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展览预告—「相对可爱」We are all Kawaii 小林 麻衣子个展

2018-10-31 来源:中国时尚新闻网 责任编辑:admin 点击:

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展览预告—「相对可爱」We are all Kawaii 小林 麻衣子个展

  开幕时间 Opening: 2018.11.03 下午16:00

  展览时间Duration: 2018.10.30-2018.11.30

  艺术家 Artist:小林麻衣子 Maiko KOBAYASHI

  出品人 Producer:王海英 WANG Haiying

  策展人 Curator:Shun

  主办单位 Organizer:第零空间 SPACE ZERO

  协办单位 Co-organizer:熏依社画廊Shun Art Gallery

  地点 Venue:北京朝阳区酒仙桥路2号798艺术区707街红石广场 第零空间

  Space Zero,RedStone Squart,798 Art district,2 Jiuxiaoqiao Raod,Beijing

  艺术家介绍

展览预告—「相对可爱」We are all Kawaii 小林 麻衣子个展

  小林 麻衣子

  1977 出生于神奈川县横滨市

  1998 武蔵野美术大学短期大学部舞美

  设计专业毕业

  2008 英国诺森比亚大学艺术与社会学院

  艺术实践研专业研究生毕业现生活

  工作于东京

  个展

  2018 可爱的哲学,熏依社画廊,上海 中国

  2017 亲爱的艺术,和田画廊,银座 东京

  2016 居于城市,六本木之丘 A/D 画廊,

  六本木 东京

  2015 绘画捕获当下,MITSUME,清澄

  白河东京

  2014 The works so far…町

  田市厅馆东京

  2013 Mind/Heart : Right/Light,

  和田画廊,银座东京

  2012 手绘·版画作品展,表参道画廊,

  表参道东京时间漂移,表参道

  画廊,表参道东京2011忧伤的

  生活,六本木之丘 A/D 画廊,

  六本木东京思想的隔阂,表参

  道画廊,表参道东京

  2010 ID,LMD画廊,巴黎法国

  2009 泪之谷,hpgrp画廊,表参道东京

  群展

  2017 东京艺博会2017<满满的幸福>,

  东京国际会议中心,有乐町东京

  2016 东京跨界艺术展 2016-UP TOKYO,

  神田小川町-神保町东京

  3331艺博会2016 - 藏家奖,

  3331艺术千代田,外神田东京

  2013 町田之缘:生于1970后的町田

  艺术家展,町田市立国际版画美术馆,

  町田东京

  2012 KEEP A BREAST:东京爱情,表参道

  hills,表参道东京现在之域

  2012, 银座馆, 银座东京

  2011 VOCA展2011-艺术家们的新视野,

  上野森美术馆,上野东京

  MOVE!,LMD画廊,巴黎法国

  2010 爱情呼叫,KICHIOガレージ,藤野神

  奈川Salon du dessin Contemporain

  2010,卡鲁塞勒,巴黎法国

  2008 视觉艺术研究生毕业展 2008,诺森比

  亚大学,纽卡斯尔英国

  Maiko KOBAYASHI

  1977 Year of birth

  1998 Certificate in Scenography and

  Display, The Junior College of

  Musashino Art University,

  Tokyo Japan

  2008 Master of Arts with Distinction

  in Art Practice, School of Artsand

  Social sciences,Northumbria

  University, Newcast upon Tyne,

  England

  Now Lives and works in Tokyo

  Solo Exhibition

  2018 Kawaii Thinker, Shun Art Gallery,

  Shanghai China

  2017 DEAR ART, Gallery WADA,

  Tokyo Japan

  2016 Living in the City, ROPPONGI

  HILLS A/D GALLERY,Tokyo Japan

  2015 Capture the moment,

  MITSUME, Tokyo Japan

