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NEW POP—Three Artists of China/Japan/Korea Exhibition

2016-08-09


 

NEW POP—Three Artists of China/Japan/Korea Exhibition

 

 

Japanese artist Yuki Matsueda’s series art work “Emergency Exit” is so impressive as a break from the plane safety identification labels we see everyday. A three-dimensional little man truly runs out of the emergency exit in his work. If we compare him with the pioneers of the Pop Art movement, Yuki Matsudea should be Cales Oldenberg. His works are both plane and three-dimensional. A knowing smile is perceptible in audiences at their first glimpse at Yuki Matsudea’s works. And they will take pictures of these works as they would like to share these joys and touch feelings with others. Yuki Matsudea picks up these daily objects from life skillfully, endows them with a sense of humor, and presents them to the viewers with semi-three-dimensional rendering.

 

We can sense an amazing realistic and skill from the Korean artist Kim’s paintings. In contrast, the plum takes the form of Chinese ink painting, and presents a perfect skill in both oil and ink paintings, leaving the viewers breathless. In Kim’s painting album, the artist said that “The intention is to blend four opposite elements together in a picture, the first is traditional and modern, the second East and West, the third plane and three-dimensional and the fourth animation and realism.” With those four points in mind, we can gain a further understanding of Kim’s works. I believe that Kim will definitely harvest a tremendous success in the near future, but we often fail to experience the shock from the original works by simply looking at the album. In this network information era, it is very difficult to find out Kim’s extraordinary talent if you are not looking at his original works. It is an irony of this information age. And you, who are reading my article now, are definitely lucky if you can ever have the opportunity to stand in front of Kim’s works.

 

Chinese artist Gong Xinru uses signs (also known as text painting or text words, it’s a visual symbol for prompt or notice) as the creation element. Automobile brand logos from all over the world are implanted by the artist into the monkey-like faces made with yellow acrylic material. This series of works fully reveal the growing traffic problem with the development of society and the popularity of cars. If you observe the picture carefully, you will find car accident reports engraved in the white background. And Gong Xinru’s work reveals this phenomenon. It is severe and practical problem in the real world, yet the artist doesn’t pretend to be profound, instead he poses the problem with a sense of humor and sarcasm. He also uses this unique acrylic material boldly for his works. I believe, standing in front of his works, we all can have our mind enlightened.

 

Three artists on behalf of China, Japan and Korea respectively now come together, and what they have in common is the strong sense of humor that reveals in their works. Although viewers’ reactions are different more or less when they see these three artists’ works, it is without doubt that everyone will smile. In watching the contemporary art, I think the most important reaction is “smile”, which is also a critical standard when it comes to evaluate the art works. Smile occurs out of a sudden and you won’t smile without a thorough understanding: only an instant understanding promises a smile. Curator Shun curates this New Pop exhibition by choosing these three artists. Pop Art seems to finally return to its due normal track from the creation attitude of irony and indifference.

 

By Yumi Yamaguchi

 

 

 

NEW POP--中日韩艺术家三人群展

 

 

展览介绍:

日本艺术家松枝悠希的《安全出口》系列作品让人印象深刻。打破日常所见的平面安全出口标识,在松枝作品中安全出口的立体小人被拔了出来。如果拿波普运动的先驱者来比拟,他应该是克拉斯·欧登伯格吧。他的作品介乎平面与立体之间。第一次看到松枝作品的观众肯定都会心一笑,而笑的同时也会拿出相机来拍照。这些作品带来的喜悦和感动是想跟别人分享的。松枝很灵巧地选择生活里的寻常之物,赋之于幽默感,并以半立体化的状态呈现在观者眼前。

 

韩国艺术家金准植的绘画里可以看出令人惊叹的写实与技术。在画册中,艺术家说“意图把相互对立的4组元素融合在一个画面中,一是传统与当代,二是东方与西方,三是平面与3D,四是动漫与写实”。理解了这四点之后,才会对金准植的作品有更进一步的认识。相信不久的将来,金准植一定会取得非凡的成就,然而仅仅看他的画册你很难体会到原作给人带来的震撼。在当今这个网络信息化的时代,如果不看金准植的原作,是很难发现他非凡的才华的。这是信息化社会的反讽。而现在读我这篇文章的你,如果有机会站在金准植作品前,你肯定是幸运的。

 

中国艺术家龚新如将指示牌(一般也叫文字画或文字词,用于提示或者提醒注意的视觉符号)

作为创作的元素。来自世界各地的汽车品牌logo被艺术家植入黄色亚克力材质,貌似猴子般的面孔中。这个系列作品充分表达了随着快速的经济发展,随着车辆的普及,交通问题日益突显。如果仔细观察画面,你就会发现交通事故报道的文章一篇篇被刻在白色背景中。但是,如果开车人的开车道德或者素质没有跟上,就会引发严重的交通问题。龚新如的作品揭示了这一点。这在现实社会中是切实严峻的问题,但艺术家并没有故作高深,而是带着些许幽默与讽刺在指出问题。同时大胆运用了亚克力这一独特材质。站在他的作品前,相信我们都会有一份有豁然开朗的心境。

 

代表中日韩的三位艺术家如今汇聚一堂,其共性是作品中流露出来的强烈幽默感。虽然看到三人的作品,观者的反应多多少少会有不同,但毋庸置疑的一点是大家都会笑。观看当代艺术,我觉得最重要的一个反应就是“笑”,也是对艺术品评价的一个至关重要的标准。笑是突然发生的,如果没有完全理解是不会发笑的,只有瞬间理解之后才会笑。策展人Shun选择了这三位艺术家,策划了这次的New Pop展览。波普似乎终于从讽刺,冷漠的创作态度中回到正常的应有的状态。

 

——山口裕美