「村上隆 對戰 村上隆」登陸香港

建立日期

18 十月 2019

項目

視覺藝術 Visual Art , 國際新聞 International news , 生活品味 Lifestyle

「村上隆 對戰 村上隆」登陸香港

文/採訪   楊宜瑄 Rochelle Yang

圖/  大館

 

村上隆對戰村上隆」由大館藝術主管Tobias Berger挪威奧斯陸Astrup Fearnley Museet現代藝術博物館總監Gunnar B. Kvaran共同策展,帶來日本藝術家村上隆(1962於日本東京)的作品。展期為201961日至91展覽探索這位藝術家展示村上隆一系列多元,卻各走極端的作品。中是村上隆歡樂滿載的花作品

 藝壇巨星村上隆TaKashi Murakami今夏登陸香港,引領一陣超普普(Super POP)旋風。自六月初起,每個星期超過萬人來「朝聖」。這無疑是一場由大館當代美術館和村上隆的完美合作

在Herzog de Meuon所設計的流暢寬敞之後現代建築空間,以及策展人對藝術創作想法不設框架,令村上隆在此發揮淋漓盡致。他就像一位打開小叮任意門的大頑童,引領群眾進入超二次元的奇幻世界,充滿繽紛和詭譎。除了眾人所熟悉的KaiKai 和KiKi花笑臉卻又處處驚奇。究竟,村上隆在此次展覽中「對戰」什麼?或許1945年來,別號「小男孩」的原子彈在日本廣島市區投下的那一霎那,帝國軍事主義頓時瓦解後,民不聊生的同時,人們紛紛投入可愛世界的懷抱中,尋求心靈上的慰藉。

引用村上隆為此展覽所寫下的一段註解:

每當「kawaii」可愛、「hetare」軟弱、「yurui」力乏力的角色無精神的掛起笑臉的時候,每當他無表情凝視著的時候,這世間的人必定感到幸福之心逐漸融化。日本人原初的印象感覺及美感意識,戰後加速改變...我們可以從中窺探,預測未來。我們日本人依然是「小男孩」就如同那原子彈般。

 所謂的「對戰」,是一股卸下歷史沉重包袱與傷痛和解的勇氣,重拾尊嚴和自我認同。那更是將心的衝突矛盾,化成平靜的相互抗衡。與其是對戰倒不如說是掙扎後「昇華的力量」。

村上隆象徵意義的視覺符號接連空間、時間的過去、現在與未來,顯現於展覽的各個角落。作品中呈現的對戰例如「混沌vs禪意」、「光明vs黑暗」「複製vs獨特」、「「懷舊感vs未來感」等組合,從雕刻末世浩劫的創作到天真無邪的花笑容,繁複的骷髏頭遍地到極簡空靈的金閣,這些截然不同的題材進而透露他內心的矛盾和衝突。

Sculpture.jpeg

大型後末世主題作品以至讚嘆牆壁地板藝術,感受強烈複雜的視覺衝擊

Experience the intense and complex visual impact of large, post-end-the-world themed works as well as impressive walls and floor art

策展人之一, 亦是大館美術館館長Tobias Berger訪談中透露今年展覽的獨特性和象徵性的意義。

Q:這次策展的主要動機?

A: 這可說是繼奧斯陸(Oslo)的第二波展覽。大多香港人認識村上隆大多是片面地從商業管道,例如LV名牌設計或Art Basel。實際上,村上隆本身具備多重身分,電影導演、收藏家、作家、時尚偶像等。我希望藉此展覽能更加完整的呈現村上隆的各種面貌。

Q:大館美術館如何在香港定位自己,未來發展的方向?

A: 大館的定位是特別的,我們不是商業型藝廊,也不是傳統的博物館,更貼切的來說是後現代藝術館。比較起前者,大館的流線型高闊空間更有優勢的設置大型作品,比起向來保守的後者,大館在主題內容上給藝術家更多自由的空間來發揮。我們通常會選擇當代又具備實驗性的藝術家,並非已經作古的大師。也高知名度的藝術。我們更注重的是概念和作品的原創性。

Q:展覽的主題以及作品主要特色?

A: 無論是挑戰巨大型的雕塑,滿室的地氊,在亞洲都

是創舉。得一提的是村上隆所設計的服裝,首次以藝術品做整體性的展出。除此之外也展示許多他設計動畫的手稿, 早期的傳統繪畫等難得見到的作品。身為策展人,我是很鼓勵具有挑戰性和實驗性的嘗試

Q:部分作品有大量的數字出現在圖案之中,其意義為何?