  2014 The works so far…, Machida

  City Hall, Tokyo Japan

  2013 mind / heart : right / light,

  Gallery WADA, Tokyo Japan

  2012 Drift into Time, Galerie

  OMOTESANDO, Tokyo Japan

  2011 Sorrows of Life, ROPPONGI HILLS

  A/D GALLERY,Tokyo Japan MIND

  in a Gap, Galerie OMOTESANDO,

  Tokyo Japan

  2010 ID, L MD Gallery, Paris France

  2009 Vale of Tears, hpgrp GALLERY

  TOKYO, Tokyo Japan Group

  Exhibition

  2017 ART FAIR TOKYO 2017 “Hopin’

  Pocketful”, Tokyo International

  Forum,Tokyo Japan

  2016 3331 Art Fair 2016 -Various

  Collectors Prizes- “Alternative space

  section”,

  3331 Arts Chiyoda, Tokyo Japan

  2013 Machida Connection “Born After

  1970”, Machida City Museum of

  Graphic Arts,Tokyo Japan

  2012 KEEP A BREAST: TOKYO LOVE

  SHOW, OMOTESANDO HILLS,Tokyo

  Japan FIELD OF NOW 2012, Ginza

  Yokyo Hall, Tokyo Japan

  2011 If We Hold On Together, Shun Art

  Gallery, Shanghai China Drawing Now

  2011, Carrousel du Louvre, Paris

  France VOCA-The Vision of

  Contemporary Art 2011, The Ueno

  Royal Museum, Tokyo Japan

  MOVE!, L MD Gallery, Paris France.

  2010 Salon du dessin contemporain 2010,

  Carrousel du Louvre, Pari France

  前言

  继小林麻衣子今年3月上海法租界老房子第一场「可爱的哲学」之后,北京798艺术区第零空间即将开幕的展览「相对可爱」是可爱系列第二弹。小林麻衣子“可爱系列艺术项目”正式启动。

  “可爱”系列的展题在翻译英文时没有直接用CUTE,而是沿用了日文原有的读法KAWAII,旨在保留日文自身对KAWAII独特的一词多义有着更好的解析与强调。

  日文里的「かわいい」除了可爱之外还隐含伤感之意,而伤感后所带来的美感和怜惜之情,引发对异性的关爱或母性本能,从而有更丰富的延伸,寓意饱满。

  乔治・巴塔耶深受尼采的影响,更不惜对其绝对的赞赏,曾不只一次地说过,他自己说不出任何超越尼采的东西。而后写的“关于尼采”还是写了有关“强度”的不同理解。

  小林的作品乍看非常可爱,但是在表面的“可爱”下蕴藏的是不完全正能量的“强度”。它脆弱、不安、悲伤,但正因为如此,也可以说是拥有独特的“坚强”。遇事不乱的“柔软的强度”。也近似于巴塔耶所说的“好运的意志”。

  网络社会的自媒体和快速沟通形成的新人类,构成了互联网时代和小时代新人类,语言愈趋呈现出的夸大化和过溢化的现象。例如我们称呼女士为“美女”,男士为“帅哥”,然后遇见真的出众的美女时感觉不够,又要加上“大美女”等等。赞同别人说话,我们要“严重同意”等等。

  如同「可爱的哲学」一样,「相对可爱」也是我的造语。“相对”是“绝对”的反义词,是一种企望,泛指对事物描述不要一概而论,而要允许各种不同的主观留存于世,方可百花齐放。

  我们赖以生存的世界,普遍右转,政治人缺乏理念,经济人缺乏经营伦理,教育者也在沦为奸商,国际范畴的米兔事件的扩张,我们这一代人是真要愧对子孙后代了。去年此时,我在新疆的大海道沙漠自驾游,大家在广蹂的大自然感叹时却发现曾经有我们国人游走过的地方到处是垃圾。我在沙漠仅有的绿叶间看到的是各种插在地里的塑料袋、易拉罐和饮料瓶,捡了2个小时就集成了一大堆垃圾。当现代人对生活方便度的追求同时和对环境意识的“零教育”配对,便造成了严重的环境污染,最终将殃及到我们的后代,经过食物和呼吸循环,使人类健康受损。我们破坏的自然环境的破坏导致我们遭受日益增多的自然灾害,我们应该反省在日常生活中对环境意识教育推广的怠慢。

