2018.05.12-06.23

日期Date          2018.05.12-06.23

地點Venue             朝代畫廊B館(台北市大安區樂利路43號,近六張犁捷運站&遠企)

                            Dynasty Gallery B (No. 43, Leli Road, Da-An District, Taipei, Taiwan)

開幕Opening       2018.05.12(Sat.)16:0

​藝術家水谷篤司將出席開幕

朝代畫廊很高興向您宣布,我們將於5月12日下午4點舉辦旅台藝術家水谷篤司最新個展《似曾相識的風景 - 存在》開幕茶會,展期將自當天展覽至6月23日。水谷篤司近年來多以木雕與岩彩上色作為創作手法,以展現對人與自然之間的深沉思考。

 

日本的岐阜縣是一個被山脈圍繞的平原,出生於此的水谷篤司自幼便意識到對於山川森林的敬畏,這個深刻烙印在他腦海中的兒時記憶,同時也或許是受到日本文化中的「萬物有靈論」影響,這兩者皆不斷地影響著他在後來創作的形式與思考脈絡:自然的事物自恆古以來便存在著,而後出現的人類因為自身的需求而對自然不斷地改造變化,也就是說,以前人們所觀看的風景已經與現在所看到的早已大不相同。但不管是陽光、天空、海洋或是山川,為何我們心中仍會有著對於原始自然的想像?水谷篤司說:「…..(它們)像是衝擊波似的傳達給許多人們,留在記憶裡,也感覺傳給下一批人時會產生出新的風景。」他認為人類對於自然的認知是一種刻印在人們記憶中的傳承,就好像是在基因或是靈魂之中的不斷累積疊加,並不會因為某個事件便而斷絕。於是,風景便不只是單純的湖光水色,而是一種人們之間的共同默契,或是說一條串起每個人心中的線,而這條線,這種存在於人類之間的語言,便是水谷篤司一直在努力呈現的風景。

 

此次個展《似曾相識的風景 – 存在》,將展出水谷篤司的三個創作系列,分別是:《似曾相識的風景》、《被奪走的風景》以及《記憶中的風景》。在《似曾相識的風景》中,藝術家刻劃著一種人們普遍認知中的山川景色,《被奪走的風景》則是在觀察自然景色「被」遷動後的結果,而《記憶中的風景》就是屬於水谷篤司自身對於兒時記憶的光景再現。在這三種系列裡,藝術家將建築物輪廓加入作品之中,加上將雕塑與人造現成物結合的新嘗試,藉此呈現出自然與人共同相處的某種游離狀態。

 

水谷篤司1975年生,目前在台灣、日本兩地生活創作,他畢業於東京造型大學美術系第二類雕塑類以及沖繩縣立藝術大學造型藝術研究所。水谷篤司在求學時期便開始關心全球性的議題如能源、環保等,而後轉向注視更本質的社會與個人之間,甚或是地球與個人之間的連結。近期的個展包括《似曾相識的風景 – 存在》(朝代畫廊,台北,2018)、《似曾相識的風景 – 雨的境界》(麗寶文化藝術基金會,台北,2018)、《似曾相識的光景 – 借光景以往來兮》(月臨畫廊,台中,2017)、《水準線》(NAUFU現代,岐阜,2015)、《某個世界的開端》(B. B. ART,台南,2013)等。他的首次個展舉辦於2003年的沖繩前島藝術中心。

 

近期聯展包括《Art Central 香港中心藝術博覽會》(朝代畫廊展位,香港,2018)、《沖繩縣立美術館10週年紀念展》(沖繩縣立博物館、美術館,沖繩,2017)、《第三屆麗寶國際雕塑雙年展》(台中文創園區雅堂館,台中,2016)、《木形喚覺》(朝代畫廊,台北,2016)、《渋谷藝術季》(BUNKAMURA Gallery,東京,2016)、《月津港燈節》(月津港,台南,2014)、《TRANSPARENCY OF ART Young Nippon Beyond》(ROSTOCK美術館,德國,2013)、《第38回羅馬尼亞國際藝術祭》(拉劄爾城堡,羅馬尼亞,2012)、《文化鏡像》(高雄市立美術館,高雄,2012)、《ASHIGARA藝術祭》(足柄上地域,神奈川,2012)、《不失真-日本當代雕塑》(當代唐人藝術中心,香港,2010)等。

 

水谷篤司曾駐村於《藝術彩虹駐村計畫》(德國,2013)、《羅馬尼亞國際藝術祭》(羅馬尼亞,2012)、《橋仔頭藝術村》(高雄,2005),並曾獲得《Sibuya Award小山登美夫賞》(2016)、《第三屆麗寶國際雕塑雙年展銅獎》(2016),並多次獲得日本企業文化藝術基金會補助並策劃重要國際交流展覽。他的作品在台、日兩地間廣受藏家喜愛且收藏,公共作品亦數次被國際美術館如Rostock美術館(德國)及CAMP TALGANIE artistic farm(日本)典藏。

Dynasty Gallery is pleased to announce to you, that we will hold the opening of Mizutani Atsushi’s the latest solo exhibition “Nostalgia Landscape – Existence” at 4PM on 12 May. The exhibition will be held until 23 June. In recent year, Mizutani has used wood sculpture and rock coloring as creative way to demonstrate his deep thinking between nature and human being.

