VOICE OF ASIA_Voice 1 | 青野文昭 AONO Fumiaki
2017-06-21 19:20 浏览:478 A+ | A-

VOICE OF ASIA_Voice 1 | 青野文昭 AONO Fumiaki

Truck | 2013, Car body parts, chest of drawers, assorted woods and acrylic paint,185 (H) x 350 x 158 cm, ©️Artist and ARARIO GALLERY


艺术家的声音




Q: 你认为亚洲艺术家(来自其他文化背景或种族的艺术家)是否具有某一特定的身份认同?如有,请详述你的观点。

A: 我认为亚洲身份有其独特之处。在我眼中, 那是一种新旧精神观念在不同的空间与自然之中极富活力的互动。


Q: 你文化背景的哪些方面启发过你的艺术创作?

A: 欧洲传统文化和亚洲文化的区别之一在于, 东方精神的根基与发展动力本质上是源于自然的启迪。

欧洲传统文化和亚洲文化的区别之一在于, 东方精神的根基与发展动力本质上是源于自然的启迪。


Q: 你认为人们的文化认知对他们理解与回应你的作品有怎样的影响?

A: 不同的文化背景会给艺术家带来不同的灵感来源。但与此同时我也认为有普世价值的存在,那是人类文明的核心。此外, 我们都经历了现代社会的生活。我认为真正能和观众产生共鸣的作品都应具备这些特质。


Q: 如果用一个关键词描述你所期待的亚洲艺术的未来,将会是什么?

A: 我认为(创新来源于与他人的共生共栖 ), 如果让我选择一个关键词去表述亚洲艺术的未来。


Q: 可否简要介绍一下本次展览的参展作品?特别是从“亚洲身份认同”这个角度。

A在过去20年里, 我开始收集各类破损物件的碎片。与日语的“naosu”一词相契合,这一行为囊括了治愈、修补, 以及回归、演化的含义。我通过将破碎的物体重新组合来对它们进行再创造。通过这种方式,破碎的物体得以“转世”,并生发出新的生命和意义。当我们用平常的思维去考虑艺术创作, 一般会认为艺术作品是在创造新物件。但若是以“naosu”的视角来解析艺术, 我们会发现艺术也可以是形式的创新。

 以人类中心论和资本主义为代表的西方文明改变了人们对世界的看法, 似乎世界就是人类的资源库。“修补”的艺术手法所追求的是包容一切, 让一切的物种都得以和谐共存,让人与自然能够以各自特有的方式共同发展的世界, 由此新的表现形式和创意会接踵而至,最终, 一个属于亚洲的身份认同也会水到渠成。


关于艺术家




青野文昭的作品, 包括收集撕裂的布、报纸及破损的标志板,延伸或恢复破损的部件并加入相类似的材料, 将它们拼凑在一起创造出新物件。在这个过程中,他意图“恢复”物体失去的物质性, 与其他物质结合, 将其重塑成新物体。他的创作超越了简单的转变或者恢复,而旨在体现疗愈、修整、恢复的概念。这种对修复概念的关注可以追溯到青野文昭早期的作品之中, 艺术家被混凝土墙所形成的裂缝瞬间吸引, 并将其视为无机物与人类活动之间的“交点”。


自2011年以来, 青野文昭艺术创作的关注范围一直在进一步扩大。相较前作中对日常物品的修复, 近期的作品则通过对艺术疗愈的追寻而获得更深层的意义, 折射出一种对复原与形式的期望。作品《被来自关东地震与海啸损坏的房屋地板材料覆盖的低矮桌子》就极最具代表性, 在地震灾难后被发现的物体中, 艺术家融入了自己的美学理念, 不仅为这些破损物品带来了美学价值, 同时, 他提出的“转世”概念——源于拉丁语“肉身”一词, 亦指向将“肉身”放回破损的物体, 并将它们“转世”回到生命之中。


青野文昭, 1968年出生于日本仙台, 毕业于宫城教育大学研究生院。自职业生涯早期以来, 青野文昭一直对物品的“维修”和“复原”很感兴趣, 并最终将找到的物品“修复”成为一种艺术品。相较沉溺于问题本身, 青野文昭的创作关注对遗失或毁坏的重建。2011年,日本海啸对青野文昭故乡造成很大冲击, 这一事件很大程度上影响了青野文昭的作品观, 自那之后他的创作更趋于个人化。同时, 艺术家始终关注疗愈的过程, 以冷静、温雅的态度持续扩充他的艺术创作。他的作品曾被多家重要美术馆及画廊收藏, 包括爱知美术馆、宫城美术馆、金泽二十一世纪当代艺术博物馆、里亚斯方舟艺术博物馆、町田市当代艺术博物馆和阿拉里奥博物馆。青野文昭目前在工作和生活于日本仙台。

VOICE OF ASIA_Voice 1 | 青野文昭 AONO Fumiaki

Mending, Substitution, Incursion, Coupling, “Restoration of a Red Signboard Collected in Ishinomaki, Miyagi, Japan, after the Great East Japan Earthquake and Tsunami” | 2013, metal, timber (chest of drawers), plywood, and acrylic paint, 316 x 150 x 155 cm, ©️Artist and ARARIO GALLERY


VOICE




Q: Do you think there is any particular identity of Asian based artists ? If so, what would it be in your opinion?