  当我们意识到危机时,很多事情已无可挽回。

  日本次文化里重要的“卡哇伊”,从村上隆、奈良美智到小林麻衣子,他们的共同之处是在日式可爱的表面下,蕴藏的寓意。例如,村上画面里可爱的little boy指的是广岛原子弹带给日本文化的影响。小林生活的日本,当她们毕业时正面临着经济危机,同年代的很多年轻人没有正式的职业,很多企业不能采用新职员,因为业绩不好。“低欲望时代”的年轻人,没有对房子、车子等物质生活的欲望,更没有对恋爱和婚姻的想法,他们的精神世界淡泊、无机质,然而确有75%的年轻人对现有生活很满意。她的画面里总是会出现一个不安的眼神,缺乏安全感的挣扎。包裹着受伤的心灵的脑袋上,总是被别人的石头打破,缠满绷带的头的小小生命。那个柔弱的韧性却蕴藏着强大的力量,顽强、忍辱负重、时刻准备东山再起,就像赛珍珠小说里的王龙一样有翻身之日。

  小林作品里描绘的形象是这个年代日本人的真实写照,泡沫经济崩溃后的日本造就了一批不安、弱小却又强大的一代人。

  「相对可爱」在金秋的北京,期待你用自己的眼睛来解读小林的同一代人的坚韧和脆弱。你看我真的可爱吗?

  Shun 写在云端之上

  Foreword

  “We are all Kawaii”,showing at Space Zero in 798 Art District Beijing, is the second exhibition in“Kawaii series”, After the first exhibition "Kawaii Thinker" held at the Old House in Shanghai's French concession in March this year. "Kawaii Series Art Project" by Maiko KOBAYASHI is officially launched.

  The "Kawaii" series exhibitions was not directly translated CUTE, but instead of the original Japanese reading method KAWAII, which aims to preserve the Japanese language itself and has a better analysis and emphasis on the unique meaning of KAWAII.

  In addition to being cute, the "かわいい" in Japanese also implies the sense of sadness, and the beauty and pity brought by the sadness triggers the love of the opposite sex or the maternal instinct, which leads to a richer extension and full of meaning.

  George Bataille was deeply influenced by Nietzsche, and he did not hesitate to admire him. He said more than once that he could not say anything beyond Nietzsche. Later, "About Nietzsche" wrote a different understanding of "strength".

  Kobayashi 's works look lovely at first sight, but beneath the surface of loveliness lies the "strength" of incomplete positive energy. It is fragile, uneasy, sad, but because of this, it can also be said to have a unique "strong." The "soft strength" of trouble. It is also similar to what Bataye calls the "will of good luck".

  The new human beings formed by the media and rapid communication in the network society constitute the phenomenon of exaggeration and over-exploitation in the Internet era and the new era of the new era. For example, we call women "beauty", men as "handsome guys", and then feel that they are not enough to meet the really beautiful beauty, but also to add "big beauty" and so on. To agree with others, we have to "seriously agree" and so on.

  Like "Kawaii Thinker," "We are all Kawaii" is also my idiom. "Relative" is an antonym of "absolute". It is a kind of hope. It refers to the description of things not to be generalized, but to allow a variety of different subjectives to remain in the world.

  The world we live in is generally turning right, the political people lacking ideas, the economic people lacking business ethics, the educators are also becoming profiteers, and the international category of the expansion of the Mi rabbit incident, our generation is really going to be a descendant of future generations. It is. At this time last year, I traveled by car in the desert of Xinjiang, and when I was sighed by the vast nature, I found that there was garbage everywhere in the place where our people walked. I saw a variety of plastic bags, cans and beverage bottles in the desert, and I integrated a lot of garbage in 2 hours. When modern people's pursuit of convenience at the same time is matched with the "zero education" of environmental awareness, it will cause serious environmental pollution, and will eventually reach out to our offspring, through food and respiratory cycle, and damage human health. The destruction of our destructive natural environment has caused us to suffer from increasing natural disasters. We should reflect on the stagnation of environmental awareness education in daily life.

  When we realized the crisis, many things were irreparable.

  The important "Kawaii" in Japanese subculture,fromTakashi MURAKAMI,YoshitomoNARA to Maiko KOBAYASHI, their commonality is the implication of the Japanese-style cute surface. For example, the cute little boy in the Murakami picture refers to the influence of the Hiroshima atomic bomb on Japanese culture. Kobayashi lived in Japan. When they graduated, they were facing an economic crisis. Many young people in the same era did not have formal occupations. Many companies could not adopt new staff because of poor performance. Young people in the "low desire age" have no desire for material life such as houses and cars, and they have no idea of love and marriage. Their spiritual world is indifferent and inorganic. However, 75% of young people have an existing life. very satisfied. There is always an uneasy look in her picture, a struggle for security. Wrapped in the head of the wounded mind, always broken by the stone of others, the little life of the bandaged head. That weak resilience has a powerful force, tenacious, humiliating, and ready to make a comeback, just like Wang Lung in the Pearl S.Buck's novel "The Good Earth".

