展讯 | 「联结」——纪念关根伸夫 暨 上海世博会纪念版画展

「联结」——纪念关根伸夫 暨 上海世博会纪念版画展

Connections -- Memorial Exhibition: Nobuo Sekine & Shanghai Expo Prints

关根 伸夫  Nobuo SEKINE

小清水 渐  Susumu KOSHIMIZU

横尾 忠则  Tadanori YOKOO

井口 真吾  Shingo IGUCHI

笛田 亚希  Aki FUEDA

方 力钧  FANG Lijun

季 大纯  JI Dachun

刘 野  LIU Ye

裴 晶  PEI Jing

曲 丰国  QU Fengguo

孙 良  SUN Liang

周 春芽  ZHOU Chunya

展览时间 | Duration

2019年6月20日（周四）- 2019年7月25日（周四）

（12：00 - 20：00，周一闭馆 Closed on Mondays）

上海熏依社画廊 · Shun Art Gallery

地址 | Address

200031 中国 上海 徐汇区复兴中路1363弄3号108室

Room 108, No.3, Lane 1363, Middle Fuxing Road, Xuhui District, Shanghai, China 200031

第一次听闻“物派”（Mono-ha）是在八年前由洪欣策划的“上海世博会纪念版画”展上，展出了关根伸夫（Nobuo SEKINE）的四幅概念手稿作品丝网版画。1968年，时年26岁的关根伸夫在神户须磨离宫公园举行的“第一届现代雕刻展”上创作了《位相—大地》（Phase-Mother Earth）：以中国园林山水概念为基础，在公园内挖出一个深2.7米、直径2.2米的圆坑，而挖出的泥土被塑造压制成与圆坑大小一样的圆柱体，矗立在大地上的圆柱体与其旁的深洞形成了对照，这件作品成为“物派”产生的契机。

位相-大地亮相万里长城《Phase-Mother Earth》is to be displayed at the Great wall_关根 伸夫Nobuo SEKINE_Silkscreen_ED50_2010

“物派”艺术家们的作品通常使用未经加工的木、石、土等自然材料，降低作品的人为处理痕迹，在注重物体之间“关系”的同时，也将“空间”纳入叙述的因素，讨论的焦点往往隐形于物物之间似有若无的微妙的“联结”。据此以最低表现来揭示自然世界的存在方式，人们有机会重新认识到世界的“真实”。

明日之月 the Moon Tomorrow_小清水 渐 Susumu KOSHIMIZU_Silkscreen_ED100_2010

今年5月14日，被誉为日本最重要当代艺术家之一的关根伸夫辞世，享年77岁。得知这一消息的同一时期，手边正在阅读原研哉的《DESIGNING DESIGN》1，感受其从设计行业角度阐述对物的观察和认知，内心产生了对物的强烈联结，遂想以九年前上海世博会纪念版画展上关根伸夫的四幅概念手稿丝网版画作品及文献展的方式呈现关根对“物”2及“关系”的诉求，启发观者。文献会分别展出关根在北京和上海的重要个展资料：北京东京艺术工程的「关根伸夫个展——动感环境」（2004），上海城市雕塑艺术中心「物语——关根伸夫艺术展」（2011）。借此纪念，同期也将展出2010年上海世博会纪念版画项目里其他11位中日艺术家的作品，他们对世界的观察、感知、和表述何尝不是一种“联结”？

阿 A_笛田 亚希 Aki FUEDA_Silkscreen_ED100_2010

上海欢迎您 Shanghai Hi-Yoo Koo Soo_横尾 忠则 Tadanori YOKOO_Silkscreen_ED100_2010

1998.2_方 力均 FANG Lijun_Silkscreen_ED100_2010

无题 No Title_刘 野 LIU Ye_Silkscreen_ED50_2010

3个TT, Three TT_周 春芽 ZHOU Chunya_Silkscreen_ED100_2010

纪念展也会以视频展出1970年关根伸夫被选中为威尼斯第35届双年展日本馆的代表艺术家的作品《空相》（Phase of Nothingness）：一块重达16吨的巨石头被置放在一个不锈钢镜面支柱上，柱体映照出环境周围的景色遂几乎从视野中消失，而石头似乎漂浮在空中。“我们可以发现，关根的环境艺术目标并不是将艺术转变成环境，--而是将环境转化成了艺术” 3。

将山抬高10米 The hillwill be increased by 10meters high_关根 伸夫Nobuo SEKINE_Silkscreen_ED50_2010

关根更乐意让物体呈现出“自在状态”，让空间、物质和观念构成一个综合体。自然地将“空间”视为作品中极其重要的因素之一去进行思辨。物是生活中最直接简单可随时接触的到的，纪念展同期开放Mini-workshop，提供的工作台上的自然物件可按观者当时的心意自由摆设，希望激发一种与世界本身的直接互动关系和探索，去感知空间是因为时间的流动而产生，感知“物”的存在和自我的“联结”。

MAO，2019.6.11

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1 原研哉：“一个人就是一套努力认知世界的感觉系统。”“人类的感官是对世界大胆开放的。它们不是‘接收器’，而是积极、主动的器官。”《设计中的设计》，2010

2 关根伸夫：“我们将充满材料感与物质感的‘物质’揭示出来，当时称它为‘物派’并流传至今。”《动感环境》序，2004

3 黄笃：《从“物派”到环境艺术——解读关根伸夫的艺术观念》，「关根伸夫个展——动感环境」北京东京艺术工程，2004

For the first time, I heard of "Mono-ha" at the “Shanghai Expo Prints Exhibition” curated by Hong Xin eight years ago. It exhibited four conceptual silk-screen manuscripts of Nobuo SEKINE.