A: I think that there are the specific characteristics of Asian identity. The Asian identity that I think about is an old and new spirituality infusing through dynamic interactions between the spaces, nature, with others.


Q: What aspects of your cultural background were you inspired the most?

A: One of the differences between the traditional European culture and Asian culture could be that the Eastern spirituality was cultivated and had started its fundamental basis inspired by the nature. 


Q: How do you think about the cultural identity and sensitivity influence the way viewers understand and respond to your works?

A: The different cultural background of each artist will bring about different sensitivity for each.

However, I think that all artists share a universal value and the core of humanity as well as sharing the experience living in a modern society. I think the works that really resonate with the viewers have both of these characteristics.


Q: If you can describe your expectation of the future of the Asian Art world in one keyword, what would it be?

 A: I think (new creation to come out of the symbiosis with other people) if I talk about the future of the Asian art in one keyword. 


Q: Could you briefly introduce us your exhibited work/works in general, especially in terms of Asian identity?

A: Japanese word “naosu” encompasses concepts of both healing and repairing, as well as putting back into place and transforming. I have begun to recreate these broken objects by combining them with other items to reincarnate them with a new life and meaning. When we think of a common method of creating an art work, we generally think of making new entities. However, by approaching art through the concept of “ naosu,” we have approach in a way to derive new forms from creativity. Anthropocentrism and capitalism of the Western civilization have changed "the world" to be conceived as resources, the materials used for human beings. The method of "repairing" attempts to bring all life together in the world to co-exist in harmony. If all nature and people live together, and are allow to be in their different ways of existence, new directions for originality and creativity will be shown and finally, I think that Asian identity can be differentiated. 


VOICE OF ASIA_Voice 1 | 青野文昭 AONO Fumiaki

Untitled (Tables) | 2012 , Vinyl, tile, asphalt, timber, plywood, plaster, acrylic paint and etc, Various sizes, ©️Artist and ARARIO GALLERY


About Artist





AONO Fumiaki’s works have consisted of collecting torn cloth, newspaper pages and broken sign boards and extending or restoring the damaged parts and using compatible materials. The artist intends to “restore” the lost materiality of the objects in the process of reshaping them into new objects and combining the pieces with other substances. His work goes beyond simply transforming or restoring, and aims to heal, fix, and restore. Such proclivity towards repairing has can be tracked from his early works which he instantly was attracted to concrete wall and the cracks that had formed which he saw it as a ‘crossing’ between an inorganic object and human activities. His works have been extending further in this range since 2011. 


Whereas his past productions were anesthetizing daily objects by formally restoring them, his recent works gain further meaning by aspiring to artistic healing, reflecting a desire to restore meaning as well as form. Low Tables Covered with Floor Materials from Houses Destroyed in the Great East Japan Earthquake and Tsunami most well-represent such derivation of works, in which exhibited found objects after the earthquake and then repaired with the artist’s aesthetic touch. 


Not only does the artist give these destroyed and lost objects an aesthetical value, but he also uses words like ‘reincarnation’ to explain his works, which is derived from ‘carneus’ in Latin meaning ‘flesh,’ which connotes to adding ‘flesh’ back to the broken or shattered objects, and ‘reincarnating’ them back to life.

 

AONO Fumiaki was born in Sendai in 1968. He graduated from Miyagi University of Education Graduate School. Since early on in his career, AONO has been interested in ‘restoring,’ ‘repairing’, and finally ‘healing’ found objects to an art object. Rather than dwelling on the problem itself, the artist suggests finding a solution that can rebuild the lost or broken. Such as Aichi Art Mueum, Miyagi Art Museum, 21st Century Museum of Contemporary Art in Kanazawa, Rias Ark Museum of Art, Machida City Museum of Contemporary Arts and ARARIO Museum. Fumiaki currently works and lives in Sendai.


VOICE OF ASIA_Voice 1 | 青野文昭 AONO Fumiaki

Mending, Substitution, Consolidation, Coupling, “Restoration of a Land Marker Collected in Yuriage, Miyagi, Japan, after the Great East Japan Earthquake and Tsunami (Memorial Configuration)” | 2013, plastic, paper(books) and acrylic paint, 43 x 12 x 16 cm ©️Artist and ARARIO GALLERY



ARARIO GALLERY


Shanghai | Seoul | Cheonan

www.arariogallery.com

E-mail:  info@arariogalleryshanghai.com (CHINA)       


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VOICE OF ASIA_Voice 1 | 青野文昭 AONO Fumiaki


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