A: 那些是質數(odd number)是無法被分化的數字組合,代表著「獨特性」。例如每一看似重複,其實也有色彩造型的細微變化,因此皆有編號。

 雖然我們無法預測這個藝術大師將來又會驚人之舉,可確定的是他未來仍然會不斷地自我挑戰,繼續將日本後現代普普藝術及動漫文化創意,帶領到新的藝術殿堂。

FASHION.jpeg

經典大膽戲服作品亦首次展出 

Classic yet bold costumes are also exhibited for the first time

____________________________________________________________

Text/ Interview Rochelle Yang 

Image / Tai Kwun

 

"MURAKAMI vs MURAKAM", co-curated by Tobias Berger, the Head of Arts at Tai Kwun, and Gunnar B. Kvaran, Director of Oslo’s Astrup Fearnley Museum of Modern Art, presents the works of Japanese artist Takashi Murakami (born in Tokyo, Japan in 1962). The exhibition runs from 1 June till1 September 2019, which explores the diverse yet extreme work series of Murakami’s. The picture above shows Murakami with his works of joyful flowers.

The artist-superstar Takashi Murakami visited Hong Kong this summer and led a great trend of Super POP. Since the beginning of June, more than 10,000 visitors come forpilgrimage every week. This is undoubtedly a perfect cooperation between the Tai Kwun Contemporary and Takashi Murakami.

In the smooth and spacious space designed by Herzog de Meuon, Murakami created boldly and freely as there is no limit set. Murakami is like a big naughty boy who opens the Dokodemo Door and leads the viewers into the fantasy world of the ultra-secondary, which is full of fun and strangeness. In addition to the KaiKai and KiKi flowers, the exhibition is filled with surprises. What exactly is Murakami’s "vs" in this exhibition?

Perhaps since the atomic bomb “Little Boy” dropped in Hiroshima in 1945, people has started to get immersed in the world of fantasy to seek spiritual comfort after the imperial militaryism collapsed.

A quote by Murakami, written for this exhibition:

“When kawaii, hetare (loser), and yurui (loose or lethargic) characters smile wanly or stare vacantly, people around the world should recognize a gradually fusing, happy heart. It should be possible to find the kernels of our future by examining how indigenous Japanese imagery and aesthetics changed and accelerated after the war, solidifying into their current forms...We Japanese still embody ‘Little Boy’, nicknamed, like the atomic bomb itself, after a nasty childhood taunt.”

The so-called “vs” is a courage to unload historical heavy burdens, and to regain dignity and self-identity. That is to transform the inner conflicts intocalm and benevolence.

It is better to say that “vs” is in fact the power of sublimation” after struggling.

Murakami uses symbolic visual symbols to connect the space, the past, present and future, which can be seen in every corner of the exhibition. The “vs” in the works are shown in the forms of “Chaos vs Zen”, “Light vs Darkness”, “Copy vs Unique” as well as “Nostalgic vs Futuristic”, etc. From the creation of catastrophe of the end of the world, to the innocent smiling flowers, from the skulls to the Golden Pavilion, these very different themes revealed his inner contradictions and conflicts.

One of the curators, also the Head of Arts at Tai Kwun, Tobias Berger, revealed the uniqueness and symbolic significance of this year's exhibition.

Q: What is the main motivation of this curation?

A: This is the second wave following Murakami’s previous exhibition in Oslo. Most Hong Kong people know Murakami one-sidedly from commercial platforms, such as LV brand design and Art Basel. In fact, Takashi Murakami has multiple identities, such as film director, collector, writer, and fashion icon. I hope that this exhibitionpresents a more complete picture of Murakami's various faces.

Q: How does Tai Kwun Contemporaryposition itself in Hong Kong, and what is thedirection of its future development?

A: The positioning of Tai Kwun is special. We are not a commercial gallery, nor a traditional museum, but a post-modern art museum. Compared with a commercial gallery, the large-scale and streamlined space of Tai Kwun is good for setting up large-scale works. Compared with a traditional museum, Tai Kwun offers more free space for artists to create freely. We usually choose contemporary and experimental artists, not established masters. There is also no need for high-profile artists. We pay more attention to the originality of concepts and works.

Q: What is the theme of the exhibition and the main characteristics of the work?

A: Whether it is the challenging huge sculpture, or the cellar, it is a very pioneering move in Asia. It is worth mentioning that it is the first time that the costumes designed by Takashi Murakami aredisplayed as artworks. Also, many rare works like his manuscripts of animation design and early paintings are exhibited. As a curator, I encourage challenging and experimental attempts.

Q: What is the meaning of the large amount of numbers appearing in the work patterns?

A: Those are odd numbers, which are a combination of numbers that cannot be differentiated and represent uniqueness”. For example, each flower seems to repeat itself, but in fact, there are subtle changes in colour modeling, so they are numbered.

Although we can't predict how this master of art will surprise us in the future, but it is certain that he will continue to challenge himself, and lead the post-modern pop art and animation culture in Japan.

 

All photos above

©2019 村上隆/Kaikai Kiki 有限公司,版權所有

©2019Takashi Murakami/Kaikai KikiCo.,Ltd. All Rights Reserved.