  Kobayashi's image is a true portrayal of the Japanese of this era. Japan, after the collapse of the bubble economy, created a generation of restless, weak but powerful people.

  “We are all Kawaii”, in the fall of Beijing, looking forward to you to read the tenacity and vulnerability of Kobayashi and the same generation. Do you think I'm really Kawaii?

  By Shun

  作品介绍

展览预告—「相对可爱」We are all Kawaii 小林 麻衣子个展

  不想动了Can't move

  小林 麻衣子 | Maiko KOBAYASHI

  布面丙烯 | Acrylic on Canvas

  180×90×4cm | 2018

展览预告—「相对可爱」We are all Kawaii 小林 麻衣子个展

  让我懒一会儿Listless

  小林麻衣子Maiko KOBAYASHI

  布面丙烯 | Acrylic on Canvas

  180×90×4cm |2018

展览预告—「相对可爱」We are all Kawaii 小林 麻衣子个展

  别紧张Push a tension

  小林麻衣子Maiko KOBAYASHI

  布面丙烯 | Acrylic on Canvas

  180×90×4cm |2018

展览预告—「相对可爱」We are all Kawaii 小林 麻衣子个展

  青春酱AOHARU-chan 小林麻衣子Maiko KOBAYASHI

  板上丙烯 | Acrylic on Woodboard

  100×115×2.8cm | 2018

展览预告—「相对可爱」We are all Kawaii 小林 麻衣子个展

  蓝色的痛Blue Pain 小林麻衣子Maiko KOBAYASHI

  布面丙烯 | Acrylic on Canvas

  60×80×4cm |2018

展览预告—「相对可爱」We are all Kawaii 小林 麻衣子个展

  睡莲Water lily 小林麻衣子Maiko KOBAYASHI

  布面丙烯 | Acrylic on Canvas

  115×100×2.8cm |2018

展览预告—「相对可爱」We are all Kawaii 小林 麻衣子个展

  第三森林#4 Third Forest #4 小林麻衣子Maiko KOBAYASHI

  布面丙烯 | Acrylic on Canvas

  70×100×3cm | 2018

展览预告—「相对可爱」We are all Kawaii 小林 麻衣子个展

  無題#28-18 Untitled painting #28-18 小林麻衣子Maiko KOBAYASHI

  布面丙烯 | Acrylic on Canvas

  70×100×3cm | 2018

展览预告—「相对可爱」We are all Kawaii 小林 麻衣子个展

  無題#23-16 Untitled painting #23-16

  小林麻衣子Maiko KOBAYASHI

  板上丙烯、和纸Acrylic on wood panel with Washi

  65.2×50cm | 2016

展览预告—「相对可爱」We are all Kawaii 小林 麻衣子个展

  無題#24-16 Untitled painting #24-16

  小林麻衣子Maiko KOBAYASHI

  板上丙烯、和纸Acrylic on wood panel with Washi

  65.2×50cm | 2016

展览预告—「相对可爱」We are all Kawaii 小林 麻衣子个展
展览预告—「相对可爱」We are all Kawaii 小林 麻衣子个展
展览预告—「相对可爱」We are all Kawaii 小林 麻衣子个展
 
展览预告—「相对可爱」We are all Kawaii 小林 麻衣子个展

  肖像-Portrait 小林麻衣子 | Maiko KOBAYASHI

  布面丙烯 | Acrylic on canvas

  41×31.8×6cm| 2017

展览预告—「相对可爱」We are all Kawaii 小林 麻衣子个展

  两个家伙在黑暗中_翅膀Scenes in Black #two_wings

  小林麻衣子Maiko KOBAYASHI

  纸上丙烯Acrylic on paper

  45×45cm/paper size 32×32cm/image size | 2018

展览预告—「相对可爱」We are all Kawaii 小林 麻衣子个展

  什么是古怪? What's an eccentric?

  小林麻衣子Maiko KOBAYASHI

  板上丙烯Acrylic on Woodboard

  41×53×2.5cm | 2018

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