在山顶修建观景台 The Observation Deck is to be built on the hilltop_关根 伸夫 Nobuo SEKINE_Silkscreen_ED50_2010

In 1968, the 26-year-old Nobuo SEKINE created "Phase-Mother Earth" at the "First Contemporary Sculpture Exhibition" in Suma Palace Park, Kobe, Japan. Based on the concept of Chinese landscapes, Sekine created the piece by digging a cylindrical pit 2.7 meters deep and 2.2 meters wide on the park grounds, then molding the excavated soil into an enormous cylinder of the same dimensions and installing it next to the pit. The pillar standing on the ground formed a bold contrast to the emptiness of the hole. This piece has become an opportunity for the "Mono-ha".

岩山走动上海外滩 Walking stone is to be displayed at The Bund_关根 伸夫Nobuo SEKINE_Silkscreen_ED50_2010

The works of "Mono-ha" artists usually use unprocessed natural materials such as wood, stone and soil to reduce the artificial traces of the pieces. While paying attention to the “relationship” between objects, they also incorporate “space” into the narrative factors. The focus of the discussion is often invisible to the subtle "connections" between objects. According to this, the minimum performance is used to reveal the way the natural world exists and people have the opportunity to re-recognize the "reality" of the world.

昨日之雨 the Rain Yesterday_小清水 渐 Susumu KOSHIMIZU_Silkscreen_ED100_2010

On May 14 this year, Nobuo SEKINE who is regarded as one of Japan's most important contemporary artists passed away at the age of 77. At the same time of hearing the news, I was reading the "DESIGNING DESIGN"i of Kenya HARA to feel his observation and cognition of objects from the perspective of the design industry. Feeling a strong connection with objects, I want to present Nobuo SEKINE’s pursuit of “objects” ii and “connections” with his four conceptual silk screen manuscripts at the “Shanghai Expo Prints Exhibition” nine years ago and inspire the viewers. The literature of Sekine’s  important solo exhibitions in Beijing and Shanghai will be exhibited with 「Nobuo SEKINE Solo Exhibition——Movement, Feeling, Environment 」by Beijing Tokyo Art Projects (2004) and 「MONOGATARI——Nobuo SEKINE Arts Exhibition」by Shanghai Sculpture Space (2011). The pieces of other 11 Chinese and Japanese artists in the project of Shanghai Expo Prints Exhibition will also be exhibited during the same period. Is their observation, perception, and expression of the world not a kind of “connection”?

那是什么 What's that?_井口 真吾 Shingo IGUCHI_Silkscreen_ED50_2010

假宝玉 Fade Jade_季 大纯 JI Dachun_Silkscreen_ED100_2010

和谐 Harmony_裴 晶 PEI Jing_Silkscreen_ED100_2010

豹 Leopard_孙 良 SUN Liang_Silkscreen_ED100_2010

The piece of “Phase of Nothingness" will also be showed by video, which was Nobuo SEKINE’s work when he was selected as the representative artist of the 35th La Biennale di Venezia in 1970. A giant stone weighing 16 tons was placed on a stainless steel mirrored pillar, the column reflects the view around the environment which almost disappearing from the field of view and the stone seems to float in the air. “Clearly, the goal of Sekine’s environmental art is not to transform art into environment, but to transform environment into art.” iii

世界2010(红) World 2010(Red)_曲 丰国 QU Fengguo_Silkscreen_ED100_2010

Nobuo SEKINE is more willing to appear "free state" of objects, allowing space, materials and ideas to form a complex. Naturally, "space" is regarded as one of the most important factors in the work to speculate. The object is the most direct and simple to touch in life. This exhibition opens the Mini-workshop at the same time, which viewers can arrange natural objects provided on the workbench according to their emotions at the same time, hoping to stimulate a direct interaction relationship and exploration with the world itself. To perceive the space is caused by the flow of time, to perceive the existence of “objects” and the "connections” of the self.

MAO, 2019.6.11

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i Kenya HARA: "A person is a system of feelings that strives to recognize the world. " "The human senses are boldly open to the world. They are not 'receivers' but active, active organs. " DESIGNING DESIGN, 2010

ii Nobuo SEKINE:“I was part of the group known as ‘Mono-ha’ made up of artists who presented objects conveying a sense of substance or matter.”，“Movement, Feeling, Environment” preface，2004

iii Huang Du: “From Mono-ha to Environmental Art Deciphering the Artistic Vision of Nobuo SEKINE ”,「Nobuo SEKINE Solo Exhibition——Movement, Feeling, Environment 」Beijing Tokyo Art Projects ，2004 

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