 

Gifu in Japan is on a plain surrounded by mountains. Mizutani Atsushi, who was born here, realized the mountains and rivers was filled him a sense of awe when he was a child. The childhood memory was imprinted deeply in his mind. And may be influenced by the “Animism”, an important part of Japanese culture, both of them effect the form and thinking of Mizutani’s creations: natural things have existed since ancient times, and the humanity has changed the natural because of its own needs continuously. In other words, the landscape that people used to watch is already very different from what they are seeing now. But, whether it is sunshine, sky, ocean or mountains and rivers, why do we still have the imagination of primitive nature in our minds? Mizutani said, “….. (They) are like shock waves convey people will be kept in our memory. When it passes to the next group of people, it will produce new landscape also.” He believes that the human’s cognition of nature is a kind of inheritance in people’s memory, as if it is a cumulative accumulation of genes or souls. It won't be cut off just because of a certain incident. Thus, the landscape isn’t merely scenery, but is a common tacit agreement between people, or a line that straddles everyone’s heart. This line, or say the common language that exists among humans, is the landscape that Mizutani has been trying hard to present.

 

The solo exhibition of Mizutani Atsushi, “Nostalgia Landscape – Existence”, will present three creation series which include “Nostalgia Landscape”, “Snatched Landscape” and “Landscape in Memory”. In the “Nostalgia Landscape” series, the artist sculpts a view of mountains and rivers that people generally perceive. The “Snatched Landscape” is the result of observing the natural scenery which is changed by human. And the “Landscape in Memory” series is a reproduction of the scenes belonging Mizutani’s childhood memory. In these three series, the artist adds the outline of the buildings into his works, together with new attempts to combine the sculpture with the man-made objects, thereby presenting a free state in which nature and humans get along.

 

Mizutani Atsushi was born in 1975 and graduated from the Sculpture Major, Department of Fine Arts in Tokyo Zokei University and got MA from the Graduate School of Formative Arts in Okinawa Prefectural University of Arts. Now he is living and creating in Taiwan and Japan. At the time of studying, Mizutani started to care about the global issues such as energy, environmental protection, and then turned to concern the connection between social and person, even the earth and person. His recently solo exhibitions include “Nostalgia Landscape – Existence” (Dynasty Gallery, Taipei, 2018), “Nostalgia Landscape – The Realm of Rain” (Lih Pao Culture and Arts Foundation, Taipei, 2018), “Nostalgia Scene – Seeing the Past through the Scenery” (Moon Gallery, Taichung, 2017), “The Horizon” (NAUFU GEDDAI, Gifu, 2015), “The Birth of Real” (B. B. ART, Tainan, 2013) and etc.. His first solo exhibition was held at Maejima Art Center in 2003.

 

Mizutani’s recently group exhibitions include “Art Central” (Dynasty Gallery’s Booth, Hong Kong, 2018), “10th Anniversary Special Exhibition” (Okinawa Prefectural Museum and Art Museum, Okinawa, 2017), “The 3rd Lih Pao International Sculpture Biennale” (The Cultural and Creative Industries Park, Taichung, 2016), “The Sensation Summoned from Wood” (Dynasty Gallery, Taipei, 2016), “Sibuya Art Festival” (Bunkamura Gallery, Tokyo, 2016), “Yue Jin Lantern Festival” (Yue Jin Port, Tainan, 2014), “TRANSPARENCY OF ART Young Nippon Beyond” (Rostock Art Museum, Germany, 2013), “The 38th International Art Camp” (Castle Lzarea, Romania, 2012), “Mirror of Images of Culture” (Kaohsiung Art Museum, Kaohsiung, 2012), “Ashigara Art Festival” (Ashigara area, Kanagawa, 2012), “Reality Retained – Japanese Contemporary Sculpture” (Tang Contemporary Art, Hong Kong, 2010) and etc..

 

The residencies of Mizutani Atsushi were such as “Art Rainbow Project” (Germany, 2013), “The 38th International Art Camp” (Romania, 2012), “Kio-A-Thau Artist in Residence” (Kaohsiung, 2005), and he won the prizes “Sibuya Award” (Koyama Tomio Award) and “The 3rd Lih Pao International Sculpture Biennale” (Bronze Award). He was subsidized by different Japanese culture foundations for many times and curetted several important international exchange exhibitions. Mizutani’s works were collected by Taiwanese and Japanese collectors widely, and his public works were also collected by private art museums such as Rostock Art Museum (Germany) and CAMP TALGANIE artist farm (Japan).

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