比世界里吗？
Maybe we won’t get touch by these artworks by the first eye, because it doesn’t relate to any of our “Aesthetic Memory”, so we have to think, does the world revealed by the artist try to didact us from mundane? We make ourselves into the artwork, we observe what we never observe before, we feel what we never feel before, then we complete a process of Art Appreciation.
也许我们第一眼看到这些作品的时候，会在心里想：＂这些物体何美之有？＂既无维纳斯的优雅，也无野兽派的洵丽，更无梵谷的激情，何美之有？这时我们的心灵便要达到一种同理心，想像一下，我们的世界是否真如艺术家所要表达的那样，是冰冷是枯燥是绝望的。想像一下我门的生活是否如艺术家所察觉的那样，是烦闷是无味是了无希望的。想像我们，是否真如艺术家想要在作品中透露，警示，暗示那样。这时我们就能把自己融入艺术品之中，欣赏我们从未欣赏过的，体验我们从未体验过的，完成一个＂审美＂的过程。
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| Kazuhiko Hachiya, Airboard B, 1999 / Airboard y, 2001 |
“Trans-cool Tokyo” is a feast of Japan Contemporary Art, The artists question about the pop-culture, consumerism, technology, mass-production and other modern happening. Can Takashi Murakami’s cartoon character that completed in super-flat method enter the hall of High-Art? Inspired by the subculture of manga and anime, Murakami defined his own version of Japanese Pop Art with the idea of Superflat, describing the speed of the creative process and the hyper twp-dimensionality of his art. The image use by Yoshitomo Nara shows an example of the manga-esque children who react to the state of the world with suspicion and anger, glaring at the viewer. These images symbolize child-like immaturity and innocence, and a refusal to grow up. Avant-garde sculptor, painter and novelist Yayoi Kusama rose to prominence through the use of dots and repeated motifs drawn from her mental hallucinations. And the road-side Disco booth, the experiment of flying skateboard. They express their thought through the attitude and feeling of modern people to contemporary world and future. And what do we think when we meet their art?
＂传酷东京＂是一场日本当代艺术的飨宴，艺术家对流行文化，消费主义，科技，大量生产等现代现象提出质疑。如村上隆的作品，利用超扁平完成的卡通角色，时否能被归为＂高艺术＂？从中揭示出创意在现代文明高速生产的现象。奈良美智子的小孩对观者怀有一种恶意，无知的神情，透露出一中小孩，大人的区隔，也是在高速发展的社会上一代与下一代之间的鸿沟吧？草间弥生的船布满了貌似男性生殖器的物体，这些由极多小个体拼凑成整体的做法与她惯用＂点＂来描述女性主义的手法类似。还有在街边的单人迪斯科厅，对未来憧憬的飞行滑板实验。他们针对现代人对当代与未来的想法与态度发表了他们的看法。而我们在看到他们的作品时，又有否对我们当下的世界做出反思呢？
＂传酷东京＂是一场日本当代艺术的飨宴，艺术家对流行文化，消费主义，科技，大量生产等现代现象提出质疑。如村上隆的作品，利用超扁平完成的卡通角色，时否能被归为＂高艺术＂？从中揭示出创意在现代文明高速生产的现象。奈良美智子的小孩对观者怀有一种恶意，无知的神情，透露出一中小孩，大人的区隔，也是在高速发展的社会上一代与下一代之间的鸿沟吧？草间弥生的船布满了貌似男性生殖器的物体，这些由极多小个体拼凑成整体的做法与她惯用＂点＂来描述女性主义的手法类似。还有在街边的单人迪斯科厅，对未来憧憬的飞行滑板实验。他们针对现代人对当代与未来的想法与态度发表了他们的看法。而我们在看到他们的作品时，又有否对我们当下的世界做出反思呢？
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